{"movie_name":"The Boondock Saints_1999","imdb_id":"tt0144117","script":"<script>\n  <scene>\n    <stage_direction>INT.  GOTHIC CHURCH  10:00 A.M.  ST. PATRICK'S DAY<\/stage_direction>\n    <scene_description>DOWNTOWN BOSTON As we open we see the inside of an enormous church . A young looking PRIEST in his mid - thirties is finishing the delivery of the Lord 's Prayer . In the back of the church , in the last pew , there are two who kneel on the cold , stone floor . They do not stand to sing , nor do they offer signs of peace when told , but they pray . They grip and rub their rosaries . They mutter their words in Latin . CONNOR and MURPHY MacMANUS -LRB- mid - twenties -RRB- are shrouded in thick waist length navy P - coats , worn leather boots and the hungry clothes of the poor . The boys heads are shaved and they have facial hair .<\/scene_description>\n    <character>MONSIGNOR<\/character>\n    <parenthetical>( dismissing young priest . )<\/parenthetical>\n    <dialogue>Thank you Father Macklepenny, for coming all the way across town to be our guest speaker today. I hope you found our little parish to your liking.<\/dialogue>\n    <scene_description>Macklepenny takes his seat on the alter along side the regular priests of the church . The MacManus brothers suddenly stand , as all others remain seated . Each church goer between them and the aisle shifts his\/her position to allow the boys passage , as if on command . The two turn and begin to stride for the alter , eyes down , determined .<\/scene_description>\n    <character>ANNABELLE MACMANUS<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( thick Irish accent . )<\/parenthetical>\n    <dialogue>They've never been like anyone else. From the moment they were born, of the same womb, on the same day, they just had their own way, my boys did. And I always knew that one day they would do something of true greatness. I just never expected they would bring about such a. such a reckoning.<\/dialogue>\n    <scene_description>The MacManus brothers are fraternal twins . As Annabelle MacManus speaks , Macklepenny is taken aback as he scans the congregation amazed to find that he is the only one who thinks this out of the ordinary . The monsignor begins his sermon . Macklepenny rises to stop the boys from this disgraceful disturbance . The elder clergyman finds Macklepenny 's arm , keeping him seated while shaking his head . Macklepenny 's confusion gives way to awe as he watches the brothers step onto the altar , brush by the six seated priests , and approach the enormous crucifix . They both fall to their knees and kiss the feet of Christ . They rise and as abruptly as they came , they turn and head back down the aisle for the front door . They stop at the rear of the church , turning to listen to the sermon .<\/scene_description>\n    <character>MONSIGNOR<\/character>\n    <parenthetical>( loud , authoritative . )<\/parenthetical>\n    <dialogue>. and I am reminded of this holy day of the sad story of Kitty Geneviese. This poor soul cried out time and time again for help but no person answered her calls. Though many saw, not one so much as called. Her assailant wiped the bloody knife off on her lifeless little body. They watched as he simply walked away. Nobody wanted to get involved. Nobody wanted to take a stand. We must fear evil men and deal with them accordingly but what we must truly guard against, what we must fear most.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Is the indifference of good men.<\/dialogue>\n    <scene_description>The MacManuses turn and walk out the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCH STEPS  SUNNY MORNING<\/stage_direction>\n    <scene_description>The boys put on their dark glasses and pause at the top of the steps to light up their cigarettes . They both roll their cigarette butts along their tongues and screw them into their lips . In this unique way they light up , seemingly oblivious to their synchronicity and mimic .<\/scene_description>\n    <character>CONNOR<\/character>\n    <parenthetical>( Irish accent . )<\/parenthetical>\n    <dialogue>I do believe the Monsignor finally got a point.<\/dialogue>\n    <character>MURPHY<\/character>\n    <parenthetical>( Irish accent . )<\/parenthetical>\n    <dialogue>Aye.<\/dialogue>\n    <scene_description>They leave .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NOLAND'S MEAT PACKING PLANT  4:00 P.M.  SAME DAY<\/stage_direction>\n    <scene_description>Murphy , wearing a white blood soaked smock and apron stands around the corner of the entrance to the loading dock . He grips a gigantic , bloody slab of meat and smirks . Connor flips his cigarette out the loading dock and passes his brother 's hiding place . He notices the workers have stopped , and are looking at him .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Murphy slaps Connor square in the face with the bloody slab . Connor 's face is caked with blood as he stands stunned . He then leaps on Murphy , sending him into a pile of nearby hamburger . He grabs a large cow tongue from a nearby heap and begins slapping Murphy in the face with it as they both laugh and the workers cheer . Their boss , McGERKIN approaches with a very large woman . Her head is clean - shaven . The two are still laughing , out of breath , they turn .<\/scene_description>\n    <character>MCGERKIN<\/character>\n    <dialogue>Boys this is Rose, Baum, Gurtle. Gurtle.<\/dialogue>\n    <character>ROZ<\/character>\n    <dialogue>Rozengurtle Baumgartner.<\/dialogue>\n    <character>MCGERKIN<\/character>\n    <dialogue>You'll be training her today, and do a good job.<\/dialogue>\n    <character>BOTH BOYS<\/character>\n    <dialogue>Aye.<\/dialogue>\n    <character>CONNOR<\/character>\n    <parenthetical>( wipes hand and extends it . )<\/parenthetical>\n    <dialogue>Pleased ta meet ya Rozie.<\/dialogue>\n    <scene_description>She points to a tattoo on her neck that reads untouched by man .<\/scene_description>\n    <character>ROZ<\/character>\n    <dialogue>I prefer to be called Rozengurtle by men.<\/dialogue>\n    <character>CONNOR<\/character>\n    <parenthetical>( taken aback . )<\/parenthetical>\n    <dialogue>Okay then. let's get ya started.<\/dialogue>\n    <scene_description>Connor exits with Roz .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Christ, that's the largest woman I've ever seen.<\/dialogue>\n    <character>MCGERKIN<\/character>\n    <dialogue>It's self - imposed affirmative action. If we hire big, fat, angry lesbians, then the leftist groups representing big, fat angry lesbians, wo n't think we're violating their rights.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Well, how politically correct you are. That's good stuff.<\/dialogue>\n    <character>MCGERKIN<\/character>\n    <dialogue>Hey, those people can shut ya down. They'll sue you into the ground claiming they were put under mental duress, inner pain. and sufferin'.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Well, as long as we're hirin' fat lesbians, give your ma a call.<\/dialogue>\n    <scene_description>Murphy laughs as he jogs away .<\/scene_description>\n    <character>MCGERKIN<\/character>\n    <dialogue>Fuck you Murphy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NOLAND'S MEAT PACKING PLANT  CUT STATION  SAME DAY<\/stage_direction>\n    <scene_description>Rozengurtle and Connor stand in front of a bunch of co - workers who are cutting meat as it goes by on assembly .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>Okay, just cut off as much fat as you can as it goes by and the rule of thumb here is.<\/dialogue>\n    <character>ROZ<\/character>\n    <dialogue>Rule of thumb?<\/dialogue>\n    <character>CONNOR<\/character>\n    <parenthetical>( questioningly . )<\/parenthetical>\n    <dialogue>Yeah?<\/dialogue>\n    <character>ROZ<\/character>\n    <dialogue>Do you know where that term comes from? In the early 1900's it was legal for men to beat their wives as long as they used a stick no wider than their thumb.<\/dialogue>\n    <scene_description>Connor holds up his thumb and stares at it .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>Ca n't do much damage with that. Perhaps, it shoulda been the rule of wrist. Ha!<\/dialogue>\n    <parenthetical>( he elbows her . )<\/parenthetical>\n    <dialogue>Rule of wrist.<\/dialogue>\n    <scene_description>She returns an icy stare . He hands her the knife . The co - workers all seem wary of Roz . Murphy stands on one side of Roz , Connor on the other , surrounded by a tight group of workers . Everyone is within ear shot of one another , cutting meat as it goes by . Knowing glances are shared by everyone . It is an uncomfortable mood .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>Hey Murphy?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Aye.<\/dialogue>\n    <character>CONNOR<\/character>\n    <parenthetical>( slight smirk . )<\/parenthetical>\n    <dialogue>How many feminists does it take to screw in a light bulb?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>How many?<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Two. One ta screw it in and one ta suck my cock.<\/dialogue>\n    <scene_description>Everyone burst out laughing . Rozengurtle jabs a knife in a piece of meat and turns to Connor . She pushes him and starts walking toward him . He starts backing up , laughing .<\/scene_description>\n    <character>ROZ<\/character>\n    <parenthetical>( angry . )<\/parenthetical>\n    <dialogue>I knew you two pricks would give me problems. Give me shit cause I'm a woman. I'm not gon na take your male dominance bullshit!<\/dialogue>\n    <character>CONNOR<\/character>\n    <parenthetical>( trying to calm her , but still chuckling . )<\/parenthetical>\n    <dialogue>Oh, come on now Rozengurtle. I was just tryin' ta get a rise outta ya.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Yeah. Just tryin' ta break the ice is all.<\/dialogue>\n    <character>ROZ<\/character>\n    <parenthetical>( to Murphy . )<\/parenthetical>\n    <dialogue>Fuck you.<\/dialogue>\n    <parenthetical>( to Connor . )<\/parenthetical>\n    <dialogue>. and fuck you!<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Oh, come on its St. Patty's Day. It's all in good fun.<\/dialogue>\n    <scene_description>Employees gather around all the excitement .<\/scene_description>\n    <character>ROZ<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Baumgartner sound Irish to you, fuck face?<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Now look Rozengurtle, we're sorry. Just relax.<\/dialogue>\n    <scene_description>She reaches back and punches Connor full force in the face . He takes the hit very well . He stops backing up .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>Why do n't you save all your aggression for protests and marches and what not.<\/dialogue>\n    <scene_description>She suddenly drives her boot into his crotch , sending him to the floor reeling with pain . Two female co - workers leap to his aid .<\/scene_description>\n    <character>ROZ<\/character>\n    <dialogue>You fuckin' slaves. Kowtowing to the needs of men! Get up! Get the fuck up! Leave him there.<\/dialogue>\n    <scene_description>Rozengurtle begins to turn , raising her fist to Murphy . Murphy winds up and punches her square in the face . She lands on her back . The on - lookers are stunned as he walks over and stands above her .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Guess you'll have ta change that tattoo now, wo n't ya Rozie!?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY  MACMANUS' TENEMENT APT  BUILDING  DAY<\/stage_direction>\n    <scene_description>The brothers get to the top of the stairs . Connor is hunched over and moving slowly . Murphy giggles .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>Fuck you.<\/dialogue>\n    <scene_description>Connor flicks his cigarette butt out the large open loading doors at the end of the hall . The red brick buildings stretch down the alley both ways . The glowing butt falls to a filthy resting place , directly next to a dented green dumpster with half the paint job scraped off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONNOR AND MURPHY'S APARTMENT  EARLY EVENING<\/stage_direction>\n    <scene_description>This is a decrepit , illegal loft . The boys enter , hang their rosaries by the door and begin taking off their clothes . Connor sits naked on the couch and gently places a bag of ice on his crotch . Murphy stands naked in the open quantity shower . Murphy turns on the water and sticks his hand in the stream .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONNOR AND MURPHY'S APT  EARLY EVENING<\/stage_direction>\n    <scene_description>Connor , still seated , cracks open a Guinness and sips it lovingly . The phone rings .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>MOM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Connor, is that you?<\/dialogue>\n    <scene_description>Something is obviously wrong in her voice .<\/scene_description>\n    <character>CONNOR<\/character>\n    <parenthetical>( interested . )<\/parenthetical>\n    <dialogue>Mother, is that you?<\/dialogue>\n    <character>MOM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Is that worthless brother of your there? I want you both ta hear this.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Ma, what's wrong?<\/dialogue>\n    <scene_description>Murphy shuts off the water .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>No fuckin' hot water man. That.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Shut it. It's Ma.<\/dialogue>\n    <scene_description>Murphy sees the concern in Connor 's eyes and takes a step closer .<\/scene_description>\n    <character>MOM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It's all your fault. Both you little bastards. I was a fool to believe you would bring me any peace. The day your Da left us when you were almost too young to remember, he said the two of you would do me right and make me proud, but he was wrong and I got nothin' ta live for.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Mother, what are you sayin'? You're talkin' crazy here.<\/dialogue>\n    <scene_description>Murphy is drawing closer with concern .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>What's the matter with her?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANNABELLE MACMANUS' HOUSE  IRELAND  NIGHT<\/stage_direction>\n    <scene_description>A wrinkly female hand grabs a large revolver resting next to a half empty bottle of Hennessey .<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>I finally found your Da's army revolver, Connor.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONNOR AND MURPHY'S APT  EARLY EVENING<\/stage_direction>\n    <character>CONNOR<\/character>\n    <dialogue>What the hell are you doin' with Da's gun!?<\/dialogue>\n    <character>MURPHY<\/character>\n    <parenthetical>( widening eyes . )<\/parenthetical>\n    <dialogue>What the?<\/dialogue>\n    <character>MOM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I got it ta my head now. I got it ta my head now.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>What?! What are you doin'?<\/dialogue>\n    <character>MOM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I want ta tell ya one last thing before I pull the trigger.<\/dialogue>\n    <character>CONNOR<\/character>\n    <parenthetical>( screaming . )<\/parenthetical>\n    <dialogue>Pull the trigger?! Have ya lost it woman?! Now just calm down here.<\/dialogue>\n    <character>MURPHY<\/character>\n    <parenthetical>( eyes widen . )<\/parenthetical>\n    <dialogue>Oh my god!<\/dialogue>\n    <character>MOM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>No ma! No!<\/dialogue>\n    <character>MOM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>BLAME.<\/dialogue>\n    <character>CONNOR &amp; MURPHY<\/character>\n    <dialogue>Oh Jesus, No! No! Oh God! No Ma!<\/dialogue>\n    <character>MOM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>YOU!<\/dialogue>\n    <scene_description>Connor and Murphy are both screaming in panic .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANNABELLE MACMANUS' BACK STOOP  NIGHT<\/stage_direction>\n    <scene_description>Mom stands on the back stoop holding the door ajar with her hip . She holds the phone receiver up in her left hand and the gun directly next to it , in her right . She squeezes off a loud shot toward the heavens .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONNOR AND MURPHY'S APT  EARLY EVENING<\/stage_direction>\n    <scene_description>As soon as the deafening sound pierces through the receiver , Connor instinctively jumps up to a standing position . The bag of ice bursts as it hits the floor and spreads across it . He throws the receiver and covers his ears with both hands . The phone then falls to the ground , skipping through the cubes as the boys dive for it screaming . The two naked , hysterical boys fumble for the phone , flailing on their stomachs in the field of ice . They finally catch it and both put their ears to the receiver in panic . As they scream MA intermittently , the pauses get longer and longer .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANNABELLE MACMANUS' APARTMENT  NIGHT<\/stage_direction>\n    <scene_description>Mom 's got her hand covering her mouth , face red from holding back laughter , as she walks back into the house . She can take it no longer and she bursts out with hearty guffaws .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONNOR AND MURPHY'S APARTMENT  EARLY EVENING<\/stage_direction>\n    <scene_description>The boys are relieved , but angry .<\/scene_description>\n    <character>CONNOR<\/character>\n    <parenthetical>( grabs his balls , rolls over . )<\/parenthetical>\n    <dialogue>Aaaww, shit! evil woman!<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Lord have mercy. That was a good one ma.<\/dialogue>\n    <character>MOM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Oh, Jesus! No ma! Christ ma! No!<\/dialogue>\n    <scene_description>Murphy holds the receiver in the air . Mom 's still laughing .<\/scene_description>\n    <character>MURPHY<\/character>\n    <parenthetical>( to Connor . )<\/parenthetical>\n    <dialogue>Oh, she's quite proud of herself.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>Okay, seriously, both you listen ta me now.<\/dialogue>\n    <scene_description>They both put an ear to the phone .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>All right, we're both here.<\/dialogue>\n    <scene_description>Mom pauses and cackles endlessly once again .<\/scene_description>\n    <character>MOM<\/character>\n    <parenthetical>( finally . )<\/parenthetical>\n    <dialogue>It's only 11:00 here boys so I got lot's more drinkin' ta do with your worthless relatives down at the Anvil.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Just called ta torture us did ya?<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>How's Uncle Sibeal?<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>Well, you know how it is with him. Always complainin' he's never turnin' a profit on St. Patty's. Whole damn family goes down there with no money, cause we know he ca n't bear ta charge us.<\/dialogue>\n    <scene_description>They all laugh .<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>But he's been havin' himself a nip or two as well. Been up the waitress' skirt all night, poor girl.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Well you tell him ta take it easy with that. He's got ta learn ta respect women the way Connor does.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Oh, Jesus.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>I gave him his first lesson in sensitivity toward the fairer sex just today.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Do n't even do it, ya bastard.<\/dialogue>\n    <character>MURPHY<\/character>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>He got beat up by a girl.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>If that was a girl I want ta see some papers. She had ta be just preoperative for Christ sakes.<\/dialogue>\n    <character>MOM<\/character>\n    <parenthetical>( dogmatically . )<\/parenthetical>\n    <dialogue>Lord's name.<\/dialogue>\n    <character>BOTH<\/character>\n    <parenthetical>( genuflecting , impassionate . )<\/parenthetical>\n    <dialogue>Mother Mary, full of grace.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>What did you do, Connor?<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Well, we tried ta make friends and she gave me a shot ta the nuts.<\/dialogue>\n    <character>MOM<\/character>\n    <parenthetical>( aghast . )<\/parenthetical>\n    <dialogue>What. the dirty bitch! I hope ya trounced her a good one!<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Well, I did n't but.<\/dialogue>\n    <character>MURPHY<\/character>\n    <parenthetical>( shaking his fist . )<\/parenthetical>\n    <dialogue>Do n't worry, I respected the hell out of her for ya, Ma.<\/dialogue>\n    <scene_description>Mom laughs .<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Well listen, I know how my boys take ta scrappin' when they take ta drinkin'.<\/dialogue>\n    <character>BOTH<\/character>\n    <parenthetical>( semi - condescending . )<\/parenthetical>\n    <dialogue>Yes mother.<\/dialogue>\n    <character>MOM<\/character>\n    <parenthetical>( light - hearted anger . )<\/parenthetical>\n    <dialogue>I mean it now. I carried the two of you little bastards around in my belly at the same time you ungrateful pissants. Ya ruined my girlish figure in one fell swoop, and then ya sucked me dry.<\/dialogue>\n    <parenthetical>( grabbing her breast . )<\/parenthetical>\n    <dialogue>My tits are saggin' down ta my ankles. I trip over em for Christ sakes, now ya listen ta me, NO FIGHTEN!<\/dialogue>\n    <scene_description>The boys laugh .<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Promise me boys.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>We promise.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Yeah, we promise.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>Well, there's my boys.<\/dialogue>\n    <parenthetical>( pulls back curtain , looks out window . )<\/parenthetical>\n    <dialogue>Shit. I got ta go. Looks like I caused a ruckus with that shot. Half the damn neighborhood is comin'.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>All right, love ya ma. Listen, before ya go just give us the goods, eh?<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Yeah. It's been twenty - seven years.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>Still bickerin' over that, huh?<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Come on, ma. Out with it. Who came out first?<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>All right, I suppose you have the right ta know.<\/dialogue>\n    <scene_description>The boys stand shoulder to shoulder , naked . They peer into the distance , ears to the phone , awaiting this most important information .<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Are ya ready?<\/dialogue>\n    <character>BOTH<\/character>\n    <dialogue>Aye.<\/dialogue>\n    <scene_description>Slight pause as mom slams a shot of Hennessey .<\/scene_description>\n    <character>MOM<\/character>\n    <parenthetical>( yells . )<\/parenthetical>\n    <dialogue>The one with the biggest cock!<\/dialogue>\n    <scene_description>Mom slams down the phone and lets out a throaty laugh . The boys sign angrily . Connor walks over and hangs up the phone .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>Crazy woman.<\/dialogue>\n    <scene_description>When he turns , he notices Murphy is fixated on his brothers crotch . A triumphant smile spreads across his face .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>Do n't start. I've had ice on mine.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AN ALLEY  MORNING<\/stage_direction>\n    <scene_description>PAUL SMECKER , F.B.I. agent , is lead by the Boston Chief of Police through a jungle of ravenous reporters , police lines and uniformed officers . He is impeccably dressed in a deep red suit . He is smiling , confident as he walks . He is a very good - looking , slender man . He looks intently , for a moment , at four uniformed officers . They approach two dead bodies , laying next to a dented green dumpster with half the paint job scraped off . One man , IVAN CHECKOV , lays on his stomach , closer to the dumpster than the other . The ass of his pants has been burnt out and a large cotton bandage is in its place . The other , VLADDY , has a blood soaked bandage around his head and is on his stomach as well . There are hundreds of pieces of porcelain of various sizes everywhere . Three plain - clothed homicide detectives , DUFFY , DOLLY and GREENLY hover close to the bodies . Dolly and Duffy listen to GREENLY , an obvious rookie , give his over - confident theory of what took place . The chief is about to interrupt them , but Smecker holds him back with a smile . The two wait and watch in a position , where the unsuspecting detectives have their backs to them .<\/scene_description>\n    <character>GREENLY<\/character>\n    <parenthetical>( thick Boston accent . )<\/parenthetical>\n    <dialogue>. so these guys are just kickin' the shit out of each other. This guy.<\/dialogue>\n    <parenthetical>( points to Vladdy . )<\/parenthetical>\n    <dialogue>Picks up an old kitchen sink that some one threw out and crushes this guy.<\/dialogue>\n    <parenthetical>( Checkov . )<\/parenthetical>\n    <dialogue>With it. All right, so it makes a big bang and alerts their friend, who's standin' look out around the corner. So he comes over and gets into it with this guy.<\/dialogue>\n    <parenthetical>( Vladdy . )<\/parenthetical>\n    <dialogue>He's angry at him, right? They get into an altercation in which the look out guy crushes this guy by jumpin on him. And look at the damage here.<\/dialogue>\n    <parenthetical>( Vladdy . )<\/parenthetical>\n    <dialogue>I mean this guy's fuckin' hamburger man. His spine is crushed. He's all twisted and shit. That guy had to be one big mother fucker. Huge, 3 - 400 pounds, fuckin huge.<\/dialogue>\n    <scene_description>Smecker listens . The Chief is embarrassed .<\/scene_description>\n    <character>GREELY<\/character>\n    <dialogue>Or, okay. Check this out. Say these two do n't even know the huge guy. They're just staggerin' home from a bar this morning, still all fucked up from St. Patty's last night. So they figure they'll take a short cut down the alley and this big mother fucker, he's just waitin'. And what could be more perfect for strong arm robbery? Two drunk guys all bandaged up. They're already injured for Christ sakes. He takes a blunt object and whacks the guy with the bandage on his head, right? Cause he's smart. He knows the guy with the bandage on his ass, he ai n't going nowhere. Matter of fact, this guy's probably helping his friend with the rectal problem along. They're limping around like a couple of decrepit old broads. So once this guy's out of the picture.<\/dialogue>\n    <parenthetical>( denotes Vladdy . )<\/parenthetical>\n    <dialogue>this poor asshole, he tries to run. But look how far he gets fore the huge bastard catches up with him. Only a few yards. And what does he do? He gets creative. He picks up a sink and crushes the poor mother - fucker. Then, he ai n't done yet. He comes over here, jumps on this guy's back and crushes him to death.<\/dialogue>\n    <parenthetical>( Vladdy . )<\/parenthetical>\n    <dialogue>He steals their shit and beats it! Thanks for comin' out!<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>And look at this print.<\/dialogue>\n    <scene_description>Greenly points out a large foot print on Vladdy 's back . Some detectives nod in agreement . Smecker chuckles as he shakes his head .<\/scene_description>\n    <character>GREENLY<\/character>\n    <dialogue>That's one big fuckin' shoe! and think about it. Of all the ways to kill a guy, crushin' him to death. That's very particular. You do n't get many of those. I dunno. I feel something big here. I would n't be surprised if we see more of these turning up.<\/dialogue>\n    <character>SMECKER<\/character>\n    <parenthetical>( stepping into the open . )<\/parenthetical>\n    <dialogue>Brilliant. So now we got a Huge guy theory and Serial crusher theory. Top fucking notch.<\/dialogue>\n    <parenthetical>( to Greenly . )<\/parenthetical>\n    <dialogue>What's your name?<\/dialogue>\n    <character>GREENLY<\/character>\n    <dialogue>Detective Greenly. Who the fuck are you?<\/dialogue>\n    <scene_description>Smecker saunters up to Greely and pulls his I.D. out of the breast pocket of his sport coat and lets it hang . The large , light blue letters , F.B.I. can be easily seen .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>That's who the fuck I am.<\/dialogue>\n    <scene_description>All the detectives seem disgruntled and look to the Chief for an explanation .<\/scene_description>\n    <character>CHIEF<\/character>\n    <dialogue>Listen, I got ta go by the numbers on this one. I.D. just came back on these guys. They've got connections to the Russian mob. That makes it a federal matter and Agent Smecker, here, is heading up the investigation with our full cooperation.<\/dialogue>\n    <character>SMECKER<\/character>\n    <parenthetical>( transfixed on Greely . )<\/parenthetical>\n    <dialogue>Why do n't you get me a cup of coffee.<\/dialogue>\n    <character>GREENY<\/character>\n    <dialogue>What the fuck?<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Caf\u00e9 latte.<\/dialogue>\n    <character>GREENLY<\/character>\n    <dialogue>Who the.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Twist of lemon!<\/dialogue>\n    <character>GREENLY<\/character>\n    <parenthetical>( to Chief . )<\/parenthetical>\n    <dialogue>Chief, what the fuck is this?<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Sweet - n - low!<\/dialogue>\n    <scene_description>Greenly looks helplessly to the Chief , who simply nods . He storms off the scene , upset . Smecker turns his back on everyone and puts earphones in . He reaches down and hits play . The choir song `` Agnus dei '' overtakes . He begins to investigate . He kneels at the bodies for a moment then stares at the opposite brick wall . He picks up a piece of porcelain and scrapes it with his thumb . He quickly cocks his head toward the sky and begins to chuckle as he says Jesus Christ , under his breath . He brushes some paraffin on each of the dead men 's hands . Duffy and Dolly watch defiantly . They start to smile at one another as they collectively realize his homosexuality . He is slightly effeminate buy not overly fey .<\/scene_description>\n    <character>SMECKER<\/character>\n    <parenthetical>( loudly . )<\/parenthetical>\n    <dialogue>Mitchell, Langley!<\/dialogue>\n    <scene_description>Two uniformed officers approach .<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Find the manager of this building. See if he has had any complaints of water coming down in any apartments, starting just this morning. If he's not there, knock on every door starting from the third floor up. Langley, you take this building, same thing.<\/dialogue>\n    <scene_description>Mitchell and Langley exit .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>Chaffey, Newman.<\/dialogue>\n    <scene_description>Two more uniforms approach .<\/scene_description>\n    <character>CHAFFEY<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <character>SMECKER<\/character>\n    <parenthetical>( to Chaffey . )<\/parenthetical>\n    <dialogue>Look in the trash around their hands. See if you can find me two bullet casings. 45's, if my eye serves me right. Do n't disturb them. Mark them as they lay. Newman, root through this shit.<\/dialogue>\n    <parenthetical>( points to the mountain of garbage . )<\/parenthetical>\n    <dialogue>If this was a sink find me some metal parts. Gim me a faucet or a drain cover or something.<\/dialogue>\n    <scene_description>The two begin their tasks . Chaffey finds a casing near Checkov 's hand , hidden under the edge of the pile .<\/scene_description>\n    <character>CHAFFEY<\/character>\n    <dialogue>Got it. It's a 45.<\/dialogue>\n    <scene_description>The homicide detectives are surprised as Chaffey looks for the second shell . Smecker lights up a smoke .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>Chief, could you get ballistics down here and tell them they have to dig a 45 slug out of a brick wall.<\/dialogue>\n    <scene_description>He points to a bullet hole in the opposing and tattered wall .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>and locate another that's been fired through a dumpster.<\/dialogue>\n    <scene_description>He points to another bullet hole at the dumpster 's base .<\/scene_description>\n    <character>CHIEF<\/character>\n    <dialogue>I got the best ballistics guy in the world. He's mobile. Got all his stuff right in the van. Can have him down here in 10 minutes.<\/dialogue>\n    <character>DOLLY<\/character>\n    <dialogue>How did you know that?<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Paraffin came up positive. And bullet holes are usually a big clue.<\/dialogue>\n    <character>CHAFFEY<\/character>\n    <dialogue>I ca n't find the second one, sir.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Look under the body.<\/dialogue>\n    <character>CHAFFEY<\/character>\n    <parenthetical>( obeys . )<\/parenthetical>\n    <dialogue>Got it.<\/dialogue>\n    <scene_description>Smecker turns to detectives with a smirk .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>You guy's ready for this?<\/dialogue>\n    <scene_description>They both nod .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>This was no gangland assassination. Though creative, it was way too sloppy. Something went wrong here. This has personal written all over it. Now, these men were crushed and the first natural reaction the body has to such trauma is to tense up. So now the two shots fired here were reflex rounds. These guys were n't shooting at anything, but they were just about to.<\/dialogue>\n    <scene_description>Mitchell returns .<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Agent Smecker.<\/dialogue>\n    <parenthetical>( pointing to MacManus building . )<\/parenthetical>\n    <dialogue>This is all illegal loft housing so there's no manager on the premises but I found a lady on the fourth floor said she's had water dripping down on her whole place. Started just this morning.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Fourth floor huh? Then we're heading to the fifth. Let's go up and see just how right I am.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MACMANUS' APT. BUILDING  FIRST FLOOR  MORNING<\/stage_direction>\n    <scene_description>The detectives pile into the elevator , Smecker last . Greenly has rejoined them . Smecker sips his latte .<\/scene_description>\n    <character>DUFFY<\/character>\n    <dialogue>So what are you thinkin' here?<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Really want to know?<\/dialogue>\n    <scene_description>All the detectives chant the affirmative . The doors close .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MACMANUS' APT. BUILDING  ELEVATOR  FIFTH FLOOR  MORNING<\/stage_direction>\n    <scene_description>As the doors open , all the detectives chorus their disbelief .<\/scene_description>\n    <character>GREENLY<\/character>\n    <dialogue>No way. You know how big a guy's got ta be to do that? Fuckin' huge.<\/dialogue>\n    <scene_description>Smecker turns to Greenly in disbelief .<\/scene_description>\n    <character>SMECKER<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Oooo. I might be wanting a bagel with my coffee.<\/dialogue>\n    <scene_description>Smecker exits the elevator leaving the three silent detectives with that thought .<\/scene_description>\n    <character>GREENLY<\/character>\n    <parenthetical>( to Dolly . )<\/parenthetical>\n    <dialogue>I ai n't getting him no fuckin' bagel.<\/dialogue>\n    <scene_description>The detectives exit the elevator .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MACMANUS' DOORWAY  INSIDE APT  LOOKING OUT TO HALL MORNING<\/stage_direction>\n    <scene_description>Smecker appears first , glancing in momentarily . The detectives pile in behind him . They survey the situation in total awe .<\/scene_description>\n    <character>SMECKER<\/character>\n    <parenthetical>( to Greenly . )<\/parenthetical>\n    <dialogue>We'll start the ass kissing with you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MACMANUS' APT. BUILDING  FRONT STEPS  MORNING<\/stage_direction>\n    <scene_description>Smecker saunters out , detectives on his heels .<\/scene_description>\n    <character>MITCHELL<\/character>\n    <parenthetical>( approaches Smecker . )<\/parenthetical>\n    <dialogue>Agent Smecker. I know this neighborhood pretty good. There's a bar called McGinty's down the block. It's a good bet they were there last night.<\/dialogue>\n    <character>SMECKER<\/character>\n    <parenthetical>( turns to detectives . )<\/parenthetical>\n    <dialogue>Good work, Mitchell. I'll check that out myself.<\/dialogue>\n    <scene_description>Duffy starts walking down the street . A REPORTER is hot on his heels .<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>Hey, Duffy. What the fuck happened here? You owe me. This is the one I want.<\/dialogue>\n    <character>DUFFY<\/character>\n    <dialogue>Let's go get a cup of coffee. You ai n't gon na fuckin' believe this one.<\/dialogue>\n    <scene_description>Smecker is standing on the front steps in front of uniformed officers and homicide detectives .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>I want A.P.B.'s put out. I want more uniforms on the streets. One thing's for sure, wherever these guys are they're hurting.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EMERGENCY ROOM  DAY<\/stage_direction>\n    <scene_description>A potent song takes our ears as The MacManus brothers sit in the E.R. . They have already received care . Their faces are beaten and there are bandages and dried blood in various spots . Connor 's injuries exceed Murphy 's . They are both clad in only their leather boots , boxer shorts and worn out old bathrobes . Young kids wait for medical attention , as their knife wounds bleed . Two nuns in the corner console a third , whose robes are ripped and face is beaten . A woman toward the end of the hall is so badly beaten she is unrecognizable . As the song builds to a more harrowing chorus , a man enters . His clothes suggest he 's a pimp . He is not injured . He looks around as he stands , perturbed , at the end of the hall . He reaches over and grabs the beat up woman by the hair and begins to drag her out . She is kicking and screaming from the floor , grabbing at his wrists as he hauls her away . -LRB- Slo - mo -RRB- The boys , instantly furious , stand and begin to go toward the action , but Connor 's legs give out on him and he falls to the floor . Connor , still trying to go after the pimp , crawls towards him . Murphy helps his brother to his chair and hold him tight .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Okay. Just calm down. Take it easy. He'll have his day. He'll have his.<\/dialogue>\n    <parenthetical>( turns . )<\/parenthetical>\n    <dialogue>FUCKIN' DAY!<\/dialogue>\n    <scene_description>Music fades .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT  EMERGENCY ROOM  DAY  FEW MINUTES LATER<\/stage_direction>\n    <scene_description>An old Irishman enters the E.R. DOC -LRB- 70 yrs . -RRB- has a serious facial twitch and is prone to blinking uncontrollably . He has a mild stutter . He also has Tourette 's Syndrome and is apt to yell his two chosen swear words every now and then , first fuck ! and after a slight pause , ass ! He rushes up as they stand to greet him . Murphy holds Connor up .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Thanks for comin', Doc.<\/dialogue>\n    <character>DOC<\/character>\n    <parenthetical>( Irish accent , squeaky voice . )<\/parenthetical>\n    <dialogue>J - Jesus. What the fuck happened? Are ya b - boys all right?<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>We're alive.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>An F.B.I. agent came by the bar. He left me his c - c, he left me his c - c, he left me this.<\/dialogue>\n    <scene_description>He hands them a card with Smecker 's name on it . They survey it with interest .<\/scene_description>\n    <character>DOC<\/character>\n    <parenthetical>( extremely loud . )<\/parenthetical>\n    <dialogue>Fuck! Ass!<\/dialogue>\n    <scene_description>Everyone in the E.R. looks at Doc in shock . Connor and Murphy do n't even avert their eyes from the card .<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>What are you going to do?<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>We're going to turn ourselves in. It was self defense.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>y - y - yeah that's what he said.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>How the fuck's he know that? We have n't spoken to anyone yet.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Do n't know. He did n't say.<\/dialogue>\n    <scene_description>The boys look puzzled . Murphy helps Connor down to his seat .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Listen Doc, we need a favor.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>A - anything.<\/dialogue>\n    <scene_description>Murphy hands Doc a partially filled garbage bag .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>Hold this shit for us, Doc. We'll be comin back for it when we get out.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Right.<\/dialogue>\n    <scene_description>Doc exits , say one more `` Fuck , . Ass '' , on the way out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOSTON POLICE STATION  PRECINCT OFFICE  DAY<\/stage_direction>\n    <scene_description>The station is abuzz with the story . Connor and Murphy 's names are on all tongues . A legend starts . Every available officer is in the room along with the homicide detectives . Smecker walks right down the middle .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>First of all, I'd like to thank whichever one of you donut munching, barrel - assed dip - shits leaked this to the press. That's just what we need now, some sensational story in the papers making these guys out to be super heroes, triumphing over evil. And let me squash the rumors now. These two are n't heroes.<\/dialogue>\n    <parenthetical>( rolls his eyes . )<\/parenthetical>\n    <dialogue>They are two ordinary men who were put in an extraordinary situation and they just happened to come out on top. Yes, nothing from our far reaching computer system has turned up jack shit on these two. All we know is what we found out from their neighbors. And the general consensus is that they're. angels.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>But angels do n't kill and we got two bodies in the morgue that look like they've been.<\/dialogue>\n    <scene_description>Smecker looks to Greenly . Dripping with sarcasm .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>serial crushed by a huge fuckin' guy.<\/dialogue>\n    <scene_description>Some of the cops and homicide detectives laugh and chide Greenly .<\/scene_description>\n    <character>CHAFFEY<\/character>\n    <dialogue>Are these me considered armed and dangerous?<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Well, not armed. If they had guns, they'd have used them. But dangerous? Oh yeah.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>What makes you think they're dangerous? They were just protecting each other.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOSTON POLICE STATION STEPS  DAY<\/stage_direction>\n    <scene_description>The two are limping up the precinct stairs . Connor is draped over Murphy who helps his brother along , they are still attired as in the E.R.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOSTON POLICE STATION  PRECINCT OFFICE  DAY<\/stage_direction>\n    <character>SMECKER<\/character>\n    <dialogue>Look, look! I'm not saying one way or the other. Just be careful and go by the protocol on this one.<\/dialogue>\n    <character>CHAFFEY<\/character>\n    <dialogue>Any tips on where these guys may be?<\/dialogue>\n    <character>SMECKER<\/character>\n    <parenthetical>( to Officer Mitchell . )<\/parenthetical>\n    <dialogue>Any word back from the E.R.s?<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>No help at all. Swamped from St. Patty's. Packed with drunk, bloody Irish.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Just hit the bricks nice and hard.<\/dialogue>\n    <scene_description>Grunt police work is going to bring this one in .<\/scene_description>\n    <character>GREENLY<\/character>\n    <parenthetical>( talking loudly . )<\/parenthetical>\n    <dialogue>These guys are miles away by now.<\/dialogue>\n    <scene_description>The brothers quietly enter in the back of the room . All the officers are seated with their backs to them . Smecker and the brothers make eye contact . He knows who they are . They do n't interrupt Greenly .<\/scene_description>\n    <character>GREENLY<\/character>\n    <dialogue>But if you want to beat your head against a wall, then here's what you look for. These guys are scared like two little bunny rabbits. Anything in a uniform or flashing blue lights will spook them. So the only thing we can do is put a potato on a string and drag it through South Boston.<\/dialogue>\n    <scene_description>There is light chuckling from the police at this crack .<\/scene_description>\n    <character>MURPHY<\/character>\n    <parenthetical>( loud . )<\/parenthetical>\n    <dialogue>You'd probably have better luck with a beer.<\/dialogue>\n    <scene_description>Everyone turns and looks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INTERROGATION ROOM  BOSTON POLICE STATION  LATER<\/stage_direction>\n    <scene_description>The boys sit in two chairs at a plain table with a recording device on it . They are very serious and alert . Mitchell enters with coffee for them . He shakes their hands and says he really respects what they did . Surprised , they thank him . Chaffey enters with donuts and a repeat performance of respect . Slowly officers start to gather around the interrogation room door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INTERROGATION ROOM  BOSTON POLICE STATION  DAY LATER<\/stage_direction>\n    <scene_description>There are at least 20 officers and detectives packed in the tiny room . The MacManus ' visit with the excited cops . All are in high spirits . The room is loud as Smecker walks in .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>What the fuck is this!? This is n't a fuckin' tea party. Get out! Only thing I want in here is them.<\/dialogue>\n    <scene_description>They all file out . Smecker and the boys look each other over .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>This conversation is going to be recorded. Just answer to the best of your knowledge.<\/dialogue>\n    <scene_description>Smecker reaches for the record button . Murphy puts out his hand to stop him .<\/scene_description>\n    <character>MURPHY<\/character>\n    <parenthetical>( politely . )<\/parenthetical>\n    <dialogue>Excuse me, sir.<\/dialogue>\n    <scene_description>Murphy turns to his brother and speaks in Latin , in hushed tones . It is subtitled in English .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>`` What do we tell him about the guns and money?''<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>`` We just got up and left. Bum musta rolled them before the police got there.''<\/dialogue>\n    <character>MURPHY<\/character>\n    <parenthetical>( to Smecker . )<\/parenthetical>\n    <dialogue>Okay. We're ready.<\/dialogue>\n    <scene_description>Smecker in intrigued with this tiny display . He hits the record button .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>You guys are not under oath, here. I am assuming you knew these two guys from before, huh?<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>We. met them last night.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>They had some pretty interesting bandages. Know anything about that?<\/dialogue>\n    <scene_description>They look at each other . FLASHBACK . INT MCGINTY 'S PUB NIGHT ST. PATRICK 'S DAY McGinty 's 's is packed to the walls with drunken Irish . A lot of faces are recognizable from Noland 's Meat . Connor is in front of the bar . He and Doc are staring at each other as if waiting for one man to give in . Connor has his arms across the chests of Murphy and some friends , holding them in place . They are interested in the competition . PRESENTLY .<\/scene_description>\n    <character>CONNOR<\/character>\n    <parenthetical>( presently , imitating Doc 's voice . )<\/parenthetical>\n    <dialogue>Would someone please come over here and.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Fuck!<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>me up the.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Ass!<\/dialogue>\n    <scene_description>Everyone falls down laughing . Doc is angry and starts throwing ice at them . DAVID DELLA ROCCO makes his way through the crowd . Rocco is thirty - two years old . He has shoulder - length , dark hair and a full beard and mustache that wrap around his big smile . He charges up to the bar and yells to Doc .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Hey! Fuck! Ass! Get me a beer!<\/dialogue>\n    <scene_description>This sends everyone even further into laughter . Doc throws two huge fists full of ice at him . He backs away laughing . The boys get up off the floor and have a huge group hug with Rocco as they all scream each others names . They all laugh and commence drinking .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCGINTY'S PUB  NIGHT<\/stage_direction>\n    <scene_description>The bar is trashed . It 's mostly empty now except for the brothers , Rocco , Doc and four friends . Everyone is very drunk , including Doc .<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>( trying to connect with Connor . )<\/parenthetical>\n    <dialogue>. It's not that I'm homophobic. I'm just afraid of faggots.<\/dialogue>\n    <scene_description>Connor pauses then bursts out laughing . Doc calls everyone to gather round .<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>I got some bad news. Looks like I'm gon na have ta close d - down the bar. The Russians have been buying up buildings all over town, including this one. Fuck! Ass! And they're not letting me renew my lease. I got'til the end of the week to come up with 26,000 dollars, or they take the place. I left them a note telling them not to show their faces t - tonight. They been pressuring me ta close and take the last few days ta get all my shit outta here but it's my right to stay open ta the last.<\/dialogue>\n    <scene_description>Long pause as everyone absorbs . They are upset .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Let me talk to my boss, may I can.<\/dialogue>\n    <scene_description>He is cut off by everyone who obviously opposes Mafia involvement .<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>L - l - listen I do n't want anyone ta know until the last possible moment. So you guys keep your traps shut. ya know what they say ; People in glass houses sink ships.<\/dialogue>\n    <scene_description>Everyone has quizzical looks on their faces .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Y' know Doc, I got ta get you a, a, like a proverb book or something. This mix and match shit's got ta go.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Everyone chuckles .<\/scene_description>\n    <character>CONNOR<\/character>\n    <parenthetical>( imitating Doc . )<\/parenthetical>\n    <dialogue>A p - penny saved is worth two in the bush.<\/dialogue>\n    <character>MURPHY<\/character>\n    <parenthetical>( imitating Doc . )<\/parenthetical>\n    <dialogue>Do n't c - cross the road if ya ca n't get out of the kitchen.<\/dialogue>\n    <scene_description>Everyone laughs heartily . Just then , three large Russians in suits enter . The obvious leader , CHECKOV , stands in front with VLADDY behind one of Checkov 's shoulders , with another guy behind the other shoulder . They mean business . The laughter fades .<\/scene_description>\n    <character>CHECKOV<\/character>\n    <parenthetical>( thick Russian accent . )<\/parenthetical>\n    <dialogue>I am Ivan Checkov. You will be closing now.<\/dialogue>\n    <character>MURPHY<\/character>\n    <parenthetical>( after a long pause . )<\/parenthetical>\n    <dialogue>This is McCoy. we find Spock and we got enough for an away team.<\/dialogue>\n    <scene_description>Everyone laughs . Ivan is angry .<\/scene_description>\n    <character>CHECKOV<\/character>\n    <dialogue>Oh, how extraordinary. A bunch of Irishmen. and they are being drunken idiots. You are killing the stereotype. I'm in no mood for discussion.<\/dialogue>\n    <parenthetical>( points to Doc . )<\/parenthetical>\n    <dialogue>You! You stay. The rest of you go now.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Why do n't you make like a tree and get the fuck outta here!<\/dialogue>\n    <scene_description>The locals roll their eyes at Doc 's blunder .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>Calm down, Doc. I'm sure they're reasonable fellows.<\/dialogue>\n    <scene_description>He and Murphy each grab a Guinness and a shot of Hennessey and they approach the Russians with the peace offering .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>Listen fellas, Y' know he's got'til this week's end. Ya do n't have ta be hard asses, do ya?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Yeah, it's St. Patty's day. Everyone's Irish tonight. Now, why do n't ya pull up a stool and have a drink with us?<\/dialogue>\n    <character>CHECKOV<\/character>\n    <dialogue>You insult me. I would never drink that sewage. Especially with you people. You are fools.<\/dialogue>\n    <scene_description>Checkov slaps the beer to the floor .<\/scene_description>\n    <character>CHECKOV<\/character>\n    <dialogue>This is no game! If you wo n't go, we will make you go!<\/dialogue>\n    <scene_description>The boys look at each other , remembering what Mom said . They still hold the shots .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>If ya want a fight, you can see you're outnumbered. We're trying ta be civil here, so I suggest you take our offer.<\/dialogue>\n    <character>CHECKOV<\/character>\n    <dialogue>I make the offers, ass - hole.<\/dialogue>\n    <scene_description>Rocco pushes off the bar . He 's had enough .<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>( standing between the two brothers . )<\/parenthetical>\n    <dialogue>Hey, there Boris. What would you say if I told you that your pinko, commie mother sucked so much dick.<\/dialogue>\n    <scene_description>Wham ! Ivan punches him in the face . He is quickly down and out . Connor and Murphy 's faces turn to stone as they speak the next few lines in flawless fluent Russian with English subtitles .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>`` Now, that was n't too polite, was it?''<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>`` I'm afraid we ca n't let that one go, Ivan.''<\/dialogue>\n    <scene_description>Checkov is completely taken aback . All the Irish are fairly impressed as well .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>I do n't think Ma would mind.<\/dialogue>\n    <scene_description>They clink the glasses together , throw back the Hennessey , ball up the thick glasses in their fists , drop to one knee and both deliver a devastating blow to each of Checkov 's quads . Murphy on the left , Connor on the right . He 's down for the count , writhing on the floor . The boy 's each take a Russian guy and start fighting as the others start kicking and spitting on Checkov . This is a bar brawl , lots of punches do n't connect . Connor dismantles his man quickly . Murphy is still fighting as all the Irish try to jump in and help Murphy but Connor goes into psycho mode , pushing them all back .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>Let the boy go. He knows what the fuck he's doing!<\/dialogue>\n    <scene_description>They all back off and start to cheer him on . Murphy and Vladdy are ripping each other apart . Vladdy backs him against a wall and pulls back , exhausted , for one good punch . Murphy reaches up behind his head with both hands and pulls two bottles of wine from a wall rack . He swings them toward each other with Vladdy 's head as the mid - point . The bottles haphazardly connect , one on each side of his head . He crumples to the ground in an explosion of glass and wine . There is shock and silence .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>Nicely done, boy!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCGINTY'S PUB  NIGHT  A FEW MINUTES LATER<\/stage_direction>\n    <scene_description>They have Ivan Checkov tied down to the bar on his stomach . Connor stands with an unlit cigarette dangling from his lips next to Ivan . He pours Hennessey all over Checkov 's buttocks . They all cheer . Ivan 's face is battered as Rocco wakes and approaches . He punches Checkov in the face in complete rage . Two friends subdue him as all chuckle .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>Now, like my fine brother says, on St. Patty's everyone's Irish. And this piece of shit is about to be initiated.<\/dialogue>\n    <scene_description>As they cheer , Connor lights up his smoke and tosses the match on Ivan 's butt . The Hennessey is instantly ablaze and Checkov is screaming and wiggling in horror . Some just stand there stunned , but most of the remaining onlookers leap to Ivan 's aid . They furiously pat him out and turn on Connor .<\/scene_description>\n    <character>FRIEND #1<\/character>\n    <dialogue>Are ya tryin' ta kill him, ya fuck?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONNOR AND MURPHY'S APT  EARLY NEXT MORNING<\/stage_direction>\n    <scene_description>Connor and Murphy , fairly beat up , sit up on their beds . They wear tattered bathrobes and boxer shorts . They put their feet down into their leather boots . The boys examine the extent of one another 's injuries and reflect on their hangovers . They both laugh and grab their heads in pain . Boom ! The door breaks open and in hobbles Checkov and Vladdy , guns drawn . Checkov is all beat up and the ass of his pants is burnt out . A bulky bandage covers his buttocks . Vladdy has a large bandage around his head . The boys stand in surprise . Ivan smashes Connor in the forehead with his gun , sending blood gushing down his face as he falls to the floor . Murphy helplessly yells his brother 's name as he is brought to his knees by Vladdy . Ivan positions Connor on his knees before the toilet , which is open to the room . Checkov puts his foot on Connor 's head and proceeds , as he struggles , to hand cuff him to the old toilet . So now Connor is bleeding and hugging the commode with his hands cuffed behind the bowl base .<\/scene_description>\n    <character>CHECKOV<\/character>\n    <parenthetical>( almost whispering . )<\/parenthetical>\n    <dialogue>I was going to kill you. But I'm not. I'm going to kill your brother. I'm going to take him down to the dumpster and I'm going to shoot him in the head. Then I'm going to throw his dead body in the garbage.<\/dialogue>\n    <parenthetical>( looks at this watch . )<\/parenthetical>\n    <dialogue>Trash guys are coming in 10 minutes, got ta go.<\/dialogue>\n    <scene_description>Checkov walks towards the door and says `` let 's go '' to Vladdy .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>It was just a bar fight. You guys are fuckin' pussies!<\/dialogue>\n    <scene_description>Vladdy pulls him to his feet and leads him away following Checkov . Connor , blood running from his face , listens to absolute silence for just a moment . Suddenly his face reads the gravity of the situation . In a split second he turns into an animal . He 's yelling , pulling , tugging and growling . His body is a whirlwind of motion . The skin on his wrists bleeds profusely .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY  MORNING<\/stage_direction>\n    <scene_description>Vladdy and Checkov lead Murphy out back into the alley . Murphy is on his knees next to the dumpster . Checkov has his gun to the boy 's head . He acts like he 's going to pull the trigger , but he stops . Vladdy is standing twenty feet away with his back to them keeping a look out , gun in hand .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONNOR AND MURPHY'S APT.  MORNING<\/stage_direction>\n    <scene_description>Connor becomes so venomous , that he pulls the entire toilet right out of the floor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TO EXT.  MACMANUS' TENEMENT  LOADING DOORS  MORNING<\/stage_direction>\n    <scene_description>-LRB- slo - mo -RRB- Connor steps out onto the sill of the huge , open loading doors . He is five stories up . His muscles ripple with the weight of the toilet . His face is barbaric .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY  MORNING<\/stage_direction>\n    <scene_description>From his kneeling position , Murphy can see his brother perched 50 feet overhead . He does not let his face betray him .<\/scene_description>\n    <character>CHECKOV<\/character>\n    <dialogue>I hope your conscience is clear, Irishman.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MACMANUS' TENEMENT  LOADING DOORS  MORNING<\/stage_direction>\n    <scene_description>-LRB- slo - mo -RRB- Connor bends his knees and heaves the toilet upward and swings one arm directly beneath it . He is no longer tethered around the basin . He holds it at a cocked angle . The heavy porcelain tank cover slips off the toilet . He tosses the toilet in a left and outwardly trajectory , then he jumps off the sill to the right . He is sailing through the air about twenty feet behind , and to the right of the toilet , cuffed hands above his head , robe up like a cape behind him . Murphy screams<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY  MORNING<\/stage_direction>\n    <scene_description>-LRB- slo - mo -RRB- Checkov begins to laugh heartily . The tank top lands pristinely on a garbage bag just behind Murphy . Ivan 's look turns to one of terror . Bam ! He is crushed by the toilet . Boom ! His gun goes off , punching a hole in the dumpster near the bottom . Vladdy hears the bang and crouches as he turns to see a wave of tiny porcelain bits . Connor lands squarely on Vladdy 's back . His gun discharges firing a hole in the brick of the opposing wall . He is savagely crushed against the ground . Connor bounces off and hits the wall , landing in the garbage completely unconscious . Murphy takes his hands from his head . There is dead silence . He runs to his brother , pulls him from the trash and checks his vital signs . He seems okay . Vladdy , still alive , slowly crawls for his gun , inadvertently covering his own bullet casing . Murphy goes over , picks up the tank cover and clubs the man to death with two hard and fast blows , then throws it up and behind him . It lands in the dumpster with a resonating boom . Murphy quickly takes everything from the scene ; guns , money , wallets , watches and a pager . He shoves it in a garbage bag and throws Connor over his shoulder and runs out of the alley . BACK TO PRESENT . INT . BOSTON POLICE STATION INTERROGATION ROOM AFTERNOON Smecker stares astounded at Connor and Murphy . The boys examine Smecker for a reaction . He slowly builds to a chuckle . The brothers join in .<\/scene_description>\n    <character>SMECKER<\/character>\n    <parenthetical>( gathering himself . )<\/parenthetical>\n    <dialogue>So, how is it that you guys are fluent in Russian?<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>We paid attention in school.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Know any other languages?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Aye. Our mother insisted on it. French.<\/dialogue>\n    <scene_description>Murphy speaks flawless French with subtitles .<\/scene_description>\n    <character>MURPHY<\/character>\n    <parenthetical>( subtitled . )<\/parenthetical>\n    <dialogue>How do you think he figured all this out without talking to us?<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Italian.<\/dialogue>\n    <scene_description>Connor speaks flawless Italian with subtitles .<\/scene_description>\n    <character>CONNOR<\/character>\n    <parenthetical>( subtitled . )<\/parenthetical>\n    <dialogue>I have no idea. Maybe someone saw and talked.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>German.<\/dialogue>\n    <parenthetical>( subtitled . )<\/parenthetical>\n    <dialogue>Not in our neighborhood, man. A hundred percent Irish. No one talks to cops. Period.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Spanish.<\/dialogue>\n    <parenthetical>( subtitled . )<\/parenthetical>\n    <dialogue>Then I guess he's just real. real good.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>What are you guys doing working at a fucking meat packing plant?<\/dialogue>\n    <scene_description>The brothers laugh . Chaffey enters .<\/scene_description>\n    <character>CHAFFEY<\/character>\n    <dialogue>Ah, Agent Smecker, we have a problem.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CHAFFEY<\/character>\n    <dialogue>The press is everywhere outside. They're going nuts for these guys. What do you want to do?<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>You're not being charged. It's up to you. Do you want to talk to them?<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Absolutely not.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>No pictures, either.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Well, we could try the bag over the head thing. Walk you right out the front.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Our mother can see through bags.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Aye, she can.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Any way we can stay here?<\/dialogue>\n    <character>CHAFFEY<\/character>\n    <dialogue>Sure, we have an empty holding cell, They can. can they stay?<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Well, we'll have to check with your mother, but it's ok with me if your friends sleep over.<\/dialogue>\n    <scene_description>They all chuckle . Chaffey is embarrassed . Smecker stands .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>Time to feed the dogs.<\/dialogue>\n    <scene_description>Smecker leaves .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>He's a nice guy.<\/dialogue>\n    <scene_description>Murphy speaks with the characteristic gay man 's lingering `` S '' .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Yes. he is.<\/dialogue>\n    <scene_description>They laugh .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOSTON POLICE STATION  FRONT STEPS  EARLY EVENING<\/stage_direction>\n    <scene_description>The police chief is standing on the front steps of the police station making a statement to the ravenous press : cameras and pushy reporters . Agent Smecker stands slightly behind him . Rocco stands amidst the sea of reporters as the chief begins .<\/scene_description>\n    <character>CHIEF<\/character>\n    <dialogue>This is our official statement. The MacManus brothers are not being charged with a crime. It was a clean - cut case of self defense. We have thanked them for their cooperation and we thank you, the media, for your tireless pursuit of the truth.<\/dialogue>\n    <scene_description>The press is ablaze with questions . Smecker turns and walks down the precinct steps , passing Rocco , who carries a bunch of folded clothes , and heads for the police station . Smecker glances in Rocco 's direction , barely noticing the man who has already passed him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MACMANUS' CELLS  EARLY EVENING<\/stage_direction>\n    <scene_description>Rocco approaches the wide open cell as Chaffey and Mitchell play cards with the brothers . Happy to see each other the boys and Rocco embrace . He hands them their clothes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MACMANUS' CELL  NIGHT<\/stage_direction>\n    <scene_description>The boys are in a tight cell with a bed on each side . They are in their own clothes now . The brothers are fast asleep . Suddenly , they lurch forward , throwing their chests out , lips tight , still asleep .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION BATHROOM  NIGHT.<\/stage_direction>\n    <scene_description>An officer turns on the faucet of a sink and begins to wash his hands . We go down to the pipes beneath the porcelain basin . An old leak seeps water through a crack in the floor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MACMANUS' CELL  NIGHT<\/stage_direction>\n    <scene_description>A water leak starts on the ceiling . It drips faster and faster . The water begins to follow a water damaged crack along the ceiling . It slowly spreads in two directions . The brothers struggle for air in their sleep . Then slowly , and at the same time , they each reach up one arm apiece and simultaneously curl their hands as if grabbing something . Their straining faces are brought from darkness to light as they sit up quickly , face to the ceiling . Their eyes open wide and they each draw their first breath as drops of the creeping water land on their foreheads . They look at each other across the room in shock as the drips of water still fall between them .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>Destroy all that which is evil.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>so that which is good may flourish<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MANMANUS' CELL  NEXT MORNING<\/stage_direction>\n    <scene_description>Murphy and Connor sleep . Murphy awakes to a beep , beep , beep . He removes Checkov 's pager from the pocket of his bathrobe .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRECINCT OFFICE  MORNING<\/stage_direction>\n    <scene_description>Connor and Murphy enter as Greenly , Dolly , Duffy , Chaffey and Mitchell are having coffee and donuts . They greet each other warmly . Connor grabs a pen and walks to the hallway .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>Be right back.<\/dialogue>\n    <character>DUFFY<\/character>\n    <dialogue>We would be honored, sir, if you would join us peasants, in a donut.<\/dialogue>\n    <scene_description>Duffy hands Murphy a jelly donut and a cup of coffee as Dolly spreads a copy of the Boston Globe in front of Murphy . The headlines read `` The Saints of South Boston . '' All the detectives chuckle as Murphy is momentarily absorbed . He takes the paper .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Saints?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I will not accept this pizzle until my feet have been properly anointed.<\/dialogue>\n    <scene_description>They laugh .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRECINCT OFFICE  MORNING<\/stage_direction>\n    <scene_description>Connor cradles the receiver of a pay phone between his cheek and shoulder . He pockets the pager . As the phone rings , he readies his pen . The other end of the line picks up and a thick Russian accent instantly begins speaking . Connor responds by speaking a few words in Russian before he realizes it 's a recorded message . He begins writing . He hangs up the phone and smiles as he lights up a cigarette .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POPPA JOE YAKAVETTA'S OFFICE  DAY. A.K.A. THE JOKE.<\/stage_direction>\n    <scene_description>Rocco , still sporting a shiner , enters an office . There are papers everywhere and it is a cluttered mess of telephones , filing cabinets , lamps and chairs . Rocco clutches a brown paper bag as if it is made of gold . POPPA JOE YAKAVETTA , Rocco 's boss , is on the phone . He is in his late forties . He 's always comfortably dressed ; sleeves rolled up , collar unbuttoned . VINCENZO LIPAZZI swaggers across the office to Rocco . He is in his late thirties . He goes out of his way to look like Elvis ; open shirt , gold chains and medallions . He is overweight and has a bouffant hairdo , accompanied by Elvis shades . Vincenzo flips a half dollar in his hand constantly . Rocco and Vincenzo hate each other . Yakavetta talks on the phone .<\/scene_description>\n    <character>VINCENZO<\/character>\n    <parenthetical>( hushed . )<\/parenthetical>\n    <dialogue>Well, it's the funny man. Give it here, package boy.<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>( a bit defiant . )<\/parenthetical>\n    <dialogue>Joey Bevo said it was important. Said I had to give it to him myself.<\/dialogue>\n    <character>VINCENZO<\/character>\n    <parenthetical>( snatching the package . )<\/parenthetical>\n    <dialogue>Gim me the fuckin' thing. Now sit the fuck down!<\/dialogue>\n    <scene_description>Rocco obeys like an angry child . Vincenzo puts it in front of Yakavetta . He sits on a filing cabinet and flips his coin . Vincenzo giggles and whispers as he pokes fun at Rocco . The two of them resemble kids behind the teacher 's back .<\/scene_description>\n    <character>VINCENZO<\/character>\n    <parenthetical>( hushed . )<\/parenthetical>\n    <dialogue>I'm Rocco. I'm the funny man. Heee Hee. I'm so fuckin' funny. Hee Hee.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Fuck you Vincenzo.<\/dialogue>\n    <character>VINCENZO<\/character>\n    <parenthetical>( hushed . )<\/parenthetical>\n    <dialogue>Tell me a joke funny man. Hee Hee.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>I caught your show down at the velvet room at the Holiday Inn, loved it when you busted into Viva Las Vegas.<\/dialogue>\n    <scene_description>Vincenzo 's face drops he gets up and starts walking toward Rocco . Roc points at him from a seated position . He 's scared .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Hey, hey, hey.<\/dialogue>\n    <scene_description>Suddenly Yakavetta jumps to a standing position . He yells .<\/scene_description>\n    <character>YAKAVETTA<\/character>\n    <dialogue>Fuck you! I could snap my fingers and have you dead in four hours, rotting in a truck off of Boyleston! You insignificant little fuck! I always get my fuckin' money!<\/dialogue>\n    <scene_description>He slams the phone down . Rocco and Vincenzo are shocked but try to look composed .<\/scene_description>\n    <character>YAKAVETTA<\/character>\n    <dialogue>Fuckin' 90's are killin' me. I should n't a done that. You're not supposed to tell a guy you're gon na kill him anymore. I got ta tip - toe through the tulips with these assholes. I prance. I'm a prancer. It's what I do. sucked all the fun right out of this job.<\/dialogue>\n    <scene_description>As he speaks he unwraps the wax paper in the bag . Rocco looks over his shoulder . It 's a sandwich . He 's embarrassed . Vincenzo smirks at him .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Poppa Joe, you want me to go now?<\/dialogue>\n    <character>YAKAVETTA<\/character>\n    <dialogue>Yeah. Thanks, Rocco. See ya.<\/dialogue>\n    <scene_description>Rocco starts for the door . Vincenzo begins whispering in Yakavetta 's ear .<\/scene_description>\n    <character>YAKAVETTA<\/character>\n    <dialogue>Hey, Rocco, wait. Come back here.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Yeah boss?<\/dialogue>\n    <scene_description>Vincenzo continues whispering for a few more seconds , long enough for Rocco to see . Vincenzo 's lips are tight . His teeth grind .<\/scene_description>\n    <character>YAKAVETTA<\/character>\n    <dialogue>I always see you talking to the boys and making them laugh. They always come around telling me what a crack up you are. What is it they call you?<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>( totally intimidated . )<\/parenthetical>\n    <dialogue>The. The funny man.<\/dialogue>\n    <character>YAKAVETTA<\/character>\n    <dialogue>The funny man. Well, I got a new job for you, just for now. Roc, I'm having a real shitty day. I'm depressed. Tell me a funny story or a joke.<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>( terrified . )<\/parenthetical>\n    <dialogue>Uh. Okay. um. you hear the one about the, no fuck that one. uh. oh! oh! Well. shit. Okay, there's a white guy. He's walkin' along the beach and he finds a, a pot, y' know and ah, he rubs it and this genie pops out. But this genie, he's a ni. he's a black guy.<\/dialogue>\n    <character>YAKAVETTA<\/character>\n    <dialogue>He's a nigger.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Yeah. And uh, he's pissed off. He says, `` Why you crackers always got ta find my mother fuckin' pot? And he tells him he's gon na grant all his three wishes but he's gon na give all the black guys.<\/dialogue>\n    <character>VINCENZO AND YAKAVETTA<\/character>\n    <dialogue>Niggers!<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Sorry! Sorry! All the niggers on the planet get double what he wishes for. `` I'll take a million dollars,'' he says. Genie give it to him and says every nigger on earth just got two million. `` I do n't care gim me a yacht.'' Poof there it is.<\/dialogue>\n    <parenthetical>( intimidated , losing steam . )<\/parenthetical>\n    <dialogue>E - every bl. every nigger just got two yachts. Genie goes.<\/dialogue>\n    <parenthetical>( gives up . )<\/parenthetical>\n    <dialogue>I'm sorry Poppa Joe. I ca n't. This joke sucks.<\/dialogue>\n    <scene_description>Yakavetta takes a long pause .<\/scene_description>\n    <character>YAKAVETTA<\/character>\n    <dialogue>Continue the joke.<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>( deflated . )<\/parenthetical>\n    <dialogue>He says, `` What's your third wish?'' And the guys says, `` I - I want you to beat me half to death.''<\/dialogue>\n    <scene_description>There 's a long tense pause . Suddenly , Yakavetta throws his head back and roars with laughter . Vincenzo joins in . Rocco lets out a semi - audible sign of relief and gradually starts laughing himself .<\/scene_description>\n    <character>YAKAVETTA<\/character>\n    <parenthetical>( still in guffaw . )<\/parenthetical>\n    <dialogue>Very good stuff, Rocco. Very good stuff. Tell me another one.<\/dialogue>\n    <scene_description>Rocco returns to terror . Yakavetta erupts again pointing at Rocco .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT  COMMON BOSTON HOME  ANTEROOM  TWILIGHT<\/stage_direction>\n    <scene_description>Connor and Murphy give a huge Irishman guns , money and gold watches . He hands them two big black duffle bags and motions for them to help themselves as he counts the money . They enter a well equipped arsenal . They are giddy as they go on their first shopping spree . They toss in masks and gloves . They toss in four identical black finished 9mm handguns with silencers .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>Know what we need, man? some rope.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>For what?<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Charlie Bronson's always got rope.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Yeah, these guys always got a lot of rope strapped around em in the movies and they always end up using it.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Oh, you've lost it, have n't ya?<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>I'm serious.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Me too. That's stupid. Name one thing we're gon na need it for.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>I do n't know they just always need it.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>What is all this `` they'' shit? This ai n't a movie.<\/dialogue>\n    <scene_description>Connor pulls a large hunting knife from Murphy 's bag .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>Is that right, Rambo?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>All right, get the stupid fuckin' rope.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMECKER'S BEDROOM  NIGHT<\/stage_direction>\n    <scene_description>Paul Smecker lies in bed with his young lover , Reuben -LRB- mid - twenties -RRB- . He has an innocent , feminine look and a GQ air about him . The two have just had sex and Reuben is far more excited about it than Smecker . Reuben pants and gestures that it was a wonderful experience . Smecker watches TV . Reuben reaches over and affectionately places a hand on Smecker 's chest . Paul tosses it off with indifference . Reuben has a pouty look . The phone rings .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>Uh, huh.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Room number.<\/dialogue>\n    <scene_description>Reuben throws an arm over Smecker 's abdomen and places his head on Paul 's bare chest as if to now force affection .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>We got a time of death?<\/dialogue>\n    <scene_description>He is visibly miffed with Reuben 's sudden display . He tries to pull the arm away but Reuben holds tight .<\/scene_description>\n    <character>SMECKER<\/character>\n    <parenthetical>( sighs . )<\/parenthetical>\n    <dialogue>What's the body count?<\/dialogue>\n    <scene_description>Smecker is annoyed . He slaps Reuben semi - gently once on his exposed cheek . Reuben closes his eyes and holds even tighter .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>Uh, huh.<\/dialogue>\n    <scene_description>He bites his lower lip in anger and smack Reuben again on the same cheek , hard . Reuben jumps to a sitting position holding his cheek . He is shocked and hurt .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>I'll be down there in a bit. Keep the press out.<\/dialogue>\n    <scene_description>He hangs up . Immediately to Reuben , semi - angry .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>REUBEN<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I was just trying to cuddle.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Cuddle?<\/dialogue>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>What a fag!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PLAZA HOTEL  HALLWAY  NIGHT  12:30 A.M.<\/stage_direction>\n    <scene_description>Smecker saunters down the hall , his usual confident smile . He is impeccably dressed in a brightly colored suit . Greenly stands directly outside an open door at the hall 's end . A steady flow of detectives and forensics filter in and out . Smecker halts before Greenly and looks straight into his eyes .<\/scene_description>\n    <character>SMECKER<\/character>\n    <parenthetical>( intrigued . )<\/parenthetical>\n    <dialogue>He's struck again, has n't he, Greenly?<\/dialogue>\n    <character>GREENLY<\/character>\n    <dialogue>Why do you always disrespect me like that?<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Respect is earned, Greenly, never given. Guys like you should have to follow me around squabbling for the scraps from my table.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PLAZA HOTEL  SUITE LIVING ROOM  NIGHT<\/stage_direction>\n    <scene_description>Smecker and Greenly walk into a large sunken living room with high ceilings . There is a huge white shaped pit couch in the center with seven dead bodies draped across it . All the bodies have been turned so they are either seated or on their backs and bright new pennies have been place in their eyes . There is one corpse directly in the middle of the living room , making eight . This victim -LRB- THE FAT MAN -RRB- is overweight and is lying in debris made up of sheet rock and broken wood which spreads thinly for a five foot radius around him . The victims ' body positions are in a circle with the fat man as the hub . Smecker is instantly engulfed . The regular homicide detectives are on hand with their I.D.s hanging out of their breast pockets . They see Smecker and back off . Duffy wears an especially loud tie . Smecker lights up a smoke . He circles around and sees another body behind the couch , which makes nine . The victim is on his back , with pennies stuck in his eyes .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>How many bodies, Greenly?<\/dialogue>\n    <character>GREENLY<\/character>\n    <parenthetical>( still Dejected . )<\/parenthetical>\n    <dialogue>Eight.<\/dialogue>\n    <scene_description>Smecker 's eyes widen as he turns to Greenly .<\/scene_description>\n    <character>GREENLY<\/character>\n    <parenthetical>( catching himself . )<\/parenthetical>\n    <dialogue>No! Shit! I did n't see that one. Nine! Nine!<\/dialogue>\n    <scene_description>Smecker takes a beat . He addresses the detectives .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>While Greenly's getting coffee, anybody else want anything?<\/dialogue>\n    <character>GREENLY<\/character>\n    <parenthetical>( as he walks to the door . )<\/parenthetical>\n    <dialogue>Shit! Shit!<\/dialogue>\n    <scene_description>Smecker surveys the scene .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>So Duffy, got any theories to go with that. tie.<\/dialogue>\n    <character>DUFFY<\/character>\n    <parenthetical>( looks down . )<\/parenthetical>\n    <dialogue>These guys were pros. I think they were coming for one target, the fag man, he was the.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>The what man?<\/dialogue>\n    <character>DUFFY<\/character>\n    <parenthetical>( surprised . )<\/parenthetical>\n    <dialogue>The fat man.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Well, Freud was right. So you think they came for the fag man, huh? And what do you base this upon?<\/dialogue>\n    <character>DUFFY<\/character>\n    <dialogue>He was the only one done right. Two in the back of the head.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>And the pennies?<\/dialogue>\n    <character>DUFFY<\/character>\n    <dialogue>New hitman wants to leave his mark<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>That's a possibility. Y' know you Boston cops are perking up. That's two sound theories in one day, neither of which deal with abnormally sized men.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Another possibility is that they were placed there with religious intent.<\/dialogue>\n    <character>DUFFY<\/character>\n    <dialogue>Yeah. Some cultures still put pennies in the eyes of the dead, or silver.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>The Greeks. The Italians.<\/dialogue>\n    <character>DUFFY<\/character>\n    <dialogue>The Sicilians.<\/dialogue>\n    <character>DOLLY<\/character>\n    <dialogue>What's the symbology there?<\/dialogue>\n    <scene_description>Smecker tosses the Idiot glance to Dolly .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>Symbology? Well, now that Duffy has relinquished his King Bone Head crown I see we have an heir to the throne. I'm sure the word you were looking for was symbolism. What's the symbolism there? Let me explain it to you. In Greek and Roman mythology when you died you would have to pay the toll to Charon, the boatman who ferried you across to the gates of judgment. This made sure the dead came to atone for what they did during their lives, Detective.<\/dialogue>\n    <scene_description>Smecker looks at his I.D.<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>Dollapoppaskalious.<\/dialogue>\n    <scene_description>The detectives are impressed .<\/scene_description>\n    <character>DOLLY<\/character>\n    <parenthetical>( DOLLAPOPPASKALIOUS . )<\/parenthetical>\n    <dialogue>Holy shit. You're the first one that's ever got that.<\/dialogue>\n    <character>SMECKER<\/character>\n    <parenthetical>( aside . )<\/parenthetical>\n    <dialogue>Yeah, well. I'm an expert in name - ology.<\/dialogue>\n    <scene_description>The detectives chuckle .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PLAZA HOTEL  SUITE LIVING ROOM  NIGHT<\/stage_direction>\n    <scene_description>Smecker is chain smoking . His clothes appear unkempt . His eyes show emotion at every new found clue . The detectives watch closely . He is hunched over the body of the fat man probing his wounds with his gloved fingers . Greenly has re - entered . He defiantly holds a cup of coffee but is too intimidated to interrupt Smecker . He sets it down and folds his arms .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>I've seen burns like these before. They used silencers. Look at these entry and exit wounds. They're identical.<\/dialogue>\n    <scene_description>He stands up and gives a lesson to the now eager detectives . He points his two index fingers to the back of his own skull .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>The two bullets went in here, through the top of the skull, criss - crossed and exited through the eyeballs. This one clue tells us three distinct facts. Number one. Duffy.<\/dialogue>\n    <character>DUFFY<\/character>\n    <dialogue>They shot him at a downward angle.<\/dialogue>\n    <parenthetical>( makes connection . )<\/parenthetical>\n    <dialogue>They put him on his knees.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Excellent! Number two. Greenly.<\/dialogue>\n    <character>GREENLY<\/character>\n    <dialogue>Uh.<\/dialogue>\n    <parenthetical>( thinking hard . )<\/parenthetical>\n    <dialogue>Shit, I, uh.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>It tells us that he was the last to die. All these men.<\/dialogue>\n    <parenthetical>( fans across the corpses with his hand . )<\/parenthetical>\n    <dialogue>Were carrying. They came in, dropped all in seconds and then took their time with fag man. Did n't they, Duffy?!<\/dialogue>\n    <parenthetical>( psychotic laugh . )<\/parenthetical>\n    <dialogue>They sure as fuck did!<\/dialogue>\n    <scene_description>A wide - eyed Duffy joins with Smecker , by nodding his head . Smecker is seducing all of them .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>And number three, Dolly.<\/dialogue>\n    <character>DOLLY<\/character>\n    <dialogue>Uh. two shooters!<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Fan - fuckin - tastic!<\/dialogue>\n    <scene_description>Greenly and Duffy want to know how .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>Now stay with me, boys. What did they do to make two such identical wounds? Did one guy put him on his knees, pop a cap in, sit him back up and shoot him again the same way? No. Two men of similar height dropped this guy down, each put some iron to his head and boom! That's all she fuckin' wrote!<\/dialogue>\n    <character>DUFFY<\/character>\n    <dialogue>What about one guy with two guns?<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Possible, but unlikely. The angles are too extreme. A guy holding two guns to the back of your head is gon na shoot straight ahead. He would n't cock out his elbows, makes no sense. Besides, you telling me one guy came in here and killed eight men with eight extremely well aimed shots in just a few seconds? No way. Had to be at least two.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  PLAZA HOTEL  SUITE LIVING ROOM  NIGHT  LATER<\/stage_direction>\n    <scene_description>Smecker is now a complete mess . His hair is totally frazzled . He is sucking on cigarettes long and hard . His clothes are completely disheveled .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>Television,. television is the explanation for this.<\/dialogue>\n    <scene_description>Smecker points toward the ceiling revealing a huge gaping hole in it just above the living room .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>You see this is bad television.<\/dialogue>\n    <parenthetical>( again pointing out the hole in the ceiling . )<\/parenthetical>\n    <dialogue>The little assault guys creeping in through the vents and coming in through the ceilings. That James Bond shit never happens in real life. Professionals do n't do that. So we've got this up here, which has novice written all over it. And all this down here that's simply a perfect textbook assassination. So here's our two possibilities. We either have rank amateurs that got lucky or consummate professionals that fucked up.<\/dialogue>\n    <scene_description>The detectives nod in agreement . They are now completely taken in by Smecker 's spell .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>Join me in a drink, gentlemen.<\/dialogue>\n    <scene_description>They go over and grab seats at the bar . Smecker mixes himself a gin and tonic on the other side . He is calming down now and going back into cool mode . He starts to tuck his clothes back in and fix his hair . He leans over the bar and sips his drink . The three detectives lean in .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>With the exception of my coffee boy, you Boston detectives are starting to show signs of intelligence. So, I am going to make you privy to some information that you would not normally be. These men are all Russian mob. Not like those two peons in the alley the other day. These guys are all syndicate bosses and underbosses. I have a dossier on every man in this room. Since the Iron Curtain has gone down, the Russian syndicates have started to come here. And in the spirit of Glasnost the Soviets have opened their borders to the mafia. But the Italians, they're not convinced that the grounds in mother Russia are fertile enough for organized crime yet. So they ai n't ready to commit. The Russians are coming here anyway. They are unwelcome. What we have here, gentlemen, is possibly the beginning of the first international mob war. unless I've totally missed something.<\/dialogue>\n    <scene_description>All their faces read the gravity of the situation .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>Now, what is this going to look like to those who do not know what I just told you?<\/dialogue>\n    <character>DUFFY<\/character>\n    <dialogue>It's gon na look like the bad guys are killing each other.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>And is there an American, shit is there a man seated among us that has n't thought about it many times, let's just put them all on an island, give them guns and let them kill each other. This is our wet dream come true. You can expect federal and local law enforcement to go only deep enough to satisfy the law, then bury it from here on out.<\/dialogue>\n    <character>DOLLY<\/character>\n    <dialogue>So, what do we do now?<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>That depends. You either do your job or get ethical.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROCCO'S APARTMENT  NIGHT<\/stage_direction>\n    <scene_description>Rocco comes out of the bathroom . He storms out to his small , round , living room table at which the boys are seated . He is wearing a white , polyester shirt with gold trim that is a uniform of some kind for perhaps a chain of restaurants . It is unbuttoned all the way down and his white t - shirt is hanging out . He is wearing a name tag that reads `` Jaffar '' . He is upset . He slams down a chair across from the brothers who are sitting there cleaning guns and silencers . All the accouterments of death are sprawled before them . They are smoking as they carefully disassemble their firearms .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>This better be good.<\/dialogue>\n    <parenthetical>( viciously ties his hair back . )<\/parenthetical>\n    <dialogue>Talk!<\/dialogue>\n    <scene_description>The boys look at each other . FLASHBACK EXT. . SIDEWALK DOWNTOWN BOSTON NIGHT The boys are walking across Copley Square . Connor looks at the note he wrote at the police station . They stand on the sidewalk and light smokes . They are in their regular garb ; thick naval P - coats , jeans and leather boots . They each carry a mid - sized , black , duffle bag . They are serious and business - like . They scan the Plaza Hotel from across the street . The elite exit and enter the hotel . Connor glances at his pocket watch . It 's 8:45 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  PLAZA HOTEL  ELEVATOR  NIGHT<\/stage_direction>\n    <scene_description>They enter . They look ahead , stone - faced , as the elevator climbs .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Nervous?<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>A bit.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Me, too.<\/dialogue>\n    <scene_description>The elevator stops at the lobby level . Nine , well - dressed men enter . Their faces are not shown . The boys move to the back wall . One guy says something quickly to another in Russian . The other gives a one word Russian response . They boys look at each other . As the elevator climbs , their eyes focus . The door opens . As the men exit the elevator , each face is seen individually , all are victims from Smecker 's crime scene . The elevator goes up half a floor . They hit the stop button and rummage in their bags . They suit up ; black gloves and black masks . They strap on four 9mm . pistols with silencers , in shoulder holsters , one under each arm . Connor takes a large coil of black rope and drapes it around himself . He looks at Murphy and at the rope in his bag . Murphy is too excited to argue .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>You and your fucking rope.<\/dialogue>\n    <scene_description>He puts it on . They drop to their knees , making the sign of the cross . Then , up through the ceiling they go .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  PLAZA HOTEL  ELEVATOR SHAFT  NIGHT<\/stage_direction>\n    <scene_description>They stand on top of the elevator before a long air shaft .<\/scene_description>\n    <character>CONNOR<\/character>\n    <parenthetical>( smiling . )<\/parenthetical>\n    <dialogue>See. I told you there'd be a shaft.<\/dialogue>\n    <character>MURPHY<\/character>\n    <parenthetical>( smiling . )<\/parenthetical>\n    <dialogue>Just like on TV.<\/dialogue>\n    <scene_description>They jump into the air shaft .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  PLAZA HOTEL  AIR SHAFT  NIGHT<\/stage_direction>\n    <scene_description>They start crawling with Connor in front and Murphy behind .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  PLAZA HOTEL  SUITE  NIGHT<\/stage_direction>\n    <scene_description>The plump boss is standing in the middle of the sunken living room . His eight Russian comrades are around him seated on the U - shaped pit couch . They speak Russian , but no subtitles are seen . The fat man yells . He 's mad about something .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  PLAZA HOTEL  AIR SHAFT  NIGHT<\/stage_direction>\n    <scene_description>Connor is taking lots of random turns , left and right . He is starting to look a bit confused .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  PLAZA HOTEL  SUITE  NIGHT<\/stage_direction>\n    <scene_description>The fat man is really yelling at them now . He is screaming and pointing at each man . They seem to be taking it seriously .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  PLAZA HOTEL  AIR SHAFT  NIGHT<\/stage_direction>\n    <scene_description>Their brows are drenched with sweat . Murphy crawls up next to Connor . There is only enough room for the two to lie on their sides facing each other .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Where the fuck are you going?<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>We'll find it. Just calm down.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>No, fuck you. This rope is bullshit. I'm sweatin' my ass off draggin' this stupid thing around. Must weigh 30 pounds.<\/dialogue>\n    <scene_description>Murphy takes off the rope .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>We're doing some serious shit here. Now, get a hold of yourself, asshole.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Asshole!? I'm not the rope - totin' Charlie Bronson wan na - be that's getting' us lost!<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Sh, sh! Fuck you!<\/dialogue>\n    <scene_description>Connor grabs Murphy 's shirt .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>No, fuck you!<\/dialogue>\n    <scene_description>The boys get into a close quarters battle . An occasional insult is thrown as feet kick and fists fly . They begin to get tangled in their own rope . The seam of the duct breaks and a tangled mess of rope and MacManuses pour out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  PLAZA HOTEL  SUITE  NIGHT<\/stage_direction>\n    <scene_description>They crash through the ceiling right above the fat man 's head . The rope gets caught and slams the boys to a halt , hanging them upside down , back to back about six feet above the floor . They are turning in circles . The boss is balled up in the fetal position on the floor . The shocked Russians say only a word or two in panic before the MacManus brothers react , reaching for their guns . The Russians start to reach for their guns . It 's too late . The boys draw and fire as they spin . Taking four shots apiece . There are eight dead Russians . Chests explode as they fall back on the couch in a loose circle . One victims is blasted over the couch . They notice the fat man directly beneath them . Murphy grabs his Rambo knife , reaches up and cuts the rope . They land in a heap , scramble over to the doomed man and place him on his knees . They each put a gun to the back of his head and recite this prayer in perfect unison .<\/scene_description>\n    <character>BOTH<\/character>\n    <dialogue>And shepherds we shall be. For thee, my Lord, for thee. Power hath descended forth from thy hand that our feet may swiftly carry out thy command. So we shall flow a river forth to thee and teeming with souls shall it ever be. E nomini patri, et Fili e spiritu sancti.<\/dialogue>\n    <scene_description>With the silenced pop from their guns we cut the sound and go to black and white . -LRB- Slo - mo -RRB- Choral music starts with Latin script being read in the background . They take their rosaries out . They slowly walk around , mumbling prayers as they care for the dead . They gently turn over the bodies that were on their stomachs . They brush the hair back from the victims faces . They place pennies in the eyes of al the corpses . When they finish their ritual , they pull off their masks and look at each other . They start to grin and look around . They work each other into a healthy chuckle .<\/scene_description>\n    <character>CONNOR<\/character>\n    <parenthetical>( looks up . )<\/parenthetical>\n    <dialogue>That was some good fuckin' rope.<\/dialogue>\n    <scene_description>They both laugh .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>That was way easier than I thought.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Aye.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>On TV ya always get that asshole that jumps behind the couch.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Yeah, and ya got ta shoot at him for ten minutes.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Oh, we're good man.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Yes, we are.<\/dialogue>\n    <scene_description>They are already striding for a suitcase full of money . Murphy picks up a wad of bills .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>I love our new job.<\/dialogue>\n    <scene_description>Just then , there 's a knock at the door . They snap into action . They stand at each side of the double doors , looking through the peepholes . They see Rocco on the other side dressed as a hotel employee . He wears a polyester shirt with gold trim and a name tag that reads Jaffar . He has a good cart in front of him . They look at each other and grin . Murphy nods . As they open the door , Murphy grabs the food cart and pulls it in . Connor seizes the mortified Rocco and pulls him in , slamming the door shut behind him . They run , dragging him and then throw him in the midst of the bodies . They put their guns right in his face .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Oh, God! Do n't kill me! We're on the same side! The boss musta sent you in as back up, huh? Oh, shit, please! I'm Rocco. I'm the funny man.<\/dialogue>\n    <parenthetical>( almost crying . )<\/parenthetical>\n    <dialogue>They call me the funny fuckin' man!<\/dialogue>\n    <character>CONNOR<\/character>\n    <parenthetical>( attempting to hide accent . )<\/parenthetical>\n    <dialogue>Where's your gun?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Chest pocket.<\/dialogue>\n    <parenthetical>( they take it . )<\/parenthetical>\n    <dialogue>Shit!<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>This is a six - shooter.<\/dialogue>\n    <character>MURPHY<\/character>\n    <parenthetical>( hiding accent . )<\/parenthetical>\n    <dialogue>Nine bodies.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Oh, you're good. What were you gon na do? Laugh the last three to death, funny man?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Poppa Joe said there was only two. In and out.<\/dialogue>\n    <parenthetical>( trying to make friends . )<\/parenthetical>\n    <dialogue>Boy, you guys sure did a good job. You're good, huh? Cool masks. Where'd you get them?<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Let's do him right here.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Right now.<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>( screaming like a baby . )<\/parenthetical>\n    <dialogue>Do n't kill me. Oh shit, please no. I'm Rocco. I'm the funny man! the funny man. the funny.<\/dialogue>\n    <scene_description>The boys put their faces close to his and demask . They start laughing but Rocco just lays there , wide - eyed , in shock . They boys saunter to the bar . Rocco takes a long beat .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>What did you do?! Fuckin'. what the fuckin' fuck! Who the fuck, fucked this fuckin'? fuck. How did you two fuckin', fucks? FUCK!<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Certainly illustrates the diversity of the word.<\/dialogue>\n    <scene_description>The brothers laugh .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>What the fuck are you doing here? What, huh!? WHAT? WHAT? WHAT? ANSWERS! I WANT FUCKIN' ANSWERS!<\/dialogue>\n    <character>CONNOR<\/character>\n    <parenthetical>( slaps his face . )<\/parenthetical>\n    <dialogue>Get a hold of yourself, man.<\/dialogue>\n    <scene_description>Rocco is silent and surprised . Murphy , also surprised , looks at Rocco . All is quiet .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Yeah, get a hold of yourself.<\/dialogue>\n    <scene_description>Murphy jokingly slaps Rocco a second time . Rocco instantly jumps on Murphy , cursing and punching . The brothers burst into laughter as they subdue Rocco . As he calms down , they release him .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>Listen, we got ta get outta here now. We'll take separate exits and meet at Rocco's.<\/dialogue>\n    <scene_description>Murphy puts the two suitcases in his duffle bag and the two brush by Rocco who is still unsatisfied with his explanation .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Fuck!<\/dialogue>\n    <scene_description>BACK TO PRESENT INT . ROCCO 'S APARTMENT NIGHT Rocco has removed his hotel jacket .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Anybody you think is evil?<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Do n't you think that's a little psycho? A little weird?<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Weird, huh? Know what I think is weird? Decent men with loving families go home every day after work. They turn on the news and see rapists, murderers, and child molesters all getting out of prison.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Mafiosos getting caught with 20 kilos and walkin' on bail the same day.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Little girls catchin' stray bullets in their heads, playin' hopscotch in their front yards. And everyone thinks the same thing. Someone should just go kill those motherfuckers.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Kill em all. Admit it, even you've thought about it.<\/dialogue>\n    <scene_description>Rocco ponders this as the boys continue to clean their weapons .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>You guys should be in every major city.<\/dialogue>\n    <scene_description>The boys chuckle . Rocco steadily works himself into a humorous frenzy .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>This is some heavy shit. This is like Lone Ranger - heavy man. Fuck it! There's so much shit that pisses me off. You guys should recruit'cause I am sick and fuckin' tired of walkin' down the street waitin' for one of these assholes to get me, y' know?<\/dialogue>\n    <character>MURPHY<\/character>\n    <parenthetical>( chuckling . )<\/parenthetical>\n    <dialogue>Hallelujah, Jaffar.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>So you're not just talkin' mob guys. You're talkin' anyone, right? Even like pimps and drug dealers and all that shit?<\/dialogue>\n    <scene_description>The boys look at each other and nod .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Well fuck, you guys could do this every day.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>We're like 7 - Eleven. We ai n't always doing business, but we're always open.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Nicely put.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   ROCCO'S APARTMENT  NIGHT  ONE HOUR LATER<\/stage_direction>\n    <scene_description>The three are partying hard . There 's a pizza surrounded by Guinness cans as they whoop it up , sitting at the round table . Rocco wears one of the masks . They 're all drunk . The house cat is lounging on the table comfortably .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>You fuckin' guys. You ruined me. I'm fuckin' done. Permanent package boy.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Who says that? You could take credit on it.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>What are you serious?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Yeah, fuck it. If you think about it, it's all you can do really. You ca n't tell him it was us. Go in braggin' and shit.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Climb the corporate ladder, boy. Don Rocco.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Fuck it! I'm doing it. I deserve it. I've been working for those fat bastards since I was in high school and look at this place.<\/dialogue>\n    <scene_description>The boys nod in agreement .<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>( working into a frenzy . )<\/parenthetical>\n    <dialogue>They're fuckin' me man! Hey, they can suck my pathetic little dick. And I'll dip my nuts in marinara just so the fat fucks can get a taste of home while they're at it. That's it, it's done, I'm doing it.<\/dialogue>\n    <scene_description>Rocco slams his fist down on the table next to Murphy 's gun . The gun goes off with a bang ! and blows the lounging cat right off the table . A softball - sized hole is blasted in the wall as a large splatter of blood sprays the area surrounding the hole . Everyone is in shock for a second .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>I ca n't fuckin' believe that just happened!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ROCCO'S APARTMENT  NEXT MORNING  11:30 A.M.<\/stage_direction>\n    <scene_description>The three are passed out all over the apartment . Rocco awakens . He stumbles past the wall with the large , round , pink stain on it . There is a crooked picture hanging in the middle of it . Rocco staggers to the kitchen and throws water in his face over a sinkful of dirty dishes . Connor awakens , grabs his jacket and follows Rocco out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  ROCCO'S FRONT STEPS  CONTINUOUS<\/stage_direction>\n    <character>CONNOR<\/character>\n    <parenthetical>( hung over . )<\/parenthetical>\n    <dialogue>Donna's gon na be angry about her cat.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Shit. She's on every drug know to man. She'd have sold that thing for a dime bag. Screw her.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>But I do kinda feel like an ass - hole.<\/dialogue>\n    <character>CONNOR<\/character>\n    <parenthetical>( chuckles . )<\/parenthetical>\n    <dialogue>You sound real remorseful.<\/dialogue>\n    <scene_description>Connor lights up two smokes and hands one to Rocco .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>She ai n't been around in weeks anyhow.<\/dialogue>\n    <character>CONNOR<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Listen. Something's been bothering me about last night.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Well. what if your boss knew how many guys were supposed to be there. in that room?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>What are you saying?<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Think about it man. Nine men, six bullets.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>You think they sold me out? No way.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>He probably knew you'd end up nailing the fat guy, maybe one or two more, but he had to know you were n't walking out of there. Figure it out. Shooter's dead on the scene. No in - depth investigation. It'd slide right off his back.'Cause as much as I love ya, you're not exactly Don Corleone. What would he be losing? A thirty - five year old delivery boy?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>No, no. That's just not the way things are done. Besides, how's he know I do n't just get in there see there's too many and just serve em their fuckin' food and beat it?<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>He knows you, man. He knows all you want is to move up. That's all. A smooth hitter woulda gone in there, seen it was a wash and slipped out. But a guy like you? Knowin' this is your only chance? Waitin' eighteen years?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>No. No man. That's. that's. you do n't know what you're talking about. That's bullshit. I know these guys. I mean, thanks for your concern, but that just ai n't the thing of it.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Do me a favor and roll it around for a bit on your way in.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>No, look. No rolling. Nothing needs to be rolled.<\/dialogue>\n    <scene_description>Murphy stumbles enters scene with Rocco and Connor .<\/scene_description>\n    <character>MURPHY<\/character>\n    <parenthetical>( to Rocco . )<\/parenthetical>\n    <dialogue>Where are you goin'?<\/dialogue>\n    <parenthetical>( to Connor . )<\/parenthetical>\n    <dialogue>Did you tell him?<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>MURPHY<\/character>\n    <parenthetical>( to Rocco . )<\/parenthetical>\n    <dialogue>Then what the fuck?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Hey. You do n't know that shit for sure.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Oh, Jesus. You're such a fuckin' retard!<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Fuck you!<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Use your brain for once. Is it so unbelievable they do n't care about you? You are fuckin' dead, you go in there today. Dead!<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Oh yeah. You two fuckin' Micks know what's going on, huh?<\/dialogue>\n    <parenthetical>( flips them off . )<\/parenthetical>\n    <dialogue>Fuck you!<\/dialogue>\n    <character>CONNOR<\/character>\n    <parenthetical>( trying to calm him . )<\/parenthetical>\n    <dialogue>Hey, this ai n't a thing you should gamble on, Roc.<\/dialogue>\n    <scene_description>A girl rides by on a bicycle , they pause as she rides between them .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Fuck it! What kind of flowers ya want at your funeral? Ya dumb Wop. This is the last time I'll see you. Bye - bye ya stupid son of a bitch.<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>( walking away . )<\/parenthetical>\n    <dialogue>I'll be back at 9:00.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Hey. You get in there and start getting a bad vibe, get the fuck out quick.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ROCCO'S APARTMENT  LATE AFTERNOON<\/stage_direction>\n    <scene_description>Connor picks up the place as Murphy watches t.v. . The phone rings .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Hey Murph.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Roc. You okay?<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Yeah. Anybody call for me?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>No. You sure you're okay?<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I'm fuckin' fine.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Catch you on the flip side.<\/dialogue>\n    <scene_description>Rocco hangs up . Just then DONNA and her friend RAYVIE enter the apartment . They are consummate junky sluts who are very doped up and giddy .<\/scene_description>\n    <character>DONNA<\/character>\n    <parenthetical>( trying hard . )<\/parenthetical>\n    <dialogue>Here kitty, kitty. kitty.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SIN BIN  SMALL ROOM  NIGHT<\/stage_direction>\n    <scene_description>Smecker ascends the three , small steps up to the round room . A NUDE DANCER sits there on the couch in a robe . She is crying as she is being consoled by Detective Duffy . This small room is where men watch girls through a large glass window . In this room a dancer performs on a floor a few feet above the three private booths where each man watches from his own booth . She appears as if on stage . All three windows are shattered and there is blood on the wall of all three booths . We see assorted body parts in each booth , but no faces .<\/scene_description>\n    <character>DOLLY<\/character>\n    <parenthetical>( approaches Smecker . )<\/parenthetical>\n    <dialogue>She was in here when it went down.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Can she I.D. them?<\/dialogue>\n    <character>DOLLY<\/character>\n    <dialogue>They were wearing masks.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Of course they were. How many?<\/dialogue>\n    <character>DOLLY<\/character>\n    <dialogue>Three.<\/dialogue>\n    <scene_description>Smecker looks at Dolly surprised .<\/scene_description>\n    <character>DOLLY<\/character>\n    <dialogue>Only two did the shooting.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>So what are you thinking, Russian retaliation?<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Nah, too quick half their infrastructure got taken out at the Copley plaza. Besides, if you're a hitter, you're either working for the Russians or the Italians. There's no riding the fence. Our little theory from last night just got blown to shit. Something. new is going on here.<\/dialogue>\n    <scene_description>Smecker sits next to the girl . He has Compassion . She Cries .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>Probably should n't work another shift for awhile.<\/dialogue>\n    <character>DANCER<\/character>\n    <dialogue>Fuck this job. I'm getting out of the porno business and I do n't care who I got ta blow to do it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SIN BIN  SMALL ROOM  NIGHT<\/stage_direction>\n    <scene_description>The bodies have been removed and chalk outlines replace them . The bullet holes in the walls have been marked either A or B . The detectives watch Smecker . He is a mess . His clothes are disheveled and his hair is frazzled .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>After talking to the dancer we know that their mark was the guy in the middle booth. After she watches them whack him, she passes out.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Why the two extra victims?<\/dialogue>\n    <character>GREENLY<\/character>\n    <dialogue>Witness?<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>No way they could have seen it.<\/dialogue>\n    <scene_description>Smecker hits an orange button on the wall and a black steel door with a money slot comes slamming down in front of the first booth . He does the same thing to the last booth , leaving the middle one open . Both doors possess peep holes .<\/scene_description>\n    <character>SMECKER<\/character>\n    <parenthetical>( sarcastic . )<\/parenthetical>\n    <dialogue>Allow me to enlighten you gentlemen to the protocol of the porno industry, as I'm sure you've never been in one of these places before. A man goes into the booth, puts the money in the slot. The dancer gets it on the other side. She hits the button, door goes up, now there is only glass between you and it's.<\/dialogue>\n    <parenthetical>( makes a masturbatory gesture with hand . )<\/parenthetical>\n    <dialogue>little fireman time.<\/dialogue>\n    <character>DUFFY<\/character>\n    <dialogue>No way they could have seen it?<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Those doors were down. which means this. They looked down in through the peep hole, saw these guys and opened the doors from the inside. Pop, pop, pop, right through the glass. Why?<\/dialogue>\n    <character>DOLLY<\/character>\n    <dialogue>Maybe the three of them had something in common.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>No. This guy is big time.<\/dialogue>\n    <parenthetical>( points to middle booth . )<\/parenthetical>\n    <dialogue>These two are street - walking scum.<\/dialogue>\n    <character>GREENLY<\/character>\n    <parenthetical>( kidding . )<\/parenthetical>\n    <dialogue>Then that's what they had in common. They were all bad guys. now they're all dead bad guys.<\/dialogue>\n    <scene_description>Smecker seems side - tracked and ponderous at Greenly 's observation . He hits the orange buttons and raises the doors .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>We got another thing to think about here. We got us a genuine Kennedy assassination style bullet theory. Two guns were used here, guns A and B. The guy in the middle was done with both. But this guy.<\/dialogue>\n    <parenthetical>( denotes right booth . )<\/parenthetical>\n    <dialogue>. he was killed with bullets from gun A only. And this guy.<\/dialogue>\n    <parenthetical>( denotes left booth . )<\/parenthetical>\n    <dialogue>. gun B only. But ballistics dug two slugs out of the wall from over here where the victim was done with A.<\/dialogue>\n    <scene_description>Smecker points to two bullet holes in the wall of the booth on the left . Each is marked `` B '' . He walks over to the right booth where in the exact location are two identical holes marked `` A '' .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>And it's the same story over here. Why the crossover?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Theories.<\/dialogue>\n    <character>DOLLY<\/character>\n    <dialogue>That's just fucking weird. I have no idea.<\/dialogue>\n    <character>DUFFY<\/character>\n    <dialogue>Jesus. I just ca n't think anymore. That scene over at the coffee shop today tapped me out.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>DUFFY<\/character>\n    <dialogue>A guy went nuts over off of Commonwealth today. Shot three guys to death in a coffee shop in broad daylight. Fled the scene. Do n't have much on him.<\/dialogue>\n    <character>SMECKER<\/character>\n    <parenthetical>( angry . )<\/parenthetical>\n    <dialogue>Why was I not informed of this?<\/dialogue>\n    <character>GREENLY<\/character>\n    <dialogue>They were n't related. The guy used a 38. No pennies. Totally amateur.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Who were the victims?<\/dialogue>\n    <character>GREENLY<\/character>\n    <dialogue>A couple of peons for the mob and.<\/dialogue>\n    <character>SMECKER<\/character>\n    <parenthetical>( livid . )<\/parenthetical>\n    <dialogue>Oh that's just BEAUTIFUL! All the scumbags in the quiet city of Boston start dropping dead and you think it's unrelated?! Greenly, the day I want the Boston Police doing my thinking for me, I will have a fucking tag on my toe! Now, get me a squad car and get me over there. I want the crime scene photos and any witness statements. NOW!<\/dialogue>\n    <scene_description>Smecker storms from the room . The detectives begin to follow . Smecker comes barreling back in , shoving them out of the way . He looks at the bullet holes in the walls marked `` A and B '' again . Something has clicked .<\/scene_description>\n    <character>SMECKER<\/character>\n    <parenthetical>( wide - eyed . )<\/parenthetical>\n    <dialogue>Oh. it looks like we got us a cowboy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAKEVIEW LUNCH  NIGHT<\/stage_direction>\n    <scene_description>Smecker surveys photos and papers , as he smokes profusely . He stands next to a table in the back where chairs are knocked over . Body chalk and blood stains are everywhere . The detectives seem like they do n't want to be there , again .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>The shooter knew these guys, huh?<\/dialogue>\n    <character>DOLLY<\/character>\n    <dialogue>How do you figure?<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Friends, Gentlemen. They were friends.<\/dialogue>\n    <scene_description>Smecker flashes them a photo of a dead body . The victim is shot in the head and face down in his plate of food . His hands are on the table in front of him .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>These guys were packing. Not one hand near a gun. It's simple human behavior. Someone you do n't know approaches you, you put your hand on it. This guy's got his hands on the table. He's eating his food, for Christ sakes. They were friends.<\/dialogue>\n    <scene_description>Smecker looks over the bar .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>These two fucking scenes are related. Too many coincidences. Same day? Five hours apart? Dead mobsters on both scenes. Now, why did he kill the bartender?<\/dialogue>\n    <character>DUFFY<\/character>\n    <dialogue>Crime of passion. He just went nuts. He would have shot everyone in here. He just ran out of bullets.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Duffy. This look like a fucking post office to you? This guy came in here with intent. Maybe he did n't know exactly what he was gon na do but he had a pretty good idea. The bartender was n't a fucking accident.<\/dialogue>\n    <character>DUFFY<\/character>\n    <dialogue>Well, we did n't get any help on that. A lot of people saw it. Nobody's talking.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Fucking figures. Look, are you guys seeing the pattern here? We got big questions at both of these crime scenes, with no answers. WHY did they kill the guys in the other two booths? WHY did he do the bartender? It would seem unnecessary, even stupid.<\/dialogue>\n    <parenthetical>( angry . )<\/parenthetical>\n    <dialogue>God, I hate cold crime scenes! I'm fucking leaving now. And do me a favor, tell me when the next guy dies, cause these guys are not done yet.<\/dialogue>\n    <scene_description>He storms to the entry way .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  LAKEVIEW LUNCH  ENTRY WAY  NIGHT<\/stage_direction>\n    <scene_description>Smecker walks across the street , still angry , and goes to a payphone . There 's an extreme close - up on his hand as he puts in a quarter . As the quarter jingles in . FLASHBACK EXT. . STREET IN FRONT OF LAKEVIEW LUNCH DAY . there is a close - up on a hand pulling back from the coin slot . The hand moves up to pull a cigarette from its possessor 's mouth . It is Rocco . He dials the phone .<\/scene_description>\n    <character>MURPHY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Hey, Murph.<\/dialogue>\n    <character>MURPHY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Roc. You okay?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Yeah. Anybody call for me?<\/dialogue>\n    <character>MURPHY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>No. You sure you're okay?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>I'm fuckin' fine.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Catch you on the flip side.<\/dialogue>\n    <scene_description>He goes across the street and enters Salamone 's .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ROCCO'S APARTMENT  DAY<\/stage_direction>\n    <scene_description>Donna and Rayvie are laying on the couch . Connor is spit - shining his boots by the window . Murphy lights his cigarette on the gas stove and pours some salt in a pot of water with a handful of pennies boiling to a shine in it . Rocco bursts through the door , hysterical . Tears are streaming down his face .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Pack your shit! We got ta get outta here! We got ta get out!<\/dialogue>\n    <character>CONNOR<\/character>\n    <parenthetical>( hopping into his boots . )<\/parenthetical>\n    <dialogue>What happened?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>I killed em! Oh, Jesus! I killed em all!<\/dialogue>\n    <character>DONNA<\/character>\n    <dialogue>Rocco?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Hey, hey. Just calm down. Tell us what happened!<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>No! Fuck you! You start getting excited! We got ta fucking go!<\/dialogue>\n    <character>DONNA<\/character>\n    <dialogue>Rocco!<\/dialogue>\n    <character>CONNOR<\/character>\n    <parenthetical>( packing up gear . )<\/parenthetical>\n    <dialogue>Who did you kill?<\/dialogue>\n    <character>MURPHY<\/character>\n    <parenthetical>( packing up gear . )<\/parenthetical>\n    <dialogue>Holy shit. Who? How many?<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>( rummaging through his drawers . )<\/parenthetical>\n    <dialogue>Hurry the fuck up!<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>This is some crazy shit, man!<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Those cocksuckers sold me out!<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Did I fuckin' tell ya, Rocco? They pull on you first?<\/dialogue>\n    <character>DONNA<\/character>\n    <dialogue>ROCCO!<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>What did I fuckin' do? in the middle of the Lakeview.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Lakeview the deli? Oh, shit!<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Ha! Ha! Roc, you got a jumbo set of coconut balls man!<\/dialogue>\n    <character>DONNA\/RAYVIE<\/character>\n    <dialogue>ROCCO!<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>( turns in rage . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>DONNA<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Where's my cat?<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>( slight pause . )<\/parenthetical>\n    <dialogue>I killed your fuckin' cat, you druggie bitch!<\/dialogue>\n    <character>DONNA<\/character>\n    <parenthetical>( shocked , hurt . )<\/parenthetical>\n    <dialogue>You. oh god, why?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>I felt it would bring closure to our relationship!<\/dialogue>\n    <character>DONNA<\/character>\n    <parenthetical>( crying . )<\/parenthetical>\n    <dialogue>You killed my. my.<\/dialogue>\n    <scene_description>She stops , unsure of the cat 's name .<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>( screaming . )<\/parenthetical>\n    <dialogue>Your what?! Your fuckin' what?!<\/dialogue>\n    <character>DONNA<\/character>\n    <dialogue>My, my.<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>( puts his gun to his own head . )<\/parenthetical>\n    <dialogue>Your what, bitch? I'll shoot myself in the head, you can tell me that cats name! Go ahead. Your what? Your precious little.<\/dialogue>\n    <parenthetical>( waiting for her response . )<\/parenthetical>\n    <character>DONNA<\/character>\n    <parenthetical>( flustered , crying . )<\/parenthetical>\n    <dialogue>Pee. Per. Man.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Peeperman? WRONG? What color was it?!<\/dialogue>\n    <character>DONNA<\/character>\n    <dialogue>It was. It was.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Male or female, bitch?!<\/dialogue>\n    <character>RAYVIE<\/character>\n    <dialogue>Do n't you yell at her you fuckin' prick!<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Shut your fat ass, Rayvie! I ca n't buy a pack of smokes without running into nine guys you fucked.<\/dialogue>\n    <character>DONNA<\/character>\n    <dialogue>Do n't you yell at her!<\/dialogue>\n    <scene_description>Rocco rummages through her purse and finds her car keys .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>All right, let's get the fuck outta here!<\/dialogue>\n    <scene_description>They exit . Rayvie and Donna are hugging each other , crying .<\/scene_description>\n    <character>RAYVIE<\/character>\n    <dialogue>Is my. I mean it's not really?<\/dialogue>\n    <character>DONNA<\/character>\n    <dialogue>No. No. It's not fat.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  CAR  EARLY EVENING<\/stage_direction>\n    <scene_description>Rocco is in the back . Connor is driving .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Those rat fucks! All of them were all laughing at me man!<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>You sure you killed them?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  FLASHBACK  SALAMONE'S  DAY<\/stage_direction>\n    <scene_description>Rocco is standing at the back table while his cohorts remain seated . They are OLY , and VINNIE .<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Fuckin - A - right I did. I had a goddam turkey shoot over there.<\/dialogue>\n    <character>VINNIE<\/character>\n    <dialogue>I'll bet it was a test. Vincenzo came in here shooting his mouth off. He was makin' sure we knew. But we did what we were supposed to, eh? We kept our mouths shut. You did your part. They know we're goodfellas now. We'll get taken care of.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>What? Did everyone know? Next thing you'll tell me Sal was in on it.<\/dialogue>\n    <scene_description>Rocco looks at Sal the bartender who reaches for the phone .<\/scene_description>\n    <character>OLY<\/character>\n    <dialogue>Fuck. Vincenzo told Sal first. That fat fuck knew before we did.<\/dialogue>\n    <scene_description>They all start laughing together .<\/scene_description>\n    <character>OLY<\/character>\n    <dialogue>At least we got our funny man back.<\/dialogue>\n    <scene_description>They all laugh as Rocco pulls his gun and shoots Oly in the head . He lands face down in his plate of food . He shoots Vinnie in the chest then turns on Sal . He yells `` Funny , funny , funny '' as he pumps the remaining rounds into him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  BACK TO PRESENT  DONNA'S CAR<\/stage_direction>\n    <character>CONNOR<\/character>\n    <dialogue>Anybody see ya?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Fuck, man! I may as well have posted flyers. Right out in public, man.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Liberating is n't it?<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>( smiles at last . )<\/parenthetical>\n    <dialogue>Y' know it is, a bit.<\/dialogue>\n    <scene_description>The boys laugh .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Stop the car!<\/dialogue>\n    <scene_description>Connor pulls over directly in front of a pink neon sign that says The Sin Bin .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Vincenzo, that fat motherfucker, Yakavetta's right hand. He's the one who set me up. Then he went around shooting his mouth off, telling everyone I was as good as dead. He goes in there every Wednesday night around 10:00, he jerks off in the same booth to the same titty dancer. Never misses.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>So let's kill the motherfucker. I mean, what are you guys. like that's your new thing right?<\/dialogue>\n    <character>CONNOR<\/character>\n    <parenthetical>( looks at Murphy . )<\/parenthetical>\n    <dialogue>Yeah, well.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Oh, what the fuck? How do you guys decide who you're. I mean, who makes the cut? Is there a raffle or something?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Well, truth be known, those first ones just kinda fell into our laps.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Well, what ` ya do?<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>I guess we really do n't have a system of deciding who.<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>( excited , yelling . )<\/parenthetical>\n    <dialogue>MEEE! ME! I'm the guy! I know everyone, their habits, where they hang out, who they talk to. I know where they fuckin' live. We could kill everyone!<\/dialogue>\n    <character>MURPHY<\/character>\n    <parenthetical>( to Connor . )<\/parenthetical>\n    <dialogue>So what do you think?<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>I'm strangely comfortable with it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  ALLEY BEHIND SIN BIN  NIGHT<\/stage_direction>\n    <scene_description>Rocco , Connor and Murphy are looking very serious as they smoke outside the rear door , in the alley . A drug dealer in a hooded Boston Bruins jacket emerges from the opposing alley . He stops a 13 year - old kid . The kid is scared as the drug dealer slaps him . The kid give him money and the drug dealer stuffs a small baggie in the boy 's shirt . He lets him go and withdraws into the alley . As the boys and Rocco watch this from the opposing alley , they begin to head for them , but Vincenzo 's car pulls up across the street . Rocco stops the boys and denotes Vincenzo . The boys head in the front door . Rocco moves back into the alley .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SIN BIN  NIGHT<\/stage_direction>\n    <scene_description>Vincenzo enters and shuffles past the bar where the brothers stand . He walks through a bead curtain at the back of the busy porno house . The boys follow him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SIN BIN  HALLWAY  NIGHT<\/stage_direction>\n    <scene_description>They go to the back , open the exit door and let Rocco in . The three wind down long dark hallways with Rocco leading the way until they reach a green door . The boys stand , side by side , directly in front of it . Rocco is just behind them . The three pull identical 9mm . 's and the boys pull on their masks . Rocco puts on a mask that he made from a dock worker 's cotton hat . He looks ridiculous .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Okay Roc, this is.<\/dialogue>\n    <scene_description>He turns and is instantly taken with laughter at Rocco 's appearance . Connor turns , and has the same reaction .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>What? You guys got masks.<\/dialogue>\n    <scene_description>They are now pointing and laughing .<\/scene_description>\n    <character>MURPHY<\/character>\n    <parenthetical>( through laughter . )<\/parenthetical>\n    <dialogue>You look like Mush Mouth from Fat Albert.<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>( takes off mask . )<\/parenthetical>\n    <dialogue>Fine! Fuck it! When we're done she can I.D. me. I do n't care. Just tryin' to be professional, but no.<\/dialogue>\n    <character>CONNOR<\/character>\n    <parenthetical>( still laughing . )<\/parenthetical>\n    <dialogue>No. No. It looks good. C'mon, put it back on. It's good.<\/dialogue>\n    <scene_description>He begrudgingly puts it back on . They reassume their position .<\/scene_description>\n    <character>CONNOR<\/character>\n    <parenthetical>( imitating mush mouth . )<\/parenthetical>\n    <dialogue>Okay Roc. You sure you're O - B - kay - B?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SIN BIN  SMALL ROOM  NIGHT<\/stage_direction>\n    <scene_description>They burst into the room , climb up a few steps and are in a small round room with a couch in it . A topless dancer sits , smoking and drinking coffee , on the couch in front of three big black steel doors with money slots in them . Rocco seizes her , puts a hand over her mouth and a gun to her head .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Which one is he in?<\/dialogue>\n    <scene_description>She points to the middle door .<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>( takes his hand off her mouth . )<\/parenthetical>\n    <dialogue>What's his routine?<\/dialogue>\n    <character>DANCER<\/character>\n    <dialogue>H. h. he jerks off in there. Th. then he puts money through the slot and I raise the door.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>How?<\/dialogue>\n    <scene_description>She points to an orange button . Each door has a button to the left of it .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Then what?<\/dialogue>\n    <character>DANCER<\/character>\n    <dialogue>He watches me do my thing and f - finishes himself off.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SIN BIN  CENTER BOOTH  NIGHT<\/stage_direction>\n    <scene_description>We see the fuzzy reflection of a cheap porno movie being reflected in Vincenzo 's Elvis style sunglasses . He is shaking as he masturbates .<\/scene_description>\n    <character>VINCENZO<\/character>\n    <parenthetical>( grunting , muttering . )<\/parenthetical>\n    <dialogue>Do n't you talk to me like that, you dirty little. give it to daddy. give it ta da King. garbage mouth, garbage mouth.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SIN BIN  SMALL ROOM  NIGHT<\/stage_direction>\n    <scene_description>Rocco is looking through the peep hole down on Vincenzo . He still holds the terrified , crying dancer .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Oh man. He is some sicko.<\/dialogue>\n    <scene_description>They back up and focus on the money slot . A hundred dollar bill comes through . Connor gives it to the dancer .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>You've earned this.<\/dialogue>\n    <scene_description>The boys begin to recite their prayer . Rocco is smiling and excited , he still hangs on to the now hyperventilating dancer . They press the button . The door goes straight up . Vincenzo has one moment of shock before the MacManuses decimate him through the glass with silenced bullets . The glass silently spiders and begins to fall in spots . His chest explodes , sputtering medallions and bits of gold chain inside the booth . The dancer faints and Rocco lays her down gently . The boys step down in the boot and begin their ritual . Rocco watches intently , intrigued . They finish and turn around to see Rocco is immersed in grabbing one of the unconscious dancer 's breasts . They pull up their masks .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>What the fuck are you doing?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>I - I'll tip her.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>We've teamed up with a sex offender.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>So, when are you getting a plastic fuck doll?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>All right. I'm sorry. I'm pathetic.<\/dialogue>\n    <scene_description>He gets up and starts tossing money on her as the boys giggle . Just then two more bills come through the slots of the other two doors , which have remained closed . Murphy looks through left peep hole , Connor the right . Smiles spread across their faces and they look at each other . They switch and each looks through the other guy 's peep hole .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>What? What is it?<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>This place is like a scumbag yard sale.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>We got ta come down here once a week and clean house.<\/dialogue>\n    <scene_description>Rocco looks in one . He says `` Oh , wow '' as he crosses and checks out the other one .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>You sure about this guy?<\/dialogue>\n    <scene_description>The boys look at each other affirmatively .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Oh man. You got ta let me do these guys. I'm such a moron. I got ta make up for the tit thing.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>No way. I've been waitin' for this asshole.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Aw, c'mon. I got ta clear my family name here. I've brought shame to the house of Della Rocco.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Give the guy a shot.<\/dialogue>\n    <character>CONNOR<\/character>\n    <parenthetical>( thinks it over . )<\/parenthetical>\n    <dialogue>Rocco, this is the real deal. We must kill without hesitation, without guilt or remorse. Evil man, dead man.<\/dialogue>\n    <scene_description>Rocco gets serious and nods his head . Connor replaces the clip in his gun and hands it to Rocco . Murphy does the same . He stands with one in each hand , aiming one gun at each door . The boys both place a finger on the appropriate orange buttons , as Rocco slowly cocks his head back . With wide eyes he thrusts his head forward . The doors fly up . Rocco fires both guns yelling `` Yeah , take it , take it ! '' Both the drug dealer from outside and the pimp from the emergency room are destroyed . Rocco then crosses his arms and fires two more shots from each gun . On the opposing walls of each booth two identical bullet holes appear .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Wyatt - fuckin' - Earp, man!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SIN BIN  JUST OUTSIDE THE PRIVATE BOOTH  MINUTES LATER<\/stage_direction>\n    <scene_description>Rocco shuts the door .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>You guys got ta teach me that prayer, man. That's some good shit.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Forget it. It's a family prayer. My father, his father before him that sort of shit.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>C'mon!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  RITZY RESTAURANT BATHROOM  NIGHT<\/stage_direction>\n    <scene_description>An old man appears to look at himself in the mirror of an empty but very upper class bathroom . His eyes are very glazed over . He puts a large leather case on the counter near the sinks . A red and white blind stick hangs off his right forearm . Yakavetta enters , crosses behind him and stands next to him . AUGUSTUS -LRB- 72 years -RRB- sniffs the air . A look of angry realization overtakes his face .<\/scene_description>\n    <character>AUGUSTUS<\/character>\n    <dialogue>Fuck you.<\/dialogue>\n    <character>YAKAVETTA<\/character>\n    <dialogue>Hey, Augustus, I need your help, I got a serious problem here. I'm not screwing around.<\/dialogue>\n    <character>AUGUSTUS<\/character>\n    <dialogue>I bounced you on my knee at family reunions, for Christ sakes. Your dad and me ran the whole east coast syndicate you snot - nosed little prick. And when you took the wheel, who was beside you?<\/dialogue>\n    <scene_description>Augustus begins to remove items from his suitcase . First a plate . He sets it down next to the sink . Then assorted colognes , cigarettes and chewing gum . He begins arranging them in neat rows , always feeling with his guiding hands .<\/scene_description>\n    <character>YAKAVETTA<\/character>\n    <dialogue>Hey, I just.<\/dialogue>\n    <character>AUGUSTUS<\/character>\n    <dialogue>Do n't start with your shit. Do n't you talk to me. Oh, hey Uncle Gussy, thanks for years of service. Here's a gold watch and a job sniffing other guys' shit eight hours a day. What am I, a retired bus driver?<\/dialogue>\n    <character>YAKAVETTA<\/character>\n    <dialogue>I need Il Duce.<\/dialogue>\n    <character>AUGUSTUS<\/character>\n    <dialogue>The Duke?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>What did you do?<\/dialogue>\n    <character>YAKAVETTA<\/character>\n    <dialogue>This kid, this package boy could bring down the whole east coast. If he decides to turn states he could dismantle us. totally. But it looks like for now, he's content with just killing us one by one. And even worse the kid is good at it. I mean I had a prodigy on my hands the whole time and did n't even know it.<\/dialogue>\n    <scene_description>Yakavetta puts an envelope of money in the plate .<\/scene_description>\n    <character>AUGUSTUS<\/character>\n    <dialogue>Listen kid, I think you better understand who you're dealing with here.<\/dialogue>\n    <character>YAKAVETTA<\/character>\n    <dialogue>Yeah. I was only twelve or thirteen when you guys used to talk about him, like he was a ghost or something.<\/dialogue>\n    <character>AUGUSTUS<\/character>\n    <dialogue>Your dad and I used him three times over twenty years, only when everything went totally fucked. Believe me kid, you do n't want this guy unless you are 100 % sure you need him. He is. a fuckin' monster.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  PRISON PROCESSING ROOM  DAY<\/stage_direction>\n    <scene_description>This is a gigantic three tiered room with guards on all tiers . They all cock their shotguns . A PRISONER is shackled barefoot to a small metal cart on wheels . His hands are cuffed before him with a chain linking his hands and feet . A guard is pulling the cart through the prison to the parole board room by a long chain . The cons have their mirrors out to get a better look . His face is in shadow as he bows his head . A metal cage is lowered around him from the ceiling . The parole board looks him over . A stenographer sits poised<\/scene_description>\n    <character>MR. COBB<\/character>\n    <parenthetical>( English accent . )<\/parenthetical>\n    <dialogue>Do you feel you have been rehabilitated?<\/dialogue>\n    <scene_description>No response is given by the prisoner . The stenographer looks at MR. COBB who gives her the nod . She begins typing though no words are spoken .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  RITZY RESTAURANT BATHROOM  DAY<\/stage_direction>\n    <character>AUGUSTUS<\/character>\n    <dialogue>I've had this guy in front of me, and I could n't tell you what he looks like, sounds like. He is the Picasso of assassins, kid. He plants hair samples, blood. Puts skin under fingernails. He is a fucking genius. Only one problem. He's been rotting in prison for twenty - five or thirty years. Do n't even know if he's still alive. Or if he's even up to it.<\/dialogue>\n    <scene_description>Augustus hands him a piece of paper he scribbled on .<\/scene_description>\n    <character>YAKAVETTA<\/character>\n    <dialogue>There's ways around that.<\/dialogue>\n    <character>AUGUSTUS<\/character>\n    <dialogue>Go find one.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  PAROLE PROCESSING ROOM  DAY<\/stage_direction>\n    <scene_description>A large piece of paper is placed on the table and stamped with the words parole granted across it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  HOTEL ROOM  BOSTON  DAY<\/stage_direction>\n    <scene_description>The prisoner , Il Duce enters . He is clad in a long dark trench coat with the collar pulled up , dark round glasses and a dark hat . He puts a suitcase on the bed . He walks over to the window . He slowly puts his hand outside and watches the sun bounce off it . Tears begin to flow from beneath his glasses as he breaks down . He begins to take off his clothes as he weeps , casting them aside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  HOTEL ROOM FIRE ESCAPE  BACK ALLEY  DUSK<\/stage_direction>\n    <scene_description>The Duke is fully naked , except for a hotel blanket which is wrapped around his waist , sitting on the fire escape . He smiles and is still misty - eyed as he beholds the sun setting . Scattered around him are all the furnishings of freedom ; Snickers bars , all kinds of empty candy wrappers , Coke cans , and many assorted magazines .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  COFFEE HOUSE  NIGHT  2:00 A.M.<\/stage_direction>\n    <scene_description>Rocco and the brothers sit in an old Boston coffee house .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Let's talk some business here. I know a sick fuck. makes the ones we been doing look like altar boys. Worst night of my life when I met this guy.<\/dialogue>\n    <scene_description>FLASHBACK EXT. . SUBURBAN BEAVER CLEAVER - TYPE HOUSE DUSK Rocco waits in a late model Chevelle in front of a white house . A man exits the house and walks across the sprawling front lawn . Rocco leans over and says How ya doin ' , man ? The man does n't respond and sits in the passenger seat . During the following scenes we FLASHCUT between bits of Rocco 's experience that night to the coffee house and catch bits of dialogue as he explains .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>The guy never says a fuckin' word to me. We're driving for 25 minutes. Never a sigh, no throat clearing, nothing. And his face, blank man. Just nothing there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  DECREPIT HOUSE  NIGHT  CONTINUED<\/stage_direction>\n    <scene_description>FLASHCUT : They pull up to a house in a scummy , Boston Logan Airport neighborhood . Rocco gets out and sits on the hood smoking as the man makes his way up the walk .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  DECREPIT HOUSE  CONTINUED<\/stage_direction>\n    <scene_description>Two tough looking wiseguys walk across a hallway cocking shotguns . They disappear into a room . FLASHCUT : He quietly enters the house and pulls a large bright - blue plastic tarp from his coat and spreads it across the floor in the hallway . We hear the sound of Sega video games being played . He pulls out two pistols with silencers and walk . He disappears into the living room . Two white flashes and the sounds of silencers . A hookerish looking mom enters frame in the B.G. in the kitchen . She is talking on the phone . She disappears from view . The man reappears and walks to the kitchen . A white flash and the sounds of silencer . He walks right down the hall and halts right in front of us and listens . He goes into the room the wiseguys had entered . We hear a second of male voices in protest . Two flashes of light and the sounds of silencers . A dog is heard barking . The man reappears in the hall and walks to its end , through the kitchen . He opens a pair of sliding doors and steps out of our view . A flash of white light and the sound of a silencer .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  DECREPIT HOUSE  NIGHT  CONTINUED<\/stage_direction>\n    <scene_description>Rocco is out front listening as the barks abruptly cease .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  DECREPIT HOUSE  NIGHT  CONTINUED<\/stage_direction>\n    <scene_description>FLASHCUT : The man drags a dead dog across the kitchen floor , leaving a streak of blood . FLASHCUT : He drags the bodies of two kids , two men and the woman down the hall toward us leaving the hall carpet streaked with blood .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>I did n't see what he was doing while he was in there.<\/dialogue>\n    <scene_description>FLASHCUT : The man pulls out a large hunting knife and disappears into each room . The sounds of hacking are heard . He reappears holding different pieces of bloody debris . A telephone , a piece of carpet , pieces of drywall . He takes a mop and cleans off the blood on the linoleum of the kitchen floor . He walks toward us and stabs the mop in right before camera . It stays standing . FLASHCUT : We see from his p.o.v. a pile of broken bodies , bloody debris and a dead dog with a mop sticking out the top .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  DECREPIT HOUSE  NIGHT  CONTINUED<\/stage_direction>\n    <scene_description>FLASHCUT : The man steps outside and motions Rocco in . FLASHBACK EXT. . BACK FACTORY LOT NIGHT Rocco 's face is now expressionless as the two load the last body in the furnace and toss the dog in , unloading from Rocco 's trunk . They shut the furnace door and there is just the low hum of a furnace and the light wind blowing .<\/scene_description>\n    <character>THE MAN<\/character>\n    <dialogue>I have a poker game at the house every Saturday with a couple of guys you know. Why do n't you come down? Wife makes a hell of a bar - g - que.<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Yeah. yeah, I'd like that. Tell me something. What did they do?<\/dialogue>\n    <character>THE MAN<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <scene_description>BACK TO PRESENT INT . COFFEE HOUSE NIGHT Rocco is looking down in silence .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Worst day of my life, man.<\/dialogue>\n    <character>MURPHY<\/character>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Well, I'm sold.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Do n't worry, Roc. We'll do this guy right and you'll feel a lot better.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ROCCO'S MOM'S KITCHEN  NEXT DAY  1:00 P.M.<\/stage_direction>\n    <scene_description>The three burst in , all yelling at each other . They are all bleeding profusely from gun shot wounds . Connor turns on the gas stove and slams a new clothing iron down on the burner . He has wrapped the cord around the handle so it wo n't burn . They have all ripped their clothes haphazardly and have made tourniquets to nurse their wounds .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>Who the fuck was he, Rocco? I know you fuckin' know!<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Fuck you! I told you I never saw him before!<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Well he sure as fuck knew you!<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Fuck you both! Ya ask me, he was aiming at you!<\/dialogue>\n    <scene_description>The scene fades into total silence as they viciously argue . They then take turns hold each other down as they cauterize their wounds with the hot iron . Two guys will hold a third down and force a wadded up pillow case in his mouth , as they burn him<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  BOSTON SUBURBAN BEAVER-CLEAVER TYPE HOUSE  SAME DAY 5:00 P.M.<\/stage_direction>\n    <scene_description>Smecker sits on the balls of his fee on a sprawling front lawn . He looks out to the street and sees a forensics technician kneeling before a new , gray Ford Taurus riddled with bullet holes . The man marks a sea of different - sized bullet casings that stretch for thirty - five feet down the sidewalk . He circles two blood stains on the side walk with orange chalk . Smecker turns and looks at the front of the house . It is peppered with bullet holes , all seemingly concentrated on the front stoop area . Men try to lift blood samples off the white paint around the door . He stands and Dolly , Duffy and Greenly are ready with pens and notebooks behind him .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>Okay. Here's what happened.<\/dialogue>\n    <scene_description>FLASHBACK INT . PARKED FAMILY VAN SAME DAY NOON Connor , Murphy and Rocco sit in a parked van , down the street from the Beaver Cleaver house . The three are sitting next to each other in the longer back seat . They have a counter in front of them with all their guns and accessories on it . The clicking of bullets into clips , and smacking of clips into guns are heard . Smecker sits in the captain 's chair directly across from them , calmly smoking a cigarette . They finish their preparation . Rocco holds up his guns .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>They waited in a parked car down the street for the kid to leave.<\/dialogue>\n    <scene_description>Murphy spies a young boy peddling his bike out of the driveway . He goes to the front of the van .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>There he goes.<\/dialogue>\n    <parenthetical>( turns back to them , pulls his guns . )<\/parenthetical>\n    <dialogue>Okay, gentlemen. Are we ready to bring this man into the light? Are we ready to truly do the work of the Lord?<\/dialogue>\n    <character>CONNOR<\/character>\n    <parenthetical>( cocks his pistol . )<\/parenthetical>\n    <dialogue>A - fuckin' - men!<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>This is so fuckin' cool!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  SUBURBAN BEAVER CLEAVER TYPE HOUSE  DAY<\/stage_direction>\n    <scene_description>Connor , Murphy , and Rocco make a frenzied exit from the van and walk across the front lawn , each carrying a black duffle bag and clutching a mask . The garage is opened a crack . They pull it up all the way . The sun shines in on Smecker who stands there smoking .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SUBURBAN \"BEAVER CLEAVER\" TYPE HOUSE  GARAGE  DAY<\/stage_direction>\n    <scene_description>They enter and close the door behind them<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>They went in through the garage. The kid says he leaves it open when he takes his bike out.<\/dialogue>\n    <scene_description>They dive into their bags and suit up with leather gloves , masks , navy P - coats and their guns .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SUBURBAN \"BEAVER CLEAVER\" TYPE HOUSE  DAY<\/stage_direction>\n    <scene_description>The three open the door and enter the house and walk deliberately down the hallway .<\/scene_description>\n    <character>SMECKER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Now, they know the wife is the gate keeper. She knows the code.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN \"BEAVER CLEAVER\" TYPE HOUSE  BACKYARD  DAY<\/stage_direction>\n    <scene_description>They walk with the terrified woman around the pool to a steel door pool house entrance . There is a number pad next to the door . Rocco positions her in front of it .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Do n't fuck with me lady. I'll kill you.<\/dialogue>\n    <scene_description>She slowly punches in the numbers . Smecker is standing there smoking .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>The wife says she does n't know what happened after she hit the code. She just remembers going down. But, judging by the burn mark on her back, I think what they did.<\/dialogue>\n    <scene_description>Rocco pulls a stun gun and zaps her with it . She goes down .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>was use a stun gun on her.<\/dialogue>\n    <scene_description>Connor reaches for the knob but Rocco stops him . They wait , guns drawn and focus on the door knob .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>Now the guy knows a friend is coming to the game. And they know that this door can only be opened from the inside. So they wait. and when that door opens, man.<\/dialogue>\n    <scene_description>The knob turns and they kick it in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  POOLHOUSE - DAY<\/stage_direction>\n    <scene_description>They burst in and line up shoulder to shoulder , guns aimed . Smecker stands beside Rocco with his thumb and forefinger extended to mimic guns . Five mafiosos sit around a poker table in front of time . Two men are playing pool to their left . Rocco quickly scans the room .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>All of them.<\/dialogue>\n    <scene_description>They begin firing . Men are dying , their chests exploding . Smecker moves his hands like firing guns and yells over the noise .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>Nobody was ready for it. Devastation, panic! This was like shooting fish in a fuckin' barrel!<\/dialogue>\n    <scene_description>Smecker points to the pool table as the two players dive under it .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>Now these guys dove under the table. The trajectory on the bullets show they came from straight across. So this means one of our shooters. dropped to his knees.<\/dialogue>\n    <scene_description>Smecker drops to his knees in perfect synchronicity with Rocco . They are side by side and leaning back . Rocco fires and the men under the table skip around as they are riddled with bullets . Smecker 's mimicking hands follow him perfectly with each shot . The boys and Rocco demask . Rocco goes around to all the bodies and looks earnestly at each one , as Connor and Murphy pick up bullet casings .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Shit! Shit! He ai n't here.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>What the fuck do you mean?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>I mean he ai n't here.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Look again for fuck sake!<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>I know what the fuck he looks like!<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Something went wrong. Right here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  POOLHOUSE  BATHROOM  DAY<\/stage_direction>\n    <scene_description>The man they came for gets off the toilet and pulls up his pants . He is expressionless . He pulls a towel rack from the wall .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  POOLHOUSE  DAY<\/stage_direction>\n    <scene_description>The door behind Rocco begins to open outward . As the door swings open , Rocco tries to angle a gun around to shoot the man who is opening it . But as soon as the man sees his hand , bam ! he comes down on it with the towel rack . Rocco pulls back in pain dropping his other gun but the gun fires , as the man 's blow connects . The shot pierces his stomach and sends him against the wall . He holds his abdomen in pain . There is a moment of recognition between the man and Rocco . Rocco is terrified as the man dives on him and they begin fighting . Murphy jumps to help , but Connor pulls him back . They both stand in front of the pool table about thirty feet from Rocco .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>Let the boy go!<\/dialogue>\n    <scene_description>He is now being choked , as he glares at them in disbelief .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>C'mon Roc!<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Now, one of these guys is a real sicko. He knew this man. He wanted him to suffer, to feel every second of a painful death.<\/dialogue>\n    <scene_description>As Rocco is wrestling and punching on the floor . He looks up .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Help me you assholes!<\/dialogue>\n    <parenthetical>( they continue to cheer . )<\/parenthetical>\n    <dialogue>He's gon na fuckin' kill me!<\/dialogue>\n    <parenthetical>( he fights harder . )<\/parenthetical>\n    <character>SMECKER<\/character>\n    <dialogue>This guy is one bad motherfucker.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>I do n't wan na die!<\/dialogue>\n    <scene_description>Murphy is aching to help but Connor is more steady . A man who has been shot starts to regain consciousness . Connor turns his back to shoot him -LRB- slo - mo -RRB- . Murphy sees his opportunity , pulls the cue ball from the table , and rolls it silently across the carpet toward Rocco . Connor fires with his left hand and as the casing ejects from the gun he catches it in mid air and makes the sign of the cross . Rocco is on his back , the man is straddling him . They both have each others throats and are trying to strangle one another . When the ball is within arms reach , Rocco slams his hand down on it and knocks his assailant in the skull . He straddles him and begins to mercilessly beat his face in with the cue ball , yelling `` You sick fuck ! '' He finally stops , gets up , runs toward the boys , and throws an exhausted punch at Connor who just lays Roc down on the pool table and says , `` Nicely done , boy '' . Murphy tends to Roc . Connor checks out the man and seems surprised . Murphy takes the bloody cue ball from Rocco 's hand and polishes it off on his jacket , making sure Connor can not see . He replaces it perfectly on the table . Smecker now stands in front of the table with the cue shining in the background .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>I've never seen wounds like these before, but whatever he used on this guy, it was a blunt object and they took it with them.<\/dialogue>\n    <scene_description>Smecker exits to the left as Greenly enters from the right , following Smecker out . He walks by the table furiously scribbling in his notebook . Connor , Murphy and Rocco exit the room , pennies in the eyes of all the corpses in the background . Rocco holds two duffle bags full of poker money . Greenly stops , picks up the cue ball and looks at the dead man . He shakes his head and says , `` Nah '' .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  SUBURBAN \"BEAVER CLEAVER\" TYPE HOUSE  FRONT LAWN  DAY<\/stage_direction>\n    <scene_description>Smecker stands in the middle of the front lawn . His hair is a mess . He 's chain - smoking . His clothes are disheveled . His eyes are psychotic . He points to the parked Taurus as six men in dark suits appear in a fuzzy , out - of - focus shot . They line up shoulder to shoulder on the sidewalk .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>They exited out the front door. And they had no fucking idea what they were in for.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  SUBURBAN \"BEAVER CLEAVER\" TYPE HOUSE  FRONT LAWN  DAY<\/stage_direction>\n    <scene_description>Rocco , Connor and Murphy walk toward the front door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  SUBURBANK \"BEAVER CLEAVER\" TYPE HOUSE  SIDEWALK  DAY<\/stage_direction>\n    <scene_description>-LRB- Slo - mo -RRB- Two black leather boots slowly walk up the sidewalk and stop in front of the new , gray Ford Taurus then turn toward the house . Il Duce removes a white balloon filled with a few ounces of fluid from the pocket of his black trench coat . He throws it on the walk , the blood splatters . He picks up the remnants of the balloon and puts them back in his pocket and stands there waiting , looking at the house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  SUBURBAN \"BEAVER CLEAVER\" TYPE HOUSE  FRONT STOOP  DAY<\/stage_direction>\n    <scene_description>The boys come out , Rocco in the middle and slightly ahead of them . They look out to the walk , stunned .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>Now they are staring at six guys with guns drawn. It was a fucking ambush.<\/dialogue>\n    <scene_description>Our three heroes stand , their jaws dropping as their point of view reveals the Il Duce , standing alone , his hands folded in front of him . Suddenly , he throws open his trench coat to reveal a special leather vest beneath . Six guns , all different , are holstered on the front of it : three on each side extend from just below his collar bones to his abdomen . Connor and Murphy do n't hesitate . They each draw one of their now unsilenced guns from their shoulder holsters and aim , one arm over each of Rocco 's shoulders . The Duke draws his top two weapons and aims .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>And this was a fucking bomb dropping in Beaver Cleaverville! For a few seconds this place was Armageddon! There was a fire fight!<\/dialogue>\n    <scene_description>They all start shooting at once . The noise is deafening . The Taurus is being pierced and the front of the house is splintering as it is riddled with bullets . Smecker is still in the middle , hands raised to the heavens , turning circles . Rocco 's pinky finger gets shot off , sending blood splattering against the house . He dives in the bushes reeling . He pulls a gun and starts firing . Murphy catches a bullet in the arm and dives for the bushes as well . Il Duce with lightening speed , drops the guns and pulls the next two down as he walks to his right about ten feet . He commences firing and the casings hit the sidewalk , all different calibers and sizes are dropping down the walk . It 's him and Connor and nobody is backing down . They both grind their teeth as they fire rapidly at each other . At the same moment , The Duke gets hit in the arm and Connor takes a bullet in the leg . The firing ceases for a moment . Connor remains steady and Il Duce looks down at his arm and his own blood splattered on the sidewalk .<\/scene_description>\n    <character>IL DUCE<\/character>\n    <dialogue>No! No! No!<\/dialogue>\n    <scene_description>He drops the guns and pulls the last two as he moves to the right . He fires with wrath as he screams the word No over and over . Rocco and Murphy return fire from the bushes yelling and swearing , as Connor does the same from his position on the stoop . The Duke turns and runs , leaving a sea of casings , and guns that extend for 35 feet down the walk . There are also two blood stains . In a frenzy the boys and Rocco get up and withdraw some spray bottles from their bags . The begin spraying all their own blood stains on the stoop and the front of the white house . They then pick up their things and run off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN \"BEAVER CLEAVER\" TYPE HOUSE  FRONT LAWN  DAY<\/stage_direction>\n    <scene_description>Smecker comes back to reality and lights a cigarette in front of Dolly , Duffy , and Greenly .<\/scene_description>\n    <character>GREENLY<\/character>\n    <dialogue>What if it was just one guy with six guns?<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Why do n't you let me do the thinking, huh, genius?<\/dialogue>\n    <scene_description>He turns to the forensics guys at the front of the house and begins to walk over to him .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>What is taking so long with those blood samples?<\/dialogue>\n    <character>FORENSICS WOMAN #1<\/character>\n    <dialogue>I ca n't get a good sample. There is variable here I'm not seeing.<\/dialogue>\n    <scene_description>Smecker puts his finger through a big blood stain on the door and smells it .<\/scene_description>\n    <character>SMECKER<\/character>\n    <parenthetical>( in shock , and rage . )<\/parenthetical>\n    <dialogue>They used ammonia. none of this shit is any good. Fuck. You know what this means?! Even if we get suspects in this case, we got nothing. Nothing!<\/dialogue>\n    <scene_description>He starts kicking the bushes and trying to tear them with his hands as he rages . The police and forensics all back off .<\/scene_description>\n    <character>SMECKER<\/character>\n    <parenthetical>( screaming . )<\/parenthetical>\n    <dialogue>Who the fuck are they?! I've never seen any - fucking - thing like this in my whole fucking life. Who the fuck are they?!<\/dialogue>\n    <scene_description>He backs against the building and slides down to a sitting position in the bushes as if he has given up . He raises his head and there he sees Rocco 's pinky finger lying undiscovered in the bushes . He pulls a small plastic bag from his pocket and scoops it up . He shoves it back into his pocket and races off .<\/scene_description>\n    <character>DUFFY<\/character>\n    <dialogue>What? That's it?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ROCCO'S MOM'S KITCHEN  NIGHT<\/stage_direction>\n    <scene_description>Rocco , Connor , and Murphy are sitting around the table . They are numb with pain and silently sipping beers . Suddenly , Smecker comes on the news making an announcement that he is heading up the investigation to find the three of them . Rocco shuts it off .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>What?<\/dialogue>\n    <parenthetical>( points to TV . )<\/parenthetical>\n    <dialogue>What, that guy?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>That's the guy that got us off the hook with the `` Checkov'' thing.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>And he is one smart man.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>They got nothing.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>This guy is very sharp. If he has n't figured us out yet, he will.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>You bet your ass he will.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Well, I'd say that makes him a lia - fuckin - bility.<\/dialogue>\n    <scene_description>The boys look at each other .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>He is n't to be touched.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>He's a good man.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Okay. whatever.<\/dialogue>\n    <parenthetical>( looking at the bloody mess . )<\/parenthetical>\n    <dialogue>My Mom's gon na kill me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SMECKER'S BEDROOM  NIGHT<\/stage_direction>\n    <scene_description>Smecker is sitting at a computer terminal . He has just hooked into the F.B.I. 's computer network with his authorization code . He is disgusted as he puts on surgical gloves and finger prints the severed finger onto a scanner . He waits for a moment . Rocco 's face and rap sheet come up on his screen . He is in disbelief .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>No. This is all wrong. David Della Rocco?<\/dialogue>\n    <scene_description>FLASHBACK EXT. . POLICE STATION FRONT STEPS Rocco on the steps of the police station when Rocco brought the boys their clothes . BACK TO PRESENT INT . SMECKER 'S BEDROOM NIGHT He picks up the phone .<\/scene_description>\n    <character>MARIA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Boston Police Department.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Yeah. Maria, this is Smecker. Could you find me the visitor's list for the day the MacManus brothers were in and read me all the names?<\/dialogue>\n    <scene_description>She reads a few names then hits David Della Rocco .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>Okay, thank you.<\/dialogue>\n    <scene_description>He hangs us , puts in a smoke , and knocks his head back in deep thought .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  GAY BAR  NIGHT<\/stage_direction>\n    <scene_description>Smecker is drinking like a fiend . He is disturbed and rowdy . He 's a bad drunk . He downs a shot and motions for another one . The BARTENDER comes over .<\/scene_description>\n    <character>BARTENDER<\/character>\n    <dialogue>You've had quite a bit, Paul. Are you sure you.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Pour the drink, faggot - ass!<\/dialogue>\n    <scene_description>He obeys . A good looking gay man comes up and whispers in Smecker 's ear and points to the back room .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>Okay. But I do n't cuddle.<\/dialogue>\n    <scene_description>They proceed to the back . Smecker is stumbling .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  STREET IN FRONT OF CHURCH  EARLY MORNING<\/stage_direction>\n    <scene_description>Rocco pulls Vincenzo 's car to the curb and the MacManus ' exit .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Hey! We got ta talk about this early morning church shit.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>We have to go now.<\/dialogue>\n    <parenthetical>( giggles . )<\/parenthetical>\n    <dialogue>We're on the lamb.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  STREET IN FRONT OF THE GAY BAR  EARLY MORNING<\/stage_direction>\n    <scene_description>Smecker staggers out of the bar . He is an absolute wreck . Rocco exits a package store just down the street . He is opening a new pack of cigarettes . He is surprised when he sees Smecker at the other end of the block . He follows the stumbling agent , fumbling for his gun .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  STREET IN FRONT OF CHURCH  EARLY MORNING<\/stage_direction>\n    <scene_description>Paul sees a church and reflects for a moment before crossing the street and going in , Rocco a safe distance behind .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  CHURCH  EARLY MORNING<\/stage_direction>\n    <scene_description>Connor and Murphy are at prayer in the back of the church . It is mostly empty because of the early hour . Connor looks up and sees Smecker and Rocco way up in the front . His eyes are ablaze . He is up and walking and does not bother Murphy , who remains penitent . There are two confessional booths with a priest booth in the middle . Smecker goes in the booth on the far left . Rocco tries the door , it 's locked . A middle - aged PRIEST slips a key in the priests booth and opens the door . Rocco shoves him in and goes in behind him . Connor has quickened his pace . He tries both doors . They 're locked . He goes into the confessional on the right .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  CHURCH  PRIEST'S BOOTH  EARLY MORNING<\/stage_direction>\n    <scene_description>Rocco puts his gun to the priest 's head .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>You gon na do what I say, got it?<\/dialogue>\n    <character>PRIEST<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>I'm sorry you're gon na hafta see this. Do n't look at me!<\/dialogue>\n    <character>PRIEST<\/character>\n    <dialogue>I'm sorry, I'm sorry. I did n't see.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Shut up! Shut the fuck up!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  CHURCH  CONNOR'S CONFESSIONAL  EARLY MORNING<\/stage_direction>\n    <scene_description>Connor is furiously working his fingers through the lattice work to open the slider to the priest 's booth from his side .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  CHURCH  PRIEST'S BOOTH  EARLY MORNING<\/stage_direction>\n    <scene_description>Rocco takes the priest and puts his face in front of the slider to Smecker 's booth , gun to the back of his head .<\/scene_description>\n    <character>PRIEST<\/character>\n    <dialogue>Do n't do this my son.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Open it!<\/dialogue>\n    <character>PRIEST<\/character>\n    <dialogue>Have you no fear of God?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>That's who I'm doing this for, now open the fuckin' thing.<\/dialogue>\n    <scene_description>Connor gets the slider open . Rocco 's long hair hangs just inches from Connor 's face . Connor puts his thumb and forefinger through , desperately reaching for a lock of Rocco 's hair . Rocco jostles the priest and puts the gun hard to his head .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Father, I'll do you right here.<\/dialogue>\n    <character>PRIEST<\/character>\n    <parenthetical>( slowly obey , whispering . )<\/parenthetical>\n    <dialogue>God have mercy on my soul.<\/dialogue>\n    <scene_description>Rocco starts to move the priest aside and put his gun to Smecker 's now open slider . Just then Connor snags a piece of Rocco 's hair and pulls him back hard and fast by it , until his head slams into the lattice work . Rocco grabs the priest back into position . Connor grabs a nice wad of Rocco 's hair with his left hand , so that the side of Rocco 's face is now pressed to the lattice . Connor then puts a gun to Rocco 's head .<\/scene_description>\n    <character>CONNOR<\/character>\n    <parenthetical>( hard whisper . )<\/parenthetical>\n    <dialogue>You little fuck. Let him go. I'll drop you right here.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Okay, just calm down. He could hurt us, brother. He could ruin the whole thing.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Let him go or I will deliver you, right now.<\/dialogue>\n    <parenthetical>( pulls hammer back . )<\/parenthetical>\n    <character>ROCCO<\/character>\n    <dialogue>You wo n't do it Connor, you wo n't. You love me man.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  CHURCH CONFESSIONAL BOOTHS  EARLY MORNING<\/stage_direction>\n    <scene_description>Smecker wakes up from a drunken stupor . He looks through the slider window at the barely discernible face of the now crying priest .<\/scene_description>\n    <character>SMECKER<\/character>\n    <parenthetical>( slurred , loud . )<\/parenthetical>\n    <dialogue>Hello? You there?<\/dialogue>\n    <character>PRIEST<\/character>\n    <dialogue>Y - Yes my son.<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>( whispers . )<\/parenthetical>\n    <dialogue>Do your thing Father. Do n't fuck this up.<\/dialogue>\n    <character>PRIEST<\/character>\n    <parenthetical>( whispering to Rocco . )<\/parenthetical>\n    <dialogue>What do you want me to say?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Just be natural, goddamit.<\/dialogue>\n    <character>PRIEST<\/character>\n    <dialogue>How long since your last confession, my son?<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Oh, Christ, uh, I've never confessed.<\/dialogue>\n    <scene_description>The priest can hear Connor and Rocco whisper , but Smecker can not .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>According to the dogma of the Catholic church, I should probably burst into flames right here in this booth. But I've come here for advice, not salvation.<\/dialogue>\n    <scene_description>Connor and Rocco stop and listen now .<\/scene_description>\n    <character>PRIEST<\/character>\n    <dialogue>Why have you come to a church for council if you're not religious?<\/dialogue>\n    <character>SMECKER<\/character>\n    <parenthetical>( ponderous . )<\/parenthetical>\n    <dialogue>Why have I come to a church? I never have before. I guess I just. felt I should.<\/dialogue>\n    <character>PRIEST<\/character>\n    <dialogue>What is it my son?<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>It's ethics. I put evil men behind bars, but the law has miles of red tape and loopholes for these. cocksuckers to slip through. I've found out there are these two young men who fix the situation with an iron fist. As if they have God's permission. But what they do is wrong and I should arrest them. technically.<\/dialogue>\n    <character>PRIEST<\/character>\n    <dialogue>God's permission? God does n't.<\/dialogue>\n    <scene_description>Rocco shakes the priest .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>But in this day and age I believe what they do is. necessary. I feel it is. correct.<\/dialogue>\n    <character>PRIEST<\/character>\n    <dialogue>You believe?<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>PRIEST<\/character>\n    <dialogue>You feel?<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>PRIEST<\/character>\n    <dialogue>You feel? A soul is what gives you feelings. Happiness, guilt, right or wrong. It is a conduit through which the Lord speaks to us. You felt that your answers would be here in the house of God today. You feel these men are necessary. The Lord has spoken to you twice this day.<\/dialogue>\n    <scene_description>Rocco and Connor show their individual looks of surprise .<\/scene_description>\n    <character>SMECKER<\/character>\n    <parenthetical>( sarcastically . )<\/parenthetical>\n    <dialogue>Has he now?<\/dialogue>\n    <character>PRIEST<\/character>\n    <dialogue>You have entered the house of the Lord of your own free will speaking of beliefs and feelings. Is it so much to believe that God has brought you here?<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>I guess not.<\/dialogue>\n    <character>PRIEST<\/character>\n    <dialogue>It is easy to be sarcastic about religion. It is harder to take small hints from God, your feelings and listen to them. to take a stand.<\/dialogue>\n    <scene_description>The look of surprise on Rocco and Connor 's faces show that the priest is doing a hell of a job .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>You're right.<\/dialogue>\n    <character>PRIEST<\/character>\n    <dialogue>Those who do not act are in a constant state of ethical indecision.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>I want to stand for what I believe in, father.<\/dialogue>\n    <character>PRIEST<\/character>\n    <dialogue>Then you must find out what your beliefs are.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>I believe these young men are right.<\/dialogue>\n    <character>PRIEST<\/character>\n    <dialogue>You know them personally?<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>PRIEST<\/character>\n    <dialogue>Do you think they would harm an innocent man, for any reason?<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>No. They would never do that.<\/dialogue>\n    <scene_description>The priest starts to show signs of anger as he starts turning to Rocco .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>Well, the two Irish guys would n't. But the Italian guy, he might. He's kind of an idiot.<\/dialogue>\n    <scene_description>Fear returns to the priests face . Rocco presses the gun hard to the priests head and jostles him .<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>( whispers to priest . )<\/parenthetical>\n    <dialogue>Goddam right, I am.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>I'm beginning to see. I've been doing my job. well for fifteen years and it's just not enough. All the things I wish I could do, these guys are doing. Millions of dollars in tax payers' money wasted on shit like wire taps and surveillance. Theses boys go in and take care of it for the price of a bullet.<\/dialogue>\n    <parenthetical>( looks up . )<\/parenthetical>\n    <dialogue>Ww - what do you think I should do? Because I'm a law man.<\/dialogue>\n    <scene_description>Rocco jostles the priest again .<\/scene_description>\n    <character>PRIEST<\/character>\n    <dialogue>The laws of God are higher than the laws of man.<\/dialogue>\n    <character>SMECKER<\/character>\n    <parenthetical>( the clouds have lifted . )<\/parenthetical>\n    <dialogue>Yes! Yes! I was thinking that, too. No. I was feeling it. All I needed was to hear you say it! Amen! I'll help them.<\/dialogue>\n    <character>PRIEST<\/character>\n    <parenthetical>( whispers . )<\/parenthetical>\n    <dialogue>Forgive me father.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Thank you, Father, thank you.<\/dialogue>\n    <parenthetical>( he attempts the sign of the cross but screws it up . )<\/parenthetical>\n    <dialogue>Whatever. Goodbye, amen.<\/dialogue>\n    <scene_description>Smecker exits and they all let go after a brief pause . Rocco turns and starts fixing up the priest 's ruffled suit .<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>I would n't have, uh, killed you, Father.<\/dialogue>\n    <parenthetical>( signs cross . )<\/parenthetical>\n    <dialogue>Dominus Ominus. Remember, you're bound. You ca n't talk about this. to anyone.<\/dialogue>\n    <character>PRIEST<\/character>\n    <dialogue>Just go!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  CHURCH  EARLY MORNING<\/stage_direction>\n    <scene_description>Rocco exits the booth and shuts the door behind him . Connor is standing outside , hands on his hips . Rocco smiles at him as Connor fumes .<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>( giggling . )<\/parenthetical>\n    <dialogue>The Lord works in mysterious ways.<\/dialogue>\n    <scene_description>Connor slaps him in the back of the head and kicks him in the ass . Rocco 's still giggling as they exit .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  PHONE BOOTH  UPTOWN  LATER<\/stage_direction>\n    <character>SMECKER<\/character>\n    <dialogue>That's all you can give me?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  PHONE BOOTH  DOWNTOWN  CONTINUOUS<\/stage_direction>\n    <scene_description>We shoot alternating coverage between the two locations .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>Well, the light caught the side of his face for a second. And it looked like he had a gray beard, maybe. late fifties, early sixties.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>So you're telling me it was one guy with six guns? A - and he was a senior fucking citizen?<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>I think it's better if we find this man before he finds us again.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>I'll see what I can do. How do I get in touch with you?<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>We're going to hit Poppa Joe tonight, right in the comfort of his own home. Then we move on to New York. It's getting a bit hot for us here.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Be careful.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>I'll call you tonight, afterwards.<\/dialogue>\n    <parenthetical>( hangs up . )<\/parenthetical>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  RITZY RESTAURANT BATHROOM  NIGHT<\/stage_direction>\n    <scene_description>Smecker stands beside Augustus , just the way Yakavetta did .<\/scene_description>\n    <character>AUGUSTUS<\/character>\n    <dialogue>I do n't know who he is. Nobody does.<\/dialogue>\n    <scene_description>Smecker tosses an envelope of cash in his plate , just as Yakavetta did .<\/scene_description>\n    <character>SMECKER<\/character>\n    <dialogue>What did he bring him in for?<\/dialogue>\n    <character>AUGUSTUS<\/character>\n    <dialogue>Needed an outsider. The package boy knows everyone. He'd spot our hitters a mile away.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Just for him?<\/dialogue>\n    <character>AUGUSTUS<\/character>\n    <dialogue>Well he's the one shooting up all his guys, right? He's scared of the kid. Says he's real good, got every available gun in the city up there.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Up where?<\/dialogue>\n    <character>AUGUSTUS<\/character>\n    <dialogue>Up his house. I do n't know what's going on but I know it's got ta have something to do with this kid.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>Oh fuck!<\/dialogue>\n    <parenthetical>( runs out . )<\/parenthetical>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  YAKAVETTA'S HOUSE  BASEMENT HALL  NIGHT<\/stage_direction>\n    <scene_description>There are several bodies in the hall , some with pennies in their eyes , some without . Down the dark basement halls there is more gore . The boys and Rocco can be heard screaming from a room in the basement . Yakavetta 's voice is heard yelling and in command .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  YAKAVETTA'S HOUSE  BASEMENT ROOM  NIGHT<\/stage_direction>\n    <scene_description>Connor , Murphy , and Rocco are all hand cuffed to chairs in the seated position . Their clothes are ripped and they have been beaten severely . Blood covers them . Rocco has been uncuffed and two men hold his open hand up as Yakavetta puts a pistol at the base of his remaining pinky finger . Several other hold him down as he and the boys scream in tough protest .<\/scene_description>\n    <character>YAKAVETTA<\/character>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>You gon na tell me what's going on here?! Huh! You little fuck! Gim me some answers!<\/dialogue>\n    <scene_description>They all yell for him to fuck off . Although Rocco is terrified , he is holding out . Yakavetta fires and Rocco 's finger is gone . The blood splatters on Connor 's face . Rocco screams in pain saying fuck you through his sobs . After re - cuffing Rocco , Yakavetta and his goons exit .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  YAKAVETTA'S HOUSE  BASEMENT HALL  NIGHT<\/stage_direction>\n    <scene_description>Yakavetta is in the hall with four men . GENO -LRB- 35 yrs . -RRB- very big . CHAPPY -LRB- 22 yrs . -RRB- wears sunglasses even in the dark , trying to look cool . HOJO -LRB- 28 yrs . -RRB- is slick and good - looking . Another Mafioso cohort is with them as well .<\/scene_description>\n    <character>YAKAVETTA<\/character>\n    <dialogue>What do you guys think?<\/dialogue>\n    <character>GENO<\/character>\n    <dialogue>They're tough. No way they're gon na talk.<\/dialogue>\n    <character>HOJO<\/character>\n    <dialogue>I know Rocco. He ai n't smart enough for this shit. These other guys are the brains. He's just a player.<\/dialogue>\n    <character>YAKAVETTA<\/character>\n    <dialogue>There's only one way to get them to talk.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  YAKAVETTA'S HOUSE  BASEMENT ROOM  NIGHT<\/stage_direction>\n    <scene_description>He walks back into the room . He saunters up to Rocco very nonchalantly and shoots him in the chest . His chair is blown back to the floor . The boys are screaming and crying as Yakavetta walks out .<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>( struggles to talk . )<\/parenthetical>\n    <dialogue>You guys?<\/dialogue>\n    <character>CONNOR<\/character>\n    <parenthetical>( crying . )<\/parenthetical>\n    <dialogue>We're here brother.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>You got ta keep going.<\/dialogue>\n    <character>MURPHY<\/character>\n    <parenthetical>( sobbing . )<\/parenthetical>\n    <dialogue>We'll keep going, Roc.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>You'll make it outta here. You ca n't ever stop, not ever.<\/dialogue>\n    <scene_description>As Rocco dies , they fall into prayer .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  YAKAVETTA'S HOUSE  FRONT FOYER  NIGHT<\/stage_direction>\n    <scene_description>Yakavetta lights up a cigar and talks to his men .<\/scene_description>\n    <character>CHAPPY<\/character>\n    <dialogue>Once you set him in motion, you ca n't call him off. He thinks it's still on.<\/dialogue>\n    <scene_description>Yakavetta stops as if terrified with a thought .<\/scene_description>\n    <character>YAKAVETTA<\/character>\n    <dialogue>Oh Jesus Christ!<\/dialogue>\n    <character>HOJO<\/character>\n    <dialogue>What? I.<\/dialogue>\n    <character>YAKAVETTA<\/character>\n    <dialogue>Hey, I do n't have my name spray painted on the front of this house. There are no big pictures of me anywhere. If this guy thinks the job is still a go then I got green money says the mother fucker's out in the bushes already. I'm fucking gone! I'm leaving you guys to deal with this.<\/dialogue>\n    <scene_description>The four guys are left alone . They all look far from confident except for Geno .<\/scene_description>\n    <character>GENO<\/character>\n    <dialogue>One fucking guy, so what.<\/dialogue>\n    <character>HOJO<\/character>\n    <dialogue>Why do n't you take the front.<\/dialogue>\n    <parenthetical>( points . )<\/parenthetical>\n    <dialogue>You guys cover those other exits and if you see him, do n't flag him down, just kill the mother fucker. I'm going back down to work on these pricks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  YAKAVETTA'S HOUSE  BASEMENT ROOM  NIGHT<\/stage_direction>\n    <scene_description>Murphy has scootched his chair in front of Connor 's . He has his back to Connor . He stretches his neck over and bites at the collar of his p - coat . He gathers as much of the material in his mouth as he can . He starts to yell , `` Do it ! '' but it is muffled . Connor , still sobbing , begins to kick his brother 's left hand repeatedly . He turns it into a bloody piece of broken meat as Murphy screams through the shirt . Finally , it is broken enough and Murphy pulls it through the cuff . He stands and breaks the chair into pieces and grabs the sharpest piece . Hojo enters and Murphy shoves the sharp stick up through the bottom of his chin into his head . He drags him around the room yelling mumbo jumbo into his face as Connor jumps up and down in his chair in rage , wanting a piece of the action . Murphy throws the man down and Connor proceeds to viciously kick his dead body . The two have turned into barbarians . Murphy removes the man 's two guns , shiny nickel - plated 45s .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  YAKAVETTA'S FRONT FOYER  NIGHT<\/stage_direction>\n    <scene_description>There is a knock at the door . Geno jumps with fright and then looks out the peep hole . He sees a well - formed pair of woman 's breasts in a cheap dress . He opens the door . A stunning blonde stands before him . She looks like a hooker . She wears a short , hot pink dress and a white scarf around her neck , as well as six inch platform heels .<\/scene_description>\n    <character>SMECKER AS WOMAN<\/character>\n    <dialogue>Joey Bevo sent me over. As entertainment.<\/dialogue>\n    <scene_description>The woman speaks and it is apparent that this is actually Smecker in drag .<\/scene_description>\n    <character>GENO<\/character>\n    <dialogue>Listen baby. Tonight ai n't the night for this shit.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Bevo's so great. Always sending us hot girls.<\/dialogue>\n    <character>SMECKER<\/character>\n    <dialogue>You look like you could use a quickie.<\/dialogue>\n    <scene_description>Smecker kisses him full on the lips and rubs up against him . Geno is convinced . He brings her inside .<\/scene_description>\n    <character>GENO<\/character>\n    <dialogue>Hey, Chappy!<\/dialogue>\n    <character>CHAPPY<\/character>\n    <parenthetical>( Chappy , emerges way down the hall . )<\/parenthetical>\n    <dialogue>What the fuck?<\/dialogue>\n    <character>GENO<\/character>\n    <dialogue>I ai n't been laid in a week. Take five minutes.<\/dialogue>\n    <character>CHAPPY<\/character>\n    <dialogue>If I die cause you're getting a piece of ass, I'll come back and beat you to death with a big rubber dick.<\/dialogue>\n    <character>GENO<\/character>\n    <dialogue>Do n't worry about it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  YAKAVETTA'S HOUSE  NIGHT<\/stage_direction>\n    <scene_description>He takes Smecker into a small bathroom adjoining the foyer . They are instantly in the throws of passion . They grope each other and Smecker cleverly avoids any contact with his crotch . Smecker lies down on the floor and starts to wiggle and seductively touch himself . Geno stands over him , straddling Smecker 's hips as he undoes his pants . Suddenly , Smecker grabs both of Geno 's ankles and has him locked in position . He repeatedly kicks Geno in the balls from his lying position on the floor . The guy falls on his back unconscious . Smecker uses a silencer , shoots him in the head .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  YAKAVETTA'S HOUSE  HALL  NIGHT<\/stage_direction>\n    <scene_description>He starts to whisper , `` It 's on now . It 's on now . Too far . '' as he walks down the hall , striding in his high heels , wig back in place . He thoughtlessly blows Chappy away as he passes his position and runs down a long hallway . He turns a corner and points his gun at the Mafioso cohort but pauses . He is already sitting with his throat cut . Smecker looks puzzled as Il Duce withdraws from the shadows behind him . The Duke pistol whips Smecker . He 's out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  YAKAVETTA'S HOUSE  BASEMENT ROOM  NIGHT<\/stage_direction>\n    <scene_description>Connor and Murphy are on their knees in front of Rocco , whom they have sat back up in the chair . They are gently placing pennies in his eye and sobbing as they begin to recite the prayer . As they speak , Il Duce watches . He then begins to whisper the prayer right along with them . Their words match up perfectly . He leans against the wall , holsters his guns , and withdraws a cigarette . He rolls it along his tongue and twists it into his lips . The boys are still reciting as he strikes a match . They react instantly . Still kneeling they each point a nickel - plated 45 toward The Duke . They turn in time to see the light from the match illuminate his face . Il Duce pauses then he strides into the room and proceeds to recite the last half of the prayer . He stops between the kneeling boys and finishes off the prayer . The boys are stunned as they realize this is their father . He makes the sign of the cross over Rocco . Then he looks down to the upturned faces of his sons . He places a hand on each of their cheeks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  CHEAP BOSTON HOTEL ROOM  NIGHT  3 MONTHS LATER<\/stage_direction>\n    <scene_description>Both sleeping boys throw their arms out , mimicking a crucified Christ . Their father turns , sees this , turns back . The boys wake with a start . Connor looks to his father , who is already staring at him .<\/scene_description>\n    <character>CONNOR<\/character>\n    <dialogue>How far are we going with this, Da?<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>The questions is not, `` how far?'' The question is, `` Do you possess the constitution, the depth of faith to go as far as is needed?''<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  COURTHOUSE  BACK FOYER AREA  MORNING<\/stage_direction>\n    <scene_description>Smecker opens the door from the inside and lets the MacManus father and sons in . He walks one way they walk the other through the grand courthouse halls .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  COURTROOM  MORNING<\/stage_direction>\n    <scene_description>The media , with their cameras and notebooks , are at the back of the courtroom . Yakavetta is testifying on the stand . He is cocky . The judge warns Yakavetta that he will have no more of this behavior in his courtroom .<\/scene_description>\n    <character>MEDIA MAN 1<\/character>\n    <parenthetical>( whispering to # 2 . )<\/parenthetical>\n    <dialogue>Look at his charisma. He's the next John Gotti.<\/dialogue>\n    <character>MEDIA MAN 2<\/character>\n    <dialogue>He'll walk. Even with all this evidence.<\/dialogue>\n    <character>MEDIA MAN 1<\/character>\n    <dialogue>Look.<\/dialogue>\n    <parenthetical>( points to the left and right sections of courtroom seating . )<\/parenthetical>\n    <dialogue>All Yakavetta's people are on the right. All the families of the men he has killed are on the left. Everyone wants some justice.<\/dialogue>\n    <character>MEDIA MAN 2<\/character>\n    <dialogue>Look at him. He does n't have a care in the world. He's gon na walk.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  FOYER TO COURTROOM  DAY<\/stage_direction>\n    <scene_description>The MacManusus stand in the foyer . There are a pair of doors that go to the outside hallway and a pair that go to the inside courtroom . There is an armed guard directly inside the courtroom , in front of the doors . The door opens a crack and Connor waves the guard into the foyer and starts talking to him . Then dad zaps him with a stun gun . The guard is on the floor , incapacitated and drooling as the boys handcuff him . Connor pulls out a length of chain and drapes it through the door handles that lead from the hall into the foyer . He locks them in with a padlock .<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>How long do these put a man down for?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Ten minutes.<\/dialogue>\n    <scene_description>The father zaps the incapacitated man a second time as he lay .<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>Twenty is a bit better.<\/dialogue>\n    <scene_description>They suit up , Connor and Murphy in their usual masks and gloves , Dad is already in his usual dark hat and glasses . The boys start for the courtroom door but dad gently holds them back . He takes a moment , then slowly removes his hat and glasses . His sons look at one another and then remove their masks . The three look into each others eyes for a moment .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  COURTROOM  DAY<\/stage_direction>\n    <character>JUDGE<\/character>\n    <dialogue>Due to the lack of hard evidence.<\/dialogue>\n    <scene_description>The three burst in , guns drawn , and are walking down the aisle .<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>All media to the back! Drop the cameras! Drop'em!<\/dialogue>\n    <scene_description>Terrified , they all obey . Connor and Murphy pull Yakavetta from the witness booth by his hair and place him on his knees just before the judge 's bench . They face him toward the occupants of the courtroom . The father walks up and motions for the judge , who is now banging his gavel and shouting in protest , to come off the stand . As soon as he is within arms reach , dad takes him by the collar and drags him down the aisle all the way to where the media stands in horror . He turns and walks back down the aisle .<\/scene_description>\n    <character>FATHER<\/character>\n    <parenthetical>( loudly . )<\/parenthetical>\n    <dialogue>You people have been chosen to reveal our existence to the world. You will witness what happens here today and you will tell of it afterwards.<\/dialogue>\n    <scene_description>All eyes to the front .<\/scene_description>\n    <character>YAKAVETTA<\/character>\n    <parenthetical>( looking to his comrades . )<\/parenthetical>\n    <dialogue>Fuckin' do something!<\/dialogue>\n    <scene_description>The father keeps them covered . He passes the front , he looks and sees a VIRGINAL - LOOKING WOMAN with her head down crying into her hands . She is on the left side . He gently tilts her chin forward , her eyes fixated on a faded blue butterfly on the back of his hand .<\/scene_description>\n    <character>FATHER<\/character>\n    <parenthetical>( WHISPERS . )<\/parenthetical>\n    <parenthetical>( whispers . )<\/parenthetical>\n    <dialogue>You must watch dear. It'll all be over soon.<\/dialogue>\n    <parenthetical>( she obeys . )<\/parenthetical>\n    <scene_description>The father takes out a flask . He pours the booze on the judges bench and set it ablaze . Fire alarms start to sound . Connor and Murphy jump up on the lawyers ' tables . Murphy on the prosecution side , Connor on the defense . The father has his sawed - off to the back of Yakavetta 's head .<\/scene_description>\n    <character>CONNOR<\/character>\n    <parenthetical>( yelling over the alarm . )<\/parenthetical>\n    <dialogue>Now, you will receive us.<\/dialogue>\n    <character>MURPHY<\/character>\n    <parenthetical>( yelling over the alarm . )<\/parenthetical>\n    <dialogue>We do not ask for your poor or your hungry.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>We do not want your tired and sick.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>It is your corrupt we claim.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>It is your evil, who will be sought by us.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>With every breath we shall hunt them down.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>Each day we will spill their blood till it rains down from the skies.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Do not kill, do not rape, do not steal. These are principles which every man of every faith can embrace.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>These are not polite suggestions. They are codes of behavior and those that ignore them will pay the dearest cost.<\/dialogue>\n    <parenthetical>( points to Yakavetta . )<\/parenthetical>\n    <character>MURPHY<\/character>\n    <dialogue>There are varying degrees of evil. We urge you lesser forms of filth.<\/dialogue>\n    <parenthetical>( pointing to Yakavetta 's people . )<\/parenthetical>\n    <dialogue>Not to push the bounds and cross over into true corruption. into our domain.<\/dialogue>\n    <character>CONNOR<\/character>\n    <dialogue>For if you do, there will come the day when you look behind you and see we three. And on that day you will reap it.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>And we will send you to whatever God you wish.<\/dialogue>\n    <scene_description>Connor and Murphy jump off the table . They approach Yakavetta and stand on either side of their father . All three men hold guns to his head and recite the prayer . As they speak , the right side of the courtroom screams in protest . The left watches in wide - eyed terror , although some men encourage them to do it . The MacManus ' read the prayer . They do not falter as the flames rage behind them . Yakavetta , accepting his fate , closing his eyes . Peacefully , he does the sign of the cross . The all fire at once . The room explodes in confusion . The three exit the back .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  LONG CEMENT HALLWAY  SUBLEVEL OF COURTHOUSE<\/stage_direction>\n    <scene_description>The MacManuses are all shackled and in blue jumpsuits of the Boston lock - up facility with bags over their heads . Duffy is in full uniform with a shotgun behind them . Smecker is leading the prisoners down the hall . He flashes his F.B.I. identification to every cop he encounters .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  COURTHOUSE INSIDE GRANDE FOYER STEPS  DAY<\/stage_direction>\n    <scene_description>The media is in a frenzy . Little bits of the story are known . The people from the left and right sides of the courtroom are yelling and pushing each other as cameras and microphones try to pick up the news . Finally all the focus comes to the virginal woman who had been sitting in the front row . All lights , cameras and microphones are on her .<\/scene_description>\n    <character>REPORTER 2<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Yes! Were you in the courtroom miss? Did you see?<\/dialogue>\n    <character>WOMAN<\/character>\n    <parenthetical>( FRAIL . )<\/parenthetical>\n    <parenthetical>( frail . )<\/parenthetical>\n    <dialogue>Yes. I was there.<\/dialogue>\n    <character>REPORTER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>How do you feel about what they did?<\/dialogue>\n    <scene_description>-LRB- Slo - mo -RRB- She sees at the grande hall 's end Smecker leading the three out , bags still over their heads . She sees Dad 's butterfly tattoo . She knows .<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>I guess we all know what is right and wrong. We all know. Nobody needs to be convinced of what he was. I'm going home now to have my first real full night's sleep.<\/dialogue>\n    <scene_description>The people who had been on Yakavetta 's side of the courtroom threaten her and force their way through the crowd toward her , thus causing the two sides to fight . Everyone , even reporters are in it . The camera tilts up ending on the statue of the Blind Lady of Justice . THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In Boston, two Irish American twin brothers, Connor and Murphy MacManus, attend Mass, where the priest mentions the fate of Kitty Genovese. Later, when Connor and Murphy are celebrating St. Patrick's Day with friends, three Russian mobsters arrive and announce they want to close the pub and take over the land it is built on. A brawl ensues and the next morning, when two of the Russians seek revenge on Connor and Murphy, the mobsters are killed in self-defense. FBI Agent Paul Smecker is assigned to the case, and finds that the police and local news reporters see the MacManus brothers as heroes. The duo turn themselves in at a police station, where Smecker interviews them. After they retell their incident to Smecker, he declines to press charges and allows them to spend the night in a holding cell to avoid attention from the media. That night, they receive a \"calling\" from God telling them to hunt down wicked men so that the innocent will flourish. Connor and Murphy resolve to rid Boston of evil men. Connor learns of a meeting of Russian syndicate bosses at a hotel. Having equipped themselves with weaponry from a local underground gun dealer, the brothers quickly kill all nine Russian mobsters, while Rocco, a friend of the brothers and errand boy for local mafia boss Giuseppe \"Papa Joe\" Yakavetta, is sent on a hit as an unknowing pawn. The next day, Rocco learns that he was betrayed, having been sent to kill nine Russians with only a six-shot revolver. Rocco commits himself to helping Connor and Murphy. That night, they hunt down and kill Vincenzo Lapazzi, an underboss of the Yakavetta crime family. Concerned he may be a target, Papa Joe contacts a hitman, Il Duce, to deal with them. After killing a criminal that Rocco had a personal hatred for, the three men are ambushed by Il Duce. Although they manage to chase Il Duce away, the three men suffer serious wounds, including the loss of Rocco's finger. The three return to a safehouse where they treat their wounds. Hours later as the police conduct an investigation at the crime scene, the investigation seems futile since the brothers covered their tracks by spraying any blood left behind with ammonia. However, Smecker happens upon the part of the finger lost by Rocco and decides to do an independent investigation to see who was behind the gun battle. Smecker is able to track the evidence down to Rocco and his two allies. This leaves Smecker in a difficult scenario, and struggles with the choice of whether to prosecute the three men, or join them in their cause, as Smecker believes they are doing the right thing. After getting drunk at a gay bar and subsequently getting advice from a reluctant priest, Smecker decides to help the trio. Later, the brothers and Rocco inform Smecker that they plan to infiltrate the Yakavetta headquarters to finish off the family, but Smecker learns they are walking into a trap. The brothers are captured, and Rocco is shot and killed by Papa Joe, but the brothers are able to free themselves. As Papa Joe leaves his house, Smecker arrives in drag and kills a number of soldiers before being knocked unconscious by Il Duce. As the brothers say their family prayer over Rocco, Il Duce enters the room and prepares to open fire. However, he instead finishes the prayer \u2013 revealing he is the brothers' father and decides to join his sons in their mission. Three months later, Papa Joe is sent to trial for a third time. However, the reporters on-scene anticipate his acquittal. The brothers and Il Duce, aided by Smecker, infiltrate the trial after sliding their weapons over the metal detector. Unmasked, they make a speech stating that they intend to eradicate evil wherever they find it before reciting their family prayer and killing Papa Joe. The media dubs the three as \"the Saints\"."}
{"movie_name":"The House with a Clock in Its Walls_2018","imdb_id":"tt2119543","script":"<script>\n  <scene>\n    <scene_description>FADE IN...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOUSE - NIGHT<\/stage_direction>\n    <scene_description>'100 HIGH ST.' Chiseled into a stone wall. Framed by ivy. Ivy that SHRIVELS and WITHERS before our very eyes. A vintage SEDAN-- a 1935 Muggins-Simoon-- screeches up to the curb. Beneath smothering sheets of rain; stabbing daggers of lightning; a howling tantrum of wind. CHYRON: NEW ZEBEDEE, MICHIGAN. 1952. The car doors fling open-- and JONATHAN BARNAVELT and FLORENCE ZIMMERMAN, both 40's, leap out. He is round, red-headed, bushy-bearded. She is angular, rail-thin, clad only and forever in purple. Together, they form the shape of the number '10.' Usually, Jonathan is jovial and Mrs. Zimmerman is sharply dry. But right now-- they both stand frozen. In terrified awe. Staring up at-- THE HOUSE. On its sunniest day, it's foreboding. Three storeys of dark stone. A mad jumble of chimneys and porticos. A tall turret tower in the front, with an oval window set like the eye of a great cyclops. And now-- with the wind and rain-- and with the SWIRLING BLACK CLOUDS, funneling directly and impossibly over the house like some SATANIC HURRICANE-- it's the Gothic mansion of your most fevered nightmares. Jonathan and Mrs. Zimmerman trade looks-- and they both know-- something unholy is happening here. They scramble up to the House-- as FLARES of LIGHT STROBE in the ground floor windows. Jonathan POUNDS on the thick front door.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Isaac! Open up! Open this door RIGHT NOW!<\/dialogue>\n    <scene_description>Mrs. Zimmerman. Stands right behind. She notices-- The WINDOW. The strobes intensify. Faster and faster. GRINDING CRACKS spiderweb the glass. A low level RUMBLE groans from somewhere deep down. CONTINUED:<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Isaac, please! You have to-- you have to stop this!<\/dialogue>\n    <scene_description>Mrs. Zimmerman grows alarmed. The rumbling mounts. The ground quakes. The window panes rattle violently. A FIRE HYDRANT BURSTS. The strobes blink, ever faster, seizure-inducing by now. All building like a steam kettle... Jonathan has given up knocking-- he frantically and vainly attempts to shoulder open the door--<\/scene_description>\n    <character>JONATHAN<\/character>\n    <parenthetical>(tears in his eyes)<\/parenthetical>\n    <character>ISAAC! PLEASE!<\/character>\n    <dialogue>Mrs. Zimmerman grips Jonathan's shoulder--<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>It's too late! Come on!<\/dialogue>\n    <scene_description>In his panic, he doesn't even notice her--<\/scene_description>\n    <character>JONATHAN!<\/character>\n    <dialogue>NOW!<\/dialogue>\n    <scene_description>Finally, he sees her. She yanks his arm, and together, they stumble away from the house as-- K-RAAACK! The strobe goes ATOMIC WHITE. The front door FLINGS OPEN. And every window in the house EXPLODES. A jagged tidal wave of glass. Jonathan and Mrs. Zimmerman shield themselves. And from a ground floor bay window-- a BODY-- flung through space like a rag doll, thudding into a chestnut tree, crumpling to the wet earth. And then-- quiet. Still. Just the whisper of the rain. Jonathan and Mrs. Zimmerman pull themselves up. Their faces are mildly cut. They brush off glass splinters.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>You alright?<\/dialogue>\n    <scene_description>Mrs. Zimmerman gives a shaky nod. They turn to-- CONTINUED: (2) The body. They approach. Kneel beside. It's a severe looking MAN, 50. His circular bifocals reflect the light-- obscuring his eyes-- making them look like two cold, gray discs. This is ISAAC IZARD-- and if you're not scared of him? You will be. Jonathan checks Isaac's carotid. Looks at Mrs. Zimmerman, sad and grim. He's dead. Then they both swivel, in unison, to... the HOUSE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - PARLOR - NIGHT<\/stage_direction>\n    <scene_description>You'd normally call the design Victorian. Except it looks like a BOMB WENT OFF. Charred walls. Small fires dot the floor. Jonathan and Mrs. Zimmerman head in, slow, wary. The charcoal BLAST MARKS radiate out from an EPICENTER, like rays from a dark sun. In the middle-- A BLACK ALTAR, untouched from the explosion. Velvet table cloth. Melted candles. And a strange brass BOWL. Which rotates on a clockwork, exposed gear, STEAM-PUNK platter. Jonathan approaches the bowl. Looks in, anxious. Then frowns. Not what he was expecting. He takes a handkerchief-- uses it to lift out-- a KEY. SIZZLING with SMOKE. And made from:<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Is that bone?<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>It's human. Isaac carved it-- into some sort of key.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>A key? A key to what?<\/dialogue>\n    <scene_description>Jonathan's about to say he has no idea-- when he stops. Cocks his head. Because he hears it. For the first time. Mrs. Zimmerman hears it, too. A TICKING. Deep, echoed, and sinister.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>...what is that?<\/dialogue>\n    <scene_description>CONTINUED: We leave the two of them-- listening, chilled-- to THE HOUSE WITH A CLOCK IN ITS WALLS. As we SCUD FORWARD. Pushing through a SNAKING PLASTER CRACK in the wallpaper-- into-- THE CREDIT SEQUENCE THE WALLS. Narrow corridors of brick and wood. Deeper and deeper we go. Until we find... CLOCKWORK. Gears and springs, weights and counter-weights, wheels and spindles. Astoundingly complicated. And it all CLICKS and WHIRS, in relentless syncopation, like the BEATING of some large and terrible heart. Until finally, we PULL OUT of this ever-shifting labyrinth--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS - MOVING - NIGHT<\/stage_direction>\n    <scene_description>--through a simple WRISTWATCH. Strapped to the arm of our HERO. LEWIS BARNAVELT, 10. Chubby. Shy. Buttoned-down. Neatly dressed-- except for a pair of AVIATOR GOGGLES he wears up on his forehead. Bob Newhart had to have been a child once, right? He probably looked a lot like Lewis. Lewis sits alone. The only passenger on the bus. He's always alone. He peers out the black window. Holds a dime store MAGIC 8-BALL like a security blanket.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - NIGHT<\/stage_direction>\n    <scene_description>CHYRON: ONE YEAR LATER The 1950's GREYHOUND rumbles down the country road. Wait-- do we-- is that something-- or someone-- standing between the moonlit trees? A SHROUDED FIGURE. In a grimy-gray, hooded robe. If you blink, you miss it. Who the hell is that?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS - MOVING - NIGHT<\/stage_direction>\n    <scene_description>Lewis never sees it. Only notices his own tight, nervous reflection in the glass. He leans in, whispers, shakes the 8-ball-- CONTINUED:<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Will I be okay?<\/dialogue>\n    <scene_description>The answer appears in the blue fluid: VERY DOUBTFUL. Lewis sighs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW ZEBEDEE - MAIN STREET - NIGHT<\/stage_direction>\n    <scene_description>The Greyhound hisses to a stop before the glossy neon of Heemsoth's Rexall Drug Store.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS - NIGHT<\/stage_direction>\n    <character>DRIVER<\/character>\n    <dialogue>Last stop, kid.<\/dialogue>\n    <scene_description>Lewis stands on his tippy-toes. Strains for the enormous cardboard suitcase on the overhead rack. He pulls-- the suitcase lurches down, nearly braining him.<\/scene_description>\n    <character>JONATHAN (O.S.)<\/character>\n    <dialogue>Oh, come on! Don't kill yourself before I have a chance to finally meet you!<\/dialogue>\n    <scene_description>Jonathan. In the aisle. Still round, still rumpled, still with that bushy red beard. But also gregarious, extroverted, and in many ways, the opposite of Lewis.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Howdy, Lewis. I'm your Uncle Jonathan.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Here, let me help you with that.<\/dialogue>\n    <parenthetical>(takes the case)<\/parenthetical>\n    <dialogue>Good Lord, what have you got in this thing? Encyclopedias?<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Dictionaries.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <parenthetical>(smiles, then:)<\/parenthetical>\n    <dialogue>Ha, you're-- serious.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>I-- like new words. I think they're 'pulchritudinous.'<\/dialogue>\n    <scene_description>Jonathan takes in this odd, serious kid. Then--<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Okay. Well. Welcome to New Zebedee. Let's go see your new home.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW ZEBEDEE - MAIN STREET - NIGHT<\/stage_direction>\n    <scene_description>Jonathan lugs Lewis' suitcase with some effort. Lewis walks beside, cradling his 8-Ball, his corduroy pants swish-swishing as he goes. Down a classic American main street. Jimmy Stewart store fronts. Packards and Fords. Bundled-up PEDESTRIANS, breathing brisk puffs of air. It's early October, and the trees are bursting fireworks of color. Other places may claim to have a Fall. But only the Midwest does it like this. It's magical. Jonathan's overeager. Kids are new territory for him.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Trust me, you are gonna love it here. You know, we have the second largest Paul Bunyan statue in the continental U.S.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>That's-- good.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Oh, and I got a big Poker game tonight, if you wanna join in. Do you play?<\/dialogue>\n    <scene_description>Lewis throws Jonathan a look-- kids must be new territory for him.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Um. No. I'm ten.<\/dialogue>\n    <scene_description>Ah. Right. That makes sense.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Duly noted.<\/dialogue>\n    <scene_description>CONTINUED: Just then-- CLANG! Across the way, from the tall brick steeple of ST. MICHAEL'S CHURCH-- the clock TOLLS-- And-- thing is-- Jonathan STOPS on a dime. Staring at the steeple. Silent, icy-- and SCARED. Through each and every one of the nine resounding bongs. Lewis regards his Uncle. Um. Is he okay? Finally, the bells stop. Jonathan shakes it off. But he's quieter now. Heads off, quickly.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>C'mon. It's late.<\/dialogue>\n    <scene_description>Off Lewis. What was that about? He chases after his uncle. Swish-swish.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN STREET\/HANCHETT HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Jonathan and Lewis march up a suburban street-- lined with elaborately decorated old houses. Victorian, Gothic Revival, Queen Anne. All unique, all atmospheric-- and all seem like they're holding secrets. Except one-- square, boxy, Levittown-plain. What you think of, when you think 50's suburbia. Its owner is MRS. HANCHETT, 40's, Jonathan's across-the- street neighbor. She makes Donna Reed look like a sloppy vagrant. She rakes leaves, as she spots Jonathan--<\/scene_description>\n    <character>MRS. HANCHETT<\/character>\n    <dialogue>Mr. Barnevelt? Mr. Barnavelt?<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Mrs. Hanchett.<\/dialogue>\n    <character>MRS. HANCHETT<\/character>\n    <dialogue>We've talked about this-- you've been playing your saxophone again--<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Madam, not everyone can appreciate the intricacies of a free form jazz odyssey, but--<\/dialogue>\n    <character>MRS. HANCHETT<\/character>\n    <dialogue>I don't care what you play-- you're playing it at 3 AM. So I am begging you--<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>MRS. HANCHETT<\/character>\n    <parenthetical>(notices Lewis)<\/parenthetical>\n    <dialogue>Who's this?<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Lewis. My nephew. He's going to be living with me.<\/dialogue>\n    <scene_description>Mrs. Hanchett reacts with genuine horror--<\/scene_description>\n    <character>MRS. HANCHETT<\/character>\n    <dialogue>You? Are going to take care of him?<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>That's right.<\/dialogue>\n    <character>MRS. HANCHETT<\/character>\n    <dialogue>I'm sorry, I'm just-- you're-- responsible-- for keeping a human child-- alive?<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>That's right. Good evening.<\/dialogue>\n    <scene_description>Jonathan continues on. Lewis. Trepidation at this exchange-- should he be worried? He follows his uncle.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Jonathan stops on the sidewalk. Lewis catches up. Looks off camera. Yep. He should definitely be worried.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Home sweet home.<\/dialogue>\n    <scene_description>As we REVEAL-- the HOUSE from the opening. Just as spooky as ever. The turret tower. The CARVED STONE-- '100 HIGH ST.' Jonathan's made a few additions-- none very cheery. A heavy iron HORSESHOE hangs over the front door. And at least a DOZEN lit JACK O' LANTERNS-- but not with cute Halloween faces-- they're carved with tortured visages.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Do you-- like Halloween?<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>What? No, not really. I keep those up year round.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>JONATHAN<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>So what do you think?<\/dialogue>\n    <character>LEWIS<\/character>\n    <parenthetical>(it's scary and I want to run away)<\/parenthetical>\n    <dialogue>Um. It's... nice?<\/dialogue>\n    <scene_description>Jonathan squeaks open the squat front gate. Saunters up. Off Lewis. Hanging back. Gulping.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - FRONT HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Jonathan leads Lewis inside. And the first thing Lewis notices-- are the CLOCKS. Everywhere. On every wall. Every shelf. Every table. Big clocks, little clocks, dignified grandfather clocks, cheap plastic clocks. No two TICK in exactly the same rhythm, creating a wild tangle of TOCKS.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Wow, you've-- that's a lot of clocks.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Is it? I hadn't noticed.<\/dialogue>\n    <scene_description>Jonathan moves deeper into the house. Lewis gawks at the clocks, as he continues on--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - PARLOR - NIGHT<\/stage_direction>\n    <scene_description>--into the downstairs parlor. More clocks. More iron horseshoes-- hung over every doorway. On the walls-- vintage MAGIC POSTERS in gilt frames. Men named Kellar and Carter and Thurston-- whispering to devils and dealing them cards. And Florence Zimmerman stands in the room, too. As always, in purple. Stone-still, ear against the wall. Listening so intently, she doesn't notice them come in. Lewis reacts to this eccentric woman. Jonathan loudly clears his throat. Mrs. Zimmerman startles, surprised, then smooths out her dress. CONTINUED:<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Oh. Hello.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Lewis, this old bag is my next door neighbor-- Mrs. Florence Zimmerman.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Hello, Lewis. I am relieved to see you didn't inherit your Uncle's freakishly oversized head.<\/dialogue>\n    <scene_description>This is their routine. Always throwing jabs. But always throwing 'em with AFFECTION. Truth is, they care deeply for each other. Been through a lot together.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Um. Thanks, I guess. It's nice to meet you.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>You hungry, Lewis?<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Yes, please.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Florence, I'm gonna show Lewis to his room. Why don't you whip up a batch of your chocolate chip cookies?<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>And how would you like them, sir? Stuffed down your throat one by one? Or crumbled up and shoved into your pants?<\/dialogue>\n    <scene_description>As Jonathan and Lewis exit--<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Ignore her, Lewis. She thinks she's smarter than me because she has more college degrees.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>No, I think I'm smarter than you because I'm smarter than you.<\/dialogue>\n    <scene_description>Jonathan playfully sticks his tongue out at her. But after he and Lewis are gone-- CONTINUED: (2) The PLAYER ORGAN in the corner spontaneously begins \"That Old Black Magic.\"<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Shhhh!<\/dialogue>\n    <scene_description>The organ suddenly quiets, chastened.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - STAIRWAY - NIGHT<\/stage_direction>\n    <scene_description>A large STAINED GLASS WINDOW above the landing. A ship sailing on a bottle-blue sea. Lewis follows Jonathan up the steps-- passing a HEAVY OVAL MIRROR on the wall. We may also notice a repeating 'II' pattern in the vine-covered wallpaper.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Hey, Uncle Jonathan? Don't I have to eat dinner before I'm allowed to eat cookies?<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>But-- why not just eat cookies for dinner? They're far more delicious.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>No, I know, it's just, we had these-- house rules--<\/dialogue>\n    <scene_description>They halt on the landing. And behind Lewis-- unbeknownst to him-- the stained glass COMES TO LIFE. The ship sails across the churning turquoise ocean.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Well, not in this house. There's no bedtime, bathtime, mealtime. Eat cookies till you throw up, for all I care. You'll see. Things are-- quite different-- here.<\/dialogue>\n    <scene_description>Meanwhile, Jonathan spots the window over Lewis' shoulder. Shoots it a stern look, as if to say 'cut it out.' The ship freezes again. Lewis notices his Uncle's expression. As they continue up the stairs, the boy turns back to the glass. What was Jonathan looking at?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - LEWIS' ROOM - NIGHT<\/stage_direction>\n    <scene_description>The sort of room Sherlock Holmes might have slept in. Mahogany woodwork, a black marble fireplace, a king bed with an intricately carved headboard. Jonathan and Lewis enter-- even jittery Lewis is impressed. It's regal.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>You like it?<\/dialogue>\n    <scene_description>Lewis examines the expansive BOOKCASE-- loaded with musty and dusty books. He notices one-- like he just discovered the Hope Diamond.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>You-- have a 1828 First Edition Webster's. Just-- sitting here.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>No, I don't. You do. This is all yours now.<\/dialogue>\n    <scene_description>Lewis carefully sets the Magic 8-Ball down, inspects the book. Jonathan lifts the plastic ball, scoffs--<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>But why this is yours, I have no idea. You know, it's about the complete opposite of real magic.<\/dialogue>\n    <character>LEWIS<\/character>\n    <parenthetical>(quiet)<\/parenthetical>\n    <dialogue>Oh. It was... the last thing my parents gave me... before they...<\/dialogue>\n    <scene_description>Lewis trails off. Choked up. Mourning his parents' death. He might just cry. Jonathan winces. He might be friendly and fun-loving-- but has no idea how to handle a real moment like this. He reaches out for Lewis like he might explode.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <parenthetical>(awkward)<\/parenthetical>\n    <dialogue>I'm-- sorry-- there, there.<\/dialogue>\n    <parenthetical>(desperate to change the subject)<\/parenthetical>\n    <dialogue>Hey-- let's go see about those cookies, huh?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON A KITCHEN CABINET. Jonathan opens it, pulls out some glasses. Shakes his head, angry at himself.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>'There, there?' Really, Jonathan?<\/dialogue>\n    <character>ZIMMERMAN (O.S.)<\/character>\n    <parenthetical>(from the other room)<\/parenthetical>\n    <dialogue>It's your call, you Yeti!<\/dialogue>\n    <character>JONATHAN<\/character>\n    <parenthetical>(calls out)<\/parenthetical>\n    <dialogue>Hold your horses, you scarecrow!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - DINING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Lewis. Mrs. Zimmerman. At the large dining room table. There's cards, cash-- the grown-ups are playing Poker. As Lewis, in ecstasy, munches the single best looking chocolate chip cookie ever committed to film.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Wow. Just-- wow.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>I'm not without my talents.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>So, um. How long have you lived next to Uncle Jonathan?<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>A year. But we've been friends a lot longer-- ever since I moved here, after the War.<\/dialogue>\n    <parenthetical>(off Lewis)<\/parenthetical>\n    <dialogue>And no, to answer that look you're giving me, it's nothing kissy faced.<\/dialogue>\n    <scene_description>Lewis stretches for the dictionary word.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Oh. So you're 'platonic.'<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>Yeah. Smart kid.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Your Uncle drives me nuts-- and he doesn't always smell so terrific-- but he's gotten me out of more tough scrapes than I care to mention, you know?<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>No. Not really.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Of course not. I'm sure your friends are much more pleasant.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>No, I mean, I don't-- really-- have many--<\/dialogue>\n    <scene_description>He's about to say 'friends.' He stops. Drops his eyes.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>May I have another cookie?<\/dialogue>\n    <scene_description>Beat. Mrs. Zimmerman smiles kindly at this sad, lonely boy. Pushes the plate over to him.<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Of course, dear.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Jonathan opens the vintage ICEBOX. Digs his arm in, reaching for the milk. When suddenly-- SOMETHING IN THERE-- SOMETHING UNSEEN-- GRABS HIS ARM! It SHRIEKS, otherworldly--<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>Whatever this abomination is-- it tries to DRAG him in-- bottles and jars CRASH and SMASH-- But even crazier-- Jonathan doesn't panic-- as if this isn't unusual for him-- he simply snags a nearby wooden spoon and BEATS the mysterious SQUEALING thing back--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - DINING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Lewis hears the rowdy COMMOTION from the kitchen. CONTINUED:<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Uncle Jonathan? You okay??<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <parenthetical>(covering)<\/parenthetical>\n    <dialogue>I'm sure it's nothing.<\/dialogue>\n    <scene_description>But Lewis leaps up, sprints into the kitchen to find--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Jonathan. Wide smile. But panting with adrenaline. Holds three full glasses of MILK on a tray. At his feet, a God-awful MESS of broken jars and smeared food.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Thirsty?<\/dialogue>\n    <scene_description>Lewis looks at Mrs. Zimmerman. Who also beams, innocent. Off Lewis-- something is so deeply, deeply OFF here--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - LEWIS' ROOM - LATER<\/stage_direction>\n    <scene_description>OPEN ON a black and white PHOTO on Lewis' bedside. Baby Lewis, cradled by his lovely MOTHER, his handsome FATHER. It's late. Lewis, in bed, alone. Poring over that first edition Webster's dictionary-- INSERT. His finger lands on a word. FOREBODING (n.): apprehension; a feeling that something bad will happen. When... out of focus, over his shoulder, a female figure ENTERS. Is it Mrs. Zimmerman? No, it's--<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>Hey, monkey.<\/dialogue>\n    <scene_description>Lewis looks up. His MOTHER looks exactly as she does in the photo. She's even in BLACK and WHITE. And oddly, Lewis doesn't respond with any fear or alarm.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Hi, Mom.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>I miss you, kiddo-- to the moon and back.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>I miss you, too. A lot.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>I'd give anything to be with you again. You know that, right?<\/dialogue>\n    <scene_description>Lewis nods. He knows. She sits beside him. Tenderly, maternally brushes her hand through his hair.<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>So. How you making out? How do you like Uncle Jonathan?<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>He seems nice. It's just--<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>What?<\/dialogue>\n    <parenthetical>(Lewis hesitates)<\/parenthetical>\n    <dialogue>Come on, you can tell me--<\/dialogue>\n    <character>LEWIS<\/character>\n    <parenthetical>(it spills out)<\/parenthetical>\n    <dialogue>His house is scary. And old. And scary. And there's all these clocks-- and I see weird stuff out of the corner of my eye and it's-- it's almost like Uncle Jonathan's hiding something.<\/dialogue>\n    <character>MOTHER<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>That's because he is. Hiding something. From you.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>He is? What?<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>That's what you need to find out. I'm sorry, sweetheart. But I'm afraid you're in danger.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Danger? What do you mean?<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>You're gonna have to be brave.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>But-- I-- brave? Mom, this is me-- I'm not brave--<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>Do you hear the ticking?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - LEWIS' ROOM - NIGHT<\/stage_direction>\n    <scene_description>Lewis wakes! Jolts upright in his expansive bed. The room's empty. Dark. Shafts of pale moonlight reflect against that black and white PHOTO of his parents. And after Lewis calms-- he CAN hear it-- a deep, bottomless TICKING. He lifts his plastic Westclox clock to his ear. Nope, that's not it. The ticks THUD through the WALLS. Lewis listens. Where is that coming from? Then-- CREAK. From the hall. His head snaps to the sound. CREEAAK. CREEEAAAAK. It grows closer. Closer. Then-- an unearthly LIGHT glows beneath his door. Lewis holds his breath. Frightened. Then-- the light fades-- so does the CREAKING-- A large part of Lewis wants to hide under the covers. But admirably, he steels himself. Climbs out of bed.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Brave. Brave.<\/dialogue>\n    <scene_description>Silently pads over to the door. Opens it just a crack--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - LEWIS' ROOM\/UPSTAIRS HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>LEWIS' POV. Hall's vacant. Dim. Until-- the faint, pale circle of a flashlight beam dances against the far wall. Which precedes-- Jonathan. Prowling back into the hall. Lewis jerks behind his door. Spying, as-- Bizarrely, Jonathan presses his ear against the wall. And LISTENS. He POUNDS the wall-- HARD-- rattling loose plaster pebbles-- and keeps right on listening. CONTINUED: Lewis retreats inside the room. We PUSH IN. The boy's unsettled. What if he is in danger? What if his Uncle's insane? And what is that ticking in the wall?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOUSE - NEXT MORNING<\/stage_direction>\n    <scene_description>Overcast day. And yes, the House is just as unnerving.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - STAIRWAY - MORNING<\/stage_direction>\n    <scene_description>Lewis, dressed for school, again wearing the aviator goggles on his forehead. He lugs a leather bookbag down the steps. When he stops-- The stained glass window. Now it shows a MOUNTAIN CLIMBER scaling a SNOW CAPPED PEAK. Lewis. He's sure it wasn't like that before...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - PARLOR - MORNING<\/stage_direction>\n    <scene_description>A ROCKING CHAIR ROCKS. By itself. But immediately HALTS, just before-- Lewis enters. No one here but the magicians on the wall, glowering back at him.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Hello? Uncle Jonathan?<\/dialogue>\n    <scene_description>No answer. It's silent-- just the muddled twittering from all the clocks. Then suddenly-- The Player Organ. Kicks into the classic tune \"Good Morning.\" All by itself. Lewis startles. Pivots to the organ. It's eerie.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOUSE - DAY<\/stage_direction>\n    <scene_description>Lewis emerges from the House, bookbag in tow, to see-- Uncle Jonathan. With Mrs. Zimmerman. At the gate of her ENTIRELY PURPLE, Queen Anne's style home next door. They converse in tight, tense WHISPERS. Whatever they're discussing, it seems serious-- and SCARY. CONTINUED:<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Um. Hello?<\/dialogue>\n    <scene_description>They both turn to Lewis, surprised. Both plaster on big, forced grins. Like something out of 'Bodysnatchers.'<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Oh, hi-- howdy, Lewis!<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>So, I'm, uh-- I guess I'm gonna go to school.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Okay, great! First day! Knock 'em dead!<\/dialogue>\n    <scene_description>Lewis nods. It all seems-- ominous. His Mom's right-- Jonathan is definitely concealing something...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW ZEBEDEE ELEMENTARY - DAY - ESTABLISHING<\/stage_direction>\n    <scene_description>Three stories of brick; massive stone pillars; a cupola. They don't make 'em like this anymore. A school bell BRRRIIIINGS us into--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW ZEBEDEE ELEMENTARY - RECESS - DAY<\/stage_direction>\n    <scene_description>POV. Girls jump rope. Hyperactive boys (before there was a name for such a thing) scurry and shove and freeze- tag. Cacophonous chaos. Then-- the image tints a DARK BLUE-- as GOGGLES are lowered over CAMERA. REVEAL-- Lewis. On the bleachers near the basketball court. First Edition Webster's in his lap. Snapping his goggles down over his eyes. As if they help him hide. He reads, as kids wipe frame, to and fro, before him. He's a lonely port in this juvenile storm. When Lewis glances up. Notices-- High up on the bleachers. A pretty tomboy. ROSE RITA POTTINGER, 10. Also alone. Also reading a thick book. Lewis watches her, curious. Until-- CONTINUED: Her eyes flit up. Catches him staring. Shy, Lewis quickly averts his gaze. Pretends to study his dictionary very, very carefully. Off this...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW ZEBEDEE ELEMENTARY - CAFETERIA - DAY<\/stage_direction>\n    <scene_description>Crowded cafeteria. Up front, several STUDENTS take their turn at a PODIUM, before a banner that reads 'STUDENT COUNCIL ELECTIONS.' TARBY CORRIGAN, 10, golden-boy, broken-arm-in-a-sling, finishes his triumphant speech.<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>...and a vote for Tarby Corrigan is a vote for pop in the drinking fountains!<\/dialogue>\n    <scene_description>The whole crowd bursts into whooping cheers. Lewis. Stands in the back. Watches Tarby through his indigo goggles. Then-- Lewis turns to the large room. Holding his lunch tray. Where to sit? A chubby kid's eternal dilemma. He sighs. Gives it a go. Passing a jungle of unwelcome looks. Boys slide over to block seats. Girls giggle at this portly, begoggled boy. Until Lewis sees-- a few tables down. That tomboy. Rose Rita. Sits by herself. Reading her book. He thinks. Should he? He should. He gathers his courage. Steps over in her direction-- But coarse WOODY MINGO, 10, juts his foot out, trips Lewis. Who sprawls onto the tile, along with his tray, Salisbury steak all over his shirt. Woody and his buddies all laugh.<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Hard to see where you're going with those goggles on, huh, Fatty?<\/dialogue>\n    <scene_description>On the floor, Lewis swallows his humiliation. The reality of this should make us wince. Off Rose Rita. Sympathetic. Watching Lewis rise up and march away, with as much dignity as he can muster...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW ZEBEDEE ELEMENTARY - DAY<\/stage_direction>\n    <scene_description>The school bell. KIDS swarm out of the school. Chatting, laughing, goofing off. And bustling past Lewis, solitary, dried steak stain on his shirt.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW ZEBEDEE ELEMENTARY - BASEBALL DIAMOND - DAY<\/stage_direction>\n    <scene_description>Lewis passes the baseball diamond. But then stops. Shields himself behind some trees. Because he spots-- Tarby Corrigan. At home plate. Even though he wears a cast-- he still manages to toss a ball into the air-- snag the bat-- then WHACK it-- all with his free hand. Lewis watches. Impressed. But then-- without turning--<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>Well. Don't just stand there.<\/dialogue>\n    <scene_description>Self-conscious, Lewis emerges from the trees-- continues on his way--<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Sorry-- I'm sorry--<\/dialogue>\n    <character>TARBY<\/character>\n    <dialogue>Hold up. Can you pitch?<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Um. No. Not very well.<\/dialogue>\n    <character>TARBY<\/character>\n    <dialogue>Or hit?<\/dialogue>\n    <scene_description>Lewis shakes his head. Sorry. Tarby SIGHS-- it's still better than playing alone.<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>I'll take what I can get. Come toss me one.<\/dialogue>\n    <parenthetical>(Lewis hesitates)<\/parenthetical>\n    <dialogue>Come on.<\/dialogue>\n    <scene_description>Tarby lobs the ball to Lewis. Lewis flinches, drops it. Then picks it up, heads to the pitcher mound. He's nervous to be with someone so popular.<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>I'm Tarby.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>I know who you are. You're running for president.<\/dialogue>\n    <character>TARBY<\/character>\n    <dialogue>And I hope I can count on your vote.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Sure. How'd you break your arm?<\/dialogue>\n    <character>TARBY<\/character>\n    <dialogue>I was hanging upside down from that big oak on Mansion Street.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>That sounds scary.<\/dialogue>\n    <scene_description>Tarby shrugs. No big deal. He isn't scared of many things. Lewis is scared of most things.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Does it hurt?<\/dialogue>\n    <character>TARBY<\/character>\n    <dialogue>It's just boring-- I can't play ball, I can't do anything-- my butt's just warming the bench--<\/dialogue>\n    <scene_description>Lewis lobs a rickety pitch. But Tarby SMACKS it, one- handed-- CLACK!<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>I've never seen you before. You new in town?<\/dialogue>\n    <parenthetical>(Lewis nods)<\/parenthetical>\n    <dialogue>Where do you live?<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Kind of this-- big old place on High Street...<\/dialogue>\n    <character>TARBY<\/character>\n    <parenthetical>(excited)<\/parenthetical>\n    <dialogue>Wait, you-- you live in the Slaughterhouse??<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Sorry, the-- what?<\/dialogue>\n    <character>TARBY<\/character>\n    <dialogue>Some old guy died there-- and now it's haunted, everyone says so.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>Have you seen any bloody ghosts yet?<\/dialogue>\n    <scene_description>Lewis is seriously displeased to hear this--<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>No. Nothing bloody yet.<\/dialogue>\n    <character>TARBY<\/character>\n    <dialogue>Well, have you at least heard any screams at night?<\/dialogue>\n    <scene_description>Lewis thinks. He has to tell someone--<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>No, but-- look, if I tell you something, you promise not to tell?<\/dialogue>\n    <character>TARBY<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Cross your heart.<\/dialogue>\n    <parenthetical>(Tarby crosses it)<\/parenthetical>\n    <dialogue>My Uncle-- he-- I saw him, just-- wandering around-- at two in the morning.<\/dialogue>\n    <character>TARBY<\/character>\n    <dialogue>Why? What was he doing?<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>TARBY<\/character>\n    <dialogue>Well, shouldn't you find out? What if he's looking for an axe?<\/dialogue>\n    <scene_description>Off Lewis-- oh my God, you think so?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - LEWIS' ROOM - THAT NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON LEWIS. His eyes shoot open! He sits up in bed. Shakes the cobwebs. Listens. Again, he can hear-- the abysmal TICKING in the walls. And again-- from the hall-- that POUND POUND POUND-- the plaster-clattering KNOCK. Jonathan's back at it. CONTINUED: Tarby's words ring in Lewis' skull. Is his tender young life in danger? What should he do?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - UPSTAIRS HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Lewis peeks out the door-- just as Jonathan, swinging his flashlight, vanishes around the corner. But this time, Lewis follows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - SECOND FLOOR STAIRWAY - NIGHT<\/stage_direction>\n    <scene_description>Jonathan. At the top of a slender set of second storey stairs. He HAMMERS his fist on the wall. LISTENS. Doesn't seem to find what he's looking for. Continues to the third floor. Then-- Lewis appears at the bottom of the steps. Peering up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - THIRD FLOOR HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Lewis presses his back against the wall-- just outside an OPEN DOOR. From inside-- the KNOCK KNOCK KNOCKING. Then Jonathan steps out. He hears something-- whips his flashlight right in Lewis' direction! But no one is there. Lewis is gone. Jonathan continues on his peculiar house tour. Then Lewis emerges from behind the large GRANDFATHER CLOCK where he was hiding. Pads forward-- glances through that OPEN DOOR-- And stops. Lewis can't help but stare in hushed wonder. Can't help but enter--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - THIRD FLOOR PARLOR - NIGHT<\/stage_direction>\n    <scene_description>The room's cluttered with boxes. Sheet covered furniture. A Gothic FIREPLACE-- carved into the shape of an OGRE'S MAW. But most remarkable-- are the CLOCKWORK DEVICES. EVERYWHERE. Automatons-- acrobatic clowns, dancing maidens, card-dealing demons. Astronomical models. Music boxes. Exposed gear masterpieces, every one. CONTINUED: Lewis takes in these intricate works of art. Runs his finger along a metallic fortune teller. Then pivots-- To see a LARGE FRAMED PHOTO, leaning against the wall. A severe-looking man, standing before his automata creations. His bifocals are two cold, gray discs. This is Isaac Izard, from the opening. Lewis stares at the picture in fascinated dread. A long, still, quiet beat-- Then Isaac's image TURNS to Lewis! Looks right at him! Lewis SCREAMS! Backs away-- into an AUTOMATON-- which CLICKS and WHIRRS to uncanny life! Lewis SCREAMS again! Now he spins into-- a LARGE, HAIRY BEAST! Lewis JERKS away violently! But it's only--<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>It's okay! It's me!<\/dialogue>\n    <character>LEWIS<\/character>\n    <parenthetical>(breathless)<\/parenthetical>\n    <dialogue>The-- the picture!<\/dialogue>\n    <scene_description>Lewis points to the PHOTO-- but it's returned to normal--<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Oh, that? That's Isaac Izard. I guess he is kinda scary.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>No, but-- it-- looked right at me! I'm telling you!<\/dialogue>\n    <scene_description>Irked, Jonathan frowns at the picture--<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>I'm sorry you had to see that.<\/dialogue>\n    <character>LEWIS<\/character>\n    <parenthetical>(draws up short)<\/parenthetical>\n    <dialogue>Wait. You-- believe me?<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>That picture's always in a bad mood. Now just calm down.<\/dialogue>\n    <scene_description>CONTINUED: (2) But Lewis, agitated, has HAD IT. He plummets into a full- blown panic attack--<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>No! I won't! Pictures aren't supposed to look at me! And when I say a picture looks at me-- you're not supposed to say, 'because it's in a bad mood!'<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Take a deep breath.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>There's weird robots-- weird stained glass-- weird ticking-- and weird you!<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Me?<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>You walk around every night-- are you looking for an axe? Cause if you're gonna chop me up, I need to know!<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>What? No! I'm not gonna chop up anything--<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Then what? What's going on around here??<\/dialogue>\n    <character>JONATHAN<\/character>\n    <parenthetical>(a sigh)<\/parenthetical>\n    <dialogue>You're right. I'm sorry. I can see how you-- look. If you just relax-- I'll explain. Better that, then you think I'm an axe murderer. Deal?<\/dialogue>\n    <scene_description>Off Lewis. Long beat. Deal.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - VARIOUS - NIGHT<\/stage_direction>\n    <scene_description>Jonathan and Lewis step down the second storey stairs. Move through the hall. CONTINUED:<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>So Lewis. Do you-- know what a 'warlock' is?<\/dialogue>\n    <scene_description>Lewis shoots him an alarmed look. Beat.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Noun. 'A man who practices magic and sorcery. A male witch.' Are you saying-- are you a warlock?<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Would it scare you if I was?<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>I don't know. Are you... a good one... or a bad one?<\/dialogue>\n    <scene_description>They reach the main stairwell. Begin to descend.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Depends what you mean by 'bad.' I'm nice, if that's what you mean-- but I'm not that good. Just a parlor magician, really. But still. I do know a few tricks.<\/dialogue>\n    <parenthetical>(calls out)<\/parenthetical>\n    <dialogue>Okay. You can show him--<\/dialogue>\n    <scene_description>And just like that-- the HOUSE COMES ALIVE! In the STAINED GLASS-- a medicine-bottle HORSE bucks a ruby red COWBOY. The vine-covered WALLPAPER slithers and snakes-- sprouting vibrant SUNFLOWERS. A SMALL DUSKY CLOUD drifts across the ceiling, helpfully raining on some potted ferns. The heavy OVAL MIRROR at the bottom of the steps crackles with STATIC. Then televises \"The Howdy Doody Show.\" Lewis. Dumbfounded. Baffled. Thunderstruck. And other such words. He catches up to Jonathan, who hasn't missed a beat. They amble downstairs, past several ROCKING CHAIRS that rock by themselves. Past the MAGIC POSTERS-- as the magicians ANIMATE, performing their mind-bending tricks. CONTINUED: (2) Past the PLAYER ORGAN, happily pounding out a tune.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Now Mrs. Zimmerman-- she's a witch. She's nice-- and good-- damn good. She got a Doctor Magicorum degree from the University of Gottingen in Germany.<\/dialogue>\n    <parenthetical>(off Lewis' look)<\/parenthetical>\n    <dialogue>That's right. You can barely hear her accent, except on the 'g's,' the sneaky Kraut.<\/dialogue>\n    <scene_description>Then-- as if on cue-- the TALL CHINA CUPBOARD RATTLES. It SWINGS OPEN an inch or two-- as a BONY WHITE HAND LUNGES OUT from behind-- Lewis JUMPS!<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>What's that??<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>The latch is a bit to your left, Florence. And try not to give poor Lewis a heart attack.<\/dialogue>\n    <scene_description>The hand gropes for a latch. Which clicks. The cupboard OPENS-- revealing Mrs. Zimmerman.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>You-- have a secret passage?<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Leads to the old chestnut outside. Much more fun than the front door.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Isaac put it in. He built this house. And all those clockwork gizmos upstairs.<\/dialogue>\n    <parenthetical>(to Zimmerman)<\/parenthetical>\n    <dialogue>I was just telling Lewis about our friend Mr. Izard.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>You sure that's wise?<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>I don't see how I have much of a choice. You see, Lewis. Old Isaac was a warlock, too. He was a very good one-- and a very evil one--<\/dialogue>\n    <scene_description>CONTINUED: (3) CAMERA floats past Lewis-- to a LARGE ANTIQUE CLOCK on the WALL. Then MOVES INSIDE IT--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLOCK - NIGHT<\/stage_direction>\n    <scene_description>Into a STYLIZED SEQUENCE-- as we GLIDE over the clockwork gears-- various DIE-CAST mechanical figures POP UP and RECEDE like characters in a CUCKOO CLOCK-- illustrating Jonathan's story-- First-- we see a twenty-something Jonathan-- and a younger Isaac, again with the bifocals. In happier, friendlier times--<\/scene_description>\n    <character>JONATHAN (V.O.)<\/character>\n    <dialogue>But he didn't start out that way. We used to be friends. He taught me a lot about magic.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But then-- he got shipped off to Normandy. And something... happened to him there... something he wouldn't talk about.<\/dialogue>\n    <scene_description>Images of WWII soldiers falling. Tanks. Death and destruction-- like cold clockwork.<\/scene_description>\n    <character>JONATHAN (V.O.)<\/character>\n    <dialogue>But when he came back... he was different. And sad. And just kinda-- angry at the world. He found himself a wife-- a sour, lemon-sucking woman named Selena Izard-- who felt the same--<\/dialogue>\n    <scene_description>Isaac stands with a equally severe WOMAN-- SELENA IZARD--<\/scene_description>\n    <character>JONATHAN (V.O.)<\/character>\n    <dialogue>And they'd practice magic together. And not the good, fun kind. Black magic. Dark, unholy stuff. They shut themselves in the house, no one saw 'em for months. Until one awful night. About a year ago.<\/dialogue>\n    <scene_description>Finally-- images of Isaac, standing over the alter we saw in the opening-- an explosion bursts from the stream-punk bowl-- launching Isaac out the window-- CONTINUED:<\/scene_description>\n    <character>JONATHAN (V.O.)<\/character>\n    <dialogue>Isaac performed a black magic ritual-- that backfired-- quite literally. Blew him clean out the window-- and killed him. A very dark ritual to make a very special key.<\/dialogue>\n    <scene_description>Now CAMERA SAILS back out of the clockwork--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOUSE - BACKYARD - NIGHT<\/stage_direction>\n    <scene_description>--through an exterior GARDEN CLOCK. To find Lewis, Jonathan, and Mrs. Zimmerman strolling in the House's high fenced BACKYARD. Past an evergreen LION TOPIARY. Lewis GAPES-- as the LION suddenly STANDS and MOSEYS across the grass! Meanwhile, Jonathan holds up the BONE KEY--<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>This key.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Is that... bone?<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>I'm afraid so. Truth is, we think it's from his wife Selena. We think Isaac killed her.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>What's-- it for?<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Best guess? It's a clock key.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>The ticking in the walls-- that's from a clock?<\/dialogue>\n    <parenthetical>(Jonathan nods)<\/parenthetical>\n    <dialogue>That Isaac built?<\/dialogue>\n    <parenthetical>(another somber nod)<\/parenthetical>\n    <dialogue>Why'd he build it?<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>I don't know. Nothing good. And maybe something very bad. So I need to find the clock-- and stop it-- before it goes off-- and does whatever it's supposed to do.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>JONATHAN<\/character>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>That's why I moved in. And why Florence moved next door.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>And it's why your uncle has all these other stupid clocks. To drown the damn thing out, so we don't have to hear it all day.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>But at night-- I turn them all off. And search for the big one. But so far-- it just seems like it's coming-- from everywhere.<\/dialogue>\n    <scene_description>For just a beat, Jonathan seems overwhelmed. And scared.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Well. I wish I knew more-- but that's everything.<\/dialogue>\n    <scene_description>Long, long beat. Lewis takes it all in. Then--<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Okay. So. I'd like to go live with Aunt Mattie, please.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Aunt Mattie is 89 years old. And has polio.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>And I'm scared of polio for sure. But I'm much more scared of deadly clocks made by evil warlocks.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Lewis-- you're fine. One, Isaac is dead and gone. And two, you see those?<\/dialogue>\n    <scene_description>He nods to more twisted Jack-O-Lanterns by the back door.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>They're not for Halloween. Jack-O- Lanterns keep evil away-- that's what they're really for.<\/dialogue>\n    <parenthetical>(then, pointing)<\/parenthetical>\n    <dialogue>Same with horseshoes. Evil hates cold iron, they can't go near it. So you're perfectly safe, you see?<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>That's-- not very reassuring.<\/dialogue>\n    <scene_description>With a rare flash of sincere emotion--<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Lewis, look, here's the thing. I know how you feel, being all by yourself. I-- I felt the same when I was a kid. But-- it doesn't have to be that way. We can be alone-- together.<\/dialogue>\n    <parenthetical>(a smile)<\/parenthetical>\n    <dialogue>And if you stay-- I'll teach you-- the most wonderful things.<\/dialogue>\n    <scene_description>Jonathan SCRATCHES the head of the LION TOPIARY-- it flops to its side and PURRS--<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Just-- give me a chance. One week. Please.<\/dialogue>\n    <scene_description>Off Lewis. Thinking. It is tempting. Off this--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - KITCHEN - NEXT DAY<\/stage_direction>\n    <scene_description>The tempo is brisk and bright. But-- we never lose track of the WALL TICKS. They hang over everything-- an ever- present shroud. Lewis observes, as Jonathan rifles through cabinets and drawers. Yanks out bright, exotic powders and dark, oily liquids. Tosses them into a bowl, slapdash.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Okay, first thing you need to know? Any idiot can work a spell. A dash of this, a sprinkle of that. Easy as following a recipe.<\/dialogue>\n    <scene_description>Jonathan carries the bowl to the ice box.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>You might want to stand back. Something spoiled in here.<\/dialogue>\n    <scene_description>He pries open the refrigerator door-- and a WILD GAGGLE of TENTACLES WAGGLE OUT! The unseen monster from before. CONTINUED: Jonathan tosses the powder mixture into the fridge. The Lovecraftian appendages SHRIEK and SMOKE and SQUIRM MANIACALLY. Before shriveling up into DUST. Lewis. 'Wow' is a drastic understatement. Jonathan continues, as if this were all commonplace.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <parenthetical>(taps his chest)<\/parenthetical>\n    <dialogue>But real magic, powerful magic? That comes from in here. And it's much more rare. Most people go their whole lives-- doing their laundry and paying their taxes-- without ever feeling it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - BASEMENT - DAY<\/stage_direction>\n    <character>JONATHAN<\/character>\n    <dialogue>But I've got it. Isaac and Selena had it, in their own nasty way--<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Mrs. Zimmerman?<\/dialogue>\n    <scene_description>Lewis follows Jonathan down the creaky wooden steps. Into the basement. They move under plinky pipes, through brackish puddles, past a stone pillar hung with a FRAMED PHOTO of Betty Grable. To the big, spidery COAL BOILER.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Well. Yes. But she doesn't practice magic anymore.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>JONATHAN<\/character>\n    <parenthetical>(clipped)<\/parenthetical>\n    <dialogue>You'll have to ask her.<\/dialogue>\n    <scene_description>Jonathan snags a sooty shovel, hefts COAL from the STONE- WALLED COAL BIN into the boiler. (Remember this coal bin; it'll be DAMN IMPORTANT later).<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>And you. You've got it, too.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Magic? I don't-- probably not. Not me.<\/dialogue>\n    <scene_description>CONTINUED: Jonathan leans in.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>I'm sure no one told you-- didn't want you taking after your crazy Uncle-- but Lewis? Definitely you. It runs in the family.<\/dialogue>\n    <scene_description>With that, Jonathan WHISTLES into the open boiler door-- And impossibly-- a large HAWK-- made entirely of FIRE-- FLAPS OUT-- soaring around Lewis-- Lewis grins-- it's the first grin we've seen outta him.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>A smile. Finally.<\/dialogue>\n    <scene_description>Jonathan. Lewis. A bonding moment.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW ZEBEDEE ELEMENTARY - BASEBALL DIAMOND - DAY<\/stage_direction>\n    <scene_description>Lewis, bag on his shoulder and goggles on his forehead, again passes the diamond. And again-- Tarby stands at home plate, whacking some balls with one hand. Lewis hesitates. Beat. Until--<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>Well. C'mon. We playing or not?<\/dialogue>\n    <scene_description>Lewis smiles. Goes to play ball. Off that--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - LIBRARY - DAY<\/stage_direction>\n    <scene_description>Two heavy mahogany panels slide open. Revealing-- Jonathan. And Lewis-- his eyes as big as saucers.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <scene_description>Reveal-- Jonathan's LIBRARY. It's GRAND. A whole bookcase wall, complete with a ladder on rails. And everywhere, on every surface-- bizarre curios. Shrunken heads and Goofer Dust and Rattlesnake Rattles and gnarly John the Conquerer root and-- A mummified HAND with a MELTED CANDLE in the palm. Sitting on an end table. The HAND of GLORY. CONTINUED:<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Is this-- a real hand?<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Don't worry. It's no one you know. And I wouldn't stare directly at it, if I were you.<\/dialogue>\n    <scene_description>Lewis steps back carefully. As Jonathan snags several MUSTY BOOKS from the bookcase. Tosses them to Lewis.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Here. Homework.<\/dialogue>\n    <parenthetical>(naming them)<\/parenthetical>\n    <dialogue>Malleus Malificarum, Tobin's Spirit Guide, Encyclopedia of Cursed Antiquities--<\/dialogue>\n    <scene_description>Lewis reacts, as the book stack grows higher and heavier. Now Jonathan steps to a LOCKED CABINET. Absolutely SMOTHERED in iron horseshoes and strange symbols.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>And this. You know how I said there's no rules? Well, actually, there's one rule. The only rule.<\/dialogue>\n    <scene_description>Jonathan points to the cabinet.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Don't ever open this cabinet. Ever. Or you will go live with Aunt Mattie. You understand?<\/dialogue>\n    <parenthetical>(Lewis nods)<\/parenthetical>\n    <dialogue>This is pretty much the only thing I'm serious about. I need to hear you say it.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>I understand.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Good.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW ZEBEDEE ELEMENTARY - BASEBALL DIAMOND - DAY<\/stage_direction>\n    <character>TARBY<\/character>\n    <dialogue>Okay. Ready?<\/dialogue>\n    <scene_description>CONTINUED: Lewis. Not really. He's at home plate. With the bat. Tarby pitches-- and Lewis SWINGS-- like an epileptic squirrel-- misses badly. He's red faced.<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>Um. Yeah. We're gonna hafta work on that.<\/dialogue>\n    <scene_description>JUMP CUTS. Lewis swings. Swings. Swings. SWINGS! Every time, a little bit better, as Tarby gives him some pointers. Until-- Lewis grits his teeth. LINES HIS KNUCKLES UP on the bat just so-- and-- CR-ACK! Lewis actually CONNECTS. With SOLID FORM. It's a CLEAN HIT.<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>Look at that! Am I a great coach or what??<\/dialogue>\n    <scene_description>Lewis smiles at Tarby. Tarby smiles back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - PARLOR - DAY<\/stage_direction>\n    <scene_description>Jonathan leads Lewis into the parlor. Lewis balances his ponderous pile of magic books.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>So can any of this stuff help us find the clock?<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Honestly? No. But we've got a Harvest Moon coming up. It's the perfect time for some real magic.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Clock finding magic. And you, my friend? Are going to perform it.<\/dialogue>\n    <scene_description>Off Jonathan-- off Lewis-- DRAMATIC SCORE THUNDERS. Until Jonathan looks, vexed, to the PLAYER ORGAN. Which is booming the overheated score.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>No one likes a wise ass.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW ZEBEDEE ELEMENTARY - HALLWAY - DAY<\/stage_direction>\n    <scene_description>Kids hustle to class. As Lewis attempts to weave around the bully Woody Mingo. Who pushes him back.<\/scene_description>\n    <character>WOODY<\/character>\n    <parenthetical>(taps the goggles)<\/parenthetical>\n    <dialogue>...I asked you a question. Are you a pilot? Is that it? The Incredible Flying Fatty?<\/dialogue>\n    <scene_description>At the far end of the hall-- Tarby sees this...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW ZEBEDEE ELEMENTARY - BASEBALL DIAMOND - DAY<\/stage_direction>\n    <scene_description>Tarby and Lewis sit on a fence. Eating Mrs. Zimmerman's cookies from a container. Tarby's eyes roll.<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>These are... really good.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Told you.<\/dialogue>\n    <character>TARBY<\/character>\n    <dialogue>Hey, Lewis? Can I ask you something?<\/dialogue>\n    <parenthetical>(Lewis shrugs, sure)<\/parenthetical>\n    <dialogue>Why-- do you wear those goggles?<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Oh. 'Captain Midnight' wears a pair like these. You ever see those movies? He's amazing--<\/dialogue>\n    <character>TARBY<\/character>\n    <dialogue>But-- I think maybe the other kids wouldn't bother you so much, if you-- lost the goggles. Acted-- a little more-- you know. Normal.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Oh. You think?<\/dialogue>\n    <character>TARBY<\/character>\n    <dialogue>I'm just telling you. As a friend.<\/dialogue>\n    <scene_description>Lewis downplays it-- but this is a HUGE DEAL to him. He's never had a friend before. CONTINUED:<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Right. Friends. We're friends.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - LEWIS' ROOM - THAT NIGHT<\/stage_direction>\n    <scene_description>Lewis. Holds his goggles. Pensive. Then-- he plunks them into the wastebasket.<\/scene_description>\n    <character>JONATHAN (O.S.)<\/character>\n    <dialogue>Lewis, c'mon! You ready?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOUSE - BACKYARD - NIGHT<\/stage_direction>\n    <scene_description>Beneath the FAT HARVEST MOON-- Jonathan and Mrs. Zimmerman sit on folding chairs in Jonathan's backyard. Amidst the topiary. Jonathan wears a Bohemian's silk robe and a Shriner's Fez, presumably for ceremonial purposes. Watching-- Lewis. He stands before a concrete birdbath as if it were some kind of pulpit. Self-conscious.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Okay. So. What am I supposed to do? How do I find the clock?<\/dialogue>\n    <scene_description>Jonathan and Mrs. Zimmerman trade looks.<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>How should we know? It's your magic. You tell us.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>But-- I've never done this before. You gotta show me.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>We can't.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Well, because, Lewis-- you're the only-- you-- in the whole universe. And there's never, ever gonna be another like you.<\/dialogue>\n    <scene_description>Jonathan points to Lewis' heart. CONTINUED:<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>That makes your magic-- just crazy unique. One in a hundred-million- kajillion.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>So we don't know what it's telling you. And it speaks pretty darn softly. You just gotta quiet down and listen for it.<\/dialogue>\n    <scene_description>Lewis doesn't buy this at ALL. But tries anyway. He concentrates on the birdbath. Scrunches up his face.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Okay, now you just look like you're pooping.<\/dialogue>\n    <character>LEWIS<\/character>\n    <parenthetical>(frustrated)<\/parenthetical>\n    <dialogue>Well, maybe I don't have any magic.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Nonsense. You're a Barnavelt. Your Great Uncle Elijah was the most powerful Warlock in the Tri- State Area, you know.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Just clear your head and let it-- come out.<\/dialogue>\n    <scene_description>After a few more beats-- Lewis grows heated--<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>I don't-- feel anything coming out, alright? I just feel... weird.<\/dialogue>\n    <scene_description>Jonathan stands, takes Lewis' place at the birdbath.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Okay, okay, don't blow a gasket. We'll try again later.<\/dialogue>\n    <parenthetical>(as Lewis sits)<\/parenthetical>\n    <dialogue>But Lewis? Let me show you what a little weird can do.<\/dialogue>\n    <scene_description>Jonathan lifts his SAXOPHONE, which leans against the birdbath. Proceeds to WAIL ON IT. It sounds like a dying goose. But Jonathan doesn't care. CONTINUED: (2) Mrs. Zimmerman leans over, whispers to Lewis--<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Be a dear, Lewis? Fetch a knife and stab me in the ears?<\/dialogue>\n    <scene_description>Lewis stifles a smile. In between his piercing notes, Jonathan mutters, arcane and whispery and the opposite of the Latin proclamations in loud British accents we've grown so familiar with.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>...show us the face of the earth... the face of the moon... the face of the clock...<\/dialogue>\n    <scene_description>It's like some kind of bizarre Beatnik performance art.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HANCHETT HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Through the kitchen window, we spy Mrs. Hanchett, in a robe and curlers, SPOONING some rich, chocolatey OVALTINE into her warm milk. She's exasperated at-- The discordant LATE NIGHT SAXOPHONE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOUSE - BACKYARD - NIGHT<\/stage_direction>\n    <scene_description>Jonathan blows the sax to fervent new heights-- wilder, crazier. Until he LIFTS a ROCK-- climactically SPLASHES IT into the birdbath. Sploosh! Then he stops. Lewis waits. On the edge of his seat. But-- NOTHING. Except the inane glockling and blockling of wind chimes.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Is-- that it?<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Not quite.<\/dialogue>\n    <scene_description>In the bird bath-- a reflection of the FULL MOON. Which ripples in the water. Jonathan smiles at Lewis. Glances skyward. Lewis cranes his neck to look up. And is ABSOLUTELY GOBSMACKED-- To see the REAL FULL MOON RIPPLING, too. Then-- in both the BIRDBATH and REALITY-- a SHADOW oozes down over the surprised face of the moon-- CONTINUED: Creating a magical LUNAR ECLIPSE. And revealing EVERY SINGLE SOLITARY STAR in the heavens. Then-- as if that wasn't miraculous enough-- Lewis drops his gaze back to the garden-- to see-- EVERY SINGLE SOLITARY STAR also FLOATS in the backyard! Glinting, incandescent. Like some miniature, shimmering, 3-D map of the cosmos. The Milky Way, the constellations, all of it. It's a mind-blowing visual wonderland. Lewis turns to Jonathan. In awe.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>You're a lot more than just a parlor magician.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <parenthetical>(humble smile)<\/parenthetical>\n    <dialogue>Go have a look around.<\/dialogue>\n    <scene_description>Lewis sprints off. Moving between the tiny suns. Marveling at each and every one. Lewis drops his fingers into the Big Dipper, scoops out a handful of glittery stardust. The TOPIARY LION happily frolics with the Leo constellation, both nipping at each other's tails. CLOSE ON LEWIS. Astounded. And for the first time in a long time-- TRULY HAPPY. He locks eyes with-- CLOSE ON JONATHAN. He warmly nods back. Thrilled to see Lewis so thrilled. A connection here. Then Lewis scampers off-- Time to get to work. Jonathan and Mrs. Zimmerman focus on the birdbath.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Alright. So. Show us where the clock is.<\/dialogue>\n    <scene_description>The birdbath swirls like a whirlpool-- small waves crest and break and unmistakably begin to take the shape of HOUR HANDS-- MINUTE HANDS-- A CLOCK. Jonathan and Mrs. Zimmerman-- this is it! Jonathan leans closer. Closer. Here. It. Comes... CONTINUED: (2) SUDDENLY-- a FIREBALL BURSTS from the birdbath like a gas explosion! Jonathan leaps back, startled-- damn thing nearly singed his face off. Seems he got an angry, defiant answer to his question. And just like that-- the eclipse ends. The full moon reappears-- With Lewis. As suddenly-- the STARS SNUFF OUT-- and the whole backyard returns to normal. The Topiary Lion whines as his playmate Leo vanishes. Lewis heads back over to Jonathan and Mrs. Zimmerman.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>So did you find it?<\/dialogue>\n    <scene_description>Jonathan and Mrs. Zimmerman lock troubled eyes-- but they smile at Lewis, act casual--<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Afraid not. We'll get 'em next time.<\/dialogue>\n    <scene_description>Off Jonathan's concealed worry...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - LEWIS' ROOM - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Lewis. Tucked into bed. Reading one of the thick magic tomes from Jonathan's library. When Jonathan pokes his head in from the hall--<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>I'm going to bed. Stay up as late as you want, of course.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Uncle Jonathan? Tonight-- that was the most incredible thing I've ever seen. Thank you.<\/dialogue>\n    <parenthetical>(shy smile)<\/parenthetical>\n    <dialogue>I'm-- really glad I stayed.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Me, too.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>I only wish I'd met you a long time ago.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Me, too. G'night.<\/dialogue>\n    <scene_description>Jonathan pivots to go-- but Lewis calls after him--<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Why didn't I?<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Why didn't you what?<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Meet you. How come you-- left home? How come you never came back?<\/dialogue>\n    <scene_description>Jonathan pauses. The conversation makes him uneasy.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Well. Truth is, my Father-- your Grandpa-- didn't like magic-- and he sure didn't like me messing around with it. We'd fight about it, then fight some more. Until, finally, I just-- took off. All by myself. And-- never looked back.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>But-- my Mom missed you, you know. She'd say so all the time.<\/dialogue>\n    <scene_description>Jonathan. These are painful scars-- ones he doesn't want to tear open again-- so he only responds with--<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Get some sleep.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - DINING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Mrs. Zimmerman sits quietly, staring into her tea. Jonathan enters-- begins to shuffle a deck of cards-- flustered by his conversation with Lewis. They pretend not to hear the FATHOMLESS TICKING--<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Tonight should've worked.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Something's wrong.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <parenthetical>(an outburst)<\/parenthetical>\n    <dialogue>I mean, just listen to it! We've got this-- time bomb-- just ticking away! What if it does something really and truly awful??<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Well, I imagine we'd hide in the cellar like respectable folks.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I hate when you try to be funny.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Yeah, well, I hate when you chew. It's like a diseased yak.<\/dialogue>\n    <scene_description>They both glare. Then break into small smiles. Tension broken. Jonathan sighs. Calmer. But still anxious.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>We gotta find the clock, Florence-- and soon.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>And we will. But getting riled up won't find it any faster.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>But-- things are different now.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>How?<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Lewis. What if the clock goes off and Lewis is here?<\/dialogue>\n    <scene_description>Off Jonathan's growing paternal worry, off Mrs. Zimmerman's sympathy-- and off the echoing TOCKS, which PLAY OVER--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - THIRD FLOOR PARLOR - NIGHT<\/stage_direction>\n    <scene_description>The third floor parlor is dark, empty. Aside from the massive fireplace. And the mute chorus of automatons-- with their weathered faces and dead expressions. And the PICTURE of Isaac Izard. Tick. We PUSH IN. Tock. Closer. Tick. CLOSER. Tock. His bespectacled eyes are like two COLD, GRAY DISCS. We wait for him to turn and GLARE at us. But... he doesn't. Not yet. Off this unmistakable stench of menace--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOUSE - MORNING - FEW DAYS LATER<\/stage_direction>\n    <scene_description>Morning. Sunlight. Energy.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - STAIRWAY - MORNING<\/stage_direction>\n    <scene_description>Lewis hops down the steps with a 10-year-old's EXUBERANCE. Passing the heavy OVAL MIRROR-- which televises a GRANITE- JAWED HERO in AVIATOR GOGGLES.<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <parenthetical>(through mirror)<\/parenthetical>\n    <dialogue>...and will Captain Midnight and his Secret Squadron defeat the dastardly Comrade Ivan!??<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Wow, thanks! I don't have time right now-- but I'll watch later, promise!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - PARLOR - MORNING<\/stage_direction>\n    <character>LEWIS<\/character>\n    <dialogue>'Morning, Uncle Jonathan!<\/dialogue>\n    <scene_description>Jonathan sits. Nose buried in a musty volume. The title: \"SPELLS TO FIND LOST THINGS.\"<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>'Morning, Lewis.<\/dialogue>\n    <scene_description>The Organ tootles \"Take Me Out to the Ballgame.\" CONTINUED:<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Yep, that's the plan-- but I'm late!<\/dialogue>\n    <scene_description>Lewis stops at an ever-rocking ROCKING CHAIR. His bookbag is slung over its back--<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Do you mind?<\/dialogue>\n    <scene_description>The chair stops-- Lewis snags his bag and he's out the door-- comfortable-- content-- with all the magic.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>See ya!<\/dialogue>\n    <scene_description>SLAM! Jonathan. Studies his book. But he can't concentrate-- the mirror still blares its cliffhanging movie serial. Frustrated, Jonathan marches over to it. But stops-- IN THE MIRROR. A MASKED BURGLAR picks a SAFE. Using a STETHOSCOPE to amplify the ticks-- Off Jonathan. As an idea forms...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW ZEBEDEE ELEMENTARY - BASEBALL DIAMOND - DAY<\/stage_direction>\n    <scene_description>WIDE SHOT. The bouncy pace slams to a halt. Lewis. At the baseball diamond. All alone. Waiting. He idly knocks pebbles with his baseball bat. He checks his watch. Tarby is a no show. Off Lewis. Confused and disappointed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOOTBALL FIELD - DAY<\/stage_direction>\n    <character>TARBY<\/character>\n    <dialogue>Hike!<\/dialogue>\n    <scene_description>Tarby falls back, gripping a football. Quarterbacking a game. Using both hands. HIS CAST IS OFF. He throws a perfect spiral. To Woody, the bully who torments Lewis. When-- CONTINUED:<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Hey! Tarby!<\/dialogue>\n    <scene_description>Lewis trudges onto the field.<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>Hey, Lewis.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>When'd you get your cast off?<\/dialogue>\n    <character>TARBY<\/character>\n    <dialogue>Yesterday. Thank God.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>I thought we were gonna hit today.<\/dialogue>\n    <character>TARBY<\/character>\n    <dialogue>Yeah, I know-- but-- the guys needed a quarterback-- and my butt's finally off the bench--<\/dialogue>\n    <scene_description>Tarby spots some of the other boys SNICKERING at Lewis.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Oh. Okay. What about tomorrow? I could-- bring some cookies--<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Yeah, Tarby! Go have a cookie picnic with Fatty! Wouldn't that be sweet?<\/dialogue>\n    <character>TARBY<\/character>\n    <dialogue>Shut up, Woody!<\/dialogue>\n    <parenthetical>(to Lewis)<\/parenthetical>\n    <dialogue>I-- I gotta go. Some other time, alright?<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Yeah, sure. Alright.<\/dialogue>\n    <scene_description>Tarby runs off. Lewis watches him go, worried. Sensing-- now that Tarby's cast is off-- something's changed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - HALLWAY - DAY<\/stage_direction>\n    <scene_description>Jonathan. Wears a STETHOSCOPE. He presses it against the wall. Uses it to amplify the ticks. It WORKS! Why didn't he think of this before? CONTINUED: He slides the stethoscope this way and that over the wall, like a metal detector searching for coins. And sure enough-- the TICKING INTENSIFIES when he moves the scope in a particular direction. He follows the sound. Getting warmer. Warmer...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - THIRD FLOOR PARLOR - DAY<\/stage_direction>\n    <scene_description>Jonathan follows the acoustic bread crumb trail-- to the third floor parlor. He picks his way past the creepy, motionless automatons-- the tin ballerinas and brass demons. The TICKS and TOCKS lead him directly up to the portrait of Isaac. Face to hawk-nosed face. Beat.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>So where is it already, you evil old coot?<\/dialogue>\n    <scene_description>But then-- Jonathan SQUINTS. INTRIGUED. Because he spots something. Something he never noticed. The PHOTO. It was taken in this very room. Isaac, before his mechanical creations. But one AUTOMATON-- the FORTUNE TELLER-- its BONY ARM is raised ABOVE its head. Jonathan pivots into the room-- the FORTUNE TELLER is RIGHT THERE-- it's been in plain sight the whole time. But its BONY ARM is DOWN. Jonathan steps over to the Fortune Teller. Regards it. Thinks. Beat. Then LIFTS its ARM UP. CLACK CLACK CLATTER CLATTER! A CLANKING CLICK of CLOCKWORK-- BIG and LOUD-- COMING FROM INSIDE THE WALLS! Jonathan's eyes follow the SOUND-- ONE GEAR MESHING WITH ANOTHER, then ANOTHER-- across the wall-- to-- THE FIREPLACE-- as-- CLICK CLICK CLICK-- the GAPING OGRE'S MAW RAISES-- as if OPENING ITS JAWS-- REVEALING A SMALL DOOR! CONTINUED: Jonathan. Stunned. He approaches the fireplace. Slow. Wary. Tense. Crouches under the mantle. Reaches for the knob. Opens the rough, wooden door-- And a WINGED CREATURE FLAPS INTO HIS FACE! Jonathan SHOUTS! But it was just a PIGEON. Must've found its way in and couldn't get out. Jonathan catches his breath. Then-- enters the secret passage. Plunging into darkness.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW ZEBEDEE ELEMENTARY - AUDITORIUM - DAY<\/stage_direction>\n    <scene_description>Lewis. Sits alone in the back of the auditorium. No one beside him. The loneliness seems harder to take, now. He watches-- On the stage, PRINCIPAL FONDRIGHTER claps his hand on Tarby's back.<\/scene_description>\n    <character>PRINCIPAL FONDRIGHTER<\/character>\n    <dialogue>And may I present your new president, Tarby Corrigan!<\/dialogue>\n    <scene_description>The crowd goes wild. Tarby raises his arms in sweet victory. Popular and loved. Off Lewis--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW ZEBEDEE ELEMENTARY - HALLWAY - LATER<\/stage_direction>\n    <scene_description>Tarby and his friends, including Woody, at their lockers. As Lewis scuttles up.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Hey, Tarby--<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Jesus, Lard Ass. He doesn't want any of your damn cookies, okay?<\/dialogue>\n    <scene_description>Lewis looks to Tarby-- to stick up for him. But Tarby doesn't-- his eyes flick down to the floor. Truth is, it's one thing to play together in private-- but in public? Lewis is starting to embarrass him. CONTINUED:<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>Guys, just-- I'll catch up.<\/dialogue>\n    <scene_description>Woody and the other boys smirk, move off.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Congratulations on the election.<\/dialogue>\n    <character>TARBY<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Do you-- wanna do something after school? We don't have to play ball-- we could do anything--<\/dialogue>\n    <character>TARBY<\/character>\n    <dialogue>Sorry. The guys and me-- we're gonna go explore Wilder Creek. Maybe another time.<\/dialogue>\n    <scene_description>Tarby moves on. Lewis calls after him, needy.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>I've got something way better than that!<\/dialogue>\n    <character>TARBY<\/character>\n    <dialogue>Oh yeah?<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>My house. Everyone's wrong, you know-- my house isn't haunted.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>It's magic.<\/dialogue>\n    <character>TARBY<\/character>\n    <dialogue>Magic?<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>My Uncle-- he's a warlock. That's a boy witch. And I can show you things that you... well, you won't believe your eyes.<\/dialogue>\n    <scene_description>Lewis regrets saying this-- the instant he says it.<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>What kinds of things?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - SECRET PASSAGE - DAY<\/stage_direction>\n    <scene_description>Jonathan progresses forward. Through the dim, gloomy, exposed-wall passage. Dull blades of cloudy daylight through the slats. The ticking is LOUDER in here. He hears a CREAK. Is there something behind him? And more importantly-- is the CLOCK ahead of him? Still, he continues-- through the gray, grainy murk. We chew a few nails. Until-- The secret passage WIDENS to a SECRET ROOM. Is the clock in here? Well, yes. And no. REVEAL-- a WORK TABLE. Pens. A compass. But mostly, PAGES of hand-scrawled BLUEPRINTS. Disturbing PLANS-- for the CLOCK. What Da Vinci's stuff might've looked like if he was a stone cold PSYCHOPATH. Sketches of gears. Insanely complicated mechanisms. A DISTINCTIVE CLOCK FACE (remember this face, please). And throughout-- STRANGE NUMBERS and SYMBOLS, crowded into every free space. As well as the GREEK LETTER OMEGA, repeated over and over. It's madness. Jonathan inspects it. Fascinated. Unsettled.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - FRONT HALLWAY - DAY<\/stage_direction>\n    <scene_description>The front door CREAKS open. Lewis pokes his head in.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Hello? Anyone home?<\/dialogue>\n    <parenthetical>(no answer)<\/parenthetical>\n    <dialogue>Come on.<\/dialogue>\n    <scene_description>A skeptical Tarby follows him in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - PARLOR - DAY<\/stage_direction>\n    <scene_description>Lewis and Tarby stand in front of the SILENT PLAYER ORGAN. Clearly, it refuses to be Lewis' trained pet.<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>Wow, so, a player organ-- that plays-- music?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>No, but-- it plays by itself.<\/dialogue>\n    <character>TARBY<\/character>\n    <dialogue>Um. That's sort of-- what they do, right?<\/dialogue>\n    <character>LEWIS<\/character>\n    <parenthetical>(to the organ)<\/parenthetical>\n    <dialogue>Just-- play for him. Please.<\/dialogue>\n    <scene_description>Lewis taps some keys. Nothing. He smiles, awkward.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - BOTTOM OF STAIRS - DAY<\/stage_direction>\n    <scene_description>Lewis. Tarby. In front of the OVAL MIRROR.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>This morning-- it was playing 'Captain Midnight!' He was fighting Comrade Ivan!<\/dialogue>\n    <character>TARBY<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I gotta go.<\/dialogue>\n    <character>LEWIS<\/character>\n    <parenthetical>(flopsweaty)<\/parenthetical>\n    <dialogue>Just-- hold on--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - LIBRARY - DAY<\/stage_direction>\n    <scene_description>The mahogany panels slide open-- Lewis leads Tarby into the impressive library. Points out the mummified hand with the melted candle in its palm-- the HAND of GLORY.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Look. Disgusting, right? It's a real hand.<\/dialogue>\n    <character>TARBY<\/character>\n    <dialogue>What's it do?<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>I, uh-- I don't know.<\/dialogue>\n    <scene_description>Tarby pivots away-- bored and unimpressed-- until his eyes fall on-- THE FORBIDDEN CABINET. COVERED WITH HORSESHOES. Hello. CONTINUED:<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>What's in there?<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Oh, I-- we're not allowed to open it.<\/dialogue>\n    <scene_description>That piques his interest. He approaches.<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>Oh yeah? Why not?<\/dialogue>\n    <character>LEWIS<\/character>\n    <parenthetical>(please stay back)<\/parenthetical>\n    <dialogue>I dunno. But-- it's my Uncle's only rule-- besides, it's locked--<\/dialogue>\n    <scene_description>Tarby rifles through a nearby drawer. Grins, as he picks out a BRASS KEY. Tries the cabinet lock-- CLICK.<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>No, it's not.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Tarby-- I mean it-- we can't.<\/dialogue>\n    <character>TARBY<\/character>\n    <dialogue>Don't be such a scaredy-cat.<\/dialogue>\n    <scene_description>And with that-- Tarby OPENS the CABINET--<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>But inside-- the cabinet's empty. Sparse. Nothing but a single, solitary BOOK. Thick. Ragged. Leather bound. Tarby lifts it out. Opens it. On the inside cover-- an engraving of Dr. John Dee, famous occultist and personal astrologer of Queen Elizabeth I. And his assistant. Raising the spirit of a dead woman in a churchyard. Above the illustration-- a single title. NECROMANCY.<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>What's 'nec-ro-mancy?'<\/dialogue>\n    <scene_description>Anxiety builds in Lewis like a pressure cooker-- CONTINUED: (2)<\/scene_description>\n    <character>LEWIS<\/character>\n    <parenthetical>(quickly)<\/parenthetical>\n    <dialogue>Noun-- 'the practice of communicating with the dead or raising them to life.' Please put it away--<\/dialogue>\n    <character>TARBY<\/character>\n    <parenthetical>(turns pages)<\/parenthetical>\n    <dialogue>Raising the dead? Now that would be a trick.<\/dialogue>\n    <scene_description>Then-- a full Triple Gainer from the frying pan to the fire-- as we CUT TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - THIRD FLOOR PARLOR - DAY<\/stage_direction>\n    <scene_description>Jonathan. Emerges from the secret door. Ducks under the fireplace mantle. ROLLED-UP BLUEPRINTS under his arm.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - LIBRARY - DAY<\/stage_direction>\n    <scene_description>Lewis HEARS CLUMPING down the steps. Oh my God-- Uncle Jonathan is HERE!<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>He's home! Put it back!<\/dialogue>\n    <character>TARBY<\/character>\n    <dialogue>C'mon. If you're Uncle's such a big time-- boy witch-- then prove it. Let him pop some dead guy out of the dirt.<\/dialogue>\n    <character>JONATHAN (O.S.)<\/character>\n    <dialogue>Lewis? Is that you?<\/dialogue>\n    <scene_description>Lewis FREAKS OUT-- roughly rips the book from Tarby's hands, accidently elbowing him in the ribs. Places it back into the cabinet. Shuts it.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>I said put it back! Put it back RIGHT NOW!<\/dialogue>\n    <scene_description>Tarby glares at Lewis. Rubs his ribs-- that hurt. Sullen and disappointed.<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>Fine. None of it's real anyway. It's all just weird.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>TARBY<\/character>\n    <parenthetical>(turns to the door)<\/parenthetical>\n    <dialogue>You're just weird.<\/dialogue>\n    <scene_description>Off Lewis-- to his credit, he doesn't cry, much as he wants to--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - FRONT HALLWAY - DAY<\/stage_direction>\n    <scene_description>Jonathan. Steps into the hall, blueprints in the crux of his arm. To see-- Lewis-- closing the door behind Tarby--<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Was that the Corrigan boy?<\/dialogue>\n    <character>LEWIS<\/character>\n    <parenthetical>(downcast)<\/parenthetical>\n    <dialogue>He was just leaving.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>What were you doing?<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>...nothing.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Hey. Uncle Jonathan. Do you want to go-- play ball with me?<\/dialogue>\n    <character>JONATHAN<\/character>\n    <parenthetical>(gripping blueprints)<\/parenthetical>\n    <dialogue>Oh, I-- I can't-- there's-- something I need to look into--<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>You could-- take a break, maybe? Just a short one? It'd be fun.<\/dialogue>\n    <scene_description>Ironically-- Jonathan wants to find that clock-- for Lewis' sake. But all Lewis needs right now is Jonathan.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <parenthetical>(turns away)<\/parenthetical>\n    <dialogue>I'd love to-- as soon as we find that damn clock. Then we can play all the ball you like.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>O-- okay.<\/dialogue>\n    <scene_description>If only Jonathan looked at Lewis-- he'd see something was wrong. But he doesn't.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW ZEBEDEE ELEMENTARY - BASEBALL DIAMOND - DAY<\/stage_direction>\n    <scene_description>Lewis. Alone-- always alone. At the diamond. He tries to toss the ball in the air and hit it-- the way Tarby can. But he misses badly. He picks it up and tries again. Misses. Again. Misses. He keeps trying. Panting from the effort. Tears stand in his eyes. It's heartbreaking. Off this--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOUSE - THAT NIGHT - ESTABLISHING<\/stage_direction>\n    <scene_description>The moon. Trapped by the frozen sky. The house. Cloaked by the night. And in the distance-- A mysterious SHROUDED FIGURE. In a grimy-gray, hooded robe. We saw him once before-- as Lewis' Greyhound rolled into town. And now, he just silently observes the House-- features hidden by the robe's deep folds. Who the hell is that?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - LIBRARY - NIGHT<\/stage_direction>\n    <scene_description>Jonathan. Mrs. Zimmerman. Poring over the blueprints. They can't make heads or tails of the writing...<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>...what do you think?<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>I know about every code and secret language there is. The Alberti Cipher, the Enochian Glyphs. But this? Is a new one for me.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Well. Least I lived to see the day you got stumped.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <parenthetical>(withering look)<\/parenthetical>\n    <dialogue>I still got some more books we can dig through, Melon Head.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>But I'm not sure how much longer any of us'll be living.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>What're you talking about?<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>What's this mean to you?<\/dialogue>\n    <scene_description>She points-- to the prominent Greek letter OMEGA repeated all over the documents--<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>The omega? It's the last letter of the Greek Alphabet.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>And in Early Christianity?<\/dialogue>\n    <character>JONATHAN<\/character>\n    <parenthetical>(oh crap)<\/parenthetical>\n    <dialogue>It means-- Judgment Day.<\/dialogue>\n    <scene_description>Off Jonathan and Mrs. Zimmerman and their quiet disquiet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - LEWIS' ROOM - NIGHT<\/stage_direction>\n    <scene_description>Lewis. In bed. Staring at that photo of his parents. Wishing they were still alive. Wishing he didn't feel quite so alone. When, once again-- in soft focus in the b.g...<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>You alright, monkey?<\/dialogue>\n    <scene_description>Lewis' Mother, again in black and white, steps across the room. Sits on the bed. Runs her hands through his hair.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>I'm okay.<\/dialogue>\n    <character>MOTHER<\/character>\n    <parenthetical>(gentle smile)<\/parenthetical>\n    <dialogue>You were always a lousy liar.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>I just-- I... I miss you, I guess.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>I miss you, too. Dad and I both do. So much.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>MOTHER<\/character>\n    <parenthetical>(cradles him)<\/parenthetical>\n    <dialogue>But, you know-- we can do something about that.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>That book, silly. In Jonathan's library. You can use the book and bring us back.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>Back to life. Fresh and new as the driven snow.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>I can't!<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>Why not? Don't you want us to come back?<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Yeah, sure, more than-- but-- I'm not supposed to-- Uncle Jonathan would get mad, really mad--<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>Look, I know Jonathan wants to be there for you-- but he's too busy. He knows a boy needs his parents.<\/dialogue>\n    <scene_description>Lewis. Thinking. This doesn't seem right. But it's also his heart's desire...<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>Lewis. We love you. You love us. We can be together again. You don't have to be alone.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>My sweet little boy. I need you to be brave. Can you do that?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - LEWIS' ROOM - NIGHT<\/stage_direction>\n    <scene_description>Lewis JOLTS awake! Another dream. CONTINUED: Upset... Lewis reaches for the PHOTO of his parents. His eyes bore a hole into it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - DINING ROOM - NEXT MORNING<\/stage_direction>\n    <scene_description>Lewis. At the breakfast table. Before a mouth-watering, photo-ready stack of fluffy pancakes. But he hasn't touched them. Mrs. Zimmerman notices--<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Would you rather have some doughnuts, dear?<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Do you... have any Cream of Wheat?<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>You don't actually like that glop? It's like eating a bowl of wet kitty litter.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>...my Mom used to make it for me.<\/dialogue>\n    <scene_description>Beat. Jonathan lowers his eyes.<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>I'll run out and get you some.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>No, thanks, I'm not very-- may I be excused?<\/dialogue>\n    <scene_description>Lewis exits. Mrs. Zimmerman nudges Jonathan.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>He misses his Mother, you hairy gorilla. Go talk to him.<\/dialogue>\n    <scene_description>But Jonathan's out of his depth here--<\/scene_description>\n    <character>JONATHAN<\/character>\n    <parenthetical>(awkward)<\/parenthetical>\n    <dialogue>I-- I don't know what to-- I'm no good at that kind of thing. Don't worry, he'll be okay.<\/dialogue>\n    <scene_description>Zimmerman glares, frosty. CONTINUED:<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>You're a real piece of work.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW ZEBEDEE ELEMENTARY - RECESS - DAY<\/stage_direction>\n    <scene_description>Lewis. On a teeter-totter. No one on the other end. Is there anything lonelier than a one-man-see-saw? He watches-- Tarby. Playing basketball with his friends. Thoughtful, bittersweet, Lewis peers down at something he holds in his hands. It's the photo of his parents. He stares. Stares. Thinking. Thinking. Finally, he looks at Tarby. Makes a decision. The BELL RINGS right then, as if to punctuate his choice-- Lewis strides to Tarby. Against the tide of kids flowing back into the building. Including that tomboy Rose Rita. She holds her thick book under her arm. Smiles, shy, at Lewis--<\/scene_description>\n    <character>ROSE RITA<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>But he's too driven to notice. He marches right past. Reaching Tarby, who's just coming off the court.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Okay. You wanna see some real magic? I'll show you.<\/dialogue>\n    <scene_description>But Tarby's over it by now.<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>Yeah? You gonna pull a rabbit from a hat?<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>No. I'm gonna raise the dead.<\/dialogue>\n    <character>TARBY<\/character>\n    <dialogue>You're a liar. No one can raise the dead. Not really.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Watch me. But-- I can't do it alone. I need your help.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>I dunno-- go find someone else--<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>I don't know anyone else.<\/dialogue>\n    <scene_description>With uncharacteristic determination (desperation)?<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Unless-- you're scared?<\/dialogue>\n    <scene_description>Tarby's jaw tightens. Yes, this is a juvenile challenge-- but luckily, Tarby is a juvenile.<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>You need a babysitter? Fine. But this whole thing's gonna be a big waste of time. When?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - LEWIS' ROOM - THAT NIGHT<\/stage_direction>\n    <scene_description>The plastic Westclox clock. 11:37. Lewis. Under his covers. He glances at the clock. Takes a quivering breath. Then pulls back the sheets. He's fully dressed. He lifts the MAGIC 8-BALL. Whispers to it, apprehensive.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Should I do this?<\/dialogue>\n    <scene_description>He shakes it. The answer: REPLY HAZY. Lewis sighs. Heads out of the room, anyway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - LIBRARY - NIGHT<\/stage_direction>\n    <scene_description>Lewis, flashlight in hand, slides open the library door. Creeps to the locked cabinet. Opens it. Lifts the BOOK-- it seems to crackle with a malevolent electricity. Lewis also holds the photo of his parents. Regards it, longingly. Then places them both into his bag.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - FRONT HALLWAY\/PARLOR - NIGHT<\/stage_direction>\n    <scene_description>Lewis glides to the front door... past the parlor-- CONTINUED: Where Jonathan sleeps in an easy chair! Blueprints spread over his chest. Lewis holds his breath. Creeps slowly, carefully, when-- The Player Organ PLAYS! \"Wake Up and Sing.\"<\/scene_description>\n    <character>LEWIS<\/character>\n    <parenthetical>(harsh whisper)<\/parenthetical>\n    <dialogue>Shhh! Stop! Shut up!<\/dialogue>\n    <scene_description>Jonathan LURCHES UP. Surveys the room, confused. Lewis is nowhere to be seen. Jonathan stands.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <parenthetical>(to the organ)<\/parenthetical>\n    <dialogue>What're you doing?<\/dialogue>\n    <scene_description>He peers into the hall. Empty. Nobody there.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - DINING ROOM - NIGHT<\/stage_direction>\n    <scene_description>The dining room is still. Except for a quick glimpse of the tall China Cupboard CLICKING SHUT--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SECRET PASSAGE - NIGHT<\/stage_direction>\n    <scene_description>Lewis hustles through the earthen-walled PASSAGE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOUSE - FRONT YARD - NIGHT<\/stage_direction>\n    <scene_description>The CHESTNUT TREE. Near the base-- a grass covered HATCH swings open. Lewis climbs out. Close one.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OAKRIDGE CEMETERY - NIGHT<\/stage_direction>\n    <scene_description>Lewis shivers from the cold-- and fear-- as he approaches a heavy, inscribed STONE ARCH: 'THE TRUMPET SHALL SOUND AND THE DEAD SHALL BE RAISED.' Lewis passes beneath it-- into the cemetery. Which is every bit as Gothic and unnerving as the House. If not more so. Heart thumping, Lewis strides past elaborate gravestones of weeping women leaning on urns. Cupids extinguishing torches. Little tombstones in the shape of lambs, which signify children's graves. CONTINUED: Wind whispers through the branches of barren trees. Leaves rustle, as dry as parchment. Every part of Lewis wants to turn back. But still, he walks. Just as he passes a marble REAPER-- It REACHES OUT and GRABS HIM! Lewis jumps a mile high!<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>Boo!<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>That's not funny!<\/dialogue>\n    <character>TARBY<\/character>\n    <dialogue>Depends on where you're standing.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Well, come on, smart guy. Show me some magic.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OAKRIDGE CEMETERY - NIGHT<\/stage_direction>\n    <scene_description>Tarby observes, as Lewis chalks in the protective circle-- the pentagram-- on the sidewalk. Fills in the mystic symbols along the edges. Once he's complete, he consults the book. Jittery--<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Easy as following a recipe.<\/dialogue>\n    <parenthetical>(reads)<\/parenthetical>\n    <dialogue>'To resurrect a loved one, place their image in the middle of the circle, in the middle of a cemetery-- any cemetery will do-- in the middle of the night.'<\/dialogue>\n    <character>TARBY<\/character>\n    <dialogue>And dance like a wild Indian?<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>This is serious.<\/dialogue>\n    <character>TARBY<\/character>\n    <dialogue>Right. I forgot. So. Whose stiff we bringing back, anyway?<\/dialogue>\n    <scene_description>Lewis places the photo of his family in the center of the circle. Tarby realizes who it is-- and his smile fades. He looks at Lewis with genuine sympathy. CONTINUED:<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Okay, so now, you burn the picture, while I read--<\/dialogue>\n    <scene_description>Tarby flicks a match-- and BURNS the photo. Lewis watches, both melancholy and hopeful. Then--<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>'For thou who sleeps in stone and clay, heed this call-- rise up and obey. Trek on through the mortal door, assemble flesh and walk once more.'<\/dialogue>\n    <scene_description>CLOSE ON PHOTO. Lewis doesn't notice-- but as it CHARS-- a ghostly image seems to MAGICALLY APPEAR in the photo-- A DARK FIGURE-- with TWO COLD GRAY DISCS, where its eyes should be...<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>So what now?<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>That's it. That's all it says.<\/dialogue>\n    <scene_description>They wait. And wait. But nothing. Except the quiet whistle of the wind. The crackle of brown, ragged leaves.<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>See? I told you this was all a big pile of--<\/dialogue>\n    <scene_description>BOOM! A THUNDERING, HOLLOW POUNDING! The boys jump. Then pivot, icy, to the sound source-- A MAUSOLEUM. An 'II' carved above the green-bronze door. BOOM. The PADLOCK on the door RATTLES. Something is inside. Something that's trying to get outside.<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>...c'mon, let's go...<\/dialogue>\n    <scene_description>BOOM! CONTINUED: (2)<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>Lewis, we gotta go...<\/dialogue>\n    <scene_description>But Lewis is frozen. Deer in headlights. BOOM! The PADLOCK snaps off!<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>RUN!<\/dialogue>\n    <scene_description>Tarby isn't waiting around any more. He TAKES OFF. As-- BOOM! The bronze door FLINGS OPEN! Revealing BLACK! Finally, Lewis comes to his senses-- RACES for dear life-- As behind him-- in the shadow of the open mausoleum-- two COLD, GRAY DISCS appear-- lighting the dark like bitter torches. They emerge, slowly, out of the gloom-- with the sound of shuffling, shambling footsteps-- CAMERA drops down to a TOMBSTONE. As the FOOTSTEPS CLOSE IN, and a PALE, FUNGAL HAND grips the top of the STONE. Someone breathes in a raspy, rattling lungful of air. As if the first breath in a very long time.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTSIDE OAKRIDGE CEMETERY - NIGHT<\/stage_direction>\n    <scene_description>Lewis runs-- RUNS! Branches scrape his face and arms. Down a steep, muddy hill-- slipping and sliding and sloshing through the grime. Until-- He pauses, breathless, in a clearing at the bottom.<\/scene_description>\n    <character>LEWIS<\/character>\n    <parenthetical>(harsh whisper)<\/parenthetical>\n    <dialogue>Tarby! Tarby!<\/dialogue>\n    <scene_description>No Tarby. No zombie. Nobody. Lewis is alone, wild-eyed. And SCARED OUT OF HIS WITS. What just happened? What did he just do?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - VARIOUS - NIGHT<\/stage_direction>\n    <scene_description>Lewis sneaks back inside, through the China Cupboard. He's coated in mud and sweat. LIBRARY. He very carefully replaces the Necromancy book. Sets it just so, exactly how he found it. CONTINUED: BEDROOM. He peels off his grimy clothes, hides them in a deep corner of his closet, under some blankets. Lewis crawls into bed. Of course, he won't sleep tonight. He lays there. When he hears it... The TICKING. In the walls. It's significantly LOUDER. And undeniably FASTER. Off Lewis' confusion and dread...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Roiling clouds skulk across the moon. Throwing the House into SHADOW. Shadows that fall over the JACK O' LANTERNS-- the lit candles inside them SNUFF OUT. Shadows that seem to make the spires and porticos lengthen and darken. It's almost as if the House ARCHES its eyebrows and SCOWLS. As if the House itself grows more SINISTER...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - DINING ROOM - NEXT MORNING<\/stage_direction>\n    <scene_description>Lewis sits before a bowl of Cream of Wheat. Pokes at it. Glorch. Glop. Mrs. Zimmerman sets a glass of milk in front of him. They both look up-- and though they don't say anything, it's plain as day-- the TICKING THUDS. LOUDER. Lewis. Studies his cereal. Sick with worry, but trying to play it off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - JONATHAN'S ROOM - MORNING<\/stage_direction>\n    <scene_description>Upstairs, Jonathan finishes buttoning his shirt. He HEARS the noisier TICKING, too. Then he hears something else. A strange WHIRRING. Coming from the hall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - HALLWAY - MORNING<\/stage_direction>\n    <scene_description>Jonathan pokes his head out to see-- CONTINUED: AN AUTOMATON. A CLICKING RED DEVIL. Marching, herky- jerky, around the corner. Then-- THE REST OF THE AUTOMATONS FOLLOW. All the mobile ones, anyway. Lurching and weaving and reeling and rolling down the hall. A dead-eyed toy ARMY. Jonathan takes this in. A long beat.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Boy. That's not creepy at all.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOUSE - MORNING<\/stage_direction>\n    <scene_description>Lewis quietly mopes off to school. Mrs. Zimmerman steps into the doorway behind him--<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Have a good day, Lewis.<\/dialogue>\n    <scene_description>Lewis nods without stopping. When Mrs. Zimmerman glances down. Sees something. She frowns. The Jack-O-Lanterns. SMASHED to smithereens. Off Mrs. Zimmerman. Wheels turning. Something's very, very wrong.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW ZEBEDEE ELEMENTARY - DAY<\/stage_direction>\n    <scene_description>The students CROWD in before morning bell. Tarby's among them-- bee-lining inside. Oddly quiet, head down. Lewis. Watches from down the street. But he doesn't follow the others. He continues on to--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OAKRIDGE CEMETERY - DAY<\/stage_direction>\n    <scene_description>If you think the boneyard's less eerie in the day-- you'd be wrong. Funereal mist envelops the wet grass. Lewis passes under the stone arch. Of course he's frightened. But he needs to see what happened. Past the STONE ANGELS and MARBLE SKELETONS, reaching-- The OPEN MAUSOLEUM. Bronze door dangling on its hinges. Lewis advances slowly. Craning his neck to look inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAUSOLEUM - DAY<\/stage_direction>\n    <scene_description>Lewis appears in the mausoleum's doorway. It-- seems empty. But he pales as he takes in-- A STONE COFFIN. Its lid AJAR. SCRAPED to the side. Lewis' pulse pounds. As he steps closer. To see-- The coffin's vacant. Obviously-- that ain't good. Suddenly-- the CRUNCH of LEAVES! Coming from behind! Lewis panics! Who-- or far more likely, what-- is that? With nowhere to go-- he leaps behind the stone coffin. Hiding. As-- Jonathan and Mrs. Zimmerman enter the Mausoleum. Grimly regard the open coffin. Dry beat.<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Well-- there's a worst case scenario for you.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>As if Isaac wasn't irritating enough as a warlock. But now? A zombie-warlock? Unbearable.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>But how-- who'd be crazy enough to bring Isaac Izard back from the dead?<\/dialogue>\n    <scene_description>Lewis. Reacts. He brought back Isaac Izard??<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Maybe a new witch in town? I dunno. But the House knows.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <parenthetical>(nods)<\/parenthetical>\n    <dialogue>I feel it, too. The House is getting darker, more dangerous. Like a battery charging up with black magic.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>It knows its Master's coming home. Coming for the clock, to do God knows what with it.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>No more fooling around, Florence. I need your help. You're the strongest witch I know.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Not anymore. I can't.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>You have to try-- it's gotta be your magic against his--<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>I said I CAN'T!<\/dialogue>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>...I-- can't. I'm sorry...<\/dialogue>\n    <scene_description>Clearly, a painful and emotional story here.<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Look, we-- we need to quit bickering-- and beef up our defenses. Isaac's gonna try to get inside the House-- and soon-- we can't let that happen--<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>What we need to do is find the damn clock and smash it to bits.<\/dialogue>\n    <scene_description>They exit. Off Lewis. Hiding. Petrified.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOUSE - VARIOUS - DAY<\/stage_direction>\n    <scene_description>SERIES OF SHOTS. A wooden lid CROWBAR-PRIED off a crate. Inside-- packing hay. And IRON HORSESHOES. POUNDPOUNDPOUND. Hammers whack nails. Jonathan. Mrs. Zimmerman. On ladders. NAILING MULTIPLE IRON HORSESHOES above, below, and around EVERY WINDOW. EVERY DOOR. DOZENS and DOZENS. And DOZENS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HANCHETT HOUSE - DAY<\/stage_direction>\n    <scene_description>Through the kitchen window, Mrs. Hanchett again spoons some rich, chocolatey OVALTINE into her milk. Watching this bizarre pair across the street. Mercy, what are these freaks up to now?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOUSE - DAY<\/stage_direction>\n    <scene_description>Jonathan and Mrs. Zimmerman inspect their handiwork. The horseshoes practically blanket the House.<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>You think that's enough to keep him out?<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Yeah. Sure. Probably.<\/dialogue>\n    <parenthetical>(thinks better of it)<\/parenthetical>\n    <dialogue>No. I'll get some more.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - STAIRWAY - DAY<\/stage_direction>\n    <scene_description>Jonathan carries another crate downstairs. When, on the landing, he freezes. In horror. The STAINED GLASS WINDOW. It isn't so nice and friendly anymore. It shows an illustration of three corpses. Strewn in front of the House, fiery and burning. Clearly, Jonathan. Zimmerman. And Lewis. Obsidian X's over their eyes. CLOSE ON-- the Lewis figure. Prostrate. Just about Jonathan's worst fear. Jonathan. Truly scared. As the TICKING grows louder. And LOUDER. When the REAL LEWIS appears at the bottom of the steps. He can't see the glass from his angle--<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Uncle Jonathan...?<\/dialogue>\n    <scene_description>With more edge than he'd like--<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Don't come up!!<\/dialogue>\n    <parenthetical>(lamely covers)<\/parenthetical>\n    <dialogue>I'm-- I'm coming down--<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>I need to talk to you...<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Not the best time, Lewis. Listen. I'm kinda working on this-- heavy- duty spell-- I want you to stay with Mrs. Z. for a few days...<\/dialogue>\n    <scene_description>Lewis tries again-- he WANTS to CONFESS--<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Come on. I can see all the horseshoes-- you don't have to hide it--<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>What do you-- everything's fine--<\/dialogue>\n    <character>ZIMMERMAN (O.S.)<\/character>\n    <dialogue>No. It's not.<\/dialogue>\n    <scene_description>Mrs. Zimmerman steps up behind Lewis.<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>You're right, Lewis. Something's wrong.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Florence--<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>He's got eyes, Jonathan.<\/dialogue>\n    <parenthetical>(to Lewis)<\/parenthetical>\n    <dialogue>It's our friend Isaac Izard-- he's back from the great beyond...<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Yeah, that's what I wanna--<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>And when we find out who did it? They're going to be sorry-- very sorry.<\/dialogue>\n    <scene_description>Lewis slams the brakes on his confession--<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Oh, I, um-- yep. They sure will.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Look-- truth is, it's not safe for you here, at least for now. So-- go with Mrs. Zimmerman.<\/dialogue>\n    <parenthetical>(Lewis hesitates)<\/parenthetical>\n    <dialogue>Lewis. Please.<\/dialogue>\n    <scene_description>CONTINUED: (2) Off Lewis. Off Jonathan. Both tense. Both afraid.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ZIMMERMAN HOUSE - NIGHT - ESTABLISHING<\/stage_direction>\n    <scene_description>Her purple house is even more purple at night.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ZIMMERMAN HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Mrs. Zimmerman's rugs, her wallpaper, her staircase runner are also purple. So is the large surrealistic painting of a dragon that hangs in her living room. It was made for her specially by the French symbolist painter Odilon Redon. Lewis stands at the window, edgy, crushed with guilt. As Mrs. Zimmerman enters with a lovely plate of cookies.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>We can't just sit here. We gotta help Uncle Jonathan.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <parenthetical>(warm)<\/parenthetical>\n    <dialogue>I think we need to keep you safe and sound, right here.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>But this is all m--<\/dialogue>\n    <scene_description>He's about to say 'this is all my fault.' But he stops short. Looks at Mrs. Zimmerman-- he's simply too frightened to confess.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>--this is all a big mess.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Don't worry. If anyone can figure it out, it's your Uncle.<\/dialogue>\n    <scene_description>Lewis exhales. Pivots into the room. And notices-- a cluster of FRAMED PHOTOS on an end table. He lifts one-- an enchanting, 20-year-old MRS. ZIMMERMAN in a purple satin gown. An Art Deco Goddess. Wow.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Is this you?<\/dialogue>\n    <scene_description>She takes it. Nods. A wistful beat. CONTINUED:<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>You should've seen me before the War. My magic was the toast of Paris. I melted Salvador Dali's watch once, right off his wrist.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Well, then, why--<\/dialogue>\n    <parenthetical>(he stops)<\/parenthetical>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>It's okay. Ask me anything.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Why-- don't you practice anymore?<\/dialogue>\n    <scene_description>She flinches-- this isn't easy for her. And her eyes find another PHOTO: Mrs. Zimmerman with the late MR. ZIMMERMAN. And their little girl NAOMI.<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>You know how magic comes from inside?<\/dialogue>\n    <parenthetical>(Lewis nods)<\/parenthetical>\n    <dialogue>Well. I got hurt once. Pretty badly. And even though my outsides got better, my--<\/dialogue>\n    <parenthetical>(touches her heart)<\/parenthetical>\n    <dialogue>--insides never did. I guess-- I'm still too weak-- in here-- to work any real magic.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Maybe-- you'll feel better soon.<\/dialogue>\n    <scene_description>Mrs. Zimmerman. She'd like to believe that. But she doesn't. She changes the subject.<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Maybe. Now come on. There's few problems in this world that can't at least be helped by a good chocolate chip cookie.<\/dialogue>\n    <scene_description>She pushes the cookie plate to Lewis-- and WE SEE-- but Lewis doesn't-- her CONCENTRATION CAMP TATTOO. Lewis gratefully munches a cookie. But then he looks back through the window-- at the House. Lewis. His jaw tightens. He has to help. Somehow.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOUSE - BACKYARD - NIGHT<\/stage_direction>\n    <scene_description>Jonathan. In the fenced backyard. At a GARDEN TABLE. Smoking a PIPE. Reading a book titled 'CODE-BREAKERS OF WWII.' Cross-referencing each code against Isaac's BLUEPRINTS. But so far-- nothing. He rubs his eyes, frustrated. Dammit. Keeps at it-- BUT BEHIND HIM. The TOPIARY LION. Begins to STALK towards Jonathan. It's no longer friendly-- like the rest of the house, it's darker, more dangerous. It moves like a predator towards its prey. Its eyes GLEAM a rancorous red. Jonathan. Working. Oblivious. As the lion closes in. Closer. Closer. Now tensing up. About to POUNCE. Then-- It LEAPS! But turns out Jonathan came prepared-- he snags a previously unseen MACHETE-- and HACKS the LION'S LEAFY HEAD RIGHT OFF! Foliage bursts everywhere! It crashes to its side. Still and dead. Beat.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Bad kitty.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOOTBALL FIELD - NEXT DAY<\/stage_direction>\n    <scene_description>Tarby. Launches another perfect pass. In the middle of a play. When--<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Tarby! Tarby!<\/dialogue>\n    <scene_description>Lewis closes in, urgently. He's just about the last person on Earth Tarby wants to see.<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>Not now, Lewis, I'm in the middle of a game.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Yeah, now. We gotta talk now.<\/dialogue>\n    <scene_description>Tarby is taken aback by Lewis' zeal. CONTINUED:<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>Hold up, guys.<\/dialogue>\n    <parenthetical>(to Lewis, impatient)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>LEWIS<\/character>\n    <parenthetical>(it cascades out)<\/parenthetical>\n    <dialogue>Look. The other night in the cemetery, we did something awful. I did-- it was my fault-- I'm sorry for dragging you out there.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But now my Uncle's in trouble-- we all are-- and we have to do something. We gotta help him find... there's this clock, and--<\/dialogue>\n    <character>TARBY<\/character>\n    <dialogue>Lewis. Just stop!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Nothing happened in that cemetery.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>...what? What are you talking about? You saw that crypt--<\/dialogue>\n    <character>TARBY<\/character>\n    <dialogue>It was-- dark-- probably just a trick-- of the moonlight or something.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Look, I get it, you're scared-- I'm scared, too, more than anyone, but--<\/dialogue>\n    <scene_description>Tarby LUNGES, WRENCHES Lewis' arm back. Lewis shouts!<\/scene_description>\n    <character>TARBY<\/character>\n    <parenthetical>(terrified)<\/parenthetical>\n    <dialogue>Who's scared? I'm not scared. And if you tell anyone I was there? I'll break both your arms!<\/dialogue>\n    <scene_description>Lewis looks at Tarby in PIERCING PAIN. And before he even knows what he's doing-- Lewis SWINGS-- CRACKS Tarby across the chin! Tarby reels, surprised-- it wasn't a bad hit. But then Tarby UPPERCUTS into Lewis' gut. HARD. Sends Lewis dropping to his knees-- CONTINUED: (2)<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>Stay away from me, fat ass.<\/dialogue>\n    <scene_description>Tarby heads back to the game. Off Lewis. Gasping for breath. Tarby calling him that-- it stings-- like betrayal. Tears start to flow.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARK - DAY<\/stage_direction>\n    <scene_description>WIDE SHOT. Lewis sits on a park bench-- in front of the second largest Paul Bunyan statue in the continental U.S. Red-faced. Wet cheeks. Crying. Scared. Alone. He doesn't know what to do. How to help. Finally, Lewis stands. Lifts his bag off the bench. But from the wrong end-- his books and papers SPILL OUT. Just great. Until Lewis sees-- his first edition Webster's plopped out. Spread open. He bends over. Notices the page it opened to-- INSERT. INDOMITABLE (adj.): impossible to defeat. PUSH IN ON LEWIS. He thinks-- seems to decide something. Wipes his tears away. Scared. But INDOMITABLE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - FRONT HALL - NIGHT<\/stage_direction>\n    <scene_description>The front door CREAKS open. And Lewis enters. Jesus, the TICKING seems to get LOUDER by the minute.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Uncle Jonathan?<\/dialogue>\n    <scene_description>No answer. Lewis continues-- past the SLITHERING VINES in the wallpaper-- no sprouting sunflowers anymore-- only desolate thorns. Past the OVAL MIRROR-- which now displays imagery of the House-- in flames-- Past the MAGICIAN POSTERS-- who all watch Lewis, spiteful and venomous. CONTINUED: Under a CLOUD. Pouring rain, drenching both Lewis and the carpet. And rumbling menacingly. The floorboards groan with every step. The mood is tense. Dangerous.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - LIBRARY - NIGHT<\/stage_direction>\n    <character>LEWIS<\/character>\n    <dialogue>Uncle Jonathan? You in here?<\/dialogue>\n    <scene_description>He's not. The library is SILENT, EMPTY. Except, of course, for the spooky curios-- the shrunken head and Hand of Glory-- which all seem spookier now. And except for the BLUEPRINT, sprawled on the table. Lewis steps over to inspect it-- Unbeknownst to him-- on the BOOKSHELF-- a few THICK VOLUMES begin to scrape and slide... Lewis studies the blueprints. Troubled by the unsettling sketches. But his eyes WIDEN-- as he sees-- those STRANGE SYMBOLS and NUMBERS--<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>No way.<\/dialogue>\n    <scene_description>Just then-- a TERRIBLE RUSTLING-- as a SWARM of HEAVY BOOKS-- flapping like RAVENS-- ATTACK! Lewis SHOUTS-- SHIELDS HIMSELF with his arms-- but they're all over him-- moving like a coordinated FLOCK, like a starling murmuration-- papercutting him badly-- Lewis drops to the ground for protection-- they SLAM into his HEAD and TORSO-- it's getting dangerous, like something out of Hitchcock's \"The Birds.\" When-- Thank God, Jonathan and Mrs. Zimmerman RACE IN--<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>LEWIS!<\/dialogue>\n    <scene_description>Jonathan grabs the boy-- hurries for the door-- but--<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Get those papers!<\/dialogue>\n    <scene_description>CONTINUED: Mrs. Zimmerman snags the BLUEPRINTS-- then everyone RUSHES out-- through the FLUTTERING GAGGLE of paper and cardboard-- Jonathan STRUGGLES to close the SLIDING DOOR-- shoving back some pushy BOOKS FIGHTING to get through-- until-- finally, he shuts it. They're all safe. Mrs. Zimmerman catches her breath, as Jonathan HUGS Lewis.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Are you okay??<\/dialogue>\n    <scene_description>Lewis nods. More than a few bleeding papercuts, but otherwise, no worse for wear. Jonathan's jagged relief quickly transforms into anger--<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>What are you doing here?? I told you-- the house wasn't safe!<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>I was being-- indomitable.<\/dialogue>\n    <scene_description>Mrs. Zimmerman. Impressed. Lewis is such a brave kid.<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>I suppose you were, weren't you?<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>You can't do this alone. You need help. I can help you.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>No, you can't--<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Yes, actually, I can--<\/dialogue>\n    <parenthetical>(grips blueprints)<\/parenthetical>\n    <dialogue>Cause I know what this says. Or, at least, I can find out--<\/dialogue>\n    <scene_description>Off Jonathan and Mrs. Zimmerman's palpable SURPRISE--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN ROAD - NIGHT<\/stage_direction>\n    <scene_description>Moonless night. The darkness is almost stifling. Jonathan's Muggins-Simoon SQUEALS around a corner. Jonathan, Lewis, Mrs. Zimmerman inside. Racing to--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HEEMSOTH'S REXALL DRUG STORE - NIGHT<\/stage_direction>\n    <scene_description>The glass doors FLING OPEN-- Lewis SPRINTS IN, chased by Jonathan and Mrs. Zimmerman, dodging SURPRISED SHOPPERS. Searching for something--<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Wait-- I don't understand-- you've seen this code before?<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Yes! Comrade Ivan uses one just like it, to send commands to his Red Brigade!<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Comrade-- who?<\/dialogue>\n    <scene_description>Lewis reaches the rich, chocolatey OVALTINE. Opens the TOP, DUMPS the CHOCOLATE POWDER right on the FLOOR--<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>From the movies! But Captain Midnight always decodes it and stops him-- with this!<\/dialogue>\n    <scene_description>From the powder, Lewis digs out and HOLDS UP-- THE CAPTAIN MIDNIGHT SECRET DECODER RING.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>His secret decoder ring!<\/dialogue>\n    <scene_description>Jonathan. Mrs. Zimmerman. Bewildered.<\/scene_description>\n    <character>JONATHAN AND ZIMMERMAN<\/character>\n    <parenthetical>(in unison)<\/parenthetical>\n    <dialogue>I don't believe it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARK - NIGHT<\/stage_direction>\n    <scene_description>The towering Paul Bunyan statue watches over-- Lewis. Lit by the Sedan's HEADLIGHTS. Sitting at a PICNIC TABLE, meticulously poring over the BLUEPRINTS. Using the DECODER RING, he translates them onto a sheet of lined paper. He looks increasingly UPSET. Jonathan and Mrs. Zimmerman watch from a few yards away. CONTINUED:<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>It's pretty smart of old Isaac. Picking a code we'd never think of.<\/dialogue>\n    <scene_description>Jonathan smiles at Lewis with pride.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>He just didn't count on us having him--<\/dialogue>\n    <scene_description>Lewis looks up. Stricken.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>I'm done.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <parenthetical>(picks it up)<\/parenthetical>\n    <dialogue>Let me see.<\/dialogue>\n    <scene_description>Soon-- Jonathan's expression matches Lewis. Aghast.<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <parenthetical>(impatient)<\/parenthetical>\n    <dialogue>Well-- what's it say??<\/dialogue>\n    <character>JONATHAN<\/character>\n    <parenthetical>(grim)<\/parenthetical>\n    <dialogue>\"With this clock, Selena and I shall wipe this filthy world clean.\"<\/dialogue>\n    <scene_description>Mrs. Zimmerman nods, her worst suspicions confirmed.<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>So-- it's a doomsday clock?<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Just the opposite. It doesn't end the world. It starts it.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>It reverses time. Back to when the Earth was rock and lava.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNKNOWN LOCATION - UNKNOWN TIME - FLASHBACK<\/stage_direction>\n    <scene_description>Isaac Izard. And his wife Selena. Impressionistic shots of the two of them. CONTINUED: BUILDING a SPRAWLING and INTRICATE CLOCK. Gears and levers and weights and wheels. They use Balance Truing Calipers and Rivet Extracting Pliers.<\/scene_description>\n    <character>JONATHAN (V.O.)<\/character>\n    <dialogue>Apparently, Isaac-- and it only works if it's him-- has to wind the contraption at midnight, on the nose. With that clock key. And once he does-- time races backward, all the way back to the starting gun.<\/dialogue>\n    <scene_description>WIDER. As Isaac-- eyes hidden behind his cold gray glasses-- magically LEVITATES a MASSIVE 20 foot wide GEAR WHEEL into position...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARK - NIGHT - PRESENT<\/stage_direction>\n    <character>JONATHAN<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>\"The world is too war-torn, too diseased, to survive. Our only hope is to put it out of its misery. And begin all over again. Fresh and new as the driven snow.\"<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>What a bucket of crazy. Does it say where the clock is?<\/dialogue>\n    <scene_description>Jonathan shakes his head. No. CLOSE ON LEWIS. Guilt-ridden. Angst-ridden. His secret burns a hole in his heart. Can't take it much longer.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>So Isaac builds the damn thing, but gets blown up making the last piece-- the key.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>But now that he's up and at 'em again, there's nothing to stop him from finally using it.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Uncle Jonathan--<\/dialogue>\n    <character>JONATHAN<\/character>\n    <parenthetical>(to Mrs. Zimmerman)<\/parenthetical>\n    <dialogue>Well, there's us.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <parenthetical>(dry)<\/parenthetical>\n    <dialogue>That's encouraging.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Uncle Jonathan-- listen!<\/dialogue>\n    <parenthetical>(they look to him)<\/parenthetical>\n    <dialogue>This is-- my fault.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>What? No, Lewis-- you helped us-- you're the one who decoded it--<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>No, I mean, I'm the one that brought Isaac back.<\/dialogue>\n    <scene_description>This throws Jonathan and Mrs. Zimmerman for a loop.<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Lewis?<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>What-- are you talking about?<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>I opened the cabinet. I used your book.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>You-- what??<\/dialogue>\n    <character>LEWIS<\/character>\n    <parenthetical>(small)<\/parenthetical>\n    <dialogue>And I raised Isaac from the dead. I'm so, so sorry.<\/dialogue>\n    <scene_description>A long, long beat. Jonathan starts quietly.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>That was my one rule, Lewis.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>...I know... I'm sorry...<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>And you broke it?<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>I-- didn't mean to--<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>You didn't mean to? So, you opened a forbidden cabinet and performed an unholy ritual? On accident?!<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Jonathan--<\/dialogue>\n    <character>LEWIS<\/character>\n    <parenthetical>(miserable)<\/parenthetical>\n    <dialogue>I didn't think I was going to raise Isaac.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Then who?? I mean, what in the HELL were you THINKING?!<\/dialogue>\n    <character>LEWIS<\/character>\n    <parenthetical>(tears flow)<\/parenthetical>\n    <dialogue>My parents. I was trying to bring my parents back. You've been busy and Tarby hates me and I-- I just wanted my Mom.<\/dialogue>\n    <scene_description>Jonathan and Mrs. Zimmerman take this in, silent. Until-- Mrs. Zimmerman cocks her head-- notices a DISTANT GROWL--<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>D'you hear that?<\/dialogue>\n    <scene_description>They all do. They turn to see-- IN THE DISTANCE. TWO HEADLIGHTS-- WHITE FLARES on BLACK VELVET. ROARING TOWARDS THEM. It's a 1940's PACKARD. And it's not slowing down. It's SPEEDING UP. It aims to RUN THEM OVER.<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>I think we need to go... I think we need to go right now...<\/dialogue>\n    <scene_description>Jonathan nods-- they all DIVE into the Muggins-Simoon. As the Packard grows ever closer--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUGGINS-SIMOON - NIGHT<\/stage_direction>\n    <scene_description>Jonathan fumbles with the keys, turning the engine-- CONTINUED:<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Go, Jonathan! DRIVE!<\/dialogue>\n    <scene_description>Jonathan finally FLOORS the GAS PEDAL.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARK - NIGHT<\/stage_direction>\n    <scene_description>Jonathan's Muggins-Simoon SPITS GRAVEL-- takes off! Just as the Packard SMASHES through the PICNIC TABLE. In dogged pursuit. Its windows are blacked-out, we can't see inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN STREETS - VARIOUS - NIGHT<\/stage_direction>\n    <scene_description>As we begin a THRILLING CHASE SEQUENCE-- through quiet neighborhood streets. With two sleek, snarling, early-century cars. It's a 40's Detective Flick, shot with modern toys. The CAMERA is mounted six ways to Sunday-- on hoods, on running boards, on the luscious curvy wheel-wells. They take RECKLESS HAIRPIN TURNS at NAIL-BITING SPEEDS. Whitewalls scrabble for purchase. The PACKARD BLITZES PAST a young couple in their Ford-- misses 'em by millimeters-- too close-- Jonathan batters a WHITE PICKET FENCE on a WIDE SWERVE!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUGGINS-SIMOON - MOVING - NIGHT<\/stage_direction>\n    <scene_description>Lewis, sans seatbelt, is thrown across the backseat. Holds on for dear life, terrified.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Who is that?!<\/dialogue>\n    <scene_description>Mrs. Zimmerman glances behind. Sees something-- POV. The pursuing HEADLIGHTS. GLEAM like TWO BITTER COLD GRAY DISCS. Almost like... bifocals... And like that-- she knows who it is.<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Get to Wilder Creek bridge!<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>What? It's too far--<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Just do it!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY ROAD - NIGHT<\/stage_direction>\n    <scene_description>Jonathan CAREENS around a corner onto a country road. Blasting dead leaves in his wake. Heading out of town-- past a WELCOME TO NEW ZEBEDEE sign. The Packard follows. Both cars lurch over hills and through gullies bordered by skeletal trees. And among the trees-- the mysterious SHROUDED FIGURE. In its grimy-gray, hooded robe. Just silently watching the cars SQUEAL by-- and as they do-- The resulting WIND harshly GUSTS the ROBE. It flitters away-- revealing-- there's NOTHING UNDERNEATH! Nothing but thin air. Okay, seriously. Who the hell is that?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUGGINS-SIMOON - MOVING - NIGHT<\/stage_direction>\n    <scene_description>Jonathan never notices. He only clenches the wheel. Pedal to the metal. Until--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WILDER CREEK BRIDGE - NIGHT<\/stage_direction>\n    <scene_description>A spindly metal BRIDGE spans quaint, gurgling Wilder Creek. A moment of tranquil silence. Until-- The Muggins-Simoon BURSTS out from behind some trees. BARRELS fast for the bridge-- overhanging branches whipping against its metal roof. The Packard right behind-- with its cold white headlights. It gets close enough to SLAM into Jonathan's bumper! RAMS him again!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUGGINS-SIMOON\/EXT. WILDER CREEK BRIDGE - MOVING<\/stage_direction>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Jonathan!<\/dialogue>\n    <scene_description>CONTINUED: Everyone jolts. Jonathan damn near loses control. But he grits his teeth and FLOORS IT! His Muggins-Simoon PULLS JUUUUST far enough ahead to avoid another collision. Dashes for the bridge. Almost there-- the Packard is about to swat them again-- almost there-- They make it to the bridge! And the damndest thing-- Once the Packard touches the BRIDGE-- it EXPLODES-- into BLACK SMOKE-- storming forward with the Packard's momentum-- then dissipating. Jonathan. Mrs. Zimmerman. Lewis. Watching this. All of them are STAGGERED. Especially Lewis. As the pursuing vehicle vanishes into dust. Jonathan slows his car to a stop. In the dead center of the bridge. Climbs out. As do the others. Breathless.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>What-- what just happened?<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>This is an iron bridge. And what do you know about iron?<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>It-- it stops evil?<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Gold star.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>That wasn't a car. That was a spell. A black magic spell. Isaac cooked it up, just for us.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>But why? He knew we could just head for the bridge.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <parenthetical>(thinking)<\/parenthetical>\n    <dialogue>Maybe he wanted to get us outta town. Keep us busy.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Why would he want to do that?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Jonathan's car jerks up to the curb. Jonathan, Lewis, and Mrs. Zimmerman emerge. Chilled, they see-- The House. The front door swings open. And every single HORSESHOE-- every single one-- is GONE. A black upside- down 'U' of CHARCOAL where they once hung.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Isaac-- pulled the horseshoes off?<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Burned them off. One by one. Like ants with a magnifying glass.<\/dialogue>\n    <parenthetical>(to Mrs. Zimmerman)<\/parenthetical>\n    <dialogue>The level of power it takes to do something like that...?<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Seems his skills have improved. Death's been good to him.<\/dialogue>\n    <scene_description>Jonathan moves for the front door.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Wait here.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>No-- don't go in there alone--<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>I said wait here.<\/dialogue>\n    <scene_description>And with that, Jonathan vanishes inside. Mrs. Zimmerman and Lewis trade looks. Take a few tentative steps to the front door. Just to peek inside. But their hearts sink when they see--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - NIGHT<\/stage_direction>\n    <scene_description>It's been DESTROYED. Furniture overturned. Wall clocks and grandfather clocks SMASHED. But the WALL TICKING THUNDERS! Mrs. Zimmerman ventures a few more steps in, to find-- THE PLAYER ORGAN. On its side. SPLINTERED. It wheezes a single, wounded note. CONTINUED:<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Oh. No. You poor thing.<\/dialogue>\n    <character>JONATHAN (O.S.)<\/character>\n    <dialogue>Upstairs is even worse.<\/dialogue>\n    <scene_description>Mrs. Zimmerman looks to Jonathan, as he steps into the hall. Lewis watches from the open front door.<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Isaac's not here, is he?<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>No-- but he sure made a mess before he left. My guess is, he was looking for the key.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Did he find it?<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>You may call me fat, hairy and stupid, madam. But you're mistaken. I'm not stupid.<\/dialogue>\n    <scene_description>With that-- he pulls the SKELETON KEY out of his pocket. It's been on him this whole time.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>I wasn't gonna just leave it here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOUSE - NIGHT<\/stage_direction>\n    <scene_description>The KEY. On the sidewalk. As-- WHACK! WHACK! WHACK! A HAMMER POUNDS into it. Jonathan tries to destroy the damn key. Lewis and Mrs. Zimmerman watch. Jonathan holds it up. Sighs.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Not a scratch. Knew that'd be too easy.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Okay. So you cook up a heavy spell to melt it down.<\/dialogue>\n    <scene_description>Jonathan nods. But then glances at Lewis. Jonathan's heart breaks-- this is hard-- but necessary-- CONTINUED:<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Meantime, you-- you take Lewis downtown. And-- put him on a Greyhound to Osee Five Hills.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>You're gonna go live with your Aunt Mattie.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>No-- no! You can't!<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>It was a mistake-- you coming here.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>But, I-- I'm sorry, I'll make it up to you. But please-- I don't wanna go with Aunt Mattie. I wanna stay. With you.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>It's not safe for you. I was wrong to ever think it was--<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>I-- I can handle it-- let me help--<\/dialogue>\n    <character>JONATHAN<\/character>\n    <parenthetical>(an outburst)<\/parenthetical>\n    <dialogue>I think you've helped enough already!<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Jonathan!<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>I tried to be a nice guy! I let you do what you want, I barely gave you any rules-- and you still broke the only rule I gave! You raised the dead! Without even considering the consequences! Like it was-- going out for a milk shake! And now-- do you know what could happen to you-- to all of us? Clearly, you can't handle anything close to this!<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>JONATHAN<\/character>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I'll pack your bag.<\/dialogue>\n    <scene_description>Lewis moves for Jonathan. Moves for the house. Bawling.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>...but you said... we could be alone together...<\/dialogue>\n    <scene_description>Jonathan steps in front of him. Holds his ground. Blocks Lewis' way. We can tell Jonathan is ANGUISHED.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <scene_description>Jonathan heads in. Mrs. Zimmerman is quietly FURIOUS at him. She puts a comforting hand on Lewis' shoulder.<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Stay here. Let me talk to him.<\/dialogue>\n    <scene_description>She heads into the house. Lewis sits on the front step. Quietly sobbing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - LEWIS' ROOM - NIGHT<\/stage_direction>\n    <scene_description>POV. Through a window. Down on Lewis. Huddled, small and lonely, on the stoop. Jonathan. In Lewis' room-- which is just as TRASHED as the rest of the house. Jonathan watches his nephew. Conflict all over his face-- But still-- he returns to packing Lewis up. Placing the Webster's-- and the MAGIC 8-BALL-- inside a case. When Mrs. Zimmerman appears in the doorway. Just glares at Jonathan. After a beat--<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Well, go ahead. Yell at me. Call me some names.<\/dialogue>\n    <scene_description>But Mrs. Zimmerman is too sad and disappointed for that. She steps in, closes the door behind her.<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Not this time.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Jonathan. That little boy needs you.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>But-- what he did...<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Boys make mistakes. Get in trouble. That's why they're boys.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>This isn't swiping a comic book, Florence, this is-- I-- I don't have a choice here.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Sure, you do. You could stick it out. But no-- when the going gets tough? You get going-- right for the exit. You ran away from your family-- now you're running away from that child.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Lewis. Head hung, downcast. When he lifts his chin. Happens to glance across the street-- to MRS. HANCHETT'S BOXY HOUSE. And spies-- POV. Mrs. Hanchett. In a robe. Flips off her kitchen lights, shuffles for the steps. But in an upstairs window-- TWO COLD GRAY DISCS! MOVING FOR HER! Isaac's in her house! She's in danger! Lewis JOLTS! Turns to his open front door--<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Uncle Jonathan!! Mrs. Zimmerman!!<\/dialogue>\n    <scene_description>But they don't answer. They must not hear. Off Lewis. Someone has to warn Mrs. Hanchett-- she's walking RIGHT TOWARDS Isaac...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - LEWIS' ROOM - NIGHT<\/stage_direction>\n    <character>JONATHAN<\/character>\n    <dialogue>Look-- you're right. Okay? I'm just a-- parlor magician! You want a dumb trick? Great.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>But the real stuff-- the stuff that matters? I-- I don't know how to take care of a kid. What to say to him. How to keep him safe-- especially now. I'm just...<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>You're scared.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Yes. Alright? I'm scared-- for Lewis. Scared he'll get hurt.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Well, guess what, genius? That's the whole point! Having a kid means being scared for 'em 24\/7-- and doing it anyway! It's the whole damn job description! And I'd give anything to do that job again, I'd--<\/dialogue>\n    <scene_description>Mrs. Zimmerman stops-- overcome with emotion. She steps to the door. As Jonathan studies his shoes, forlorn.<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>I guess I do have a name for you. You're a coward.<\/dialogue>\n    <scene_description>She exits. As Jonathan miserably glances out the window. POV. Lewis isn't there. He's GONE. Off Jonathan. Where is he?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HANCHETT HOUSE - VARIOUS - NIGHT<\/stage_direction>\n    <scene_description>The unlocked front door SQUEEEEEEAKS open. Lewis, both brave and terrified, enters. He whispers--<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Mrs. Hanchett!<\/dialogue>\n    <scene_description>The house is silent. Shadowed. In direct contrast to Jonathan's Gothic design, this place is all chrome and linoleum, plastic and Formica. Lewis continues through the quiet, empty house. Spine- tingling, nail-biting, nerve-jangling beats. CONTINUED:<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Mrs. Hanchett!<\/dialogue>\n    <scene_description>He pads, slow and careful, to the-- STAIRWAY. Lewis takes a step up-- when a DARK FIGURE APPEARS OVER HIS SHOULDER! Oh no! But--<\/scene_description>\n    <character>MRS. HANCHETT<\/character>\n    <dialogue>Lewis?<\/dialogue>\n    <scene_description>It's Mrs. Hanchett. Lewis whirls-- thank God!<\/scene_description>\n    <character>MRS. HANCHETT<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <character>LEWIS<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>You've got to get out of here!<\/dialogue>\n    <character>MRS. HANCHETT<\/character>\n    <dialogue>What? Why?<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>There's someone in your house! A man, a very bad man!<\/dialogue>\n    <character>MRS. HANCHETT<\/character>\n    <dialogue>What do you-- where??<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Just trust me-- c'mon, let's go!<\/dialogue>\n    <scene_description>Mrs. Hanchett nods-- okay-- she spins to leave-- And finds herself face to face with ISAAC IZARD! Lewis SHOUTS! Isaac is horrible. Moth-eaten funeral suit. Pale, splotchy skin. Those cold, bitter EYEGLASSES. Lewis musters his courage, best he can--<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>You-- stay away from her!<\/dialogue>\n    <scene_description>But Isaac only smiles blandly at Lewis. And Mrs. Hanchett smiles, too. She steps to Isaac. And plants a long, deep, big, wet KISS on his zombified smacker! CONTINUED: (2) Lewis. Shocked and-- let's face it-- ewwww.<\/scene_description>\n    <character>ISAAC IZARD<\/character>\n    <parenthetical>(rattling croak)<\/parenthetical>\n    <dialogue>Why should I stay away? From my beautiful wife?<\/dialogue>\n    <scene_description>TWIST! Lewis sputters to Mrs. Hanchett--<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>You're-- you're Selena Izard?<\/dialogue>\n    <scene_description>Mrs. Hanchett's FACE WARPS and RIPPLES-- this is no bloodless morph-- this is MUSCLE and SINEW snapping and reforming-- Into Selena Izard's LEMON-SUCKING VISAGE.<\/scene_description>\n    <character>MRS. HANCHETT\/SELENA IZARD<\/character>\n    <dialogue>In the flesh.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>But I didn't-- I mean, you died, who brought you back?<\/dialogue>\n    <character>SELENA IZARD<\/character>\n    <dialogue>Who ever said I died?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOUSE - NIGHT - FLASHBACK<\/stage_direction>\n    <scene_description>From the opening. Jonathan and Mrs. Zimmerman scramble up to the House-- as LIGHT STROBES in the ground floor windows. Jonathan POUNDS on the thick front door.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Isaac! Open up! Open this door RIGHT NOW!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - PARLOR - NIGHT - FLASHBACK<\/stage_direction>\n    <scene_description>The SKELETON KEY. In the rotating, clicking clockwork bowl. The key FLARES and FLICKERS-- blasting blinding light into the room. Isaac. Stands over the bowl. Chanting, fast and whispered. The way a schizophrenic rants to himself. He ignores Jonathan's muffled O.S. SHOUTS. Selena. Near the hallway. Watching. She's scared-- CONTINUED: The room RATTLES and QUAKES. Vases TOPPLE off mantles, cracks SNAKE across the walls.<\/scene_description>\n    <character>SELENA IZARD<\/character>\n    <dialogue>Isaac....?<\/dialogue>\n    <scene_description>Still, he chants. Still, the room SHAKES-- 8.0 on the Richter scale, now. Unsure, Selena backs away-- into the hall-- just as-- K-RAAAACK! An atomic white explosion FIREBALLS out from the parlor-- SWATTING Selena to the GROUND! But she's alive. She shakes cobwebs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOUSE - NIGHT - FLASHBACK<\/stage_direction>\n    <scene_description>Jonathan and Mrs. Zimmerman warily enter the house. Beat. Selena emerges from around the corner. Clearly, from the back door. She sees Isaac's body by the chestnut tree. She pales. Runs to him. Gently cradles his face.<\/scene_description>\n    <character>SELENA IZARD<\/character>\n    <dialogue>Oh, my darling.<\/dialogue>\n    <scene_description>Off her broken heart--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HANCHETT HOUSE - NIGHT - PRESENT<\/stage_direction>\n    <scene_description>Lewis backs up-- the only direction he can-- up the steps. Isaac and Selena follow.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>But-- the bone key--<\/dialogue>\n    <character>SELENA IZARD<\/character>\n    <dialogue>Wasn't my bone.<\/dialogue>\n    <character>ISAAC IZARD<\/character>\n    <dialogue>No, that's a chunk from the real Mrs. Hanchett. That is, before Selena took her place. You see, my wife-- she has a talent for disguises.<\/dialogue>\n    <scene_description>CONTINUED: Now-- Selena's bones and sinew CRACK and REFORM again-- into the image of LEWIS' MOTHER! Lewis reacts-- with emotion. And anger. And horror.<\/scene_description>\n    <character>MOTHER\/SELENA IZARD<\/character>\n    <dialogue>Come give your Mommy a kiss.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>...you-- it was you in my dreams...<\/dialogue>\n    <character>MOTHER\/SELENA IZARD<\/character>\n    <dialogue>I couldn't get to that dirty old book-- but you could. You could raise Isaac for me. You could do everything I wanted.<\/dialogue>\n    <scene_description>She TWISTS back into the form of SELENA--<\/scene_description>\n    <character>ISAAC IZARD<\/character>\n    <dialogue>And now-- you're going to get us that clock key.<\/dialogue>\n    <scene_description>Lewis backs away. Isaac and Selena advance. This isn't going to end well. Until--<\/scene_description>\n    <character>ZIMMERMAN (O.S.)<\/character>\n    <dialogue>Leave the boy alone.<\/dialogue>\n    <scene_description>It's Mrs. Zimmerman! And Jonathan! She HOLDS a BLACK UMBRELLA-- with a CRYSTAL GLOBE on the handle, glowing faintly PURPLE. A gunslinger who's picked up her gun! Lewis nearly buckles from relief.<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>You're not dealing with children anymore.<\/dialogue>\n    <scene_description>Isaac and Selena pivot. Step off the stairs-- to meet their opponents on this suburban battlefield.<\/scene_description>\n    <character>ISAAC IZARD<\/character>\n    <dialogue>Forgive me if I don't exactly quiver in my boots.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Run, Lewis! Now!<\/dialogue>\n    <scene_description>Lewis scrambles behind Isaac and Selena. To the front door. CONTINUED: (2)<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Isaac. Wish I could say you're looking well.<\/dialogue>\n    <character>ISAAC IZARD<\/character>\n    <dialogue>I don't know. I feel like I've lost some weight.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Tell us where the clock is. Or we'll--<\/dialogue>\n    <character>ISAAC IZARD<\/character>\n    <dialogue>What will you do, Jonathan? I taught you everything you know-- and you were a poor student.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>You'll never find the clock. It's got a witch's hex on it.<\/dialogue>\n    <scene_description>Jonathan and Mrs. Zimmerman trade looks. That means something to them, but we don't know what-- yet. Lewis. Peeks in from the open door. Watching.<\/scene_description>\n    <character>ISAAC IZARD<\/character>\n    <parenthetical>(to Mrs. Zimmerman)<\/parenthetical>\n    <dialogue>And you? After what you and I have both seen-- and suffered-- in this bloody slaughterhouse of a world? Florence. We can put an end to-- everything. And start over. You should help me.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Sorry, I can't. I'm not a maniac-- like you.<\/dialogue>\n    <character>ISAAC IZARD<\/character>\n    <dialogue>But we're alike in a lot of other ways. Bitter, heartbroken, grief- stricken. You know it's true.<\/dialogue>\n    <scene_description>CLOSE ON MRS. ZIMMERMAN. HERO SHOT.<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Maybe I was. But now? Maybe I wanna be indomitable.<\/dialogue>\n    <scene_description>CLOSE ON LEWIS. Smiles. Fact is, Mrs. Zimmerman's learned something from this little boy's bravery. CONTINUED: (3)<\/scene_description>\n    <character>ISAAC IZARD<\/character>\n    <dialogue>You're not strong enough for this.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>I guess we'll just see.<\/dialogue>\n    <scene_description>CLOSE UPS. Two witches, two warlocks. One showdown. You can hear a PIN DROP. If they were outside, a tumbleweed would roll past. IN THE CHROME KITCHEN. Knives in a knife block. RATTLE. Mrs. Zimmerman. Tightens her grip on her umbrella. Jonathan-- slowly reaches into his jacket, as if going for a gun. Selena, focused. And finally-- Isaac. He SMILES! As the KNIVES FLING through the AIR-- right at Mrs. Zimmerman's HEAD! And it's ON! She BLOCKS THEM-- KNOCKS THEM AWAY-- WHIRLING and SPINNING her UMBRELLA like it's a Japanese Bo. Lewis reacts-- WOW! Apparently, Mrs. Zimmerman's personal style of magic? Is BAD ASS! Meanwhile-- Selena, SCREECHING like a banshee-- LAUNCHES through the air at Jonathan-- fiendishly FLYING-- But from his jacket-- he PULLS A HORSESHOE! Presses it against her CHEST, just as she bears down on him! Selena flails back-- shrieking-- the horseshoe GLOWS, her CHEST SIZZLES and SMOKES-- Jonathan advances-- MRS. ZIMMERMAN-- her turn-- she FLINGS her UMBRELLA AT Isaac-- like a SPEAR-- But Isaac DUCKS IT-- GRINS-- But Mrs. Zimmerman grins back-- as the umbrella impossibly CHANGES DIRECTIONS in the air-- a boomerang meets JFK's magic bullet-- IMPALING Isaac from behind! He doesn't bleed-- only dry puffs of dust. The umbrella, jutting from his chest-- FANS OPEN. Fwoosh. Isaac DROPS-- seemingly expired. Mrs. Zimmerman kicks him with her toe. He doesn't move. CONTINUED: (4) Just as Jonathan-- holding up his horseshoe like a cross against a vampire-- backs Selena into a corner. She snarls and scowls. Mrs. Zimmerman steps beside Jonathan. They've got her where they want her.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Now. You wanna tell us where that clock is?<\/dialogue>\n    <scene_description>Lewis. Can't believe how AWESOME his Uncle and Mrs. Zimmerman are! When-- he jolts in alarm--<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Look out!<\/dialogue>\n    <scene_description>ISAAC stands right behind them! As they spin-- Isaac waves his hand-- WHIPS Mrs. Zimmerman magically into a WALL. Ouch. Jonathan charges-- But Isaac YANKS the UMBRELLA from his GUT-- leaving a VISIBLE SEE-THROUGH HOLE-- and WHACKS Jonathan across the FACE with the heavy HANDLE-- HARD! Jonathan crumples-- hits his head on the floor. Still. Too still. Isaac DIGS through Jonathan's pocket. Grins. As he removes-- THE SKELETON KEY! Lewis sprints forward. Stands before Jonathan--<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Don't touch him!<\/dialogue>\n    <scene_description>But Isaac only smiles-- his COLD, GRAY GLASSES BLAZE with BURNING LIGHT-- Lewis clenches his eyes shut-- And when Lewis looks-- Isaac and Selena are gone. Gone with the KEY. Jonathan isn't moving. Blood trickles from his head.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Uncle Jonathan? Uncle Jonathan!<\/dialogue>\n    <scene_description>Mrs. Zimmerman. Steps up. Holding her aching skull. She tends to Jonathan. Fears the worst. CONTINUED: (5)<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>C'mon. Jonathan. Get up. Get up right now.<\/dialogue>\n    <scene_description>Lewis and Mrs. Zimmerman trade looks. Could it be...? A long, terrible moment. CLOSE ON JONATHAN. After another interminable beat... his eyes open! He looks at Zimmerman.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <parenthetical>(softly)<\/parenthetical>\n    <dialogue>What're you looking at, you shriveled old prune?<\/dialogue>\n    <scene_description>Thank God! Mrs. Zimmerman grins at her best friend.<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>I'm looking at you-- you dumb baby orangutan.<\/dialogue>\n    <scene_description>Lewis HUGS Jonathan for DEAR LIFE. Jonathan HUGS him back, tightly. With love. All is forgiven.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>I'm sorry, Lewis. I'm sorry.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>It's okay.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Um. This is all lovely but-- Isaac's got the key. He winds that clock at midnight, it's curtains--<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>What time is it now?<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Oh, only 11:40.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>So how do we find it?<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>We can't. It's got a witch's hex on it. That means it's hidden from every witch and warlock. No matter how powerful. No wonder our magic crapped out.<\/dialogue>\n    <scene_description>CONTINUED: (6) Lewis. Wheels spinning.<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Well, we've got to do something. Maybe we could break the hex?<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Um...<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>You know we can't. Maybe we could follow Isaac's trail to it?<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>What are we, bloodhounds?<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Or I could find it.<\/dialogue>\n    <parenthetical>(they stop, turn)<\/parenthetical>\n    <dialogue>I'm not a witch or warlock. Not yet, anyway. If I tried some magic-- would that work?<\/dialogue>\n    <scene_description>Jonathan and Mrs. Zimmerman trade looks. Hopeful looks. Yeah, it might. Off this--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - VARIOUS - NIGHT<\/stage_direction>\n    <scene_description>QUICK CUTS. Building in pace, energy, intensity. Lewis RIPS DICTIONARIES out of his bookcase. Jonathan HEAVES the PLAYER ORGAN UPRIGHT. Mrs. Zimmerman RIFLES through KITCHEN CABINETS. Until-- finally-- Lewis FISHES HIS AVIATOR GOGGLES out of the wastebasket...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - PARLOR - NIGHT<\/stage_direction>\n    <scene_description>Mrs. Zimmerman and Jonathan eye their watches. Meanwhile, the clock in the walls? GROWS DEAFENING.<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>C'mon, Lewis. It's 11:47!<\/dialogue>\n    <character>LEWIS (O.S.)<\/character>\n    <dialogue>Okay. I'm ready.<\/dialogue>\n    <scene_description>CONTINUED: We REVEAL-- LEWIS. Wearing his GOGGLES. He approaches a TABLE covered in candles. And plates of chocolate chip cookies. And DICTIONARIES. And the MAGIC 8-BALL in the center.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Lewis-- I'm not sure about that 8- ball--<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Hey, this is my magic-- not yours, right?<\/dialogue>\n    <scene_description>Lewis takes a deep breath. Shuts his eyes. And LISTENS-- to whatever his magic is telling him. Do we hear it FAINTLY WHISPER to Lewis? We might. Then--<\/scene_description>\n    <character>LEWIS<\/character>\n    <parenthetical>(to the Player Organ)<\/parenthetical>\n    <dialogue>Okay. Let's go!<\/dialogue>\n    <scene_description>The Player Organ begins to PLAY 'Take Me Out to the Ballgame.' Badly off-key, due to its injuries-- but still-- it plays. Lewis RAISES HIS HANDS-- CALLS OUT-- in a loud and clear and strong voice. It's odd and kooky-- and BEAUTIFUL and VICTORIOUS. Lewis fully embraces his inner freak...<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>'Locate!' Verb! To discover the exact place and position of!<\/dialogue>\n    <parenthetical>(Organ tootles)<\/parenthetical>\n    <dialogue>'Secret!' Adjective! Something that is kept unknown and unseen!<\/dialogue>\n    <parenthetical>(Organ tootles)<\/parenthetical>\n    <dialogue>'Clock!' Noun! A mechanical device for measuring time! A timepiece! A horologe!<\/dialogue>\n    <scene_description>Jonathan. Mrs. Zimmerman. A bit misty-eyed.<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Wow. He is weird.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <parenthetical>(so proud)<\/parenthetical>\n    <dialogue>Isn't he?<\/dialogue>\n    <scene_description>Climactically, Lewis lifts up the MAGIC 8-BALL-- jiggles it wildly, over both shoulders, like a Martini shaker. CONTINUED: (2)<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Locate the Secret Clock! Locate the Secret Clock!<\/dialogue>\n    <scene_description>CLOSE ON LEWIS. As he WHISPERS into the 8-Ball--<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>...please. Mom and Dad. Tell me where the clock is.<\/dialogue>\n    <scene_description>One last SHAKE-- and Lewis flips the 8-Ball over-- and waits. Staring into the dark blue fluid. As does Jonathan. As does Mrs. Zimmerman. They all gather around the 8-Ball. Tense. Unsure. Did it work? Beat. BEAT. Until finally-- CLOSE ON THE 8-BALL WINDOW. As the embossed plastic ANSWER MATERIALIZES from the violet bubbles-- IT'S UNDER THE COAL BIN.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Lewis, you genius!<\/dialogue>\n    <scene_description>Jonathan hugs a grinning Lewis-- but no time for back pats right now--<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Let's go!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - BASEMENT - NIGHT<\/stage_direction>\n    <scene_description>Down here, the TICKING is EVEN LOUDER-- like standing inside the works of Big Ben. Jonathan. Mrs. Zimmerman, with her umbrella. Lewis-- with a BASEBALL BAT. Scramble down the basement steps. Past the large, spidery BOILER. Until they reach the stone-walled COAL BIN. Jonathan leans over-- digs through the coal, searches the bin for a TRAP DOOR--<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>C'mon-- gimme one lousy secret button-- a hidden lever-- something!<\/dialogue>\n    <scene_description>CONTINUED: But nothing. He looks at Lewis and Mrs. Zimmerman-- frustrated, at a loss-- what now? Mrs. Zimmerman leans against the STONE PILLAR-- trying to think-- when her shoulder inadvertently PUSHES IN the framed PHOTO of Betty Grable. It's a BUTTON-- there's a CLICKING SOUND-- And the BIN'S FLOOR DROPS AWAY-- REVEALING a SPIRAL STAIRWAY! They all race to it-- but Jonathan pauses--<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Lewis-- maybe you should stay here.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Let me help. I can do this.<\/dialogue>\n    <scene_description>Beat. Then-- Jonathan nods. Being a parent means being scared. And muddling ahead anyway. They all hop down the steps-- FINALLY REACHING--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CLOCK ROOM - NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON JONATHAN-- LEWIS-- MRS. ZIMMERMAN. Emerging from the bottom of the enclosed spiral staircase. They've flabbergasted. Befuddled. And overall-- Discombobulated. As they take it in-- First-- we see the CLOCK-FACE-- we recognize it from the blueprints. But then we see the rest of it-- as if the whole contraption metastasized. It's MIND-BLOWINGLY MASSIVE. And SHATTERINGLY LOUD. A whirring, pounding, slamming STEAM-PUNK MAZE of ever- shifting wheels and springs and chains and weights and spindles and ratchets and pulleys. It completely fills this sprawling UNDERGROUND SANDSTONE CAVE. Most of the parts are big and heavy-- they could pound you flat or chew you to bits. And they're all in CONSTANT MOTION. The GEARS of a HELLISH MACHINE-- Which our heroes have to navigate THROUGH. Despite their wonder-- there's no time to dawdle. They shout over the racket--<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Six minutes to go! Do you see them??<\/dialogue>\n    <scene_description>CONTINUED: Jonathan quickly scans-- he can't spot the Izards.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>No! Split up!<\/dialogue>\n    <scene_description>Mrs. Zimmerman heads off in one direction-- Jonathan and Lewis sprint off in the other-- WITH MRS. ZIMMERMAN. Dodging counter-weights. Ducking under pendulums. When she rounds a corner-- RIGHT INTO SELENA IZARD. Who grins-- and HOLDS UP the MUMMIFIED HAND-WITH-CANDLE from Jonathan's library! One of its withered fingers curls back--<\/scene_description>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>NO!!<\/dialogue>\n    <scene_description>WITH JONATHAN AND LEWIS. They HEAR her shout-- double- back, fast, following the sound. Until they grimly find-- Mrs. Zimmerman. Stone-statue still.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Mrs. Zimmerman!<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>She can't hear you. She's frozen stiff. They must've taken my Hand of Glory.<\/dialogue>\n    <parenthetical>(off Lewis' look)<\/parenthetical>\n    <dialogue>That mummy hand from my library.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>THIS is what it does??<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>We have to be careful.<\/dialogue>\n    <scene_description>They continue on-- through the clockwork labyrinth. Eyes everywhere-- probing for the Izards. Until they round a bend and spy-- Beneath the TOWERING CLOCK FACE-- a KEYHOLE. Grandly complex; set in the middle of several SPINNING DISCS. And Isaac. His back is to our heroes. That gaping GAP still in his torso-- from the umbrella. He clicks the key into the keyhole. Studies the overhead clock. Waiting for midnight. Not long to go. CONTINUED: (2) Jonathan and Lewis trade careful looks. Slink up behind Isaac. Nearly there. When-- Selena LUNGES out from her hiding spot! She LIFTS THE HAND OF GLORY-- a second finger curls up-- BUT--<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>NO!<\/dialogue>\n    <scene_description>Jonathan, like a true parent-- STEPS IN FRONT OF LEWIS-- SHIELDS HIM from the black magic-- takes it full-blast! JONATHAN FREEZES-- rock solid! Isaac steps forward, smirking. But Lewis takes advantage of the distraction-- darts around him-- POPS the SKELETON KEY out of the KEYHOLE-- and RUNS!<\/scene_description>\n    <character>ISAAC IZARD<\/character>\n    <dialogue>Hey! You little brat!<\/dialogue>\n    <scene_description>Lewis VANISHES beneath a HEAVY BRASS ARM, which STABS DOWN right after him, blocking the Izards' way! It buys Lewis some time and distance-- before the arm lifts again, and the Izards CHASE. WITH LEWIS. ALONE. The key in one hand, bat in the other. Scurrying through this ever-shifting maze. As fast as he can. It's a STEAM-PUNK 'Shining.' Isaac and Selena in murderous pursuit-- The clock face. 11:57. Lewis races. Through wheels, under gears and past coaxial escapements. But then, suddenly-- The path SHIFTS and CHANGES-- a COUNTERWEIGHT abruptly COMES DOWN-- PINNING LEWIS' LEG! He SHOUTS in pain! His BAT rolls away! Isaac and Selena. They hear him. They smile. Start moving towards Lewis.<\/scene_description>\n    <character>ISAAC IZARD<\/character>\n    <dialogue>Come out, come out, wherever you are!<\/dialogue>\n    <scene_description>Lewis struggles to free himself! Then strains for the just-out-of-reach bat. No good!<\/scene_description>\n    <character>SELENA IZARD<\/character>\n    <dialogue>Lewis! If you give us the key-- we can help you.<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>SELENA IZARD<\/character>\n    <dialogue>How 'bout we wind the clock back one year? You can tell your parents not to get in their car-- on that cold, rainy night.<\/dialogue>\n    <scene_description>Lewis. Pained. But not taking the bait.<\/scene_description>\n    <character>SELENA IZARD<\/character>\n    <dialogue>We'll give you some time with them. Lots of time. Wouldn't you like that? You wouldn't have to be so alone.<\/dialogue>\n    <scene_description>When Selena and Isaac turn the corner-- to see Lewis. Trapped like a rat. Selena holds out the Hand of Glory, but it doesn't work. Because Lewis keeps his eyes shut-- defiant to the end--<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>I'm not alone. I have my Uncle-- you witch!<\/dialogue>\n    <scene_description>Isaac approaches, slow and smug. Closing in.<\/scene_description>\n    <character>ISAAC IZARD<\/character>\n    <dialogue>No, you don't have anyone, you greasy little pig. Because you're about to die.<\/dialogue>\n    <parenthetical>(closer-- closer)<\/parenthetical>\n    <dialogue>Now. Open your eyes and look at us for the last time-- you fat, pathetic freak--<\/dialogue>\n    <scene_description>Isaac stands RIGHT BEFORE Lewis. Leans in-- for the key-- But Lewis one-eye-peeks-- then GRASPS, once more, for the bat-- but this time, he gets it! And in a split-second-- Lewis grits his teeth. LINES HIS KNUCKLES UP on the bat just so-- like Tarby taught him-- and-- SWINGS HARD across Isaac's face-- CR-RACK! Isaac SLAMS BACK-- into a TINY, DOUGHNUT-sized GEAR-- KNOCKS IT LOOSE-- it clatters to the floor-- Just as the counterweight that pins Lewis LIFTS-- He's free-- he RUNS! CONTINUED: (4) But Isaac and Selena don't chase-- because they hear a terrible metallic GRINDING. They turn-- as a larger GEAR now drops off its axle. Then a coiled spring FLINGS-- as an EPIC DOMINO EFFECT BEGINS--<\/scene_description>\n    <character>ISAAC IZARD<\/character>\n    <dialogue>No-- no!<\/dialogue>\n    <scene_description>Frantically, Isaac attempts to repair it. Shoving the small gear back into place-- but it doesn't work-- he screams at Selena--<\/scene_description>\n    <character>ISAAC IZARD<\/character>\n    <dialogue>Don't just stand there, you cow, help me!<\/dialogue>\n    <scene_description>WITH LEWIS. The room starts to RUMBLE. Unstable. Stray springs and wheels begin to launch through the air like shrapnel. He reaches Mrs. Zimmerman first. He tries to MOVE HER-- but she's as heavy as concrete-- JONATHAN. As Lewis races up. Attempts to drag him off, too... but he's even heftier than Mrs. Zimmerman.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Uncle Jonathan! Snap out of it!<\/dialogue>\n    <scene_description>Jonathan doesn't. But steadfast and loyal-- Lewis won't leave him. Keeps pulling at him. ISAAC AND SELENA. Desperately working to fix the contraption. As more and more parts FLY around them-- Isaac REACHES deep into a LARGE GEAR-- rooting around-- But then-- a CLICK-- and his eyes widen-- he's TRAPPED. Not just trapped-- he's BEING PULLED INTO ITS TEETH--<\/scene_description>\n    <character>ISAAC IZARD<\/character>\n    <dialogue>Help! HELP ME!<\/dialogue>\n    <scene_description>Selena YANKS at her husband-- but Isaac, flailing, only DRAGS HER into the machine, too-- They both have time to exchange one final wild look-- BEFORE-- WHOOSH-- they're SUCKED INSIDE! GROUND INTO ITTY-BITTY BITS! Isaac's CRACKED BIFOCALS-- clink to the ground. CLOSE ON THE HAND OF GLORY-- also MASHED UP in the cog wheels. And now that's destroyed-- CONTINUED: (5) Lewis. As suddenly-- Jonathan SPRINGS to LIFE. Blinks. Takes in his surroundings--<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Oh, thank God!<\/dialogue>\n    <character>JONATHAN<\/character>\n    <dialogue>Where's Florence?<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <parenthetical>(racing up)<\/parenthetical>\n    <dialogue>Right here! I'm okay!<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>C'mon!<\/dialogue>\n    <scene_description>The three of them DASH for the spiral steps-- the room is REALLY COLLAPSING NOW-- they DODGE PLUMMETING car-sized counter-weights-- GEARS as big as HOUSES ROLL PAST-- two- ton PENDULUMS SWING BY-- it's a CLIMACTIC and AWESOME and VFX-OSCAR-WINNING ESCAPE-- Until they reach the STAIRWAY-- RACE UP IT-- just as-- The clock face DISINTEGRATES-- and the ENTIRE CONTRAPTION EXPLODES into SCRAP and SPRINGS--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - BASEMENT - NIGHT<\/stage_direction>\n    <scene_description>Our heroes DIVE up the steps-- just as a CLOUD of DUST CHASES THEM. But they made it. They're alive. They stop. Look at each other. Catch their breath. Then... they all break into wide, exhausted smiles...<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Lewis, my boy? You are-- without a doubt-- the single bravest person I've ever known.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Hey. What do you hear? Or-- what don't you hear?<\/dialogue>\n    <scene_description>They all stop to listen. But what they hear-- is NOTHING. Blessed silence. And NO MORE TICKING. Off the three of them... as Jonathan puts an arm around his nephew...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW ZEBEDEE ELEMENTARY - RECESS - DAY<\/stage_direction>\n    <scene_description>Girls jump rope. Hyperactive boys scurry and shove and freeze-tag. No one knows just how close they came to certain doom. Lewis. Happy. Content. Wears his goggles. Carries his Webster's. Past the basketball court. Past Tarby and his cronies.<\/scene_description>\n    <character>TARBY<\/character>\n    <dialogue>Hey. Where you going, Fatty?<\/dialogue>\n    <scene_description>Lewis stops. Regards him. Cool. Confident.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Don't ever call me that again, okay?<\/dialogue>\n    <character>TARBY<\/character>\n    <dialogue>Or what?<\/dialogue>\n    <character>LEWIS<\/character>\n    <parenthetical>(leans in, whispers)<\/parenthetical>\n    <dialogue>Or else I'll send a zombie to your house.<\/dialogue>\n    <scene_description>Tarby leans back. Could he really...? Lewis grins. Then, in front of God and his friends and everybody--<\/scene_description>\n    <character>TARBY<\/character>\n    <parenthetical>(small)<\/parenthetical>\n    <dialogue>I'm-- sorry, Lewis. I won't do it again.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>Thanks, Tarby.<\/dialogue>\n    <parenthetical>(as he moves on)<\/parenthetical>\n    <dialogue>Oh, and thanks for teaching me that swing. Really came in handy.<\/dialogue>\n    <scene_description>Tarby steps away, chastened, as Lewis climbs onto the bleachers. Over to-- That tomboy-- Rose Rita. Still sitting on the bleachers, still reading her THICK BOOK.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>ROSE RITA<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Can I ask you something?<\/dialogue>\n    <parenthetical>(she nods, sure)<\/parenthetical>\n    <dialogue>What's that book you're always reading?<\/dialogue>\n    <character>ROSE RITA<\/character>\n    <dialogue>Oh. This? It's a thesaurus.<\/dialogue>\n    <scene_description>Beat. Lewis is smitten. He holds out his hand.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>My name is Lewis Barnavelt. It is a pleasure to meet you.<\/dialogue>\n    <scene_description>Rose Rita smiles. Shakes his hand.<\/scene_description>\n    <character>ROSE RITA<\/character>\n    <dialogue>I'm Rose Rita.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOUSE - DAY<\/stage_direction>\n    <scene_description>The sun is warm and bright. As Lewis barrels up to the House. Bursts through the front door--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HOUSE - VARIOUS - DAY<\/stage_direction>\n    <character>LEWIS<\/character>\n    <dialogue>I'm home! Hello?<\/dialogue>\n    <scene_description>The shiny, repaired PLAYER ORGAN TOOTLES its greeting to Lewis. He pats it. Then he slows at a table-- where the Magic 8-Ball and a PHOTO of his parents both sit. Lewis smiles, warmly--<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Hi guys.<\/dialogue>\n    <scene_description>He heads for the backyard, passing the stairway-- above, we see the STAINED GLASS WINDOW-- which now shows Jonathan, Lewis and Mrs. Zimmerman. A happy family.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOUSE - BACKYARD - DAY<\/stage_direction>\n    <scene_description>Lewis finds Jonathan and Mrs. Zimmerman in the garden. Standing before a new DRAGON TOPIARY.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>Hi. What are you doing?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Lewis, there's someone I'd like you to meet.<\/dialogue>\n    <scene_description>Jonathan looks to the side. Lewis follows his gaze-- Right to the SHROUDED FIGURE! The same one we've tracked throughout the whole story! In its gray-grimy, hooded robe. And FLOATING a foot off the ground! Lewis SHOUTS!<\/scene_description>\n    <character>SHROUDED FIGURE<\/character>\n    <dialogue>What're you hollerin' at?<\/dialogue>\n    <scene_description>The figure pulls the hood back-- revealing a pale, mutton- chopped, translucent GHOST.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>This is your Great Uncle Elijah Barnavelt.<\/dialogue>\n    <scene_description>Lewis. The surprises never cease. He manages to spit out what he heard from Mrs. Zimmerman earlier--<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>The, uh, the most powerful Warlock in the Tri-State Area...?<\/dialogue>\n    <scene_description>Elijah grins, wide and pleased.<\/scene_description>\n    <character>SHROUDED FIGURE\/ELIJAH<\/character>\n    <dialogue>You've heard of me.<\/dialogue>\n    <character>LEWIS<\/character>\n    <dialogue>But, you're-- um...<\/dialogue>\n    <scene_description>Jonathan shakes his head, mutters an aside to Lewis--<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>I wouldn't. He's a little self- conscious about the whole 'spirit' thing.<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Anyway-- you were saying, Elijah?<\/dialogue>\n    <character>ELIJAH<\/character>\n    <dialogue>Yes, I would've come earlier, but you had your hands full with that clock business.<\/dialogue>\n    <parenthetical>(clucks at Jonathan)<\/parenthetical>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>ELIJAH<\/character>\n    <dialogue>Took you long enough to stop it, may I add.<\/dialogue>\n    <scene_description>Jonathan rolls his eyes. Relatives, man.<\/scene_description>\n    <character>ELIJAH<\/character>\n    <dialogue>But this can't wait any longer. The Barnavelt Family Curse. It's begun.<\/dialogue>\n    <scene_description>Jonathan and Mrs. Zimmerman trade surprise and alarm.<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>What is that? What curse?<\/dialogue>\n    <character>ZIMMERMAN<\/character>\n    <dialogue>Very nasty. Very dangerous.<\/dialogue>\n    <character>JONATHAN<\/character>\n    <parenthetical>(to Lewis)<\/parenthetical>\n    <dialogue>Especially for you and me.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Lewis, it's time you learned the truth about our family. C'mon, I'll explain on the way.<\/dialogue>\n    <scene_description>Elijah goes first-- SKIMMING through a tree, leaving a light slick of ectoplasm in his wake. Mrs. Zimmerman and Jonathan follow. Then stop. Look back. Energized.<\/scene_description>\n    <character>JONATHAN<\/character>\n    <dialogue>Well? You coming or not?<\/dialogue>\n    <scene_description>PUSH IN ON LEWIS. As the DRAGON TOPIARY'S WINGS majestically UNFURL in the background... Lewis breaks into a wide grin. Wondering what weird new magic is on the horizon... And off this, we... BLACKOUT.:<\/scene_description>\n    <character>TO BE CONTINUED...<\/character>\n  <\/scene>\n<\/script>","summary":"In 1955, after his parents are killed in a car crash, ten-year-old Lewis Barnavelt moves to live with his Uncle Jonathan in New Zebedee, Michigan. All he has left of his parents is a Magic 8-Ball they had given him, and a family photograph. Upon entering his new home, he meets Jonathan's neighbor and best friend, Florence Zimmerman. During the night, Lewis is puzzled when he hears a ticking sound in the walls. Lewis begins exploring the house and stumbles upon Jonathan smashing a wall with an ax. Frightened, he runs away and encounters multiple household objects coming to life. Jonathan confesses that he is a warlock and Florence is a witch. The house's previous owners were a sinister warlock named Isaac Izard, (an orphaned former friend of Jonathan's who was traumatized while fighting in WWII), and his equally wicked wife Selena. Isaac and Selena had apparently hidden a clock within the walls of the house before they died, and Jonathan has been trying to find the clock and discover its purpose. Despite Jonathan's cautions, Lewis begins teaching himself magic. On his first day at his new school, Lewis meets Tarby Corrigan, who befriends him during Tarby's campaign for class president. When Tarby wins the election, he abandons Lewis. Lewis's mother visits him in dreams. When he laments that Tarby does not see him as a friend, she suggests that he use a spell from a forbidden book to impress Tarby. On Halloween night, Lewis performs a necromancy spell in a cemetery, accidentally summoning the ghost of Isaac from his grave. Lewis spots Isaac in the window of a house of a neighbor, Mrs. Hanchett. He \"rescues\" her from Isaac and brings her across the street to Jonathan's house, but before he can find Jonathan, Isaac confronts them at the front door. He reveals that Mrs. Hanchett is really Selena, who killed Mrs. Hanchett, took her place, and used her bones to make the clock's key. It was also Selena who took the form of Lewis's mother to persuade him to summon Isaac. Isaac explains that his hidden clock's blueprints came from the demon Azazel, who had given them to Isaac as he sought relief from the visions of horror he had witnessed during the war. The clock will turn back time so that humanity never existed and undo the horrors that he had witnessed. Jonathan, Florence and Lewis are chased from the house. Using the Magic 8-Ball to learn the location of the clock underneath the boiler room, the three return. Florence defeats a snake guarding the room while the others pursue Isaac. The clock transforms Jonathan into a baby, except for his face which he'd shielded with cards. Lewis consults the Magic 8-Ball, which says \"Say goodbye\". He realizes that he has to let go of the pain of losing his parents to harness his true power. He breaks the clock by dropping the ball, which blocks the clock's gears. Then Lewis blasts Isaac and Selena with magic he channels from the clock. They fall, de-age, and are disintegrated leaving only their suit and robe. Lewis returns to school with more confidence and gets back at Tarby and his friends by magically bouncing a basketball off their faces and into the basket, impressing his other classmates. He then befriends a girl named Rose Rita Pottinger, who appears to have a crush on Lewis. At the end of the day, Jonathan and Florence are shown picking up Lewis, the three of them now live like a regular family."}
{"movie_name":"The Unbelievable Truth_1989","imdb_id":"tt0100842","script":"<script>\n  <scene>\n    <character>THE UNBELIEVABLE TRUTH<\/character>\n    <dialogue>Written by<\/dialogue>\n    <scene_description>Hal Hartley Copyright \u00a9 2002, Shooting Script, 1989 Hal Hartley Action Features, US FADE IN:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY -- DAY<\/stage_direction>\n    <scene_description>Josh, a ruggedly handsome but preoccupied young man dressed entirely in black, is hitching a ride as he walks along the highway's edge. His clothes are old and faded. His shoes are worn out. He carries a black gym bag. He stops finally and turns out to the road, holding out his thumb. A car drives past him and pulls over to the side of the road. The car is smoking and making funny noises. The husband swings out of the car, cursing, while his wife and two children remain in the car. Josh walks over to the car, while the husband stomps his feet and pulls out his hair. Josh looks from the crazy man to... The wife and children, who stare out at him from the car, worried. Josh comes over, sets down his bag, and pops the hood. The husband stops and watches, alarmed, as Josh leans in over the engine and starts working. The severe-looking, black- clad stranger comes away and opens his bag. It's filled with tools. He takes out a wrench. The wife and children crane their necks and watch as... Josh works.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR -- A LITTLE LATER<\/stage_direction>\n    <scene_description>The husband is happy. He drives along and smiles back at Josh in the back seat with the children.<\/scene_description>\n    <character>HUSBAND<\/character>\n    <dialogue>Excuse me, but... are you a priest?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>No. I'm a mechanic.<\/dialogue>\n    <character>HUSBAND<\/character>\n    <dialogue>Where're you headed?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Home.<\/dialogue>\n    <character>HUSBAND<\/character>\n    <dialogue>Where're you coming from?<\/dialogue>\n    <character>JOSH<\/character>\n    <parenthetical>(honestly)<\/parenthetical>\n    <dialogue>Prison.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY -- SAME TIME<\/stage_direction>\n    <scene_description>The car skids to a halt, then pulls over to the side of the road. Josh gets out. The car speeds away, leaving Josh alone on the shoulder. He looks around and waits patiently.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY -- LATER<\/stage_direction>\n    <scene_description>Josh is walking along again, turning to hitch when he hears a car approaching. The car slows down and stops. Josh runs up to it. The driver lowers the window, desperate and hunted.<\/scene_description>\n    <character>OTIS<\/character>\n    <dialogue>Where're you headed?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Long Island.<\/dialogue>\n    <character>OTIS<\/character>\n    <dialogue>I ain't goin' that far!<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>New York.<\/dialogue>\n    <character>OTIS<\/character>\n    <dialogue>Get in.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY -- DAY<\/stage_direction>\n    <scene_description>The car whizzes by and off into the distance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE -- LATER<\/stage_direction>\n    <scene_description>The driver is leaning against the car, sipping a coffee as Josh works over the engine, checking the oil, and water, and so on...<\/scene_description>\n    <character>OTIS<\/character>\n    <dialogue>I'm beat. You wanna drive?<\/dialogue>\n    <character>JOSH<\/character>\n    <parenthetical>(closes hood)<\/parenthetical>\n    <dialogue>I don't drive.<\/dialogue>\n    <scene_description>He closes up his bag.<\/scene_description>\n    <character>OTIS<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>What do you mean you don't drive?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I don't have a license.<\/dialogue>\n    <character>OTIS<\/character>\n    <parenthetical>(looks him over)<\/parenthetical>\n    <dialogue>Hey, are you a priest or something?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I'm a mechanic.<\/dialogue>\n    <character>OTIS<\/character>\n    <dialogue>Yeah, that's what I thought. So how 'bout it?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>How 'bout what?<\/dialogue>\n    <character>OTIS<\/character>\n    <dialogue>You wanna drive?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I don't drive.<\/dialogue>\n    <scene_description>The driver is forced to accept this. He finishes his coffee, then slips a flask of bourbon out of his coat. He drinks and holds it out to Josh. I don't drink.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD -- LATER<\/stage_direction>\n    <scene_description>The car speeds by and heads toward New York City.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY (WALL STREET) -- DAY<\/stage_direction>\n    <scene_description>The car pulls out of traffic and Josh gets out. He shakes hands with the driver and watches as he drives off. Josh looks around, overwhelmed. He is particularly struck by... The huge statue of George Washington that towers above him. He looks up at it in awe. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIC'S HOUSE (AUDRY'S ROOM) -- MORNING<\/stage_direction>\n    <scene_description>A big picture of George Washington. Camera tilts down to... Audry lying in bed. She is seventeen, very pretty, and lying awake. Beside her on the bed is a book titled The End of the World by someone called Ned Rifle. Morning light floods the room as... The alarm clock goes off. It's 7 a. m. Audry looks over at the clock, weary, and turns it off. She lies there a moment longer, then sits up in bed. She yawns deeply and it looks like she's about to stretch, but, with her arms, she mimics a huge nuclear explosion, slowly, dramatically, raising her arms up and out in the shape of a mushroom cloud.<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>(hugely) Kaboom!!!!<\/dialogue>\n    <scene_description>When, finally, the last low rumblings of the explosion are through, Audry just sits there with her eyes closed, listening to the silence.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN -- A LITTLE LATER<\/stage_direction>\n    <scene_description>Liz sits at the table with an unlit cigarette. Her husband, Victor, sits at the table in mechanic's coveralls, reading the paper. Audry slouches in, apathetic and dressed entirely in black. She sits at the table and starts reading her book. All hell breaks loose.<\/scene_description>\n    <character>VIC<\/character>\n    <parenthetical>(throws down his paper)<\/parenthetical>\n    <dialogue>Where the hell were you last night?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Out.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Where!<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Walking.<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>Audry, the high school called again yesterday.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Oh, yeah. I forgot to go to school yesterday. Sorry.<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>Honey, you haven't gone to school all week.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>How do you forget to go to school!<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Pass the sugar, please.<\/dialogue>\n    <character>VIC<\/character>\n    <parenthetical>(passes it)<\/parenthetical>\n    <dialogue>No college in the country is gonna accept you if you keep this up!<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>I don't want to go to college anyway.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Don't start, Audry!<\/dialogue>\n    <character>LIZ<\/character>\n    <parenthetical>(disappointed)<\/parenthetical>\n    <dialogue>But, Audry, I thought you wanted to be a journalist; a TV anchor lady like that woman on the six o'clock news?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Why are you two so concerned about my college education? The world's going to blow up any day now anyway. It's hopeless. Give my college money to the Coalition for Nuclear Disarmament.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Bunch of goddamn anarchists stuffing your head with a bunch of left-wing nonsense! You'll be going to college if I gotta drag you there myself! A person hasn't gotta chance in the world these days without a college education!<\/dialogue>\n    <scene_description>Audry just peers at Vic from behind her shades. She turns and looks at Liz.<\/scene_description>\n    <character>LIZ<\/character>\n    <parenthetical>(nods)<\/parenthetical>\n    <dialogue>I agree with your father, Audry.<\/dialogue>\n    <scene_description>Audry looks back and forth between them, shakes her head hopelessly, and reaches into her jacket pocket. She pulls out an envelope and hands it to Liz.<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>I got accepted.<\/dialogue>\n    <scene_description>Liz and Vic are taken back. Liz opens the envelope excitedly and reads. She screams happily.<\/scene_description>\n    <character>LIZ<\/character>\n    <dialogue>Oh, honey! Congratulations! Here, look, Vic!<\/dialogue>\n    <scene_description>She hands him the letter and leans over to kiss Audry on the forehead. Vic looks over the letter and frowns in terror.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>Harvard!<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(dryly)<\/parenthetical>\n    <dialogue>It's a college.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>It's expensive!<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>You can't put a price tag on a thing like that, Vic.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>You can put a price tag on anything, Liz!<\/dialogue>\n    <parenthetical>(to Audry)<\/parenthetical>\n    <dialogue>Didn't you apply anywhere else?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>VIC<\/character>\n    <parenthetical>(hopeless)<\/parenthetical>\n    <dialogue>I'm gonna be paying for this the rest of my life.<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>Victor, aren't you proud of her?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>I'm not going. We'll all be lucky if we're alive in September anyway.<\/dialogue>\n    <scene_description>Vic pounds the table.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>Shut up, you!<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Of course you're going to college! It says right here in the paper that the present workforce between the ages of twenty-one and thirty-five are the most educated and highest paid in American history. That's what you have to contend with.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>But, Dad, history is coming to an end.<\/dialogue>\n    <character>VIC<\/character>\n    <parenthetical>(to Liz)<\/parenthetical>\n    <dialogue>What's she talking about?<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>The end of the world. By the way, Vic, the washing machine is busted.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Audry, the world's not gonna end when there are so many people out there making so much money.<\/dialogue>\n    <parenthetical>(to Liz)<\/parenthetical>\n    <dialogue>What's this about the washing machine?<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>It's busted.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>We just got the damn thing. What's wrong with it?<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>It just shoots water all over the place.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Mom, have you got any valium?<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Hold on a minute! I wanna talk about this Harvard thing.<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(sighs)<\/parenthetical>\n    <dialogue>Dad, I'm going to be late for school.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Bullshit!<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>Vic!<\/dialogue>\n    <character>VIC<\/character>\n    <parenthetical>(points at Audry)<\/parenthetical>\n    <dialogue>I hope you're saving the money you make working over there at Burger World.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>I quit.<\/dialogue>\n    <character>VIC<\/character>\n    <parenthetical>(outraged)<\/parenthetical>\n    <dialogue>What! When?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Oh, I don't know. A long time ago.<\/dialogue>\n    <character>LIZ<\/character>\n    <parenthetical>(incredulous)<\/parenthetical>\n    <dialogue>But, honey, didn't you like working at Burger World?<\/dialogue>\n    <scene_description>Audry looks at her mother blankly, then turns and looks at Vic. She lifts her book and reads aloud.<\/scene_description>\n    <character>AUDRY<\/character>\n    <parenthetical>(Reads)<\/parenthetical>\n    <dialogue>`Let us consider some of the possible ways a person might die in a nuclear attack. He might be incinerated instantly by the fireball or the thermal pulse. He might be crushed to death by the blast wave. He might receive lethal radiation poisoning from the local fall-out. He might die of starvation because the economy had collapsed and no food was being grown. He might die of cold, for lack of heat or clothing, or of exposure, for lack of shelter. He might be killed by people seeking food or shelter which he had obtained. He might be killed by exposure to the sun, because the damaged ozone layer was no longer filtering out ultra-violet rays...'<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET -- DAY<\/stage_direction>\n    <scene_description>Audry is walking to school with her boyfriend, Emmet. Emmet is wearing a dapper, well-cut, gray business suit and tie.<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>What's with the suit, Emmet?<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>I just got it. You like it?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>I think it's gross.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>I like it.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>I told my parents I quit my job at Burger World.<\/dialogue>\n    <character>EMMET<\/character>\n    <parenthetical>(not listening)<\/parenthetical>\n    <dialogue>You know, things are really looking up for me, Audry.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>The school psychologist says I'm apathetic.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>The whole world out there in front of me and I'm ready for it.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>I told him about the holes in the ozone layer and he didn't believe me.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>A man like me can go far and that's exactly what I plan to do.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Thousands of people across eastern Europe still experiencing lung complications because of Chernobyl and he's telling me how these should be the happiest years of my life.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>I'm going to take this world in my teeth, chew it up, and spit it back out again.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Emmet, we're on the brink of global extinction.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>The wheels of fortune are rolling in my direction.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Every night I go to bed dreaming about suicide. Then I feel ashamed and cry myself to sleep.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>And my friends all like you a lot. So do my parents. Nothing but opportunity, Audry. Me and you. What do you say?<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(stops)<\/parenthetical>\n    <dialogue>Emmet, you're not even listening to me.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>Oh, yes I am. And I'll tell you quite frankly, Audry, I'm worried.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>About what?<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>About you.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>Well, because lately you seem so... you know, apathetic.<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(moves on)<\/parenthetical>\n    <dialogue>Emmet, you're a dick.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>Oh, come on, Audry, don't be sore! I mean it. I'm worried.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>You don't even listen to me when I'm talking!<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>I do so! And you've been talking like a crazy person lately. Everybody says so. I mean, Audry, just look what you're wearing!<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Look what you're wearing!<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>Hey! This costs a hundred and eighty- five dollars!<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Congratulations.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>Look, Audry, I know you've been a little mixed up lately.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>I'm not mixed up. I'm depressed.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>Whatever...<\/dialogue>\n    <scene_description>Audry stops and listens.<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>Shhh!<\/dialogue>\n    <character>EMMET<\/character>\n    <parenthetical>(stops)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Listen.<\/dialogue>\n    <scene_description>They listen.<\/scene_description>\n    <character>EMMET<\/character>\n    <dialogue>I don't hear anything.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>You hear that?<\/dialogue>\n    <character>EMMET<\/character>\n    <parenthetical>(strains)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(moves on)<\/parenthetical>\n    <dialogue>I thought I heard the bombs falling.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>What I'm trying to say, Audry, is that I don't want to lose you.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>You've never had me, you idiot.<\/dialogue>\n    <character>EMMET<\/character>\n    <parenthetical>(stops, worried)<\/parenthetical>\n    <dialogue>What do you mean?<\/dialogue>\n    <scene_description>Audry goes a little further, stops, and looks at the pavement.<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <parenthetical>(thinks, then...)<\/parenthetical>\n    <dialogue>Emmet... I don't want to go out with you any more.<\/dialogue>\n    <character>EMMET<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>You disgust me.<\/dialogue>\n    <character>EMMET<\/character>\n    <parenthetical>(it's dawning on him)<\/parenthetical>\n    <dialogue>You mean... You mean you... You mean you don't...<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>I don't want you.<\/dialogue>\n    <scene_description>Emmet is stunned.<\/scene_description>\n    <character>EMMET<\/character>\n    <dialogue>But, Audry...<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <scene_description>She turns and walks away. Emmet remains standing in the middle of the street, immobilized.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAIN STATION -- DAY<\/stage_direction>\n    <scene_description>The train pulls out of the station. Josh comes down the stairs to the street. He pauses and looks around. He sees... A woman -- Pearl -- coming up along the sidewalk. She's about twenty-five years old and kind of shy. Josh takes out his crushed package of cigarettes and pulls out the last one. He looks in the package to make sure it's really the last one, then crumples it up and shoves it back down in his pocket. He lights it and looks down at... His shoe. The sole is taped to the shoe. His toe is threatening to poke out the front. He sighs and looks up as... Pearl passes. She is looking at him, but looks down as she goes by. She looks up again and... Josh recognizes her just as... She stops and stares at him. Her mouth falls open. She's speechless.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>How are you, Pearl?<\/dialogue>\n    <scene_description>No reaction. Pearl just stares at him. He waits a moment longer, then turns and starts away. Pearl passes out and collapses on the sidewalk. He sees Pearl go down and jumps to her aid.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINER -- MOMENTS LATER<\/stage_direction>\n    <scene_description>A sort of sleazy, good-looking, young hustler named Todd Whitbred is sitting at the counter. He makes the pretense of being distracted by a young woman sitting two stools away. Finally...<\/scene_description>\n    <character>TODD<\/character>\n    <dialogue>Excuse me for seeming so forward but, you know, you're really quite attractive.<\/dialogue>\n    <scene_description>She just looks at him blankly...<\/scene_description>\n    <character>TODD<\/character>\n    <dialogue>No really, I mean it. You see, I'm a photographer.<\/dialogue>\n    <scene_description>She still just stares... Have you ever thought about going into modeling? She stares at him a moment longer then, without a word, grabs her things and slides off her stool. Todd curses to himself.<\/scene_description>\n    <character>TODD<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>Shit. Too up-front. Gotta relax.<\/dialogue>\n    <scene_description>The young woman goes out on to the street just as... Todd slides the girl's half-finished plate of eggs to him and starts to eat. Josh throws open the door and comes striding into the diner with Pearl in his arms. People at the counter jump up, alarmed, as... Josh comes right over and lies Pearl out on the counter. Plates, glasses, and silverware crash to the floor. Josh reaches over and takes somebody's glass of water. He splashes it in Pearl's face.<\/scene_description>\n    <character>JANE<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <scene_description>Pearl stirs. Jane, the waitress behind the counter, approaches cautiously, looking from Josh to Pearl.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>She passed out.<\/dialogue>\n    <scene_description>They all look him over, then return their gazes to Pearl. Jane leans over Pearl and takes her by the shoulders.<\/scene_description>\n    <character>JANE<\/character>\n    <dialogue>Pearl? Hey, Pearl!<\/dialogue>\n    <scene_description>Pearl snaps awake. Jane waits, then... Pearl leans up on her elbows and looks around.<\/scene_description>\n    <character>PEARL<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>JANE<\/character>\n    <dialogue>You passed out. This man here brought you in.<\/dialogue>\n    <scene_description>Pearl remembers and she looks up at Josh. He nods but keeps his distance. Pearl looks him in the eye.<\/scene_description>\n    <character>PEARL<\/character>\n    <parenthetical>(finally)<\/parenthetical>\n    <dialogue>Hello, Josh.<\/dialogue>\n    <character>JOSH<\/character>\n    <parenthetical>(careful)<\/parenthetical>\n    <dialogue>Hello.<\/dialogue>\n    <scene_description>Jane takes off her apron and hands it to Pearl, then gives her the check book.<\/scene_description>\n    <character>JANE<\/character>\n    <dialogue>You're late again.<\/dialogue>\n    <character>PEARL<\/character>\n    <parenthetical>(snaps out of it)<\/parenthetical>\n    <dialogue>Sorry.<\/dialogue>\n    <character>JANE<\/character>\n    <parenthetical>(rushing away)<\/parenthetical>\n    <dialogue>I gotta go. See ya tomorrow.<\/dialogue>\n    <scene_description>Pearl slides off the counter and straightens her dress. She steps in behind the counter and puts on the apron, all the while keeping a wary eye on Josh.<\/scene_description>\n    <character>PEARL<\/character>\n    <parenthetical>(guarded)<\/parenthetical>\n    <dialogue>Thanks.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>He rubs his stomach and looks at... Todd's plate of eggs. He reaches into his pocket and pulls out two dimes and a penny. He swallows hungrily as he contemplates them. He looks up and... Pearl is preparing a cup of coffee before him on the counter. He looks from it to her and hesitates.<\/scene_description>\n    <character>PEARL<\/character>\n    <dialogue>How do you like your eggs?<\/dialogue>\n    <scene_description>Just then, a big, robust man named Mike, with Josh's bag, dressed in the same type of coveralls as Vic Hugo, comes plowing into the diner.<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>(to Josh, of bag)<\/parenthetical>\n    <dialogue>You belong to this?<\/dialogue>\n    <scene_description>He stops, throws out his arms, and bellows expansively...<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>(to Pearl)<\/parenthetical>\n    <dialogue>Pearl! Marry me!<\/dialogue>\n    <scene_description>Pearl sighs and shakes her head.<\/scene_description>\n    <character>PEARL<\/character>\n    <parenthetical>(irritated)<\/parenthetical>\n    <dialogue>No!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET -- DAY<\/stage_direction>\n    <scene_description>Vic Hugo is driving to work. He turns a corner and slows down when he sees... Emmet standing in the street, frozen to the spot where Audry left him.<\/scene_description>\n    <character>VIC<\/character>\n    <parenthetical>(frowns)<\/parenthetical>\n    <dialogue>What's this?<\/dialogue>\n    <scene_description>He pulls up beside Emmet and leans out the window. Hey, Emmet! No response... Emmet? Emmet, what's the matter? Emmet turns very slowly from where he is staring at the pavement and looks at Vic. He looks insanely depressed. Emmet, you look like shit.<\/scene_description>\n    <character>EMMET<\/character>\n    <dialogue>She doesn't want me.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Who doesn't want you?<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>Audry.<\/dialogue>\n    <scene_description>Vic lets this sink in, then realizes what's going on. He looks away and rolls his eyes. He sighs and turns back to Emmet.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>Jesus, Emmet, is that all?<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>What do you mean, is that all? Audry is my entire life!<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Relax.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>I'll never love anybody else. Ever.<\/dialogue>\n    <scene_description>Vic steps out of the car and approaches.<\/scene_description>\n    <character>VIC<\/character>\n    <parenthetical>(Sarcastic)<\/parenthetical>\n    <dialogue>I'm sorry, I didn't realize it was so serious. Get in the goddamn car.<\/dialogue>\n    <character>EMMET<\/character>\n    <parenthetical>(jumps away)<\/parenthetical>\n    <dialogue>No!<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Emmet, you're over-reacting.<\/dialogue>\n    <character>EMMET<\/character>\n    <parenthetical>(crazed with grief)<\/parenthetical>\n    <dialogue>What's the point! What's a man without the woman he loves! He's nothing! A hollow shell!<\/dialogue>\n    <scene_description>Vic looks at him oddly and hesitates, then...<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>Well, fuck, Emmet.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>She must love somebody else!<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Come on, ease up. She's going through some kinda phase. It'll pass. She's a girl, Emmet. You know how girls are.<\/dialogue>\n    <scene_description>Emmet has been scowling at the pavement through all this. Now he looks back at Vic, pauses, and...<\/scene_description>\n    <character>EMMET<\/character>\n    <parenthetical>(acid)<\/parenthetical>\n    <dialogue>She's sleeping with some guy who's gotta bigger cock, I know it.<\/dialogue>\n    <scene_description>Vic is stunned, speechless. He grabs Emmet and throws him up against the side of his car.<\/scene_description>\n    <character>VIC<\/character>\n    <parenthetical>(wild)<\/parenthetical>\n    <dialogue>That's my fucking daughter you're talking about, asshole!<\/dialogue>\n    <character>EMMET<\/character>\n    <parenthetical>(breathlessly)<\/parenthetical>\n    <dialogue>But she's a girl! You said so yourself!<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>There's a difference between a girl and a slut!<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>All girls are sluts!<\/dialogue>\n    <scene_description>Vic dives at the kid, but Emmet jumps at Vic too, and they tumble around, wrestling in the street. They are evenly matched and they fight hard and dirty. Finally, Vic gets the better of Emmet and flips him on his back. He starts slapping him silly. Emmet gives up. Vic stands and drags him over to the car. He picks Emmet up and throws him against it.<\/scene_description>\n    <character>VIC<\/character>\n    <parenthetical>(fierce)<\/parenthetical>\n    <dialogue>Have you and Audry been having sex?<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>Of course we have!<\/dialogue>\n    <scene_description>Vic falls back, overwhelmed. Emmet pushes him away and steps aside.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>You bastard. I trusted you!<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>Trusted me! Get real, Mr Hugo! This is 1988. Me and Audry have been having sex for a long time!<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>You fuck!<\/dialogue>\n    <scene_description>He starts after him again, but Emmet runs around the end of the car, keeping his distance. Vic stops and they glare at each other over the top of the car. You're lying!<\/scene_description>\n    <character>EMMET<\/character>\n    <dialogue>It's the truth!<\/dialogue>\n    <scene_description>Vic all but climbs up on the car and leers over at Emmet, crazed.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>I'm warning you, you little pecker- head, you come near Audry again and I'll break your goddamn neck!<\/dialogue>\n    <scene_description>Emmet steps back away from the car, real proud and tough. He spits on the ground and thrusts out his chest.<\/scene_description>\n    <character>EMMET<\/character>\n    <dialogue>Mr Hugo, I wouldn't dirty my hands on that promiscuous little bitch if you gave me money to do it!<\/dialogue>\n    <scene_description>Vic, infuriated, shoves Emmet, who shoves back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THRIFT SHOP -- DAY<\/stage_direction>\n    <scene_description>We see Audry reading while she sits in the aisle of the store. She looks up as she sees... Josh standing looking around. Both he and Audry are dressed in black. Josh begins at the bookshelf, hesitantly. Before long, he is tapped on the shoulder. He turns to see... Audry smiling politely up at him. She's attracted to him.<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Can I help you find something?<\/dialogue>\n    <scene_description>He's a little uneasy; out of his element, but dignified.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>I'm looking for a book about Washington. George Washington. The President.<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(adds with a smile)<\/parenthetical>\n    <dialogue>The first president.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>There aren't any.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>At all?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Here.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>You need new shoes.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Do you work here?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>No, I go to high school. My name is Audry.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Josh.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>I happen to be a big fan of George Washington myself.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>He represents a lot of things I admire. For instance...<\/dialogue>\n    <parenthetical>(takes out a dollar bill)<\/parenthetical>\n    <dialogue>He's singular. One. He's the one- dollar bill. And just look at the man; he's not very attractive. But he's got dignity. And he was a farmer.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Close to the soil.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Down to earth. And I can't help thinking that were he alive today, doing the job he did then, leading that particular revolution, he'd be locked up. Or worse. All of them. Jefferson. Paine. Franklin. They'd be executed.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Well, maybe not executed.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Don't put it past people. I don't trust anyone.<\/dialogue>\n    <scene_description>Suddenly, Audry is a little embarrassed by how much she's talking. She puts away her dollar bill. What do you do?<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>I'm a mechanic.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Do you work around here?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I don't work anywhere, just yet.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Do you need a job?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>She takes out a pen and writes an address on a dollar bill.<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>Go to this place...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. GARAGE -- DAY<\/stage_direction>\n    <scene_description>Victor Hugo's Auto Repair is an aging place that sees a lot of activity. His one mechanic is Mike, the big guy who asked Pearl to marry him in the diner. Mike is standing in front of a Mercedes wailing on an electric guitar, as Vic pulls into the garage lot and gets out to approach Mike.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Hi, Vic.<\/dialogue>\n    <character>VIC<\/character>\n    <parenthetical>(of Mercedes)<\/parenthetical>\n    <dialogue>What's that still doing here?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Man, Vic, this car is twisted.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>This was supposed to be done by Wednesday.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Tuesday.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>What's wrong with it?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Got me. I thought I fixed it last time.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Last time?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>He had it in here last month too.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>What you're saying is that we didn't do the job right the first time.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>You got it, chief.<\/dialogue>\n    <character>VIC<\/character>\n    <parenthetical>(turns away)<\/parenthetical>\n    <dialogue>Jesus Christ!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Gee, Vic, is something bothering you?<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Well, what did you do to it last time?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Hey, back off, I didn't do nothing to it.<\/dialogue>\n    <scene_description>They look up and see Josh.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>Yeah? Can I help you?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I'm a mechanic. I'm looking for work.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>No. No work here. I'm sorry.<\/dialogue>\n    <scene_description>He exits.<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>(to Josh)<\/parenthetical>\n    <dialogue>You know anything about foreign cars?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>What's wrong with it?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Clutch, I think.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Worn out?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Could be. Sticks bad.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Two hours.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I'll fix it in two hours.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Hey, don't I know you?<\/dialogue>\n    <scene_description>Vic re-enters the scene.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>What are you still doing here? I said I ain't hiring.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>He says he'll fix this beast in two hours.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Where'd you work before?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Upstate New York.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Upstate New York where?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Ossining.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Where in Ossining?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>In prison. I fixed cars in prison.<\/dialogue>\n    <scene_description>Mike and Vic digest this.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GARAGE YARD -- TWO HOURS LATER<\/stage_direction>\n    <scene_description>Mike and Vic peek out from behind a truck, watching Josh at work in the garage.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>So what do you think?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>It's him. It's him for sure.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>It's been a long time.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I wasn't so sure before, but now I'm positive. It's him. We gotta fucking mass murderer in the garage.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>He's not a mass murderer!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>That's what I heard!<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Mike, you're so fucking simple!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I heard him and the girl shot her parents and went on the road and then he shot her too.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>If he killed all those people he'd be in prison for life!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Well, that's what I heard.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Don't Pearl know what happened?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Pearl don't talk about it.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Well, what happened, as far as I know, is that he killed the father because of something like the girl wanted him to. But then she flipped out and killed herself.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>What about the mother?<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>I never heard about a mother.<\/dialogue>\n    <scene_description>Vic turns back and continues watching Josh.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>What's he doing in there now?<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>He's fixing the goddamn Mercedes, you knucklehead! Why aren't you helping him?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>He just needed me for the beginning part. You should see 'im work, Vic.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Fucking amazing. Knows exactly what he's doing. Doesn't even hardly make any sound.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>He's good?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Oh, so good.<\/dialogue>\n    <scene_description>Vic looks away, thinks a moment, then...<\/scene_description>\n    <character>VIC<\/character>\n    <parenthetical>(gets up)<\/parenthetical>\n    <dialogue>Come on.<\/dialogue>\n    <scene_description>He goes out into the garage. Mike hesitates, then follows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARAGE -- SAME TIME<\/stage_direction>\n    <scene_description>Josh is done. He's wiping his hands on a rag as Vic and Mike approach. Mike comes over and squeezes himself into the Mercedes. He starts it up and it purrs nicely. He backs it out of the garage. Vic takes out a cigarette for himself and offers one to Josh.<\/scene_description>\n    <character>JOSH<\/character>\n    <parenthetical>(takes it)<\/parenthetical>\n    <dialogue>Thanks.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>So what brings you back to town, Josh?<\/dialogue>\n    <character>JOSH<\/character>\n    <parenthetical>(after a while)<\/parenthetical>\n    <dialogue>It's the only place I know really. Outside of prison.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Your family's all gone, ain't they?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>The house is still there.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>How long have you been out?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Two days.<\/dialogue>\n    <scene_description>He finishes cleaning his hands and puts his jacket back on. He tosses a wrench into his tool bag.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>What are you going to do now?<\/dialogue>\n    <character>JOSH<\/character>\n    <parenthetical>(disappointed)<\/parenthetical>\n    <dialogue>I'm gonna find myself a job.<\/dialogue>\n    <scene_description>He picks up his bag, gives Vic a dark look, and starts walking out.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>Hold on.<\/dialogue>\n    <scene_description>Josh stops. He waits a moment, simmers down, and looks back.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <scene_description>He makes it tough for Vic. He waits and listens.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>Look, I can't pay you much.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I don't need much.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Yeah, well...<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I can start right away.<\/dialogue>\n    <scene_description>Vic is undecided. He walks to the garage door and looks out into the parking lot. He sees... Mike fumbling around over the engine of a car. He drops his wrench, stoops to get it, hits his head, and knocks over his tool box. Vic just shakes his head and turns away.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>There's a pair of coveralls back in the office.<\/dialogue>\n    <scene_description>Josh nods, puts down his tool bag, and takes off his jacket. He's ready to go to work. Vic starts back to the office, still uncertain. He keeps looking back at Josh suspiciously.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINER -- DAY<\/stage_direction>\n    <scene_description>Jane, the waitress, brings Todd a plate of food. Todd looks a little distressed. He sees the food and frowns.<\/scene_description>\n    <character>TODD<\/character>\n    <dialogue>What's this?<\/dialogue>\n    <character>JANE<\/character>\n    <dialogue>What kinda question is that?<\/dialogue>\n    <character>TODD<\/character>\n    <dialogue>Just asking.<\/dialogue>\n    <character>JANE<\/character>\n    <dialogue>Fish.<\/dialogue>\n    <character>TODD<\/character>\n    <dialogue>Really.<\/dialogue>\n    <character>JANE<\/character>\n    <dialogue>Look, you said the special, right.<\/dialogue>\n    <character>TODD<\/character>\n    <dialogue>OK! OK! It's fine. Look, I...<\/dialogue>\n    <parenthetical>(looks up at her and gets an idea)<\/parenthetical>\n    <dialogue>Hey, you know... I suppose guys ask you this all the time, but... have you ever been a model?<\/dialogue>\n    <scene_description>Jane is blank, then...<\/scene_description>\n    <character>JANE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>TODD<\/character>\n    <dialogue>I can swear I saw you in a magazine or an ad or something...<\/dialogue>\n    <character>JANE<\/character>\n    <dialogue>What the hell are you tryin' to pull? Have you got money to pay for this fish?<\/dialogue>\n    <character>TODD<\/character>\n    <parenthetical>(lies)<\/parenthetical>\n    <dialogue>Of course I do! I'm a professional photographer. See. Here's my camera.<\/dialogue>\n    <character>JANE<\/character>\n    <parenthetical>(skeptical)<\/parenthetical>\n    <dialogue>Photographer, huh?<\/dialogue>\n    <parenthetical>(calls back to grill)<\/parenthetical>\n    <dialogue>Hey, Eddie! We gotta troublemaker up here!<\/dialogue>\n    <character>TODD<\/character>\n    <parenthetical>(panics)<\/parenthetical>\n    <dialogue>No! No! Here! I'll pay now. I have money.<\/dialogue>\n    <scene_description>He tumbles out a mass of coins from his pocket and they splash on to the counter. Jane watches as he counts them out. She shakes her head and moves down the counter to where Mike is sitting.<\/scene_description>\n    <character>JANE<\/character>\n    <dialogue>So are you sure it's him?<\/dialogue>\n    <character>MIKE<\/character>\n    <parenthetical>(to Jane)<\/parenthetical>\n    <dialogue>It's him. Josh Hutton. He's come back to town.<\/dialogue>\n    <character>JANE<\/character>\n    <dialogue>Ain't you scared to be working with 'im?<\/dialogue>\n    <character>MIKE<\/character>\n    <parenthetical>(Bravely)<\/parenthetical>\n    <dialogue>Yeah, well, I'll tell ya. Sometimes he gets this real strange glint in his eye...<\/dialogue>\n    <scene_description>Emmet is sitting down the counter. He hears, is intrigued, and slides closer to hear more... Like he's remembering something really horrible, you know.<\/scene_description>\n    <character>JANE<\/character>\n    <dialogue>I'd be terrified.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>What did he do?<\/dialogue>\n    <character>JANE<\/character>\n    <dialogue>He raped and murdered Pearl's older sister, then shot her father, and they never did find the mother.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>He did not!<\/dialogue>\n    <character>JANE<\/character>\n    <dialogue>He did so!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Him and Pearl's sister had this deal, see. She wanted to kill her father, but couldn't do it herself. So she had Josh do it.<\/dialogue>\n    <character>JANE<\/character>\n    <dialogue>Why did she want to kill her father?<\/dialogue>\n    <character>MIKE<\/character>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>I don't know.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>There was probably some kinda sick, incestuous relationship going on and it was driving her crazy.<\/dialogue>\n    <character>JANE<\/character>\n    <dialogue>Oh, gross!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Maybe, because she killed herself right after it all.<\/dialogue>\n    <scene_description>Todd leans over and sets them all straight...<\/scene_description>\n    <character>TODD<\/character>\n    <dialogue>The girl killed herself first.<\/dialogue>\n    <character>JANE<\/character>\n    <dialogue>What the hell do you know about it?<\/dialogue>\n    <character>TODD<\/character>\n    <dialogue>She killed herself because her old man wouldn't let her marry Josh Hutton. Josh then went out after the old man and shot him. Then he went back and shot his own goddamn father!<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>Bullshit! That don't sound right at all.<\/dialogue>\n    <character>JANE<\/character>\n    <dialogue>Hey! Watch your mouth, kid!<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>Don't call me kid.<\/dialogue>\n    <character>MIKE<\/character>\n    <parenthetical>(wondering)<\/parenthetical>\n    <dialogue>Josh's father got shot too?<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>Well, don't Pearl know anything about all this?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Pearl never talks about it. And I'm warning you, kid, don't you ever ask her.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>Don't call me kid!<\/dialogue>\n    <character>JANE<\/character>\n    <dialogue>That's why Pearl's the way she is. She was just a child. Messed her up good.<\/dialogue>\n    <character>MIKE<\/character>\n    <parenthetical>(angry)<\/parenthetical>\n    <dialogue>There ain't nothin' wrong with Pearl!<\/dialogue>\n    <character>TODD<\/character>\n    <dialogue>You got it all fouled up!<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>Mr Hugo must be crazy hiring a man like that.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>He's a damn good mechanic.<\/dialogue>\n    <character>JANE<\/character>\n    <dialogue>He was so nice to Pearl though. Carried her right in off the highway.<\/dialogue>\n    <character>EMMET<\/character>\n    <parenthetical>(smug)<\/parenthetical>\n    <dialogue>I don't believe the criminal element can ever be completely rehabilitated.<\/dialogue>\n    <character>MIKE<\/character>\n    <parenthetical>(irritated)<\/parenthetical>\n    <dialogue>If you hurry, I think you can catch Romper Room.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARAGE -- DAY<\/stage_direction>\n    <scene_description>Josh is working on a car. Audry comes riding up on her bike. She stops just outside, takes a book from her basket, and comes in toward Josh. He looks up and smiles. She plants the book in front of him on the engine.<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>The life of George Washington. The father of our country.<\/dialogue>\n    <character>JOSH<\/character>\n    <parenthetical>(looks through it)<\/parenthetical>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>He sees she has another book too. What's this one?<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>The Misanthrope. Moli\u00e8re? It's a play.<\/dialogue>\n    <scene_description>He doesn't know it. He looks it over and seems intrigued. She watches him admiringly.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>What's a misanthrope?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Somebody who doesn't like people. I star in it. I mean, in class. We read it in class.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Are you the misanthrope?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>No. I wanted to, but they wouldn't let me be a man. So, instead, I play flirt.<\/dialogue>\n    <scene_description>They are flirting in earnest now, moving closer and closer. Audry is holding his hand, tracing the lines in his palm.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Is it an interesting role?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Being a flirt?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Hmm.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Sometimes. But the thing about flirting is that it leads to harder things.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Is that bad?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>No. That's not bad. But it turns out pretty badly for the woman I play.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>What happens to her?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>She can't stop flirting.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Ever?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>It's just the way some people are. She flirts herself to death.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>It's a sad play.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Well, she doesn't die actually. It's just that the only man who really loves her has impossible standards.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>That's too bad.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Yes, it is.<\/dialogue>\n    <scene_description>They're very close now, almost kissing.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Does it turn out happy in the end?<\/dialogue>\n    <scene_description>She moves her lips up to his slowly...<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>Nobody gets what they want and they all go away frustrated and sad.<\/dialogue>\n    <character>JOSH<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>A tragedy...<\/dialogue>\n    <scene_description>Then, BAM!!! They jump. Vic is standing there in the office doorway, pissed, the door almost thrown off its hinges. Josh steps back and starts gathering up his tools.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>Audry! What are you doing here?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE -- SAME TIME<\/stage_direction>\n    <scene_description>Josh's clothes are draped across a chair. The gym bag is nearby. Audry enters and steals his wrench. She then sits with her arms folded, her face turned away, and her foot tapping, full of attitude. Vic enters, runs his hand through his hair, and stares at the floor, calming himself.<\/scene_description>\n    <character>AUDRY<\/character>\n    <parenthetical>(looks up)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>You know what!<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>What the hell happened with you and Emmet! I'm driving to work this morning and I find the kid standing in the middle of the street immobilized by grief!<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Emmet wears boxer shorts with dollar signs all over them.<\/dialogue>\n    <character>VIC<\/character>\n    <parenthetical>(pounds the desk)<\/parenthetical>\n    <dialogue>I don't wanna hear about Emmet's goddamn underwear!<\/dialogue>\n    <scene_description>Audry keeps looking out the window into the garage at Josh, smiling.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>Hey, I'm talking to you!<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>VIC<\/character>\n    <parenthetical>(sarcastic)<\/parenthetical>\n    <dialogue>What the hell are you so dreamy about! The world's gonna blow up tomorrow, remember!<\/dialogue>\n    <scene_description>Audry sighs and looks back out at Josh. She smiles again and looks back at her father.<\/scene_description>\n    <character>AUDRY<\/character>\n    <parenthetical>(flip)<\/parenthetical>\n    <dialogue>But right now it's today. Not tomorrow.<\/dialogue>\n    <scene_description>He cocks his head and glares at her.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>Did you go to school today?<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Vic shakes his head and sits at his desk. She watches him as he hangs his head. He looks back up at her.<\/scene_description>\n    <character>VIC<\/character>\n    <parenthetical>(finally)<\/parenthetical>\n    <dialogue>Audry, listen to me. I've been thinking about this Harvard thing.<\/dialogue>\n    <parenthetical>(hems and haws, then...)<\/parenthetical>\n    <dialogue>Let's make a... a deal.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>A what?<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>A deal! Look, if I give a thousand dollars to this nuke-head commie charity organization of yours, will you forget about Harvard and go to the community college?<\/dialogue>\n    <scene_description>Audry regards him carefully, pauses, then approaches.<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>Are you serious?<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Yeah, I'm serious!<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(pauses)<\/parenthetical>\n    <dialogue>But I don't want to go to college. Any college.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Will you just give it a try?<\/dialogue>\n    <scene_description>She sits across the desk and considers this.<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>Would I have to study communications?<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>What else would you study?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Literature.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Literature! What the hell are you gonna do with literature?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Read.<\/dialogue>\n    <character>VIC<\/character>\n    <parenthetical>(uncertain)<\/parenthetical>\n    <dialogue>I don't know.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Would this be a yearly arrangement? Or would I be obligated to a full four years in return for the one donation?<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>It would depend.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>On what?<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>On how well you do each year.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>A thousand a year if I pass all my classes.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>If your grade-point average is high.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Medium.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>High.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Only for literature. I won't do that for communications.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>No deal. Communications or nothing.<\/dialogue>\n    <scene_description>Audry scowls and thinks this over. Finally, she shrugs...<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>OK, but I have the option to drop out after the first year.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Only if your grade-point average is high.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>You have to write the check today.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Five hundred now, and the remainder after first semester.<\/dialogue>\n    <scene_description>She looks at him sideways and frowns. It's only fair, Audry. Normal business procedure.<\/scene_description>\n    <character>AUDRY<\/character>\n    <parenthetical>(reluctantly)<\/parenthetical>\n    <character>OK.<\/character>\n    <dialogue>They shake hands and Audry resumes looking back out at Josh.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Then it's a deal?<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(far away)<\/parenthetical>\n    <dialogue>Yeah, sure.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARAGE -- SAME TIME<\/stage_direction>\n    <scene_description>Josh flips through the book she gave him. He stops when he comes across a flyer between the pages. On it is written: `Come to my father's birthday party tonight.' DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AUDRY'S BACK YARD -- NIGHT<\/stage_direction>\n    <scene_description>Vic's birthday party. People in the pool, patio lights, the whole thing... Audry is keeping an anxious look-out for Josh. Behind her, Vic is talking with Todd.<\/scene_description>\n    <character>TODD<\/character>\n    <dialogue>Assets. Any kind of assets. You gotta have 'em.<\/dialogue>\n    <character>VIC<\/character>\n    <parenthetical>(shaking his head)<\/parenthetical>\n    <dialogue>The whole fucking country's run on credit. I hate that.<\/dialogue>\n    <character>TODD<\/character>\n    <dialogue>It works out for guys like me and you, though.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>I don't trust that speculation crap. I like to see money. I like to put my hands on it.<\/dialogue>\n    <character>TODD<\/character>\n    <dialogue>But you've got to be leveraged.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>TODD<\/character>\n    <dialogue>Leveraged.<\/dialogue>\n    <scene_description>Audry moves away and sits on a bench beside Liz, still looking at her watch and scanning the crowd.<\/scene_description>\n    <character>LIZ<\/character>\n    <parenthetical>(Notices)<\/parenthetical>\n    <dialogue>Who are you waiting for, Audry?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Oh, no one.<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>You look beautiful in that dress.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>Wonderful.<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(relieved)<\/parenthetical>\n    <dialogue>Great.<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>So, who are you waiting for?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Oh, no one.<\/dialogue>\n    <character>VIC (O.S.)<\/character>\n    <dialogue>Audry. Come over here a minute.<\/dialogue>\n    <scene_description>She looks up and goes over.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>Audry, this is Mr Todd Whitbred. I know him from years and years ago. Well, Todd here, he's a commercial photographer.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Hi, I'm Audry. My favorite word is despair. What's yours?<\/dialogue>\n    <character>TODD<\/character>\n    <parenthetical>(leering)<\/parenthetical>\n    <dialogue>Fine thanks.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>So, Todd, go ahead, tell her what we were talking about. Listen to this, Audry.<\/dialogue>\n    <scene_description>Vic is a little drunk. He pops open another beer.<\/scene_description>\n    <character>TODD<\/character>\n    <dialogue>Well, like your dad was saying there, Audry, I'm a commercial photographer. I do a lotta weddings and christenings most of the time, but I gotta couple a' spreads in some magazines and stuff. You know that kinda thing. But, like I was telling your father here, you really, you know, have a look.<\/dialogue>\n    <scene_description>Audry frowns, suspicious. You have what they call poise. A real presence. Poise. That's what you have. Poise. And that's a valuable thing.<\/scene_description>\n    <character>VIC<\/character>\n    <parenthetical>(nods)<\/parenthetical>\n    <dialogue>Poise.<\/dialogue>\n    <character>TODD<\/character>\n    <dialogue>Oh, everybody thinks so. And, you know, in my professional opinion, I mean, I would say, you could, if you wanted to... be a... you know, a model.<\/dialogue>\n    <scene_description>Todd gulps down some beer and burps. Audry looks back at Vic, skeptical.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>Listen to what he says, though.<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(aside)<\/parenthetical>\n    <dialogue>Dad, what's he getting at?<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>He's talking about work, Audry.<\/dialogue>\n    <character>TODD<\/character>\n    <dialogue>There's a lotta money in modeling. Especially for a girl like you who's got great... you know, poise.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>What Todd's saying here, Audry, is that maybe you can be a model.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>But I'm going to college...<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>I know you're goin' to college! But if you make some money maybe you can help pay for college.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>If I weren't going to college, I'd like to be a carpenter.<\/dialogue>\n    <character>VIC<\/character>\n    <parenthetical>(steps back)<\/parenthetical>\n    <dialogue>Since when?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Since always.<\/dialogue>\n    <parenthetical>(to Todd)<\/parenthetical>\n    <dialogue>Jesus was a carpenter. He was a radical. I like radicals.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Audry, knock it off.<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(serious, to Vic)<\/parenthetical>\n    <dialogue>If I'm going to help pay for college, then I have to study literature.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>That wasn't the deal.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Well, the deal's different now.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>How 'bout the charity donation?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>That still holds.<\/dialogue>\n    <character>VIC<\/character>\n    <parenthetical>(frowns)<\/parenthetical>\n    <dialogue>You drive a hard bargain, Audry.<\/dialogue>\n    <character>TODD<\/character>\n    <dialogue>You can make a lotta money fast if you make the right connections.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>There, Audry, see.<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(skeptical)<\/parenthetical>\n    <dialogue>Oh, yeah? How do you make these connections?<\/dialogue>\n    <scene_description>Todd now slips into his sales pitch...<\/scene_description>\n    <character>TODD<\/character>\n    <dialogue>First you need a portfolio.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>A what?<\/dialogue>\n    <character>TODD<\/character>\n    <dialogue>A portfolio. A group of pictures of Audry here in different clothes. Different kinds of make-up and hair styles and stuff. You know, a bunch of pictures to show like... what she can do... as a model.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Where the hell do you get one of them?<\/dialogue>\n    <character>TODD<\/character>\n    <dialogue>Well, I mean it's up to you, but I can give you a pretty good deal on the shots myself. And I can introduce Audry around. Help her make some connections.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>How much?<\/dialogue>\n    <character>TODD<\/character>\n    <dialogue>Well, it's hard to say right off the bat, but... let's say... seven hundred and fifty bucks.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>What!<\/dialogue>\n    <character>TODD<\/character>\n    <dialogue>Six-fifty.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>For photographs!<\/dialogue>\n    <character>TODD<\/character>\n    <dialogue>It's a necessary and important investment in a modeling career.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>But I hardly know you! How'd you get in here?<\/dialogue>\n    <scene_description>Audry walks away, bored. She bumps into Emmet. He looks desperate, hiding from Vic. She is preoccupied, keeping an anxious lookout for Josh.<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>I deserve some kinda explanation, I mean, really, after all we've been through.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>What have we been through?<\/dialogue>\n    <character>EMMET<\/character>\n    <parenthetical>(stuck)<\/parenthetical>\n    <dialogue>Well, everything. It's another guy, right?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Did you really punch my father in the nose?<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>It's Bill, isn't it?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Emmet, please.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>I knew it.<\/dialogue>\n    <scene_description>Vic and Todd are still bargaining. Vic drinks and thinks and scratches his jaw, then...<\/scene_description>\n    <character>VIC<\/character>\n    <parenthetical>(skeptical)<\/parenthetical>\n    <dialogue>Shit. You said five-fifty?<\/dialogue>\n    <character>TODD<\/character>\n    <dialogue>Six-fifty.<\/dialogue>\n    <character>VIC<\/character>\n    <parenthetical>(shakes his head)<\/parenthetical>\n    <dialogue>I don't know.<\/dialogue>\n    <character>TODD<\/character>\n    <dialogue>Look, Mr Hugo, you stand to make a fortune off the girl. I mean, she's a good-lookin' kid. Take my word for it. Get her into this modeling thing. You'll make your money back in no time.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Six hundred or nothing.<\/dialogue>\n    <character>TODD<\/character>\n    <dialogue>It's a deal.<\/dialogue>\n    <scene_description>They shake and drink their beer. Audry looks at her wrist watch. It's late. She looks up from it and sighs, disappointed. She leans back against the car. Emmet is next to her. She's apathetic. He is kissing her neck and trying to feel her up as she speaks.<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>It all just seems so empty to me.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>What does?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Everything. All of this. This house. These clothes. This party.<\/dialogue>\n    <scene_description>She gets up and walks away toward the pool. She passes... Bill and Bob, two easy-going high-school guys. They watch Audry go past and sigh as one, smitten.<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>She's beautiful.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I'd cut off my left arm for her.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>BILL<\/character>\n    <parenthetical>(reconsiders)<\/parenthetical>\n    <dialogue>Well, at least a few fingers.<\/dialogue>\n    <scene_description>Emment suddenly appears beside them.<\/scene_description>\n    <character>EMMET<\/character>\n    <dialogue>What was that?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>EMMET<\/character>\n    <parenthetical>(belligerent)<\/parenthetical>\n    <dialogue>Did you say something?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Yeah, I said something. What's it to you?<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>I'm not so sure I like what you said.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>You don't even know what I said!<\/dialogue>\n    <character>EMMET<\/character>\n    <parenthetical>(shoves him)<\/parenthetical>\n    <dialogue>Oh, yes I do.<\/dialogue>\n    <character>BILL<\/character>\n    <parenthetical>(to Bob)<\/parenthetical>\n    <dialogue>I don't know. Does he?<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>Got me.<\/dialogue>\n    <character>BILL<\/character>\n    <parenthetical>(to Emmet)<\/parenthetical>\n    <dialogue>What did I say?<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>I don't care what you said! I think it's about time you guys left this party.<\/dialogue>\n    <character>BOB<\/character>\n    <parenthetical>(disappointed)<\/parenthetical>\n    <dialogue>We just got here.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Listen, bud, what's your problem?<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>You wanna go out in the street and settle this?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>No, I don't.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>I think we oughta go out in the street and settle this thing.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>What thing?<\/dialogue>\n    <scene_description>Bill and Emmet are nose to nose...<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Listen, pal, you're buggin' me!<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>No, you're buggin' me!<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>Bill, come on, let's get outta here.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>No way! We ain't done nothing!<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>You're starting trouble, man!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I ain't starting anything!<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>Come on, let's go outside.<\/dialogue>\n    <character>BOB<\/character>\n    <parenthetical>(terrified)<\/parenthetical>\n    <dialogue>Oh, shit!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>You wanna go outside?<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>Yeah, I wanna go outside<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Let's go outside and settle this thing once and for all!<\/dialogue>\n    <scene_description>They storm off into the street. Bob is left there holding his head.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AT THE POOL -- SAME TIME<\/stage_direction>\n    <scene_description>Mike is standing in the pool, and Pearl is on the deck holding a watch.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Ready?<\/dialogue>\n    <character>PEARL<\/character>\n    <dialogue>OK. Hold on. Get ready. Go!<\/dialogue>\n    <scene_description>Mike takes a huge breath and goes under water. Pearl watches the clock. Audry comes up beside her and they look down at Mike under water. Audry looks around again, accepting that Josh won't show.<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>Let's get out of here.<\/dialogue>\n    <character>PEARL<\/character>\n    <dialogue>Yeah. OK.<\/dialogue>\n    <scene_description>She puts the watch in her pocket and they walk off the deck.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AUDRY'S FRONT YARD -- SAME TIME<\/stage_direction>\n    <scene_description>Emmet and Bill are wrestling savagely on the front lawn. A couple are making out by the fence a few feet away. Audry and Pearl come out from around the house and find Audry's bike leaning against a tree. They hop on, within feet of Emmet and Bill, and ride off. They only casually notice the brawl.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS -- SAME TIME<\/stage_direction>\n    <scene_description>Audry and Pearl riding along on the bike. They ride off into the distance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOME FIELD -- DAWN<\/stage_direction>\n    <scene_description>The girls sip their beers, watching the daylight come up, listening intently.<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>There.<\/dialogue>\n    <scene_description>Pearl looks at Audry and listens.<\/scene_description>\n    <character>PEARL<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Do you hear it?<\/dialogue>\n    <character>PEARL<\/character>\n    <dialogue>Bombs?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Could be.<\/dialogue>\n    <character>PEARL<\/character>\n    <dialogue>Nearby?<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(relaxes)<\/parenthetical>\n    <dialogue>No. Must not be anything.<\/dialogue>\n    <character>PEARL<\/character>\n    <dialogue>They wouldn't drop the bomb on the weekend, would they?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Who knows. Could be some freak accident happens and BOOM!!! The history of human endeavor is flushed down the toilet.<\/dialogue>\n    <character>PEARL<\/character>\n    <dialogue>It makes you think. You know, what kind of people would let something like that happen?<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(scanning the sky)<\/parenthetical>\n    <dialogue>Could be anybody. Everybody's got nuclear capability now. Even the Pakistanis. You know, they've got this new bomb now -- a nuclear bomb -- that fits inside a suitcase.<\/dialogue>\n    <character>PEARL<\/character>\n    <dialogue>I don't want to think about it.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>No. Let's not think about it right now. Let's just lie here.<\/dialogue>\n    <scene_description>They lie there a while, then Audry rolls up on her elbows and comes closer to Pearl.<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>Pearl, do you like older men?<\/dialogue>\n    <character>PEARL<\/character>\n    <dialogue>Sometimes.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>I met a man yesterday.<\/dialogue>\n    <character>PEARL<\/character>\n    <dialogue>An older man?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>I think so. He looks older. I mean, he was older than me.<\/dialogue>\n    <character>PEARL<\/character>\n    <dialogue>What was he like?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>He had a history. You could tell just by looking at him.<\/dialogue>\n    <character>PEARL<\/character>\n    <dialogue>Be careful of men with histories.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>He was... poor.<\/dialogue>\n    <scene_description>Pearl moans...<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>And hungry.<\/dialogue>\n    <scene_description>She moans again...<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>He had no possessions.<\/dialogue>\n    <scene_description>And again...<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>Nowhere even to live.<\/dialogue>\n    <scene_description>They fall over and start rolling around on the ground, giggling uncontrollably. Then...<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>He was like dressed entirely in black.<\/dialogue>\n    <scene_description>Pearl knows now that Audry is describing Josh, and she sits up, unsettled.<\/scene_description>\n    <character>PEARL<\/character>\n    <dialogue>Who is it?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>His name is Joshua. Joshua Hutton.<\/dialogue>\n    <scene_description>This hits Pearl hard. She shivers. Pearl? What is it?<\/scene_description>\n    <character>PEARL<\/character>\n    <dialogue>I have to go home now.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Pearl?<\/dialogue>\n    <character>PEARL<\/character>\n    <dialogue>No, really. I have to work this afternoon. I should really get some sleep.<\/dialogue>\n    <scene_description>She leans over and kisses Audry on the forehead. Audry is a little confused. Pearl is clearly disturbed. Bye. She turns and walks off. Audry looks on after her, confused.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET -- MORNING<\/stage_direction>\n    <scene_description>Emmet lies unconscious on the pavement. He comes to, leans up on an elbow, and looks around.<\/scene_description>\n    <character>EMMET<\/character>\n    <dialogue>Fucking cowards.<\/dialogue>\n    <scene_description>He starts to get up, but then sees... Audry riding down the block toward him. He lies back down and groans, faking. Audry approaches and looks at him, concerned. She skids her bike to a stop and jumps off. She kneels over him.<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>Emmet! What happened?<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>Is that you, Audry?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Knock it off! What happened?<\/dialogue>\n    <character>EMMET<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>I kicked ass.<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(pauses)<\/parenthetical>\n    <dialogue>But... why?<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>Well, uhm... because I love you, Audry.<\/dialogue>\n    <scene_description>Audry stands slowly, looking down at him sadly.<\/scene_description>\n    <character>AUDRY<\/character>\n    <parenthetical>(with difficulty)<\/parenthetical>\n    <dialogue>That's too bad, Emmet.<\/dialogue>\n    <scene_description>She gets on her bike, shaking her head, and rides into her yard. Emmet watches, amazed, as she goes on into her house. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HUGO BACK YARD -- DAY<\/stage_direction>\n    <scene_description>Liz is folding clothes. Audry helps her.<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>Mom, what do you know about Josh Hutton?<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>Josh Hutton? What do you want to know about Josh Hutton?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Dad just hired him.<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Yeah. What do you know about him?<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>He killed some people.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Who did he kill?<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>Pearl's sister.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>When was this?<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>This was a few years before he killed her father.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>I don't remember any of this.<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>It was a long time ago. You were only two years old. Pearl never talks about it.<\/dialogue>\n    <scene_description>Audry mulls this over with a frown.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AUDRY'S BACK YARD (POOL) -- DAY<\/stage_direction>\n    <scene_description>Audry and Pearl are submerged up to about their chins. They seem very pensive and speak in hushed tones.<\/scene_description>\n    <character>PEARL<\/character>\n    <parenthetical>(at length)<\/parenthetical>\n    <dialogue>He seems like a nice man.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>You think so? I mean, after he's killed your father. And your sister.<\/dialogue>\n    <character>PEARL<\/character>\n    <parenthetical>(thinks, shrugs)<\/parenthetical>\n    <dialogue>Things happen. People make mistakes.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>I can see how your sister was a mistake. But... he threw your father down a flight of stairs.<\/dialogue>\n    <scene_description>Pearl doesn't know what to say. She looks away and sighs, then...<\/scene_description>\n    <character>PEARL<\/character>\n    <dialogue>I think... I think he seems like a nice man. And you like him. Right?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>He doesn't seem like a killer.<\/dialogue>\n    <character>PEARL<\/character>\n    <dialogue>Maybe he isn't.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>He hasn't killed anybody recently, has he?<\/dialogue>\n    <character>PEARL<\/character>\n    <dialogue>I don't think so.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>I knew he had a history.<\/dialogue>\n    <character>PEARL<\/character>\n    <dialogue>He seems like a nice man.<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(hurt)<\/parenthetical>\n    <dialogue>I knew it was too good to be true.<\/dialogue>\n    <character>PEARL<\/character>\n    <dialogue>What was?<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(bitter)<\/parenthetical>\n    <dialogue>He seemed so different. Innocent. But I guess nobody's innocent.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GARAGE -- EVENING<\/stage_direction>\n    <scene_description>Vic is not around. Josh and Mike are working under the hood of a car.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Fundamental scientific laws govern the ability of an engine to convert energy in the fuel to an energy form that can make a car move.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Scientific principles, huh?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Yeah. It's what they call the first and second laws of thermodynamics.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Where'd you learn this stuff?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>In prison. I read this book.<\/dialogue>\n    <scene_description>They work in silence for a while, then...<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>(hesitates, then...)<\/parenthetical>\n    <dialogue>Why'd you kill her father?<\/dialogue>\n    <scene_description>Josh looks at him blankly a moment, then...<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>I suppose because I was angry.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>You suppose? I mean, don't you know? Christ, you killed a man.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>We were both pretty angry. I don't think either of us wanted to kill the other when we started. We just kinda lost control.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Why'd you go over to his place, anyway?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>To apologize for killing his daughter in a car crash.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>And you threw him down a flight of stairs.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Something like that, yeah.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Why'd you run?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I was scared.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>It sounds like it was an accident.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Killing a man is killing a man.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah, I suppose.<\/dialogue>\n    <scene_description>Josh stops working and looks up at Mike.<\/scene_description>\n    <character>JOSH<\/character>\n    <parenthetical>(sincerely)<\/parenthetical>\n    <dialogue>How is Pearl?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>OK, I guess. She's a difficult woman.<\/dialogue>\n    <character>JOSH<\/character>\n    <parenthetical>(intrigued)<\/parenthetical>\n    <dialogue>How's that?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Well, I don't know. I mean, the other night we're at this party, right. I go in the pool. I have her time me while I hold my breath under water. I come up and she's gone. Nowhere to be seen. Normally, that wouldn't bug me. But it makes a guy wonder.<\/dialogue>\n    <parenthetical>(leans back in over the engine...)<\/parenthetical>\n    <dialogue>How 'bout you? You gotta main squeeze?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Mike looks over at him, thinks, then...<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>(tentatively)<\/parenthetical>\n    <dialogue>Ever?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Mike leans back, amazed.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>You're a... virgin?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Ouch.<\/dialogue>\n    <scene_description>Josh looks right up at him and we can tell he's not kidding. Mike is thunderstruck.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARAGE -- LATER<\/stage_direction>\n    <scene_description>Mike and Josh are hanging around. Mike jams on guitar.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>The thing you first notice about having a girlfriend... I mean, right off the bat, when you start staying over her house and everything, is that you clean yourself a lot better.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Really.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>No shit. You just sort've pay more attention to everything. You brush your teeth like every single night before going to bed. You start worrying about washing your back.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Your back?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Your fucking back. Right down the middle. It's almost impossible and who the hell thinks about it anyway. Girls do.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I suppose it must get kinda dirty back there. All that sweat, you know.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>And you never see the goddamn thing. Underwear. Suddenly you're buying new underwear all the time.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>It must be really different when somebody else is seeing you without your clothes on all the time.<\/dialogue>\n    <character>MIKE<\/character>\n    <parenthetical>(plays a riff)<\/parenthetical>\n    <dialogue>Damn straight! So how do you stand this celibacy shit?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>How does anybody stand anything? Being in prison for all those years helps.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>You never got any before the car crash?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>My friends were always making fun of me because I'd never been laid. I was seventeen. So one night I was taking Pearl's sister to the movies. And I was determined. I knew she liked me, and she was as pretty as Pearl is... Well, we saw the movie and kissed and all that. Then we decided to drive out to this place I knew.<\/dialogue>\n    <scene_description>He trails off. Silence. There's nothing to say. Mike fidgets, then...<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>You sure you don't want a beer?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>No. I'm fine.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Aren't you curious?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Most of the time.<\/dialogue>\n    <parenthetical>(pause, then...)<\/parenthetical>\n    <dialogue>But, you know, I killed a man. And I never thought I'd be able to do that. I mean, I never even imagined it.<\/dialogue>\n    <parenthetical>(looks down and thinks, then...)<\/parenthetical>\n    <dialogue>When you've done something... unimaginable... I mean, when you've done it even before you ever thought about it. When you see how easy it is. Well, then everything is put into this new perspective. Suddenly things you had always thought were the most important things in the world are no more significant than anything else. Because, you see, you've done the unimaginable. You've done what you thought was impossible. And then you see... you see that you can do anything.<\/dialogue>\n    <scene_description>Mike eyes him sideways and squints.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>You ain't a homo, are you?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I don't have anything against guys liking other guys as long as they don't like me. You know what I'm saying?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>MIKE<\/character>\n    <parenthetical>(pops open a beer)<\/parenthetical>\n    <dialogue>I thought I was a homo once.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah. Fucking unbelievable.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I joined the Marines. They straightened my shit right out. Look, see my tattoo?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDRY'S HOUSE -- A FEW DAYS LATER<\/stage_direction>\n    <scene_description>Liz and Audry are moving around, looking at her portfolio. Vic is trying to eat.<\/scene_description>\n    <character>LIZ<\/character>\n    <dialogue>My, Audry, you look so elegant in this one!<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>You should've seen some of the awful clothes they had there.<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>Well, I like this one.<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(looks)<\/parenthetical>\n    <dialogue>Oh, yeah, that one's OK. Kinda tight, though.<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>It shows off your breasts well.<\/dialogue>\n    <character>VIC<\/character>\n    <parenthetical>(eating)<\/parenthetical>\n    <dialogue>Will you two shut up!<\/dialogue>\n    <scene_description>They pay him no attention.<\/scene_description>\n    <character>LIZ<\/character>\n    <dialogue>I think Mr Whitbred did a really nice job. Very professional.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>He better have. I paid seven hundred and fifty bucks for those. Audry! Don't get your dirty hands all over 'em!<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(of her hands)<\/parenthetical>\n    <dialogue>They're clean.<\/dialogue>\n    <character>LIZ<\/character>\n    <parenthetical>(another photo)<\/parenthetical>\n    <dialogue>Wow! Audry, you really do have some figure.<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(embarrassed)<\/parenthetical>\n    <dialogue>Mom, cut it out.<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>Don't be silly, Audry. Flaunt it while you have it. I'm just about losing mine.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>You look OK.<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>Liar.<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(stands her up)<\/parenthetical>\n    <dialogue>You look great. Don't she, Dad? Look.<\/dialogue>\n    <character>VIC<\/character>\n    <parenthetical>(eating)<\/parenthetical>\n    <dialogue>Can't you two see I'm trying to eat!<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Here, Mom, straighten your back. I learned this today.<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>What, like this?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GARAGE -- DAY<\/stage_direction>\n    <scene_description>Vic flips through the pages of a newspaper and finally finds what he's looking for. He proudly shoves the newspaper in front of Mike.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>Look, right here, in the raincoat with the umbrella.<\/dialogue>\n    <character>MIKE<\/character>\n    <parenthetical>(looks)<\/parenthetical>\n    <dialogue>Holy shit! Look at that!<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Ain't that something?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Audry right there in the goddamn newspaper.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>She made three hundred dollars for one day's work.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>No shit?<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Damn straight.<\/dialogue>\n    <scene_description>Josh walks by, doing something.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Hey, Josh, look at this!<\/dialogue>\n    <scene_description>Vic turns away and frowns as Josh takes the paper and looks. You know Audry, right? Vic's daughter. Josh recognizes her and looks up at Vic before handing the paper back to Mike.<\/scene_description>\n    <character>JOSH<\/character>\n    <parenthetical>(politely)<\/parenthetical>\n    <dialogue>Pretty girl.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Yeah, right. OK, let's get back to work. You almost through with that Mustang, Josh?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Just gotta set the points and I'll get started on the Firebird.<\/dialogue>\n    <character>VIC<\/character>\n    <parenthetical>(moves off)<\/parenthetical>\n    <dialogue>Right, let's get 'em all finished up today.<\/dialogue>\n    <character>JOSH<\/character>\n    <parenthetical>(moves off)<\/parenthetical>\n    <dialogue>Right.<\/dialogue>\n    <scene_description>Mike looks off after both of them, then follows Vic.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>You ride him pretty hard, don't you think?<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>He can take it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUS STOP -- DAY<\/stage_direction>\n    <scene_description>Audry is all dressed up for a modeling job. Emmet sits on the bench beside her, washed out and dejected.<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>Emmet, you look terrible.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>I'm telling you, Audry, I'm a wreck.<\/dialogue>\n    <parenthetical>(looks her over...)<\/parenthetical>\n    <dialogue>You look really good in that dress.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>I'm gonna kill myself.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Don't be maudlin, Emmet.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>Well, then I'll kill somebody else. Where are you going, anyway?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>To work.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>Modeling.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Sweaters.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>I hate seeing you in advertisements where other men can pore over you.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>I make a lot of money.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>Since when are you so interested in money?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Since I started earning it. Isn't it a lovely day?<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>Why are you so happy lately? Don't you know the world's fucked? Did you read the paper today?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Emmet, I know the world's fucked. I don't read the papers any more. And, by the way, have you bathed lately? Emmet, really, you smell.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>You're in love with that homicidal auto mechanic, aren't you?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Emmet, I'm gonna hit you.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>It won't last. I know it won't last.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Well, anyway, Emmet, you know what the ancient Greeks said about happiness.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>Fuck the ancient Greeks.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Here's my ride.<\/dialogue>\n    <scene_description>She gets up and starts for the curb. Todd pulls up in a new fancy car.<\/scene_description>\n    <character>EMMET<\/character>\n    <parenthetical>(pleads)<\/parenthetical>\n    <dialogue>Don't go!<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(looks back)<\/parenthetical>\n    <dialogue>Emmet, tie your shoe.<\/dialogue>\n    <scene_description>A guy passing by on the sidewalk looks Audry up and down and whistles. She just keeps on going, but Emmet spins around...<\/scene_description>\n    <character>EMMET<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>They jump at each other and wrestle one another to the sidewalk. Audry looks around, panicked, then hops in the car.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDRY'S HOUSE -- EVENING<\/stage_direction>\n    <scene_description>The Hugos are having supper. They're in the middle of a conversation and everything is a little tense. Audry looks back and forth between her parents. Vic scowls down into his food, thinking.<\/scene_description>\n    <character>LIZ<\/character>\n    <parenthetical>(to Vic)<\/parenthetical>\n    <dialogue>Well, I think that maybe it's a good thing. If she's not sure what she<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>wants to study, maybe it would be worthwhile for her to just work for a year. Make some money.<\/dialogue>\n    <scene_description>Vic shrugs.<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>Dad, I promise. It'll just be a year. At the end of a year, I'll have so much money saved up, maybe I can pay for college all by myself.<\/dialogue>\n    <scene_description>Vic nods. He sees the sense in it, but he wants to be careful. He points at Audry.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>We had a deal, remember.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>I remember.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>I held up my end.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>I appreciate that.<\/dialogue>\n    <character>VIC<\/character>\n    <parenthetical>(eats)<\/parenthetical>\n    <dialogue>Shit.<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>Audry, eat your vegetables.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. GARAGE -- DAY<\/stage_direction>\n    <scene_description>Audry rides up on her bike and finds Josh working. There is no one else around. When he looks up from what he is doing and sees her, he smiles and attempts to neaten his appearance. She comes into the garage. She's angry, contemptuous, hard- boiled.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Good afternoon, Mr Hutton.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>You don't have to call me mister.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>What am I supposed to call you?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>You can call me anything you like, but you don't have to call me mister.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>I think I'll call you... Reverend.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Like a priest?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Don't you like it?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I admire people who are dedicated to things.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Why didn't you come to the party?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I had no money, no clothes.<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(realizes)<\/parenthetical>\n    <dialogue>Oh.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>It's OK.<\/dialogue>\n    <parenthetical>(thinks, then...)<\/parenthetical>\n    <dialogue>Do you have any money now?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I have what I need.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>You're saving my father from financial ruin. I hope he pays you well.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>He's good man. He gave me a job when he knew no one else would.<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(shows him a magazine)<\/parenthetical>\n    <dialogue>Look. That's my foot.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>No kidding?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>They paid me almost a thousand dollars to put this shoe on and let them photograph my foot.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>It's a pretty foot.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Listen, do you want take a walk somewhere?<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(guarded)<\/parenthetical>\n    <dialogue>Where to?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Anywhere.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I've got something to tell you about me.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>I don't want to hear it.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>It's important.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>What good will it do?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I think you should know.<\/dialogue>\n    <scene_description>Audry stares at him, pauses, then...<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>I already know.<\/dialogue>\n    <scene_description>Josh isn't surprised, but he's hurt by her fierceness. She's acting like she hates him. But she seems to be working at seeming this way. As they stare at one another, she starts to give in a little, wanting him.<\/scene_description>\n    <character>JOSH<\/character>\n    <parenthetical>(carefully)<\/parenthetical>\n    <dialogue>Does it make a difference?<\/dialogue>\n    <scene_description>Audry is trying not to lose control. She fights giving in, but then, finally...<\/scene_description>\n    <character>AUDRY<\/character>\n    <parenthetical>(gasps)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <scene_description>And she runs into his arms. They kiss passionately. Then...<\/scene_description>\n    <character>VIC (O.S.)<\/character>\n    <dialogue>Audry!<\/dialogue>\n    <scene_description>They look up, stung. Vic is just outside the garage, glaring at them, pissed. Audry stands there looking at her father, with Josh right there over her shoulder.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>Go home.<\/dialogue>\n    <scene_description>She hesitates. Josh stays there staring at Vic. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDRY'S ROOM -- LATER<\/stage_direction>\n    <scene_description>Audry is lying on the bed, furious. Vic stands at the foot of the bed.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>Audry, listen to me, it's for your own good! I don't want you to associate with that man.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>But why?<\/dialogue>\n    <character>VIC<\/character>\n    <parenthetical>(explodes)<\/parenthetical>\n    <dialogue>He's a mass murderer!<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Dad, cut it out!<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>He's a loaded pistol! No tellin' when he'll go off!<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>If he's so horrible and dangerous, why'd you hire him?<\/dialogue>\n    <character>VIC<\/character>\n    <parenthetical>(stuck)<\/parenthetical>\n    <dialogue>Well, I ah... I'm a... I'm letting him go tomorrow.<\/dialogue>\n    <scene_description>Audry jumps up and glares at him. Vic flinches.<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>You wouldn't dare.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Oh yes I would.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Without Josh your whole business would fall down around your ears!<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Look, Audry, don't tell me about my business, OK!<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(hounds him)<\/parenthetical>\n    <dialogue>You know you need a good mechanic! And he's a good mechanic!<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Since when do you know so much about auto repair? Huh?<\/dialogue>\n    <scene_description>Audry hushes up. She doesn't know anything about auto repair.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>Look, Audry, what do you want getting involved with some mechanic from around here for? You'll be going to college next year and...<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(crafty)<\/parenthetical>\n    <dialogue>Maybe I won't go to college.<\/dialogue>\n    <character>VIC<\/character>\n    <parenthetical>(pissed)<\/parenthetical>\n    <dialogue>Don't start, Audry! You promised! We had a deal!<\/dialogue>\n    <scene_description>Audry winces.<\/scene_description>\n    <character>VIC<\/character>\n    <parenthetical>(pressing)<\/parenthetical>\n    <dialogue>Right? We had a deal. You can't go back on it now!<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>If you don't fire him... If you don't fire him, I won't see him again!<\/dialogue>\n    <character>VIC<\/character>\n    <parenthetical>(suspicious)<\/parenthetical>\n    <dialogue>What are you up to?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>I'm not up to anything!<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>If I keep him on, you'll keep away from him?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>You promise?<\/dialogue>\n    <scene_description>She turns and glares at him.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>You're making a bargain, Audry. You gotta stick to it.<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(silence, then)<\/parenthetical>\n    <dialogue>I see him once more. I have his wrench.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>What the hell are you doing with his wrench?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Once more.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>You promise?<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(sadly)<\/parenthetical>\n    <dialogue>Promise.<\/dialogue>\n    <scene_description>Vic is pleased. But Audry comes back at him...<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>And you've got to go to college. This fall!<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>For literature.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>No! For communications! Broadcasting!<\/dialogue>\n    <scene_description>Audry turns away and kicks the wall. She thinks, then spins around.<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>OK. But it's got to be Harvard.<\/dialogue>\n    <scene_description>Vic receives this like a knife in the chest. He sits at the end of the bed and hangs his head.<\/scene_description>\n    <character>AUDRY<\/character>\n    <parenthetical>(presses)<\/parenthetical>\n    <character>OK?<\/character>\n    <dialogue>VIC<\/dialogue>\n    <parenthetical>(thinks, then...)<\/parenthetical>\n    <dialogue>All right, but you've gotta model full-time till you get in college and pay back the money I gave that bomb squad charity of yours!<\/dialogue>\n    <scene_description>Audry thinks it over, then decides. She shrugs.<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>OK... It's a deal.<\/dialogue>\n    <scene_description>She goes out and Vic hangs his head, beat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARAGE -- EVENING<\/stage_direction>\n    <scene_description>Josh is getting ready to go. Vic locks the office door as Josh closes up the garage. He looks over at his boss and stops. Vic is studying him.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Something else?<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>You know, Josh... You make a difference around here.<\/dialogue>\n    <character>JOSH<\/character>\n    <parenthetical>(pauses, then)<\/parenthetical>\n    <dialogue>I'm just doing my job.<\/dialogue>\n    <character>VIC<\/character>\n    <parenthetical>(nods)<\/parenthetical>\n    <dialogue>Right.<\/dialogue>\n    <parenthetical>(scratches his head and considers, then...) I)<\/parenthetical>\n    <dialogue>Think I'll give you a raise.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Well, whatever you think is fair.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>An extra fifty each week? What do you say?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>OK.<\/dialogue>\n    <scene_description>They shake hands. Vic holds on to Josh's hand, though, and looks him straight in the eye.<\/scene_description>\n    <character>VIC<\/character>\n    <parenthetical>(hard)<\/parenthetical>\n    <dialogue>I don't want you coming anywhere near Audry.<\/dialogue>\n    <scene_description>Josh is frozen...<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Got it?<\/dialogue>\n    <scene_description>They stare at each other a few moments longer, their hands still gripped together.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH -- A LITTLE LATER<\/stage_direction>\n    <scene_description>Josh is sitting on a bench, reading. He sees... Pearl walking up from the beach. She sits at the next bench. Josh hesitates, then approaches her and sits down. Pearl looks up. There is an uneasy silence for a moment, then...<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Hello, Pearl.<\/dialogue>\n    <character>PEARL<\/character>\n    <parenthetical>(guarded)<\/parenthetical>\n    <dialogue>Hello.<\/dialogue>\n    <scene_description>They sit.<\/scene_description>\n    <character>JOSH<\/character>\n    <parenthetical>(slowly)<\/parenthetical>\n    <dialogue>I just wanted to apologize.<\/dialogue>\n    <scene_description>Pearl stares hard at the pavement.<\/scene_description>\n    <character>PEARL<\/character>\n    <dialogue>Don't.<\/dialogue>\n    <scene_description>Josh is at a loss. She turns and looks at him...<\/scene_description>\n    <character>PEARL<\/character>\n    <dialogue>Just let's not talk about it.<\/dialogue>\n    <scene_description>He is stung by her fierce glare. He just nods...<\/scene_description>\n    <character>PEARL<\/character>\n    <dialogue>I believe people get what they deserve in the end.<\/dialogue>\n    <scene_description>She watches him a moment longer, then turns and continues on her way. Josh stays there alone in the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AUDRY'S HOUSE -- DAY<\/stage_direction>\n    <scene_description>Vic exits through the front door with a magazine. He sees Liz and goes down the steps.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>I can't believe you let her do this!<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>Victor, it's only an underwear advertisement!<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>She's half nude!<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>She's wearing underwear and a bra! Girls at the beach wear as little as this! Less!<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>There's a difference between underwear and a bathing suit! Underwear is not supposed to be seen!<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>Calm down. Anyway, she was paid good money for this and you were the one who urged her to go into modeling in the first place!<\/dialogue>\n    <scene_description>Vic is stumped. He grits his teeth and stares at the floor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JOSH'S PLACE -- AFTERNOON<\/stage_direction>\n    <scene_description>Audry comes walking down the street and stops before the house. It's a little house that he rents. She's a little nervous and it's clear that she's dressed for the occasion. She looks great. She pushes in through the gate. Josh is outside the garage, painting. He looks out as he hears knocking. Audry comes into the yard and approaches the front door. After she knocks, she pauses and looks at herself in the panes of glass of the door. Josh moves to the side of the house, sees Audry... She puts on lipstick while... Josh calls to her. Audry jolts and draws a line of lipstick across her cheek. She doesn't see this and quickly closes up her bag. She tousles her hair, smoothes out her skirt, turns and... Trips over the George Washington biography that is there on the steps. She falls to the ground. Josh starts toward her and... She sees him coming, so slips on her shades and acts like it was nothing.<\/scene_description>\n    <character>AUDRY<\/character>\n    <parenthetical>(standing)<\/parenthetical>\n    <dialogue>Hi!<\/dialogue>\n    <scene_description>Josh helps her up. Once she's up, we see her shades are broken.<\/scene_description>\n    <character>AUDRY<\/character>\n    <parenthetical>(embarrassed)<\/parenthetical>\n    <dialogue>Thanks. I have your wrench.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Are you OK?<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(realizing)<\/parenthetical>\n    <dialogue>This is a nice house.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Your knee!<\/dialogue>\n    <scene_description>Her knee is cut.<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>Oh, it's nothing. Do you live here alone?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Here, sit down.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>He sits her down on the steps and she inspects her cut knee.<\/scene_description>\n    <character>JOSH<\/character>\n    <parenthetical>(going)<\/parenthetical>\n    <dialogue>I've got some band-aids in the house...<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(stops him)<\/parenthetical>\n    <dialogue>No. It's OK.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>It belonged to my father. It's been vacant for years.<\/dialogue>\n    <scene_description>He stops. She sees the book he's reading...<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>Do you like the book?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Oh, yeah. Thanks.<\/dialogue>\n    <parenthetical>(sees the wrench)<\/parenthetical>\n    <dialogue>I have others.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Books?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Wrenches. There are plenty at work.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>But this one is yours, right? Your own personal wrench.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>I thought so. So I'm returning it.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>I thought you'd need it.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>That's true. I mean, I might, but... if you need it, you can keep it.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(slips it into her bag)<\/parenthetical>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>An awkward silence, then she spots a piece of machinery off to the side.<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Those are planetary gears.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>What do they do?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>It's part of an automatic transmission. In a car.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Right. How's it work?<\/dialogue>\n    <scene_description>Josh is a little surprised that she'd want to hear about this. He fumbles a little, then...<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Well, it's... I think maybe it's a little complicated.<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(leans back)<\/parenthetical>\n    <dialogue>I have plenty of time.<\/dialogue>\n    <character>JOSH<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>You really want to know?<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(sincerely)<\/parenthetical>\n    <dialogue>I think it's really interesting what people do. I mean, when they do something that they love. Because when you do something that you love, no matter what it is, when you do something that you love, you do it well. And when you do something well, you feel useful. And it's important to feel useful, I think. Because...<\/dialogue>\n    <parenthetical>(Tries desperately to reach a conclusion)<\/parenthetical>\n    <dialogue>Because when you feel useful, well, not so much... you know, there's so much of life that seems... pointless.<\/dialogue>\n    <scene_description>She heaves a big breath. Josh watches her a moment, impressed. He relaxes a little. He lifts the planetary gear set-up on to the little makeshift table between them.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Well, OK. An automatic transmission... There are manual transmissions too. They do the same thing, just differently. Well, anyway, transmissions work by changing which gears transmit power from the engine to the wheels of the car. Follow?<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(nods)<\/parenthetical>\n    <dialogue>Uh-huh.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Automatic transmissions use planetary gears to do this. You see here...<\/dialogue>\n    <parenthetical>(points things out)<\/parenthetical>\n    <dialogue>This is what you call the `sun' gear in the middle. The `ring' gear around the circumference. And the `planet' gears here in between.<\/dialogue>\n    <scene_description>Josh knows this stuff like the back of his hand. He's completely relaxed now and totally focused on what he's explaining. Audry is staring at him, utterly in love. The sun gear is attached to the input shaft while the output shaft is attached to the planet gears. Two gear ratios are available by either clamping the ring gear with a belt so it can't move or else releasing the clamp and engaging a clutch that locks the planets to the ring. When the gear set is locked with the clutch the whole thing revolves as a unit, providing a one- to-one gear ratio.<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>Will you make love to me?<\/dialogue>\n    <character>JOSH<\/character>\n    <parenthetical>(speechless)<\/parenthetical>\n    <dialogue>Wait here.<\/dialogue>\n    <scene_description>She watches as he walks into the house. She drops her head in her hands and screams sotto.<\/scene_description>\n    <character>AUDRY<\/character>\n    <parenthetical>(tormented)<\/parenthetical>\n    <character>ARRRGGGHHHH!!!<\/character>\n    <dialogue>She sits up straight, all smiles as...<\/dialogue>\n    <dialogue>Josh comes back out with a band-aid. He comes over and kneels down before her. She watches him silently as he puts the band-aid over her cut knee.<\/dialogue>\n    <dialogue>Once he's finished, he leans back. He won't look at her. He's got a dark, angry expression on his face.<\/dialogue>\n    <dialogue>Audry bites her lip, waiting.<\/dialogue>\n    <dialogue>Finally, Josh stands and turns away, looking off across the yard.<\/dialogue>\n    <character>JOSH<\/character>\n    <parenthetical>(pauses)<\/parenthetical>\n    <dialogue>Get out of here, Audry.<\/dialogue>\n    <scene_description>She is blank. Perfectly still. Go on. Eventually, she starts to fold up inside. She looks like she's about to throw up. But she keeps it together. Josh walks toward the back yard. She looks at it a moment, feeling a little dizzy.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAND-BALL COURT -- DAY<\/stage_direction>\n    <scene_description>Audry rides her bike around in a wide arc, speeds up, and... BAM!!!! smashes into the hand-ball court wall. She falls to the ground, lifts herself up, and gets back up on the bike. She rides back out away from the wall, starting another wide arc. She starts back around, builds up speed, and... BAM!!!! smashes into the wall again. She climbs out from under the bike, looks at her knee which is bleeding, and gets back up on the bike. The bike creaks and moans as she forces it out into another pass. She throws her weight down on to the peddles, gritting her teeth, and... BAM!!!! plows back into the wall. The bike is pretty much demolished at this point, but she tries to make it move anyway. It won't ride, so she gets off it, drags it back, and starts smashing it against the wall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POOL -- DAY<\/stage_direction>\n    <scene_description>Audry is floating around on a raft in the pool. Vic and Liz stand on the deck looking down at her.<\/scene_description>\n    <character>VIC<\/character>\n    <parenthetical>(furious)<\/parenthetical>\n    <dialogue>What do you mean, you wanna move out?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>I know an apartment in New York City I can sublet for six months.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>No way!<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>But, Victor, she works in the city all the time. She spends almost a hundred dollars a month just on train fare.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>So what! She can afford it! Christ, the damn kid makes more than me!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOVIE THEATER -- EVENING<\/stage_direction>\n    <scene_description>Audry is standing outside the theater, leaning up against the wall, reading Moli\u00e8re's The Misanthrope. Someone comes out of the theater and she looks up. It's Jane, the waitress from the diner. She stands there looking at Audry, uneasy. Momentarily, Emmet comes out behind her and takes her hand. Then he sees Audry and freezes. It's tense all around, but finally... Audry goes back to her reading. Emmet sees this, then grabs Jane around the waist and kisses her ferociously on the mouth. They suck at each other's tongues as Audry tries not to notice. Finally they part. Audry turns a page in her book and yawns. She checks her watch, looks up, smiles, and goes back to reading. Emmet and Jane walk away, but... Emmet sees... Bruce, a young guy, pass by and check out Audry. Emmet swings around... He jumps at Bruce and they drag each other to the sidewalk, punching and kicking. Audry and Jane look around, then at each other, then run off in opposite directions.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AROUND THE CORNER -- SAME TIME<\/stage_direction>\n    <scene_description>Audry comes around into the side street and almost runs right into... Josh. She stops and they stand there, startled, looking at each other.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINER -- A LITTLE LATER<\/stage_direction>\n    <scene_description>Audry is tight-lipped, embarrassed, and angry. Josh just wants to explain.<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>This isn't good. I made a deal with my father.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I just want to explain...<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>I don't want to hear anything.<\/dialogue>\n    <scene_description>They sit a moment, looking off in different directions, then Josh slides the George Washington book toward her.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Thanks for lending me the book. I have a library card of my own now.<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(curt)<\/parenthetical>\n    <dialogue>What are you reading?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>History. I like history.<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(nasty)<\/parenthetical>\n    <dialogue>History is going to come to an end. Soon.<\/dialogue>\n    <character>JOSH<\/character>\n    <parenthetical>(sighs)<\/parenthetical>\n    <dialogue>Yeah, right.<\/dialogue>\n    <scene_description>He gets up to go. But she panics and grabs his hand.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Why are you so sure the human race is going to kill itself?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Because it can.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>That doesn't mean it will.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>The human race has never invented anything it didn't use.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>That's a fact. But it's not the last word.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>What is the last word?<\/dialogue>\n    <character>JOSH<\/character>\n    <parenthetical>(looks away, then...)<\/parenthetical>\n    <dialogue>I don't know. Faith maybe.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Which one: faith or maybe?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I'd like to see you again.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Too late. You had your chance.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Let me explain.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>I have a deal to keep.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Fuck the deal!<\/dialogue>\n    <scene_description>Jane looks over. Audry is silenced. Josh calms down and stares at the table top. Audry watches him, then...<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>There are rules.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Break them.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>I can't. I won't. My father has made good on his end of the agreement.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>What agreement?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Everything in life is just deals. Nobody gets anything for nothing.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Unless you have nothing to begin with.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Are you telling me I should feel sorry for you?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I'm not talking about me at all.<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(indignant)<\/parenthetical>\n    <dialogue>I've got nothing to feel sorry about, Mr hot-shot philosopher auto mechanic! And I know exactly what I'm doing, so just drop dead. (gets up, but adds...) You can't have faith in people. Only the deals you make with them. People are only as good as the deals they make and keep!<\/dialogue>\n    <scene_description>She gets up and storms out. She takes the George Washington biography, but forgets The Misanthrope. Josh sits there for a moment, frowning, then picks up the book and leafs through it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET -- SAME TIME<\/stage_direction>\n    <scene_description>Audry walks unsteadily up the street away from the diner, confused and angry. She gradually slows and comes to a complete stop. She stands there staring at the pavement.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINER -- A LITTLE LATER<\/stage_direction>\n    <scene_description>Josh is still sitting there. He looks up from the book as Jane sits down with him, pauses, then smiles.<\/scene_description>\n    <character>JANE<\/character>\n    <dialogue>I know what you need.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>JANE<\/character>\n    <dialogue>You need a woman.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>JANE<\/character>\n    <dialogue>That girl's crazy.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I know, but I like her.<\/dialogue>\n    <character>JANE<\/character>\n    <dialogue>She's leaving town.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I heard.<\/dialogue>\n    <character>JANE<\/character>\n    <dialogue>So come on. I know what you need. What do you say?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>JANE<\/character>\n    <dialogue>You need a woman.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>JANE<\/character>\n    <dialogue>That girl's crazy.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I know, but I like her.<\/dialogue>\n    <character>JANE<\/character>\n    <dialogue>She's leaving town.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I heard.<\/dialogue>\n    <character>JANE<\/character>\n    <dialogue>So come on. I know what you need. What do you say?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>JANE<\/character>\n    <dialogue>You need a woman.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Oh.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VIC'S BACK YARD -- DAY<\/stage_direction>\n    <scene_description>Emmet and Vic talk in front of a boat being refurbished. Mike passes by with a sander and gets up on top, ready to attack the job.<\/scene_description>\n    <character>EMMET<\/character>\n    <dialogue>You double-crossed me.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Lay off, Emmet.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>We had a deal.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>We did not.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>We had an understanding.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>I never said I understood anything.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>We have a common interest.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Audry makes up her own mind. If she wants to live in the city and earn her own keep, what's that got to do with me? She's eighteen now. She can do what she wants.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>I can't stand it. Every magazine I open I see her!<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Emmet, you gotta pull yourself together.<\/dialogue>\n    <character>EMMET<\/character>\n    <dialogue>How can you stand it: all those strangers ogling her?!<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>It's better than you ogling her in the flesh. And besides, she's only gonna do it for a year. Then she's going to Harvard to study journalism. That's what she really wants to do, you know. This modeling stuff, this is just a phase.<\/dialogue>\n    <parenthetical>(to Mike)<\/parenthetical>\n    <dialogue>Mike! What the hell are you doing?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GARAGE -- DAY<\/stage_direction>\n    <scene_description>Liz comes walking up to the garage and leans in the door.<\/scene_description>\n    <character>LIZ<\/character>\n    <dialogue>Hi, Josh.<\/dialogue>\n    <scene_description>Josh comes out of the garage. He is in his work coveralls.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>How are you, Mrs Hugo? I heard about Audry's picture in the Sunday Times.<\/dialogue>\n    <character>LIZ<\/character>\n    <parenthetical>(excited)<\/parenthetical>\n    <dialogue>Yes. Three pictures. It's a whole, you know, spread.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>You must be very proud of her.<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>We are. We're going to church now, then we'll go buy the paper. Then we're having a few people to the house.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>That's really nice.<\/dialogue>\n    <scene_description>They both seem a little uneasy. Josh smiles awkwardly, nods, and moves back to his work. Liz comes forward, anxiously, but trying to hide it.<\/scene_description>\n    <character>LIZ<\/character>\n    <dialogue>Josh?<\/dialogue>\n    <scene_description>He stops and turns...<\/scene_description>\n    <character>LIZ<\/character>\n    <dialogue>Josh, you go into the city occasionally, don't you?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Every once in a while.<\/dialogue>\n    <character>LIZ<\/character>\n    <parenthetical>(rushes forward)<\/parenthetical>\n    <dialogue>Oh, good! How about tomorrow? Well, when you go will you take these ear- rings in to Audry for me? She's out of the country right now but she'll be back tomorrow.<\/dialogue>\n    <scene_description>Vic comes out.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>Let's go, Liz. Josh, if you get to it, can you take a look at that hydraulic jack. It's been sticking all week.<\/dialogue>\n    <scene_description>Vic and Liz start walking away. They get in Vic's car. Josh looks on as they go, unsettled. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCH -- DAY<\/stage_direction>\n    <scene_description>Liz slips out the front door of the church, followed by Vic. They come down the steps and hurry along the sidewalk. They cross the street to the news-stand and stop when they see...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEWS-STAND -- DAY<\/stage_direction>\n    <scene_description>Mike, Pearl, Emmet, Jane, and a host of others, all dressed in their Sunday best, are standing around, looking down at their feet, awkwardly. Vic and Liz approach.<\/scene_description>\n    <character>VIC<\/character>\n    <parenthetical>(nodding)<\/parenthetical>\n    <dialogue>Hey, Mike. Pearl.<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>Hi, Pearl.<\/dialogue>\n    <character>PEARL<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>VIC<\/character>\n    <parenthetical>(to vendor)<\/parenthetical>\n    <dialogue>One Sunday Times.<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>Look, everyone's here. This is so exciting.<\/dialogue>\n    <scene_description>No one says anything as Vic hands over the money and takes a paper. Liz pulls it apart, excitedly.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>It's killing me.<\/dialogue>\n    <scene_description>She and Vic go blank. They stare into the magazine and go pale. Jane and Emmet look at each other and try to stifle a rising burst of laughter.<\/scene_description>\n    <character>LIZ<\/character>\n    <dialogue>She's got nothing on. Not in this one either.<\/dialogue>\n    <character>PEARL<\/character>\n    <parenthetical>(carefully)<\/parenthetical>\n    <dialogue>Well, I think it's an ad for jewelry, I think.<\/dialogue>\n    <scene_description>Vic is completely red and trembling. He looks at Mike. Mike looks away. He looks at Pearl and she shrugs. He looks around at the others (a small crowd) and sees them all watching him and Liz. Liz is a little faint.<\/scene_description>\n    <character>LIZ<\/character>\n    <parenthetical>(amazed)<\/parenthetical>\n    <dialogue>She's absolutely naked.<\/dialogue>\n    <character>PEARL<\/character>\n    <dialogue>Well, you don't see much.<\/dialogue>\n    <character>LIZ<\/character>\n    <parenthetical>(breathless)<\/parenthetical>\n    <dialogue>You see enough.<\/dialogue>\n    <scene_description>Vic explodes and rips the magazine from her hands. He throws it in the street and turns back to glare at the crowd. They just watch him. He is seething. He picks the magazine up again and tears it to shreds maniacally. Liz, overwhelmed, puts her hand to her chest and takes Pearl's hand. Pearl, let's go back and put some charcoal on the barbecue. They start away, but...<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>Hold it!<\/dialogue>\n    <scene_description>This is what the crowd has been waiting for. They edge closer to get a better view. Liz and Pearl stop and look back over their shoulders. Victor Hugo paces back and forth like a preacher hell bent on scaring the shit out of his congregation. He's red in the face, his fists are clenched, and his jaw is set like a vice.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>I know what you slobs are thinking. You're thinking, what a fucking slut! Well, let me tell ya', you people make me wanna throw up! Do you think this is easy what she does! This is hard work! You think she just gets up there and takes her clothes off? Huh? What she does is a skill! And she gets paid damn well for it too! Does anybody here make a thousand dollars a day? Huh! Huh! Why, she's in Europe right now! You all want to go to Europe! You all wanna take vacations and drive nice cars! Why hold it against her when she gets it?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Vic, come on man, we don't hold nothing against her.<\/dialogue>\n    <character>VIC<\/character>\n    <parenthetical>(insane)<\/parenthetical>\n    <dialogue>I can see it in your eyes! You're all saying how can he let her do that! Doesn't he have any shame?<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Well, I tell ya' the only thing I'm ashamed of is not having thought of it sooner! There's money to be made out there and if you gotta get your goddamn hands dirty to make it well then so what!<\/dialogue>\n    <scene_description>He says nothing more, but looks through the crowd at all the faces.<\/scene_description>\n    <character>LIZ<\/character>\n    <dialogue>Vic, come on.<\/dialogue>\n    <scene_description>She and Pearl turn and walk away. Mike waits for Vic and tugs on his sleeve, urging him to come along. The crowd watch as they go.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AUDRY'S BACK YARD -- AFTERNOON<\/stage_direction>\n    <scene_description>Vic is getting drunk. Mike sits beside him at the picnic table, uncomfortable. Liz and Pearl stand at the barbecue, a little further off. Liz stares into space, sadly thinking. Pearl flips through the magazine.<\/scene_description>\n    <character>PEARL<\/character>\n    <dialogue>I mean, it's not like it's pornography, Mrs Hugo. It's just sort of... sexy.<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>I wish she would've warned us. Don't you think that pose is a little perverse?<\/dialogue>\n    <character>PEARL<\/character>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>I don't know...<\/dialogue>\n    <character>LIZ<\/character>\n    <parenthetical>(points)<\/parenthetical>\n    <dialogue>They touched up this photograph. She has a birthmark there on her thigh. And up here, beneath her left breast, she has a scar from when she fell out of that tree back there behind the pool when she was seven.<\/dialogue>\n    <scene_description>She looks a moment longer, then just turns away and sighs.<\/scene_description>\n    <character>PEARL<\/character>\n    <dialogue>Can I get you something?<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>Thanks, Pearl. A beer.<\/dialogue>\n    <scene_description>Pearl gets up and goes into the house. Liz sulks, but then looks up and smiles when she sees... Josh standing at the corner of the house, having just arrived. He approaches.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Vic. Mike.<\/dialogue>\n    <scene_description>Vic and Mike wave back.<\/scene_description>\n    <character>VIC<\/character>\n    <parenthetical>(grumbles)<\/parenthetical>\n    <dialogue>And then there's that one.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Who? Josh? He's OK.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>A goddamn mass murderer always making eyes at my daughter. I had to send her away to live in the city! I had no choice.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I don't think you gotta worry about Josh.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>And why not? Gimme that bottle.<\/dialogue>\n    <character>MIKE<\/character>\n    <parenthetical>(passes bottle)<\/parenthetical>\n    <dialogue>Well, I mean, he's not, you know, very interested in girls.<\/dialogue>\n    <character>VIC<\/character>\n    <parenthetical>(stunned)<\/parenthetical>\n    <dialogue>You mean... you mean, he's... a fag?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>No! It's just, you know, he's like a priest or something.<\/dialogue>\n    <character>VIC<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>Hah! No man is like a priest, Mike. Priests aren't even like priests when it comes to women.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>It's different with Josh, though. I mean, Vic, all he ever thinks about is engines. He was telling me this stuff the other day you wouldn't believe it. All this scientific shit. Amazing. He don't have time to think about anything. I'm telling you, Vic, Audry's safer around Josh than she is around anybody.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>You think so?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>For sure.<\/dialogue>\n    <scene_description>Liz pulls her sweater around her and moves up closer to Josh. Josh presses the ear-rings back into her hand.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Mrs Hugo, I just wanted to say I don't really think this is, well, right. I mean it's right, but... I don't think it's what Audry wants.<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>But, well, isn't it what you want? It's what I want. Maybe Audry doesn't know what she wants.<\/dialogue>\n    <scene_description>Josh hesitates. He doesn't know how to answer. Then Vic approaches and lays a friendly hand on his shoulder.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>That's what I mean.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>How are you, Josh? Glad you could stop by!<\/dialogue>\n    <scene_description>Vic leads Josh away, shaking hands. Liz looks on.<\/scene_description>\n    <character>VIC (O.S.)<\/character>\n    <dialogue>Come over here a minute, Josh. I wanna talk to you.<\/dialogue>\n    <scene_description>They walk away. Pearl returns with two beers. She and Liz sit and look out at Vic and Josh.<\/scene_description>\n    <character>LIZ<\/character>\n    <parenthetical>(carefully)<\/parenthetical>\n    <dialogue>Pearl, what do you think of Josh?<\/dialogue>\n    <character>PEARL<\/character>\n    <parenthetical>(troubled, but...)<\/parenthetical>\n    <dialogue>I think... Audry is in love with him.<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>Yes, but, under the circumstances... What do you think of him?<\/dialogue>\n    <character>PEARL<\/character>\n    <parenthetical>(hesitates again)<\/parenthetical>\n    <dialogue>I think he's in love with her too.<\/dialogue>\n    <scene_description>Liz sighs, thinks, then...<\/scene_description>\n    <character>LIZ<\/character>\n    <dialogue>Do you hate him?<\/dialogue>\n    <character>PEARL<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>Are you afraid of him?<\/dialogue>\n    <character>PEARL<\/character>\n    <dialogue>Yes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HUGO HOUSE -- DAY<\/stage_direction>\n    <scene_description>Vic and Josh sit in an old car by the side of the Hugo house.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>Take a seat. Well, look, Josh. This ain't easy for me to say. I know you like Audry and... well, to be absolutely out in the open and up front about everything... Audry's crazy about you.<\/dialogue>\n    <scene_description>Josh is a little overwhelmed...<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>You look surprised. But listen to me, Josh, I ain't kiddin' you. The girl sleeps with your crescent wrench.<\/dialogue>\n    <character>JOSH<\/character>\n    <parenthetical>(at a loss)<\/parenthetical>\n    <dialogue>Well, I... appreciate you saying this. I think.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Look, take tomorrow off. She's flying in from Europe tomorrow afternoon<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>some time. I think it'd be a great surprise for her to find you waiting on her doorstep when she got home. Here's the address where she's living. She lives with a friend. And here... here's five hundred bucks.<\/dialogue>\n    <character>JOSH<\/character>\n    <parenthetical>(protests)<\/parenthetical>\n    <dialogue>No, Mr Hugo, really. I couldn't...<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Shut up and take the money! Here, take it! Don't be so goddamn polite. Jesus. Take her out to a play, dinner, a movie, take all the freakin' cabs you want! Show her a good time! That's the way girls are. You gotta spend some money on them. They eat it up!<\/dialogue>\n    <scene_description>Josh looks at all the money, overwhelmed. Vic pulls him even further aside and speaks more confidentially.<\/scene_description>\n    <character>VIC<\/character>\n    <parenthetical>(ultra-confidential)<\/parenthetical>\n    <dialogue>Look, come here... Look, I'm not a real, you know, what you'd call the romantic type, but... you know, I think this could be a really beautiful thing.<\/dialogue>\n    <scene_description>Moments later... Mike sidesteps over to the lounge chairs and picks up the magazine. He looks to make sure no one is watching, then opens up to the photographs of Audry. He stares at the pictures and his mouth gradually falls open. He's breathing heavily.<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>(off, wildly)<\/parenthetical>\n    <dialogue>Mike! You son of a bitch!!!<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOSH'S PLACE -- MORNING<\/stage_direction>\n    <scene_description>The five hundred bucks and Audry's copy of The Misanthrope are sitting on the floor beside Josh's bed. Josh has just gotten up and is shaving in the bathroom. He dresses, putting on a new suit of black clothes. He is happy and anxious. He checks himself in the mirror and throws on his jacket. He pockets the money and slips the small book into his inside breast pocket. He leaves the house. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. TRAIN -- DAY<\/stage_direction>\n    <scene_description>Josh stands at the front of the train looking out at the tracks up ahead.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY -- DAY<\/stage_direction>\n    <scene_description>Josh finds his way through the city to...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EAST VILLAGE STREET -- DAY<\/stage_direction>\n    <scene_description>He comes walking up the sidewalk, checking the little piece of paper with Audry's address on it. He finds the building and checks the buzzers. He finds the apartment number. Beside it is the name WHITBRED. This name means nothing to Josh. He rings it and waits. No response. He tries again and still no answer. He decides he's too early. Looking around, he figures he'll kill some time walking around the neighborhood. He crosses the street and comes across a hungry-looking street musician, Otis. Josh stops and drops a dollar in Otis's hat. Then he remembers him as the guy who gave him the ride and dropped him off at the statue of George Washington.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Hey, aren't you...<\/dialogue>\n    <character>OTIS<\/character>\n    <parenthetical>(flares up)<\/parenthetical>\n    <dialogue>Back off man! It wasn't me! I wasn't even there!<\/dialogue>\n    <scene_description>Josh backs off, obligingly. Otis settles down and stares at the sidewalk. Josh waits a minute, then...<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Aren't you going to play a song?<\/dialogue>\n    <character>OTIS<\/character>\n    <dialogue>Maybe.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Want a cigarette?<\/dialogue>\n    <character>OTIS<\/character>\n    <dialogue>No! I don't want a cigarette! I ain't a beggar, you know! I'm an entertainer! I'm an artist, man!<\/dialogue>\n    <scene_description>Josh just waves him away and sits on the steps, looking across at Audry's building. Otis shuffles around, grumbling to himself. He slips out a hip flask and takes a hit, then offers it to Josh.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Thanks. I don't drink.<\/dialogue>\n    <character>OTIS<\/character>\n    <parenthetical>(stunned)<\/parenthetical>\n    <dialogue>What!<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I don't drink.<\/dialogue>\n    <character>OTIS<\/character>\n    <dialogue>Bullshit! Everybody drinks.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Not me.<\/dialogue>\n    <character>OTIS<\/character>\n    <dialogue>Why the hell not? Hey, are you a priest?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>No. I'm a mechanic.<\/dialogue>\n    <character>OTIS<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>OTIS<\/character>\n    <dialogue>Mechanics drink. My ex-wife's new husband's a mechanic and he drinks.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Well, I don't.<\/dialogue>\n    <character>OTIS<\/character>\n    <dialogue>I don't believe you.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>You don't believe I don't drink.<\/dialogue>\n    <character>OTIS<\/character>\n    <dialogue>No, I don't believe you're a mechanic.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>But I am!<\/dialogue>\n    <character>OTIS<\/character>\n    <dialogue>I think you're a man of God!<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I'm a mechanic.<\/dialogue>\n    <character>OTIS<\/character>\n    <dialogue>Why don't you have a drink with me? What, am I not good enough for ya?<\/dialogue>\n    <scene_description>Josh tells him, sincere, but not heavy.<\/scene_description>\n    <character>JOSH<\/character>\n    <parenthetical>(smokes)<\/parenthetical>\n    <dialogue>The last time I drank I got in a car crash and killed a girl.<\/dialogue>\n    <character>OTIS<\/character>\n    <parenthetical>(silent, then)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Otis looks away and thinks about this, deeply impressed.<\/scene_description>\n    <character>OTIS<\/character>\n    <dialogue>That's enough to drive you to drink.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I've been in prison.<\/dialogue>\n    <character>OTIS<\/character>\n    <dialogue>They put you in jail for a car accident!<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>No, not for that. But a few years later I got in an argument with the girl's father and I killed him too.<\/dialogue>\n    <character>OTIS<\/character>\n    <dialogue>No shit?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>OTIS<\/character>\n    <dialogue>How?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I pushed him down a flight of stairs.<\/dialogue>\n    <character>OTIS<\/character>\n    <dialogue>Wow! Why?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>He was hammering away at my face pretty bad and I just kept laying in to his chest with all my might, you know... Next thing I knew...<\/dialogue>\n    <character>OTIS<\/character>\n    <dialogue>Dead?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Broken neck. Smashed skull. I didn't even see it happen.<\/dialogue>\n    <character>OTIS<\/character>\n    <parenthetical>(sits)<\/parenthetical>\n    <dialogue>Man... You got a cigarette?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Yeah, here.<\/dialogue>\n    <scene_description>They sit and smoke for a moment. After a while, Otis just shakes his head, lifts his harmonica, and starts playing. Josh listens. A fancy sports car turns the corner and comes up the street. Josh and Otis watch as it pulls up. It stops across the street in front of Audry's building. Audry steps out. She's got dark sunglasses on, is all dressed up, but looks bored and anxious to get inside. But then Josh looks up, sees her, and rises slowly, anxious and startled. Otis plays away... Josh moves slowly forward, stepping off the curb, staring at... Audry waiting at the door as... Todd Whitbred climbs out of the car and carries some bags over to the door. Josh is confused. He stops. Audry turns away from Todd as he comes up and throws his arm around her waist. Otis howls as he plays, lost in the song. Audry pushes in through the door, followed in by Todd, who slides...... his hand down over her ass. The door swings closed. BAM. Josh wanders into the middle of the street, staring at the door, utterly disappointed. Crestfallen. Behind him Otis plays on, oblivious to everything. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TODD'S APARTMENT -- SAME TIME<\/stage_direction>\n    <scene_description>The chic spacious apartment is on the second floor overlooking the street. Otis's music can be heard outside. Audry and Todd enter. She drops her bags in the middle of the floor, crosses to the windows, and throws them open.<\/scene_description>\n    <character>TODD<\/character>\n    <parenthetical>(annoyed)<\/parenthetical>\n    <dialogue>Do we have to listen to that bum making all that racket?<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(unconcerned)<\/parenthetical>\n    <dialogue>I like it.<\/dialogue>\n    <scene_description>She falls across the couch and lies there a moment, looking at The End of the World. She lies there thinking. Todd comes over and starts putting the moves on her. She slaps him briskly. He rolls down on to the couch and sighs angrily.<\/scene_description>\n    <character>TODD<\/character>\n    <dialogue>Come on, Audry!<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>You disgust me.<\/dialogue>\n    <character>TODD<\/character>\n    <dialogue>Why do you live here with me then if you won't let me touch you?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Because I can. It's free. And I'm greedy.<\/dialogue>\n    <character>TODD<\/character>\n    <parenthetical>(sits up) N)<\/parenthetical>\n    <dialogue>Othing is free, Audry. Greedy people know that.<\/dialogue>\n    <scene_description>She breaks away and throws open another window. I could throw you out!<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>But you won't.<\/dialogue>\n    <character>TODD<\/character>\n    <dialogue>Don't count on it.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Here's money then for rent.<\/dialogue>\n    <character>TODD<\/character>\n    <parenthetical>(turns away)<\/parenthetical>\n    <dialogue>I don't want your money.<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(coy)<\/parenthetical>\n    <dialogue>Money is all I have.<\/dialogue>\n    <scene_description>He goes over and slams the windows shut. Audry moves right along after him, throwing them open again.<\/scene_description>\n    <character>TODD<\/character>\n    <dialogue>You wouldn't be living like this if it wasn't for me.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>You've made a lot of money off of me too, pal.<\/dialogue>\n    <character>TODD<\/character>\n    <dialogue>You're getting a damn good deal having me as your personal manager!<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(coy)<\/parenthetical>\n    <dialogue>But you're not still satisfied, are you?<\/dialogue>\n    <scene_description>He jumps her again. She struggles. He holds her by the shoulders and forces her to the couch. She swings the wrench and hits him in the ribs.<\/scene_description>\n    <character>TODD<\/character>\n    <dialogue>OWWW!!! Shit!<\/dialogue>\n    <scene_description>He falls back and Audry jumps away. She discovers her copy of The End of the World, picks it up, and starts reading aloud.<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>`The immediate effects of a twenty- megaton bomb are not different in<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>kind from those of a twelve-and-a- half kiloton bomb; they are just more extensive.'<\/dialogue>\n    <character>TODD<\/character>\n    <dialogue>You gotta play the game, Audry. Life ain't pretty. You gotta make compromises. Life is all compromises.<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>`The thermal pulse emitted from both bombs can ignite newspapers fifteen miles away.'<\/dialogue>\n    <character>TODD<\/character>\n    <dialogue>You don't get something for nothing! You could do a lot worse than me.<\/dialogue>\n    <dialogue>I'm not a rich man, but I'm doing OK for a guy my age.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>`A barren plain of ashes is the image of what our world is always poised to become.'<\/dialogue>\n    <character>TODD<\/character>\n    <dialogue>I'm leveraged. I've got money in real estate. I own art. I own two Andy Warhol prints! Valuable stuff!<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>`A barely imaginable horror lies just beneath the surface of our normal life...'<\/dialogue>\n    <character>TODD<\/character>\n    <dialogue>That car outside. You know how much that baby costs?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>`... and threatens to break through into our normal life at any time.'<\/dialogue>\n    <character>TODD<\/character>\n    <dialogue>This vase here alone is worth over six thousand dollars. You see, I've been smart. Assets. Tons of assets. And I'm in great shape. I go to the most expensive gym in town...<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>`It is an inescapable truth about our lives today that at any given moment each and every one of us could become a broken and confused animal scratching the surface of the earth for some small sign of life.'<\/dialogue>\n    <scene_description>Todd grabs her, spins her around by the arm, and throws her to the floor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET -- DAY<\/stage_direction>\n    <scene_description>Otis wails on the harmonica. Josh stands staring at the pavement, clutching Audry's little book like a rock.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT -- DAY<\/stage_direction>\n    <scene_description>Todd grips Audry by the arms and lifts her right off the floor.<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>I have nothing.<\/dialogue>\n    <character>TODD<\/character>\n    <dialogue>I don't want anything. I want you.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Is that all?<\/dialogue>\n    <character>TODD<\/character>\n    <dialogue>You owe me. We had a deal.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>We made no deal.<\/dialogue>\n    <character>TODD<\/character>\n    <dialogue>We had an understanding.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>I never said I understood anything.<\/dialogue>\n    <character>TODD<\/character>\n    <parenthetical>(pulls her close)<\/parenthetical>\n    <dialogue>Do you really think I let you live here out of the goodness of my heart?<\/dialogue>\n    <scene_description>She doesn't respond.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET -- SAME TIME<\/stage_direction>\n    <scene_description>Josh winds up and throws the book up at the window of the apartment.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT -- DAY<\/stage_direction>\n    <scene_description>CRASH! They jump back and see the expensive vase has been shattered by the book.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Josh stuffs the five hundred bucks into Otis's hat and Otis stops playing, looking on curiously as Josh stomps away up the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT -- SAME TIME<\/stage_direction>\n    <scene_description>Todd falls to his knees above the remains of the vase.<\/scene_description>\n    <character>TODD<\/character>\n    <dialogue>Oh my God! My fucking vase! This isn't even insured!<\/dialogue>\n    <scene_description>Audry comes over and picks up the book, looking at it wonder. Todd has forgotten about her. She gathers her wits and rushes over to the window and looks down into the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET -- SAME TIME<\/stage_direction>\n    <scene_description>Audry sees... Otis clutching the five hundred bucks with his mouth hanging open. He looks up and sees Audry, then flees. Audry looks up and down the block, but Josh is gone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT -- SAME TIME<\/stage_direction>\n    <scene_description>Audry jumps back away from the window, grabs her bag, her wrench, and runs from the apartment. Todd kneels sobbing over his busted vase. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN TRAIN STATION -- DAY<\/stage_direction>\n    <scene_description>The train pulls out of the station as Josh comes down the steps to the street. He pauses on the sidewalk to light a cigarette. He looks hard and mean and dangerous. He looks up and down the street and stalks off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARAGE -- DAY<\/stage_direction>\n    <scene_description>The garage door flies open and Josh is revealed standing there, tall, determined, and reckless. He strides in and approaches... The company car. VICTOR HUGO AUTO REPAIR is written across the side. Josh gets in. Twists the key in the ignition. The headlights go on. The exhaust pipe rumbles as the engine revs up. Josh clenches his cigarette in his teeth and... Jams the stick-shift into drive. The wheels peel out and he's on his way.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD -- DAY<\/stage_direction>\n    <scene_description>Josh speeds off into the evening.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEER STORE -- DAY<\/stage_direction>\n    <scene_description>Josh exits store with a six-pack of beer. He hops into the Hugo mobile and takes off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD -- DAY<\/stage_direction>\n    <scene_description>Josh roars down the highway, drinking a beer. Music blares from the radio.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH -- DAY<\/stage_direction>\n    <scene_description>Josh skids to a stop in the empty parking lot. He gets out of the car with a beer in the one hand and the rest of the six-pack dangling from the other. He strides across the flat expanse, grim, single-minded, and scary.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH HOUSE -- SAME TIME<\/stage_direction>\n    <scene_description>Emmet and Jane are making out up against the closed-up beach house and don't notice as... Josh stalks past on his way to the water. He stops, though, and watches their uninterrupted tongue kiss. He watches from a distance, but frankly and unashamed. He takes a swig of beer and continues on, brooding. He reaches the sand and starts out for the ocean, but then sees... Pearl sitting all by herself on the ledge that runs along the back of the beach house. She looks real pretty and, when she sees him, she looks down shyly. He stands there a moment, wondering if he should move to her. She glances up at him again, and smiles nervously. Josh just nods, stone-faced. After a pause, he starts out for the shore again. But...<\/scene_description>\n    <character>PEARL<\/character>\n    <dialogue>Josh.<\/dialogue>\n    <scene_description>He stops. She hesitates, then... He stays where he is, watching her, then looks out at the water and thinks. She waits. He looks back at her, right in the eye, and looks handsome and formidable. Scary, but attractive. Pearl trembles and heaves a sigh. He starts toward her. She slides off the ledge and leans back against it, girlish and uncertain. He comes up before her and stops.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>How are you, Pearl?<\/dialogue>\n    <character>PEARL<\/character>\n    <dialogue>Can I talk to you?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I'm not much in the mood for talking right now.<\/dialogue>\n    <character>PEARL<\/character>\n    <dialogue>It's important.<\/dialogue>\n    <scene_description>He looks back out at the water, sighs, and...<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Would you like to go down to the water?<\/dialogue>\n    <scene_description>She does not respond. He turns and looks right back at Pearl.<\/scene_description>\n    <character>JOSH<\/character>\n    <parenthetical>(a command)<\/parenthetical>\n    <dialogue>Let's go to my house.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH HOUSE -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Josh and Pearl walk past... Emmet and Jane. Emmet pulls out of the kiss to watch, baffled, as Josh and Pearl walk out to the car. Jane looks on too.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT -- SAME TIME<\/stage_direction>\n    <scene_description>Josh opens the door for Pearl. She looks at the car, then at Josh, hesitating. Josh holds the door open and says nothing. She looks at the six-pack in his hand, then down at the ground.<\/scene_description>\n    <character>PEARL<\/character>\n    <dialogue>Can we walk?<\/dialogue>\n    <scene_description>Josh waits a moment longer, then throws the door closed and turns. He starts walking away. Pearl hesitates, but then follows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN TRAIN STATION -- DAY<\/stage_direction>\n    <scene_description>Audry comes down the steps to the street. She runs over to the taxi stand.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VIC'S BACKYARD -- DAY<\/stage_direction>\n    <scene_description>Vic is sitting in a lawn chair watching a small portable TV. He seems preoccupied. He looks at his watch, then gets up and turns off the set.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH HOUSE -- DAY<\/stage_direction>\n    <scene_description>Mike is walking around the beach house, looking for Pearl. He looks at the car in the lot, which Josh left there, and which he recognizes from the garage. He comes over to... Emmet and Jane, who are still kissing passionately.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>You guys seen Pearl?<\/dialogue>\n    <scene_description>They part and look at him, dazed.<\/scene_description>\n    <character>EMMET<\/character>\n    <dialogue>She just left.<\/dialogue>\n    <character>JANE<\/character>\n    <dialogue>With Josh Hutton.<\/dialogue>\n    <scene_description>Mike just looks at him oddly, turns away, and considers this.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOSH'S PLACE -- DAY<\/stage_direction>\n    <scene_description>Pearl is in the bathroom. Josh waits in the hallway, drinking a beer. He goes to the door and knocks.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Pearl? You OK?<\/dialogue>\n    <character>PEARL (O.S.)<\/character>\n    <dialogue>You didn't kill him.<\/dialogue>\n    <character>JOSH (O.S.)<\/character>\n    <parenthetical>(lost)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>PEARL (O.S.)<\/character>\n    <dialogue>You didn't kill him.<\/dialogue>\n    <scene_description>He just stares at the door.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Kill who?<\/dialogue>\n    <character>PEARL (O.S.)<\/character>\n    <dialogue>My father.<\/dialogue>\n    <character>JOSH<\/character>\n    <parenthetical>(careful)<\/parenthetical>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>PEARL (O.S.)<\/character>\n    <parenthetical>(pauses, then...)<\/parenthetical>\n    <dialogue>He hit you real hard and you fell in through the bathroom door. You hit the floor and you didn't move again. He stepped back into the hall, at the top of the stairs... And then he saw me. I startled him. He stepped back. And fell.<\/dialogue>\n    <scene_description>Josh moves a little forward and slides down the wall into a crouch.<\/scene_description>\n    <character>PEARL<\/character>\n    <dialogue>So when they asked me... They asked me if you had shoved him. And I just nodded.<\/dialogue>\n    <scene_description>Josh hesitates, then moves even closer.<\/scene_description>\n    <character>PEARL<\/character>\n    <dialogue>I hated you. Everybody did. All I ever knew was that you killed my sister and that I was supposed to hate you.<\/dialogue>\n    <scene_description>Josh thinks this over.<\/scene_description>\n    <character>PEARL<\/character>\n    <dialogue>I've hated you even more since then. I made myself hate you more and more. Then I tried not to think about it. And I forgot. I forgot you didn't kill him. You didn't kill him.<\/dialogue>\n    <scene_description>Josh is motionless, staring at the floor. Pearl opens the bathroom door and kneels next to a shell- shocked Josh.<\/scene_description>\n    <character>PEARL<\/character>\n    <dialogue>I read in the papers recently how there had been this big miscarriage of justice somewhere. A man had spent five years in prison before everything was sorted out. He went to court and sued the state and got a whole lot of money. Maybe you could do something like that.<\/dialogue>\n    <scene_description>He doesn't respond. But after a while, he gets up slowly and sits there beside Pearl, leaning against her, intimate and trusting. She takes his hand. He stares off, thinking, then shrugs...<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>I don't need the money.<\/dialogue>\n    <scene_description>They sit together in silence a while longer.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Pearl knocks her shoes off and lays her head down on the pillow. Josh pulls a blanket up over her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GARAGE -- DAY<\/stage_direction>\n    <scene_description>Vic walks up and looks around. The garage door is wide open. The car is gone. There is no one around.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>Mike?<\/dialogue>\n    <parenthetical>(no answer...)<\/parenthetical>\n    <dialogue>Josh?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOSH'S HOUSE -- DAY<\/stage_direction>\n    <scene_description>Josh is sitting across the bedroom, sipping a beer, watching Pearl sleep. Finally, he gets up and steps out into the hall. He realizes he's a little drunk, giggles, and goes into the bathroom. Meanwhile, Vic sneaks in the back door. He gently closes the door, then stops and listens. He hears nothing. He moves on into the house. Then, Audry appears at the front door. She hesitates, then opens the door and comes quietly in. But she freezes when she sees... Vic down the hall in the kitchen. He doesn't see her and she jumps into a room off the front parlor. Vic creeps up the hall from the kitchen toward the front parlor. The bedroom door is on his left and the bathroom is on his right. He is about to turn the knob and peek into the bedroom when he hears Josh running the water in the bathroom. Josh is washing his face. Vic listens and smiles just outside the door. Now, Mike slips quietly in through the back door. He closes it behind him and listens, suspiciously. Vic hears the door close and moves over to jump into the bedroom, but then thinks better of it. He scrambles up the hall to the parlor. Meanwhile, Audry peeks in through the front window. Vic dives behind a chair. Mike stalks slowly through the kitchen and turns up into the hall. He stops outside the bathroom and listens as... Josh washes his hands. Mike steps back, looking at the door suspiciously, then reaches out to open the bedroom door. He opens it wide and looks in at... Pearl sleeping. Mike goes white, devastated. He trembles with anger, but controls himself. He pulls the door closed again and closes it with a short, sharp little slam. Pearl sleeps. The bathroom door opens and... Josh steps out.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Mike.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Fuck you!<\/dialogue>\n    <scene_description>And he hauls off and shoves Josh against the wall, but... Vic jumps forward with the solution.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>It's all right, Mike. I know all about it! I wanted him to.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Well, nice touch, Vic.<\/dialogue>\n    <scene_description>Mike deals Vic a savage shove to the gut and exits through the nearest door. Josh follows.<\/scene_description>\n    <character>JOSH<\/character>\n    <parenthetical>(running out the door)<\/parenthetical>\n    <dialogue>Mike, let me explain.<\/dialogue>\n    <scene_description>Audry rounds the corner, smack into a stunned Vic.<\/scene_description>\n    <character>AUDRY<\/character>\n    <parenthetical>(giving him a good shove)<\/parenthetical>\n    <dialogue>Dad! What are you doing here?<\/dialogue>\n    <scene_description>And still Pearl sleeps. Audry comes into the room, looking for a phone, and stops dead in her tracks when she sees her friend in Josh's bed. She holds her breath a moment, then comes over and sits on the edge of the bed. She picks up the phone which is beside the bed and dials, glancing curiously over at Pearl the whole time. Then...<\/scene_description>\n    <character>AUDRY<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Hello, Mom? It's me. I'm at Josh Hutton's house. Yeah. Oh, everybody's here. You should probably come on over. Dad's hurt himself. OK. See you.<\/dialogue>\n    <scene_description>She hangs up hard. Pearl stirs and wakes. She sees Audry watching her and sits up.<\/scene_description>\n    <character>PEARL<\/character>\n    <dialogue>Audry.<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(dryly)<\/parenthetical>\n    <dialogue>Did you make love to Josh?<\/dialogue>\n    <character>PEARL<\/character>\n    <dialogue>No. Did you?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>PEARL<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>I just got here.<\/dialogue>\n    <scene_description>Vic stumbles into the bedroom. He falls on the bed, then looks up at Pearl.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>Pearl. What are you doing here?<\/dialogue>\n    <character>PEARL<\/character>\n    <dialogue>Sleeping.<\/dialogue>\n    <character>VIC<\/character>\n    <parenthetical>(to Audry)<\/parenthetical>\n    <dialogue>Didn't you sleep here?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>I just came from the city.<\/dialogue>\n    <scene_description>Vic is amazed. He jumps up off the bed, furious.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>That bastard!<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Dad!<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>That thief! He owes me five hundred bucks!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH PARKING LOT -- DAY<\/stage_direction>\n    <scene_description>Mike is marching across the asphalt toward the ocean, pissed. Josh is hurrying along after him, limping.<\/scene_description>\n    <character>JOSH<\/character>\n    <parenthetical>(yells)<\/parenthetical>\n    <dialogue>Mike! Hold on! Come on! Calm down!<\/dialogue>\n    <scene_description>Mike keeps going, but calls out over his shoulder...<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I go out of my way to convince Vic that you're OK for Audry and what do you do? You fucking put the moves on Pearl!<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Don't be an idiot, Mike! I wouldn't do that to you! Slow down!<\/dialogue>\n    <scene_description>Mike stomps on past the car Josh left parked there in the lot. Josh stops.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Where are you going?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I'm gonna drown myself!<\/dialogue>\n    <scene_description>Vic comes running up and shoves Josh. Mike looks back and slows down as...<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Now what the hell is your problem!<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Where's my money!<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I don't have it any more!<\/dialogue>\n    <scene_description>Vic jumps up and tries to tackle him again. They wrestle violently. Mike has stopped. He looks on, curious. He's forgotten that he wants to drown himself. He approaches.<\/scene_description>\n    <character>VIC<\/character>\n    <parenthetical>(stumbles back)<\/parenthetical>\n    <dialogue>I gave him five hundred bucks to get Audry and bring her back! He didn't do it and he kept the money!<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I didn't even want the money!<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>You didn't hold up your end of the deal!<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>We didn't make any deal!<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>We had an understanding!<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>You don't understand anything!<\/dialogue>\n    <scene_description>Vic turns away, disgusted.<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>You just can't trust anybody.<\/dialogue>\n    <scene_description>Audry, Pearl, and Liz come walking up. Pearl heads straight for Mike, furious.<\/scene_description>\n    <character>PEARL<\/character>\n    <dialogue>Where were you?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Where were you?<\/dialogue>\n    <character>PEARL<\/character>\n    <dialogue>I waited at the beach house till six o'clock. You said you'd meet me there at five!<\/dialogue>\n    <character>MIKE<\/character>\n    <parenthetical>(remembers)<\/parenthetical>\n    <dialogue>Oh, yeah. Well, I got hung up.<\/dialogue>\n    <character>PEARL<\/character>\n    <dialogue>Why didn't you call me?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Well, I ahh... you know... I didn't have a quarter.<\/dialogue>\n    <scene_description>Pearl storms off toward the water and Mike runs after her.<\/scene_description>\n    <character>LIZ<\/character>\n    <dialogue>Victor, what's wrong with you?<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Nothing is wrong with me. I want my money!<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(to Josh)<\/parenthetical>\n    <dialogue>Pearl says you're innocent.<\/dialogue>\n    <character>VIC<\/character>\n    <parenthetical>(to Liz)<\/parenthetical>\n    <dialogue>Innocent of what?<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>He didn't kill Pearl's father.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>What!<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Dad, since Josh is not a murderer, all the deals I've made with you are now null and void.<\/dialogue>\n    <character>VIC<\/character>\n    <parenthetical>(outraged)<\/parenthetical>\n    <dialogue>Oh, no! No way! You still gotta go to college!<\/dialogue>\n    <scene_description>Audry takes out her check book and leans on the car.<\/scene_description>\n    <character>AUDRY<\/character>\n    <parenthetical>(writing)<\/parenthetical>\n    <dialogue>I'll go to college when I feel like it. I'm going to travel. See the world.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>What about the money I gave that insane charity thing?<\/dialogue>\n    <scene_description>Audry rips out the check and hands it to him.<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>Eleven thousand dollars. All the money I have in the world. It's all yours.<\/dialogue>\n    <scene_description>She throws down her bag and goes back to Josh. I've decided I can't have faith in what I can't see.<\/scene_description>\n    <character>JOSH<\/character>\n    <parenthetical>(looks at her)<\/parenthetical>\n    <dialogue>What do you want to see?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>The world.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>What about this guy Whitbred?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>He means nothing to me.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>How do I know that?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>You have to trust me.<\/dialogue>\n    <scene_description>Josh just stares at her a moment, hard, then turns and takes a few steps away. She watches as he stares a hole in the asphalt at his feet. Finally, he turns back to her, decided. He lifts up and gives her a shake.<\/scene_description>\n    <character>JOSH<\/character>\n    <parenthetical>(nods)<\/parenthetical>\n    <dialogue>I don't trust anyone.<\/dialogue>\n    <scene_description>She smiles and moves into his arms. They kiss.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH -- LATER<\/stage_direction>\n    <scene_description>Audry is riding on Josh's back. He walks around to the passenger side of the van.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Do you have any money?<\/dialogue>\n    <character>AUDRY<\/character>\n    <parenthetical>(looks)<\/parenthetical>\n    <dialogue>Twelve dollars. You?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>No. I don't have my tools either.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>I have your wrench.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>OK, that'll do. Come on, get in.<\/dialogue>\n    <scene_description>He opens the door for her and an empty beer can falls out on to the asphalt. They look up from it to each other, uneasily. Then..<\/scene_description>\n    <character>AUDRY<\/character>\n    <dialogue>I suppose we're car thieves now?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>You just gave your father eleven thousand dollars.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>But there was no agreement, no deal.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Just money.<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Hold it!<\/dialogue>\n    <scene_description>She looks up at the sky and listens.<\/scene_description>\n    <character>JOSH<\/character>\n    <parenthetical>(looks up)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Do you hear that?<\/dialogue>\n    <character>JOSH<\/character>\n    <parenthetical>(Listens)<\/parenthetical>\n    <dialogue>No. What is it?<\/dialogue>\n    <character>AUDRY<\/character>\n    <dialogue>Listen.<\/dialogue>\n    <scene_description>They stand there beside the car, listening intently. The camera rises up and into the evening sky. CUT TO BLACK:<\/scene_description>\n    <character>THE END<\/character>\n  <\/scene>\n<\/script>","summary":"Back from prison to a small community on Long Island comes Josh, a sober young man whose crimes most cannot remember exactly, and finds a job at Vic's auto repair shop. Vic's daughter Audry falls instantly in love with him, only to be rejected when she declares her feelings because he is not ready for such a relationship and fears Vic's reaction. In revenge, she gives up the place she has won at Harvard and goes off to New York to be a photographic model, appearing first in lingerie and then nude. Horrified, her parents send the reliable Josh off to the city to reclaim her, but he gives up in disgust when he finds she is living with her agent. Returning home, he meets the daughter of the man he is supposed to have killed in a struggle, who says she can testify that he is innocent. Audry, overjoyed that Josh has re-entered her life, gives her money-obsessed father all her earnings from modeling and again offers herself to Josh, who this time is overjoyed too."}
{"movie_name":"Insidious_2010","imdb_id":"tt1591095","script":"<script>\n  <scene>\n    <scene_description>INSIDIOUS by Leigh Whannell The universe is deathless; Is deathless because, having no finite self, it stays infinite. A sound man by not advancing himself stays the further ahead of himself, By not confining himself to himself, sustains himself outside himself. --Laozi FADE IN<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARKENED BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>A spherical black monolith rises up from a white surface... white like the moon. In the darkness, the towers metal skin is barely visible. We ROTATE AROUND, revealing the tower to actually be a LAMP -- not rising up from a surface, but hanging down from a white ceiling. The bulb unlit. Directly below the lamp is the very definition of innocence - a sleeping child. Chest rising and falling with each breath. We HOVER over the young boy...watching him. A blanket emblazoned with dinosaurs is draped across his limbs. His mouth is slack, eyelids twitching to dreams unseen. The truly deep sleep that an adult can only wish for. We move away from him, exploring the dark room. Strewn with toys. The door is slightly ajar. We float through it into--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - CONTINUOUS<\/stage_direction>\n    <scene_description>--a long hallway. Even darker than the bedroom. And without the boys rhythmic breathing, even quieter. A window at the end of the hall enlarges as we approach. Someone is standing in front of it. The murky silhouette of the figure turns and walks away. We follow it, tentative. Turning a corner, we see the figure. Standing in a doorway. Now we can make out the edges of the person. It is an old woman. Hair in a Victorian bun. A corseted dress. She stares at us.<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Let me in.<\/dialogue>\n    <scene_description>CUT TO: OPENING TITLES play out to the shrill screams of George Crumb's 'Black Angels I: Night Of The Electric Insects'.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Eyes flick open. A woman blinks awake, gazing around the room. Another bedroom. Sparse. Just a bed and a cabinet. It is 5.43 AM. Her eyes settle on the man lying next to her in the dark. His heaving snores have woken her up. She is RENAI (pronounced Renee) LAMBERT (36). With a quiet determination she is holding on to her youthful good looks, but the lines of age are creeping in. She has settled into the 'comfort' years of a marriage: hair pinned up messily, wearing dowdy pajamas. She beholds her husband, taking him in. Considering him. He snorts and smacks his lips. Very unflattering. She climbs out of bed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, LAMBERT HOME - NIGHT<\/stage_direction>\n    <scene_description>High ceilings. Exposed beams. Spanish style windows. Renai treads across wooden floorboards into a sunken living room. No matter careful she is, there is a loud creak with each step. A GRANDFATHER CLOCK in the corner ticks steadily. There is barely any furniture in here, only a BOOKCASE and a PIANO. What there is a lot of...is boxes. Large moving boxes. Renai plops cross-legged onto the floor and rips open one of the boxes, marked BOOKS. She plucks out a handful of books and lines them up on the bookshelf. Then another handful. They are all self-help and self-improvement books. Titles like 'Be The Better You' and 'Inch By Inch, It's A Cinch: A Guide To Achieving Your Goals' pop out. She spots a sealed box labelled PHOTO ALBUMS. She strips away the tape and wrestles out a dusty album of wedding photos. Smiling faces greet her as she thumbs through the pages. The happy couple. Young. Glowing. Sadness washes over her.<\/scene_description>\n    <character>VOICE (O.S.)<\/character>\n    <dialogue>Mom?<\/dialogue>\n    <scene_description>She snaps out of it and turns to see DALTON LAMBERT (8). Her son. He approaches her, rubbing his eyes. (It is not the boy we saw in the opening scene.)<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>What are you doing up, kiddo?<\/dialogue>\n    <character>DALTON<\/character>\n    <dialogue>I don't like my room.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>You'll get used to it. It's only your first night.<\/dialogue>\n    <scene_description>He climbs into her lap. She bites on his ear playfully.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Argh, I'm going to eat you.<\/dialogue>\n    <character>DALTON<\/character>\n    <dialogue>What are you looking at?<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Just some photos.<\/dialogue>\n    <character>DALTON<\/character>\n    <dialogue>What photos?<\/dialogue>\n    <scene_description>She hefts another album from the box, prying it open. A photo of a grinning young girl greets them, hair in pigtails.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Do you know who that is?<\/dialogue>\n    <character>DALTON<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>That's me.<\/dialogue>\n    <character>DALTON<\/character>\n    <dialogue>It doesn't look like you.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>I know. I'm so happy there. But it's me. When I was your age. I was a kid once too, you know.<\/dialogue>\n    <character>DALTON<\/character>\n    <dialogue>No, you weren't.<\/dialogue>\n    <scene_description>Renai bursts out laughing. She is famous for her big laugh.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Thanks. Maybe you're right...I don't remember being this person at all. I hope she smiled like that all the time, whoever she was.<\/dialogue>\n    <scene_description>She sizes up her son. The living embodiment of the photo.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>This is a terrible thing to admit, Dalton, but sometimes I get jealous of you. That you're so young. That you haven't made any of your decisions yet.<\/dialogue>\n    <character>DALTON<\/character>\n    <dialogue>I don't wanna grow old.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Well, it starts happening to us from the moment we're born.<\/dialogue>\n    <scene_description>She points to the hands on the grandfather clock.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Every time that clock ticks, we all get a little bit older.<\/dialogue>\n    <scene_description>She turns the page in the photo album, seeing an old man.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>That's your grandpa. You wouldn't remember him.<\/dialogue>\n    <character>DALTON<\/character>\n    <dialogue>He smells like smoke.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Yeah...good memory. He did smoke that god awful pipe, didn't he?<\/dialogue>\n    <character>DALTON<\/character>\n    <dialogue>Show me a picture of dad when he was a little kid.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>I don't even know if we have any. He's hopeless with keeping photos.<\/dialogue>\n    <character>DALTON<\/character>\n    <dialogue>Show me a picture of me when I was a little kid.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Your pictures are all in the computer. Nobody keeps photo albums like this anymore, they're ancient relics. They should. I like being able to touch something, instead of it floating around in cyber world. If the laptop breaks, your whole existence is erased.<\/dialogue>\n    <character>DALTON<\/character>\n    <dialogue>What was I like when I was a little kid?<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>You are a little kid.<\/dialogue>\n    <scene_description>She kisses him on the forehead and stares into his eyes.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>If only you knew what I know.<\/dialogue>\n    <scene_description>We hear a baby crying off screen.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>You certainly didn't cry as much as your little sister does. Come on.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN, LAMBERT HOME - MORNING<\/stage_direction>\n    <scene_description>Chaos. Boxes of dinnerware have not been unpacked yet and it is turning the usual morning routine into a nightmare. Renai is on the phone as her kids buzz around a kitchen island at top speed, creating a high-energy, manic pace in the room.<\/scene_description>\n    <character>RENAI<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Billing department.<\/dialogue>\n    <scene_description>Her son FOSTER (6), tugs on her leg, holding a box of cereal.<\/scene_description>\n    <character>FOSTER<\/character>\n    <dialogue>I need a bowl, mom.<\/dialogue>\n    <scene_description>Renai rips open a box, rifling through newspaper, phone wedged against her shoulder. She holds out a cup, flustered.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Billing department.<\/dialogue>\n    <character>FOSTER<\/character>\n    <dialogue>It's too small.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Make it work.<\/dialogue>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Speak to an agent. Speak to an agent. Speak to an agent.<\/dialogue>\n    <scene_description>Foster slumps on the floor, pouring cereal and overflowing milk into the cup. A baby girl in a high chair, CALI (2), squeals.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM, LAMBERT HOME - MORNING<\/stage_direction>\n    <scene_description>JOSH LAMBERT (37) gapes into the mirror, face covered in soap. He washes it off. Now he's awake we see that he is a handsome, clean-cut guy - a former high school nerd who got revenge by growing into his body. He sorts through a box labelled JOSH'S BATHROOM STUFF. He takes out two bottles - TONER and MOISTURIZER. He dabs the toner on, then smooths the moisturizer into his forehead and around his eyes. He suddenly notices a grey hair. Looks mortified.<\/scene_description>\n    <character>JOSH<\/character>\n    <parenthetical>(Michael Corleone voice)<\/parenthetical>\n    <dialogue>Every time I think I've pulled you out...you grow back in.<\/dialogue>\n    <scene_description>He plucks it out, wincing melodramatically.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Ouch!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN, LAMBERT HOME - MORNING<\/stage_direction>\n    <scene_description>Josh strides in, tie hanging open around his neck. Renai is still on the phone. Josh points to his tie.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Well, I'd like to keep the old number if I could.<\/dialogue>\n    <parenthetical>(to Josh)<\/parenthetical>\n    <dialogue>You really need to learn how to do this, honey.<\/dialogue>\n    <scene_description>She threads the tie into a knot for him.<\/scene_description>\n    <character>JOSH<\/character>\n    <parenthetical>(to Foster)<\/parenthetical>\n    <dialogue>Don't eat on the floor, buddy.<\/dialogue>\n    <scene_description>Foster stays where he is, slurping cereal from the cup. Dalton is playing a handheld videogame. Intensely focused.<\/scene_description>\n    <character>RENAI<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Okay, well, please let me know by the end of today, I have to give the number out. Thank you.<\/dialogue>\n    <scene_description>She hangs up, pissed.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Foster, get up. Now.<\/dialogue>\n    <scene_description>Foster frowns and obeys.<\/scene_description>\n    <character>JOSH<\/character>\n    <parenthetical>(to Renai)<\/parenthetical>\n    <dialogue>How come you were up so early? Was Cali crying?<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>You woke me up.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>You were snoring.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>No I wasn't.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Yes you were.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I don't snore.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Yes you do.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>My father snored. I do not snore.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>How would you know what you do? You're asleep.<\/dialogue>\n    <scene_description>Renai marches out of the room. Dalton's game unit beeps loudly and he pumps his fist.<\/scene_description>\n    <character>DALTON<\/character>\n    <dialogue>Yes! I made it to the last level! Invisiworld!<\/dialogue>\n    <scene_description>Ever amiable, Josh high five's his son.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Good one, champ.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I don't snore, do I?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, LAMBERT HOME - CONTINUOUS<\/stage_direction>\n    <scene_description>Renai sees that all the books she unpacked earlier are now scattered across the floor of the living room.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Where are my bleeping pills?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN, LAMBERT HOME - CONTINUOUS<\/stage_direction>\n    <scene_description>Renai charges in. Josh snatches an apple out of a fruit bowl, biting into it. He quickly gags and spits it out into the sink.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>What the heck is this? Wax?!<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Let me get this straight - we have no actual fruit but we have wax fruit?<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>That is dangerous. It could kill one of our kids.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Where are my pills, Josh?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Probably where you left them, Renai.<\/dialogue>\n    <scene_description>She finds them on the counter, snatching them up.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>See.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>That's not where I left them.<\/dialogue>\n    <character>DALTON<\/character>\n    <dialogue>Mom, I need my lunch.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Oh, geez. Look, just...take last night's dinner.<\/dialogue>\n    <scene_description>She opens the fridge. It is bare except for a box of sushi.<\/scene_description>\n    <character>DALTON<\/character>\n    <dialogue>Sushi? Aw, that's weirdo food.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>It's all we have. Just for today, honey.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Check it first, Dalton. It's probably made out of Styrofoam.<\/dialogue>\n    <character>RENAI<\/character>\n    <parenthetical>(to Dalton)<\/parenthetical>\n    <dialogue>And while I've got you, if you're going to look at my books, please don't leave them all over the floor.<\/dialogue>\n    <character>DALTON<\/character>\n    <dialogue>I didn't touch your books.<\/dialogue>\n    <scene_description>Josh streaks past, kissing Renai on the cheek.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>I gotta go.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Are you taking the boys to school?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>No time.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Well can you pick them up after school?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Not today.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>But I have stuff I wanted to...<\/dialogue>\n    <scene_description>She trails off. He's gone. Foster BURPS. Loudly.<\/scene_description>\n    <character>FOSTER<\/character>\n    <dialogue>Can I have another cup, mom?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLASSROOM, FORRESTER HIGH SCHOOL - DAY<\/stage_direction>\n    <scene_description>Noisy students settle into their desks. Inner city kids, mostly Hispanic. Josh is their teacher, scribbling on the blackboard. One student, a lanky boy, ALANSO (16), hovers near the door.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Alanso, please sit down.<\/dialogue>\n    <character>ALANSO<\/character>\n    <dialogue>No entiendo.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Si\u00e9ntate, por favor.<\/dialogue>\n    <scene_description>Alanso takes a seat. Josh is having trouble getting control.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Come on guys, quieten down.<\/dialogue>\n    <scene_description>A pretty girl in the front, TERI, is annoyed at the class.<\/scene_description>\n    <character>TERI<\/character>\n    <dialogue>You better all shut up.<\/dialogue>\n    <scene_description>She commands respect. They do. Except for one kid.<\/scene_description>\n    <character>THE ONE KID<\/character>\n    <dialogue>Just cos you're in love.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Thank you, Teri. Today we are going to talk about Darwin. It's a city in Australia, but it's also the last name of which famous naturalist?<\/dialogue>\n    <character>MALE STUDENT # 1<\/character>\n    <dialogue>Charles Darwin.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Correct. Does anybody know what he is famous for?<\/dialogue>\n    <character>MALE STUDENT # 1<\/character>\n    <dialogue>He said that people descended from monkeys.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Half right. He wrote a seminal book that explained his theories on natural selection, and how the different species on this planet - including humans - evolved.<\/dialogue>\n    <character>ALANSO<\/character>\n    <dialogue>I know I didn't evolve from no monkey. Shit.<\/dialogue>\n    <scene_description>Everyone laughs.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Humans actually have a lot in common with monkeys, or more specifically, chimpanzees.<\/dialogue>\n    <character>ALANSO<\/character>\n    <dialogue>Maybe you do, but I was created in the image of my Dios.<\/dialogue>\n    <scene_description>He takes a gold cross hanging on a necklace out of his shirt, kissing it and holding it up. That gets another laugh.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>I respect your right to believe that, Alanso. But I want to give you all possible theories. I want this class to go out into the world with an informed opinion.<\/dialogue>\n    <character>ALANSO<\/character>\n    <dialogue>The theory is incorrect, Mr. Lambert.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>How can it be incorrect? It's a theory. A scientific theory.<\/dialogue>\n    <character>ALANSO<\/character>\n    <dialogue>Yeah, well, science is bullshit. We didn't get here cos of no test-tubes.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Alanso, if you keep talking like that I'm going to ask you to visit the principal.<\/dialogue>\n    <character>ALANSO<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <scene_description>He gets up and leaves as the class JEERS and BOOS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, LAMBERT HOME - DAY<\/stage_direction>\n    <scene_description>Peace and quiet at last. Renai gropes in behind the bookcase, plucking a hidden jewelry box free. She pinches a cigarette out of it and lights it. She sits down at her piano, feeling the keys, warming her fingers up. Sunlight streams in through the windows. She takes out a notebook, filled with scribbled handwriting. She places the notebook on the sheetstand, then sets a small, mechanical METRONOME in motion and begins tapping out a sombre melody in time with it.<\/scene_description>\n    <character>RENAI<\/character>\n    <parenthetical>(singing)<\/parenthetical>\n    <dialogue>Yeah, I'm looking west, always been looking that way, gonna get it all happening, just can't do it today...<\/dialogue>\n    <scene_description>She stops and makes a note in her book. She starts over, rising to the emotion of the song. She's got a good voice.<\/scene_description>\n    <character>RENAI<\/character>\n    <parenthetical>(singing)<\/parenthetical>\n    <dialogue>Yeah, I'm looking west, always been looking that way, I'm gonna be somebody, I just can't be her today--<\/dialogue>\n    <scene_description>She is interrupted by the tinny sound of a baby crying. She stops playing and looks over at a baby monitor, the source of the noise. Renai deflates, her shoulders sagging in defeat. She closes her notebook and leaves the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CALI'S NURSERY - DAY<\/stage_direction>\n    <scene_description>Renai scoops up Cali, rocking her gently. A scratching sound interrupts. Rough. Frantic. Like a dog pawing at something.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Renai steps into the hall, curious. She can still hear it. She follows the sound to a door. Grabs the door handle. The sound abruptly ceases.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT - CONTINUOUS<\/stage_direction>\n    <scene_description>The door whines open and stabs a blade of light onto a set of stairs that descend into a gloomy basement. Renai stands at the top of the stairs, squinting into the inky blackness, straining to see. She reaches up and yanks a light chain, illuminating a bare bulb and throwing light across the tenebrous space. The basement is large and completely bare. Cleaned out. Renai takes a step down. She is still carrying Cali. FURTHER DOWN below her, we see that there is one step that is cracked and broken. She takes another step. The broken step is right below her now. One more step and she will fall. Cali squeals happily. Renai pauses...then turns around, heading back up the stairs. Stops when she sees something. DEEP, VIOLENT SCRATCH MARKS...running downwards on the inside of the door...as if someone were trying to claw their way out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAMBERT HOME - NIGHT<\/stage_direction>\n    <scene_description>A Spanish-style home. Very pretty. This is not the suburbs. More of an inner city neighborhood. There's history here. Josh pulls into the driveway of his new house in his Subaru.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, LAMBERT HOME - NIGHT<\/stage_direction>\n    <scene_description>The house almost looks liveable. Foster is watching loud, zany cartoons on TV. Cali is in a high chair. Renai is folding boxes. She has unpacked most of the living room and is very tired. Josh ambles in, sees the work Renai has done.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Look at this. Nice job.<\/dialogue>\n    <scene_description>Foster bolts over and crashes into his dads legs, hugging him.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Whoa, buddy. Slow down.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Josh, where's the box of my lamps?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I don't know. They should be here. We packed them up.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Yeah, I packed them. They're not here.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I remember the movers bringing them in and putting them right there.<\/dialogue>\n    <character>RENAI<\/character>\n    <parenthetical>(passive aggressive)<\/parenthetical>\n    <dialogue>Well, they're not here. I would know, I've been unpacking this stuff all day.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR, LAMBERT HOME - NIGHT<\/stage_direction>\n    <scene_description>Dalton wanders the hall, sporting a red superhero CAPE and carrying a plastic, glowing light-sabre toy. He reaches a door. The basement door. He pulls it open.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT - NIGHT<\/stage_direction>\n    <scene_description>Dalton holds up his light-sabre, the glow allowing him to make out the murky corners of the basement below. He takes a step down the stairs. Then another step. The broken step is right below him. He steps again -- -- and falls. Flails forward, tumbling down the steps, all the way to the bottom. His light sabre SHATTERS. He hits the ground, his head smacking the floor. All is dark.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Josh sits with Foster, zoned out in front of the droning TV.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT - NIGHT<\/stage_direction>\n    <scene_description>Pitch black. Dazed, Dalton sits up. His head is cut and bleeding. He is alone in the dark. He stares into the corner of the surrounding cell. His eyes adjust, making out a shape. A shadow.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - SAME TIME<\/stage_direction>\n    <scene_description>Josh and Renai look up as the quiet is shattered by a SCREAM. They spring into action, scrambling to their feet.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Dalton? Where are you?<\/dialogue>\n    <scene_description>He doesn't answer. Just keeps screaming.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT - NIGHT<\/stage_direction>\n    <scene_description>Renai and Josh whip the door open, glaring into the basement from the top of the stairs.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Dalton?<\/dialogue>\n    <scene_description>Dalton is crumpled at the bottom of the steps, sobbing, his red cape gathered around him. Renai flicks the light on. Her and Josh scamper down the steps, propping Dalton up.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>DALTON<\/character>\n    <dialogue>I fell.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Dalton, you have to be careful. You shouldn't be coming down here in the dark.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Where do you hurt the most?<\/dialogue>\n    <character>DALTON<\/character>\n    <dialogue>My knee and my head. I can't stand up.<\/dialogue>\n    <scene_description>Josh lifts him to his feet. A severely grazed knee is dotted with blood. He's okay.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>You scared us, champ.<\/dialogue>\n    <scene_description>Josh carries him up the stairs as he sucks in sobs. Renai glances around the basement, her eyes landing on the lone object that resides in it. She frowns. It wasn't there when she saw the basement last. It is a box. One of her large, cardboard moving boxes. It is marked LAMPS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DALTON'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Dalton is lying in bed, a band-aid slapped across his forehead. Renai tucks him in, Josh standing over him.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>You're lucky you don't need stitches.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>If I catch you falling down the stairs again I'm gonna break your neck.<\/dialogue>\n    <character>DALTON<\/character>\n    <dialogue>That doesn't make sense.<\/dialogue>\n    <scene_description>There are dozens of pictures tacked to the wall, all drawn by Dalton. Josh taps one; a drawing of Dalton flying through the night sky, wearing his cape.<\/scene_description>\n    <character>DALTON<\/character>\n    <dialogue>You might be a superhero but you're not invincible. Be more careful, bud.<\/dialogue>\n    <scene_description>Renai kisses him and gets up.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Sleep tight, honey.<\/dialogue>\n    <scene_description>They wave goodbye and turn out the light.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Renai flops into bed beside Josh, exhausted.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>We've gotta lock that door.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>He's such a boy. He goes off exploring. Sometimes I wanna keep him on one of those child leashes.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Why bother with a child leash? I'll stop at the pet store tomorrow.<\/dialogue>\n    <scene_description>She laughs and cuddles up to him, resting her head on his chest.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>I'm sorry I was pissy when you got home. I was trying to work on a song today and then Cali woke up and wouldn't stop crying...<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I didn't even notice.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>I feel guilty for wanting my own time.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>It's normal to want your own time.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Is it? My mother gave up everything for me. I keep waiting for the completely selfless parent gene to kick in, but I'm exactly the same person I was when I was 22, only now I'm married with kids.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>You're a great mother.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>No, I'm not. They like you so much better than me.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>That's not true.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>You're the cool dad who comes home with presents and I'm the one who yells at them all day.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Now you're being crazy. They love you. At least you get to connect with them. I work so much.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Believe me, you're their hero. They try to play us off against each other. They're master manipulators. I guess they really are my kids.<\/dialogue>\n    <scene_description>Josh laughs. A lull settles over them.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Is this it, Josh?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Is this so bad?<\/dialogue>\n    <scene_description>She doesn't answer. They sit in silence for a long beat.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Thank you for letting me take some time off to work on my music again.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>We'll get by. I want you to do it.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>There's a couple of songs...I mean not all of them, but there's a couple of them that I think are really good. And I think, maybe I could do something with them.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I love all your songs.<\/dialogue>\n    <scene_description>They kiss.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>It is 3AM. All the remoteness of that hour is present here...we can feel it. As still and quiet as deep space.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>The formerly bustling kitchen is now a museum at midnight.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>A long, dark thoroughfare. A ticking clock its only occupant.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT - NIGHT<\/stage_direction>\n    <scene_description>Stairs swallowed up by darkness. The groan of settling wood.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOSTER'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>The soft breathing of a sleeping child.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CALI'S NURSERY - NIGHT<\/stage_direction>\n    <scene_description>Hanging toy birds dangle over the baby, tinkling in a breeze.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DALTON'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Dalton is sleeping too. Impossibly still. Lying on his back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Renai and Josh are entwined together. Josh is snoring. They are both blissfully asleep... ...for now.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - MORNING<\/stage_direction>\n    <scene_description>Another day, another chaotic breakfast. Foster waves a stuffed toy around. Josh charges in, bits of tissue on his face from shaving cuts. Cali flails her arms in her high chair. Renai is at the sink, whisking eggs.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Foster, sit down honey.<\/dialogue>\n    <scene_description>She whips a look around.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Where is...? Hey Josh, could you go wake up Dalton?<\/dialogue>\n    <scene_description>We FOLLOW Josh as he marches down the corridor to Dalton's bedroom, poking his head inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DALTON'S BEDROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Josh knocks on the wall.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Time to get up, my man. Come on.<\/dialogue>\n    <scene_description>Nothing from Dalton. He doesn't even stir. Josh rolls his eyes and walks in. Nudges Dalton with his knee.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>You're making me look bad here. Outta bed before your mother comes in and kills both of us.<\/dialogue>\n    <scene_description>Nothing. He's really out. Josh reaches down and shakes Dalton vigorously.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Dalton, get up. You've gotta get ready for school.<\/dialogue>\n    <scene_description>Josh waits for a response, but none comes. Dalton is as slack as a puppet. Something resembling concern crosses Josh's face.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Dalton...?<\/dialogue>\n    <scene_description>He kneels down, shaking Dalton hard. He listens for breathing.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Dalton? Dalton?! DALTON!!<\/dialogue>\n    <scene_description>His scream takes us into--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM, ICU UNIT - DAY<\/stage_direction>\n    <scene_description>--the stern sterility of a hospital. Josh and Renai, eyes lined by dark circles, stand in front of a dour neurologist, DR. JOEL SERCARZ (46). Renai dabs her eyes with a tissue. They are red with tears. Beyond a window in front of them, lying on a gurney in an ICU chamber, is the unconscious body of Dalton.<\/scene_description>\n    <character>DR. SERCARZ<\/character>\n    <dialogue>Okay...as of yet, our tests have not drawn any conclusive answers for you. Repeated blood and CSF cultures are normal, making an infective origin highly unlikely. Tests for Lyme disease and repeated polymerase chain reaction are negative. Systemic vasculitis was ruled out. Dalton remains in an areactive coma without focal signs or abnormal brainstem reflexes.<\/dialogue>\n    <scene_description>Josh and Renai struggle to follow the cold, multi-syllable medical terminology...like stranded tourists keeping up with a foreign language.<\/scene_description>\n    <character>DR. SERCARZ<\/character>\n    <dialogue>We've looked for bacterial pathogens like Meningoencephalitis, but haven't seen anything.<\/dialogue>\n    <character>DR. SERCARZ<\/character>\n    <dialogue>I wouldn't say we've exhausted every single angle...but we're close. The underlying cause is still unknown.<\/dialogue>\n    <scene_description>Josh and Renai look in at their boy.<\/scene_description>\n    <character>DR. SERCARZ<\/character>\n    <dialogue>The good news is that he's breathing without the use of a mechanical apparatus, and there are no lesions or hemorrhages in any of the CT scans.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>So...there's no brain damage or...?<\/dialogue>\n    <character>DR. SERCARZ<\/character>\n    <dialogue>None that we've detected. Technically, he's in a coma. He doesn't respond to stimuli, he has no sleep-wake cycle, but there's no brain trauma or infection. His scans are normal. To be honest, I've never seen anything like it.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>That fall he took...I mean, it looked like he hit his head pretty hard.<\/dialogue>\n    <character>DR. SERCARZ<\/character>\n    <dialogue>We definitely exhausted that possibility, but it was always doubtful. The cut was superficial, there wasn't even a skull fracture.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>He can't just not wake up...there's got to be something...<\/dialogue>\n    <scene_description>Renai sobs, tears streaming down her face. Josh looks like a deer in the headlights. Stunned dumb. Sercarz clears his throat. This part of the job isn't his specialty.<\/scene_description>\n    <character>DR. SERCARZ<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>So what do we do now? Does he stay here?<\/dialogue>\n    <character>DR. SERCARZ<\/character>\n    <dialogue>We'll conduct some further testing, but beyond that...I really don't know.<\/dialogue>\n    <scene_description>His pager goes off. He checks it.<\/scene_description>\n    <character>DR. SERCARZ<\/character>\n    <dialogue>Excuse me for a minute. I have to step out. A nurse will be with you in just a moment.<\/dialogue>\n    <scene_description>He leaves quickly. Josh and Renai press on the glass, separated in body and spirit from their son. FADE TO BLACK.: SUPERIMPOSE TITLE: TWO MONTHS LATER<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DALTON'S BEDROOM, LAMBERT HOME - DAY<\/stage_direction>\n    <scene_description>A ghastly meld of hospital room and young boys bedroom. Dalton lies on his bed, a heart rate monitor hooked to his chest. IV tubes run into his arms, a Nasogastric feeding tube into his mouth. A young nurse, ADELE CHALFIN (30), checks the various tubes as Renai watches on.<\/scene_description>\n    <character>ADELE<\/character>\n    <dialogue>Are you having any more trouble with the feeding tube?<\/dialogue>\n    <scene_description>Renai looks broken, the life drained from her. A wilted flower. She shakes her head, her voice a low rasp.<\/scene_description>\n    <character>RENAI<\/character>\n    <parenthetical>(barely audible)<\/parenthetical>\n    <dialogue>It's okay.<\/dialogue>\n    <character>ADELE<\/character>\n    <dialogue>Alright, well I'll be back soon. I'll bring some new books. You're probably sick of the ones you have.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Did he respond to any of the tests?<\/dialogue>\n    <scene_description>Adele pauses.<\/scene_description>\n    <character>ADELE<\/character>\n    <dialogue>No...no, he didn't. But we have to give it time. I've seen coma patients with a much longer inactivity time suddenly start making noises.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>He's not in a coma, remember? They don't know what to call it. They don't know what to do with him so they've given up.<\/dialogue>\n    <character>ADELE<\/character>\n    <dialogue>No, they haven't. We're going to figure it out.<\/dialogue>\n    <scene_description>Adele hugs her, then exits. Renai slumps down on a chair next to her son. The heart rate monitor pings. Dalton is as still as a statue.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - DAY<\/stage_direction>\n    <scene_description>Renai shuffles down the corridor. She passes a bedroom door, then stops and doubles back, pushing it open and going into--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CALI'S NURSERY - CONTINUOUS<\/stage_direction>\n    <scene_description>--the babies room. She stares into the crib...at her other sleeping baby. She sets the baby monitor and walks out softly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Renai slumps in front of her piano. Taps one of the keys. She plays a discordant melody of low notes with one hand, not present enough to hear it. She stops and buries her face in her hands. Then she hears it. Whispering. It's so low you would miss it if the house wasn't absolutely silent. Renai looks up, scanning for the source of the murmur. It is coming from the baby monitor. Confused, Renai picks up the monitor, turning up the volume all the way up. The hissssssss of static fills the room. She presses her ear to the device, then hears it again - a hushed WHISPER, almost indistinct from the static save for the whistle of sibilants.<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>(from monitor)<\/parenthetical>\n    <dialogue>They see us...all of us...we have to be quick...this life begs us to come back.<\/dialogue>\n    <scene_description>The whisper trails off....more static...<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>(from monitor)<\/parenthetical>\n    <character>NOOOOOOOOOOOO!!!!!!<\/character>\n    <dialogue>Renai drops the baby monitor, leaping out of her skin at the sound of the scream. Nerves fried.<\/dialogue>\n    <dialogue>The monitor smashes on the floor. All is quiet.<\/dialogue>\n    <dialogue>Renai moves to the door, staring down the corridor at the door to Cali's nursery.<\/dialogue>\n    <dialogue>It is open only a crack. She hears crying. Cali is crying.<\/dialogue>\n    <dialogue>We follow her as she bolts towards the nursery, smashing through the door, eyes filled with terror, seeing--<\/dialogue>\n    <dialogue>--nothing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NURSERY - CONTINUOUS<\/stage_direction>\n    <scene_description>Renai stalks into the room. The room is empty, save for Cali, crying in her crib. Renai's eyes land on the closet. ANGLE FROM INSIDE THE CLOSET Through a slight crack, we see Renai approach. Breath quivering. Her hand reaches out. She FLINGS the door open. It is empty.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>The family is eating. It's very quiet. Foster keeps his eyes down as his parents eat in silence. Suddenly Cali breaks the quiet, squealing happily.<\/scene_description>\n    <character>CALI<\/character>\n    <dialogue>Dadda!<\/dialogue>\n    <scene_description>Josh looks up, smiling. Amazed.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>She said dad...<\/dialogue>\n    <scene_description>Neither Renai nor Foster even look up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOSTER'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>A bedside lamp gives off a jaundice glow. Renai gathers up scattered toys from the floor, relocating them to a desktop covered in beakers and lab equipment. Foster lies in bed beneath a large chart of the solar system. Renai stops cleaning when she finds a certificate, crumpled next to a school bag. It says IN RECOGNITION OF SCIENCE SKILL, AWARDED TO FOSTER LAMBERT ON 3\/14\/10.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>What's this?<\/dialogue>\n    <character>FOSTER<\/character>\n    <dialogue>An award.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>That's today's date. You got this today?<\/dialogue>\n    <scene_description>Foster nods meekly.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Why didn't you tell us, honey?<\/dialogue>\n    <scene_description>She sits on the edge of his bed. He stares at the wall. She strokes his hair.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>I know it's hard right now. But things will get better. I promise.<\/dialogue>\n    <scene_description>Foster nods.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>I'm going to show this to your dad.<\/dialogue>\n    <scene_description>She plants a kiss his forehead and stands up.<\/scene_description>\n    <character>FOSTER<\/character>\n    <dialogue>I'm scared, mom.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Scared of what?<\/dialogue>\n    <character>FOSTER<\/character>\n    <dialogue>Dalton.<\/dialogue>\n    <scene_description>Renai sits back down.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>We're all scared. It's normal to be scared for him. But we can't give up--<\/dialogue>\n    <character>FOSTER<\/character>\n    <dialogue>Why do I have to sleep so close to him? Can't I change rooms?<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Why would you wanna change rooms?<\/dialogue>\n    <scene_description>Foster swallows.<\/scene_description>\n    <character>FOSTER<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <scene_description>Renai stares at her son. She kisses him again.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Your brother needs you. Goodnight honey.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Josh lies in bed, reading Foster's award. Renai is beside him.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Something happened today. I didn't want to tell you in front of Foster.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>I heard something coming from Cali's room. A man's voice. On the baby monitor...it scared the hell outta me. I went in there and no one was there.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Could it have been interference?<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>I don't know. It was so clear. I was sitting at the piano and I heard this...whispering on the baby monitor. So I held my ear up to it--<\/dialogue>\n    <scene_description>SUDDENLY - a noise interrupts. An arrhythmic KNOCKING sound, like a drunk pounding on a tavern door after closing. It is the front door.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Who the hell is that?<\/dialogue>\n    <scene_description>Josh knows it's his job to check, but he doesn't want to.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Stay here.<\/dialogue>\n    <scene_description>He gets up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRONT DOOR - NIGHT<\/stage_direction>\n    <scene_description>Josh approaches the front door, flashlight in hand. He peers through curtains at the front step. It's too dark to see anything.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Hello? Who's there?<\/dialogue>\n    <scene_description>Only the wind replies. He aims the flashlight at the glass, shining it into the thick darkness. There is no one on the front step. Josh presses the flashlight against the window, arcing the beam across his front garden. Leans in close to the glass... And then-- Nothing. There's no one there. He makes sure the door is locked, then flips open a security system panel on the wall, pecking at the buttons on it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Renai sits up in bed, listening. Hears nothing... ...until the low moans of a baby crying float out of the baby monitor. Renai hurls the sheet aside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>Renai pads down the hall, tentative. She reaches the open door to Cali's room. Sees the silhouette of Josh standing over Cali's crib. Exhales with relief.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Who was it, Josh?<\/dialogue>\n    <scene_description>Josh appears at the opposite end of the hallway.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>What did you say?<\/dialogue>\n    <scene_description>Renai SCREAMS as the silhouette recedes into the shadows.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>There's someone in there!<\/dialogue>\n    <scene_description>She RUNS towards Josh.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>There's someone in Cali's room!<\/dialogue>\n    <scene_description>Josh BOLTS down the hall, flicking on the light, terrified. The nursery is empty. Cali is sleeping. Terrified, Josh enters the room. Scans around. Only toys and colorful wallpaper. He steps in further. He's not cut out for this. SHRIEEEEEEEEEEEKKKK!!!!!! SHRIEEEEEEEEEEEEEEK!!!!! The house alarm screams to deafening life, shaving a few years off Josh's life in the process. He JOLTS, whipping around.<\/scene_description>\n    <character>JOSH<\/character>\n    <parenthetical>(to Renai)<\/parenthetical>\n    <dialogue>Grab Cali and Foster!<\/dialogue>\n    <scene_description>Josh charges down the hall into the--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>--snatching up a fire poker from the fireplace and continuing--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRONT DOOR - CONTINUOUS<\/stage_direction>\n    <scene_description>-- to the front door, which is swinging open. Holding the fire poker aloft, Josh scans the area. Renai races past, carrying Cali and dragging Foster behind her. They barrel toward Dalton's room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - CONTINUOUS<\/stage_direction>\n    <scene_description>Josh scans the kitchen. It is empty. The alarm wails in the background.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - CONTINUOUS<\/stage_direction>\n    <scene_description>Josh inches his way up the hall, hand shaking.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DALTON'S BEDROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Renai holds Foster and Cali close to her. Dalton is lying behind them. Directly across from Dalton's room is the laundry. The door is ajar, offering a view into the darkened room beyond. Renai sees something in the dark...a figure. A boy. It looks like Dalton. He reaches out to Renai-- --until another HAND...a pale hand...reaches across and shuts the laundry door, sealing the boy off from her view.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Josh! The laundry!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAUNDRY - SAME TIME<\/stage_direction>\n    <scene_description>Josh bolts up the hall, panicked. He reaches the laundry door, grabbing the handle. Hesitates. He propels the door open with a shove, flicking on the light. The room is empty. No windows, no doors for escape...just a washing machine and a dryer.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAMBERT HOME - NIGHT<\/stage_direction>\n    <scene_description>A home security officer trudges down the steps of the house. Renai, Josh, Foster and Cali all stand outside in their pajamas, shivering in the frigid night air.<\/scene_description>\n    <character>SECURITY OFFICER<\/character>\n    <dialogue>There's no one in there, it's all clear. If someone was there, they're gone now.<\/dialogue>\n    <scene_description>Renai steps away from the children, out of their earshot.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>I saw somebody.<\/dialogue>\n    <character>SECURITY OFFICER<\/character>\n    <dialogue>Maybe it was a shadow...?<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>No. It wasn't a shadow, it was a man. He was tall, and he long, greasy hair. He was wearing a grey jacket. He looked right at me.<\/dialogue>\n    <character>SECURITY OFFICER<\/character>\n    <dialogue>Well, like I said...he's gone now.<\/dialogue>\n    <scene_description>Renai looks to the others. Sees only disbelieving faces.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GYMNASIUM, FORRESTER HIGH SCHOOL - DAY<\/stage_direction>\n    <scene_description>Josh's students scuffle about on stadium seating, arranging themselves for a CLASS PHOTO. They're not doing a great job. A male photographer does his best to compose them, not doing a great job of hiding his bitterness about the fact that he's shooting school photos instead of Vanity Fair spreads.<\/scene_description>\n    <character>PHOTOGRAPHER<\/character>\n    <dialogue>Okay, face the front ladies and gentlemen...come on...hold still...<\/dialogue>\n    <parenthetical>(muttering to himself)<\/parenthetical>\n    <dialogue>I'm trying to record the peak of your pathetic lives here.<\/dialogue>\n    <scene_description>Josh stands off to the side, lost in his own thoughts. Tired.<\/scene_description>\n    <character>PHOTOGRAPHER<\/character>\n    <dialogue>Mr. Lambert, would you like to step in please?<\/dialogue>\n    <scene_description>Josh snaps out of his own head.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Uh...what?<\/dialogue>\n    <character>PHOTOGRAPHER<\/character>\n    <dialogue>Could you step in so that we can take the photo? Quickly please.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Just take it without me.<\/dialogue>\n    <character>PHOTOGRAPHER<\/character>\n    <dialogue>We need you in the photo, sir.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>No, you don't. Just take the damn photo without me, okay?<\/dialogue>\n    <scene_description>The class settles down, shocked by the outburst. Chastened, the photographer turns to the class, gripping the camera trigger.<\/scene_description>\n    <character>PHOTOGRAPHER<\/character>\n    <dialogue>I can't believe this is my life.<\/dialogue>\n    <parenthetical>(beat; to class)<\/parenthetical>\n    <dialogue>Ready kids? Say asshole teacher!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GYMNASIUM, FORRESTER HIGH SCHOOL - LATER<\/stage_direction>\n    <scene_description>The students file out of the gym. Josh sits in the bleachers, head buried in his hands.<\/scene_description>\n    <character>ALANSO (O.S.)<\/character>\n    <dialogue>I hear things.<\/dialogue>\n    <scene_description>Josh looks up, seeing Alanso.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ALANSO<\/character>\n    <dialogue>I spend so much time in the office, I hear things. I heard about your son. I'm sorry.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Thank you, Alanso.<\/dialogue>\n    <character>ALANSO<\/character>\n    <dialogue>Times like these...people realize that science doesn't have all the answers. There is a higher force at work.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I wish I had your belief. Things would be a lot simpler.<\/dialogue>\n    <character>ALANSO<\/character>\n    <dialogue>Things are simple. You just can't see it. Put your faith in Him.<\/dialogue>\n    <scene_description>He places his gold cross necklace in Josh's hand, then leaves. Josh watches him go, then takes out his cell phone.<\/scene_description>\n    <character>JOSH<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Hey...I just found out I have to stay back tonight and finish off mid-term grades. It could be a while, there's a lot to go through. Don't wait up. Bye.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARK - NIGHT<\/stage_direction>\n    <scene_description>Josh sits on a park bench, staring into the distance. He takes out a flask of whisky, swigging from it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Renai lies in bed, staring at the ceiling. Alone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Renai shuffles in, pouring herself a glass of water. Then she hears it. A low muttering. It is coming from Dalton's room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>Unnerved, Renai peers through the open door. Josh is sitting beside Dalton's bed, reading to him.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>The men all walked down to the waters edge...and they stood there and asked the beast to come forth. And the beast roared back \"No!\". And so they dived in after it...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAMBERT HOME<\/stage_direction>\n    <scene_description>In the sunlight, the house looks like a happy place.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DALTON'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>Dalton's face is a picture of serenity. A new day-shift nurse, KELLY (29), checks on his feeding tube. Renai watches from the doorway.<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I was going to head off for an hour or so. Are you alright here?<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Of course. Anything from Dalton?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>No. I'm sorry.<\/dialogue>\n    <scene_description>Renai nods. Her eyes brim with tears. The cracks are showing.<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Keep providing him with stimuli. I've seen it work time and time again. Read to him. Even if you're doing something else, you can play him music that he likes. Don't give up.<\/dialogue>\n    <scene_description>She throws a scarf over her shoulder and stands.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>I won't, I just...I haven't slept much the last couple of nights. I feel like the universe is trying to see how far I can bend before I break.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>The universe picked a fight with the wrong chick.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Thanks, Kelly. You're a saint.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>No, I'm not. I'm doing my job. I chose to be here. You didn't choose any of this. You're the strong one.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Renai surveys the living room. It is a total mess.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - DAY<\/stage_direction>\n    <scene_description>Water cascades out of a faucet. Steam rises from the water. Renai lets bath salts fall into the tub. She almost looks relaxed just smelling them. She starts to undress, then turns -- -- and YELPS in fright. A person is standing behind the distorted glass window, staring in at her. The shape of the person's head and shoulders can clearly be seen, but the glass is too opaque to make out any features. Renai slips, grabbing the sink. When she glances up, the figure is gone. Trembling, Renai opens the window. Very, very slowly. It is fifteen feet off the ground, with a sheer drop below it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAMBERT HOME - NIGHT<\/stage_direction>\n    <scene_description>Renai sits on the front steps, alone. It is late. She looks somehow tired and wired at the same time. Smoking a cigarette. Josh pulls in. Fumbles out of his car, tipsy.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>What are you doing up?<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>It's midnight, Josh.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>When did you start smoking?<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>You've been coming home late every single night. You've never had to do that in all of the years you've been at the school. Now all of a sudden you have to stay back late?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I don't like it either, but I'm grading tests. What choice do I have? We've gotta pay Dalton's bills.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Your mother is paying Dalton's bills, Josh. I know because she reminds me every chance she gets.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Jesus, I can't win with you. That's my son in there too, not just yours!<\/dialogue>\n    <scene_description>He paces, the anger sobering him.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>I've always felt like less than good enough for you. I feel it every time you mention our bills. That subtle voice that says 'can't you get a job that pays more than a teacher'? And now I can't even look at you without feeling it.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>You're projecting that onto me. You've written an entire story about I'm how I'm feeling without once asking me how I'm feeling.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I don't need to ask. I know you.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>I am losing my mind here in this house, Josh. I'm scared and I need you and you're not here. Where are you?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I told you, I'm grading tests.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>I don't mean that. I mean you're not here. With me. In this situation. You're avoiding it, like you do anything stressful, whether it's this or a parking ticket.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Christ, I should have stayed at the school.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>There you go again.<\/dialogue>\n    <scene_description>Renai stands up and walks inside the house. The door closes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Josh tosses a pillow onto the couch, setting himself up for the night. He curls up on it, pulling a blanket over himself.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>The witching hour. Still. Quiet...save for the omnipresent clock.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DALTON'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Dalton is as still as we've seen him. And then...he twitches. A slight facial twitch, but we see it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Josh snoozes, head arched at a bad angle. His back will regret sleeping on this couch.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Renai tosses and turns, restless in sleep. Her eyes open and she sucks in a breath. Bad dreams. She blinks and looks around the room, surprised to be alone, sitting up in fright. Until she remembers why. She eases back onto the bed. Then she looks over at the window. There is a man standing outside it. He is not looking in at her...he is pacing back and forth, furiously smoking a cigarette. Back and forth, back and forth. Agitated. He has long, black, greasy hair and a grey jacket. Every muscle in Renai's body freezes. She becomes a glacier. Her eyes are drilled to the man, unable to move. By sheer will, she manages to direct them towards the bedroom door. Opens her mouth but no words will come. Finally--<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Jo....osh....Josh....Josh...<\/dialogue>\n    <scene_description>She glances back at the window. THE MAN IS NOW IN THE ROOM. He paces back and forth between the bed and the window, just as he was outside, ignoring Renai. Smoking like a fiend. And then, suddenly, he stops pacing. Looks up. Straight at Renai - as if just realizing she was there. For a moment their eyes are locked in silence...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..and then the man's face contorts in anger and he CHARGES towards her, arms outstretched, GROWLING in fury.<\/stage_direction>\n    <character>MAN<\/character>\n    <dialogue>DON'T YOU FUCKING DARE!<\/dialogue>\n    <scene_description>Renai lets out a SHRIEK of terror that could strip paint. A cry from the depths of her soul. She propels herself backward, falling off the bed and scrambling back into the corner. Josh CHARGES into the room, flicking on the light-- --seeing only Renai, huddled in the corner, screaming.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>What is it? What is it?!<\/dialogue>\n    <scene_description>Renai is incoherent. She cannot stop screaming. Josh grabs her by the shoulders.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Renai, what is wrong?!<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>The man -- he was there -- he tried to -- there was a man there!!!<\/dialogue>\n    <scene_description>Foster runs into the room, visibly terrified. He sees his mother and instantly begins crying. He runs to his dad, holding onto his leg. In the background, Cali begins crying, her screams contributing to an overwhelming din.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>There's no one here.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>I saw somebody!<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>There's no one here.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Don't you dare not believe me!<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I believe you, okay? I just don't know what you want me to do.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>I want you to tell me that we can leave this house. I will not spend one more night here. I wanna leave, I wanna go!<\/dialogue>\n    <character>FOSTER<\/character>\n    <dialogue>I don't want the man to get me.<\/dialogue>\n    <scene_description>The realization that her child is terrified quiets Renai. All is suddenly silent, save for the cries of Cali in the background. Josh holds his son tight.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>You're okay, buddy. I've got you.<\/dialogue>\n    <scene_description>He and Renai exchange a look.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I can't...I want to leave this house. I can't be here anymore.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>To move now would be...we would have to rent somewhere. It's not--<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Please, Josh.<\/dialogue>\n    <scene_description>An agreement passes between them. FADE TO BLACK.:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN HOUSE - DAY<\/stage_direction>\n    <scene_description>A moving truck is parked outside an average suburban home. Movers mill about, hauling boxes and couches.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, NEW HOUSE - DAY<\/stage_direction>\n    <scene_description>Renai unpacks boxes. An elderly woman, LORRAINE (65), helps to unpack. This is Josh's mother. She has a curt, disapproving manner about her that doesn't always make her easy to love. She is actually moving more quickly than Renai, who groans as if her back were aching as she stoops down to pick up books.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Lorraine, you shouldn't have to do any of this. Sit down.<\/dialogue>\n    <character>LORRAINE<\/character>\n    <dialogue>Nonsense. I'm perfectly capable of putting a few things away. I did it for Josh his whole life. He never was good with tidying up.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>I know, but I just feel so bad.<\/dialogue>\n    <character>LORRAINE<\/character>\n    <dialogue>I think it's you who should be sitting down by the looks of it.<\/dialogue>\n    <scene_description>She boosts a photo frame from one of the boxes. It is a portrait of Renai, Dalton, Foster and Josh. In happier times. Lorraine seems taken aback by it.<\/scene_description>\n    <character>LORRAINE<\/character>\n    <dialogue>I can't believe you got Josh to sit still for a photo.<\/dialogue>\n    <scene_description>Renai reclines against the wall, surveying her new living room. Her new new house.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>I can't believe we're doing all this again, that's what I can't believe.<\/dialogue>\n    <parenthetical>(beat; looks at her)<\/parenthetical>\n    <dialogue>I know you think I'm crazy.<\/dialogue>\n    <scene_description>Lorraine stops unpacking and fixes Renai with a stare. They've never really gotten along before. Adversity has brought about a truce.<\/scene_description>\n    <character>LORRAINE<\/character>\n    <dialogue>Nobody - not me, not anybody - knows what you're going through right now. Whatever you have to do to get through it, do it. And never apologize for it.<\/dialogue>\n    <scene_description>Renai hugs her. It's a new thing for them and a bit awkward.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOCTOR'S OFFICE - DAY<\/stage_direction>\n    <scene_description>DR. BRYCE TRIMBLE (52) sits opposite Renai and Josh. Spread out in front of him are a series of X-Rays, labelled DALTON LAMBERT. His office is big and expensive. Renai looks hopeful. Josh looks like a shell of a man.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>We just wanna say...thank you so much. For helping us out with this, doctor. We can't tell you how much it means to have you involved.<\/dialogue>\n    <character>DR. TRIMBLE<\/character>\n    <dialogue>I'm glad to help.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Unfortunately...these recent tests have proven inconclusive. There's absolutely nothing abnormal here.<\/dialogue>\n    <scene_description>Josh and Renai deflate.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>So...if you're the top of the food chain with this stuff, where does that leave us?<\/dialogue>\n    <character>DR. TRIMBLE<\/character>\n    <dialogue>I don't know. There is a research team in Boston who specialize in a new form of treatment. They try to stimulate the patients brain with electric pulses. It has a good success rate with victims of brain injury. We could try that.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>So there's hope?<\/dialogue>\n    <character>DR. TRIMBLE<\/character>\n    <dialogue>There are more things we can try.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>The hope part is up to you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DALTON'S BEDROOM, NEW HOUSE - DAY<\/stage_direction>\n    <scene_description>Renai sits beside Dalton. Staring at him. She runs her fingers through his hair, touching his skin.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, NEW HOUSE - DAY<\/stage_direction>\n    <scene_description>A needle touches an LP. The pops and crackles of record hiss spit forth, followed by the lilting guitar strums of 'Tip Toe Through The Tulips'. The quavering falsetto of Tiny Tim accompanies the guitar.<\/scene_description>\n    <character>TINY TIM (V.O.)<\/character>\n    <parenthetical>(from record)<\/parenthetical>\n    <dialogue>Tip-toe by the window, by the window, that is where I'll be...<\/dialogue>\n    <scene_description>Renai walks away and we follow her down the hall into --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOSTER'S BEDROOM, NEW HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>-- a mess as only a child can make. Renai picks up a plate and a fork and knife from the floor. She walks out and we DON'T CUT, tracking with her --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY, NEW HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>-- back down the hall, towards the kitchen. The records continues warbling in the background.<\/scene_description>\n    <character>TINY TIM<\/character>\n    <parenthetical>(from record)<\/parenthetical>\n    <dialogue>Oh tip-toe, from the garden, by the garden, of the willow tree...<\/dialogue>\n    <scene_description>Renai passes the living room. What she doesn't see is the child standing in the middle of the room, facing the record player. The boy is dressed in clothes from another time, but children's clothes just the same. He is dancing awkwardly, shifting his weight from one foot to foot the other sheepishly, as if trying it for the first time. Renai keeps walking and we stay with her as she moves past the child, following her into the --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - CONTINUOUS<\/stage_direction>\n    <scene_description>-- mess of the kitchen. She sets the plate down in the sink, on top of a stack of other dirty dishes. With a sigh she runs the hot water over the dishes. With a sudden POP, the record starts skipping. Bump...bump...bump... Renai shuts off the water, heading back to the living room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>She marches in, annoyed. Then freezes. Her bookshelf is empty. The books that once sat on it are now scattered across the floor. Bump...bump...bump... Renai scans the books. Then she hears it... Giggling. She pivots her head towards the darkened hallway. There, she sees a child, hidden in shadow, standing in the hall. Staring at her. Bump...bump...bump... Renai doesn't move. Doesn't breathe. And then suddenly, the child turns and runs down the hall, disappearing into Dalton's bedroom.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Oh my God, Dalton...no...<\/dialogue>\n    <scene_description>Summoning every ounce of strength, Renai troops down the hall towards Dalton's room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DALTON'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>Renai pushes the door open. Dalton lies in the center of the room on his gurney. The only sound is his breathing. Renai surveys the room. It is empty. Bump...bump...bump... She steps inside, glancing over at a cabinet. In the foot- high space beneath it, a small white shoe protrudes slightly. A child's shoe. Heart pounding, Renai bends down, peering into the darkness under the cabinet. Bump...bump...bump... The shoe does not have a foot in it. It is simply a discarded shoe. There is no one under the cabinet. BANG!!! BA G The cabinet doors EXPLODE open as the child bursts out, giggling. Only we see that it is not a child. It is a DWARF. A man in child's clothing. The dwarf runs past Renai as she LEAPS back. He runs out of the room, giggling. All is quiet again. Bump...bump...bump... Renai gets up, unsure of what to do. Numb with terror. SUDDENLY-- the record pitches back to life, the volume startling. Renai JOLTS, falling backwards.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLASSROOM, FORRESTER HIGH SCHOOL - NIGHT<\/stage_direction>\n    <scene_description>A darkened class room. An older janitor, NED (68), shoulders the door open, carrying a mop. He STARTS when he sees Josh, sitting at his desk in the pale light of a desk lamp. Alone.<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>Josh...didn't see you there.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Sorry to scare you.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>What are you up to this late?<\/dialogue>\n    <scene_description>Josh holds up his flask of whisky. He's a bit soused.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Where did all the bartenders who listen to your troubles go, Ned?<\/dialogue>\n    <scene_description>Ned nods sagely. He sets down his mop and grabs a chair, sitting in front of Josh with a sigh. He takes the flask.<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>Never drink alone. If you take the dirty jokes out of drunkenness, all you're left with is the self loathing.<\/dialogue>\n    <scene_description>He downs a hit from the flask, then hands it back.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>I don't need whisky for that.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Bah. You people think too much. Used to be, if life threw a shitstorm at you, you'd grab the nearest umbrella. Your generation would spend a day googling what brand to buy.<\/dialogue>\n    <scene_description>Josh laughs despite himself.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>I probably would too.<\/dialogue>\n    <parenthetical>(beat; takes a drink)<\/parenthetical>\n    <dialogue>It's funny, I've always known I was the type of person that things didn't happen to. I made peace with it. I thought to myself, it's okay - I'll never win the lottery or climb Mount Everest...but I'll never get a rare tropical blood disease either. It works out.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Now I'm the guy whose son is in a mysterious coma.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Things happen to everybody. Even to good people like you. And they're gonna keep happening the older you get, believe me. No use sittin' in the dark drinkin' over it. Go home. Be with your wife. Tell her your what's on your mind.<\/dialogue>\n    <scene_description>He takes the flask and has another swig.<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>There sure as hell isn't any umbrellas 'round here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Josh pulls up to the house. Turns off the car. An old Cadillac is sitting in the driveway. Josh clambers out of his car and peers in through the window of the Cadillac, quizzical.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, NEW HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Renai is huddled on the couch in the living room, gripping her knees to her chest. A man is sitting next to her; a handsome, soft-spoken Anglican priest, FATHER NATHANSON (40). Josh enters. There are subtle changes in his coordination and speech from the booze.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>This is the first line of a joke. Guy comes home to find his wife with a priest...<\/dialogue>\n    <scene_description>Father Nathanson stands, as does Renai.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Josh, this is Liam Nathanson. A very old friend of mine.<\/dialogue>\n    <character>FATHER NATHANSON<\/character>\n    <dialogue>Nice to meet you. I've heard a lot about you.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Can't say I've heard the same, Liam. At least I know you're not sleeping with her.<\/dialogue>\n    <character>LORRAINE (O.S.)<\/character>\n    <dialogue>Don't be rude, Josh.<\/dialogue>\n    <scene_description>Josh turns to see his mother, holding a tray of tea. He frowns.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>What is going on here?<\/dialogue>\n    <character>FATHER NATHANSON<\/character>\n    <dialogue>I should be going. Thank you so much for the tea.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Thanks, Liam.<\/dialogue>\n    <scene_description>He clears his throat and exits, quickly and quietly.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Okay, would anyone mind telling me what the hell is going on here?<\/dialogue>\n    <character>LORRAINE<\/character>\n    <dialogue>Please sit down, Joshua.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>\"Joshua?\" Oh Jesus...<\/dialogue>\n    <character>LORRAINE<\/character>\n    <dialogue>Sit down.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>The melodramatic way in which you two are conducting yourselves right now is scaring the shit out of me, so just tell me what's wrong.<\/dialogue>\n    <character>LORRAINE<\/character>\n    <dialogue>Nothing is wrong. We want to talk.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Nobody asks you to sit down unless something is wrong. If a doctor calls you into his office and asks you to sit down, you're fucked.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>There's no use, Lorraine. He's been drinking.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I have not been drinking. Not enough that we can't talk to each other, Renai. And don't judge me in that bitchy tone, okay?<\/dialogue>\n    <character>RENAI<\/character>\n    <parenthetical>(to Lorraine)<\/parenthetical>\n    <dialogue>He would never speak to me like that before.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Christ. You're acting like I'm some lush who comes home and beats you with a belt. At least I'm speaking to you. You suddenly have to speak to a priest. Or my mother who, up until a couple of weeks ago, you couldn't stand.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>You're an asshole.<\/dialogue>\n    <character>LORRAINE<\/character>\n    <dialogue>Your wife needs you. Now sit down and listen to her. I won't ask you again.<\/dialogue>\n    <dialogue>Josh obeys. His mothers tone can still shut him up.<\/dialogue>\n    <character>LORRAINE<\/character>\n    <dialogue>Go on, Renai. Tell him.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>This...thing that was in the other house. It followed us.<\/dialogue>\n    <scene_description>Josh shifts in his seat. Agitated.<\/scene_description>\n    <character>LORRAINE<\/character>\n    <dialogue>Let her speak.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>I saw someone again today. In the house. It looked like a young boy. I followed it into Dalton's room... but it wasn't a child.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>This thing is here. I know it.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>So...what? You called in a priest to get rid of it?<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>I didn't know what else to do.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Are you kidding me?<\/dialogue>\n    <parenthetical>(to Lorraine)<\/parenthetical>\n    <dialogue>Was this your idea?<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>No. It was mine.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>You've never been to a church in your life. Now you're inviting a priest into our home? I feel like I don't even know you right now.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>I'm scared.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>This is a fantasy, and you need a therapist, not a member of the clergy.<\/dialogue>\n    <character>RENAI<\/character>\n    <parenthetical>(to Lorraine)<\/parenthetical>\n    <dialogue>I told you...<\/dialogue>\n    <character>LORRAINE<\/character>\n    <dialogue>What's happening to Renai is real. I've seen it for myself.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I came here today because last night I had a dream about this place.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN, NEW HOUSE - NIGHT<\/stage_direction>\n    <scene_description>We are FLOATING through the corridor, looking through Lorraine's POV. We are inside her dream.<\/scene_description>\n    <character>LORRAINE (V.O.)<\/character>\n    <dialogue>I was in this house...but it was late at night.<\/dialogue>\n    <scene_description>The POV keeps moving, out of the kitchen and into the hall.<\/scene_description>\n    <character>LORRAINE (V.O.)<\/character>\n    <dialogue>I tried to be quiet. I didn't want to wake anybody. I was afraid.<\/dialogue>\n    <scene_description>The POV floats down the hall, reaching a door. The door opens, revealing Josh and Renai, sleeping.<\/scene_description>\n    <character>LORRAINE (V.O.)<\/character>\n    <dialogue>I looked into your bedroom. You were both asleep.<\/dialogue>\n    <scene_description>The POV keeps moving down the hall.<\/scene_description>\n    <character>LORRAINE (V.O.)<\/character>\n    <dialogue>I knew that I was asleep in the dream...but I could feel that someone was awake in the house.<\/dialogue>\n    <scene_description>We keep pushing on, reaching the door to Dalton's room.<\/scene_description>\n    <character>LORRAINE (V.O.)<\/character>\n    <dialogue>I went into Dalton's room.<\/dialogue>\n    <scene_description>The door pushes open. In the dark, we can see Dalton, in bed.<\/scene_description>\n    <character>LORRAINE (V.O.)<\/character>\n    <dialogue>There was someone in there with him.<\/dialogue>\n    <scene_description>The POV turns to see a DARK FIGURE, standing in the corner.<\/scene_description>\n    <character>LORRAINE (V.O.)<\/character>\n    <dialogue>A man was standing in the corner of the room.<\/dialogue>\n    <character>LORRAINE (V.O.)<\/character>\n    <dialogue>I asked him who he was...he said he was a visitor. I asked him what he wanted...he said Dalton.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, NEW HOUSE - DAY<\/stage_direction>\n    <scene_description>Lorraine is clearly unsettled by the dream.<\/scene_description>\n    <character>LORRAINE<\/character>\n    <dialogue>I can still hear that voice.<\/dialogue>\n    <scene_description>She looks up at Josh - and SCREAMS! Over Josh's shoulder, crouched down behind the couch and peeking up over the armrest at Lorraine, is a DIABOLICAL FIGURE. His face is PURE RED with smeared lipstick. His scalp is completely bald, yet tufts of hair dangle above his ears. Other than his face, his skin is charcoal black. Lorraine recoils back, utterly petrified.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <scene_description>Lorraine stares eerily into his eyes. Frozen.<\/scene_description>\n    <character>LORRAINE<\/character>\n    <dialogue>He's here.<\/dialogue>\n    <scene_description>Renai looks to Josh, who is at a total loss. She is crying.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Help us...<\/dialogue>\n    <scene_description>His anger fades and he steps over and takes her in his arms.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>I don't know how.<\/dialogue>\n    <character>LORRAINE<\/character>\n    <dialogue>I know somebody who can help...if you're willing to ask for it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW HOUSE - DAY<\/stage_direction>\n    <scene_description>A battered van is parked in the driveway of the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, NEW HOUSE - DAY<\/stage_direction>\n    <scene_description>Renai and Josh stand in front of two men. They are silent. The shorter one is a wiry young man who looks like he spends most of his time in dark rooms. Not a member of the beach volleyball team. This is SPECS (32). The other is TUCKER (33), a larger man with scruffy facial hair. He is eating a Hot Pocket.<\/scene_description>\n    <character>SPECS<\/character>\n    <dialogue>So you must be Josh?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>SPECS<\/character>\n    <dialogue>That wasn't psychic. Lorraine told me your name.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>SPECS<\/character>\n    <dialogue>I'm Specs.<\/dialogue>\n    <parenthetical>(beat; spooky voice)<\/parenthetical>\n    <dialogue>I'm here to solve your problem. I'm just kidding with the voice. We take this very seriously.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>So is Elise coming or...?<\/dialogue>\n    <character>SPECS<\/character>\n    <dialogue>She won't be joining us yet. Usually we handle all the background stuff, then she gets involved when we have the facts.<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>Helps weed out the nutjobs.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Okay...<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>This is a little uncomfortable. Speaking for myself. I'm not used to this kind of stuff.<\/dialogue>\n    <character>SPECS<\/character>\n    <dialogue>We understand completely. Ninety six per cent of the people we deal with have had no experience with this type of phenomena before.<\/dialogue>\n    <scene_description>He takes out a notepad and pen.<\/scene_description>\n    <character>SPECS<\/character>\n    <dialogue>I would like to start by interviewing you both. Can we record your answers?<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Ah...sure.<\/dialogue>\n    <character>SPECS<\/character>\n    <dialogue>My assistant will check different areas of the house for electrical anomalies. I'll get him started. Tucker, would you follow me?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN, NEW HOUSE - DAY<\/stage_direction>\n    <scene_description>Specs leads Tucker into the kitchen.<\/scene_description>\n    <character>TUCKER<\/character>\n    <dialogue>Assistant?<\/dialogue>\n    <character>SPECS<\/character>\n    <dialogue>Could you not eat that in front of the clients?<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>Assistant?<\/dialogue>\n    <character>SPECS<\/character>\n    <dialogue>Finish it in here. This industry gets laughed at enough as it is.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, SPECS' APARTMENT - DAY<\/stage_direction>\n    <scene_description>Specs is halfway through interviewing Josh and Renai.<\/scene_description>\n    <character>SPECS<\/character>\n    <dialogue>Do you or any of your children suffer from epilepsy or autism?<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>No. I mean, our son...<\/dialogue>\n    <character>SPECS<\/character>\n    <dialogue>Right. I heard about this from Lorraine. He is in a coma, the cause of which is unknown?<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>SPECS<\/character>\n    <dialogue>Do either of you habitually use drugs or alcohol?<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>SPECS<\/character>\n    <dialogue>No drugs at all?<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>I take anti-depressants sometimes.<\/dialogue>\n    <character>SPECS<\/character>\n    <dialogue>Do you have a history of clinical depression?<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Not a history. I've had bouts of it. In the past.<\/dialogue>\n    <scene_description>Renai is uncomfortable. Specs makes a note. The camera beeps.<\/scene_description>\n    <character>SPECS<\/character>\n    <dialogue>Tucker, could you check the camera?<\/dialogue>\n    <character>TUCKER (O.S.)<\/character>\n    <dialogue>I'm still assisting in the other room.<\/dialogue>\n    <character>SPECS<\/character>\n    <dialogue>Whenever you're ready then.<\/dialogue>\n    <scene_description>A long beat. Tucker finally enters, adjusts the camera.<\/scene_description>\n    <character>TUCKER<\/character>\n    <parenthetical>(to Renai and Josh)<\/parenthetical>\n    <dialogue>He handles administration, I handle technical. It's an even split. He couldn't change a light bulb and I'm no good with paperwork. It bores me senseless.<\/dialogue>\n    <scene_description>Specs clears his throat, peeved. Continues.<\/scene_description>\n    <character>SPECS<\/character>\n    <dialogue>Do you have any history of sexual abuse in the family?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>No.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm sorry, I have to ask how this relates to our problem?<\/dialogue>\n    <character>SPECS<\/character>\n    <dialogue>Nine times out of ten, when someone comes to us with a problem like this, it's because of an inward cause within the family unit...not a physical force outside of it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASTER BEDROOM, NEW HOUSE - DAY<\/stage_direction>\n    <scene_description>Specs and Tucker mill around the room. Tucker is carrying a small electronic device. He holds it against the wall.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>What is that?<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>Tri-field meter. It measures DC fields and the natural electro magnetic environment.<\/dialogue>\n    <character>SPECS<\/character>\n    <dialogue>Sometimes old wiring can leak into the atmosphere. It can cause hallucinations, changes in energy.<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>Yeah. It's a little more complicated than that, but, you know, you get the general idea.<\/dialogue>\n    <character>SPECS<\/character>\n    <dialogue>It's basically that.<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>Not really, but whatever.<\/dialogue>\n    <character>SPECS<\/character>\n    <parenthetical>(to Josh)<\/parenthetical>\n    <dialogue>The tech stuff's not relevant to you anyway.<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>It's very relevant, but it's all good.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR, NEW HOUSE - LATER<\/stage_direction>\n    <scene_description>Tucker edges into the corridor. He switches out the light, then takes what looks like a modified VIEW-MASTER TOY out of his shoulder bag, holding it up to his eyes. He stalks down the corridor with it. All is quiet. TUCKER'S POV THROUGH VIEWMASTER - different filters highlight different degrees of UV light. Each slide changes the readings. He approaches the grandfather clock. Another slide clicks into place - showing us TWO FIGURES. Standing beside the clock. In the negative light, they look like females. Tucker lowers the device. There is no one there.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, NEW HOUSE - SAME TIME<\/stage_direction>\n    <scene_description>Specs packs up the video equipment, babbling to Josh and Renai.<\/scene_description>\n    <character>SPECS<\/character>\n    <dialogue>Epilepsy in one of the children mostly. It's very common. If we approach things academically, it lets us find the genuinely interesting cases.<\/dialogue>\n    <scene_description>Tucker backs into the room. Very slowly. He is afraid.<\/scene_description>\n    <character>TUCKER<\/character>\n    <dialogue>I think we can call Elise now...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRONT DOOR, NEW HOUSE - EARLY EVENING<\/stage_direction>\n    <scene_description>Josh opens the door to see an elderly woman, ELISE RAINIER (73), who despite her years maintains a sprightly energy. There is absolutely nothing morbid or dour about her.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Mrs. Rainier?<\/dialogue>\n    <character>ELISE<\/character>\n    <dialogue>No, my mother couldn't come, it's just me. Elise. You must be Lorraine's son? You've grown since I last saw you.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Last saw me?<\/dialogue>\n    <character>ELISE<\/character>\n    <dialogue>Your mother and I have been friends for a long time.<\/dialogue>\n    <scene_description>Elise steps inside. Renai, Tucker and Specs gather around her. Everyone becomes very subservient, like the Queen just arrived.<\/scene_description>\n    <character>ELISE<\/character>\n    <parenthetical>(re Specs and Tucker)<\/parenthetical>\n    <dialogue>They're very good assistants but I can't get them to dress any better.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Hi. I'm Renai.<\/dialogue>\n    <character>ELISE<\/character>\n    <dialogue>Pleased to meet you. I'm Elise.<\/dialogue>\n    <scene_description>Elise takes her hat off and scans the room, taking a deep breath. Tucker jabbers, eager to please.<\/scene_description>\n    <character>TUCKER<\/character>\n    <dialogue>We took Tri-field and EMF readings of the whole house. All the wiring, alarm clocks, radios, toasters, TV, record player, fuse box. Nothing went off the charts.<\/dialogue>\n    <character>ELISE<\/character>\n    <dialogue>And the previous home?<\/dialogue>\n    <scene_description>Tucker and Specs look at each other. Oh shit.<\/scene_description>\n    <character>SPECS<\/character>\n    <dialogue>Tucker hadn't monitored that yet. I could jump on that this afternoon if you like? Make up for lost time.<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>Yeah, but who would work the equipment? I'll need to be there. You know what, don't even sweat it. I'll make myself available.<\/dialogue>\n    <character>ELISE<\/character>\n    <dialogue>No, that's fine, gentlemen.<\/dialogue>\n    <scene_description>She stares up at the ceiling, as if seeing something they can't.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>I don't think bad wiring is the problem here.<\/dialogue>\n    <scene_description>She drifts over to the bookshelf, her hand landing on the stack of photo albums Renai looked through in the opening scene.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>Hmm.<\/dialogue>\n    <scene_description>Renai and Josh exchange a look.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>May I walk through the house?<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Yes. Of course.<\/dialogue>\n    <character>ELISE<\/character>\n    <dialogue>Steven, do you have your sketchbook?<\/dialogue>\n    <scene_description>Specs hurriedly fishes a sketchbook and pencil out of his bag.<\/scene_description>\n    <character>SPECS<\/character>\n    <dialogue>Yes, I do. Yes, I do. Yes, yes. I do.<\/dialogue>\n    <character>ELISE<\/character>\n    <dialogue>Good. We're going to need it.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>What is it for?<\/dialogue>\n    <character>SPECS<\/character>\n    <dialogue>She tells me what she sees and I draw it. It's the most important part of her process.<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>His drawings and my photos comprise her visual records.<\/dialogue>\n    <character>SPECS<\/character>\n    <dialogue>Especially the drawings.<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>That's debatable.<\/dialogue>\n    <character>SPECS<\/character>\n    <dialogue>It's not debatable.<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>It is, but whatever.<\/dialogue>\n    <character>SPECS<\/character>\n    <dialogue>Onwards and upwards. Find me a ghost.<\/dialogue>\n    <scene_description>Elise begins walking through the house. Tucker and Specs trail her and we FOLLOW THEM into the--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR, NEW HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>--hallway. Renai and Josh stay back, sheepish. Elise stalks forward at the front, surveying every nook and cranny of the house. Elise stops suddenly. She is staring straight at a corner of the hallway, next to the grandfather clock.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>ELISE<\/character>\n    <dialogue>There is something here.<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>This is where I saw it.<\/dialogue>\n    <scene_description>Elise calmly mutters something to Specs in a low voice, but we have trouble hearing it - only snatches of key words.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>...long hair...grey dress...her eyes are...<\/dialogue>\n    <scene_description>He immediately starts sketching. His line drawings are fast but detailed. Impressive. He outlines the wall, the ceiling lamp, the grandfather clock. And then something else... Two young women. Standing next to the grandfather clock, dressed in Amish garb. Even in the roughness of the drawing, we can make out their pleading eyes and pale skin. Tucker takes out a camera, snaps some shots. Josh and Renai step forward, seeing the sketch. Elise keeps moving, heading straight for one door in particular. She stops, running her hand over the wood.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>Do I have permission to enter this room?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Go ahead.<\/dialogue>\n    <character>ELISE<\/character>\n    <dialogue>Maybe you could wait back there?<\/dialogue>\n    <scene_description>Josh and Renai hug each other. Tucker lowers the camera. Elise grips the door handle and turns it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DALTON'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>The door groans open. Dalton is lying on his gurney, surrounded by the sluggish drone of hospital equipment. The curtains are drawn and the room is dark. Elise hesitates...then steps inside.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>Leave the lights off.<\/dialogue>\n    <scene_description>Elise steps closer to Dalton. She runs her hands over his prone body. She shivers as she does. A ripple of fear passes through her. Her breath quickens. Slowly...very very slowly ...she gazes up at a corner of the ceiling. Her eyes WIDEN and the look on her face should be ABSOLUTE T E R R O R. Her arm raises up, her finger extending and pointing at the corner she is glaring at.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>What is it? What do you see?<\/dialogue>\n    <scene_description>Elise cups her hand over her mouth and whispers to Specs, keeping her eyes GLUED to the far corner of the ceiling. We cannot hear what she is whispering. Hand shaking, Specs feverishly starts to sketch. We cannot see what he is drawing.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>What do you see?!<\/dialogue>\n    <scene_description>The strokes of Specs' pencil become faster and rougher, keeping up with Elise's whispers. Sweat dots his forehead. Tucker glances at the drawing and steps back instinctively. He holds up his Viewmaster. POV THROUGH VIEWMASTER - we see the far corner of the ceiling change color as Tucker rotates the lenses inside...but nothing out of the ordinary appears. Just a ceiling.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Tell me!<\/dialogue>\n    <scene_description>Suddenly, Renai charges forward, snatching the sketch book. The drawing is of a hideous form - crouched in the corner of the ceiling, staring down at Dalton below. It is the RED- FACED DEMON Lorraine saw earlier. His naked body is charcoal black...whilst also strangely translucent, the veins visible underneath the flesh. A corpulent stomach juts out, as if he were pregnant. Terrified, Renai flicks on the light -- -- revealing nothing but an ordinary ceiling.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, NEW HOUSE - DAY<\/stage_direction>\n    <scene_description>Elise holds court in the living room. Renai and Josh hold each other, struggling to comprehend it all.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>I'm not sure if you are ready to hear this yet...but unfortunately I can't waste any time easing you into it. There is no time left.<\/dialogue>\n    <scene_description>She takes a deep breath, preparing herself.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>I want you to know that this is what I believe and it may contradict a previous medical diagnosis. However, you called me here and I am taking that as an acceptance of my readings.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Go on.<\/dialogue>\n    <character>ELISE<\/character>\n    <dialogue>Your son...is not in a coma. His physical body is here, but his spiritual body is not.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>The reason these disturbances followed you to a new home is because...it is not the house that is haunted. It is your son.<\/dialogue>\n    <scene_description>This is too much for Josh. Renai, however, wants to listen.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>I don't understand...<\/dialogue>\n    <scene_description>Elise considers what she is about to say carefully.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>Have you ever heard of astral projection?<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Out of body experiences?<\/dialogue>\n    <scene_description>Elise nods.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>I call them travellers. These are people with the ability to leave their physical body and travel to different places in an astral form. To some degree, we all have the ability to do it...but most of us subconsciously suppress it or don't know how to access it.<\/dialogue>\n    <scene_description>Josh shakes his head, agitated. Renai leans forward, desperate for an answer to her terror.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>Dalton is...a very accomplished astral projector. He has been since he was very young. He's not afraid of his ability. And that lack of fear has led him to travel too far and become lost...<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Lost? Lost where?<\/dialogue>\n    <scene_description>Elise gazes up at the ceiling, as if looking into another world.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>In The Further.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>ELISE<\/character>\n    <dialogue>The Further is that place beyond our perception, beyond our understanding of the physical world that we can see and touch. It is a place without clocks or measurements, without past or future...an infinite realm that holds all of our dreams...and all of our nightmares.<\/dialogue>\n    <scene_description>She turns to look at them.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>That is where Dalton is.<\/dialogue>\n    <scene_description>Renai cries, unprepared for what she is hearing.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>The problem is that with his astral body gone, he has left a physical body with us. An empty vessel.<\/dialogue>\n    <scene_description>Josh can't meet her gaze.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>And there are entities that know this. They can smell it - the chance to live again. That is why they have gathered around him.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>How many are there?<\/dialogue>\n    <character>ELISE<\/character>\n    <dialogue>There are five benevolent spirits. Five different entities for whom Dalton has become a most prized possession. They are trying to get inside his physical body...and they get closer with each passing day.<\/dialogue>\n    <scene_description>Her words hang in the air like gunsmoke. Pure fear courses through Josh's eyes. He fidgets, agitated.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>Then there are two entities who are...not benevolent. One of them takes the form of a man, the other...<\/dialogue>\n    <scene_description>She holds up the drawing that Specs di.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>They work together, so desperate are they to possess Dalton. They are the closest of all the entities to getting inside him.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I don't want to scare you, but I have never, in all my years of doing this, experienced anything as terrifying as their presence.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Is there a way to bring Dalton back?<\/dialogue>\n    <character>ELISE<\/character>\n    <dialogue>There is something we could try. A way of calling him back. I would need your complete trust.<\/dialogue>\n    <scene_description>Josh can't take it any more. He stands up.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>No. No. This has gone too far.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>You said that you'd give her a chance!<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I have given her a chance, and I did that because I wanted to help you. But I cannot have somebody telling us that the reason our son is in a coma is because his soul is floating off somewhere in another dimension.<\/dialogue>\n    <character>ELISE<\/character>\n    <dialogue>I know this is hard to hear.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>No, it's not fair is what it is. You're preying on people's grief and vulnerability, which is really easy to do in a situation like this.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Why did we go to all the trouble of bringing them here if you're just going to reject what they say?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Because I wanted to help you. To put your mind at ease, and if this helped, then great. But to drag Dalton into this? No.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Josh, you're not being fair...<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Fair? How did the voice of reason become the bad guy here? Don't you see? You want to believe. Of course you do, honey, anybody would.<\/dialogue>\n    <scene_description>The room goes quiet. Josh turns to Elise.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Look, I appreciate what you're trying to do. I really do. But I think it's dangerous to start throwing out false hope like this. I have to put my foot down. My wife is not...mentally well at the moment, and I have to keep at least one of her feet here in the real world.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>You never believed me...<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Honey, I'm on your side. But I genuinely think this is dangerous and frankly, a little exploitative.<\/dialogue>\n    <scene_description>He turns to Elise, Specs and Tucker.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>You come into a home with a seriously ill child, you make a tenuous connection between him and these experiences Renai is having and viola - the client starts crying because they're desperate to believe, the tears validate your power, thank you, that'll be six hundred dollars please.<\/dialogue>\n    <character>SPECS<\/character>\n    <dialogue>We reject more cases than we take. We're not out for money, sir.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I know, I know...look, I appreciate your interest and your time. I do. Thank you. Thank you very much.<\/dialogue>\n    <scene_description>He goes to the front door, opening it.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>I completely understand. And I honestly don't blame you for reacting like this.<\/dialogue>\n    <scene_description>She walks to the door, followed by Specs and Tucker, who sling their bags over their shoulders sheepishly.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>No, please...don't go.<\/dialogue>\n    <character>ELISE<\/character>\n    <dialogue>Thank you for your time.<\/dialogue>\n    <scene_description>They exit. The door closes. They are gone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASTER BEDROOM, NEW HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Renai lies in bed, awake...a broken shell of her former self. A bottle of anti-depressants sits on the bedside table. Josh enters the bedroom. Sits down beside her.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Look at me for a second, honey.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Look at me.<\/dialogue>\n    <scene_description>She doesn't look up.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Did you really believe what she said? In your heart of hearts, did you actually take what she was saying literally?<\/dialogue>\n    <scene_description>A long beat of silence passes.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>I don't know...<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Do you think I don't want to believe in that stuff? Of course I do. It would make life a lot easier if I did. If I believed that some supernatural force was responsible for what's happened to our son...<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>I don't believe anything anymore, Josh. I used to. I used to believe that I could keep my children safe. I used to believe everything would be okay. To believe in something, you have to know it to be true.<\/dialogue>\n    <scene_description>She turns and looks at him.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>The things that have happened to me haven't confirmed any beliefs - they've done the opposite. They've made me question what I believe.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>They've made me realize that maybe we don't know as much as we think we do.<\/dialogue>\n    <scene_description>Josh paces, at his wits end.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>You ask me if I believe what she said to be true and the answer is I don't know. But let me ask you this - in your heart of hearts, can you say for certain that it isn't?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASTER BEDROOM, NEW HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Josh lies beside Renai, who is sleeping. He is wide awake, staring at the ceiling. He gets out of bed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DALTON'S BEDROOM, NEW HOUSE - NIGHT<\/stage_direction>\n    <scene_description>The door opens. All is mute as Josh enters, skulking carefully through the darkness. The curtains lull in the slightest of breezes. Josh stands over Dalton. He stares down at his sons body, then lets his gaze drift around the room...past the CLOSET, past the DRAWINGS pinned to the wall and the TOYBOX...all the way to the CORNER of the ceiling that Elise was so frightened of. Josh's eyes drill into the shadows. Is there something waiting there? Finally, Josh sits down beside Dalton. He grips his sons hand.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Where are you? Where did you go?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Can you hear me? I'm begging you to show me that you can hear me...I don't know how to help you. Please tell me what to do.<\/dialogue>\n    <scene_description>Josh's torment fills the air...but Dalton doesn't move.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Please God, please help me...give me my son back. I will do anything just to have him back.<\/dialogue>\n    <scene_description>Josh studies Dalton's face for a response. Nothing. Not a twitch. He collapses forward onto Dalton. Holding him tight.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>I need him back. I need him to show me that he can hear me. Please...<\/dialogue>\n    <scene_description>For a moment, all we can hear is Josh's breathing. Then...something happens. Something Josh doesn't see. Dalton's face twitches. It is a very slight movement. This movement is followed by something that is hard to miss-- One of the tacks pinning one of Dalton's drawings to the wall begins to wind loose. It pops free, shooting across the room like a kernel of popcorn...followed by another tack. The second tack lands in Josh's lap. Puzzled, he picks it up, examining it. He looks up, his eye drawn to the picture on the wall. With total astonishment, he sees the two remaining tacks works themselves free, popping out of the wall. The drawing floats down to the ground. Josh stoops down, picking it up. It is a drawing split into two halves. The left half is a self portrait of Dalton, lying in bed, looking down from above. The right half is a depiction of outer space - squiggly stars and bloated planets. Dalton has drawn another version of himself on this side, flying above the house with another man. At the bottom of the first drawing, Dalton has written 'Last night I watched myself sleep'. A tear falls down Josh's face. He begins to cry. Deep and painful tears he has long pent up. Beneath the second drawing, Dalton has written 'Then I flew away.'<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASTER BEDROOM, NEW HOUSE - EARLY MORNING<\/stage_direction>\n    <scene_description>Renai's eyes flutter open. She glances over. No one is there.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN, NEW HOUSE - EARLY MORNING<\/stage_direction>\n    <scene_description>Renai shuffles into the kitchen. Josh is sitting at the kitchen table, staring at Dalton's drawing. He hasn't slept and looks it. He looks up at her.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Renai approaches Josh and they hug...holding on for dear life.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW HOUSE - NIGHT<\/stage_direction>\n    <scene_description>The Lambert house is lit from within. Like a Jack-O-Lantern.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DALTON'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Action stations. Tucker sets up two stills camera's around Dalton's room, zipping back and forth between the two tripods. Specs opens up a kit, taking out his notepad and a pencil. A small, circular table has been set up, adjacent to Dalton's bed. Elise sits at the table, flanked on either side by Josh and Renai.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>What's most important is that you realize no two attempts are the same. I will be completely honest with you about the results, and if no dialogue is established, I will tell you. I am not in the business of embellishing success. What happens, happens.<\/dialogue>\n    <scene_description>Josh and Renai nod grimly, truly out of their depth.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>Forget the limits and laws and logic of this world. We are treading in a different place now.<\/dialogue>\n    <scene_description>Tucker finally sets his cameras and takes a seat in the corner, holding up a HAND-HELD VIDEO CAMERA.<\/scene_description>\n    <character>TUCKER<\/character>\n    <dialogue>These still cameras are rigged to pick up changes in the atmosphere, electrical or temperature-wise. Don't be alarmed if they go off.<\/dialogue>\n    <character>ELISE<\/character>\n    <dialogue>Everything I say while I am in tune will be at a very low volume, so you won't hear any of it. Steven will write it down and repeat it for you.<\/dialogue>\n    <scene_description>Specs waits obediently at her side.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>Hold on to each other, and stay focused. You'll see things you don't understand. Confusing things. Do not question them or speak in any way.<\/dialogue>\n    <scene_description>She turns to Specs.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>Dim the lights please.<\/dialogue>\n    <scene_description>Tucker reaches up and dims the lights to a very low level. Elise closes her eyes, concentrating. She relaxes her head, as if meditating, letting it loll on her shoulders. One of the cameras on the tripod goes off, bathing the room in white light for a split second. Elise inhales and exhales deeply, slipping away. Soon, she is very still. Specs nods to Tucker silently, then produces an odd looking device made from GREY CLOTH. It almost resembles a gas mask from World War 1, with a cone shaped muzzle that fits over the mouth and nose. The snout of the facemask is like an elongated elephant trunk, coiling outwards and ending in an old listening device, like an early version of a microphone. Specs slips two hooks over Elise's ears and gently places the device over her nose and mouth. He then takes a seat next to her, behind Renai, who holds Elise's hand. Specs takes out his notepad and fixes a small apparatus around his neck that holds a flashlight in place. He flicks it on, then holds the microphone end of Elise's facemask up to his ear, a pencil gripped in the other hand. Dead silence descends over the group like a blanket. Then, we hear something lilt through the old microphone. It is Elise's muttered whispers. Specs begins writing. Renai opens her eyes to peek at what he is scribbling in cursive. we are calling out to you dalton Renai grips Josh's hand tightly.<\/scene_description>\n    <character>SPECS<\/character>\n    <dialogue>We are calling out to you Dalton.<\/dialogue>\n    <scene_description>tell us that you are safe tell us where you are<\/scene_description>\n    <character>SPECS<\/character>\n    <dialogue>Tell us that you are safe. Tell us where you are.<\/dialogue>\n    <scene_description>For what seems like an eternity, all is quiet and still... ...until Elise's eyelids flutter. Another unintelligible whisper drifts out of the microphone at Specs' ear. He writes. who's there?<\/scene_description>\n    <character>SPECS<\/character>\n    <dialogue>Who's there?<\/dialogue>\n    <scene_description>it is your mother and father we have been looking for you<\/scene_description>\n    <character>SPECS<\/character>\n    <dialogue>It is your mother and father. We have been looking for you.<\/dialogue>\n    <scene_description>Long pause. Specs writes again, more intense this time. i need help i can't see in here<\/scene_description>\n    <character>SPECS<\/character>\n    <dialogue>I need help...I can't see in here.<\/dialogue>\n    <scene_description>follow my voice dalton come back to us<\/scene_description>\n    <character>SPECS<\/character>\n    <dialogue>Follow my voice Dalton. Come back to us.<\/dialogue>\n    <scene_description>Another long pause. A little too long. Why aren't you talking anymore dalton?<\/scene_description>\n    <character>SPECS<\/character>\n    <dialogue>Why aren't you talking anymore Dalton?<\/dialogue>\n    <scene_description>A long beat. Tucker's camera flash goes off again. if they hear me they'll hurt me<\/scene_description>\n    <character>SPECS<\/character>\n    <dialogue>If they hear me, they'll hurt me.<\/dialogue>\n    <scene_description>who will hurt you?<\/scene_description>\n    <character>SPECS<\/character>\n    <dialogue>Who will hurt you?<\/dialogue>\n    <scene_description>the man with fire on his face<\/scene_description>\n    <character>SPECS<\/character>\n    <dialogue>The man with fire on his face.<\/dialogue>\n    <scene_description>can you find your way back to us?<\/scene_description>\n    <character>SPECS<\/character>\n    <dialogue>Can you find your way back to us?<\/dialogue>\n    <scene_description>there is no way out<\/scene_description>\n    <character>SPECS<\/character>\n    <dialogue>There is no way out.<\/dialogue>\n    <scene_description>follow my voice dalton<\/scene_description>\n    <character>SPECS<\/character>\n    <dialogue>Follow my voice Dalton.<\/dialogue>\n    <scene_description>be quiet they'll hear you<\/scene_description>\n    <character>SPECS<\/character>\n    <dialogue>Be quiet, they'll hear you.<\/dialogue>\n    <scene_description>they won't hear you just follow my voice<\/scene_description>\n    <character>SPECS<\/character>\n    <dialogue>They won't hear you, just follow my voice.<\/dialogue>\n    <scene_description>they are coming they heard you help me helpme mom and dad please save me please come and get mepleasecomeandgetmecome Elise's head TWITCHES as Specs' writes furiously, trying to keep up. His pencil finally SNAPS. He snatches up another. dalton are you there? dalton? An agonizing ocean of silence...then this furious scrawl: listen to me you filthy whore he isnt here you should not have come here you fucking bitch i will rip your cunt apart and eat the fucking innards that spill forth from it i haveseenyouiknowwhoyouarebutyouandthe Specs writing begins to SHRED the paper as he writes furiously, the scrawl getting out of control. Sweat flies from his forehead as he struggles to get it all down. Suddenly a PIERCING SCREAM blasts through the microphone and he jerks it away from his ear - then looks over at Elise. With UTTER DREAD, he sees that she is NO LONGER WEARING THE MASK. She has taken it off and is panting heavily. The scream continues through the mic, audible to everyone...then peters out. Shocked silence follows. Josh glances over at Dalton's bed. He is not in it. Stunned, Josh turns back to the table-- --TO SEE DALTON SITTING NEXT TO HIM. STARING AT HIM. His heart leaps out of his skin and so does Renai's as they both turn towards Dalton. Their son. Dalton stares at them...not a trace of emotion on his face. Then he reaches up and grips his bottom jaw with both hands, wrenching it downwards with almighty force and BREAKING HIS OWN JAW. Renai SCREAMS into the abyss as Dalton BELLOWS at them, spit flying from his throat, his tongue hanging down over his dislocated jaw. He stamps his foot and the table - and everyone sitting at it, Renai, Josh and Elise - go flying backwards as if pushed by a hurricane, smashing into the wall with crushing power. We realize that Dalton was not sitting at the table, but squatting down awkwardly. Painfully. He stands up, then steps forward. As Josh and Renai watch, his KNEE begins to BEND BACKWARDS, the tendons stretching and snapping, the knee bending in the opposite direction. His other knee follows and he steps forward - both knees bending back. Specs is rigid in his chair, rooted to the spot, notepad still in hand. When he looks up at Dalton, the flashlight under his chin shines in Dalton's eyes. Dalton ROARS and advances forward - SLAPPING Specs with the force of ten men. Specs reels backwards, hitting the wall, smashing his head and crumpling like paper. Elise stands to face Dalton. The CAMERA FLASH goes off again, lighting the darkened room for a split second and showing Elise the lipstick-smeared face of a demon instead of Dalton's face. Tucker SHRINKS BACK as he captures all this with the video camera. Dalton steps forward again and Elise CHARGES at him, grabbing Dalton by the hair.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>Leave this vessel! Leave this vessel!<\/dialogue>\n    <scene_description>Dalton BELLOWS again - a howl so course and ungodly that it seems ripped straight from the bowels of Lucifer himself.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>LEAVE THIS VESSEL!<\/dialogue>\n    <scene_description>Dalton FLIES backwards, hitting the corner of the wall and then CLIMBING IT, arcing his body into the far corner of the ceiling like an expert contortionist. He hisses at them as the CAMERA FLASH fires AGAIN AND AGAIN, showing them split second frames of the red faced CREATURE.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>Leave this earthly body!<\/dialogue>\n    <scene_description>Dalton shrieks again and somehow the force of the cry knocks Elise down. The room begins to shake. Books fly. The closet doors burst open. With terror, Elise looks over and sees several figures peering out from within the closet. Two are the women that Specs' drew. Another is a small man, dressed like a child. They stare out at Elise, their eyes glinting in the dark. Elise turns to see Josh. The camera flash STROBES repeatedly and gives us split-second glimpses of an OLD WOMAN, dressed in Victorian era garb - standing directly behind Josh. And then, with absolute fear, Renai sees the LONG HAIRED MAN standing over her. He SCREAMS at her and pushes her against the wall, licking her. She cries out, terrified. With the spirit world, crashing in around her, Elise pulls herself off the floor and yells again.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>Leave his body!<\/dialogue>\n    <scene_description>Dalton suddenly SPASMS, dropping out of the corner and hitting the floor like a rag doll dropped off a bridge.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>The lights!<\/dialogue>\n    <scene_description>Terrified, Specs' scrambles over to the corner, flicking the light switch. The room is instantly flooded with light. The room has stopped shaking. The screaming has stopped.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Dalton!<\/dialogue>\n    <scene_description>Renai wrenches herself across the carpet and reaches Dalton's limp body.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Dalton! Dalton!<\/dialogue>\n    <scene_description>She listens for breathing. His chest moves. He is still breathing. She holds him and cries. More desperate than ever.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN, NEW HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Tucker, Specs and Elise convene in the kitchen, slumped amongst the boxes for the tech gear. All are in shock.<\/scene_description>\n    <character>SPECS<\/character>\n    <dialogue>I feel like a mountain climber who's been waiting his whole life to climb Everest, and now that I'm standing on the summit, I don't know what to do with myself...<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>I'll tell you what we do with ourselves. We make a short list of our preferred media outlets, that's what.<\/dialogue>\n    <scene_description>He holds up his video camera.<\/scene_description>\n    <character>TUCKER<\/character>\n    <dialogue>Watch this.<\/dialogue>\n    <scene_description>He hits play on a monitor that his video camera is cabled to. Chaotic images of Dalton from the previous scene SPIT to life. BEHIND DALTON, we can just make out the blurry image of the RED-FACED DEMON. Puppeteering Dalton from behind. Controlling his limbs like a human marionette.<\/scene_description>\n    <character>SPECS<\/character>\n    <dialogue>Oh my God...<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>After all the years we've been dining out on morsels like a faucet that turns itself on and off...we finally have some empirical evidence of the real thing. Proof.<\/dialogue>\n    <scene_description>He hits pause on the video, freeze-framing the hellish image.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>Proof? Proof of what? Nine tenths of the world believes that when you die, your soul ascends to sit with God. Would you be telling them something they didn't already know?<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>That is so not the point. This is not about religion. Here we have irrefutable evidence of a paranormal experience. Our job is to share it.<\/dialogue>\n    <character>ELISE<\/character>\n    <dialogue>No, our job is not to alert the press and prove the existence of the 'paranormal', as you call it. I'm not out to prove anything. I've known there was a higher plane ever since I was a little girl and I could play hopscotch with people whose names were inscribed on tombstones. What you call paranormal is a fact of life for me.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Our job is to help people. The least we can do is spare them the indignity of Sixty Minutes.<\/dialogue>\n    <scene_description>She snatches his camera away from him and stands up.<\/scene_description>\n    <character>TUCKER<\/character>\n    <dialogue>Yeah, until they get their book deal...then you'll wish you'd listened.<\/dialogue>\n    <character>ELISE<\/character>\n    <dialogue>No, I won't, Tucker. I'll just be proud of you. You two stared down something that would crush most mortals tonight and you stood tall.<\/dialogue>\n    <scene_description>They manage a smile.<\/scene_description>\n    <character>SPECS<\/character>\n    <dialogue>So what do we do now?<\/dialogue>\n    <character>ELISE<\/character>\n    <dialogue>We answer the door.<\/dialogue>\n    <character>SPECS<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <scene_description>There is a knock at the front door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, NEW HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Josh sits with Renai's head in his lap. She is too traumatized to speak. Rain dribbles down the window pane. Josh gets up when he hears the knock at the door. Elise shuffles over to answer it. She opens the door to reveal Lorraine, wet from the downpour. Elise steps aside and Lorraine walks in, gravely sedate.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Mom...what are you doing here?<\/dialogue>\n    <character>ELISE<\/character>\n    <dialogue>I asked your mother to come over. I called her immediately after...the session. I told her to hurry over.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Why?<\/dialogue>\n    <scene_description>Lorraine's usual strong will has evaporated. She looks to Elise.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>There is something we must talk about. Sit down, Lorraine.<\/dialogue>\n    <scene_description>Lorraine follows orders, easing onto the sofa. Eyes down. Thunder growls in the distance.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>Go on. Tell him.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Tell me what?<\/dialogue>\n    <scene_description>Lorraine swallows and starts talking.<\/scene_description>\n    <character>LORRAINE<\/character>\n    <dialogue>The reason...I knew to call Elise in this situation...the reason I know her so well...is because I called her myself once. Years ago.<\/dialogue>\n    <scene_description>She looks up at Josh.<\/scene_description>\n    <character>LORRAINE<\/character>\n    <dialogue>To help you, Josh.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <scene_description>Lorraine can't go on. Elise steps in.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>It's no accident that your son is such a gifted traveller. The ability was handed down to him.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>By his father.<\/dialogue>\n    <scene_description>FLASHCUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARKENED BEDROOM - NIGHT - FLASHBACK<\/stage_direction>\n    <scene_description>We have returned to the opening scene. We are looking down on a sleeping child. Chest rising and falling with each breath. This is JOSH as a child. We move away from him, exploring the dark room. FLASHCUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, NEW HOUSE - NIGHT - PRESENT<\/stage_direction>\n    <scene_description>Tucker and Specs enter the room, lingering at the back.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>No...I've never...done that before.<\/dialogue>\n    <character>LORRAINE<\/character>\n    <dialogue>When you were about eight...you suffered night terrors. Awful fits of pure fear. You were terrified of an old woman who you said would come to visit you at night.<\/dialogue>\n    <scene_description>FLASHCUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - NIGHT - FLASHBACK<\/stage_direction>\n    <scene_description>Again we return to the opening scene...floating down a long hallway. A window at the end of the hall enlarges as we approach. Someone is standing in front of it. The murky silhouette of the figure turns and walks away. We follow it, tentative. Turning a corner, we see the figure. Standing in a doorway. Now we can make out the edges of the figure. It is an old woman. Hair in a Victorian bun. A corseted dress. IT IS THE SAME OLD WOMAN THAT ELISE SAW.<\/scene_description>\n    <character>OLD WOMAN<\/character>\n    <dialogue>Let me in.<\/dialogue>\n    <scene_description>FLASHCUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, NEW HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Lorraine closes her eyes, struggling to go on.<\/scene_description>\n    <character>LORRAINE<\/character>\n    <dialogue>I dismissed your stories. Told you to grow up.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Then I saw her for myself.<\/dialogue>\n    <scene_description>She looks to Elise, who nods. Hand trembling, Lorraine retrieves a packet from within her coat. The paper is yellowing. Faded. Soaked from the rain. Lorraine hands the packet to Josh, who is dumbfounded. Renai peers over Josh's shoulder, at a Polaroid of a boy, about nine years old, sitting on a couch. Early 70s period. It is a Young Josh. Behind him is the BLURRED OUTLINE OF A FIGURE. Josh runs his finger over the shadow. His heart rate speeds up. An old memory is coming back to him.<\/scene_description>\n    <character>LORRAINE<\/character>\n    <dialogue>At first, I thought it was a camera problem. Then I saw her again.<\/dialogue>\n    <scene_description>Josh flips to the next photo - it is another faded frame of Josh as a youngster. This time he stands in an old kitchen. Once again, there is a figure behind him - clearer this time, but still hidden in silhouette. A step closer to Josh. Josh flips to the next picture. A BLACK AND WHITE shot of himself as a young boy, lying in bed. With dread, Josh sees the unmistakable features of an OLD WOMAN, crouching beside his bed. Staring at him.<\/scene_description>\n    <character>LORRAINE<\/character>\n    <dialogue>In each photo, she got closer and closer to you...<\/dialogue>\n    <scene_description>Josh flips to the next picture - in this one, Young Josh is standing by a car. Behind him, the details of the Old Woman's dress are visible. Her arm is extended...reaching out for Josh's neck. Renai's hand flies to her mouth.<\/scene_description>\n    <character>LORRAINE<\/character>\n    <dialogue>Finally, I was so scared, I called Elise.<\/dialogue>\n    <scene_description>Sweat pours down Josh's brow. He lets the photographs flutter from his fingers, backing away. Fragments of memories rock his entire body.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>I don't...I don't remember any of this...<\/dialogue>\n    <character>ELISE<\/character>\n    <dialogue>You've blocked it out.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But in the back of your mind, you're still afraid of having your picture taken, aren't you?<\/dialogue>\n    <scene_description>Josh grabs the wall, weak at the knees.<\/scene_description>\n    <character>LORRAINE<\/character>\n    <dialogue>I've kept the photos hidden ever since then...until tonight.<\/dialogue>\n    <character>ELISE<\/character>\n    <dialogue>I advised Lorraine to hide them. To stop taking your picture. And to let you forget.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Who is she?<\/dialogue>\n    <character>ELISE<\/character>\n    <dialogue>A parasite. She befriended your astral body, then drew you out into The Further, just as Dalton has been drawn out.<\/dialogue>\n    <character>ELISE<\/character>\n    <dialogue>But she deceived you. All she wanted was an empty vessel. A physical body. Yours.<\/dialogue>\n    <character>LORRAINE<\/character>\n    <dialogue>I'm sorry, Josh.<\/dialogue>\n    <character>ELISE<\/character>\n    <dialogue>I didn't want to make you remember this...I only do it for the sake of your son.<\/dialogue>\n    <scene_description>A quiet descends over them.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>Your son is out there.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And you are the only one who can bring him back.<\/dialogue>\n    <scene_description>Josh looks up at her.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>How long do we have before...that thing...takes him over completely?<\/dialogue>\n    <scene_description>All eyes are on Elise.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>If you cannot reach him tonight, then he is gone forever.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, NEW HOUSE - NIGHT - LATER<\/stage_direction>\n    <scene_description>The lights have been dimmed. Josh sits on a single person lounge chair. Elise sits opposite him. Tucker and Specs set up around her, fixing their cameras in place. Renai leans forward on the couch opposite, chewing her nails to the quick. Lorraine is next to her.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>Remember who you are and why you are traveling. Keep one foot in this world.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Are you ready?<\/dialogue>\n    <scene_description>Josh nods. Renai hugs him and they hold onto it. She whispers to him, staring into his eyes.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>I want you to know something...you have never been less than good enough for me. You've always been perfect for me. You're my best friend...my soulmate. I love you so much.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I love you too. I have since the first time you looked at me. I don't exist without you.<\/dialogue>\n    <scene_description>Elise drifts over to the piano, lifting the METRONOME from it. She sets it down in front of Josh, freeing the weighted swing- arm so it moves back and forth. TICK...TICK...TICK.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>Close your eyes, Josh...and relax. Breathe deeply. Let all life around you fade out into the background...until the only thing you can hear is the ticking of the metronome.<\/dialogue>\n    <scene_description>We PUSH IN on Josh, inhaling and exhaling. TICK...TICK...TICK.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>Focus on a spot in the center of your forehead. Feel that spot getting further away as you drift off to sleep.<\/dialogue>\n    <scene_description>We are now in an ECU of Josh. TICK...TICK...TICK.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>I want you to relax your physical body and let the astral body gain strength...feel it rising out of your chest.<\/dialogue>\n    <scene_description>Renai watches, literally and figuratively on the edge of her seat. Tucker and Specs take notes from the corner. Josh breathes deeply. Eyes shut tightly.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>Detach yourself.<\/dialogue>\n    <scene_description>Josh's eyes open suddenly and he stands up, frustrated, marching across the living room.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>This is useless...I have no idea what I'm doing and you just suddenly expect me to...<\/dialogue>\n    <scene_description>He turns around and stops dead. His words trail off. HE IS LOOKING AT HIMSELF. He sees his own body, sitting in the armchair, eyes closed. Elise is sitting opposite, with her back to the Josh who is now standing. The living room is exactly as it was - only Renai, Lorraine, Tucker and Specs have disappeared. They are nowhere to be seen. Stunned into mute shock, Josh stares at his own body in the armchair. Slowly, Elise turns her head away from the Josh in the chair, staring eerily into the standing Josh's eyes. She can see him.<\/scene_description>\n    <character>ELISE<\/character>\n    <parenthetical>(softly)<\/parenthetical>\n    <dialogue>Now you are free.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Keep your guide, and a steady stride...and into The Further you go.<\/dialogue>\n    <scene_description>She turns back to the Josh in the chair. The room seems to have darkened even more somehow. Josh turns and glares into the darkness of his hallway as it yawns outwards, eventually swallowed by complete blackness. He is not in another world. He is in his own house. NOTE - The following scenes are not going to be \"movie quiet\". They will be inhumanly quiet. There will no score. Only sound scape. This is another world and should feel so. Josh moves forward, gliding down the hall slowly. He looks down and sees that his feet are slighty raised off the ground. He is floating. He moves into the darkness of the hall...past the bedroom doors and closet doors. As he floats past, he scans every darkened corner for the slightest trace of movement. He reaches the front door. He moves towards it and as he does it OPENS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE FURTHER - NOT NIGHT OR DAY, BUT DARK<\/stage_direction>\n    <scene_description>His street beckons beyond the door. Josh floats across his lawn. There are no people or cars on the street...it is as desolate as a post-apocalyptic wasteland. A total absence of LIFE. Some lights flicker from within the houses, but no movement or signs of human forms. Only mist. Josh floats an inch above the road, moving down the street. One thing to notice is that there is a total lack of horizon or city scape here...Josh's immediate surroundings are visible for about one hundred yards or so...anything beyond that, in any direction, fades into blackness. As if someone were shining a giant spotlight down on him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, NEW HOUSE - NIGHT - OUR WORLD<\/stage_direction>\n    <scene_description>Renai watches Josh. He is completely still...in a trance. His eyelids flutter as his eyeballs probe in all directions underneath.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>He's in...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE FURTHER - NIGHT<\/stage_direction>\n    <scene_description>Josh keeps moving, his fear registering, even in this world. He looks down at his feet. He is frustrated that he can't move any faster. He concentrates with fierce intensity-- --and then watches as his feet touch the ground. He is walking. He starts to move faster, gaining control of his movement.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Dalton?<\/dialogue>\n    <scene_description>The sound of his voice is strangely dead - as if he were inside a soundproof recording studio. There are no walls or angles for it to bounce off.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Dalton? Where are you?<\/dialogue>\n    <scene_description>For a long time, there is nothing...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>..then he sees it.<\/stage_direction>\n    <scene_description>A figure...shrouded in shadow. Standing on the street corner with his back to Josh. Josh moves towards the figure. Closer. Closer. The man abruptly turns the corner without looking back. Josh glances around the corner. There is nobody there. He continues down the street. He sees a little girl. Far in the distance, but close enough to focus on. She stands and stares...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..then turns and walks away. Gone...like an apparition.<\/stage_direction>\n    <scene_description>He looks to his right and sees-- --A SHADOW. Behind a curtain in one of the windows, back lit by candle light. As with the others, the shadow turns away and disappears. Josh walks towards the front door of the house. He reaches it and turns the handle.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - THE FURTHER - CONTINUOUS<\/stage_direction>\n    <scene_description>A long corridor beckons. As with all of this world, it is dark here. Josh walks into the corridor, looking to his left and right into empty rooms. Living rooms and bedrooms. Devoid of life. The colors are muted...the palate drained. Only REDS and BLACKS pop out. Blood and darkness. Josh keeps moving down the corridor. Up ahead, he sees a figure run past the top of the hall, ignoring Josh. He presses forward, following the figure.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Dalton?<\/dialogue>\n    <scene_description>He glances into an empty kitchen. Food rots on the table. His footsteps have no sound as he continues on.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Dalton?<\/dialogue>\n    <scene_description>He passes a door that is partly open. He pushes it wide open.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMALL ROOM, THE FURTHER - CONTINUOUS<\/stage_direction>\n    <scene_description>The room is small and empty. A strange room...like a stage. A figure is sitting in the corner, facing the wall like a child being punished at school. Josh steps closer, cautious. Takes another step.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Where is Dalton?<\/dialogue>\n    <scene_description>He steps closer yet again. His hand reaches out to touch the figures back... ...his fingers are almost grazing the figures shoulder. Soft laughter behind him. Josh glances back to look for the source. When he turns back, the FIGURE IS GONE. He wheels around, seeing the small-statured figure of the DWARF that Renai encountered, stepping through the door of the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR, THE FURTHER - CONTINUOUS<\/stage_direction>\n    <scene_description>Josh sidles back into the corridor. His pace is sluggish, dream-like. Frustrated, he stops. Then turns to his left. SOMEONE IS RIGHT THERE IN HIS FACE. A MAN. The man is not looking at him...only standing very close. His neck lolls on his shoulders...around and around. He seems stuck on a loop. He is dressed in a fifties era suit.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Do you know where Dalton is?<\/dialogue>\n    <scene_description>The man doesn't acknowledge him.<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>Why do I have to put up with you? What a tramp. You call this a home? I work all day for this?<\/dialogue>\n    <scene_description>He marches away, leaving Josh standing alone. Josh keeps going, whirling around. He reaches a set of stairs. The stairs descend into darkness. Josh squints into the dark, afraid.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Dalton? Where are you?<\/dialogue>\n    <scene_description>The low rumble of this place is the only reply. Josh turns to walk away. A distant voice stops him.<\/scene_description>\n    <character>DALTON (O.S.)<\/character>\n    <dialogue>Dad...<\/dialogue>\n    <scene_description>Josh SNAPS back. The voice drifted from out of the darkness at the bottom of the stairs. Josh scurries down the creaky ramp towards it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY, THE FURTHER - CONTINUOUS<\/stage_direction>\n    <scene_description>The core of a rotten apple. The bowels of hell. Drenched in shadow, Josh fumbles forward into yet another corridor of this labyrinth. He realizes he knows where he is. He is in his OLD HOUSE. An alternate world version of it. The lighting is different - it's darker. There are no signs of life. Water drips somewhere. Josh stumbles forward, seeing an open door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, THE FURTHER - CONTINUOUS<\/stage_direction>\n    <scene_description>Josh slinks into a darkened and dilapidated living room. There are THREE PEOPLE in here - a middle aged woman, a middle aged man and a young girl. They are all FROZEN, standing in place as if someone had hit the pause button on their life. The woman is in the middle of ironing. The man is sitting in an arm chair reading a newspaper. The girl is lying on the floor. The whole scene looks like a macabre 'Leave It To Beaver' tableau - a cheerful family frozen in time. Josh steps closer to the mother... ...hairs prickling up on his neck when he sees her BLINK. Her body moves slightly. She is not frozen - merely playing statues. Like a street performer keeping as still as possible. Josh turns to the father. He is the same. His hand shakes, struggling to hold the newspaper in place. He backs away from them, truly creeped out. His back hits a window and he turns, peering through the glass down at the street below. A figure, hidden in silhouette, is gazing up at him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN, THE FURTHER - CONTINUOUS<\/stage_direction>\n    <scene_description>Josh stalks into a kitchen off the living room. A weathered door is adjacent to the kitchen. The door is ajar. Through it, Josh can see somebodies leg. Josh approaches the door, prodding it open gently with his finger. It is a bedroom. A tattered cot sits against the wall. A YOUNG MAN (17) sits on the cot, holding a rifle. Like the others, he is trying to be completely still, as if on pause. He is having more trouble than the family, trembling slightly.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>I'm looking for my son, Dalton.<\/dialogue>\n    <scene_description>The boy does not look up. Does not move. Josh retreats, scanning the kitchen. There are soiled pots in the sink. Rotting food, but no bugs. Josh turns the faucet but no water comes forth. When he turns back, the YOUNG MAN is gone. No longer in his bedroom. Josh glances back at the living room. The Young Man is now standing inside the living room. Again, he is frozen. Holding his rifle. Looking down at his family, who are now splayed out on the carpet, soaked in BLOOD. Each of them has a bullet hole in their head. Repulsed, Josh tip-toes past them. He looks down at the mother - a bullet wound in the center of her chest. She blinks...still playing dead.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR, THE FURTHER - CONTINUOUS<\/stage_direction>\n    <scene_description>More corridors disappearing into darkness. Josh wrenches his hair in frustration. He boils over, screaming at the top of his lungs.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>DALTON!!!! WHERE ARE YOU?!!!<\/dialogue>\n    <scene_description>His cry recedes into nothingness.<\/scene_description>\n    <character>DALTON (O.S.)<\/character>\n    <dialogue>Dad....<\/dialogue>\n    <scene_description>He heard that. Excited, he spins around, trying to determine where it came from. As he does, he sees that the entire dead family is now gathered at the door to the living room. Watching him. He summons all his strength and starts running, backing away from them. He drives himself to move faster and faster.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>DALTON!<\/dialogue>\n    <character>DALTON (O.S.)<\/character>\n    <dialogue>Dad...help me...<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>DALTON!!<\/dialogue>\n    <scene_description>A figure suddenly appears at the end of the hallway. It is the LONG HAIRED MAN IN THE GREY JACKET. The man who terrorized Renai.<\/scene_description>\n    <character>LONG HAIRED MAN<\/character>\n    <dialogue>I hear you...<\/dialogue>\n    <scene_description>He approaches.<\/scene_description>\n    <character>LONG HAIRED MAN<\/character>\n    <dialogue>I hear you, but you don't know what you've done.<\/dialogue>\n    <scene_description>He licks his lips.<\/scene_description>\n    <character>LONG HAIRED MAN<\/character>\n    <dialogue>There is a place that you can't go to and this is that place.<\/dialogue>\n    <scene_description>He is only a few yards from Josh now. He SCREAMS with awesome power, his spit flying.<\/scene_description>\n    <character>LONG HAIRED MAN<\/character>\n    <dialogue>YOU MADE A MISTAKE!! I'M GOING TO<\/dialogue>\n    <character>MAKE SUFFERING A FUCKING BLESSING<\/character>\n    <dialogue>FOR YOU! I'M GOING TO RIP YOU APART<\/dialogue>\n    <character>YOU CUNT!!<\/character>\n    <dialogue>He CHARGES at Josh, screaming with hellfire fury.<\/dialogue>\n    <dialogue>Josh recoils, falling onto the floor, screaming.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, NEW HOUSE - NIGHT - OUR WORLD<\/stage_direction>\n    <scene_description>Josh's body JOLTS in the chair and he makes a noise somewhere between a scream and a moan.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>What's happening to him?!<\/dialogue>\n    <scene_description>Elise leans in, attempting to communicate with Josh.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>You're stronger then they are, Josh. You are a living soul!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR, THE FURTHER<\/stage_direction>\n    <scene_description>Josh struggles. The Long Haired Man attacks him viciously. Then something changes in Josh - he gets angry.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Get...off..me!<\/dialogue>\n    <scene_description>He shoves the Long Haired Man back, pounding into him with the strength of TEN MEN.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Get away from me! Leave now!<\/dialogue>\n    <scene_description>Frightened, the Long Haired Man retreats, backing away until he is swallowed up by the blackness.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Dalton!!<\/dialogue>\n    <character>DALTON (O.S.)<\/character>\n    <parenthetical>(still distant)<\/parenthetical>\n    <dialogue>I'm here...<\/dialogue>\n    <scene_description>Josh follows the voice to another stairwell in this Escher- like maze of passageways.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Dalton!<\/dialogue>\n    <character>DALTON (O.S.)<\/character>\n    <dialogue>Here...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BALLROOM, THE FURTHER - CONTINUOUS<\/stage_direction>\n    <scene_description>From darkness into baroque extravagance. Josh finds himself in a gilded chamber of long neglected opulence...as if a palace had been stormed, the occupants murdered and the place left to rot. Mold caked pillars support a ceiling of gold flakes, the rest having rotted way. Mirrors line the walls, their surface too clouded to see into.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Dalton...?<\/dialogue>\n    <scene_description>He weaves between pillars, finally coming across a figure, slumped on the floor in the corner like a dog. It is Dalton. Josh runs to him. His foot is chained to a PIPE behind him, the clamp binding his right ankle. He looks pale and sick. He looks like one of them.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>I'm taking you back.<\/dialogue>\n    <scene_description>He sees that Dalton is terrified. Looking over Josh's shoulder.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <scene_description>He glances back, spotting an open door at the end of the ballroom, light spilling from within it. There is somebody inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAKE-UP ROOM, THE FURTHER - CONTINUOUS<\/stage_direction>\n    <scene_description>A grotesque form sits in front of an immense gold-rimmed mirror at a baroque powder table. It is the RED-FACED creature seen by Elise. The creature daubs RED LIPSTICK onto its face, arching forward, glaring into the mirror, caking the make-up on. The room is littered with hundreds of discarded CHILDREN'S TOYS - teddy bears, stuffed animals, dolls (including one white-faced, black-haired doll we recognize). They are scattered about like bones, collecting dust in the shadows. Suddenly the creature stops what it is doing. It sees something in the mirror. What it sees is Josh.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BALLROOM, THE FURTHER - CONTINUOUS<\/stage_direction>\n    <scene_description>With horror, Josh watches as the Red-Faced Man stands up and staggers to the door, peering through the crack at him. Josh wrestles to free Dalton's leg from the chain. No good. Behind them the Red Faced Man opens the door. A rage unknown to humans is building up inside the creature. He hisses.<\/scene_description>\n    <character>DALTON<\/character>\n    <dialogue>Help me, dad...take this off me...<\/dialogue>\n    <scene_description>The creature steps closer. Taking his time. Drool seeping from his mouth with each drunken, wayward lope.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>You're not really here. You're asleep in your bed in our home. Just stand up.<\/dialogue>\n    <character>DALTON<\/character>\n    <dialogue>He's going to hurt me again...<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>This isn't real. You can do this.<\/dialogue>\n    <character>DALTON<\/character>\n    <dialogue>He's coming!<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Just stand up!<\/dialogue>\n    <scene_description>Dalton does - and suddenly finds that the chain is no longer attached to his foot. The Red Faced Man ROARS and the power of his breath sends them FLYING BACK.<\/scene_description>\n    <character>RED-FACED MAN<\/character>\n    <dialogue>This...issssss....real!<\/dialogue>\n    <scene_description>Josh smashes his head on a pillar, blood leaking from his head. The power of this demon far outweighs the others.<\/scene_description>\n    <character>RED-FACED MAN<\/character>\n    <dialogue>That...issss...my....boy!<\/dialogue>\n    <scene_description>Josh scrambles to his feet and snatches up Dalton, carrying him to the door as the Red Faced Man pursues.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, NEW HOUSE - NIGHT - OUR WORLD<\/stage_direction>\n    <scene_description>Josh convulses in the chair, choking.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Help him!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR, THE FURTHER<\/stage_direction>\n    <scene_description>Josh surges down a corridor, carrying Dalton. The Red-Faced Man hobbles up behind them, his rasping wheeze growing in volume.<\/scene_description>\n    <character>RED-FACED MAN<\/character>\n    <dialogue>You're here now! With ussss!<\/dialogue>\n    <scene_description>Josh stampedes through the front door of the house - but instead of the street, he is facing another corridor. They spill into the second corridor, running again, racing past rows and rows of doors.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, NEW HOUSE - NIGHT - OUR WORLD<\/stage_direction>\n    <scene_description>Josh twitches in his chair, sweat beading on his forehead.<\/scene_description>\n    <character>JOSH<\/character>\n    <parenthetical>(moaning)<\/parenthetical>\n    <dialogue>....ome....onnnnn...<\/dialogue>\n    <scene_description>Elise paces in front of him.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>They've made contact. I know it. He's found your son.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>What happens now?<\/dialogue>\n    <character>ELISE<\/character>\n    <dialogue>We need them to come back. We need him to find us.<\/dialogue>\n    <scene_description>Tucker's equipment begins to shake on the table. The hanging light above them quivers as if an earthquake were rattling it. A force is building in the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR, THE FURTHER<\/stage_direction>\n    <scene_description>As Josh and Dalton streak down the corridor, each door opens and a different figure staggers out. Grotesque figures...the solemn dead. Pale skin, hollow eyes. Their dead eyes drill into Josh's soul. They want what he has - life. They begin running - chasing Josh. Dozens of them. Josh stops, seeing that the corridor seemingly has NO END. He yells in frustration.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>I want to get out!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, NEW HOUSE - NIGHT - OUR WORLD<\/stage_direction>\n    <scene_description>Josh's body SHUDDERS, the cry escaping his lips.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>....eeeeet out!<\/dialogue>\n    <scene_description>The room trembles again. Elise looks to Renai.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>Call out to him!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR, THE FURTHER<\/stage_direction>\n    <scene_description>Josh whips around, desperate.<\/scene_description>\n    <character>DALTON<\/character>\n    <dialogue>Listen!<\/dialogue>\n    <scene_description>Josh follows the order - and hears it. A faint shout. A siren call from another world.<\/scene_description>\n    <character>RENAI (V.O.)<\/character>\n    <parenthetical>(distant)<\/parenthetical>\n    <dialogue>Josh, follow my voice...<\/dialogue>\n    <scene_description>The voice seems to come from behind the door in front of Josh. He shoves it open--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, NEW HOUSE - NIGHT - OUR WORLD<\/stage_direction>\n    <scene_description>Renai glares at Josh's eyelids...as if he can see her through them.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Follow my voice. Come back to us.<\/dialogue>\n    <scene_description>The room stops trembling. All is very still. For a moment, it is as if time has stopped. Nuclear silence. Then...a drawer slides open in the corner of the room. Lorraine and Renai gasp at this supernatural interruption. Specs clambers to his feet, approaching the drawer. It contains a note pad and nothing else. He reaches out to close it...and then JOLTS as a HAND reaches out from within it! He FLAILS backwards in fright, watching as the hand wrenches a mop of hair into view. A FULL GROWN BODY BEGINS TO CLAW its way out of the drawer!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DALTON'S BEDROOM, NEW HOUSE - SAME TIME<\/stage_direction>\n    <scene_description>Drawers in Dalton's room slide open in unison. Then cabinets. The closet BURSTS open. Pale adult bodies begin to claw their way out of the different doors, undulating out of impossibly small spaces and falling onto the floor like limbless insects. Cracks are opening in our world and the miserable dead are slithering through the fissures.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN, NEW HOUSE - SAME TIME<\/stage_direction>\n    <scene_description>More doors shoot open - cabinets, closets, the pantry. Forced by unseen hands. More hideous forms wrench themselves out into our world.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR, THE FURTHER<\/stage_direction>\n    <scene_description>Josh is exhausted, pushing himself to the limits. He hears the voice again - distant and small. An echo.<\/scene_description>\n    <character>RENAI (V.O.)<\/character>\n    <dialogue>Find us...<\/dialogue>\n    <scene_description>Josh follows the voice to a door. He staggers towards it, still supporting Dalton. He slams the door open, falling through it into--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT, LAMBERT HOME, THE FURTHER<\/stage_direction>\n    <scene_description>-- the empty basement. He is in the basement of his old house. The wooden steps beckon above him. Renai's voice cries out from behind the door at the top of the stairs.<\/scene_description>\n    <character>RENAI (V.O.)<\/character>\n    <dialogue>Hurry! Come back to us!<\/dialogue>\n    <character>DALTON<\/character>\n    <dialogue>Put me down, I can run!<\/dialogue>\n    <scene_description>Josh sets Dalton down, who scampers up the stairs. Josh is about to follow when he turns and spies a familiar face. THE OLD WOMAN. She leers at Josh through the window of the basement, her visage spookily flecked in candlelight. Josh is transfixed.<\/scene_description>\n    <character>DALTON<\/character>\n    <dialogue>Come on, dad! Come on!<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Go! I'm right behind you!<\/dialogue>\n    <scene_description>Dalton charges ahead as Josh glares back at this face from his past.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>You...what do you want from me?<\/dialogue>\n    <scene_description>The old woman's eerily unblinking gaze cuts through Josh. A long dormant rage BOILS OVER inside him. He approaches the window, vomiting fury at her.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Get the fuck away from me! I'm not scared of you, just leave me alone! Get away from me!<\/dialogue>\n    <scene_description>The old woman's lips protract to unveil a yellow graveyard of molars. A smile to buckle the steeliest nerve. She raises a lit candle to her lips. She snuffs out the plume with a single puff...plunging the basement into darkness.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, NEW HOUSE - SAME TIME<\/stage_direction>\n    <scene_description>Specs staggers back as the skeletal figures emerging from the cabinets ambulate into the living room, surrounding Josh.<\/scene_description>\n    <character>RENAI<\/character>\n    <parenthetical>(to Josh)<\/parenthetical>\n    <dialogue>Find us!<\/dialogue>\n    <character>ELISE<\/character>\n    <parenthetical>(to Specs)<\/parenthetical>\n    <dialogue>Check on the boy!<\/dialogue>\n    <scene_description>Specs sprints out of the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR, LAMBERT HOME, THE FURTHER<\/stage_direction>\n    <scene_description>We are now locked into a POV shot, pushing down the corridor of the Lambert's NEW HOUSE. The scene of the trance. Our POV is bee-lining for Dalton's bedroom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT, LAMBERT HOME, THE FURTHER<\/stage_direction>\n    <scene_description>In another POV shot, we SURGE up the basement stairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR, NEW HOUSE, THE FURTHER<\/stage_direction>\n    <scene_description>Our POV is only a few yards from Dalton's bedroom door. The Red-Faced Man appears at the opposite end of the hall. Malevolent. Cruel. He SCREAMS and flits towards us. The POV keeps going, hitting the bedroom door and FLINGING IT OPEN - seeing DALTON'S BODY sleeping inside. We SOAR towards it, getting closer--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DALTON'S BEDROOM, NEW HOUSE - NIGHT - OUR WORLD<\/stage_direction>\n    <scene_description>Specs stands over Dalton's body. SUDDENLY - Dalton shudders, his legs spasm. His eyes FLICK open and he SUCKS IN A HUGE BREATH.<\/scene_description>\n    <character>SPECS<\/character>\n    <dialogue>He's awake!<\/dialogue>\n    <scene_description>Dalton sits up, panting. Renai charges into the room. He looks at her, registering her appearance.<\/scene_description>\n    <character>DALTON<\/character>\n    <dialogue>Mom...<\/dialogue>\n    <scene_description>Renai literally throws herself at him, wrapping her arms around his body. No words can express. Renai scoops him up, carrying him out of the bedroom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR, NEW HOUSE, THE FURTHER<\/stage_direction>\n    <scene_description>The second POV whooshes down the corridor, zeroing in on the living room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, NEW HOUSE - NIGHT - CONTINUOUS<\/stage_direction>\n    <scene_description>A scene of desperation. Elise leans into Josh's face. The living room is now filled with the CREEPING FORMS of the souls who crawled out from within the drawers. All of them marching towards Josh.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>Find me, Josh! Now! Wake up!<\/dialogue>\n    <scene_description>The closest entity reaches out with gnarled fingers and is almost touching Josh--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, NEW HOUSE, THE FURTHER<\/stage_direction>\n    <scene_description>The POV shoots towards Josh's body, seconds away--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, NEW HOUSE - SAME TIME<\/stage_direction>\n    <scene_description>Josh's eyes BURST OPEN and he inhales a chest full of air, as if emerging from deep water. He falls forward, his strength gone.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Josh? Josh?<\/dialogue>\n    <scene_description>He pants on the floor, barely able to speak.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Dalton...?<\/dialogue>\n    <scene_description>Dalton and Renai pounce on him. Josh holds onto Dalton like he's a life preserver, and in a way, for Josh, he is. He laughs, inhaling deeply. Specs, Elise and Tucker approach. Renai sees them and stands up, tearful. She is lost for words.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>I don't know what to say...<\/dialogue>\n    <scene_description>She rushes forward and hugs all three of them.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>Well put.<\/dialogue>\n    <scene_description>Josh brings Lorraine in they all embrace in a circle. A group hug for the ages.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Now this is worth dying for.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW HOUSE - NIGHT<\/stage_direction>\n    <scene_description>It's over. Specs and Tucker haul a large tripod case to their van, heaving it into the back. They stand in awkward silence. It's been a long day.<\/scene_description>\n    <character>TUCKER<\/character>\n    <dialogue>I guess you did some pretty awesome stuff in there. You deserve some credit.<\/dialogue>\n    <character>SPECS<\/character>\n    <dialogue>You did good too in an assistant- type way.<\/dialogue>\n    <scene_description>Tucker can't hold his stoic pose any longer. He breaks out laughing, followed quickly by Specs.<\/scene_description>\n    <character>TUCKER<\/character>\n    <dialogue>Thanks, boss.<\/dialogue>\n    <scene_description>They shake hands.<\/scene_description>\n    <character>TUCKER<\/character>\n    <dialogue>Dude, I got some amazing shots. We are gonna write a book and my shots are gonna be the main selling point.<\/dialogue>\n    <character>SPECS<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Not the main selling point, but definitely important, for sure.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASTER BEDROOM, NEW HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Renai lie with Dalton on her bed.<\/scene_description>\n    <character>DALTON<\/character>\n    <dialogue>I'm tired.<\/dialogue>\n    <character>RENAI<\/character>\n    <dialogue>Too bad. I'm never letting you go to sleep again.<\/dialogue>\n    <scene_description>She runs her fingers through his hair.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Did you know we'd come and find you?<\/dialogue>\n    <scene_description>Dalton nods.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Whenever you're lost...we'll always come and find you.<\/dialogue>\n    <scene_description>They hug.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, NEW HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Josh wanders out of the kitchen, examining the house as if seeing it for the first time. He is smiling...happier than we have ever seen him. Elise sits on the couch amongst the remains of Tucker's paraphernalia of the paranormal. Josh approaches her, standing over her.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>You introduced me to a new world.<\/dialogue>\n    <character>ELISE<\/character>\n    <dialogue>No. You've been there before, remember? And you'll go back.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>All of us will...eventually.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Maybe I can forget again.<\/dialogue>\n    <scene_description>He reaches into his jacket, taking out the eerie photos Lorraine gave him of himself as a child.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>I'll start by giving these back.<\/dialogue>\n    <scene_description>As he hands them to Elise, she sees with fear that his hand is withered and wrinkled. Like the hand of an eighty year old woman. Shocked, she looks up at his face.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>What's wrong?<\/dialogue>\n    <scene_description>Elise stands. She looks haunted. Her eyes wide and unnerved.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>Nothing, I...<\/dialogue>\n    <scene_description>She turns away, reaching for something.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>What's the matter, Elise?<\/dialogue>\n    <scene_description>She spins around and lifts Tucker's camera up to her face, aiming it at him. She depresses the trigger and takes a photo of him, bathing the whole corridor in white light. Josh recoils back in shock. Elise lowers the camera. She is terrified. Josh suddenly LUNGES at her, slapping the camera out of her hands.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Why the fuck would you do that? Why would you do that? Why?!<\/dialogue>\n    <scene_description>He SLAMS her against the wall, his hands around her throat. Elise chokes in terror, terrified of him.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>You of all people! You know! Why would you do that to me when you know what you know? You bitch!<\/dialogue>\n    <scene_description>He abruptly stops attacking her, staggering backwards, examining his hands as if he can't believe what he's done. Seething with fury. Panting. Elise collapses, catching her breath. Josh swipes a framed photo off the wall and storms away, heading down the corridor... ...swallowed up by the darkness.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASTER BEDROOM, NEW HOUSE - SAME TIME<\/stage_direction>\n    <scene_description>Renai furrows her brow.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>What was that?<\/dialogue>\n    <parenthetical>(beat; to Dalton)<\/parenthetical>\n    <dialogue>Stay here.<\/dialogue>\n    <scene_description>She gets up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, NEW HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Renai jogs into the living room. Sees Elise lying on the floor.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Elise, what was that noise?<\/dialogue>\n    <scene_description>Elise simply looks up at her. The utter terror on her face is palpable. Her neck is bleeding from scratch marks.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Jesus...what happened to you?<\/dialogue>\n    <scene_description>Elise just stares, unable to speak. Her fear is contagious.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Where's Josh?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Josh? Josh?!<\/dialogue>\n    <scene_description>She turns and runs into the corridor, flicking on the lights. There is nobody there.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR, NEW HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Renai dashes from room to room in the hallway, pitching each door open. Each room is empty. Josh is nowhere to be found.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, NEW HOUSE - SAME TIME<\/stage_direction>\n    <scene_description>Elise stares at Tucker's camera in a state of catatonic dread. Renai backs into the room, her own fear rising in her gut. She leans down and grabs Elise by the shoulders.<\/scene_description>\n    <character>RENAI<\/character>\n    <dialogue>Elise, what happened? You're scaring me, tell me where Josh is?<\/dialogue>\n    <scene_description>Elise finally looks up at her. Seeing the \"expert\" so afraid unnerves Renai. When the lion-tamer drops his whip and runs, you know the lion is vicious. Elise opens her mouth to speak...but nothing comes out. Instead, she simply holds up the camera, showing Renai the digital display of the photo she took. We do not see it. We simply see the look of horror on Renai's face. FLASHCUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, NEW HOUSE - NIGHT - FLASHBACK<\/stage_direction>\n    <scene_description>We have returned to the previous scene - only now we are seeing it through Elise's eyes. Elise is sitting on the couch, alone. Trying to recover from the nights events. She glances up when Josh approaches her.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>You introduced me to a new world.<\/dialogue>\n    <character>ELISE<\/character>\n    <dialogue>No. You've been there before, remember? And you'll go back.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>All of us will...eventually.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Maybe I can forget again.<\/dialogue>\n    <scene_description>Once again, we see him reach into his jacket, taking out the photos Lorraine gave him.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>I'll start by giving these back.<\/dialogue>\n    <scene_description>As he hands them to Elise, she sees with fear that his hand is withered and wrinkled. Shocked, she looks up at his face.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>What's wrong?<\/dialogue>\n    <scene_description>Elise stands up, not knowing how to react.<\/scene_description>\n    <character>ELISE<\/character>\n    <dialogue>Nothing, I...<\/dialogue>\n    <scene_description>She turns away, reaching for something. We see her scoop up Tucker's digital camera.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>What's the matter, Elise?<\/dialogue>\n    <scene_description>She spins around and lifts Tucker's camera up to her face, aiming it at him. She depresses the trigger and takes a photo of him, bathing the whole corridor in white light. --and in that split second, Josh is replaced by the Old Woman! Elise lowers the camera, horrified. For a beat, the Old Woman just glares at her... ...then she CHARGES at Elise, arms outstretched, wrapping her white hands around the soft flesh of Elise's throat. Elise CHOKES, eyes bulging, spittle flying from her mouth, as the pale hands of the Old Woman dig into her thorax, droplets of blood running down her chest where the yellowing finger- nails have CUT IN to the flesh. The Old Woman smiles - a merciless harlequin grin that mocks Elise's pain. She lets Elise go, letting her drop to the floor. The Old Woman turns and glares down the corridor. Something has caught her attention. A distant scream.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM, NEW HOUSE - NIGHT<\/stage_direction>\n    <scene_description>The door groans open, a blade of light penetrating pitch black darkness. The silhouette of the Old Woman floats ethereally into the bathroom. She steps up to the mirror, then reaches into her tattered Victorian dress and produces a candle. She lights the candle with a match, holding it beneath her chin and glaring into the reflective surface of the mirror. Instead of seeing her own reflection though, she sees THROUGH the mirror as if it were a window. In it, she can see the BASEMENT of the Lambert's previous residence. Josh bursts into the basement, carrying Dalton.<\/scene_description>\n    <character>DALTON<\/character>\n    <dialogue>Put me down, I can run!<\/dialogue>\n    <scene_description>Josh sets Dalton down, who scampers up the stairs. We are watching the same scene we saw earlier play out in the mirror. Josh is about to follow when he turns and spies a familiar face. He looks at the Old Woman...seeing her through the 'window'.<\/scene_description>\n    <character>DALTON<\/character>\n    <dialogue>Come on, dad! Come on!<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Go! I'm right behind you!<\/dialogue>\n    <scene_description>Dalton disappears as Josh glares at the woman.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>You...what do you want from me?<\/dialogue>\n    <scene_description>He approaches the mirror. WE CIRCLE AROUND the Old Woman, past the mirror and THROUGH THE BATHROOM WALL, emerging on the other side in--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT, LAMBERT HOME, INSIDE THE FURTHER<\/stage_direction>\n    <scene_description>--the basement. Josh screams at the Old Woman as she stares at him through what he thinks is a window. THEY HAVE SWAPPED PLACES. He is now in The Further, and she is in our world.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Get away the fuck away from me. I'm not scared of you, just leave me alone! Get away from me!<\/dialogue>\n    <scene_description>We KEEP CIRCLING, wiping past Josh's back and completing a 360 degree turn, THROUGH THE WALL and back into--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM, NEW HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>--our world. The Old Woman smiles at Josh's rage. She finds it amusing. With an eerily unblinking gaze, she snuffs out the plume of flame with a single puff of breath...plunging the bathroom into darkness... ...and snuffing out Josh forever... ...and ever. FADE OUT.:<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Married couple Josh and Renai Lambert have recently moved in to a new home with their sons, Dalton and Foster, and their infant daughter Cali. One evening, Dalton sneaks into the attic, where he encounters a mysterious entity. The next day, he inexplicably slips into a coma. Three months later, with no results at the hospital, Renai and Josh take Dalton back home. The family starts to experience frightening paranormal events, including strange noises and their home security alarm going off on its own repeatedly. Foster also claims he has seen the comatose Dalton walking around the house and Renai finds a bloody handprint on Dalton's bed. Later, Renai begins seeing a fiendish, long-haired apparition that tries to attack her. The Lamberts decide to move, with Renai believing the house to be haunted. However, the supernatural activity continues in their new home when Renai sees the ghost of a young child dressed in period attire. Josh's mother Lorraine arrives and explains she had a nightmare about a demon with a red face in Dalton's bedroom. She later sees the same demon behind Josh, and Dalton's bedroom is ransacked by unseen forces. Lorraine calls psychic Elise Rainier and her paranormal investigators Specs and Tucker. In Dalton's bedroom, Elise sees a vision of the red-faced demon. Elise explains that Dalton is not in a coma; he was born with the ability to astral project his consciousness and had been unknowingly doing so in his sleep, believing he was simply dreaming. This time he has travelled too far and has been captured in a purgatory dimension called \"The Further,\" a place inhabited by the tortured spirits of the deceased. Without his consciousness present, his body is comatose, but spirits desire to use it so they can re-enter the physical world. Josh accuses Elise of being a scam artist and throws her out, but later finds drawings in Dalton's room that seem to confirm Elise's theory. Josh brings Elise and her team back. After an attempted s\u00e9ance goes horribly wrong, Elise explains that she has known Lorraine for decades, and had previously helped Josh when he was a child. Josh also possesses the ability to astral project, but had suppressed his memory of it years ago with Elise's help, after she helped him beat the parasitic spirit of an evil old woman that wanted to possess him. The only way to rescue Dalton is for Josh to go into The Further and save him. Elise puts Josh in a hypnotic trance and he is able to project himself into The Further. He finds his way to Dalton, encountering multiple dangerous and horrifying ghosts along the way. He frees his son, but they are chased and attacked by the red-faced demon while the spirits of The Further invade the real world and terrorize Renai, Elise, and the others. Josh is confronted by the old woman that tormented him as a child. He tries once and for all to overcome his fear, and she appears to retreat from him. Josh and Dalton wake up in the real world and the invading spirits vanish. The family celebrates their victory, believing that the nightmare is over. Elise senses that something is amiss about Josh.  When she snaps a photo of him, Josh becomes angry and strangles her. Renai discovers Elise's corpse and sees the photograph she took. The photo reveals that Josh is now possessed by the ghost of the old woman from his childhood, the latter having slipped into his body when he confronted her in The Further. Josh appears behind Renai and she lets out a frightened gasp as the movie cuts to black."}
{"movie_name":"If Beale Street Could Talk_2018","imdb_id":"tt7125860","script":"<script>\n  <scene>\n    <character>IF BEALE STREET COULD TALK<\/character>\n    <dialogue>Written for the Screen and Directed by<\/dialogue>\n    <scene_description>Barry Jenkins Based on the Book by James Baldwin First, OVER BLACK, before anything else, we HEAR... \"Of course, I must say I don't think America is God's gift to anybody.... If it is, God's days have got to be numbered.\" FADE IN: ...on a young man and young woman, both black, both twenties, both smiling.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVERSIDE PARK - DAY<\/stage_direction>\n    <scene_description>It would be twilight, the sound of the city winding down around this couple, nothing but their footsteps and the muted hum of this secluded eden above the city. The couple winds along the slope of a descending path, find themselves on a landing overlooking the Hudson River. A gentle embrace.<\/scene_description>\n    <character>YOUNG MAN<\/character>\n    <dialogue>You ready for this?<\/dialogue>\n    <character>YOUNG WOMAN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <parenthetical>(and)<\/parenthetical>\n    <dialogue>Ain't nothin' else in the world I'm more ready for.<\/dialogue>\n    <scene_description>And as they draw closer, locked in a kiss... ...the sound of metal clanging, of feet shuffling and mens' voices filling a tinny room, then...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW YORK CITY CORRECTIONAL FACILITY - DAY<\/stage_direction>\n    <scene_description>The same young couple eyeing each other across glass, the young man on the one side in the jail smocks with tired eyes. On the other, a thin girl, a gentle wonder about her. This is TISH (19, black, warm), the voice heard \"before anything else\" and Alonzo \"FONNY\" Hunt (22, also black, breakable).<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>Alonzo...<\/dialogue>\n    <scene_description>Fonny's eyes startled at the sound of his proper name, something sharp, a warning in its use: she never calls him Alonzo.<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>Alonzo... we're going to have a baby.<\/dialogue>\n    <scene_description>Fonny going blank, completely blank as that news washes over him, just across that glass and yet, instantly so far away from here.<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>I'm glad Fonny, I'm glad. Don't you worry.<\/dialogue>\n    <scene_description>FREEZE FRAME: ...on Fonny's face, still frozen in contemplation, the look of a life changing. \"I should have said already: we're not married. That means more to him than it does to me, but I understand how he feels. Fonny is twenty-two. I'm nineteen.\" RESUMING: Fonny closing his eyes, just a moment to himself, then:<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>You sure?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>No. I ain't sure, I'm just trying to mess with your mind.<\/dialogue>\n    <scene_description>Fonny smiling now, coming back to her:<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>What we goin' to do?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Well... we ain't goin' to drown it. So I guess we'll have to raise it.<\/dialogue>\n    <scene_description>Fonny throwing his head back, a big, shocking laughter, a joy in his face initially unfathomable:<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>Did you tell my daddy?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Not yet.<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>You tell your folks?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Not yet. But don't worry about them, I just wanted to tell you first.<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>Well, I guess that makes sense. My daddy and 'nem can't keep nothin' to theyselves, better this way.<\/dialogue>\n    <parenthetical>(and now)<\/parenthetical>\n    <dialogue>A baby.<\/dialogue>\n    <scene_description>Something in this repetition carrying Fonny away from here, away to that place beyond Tish. His eyes cast down:<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>What you gonna do?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>I'm going to do just like I been doing. I'll work up to just about the last month. And then, Mama and Sis will take care for me, you ain't got to worry. And anyway, we have you out of here before then.<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>You sure about that?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Of course I'm sure. I'm always sure about that.<\/dialogue>\n    <scene_description>A man coming up behind Fonny, doesn't even bother to touch him, from his dress, clearly a guard. Fonny's eyes going down at the man's presence, looks through that glass again at his lover. His eyes coming back, that overwhelming smile again. Tish matching it, the two of them standing in unison on either side of the glass. Fonny raises his fist to the glass. Tish does the same. Off Tish watching Fonny move away, disappear through a door on the other side...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TISH'S HOME - DAY<\/stage_direction>\n    <scene_description>A simple Harlem apartment, modest but expansive as far as these things go, a proper living room, kitchen big enough to fit a small dining table. At the end of a hall running through the kitchen and away from the living room, three bedrooms. Tish sitting before a cup of tea, staring at the wispy steam rising off it. A beat, then... ...the sound of the front door opening, of footsteps on wood flooring and...<\/scene_description>\n    <character>VOICE (O.S.)<\/character>\n    <parenthetical>(calling out)<\/parenthetical>\n    <dialogue>How you doin' Lil' Bit?<\/dialogue>\n    <scene_description>A moment later, SHARON (40s but could pass for younger) enters, a shopping bag at her side. Just in the way she looks at her, Tish's mother.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>How is he?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>He's just the same. He's fine. He sends his love.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Good. You see the lawyer?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Not today. I have to go on Monday, after work.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>He been to see Fonny?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>A sigh from Sharon as she places a bag of groceries on the counter, begins unloading things. Tish watches as Sharon goes about her work, rinsing and placing and setting things here and there. The two sharing this space in silence a moment, Sharon humming as she alternates the spray of water rinsing vegetables, when...<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>Mama...?<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Yeah, Lil' Bit?<\/dialogue>\n    <scene_description>Tish not going further and Sharon not pressing. Sharon turning off the tap, turns and looks at her daughter. Watches her a long beat. A very slow realization, then:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TISH'S HOME, TISH'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>A simple bed and bed-side table, dresser-drawer at the foot of the bed with an oversized mirror atop it. Heavy curtains in here. It's day but cool and dark. Just stillness a moment, Sharon and Tish sitting in silence. The news Tish just relayed... hit Sharon like a ton of bricks. A muted ton of bricks, like a wave. As it passes through her, Sharon puts a hand to Tish's forehead, gentle. That same hand on Tish's shoulder now:<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Tish, I don't think you got nothing to cry about.<\/dialogue>\n    <parenthetical>(and now)<\/parenthetical>\n    <dialogue>You tell Fonny?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>I just told him today. I figured I should tell him first.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>You did right. And I bet he just grinned all over his face.<\/dialogue>\n    <character>TISH<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <parenthetical>(wipes a tear)<\/parenthetical>\n    <dialogue>He sure did.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>You must be - let's see - you about three months gone?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Almost.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>What you cryin' about?<\/dialogue>\n    <scene_description>Sharon pulling Tish fully in, the curiosity over, all mothering now.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Now listen, you got enough on your mind without worrying about being a bad girl and all that jive-ass shit. I sure hope I raised you better than that.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>If you was a bad girl you wouldn't be sitting on this bed, you'd long been turning tricks for the warden.<\/dialogue>\n    <scene_description>Tish picking her head up, wiping more tears, getting herself back together:<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Now you and Fonny be together right now, married or not, wasn't for that damn white man. So, let me tell you what you got to do. You got to hold on to that baby, don't care what else happens or don't happen. You got to do that, 'cause we gonna get Fonny out. And that baby be the best thing that ever happened to him. It's going to give him a whole lot of courage.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You hear me?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Yes, Mama.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Now, when your Daddy and Ernestine get home, we going to sit at the table together, and I'll make the family announcement. I think that might be easier, don't you?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Sharon rises from the bed.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Take off them streets clothes and lie down for a minute. I'll come get you.<\/dialogue>\n    <scene_description>Sharon opens the door.<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>Mama?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>SHARON<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>I don't know what you thanking me for. This a family, ain't it?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TISH'S HOME - DAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Sharon in the hallway just outside Tish's door, closing the door gently behind her. She moves to take a step down the hallway but... ...stops -- a hand to her chest, the facade of control gone, takes a moment to process: Tish... is having a baby. A beat, then... CUT TO: Light under a door, a shadow along the floorboards. REVERSE ANGLE:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TISH'S HOME, TISH'S BEDROOM - DAY - SAME<\/stage_direction>\n    <scene_description>Tish staring at that door, watching her mother's shadow, neither of them breathing. The light beneath the door shifts, moves on down the hall. Tish takes off her coat, her shoes -- slowly, all that tiredness overtaking her again. As she gets her shoes to the floor... ...the doorbell rings. From somewhere out there, we can hear Sharon yell:<\/scene_description>\n    <character>SHARON (O.S.)<\/character>\n    <dialogue>Be right there!<\/dialogue>\n    <scene_description>And yet, the SOUND of feet approaching, Sharon at this bedroom door again. A quick knock and she's entering.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Here. Drink this.<\/dialogue>\n    <scene_description>Sharon carrying a saucer, has a small water glass and a shot glass beside it. Sharon takes the brown liquid of the shot glass, pours it into the water. And then... she's gone again, out that door, feet clicking along the hall that leads to the front door. From the SOUND of the banter, a man entering, in a good mood:<\/scene_description>\n    <character>MAN (O.S.)<\/character>\n    <dialogue>Forgot my keys, Tish home yet?<\/dialogue>\n    <scene_description>CUT TO: THE HALLWAY From just outside Tish's bedroom door, through the kitchen, a view of Sharon and this \"man\" (Tish's father, JOSEPH) having a hushed conversation at the edge of the living room.<\/scene_description>\n    <character>SHARON<\/character>\n    <parenthetical>(sotto voce)<\/parenthetical>\n    <dialogue>Shhhh, she's taking a little nap.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>She see Fonny?<\/dialogue>\n    <scene_description>CUT BACK TO: TISH -- listening from behind that bedroom door. INTERCUT:<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Yeah. She saw him. She saw the inside of the Tombs, too. That's why I made her lie down.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>What about the lawyer?<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>She going to see him Monday.<\/dialogue>\n    <scene_description>Sound of feet moving throughout the house now, of the fridge door opening and closing. Tish downing her water and brandy.<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>How much you think them damn lawyers is going to cost us before this thing over?<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Joe, you know damn well ain't no point in asking me that question.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Well. They sure got it made, the rotten motherfuckers.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Amen to that.<\/dialogue>\n    <scene_description>Tish lying back on the bed, looking up and into those curtains. Somewhere out there, the sun setting. As she rubs her belly, lets her thoughts wonder... CUT TO BLACK.: \"Fonny used to go to a vocational school where they teach kids to make all kinds of shitty things...\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARLEM VOCATIONAL SCHOOL - DAY - MONTAGE 1<\/stage_direction>\n    <scene_description>See a \"slightly\" younger Fonny working at a table-saw, a raw piece of timber split down the trunk atop his work station. \"...like card tables and hassocks and chests of drawers which nobody's ever going to buy.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARLEM VOCATIONAL SCHOOL - NIGHT - MONTAGE 1<\/stage_direction>\n    <scene_description>\"But Fonny didn't go for it at all and he split, taking most of the wood from the workshop with him.\" Looking out through the open shop-gate, a worn-out pickup truck illuminated in flash light beams as Fonny wonders the empty shop floor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RESTAURANT KITCHEN - NIGHT - MONTAGE 1<\/stage_direction>\n    <scene_description>Fonny wiping sweat from his face as smoke fills the air. \"He started working as a short-order cook - so he could eat - and he found a basement where he could work on his wood and he was at our house more than he was at his.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT APARTMENT - DAY - MONTAGE 1<\/stage_direction>\n    <scene_description>Simple, at best seems a squatter's refuge, a pallet in the corner of the room, a handmade dining table. \"Fonny gave Mama one of his first sculptures.\" In the center of the space, Fonny working at two saw-horses, sanding a suggestive piece. CLOSE ON: a small, wooden sculpture there. \"It seemed a strange figure for him to do, or, at least, it seemed strange until you thought about it.\" ANGLE ON: Fonny. \"You see, Fonny had found something that he wanted to do, and this saved him from the death that awaited the children of our age. And though it took many forms...\" CUT TO: STILL IMAGE SERIES ...period, still photography of the drug fueled, post-Civil Rights era blight that will come to plague America's inner- cities for decades on end. \"...the death itself was very simple and the cause was simple, too: the kids had been told that they weren't worth shit... and everything they saw around them proved it.\" CLOSING STILL IMAGE: Gordon Parke's \"Ellen Crying.\" END MONTAGE 1.:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TISH'S HOME, LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>A woman we've not seen before entering the apartment now, slender, taller, a few years older than Tish but still young. This is Tish's sister, ERNESTINE.<\/scene_description>\n    <character>ERNESTINE<\/character>\n    <dialogue>Where's Tish?<\/dialogue>\n    <scene_description>Sharon and JOSEPH (a little older than Sharon, a large, yet subtle presence) over near the kitchen, Joe nursing a beer looking in on his wife preparing supper. Both their faces opening at the sight of Ernestine.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>She's home. She's lying down.<\/dialogue>\n    <scene_description>Ernestine setting her purse down, continuing over to...<\/scene_description>\n    <character>THE KITCHEN<\/character>\n    <dialogue>ERNESTINE<\/dialogue>\n    <scene_description>She all right?<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>She's tired. She went to see Fonny.<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>How's he taking it?<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Taking it.<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>Lord, let me make myself a drink. You want me to cook?<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>No. I'll get into the pots in a minute.<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>She see Hayward?<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>No. She's seeing him on Monday, after work.<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>You going with her?<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>I think I better.<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>Yeah. I think so, too, I'll call him from work, before you all get there.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>You know... Tish says she thinks that lawyer wants more money.<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>Daddy, we paid him his retainer, that's why ain't none of us got no clothes. And I know we got to pay expenses, but he ain't supposed to get no more money until he brings Fonny to trial.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>He says it's a tough case.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Shit. What's a lawyer for?<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>To make money.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>You got that right.<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>Well. Anybody talk to the Hunts lately?<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>They don't want to know nothing about it, you know that. Mrs. Hunt and them two camellias is just in disgrace. And poor Frank ain't got bail no money.<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>Well. Let's not talk too much about it in front of Tish. We'll work it out somehow.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Shit. We got to work it out. Fonny's like one of us.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>He is one of us.<\/dialogue>\n    <scene_description>All heads turning here at a bit of light out in the living room, the sound of footsteps approaching. A moment later and Tish appears, hair mottled and cajoled, just woke up:<\/scene_description>\n    <character>ERNESTINE<\/character>\n    <dialogue>Well hello there, baby sister.<\/dialogue>\n    <scene_description>A kiss on the cheek and a hug between Tish and Ernestine: these too clearly love each other.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>You want a lil' snack, baby?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>No thank you, I'm okay.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Well alright then, if y'all want to eat, better get your behinds out of my kitchen, this food ain't gon' fix itself. Come on now, take your business into the living room.<\/dialogue>\n    <scene_description>Tish and Ernestine shuffling away from here, leaving their mother to her kitchen. Sharon looking to Joe there, the man shrugging a \"what'd I do\" face:<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Do I come down to your job and watch you work?<\/dialogue>\n    <scene_description>Joe smiling as Sharon turns away from him, all sly eyes and persuasive hips as we CUT TO... A RECORD NEEDLE ...lowered deftly to the third cut on a pristine LP.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TISH'S HOME - NIGHT - LATER<\/stage_direction>\n    <scene_description>Ernestine lowering that needle, a freshly lit cigarette in her left hand as something soulful and heavy overcomes the room (Nina Simone, etc.). The lights dimmed now, vibe changed as Ernestine looks back at the family gathered at the dining table, Joe, Sharon and Tish, the remnants of dinner laid out before them. Ernestine closing her eyes, swaying to the rhythm as though somewhere else altogether:<\/scene_description>\n    <character>ERNESTINE<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>Sing to me Nina, sing.<\/dialogue>\n    <scene_description>Sharon rising from the dining table as Ernestine approaches, gets to collecting dishes as Ernestine sits back to the table. Joe drifting into the kitchen as well, the music pacing everything. Sharon reaches up to an obscure cupboard, just above the stove, kind of cupboard that's rarely opened. Fetches a dusty, ornate bottle from there.<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>What you doin' with that?<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>What you think? Get the good glasses.<\/dialogue>\n    <scene_description>Sharon moving back over to the dining table with Tish and Ernestine, sets that bottle of French Brandy to the table. Ernestine's eyes going from Sharon's to Tish. Ernestine's eyes... smiling. Ernestine's eyes never leaving Tish.<\/scene_description>\n    <character>SHARON<\/character>\n    <parenthetical>(at Joe)<\/parenthetical>\n    <dialogue>You the man of the house, start pouring.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <parenthetical>(faux accent)<\/parenthetical>\n    <dialogue>But of course, Madame.<\/dialogue>\n    <scene_description>Joe setting a nice enough snifter before each of them, goes around the table in turns and pours a little brandy into each. As he bends to pour Tish's...<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Just a lil' bit for Tish, now.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Alright, what's the deal?<\/dialogue>\n    <scene_description>Sharon looking to Joe, then at Ernestine, then at Tish. She smiles at Tish:<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>This... is a sacrament. And no, I ain't gone crazy. We're drinking to a new life.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Tish is gonna have Fonny's baby.<\/dialogue>\n    <scene_description>The air heavy in here for a beat, no one moving. Sharon reaches a hand to Joe's shoulder.<\/scene_description>\n    <character>SHARON<\/character>\n    <parenthetical>(softly)<\/parenthetical>\n    <dialogue>Drink.<\/dialogue>\n    <scene_description>Joe staring at Tish, frozen in the moment of that news. Tish staring back, holding his gaze, only openness. Joe puts his glass down. Then he picks it up again. He's trying to speak but he can't. A moment more of this awkwardness, then... ...a smile more sweet than bitter developing in Joe's face.<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>That's a hell of a note.<\/dialogue>\n    <scene_description>Joe takes a drink of his brandy, a good, deep swallow:<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>Ain't you going to drink to the little one, Tish?<\/dialogue>\n    <scene_description>Tish nodding, takes the lightest sip of that brandy, still rouses a cough in her, Ernestine patting her on the back.<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>How long this been going on?<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>About three months.<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>Yeah. That's what I figured.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Three months!?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Since September.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>While you two was running around looking at places?<\/dialogue>\n    <scene_description>Joe asking this question as much to himself as to anyone else. The women understanding, allowing that question the proper space to drift out, refract. After a moment, after a few more long sips:<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>You sure you want this baby?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Yes, and Fonny wants it too. It's our baby, don't you see? And it's not his fault that he's in jail, it's not like he ran away.<\/dialogue>\n    <parenthetical>(pleading)<\/parenthetical>\n    <dialogue>And we've always been best friends, ever since we were little, you know that. And we'd be married now, if-if--<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Your father know that. He's only worried about you.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Don't you go thinking I think you a bad girl, or any foolishness like that. I just asked you that because you so young, that's all, and--<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <parenthetical>(raising her glass)<\/parenthetical>\n    <dialogue>Un-bow your head sister.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>To the newborn.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>I hope it's a boy, that'd tickle old Frank to pieces, I bet.<\/dialogue>\n    <parenthetical>(a thought grabbing him)<\/parenthetical>\n    <dialogue>Tish, do you mind... if I break the news to him?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>No daddy, I don't mind.<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <parenthetical>(with attitude)<\/parenthetical>\n    <dialogue>I sure would like to be the one to tell them sisters.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Joe, why don't you just call up and ask them all over here? Hell, it's Saturday night and it ain't late and we still got a lot of brandy in the bottle. And now that I think about it, it's really the best way to do it, call they asses on over here, Joe.<\/dialogue>\n    <scene_description>Joe looking to his wife, had already started for his coat, but... considering Sharon's proposal:<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>You know you right love, let's get them over here.<\/dialogue>\n    <scene_description>Joe turning down that long hall adjoining the bedrooms. As his footfalls pad away, we stay here, with these women listening to Joe on the phone down that hall. Beat. Joe coming back down that hallway now, re-enters the living room, takes a seat at the one recliner in here:<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>Mrs. Hunt... is getting dressed.<\/dialogue>\n    <parenthetical>(smiles at Tish)<\/parenthetical>\n    <dialogue>Come on over here, daughter.<\/dialogue>\n    <scene_description>Tish rising from her spot on the couch, moves from mother to father, sits beside Joe, head rested to his shoulder:<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>You're a good girl, Tish. I'm proud of you. Don't you forget that.<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>She ain't going to forget it. I'll whoop her ass if she do.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>But she's pregnant!<\/dialogue>\n    <scene_description>A big, way deep down laugh from all of them at this, Ernestine and Sharon both throwing their heads back. As the laughter subsides...<\/scene_description>\n    <character>ERNESTINE<\/character>\n    <dialogue>Shall we dress for Mrs. Hunt?<\/dialogue>\n    <scene_description>Another laugh now, something in the room spreading.<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>Look. We got to be nice, okay?<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>Oh we'll be nice; Lord knows we'll be nice, you raised us right. It's just you didn't never buy us no clothes. But Mrs. Hunt and them sisters, they got wardrobes. Ain't no sense in trying to compete with them.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>I didn't run no tailor shop.<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>Well who's fault is that?<\/dialogue>\n    <scene_description>Ernestine rubbing her father's head playfully as she moves on from the living room, Joe smiling at her touch. Head resting at Joe's shoulder, eyes lingering across this room, Tish appears to be somewhere else, lost in the drift: \"The very first time Fonny and I made love was strange.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TISH'S HOME - DAY - MONTAGE 2<\/stage_direction>\n    <scene_description>Sharon at the top of the stairs at Tish's stoop, Fonny at the bottom of the steps, Tish between the two. \"It was the day he gave Mama that sculpture.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HARLEM, SIDEWALK - DAY - MONTAGE 2<\/stage_direction>\n    <scene_description>Tish and Fonny moving down the sidewalk, hand in hand. \"I dumped water over Fonny's head and scrubbed Fonny's back in the bathtub, in a time that seems so long ago.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TISH'S HOME, BATHROOM - DAY - MONTAGE 2<\/stage_direction>\n    <scene_description>A sunlit glow through the curtained window, two children together in a bubble strewn bathroom -- YOUNG TISH and YOUNG FONNY, five and seven years old, respectively. \"I don't remember that we ever had any curiosity concerning each other's bodies. Fonny loved me too much.\" Innocent -- the bathroom door wide open -- the children playing just as Tish described.<\/scene_description>\n    <character>LATER<\/character>\n    <dialogue>The children toweling off, casual, oblivious.<\/dialogue>\n    <dialogue>\"And that meant that there had never been any occasion for shame between us.\"<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. C TRAIN - DAY - MONTAGE 2<\/stage_direction>\n    <scene_description>Just a beat this moment, this downtown train packed as they are bound to be. The couple standing, wedged together in the center aisle of this train, oblivious to everything around them, Tish fully leaned into Fonny's embrace. \"We were a part of each other, flesh of each other's flesh - which we so took for granted that we never thought of the flesh.\" Just the shimmy of the train, that rocking side to side. Tish's eyes distinctly, noticeably staring at Fonny's lips, looking up into them. \"And yet, it was no surprise to me when I finally understood...\" As he parts his lips to speak... FREEZE FRAME: \"That he was the most beautiful person I had seen in all my life.\" RESUMING: Fonny continuing whatever it is he's saying here, can't make it out above the howl of the tracks and chatter of the crowd. Off Fonny repeating himself... and Tish not responding, still lost in those lips...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STUYVESANT PARK - NIGHT - MONTAGE 2<\/stage_direction>\n    <scene_description>The light falling, getting on to dusk. Fonny and Tish moving, slowly tracing the paths of this park, passing the wayfarers so integral to the charm of this place. Somehow, the two not touching here: Tish's arms folded about herself, Fonny's hands clasped behind his back.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>I've slept in this park sometimes.<\/dialogue>\n    <parenthetical>(off her look)<\/parenthetical>\n    <dialogue>No, it's not a good idea.<\/dialogue>\n    <scene_description>Fonny reaching into his coat pocket now, retrieving a cigarette. Gestures to Tish:<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>No thank you.<\/dialogue>\n    <parenthetical>(and innocently)<\/parenthetical>\n    <dialogue>Why did you sleep in the park?<\/dialogue>\n    <scene_description>Fonny taking a quick beat to get his cigarette lit:<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>It was late. Didn't want to go home. Didn't want to wake up none of you neither.<\/dialogue>\n    <scene_description>Check's Tish's response: clearly she's never assumed someone she loves has had to sleep in this park.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>But I got me a pad down here now. I'll show it to you, you want to see it?<\/dialogue>\n    <character>TISH<\/character>\n    <parenthetical>(after a nod)<\/parenthetical>\n    <dialogue>I'd like that.<\/dialogue>\n    <scene_description>These two still walking, circling a path around the park. Fonny reaches an arm out, pulls her in close:<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>You all right?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>Good.<\/dialogue>\n    <parenthetical>(and)<\/parenthetical>\n    <character>FONNY<\/character>\n    <dialogue>You want to eat down here or you want to wait till we get back uptown? Or you want to go to the movies or you want a little wine or you want a little pot or a beer or a cup of coffee?<\/dialogue>\n    <parenthetical>(and, a smile)<\/parenthetical>\n    <dialogue>Or you just want to walk a little more before you make up your mind?<\/dialogue>\n    <scene_description>Fonny's grinning now, warm and sweet, brings his arm back from around her and takes her hand in his, swinging it like a little boy; a happy little boy. END MONTAGE.:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TISH'S HOME, FRONT DOOR - NIGHT<\/stage_direction>\n    <scene_description>The doorbell ringing, resounding throughout the apartment. Seems no one's here at first, then... ...Ernestine appearing, dressed the same as before, didn't bother to change. Gets to that door and...<\/scene_description>\n    <character>ERNESTINE<\/character>\n    <dialogue>Alice, how do you do, only way to get to see you people is to call an emergency summit, now you know that ain't right?<\/dialogue>\n    <scene_description>A hollow kiss on the cheek from MRS. HUNT (50 but attempting to look younger... and it shows). As she passes, reveals two young women, similar to Tish and Ernestine in age. The girls moving past Ernestine with a look, something middle school about it all. Coming up behind them is FRANK (50s, handsome but tired). He and Ernestine share a genuine hug, move together into...<\/scene_description>\n    <character>THE LIVING ROOM<\/character>\n    <dialogue>...enter the space and find an odd bit of domestic spacing: Sharon with a hand on her hip, watching from near the kitchen. Joe standing with Tish in his embrace at his side. Mrs. Hunt and her girls stand on the opposite side of the room, a semi-circle with their hands doing various awkward things.<\/dialogue>\n    <dialogue>The Hunt women are all over-dressed.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>So you saw my big-headed boy today?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Yes. He's fine. He sends his love.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>They ain't giving him too hard a time, is they? I ask you like that because, you know, he might say things to you he won't say to me.<\/dialogue>\n    <character>VOICE (O.S.)<\/character>\n    <dialogue>Lovers' secrets.<\/dialogue>\n    <scene_description>Tish's eyes cutting to the source of that voice: ADRIENNE, the older of the two Hunt sisters (with SHEILA being the other), sitting on the couch now, crossing her legs and folding those arms with a shit-eating smirk.<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>Well. He hates it, you can see that. And he should. But he's strong. He'll be alright... but we've got to get him out of there.<\/dialogue>\n    <character>SHEILA<\/character>\n    <dialogue>If he'd done his reading and his studying when he should have, he wouldn't be in there.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>What you know about it you--<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>You bring that six-pack man?<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Or I got some gin and we got whiskey and we got some brandy. Ain't got no Thunderbird though--<\/dialogue>\n    <parenthetical>(and, to Mrs. Hunt)<\/parenthetical>\n    <dialogue>I'm sure you ladies won't mind?<\/dialogue>\n    <character>MRS. HUNT<\/character>\n    <dialogue>Mind? Frank does not care if we mind.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Mrs. Hunt, what can I get you, sugar? I can offer you some tea, or coffee; and we got ice cream, and Coca Cola.<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>Yeah Mrs. Hunt, I can make you an ice-cream soda. Come on Sheila, you want to help me?<\/dialogue>\n    <parenthetical>(grabbing Sheila)<\/parenthetical>\n    <character>ERNESTINE<\/character>\n    <dialogue>Sit down Mama, me and Sheila got it.<\/dialogue>\n    <scene_description>Sharon taking Sheila's place now, Mrs. Hunt having sat beside her daughters on the couch there:<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Lord, the time sure flies. We ain't hardly seen each other since this trouble started.<\/dialogue>\n    <character>MRS. HUNT<\/character>\n    <dialogue>Don't say a word. I have been running myself sick, all up and down the Bronx, trying to get the very best legal advice I can find. I just pray and pray and pray that the Lord will bring my boy to the light. That's all I pray for, every day and every night.<\/dialogue>\n    <scene_description>A long pause from Mrs. Hunt here, moment of reflection:<\/scene_description>\n    <character>MRS. HUNT<\/character>\n    <dialogue>And then, sometimes I think that maybe this is the Lord's way of making my boy think on his sins and surrender his soul to Jesus.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>You might be right. The Lord sure works in mysterious ways.<\/dialogue>\n    <character>MRS. HUNT<\/character>\n    <dialogue>Oh yes. Now he may try you. But he ain't never left none of His children alone.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>What you think of the lawyer Ernestine found, this boy Hayward?<\/dialogue>\n    <character>MRS. HUNT<\/character>\n    <dialogue>I haven't seen him yet.<\/dialogue>\n    <parenthetical>(defensive)<\/parenthetical>\n    <dialogue>I just have not had time to get downtown. But I know Frank saw him--<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>What you think Frank?<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>It's a white boy who's been to law school and he got them degrees. I ain't got to tell you what that mean: it don't mean shit.<\/dialogue>\n    <character>MRS. HUNT<\/character>\n    <dialogue>You're talking to a woman.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I'm hip, and it's a mighty welcome change.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Like I was saying, it don't mean shit and I ain't sure we're going to stay with him. On the other hand, as white boys go, he's not so bad: he's young and hungry, so he's not as full of shit now as he may be when he's full.<\/dialogue>\n    <character>MRS. HUNT<\/character>\n    <dialogue>But I keep trying to tell you, that it's that negative attitude, you're so full of hate. If you give people hatred, they will give it back to you. Every time I hear you talk this way my heart breaks for my son, sitting in a dungeon which only the love of God can bring him out of.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>He's not talking hatred, Alice. He's just telling the truth.<\/dialogue>\n    <character>MRS. HUNT<\/character>\n    <dialogue>I trust in God, I know He cares for me.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>ADRIENNE<\/character>\n    <dialogue>Mr. Rivers, exactly what is the purpose of this meeting? You haven't called us all the way over here just to watch my father insult my mother?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Why not? It's Saturday night. You can't tell what people won't do if they get bored enough.<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Maybe we just invited you over to liven things up?<\/dialogue>\n    <character>ADRIENNE<\/character>\n    <dialogue>I can believe that you're that malicious... but I can't believe you're that stupid.<\/dialogue>\n    <scene_description>Off Tish, CUT TO...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPANISH RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>At a table more to the side than the back - none of that shit - find Fonny and Tish, a continuation of their date begun in the previous \"Montage 2.\"<\/scene_description>\n    <character>FONNY<\/character>\n    <parenthetical>(calling out)<\/parenthetical>\n    <dialogue>Pedrocito, que pasa? \u00bfPodemos tener alg\u00fan servicio, por favor?<\/dialogue>\n    <scene_description>Tish looking on wide-eyed, has never seen him speak Spanish. A server (PEDROCITO, 20s) approaching, a smile on his face:<\/scene_description>\n    <character>PEDROCITO<\/character>\n    <parenthetical>(mocking)<\/parenthetical>\n    <dialogue>\"Servicio, servicio.\"<\/dialogue>\n    <parenthetical>(and at Tish)<\/parenthetical>\n    <dialogue>Senorita, how may I help you, I'm sorry your company tonight is less than desirable but this can't be helped.<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>No se puede evitar, mi culo.<\/dialogue>\n    <scene_description>Laughter from the two of them:<\/scene_description>\n    <character>PEDROCITO<\/character>\n    <dialogue>Oye, est\u00e1s con una mujer, encantadora!<\/dialogue>\n    <scene_description>Tish in heaven here, eyes fixed on Fonny, roving from him to Predocito and back. As the men continue their banter, jostling and joking like old friends, their voices drift off the soundtrack: \"I had never seen Fonny outside the world in which I moved. I had seen him with his father and his mother, and I had seen him with us.\"<\/scene_description>\n    <character>ANGLE ON: FONNY<\/character>\n    <dialogue>...face spread wide in a smile, looking from Predocito to Tish and back, from Pedrocito to us - right at us - his eyes alight with some mixture of joy and pride.<\/dialogue>\n    <dialogue>\"I had certainly never seen him in the world in which he moved.\"<\/dialogue>\n    <scene_description>CUT TO: TISH AND FONNY ...leaving the restaurant, the meal finished, Pedrocito and a few other Spanish men gathered near the exit to see them off. As Tish looks on... \"Perhaps it was only now I was able to see him with me, because even though he was turned away from me, laughing... he was holding my hand.\" As Fonny leads Tish out onto the sidewalk...<\/scene_description>\n    <character>PEDROCITO<\/character>\n    <parenthetical>(calling out)<\/parenthetical>\n    <dialogue>A very good night Se\u00f1orita! You are always welcome here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MINETTA LANE - NIGHT - MOVING<\/stage_direction>\n    <scene_description>The holding of hands, a knowing smile playing about Fonny's face as he watches Tish. Anticipation.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>Tish....<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>Come and see my place, won't you?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>But... it's late.<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>It ain't far.<\/dialogue>\n    <scene_description>Tish looking at him as they continue walking, studying his face for a clue, then:<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>Okay, Fonny.<\/dialogue>\n    <parenthetical>(and again)<\/parenthetical>\n    <dialogue>Okay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TISH'S HOME, LIVING ROOM - NIGHT - RESUMING<\/stage_direction>\n    <scene_description>Ernestine and Sheila returning from the kitchen carrying platters of drinks; the smile on Ernestine's face is pure delight, the one on Sheila's? Not so much. Ernestine setting down her tray, raising her glass:<\/scene_description>\n    <character>ERNESTINE<\/character>\n    <dialogue>Happy landings.<\/dialogue>\n    <scene_description>Everyone going quiet now. Everyone... waiting and, in the space of this waiting, everyone's eyes slowly, definitively drawing themselves to...<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>All eyes on Tish, for once alone in the room, neither her parents nor Ernestine beside her.<\/dialogue>\n    <dialogue>Tish rises, nervous hand running down her waist to smooth her dress. She takes a step, just a small one, symbolic, toward Frank:<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>I called this meeting. I had Daddy ask you all to come over so I could tell you what I had to tell Fonny this afternoon.<\/dialogue>\n    <scene_description>Mrs. Hunt setting down her ice-cream float. Sharon taking a sip of her Brandy. Ernestine... smiling.<\/scene_description>\n    <character>TISH<\/character>\n    <parenthetical>(deep breath)<\/parenthetical>\n    <dialogue>What I had to tell Fonny this afternoon is... that Fonny's going to be a father.<\/dialogue>\n    <parenthetical>(and)<\/parenthetical>\n    <dialogue>We're going to have a baby.<\/dialogue>\n    <scene_description>All at once in this room, several things: Mrs. Hunt's eyes leaving Tish, lowering, eyes to the floor; Frank and Joe turning to one another, holding each other's gaze in silence; Sheila and Adrienne rolling their eyes in contempt; Sharon and Ernestine making eye contact, a wink, a sip.<\/scene_description>\n    <character>FRANK<\/character>\n    <parenthetical>(to Joe)<\/parenthetical>\n    <dialogue>You and me? We fixin' to go out and get drunk.<\/dialogue>\n    <scene_description>A huge laugh of joy from Frank, the clasping of hands between these two.<\/scene_description>\n    <character>FRANK<\/character>\n    <parenthetical>(at Tish)<\/parenthetical>\n    <dialogue>I'm glad. Don't you worry, I'm mighty--<\/dialogue>\n    <character>MRS. HUNT<\/character>\n    <dialogue>And who is going to be responsible for this baby?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>The father and the mother.<\/dialogue>\n    <scene_description>Mrs. Hunt staring, something smoldering in her.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>You can bet that it won't be the Holy damn Ghost.<\/dialogue>\n    <scene_description>Mrs. Hunt shooting Frank a look of disgust, then rising, begins slowly crossing the room:<\/scene_description>\n    <character>MRS. HUNT<\/character>\n    <dialogue>I guess you call your lustful action love. I don't. I always knew you'd be the destruction of my son. The Bible says: \"Put to death therefore what is earthly in you: sexual immorality, impurity, passion, evil desire and covetousness.\"<\/dialogue>\n    <parenthetical>(and)<\/parenthetical>\n    <dialogue>That child is borne of sin, the Holy Ghost will cause it to shrivel in your womb. But my son will be forgiven. My prayers will--<\/dialogue>\n    <scene_description>WOMP! From nowhere and everywhere, Frank here standing over Mrs. Hunt having knocked her senseless, sprawled to the floor.<\/scene_description>\n    <character>ADRIENNE<\/character>\n    <dialogue>Her heart!<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I think you'll find it's still pumping. But I wouldn't call it no heart.<\/dialogue>\n    <scene_description>Frank does not look remorseful, more sad than anything, sad over everything.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Joe, let the women take care of her and come on with me.<\/dialogue>\n    <scene_description>Joe hesitating, still shocked by the violence:<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Please man, come on.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Go on with him, Joe. Go on.<\/dialogue>\n    <scene_description>Ernestine moving past Sharon, has a bottle of rubbing alcohol and a hand full of cotton balls.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Go on. We don't need you here.<\/dialogue>\n    <scene_description>Joe nodding at his wife in ascent, eyes on Mrs. Hunt as he rounds the living room, takes his coat from a chair-back, a hand to Frank's shoulder just ahead of him. The women all watching as the men exit, the door slowly closed behind them. Coming back to the living room, an undeniably potent image: these six women alone now in this house, having bared witness to the past moment's events. Mrs. Hunt getting to her feet slowly, free hand bracing herself as she lowers to the couch.<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>That was a terrible thing you said to me. It was the most terrible thing I've heard in all my life.<\/dialogue>\n    <character>ADRIENNE<\/character>\n    <dialogue>My father didn't have to slap her.<\/dialogue>\n    <character>SHEILA<\/character>\n    <dialogue>She's got a weak heart.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>She's got a weak head, the Holy Ghost done softened y'all brain, child: did she forget it was Frank's grandchild she was cursing? I know some men would have cut that weak heart out of your body and gladly gone to hell to pay for it.<\/dialogue>\n    <character>SHEILA<\/character>\n    <dialogue>I don't think you have the right to sneer at my mother's faith.<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>Oh don't give me that bullshit, you so shamed you got a Holy Roller for a mother, you don't know what to do. Y'all make me sick.<\/dialogue>\n    <character>ADRIENNE<\/character>\n    <dialogue>You make me sick. Maybe my mother didn't say it exactly like she should have, but he didn't have to--<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>My father doesn't hit my mother.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Baby your mother a lot smarter than hers.<\/dialogue>\n    <character>ADRIENNE<\/character>\n    <dialogue>And who do you funky niggers think you are? She only asked one question: 'Who's going to raise this baby?' And who is? Tish ain't got no education and God knows she ain't got nothin' else. And Fonny ain't never been worth a damn, so who is going to take care of this baby?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>I am, you dried up yellow cunt, and you keep on talking, I'm going to take mighty good care of you.<\/dialogue>\n    <scene_description>Adrienne putting her hands on her hips in response, in Harlem an unmistakable challenge. Ernestine pounces:<\/scene_description>\n    <character>ERNESTINE<\/character>\n    <dialogue>Adrienne? Baby? May I tell you something, Sweetie-pie?<\/dialogue>\n    <scene_description>Ernestine puts one hand very lightly against Adrienne's cheek.<\/scene_description>\n    <character>ERNESTINE<\/character>\n    <dialogue>Oh, sugar. From the very first day I laid eyes on your fine person, I got hung up on your Adam's apple. I been dreaming about it; it's delicious.<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>I just can't tell, Sweetie, if I want to tear it out with my fingers... or my teeth. It is a thing of beauty. And if you touch my sister, I'm going to have to make up my mind pretty quick, so...<\/dialogue>\n    <scene_description>Ernestine moves away from Adrienne, gestures at Tish.<\/scene_description>\n    <character>ERNESTINE<\/character>\n    <dialogue>...touch her. Go on, please.<\/dialogue>\n    <character>SHEILA<\/character>\n    <dialogue>I knew we shouldn't have come.<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>My. I must have a dirty mind, Sheila. I didn't know that you could even say that word.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Ernestine.<\/dialogue>\n    <character>ADRIENNE<\/character>\n    <dialogue>Come on Sheila, let's go.<\/dialogue>\n    <scene_description>Adrienne moving and Sheila following, the two of them helping Mrs. Hunt to her feet.<\/scene_description>\n    <character>MRS. HUNT<\/character>\n    <dialogue>I sure hope...<\/dialogue>\n    <parenthetical>(dramatic sigh)<\/parenthetical>\n    <dialogue>...that you're pleased with the way you raised your daughters.<\/dialogue>\n    <scene_description>Sharon just staring at Mrs. Hunt here, says nothing, the whole thing a wonderful spectacle now:<\/scene_description>\n    <character>MRS. HUNT<\/character>\n    <dialogue>My girls won't be bringing me no bastards to feed, I can guarantee you that.<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>That's because won't nobody fuck 'em.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Ernestine.<\/dialogue>\n    <scene_description>Sharon cocking her head now, finally perplexed by all this. Stares at Mrs. Hunt a long moment:<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>But the child that's coming... is your grandchild. I don't understand you, it's your grandchild. What difference does it make how it gets here? The child ain't got nothing to do with that; don't none of us have nothing to do with that.<\/dialogue>\n    <character>MRS. HUNT<\/character>\n    <dialogue>That child....<\/dialogue>\n    <scene_description>Looks from Sharon to Tish, starts for the door:<\/scene_description>\n    <character>MRS. HUNT<\/character>\n    <parenthetical>(moving)<\/parenthetical>\n    <dialogue>That child....<\/dialogue>\n    <scene_description>Tish and family watching as the Hunts make their way out silently, everything different now. As we watch them go... \"It's astounding the first time you realize a stranger has a body.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANK STREET FLAT - NIGHT<\/stage_direction>\n    <scene_description>Fonny and Tish standing in this basement apartment. From their dress, a continuation of their dinner at the Spanish restaurant. \"The realization that he has a body makes him a stranger.\" We take the place in as Tish does: a small, low room, but for a fireplace. Just off the room is a tiny kitchenette and a bathroom. There's a wooden stool and a couple of hassocks and a large wooden table and a smaller one. On the small table, a few empty beer cans and on the large one, tools. The room smells of wood; there's raw wood everywhere. In the far corner, a mattress on the floor covered with a Mexican shawl. Fonny's pencil sketches are pinned on the wall. The only other item: a photograph of Frank. \"We were to spend a lifetime in this room.\" Fonny standing across the room from Tish. She's watching him; they both know she's watching him. Fonny crossing to the palette there, takes up that Mexican shawl, walks over to Tish, drapes it over her head and shoulders. Grins and steps back:<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>I be damned, there's a rose in Spanish Harlem.<\/dialogue>\n    <scene_description>Tish smiling, blushing, girlish, how could she not?<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>Next week, I'm going to get you a rose for your hair.<\/dialogue>\n    <scene_description>Just a foot of space between them, eyeing each other as they no doubt have many times before. Something different about this time, though. Fonny spells it out:<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>We're grown up now.<\/dialogue>\n    <scene_description>Tish nods, can't speak right now, too much going through her mind to get there.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>And you've always been mine, no?<\/dialogue>\n    <scene_description>Again that nod.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>And you know... that I've always been yours, right?<\/dialogue>\n    <scene_description>Tish thinking, so much thinking right now:<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>I never thought about it that way.<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>Think about it now.<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>I just....<\/dialogue>\n    <scene_description>Tish's lips quivering now, whatever emotion this is it's coming upon her fast and heavy, pushing and pulling:<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>I just know that I love you.<\/dialogue>\n    <scene_description>She's crying now, Fonny closing the space between them, removing that shawl and pulling her into him.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>I love you too... but I try not to cry about it.<\/dialogue>\n    <scene_description>Fonny laughing, a sweet laugh, a smile and then another kiss, harder this time, the passion of it removing that lightness.<\/scene_description>\n    <character>FONNY<\/character>\n    <parenthetical>(serious)<\/parenthetical>\n    <dialogue>I want you to marry me.<\/dialogue>\n    <parenthetical>(at her shock)<\/parenthetical>\n    <dialogue>That's right. I'm yours and you're mine and that's it.<\/dialogue>\n    <scene_description>Fonny holding Tish away from him now, a bit of space to take her in, to read her. She's processing.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>Now, I've got to try to explain something to you.<\/dialogue>\n    <scene_description>Fonny leads Tish (gently) over to his worktable:<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>This is where my life is, my real life.<\/dialogue>\n    <scene_description>Fonny picks up a small piece of wood. There's the hope of an eye gouged into it, the suggestion of a nose.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>This might turn out all right one day, it might not. I don't know a thing about it yet.<\/dialogue>\n    <scene_description>He puts it down again, very gently, looks at Tish with his little smile.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>Now, listen, I ain't the kind of joker going to give you a hard time running around after other chicks and shit like that. I smoke a little pot but I ain't never popped no needles and I'm really just a square, but....<\/dialogue>\n    <scene_description>Fonny taking a moment to gather his thoughts, looks at her very quietly, very hard.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>I live with wood and stone. I got stone in the basement and I'm working in here all the time and now I'm looking for a loft where I can really work. So, all I'm trying to tell you is... I ain't offering you much.<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>I ain't got no money and I work at odd jobs just for bread because I ain't about to go for none of their jive-ass shit. And that means that you going to have to work, too. And when you come home most likely I'll just grunt and keep on with my chisels and maybe sometimes you'll think I don't even know you're there. But don't ever think that, not ever. You're with me all the time -- without you, I don't know if I could make it at all. And when I put down the chisel, I'll always come to you. I'll always come to you, 'cause I need you, understand?<\/dialogue>\n    <parenthetical>(and)<\/parenthetical>\n    <dialogue>Is that all right?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Yes. Of course it's alright. I love you.<\/dialogue>\n    <scene_description>Fonny not smiling, instead just watching her, the openness of their eyes here. He pulls her in close, kisses her, with more feeling than before. Tish gives herself over to him. Fonny taking her hand, leading her away from the center of the room, over to that palette. Turns his back to it, sits on the edge before pulling Tish down to him, a bit awkward at first but settling in, her body at his feet, head at his lap. Fonny caresses her cheek, leans down over and kisses her, the heat between them mounting. His hands finding their way, undoing Tish's blouse, exposing her, the shock of everything at first a start on Tish's face, then an agreement, a joining. Fonny pulling Tish onto the bed, undressing her, carefully, gently, kissing her the whole way. Fonny rising, scans the room and retrieves that shawl. Moves back to the bed, takes a warm look at Tish there, covers her with the shawl. Disappears away from the room. Beat; a beat here with Tish as she listens to Fonny in the bathroom , the sound of him pissing, the toilet flushing, quickly running water. A brief moment of quiet then... Fonny reappearing, Tish watching him as he moves through the space, approaches the one lamp in this room and...<\/scene_description>\n    <character>DARKNESS<\/character>\n    <dialogue>...but not BLACK, the street light through the windows there, a generous angle in this basement apartment, a muted quality to the light, just enough to make them out.<\/dialogue>\n    <dialogue>Fonny over in the corner now, sifting through a crate. Lifts the needle on a record player, triggers a lilting, sparse bit of jazz.<\/dialogue>\n    <dialogue>He drifts over to her now, slips beneath the shawl, his body atop hers but bearing his own weight. Looks down to her:<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>Now don't be scared.<\/dialogue>\n    <parenthetical>(and)<\/parenthetical>\n    <dialogue>Don't be scared. Just remember that I belong to you. Just remember that I wouldn't hurt you for nothing in this world. You just going to have to get used to me. And we got all the time in the world<\/dialogue>\n    <scene_description>Tish meeting his eyes, nodding without moving. Fonny looking down at her now, down her body as he maneuvers beneath that shawl:<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>Hold onto me.<\/dialogue>\n    <scene_description>Off a clinched, guttural exhale from Tish's lips, her throat, her gut... CUT TO: A RECORD SPINNING -- the needle spinning listlessly at the end of the groove.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANK STREET FLAT - NIGHT - MOMENTS LATER<\/stage_direction>\n    <scene_description>Breaths, all breaths and pants and sighs from somewhere deep, a thirst for air to keep from drowning in release. Fonny holding himself just above Tish, both shaking, both sweating, from the shape of Tish's back, everything tense, pushed to its limit. That shawl gone now, wadded in a ball in some impossible location away from them. Fonny looking down at the space between their naked bodies. He can be such a little boy, that guilty smile:<\/scene_description>\n    <character>FONNY<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>I'm sorry to have made such a mess. But I guess you don't want to have no baby right away and I didn't have no protection.<\/dialogue>\n    <character>TISH<\/character>\n    <parenthetical>(whispered)<\/parenthetical>\n    <dialogue>I think I made a mess too. Isn't there supposed to be blood?<\/dialogue>\n    <parenthetical>(a flash of shyness)<\/parenthetical>\n    <dialogue>It was my first time. Did you know?<\/dialogue>\n    <scene_description>From Fonny's endearing look: of course he did.<\/scene_description>\n    <character>FONNY<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>I had a hemorrhage. Should we look?<\/dialogue>\n    <character>TISH<\/character>\n    <parenthetical>(whispered)<\/parenthetical>\n    <dialogue>I don't mind.<\/dialogue>\n    <parenthetical>(and)<\/parenthetical>\n    <dialogue>Why are we whispering?<\/dialogue>\n    <scene_description>That smile again:<\/scene_description>\n    <character>FONNY<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>It's what people do when they screw.<\/dialogue>\n    <scene_description>Even Tish not naive enough to go for that, smacks him playfully, Fonny laughing it away:<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>I like lying here like this.<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>I do too. Do you like me?<\/dialogue>\n    <parenthetical>(and)<\/parenthetical>\n    <dialogue>I mean - when I make love to you - do you like it?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>You just want to hear me say it.<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>That's true.<\/dialogue>\n    <parenthetical>(and)<\/parenthetical>\n    <dialogue>So....<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>So what?<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>So why don't you go ahead and say it?<\/dialogue>\n    <scene_description>Fonny kisses her. Clearly he's a man in love.<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>Well... it was a little bit like being hit by a truck...<\/dialogue>\n    <parenthetical>(and)<\/parenthetical>\n    <dialogue>...but it was the most beautiful thing that ever happened to me.<\/dialogue>\n    <scene_description>A long, silent beat, then...<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <parenthetical>(and)<\/parenthetical>\n    <dialogue>For me, too.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. C TRAIN - NIGHT<\/stage_direction>\n    <scene_description>Despite the lack of a crowd, Fonny and Tish standing at the center of this car, wedged against one another, Fonny holding, protecting Tish.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TISH'S HOME - DAY (DAWN)<\/stage_direction>\n    <scene_description>Fonny and Tish arriving on her stoop, hand in hand, the sun rising over Harlem. We see these quick beats as Tish describes them: \"I thought Fonny would leave me there, but he took me by the hand and said....\" Fonny, directly at us, all mouth and lips:<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>I'll see you in.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TISH'S HOME - DAY<\/stage_direction>\n    <scene_description>Ernestine on the couch, nursing a cup of coffee. At the SOUND of a key in the front door... a delicious smile on her face.<\/scene_description>\n    <character>ERNESTINE<\/character>\n    <dialogue>You're just in time for coffee.<\/dialogue>\n    <scene_description>Tish and Fonny enter -- Tish leading, removing her key from the lock but... Fonny quickly stepping past her, faces up on Ernestine with purpose.<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>We was--<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>Good morning, Miss Rivers, I'm sorry we comin' in so late. Can I speak to Mr. Rivers, please? It's important.<\/dialogue>\n    <scene_description>These two standing side by side, hand in hand, a unit. That smile in Ernestine's eyes again:<\/scene_description>\n    <character>ERNESTINE<\/character>\n    <dialogue>It might be easier to see him if you come inside out that hall.<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Sis, we--<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>--want to get married.<\/dialogue>\n    <scene_description>Both Ernestine and Tish looking at Fonny with wild eyes, his heart racing, that blurted out, forced its way out of him:<\/scene_description>\n    <character>ERNESTINE<\/character>\n    <dialogue>Then you better have some coffee, come on in here.<\/dialogue>\n    <scene_description>Ernestine turning, leading the two of them into the apartment. From somewhere inside:<\/scene_description>\n    <character>SHARON (O.S.)<\/character>\n    <dialogue>Now where have you two been 'till this hour of the morning?<\/dialogue>\n    <scene_description>CUT TO: THE KITCHEN ...Ernestine at the dining table nursing a cup of coffee, Sharon at the pot preparing another, by the looks of things preparing quite a few. As Fonny and Tish edge closer:<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Don't you know better than to be behaving like that? I declare, we was just about to call the police.<\/dialogue>\n    <scene_description>Sharon looking across the kitchen at Ernestine, the two exchanging a look that makes this clear: they are not upset, having a good time with this. That lost on Fonny though, he's nervous as hell:<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>I'm sorry Mrs. Rivers, it's all my fault.<\/dialogue>\n    <scene_description>Tish inching closer to Fonny, right on his hip...<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>I hadn't seen Tish for a few weeks and we had a lot to talk about; I had a lot to talk about, I kept her out.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Talking?<\/dialogue>\n    <scene_description>...Tish inching away from Fonny.<\/scene_description>\n    <character>FONNY<\/character>\n    <parenthetical>(nervous)<\/parenthetical>\n    <dialogue>We....<\/dialogue>\n    <scene_description>The room dead quiet. In Sharon's eyes, expectation:<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>We... want to get married.<\/dialogue>\n    <parenthetical>(all downhill now)<\/parenthetical>\n    <dialogue>That's how come I kept her out so late. I love Tish. That's why I stayed away so long. I even....<\/dialogue>\n    <parenthetical>(looks to Tish, a pain)<\/parenthetical>\n    <dialogue>...I even went to see other girls and, I did all kinds of things, to kind of get it out of my mind.<\/dialogue>\n    <parenthetical>(checks Tish: still down)<\/parenthetical>\n    <dialogue>But I could see I was just fooling myself. I didn't love nobody else but her. And then I got scared that maybe she'd go away or somebody else would come along and take her away and so I came back.<\/dialogue>\n    <parenthetical>(squeezes her hand)<\/parenthetical>\n    <dialogue>I came runnin' back. And I don't have to go away again. She's always been my girl, Mrs. Rivers -- you know that. And... I'm not a bad boy. You know that. And you're... you're the only family I've ever had.<\/dialogue>\n    <scene_description>A long, pronounced silence.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Now see, that's why I can't figure out why you callin' me Mrs. Rivers all of a sudden.<\/dialogue>\n    <parenthetical>(and at Tish)<\/parenthetical>\n    <dialogue>I hope you realize, Miss, that you ain't but eighteen years old.<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>That argument and a subway token will get you from here to the corner.<\/dialogue>\n    <character>SHARON<\/character>\n    <parenthetical>(at Ernestine)<\/parenthetical>\n    <dialogue>What do you think about all this?<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>Me? I'm delighted to be rid of the little brat. I never could see what all the rest of you saw in her, I swear. Take some sugar Fonny, you're going to need it if you intend to tie yourself up with my sweet little sister.<\/dialogue>\n    <character>SHARON<\/character>\n    <parenthetical>(calling out)<\/parenthetical>\n    <dialogue>Joe! Come on out here, lightning's done struck the poorhouse! Come on now, I mean it!<\/dialogue>\n    <scene_description>Fonny taking Tish's hand, as much to protect himself as to comfort her. Sound of Joe approaching, Tish and Fonny opening their stance to face him.<\/scene_description>\n    <character>JOSEPH<\/character>\n    <parenthetical>(measured)<\/parenthetical>\n    <dialogue>I'd like you to tell me exactly what you mean young lady by walking in here this hour of the morning. If you want to leave home, then you leave home, you hear? But as long as you in my house, you got to respect it. You hear me?<\/dialogue>\n    <scene_description>Joe's gaze shifting to Fonny. Fonny immediately releasing Tish's hand, takes a deep breath:<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>Mr. Rivers, please don't scold her. It's all my fault, sir.<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>I kept her out. I had to talk to her. I asked her to marry me. That's what we were doing out so long. We want to get married. That's why I'm here. You're her father. You love her. And so I know you know - you have to know - that I love her. I've loved her all my life. You know that. And if I didn't love her, I wouldn't be standing in this room now - would I? I could have left her on the stoop and run away again. I know you might want to beat me up. But I love her. That's all I can tell you.<\/dialogue>\n    <scene_description>Joe looking at the boy, that same poker face as Sharon:<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>How old are you?<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>I'm twenty-one, sir.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>You think that's old enough to get married?<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>I don't know sir, but it's old enough to know who you love.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>You think so?<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>I know so.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>How you going to feed her?<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>How did you?<\/dialogue>\n    <scene_description>Joe's jaw tightening. Ernestine pushes a cup of coffee in his direction.<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>You got a job?<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>I load moving vans in the daytime and I sculpt at night. I'm a sculptor. We know it won't be easy.<\/dialogue>\n    <scene_description>They stare at each other again. Joseph picking up his coffee without looking at it, sips it without tasting it.<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>Now, let me get this straight. You asked my little girl to marry you, and she said--<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>And you come here to tell me or to ask my permission?<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>Both, sir.<\/dialogue>\n    <scene_description>Both men measuring each other. Joe puts his coffee down.<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>What would you do in my place?<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>I'd ask my daughter. If she tells you she don't love me, I'll go away and I won't never bother you no more.<\/dialogue>\n    <scene_description>Joe looks hard at Fonny, a long look, as though he wants to knock Fonny down, as though he wants to take him in his arms.<\/scene_description>\n    <character>JOSEPH<\/character>\n    <parenthetical>(at Tish)<\/parenthetical>\n    <dialogue>You love him, Tish?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Joe looking from Fonny to Tish, the two of them joining hands, Tish to the side of but just behind Fonny, likely the first time Joe has ever seen a man between him and his daughter. A weighted, but lovely silence around the room. All of them slipping into the inevitability of this moment as we... CUT TO BLACK. And OVER BLACK, super-impose a period specific case-file, frame within the frame against BLACK: yellowed paper with brown horizontal lining, a hand written police report. We see this text as Tish narrates: \"Mrs. Victoria Rogers, n\u00e9e Victoria Maria San Felipe Sanchez, declares that on the evening of October 5, between the hours of eleven and twelve, in the vestibule of her home, she was criminally assaulted by a man she now knows to have been Alonzo 'Fonny' Hunt, and was used by the aforesaid Hunt in the most extreme and abominable sexual manner, and forced to undergo the most unimaginable sexual perversions.\" CUT TO: A PHOTO ...still this frame within the frame against BLACK, a photo of Victoria Rogers, not crime related. Dressed simply, looking right at us. A portrait. We'll cycle through a series of these portraits as Tish continues: \"I have never seen her. I know only that an American-born Irishman went to Puerto Rico six years ago and there, met Victoria, who was then eighteen. He married her and brought her to New York.\" IMAGE 2: Victoria and her Irishman, standing in front of the New York courthouse. \"Having pumped three children out of her, he left.\" IMAGE 3: A simple establishing image of Orchard Street. \"Her 'home' is on Orchard Street; Orchard Street, if you know New York, is a very long way from Bank Street.\" IMAGE 4: An establishing image of Bank Street. \"Orchard Street is damn near in the East River and Bank Street is practically in the Hudson.\" IMAGE 5\/SERIES: Alternating stills of Orchard and Bank streets to illustrate their distance from one another. \"It is not possible to run from Orchard to Bank Street, particularly not with the police behind you. Yet, Officer Bell swears he saw Fonny 'run' from the scene of the crime.\" IMAGE 6: Rather than Victoria, a face we've not seen before, a red-headed, blue-eyed officer staring right at us. \"This is possible only if Officer Bell were off duty, for his \"beat\" is on the West Side, not the East.\" IMAGE 7: Fonny in cuffs, being forced into a squad car by the aforementioned Bell. \"And yet it is now up to the accused to prove - and pay for proving - the irregularity and improbability of this sequence of events.\" END SEQUENCE.:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAW OFFICE - DAY<\/stage_direction>\n    <scene_description>Tish and Sharon sitting beside one another in a very typical, very oak strewn law office. Across from them, a man who's name we've heard but not met: HAYWARD (30s, white), Fonny's lawyer.<\/scene_description>\n    <character>HAYWARD<\/character>\n    <dialogue>Well, as you know, this is a very difficult case.<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>That's why my sister hired you.<\/dialogue>\n    <character>HAYWARD<\/character>\n    <dialogue>And you're beginning to think that her confidence was misplaced?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>No. I wouldn't say that.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>We miss him, that's all. This is... it's getting to us.<\/dialogue>\n    <character>HAYWARD<\/character>\n    <dialogue>I can certainly understand that, and I'm doing all I can to get him back to you just as fast as I can. But Mrs. Rogers' refusal to reconsider her testimony has left us in a very tough place.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And now she's disappeared.<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Disappeared? But...<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>How can she just disappear?<\/dialogue>\n    <character>HAYWARD<\/character>\n    <dialogue>This is a very big city, a very big country, for that matter -- people disappear. I don't think she's gone very far, they certainly don't have the means for that. But her family may have returned her to Puerto Rico. In any case, in order to find her, I'll need special investigators, and--<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>That means money.<\/dialogue>\n    <character>HAYWARD<\/character>\n    <dialogue>Unfortunately....<\/dialogue>\n    <character>TISH<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>That filthy bitch.<\/dialogue>\n    <scene_description>Sharon reaching a hand to Tish's back:<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>How much money?<\/dialogue>\n    <character>HAYWARD<\/character>\n    <dialogue>I'm trying to keep it as low as possible, but... special investigators are... special. And they know it.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Puerto Rico?<\/dialogue>\n    <character>HAYWARD<\/character>\n    <dialogue>We don't know for sure, but it's a strong possibility. Anyway, she and her new man disappeared some days ago from the apartment on Orchard Street.<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>But doesn't it make it look bad for her story, to just disappear like that? She's the key witness.<\/dialogue>\n    <character>HAYWARD<\/character>\n    <dialogue>Yes. But she's... 'a distraught, ignorant, Puerto Rican woman, suffering from the aftereffects of rape. So her behavior is not incomprehensible.'<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You see what I mean?<\/dialogue>\n    <scene_description>Hayward watching Tish, makes sure she gets what he's saying.<\/scene_description>\n    <character>HAYWARD<\/character>\n    <dialogue>And she's only one of the key witnesses in this case. You have to remember this Officer Bell; his was the authoritative identification of the rapist. It's Bell who swears he saw Alonzo running away from the scene of the crime. And I have always been of the opinion - we discussed this when your sister first brought me on - that it's his testimony which Mrs. Rogers continually repeats--<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>If he saw Fonny at the scene of the crime, then why did he have to wait and come and get him out of the house?<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Tish.<\/dialogue>\n    <parenthetical>(and to Hayward)<\/parenthetical>\n    <dialogue>You mean - let me get you straight now - that it's that Officer Bell who tells her what to say?<\/dialogue>\n    <character>HAYWARD<\/character>\n    <dialogue>Exactly.<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>You're saying--<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>That there's no way of getting at the truth in this case?<\/dialogue>\n    <scene_description>Off both their nonplussed faces:<\/scene_description>\n    <character>HAYWARD<\/character>\n    <dialogue>If I didn't believe in Alonzo's innocence, I would never have taken the case.<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Call him Fonny.<\/dialogue>\n    <character>HAYWARD<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Call him Fonny. When you call him Alonzo, I see the judge and bars and chains. I know you're doing my sister a favor and this is a very fancy law office, but... if you're doing this, you've gotta be family, call him Fonny, please.<\/dialogue>\n    <scene_description>Hayward digests this, accepts it -- ingests the burden.<\/scene_description>\n    <character>HAYWARD<\/character>\n    <dialogue>I understand.<\/dialogue>\n    <parenthetical>(and)<\/parenthetical>\n    <dialogue>Now, you and Fonny insist that you were together, in the room on Bank Street with an old friend, Daniel Carty, that's the alibi. Your testimony, as you can imagine, counts for nothing, and Daniel Carty has just been arrested by the DA's office and I've not been allowed to see him, they're holding him incommunicado.<\/dialogue>\n    <scene_description>Hayward rummages through the papers on his desk, a nervous tick.<\/scene_description>\n    <character>HAYWARD<\/character>\n    <dialogue>What they're doing is really against the law, but... Daniel has a record. They obviously intend to make him change his testimony. And, I do not know this, but I'm willing to bet that that's why Mrs. Rogers has disappeared. So. You see. I'll do the best I can, but... the situation is bleak.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>How soon do you need the money?<\/dialogue>\n    <character>HAYWARD<\/character>\n    <dialogue>We're already tracing Mrs. Rogers. I'll need the money as soon as you can get it. I'll also force the DA's office to allow me to see Daniel Carty, but...<\/dialogue>\n    <character>HAYWARD<\/character>\n    <dialogue>they'll throw every conceivable obstacle in my way.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>So... we're trying... to buy time.<\/dialogue>\n    <character>HAYWARD<\/character>\n    <dialogue>In a word... yes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW YORK CITY CORRECTIONAL FACILITY - DAY<\/stage_direction>\n    <scene_description>Fonny and Tish across that familiar divide.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>The fuck we going to do about Mrs. Rogers? Where the fuck did she go?<\/dialogue>\n    <character>TISH<\/character>\n    <parenthetical>(calming)<\/parenthetical>\n    <dialogue>I don't know. But we'll find her.<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>How you going to find her?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>We're sending people to Puerto Rico. We think that's where she went.<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>And suppose she went to Argentina? Or Chile? Or China?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>How's she going to get that far?<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>They can give her the money to go anywhere!<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>The DA's office, that's who!<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Fonny--<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>You don't believe me? You don't think they can do it?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>I don't think they have.<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>How you going to get the money to find her?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>We're all working, all of us.<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>Yeah. My Daddy's working in the garment center, you're working in a department store, your Daddy's working on the waterfront--<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Fonny, listen--<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>Listen to what? What we going to do about that fucking lawyer? He don't give a shit about me, he don't give a shit about nobody! You want me to die in here? You know what's going on in here? You know what's happening to me? To me in here?<\/dialogue>\n    <scene_description>Fonny's head going down to that desk, has to hide the moisture we clearly see falling to the table-top before him, wiped as quick as it falls, gotta stay a man.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>I'm sorry, baby. I don't mean none of that for you. I'm sorry. I love you. You know that, I'm sorry.<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>I do. And I understand what you goin' through, I'm with you baby.<\/dialogue>\n    <scene_description>Fonny nodding that in, convincing himself. That smile again.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>How's the baby coming?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>It's growing. I'll start showing more next month.<\/dialogue>\n    <scene_description>Eye each other across this glass, Fonny trying to hold it together, but...<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>Get me out of here, baby. Get me out of here, please.<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>I promise, baby, I promise.<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>I'm sorry I yelled. I wasn't yelling at you.<\/dialogue>\n    <character>TISH<\/character>\n    <parenthetical>(a tear forming)<\/parenthetical>\n    <dialogue>I know.<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>Please don't cry. Please don't cry... it's bad for the baby.<\/dialogue>\n    <parenthetical>(and a smile now)<\/parenthetical>\n    <dialogue>Make they skin all wrinkled, come out lookin' like a old man, be givin' birth to a baby Red Foxx.<\/dialogue>\n    <scene_description>Something between a laugh and a cry at that, tear and the laugh at once:<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>That's right, give us a smile.<\/dialogue>\n    <scene_description>Tish wiping another tear, composing herself, a nice smile:<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>Is that all right?<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>You can do better than that.<\/dialogue>\n    <scene_description>Tish sticking out her tongue, crossing her eyes.<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>Is this better?<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>Yeah, you nut, give us a kiss.<\/dialogue>\n    <scene_description>Tish's palm to her lips, placed flat against the glass. Fonny meeting it with his palm, then carrying it back to his lips.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>You still love me?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>I'll always love you.<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>I love you, baby. I miss you. I miss everything about you, I miss everything we had together, everything we did together, walking and talking and making love; baby, get me out of here.<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>I will. Hold on.<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>I promise. You take care of yourself out there.<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>I will Fonny, you know I will.<\/dialogue>\n    <scene_description>Fonny raising his fist to the glass, Tish meeting it. CUT TO BLACK.: \"Fonny had been crossing Lenox Ave when he ran into Daniel. They had not seen each other since their days at the vocational school.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LENOX AVE - DAY<\/stage_direction>\n    <scene_description>Fonny and the aforementioned DANIEL standing on the sidewalk. A lot of laughing and high-fiving from the two but we don't hear any of it, instead, Tish's narration: \"Time had not improved Daniel.\"<\/scene_description>\n    <character>ANGLE ON: DANIEL<\/character>\n    <dialogue>\"He was still big, black, and loud; at the age of twenty- three, a little older than Fonny, but he was already running out of familiar faces. So... they grabbed each other on the avenue.\"<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Wow! What's happenin'?<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>Why you asking me, man?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Because, like the man says about Mt. Everest: 'You're there.'<\/dialogue>\n    <scene_description>Fonny laughing at that, we can quickly tell he loves this cat.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>Come on. We got some beer at the pad. You remember Tish?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Skinny little Tish?<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>Yeah. She's still my girl. We going to get married, man. Come on and let me show you the pad. And she'll fix us something to eat, I told you we got beer at the house.<\/dialogue>\n    <scene_description>Fonny throwing a hand behind Daniel's neck jovially. \"And though he certainly shouldn't be spending the money, he pushes Daniel into a cab and they roll on down to Bank Street: where I am not expecting them.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANK STREET FLAT - DAY<\/stage_direction>\n    <scene_description>Tish looking on with surprise as Fonny and Daniel push into the apartment still laughing their asses off. JUMP CUT TO: MOMENTS LATER Daniel and Tish exchanging hugs of greeting, Fonny gesturing and explaining this run in but, again, we hear none of it, instead: \"But I could not be indifferent to Daniel because I realized, from Fonny's face, how marvelous it was for him to have scooped up from the swamp waters of his past, an old friend.\" CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BANK STREET - DAY - MOVING<\/stage_direction>\n    <scene_description>Moving with Tish as she walks along the sidewalk, shopping bag at her shoulder. CUT BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANK STREET FLAT - DAY<\/stage_direction>\n    <scene_description>Daniel and Fonny with fresh beers before them. A record player going as the two squat on the floor.<\/scene_description>\n    <character>DANIEL<\/character>\n    <parenthetical>(both wishful and mocking)<\/parenthetical>\n    <dialogue>So, you really going to get married?<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>Well, yeah, we looking for a place to live; we looking for a loft because that don't cost no whole lot of bread, you know, and that way I can work without Tish being bugged to death. This room ain't big enough for one, ain't no question about its being big enough for two, and I got all my work here and in the basement.<\/dialogue>\n    <scene_description>Fonny lights a cigarette as he speaks:<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>They got lofts standing empty all over the East Side, man, and don't nobody want to rent them, except freaks like me. And they all fire traps and some of them ain't even got no toilets. So, you figure like finding a loft ain't going to be no sweat.<\/dialogue>\n    <scene_description>He takes a drag, hands it to Daniel.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>But man, this country really do not like niggers. They do not like niggers so bad, man, they will rent to a leper before they'll rent to a nigger, I swear.<\/dialogue>\n    <scene_description>Fonny lights another cig, keeps this one for himself. Daniel takes a sip of his beer.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>Sometimes Tish and I go together, sometimes she goes alone, sometimes I go alone. But it's always the same story, man. And now I can't let her go alone no more because, dig, last week we thought we had us a loft, the cat had promised it to her. But he had not seen me. And he figures a black chick by herself, way downtown looking for a loft, well, he know he going to make it with her.<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>He thinks she's propositioning him, that's what he really thinks. And she comes to tell me - just so proud and happy - and we go on over there. And when the cat sees me, he says there's been some great misunderstanding, he can't rent the loft because he's got all these relatives coming in from Rumania like in half an hour and he got to give it to them. Shit. And I told him he was full of shit and he threatened to call the cops on my ass.<\/dialogue>\n    <scene_description>Fonny looking away, up at that small window looking up out at the sidewalk from this low vantage:<\/scene_description>\n    <character>FONNY<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>I'm really going to have to try to figure out some way of getting some bread together and getting out of this fucking country.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>How you going to do that?<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>I don't know yet.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Tish can't swim.<\/dialogue>\n    <scene_description>Fonny and Daniel whoop and rock with laughter. After a moment:<\/scene_description>\n    <character>DANIEL<\/character>\n    <parenthetical>(soberly)<\/parenthetical>\n    <dialogue>Maybe you could go first.<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>Nah.<\/dialogue>\n    <parenthetical>(and)<\/parenthetical>\n    <dialogue>I don't think I want to do that. I'd be too scared.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Scared of what?<\/dialogue>\n    <scene_description>A long, long beat. The cigarette and the record are finished. There's nothing to hide behind.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>Just scared.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Scared of what might happen to Tish?<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Scared of what might happen to both of us - without each other. Like Tish ain't got no sense at all, man, she trusts everybody. She walk down the street, swinging that little behind of hers, and she's surprised, man, when some cat tries to jump her. She don't see the world like everybody see it.<\/dialogue>\n    <scene_description>And silence falls again, Daniel watching Fonny:<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>I know I might seem to be a weird kind of cat. But I got two things in my life, man - I got my sculpting and I got Tish. If I lose them, I'm lost. I know that. You know, whatever's in me I didn't put there. And I can't take it out.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I don't know if you so weird. I know you lucky. I ain't got nothing like that. Can I have another beer, man?<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>Hell yeah you can.<\/dialogue>\n    <scene_description>Fonny up and over at the icebox, opens two more cans.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>I just come out the slammer, baby. Two years. They said - they still say - I stole a car.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I mean I had a little pot on me when they grabbed me but man, I can't even drive a car.<\/dialogue>\n    <scene_description>Fonny returns, hands one of those beers to Daniel, Daniel taking a long swallow, a devious smile:<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>But, then, it sounded a whole lot better than that marijuana charge.<\/dialogue>\n    <scene_description>Daniel laughs and sips his beer.<\/scene_description>\n    <character>DANIEL<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>Two God damn years.<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>By the balls.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Yeah. By the balls.<\/dialogue>\n    <scene_description>The loudest and longest silence, then CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BANK STREET FLAT - DAY<\/stage_direction>\n    <scene_description>Tish moving along sidewalk, the same as before, returning now with a paper sack of goods.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANK STREET FLAT - DAY - MOMENTS LATER<\/stage_direction>\n    <scene_description>Tish entering, setting those goods to the counter, the little kitchenette off the entrance.<\/scene_description>\n    <character>FONNY (O.S.)<\/character>\n    <dialogue>You need some help in there?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>No thank you, I'm fine.<\/dialogue>\n    <parenthetical>(and)<\/parenthetical>\n    <dialogue>Y'all good?<\/dialogue>\n    <scene_description>Tish leans to the left, around the curtained partition separating this kitchenette from the rest of the place. She can see them through the sheer but the gesture of this leaning out, Daniel and Fonny both send a put on smile and a wave. She rolls her eyes, returns to the sink. As she watches them through the curtain, CUT BACK TO:<\/scene_description>\n    <character>FONNY AND DANIEL<\/character>\n    <dialogue>More hushed tones now.<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>How long you been out?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>About three months.<\/dialogue>\n    <parenthetical>(and)<\/parenthetical>\n    <dialogue>Man, it was bad. Very bad. And it's bad now.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Maybe I'd feel different if I had done something and got caught. But I didn't do nothing. They were just playing with me, man, because they could. And I'm lucky it was only two years, you dig? Because they can do with you whatever they want. Whatever they want. And they dogs, man. I really found out, in the slammer, what Malcolm and them cats was talking about. The white man's got to be the devil. He sure ain't a man. Some of the things I saw... I'll be dreaming about until the day I die.<\/dialogue>\n    <scene_description>Fonny puts one hand on Daniel's neck.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>That's alright, man. You out now, it's over, you young.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Man, I know what you're saying. And I appreciate it. But you don't know, the worst thing, man, the worst thing, is that they can make you so fucking scared. Just... scared, man.<\/dialogue>\n    <scene_description>Beat. The heaviest beat, then...<\/scene_description>\n    <character>TISH<\/character>\n    <parenthetical>(calling out)<\/parenthetical>\n    <dialogue>You cats hungry?<\/dialogue>\n    <character>FONNY (O.S.)<\/character>\n    <parenthetical>(joking)<\/parenthetical>\n    <dialogue>Yeah, we starvin'. Move it!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANK STREET FLAT - NIGHT - LATER<\/stage_direction>\n    <scene_description>The three of them caught mid-laugh, gathered around the lone wood table in this space. A few open bottles of beer about. And little Tish has made a feast: ribs and cornbread and rice, gravy and green peas.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>It's nice to see you, Tish. You sure ain't gained no weight, have you?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>You hush. I'm skinny because I'm poor.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Well, I sure don't know why you didn't pick yourself a rich husband. You ain't never going to gain no weight now.<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Well, if you skinny, Daniel, you can move faster and when you in a tight place, you got a better chance of getting out of it. You see what I mean?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>You sound like you got it all figured out. You learn all that from Fonny?<\/dialogue>\n    <parenthetical>(at Fonny)<\/parenthetical>\n    <dialogue>Maybe she can't gain no weight, but you sure will. You folks mind if I drop by more often?<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>Feel free.<\/dialogue>\n    <parenthetical>(winks at Tish)<\/parenthetical>\n    <dialogue>Tish ain't very good looking, but she can sure get the pots together.<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>I'm happy to know I have some use.<\/dialogue>\n    <scene_description>Tish curling her lips at Fonny across the table. He smiles, starts chewing on a rib. They all do, letting the talk subside for a beat as they enjoy this meal, then... ...Fonny and Tish locking eyes across the table, absent Daniel, away from Daniel and... \"In complete silence, without moving a muscle, we are laughing with each other. We are together somewhere where no one can reach us, joined.\" ANGLES ON: TISH AND FONNY<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..alternating, both of them looking directly at us as Tish continues:<\/stage_direction>\n    <scene_description>\"We are happy, even, that we have food enough for Daniel, who eats peacefully, not knowing that we are laughing, but sensing that something wonderful has happened to us... which means that wonderful things happen... and that maybe something wonderful will happen... to him.\" CUT TO BLACK. And OVER BLACK, the sound of footsteps, hollow and reverberating, as though echoing down a long, slender hall. As these footsteps continue to sound... ...a figure taking shape, like shoulders, the silhouette of something. The entire image brightening now as, at the end of this hallway, a point of light emanating from the center. Those shoulders approaching the light, as they near it, another sound rising, most similar to a wail; a child's wail. The shoulders moving with more purpose now, picking up speed, furiously attempting to reach that light. A wall of noise, the clatter of feet in this hallway, the ever present wail and, that point of light, no matter how fast we move or how loud those footsteps, never growing closer, an infinite, futile scramble as... SMASH CUT TO: SHARON ...standing above us, a wet towel in her hand, the look on her face one of concern.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TISH'S HOME, BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Tish's eyes closed, heavily asleep. But her body clinched with tension, hand gripping at the sheet, feet kicking atop the covers. A guttural, muted sound rising from Tish's chest as Sharon sits to the bed beside her, gently lays a hand to Tish's brow, caresses her head. Slowly, Tish's eyes opening, drifting into consciousness. Sharon dabs the wet towel at Tish's temples, looks down at her lovingly:<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>I know I can't help you very much right now - God knows what I wouldn't give if I could. But I know about suffering.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>And I know that it ends. I ain't going to tell you no lies, like it always ends for the better. Sometimes it ends for the worse. You can suffer so bad that you can be driven to a place where you can't ever suffer again. And that's the worst. That's so much worse than any suffering.<\/dialogue>\n    <scene_description>Sharon setting that towel down, taking Tish's hands and enveloping them in her own.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Try to remember that.<\/dialogue>\n    <parenthetical>(and)<\/parenthetical>\n    <dialogue>I know a lot of our men have died in prison: but not all of them. You remember that. And you ain't really alone in that bed. You got that child beneath your heart and we're all counting on you, Fonny's counting on you, to bring that child here safe and well. You the only one who can do it. But you one of us. Which mean you made of tough stuff. You understand?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Yes, Mama.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Are you all right now? Can you sleep?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>I don't want to sound foolish. But remember, love brought you here. If you trusted love this far, don't panic now, trust it all the way.<\/dialogue>\n    <scene_description>Sharon leans down, kisses her daughter on the forehead. Another caress with that towel then she rises, heads for the door. Turns off the light behind her as we... CUT TO: LATER ...and brighter, Tish waking in bed, having slept through the night.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TISH'S HOME, KITCHEN - DAY<\/stage_direction>\n    <scene_description>Tish dressed now, Ernestine already at the dining table thumbing through some paperwork, Sharon at the counter pouring a cup of coffee as Tish enters.<\/scene_description>\n    <character>ERNESTINE<\/character>\n    <parenthetical>(without looking up)<\/parenthetical>\n    <dialogue>Hey, Jezebel.<\/dialogue>\n    <scene_description>Tish sticking her tongue out at her sister as she passes, comes up behind Sharon and gives her mother a hug. \"Sis started calling me Jezebel after I got my job at the perfume counter. She said...\"<\/scene_description>\n    <character>ANGLE ON: ERNESTINE<\/character>\n    <dialogue>ERNESTINE<\/dialogue>\n    <parenthetical>(with a wicked smile)<\/parenthetical>\n    <dialogue>You smell like a Louisiana whore.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. C TRAIN, DOWNTOWN - DAY - MOVING<\/stage_direction>\n    <scene_description>The first time we've seen Tish take the train by herself. Crowded as the car is, she's incredibly alone. And visibly pregnant. \"The store thought that it was very progressive to give this job to a colored girl.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERGDORF GOODMAN - DAY - MOVING<\/stage_direction>\n    <scene_description>Entering hurriedly through the main show-floor with Tish, passing her coworkers - her white coworkers - as she hustles to clock in...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERGDORF GOODMAN - DAY - LATER<\/stage_direction>\n    <scene_description>Tish a bit more \"made-up,\" standing behind the perfume counter. \"I stand behind that counter all day long, smiling till my back teeth ache.\" As we draw closer to Tish, see the strain to keep that outward face... \"And it isn't only old white ladies who come to that counter to smell the back of my hand.\" QUICK VIGNETTE: Tish and an aforementioned Old White lady, Tish's smile false as the color of this women's wig. \"Very rarely does a black cat come anywhere near this counter, and if he does, his intentions are often more generous and always more precise.\" QUICK VIGNETTE: Tish at the counter, one of the aforementioned \"Black Cats\" approaching the perfume counter but not stopping, moves past it with a cautionary look thrown Tish's way. \"Perhaps for a black cat, I look like a helpless baby sister. And he doesn't want to see me turn into a whore.\" QUICK VIGNETTE: Tish behind the counter as a different \"Black Cat\" approaches, comes right up to the counter. \"And yet some black cats come closer, just to look into my eyes, to check out what's happenin'. And they never smell the back of my hand.\" QUICK IMAGE SERIES: Just as Tish describes it... \"A black cat puts out his hand, and you spray it, and he carries the back of his own hand to his own nostrils.\" BACK TO TISH: At the counter as a plain, middle-everything white man approaches. \"But a white man?\"<\/scene_description>\n    <character>QUICK IMAGE SERIES:<\/character>\n    <dialogue>Just as Tish describes it...<\/dialogue>\n    <dialogue>\"A white man will take your hand, he will carry your flesh to his nostrils... and he will hold it there.\"<\/dialogue>\n    <dialogue>Hold on this image, and on Tish looking without feeling, a forced smile to obscure, then...<\/dialogue>\n    <dialogue>\"He will hold it there for a lifetime.\"<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPANISH RESTAURANT - DAY<\/stage_direction>\n    <scene_description>Tish and Ernestine together in a corner, the same table we've seen Tish and Fonny occupy countless times before (and Tish still dressed from her shift at Lord and Taylor's).<\/scene_description>\n    <character>ERNESTINE<\/character>\n    <dialogue>Well don't you smell nice.<\/dialogue>\n    <scene_description>Off Tish's rolled eyes:<\/scene_description>\n    <character>ERNESTINE<\/character>\n    <dialogue>You want the good news or the bad news first?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Bad news.<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>See that's how you know we family.<\/dialogue>\n    <parenthetical>(and)<\/parenthetical>\n    <dialogue>Bad news is, they found Mrs. Rogers, she's in Puerto Rico. Somebody's gonna have to go there to talk to her.<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Which we'll have to pay for.<\/dialogue>\n    <scene_description>A nod yes from Ernestine.<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>Okay, what's the good news?<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>That... they found her, I guess?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>How she get to Puerto Rico?<\/dialogue>\n    <scene_description>Ernestine shrugging, a sip of her beer:<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>I can't go to Puerto Rico.<\/dialogue>\n    <scene_description>Another look from Ernestine, more biting: obviously.<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>So Hayward?<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>Hayward's got to deal with Bell and the DA. Anyway, you can see that, for many, many reasons, Hayward can't go. He'd be accused of intimidating a witness.<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>But that's what they're doing--<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>It would take us until your baby is voting age to prove that.<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>Look, mama and daddy don't know, I haven't talked to them yet, wanted to talk to you first.<\/dialogue>\n    <scene_description>Tish nodding at that, taking it all in. She goes cold:<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>Do you think she really was raped?<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>Tish... I don't know what's going on in that ingrown mind of yours, but that question don't mean a thing. As far as our situation is concerned baby, she was raped. That's it.<\/dialogue>\n    <scene_description>Ernestine takes a sip of her drink.<\/scene_description>\n    <character>ERNESTINE<\/character>\n    <dialogue>I think, in fact, that she was raped and that she has absolutely no idea who did it, would probably not even recognize him if he passed her on the street. I may sound crazy, but the mind works that way. She'd recognize him if he raped her again. But then it would no longer be rape, if you see what I mean?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>I see what you mean. But why Fonny?<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>Because he was presented to her as the rapist and it was much easier to say yes than to try and relive the whole damn thing. This way, it's over for her.<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>And for us, too?<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>No. Not even. It won't ever be over for us.<\/dialogue>\n    <scene_description>Tish taking a beat before this next part, fixes Ernestine in her sights:<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>What about Puerto Rico?<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>That's one of the reasons I wanted to talk to you. Before we talk to Mama and Daddy. Look. You can't go, no way you can. For one thing, without you, Fonny will panic. I don't see how I can go, I've got to keep lighting firecrackers under Hayward's ass. Daddy can't go, and God knows Frank can't go. That leaves Mama.<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Mama?<\/dialogue>\n    <scene_description>A nod from Ernestine:<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>She don't want to go to Puerto Rico.<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>And she hates planes. But she wants your baby's father out of jail. She'll go.<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>And what do you think she can do?<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>She can do something no special investigator can do: she may be able to break through to Mrs. Rogers. Maybe not, but if she can, we're ahead. And if not, well, we haven't lost anything, and at least we'll know we've tried.<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>And what about Daniel? Daniel can vouch for us, Daniel knows Fonny was with him.<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>I told you. Hayward is seeing him tomorrow. He may have been able to see him today.<\/dialogue>\n    <scene_description>Tish nodding it all in, confirming it all in her head.<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>Some shit.<\/dialogue>\n    <character>ERNESTINE<\/character>\n    <dialogue>Yeah. But we in it now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOWMANS JAZZ CLUB - DAY<\/stage_direction>\n    <scene_description>Lot of regulars at the bar hovering over sad drinks. As we take it all in, a pair of familiar faces appearing there in the back: Joe and Frank, each nursing what appear to be rocked up whiskey.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>What we going to do?<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Well, the first thing we got to do is to stop blaming ourselves. If we can't do that, man, we'll never get the boy out because we'll be so fucked up. And we cannot fuck up now, baby, and I know you hear where I'm coming from.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I hear that but man, what we going to do about the money?<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>You ever have any money?<\/dialogue>\n    <scene_description>Frank looks up at him and says nothing, merely questions him with his eyes.<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>You ever have any money?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Then why you worried about it now?<\/dialogue>\n    <scene_description>Frank looks up at him again.<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>You raised them somehow. You fed them somehow, didn't you? If we start to worrying about money now, man, we going to be fucked and we going to lose our children. That white man, baby, he want you to be worried about the money. That's his whole game.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>But if we got to where we are without money, we can get further. I ain't worried about they money -- they ain't got no right to it anyhow, they stole it from us -- they ain't never met nobody they didn't lie to and steal from. Well, I can steal, too. And rob. How you think I raised my daughters? Shit.<\/dialogue>\n    <scene_description>But Frank is not Joseph. He stares down again, into his drink.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>What you think is going to happen?<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>What we make happen.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>That's easy to say.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Not if you mean it.<\/dialogue>\n    <scene_description>There is a long silence into which neither man speaks. Even the jukebox is silent.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>I guess... I love Fonny more than I love anybody in this world. And it makes me ashamed, man, I swear, because he was a real manly little boy, wasn't scared of nothing, except maybe his Mama. He didn't understand his Mama. And I don't know what I should've done. I ain't a woman. And there's some things only a woman can do with a child.<\/dialogue>\n    <scene_description>Frank sips his drink, tries to smile.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>I don't know if I was ever any kind of father to him - any kind of real father - and now he's in jail and it ain't his fault and I don't even know how I'm going to get him out. I'm sure one hell of a man.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Well, he sure think you are. He loves you, and he respects you;<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>now you got to remember that I might know that better than you. Tell you something else: your son is the father of my daughter's baby. Now, how you going to sit here and act like can't nothing be done? We got a child on the way here, man. You want me to beat the shit out of you?<\/dialogue>\n    <scene_description>He says this with ferocity but, after a moment, smiles.<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>Now I know some hustles and you know some hustles and these are our children and we got to set them free. So, let's drink up man and go on in. We got a whole lot of shit to deal with in a hurry.<\/dialogue>\n    <scene_description>CUT TO BLACK.: \"The date for Fonny's trial keeps changing. This fact, of course, forces me to realize that Hayward's concern is genuine.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAYWARD'S OFFICE - DAY - MONTAGE 3<\/stage_direction>\n    <scene_description>Hayward standing behind his desk, looking down on stacks upon stacks of paperwork. \"I don't think that he very much cared in the beginning. He'd never taken a case like Fonny's before, but... once into it, the odor of shit rose too high -- he had no choice but to keep stirring it.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWNTOWN ASSOCIATION - DAY - MONTAGE 3<\/stage_direction>\n    <scene_description>Hayward caressing a snifter of cognac surrounded by other lawyer types, a good old boy feel to it... with Hayward appearing out of place. \"It became obvious at once, for example, that the degree of his concern for his client placed him at odds with the keepers of the keys and seals.\"<\/scene_description>\n    <character>ANGLE ON: HAYWARD<\/character>\n    <dialogue>\"He had not expected this and at first it bewildered... then frightened and angered him.\"<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TISH'S HOME - NIGHT - MONTAGE 3<\/stage_direction>\n    <scene_description>The family engaged in what appears to be a spirited discussion, inaudible the whole of it, all Tish: \"It didn't help that I distrusted him, Ernestine harangued him, Mama was laconic and, for Joseph, he was just another white boy with a college degree.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. C TRAIN - DAY - MOVING - MONTAGE 3<\/stage_direction>\n    <scene_description>Tish looking substantially more pregnant than we've seen her previously. \"And so... mama begins letting out my clothes...\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPPER WEST SIDE APARTMENT - DAY - MONTAGE 3<\/stage_direction>\n    <scene_description>Ernestine sitting before a well appointed desk in the foyer of the most monied domicile we'll see all film, a young, pretty white woman pacing before her. \"Ernestine takes a second job as a part-time secretary to a rich and eccentric actress whose connections she intends to use.\" CUT TO: SPLIT SCREEN: the docks on one side, the garment district on the other. \"And Joseph and Frank are coldly stealing from the docks and the garment center, selling the hot goods in Harlem or in Brooklyn.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HARLEM SIDE STREET - DAY - MONTAGE 3<\/stage_direction>\n    <scene_description>Frank and Joe standing at the rear doors of a van we've not seen before, the two of them in conversation with other men as they gesture into the bed of the van. \"They don't tell me any of this, of course. But I know it. I know it.\" CUT BACK TO: HAYWARD -- a look in his eyes, at once present and far away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWNTOWN ASSOCIATION, MENS ROOM - DAY<\/stage_direction>\n    <scene_description>We begin in the Barbershop, Hayward just completing a simple trim, then... ...he rises, moves through a hallway. As he does, we see more of this place -- old school, marble counter-tops, the finest wood, understatedly immaculate in that \"old NY money\" way. Hayward lands at one of the many empty sinks -- there's no one else here. Or is there? As he hovers above the basin, notes his finely coifed hair... a figure in the periphery catches his eye, Hayward looking up and to the right, locks eyes with a reflection in the mirror: An elderly black man watching from the wings: dress shirt, a tie slipping beneath a black vest, the RESTROOM ATTENDANT. The restroom attendant reaches past Hayward, turns on the tap. After a moment for Hayward to properly rinse his hands, the restroom attendant extends a towel, stands at the ready as Hayward dries. Hayward returns the towel to the attendant. The evidence of things not seen.<\/scene_description>\n    <character>RESTROOM ATTENDANT<\/character>\n    <dialogue>Have a good day, sir.<\/dialogue>\n    <scene_description>Hayward heads for the exit as we... CUT TO BLACK.: And OVER BLACK, a new SOUND rising, like the city through a window, distant and present at once. \"I remember the night the baby was conceived. It was the day we found our loft.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CANAL STREET LOFT, STAIRWELL - DAY<\/stage_direction>\n    <scene_description>Fonny and Tish following a third man we've not seen before (LEVY, tall, lanky, white). Bare, industrial this place, looks more like a heavy machinery operation than residential housing. And yet... here Tish is, holding Fonny's hand as they climb these stairs, this strange white man glancing back at them with a smile. Levy reaches the landing, waits for them. He keys the lock, but...<\/scene_description>\n    <character>LEVY<\/character>\n    <dialogue>So... you read the ad, right?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CANAL STREET LOFT - DAY<\/stage_direction>\n    <scene_description>Levy leading Tish and Fonny into a massive, barren space -- cement floors, chipped paint, windows stained a thousand different colors by the weight of sun and time.<\/scene_description>\n    <character>LEVY<\/character>\n    <dialogue>Okay lady and gentleman, here we are.<\/dialogue>\n    <scene_description>Levy turns back to them as he moves deeper into the space, Fonny still following but Tish frozen, a mix of surprise and dread on her face.<\/scene_description>\n    <character>LEVY<\/character>\n    <dialogue>I know it's not much to look at but we're not done with it, see... you gotta imagine there's walls like over here...<\/dialogue>\n    <parenthetical>(jogs a few feet away)<\/parenthetical>\n    <dialogue>And here, see?<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>Yeah Tish, it's not done, they still workin' on it.<\/dialogue>\n    <scene_description>Tish opens her mouth to speak, but... the sight has left her speechless.<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>Fonny...<\/dialogue>\n    <parenthetical>(and)<\/parenthetical>\n    <dialogue>I'm sorry, but... how we gonna make a home outta this?<\/dialogue>\n    <scene_description>Fonny comes back over to her, takes her by the hand:<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>With love baby, I know we can. Look here....<\/dialogue>\n    <scene_description>Fonny guides her back over near Levy, the three of them sharing the same vantage point now, looking directly toward the windows.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>Imagine we got walls here and here, running all the way to the back, right?<\/dialogue>\n    <scene_description>He moves away, into the center of the apartment, looks back to Tish and Levy:<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>See, it won't be all this, we'll have our own space, it'll be us here and maybe some other young folks over there and there, like a community, right?<\/dialogue>\n    <character>LEVY<\/character>\n    <dialogue>Yeah, a community.<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>But... where we supposed to cook and sleep and bath, I mean... where my mama and 'nem gonna sit?<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>Easy, we'll put a couch over here--<\/dialogue>\n    <scene_description>Fonny hustles over to the spot where the couch will go.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>--and the bed? We'll put the bed right back here so I can see you in that pretty light when the sun rises.<\/dialogue>\n    <scene_description>He's made his way near the window, arms wide to gesture just about where that sunlit bed is going to lay.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>And eatin'? Well, I think we should have the dining table over here--<\/dialogue>\n    <parenthetical>(moves there)<\/parenthetical>\n    <dialogue>--and really the only thing left is the fridge but, I ain't tryna throw out my back before we even had time to make a kid so Levy, help me with this fridge man.<\/dialogue>\n    <scene_description>Fonny runs back over to them, pantomimes opening a door. Game, Levy follows, the two of them moving past Tish, out that fictional door, then...<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>1... 2... 3.<\/dialogue>\n    <scene_description>Fonny and Levy pantomiming as though they've just taken up opposite ends of that fridge, Levy backing through the imaginary door and past Tish, Fonny following with his \"end.\"<\/scene_description>\n    <character>FONNY<\/character>\n    <parenthetical>(straining)<\/parenthetical>\n    <dialogue>I tell you what it was a load getting up those stairs, but what a man won't do for love, eh Levy?<\/dialogue>\n    <character>LEVY<\/character>\n    <dialogue>Amen, brother.<\/dialogue>\n    <scene_description>They sit the \"fridge\" down in its place, the two of them huffing and puffing. Fonny locks eyes with her, expectant. Tish tries her best to fight it, but... she smiles.<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>You're quite crazy, you know that?<\/dialogue>\n    <scene_description>Fonny drifts over to her, takes her hand again:<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>Why yes, my dear, I do.<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>But also...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Quite cute.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CANAL STREET, ROOFTOP - DAY - MOMENTS LATER<\/stage_direction>\n    <scene_description>The three of them standing on the roof of this building.<\/scene_description>\n    <character>LEVY<\/character>\n    <dialogue>Don't worry about the neighbors. After five or six o'clock, you won't have any. All you got down here is sweatshops; place on the ground floor is legit.<\/dialogue>\n    <parenthetical>(and)<\/parenthetical>\n    <dialogue>Common decency requires I tell you that, the stairwell we came in on? Allows access to the building interior, not the sidewalk, so... in case of a fire...<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>...our best bet is to come on up, hop to another building or ride it out up here?<\/dialogue>\n    <scene_description>A nod in the affirmative from Levy, looking from Tish to Fonny, expectant. The two of them dumbfounded, no telling how many places they've seen at this point, none of them yielding this result.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>Other than it being a firetrap, what's the catch?<\/dialogue>\n    <character>LEVY<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <scene_description>Fonny pausing a moment, debating, then...<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>No offense Levy, but we been lookin' a long time. Don't seem to me like it's a reason for you to treat two Negros so nice like, clearly we ain't got a pot nor much of a drink to make piss with; pardon my French.<\/dialogue>\n    <scene_description>Levy looking away from Fonny here, briefly at Tish and then, for just a moment, at their hands joined there.<\/scene_description>\n    <character>LEVY<\/character>\n    <dialogue>Look, with me, it's simple: I dig people who love each other. Black, white, green or purple, doesn't matter to me, just spread love, you know?<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>So you a hippie? I didn't take you for no hippie.<\/dialogue>\n    <character>LEVY<\/character>\n    <dialogue>Nah, I'm just my mother's son. Sometimes that's all what makes the difference between us and them.<\/dialogue>\n    <scene_description>Fonny pulling Tish into his side, the two of them lovely together. And from the look on Levy's face, this loveliness is exactly why the place will be their's.<\/scene_description>\n    <character>LEVY<\/character>\n    <dialogue>Keep in touch about getting that deposit together, you hear?<\/dialogue>\n    <scene_description>A nod from Fonny, earnest.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>Will do, Levy. Will do.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BLEECKER STREET - DUSK - MOVING<\/stage_direction>\n    <scene_description>Walking with Tish and Fonny, this path from Soho to the Village. Twilight out, the sun below the horizon, nearly night. That energy in the street when the day is ending; and peacefully. It would be a Friday, the feel of the eminent weekend and all that it promises. A quiet, lazy pace these two, Tish leaned into Fonny as she's wont to do. No place in particular to hurry to; what else could possibly matter? A beat of this walking then... Fonny stops; no reason, just stops walking mid-stride. Looks to the ground, and then to the sky. Throws his head back and shouts, yells to the heavens. He's still holding Tish's hand. And from the smile on his face, this is a joyous shout. Tish looking into his face, the smile now spreading to her. Not a word spoken between them. Without thinking, Tish throws her head back as well, shouts the same as Fonny. Those smiles wider between them as they pick up their walk again, looking from one to the other. Tish catching Fonny's eye. Throws her head back once more and, again, yells to the sky. Fonny stops, takes Tish by the hand, pulls her into him, a hand to her chin, speaks softly:<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>You ready for this?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <parenthetical>(and)<\/parenthetical>\n    <dialogue>Ain't nothin' else in the world I'm more ready for.<\/dialogue>\n    <scene_description>Fonny smiling, big, bright, a child's face. He is as happy as any man could be. They're walking again, approaching a corner up ahead, an intersection with a small grocer on the corner.<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>I'm gonna grab some things for dinner.<\/dialogue>\n    <scene_description>A delay from Fonny, just watching her. Leans over to kiss her on the forehead:<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>I'm'a grab me some smokes across the street.<\/dialogue>\n    <scene_description>Fonny splitting off, moving into the crosswalk, a small cigar shop just across the way. We stay here with Tish, watch Fonny go a moment, then...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. VEGETABLE STAND - NIGHT<\/stage_direction>\n    <scene_description>Tish just inside the entrance of this place, a selection of Italian home goods set just onto the sidewalk, a full bakery with low-slung aisles of groceries and produce inside. She's at the tomato stand, rummaging through it when we hear:<\/scene_description>\n    <character>VOICE (O.S.)<\/character>\n    <dialogue>I can sure dig a tomato who digs tomatoes.<\/dialogue>\n    <scene_description>Tish turning to that voice, finds herself face to face with a small, greasy ITALIAN PUNK. His hand on Tish, caressing her behind. He licks his lips, smiles.<\/scene_description>\n    <character>ITALIAN PUNK<\/character>\n    <dialogue>Hey, sweet tomato. You know I dig tomatoes.<\/dialogue>\n    <scene_description>And now people are watching. Tish searching them, looking for help but people only stare, no one moves. Tish goes to move past him, leaves the tomatoes there but the boy grabs her arm. Instinctively, she slaps him - BAP! And at this moment, Fonny enters the store, grabs the boy by the hair, knocks him to the ground and kicks him something fierce. Takes him by the lapel and drags him out onto the sidewalk, tosses him in the gutter. Tish screaming Fonny's name and, at first, we're not sure why, Tish grabbing a hold of him and, oddly, turning her back to Fonny's chest, reaches behind her and pulls him close to her, his chin at the crown of her head. And then we see him: a uniformed officer hurrying across the intersection, eyes flaring, billy-club at the ready. As he nears, we recognize him: this is the aforementioned, blue-eyed officer from Tish's remembrances, OFFICER BELL. Tish holding the back of her head against Fonny's chest, both his wrists clutched in her two hands.<\/scene_description>\n    <character>TISH<\/character>\n    <parenthetical>(to Bell, frantic)<\/parenthetical>\n    <dialogue>That man there attacked me. Right in this store. Right now. Every- body saw it.<\/dialogue>\n    <scene_description>No one says a word. Bell looking at them all, still staring but nobody speaking. Then he looks back at Tish. And Fonny. There is no pity in Bell's face.<\/scene_description>\n    <character>OFFICER BELL<\/character>\n    <parenthetical>(at Fonny)<\/parenthetical>\n    <dialogue>And where were you, while all this...<\/dialogue>\n    <scene_description>Bell's eyes drifting over Tish in exactly the same way the boy's had...<\/scene_description>\n    <character>OFFICER BELL<\/character>\n    <dialogue>...while all this was going on between junior there and your girl?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>He was around the corner, buying cigarettes.<\/dialogue>\n    <character>OFFICER BELL<\/character>\n    <dialogue>Is that so, boy?<\/dialogue>\n    <scene_description>Tish's body jerking as Fonny's hands clench in her grasp:<\/scene_description>\n    <character>TISH<\/character>\n    <parenthetical>(sharp)<\/parenthetical>\n    <dialogue>He's not a boy, Officer.<\/dialogue>\n    <scene_description>Bell taking another look at Tish and Fonny as someone in the crowd gets the Italian Punk to his feet.<\/scene_description>\n    <character>OFFICER BELL<\/character>\n    <dialogue>You live around here?<\/dialogue>\n    <scene_description>The back of Tish's head is still on Fonny's chest, but he's released his wrists from her hands.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>Yes, on Bank Street.<\/dialogue>\n    <character>OFFICER BELL<\/character>\n    <dialogue>We're going to take you down, for assault and battery.<\/dialogue>\n    <character>VOICE (O.S.)<\/character>\n    <dialogue>Oh no you're not.<\/dialogue>\n    <scene_description>Tish, Fonny, Bell, everyone's eyes going to the shop now, a small, elderly ITALIAN LADY standing there with one hand on her hip, the other pointing sharply at Bell:<\/scene_description>\n    <character>ITALIAN LADY<\/character>\n    <dialogue>I know both these young people. They shop here very often. What the young lady has told you is the truth. I saw them both when they came. I was busy, I could not get to her right away; her tomatoes are still on the scale. And that little good-for-nothing over there attacked her. What would you do if a man attacked your wife? If you have one.<\/dialogue>\n    <scene_description>The crowd snickers. Bell flushes.<\/scene_description>\n    <character>ITALIAN LADY<\/character>\n    <dialogue>I saw exactly what happened. I am a witness. And I will swear to it.<\/dialogue>\n    <character>OFFICER BELL<\/character>\n    <dialogue>Funny way to run a business.<\/dialogue>\n    <character>ITALIAN LADY<\/character>\n    <dialogue>You will not tell me how to run my business. I was on this street before you got here and I will be here long after you are gone.<\/dialogue>\n    <scene_description>The Italian lady reenters the store and takes Tish's tomatoes off the scale and puts them in a bag.<\/scene_description>\n    <character>OFFICER BELL<\/character>\n    <parenthetical>(to Fonny)<\/parenthetical>\n    <dialogue>Well... ...be seeing you around.<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>You may... ...and then again, you may not.<\/dialogue>\n    <scene_description>A beat of these two holding eyes as the crowd disperses. There's a dark, heavy promise in these eyes. It runs both ways.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BLEECKER STREET - NIGHT - MOVING<\/stage_direction>\n    <scene_description>Tish and Fonny moving quietly down the sidewalk. Fonny holds the bag of tomatoes in the crook of one hand; the other arm he entwines through Tish's. They walk slowly.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>Tish...<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>Don't ever try to protect me.<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>But you were trying to protect me.<\/dialogue>\n    <character>FONNY<\/character>\n    <parenthetical>(heavy; quiet)<\/parenthetical>\n    <dialogue>It's not... ...the same... ...thing.<\/dialogue>\n    <scene_description>Fonny takes the bag of tomatoes... and smashes them against the nearest wall. They make a beautiful, chiaroscuro mess of streaking red. But, mercifully, they hardly make a sound. The two of them standing apart now, Fonny with his hands in his pockets, looking down at his feet, disgusted. Tish with a hand covering her mouth, the other wrapped about herself. Fonny closing the space, takes her hand in his:<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>Don't think I don't know you love me. You believe we going to make it?<\/dialogue>\n    <scene_description>Tish embracing him, a hand to his cheek, a very full kiss. She draws back, starts to say something, but... he puts a finger to her lips. Smiles his little smile.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>Don't say a word. I'm going to take you out to dinner. At our Spanish place, you remember?<\/dialogue>\n    <scene_description>Tish nodding yes, holds his gaze. A beat of this, then...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPANISH RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Fonny and Tish escorted to their table in Pedrocito's restaurant, holding hands as they follow him.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>We have no money, but we are very hungry. And I will have some money in a couple of days.<\/dialogue>\n    <character>PEDROCITO<\/character>\n    <dialogue>In a couple of days, that is what they all say. And, furthermore, I suppose that you would like to eat sitting down!<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>Why, yes, if you could arrange it, that would be nice.<\/dialogue>\n    <character>PEDROCITO<\/character>\n    <parenthetical>(over shoulder)<\/parenthetical>\n    <dialogue>And now, no doubt, you would like two margaritas?<\/dialogue>\n    <character>FONNY<\/character>\n    <parenthetical>(as he sits)<\/parenthetical>\n    <dialogue>Caught me again.<\/dialogue>\n    <scene_description>A wink and a laugh from Pedrocito as he disappears into the rear of this place. Fonny takes Tish's hand atop the table there. All eyes; holding eyes, speaking with eyes, loving with eyes. And from this look, a plea, a promise, a thirst within... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANK STREET FLAT - NIGHT<\/stage_direction>\n    <scene_description>Fonny and Tish on the palette, making love. No need for any details beyond this: making love, making it all the way to and through the point of release, Tish holding on to Fonny, keeping him here, keeping him in. Both their breaths subsiding after the act, Fonny's mouth close at Tish's ear, all whispers and...<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>Tish.<\/dialogue>\n    <parenthetical>(and)<\/parenthetical>\n    <dialogue>Oh Tish.<\/dialogue>\n    <scene_description>CUT TO BLACK.: \"We are beginning to have a somewhat acrid dialogue, this thing and I.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TISH'S HOME, KITCHEN - DAY<\/stage_direction>\n    <scene_description>Tish standing at the stove, preparing a simple meal, by the looks of her belly, very pregnant, a sign of the present.<\/scene_description>\n    <character>QUICK IMAGE SERIES:<\/character>\n    <dialogue>Just as Tish describes it...<\/dialogue>\n    <dialogue>\"It kicks, and I smash an egg on the floor.\"<\/dialogue>\n    <dialogue>ANGLE ON: egg hitting the kitchen floor.<\/dialogue>\n    <dialogue>\"It kicks, and suddenly the coffeepot is upside down on the table.\"<\/dialogue>\n    <dialogue>ANGLE ON: coffee spilling across the dining table, Ernestine jumping to avoid the burn as Tish doubles over.<\/dialogue>\n    <dialogue>\"It kicks, and the perfume on the back of my hand brings salt to the roof of my mouth and my free hand weighs on the glass counter with force enough to crack it in two.\"<\/dialogue>\n    <scene_description>ANGLE ON: Tish at the perfume counter, doubled over in pain as a coworker rushes over.<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>Goddammit!<\/dialogue>\n    <parenthetical>(and sotto)<\/parenthetical>\n    <dialogue>Be patient. I'm doing the best I can. Please.<\/dialogue>\n    <scene_description>Tish gripping that perfume counter again, a guttural grunt. \"And then it hauls off again, like Muhammad Ali, and I'm on the ropes.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TISH'S HOME - NIGHT<\/stage_direction>\n    <scene_description>Empty, at least visually so, just the furniture and a muted light from the kitchen hitting the floor. That hallway running towards the bedrooms directly before us, empty like the rest of this place. And yet, a sound echoing off the floors and walls here. Distinct: it's the sound of vomiting. A beat more of this sound and then a toilet flushing, running water. A moment later... ...Tish appears, clutching her stomach and forehead at once, approaching down that hall, holding onto the wall as she goes, moves past us and turns for the dining table. Sits and, within moments, Joseph appearing from just inside the kitchen, had no idea he was there, sets down a warm mug of something, a wedge of lemon and bottle of honey beside. He takes a seat opposite her, watches as she squeezes the lemon into the water, hangs her head over that cup a beat. His eyes, all sympathy: he'd carry it himself if he could.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW YORK CITY CORRECTIONAL FACILITY - DAY<\/stage_direction>\n    <scene_description>Fonny alone at the glass this time, phone at the ready, looking on as Tish waddles across the room.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>Here she come! Big as two houses!<\/dialogue>\n    <scene_description>Tish smiling as she sits to a stool, one of the few instances she won't mind folks calling out her weight.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>You sure it ain't twins? Or triplets?<\/dialogue>\n    <parenthetical>(shit eating grin)<\/parenthetical>\n    <dialogue>Shit, we might make history.<\/dialogue>\n    <scene_description>Fonny throwing back his head at his own joke, laughing loud enough the sound travels through that glass.<\/scene_description>\n    <character>TISH<\/character>\n    <parenthetical>(at her belly)<\/parenthetical>\n    <dialogue>Your daddy figure hisself a comedian.<\/dialogue>\n    <scene_description>Fonny calming, smiles at his love.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>You look good baby.<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Thank you, honey.<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>Better than anybody over here, don't care how big you get.<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Well as soon as that ain't the truth somethin' wrong, you tell me 'cause I'm outta here then.<\/dialogue>\n    <scene_description>Tish settles on her stool there, head lolling slightly to the side. She's relaxed now. And in that relaxed state, takes him in, sees him better:<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>How you doin', husband?<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>I'm good, wife.<\/dialogue>\n    <parenthetical>(and)<\/parenthetical>\n    <dialogue>You here now. I'm all good now. You know I love you.<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>You know I love you.<\/dialogue>\n    <scene_description>A nod from Fonny.<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>No matter what happen with all of this sh--<\/dialogue>\n    <scene_description>Tish's hand going to the glass, palm flat, the stool scooting back as she leans forward, all her weight going there. Fonny shocked, his hand going to the glass as he shoots upright, helpless.<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>I'm alright.<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>Tish.<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>I'm okay.<\/dialogue>\n    <scene_description>She looks up, manages a smile, a smile streaked through with pain and clipped breaths. Fonny's hand still on the glass, was aligned perfectly with Tish's. Hers removed now, always a lady: smoothing her hair, looks to the guard who's appeared over her left shoulder.<\/scene_description>\n    <character>TISH<\/character>\n    <parenthetical>(at guard)<\/parenthetical>\n    <dialogue>I'm okay.<\/dialogue>\n    <parenthetical>(and at Fonny)<\/parenthetical>\n    <dialogue>I'm fine.<\/dialogue>\n    <scene_description>Fonny settling, something about this moment revelatory for him, the physical evidence of things he'd only assumed before. If that.<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>You alright?<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>Me? I'm not the one just got punched by a midget inside they belly.<\/dialogue>\n    <scene_description>Tish and Fonny holding eyes a beat. A second beat. A third beat, and, finally... Tish cracking, a smile at the corner of her lips and then, a laugh, a hand to her belly to support the shaking and now, an all-out gutbuster of a laugh. Fonny doing the same on the other side of that glass, the two of them laughing so hard together the others around them, on both sides of the glass, noticing. The couple holding eyes as the laugh subsides, even as it fades the presence of it steady, all there in the lines at the corner of their mouths, same smiles they've exchanged since bathing together as kids. Hold here a beat, a noticeable beat. If they never have another moment, they'll have had this. And like every moment, it'll have all been worth it. CUT TO BLACK.: \"Mama gets to Puerto Rico on an evening plane.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAN JUAN INTERNATIONAL AIRPORT - NIGHT<\/stage_direction>\n    <scene_description>A majestic, period-appropriate Pan-Am jet freshly parked off the runway, unloading directly to the tarmac. Dozens of travelers in some form of deplaning, descending down portable stairs. Just a beat of this to recognize Sharon de-boarding amongst the others.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAN JUAN INTERNATIONAL AIRPORT - NIGHT<\/stage_direction>\n    <scene_description>From the first frame: loud, a cacophony of voices pushing an aggressive brand of Spanish in here. Families and their many possessions throughout this space, few people talking, everyone shouting. With her overly done-up clothes and hair, Sharon sticking out, the darkest, most American figure in view. We find her at the front of a line, engaged with an AIRPORT STAFFER.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Do you speak English?<\/dialogue>\n    <scene_description>A smile from the staffer, friendly, but no answer.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>I'm sorry but I don't speak any Spanish and I've had to come here unexpectedly. And I don't drive, you see?<\/dialogue>\n    <scene_description>More silence from the staffer and, it must be noted: for a black woman raised in the Jim Crow South, this is one of the few moments in Sharon's life she can be said to emit privilege.<\/scene_description>\n    <character>SHARON<\/character>\n    <parenthetical>(desperate)<\/parenthetical>\n    <dialogue>You see?<\/dialogue>\n    <character>AIRPORT STAFFER<\/character>\n    <dialogue>One moment Se\u00f1ora.<\/dialogue>\n    <scene_description>Sharon waiting, watching as the girl rounds this Hertz desk, moves off into the throng. Watching her as Sharon does, we get a good look at the terminal: many peoples of various shades - and all atop one another, hard to breathe - with all the possessions they could carry here staged without the promise of leaving or going, just... here.<\/scene_description>\n    <character>VOICE (O.S.)<\/character>\n    <dialogue>Se\u00f1ora...<\/dialogue>\n    <scene_description>Sharon turning, finds the airport staffer approaching, a shy, humble boy of about eighteen following close.<\/scene_description>\n    <character>AIRPORT STAFFER<\/character>\n    <dialogue>This is Jaime, your driver, he will take you to your hotel, tell him.<\/dialogue>\n    <scene_description>Sharon digging into her small clutch, retrieves a small piece of paper and hands it to the boy. He meets her eyes.<\/scene_description>\n    <character>JAIME<\/character>\n    <dialogue>It will be my pleasure, Se\u00f1ora.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAIME'S CAB - NIGHT - MOVING<\/stage_direction>\n    <scene_description>Sharon in the backseat, staring out at this alien landscape, the sound of the paved but worn road beneath them. She and Jaime eyeing each other in the rearview, each of them on the sly. Nervous, curious. Finally:<\/scene_description>\n    <character>JAIME<\/character>\n    <dialogue>It is okay, Se\u00f1ora. You are safe with me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL DEL RICO, SUITE - NIGHT<\/stage_direction>\n    <scene_description>Sharon's suitcase atop the bed, its contents spilled over. Takes a moment to take it all in. Reaches down and grabs one item: a stylish, Cotton Club-esque hat. Turns to the mirror behind her, sizes herself up, puts on the hat. Indifferent. Sharon takes the hat off, comes back to her reflection again. She's thinking, considering. She puts the hat on again. Beat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL DEL RICO, ELEVATOR - NIGHT - DESCENDING<\/stage_direction>\n    <scene_description>Just a beat here with Sharon and the mirrored elevator door. She's staring into her own eyes. She is not wearing that hat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAIME'S CAB - NIGHT - MOVING<\/stage_direction>\n    <scene_description>More sound, more jostling at these worn roads. Sharon looks... ridiculous, like the American tourist she is in a club dress and black shawl wrapped about her head. More eyes in that rearview, from Jaime that same curiosity. When Sharon meets his gaze this time, neither looks away.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Thank you for waiting.<\/dialogue>\n    <character>JAIME<\/character>\n    <dialogue>Of course, Se\u00f1ora.<\/dialogue>\n    <scene_description>Sharon holding this boy's eyes in the rearview, dumbstruck. The air thick with something, chaste, a connection. Out the window, every now and then what's best described as a shanty-town arising in the distance. A small flame, a single light. The sound of the car's movement wed to these images, then...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LA PIAZZA RESORT, LOBBY - NIGHT<\/stage_direction>\n    <scene_description>Sharon standing in the foyer of a San Juan Resort Hotel, the lobby behind her, entrance of the subterranean nightclub before her. The entry to the club runs clear through to a dance-floor, at the lip of the dance-floor a raised band-stand.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DISCOTECA LA PIAZZA - NIGHT<\/stage_direction>\n    <scene_description>Sharon sitting alone in a nightclub booth, the music louder now, much more ridiculous, a Puerto Rican cover of something wild and propulsive. Sharon taking in the scene. It's early, not many people in this place, the other booths mostly empty. A man approaching now, a clear cocktail held aloft.<\/scene_description>\n    <character>SERVER<\/character>\n    <dialogue>Your drink Se\u00f1orita.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>And as the man turns to move away:<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Excuse me.<\/dialogue>\n    <character>SERVER<\/character>\n    <dialogue>Yes, Se\u00f1orita?<\/dialogue>\n    <scene_description>The man stepping closer.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Well... I'm supposed to meet a friend here, but the flight I meant to take was overbooked, so I was forced to take an earlier one, I'm not sure he's here yet.<\/dialogue>\n    <character>SERVER<\/character>\n    <dialogue>Who is your friend?<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>It's actually more the nature of business. I'm waiting for Se\u00f1or Alvarez; Pietro Alvarez. I'm Mrs. Rivers. From New York.<\/dialogue>\n    <scene_description>A reaction from the server. Clearly something Sharon said struck a chord.<\/scene_description>\n    <character>SERVER<\/character>\n    <dialogue>Yes, Se\u00f1orita. I will tell Se\u00f1or Alvarez.<\/dialogue>\n    <scene_description>The man leaves. Sharon takes up her screwdriver, downs the balance of one half it. Beat. Sharon waits. In this waiting, a realization: this is the first time Sharon's been alone in a very long time. By herself at this booth, an older woman, a black, American woman, so alien to this place. Sharon reaching into her clutch, retrieves a tasteful compact- looking contraption, it's contents a surprise: a row of immaculate Virginia Slims. As she brings the first cig to her lips, lights it:<\/scene_description>\n    <character>MAN (O.S.)<\/character>\n    <dialogue>You Mrs. Rivers?<\/dialogue>\n    <parenthetical>(and)<\/parenthetical>\n    <dialogue>You waiting for me?<\/dialogue>\n    <scene_description>Sharon looking up from that cig, a slender, Latino man with a strained mustache standing before her. This is PIETRO, Victoria's boyfriend.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Pietro? Pietro Alvarez?<\/dialogue>\n    <character>PIETRO<\/character>\n    <dialogue>Maybe. What you want to see him about?<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>I don't especially want to see Mr. Alvarez. I want to see Victoria Rogers. I'm the mother-in-law of the man she's accused of rape.<\/dialogue>\n    <scene_description>Pietro shifting at that, Sharon the last person he assumed would walk into his club tonight. He takes a seat.<\/scene_description>\n    <character>PIETRO<\/character>\n    <dialogue>Well lady, you got one hell of a son-in-law, let me tell you that.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>I also have one hell of a daughter, let me tell you that.<\/dialogue>\n    <character>PIETRO<\/character>\n    <dialogue>Look, she's been through enough; more than enough. Leave her alone.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>A man is about to die for something he didn't do, can we leave him alone.<\/dialogue>\n    <character>VOICE (O.S.)<\/character>\n    <dialogue>Another drink, Se\u00f1or Alvarez?<\/dialogue>\n    <scene_description>Both Sharon and Pietro looking up at that, the server returned.<\/scene_description>\n    <character>PIETRO<\/character>\n    <dialogue>It's on me, give the lady what she wants. And give me the usual.<\/dialogue>\n    <scene_description>On the bandstand, the Puerto Rican rockers launch into Esta Bien Mi Nena. The server moves away.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Do you believe I love my daughter?<\/dialogue>\n    <character>PIETRO<\/character>\n    <dialogue>Frankly lady, it's hard to believe you got a daughter.<\/dialogue>\n    <scene_description>That said as a come-on. To her shock, Sharon is empathizing with Victoria.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Do you think I would marry my daughter to a rapist?<\/dialogue>\n    <character>PIETRO<\/character>\n    <dialogue>You might not know.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Son, listen: I know that she was raped, and I know... I know what women know. But I also know that Alonzo did not rape her.<\/dialogue>\n    <character>PIETRO<\/character>\n    <dialogue>Why you comin' to me? Shit, I ain't nothin': Indian, wop, spic, spade, that's me baby. I got my little thing here and I got Victoria and lady, I don't want to put her through no more shit, I'm sorry.<\/dialogue>\n    <scene_description>Pietro pushing back from the table:<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>No, please.<\/dialogue>\n    <scene_description>Sharon grabbing a hold of Pietro's hand. With her free hand, Sharon reaching into her clutch, digging frantically. Retrieves a photo from there, a photo of Fonny and Tish, thrusts it toward Pietro.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Look at them.<\/dialogue>\n    <parenthetical>(and)<\/parenthetical>\n    <dialogue>Look at them.<\/dialogue>\n    <scene_description>The music louder, more propulsive now, those kids on the bandstand letting into that song.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Take this photo home; take it to Victoria. Take it and you ask her, you show it to her and you ask her, ask her to study it. Hold her in your arms; do that. I'm a woman, I know what women know, I know that she was raped. But I also know, I know that Alonzo did not rape her.<\/dialogue>\n    <scene_description>Beat. Not a long beat though - a quick one - just enough for Pietro to glance at that photo, then... ...free his hand from Sharon's, leaves that photo with her as he disappears across the dance-floor. Off Sharon watching him go, defeated, broken and embarrassed all at once... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RESORT LAPIAZZA - NIGHT<\/stage_direction>\n    <scene_description>Jaime waiting, pops to attention as... ...Sharon approaches, blows right past him, shocks him as she marches on. Jaime frozen to the spot, watches as Sharon reaches the gravel lot, plumes of light dust behind her, reaches the cab and lets herself into the back seat. Jaime watching his cab for a beat, unsure what to do. Slowly, tentatively, he begins towards the cab. Reaches the passengers side door and... stops.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAIME'S CAB - NIGHT - SAME<\/stage_direction>\n    <scene_description>Sharon in the backseat here. Slouched down, cradled into herself, sobbing. Jaime outside the window, allowing her this moment.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL DEL RICO, SUITE - DAY<\/stage_direction>\n    <scene_description>Bright, bright daylight, peaceful and quiet. Sharon gazing out of her hotel window at Puerto Rican sun. Below her, in the parking lot, that familiar cab and Jaime. \"When Mama wakes in the morning, Jaime is there waiting for her. She has become his responsibility because, as the man said about Mt. Everest: 'You're there.'\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAIME'S CAB - DAY - MOVING<\/stage_direction>\n    <scene_description>The sound of rough gravel beneath tires, Sharon looking out the window of Jaime's cab at the passing slum. Desolate out there, the San Juan found between resort towers, a cross between rural, hood and everything in between. A beat of travel, then:<\/scene_description>\n    <character>JAIME<\/character>\n    <dialogue>I think it might be here. You say she is blond, yes?<\/dialogue>\n    <scene_description>Sharon nodding, focusing on the slum appearing up ahead, a sight to see even for a woman who's seen her share of hard places.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BARRIO - DAY<\/stage_direction>\n    <scene_description>Jaime standing beside his cab, looking on as Sharon approaches what can only be described as poor, wretched, squalor. From the look on his face, he does not want to allow her to make this walk alone and yet, Sharon continues on.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BARRIO APARTMENT BUILDING - DAY<\/stage_direction>\n    <scene_description>Sharon reaching the third level of this makeshift walk-up, rounds a banister and finds herself in a dim corridor, apartment doors on either side running back toward the sunlight. She begins down the hall, the doors of all these places ajar to various degrees, Sharon peeking into each cautiously. At the end of the hall, Sharon easing toward a cracked door. With care, she places her foot within the threshold, nudges the door wide as the space of her shoulders. SHARON'S VIEW: within the room, a thin, blonde-haired girl going about cleaning. Sharon is staring. The girl is pregnant. VICTORIA turns, feels Sharon watching. A brief beat of them facing one another, ten, twelve feet between them. From her indifferent look, Victoria has no idea who Sharon is.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Mrs. Rogers?<\/dialogue>\n    <scene_description>Victoria's eyes narrow.<\/scene_description>\n    <character>VICTORIA<\/character>\n    <dialogue>No, Se\u00f1ora. You are mistaken. I am Sanchez.<\/dialogue>\n    <scene_description>They watch each other. Sharon is still leaning in the entry. Victoria makes a movement toward the door, as though to close it, but stops. She touches the crucifix at her throat.<\/scene_description>\n    <character>VICTORIA<\/character>\n    <dialogue>Excuse me, Se\u00f1ora, but I have work to do. I don't know any Mrs. Rogers. Maybe in one of the other places around here?<\/dialogue>\n    <scene_description>She looks at Sharon with bitterness. Sharon straightens and, for the first time, they are looking each other in the eye.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>I have a photograph of you.<\/dialogue>\n    <scene_description>Sharon takes out the photograph of Victoria and holds it up. Victoria walks toward the door. As she advances, Sharon moves from the threshold, meets her in the room.<\/scene_description>\n    <character>VICTORIA<\/character>\n    <dialogue>Se\u00f1ora, I have my work to do. What do you want with me? I don't know you.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>I know you don't know me. Maybe you never even heard of me.<\/dialogue>\n    <scene_description>Victoria shifting, something resigned in her stance. A deep sigh, a dig into her pocket, reveals a pack of cigarettes:<\/scene_description>\n    <character>VICTORIA<\/character>\n    <dialogue>Do you smoke?<\/dialogue>\n    <scene_description>She extends the pack toward Sharon. There is a plea in Victoria's eyes and Sharon, with a shaking hand, takes the cigarette and Victoria lights it for her. She puts the pack back into the pocket of her housecoat.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>I know you don't know me. But you must have heard of me.<\/dialogue>\n    <scene_description>Victoria looks briefly at the photograph of herself in Sharon's hand; looks at Sharon.<\/scene_description>\n    <character>VICTORIA<\/character>\n    <dialogue>Look. I ain't got nothing against nobody. But I got to ask you to get out of here.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>I'm here to try to get a man out of prison. That man is going to marry my daughter. And he did not rape you.<\/dialogue>\n    <scene_description>Sharon takes out the photograph of Tish and Fonny.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Look at this.<\/dialogue>\n    <scene_description>Victoria turns away, sits on the unmade bed. Sharon approaches her.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Look at it, please. This is my daughter. The man with her is Alonzo Hunt. Is this the man who raped you?<\/dialogue>\n    <scene_description>Victoria will not look at the photograph, or at Sharon.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Is this the man who raped you?<\/dialogue>\n    <scene_description>Victoria looks down at the photograph, briefly, then up at Sharon.<\/scene_description>\n    <character>VICTORIA<\/character>\n    <dialogue>It looks like him.<\/dialogue>\n    <parenthetical>(and, coldly)<\/parenthetical>\n    <dialogue>But he wasn't laughing when he was raping me.<\/dialogue>\n    <scene_description>That taking the air out of Sharon, her breath going shallow at its utterance, can feel Victoria calcifying in the moment.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>May I sit down?<\/dialogue>\n    <scene_description>Victoria says nothing. Sharon sits beside her, on the bed. After a beat:<\/scene_description>\n    <character>VICTORIA<\/character>\n    <dialogue>Look, lady, before you go any further, just let me tell you, you can't do nothing to me, I ain't alone here, I got people.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>I'm not trying to do anything to you. I'm just trying to get a man out of jail. An innocent man.<\/dialogue>\n    <character>VICTORIA<\/character>\n    <dialogue>Lady, I think you in the wrong place. Ain't no reason to talk to me. Ain't nothing I can do.<\/dialogue>\n    <scene_description>Sharon looks away from her, out the window, the scramble of her thoughts wrought clear on her face.<\/scene_description>\n    <character>SHARON<\/character>\n    <parenthetical>(cautious)<\/parenthetical>\n    <dialogue>How long were you in New York?<\/dialogue>\n    <character>VICTORIA<\/character>\n    <dialogue>Too long.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Did you leave your children there?<\/dialogue>\n    <character>VICTORIA<\/character>\n    <dialogue>Listen. Leave my children out of this.<\/dialogue>\n    <scene_description>It's hot, Sharon takes off her jacket.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Why did you come back here?<\/dialogue>\n    <scene_description>Victoria rises and walks to the window. Sharon follows, the two of them staring out at the sea together. A prolonged silence, a fleeting truce inspired by this view.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Daughter... in this world, terrible things happen to you, and we can all do some terrible things.<\/dialogue>\n    <scene_description>Sharon is careful; she's close, watching Victoria.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>I was a woman before you was a woman - remember that. And I know, I know, you pay for the lies you tell.<\/dialogue>\n    <scene_description>She stares at Victoria. Victoria stares at her.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>You've put a man in jail, a man you've never seen. He's twenty-two years old, he wants to marry my daughter.<\/dialogue>\n    <scene_description>She releases Victoria's gaze, turns back to the window.<\/scene_description>\n    <character>VICTORIA<\/character>\n    <dialogue>I did see him.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>You saw him in the police lineup. That's the first time you saw him, the only time.<\/dialogue>\n    <character>VICTORIA<\/character>\n    <dialogue>What makes you so sure?<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Because I've known him all his life.<\/dialogue>\n    <scene_description>Victoria looking back to Sharon, huffing with a scorn that runs deep, runs certain and heavy.<\/scene_description>\n    <character>VICTORIA<\/character>\n    <dialogue>One thing I can tell, lady: you ain't never been raped.<\/dialogue>\n    <scene_description>That statement registering viscerally: Victoria has been raped. By someone.<\/scene_description>\n    <character>VICTORIA<\/character>\n    <dialogue>They took me down there and they asked me to pick him out and that's what I did, I picked him out.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>But you were... it happened in the dark. You saw Alonzo in the lights.<\/dialogue>\n    <character>VICTORIA<\/character>\n    <dialogue>There's lights in the hallway, I saw enough.<\/dialogue>\n    <scene_description>Sharon grabs her again, and touches the crucifix.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Daughter... in the name of God.<\/dialogue>\n    <scene_description>Victoria looks down at Sharon's hand on the cross... and screams: a piercing, impossible sound. She breaks away from Sharon, runs to the door (which has remained open all this time).<\/scene_description>\n    <character>VICTORIA<\/character>\n    <dialogue>Get out of here! Get out!<\/dialogue>\n    <scene_description>Victoria is screaming in Spanish. Doors open. People begin to appear. Sharon hears the horn of Jaime's taxi. One of the older women in the hall comes to the door, and takes Victoria in her arms. Victoria collapses, weeping, into this woman's breasts; and the woman, without a look at Sharon, leads her away into the hall. Everyone else is staring at Sharon. An interminable silence. Off the sound of Jaime's horn... HARD CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANK STREET FLAT - NIGHT<\/stage_direction>\n    <scene_description>Or is it day? Hard to tell, the light, the sound, the tone of everything here suspended in that in-between place, neither night nor day, present nor past. Fonny is working on the wood. It is a soft, brown wood, it stands on his worktable. The wall is covered with sketches. His tools are on the table. He walks around the wood, terrified. He does not want to touch it. He knows that he must. But he does not want to defile the wood. He stares and stares, almost weeping. He is waiting for the wood to speak. Until it speaks, he cannot move. He picks up a chisel, he puts it down. He lights a cigarette, sits down on his work stool, stares, picks up the chisel again. He puts it down, goes into the kitchen to pour himself a beer. Comes back with the beer, sits down on the stool again, stares at the wood. The wood stares back. He picks up the chisel again, and approaches the waiting wood. Touches it very lightly with his hand, caresses it. He listens. He puts the chisel, teasingly, against it. The chisel begins to move. Fonny begins, and...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW YORK CITY CORRECTIONAL FACILITY, CELL - DAY<\/stage_direction>\n    <scene_description>Fonny lying here, eyes wide, staring at the ceiling. A beat of him lying this way, unblinking, looking far off and away to that vision, then...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW YORK CITY CORRECTIONAL FACILITY - DAY<\/stage_direction>\n    <scene_description>Tish at the glass, waiting as Fonny approaches from the other side. Seeing him in the light now, he looks different than we've seen him previously, decidedly worse: gaunt, thinned and bruised. Fonny looks to Tish, looks into her as he takes up the phone:<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>You all right?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Yes. I'm all right.<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>The baby all right?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Yes. The baby's fine.<\/dialogue>\n    <scene_description>He grins. It is, somehow, a shock to Tish.<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>We got to get some meat on your bones, Lord, have mercy.<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>Speak up. He can't hear you.<\/dialogue>\n    <scene_description>That playful, said with a smile, the best of Fonny.<\/scene_description>\n    <character>TISH<\/character>\n    <parenthetical>(hesitant)<\/parenthetical>\n    <dialogue>But listen... there's something I gotta tell you.<\/dialogue>\n    <scene_description>Fonny nodding, readying himself:<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>Mama came back from Puerto Rico. She found Victoria, but... the girl went crazy, they don't know where she is now.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>So the trial might get postponed.<\/dialogue>\n    <scene_description>Fonny holding Tish's gaze here, knows she's watching him, does everything in his power to keep it together, to not break, the strain on that receiver in his hand palpable.<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>Fonny...<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>I'm fine.<\/dialogue>\n    <scene_description>A deliberate beat as Fonny changes before her, something warm seeming to drift away from him, drain from his face.<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>Hayward's not charging us no more, we almost got the money to bail you out.<\/dialogue>\n    <scene_description>Takes a moment, just enough for the delay to read:<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>I figured you would.<\/dialogue>\n    <scene_description>Every word out of Fonny's mouth here bittersweet.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>Listen, I'll be out soon.<\/dialogue>\n    <scene_description>Tish's face, at once shocked and yet trying hard to mask it:<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>I'm coming home because I'm glad I came, can you dig that?<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>See now? I'm an artisan. Like a cat who makes tables. I don't like the word artist. Maybe I never did. I sure the fuck don't know what it means. I'm a cat who works from his gut, with his hands. I know what it's about now. I think I really do. Even if I go under. But I don't think I will now. I know I won't.<\/dialogue>\n    <scene_description>He's far from her. Here with her, yes. But very far away.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>Baby, I love you. And I'm going to build us a great big table and our family gonna be eatin' off it for a long, long time to come.<\/dialogue>\n    <parenthetical>(and)<\/parenthetical>\n    <dialogue>And I'm all right, too. Don't you worry. I'm coming home. I'm coming home, to you. I want you in my arms. I want your arms around me. I've got to hold our baby in my arms. It's got to be. You keep the faith.<\/dialogue>\n    <scene_description>Fonny grinning now, something bringing him back:<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>Don't you worry. I'll be home.<\/dialogue>\n    <scene_description>Fonny grins again, stands and extends his fist to the glass as always. A moment of those fists there, as though transferring the warmth through that barrier, then... ...Fonny bends to kiss the glass. CUT TO BLACK.: \"I saw Bell everywhere... and all the time. We spoke once.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GREENWICH VILLAGE - DAY<\/stage_direction>\n    <scene_description>A very pregnant Tish moving down the sidewalk, a large Salvation Army bag of secondhand clothing and goods clutched at her chest. She's a bit frantic, in a hurry as she double-checks where she is, gets her bearings. A half a block with her this way, this hurried gate, then... ...she hits the corner, a stop sign at the crosswalk. The streets full with the mid-afternoon rush. Tish taking it all in, glad for a brief respite here at the corner when... ...she looks across the roadway, sees a familiar face: Officer Bell. Approaching up the avenue, taking his time, not a hint of hurry to him, the spitting image of \"whistling Dixie.\" Tish glancing down the block, could hang a left, walk the long way around but... rather than avoid him, she continues across the intersection, walks directly toward Bell. That smile of his. That ridiculous fucking smile.<\/scene_description>\n    <character>OFFICER BELL<\/character>\n    <dialogue>Can I carry that for you?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>No.<\/dialogue>\n    <parenthetical>(and)<\/parenthetical>\n    <dialogue>No thank you.<\/dialogue>\n    <scene_description>Tish looks into his eyes. There is something passing between them, deliberate and fierce. Bell watching and Tish not looking away, nor betraying herself: gives him no emotion, just the veil.<\/scene_description>\n    <character>OFFICER BELL<\/character>\n    <dialogue>Well, you ain't got far to go. Sure wish I could carry it for you, though.<\/dialogue>\n    <scene_description>Bell steps closer now, close enough that Tish looks about herself, looks as though to see if anybody's watching:<\/scene_description>\n    <character>OFFICER BELL<\/character>\n    <dialogue>I ain't a bad guy. You ain't got to be afraid of me.<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>I'm not afraid.<\/dialogue>\n    <scene_description>Beat. An extended, unbearable beat.<\/scene_description>\n    <character>OFFICER BELL<\/character>\n    <dialogue>A good day to you, then, miss lady.<\/dialogue>\n    <scene_description>Tish holds her ground, watches Bell as he eases back along the walk from whence he came.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANK STREET FLAT - DAY<\/stage_direction>\n    <scene_description>Tish entering, sitting in her chair, looking up out the small window, the sun faint, nearly night out. That bag she was carrying sitting on the table beside her. She reaches for it and... lurches fully, doubles over like something strong and full of purpose just socked her. The moment passing, Tish checking her watch and looking at the door again. A resigned sigh and she stands, looks down into that bag and begins pulling things from it. A few small items at first and then, surprisingly, a block of wood. Takes the wood, walks it over to Fonny's work table, goes to set the block there. She sits again. Tish's hand at her belly as the soft rain outside echoes through the room. Beat. A considerable beat, long enough to feel uncomfortable, disorienting. As something seems to shift in Tish, an awakening... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BLEECKER STREET - DUSK - MOVING<\/stage_direction>\n    <scene_description>Moving with Tish and Fonny, this path from Soho to the Village again. The light, the sound, all of it familiar: we're back with our couple in one their purest moments again, yelling to the sky. As Tish bounds and leaps into Fonny's arms, we HEAR...<\/scene_description>\n    <character>FONNY (V.O.)<\/character>\n    <dialogue>I want to be in your arms...<\/dialogue>\n    <scene_description>CUT TO: WATER Looking up and through water -- submerged in water, the image refracted and reflecting a bright, white light.<\/scene_description>\n    <character>FONNY (V.O.)<\/character>\n    <dialogue>I want to hold you in my arms.<\/dialogue>\n    <scene_description>And a child -- a beautiful, brown child.<\/scene_description>\n    <character>FONNY (V.O.)<\/character>\n    <dialogue>I've gotta hold our baby in my arms. It's gotta be.<\/dialogue>\n    <scene_description>The baby's back to us, buoyed gently at the surface of the water by a pair of hands, hands we come to see are Sharon's as she appears above that water, lifts the baby...<\/scene_description>\n    <character>FONNY (V.O.)<\/character>\n    <dialogue>It's gotta be.<\/dialogue>\n    <scene_description>OUT OF THE WATER And us with it, the image fixed to this baby, to its back -- equidistant, as though connected. Water streaks and obscures our view, dripping from the child's back as we follow it up, up and over to... Tish -- exhausted, laid back against the edge of that very simple bathtub. Sharon hands the child to Tish. It wails like hell as we CUT TO...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVERSIDE PARK - DAY<\/stage_direction>\n    <scene_description>The beginning as ending, where this all started: two young lovers holding each other's gaze, looking right at us. \"We're still not married. After all that's happened, neither of us cares what that means. Fonny was once 22. I was 19. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TISH'S HOME, BATHROOM - DAY<\/stage_direction>\n    <scene_description>Tish and Fonny as children, innocently playing in a bubble bath. \"But neither of us is young anymore. We can't afford to be. Instead, we must live the life we've been given...\" CUT TO: A child's face, staring wide-eyed and free.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PENITENTIARY, VISITATION ROOM - DAY<\/stage_direction>\n    <scene_description>\"...And live it so that our children can be free.\" A low hanging ceilinged room, hard light through the window reflecting off a poorly buffed floor. That child still gazing plaintively, innocently at us. As he does, we CUT TO: A MONTAGE OF STILL IMAGES Of black men under systemic aggression and duress. Tish underscores the imagery. \"There aren't enough hours in the day or judges on the bench to try all the cases brought against these men. The game has been rigged and the courts see it through: a trial is your right. But to bury you beneath the prison for forcing the judge and prison is the court's right to.\" CUT BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PENITENTIARY, VISITATION ROOM - DAY<\/stage_direction>\n    <scene_description>\"And so... like many of these poor men, Fonny took a plea.\" Tish standing before a vending machine, holding the hand of the child we saw gazing plaintively. The same girl, but... a woman now -- from the look and feel of her, four, five years on from the main thrust of the story that's come before. Which, of course means that child is... Fonny and Tish's son, ALONZO JR. Alonzo tugs at Tish's hand again, gestures across this room as... approaching from across the way, escorted by a guard we SEE... Fonny -- like Tish, a little older here, but... unlike her, looks somehow younger than we last saw him. Less hair up top, clean shaven. A quick, chaste hug and he sits opposite them --<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>I see you been eatin', good.<\/dialogue>\n    <character>FONNY<\/character>\n    <parenthetical>(at Alonzo Jr.)<\/parenthetical>\n    <dialogue>Look like I ain't the only one.<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Nope: the apple don't fall too far from the tree.<\/dialogue>\n    <scene_description>Fonny gestures at the table, an assortment of vending machine items spread there -- Honey Buns, Salt and Vinegar Potato Chips, powered donuts, etc.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>Who all this for?<\/dialogue>\n    <character>TISH<\/character>\n    <dialogue>Who you think?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>For you, daddy.<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>Where you get the money to pay for all this? You got a job now, man? You runnin' numbers?<\/dialogue>\n    <character>TISH<\/character>\n    <parenthetical>(to Alonzo)<\/parenthetical>\n    <dialogue>Say dollar straight, dollar box.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Dollar straight, dollar --<\/dialogue>\n    <character>FONNY<\/character>\n    <dialogue>Hey don't be teachin' him that mess.<\/dialogue>\n    <scene_description>A smile between them as the moment passes, nervous energy. Fonny takes in his son, notices the boy scribbling something furiously on a piece of drawing paper.<\/scene_description>\n    <character>FONNY<\/character>\n    <parenthetical>(getting closer)<\/parenthetical>\n    <dialogue>What's that?<\/dialogue>\n    <scene_description>He reads something scribbled many times across the paper, hard to make out in the child's handwriting.<\/scene_description>\n    <character>ALONZO JR<\/character>\n    <dialogue>That's wen you come home daddy.<\/dialogue>\n    <scene_description>Like a sledgehammer that, Fonny's eyes failing to mask the shock.<\/scene_description>\n    <character>TISH<\/character>\n    <dialogue>Ever since I told him... he just writes it everywhere.<\/dialogue>\n    <scene_description>Fonny goes dark at that, an acknowledgement. Fonny runs his hand warmly atop Alonzo's head with one hand. With his other, reaches for one of those snacks.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>Well, I don't know about y'all but, I'm starving.<\/dialogue>\n    <scene_description>As he goes to open a bag of chips... Alonzo stops him, takes his hand.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>No, you gotta say grace.<\/dialogue>\n    <scene_description>Fonny looks across at Tish with raised eyes, a smile.<\/scene_description>\n    <character>FONNY<\/character>\n    <dialogue>Well alright then.<\/dialogue>\n    <scene_description>Tish reaches across the table, takes Fonny's hand in hers. The child between them, they each take either of the child's hands in theirs. Alonzo looks to his father:<\/scene_description>\n    <character>ALONZO JR.<\/character>\n    <dialogue>Close your eyes, daddy.<\/dialogue>\n    <scene_description>A playful smile from Fonny as he does as told. The three of them holding hands across this table, eyes closed, plates of simple food before them. The child leads them in saying grace:<\/scene_description>\n    <character>ALONZO JR.<\/character>\n    <dialogue>Thank you, God, for the food we are about to eat. And for all of your blessings that we have received. And for my daddy.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>In Jesus name, Amen.<\/dialogue>\n    <character>TISH &amp; FONNY<\/character>\n    <dialogue>Amen.<\/dialogue>\n    <scene_description>The child opens his eyes, releases his parents' hands and begins to eat. Fonny's eyes locked on the child, oblivious, one with his meal. Across the table though, Tish returning Fonny's gaze, the two of them locked into a silent exchange. As the moment passes, the two of them taking up bags of junk food to begin this meal, we... ...quietly, patiently... FADE TO BLACK.:<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Note: The film's structure is non-linear, but this plot summary is written in a linear fashion. Clementine \"Tish\" Rivers and Alonzo \"Fonny\" Hunt have been friends their whole lives. They become romantically involved when they get older. In the 1970s, they struggle to find an apartment, as most New York landlords would not rent to black people. Eventually, they find a place in a warehouse being converted to loft apartments; Levy, the Jewish landlord, rents it to them at a good rate because he enjoys seeing couples who are in love, regardless of race. That night, Tish is harassed by a man while in a mostly white grocery store. He begins to assault her, so Fonny physically throws him out of the store. A white policeman nearby, Officer Bell, attempts to arrest Fonny for it, but reluctantly lets him go when the Jewish woman who runs the grocery store vouches for them and chastises Bell for his racism. Fonny is later arrested and accused of raping a woman named Victoria Rogers. Although nearly impossible for him to have gone from the scene of the crime to the apartment where he was arrested in the time between the rape and the arrest, the case against Fonny is considered strong due to Officer Bell's testimony. The claim is he saw Fonny fleeing the scene, and Victoria identified Fonny in a lineup as her rapist. Tish, as well as Fonny's friend Daniel Carty, were with him at the time of the rape, but it is considered an unreliable alibi due to Tish's romantic relationship with Fonny and Daniel's previous conviction for grand theft auto (he had been arrested for marijuana possession but was offered a plea for auto theft, a lesser charge at the time). Tish visits Fonny in jail as he awaits trial and reveals to him that she is pregnant with their baby. Fonny is excited to be a father, but saddened that the birth might be while he is still behind bars. Later, Tish tells her parents, Sharon and Joseph, and sister, Ernestine, about her pregnancy. Though worried for her, Tish's family is supportive and decide to invite Fonny's family over to share the news. Frank, Fonny's father, is excited, however, Fonny's highly religious mother declares that as the child was conceived out of wedlock, Tish and her child are damned. As Mrs. Hunt begins to leave with her daughters in disgust after Frank hits her, Sharon reminds her that she has just condemned her own grandchild, leaving her emotionally distraught as she is escorted away. In a bar, Frank and Joseph discuss how the former is worried about paying for a child and Fonny's legal expenses, but Joseph convinces him that they will be able to provide for their grandchild the same way they provided for their own children. Sharon travels to Victoria's native Puerto Rico to plead with her to change her testimony. She tries to convince her she mistakenly identified Fonny as her rapist, but Victoria refuses. Questioning whether Victoria could have seen her rapist's face in the dark, Victoria says the police told her to identify Fonny in a line-up, and she did so. When Sharon gently touches her, Victoria begins to scream. An elderly woman overhears the commotion and comes to take Victoria away. Discouraged by the seeming hopelessness of his case and the constant trial delays, Tish gives birth to her son without Fonny, who eventually accepts a plea deal. Tish and their child, Alonzo Jr., visit Fonny in prison. They share dinner together from the vending machines, while looking forward to Fonny's eventual release."}
{"movie_name":"The Battle of Shaker Heights_2003","imdb_id":"tt0357470","script":"<script>\n  <scene>\n    <stage_direction>EXT. FOREST - DAY<\/stage_direction>\n    <scene_description>DISTANT GUN AND MORTAR FIRE Muffled by the wet green forest . The very earth seems to tremble . A RABBIT Darts out of a log , lifts itself on its hind legs and sniffs the air . LOBBED GRENADE EXPLODES VOICES and SHOUTS , closer now , mix with the rumbling WAR SOUNDS in a veritable symphony of violence and confusion . A DEAD AMERICAN GI lays splayed out , careless in death . A pair of SOLDIERS flash among the trees , running hunched over and low , and disappear into the gray blooms of SMOKE . For a moment the forest takes a breath . Nothing but trembling leaves . Then - The RATTLE of a Jeep Coming closer in fits and starts , GRINDING through low gears . A Willys MB appears , CRASHING through the undergrowth . It 's driven by Private First Class KELLY ERNSWILER . Eighteen , if that . Not much meat on him . His insignias indicate he 's in the 29th Infantry . His face might be attractive , under other conditions . He pauses and pulls a map from the pocket of his M41 standard - issue field jacket .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Where the hell are those Krauts?<\/dialogue>\n    <scene_description>To give himself courage , he SINGS Tommy Dorsey 's `` I 'll Be Seeing You -LSB- in all the old familiar places -RSB- '' while maneuvering the Jeep through the bushes and rocks . He drives straight for a fallen LOG , GUNS the engine and tries to go over it . The Jeep 's FRONT WHEELS catch on the log . The BACK TIRES spin . Kelly gets out . Takes off his M1 combat helmet and wipes his face . Assesses the situation . He grabs a BRANCH . Jams it under the wheel , trying to lever the Jeep free . When - The STUTTER of a nearby MACHINE GUN startles him . The branch SNAPS against Kelly 's weight . He slips and falls in the mud .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <scene_description>Determined , he grabs his pack and carbine and sets off on foot through the forest .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLEARING<\/stage_direction>\n    <scene_description>Kelly strides purposefully out of the woods . Pauses against a split - rail fence beneath the innocent sun . Across the clearing stands a seemingly abandoned BARN . But not for long , as TWO GERMAN INFANTRYMEN appear around the corner of it . Kelly moves behind a tree to assess the situation . Unaware , the Germans smoke and talk . Kelly 's too far away to hear them but he watches their every move . They 're relaxed , not as on guard as they should be . Their Karabiners rest slung across their backs .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Bingo.<\/dialogue>\n    <scene_description>AGAINST THE TREE Kelly focuses himself . Then he shoulders his carbine . Pulls out his dog tags and kisses them grimly .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>`` And so they buried Hector, breaker of horses.''<\/dialogue>\n    <scene_description>He takes his Smith &amp; Wesson 1917 PISTOL from his pistol belt and steps out into the SUNLIGHT FIELD in plain sight of the guards . Surely he knows they can see him . He must want them to see him . But they do n't . Too busy passing nudie wallet photos . Halfway across the open grass , Kelly raises the pistol but does not aim it . Just strides steadily closer , arms spread out , making himself an easy target . Crazy as it seems , Private Kelly Ernswiler is trying to get himself killed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BARN<\/stage_direction>\n    <scene_description>Kelly pauses not twenty feet from the Germans , FIRES into the air and waves - - when from behind him comes a voice .<\/scene_description>\n    <character>GERMAN OFFICER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Eine maus findet den kase.<\/dialogue>\n    <scene_description>Kelly whips around to face a third German , the OFFICER . His pistol points right into the Officer 's shocked pink young face . Point blank range . Only - Kelly does n't fire . He just lowers the pistol . The German smiles .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Kill me Adolf.<\/dialogue>\n    <character>GERMAN OFFICER<\/character>\n    <dialogue>Mien Prisoner!<\/dialogue>\n    <scene_description>The Infantrymen have recovered from their idle and come running . One of them yanks Kelly 's hands behind his back and pushes him into the barn roughly . Kelly does n't struggle .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Hey, Siegfreid and Roy. What are you waiting for? Kill me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARN<\/stage_direction>\n    <scene_description>Kelly sits slumped in a chair , legs tied up . One of the Germans shines a flashlight in his face . Kelly squints .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Come on you pussies. Let's get this over with.<\/dialogue>\n    <scene_description>The German Officer produces a piece of paper and a fountain pen .<\/scene_description>\n    <character>GERMAN OFFICER<\/character>\n    <parenthetical>( German accent . )<\/parenthetical>\n    <dialogue>You will write your mother. Tell her how you will die now.<\/dialogue>\n    <scene_description>Kelly takes the pen and examines it .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Genuine Third Reich issue, no less. Nice work.<\/dialogue>\n    <scene_description>The Officer pokes the paper .<\/scene_description>\n    <character>GERMAN OFFICER<\/character>\n    <dialogue>You will write. How you die alone.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>My mother and I do n't have that kind of relationship.<\/dialogue>\n    <character>GERMAN OFFICER<\/character>\n    <parenthetical>( hisses . )<\/parenthetical>\n    <dialogue>Write.<\/dialogue>\n    <scene_description>Kelly thinks about it for a minute - should he or should n't he - but sighs and begins writing . After a few lines , the Officer snatches the paper away and passes it to an Infantryman .<\/scene_description>\n    <character>GERMAN OFFICER<\/character>\n    <dialogue>Enough. Now you will beg for your life.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>What do n't you understand?<\/dialogue>\n    <character>INFANTRYMAN<\/character>\n    <parenthetical>( interrupts sheepishly in German accent . )<\/parenthetical>\n    <dialogue>The protocol says we should -<\/dialogue>\n    <scene_description>The Officer wheels around and scowls at the speaker . He seems to be getting a bit hysterical .<\/scene_description>\n    <character>GERMAN OFFICER<\/character>\n    <dialogue>I am the fucking protocol.<\/dialogue>\n    <parenthetical>( to Kelly . )<\/parenthetical>\n    <dialogue>Beg!<\/dialogue>\n    <scene_description>He and Kelly glare at each other . The Officer FIRES his Luger into the rafters .<\/scene_description>\n    <character>GERMAN OFFICER<\/character>\n    <dialogue>Beg - for - your - life!<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>You got to be kidding me.<\/dialogue>\n    <scene_description>The Officer grabs his throat .<\/scene_description>\n    <character>GERMAN OFFICER<\/character>\n    <dialogue>Silence. Now I have a little fun.<\/dialogue>\n    <scene_description>Kelly laughs . The officer slaps him . Kelly jerks away .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Now that's against the rules.<\/dialogue>\n    <character>GERMAN OFFICER<\/character>\n    <parenthetical>( sneers . )<\/parenthetical>\n    <dialogue>There are no rules in war.<\/dialogue>\n    <scene_description>Suddenly another AMERICAN GI appears behind the German in the shadows . Only Kelly can see him . The GI motions to Kelly `` keep talking '' while he gets into a better position with his M - 1 rifle .<\/scene_description>\n    <character>KELLY<\/character>\n    <parenthetical>( to Officer . )<\/parenthetical>\n    <dialogue>You've never killed anyone before, have you?<\/dialogue>\n    <character>GERMAN OFFICER<\/character>\n    <dialogue>I shower in the blood of my victims -<\/dialogue>\n    <scene_description>The GI shoots the two infantrymen who fall in exaggerated pain and commence death throes . Quick as a flash , the GI 's Colt 1911 PISTOL is at the German Officer 's neck , his M - 1 in his other hand .<\/scene_description>\n    <character>GI<\/character>\n    <dialogue>No wonder you smell so bad.<\/dialogue>\n    <character>GERMAN OFFICER<\/character>\n    <dialogue>Do n't shoot, please.<\/dialogue>\n    <scene_description>The GI 's eyes widen . He looks at Kelly .<\/scene_description>\n    <character>GI<\/character>\n    <dialogue>Will you look at the manners on this guy?<\/dialogue>\n    <parenthetical>( to German . )<\/parenthetical>\n    <dialogue>Remember to thank me when I kill you.<\/dialogue>\n    <character>GERMAN OFFICER<\/character>\n    <dialogue>No, really, not in the neck -<\/dialogue>\n    <scene_description>But the GI does anyway . The Officer SHRIEKS , grabs at his neck , and falls .<\/scene_description>\n    <character>GI<\/character>\n    <parenthetical>( to Kelly . )<\/parenthetical>\n    <dialogue>You all right?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Yeah. My elaborate death scene was n't going anywhere anyway.<\/dialogue>\n    <character>GI<\/character>\n    <dialogue>You want me to give you a minute?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>That's okay. They'll get me eventually. If you ca n't get killed in a war, when can you?<\/dialogue>\n    <character>GI<\/character>\n    <dialogue>That's right. Look on the bright side.<\/dialogue>\n    <scene_description>The GI holds out his hand .<\/scene_description>\n    <character>GI<\/character>\n    <dialogue>Bart. Bart Bowland.<\/dialogue>\n    <scene_description>Kelly takes the hand of the grinning all - American type guy . About his own age , but BART takes up more space .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Kelly. Kelly Ernswiler.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Kelly?<\/dialogue>\n    <character>KELLY<\/character>\n    <parenthetical>( mimics . )<\/parenthetical>\n    <dialogue>Bart?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>I mean - that's Irish, right?<\/dialogue>\n    <character>GERMAN OFFICER<\/character>\n    <parenthetical>( from the floor , now with a decidedly American accent . )<\/parenthetical>\n    <dialogue>Wow man, this is a really beautiful scene and all, but I have to interrupt.<\/dialogue>\n    <parenthetical>( to Bart . )<\/parenthetical>\n    <dialogue>Why the fuck did you have to shoot that cap so close to my neck? You gave me a powder burn.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Listen you wienerschnitzel. You should talk. You slapped me. I'm not your bitch.<\/dialogue>\n    <scene_description>The Officer gets up and dusts off his uniform .<\/scene_description>\n    <character>GERMAN OFFICER<\/character>\n    <dialogue>Well, what was that whole creepy death wish thing about?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Well it did n't work, now did it?<\/dialogue>\n    <character>GERMAN OFFICER<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>Sometimes I get so caught up in the moment.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>And what was that ridiculous shit about making me write to my mother?<\/dialogue>\n    <scene_description>The Officer grins .<\/scene_description>\n    <character>GERMAN OFFICER<\/character>\n    <dialogue>Inspired, was n't it?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Dude, you made him write to his mother? Who are you, Dr. Phil?<\/dialogue>\n    <character>INFANTRYMAN<\/character>\n    <parenthetical>( also with American accent . )<\/parenthetical>\n    <dialogue>Can we get up now?<\/dialogue>\n    <scene_description>Bart helps him up and checks his regulation - issue Timex .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Might as well. There's only an hour left anyway.<\/dialogue>\n    <scene_description>The German Officer crosses his arms .<\/scene_description>\n    <character>GERMAN OFFICER<\/character>\n    <parenthetical>( to Kelly . )<\/parenthetical>\n    <dialogue>Admit it. You were scared.<\/dialogue>\n    <character>KELLY<\/character>\n    <parenthetical>( snorts . )<\/parenthetical>\n    <dialogue>Right.<\/dialogue>\n    <scene_description>Kelly gets up from the chair and falls over . His legs are still tied .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST<\/stage_direction>\n    <scene_description>The DEAD GI gets up and walks off with the GERMANS and some other SOLDIERS , done for the day . Bart and Kelly walk back to the stranded Jeep .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>That Willys yours?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Yup. Just got her. Three summers packing out at Shop Rite.<\/dialogue>\n    <scene_description>Bart unfolds an entrenching tool from his belt and digs under the back wheels , building up dirt . Then he goes around to the front and puts his shoulder against the hood . Bart rocks the Jeep while Kelly pumps the gas . The Jeep finally pulls free and SPRAYS Bart with mud .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>My bad. Thanks though.<\/dialogue>\n    <scene_description>Kelly looks over his shoulder and starts backing away .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>See you.<\/dialogue>\n    <scene_description>Bart stands there , dripping with mud , shocked . About a hundred feet away Kelly stops .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Well, come on.<\/dialogue>\n    <scene_description>Bart walks towards the Jeep . Kelly backs it up again .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>I could n't resist.<\/dialogue>\n    <scene_description>Bart climbs in .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Real funny, Ernswiler. You might still get your chance to die today.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINER - DAY<\/stage_direction>\n    <scene_description>The customers are all REENACTORS . Some Yanks , some Germans , a few Scottish and North African irregulars . `` Boogie - Woogie Bugle Boy '' plays on the jukebox . Bart and Kelly sit in a booth together . Bart has an easy , confident manner and expansive gestures . Kelly eats hunched over , like someone might try and steal his food .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Character building? Those crazy guys from Ann Arbor tied them to a dock.<\/dialogue>\n    <character>KELLY<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>That's what you get for invading Wisconsin.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>D - Day at Kenosha was nothing. At Guadalcanal Chillicothe there was a guy who actually injected himself with malaria.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>That's crazy.<\/dialogue>\n    <scene_description>They both eat for a minute .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Where do you live, anyway?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Shaker Heights.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>That explains the death wish. Me too. What street?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Penn Place.<\/dialogue>\n    <character>BART<\/character>\n    <parenthetical>( chewing . )<\/parenthetical>\n    <dialogue>Hmm, do n't know it.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>It's not technically in Shaker Heights - but I go to Shaker Heights High.<\/dialogue>\n    <scene_description>Pause . Kelly looks at Bart .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Langely Prep.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Sorry to hear that.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Well, I got kicked out of Shaker Heights High because my birdhouse came unglued in honors woodshop.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Of course. I would have gone to Langely myself only my polo pony had the fits.<\/dialogue>\n    <scene_description>Bart throws his napkin on his plate .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>No matter.<\/dialogue>\n    <parenthetical>( raises his voice to address the room . )<\/parenthetical>\n    <dialogue>We're all soldiers here.<\/dialogue>\n    <character>CROWD<\/character>\n    <dialogue>That's right. \/ Here, here. \/ Whooping, cheers, etc..<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOWLAND HOUSE - DAY<\/stage_direction>\n    <scene_description>Kelly pulls up into the circular gravel drive . Bart 's house is fancy . A nice yard and a pool . Bart hops out .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>You should come over some time. Service our lawnmower.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I would, but then I might soil my croquet whites. You understand.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>How bourgeois. Cheerio then.<\/dialogue>\n    <scene_description>Kelly watches Bart go into his house and smiles in spite of himself .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ERNSWILER HOUSE - DUSK<\/stage_direction>\n    <scene_description>Kelly 's house is a also pretty nice , nothing to be ashamed of . It is smaller and weirder . The flowers and bushes are overgrown and strange sculptures dot the yard , some leaning at precarious angles . Kelly washes his Jeep in the driveway .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ERNSWILER HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Kelly buffs the headlamps with a chamois . The Jeep looks good as new . He pulls a canvas cover over it .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Sleep tight Hot Lips.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ERNSWILER HOUSE, KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Kelly walks in on his dad ABE making sandwiches . A great big pile of cheese and PB&amp;J .<\/scene_description>\n    <character>ABE<\/character>\n    <dialogue>Sergeant Keller! How was the war? Did we win?<\/dialogue>\n    <scene_description>Kelly does n't smile at this . He looks at the sandwiches and puts his finger to his chin in a gesture so facetious it 's downright angry .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Let me guess. Happy Meals for the wavy gravy wellness center?<\/dialogue>\n    <scene_description>Abe grabs two pieces of bread from a loaf . He looks kind . A bit ill - used by life . The phrase `` rode hard and put away wet '' comes to mind .<\/scene_description>\n    <character>ABE<\/character>\n    <dialogue>As usual, your cynicism is refreshing.<\/dialogue>\n    <scene_description>He finishes that sandwich and adds it to the pile . Kelly pauses while opening the refrigerator . His back tightens . He slams the door with his foot .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>As usual, your cheerful optimism makes me ill.<\/dialogue>\n    <scene_description>Abe pauses over a slice of bread only briefly . The hostility is nothing new .<\/scene_description>\n    <character>ABE<\/character>\n    <parenthetical>( lightly . )<\/parenthetical>\n    <dialogue>You should get that checked.<\/dialogue>\n    <scene_description>Kelly walks through the kitchen and out the back door .<\/scene_description>\n    <character>KELLY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Sure thing, doc. Say hello to Leif Garrett for me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ERNSWILER GARAGE - NIGHT<\/stage_direction>\n    <scene_description>Kelly opens the screen door and pokes his head in . A family of Chinese immigrants , the Lings , paints canvases at long worktables . There 's a MOTHER , father MAO , grandmother XIOU - XIOU , SON and DAUGHTER . Finished canvases hang from the walls and lean in piles against it . All of them are portraits of animals . Some have on hats or clothes . Kelly 's mom EVE shows grandmother XIOU - XIOU a few strokes with a paintbrush . Eve wears jeans . She 's one of those young - looking mothers Kelly 's friends would have crushes on . If he had any friends .<\/scene_description>\n    <character>MAO<\/character>\n    <parenthetical>( to Kelly . )<\/parenthetical>\n    <dialogue>Son of Eve. You are very dirty.<\/dialogue>\n    <character>KELLY<\/character>\n    <parenthetical>( awkward . )<\/parenthetical>\n    <dialogue>A rough charge. You know.<\/dialogue>\n    <character>EVE<\/character>\n    <parenthetical>( to Kelly . )<\/parenthetical>\n    <dialogue>Do n't touch anything. We have to get ready for the Starving Artist show.<\/dialogue>\n    <parenthetical>( to Xiou - Xiou . )<\/parenthetical>\n    <dialogue>Now Nana, the gold has to be feathery, not gloppy - see?<\/dialogue>\n    <scene_description>Eve demonstrates on the painting - a pair of monkeys in French court dress . Kelly looks over his mom 's shoulder .<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>Now you try.<\/dialogue>\n    <scene_description>Grandmother Xiou - Xiou dabs at the painting .<\/scene_description>\n    <character>EVE<\/character>\n    <parenthetical>( to Kelly . )<\/parenthetical>\n    <dialogue>She loves the gold. Always overuses it. And usually her touch is so light.<\/dialogue>\n    <character>XIOU-XIOU<\/character>\n    <dialogue>Gold is the color of the sun.<\/dialogue>\n    <scene_description>Eve moves along the row , stopping to look at the paintings in progress .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>You know why we never have anything to eat in this house?<\/dialogue>\n    <scene_description>But Eve has stopped behind Mao 's painting . She 's not paying attention to Kelly .<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>Mao, what did we say about the eyes?<\/dialogue>\n    <scene_description>She gestures at the image of a horse done Santa Fe style , lots of pastels , very abstract . Mao looks at her quizzically .<\/scene_description>\n    <character>MAO<\/character>\n    <dialogue>More - empathy?<\/dialogue>\n    <character>EVE<\/character>\n    <dialogue>That's right. And did n't I tell you to put in more cacti?<\/dialogue>\n    <character>MAO<\/character>\n    <parenthetical>( shakes head . )<\/parenthetical>\n    <dialogue>No, no more cacti. Too busy. Simplicity is best.<\/dialogue>\n    <scene_description>His family nods in support of this rash aesthetic statement . Eve rolls her eyes .<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>Oh boy. I'm not having this battle with you again.<\/dialogue>\n    <scene_description>Kelly breaks in .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Because your husband takes food from his own family to feed every loser druggie in Cleveland.<\/dialogue>\n    <scene_description>Eve moves down the line .<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>Well, you can always chip in here. We're ordering pizza later.<\/dialogue>\n    <scene_description>At this the family nods and smiles to each other , pleased with the news .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>No. Some people have to work later.<\/dialogue>\n    <parenthetical>( casual . )<\/parenthetical>\n    <dialogue>Will you drop something off at the dry cleaners for me tomorrow?<\/dialogue>\n    <scene_description>Eve looks up at him for the first time . Takes in his filthy uniform .<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>Sweetie, you know what we said about paying for the war things. Nothing's changed.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>It's the only thing I ever ask you for -<\/dialogue>\n    <character>EVE<\/character>\n    <dialogue>Do n't be dramatic.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>But it's important to me.<\/dialogue>\n    <scene_description>Eve stops at Mother Ling 's painting .<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>You're just going to have to find a way to pay for it yourself then, I guess.<\/dialogue>\n    <parenthetical>( to Mother Ling . )<\/parenthetical>\n    <dialogue>No - not that way - the sky should be stormier. Angry clouds.<\/dialogue>\n    <scene_description>Mother Ling looks up at Kelly , who 's scowling . She smiles and nods , understanding .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Why do I bother?<\/dialogue>\n    <scene_description>Kelly leaves . Eve 's busy talking .<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>More brown, less blue.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Kelly comes back in a grabs a sandwich off the pile .<\/scene_description>\n    <character>ABE<\/character>\n    <dialogue>Now Keller, who needs that sandwich more - you or the daughter of a crack addict trying to make a new life?<\/dialogue>\n    <scene_description>Kelly looks at him and bites into the sandwich .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>How about the son of a heroin addict trying to get ready for work?<\/dialogue>\n    <scene_description>Kelly leaves with the sandwich . Abe sighs and picks up more bread .<\/scene_description>\n    <character>ABE<\/character>\n    <dialogue>That went well.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KELLY'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>On the walls a poster for the Civil War miniseries next to one of Led Zeppelin . Some maps . A globe . Models of fighter planes and a set of old tin soldiers . Oh yeah , and his mom 's ORIGINAL PAINTING , the one that started it all , this one signed by her - a very intense looking pink rabbit glaring out of the canvas with huge eyes . He sits on the edge of the bed for a minute staring into space before he peels off his muddy uniform piece by piece .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GROCERY STORE - NIGHT<\/stage_direction>\n    <scene_description>Ah , the graveyard shift . Musak Steely Dan . Kelly unpacks cat food . Thousands and thousands of little cans of it . It 's hard to keep the rows straight on the shelves . SARAH , the night cashier , stands at her register . She 's plain - looking now but she 'll be beautiful later when she figures out who she is . Not another soul in the store . Sarah wanders over to Kelly 's aisle as if pulled by a magnet .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>So how'd your battle go today? I still do n't understand how you could reenact the Battle of the Bulge in seventy - two degree weather.<\/dialogue>\n    <parenthetical>( plays with hair . )<\/parenthetical>\n    <dialogue>Did n't all those guys freeze to death?<\/dialogue>\n    <scene_description>Kelly does n't stop working . He 's got a system .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Well, a Port - a - John fell over on a couple of guys.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>That's gross.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>War is hell.<\/dialogue>\n    <scene_description>Kelly grabs another handful of cans .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Then why do you do it?<\/dialogue>\n    <scene_description>Kelly pauses . He puts two cans on the shelf very deliberately .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>You're never more alive then when facing simulated death.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Really? Maybe I should try it.<\/dialogue>\n    <scene_description>Kelly looks at her , thinks about this , and stands up .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>You are William J. Stone of the 1st Airborne, pinned down in Noville. The Germans have the high ground and they're shelling your position heavily.<\/dialogue>\n    <parenthetical>( starts throwing cans . )<\/parenthetical>\n    <dialogue>You're holed up in a stone barn. Sustaining heavy casualties. Running low on ammo. The cries of wounded men fill the air like the cries of hungry babies.<\/dialogue>\n    <scene_description>Sarah covers her head , huddled behind the boxes of cat food , dodging cans .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Your commanding officer gets hit in the face, dies. At 1 p.m. you lose radio contact with headquarters. If you withdraw, the Germans will flank the entire Allied forces arrayed along Bastogne and break the front. What do you do? What do you do?<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Stop it!<\/dialogue>\n    <scene_description>Kelly goes back to stocking , satisfied .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Battle of Bulge, the Southern Shoulder, December' 44.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Sorry I asked.<\/dialogue>\n    <scene_description>Sarah stands up and starts to wander away but Kelly makes a peace offering .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Hey. Want a snack? We got a whole shipment in of busted Oreo's.<\/dialogue>\n    <scene_description>Sarah looks at her feet , considering whether or not to accept it .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>I'll accidentally drop a couple pints of milk and meet you over there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAIRY BACKROOM<\/stage_direction>\n    <scene_description>Sarah and Kelly sit on milk crates , pass the cookies back and forth and get philosophical .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>The frozen food woman came in with her kids. They must eat out of those little cardboard trays every night. One of the kids looked like cardboard.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Do you know we stock more flavors of cat food than we do baby food?<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Sixteen flavors of baby food including the toddler meals - in - ajar, thirty - one flavors of cat food.<\/dialogue>\n    <scene_description>He fishes for a cookie .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Next time you should tell that woman to buy her kid some cat food.<\/dialogue>\n    <scene_description>An ANGRY WOMAN pushes open the swinging door of the backroom with her loaded shopping cart .<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Is this store open? I've been waiting up front. If the store's closed, it should n't have a sign that says twenty - four hours.<\/dialogue>\n    <scene_description>Sarah gets up . Kelly stays right where he is , finishing a cookie .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Sorry about that.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>I have a lot of coupons and I do n't want to be here when they expire.<\/dialogue>\n    <character>KELLY<\/character>\n    <parenthetical>( to Sarah . )<\/parenthetical>\n    <dialogue>Charge her double for everything.<\/dialogue>\n    <scene_description>Sarah smiles and hurries away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHAKER HEIGHTS HIGH - DAY<\/stage_direction>\n    <scene_description>Kelly walks down the hall with his army - issue BACKPACK slung over one shoulder . Besides a serious case of bedhead , he looks normal . No one says hi to him as he makes his way to his locker . As he twirls the combination and opens it , he notices LANCE - short and wide , built like a tank , prematurely balding , and his girlfriend BRIDGET embracing a few lockers down . They kiss raunchily , their tongues darting in and out of each other 's mouths . Lance sees Kelly looking and stops kissing .<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>What the fuck are you looking at, GI Jane?<\/dialogue>\n    <scene_description>Kelly shakes his head and gets a book out of his locker .<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>No really, what makes you think you can look at me?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I honestly did n't know it was you. I thought it was a free preview of the Spice Channel.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>That's pretty funny. You got dental insurance?<\/dialogue>\n    <scene_description>Kelly closes his locker and walks away . Bridget wipes her mouth guiltily . Lance shakes his head and pulls Bridget to him , grinding his pelvis against hers .<\/scene_description>\n    <character>BRIDGET<\/character>\n    <dialogue>Stop it.<\/dialogue>\n    <scene_description>She walks away .<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>What? What?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLASSROOM -- DAY<\/stage_direction>\n    <scene_description>The lights are off in history class . The teacher MR. NORMAN shows slides on the Civil War . The more we see the clearer it becomes that they are his own photos from a vacation spent visiting the memorials . Mr. Norman smiles out at his class in shot after shot . He clicks the remote and a photo of his WIFE , crouched over and wearing shorts , drinking from a garden hose appears on screen .<\/scene_description>\n    <character>MR. NORMAN<\/character>\n    <dialogue>Whoops!<\/dialogue>\n    <scene_description>He hurries through to the next slide . It does n't matter anyway . Everyone is almost asleep . Except Kelly , who becomes increasingly irritated the more Mr. Norman talks .<\/scene_description>\n    <character>MR. NORMAN<\/character>\n    <dialogue>And here, at Gettysburg, the ranks of Union soldiers fought bravely on. They were willing to give their lives so that others might be free.<\/dialogue>\n    <scene_description>Kelly shifts in his seat .<\/scene_description>\n    <character>MR. NORMAN<\/character>\n    <dialogue>Is there a problem Mr. Ernswiler?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>But Mr. Norman does n't start talking again . He waits , looking at Kelly , smiling blandly . Until the silence becomes uncomfortable . And Kelly gets mad .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Come on. Is n't this analysis a tad simplistic? I mean, maybe for a second grade history class, sure - but to insist on still characterizing the Civil War as some moral struggle? The soldiers were drafted - the only ones who had to fight were the ones who could n't afford to pay their way out.<\/dialogue>\n    <parenthetical>( losing it . )<\/parenthetical>\n    <dialogue>Why do n't you talk about the Draft Riots? Where are your slides for that?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRINCIPAL'S OFFICE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Fresh flowers and a crocheted tissue box hoodie make the place cozy . Kelly sits across the desk from PRINCIPAL HOLMSTEAD , a well - groomed woman with a gentle talk show host demeanor .<\/scene_description>\n    <character>HOLMSTEAD<\/character>\n    <dialogue>What gives you the idea that you can or ought to question the curriculum?<\/dialogue>\n    <scene_description>Kelly does n't move . He 's not into this .<\/scene_description>\n    <character>HOLMSTEAD<\/character>\n    <dialogue>Or question your teacher?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I know. I mean, who ever heard of a classroom dialog? Not Socrates.<\/dialogue>\n    <scene_description>Ms. Holmstead is exasperated , but she likes him in spite of herself . He 's a smart cookie . She 's got to change her strategy . She leans back in her chair .<\/scene_description>\n    <character>HOLMSTEAD<\/character>\n    <dialogue>Kelly, you're a very bright boy. But you're making some serious mistakes.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I do n't need to. Everyone else makes them for me.<\/dialogue>\n    <scene_description>Her chair SQUEAKS as she leans forward and looks at Kelly intently .<\/scene_description>\n    <character>HOLMSTEAD<\/character>\n    <dialogue>This anger must be masking a lot of hurt.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I was wondering what the tissues were for.<\/dialogue>\n    <scene_description>Holmstead tries again . She looks down at his file .<\/scene_description>\n    <character>HOLMSTEAD<\/character>\n    <dialogue>I see you're not going to college next year. What are your plans?<\/dialogue>\n    <scene_description>Kelly shrugs . Holmstead searches his face for any clues .<\/scene_description>\n    <character>HOLMSTEAD<\/character>\n    <dialogue>How do I get through to you?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Advertisers use status and sex to appeal to my demographic.<\/dialogue>\n    <scene_description>She shakes her head and swings her chair towards the window and gazes out at the front walkway of the school . Her face clears . Something 's clicked .<\/scene_description>\n    <character>HOLMSTEAD<\/character>\n    <dialogue>I think we can come up with a punishment which might actually be more of an opportunity for you to realize your true potential.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHAKER HEIGHTS HIGH - DAY<\/stage_direction>\n    <scene_description>School 's been out for a while . The first rush had already left . Kelly comes down the front steps and starts across the parking lot to his Jeep . Lance steps out from behind an SUV and intercepts him .<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>You upset Bridget.<\/dialogue>\n    <scene_description>Kelly hardly stops walking .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Give me a break.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>You need to apologize.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>What are you going to do, make out with me?<\/dialogue>\n    <scene_description>Lance runs and grabs Kelly 's backpack .<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Why are you fucking with me? You little fucker. Want to play, fuckface?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>You just used fuck as a verb, noun, and adjective. Impressive.<\/dialogue>\n    <scene_description>Kelly tries to start walking again but Lance has hold of him .<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Let's see what Beetle Bailey's got in his knapsack.<\/dialogue>\n    <scene_description>Lance grabs Kelly 's arm and yanks it back . Kelly still seems unconcerned . Suddenly he pulls away , but Lance keeps hold of his backpack . Lance holds the backpack up next to his head and points at it , gleeful . Lance walks away towards his car . Kelly runs after him . Lance holds Kelly off easily with one hand and throws the backpack into his SUV . They STRUGGLE for a minute , until Lance pushes Kelly away , gets in the car . Kelly runs next to the car and pounds on the window as Lance drives off . Finally , Kelly gives up . Lance turns out of the parking lot and HONKS the horn . Kelly shakes his head .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Rim job.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARMY NAVY STORE - DAY<\/stage_direction>\n    <scene_description>Kelly sifts through a pile of backpacks looking for a replacement . From his post behind the counter , Bart sees him and comes over .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Kelly. Hey.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>You work here?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Just a couple days a month, to get a heads - up on the latest stuff. What are you doing?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Looking for a backpack.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Is that all? Do n't bother. I have a couple extras at home. I could give you one if you want.<\/dialogue>\n    <character>KELLY<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Sure, I guess.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOWLAND HOUSE, DAD'S LIBRARY - DAY<\/stage_direction>\n    <scene_description>Kelly stands a bit awkwardly waiting for Bart to get the key from the desk to open the door in the corner . The door finally swings open .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STOREROOM<\/stage_direction>\n    <scene_description>Bart and Kelly stand between shelves piled high with war memorabilia . Uniforms in vacu - pac sealed bags , weapons in shoeboxes , cannonballs and tattered and gunsmoke - darkened flags .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Very impressive.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>My dad's real into hoarding.<\/dialogue>\n    <scene_description>Kelly holds up a flask in a leather case .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>What's this?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Grant's field flask.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Wow. Your dad should meet my history teacher. He sent me to the principal's office today for questioning his G - rated interpretation of the Civil War.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Forget him.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I would, but now the principal's making me give a speech on the Civil War at an assembly.<\/dialogue>\n    <character>BART<\/character>\n    <parenthetical>( laughing in sympathy and amusement . )<\/parenthetical>\n    <dialogue>What is he, some kind of sadist?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>She thinks she's doing me a favor.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Jesus, she must think you're really screwed up. Are you?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Depends on who you ask. Everyone's got an opinion.<\/dialogue>\n    <character>BART<\/character>\n    <parenthetical>( grabs box . )<\/parenthetical>\n    <dialogue>Take this. That'll shut them up.<\/dialogue>\n    <scene_description>Bart opens the long box . Nestled inside is a leg bone with a foot attached to it .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Stonewall Jackson's.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Yeah right.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Can you imagine that? Losing your leg and getting back up on your horse? Unbelievable. What balls.<\/dialogue>\n    <scene_description>Kelly nods . That is balls .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>He's got so much crap crammed in here he does n't even notice when it's missing. I saw a backpack in here somewhere.<\/dialogue>\n    <scene_description>Bart puts down the box carelessly and paws through the piles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOWLAND KITCHEN<\/stage_direction>\n    <scene_description>Bart and Kelly sit at the kitchen table drinking sodas , waiting for MINNIE , the housekeeper , to finish making them dinner .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>I thought he had a couple.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I'd feel weird taking one out of the tomb of Tutenkamen anyway.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Trust me, you should n't.<\/dialogue>\n    <parenthetical>( burps . )<\/parenthetical>\n    <dialogue>Where'd your old one go?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I lost it.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>How?<\/dialogue>\n    <scene_description>A pause . Kelly decides to tell him .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Someone took it.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>You let someone take it?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I did n't let him. I told off some idiot -<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Sounds like your mouth gets you into trouble a lot.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I'm telling you, it's not me, it's the world.<\/dialogue>\n    <scene_description>TABBY , Bart 's older sister comes in . She 's older . Definitely in college , if not out . And totally shockingly beautiful . Otherworldly .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Tabby, this is Kelly.<\/dialogue>\n    <character>TABBY<\/character>\n    <parenthetical>( to Kelly . )<\/parenthetical>\n    <dialogue>Do n't give him any money, whatever you do.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Shut up.<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>All these little old ladies are looking for him in Arizona. He took their retirement money and bought defective bazookas with it.<\/dialogue>\n    <scene_description>Kelly laughs . And looks at Tabby more closely .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Very funny. We're paying attention to you, are you happy now?<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>Finally, my life is complete. Fait accompli.<\/dialogue>\n    <character>BART<\/character>\n    <parenthetical>( to Tabby . )<\/parenthetical>\n    <dialogue>Minnie's making sloppy joes. Want one?<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>Sloppy joe? Sloppy no.<\/dialogue>\n    <scene_description>She opens the fridge and gets a yogurt .<\/scene_description>\n    <character>TABBY<\/character>\n    <dialogue>I have to go take a shower. Will you call me when Miner gets here?<\/dialogue>\n    <scene_description>Tabby leaves . Kelly 's distracted .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Who's Miner?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>The fianc\u00e9.<\/dialogue>\n    <scene_description>Bart rolls his eyes , indicating what he thinks of good old Miner . Kelly nods , does n't say anything .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Listen, I'm going to the flea market on Saturday. I have a line on a couple dealers. You could get a backpack there.<\/dialogue>\n    <scene_description>Kelly glances at the door Tabby left from .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Oh yeah? Flea market, land of bargains.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Especially if you know who to talk to.<\/dialogue>\n    <scene_description>Kelly looks at Bart with suspicion - and respect .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHAKER HEIGHTS HIGH - MORNING<\/stage_direction>\n    <scene_description>Kelly hops out of his Jeep and walks towards the front of the school . Lance is there , hanging out with Bridget and some of his Cro - Magnon FRIENDS . He wears a WW II CAP , overseas airborne style , obviously Kelly 's .<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Hey fuckface. Like my new hat? I just joined the Boy Scouts.<\/dialogue>\n    <scene_description>The Cro - Magnons grunt approvingly at this witty repartee .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>If you stay in it long enough, maybe you'll get your fudgepacker badge.<\/dialogue>\n    <scene_description>Ooh . The Cro - Magnons laugh at Lance and EGG him on - `` You gon na take that ? '' \/ `` He just called you a fag '' , etc. . Lance frowns and grabs Kelly .<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>You're a regular Howie Mandel.<\/dialogue>\n    <scene_description>Still holding on to him with one arm , he SLAPS Kelly hard across the face with the other . Kelly 's knees give a bit . Lance holds him up .<\/scene_description>\n    <character>BRIDGET<\/character>\n    <dialogue>Lance!<\/dialogue>\n    <scene_description>Lance looks over at her and releases Kelly .<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Okay babe.<\/dialogue>\n    <parenthetical>( to Kelly . )<\/parenthetical>\n    <dialogue>One day you and me will be alone. And wo n't that be nice?<\/dialogue>\n    <scene_description>Kelly is hurt but covering .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Too bad my mom wo n't let me date yet.<\/dialogue>\n    <scene_description>Kelly frowns and adjusts his clothes . Tries to re - wet the dry inside of his mouth with his tongue . He turns slowly and trudges up the stairs . Sarah has been watching the whole thing from the door .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Why do you mess with him?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>You're right. I should give him a break.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ERNSWILER HOUSE - DAY<\/stage_direction>\n    <scene_description>Kelly watches TV in the living room . His cheek has a nice bruise on it . Eve enters .<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>Oh, Kelly, you're home. Good. I need you to go to the art supply store for me.<\/dialogue>\n    <scene_description>Kelly looks at the TV .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Get Abe to do it.<\/dialogue>\n    <scene_description>Eve goes to her purse and rifles through it to find her wallet .<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>He was going to but he had to go lead a meeting at Care House.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>What a surprise.<\/dialogue>\n    <character>EVE<\/character>\n    <dialogue>I'll make it up to you.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Where have I heard that before?<\/dialogue>\n    <scene_description>Eve sighs .<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>When are you going to give me a break?<\/dialogue>\n    <scene_description>Kelly jabs at the remote .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Let me think - maybe when I finally forget every single word of The Little Mermaid soundtrack I'd listen to in the car waiting for him to score. No, probably when I do n't prepare myself before I go into the bathroom, expecting to find him passed out on the floor.<\/dialogue>\n    <scene_description>Eve waits through this .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Actually, you know what? I know I'll be able to put it all behind me when I go away to college.<\/dialogue>\n    <parenthetical>( slaps his forehead , pretend remembering . )<\/parenthetical>\n    <dialogue>Only, I ca n't go because someone spent my college fund on Mexican Black Tar. So looks like I'll have to try to forget at Shop Rite, where I'll be working for the rest of my life.<\/dialogue>\n    <character>EVE<\/character>\n    <dialogue>You're right. You have every reason to crawl into the corner and give up. But please just get me some paints first.<\/dialogue>\n    <scene_description>Eve comes over to Kelly . He sighs and puts his hand out .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>What do you need?<\/dialogue>\n    <scene_description>She gives him the money .<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>We need burnt sienna, cadmium red, and midnight blue. Two tubes of blue.<\/dialogue>\n    <parenthetical>( looks at him . )<\/parenthetical>\n    <dialogue>What happened to your face?<\/dialogue>\n    <scene_description>She puts her hand up but he moves away from it .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Forget it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ART SUPPLY STORE - DAY<\/stage_direction>\n    <scene_description>Kelly looks through the paints , picking out tubes . He looks up and sees Tabby browsing the paintbrushes . He 's suddenly nervous . He knocks over a few cans of thinner . Almost leaves . Instead , he gathers his courage , goes to the display opposite hers and waits to catch her eye .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>They're having a sale on glitter.<\/dialogue>\n    <scene_description>It takes Tabby a second to recognize him .<\/scene_description>\n    <character>TABBY<\/character>\n    <dialogue>Oh, hello. What happened to you?<\/dialogue>\n    <character>KELLY<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>Tennis injury.<\/dialogue>\n    <scene_description>Tabby looks at him suspiciously like she 's not sure whether to believe him . Tabby finishes with the mediums and moves onto the paints . Kelly follows her , staying in the opposite aisle .<\/scene_description>\n    <character>TABBY<\/character>\n    <dialogue>You paint?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Well, you see. That's a difficult question.<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>How so?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I do n't really feel comfortable calling anything done since the Renaissance `` painting.'' We might have a more experimental interaction with the picture plane, but our skills have suffered from it.<\/dialogue>\n    <scene_description>In spite of herself , Tabby laughs at this . This gives Kelly more confidence . He leans over the aisle to see what she 's looking at .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>You're working with acrylic. Why? Oil's much - richer.<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>Oh you're not one of those oil snobs are you?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Of course not.<\/dialogue>\n    <scene_description>Kelly comes around and leans nonchalantly against the shelves , knocks more things over and fumbles to replace them .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>It's just - is n't acrylic a bit - jejune?<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>Jejune? You're jejune. How old are you anyway?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Older than my years.<\/dialogue>\n    <scene_description>Tabby walks to the counter with her brushes .<\/scene_description>\n    <character>TABBY<\/character>\n    <dialogue>And you paint?<\/dialogue>\n    <scene_description>Kelly looks down and partially confesses .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Well, you know, my mother's kind of an artist, so -<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>That explains it.<\/dialogue>\n    <scene_description>Tabby signs the slip and takes the bag . She walks out , Kelly with her , matches her pace , talking .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>That explains nothing. Does n't anyone believe in innate knowledge anymore? Michelangelo was fifteen when he painted the Infanta.<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>Infantas are Spanish. Michelangelo was Italian.<\/dialogue>\n    <scene_description>Tabby gets into her car . Kelly leans into her window .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Exactly. One world, one people. Just like Jesse Jackson envisioned.<\/dialogue>\n    <scene_description>Tabby tries to conceal her smile and starts her car .<\/scene_description>\n    <character>TABBY<\/character>\n    <dialogue>Well - Kelly. Nice talking to you.<\/dialogue>\n    <scene_description>She drives away . Kelly stands there watching . Then he winces .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>What the hell did you just say?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ERNSWILER HOUSE - DAY<\/stage_direction>\n    <scene_description>Kelly pulls up in his Jeep . He turns off the engine but does n't get out . Just sits there . He does n't want to go in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FLEA MARKET - DAY<\/stage_direction>\n    <scene_description>Colored plastic flags droop in the sun . MILITARY STALL Bart sweeps his eye over everything . A SKINNY GUY wearing a wife beater has some not half - bad stuff . Kelly , bruise faded to yellow and green , examines a glass mason jar of what seems to be dirt .<\/scene_description>\n    <character>SKINNY GUY<\/character>\n    <parenthetical>( to Kelly . )<\/parenthetical>\n    <dialogue>That there's actual sand from Iwo Jima.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Or your sister's sandbox.<\/dialogue>\n    <scene_description>The guy shrugs .<\/scene_description>\n    <character>SKINNY GUY<\/character>\n    <dialogue>Well, it do n't come with no certificate of authenticity.<\/dialogue>\n    <parenthetical>( considers . )<\/parenthetical>\n    <dialogue>I could write one up for you, I suppose. Get it notarized.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>No, that's quite all right. Actually, I'm in the market for medals.<\/dialogue>\n    <character>SKINNY GUY<\/character>\n    <dialogue>Sure. I got a couple purple hearts. A Silver Star. DSC. Ca n't sell them to you though. They were gramp's.<\/dialogue>\n    <parenthetical>( wink . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Bart acts casual , hands clasped behind his back .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Are you sure?<\/dialogue>\n    <character>SKINNY<\/character>\n    <dialogue>They have a lot of sentimental value -<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Yeah. How much?<\/dialogue>\n    <character>SKINNY GUY<\/character>\n    <dialogue>A lot.<\/dialogue>\n    <scene_description>Bart pulls out a paper bag and offers it to the skinny guy , who looks inside .<\/scene_description>\n    <character>SKINNY GUY<\/character>\n    <dialogue>What's this?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>General Ulysses S. Grant's field flask, my friend.<\/dialogue>\n    <scene_description>Kelly is shocked . The skinny guy looks at his suspiciously .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Throw in one of those backpacks and we'll call it even.<\/dialogue>\n    <scene_description>The skinny guy looks at Bart , and in the bag again . He goes to get the backpack . Kelly 's impressed by this smooth exchange . FLEA MARKET - BETWEEN ROWS Kelly and Bart weave through the maze of stands . Kelly now holds the backpack .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Buying and selling US service medals is illegal.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Exactly. That's why the resale value is so high.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Is that what they teach you at Langely?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Do n't be so na\u00efve. We all have our skeletons. Some of them just pay more than others.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>And I'm not even going to ask about the flask.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Do n't ask, do n't tell. The army gets everything right, do n't they?<\/dialogue>\n    <scene_description>CAMPAIGN PIN STALL A frowsy WOMAN in a muumuu sits fanning herself in front of an extensive display of pins and buttons .<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>You boys look like Goldwater fans.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I've never been accused of that before.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Well jeez, you do n't have to be insulted.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Anything military?<\/dialogue>\n    <scene_description>The woman considers this , her fan working back and forth lazily .<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Fish around in that cigar box.<\/dialogue>\n    <scene_description>Bart paws through the box . Acts casual .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>What do you want for the box?<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Twenty dollars.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Fifteen.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Do n't be so hasty.<\/dialogue>\n    <parenthetical>( fanning . )<\/parenthetical>\n    <dialogue>I got a few Geraldine Ferraro pins I'm looking to unload.<\/dialogue>\n    <scene_description>FLEA MARKET FOOD COURT Kelly and Bart , now wearing the smiling black &amp; white face of Geraldine Ferraro , eat disgusting yet delicious flea market food and watch a slow - motion bingo game .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Goldwater fan. I think that's some kind of insult.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Not at Dartmouth. Where are you going to go to school?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I'm not.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Ah, you have that luxury.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>You do n't?<\/dialogue>\n    <character>BART<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>I did n't have much say in the matter. Everything has been decided for me since birth. I'm not whining about it. Play the hand you're dealt, right?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Easy for you to say. You got a royal flush.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Are you crazy? My life sucks. Everyone's always telling me what to do. You ca n't fight it. Go with the flow.<\/dialogue>\n    <scene_description>They eat for a minute to the soothing sounds of the BINGO CALLER : TWENTY - ONE , THIRTEEN , FOUR , SEVENTY - EIGHT .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>What about Tabby?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>She got to go where she wanted. Sarah Lawrence. Six years. She's almost done with grad school. Yale.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I did n't think people actually went to Yale.<\/dialogue>\n    <character>BART<\/character>\n    <parenthetical>( thinking . )<\/parenthetical>\n    <dialogue>I do n't know. I mean, she drives off in her car in September. For all we know, she could just pull her car over in Albany and sleep there until May.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>It was a joke. Joke?<\/dialogue>\n    <scene_description>Bart does some fake sign language to help Kelly out .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Oh. Is that what one of those sounds like? Somehow, I always imagined they would be funnier.<\/dialogue>\n    <scene_description>Bart pushes Kelly , who grabs his arm like it got hurt .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Sarah Lawrence? Is n't that for lesbians?<\/dialogue>\n    <scene_description>Bart shrugs .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>What happened to your face?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Remember the backpack incident?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Same guy?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>The one with mad cow - diseased hamburger meat for brains? That would be the one.<\/dialogue>\n    <scene_description>Interested , Bart leans forward .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>What are you going to do about it?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I'm not going to lower myself to his level.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Of course not. But there are alternatives...<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Alternatives?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Have n't you ever heard of the 193rd Special Operations Wing?<\/dialogue>\n    <scene_description>Kelly shakes his head .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Well do you want to get this guy or what?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>All right. Let's get the fuck out of here, then.<\/dialogue>\n    <scene_description>Bart tosses his wrapper at the trashcan . Kelly watches it hit the rim and go in .<\/scene_description>\n    <character>BART<\/character>\n    <parenthetical>( on the move . )<\/parenthetical>\n    <dialogue>I have some things to show you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOWLAND HOUSE, KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Bart and Kelly sit amidst a spread of books , papers , and electronic equipment .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Once we've gathered the intelligence, the plan will reveal itself.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>We do n't plan first?<\/dialogue>\n    <scene_description>Bart opens a pad .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>No, it limits our scope - what's the objective?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Humiliation. Rage. Despair.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Easy enough. ` Nam's probably our go - to war for that sort of thing. I have the declassified briefs from the Phoenix Project around here somewhere.<\/dialogue>\n    <scene_description>Bart grabs a book and starts flipping through pages . Tabby enters with an armful of art supplies .<\/scene_description>\n    <character>TABBY<\/character>\n    <dialogue>Hey. I have some stretcher bars out in the car. Can somebody help me bring them in?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Of course we'll drop what we're doing because what you're doing must be more important.<\/dialogue>\n    <scene_description>Bart does n't look up . He grabs another book .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Sure. I mean, I'll help.<\/dialogue>\n    <scene_description>Bart raises his eyebrow . Kelly shrugs off the look .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>I'll find those reports.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TABBY'S STUDIO - NIGHT<\/stage_direction>\n    <scene_description>Tabby drops the canvas and points at the table . Kelly dumps the bars and stands there looking around . At the wood floors and skylights . Couch covered with a sheet . Painting , serious ones , with layers of paint and mysterious objects stuck to them lay against the walls . They all seem faded , like a vacation photo that 's been through the wash . Kelly moves to the PAINTING on the easel . Very yellow and pink . Kind of looks like castles .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Gold. The color of the sun.<\/dialogue>\n    <scene_description>Tabby wrestles with the bolt of canvas .<\/scene_description>\n    <character>TABBY<\/character>\n    <dialogue>That's the Cleveland waterfront.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>As the viewer, I get to decide what it is, I'm afraid. And it does n't look a thing like it.<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>It's the light. I was playing with diffusion.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Well make sure you put it away when you're done with it.<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>Very funny, wiseass.<\/dialogue>\n    <scene_description>Kelly resumes his tour of the room .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>It must be nice to have a place like this to get away to.<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>It is.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>What about Farmer?<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>Farmer?<\/dialogue>\n    <scene_description>Tabby unrolls the canvas and measures lengths .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>The boyfriend.<\/dialogue>\n    <character>TABBY<\/character>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>Miner? What about him?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Is he an artist, too?<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>No. Definitely not. Thank god.<\/dialogue>\n    <scene_description>Kelly is silent for a while , fiddling with a clamp light .<\/scene_description>\n    <character>TABBY<\/character>\n    <dialogue>You said your mom was a painter?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>She was, well - is I guess.<\/dialogue>\n    <scene_description>Tabby cuts the canvas .<\/scene_description>\n    <character>TABBY<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>She used to be. But then my dad - was n't working anymore so she turned it into a business. She has a family of Chinese immigrants in the garage making them for her.<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>Like Andy Warhol's Factory.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>More like Andy Warhol's tool shed. It was nice before, though. My playpen used to be in her studio.<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>Wow. So you really grew up with it. What does, did, your dad do?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>He's a VH - 1 documentary without the music.<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>`` Tragedy struck?''<\/dialogue>\n    <scene_description>Kelly nods .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>`` And then, things took a turn for the worse.''<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>Well, just wait. Those burnout types always have a triumphant comeback tour.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I already changed the channel.<\/dialogue>\n    <scene_description>Tabby sits back on her heels and looks at him . Bart 's head appears in the open door .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Christ Kelly, I let you go out on a little supply line assist and you're gone for days. Come on.<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>Have fun, boys.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>If only it were fun. War's deadly serious, ma'am.<\/dialogue>\n    <character>TABBY<\/character>\n    <parenthetical>( to Bart . )<\/parenthetical>\n    <dialogue>And I used to think you were the only crazy one.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Enough with the mind pollution, Hanoi Hannah.<\/dialogue>\n    <scene_description>Bart leaves . Kelly stands by the door . This is his only chance .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>I'm worried about you playing with diffusion unsupervised.<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>Are you?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Yes. I might have to come by and show you the proper safety procedures. Some time in the presence of an art prodigy would do you good.<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>I do n't think I have room for a playpen in here.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Ouch.<\/dialogue>\n    <scene_description>Tabby smiles . Kelly leaves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOWLAND YARD - NIGHT<\/stage_direction>\n    <scene_description>Bart and Kelly walk across the yard .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>So, you have a thing for my sister?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>What? No, no.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Everybody does.<\/dialogue>\n    <scene_description>They skirt around the pool .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>We just have a few things in common.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Oh really, like what?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I ca n't tell you. It's my feminine side.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>You do n't wear women's clothes when you're alone, do you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ERNSWILER HOUSE, LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Kelly comes out of the kitchen with a glass of water in pajama bottoms and a T - shirt . The TV 's on static . He sees a FIGURE sleeping on the couch and starts to walk through the room . Then he stops , sighs , and backtracks . He turns off the TV . Then he sees the empty bottle of wine next to the couch .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Dad.<\/dialogue>\n    <scene_description>The figure does n't move . Kelly does n't know what to do .<\/scene_description>\n    <character>KELLY<\/character>\n    <parenthetical>( louder . )<\/parenthetical>\n    <dialogue>Dad?<\/dialogue>\n    <scene_description>Kelly looks around , worried . In this house an unresponsive dad is n't necessarily sleeping . Should he wake up his mom ? He shakes the figure slightly . It rolls over , only it 's not his dad . It 's some scabby ADDICT . Kelly yanks his hand away .<\/scene_description>\n    <character>ADDICT<\/character>\n    <dialogue>Wha?<\/dialogue>\n    <scene_description>A moment .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Sorry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ERNSWILER HOUSE, BACK YARD - NIGHT<\/stage_direction>\n    <scene_description>Abe sits on a lawn chair . Kelly comes out , unfolds another chair and sits next to his dad - a good distance away . They both look up at the sky .<\/scene_description>\n    <character>ABE<\/character>\n    <dialogue>Keller. There's a meteor shower.<\/dialogue>\n    <scene_description>Kelly frowns .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>A funny thing just happened. A little trip down memory lane. I thought you were on our couch, dead.<\/dialogue>\n    <scene_description>Abe laughs .<\/scene_description>\n    <character>ABE<\/character>\n    <dialogue>Oh, you mean Emmett? They did n't have an empty bed for him at Care House.<\/dialogue>\n    <scene_description>Kelly nods , considering this .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Well that's one of your more brilliant ideas.<\/dialogue>\n    <parenthetical>( anger rising . )<\/parenthetical>\n    <dialogue>Have you thought about the fact that it might be dangerous? That he might steal something, or go into cardiac arrest? Drink all our cooking wine? Which he seems to have done.<\/dialogue>\n    <character>ABE<\/character>\n    <dialogue>He just needs a place to sleep for the night.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>You're right. Besides, having him here makes it feel like home.<\/dialogue>\n    <scene_description>Abe slams his hands down on the arms of his chair .<\/scene_description>\n    <character>ABE<\/character>\n    <dialogue>I've been straight for four years, almost five. A third of your life.<\/dialogue>\n    <scene_description>Kelly claps slowly .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Big whoop. I've been straight the whole time.<\/dialogue>\n    <scene_description>Abe closes his eyes .<\/scene_description>\n    <character>ABE<\/character>\n    <dialogue>I hate to tell you this, but I'm not your problem anymore.<\/dialogue>\n    <scene_description>Kelly gets up .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>No. That's the one thing I get to decide.<\/dialogue>\n    <scene_description>Abe looks at Kelly .<\/scene_description>\n    <character>ABE<\/character>\n    <dialogue>Let me know. I can wait.<\/dialogue>\n    <scene_description>They look at each other . Kelly shakes his head and goes inside . Abe looks up at the sky .<\/scene_description>\n    <character>ABE<\/character>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>Keller, there's a meteor shower.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LANCE'S HOUSE - DAY<\/stage_direction>\n    <scene_description>In a backyard tree house next door sit Kelly and Bart , Kelly looking through a pair of M3 field glasses .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>I have the target in sight.<\/dialogue>\n    <scene_description>BINOCULAR MATTE Through the twin circles Lance gets into his car in front of his house .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>I think he's leaving.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Let me see. Do n't be a farb, give them up.<\/dialogue>\n    <scene_description>Kelly hands the glasses over . Bart looks through them . Then he puts them down .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>The coast is clear.<\/dialogue>\n    <scene_description>The boys looks at each other .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Let me prepare to deploy.<\/dialogue>\n    <scene_description>Bart opens up a duffel bag and pulls out a yellow jumpsuit which he puts on . Kelly looks through the binoculars .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Is this going to work?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>We've planned for every contingency using the tried and true techniques of the last great world power.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Save it for the press conference.<\/dialogue>\n    <scene_description>THE LAWN The boys climb down out of the tree house . Bart is dressed in an official - looking yellow jumpsuit with telephone repairmen 's tool hanging from his belt and a hard hat on . Kelly carries a toolbox .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Stay low. On my signal.<\/dialogue>\n    <scene_description>He looks at Kelly . Then he holds up one finger and gestures `` go . '' They sneak hunched over towards the fence . A LITTLE GIRL comes out of the house and stops when she sees them . Bart and Kelly look at each other . Bart takes the toolbox and gestures to Kelly by pointing at the girl and covering his mouth . Kelly peels off towards the girl while Bart continues across the lawn . The girl starts to SCREAM . Kelly swoops up and covers her mouth with his hand . He tucks her under his arm and runs towards the opposite side of the house . He puts the girl down , still covering her mouth .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>We're the good guys. If you scream, the bad guys are going to come and burn down your house. Okay? So stay here and be quiet.<\/dialogue>\n    <scene_description>The girl nods . Kelly takes his hand off her mouth and starts to sneak away .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>My dad has a gun.<\/dialogue>\n    <scene_description>Kelly runs across the street to get a view of the front door . IN FRONT OF LANCE 'S HOUSE Bart turns up the driveway and RINGS the doorbell . LANCE 'S MOTHER opens the door . Bart confers with her briefly and steps inside . The door closes behind him . Kelly stares so hard at the door he does n't see the NEIGHBOR come up behind him .<\/scene_description>\n    <character>NEIGHBOR<\/character>\n    <dialogue>Can I help you, young man?<\/dialogue>\n    <scene_description>Kelly starts and turns .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>I was just inspecting your lawn.<\/dialogue>\n    <scene_description>Kelly grabs a few blades of grass .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Have you thought about Astroturf? It takes a lot less water to keep green. I mean, no water, technically.<\/dialogue>\n    <character>NEIGHBOR<\/character>\n    <dialogue>I'm not interested.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Oh. I see. Okay then.<\/dialogue>\n    <scene_description>Kelly gets up and starts to walk down the street , only - Lance PULLS UP in his SUV . Kelly darts behind a parked car and watches Lance go into the house .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Oh, shit.<\/dialogue>\n    <scene_description>Lance comes right back out . He forgot something in his car .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Oh, shit.<\/dialogue>\n    <scene_description>Kelly moves around the car , trying to keep it between him and Lance . Bart comes down the front walk whistling and eating a cookie . He smiles at Lance , now coming back up the walk .<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Smile worker bee. I'll be your boss some day.<\/dialogue>\n    <scene_description>Bart nods and tips his HARD HAT . Kelly follows him on the other side of the row of cars until Lance 's house is out of sight . Then he gets in step beside Bart .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>What an asshole. His mom gave me cookies, though.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Did you get it done?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Do n't ask stupid questions. Let's go home and listen.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOWLAND HOUSE, BART'S ROOM - DAY<\/stage_direction>\n    <scene_description>The boys sit around an FM receiver\/recorder .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>It was a five - watt FM bug, so we should be in range -<\/dialogue>\n    <scene_description>Bart FLIPS the ON switch and Lance 's Mom 's voice fills the room . The boys smile with delight .<\/scene_description>\n    <character>LANCE'S MOM<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>So then I told her, `` Harriet, with potato salad like that it's no wonder Ray - Ray's cheating on you.''<\/dialogue>\n    <character>WOMAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>You did n't.<\/dialogue>\n    <character>LANCE'S MOM<\/character>\n    <dialogue>You're right. But I was thinking it. Instead I just told her to add more vinegar next time, and -<\/dialogue>\n    <scene_description>Kelly shakes his head as the women natter away .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>I do n't think we can use any of this.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Be patient. It's voice activated, so we'll get everything. Trust me. It's going to be great.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>All right, then.<\/dialogue>\n    <scene_description>Kelly gets up to leave while Bart fiddles with the knobs .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>We reconnoiter tomorrow at nineteen hundred hours.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ERNSWILER HOUSE, KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Abe and Eve have dinner together .<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>- And if we do n't sell them there, we'll set up on the corner of Stevens and Lane, by the gas station. That's a good location.<\/dialogue>\n    <scene_description>Eve looks at her husband and sees he 's not paying attention . He seems a little out of it . He 's pushing his food around on his plate .<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>Are you listening to me?<\/dialogue>\n    <character>ABE<\/character>\n    <dialogue>Did you make this with more chili pepper than usual?<\/dialogue>\n    <character>EVE<\/character>\n    <dialogue>The same as always.<\/dialogue>\n    <scene_description>Kelly comes in , walks through the kitchen and up the stairs .<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>Kelly. Want dinner?<\/dialogue>\n    <character>KELLY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I ate.<\/dialogue>\n    <scene_description>His parents eat for a minute in silence . Abe winces and puts down his fork . Eve smiles tenderly at him .<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>One day, we're all going to be happy.<\/dialogue>\n    <scene_description>Abe puts his hand over hers .<\/scene_description>\n    <character>ABE<\/character>\n    <dialogue>That sounds nice.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOWLAND HOUSE, BART'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Bart moves around the room excitedly .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>It's really too perfect, actually.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>What? What?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>I ca n't describe. Just hit play. It's all cued up.<\/dialogue>\n    <scene_description>Kelly hits a button . The tape clicks ON . From the speakers comes :<\/scene_description>\n    <character>BRIDGET<\/character>\n    <parenthetical>( recorded . )<\/parenthetical>\n    <dialogue>I told you, that makes me nervous. Me no likey.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>But baby, my birthday's coming up.<\/dialogue>\n    <character>BRIDGET<\/character>\n    <dialogue>Still. That's not a good enough reason.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Come on. A little action. A little prime time action.<\/dialogue>\n    <character>BRIDGET<\/character>\n    <dialogue>But people might see us.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>That's the point. That's what makes it sexxxy. Dangerous.<\/dialogue>\n    <scene_description>Kelly stops the tape .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Dangerous.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Exactly.<\/dialogue>\n    <scene_description>Bart and Kelly share a look . Kelly grins .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Let's draw up the plans.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>I have a few notes jotted down.<\/dialogue>\n    <scene_description>All we have to do is fill in the details and let Operation Deadmeat begin .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHAKER HEIGHTS HIGH - DAY<\/stage_direction>\n    <scene_description>Bridget primps at her locker while Kelly watches nervously from his . When she starts to close the locker door , Kelly rushes towards her and BUMPS into her . Her books and papers spill to the floor .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Oh Jesus, I'm so sorry -<\/dialogue>\n    <scene_description>He starts picking them up .<\/scene_description>\n    <character>BRIDGET<\/character>\n    <dialogue>Oh, it's okay -<\/dialogue>\n    <scene_description>She looks around . If Lance showed up it would n't be good for either of them . Kelly hands her the rest of her stuff . They part ways . Kelly shoves a piece of paper into his pocket . Principal Holmstead CLICKS down the hall in her heels and Kelly DUCKS into a doorway just in time . He turns and pretends to look at a posted announcement as she passes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOWLAND HOUSE, BART'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Bart inspects Bridget 's book report with a jeweler 's loop . He swings over to a piece of stationary Kelly 's working on .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>She dots her I's with hearts. And her L's are loopier. The L is very important.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I'm working on it.<\/dialogue>\n    <scene_description>They both crouch over the paper .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>I feel kind of bad for her. She's a nice girl.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Sometimes collateral damage ca n't be avoided.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Stop it.<\/dialogue>\n    <scene_description>He pushes back from the table .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>How does that look?<\/dialogue>\n    <character>BART<\/character>\n    <parenthetical>( inspecting . )<\/parenthetical>\n    <dialogue>Pretty good. I think we're ready to manufacture a document.<\/dialogue>\n    <scene_description>Kelly takes out a fresh sheet of paper .<\/scene_description>\n    <character>BART<\/character>\n    <parenthetical>( clears his throat . )<\/parenthetical>\n    <dialogue>Begin. `` Hey Daddy. It's your birthday and you've been a very bad boy. But so has the baby. Both baby and Daddy have to get punished, only this time -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LANCE'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Lance , shirtless , reads aloud from the letter .<\/scene_description>\n    <character>LANCE<\/character>\n    <parenthetical>( Cont . )<\/parenthetical>\n    <dialogue>- baby makes the rules. Await further instructions at school tomorrow -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>Bart wears his school uniform and sits in the passenger seat next to Kelly .<\/scene_description>\n    <character>LANCE<\/character>\n    <parenthetical>( V.O. cont'd. ) - Baby will be waiting where Daddy least expects her .<\/parenthetical>\n    <parenthetical>Love , Bridgie . ''<\/parenthetical>\n    <parenthetical>Yes !<\/parenthetical>\n    <dialogue \/>\n    <character>BART<\/character>\n    <dialogue>Do you have everything?<\/dialogue>\n    <scene_description>Kelly just looks at him . Bart 's already asked this question .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>We ca n't afford any errors.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>You do n't need to tell me. It's my ass on the line.<\/dialogue>\n    <scene_description>Kelly pulls up in front of Bart 's school . Bart turns to him and puts a hand on his shoulder .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>I wish I could be there to see it.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>You'll get the de - brief.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>It's a day that will live in infamy.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>You could n't do any better than that?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>I do n't hear you coming up with anything.<\/dialogue>\n    <scene_description>Bart hops out and salutes Kelly , who give him the thumbs up in response and pulls away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHAKER HEIGHTS HIGH - DAY<\/stage_direction>\n    <scene_description>Lance ca n't keep his hands off Bridget .<\/scene_description>\n    <character>BRIDGET<\/character>\n    <dialogue>What's gotten into you?<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Nothing, you bad girl.<\/dialogue>\n    <scene_description>Lance cackles .<\/scene_description>\n    <character>BRIDGET<\/character>\n    <dialogue>Did you drink a bottle of Robitussin before school again?<\/dialogue>\n    <scene_description>The bell RINGS .<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>See you soon, my naughty baby.<\/dialogue>\n    <scene_description>Bridget looks a little scared .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HISTORY CLASS<\/stage_direction>\n    <scene_description>Lance slouches into a seat next to Kelly , who drops another STATIONARY NOTE into Lance 's open backpack . Kelly watches as Lance grabs his book , sees the note , opens it , and leers .<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>It's my birthday! I'm going to get a present.<\/dialogue>\n    <scene_description>Kelly looks down at his desk and smiles .<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Damn it, fuckface. What're you smiling about? You wish you were me.<\/dialogue>\n    <scene_description>Lance raises his hand .<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Mr. Palmer? May I be excused?<\/dialogue>\n    <scene_description>Lance leaves like a house afire .<\/scene_description>\n    <character>KELLY<\/character>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>Eine maus findet den kase.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALL<\/stage_direction>\n    <scene_description>Lance sneaks down the hall towards the STORAGE CLOSET and whispers into the door .<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Daddy's here for the Easter egg hunt.<\/dialogue>\n    <scene_description>He pulls open the door . Nothing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STORAGE CLOSET<\/stage_direction>\n    <scene_description>Lance turns on the light . No one there . But propped up on the shelf next to a vase with a rose in it is another note .<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Ooh, push my buttons.<\/dialogue>\n    <scene_description>He snatches the note . His eyes widen as he reads .<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Oh yeah. Oh yeah. You little minx.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LANGELY PREP, BATHROOM - DAY<\/stage_direction>\n    <scene_description>Bart crouches in the stall , looking at his watch . When the second hand sweeps past the twelve , he opens his cell phone and punches in a number .<\/scene_description>\n    <character>BART<\/character>\n    <parenthetical>( serious grownup voice . )<\/parenthetical>\n    <dialogue>Yes, I need to get a message to Bridget Shumann. This is MENSA.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHAKER HEIGHTS HIGH, CAFETERIA\/GYM - DAY<\/stage_direction>\n    <scene_description>Lunchtime . Typical bedlam . KIDS mill around . At one end of the cafeteria\/gym is a small stage , the kind pep rallies are held on . Lance edges his way through the crowd , making a beeline for the STAGE DOOR .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHAKER HEIGHTS HIGH, MAIN OFFICE<\/stage_direction>\n    <scene_description>A confused Bridget stands at the SECRETARY 'S desk .<\/scene_description>\n    <character>BRIDGET<\/character>\n    <dialogue>But I just got this note last period.<\/dialogue>\n    <character>SECRETARY<\/character>\n    <dialogue>Well I do n't have anything here for you - let me look again. Oh yes, the MENSA called.<\/dialogue>\n    <scene_description>The secretary hands Bridget the message . She looks at it .<\/scene_description>\n    <character>BRIDGET<\/character>\n    <dialogue>Cool. They want me to be an honorary member.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Is that like a sorority or something?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACKSTAGE<\/stage_direction>\n    <scene_description>Lance looks around eagerly . He peeks through the curtains at all the kids and can barely contain his excitement .<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Bridgie? Come on, daddy's sick. He needs his medicine.<\/dialogue>\n    <scene_description>He spots a WOMAN in the shadows . It must be Bridget . He unbuckles his pants and lets them drop to him knees .<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>I brought our friend along. He's happy to see you.<\/dialogue>\n    <scene_description>He rips off his shirt and shuffles across the dark stage toward her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIGHTING BOOTH<\/stage_direction>\n    <scene_description>Kelly looks at his watch .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LANGELY PREP CLASSROOM<\/stage_direction>\n    <scene_description>Bart looks at his watch in anticipation .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIGHTING BOOTH<\/stage_direction>\n    <scene_description>Kelly flicks a switch and presses a button .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFETERIA<\/stage_direction>\n    <scene_description>The crowd falls silent and turns towards the mechanical sound of the STAGE CURTAIN OPENING . They squint from the BRIGHT STAGE LIGHTS . SHOCK ripples through the crowd as they take in the tableau revealed to them : A frozen half - naked Lance on his knees before a BLOW - UP DOLL tied to a chair .<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>What the fuck are you all looking at?<\/dialogue>\n    <scene_description>Bridget , standing in the doorway , covers her mouth in horror .<\/scene_description>\n    <character>STUDENT 1<\/character>\n    <dialogue>Look, he's got a hard on.<\/dialogue>\n    <character>STUDENT 2<\/character>\n    <dialogue>Eeeeew.<\/dialogue>\n    <scene_description>Lance stumbles off stage to HOOTS and CATCALLS , but mostly hysterical LAUGHTER .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIGHTING BOOTH<\/stage_direction>\n    <scene_description>Kelly smiles , laughs and claps his hands with delight . Then he returns to military precision . He turns all the switches back to how they were and uses his shirtsleeve to cover the doorknob so as not to leave fingerprints .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOWLAND HOUSE, DAD'S LIBRARY - NIGHT<\/stage_direction>\n    <scene_description>Bart pours them two glasses of his dad 's scotch . He 's overjoyed .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>You're kidding me.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Yup. There it was. The whole school saw it. Was n't too impressive either.<\/dialogue>\n    <scene_description>They raise their glasses to each other .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>To Operation Mincemeat.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>To the 193rd.<\/dialogue>\n    <scene_description>They both take swallows of scotch . Kelly retches .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>How does it feel to give better than you get?<\/dialogue>\n    <scene_description>Kelly finishes his scotch .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Good. Real good.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>You want some more?<\/dialogue>\n    <character>KELLY<\/character>\n    <parenthetical>( croaking . )<\/parenthetical>\n    <dialogue>Do n't mind if I do.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>That's my boy.<\/dialogue>\n    <scene_description>The drink again . Kelly 's feet are up . For the first time , he looks comfortable .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUPERMARKET - NIGHT<\/stage_direction>\n    <scene_description>Sarah stands at her register , flipping through a magazine . Kelly pulls up on the ELECTRO - SHOPPER with field goggles on .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>You know what this is?<\/dialogue>\n    <scene_description>He puts his foot down like a kickstand .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Eighteen volts of pure freedom.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Sounds dangerous.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Oh, it is. Unless you know how to handle it.<\/dialogue>\n    <scene_description>Kelly runs his hand lovingly along the frame . Then he looks up at Sarah .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>You ever seen the freshly waxed floor in the produce section glistening under full florescence? It's breathtaking.<\/dialogue>\n    <scene_description>Sarah gets on behind him .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Hold on tight.<\/dialogue>\n    <scene_description>He puts his foot up and kicks it into gear . The Electro - shopper takes off - barely . Kelly takes the corner too sharp and clips the edge of an END CAP DISPLAY of cereal boxes - they fall to the floor . The Electro - shopper inches forward .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Close call.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Have you been drinking?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PARENT'S BEDROOM - MORNING<\/stage_direction>\n    <scene_description>Kelly looks in at his parents , checking to make sure they 're still asleep . When he leaves ABE opens his eyes and listens to the door CLOSE downstairs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EVE'S STUDIO<\/stage_direction>\n    <scene_description>Kelly throws some paints and brushes into his backpack .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOWLAND HOUSE - DAY<\/stage_direction>\n    <scene_description>Kelly stands awkwardly on the front stoop with his backpack . Minnie opens the door .<\/scene_description>\n    <character>MINNIE<\/character>\n    <dialogue>Kelly? Bart's not here, he -<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Oh, that's all right. Actually, I'm here to see Tabby. Just to do a little painting with her.<\/dialogue>\n    <character>MINNIE<\/character>\n    <dialogue>She's out back in her studio.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Thanks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TABBY'S STUDIO<\/stage_direction>\n    <scene_description>Tabby stands barefoot in the sunlight , a palette knife in her hand . Music 's playing . Jeff Buckley . She looks over as the door opens , surprised .<\/scene_description>\n    <character>TABBY<\/character>\n    <dialogue>Kelly?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Hey. I warned you I'd come.<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>You did.<\/dialogue>\n    <scene_description>She goes back to painting . Kelly stands there for a minute , waiting for her to say something else , give him an invitation . She does n't . Until she looks up and sees him standing in the same place .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Maybe I should go -<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>Well you're here now. Go ahead. Set your canvas up. Use one of the ones in the corner.<\/dialogue>\n    <scene_description>Kelly looks through them and picks one .<\/scene_description>\n    <character>TABBY<\/character>\n    <dialogue>Brushes are in the jar. Paint's in the drawer.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I brought my own.<\/dialogue>\n    <scene_description>He takes off his backpack and opens it .<\/scene_description>\n    <character>TABBY<\/character>\n    <dialogue>Well then.<\/dialogue>\n    <scene_description>Kelly busies himself pulling out paints and other supplies . He ca n't help but look at her . The light hits her hair and she glows . She catches him looking .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Does it mess up your concentration? Me being here?<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>She turns back to her painting .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Oh. That's good.<\/dialogue>\n    <scene_description>Kelly sets up his canvas .<\/scene_description>\n    <character>TABBY<\/character>\n    <dialogue>Just do n't talk.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Why would I?<\/dialogue>\n    <character>TABBY<\/character>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>I'm kidding.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Right. Irony. I like that.<\/dialogue>\n    <scene_description>Kelly feels the tubes of paint . Nervous . Squirts some color out . Looks over his shoulder at her . He 's trying to get his act together , to be cool about being there , in the studio , alone with her . Trying to figure out how to play it .<\/scene_description>\n    <character>MINER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hey! Hey babe.<\/dialogue>\n    <scene_description>Miner opens the door . See Kelly . Smiles like the stockbroker he is and crosses to him .<\/scene_description>\n    <character>MINER<\/character>\n    <dialogue>Miner Webber.<\/dialogue>\n    <scene_description>Miner holds out his hand for a good old - fashioned shake . Kelly takes it .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Webber Miner.<\/dialogue>\n    <scene_description>Miner looks confused .<\/scene_description>\n    <character>TABBY<\/character>\n    <dialogue>Kelly. This is Kelly -<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Kelly Ernswiler. Sorry. I -<\/dialogue>\n    <character>MINER<\/character>\n    <dialogue>Quite all right.<\/dialogue>\n    <parenthetical>( smiles as an afterthought . )<\/parenthetical>\n    <dialogue>So, what do we have here, a little painting class?<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>Kelly's a friend of Bart's. He paints.<\/dialogue>\n    <character>MINER<\/character>\n    <dialogue>Oh? What's your real job?<\/dialogue>\n    <scene_description>Kelly smiles eagerly at Miner over the edge of his canvas .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>That would be stock boy at the Shop Rite. But, as President Don Kaminsky says, every employee is part owner. So you could say I'm a captain - of - industry in training. Kind of capitalist larva.<\/dialogue>\n    <character>MINER<\/character>\n    <dialogue>That's quite an image.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Only if you see the most magical part. Do you see?<\/dialogue>\n    <character>MINER<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Kelly spreads his arms out and flaps them a little .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>One day I'll be a beautiful butterfly. First I'll have to be a pupa though. I figure I wo n't be going out much then. Pupa : the awkward adolescence of the insect world.<\/dialogue>\n    <scene_description>Miner stares at Kelly . He ca n't tell what he might be making fun of , or if it might be him .<\/scene_description>\n    <character>MINER<\/character>\n    <dialogue>Whatever it takes to get you through the day.<\/dialogue>\n    <scene_description>Kelly rolls his eyes at this uninspired response , though Miner does n't see it . He grabs Tabby 's paintbrush and pulls her to him .<\/scene_description>\n    <character>MINER<\/character>\n    <dialogue>I have the afternoon off. Come away with me.<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>I'm not at a good stopping point.<\/dialogue>\n    <character>MINER<\/character>\n    <dialogue>Oh, come on. They'll still be here.<\/dialogue>\n    <parenthetical>( to Kelly . )<\/parenthetical>\n    <dialogue>I know you'll still be here.<\/dialogue>\n    <scene_description>Kelly smiles his most idiotic energetic smile and slaps paint on his canvas in exaggerated strokes .<\/scene_description>\n    <character>TABBY<\/character>\n    <dialogue>I really should n't.<\/dialogue>\n    <character>MINER<\/character>\n    <dialogue>But everyone will be coming soon. And it will get all crazy, and we wo n't have any time to ourselves.<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>We will. I promise.<\/dialogue>\n    <scene_description>Tabby kisses Miner . He realizes there 's no convincing her and sighs .<\/scene_description>\n    <character>MINER<\/character>\n    <dialogue>Like tonight? We can practice honeymoon suite.<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>Maybe. Probably.<\/dialogue>\n    <scene_description>Miner looks at Kelly , who looks away . Then he puts his hands in his pockets and leaves . Tabby and Kelly paint in silence for a while . Kelly moves around to look at his canvas from different angles , like he 's copying what he thinks a painter would do .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Is he always like that?<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>Like what?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Overbearing.<\/dialogue>\n    <scene_description>Tabby stops and puts down her brush .<\/scene_description>\n    <character>TABBY<\/character>\n    <dialogue>Just because he did n't want to picture you as a pupa?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Oh, he will - later. When he's alone. Whether he wants to or not.<\/dialogue>\n    <scene_description>Kelly paints .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Not that though. How he wanted you to stop.<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>He wants to be with me. What's so bad about that?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Just because some one wants to be with you does n't mean they're good for you.<\/dialogue>\n    <scene_description>Kelly is suddenly very involved with his painting . He has a hard time making eye contact with Tabby .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>No one should ever ask you to stop. If you stop, you might not be able to start again. Or you might start again, only things will be different.<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>Well, that's sweet -<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>It's not sweet, actually. It's just the truth.<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>Hey, I can take care of myself.<\/dialogue>\n    <scene_description>She picks up her brush .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>When's the wedding?<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>At the end of the month. But do n't ask me about it. It makes me nervous.<\/dialogue>\n    <scene_description>Kelly looks at her seriously .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Why? Is something wrong?<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Awkward silence .<\/scene_description>\n    <character>TABBY<\/character>\n    <dialogue>What are you painting?<\/dialogue>\n    <scene_description>Kelly stops and sighs , now back in serious artist mode .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Really, there are so many layers of - imagistic symbolism - that I really do n't feel comfortable summing it up, but, well - it's a recurring dream image. A mermaid riding a rocket ship.<\/dialogue>\n    <scene_description>Tabby stops painting .<\/scene_description>\n    <character>TABBY<\/character>\n    <dialogue>How?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>What do you mean, `` how?'' Sidesaddle. She's riding it sidesaddle. She's got a fish tail, for chrissake. I have n't decided yet if she's got scuba gear on or not.<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>Do you have any idea what you're talking about?<\/dialogue>\n    <scene_description>Kelly puts up his thumb in an approximation of an artist 's gesture .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Does that matter?<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>Well, some people actually say what they really think.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>What if they do n't know what they really think?<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>It does n't matter. It's called being yourself.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Sounds boring.<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>Not boring. Scary and wonderful and exciting.<\/dialogue>\n    <scene_description>Kelly stops squeezing paint onto his palette . His gestures slow down . He 's taking this in . Then he shakes it off .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Hey. I'm trying to create here. Stop distracting me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EVE'S STUDIO - NIGHT<\/stage_direction>\n    <scene_description>Kelly comes in to return the art supplies . Xiou - Xiou 's alone working . She looks up and smiles at Kelly .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Mom's got you working late?<\/dialogue>\n    <character>XIOU-XIOU<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Kelly walks over and sees what she 's working on . A beautiful spare Chinese landscape .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Wow. You're really good. Why do you make those stupid animals for mom?<\/dialogue>\n    <character>XIOU-XIOU<\/character>\n    <dialogue>Each painting is a lesson. Here -<\/dialogue>\n    <scene_description>She gets out a piece of paper for him .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>I'm making a lot of art these days. I guess that means a lot of lessons.<\/dialogue>\n    <character>XIOU-XIOU<\/character>\n    <dialogue>Each line has a whole drawing contained in it. Each drawing has a whole life contained in it.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Oh, that's all?<\/dialogue>\n    <scene_description>Kelly watches her for a minute , the delicate whoop and swirl of her strokes . He dips a brush into the ink and watches Xiou - Xiou 's restrained and confident movements . Eve leans against the doorframe .<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>Hey you two. I'll try not to act surprised. It might spoil the moment.<\/dialogue>\n    <scene_description>Kelly puts down the paintbrush .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>I ca n't do this. I have to go.<\/dialogue>\n    <character>EVE<\/character>\n    <dialogue>Keller, I think I'm missing some art supplies. Have you seen them around the house?<\/dialogue>\n    <scene_description>Kelly avoids her eyes as he leaves .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>No, I have n't.<\/dialogue>\n    <character>EVE<\/character>\n    <dialogue>I do n't know what to do with him.<\/dialogue>\n    <character>XIOU-XIOU<\/character>\n    <dialogue>You son is not yet cooked. Give him time.<\/dialogue>\n    <scene_description>Eve looks over Xiou - Xiou 's shoulder .<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>When are you going to let me give you your own show? We could do it for real.<\/dialogue>\n    <character>XIOU-XIOU<\/character>\n    <dialogue>No problem. When you offer me an eighty - twenty split.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOWLAND HOUSE, DINING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Kelly eats with the Bowlands - Bart 's mom , MATHILDA , his dad HARRISON , and Tabby and Bart . The Bowlands dress up a bit for dinner , like any good Wasp family .<\/scene_description>\n    <character>BART<\/character>\n    <parenthetical>( to Harrison . )<\/parenthetical>\n    <dialogue>- But I told you I want to take German -<\/dialogue>\n    <character>HARRISON<\/character>\n    <dialogue>German's a Cold War language. You ca n't get any kind of State Department position without more diverse linguistic training than that. You'll take Chinese.<\/dialogue>\n    <scene_description>Bart frowns .<\/scene_description>\n    <character>HARRISON<\/character>\n    <dialogue>Are we on the same page?<\/dialogue>\n    <character>BART<\/character>\n    <parenthetical>( mutters . )<\/parenthetical>\n    <dialogue>Same page.<\/dialogue>\n    <scene_description>Everyone eats in silence .<\/scene_description>\n    <character>MATHILDA<\/character>\n    <parenthetical>( to Tabby . )<\/parenthetical>\n    <dialogue>So darling, when are you going to bite the bullet and do the seating arrangement?<\/dialogue>\n    <scene_description>Tabby puts down her fork .<\/scene_description>\n    <character>TABBY<\/character>\n    <dialogue>I ca n't deal with that stuff, ma. I do n't care who sits next to whom. I should have eloped.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>After all, Mrs. Bowland, sometimes when you bite the bullet, it explodes in your mouth.<\/dialogue>\n    <scene_description>Mathilda looks surprised . This could go either way .<\/scene_description>\n    <character>MATHILDA<\/character>\n    <parenthetical>( tentatively . )<\/parenthetical>\n    <dialogue>Why, I've never thought about it before but that is a rather strange expression, is n't it? You would n't say, `` Sooner or later you've got to put the grenade in your pants,'' would you?<\/dialogue>\n    <character>HARRISON<\/character>\n    <dialogue>But have you ever noticed how in movies they always bite the grenade before they throw it?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Yeah, but they never take a bite out of their pants.<\/dialogue>\n    <scene_description>Everyone but Bart LAUGHS . Tabby throws Kelly a grateful glance , for getting her out of a conversation she did n't want to have .<\/scene_description>\n    <character>MATHILDA<\/character>\n    <dialogue>What an unusual conversation! Do you have similar discussions at the dinner table with your family, Kelly?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Basically. I ask why all the furniture is missing and my Dad reminisces about dropping acid and watching Neil Armstrong walk on the moon.<\/dialogue>\n    <scene_description>All but Bart LAUGHS again .<\/scene_description>\n    <character>TABBY<\/character>\n    <dialogue>He talks about art.<\/dialogue>\n    <character>BART\/MATHILDA<\/character>\n    <dialogue>You do?<\/dialogue>\n    <scene_description>Kelly looks down at his plate .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>My mother's kind of an artist, so -<\/dialogue>\n    <character>HARRISON<\/character>\n    <dialogue>You come from a creative family, do you?<\/dialogue>\n    <scene_description>Mathilda salts her food .<\/scene_description>\n    <character>MATHILDA<\/character>\n    <dialogue>I wish my boys would talk to me about my passions. I ca n't get them anywhere near the subject of my garden.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I noticed your magnolias. Very fine specimens.<\/dialogue>\n    <character>MATHILDA<\/character>\n    <dialogue>They are fine, are n't they?<\/dialogue>\n    <scene_description>Mathilda beams .<\/scene_description>\n    <character>BART<\/character>\n    <parenthetical>( ironic . )<\/parenthetical>\n    <dialogue>Is there nothing you ca n't discuss?<\/dialogue>\n    <scene_description>If anyone notices the slight edge to Bart 's voice , they ignore it .<\/scene_description>\n    <character>HARRISON<\/character>\n    <dialogue>Here, Kelly, try a bit of these leeks. Minnie has a way with the white sauce.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BART'S ROOM<\/stage_direction>\n    <scene_description>Kelly and Bart play PlayStation II `` Medal of Honor '' in Bart 's bedroom . Bart is sulking , almost imperceptibly .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>My dad has this friend who's a director. He's shooting a documentary for the History Channel.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Cool.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>He needs some guys to do a reenactment of some European theater battles for him.<\/dialogue>\n    <scene_description>Kelly stops playing and looks at Bart .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>We're going to be on the History Channel?<\/dialogue>\n    <scene_description>Bart 's eyes stay on the screen .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>I have n't asked you yet.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Oh, come on.<\/dialogue>\n    <scene_description>Kelly jabs at his controller .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Well, if you want to. Next weekend. But you have to take it seriously.<\/dialogue>\n    <scene_description>Kelly gives Bart a derisive glance .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>What do you mean? Of course I will.<\/dialogue>\n    <scene_description>The flickering TV light illuminates Bart 's pinched look .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>From what I've seen, you play fast and loose with your characterizations. This has got to be straight up.<\/dialogue>\n    <scene_description>This annoys Kelly .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>I'm not `` fast and loose.'' I play the emotional truth. I make it real.<\/dialogue>\n    <scene_description>Bart glances at him .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Like back in the dining room?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>What does that have to do with it?<\/dialogue>\n    <scene_description>Bart shakes his head .<\/scene_description>\n    <character>BART<\/character>\n    <parenthetical>( mimics . )<\/parenthetical>\n    <dialogue>`` I noticed your magnolias. Very fine specimens.'' That was real?<\/dialogue>\n    <scene_description>Kelly 's video game character dies . He drops the controller .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>What is this about?<\/dialogue>\n    <character>BART<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>You just seem to have your own agenda, that's all.<\/dialogue>\n    <scene_description>Bart plays on . He 's keeping a lid on everything while Kelly gets more and more agitated .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>My own agenda? What other reason is there to do anything?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>I'm just saying. I know the difference between fantasy and reality.<\/dialogue>\n    <scene_description>Kelly looks at Bart in disbelief .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Are you saying I do n't?<\/dialogue>\n    <scene_description>Bart wo n't meet his eyes .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <scene_description>Bart pauses the game .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Why did n't you tell me your dad was a burn - out?<\/dialogue>\n    <scene_description>Kelly gets up and grabs his jacket .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Why do you steal from yours?<\/dialogue>\n    <scene_description>He leaves . Bart un - pauses the game and continues playing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHAKER HEIGHTS HIGH - DAY<\/stage_direction>\n    <scene_description>Kelly drinks from the fountain and wipes his mouth on his sleeve . Principal Holmstead 's smiling face greets him when he straightens up .<\/scene_description>\n    <character>PRINCIPAL<\/character>\n    <dialogue>Kelly! I told some of your teachers about your presentation. We're all really looking forward to it.<\/dialogue>\n    <scene_description>Kelly frowns at the Principal 's back as she CLICKS away . Sarah appears . They walk down the hall together .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>What presentation?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I do n't want to talk about it. As a matter of fact, do me a favor and pretend you never heard anything about it.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Okay. Um.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>What, Sarah?<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>It's nothing. I -<\/dialogue>\n    <scene_description>Kelly starts to pull ahead .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>I have an extra ticket to Aerosmith this weekend.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Aw Sarah, that's really great, I mean. It's just that - I'm busy.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Oh. Yeah, I figured. Okay. I'll see you in the dairy section, though.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Right.<\/dialogue>\n    <scene_description>She stands there looking lost .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOWLAND HOUSE - DAY<\/stage_direction>\n    <scene_description>Kelly smoothes the cover over his Jeep . Bart pulls up to the curb in his BMW .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>I tracked you down. There's someone I'd like you to meet.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLD SOLDIERS' HOME - DAY<\/stage_direction>\n    <scene_description>A few OLD SOLDIERS sit sunning in chairs in the industrial feeling living - room . Bart and Kelly sit across from CHARLIE HAYES , an old black guy , playing dominos .<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>( to Kelly . )<\/parenthetical>\n    <dialogue>Are you one too?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Yup.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>And what do you see in that?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Living, dying, camaraderie, bravery - the big stuff. Things we do n't have anymore.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I see.<\/dialogue>\n    <scene_description>Charlie sorts his tiles and scowls . He leans in to Kelly 's face , giving him the eye .<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>And do you think it's brave getting trench foot and syphilis, eating another ration of spoiled frank and beans out of a dented can?<\/dialogue>\n    <scene_description>Kelly is taken aback by this .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Well, no -<\/dialogue>\n    <scene_description>Charlie leans back and nods , thinking about Kelly 's response . He no longer seems angry .<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Yeah, that would n't be much fun, would it?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>No, sir.<\/dialogue>\n    <scene_description>Charlie sets down a tile and pulls at his chin .<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Parts of it were kind of fun though. I got separated from my platoon and lived for two weeks in the forest of the Ardennes living off what I could kill.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>I felt very close to the land.<\/dialogue>\n    <scene_description>Bart gives Kelly a significant look . Kelly does n't notice . He 's looking closely at Charlie .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GAS STATION - DAY<\/stage_direction>\n    <scene_description>Kelly sits in the car . Bart pumps gas . They talk through the window .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>I met him when my mom made me go around caroling with the Youth Group.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>You do n't really believe that stuff about Berlin? And Hitler's compound?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Does it matter?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Of course it matters. Does n't the truth matter?<\/dialogue>\n    <scene_description>Bart grins .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>I do n't know. You tell me.<\/dialogue>\n    <scene_description>Kelly avoids this by getting out of the car .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>I want a drink. Let me borrow a couple bucks.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>I told you not to play him for money.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I was trying to be nice. He's your friend.<\/dialogue>\n    <scene_description>Bart returns the pump and screws in the gas cap .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Exactly. You should know better. What do you want.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Mountain Dew -<\/dialogue>\n    <scene_description>Just then he glances towards the gas station and sees EVE , set up in the adjacent abandoned lot . She 's got the van parked there with the sliding door open and paintings propped around on display .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>- Oh shit.<\/dialogue>\n    <scene_description>But Eve has seen him . She shields her eyes with her hand and calls to him .<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>Kelly!<\/dialogue>\n    <scene_description>Kelly backtracks towards the car .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>That woman's calling you.<\/dialogue>\n    <scene_description>Eve walks over to them . Kelly ca n't get out of it .<\/scene_description>\n    <character>KELLY<\/character>\n    <parenthetical>( low . )<\/parenthetical>\n    <dialogue>Bart. Meet my mom.<\/dialogue>\n    <scene_description>Eve smiles brightly .<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>What a nice surprise. It's so nice to finally meet you.<\/dialogue>\n    <scene_description>Bart is surprised but recovers his manners quickly , just like he 's been taught to .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Likewise. So, doing a little business?<\/dialogue>\n    <character>EVE<\/character>\n    <dialogue>A little is right. But I work it as much as I can.<\/dialogue>\n    <scene_description>Eve laughs . Kelly shifts his weight from foot to foot . Eve looks at both of them .<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>So, what have you boys been up to?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Bart took me to meet his friend Charlie at the Old Soldiers' Home.<\/dialogue>\n    <character>EVE<\/character>\n    <dialogue>Charlie at the Old Soldiers' Home?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>You do n't know him.<\/dialogue>\n    <character>EVE<\/character>\n    <dialogue>You boys should swing by Care House. There are some Vets there.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>We ca n't.<\/dialogue>\n    <character>EVE<\/character>\n    <dialogue>Oh. Well - okay.<\/dialogue>\n    <scene_description>Eve watches a car pull into the lot next to the van .<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>I should go. But you boys should come over to our house some time.<\/dialogue>\n    <parenthetical>( to Bart . )<\/parenthetical>\n    <dialogue>I know your family must get tired of him.<\/dialogue>\n    <scene_description>Kelly visibly bristles at the thought of his parents entertaining Bart .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Not at all. But I'd love to, anyway.<\/dialogue>\n    <scene_description>Eve looks at Kelly . Then she runs back over to the van .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>There you go. Now you know everything.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>What's your problem? She's pretty cute.<\/dialogue>\n    <scene_description>Kelly rolls his eyes and gets back in the car .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Do n't you want your soda?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Forget it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOWLAND HOUSE, BART'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Kelly watches Bart pick through parts of his uniform . After the encounter with mom , he 's retreated into himself .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>So filming's on Saturday. Can you make it?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Are you kidding?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Good. It's gon na be really cool. He's got an explosives expert coming.<\/dialogue>\n    <scene_description>Kelly does n't say anything .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>What's up?<\/dialogue>\n    <scene_description>Kelly runs his hand through his hair . He ca n't bring himself to say what 's really on his mind .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Remember that stupid speech?<\/dialogue>\n    <scene_description>Kelly picks up Bart 's Colt and sights with it . Bart frowns . He knows Kelly 's avoiding the real stuff .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>I'm supposed to give it next week.<\/dialogue>\n    <scene_description>Bart polishes his combat boots .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Maybe you should talk to my dad about it.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>You think he'd go for that?<\/dialogue>\n    <scene_description>Bart keeps his head down , polishes intently .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Of course. He loves you. He was talking the other day about helping you out.<\/dialogue>\n    <parenthetical>( ironic . )<\/parenthetical>\n    <dialogue>Want to go to Dartmouth?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Are you serious?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>He was. If you applied for Spring Semester, he could `` pull some strings.''<\/dialogue>\n    <character>KELLY<\/character>\n    <parenthetical>( shakes his head slowly . )<\/parenthetical>\n    <dialogue>I do n't think that would work for me. Considering - my background.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Yeah, probably not.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I'm not properly socialized. I would n't fit in.<\/dialogue>\n    <scene_description>Bart checks his bandoleer and cartridges .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>That's bullshit.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>No, it's not.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Tell that to my family. They're like your fucking fan club.<\/dialogue>\n    <scene_description>Bart pauses , darts his eyes at Kelly .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Even Tabby likes you.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>So much she ratted me out to you.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Well, she's inviting you to the wedding.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>Bart watches Kelly 's face .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>But you probably wo n't enjoy that much, will you?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I do n't know what you're talking about. Weddings? I love weddings. I always get drunk and make out with someone's cousin.<\/dialogue>\n    <scene_description>Bart throws his olive drab socks at Kelly 's head .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Good, I'll call mom's nephew Fletcher and tell him to expect a little action.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Fletcher, eh?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>He's twelve. Let me give some advice. He's very into sharks at the moment.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOWLAND HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Kelly waves to Minnie and goes out the front door . There he pauses , trying to decide what to do . Then he scowls . He goes around the corner . Towards Tabby 's studio .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TABBY'S STUDIO<\/stage_direction>\n    <scene_description>Tabby sits on the couch facing away from the door . Kelly enters .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Why did you tell -<\/dialogue>\n    <scene_description>Tabby turns toward him . She 's crying .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>What? Oh, I'm sorry.<\/dialogue>\n    <scene_description>He knows he should leave , but Kelly just stands there . Kelly runs his hand along his pants in a nervous gesture . Tabby dabs at her face .<\/scene_description>\n    <character>TABBY<\/character>\n    <dialogue>Miner and I broke up.<\/dialogue>\n    <scene_description>Beat .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Honestly? I did n't think you two were right for each other.<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>You did, huh?<\/dialogue>\n    <scene_description>Kelly walks over to her painting .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Like this painting. Stare at it too long and you ca n't see it anymore. But if someone else sees it for the first time, they can tell exactly what it is.<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>I do n't need any more bullshit right now.<\/dialogue>\n    <scene_description>Kelly stops , taken aback . He walks away from the painting .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>He could never understand you.<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>I'm not as complicated as you think.<\/dialogue>\n    <scene_description>Kelly walks to the window and looks out .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>I never said you were complicated.<\/dialogue>\n    <scene_description>Tabby laughs\/cries at this .<\/scene_description>\n    <character>TABBY<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>He just was n't the right one.<\/dialogue>\n    <scene_description>Tabby nods . She 's starting to calm down a little .<\/scene_description>\n    <character>TABBY<\/character>\n    <dialogue>There's more to it than that.<\/dialogue>\n    <scene_description>Tabby looks at her shredded tissue . Kelly sits down on the couch next to her .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>I'm really sorry. I really am.<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Kelly pats her knee awkwardly .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Do n't cry.<\/dialogue>\n    <scene_description>Tabby turns her face to Kelly 's .<\/scene_description>\n    <character>TABBY<\/character>\n    <dialogue>You like me, do n't you?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>Tabby closes her eyes .<\/scene_description>\n    <character>TABBY<\/character>\n    <dialogue>No, I mean - you like me.<\/dialogue>\n    <scene_description>Kelly looks scared . He wants to retreat . But he calms himself down .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Yeah. I think you're amazing.<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>Well, do something.<\/dialogue>\n    <scene_description>Long pause . Then - Kelly kisses her . She kisses back and they fall against the couch together .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOWLAND HOUSE - NIGHT<\/stage_direction>\n    <character>BART<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>All right, all right. I'm going.<\/dialogue>\n    <scene_description>Bart comes out in his pajamas to turn off the sprinkler . He looks up and freezes . Kelly comes out of Tabby 's studio . He shuts the door carefully and walks around the pool . Kelly does n't see Bart . Bart does n't say anything . He just watches Kelly go .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ERNSWILER HOUSE - DAY<\/stage_direction>\n    <scene_description>Kelly throws parts of his soldier 's kit onto his bed from corners of the room . The canteen underhand . The Jeep cap as a free throw . This is the best day of his life . Until he finds his uniform crumpled up behind the door , still crusted with mud .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Damn it. Damn it.<\/dialogue>\n    <scene_description>He flops on his bed . But he ca n't help it . Soon he 's smiling again . He gets up , gathers up the uniform , and tears out of the room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN<\/stage_direction>\n    <scene_description>Kelly comes down the stairs two at a time , singing . Eve and Abe watch surprised from the table . Abe looks pale .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>What?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOWLAND HOUSE, BART'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Bart sits in his desk chair , frowning . Mathilda knocks and opens the door .<\/scene_description>\n    <character>MATHILDA<\/character>\n    <dialogue>Minnie's starting dinner. Is Kelly coming over?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Not tonight, ma.<\/dialogue>\n    <scene_description>Mathilda pauses and looks at her son .<\/scene_description>\n    <character>MATHILDA<\/character>\n    <dialogue>Okay, then.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BATTLEFIELD - DAY<\/stage_direction>\n    <scene_description>An ASSISTANT DIRECTOR and CAMERAMAN unload equipment from a van . The DIRECTOR looks off into the distance , trying to visualize . Kelly pulls up next to the van . He wears a spotlessly clean uniform .<\/scene_description>\n    <character>DIRECTOR<\/character>\n    <dialogue>Are you with the 101st or the 82nd?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Well, 82nd today. It's not my usual division. Technically, my patches indicate -<\/dialogue>\n    <character>DIRECTOR<\/character>\n    <dialogue>Whatever. Make yourself comfortable. We'll be a while setting up. Some of the other boys are over by craft service.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Oh?<\/dialogue>\n    <scene_description>Kelly does n't go anywhere .<\/scene_description>\n    <character>DIRECTOR<\/character>\n    <dialogue>The snack table. It's over there. Someone will come get you when we're ready.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Right. Is Bart Bowland here yet?<\/dialogue>\n    <character>DIRECTOR<\/character>\n    <dialogue>Bart? Oh, Harrison's son. I do n't know.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Ok. Thanks.<\/dialogue>\n    <scene_description>CRAFT SERVICE Kelly and a half dozen other SOLDIERS stand or sit in the grass around the table . They talk and rest on their backpacks . A MAKEUP ARTIST makes the rounds .<\/scene_description>\n    <character>MAKEUP ARTIST<\/character>\n    <parenthetical>( to Kelly . )<\/parenthetical>\n    <dialogue>And you are?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Kelly Ernswiler, private first class.<\/dialogue>\n    <character>MAKEUP ARTIST<\/character>\n    <dialogue>All right, Kelly. Let's take a look at you.<\/dialogue>\n    <scene_description>She gets out some pomade and runs a comb through his hair , slicking it back .<\/scene_description>\n    <character>MAKEUP ARTIST<\/character>\n    <dialogue>That's it, handsome.<\/dialogue>\n    <scene_description>Kelly grins . When she walks away he messes up his hair again . He scans the crowd . No Bart . The A.D. walks over .<\/scene_description>\n    <character>A.D.<\/character>\n    <dialogue>Okay, everyone. We're going to start positioning. Then we'll go through a few rehearsals.<\/dialogue>\n    <parenthetical>( points at soldiers . )<\/parenthetical>\n    <dialogue>You, you and you - go over there by that tree. You and you guys, behind the hill.<\/dialogue>\n    <parenthetical>( looks at clipboard . )<\/parenthetical>\n    <dialogue>Okay, who's got the Jeep?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>That MG? She's mine.<\/dialogue>\n    <character>A.D.<\/character>\n    <dialogue>Great. We'd like to use it. Can you drive it beyond the hill over there?<\/dialogue>\n    <scene_description>Kelly tries to act casual .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Sure. I do n't think that would be a problem.<\/dialogue>\n    <scene_description>He walks towards his Jeep and pauses .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Have you seen Bart Bowland? Has he checked in?<\/dialogue>\n    <character>A.D.<\/character>\n    <dialogue>Do n't know. We've got enough people. It does n't matter.<\/dialogue>\n    <scene_description>Kelly nods , wondering a bit . But it 's soon forgotten .<\/scene_description>\n    <character>KELLY<\/character>\n    <parenthetical>( to Jeep . )<\/parenthetical>\n    <dialogue>Hot Lips, old girl, you're going to be famous.<\/dialogue>\n    <character>A.D.<\/character>\n    <parenthetical>( yells . )<\/parenthetical>\n    <dialogue>Okay people. Listen to my voice. From now on, you do whatever this voice says. Take your place.<\/dialogue>\n    <scene_description>BEHIND THE HILL Kelly waits with his rifle next to his Jeep , bored . He sees a FIGURE in the shadows of the trees . He raises his rifle and points it at the figure .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Password.<\/dialogue>\n    <scene_description>Bart steps out of the barn .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Hey! Where the hell have you been?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>No where.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>They put you over here with me? That's great. I think we'll get some close - ups. They want me to drive old Lippy. Is n't that awesome?<\/dialogue>\n    <scene_description>Bart does n't say anything .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>What the hell's your problem?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>I ought to fucking kill you.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>You had to do it.<\/dialogue>\n    <scene_description>Kelly shakes his head , avoiding Bart 's eyes , trying to keep it normal .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>You just do whatever the fuck you want. And consequences do n't matter, do they?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Are you out of your mind?<\/dialogue>\n    <scene_description>Bart looks at Kelly . Sees nothing but a kid in an old Army uniform .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>What the fuck do you think she's going to do, run off with you?<\/dialogue>\n    <scene_description>The blood rises to Kelly 's face . But he still wo n't look at Bart .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>You're a seventeen - year - old bag boy. She's a Yale grad student. Talk about living in a fucking fantasy world.<\/dialogue>\n    <scene_description>Kelly 's hands turn white around the rifle .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>No. You'd rather have me be miserable like you are.<\/dialogue>\n    <scene_description>Bart comes closer . Uncomfortably close .<\/scene_description>\n    <character>BART<\/character>\n    <parenthetical>( biting sarcasm . )<\/parenthetical>\n    <dialogue>Once again, you've displayed your uncanny ability to nail the truth of a character.<\/dialogue>\n    <scene_description>Kelly finally raises his head . And looks Bart right in the eyes .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Stop talking out your dad's mouth and use your own for once.<\/dialogue>\n    <scene_description>Bart lunges at Kelly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FILM SHOOT<\/stage_direction>\n    <scene_description>The camera 's set up . The groups are in position . The A.D. stands by the cameraman .<\/scene_description>\n    <character>A.D.<\/character>\n    <dialogue>Standby for rehearsal. Cue the explosion.<\/dialogue>\n    <scene_description>GRAY CLOUD EXPLODES In the field . Soldiers leap out of trenches .<\/scene_description>\n    <character>A.D.<\/character>\n    <dialogue>Cue the Jeep.<\/dialogue>\n    <scene_description>Nothing happens .<\/scene_description>\n    <character>A.D.<\/character>\n    <dialogue>Cue the Jeep. Cue the fucking Jeep!<\/dialogue>\n    <scene_description>The A.D. shakes his head . BEHIND THE BARN The A.D. comes around the corner followed by the cameraman . Bart and Kelly roll around on the ground .<\/scene_description>\n    <character>A.D.<\/character>\n    <dialogue>What the H. Christ is going on over here?<\/dialogue>\n    <scene_description>Bart and Kelly continue to fight .<\/scene_description>\n    <character>A.D.<\/character>\n    <parenthetical>( to cameraman . )<\/parenthetical>\n    <dialogue>Hey, roll this. Get this. Are you getting this?<\/dialogue>\n    <scene_description>The cameraman puts his camera up to his eye and films . Kelly finally pushes Bart off him , gets in his Jeep and drives away .<\/scene_description>\n    <character>A.D.<\/character>\n    <parenthetical>( to cameraman . )<\/parenthetical>\n    <dialogue>Follow him. Are you getting it?<\/dialogue>\n    <scene_description>Bart sits on the ground , out of breath .<\/scene_description>\n    <character>A.D.<\/character>\n    <dialogue>We can use this. We'll cut it together.<\/dialogue>\n    <scene_description>The A.D. directs the camera at Bart .<\/scene_description>\n    <character>A.D.<\/character>\n    <dialogue>Get close on him.<\/dialogue>\n    <scene_description>Bart pushes the camera away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ERNSWILER HOUSE, KELLY'S ROOM - DAY<\/stage_direction>\n    <scene_description>Kelly lays in bed staring at the ceiling . There 's a cut across his eyebrow . Eve comes in carrying her car keys and sits on the bed .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>I do n't want to talk about it.<\/dialogue>\n    <character>EVE<\/character>\n    <dialogue>Well, you're going to have to. Your father's at the hospital.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Which one of his loser friends ended up there?<\/dialogue>\n    <scene_description>Eve plays with her keys . Then she stops .<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>They think he has stomach cancer.<\/dialogue>\n    <scene_description>Kelly feels the sensation of falling , like a dream . Then he snorts and rolls over , away from his mom .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Oh this is just perfect.<\/dialogue>\n    <scene_description>Eve looks at the back of Kelly 's head . She 's tired but still trying to deal .<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>Why would you say something like that?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Because it seems to fit.<\/dialogue>\n    <character>EVE<\/character>\n    <dialogue>`` Seems to fit.'' Do you understand what I just said?<\/dialogue>\n    <scene_description>Kelly gets up . Puts his feet on the floor . His shoulders are slumped .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Why, do you want to say it again?<\/dialogue>\n    <character>EVE<\/character>\n    <dialogue>Kelly -<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I have to go to work.<\/dialogue>\n    <scene_description>He gets up and holds the door open for her . Eve looks at him , heart heavy . She leaves . Kelly sits on the bed . Then he looks at the rabbit painting . He grabs it off the wall and SLAMS it backwards against the floor so he does n't have to look at it . The painting falls back against the bayonet fixed to Kelly 's rifle and TEARS . He KICKS it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GROCERY STORE - NIGHT<\/stage_direction>\n    <scene_description>Kelly angrily wrestles with giant boxes of paper towels . He RIPS open the box and they roll everywhere . Sarah watches from checkout . She comes over to help him pick them up .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>I forgot to tell you this box was booby - trapped.<\/dialogue>\n    <scene_description>Kelly does n't say anything .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>The concert was lame. The opening act singer ripped his leather pants during a stupid dance routine and stormed off stage.<\/dialogue>\n    <parenthetical>( pause , looks at his cut . )<\/parenthetical>\n    <dialogue>Are you okay?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Lance?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Kelly gathers an armful of paper towels .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Listen, I'm busy.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Sure. I understand.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I doubt it.<\/dialogue>\n    <scene_description>Sarah puts a couple of rolls on the shelf .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Um, I do n't have a perfect life, if that's what you're asking.<\/dialogue>\n    <scene_description>Kelly stops what he 's doing .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>No, Sarah, actually, I'm not asking. I never ask you anything but you just talk anyway. Have you ever noticed that?<\/dialogue>\n    <scene_description>Sarah drops the rolls she had in her hands .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Fuck you.<\/dialogue>\n    <scene_description>She leaves . Kelly shakes his head .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TABBY'S STUDIO - MORNING<\/stage_direction>\n    <scene_description>Kelly , still in his work clothes , comes in without knocking .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Hey, I hoped you were up -<\/dialogue>\n    <scene_description>He stops when he sees Tabby and Miner sleeping together on the couch . Tabby opens her eyes .<\/scene_description>\n    <character>TABBY<\/character>\n    <dialogue>Kelly?<\/dialogue>\n    <scene_description>Kelly goes and takes his painting off the easel .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>I just came to get this.<\/dialogue>\n    <scene_description>Kelly leaves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOWLAND YARD<\/stage_direction>\n    <scene_description>Tabby follows Kelly across the yard .<\/scene_description>\n    <character>TABBY<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>Kelly stops and turns around .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>I guess the wedding's back on.<\/dialogue>\n    <character>TABBY<\/character>\n    <dialogue>We talked.<\/dialogue>\n    <scene_description>Tabby smiles sadly .<\/scene_description>\n    <character>TABBY<\/character>\n    <dialogue>I'm really sorry.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Do n't be.<\/dialogue>\n    <scene_description>They stand there in the yard . Tabby wraps her arms around herself .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>My dad's got cancer.<\/dialogue>\n    <scene_description>Tabby looks at Kelly , pained .<\/scene_description>\n    <character>TABBY<\/character>\n    <dialogue>Oh, Kelly.<\/dialogue>\n    <scene_description>She takes a step towards him . He backs up .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>I guess we all get what we deserve.<\/dialogue>\n    <scene_description>Kelly looks at Tabby for a second , then turns and walks away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RURAL ROAD - DAY<\/stage_direction>\n    <scene_description>Kelly drives along an open stretch of road . He throws the painting out of the Jeep . He comes to a turn and takes it much too fast . The Jeep SKIDS , teeters on two wheels , and goes over the embankment . BOTTOM OF DITCH Steam trails up from the Jeep 's radiator . The front end is completely smashed . Kelly bangs his fist against the steering wheel .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Stupid bitch.<\/dialogue>\n    <scene_description>Then he calm himself , gets out , and starts walking .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHAKER HEIGHTS HIGH - DAY<\/stage_direction>\n    <scene_description>Kelly rides an old bike up to the bike rack and locks it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HISTORY CLASS<\/stage_direction>\n    <scene_description>Kelly comes in late .<\/scene_description>\n    <character>MR. NORMAN<\/character>\n    <dialogue>Kelly! There you are. I was just telling the class about our special treat today. Mr. Ernswiler is going to be giving the three first - period history classes a little talk about the Civil War.<\/dialogue>\n    <scene_description>Kelly closes his eyes . He had forgotten - or tried to forget .<\/scene_description>\n    <character>MR. NORMAN<\/character>\n    <dialogue>Let's all make our way in an orderly fashion down to the auditorium, shall we?<\/dialogue>\n    <scene_description>The class bolts for the door .<\/scene_description>\n    <character>MR. NORMAN<\/character>\n    <dialogue>Orderly, I said orderly.<\/dialogue>\n    <scene_description>Mr. Norman looks at Kelly pleasantly .<\/scene_description>\n    <character>MR. NORMAN<\/character>\n    <dialogue>Well, what are we waiting for? I'm so looking forward to hearing your views.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM<\/stage_direction>\n    <scene_description>Kelly sits in a chair on the stage next to Mr. Norman . A scattering of KIDS sit out in the auditorium . Principal Holmstead stands at the podium .<\/scene_description>\n    <character>HOLMSTEAD<\/character>\n    <dialogue>For those of you who have n't had the chance to get to know Kelly, you should know he has a very interesting hobby. He takes part in reenactments of World War II battles right here in Ohio.<\/dialogue>\n    <character>AUDIENCE KID<\/character>\n    <dialogue>I did that too. When I was seven.<\/dialogue>\n    <scene_description>Scattered LAUGHTER . Kelly frowns .<\/scene_description>\n    <character>HOLMSTEAD<\/character>\n    <dialogue>He has an unusual first - hand knowledge of history. We recently discovered that this extends beyond World War II to the Civil War, which he is going to discuss with you today. Kelly?<\/dialogue>\n    <scene_description>Kelly rises to scant applause . He stands at the podium , looking out at the crowd . He looks down and thinks . He looks back up . The silence stretches . Kids start giggling . Finally he leans into the microphone .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <scene_description>He walks off stage .<\/scene_description>\n    <character>HOLMSTEAD<\/character>\n    <parenthetical>( to Mr. Norman . )<\/parenthetical>\n    <dialogue>Well, go after him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHAKER HEIGHTS HIGH - DAY<\/stage_direction>\n    <scene_description>On his knees Kelly fumbles with his bike lock , getting madder and madder . Just as he 's about to get it undone - Lance appears .<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>What, they re - assign you to the bicycle brigade?<\/dialogue>\n    <scene_description>Kelly frowns at the lock .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>I'm busy.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Too bad, cause I'm not. Remember that little show I put on for the school?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I do n't know what you're talking about.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Oh, come on. Pants down? Doll? Hard on?<\/dialogue>\n    <scene_description>Kelly looks up at Lance .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Oh that. I heard about it.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>And did you hear me and Bridget are n't going out anymore because of it?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I have n't been following the story.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Yeah well, let's get this over with.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>It is over.<\/dialogue>\n    <scene_description>Lance pushes Kelly away from his bike . Kelly falls back on his hands . He squints up at Lance and moves back towards his bike . Lance KICKS him back with his foot and looks at him .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Just let me go home.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Did you call me a homo?<\/dialogue>\n    <scene_description>Lance KICKS him again . Kelly breathes hard .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>This is n't a good time for me. Let's re - schedule.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>No time like the present.<\/dialogue>\n    <scene_description>Lance picks Kelly up and SLAPS him hard on the face .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>First you should probably get me to write home to my mother.<\/dialogue>\n    <scene_description>Lance PUNCHES Kelly and he reels . Then Kelly lunges for him and they fall to the ground . Kelly swings wildly but Lance pins him down and gives him a few good ones . Then Mr. Norman comes out .<\/scene_description>\n    <character>MR. NORMAN<\/character>\n    <dialogue>Stop it!<\/dialogue>\n    <scene_description>Mr. Norman rushes over to them . Kelly scrambles up and rips at his bike lock , gets on his bike and rides away . Mr. Norman tries to take a panting Lance by the arm but Lance shakes him off .<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Get off me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ERNSWILER HOUSE - DAY<\/stage_direction>\n    <scene_description>Kelly rides by his house and keeps going .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOSPITAL - DAY<\/stage_direction>\n    <scene_description>Kelly stops and looks up at the hospital but ca n't bring himself to go in . He pedals on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLEVELAND WATERFRONT - DAY<\/stage_direction>\n    <scene_description>Kelly sits on the loading dock of an abandoned factory . He watches the rusty barges glitter on the water . The wind ruffles his sweaty hair .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOWLAND HOUSE - DAY<\/stage_direction>\n    <scene_description>Kelly 's at the front door .<\/scene_description>\n    <character>MINNIE<\/character>\n    <dialogue>Bart's not here. Sorry.<\/dialogue>\n    <scene_description>She closes the door . Kelly wheels his bike down the driveway . He sees Bart sitting out by the pool with a couple of LANGELY BOYS . Bart sees Kelly and ignores him , laughs at something one of the guys says .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ERNSWILER HOUSE, BATHROOM - DAY<\/stage_direction>\n    <scene_description>Kelly sits on the toilet , putting a bandage on a red scrape down his arm . Eve appears in the doorway .<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>Oh Kelly. What happened?<\/dialogue>\n    <scene_description>Kelly looks up at her . He 's still got the cut eyebrow , which has split back open , and some dried blood under his nose .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <character>EVE<\/character>\n    <dialogue>Jesus. Let me see that.<\/dialogue>\n    <scene_description>Eve comes over and tilts Kelly 's head back to look at the cut . This is the first time she 's touched him . She gets some antiseptic and ointment from under the sink along with Band - Aids and goes to work .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Ow.<\/dialogue>\n    <scene_description>Kelly lets her dab at his face . He closes his eyes .<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>I'm going over to see dad.<\/dialogue>\n    <scene_description>Kelly opens his eyes and pulls away .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>Eve puts a butterfly bandage across Kelly 's eyebrow .<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>And you need to come.<\/dialogue>\n    <scene_description>Kelly pulls his head away .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>I do n't want to.<\/dialogue>\n    <character>EVE<\/character>\n    <dialogue>At this point that's not an option.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Now's not a good time, ma.<\/dialogue>\n    <scene_description>Eve looks at Kelly sadly .<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>It's never a good time.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>You ca n't make me.<\/dialogue>\n    <scene_description>Eve shakes her head .<\/scene_description>\n    <character>EVE<\/character>\n    <parenthetical>( voice rising . )<\/parenthetical>\n    <dialogue>It's not about you anymore -<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Do n't you get it? It was never about me.<\/dialogue>\n    <scene_description>Eve rises to her feet . He 's just sent her over the edge .<\/scene_description>\n    <character>EVE<\/character>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>What is wrong with you? When are you going to stop blaming us, blaming him? I'm sick of you being angry. I want to be angry! They just took out half of your father's stomach -<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Enough.<\/dialogue>\n    <character>EVE<\/character>\n    <parenthetical>( screaming and crying . )<\/parenthetical>\n    <dialogue>You will not tell me what's enough. You do n't know about anything. All you do is fight fake battles, in the woods, on the playground. But this, right here, us - this is the real one, the only one worth anything.<\/dialogue>\n    <scene_description>She stops and breaks down .<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>The man I love is dying.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>That's between you and him.<\/dialogue>\n    <scene_description>Eve looks at her son . Her face looks older .<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>If I made a mistake, if you felt left out, I'm sorry. But I can only deal with one thing at a time.<\/dialogue>\n    <scene_description>Eve leaves . Kelly sits on the toilet , lost .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KELLY'S ROOM - MORNING<\/stage_direction>\n    <scene_description>The sun shines in through Kelly 's window . He 's laying in bed awake - has been for a while . He gets up and starts dressing slowly and deliberately . He puts on his best shirt and tie , sensing trouble when the tie 's too short . He pulls the suit out of his closet . The jacket does n't fit . The sleeves do n't even go down to his wrists . And he can hardly button the pants . He rips off the jacket . He pulls everything out of his closet . Nothing there . He sits on the edge of his bed with his head in his hands . He looks at his DRESS UNIFORM , hanging on the back of the closet in its dry - cleaning bag , right where his mom left it . He shakes his head . No , he could n't do that . Then he sighs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EPISCOPAL CHURCH - DAY<\/stage_direction>\n    <scene_description>It 's decorated for a wedding . Flower garlands trail up the banisters . GUESTS trickle in . Harrison , dressed in a suit with a boutonniere on his lapel , talks to an USHER .<\/scene_description>\n    <character>HARRISON<\/character>\n    <dialogue>Do n't sit any of Mathilda's sisters next to me if you can help it.<\/dialogue>\n    <parenthetical>( to guest . )<\/parenthetical>\n    <dialogue>Oh, hello. So nice to see you. Thank you for coming.<\/dialogue>\n    <scene_description>Bart comes outside , also dressed as an usher .<\/scene_description>\n    <character>HARRISON<\/character>\n    <parenthetical>( to Bart . )<\/parenthetical>\n    <dialogue>Where's the priest?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>He should be here any minute. Calm down.<\/dialogue>\n    <scene_description>Bart walks down the steps and looks down the street . Kelly 's walking towards him . IN HIS DRESS UNIFORM . Bart walks down the street to meet him .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>What the fuck are you doing?<\/dialogue>\n    <scene_description>Kelly looks down . He ca n't meet Bart 's eyes .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>I was invited.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>I uninvited you.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>It's not your wedding.<\/dialogue>\n    <scene_description>Bart looks at Kelly and shakes his head .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Why are you wearing that?<\/dialogue>\n    <scene_description>Kelly does n't answer .<\/scene_description>\n    <character>BART<\/character>\n    <parenthetical>( softening . )<\/parenthetical>\n    <dialogue>I ca n't let you come in.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Because you know why. Just go home.<\/dialogue>\n    <scene_description>Kelly finally looks up at Bart and nods . A Town Car pulls up . Tabby gets out in her wedding dress . Has there even been a more glorious woman ? Will there ever be again ? Her MAID OF HONOR leads her around to the side of the church . Kelly watches every step .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>She looks beautiful. Tell her - give her my congratulations.<\/dialogue>\n    <scene_description>Kelly walks off . Bart watches him go .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOWLAND HOUSE, KELLY'S ROOM - DAY<\/stage_direction>\n    <scene_description>Kelly sits on the edge of the bed , head in hands . He sees the torn rabbit painting . After a minute , he picks it up and looks at it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EVE'S STUDIO<\/stage_direction>\n    <scene_description>Xiou - Xiou sits painting . Kelly enters with the rabbit .<\/scene_description>\n    <character>XIOU-XIOU<\/character>\n    <dialogue>Oh! Son of Eve. You startled me.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Grandma Ling. Can you fix this?<\/dialogue>\n    <scene_description>She examines it and takes out a wet sponge . She wipes it across the back of the canvas .<\/scene_description>\n    <character>XIOU-XIOU<\/character>\n    <dialogue>Your mom made it for you. I can fix it.<\/dialogue>\n    <scene_description>She works silently for a minute . Kelly watches her . She cuts a small piece of canvas to repair the hole .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Did you come here to work on your own stuff? Do n't waste your time on this.<\/dialogue>\n    <character>XIOU-XIOU<\/character>\n    <dialogue>I never waste time.<\/dialogue>\n    <scene_description>She turns the painting over and gets out some paints to touch it up .<\/scene_description>\n    <character>XIOU-XIOU<\/character>\n    <dialogue>See. Everything can be mended.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>You're trying to tell me something, are n't you?<\/dialogue>\n    <character>XIOU-XIOU<\/character>\n    <dialogue>Oh no. I could not tell you anything.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL, ABE'S ROOM - DAY<\/stage_direction>\n    <scene_description>Eve sleeps in a chair next to Abe , in bed sleeping . He looks pale but otherwise fine . Kelly stands in the doorway , still in his uniform . Abe comes to and sees him standing there .<\/scene_description>\n    <character>ABE<\/character>\n    <dialogue>Hey. Kelly.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Hey dad. How you feeling?<\/dialogue>\n    <character>ABE<\/character>\n    <dialogue>Not bad.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>They gave me some stitches downstairs.<\/dialogue>\n    <parenthetical>( points to eyebrow . )<\/parenthetical>\n    <dialogue>Three.<\/dialogue>\n    <character>ABE<\/character>\n    <dialogue>Did you get punched?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>A couple times, actually.<\/dialogue>\n    <character>ABE<\/character>\n    <dialogue>I know the feeling. Come on in and watch some television. Do n't worry, this one's bolted to the wall. As you can see, my reputation precedes me.<\/dialogue>\n    <scene_description>Kelly comes into the room and sits in a chair .<\/scene_description>\n    <character>ABE<\/character>\n    <dialogue>Any battles this weekend?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>A few.<\/dialogue>\n    <character>ABE<\/character>\n    <dialogue>Busy, busy.<\/dialogue>\n    <scene_description>Abe and Kelly look up at the television in the corner .<\/scene_description>\n    <character>ABE<\/character>\n    <dialogue>Answer me this : how come no one ever reenacts the Vietnam War?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>It'd be pretty depressing, would n't it?<\/dialogue>\n    <character>ABE<\/character>\n    <dialogue>I guess it would.<\/dialogue>\n    <scene_description>Both continue to look up at the television .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Plus that, you'd have to have protesters and stuff.<\/dialogue>\n    <character>ABE<\/character>\n    <dialogue>Folks dressed up like your mom and me. People reenacting fleeing to Canada, burning draft cards. I guess that would ruin the spirit of the thing, now would n't it?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I could make it work.<\/dialogue>\n    <scene_description>Abe looks at Kelly .<\/scene_description>\n    <character>ABE<\/character>\n    <dialogue>I bet you could.<\/dialogue>\n    <scene_description>Kelly nods . Eve wakes up .<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>Kelly, is that you?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>You were expecting some one else?<\/dialogue>\n    <scene_description>HOSPITAL CORRIDOR Kelly and Eve get snacks from the vending machine .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>He looks good.<\/dialogue>\n    <scene_description>Eve looks at Kelly , her face full of love and sadness .<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>He looks just like you.<\/dialogue>\n    <scene_description>Kelly nods slowly , taking this in . And it is finally too much . He breaks down and cries . For the fear and the misplaced rage , the fights and the stubbornness . But finally , relief . They walk back down the hall together . Eve reaches out and puts her hand on Kelly 's neck .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOWLAND HOUSE - DAY<\/stage_direction>\n    <scene_description>Kelly rides his bike past the house and stops when he sees the car packed up in front . Bart comes out with a box of stuff .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Hey. You going away already?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Yeah. The have this intensive summer orientation thing.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Is that good?<\/dialogue>\n    <scene_description>Bart puts the box in the car .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Well, it's optional, but dad thinks it would be `` a good way to meet people.''<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>He's probably right.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>He usually is.<\/dialogue>\n    <scene_description>They stand there .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Well, go Big Green.<\/dialogue>\n    <scene_description>Kelly gives him a little ra - ra with one hand . Bart smiles . Kelly 's been doing his research .<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Kelly lifts his foot up to the pedal of his bike .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Have fun. And get laid, will ya?<\/dialogue>\n    <scene_description>Bart laughs a little and shakes his head . Kelly is gone . Harrison comes out .<\/scene_description>\n    <character>HARRISON<\/character>\n    <dialogue>Is that everything?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Everything you'd let me bring.<\/dialogue>\n    <scene_description>Harrison checks the ties on the roof .<\/scene_description>\n    <character>HARRISON<\/character>\n    <dialogue>Give me a break.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GROCERY STORE - NIGHT<\/stage_direction>\n    <scene_description>Kelly stocks shelves . There 's a NEW GIRL working the register . Kelly sees SARAH come in . He follows her to the bakery .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>Sarah picks some bagels .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>How come you do n't work here anymore? The Electro - shopper's getting rusty.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>I've got a summer internship at an ad agency.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Fancy.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>It's all right, I guess.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>No, it's great.<\/dialogue>\n    <scene_description>Kelly moves around to her other side , closer .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Hey -<\/dialogue>\n    <scene_description>Sarah moves away . Once bitten twice shy and all that .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>When are you going to get a real job?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I do n't know. Probably when I figure out something better to do.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>You ca n't be a stock boy your whole life.<\/dialogue>\n    <scene_description>Sarah walks to the front of the store . Kelly walks with her .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Yeah I can. I mean, I probably wo n't, but I could.<\/dialogue>\n    <scene_description>Sarah turns to him at the checkout aisle .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Well, it was good seeing you.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Um.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Remember that presentation I told you never to ask me about again?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLD SOLDIERS' HOME - DAY<\/stage_direction>\n    <scene_description>Kelly stands in the front of the room , pointing to a battle plan with large arrows drawn on it . Charlie , Mr. Norman , Principal Holmstead , Eve and Sarah sit among other OLD SOLDIERS .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Lee arrayed his defenses over here. Only this time, Grant was ready for him.<\/dialogue>\n    <scene_description>Kelly keeps talking . Many of the OLD SOLDIERS sleep .<\/scene_description>\n    <character>OLD SOLDIER 1<\/character>\n    <parenthetical>( to old soldier 2 . )<\/parenthetical>\n    <dialogue>This is boring.<\/dialogue>\n    <character>OLD SOLDIER 2<\/character>\n    <dialogue>Yeah. Let's see that slide of the wife again.<\/dialogue>\n    <scene_description>DOMINO TABLE Sarah , Kelly , and Eve play dominos with Charlie and Mr. Norman .<\/scene_description>\n    <character>MR. NORMAN<\/character>\n    <parenthetical>( to Charlie . )<\/parenthetical>\n    <dialogue>Remarkable, remarkable. And they never knew?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>The real kicker was moving those cutouts of tanks around. The thought we had a whole regiment over there, but it was just a couple of us and those Hollywood props.<\/dialogue>\n    <character>EVE<\/character>\n    <dialogue>That's amazing. Art playing a part in war.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>You're damned right. We practically won the thing right there.<\/dialogue>\n    <parenthetical>( eyeing Sarah and Eve with approval . )<\/parenthetical>\n    <dialogue>Now this is more like it. Anyone care to place a wager on the table?<\/dialogue>\n    <scene_description>Kelly tries to gesture to Sarah `` no . ''<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>If you think it would be more fun.<\/dialogue>\n    <character>MR. NORMAN<\/character>\n    <dialogue>I ca n't imagine having more fun that I am now.<\/dialogue>\n    <scene_description>Mr. Norman smiles at the group .<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>You're never been to a French whorehouse, I take it.<\/dialogue>\n    <character>EVE<\/character>\n    <dialogue>I have.<\/dialogue>\n    <character>MR. NORMAN<\/character>\n    <dialogue>Oh, my.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OLD SOLDIERS' HOME - DAY<\/stage_direction>\n    <scene_description>Eve waits while Kelly and Sarah walk out to Sarah 's car . Kelly helps Sarah into it and closes the door for her .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>I still do n't understand how you did that.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>I spent my summers with my grandma in the Catskills. She did n't give me any spending money.<\/dialogue>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>So I played the bones for ice cream.<\/dialogue>\n    <scene_description>She pulls away . He watches her go .<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Hot damn.<\/dialogue>\n    <scene_description>THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Kelly Ernswiler, a young war reenactment enthusiast, works at his local store with love interest Sarah and Bart Bowland. Kelly's father, Abe, works with drug addicts, being clean himself for over 5 years. His mother, Eve, is a commercial artist. Kelly attempts to woo Bart's older sister, Tabby, even though she's set to get married to Miner Weber, a handsome businessman. Kelly becomes a regular at Bart's house, being over for dinner often, and he impresses Bart's father, Harrison, with their common fondness for war memorabilia, and Bart's mother by complimenting her on her flowers, and he often talks to Tabby in her workshop. During this time, Sarah asks him to go to an Aerosmith concert, which she has a spare ticket for, telling him it would be good for him to get out more. When he bluntly makes it clear that he knows it would be a date, he tells her he is seeing someone else, obviously meaning Tabby. Before Kelly and Bart perform their plan for Lance's humiliation, Bart makes it clear to Kelly that he knows he has \"his own agenda\", at which Kelly is insulted and angry, and Bart displaces it as \"pre-mission nervous energy\". They recreate an invasion on the street where Lance lives and drag him out of the house pointing guns at him and shouting at him with German accents. They videotape the whole thing and he urinates out of fear. Afterwards, the boys are drinking whiskey at Bart's house and Bart passes out in a chair by the fire. Kelly makes to go home and goes to the workshop to say goodbye to Tabby. He walks in on her crying, as she now thinks the marriage will be off and goes to comfort her, and they kiss. As Kelly is leaving, Bart sees him and is furious as he knew he was in the workshop. The next day, as Kelly is on a set for a war program that Bart got them in, Bart hasn't turned up. Kelly is cast in a role to be a jeep driver and when his cue is called, Bart turns up out of the bushes and confronts him about Tabby. Kelly denies it at first and then becomes speechless. As he is about to drive for his cue, Bart attacks him in the jeep and they make a mess of the set. The next day, Abe is taken into care again for relapsing and Kelly is emotionless. He goes to the wedding the same day, only to have an annoyed Bart tell him that he can't let him in. He sneaks into Tabby's limo before it pulls in and he talks to her, and it is a moment in which he finally realizes he must grow up. He gets out of the car and everyone at the wedding sees him and are all confused. He goes round the back of the church to get his bike and leave and meets Minor again, who has no idea of what happened with Kelly and Tabby, and is civil towards him. Kelly cycles to the clinic where his father is staying and is surprised. They begin to watch television and his mother walks in and is surprised and happy to see Kelly. In the end, it shows the voicemail message where Kelly apologizes to the Bowlands for his behavior and asks Bart if he will meet him where he will be selling all his old memorabilia, and gives a hat Bart acquired for him back. He is shown walking down the street with Sarah and they hold hands. Kelly sees Lance again on his lawn where they faked the invasion, and goes over to him and confesses, only to be punched in the jaw. The film ends with Kelly lying on the lawn, holding his bruised jaw saying, \"I deserved it\"."}
{"movie_name":"20th Century Women_2016","imdb_id":"tt4385888","script":"<script>\n  <scene>\n    <scene_description>20th Century Women by Mike Mills<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OCEAN - DAY<\/stage_direction>\n    <scene_description>High overhead shot looking down on the Pacific Ocean. TITLE: SANTA BARBARA, 1979.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA BARBARA - VONS PARKING LOT - DAY<\/stage_direction>\n    <scene_description>WIDE ON a plume of black smoke rising high into the air. CLOSER ON a 1965 Ford Galaxy engulfed in flames. DOROTHEA (55, short grey hair, Amelia Earhart androgyny) and JAMIE (15, New-Wave\/Punk) jog their shopping cart toward the commotion, stunned to find their car in flames. Dorothea looks at the car and then at her son Jamie, concerned. People run for help. Sirens in the background.<\/scene_description>\n    <character>DOROTHEA (V.O.)<\/character>\n    <dialogue>That was my husband's Ford Galaxy. We drove Jamie home from the hospital in that car.<\/dialogue>\n    <character>JAMIE (V.O.)<\/character>\n    <dialogue>My mom was 40 when she had me. Everyone told her she was too old to be a mother.<\/dialogue>\n    <character>VISUALS<\/character>\n    <dialogue>1. BABY IN ISOLETTE<\/dialogue>\n    <character>DOROTHEA (V.O.)<\/character>\n    <dialogue>I put my hand through the little window, and he'd squeeze my finger, and I'd tell him life was very big, and unknown;<\/dialogue>\n    <character>VISUALS<\/character>\n    <dialogue>2. DOROTHEA'S HAND OPENING ISOLETTE WINDOW AND PUTTING HAND THROUGH 3. BABY'S FINGERS HOLDING HAND 4. STARS IN SPACE<\/dialogue>\n    <character>JAMIE (V.O.)<\/character>\n    <dialogue>And she told me that there were animals and sky and cities,<\/dialogue>\n    <character>VISUALS<\/character>\n    <dialogue>5. MUYBRIDGE FOOTAGE OF ANIMALS 6. STILL OF THE SKY 7. CITY FROM DOROTHEA'S ERA<\/dialogue>\n    <character>DOROTHEA (V.O.)<\/character>\n    <dialogue>Music, movies. He'd fall in love, have his own children, have passions, have meaning, have his mom and dad.<\/dialogue>\n    <character>VISUALS<\/character>\n    <dialogue>8. BACK TO DOROTHEA'S HAND OPENING ISOLETTE WINDOW AND PUTTING HAND THROUGH 9. BABY'S FINGERS HOLDING HAND.<\/dialogue>\n    <character>JAMIE (V.O.)<\/character>\n    <dialogue>When they got divorced, my father moved back east and left the car with us. He calls on birthdays and Christmas. Last time I felt close to him was on my birthday in 1974, he bought me mirrored sunglasses. I saw the president fall down the stairs, and I threw up on the carpet.<\/dialogue>\n    <character>VISUALS<\/character>\n    <dialogue>1. 15 YEAR OLD JAMIE ON PHONE DOING A REQUIRED CALL WITH HIS FATHER 2. HANDS DELIVER MIRRORED SUNGLASSES TO 8 YEAR OLD JAMIE ON MINIATURE GOLF COURSE 3. PRESIDENT FORD FALLS DOWN STAIRS ON THE TV AT GOLF AND FUN 4. WORKER CLEANS STAR FIELD CARPET IN ARCADE<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S LIVING ROOM<\/stage_direction>\n    <scene_description>Dorothea and Jamie slouch on couch, with \"JEEVES\" the cat, watching her favorite film CASABLANCA.<\/scene_description>\n    <character>DOROTHEA (V.O.)<\/character>\n    <dialogue>Since then it's just been us.<\/dialogue>\n    <scene_description>Track in on television playing the famous end of the film.<\/scene_description>\n    <character>RICK \/ BOGART<\/character>\n    <dialogue>You're getting on that plane.<\/dialogue>\n    <character>ILSA \/ BERGMAN<\/character>\n    <dialogue>I don't understand what about you?<\/dialogue>\n    <character>RICK \/ BOGART<\/character>\n    <dialogue>I'm staying here with him till the plane get's safely away.<\/dialogue>\n    <character>ILSA \/ BERGMAN<\/character>\n    <dialogue>No Richard, what has happened to you, last night....<\/dialogue>\n    <scene_description>BACK TO VONS PARKING LOT: THE HULK OF THE CAR SITS IN A FOAMY WHIPPED CREAM PUDDLE. THE FIRE DEPARTMENT CLEANS UP. POLICE ARE THERE. DOROTHEA IS GREGARIOUS WITH THE FIREMEN WHO WORK AROUND HER. JAMIE WATCHES, STILL STUNNED, LIFE'S SURPRISES.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Listen, Captain. I am having a party tonight, it's my birthday actually, and I would like you to drop by so I can feed you<\/dialogue>\n    <character>FIRE CHIEF<\/character>\n    <dialogue>It's not necessary Mrs. Fields.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>It's Dorothea - no, I insist, please? That way I can thank you.<\/dialogue>\n    <scene_description>She hands her address to them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - SIDE OF FIRE TRUCK - DAY<\/stage_direction>\n    <scene_description>Jamie and Dorothea sit on a side bumper of a fire truck, movement around them. They look small, sit close, groceries at their feet. Dorothea watches Jamie. The fire scared her. She looks vulnerable.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>That was a beautiful car.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Mom, it smelled like gas and overheated all the time, and it was just old...<\/dialogue>\n    <scene_description>Dorothea's surprised, she didn't know they felt so differently about the car.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>(What?) Well it wasn't always old.<\/dialogue>\n    <scene_description>Dorothea goes to touch his hair. He bends away from her hand. Jamie turns to his mom, trying to explain the contemporary world to her.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>You know, when the firemen come, people don't usually invite them over for dinner.<\/dialogue>\n    <scene_description>Camera tracks away, revealing them like refugees in the parking lot.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Yeah? Why not?<\/dialogue>\n    <scene_description>MAIN TITLE ON BLACK: 20TH CENTURY WOMEN<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S THERAPY PLACE - DAY<\/stage_direction>\n    <scene_description>Camera pans across teen therapy girl (IMPROVISE THERAPY TALK), sees a circle of 6 other teen girls having therapy, lands on JULIE (17, Something subversive below her good looks) similarly bored. The therapist MARY, (40's academic) listens. Julie stares at Mary, criticality brewing inside of her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTSIDE MARY'S OFFICE<\/stage_direction>\n    <scene_description>Julie lights up a cigarette, her real self, gets on her bike.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MONTECITO STREETS - DAY<\/stage_direction>\n    <scene_description>Julie smokes and rides her bike, her real self more on view.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OBGYN OFFICE<\/stage_direction>\n    <scene_description>ABBIE (28, Sophisticated NYC art-punk type) stands in gown in OBGYN office, looking confused, vulnerable, but armed with a late 70's clunky Nikon camera. She studies her doctor putting a swab into a tube, writing her name; she takes a photograph. Turns and takes a photo of the room, her doctor is used to this. She watches an assistant come in and take the swab (and her future fate) in its plastic container away - go down the hall, and disappear around a corner.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL HALLWAY<\/stage_direction>\n    <scene_description>The technician carries the little swab down the hall, in a clear plastic bag.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S SIDE DOOR<\/stage_direction>\n    <scene_description>Abbie walks in, looking lost, puts her bag down in the kitchen.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABBIE'S ROOM<\/stage_direction>\n    <scene_description>Now in her room, Talking Heads playing loudly, her pain peaks and she begins to dance alone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOROTHEA'S HOUSE<\/stage_direction>\n    <scene_description>Julie rides her bike past a line of old VWs and an old 30's Chevy.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S HOUSE<\/stage_direction>\n    <scene_description>Julie enters the house, walks towards WILLIAM (Mid 40's post hippie type). William takes on a major job on his own (tearing down ceiling in entry way). Reveal that this is a big house, needing repair under serious renovations.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Oh, hey, sorry. Jamie's not here right now.<\/dialogue>\n    <scene_description>Julie walks past this. Follows the sound of music upstairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY\/ABBIE'S ROOM<\/stage_direction>\n    <scene_description>Julie can see Abbie dancing through a partially opened door, Abbie captivates her, she walks towards the room, Abbie sees her, snaps out of her dancing, turns off the record. Julie enters, Abbie's still troubled by her OBGYN visit, Julie can't really take her eyes off Abbie.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>They're not home.<\/dialogue>\n    <scene_description>Abbie takes her picture.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Don't.<\/dialogue>\n    <scene_description>That doesn't stop Abbie. Not mean, just stubborn.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>I'm taking pictures of everything that happens to me in a day.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>I don't like having my picture taken. I didn't happen to you.<\/dialogue>\n    <scene_description>She takes another.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S KITCHEN AREA<\/stage_direction>\n    <scene_description>Dorothea and Jamie make their way to the kitchen with all the groceries.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>William enters and helps them, Julie and Abbie enter a beat later.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>She hands William a bag of groceries.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>You aren't going to believe what happened.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Our car burst into flames in the parking lot.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>Seriously?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>You OK?<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>How did it happen?<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>I don't know, they said probably just something electrical. We walked out and it was just sitting there, on fire.<\/dialogue>\n    <scene_description>Life's surprises.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Oh man, I'm sorry.<\/dialogue>\n    <scene_description>Everyone's perplexed. William helps unload groceries. Julie and Jamie IMPROV in background. DOROTHEA PULLS ABBIE ASIDE, LOOKS AT HER, ABBIE DOESN'T WANT TO SHARE.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>So, what happened?<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>They never tell you anything, I won't know for like a week.<\/dialogue>\n    <scene_description>Dorothea gives her an encouraging look.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>I'm gonna be late on rent.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>That's okay, Don't worry about that.<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Abbie looks at Dorothea with love and admiration.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAMIE'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>Jamie lies flat on his bed. Julie's next to him, processing, earnestly worried for him.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>What if you had been in the car?<\/dialogue>\n    <scene_description>He shrugs, gestures with his hand. She lays beside him on her side. She traces a finger across his hair, his forehead, nose, chest, their hands touch.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>I wouldn't be here. You would've missed me?<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>(Yeah) Don't joke.<\/dialogue>\n    <scene_description>She traces a finger across his hair, his forehead, nose, chest, their hands touch. He puts his hand on her bare knee, starts to slide up her leg. She easily pulls his hand off.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>It was so much easier before you got all horny.<\/dialogue>\n    <scene_description>He's tried this before, but he is really just her friend. He leans away from her.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>It's not like you, don't -<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>Do it?<\/dialogue>\n    <scene_description>She likes that she does it. He smiles, used to her love of being provocative. Then serious.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Friends can't have sex and still be friends.<\/dialogue>\n    <scene_description>She snuggles him again innocently, pressing her face into his arm.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>I like us like we are - OK?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>OK?<\/dialogue>\n    <scene_description>Off screen, from far away.<\/scene_description>\n    <character>DOROTHEA O.S.<\/character>\n    <dialogue>Jamie ... Can you come help set up please?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Can my mom just chill out?<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>She's compensating for her loneliness.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S ENTRY WAY<\/stage_direction>\n    <scene_description>William takes Dorothea to see the ceiling he worked on. She loves it. It's pretty messed up. IMPROVISE ABOUT THE WORK DONE.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Dorothea, all that is beautiful molding there.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>It is.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I want to continue that around the side.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>All right so we're gonna have to re- match that, is that actually wood, or is that plaster?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>No, the plaster is underneath it, the molding on the outside there is wood. It'll take some time...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S DINING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Her party's in full swing. An eclectic mix of people. 15 plus the regulars; construction guys, straight looking drafting men, a few women Dorothea's age, and 4 firemen from before. People are all talking and drinking, eating and moving around the room. WE CROSS BETWEEN MANY SHORT INTERWOVEN MOMENTS WITHIN THE PARTY. CAMERA MOVES WITH Dorothea showing the FIRE CHIEF a little of the house. William silently glides with them.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>It was built in 1905, the same family had it forever, but they lost all their money during the war, there was a fire - you should've been here for that. Anyway, so it was just a mess, they just let it fall apart. Then a bohemian inherited it in the 60's, bunch of free spirits lived here, and they lost it to the bank.<\/dialogue>\n    <character>FIRE CHIEF<\/character>\n    <dialogue>It's beautiful.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>(I think so) I completely fell in love with it.<\/dialogue>\n    <scene_description>CAMERA FINDS WILLIAM AND ABBIE, sitting on the couch talking.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>We're connected to the dirt because we came from the dirt. The dirt is made of stars and star dust the same way we are, so when you put your hands into that dirt and feel the earth mother...<\/dialogue>\n    <scene_description>She laughs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S KITCHEN<\/stage_direction>\n    <scene_description>Dorothea busily makes her famous angel food and strawberries messy pile of a cake. Jamie's putting in the candles. William's piling up the plates to take in.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>William, it looks as though I'm gonna be in need of a car. Do you think you have something cheap? Maybe that '49 deluxe?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I think we can work something out, maybe we'll trade for rent or something.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>He takes the plates into the dining room. Dorothea finishes lighting the candles, to Jamie.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>OK, give me a minute, then come in.<\/dialogue>\n    <scene_description>She trots off to the party - Jamie waits a minute then heads in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S DINING ROOM - DAY<\/stage_direction>\n    <scene_description>Jamie brings the cake into the dining room, applause, cheers, she's happy - blows out the candles. TITLE: DOROTHEA FIELDS BORN 1924<\/scene_description>\n    <character>JAMIE (V.O.)<\/character>\n    <dialogue>My mom was born in 1924. When she was my age people drove in sad cars to sad houses with old phones, no money or food or televisions but the people were real.<\/dialogue>\n    <character>VISUALS<\/character>\n    <dialogue>1. REPORTAGE OF DEPRESSION ERA STREET SCENES 2. CARS 3. HOUSES, PHONES 4. FOOD 5. LIVING ROOMS 6. PEOPLE<\/dialogue>\n    <character>JAMIE (V.O.)<\/character>\n    <dialogue>When she was 16, the war broke out and she had to leave school.<\/dialogue>\n    <character>VISUALS<\/character>\n    <dialogue>7. REPORTAGE OF WW2 SOLDIERS MARCHING<\/dialogue>\n    <character>JAMIE (V.O.)<\/character>\n    <dialogue>Her dream was to be a pilot in the air force. She actually went to flight school. But the war ended before she was done.<\/dialogue>\n    <character>VISUALS<\/character>\n    <dialogue>8. REPORTAGE OF FEMALE US AIRFORCE PILOTS. 9. PLANES IN FLIGHT.<\/dialogue>\n    <character>JAMIE (V.O.)<\/character>\n    <dialogue>She became the first woman to work in the Continental Can Company drafting room. Then she met my dad. Then I came. Then they got divorced. But people from her time never admit anything went wrong.<\/dialogue>\n    <character>VISUALS<\/character>\n    <dialogue>10. REPORTAGE OF 40'S ERA DRAFTING ROOMS.<\/dialogue>\n    <scene_description>CUT FROM 40'S DRAFTING REPORTAGE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S DRAFTING ROOM - DAY<\/stage_direction>\n    <scene_description>Dorothea works and smokes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANK - DAY<\/stage_direction>\n    <scene_description>Dorothea and EIGHT YEAR OLD JAMIE are sitting at a bank desk, talking with a MANAGER.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>He's too young to have an account in his name only - little guy.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>He's a person, not a half person, not some cute little guy, he has volition and autonomy and privacy and he needs a bank account. Can you do that for us?<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>I'm sorry, he's too young.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAMIE'S SCHOOL - DAY<\/stage_direction>\n    <scene_description>Dorothea and 13 YEAR-OLD JAMIE are sitting in a school office being scolded by a principal type. He hands her a note, she resents this authority figure.<\/scene_description>\n    <character>PRINCIPAL<\/character>\n    <dialogue>Jamie, you can't just keep skipping school and making excuses.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Well wait a minute, why not? Why can't he skip school? If he has a legitimate need to be away?<\/dialogue>\n    <character>PRINCIPAL<\/character>\n    <dialogue>Then I need a legitimate real note from you with your real signature.<\/dialogue>\n    <scene_description>Hands her Jamie's forged note.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Okay, wow, how did you forge my signature so well?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S 1977 HOUSE - DAY<\/stage_direction>\n    <scene_description>CUT TO: 12 year-old hands holding a check with Dorothea's signature against a window, then placing the note over it and tracing the signature.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>That's really ingenious. But, never forge someone's signature, or do something behind their back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL - ADMINISTRATION OFFICE - DAY<\/stage_direction>\n    <scene_description>12 year old Jamie walks in and hands a note to the secretary. CLOSE ON the note.<\/scene_description>\n    <character>DOROTHEA (V.O.)<\/character>\n    <dialogue>Please excuse Jamie from school this morning, he was doing volunteer work for the Sandinistas.<\/dialogue>\n    <scene_description>The secretary looks incredulous, but files the note and let's Jamie head to class. DIFFERENT DAY: Jamie walks in, hands over a note. CLOSE ON note.<\/scene_description>\n    <character>DOROTHEA (V.O.)<\/character>\n    <dialogue>Please excuse Jamie from school this morning, he was involved in a small plane accident, fortunately he was not hurt.<\/dialogue>\n    <scene_description>The secretary looks up at Jamie and files the note.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEAS HALLWAY - NIGHT - 1979<\/stage_direction>\n    <scene_description>William tries to teach Jamie how to help out around the house with Dorothea's encouragement. IMPROVISE TALKING ABOUT RENOVATIONS.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>You're going to be in for a legendary surprise. It's mahogany underneath.<\/dialogue>\n    <character>JAMIE V.O.<\/character>\n    <dialogue>She's always trying to bring a man into my life.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>This is probably Honduran mahogany, really fine grain...<\/dialogue>\n    <scene_description>CUT TO Dorothea and Jamie whispering away from William.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>This is like, really boring, he's talking about wood and stuff.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Hey watch it, he's helping me out, restore the house O.K.?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S 1975 KITCHEN - MORNING - 1975<\/stage_direction>\n    <character>JAMIE (V.O.)<\/character>\n    <dialogue>She writes down her stocks every morning,<\/dialogue>\n    <scene_description>10 YEAR OLD Jamie's and Dorothea's backs as they're hunched over the stock reports, writing down the day's numbers.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>IBM?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>$213.20<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>GE?<\/dialogue>\n    <character>JAMIE<\/character>\n    <character>JAMIE<\/character>\n    <dialogue>She smokes Salems because they're healthier, wears Birkenstocks because she's contemporary. She read Watership Down and learned how to carve rabbits out of wood. And she never dates a man for very long.<\/dialogue>\n    <character>VISUALS<\/character>\n    <dialogue>11. SALEMS 12. HER BIRKENSTOCKS 13. DOROTHEA WORKS IN HOME OFFICE 14. DOROTHEA READING ALONE IN BED SMOKING.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S FRONT DOOR \/ BACK TO DOROTHEA'S BIRTHDAY PARTY<\/stage_direction>\n    <scene_description>The partygoers are heading out, Dorothea saying her good-byes. In foreground Julie whispers with Jamie.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>See you later?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Just don't hang out with that Chris guy anymore, okay? He's a skeez and he's kind of dumb.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>Exactly.<\/dialogue>\n    <scene_description>Turns to Dorothea as she leaves,<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Happy birthday.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Bye Julie.<\/dialogue>\n    <scene_description>She leaves Jamie and Dorothea alone on the doorstep.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>Stop.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Thinking you know everything that's going on.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Having your heart broken is a tremendous way to learn about the world.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S KITCHEN - CONTINUOUS<\/stage_direction>\n    <scene_description>They're alone now, doing the dishes together, he studies her.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>Do you think you're happy, like as happy as you thought you'd be when you were my age?<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Seriously, you don't just ask people questions like that.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>You're my mom.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Especially your mom. Look, wondering if you're happy is a great shortcut to being depressed.<\/dialogue>\n    <scene_description>He looks at her disappointed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Dorothea is alone. Lost in thought. An ironing board in the background. Just smoking and thinking. Then, from above, PUNK plays. She looks up, in the direction of the sound. Rises.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABBIE'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Jamie and Abbie sit together, listening to The Raincoats - Fairytale In The Supermarket. Abbie's looking at the cover, Jamie's looking through her other records. Dorothea appears in the doorway, observing her son, and his obvious love of this. She enters, sits down and listens with them, an awkward moment.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>What is that?<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>It's The Raincoats.<\/dialogue>\n    <scene_description>She nods awkwardly to the beat, trying to relate.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Can't things just be pretty?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>\"Pretty\" music's used to hide how unfair and corrupt society is.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Ah, okay so... they're not very good, and they know that, right?<\/dialogue>\n    <scene_description>He just looks at her - 'why're you still here' - she looks at him confused by his pushing her away. Seriously curious.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>Yea, it's like they've got this feeling, and they don't have any skill, and they don't want skill, because it's really interesting what happens when your passion is bigger than the tools you have to deal with it. It creates this energy that's raw. Isn't it great?<\/dialogue>\n    <scene_description>CU on Dorothea feeling like an outsider, lost.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S BEDROOM<\/stage_direction>\n    <scene_description>Dorothea sits at the edge of her bed, smoking and thinking.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>My son was born in 1964.<\/dialogue>\n    <character>DOROTHEA V.O. CONTD.<\/character>\n    <dialogue>He grew up with a meaningless war, with protests, with Nixon, with nice cars and nice houses, computers, drugs, boredom.<\/dialogue>\n    <character>VISUALS<\/character>\n    <dialogue>1. VIET NAM BURNING ON TELEVISION 2. 1968 PROTEST ON TELEVISION 3. NIXON ON TELEVISION 4. CAR SALESMAN ON TV 5. FAST FOOD COMMERCIAL ON<\/dialogue>\n    <scene_description>TV 6. 1979 PERSONAL COMPUTERS: 7. DRUGS 8. BORED 1979 KIDS:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAMIE'S BEDROOM<\/stage_direction>\n    <scene_description>Jamie dances wildly alone, to punk music.<\/scene_description>\n    <character>DOROTHEA V.O.<\/character>\n    <dialogue>I know him less every day.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MONTECITO STREETS - DAY<\/stage_direction>\n    <scene_description>Jamie skateboards down San Leandro, free, like he's flying.<\/scene_description>\n    <character>DOROTHEA V.O.<\/character>\n    <dialogue>He said it was just a game.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MONTECITO RAMP AREA - DAY<\/stage_direction>\n    <scene_description>Jamie watches other kids do \"the fainting game\". One kid hyperventilates, another pulls on his diaphragm from behind. The kid faints and gets up, everyone laughs.<\/scene_description>\n    <character>DOROTHEA V.O.<\/character>\n    <dialogue>You breathe real hard and another kid pulls on your diaphragm and you faint.<\/dialogue>\n    <scene_description>Now Jamie tries it. He breathes heavily, kid pulls on his diaphragm from behind, FILM BEGINS TO SPEED UP, Jamie faints, he falls, he doesn't wake up.<\/scene_description>\n    <character>DOROTHEA V.O.<\/character>\n    <dialogue>He said you're supposed to come to a few seconds later, but it took Jamie almost a half an hour to wake up.<\/dialogue>\n    <scene_description>Julie runs from the ramp where she's been watching all this. She tries to wake him, tell's others to get help, she's panicked.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MONTECITO STREETS - DAY<\/stage_direction>\n    <scene_description>Julie runs for help. ALL IN FAST MOTION<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABBIE'S CAR - DAY<\/stage_direction>\n    <scene_description>Jamie is still unconscious, his head in Dorothea's lap. She looks terrified. Abbie and Julie are there, William drives.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOSPITAL - EMERGENCY ENTRANCE<\/stage_direction>\n    <scene_description>William runs, carries Jamie's limp body into the hospital, everyone follows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - EMERGENCY AREA - DAY<\/stage_direction>\n    <scene_description>LOOKING DOWN ON Jamie. STILL IN FAST MOTION. They all watch nurses and doctors take his vitals. It's a confusing blur.<\/scene_description>\n    <character>DOCTOR<\/character>\n    <parenthetical>(Tech talk - he's stable - We just have to wait - EKG)<\/parenthetical>\n    <dialogue>Nurses<\/dialogue>\n    <parenthetical>(Nurse tech talk, he's stable)<\/parenthetical>\n    <dialogue>They turn to rush Jamie to a bed. A doctor takes Dorothea by the arm.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>Can you tell me what happened?<\/dialogue>\n    <scene_description>A parent's wild guilt and fear on her face. NEARBY: Jamie's on a gurney, put into a small screened-in area, still limp, unconscious, swarmed by nurses and techs. Abbie and Julie get swept-up in the screened off area. These two would never be together if it weren't for Dorothea and Jamie; Abbie, an older punk, Julie, a younger AP student. The girls watch nurses take off his shirt, put on EKG nodes, his body is limp, Abbie starts to silently cry, Julie too? Dorothea finds Jamie's screened in area. William sits politely outside. His concern is for Dorothea. NOW Behind the screen, DOROTHEA FREEZES when she sees the wires all over his bare chest. Abbie and Julie are squished into a corner. Dorothea moves around the nurses and technicians still working, she finds his hand, puts it in both of hers, presses her forehead against it. She takes his hand, like she did when he was a baby in the isolette, closes her eyes. JAMIE REGAINS CONSCIOUSNESS - disorientated and confused, he clumsily tries to pull off the oxygen canula.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>He's back.<\/dialogue>\n    <scene_description>The nurses and doctor scramble around him, doing vitals, asking questions.<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>What's your name?<\/dialogue>\n    <scene_description>Confused, but present.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>Jamie... Jamie Fields.<\/dialogue>\n    <scene_description>Dorothea looks on relieved but destroyed by this. FAST MOTION ENDS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAMIE'S HOSPITAL ROOM NIGHT<\/stage_direction>\n    <scene_description>Jamie's asleep in hospital bed, Dorothea sits next to him worried, touching his hair. She gets up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL HALLWAY - NIGHT - CONTINUOUS<\/stage_direction>\n    <scene_description>She exits his room, exhausted, she finds Julie and Abbie waiting in the hallway. This means a lot to Dorothea, she sit's next to them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRS - DAY<\/stage_direction>\n    <scene_description>Jamie walks ahead going up the stairs. She walks behind, eying him. Her worry and fear rising, until she says...<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Why did you do something so - stupid (dangerous).<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>I don't know mom, everyone was doing it.<\/dialogue>\n    <scene_description>Escalating fear and anger with each line.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>So you just went along with it?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>It looked like fun.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>That's just dumb. Why would you do something so stupid? Just following along? You know you almost died, right?<\/dialogue>\n    <scene_description>He gets very defensive, feels attacked.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>You don't need to worry about me.<\/dialogue>\n    <scene_description>She doesn't buy it.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Why don't you think?<\/dialogue>\n    <scene_description>He turns away from her.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Jamie, hey. What's going on with you?<\/dialogue>\n    <scene_description>He walks off to his room. She follows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAMIE'S ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>She storms into his room, when she enters he heads to the other side. Dorothea's quite angry now.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>(Jamie?!) What? You won't talk to me now?<\/dialogue>\n    <scene_description>He confronts her like he never has before.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>I'm not the one who doesn't talk.<\/dialogue>\n    <scene_description>Dorothea's surprised.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>What? Come on, you scared the hell out of me. Why did you hurt yourself like that?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Why do you smoke yourself to death?<\/dialogue>\n    <scene_description>(Some specificity) Why don't you go on dates?<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <parenthetical>(Shocked)<\/parenthetical>\n    <dialogue>Hey-<\/dialogue>\n    <scene_description>Jamie is terrified, but he can't stop.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>Why're you fine being sad and alone?<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>We don't talk to each other like that. (What's happening to you.)<\/dialogue>\n    <scene_description>He storms off, she's struck, she sits alone, she cries.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Dorothea, still struggling, enters the living room, a movie plays blankly on the TV, she's surprised to find Jamie asleep on the couch. She sits and looks at him, something she doesn't get to do in peace anymore - thinking as she looks at him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EAST BEACH - DAY<\/stage_direction>\n    <scene_description>WIDE ON a beautiful beach in afternoon sun. In street clothes, they look out of place surrounded by bikini-shorts clad happy beachgoers. Dorothea looks at the girls, nervous. She starts walking.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>I think history's been tough on men, they can't be what they were, and they cant figure out what's next.<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>What're we talking about?<\/dialogue>\n    <scene_description>Dorothea struggles, wants them just to understand.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Men?<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>I think history and men?<\/dialogue>\n    <scene_description>They stand talking on the beach... CONVERSATION PRELAPS...<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>I think maybe you guys...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - DAY<\/stage_direction>\n    <scene_description>CLOSE on Dorothea - conversation continues. She is vulnerable. Seated at the table with Abbie and Julie.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>...could help me - with Jamie.<\/dialogue>\n    <scene_description>Julie and Abbie look to each other and Dorothea. What's she asking?<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>He needs help figuring out how to be himself in all this mess. And I can't be there, I can't be there with him, I need to let go.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>Is this because of the fainting thing? He's fine.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>(No) it's because of everything.<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>I don't understand what you're asking.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>How do you be a good man? I don't know how you do that nowadays. He's only got me, I mean, it's not enough.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>You're serious?<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>What about William? He's a guy, wouldn't he be better for this?<\/dialogue>\n    <scene_description>The girls look at each other, they take this more seriously.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Have you ever seen them have a conversation?<\/dialogue>\n    <scene_description>Very vulnerable for Dorothea, like a failure.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>He doesn't connect to men. He likes you two... he likes you two a lot.<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>But what if I'm not good at it?<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>He's my friend, I don't want to be his mom.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>No, I'm his mom.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>Don't you need a man to raise a man?<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>I don't think so. I think you're what's gonna work for him.<\/dialogue>\n    <scene_description>The girls don't know what to think.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>He just has me, think about it, that's not enough.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. MONTECITO STREETS - DOROTHEA'S CAR - DAY<\/stage_direction>\n    <scene_description>From inside Dorothea's car we watch Jamie skateboarding down a steep street. Dorothea loves this, we see her smile at his taking flight. MOMENTS LATER: The car is parked at the bottom of the hill. She's just delivered the news. Jamie's angry, mortified, confused. She's more vulnerable and scared than she knows.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>Help me with what?<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Go through this part of your life, it's not easy, it's not easy for anybody.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>You asked them to help me?<\/dialogue>\n    <scene_description>He gets out of the car, slams the door, but doesn't know exactly where to go. She's heartbroken but sticking with her plan.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>I think they get it, Jamie. They like you.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>They said yes?<\/dialogue>\n    <scene_description>Well, not exactly.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Fuck.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Hey?!<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>You just feel guilty - cause it's just you and me.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>You don't know what I'm feeling.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Right, exactly, tell me.<\/dialogue>\n    <scene_description>That's complicated for her.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Jamie...<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>You never tell me what's going on with you, you just do things.<\/dialogue>\n    <scene_description>He skates off - his face filled with anger. She's not used to him being this mad at her. She watches him get further and further away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKATE DITCH OR SKATE RAMP - DAY<\/stage_direction>\n    <scene_description>Jamie skates with other kids. 7-10 kids hang out, some skating, some watching, smoking, talking. Jamie's still angry. He overhears some older, tougher looking punk kids talking about going to a punk show in LA. Jamie approaches them, they look at him.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>You guys going to LA?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. 101 FREEWAY - CAR - LATE AFTERNOON DUSK<\/stage_direction>\n    <scene_description>Jamie's in the far back. The older punk kids are driving, talking excitedly about their adventure. Jamie mostly watches, but he loves this adventure.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUNSET BLVD - NIGHT<\/stage_direction>\n    <scene_description>A seedy section of Sunset, Jamie finishes a call and hangs up a payphone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S DINING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Dorothea, Abbie, and William are eating. Jamie's conspicuously absent, a place set for him. William returns to the table from the phone.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>That was Jamie. He's in LA, him and some friends went to a show.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>O.K.<\/dialogue>\n    <scene_description>She lights up, she doesn't look worried.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>Aren't you worried?<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>He's mad at me. This is his way of dealing with it, it's his right to be mad.<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>If it made him this mad, maybe it wasn't a good idea?<\/dialogue>\n    <scene_description>Dorothea looks at Abbie, smokes, inscrutable.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PUNK CLUB<\/stage_direction>\n    <scene_description>We see and intense swirling mosh pit, amidst all this action we see Jamie's body whirling by, his face ecstatic. CUT TO REPORTAGE FROM MID-LATE 1970'S LOS ANGELES PUNK SCENE. THE GERMS, BLACK FLAG, THE WEIRDOS, THE MASQUE CLUB.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S HOUSE - NIGHT - CONTINUOUS<\/stage_direction>\n    <scene_description>Hard cut to Dorothea working on the house late at night. William sees Dorothea down the hall, working away, hard on herself. She looks up and sees him. Why is it easy for her to be vulnerable with William?<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Maybe I did do the wrong thing?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Jamie's energy's very unstable, I think that's why he does all this.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Well there's an energy crisis, that must be playing into it.<\/dialogue>\n    <scene_description>He just looks at her sincerely, why joke?<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>You don't have a lot of funny lines do you?<\/dialogue>\n    <scene_description>He doesn't react. She leaves the room, seemingly fine.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S BEDROOM<\/stage_direction>\n    <scene_description>She sits in bed and smokes, and thinks, and worries.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOROTHEA'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Camera finds Julie, sneaking up to Dorothea's house in the dark.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAMIE'S BEDROOM - NIGHT - CONTINUOUS<\/stage_direction>\n    <scene_description>Julie sneaks into his window. The way she does it tells us she's done it a lot. She whispers for him but he's not there. Has this ever happened? She sits on his bed, lonely.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Jamie.<\/dialogue>\n    <scene_description>She decides to get undressed, get's into bed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABBIE'S ROOM<\/stage_direction>\n    <scene_description>Abbie's taking photographs in her room, listening to Siouxsie And The Banshees. She takes a photo of her red shoes on a grey backdrop, she's excited.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WILLIAM'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>William's still recovering from Dorothea's rejection. Abbie pops in, filled with energy.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>I had a new idea, for my work. Maybe just shoot all my stuff, everything I own, or everything that's important to me. A portrait of myself through all the objects I own? Can I show you?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <scene_description>She lays out polaroids for him to see.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>Bra, birth control, \"On Photography\" by Susan Sontag, my shoes, underwear, a picture of a picture of my mom... I'm gonna do a bunch of them.<\/dialogue>\n    <scene_description>He looks through some of her test Polaroids. Sort of immediately engrossed.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>It's sad in a way isn't it? All this stuff? You know what I mean?<\/dialogue>\n    <scene_description>She didn't expect him to get it. She's looking at one of her objects as she talks. Longer eye contact than usual. He sits, looks at her, his hand is next to her hand. Something's going on for her, takes a beat to say it.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>You want to fool around, with me?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Really? Yeah.<\/dialogue>\n    <scene_description>He touches her hair. She closes her eyes, melts more than she thought she would, just to be wanted is nice. She never tells people about her cancer.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>You know I'm recovering from cervical cancer?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>She can't believe he still wants to fool around. Everyone else treats her like a leper. Takes her a beat to assess what she feels capable of. He kisses her. She smells his hair.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>Your hair smells good.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I make my own shampoo.<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>Of course you do.<\/dialogue>\n    <scene_description>How did she get so far off course? She closes her eyes and kisses him again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 101 FREEWAY - CAR - NIGHT<\/stage_direction>\n    <scene_description>Jamie and his friends drive back from LA. He takes a beer from one of his passed out friends, drinks from it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Jamie enters the front door, buzzed. He makes his way down the hallway, tipsy. Puts his beer on a chair. His ears ringing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Dorothea's smoking in bed, pretending to read, petting Jeeves.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>It's OK Jeeves, he's home now, you can relax.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAMIE'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Jamie sits on the edge of his bed, looking at Julie. How strange, how great. A bit tipsy.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Where were you?<\/dialogue>\n    <scene_description>He thinks this is wild.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>I went to LA. We went to the Starwood, saw a show.<\/dialogue>\n    <scene_description>She looks upset, he studies her.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Are you drunk?<\/dialogue>\n    <scene_description>He sits down next to her, tries to kiss her.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Don't.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>What's wrong?<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>Tim Drammer came inside of me.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>I don't want to hear this shit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EMPTY SWIMMING POOL - NIGHT<\/stage_direction>\n    <scene_description>Abandoned empty Olympic size swimming pool, Julie and friends are drinking, fucking around, some one skateboards through it all.<\/scene_description>\n    <character>JULIE (V.O.)<\/character>\n    <dialogue>We broke into that old pool at the rec center. Got loaded. Fucked around.<\/dialogue>\n    <character>JULIE (V.O.)<\/character>\n    <dialogue>Me and Tim ended up in his mom's Maverick.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EMPTY PARKING LOT - NIGHT<\/stage_direction>\n    <scene_description>Camera pushes in on a lone Maverick, we hear the sounds of sex, we hear Tim orgasm.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Did you just cum?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TIM'S MOM'S MAVERICK - NIGHT<\/stage_direction>\n    <scene_description>Tim's getting up off of Julie in the back seat, she sits up.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>You said you were gonna pull out?<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>Yeah, sorry.<\/dialogue>\n    <scene_description>Julie plays it like it's not a big deal, but it is a big deal.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>I thought we had a deal there?<\/dialogue>\n    <scene_description>CUT BACK TO JAMIE'S BEDROOM He hates hearing this.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>Fuck. What're you gonna do?<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>It'll be fine.<\/dialogue>\n    <scene_description>She's actually very worried. Her mind spins, disturbed. She changes the subject.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Your mom asked me to like, help, like, raise you.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Yea I know. She was raised in the Depression, everyone helped everyone. The whole neighborhood raised the kids - Sorry.<\/dialogue>\n    <scene_description>She let's him know it's O.K. But she's still disturbed.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Can we do therapy?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Jesus, I don't want to do therapy right now....<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>Let's role play.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Please no.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>I'll be your mom, you can tell her what you want to tell her.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>I don't want to talk to my mom.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>What would you say to her?<\/dialogue>\n    <scene_description>It takes him a beat to work up to it.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>Well, mom, I don't need any help, I'm OK.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WILLIAM'S ROOM - NIGHT - CONTINUOUS<\/stage_direction>\n    <scene_description>Abbie and William are kissing, shirts off, she pulls back, stops. Looks at him strange.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>I'm gonna need a story.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>A what?<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>A story, like, you're a photographer taking pictures of me, I'm like a very normal woman or something, you have to photograph me, but you can't control yourself and you start touching me, and you shouldn't, but you can't stop and you keep apologizing, 'I'm sorry, I'm sorry, I'm sorry...'<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Can't I just be me?<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>No... sorry.<\/dialogue>\n    <scene_description>This isn't William's usual comfort zone, not his trip. But something about Abbie's strength has him. CUT TO: William stands beside the bed, pretending to be her photographer. He wants to play her game, doesn't really know how.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>Okay, so do I just?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Hey, nice to meet you.<\/dialogue>\n    <scene_description>They shake hands.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>Oh, Hi. Do I just look in the camera, or should I look off to the side?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Let's start that way, looking in the camera.<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>Okay, should I smile?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Do you like to smile?<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>He pretends to take a picture.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>Oh, you took it. I thought you would say like 1, 2, 3...<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>No, I just wait for the moment.<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I just have to fix something.<\/dialogue>\n    <scene_description>He leans in and fixes her bra strap. She melts.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>Oh, no, it's fine. I've just never done this before so I'm a little bit nervous. But I can wear my hair differently if you want.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Abbie.<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <scene_description>He breaks their role playing and talks to her sincerely.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>I'm sorry. I'm really sorry.<\/dialogue>\n    <scene_description>She doesn't know what to say, what to feel, not where she expected to be. He kisses her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAMIE'S ROOM - NIGHT - CONTINUOUS<\/stage_direction>\n    <scene_description>Julie and Jamie are in bed, listen to Abbie's moaning through the walls. It's more real and adult than what Julie's ever experienced. Camera tracks out as Jamie looks at Julie.<\/scene_description>\n    <character>JAMIE (V.O.) PRELAP<\/character>\n    <dialogue>Julie and I have been friends since we were little.<\/dialogue>\n    <scene_description>TITLE: JULIE BOWEN BORN 1962<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL CHOIR ROOM: CAMERA TRACKS DOWN A LINE OF<\/stage_direction>\n    <scene_description>SINGING FACES, THEY'RE ALL HAPPY AND ENGAGED - THEN JULIE, REMOVED, GOING THROUGH THE MOTIONS.<\/scene_description>\n    <character>JAMIE (V.O.) CONTD<\/character>\n    <dialogue>She likes to say she's self destructive.<\/dialogue>\n    <character>JAMIE (V.O.) CONTD<\/character>\n    <dialogue>Her mother is a therapist. She makes Julie attend her teen group sessions.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JULIE'S HOUSE: IMPROVISE, MARY TRIES TO RECONNECT WITH<\/stage_direction>\n    <scene_description>HER DAUGHTER, BUT SHE'S TALKING TO A WALL.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S THERAPY OFFICE: CAMERA TRACKS IN ON MARY'S TEEN<\/stage_direction>\n    <scene_description>GIRL GROUP THERAPY. THE GIRLS IN A CIRCLE. JULIE RELUCTANTNLY THERE. CLOSE UP ON MARY: She talks to Julie as if she weren't her daughter.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>How about the possibility... that you're choosing boys who are inappropriate - unconsciously.<\/dialogue>\n    <scene_description>This is humiliating for Julie, she hides it as best as she can.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JULIE'S HOME: FAMILY DINNER WITH MARY, JULIE'S STEP DAD,<\/stage_direction>\n    <scene_description>AND AMANDA. MARY DOTES ON AMANDA AND JULIE'S STEP DAD. JULIE LOOKS ON IN DISBELIEF.<\/scene_description>\n    <character>JAMIE (V.O.)<\/character>\n    <dialogue>When her mother remarried, Julie changed. When her half sister Amanda was born with Cerebral Palsy, she changed more.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JULIE'S BEDROOM: AMANDA DOES JULIES MAKE UP. THEY<\/stage_direction>\n    <scene_description>IMPROVISE.<\/scene_description>\n    <character>AMANDA<\/character>\n    <dialogue>It looks really pretty on you, it<\/dialogue>\n    <dialogue>just makes your face pop, like pop.<\/dialogue>\n    <scene_description>Amanda's sweet and Julie's very far away emotionally.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JULIE'S BEDROOM WINDOW: JULIE SNEAKS OUT AT NIGHT.<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HESHER ROOM: JULIE DOES A BONG HIT WITH SOME SKETCHY<\/stage_direction>\n    <scene_description>GUYS.<\/scene_description>\n    <character>JAMIE V.O.<\/character>\n    <dialogue>She started fooling around. She started sneaking into my house. Sleeping over.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DIFFERENT HESHER ROOM: JULIE MAKES OUT ON TOP OF ONE OF<\/stage_direction>\n    <scene_description>THE BOYS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JAMIE'S HOUSE NIGHT - JULIE SNEAKS ACROSS THE YARD AND<\/stage_direction>\n    <scene_description>UP THE SIDE OF HIS HOUSE TO JAMIE'S WINDOW.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAMIE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Jamie and Julie lay next to each other, mid conversation.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>Why'd you do it?<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>Cause I'm crazy.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>You wish you were crazy.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>Scratch me.<\/dialogue>\n    <scene_description>She lays her arm across him, something she does. He scratches her.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>We should go up the coast somewhere. Just me and you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL CHOIR ROOM - SAME SHOT DIFFERENT DAY.<\/stage_direction>\n    <scene_description>Julie sings the same song with the other girls.<\/scene_description>\n    <character>JAMIE (V.O.) PRELAP<\/character>\n    <dialogue>Julie works at the La Cumbre Plaza mall.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CRABTREE AND EVELYN: JULIE HELPS A WOMAN PICK POTPOURRI.<\/stage_direction>\n    <scene_description>SHE WANTS THE MONEY, SHE'S SMART, SHE COMPARTMENTALIZES.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Spring rain features cinnamon,<\/dialogue>\n    <dialogue>jasmine, lily-of-the-valley and rose.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JULIE'S BEDROOM: JULIE READS FROM<\/stage_direction>\n    <scene_description>FOREVER BY JUDY BLUME, 1975<\/scene_description>\n    <character>JULIE (V.O.)<\/character>\n    <dialogue>Sex is commitment, once you're there, you cant go back to holding hands, and once you give yourself both mentally and physically, well you're completely vulnerable.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S THERAPY BUNGALOW: JUMP CUT THROUGH TEEN GIRLS<\/stage_direction>\n    <scene_description>TALKING IN GROUP SESSION LED BY JULIE'S MOTHER MARY.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CRABTREE AND EVELYN: JULIE HELPS A WOMAN PICK POTPOURRI.<\/stage_direction>\n    <scene_description>SHE WANTS THE MONEY, SHE'S SMART, SHE COMPARTMENTALIZES.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Spring rain features cinnamon, jasmine, lily-of-the-valley and rose.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JULIE'S CREEK: JULIE READS THE ROAD LESS TRAVELED, BY M.<\/stage_direction>\n    <scene_description>SCOTT PECK, 1978.<\/scene_description>\n    <character>JULIE (V.O.)<\/character>\n    <dialogue>Of all the misconceptions about love, the most powerful and persuasive is the belief that falling in love is love, or at least one of the manifestations of love.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ABANDONED PERGULA AREA: JULIE MESSES AROUND WITH A NEW<\/stage_direction>\n    <scene_description>BOY.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAMIE'S BEDROOM NIGHT: JULIE TALKS TO JAMIE IN BED.<\/stage_direction>\n    <character>JULIE<\/character>\n    <dialogue>Love is supposed to be a feeling that you feel. People say that they're falling in love, but they're not actually falling in love. It's a fake connection that you feel with someone, and marriage should never happen.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S THERAPY BUNGALOW: A GIRL BEATS A WOOD STUMP WITH<\/stage_direction>\n    <scene_description>A ROLLED UP MAGAZINE, \"YOU SHOULD HAVE DIED, IT SHOULD HAVE BEEN YOU\". It's very cathartic and emotional. Mary watches the girl approvingly, Julie can't stand the whole situation.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOROTHEA'S HOUSE - MORNING<\/stage_direction>\n    <scene_description>Julie quietly escapes Jamie's window. WE FOLLOW her around the house, ducking under windows until she gets to the front door, neatens a little, knocks and lets herself in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S KITCHEN - MORNING<\/stage_direction>\n    <scene_description>Dorothea is preparing breakfast for the family. Julie walks in and helps bring dishes to the table.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Hey Julie, come in, Jamie's still asleep, he got home late.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Help me bring this stuff in OK?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S DINING ROOM - CONTINUOUS.<\/stage_direction>\n    <scene_description>Julie, Abbie, Dorothea and William are having a very awkward breakfast. Dorothea eyes William and Abbie.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>So, is Jamie okay?<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Yeah, he's okay. I heard him come in last night. I was awake.<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Yea, I couldn't sleep, so I was, listening for him.<\/dialogue>\n    <scene_description>It's clear she knows what happened, Julie really enjoys herself. Jamie finally enters, a bit sheepish, he did run away.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>How was the show?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Good.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Next time you take a trip just tell me, I won't make too much dinner.<\/dialogue>\n    <scene_description>Jamie's pissed to have his delinquency dismissed so. Wasn't she afraid? CUT TO: Everyone cleaning up and heading off.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Hey, do the stocks with me?<\/dialogue>\n    <scene_description>Really?<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>C'mon.<\/dialogue>\n    <scene_description>CUT TO: Dorothea and Jamie are seated at the table, paper and pad and more tension than before. Everyone else is gone.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>IBM...Xerox...GE...<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>$69.73...$53.92...<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Abbie's got her appointment today. I have to work, maybe you can be here when she gets back, in case she needs support.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>What if it's like, bad news?<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>You can handle it. Or if you can't, you just gotta start somewhere.<\/dialogue>\n    <scene_description>He's not so sure.<\/scene_description>\n    <character>DOROTHEA CONTD<\/character>\n    <dialogue>Men feel like you have to fix everything for women, or you're not doing anything. But some things can't be fixed. Just be there. Somehow, that's hard for you all.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>I'm not all men, I'm just me.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Well, yes and no.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABBIE'S BATHROOM - DAY<\/stage_direction>\n    <scene_description>Jamie watches a nervous, distraught Abbie re-dying her hair.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>What if I have to do chemo, or have a hysterectomy? You know what that is?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>I should go with you.<\/dialogue>\n    <scene_description>She's touched by his willingness.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>Your mom did tell me to share my life with you...<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>I know. I'm sorry, she's from The Depression.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OB-GYN - EXAM ROOM - DAY<\/stage_direction>\n    <scene_description>CLOSE ON Abbie's confused, wide open face, hanging there. REVEAL she's in a paper gown.<\/scene_description>\n    <character>DOCTOR (O.S.)<\/character>\n    <dialogue>It's good news Abbie.<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>No malignant cells, your biopsy's benign.<\/dialogue>\n    <scene_description>She tries to be happy. It takes a while to ask...<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>What about in the future?<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>There was damage to the muscle wall, from the surgery. You have an incompetent cervix.<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>Incompetent?<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>It may not be strong enough to go full term during pregnancy. As the baby grows, the cervix widens. If it's weakened, it's likely to open prematurely.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - HALLWAY - DAY<\/stage_direction>\n    <scene_description>Abbie and Jamie walk down the hall. She looks at him, a swirl of pain and confusion.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>He said I probably can't have kids. But I'm gonna be OK.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S KITCHEN<\/stage_direction>\n    <character>ABBIE<\/character>\n    <dialogue>Having Jamie, was that the biggest thing that happened to you?<\/dialogue>\n    <scene_description>What can Dorothea say? Abbie can see this is true.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>I guess so. You'll get through this. You will get through it. You will do it. This is the really hard part. And then what happens is, there's a hard part but then it gets better. Then it gets hard again.<\/dialogue>\n    <scene_description>She cries and laughs. JUMP CUT TO DOROTHEA NOTICING ABBIE'S NEW BIRDS IN A CAGE.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>You got birds?<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>That OK?<\/dialogue>\n    <scene_description>She gets up for a closer look.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Yeah, do they have names?<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>(No) It's a boy and a girl. The guy at the store said they're monogamous for life, if one dies the other one will die like a week later.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>What about Maximilian and Carlotta? They deserve something grand, if they're gonna be monogamous their whole lives.<\/dialogue>\n    <scene_description>Dorothea hugs her, about to leave.<\/scene_description>\n    <character>ABBIE (V.O.)<\/character>\n    <dialogue>Max and Carlotta are really good names.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S KITCHEN - DAY<\/stage_direction>\n    <scene_description>Jamie's looking distraught after his visit to the doctor, with Abbie. It's a lot to take in. AFTER A BEAT OF THAT - Dorothea comes to the door. She pauses, processing all that she just heard from Abbie. Dorothea enters the room.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>So, you went to her doctor's office with her, and waited there?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>I told you to just wait here?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>I thought it would be better to just go with her, really be there.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Well, are you OK, sweetie?<\/dialogue>\n    <scene_description>Then, awkward, out of character.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>She's really upset, that must have been a lot to deal with.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>No, not really.<\/dialogue>\n    <scene_description>Already feeling her plan slipping away from her. A little regret.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>I'm fine. I'm good. I learned a lot.<\/dialogue>\n    <scene_description>Off Dorothea, not sure how to take this. NOW IN FAST MOTION, WE GO BACK IN TIME TO THE OBGYN OFFICE. Abbie and Jamie look out of place sitting with five pregnant women and a couple of kids.<\/scene_description>\n    <character>NURSE<\/character>\n    <dialogue>Abigail Porter?<\/dialogue>\n    <character>ABBIE<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>Punch me.<\/dialogue>\n    <scene_description>He does in slow motion, softly. She liked that. She leaves. He picks up a magazine and does his best imitation of an adult who belongs there, but he's really just a nervous 15 year old punk kid pretending to read TIME. A VERY PREGNANT TEENAGE GIRL enters, the weight of the world on her face. Jamie can't stop looking at her.<\/scene_description>\n    <character>JAMIE (V.O.) PRELAP<\/character>\n    <dialogue>Home pregnancy tests that women use safely and easily, a small revolution for women seeking to take control of their lives.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHARMACY - DAY<\/stage_direction>\n    <scene_description>Jamie searches through the shelves in the women's section. He finds what he's looking for: an early E.P.T. pregnancy test. At the counter, the PHARMACIST looks at it, perplexed. It's new to him. He figures out what it is. The pharmacist, appalled, BUT lets him buy it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - DAY CONTINUOUS<\/stage_direction>\n    <scene_description>Jamie skateboards down a long Montecito street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JULIE'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>Jamie and Julie sit in her bedroom. She unpacks the E.P.T kit. A lot of glass, hard angles, and mirrors, it looks very space-age. She's never seen anything like it before, glances at the instructions.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Fuck, what is that?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>It's a pregnancy test.<\/dialogue>\n    <scene_description>LATER: The door to Julie's attached bathroom is closed. She's in the bathroom, not happy about peeing in a cup. Jamie sits on the bedroom floor. Quiet, then the sound of pee in a cup. They speak through the door.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>The doctor said, Abbie won't be able to have kids.<\/dialogue>\n    <scene_description>Look of confusion and heaviness on Julie. She opens the door, tube filled with urine in her hand.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Why'd she take you?<\/dialogue>\n    <scene_description>Julie's jealous. We watch her follow Jamie's instructions, it all gets more and more real for her.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Now what?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Um, shake for 10 seconds.<\/dialogue>\n    <scene_description>She shakes the vial. Counts to ten, very nervous. He inspects it, reads the next part of the instructions.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>Leave undisturbed for 2 hours.<\/dialogue>\n    <scene_description>She's shocked.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Two hours?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Yeah, that's what it says. If it appears then you're positive, if no ring appears then the test is negative.<\/dialogue>\n    <character>JAMIE CONTD<\/character>\n    <dialogue>What do we do for two hours?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JULIE'S SAN YSIDRO CREEK, UNDER BRIDGE - DAY<\/stage_direction>\n    <scene_description>Jamie and Julie stand in front of a long circular tunnel and smoke. Jamie holds the cigarette wrong, inhales wrong. He inhales, coughs. Looks at the cigarette.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>That's not how guys smoke. Don't hold it like that.<\/dialogue>\n    <scene_description>She imitates a real guy smoking.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Like this. Hold it like this.<\/dialogue>\n    <scene_description>He echoes her smoking moves. Still off.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Okay now walk, do like a cool cigarette walk.<\/dialogue>\n    <scene_description>He walks.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Guys don't look like they're thinking about what they look like.<\/dialogue>\n    <scene_description>JULIE IMPROVS acting like a man: holding a cigarette, posture, walking. Jamie follows, mostly thinking this is just a laugh.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>See?<\/dialogue>\n    <scene_description>He continues imitating her, but then he coughs. He throws his cigarette away, grossed out. She teases him playfully.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>Smoking's gross.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>No it's not.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Gives you cancer.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JULIE'S SAN YSIDRO CREEK, UNDER BRIDGE - LATER<\/stage_direction>\n    <scene_description>Julie and Jamie sit and talk. She smokes.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>It's just my opinion, I think being strong is the most important quality, it's not being vulnerable, not being sensitive, it's not even about being happy, it's about strength and your durability against the other emotions.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JULIE'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>They come back into the room. Julie's upset, Jamie looks into the EPT test.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>No ring.<\/dialogue>\n    <scene_description>She looks at him, uncomfortably vulnerable.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>No ring.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAMIE'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Jamie's alone in his room. Abbie enters sits next to him, she seems changed, a little lighter.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>Thanks for coming with me.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>I made you this.<\/dialogue>\n    <scene_description>She hands him a mix tape.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>A mix tape.<\/dialogue>\n    <scene_description>CUT TO - ABBIE'S GIVING JAMIE AN IMPROV DANCE LESSON.<\/scene_description>\n    <character>ABBIE (V.O.)<\/character>\n    <dialogue>These are a bunch of songs that I think my life would have been better if they would have been around when I was a teenager. And I'm hoping that if you listen to them now, you'll be a happier and more realized person than I could ever hope to be.<\/dialogue>\n    <scene_description>TITLE: ABBIE PORTER BORN 1955<\/scene_description>\n    <character>JAMIE (V.O.)<\/character>\n    <dialogue>From that night on, Abbie started telling me everything.<\/dialogue>\n    <character>VISUALS<\/character>\n    <dialogue>1. ABBIE AND JAMIE, LAYING ON THE BED, LAUGHING<\/dialogue>\n    <character>JAMIE (V.O.)<\/character>\n    <dialogue>She grew up in Santa Barbara, where everyone is happy, but that made her feel crazy.<\/dialogue>\n    <character>VISUALS<\/character>\n    <dialogue>2. ABBIE AND JAMIE TALK AT DOROTHEA'S SMALL KITCHEN TABLE.<\/dialogue>\n    <character>JAMIE (V.O.)<\/character>\n    <dialogue>In 1973 she moved to New York City and went to art school. New York City made her feel sane. It was so fucked up. She fell in love with photography, she learned to dance when she got sad. She saw The Man Who Fell To Earth and died her hair red.<\/dialogue>\n    <character>VISUALS<\/character>\n    <dialogue>3. EXT EAST VILLAGE: ABBIE WALKS DOWN THE STREET, ENTHRALLED 4. EXT. EAST VILLAGE: ABBIE TAKES PICTURES OF TRASH, HAPPY. 5. JUMP CUTS OF ABBIE GETTING DRESSED IN HER NYC MIRROR, SHE'S DISCOVERING A MORE SEXUALIZED LOOK.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABBIE'S ROOM - DAY<\/stage_direction>\n    <scene_description>Abbie and Jamie are laying down - she tells him her story.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>I figured out being looked at, you know? Making guys excited, uncomfortable. I was so cocky, and I was so angry, and I was so happy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JERSEY CITY APARTMENT - DAY<\/stage_direction>\n    <scene_description>Abbie and DANIEL (her teacher) sit on the front steps.<\/scene_description>\n    <character>JAMIE (V.O.)<\/character>\n    <dialogue>She fell in love with her teacher. Then she went to Planned Parenthood. Her friends couldn't deal with her having cancer, so she went home to her mom.<\/dialogue>\n    <character>VISUALS<\/character>\n    <dialogue>5. ABBIE AND DANIEL WALKING AROUND NYC 6. DANIEL PLAYING VIOLIN 7. ABBIE WAITS WITH OTHER YOUNG WOMEN IN PLANNED PARENTHOOD 8. LAB TECHNICIAN LOOKS AT ABBIE'S CELLS 8.<\/dialogue>\n    <scene_description>MAGNIFIED CANCEROUS CELLS:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK CITY STREET - DAY<\/stage_direction>\n    <scene_description>Abbie calls her mom from a phone booth on street.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>Mom?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. S.B. OBGYN OFFICE: OBGYN TALKS TO GAIL AND ABBIE.<\/stage_direction>\n    <character>OBGYN<\/character>\n    <dialogue>Gail, did you ever take DES? When you were pregnant with Abbie?<\/dialogue>\n    <scene_description>Confused, why is the question directed at her?<\/scene_description>\n    <character>GAIL<\/character>\n    <dialogue>Yes...I had two miscarriages before Abbie...My doctor told me to take it?<\/dialogue>\n    <scene_description>Abbie didn't know her mom had miscarriages. Gail's face stiffens.<\/scene_description>\n    <character>ABBIE (V.O.)<\/character>\n    <dialogue>DES was a fertility medication they gave to women, doctors prescribed it to women. Later they figured out it gave the daughters of those women who took it cervical cancer.<\/dialogue>\n    <scene_description>CUT TO SINGLE DES PILL ON GREY.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANTA BARBARA HOSPITAL CORRIDOR: GAIL AND ABBIE LEAVE<\/stage_direction>\n    <scene_description>OFFICE; ABBIE'S LOOKING AT HER MOM CONCERNED.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>I didn't know you had miscarriages.<\/dialogue>\n    <scene_description>GAIL FEELS TRESPASSED IN MANY WAYS, NO WARMTH, ABBIE'S SURPRISED.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM: CLOSE ON DETAILS: THE CEILING, FLOWERS,<\/stage_direction>\n    <scene_description>GAIL'S FACE. REVEAL Abbie waking from her surgery, bleary, looking at Gail.<\/scene_description>\n    <character>JAMIE (V.O.)<\/character>\n    <dialogue>When her mom found out it was because she took that drug, she wouldn't talk about it. And everything Abbie did made her mad.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABBIE'S HOSPTIAL ROOM DAY: ABBIE LOOKS IN PAPER FOR A<\/stage_direction>\n    <scene_description>ROOM TO RENT.<\/scene_description>\n    <character>JAMIE V.O.<\/character>\n    <dialogue>So Abbie looked for another place to live.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S HOUSE: ABBIE MEETS DOROTHEA FOR THE FIRST<\/stage_direction>\n    <scene_description>TIME. ABBIE AND DOROTHEA TALK WARMLY IN THE KITCHEN. ABBIE UNPACKS IN HER NEW ROOM, SHE MEETS JAMIE FOR THE FIST TIME - HE LOOKS IN LOVE.<\/scene_description>\n    <character>JAMIE V.O.<\/character>\n    <dialogue>And she started renting the room upstairs.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA BARBARA BEACH - DAY<\/stage_direction>\n    <scene_description>Abbie, with a reporter friend, takes a picture of long-winded county supervisor for her work, how did her life end up like this? END OF SEQUENCE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL 6 DRAFTING ROOM - DAY<\/stage_direction>\n    <scene_description>All the men have their heads down drawing. Dorothea, the only woman, is sitting up, looking around. LATER IN THE BREAK ROOM: DOROTHEA SMOKES ALONE. CHARLIE ENTERS, DOROTHEA SALUTES HIM. HE LIGHTS UP, LOOKS AT HER.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Hey Dorothea.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Hey Charlie.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>You wanna go out sometime? Get a drink?<\/dialogue>\n    <scene_description>Surprised, sincere.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Yeah? What the heck, Charlie.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Oh, great, funny, I wasn't sure.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Of what?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Some of the guys thought you're a lesbian, you know, which is no problem with me if you are, but you aren't.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Yeah, no, not a lesbian.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>OK, well then, let's go out?<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Maybe come to dinner at my house again sometime? We could do that.<\/dialogue>\n    <scene_description>She leaves blas\u00e9, once out of sight, real hurt on her face.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S BEDROOM - THAT NIGHT<\/stage_direction>\n    <scene_description>Dorothea looks lost in bed alone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EXT. DOROTHEA'S WINDOW - MORNING<\/stage_direction>\n    <scene_description>Dorothea's up early, tidying up the house. She sees Julie making her escape out of Jamie's window, climbing down the scaffolding, making her get away. Dorothea is as impressed as she's angry.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Shit Julie.<\/dialogue>\n    <scene_description>Dorothea takes off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAN LEANDRO STREET\/OAK TREE GLENN - DOROTHEA'S CAR - DAY<\/stage_direction>\n    <scene_description>Julie walks down the street. In the distance we see Dorothea's VW BUG catching up, pulling up alongside Julie. Julie sees the car, walks on the little trail in to the oaks. Dorothea parks and catches up to her.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>I saw you, leaving. Please don't turn me into the cop here, that's so boring you know?<\/dialogue>\n    <scene_description>Julie feels horrible but decides to stand her ground.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>It's nothing, I just end up there sometimes.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>What do you guys do?<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>I just sleep there. We talk.<\/dialogue>\n    <scene_description>CUT TO: They're sitting in the car. Dorothea lights up.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Can I have one?<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>It's really bad for you.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>You smoke all the time.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>When I started they weren't bad for you, they were stylish and sort of edgy, so it's different for me.<\/dialogue>\n    <scene_description>Dorothea gives her one, Julie lights up like a seasoned smoker.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>You're good at hiding stuff, huh?<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>My mom calls it \"compartmentalizing\", apparently I do that a lot.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Are you helping him?<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>I'm trying.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>What about you? Have you thought about your impact on him?<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Me?<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>It's always about the mother. Like, do you think you've moved on, since his dad?<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>You know, you're not actually a therapist.<\/dialogue>\n    <scene_description>Julie's not easy to intimidate. She stares Dorothea down.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>I've had new guys.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>No one appropriate.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Appropriate?<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>Guys you're not going to risk anything with. Men you don't even really like.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Seriously, you're 17, maybe you can't see what's good in some of my guys?<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>I'm talking about you. You never seem into it. Except for William, but he's... inappropriate.<\/dialogue>\n    <scene_description>That gets her.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Jesus. O.K. Yeah, hard to find a guy I really like. I had my chance, I had it twice, that part of life just never worked out right.<\/dialogue>\n    <scene_description>A reflective beat, they say goodbye and Julie gets out of the car. Dorothea drives off, more unnerved than she expected.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Dorothea re-enters. Jamie's finishing the stocks - surprising Dorothea a little.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>Where were you?<\/dialogue>\n    <scene_description>He's been lying to her, so why would she tell him the truth?<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>I had some errands... You did the whole list? You know all the stocks?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>That means a lot to her. She's processing their life together a bit. William's watching them.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>IBM's down again huh?<\/dialogue>\n    <scene_description>Jamie leaves. Dorothea watches him go down the hall. She lights up. Observes William.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>William?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Do I seem, stuck, to you?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>How do you mean?<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>I guess I wouldn't know would I?<\/dialogue>\n    <scene_description>Abbie enters, awkwardly avoiding William, he's not used to being treated that way. Dorothea clocks all of this, amused, bit of a trouble maker.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Let's go out tonight? I'd like to see this modern world.<\/dialogue>\n    <scene_description>On Abbie's surprise.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Can I come?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAUDELAIRES - NIGHT<\/stage_direction>\n    <scene_description>Abbie leads Dorothea and William into the grungy, graffiti-lined club filled with Santa Barbara's punks. A local post-punk band blares from the stage. Dorothea would never appear intimidated, but this is a strange and loud new world for her. William too. Dorothea and William get a drink at the bar.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>I don't know if I'm going to find an appropriate man here.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>You might.<\/dialogue>\n    <scene_description>He's looking right at her. He touches her hand on the bar, she looks at his hand like it's a foreign object.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Hello -<\/dialogue>\n    <scene_description>He leans in and gently kisses her on the lips, hoping she will get him out of the traps he's made. She seems completely unstirred.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>What was that? What does that mean?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>...<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Don't just kiss a woman if you don't have some idea what you mean by it.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>...<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Aren't you sleeping with Abbie?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>It's nothing serious.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Then why do it?<\/dialogue>\n    <scene_description>She turns away from him coldly, but we see the kiss affected her. A band begins to play, a distorted WALL OF SOUND. Kids head toward the stage, some begin to dance. Dorothea walks through the crowd, curious about this world. Dorothea makes her way to the front, into the sea of noise and strobe light. William watches, impressed by Dorothea's willingness. CLOSE ON Dorothea, strobe lit, her expressions searching for hope and meaning in this music, as her face goes ON...OFF... ON...OFF the music cross fades to score.<\/scene_description>\n    <character>DOROTHEA (V.O.)<\/character>\n    <dialogue>It's 1979. I'm 55 years old. This is what my son believes in.<\/dialogue>\n    <scene_description>WE SEE: The band playing on stage. CUT TO: REPORTAGE OF DIFFERENT 1979 PUNK PERFORMERS ON STAGE. THEIR CHARISMA, THEIR ABANDON, THAT'S WHAT WE SEE.<\/scene_description>\n    <character>DOROTHEA (V.O.)<\/character>\n    <dialogue>These people, with this hair, and these clothes, making these gestures, making these sounds.<\/dialogue>\n    <scene_description>BACK IN BAUDELAIRES: DOROTHEA OPENS HER EYES, THERE'S THE BAND, SHE LOOKS PAINED.<\/scene_description>\n    <character>DOROTHEA V.O.<\/character>\n    <dialogue>It's 1979 I'm 55 years old. In 1999 I will die of cancer, from the smoking.<\/dialogue>\n    <scene_description>SHE HAS TO LEAVE. WILLIAM'S STILL WATCHING, HE CATCHES UP WITH HER.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>You're going?<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Yeah. Do me a favor, stay here, take care of Abbie.<\/dialogue>\n    <scene_description>She points him to Abbie, begins to head out, turns back and looks at the 79 punks and the band in the distance.<\/scene_description>\n    <character>DOROTHEA V.O.<\/character>\n    <dialogue>They don't know this is the end of punk. They don't know that Reagan's coming. It's impossible to imagine that kids will stop dreaming about nuclear war, and have nightmares about the weather. It's impossible to imagine HIV and AIDS, what will happen with skateboard tricks, the internet.<\/dialogue>\n    <character>VISUALS<\/character>\n    <dialogue>1. REPORTAGE OF REAGAN IN OFFICE. 2. FOOTAGE OF NUCLEAR WAR FROM THE FILM \"THE DAY AFTER\" 3. 2010 GRAPHICS OF CLIMATE CHANGE AND RISING SEA LEVELS 4. MICRO-BIOLOGICAL SHOTS OF HIV 5. TECHNICAL SKATEBOARD TRICKS FROM 2000'S. 8. GRAPHIC VISUALIZATION OF THE INTERNET.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAUDELAIRES<\/stage_direction>\n    <scene_description>Dorothea exits, disturbed. Julian the doorman is there.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Julian, you got a cigarette?<\/dialogue>\n    <scene_description>Surprised she knew his name, he gives her one, lights it. She stares him down, he feels awkward and intimidated.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>JULIAN<\/character>\n    <dialogue>Did you have a good time?<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Yeah, it was interesting.<\/dialogue>\n    <scene_description>She leaves, we follow her walking home, struggling inside.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Abbie's got your number? Maybe you can come over for dinner some night?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Dorothea enters, lost in her thoughts, walks through the rooms. Jamie's half asleep, watching TV in the living room, half waiting up for her, a role reversal.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>It's late.<\/dialogue>\n    <scene_description>A strange, aloof look.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>How was it?<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Life changing.<\/dialogue>\n    <scene_description>She smiles through her lost feelings and walks off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Dorothea smokes, pets Jeeves, thinks. CLOSE ON the smoke slowly rising into the air.<\/scene_description>\n    <character>DOROTHEA (V.O.)<\/character>\n    <dialogue>Before I die I will prepare for Y2K. Canned food and water in the garage. I put 16 thousand dollars worth of gold coins into a safe deposit box at the Bank of Montecito. I died before the new year, Dolphin shaped balloons floated over my head, they were playing Louis Armstrong on a boom box.<\/dialogue>\n    <scene_description>LOUIS ARMSTRONG'S \"BASIN STREET BLUES\" PLAYS<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWNSTAIRS HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Abbie stumbles in with a busted lip, disgusted with her night. She doesn't know what to do, then decides to go up to Jamie's room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAMIE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>There's a KNOCK. Julie hides under the covers.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <scene_description>Abbie enters, distraught. She sits on the edge of Jamie's bed.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>I'm sorry, you awake?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>I wanted to tell you, you just have to get out of this town, If you want to have any chance at an interesting life where you can move forward.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <scene_description>She sees Julie.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>Oh, shit. I'm sorry.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>We don't have sex. I just sleep here.<\/dialogue>\n    <scene_description>She looks at Jamie for verification, he nods, 'sad but true'.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>Can I lay down?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Yeah, here, lay down.<\/dialogue>\n    <scene_description>He makes room, Julie's pissed. Half just to not be bossed around by Julie, Abbie lays down. Jamie's surrounded by two of the women he loves.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>We were sleeping.<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>I'm talking to Jamie for a sec, OK?<\/dialogue>\n    <scene_description>She composes herself on the bed,<\/scene_description>\n    <character>ABBIE CONTD<\/character>\n    <dialogue>Lynette Winters spit on me.<\/dialogue>\n    <scene_description>CUT BACK TO BAUDELAIRES - LYNETTE SPITS ON ABBIE. WILLIAM TRIES TO INTERVENE.<\/scene_description>\n    <character>ABBIE (V.O.)<\/character>\n    <dialogue>So then I hit her.<\/dialogue>\n    <scene_description>THEN ABBIE PUSHES LYNETTE TO THE FLOOR.<\/scene_description>\n    <character>JAMIE (V.O.)<\/character>\n    <dialogue>Why'd she spit on you?<\/dialogue>\n    <character>ABBIE (V.O.)<\/character>\n    <dialogue>Because I spit on her.<\/dialogue>\n    <scene_description>TO ABBIE'S SURPRISE LYNETTE LUNGES BACK AT ABBIE, KNOCKING HER TO THE FLOOR, STRADDLING HER, HITTING HER.<\/scene_description>\n    <character>ABBIE V.O.<\/character>\n    <dialogue>Right before I was going to New York and I thought I was never coming back. It felt very liberating at the time.<\/dialogue>\n    <scene_description>WILLIAM FINALLY PULLS OFF LYNETTE - ABBIE, BLOODY LIP OR NOSE, IS ENRAGED AT EVERYTHING THAT'S HAPPENED TO HER, GRABS A CHAIR AND AWKWARDLY TRIES TO DESTROY IT AGAINST THE GROUND, OVER AND OVER.<\/scene_description>\n    <character>ABBIE V.O.<\/character>\n    <dialogue>And somehow I ended up breaking a chair.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAUDELAIRES - NIGHT<\/stage_direction>\n    <scene_description>Abbie quickly exits, bloody lip, torn up shirt. She rushes past Julian, \"Hey, what happened?\" She's running down the street. It takes a block for William to catch up to her, he has to pull her to a stop. He has something to tell her.<\/scene_description>\n    <character>ABBIE (V.O.)<\/character>\n    <dialogue>And then William told me he didn't want to sleep with me anymore. Not that I ever really wanted to sleep with him.<\/dialogue>\n    <scene_description>She yells at William.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>What are you saying? I don't like you, I don't like you, I don't like you, I don't like you.<\/dialogue>\n    <scene_description>BACK IN JAMIE'S BEDROOM: Abbie changes her mood again. Abbie gestures for Julie to look away.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>(To Julie) I'm just gonna talk to Jamie for a second.<\/dialogue>\n    <scene_description>Set gets very close to him, almost sexual.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>Don't let her sleep here without having sex with you, it's disempowering. And get out of this town before you end up working in a sunglasses shop.<\/dialogue>\n    <scene_description>She looks at Julie.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>That goes for you too.<\/dialogue>\n    <scene_description>And with that she gets up and leaves. Julie's jealous.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S BREAKFAST TABLE<\/stage_direction>\n    <scene_description>Julie, Jamie, Dorothea and William eat breakfast. Abbie shows up with a busted lip. Dorothea's curious - Abbie waves her off and glares at William. Abbie has some books for Jamie.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>Here's some books from my feminism class. I thought they might be good for you, a woman's perspective.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>What happened to your lip?<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>There was a fight.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>It was ridiculous.<\/dialogue>\n    <scene_description>William picks up \"Our Bodies Our Selves\".<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>I read this. The chapter on home birth. It was pretty helpful.<\/dialogue>\n    <scene_description>He digs into it, he's a mystery to them. Does he read something aloud?<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Home births actually stunts the baby's growth personality.<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>What is a growth personality?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>It's a real term.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>\"And who knows what it means for a newborn to see wood walls and carpeted floors and to smell real human smells and to feel wool and cotton and flannel clothes instead of starchy, white, deodorized...\" to me, that meant, what else?<\/dialogue>\n    <scene_description>Dorothea looks on, perplexed, what is this world?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAMIE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Jamie in bed looks through the book SISTERHOOD IS POWERFUL. TITLE: THE POLITICS OF ORGASM - SUSAN LYDON, 1970 He finds the essay, begins to read.<\/scene_description>\n    <character>JAMIE (V.O.)<\/character>\n    <dialogue>'Women's sexuality, defined by men to benefit men, has been downgraded and perverted, repressed and channeled...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK YARD - SKATE RAMP - DAY<\/stage_direction>\n    <scene_description>Good 1979 style ramp skating. Punk on a boombox. Jamie and other skaters sit on the roll-out deck. MATT, hardcore punk style, holds court.<\/scene_description>\n    <character>JAMIE (V.O.)<\/character>\n    <dialogue>Anatomically, all orgasms are centered in the clitoris, whether they result from direct manual pressure applied to the clitoris, indirect...(fades out)<\/dialogue>\n    <character>MATT<\/character>\n    <dialogue>I fucked Heather so hard, she came like three times.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>How did you stimulate her clitoris?<\/dialogue>\n    <scene_description>What?<\/scene_description>\n    <character>MATT<\/character>\n    <dialogue>With my dick.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Women need direct clitoral stimulation, with fingers or a vibrator or something. She probably faked it, women fake it all the time.<\/dialogue>\n    <scene_description>All the boys feel betrayed on a deep level. Matt focuses on Jamie's TALKING HEADS 77 shirt.<\/scene_description>\n    <character>MATT<\/character>\n    <dialogue>Talking Heads're a bunch of fags.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>There's a girl in the band and she goes out with the drummer, so...<\/dialogue>\n    <scene_description>CUT TO: Jamie and Matt FIGHTING AT THE BOTTOM OF THE RAMP. Matt is stronger, he rubs Jamie's face in the dirt.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA BARBARA STREET - DAY<\/stage_direction>\n    <scene_description>Jamie skateboards home after the fight.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S HOUSE - DAY<\/stage_direction>\n    <scene_description>In the bathroom, Dorothea cleans up Jamie's face.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>What was the fight about?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Clitoral stimulation.<\/dialogue>\n    <scene_description>Dorothea's stung by him saying that. Drops the washcloth.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Why do you need to fight about that?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>I want to be a good guy.<\/dialogue>\n    <scene_description>She's lost.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>I want to be able to satisfy a woman.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>I'm sure you will.<\/dialogue>\n    <scene_description>She exits.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOROTHEA'S HOUSE - MORNING<\/stage_direction>\n    <scene_description>Dorothea's on her way to work. \"ART FAG\" is spray painted on one side of her car. \"BLACK FLAG\" on the other side.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Jesus.<\/dialogue>\n    <scene_description>CUT TO: Dorothea drags Jamie, Abbie and William out.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>That's what Matt called me. Cause I like the Talking Heads.<\/dialogue>\n    <scene_description>Dorothea lashes out at Jamie and Abbie.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>What's Black Flag?<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>They're a hardcore band, people who like them hate the Talking Heads.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>The punk scene's very divisive.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>You all're so advanced, aren't you?<\/dialogue>\n    <scene_description>She gets in the car and heads out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABBIE'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Abbie's taking Jamie's portrait.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>When dudes tell you their sex stories, don't contradict them, trust me, just go with their fantasy of what happened.<\/dialogue>\n    <scene_description>Jamie laughs. Abbie smiles, but is sad underneath.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>How are you holding up with everything?<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>You're very sweet to me.<\/dialogue>\n    <scene_description>She plops back on her bed. Referring to everything that's happened to her.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>Whatever you think your life is going to be like, just know, it's not going to be anything like that.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Right.<\/dialogue>\n    <scene_description>She smiles at his attempt to be her equal.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>Take me to that club.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - UNDER CONSTRUCTION - NIGHT<\/stage_direction>\n    <scene_description>Dorothea is in work clothes, sanding. She looks up. Sees Jamie leaving.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Kid?<\/dialogue>\n    <scene_description>Jamie looks back.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Where are you going?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Out. With Abbie.<\/dialogue>\n    <scene_description>Jamie, \"See ya.\" He heads out of the house. On Dorothea, longing for her boy.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAUDELAIRES CLUB - NIGHT<\/stage_direction>\n    <scene_description>Abbie and Jamie walk through the club, dingy, graffiti, bare bulbs. Jamie's enthralled. Abbie takes a sip of beer, pushes it to Jamie, he gulps. She watches him take all this in, so young and alive, it makes her feel good to be helping him. CUT TO: Abbie and Jamie standing in the crowd with TRISH (Abbie's punk friend). Abbie whispers in his ear, he repeats.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>I'm into older women.<\/dialogue>\n    <character>TRISH<\/character>\n    <dialogue>Oh? How old are you?<\/dialogue>\n    <scene_description>Abbie whispers, he repeats.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>Age is a bourgeois construct.<\/dialogue>\n    <character>TRISH<\/character>\n    <dialogue>Good answer.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Age is a bourgeois construct.<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>OK, OK.<\/dialogue>\n    <scene_description>All in front of Trish...<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>If she asks any questions, just say as little as you can. Let me see your most inscrutable face.<\/dialogue>\n    <scene_description>He kind of makes one. CLOSE ON Jamie and Trish on the dance floor, punk music blaring. Abbie has found a moment of freedom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>William and Dorothea sit at the kitchen table, drinking a beer after working on the house. Dorothea's feeling pretty mixed up, hurt and lost. William can see it. We enter mid conversation.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>I don't really choose... certain women, just...<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Come to you.<\/dialogue>\n    <scene_description>He's not proud of it.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>You're so hard working and talented - cars, carpentry, electrical, plumbing, you can do anything. You could have more than that.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>That's not how most people see it... What about you? What happened to Jamie's father?<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>He didn't turn out like I thought he would.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Must've been something good about him.<\/dialogue>\n    <scene_description>She stops and thinks.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>He was left handed.<\/dialogue>\n    <scene_description>She acts it out.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>I'm right handed, so in the morning, we could go through the stock reports together, he could write with his left hand and scratch my back with his right.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>That's it?<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>I liked that.<\/dialogue>\n    <scene_description>She slips into memory, looks sad, goes back to work. He pulls the plug on her sander.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>You ever meditate?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WILLIAM'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>He's sitting on the edge of his bed, eyes closed. Dorothea's in a chair across from him, sneaking peeks at him. There is something calming about it, and his strange little room with his pottery in it. She finds her cigarettes, lights up. The sound wakes him up, she mimes 'keep going, I'm fine, I'm just gonna smoke while I meditate.' William laughs, enjoys her humor, they share a look. He smiles at her.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>You're such an odd bird sweetie. How'd you get like that anyways?<\/dialogue>\n    <scene_description>TITLE: WILLIAM SAUNDERS BORN 1939<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WILLIAM'S CAR AREA<\/stage_direction>\n    <scene_description>William works on a car - he does not love this work.<\/scene_description>\n    <character>DOROTHEA V.O.<\/character>\n    <dialogue>William's dad managed an auto repair shop in Cleveland.<\/dialogue>\n    <scene_description>DOROTHEA V.O. (v.o.) VISUALS Engines always made sense to 1. CONTEMPORARY WILLIAM him. He tried to put himself WORKING ON A CAR. 2. PERSONAL through college, but couldn't PHOTOS OF THERESA IN 1960'S - afford it. He met Theresa in BEAUTIFUL, LAUGHING AT 1963, she was smart, brave, CAMERA, AN ANIMATED SOUL. 3. better off, they were in STILLS OF BERKELEY IN 1960'S love. They moved to Oakland, 4. STILLS OF NORTHERN then to a commune in CALIFORNIA COMMUNES. Sebastopol.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WILLIAM'S ROOM - WHERE THEY WERE MEDITATING<\/stage_direction>\n    <scene_description>Now they're both talking and smoking, drinking wine.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>I learned to be like them, you know? As it turns out, it was a lot easier than I thought it would be, but it wasn't really me, I was doing it so I wouldn't lose Theresa.<\/dialogue>\n    <scene_description>Dorothea smiles.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Sounds horrible.<\/dialogue>\n    <character>DOROTHEA V.O.<\/character>\n    <dialogue>He started looking like them, talking like them, but they made him feel old and uneducated and poor. Theresa started thinking he was uptight and possessive and she left him.<\/dialogue>\n    <character>VISUALS<\/character>\n    <dialogue>5. REPORTAGE OF 60'S COMMUNAL LIFE AND EVENTS - STILL AND MOTION 6. WILLIAM AT THE DINING TABLE, TRYING TO JOIN THE GROUP.<\/dialogue>\n    <character>WILLIAM (V.O.)<\/character>\n    <dialogue>After Theresa women didn't have to look one way or the other, or be a certain way. I think that I just want to win them over so that I won't be lonely. But once I have them don't really know what to do with them.<\/dialogue>\n    <character>VISUALS<\/character>\n    <dialogue>7. DIFFERENT WOMEN ON THE BED LOOKING INTO CAMERA 8. WILLIAM WASHES GREASE AND DIRT OFF HIS HANDS, DIRTYING THE SINK 9.WILLIAM FIXING A PRETTY BLONDE'S CAR AND HAS SEX WITH HER. SHE LEAVES.<\/dialogue>\n    <character>DOROTHEA V.O.<\/character>\n    <dialogue>What he likes is making bowls. He doesn't smell like oil and grease, his hands don't look like a dumb mechanic's hands.<\/dialogue>\n    <character>VISUALS<\/character>\n    <dialogue>10. WILLIAM HAPPILY MAKING A BOWL.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S KITCHEN - SAME NIGHT<\/stage_direction>\n    <scene_description>William and Dorothea are drinking wine, William has just finished his story. They're both looking at a bowl he's made on the table. Silence for a beat then...<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>That's beautiful.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOROTHEA'S SIDE YARD - NIGHT<\/stage_direction>\n    <scene_description>The 1939 Ford is in the front of the line of cars. William's inside, he's not sure it's going to work, turns the key, the engine starts.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>You fixed it?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Maybe? It's part Volkswagon now. I had to improvise.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Can we take it for a ride?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I think so.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA BARBARA STREETS - NIGHT<\/stage_direction>\n    <scene_description>They cruise in the old Ford.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEL'S BAR - NIGHT<\/stage_direction>\n    <scene_description>Dorothea at the juke box, she selects an old GENE AUSTIN song. She sways alone on the empty dance floor. William appears and dances, fluid hippie style. She looks at him in disbelief.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>My, dear. How can you learn about a person over there?<\/dialogue>\n    <scene_description>He stops, OK, how do you do it?<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>First, you introduce yourself to her, a little small talk, then you ask her to dance.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I'm William, I live downstairs, with all the cars.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Hello William.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Would you like to dance?<\/dialogue>\n    <scene_description>She reaches out and takes his hand, awkwardly pulls him in.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>This hand goes here, this one round here. And just, be with her, all she really wants is some company.<\/dialogue>\n    <scene_description>CLOSE ON William, it's still mysterious what he feels, but he's definitely happy. They dance to Gene Austin. CLOSE ON Dorothea, the contact, the dancing affects her more than she planned. 40's music is taken over by DAVID BOWIE'S 1979 SONG \"DJ\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAUDELAIRES - NIGHT - CONTINUOUS<\/stage_direction>\n    <scene_description>BOWIE'S \"DJ\" BLARES: Jamie, Trish, Abbie and some older guys dance to chaotic, intense music. CLOSE ON ABBIE: feeling some of the freedom she's been missing, some of the liberation this world used to give her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AROUND BANDSHELL PARK - NIGHT<\/stage_direction>\n    <scene_description>Everyone piles out of the car, running across the empty dark park. Abbie lays down in the wet grass. Jamie comes over, trying to make her feel better.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>I understand you. We should go away, just you and me, get up the coast, be alone somewhere.<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>Hey - Jamie. You're in love with Julie. Don't let her just run over you. Tell her what you want.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>But he's heartbroken for Abbie. They share a look of love and regret. She touches him sweetly, somehow older than she was an hour ago, more alive to how complicated it all is. She punches him in slow motion.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S ENTRY WAY<\/stage_direction>\n    <scene_description>Dorothea and William return home from the bar. Having passed the \"Art Fag\" car on the way in, they discuss.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>If you were to listen to it, what does that mean, \"Art Fag\"? What is, think about it, from more like a sociological prospective. What is that?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Abbie understands it.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Abbie does not understand it, she's just a part of it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABBIE'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Dorothea and William find the BLACK FLAG record. Dorothea puts NERVOUS BREAKDOWN on the turntable. They jolt with the first guitar blast. Dorothea's trying to understand it. William doesn't get her efforts, he takes the needle off.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>We don't need to like this.<\/dialogue>\n    <scene_description>Dorothea needs to know why this works, she puts the needle back on, the music starts up again.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>What's he saying?<\/dialogue>\n    <scene_description>With love, William talks them out.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>'Head on my shoulders, it's going berserk.'<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Is that interesting?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I don't know either Dorothea.<\/dialogue>\n    <scene_description>He takes her hand, stands her up.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Maybe we're over thinking it.<\/dialogue>\n    <scene_description>CUT TO: The MUSIC's LOUDER. William and Dorothea dance hesitatingly, sort of a light mosh, awkward. They slowly stop.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>What about the other one? The art fag one?<\/dialogue>\n    <scene_description>CUT TO: William and Dorothea listening to TALKING HEADS \"THE BIG COUNTRY.\" The music is odd, but spacious. William does a more fluid, semi-hippie dance. Dorothea does an imitation of him, half mocking him. He smiles.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>I guess we're more art fag types.<\/dialogue>\n    <scene_description>They continue to dance, free, awkward, filled with life.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA BARBARA STREET - NIGHT<\/stage_direction>\n    <scene_description>Jamie, Abbie and the others make their way down the beach, lit only by Abbie's flashes. They're drinking, rowdy. Trish has her arm around Jamie. CUT TO: Trish and Jamie are away from the group. Her cut-up T-shirt reveals her cleavage, Jamie can't help but notice.<\/scene_description>\n    <character>TRISH<\/character>\n    <dialogue>What're you looking at - inscrutable boy.<\/dialogue>\n    <scene_description>She kisses him and then pushes him away. Abbie's seen this happen with very mixed feelings. They all run down the beach at night.<\/scene_description>\n    <character>ABBIE (V.O.) PRELAP<\/character>\n    <dialogue>I gave him beer, taught him how to verbally seduce women, we drove drunk, but I stopped that, and then he kissed Trish? Then we walked home.<\/dialogue>\n    <scene_description>CUT TO: ABBIE'S BEDROOM Abbie's talking to Dorothea in her room. Looking guilty. Dorothea cringes in motherly fear, but this is what she wanted.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Ah. Is he OK?<\/dialogue>\n    <scene_description>To Abbie's surprise.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>You're not mad? You're mad. You should be mad.<\/dialogue>\n    <scene_description>It's not that - Dorothea's processing a lot.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>You get to see him out in the world as a person, I never will.<\/dialogue>\n    <scene_description>Abbie feels for Dorothea. She hands him one of the Polaroids from the night, Jamie looking wild eyed, having fun.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>There, there he is.<\/dialogue>\n    <scene_description>Dorothea looks at the stranger in the picture.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Dorothea lays in bed, worrying.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EUCALYPTUS AREA - DAY<\/stage_direction>\n    <scene_description>Julie and Jamie are alone. Reading. Julie with \"Forever\" and Jamie with \"Our Bodies Our Selves.\" Julie looks to him. Critical. Takes the book from him.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>I can't believe that Abbie gave you this.<\/dialogue>\n    <scene_description>He looks at it with her.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>It's interesting.<\/dialogue>\n    <scene_description>He takes it back. Reads a little more.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>What's it like, for girls?<\/dialogue>\n    <scene_description>She looks to him.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>What, sex?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Orgasms.<\/dialogue>\n    <scene_description>She rolls her eyes. She goes back to reading. So does he.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>You really want to know?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>I don't have them. None of my friends do.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>What? Why do you do it?<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>There's other reasons. The way they look at me, the way they all get a little desperate at some point. The little sounds they make.<\/dialogue>\n    <scene_description>She begins to imitate the sexual grunts of one of her guys.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>And their bodies.<\/dialogue>\n    <scene_description>CUT TO REPORTAGE OF SEXUALIZED TEEN BOYS FROM 1970'S; PHOTOGRAPHS BY JOSEPH SZABO.<\/scene_description>\n    <character>JULIE V.O.<\/character>\n    <dialogue>You don't know exactly how they're gonna look, or smell, or feel or whatever until you do it. But yeah, half the time I regret it.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>So why do you do it??<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>Half the time I don't regret it.<\/dialogue>\n    <scene_description>Off Jamie, \"Women are even more of a trip that I thought.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAMIE'S BEDROOM<\/stage_direction>\n    <scene_description>He's reading again from SISTERHOOD IS POWERFUL. TITLE: IT HURTS TO BE ALIVE AND OBSOLETE: THE AGING WOMAN BY ZOE MOSS, 1970.<\/scene_description>\n    <character>JAMIE (V.O.)<\/character>\n    <dialogue>I am gregarious, interested in others, and I think intelligent.<\/dialogue>\n    <character>JAMIE (V.O.)<\/character>\n    <dialogue>All I ask is to get to know people and to have them interested in knowing me.<\/dialogue>\n    <character>VISUALS<\/character>\n    <dialogue>1. JAMIE'S POV: DOROTHEA AT ONE OF HER PARTIES, HOLDING COURT 2. DOROTHEA HELPING<\/dialogue>\n    <scene_description>WILLIAM LEARN HOW TO COOK,: LOOKING AT HIM, WONDERING: WHAT HE THINKS OF HER:<\/scene_description>\n    <character>JAMIE (V.O.)<\/character>\n    <dialogue>I doubt whether I would marry again and live that close to another individual. But I remain invisible.<\/dialogue>\n    <character>VISUALS<\/character>\n    <dialogue>3. JAMIE WALKS UP TO DOROTHEA AT WORK WITH ALL THE MEN THAT DON'T GET HER 4. JAMIE REMEMBERS DOROTHEA WITH YOUNG<\/dialogue>\n    <scene_description>DOCTOR FROM BEGINNING:<\/scene_description>\n    <character>JAMIE (V.O.)<\/character>\n    <dialogue>Don't pretend for a minute, as you look at me that I'm not as alive as you are, and I do not suffer from the category of which you are forcing me.I think stripped down I look more attractive than my ex-husband, but I am sexually and socially obsolete and he is not.<\/dialogue>\n    <character>VISUALS<\/character>\n    <dialogue>5. DOROTHEA IN HER BATH - SHE AVOIDS HER OWN NAKED BODY 6. DOROTHEA LOOKS AT A 1979 PORN MAGAZINE SHE FOUND IN JAMIE'S ROOM<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>Jamie's reading SISTERHOOD IS POWERFUL to Dorothea - she's interested, but truly uncomfortable with all that she's heard. We set up him reading to her, then do a long track in on her face as she hears all this.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>I have a capacity now for taking people as they are, which I lacked at twenty; I reach orgasm in half the time and I know how to please. Yet I do not even dare show a man that I find him attractive. If I do so, he may react as if I had insulted him. I am supposed to fulfill my small functions and vanish.<\/dialogue>\n    <scene_description>He's feeling for her and trying to connect with her situation. He stops, long pause.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>What do you think of all that?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Maybe, I'm a feminist?<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>That's easy for men to say.<\/dialogue>\n    <scene_description>She looks at him, yearning for something she's not getting.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>You think that's me?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>You think you know me better cause you read that?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Then why're you reading this to me?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>I just thought it was interesting.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>I don't need to read a book to know about me.<\/dialogue>\n    <scene_description>He's pushed out of the room by her vibe. Dorothea's becoming angry.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEACH - DAY<\/stage_direction>\n    <scene_description>Dorothea sits alone on the beach. Smoking and thinking, feelings brewing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S KITCHEN - DAY<\/stage_direction>\n    <scene_description>Dorothea finds Abbie in the kitchen, something's on her mind.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>I appreciate you trying to help, I do, but just think you're taking it too far. And this stuff, with the women's movement, I respect but It's complicated for him.<\/dialogue>\n    <scene_description>Abbie's confused.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>He's fifteen. This hardcore feminism stuff is going too far.<\/dialogue>\n    <scene_description>Abbie's surprised at Dorothea's change, she feels she was really helping, she's excited by what's been happening.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>(What're you talking about?) He's getting so much out of it. He loves it. It's helping him a lot.<\/dialogue>\n    <scene_description>Dorothea sounds more angry.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Helping him what?<\/dialogue>\n    <scene_description>Abbie tries to reach out, only making things worse.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>Helping him become a man, like you were talking about.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Learning about a female orgasm is helping him be a man?<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>Well what man do you know who cares anything about that? It's a miracle!<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>But he's a high school kid, okay? It's too much. I'm telling you.<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>I think he seems really okay with it.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>It's not like you actually know what you're doing here.<\/dialogue>\n    <scene_description>Abbie's stung - hurt, betrayed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S DINING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Dorothea, Jamie, Julie, Abbie, William, Julian the doorman, a couple of carpenters from Dorothea's crew and Charlie from her work are gathered around the television, watching Jimmy Carter's Crisis of Confidence speech.<\/scene_description>\n    <character>JIMMY CARTER O.S.<\/character>\n    <dialogue>As you know, there is a growing disrespect for government. The schools, the news media, and other institutions. This is not a message of happiness or reassurance. But it is the truth. And it is a warning.<\/dialogue>\n    <scene_description>TITLE: CRISIS OF CONFIDENCE SPEECH, JIMMY CARTER, 1979.<\/scene_description>\n    <character>JIMMY CARTER CONTD.<\/character>\n    <dialogue>It is a crisis of confidence. We can see this crisis in the growing doubt about the meaning of our own lives...<\/dialogue>\n    <scene_description>TITLE: KOYAANISQATSI; DIRECTED BY GODFREY REGGIO, FILMED 1975- 1979, RELEASES 1982.<\/scene_description>\n    <character>JIMMY CARTER CONTD.<\/character>\n    <dialogue>1. KOYAANISQATSI 2. JULIE<\/dialogue>\n    <character>VISUALS<\/character>\n    <dialogue>...and in the loss of a unity SHRINK WRAPPING A GIFT BASKET of purpose of our nation. Too 3. JAMIE VACUUMING 4.<\/dialogue>\n    <dialogue>many of us now tend to DOROTHEA AT WORK 5. WILLIAM worship self indulgence and FIXING A CAR 6. ABBIE PLAYING consumption. But we've WITH HER BIRDS 7. JULIE discovered that owning things SMOKING UNDER THE BRIDGE 8. and consuming things does not DOROTHEA SMOKING AT THE satisfy our longing for DINNER TABLE 9. HOUSE PARTY meaning. We always believed 10. JAMIE SLEEPING ON THE that we were part of a great COUCH 11. DOROTHEA LAYING IN movement of humanity itself, BED. involved in the search for freedom. We are at a turning point in our history. The path that leads to fragmentation and self- interest, down that road lies a mistaken idea of freedom. It is a certain route to failure. Thank you, and good night.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>All our main characters watching his strangely vulnerable speech.<\/scene_description>\n    <character>JIMMY CARTER (V.O.)<\/character>\n    <dialogue>Thank you and good night.<\/dialogue>\n    <scene_description>Everyone, in different ways, is surprised by that speech. It takes a minute for anyone to talk.<\/scene_description>\n    <character>CARPENTER<\/character>\n    <dialogue>Oh, he's screwed. It's over for him.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>That was a beautiful speech.<\/dialogue>\n    <scene_description>They all look at her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S KITCHEN<\/stage_direction>\n    <scene_description>Everyone's gathered around the table, busy, messy, helping themselves to Dorothea's food as she finishes getting the big meal ready. Through all the people, Camera finds Julie and William having an intense conversation - Jamie's eavesdropping one person away. We come in mid conversation.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Jamie, please bring Abbie back to life.<\/dialogue>\n    <scene_description>Jamie pretends to push on her back.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>Ugh, stop, I'm menstruating.<\/dialogue>\n    <scene_description>Some winces and moans. Abbie's surprised.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Do we need to know everything that's happening to you?<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>I'm menstruating.<\/dialogue>\n    <scene_description>More winces. Abbie's not going to stop helping Jamie.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>You want to have an adult relationship with a woman you need to be comfortable with a woman having her period. Say menstruation like there's nothing wrong with it - menstruation.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Menstruation.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Abbie?!<\/dialogue>\n    <character>ABBIE<\/character>\n    <parenthetical>(to everyone)<\/parenthetical>\n    <dialogue>C'mon...<\/dialogue>\n    <character>JULIAN<\/character>\n    <dialogue>Menstruation.<\/dialogue>\n    <character>CARPENTERS<\/character>\n    <dialogue>Menstruation.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>Gross.<\/dialogue>\n    <scene_description>Abbie focuses on Julie and Jamie.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>It's a very important time for a woman. It can be very deep creatively speaking, emotionally transformative.<\/dialogue>\n    <scene_description>The crew guys are uncomfortable. William tries to save it.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Sex during menstruation can be very pleasurable for a woman, even provide relief from cramps. Jamie, I also want to say, never have sex with just the vagina, have sex with the whole woman.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>You too?<\/dialogue>\n    <scene_description>Julie's mad at Dorothea for trying to control her relationship with Jamie - she looks straight at Jamie...<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>My first one started while I was watching One Flew Over The Cuckoo's Nest with some guy. I told him I had to go, went to the market, got a box of tampons, went home, read the instructions on the box in my bathroom, figured out how to put them in. I never told my mom, she never asked, I never saw the end of Cuckoo's Nest.<\/dialogue>\n    <scene_description>Silence. Jamie and Dorothea are getting more and more uncomfortable.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Jack Nicholson's character gets a lobotomy so the big Indian guy, like suffocates him with a pillow - so he'll be, I don't know, free.<\/dialogue>\n    <scene_description>More long looks at William.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Let's talk about something else.<\/dialogue>\n    <scene_description>William's hurt. Julie's buzzed with attention, can't stop lashing out.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>First time I had sex I was 14...<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Julie?!<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>I just decided one night I was going to lose my virginity, didn't matter who.<\/dialogue>\n    <scene_description>Jamie's mad or protective, or both. He tries to stop her.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>Can you chill out?<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>Let her talk.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>I picked this guy I didn't know at a party, had fairly painful sex in his van parked in the street, just spit in his hand for lubrication, got home in time for my curfew. The carpet in his van smelled like spilled bong water.<\/dialogue>\n    <scene_description>The men are awkwardly mute. Julie wakes up to what she's done, surprised she hurt Jamie. Dorothea's had it with these girls as well.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Okay, lets call it a night. C'mon guys.<\/dialogue>\n    <scene_description>Dorothea herds the men from the table. Abbie examines Julie anew. Julie's finally become interesting to her, sympathetic. Dorothea pushes them out of the living room.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Show's over girls.<\/dialogue>\n    <scene_description>Everyone's leaving the party.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S KITCHEN<\/stage_direction>\n    <scene_description>Abbie helps Dorothea clean up. It's hard for Abbie to get Dorothea's attention.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Jamie, we need to, there's a lot of stuff happening, I'd like to know what's going on with you. This has all been a lot for us to deal with.<\/dialogue>\n    <scene_description>She just lost him, he makes an exasperated gesture.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>I'm dealing with everything, you are dealing with nothing.<\/dialogue>\n    <scene_description>He leaves, wildly pissed. Abbie and Dorothea share an angry look themselves, Abbie leaves. Reveal William was there, he looks disappointed, avoids Dorothea.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAMIE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Julie comes through the window. He's angry with her, sitting on the bed.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Hey?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>I can't believe you told everyone all that.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>I can say what I want to say.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>They're just gonna think you're some... they're gonna get the wrong idea about you.<\/dialogue>\n    <scene_description>That's not like him, she's surprised, hurt.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>(A slut?) Is that what you think?<\/dialogue>\n    <scene_description>Jamie's truly confused by it all.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>You can't sleep here and just want to talk with me anymore.<\/dialogue>\n    <scene_description>Pause, that really scares Julie.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Yea.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>I'm sorry. I'm sorry. OK?<\/dialogue>\n    <scene_description>She feels horrible, and surprised, reeling. Jamie's silent.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Let's get out of here, like you said, let's go up the coast. Just the two of us.<\/dialogue>\n    <scene_description>Off Jamie, looking like he's going to shut her down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - DAY<\/stage_direction>\n    <scene_description>Dorothea finds the note Jamie left.<\/scene_description>\n    <character>JAMIE (V.O.)<\/character>\n    <dialogue>Mom. Julie and I took the car. We're taking a trip up the coast. Just to get away. You don't need to worry about us.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. 101 FREEWAY - DAY - MONTAGE<\/stage_direction>\n    <scene_description>Dorothea's VW bug makes its way up the 101. Classic California coast. Half painted over \"ART FAG\" still visible on the side of the car. Inside the car, Julie smokes and drives, punk cassette on the radio. Jamie stares out the window, his arm around the back of her neck. They look like a couple in love.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RUGGED COASTLINE<\/stage_direction>\n    <scene_description>Julie and Jamie explore the rugged rocks along ocean. They sit on some rocks, the rough ocean down below.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAUDELAIRES CLUB - NIGHT<\/stage_direction>\n    <scene_description>Weeknight at the club, only the usual denizens are dancing. After a beat we reveal Dorothea entering the punk club alone. She's not really looking for jamie, she's looking for his world.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. S.L.O. LIQUOR STORE PARKING LOT - NIGHT<\/stage_direction>\n    <scene_description>Jamie and Julie eye a skeezy middle aged man on his way in.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Excuse me sir, maybe you'd buy us some wine coolers? You can keep the change.<\/dialogue>\n    <scene_description>The man takes the money, walks in.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Strawberry, or anything berry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. S.B. STREETS - 39 FORD - NIGHT<\/stage_direction>\n    <scene_description>Dorothea smokes and drives - dealing with her frustration. Then cops lights behind her. CUT TO: Cop asking her questions.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>What's the matter?<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>You changed lanes in the intersection back there.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Seriously, that's all?<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>Yes. I need to see your license.<\/dialogue>\n    <scene_description>Dorothea's anti-authority thing kicks in.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Well what if I don't have my license?<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>What's your name, address and date of birth.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Those are personal questions, I mean we've just met. What's your name? Where do you live? Right? It's a little forward.<\/dialogue>\n    <scene_description>She looks at him mischievously.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Julie smokes in bed and undresses. Jamie comes in and sits on the bed. Something's brewing in Julie. Jamie's looking confused, out of body himself.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>I love you.<\/dialogue>\n    <scene_description>He tries to be sweet and caress her, she pulls away.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>What's wrong?<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>I think I'm too close to you to have sex with you, it confuses me. I'm sorry.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>I can help you get over that.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>I don't want to get over it.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Yeah you do.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>You're being like the other guys.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>I don't want to just, have sex with you, I want...you.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>But that's like, your version of me, that's not me... It'd be better if you just wanted sex... You are like the others, you just pretend to be all modern about it.<\/dialogue>\n    <scene_description>Jamie rises, hurt and angry, gets dressed.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Jamie?<\/dialogue>\n    <scene_description>He doesn't talk. He leaves in a rush.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAN LUIS OBISPO HOTEL<\/stage_direction>\n    <scene_description>Jamie exits the room, and takes off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAN LUIS OBISPO - NIGHT<\/stage_direction>\n    <scene_description>Jamie hurriedly walks the streets of this sleepy town alone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. S.B. POLICE STATION - NIGHT<\/stage_direction>\n    <scene_description>Dorothea waits on a bench, after being processed. Long shot down the hall, Abbie walks up to her and sits by her. Dorothea, hair a mess and kind of sweaty looks at her confused, down the hall she can see William waiting patiently, not wanting to add to her pain.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>These people have no sense of humor.<\/dialogue>\n    <character>ABBIE<\/character>\n    <dialogue>Let's get out of here.<\/dialogue>\n    <scene_description>Abbie neatens Dorothea's hair, tidies her up a little bit, takes her arm and they walk out past the male cops, who don't get out of the way, Abbie has to shoulder butt one as they pass, holding their dignity together.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABBIE'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Abbie drives her home. She's exhausted, doesn't want any pity or judgement.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Abbie helps Dorothea into bed, gets her a glass of water.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>Having a kid seems like the hardest thing.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>How much you love the kid is the hardest thing. You're just pretty screwed.<\/dialogue>\n    <scene_description>Abbie feels the loss of what she can't have.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SLO AGRARIAN FIELD - DAWN<\/stage_direction>\n    <scene_description>Jamie, strung out and tired is walking down a dirt road next to an agrarian field. As he walks, a group of 30 or so Latino migrant workers cross the road and the frame. They're heading to work, some are as young as Jamie it seems, he stops as they all cross him, none of them look at him. Two different worlds.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S KITCHEN - MORNING<\/stage_direction>\n    <scene_description>Dorothea enters, finds Abbie and William at the table. She looks at them, not sure, mixed feelings, anger and vulnerability.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Julie called, they're in San Luis Obispo, but she can't find him.<\/dialogue>\n    <scene_description>She looks at them, more open and real.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Will you guys please come with me? Up there?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. 101 FREEWAY - 1939 FORD - MORNING<\/stage_direction>\n    <scene_description>William drives Dorothea and Abbie up the 101 freeway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL COAST - SAME LOCATIONS AS THE BUG<\/stage_direction>\n    <scene_description>Beautiful landscape, the Ford makes its way up the coast.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL ROOM PARKING LOT - DAY<\/stage_direction>\n    <scene_description>The Ford pulls up, Julie's waiting, smoking. Dorothea comes to her concerned. Julie's totally torn up, she looks like she knows she fucked up.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Where is he?<\/dialogue>\n    <scene_description>Julie points to the edge of the hotel, down by the oak tree. To Julie's surprise, Dorothea touches her sweetly.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Thanks for calling me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DRY CREEK BED - DAY<\/stage_direction>\n    <scene_description>Dorothea finds Jamie, alone, angry, at first not wanting to talk to her. They've both been up most the night, they both look rough. He walks away, she follows.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Julie's a really complicated woman. I'm impressed in a way, but that's a lot to take on.<\/dialogue>\n    <scene_description>He keeps walking, heads into the connecting vineyard. She calls after him, he doesn't look back, she follows. Catches up with him.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>Aren't you going to get Julie? To come talk with me?<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Jamie!<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>I thought they'd help.<\/dialogue>\n    <scene_description>That stops him, changes him.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>It just seemed like you couldn't deal with me anymore.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Look. I wanted. I. I don't want you to end up in the same place as me.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>What does that mean?<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Well, I wanted you to be happier. I just didn't think I could do it by myself.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Okay..I thought we were fine though, just me and you.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Dorothea, Abbie, Julie, Jamie and William sitting in the room eating take out dinner. JUMPS CUTS; Dorothea finds an oldies station, 30's-40's music plays. Dorothea teaches Jamie to dance, Abbie joins in, then Julie and William, they all find a partner. A small moment of grace between these 5 people.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL PARKING LOT - DAY<\/stage_direction>\n    <scene_description>Abbie, Julie and William are loaded up in Dorothea's car, waving, heading off. IMPROV GOODBYES. Dorothea and Jamie are alone now, they have to face each other.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Maybe we don't go back yet?<\/dialogue>\n    <character>JAMIE<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SLO SUPERMARKET - DAY<\/stage_direction>\n    <scene_description>Dorothea and Jamie walk down the aisle.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>I want to dye my hair.<\/dialogue>\n    <scene_description>She's not really comfortable with that.<\/scene_description>\n    <character>DOROTHEA<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Well, yeah.<\/dialogue>\n    <scene_description>Dorothea can't relate, but wants to relate.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. S.L.O RESTAURANT - DAY<\/stage_direction>\n    <scene_description>Jamie and Dorothea have a picnic.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>Were you and dad ever in love?<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>At first. Or maybe I was just supposed to be in love. Or scared that I'd never be in love. So I picked the best solution I had at the time.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL BATHROOM - DAY<\/stage_direction>\n    <scene_description>JUMP CUTS: Dorothea washes Jamie's hair \/ rubs in the dye \/ waits with the little plastic baggy over his head \/ washes it out \/ dries his hair. She feels deep bittersweet heartbreak, loves him so much, understands him so little.<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>Are you lonely?<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>Well, in my next life, I might marry Bogart, we'll see.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>He's... dead.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>I'm talking about next life right? So he may be around, and we might meet and something might happen between us, OK?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>What about having that in the real world?<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>This is no time to get rational sweetie, can you just go with this?<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>O.K. - keep going.<\/dialogue>\n    <character>DOROTHEA<\/character>\n    <dialogue>He knows what I'm thinking, and what makes me laugh - he can really see me. And, you know he's gonna do what he says he's gonna do, so it's easy.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>He sounds great.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MID-COAST LONELY ROAD - DAY<\/stage_direction>\n    <scene_description>Dorothea drives. REVEAL that Jamie is on his skateboard hanging onto the passenger door, window down.<\/scene_description>\n    <character>JAMIE (V.O.)<\/character>\n    <dialogue>I thought that was just the beginning of a new relationship with her, where she'd really tell me stuff. But maybe it was never really like that again. Maybe that was it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NONDESCRIPT ROOM: SMOKE RISES<\/stage_direction>\n    <character>DOROTHEA (V.O.)<\/character>\n    <dialogue>In March of 1999, I'll start to feel tired and confused. When I finally go to the doctor, he will say that the cancer in my lungs had already travelled to my breast and brain. I'll try to teach Jamie what to do with my stocks, but my instructions will be impossible to understand.<\/dialogue>\n    <character>VISUALS<\/character>\n    <dialogue>1. STOCKS IN NEWSPAPER 2. JAMIE AND DOROTHEA SITTING ON THE COUCH WATCHING TV<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DESKTOP: DOROTHEA'S VERY OLD HAND IS WRITING A NOTE, BUT<\/stage_direction>\n    <scene_description>HER HANDWRITING IS INDECIPHERABLE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAMIE'S BEDROOM: JULIE AND JAMIE LAY IN BED AND TALK<\/stage_direction>\n    <character>JULIE (V.O.)<\/character>\n    <dialogue>Abbie will take me to Planned Parenthood. And I will go on the pill. I will go to NYU and lose touch with Jamie and Dorothea, and I will stop talking to my mom, I will fall in love with Nicholas, we will move to Paris, and choose not to have children.<\/dialogue>\n    <character>VISUALS<\/character>\n    <dialogue>1. ABBIE AND JULIE AT PLANNED PARENTHOOD 2. JULIE ALONE IN PLANNED PARENTHOOD ROOM, LEARNING ABOUT BIRTH CONTROL. 3. JULIE LOOKING AT CAMERA 4. JULIE'S MOTHER LOOKING AT CAMERA 5. JULIE STARING AT CAMERA SMOKING IN HER CREEK.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABBIE'S ROOM: JAMIE AND ABBIE DANCING - REPEAT SCENE<\/stage_direction>\n    <character>ABBIE (V.O.)<\/character>\n    <dialogue>I will stay in Santa Barbara.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BIRD CAGE: CARLOTTA THE FINCH LIES LIFELESS ON THE FLOOR OF<\/stage_direction>\n    <scene_description>THE CAGE. MAX FLIES AROUND.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN YARD: ABBIE DIGS A HOLE, PUTS SOMETHING IN IT. WE SEE<\/stage_direction>\n    <scene_description>DEAD BIRD IN ABBIE'S HAND.<\/scene_description>\n    <character>ABBIE (V.O.)<\/character>\n    <dialogue>A month after I get married Carlotta will die. A week later, Max will die too.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARAGE: PORTRAIT OF ABBIE IN HER STUDIO.<\/stage_direction>\n    <character>ABBIE<\/character>\n    <dialogue>I will work out of my garage and show in local galleries.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN STREET: ABBIE STANDS IN FRONT OF A HOUSE, NEXT<\/stage_direction>\n    <scene_description>TO A MAN, THE REPORTER SHE WORKED WITH BEFORE. A BABY IN HER ARMS, 2 YEAR OLD BY HER SIDE.<\/scene_description>\n    <character>ABBIE<\/character>\n    <dialogue>Against my doctor's advice, I will get pregnant, and by the time I'm 30 I'll have two boys.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DORTHEA'S KITCHEN - DAY<\/stage_direction>\n    <scene_description>Dorothea sits down to do her stocks. William comes and sits on her left, picks up a pen with his left hand, scratches her back with his right, like they do.<\/scene_description>\n    <character>WILLIAM (V.O.)<\/character>\n    <dialogue>I'll live with Dorothea for another year. Then I'll open a pottery store in Sedona Arizona.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WILLIAM'S POTTERY AREA: WILLIAM TALKS TO CAMERA.<\/stage_direction>\n    <character>WILLIAM<\/character>\n    <dialogue>I will marry Laurie, a singer- songwriter. We'll get divorced in a year. Then I'll meet Sandy, we will marry, and I will continue to do my pottery.<\/dialogue>\n    <character>VISUALS<\/character>\n    <dialogue>1. STILL OF SEDONA LANDSCAPE 2. RUSTIC<\/dialogue>\n    <character>CLAY POT 3. LAURIE WITH GUITAR 4. CAT<\/character>\n    <dialogue>SCAN OF BRAIN TUMOR 5. WILLIAM WITH SANDY<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIRPORT: DOROTHEA IS WALKED TO A BIPLANE BY A SWEET, ROUNDISH<\/stage_direction>\n    <scene_description>JIM BROADBENT TYPE OF MAN. HE HELPS HER INTO THE PLANE. KISSES HER, AND WATCHES AS SHE TAKES OFF.<\/scene_description>\n    <character>JAMIE (V.O.)<\/character>\n    <dialogue>My mom will meet Jim in 1983, they'll be a couple until she dies. On her birthday each year, he will buy her a trip on a biplane.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHEA'S LIVING ROOM: SHE AND JAMIE DANCING<\/stage_direction>\n    <character>JAMIE (V.O.)<\/character>\n    <dialogue>Years after she's gone I'll finally get married and have a son.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E OLD BIPLANE HEADS DOWN THE RUNWAY, LIFTS INTO THE AIR -<\/stage_direction>\n    <scene_description>DOROTHEA LOOKS HAPPY AND FREE.<\/scene_description>\n    <character>JAMIE (V.O.)<\/character>\n    <dialogue>I'll try to explain to him what his grandmother was like - but it will be impossible.<\/dialogue>\n    <scene_description>CLOSE ON DOROTHEA'S FACE AS THE PLANE FLIES ABOVE THE SANTA BARBARA COAST, THE EXCITEMENT OF FLIGHT IN HER EXPRESSION. AS TIME GOES BY PLAYS.<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In 1979, 15-year-old Jamie Fields lives in Santa Barbara with his 55-year-old single mother, Dorothea, and their two tenants: Abbie Porter, a 24-year-old photographer being treated for cervical cancer, and William, a carpenter and mechanic. Jamie's best friend is 17-year-old Julie Hamlin, who often spends the night with Jamie, but chooses not to have sex with him because she believes it would destroy their friendship. Concerned she is having trouble connecting with her son, Dorothea asks Abbie and Julie to help raise him, but Jamie responds to this news by running away to Los Angeles with some friends to attend a rock concert. When he gets back, Julie tells him she had unprotected sex and is worried she will get pregnant. Jamie accompanies Abbie to a doctor's appointment, where she learns she is cancer-free, but will likely be unable to have children, and he reads a magazine article about home pregnancy tests. He buys one for Julie, and it comes back negative. To thank Jamie for his support, Abbie makes him a mixtape, and she begins to confide in him, such as about how she moved back home from New York after her cancer diagnosis, but her mother could not handle the fact that the cancer was caused by her use of DES, a fertility drug, while Abbie was in utero, so Abbie moved in with Dorothea. One day, after seeing Julie sneak out Jamie\u2019s window, Dorothea talks with her, and they end up discussing the fact that Dorothea has not had any real relationships since Jamie\u2019s father left years earlier. Dorothea asks Abbie to show her \"the modern world,\" so they go to a punk club, where William kisses Dorothea, but she rejects him due to his sexual relationship with Abbie. After Dorothea leaves, Abbie gets in a fight and William tells her he no longer wants to sleep with her. Abbie goes to talk to Jamie and, finding him in bed with Julie, says Julie is disempowering Jamie and tells the teens to not get stuck in Santa Barbara. Later, Jamie asks Abbie to take him to the club, and he gets drunk and kisses a woman. Meanwhile, Dorothea teaches William how to pursue a relationship, as opposed to a one night stand. When Abbie tells Dorothea about Jaime's night, Dorothea is not upset, though she is wistful that, as his mother, she can never see what Jamie is like out in the world. Abbie lends Jamie some books about feminism, and he finds them interesting, but Dorothea thinks they are too much for him and scolds Abbie. At a dinner party, Abbie says she is tired because she is menstruating, and, frustrated by the discomfort the word causes, she makes all of the men at the table say \"menstruation\". This inspires Julie to talk about her first period and her first sexual encounter, which ends the gathering. Jamie tells Julie he no longer wants her to spend the night if she just wants to talk. Hurt, she suggests they take a road trip up the coast. At a hotel, Jamie says he loves Julie, but she says they are too close to have sex. They argue, and Julie accuses Jaime of being like \"the other guys\", so Jamie storms off. Julie calls Dorothea, but by the time she, Abbie, and William arrive, Jamie has returned. Dorothea tells Jamie that she asked Abbie and Julie for help because she wants Jaime to be happier than she is, and he says he thought they were doing fine already. The two make up and return to Santa Barbara on their own, and Dorothea talks openly about her feelings and dreams for the first time. An epilogue reveals that Julie will go on the pill, attend NYU, lose touch with Jamie and Dorothea, fall in love, move to Paris, and choose to never have children. Abbie will stay in Santa Barbara, get married, set up a photography studio in her garage, and successfully give birth to two sons. William will live with Dorothea for another year, move to Sedona, open a pottery store, get married, get divorced, and remarry. Dorothea will meet a man in 1983 and stay with him until her death from metastatic lung cancer in 1999. Years after Dorothea's death, Jamie will get married and have a son, to whom he will try, unsuccessfully, to describe Dorothea."}
{"movie_name":"Captain Phillips_2013","imdb_id":"tt1535109","script":"<script>\n  <scene>\n    <character>MAERSK ALABAMA<\/character>\n    <parenthetical>(from the book \"A Captain's Duty\" by Richard Phillips)<\/parenthetical>\n    <dialogue>Screenplay by<\/dialogue>\n    <scene_description>Billy Ray Sony Pictures Scott Rudin Productions Michael DeLuca Productions Trigger Street Films First Draft - Revised December 9, 2010 FADE IN... on a man in a floating hell. We are:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - NIGHT (2 A.M.)<\/stage_direction>\n    <scene_description>An enclosed, fiberglass LIFEBOAT, 28 feet long - with 60 seats, and HATCHES fore and aft. It's steamy, hot, even at night. Floating on the Indian Ocean, 300 miles from Somalia. RICHARD PHILLIPS sleeps upright in this sweatbox, at gunpoint. He's 50, a career merchant mariner - now a hostage. His captors are four Somali pirates: BILAL is 16, his left foot wrapped in bloody gauze. ELMI is 25, has a three-colored ROPE on his lap. NAJEE is 24. They're asleep too. But: MUSI, their leader, is wide awake. 25 years old, 5'9\", maybe 135 pounds. A rail-thin killer. His hand, bandaged and bloody, holds an AK-47 as he studies the sleeping Phillips. After a beat, Musi rises, and \"undogs\" (opens) the AFT HATCH, stepping out onto the lifeboat's tiny AFT DECK. He lays his AK at his feet, and pees off the edge. Phillips' eyes instantly snap open. Turns out, he was awake. He assesses his options - IMAGES, hitting us in a hurry: Three pirates asleep; the THREE-COLORED ROPE on Elmi's lap; Musi's back turned to us; the AK on the deck... and SIX FULL FUEL BUCKETS, tied down in the boat's nose. It's time to go. So he rises, heads for the aft hatch. The rest is a blur:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIFEBOAT - AFT HATCH\/AFT DECK - CONTINUING<\/stage_direction>\n    <scene_description>The craft is orange, shaped like a submarine. Musi pees off its deck, the AK at his feet. Phillips can grab it and fire away. He considers that. But a half-mile away, lit up like a distant jewel, is a US NAVY GUIDED MISSILE DESTROYER - the USS Bainbridge. 508 feet long. Immense, powerful, here to rescue him - so... He pushes Musi off the deck and dives in. We FOLLOW:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WATER - CONTINUING - NIGHT<\/stage_direction>\n    <scene_description>His glasses fly off, gone forever in the cool water. He starts swimming madly, moonlight shining through. Behind him, Musi surfaces, howling in Somali at his crew. Next Phillips hears the engine of the lifeboat roaring to life. He swims, kicks, gasps... then he looks back. Oh no: The lifeboat is coming at him, Musi clinging to its side. Phillips sucks in air, and DIVES down. Even underwater he can hear the pirates shouting. The lifeboat passes over him, then STOPS, idling right atop him. Phillips can touch its hull. He surfaces beneath the bow - a quiet breath - grabs the ENGINE COOLING PIPES under the keel and guides himself along. FOOTSTEPS on the deck above him. Pirates howling, enraged. He ducks under the boat again, comes up on the port side. But waiting there, in the water, is Musi. Oh shit. They lunge for each other's throats instantly. Hand-to-hand combat, just like that. Phillips gets Musi's head under water, Musi's scream turning into a burble of air. Holding the guy down - Musi flailing, kicking - Phillips trying to drown the bastard, until... another nightmare: POP POP POP. Three rounds from the AK, whistling past his ear into the water. He looks up. Elmi, on deck. Firing. It's over. Phillips releases Musi. That fast, Phillips is yanked out of the water by Elmi and Bilal, thrown through that aft hatch and back inside, where:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - CONTINUING<\/stage_direction>\n    <scene_description>Elmi and Bilal throw him to the floor of the boat. Then they pounce: beating the hell out of him. Najee jumps in too. Shot after shot, swarming like angry bees.<\/scene_description>\n    <character>NAJEE<\/character>\n    <dialogue>We kill you! Kill you!<\/dialogue>\n    <scene_description>Shouting, spitting, kicking. Elmi ties Phillips' hands to a horizontal bar, exposing his torso. Bilal trusses Phillips' feet to the base of a seat. He's helpless, a punching bag. ...as Musi, wet and enraged now, steps up. Silence... Then:<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>How much you worth, Irish? One million? Two million?<\/dialogue>\n    <scene_description>CRACK. A right cross to Phillips' jaw, staggering him. Now the others join in again: pounding, spitting, shouting... ...until, gradually, they stop - too winded to continue.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>You stay tied now, like an animal. And you pee in a bottle.<\/dialogue>\n    <scene_description>Phillips is a bruised, bleeding mess. Gasping...<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>I can't feel my hands. You trussed 'em too tight.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>Like an animal!<\/dialogue>\n    <scene_description>Phillips tries to chew the ropes. Musi hits him again.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>Ropes can't touch your mouth! They are halal!<\/dialogue>\n    <scene_description>He walks away. Najee and Elmi follow... leaving Bilal, the youngest, to stand guard, AK in hand. Bilal studies Phillips, perplexed. A long quiet beat... then he has to ask:<\/scene_description>\n    <character>BILAL<\/character>\n    <dialogue>Why you didn't just shoot us?<\/dialogue>\n    <parenthetical>(Phillips is silent)<\/parenthetical>\n    <dialogue>Gun was right there. Why you don't just grab it and shoot us?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>I just... wanted to go home.<\/dialogue>\n    <scene_description>Bilal doesn't respond. He can't. We CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - STARBOARD - AMIDSHIP - NIGHT<\/stage_direction>\n    <scene_description>The MAERSK ALABAMA is a cargo ship: 508 feet long, 83 feet abeam, displacing 31,000 tons of water. Massive. With a seven- story superstructure, \"The House\", rising from her stern. She idles, a mile from the lifeboat... as she is boarded by U.S. NAVY SAILORS - guys climbing up flexible-steel ladders from two NAVY ZODIACS idling beside the Maersk amidship.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - SAME<\/stage_direction>\n    <scene_description>SHANE MURPHY stands at the helm of the Maersk, 120 feet above the waterline. He's Chief Mate on this ship - 27, tough as a bouncer but with a Boy Scout face. From Seekon, Mass.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>The leader has a knife wound on his right hand, pretty deep. Another guy, he was the youngest, his foot's cut up - from glass shards.<\/dialogue>\n    <scene_description>Murphy and 10 OTHER MAERSK CREW-MEMBERS (we'll meet them soon) are being debriefed by LT. PRICE, USN. ...as Navy SAILORS take control of this ship. An ENSIGN named REID at the helm. Murphy can see the Bainbridge from here... and that tiny orange fiberglass lifeboat. This sucks...<\/scene_description>\n    <character>MURPHY (CONT'D)<\/character>\n    <dialogue>Is there some rescue planned? You guys gonna get him outta there?<\/dialogue>\n    <character>LT. PRICE<\/character>\n    <dialogue>Orders are, no offensive measures until the FBI Negotiator is on sight and in contact with the pirates.<\/dialogue>\n    <character>ENSIGN REID<\/character>\n    <dialogue>We okay to come about, Lieutenant?<\/dialogue>\n    <character>LT. PRICE<\/character>\n    <dialogue>Yeah. Come about.<\/dialogue>\n    <scene_description>Reid turns the wheel. The giant cargo ship turns. Murphy sighs; none of the crew-members look happy. Chief Engineer MIKE PERRY, (55, devout Christian) voices it:<\/scene_description>\n    <character>PERRY<\/character>\n    <dialogue>Doesn't feel right, leaving him out there.<\/dialogue>\n    <character>LT. PRICE<\/character>\n    <dialogue>Command wants this vessel out of hostile waters - we're escorting you all the way to Mobassa.<\/dialogue>\n    <scene_description>The men hate that. Murphy studies them... then:<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Can we at least get word to his wife?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNDERHILL VT. - RIVER ROAD - PHILLIPS' DRIVEWAY - DAY<\/stage_direction>\n    <scene_description>FOUR NEWSVANS and 15 REPORTERS crowd the snowy driveway and street outside the home of Richard and Andrea Phillips. Underhill Vermont is a town with no stop-lights. But today it's the center of the world, and Phillips is the reason. A REPORTER, his breath fogged, does a remote from the porch. ...as we PUSH INSIDE, through a window, to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHILLIPS' HOME - LIVING ROOM - CONTINUING<\/stage_direction>\n    <scene_description>An 1830's design, timber ceilings. Messy and warm. But what used to be a calm home is now Mission Control: NEIGHBORS, FAMILY MEMBERS - manning phones, monitoring CNN, fretting. We KEEP PUSHING THROUGH - faces, voices, a spilled soda - to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PHILLIPS' HOME - BACK PATIO - DAY<\/stage_direction>\n    <scene_description>A stone patio, dusted by light snow. ANDREA PHILLIPS sits out here, a brief moment of solitude amidst crisis. Behind her we see a perfect Vermont pasture, blanketed white. Andrea is the one all those reporters want to talk to. The wife. Lovely, fierce... but desperate just now. She stares at an old NAUTICAL BELL that hangs over a clothes-line. Through the patio doors she sees her SISTERS, her SISTERS-IN- LAW, NEIGHBORS. All here to help. But none of them can. On her face, fear. Sadness. She lifts a CELL-PHONE to her ear, hits speed-dial. FOUR RINGS... then she hears:<\/scene_description>\n    <character>PHILLIPS (OUTGOING MESSAGE)<\/character>\n    <dialogue>You know the spiel. Now do the deal. I'll call you back.<\/dialogue>\n    <scene_description>BEEP. Andrea starts crying. About to hang up... Instead:<\/scene_description>\n    <character>ANDREA (INTO CELL)<\/character>\n    <dialogue>Hi, Honey. You're gonna have a bunch of hang-ups on this number. Sorry, they're all me; it's the only way I can hear your voice. Dumb, right? Richard, I keep thinking about the airport. Dropping you off like that. I always walk you in and watch the plane take off. Always. So why didn't I this time? I don't know.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>The kids are good. They're both on their way home. Everybody's calling, even people we never talk to, guys I dated thirty years ago. I think they think I'm now available.<\/dialogue>\n    <parenthetical>(half a laugh, then:)<\/parenthetical>\n    <dialogue>Keep looking for me, Honey. Every night in the stars. I'm up there. And I'm looking for you. So I'll see you soon, right? I love you.<\/dialogue>\n    <scene_description>She shuts the phone, eyes that old SHIP'S BELL overhead.<\/scene_description>\n    <character>ANDREA<\/character>\n    <dialogue>Damn it!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - MOVING - RESUMING (NIGHT)<\/stage_direction>\n    <scene_description>This lifeboat chugs along, airless and fetid. Phillips, bound now, his face beaten and bruised, silently prays. Musi, on the bridge, watches, amused.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>Hey Phillips, you turning Catholic again?<\/dialogue>\n    <parenthetical>(NOTE: the bridge is two steps above the lifeboat floor, with nav and radio gear, two seats, and tiny cockpit windows.)<\/parenthetical>\n    <dialogue>The pirates look strained, edgy; Elmi nervously works that three-colored ROPE: weaving strands of white, orange, and red into a whole. Phillips watches with an unspoken dread.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>I have to urinate.<\/dialogue>\n    <parenthetical>(no one replies)<\/parenthetical>\n    <dialogue>I need the bottle. I have to urinate.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>No bottle.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>You just said...<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>You pee on yourself, like an animal.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Won't be too clean.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>I'm clean. My men are clean. No bottle.<\/dialogue>\n    <scene_description>Two Captains, eyeing one another. The pirates watching...<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>None of us are gonna get out of here alive. You know that.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>Why? 'Cause of Navy? Don't worry, Irish. They not gonna hurt me. I work for those guys.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Is that right?<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>Oh yeah. This is a training mission. We take ships, see how the Navy does. Your company hired us. Navy guys and me, we're friends!<\/dialogue>\n    <scene_description>Crazy bastard. He points at the Bainbridge, brightly lit, a half mile away, then chuckles. Phillips studies him...<\/scene_description>\n    <character>MUSI (CONT'D)<\/character>\n    <dialogue>We offer them beer! No American say no to beer! Beer and tv. Lazy, lazy. We're Somali Marines, we're 24\/7. We can do anything.<\/dialogue>\n    <scene_description>Najee picks up the three-colored rope, consults with Elmi about it in Somali. Clearly, it has great meaning to them.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>That's for me. Isn't it.<\/dialogue>\n    <parenthetical>(Musi grins)<\/parenthetical>\n    <dialogue>The rope. Is it for me?<\/dialogue>\n    <scene_description>Musi looks to his men: Do I tell him? A beat, then...<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>Yah, it's for you, Irish. But you can't touch it. Your hands are lalil. Unclean.<\/dialogue>\n    <parenthetical>(relishing this)<\/parenthetical>\n    <dialogue>It's what we tie you up with before we kill you. So your soul never leaves these waters.<\/dialogue>\n    <scene_description>Phillips digests that. Musi grins, pleased.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>You had to pee, right? So pee! Pee, Irish!<\/dialogue>\n    <scene_description>The pirates laugh. Phillips eyes them, defiant. You will not break me... And he begins to pee, darkening his pants. The pirates start WHOOPING, celebrating, as:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PHILLIPS' HOME - BACK PATIO - RESUMING<\/stage_direction>\n    <scene_description>Andrea remains alone out here... until:<\/scene_description>\n    <character>AMBER (O.S.)<\/character>\n    <dialogue>Andrea?<\/dialogue>\n    <scene_description>AMBER, Andrea's oldest friend, stepping on to the patio.<\/scene_description>\n    <character>ANDREA<\/character>\n    <dialogue>Who's been calling?<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Matt Lauer, Katie Couric, Diane Sawyer, Senator Kennedy, Senator Leahy. But we didn't want to interrupt you...<\/dialogue>\n    <character>ANDREA<\/character>\n    <dialogue>You could've interrupted me for Matt Lauer.<\/dialogue>\n    <scene_description>Amber breathes out a smile, then drops a bomb:<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>Honey, there are two people from Maersk here.<\/dialogue>\n    <scene_description>Andrea sees them now, through the patio door: two CORPORATE TYPES, a man and a woman, just got here. Standing out like sore thumbs in a room full of friends and family. She tightens. Maybe they're here to deliver bad news. Amber seems to think so too. She leads Andrea into:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHILLIPS' HOME - LIVING ROOM - CONTINUING<\/stage_direction>\n    <scene_description>The room is suddenly silent, all eyes on the suits: ALLISON McCALL (blonde, pretty, likes her BlackBerry) and JONATHAN HENSON (35, solid). They approach Andrea, who gulps...<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Hi, Andrea. I'm Allison McCall. This is Jonathan Henson. We're from Maersk.<\/dialogue>\n    <character>ANDREA<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Bracing herself. Everyone in the room doing the same...<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>I'm going to be managing anything media-related for you. Jonathan's going to be liaising with the Defense Department, so you'll be getting steady and real-time information.<\/dialogue>\n    <scene_description>Okay. She's not here to deliver devastating news. Everyone relaxes. A sister-in-law, NANCY, extends a phone as:<\/scene_description>\n    <character>NANCY<\/character>\n    <dialogue>Um. I have the Governor on the phone. He wants to know if there's anything he can do.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Yes. He can send over some State Troopers to move all the reporters off the road out there. They're causing a traffic hazard.<\/dialogue>\n    <scene_description>Nancy pauses. Am I actually supposed to say that?<\/scene_description>\n    <character>ANDREA<\/character>\n    <dialogue>I'll be with him in a second, Nancy.<\/dialogue>\n    <scene_description>Nancy nods, relieved. Andrea studies Allison, wary.<\/scene_description>\n    <character>ANDREA<\/character>\n    <dialogue>I appreciate your being here, Allison. But it's really not necessary. I know how things go. Maersk got their ship back, and all of their cargo, and most of the crew. That's a pretty good result. And sometimes one man gets sacrificed for the good of others. That's the sea.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Mrs. Phillips, Maersk is not going to let anything happen to your husband.<\/dialogue>\n    <character>ANDREA<\/character>\n    <dialogue>I see. Then how much are they willing to spend to save him?<\/dialogue>\n    <scene_description>WHAM. That caught Allison flush. Andrea closes her eyes:<\/scene_description>\n    <character>ANDREA<\/character>\n    <dialogue>Richard, you have to save yourself.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - NIGHT<\/stage_direction>\n    <scene_description>A JOLT: Phillips is yanked out of a seat by Musi - suddenly, urgently. Rage in Musi's eyes. Something's infuriated him:<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>I want you to know something. We were all fishermen once. Other countries come and overfish our waters, dump all their trash here - no Somali government to stop them. So there's no more fishing.<\/dialogue>\n    <scene_description>A few feet away, Najee and Elmi pull an ORANGE SURVIVAL SUIT from a bin, and begin to spread it on the floor. Odd...<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>What's the survival suit for?<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>We were fishermen!<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>What's it for?!<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>If your body touch the floor, it makes the whole boat unclean.<\/dialogue>\n    <scene_description>Oh. Musi loads a 9mm handgun, hands it to Bilal. The pirates drop to their knees to PRAY for Allah's blessing. Game over; Phillips knows it. And he can only utter a single word:<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Andrea...<\/dialogue>\n    <scene_description>He shuts his eyes. We SMASH TO BLACK - and... Super: \"Eight days earlier.\" FADE UP AGAIN: on Phillips, when the world was still sane.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHILLIPS HOME - MASTER BEDROOM - EARLY MORNING<\/stage_direction>\n    <scene_description>Phillips is home. In bed. Studying Andrea's face as she sleeps - trying to sear the image of her into his memory. He knows he won't be seeing that face again for a while. This is their bedroom: a four-poster bed, a crucifix on the wall, timber ceiling overhead. Messy and warm, with Vermont outside the window - a snowy pasture on a March morning. Andrea awakens. Phillips is the first thing she sees.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <parenthetical>(Barry White voice)<\/parenthetical>\n    <dialogue>Baby, when'll your husband be home?<\/dialogue>\n    <scene_description>Andrea blushes, grins. She loves when he kids like that. Then the grin's gone, that fast - because she just remembered what today is. Instead, sadness. Resignation. These two love each other deeply. It makes the goodbyes awful.<\/scene_description>\n    <character>ANDREA<\/character>\n    <dialogue>All packed?<\/dialogue>\n    <scene_description>Phillips nods. We CUT TO... a different kind of home:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSI'S HUT - EYL, SOMALIA - EARLY MORNING<\/stage_direction>\n    <scene_description>Musi awakens on a dirt floor in a stone hut. His wife, ABDI, and their two kids sleep. He studies them fondly. RETURN TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHILLIPS HOME - UPSTAIRS - RESUMING<\/stage_direction>\n    <scene_description>Phillips eyes his daughter's room. (She's away at school). Every inch of wall space is filled with posters, bumper stickers, equestrian ribbons. They make him smile. Then his son's room. Lots of clutter, photos of swimsuit models on the walls - and the kid himself, just awakening now. DAN, 19. Phillips is angered to see him here.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Thought you were driving back to school this morning.<\/dialogue>\n    <character>DAN<\/character>\n    <dialogue>Yeah. Woke up with a sore throat.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>(hates being lied to)<\/dialogue>\n    <scene_description>Uh-huh. What time'd you get in last night?<\/scene_description>\n    <character>DAN<\/character>\n    <dialogue>It wasn't late.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Had to be after midnight - 'cause I was still up and you weren't here.<\/dialogue>\n    <character>DAN<\/character>\n    <dialogue>You really gonna interrogate me, Dad?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Oh. I'm sorry. Are you still sleepy?<\/dialogue>\n    <scene_description>(no reply) It's really simple, Dan. You go to school. Classes. That's your job. You're either doing it or you're not.<\/scene_description>\n    <character>DAN<\/character>\n    <dialogue>Dad, you wanna boss people around? Do it on the boat, okay? Jesus.<\/dialogue>\n    <scene_description>A blow-up, that fast. Silence hangs...<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>You driving back, or aren't you?<\/dialogue>\n    <character>DAN<\/character>\n    <dialogue>Obviously.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Good. And check in on your mom while I'm gone.<\/dialogue>\n    <character>DAN<\/character>\n    <dialogue>I know the drill.<\/dialogue>\n    <scene_description>Lots of distance here. It makes them both uneasy.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PHILLIPS HOME - PATIO - SAME<\/stage_direction>\n    <scene_description>Andrea brooms snow off the patio, bumping her head on the OLD SHIP'S BELL hanging here. Damn. She hates that bell. She sees Phillips descending the stairs, irritated, bags in hand.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSI'S HUT - EYL, SOMALIA - RESUMING<\/stage_direction>\n    <scene_description>Musi's \"belongings\" lie in a corner, discards collected over the years: someone's sun-glasses, a chipped coffee mug, a book. He steps into some ratty sandals. On a stone wall is a sliver of a mirror, too small to reflect his whole face. He eyes a portion of his own reflection.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PHILLIPS HOME - DRIVEWAY - MOMENTS LATER<\/stage_direction>\n    <scene_description>Toyota Minivan. Andrea gets in. Phillips beside her.<\/scene_description>\n    <character>ANDREA<\/character>\n    <dialogue>I'm gonna take down that bell.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Please don't. It has sentimental--<\/dialogue>\n    <character>ANDREA<\/character>\n    <dialogue>I keep banging my head on it.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>I'll raise it, soon as I'm back.<\/dialogue>\n    <character>ANDREA<\/character>\n    <dialogue>In July.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>In July.<\/dialogue>\n    <scene_description>Not a happy reality. He takes her hand. It helps a little. She pulls out of the driveway. Phillips looks up: There's Dan, glancing down from his bedroom window. Father and son exchange looks. That's it.<\/scene_description>\n    <character>ANDREA<\/character>\n    <dialogue>He stayed over so he could see you off this morning.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>I don't like him to miss class.<\/dialogue>\n    <scene_description>Departure days are always tense. And edgy. We RETURN TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSI'S HUT - EYL, SOMALIA - RESUMING<\/stage_direction>\n    <scene_description>Abdi hands Musi a gift, a homemade BRACELET of red cloth. He smiles, takes it, kisses her. Then he goes...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDERHILL, VT. - GENERAL STORE - MORNING<\/stage_direction>\n    <scene_description>Underhill is snowy pastures, the local cemetery, a handmade sign for fresh eggs, St. Thomas' Church. And a GENERAL STORE. It's run by MIKE WILLARD, (60, former merchant mariner), who grins as Phillips makes his usual pre-trip purchase: 15 pounds of \"8 O'Clock Coffee\" beans, in bags.<\/scene_description>\n    <character>MIKE WILLARD<\/character>\n    <dialogue>Where ya bound on this one?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Salalah, Djibouti, Mombasa - delivering handshake food.<\/dialogue>\n    <character>MIKE WILLARD<\/character>\n    <dialogue>That's a good run.<\/dialogue>\n    <scene_description>Andrea tightens. No, it's not a good run. Not lately. And Willard knows the tension well.<\/scene_description>\n    <character>MIKE WILLARD (CONT'D)<\/character>\n    <dialogue>Your boy gonna work for me over the Summer again?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Maybe sooner than that, he keeps screwin' around.<\/dialogue>\n    <parenthetical>(Willard smiles fondly )<\/parenthetical>\n    <dialogue>Can I get a receipt?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLAGE - EYL, SOMALIA - MORNING<\/stage_direction>\n    <scene_description>Musi emerges from his hut... into a wasteland: Eyl, Somalia. No roads, no power or water. A goat ambles by, an old man with NO HANDS sits, staring. Musi walks past him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MINIVAN\/EXT. BURLINGTON AIRPORT - CURB - MORNING<\/stage_direction>\n    <scene_description>Airport. Andrea pulls up to the curb. Phillips pauses.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>You're not coming in?<\/dialogue>\n    <character>ANDREA<\/character>\n    <dialogue>I can't today. Late for my shift.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Oh. Okay.<\/dialogue>\n    <scene_description>He lets it go, gets out. We STAY WITH ANDREA - as Phillips grabs his stuff, then walks around to her side of the car - just in time for her to blurt out:<\/scene_description>\n    <character>ANDREA<\/character>\n    <dialogue>Two runs a year, Richard. That was our deal. This is number three. Is being away that great?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>You want the speech about college tuitions and mortgages again?<\/dialogue>\n    <character>ANDREA<\/character>\n    <dialogue>I just want you home.<\/dialogue>\n    <scene_description>Phillips knows that. He sighs, looks up at the sky.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>I'll be right up there, like always. Right?<\/dialogue>\n    <parenthetical>(she half-nods)<\/parenthetical>\n    <dialogue>I love you.<\/dialogue>\n    <scene_description>He leans in. She pulls him close, urgently, shuts her eyes tight. Then her guard goes up again. End of hug. He smiles.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <parenthetical>(Barry White voice again)<\/parenthetical>\n    <dialogue>Thanks, Baby. See ya next time I'm in town.<\/dialogue>\n    <scene_description>She almost laughs. Almost. One last look, then he goes, vanishing into the terminal. On Andrea's face we CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH - EYL, SOMALIA - MORNING<\/stage_direction>\n    <scene_description>Musi crosses a wind-whipped beach. No commerce here, no hope, just overturned BOATS. To his right is what used to be a FISH FACTORY - abandoned now, rotting. Musi continues on...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PORT - SALALAH, OMAN - DAY<\/stage_direction>\n    <scene_description>Phillips emerges from a car in the port of SALALAH, OMAN. This place is booming - ships everywhere, big ones... But all Phillips can see is the Maersk Alabama, ugly and immense. Huge CRANES fill her hold with dumpster-sized CONTAINERS. (She can carry 1,092 of them, but on this trip she'll only be carrying 400.) She bears no flag of nationality. Phillips is instantly in Captain-mode: scrutinizing how the cranes are operating, how the ship's CREW is moving... Then:<\/scene_description>\n    <character>MURPHY (O.S.)<\/character>\n    <dialogue>Good to see you, Cap.<\/dialogue>\n    <scene_description>Shane Murphy, the Chief Mate. These two respect one another.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>You too, Shane. How's she look?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EYL, SOMALIA - OLD HARBOR - DOCK - MORNING<\/stage_direction>\n    <scene_description>We find a beaten TRAWLER with TEN MEN aboard it: black, lean, hungry. At their feet: AK-47's, side-arms, ammunition. These men are pirates. This trawler is their MOTHER-SHIP. It has two SKIFFS tied to its stern: motorboats. Not much for amenities, but fast. The rest of this harbor is empty... Musi walks a rickety dock, approaching the pirate-trawler. THREE CREW-MEMBERS see him coming. They stand at attention. Bilal. Elmi. Najee. Musi nods to them and boards the Trawler.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - MAIN DECK - IN PORT - DAY<\/stage_direction>\n    <scene_description>Phillips walks the length of the Maersk, eyeing everything. He wears a blue Polo shirt, khakis, steel-toed boots. Behind him is the ship's \"House\", seven-stories tall, home to crew quarters, hospital, mess, engines, the Bridge... Before him is the ship's massive HOLD, home to all those containers, (several marked WORLD FOOD PROGRAMME.) Another one's being loaded in. Shane Murphy approaches.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Seventeen tons of grain, wheat, and peas, bound for Kenya.<\/dialogue>\n    <parenthetical>(Phillips nods)<\/parenthetical>\n    <dialogue>Beats hauling Toyotas from Yokohama to Seattle, right? God, that's a shitty run.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Voyage Plan's got us sailing three hundred miles off-shore. That's two extra days.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Lotta bulletins comin' in about pirates last couple weeks, Cap. Crew's kinda edgy about it.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Yeah? Then why's security so lax around here?<\/dialogue>\n    <parenthetical>(Murphy shrugs)<\/parenthetical>\n    <dialogue>Engine Door, Bridge Door, Cargo Scuttle - all of 'em wide open. I want 'em secured. Even in port.<\/dialogue>\n    <scene_description>Murphy nods. Phillips eyes the PIRATE CAGES (welded bars) that are supposed to be protecting the STEPS rising up seven stories from here to the Bridge. They're unlocked.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Pirate cages unlocked. What kinda crew are you handing me?<\/dialogue>\n    <scene_description>Whoops. That was said just as TWO CREW-MEMBERS walk by: \"ATM\" RAIZA (26, black) and COLIN WRIGHT (30, Southerner). They just decided the new Captain is an asshole. That fast.<\/scene_description>\n    <character>ATM<\/character>\n    <dialogue>Cap.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Nice to meet you.<\/dialogue>\n    <scene_description>Off they go, unimpressed. Murphy waits 'til they're gone.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>They're okay. The Captain took his foot off the gas, last few days.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>I'm puttin' it back on. Spread the word.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Cap, go easy. They lost a guy last week, outside Djibouti.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Lost him how?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Deck Machinist, twenty-year vet. Guy just opted out, middle of the night. Left a note in his cabin. \"Tell 'em I went for a swim.\" That shit always spooks a crew.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Sorry, Shane - but I need 'em un- spooked. And sharp. You on it?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>I guess I also need a new Deck Machinist.<\/dialogue>\n    <scene_description>Murphy eyes him, sobered, then nods \"On it.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PIRATE TRAWLER - EYL, SOMALIA - HARBOR - DAY<\/stage_direction>\n    <scene_description>Musi touches the bracelet his wife gave him as we put to sea. The Captain of this trawler is an elder named HUFAN. He has an old map, a radio, and some cigarettes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - IN PORT - DAY<\/stage_direction>\n    <scene_description>The maps in here are electronic. The radar screens have data scrolling across them. The radios are fed by satellite. We're 120 feet above the waterline, looking out at the world through massive windows. A bright, trouble-free day... But there's a tension hanging, even before we've left port. At the helm are KEN QUINN (2nd Mate) and ATM Raiza (whom Phillips pissed off on deck). This is hushed:<\/scene_description>\n    <character>ATM<\/character>\n    <dialogue>I'm just sayin', Coast Guard advisories say we should be six hundred miles off-shore.<\/dialogue>\n    <character>KEN QUINN<\/character>\n    <dialogue>You think a pirate trawler couldn't find a ship six hundred miles out?<\/dialogue>\n    <scene_description>Murphy, ten feet away, needs to cut this off. So:<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Uh-oh. We're screwed, Fellas.<\/dialogue>\n    <scene_description>The guys turn... to see a sailor named DURELL (25, black, fit) who just stepped on to the bridge. Durell freezes. ...as the guys in here study him, like Pledge-Masters.<\/scene_description>\n    <character>MURPHY (CONT'D)<\/character>\n    <dialogue>This your first ship, Kid? You right outta merchant mariner school?<\/dialogue>\n    <character>DURELL<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Aw, Jeez. We got an FNG, Boys.<\/dialogue>\n    <character>KEN QUINN<\/character>\n    <dialogue>Friggin' New Guy.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Didn't they teach you it's bad luck to walk on to the Bridge left-foot first?<\/dialogue>\n    <scene_description>Durell's eyes go wide. Murphy looks so serious. They all do.<\/scene_description>\n    <character>DURELL<\/character>\n    <dialogue>No...?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Write this down, Rook. Full moons and dolphins - good luck. Priests, redheads, fresh flowers, and walking on to the Bridge left-foot first, bad luck. Brutal. Now go back out and do it again.<\/dialogue>\n    <scene_description>Durell freezes again. Really? He starts to back out... ...when ATM and Quinn start laughing, big-time, which tells Durell it's all a gag. He takes it pretty well. More laughs. Then Phillips enters - and things tighten. The laughs get choked back. He's the boss. And not big on goofing off.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Cap, this is Durell, new A.B.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Welcome to the sacred fraternity of merchant mariners, truckers of the ocean. Shane'll teach you the fight song later. We all set, Fellas?<\/dialogue>\n    <character>MURPHY\/KEN QUINN\/ATM<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <scene_description>Phillips nods, heads for the coffee-maker.<\/scene_description>\n    <character>KEN QUINN<\/character>\n    <dialogue>Hey, Cap. I never been on this run before. Are the ports any good?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Askin' the wrong guy, Kenny. Cap never leaves the ship. Doesn't matter where we put in, he stays on board.<\/dialogue>\n    <character>KEN QUINN<\/character>\n    <dialogue>That right, Cap?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>I'm married and I'm cheap. What'm I gonna do on shore?<\/dialogue>\n    <scene_description>The guys laugh. Phillips grabs a printed E-MAIL from \"The Office of Naval Intelligence.\" Subject: \"Pirate Activity on the East African Coast.\" He eyes it soberly, as:<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Okay then. Dead Slow Ahead.<\/dialogue>\n    <character>KEN QUINN<\/character>\n    <dialogue>Dead Slow Ahead.<\/dialogue>\n    <scene_description>Quinn pushes the ENGINE ORDER TELEGRAPH (throttle), and:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - FROM THE WATER - CONTINUING<\/stage_direction>\n    <scene_description>The Maersk Alabama puts out to sea... Slow but muscular.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - RESUMING<\/stage_direction>\n    <scene_description>Phillips moves to a computer - sends off a quick e-mail: \"We're underway, Honey. I'll be seeing you in the stars.\" ...as Murphy eyes that bulletin from Naval Intel - about the surge in piracy off the East Africa coast...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INDIAN OCEAN - PIRATE TRAWLER - MOVING - EVENING<\/stage_direction>\n    <scene_description>Hufan's men eat stale crackers while he monitors his radio. Musi is thumbing through a weather-worn ENGLISH DICTIONARY, memorizing words by the glow of a FLASHLIGHT... until he suddenly tosses the book overboard with disdain. Splash.<\/scene_description>\n    <character>BILAL (SOMALI, SUBTITLED)<\/character>\n    <dialogue>Why you do that? All the ships we board, no captain ever speak Somali.<\/dialogue>\n    <character>MUSI (SOMALI, SUBTITLED)<\/character>\n    <dialogue>Everybody speaks AK-47, Bilal.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - MAIN DECK - STERN - AT SEA - MORNING<\/stage_direction>\n    <scene_description>A blazing hot day. Phillips walks the length of the ship again - his daily inspection tour - when he sees something: Suspended above B-DECK - right where it should be - is that fiberglass LIFEBOAT. 28 feet long, enclosed, looks like an orange submarine, sitting on SKIDS at a 45-degree angle. But ten feet below it, sitting on overturned buckets, are two members of his crew: DEL and DAVE, old salts, each over 60 and overweight, smoking Marlboros. Phillips pauses, instantly irritated.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Enjoying your break, Fellas?<\/dialogue>\n    <scene_description>They eye him without alarm. Or chagrin.<\/scene_description>\n    <character>DEL<\/character>\n    <dialogue>Sorry, Cap. I got a slipped disc.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>(at Dave:) How're your discs? (Dave shrugs) Get to work. Christ. Aren't you guys supposed to be cleaning the lifeboat? And there's no smoking on deck. Del and Dave put their cigs out and rise, grabbing a hose.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>No. Not a hose. Get up in a harness and soogee it, with a Turk's Head.<\/dialogue>\n    <character>DEL<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Yep. Hosin' it ain't the same thing.<\/dialogue>\n    <scene_description>They eye the lifeboat, suspended above them. Hanging up there in a harness sounds like a hassle. Phillips turns to go.<\/scene_description>\n    <character>DAVE<\/character>\n    <dialogue>Hey, Cap.<\/dialogue>\n    <scene_description>(Phillips turns back) We're spittin' distance of the Somali coast - got pirates takin' down ships right and left. How's cleanin' a lifeboat gonna help anything? Phillips can debate the point, or walk away. He walks away.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Just get it done.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - MESS DECK - MESS - LATER MORNING<\/stage_direction>\n    <scene_description>Murphy and Ken Quinn, eating. Phillips enters, irritated.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Got some confused sailors on board, Shane. They seem to think my name's Maersk. I'm just the Captain.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>You need me to tune somebody up, Cap?<\/dialogue>\n    <scene_description>Phillips is about to reply when he sees ANOTHER BULLETIN on the table: \"Worldwide Threats to Shipping\". ...it's sitting in front of Ken Quinn. Clearly, he and Murphy have been discussing it. 23 pirate attacks reported off of East Africa in a single week. Now Phillips is really irritated - because a bulletin like this should NOT be loose on the ship. He grabs it.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>No. I want you to show our crew a Goddamn map.<\/dialogue>\n    <scene_description>He gestures to a MAP on the wall.<\/scene_description>\n    <character>PHILLIPS (CONT'D)<\/character>\n    <dialogue>Here's Somalia. Here's Mombasa. Here's Djibouti. Here's us. Coast Guard advisories say we should be six hundred miles off-shore. Great, except you can't be six hundred miles away from Somalia if you're going to Mombasa, because Mombasa is sixty miles from the Somali border. You can go a thousand miles straight out, but you still gotta come back into range, because that's our destination. And by the way, these guys've hit ships twelve-hundred miles off shore, just like they've hit ships that are at anchor in port. These are the waters we're sailing. Okay?<\/dialogue>\n    <scene_description>Murphy nods. Quinn too. Phillips seems calmer now.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Understood.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Good. We're running a security drill today. Unannounced.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Great! I love unannounced drills.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>In five minutes.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>'Kay. I wanna start out with--<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Don't tell me what you're going to do. Let's just see how we perform.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - 9 A.M.<\/stage_direction>\n    <scene_description>Colin Wright is at the helm. Beside him are ATM and a 70 year- old crew-member named MARV, (white, pleasant, but useless.) Phillips enters... and leans in to Wright, calmly:<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>It's Colin, yeah?<\/dialogue>\n    <character>WRIGHT<\/character>\n    <dialogue>Yes, Cap. Colin Wright.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>There's a boat on our starboard side, Colin. Two men with weapons, acting hostile.<\/dialogue>\n    <scene_description>Wright turns. Marv freezes.<\/scene_description>\n    <character>WRIGHT<\/character>\n    <dialogue>Ohhhhkay.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>You have to do something about that - right?<\/dialogue>\n    <character>WRIGHT<\/character>\n    <dialogue>Is this a drill, Cap?<\/dialogue>\n    <scene_description>Phillips just stares: \"Show me something.\" Wright rings the GENERAL ALARM, which sounds throughout the ship. LOUD.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Not the general alarm. We hit the whistle first - to let the pirates know you are aware of them and are ready to defend the ship.<\/dialogue>\n    <scene_description>Wright nods, sounds a WHISTLE (audible five miles away).<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Now the General Alarm. Long-short, long-short.<\/dialogue>\n    <scene_description>Done. ATM takes the helm. Marv still hasn't moved.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>You are...?<\/dialogue>\n    <character>MARV<\/character>\n    <dialogue>I'm Marv, Cap.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Got pirates approaching, Marv. Hit the fire pump.<\/dialogue>\n    <scene_description>There are two FIRE-PUMP lights on a console. One red, one green. Marv hits the RED one and moves away.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Red means off. We need it ON.<\/dialogue>\n    <character>MARV<\/character>\n    <dialogue>Got it.<\/dialogue>\n    <scene_description>ATM reaches over him, hits the green button... but:<\/scene_description>\n    <character>ATM<\/character>\n    <dialogue>The pumps aren't working, Cap. No water pressure.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Okay. Fix it. Marv, go secure the three bridge doors.<\/dialogue>\n    <character>MARV<\/character>\n    <dialogue>Got it.<\/dialogue>\n    <scene_description>Marv scurries off. Phillips watches him go...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - ENGINE ROOM - SAME<\/stage_direction>\n    <scene_description>Guys file in, without urgency. It's just a drill.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - LIFEBOAT - SAME<\/stage_direction>\n    <scene_description>Whistles and alarms ring, but Del and Dave haven't moved.<\/scene_description>\n    <character>DEL<\/character>\n    <dialogue>Nice. Can we go now?<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>I'm almost done. Relax.<\/dialogue>\n    <scene_description>What's Dave doing? Using a key to scratch a caricature of Phillips, and the words \"Philips is a shit\", into a hatch door. A few last touches, then:<\/scene_description>\n    <character>DAVE (CONT'D)<\/character>\n    <dialogue>There. Now we can go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - A-DECK - PASSAGEWAY - MOMENTS LATER<\/stage_direction>\n    <scene_description>Phillips emerges from a stairwell: CREW-MEMBERS move past, some with keys jangling on their belts. There are doors left unsecured. Not good. He spots a STEWARD, ambling by:<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>What's the non-duress password?<\/dialogue>\n    <character>STEWARD<\/character>\n    <dialogue>Mister Jones.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>No. That's the Secret Security Alarm code. Non-duress is \"suppertime.\"<\/dialogue>\n    <character>STEWARD<\/character>\n    <dialogue>Suppertime. Got it.<\/dialogue>\n    <scene_description>This isn't going well.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - RESUMING<\/stage_direction>\n    <scene_description>Murphy appears on the Bridge. Feeling some heat.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Have we switched the radio to VHF?<\/dialogue>\n    <character>WRIGHT<\/character>\n    <dialogue>On it.<\/dialogue>\n    <scene_description>Just then - Marv returns, winded.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Where you been, Marv?<\/dialogue>\n    <character>MARV<\/character>\n    <dialogue>Captain sent me to close the doors.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Oh. Which doors did you close?<\/dialogue>\n    <character>MARV<\/character>\n    <dialogue>Every door on every level.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Did they have locks on them, these doors?<\/dialogue>\n    <character>MARV<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>But you were just closing them. Not locking them. Securing them.<\/dialogue>\n    <character>MARV<\/character>\n    <dialogue>Um.... No. Just closing.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Which wouldn't do much good if we were under attack. Would it?<\/dialogue>\n    <character>MARV<\/character>\n    <dialogue>No. I guess not.<\/dialogue>\n    <character>WRIGHT<\/character>\n    <dialogue>I've gone over this with him six or seven times.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Okay, Marv. Get to your muster point.<\/dialogue>\n    <parenthetical>(Marv's a blank)<\/parenthetical>\n    <dialogue>The Ship's Office. Go.<\/dialogue>\n    <scene_description>Marv goes... just as Phillips returns to the bridge.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>We are in search of excellence - but oh we will accept so much less.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>How's it look down there?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Like monkeys trying to hump a football. Got watertight doors open on the Main Engine Level; they should all be secured, with deadbolts. Guys running around with key-chains on their hips. One set would give a pirate access to every room on the ship. That was in the Night Orders. Did we get the pump fixed?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Yeah. That's done.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Okay. Let's shut this down and bring everyone into the Ship's Office for a critique. Five minutes.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>'Kay. Sorry about the screw-ups.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Don't be sorry. Be angry. They'll jump higher.<\/dialogue>\n    <scene_description>Murphy nods, shuts off the alarm. Phillips turns away. ...when something catches his eye. THREE BLIPS - coming from the 10-cm RADAR SCREEN. Odd. He stops. Leans in. The BLIPS indicate THREE SMALL VESSELS, seven miles astern. They're moving in on us. Fast. Just like they would if this were the real thing. Hmmm... Phillips grabs a pair of BINOCULARS and heads outside, to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - PORT SIDE BRIDGE WING - CONTINUING<\/stage_direction>\n    <scene_description>He looks through the binoculars, to find: PHILLIPS' POV - ACROSS WATER - CONTINUING Two MOTORBOATS pound through FOUR-FOOT SWELLS at 21 knots, right at us. A TRAWLER behind them. We can't see faces yet... But they certainly are moving like pirates would. Real ones.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - PORT SIDE BRIDGE WING - RESUMING<\/stage_direction>\n    <scene_description>Phillips lowers the binoculars. Collects himself. Returns to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - CONTINUING<\/stage_direction>\n    <scene_description>He moves to the Engine Order Telegraph, leans on it a bit. A gage tells us his RPM's just shot up to 122 revs. The ship surges forward. The men notice. He looks to Murphy:<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Call down to the Engine Room. Tell 'em to let me know if anything goes red. I'm increasing our speed.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Cap? We still in the drill?<\/dialogue>\n    <scene_description>Phillips is already at a phone, dialing. Two rings, then:<\/scene_description>\n    <character>UKMTO OPERATOR (THRU PHONE)<\/character>\n    <dialogue>United Kingdom Maritime Trade Operations.<\/dialogue>\n    <character>PHILLIPS (INTO PHONE)<\/character>\n    <dialogue>This is the Maersk Alabama - position is two-degrees-two north by forty- nine-degrees-nineteen east. Course is<\/dialogue>\n    <character>PHILLIPS (INTO PHONE)<\/character>\n    <dialogue>one hundred eighty, and speed at seventeen knots. We have two skiffs approaching at five-point-five miles, with a possible mother ship behind them. Potential piracy situation.<\/dialogue>\n    <scene_description>That got everyone's attention. But it's still a drill. Right?<\/scene_description>\n    <character>UKMTO OPERATOR (THRU PHONE)<\/character>\n    <dialogue>It's probably just fishermen. But you should get your crew together and get your fire-hoses ready. And you may want to get the ship locked up.<\/dialogue>\n    <character>PHILLIPS (INTO PHONE)<\/character>\n    <dialogue>We understand that, thank you. Will keep you posted.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Cap?<\/dialogue>\n    <scene_description>Phillips hangs up. The men await an answer...<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Three boats. This is not a drill.<\/dialogue>\n    <scene_description>Oh. He dials another number. Hears a ring. Then two.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Never heard of an attack in the middle of the day, Cap. Visibility's too good.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>They aren't here to fish.<\/dialogue>\n    <parenthetical>(hands him the phone)<\/parenthetical>\n    <dialogue>Take this. I'm trying to reach the U.S. Maritime Emergency Line.<\/dialogue>\n    <scene_description>Murphy takes the phone. Phillips returns to the Bridge Wing:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PORT SIDE BRIDGE WING - RESUMING<\/stage_direction>\n    <scene_description>Another look through the binoculars. More DETAILED now: The skiffs are getting CLOSER, despite the four-foot SWELLS. Somalis. With AK-47's. (Musi and his crew aboard one; a pirate named ASAD and his crew on the other.) In other words: An actual attack, real pirates, coming at us now.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Phillips returns - to find SIX SAILORS now staring at him: Ken Quinn, Durell, and Marv have joined Murphy, Wright, and ATM on the bridge. They look concerned.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Sea's helping us. They're getting pounded out there. But they are coming. Two skiffs carrying armed men. Four miles out and closing.<\/dialogue>\n    <scene_description>Murphy lowers the phone.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Twelve rings. There's nobody there.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Colin, sound the intruder alarm.<\/dialogue>\n    <scene_description>Wright hits the ALARM. Phillips grabs a P.A. MIKE:<\/scene_description>\n    <character>PHILLIPS (INTO MIKE)<\/character>\n    <dialogue>Captain speaking. This is not a drill. All crew report back to your muster points. Repeat, this is not a drill. Crew to the Ship's Office. Engineers to the Engine Room. Locked up and sealed in. Now.<\/dialogue>\n    <parenthetical>(lowers mike)<\/parenthetical>\n    <dialogue>Shane, let's go to hand steering. Left fifteen.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Left fifteen...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - AFT - BELOW THE WATERLINE - CONTINUING<\/stage_direction>\n    <scene_description>Giant TWIN TILLERS move fifteen degrees right, pushing the ship left - and creating a swell in its wake.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MUSI'S SKIFF - MOVING - AT SEA - SAME<\/stage_direction>\n    <scene_description>Musi's skiff SLAMS into a swell. He adjusts his course. To his right, Asad's skiff does the same. Zeroing in...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - RESUMING<\/stage_direction>\n    <scene_description>Phillips watches the radar screen. BLIPS moving in.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Right fifteen.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Right fifteen.<\/dialogue>\n    <scene_description>The ship surges starboard. Phillips grabs the ship's RADIO:<\/scene_description>\n    <character>PHILLIPS (INTO RADIO)<\/character>\n    <dialogue>Chief, how we doing on engines?<\/dialogue>\n    <scene_description>MIKE PERRY. We met him already - eight days ago.<\/scene_description>\n    <character>PERRY (THRU RADIO)<\/character>\n    <dialogue>We're good, Cap.<\/dialogue>\n    <character>PHILLIPS (INTO RADIO)<\/character>\n    <dialogue>Increasing speed to 124 revs.<\/dialogue>\n    <character>PERRY (THRU RADIO)<\/character>\n    <dialogue>No problem.<\/dialogue>\n    <scene_description>Phillips pushes the Engine Order Telegraph forward.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>They're at three miles, Cap.<\/dialogue>\n    <character>WRIGHT<\/character>\n    <dialogue>A lotta chop out there. Don't they know there's a lotta chop out there?<\/dialogue>\n    <scene_description>Phillips eyes the radar again. We CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSI'S SKIFF - SAME<\/stage_direction>\n    <scene_description>Musi bears down on the Maersk, his face a stone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - MINUTES LATER (MORNING)<\/stage_direction>\n    <scene_description>Murphy looks up from the radar. But Phillips already knows:<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Two miles, Cap.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Send out a call to \"War Ship 237.\" I'll pretend to get it.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Forget it. I'll do it.<\/dialogue>\n    <scene_description>He grabs the radio, speaks into it:<\/scene_description>\n    <character>PHILLIPS (INTO RADIO)<\/character>\n    <dialogue>Warship 237, Coalition Warship 237. This is Maersk Alabama, come in.<\/dialogue>\n    <scene_description>Then he changes his voice, pretending to be \"Warship 237\":<\/scene_description>\n    <character>PHILLIPS (INTO RADIO,<\/character>\n    <parenthetical>(\"warship voice\")<\/parenthetical>\n    <dialogue>Maersk Alabama, come in. This is Coalition Warship 237.<\/dialogue>\n    <parenthetical>(normal voice:)<\/parenthetical>\n    <dialogue>This is Maersk Alabama. Position is two-degrees-two north by forty-nine- degrees-eighteen east. Course is one hundred eighty and speed at eighteen knots. Request immediate assistance. We have two skiffs approaching and a mother ship trailing behind. Look to be pirates, heavily armed.<\/dialogue>\n    <parenthetical>(\"warship voice\")<\/parenthetical>\n    <dialogue>Roger that, Maersk Alabama. How many do you have aboard?<\/dialogue>\n    <parenthetical>(normal voice:)<\/parenthetical>\n    <dialogue>Crew of twenty. No injuries at this time.<\/dialogue>\n    <parenthetical>(\"warship voice\")<\/parenthetical>\n    <dialogue>Roger that. We have a helicopter in the air. His ETA to your position is approxiamately five minutes.<\/dialogue>\n    <parenthetical>(normal voice)<\/parenthetical>\n    <dialogue>Copy that, 237. Maersk out.<\/dialogue>\n    <scene_description>He puts the radio down. Murphy and Quinn eye him.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>I'm pretty sure that was illegal.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>So's piracy...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PIRATE TRAWLER - SAME<\/stage_direction>\n    <scene_description>On the mother ship, Hufan just heard that fake transmission. He eyes the sky overhead for a chopper, as:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MUSI'S SKIFF - MOVING - AT SEA - SAME<\/stage_direction>\n    <scene_description>CRASH! Musi's skiff slams into a huge swell, almost upending. His crew is sent sideways. Musi rights himself. ...then notices that Asad's skiff is now peeling off and heading away. (Asad also heard that fake transmission, via HANDHELD RADIO.) Musi's crew-members look to him, waiting. He presses on, bearing down on the Maersk...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - SAME<\/stage_direction>\n    <scene_description>Phillips is watching all this. Murphy's at the radar.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>This guy doesn't scare worth a damn, does he.<\/dialogue>\n    <parenthetical>(into radio:)<\/parenthetical>\n    <dialogue>Chief, you got your men secured?<\/dialogue>\n    <character>PERRY (THRU RADIO)<\/character>\n    <dialogue>We're good, Cap.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>They're at one mile now, Cap.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Hit the hoses.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - MAIN DECK - STERN - CONTINUING<\/stage_direction>\n    <scene_description>FIVE FIRE HOSES - one starboard, one port, three stern - fill quickly, each sending 100 pounds of water-pressure per square inch off the ship. It's their only real line of defense...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MUSI'S SKIFF - MOVING - AT SEA - RESUMING<\/stage_direction>\n    <scene_description>Musi's got a six foot SWELL in front of him. His men brace themselves. He barrels right over it, then PLUMMETS... Big DROP. Big splash. The skiff's engine stalls. Musi tries to restart it. No luck. More swells are coming. He looks to the Maersk - its hoses shooting HUGE JETS of water down...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - RESUMING<\/stage_direction>\n    <scene_description>Phillips watching Musi. Murphy watching the radar...<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Holding at zero point nine, Cap.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>He started from too far out. They dropped him too far out.<\/dialogue>\n    <scene_description>Through binoculars again, we see Musi, trying in vain to re- start his engine. No use. The skiff is adrift...<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>He's dead in the water.<\/dialogue>\n    <character>MURPHY\/KEN QUINN<\/character>\n    <dialogue>Hell yeah! Awesome. See ya!<\/dialogue>\n    <scene_description>Phillips looks through his binoculars again. Musi has binoculars too. Two captains, studying one another - with a shared sense that they'll be seeing each other again.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>We got lucky...<\/dialogue>\n    <scene_description>Each Captain lowers his binoculars... as we CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - A-DECK - MESS - NIGHT<\/stage_direction>\n    <scene_description>A silent game of TRIVIAL PURSUIT. Murphy, Durell, ATM, Colin Wright, Mike Perry. Guys trying to distract themselves. But Durell is kicking all of their asses in the game...<\/scene_description>\n    <character>WRIGHT<\/character>\n    <dialogue>You gotta be kidding me. Where'd you pull \"The Treaty of Paris\" out of?<\/dialogue>\n    <character>DURELL<\/character>\n    <dialogue>College.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Hey, ya know those things that could bring a ship bad luck? Guess what the worst one is? The Friggin' New Guy winning Trivial Pursuit. Seriously.<\/dialogue>\n    <character>DURELL<\/character>\n    <dialogue>Sorry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - E-DECK - CAPTAIN'S QUARTERS - NIGHT<\/stage_direction>\n    <scene_description>Spacious quarters. Phillips reads an E-MAIL from Andrea: \"It snowed again today. I keep thinking how much you love that. And every morning I wake up on your side of the bed. So I must be missing you. Yes, definitely missing you. Miss your voice. And I miss those great long LETTERS you used to write to me when you were gone. E-mail stinks. Love you. Andrea.\" Phillips breathes out a smile, looks out his window - a sky full of stars. Then he STOPS. Just heard a BANGING noise. It's outside his door. He opens the door to investigate:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - E-DECK - PASSAGEWAY - CONTINUING<\/stage_direction>\n    <scene_description>Here's the source of the noise: Marv. Slumped against a bulkhead, bottle in hand. Very drunk. Phillips sighs.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Marv. What're you doing?<\/dialogue>\n    <character>MARV<\/character>\n    <dialogue>Trying to find my bunk.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>No. I mean on this ship. You should be home collecting a pension and raising gardenias.<\/dialogue>\n    <character>MARV<\/character>\n    <dialogue>And miss all this?<\/dialogue>\n    <scene_description>(drunken amusement) \"Being at sea is like going to jail with a chance of drowning.\" Mark Twain. He gestures wildly, shattering his bottle. Silence...<\/scene_description>\n    <character>MARV (CONT'D)<\/character>\n    <dialogue>Am I done?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Yeah. You're done. You can't sail with me anymore.<\/dialogue>\n    <character>MARV<\/character>\n    <dialogue>Guess I'll get another ship then.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>You do that.<\/dialogue>\n    <scene_description>Phillips turns to go... but:<\/scene_description>\n    <character>MARV<\/character>\n    <dialogue>By the way... his name was Sam.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>MARV<\/character>\n    <dialogue>The Deck Machinist who opted out... His name was Sam. Four kids he sent money home to, and an ex-wife. Who takes care of them now, huh?<\/dialogue>\n    <scene_description>(Phillips is silent) Ship keeps sailing, I know; he was replaceable. But it woulda been nice if you'd at least asked his name. Marv turns to go - then stops, confused. Where am I going?<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>B-Deck. Berth Two. Ya need a map?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - A-DECK - MESS - RESUMING<\/stage_direction>\n    <scene_description>The Trivial Pursuit game - the guys trying to forget the day's events... Then Phillips enters. And everyone tightens again. He notes it.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Who's winning?<\/dialogue>\n    <character>KEN QUINN<\/character>\n    <dialogue>Friggin' New Guy.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Aw, Jeez. Didn't they tell you that was bad luck?<\/dialogue>\n    <scene_description>Tight laughs. Phillips grabs a coffee... the unease in here going unaddressed... until:<\/scene_description>\n    <character>ATM<\/character>\n    <dialogue>Ya think they'll try again, Cap?<\/dialogue>\n    <scene_description>There it was. Phillips pauses. The guys await an answer.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Most likely, yeah.<\/dialogue>\n    <character>PERRY<\/character>\n    <dialogue>And, uh... That gonna be the program again? Evasive maneuvers?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>That's the book. Why?<\/dialogue>\n    <character>PERRY<\/character>\n    <dialogue>I didn't much like being outgunned.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Me neither. But they have weapons and we don't. So evasion's all we got.<\/dialogue>\n    <character>PERRY<\/character>\n    <dialogue>Then maybe we should have weapons.<\/dialogue>\n    <scene_description>A few guys nod. Clearly, it's been discussed in here tonight.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Sorry. The guys who own this ship disagree, and they sign the checks.<\/dialogue>\n    <character>ATM<\/character>\n    <dialogue>I don't get that, Cap. None of us do.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Ships start carrying guns, pirates are going to come back with mortars. We start carrying depth charges, pirates are going to come back with<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>rocket-launchers. Besides that, there are ports on this run that won't allow an armed ship to dock.<\/dialogue>\n    <character>PERRY<\/character>\n    <dialogue>Careful, Cap. You're starting to sound like a suit.<\/dialogue>\n    <character>ATM<\/character>\n    <dialogue>Did have a corporate ring to it.<\/dialogue>\n    <scene_description>Phillips looks to Murphy, who looks away: \"Can't help you.\"<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>If the hoses don't keep them away, we've got flares, pikes, axes, hatchets. We can gel the decks or wire the stairways.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>That's bringing a stick to a gunfight, Cap.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Hey, we get in a gunfight and lose, we could have twenty sailors killed or captured - huh? You all know the orders. If we're boarded, the crew gets to their muster points and we go dark and cold. Power off. Lights off. And we stay that way. Our performance today was embarrassing. And by the way, the non-duress codeword is \"suppertime.\" Half the crew still doesn't know it. Unless you hear it, you stay sequestered. No one on this crew is going to be taken hostage.<\/dialogue>\n    <character>ATM<\/character>\n    <dialogue>Somebody's trying to hijack a ship, it goes against a sailor's nature to run and hide. We're men, ain't we?<\/dialogue>\n    <scene_description>This isn't going anywhere good. Phillips reads the faces. ...and decides to stop pushing the company line.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>You guys wanna know the truth?<\/dialogue>\n    <scene_description>(they're waiting) The truth is, I don't feel any better about the hoses than you do. I wish we had machine guns. But I don't own this vessel. And I'm not in the game.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>(that landed)<\/dialogue>\n    <scene_description>You wanna change the rules? Buy a shipping line. Until then, this is the job. We're here for the ship; the ship isn't here for us. Anybody who can't accept that can deboard at Mombasa. I won't think any less of you. Silence. No one replies. But he just gained some respect...<\/scene_description>\n    <character>PHILLIPS (CONT'D)<\/character>\n    <dialogue>Let's shut this down. It's late.<\/dialogue>\n    <parenthetical>(out the door)<\/parenthetical>\n    <dialogue>We're still in apache country, so everyone stay vigilant.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - FROM THE WATER - NIGHT<\/stage_direction>\n    <scene_description>The Maersk muscles through the water. All is calm...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PIRATE TRAWLER - ON THE WATER - MOVING - NIGHT<\/stage_direction>\n    <scene_description>The two SKIFFS are tied to the trawler again. Musi and Asad stand before Hufan, who looks very displeased... then:<\/scene_description>\n    <character>HUFAN (SOMALI, SUBTITLED)<\/character>\n    <dialogue>The voices on that ship sounded American. Could be a lot of money. And we only have one skiff.<\/dialogue>\n    <scene_description>(Musi and Asad, waiting--) Musi will take it.<\/scene_description>\n    <character>ASAD (SOMALI, SUBTITLED)<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>HUFAN (SOMALI, SUBTITLED)<\/character>\n    <dialogue>Because he doesn't turn back.<\/dialogue>\n    <scene_description>Then - BAM - Hufan shoves Asad off the boat and into the sea. Splash. No one moves - everyone shocked, even Musi - because the boat is pulling away. Asad calls out to Musi for help. Musi is frozen, watching - as Hufan goes to the bridge and GUNS THE ENGINE. The trawler speeds away, leaving Asad in the water. Howling. A point just got made. And Asad's helpless cries grow more and more distant... as:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - E-DECK - CAPTAIN'S QUARTERS - 5:25 A.M.<\/stage_direction>\n    <scene_description>Pre-dawn. Phillips sleeps. Then his eyes snap open - right before his phone rings:<\/scene_description>\n    <character>PHILLIPS (INTO PHONE)<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>WRIGHT (THRU PHONE)<\/character>\n    <dialogue>Better get up here, Cap. They're back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - 5:30 A.M.<\/stage_direction>\n    <scene_description>Colin Wright and ATM are on watch. Phillips enters. ...just as a VOICE becomes audible on the RADIO:<\/scene_description>\n    <character>HUFAN (THRU RADIO)<\/character>\n    <dialogue>This is Somali pirate! Somali pirate! Coming to get you!<\/dialogue>\n    <scene_description>A pirate? Announcing that he's coming? Very unusual. Phillips looks to the radio; it's on Channel 16.<\/scene_description>\n    <character>WRIGHT<\/character>\n    <dialogue>They're five miles out.<\/dialogue>\n    <scene_description>Phillips grabs his binoculars... and finds the TRAWLER, five miles astern, towing those two skiffs... but:<\/scene_description>\n    <character>HUFAN (THRU RADIO)<\/character>\n    <dialogue>Somali pirate! Coming to get you!<\/dialogue>\n    <scene_description>...as Musi's skiff casts off from the trawler, coming at us.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Let's go to one hundred twenty revs.<\/dialogue>\n    <character>ATM<\/character>\n    <dialogue>One hundred twenty revs.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>What's our course?<\/dialogue>\n    <character>ATM<\/character>\n    <dialogue>Heading two hundred thirty.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Bring it over to one-eighty.<\/dialogue>\n    <character>ATM<\/character>\n    <dialogue>Left to one hundred eighty.<\/dialogue>\n    <scene_description>A flick of the wrist, and the ship lurches left. Phillips keeps his eyes on the trawler. ...as Murphy arrives on the bridge.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>We make a course correction, Cap?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Find out where the Bosun has his people.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>What's up?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Four point one miles astern. Doing twenty knots.<\/dialogue>\n    <scene_description>Phillips gestures... and Murphy gets the picture: there's Musi's skiff, barrelling in on us over a calm, windless sea.<\/scene_description>\n    <character>PHILLIPS (CONT'D)<\/character>\n    <dialogue>Call UKMTO, tell 'em this is not a drill.<\/dialogue>\n    <scene_description>Movement, tension. Phillips grabs the ship's phone:<\/scene_description>\n    <character>PHILLIPS (INTO PHONE)<\/character>\n    <dialogue>Chief, we're in a piracy situation. I need you in the engine room with all your men. Locked in and secured.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>And, Chief. Bring your Bible. This time you're gonna be there a while.<\/dialogue>\n    <scene_description>He hangs up, heads for a cabinet, pulls out a PYROTECHNIC BOX. Eighteen FLARES in there. He grabs ten of them.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>(re: radio)<\/dialogue>\n    <scene_description>He says call back when they're within a mile.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Christ. Leave the line open so they can monitor what's happening. Sound the intruder alarm, and switch the radio to emergency band, Channel One.<\/dialogue>\n    <scene_description>Murphy sounds the INTRUDER ALARM. Long-short, long-short. Phillips eyes the console. We're doing 16.8 knots.<\/scene_description>\n    <character>PHILLIPS (CONT'D)<\/character>\n    <dialogue>ATM, let's start the fire-hoses and sound the general alarm.<\/dialogue>\n    <scene_description>ATM hits the GENERAL ALARM. Phillips approaches Wright with the flares.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Take these and go out on the bridge wing. When they get within a mile you fire your first one. But I want you to cease firing if they get any closer than a couple hundred yards.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>I can handle that, Cap.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>No. I want you below. Get the crew out of the Ship's Office and into the After-Steering Room. It's deeper inside the house. And make sure all the engineers are locked into the Engine Room. Every man accounted for.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>And Shane? That includes you. I don't wanna see you back up here.<\/dialogue>\n    <scene_description>Murphy hates that... but he nods, exits the Bridge.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - MAIN DECK - SAME<\/stage_direction>\n    <scene_description>The FIVE FIRE-HOSES begin spraying...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MUSI'S SKIFF - ON THE WATER - MOVING - RESUMING<\/stage_direction>\n    <scene_description>Musi's skiff is doing 21 knots. He shouts at his men:<\/scene_description>\n    <character>MUSI (SOMALI, SUBTITLED)<\/character>\n    <dialogue>Let them know you are here! Let them know you are Somali marines!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - STARBOARD SIDE BRIDGE-WING - SAME<\/stage_direction>\n    <scene_description>Wright aims a flare at the skiff, a half-mile out, when: MUZZLE FLASHES appear on the skiff. And just like that, we're being strafed by automatic gunfire. SLAP-SLAP-SLAP. Bullets clang off the house and smokestacks. Wright hits the deck. ...as Phillips leans out of the bridge.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Colin! Get the hell in here!<\/dialogue>\n    <character>WRIGHT<\/character>\n    <dialogue>I can hit 'em, Cap!<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Now!<\/dialogue>\n    <scene_description>Wright hurries into:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - CONTINUING<\/stage_direction>\n    <scene_description>ATM at the helm. Phillips grabs the ship's radio:<\/scene_description>\n    <character>PHILLIPS (INTO RADIO)<\/character>\n    <dialogue>Shots fired. Shots fired. They're a quarter mile out. Port side.<\/dialogue>\n    <scene_description>A rain of bullets: POP-POP-POP. Hitting various spots on the House. Musi's skiff revs up and comes BEHIND THE SHIP.<\/scene_description>\n    <character>WRIGHT<\/character>\n    <dialogue>The hoses aren't gonna cut it. Are they, Cap?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>No.<\/dialogue>\n    <parenthetical>(into radio:)<\/parenthetical>\n    <dialogue>Shane, you got everybody secured?<\/dialogue>\n    <scene_description>On Phillips, we PULL BACK, through the window of the bridge: ...while TRACKING RIGHT and DROPPING DOWN, outside the \"house\"... until Phillips is out of frame, and:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - OUTSIDE BRIDGE - CONTINUOUS SHOT<\/stage_direction>\n    <scene_description>We move down and across the entire House, PUSHING THROUGH its steel shell, revealing the innards of: E-Deck, then down through D-Deck, C-Deck, B-Deck... each empty, just unmanned Quarters. CONTINUE MOVING DOWN, into: A-Deck, where we find the Mess, and the Hospital Bay. Then the MAIN DECK. There's the Ship's Office, also empty. We keep descending, THROUGH THE WATERLINE, plunging in and down, until we reach:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - AFTER-STEERING ROOM - CONTINUING<\/stage_direction>\n    <scene_description>A STORAGE room, 60-by-20. Huge bundles of rope in coils. And barrels of greases, oils, cleaning fluids. Murphy guides TEN CREW-MEMBERS in, hurriedly. We recognize Ken Quinn, Durell. Murphy corralling them:<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>In, in, in! Let's go! Everybody in! Ken, get me a headcount.<\/dialogue>\n    <parenthetical>(into radio:)<\/parenthetical>\n    <dialogue>Chief. Your men all accounted for?<\/dialogue>\n    <scene_description>We blow through a steel door - SAME CONTINUOUS SHOT - to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - ENGINE ROOM - CONTINUING<\/stage_direction>\n    <scene_description>The ENGINE ROOM is three stories deep, 130 feet long, wide as the ship. Massive diesel engine, huge boilers, all run from:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - ENGINE CONTROL ROOM - CONTINUING<\/stage_direction>\n    <scene_description>A nerve center. Rows of upright machines and monitors. Chief Engineer Mike Perry and his men are all here: the 1ST ENGINEER, 2ND ENG., 3RD ENG., OILER, and DECK MACHINIST.<\/scene_description>\n    <character>PERRY (INTO RADIO)<\/character>\n    <dialogue>We're in and secured.<\/dialogue>\n    <scene_description>BIBLE in hand, Perry shuts the door. We END SHOT, and CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - PORT SIDE BRIDGE-WING - SAME<\/stage_direction>\n    <scene_description>The skiff is now just 100 feet away, on our port side. And Phillips is now on the bridge-wing, firing flares at it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MUSI'S SKIFF - ON THE WATER - MOVING - SAME<\/stage_direction>\n    <scene_description>Two flares miss, falling harmlessly into the water. Bilal sits cross-legged in the front of the skiff, grabs his AK, aims right at us, and:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - PORT SIDE BRIDGE-WING - RESUMING<\/stage_direction>\n    <scene_description>POP POP POP. Bullets pucker the WIND-DODGER (a metal hood, there to deflect wind off the bridge) over Phillips' head. He ducks down. Then pops back up again.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>C'mon, Baby. Find a gas tank.<\/dialogue>\n    <scene_description>He FIRES the flare, but:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MUSI'S SKIFF - ON THE WATER - MOVING - RESUMING<\/stage_direction>\n    <scene_description>The flare misses. Now Elmi, also cross-legged, is firing too.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - PORT SIDE BRIDGE-WING - RESUMING<\/stage_direction>\n    <scene_description>Gunfire - a TORRENT of POPPING SOUNDS around Phillips. And he's out of flares. He runs back into:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - RESUMING<\/stage_direction>\n    <scene_description>Phillips, hollering:<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Fifteen left!<\/dialogue>\n    <character>ATM<\/character>\n    <dialogue>Fifteen left.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - AT THE WATERLINE - CONTINUING<\/stage_direction>\n    <scene_description>The ship surges left, away from the skiff. ...but the skiff has found a spot amidship that isn't protected by the fire-hoses. Musi bears in...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - RESUMING<\/stage_direction>\n    <scene_description>Phillips looks to the GPS. We're doing 18.3 Knots.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Fifteen right!<\/dialogue>\n    <character>ATM<\/character>\n    <dialogue>Fifteen right.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - AT THE WATERLINE - AMIDSHIP - CONTINUING<\/stage_direction>\n    <scene_description>The ship swerves right into the skiff. But Musi steadies it. Again, there's no fire-hose covering this spot.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - CONTINUING<\/stage_direction>\n    <scene_description>Phillips, scrambling.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>I need a rifle. We should have Goddamn rifles! Fifteen left.<\/dialogue>\n    <character>ATM<\/character>\n    <dialogue>Fifteen left. And yes we should.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MUSI'S SKIFF - AT THE WATERLINE AMIDSHIP - SAME<\/stage_direction>\n    <scene_description>Najee unfolds and extends a LADDER straight up. Damn thing is twenty feet long, Home Depot quality, with GRAPPLING HOOKS:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/EXT. MAERSK - PORT SIDE DECK - CONTINUING<\/stage_direction>\n    <scene_description>The GRAPPLING HOOKS wrap snugly around the FISHPLATE (solid metal, six inches high) on the deck of the Maersk. Musi grabs the ladder while moving at 18 knots. He jumps from the speeding skiff to the ladder, climbing...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - RESUMING<\/stage_direction>\n    <scene_description>Phillips grabs ATM, pushes him down, literally, to the floor.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Stay there.<\/dialogue>\n    <scene_description>ATM doesn't argue. He'll steer the boat from down here. Phillips grabs the rest of the flares, heads out to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - PORT SIDE BRIDGE-WING - CONTINUING<\/stage_direction>\n    <scene_description>...where he sees what he didn't want to see:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - MAIN DECK - AMIDSHIP - CONTINUING<\/stage_direction>\n    <scene_description>Musi is aboard. Running across the Maersk's deck...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - PORT SIDE BRIDGE-WING - RESUMING<\/stage_direction>\n    <scene_description>Phillips fires two more flares... They skitter off the deck and into the sea as Elmi also boards the Maersk.<\/scene_description>\n    <character>PHILLIPS (INTO RADIO)<\/character>\n    <dialogue>Two pirates have boarded. Two pirates aboard now, amidship.<\/dialogue>\n    <scene_description>Oddest thing. Elmi sits cross-legged on the deck, just like before, and starts firing his AK, right at us. POP-POP-POP. The wind-dodger puckers an inch from Phillips' face. He ducks down. Pops up again, firing wildly. MORE GUNFIRE drives him down again. Then: A HAND, grabbing him. It's ATM, pulling him away.<\/scene_description>\n    <character>ATM<\/character>\n    <dialogue>Get inside, Cap! They're gonna kill you!<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Goddammit I told you to stay down! On the bridge!<\/dialogue>\n    <scene_description>But more GUNFIRE strafes them. Shit. They crawl back to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - CONTINUING<\/stage_direction>\n    <scene_description>GUNFIRE nicks the BRIDGE WINDOWS. (They're bulletproof). Wright is trying to stay calm. It's an effort.<\/scene_description>\n    <character>WRIGHT<\/character>\n    <dialogue>Whadda we do, Cap?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>You two get to the After-Steering Room with the rest of the crew.<\/dialogue>\n    <parenthetical>(they eye him: huh?)<\/parenthetical>\n    <dialogue>Go. Both of you. I have the bridge.<\/dialogue>\n    <character>ATM<\/character>\n    <dialogue>Sorry, Cap.<\/dialogue>\n    <character>WRIGHT<\/character>\n    <dialogue>Can't do that, Cap.<\/dialogue>\n    <scene_description>They aren't moving. Phillips isn't surprised. We CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - DECK - BASE OF THE HOUSE - MOMENTS LATER<\/stage_direction>\n    <scene_description>All that stands between Musi and the bridge is seven flights of steps - protected by that steel \"PIRATE CAGE\". He nods to Elmi, who SHOOTS THE LOCK OFF THE CAGE. The cage swings harmlessly to the side. Easy. They begin to climb.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - RESUMING<\/stage_direction>\n    <scene_description>Phillips knows they're coming. Damn it. He grabs the radio. (NOTE: it will stay on his hip for the next 12 hours.)<\/scene_description>\n    <character>PHILLIPS (INTO RADIO)<\/character>\n    <dialogue>This is the Captain. Listen up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/INT. MAERSK - ENGINE CONTROL ROOM - SAME<\/stage_direction>\n    <scene_description>Perry and his Engineers come to a stop. And one room over:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/INT. MAERSK - AFTER-STEERING ROOM - SAME<\/stage_direction>\n    <scene_description>Murphy and the rest of the crew do the same, listening.<\/scene_description>\n    <character>PHILLIPS (RADIO,<\/character>\n    <dialogue>We're about to lose the bridge. Chief, you now have control of the ship. Shane, the men are under your command. I've got Colin and ATM on the bridge with me; I'm going to get them to safety as soon as I can. Everyone else accounted for?<\/dialogue>\n    <character>PERRY (INTO RADIO)<\/character>\n    <dialogue>Yes, Cap.<\/dialogue>\n    <character>MURPHY (INTO RADIO)<\/character>\n    <dialogue>Uh, no Cap. We don't have a twenty on Marv.<\/dialogue>\n    <scene_description>Phillips sighs - but has to keep going:<\/scene_description>\n    <character>PHILLIPS (INTO RADIO)<\/character>\n    <dialogue>Okay. You know the plan. We counteract everything they want to do. They wanna take this ship back to Somalia. That's no good. So we go dark and cold. Engines off, non- emergency power off. They can't do much with a dead ship. They wanna take a bunch of hostages. Also no good. So every man stays out of sight. NO ONE comes out until you've heard the all-clear from me, WITH the non-duress password.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/EXT. MAERSK - SUPERSTRUCTURE - STEPS - SAME<\/stage_direction>\n    <scene_description>Musi and Elmi, climbing fast toward the Bridge...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - RESUMING<\/stage_direction>\n    <scene_description>Phillips can feel them coming. And he hates to say this, but:<\/scene_description>\n    <character>PHILLIPS (INTO RADIO)<\/character>\n    <dialogue>I'm gonna do everything I can to make sure this doesn't happen - but if they find you, and capture you, here's what you need to remember:<\/dialogue>\n    <scene_description>That lands on the faces of Murphy and the crew... And - in the next room - Perry, and all the Engineers, as:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - SUPERSTRUCTURE - STEPS - SAME<\/stage_direction>\n    <scene_description>Musi and Elmi, nearing the top...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - RESUMING<\/stage_direction>\n    <scene_description>Phillips, keeping it calm and direct:<\/scene_description>\n    <character>PHILLIPS (RADIO,<\/character>\n    <dialogue>Do what they tell you. Try to appear helpful. You've got giveaways - use them: showing them the ship's safety equipment, or how to get fresh water.<\/dialogue>\n    <character>PHILLIPS (RADIO, CONT'D)<\/character>\n    <dialogue>Make them feel they're in control while guiding them away from the important stuff, like radar or the engine controls. And never reveal the locations of the rest of the crew. If you are drawn into conversation with them, do not mention religion. Nothing about Allah or Jesus or your faith being better than theirs. They may throw politics at you or tell you America is the worst country in the world. Don't take the bait. You're not there to defend your nation's honor. You're there to survive.<\/dialogue>\n    <scene_description>The guys are listening. The pirates are climbing...<\/scene_description>\n    <character>PHILLIPS (RADIO,<\/character>\n    <dialogue>Don't call attention to yourself. Don't appear too confrontational or too meek. Maintain your dignity. If you're screaming at them or whimpering in the corner, you give them a personal reason to put a bullet in your head.<\/dialogue>\n    <scene_description>Murphy, Durell, Wright, Perry... hanging on every word...<\/scene_description>\n    <character>PHILLIPS (RADIO,<\/character>\n    <dialogue>Last thing. A sense of humor helps. Unfortunately, none of you guys are funny - so try not to get captured.<\/dialogue>\n    <scene_description>That broke a bit of the tension. But just a bit.<\/scene_description>\n    <character>PHILLIPS (RADIO,<\/character>\n    <dialogue>We know the ship; they don't. Just keep looking out for one another. We'll be okay.<\/dialogue>\n    <scene_description>He puts down the radio. ATM and Wright are silent. He grabs a JACKKNIFE off a table, pockets it... ...as the sound of an AK-47, firing, spins our head around. The bridge-door opens - Elmi rushing in, pointing that AK at us and shouting in Somali like a guy on a meth-bender. Instant chaos. ATM and Wright drop to their knees, hands up. Phillips stands still. He has lost the bridge, officially. Elmi shouting. ATM and Wright scared witless. Musi glides in - meeting Phillips for the first time now:<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>Relax, Captain, relax. Just business. No Al Qaeda. You stop the ship.<\/dialogue>\n    <scene_description>Phillips nods. Musi looks the bridge over, notes Wright and ATM - shocked to find a black sailor here.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>What nationality?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Me? Or the ship?<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>The ship. American, right?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Yes. This is the Maersk Alabama.<\/dialogue>\n    <scene_description>That's BIG NEWS. Musi nods, pleased. Elmi WHOOPS.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>Okay. Just business. Stop the ship.<\/dialogue>\n    <scene_description>Phillips nods, heads toward the ENGINE ORDER TELEGRAPH, while quietly keying his handheld radio and talking softly:<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Bridge is compromised. Bridge is compromised. Take the steering.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - ENGINE CONTROL ROOM - SAME<\/stage_direction>\n    <scene_description>Perry and his Engineers just heard that. Perry hits a SWITCH that gives him OVERRIDE OF THROTTLE AND RUDDER COMMANDS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - AFTER-STEERING ROOM - SAME<\/stage_direction>\n    <scene_description>Murphy speaks to his men (and into his radio):<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Okay. You know what to do. Kill the engines and all non-emergency power.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - RESUMING<\/stage_direction>\n    <scene_description>Alarms are WHOOPING. Phillips silences them. Musi watching.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>No Al Qaeda, no Al Qaeda. We want money only. Stop the ship.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Okay, okay. It takes a minute.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>Where's your crew?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>I don't know. I'm here with you.<\/dialogue>\n    <scene_description>He moves to the Engine Order Telegraph. Jiggles it. Of course, it doesn't respond. Musi is about to complain, when: ...with a SHUDDER, the thrum of the ship's engine STOPS. Then, that fast, the POWER GOES OUT. Consoles, screens, A\/C. All dead. And we're adrift. Musi looks around.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>What is that?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>We shut the engines down too fast.<\/dialogue>\n    <parenthetical>(pure bullshit)<\/parenthetical>\n    <dialogue>There's a check-down procedure. We rushed it, knocked out the grid.<\/dialogue>\n    <scene_description>That pisses Musi off. Meanwhile, the ship is drifting with the current, almost in a circle.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>Stop this circling! Straighten the ship out!<\/dialogue>\n    <scene_description>Phillips \"tries\", turning the wheel, to no effect.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>We shut it all down too fast! Ship's broken, ship's broken.<\/dialogue>\n    <scene_description>He points to the console, taps on the bow thruster and the rudder angle indicator. None of them respond.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>Move.<\/dialogue>\n    <scene_description>Phillips obliges. Musi tries the instruments, futilely, as: Phillips moves to the RADAR. Three knobs on it. He turns down the \"gain\" knob and turns up the \"anti-rain\" and \"anti-sea- clutter\" knobs. Then he moves toward the VHF radio...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - AFTER-STEERING ROOM - SAME<\/stage_direction>\n    <scene_description>EMERGENCY LIGHTING down here - but Murphy can see what Phillips is doing on INDICATORS relayed from the Bridge.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Attaboy, Cap.<\/dialogue>\n    <character>KEN QUINN<\/character>\n    <dialogue>What's he doing?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Degrading the radar. And changing the frequency on the radio so they won't be able to contact their mother ship.<\/dialogue>\n    <scene_description>The men like it. But they're getting warm in here. No A\/C...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - RESUMING<\/stage_direction>\n    <scene_description>Bilal and Najee arrive on the bridge now. Shouting, pointing their AK's. Musi smiles.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>These guys are Somali pirates! Crazy. I'm just interpreter.<\/dialogue>\n    <parenthetical>(no reply from Phillips)<\/parenthetical>\n    <dialogue>Dangerous guys! They'll kill you!<\/dialogue>\n    <scene_description>ATM and Wright keep their hands up and their heads down. Musi orders Bilal and Najee to take positions by the bridge doors.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>Call your crew. I want them up here!<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Phillips moves to the P.A. MIKE:<\/scene_description>\n    <character>PHILLIPS (INTO MIKE)<\/character>\n    <dialogue>All crew, all crew. Pirates want you to report to the bridge. Repeat, pirates want you on the bridge.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - AFTER-STEERING ROOM - RESUMING<\/stage_direction>\n    <scene_description>Semi-darkness down here. And HEAT. Murphy eyes the men.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Until you hear the word suppertime, we don't move.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - RESUMING<\/stage_direction>\n    <scene_description>Elmi pokes at Wright and ATM with his AK. Phillips steps in:<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Hey, do your guys want some water? Or some cigarettes? I got a couple cartons here.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>Cigarettes.<\/dialogue>\n    <scene_description>Phillips heads for a cabinet, grabs a few cartons.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>ATM, grab some sodas for these guys, all right?<\/dialogue>\n    <character>ATM<\/character>\n    <dialogue>Sure, Cap.<\/dialogue>\n    <scene_description>Phillips hands packs of cigarettes to Musi and his men. ATM grabs a few sodas, offers them to the pirates. Elmi ignores him, starts rifling through cabinets.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Hungry?<\/dialogue>\n    <parenthetical>(Elmi grunts)<\/parenthetical>\n    <dialogue>You're in luck. We've got seventeen tons of wheat and peas in the hold. It was intended to feed most of Kenya, but what the hell - go to town.<\/dialogue>\n    <scene_description>Elmi didn't like that. Phillips sits beside Wright.<\/scene_description>\n    <character>WRIGHT<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Cap, how much ya got in your safe?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Less than they want.<\/dialogue>\n    <character>WRIGHT<\/character>\n    <dialogue>But a couple grand, right? Maybe we give it to 'em and they go away.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>It's a U.S. ship, Colin. They're thinking millions - not thirty grand.<\/dialogue>\n    <character>WRIGHT<\/character>\n    <dialogue>How do you know?<\/dialogue>\n    <scene_description>Phillips just knows. Meanwhile Musi leans over the radio, trying to re-set it, careful not to let his frustration show.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>What's your tribe, Captain?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>I'm an American.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>Not your nationality. Your tribe.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>I don't have a tribe. I told you. I'm an American.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>Your people. Your tribe.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Oh. I guess I'm Yankee Irish.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>I'm a Somali Marine. A real sailor.<\/dialogue>\n    <scene_description>The ship is still drifting in a circle. And Musi just ERUPTS:<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>Where is your crew, Irish?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>I don't know. I'm here with you.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>Get them up here now! If not, these crazy-guys kill you!<\/dialogue>\n    <scene_description>Bilal and Najee jump as if they'd been plugged into a socket: shouting again, pointing the AK's:<\/scene_description>\n    <character>BILAL\/NAJEE<\/character>\n    <dialogue>Down! Down!<\/dialogue>\n    <scene_description>ATM and Wright drop their heads, the AK's pressed inches away from them now. Things just ramped up in a hurry.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>You want to die! Two minutes, they kill you! They kill your men!<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Take it easy. I'm doing my best.<\/dialogue>\n    <character>NAJEE<\/character>\n    <dialogue>Minute thirty now!<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>I told you! Bad guys! Bad guys!<\/dialogue>\n    <scene_description>Wright looks to Phillips, who moves again to the P.A. MIKE. All he has to say is \"suppertime\" and the crew will oblige...<\/scene_description>\n    <character>PHILLIPS (INTO MIKE)<\/character>\n    <dialogue>All crew, all crew. Pirates want you on the bridge now. Report to the bridge immediately.<\/dialogue>\n    <character>NAJEE<\/character>\n    <dialogue>One minute! We kill everyone!<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Can you back your men off, please? Before someone gets shot?<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>Get them up here right now!<\/dialogue>\n    <scene_description>Wright, terrified, looks to Phillips - pleading...<\/scene_description>\n    <character>PHILLIPS (INTO MIKE)<\/character>\n    <dialogue>Pirates want you on the bridge, right now.<\/dialogue>\n    <character>NAJEE<\/character>\n    <dialogue>Thirty seconds! You hear me! Thirty seconds and you DIE!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - AFTER-STEERING ROOM - SAME<\/stage_direction>\n    <scene_description>Then men know to stay put. But it's now 105 DEGREES in here. Del, the old salt, is panting from heat stroke.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - RESUMING<\/stage_direction>\n    <scene_description>Wright is about to burst. ATM too.<\/scene_description>\n    <character>NAJEE<\/character>\n    <dialogue>Fifteen seconds!<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>Dangerous pirates! Get your men!<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>You just heard me call 'em!<\/dialogue>\n    <scene_description>ATM and Wright, each with guns at their heads...<\/scene_description>\n    <character>NAJEE<\/character>\n    <dialogue>Ten seconds!<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>Call them again, Irish!<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Hey. You wanna shoot somebody, shoot me. I'm the Captain. I'm the Captain.<\/dialogue>\n    <scene_description>He moves in front of his men. Elmi pushes him away, hard. Phillips falls. While he's down, he keys his handheld:<\/scene_description>\n    <character>PHILLIPS (INTO HAND-HELD)<\/character>\n    <dialogue>If you don't hear from us in one minute, we are gone. Defend the ship.<\/dialogue>\n    <character>NAJEE<\/character>\n    <dialogue>Five seconds!<\/dialogue>\n    <character>WRIGHT<\/character>\n    <dialogue>Cap? Please!?<\/dialogue>\n    <character>NAJEE<\/character>\n    <dialogue>We kill you all!<\/dialogue>\n    <scene_description>Najee yells. Elmi and Bilal too. Deafening. Wright starts yelling out of sheer terror. ...when a single unexpected sound pierces the air. A knock, at the bridge door. Everything stops. Every head turns. Musi nods to Phillips: \"Go open it.\" Phillips crosses to the door, opens it. Sighs. ...because it's Marv. Of course. Right where he shouldn't be. Phillips can hardly believe it.<\/scene_description>\n    <character>MARV<\/character>\n    <dialogue>Cap?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>C'mon in, Marv. You're dead.<\/dialogue>\n    <scene_description>Before Marv can reply, Elmi grabs him by the collar and puts him on the ground next to ATM and Wright. But the crisis, oddly, has passed. Musi eyes Phillips:<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>Let's go. We search the ship.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>For what?<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>Your crew.<\/dialogue>\n    <scene_description>Phillips discreetly keys his radio, so this'll be broadcast:<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>You wanna search the ship? Good. I'm eager to find those guys as you are.<\/dialogue>\n    <scene_description>Musi pushes Phillips to the door, nods to Bilal.<\/scene_description>\n    <character>MUSI (SOMALI, SUBTITLED)<\/character>\n    <dialogue>You too. Bring your gun. And that flashlight.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - AFTER-STEERING ROOM - SAME<\/stage_direction>\n    <scene_description>Murphy heard that. He heads for a steel door.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Everybody stay put.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - RESUMING<\/stage_direction>\n    <scene_description>So Najee and Elmi will be left here with Wright, ATM, and Marv. Phillips pauses at the door:<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>I want your assurance that my men won't be harmed in any way.<\/dialogue>\n    <scene_description>Musi pauses, breathes out a grin... then says something to Najee and Elmi in Somali. They nod. Then:<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>What'd ya tell 'em?<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>Go.<\/dialogue>\n    <scene_description>He nudges Phillips out the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - ENGINE ROOM - CONTINUING<\/stage_direction>\n    <scene_description>Emergency lighting. Perry and his FOUR MEN (all in their 50's and 60's), are sweltering in here. Murphy enters.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Did you hear that?<\/dialogue>\n    <character>PERRY<\/character>\n    <dialogue>Yeah. Sounds like two of 'em are coming, and Cap.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Way too much light down here; they're gonna find us. We gotta shut down the emergency power.<\/dialogue>\n    <character>JOHN CRONAN<\/character>\n    <dialogue>That generator's on the deck, Shane.<\/dialogue>\n    <scene_description>That's JOHN CRONAN, First Engineer. In his 40th year at sea.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>His orders were we go dark and cold, right?<\/dialogue>\n    <character>JOHN CRONAN<\/character>\n    <dialogue>Yeah. When's the \"cold\" part start?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>I'm going for the E-PIRB and some water. Can you get to the generator?<\/dialogue>\n    <character>PERRY<\/character>\n    <dialogue>Probably. Damn it.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Gotta kill the plant, Chief. That's the whole game now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - E-DECK - PASSAGEWAY - DAY<\/stage_direction>\n    <scene_description>Phillips leads Musi and Bilal into a 65-foot-long passageway. When the door shuts, we're in semi-DARKNESS. Every fourth light lit. And we're adrift. It's spooky, even for pirates. Phillips starts talking. Too loud. With his RADIO KEYED:<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>This is E-Deck. You just tell me which doors you want opened.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>All of them.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - SUPERSTRUCTURE - PORT STAIRWELL - SAME<\/stage_direction>\n    <scene_description>Mike Perry moves quickly - but quietly - up stairs. Ahead of him is a door. He pauses here... then nudges it an inch: Sunlight spills in...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - E-DECK - PASSAGEWAY - RESUMING<\/stage_direction>\n    <scene_description>Phillips, moving loudly, RADIO KEYED. Comes to a door.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>These are the Chief's Quarters.<\/dialogue>\n    <parenthetical>(opens it)<\/parenthetical>\n    <dialogue>Listen, don't think too badly of my crew. They're good guys. I think they're just scared.<\/dialogue>\n    <scene_description>Musi barks at Bilal to inspect the CHIEF'S QUARTERS.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>Somali Marines, you tell them to do something, they do it. Nobody scared.<\/dialogue>\n    <parenthetical>(eyeing another door)<\/parenthetical>\n    <dialogue>They real sailors.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>That's just a safety locker. Nobody in there.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>Open it.<\/dialogue>\n    <scene_description>Phillips opens the door. It is, indeed, a SAFETY LOCKER.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>I'm not here to trick you. I wanna find 'em as much as you do.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - MAIN DECK - SAME<\/stage_direction>\n    <scene_description>Murphy emerges from a STARBOARD STAIRWELL on to the Deck. Light sears his eyes. He squints, doesn't see any pirates out here. Just an EXTERIOR STAIRWELL. He makes a dash for it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - E-DECK - PASSAGEWAY - RESUMING<\/stage_direction>\n    <scene_description>Phillips, Musi, Bilal - searching this passageway:<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>And these are my quarters.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>What's that door?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>That's a telephone booth.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>Show me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - MAIN DECK - SAME<\/stage_direction>\n    <scene_description>Perry emerges from the PORT STAIRWELL. His eyes adjust. From here, he can see across the deck. 50 feet away is his target: the ship's EMERGENCY GENERATOR. Five feet tall, five feet long, ten feet wide. Green. But: Straight above it, seven stories off the deck, is a grated metal WALKWAY jutting off the Bridge. Elmi is currently standing guard on it, meaning he can see from here straight through to the Generator below. Damn it. Perry exhales, calculating the odds...<\/scene_description>\n    <character>PERRY (INTO RADIO)<\/character>\n    <dialogue>I've got the generator in sight.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - E-DECK - CAPTAIN'S QUARTERS - CONTINUING<\/stage_direction>\n    <scene_description>Musi enters Phillips' QUARTERS. He can't help but react. The place feels palatial to him. A large room, sunlit by big windows. With an OFFICE and a SATELLITE OFFICE jutting off it. He begins to drift through, taking it all in.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Standard Captain's Quarters. Then we can drop down to D-Deck.<\/dialogue>\n    <scene_description>Musi pauses. Before him is a MIRROR. Might be the biggest one Musi's ever seen. He eyes his own reflection as if he'd never seen his whole face before. An odd, private moment. Then he notices PICTURES - of Andrea, and Dan, and Phillips' daughter MARIAH. Musi reacts; Phillips catches it.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>You have a family?<\/dialogue>\n    <scene_description>Musi half-nods, looks at the picture of Dan...<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>When he was a boy and I had to go to sea, he'd stand in front of the door to keep me from leaving. He still kids me about it: \"My father never loved me. He'd rather be on a ship somewhere.\" I think I'm gonna tell him not to joke like that anymore.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>My son says it too.<\/dialogue>\n    <scene_description>That hovers. They eye one another.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>What's his name?<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>Ghedi.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>He gonna be a pirate too?<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>If he live long enough.<\/dialogue>\n    <scene_description>Then Musi heads out.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>There's a stairwell right at the end of the passageway here...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - B-DECK - STERN - SAME<\/stage_direction>\n    <scene_description>Murphy reaches the BULKHEAD beside that ORANGE LIFEBOAT. Affixed to the bulkhead by a bracket is an E-PIRB (Emergency Position-Indicating Radio Beacon) a 406 MHz DISTRESS SIGNAL, red, looks like a walkie-talkie, with an antenna. He yanks it from its housing, activates it. It starts to BLINK and BEEP. Sending out a signal... as:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NOAA OFFICE - WASHINGTON D.C. - NIGHT<\/stage_direction>\n    <scene_description>National Oceanic and Atmospheric Administration. Night shift. A pup named FLOURNOY rises from his monitor, heads for a desk where DIETZ, his boss, is reading a newspaper.<\/scene_description>\n    <character>FLOURNOY<\/character>\n    <dialogue>Boss, a call just came in from the Sarsat desk in Riyadh. They got a ping from an E-Pirb off the coast of Somalia.<\/dialogue>\n    <character>DIETZ<\/character>\n    <dialogue>What kind of vessel?<\/dialogue>\n    <character>FLOURNOY<\/character>\n    <dialogue>American. The Maersk Alabama.<\/dialogue>\n    <scene_description>Not a small piece of news. Dietz grabs a phone...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - D-DECK - PASSAGEWAY - CONTINUING<\/stage_direction>\n    <scene_description>Another 65-foot-long corridor. Phillips, Musi, Bilal.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>D-Deck. Crew quarters.<\/dialogue>\n    <scene_description>(re: a door) That's a closet.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>Open it.<\/dialogue>\n    <scene_description>Phillips opens the door. Just a closet. Musi eyes him...<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Where'd you learn your English?<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>Open that one.<\/dialogue>\n    <scene_description>Phillips nods, opens another door - revealing:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - D-DECK - MATE'S QUARTERS - CONTINUING<\/stage_direction>\n    <scene_description>ATM Raiza's room. There's a PRAYER RUG on the floor. And an ARROW on a desk, pointing to \"Mecca.\" Musi stops. Bilal too.<\/scene_description>\n    <character>BILAL<\/character>\n    <dialogue>Muslim?<\/dialogue>\n    <scene_description>Musi throws a searing look at Bilal: \"Quiet!\" Bilal shrinks.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>I guess.<\/dialogue>\n    <parenthetical>(off Musi's look:)<\/parenthetical>\n    <dialogue>What, you thought we were all Irish?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - MAIN DECK - RESUMING<\/stage_direction>\n    <scene_description>Perry closes his eyes, grabs the CRUCIFIX around his neck in heartfelt prayer, then starts across the deck - racing for that EMERGENCY GENERATOR, directly below Elmi.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - C-DECK - PASSAGEWAY - DAY<\/stage_direction>\n    <scene_description>Another corridor. Phillips, Musi, Bilal.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>C-Deck. More crew quarters.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>He the only Muslim in the crew?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>I don't know. I don't get into anybody else's business.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>You Christian?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Does it matter?<\/dialogue>\n    <scene_description>Opening doors throughout, letting Bilal and Musi inspect...<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>I was Christian 'til I was ten. Yeah, you tell me what you are.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>If you really need to know, I'm sort of a half-assed Catholic.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>Your children?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>My daughter's kind of on the fence about church. If it started later in the morning and served more wine, she'd probably go.<\/dialogue>\n    <parenthetical>(nods to a door)<\/parenthetical>\n    <dialogue>That's another closet.<\/dialogue>\n    <scene_description>Again, Musi wants it opened. Again Phillips complies. And again, it's just a closet...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/EXT. MAERSK - DECK - RESUMING<\/stage_direction>\n    <scene_description>Perry, running for that Emergency Generator...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/INT. MAERSK - MESS-DECK - MESS - SAME<\/stage_direction>\n    <scene_description>Murphy enters, sets the blinking E-PIRB on a table, heads into the KITCHEN...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - C-DECK - BOSUN'S ROOM - DAY<\/stage_direction>\n    <scene_description>Musi searches another small room, then stops: there's a pair of NEW SANDALS lying here. He eyes them. Hmmmm. His sandals are old, ratty. But Bilal has no sandals at all. Musi takes the new sandals for himself and shuts the door without Bilal knowing what he's missed. But Phillips saw...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - MAIN DECK - SAME<\/stage_direction>\n    <scene_description>Perry - unseen by Elmi, seven stories above - gets to the EMERGENCY GENERATOR. It has a lid, like a dumpster. Perry opens it. Yanks a FUEL VALVE loose. Then throws TWO SWITCHES... and:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - MESS-DECK - CORRIDOR - SAME<\/stage_direction>\n    <scene_description>Sudden BLACKNESS. The Emergency Power just shut off. ...and we're in a windowless corridor. Musi grabs the flashlight from Bilal, too quickly. It falls to the ground.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>What happened? What happened?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Emergency generator must've failed.<\/dialogue>\n    <scene_description>Musi gets to the flashlight. The beam hits Phillips' face. The rest of the world is PITCH-BLACK. Drifting, creaking...<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>How come nothing work on this boat, Irish?!<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Bad luck, I guess.<\/dialogue>\n    <scene_description>To their right is a door. We DRIFT THROUGH IT, to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - MESS-DECK - MESS - RESUMING<\/stage_direction>\n    <scene_description>Murphy is on the other side of that door, carrying the E- PIRB, jugs of WATER, bags of food. Now he freezes - as:<\/scene_description>\n    <character>PHILLIPS (O.S.)<\/character>\n    <dialogue>Crew's Mess. This is where we eat.<\/dialogue>\n    <character>MUSI (O.S.)<\/character>\n    <dialogue>Show me.<\/dialogue>\n    <scene_description>Oh shit. Murphy moves away as fast as he can. ...as Phillips \"fumbles\" his keys, stalling... then he opens the Mess-Door and pauses in the doorway. Here's why: The flashlight just hit something that shouldn't be here: A lump on the mess-table, a BLANKET clumsily covering the water jugs, food-bags... and the E-PIRB, which is blinking. Moving fast, Phillips takes the flashlight - as if to lead the way - starts walking toward the KITCHEN.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>You guys hungry? Got some melon in the fridge. You should take it, bring it back to your men. It's just gonna spoil anyway.<\/dialogue>\n    <scene_description>Musi and Bilal follow, leaving the blanket behind. But:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - MESS DECK - KITCHEN - CONTINUING<\/stage_direction>\n    <scene_description>Murphy himself is hiding in this Kitchen... huddled under a desk. Phillips spots the edge of Murphy's shoe, sticking out... but he keeps his poker face. In fact: He shines the flashlight on Bilal's bare feet - just inches away from the hiding Murphy, who notes them, as intended. Phillips opens the fridge. Of course, no light pops on. He pulls out four big CANTALOUPES, and some JUICE-BOXES. Hands them to Bilal, who has the AK in his hands.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <parenthetical>(re: AK)<\/parenthetical>\n    <dialogue>Want me to hold that for you?<\/dialogue>\n    <scene_description>Bilal laughs. Then gets another sharp look from Musi.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>I'll find a bag.<\/dialogue>\n    <scene_description>He grabs a bag, puts the melons in it. Time to go.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>This leads to the Hospital.<\/dialogue>\n    <scene_description>He starts walking, in the darkness. Musi follows. Bilal too. Murphy, under that desk, finally breathes...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - MESS DECK - HOSPITAL BAY - CONTINUING<\/stage_direction>\n    <scene_description>Phillips leads them into the Hospital Bay. The flashlight beam reveals nothing.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Okay. Where to next?<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>Engine Room.<\/dialogue>\n    <scene_description>Musi grabs the flashlight back from Phillips. ...as Murphy, under that desk, tightens. Oh, no...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - AFTER-STEERING ROOM - DAY<\/stage_direction>\n    <scene_description>110 and pitch black. 65 year-old Del is barely breathing. The guys hear a tapped out KNOCK on the door. Durell opens it. Here's Perry. He hurries back in, winded.<\/scene_description>\n    <character>PERRY<\/character>\n    <dialogue>Everybody okay?<\/dialogue>\n    <character>DURELL<\/character>\n    <dialogue>Del's in trouble, Chief. We gotta get him some air and water.<\/dialogue>\n    <character>PERRY<\/character>\n    <dialogue>Soon. Soon. Just gotta hang in there.<\/dialogue>\n    <scene_description>Perry flips his RADIO ON - just as:<\/scene_description>\n    <character>MURPHY (THRU RADIO)<\/character>\n    <dialogue>Chief, it's Shane. They're leaving the Hospital Bay and coming your way. Break some glass outside the Engine Room door. One of 'em's barefoot.<\/dialogue>\n    <character>PERRY (INTO RADIO)<\/character>\n    <dialogue>Copy that. Thanks, Shane.<\/dialogue>\n    <scene_description>Perry eyes the men in here. They're fading fast...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - MAIN DECK - CORRIDOR - LATER DAY<\/stage_direction>\n    <scene_description>Phillips leads Musi and Bilal toward the Engine Room, well aware that his crew is in there somewhere.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Hang on, lemme just find the Engine Room key. It's hot down here...<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>All your men babies like you?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>My men are merchant mariners.<\/dialogue>\n    <scene_description>That had an edge on it. They step toward the door... when: ...we hear a CRUNCHING SOUND, and a groan from Bilal; he just stepped on what we now see is BROKEN GLASS, by the door. The kid winces in silence. Musi eyes him, then looks to Phillips, \"Open the door.\" Phillips obliges. They enter:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - ENGINE ROOM - CONTINUING<\/stage_direction>\n    <scene_description>A deep space. Phillips pauses in the doorway. Musi waves the flashlight. Bilal is on one foot now, in searing pain... ...as we drift just on the other side of a door, to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/INT. AFTER-STEERING ROOM - CONTINUING<\/stage_direction>\n    <scene_description>12 men, hiding. Durell attending to Del. They hear:<\/scene_description>\n    <character>MUSI (O.S.)<\/character>\n    <dialogue>Where all your engineers?<\/dialogue>\n    <character>PHILLIPS (O.S.)<\/character>\n    <dialogue>I dunno. They could be anywhere.<\/dialogue>\n    <scene_description>Durell looks to Perry, who quietly grabs a JACK-KNIFE... ...as we RETURN TO Phillips and Musi - walking ahead of Bilal, who is too hobbled to keep up.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>Why they don't come when you call, Irish? They don't like you?<\/dialogue>\n    <scene_description>Phillips hadn't expected that. He pauses. ...while his men, on the other side of the door, listen in.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Not much, no. I think they think I'm a prick.<\/dialogue>\n    <scene_description>That landed - on the faces of Phillips' men...<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>What that word mean? Prick.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>A guy who keeps telling you what a horse's ass you are 'cause he thinks it'll make you work harder.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>Then I'm a prick. Good!<\/dialogue>\n    <parenthetical>(Phillips almost laughs)<\/parenthetical>\n    <dialogue>You treat sailors too nice, you get soft sailors. Lazy, lazy. Captain has to be a prick.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>No. He doesn't. It's just a habit.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>If you keep 'em scared of you, maybe they sail better - then you don't have pirates taking your ship away.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>That wasn't them. That was me.<\/dialogue>\n    <scene_description>(a beat) I always thought when the time came I'd be able to outrun you. My mistake. The men heard that too. But Musi wasn't listening.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>What's that door?<\/dialogue>\n    <scene_description>Musi's pointing at the very door separating him from all these men, the AFTER-STEERING ROOM DOOR. Uh-oh...<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>That's a Haz-Mat closet.<\/dialogue>\n    <scene_description>Musi weighs that. Bilal wincing. The moment just hanging... Then Musi moves on, choosing not to open the After-Steering door. He just heads out. Bilal follows, limping.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>We should get back to the bridge.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - AFTER-STEERING ROOM - RESUMING<\/stage_direction>\n    <scene_description>Massive relief on the faces in here. Some gratitude too.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - DAY<\/stage_direction>\n    <scene_description>ATM, Wright, and Marv on the floor. Najee and Elmi on guard. The door opens. Phillips, Musi and Bilal return - Bilal hobbling, bleeding badly. Najee and Elmi are silent, only because voicing disappointment would be insubordinate. But Musi can feel their anxiousness. It infuriates him. So:<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>We go search again.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>That's a waste of time.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>My ship now! Understand?<\/dialogue>\n    <scene_description>He grabs that FLARE GUN off a desk, and:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - PORT BRIDGE-WING - CONTINUING<\/stage_direction>\n    <scene_description>From here, Musi can see his SKIFF, bobbing gently aport. It's a tiny target, one that Phillips missed several times. But Musi takes aim with that flare. A single shot... BULLSEYE. The flare hits. The skiff catches fire.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - CONTINUING<\/stage_direction>\n    <scene_description>Musi returns. From here, all the men can see the SMOKE rising from the burning skiff. It's unsettling, for the pirates too.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>I decide! We look again!<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>You wanna find my crew? Then take these guys.<\/dialogue>\n    <scene_description>He gestures to ATM, Wright, and Marv. Musi's thrown.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>The crew's not gonna respond to me. I'm the guy they're mutinying against. Take them.<\/dialogue>\n    <scene_description>Musi pauses, wary. Eyes the three crew members... then:<\/scene_description>\n    <character>MUSI<\/character>\n    <parenthetical>(re: ATM)<\/parenthetical>\n    <dialogue>I take the Muslim.<\/dialogue>\n    <scene_description>Phillips sags; he'd wanted all his men off this bridge... Musi grabs an AK, yanks ATM up off the floor - but:<\/scene_description>\n    <character>ATM<\/character>\n    <dialogue>They aren't gonna come out if you're armed.<\/dialogue>\n    <scene_description>(Musi pauses) It's a respect thing. They're sailors. Musi considers that, studies ATM - a long beat - then crosses to Najee, handing off the AK and mumbling instructions. ...which gives Phillips a chance to mumble to ATM, out of Musi's earshot - while KEYING his radio:<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Take him to the guys. They'll know what to do.<\/dialogue>\n    <scene_description>ATM nods. Musi returns, studies ATM.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>You really a Muslim?<\/dialogue>\n    <character>ATM<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>Then why you sail with these guys?<\/dialogue>\n    <character>ATM<\/character>\n    <dialogue>Why you sail with pirates?<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>'Cuz pirates own the water, Brother.<\/dialogue>\n    <scene_description>He grabs a LONG-KNIFE, and pushes ATM out the door. Phillips watches, concerned but hopeful. We CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHILLIPS' HOME - BEDROOM - LATE NIGHT<\/stage_direction>\n    <scene_description>2 a.m. Andrea sleeps. Outside, a cold WIND blows. Hard. She's sleeping through it... until the wind jogs that old SHIP'S BELL on the patio. It rings. And her eyes open. Fear, that fast. She knows something's wrong... We CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - LATER DAY<\/stage_direction>\n    <scene_description>TWO HOURS have passed, in silence and heat. Tension hanging. Phillips is removing the glass from Bilal's feet. It feels like kindness, but Bilal can't quite trust it.<\/scene_description>\n    <character>NAJEE<\/character>\n    <dialogue>Where are they? Where they go?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>I don't know. I'm here with you.<\/dialogue>\n    <parenthetical>(Najee grunts, irritated)<\/parenthetical>\n    <dialogue>Colin. Marv. Go look for them.<\/dialogue>\n    <scene_description>Wait. What? The pirates eye Phillips. So do Wright and Marv.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>My men know the ship. They'll find 'em. And that way you guys can stay up here on the bridge.<\/dialogue>\n    <scene_description>A pretty bold play - and Wright's fairly sure it isn't going to fly. But Najee decides quickly... turns to Wright:<\/scene_description>\n    <character>NAJEE<\/character>\n    <parenthetical>(re: Phillips)<\/parenthetical>\n    <dialogue>You no come back, he die.<\/dialogue>\n    <scene_description>Wright nods, rises. Marv too. The pirates feign disinterest. ...which gives Phillips a chance to say to Wright, quietly:<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>I don't expect to see you two back up here. Is that understood?<\/dialogue>\n    <scene_description>Wright nods. Marv half-nods. They head for the door...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - ENGINE DECK - PASSAGEWAY - SAME<\/stage_direction>\n    <scene_description>125 degrees now. Sweltering. ATM leads Musi.<\/scene_description>\n    <character>ATM<\/character>\n    <dialogue>This leads to the Engine Room and the After-Steering.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>I know the boat. Why you guys all talk so much?<\/dialogue>\n    <scene_description>ATM's about to reply... when they both stop. Shocked. Musi's flashlight just landed on a FACE - Perry - 20 feet away. Perry ducks behind a corner. Musi starts after him. ATM has to do something about it. He grabs Musi, but: Musi strikes him with the flashlight across the jaw and charges down the corridor. We FOLLOW... ...through this dark, tight space - just a flashlight beam and Musi's heavy breaths. Around that corner, when: A JOLT OUT OF THE DARKNESS - Perry, lunging at Musi with the JACK-KNIFE, slicing into Musi's hand. Musi howls, drops his long-knife and the flashlight. ATM jumps in now, grabbing the injured pirate, backing him up against a bulkhead. Perry puts the knife to Musi's throat. There's a RADIO on Perry's hip. He grabs it, flips it on:<\/scene_description>\n    <character>PERRY (INTO RADIO)<\/character>\n    <dialogue>Hey, Pirates. Come in, Pirates.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - SAME<\/stage_direction>\n    <scene_description>The Pirates turn, deeply thrown. That voice, crackling through the RADIO overhead. Who is that?<\/scene_description>\n    <character>PERRY (THRU RADIO,<\/character>\n    <dialogue>This is the crew of the Maersk Alabama. We have your Captain.<\/dialogue>\n    <scene_description>Phillips grins. But the pirates are irate.<\/scene_description>\n    <character>PERRY (THRU RADIO,<\/character>\n    <dialogue>Do you read, Pirates? We have your captain. Will trade him for our men... and for you guys getting the hell off this ship.<\/dialogue>\n    <scene_description>The Pirates confer intensely in Somali... until it's decided that Najee will reply. He grabs the radio.<\/scene_description>\n    <character>NAJEE (INTO RADIO)<\/character>\n    <dialogue>You have our guy?<\/dialogue>\n    <character>PERRY (THRU RADIO)<\/character>\n    <dialogue>Yeah. Bleeding, but we got him.<\/dialogue>\n    <character>NAJEE (INTO RADIO)<\/character>\n    <dialogue>We don't have a boat.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Take our lifeboat. On the stern.<\/dialogue>\n    <scene_description>Najee lowers the radio, looks to Phillips:<\/scene_description>\n    <character>NAJEE<\/character>\n    <dialogue>We need money.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>It's in my room.<\/dialogue>\n    <character>NAJEE<\/character>\n    <dialogue>Show me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - E-DECK - CAPTAIN'S QUARTERS - EVENING<\/stage_direction>\n    <scene_description>Phillips opens his safe, extracts $30,000.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Thirty thousand dollars.<\/dialogue>\n    <character>NAJEE<\/character>\n    <dialogue>And how much you worth, Irish? How much a couple of your guys worth?<\/dialogue>\n    <scene_description>That had some edge. Phillips hands over the cash.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - B-DECK - STARBOARD STERN - EVENING<\/stage_direction>\n    <scene_description>The lifeboat sits on those skids, above B-Deck. Anyone inside it will drop from here, 45 feet straight into the sea. Elmi, Najee, and Bilal eye it, trying to look undaunted.<\/scene_description>\n    <character>NAJEE<\/character>\n    <dialogue>Need more fuel.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>We can arrange that.<\/dialogue>\n    <character>NAJEE<\/character>\n    <dialogue>And food. Water.<\/dialogue>\n    <scene_description>Phillips calls out... one deck up... to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - C-DECK - CONTINUING<\/stage_direction>\n    <scene_description>Murphy and Durell are one deck above the lifeboat, watching:<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>They want some food.<\/dialogue>\n    <scene_description>Murphy looks to Durell, who nods, under his breath:<\/scene_description>\n    <character>DURELL<\/character>\n    <dialogue>I'll go find something spoiled.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Pork. Make sure it's pork.<\/dialogue>\n    <scene_description>Durell smiles, goes. Murphy leans over and half-waves to the three Pirates, as if he were their best pal:<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Food's on the way!<\/dialogue>\n    <character>NAJEE<\/character>\n    <dialogue>You show us our captain!<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Soon as you're in the water.<\/dialogue>\n    <scene_description>Najee doesn't like it. Murphy doesn't care.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Let's go get your fuel.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - EMERGENCY GENERATOR ROOM - EVENING<\/stage_direction>\n    <scene_description>Phillips siphons fuel from a DIESEL GENERATOR into buckets. Najee stands guard. Elmi is a few feet away, flipping the same GENERATOR switches that Perry used to kill the power.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Will you please leave those alone?<\/dialogue>\n    <character>ELMI<\/character>\n    <dialogue>You trouble, Irish. You pain in the ass.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Let's go.<\/dialogue>\n    <character>NAJEE<\/character>\n    <dialogue>No. More fuel.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Where ya headed? Disneyworld?<\/dialogue>\n    <character>NAJEE<\/character>\n    <dialogue>More.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - SUSPENDED - EVENING<\/stage_direction>\n    <scene_description>Najee, Elmi, and Bilal get their first look inside the lifeboat: hatches, seats, the elevated bridge... (They don't know it yet, but this will be \"home\" for the next few days.)<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Once you're in and secured, you're gonna hit this valve. Might take a few pumps. The cog releases, and you go down the skids and into the water.<\/dialogue>\n    <scene_description>Najee should be nodding. He isn't. Something odd about that. But before Phillips can react... he sees the caricature of himself, drawn by Dave. And the words \"Philips is a shit.\" Phillips eyes it, breathes out an ironic smile.<\/scene_description>\n    <character>PHILLIPS (CONT'D)<\/character>\n    <dialogue>At least spell my name right...<\/dialogue>\n    <scene_description>The pirates don't comment. He moves on:<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Your food's here.<\/dialogue>\n    <scene_description>Najee nods. Phillips steps through the AFT HATCH, to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - B-DECK - CONTINUING<\/stage_direction>\n    <scene_description>Bilal and Elmi watch as Durell steps forward with a box of FOOD, covered with tinfoil. Phillips gets a whiff, smiles.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Specialty of the house, huh?<\/dialogue>\n    <character>DURELL<\/character>\n    <dialogue>Steward called it \"horse-cock.\"<\/dialogue>\n    <scene_description>Phillips grins. Murphy is ten feet away, glaring at the pirates. They're keeping a watchful eye on him.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Crew holding up okay?<\/dialogue>\n    <character>DURELL<\/character>\n    <dialogue>Couple heat-strokes, but they're fine.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>See that they get treated, huh?<\/dialogue>\n    <character>DURELL<\/character>\n    <dialogue>Why, Cap? You goin' somewhere?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Ya never know.<\/dialogue>\n    <scene_description>That hangs there. He turns to the pirates:<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Okay. Get yourselves harnessed in. We'll send your captain down to you once you're in the water.<\/dialogue>\n    <character>NAJEE<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>That halted things. Murphy waits. Phillips not reacting, as:<\/scene_description>\n    <character>NAJEE<\/character>\n    <dialogue>You come in water with us. When we have captain back, you show him how boat works, then you go free.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>That wasn't the deal, Asshole.<\/dialogue>\n    <scene_description>Najee points an AK right at Murphy's head, and:<\/scene_description>\n    <character>NAJEE<\/character>\n    <dialogue>New deal.<\/dialogue>\n    <scene_description>That fast, everything ramps up. Elmi points his AK at Durell. Bilal, on one foot, points his at the guys on C-Deck. And suddenly everybody's barking - Somali vs. English:<\/scene_description>\n    <character>NAJEE<\/character>\n    <parenthetical>(re: crew-members)<\/parenthetical>\n    <dialogue>Who you like least, Captain? Who you don't mind if they dead?<\/dialogue>\n    <scene_description>More barking. More AK-pointing, testosterone rising - until:<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Belay that! All of you!<\/dialogue>\n    <scene_description>The barking stops. We PUSH IN on Phillips...<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <parenthetical>(at Najee)<\/parenthetical>\n    <dialogue>Stop threatening my crew.<\/dialogue>\n    <character>NAJEE<\/character>\n    <dialogue>You get in the boat, nobody shout at nobody.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Then let's go.<\/dialogue>\n    <scene_description>The pirates lower their weapons, heading for the lifeboat. Phillips too. No one on the crew can believe it.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Wait a minute. You're goin' in the water with these guys?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Send him down once we're underway. On the ladder amidship.<\/dialogue>\n    <scene_description>Murphy's at a loss. The whole crew is.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>How 'bout I go instead? And you stay on deck. I can show 'em how it works as good as you.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>You buckin' for overtime pay now?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Cap, you get in there with them, you ain't comin' out.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>We want 'em off the boat, right?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Yeah. But not like this.<\/dialogue>\n    <scene_description>Phillips climbs in the lifeboat.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Cap...<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Crew's yours, Shane. You got it?<\/dialogue>\n    <scene_description>A last look between them. Feels like a goodbye. Murphy nods. Then Phillips \"dogs\" (closes) the aft hatch.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - CONTINUING<\/stage_direction>\n    <scene_description>Phillips, sealed in with them now, moves to the bridge.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Get your yourselves secured. This thing drops like a stone.<\/dialogue>\n    <scene_description>The seats in here have harnesses like those on a carnival ride. Bilal, Elmi, and Najee strap themselves in, facing aft.<\/scene_description>\n    <character>BILAL<\/character>\n    <dialogue>Hey, Irish. How come you do that? Your guy wanna take your place in here with the dangerous pirates. How come you say no?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>I'm Captain. He's crew. Are you harnessed in?<\/dialogue>\n    <scene_description>Bilal nods without understanding. Phillips grabs a radio:<\/scene_description>\n    <character>PHILLIPS (INTO LIFEBOAT RADIO)<\/character>\n    <dialogue>They can still strafe the ship, so keep the guys out of harm's way.<\/dialogue>\n    <character>PERRY (THRU RADIO)<\/character>\n    <dialogue>Roger that.<\/dialogue>\n    <character>PHILLIPS (INTO LIFEBOAT RADIO)<\/character>\n    <dialogue>How's his hand?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/EXT. MAERSK - C-DECK - SAME (EVENING)<\/stage_direction>\n    <scene_description>Musi, bound and gagged, his hand bleeding profusely, has been brought up to C-Deck under guard. Perry eyes him.<\/scene_description>\n    <character>PERRY (INTO RADIO)<\/character>\n    <dialogue>He'll live.<\/dialogue>\n    <character>PHILLIPS (INTO LIFEBOAT RADIO)<\/character>\n    <dialogue>Okay. Releasing lifeboat now.<\/dialogue>\n    <scene_description>Phillips puts the radio down, harnesses himself in, grabs a RELEASE VALVE, (a hydraulic pump.) Starts PUMPING it, as:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/EXT. MAERSK - B-DECK - RESUMING<\/stage_direction>\n    <scene_description>A COG holds the lifeboat on these skids. Now it's receding, hydraulically... ...as Phillips keeps pumping the valve, eyeing the pirates.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <parenthetical>(quietly, eyes heavenward)<\/parenthetical>\n    <dialogue>God, if you have to kill someone on this drop, I'd appreciate it not being me...<\/dialogue>\n    <scene_description>A few more pumps on that release valve, then: ...the COG on the skids falls away. ...and the lifeboat, unmoored, rockets down the skids. 12 feet, like a sled, nose down, then off the edge of the ship:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - STERN - CONTINUING<\/stage_direction>\n    <scene_description>A 45-FOOT DEAD DROP, hurtling toward the water.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - FALLING - CONTINUING<\/stage_direction>\n    <scene_description>The pirates are stunned by their own velocity. Phillips braces himself. The surface rushing up to meet him, then: A THUNDEROUS PLUNGE as the lifeboat smashes into the sea, sending up a huge plume, vanishing under water. It's like a car wreck in here, bodies hurtling, banging, restrained by those harnesses. Water ABOVE us... until:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/EXT. WATER-LINE - CONTINUING<\/stage_direction>\n    <scene_description>The nose of the lifeboat breaches the surface, its bridge ten feet above the waterline, visible through those WINDOWS. Phillips gathers his wits, looks to his passengers.<\/scene_description>\n    <character>PERRY (THRU RADIO)<\/character>\n    <dialogue>Cap, you okay?<\/dialogue>\n    <character>PHILLIPS (INTO LIFEBOAT RADIO)<\/character>\n    <dialogue>We're okay. Bring him amidship.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - DECK - STARBOARD - EVENING<\/stage_direction>\n    <scene_description>Murphy on deck. Musi, hand badly BLEEDING, is beside him. The lifeboat - powered by a 4 cylinder diesel engine - pulls up alongside the Maersk 20 feet below, idling amidship.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>You go in, he comes out. Right?<\/dialogue>\n    <scene_description>Musi smiles. The whole crew is watching from various decks - as he begins to climb down his own ladder, slowly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/EXT. LIFEBOAT - WATER-LINE - CONTINUING<\/stage_direction>\n    <scene_description>Elmi opens the aft hatch, points his AK at the Maersk crew again. Nobody flinches. Musi keeps descending.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/INT. LIFEBOAT - CONTINUING<\/stage_direction>\n    <scene_description>Through the cockpit window, Phillips can see Murphy on the Maersk deck - but there's an ocean between them now. Phillips clutches the radio... then:<\/scene_description>\n    <character>PHILLIPS (INTO LIFEBOAT RADIO)<\/character>\n    <dialogue>Listen, Shane. This ship is due in Mombasa two days from now.<\/dialogue>\n    <character>MURPHY (INTO RADIO)<\/character>\n    <dialogue>That's what the schedule says.<\/dialogue>\n    <character>PHILLIPS (INTO LIFEBOAT RADIO)<\/character>\n    <dialogue>I expect you to get it there.<\/dialogue>\n    <scene_description>That lands. And Murphy doesn't like it. He watches Musi, descending, then looks to the open hatch, doing the math.<\/scene_description>\n    <character>MURPHY (INTO RADIO)<\/character>\n    <dialogue>I got a better idea. How 'bout you jump outta that lifeboat, right now.<\/dialogue>\n    <character>PHILLIPS (INTO LIFEBOAT RADIO)<\/character>\n    <dialogue>Can't do that, Shane. You know that.<\/dialogue>\n    <character>MURPHY (INTO RADIO)<\/character>\n    <dialogue>Cap, enough of this already. Get the hell outta there. We can take these assholes.<\/dialogue>\n    <character>PHILLIPS (INTO LIFEBOAT RADIO)<\/character>\n    <dialogue>Crew did a helluva job today; you did too. Tell 'em that, okay?<\/dialogue>\n    <scene_description>Murphy's about to respond when... Musi reaches the hatch, and climbs in - leaving it open.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - CONTINUING<\/stage_direction>\n    <scene_description>Musi eyes Phillips, and Bilal's now-bandaged foot, (with a look of mild scorn.) Najee quickly hands over the $30,000.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Not much to operating this thing; I'll take you through it. If you want me to fix up your hand there's a med- kit behind you.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>Did you say goodbye to your men?<\/dialogue>\n    <scene_description>So much for pretense. Phillips expected that.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>I did.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>Good.<\/dialogue>\n    <scene_description>...which is when - no surprise - Musi grabs Phillips and shoves him to the floor, then throws the hatch shut, and guns the throttle, the lifeboat speeding away. The crew on the Maersk holler, but they're helpless. Phillips is shoved into a seat at gunpoint. No expression.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAERSK - DECK - RESUMING<\/stage_direction>\n    <scene_description>The lifeboat speeds away from us. The men watch it go, livid.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>You dumb son of a bitch.<\/dialogue>\n    <parenthetical>(sighs, then...)<\/parenthetical>\n    <dialogue>Okay, let's power up and run 'em down. Full ahead, and hard left.<\/dialogue>\n    <scene_description>The crew goes into action... We CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BURLINGTON HOSPITAL - NURSE'S STATION - DAY<\/stage_direction>\n    <scene_description>Andrea's in the middle of a shift (she's an E.R. NURSE) Checking a medical chart, when her CELL rings.<\/scene_description>\n    <character>ANDREA (INTO CELL)<\/character>\n    <dialogue>This is Andrea.<\/dialogue>\n    <character>MIKE WILLARD (THRU CELL)<\/character>\n    <dialogue>Andrea, it's Mike Willard. What's the name of the ship Rich is on?<\/dialogue>\n    <scene_description>And just like that, Andrea knows. Her husband's in trouble.<\/scene_description>\n    <character>ANDREA (INTO CELL)<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <scene_description>Pure dread. We CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH COURSE - VIRGINIA BEACH, VA. - MORNING<\/stage_direction>\n    <scene_description>Navy SEALS run on a beach. BRAVO PLATOON: 16 guys, ages 25- 35. Warriors. Athletes. Patriots. Led by LT. SAYERS. A black SUBURBAN pulls up alongside them. Driving is LT. COMMANDER ROBERT ABOITIZ, (36, from East L.A.) Behind him are THREE MORE SUBURBANS. The SEALS come to a stop.<\/scene_description>\n    <character>ABOITIZ<\/character>\n    <dialogue>Need all your men in the trucks, Lieutenant. We have a situation.<\/dialogue>\n    <character>SAYERS<\/character>\n    <dialogue>What's up, Boss?<\/dialogue>\n    <character>ABOITIZ<\/character>\n    <dialogue>An American's been captured by pirates off the coast of Somalia - holding him in an escape craft. Nearest warship is 345 miles out.<\/dialogue>\n    <parenthetical>(that lands)<\/parenthetical>\n    <dialogue>No calls to wives or girlfriends. We're briefing in the Team Area. Then we're geared up and on a plane.<\/dialogue>\n    <character>SAYERS<\/character>\n    <parenthetical>(at his men)<\/parenthetical>\n    <dialogue>Okay, Bravo. Into the trucks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - MOVING - NIGHT<\/stage_direction>\n    <scene_description>A muggy fiberglass hell. Elmi checks the FUEL BUCKETS in the nose of the lifeboat. Phillips watching. Musi, at the helm, is dividing the $30,000. He gives himself all the 100's, splits the 50's among three other piles. Phillips notes that too.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>What's all the fuel for?<\/dialogue>\n    <scene_description>(no reply)<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Ya got five times more than you need. What's it for?<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>Protect us from other pirates.<\/dialogue>\n    <scene_description>(Phillips is silent) Some other tribe come, try to take you away. We make big speed, then... He makes an EXPLOSION sound, laughs. Phillips eyes him. Musi opens the FOOD-PACKAGE from the Maersk. He smells it, grimaces. Motions to Bilal, \"Take the wheel.\" Then Musi opens the tiny aft hatch - again, Phillips watching.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIFEBOAT - AFT DECK - SAME<\/stage_direction>\n    <scene_description>Musi tosses the styrofoam box into the water, then spots something... He stares - angered but not surprised: It's the MAERSK, fully powered now, on his tail. Musi ducks back down, shuts the hatch.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - MOVING - RESUMING<\/stage_direction>\n    <scene_description>Musi eyes Phillips.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>Thought you said ship was broken.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>I guess they fixed it.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>Uh-huh.<\/dialogue>\n    <scene_description>(at his crew, in Somali) Come get your shares! The men approach him on the Bridge. He hands each their \"share\" of the $30,000. It's bloody money, though. From the GASH on his hand.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Careful. You're bleeding all over my boat.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>My boat now.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Congratulations. Where we going?<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>Home.<\/dialogue>\n    <scene_description>Phillips feigns indifference; it's an act...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHILLIPS HOME - DEN - MORNING<\/stage_direction>\n    <scene_description>SEVEN NEWSCREWS outside now. 20 PEOPLE inside, here to help. (TIMELINE: The Maersk reps have not yet arrived.) Nancy is manning the door - a REPORTER trying to get in...<\/scene_description>\n    <character>NANCY<\/character>\n    <dialogue>Um, this guy says he's a local reporter. But I don't know him.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Check his shoes. Is he wearing penny loafers?<\/dialogue>\n    <character>NANCY<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>He's not local. No one from Underhill wears penny loafers. Close the door.<\/dialogue>\n    <scene_description>Nancy smiles politely, shuts the door. ...as Andrea drifts through, talking on her cell with Dan:<\/scene_description>\n    <character>ANDREA (INTO CELL)<\/character>\n    <dialogue>We still don't know anything yet.<\/dialogue>\n    <character>DAN (THRU CELL)<\/character>\n    <dialogue>I'm gonna come home.<\/dialogue>\n    <character>ANDREA (INTO CELL)<\/character>\n    <dialogue>No, Honey. You need to stay there. You've got your exams this week.<\/dialogue>\n    <character>DAN (THRU CELL)<\/character>\n    <dialogue>Mom...<\/dialogue>\n    <character>ANDREA (INTO CELL)<\/character>\n    <dialogue>It's a zoo here, Honey. Reporters all over. I want you away from it.<\/dialogue>\n    <scene_description>(over him) Whaddaya think Dad would say?<\/scene_description>\n    <character>DAN (THRU CELL)<\/character>\n    <dialogue>He'd probably say, \"Do you know how much I'm spending on that school? Stay put and do your job.\"<\/dialogue>\n    <character>ANDREA (INTO CELL)<\/character>\n    <dialogue>Probably.<\/dialogue>\n    <scene_description>Amber approaches Andrea, holding a LAND LINE.<\/scene_description>\n    <character>AMBER<\/character>\n    <parenthetical>(re: phone)<\/parenthetical>\n    <dialogue>Andrea, it's John Reinhart. Chairman of the Maersk Line.<\/dialogue>\n    <scene_description>Andrea pales. Maybe he's calling with bad news...<\/scene_description>\n    <character>ANDREA (INTO CELL)<\/character>\n    <dialogue>Sweetheart, I have to take this; it's the guy from Maersk. I'll call you as soon as I know anything. It's all gonna be okay. I love you...<\/dialogue>\n    <character>DAN (THRU CELL)<\/character>\n    <dialogue>I'm getting in the car. I'll be home tonight.<\/dialogue>\n    <scene_description>CLICK. Andrea sighs, hangs up the cell, grabs the phone...<\/scene_description>\n    <character>ANDREA (INTO PHONE)<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>REINHART (THRU PHONE)<\/character>\n    <dialogue>Hi, Andrea. This is John Reinhart. How ya holding up?<\/dialogue>\n    <character>ANDREA (INTO PHONE)<\/character>\n    <dialogue>Just your typical April morning...<\/dialogue>\n    <character>REINHART (THRU PHONE)<\/character>\n    <dialogue>I understand. Listen, there's been a development - and I wanted you to hear it from me. We've gotten the ship back. The crew's fine. The pirates have escaped on a lifeboat.<\/dialogue>\n    <parenthetical>(dreading this...)<\/parenthetical>\n    <dialogue>But they have your husband with them.<\/dialogue>\n    <scene_description>Andrea pales. Can barely speak. The room waits...<\/scene_description>\n    <character>ANDREA (INTO PHONE)<\/character>\n    <dialogue>On the lifeboat.<\/dialogue>\n    <character>REINHART (THRU PHONE)<\/character>\n    <dialogue>Yes. It's a hostage situation. But you have my assurance, we're going to do everything we can to get him back to you safely.<\/dialogue>\n    <character>ANDREA (INTO PHONE)<\/character>\n    <dialogue>I see.<\/dialogue>\n    <character>REINHART (THRU PHONE)<\/character>\n    <dialogue>I'm sending two of my best people to your home - to help you deal with the media, incoming calls, anything you might need. Would that be okay?<\/dialogue>\n    <scene_description>Andrea can't reply. She can barely breathe.<\/scene_description>\n    <character>REINHART (THRU PHONE)<\/character>\n    <dialogue>Andrea?... Andrea?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - MOVING - DAY<\/stage_direction>\n    <scene_description>9 a.m. 105 degrees in here. Phillips sits, sweating. Baking. Musi sitting opposite us, flexes his injured hand, pained.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>That infected yet?<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>How would I know?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Fever, shaking, vomiting, incontinence. Then it gets bad.<\/dialogue>\n    <scene_description>Musi pauses, conscious that his men are watching.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>They're not gonna think you're a baby. They're gonna think you're staying fit enough to maintain command.<\/dialogue>\n    <scene_description>Musi rises, gets the First Aid kit, hands it over. Phillips pulls out eyewash, saline, bandages, a long roll of tape. Phillips casually cuts the tape with the JACK-KNIFE that's been in his pocket for two days now. The pirates eye him. Without comment he surrenders the knife... and unwraps the bloody shirt off Musi's hand, revealing a nasty-looking gash. He pours eyewash and saline on it, gestures toward Bilal:<\/scene_description>\n    <character>PHILLIPS (CONT'D)<\/character>\n    <dialogue>Need to re-dress his foot too.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>Why you so worried about him?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>He's a sailor and he's injured.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>Remember what I tell you about treating a sailor too nice?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>How're the sandals? They fit okay?<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>You trouble, Irish. Yeah, you a problem.<\/dialogue>\n    <scene_description>They eye Bilal, nervously knotting that three-colored rope.<\/scene_description>\n    <character>MUSI (CONT'D)<\/character>\n    <dialogue>Nothing wrong with him - he just afraid.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>You're not?<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>Yes. Of seeing my children starve.<\/dialogue>\n    <scene_description>(no reply) We get back to Somalia, everything working. Tell insurance guys what we want for you, and everybody get rich.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Sorry. But I doubt it.<\/dialogue>\n    <scene_description>(Musi waits) Why would the line pay you? They got their ship back, their crew, all of their cargo. And Captains are replaceable; don't you know that?<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>Only some.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHILLIPS HOME - DAY<\/stage_direction>\n    <scene_description>Dan is home now. He sits beside Andrea... and Amber, Nancy, DAWN, JANET, PATTY (more sisters in law); LEA (Andrea's sister); Mike Willard; TEN OTHER NEIGHBORS. All of them looking at Allison - the Maersk rep - who stands in front of two ERASURE BOARDS. She shuts the tv off, and:<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Okay. Rule Number One. No more tv. There are too many rumors bouncing around, and way too many opinions. From now on, we get our information only from the State Department, Defense Department, or from Maersk.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Everything that's confirmed goes on these erasure boards. Starting with this: the USS Bainbridge is on site and in contact with the pirates. There hasn't been an official ransom demand made yet. The Commander of the Bainbridge is taking his orders from a Task Force Commander, who answers to the Flag Officer of the Task Force, an Admiral named Michelle Howard. We are in touch with her on a regular basis.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Go Michelle.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>She answers to the Fifth Fleet Commander in Bahrain. He answers to the Chairman of the Joint Chiefs of Staff, who answers to the Secretary of Defense, and ultimately President Obama. All of whom are monitoring this situation closely. The President is receiving regular updates on the situation. If he feels a military response is required, he will give the go-ahead for a rescue. It's his call. Flattering, right?<\/dialogue>\n    <scene_description>It is. So why'd Andrea just go pale?<\/scene_description>\n    <character>ANDREA<\/character>\n    <dialogue>Oh shit.<\/dialogue>\n    <scene_description>(they wait...) Richard voted for McCain.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - MOVING - DAY<\/stage_direction>\n    <scene_description>Phillips, in his usual seat. Then: THUMP THUMP THUMP. The sound turns our heads. It's Najee, trying to break a WINDOW ON THE BRIDGE with the butt of his AK-47. Repeatedly. An attempt to get some air in here.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Ya might ask him to stop that, before he takes your head off.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>He wants air.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>But he's still got the clip in.<\/dialogue>\n    <scene_description>Musi nods, then barks at Najee in Somali. Najee removes the clip from the AK, starts banging again... Finally, he breaks a pane. A small trickle of air blows in.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>I have to urinate.<\/dialogue>\n    <scene_description>Musi calls to Bilal, who puts down the rope, grabs his AK, and - hobbling - leads Phillips back to the aft-hatch. Bilal un-dogs it, and they emerge:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIFEBOAT - AFT HATCH - MOVING - CONTINUING<\/stage_direction>\n    <scene_description>Phillips steps outside... and his jaw drops - just saw something huge, off our stern: The USS BAINBRIDGE, Guided Missile Detroyer, 300 yards away. Bilal smiles, thrilled. Huh? He pushes Phillips inside...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - MOVING - RESUMING<\/stage_direction>\n    <scene_description>Bilal dogs the hatch closed. Looks to Musi.<\/scene_description>\n    <character>BILAL (SOMALI, SUBTITLED)<\/character>\n    <dialogue>Navy here, Boss! U.S. Navy!<\/dialogue>\n    <character>MUSI (SOMALI, SUBTITLED)<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <scene_description>Musi turns to port... and there it is, visible through the tiny cockpit windows. The Bainbridge. Instant reaction: Musi WHOOPS with excitement. Couldn't be happier. The others join in. Phillips is at a loss. As they yell and shout, Musi grabs the lifeboat radio:<\/scene_description>\n    <character>MUSI (INTO LIFEBOAT RADIO)<\/character>\n    <dialogue>Navy Navy? You got the pirates here! No military action! No military action! We not Al Qaeda!<\/dialogue>\n    <scene_description>The voice of CAPTAIN FRANK CASTELLANO comes through:<\/scene_description>\n    <character>CASTELLANO (THRU LIFEBOAT RADIO)<\/character>\n    <dialogue>This is the USS Bainbridge.<\/dialogue>\n    <character>MUSI (INTO LIFEBOAT RADIO)<\/character>\n    <dialogue>Good to see you! We not Al Qaeda! Need food, water, batteries, and more bullets! Lifeboat out!<\/dialogue>\n    <scene_description>End of transmission. Musi laughs. His men do too. Huh...?<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>I don't get it. Why're you so happy to see a navy ship?<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>We got an escort now - get us back to Somali waters, safe from other pirates! Everybody knows to stay away from the gray!<\/dialogue>\n    <parenthetical>(means it)<\/parenthetical>\n    <dialogue>You beautiful, Irish! You better than twenty hostages!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NAVY ZODIAC\/EXT. LIFEBOAT - DAY<\/stage_direction>\n    <scene_description>A NAVY ZODIAC (inflated motorboat) skims water. Aboard it are FOUR SAILORS, commanded by LT. KINIMURA, bearing a BOX of PROVISIONS. The Zodiac reaches the lifeboat, both idling. Musi opens the aft hatch, armed. Eyeing Kinimura.<\/scene_description>\n    <character>KINIMURA<\/character>\n    <dialogue>We want to see the Captain first, make sure he's still okay.<\/dialogue>\n    <scene_description>Musi barks at Elmi below deck, who shouts at Phillips:<\/scene_description>\n    <character>ELMI (O.S.)<\/character>\n    <dialogue>Come. Wave.<\/dialogue>\n    <scene_description>Phillips appears in the hatch, waves at the sailors... then Elmi pulls him back down below. A beat... Kinimura's men hand over the provisions: a RADIO, batteries, water, chocolate POP-TARTS. And, strangely, A-1 Steak Sauce. Kinimura pulls the radio out, hands it to Musi:<\/scene_description>\n    <character>KINIMURA<\/character>\n    <dialogue>Dedicated channel. My C.O. wants to talk to you again.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>I'll talk to him later.<\/dialogue>\n    <scene_description>Kinimura reacts, thrown. Musi smiles.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>Old Somali saying: \"You have all the watches. But we have all the time.\"<\/dialogue>\n    <scene_description>He laughs. Kinimura doesn't. We CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNDERHILL, VT. - ST. THOMAS PARKING LOT - MORNING<\/stage_direction>\n    <scene_description>The ARMY OF REPORTERS is now confined to a church parking lot. They watch as a \"COME HOME CAPTAIN PHILLIPS\" sign is hung across the street. There are YELLOW RIBBONS everywhere.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHILLIPS HOME - LIVING ROOM - CONTINUING<\/stage_direction>\n    <scene_description>TV, phones, 20 people here to help. Andrea drifts through. FOOD PLATTERS are all over now. Casseroles, lasagnas, cakes, sent by friends, strangers. Serving trays are everywhere. Lea approaches Andrea, bearing a particularly grand one.<\/scene_description>\n    <character>LEA<\/character>\n    <dialogue>This is from the local Somali community. They want you to know how sorry and ashamed they are.<\/dialogue>\n    <character>ANDREA<\/character>\n    <dialogue>We have a local Somali community?<\/dialogue>\n    <scene_description>Lea shrugs. Andrea looks around for Dan. There he is, by a window, looking out at the snow.<\/scene_description>\n    <character>ANDREA (CONT'D)<\/character>\n    <dialogue>You doin' okay?<\/dialogue>\n    <scene_description>He shrugs, but the answer's no.<\/scene_description>\n    <character>DAN<\/character>\n    <dialogue>I was just thinking how much he loves the snow. If the temperature hits eighty, he thinks it's too warm. But he never complains about snow.<\/dialogue>\n    <character>ANDREA<\/character>\n    <dialogue>He's gonna be okay, Honey. He's looking up at the sky, right now, just like you are - thinking about you.<\/dialogue>\n    <character>DAN<\/character>\n    <dialogue>Or maybe telling the pirates how to sail.<\/dialogue>\n    <scene_description>She breathes out a much-needed laugh. Dan too... but there is pure terror behind it. Andrea can see it; it's heartbreaking. She knows what to do. A few feet away is FATHER DANIELSON. He's 50, their local priest - has been here all morning. Andrea takes his hand:<\/scene_description>\n    <character>ANDREA<\/character>\n    <dialogue>Can we say one more, Father? Maybe all of us together?<\/dialogue>\n    <parenthetical>(Danielson pauses)<\/parenthetical>\n    <dialogue>Richard's so strong; I know he's hanging in there. But can we say one for the men who're trying to help him?<\/dialogue>\n    <scene_description>Danielson nods, of course. Andrea grabs Dan, as we CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. C-17 - FLYING - NIGHT<\/stage_direction>\n    <scene_description>A MILITARY TRANSPORT PLANE, 5,000 feet over the ocean. Inside, gear - weapons, comm, nav, scuba - all strapped into an RHIB (rigid-hull-inflatable-boat). The RHIB is secured to the floor by cables, with parachutes attached to its stern. ...as 16 men stand, game-faces on. This is NAVY SEAL TEAM SIX. We move down the row of them, starting with their TEAM LEADER, Lt. Aboitiz. Then face after face, until we land on: Two Seals - PETTIS (black, future world-leader), and JOON (Korean-American, quiet.) A light above them goes green.<\/scene_description>\n    <character>ABOITIZ<\/character>\n    <dialogue>Okay, guys. Time to hop and pop.<\/dialogue>\n    <scene_description>The BACK OF THIS PLANE OPENS like a mouth. Wind rushes in. A GUILLOTINE severs the cables securing that gear-laden RHIB. ...and the RHIB rockets out of here at 120 mph, sucked out with awesome force, its chute deploying automatically. Now the SEALS themselves dive out. We FOLLOW PETTIS:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MID-AIR\/EXT. INDIAN OCEAN - CONTINUING - NIGHT<\/stage_direction>\n    <scene_description>Falling, in darkness. Not a photon of light beneath us, (the waters of the Indian Ocean don't refract light at night.) Feels like an endless abyss down there. No form at all. But there's a lit ALTIMETER on our wrist, counting down... 700 feet, 600... Our CHUTE above us. Then the RHIB hits water below us. A huge SPLASH. We keep plummeting, down... Then... a BIGGER SPLASH. That's us, submerging powerfully, water all around us... then coming up again, to find: 16 men in synchronized action, SEALS leaving their chutes to sink in the water and boarding the RHIB. The BAINBRIDGE appears now, coming to get us. The C-17 is long gone. We've just \"splashed in,\" SEAL-style...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. USS BAINBRIDGE - CIC - NIGHT<\/stage_direction>\n    <scene_description>The COMBAT INFORMATION CENTER of a guided missile destroyer: icy blue lighting, a horseshoe layout of consoles manned by 20 SAILORS, under the command of Captain Castellano:<\/scene_description>\n    <character>CASTELLANO<\/character>\n    <dialogue>Everybody vigilant. Game faces on.<\/dialogue>\n    <scene_description>Beside Castellano is RICHARD GARRIDOS, an FBI man to his core, the only civilian on board. They turn as Lt. Aboitiz enters, exchanging a salute with Castellano.<\/scene_description>\n    <character>CASTELLANO<\/character>\n    <dialogue>Lieutenant Aboitiz, SEAL Team Commander. Richard Garridos, FBI.<\/dialogue>\n    <character>ABOITIZ<\/character>\n    <dialogue>Sir.<\/dialogue>\n    <character>GARRIDOS<\/character>\n    <dialogue>Good to meet you. Where are we?<\/dialogue>\n    <character>ABOITIZ<\/character>\n    <dialogue>In place and ready to go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/INT. BAINBRIDGE - HELO HANGAR - SAME<\/stage_direction>\n    <scene_description>Pettis, Joon, and EIGHT OTHER SEALS pass through a hangar containing two MH60 Knighthawk HELICOPTERS - as we hear:<\/scene_description>\n    <character>GARRIDOS (V.O.)<\/character>\n    <dialogue>Orders right now are, no offensive action. We just keep shouldering 'em away from Somali waters.<\/dialogue>\n    <scene_description>Huge RETRACTABLE DOORS open in front of the SEALS, revealing:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. USS BAINBRIDGE - FANTAIL - CONTINUING<\/stage_direction>\n    <scene_description>The fantail of the Bainbridge sits low and flat in the water. From here, the lifeboat is a tiny target on black ocean. The SEALS drop their gear...<\/scene_description>\n    <character>ABOITIZ (V.O.)<\/character>\n    <dialogue>Understood.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. USS BAINBRIDGE - C.I.C. - RESUMING<\/stage_direction>\n    <scene_description>Aboitiz, Castellano, Garridos:<\/scene_description>\n    <character>GARRIDOS<\/character>\n    <dialogue>But that directive is countermanded if the hostage is observed to be in<\/dialogue>\n    <character>GARRIDOS<\/character>\n    <dialogue>immediate danger. What kind of surveillance do we have?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/EXT. UNDERWATER - NIGHT<\/stage_direction>\n    <scene_description>We're right UNDER the lifeboat. And we aren't alone. A team of SEAL FROGMEN are here too - attaching LISTENING DEVICES to the hull of the lifeboat. The devices are round, black, like hockey pucks. The SEALS activate them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. USS BAINBRIDGE - CIC - RESUMING<\/stage_direction>\n    <scene_description>An ENSIGN is at a console, listening in on the lifeboat.<\/scene_description>\n    <character>ABOITIZ<\/character>\n    <dialogue>We have good ears on the boat. And I've got sniper-killer teams surveilling from the fantail, locked in.<\/dialogue>\n    <character>GARRIDOS<\/character>\n    <dialogue>Those windows aren't much of a target. How're you gonna hit 'em from the fantail of a moving boat?<\/dialogue>\n    <scene_description>A few sailors react. But Aboitiz is unfazed:<\/scene_description>\n    <character>ABOITIZ<\/character>\n    <dialogue>A lifeboat riding bow-down on this ship's rooster-tail has a 17-second cycle of harmonic motion. At the half- point of every cycle, or at 8.5 seconds, the lifeboat will, for a brief instant, be steady on.<\/dialogue>\n    <scene_description>As he CONTINUES, we RESUME INTERCUT WITH:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. USS BAINBRIDGE - FANTAIL - RESUMING (NIGHT)<\/stage_direction>\n    <scene_description>Five SNIPER-KILLER TEAMS, in pairs: RAMOS-WINSTROM; INGRAM- NGUYEN; SHRIDAR-KAY; REESE-HICKS; and Pettis-Joon. Four of the teams set up shop on LARGE CRATES, (a shooter resting his weapon on the crate, spotter behind him.) Pettis lies belly down on a mat, on the fantail, Joon behind him. The snipers have SR-25's. The Spotters have OPTICS DEVICES. Through Joon's we see the lifeboat in the distance. Its windows look TINY from here. Bobbing up and down... Every SEAL sound-checks his NECK MIKE, as:<\/scene_description>\n    <character>ABOITIZ (O.S.)<\/character>\n    <dialogue>During that lull, the scopes on a sniper's SR-25 can image their targets very easily. The first shot, a wad cutter, takes out the windows, removing all deflection criteria and giving four shooters, each on a single target, a clean line of sight.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. USS BAINBRIDGE - C.I.C. - RESUMING<\/stage_direction>\n    <scene_description>Aboitiz and Garridos:<\/scene_description>\n    <character>ABOITIZ<\/character>\n    <dialogue>Any of our team members could then put three slugs inside the head of a quarter at 100 meters - although that is not the ideal distance.<\/dialogue>\n    <scene_description>Garridos takes all that in, sold. Then:<\/scene_description>\n    <character>GARRIDOS<\/character>\n    <dialogue>I'll talk to the pirates now, Captain.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - MOVING - SAME (NIGHT)<\/stage_direction>\n    <scene_description>Najee is finishing that multi-colored rope. Elmi is sitting up front, near the fuel buckets. Musi on the bridge. That leaves Bilal, guarding Phillips.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>How's your foot? Any better?<\/dialogue>\n    <scene_description>Bilal shrugs, conscious of fraternizing with the hostage.<\/scene_description>\n    <character>MUSI (O.S.)<\/character>\n    <dialogue>You stop talking to him.<\/dialogue>\n    <scene_description>Musi, calling out from the Bridge, angry. Bilal tightens.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>He already got one captain. Somali Marine don't need two.<\/dialogue>\n    <scene_description>Phillips shrugs, turns away... looking through that box of provisions. Pop-Tarts, etc... until he notices something: The back of that bottle of A-1 steak sauce. Something's been written on it. By hand, in English - obviously a message left for him by the Navy. Phillips reads it: \"Talk. We can hear you. USN.\" Oh. But Phillips barely has time to integrate it, when:<\/scene_description>\n    <character>GARRIDOS (THRU LIFEBOAT RADIO)<\/character>\n    <dialogue>Pirate leader. Pirate leader. Come in.<\/dialogue>\n    <scene_description>Musi turns, unmoved. But:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/INT. USS BAINBRIDGE - CIC - SAME<\/stage_direction>\n    <scene_description>Garridos, watched by Aboitiz and Castellano.<\/scene_description>\n    <character>GARRIDOS (INTO RADIO)<\/character>\n    <dialogue>This is the FBI. Come in.<\/dialogue>\n    <scene_description>Musi's eyes just went wide. His men react as well. FBI. Three VERY big letters. He regroups, grabs the radio:<\/scene_description>\n    <character>MUSI (INTO LIFEBOAT RADIO)<\/character>\n    <dialogue>No F.B.I.! We not Al Qaeda! We talk to insurance negotiator.<\/dialogue>\n    <character>GARRIDOS (INTO RADIO)<\/character>\n    <dialogue>Sorry. F.B.I. My name's Garridos.<\/dialogue>\n    <character>MUSI (INTO LIFEBOAT RADIO)<\/character>\n    <dialogue>No military action! We want only ransom.<\/dialogue>\n    <character>GARRIDOS (INTO RADIO)<\/character>\n    <dialogue>Okay. What'll you give me?<\/dialogue>\n    <character>MUSI (INTO LIFEBOAT RADIO)<\/character>\n    <dialogue>We want two million dollars and passage back to Somalia. Then you get your man.<\/dialogue>\n    <scene_description>Phillips watches all this... noting Bilal's reaction.<\/scene_description>\n    <character>GARRIDOS (INTO RADIO)<\/character>\n    <dialogue>What's your name? I'd like to know what to call you.<\/dialogue>\n    <character>MUSI (INTO LIFEBOAT RADIO)<\/character>\n    <dialogue>You can call me Captain.<\/dialogue>\n    <character>GARRIDOS (INTO RADIO)<\/character>\n    <dialogue>Okay. You and I will be working together until we figure this thing out. Tell me about your injury. And your crew-member.<\/dialogue>\n    <character>MUSI (INTO LIFEBOAT RADIO)<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>GARRIDOS (INTO RADIO)<\/character>\n    <dialogue>You have a gash on your right hand, and you've got a crew-member with glass in his foot. Correct?<\/dialogue>\n    <character>MUSI (INTO LIFEBOAT RADIO)<\/character>\n    <dialogue>I want to talk to the insurance guy!<\/dialogue>\n    <character>GARRIDOS (INTO RADIO)<\/character>\n    <dialogue>I have trained medical personnel on this boat, and a first-class hospital bay. Maybe you two come aboard and get treated. Then we can talk about things, face to face.<\/dialogue>\n    <character>MUSI (INTO LIFEBOAT RADIO)<\/character>\n    <dialogue>I get it fixed when I get back to Somalia. We talk then.<\/dialogue>\n    <character>GARRIDOS (INTO RADIO)<\/character>\n    <dialogue>That's gonna be a problem. We're willing to work with you - but we can't let this thing reach land.<\/dialogue>\n    <character>MUSI (INTO LIFEBOAT RADIO)<\/character>\n    <dialogue>We Somali Marines! We have right to go back to our country!<\/dialogue>\n    <character>GARRIDOS (INTO RADIO)<\/character>\n    <dialogue>Not with an American hostage.<\/dialogue>\n    <scene_description>Musi hangs up, angry. No one speaks. Then:<\/scene_description>\n    <character>GARRIDOS (THRU RADIO)<\/character>\n    <dialogue>Garridos for lifeboat. Come in.<\/dialogue>\n    <scene_description>Musi grabs the radio again.<\/scene_description>\n    <character>MUSI (INTO LIFEBOAT RADIO)<\/character>\n    <dialogue>No military action! We talk to Insurance negotiator! Two million dollars!<\/dialogue>\n    <character>GARRIDOS (INTO RADIO)<\/character>\n    <dialogue>Look out your window, Captain.<\/dialogue>\n    <character>MUSI (INTO LIFEBOAT RADIO)<\/character>\n    <dialogue>We going to Somalia.<\/dialogue>\n    <character>GARRIDOS (INTO RADIO)<\/character>\n    <dialogue>Captain. Your cockpit window.<\/dialogue>\n    <scene_description>Musi does... and he sees the five sniper-killer teams on the fantail of the Bainbridge - aiming right at him. It's just a moment - blink and you'd miss it - but all of his bravado just vanished; and Phillips saw. Bilal saw too. Musi regroups quickly... Then, with utter control:<\/scene_description>\n    <character>MUSI (SOMALI, SUBTITLED)<\/character>\n    <dialogue>We going home now. Stay away from the windows.<\/dialogue>\n    <scene_description>He leans on the throttle, instant acceleration. His men don't speak. But they know something's wrong. Najee and Elmi drift away, quietly. That leaves Phillips and Bilal, out of everyone's earshot. Phillips studies the kid. Bilal looks away... Then:<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Are you a good swimmer?<\/dialogue>\n    <scene_description>(Bilal's a blank) 'Cause you need to jump off this boat and get away from here, as fast as you can. Your captain's leading you to some very bad places.<\/scene_description>\n    <character>BILAL<\/character>\n    <dialogue>I never been anywhere else.<\/dialogue>\n    <scene_description>That landed. Bilal walks away. Phillips sags. On the bridge, Musi starts singing a SOMALI WAR SONG. Loud. Off-key. Intentionally unsettling. And he keeps singing, as:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. USS BAINBRIDGE - CIC - RESUMING<\/stage_direction>\n    <scene_description>Garridos, listening in. He takes off his headset.<\/scene_description>\n    <character>GARRIDOS<\/character>\n    <dialogue>Captain, I need a chopper.<\/dialogue>\n    <scene_description>Castellano nods, no problem.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHILLIPS HOME - BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Andrea is in bed but wide awake. Amber sleeps in a chair. An anxious stillness hangs. Then it's shattered: the PHONE RINGS. Oh no. Andrea grabs it.<\/scene_description>\n    <character>ANDREA (INTO PHONE)<\/character>\n    <dialogue>Hello?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/INT. MAERSK - BRIDGE - IDLE - DAY<\/stage_direction>\n    <scene_description>Shane Murphy, on the bridge of the Maersk:<\/scene_description>\n    <character>MURPHY (INTO PHONE)<\/character>\n    <dialogue>Andrea, it's Shane Murphy.<\/dialogue>\n    <character>ANDREA (INTO PHONE)<\/character>\n    <dialogue>Oh. Hi, Shane....<\/dialogue>\n    <character>MURPHY (INTO PHONE)<\/character>\n    <dialogue>You doin' okay?<\/dialogue>\n    <character>ANDREA (INTO PHONE)<\/character>\n    <dialogue>Uh, you know. Anxious.<\/dialogue>\n    <scene_description>Flanking Murphy are some of the Maersk CREW-MEMBERS we now know: ATM, Durell, Perry, Ken Quinn, Colin Wright. Even Marv, Dave, Del. Murphy's speaking for all of them.<\/scene_description>\n    <character>MURPHY (INTO PHONE)<\/character>\n    <dialogue>The Navy wouldn't let me call you before. We're in Mombasa now, as scheduled.<\/dialogue>\n    <character>ANDREA (INTO PHONE)<\/character>\n    <dialogue>That's good.<\/dialogue>\n    <character>MURPHY (PHONE,<\/character>\n    <dialogue>Just wanted to tell you - we all did - we owe your husband our lives, every guy on this ship. He got in that lifeboat to save us, and you should be proud of that. He's a brave son-of- a-bitch, Andrea; and he's gonna outlast those guys, I know it. He'll wear 'em down. Last we heard he was doing okay and in good spirits. So you stay strong, okay? He loves you. He'll get back home to you.<\/dialogue>\n    <scene_description>Andrea just nods, a single tear rolling down her cheek.<\/scene_description>\n    <character>MURPHY (PHONE,<\/character>\n    <dialogue>Anyway. I gotta go. Still got a ship to run.<\/dialogue>\n    <character>ANDREA (INTO PHONE)<\/character>\n    <dialogue>Thanks, Shane.<\/dialogue>\n    <character>MURPHY (INTO PHONE)<\/character>\n    <dialogue>If you talk to him before I do, tell him we all said thanks, okay?<\/dialogue>\n    <scene_description>End of call. Amber takes her hand. We STAY WITH MURPHY: Through the bridge windows we see CRANES off-loading the Maersk's containers. She has docked in Mombasa now. The NAVY GUYS are leaving. A NEW CAPTAIN, Phillips' replacement, comes aboard. Murphy nods politely. The show goes on - as we CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - MOVING - NIGHT (2:30 A.M.)<\/stage_direction>\n    <scene_description>Phillips stands, wet and bleeding. His hands tied to the horizontal bar overhead, feet tied too. (We've TIME-JUMPED again: Phillips has already been beaten for trying to escape. They've just made him piss himself.) But there's now an AK an INCH FROM HIS FACE - held by Elmi, who pulls the trigger. CLICK. He's just dry-firing it, but the flinch from Phillips made Elmi smile. The tenor in here has gotten meaner. Sicker. Najee knots that three-colored rope. Musi's on the bridge. Bilal is silent. The lifeboat muscles along. ...when, unsolicited, Phillips begins to speak:<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>So it's the beginning of time. Adam's the first man ever. And all of his body parts hold a meeting, to see who should be in charge.<\/dialogue>\n    <scene_description>Wait. Is he telling a joke? Now? Elmi can't believe it.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Adam's heart says, \"I think I should run things, 'cause if I stop pumping, he dies.\" But his eyes say, \"Wait a minute, we think we should run things. I mean, without us, he couldn't see anything, or get around.\" Then his brain says, \"I'm obviously the most important organ. I control breathing, thinking, everything.\" A real argument.<\/dialogue>\n    <scene_description>No doubt about it; he's telling a joke. Musi turns, intrigued by the balls on this guy. Najee and Bilal too, watching...<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Then, from down deep, a quiet voice pipes in. \"Excuse me. But I think I'm the most important body part.\" It was the asshole talking.<\/dialogue>\n    <scene_description>The pirates eye one another, mild disbelief and amusement.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>The other body parts just laughed at him - get serious, buddy - and went back to work, deciding to vote on it in a couple days.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>But the next morning, the asshole surprised them all. He shut down. Wouldn't let anything through. Breakfast, lunch, dinner - nothing. And pretty soon, the whole body began to suffer. The brain got foggy, the heart could barely beat, the eyes couldn't stay open. After three days of it they all came to him and said, \"Okay! Okay! You win! You're the most important! We give!\" Argument over.<\/dialogue>\n    <parenthetical>(eyes on Musi now)<\/parenthetical>\n    <dialogue>And that's why, ever since, all through history... it's assholes who have always been in charge.<\/dialogue>\n    <scene_description>There it was, a huge fuck-you, aimed right at Musi. Silence. ...then Bilal can't help himself. He starts to laugh. Elmi too. Then Najee. Even Musi finds himself chuckling. Phillips too. Five strung-out overheated guys, laughing. ...until this boat is suddenly ROCKED by an unseen force - pounding it, turning it SIDEWAYS. The pirates are knocked to their feet - it's that violent. And NOISY, deafening:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIFEBOAT - AT SEA - CONTINUING<\/stage_direction>\n    <scene_description>One of those NAVY KNIGHTHAWK HELICOPTERS is hovering right above us - its rotors' GALE-FORCE WIND literally knocking the lifeboat sideways. A pretty impressive show of force.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - MOVING - RESUMING<\/stage_direction>\n    <scene_description>Musi struggles with the wheel, but it's useless. The craft isn't powerful enough to keep its heading.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>What are they doing, Irish?<\/dialogue>\n    <scene_description>Phillips keeps his eyes on those FUEL BUCKETS - sliding around. The wind keeps pounding us. And that noise...<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>What are they doing?!<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>I don't know. I'm here with you.<\/dialogue>\n    <scene_description>Musi, livid, guns the engine. But it dies on him. Now the powerless lifeboat is pushed in a CIRCLE by the wind. Spinning like a top, buffeted by air and noise. Musi's men, dizzied, await his orders... as:<\/scene_description>\n    <character>GARRIDOS (THRU LIFEBOAT RADIO)<\/character>\n    <dialogue>Garridos for lifeboat. Come in.<\/dialogue>\n    <scene_description>Musi doesn't answer - just hits the ignition again. The engine won't turn over.<\/scene_description>\n    <character>GARRIDOS (THRU LIFEBOAT RADIO)<\/character>\n    <dialogue>Garridos for lifeboat. Come in, lifeboat.<\/dialogue>\n    <scene_description>We're spinning in circles, deafened by the noise - the Knighthawk literally sitting right on top of us...<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>What's wrong with your boat, Irish?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Now it's my boat again?<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>What's wrong with it?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>How the hell should I know?<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>You baby, Phillips. Lazy American.<\/dialogue>\n    <scene_description>Musi fumes. His men await a plan. Noise pounding. Sniper teams waiting on the Bainbridge. Everything closing in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/INT. USS BAINBRIDGE - CIC - RESUMING<\/stage_direction>\n    <scene_description>Garridos, with Aboitiz and Castellano hovering:<\/scene_description>\n    <character>GARRIDOS (INTO RADIO)<\/character>\n    <dialogue>This is Garridos, Captain. You having engine trouble?<\/dialogue>\n    <character>MUSI (INTO LIFEBOAT RADIO)<\/character>\n    <dialogue>You pull back now!<\/dialogue>\n    <character>GARRIDOS (INTO RADIO)<\/character>\n    <dialogue>Hey, I'm just a guest on this boat. I can't tell the Captain what to do. But I can send over a mechanic to take a look for you.<\/dialogue>\n    <character>MUSI (INTO LIFEBOAT RADIO)<\/character>\n    <dialogue>Pull back! No military action!<\/dialogue>\n    <character>GARRIDOS (INTO RADIO)<\/character>\n    <dialogue>Fine. What will you give me?<\/dialogue>\n    <character>MUSI (INTO LIFEBOAT RADIO)<\/character>\n    <dialogue>I give you his ears! I give you his fingers!<\/dialogue>\n    <scene_description>(no reply) I told you! I talk only to insurance man! Only to money man!<\/scene_description>\n    <character>GARRIDOS (INTO RADIO)<\/character>\n    <dialogue>Sorry. I'm all you got. And we cannot allow you to return to Somali waters.<\/dialogue>\n    <scene_description>We PUSH IN on Musi, all that noise bearing down on him, as:<\/scene_description>\n    <character>MUSI (INTO LIFEBOAT RADIO)<\/character>\n    <dialogue>(ice cold)<\/dialogue>\n    <scene_description>Fine. We die here then. He slams the radio down, looks at his men:<\/scene_description>\n    <character>MUSI (SOMALI, SUBTITLED)<\/character>\n    <dialogue>Finish the ropes.<\/dialogue>\n    <scene_description>That sounded permanent, and Phillips looks shaken. We're still spinning, getting hammered by the rotor wind...<\/scene_description>\n    <character>MUSI (CONT'D)<\/character>\n    <dialogue>What's wrong, Phillips? You don't want to die at sea? What kind of sailor are you?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Like to see my wife again. And my kids.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>American sailors are all babies.<\/dialogue>\n    <character>GARRIDOS (THRU LIFEBOAT RADIO)<\/character>\n    <dialogue>Captain! Come in.<\/dialogue>\n    <character>MUSI (SOMALI, SUBTITLED)<\/character>\n    <dialogue>Untie him.<\/dialogue>\n    <scene_description>Elmi starts to untie Phillips, as:<\/scene_description>\n    <character>GARRIDOS (THRU RADIO)<\/character>\n    <dialogue>Why don't you come aboard now? Get some medical care. We'll figure a way<\/dialogue>\n    <character>GARRIDOS (THRU RADIO)<\/character>\n    <dialogue>out of this thing. We can set up a tow-line from our fantail, so you don't drift into hostile waters. We know there are rival tribes around here. Look, a gesture of goodwill:<\/dialogue>\n    <scene_description>The noise suddenly STOPS, the chopper pulling up. SILENCE. Somehow, that infuriates Musi even worse. He decides:<\/scene_description>\n    <character>MUSI (INTO LIFEBOAT RADIO)<\/character>\n    <dialogue>Okay. We gonna kill the hostage now. Need a bodybag over here. Out.<\/dialogue>\n    <scene_description>End of transmission. He marches toward Phillips - at the very moment Phillips, untied by Elmi, falls into a seat... and our narrative catches up to itself COMPLETELY, as: A JOLT: Phillips yanked out of the seat by Musi - suddenly, urgently. Rage in Musi's eyes, infuriated by all this...<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>I want you to know something. We were all fishermen once. Other countries come and overfish our waters, dump all their trash here - no Somali government to stop them. So there's no more fishing.<\/dialogue>\n    <scene_description>A few feet away, Najee and Elmi pull an ORANGE SURVIVAL SUIT from a bin, and begin to spread it on the floor. Odd... IMAGES, JUMP-CUT: Musi handing the 9mm to Bilal; the pirates kneeling down to pray for Allah's blessing, and:<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Andrea...<\/dialogue>\n    <scene_description>He shuts his eyes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PHILLIPS' HOME - BACK PATIO - DAY<\/stage_direction>\n    <scene_description>Allison emerges on to the patio - to find Andrea, hiding here again, alone against the snow, staring sadly at that old SHIP'S BELL.<\/scene_description>\n    <character>ANDREA<\/character>\n    <parenthetical>(re: bell)<\/parenthetical>\n    <dialogue>He's so stubborn about things.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>I'm counting on it.<\/dialogue>\n    <scene_description>Andrea smiles. Allison sits.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Your family's doing a prayer circle. You wanna come in?<\/dialogue>\n    <character>ANDREA<\/character>\n    <dialogue>The Navy's not expecting a good result. Are they.<\/dialogue>\n    <scene_description>Bam. That put Allison on her heels. She regroups, then:<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>The Navy's doing exactly what it set out to do - isolate the pirates and keep them from getting to shore.<\/dialogue>\n    <character>ANDREA<\/character>\n    <dialogue>But they can't launch a rescue without getting him killed. And there's no way the U.S. Government could allow the pirates to take ransom and escape prosecution. So...<\/dialogue>\n    <parenthetical>(Allison's silent)<\/parenthetical>\n    <dialogue>Has anybody said anything to you about preparing me for the worst?<\/dialogue>\n    <scene_description>No reply. The answer, obviously, is yes.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>It's not an indicator of our confidence in the outcome...<\/dialogue>\n    <scene_description>That sounded lame, and she knows it. A beat passes...<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Do you want to come in with us?<\/dialogue>\n    <scene_description>Andrea starts to cry again, can't quite hold it in.<\/scene_description>\n    <character>ANDREA<\/character>\n    <dialogue>I think I'll take a walk instead.<\/dialogue>\n    <scene_description>And away she goes, off the patio and out into the SNOWY FIELD beyond. Allison, helpless, just watches her go. From here, Andrea grows smaller and smaller. We CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - NOT MOVING - SAME<\/stage_direction>\n    <scene_description>The pirates pray to Allah. Phillips watches, powerless... We CIRCLE AROUND him, his breath shortening, heart rate climbing - as these men pray for a blessing to kill him.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>You're not gonna get paradise and seventy-two virgins for doing this. You're just gonna get your men killed.<\/dialogue>\n    <scene_description>Musi looks up from his prayer, his eyes lifeless:<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>Keep talking, Irish...<\/dialogue>\n    <scene_description>That was chilling. Musi returns to his prayer, then gives an order in Somali. The pirates get to their feet. Najee grabs that THREE-COLORED ROPE now, weaving it through Phillips' hands. Carefully. We hear \"Halal. Halal.\" We PUSH IN ON PHILLIPS - as he steels himself for one last stand. Just can't let himself surrender too easily.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>Bring him over.<\/dialogue>\n    <scene_description>Elmi grabs Phillips, starts to pull him on to the orange survival suit. But there's a problem, instantly: Phillips isn't moving. Huh? Elmi tries again - but Phillips digs in and puts his fists under his chin. Not moving.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>No. Sorry.<\/dialogue>\n    <scene_description>What? They scream at him, livid.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>You make hands-up posture now! Execution posture!<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>I'm not moving.<\/dialogue>\n    <scene_description>Musi shouts at Elmi, who shouts at Phillips. Najee and Bilal jump in too, Bilal pointing that handgun at him - as we:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/EXT. UNDERHILL - WOODS - DAY<\/stage_direction>\n    <scene_description>Andrea walks, all alone and shaky as hell. Then she STOPS... And turns. Some instinct just told her to get back home...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - RESUMING<\/stage_direction>\n    <scene_description>The pirates grab him and throw him on to the survival suit. But he won't stand still, or drop to his knees. They howl.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>You make hands-up posture!<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>You going against the preaching!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/INT. PHILLIPS HOME - CONTINUING<\/stage_direction>\n    <scene_description>15 people form a PRAYER CIRCLE, heads bowed. We CUT BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - RESUMING (NIGHT)<\/stage_direction>\n    <scene_description>The pirates try to push Phillips down, try to get his fists out from under his chin. But he WILL NOT BUDGE.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>You can't go against the preaching!<\/dialogue>\n    <scene_description>Four guys pushing on him, howling. But he just won't comply. Keeps his fists under his chin... as we:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/INT. CAR - MOVING - NIGHT<\/stage_direction>\n    <scene_description>MARIAH PHILLIPS, 18, drives too fast - blinking back tears. Listening to NPR, a report about her father. Just get home.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - RESUMING<\/stage_direction>\n    <scene_description>Phillips is kicking, twisting, defying, keeping his fists under his chin. Musi is shouting, spit flying.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>You make the good posture! Hands up! You make the good posture!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNDERHILL - WOODS - RESUMING<\/stage_direction>\n    <scene_description>Andrea, running home. She steps onto an icy slick and loses her footing, falling. She lands in snow. Damn it...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHILLIPS HOME - RESUMING<\/stage_direction>\n    <scene_description>15 people, heads down, hands together, praying. We JUMP TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - SAME<\/stage_direction>\n    <scene_description>The men of the Maersk - Murphy, ATM, Durell - huddled at a radio, waiting for word. Mike Perry silently praying...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - RESUMING<\/stage_direction>\n    <scene_description>Phillips keeps resisting, fighting, kicking, never moving his fists from under his chin. Pirates howling, spitting, until: THUMP. Silence. Everything goes white. Bilal just butt-ended him in the head with the handgun. Phillips falls forward, on to the suit. Everything foggy. He's on the ritual rug now. Certain he's about to die. The pirates start WHOOPING again, celebrating... when:<\/scene_description>\n    <character>MUSI (SOMALI, SUBTITLED)<\/character>\n    <dialogue>Stop.<\/dialogue>\n    <parenthetical>(his men eye him)<\/parenthetical>\n    <dialogue>Look at the rope.<\/dialogue>\n    <scene_description>Silence. The pirates examine the three-colored rope they'd labored so hard to fashion. It has Phillips' BLOOD on it now. He SPITS on it, weakly, for good measure. Ritual spoiled. The pirates sag and drift away. Phillips is about to pass out on the survival suit when he hears:<\/scene_description>\n    <character>BRITISH VOICE (THRU RADIO)<\/character>\n    <dialogue>Pirate Lifeboat. Pirate lifeboat. This is Reuters news service. Do you read? Reuters news--<\/dialogue>\n    <scene_description>We STAY WITH PHILLIPS, as we hear Musi answer:<\/scene_description>\n    <character>MUSI (O.S., INTO RADIO)<\/character>\n    <dialogue>This is pirate lifeboat. We are surrounded by warships and don't have time to talk. Please pray for us.<\/dialogue>\n    <scene_description>Phillips' eyes begin to close. Then he's out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHILLIPS HOME - NIGHT<\/stage_direction>\n    <scene_description>Everyone's quiet. Andrea enters from the back patio, just as:<\/scene_description>\n    <character>MARIAH (O.S.)<\/character>\n    <dialogue>Mom?<\/dialogue>\n    <scene_description>Mariah, stepping through the front door. Bereft. And barely visible behind all the food platters and gift baskets.<\/scene_description>\n    <character>MARIAH<\/character>\n    <dialogue>Did daddy die?<\/dialogue>\n    <character>ANDREA<\/character>\n    <dialogue>What? Why?<\/dialogue>\n    <character>MARIAH<\/character>\n    <dialogue>There's never any food in this house!<\/dialogue>\n    <scene_description>A beat... then everyone in here either starts crying or laughing. Andrea rises, crosses to her daughter. Mariah collapses in her mother's arms. Both sobbing. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. USS BAINBRIDGE - C.I.C. - SAME<\/stage_direction>\n    <scene_description>Castellano puts down a phone, eyes Garridos and Aboitiz:<\/scene_description>\n    <character>CASTELLANO<\/character>\n    <dialogue>The President has given the okay. If we have a clean shot, we take it.<\/dialogue>\n    <scene_description>Aboitiz nods. Garridos grabs his radio:<\/scene_description>\n    <character>GARRIDOS (INTO RADIO)<\/character>\n    <dialogue>Captain, you're in trouble. Let's talk.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - RESUMING<\/stage_direction>\n    <scene_description>Musi heard that. He eyes Phillips, unconscious on the floor. We... END SEQUENCE. And DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIFEBOAT - ON THE WATER - MORNING<\/stage_direction>\n    <scene_description>Day breaks, hot and flat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. USS BAINBRIDGE - FANTAIL - SAME<\/stage_direction>\n    <scene_description>We're looking through a SCOPE at the lifeboat. Sunlight glints off one WINDOW. (The other was knocked out days ago.) REVEAL Pettis, flat on his belly. In position, as always.<\/scene_description>\n    <character>PETTIS (INTO NECK-MIKE)<\/character>\n    <dialogue>Boss, I have some minor glare, need a course correction. Please ask the Captain to go two degrees starboard.<\/dialogue>\n    <character>ABOITIZ (THRU EARPIECE)<\/character>\n    <dialogue>Roger that. Two degrees.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - SAME<\/stage_direction>\n    <scene_description>Musi has spent the night working on the lifeboat's ENGINE. He goes to the Bridge. Hits the ignition. The engine starts. The sound awakens Phillips - still atop the survival suit, his head aching. He looks up at Musi.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>I'm going on the navy boat. To get our money.<\/dialogue>\n    <scene_description>Not a small bit of news. Phillips studies him...<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>It's a ship.<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>The destroyer, it's a ship. A boat is something like this, something you can carry on a ship. Navy guys hate it when you call their ship a boat.<\/dialogue>\n    <scene_description>Musi sighs: Do you ever stop fighting? Phillips shrugs.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>And we getting a tow. Bainbridge gonna tow us.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Then why fix the engine?<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>They try any tricks, we cut the tow- line and go into their hull.<\/dialogue>\n    <scene_description>Phillips notes the FUEL BUCKETS. They've all been UNCAPPED - as if about to be turned into weapons. He considers that. Just then, a SOUND outside: a ZODIAC, pulling up. Musi turns.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ZODIAC\/EXT. LIFEBOAT - ON THE WATER - CONTINUING<\/stage_direction>\n    <scene_description>Lt. Kinimura, bearing another BOX OF PROVISIONS. ...and a TOW-LINE extending from the fantail of the Bainbridge. Musi eyes it from the hatch, his face a mask.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHILLIPS HOME - MASTER BEDROOM - 5 A.M.<\/stage_direction>\n    <scene_description>Still dark. Andrea awakens in a panic. Jumps out of bed...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHILLIPS HOME - DOWNSTAIRS - CONTINUING<\/stage_direction>\n    <scene_description>She hurries down the steep steps, zeroes in on a sofa... where Allison sleeps. Andrea shakes her awake, urgently:<\/scene_description>\n    <character>ANDREA<\/character>\n    <dialogue>Allison. Allison.<\/dialogue>\n    <parenthetical>(Allison stirs a bit)<\/parenthetical>\n    <character>ANDREA<\/character>\n    <dialogue>Please wake up. You have to wake up. I need you.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>What? What happened?<\/dialogue>\n    <character>ANDREA<\/character>\n    <dialogue>I blew it. I blew it!<\/dialogue>\n    <parenthetical>(no reply)<\/parenthetical>\n    <dialogue>It's Easter Sunday.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>ANDREA<\/character>\n    <dialogue>I could've done something. And I blew it!<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Andrea, what're you talking about?<\/dialogue>\n    <character>ANDREA<\/character>\n    <dialogue>There's this homily Richard learned - from a Priest in Africa. \"God is good, all the time. All the time, God is good.\" We say it as a family now; it's a tradition.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>It's lovely.<\/dialogue>\n    <character>ANDREA<\/character>\n    <dialogue>Don't you understand? It's Easter Sunday. Every Catholic in Vermont is going to be in church today. I could've asked our priest to spread it around. I could've had it said in every church up and down the state. I just wasn't thinking.<\/dialogue>\n    <scene_description>Allison pauses a beat, her wheels turning... then:<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Let me work on this.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - CONTINUING<\/stage_direction>\n    <scene_description>Musi gives some last instructions to Najee. Elmi guards Phillips. Bilal prays, Phillips watching...<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>My wife used to go to church a lot. She stopped because I didn't wanna go. That's a regret.<\/dialogue>\n    <character>ELMI<\/character>\n    <dialogue>Maybe you start now.<\/dialogue>\n    <scene_description>In other words, bow down and face Mecca. Phillips shrugs.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Can I have that, please?<\/dialogue>\n    <scene_description>He's pointing to a CLIPBOARD, hanging on a nail on the bulkhead, a pen dangling from it. Elmi doesn't respond.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>I'd like to write something - for my family.<\/dialogue>\n    <character>ELMI<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>In case.<\/dialogue>\n    <character>ELMI<\/character>\n    <dialogue>What you tell them, Irish?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>I dunno. Goodbye? I love you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/INT. USS BAINBRIDGE - CIC - SAME<\/stage_direction>\n    <scene_description>Garridos, headphones on, heard that. Just as intended.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - RESUMING<\/stage_direction>\n    <scene_description>Phillips... almost broadcasting this to the Bainbridge:<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>I want my wife to know that I'm sorry for the call she's about to get - and that I sailed all these years because I'm a sailor, not because I liked being away. And I'm sorry I was such a pain in the ass to my kids about school - I just, when it was my son's turn, I didn't want him to have to spend his life out here like I did, leaving his family seven or eight months a year just to make a living. It costs too much. I made mistakes; sometimes I treated my children like they were crew-members.<\/dialogue>\n    <parenthetical>(just realized)<\/parenthetical>\n    <dialogue>...and treated my crew-members like they were children. I wish I could undo all that.<\/dialogue>\n    <scene_description>On the Bainbridge, Garridos is listening. Castellano too.<\/scene_description>\n    <character>PHILLIPS (CONT'D)<\/character>\n    <dialogue>Have to tell them that - have to make sure they know. Or I won't be clean.<\/dialogue>\n    <scene_description>Elmi, nods, hands over the clipboard. Phillips grabs it, as: Bang. Musi knocks it to the floor, noisily. Rage in his eyes.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>We all have letters to write.<\/dialogue>\n    <scene_description>He turns, heads for the hatch. Phillips calls out to him:<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Did you say goodbye to your men?<\/dialogue>\n    <scene_description>That was an echo - and an accusation. Musi turns...<\/scene_description>\n    <character>PHILLIPS (CONT'D)<\/character>\n    <dialogue>Captain's supposed to be the last one off the ship - don't they teach you that in the Somali Marines?<\/dialogue>\n    <character>MUSI<\/character>\n    <dialogue>Keep talking, Irish.<\/dialogue>\n    <scene_description>And out he goes. Najee dogs the hatch shut.<\/scene_description>\n    <character>ELMI<\/character>\n    <dialogue>Why you talk to him like that?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>'Cause I'm never gonna see him again. And neither are you.<\/dialogue>\n    <scene_description>The Pirates don't know how to take that...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ZODIAC - ON THE WATER - CONTINUING<\/stage_direction>\n    <scene_description>The TOW-LINE now connects the bow of the lifeboat to the stern of the Bainbridge, maybe 75 yards from here. Musi boards the Zodiac; it bears him away...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - RESUMING<\/stage_direction>\n    <scene_description>The pirates hear the Zodiac go. Phillips eyes them...<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>(at Bilal)<\/dialogue>\n    <scene_description>Listen to me. Get off this boat and swim away. Now.<\/scene_description>\n    <character>ELMI<\/character>\n    <dialogue>You shut up, Irish!<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>It's over. Your captain bailed on you. There's no money coming.<\/dialogue>\n    <character>ELMI<\/character>\n    <dialogue>Why you keep talking?!<\/dialogue>\n    <scene_description>Elmi tosses a rope at him, angrily.<\/scene_description>\n    <character>ELMI (CONT'D)<\/character>\n    <dialogue>Here. You tie knot. Like we do.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>You tie it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. USS BAINBRIDGE - FANTAIL - MOMENTS LATER<\/stage_direction>\n    <scene_description>The Sniper-Killer Teams are in their same spots. Four pairs of men behind crates. Pettis flat on his belly.<\/scene_description>\n    <character>ABOITIZ (THRU EARPIECE)<\/character>\n    <dialogue>All teams, be advised. Proceeding to reel in lifeboat now.<\/dialogue>\n    <scene_description>Beside one of the crates is a WINCH. The metal TOW-LINE extends from here to the lifeboat. The winch comes to life, beginning to pull the lifeboat closer. Slowly... as: Musi is helped up on to the fantail of the Bainbridge. He eyes the Sniper-Killer Teams. And that WINCH, slowly pulling the lifeboat closer. Guilt hits Musi, hard. He's led inside by two SAILORS... The SEALS behind the rifles never look up from their scopes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - RESUMING<\/stage_direction>\n    <scene_description>Elmi slaps Phillips. Two ropes fall to the floor.<\/scene_description>\n    <character>ELMI<\/character>\n    <dialogue>That's lalil! The ropes can't touch!<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>He cut a deal. He's not coming back.<\/dialogue>\n    <character>ELMI<\/character>\n    <dialogue>You don't know.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>I know when he found a pair of new sandals he took them for himself and left your friend here barefoot. I know when he divvied up that thirty thousand he took all the hundreds and gave you guys all the fifties.<\/dialogue>\n    <scene_description>That landed on Bilal. Elmi turns on him instantly:<\/scene_description>\n    <character>ELMI<\/character>\n    <dialogue>You don't listen to this!<\/dialogue>\n    <character>BILAL<\/character>\n    <dialogue>I didn't say anything.<\/dialogue>\n    <character>ELMI<\/character>\n    <dialogue>You want to be an American sailor? You want to be lazy and drink beer? Go ahead, go to movies with him. Be a nigger. Go ahead.<\/dialogue>\n    <scene_description>Elmi shouts at Bilal - in Somali now - Bilal shouting back, both men rising -- a flashpoint, until:<\/scene_description>\n    <character>NAJEE (SOMALI, SUBTITLED)<\/character>\n    <dialogue>Shut up!<\/dialogue>\n    <scene_description>They turn. Najee is on the bridge, glaring at Elmi and Bilal.<\/scene_description>\n    <character>NAJEE (SUBTITLED,<\/character>\n    <dialogue>Come here.<\/dialogue>\n    <scene_description>The two pirates approach the bridge. We FOLLOW... ...as they see what he's seeing, the TOW-LINE, tightening.<\/scene_description>\n    <character>NAJEE (SUBTITLED,<\/character>\n    <dialogue>They're pulling us in.<\/dialogue>\n    <scene_description>Fear. Rage. Elmi and Bilal storm at Phillips, the MUZZLES of their weapons inches from his face, that fast.<\/scene_description>\n    <character>ELMI<\/character>\n    <dialogue>Unclean place, Phillips. You going to an unclean place.<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Fine. Long as I don't have to tie anymore Goddamn knots.<\/dialogue>\n    <scene_description>...which is when we hear something new from them. They begin to CHANT. It's low, guttural, ceremonial. A tribal chanting, their bodies rocking a bit - much scarier than being hit. They circle him, chanting. Bilal loudest of all.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. USS BAINBRIDGE - FANTAIL - RESUMING<\/stage_direction>\n    <scene_description>Pettis is flat on his belly, Joon spotting.<\/scene_description>\n    <character>PETTIS<\/character>\n    <dialogue>Tall Guy just moved from the Con. Report that in.<\/dialogue>\n    <character>JOON<\/character>\n    <dialogue>Copy that.<\/dialogue>\n    <scene_description>Pettis has been in this position forever. We see a single bead of SWEAT trickling down his forehead...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. USS BAINBRIDGE - HOSPITAL BAY - SAME<\/stage_direction>\n    <scene_description>A MEDIC re-wraps Musi's hand. Musi is silent, troubled... ..as Garridos enters, CLIPBOARD in hand.<\/scene_description>\n    <character>MUSI<\/character>\n    <dialogue>You never said tow-line would be pulled in.<\/dialogue>\n    <character>GARRIDOS<\/character>\n    <dialogue>What're you worried about? You're safe. That was the deal, right?<\/dialogue>\n    <scene_description>That sickened Musi. Garridos hands him the CLIPBOARD.<\/scene_description>\n    <character>GARRIDOS (CONT'D)<\/character>\n    <dialogue>Standard plea agreement. As discussed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - RESUMING<\/stage_direction>\n    <scene_description>The chanting continues. Guns pointed at Phillips.<\/scene_description>\n    <character>ELMI<\/character>\n    <dialogue>You move here.<\/dialogue>\n    <scene_description>He gestures to a seat. Phillips moves to the seat.<\/scene_description>\n    <character>ELMI (CONT'D)<\/character>\n    <dialogue>You pick that up!<\/dialogue>\n    <scene_description>He gestures to a cloth. Phillips picks it up.<\/scene_description>\n    <character>ELMI (CONT'D)<\/character>\n    <dialogue>You put it over there!<\/dialogue>\n    <scene_description>Phillips does so - then stands up tall, sweat pouring down.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>Please let me write to them. Please let me say goodbye...<\/dialogue>\n    <character>ELMI<\/character>\n    <dialogue>Military posture. Verrrrry good.<\/dialogue>\n    <scene_description>The chanting continues. Najee nods to Bilal, who puts a BLINDFOLD on Phillips...<\/scene_description>\n    <character>NAJEE<\/character>\n    <dialogue>Animal! Lazy animal!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. USS BAINBRIDGE - FANTAIL - RESUMING<\/stage_direction>\n    <scene_description>That WINCH keeps cranking, slowly, drawing in the line.<\/scene_description>\n    <character>ABOITIZ (THRU EARPIECES)<\/character>\n    <dialogue>Line should be at 35 meters now. Advise, is that a correct reading?<\/dialogue>\n    <scene_description>We hear replies from the SHOOTERS behind the crates:<\/scene_description>\n    <character>RAMOS (INTO NECK-MIKE)<\/character>\n    <dialogue>35 meters. Alpha-Team check.<\/dialogue>\n    <character>INGRAM (INTO NECK-MIKE)<\/character>\n    <dialogue>35. Bravo-Team check.<\/dialogue>\n    <character>NGUYEN (INTO NECK-MIKE)<\/character>\n    <dialogue>35. Charlie-Team check.<\/dialogue>\n    <character>REESE (INTO NECK-MIKE)<\/character>\n    <dialogue>35. Delta-Team check.<\/dialogue>\n    <scene_description>...as we land on Pettis, flat on the mat.<\/scene_description>\n    <character>PETTIS (INTO NECK-MIKE)<\/character>\n    <dialogue>35. Echo-Team check.<\/dialogue>\n    <scene_description>We STAY HERE, TIGHT... close enough to find that single bead of sweat, now dripping down Pettis' forehead, near his eye...<\/scene_description>\n    <character>PETTIS<\/character>\n    <dialogue>DJ, I've got some perspiration on my forehead. Need a hand with it.<\/dialogue>\n    <scene_description>Joon, without a hint of awkwardness, wipes the bead of sweat from Pettis' forehead. Pettis doesn't move a muscle...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - SAME<\/stage_direction>\n    <scene_description>Phillips puts his forehead to his shoulder, shaking the blindfold off. Elmi, livid, slugs him - puts it back on.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHILLIPS HOME - NOON<\/stage_direction>\n    <scene_description>Andrea, Dan, and Mariah at home. Tense silence... Then the phone rings. Andrea recognizes the number, answers.<\/scene_description>\n    <character>ANDREA (INTO PHONE)<\/character>\n    <dialogue>Allison?<\/dialogue>\n    <character>ALLISON (THRU PHONE)<\/character>\n    <dialogue>Put me on speaker. I want the kids to hear this too.<\/dialogue>\n    <scene_description>Andrea hits the speaker button...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - RESUMING<\/stage_direction>\n    <scene_description>The chanting builds. But Phillips rises, shakes the blindfold off, starts walking toward the aft hatch. Huh???<\/scene_description>\n    <character>ELMI<\/character>\n    <dialogue>What're you doing, Irish?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>I'm going for a swim.<\/dialogue>\n    <character>ELMI<\/character>\n    <dialogue>You sit!<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>You sit.<\/dialogue>\n    <character>ELMI<\/character>\n    <dialogue>We shoot you!<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>Then shoot me, you pussies. I'm out of here.<\/dialogue>\n    <scene_description>He takes one more step before... POP POP POP - Najee fires the AK-47. Rounds ricochet off the ceiling. Phillips stops. Silence. Najee eyes Elmi and Bilal... then:<\/scene_description>\n    <character>NAJEE (SOMALI, SUBTITLED)<\/character>\n    <dialogue>Cut the tow-line.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. USS BAINBRIDGE - FANTAIL - RESUMING<\/stage_direction>\n    <scene_description>Every SEAL reacts to the shots. We hear OVERLAPS of:<\/scene_description>\n    <character>PETTIS\/JOON\/RAMOS\/ETC.<\/character>\n    <dialogue>Small arms fire coming from the lifeboat. Muzzle flashes on the<\/dialogue>\n    <character>PETTIS\/JOON\/RAMOS\/ETC.<\/character>\n    <dialogue>lifeboat. One shooter, automatic weapon.<\/dialogue>\n    <character>ABOITIZ (THRU EARPIECES)<\/character>\n    <dialogue>Affirmative. We have that.<\/dialogue>\n    <scene_description>Then Pettis sees something that makes his eyes go wide:<\/scene_description>\n    <character>PETTIS<\/character>\n    <dialogue>Boss, we have movement on the deck of the lifeboat.<\/dialogue>\n    <scene_description>Sure enough, Bilal emerges from the bow-hatch of the lifeboat, releasing the tow-line from the Bainbridge.<\/scene_description>\n    <character>PETTIS\/JOON\/RAMOS\/ETC.<\/character>\n    <dialogue>They've cut the tow. Repeat, lifeboat is not in tow at this time.<\/dialogue>\n    <scene_description>Everything ratchets up. The spotters and shooters adjust their scopes. Fast.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - SAME<\/stage_direction>\n    <scene_description>Najee hits the IGNITION. The lifeboat engine rumbles awake. Phillips whips around - his eyes on those FUEL BUCKETS in the nose of the ship as Elmi grabs him, pushes him back on to the survival suit, knocking Phillips down to his knees. We hear:<\/scene_description>\n    <character>CASTELLANO (THRU RADIO)<\/character>\n    <dialogue>Lifeboat! What's going on in there? We're hearing reports of gunfire and a severed tow-line. Come in.<\/dialogue>\n    <scene_description>Najee grins. Bilal re-enters from the bow, shuts the hatch.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ST. VINCENT'S CHURCH - BURLINGTON, VT. - NOON<\/stage_direction>\n    <scene_description>TIGHT on Allison, who holds up a CELLPHONE, to capture: ...an ENTIRE CONGREGATION, in unison:<\/scene_description>\n    <character>ENTIRE CONGREGATION<\/character>\n    <dialogue>God is good, all the time. All the time, God is good.<\/dialogue>\n    <scene_description>Allison's crying. So's Father Danielson. So are many of the congregants. The homily starts again, as:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHILLIPS HOME - SAME<\/stage_direction>\n    <scene_description>Andrea and her kids, hearing it on the speakerphone:<\/scene_description>\n    <character>ENTIRE CONGREGATION (THRU PHONE)<\/character>\n    <dialogue>God is good, all the time. All the time, God is good.<\/dialogue>\n    <scene_description>It plays off the faces of the kids. Andrea grabs them:<\/scene_description>\n    <character>ANDREA<\/character>\n    <dialogue>He's going to be okay. Your father's going to be okay!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - RESUMING<\/stage_direction>\n    <scene_description>Elmi ties Phillips' hands behind his back, RE-BLINDFOLDS him. ...as Phillips bows his head, praying in earnest:<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>(to no one)<\/dialogue>\n    <scene_description>God is good all the time. All the time God is good. God is good all the time. All the time God is good...<\/scene_description>\n    <character>ELMI<\/character>\n    <dialogue>You think so, Irish?<\/dialogue>\n    <scene_description>Phillips sees Bilal, approaching the Bridge - then DARKNESS.<\/scene_description>\n    <character>NAJEE (INTO LIFEBOAT RADIO)<\/character>\n    <dialogue>No problem, no problem. Just a mistake. No shooting. Okay?<\/dialogue>\n    <scene_description>But he's about to ram the Bainbridge. Fuel sloshes out of the uncapped buckets as the lifeboat floor vibrates...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. USS BAINBRIDGE - FANTAIL - RESUMING<\/stage_direction>\n    <scene_description>Suddenly, all three pirates appear on the lifeboat bridge. Pettis has his target, (Elmi), scoped.<\/scene_description>\n    <character>JOON (INTO NECK-MIKE)<\/character>\n    <dialogue>Echo has visual. Request permission to go hot.<\/dialogue>\n    <character>RAMOS (INTO NECK-MIKE)<\/character>\n    <dialogue>Alpha has visual. Request permission to go hot...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - RESUMING<\/stage_direction>\n    <scene_description>Phillips, bound and blindfolded, is on his knees on that orange survival suit - head down, whipped.<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>I tried, Ange. I really tried.<\/dialogue>\n    <scene_description>...as Najee reaches for the THROTTLE...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. USS BAINBRIDGE - HOSPITAL BAY - RESUMING<\/stage_direction>\n    <scene_description>Musi, sick inside, signs the plea deal...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAINBRIDGE - C.I.C. - SAME<\/stage_direction>\n    <scene_description>Aboitiz looks to Castellano...<\/scene_description>\n    <character>CASTELLANO (INTO MIKE)<\/character>\n    <dialogue>Weapons release.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. USS BAINBRIDGE - FANTAIL - RESUMING<\/stage_direction>\n    <scene_description>Snipers ready. The fantail is still.<\/scene_description>\n    <character>ABOITIZ (THRU EARPIECES)<\/character>\n    <dialogue>On my mark. Three, Two, One... Mark.<\/dialogue>\n    <scene_description>FOUR TRIGGERS, squeezed at once...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFEBOAT - RESUMING<\/stage_direction>\n    <scene_description>Phillips, head down, hears FOUR POPS. Uh-oh. He shouts:<\/scene_description>\n    <character>PHILLIPS<\/character>\n    <dialogue>What're you doing?! What're you guys doing?!<\/dialogue>\n    <scene_description>Then he hears a THUMP, close by. He shakes the blindfold off. ...to find Bilal, inches away, head-shot, dead. Elmi and Najee have dropped too, breathing their last - the boat's throttle out of their reach... Before Phillips can react, he hears two launches racing toward this lifeboat. That fast, the fore and aft hatches open. FOUR SEALS jump in, weapons ready:<\/scene_description>\n    <character>SEAL #1<\/character>\n    <dialogue>Are you okay? Are you injured?<\/dialogue>\n    <character>PHILLIPS<\/character>\n    <dialogue>I'm fine. I'm fine...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. USS BAINBRIDGE - C.I.C. - RESUMING<\/stage_direction>\n    <scene_description>Castellano gets word - and reports it:<\/scene_description>\n    <character>CASTELLANO (INTO RADIO)<\/character>\n    <dialogue>We have a good result. Repeat, a good result. Hostage is unharmed and in custody.<\/dialogue>\n    <scene_description>Game-faces vanish for a moment. The SAILORS in here CHEER.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAERSK - BRIDGE - SAME<\/stage_direction>\n    <scene_description>Docked in Mombasa, Shane Murphy puts down a phone. Turns. The men of Captain Phillips' crew await word. Durrel, Perry, ATM, Colin Wright, Ken Quinn. Murphy eyes them, then:<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>It's over.<\/dialogue>\n    <scene_description>The men sag, deflated... until:<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Pirates dead. Captain safe and sound.<\/dialogue>\n    <scene_description>A cheer EXPLODES from the crew, the sound CARRYING OVER TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. USS BAINBRIDGE - HOSPITAL BAY - SAME<\/stage_direction>\n    <scene_description>Somehow, Musi can hear those cheers. There's a mirror in here - big enough, once again, to reveal his whole face. He eyes his reflection...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RHIB - ON THE WATER - MOVING - SAME<\/stage_direction>\n    <scene_description>SEALS in the RHIB speed Phillips away. He fights off a tear.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. USS BAINBRIDGE - FANTAIL - MOMENTS LATER<\/stage_direction>\n    <scene_description>The SEAL Teams on the fantail quietly pack their gear... ...as Phillips boards the Bainbridge. And he sees the guys who just saved him. Pettis. Joon. All of them. But these aren't men who want to be thanked. Or acknowledged at all. So it's just a nod, from Phillips. Then the SEALS are gone...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHILLIPS HOME - DAY<\/stage_direction>\n    <scene_description>Dan and Mariah sit on the couch. I-POD for her, a book for him. Andrea smiles at them sadly, then goes upstairs...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHILLIPS HOME - MASTER BEDROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Andrea lies down, turns on a tv. There's a movie on. She settles in to watch it. Then her eyes go wide: There, across the bottom of the screen, a NEWS TICKER: \"Captain Richard Phillips freed.\" She bursts out of the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHILLIPS HOME - DOWNSTAIRS - CONTINUING<\/stage_direction>\n    <scene_description>She flies down the stairs. Mariah and Dan turn, startled. ...just as Allison rushes in through the door, breathless.<\/scene_description>\n    <character>ANDREA<\/character>\n    <dialogue>Is it true?!<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>It's true.<\/dialogue>\n    <scene_description>Andrea throws her head back, grabs the kids. They're at a loss - but they hang on. She starts crying, as: ...the PHONE RINGS. Andrea's head snaps toward it. Her eyes meet Allison's. Andrea gets to the phone, answers it.<\/scene_description>\n    <character>ANDREA (INTO PHONE)<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>PHILLIPS (THRU PHONE)<\/character>\n    <parenthetical>(Barry White voice)<\/parenthetical>\n    <dialogue>Is your husband at home?<\/dialogue>\n    <scene_description>At last, the call she's been praying for...<\/scene_description>\n    <character>ANDREA (INTO PHONE)<\/character>\n    <dialogue>Richard?! Richard?!<\/dialogue>\n    <character>PHILLIPS (THRU PHONE)<\/character>\n    <dialogue>Hi, Honey.<\/dialogue>\n    <character>ANDREA (INTO PHONE)<\/character>\n    <dialogue>OhMyGod! OhMyGod! Kids!<\/dialogue>\n    <scene_description>They rush forward, listening in. Laughing. Crying. Then:<\/scene_description>\n    <character>ANDREA (PHONE,<\/character>\n    <dialogue>Richard! What were you thinking getting into that lifeboat!?<\/dialogue>\n    <scene_description>Phillips laughs, we DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BURLINGTON AIRPORT - TARMAC - DAY<\/stage_direction>\n    <scene_description>Andrea, Dan, and Mariah wait on the tarmac. A WELCOME HOME CAPTAIN PHILLIPS banner behind them. ...as a private JET, provided by MAERSK, taxis toward them.<\/scene_description>\n    <character>DAN<\/character>\n    <dialogue>Mom. I can't stand here. Can I run?<\/dialogue>\n    <character>ANDREA<\/character>\n    <dialogue>Run.<\/dialogue>\n    <scene_description>He starts to run. Mariah too. Then Andrea. As we CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TARMAC - TEETERBORO AIRPORT, N.J. - SAME<\/stage_direction>\n    <scene_description>Another JET taxis to a stop. Doors open. Garridos and TWO FEDERAL MARSHALLS emerge... with a prisoner, in cuffs: It's Musi. No one here to greet him but more COPS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BURLINGTON AIRPORT - TARMAC - RESUMING<\/stage_direction>\n    <scene_description>The private jet comes to a stop. Its doors open. Phillips emerges, jumps down the steps. They all fly into his arms. A LOUD CHEER ERUPTS - as we reveal A THOUSAND NEIGHBORS, all here to greet him. Everyone wearing a yellow ribbon. Big family hug. Phillips holding on tight, nothing said. The CHEER CONTINUES, one thousand voices. He's home. And as that lands across his face we FREEZE FRAME... then:<\/scene_description>\n    <character>FADE OUT...<\/character>\n  <\/scene>\n<\/script>","summary":"Richard Phillips takes command of MV Maersk Alabama, an unarmed container vessel from the Port of Salalah in Oman, with orders to sail through the Guardafui Channel to Mombasa, Kenya. Wary of pirate activity off the coast of the Horn of Africa, he and First Officer Shane Murphy order strict security precautions on the vessel and carry out a practice drill. During the drill, the captain notices that the vessel is being followed by Somali pirates in two skiffs, and Phillips calls for help. Knowing that the pirates are listening to radio traffic, he pretends to call a warship, requesting immediate air support. One skiff turns around in response, and the other \u2013 crewed by four heavily armed pirates led by Abduwali Muse \u2013 loses engine power trying to steer through Maersk Alabama's wake. The next day, Muse's skiff, now fitted with two outboard engines, returns with the same four pirates aboard. Despite the efforts of Phillips and his crew, the pirates secure their ladder to the ship. As they board, Phillips tells the crew to hide in the engine room, just before the pirates storm the bridge and hold Phillips and the other crew members at gunpoint. Phillips offers Muse the $30,000 in the ship's safe, but Muse's orders are to ransom the ship and crew in exchange for millions of dollars of insurance money from the shipping company. While they search the ship, Shane sees that the youngest pirate Bilal does not have sandals and tells the crew to line the engine room hallway with broken glass. Chief Engineer Mike Perry deactivates the power to the ship, plunging the lower decks into darkness. Bilal cuts his feet when they reach the engine room, and Muse continues to search alone. The crew members ambush Muse, holding him at knifepoint, and arrange to release him and the other pirates into a lifeboat. However, Muse's right-hand man Nour Najee refuses to board the lifeboat with Muse unless Phillips goes with them. Once all are on the lifeboat, Najee attacks Phillips, forcing him into the vessel before launching the boat with all five of them on board. As the lifeboat heads for Somalia, tensions flare between the pirates as they run low on the plant-based amphetamine khat that they have been eating, and they lose contact with their mother ship. Najee becomes agitated and begins to question Muse\u2019s leadership when they are intercepted by the U.S. Navy destroyer USS Bainbridge. Bainbridge's captain Frank Castellano is ordered to prevent the pirates from reaching the Somali coast by any means. Even when additional ships arrive, Muse asserts that he has come too far and will not surrender. The negotiators are unable to change his mind, and a team from DEVGRU parachutes in to intervene, while Phillips attempts to escape from the lifeboat before being quickly recaptured and repeatedly beaten by Najee. While three DEVGRU marksmen get into positions, Castellano and DEVGRU continue to try to find a peaceful solution, eventually taking the lifeboat under tow. Muse agrees to board Bainbridge, where he is told that his clan elders are arriving to negotiate Phillips's ransom. In the lifeboat, Phillips prepares a goodbye letter to his wife in case he is killed, while Najee decides to take full control. Najee spots Phillips writing the letter and snatches it. Phillips retaliates by beating Najee until Bilal subdues Phillips by striking him in the back with his AK-47. The pirates tie up and blindfold Phillips and Najee beats Phillips further and berates Bilal and Elmi for their protests, even stating that they've been tricked by the Navy as the elders didn't come to negotiate. As Najee prepares to shoot Phillips, Bainbridge's crew stops the tow, causing Elmi, Bilal, and Najee to lose balance. This gives the marksmen three clear shots, by which they simultaneously kill all three pirates. Muse is arrested and taken into custody for piracy. Phillips is rescued from the lifeboat and his injuries are treated. Although in shock and disoriented, he thanks the rescue team for saving his life."}
{"movie_name":"Conspiracy Theory_1997","imdb_id":"tt0118883","script":"<script>\n  <scene>\n    <stage_direction>INT. MANHATTAN STREETS - CAB - DAY<\/stage_direction>\n    <scene_description>Behind the wheel : JERRY FLETCHER . Flat - out handsome if not for his eyes . Someone rash , someone making an uninformed decision might call them crazy eyes . He stops across from an apartment building , TOOTS his HORN . IN DOORWAY A woman and a man , a CYNIC , appear . Jerry smiles as they kiss goodnight . A bit of desperate passion . She watches after him as he gets in the cab .<\/scene_description>\n    <character>CYNIC<\/character>\n    <dialogue>Luxembourg Towers on 7th.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAB<\/stage_direction>\n    <scene_description>Jerry nods , rolls out . The Cynic watches the door to 1257 close , then sighs . Jerry looks at him in the rearview .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>The sound of love.<\/dialogue>\n    <character>CYNIC<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <scene_description>Jerry exhales an exaggerated sigh .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>That's love.<\/dialogue>\n    <character>CYNIC<\/character>\n    <dialogue>Love? Love's just a pretty way of saying,' I want to sleep with you'. Love is bullshit.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I live on tips, so do n't be offended, but you're a liar. I saw you kiss. Admit it, this is the street where love lives.<\/dialogue>\n    <scene_description>The Cynic looks back over his shoulder . Down love street . As Jerry hangs a right , the Cynic faces forward .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Love gives you wings. It makes you fly. I do n't even call it love. I call it Geronimo.<\/dialogue>\n    <character>CYNIC<\/character>\n    <dialogue>Geronimo?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Geronimo. When you're really in love, you'll jump. Off the top of the Empire State. Screaming ` Geronimo' the whole way down.<\/dialogue>\n    <character>CYNIC<\/character>\n    <dialogue>But you'll die. You'll squash yourself. What's the point?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Are n't you listening, man? Love gives you wings.<\/dialogue>\n    <scene_description>The Cynic just smiles , leans back .<\/scene_description>\n    <character>CYNIC<\/character>\n    <dialogue>She must be some girl.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I love her so bad. She just. wrecks me. I would die for her.<\/dialogue>\n    <scene_description>ANOTHER ANGLE Jerry stops at a light . A road crew are at work ahead . A white strobe light warns motorists that they 're here .<\/scene_description>\n    <character>CYNIC<\/character>\n    <dialogue>She feel the same about you?<\/dialogue>\n    <scene_description>Jerry ca n't take his eyes off the stroke . As he blinks .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <scene_description>SUBJECTIVE POV Looking down as a man 's arms are strapped to the arm of a chair . The POV JERKING UP as the same is done with the head . A kaleidoscope of flashing lights ahead , then darkness as eyes are shut . They 're forced open . We see the reflection of blue eyes in glass as they 're taped open . As bright lights strobe . BACK TO TAXI Jerry stares at the light , transfixed .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I never told her.<\/dialogue>\n    <character>CYNIC<\/character>\n    <dialogue>Why the hell not?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I, uh, I have some problems.<\/dialogue>\n    <scene_description>The traffic light glows green ; Jerry does n't see it . The sound of conspiratorial WHISPERS fill the taxi . SUBJECTIVE POV The contents of a syringe pumped into the strapped arm . The walls begin to melt . The WHISPERS CONTINUE . GARBLED , but their tone is perfectly clear . Threatening . Cabalistic . Human forms appear . Stretched impossibly long , melting along with the walls . We CLOSE ON the reflection of a dozen pair of the same taped - open eyes . The WHISPERING CUTS SHORT . Ominously . The eyes dart from side - to - side as FOOTSTEPS approach . The eyes suddenly widen in agony . As Jerry 's scream of pain becomes the BLARE of a HORN , we find ourselves back in the . TAXI Going about 60 mph . Jerry snaps to just in time to avoid a head - on collision with a car coming the other way .<\/scene_description>\n    <character>CYNIC<\/character>\n    <dialogue>Are you crazy?!<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>The guy came right at us!<\/dialogue>\n    <character>CYNIC<\/character>\n    <dialogue>You turned up a one way street!<\/dialogue>\n    <scene_description>Jerry watches , in a sweat , as he passes a `` ONE WAY '' sign pointing the opposite way . He mutters to himself .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I was only going one way.<\/dialogue>\n    <character>CYNIC<\/character>\n    <dialogue>Drop me off here!<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Look, I'm sorry -<\/dialogue>\n    <character>CYNIC<\/character>\n    <dialogue>Just drop me off.<\/dialogue>\n    <scene_description>ANOTHER ANGLE Jerry pulls to the curb . The meter at $ 3.60 . The Cynic slides a twenty through the slot and is out the door . Jerry watches over his shoulder as the Cynic disappears down the street . Jerry rubs his eyes , tries to regroup .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Love street.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIFTH AVENUE (MANHATTAN) - NIGHT<\/stage_direction>\n    <scene_description>Late . The cab rolls , this time the right way . Ahead , a well - dressed man steps off the curb , flags Jerry down . CAB Jerry slows , stops . As the well - dressed man starts over , Jerry sizes him up . The man seems suddenly sinister . As he reaches for the door , LOCKS CLICK DOWN . Jerry GUNS the CAB away . The confused man stumbles back , shouts , apparently not a threat at all .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. APARTMENT BUILDING (UPTOWN) - NIGHT<\/stage_direction>\n    <scene_description>Headlights out , the cab pulls up to the curb .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAB - NIGHT<\/stage_direction>\n    <scene_description>Jerry glances at a lit 2nd floor apartment window , then settles in with a bologna sandwich . About to take a bite , he pauses , removes a slice of bologna . He regards it a beat , then carefully peels off the edge . Jerry holds the narrow casing up against the glow of a streetlight , like it was encoded . Then something catches his eye . He trades the sandwich for binoculars , focuses on the window . BINOCULAR POV - WINDOW LIZA SUTTON . In a Yale sweatshirt , stretching , earphones on . She forces her head past her kneecap and holds it there . Driven is the word to describe Liza . When she sleeps , she tries to do it better than anyone else does . We ca n't hear her , but as she finishes stretching , she sings along with the music on her headset . JERRY captivated , he sighs - the sound of love . Then he gets an idea . Still watching , he fumbles for the RADIO . Turning it ON , he SCANS radio STATIONS . BINOCULAR POV - LIZA Her lips do n't match anything . COUNTING CROWS . DAVID BOWIE . The TRAFFIC REPORT . A RAP TUNE . JERRY Never takes his eyes off her , SCANS STATIONS for the elusive number . He finds ANNIE LENNOX singing `` Blue Moon . '' BINOCULAR POV - LIZA Lips in synch . That 's what she 's singing along with .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( joins in . )<\/parenthetical>\n    <dialogue>` Blue moon, you saw me standing alone.'<\/dialogue>\n    <scene_description>INTERCUT between them . `` Without a song in my heart , without a love of my own . Blue moon . '' In a weird way , it 's a duet . A sweet moment . Then , Liza stops . She gets on a treadmill and cranks it up . Walking a few moments before she 's jogging , before she 's running . No easy pace here . Liza gets grim , cranks up the speed and goes hard . She 's punishing herself . JERRY His voice trails off as he watches . Sad , he lowers the binoculars , does n't want to watch her do this . Throwing the CAR in GEAR , he takes a last look and drives away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK NEWS - NIGHT<\/stage_direction>\n    <scene_description>A classic corner newsstand except that a river runs down the street and over the curb . Newspaper stacks usually on the sidewalk are up on milk crates . The owner , FLIP TANNER , cruises the sidewalk in a battered wheelchair . All sinew and tendons , Flip is black , about 50 . He looks to Jerry 's cab plowing twin fountains as it approaches . Flip heaves a stack of newspapers and magazines into his lap . he rolls to meet Jerry at the curb , hands him the stack through the window . Jerry looks down at the water .<\/scene_description>\n    <character>FLIP<\/character>\n    <dialogue>Water main. Broke all the way over on 40th Street and Seventh. Subway's a damn river.<\/dialogue>\n    <scene_description>Jerry stares back over his shoulder at water gushing out a manhole cover . Flip watches him , smiles .<\/scene_description>\n    <character>FLIP<\/character>\n    <dialogue>What're you thinking, Jerry?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Water mains usually go in the winter. It's August 1st.<\/dialogue>\n    <character>FLIP<\/character>\n    <dialogue>Tell you what. Reminds me of life in the Delta.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Mississippi?<\/dialogue>\n    <character>FLIP<\/character>\n    <dialogue>Mekong, my friend, Mekong.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>You know, Flip, Vietnam War was fought because of a bet Howard Hughes lost to Aristotle Onasis.<\/dialogue>\n    <character>FLIP<\/character>\n    <dialogue>Sure. And the two of'em used my legs for a wishbone. Nearly snapped me in half.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I got ta go, Flip. Thanks.<\/dialogue>\n    <scene_description>As Jerry drives away , Flip smiles , shakes his head .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLAGE BROWNSTONE - ROOFTOP - NIGHT<\/stage_direction>\n    <scene_description>Carrying his magazines and newspapers , Jerry climbs onto the roof from the fire escape . He deadpans a look back and forth . All seems clear . Jerry starts across . COOS as Jerry passes a PIGEON coop . He steps back , opens the door .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>It's your choice, fellas.<\/dialogue>\n    <scene_description>As Jerry continues . SPACE BETWEEN TWO ROOFTOPS As Jerry leaps , PASSES directly OVER us .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VILLAGE BROWNSTONE - HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Jerry enters by a window at the fire escape . Apartment 202 . He checks the seam between the door and casing . The tip of a toothpick is just visible . Assured , he unlocks the door . As the toothpick drops , Jerry steps inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT 202 - LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Stacked with filled - to - bursting file cabinets . On the walls , a silvery particle board . Jerry locks the door , balances an empty beer bottle upside down on the door knob . Satisfied , Jerry enters the file labyrinth . As he moves we FLASH ON some of the labels , some with not bad cartoon drawings . `` George Bush , '' `` Delta 30 , '' `` Blue Flood , '' `` Sirhan2 . '' Jerry turns the corner . `` Nazis &amp; Nutrasweet , '' `` Patti Hearst , '' and among many more : `` MK Ultra '' which features the silhouette of a man holding a handgun &amp; `` Council On Foreign Affair '' with the C - F - A in heavily Gothic lettering . KITCHEN - REFRIGERATOR Locked . Padlocked chains run through steel rings bolted to the sides . Jerry spins the combo - lock . Before opening , he pauses to consider a set of magnetic poetry words on the fridge door . He arranges them , reads :<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>The essential goddess death could chain bitter men.<\/dialogue>\n    <parenthetical>( moves words . )<\/parenthetical>\n    <dialogue>and crush the ugly moment. like life pounding eggs.<\/dialogue>\n    <scene_description>Jerry opens the fridge to reveal ten padlocked stainless steel containers . He removes one labeled : `` Tapioca . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT 202 - JERRY'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Carrying a bowl of tapioca , Jerry enters . More files , a manual typewriter . On the wall , an American flag alongside a poster of John Lennon reading : `` Assassinated 12\/8\/80 . '' He strides to his desk and a . PUBLISHING MONTAGE BEGINS Jerry scans a New York Times spread on a drafting table . He circles headlines , names and dates . Does the same with the San Francisco Chronicle , Le Monde , Time , the Economist and Popular Mechanics . He enters raw data on 3x5 cards : space shuttle launched , base closings , escape from mental hospital and especially the obituaries . Specifically : `` Industrialist Ernest Hariman Drowns . '' Jerry flips through 100s of cards on big Rolodexes as he cross - references data . Jerry pulls cards , lines them up . The first connection : the dates of six Space Shuttle launches and six earthquakes all coinciding . Jerry lets out a low whistle . Never too jaded to be shocked . Jerry types the text of an article , crosses out mistakes . He handcranks copies off an old drum mimeograph . The hand drawn logo : lips whispering into an ear . The title : `` Conspiracy Theory . '' Jerry writes out five labels . Addresses from across America . Jerry slaps the labels on the newsletters .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET<\/stage_direction>\n    <scene_description>The sun comes up . Jerry drops the newsletters into a mailbox . He starts across the street , then stops , looks back with dread . He steps back over , checks the slot . Everything went down . Jerry starts away , then stops again . As he looks back .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JUSTICE DEPARTMENT - NYC OFFICES - DAY<\/stage_direction>\n    <scene_description>Jerry passes through the metal detectors . He stops to stare at the blindfolded Status of Justice . As a FEDERAL COP steps over to join him .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Smart girl.<\/dialogue>\n    <character>FEDERAL COP<\/character>\n    <dialogue>How's that, sir?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>She's got a blindfold on.<\/dialogue>\n    <character>FEDERAL COP<\/character>\n    <dialogue>Do you have an appointment here, sir?<\/dialogue>\n    <scene_description>Jerry continues to stare .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Depends on your definition.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JUSTICE DEPARTMENT - OUTSIDE CONFERENCE ROOM - DAY<\/stage_direction>\n    <scene_description>The morning meeting yet to begin . Lawyers wait as , THROUGH the glass , treadmill girl Liza Sutton argues with brusque department head WILSON . It 's a screaming match , though on this side of the glass their VOICES are MUFFLED THUMPS . Liza waves her arms . Wilson shakes his head emphatically . As they continue to argue , a YOUNG LAWYER arrives being shown the ropes by an OLDER LAWYER .<\/scene_description>\n    <character>OLDER LAWYER<\/character>\n    <dialogue>This is the conference room. We start 9 AM sharp. Usually.<\/dialogue>\n    <scene_description>The argument in the conference room has gotten so vociferous , that people have stopped pretending not to watch .<\/scene_description>\n    <character>YOUNG LAWYER<\/character>\n    <dialogue>Wow. How long till I can talk like that to Mr. Wilson?<\/dialogue>\n    <character>OLDER LAWYER<\/character>\n    <dialogue>About a thousand years. That's Liza Sutton. You heard of the federal judge? Tom Sutton? Assassinated a few years ago?<\/dialogue>\n    <character>YOUNG LAWYER<\/character>\n    <dialogue>By that cult leader who's in prison, right? Ezekiel Walters. The one who blew up the Citibank Building.<\/dialogue>\n    <character>OLDER LAWYER<\/character>\n    <dialogue>None of it ever proven. But Sutton did deny Ezekiel a writ of habeas corpus. Anyhow, Liza is Sutton's daughter.<\/dialogue>\n    <scene_description>A commotion down the hall . Jerry . The cop from downstairs and a second one try everything short of violence to usher him out .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I'm an American and I demand to see Liza Sutton!<\/dialogue>\n    <scene_description>CONFERENCE ROOM Wilson and Liza are nose - to - nose . THROUGH the glass , the head of every lawyer turns from them to Jerry . Like deftly executed synchronized swimming , Liza and Wilson ca n't help but notice . Jerry . Liza shakes her head in despair .<\/scene_description>\n    <character>WILSON<\/character>\n    <dialogue>Ah, your psychotic is here.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Not today.<\/dialogue>\n    <scene_description>Liza crouches down on the floor behind the chair .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Tell him I'm on vacation. That I wo n't be back for two weeks.<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>I do n't know if you're the best lawyer I've got or a high school sophomore.<\/dialogue>\n    <scene_description>Wilson shakes his head , exits . OUTSIDE CONFERENCE ROOM As Jerry struggles with the guards who are definitely getting more physical .<\/scene_description>\n    <character>WILSON<\/character>\n    <dialogue>Get him out of here.<\/dialogue>\n    <scene_description>CONFERENCE ROOM Liza peeks out . They 're hurting Jerry now . As Liza sighs . OUTSIDE CONFERENCE ROOM They drag Jerry back . Liza appears .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>It's okay! Let him go!<\/dialogue>\n    <scene_description>The guards hesitate . Wilson nods . As they let Jerry go .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Jerry, you are a restraining order waiting to happen.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JUSTICE DEPARTMENT - LIZA'S OFFICE - DAY<\/stage_direction>\n    <scene_description>In its own way as cluttered and overflowing with files as Jerry 's apartment is . At her desk , Liza watches Jerry pace . The door is intentionally open . Liza 's secretary JILL keeps a protective eye from the outer office .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>I do n't see the connection.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Come on! Six major earthquakes in the last three years? The space shuttle in orbit for every one of them?<\/dialogue>\n    <character>LIZA<\/character>\n    <parenthetical>( incredulous . )<\/parenthetical>\n    <dialogue>Testing some top secret seismic weapon.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Not testing. Using. Nukes are passe. This is the weapon of the future.<\/dialogue>\n    <scene_description>As Liza exchanges a look with Jill , Jerry pauses to look at a framed photo on a credenza . Liza , 20 , in full riding gear , gracefully jumping a horse over a set of rails .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>I still do n't see what it has to do with the President.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( re : photo . )<\/parenthetical>\n    <dialogue>Do you still ride?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Not for years.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>So why do you keep the picture up? You wish you had n't quit?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Well, I - Jerry, the point. Get there. What does it have to do with the President?<\/dialogue>\n    <scene_description>It takes him a moment to switch gears . Setting down the picture , he pulls out a map , unfolds it on Liza 's desk . A seismic survey map . He points as he talks .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>The President's in Europe. Tomorrow he'll be in Turkey. Right along this fault line. They launched the space shuttle yesterday.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Motive?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>He's cutting funding for NASA. The milk cow of the aerospace industry. We're talking billions. Motive enough?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>NASA is going to kill the President of the United States with an earthquake.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( nods . )<\/parenthetical>\n    <dialogue>Not exactly the kind of thing a Secret Service Agent can throw himself on top of.<\/dialogue>\n    <scene_description>Liza sighs . On another day , Jerry might have been welcome comic relief . Not today . As she folds his map .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>You going to warn him?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>I ca n't promise you anything.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>You think I'm crazy.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>I think you're different.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>You know, to be ` normal' and live in the ` real world,' to swallow Coca cola and eat Kentucky Fried Chicken, you have to be in a conspiracy against yourself. I ca n't lie to me, Liza. And the more I strip through the sham, the crazier I look to people like you. Ca n't you see that's what they're counting on?<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>You want to go out sometime?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Jerry smiles , looks away , embarrassed in an appealingly boyish way . If he was n't crazy , the answer might be yes .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I better get going.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>You do n't have to burst in here every time, Jerry. Just call and make an appointment.<\/dialogue>\n    <scene_description>He nods , gathers his map . Halfway out , he looks back .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>What was your horse's name?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Johnny Dancer.<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>You've been in my office ten times. How come you never asked me about that picture before?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Was waiting till I knew you better. Johnny Dancer, huh? Sounds like a racehorse.<\/dialogue>\n    <scene_description>Jerry heads out . Liza watches after him a beat as he goes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 40TH STREET AND 7TH AVENUE - DAY<\/stage_direction>\n    <scene_description>Cordoned off with cops redirecting traffic . A lake . Big diesel pumps gush water into the gutters , and the sidewalks are sandbagged . All the same , water flows over Jerry 's sneakers as he flags down a passing PUBLIC WORKS GUY .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Hey, do n't water mains usually go in the winter?<\/dialogue>\n    <character>D.P.W. GUY<\/character>\n    <dialogue>Summer, winter, all I know it it's beaucoup overtime.<\/dialogue>\n    <scene_description>Something catches Jerry 's eye - a tan sedan parked inside the cordon . Official U.S. Government plates . As Jerry frowns , two suits , CLARKE and PIPER , exit the subway kiosk , head to the sedan . Jerry watches , then heads for his cab .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FEDERAL BUILDING (MANHATTAN) - DAY<\/stage_direction>\n    <scene_description>The sedan pulls up , double parks . As Piper and Clark head inside , Jerry pulls up across the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FEDERAL BUILDING - LOBBY - DAY<\/stage_direction>\n    <scene_description>Jerry enters , watches Clark and Piper get on the elevator for the 14th to 25th floors . As the door closes , Jerry steps to a podium with a directory of the building 's occupants . He drops a finger onto a listing . Floors 18 to 22 are occupied by : the Central Intelligence Agency .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Spooks. I knew it.<\/dialogue>\n    <scene_description>LOBBY SURVEILLANCE CAMERA POV - JERRY Grainy black and white as Jerry exits . Is he being watched ?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DINER - DAY<\/stage_direction>\n    <scene_description>Jerry 's cab is reflected against the glass . THROUGH the window , we see Jerry at the counter . Standing , he throws a few bills down and exits . Jerry reappears in reflection , stops short as Piper is reflected on one side , Clark on the other . They grab Jerry . As he struggles Clark jams an air syringe against his neck . Jerry 's reflection goes slack . As they drag him into his cab , a single OLD MAN at the counter looks over , then back to his meatloaf as the yellow of the cab streaks away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DECREPIT HOSPITAL ROOM (GERONIMO) - JERRY - DAY<\/stage_direction>\n    <scene_description>Strapped to a chair in the middle of what looks like an old hospital room . Jerry 's groggy , starting to regain consciousness . As he comes round , we hear FOOTSTEPS APPROACHING from the hall . CLOSE ON JERRY Two men enter . They may or may not be Piper and Clark , but we only see their torsos as they move back and forth . We hear a CLOSET OPEN , EQUIPMENT being DRAGGED . Jerry knows he 's righteously fucked . But he also knows .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I was right. Was n't I? I was right.<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>What was I right about?<\/dialogue>\n    <scene_description>They do n't seem to pay him any mind .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Are you guys from NASA?<\/dialogue>\n    <scene_description>Without warning , one of the figures grabs Jerry 's head from behind , straps it to a slat he attaches to the back of the chair . Jerry struggles , but his head is immobilized . The second man goes about taping Jerry 's eyes open .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I was wrong! I was wrong!<\/dialogue>\n    <scene_description>Finished , they leave . Jerry struggles , then finally waits . A new set of FOOTSTEPS in the hall . Jerry 's eyes follow someone into the room and across from him . Jerry frowns .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Do I know you?<\/dialogue>\n    <character>JONAS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Yes you do, Jerry. Quite well.<\/dialogue>\n    <scene_description>WIDEN to include - JONAS Standing opposite Jerry . Genteel looking , professorial . There 's something calm , oddly soothing about him .<\/scene_description>\n    <character>JONAS<\/character>\n    <dialogue>Have you ever been in a place from which hope has gone? All that's left is patience. Everywhere. Like a fog.<\/dialogue>\n    <scene_description>A beat as Jonas considers Jerry .<\/scene_description>\n    <character>JONAS<\/character>\n    <dialogue>I'm a very patient man.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>That's great. Good for you.<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>Who have you been talking to, Jerry? Who else knows what you know?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Could you be a little more specific?<\/dialogue>\n    <scene_description>Jonas does n't answer . Instead , he methodically loads a syringe . Jerry watches with grave apprehension .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>Lysergic acid diethylamide. With a little kicker of my own. Surely it must be coming back to you by now?<\/dialogue>\n    <scene_description>There 's nowhere to go , but Jerry still tries to go there as the needle descends . And then the plunge .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>What do I know?<\/dialogue>\n    <scene_description>Jonas switches on a row of strobe lights . They flash into Jerry 's face . In between them , on a screen , images . JERRY 'S POV A man on fire . Kennedy with the waiter on the floor in the Ambassador . That guy in Vietnam being shot in the side of the head . Rhesus monkeys subjected to direct brain stimulation . Reagan catching it under the armpit . A slaughterhouse . And interspersed between it all , a rather official - looking photo of a middle - aged man we 'll call Mr. S . Then - JONAS is dancing back and forth before Jerry . The strobes freeze him like some club from the '70s . ROOM But Jonas is n't really dancing . He 's directly across from Jerry - profile - to - profile .<\/scene_description>\n    <character>JONAS<\/character>\n    <dialogue>Who else knows what you know?<\/dialogue>\n    <scene_description>Slack - jawed , Jerry does n't answer . Jonas holds an electrode to Jerry 's leg , touches a second to his side . Jerry arches back as current flows . JERRY 'S POV as the ceiling melts and drops in heavy globs around them . ROOM Jonas cuts the flow .<\/scene_description>\n    <character>JONAS<\/character>\n    <dialogue>Who else knows what you know?<\/dialogue>\n    <scene_description>Jerry 's only answers are the tears running down his cheeks . Jonas hits him again . Jerry jerks back so hard the chair snaps right off the floor and topples over backwards . Jerry 's left wrist and right leg burst through the straps which were holding them down . A wisp of smoke rises . Jonas sighs . He looks down at Jerry who moans , whispers .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I'll tell you.<\/dialogue>\n    <scene_description>Jonas smiles paternally , steps over . Jerry 's mouth moves , but we ca n't hear him . Mr. S flashes on the screen .<\/scene_description>\n    <character>JONAS<\/character>\n    <parenthetical>( crouching . )<\/parenthetical>\n    <dialogue>From your lips, to God's ear.<\/dialogue>\n    <scene_description>JERRY 'S POV As Jonas leans in , his nose looks enormous . ROOM Grabbing Jonas ' shirt with his limited left hand , Jerry uses the only weapon he 's got . He bites Jonas on the nose . Blood pulses as Jerry 's teeth find an artery . Howling , Jonas tries to scramble out of reach . Jerry kicks him in the stomach with his free leg and then keeps kicking . It 's inarticulate , roughshod work , but he connects and Jonas feels it and each new kick as a little more fury than the last . Finally Jonas rolls away . Jerry half - crawls , half - rocks his way to a crouched position . Rising , he staggers into the window , the top of the chair smashing through the glass . Jerry stares down to the ground below . JERRY 'S POV As the earth rises and falls like a wave . The distance down is impossible to gauge . ROOM As Jonas staggers to his feet , Piper and Clark charge in . They move forward , but without warning , Jerry gathers what balance he has and heaves himself out the window .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIDE OF BUILDING - DAY<\/stage_direction>\n    <scene_description>Partially obscured by trees , Jerry does a half - gainer from exactly two stories above the ground . The chair back takes the brunt of the landing . Wood splinters . ROOM Blood spurts between Jonas ' fingers . Clark and Piper draw their guns and rush to the window . GROUND Slats of wood hang at his elbows and knees as Jerry reels across the lawn . ROOM Clark and Piper FIRE .<\/scene_description>\n    <character>JONAS<\/character>\n    <dialogue>Do n't kill him! Get him!<\/dialogue>\n    <scene_description>As Clark and Piper rush off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>Jerry slogs , sinks into asphalt up to his knees . A truck sets a dumpster down on the street ahead . As it pulls away , Jerry dashes , grabs hold of a handle on the rear .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET TWO - SOME BLOCKS AWAY - DAY<\/stage_direction>\n    <scene_description>We see the truck approach . As it turns right , the centrifugal force flings Jerry off the back and into the oncoming lane . Several taxis slam on their brakes to keep from running him over . All Jerry sees is yellow .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I'm one of you! I'm one of you!<\/dialogue>\n    <scene_description>As one driver leans out one window , shouts at him in Hindu .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JUSTICE - ELEVATOR - DAY (END OF DAY)<\/stage_direction>\n    <scene_description>Liza 's in the back next to , but not with , one of the Lawyers seen earlier . He seems nice enough .<\/scene_description>\n    <character>LAWYER<\/character>\n    <dialogue>So, you doing anything tonight?<\/dialogue>\n    <character>LIZA<\/character>\n    <parenthetical>( hefts briefcase . )<\/parenthetical>\n    <dialogue>Working.<\/dialogue>\n    <character>LAWYER<\/character>\n    <dialogue>Hmm, how about tomorrow night?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Working.<\/dialogue>\n    <character>LAWYER<\/character>\n    <dialogue>Night after that?<\/dialogue>\n    <character>LIZA<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Look, you're a nice guy, but I'm not really dating right now.<\/dialogue>\n    <character>LAWYER<\/character>\n    <dialogue>I'm not that good at ` no,' Liza.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Too bad. Because I'm terrible at ` yes.'<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JUSTICE DEPARTMENT - LOBBY - DAY<\/stage_direction>\n    <scene_description>As the elevator doors open , Liza steps into her worst nightmare .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Liza Sutton! I need to see Liza!<\/dialogue>\n    <scene_description>Jerry is being blocked by three FEDERAL COPS .<\/scene_description>\n    <character>COP# 1<\/character>\n    <dialogue>You do n't leave now, you're under arrest.<\/dialogue>\n    <scene_description>As Jerry spots her .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Liza! This is it. They just tried to kill me! I do n't know what I know, but it's big!<\/dialogue>\n    <scene_description>They tangle him up , a few feet from his destination . Liza can see that something , real or imagined , has happened . In the struggle , Jerry wrenches free , taking one of the Cops ' .45 s with him . He waves them off with it .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Get back!<\/dialogue>\n    <scene_description>Everyone freezes . Stand - off city .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Easy, Jerry. Easy.<\/dialogue>\n    <parenthetical>( realizes . )<\/parenthetical>\n    <dialogue>There's blood on your shirt.<\/dialogue>\n    <scene_description>Indeed , blood is splattered across his chest .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I bit the bastard's nose off.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>You bit someone's nose off?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Yes! Do n't let's get into this thing where I have to repeat myself!<\/dialogue>\n    <scene_description>As one of the Cops moves to flank , Jerry aims the gun .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( to Cops . )<\/parenthetical>\n    <dialogue>It's a man without a nose you want, you dumb complicit sons of bitches!<\/dialogue>\n    <parenthetical>( to Liza . )<\/parenthetical>\n    <dialogue>You've got to listen to me.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Put down the gun and I'll take your statement. Okay?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>You're the boss. Just do n't make me repeat myself. I hate that.<\/dialogue>\n    <scene_description>Liza sees blood dripping onto Jerry 's shoe . She looks to where he clutches his side , blood oozing out . To his face .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Jerry, you're bleeding.<\/dialogue>\n    <scene_description>Jerry takes his hand from his side , looks at the blood .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I did n't even feel it till a few minutes ago.<\/dialogue>\n    <scene_description>As Jerry 's distracted , one of the Cops moves in . He forces Jerry 's gun hand up while the other two Cops take him down . Jerry struggles till one jams a thumb into a pressure point in his neck . Jerry winces , collapses .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Who are they? I do n't even know who they are. But it's on the tip of my tongue.<\/dialogue>\n    <scene_description>And Jerry starts to sob . As Cop one cuffs him .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>One of you call an ambulance.<\/dialogue>\n    <scene_description>A hesitation before one of them moves to do so . Liza pushes her way through the other two .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Ease off of him.<\/dialogue>\n    <scene_description>They back off a step , keep him covered . Jerry continues to sob , desolate . And Liza , despite herself , puts an arm around him , does what she can to comfort . Her life 's never going to be the same .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOSPITAL - WAITING AREA - NIGHT<\/stage_direction>\n    <scene_description>A definite inner city feel . Liza stands out in her smart , stylish business suit . She sits in a plastic chair , tries not to scream into her cell phone .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>I need the files tonight. Have them sent to my apartment. I do n't give a rat's ass what you're doing! Hello? Damnit!<\/dialogue>\n    <scene_description>Phone 's dead . Sitting beside Liza , fidgety in the early stages of withdrawal , is DOLLY , a 20 - year - old prostitute .<\/scene_description>\n    <character>DOLLY<\/character>\n    <dialogue>Sucks, huh?<\/dialogue>\n    <scene_description>Liza does n't even look over . Dolly holds up a pager .<\/scene_description>\n    <character>DOLLY<\/character>\n    <dialogue>You should get one of these. Then use a pay phone. Cell phones can be traced.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>I'm not doing anything illegal.<\/dialogue>\n    <scene_description>Dolly looks her over .<\/scene_description>\n    <character>DOLLY<\/character>\n    <dialogue>Yeah. Right.<\/dialogue>\n    <scene_description>A bedraggled DOCTOR enters , scans the waiting faces .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>Who's here for Jerry Fletcher?<\/dialogue>\n    <character>LIZA<\/character>\n    <parenthetical>( standing . )<\/parenthetical>\n    <dialogue>I am.<\/dialogue>\n    <scene_description>The Doctor steps over .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>He's lucky. Bullet passed clean through his side, did n't touch anything vital. He lost some blood, but he should be fine.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>When can I talk to him?<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>They're moving him to the police ward. Maybe in twenty minutes.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>But -<\/dialogue>\n    <scene_description>The Doctor 's already on his way out . Liza sits back down .<\/scene_description>\n    <character>DOLLY<\/character>\n    <dialogue>You're lucky. I had a boyfriend get shot in the stomach. Now he takes a dump through a plastic tube. I guess that's life, huh?<\/dialogue>\n    <scene_description>Liza reaches into her day planner , pulls out a crisp $ 100 bill , holds it out to Dolly .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>It's yours. Just go sit someplace else.<\/dialogue>\n    <scene_description>Dolly looks at her a beat . Plucking the bill from Liza 's fingertips , Dolly gets up and moves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - POLICE WARD - HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>A cop reads the paper at the end of the hall . He barely looks up as Liza walks down , steps into . ROOM 322 Liza enters as a NURSE injects a syringeful of `` something '' into Jerry 's IV . Jerry 's strapped to the bed .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>What's that?!<\/dialogue>\n    <character>NURSE<\/character>\n    <dialogue>Something to help you sleep.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I do n't want to sleep! I want to be checked out!<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>You're under arrest.<\/dialogue>\n    <scene_description>Jerry looks over at Liza as the Nurse exits .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>What's the charge?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>You were there, Jerry. Figure it out.<\/dialogue>\n    <scene_description>He nods . Is quiet a moment .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>If you could remember who shot you and where it happened, it might help.<\/dialogue>\n    <scene_description>Jerry 's suddenly fighting to keep his eyes open .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>What a day. Wish I could tell you so it made sense.<\/dialogue>\n    <scene_description>He tries to sit up . She eases him back down .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Just relax.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Switch the charts.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Jerry 's as serious as a guy about to pass out can be .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Switch'em. Or I'll be dead by morning. Do n't want to be dead.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>I'll see you tomorrow.<\/dialogue>\n    <scene_description>As Jerry eases back into the mattress .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Would n't bet on it.<\/dialogue>\n    <scene_description>As Liza starts to go .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <parenthetical>( as Liza looks back . )<\/parenthetical>\n    <dialogue>I ca n't control it. It's just, something that happened.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>What is?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Love.<\/dialogue>\n    <scene_description>They look at each other a moment . Then , as Jerry 's eyes flutter .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Switch'em.<\/dialogue>\n    <scene_description>A long sigh and Jerry 's out . Liza starts out , then stops , laughs at herself as she realizes what she needs to do . Stepping over , she switches the chart at the foot of Jerry 's bed with that of his unconscious roommate . This guy 's handcuffed to the bed frame . Liza looks at Jerry a beat , sighs , then exits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIZA'S APARTMENT BUILDING - WINDOW - NIGHT<\/stage_direction>\n    <scene_description>Back on the treadmill . Liza practically sprints . Her teeth grit . Driven near collapse . Like she 's punishing herself . As we PULL BACK , leaving her to her demons .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - POLICE WARD - HALLWAY - DAY<\/stage_direction>\n    <scene_description>The next day . Liza , arriving , stops short as an orderly flanked by a COP , wheels a sheet - covered body out of 322 .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>Guy came in with a gunshot wound, but he died of a heart attack. Go figure.<\/dialogue>\n    <scene_description>Fearing the worst , Liza pulls back the sheet . It 's Jerry 's roommate . The guy who got Jerry 's chart .<\/scene_description>\n    <character>COP<\/character>\n    <dialogue>Are you Miss Sutton?<\/dialogue>\n    <scene_description>Liza looks up , nods .<\/scene_description>\n    <character>COP<\/character>\n    <dialogue>They said send you downstairs.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>The F.B.I., the C.I.A.. You name the initials and they're down there.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Any special reason?<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>All I know is, they said to send you and the body to the basement.<\/dialogue>\n    <scene_description>They think the dead guy is Jerry . Liza eyes the door .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>I'll be right down.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - ROOM 322 - DAY<\/stage_direction>\n    <scene_description>Jerry sits in bed , one hand cuffed to the bed rail .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>People do have heart attacks.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Sure. You switched the charts, did n't you?<\/dialogue>\n    <scene_description>Liza does n't answer . Jerry jubilant . This is big .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>It's okay. The guy traded bullets with some old man in a liquor store. He had it coming.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>You expect me to believe what, that someone came in here last night. Gave that guy. something that stopped his heart?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>You switched the charts ; you tell me.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>I got to get downstairs. The C.I.A., they want to see your body.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Really?<\/dialogue>\n    <scene_description>She nods . Jerry regards the cuff , then her .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I wo n't be here when you get back, but I'll be in touch. And thanks.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>For what?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>You saved my life.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Heart attacks happen.<\/dialogue>\n    <scene_description>Liza exits . Jerry thinks , smiles . He dips his hand into his oatmeal , smears it across his chin , onto his chest .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL BASEMENT - DAY<\/stage_direction>\n    <scene_description>Liza steps off the elevator , is met by AGENT LOWRY . Darkly handsome , Lowry is all business with a twinkly in his eye .<\/scene_description>\n    <character>LOWRY<\/character>\n    <dialogue>Ms. Sutton? Agent Lowry, F.B.I.<\/dialogue>\n    <scene_description>They shake hands . Both impressed with each other .<\/scene_description>\n    <character>LOWRY<\/character>\n    <dialogue>We're waiting for jurisdictional problems to be cleared up. This guy Fletcher's something else.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Tell me about it.<\/dialogue>\n    <character>LOWRY<\/character>\n    <dialogue>While we walk.<\/dialogue>\n    <parenthetical>( they move briskly . )<\/parenthetical>\n    <dialogue>D.C. police want him for assault. Secret Service for counterfeiting and we're tracking him on a string of bank robberies. No one knows what the C.I.A. wants him for.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Wait -<\/dialogue>\n    <scene_description>OPERATING THEATER Lowry enters ahead of her . The body is here . All backs are to Lowry and Liza . Wilson from Justice looks back over his shoulder . The other five are CIA . One man stands a bit apart . Lowry points him out , whispers into Liza 's ear .<\/scene_description>\n    <character>LOWRY<\/character>\n    <dialogue>Guy's a C.I.A. shrink. Here to I.D. Fletcher. They knew each other somehow.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>You do n't understand -<\/dialogue>\n    <scene_description>Lowry shushes her . The sheet is pulled away to reveal Jerry 's roommate . His back still to us , the CIA PSYCHIATRIST is not happy .<\/scene_description>\n    <character>PSYCHIATRIST<\/character>\n    <dialogue>This is n't him.<\/dialogue>\n    <character>WILSON<\/character>\n    <parenthetical>( turning . )<\/parenthetical>\n    <dialogue>Liza?<\/dialogue>\n    <scene_description>The Psychiatrist takes the chart from the foot of the bed .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>I was trying to tell, um, Jerry, I mean Fletcher, he's -<\/dialogue>\n    <scene_description>Liza stops short as the Psychiatrist turns around . His nose is bandaged . His eyes look right through her . It 's Jonas ! Jerry 's man with no nose .<\/scene_description>\n    <character>JONAS<\/character>\n    <parenthetical>( PSYCHIATRIST . )<\/parenthetical>\n    <dialogue>He's what?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - ROOM 322 - DAY<\/stage_direction>\n    <scene_description>Covered in oatmeal , Jerry clutches his chest , groans . Three nurses , two orderlies and an INTERN surround him .<\/scene_description>\n    <character>INTERN<\/character>\n    <dialogue>He's having a heart attack!<\/dialogue>\n    <scene_description>The Intern tugs on the handcuff .<\/scene_description>\n    <character>INTERN<\/character>\n    <dialogue>Where's that goddamn cop?!<\/dialogue>\n    <parenthetical>( giving up . )<\/parenthetical>\n    <dialogue>Get a crash cart in here!<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>No! Get me to the crash cart!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ELEVATOR - DAY<\/stage_direction>\n    <scene_description>Liza , Jonas , Lowry , Wilson and the CIA agents get into the elevator . Liza ca n't take her eyes off Jonas 's nose . He looks over at her . It 's unnerving .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Can I ask you something?<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>A dog bit it.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>You were going to ask about my nose. The poor animal is slated to be destroyed today.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>And you feel bad for it?<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>It was my dog. Let me ask you a question. How long have you been acquainted with Jerry?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - OUTSIDE ROOM 322 - DAY<\/stage_direction>\n    <scene_description>A crash . The Intern staggers back out the door and into the wall . Jerry exits - wearing a johnny which flaps as he dashes down the hall . Bouncing along behind him is the bed 's side rail which he 's still cuffed to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 3RD FLOOR HALLWAY - ELEVATORS - DAY<\/stage_direction>\n    <scene_description>Jerry pounds on the down button . PING ! The doors on the middle elevator open to reveal Liza , Jonas , et . al . They spot Jerry the same moment he spots them . Jerry drives the rail into one agent 's gut , staggering him . The second agent trying to exit catches the rail in the teeth . The elevator doors close . ELEVATOR Lowry reaches for the control panel . But he 's too late . As the elevator starts up , Lowry slaps the emergency stop . Then they pull the doors open . The various agents climb out , step down to the 3rd floor hallway below . Jerry is nowhere in sight . But from the hallway to the right of the elevators , a SHOUT and a CRASH . Everyone heads that way . NURSES ' STATION A nurse stands over an upended Med - Cart . She looks up at Liza and the suits charging around the corner . Points . PILLS CRUNCH under their feet as they take off in pursuit . HALLWAY TWO Jerry pulls a chair cover , hops up and punches a ceiling panel loose . Then he continues down the hall . The gang round the corner , stop short at the chair and panel . Jonas motions two agents up .<\/scene_description>\n    <character>JONAS<\/character>\n    <dialogue>The rest of you go room to room! I want dogs! I want motion detectors! I want heat sensors!<\/dialogue>\n    <scene_description>As Jonas moves off , Lowry mutters to Liza .<\/scene_description>\n    <character>LOWRY<\/character>\n    <dialogue>Is this guy a psychiatrist or a field agent?<\/dialogue>\n    <scene_description>HALLWAY THREE A row of beds against the wall . An orderly dumps a load of laundry down a laundry chute . He leaves . Jerry exits a bathroom , heads over . Gripping the lip of the chute , he 's just swung a leg inside when the room COP appears around the corner , gun drawn .<\/scene_description>\n    <character>COP<\/character>\n    <dialogue>Put your foot down.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>If you knew what really happened to Serpico, you'd be doing everything you could to help me out.<\/dialogue>\n    <character>COP<\/character>\n    <parenthetical>( closing . )<\/parenthetical>\n    <dialogue>Put your damn foot down.<\/dialogue>\n    <scene_description>Obliging , Jerry swings his leg back over . But he sets his heel on a laundry cart , shoves it hard into the Cop . It gives Jerry a chance to swing the bed rail into the Cop whose gun skitters away as he tumbles back . Jerry tries again to jump down the laundry chute , but the Cop is there , grapples with him . Jerry finally head - butts him . As the Cop falls back , releasing Jerry , Jerry falls down the chute . He jerks to a stop as the bed rail forms a crossbar over the mouth of the chute . LAUNDRY CHUTE Jerry dangles from his wrist . That hurt . Jamming his back against one side of the chute , his feet against the other , he inches his way up . As he grips the edge to get out , a face looms ! Liza . Jerry loses his grip again , drops , jerks to another joint - wrenching stop . HALLWAY THREE Liza stands beside the semi - conscious Cop , looks down at Jerry . He looks up at her . At her mercy .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>He says a dog bit his nose.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Arf. You got ta help me.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>I ca n't promise you anything.<\/dialogue>\n    <scene_description>Liza turns , hears PEOPLE COMING her way . Deciding , she takes the key ring from the cop 's belt , finds the handcuff key . She slides it into the cuff on Jerry 's wrist . They share a long look . Click . Jerry drops . Liza 's left holding the rail . She turns , sees the beds by the wall . LAUNDRY ROOM Jerry lands hard in a hamper . HALLWAY THREE Liza tends to the Cop -LRB- returning his keys , pockets the cuffs -RRB- as Lowry and Jonas turn the corner .<\/scene_description>\n    <character>LOWRY<\/character>\n    <dialogue>Which way did he go?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>I do n't know. Did n't see him.<\/dialogue>\n    <scene_description>As the Cop starts to sit up groggily .<\/scene_description>\n    <character>LOWRY<\/character>\n    <dialogue>No way we can shut a place this size down quick enough.<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>You have a half - naked man chained to a bed rail. Just cover the exits.<\/dialogue>\n    <scene_description>Lowry nods , heads out . Liza follows .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>I'll come with.<\/dialogue>\n    <scene_description>Jonas looks over at the lone bed rail , then across at the laundry chute . Finally at Liza 's retreating back .<\/scene_description>\n    <character>JONAS<\/character>\n    <dialogue>You.<\/dialogue>\n    <scene_description>Liza stops , looks back . Jonas crooks a finger at her .<\/scene_description>\n    <character>JONAS<\/character>\n    <dialogue>Keep me company.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - LAUNDRY ROOM - DAY<\/stage_direction>\n    <scene_description>Jerry the doctor . In his scrubs , pulls on a paper hair net .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL EXIT - DAY<\/stage_direction>\n    <scene_description>Two cops on watch at the exits . Three tired interns on the way out when Jerry joins them . Just one of the guys .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Did you see that spleen? I never saw a spleen like that ever.<\/dialogue>\n    <scene_description>The cops do n't give them a second look as they exit .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOSPITAL - DAY<\/stage_direction>\n    <scene_description>Odd looks from the interns , but Jerry 's home free .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>It was unbespleenable!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL CAFETERIA - DAY<\/stage_direction>\n    <scene_description>Jonas dips a tea bag , stares across at Liza who grinds out a cigarette in an overflowing ashtray . He watches as she goes for her pack , realizes that was her last butt .<\/scene_description>\n    <character>JONAS<\/character>\n    <dialogue>So he thinks NASA is plotting to kill the President?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>You already asked me that. Why do you insist on making me repeat myself?<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>And you have no idea where he lives?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>You've asked me that one three times.<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>Here's a fresh one. Why you? Your colleague Mr. Wilson says Jerry wo n't speak to anyone else. That seems oddly possessive behavior to me.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>I'm sorry. What was the question again?<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>Why you?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Honestly? I think he has a crush on me.<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>A charming term. Now, why him?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>Jerry's visits to your office. Why do you tolerate them? Why him?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>A year ago I was leaving work late one night. Two guys tried to mug me. It was horrible. Jerry came out of nowhere. To my rescue. Then he started coming to see me.<\/dialogue>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Could've been a storybook if he was n't crazy. At first I did my beat to avoid him. But there's something inside Jerry and.<\/dialogue>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>Jerry made me see it. He made me see him. That make sense?<\/dialogue>\n    <scene_description>Jonas nods . As he tends to his tea , Liza notices he wears a Harvard alumni ring .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>You went to Harvard?<\/dialogue>\n    <scene_description>Jonas nods . Liza gestures toward the ring .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>May I?<\/dialogue>\n    <scene_description>Jonas offers his hand so she can get a closer look : three open books with the letters VE - RI - TAS .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Veritas. Truth. What is it they say about truth?<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>The truth shall make you free.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>That's it.<\/dialogue>\n    <parenthetical>( releases his hand . )<\/parenthetical>\n    <dialogue>I went to Yale. I hope you wo n't hold that against me.<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>Only on the football field.<\/dialogue>\n    <scene_description>That 's as charming as Jonas gets . The sparring continues .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>I did n't know the C.I.A. had psychiatrists.<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>We're very specialized.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Brain washing, mind control, that sort of thing?<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>Re - educating trained killers in the ways of polite society. Making sure the men who've gone over the edge wo n't hurt anyone. That sort of thing.<\/dialogue>\n    <scene_description>Jonas takes a sip of tea , watches her over the rim .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - ROOM 322 - DAY<\/stage_direction>\n    <scene_description>A cop at the door . Liza flashes her ID , enters . She heads to the nightstand , opens it . There 's a key ring , a pack of gum and a worn paperback copy of Catcher In the Rye with the familiar crimson and gold cover . Liza flips through it . Certain passages are highlighted , others blacked out .<\/scene_description>\n    <character>LOWRY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Catcher In the Rye?<\/dialogue>\n    <scene_description>Liza looks up as Agent Lowry enters .<\/scene_description>\n    <character>LOWRY<\/character>\n    <dialogue>That's the book Hinkley had on him when he shot Reagan.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>I was just thinking that.<\/dialogue>\n    <character>COP<\/character>\n    <parenthetical>( leaning in . )<\/parenthetical>\n    <dialogue>You remember that Arab guy who shot the Rabbi a few years back?<\/dialogue>\n    <parenthetical>( as they look over . )<\/parenthetical>\n    <dialogue>I was one of the arresting officers. He had a copy of the goddamn thing too.<\/dialogue>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>You know that expression, it must be the water. Well, maybe it's the book.<\/dialogue>\n    <scene_description>As the Cop laughs it up , Lowry and Liza exchange a look .<\/scene_description>\n    <character>LOWRY<\/character>\n    <dialogue>Thanks for your input, officer.<\/dialogue>\n    <scene_description>The Cop shrugs , exits . Lowry picks up the keys and gum .<\/scene_description>\n    <character>LOWRY<\/character>\n    <dialogue>Gum, keys and a book.<\/dialogue>\n    <parenthetical>( checks keys . )<\/parenthetical>\n    <dialogue>Car. Maybe apartment. This is an odd one.<\/dialogue>\n    <scene_description>Of the three keys , one is long and narrow .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Safety deposit box.<\/dialogue>\n    <scene_description>As Lowry nods , three of Jonas ' CIA suits enter . As one confiscates the gum and book , another holds his hand out for the keys . Lowry gives them over . As they exit .<\/scene_description>\n    <character>LOWRY<\/character>\n    <dialogue>You're welcome!<\/dialogue>\n    <parenthetical>( shrugs to Liza . )<\/parenthetical>\n    <dialogue>Spooks. So, you want to compare notes on this guy.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>No. Not yet.<\/dialogue>\n    <scene_description>Something catches Liza 's eye . She steps to the nightstand . A word is scratched into the side by the bed . Geronimo . Lowry picks a fork off the floor . Just the right size .<\/scene_description>\n    <character>LOWRY<\/character>\n    <dialogue>Geronimo? What's that?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOSPITAL - EARLY EVENING<\/stage_direction>\n    <scene_description>Liza exits , starts for the street . A long day . She fishes a small tape recorder from her briefcase , switches it on .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Jerry Fletcher. Apparently, a major desperado. Subject of a multi - jurisdictional task force manhunt. I do n't buy it. He might be nuts, but there's something. good about him.<\/dialogue>\n    <scene_description>Liza suddenly reacts in shock to something ahead .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>Liza dashes forward . We see her car at the curb - a BMW sedan . A traffic control officer has just finished shoving a ticket under the wiper . Liza arrives shouting , as they roll away . Liza grabs the ticket , pissed , frustrated . But after a moment , she gets in the car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BMW - STREET - EARLY EVENING<\/stage_direction>\n    <scene_description>She gets in grumbling , STARTS the ENGINE . As six fanned - out parking tickets rise from the back seat behind her , she spots them in the rearview . Liza jumps , her grip on the steering wheel the only thing keeping her from hitting her head on the roof .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>They've been coming all day. Nothing I could do about it.<\/dialogue>\n    <scene_description>As she recovers .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>How'd you know this was my car?<\/dialogue>\n    <scene_description>JERRY He lies across the back seat , staring up .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Lucky guess. Um, I'd feel a lot less naked if we could get outta here.<\/dialogue>\n    <character>LIZA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Do n't tell me you're naked back there.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Figure of speech. Could we go?<\/dialogue>\n    <scene_description>BMW Liza takes the tickets . Deciding , she hits the gas , starts through the intersection .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>What took so long? You were in there all day.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>That's how long it takes to turn a hospital inside out. A lot of people are after you, Jerry.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Dead or alive, they'll stick me in there with Oswald. Another lunatic acting alone,<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Oswald was an assassin. You're not an assassin, are you, Jerry?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>If you're worried about the President, call and warn him about the Space Shuttle.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Right. Sit up so I can see you.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Uh uh, do n't want them to see me.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Them who?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Change lanes. Then watch your rearview.<\/dialogue>\n    <scene_description>Liza does so . Looking in the mirror , a set of headlights , maybe three cars back , move as well . Liza frowns , turns left , eyes on the mirror . A beat and the car follows her .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Flat, wraparound headlights?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Crown Victoria. F.B.I. car. A legitimate tail.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>As opposed to?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>People more serious about their work. You know how to drive this thing or do you just like looking good in it?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>You mean I should speed up and try and lose them?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>That's how a man would do it. I'm not a man.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I noticed.<\/dialogue>\n    <scene_description>Liza stops in the middle of the street . Jerry stays low .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <scene_description>STREET The Crown Victoria has slowed considerably . Liza sticks her arm out of the window of the BMW , motions it forward . CROWN VICTORIA Lowry at the wheel . Knows he 's been made . No use trying to get out of it now . Shaking his head , he rolls forward . STREET Lowry pulls up alongside Liza . Ca n't see Jerry in back .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Agent Lowry.<\/dialogue>\n    <character>LOWRY<\/character>\n    <parenthetical>( shrugs ; sheepish . )<\/parenthetical>\n    <dialogue>Was n't my idea.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Jonas?<\/dialogue>\n    <character>LOWRY<\/character>\n    <dialogue>It's his show for now. Look, you want to get some dinner? Inter - Agency cooperation and all?<\/dialogue>\n    <scene_description>JERRY in the back . He does n't like the sound of that .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. BMW\/CROWN VICTORIA<\/stage_direction>\n    <scene_description>Liza smiles , but is n't biting .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>When I'm ready to compare notes, I'll let you know.<\/dialogue>\n    <character>LOWRY<\/character>\n    <dialogue>Your call. Have a good night.<\/dialogue>\n    <scene_description>Lowry puts it in gear and takes off . Relieved , Jerry sits up , watches the taillights fade away .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>See? Was n't that a lot easier than squealing tires and knocking over trash cans?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Nothing is easy.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>How long have we known each other, Jerry?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Six months. Eleven days.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Till today, I have n't believed a word. Now, I'm curious. Six months, eleven days. I'm going to give you one more hour to impress me. Where to?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK NEWS - NIGHT<\/stage_direction>\n    <scene_description>Flip watches from his wheelchair as the BMW pulls up . It takes him a minute to recognize .<\/scene_description>\n    <character>FLIP<\/character>\n    <dialogue>Jerry? You did n't show last night. First time ever. Had me worried, boy.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Sorry, Flip.<\/dialogue>\n    <parenthetical>( re : Liza . )<\/parenthetical>\n    <dialogue>Got sidetracked.<\/dialogue>\n    <scene_description>Flip glances at Liza , thinks he understands . As he winks at Jerry , Liza rolls her eyes to the heavens . Flip retrieves a double stack of newspapers and magazines .<\/scene_description>\n    <character>FLIP<\/character>\n    <dialogue>Saved you last night's, too.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Flip was a hero in Vietnam.<\/dialogue>\n    <character>FLIP<\/character>\n    <dialogue>Sure was. Pounded the V.C. for this Greek cat named Ari Onasis.<\/dialogue>\n    <scene_description>Flip smiles as he wheels back over . He likes Jerry .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Jerry and Liza by the window . Jerry hands her the front page of The New York Times . As Jerry scarfs bread .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Just look at it. Ten seconds and you'll be scared out of your mind.<\/dialogue>\n    <scene_description>As Liza scans the paper , a waiter sets a small salad in front of her and a big bowl of spaghetti and sausage in front of Jerry . He digs in like a five - year - old .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( re : salad . )<\/parenthetical>\n    <dialogue>You worked all day for that? Lettuce, tomatoes, no dressing. That's what, you're punishing yourself, right?<\/dialogue>\n    <scene_description>She looks up . An odd beat . Is Jerry on to something ?<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>You have the right to ask me certain personal questions?<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( slurps noodles . )<\/parenthetical>\n    <dialogue>Yeah. I think so.<\/dialogue>\n    <scene_description>Liza hands him back the paper .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Nothing scary there. Sorry.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Oh, well, maybe to the untrained eye.<\/dialogue>\n    <parenthetical>( scans it . )<\/parenthetical>\n    <dialogue>Hmm. Ahh.<\/dialogue>\n    <parenthetical>( raises eyebrows . )<\/parenthetical>\n    <dialogue>Ooooo.<\/dialogue>\n    <scene_description>Liza waits as Jerry spreads out the paper .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>More about life on Mars. From a rock they found on the South Pole. Explain that one to me. But maybe we should go to Mars and find out? How much do you think that's going to cost?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>What is it with you and the space program?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>And look here. Cease fire in Chechenia. That's good for the banks who lent the government money, but bad for the guys selling them weapons.<\/dialogue>\n    <parenthetical>( scanning article . )<\/parenthetical>\n    <dialogue>Listen to this, some gas company in Colorado. Their researchers have been blocked from testing a fuel additive. They've accused the E.P.A. of, quote, ` turning a blind eye to the future.'<\/dialogue>\n    <scene_description>Jerry grabs a dollar bill from the tip of the adjacent table . He turns it over , points out the `` eye '' above the pyramid .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Well that's the eye right there. Money. And all the power and misery it brings with it. It's a plot to take over the world. The Master Conspiracy. Can take a lifetime to pull off.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Do they have a secret handshake?<\/dialogue>\n    <scene_description>Jerry takes her hand . He shakes it , employing various complex machinations . Finished , he regards her intently .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>That's it?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I have no idea.<\/dialogue>\n    <scene_description>She laughs . He got her that time . But after a beat .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>So why are they after you?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I'm not sure. I think I figured something out.<\/dialogue>\n    <parenthetical>( lowers voice . )<\/parenthetical>\n    <dialogue>It must've been in my newsletter.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>What newsletter?<\/dialogue>\n    <scene_description>Jerry crosses his lips with his finger , shushes her . He motions her forward so he can whisper . She leans in . At that moment - a GUNSHOT ! In one motion , Jerry stands , throws his chair through the plate glass window . As GLASS RAINS down , he 's already got one foot out on the sidewalk . He reaches back for Liza .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Come on!<\/dialogue>\n    <scene_description>Then Jerry sees the waiter , standing nearby , a bottle of wine in one hand , a popped cork in the other - the source of the sound . Jerry looks back to Liza .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>So I'm a little jumpy. Who would n't be?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>You're certifiable.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>You would n't be sitting here if you did n't halfway believe me.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Believe you about what?<\/dialogue>\n    <scene_description>Jerry shrugs . As the manager storms over , Liza peels off a hundred dollar bill .<\/scene_description>\n    <character>LIZA<\/character>\n    <parenthetical>( re : window . )<\/parenthetical>\n    <dialogue>Will that cover it?<\/dialogue>\n    <scene_description>He shakes his head . As she peels off a few more .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>You know that hour you gave me to impress you? How much of it is left?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JERRY'S VILLAGE BROWNSTONE - HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Liza enters by a window at the fire escape . Jerry follows . His side is obviously bothering him .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Flesh wound. No big deal.<\/dialogue>\n    <scene_description>Jerry heads for the door to his apartment .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>I still do n't think we had to park a mile away.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT 202 - LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Jerry and Liza enter . Closing the door behind them , he switches on the light . Liza looks from the filing cabinets to the silvery particle board covering the walls .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Is this supposed to protect you from aliens?<\/dialogue>\n    <scene_description>Jerry does n't answer as he locks the door , picks the empty beer bottle up off the floor .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>You know why the Grateful Dead are always on tour?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Surprise me.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>The whole kit and caboodle of'em are British Intelligence agents. Spies. Jerry Garcia had a double - o rating. Just like James Bond.<\/dialogue>\n    <scene_description>Jerry sits the beer bottle on the doorknob , turns , heads off . Liza looks at the bottle , then , `` a la Bond '' .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Garcia, Jerry Garcia.<\/dialogue>\n    <scene_description>As he moves to follow . FILE LABYRINTH They snake their way through the towering files .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>You want something to drink?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Um, coffee. If that's okay?<\/dialogue>\n    <scene_description>Jerry looks back over his shoulder , smiles .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Coffee's our friend.<\/dialogue>\n    <scene_description>KITCHEN Liza watches as Jerry unchains the refrigerator . He misinterprets the look on her face .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I keep the beans in the fridge. They stay fresher that way.<\/dialogue>\n    <scene_description>As Jerry removes one of the stainless steel containers , Liza reads some of his magnetic poetry off the door .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Must language produce a thousand knives and not recall a whisper?<\/dialogue>\n    <parenthetical>( then another . )<\/parenthetical>\n    <dialogue>I love the delicate shadow of she wanting me to be.<\/dialogue>\n    <scene_description>Liza smiles at Jerry who looks up sheepishly from the container . He 's having trouble with the lock .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Forgot the combination. You want some grapefruit juice?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JERRY'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Jerry enters with Liza . The photo of Lennon gives her pause . She looks at the surrounding files then watches as Jerry turns the mimeograph drum , starts printing something .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>If my universe had a hub.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>This would be it?<\/dialogue>\n    <scene_description>Jerry nods . Liza steps to the drafting table where Jerry has done several rough , but competent sketches of horses in motion . There 's a book open to a photo of a horse and rider jumping a rail . Liza closes it , reads :<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Equitation.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I've been reading up on it.<\/dialogue>\n    <character>LIZA<\/character>\n    <parenthetical>( re : sketches . )<\/parenthetical>\n    <dialogue>Are these yours?<\/dialogue>\n    <scene_description>Jerry nods , embarrassed . As he staples some papers together , Liza stops short . In the margin of one of the drawings are two small profile sketches of her . Eyes closed , it looks like she 's sleeping .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Here it is. Conspiracy Theory.<\/dialogue>\n    <parenthetical>( proudly hands it over . )<\/parenthetical>\n    <dialogue>It just went out Tuesday. Third issue this year. I bet I struck a nerve. Pissed someone off.<\/dialogue>\n    <character>LIZA<\/character>\n    <parenthetical>( scans contents . )<\/parenthetical>\n    <dialogue>` The Space Shuttle's Seismic Secret'. ` The Oliver Stone - George Bush Connection'.<\/dialogue>\n    <parenthetical>( looks up . )<\/parenthetical>\n    <dialogue>Oliver Stone?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Stone is their spokesman. You think if someone really had all that information and a national podium to shout it out from that they'd let him do it? Stone's a disinformation flunky. The face that he's alive says it all.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Can you prove any of this?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Absolutely not. A good conspiracy is an unprovable conspiracy. If you can figure it out, they screwed it up.<\/dialogue>\n    <scene_description>Liza flips through , reads the lead - in to one story aloud .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>` On July 8, 1979, security forces under control of the Trilateral Commission abducted the fathers of all American Nobel Prize winners. The men, many of them octogenarians, were forced at gunpoint to ejaculate into small plastic bottles. The sperm collected is now under study in a laboratory beneath the headquarters of the Rand Corporation in Santa Monica, California.'<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Pretty scary, huh?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Yeah. how many subscribers do you have?<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( embarrassed . )<\/parenthetical>\n    <dialogue>Just five. It's the economy. You think maybe one of them is not who they seem?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>You got a list?<\/dialogue>\n    <scene_description>Jerry nods , goes about digging one up . Liza steps to a bookshelf and fifteen different copies of The Catcher in the Rye .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>You're a Holden Caulfield fan.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Holden Caulfield? Catcher in the Rye?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Never heard of him.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>You have ten copies of the book, but you do n't know who the main character is?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I've never read it. I just - Every time I see one I buy it. I do n't know why exactly. Wan na hear my favorite part?<\/dialogue>\n    <scene_description>Strange . As Liza nods , Jerry opens to a particular page .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( reads . ) '<\/parenthetical>\n    <dialogue>I keep picturing all these little kids in this big field of rye. And I'm standing on the edge of some crazy cliff.'<\/dialogue>\n    <scene_description>FRONT DOOR - BEER BOTTLE Nothing until , almost imperceptibly , the door knob moves .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>` If they're running and they do n't look where they're going I have to come out from somewhere and catch them.'<\/dialogue>\n    <scene_description>JERRY 'S BEDROOM<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( finishing . )<\/parenthetical>\n    <dialogue>` That's all I'd do all day. I'd just be the catcher in the rye.'<\/dialogue>\n    <scene_description>FRONT DOOR - BEER BOTTLE The BOTTLE FALLS as the knob turns . JERRY 'S BEDROOM A brief look between them before Jerry hits a switch which kills the lights , then pulls her down alongside him .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>It probably fell by itself.<\/dialogue>\n    <scene_description>Jerry puts a finger over her lips .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ADJACENT BUILDING - ROOFTOP - NIGHT<\/stage_direction>\n    <scene_description>Two black - clad snipers aim at Jerry 's window , OPEN FIRE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JERRY'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Liza stifles a cry as tear gas canisters CRASH the WINDOW . FRONT DOOR It 's bludgeoned open . Light streams from the hallway . BUILDING HALLWAY Ten black - clad assault team members dives for cover as their leader tosses in a CONCUSSION GRENADE . JERRY 'S LIVING ROOM Cabinets split at the seams as the air is rent by the THUDDING IMPLOSION . JERRY 'S BEDROOM A beacon shines through the shattered window , but they 're clear . Jerry shoulders the desk across the floor . He pulls a barely visible wire loop , opens a trap door in the floor .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Go.<\/dialogue>\n    <scene_description>As Jerry guides Liza down the hatch . LIVING ROOM The assault team enters military style . KITCHEN WINDOWS Smash as two commandos rappel their way inside . JERRY 'S BEDROOM Grabbing the subscriber list , Jerry drops down the hatch pulls the trap door shut behind him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWNSTAIRS APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Dark . Jerry lands alongside Liza on a mattress .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Always rent a spare apartment!<\/dialogue>\n    <scene_description>Standing , Jerry hauls down on a handle attached to another thin wire . Really putting his weight into it . JERRY 'S BEDROOM The desk slides back into position over the trap door . Just an instant before the assault team rolls in . DOWNSTAIRS APARTMENT Jerry dashes to a closet . Liza watches as he opens the closet door , strikes a waiting match . He lights a fuse which burns up toward a hole in the floor .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Getting rid of my hub!<\/dialogue>\n    <scene_description>Liza stops short . The white light from the fuse illuminates the Wonderwall . Liza stares at a 6x12 painted montage . One image dominates . In fact , it 's arresting . Bliss : Liza in full equestrian fear , hands outstretched , head thrown back . Astride a winged horse . It soars over a gate and up into the heavens . Jerry has eyes only for the fuse . As it disappears through the hole in the floor , it takes its light with it . The Wonderwall goes dark .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JERRY'S APARTMENT - FILE CABINETS - NIGHT<\/stage_direction>\n    <scene_description>Branching off , the fuse runs into them , through them . Incendiaries ignite . FILE HALLWAY Bursting into flames . Everywhere . The assault team members shout , beat a retreat .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWNSTAIRS APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Jerry pulls a jacket from the closet , starts to pull it on . It 's too dark to make out exactly what he 's doing . Liza grabs the matches , lights one . It casts a barely adequate glow on the wall .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>What is this?<\/dialogue>\n    <scene_description>Jerry 's wearing a fireman 's greatcoat , pulls on a fireman 's helmet . Realizing what she 's seen , he 's very embarrassed .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Do n't know. It was here when I moved in.<\/dialogue>\n    <scene_description>The match burns to Liza 's fingertips . Darkness once again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JERRY'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>No shortage of light up here . As the last man exit , it 's become an incinerator . White hot flame shoots out . Paint peels . The housing of the typewriter melts . A locked METAL CYLINDER on the kitchen counter EXPLODES in a shower of popcorn . Polaroids blister . But more than anything - files burn . As the sound of SIRENS builds .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWNSTAIRS HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Smoke , but no fire . Six NYC firefighters escort squinting residents to the fire escape . A FIREMAN exits an apartment with a woman slung over his shoulder .<\/scene_description>\n    <character>FIREMAN<\/character>\n    <dialogue>Make a hole. Watch your backs.<\/dialogue>\n    <scene_description>It 's Jerry . The woman is Liza . As a path is cleared . STAIRWELL Jonas and his men trot up the stairs led by a FIRE CAPTAIN . Lowry follows , looking like he wished he were someplace else . Jonas no longer wears the bandage , just a small strip which partially covers the stitches across his nose . They meet Jerry and Liza on the landing , cross right past them . Oblivious . Jerry and Liza continue down .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Was that who I thought it was?<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( FIREMAN . )<\/parenthetical>\n    <dialogue>Uh huh.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Has this happened to you before?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Never, but I've been practicing.<\/dialogue>\n    <character>LIZA<\/character>\n    <parenthetical>( beat ; then . )<\/parenthetical>\n    <dialogue>Who are you, Jerry?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Just a guy trying to put out a fire.<\/dialogue>\n    <scene_description>They continue down OUT OF SIGHT .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JERRY'S NEIGHBORHOOD - STREET - NIGHT<\/stage_direction>\n    <scene_description>Jerry dumps the fireman 's coat in the trash , jumps in the BMW as Liza TEARS AWAY from the curb .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JERRY'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Jonas and his men are walked through the smoldering ruins by a Fire Captain . He pauses at the silver on the walls .<\/scene_description>\n    <character>FIRE CAPTAIN<\/character>\n    <dialogue>See the aluminum stuff? Firewall. Guy designed it so he could turn the place into an incinerator. Leaves the rest of the building untouched.<\/dialogue>\n    <character>CIA AGENT<\/character>\n    <parenthetical>( stepping up . )<\/parenthetical>\n    <dialogue>Dr. Jonas, there's something else you should see.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWNSTAIRS APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Illuminated with flashlights . Jonas enters , stares at the Wonderwall , mainly Liza , a moment before .<\/scene_description>\n    <character>JONAS<\/character>\n    <dialogue>In one hour I want to know what she eats, where she sleeps, the name of her gynecologist. Everything.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIZA'S APARTMENT - LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>The door opens . Liza enters followed by Jerry . An awkward beat as Jerry looks suspiciously about .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>See? Home safe and sound.<\/dialogue>\n    <scene_description>They stand there like two teenagers at the end of a date . Liza holds her copy of Conspiracy Theory .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>You gave me an hour ; now give me a day.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Jerry, there's something I have to ask you. Actually about a hundred things, but we can make progress, if you answer one question. To my satisfaction.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Shoot.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>It was that painting. The one on the wall.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( embarrassed . )<\/parenthetical>\n    <dialogue>I did n't mean for you to see it. It's like looking in someone's diary and taking it out of context. Know what I mean?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>It made me feel like you could see inside of me. And I do n't know how that's possible.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>So what's the question?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>How is it possible?<\/dialogue>\n    <scene_description>Jerry does n't answer . He looks around . Trapped . Then he spots a particular doorway .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Could I, um, could I look at something?<\/dialogue>\n    <scene_description>Without warning for her answer , he walks into .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIZA'S APARTMENT - SITTING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Big enough for a chair , bookshelves and a treadmill . Jerry steps onto the treadmill . Tentatively , like it might swallow him . He looks forward , then looks back . At . A framed 8X10 photo on the bookshelf : Liza , maybe 21 years old , in full equestrian gear holding the reins of her horse - Johnny Dancer . She stands beside an older man who surely must be her father . He 's also the `` Mr. S '' from Jerry 's bizarre strobe show . Liza stands in the door .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>I'll give you 100 bucks if you leave right now.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( steps to photo . )<\/parenthetical>\n    <dialogue>Is this your dad?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>That was him.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( picks up photo . )<\/parenthetical>\n    <dialogue>Is he dead?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Please put it down.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>How'd he die?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>He was murdered.<\/dialogue>\n    <scene_description>Liza tries to keep her cool ; it 's not easy . Jerry looks from the photo to the treadmill . It 's all suddenly clear .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>He's why you punish yourself.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Not this again.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>You run with your back to the picture. Like you were trying to get away. Once in awhile you sing along with music, but mostly you punish yourself.<\/dialogue>\n    <character>LIZA<\/character>\n    <parenthetical>( realizes . )<\/parenthetical>\n    <dialogue>You watch me, do n't you?<\/dialogue>\n    <scene_description>Jerry realizes he 's blown it . Liza looks out the window , down to the street .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Where do you stand? In the alley? Do you sit in a car? Is it every night? What?<\/dialogue>\n    <scene_description>Jerry counters by pointing out the horse in the photo .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Johnny Dancer, right? You do n't ride him anymore, do you? Not since your dad died.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Fuck you. I know you're crazy, but fuck you.<\/dialogue>\n    <scene_description>Forlorn , Jerry sets the picture back down . The walls of books reminds him of something .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Do you have a copy of that book I can borrow? Catcher? I do n't usually go this long without one.<\/dialogue>\n    <scene_description>Liza closes her eyes , rubs them .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>You got your twenty - four hours. Just give me the next eight off.<\/dialogue>\n    <scene_description>Jerry nods , exits in front of her . She stays put . A few moments pass before we hear her front DOOR OPEN and then CLOSE as Jerry leaves . Liza 's eyes flicker over to the treadmill . A moment and then .<\/scene_description>\n    <character>LIZA<\/character>\n    <parenthetical>( re : treadmill . )<\/parenthetical>\n    <dialogue>Fuck you, too.<\/dialogue>\n    <scene_description>Liza turns , switches off the light .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - OUTSIDE LIZA'S BUILDING - NIGHT<\/stage_direction>\n    <scene_description>A drizzle has started to fall . For a street lined with parked cars , it has a rather desolate feel . There 's a certain car - a Crown Victoria . A silhouette behind the wheel . Liza 's apartment is being watched . CROWN VICTORIA It 's Agent Lowry . And in the back seat AGENT MURPHY . They sit in silence , a relaxed , practiced state of alert . Murphy frowns at the RAINDROPS which SPLAT the rear window .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>I'm gon na take a piss in the alley before it starts to pour.<\/dialogue>\n    <scene_description>Lowry nods , keeps his eyes on the entrance to the apartment . Murphy opens the door . As he climbs out of the back seat , we see a black 9mm in a shoulder harness . A few moments pass . Agent Lowry leans forward to look up to the dark window of Liza 's apartment . Behind him , he hearts the back door open , Agent Murphy slide in the back seat . As Lowry leans back :<\/scene_description>\n    <character>LOWRY<\/character>\n    <dialogue>How's your bladder?<\/dialogue>\n    <scene_description>The barrel of Murphy 's black 9mm is pressed squarely against the side of Lowry 's head .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Not bad.<\/dialogue>\n    <parenthetical>( cocks hammer . )<\/parenthetical>\n    <dialogue>How's yours?<\/dialogue>\n    <scene_description>It 's Jerry in the back seat ! But Lowry 's a pretty cool customer . He regards Jerry evenly in the rearview .<\/scene_description>\n    <character>LOWRY<\/character>\n    <dialogue>Lot of folks are looking for you.<\/dialogue>\n    <scene_description>Lowry 's hand inches toward a .45 on the front seat .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Then you must be the smart one. Hands on the steering wheel.<\/dialogue>\n    <scene_description>A little nudge of the 9mm and Lowry does as he 's told .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>LOWRY<\/character>\n    <dialogue>You're welcome. Where's my partner?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I like that. A gun to your head and you ask about your partner. He's okay. May have a headache for a few days. Are you here with honorable intentions?<\/dialogue>\n    <character>LOWRY<\/character>\n    <dialogue>I'm not sure what you mean.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>You should think of me as Liza Sutton's guardian angel.<\/dialogue>\n    <character>LOWRY<\/character>\n    <dialogue>That's ironic. Because we're here to protect her from you.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>You're here because you figured I might show up.<\/dialogue>\n    <character>LOWRY<\/character>\n    <dialogue>It seemed like a possibility. What about your intentions? Are they honorable?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I'm not a violent man, Mr. Lowry. Not by nature, anyhow. But if you hurt Liza in any way, I'll kill you. Does that seem honorable?<\/dialogue>\n    <character>LOWRY<\/character>\n    <dialogue>Well, I do n't know if -<\/dialogue>\n    <scene_description>Jerry creases the back of his head with the gun barrel . As Lowry slumps unconscious , Jerry starts out , then pauses .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Are you pretending?<\/dialogue>\n    <scene_description>It sure does n't seem so . Till Jerry cocks back the hammer .<\/scene_description>\n    <character>LOWRY<\/character>\n    <parenthetical>( all but motionless . )<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Jerry whacks him again . Jerry 's about to go when the front door to Liza 's building opens and Liza steps out in her running gear . Jerry crouches , but he need n't bother . She 's not looking his way . As she takes off down the street :<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <scene_description>Jerry pulls Lowry over to the passenger 's seat , then climbs into the driver 's seat . He starts the car , then rolls out after her . LIZA runs . Looks every inch the athlete as she moves . Her feet splash through the growing puddles as she 's off the curb and on the street . CROWN VICTORIA - JERRY Jerry `` talks '' to Lowry as he drives , shadowing Liza .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>She should n't be outside at night. What's she doing?<\/dialogue>\n    <parenthetical>( looks to Lowry . )<\/parenthetical>\n    <dialogue>I know you can hear me.<\/dialogue>\n    <scene_description>LIZA cuts through a gap in the wall and enters Central Park . CROWN VICTORIA - JERRY As he stops short , Lowry slams into the dash . He turns , rides along looking for a place to turn into the park . And then she 's gone from sight . Jerry abandons Lowry and the car in the middle of the street and takes off on foot . PARK - LIZA Moving between the trees . Elusive . Tireless . PARK - JERRY Gasping . It takes everything he 's got to keep her in sight . He strips off his jacket to lighten the load . STREET As Liza exits the park , continues on her way , unaware that behind her . Jerry collapses against the wall . Taking each breath like it was his last , he watches as she disappears from sight . Finally , as he staggers out of the park .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARNES AND NOBLE BOOKSTORE (MANHATTAN) - NIGHT<\/stage_direction>\n    <scene_description>Jerry down the aisles . Getting desperate . Finally , the classics section . Moby Dick . Pilgrim 's Progress . Of Mice And Men . Bingo ! The Catcher In The Rye . One copy left . Jerry grabs it . Whew . CASH REGISTER The clerk waits as Jerry steps up , hands him the book .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Been a long day.<\/dialogue>\n    <scene_description>The clerk nods , picks up a scanner , runs it over the bar code on the back of the book .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMPUTER SURVEILLANCE ROOM (SOMEWHERE) - NIGHT<\/stage_direction>\n    <scene_description>Three bleary - eyed TECHNICIANS sit up and take notice as an alarm goes off on one of several computer screens .<\/scene_description>\n    <character>TECH #1<\/character>\n    <dialogue>Somebody bought one!<\/dialogue>\n    <scene_description>The second Technician watches as city grid maps flash across his computer screen . It narrows to a single street .<\/scene_description>\n    <character>TECH #2<\/character>\n    <dialogue>Barnes and Noble. McKinley Avenue.<\/dialogue>\n    <scene_description>Tech # 3 grabs a radio mic .<\/scene_description>\n    <character>TECH #3<\/character>\n    <dialogue>CLEET code 115. Location is 11 - 546 McKinley. Barnes and Noble. Keep collateral damage minimum.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARNES AND NOBLE - NIGHT<\/stage_direction>\n    <scene_description>The clerk hands Jerry his bag , thanks him . Jerry starts out . Throwing the bag in the trash , he 's out the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BARNES AND NOBLE - NIGHT<\/stage_direction>\n    <scene_description>Jerry walks down the street , reading . A popular area , there are still quite a few people about . Suddenly the pages flutter in Jerry 's hand . Trash swirls at his feet . He stops , slowly looks up as he hears the HELICOPTER . Black , no running lights , equipped with a sound damper . It descends quickly over the intersection . Silky black cords drop . Traffic snarls as CLEET COMMANDOS slide down . Four of them . Plainclothed with discreet com - headsets . Wearing jackets , we catch glimpses of the equipment slung on their hips , including machine pistols . Each has a 2X3 piece of paper taped to his wrist . Like NFL quarterbacks with the plays , except the papers are photos of Jerry . The helicopter is gone so fast some people have n't even noticed . The commandos disperse into the crowd , refer to their wrists as they advance in Jerry 's direction . Jerry hightails it the opposite way , tries not to attract attention . He pulls up in front of a movie theater as a second chopper swoops in to drop four more commandos at the south intersection . The street has been sealed off . Jerry stands there a beat , not sure what to do . Something makes him look across the street where CLEET # 1 pulls up , looks over at him . As CLEET # 1 refers to his wrist photo , Jerry dashes into the theater .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLIGHT DECK - THIRD HELICOPTER - NIGHT<\/stage_direction>\n    <scene_description>In a hurry . The skyline whizzes past as Jonas listens in on his headphones .<\/scene_description>\n    <character>CLEET #1<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I repeat. Target has entered the theater.<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>Oswald tried the same tactic, if I recall.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THEATER - NIGHT<\/stage_direction>\n    <scene_description>Nearly a full house . Jerry sits near the front , nervously looking back over his shoulder , watching the aisle . Four CLEETs appear silhouetted at the entrance . As they start down , checking faces . As the manager drones , people head for the aisles . Jerry moves for the emergency exit . Sticking out like a sore thumb as the emergency door opens and a shadowy figure steps inside the alcove . A CLEET commando . He spots Jerry , starts forward .<\/scene_description>\n    <character>CLEET #3<\/character>\n    <parenthetical>( into com - set . )<\/parenthetical>\n    <dialogue>He's in the third theater.<\/dialogue>\n    <scene_description>Jerry starts back through what 's been an orderly proceeding .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Bomb! There's a bomb in here!<\/dialogue>\n    <scene_description>As the cry of `` Bomb ! '' gets taken up , panic spreads . No one gets trampled , but the shoving is fierce . As the CLEETs fight their way down , Jerry heads for the rear exit . A few other patrons go that way as well .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY - BEHIND THEATER<\/stage_direction>\n    <scene_description>Jerry exits with a solid head - start , but as he turns there 's a CLEET in the alley . Checking faces - not looking Jerry 's way yet . Jerry keeps close behind another patron , then darts out , swings the CLEET face first into the wall . As the CLEET draws his machine - pistol , Jerry slams his face once , twice into the wall . As the CLEET drops , Jerry makes eye contact with a woman who watches aghast .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I did n't like his looks. Did you?<\/dialogue>\n    <scene_description>As she shakes her head `` no , '' Jerry continues on his way .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THEATER - NIGHT<\/stage_direction>\n    <scene_description>A big crowd . As police cars pull up , the CLEET commandos exchange a look . Removing their headsets , they disperse , dissolving into the crowd like they were never even here .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIZA'S APARTMENT - BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>She 's asleep . All seems peaceful . Then , low WHISPERING . It STOPS , STARTS again . Low , conspiratorial , cabalistic . Liza tosses , turns in her sleep . A shadow seems to pass over her . But as she wakes up , the WHISPERING FADES . Liza sits up , a bit spooked . She cocks her head , listens . Was that a click in the other room . Unsure , she gets up , heads for the door . LIVING ROOM Filled with long , dark shadows . Liza steps out , puts a hand on the light switch . Steeling herself , she switches them on . The room is empty . SITTING ROOM Liza sticks her head in . Empty . BATHROOM Lights go on . No one here . Liza slowly pulls back the shower curtain . Nothing . She switches the lights off . LIVING ROOM Liza returns from the kitchen , something in her hand . Stepping to the door , she first checks to make sure it 's locked . Then she balances an empty bottle upside down on the knob . She looks at it a second , shakes her head .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>I'm turning into Jerry.<\/dialogue>\n    <scene_description>Switching off the lights , she exits for the bedroom .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JUSTICE DEPARTMENT - BINOCULAR POV - DAY<\/stage_direction>\n    <scene_description>as Liza starts up the steps . Being watched .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SURVEILLANCE VAN - DAY<\/stage_direction>\n    <scene_description>Two surveillance drones monitor Liza 's movements . BINOCULAR POV - SURVEILLANCE VAN Someone 's watching the watchers . CLOSE ON JERRY Observing the van through a pair of binoculars . It 's difficult to say where he is .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ACROSS STREET - COFFEE SHOP - DAY<\/stage_direction>\n    <scene_description>Jerry stands at the window , looking through a small telescope .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JUSTICE DEPARTMENT - WILSON'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Wilson looks across his desk to where Liza stands .<\/scene_description>\n    <character>WILSON<\/character>\n    <dialogue>I've been given a cease and desist on all matters relating to Jerry Fletcher. We're not to discuss him with the press, the N.Y.P.D., anyone. Building police are to arrest him on sight and we're to report any attempt he makes to contact you.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>This does n't make sense.<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>It makes perfect sense. Field work is not our oeuvre.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>I do n't like it. Something's wrong.<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>Dr. Jonas thought you might be inclined not to cooperate. Why is that?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>We do n't know who Jonas is. We do n't know who it is we're cooperating with.<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>I've had a lot of credentials flashed in my face, Liza. What I saw yesterday, I know not to ask questions. We're out. Shut off. Terminated. Understood?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>- Understood.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JUSTICE DEPARTMENT - HALLWAY - DAY<\/stage_direction>\n    <scene_description>Liza strides down the hall . LAWYERS , seen earlier in the conference room , are talking . One looks over as Liza nears .<\/scene_description>\n    <character>LAWYER<\/character>\n    <dialogue>Liza, settle a bet for us.<\/dialogue>\n    <character>LIZA<\/character>\n    <parenthetical>( snaps . )<\/parenthetical>\n    <dialogue>What do I look like to you? Switzerland?<\/dialogue>\n    <scene_description>They all lean a little closer to the wall , make sure she has room to pass . As Liza passes her secretary , Jill .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Any messages?<\/dialogue>\n    <character>JILL<\/character>\n    <dialogue>Nothing so far, Liza.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIZA'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Liza enters , she looks at her equestrian photo a moment , then BUZZES the INTERCOM .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>You're sure?<\/dialogue>\n    <character>JILL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( over intercom . )<\/parenthetical>\n    <dialogue>Not a thing.<\/dialogue>\n    <scene_description>Sighing , Liza opens her briefcase , pulls out the Conspiracy Theory newsletter and Jerry 's subscriber list . Sitting at her desk , she turns on her computer .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ACROSS FROM JUSTICE BUILDING - SIDEWALK - DAY<\/stage_direction>\n    <scene_description>Lunchtime . A big crowd on the street . Among them - Jerry . He wears a baseball cap , heads right for the van .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Ca n't see the forest for the trees.<\/dialogue>\n    <scene_description>He holds a six inch length of steel rebar and a coil of wire cable . He passes the van . No one in the front . At the rear quarter , Jerry bends down to tie his shoes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SURVEILLANCE VAN<\/stage_direction>\n    <scene_description>The DRONES hunch over a speaker as a reel - to - reel records . We hear a TELEPHONE RING , a WOMAN 'S VOICE say `` Hello ? ''<\/scene_description>\n    <character>LIZA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( over speaker . )<\/parenthetical>\n    <dialogue>I'd like to speak to Mr. Ketcham.<\/dialogue>\n    <character>WOMAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>This is Mrs. Ketcham.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIZA'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Liza 's on the phone , unaware it 's a party line .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Hi, Mrs. Ketcham. Your husband subscribes to our newsletter. I'd like to ask him if he'd like to renew his subscription.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SURVEILLANCE VAN - DAY<\/stage_direction>\n    <scene_description>Where they listen , unaware of Jerry .<\/scene_description>\n    <character>MRS. KETCHAM<\/character>\n    <parenthetical>( WOMAN ; V.O . )<\/parenthetical>\n    <dialogue>My husband's dead. He was killed two nights ago in a car accident.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIDEWALK - SURVEILLANCE VAN - DAY<\/stage_direction>\n    <scene_description>On one end , the cable is sinched around the middle of the length of the rebar . Jerry slides the bar through the center hole of a manhole cover . The other end has a loop which he attaches to the van 's undercarriage . Shoes tied , Jerry rises , continues on his way .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIZA'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Liza crosses the name Ketcham off the subscriber list . There 's just one name left : Henry Finch . In St. Louis . Liza looks up as her office door opens and Jill carries in a bouquet . Sunflowers - seven of them .<\/scene_description>\n    <character>JILL<\/character>\n    <dialogue>They just came for you.<\/dialogue>\n    <scene_description>Liza opens the car : Go out front . Take the westbound bus . Liza stands , grabs her cell phone off the desk .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Jill, I'm expecting a call from the post office in St. Louis. Transfer it to me when it comes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SURVEILLANCE VAN - DAY<\/stage_direction>\n    <scene_description>The Drones watch as Liza exits and heads for the bus stop . As Drone # 1 moves up into the driver 's seat , Drone # 2 makes a call .<\/scene_description>\n    <character>DRONE #2<\/character>\n    <dialogue>Subject is on the move.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUS STOP - DAY<\/stage_direction>\n    <scene_description>A bus pulls up and Liza gets on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SURVEILLANCE VAN - DAY<\/stage_direction>\n    <scene_description>Facing the other way . As it pulls out , the wire unspools . INSERT - INSIDE MANHOLE The wire whips up until the piece of rebar hits the hole . STREET The 155 pound manhole cover pops loose , bounces along behind the van . As the van pulls a U - turn , the MANHOLE whips around , SLAMS in the door of a parked car . VAN Drone # 1 checks the side mirror , spots the manhole cover bouncing along behind . He HITS the BRAKES . The van stops , but the MANHOLE keeps coming . It SLAMS the rear of the van , tears a three - foot gash before CLANGING to the ground . Drone # 2 jumps out , tries to lift the manhole to thread the rebar out . As he struggles , Drone # 1 hits the HORN .<\/scene_description>\n    <character>DRONE #1<\/character>\n    <dialogue>We're losing her!<\/dialogue>\n    <scene_description>Giving up , Drone # 2 gets back in the van . They take off . The MANHOLE CLANGS along behind them , sideswipes a car . That draws the attention of a police cruiser coming the opposite direction . As the cherry lights flip on , the manhole takes out the cruiser 's windshield . As the van turns the corner , the manhole wraps around a pole . As the rear axle tears free of the van .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUS STOP #2 - DAY<\/stage_direction>\n    <scene_description>Jerry waits as the bus approaches , stops . Down the street , the cops approach the van . Smiling , Jerry boards the bus .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS - DAY (ROLLING)<\/stage_direction>\n    <scene_description>Jerry walks to the back , sits beside Liza .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Did you see the van back there?<\/dialogue>\n    <character>LIZA<\/character>\n    <parenthetical>( turning . )<\/parenthetical>\n    <dialogue>What van?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Never mind. You'd think I was making it up.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Where'd you get your subscribers?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I put an ad on a computer bulletin board. I log on at the library so I ca n't be traced.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Well, I've been tracking them down all morning.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>You have n't been bothering them, have you?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>They're dead. Four out of five anyhow. All in the last 24 hours. One car accident, two heart attacks and a stroke.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Jesus. It's my fault. They drew a black line over me and now I'm passing it on.<\/dialogue>\n    <parenthetical>( realizes . )<\/parenthetical>\n    <dialogue>I'm passing it to you, too.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>I'll be fine. Let's worry about Henry Finch. P.O. Box in St. Louis. He's the last on the list. I have n't been able to reach him yet.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Maybe you better not try. I worked so hard to keep quiet. Like a mouse. I should have realized.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Realized what?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Henry Finch. That they monitor everything. That it was only a matter of time. And now four people are dead.<\/dialogue>\n    <scene_description>Liza reaches into her pocket , takes out the newsletter .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Elaborate on ` they,' okay?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>There are all kinds of groups, all kinds of initials. But they're all part of two warring factions. One : families that have held wealth for centuries. They want one thing. Stability. Group Two : the boat rockers. Eisenhower's military industrial complex. They want instability. It's a trillion dollar a year business. When there is n't a hot war, they make a cold one.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Cold War's over, Jerry.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>So now they feed us terrorists. To create fear. How much do you think an airport security system goes for? Then multiply it by every airport in the country.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>And you think Group One is at war with Group Two.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Latest casualty? Ernest Harriman. You heard of him?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Sure. One of the richest men in America until he died a few days ago.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>His obituary was in every paper. But not one of them said he was murdered.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Murdered?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Right here in Manhattan.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>It said in the paper he drowned in a swimming pool. In Newport.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Nobody dies in Newport. They could n't even kill Sunny von Bulow there. Harriman drowned, but it was n't in Newport.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Where then?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 7TH AVENUE SUBWAY STATION - DAY<\/stage_direction>\n    <scene_description>Jerry and Liza stand amidst the hustle and bustle .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Right here. In the 7th Street subway station.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>What was he doing down here? A billionaire waiting for the subway? Why not drown him in a bus? Why drown him at all? Why not shoot him? Is the hitman from the lost world of Atlantis? I mean, come on.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I see the big picture and you stumble around in the details.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>They're big details, Jerry.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Do you watch the news? Read the paper. Last week, this whole place was underwater.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>A water main broke.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>They do n't break in the summer! Do you know what building is right over this spot? Harriman Tower. Their sub - basement was flooded! He did n't die in a pool. Call the coroner in Rhode Island! Ask if the water in his lungs was chlorinated!<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Okay, I will.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>You will?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>If that's what you want. Yes.<\/dialogue>\n    <scene_description>She means it sincerely . She 'll help . Jerry 's touched .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I do n't know what to say.<\/dialogue>\n    <parenthetical>( blurts . )<\/parenthetical>\n    <dialogue>I love you.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>A spontaneous moment . Jerry 's barely sure he said it .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I - It's like, I resolve to call you up 1000 times a day. To ask you if you'll marry me in some old - fashioned way.<\/dialogue>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>Everything you do is magic.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Those are song lyrics, Jerry.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I know that. I'm just - I'm nervous. I reached out and grabbed the first thing out there. I know they're song lyrics. And I know how I feel.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>I like you, Jerry. A lot.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Oh, Christ, here it comes. Look, I know you think I'm crazy. I do n't think I am, but.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Jerry, I -<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>What if I reached a point where you did n't think I was crazy anymore? If I was normal.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>If you were eating Kentucky Fried Chicken and drinking Coca - Cola again.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Yeah. Would you, I mean, could you love me then? If I was normal. Maybe?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Do n't do this to yourself. Jerry. You do n't love me.<\/dialogue>\n    <scene_description>Jerry shakes his head .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>You're wrong. Since I met you, I do n't dream about holes anymore.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Holes? I do n't know what you're talking about.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Yesterday you were wondering about the wall. How it was possible.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Now's not really the time to get into this -<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>It's Geronimo. Love. It lets you see things. It gives you insight. I've loved you since the first time I saw you.<\/dialogue>\n    <scene_description>After a long beat .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>And when was that? Was it that night I got mugged? Or was it before then?<\/dialogue>\n    <scene_description>Jerry looks away .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Answer me. Was the first time you saw me the first time I saw you? Was it? You've been following me around. Do you see how that could be disconcerting to me? That's not love, Jerry. It's obsession. And it is n't normal and you ca n't expect me to respond to it and you ca n't expect me to feel the same way.<\/dialogue>\n    <parenthetical>( long beat . )<\/parenthetical>\n    <dialogue>Can you?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I would never hurt you, Liza. Think whatever you want, but do n't think that.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>I do n't. I know you would n't.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I thought you - Why - Love ruins everything, does n't it?<\/dialogue>\n    <scene_description>Jerry starts off through the crowd .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Jerry? Come back.<\/dialogue>\n    <scene_description>Jerry starts to run . Liza starts after him , but she runs into a commuter , then another . Jerry 's lost in the crowd . The subway is about to leave . As Jerry gets on , Liza spots him . The doors close . The train rolls . She moves alongside , tries to get his attention , but he wo n't look over . SUBWAY TRAIN Jerry finally looks back . He sees Liza an instant before entering the tunnel , then a row of white strobe lights on the tunnel wall . Jerry tries to blink them out as the sound of conspiratorial whispers fill the train . He looks about . It 's all suddenly unreal . Certain passengers turn their heads , leer at him . SUBJECTIVE POV Mr. S . Mr. Sutton . Liza 's father . Standing at a white horse fence . His BACK TO us as whoever it is comes up from behind . As a pistol is raised INTO FRAME , the WHISPERING GROWS IN VOLUME . Mr. Sutton turns and somewhere along the way , it BECOMES A SCREAM .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 7TH AVENUE SUBWAY STATION - DAY<\/stage_direction>\n    <scene_description>Liza stands there , curses herself as the last of the train is swallowed by the tunnel . This is n't how she meant things to turn out . Then , her CELL PHONE RINGS . She takes it from her pocket , flips it open .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>JILL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Liza, we got a call from the P.O. in St. Louis. The mail for Henry Finch is being forwarded. Right here to Manhattan.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Where?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FEDERAL BUILDING (MANHATTAN) - DAY<\/stage_direction>\n    <scene_description>The same place where Jerry followed Clarke and Piper in the beginning . As Liza enters .<\/scene_description>\n    <character>JILL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The International Fund For Mergers and Acquisitions.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FEDERAL BUILDING - LOBBY - DAY<\/stage_direction>\n    <scene_description>Liza steps to the building 's directory , slides a finger across . The Central Intelligence Agency occupies the 18th to the 22nd floors . Just like Jerry saw . Liza drops her finger down . The 24th floor - The International Fund For Mergers and Acquisitions .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 24TH FLOOR - HALLWAY - DAY<\/stage_direction>\n    <scene_description>Liza gets off the elevator , heads over to the door to the I.F.M.A. What 's really behind here ? Liza takes a breath , grabs the doorknob to find out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INTERNATIONAL FUND FOR MERGERS AND ACQUISITIONS  DAY<\/stage_direction>\n    <scene_description>A group of bureaucrats pass by discussing interest rates . Liza steps over to a RECEPTIONIST .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>I'm here to see Henry Finch.<\/dialogue>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Henry Finch.<\/dialogue>\n    <scene_description>The Receptionist looks her over a moment .<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>Is he expecting you?<\/dialogue>\n    <scene_description>Jackpot ! Liza , dropdead official , flashes her credentials .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>I'm Ms. Sutton with the Justice Department. Could you tell Mr. Finch I need to see him at once.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - DAY<\/stage_direction>\n    <scene_description>A SECRETARY leads Liza past cubicles full of clerks going about business . They come to a door . Finch . They enter . FINCH 'S OFFICE No one 's at the desk , but the door to the adjoining bathroom is open . Liza can hear WATER RUNNING in the SINK .<\/scene_description>\n    <character>SECRETARY<\/character>\n    <dialogue>He'll be right with you.<\/dialogue>\n    <scene_description>The Secretary exits , closing the door behind her . Liza watches the bathroom door , apprehensive as she hears the WATER TURN OFF . A prolonged moment before . Dr. Jonas exits the bathroom . He looks at her , smiles .<\/scene_description>\n    <character>JONAS<\/character>\n    <dialogue>If you're as impressed to see me as I am to see you, you're very impressed indeed. How's Jerry feeling this morning?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Fine. What the hell is going on?<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>Please, sit.<\/dialogue>\n    <scene_description>Liza sits across from the desk . Jonas watches her closely .<\/scene_description>\n    <character>JONAS<\/character>\n    <dialogue>What I'm about to tell you is partially documented. The Freedom of Information Act saw to that. But much more of it is n't. For reasons which will soon be regrettably clear, I'm going to share - secrets - with you. Repeat any of it and you'll simply bestow the title of ` paranoid' upon yourself.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Truth'll set you free. I'm listening.<\/dialogue>\n    <scene_description>Jonas smiles sadly , turns his alumni ring around his finger .<\/scene_description>\n    <character>JONAS<\/character>\n    <dialogue>Years ago, I worked for the C.I.A. in the M.K. ULTRA program. Are you familiar with it?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>It was mind control. Manchurian Candidate kind of stuff, right?<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>A vulgar pop term, but yes. Take an ordinary man and turn him into an assassin. That was our goal.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Ask what you can do for your country. That kind of thing.<\/dialogue>\n    <character>JONAS<\/character>\n    <parenthetical>( ignores comment . )<\/parenthetical>\n    <dialogue>M.K. ULTRA was terminated in 1973. But not the research. It was renamed. EX CATCHER.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>As in Catcher in the Rye?<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>I am impressed. We used the distinctive cover as a sort of mental flash card.<\/dialogue>\n    <scene_description>Jonas steps over , his tone growing more confidential .<\/scene_description>\n    <character>JONAS<\/character>\n    <dialogue>We experimented with hallucinogens. We used electro - shock to produce a vegetative state. We conducted terminal experiments in sensory deprivation.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Terminal?<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>As in ` resulting in death.' We pushed the envelope until it was n't even an envelope anymore.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>If I had any idea what to charge you with or how to prove it, I'd arrest you right here.<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>Me? I was a minor missionary, a heretic really. But where else could a red - blooded American boy lie, cheat, steal and kill with the sanction and blessings of the All - Highs? Besides, now I'm trying to pay my penance.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Missionary? Penance? You talk about it like it was a religion.<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>It was. It was.<\/dialogue>\n    <scene_description>Jonas says it almost sadly .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Jerry told me he bit your nose.<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>And what did I say?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>A dog.<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>My dog. One I intend to put to sleep. Extrapolate from there.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>These things you're talking about. You did them to Jerry?<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>Yes, that's right.<\/dialogue>\n    <scene_description>Liza looks at Jonas with revulsion . A moment .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Why do n't you continue with your religious experiences?<\/dialogue>\n    <scene_description>Jonas smiles , nods in acquiescence .<\/scene_description>\n    <character>JONAS<\/character>\n    <dialogue>M.K. ULTRA, EX CATCHER, it all ended the moment John Hinckley shot Ronald Reagan.<\/dialogue>\n    <scene_description>He sees her eyes widen .<\/scene_description>\n    <character>JONAS<\/character>\n    <dialogue>It was n't us. The science had been sold. Pandora's Box opened. My children were taken from me and employed by the private sector. Jerry was one of them.<\/dialogue>\n    <scene_description>A long beat as they consider each other . We hear the CLOCK TICK on the credenza .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>I'm still listening.<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>Jerry is dangerous. Jerry has killed -<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>I do n't believe you.<\/dialogue>\n    <scene_description>Jonas looks a bit melancholy as he smiles , shrugs .<\/scene_description>\n    <character>JONAS<\/character>\n    <dialogue>Belief is immaterial. What's important is the truth. It's been my job to find Jerry. I'm very much responsible for him.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>If this was a spy novel, your next words would be something like I now know too much to live. Why are you telling me all this?<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>So you'll believe what I tell you next. Because I need to find Jerry. And I do n't think I can do that without you.<\/dialogue>\n    <scene_description>Jonas reaches into a file on his desk , hands Liza a worn , creased wallet - sized photo .<\/scene_description>\n    <character>JONAS<\/character>\n    <dialogue>Do you recognize this?<\/dialogue>\n    <scene_description>It 's a smaller version of the photo of Liza and her father that Liza keeps behind the treadmill . Liza 's stunned .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Where'd you get it?<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>You do recognize it then?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>It was my father's. Kept it in his wallet. He was murdered -<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>I know the story. A federal judge. He denied a man in prison an appeal for a new trial.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Not a man. Ezekiel Walters.<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>Walters had nothing to do with your father's murder.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>You sound so sure.<\/dialogue>\n    <scene_description>Jonas does n't answer . Liza looks at the photo . Jonas ' watches - the observer .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>When they found him, he was holding his wallet. But he had n't been robbed.<\/dialogue>\n    <parenthetical>( to Jonas . )<\/parenthetical>\n    <dialogue>The only thing missing was this photo. Where did you find it?<\/dialogue>\n    <scene_description>Jonas picks up a keyring , holds up an odd - shaped key .<\/scene_description>\n    <character>JONAS<\/character>\n    <dialogue>In Jerry's safety deposit box.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>I do n't understand.<\/dialogue>\n    <scene_description>Jonas is coldly paternal as .<\/scene_description>\n    <character>JONAS<\/character>\n    <dialogue>Jerry killed your father, Liza. And he's been obsessed with you ever since. It's not even really his fault. The blame is mine. I'm sorry.<\/dialogue>\n    <scene_description>Liza looks up at the ceiling , the walls . Like a bird in a cage as it sinks in . She blinks out a tear . Another . No place to hide . Jerry .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>It all makes sense. Oh God. He killed him. Jerry killed him.<\/dialogue>\n    <scene_description>Liza gulps a breath , covers her mouth with her hand . She 's going to be sick . Jonas sees it . Like he 's done it before , he turns his trash can over , dumps the contents , hands it to her empty . PHOTO OF LIZA AND HER FATHER TIGHTEN ON it as we hear LIZA RETCH . Painfully . Like glass was coming up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE - CLOSE ON BUSINESS END OF TELESCOPE - DAY<\/stage_direction>\n    <scene_description>Jerry on the other end . He stands at a half - washed window with a bucket of soapy water and a squeegee , stares up the street at . TELESCOPE POV - BLINDFOLDED JUSTICE PAN DOWN the building TO the street . Two operatives wait in a black sedan . PAN UP and ACROSS the street . Two more operatives in a second black sedan facing the opposite direction . The VIEW SWINGS AROUND . TELESCOPE POV - HELICOPTER Black . On a helipad two blocks away . An eight member plainclothed CLEET unit milling . The VIEW SWINGS again TO an adjacent rooftop . Two last operatives stand at the edge , headphones on , scanning the area with parabolic microphones . JERRY Smiles grimly .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>At least someone's finally taking me seriously.<\/dialogue>\n    <scene_description>Spotting something below , Jerry raises the telescope . TELESCOPE POV - STREET A truck shaped like a slice of pizza pulls up . As the pizza guy climbs out . JERRY Checks his watch , smiles . Pizza 's right on time . He turns , starts out . A hand clamps down on his shoulder .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>WIDEN to include a BIG MAN . As Jerry balls a fist .<\/scene_description>\n    <character>BIG MAN<\/character>\n    <parenthetical>( gesturing . )<\/parenthetical>\n    <dialogue>You call that a clean window?<\/dialogue>\n    <scene_description>JUSTICE DEPARTMENT - WILSON 'S OFFICE - DAY Wilson and Liza and Jonas and various hovering aides sit in silence . Waiting for something to happen . Liza jumps as the door opens . WILSON 'S SECRETARY steps in with the pizza .<\/scene_description>\n    <character>WILSON'S SECRETARY<\/character>\n    <dialogue>Ms. Sutton's pizza, sir.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>I did n't order. a pizza.<\/dialogue>\n    <scene_description>As Liza realizes , Jonas is already waving the Secretary in . He grabs the box , sets it in front of Liza . She looks at Wilson , then opens it . Pepperoni . With a note on top .<\/scene_description>\n    <character>LIZA<\/character>\n    <parenthetical>( reading . )<\/parenthetical>\n    <dialogue>Go to the northeast corner. Call a cab. Bring the pizza.<\/dialogue>\n    <parenthetical>( looks up . )<\/parenthetical>\n    <dialogue>Then there's a poem.<\/dialogue>\n    <parenthetical>( reading . )<\/parenthetical>\n    <dialogue>Roses are red, violets are blue, if the Pope goes to Washington, I would, too.<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>What the hell does that mean?<\/dialogue>\n    <scene_description>As Liza hands Wilson the note .<\/scene_description>\n    <character>WILSON<\/character>\n    <dialogue>Somebody find out if the Pope's scheduled to visit Washington?!<\/dialogue>\n    <scene_description>As people scramble , Jonas looks across at Liza .<\/scene_description>\n    <character>JONAS<\/character>\n    <dialogue>If you're up to it, I'd like to follow him. See where he goes.<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>No, hold on. I do n't think -<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>It's okay. I'm game.<\/dialogue>\n    <character>JONAS<\/character>\n    <parenthetical>( re : pizza box . )<\/parenthetical>\n    <dialogue>I want this box rigged with a beacon!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JUSTICE DEPARTMENT - DAY<\/stage_direction>\n    <scene_description>Liza exits carrying the pizza . MOVE WITH her as she heads to the NE corner . She has no sooner raised her hand when a Yellow Cab pulls up at the curb . Jerry behind the wheel .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Where to, lady?<\/dialogue>\n    <scene_description>Liza hesitates a beat , then gets in on the passenger side .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>You tell me.<\/dialogue>\n    <scene_description>The cab rolls . A sedan follows ; the second pulls a U - turn .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELIPAD - DAY<\/stage_direction>\n    <scene_description>The helicopter lifts off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COMMAND VAN - PARKED BEHIND JUSTICE - DAY<\/stage_direction>\n    <scene_description>A big box van . Jonas and Wilson enter . A dot -LRB- the beacon -RRB- flashes on a city grid . They roll .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. YELLOW CAB - HELICOPTER POV<\/stage_direction>\n    <scene_description>Driving the city grid . There are other taxis down here , but not so many that they 'll be lost .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELICOPTER - COCKPIT - DAY<\/stage_direction>\n    <scene_description>The PILOT flies . His SPOTTER is on the radio .<\/scene_description>\n    <character>SPOTTER<\/character>\n    <dialogue>Rolling east. Fender number 1301.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEDAN ONE - ROLLING - DAY<\/stage_direction>\n    <scene_description>One of the Operatives on the radio .<\/scene_description>\n    <character>OPERATIVE<\/character>\n    <dialogue>We're on him. Seventy - five yards back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMAND VAN - ROLLING - DAY<\/stage_direction>\n    <scene_description>Wilson and Jonas listen as the OPERATIVES AND the SPOTTER TALK BACK AND FORTH .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. YELLOW CAB - ROLLING - DAY<\/stage_direction>\n    <scene_description>Liza instinctively sits as close to the door as possible . Not noticing , Jerry grabs a piece of pizza , eats .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>It's good. Have some.<\/dialogue>\n    <scene_description>She waves him off .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>How'd they like that thing about the pope? I made it up. Threw it in there to get'em going.<\/dialogue>\n    <scene_description>Liza does n't answer . It 's no longer cute . She anxiously starts to check the side mirror . Catches herself .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>You look great.<\/dialogue>\n    <character>LIZA<\/character>\n    <parenthetical>( flat . )<\/parenthetical>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Liza looks away , can barely stand this .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Are you okay? I wish I had n't told you what I did. But I ca n't help the way I feel. You do n't hold that against me, do you?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>No. That would n't be fair. Where are we going, Jerry?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>It would be a lot easier for me to show you instead of tell you. But first things first.<\/dialogue>\n    <scene_description>Jerry checks his rearview mirror , looking for the car . Liza feigns ignorance .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>There's a car following us. Probably another one flanking us the next street over.<\/dialogue>\n    <scene_description>Jerry leans forward to look upwards through the windshield .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>And somewhere up top, a chopper.<\/dialogue>\n    <scene_description>Liza looks up as well , her acting convincing .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>They think they're so smart. Actually, they are.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELICOPTER - DAY<\/stage_direction>\n    <scene_description>1000 feet above . Tough to lose .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. YELLOW CAB - ROLLING - DAY<\/stage_direction>\n    <scene_description>The light ahead goes yellow . The cab speeds up . Red light . The car ahead stops . The cab weaves around , squeezes the intersection just ahead of the cross traffic .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEDAN ONE - DAY<\/stage_direction>\n    <scene_description>Turns into the oncoming lane to follow , but is forced back .<\/scene_description>\n    <character>OPERATIVE<\/character>\n    <dialogue>He made us!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELICOPTER - COCKPIT - DAY<\/stage_direction>\n    <scene_description>No problems up here .<\/scene_description>\n    <character>SPOTTER<\/character>\n    <dialogue>We've got him. He's headed for the bridge.<\/dialogue>\n    <scene_description>Down below and ahead , the Queensboro Bridge .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SEDAN TWO - ROLLING - DAY<\/stage_direction>\n    <scene_description>Flanking as Jerry thought , they turn left ahead of where Sedan One is stuck in traffic .<\/scene_description>\n    <character>OPERATIVE #2<\/character>\n    <dialogue>We're on him!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMAND VAN - ROLLING - DAY<\/stage_direction>\n    <scene_description>Watching the blip , Jonas gets on the air .<\/scene_description>\n    <character>JONAS<\/character>\n    <dialogue>Jonas to ground units. The helicopter has him. Hang back and let him think he lost you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEDAN TWO - ROLLING - DAY<\/stage_direction>\n    <scene_description>Following orders , they slow .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. YELLOW CAB (QUEENSBORO BRIDGE) - SUNSET<\/stage_direction>\n    <scene_description>They turn onto the ramp for the bridge . Headed for the lower section of the double - decker .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>We're going to Queens?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Not today.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELICOPTER - COCKPIT - SUNSET<\/stage_direction>\n    <scene_description>They watch as the Yellow Cab disappears from sight .<\/scene_description>\n    <character>SPOTTER<\/character>\n    <dialogue>On the bridge. Lower level.<\/dialogue>\n    <scene_description>As they ZOOM over it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. YELLOW CAB (BRIDGE) - SUNSET<\/stage_direction>\n    <scene_description>Halfway across it . Without warning , Jerry locks it up , whips the wheel around . Liza screams as the cab slides sideways .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRIDGE - BRONX-BOUND LANES - SUNSET<\/stage_direction>\n    <scene_description>HORNS BLARE . The cab blocks traffic . Jerry exits , shouts for Liza to follow . The grabs the pizza box , joins him at the center guardrail .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Now what?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>This way.<\/dialogue>\n    <scene_description>Jerry climbs over the median , drops over to the other side . He holds out his hand . She pauses , then takes it . As she goes over , she drops the pizza box . She reaches for it , but Jerry pulls her along .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Forget it! I'll buy you another one!<\/dialogue>\n    <scene_description>MANHATTAN - BOUND LANES already slow with commuters . Across the lanes , an abandoned car , it 's rear end up on a jack . Jerry raises a cautionary hand to traffic , starts across with Liza in tow . He steps over to the abandoned car .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>After you.<\/dialogue>\n    <parenthetical>( as she hesitates . )<\/parenthetical>\n    <dialogue>It's okay. I'm the one who left it here.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Where are we going, Jerry?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Connecticut.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>What's in Connecticut?<\/dialogue>\n    <scene_description>Jerry takes her arm , guides her in .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I do n't mean to be mysterious, but you'll know when we get there.<\/dialogue>\n    <scene_description>Jerry , behind the wheel , STARTS the CAR . Suddenly , he stares to the left , transfixed . Liza follows his gaze , but the only thing apparent are the three red - and - white smokestacks of the Con - Edison plant . But before Liza can ask , Jerry snaps out of it . The front - wheel - drive digs in . The jack spits loose and the rear end hits the asphalt . As they blend into traffic .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELICOPTER - SUNSET<\/stage_direction>\n    <scene_description>Waiting over the Jersey - end of the bridge , no idea of what 's going on . The Spotter realizes .<\/scene_description>\n    <character>SPOTTER<\/character>\n    <dialogue>Drop down.<\/dialogue>\n    <scene_description>They drop , see that no more cars are coming off the bridge .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRIDGE - SEDAN TWO - SUNSET<\/stage_direction>\n    <scene_description>Stopped in traffic . The helicopter Spotter on the radio .<\/scene_description>\n    <character>SPOTTER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Something's wrong. We're going in.<\/dialogue>\n    <scene_description>The Operatives get out of the sedan , rush forward .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELICOPTER - SUNSET<\/stage_direction>\n    <scene_description>Hovering low , deploying its CLEET unit onto the bridge .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. QUEENSBORO BRIDGE - SUNSET<\/stage_direction>\n    <scene_description>The abandoned car drives off the bridge . Jerry and Liza go completely unnoticed . PULL BACK AS they become a very small needle in a very big haystack .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY - NIGHT<\/stage_direction>\n    <scene_description>The CAR WHIZZES past the `` Entering Connecticut '' sign .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - NIGHT<\/stage_direction>\n    <scene_description>Jerry drives . The RADIO PLAYS SOFTLY . Liza sits as far over as possible . Quiet , then finally .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Ted Bundy. David Berkowitz. Richard Speck.<\/dialogue>\n    <scene_description>The names just hang in the air . Liza is scared . Finally , curiosity gets the best of her .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>What about them?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>How come serial killers have two names, but lone gunman assassins have three. John Wilkes Booth. Mark David Chapman. Lee Harvey Oswald.<\/dialogue>\n    <character>LIZA<\/character>\n    <parenthetical>( after a beat . )<\/parenthetical>\n    <dialogue>John Hinkley. The guy who shot Reagan. He only had two names.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( without hesitation . )<\/parenthetical>\n    <dialogue>Reagan did n't die. If he had died, everybody would know what Johnny's middle name was.<\/dialogue>\n    <scene_description>Jerry smiles , but she does n't smile back . As he concentrates on his driving . Liza eases her little cell phone out of her pocket . Holding it at her side , half - turning away from Jerry , she flips it open , turns it on . Enter a pre - dial code : `` WILSON '' flashes across the display . As Liza holds her thumb over the ear speaker - holes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WILSON'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>As Wilson and Jonas and the team confab , the PHONE RINGS . Wilson 's SECRETARY answers it in the b.g.<\/scene_description>\n    <character>WILSON'S SECRETARY<\/character>\n    <dialogue>Mr. Wilson's office. Hello? Hello?<\/dialogue>\n    <scene_description>As she hangs up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - NIGHT<\/stage_direction>\n    <scene_description>Liza sees the light go out on the phone . Shit . She glances at Jerry , hits redial .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WILSON'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>As the PHONE RINGS again .<\/scene_description>\n    <character>WILSON'S SECRETARY<\/character>\n    <dialogue>Mr. Wilson's office. Hello?<\/dialogue>\n    <scene_description>She moves to hang it up again when suddenly , Jonas grabs her wrist . He takes the PHONE , listens . CELLULAR CRACKLES , ROAD NOISE . Jonas knows .<\/scene_description>\n    <character>JONAS<\/character>\n    <dialogue>It's her. The line's open. Get a trace on it.<\/dialogue>\n    <scene_description>As they go into action .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - NIGHT<\/stage_direction>\n    <scene_description>Liza sticks the live - line phone between the seat and the back .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY - NIGHT<\/stage_direction>\n    <scene_description>The abandoned car takes the exit for `` Bumps River Road . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABANDONED CAR - NIGHT<\/stage_direction>\n    <scene_description>Liza sits up , does n't like this at all . For the third time .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Where are we going?<\/dialogue>\n    <scene_description>Jerry does n't answer .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Where?!<\/dialogue>\n    <scene_description>Jerry pulls over , stops alongside the woods .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE - WOODS - NIGHT<\/stage_direction>\n    <character>JERRY<\/character>\n    <dialogue>Have n't you figured it out yet?<\/dialogue>\n    <scene_description>Liza stares into the woods , knows what 's in there .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>My father's house.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <scene_description>Liza takes a last look at the cell phone antennae sticking out from the seat and follows Jerry out . They head into the woods , he a bit behind her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BARN - NIGHT<\/stage_direction>\n    <scene_description>The trees thin . Liza and Jerry step out , start to walk along the side of an old barn .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>How do you really know there's gold in Fort Knox? Just because they say so? We should go to Tennessee and demand to see it.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>You go. Send me a postcard.<\/dialogue>\n    <scene_description>They continue , Liza nervous as hell . Her eyes dart ahead . LIZA 'S POV An old well at ground level . Covered over with boards , some of which are rotten . BARN A plan taking shape , Liza heads toward the boards . Jerry 's nervous , ca n't keep his mouth shut .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>You know who was the first President to be assassinated? George Washington. His doctor bled him to death.<\/dialogue>\n    <scene_description>They near the rotten boards . Jerry 's behind and to Liza 's right . She 's leading him into a trap .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>There's a fraternity of secrecy. And anyone trying to expose it is labeled a hopeless paranoid.<\/dialogue>\n    <scene_description>As she 's about to skirt the edge of the well , Jerry suddenly leaps forward , grabs her . She nearly screams .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Watch out!<\/dialogue>\n    <scene_description>Jerry gestures at the rotting boards , thinks he saved her .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>You could've fallen down there.<\/dialogue>\n    <scene_description>He releases her , then stares at the distant silhouette of a house . She 's really scared .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>What's your middle name, Jerry?<\/dialogue>\n    <scene_description>Jerry looks over , cocks his head kind of funny .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>What do you mean? Liza?<\/dialogue>\n    <scene_description>As he takes a step toward her , Liza takes two steps back .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Liza?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Did you kill him?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Is that what they told you?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Did you kill my father?<\/dialogue>\n    <scene_description>Jerry shakes his head . Liza wants to believe him , but .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Then why did you have his picture in your safe deposit box?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>He gave it to me.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>I do n't understand.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Where were you the day he died?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>At a horse show.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>That's the last time you rode, is n't it? Do you think it was your fault? Is that why?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Did you kill my father?!<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>No! But they trained me to. M.K. ULTRA. EX - CATCHER. America works. Get rid of the crazy people, the lone gunmen, and the system still works.<\/dialogue>\n    <scene_description>Liza tries to stop his rant before it takes over .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Jerry. Please. You do n't understand. I have to know. It's all I think about. Do you have any idea what it's like not to know?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Yeah. I know what it's like.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Then tell me what happened.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Ca n't give you the details because I ca n't remember. I went to court to kill him. At the Ezekiel Walters hearing. I was supposed to shoot him at the press conference. You were there. That's the first time I saw you.<\/dialogue>\n    <character>LIZA<\/character>\n    <parenthetical>( sarcastic . )<\/parenthetical>\n    <dialogue>Love at first sight?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I do n't know what it was. All I know is I had a gun in my hand, but when I saw you standing with him, I could n't do it. If that's love, it's not so bad.<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>I found a part of myself that day. I could n't go back.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Back where?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>To Jonas. I did n't know that at the time. Did n't know who he was.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>But I knew inside, whoever he was, he'd send someone else. So I started watching your father. I wanted to keep him safe.<\/dialogue>\n    <scene_description>There 's a sincerity in Jerry 's voice that 's hard to ignore .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Someone else might call it stalking. My dad felt it. He started carrying a gun.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>He kept it in the side table in the front hallway.<\/dialogue>\n    <parenthetical>( off her look . )<\/parenthetical>\n    <dialogue>He showed me. I visited a few times. Then one of Jonas's guys visited. When I arrived, your dad was dying.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Why? What do these guys have to do with Ezekiel Walters?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Walters was their fall guy. Blow up a building and blame a nut. Create fear. Do n't you see? Your father was n't trying to keep Walters in prison. He was looking into getting him out. He did n't believe the official story.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <scene_description>Jerry looks away , ca n't answer .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Why not, Jerry?<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( a whisper . )<\/parenthetical>\n    <dialogue>Because he believed me.<\/dialogue>\n    <scene_description>A raw honesty to the words . Stunned , she only has one question left .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>How'd you get the picture?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Your father, he was dying. He was worried about you. He took your picture out to look at it. He called you his baby.<\/dialogue>\n    <scene_description>Liza starts to softly cry .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I told him I'd keep you safe. I took the picture and I've been watching you ever since.<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>Please do n't cry.<\/dialogue>\n    <scene_description>Liza looks at Jerry . He looks like he 's on the verge of tears himself . She 's not afraid of him anymore . But more important than that .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>I believe you.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>You do?<\/dialogue>\n    <scene_description>She nods . They embrace . Just a lost soul and a lonely one trying to comfort each other . Suddenly , Liza pulls away .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>You got to get out of here. My cell phone's on. Back in the truck.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>They'll trace it.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>It's okay. You. You thought I was bad.<\/dialogue>\n    <scene_description>WHITE LIGHT hits them from the woods on one side . Then from the house on the other . Jerry grabs Liza 's hand to run , but GUNFIRE RIPS into the FENCE beyond them .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hands behind your head!<\/dialogue>\n    <scene_description>A third light . This one from a helicopter descending . Blinded by lights , Jerry knows there 's nowhere to run this time . He raises his hands , laces them behind his head .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Step away from him, Ms. Sutton!<\/dialogue>\n    <scene_description>Jerry squints over at her .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Is his gun still in the hall table?<\/dialogue>\n    <scene_description>Liza nods .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Go get it. And when you got it, keep going.<\/dialogue>\n    <character>VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( closing . )<\/parenthetical>\n    <dialogue>Step away, Miss Sutton!<\/dialogue>\n    <scene_description>Members of the CLEET Unit step in . Two from either side . They grab Jerry , cuff him and start him toward the helicopter .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Wait a minute -<\/dialogue>\n    <scene_description>CLEET # 1 shoves her back . Jerry dips , drives his shoulder into CLEET # 1 's back . He looks back over his shoulder at Liza . Not worried about himself .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Go get it.<\/dialogue>\n    <scene_description>The CLEETs pound him . The chopper touches down , the door thrown open . As Wilson gets off , Jerry is hustled past him and onboard .<\/scene_description>\n    <character>WILSON<\/character>\n    <dialogue>Liza, are you alright?<\/dialogue>\n    <scene_description>Wilson looks back as the CHOPPER MOTOR REVS , the skids lift off the ground . In the doorway , Jonas waves goodbye . The helicopter rises - revealing CLEET # 5 , Clark and Piper standing beyond . They hold 9mms . As CLEET # 5 SHOOTS Wilson TWICE in the chest , Liza turns and runs for the house . They FIRE at her , then give chase .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELICOPTER - FLIGHT DECK - NIGHT<\/stage_direction>\n    <scene_description>Jerry struggles . Jammed into a corner , he watches after Liza , his face pressed against the glass .<\/scene_description>\n    <character>JONAS<\/character>\n    <dialogue>You've embarrassed me, Jerry. You've made certain people take notice of me who should n't.<\/dialogue>\n    <scene_description>Jerry 's not listening . He only has eyes for Liza . Down below , her legs churn her toward the house .<\/scene_description>\n    <character>JONAS<\/character>\n    <dialogue>We've arranged for you to take the blame. Everyone knows how you've been harassing the poor girl.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( ready to burst . )<\/parenthetical>\n    <dialogue>Liza!<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>You should n't watch, Jerry. It's a moment without hope.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( chokes it out . )<\/parenthetical>\n    <dialogue>You've never seen her run.<\/dialogue>\n    <scene_description>Liza disappears as darkness swallows the scene . Helpless , hopeless , Jerry pounds his forehead against the glass . Jonas watches , amused , till Jerry finds the strength to lunge at him . As Jerry 's driven down to the deck .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BARN - NIGHT<\/stage_direction>\n    <scene_description>Liza turns the corner , runs alongside with CLEET # 5 closing . Liza throws a look back over her shoulder then ahead . The rotten planking covering the well looms . Liza skirts one side , but CLEET # 5 steps right into the middle of it . CRASH ! As he disappears down .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CORRAL FENCE - NIGHT<\/stage_direction>\n    <scene_description>Liza runs . As Clark closes , she jerks back the gate to the hot walker , continues as the aluminum bar catches Clark in the teeth . As he drops . FURTHER BACK Piper steadies his aim on the fence , sites through a scope . INFRARED POV - LIZA Running away FROM us , but an easy target . PIPER Confident , his finger squeezes . INFRARED POV As Liza is suddenly blotted out by a big green shape . CLARK Mouth smashed , he 's gotten up on shaky legs , only to have the back of his head blown off by Piper . BACK TO SCENE Piper does n't get a second chance as Liza disappears from view .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIZA'S FATHER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Liza hits the front steps . In stride , she picks up a porch CHAIR , flings it THROUGH a PICTURE WINDOW . Piper follows behind as she enters .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Dark . Much to Liza 's advantage . She makes it to the hall as Piper trips over a hammock . HALLWAY Liza pulls open the drawer of the hall table , fishes out a .38 , turns just as Piper turns the corner . Caught by surprise , he goes down as Liza FIRES all SIX ROUNDS . She HITS another SIX EMPTY CHAMBERS before she stops pulling the trigger .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIZA'S FATHER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Reloading , Liza looks out through the broken window . It 's quiet . Peaceful even . The helicopter is gone . Just the CRICKETS . She disappears back inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Liza goes to the phone on the side table , dials a number .<\/scene_description>\n    <character>OPERATOR<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Federal Bureau of Investigation.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>I need to speak with an Agent Lowry.<\/dialogue>\n    <character>OPERATOR<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The office is closed for the evening. Is this an emergency?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Do you have an Agent Lowry in your New York office?<\/dialogue>\n    <scene_description>Liza closes her eyes , sure the answer will be no .<\/scene_description>\n    <character>OPERATOR<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <character>LIZA<\/character>\n    <parenthetical>( opens eyes . )<\/parenthetical>\n    <dialogue>Then this is a goddamn emergency.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW YORK APARTMENT - STUDY - NIGHT<\/stage_direction>\n    <scene_description>Seen FROM BEHIND . A MAN sits in a leather chair reading the paper . A PHONE on a stand beside him RINGS .<\/scene_description>\n    <character>MAN<\/character>\n    <parenthetical>( answering . )<\/parenthetical>\n    <dialogue>Lowry.<\/dialogue>\n    <character>OPERATOR<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Agent Lowry, it's Lynn Matthews at the Bureau. I hate to disturb you at home, but I have a Liza Sutton on the phone from the Justice Department. She says it's an emergency.<\/dialogue>\n    <scene_description>The CAMERA ARCS AROUND to reveal FBI AGENT LOWRY . About 60 , paunchy with white hair . Not our Lowry , but the Lowry .<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>Never heard the name. Put her through.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SURVEILLANCE ROOM (SOMEWHERE) - NIGHT<\/stage_direction>\n    <scene_description>Our Agent Lowry waits with phone in hand as technicians monitor the call . OVER a SPEAKER :<\/scene_description>\n    <character>OPERATOR<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Go ahead, Miss Sutton.<\/dialogue>\n    <character>LIZA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Agent Lowry?<\/dialogue>\n    <scene_description>A Technician nods to Lowry as he switches him over .<\/scene_description>\n    <character>LOWRY<\/character>\n    <dialogue>Liza, what can I do for you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW YORK APARTMENT - STUDY - NIGHT<\/stage_direction>\n    <scene_description>The Man holds the phone to his ear .<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>Hello? Hello?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 12TH FLOOR - ELEVATORS - NIGHT<\/stage_direction>\n    <scene_description>The doors open . Lowry , Liza , six `` FBI '' agents and a building SECURITY GUARD step off . Badges on jackets , MOVE WITH them as they stride the hallway with purpose . Suite 1203 . I.F.M.A. Lowry and Liza wait impatiently as the Guard keys the door . Guns drawn , they burst in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INTERNATIONAL FUND FOR MERGERS &amp; ACQUISITIONS  NIGHT<\/stage_direction>\n    <scene_description>Stop short . The place is empty . The dividing walls are even missing . The only thing that 's here are some ladders , tarps and painting materials . Liza is stunned .<\/scene_description>\n    <character>SECURITY GUARD<\/character>\n    <dialogue>I told you. They have n't moved in yet.<\/dialogue>\n    <scene_description>JERRY Strapped to a metal chair in front of blinding white lights . Only now , it 's really happening . Jonas steps over , an electrode in either hand . Jerry 's chin is down on his chest . He 's already been through the ringer .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Monkey finger. Shoot Coca - Cola.<\/dialogue>\n    <scene_description>Gently , Jonas slides one of the electrodes under his chin and lifts his head .<\/scene_description>\n    <character>JONAS<\/character>\n    <dialogue>Who else knows what you know?<\/dialogue>\n    <scene_description>Jerry just blinks back at him .<\/scene_description>\n    <character>JONAS<\/character>\n    <dialogue>Liza Sutton is dead.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Then I ca n't be hurt anymore.<\/dialogue>\n    <scene_description>Jerry squeezes his eyes shut . As tears roll down his cheeks , Jonas fires up the juice .<\/scene_description>\n    <character>JONAS<\/character>\n    <parenthetical>( looming . )<\/parenthetical>\n    <dialogue>I'll be the judge of that.<\/dialogue>\n    <scene_description>CLOSE ON JERRY 'S HAND OVER the CRACKLE of ELECTRICAL CURRENT , the strap snaps taut as Jerry tries to reach through the ceiling for the moon .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DECREPIT HOSPITAL ROOM - NIGHT<\/stage_direction>\n    <scene_description>A sink and dirty mattress on the floor . Two CLEETs drag in Jerry . Unconscious , he 's dumped on the floor by a narrow heating duct . They leave , lock the door behind them . Jerry does n't move , does n't make a sound . A rag doll .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DECREPIT HOSPITAL - DARKENED WINDOW - NIGHT<\/stage_direction>\n    <scene_description>We hear the sounds of the CITY , but it 's impossible to tell where we are . Practically a show , Jonas stares out the window . A CLEET appears vaguely over his shoulder .<\/scene_description>\n    <character>CLEET<\/character>\n    <dialogue>She got away.<\/dialogue>\n    <character>JONAS<\/character>\n    <dialogue>Good God. Find her.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FEDERAL BUILDING - 12TH FLOOR - ELEVATORS - NIGHT<\/stage_direction>\n    <scene_description>No luck . As the mystery agents pile back onto the elevator , Liza takes Lowry 's arm .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Can I talk to you a second?<\/dialogue>\n    <character>LOWRY<\/character>\n    <parenthetical>( to others . )<\/parenthetical>\n    <dialogue>Go ahead. We'll be right down.<\/dialogue>\n    <scene_description>The doors close leaving just Liza and Lowry .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Do you believe me?<\/dialogue>\n    <character>LOWRY<\/character>\n    <dialogue>Yeah, I do.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>I want to believe you, too.<\/dialogue>\n    <character>LOWRY<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <scene_description>Liza points her father 's .38 into his face .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Who's the Deputy Director of the F.B.I?<\/dialogue>\n    <character>LOWRY<\/character>\n    <dialogue>You think we have time to fool around like this? Come on.<\/dialogue>\n    <scene_description>He tries to move on , but she cocks back the hammer .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>The Deputy Director.<\/dialogue>\n    <scene_description>Lowry shrugs . He does n't know .<\/scene_description>\n    <character>LOWRY<\/character>\n    <dialogue>What gave me away?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Nothing. I was just making sure. So, who are you?<\/dialogue>\n    <scene_description>Lowry looks at her , grimly shakes his head .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>I'm going to find Jerry. I'm - Who are you? One of them?<\/dialogue>\n    <scene_description>Liza looks ready to pull the trigger .<\/scene_description>\n    <character>LOWRY<\/character>\n    <dialogue>I'm, it really does n't matter. Think C.I.A. and exponentiate. I'm a government employee and I've been watching Jerry for awhile.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>And Jonas?<\/dialogue>\n    <character>LOWRY<\/character>\n    <dialogue>He's why I watch Jerry. Jerry's the bait for Jonas.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>He's shown himself. Why have n't you arrested him or killed him or done whatever it is you do?<\/dialogue>\n    <character>LOWRY<\/character>\n    <dialogue>Jonas builds assassins for a living. Several of whom may be in place already. We'd like to kill a few birds with one stone.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Where do you think Jerry is?<\/dialogue>\n    <character>LOWRY<\/character>\n    <dialogue>No idea. Honest. What are you going to do?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>I'm going to find him. Because he'd find me.<\/dialogue>\n    <character>LOWRY<\/character>\n    <dialogue>Do n't go home. And do n't go to work. Either one could be bad.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>What do you suggest?<\/dialogue>\n    <character>LOWRY<\/character>\n    <dialogue>That you come with me.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>I do n't think so.<\/dialogue>\n    <scene_description>She coldcocks him , the .38 across the back of the head . As Lowry goes down , Liza heads for the stairwell . As she disappears , Lowry gets up , clutching the back of his head . She should have double - checked .<\/scene_description>\n    <character>LOWRY<\/character>\n    <parenthetical>( as he follows . )<\/parenthetical>\n    <dialogue>I do n't get paid enough for this.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JERRY'S BUILDING - DOWNSTAIRS HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Ready for anything , .38 in one hand and a flashlight in the other , Liza walks the hall . She stops at a door draped with Arson Investigation Site tape . She wrenches down a nailed 2x4 , steps between the others . Enters .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWNSTAIRS APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Liza closes the door behind her , shines the light . Debris has fallen through a hole in the ceiling . Liza steps through the rubble to the Wonderwall . Sooty , singed , partially curled at the edges of the paper it was done on . Liza shines the light . She 's as taken with it now as the first time . The more she stares at it the more frustrating it becomes . Fighting back tears , growling back her anger , Liza grabs a corner and tears , then tears again , trying to destroy this thing which affects her so . When she 's done , the Wonderwall hangs in tatters . And as Liza tries to get a hold of herself , she realizes . There 's a second painting behind the first . Liza pulls down the tatters of brown butcher paper which made the first . The second is the POV of a room . In fact , it 's entitled : `` In My Room . '' In the b.g. , a window . F.g. , a sinister chair with straps , hooks and other exaggerated apparatus for keeping someone sitting there . Discarded , macabre syringes litter the floor . A flashing light partially obscures a face reflected in a mirror . Jonas ? The whole effect is unnerving , but tells Liza nothing more . Until . she takes a second look at the window . It 's blocked by three red - and - white - striped bars . As Liza runs her hand over them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. QUEENSBORO BRIDGE - NIGHT<\/stage_direction>\n    <scene_description>Liza pulls her BMW over to the side , gets out and goes to the rail . She stares across at the three red - and - white smokestacks of the Con - Ed plant . The view through the window in Jerry 's room . Liza scans the riverfront buildings on Roosevelt Island across from the plant . There are only a few that would match and one stands out from the rest .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOSPITAL - NIGHT (LATE)<\/stage_direction>\n    <scene_description>A few lights burn , all on one half of the building . A security board at the desk , the doors are chained and padlocked shut . Liza stops across from a brass inlaid letters which identify it as . `` Germaine O. Nicols Mental ospital . '' The `` H '' is missing from `` Hospital . '' Liza is about to continue when . enlightenment ! Running her hand along , she alters the letters , blacking some of them out : `` Germaine O. Nicols Mental ospital . ''<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Ger - o - ni - m - o.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK OF HOSPITAL - KITCHEN DOOR - NIGHT<\/stage_direction>\n    <scene_description>An institutional foods truck unloads . As the driver passes with the hand truck , Liza slips in the building .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>The cook grumbles by . Liza ducks behind a dishwasher , looks across at a roach . As it twitches an antenna .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MENTAL HOSPITAL - HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>A nurse disappears , turning around a corner . Liza pads her way along . Looks into a room . ROOM Three middle - aged men asleep on their backs , mouths agape , sleep obviously no release .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NURSE'S DESK - NIGHT<\/stage_direction>\n    <scene_description>The charge nurse dozes as Liza creeps by .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM TWO - NIGHT<\/stage_direction>\n    <scene_description>Three WOMEN this time - two asleep , one rocking back and forth on her knees .<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Hey naw - ne naw - ne. Hey naw - ne naw - ne. Hey naw - ne naw - ne.<\/dialogue>\n    <scene_description>A horrific sight . Liza turns from it and into . HALLWAY TWO She turns right into an ORDERLY . Standing square , hands on his hips .<\/scene_description>\n    <character>ORDERLY<\/character>\n    <dialogue>Can I help you?<\/dialogue>\n    <scene_description>Collecting herself , she reaches into her pocket for her ID .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>I'm with the Justice Department.<\/dialogue>\n    <scene_description>As she produces and hands over a $ 100 bill , he eyes the .38 in her hand .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>I need to see any new patients you've gotten in the last twelve hours.<\/dialogue>\n    <parenthetical>( eyes him eyeing . )<\/parenthetical>\n    <dialogue>You can say I threatened to shoot you.<\/dialogue>\n    <character>ORDERLY<\/character>\n    <dialogue>Sounds like you got it covered. Come on.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DECREPIT HOSPITAL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Jerry 's still lying on the floor where he was left . But he 's starting to stir . Feeling like he was already dead , maybe even wishing he was .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 2ND FLOOR - HALLWAY THREE - NIGHT<\/stage_direction>\n    <scene_description>The Orderly leads Liza to a door .<\/scene_description>\n    <character>ORDERLY<\/character>\n    <dialogue>In here. White guy in his 30s.<\/dialogue>\n    <scene_description>He opens the door and they step into . ROOM THREE There 's a white guy in his mid - 30s . He looks up . Wild . Straight - jacketed . Not Jerry . Liza 's reached the end of her rope . She just shakes her head .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DECREPIT HOSPITAL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Balled up . Fetal . Not really all there . Head pressed to the cement , he tries to sing to himself .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Blue moon. Blue moon.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 2ND FLOOR - HALLWAY THREE - NIGHT<\/stage_direction>\n    <scene_description>Liza just stands there , leaning on a rail on the wall . The Orderly is n't sure what 's going on , but he knows it 's bad .<\/scene_description>\n    <character>ORDERLY<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <scene_description>Liza starts down the hall with the Orderly following .<\/scene_description>\n    <character>ORDERLY<\/character>\n    <dialogue>We got some new patients last week. You want to see them?<\/dialogue>\n    <scene_description>Liza waves them off . It 's hopeless . She stops at a chicken - wired window at the end of the hall , looks out . Light 's about to break and Jerry 's out there somewhere .<\/scene_description>\n    <character>ORDERLY<\/character>\n    <dialogue>Look, I got ta get back to work.<\/dialogue>\n    <scene_description>She turns , grabs his arms .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Did you hear that?<\/dialogue>\n    <character>ORDERLY<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Liza looks up at the air duct . Pulling a laundry cart over , she climbs up , presses her ear against the grill .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>Blue moon. Blue moon.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Jerry? Jerry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DECREPIT HOSPITAL ROOM - NIGHT<\/stage_direction>\n    <scene_description>We hear LIZA 'S DISTANT `` JERRY , '' but it does n't register with Jerry . He 's all inside now .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Blue moon.<\/dialogue>\n    <character>LIZA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( singing back . )<\/parenthetical>\n    <dialogue>You saw me standing alone.<\/dialogue>\n    <scene_description>Jerry 's eyes open . He heard that . Maybe . He sings .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Without a song in my heart.<\/dialogue>\n    <character>LIZA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Without a love of my own.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 2ND FLOOR - HALLWAY THREE - NIGHT<\/stage_direction>\n    <scene_description>As Liza sings into the vent , the Orderly thinks he may have a new customer .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Blue moon.<\/dialogue>\n    <character>LIZA<\/character>\n    <parenthetical>( joining . )<\/parenthetical>\n    <dialogue>You knew just what I was there for.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DECREPIT HOSPITAL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Jerry moves closer to the vent as the two of them sing their `` duet . '' She 's alive . It finally , really sinks in .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Liza?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Where are you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 2ND FLOOR - HALLWAY THREE - NIGHT<\/stage_direction>\n    <scene_description>Liza , now joined by the Orderly , listens as .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Here. North wing. First floor.<\/dialogue>\n    <scene_description>Liza looks to the Orderly for help .<\/scene_description>\n    <character>ORDERLY<\/character>\n    <dialogue>The north wing's closed off. This way.<\/dialogue>\n    <scene_description>GALVANIZED DOOR A heavy locking bracket riveted to the door . The Orderly smacks the padlock with a fire extinguisher . Once , twice . The lock flies off . Liza pushes the door open to a dark hallway . The windows are boarded over . Foreboding .<\/scene_description>\n    <character>ORDERLY<\/character>\n    <dialogue>This is as far as I go.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Get the police down here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DECREPIT HOSPITAL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Jerry has crawled his way over to the sink .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Diversion. Need a diversion.<\/dialogue>\n    <scene_description>Hands cuffed , he pulls himself up , leans heavily on the lip . As an afterthought , he stares into the mirror .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Liza's coming. Got ta look sharp.<\/dialogue>\n    <scene_description>Jerry runs a hand through his hair , collapses .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DECREPIT HALLWAY ONE - NIGHT<\/stage_direction>\n    <scene_description>A CLEET on patrol . He passes a doorway into an abandoned room . As he turns a corner , Liza steps out of the room , continues the opposite way .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DECREPIT HOSPITAL ROOM - NIGHT<\/stage_direction>\n    <scene_description>His feet braced against the wall , Jerry pulls on a PIPE under the sink . It GROANS , CREAKS , and then SNAPS . Water geysers up . Jerry sputters out of the way .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DECREPIT STAIRWELL - NIGHT<\/stage_direction>\n    <scene_description>Liza makes her way down .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DECREPIT HALLWAY TWO - NIGHT<\/stage_direction>\n    <scene_description>A CLEET GUARD outside a door . He looks down as water pools at his feet . Turning , he sees it runs from under the door . There 's a 5x5 - inch window on the door , but the view is blocked by a hard , white surface . The Guard raps the glass .<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>What's going on there?!<\/dialogue>\n    <parenthetical>( off no answer . )<\/parenthetical>\n    <dialogue>Where's the water coming from?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DECREPIT HOSPITAL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Jerry holds a toilet lid over the glass . Another RAP .<\/scene_description>\n    <character>GUARD<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Answer me!<\/dialogue>\n    <scene_description>The BOLTS BEING SLID BACK . Jerry stumbles as the door is pushed open . The Guard enters , leading with his 9mm .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>You had to see for yourself, did n't you?<\/dialogue>\n    <character>GUARD<\/character>\n    <parenthetical>( re : sink . )<\/parenthetical>\n    <dialogue>Where'd you think that was going to get you?<\/dialogue>\n    <scene_description>The Guard is unaware that Liza has appeared in the doorway behind him . Jerry smiles .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Right where we are now.<\/dialogue>\n    <scene_description>The Guard steps forward to let Jerry have it . He freezes at the HAMMER CLICKING back on the .38 .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Drop it.<\/dialogue>\n    <scene_description>Cursing himself , the Guard lets the 9mm slip to the floor .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Turn around.<\/dialogue>\n    <scene_description>The Guard turns . As he does , Jerry raises the toilet lid , cracks it down over the top of the Guard 's head . The exertion sends Jerry sprawling , as well . He looks up .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>So, what do you think? Is something going on here or what?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DECREPIT HALLWAY TWO - NIGHT<\/stage_direction>\n    <scene_description>Jerry -LRB- armed with the 9mm -RRB- and Liza exit . Liza slides the bolts back on the door . Footsteps and voices ahead . Jerry leans on Liza as they start their escape in the opposite direction . They 've just disappeared around one corner when Jonas and CLEETS # 3 and # 4 appear around the corner .<\/scene_description>\n    <character>JONAS<\/character>\n    <dialogue>Where's the guard?<\/dialogue>\n    <scene_description>Slipping in the water , the CLEETS hurry forward . One of them looks through the window , scowls as the second unbolts the door . As Jonas sees the unconscious Guard and the toilet lid , he does not look happy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GERMAINE O. NICOLS MENTAL HOSPITAL - NIGHT<\/stage_direction>\n    <scene_description>A man approaches from one end of the sidewalk . Flip , the black owner of the newsstand Jerry frequents . No longer wheelchair - bound . As he converges with Agent Lowry .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ENTRY - NIGHT<\/stage_direction>\n    <scene_description>The old security guard watches a little TV .<\/scene_description>\n    <character>TV ANNOUNCER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The President had left the area only moments earlier and is currently in Germany. Again, the quake in Southern Turkey measured seven - point - three on the Richter scale. Thousands are feared missing or dead.<\/dialogue>\n    <scene_description>He looks up as from outside , Lowry shoulders back the door , exposing the chain . Flip cuts through it with a portable torch . Lowery bursts through , passing the sputtering old security guard . The whole entry takes about two seconds .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INTERSECTING HALLWAYS - NIGHT<\/stage_direction>\n    <scene_description>Jerry and Liza make their way along . Ahead , a CLEET crossing the intersection . SHOTS are exchanged . Liza and Jerry hug the wall , move back the way they came . As the CLEET gets on his headset , they duck down . EAST HALLWAY Jerry , who knows where he 's going , motions Liza ahead .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>This way.<\/dialogue>\n    <scene_description>Only a few steps and another CLEET ahead . More SHOTS FIRED and they duck down . SOUTH HALLWAYS Jerry takes Liza 's hand and they run . Left here . Right there . EAST HALLWAY Flip and Lowry , infiltrate . They exchange FIRE with a CLEET . INTERSECTING HALLWAYS The GUNFIRE is DISTANT here . Jonas gets the report from CLEET # 4 , who gets it over his headset .<\/scene_description>\n    <character>CLEET #4<\/character>\n    <dialogue>He's somewhere on the south side of the wing.<\/dialogue>\n    <character>JONAS<\/character>\n    <parenthetical>( thinks a beat . )<\/parenthetical>\n    <dialogue>I know where he's going.<\/dialogue>\n    <scene_description>Jonas strides away , CLEETS # 4 and # 3 hurrying to keep up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALCOVE\/DEAD-END HALLWAY - DAWN<\/stage_direction>\n    <scene_description>They reach the end , a narrow alcove to the left .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>It's a dead end.<\/dialogue>\n    <scene_description>A 2 - foot by 2 - foot sliding door on the wall . Padlocked . Jerry aims , SHOOTS the lock off . He opens the door to reveal a dumbwaiter .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>How did you know?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I spent two years here. This used to bring the med - cart. Demerol. Phenobarb. It's Jacob's Ladder.<\/dialogue>\n    <scene_description>Jerry hits a button on the wall . Nothing . No power . Liza looks back over her shoulder at distant gunfire .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Something's going on back there.<\/dialogue>\n    <scene_description>BOOM ! BOOM ! BOOM ! She spins as Jerry FIRES into the wall . He tears plaster back in huge chunks to reveal the dumbwaiter mechanism . A looped bicycle chain , running over teeth on a motor below and disappearing up a shaft above . He kicks the bottom loop off the motor .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Get in. I'll pull you up to the fourth floor.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>What about you?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Get up there and we'll get it back down here for me. Now.<\/dialogue>\n    <scene_description>Liza thinks a beat , then nods and climbs inside .<\/scene_description>\n    <character>JONAS<\/character>\n    <dialogue>Jerry, you continually amaze me.<\/dialogue>\n    <scene_description>Jerry and Liza freeze . The voice is close . Liza starts to climb out , but Jerry holds her back , whispers .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Geronimo.<\/dialogue>\n    <scene_description>He shoves her back , hauls down on the chain . The dumbwaiter starts up .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Geronimo is down.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>It's up. Love gives you wings. You can fly away from here.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>Do n't do this.<\/dialogue>\n    <scene_description>Jerry hauls down again . Liza disappears from view . He clutches his side in pain . Then he hauls again . DEAD END HALLWAY CLEETS # 3 and # 4 advance . DUMBWAITER jerking upwards . Liza despairing .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Jerry!<\/dialogue>\n    <scene_description>ALCOVE Jerry hauls harder . Faster . Hand over fist . Determined to get Liza out of there .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Too good to be true. Last thing I do. Like life pounding eggs.<\/dialogue>\n    <scene_description>Up , up , up , the dumbwaiter goes . Finally , it wo n't go any further . It 's out of sight . DEAD END HALLWAY CLEETs # 3 and # 4 move up . DUMBWAITER The door wo n't budge . Liza leans back , FIRES a ROUND at where she guesses the lock should be . She throws the door up . The 4th floor . As she squeezes out . ALCOVE Jerry holds the chain with one hand , FIRES through it with the 9MM . A tug and 60 feet of chain spools down at his feet . Liza 's away . As Jerry smiles , CLEETs # 3 and # 4 appear behind him , each FIRING once into his back . 4TH FLOOR - LIZA Reacting to the shots . Appalled at what must be happening .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Jerry!<\/dialogue>\n    <scene_description>ALCOVE Jerry hears her call , closes his eyes .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Liza.<\/dialogue>\n    <scene_description>Jerry drops his gun , corkscrews down into a broken heap . His eyes flutter up as Jonas looms over him .<\/scene_description>\n    <character>JONAS<\/character>\n    <dialogue>A patient man can accomplish anything.<\/dialogue>\n    <scene_description>4TH FLOOR - LIZA Liza runs . DEAD END HALLWAY CLEETs # 3 and # 4 turn as Lowry and Flip approach . As they head down to the end of the hall , Jerry 's eyes flicker to the 9MM . As his hand inches that way . STAIRWELL Liza runs , possessed . Only this time she 's running to something and not away . She stumbles , slams into the wall at the landing , continues . DEAD END HALLWAY Jonas starts back for Jerry , stops short as he sees him , still on the ground , pointing the 9MM at him . CLICK . Jerry 's out of ammo . Jonas continues toward him . 1ST FLOOR HALLWAY Liza comes off the stairwell . Runs . CONNECTING HALLWAY CLEET # 3 goes down , SHOT by Lowry . # 4 makes a dash for it , is pursued by Flip . DEAD END HALLWAY Jerry , spitting blood , waits as Jonas calmly sets the barrel of his gun against Jerry 's forehead . The coup de grace is imminent . Jerry 's ready for it . LIZA Lungs ready to burst . She hurdles # 3 's body , turns the corner , screaming as she raises her father 's gun .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>Jonas looks back over his shoulder just in time for a bullet to drill his forehead above his left eye . He 's dead before he hits the ground . And Liza is at Jerry 's side . One look and she knows it is n't good .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Help! Somebody help me!<\/dialogue>\n    <scene_description>He just looks up at her as she cradles his head .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Do n't die on me, Jerry. Okay?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I ca n't promise you anything.<\/dialogue>\n    <scene_description>She cries at the allusion , takes his hand .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>You've been my best friend for years and I did n't even know you were out there.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Top pocket. Go on.<\/dialogue>\n    <scene_description>Liza reaches in , pulls out one of the `` new '' $ 100 bills . It 's bloodstained .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Remember when you gave me that? A hundred dollar bill to get lost?<\/dialogue>\n    <parenthetical>( re : bill . )<\/parenthetical>\n    <dialogue>That's it. My lucky charm.<\/dialogue>\n    <scene_description>As a tear rolls down Liza 's cheek .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>They changed Franklin's portrait.<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>You think it's a conspiracy?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Do n't know, but he looks a lot more like Rosie O'Donnel than Ben Franklin.<\/dialogue>\n    <scene_description>Liza looks at the bill a moment , shakes her head , then :<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Fred Mertz. It's Fred Mertz.<\/dialogue>\n    <scene_description>Jerry smiles . Liza smiles back . Then :<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( almost apologetic . )<\/parenthetical>\n    <dialogue>I do n't know why I love you. But I know that I do.<\/dialogue>\n    <scene_description>Liza lowers her head , her heart stripped bare .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>I love you, too.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( a sigh . )<\/parenthetical>\n    <dialogue>Now she tells me.<\/dialogue>\n    <scene_description>Overwhelmed , Jerry squeezes his eyes shut . Liza turns back as Agent Lowry appears .<\/scene_description>\n    <character>LIZA<\/character>\n    <parenthetical>( desolate . )<\/parenthetical>\n    <dialogue>Help him. Please.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOSPITAL - AMBULANCE - DAWN<\/stage_direction>\n    <scene_description>A madhouse . Police arriving in droves . Jerry in the back of the ambulance . Liza watches , horrified , as his body jerks as they defibrillate him . The back doors close .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Wait! Wait for me.<\/dialogue>\n    <scene_description>She 's restrained by Flip and Agent Lowry , tries to fight past them as the ambulance pulls away . Overwhelmed , Liza collapses . As they hold her up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETERY - DAY<\/stage_direction>\n    <scene_description>A beautiful day . Maybe not a bad place to end up after all . We COME UPON a particular stone , freshly turned earth on the grave . Jerry Fletcher . He did n't make it . Liza stands here all alone . Paying her last respects .<\/scene_description>\n    <character>LIZA<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>You got away, Jerry. They'll never find you now.<\/dialogue>\n    <scene_description>Her eyes well up with tears . Liza fights it off .<\/scene_description>\n    <character>LIZA<\/character>\n    <parenthetical>( deep breath . )<\/parenthetical>\n    <dialogue>Get a hold of yourself, baby.<\/dialogue>\n    <scene_description>One last moment and then she turns and walks away . As she moves , the sound of FOOTSTEPS . On the FLOOR .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STERILE HALLWAY (SOMEWHERE) - DAY<\/stage_direction>\n    <scene_description>Agent Lowry strides down the hall , full of purpose . At an intersection , he 's joined by Flip . The two of them continue , without speaking , to a door . They enter .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STERILE ROOM (SOMEWHERE) - DAY<\/stage_direction>\n    <scene_description>His chest bandaged , tubes running in and out , Jerry looks up as Lowry and Flip enter . He 's weak , but very much alive . They look at him . He looks back as defiantly as his situation will allow .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Flip. Howard Hughes gave you your legs back.<\/dialogue>\n    <scene_description>Flip does n't even crack a smile .<\/scene_description>\n    <character>LOWRY<\/character>\n    <dialogue>You made your decision yet?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I'm leaning toward no.<\/dialogue>\n    <character>LOWRY<\/character>\n    <dialogue>That's your option. Ours could be to keep you locked up for a very long time. In case you did n't know it, you're crazy.<\/dialogue>\n    <character>FLIP<\/character>\n    <dialogue>Not to mention the fact that everyone thinks you're dead.<\/dialogue>\n    <character>LOWRY<\/character>\n    <dialogue>We need you. We need what you know. To bring these guys down. Believe it or not, we're on the same side.<\/dialogue>\n    <parenthetical>( as Jerry scoffs . )<\/parenthetical>\n    <dialogue>One thing's for sure. You do n't have a choice.<\/dialogue>\n    <scene_description>Jerry stares back . That may be the truth .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I'll do it. On one condition. I want to make sure she's okay.<\/dialogue>\n    <character>LOWRY<\/character>\n    <dialogue>We got someone watching her 24 hours a day. She -<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>That's not what I mean. I want to see her.<\/dialogue>\n    <character>LOWRY<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Then screw you. I'll rot.<\/dialogue>\n    <character>LOWRY<\/character>\n    <dialogue>Alright. You can see her.<\/dialogue>\n    <parenthetical>( as Jerry smiles . )<\/parenthetical>\n    <dialogue>But she ca n't see you.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Whatever.<\/dialogue>\n    <scene_description>Lowry and Flip turn to leave .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Flip.<\/dialogue>\n    <parenthetical>( as Flip looks back . )<\/parenthetical>\n    <dialogue>You're the closest thing I got to a friend around here. Tell me something. You think I'm crazy?<\/dialogue>\n    <character>FLIP<\/character>\n    <dialogue>Shut the hell up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OX RIDGE HUNT CLUB (CONNECTICUT) - DAY<\/stage_direction>\n    <scene_description>Pastoral to say the least . Liza steps from her BMW , leans against the fence and watches as three lO - year - old girls on horses receive a riding lesson .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OX RIDGE HUNT CLUB - BARN - DAY<\/stage_direction>\n    <scene_description>Liza moves along the well - maintained stalls . One particular HORSE WHINNIES excitedly as she approaches . Liza stops to look him over .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>J.D., I'm back. If you'll have me.<\/dialogue>\n    <scene_description>He WHINNIES , stomps a hoof . Liza hugs him around the neck .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Johnny.<\/dialogue>\n    <scene_description>The horse has to be the fabled Johnny Dancer . Their moment is broken up by a rough - looking GROOM .<\/scene_description>\n    <character>GROOM<\/character>\n    <dialogue>Can I help you with something?<\/dialogue>\n    <character>LIZA<\/character>\n    <dialogue>You got a saddle around here? This is my horse.<\/dialogue>\n    <character>GROOM<\/character>\n    <dialogue>I've never seen you here before.<\/dialogue>\n    <scene_description>Liza reaches into her jeans pocket , pulls out her trademark denomination : a $ 100 bill . But something hesitates inside her . She rubs her thumb over Franklin : Rosie O'Donnel or Fred Mertz ? She pockets the bill , looks up .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Could you help me out? Please.<\/dialogue>\n    <character>GROOM<\/character>\n    <parenthetical>( a beat ; softens . )<\/parenthetical>\n    <dialogue>I think I can find a saddle for that horse.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - SURVEILLANCE VAN - DAY<\/stage_direction>\n    <scene_description>Pulled off the road . A view to the farm .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SURVEILLANCE VAN - DAY<\/stage_direction>\n    <scene_description>Jerry sits with Lowry and Flip , scans with binoculars .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I see her car, but - Oh.<\/dialogue>\n    <scene_description>BINOCULAR POV - LIZA Riding Johnny Dancer out into the ring . She canters back and forth . Tentative at first , but gaining confidence .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RIDING RING - DAY<\/stage_direction>\n    <scene_description>Liza pulls up , eyes a fence .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>I must be crazy.<\/dialogue>\n    <scene_description>Deciding , she whispers something into Johnny 's ear .<\/scene_description>\n    <character>LIZA<\/character>\n    <dialogue>Geronimo.<\/dialogue>\n    <scene_description>They 're off at a gallop . BINOCULAR POV - LIZA Picking her spot , Liza guides Johnny up and over . Fluid . A thing to behold .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SURVEILLANCE VAN - DAY<\/stage_direction>\n    <scene_description>Jerry , holding his breath , lets it out in a long sigh , the sound of love . He smiles sadly , lowers the binoculars .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>She's okay.<\/dialogue>\n    <parenthetical>( to Lowry ; grim . )<\/parenthetical>\n    <dialogue>Let's go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SURVEILLANCE VAN - DAY<\/stage_direction>\n    <scene_description>It rolls down the road . Destination unknown .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OX RIDGE HUNT CLUB - FIELD - DAY<\/stage_direction>\n    <scene_description>Liza gallops out into the sun . Feeling it , remembering , realizing just how much she missed this . But now she has it again . A gift . Head back , she holds her arms out in hope and faith , very much like the painting on Jerry 's Wonderwall . FREEZE FRAME . FADE OUT . THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Conspiracy-theorist and New York City taxi driver Jerry Fletcher (Mel Gibson) continually expounds his ideas to Alice Sutton (Julia Roberts), a lawyer at the Justice Department. She humors him because he once saved her from a mugging, but is unaware he spies on her at her home. Her own work is to solve the mystery of her father (Bert Remsen)'s murder. Seeing suspicious activity everywhere, Jerry identifies some men as CIA workers, follows them into a building, and is captured. The interrogator injects a wheelchair-bound Jerry with LSD and questions him using torture. Jerry experiences terrifying hallucinations and flashbacks, panics, and manages to escape by incapacitating the interrogator by biting his nose and kicking him. Later, after being captured again, Jerry is handcuffed to a hospital bed and forced into a drug-induced sleep. Alice visits, and Jerry persuades her to switch his chart with the criminal in the next bed or he will be dead by morning. When Alice returns the next day, the criminal is dead, allegedly from a heart attack. The CIA, FBI and other agencies are there, led by CIA psychiatrist Dr. Jonas (Patrick Stewart), whose nose is bandaged. Meanwhile Jerry fakes a heart attack and escapes again and hides in Alice's car. The pair go to her apartment and Jerry accidentally reveals he's been watching her. Jerry confronts FBI agent Lowry (Cylk Cozart) and his partner staking out her place, and he warns them at gunpoint not to hurt her. Jerry sees their operatives rappelling down from black helicopters and hides in a theater, escaping by causing a panic. Alice calls each person on Jerry's newsletter mail-list and finds that all have recently died, except one. Jerry uses a ruse to get her out of the office, and then immobilizes the operatives watching her. During their escape he tells her that he fell in love with her at first sight, then flees on a subway train when she brushes off his feelings. She goes to see the last surviving person on the subscription list, and finds it is Jonas. He explains that Jerry was brainwashed during Dr. Jonas' time with Project MKUltra to become an assassin, and claims that Jerry killed her father. She agrees to help find Jerry, who sends her a message to meet him. He ditches the agents following them with a pre-arranged car transfer, and he drives her to her father's private horse stables in Connecticut, but meanwhile Alice secretly calls her office so that Jonas can track her phone. At the stables, Jerry remembers that he was sent to kill her father, but found he could not and had become his friend instead. Jerry tells Alice that he promised to watch over her before the judge was killed by another assassin. Jonas' men capture Jerry, and a sniper tries to get Alice, but she escapes. Meanwhile, Alice finds Lowry and forces him at gunpoint to admit that he is not FBI, but from a \"secret agency that watches the other agencies\". He says they have been using the unwitting Jerry to uncover and stop Jonas. Alice goes to the site of the smokestacks from Jerry's mural and sees a mental hospital next door. There she hears and talks to Jerry through a vent, and an attendant she had bribed shows her up to an unused wing. She breaks in and finds Jerry. As Jonas catches them, Lowry arrives with his men and attacks Jonas' men. Jerry attempts to drown Jonas, is shot by Jonas from under the water, and Alice, who has regained consciousness after being knocked out, shoots Jonas six times. After killing Jonas, Alice tells Jerry that she loves him before he is taken away in an ambulance. Some time later, a grieving Alice visits Jerry's grave and leaves a pin that he had given her. She returns to riding her horse that she had stopped riding after her father's murder. While watching Alice from a car with Lowry, Jerry keeps to his agreement to not contact her until all of Jonas' other subjects are caught. As they drive away singing \"Can't Take My Eyes Off You\", Alice finds the pin she had left at Jerry's \"grave\" attached to her saddle, and smiles as she continues riding."}
{"movie_name":"Domino_2005","imdb_id":"tt0421054","script":"<script>\n  <scene>\n    <stage_direction>DOMINO<\/stage_direction>\n    <scene_description>VOICES . VOICES CHATTERING in some sort of public place .<\/scene_description>\n    <character>ROBOTIC FEMALE VOICE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Now serving G233. Please report to window four.<\/dialogue>\n    <scene_description>VOICES are broken by someone coughing up phlegm . TITLE CARDS : THIS FILM IS BASED ON A TRUE STORY -LRB- BEAT -RRB- -LRB- SORT OF -RRB-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DMV -- AFTERNOON<\/stage_direction>\n    <scene_description>The DEPARTMENT OF MOTOR VEHICLES . SOUTH CENTRAL LOS ANGELES . People are jam - packed into the internal maze of cubicles . It does n't get more crowded and disgusting than this . THE SOUND OF SCREAMING BABIES IS INTERRUPTED BY A - BING .<\/scene_description>\n    <character>ROBOTIC FEMALE VOICE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Now serving F134. Please report to window eight.<\/dialogue>\n    <scene_description>This is the sound that the DMV AUTOMATED SYSTEM makes every fifteen seconds . A BING for each human being who waits to be processed through the system .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>When I was a little girl. my mum took me to Euro Disney on opening day. I was told that it was the happiest place on earth.<\/dialogue>\n    <scene_description>BOY looks down at the little piece of PAPER in his hand with the number B144 printed on it . wakes up DAD . They move toward window twelve .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>A week later. we moved to Los Angeles. I was told that this was the saddest place on Earth. The Department of Motor Vehicles in Los Angeles.<\/dialogue>\n    <scene_description>The CAMERA PANS across more POOR PEOPLE . They look down at their numbers . Mostly Hispanic , African - American .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>They wait for their number to be called. They wait for this license to drive to yet another miserable job. dive pub. drive by shooting.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>That is if they're lucky enough to own an automobile. Most of them are n't. They need a license to prove their citizenship or else they'll be deported.<\/dialogue>\n    <scene_description>The CAMERA ARRIVES at the last chair on the row . There is a FRATERNITY GUY named FRANCES -LRB- 20 -RRB- sitting in it .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Except for this bloke. His name is Frances. Mr. 90210 college boy had found himself in the wrong place at the wrong time.<\/dialogue>\n    <scene_description>Frances has a MOTOROLA to his ear . He seems very anxious .<\/scene_description>\n    <character>FRANCES<\/character>\n    <parenthetical>( whispering into the phone . )<\/parenthetical>\n    <dialogue>I said. they're about to call my number. Are you in. or are you out?<\/dialogue>\n    <scene_description>Frances taps his shoe nervously on the linoleum floor .<\/scene_description>\n    <character>FRANCES<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>A thousand all in for one license. That's the deal.<\/dialogue>\n    <scene_description>Frances grits his teeth .<\/scene_description>\n    <character>FRANCES<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You have to decide right now. They're gon na call my number any second.<\/dialogue>\n    <scene_description>Frances takes a deep breath . A sigh of relief .<\/scene_description>\n    <character>FRANCES<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Alright. We're on.<\/dialogue>\n    <scene_description>He hangs up the phone , then glances up at the MONITOR . waiting for his number . The CAMERA MOVES slowly into his face .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>There are three kinds of people in this world. The rich. the poor. and everyone in between.<\/dialogue>\n    <scene_description>A bead of SWEAT rolls down Frances ' temple . He glances over at a BLACK TEENAGER filling out a form . Brief eye contact . Frances looks away .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>The poor people hate the rich because. well. they're fucking rich.<\/dialogue>\n    <scene_description>BING .<\/scene_description>\n    <character>ROBOTIC FEMALE VOICE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Now serving G086. Please report to window six.<\/dialogue>\n    <scene_description>Frances glances down at his number . G086 . He takes a deep breath and walks over to WINDOW SIX . Sitting behind the counter is LATEESHA RODRIGUEZ -LRB- 28 -RRB- . She is filing her FINGERNAILS . They are VERY LONG . VERY SHARP . and VERY COLORFUL .<\/scene_description>\n    <character>FRANCES<\/character>\n    <dialogue>Kee Kee.<\/dialogue>\n    <scene_description>Lateesha raises her eyes to meet Frances . He drops an ENVELOPE on the desk in front of her . Lateesha 's demeanor changes . She slowly opens the envelope and removes a piece of PAPER from inside .<\/scene_description>\n    <character>FRANCES<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Four.<\/dialogue>\n    <scene_description>Lateesha returns her gaze to Frances . She then folds the paper , places it back into the envelope and drops it into a drawer .<\/scene_description>\n    <character>LATEESHA<\/character>\n    <dialogue>Four to six weeks.<\/dialogue>\n    <scene_description>Frances glares back at her .<\/scene_description>\n    <character>FRANCES<\/character>\n    <dialogue>You said you could deliver the ID's tonight.<\/dialogue>\n    <scene_description>Lateesha has gone back to filing her turbo nails .<\/scene_description>\n    <character>LATEESHA<\/character>\n    <dialogue>Four to six weeks. Frances.<\/dialogue>\n    <scene_description>Frances ' blood has begun to boil .<\/scene_description>\n    <character>FRANCES<\/character>\n    <parenthetical>( fierce whisper . )<\/parenthetical>\n    <dialogue>Listen, bitch. I'm paying you double this time. Kee Kee said tonight. I paid half in advance like she said.<\/dialogue>\n    <scene_description>Rage is building in Lateesha 's eyes . No one talks to her this way and gets away with it . In the next CUBICLE . RAOUL SANCHEZ -LRB- 30 -RRB- , an OBESE HISPANIC MAN with BLONDS HIGHLIGHTS , leans his head over .<\/scene_description>\n    <character>RAOUL<\/character>\n    <dialogue>Lateesha. I need that web link.<\/dialogue>\n    <scene_description>Lateesha does not answer . Her eyes are locked on Frances .<\/scene_description>\n    <character>LATEESHA<\/character>\n    <dialogue>Kee Kee do n't make the rules. I said. four to six weeks.<\/dialogue>\n    <character>FRANCES<\/character>\n    <dialogue>I do n't know if you realize who the fuck you're dealing with here. I can have your job eliminated like that.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Say good - bye to your little side business.<\/dialogue>\n    <scene_description>Frances cranes his neck to see the NAME PLATE on her desk .<\/scene_description>\n    <character>FRANCES<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Lateesha. If that is your real name.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>If you do n't have those ID's ready tonight by 8PM like Kee Kee promised. you can say hello to the fucking welfare line. cause your life as government employee is over.<\/dialogue>\n    <scene_description>Raoul is persistent .<\/scene_description>\n    <character>RAOUL<\/character>\n    <dialogue>Teesha. I need that web link! The J - Lo concert is probably sold out already!<\/dialogue>\n    <scene_description>Lateesha raises one GIGANTIC FINGERNAIL in Raoul 's direction as if to say . IN A MINUTE . Raoul sighs impatiently and ducks back into his cubicle . cursing her in Spanish .<\/scene_description>\n    <character>FRANCES<\/character>\n    <dialogue>What's it gon na be, Lateesha? Get ready to start counting those food stamps.<\/dialogue>\n    <scene_description>Lateesha opens the DRAWER and removes the envelope . Gears are turning . Decisions are being made .<\/scene_description>\n    <character>LATEESHA<\/character>\n    <dialogue>Tonight. 8PM.<\/dialogue>\n    <scene_description>She taps her nails on the plastic surface of the table .<\/scene_description>\n    <character>LATEESHA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Anything else?<\/dialogue>\n    <scene_description>Frances shakes his head slowly .<\/scene_description>\n    <character>FRANCES<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <character>LATEESHA<\/character>\n    <dialogue>Good - bye. Frances.<\/dialogue>\n    <scene_description>As Frances turns to leave , Lateesha slams a PLASTIC SIGN down onto the ledge of WINDOW SIX . It reads : THIS WINDOW CLOSED . Lateesha then unfolds the piece of PAPER inside the envelope . The following SOCIAL SECURITY NUMBERS are printed in BLACK INK : 774 - 32 - 5543 : 342 - 77 - 0098 : 323 - 34 - 5452 : 854 - 80 - 6745 Lateesha stares at the numbers . gears turning .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Love is a desperate measure.<\/dialogue>\n    <scene_description>Lateesha takes the LOCKET that hangs around her neck and opens it . Inside . there are two photographs . A TEENAGE GIRL and a LITTLE BABY .<\/scene_description>\n    <character>LATEESHA<\/character>\n    <dialogue>Fuck'em. Fuck'em all.<\/dialogue>\n    <scene_description>Lateesha takes a deep breath . kisses the locket and closes it . She drops the paper down on the table and begins to type the SOCIAL SECURITY NUMBERS into her COMPUTER . Raoul leans over once again .<\/scene_description>\n    <character>RAOUL<\/character>\n    <dialogue>Lateesha. I needed that web link an hour ago!<\/dialogue>\n    <scene_description>Lateesha continues typing . disregarding his annoying plea .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Desperate measures often have disastrous consequences.<\/dialogue>\n    <scene_description>Raoul stands up . He is losing his temper .<\/scene_description>\n    <character>RAOUL<\/character>\n    <dialogue>Lateesha. girl. are you listening?<\/dialogue>\n    <scene_description>Nope . Fingernails keep typing . FOUR DRIVER 'S LICENSES pop up on her computer screen . We get a glance at FOUR DMV PHOTOS . FOUR MEN . FRANCES is one of them .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The story of my life.<\/dialogue>\n    <scene_description>Raoul 's voice has become an unbearable high - pitched shrill .<\/scene_description>\n    <character>RAOUL<\/character>\n    <dialogue>LATEESHA. THE WEB LINK. I NEED IT RIGHT NOW! THE CONCERT IS GON NA SELL OUT! WE'RE NOT GON NA MAKE IT!<\/dialogue>\n    <scene_description>Lateesha whips her head around with the SASSY OUTRAGE cultivated by so many years at this shitty job .<\/scene_description>\n    <character>LATEESHA<\/character>\n    <parenthetical>( screaming out . )<\/parenthetical>\n    <dialogue>WWW.SHUT - THE - FUCK - UP.COM<\/dialogue>\n    <scene_description>The entire DMV is silenced . Raoul lowers back into his chair . Lateesha turns back to her computer screen . She aligns the MOUSE POINTER on the word SEND . She then lowers her GIGANTIC FINGERNAIL onto the MOUSE with the sound of DISTANT THUNDER . BEGIN CREDIT SEQUENCE : U2 &amp; JOHNNY CASH - THE WANDERER The STREETS are filled with MILLIONS upon MILLIONS of DOMINOES . They are assembled in many colorful patterns seen in such 80 's television programs as `` THAT 'S INCREDIBLE ! '' and `` RIPLEY 'S . BELIEVE IT OR NOT ! '' . At the intersection of Wilshire and Santa Monica , THOUSANDS of falling dominoes assembled to spell out : NEW LINE CINEMA PRESENTS . In Beverly Hills . there are thousands of falling dominoes assembled to spell out : A DAVIS FILMS\/SCOTT FREE PRODUCTION . On the abandoned 10 FREEWAY the dominoes read : A TONY SCOTT FILM . On the abandoned 405 FREEWAY the dominoes read : Domino . We follow the IMMENSE TRAIL of falling dominoes throughout the city . through DOWNTOWN . CENTURY CITY . SANTA MONICA . COMPTON . revealing the rest of the OPENING CREDITS . As we near the end of the sequence the trail takes us out into the DESERT where the falling dominoes read : WRITTEN BY RICHARD KELLY . The dominoes approach the lights of LAS VEGAS . approaching the western end of the STRIP . It is completely desolate . The lights twinkle . but there is no one there . The dominoes finish on a PEDESTRIAN TRAFFIC BRIDGE that crosses the strip . They read : DIRECTED BY TONY SCOTT . The TRAIL of dominoes tapers off into a CEMENT HALLWAY . leading into the shadows . A METAL DOOR looms in the distance . The CAMERA lingers on the FINAL DOMINO . moving through the METAL DOOR .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VEGAS SECURITY LOCKDOWN -- NIGHT<\/stage_direction>\n    <scene_description>DOMINO HARVEY -LRB- 25 -RRB- sits alone at a METAL TABLE . Despite her disheveled appearance , she looks like she could be on the cover of VOGUE . Her hands are cuffed together . She holds a MARLBORO RED between the fingers on her right hand . raising it to her mouth . There is BLOOD SPLATTERED on her hand . A small cut on her lip . A SINGLE TEAR traces down her cheek . There is a CHILD LINGERING just beneath the tough surface veneer .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>My name is Domino Harvey.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I am. a bounty hunter.<\/dialogue>\n    <scene_description>Domino flips a book of MATCHES between her fingers . She raises her eyes to the GLASS WALL on the south end of the room .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>They're watching me from behind that two way mirror. What I say over the next several hours will determine whether or not I spend the rest of my life in prison.<\/dialogue>\n    <scene_description>Domino takes a pull from her Marlboro , wiping the tear away from her face . The METAL DOOR opens . and an attractive woman in a black business suit steps into the room . Her name is TARYN MILES -LRB- 38 -RRB- .<\/scene_description>\n    <character>TARYN<\/character>\n    <dialogue>Ms. Harvey. my name is Taryn Miles. I'm a criminal psychologist working for the FBI. I'm here to ask you a few questions.<\/dialogue>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Here's the part where I'm supposed to get all defensive and say. ` not until I speak with my attorney.'<\/dialogue>\n    <scene_description>Domino takes another pull from her Marlboro . then stubs it in the ash tray .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Sure. I'll tell you everything I know.<\/dialogue>\n    <scene_description>Taryn removes a file from her attache case and places it on the table .<\/scene_description>\n    <character>TARYN<\/character>\n    <dialogue>Thirty - six hours ago. ten million dollars was stolen from an armored car that was subsequently found abandoned at the Hoover Dam.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT -- DAWN -- THIRTY-SIX HOURS BEFORE<\/stage_direction>\n    <scene_description>The CAMERA SOARS over the desert . approaching the lights at the Hoover Dam . An ARMORED CAR is parked on the edge of the cement abyss .<\/scene_description>\n    <character>TARYN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The driver's name was Locus Fender. We know that he was in on the heist.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARMORED CAR -- NEXT<\/stage_direction>\n    <scene_description>LOCUS FENDER -LRB- 30s -RRB- is behind the wheel of the armored car . His unshaven , disheveled appearance looks totally out of place in his security uniform .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VEGAS SECURITY LOCKDOWN -- NIGHT<\/stage_direction>\n    <scene_description>Taryn is now scrawling notes on a pad .<\/scene_description>\n    <character>TARYN<\/character>\n    <dialogue>Where is the money?<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>TARYN<\/character>\n    <dialogue>I think that you're lying. I think you know exactly where the money is.<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>You're trying to scare me into falsely incriminating myself. and it's not working. I said I'd tell you everything I know. You and your friends behind the mirror.<\/dialogue>\n    <scene_description>Domino waves to the mirror . Taryn calmly opens her file . refusing to lose control .<\/scene_description>\n    <character>TARYN<\/character>\n    <dialogue>Is it true that you were hired to track down and capture the thieves. and then deliver them to Drake Bishop. owner of the Stratosphere Hotel &amp; Casino?<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>TARYN<\/character>\n    <dialogue>You then learned where the thieves had hidden the money. and at the instructions of your employer went to retrieve it yourself.<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>He sent us out to the Fender Compound. Out in the desert near the Chicken Ranch.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FENDER HOUSE -- THE PREVIOUS NIGHT<\/stage_direction>\n    <scene_description>The FRONT DOOR to this house is KICKED FORWARD . snapping off its hinges onto the cheap tile floor . A HISPANIC MAN named CHOCO -LRB- 38 -RRB- is standing there with a SHOTGUN . He steps forward into the DOUBLE WIDE TRAILER HOME attached to an ADOBE SHACK . Behind him is a CAUCASIAN MAN named ED MARTIN -LRB- 50s -RRB- wielding his own shotgun . As the two men part ways . DOMINO . wearing jeans and a T - shirt . follows them through the doorway into the house . She carries a SEMI - AUTOMATIC PISTOL . moving into the FAMILY ROOM ahead of the men . The tiny family room is pure SOUTH - WESTERN DESERT TRAILER PARK kitsch . None of the furniture matches . Shag carpeting . Georgia O'Keefe knockoffs on the walls . Stained wagon - wheel coffee tables . Domino notices the LA - Z - BOY in the corner of the room . It is gently rocking back and forth . A low growling noise can be heard from the kitchen .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>EDNA! WE KNOW YOU'RE IN HERE!<\/dialogue>\n    <scene_description>Domino turns back to the men with a raised finger . issuing a silent warning . In the KITCHEN . EDNA FENDER -LRB- 60s -RRB- is sitting on the floor against the cabinets . There is a SHOTGUN in her left hand . A PIT - BULL is restrained by its COLLAR in her right . She looks down at the dog , CHI - CHI -LRB- 3 -RRB- , with a clenched jaw .<\/scene_description>\n    <character>EDNA<\/character>\n    <dialogue>Sick boy. Sick - em!<\/dialogue>\n    <scene_description>SHE LETS GOT OF THE COLLAR AND CHI - CHI SPRINTS AROUND THE CORNER . BLAM ! Choco fires a SHOTGUN BLAST into the floor of the trailer . detonating a HOLE in the carpet that is two feet wide . CHI - CHI falls YELPING into the hole . cartwheeling down into the DARK ABYSS beneath the trailer . Domino turns back to Choco and sees that he still has his SHOTGUN aimed at the floor . Smoke drifts from the barrels into the gloom of the house .<\/scene_description>\n    <character>CHOCO<\/character>\n    <parenthetical>( SPANISH WITH SUBTITLES . )<\/parenthetical>\n    <dialogue>FUCK. I MISSED!<\/dialogue>\n    <scene_description>Domino throws him a nod of gratitude anyway . He returns .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>That's my best friend. His name is Choco. He's always fancied me. but too shy to ever do anything about it.<\/dialogue>\n    <character>EDNA<\/character>\n    <dialogue>Chi - Chi!<\/dialogue>\n    <parenthetical>( desperate beat . )<\/parenthetical>\n    <dialogue>CHI - CHI!<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>Chi - Chi has gone to doggie heaven, bitch!<\/dialogue>\n    <scene_description>Choco cocks his shotgun for emphasis . SHELLS drop down into the abyss . He likes it when Domino talks rough .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>The next one is going to doggie hell!<\/dialogue>\n    <scene_description>Ed snaps his fingers . and Choco removes his BACKPACK and begins to retrieve something from it .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>All we want is the money, Edna!<\/dialogue>\n    <scene_description>Domino looks back at him . waiting for a signal .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>That's Ed Martin. The most legendary bounty hunter in all of Los Angeles. He's my boss. My mentor. The father I never had.<\/dialogue>\n    <scene_description>Edna is now SOBBING loudly .<\/scene_description>\n    <character>EDNA<\/character>\n    <dialogue>Chi - Chi. my poor Chi - Chi.<\/dialogue>\n    <scene_description>Ed throws Domino a nod . She moves further into the family room . Edna may have shitty taste . but she is n't poor . Domino notices the MITSUBISHI widescreen . Surround Sound . DVD Player . The Manchurian Candidate is playing .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>The Manchurian Candidate, huh Edna?<\/dialogue>\n    <scene_description>In the KITCHEN . Edna leans over and grabs a BUDWEISER longneck from a STYRO - FOAM COOLER . With the shotgun still in her left hand , she cracks the bottle open with her right and takes a long swig .<\/scene_description>\n    <character>EDNA<\/character>\n    <dialogue>Is that you, Domino?<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>Nice to see you again, Edna.<\/dialogue>\n    <scene_description>Edna lets out a sly cackle . wiping the bitter tears from her face . She is wicked tough . not to mention wicked drunk . Age has not been kind to this desert harlot .<\/scene_description>\n    <character>EDNA<\/character>\n    <dialogue>Your father must be so proud.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Look what has become of his little angel.<\/dialogue>\n    <scene_description>Ouch . That hit Domino below the belt .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>Listen bitch! We've got your son! If you do n't deliver the money. we're gon na wax his fucking ass!<\/dialogue>\n    <scene_description>Edna takes another swig of Budweiser . The RAGE returns .<\/scene_description>\n    <character>EDNA<\/character>\n    <dialogue>YOU DO N'T HAVE SHIT!<\/dialogue>\n    <scene_description>Domino turns back to Choco . He has unwrapped a LARGE OBJECT from the backpack . It remains hidden in the shadows . Domino stares at it with trepidation . She 's in over her head . Choco steps forward into the light and we see that the object is a SEVERED HUMAN ARM . The BLOODY STUMP ends at the UPPER BICEP . Choco lobs the arm over the KITCHEN COUNTER and it lands on the linoleum floor next to Edna with a loud thump .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Do n't fuck with us, Edna! There are at least three more limbs where that one came from!<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>I can certainly think of one more!<\/dialogue>\n    <scene_description>Edna stares at the severed arm with her mouth twisted into a grimace of horror . Edna closes her eyes . takes a swig of Budweiser and then LEAPS up onto her FEET . She COCKS the shotgun and aims it blindly over the counter into the FAMILY ROOM .<\/scene_description>\n    <character>EDNA<\/character>\n    <dialogue>AAAAAHHHHHHH!<\/dialogue>\n    <scene_description>SHE UNLOADS TWO ROUNDS . TWO SHOTGUN BLASTS RIP HOLES IN THE WALL BETWEEN ED AND CHOCO . EVERYONE HITS THE GROUND . Edna drops back down to the kitchen floor . Domino 's face is buried into the shag carpet . Her heart is pounding .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>HE'S STILL ALIVE, EDNA!<\/dialogue>\n    <character>EDNA<\/character>\n    <dialogue>PROVE IT!<\/dialogue>\n    <scene_description>Domino looks back at Ed . sweat pouring down his face . He then motions to Choco . who moves out the front door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FENDER COMPOUND -- NIGHT<\/stage_direction>\n    <scene_description>Choco comes through the front door of the FENDER HOUSE . a one - story RANCHER built from several double - wide trailers . The FENDER COMPOUND sits out in the desert near JOSHUA TREE . There are JUNKED CARS , BARBED WIRE and SIGNS saying Keep out , Private Property , and Beware of Dog . Several FIRES are burning in metal barrels . sending smoke signals out across the horizon . Parked near the GATE of the compound is a large WINNEBAGO . Choco unlocks the door and steps inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WINNEBAGO -- NEXT<\/stage_direction>\n    <scene_description>Inside the winnebago are BRIAN AUSTIN GREEN -LRB- 30s -RRB- and IAN ZIERING -LRB- 40s -RRB- , former stars of `` BEVERLY HILLS , 90210 '' . They are both handcuffed and splattered with blood . We will soon learn why . Next to them sits an AFGHANI MAN named ALF -LRB- 40s -RRB- . He is eating PIZZA at the kitchen table while watching `` WHO WANTS TO BE A MILLIONAIRE '' on a small television .<\/scene_description>\n    <character>CHOCO<\/character>\n    <parenthetical>( IN SPANISH WITH SUBTITLES . )<\/parenthetical>\n    <dialogue>We got ta show Edna her son.<\/dialogue>\n    <scene_description>The Afghani nods his head . waiting for the show contestant to answer the question .<\/scene_description>\n    <character>ALF<\/character>\n    <parenthetical>( IN ARABIC WITH SUBTITLES . )<\/parenthetical>\n    <dialogue>Eat dick. I'm watching Millionaire.<\/dialogue>\n    <character>CHOCO<\/character>\n    <parenthetical>( IN SPANISH WITH SUBTITLES . )<\/parenthetical>\n    <dialogue>Raghead.<\/dialogue>\n    <character>ALF<\/character>\n    <parenthetical>( IN ARABIC WITH SUBTITLES . )<\/parenthetical>\n    <dialogue>Wetback.<\/dialogue>\n    <scene_description>Alf wipes his mouth and turns to the back of the winnebago .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>That's our driver. He's from Afghanistan. He once ate a cat.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>We ca n't understand how to pronounce his fucking name so we just call him Alf. The cat - eating alien.<\/dialogue>\n    <scene_description>We see that he is wearing a T - shirt with a picture of ALF -LRB- THE ORANGE FUR COVERED SITCOM ALIEN -RRB- on it . Alf disappears behind a curtain . We hear someone moaning from back there . Alf mumbles something . Choco looks at his watch anxiously . He seems to be under a lot of pressure . His clothes are splattered with blood . The entire Winnebago is splattered with blood . Some nasty shit has transpired . Alf emerges from the back of the winnebago with Locus Fender . His LEFT ARM is missing . The wound has been sealed with DUCT TAPE . He is pale and delirious from the loss of blood . Choco helps Alf drag him out of the winnebago .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FENDER COMPOUND -- NEXT<\/stage_direction>\n    <scene_description>Alf and Choco walk Locus toward the front entrance to the house . His shoes drag through the sand . Choco coughs at the smoke from the burning barrels .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VEGAS SECURITY LOCKDOWN -- NIGHT<\/stage_direction>\n    <scene_description>Taryn is scrawling notes on her legal pad .<\/scene_description>\n    <character>TARYN<\/character>\n    <dialogue>How did Locus Fender lose his arm?<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>He had the combination to the safe tattooed on his arm.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FENDER HOUSE -- NEXT<\/stage_direction>\n    <scene_description>Choco and Alf arrive in the doorway with LOCUS . He seems to be regaining consciousness .<\/scene_description>\n    <character>LOCUS<\/character>\n    <dialogue>Momma! What'd you do with my momma!<\/dialogue>\n    <character>EDNA<\/character>\n    <dialogue>LOCUS! BABY. I'M HERE!<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>Turn over your weapon, Edna!<\/dialogue>\n    <scene_description>After another swig of Bud , Edna rises from behind the kitchen counter . She throws the shotgun to Domino . who catches it with one hand .<\/scene_description>\n    <character>ED<\/character>\n    <parenthetical>( to Locus . )<\/parenthetical>\n    <dialogue>Give her the combination to the safe or you're gon na be twenty - five percent more paraplegic.<\/dialogue>\n    <scene_description>Ed is all business as he places the barrels of his shotgun against the man 's RIGHT SHOULDER . Locus nods his head slowly . He is terrified .<\/scene_description>\n    <character>LOCUS<\/character>\n    <dialogue>Momma. I need you to say. exactly as I do.<\/dialogue>\n    <parenthetical>( slurring . )<\/parenthetical>\n    <dialogue>The combination code is on the wrist. just above the palm. You'll need to get the decoder from my bedroom.<\/dialogue>\n    <scene_description>Edna turns to move down the hall .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>Not so fast!<\/dialogue>\n    <scene_description>Domino moves toward Edna with her gun pointed in her face .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm coming with you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FENDER HOUSE -- BEDROOM -- NEXT<\/stage_direction>\n    <scene_description>Domino follows Edna down the hallway into the BEDROOM . Edna immediately begins to rifle through the middle dresser drawer . Domino notices a huge VELVET PAINTING of a young Edna as a SHOWGIRL hanging above the water bed . Edna retrieves a CIRCULAR CARDBOARD DECODER RING . It appears to be made out of several PAPER PLATES .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>Is that the decoder?<\/dialogue>\n    <character>EDNA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FENDER HOUSE -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Edna now sits in the La - Z - Boy . Ed drops the severed arm into her lap . There are NUMBERS and LETTERS TATTOOED ALL OVER IT . Ed glances over at a LARGE ANTIQUE SAFE in the corner of the trailer .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>You have twenty minutes to open that safe.<\/dialogue>\n    <scene_description>Edna begins to run her finger along her son 's severed arm . reading off LETTERS and NUMBERS . turning the WHEEL of the DECODER RING . Domino drops down onto the couch . She looks exhausted . They have been through hell and it shows .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I've never killed anyone. I hope to never kill anyone. Even if they deserve it. My agenda is to kick ass and secure the bounty.<\/dialogue>\n    <scene_description>Ed passes Domino one of Edna 's Budweisers and drops down on the couch next to her . She takes a long swig .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>If I'm on this side of the law. I can live the low life and avoid jail. I can live the nasty and not do time for it.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>That's called the best of both worlds.<\/dialogue>\n    <scene_description>The CAMERA moves in toward Domino 's face .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>As for that other world. that 90210 world. it's not for me.<\/dialogue>\n    <scene_description>On the TELEVISION . actor LAURENCE HARVEY -LRB- 40s -RRB- appears on the screen with FRANK SINATRA and JANET LEIGH .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Is that him?<\/dialogue>\n    <scene_description>Domino nods her head slowly . Choco takes a seat on the other side of the couch , popping the cap off his own Budweiser .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>My real father was an actor. He died when I was a little girl.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Wow. Laurence Harvey. He knew Frank Sinatra?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I knew Frank.<\/dialogue>\n    <scene_description>Edna SNORTS sarcastically from the La - Z - Boy .<\/scene_description>\n    <character>EDNA<\/character>\n    <dialogue>Who did n't?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Shut the fuck up, Edna.<\/dialogue>\n    <parenthetical>( looking at his watch . )<\/parenthetical>\n    <dialogue>You have seventeen minutes to deliver that combination.<\/dialogue>\n    <scene_description>Ed turns back to the screen .<\/scene_description>\n    <character>ED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Is that the bitch from Murder, She Wrote?<\/dialogue>\n    <scene_description>They watch the film unfold silently . The CAMERA MOVES in toward the Mitsubishi widescreen . The Manchurian Candidate fills the screen . ANGELA LANSBURY berates LAURENCE HARVEY .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>You're probably wondering how a girl like me arrived here at the ass end of the Nevada desert with a blood - spattered Winnebago and a one - armed man. To do that. I'll have to start at the beginning.<\/dialogue>\n    <scene_description>Domino takes a sip of beer . IMAGES BLEED FROM THE PAST : A BARRAGE OF PHOTOGRAPHS from DOMINO 'S CHILDHOOD in LONDON . PHOTOS of LAURENCE HARVEY and SOPHIE THOMAS -LRB- 20s -RRB- . Domino 's mother . SUPER - 8 family footage bleeds into . a CHARITY FAIR . Harvey wins a RING TOSS and hands DOMINO -LRB- 8 -RRB- a PRIZE GOLDFISH in a bag of water . Domino places the GOLDFISH into a bowl . watches it from her bed at home as she goes to sleep . DOMINO . throwing a ROSE on the CASKET at her father 's funeral .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>After dad passed on, Mum's agenda was to hit the town and find another husband with a boatload of cash.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LONDON APARTMENT -- EVENING<\/stage_direction>\n    <scene_description>Sophie is dolled up for a night on the town . CLEAVAGE spilling out of her cocktail dress . Domino is feeding her pet GOLDFISH . `` THUNDERBIRDS '' plays on the television .<\/scene_description>\n    <character>SOPHIE<\/character>\n    <dialogue>Be kind to your sitter.<\/dialogue>\n    <scene_description>Domino glances back at a dowdy BRITISH NANNY -LRB- 50s -RRB- . She immediately walks over and turns off the television .<\/scene_description>\n    <character>NANNY<\/character>\n    <dialogue>Time for bed. little one.<\/dialogue>\n    <scene_description>Domino grits her teeth .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LONDON APARTMENT -- LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Sophie comes stumbling into the apartment with a ROD STEWART look - alike . The NANNY is hog - tied with DUCT - TAPE on the couch .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LONDON CATHOLIC SCHOOL -- DAY<\/stage_direction>\n    <scene_description>Sophie kisses Domino good - bye at the gate of the boarding school . Two NUNS approach . and she is left standing there alone with her GOLDFISH in its bowl .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>My mischief was cramping mum's husband hunting. She decided to sock me and my goldfish Sammy away in boarding school.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LONDON CATHOLIC SCHOOL -- DAY<\/stage_direction>\n    <scene_description>Domino sits on her bunk . staring at her goldfish . It begins to flail helplessly . floating to the top .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>A week later Sammy died. It was a pivotal moment in my life.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LONDON CATHOLIC SCHOOL -- BATHROOM -- NEXT<\/stage_direction>\n    <scene_description>Domino stands over the toilet with tears in her eyes . She drops the goldfish into the toilet .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It was then that I realized God designed us all to perish. I decided to never invest too much emotion in one thing. It's always a set up to the pain of losing them.<\/dialogue>\n    <scene_description>The CAMERA follows the dead goldfish down the toilet bowl and into an ABYSS OF SHIT . -LRB- Trainspotting -RRB-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CATHOLIC CHURCH CATHEDRAL -- DAYS LATER<\/stage_direction>\n    <scene_description>Domino -LRB- 9 -RRB- stands on the floor of a CATHOLIC CATHEDRAL with a group of Catholic school students on a field trip . She reaches out and steals a SILVER DOLLAR from the OFFERING PLATE . placing it in her pocket . A NUN eyes her suspiciously . Domino gazes up at the ceiling , at a painting of GOD staring back at her .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>God created me in his image.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I guess he had a thing for models.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LONDON FASHION SHOW - 1995 (POSS. DAVIS FACTOR STUDIO) (THE CULT - FIRE WOMAN)<\/stage_direction>\n    <scene_description>Domino -LRB- 15 -RRB- struts down the CATWALK at a fashion show . She looks gorgeous .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I started on the runways in England.<\/dialogue>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Like most models, I was bored with life. I hated everything. and everyone.<\/dialogue>\n    <scene_description>Another MODEL clips Domino in the shoulder as they pass one another on the catwalk .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>If you think America is dirtbag central. clearly you've never been to the sleaze - nation of our Queen mother.<\/dialogue>\n    <scene_description>Domino turns around and grabs the girl by the hair . She screams out . clawin at Domino 's face . They both tumble to the floor of the catwalk . People in the audience gasp in horror as FLASHBULBS erupt all around them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LONDON APARTMENT - DAY<\/stage_direction>\n    <scene_description>On a BEC ENTERTAINMENT NEWS SHOW . the CAST of `` BEVERLY HILLS 90210 '' stands before a cheering crowd at a London shopping mall . Clips of all of the actors are shown . Sophie sits on the couch with a JACK RUSSELL TERRIER in her lap . smoking a cigarette . She seems enthralled with them .<\/scene_description>\n    <character>SOPHIE<\/character>\n    <dialogue>Brilliant. Absolutely brilliant.<\/dialogue>\n    <scene_description>Behind her . Domino is playing with a pair of NUMB - CHUCKS . wearing her CATHOLIC SCHOOL UNIFORM .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Mum was determined to move us to Beverly Hills. That damn show started it all.<\/dialogue>\n    <scene_description>IMAGE BLEED : A 747 descends over LOS ANGELES . Domino -LRB- 16 -RRB- peers through the window at the lights of the city . PALM TREES . SUNSHINE . RODEO DRIVE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEVERLY HILLS MANSION -- DAY<\/stage_direction>\n    <scene_description>Domino -LRB- 16 -RRB- is in the back yard of a MANSION in BEVERLY HILLS . She is still playing with her NUMB - CHUCKS . Marc Osborne -LRB- 40s -RRB- is chatting with friends around the pool .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>She re - married to a man named Marc Osborne. He invested in a restaurant called Planet Hollywood. We were never that close.<\/dialogue>\n    <scene_description>STILL BLACK &amp; WHITE IMAGE : Domino stands in front of a Planet Hollywood with Osborne , Sophie , ARNOLD SCHWARZENEGGER , BRUCE WILLIS , DEMI MOORE and SYLVESTER STALLONE . Sophie comes out onto the patio with the Jack Russell terrier under her arm . sipping a MARTINI .<\/scene_description>\n    <character>SOPHIE<\/character>\n    <dialogue>Domino! Give the goddamn numb - chucks a rest already. It's time for supper!<\/dialogue>\n    <scene_description>Sophie shakes her head in disgust as she moves back inside the mansion .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I tried Beverly Hills High for a spell. but it did n't work out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEST BEVERLY HIGH -- BATHROOM -- DAY<\/stage_direction>\n    <scene_description>Domino is in a GNARLY CAT - FIGHT with this BEVERLY HILLS GIRL . Violent hair - pulling . Screaming crowd surrounds them . Tampons and hairbrushes are flying .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I hated them. I hated them all.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CALIFORNIA UNIVERSITY -- SORORITY ROW -- DAY<\/stage_direction>\n    <scene_description>Domino -LRB- 18 -RRB- stands in front of the PI PHI HOUSE at sorority rush . as a group of gorgeous young women jump up and down . CLAPPING . SINGING SONGS .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>College was even worse. Mum convinced me to joined a sorority. It was all fun and games at first.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SORORITY HOUSE -- DAYS LATER<\/stage_direction>\n    <scene_description>Domino and the other PLEDGES are now lined up against the WALL in the back hall of the sorority house , all of them stripped down to their BRAS and PANTIES .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Then the hazing started.<\/dialogue>\n    <scene_description>The same SORORITY GIRL has now become a VICIOUS PLEDGE TRAINER .<\/scene_description>\n    <character>SORORITY GIRL<\/character>\n    <dialogue>Look at you fat fucking bitches.<\/dialogue>\n    <scene_description>She walks up to a HEAVYSET GIRL with a BLACK MARKER in hand and begins to circle the CELLULITE on her ass . The girl is trembling with humiliation . tears flowing down her cheeks .<\/scene_description>\n    <character>SORORITY GIRL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Look at this fucking fat! It's fucking disgusting!<\/dialogue>\n    <scene_description>The Sorority Girl approaches an enraged Domino . who does n't have an ounce of fat on her body .<\/scene_description>\n    <character>SORORITY GIRL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Look at those mosquito bites. What's it like having the body of a ten year old boy?<\/dialogue>\n    <scene_description>Domino leans in to analyze the girl 's face .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>Did you get a nose job?<\/dialogue>\n    <scene_description>DOMINO THEN PUNCHES HER IN THE FACE AS HARD AS SHE CAN . The girl falls against the wall . BLOOD gushing from her nose .<\/scene_description>\n    <character>SORORITY GIRL<\/character>\n    <dialogue>AAHHH! OHHH MY GOD!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL COUNSELOR'S OFFICE -- DAYS LATER<\/stage_direction>\n    <scene_description>Domino sits across from her SCHOOL COUNSELOR . Sophie is there next to her . looking completely BAFFLED .<\/scene_description>\n    <character>COUNSELOR<\/character>\n    <dialogue>What is it about sorority life that bothers you?<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>Everything. It is a ghastly existence.<\/dialogue>\n    <character>SOPHIE<\/character>\n    <dialogue>Why must you fight. everything that is normal? You are blessed with such beauty. Life could be so easy. if only you allowed yourself to fit the mold.<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>The mold? I am living among these crypto - fascist Orange County cunts. with daddy's BMW and the boob job. just waiting to implode.<\/dialogue>\n    <character>SOPHIE<\/character>\n    <dialogue>Crypto - fascist? Who talks like this?!<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>I refuse to turn out like them. Twenty - one years old and they're already looking for a husband.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Stupid fucking cunts with no self - esteem. They let the boys control their lives. Not me.<\/dialogue>\n    <character>SOPHIE<\/character>\n    <parenthetical>( cringing . )<\/parenthetical>\n    <dialogue>Must you use that awful word?<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>Cunt.<\/dialogue>\n    <character>SOPHIE<\/character>\n    <dialogue>Stop it.<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>Cunt.<\/dialogue>\n    <character>SOPHIE<\/character>\n    <dialogue>I said stop it.<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>Cunt. It's just a word. Why does everyone in this fucking country get their knickers in a twist by the slightest bit of indecent conversation?<\/dialogue>\n    <scene_description>The Therapist sighs to himself . He retrieves a SCANTRON TEST that she has filled out with the words `` FUCK OFF '' . There is a big red `` F '' at the top .<\/scene_description>\n    <character>THERAPIST<\/character>\n    <dialogue>This is your mid - term exam?<\/dialogue>\n    <character>SOPHIE<\/character>\n    <dialogue>She's dyslexic. She's always had trouble with assignments.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA MONICA BEACH -- SUNSET [CONCRETE BLONDE - JOEY]<\/stage_direction>\n    <scene_description>Domino sits alone on the beach . smoking a cigarette .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>A week later I was expelled.<\/dialogue>\n    <scene_description>Newspapers and other TRASH blow across the sand toward Domino . A piece of an LA WEEKLY hits her shoulder . She grabs it . glancing down at the back page where there is an ADVERTISEMENT : PROFESSIONAL BOUNTY HUNTERS WANTED ! $ 99 SEMINAR WITH BAIL BONDSMAN CLAREMONT WILLIAMS III ! There is a picture of a OLDER BLACK MAN named CLAREMONT WILLIAMS III -LRB- 50s -RRB- staring back at her . He is wearing a THREE - PIECE SUIT .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>In the end. it all came down to fate. An LA Weekly advert strewn across a desolate beach.<\/dialogue>\n    <scene_description>The CAMERA moves in toward the picture of Claremont Williams III .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Claremont Williams III. The legendary bail bondsman. A few months later we met face to face.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAWTHORNE COMMUNITY CENTRE -- DAY<\/stage_direction>\n    <scene_description>Claremont Williams now stands before a PODIUM on the stage of a decrepit COMMUNITY CENTER in the city of Hawthorne .<\/scene_description>\n    <character>CLAREMONT<\/character>\n    <dialogue>As a bail - bondsman. I am the go - between for the court and the criminal. For a ten percent fee. I will guarantee the amount set by the court.<\/dialogue>\n    <scene_description>The room is filled with several dozen aspiring BOUNTY HUNTERS . Most of them are MEN . but there are a few WOMEN scattered about .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAWTHORNE COMMUNITY CENTER -- LOBBY -- NEXT<\/stage_direction>\n    <scene_description>Domino approaches a TABLE set up in the LOBBY of the community center : Choco is sitting at the table .<\/scene_description>\n    <character>CHOCO<\/character>\n    <parenthetical>( IN SPANISH WITH SUBTITLES . )<\/parenthetical>\n    <dialogue>May I help you?<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>Yes. I'm here for the bounty hunter seminar.<\/dialogue>\n    <scene_description>Choco stares Domino up and down . She is wearing a TANK TOP . TIGHT JEANS and HIGH HEELS . A BELLY CHAIN rests just below her navel . She looks spectacular . Choco swallows hard .<\/scene_description>\n    <character>CHOCO<\/character>\n    <parenthetical>( IN SPANISH WITH SUBTITLES . )<\/parenthetical>\n    <dialogue>Ninety - nine dollars. Cash.<\/dialogue>\n    <scene_description>Domino drops a HUNDRED onto the table .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>Keep the change.<\/dialogue>\n    <scene_description>Choco watches Domino in awe as she struts into the community center . high heels CLACKING on the linoleum floor . It is love at first sight .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAWTHORNE COMMUNITY CENTER -- NEXT<\/stage_direction>\n    <scene_description>Domino walks down the CENTER AISLE between the rows of chairs filled with the various assortment of BIKERS . EX - CONS . LOSERS and WANNABES hoping to become bounty hunters . -LRB- NOTE : Gusmano - real people casting -RRB-<\/scene_description>\n    <character>CLAREMONT<\/character>\n    <dialogue>If the felon does a no - show on his trial date, I will bring in a bounty hunter to recapture the defendant or I will face having to pay the court myself.<\/dialogue>\n    <scene_description>Claremont raises his eyes . noticing Domino as she works her way down the third row . searching for an open chair .<\/scene_description>\n    <character>CLAREMONT<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>This occurs most frequently. because the collateral or guarantee given. to the bail bondsman. turns out to be worthless. or. uh. difficult to liquidate.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>In layman's terms. We get ten percent of the bail.<\/dialogue>\n    <scene_description>Claremont has entirely lost his train of thought . He can not stop staring at Domino as she works her way to her seat . The entire room full of wannabes is staring at her as well . She could not look more out of place .<\/scene_description>\n    <character>CLAREMONT<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( clearing his throat . )<\/parenthetical>\n    <dialogue>In a few minutes. Ed Martin will take the stage and begin the seminar on how to become a bounty hunter.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Polite APPLAUSE from the crowd . Domino pulls out a BRAND NEW SPIRAL NOTEBOOK and a BIC PEN . ready to take extensive notes . Next to her . a LOSER -LRB- 40s -RRB- is gawking at her . He turns back to a conversation he was having with another LOSER .<\/scene_description>\n    <character>LOSER #1<\/character>\n    <parenthetical>( licking his lips . )<\/parenthetical>\n    <dialogue>Hot damn. I knew there were groupies. but I never thought they'd show up at a seminar.<\/dialogue>\n    <character>LOSER #2<\/character>\n    <parenthetical>( to Domino . )<\/parenthetical>\n    <dialogue>How about it? You want to ride some bounty hunter cock?<\/dialogue>\n    <scene_description>Domino does not even look at him .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>Fuck you, douche - bag.<\/dialogue>\n    <scene_description>Choco peers through the entrance from the lobby at Domino .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAWTHORNE COMMUNITY CENTER -- LOBBY -- NEXT<\/stage_direction>\n    <scene_description>but is summoned back into the lobby by Ed , who is counting MONEY at the table . He drops the last stack of bills into a MANILA ENVELOPE . Ed looks to the front entrance . There are several WANNABES lurking around the entrance . smoking cigarettes and talking in small groups .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Alright. Time to ditch this thing. Did you take a look at the bathroom window?<\/dialogue>\n    <character>CHOCO<\/character>\n    <parenthetical>( IN SPANISH WITH SUBTITLES . )<\/parenthetical>\n    <dialogue>I forgot.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>For the love of God. Not Spanish again. Who's the girl?<\/dialogue>\n    <scene_description>Ed throws Choco a quizzical look . Choco shrugs , looks away . Claremont struts through the lobby and Ed casually hands him his cut of the cash .<\/scene_description>\n    <character>CLAREMONT<\/character>\n    <dialogue>Gentlemen, it has been a pleasure.<\/dialogue>\n    <scene_description>Claremont walks out .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Bathroom window. Five minutes. I'll have the engine running.<\/dialogue>\n    <scene_description>Choco grunts with displeasure as Ed moves toward the bathroom . 96 FPS SLOW MOTION on Ed as he struts toward CAMERA :<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>If you hang out with Ed long enough, he'll tell you about Danang. He'll tell you about the North Vietnamese tunnel he found and the battle that ensued. This man is a warrior. That day in Danang made him one.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAWTHORNE COMMUNITY CENTER -- NEXT<\/stage_direction>\n    <scene_description>Domino sighs impatiently . looking at her watch . The crowd is getting restless . A FAT WOMAN sitting in front of Domino begins to complain .<\/scene_description>\n    <character>FAT WOMAN<\/character>\n    <dialogue>For Chrissakes. when is this thing gon na get started? I left my kids at Chuckie - fucking - Cheese and it's gon na close in an hour. What kind of piece of shit seminar is this?<\/dialogue>\n    <scene_description>Domino looks at her watch and sighs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAWTHORNE COMMUNITY CENTER -- LOBBY -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Domino comes into the lobby . Choco is no longer at the table . Domino sighs impatiently . looking at her watch .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WOMEN'S BATHROOM -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Domino is applying LIPSTICK in the bathroom mirror . There is a LOUD GROANING NOISE coming through the wall . Domino 's eyes dart over to the wall . She puts her ear to the wall as the GROANING NOISES grow even louder .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEN'S BATHROOM -- NEXT<\/stage_direction>\n    <scene_description>Domino pushes open the door to the MEN 'S BATHROOM . She stares in disbelief as Choco is trying to wedge his body out the window . His ASS is stuck in the small window frame and his legs are wiggling back and forth as he tries to pull himself through .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>Motherfucker.<\/dialogue>\n    <scene_description>She storms in . grabs Choco from behind just as he drops through . RIP !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAWTHORNE COMMUNITY CENTER -- NEXT<\/stage_direction>\n    <scene_description>and tries to pull Choco back in . 96 FPS SLOW MOTION on Choco 's freaked out face :<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>To say that Choco is a product of a broken home is to presume a home existed in the first place. No, Choco never had a home. Not unless you count the ten or so juvenile correction facilities where he spent his childhood.<\/dialogue>\n    <scene_description>Choco falls to the ground .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAWTHORNE COMMUNITY CENTER -- LOBBY -- NEXT<\/stage_direction>\n    <scene_description>Domino storms through the lobby toward the exit . pushing her way through the group of WANNABES on cigarette break .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAWTHORNE COMMUNITY CENTER -- PARKING LOT -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Domino rounds the corner of the building into the PARKING LOT . just as Choco pushes his way through the window frame and lands on the gravel . Domino watches Choco as he wipes the dirt from his clothes . HEADLIGHTS approach . It is a blue EL CAMINO . Ed is behind the wheel .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>What the fuck is this shit?<\/dialogue>\n    <scene_description>Choco just stares at Domino . unsure what to do .<\/scene_description>\n    <character>CHOCO<\/character>\n    <parenthetical>( IN SPANISH WITH SUBTITLES . )<\/parenthetical>\n    <dialogue>Shit.<\/dialogue>\n    <scene_description>Choco runs around the front of the El Camino and opens the passenger side door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EL CAMINO -- NEXT<\/stage_direction>\n    <scene_description>Choco falls into the passenger seat and slams the door .<\/scene_description>\n    <character>CHOCO<\/character>\n    <parenthetical>( IN SPANISH WITH SUBTITLES . )<\/parenthetical>\n    <dialogue>Drive.<\/dialogue>\n    <scene_description>Just as Ed puts the car into DRIVE . Domino steps into the path of the headlight beams and retrieves a 10 INCH HUNTING KNIFE from her purse . She HURLS the knife at the El Camino and it PLUNGES DEAD CENTER into the glass . SHATTERING the windshield in a spider - pattern . Ed and Choco stare incredulously at the 10 INCH BLADE that has pierced through the glass .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>What the. who is this bitch?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAWTHORNE COMMUNITY CENTER -- PARKING LOT -- NEXT<\/stage_direction>\n    <scene_description>Ed and Choco exit the El Camino just as Domino retrieves her knife from the windshield . She grips it in her right hand . threatening them .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>Where the fuck do you think you're going?<\/dialogue>\n    <scene_description>Choco and Ed just stare at one another incredulously .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>These people paid good money for a seminar!<\/dialogue>\n    <scene_description>Ed retrieves the ENVELOPE from his jacket and pulls out a HUNDRED DOLLARS .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>You want your money back?<\/dialogue>\n    <parenthetical>( holding out the bills . )<\/parenthetical>\n    <dialogue>Here. take it.<\/dialogue>\n    <scene_description>Domino considers her options .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>I do n't want my fucking money back. I want a job.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You take me on as part of your team. or else.<\/dialogue>\n    <scene_description>Ed laughs to himself .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Or else what?<\/dialogue>\n    <scene_description>Domino whips out a pair of NUMB - CHUCKS from her purse and begins to WHIP them around her body in an elaborate display of numb - chuckery . -LRB- NOTE : Find body double for Domino -RRB- Choco gawks at Domino . It is love at second sight for him . all over again .<\/scene_description>\n    <character>CHOCO<\/character>\n    <parenthetical>( IN SPANISH WITH SUBTITLES . )<\/parenthetical>\n    <dialogue>Holy shit. this bitch is fierce.<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>I've been training since I was twelve. Knives. Guns. Throwing stars. You name it. I can fight with it. I'm a hard worker and a fast learner.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Nothing scares me. I'm not afraid to die.<\/dialogue>\n    <scene_description>Ed looks at Choco . shaking his head in disbelief .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>You want to be a bounty hunter. Why does a pretty little thing like you want to be a bounty hunter?<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>Because I want justice. I want to help put these sleazebags back in jail where they belong.<\/dialogue>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>And I want to have a little fun.<\/dialogue>\n    <scene_description>Ed chuckles to himself .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Okay. Pretty Woman. I'll give you tonight. See if you can take it.<\/dialogue>\n    <scene_description>Domino raises her knife .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>You can save that Pretty Woman shit. The name is Domino.<\/dialogue>\n    <character>ED<\/character>\n    <parenthetical>( patronizing baby talk . )<\/parenthetical>\n    <dialogue>Domino. Do you have a last name. Domino?<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>No last names. Just Domino. The less you know about me the better, okay?<\/dialogue>\n    <scene_description>Ed nods his head and opens the driver 's side door .<\/scene_description>\n    <character>CHOCO<\/character>\n    <parenthetical>( IN SPANISH WITH SUBTITLES . )<\/parenthetical>\n    <dialogue>Where are we going?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>On a raid. If she wants to see justice. we gon na take Domino to the Jungle, baby.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JUNGLE -- NEXT<\/stage_direction>\n    <scene_description>The El Camino pulls into the entrance to the JUNGLE . The neighborhood of LOW INCOME HOUSES winds upward into the HILLSIDE adjacent to the wall . Ed parks the El Camino next to the curb .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EL CAMINO -- NEXT<\/stage_direction>\n    <scene_description>Choco retrieves a MUG SHOT from the glove compartment . Domino looks at a photograph of a man named CHARLES `` COOKIE '' KINCAID -LRB- 19 -RRB- .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Bail jumper's name is Cookie Kincaid. Nineteen years old. His mommie posted bail when he was arrested for allegedly partaking in a drive - by shooting in Hawthorne.<\/dialogue>\n    <character>CHOCO<\/character>\n    <parenthetical>( IN SPANISH WITH SUBTITLES . )<\/parenthetical>\n    <dialogue>He killed two children.<\/dialogue>\n    <character>ED<\/character>\n    <parenthetical>( throwing Choco a look . )<\/parenthetical>\n    <dialogue>Fella takes out two kids and has the audacity to not show up for trial.<\/dialogue>\n    <character>CHOCO<\/character>\n    <parenthetical>( IN SPANISH WITH SUBTITLES . )<\/parenthetical>\n    <dialogue>We got ta bring him in.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Will you speak the fucking English language? The poor girl has no clue what you're talking about.<\/dialogue>\n    <parenthetical>( to Domino . )<\/parenthetical>\n    <dialogue>The boy speaks English, you know. Reads, writes, I swear it. He does this when he's around girls. Thinks it's cute.<\/dialogue>\n    <character>CHOCO<\/character>\n    <parenthetical>( IN SPANISH WITH SUBTITLES . )<\/parenthetical>\n    <dialogue>I'm gon na kill you, Ed.<\/dialogue>\n    <scene_description>Ed turns back to Domino .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Tell him it's not cute. Will you tell him, Domino!?<\/dialogue>\n    <character>CHOCO<\/character>\n    <parenthetical>( IN SPANISH WITH SUBTITLES . )<\/parenthetical>\n    <dialogue>Chinga te y tu mama tambien.<\/dialogue>\n    <scene_description>Domino looks on as they go back and forth on each other at the top of their lungs . They are kinda ' cute .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TINA KINCAID'S HOUSE -- MOMENTS LATER<\/stage_direction>\n    <scene_description>They walk toward the front door . Ed rings the doorbell . TINA KINCAID -LRB- 37 -RRB- opens the front door . Ed holds up the mug shot . Tina stares at them through the screen .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>You can make this easy, Tina. or you can make it real complicated. Your son is gon na be dead meat unless you let us bring him in.<\/dialogue>\n    <scene_description>Tina slowly opens the screen door to let them into the house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TINA KINCAID'S HOUSE -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Tina sits on the couch across from Ed . Domino and Choco watch as she counts out the TWO - HUNDRED DOLLARS Ed has given her .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>For two - hundred dollars. Tina gave us her son's whereabouts. A local Gang - banger hideout up the street.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JUNGLE -- LATER ON<\/stage_direction>\n    <scene_description>Domino stands with Ed and Choco at the TAILGATE of the El Camino . There is a SHELL mounted on the back of the truck bed . A remote control panel opens , revealing an arsenal of weapons . Ed retrieves three SHOTGUNS and hands them out .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I could feel the blood coursing through my veins. Shotgun in hand, kicking down a door and wondering if there was heavy fire power on the other side.<\/dialogue>\n    <scene_description>They begin their approach up the hill to Dexter house .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Turns out. my first raid was to be a near disaster.<\/dialogue>\n    <scene_description>Domino reaches into her pocket and retrieves the SILVER DOLLAR that she stole from the Cathedral in London . rubbing it for good luck .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TINA KINCAID'S HOUSE -- NEXT<\/stage_direction>\n    <scene_description>Tina rushes into the MASTER BEDROOM .<\/scene_description>\n    <character>TINA<\/character>\n    <dialogue>Cookie! Coast is clear baby.<\/dialogue>\n    <scene_description>COOKIE KINCAID crawls out from underneath the bed .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>That bitch Tina set us up. The oreo cookie was hiding underneath her bed all along.<\/dialogue>\n    <scene_description>Cookie grabs the TELEPHONE from the night stand and begins to dial a number .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEXTER HOUSE -- LIVING ROOM -- NEXT<\/stage_direction>\n    <scene_description>Inside the DEXTER HOOSE . LARENZ `` CREEP '' DEXTER -LRB- 20s -RRB- answers the phone .<\/scene_description>\n    <character>CREEP<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>COOKIE<\/character>\n    <parenthetical>( PHONE . )<\/parenthetical>\n    <dialogue>Creep. It's Cookie. There's three Five - O's about to knock down your front door.<\/dialogue>\n    <scene_description>Click . Dialtone . Creep 's eyes widen in panic . That panic quickly turns to RAGE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEXTER HOUSE -- KITCHEN -- NEXT<\/stage_direction>\n    <scene_description>Creep comes into the KITCHEN . There are SEVEN GANG - BANGERS in there watching TV . The place is swimming in FORTIES and BLUNTS .<\/scene_description>\n    <character>CREEP<\/character>\n    <dialogue>Fuckin' Five - O.<\/dialogue>\n    <scene_description>Everyone goes for their GUNS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEXTER HOUSE -- NEXT<\/stage_direction>\n    <scene_description>Ed stands on the front porch , flanked by Domino and Choco , SHOTGUNS in hand .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Here we go.<\/dialogue>\n    <scene_description>Ed KICKS DOWN the front door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEXTER HOUSE -- NEXT<\/stage_direction>\n    <scene_description>The BOUNTY HUNTER TRIO rushes through the FOYER into the KITCHEN . and immediately find themselves surrounded . The GANG - BANGERS all have their own GUNS pointed at them . -LRB- NOTE : Gusmano real people casting -RRB- MEXICAN STAND - OFF . A SCREAMING FURY ENSUES .<\/scene_description>\n    <character>EVERYONE<\/character>\n    <dialogue>FREEZE MOTHERFUCKER. DROP THE MOTHERFUCKING GUN. WHERE THE FUCK IS COOKIE.<\/dialogue>\n    <scene_description>SMASH CUT TO CATHEDRAL IN LONDON : Domino -LRB- 9 -RRB- stands among the nuns . staring up at the ceiling . The CRAZY NUN watches her .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>That night. my coin was tossed. Heads you live. tails you die.<\/dialogue>\n    <scene_description>SMASH CUT TO CLOUDS : A SILVER DOLLAR SPINNING THROUGH THE AIR AGAINST CLOUDS ABOVE THE SUNSET . SHOTGUNS EXPLODE . BULLETS FLY . SHELLS TEAR INTO CHOCO . THEN ED . THEN DOMINO . BLOOD EXPLODES FROM THEIR BODIES . THEIR LIMBS FLAIL BACKWARDS AS THOUGH THEY ARE ATTACHED TO RAG DOLLS .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Fifty - fifty chance. Life or death. My destiny was life. Life as a bounty hunter.<\/dialogue>\n    <scene_description>SMASH CUT TO CLOUDS : The SILVER DOLLAR spins through the clouds .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>This ai n't Sunset Boulevard.<\/dialogue>\n    <scene_description>The IMAGE REWINDS . the SHOTGUN SHELLS fly back into the barrels of the shotguns . BING . The IMAGE PLAYS IN FORWARD MOTION . this time the SCREAMING FRENZY DIES DOWN . Domino has lowered her gun and retrieved a BLUNT from the table . She takes a drag and exhales pot smoke into the room .<\/scene_description>\n    <character>CREEP<\/character>\n    <dialogue>What is this shit?<\/dialogue>\n    <scene_description>Domino stares at Creep . the ADRENALINE pumping through her veins . Mary Jane coursing through her lungs .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>We're not cops. We're bounty hunters. All we want is Cookie. You tell us where he is. and I'll.<\/dialogue>\n    <scene_description>Creep darts his eyes back at the others .<\/scene_description>\n    <character>CREEP<\/character>\n    <dialogue>And you'll what?<\/dialogue>\n    <scene_description>Domino stares at Creep . She flips the silver dollar through her fingers . her mind racing .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Sometimes a girl has to be naughty in order to get herself out of a jam.<\/dialogue>\n    <character>DOMINO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'll give you a lap dance. Bra and panties on.<\/dialogue>\n    <scene_description>Creep licks his lips .<\/scene_description>\n    <character>CREEP<\/character>\n    <dialogue>Awww shiiiitt. Girl. you be freakin' with me?<\/dialogue>\n    <scene_description>Domino takes off her shirt . She then retrieves her BUTTERFLY KNIFE from her pocket<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>You or your friends touch me. I'll cut your balls off.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEXTER HOUSE -- KITCHEN -- LATER ON<\/stage_direction>\n    <scene_description>Domino is dancing seductively in the kitchen in a bra and BLACK G - STRING PANTIES . Creep is in a chair in the center of the room . Domino gyrates to the music . placing her BUTTERFLY KNIFE in her mouth . She gyrates on Creep 's crotch . He thrusts his pelvis into her . loving every minute of it ,<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It worked. We got the scoop on how to find Cookie.<\/dialogue>\n    <scene_description>Choco watches Domino in awe from the corner of the kitchen . Ed stands near her with his arms across his chest in disapproval .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEEDY MOTEL ROOM -- DAY<\/stage_direction>\n    <scene_description>The Bounty Hunters break into a MOTEL ROOM and nail Cookie .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Two weeks later we nailed him.<\/dialogue>\n    <scene_description>Domino and Ed HIGH FIVE as Choco cuffs the little bastard .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>From that day on. Eddie, Choco and I. we were inseparable.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DMV -- SANTA MONICA -- DAY<\/stage_direction>\n    <scene_description>The CAMERA follows Ed , Choco and Domino as they approach the entrance to the DMV .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>Why are we going to the DMV?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>The DMV is the de facto conduit for humanity. Every human being that we track down has a record in their database. Every other database. social security. credit bureau. LAPD. FBI. relies on the DMV as its hub. Claremont has people on the inside who feed us information.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DMV -- SANTA MONICA -- NEXT<\/stage_direction>\n    <scene_description>The group now moves through the DMV . The internal maze of cubicles filled with anonymous Government employees .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>The rich. the poor. and everyone in between is a slave to this institution.<\/dialogue>\n    <scene_description>Domino looks at all of the BLACK WOMEN working within the maze .<\/scene_description>\n    <character>ED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And the gatekeepers of humanity turn out to be a bunch of fat, sassy black women.<\/dialogue>\n    <scene_description>Choco leans in to whisper something in Domino 's ear .<\/scene_description>\n    <character>CHOCO<\/character>\n    <parenthetical>( IN SPANISH WITH SUBTITLES . )<\/parenthetical>\n    <dialogue>Claremont fucks them all.<\/dialogue>\n    <scene_description>Ed approaches one of the WINDOWS .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Hey Shantelle. have you seen Claremont?<\/dialogue>\n    <character>SHANTELLE<\/character>\n    <dialogue>He's in the lounge with Keisha.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DMV -- LOUNGE -- NEXT<\/stage_direction>\n    <scene_description>Claremont has a woman named KEISHA bent over a chair in the lounge . He is fucking her hard from behind .<\/scene_description>\n    <character>ROBOTIC FEMALE VOICE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Now serving B023 at window number six.<\/dialogue>\n    <scene_description>MONTAGE -LSB- MARLBORO ON ACID -RSB- : Ed and Choco chasing a REDNECK down an ALLEY . Domino tackles and handcuffs a MEXICAN MAN in a wife - beater in a RALPH 'S PARKING LOT .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>After six months. Claremont hired Alf to drive us around. we were so busy.<\/dialogue>\n    <scene_description>ALF pulls up in front of the BAIL BONDS OFFICE in a CHEVY IMPALA . The TEAM comes out of the entrance . Claremont counting STACKS OF MONEY at his desk with an old school ADDING MACHINE . The TEAM is on the road to TEXAS in a beat - up CHEVY IMPALA . Alf is behind the wheel . DOMINO MAKES EYE CONTACT WITH AN OLD INDIAN MAN AT A GAS STATION OUTSIDE OF BARSTOW . HE TIPS HIS HAT IN HER DIRECTION . The TEAM stands outside of a seedy TRAILER . Choco does a twenty yard sprint and LEAPS FORWARD feet first . exploding the trailer door off its upper hinges . A REDNECK inside leaps off the couch as they storm inside .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Sometimes we went as far east as Texas.<\/dialogue>\n    <scene_description>The TEAM bursts into a TEXAS STRIP CLUB . GUNS BLAZING .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>When there's cash on the table. the line between law enforcer and criminal becomes rather blurry.<\/dialogue>\n    <scene_description>The TEAM collecting a BRIEFCASE FULL OF COCAINE from some TEXAS COPS in return for their bounty .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Sometimes we'd accept seized narcotics for a payment instead of cash. The street re - sale value let us triple our payday.<\/dialogue>\n    <scene_description>The TEAM knocking back drinks at a TEXAS HONKY TONK BAR . The `` FOUR MUSKETEERS '' high five . Domino rides the ELECTRONIC BULL . Choco watches as her G - STRING is exposed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MACDONALD'S PLAYLAND -- ARIZONA BORDER -- DAY<\/stage_direction>\n    <scene_description>TWO FBI AGENTS photograph Domino and Ed with a LONG LENS CAMERA as they sit at the outdoor patio of a MACDONALD 'S PLAYLAND .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Little did I know that the FBI liked to keep tabs on us bounty hunters.<\/dialogue>\n    <scene_description>Domino tears into a QUARTER POUNDER . Ed glances over at PLAYLAND . Choco is swimming through a SEA OF PLASTIC BALLS . frolicking with a bunch of MEXICAN CHILDREN .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So Ed. What did you do before you became a bounty hunter?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>I was a musician.<\/dialogue>\n    <scene_description>Domino 's eyes widen .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>Really? Did you play in a band?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Yeah. I played base guitar for Pat Benatar.<\/dialogue>\n    <scene_description>Domino puts her hand to her chest .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>I. love. Pat Benatar.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Yeah?! Well. I loved her too.<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>Oh my God. you mean. the two of you dated?!<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>We dated off and on for two years. But life on the road is tough. The pressure of the tour. relationships within a band. sometimes it leads to jealousy.<\/dialogue>\n    <scene_description>Ed glances over at Choco . He is dunking a SCREAMING CHILD head first into the balls . The kids adore him . Domino looks over at Choco in the sea of balls .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>How did you meet Choco?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>I found him pan - handling on Third Street Promenade. Took him under my wing. We been hunting together ever since.<\/dialogue>\n    <scene_description>Choco arrives from Playland . His clothes are all wet .<\/scene_description>\n    <character>ED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Jesus Christ! What's that smell?<\/dialogue>\n    <character>CHOCO<\/character>\n    <parenthetical>( IN SPANISH WITH SUBTITLES . )<\/parenthetical>\n    <dialogue>The children like to urinate in the balls.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Fuckin' A! We got a five hour drive back to LA ahead of us.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MACDONALD'S -- PARKING LOT -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Choco is now stripped down to his boxer shorts in the back PARKING LOT of the MacDonald 's . Alf is hosing him down . Domino stares at Choco . admiring his body .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>We may have been dysfunctional, but we worked. We were family.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GHETTO HOUSE -- NIGHT<\/stage_direction>\n    <scene_description>A GANG - BANGER has a SHOTGUN pointed at Choco 's face , staring Ed down .<\/scene_description>\n    <character>GANG-BANGER<\/character>\n    <parenthetical>( IN SPANISH . )<\/parenthetical>\n    <dialogue>ONE STEP CLOSER AND I'LL BLOW HIS FUCKING FACE OFF!<\/dialogue>\n    <scene_description>Ed , sweat pouring down his temple , stays put . Domino approaches the Gang - banger from behind , places her pistol to his head .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>Put. the gun. down.<\/dialogue>\n    <scene_description>Choco sticks his finger into the shotgun barrel .<\/scene_description>\n    <character>GANG-BANGER<\/character>\n    <parenthetical>( IN SPANISH WITH SUBTITLES . )<\/parenthetical>\n    <dialogue>D'fuck you think you're doing?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Choco. what are you doing.<\/dialogue>\n    <character>CHOCO<\/character>\n    <parenthetical>( IN SPANISH WITH SUBTITLES . )<\/parenthetical>\n    <dialogue>He's full of shit.<\/dialogue>\n    <scene_description>Choco then removes his finger and places his forehead against the shotgun .<\/scene_description>\n    <character>CHOCO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Do it. I dare you.<\/dialogue>\n    <scene_description>The Gang - banger , freaked out , lowers his shotgun . Ed swallows hard , then moves in to cuff him . MONTAGE -LSB- MARLBORO ON ACID -RSB- : Choco . in the lounge of the DMV . BREAK - DANCING . He is surrounded by FAT , SASSY BLACK WOMEN cheering him on . Raoul squeals with excitement . Domino in a NIGHTCLUB . POSING UNDERCOVER . She takes a GUY in the MEN 'S BATHROOM . CHOCO EMERGES FROM A STALL WITH A GUN .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>In 2003 I was named Bounty Hunter. of the year.<\/dialogue>\n    <scene_description>Claremont presents Domino with a PLAQUE at the HAWTHORNE COMMUNITY CENTER in front of 50 WANNABE BOUNTY HUNTERS .<\/scene_description>\n    <character>CLAREMONT<\/character>\n    <dialogue>To the woman who brings beauty and grace to our profession. Domino Harvey.<\/dialogue>\n    <scene_description>Huge applause . Claremont hugs Domino . A tear traces her cheek . FAMILY PHOTO : Domino , Ed , Choco and Alf holding SHOTGUNS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOPHIE THOMAS MANSION -- BACK PATIO -- DAY<\/stage_direction>\n    <scene_description>Domino has thrown a huge POOL PARTY at her mother 's mansion . Alf floats in the pool . passed out drunk on an air mattress . On the other side of the pool . RAOUL has a bunch of his HOMEMADE JEWELRY laid on blankets for sale . His HAIR SALON FRIENDS are sifting through it . Others are getting their TURBO NAILS done . Claremont sits with Ed and Choco at a table . playing CARDS . Claremont takes a puff off his cigar .<\/scene_description>\n    <character>CLAREMONT<\/character>\n    <dialogue>Check out the luscious action by the pool.<\/dialogue>\n    <scene_description>Lateesha &amp; VARIOUS FRIENDS are all dancing by the side of the pool with MARGARITAS in hand . Ed looks at Lateesha 's BEHIND .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Claremont, you're a chubby chaser.<\/dialogue>\n    <character>CLAREMONT<\/character>\n    <dialogue>You white folks do n't understand the natural beauty of a woman's figure. Those are birthing hips. More cushion for the pushin'.<\/dialogue>\n    <scene_description>Lateesha winks at Claremont from across the pool . He goes over to dance with her . Ed and Choco see Domino emerge from the pool in her Bikini . She looks astonishing .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Now that's an ass.<\/dialogue>\n    <scene_description>Choco stares at her . hopelessly in love . Across the PATIO . Sophie arrives home from out of town with her NEW BOYFRIEND . She looks at the party . completely flabbergast .<\/scene_description>\n    <character>SOPHIE<\/character>\n    <dialogue>Good lord.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOPHIE THOMAS MANSION -- MASTER BEDROOM -- LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Sophie rolls over in bed . unable to sleep . TECHNO MUSIC blares from downstairs . She removes the silk mask from her eyes and turns on the television .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOPHIE THOMAS MANSION -- FAMILY ROOM -- NEXT<\/stage_direction>\n    <scene_description>Domino and a shirtless Choco are dancing in the family room . Choco is flipping NEON BLUE GLOW - STICKS around in his hands like a rave rat . Domino is flipping her SILVER DOLLAR through her fingers . Choco snaps open one of the glow sticks and pours the neon liquid into his mouth . rubbing it on his teeth with his index finger . He smiles at Domino , teeth glowing NEON like a Mexican angel . She laughs at this . LATER ON . Domino and Ed slow dance to BARRY WHITE . Ed lowers his hands down to cup Domino 's ass . She removes them . Choco looks on jealously from across the room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOPHIE THOMAS MANSION -- GUEST BEDROOM -- LATER ON<\/stage_direction>\n    <scene_description>Domino helps put a drunken Ed into the guest bed . Through the door . Choco watches them . Ed kicks the door closed . Choco punches his fist through a glass door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOPHIE THOMAS MANSION -- EARLY MORNING<\/stage_direction>\n    <scene_description>Ed 's El Camino sits in front of Pauline 's mansion . He and Choco are sitting in the car , hung over . Choco nurses a bandaged hand as a NEIGHBOR comes jogging by , glaring at them . They stick out like a sore thumb .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Fella could get used to a life this ordinary.<\/dialogue>\n    <character>CHOCO<\/character>\n    <dialogue>Maybe you should fuck her mom then.<\/dialogue>\n    <scene_description>Choco angrily steps out of the car and lights a cigarette .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>What the fuck is your problem? Bitch!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOPHIE TROMAS MANSION -- KITCHEN -- DAY<\/stage_direction>\n    <scene_description>Domino is loading her GUN at the kitchen table as Sophie serves breakfast . Domino wolfs it down .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Mum was terrified for me. She did n't approve of my lifestyle one bit.<\/dialogue>\n    <character>SOPHIE<\/character>\n    <dialogue>So who is this Choko? Is he your new boyfriend?<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>It's Choco. And he's not my boyfriend. He's a bounty hunter.<\/dialogue>\n    <character>SOPHIE<\/character>\n    <dialogue>Whatever. He's a criminal. And this Ed Martin character is a complete loser.<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>He used to date Pat Benatar!<\/dialogue>\n    <scene_description>She grabs her gun and leaves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOPHIE THOMAS MANSION -- NEXT<\/stage_direction>\n    <scene_description>Choco paces around angrily with his cigarette .<\/scene_description>\n    <character>CHOCO<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>So what?<\/dialogue>\n    <character>CHOCO<\/character>\n    <dialogue>You know what I'm talking about, did you fuck her?<\/dialogue>\n    <scene_description>Ed shakes his head in disbelief .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <scene_description>They suddenly realize Domino is standing there at the curb .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>Morning.<\/dialogue>\n    <character>CHOCO<\/character>\n    <parenthetical>( IN SPANISH WITH SUBTITLES . )<\/parenthetical>\n    <dialogue>Morning.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VEGAS SECURITY LOCKDOWN -- NIGHT<\/stage_direction>\n    <scene_description>Taryn removes a HEAD SHOT of a MAN -LRB- 40s -RRB- with glasses .<\/scene_description>\n    <character>TARYN<\/character>\n    <dialogue>Do you know this man?<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>He's a reality television producer. His name is Mark Weiss.<\/dialogue>\n    <character>TARYN<\/character>\n    <dialogue>Mr. Weiss was very generous in turning over some video tapes to the FBI. There's lots of footage of you. We know everything.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>If you do n't come clean. the information on these tapes could send you to prison for a very long time.<\/dialogue>\n    <scene_description>The CAMERA moves in toward Domino 's face . VIDEO IMAGE : A FAT RED - NECK is being chased by a BIKER through a SHOPPING MALL . The Redneck SLAMS into two FAT WOMEN eating ICE CREAM CONES . slowing him down .<\/scene_description>\n    <character>FAT WOMAN<\/character>\n    <dialogue>EEEHH!<\/dialogue>\n    <scene_description>The Biker TACKLES him to the ground among SCREAMING SHOPPERS .<\/scene_description>\n    <character>BIKER<\/character>\n    <dialogue>YOU'RE GOING DOWNTOWN MOTHER -LRB- BLEEP. -RRB- ER!<\/dialogue>\n    <scene_description>A FLASHY REALITY TV LOGO SLAMS ON THE SCREEN . BOUNTY HUNTERS .<\/scene_description>\n    <character>FOX ANNOUNCER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Bounty Hunters. From the network that brought you Cops. Coming this fall on Fox.<\/dialogue>\n    <scene_description>The VIDEO IMAGE FREEZES .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOX TELEVISION STUDIOS -- SEVERAL DAYS BEFORE<\/stage_direction>\n    <scene_description>A PRODUCER named MARK WEISS -LRB- 40s -RRB- stands in a large , bustling CONTROL ROOM . staring at the wall of MONITORS .<\/scene_description>\n    <character>WEISS<\/character>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>They changed the fucking font.<\/dialogue>\n    <scene_description>TECHNICIANS and ASSISTANTS move throughout the room . Weiss grabs his ASSISTANT , KIMMIE -LRB- 20s -RRB- , as she walks by .<\/scene_description>\n    <character>WEISS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Get Cynthia on the line. They changed the fucking font.<\/dialogue>\n    <character>KIMMIE<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Domino Harvey is here.<\/dialogue>\n    <character>WEISS<\/character>\n    <dialogue>Send her through to the conference room.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOX TELEVISION STUDIOS -- LOBBY -- NEXT<\/stage_direction>\n    <scene_description>Domino , Ed , Choco and Sophie are in the LOBBY . Sophie is holding her JACK RUSSELL TERRIER .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Mark Weiss was friends with Mum. He heard my story at some cocktail party. Turns out he wanted to put us on television. Mum was horrified at the idea and demanded to tag along just to keep me from signing anything.<\/dialogue>\n    <scene_description>Kimmie comes through the lobby .<\/scene_description>\n    <character>KIMMIE<\/character>\n    <dialogue>Oh! I was n't expecting the whole entourage. Are you guys ready? Come on back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOX TELEVISION STUDIOS -- NEXT<\/stage_direction>\n    <scene_description>Domino and her ENTOURAGE follow Kimmie through the vast studio .<\/scene_description>\n    <character>KIMMIE<\/character>\n    <dialogue>Now. I should warn you, Mr. Weiss will only be able to meet for about five minutes. so let's make sure to cut to the point.<\/dialogue>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>I recommend speaking in short sentences. He has the attention span of a ferret on crystal meth.<\/dialogue>\n    <scene_description>Kimmie smiles at Ed and Choco as she opens the door to the<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>I've seen that.<\/dialogue>\n    <character>KIMMIE<\/character>\n    <dialogue>Beg pardon?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>A ferret on crystal meth. It bit this girl named Tammi right on the ass. It got lockjaw and we had to pry the ferret off her ass with a pair of pliers.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>She had to get a tetanus shot.<\/dialogue>\n    <scene_description>Kimmie turns away in disgust .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOX TELEVISION STUDIOS -- CONFERENCE ROOM -- LATER ON<\/stage_direction>\n    <scene_description>The GROUP sits silently around the CONFERENCE ROOM TABLE . Weiss comes into the room .<\/scene_description>\n    <character>WEISS<\/character>\n    <dialogue>Guys. sorry about the wait. I'm having font issues.<\/dialogue>\n    <scene_description>Weiss takes a seat .<\/scene_description>\n    <character>WEISS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Let me just cut to the chase here. as I have to take a conference call.<\/dialogue>\n    <parenthetical>( switching to `` pitch '' mode . )<\/parenthetical>\n    <dialogue>We want to follow you around with a camera crew for a week. Our pilot episode is n't testing well. We've got too many rednecks. It's too much like Cops.<\/dialogue>\n    <character>WEISS<\/character>\n    <parenthetical>( CONT ' D . )<\/parenthetical>\n    <dialogue>We need something sexy. something different. We need. Domino.<\/dialogue>\n    <scene_description>Ed has his arms folded across his chest .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>We wo n't do it unless the whole team gets equal coverage.<\/dialogue>\n    <character>SOPHIE<\/character>\n    <dialogue>You're not her father, Ed. No one cares what you think.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>It ca n't be just her. We're a team and we work together.<\/dialogue>\n    <scene_description>Weiss smiles at them all .<\/scene_description>\n    <character>WEISS<\/character>\n    <dialogue>Sure. Okay. We'll follow the whole team.<\/dialogue>\n    <scene_description>Sophie sighs loudly .<\/scene_description>\n    <character>SOPHIE<\/character>\n    <dialogue>Mark. what guarantee can you give us that Domino's name wo n't be tarnished?<\/dialogue>\n    <character>WEISS<\/character>\n    <dialogue>Sophie. this is reality television. What you see is what you get.<\/dialogue>\n    <character>SOPHIE<\/character>\n    <dialogue>But you can edit things. add sound - bytes. fabricate this. exaggerate that. These programs are all about shock value. It wo n't be long before someone gets killed.<\/dialogue>\n    <character>WEISS<\/character>\n    <dialogue>I'm just giving America what it wants to see. People are tired of fiction. They want reality.<\/dialogue>\n    <scene_description>Sophie turns to Domino .<\/scene_description>\n    <character>SOPHIE<\/character>\n    <dialogue>You will be exploited. Your story will not be told accurately. Your life will never be the same.<\/dialogue>\n    <parenthetical>( taking Domino 's hand . )<\/parenthetical>\n    <dialogue>I beg you not to take part in this drivel.<\/dialogue>\n    <parenthetical>( holding up her other hand to Weiss . )<\/parenthetical>\n    <dialogue>No offense Mark. but we both know that this is drivel.<\/dialogue>\n    <scene_description>Weiss smiles bitterly . The TELEPHONE rings .<\/scene_description>\n    <character>WEISS<\/character>\n    <dialogue>None taken.<\/dialogue>\n    <parenthetical>( holding up his hand . )<\/parenthetical>\n    <dialogue>Talk it over. I have to take this conference call.<\/dialogue>\n    <scene_description>Weiss hits the SPEAKERPHONE button .<\/scene_description>\n    <character>WEISS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Cynthia. you changed the fucking font on the promo. Why?<\/dialogue>\n    <scene_description>As Cynthia babbles on with some shitty excuse . Domino and the others are quietly debating their decision .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I felt like a hypocrite, given my hatred of all things Hollywood. But I'll admit. I wanted my story told. I wanted everyone to know the things I'd done. I wanted some recognition in the world.<\/dialogue>\n    <character>DOMINO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>We'll do it.<\/dialogue>\n    <scene_description>Weiss smiles at Domino . giving her the thumbs up . He hits the button on the speakerphone .<\/scene_description>\n    <character>SOPHIE<\/character>\n    <dialogue>God help us. God help us all.<\/dialogue>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It was the beginning of the end.<\/dialogue>\n    <scene_description>The CAMERA MOVES in toward Domino 's face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RV DEALERSHIP -- EARLY MORNING<\/stage_direction>\n    <scene_description>-LSB- FATBOY SLIM - THE WEEKEND STARTS HERE -RSB- HUNDREDS of WINNEBAGOS stretch out into an endless parking lot . A GIGANTIC AMERICAN FLAG billows in the wind above them all .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>On Wednesday morning, Kimmie took us to buy a new winnebago for Alf to drive. Fox was n't too keen on the Impala. They wanted something that could house a camera crew.<\/dialogue>\n    <scene_description>In the PARKING LOT . Domino , Ed , Choco , Kimmie and the RV DEALER watch as Alf recklessly maneuvers a WINNEBAGO through a series of CONES set up on the ASPHALT .<\/scene_description>\n    <character>RV DEALER<\/character>\n    <parenthetical>( cringing . )<\/parenthetical>\n    <dialogue>This vehicle is n't intended for high speeds and intense turns. It's for recreational use. vacations.<\/dialogue>\n    <scene_description>The Winnebago skids around the last cone as Alf pulls a sudden U - turn . the back end of the RV fishtailing counter - clockwise .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>We are n't going on vacation.<\/dialogue>\n    <scene_description>The Winnebago comes skidding to a stop . Alf jumps out . shrugs his shoulders and raises his THUMB .<\/scene_description>\n    <character>KIMMIE<\/character>\n    <dialogue>We'll take it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTOWN GARAGE ROOFTOP -- MIDDAY<\/stage_direction>\n    <scene_description>A CADILLAC ESCALADE pulls up to the top of a PARKING GARAGE overlooking DOWNTOWN . IAN ZIERING -LRB- 30s -RRB- and BRIAN AUSTIN GREEN -LRB- 30s -RRB- emerge from inside .<\/scene_description>\n    <character>ZIERING<\/character>\n    <dialogue>We're late.<\/dialogue>\n    <character>GREEN<\/character>\n    <dialogue>Fucking Map Quest. Never again.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTOWN GARAGE ROOFTOP -- NEXT<\/stage_direction>\n    <scene_description>Ziering and Green approach a LARGE TENT . The WINNEBAGO is parked off to the side . Alf is inside . doing something with a WELDER on the front of the RV . Under the tent . Domino and her team are lounging on several COUCHES . watching television . There is a CRAFT SERVICE TABLE . WARDROBE . MAKE - UP and a CAMERA CREW milling about . Mark Weiss is talking with Kimmie when he notices Ziering and Green .<\/scene_description>\n    <character>WEISS<\/character>\n    <dialogue>Hey guys! I want you to meet Domino.<\/dialogue>\n    <scene_description>Weiss walks them over to Domino . The CAMERA CREW follows .<\/scene_description>\n    <character>WEISS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Domino. I want you to meet the co - hosts of Bounty Hunters. Ian Ziering and Brian Austin Green.<\/dialogue>\n    <scene_description>In SLOW MOTION . Green shakes Domino 's hand . She regards him with awe . her eyes wide like saucers .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Fucking 90210. I could n't get away from it.<\/dialogue>\n    <scene_description>Domino shakes hands with Green .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>It was n't until later on that I realized mum had gotten to Weiss and pulled some strings.<\/dialogue>\n    <scene_description>Ziering and Green smile politely as they shake hands with Choco and Ed . Choco is nervous . refusing to make eye contact .<\/scene_description>\n    <character>ZIERING<\/character>\n    <dialogue>We're ready whenever you are, Mark.<\/dialogue>\n    <scene_description>Weiss puts his hand on Domino 's shoulder .<\/scene_description>\n    <character>WEISS<\/character>\n    <dialogue>The guys are going to conduct some interviews.<\/dialogue>\n    <scene_description>Kimmie approaches with a sense of anxiety .<\/scene_description>\n    <character>KIMMIE<\/character>\n    <dialogue>Mark. uh. the gentleman from Afghanistan has done some. significant alterations to the RV.<\/dialogue>\n    <scene_description>The GROUP turns its attention to the Winnebago . ON THE RIGHT SIDE of the vehicle . Alf has AIRBRUSHED a GIGANTIC AFGHANISTAN NATIONAL FLAG . Standing in front of the flag are three AIRBRUSHED WOMEN IN AMERICAN FLAG BIKINIS teaching an AFGHANI WOMAN how to dance . She is wearing an AFGHANI FLAG BIKINI .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Alf grew up during the Russian invasion of Afghanistan. He had always wanted to be part of the revolution. but it seemed to pass him by.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AFGHANISTAN -- [FLASHBACK] 1979<\/stage_direction>\n    <scene_description>ALF -LRB- 17 -RRB- sits on a rock on the outskirts of a small village in Afghanistan . A RUSSIAN TANK blows past . Alf holds up an M - 16 .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>At the tender age of seventeen he decided that explosives would be his specialty.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AFGHANISTAN VILLAGE -- DAYS LATER<\/stage_direction>\n    <scene_description>IMAGE BLEED : Alf rigging DYNAMITE with make - shift fuses . a group of KIDS -LRB- 8 - 12 -RRB- watch him curiously . ALF stands before an abandoned HOUSE rigging the fuse to a DETONATOR . The KIDS surrounding him back away . Alf goes to retrieve the fuses from the dirt and drops the detonator . setting off a HUGE EXPLOSION that obliterates the house . his body goes flying as he is nearly engulfed in flames . As DEBRIS rains down , Alf just lays there in the dirt . his eyebrows singed off . The Kids approach him curiously .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>His eyebrows never grew back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTOWN GARAGE ROOFTOP -- NEXT<\/stage_direction>\n    <scene_description>Weiss moves around to the front of the Winnebago . Alf has MOUNTED several HUMAN SKULLS as HOOD ORNAMENTS on the vehicle . Various HUMAN BONES are attached to the HOOD in an ORNATE DESIGN .<\/scene_description>\n    <character>WEISS<\/character>\n    <dialogue>Are those. real bones?<\/dialogue>\n    <scene_description>Alf nods his head politely .<\/scene_description>\n    <character>ALF<\/character>\n    <dialogue>For my family.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I drive these bounty hunters. for a free Afghanistan.<\/dialogue>\n    <scene_description>Ziering looks at Green in shock .<\/scene_description>\n    <character>ZIERING<\/character>\n    <dialogue>Whoa. I did n't know this was a political show.<\/dialogue>\n    <scene_description>Weiss bites his fingernails .<\/scene_description>\n    <character>WEISS<\/character>\n    <dialogue>I think. that the network is going to have some notes. about the RV.<\/dialogue>\n    <scene_description>Domino puts her hand on Weiss 's shoulder .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>No notes. This is our Winnebago. It stays like this. or I walk.<\/dialogue>\n    <scene_description>Weiss sees that she means business .<\/scene_description>\n    <character>WEISS<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Alf nods his head to Weiss with a look of gratitude .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTOWN GARAGE ROOFTOP -- LATER ON<\/stage_direction>\n    <scene_description>ON CAMERA INTERVIEWS . The Crew sits across from Ziering and Green .<\/scene_description>\n    <character>ZIERING<\/character>\n    <dialogue>So. how'd you get the name Choco?<\/dialogue>\n    <character>CHOCO<\/character>\n    <parenthetical>( IN SPANISH WITH SUBTITLES . )<\/parenthetical>\n    <dialogue>I once choked a man to death.<\/dialogue>\n    <scene_description>Ziering nods his head politely .<\/scene_description>\n    <character>ZIERING<\/character>\n    <dialogue>Uhhh. I have no idea what you just said.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>SPEAK ENGLISH! JESUS CHRIST WE'RE ON TELEVISION HERE!<\/dialogue>\n    <character>CHOCO<\/character>\n    <parenthetical>( IN SPANISH WITH SUBTITLES . )<\/parenthetical>\n    <dialogue>They can do subtitles.<\/dialogue>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Choco grew up on the streets of El Salvador. When he was four years old. he stabbed another kid in the eye - ball with a pencil.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>There were wires crossed somewhere in his soul.<\/dialogue>\n    <character>GREEN<\/character>\n    <dialogue>What kind of background does someone need in order to become a bounty hunter?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>How about a life in the military?<\/dialogue>\n    <scene_description>CLOSE UP : ED 'S SANDALS REVEAL A MISSING TOE .<\/scene_description>\n    <character>GREEN<\/character>\n    <dialogue>Is that how you lost the toe?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Indeed. I served three tours in Vietnam.<\/dialogue>\n    <character>ZIERING<\/character>\n    <dialogue>Three tours? Is n't that. twelve years?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Son, with the exception of Spring Break in Tijuana, have you ever ventured outside of California?<\/dialogue>\n    <character>ZIERING<\/character>\n    <dialogue>Many times.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Do you know where Danang is?<\/dialogue>\n    <character>ZIERING<\/character>\n    <dialogue>Not really.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>THEN SHUT THE FUCK UP!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI SURVEILLANCE ROOM -- MOMING<\/stage_direction>\n    <scene_description>A group of FBI AGENTS sit before a set of TELEVISION MONITORS . ON THE TELEVISION : RICKI LAKE talks to the CAMERA .<\/scene_description>\n    <character>RICKI<\/character>\n    <dialogue>With us today are mixed race single mothers. Our next guest takes pride in the fact that she is in the Guinness book of world records as the youngest American grandmother. at the age of 28.<\/dialogue>\n    <scene_description>Outrage from the RICKI crowd .<\/scene_description>\n    <character>RICKI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Please welcome. Lateesha Rodriguez!<\/dialogue>\n    <scene_description>Lateesha takes the stage . Even more outrage . BOOS from the crowd .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Lateesha was one of Claremont's many mistresses.<\/dialogue>\n    <scene_description>The CAMERA MOVES THROUGH THE TELEVISION SCREEN .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RICKI LAKE SHOW -- SEVERAL WEEKS BEFORE<\/stage_direction>\n    <scene_description>The CAMERA MOVES through the LIVE TAPING of the show as it occurred several weeks before .<\/scene_description>\n    <character>RICKI<\/character>\n    <dialogue>Lateesha. what do you have to say for yourself?<\/dialogue>\n    <character>LATEESHA<\/character>\n    <dialogue>I am here today to speak for all people of mixed race in America. As a Blacktino woman, I believe that we deserve our own race category. so that we can forge an identity.<\/dialogue>\n    <scene_description>An OUTRAGED WOMAN stands up in the crowd .<\/scene_description>\n    <character>OUTRAGED WOMAN<\/character>\n    <dialogue>Excuse me, did you just say. Blacktino?<\/dialogue>\n    <character>LATEESHA<\/character>\n    <dialogue>Yes I did. I am a Blacktino American.<\/dialogue>\n    <character>OUTRAGED WOMAN<\/character>\n    <dialogue>First of all. you do n't even look Latino. You look black. I am mixed race. I have struggled my whole life as to whether I am black. or Chinese.<\/dialogue>\n    <character>LATEESHA<\/character>\n    <dialogue>Chinegro.<\/dialogue>\n    <scene_description>Outrage from the crowd .<\/scene_description>\n    <character>OUTRAGED WOMAN<\/character>\n    <dialogue>CHINEGRO? DID YOU JUST CALL ME CHINEGRO?<\/dialogue>\n    <character>LATEESHA<\/character>\n    <dialogue>Mixed race individuals such as myself and my child. my grandchild. deserve a recognized category.<\/dialogue>\n    <character>RICKI<\/character>\n    <dialogue>Lateesha has brought her own mixed race flow chart.<\/dialogue>\n    <scene_description>HIP - HOP BLARES as two LOW RENT CHIPPENDALES REJECTS waltz across the stage with Lateesha 's FLOW CHART . On it . she has created CATEGORIES for each variation of BLACK\/HISPANIC\/ASIAN descent and their SUB - CATEGORIES .<\/scene_description>\n    <character>LATEESHA<\/character>\n    <dialogue>Blacktino. Blackasian. Hispasian. and the Asian sub - categories. Chinegro. Koreagro. Japegro. Chispanic. Koreaspanic. and last but not least. Japanic.<\/dialogue>\n    <scene_description>Outrage from the crowd .<\/scene_description>\n    <character>RICKI<\/character>\n    <dialogue>You believe that our government should recognize these racial sub - categories?<\/dialogue>\n    <character>LATEESHA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Ricki shoves her mike in the face of an OUTRAGED BLACK WOMAN .<\/scene_description>\n    <character>OUTRAGED BLACK WOMAN<\/character>\n    <dialogue>These sub - categories are racist. You're excluding all of the mixed race people who have more than two racial identities. People like Mariah Carey and Vin Diesel. Where is their category?<\/dialogue>\n    <character>LATEESHA<\/character>\n    <dialogue>This is only the beginning. We must appeal to the United Nations to create categories for every permutation of mixed race individual.<\/dialogue>\n    <scene_description>More outrage from the crowd . A BLACKTINO WOMAN grabs the mike from Ricki .<\/scene_description>\n    <character>BLACKTINO WOMAN<\/character>\n    <dialogue>First of all. from one Blacktino woman to another. our concern is not these ridiculous categories. Our concern is education and family planning. Here you are a 28 year - old grandmother. You need to add another category to your flow chart. it's called birth control, bitch!<\/dialogue>\n    <scene_description>Blacktino Woman SNAPS her fingers . The crowd goes wild .<\/scene_description>\n    <character>LATEESHA<\/character>\n    <dialogue>I AM EDUCATED, YOU BLACKTINO BITCH! I AM A DEVRY GRADUATE! MY DAUGHTER IS A SINGLE MOTHER AND A STRAIGHT A STUDENT!<\/dialogue>\n    <character>BLACKTINO WOMAN<\/character>\n    <dialogue>WHO YOU CALLING BITCH! I'LL KICK YOUR ASS! BITCH - ASS BLACK - TIN - HO!<\/dialogue>\n    <scene_description>THE CROWD IS ON ITS FEET CHEERING .<\/scene_description>\n    <character>RICKI<\/character>\n    <dialogue>LADIES! PLEASE!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RODRIGUEZ HOUSE -- FAMILY ROOM -- DAY<\/stage_direction>\n    <scene_description>The CAMERA PULLS BACK from a 46 INCH TELEVISION SCREEN in LATEESHA 'S HOUSE . broadcasting the same network .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Lateesha was our prime contact at the DMV. Most of our bond certificates came from Claremont through her.<\/dialogue>\n    <character>RICKI<\/character>\n    <dialogue>We'll be right back after this.<\/dialogue>\n    <scene_description>Lateesha is sitting on the couch next to Claremont and her DAUGHTER . KEE KEE RODRIGUEZ -LRB- 14 -RRB- . Next to Kee Kee is Raoul . Next to Raoul are Lateesha 's TWIN COUSINS . LASHANDRA DAVIS -LRB- 23 -RRB- and LASHINDRA DAVIS -LRB- 23 -RRB- .<\/scene_description>\n    <character>LASHANDRA<\/character>\n    <dialogue>You were good.<\/dialogue>\n    <character>LASHINDRA<\/character>\n    <dialogue>Real good.<\/dialogue>\n    <character>RAOUL<\/character>\n    <dialogue>I liked the way Ricki's stylists did your hair.<\/dialogue>\n    <character>LASHANDRA<\/character>\n    <dialogue>It looked good.<\/dialogue>\n    <character>LASHINDRA<\/character>\n    <dialogue>Real good.<\/dialogue>\n    <scene_description>Kee Kee turns off the TV with the REMOTE . She storms out of the room onto the terrace .<\/scene_description>\n    <character>LATEESHA<\/character>\n    <dialogue>What?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOOR -- APARTMENT BLOCK TERRACE -- DAY<\/stage_direction>\n    <character>KEE KEE<\/character>\n    <dialogue>I have never been more humiliated in my entire life.<\/dialogue>\n    <character>LATEESHA<\/character>\n    <dialogue>Kee Kee!<\/dialogue>\n    <character>CLAREMONT<\/character>\n    <dialogue>She's right. you lost your temper. and you started cursing like some ghetto skank. You lost all credibility right there!<\/dialogue>\n    <character>LATEESHA<\/character>\n    <dialogue>That bitch called me a bitch.<\/dialogue>\n    <character>LASHANDRA<\/character>\n    <dialogue>Ai n't nobody gon na call me a bitch without some payback.<\/dialogue>\n    <character>LASHINDRA<\/character>\n    <dialogue>Nobody.<\/dialogue>\n    <character>RAOUL<\/character>\n    <dialogue>Did you see that bitch's hair?<\/dialogue>\n    <scene_description>Kee Kee holds her hand up in outrage .<\/scene_description>\n    <character>KEE KEE<\/character>\n    <dialogue>You were supposed to talk about the health care crisis in America.<\/dialogue>\n    <character>CLAREMONT<\/character>\n    <dialogue>Exactly. Why would you choose Ricki Lake as a platform for a progressive race modification proposal?<\/dialogue>\n    <character>LATEESHA<\/character>\n    <dialogue>You think Ted Koppel is gon na book Lateesha Rodriguez?<\/dialogue>\n    <character>LASHANDRA<\/character>\n    <dialogue>Not a chance.<\/dialogue>\n    <character>LASHINDRA<\/character>\n    <dialogue>Not a chance in hell.<\/dialogue>\n    <character>RAOUL<\/character>\n    <dialogue>Not with that toupee of his.<\/dialogue>\n    <character>LATEESHA<\/character>\n    <dialogue>Ricki is one of the only forums that our people have. The more face time I get on Ricki the better chance for a book deal or a correspondence gig on BET.<\/dialogue>\n    <character>LASHANDRA<\/character>\n    <dialogue>That bitch Jenny Jones got cancelled.<\/dialogue>\n    <character>LASHINDRA<\/character>\n    <dialogue>Montel would've been better.<\/dialogue>\n    <character>RAOUL<\/character>\n    <dialogue>Oprah do n't book ghetto, Kee Kee.<\/dialogue>\n    <scene_description>Kee Kee throws her hands up in outrage .<\/scene_description>\n    <character>KEE KEE<\/character>\n    <dialogue>It was embarrassing. I'm gon na get shot when I go to school tomorrow, Momma!<\/dialogue>\n    <parenthetical>( near tears . )<\/parenthetical>\n    <dialogue>How could you do this to me?<\/dialogue>\n    <scene_description>Claremont walks over to a METAL OXYGEN CHAMBER . The metal sarcophagus from the 80 's is the housing for his sleeping granddaughter<\/scene_description>\n    <character>KEE KEE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Dad. we need money.<\/dialogue>\n    <scene_description>Claremont looks down at his grand - daughter .<\/scene_description>\n    <character>CLAREMONT<\/character>\n    <dialogue>How much is the operation?<\/dialogue>\n    <character>KEE KEE<\/character>\n    <dialogue>Three hundred thousand dollars.<\/dialogue>\n    <character>LASHANDRA<\/character>\n    <dialogue>Kee Kee. this motherfucka got more kids running ` round out there than Evander - fucking - Holyfield. He ca n't pay for shit.<\/dialogue>\n    <scene_description>DING - DONG . The DOORBELL is ringing .<\/scene_description>\n    <character>KEE KEE<\/character>\n    <dialogue>I'll get it.<\/dialogue>\n    <scene_description>Kee Kee storms off toward the front door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RODRIGUEZ HOUSE -- FOYER -- NEXT<\/stage_direction>\n    <scene_description>Kee Kee opens the front door as far as the CHAIN LOCK will allow . She peers through the crack . Domino is standing there .<\/scene_description>\n    <character>KEE KEE<\/character>\n    <dialogue>Well if it is n't Miss Thang.<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>Save it, Kee Kee. Where's Lateesha? We need to ID some bond certificates.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RODRIGUEZ HOUSE -- FAMILY ROOM -- NEXT<\/stage_direction>\n    <scene_description>Claremont paces around the family room .<\/scene_description>\n    <character>CLAREMONT<\/character>\n    <dialogue>I've already formulated a plan.<\/dialogue>\n    <character>LATEESHA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CLAREMONT<\/character>\n    <dialogue>My armored car business. We just signed a new insurance policy in Nevada. There's a loophole.<\/dialogue>\n    <character>LATEESHA<\/character>\n    <dialogue>There's always a loophole with you, Claremont. Your black ass is one big loophole.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VEGAS SECURITY LOCKDOWN -- [FLASH FORWARD] NIGHT<\/stage_direction>\n    <scene_description>Taryn continues to grill Domino .<\/scene_description>\n    <character>TARYN<\/character>\n    <dialogue>Are you aware that Lateesha Rodriguez has been running a counterfeit driver's license racket?<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>That's the rumor on the street.<\/dialogue>\n    <character>TARYN<\/character>\n    <dialogue>What was your business with Lateesha that day?<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>We needed to verify some bond certificates for Claremont. She pushes stuff through the system for us. helps us track down perps for a kick back. It's all legal.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSTANG CONVERTIBLE -- [FLASHBACK] DAY<\/stage_direction>\n    <scene_description>Domino is behind the wheel . Lateesha sits shotgun . Kee Kee is in the back seat .<\/scene_description>\n    <character>TARYN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>You drove Lateesha's daughter to school. then dropped her off at the DMV. Why?<\/dialogue>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Her car was in the shop.<\/dialogue>\n    <scene_description>Raoul pulls up next to them in his MAZDA MIATA .<\/scene_description>\n    <character>RAOUL<\/character>\n    <dialogue>Teesha. the J - Lo tickets go on sale today!<\/dialogue>\n    <character>LATEESHA<\/character>\n    <dialogue>I have the web link. We'll order tickets. You can be my date.<\/dialogue>\n    <scene_description>Raoul gives her a THUMBS UP and steps on the gas .<\/scene_description>\n    <character>LATEESHA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( to Kee Kee . )<\/parenthetical>\n    <dialogue>Maybe I'll marry Raoul.<\/dialogue>\n    <scene_description>Kee Kee is shaking her head in disbelief .<\/scene_description>\n    <character>KEE KEE<\/character>\n    <dialogue>Mom. Raoul is gay. When are you gon na face up to reality?<\/dialogue>\n    <character>LATEESHA<\/character>\n    <dialogue>Kee Kee. me and Claremont are working an a plan to get same money to care for Meeka.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DMV -- MANAGER'S OFFICE -- NEXT<\/stage_direction>\n    <scene_description>Lateesha sits across the desk from AHMED -LRB- 40s -RRB- . the DMV MANAGER . This is Lateesha 's bass .<\/scene_description>\n    <character>AHMED<\/character>\n    <dialogue>How convenient that the morning you call in sick. I turn on the TV and see you all over Ricki Lake. Ever heard of Tivo?<\/dialogue>\n    <character>LATEESHA<\/character>\n    <dialogue>You think I can afford Tivo? Give me a break, Ahmed. What do you want? I got work to do.<\/dialogue>\n    <character>AHMED<\/character>\n    <dialogue>I got a call yesterday from our health care provider. They said you tried to pass your grand - daughter off as Kee Kee down at UCLA Medical Center.<\/dialogue>\n    <scene_description>Lateesha does not respond .<\/scene_description>\n    <character>AHMED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>They said you forged the age on the application for some sort of operation.<\/dialogue>\n    <character>LATEESHA<\/character>\n    <dialogue>Motherfuckin' HMO do n't cover grandchildren. What am I supposed to do? The operation costs three hundred thousand dollars. Where am I gon na get that kind of money?<\/dialogue>\n    <character>AHMED<\/character>\n    <dialogue>Maybe you should have thought about that before you became a grandmother.<\/dialogue>\n    <scene_description>Ahmed shakes his head in disgust .<\/scene_description>\n    <character>AHMED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You have two weeks to clean out your desk.<\/dialogue>\n    <scene_description>Tears are welling in Lateesha 's eyes .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It just kept getting worse for Lateesha. No one could have expected what happened next.<\/dialogue>\n    <character>AHMED<\/character>\n    <dialogue>In the meantime Lateesha. there are two gentlemen from the FBI here who'd like to speak with you.<\/dialogue>\n    <scene_description>Ahmed rises to his feet and opens the door to his office . TWO FBI AGENTS enter the office . Their names are CHRIS ESPINOZA -LRB- 30s -RRB- and DAWN COSGROVE -LRB- 30s -RRB- . Both are wearing dark suits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DMV -- NEXT<\/stage_direction>\n    <scene_description>Raoul watches them outside of the window .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V. O . )<\/parenthetical>\n    <dialogue>Their names were Cosgrove and Espinoza. Someone had tipped them off to Lateesha's counterfeit scam. But that's not what they were really after.<\/dialogue>\n    <scene_description>Ahmed closes the door . Lateesha lights a Virginia Slim . turbo nails trembling .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DMV -- MANAGER'S OFFICE -- NEXT<\/stage_direction>\n    <scene_description>Cosgrove offers her a broad smile . Espinoza takes the BAD COP role .<\/scene_description>\n    <character>ESPINOZA<\/character>\n    <dialogue>You're gon na go to jail for a long. long time, Lateesha.<\/dialogue>\n    <character>COSGROVE<\/character>\n    <dialogue>Unless you cooperate with us. Espinoza sits on the edge of the desk.<\/dialogue>\n    <character>LATEESHA<\/character>\n    <dialogue>I'm listening.<\/dialogue>\n    <scene_description>Cosgrove glances at Espinoza .<\/scene_description>\n    <character>ESPINOZA<\/character>\n    <dialogue>In about ten minutes. a college kid named Frances is gon na walk up to your window and ask for four counterfeit IDs.<\/dialogue>\n    <character>COSGROVE<\/character>\n    <dialogue>We want to know what he's up to.<\/dialogue>\n    <scene_description>Lateesha takes another drag .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>This was the moment that Lateesha decided to do something very foolish.<\/dialogue>\n    <scene_description>She stares at Cosgrove and Espinoza for a long moment . thinking about her options .<\/scene_description>\n    <character>LATEESHA<\/character>\n    <dialogue>He and his three friends are gon na hijack an armored truck. They're gon na walk away with ten million in cash.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DMV -- WINDOW SIX -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Raoul glances suspiciously at Lateesha as she exits the Manager 's office with the FBI . Lateesha approaches hurriedly and sits down at her desk at WINDOW SIX . BING .<\/scene_description>\n    <character>ROBOTIC FEMALE VOICE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Now serving G086. Please report to window six.<\/dialogue>\n    <scene_description>Lateesha tries to remain calm . She begins to file her nails . FRANCES arrives at her window . He clears his throat nervously .<\/scene_description>\n    <character>FRANCES<\/character>\n    <dialogue>Kee Kee.<\/dialogue>\n    <scene_description>Lateesha raises her eyes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEVADA DESERT -- DAWN<\/stage_direction>\n    <scene_description>HELICOPTER SHOT : The CAMERA SOARS over the NEVADA DESERT LANDSCAPE . The MOUNTAIN RIDGES carve intricate shapes with the shadows cast by the morning sun .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>There are three kinds of people in the world. The rich. the poor. and everyone in between.<\/dialogue>\n    <scene_description>The CAMERA CRESTS a ridge . The early morning lights of the HOOVER DAM approach .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>The rich people hate the poor. because they are always stealing from them.<\/dialogue>\n    <scene_description>The CAMERA DROPS DOWN into the depths of the Hoover Dam .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOOVER DAM -- PARKING LOT -- NEXT<\/stage_direction>\n    <scene_description>Several LVPD POLICE CRUISERS are parked around an ARMORED TRUCK . A BLACK STRETCH LIMOUSINE pulls up . DRAKE BISHOP -LRB- 50s -RRB- emerges from the car . He is wearing a dark 4 - FIGURE$ suit .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>That's Drake Bishop. owner of the Stratosphere Hotel &amp; Casino. He's worth a billion dollars. Ten million of it recently stolen.<\/dialogue>\n    <scene_description>He is flanked by his ATTORNEY . BURKE BECKETT -LRB- 50s -RRB- .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>His attorney. Burke Beckett.<\/dialogue>\n    <scene_description>Bishop and Becket are greeted by an LVPD DETECTIVE named CARL CUDLITZ -LRB- 40s -RRB- . A real fat - ass .<\/scene_description>\n    <character>CUDLITZ<\/character>\n    <dialogue>Mr. Bishop. I'm detective Carl Cudlitz.<\/dialogue>\n    <character>BECKETT<\/character>\n    <parenthetical>( interrupting . )<\/parenthetical>\n    <dialogue>We know who you are, Cudlitz.<\/dialogue>\n    <character>BISHOP<\/character>\n    <dialogue>Where's my money?<\/dialogue>\n    <scene_description>Cudlitz hesitates to answer .<\/scene_description>\n    <character>CUDLITZ<\/character>\n    <dialogue>It would probably be best if you took a look at the security tape.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRATOSPHERE HOTEL -- SECURITY CORE -- LATER ON<\/stage_direction>\n    <scene_description>Bishop and Beckett stand before a bank of SECURITY MONITORS in the SECURITY CORE ROOM of the casino .<\/scene_description>\n    <character>CUDLITZ<\/character>\n    <dialogue>At 5:23 AM you'll see that the armored truck pulled into the parking lot and turned off its engine.<\/dialogue>\n    <scene_description>ON THE MONITOR . the armored truck parks . Four MEN wearing MASKS emerge from the front and back . A BLACK VAN backs up to face the rear of the truck . The Masked Men quickly unload FOUR LARGE DUFFEL BAGS from the armored truck and throw them into the back of the van . They jump into the van . and it speeds off . -LRB- NOTE : How is money transported in an armored vehicle -RRB- Bishop and Beckett stare at the tape in silent outrage .<\/scene_description>\n    <character>BISHOP<\/character>\n    <parenthetical>( very soft . )<\/parenthetical>\n    <dialogue>Rewind, please.<\/dialogue>\n    <scene_description>Beckett turns to one of the SECURITY PERSONNEL .<\/scene_description>\n    <character>BECKETT<\/character>\n    <parenthetical>( repeating for emphasis . )<\/parenthetical>\n    <dialogue>REWIND THE TAPE FOR MY CLIENT.<\/dialogue>\n    <scene_description>The TAPE REWINDS . showing the Masked Men emerge from the armored truck .<\/scene_description>\n    <character>BISHOP<\/character>\n    <dialogue>Freeze the tape.<\/dialogue>\n    <character>BECKETT<\/character>\n    <dialogue>FREEZE THE TAPE.<\/dialogue>\n    <scene_description>The TAPE FREEZES .<\/scene_description>\n    <character>BISHOP<\/character>\n    <dialogue>Can you zoom in?<\/dialogue>\n    <character>BECKETT<\/character>\n    <dialogue>ZOOM IN PLEASE.<\/dialogue>\n    <scene_description>Bishop turns to Beckett in outrage .<\/scene_description>\n    <character>BISHOP<\/character>\n    <dialogue>What are you. a fucking mockingbird? Shut the fuck up.<\/dialogue>\n    <character>BECKETT<\/character>\n    <dialogue>I just.<\/dialogue>\n    <scene_description>Bishop raises a SINGLE GLOVED FINGER in Beckett 's direction as if to say . NOT ANOTHER FUCKING PEEP . Cudlitz smiles nervously . giving the Security Guy a look that says . HURRY THE FUCK UP AND DO IT . ON THE MONITOR . the image reveals the identity of the MASK .<\/scene_description>\n    <character>BISHOP<\/character>\n    <dialogue>That's Barbara fucking Bush.<\/dialogue>\n    <scene_description>It is indeed a BARBARA BUSH MASK made of rubber . Cudlitz points to another Masked Man behind Bush .<\/scene_description>\n    <character>CUDLITZ<\/character>\n    <dialogue>I think that's Hillary Clinton. Fat ankles.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CIRCUS CIRCUS CASINO -- HONEYMOON SUITE -- NEXT<\/stage_direction>\n    <scene_description>The CAMERA PANS across the HONEYMOON SUITE on the top floor of the neighboring Casino . Espinoza and Cosgrove are there with a LARGE SURVEILLANCE TEAM . There are several TELEVISION MONITORS and lots of RECORDING EQUIPMENT . Cosgrove chews on a DONUT as he listens to Bishop 's voice on a headset .<\/scene_description>\n    <character>BISHOP<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>There's Nancy Reagan.<\/dialogue>\n    <character>CUDLITZ<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Jackie Onassis on the left.<\/dialogue>\n    <character>BISHOP<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It's the goddamn First Ladies. Christ almighty.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRATOSPHERE HOTEL -- SECURITY CORE -- NEXT<\/stage_direction>\n    <scene_description>Bishop stares at the monitors with his arms crossed .<\/scene_description>\n    <character>CUDLITZ<\/character>\n    <dialogue>We're tracking the license plate on the black van.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>If you do n't mind me asking. what was in the black duffel bags?<\/dialogue>\n    <scene_description>Bishop sighs loudly .<\/scene_description>\n    <character>BECKETT<\/character>\n    <dialogue>You do n't have to answer that.<\/dialogue>\n    <character>BISHOP<\/character>\n    <dialogue>Shut up, Burke.<\/dialogue>\n    <scene_description>Bishop runs his hands through his hair anxiously .<\/scene_description>\n    <character>BISHOP<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Ten million dollars. cash.<\/dialogue>\n    <scene_description>The SECURITY MANAGER enters the SECURITY CORE ROOM .<\/scene_description>\n    <character>BISHOP<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Do n't tell me this is a fucking hijacking. I've used this armored truck service for twenty years. This is an inside job!<\/dialogue>\n    <parenthetical>( to Beckett . )<\/parenthetical>\n    <dialogue>What have you gotten me into, Burke!<\/dialogue>\n    <character>SECURITY MANAGER<\/character>\n    <dialogue>Mr. Bishop. you have an urgent telephone call.<\/dialogue>\n    <scene_description>Bishop throws the Security Manager a look . then takes the WALKIE - TALKIE .<\/scene_description>\n    <character>BISHOP<\/character>\n    <dialogue>This is Drake Bishop.<\/dialogue>\n    <character>CLAREMONT<\/character>\n    <parenthetical>( PHONE . )<\/parenthetical>\n    <dialogue>Mr. Bishop. this is Claremont Williams. I own the Williams Brothers armored car service.<\/dialogue>\n    <character>BISHOP<\/character>\n    <dialogue>What happened to my money, Mr. Williams?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLAREMONT WILLIAMS III BOND AGENCY -- NEXT<\/stage_direction>\n    <scene_description>Claremont sits behind his desk with his phone to his ear .<\/scene_description>\n    <character>CLAREMONT<\/character>\n    <dialogue>Yesterday I received an e - mail from a source. In this e - mail were four social security numbers linked to the gentlemen who presented counterfeit California driver's licenses to my company late last night.<\/dialogue>\n    <scene_description>Claremont stares down at copies of FOUR DRIVER 'S LICENSES . Frances is one of the four .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRATOSPHERE HOTEL -- SECURITY CORE -- NEXT<\/stage_direction>\n    <scene_description>Bishop snaps his fingers at Beckett .<\/scene_description>\n    <character>BISHOP<\/character>\n    <dialogue>And?<\/dialogue>\n    <character>CLAREMONT<\/character>\n    <parenthetical>( PHONE . )<\/parenthetical>\n    <dialogue>Well. I think that these are the gentlemen who robbed us. I'm also a bail bondsman out of Los Angeles. I can track down and deliver these crooks to you. for a small finder's fee of course.<\/dialogue>\n    <character>BISHOP<\/character>\n    <dialogue>How much?<\/dialogue>\n    <character>CLAREMONT<\/character>\n    <parenthetical>( PHONE . )<\/parenthetical>\n    <dialogue>$ 300,000.<\/dialogue>\n    <scene_description>Bishop is silent for a moment .<\/scene_description>\n    <character>BISHOP<\/character>\n    <dialogue>And if you ca n't deliver them?<\/dialogue>\n    <character>CLAREMONT<\/character>\n    <parenthetical>( PHONE . )<\/parenthetical>\n    <dialogue>My theft insurance policy will have to fork over the ten million. but that will take six to eight months due to Nevada state law.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>But you should know sir. that I employ bounty hunters. My bounty hunters can find these thieves.<\/dialogue>\n    <scene_description>Bishop and Beckett move away from the group to make sure that none of the security Team can hear them .<\/scene_description>\n    <character>BISHOP<\/character>\n    <dialogue>If you deliver these crooks to me. you've got yourself a deal. $ 300,000.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CIGLIUTI COMPOUND -- LATER THAT MORNING<\/stage_direction>\n    <scene_description>The CAMERA MOVES across a SWIMMING POOL in the back of a DESERT MANSION . ANTHONY CIGLIUTI -LRB- 50s -RRB- is sitting on the edge of the DIVING BOARD . his feet dangling in the water . He has a GIGANTIC YELLOW CORDLESS PHONE to his ear .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Crime boss Anthony Cigliuti. Bishop's attorney had put his boss in business with the mob.<\/dialogue>\n    <character>CIGLIUTI<\/character>\n    <dialogue>Finder's fee. Sounds like an inside job.<\/dialogue>\n    <character>BECKETT<\/character>\n    <parenthetical>( PHONE . )<\/parenthetical>\n    <dialogue>Could be. Who knows if this Claremont Williams is in on the heist or not?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRATOSPHERE HOTEL -- CASINO BAR -- NEXT<\/stage_direction>\n    <scene_description>Bishop and Beckett sit at the CASINO BAR . sipping Whiskey Sours .<\/scene_description>\n    <character>BECKETT<\/character>\n    <dialogue>All I know. is if this joker delivers the First Ladies. we'll split the $ 300,000 fee with you.<\/dialogue>\n    <character>CIGLIUTI<\/character>\n    <parenthetical>( PHONE . )<\/parenthetical>\n    <dialogue>We have ourselves quite a mess here, gentlemen.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEVADA DESERT -- [FLASHBACK] DAWN OF THAT MORNING<\/stage_direction>\n    <scene_description>HELICOPTER SHOT : The CAMERA SOARS over the DESERT .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Quite a mess indeed. Beckett had just brokered an underhanded deal with Cigliuti for a few hundred acres of desert land to build a golf resort.<\/dialogue>\n    <scene_description>The CAMERA CRESTS a ridge to reveal the ARMORED TRUCK on its way east through the desert .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>The ten million en route from LA to Vegas belonged to the mob. Bishop's clean reputation was a great cover for laundered cash. If the FBI could link the two men together it would be the take down of the century.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CIGLIUTI COMPOUND -- MORNING<\/stage_direction>\n    <scene_description>Cigliuti is now standing on the end of the diving board . His phone is now attached to a THICK WIRE that leads to a LARGE MOUTHPIECE that wraps around his face .<\/scene_description>\n    <character>CIGLIUTI<\/character>\n    <dialogue>Here's the plan.<\/dialogue>\n    <scene_description>Cigliuti dives off into pool . PHONE IN HAND .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDERWATER -- NEXT<\/stage_direction>\n    <scene_description>Cigliuti swims gracefully along the floor of the pool . still talking on the phone .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The FBI was always listening. Hence the underwater cordless. Cigliuti had just purchased a hundred prototypes from Japan. Most of his conversations now took place underwater.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEEDLES DMV -- NEXT<\/stage_direction>\n    <scene_description>The NEEDLES DMV sits on a shitty side road . There is a MONUMENT to comedian SAM KINISON in the parking lot .<\/scene_description>\n    <character>CIGLIUTI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>We'll have these bounty hunters deliver the First Ladies in Needles. Sundown at the Sam Kinison monument.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CIGLIUTI COMPOUND -- SWIMMING POOL -- NEXT<\/stage_direction>\n    <scene_description>Cigliuti floats underwater .<\/scene_description>\n    <character>CIGLIUTI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Take'em to Point Silence and start cutting off limbs until they tell us where the money is.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FENDER COMPOUND -- NEXT<\/stage_direction>\n    <scene_description>A BLACK VAN enters the FENDER COMPOUND . It comes skidding to a stop in a cloud of dust .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Locus Fender was brought in to drive the armored car. Another one of Claremont's network of stooges. His mother Edna worked at the Needles DMV.<\/dialogue>\n    <scene_description>LOCUS FENDER jumps out from behind the wheel . He still has both arms .<\/scene_description>\n    <character>LOCUS<\/character>\n    <dialogue>MOMMA!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FENDER COMPOUND -- NEXT<\/stage_direction>\n    <scene_description>Edna is passed out in her La - Z - Boy . CIGARETTE dangling in her right hand . Showgirls plays on the Mitsubishi widescreen . Chi - Chi is asleep in her lap . Locus bursts through the front door with one of the DUFFEL BAGS over his shoulder .<\/scene_description>\n    <character>LOCUS<\/character>\n    <dialogue>Wake up Momma! You're not gon na believe this.<\/dialogue>\n    <scene_description>Chi - chi barks as Edna pulls herself out of her slumber .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FENDER COMPOUND -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Edna and Locus emerge from the house .<\/scene_description>\n    <character>EDNA<\/character>\n    <dialogue>Where are the First Ladies?<\/dialogue>\n    <character>LOCUS<\/character>\n    <dialogue>They disappeared.<\/dialogue>\n    <character>TARYN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What do you mean, they disappeared?<\/dialogue>\n    <scene_description>Locus turns back to his mother . trying to explain .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>According to Locus. they stopped for gas.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TEXACO STATION -- [FLASHBACK] AN HOUR BEFORE<\/stage_direction>\n    <scene_description>The Black Van pulls up to a TEXACO STATION outside of Needles . Fender parks in front of the gas pumps and turns to look into the back of the van . The FIRST LADIES are there . Their masks are still on . they fidget anxiously .<\/scene_description>\n    <character>LOCUS<\/character>\n    <dialogue>I'm gon na fill up the tank and grab a cup of coffee. Do n't make a peep. especially you. Barbara.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TEXACO STATION -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Locus is standing at the CHECKOUT LINE in the TEXACO MINI MART . He turns and sees a black Chevy pull up next to the van . First Ladies jump out . haul off in the Chevy . Locus watches these events occur in silent shock . He then sprints toward the exit . as the CHEVY TRUCK peels out of the parking lot .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TEXACO STATION -- NEXT<\/stage_direction>\n    <scene_description>Locus rushes toward the van .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He was sure they'd nabbed the cash. Straight up double cross.<\/dialogue>\n    <scene_description>Locus arrives at the back of the van . The doors are still open . The DUFFEL BAGS are still there .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>But they left without it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VEGAS SECURITY LOCKDOWN -- NIGHT<\/stage_direction>\n    <scene_description>Taryn taps her pen on the table .<\/scene_description>\n    <character>TARYN<\/character>\n    <dialogue>That does n't make any sense.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FENDER COMPOUND -- NEXT<\/stage_direction>\n    <scene_description>Locus opens the back doors to the van to show his mother .<\/scene_description>\n    <character>LOCUS<\/character>\n    <dialogue>Do n't make no goddamn sense.<\/dialogue>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Either this was some kind of set up. or the First Ladies got scared. decided to pull out and cut their losses.<\/dialogue>\n    <character>EDNA<\/character>\n    <dialogue>Fuck'em. Their loss is our gain. Put the money in the safe until we hear from Claremont.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEVERLY HILLS -- LATER THAT MORNING<\/stage_direction>\n    <scene_description>The CAMERA APPROACHES the MANSION in Beverly Hills .<\/scene_description>\n    <character>TARYN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Where were you when you got the call for the job?<\/dialogue>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I was asleep in mum's guest house.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOPHIE THOMAS MANSION -- BEDROOM -- NEXT<\/stage_direction>\n    <scene_description>Domino is asleep in bed . The TELEPHONE rings .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>ED<\/character>\n    <parenthetical>( PHONE . )<\/parenthetical>\n    <dialogue>We got ta go to work, Domino.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOPHIE THOMAS MANSION -- KITCHEN -- NEXT<\/stage_direction>\n    <scene_description>Domino scarfs down her breakfast . Sophie paces around the kitchen restlessly . peering through the window .<\/scene_description>\n    <character>SOPHIE<\/character>\n    <dialogue>There is a camera crew waiting outside.<\/dialogue>\n    <scene_description>Domino ignores her . paging through the LA TIMES Calendar section .<\/scene_description>\n    <character>SOPHIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You will regret this, Domino.<\/dialogue>\n    <scene_description>Domino retrieves her lucky SILVER DOLLAR from the table . flipping it through her fingers . sophie grabs her daughters chin . forcing eye contact with her .<\/scene_description>\n    <character>SOPHIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Call it off. and we'll go shopping together.<\/dialogue>\n    <character>DOMINO.<\/character>\n    <dialogue>says. But I hate shopping, mum. It's boring. Why does shopping define a woman?<\/dialogue>\n    <scene_description>Sophie sighs .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I want it to be documented. So when I am an old hag I can look back at my life and say that I once kicked some wicked ass.<\/dialogue>\n    <scene_description>Domino smiles at her mother and kisses her on the forehead . offering her a sense of hope .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOPHIE THOMAS MANSION -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Domino comes strutting down the front walk with her SHOTGUN over her shoulder . The LAWN SPRINKLERS cascade behind her . refracting the morning light . Ed , Choco and Alf are waiting in front of the winnebago with a CAMERAMAN .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Let's go, Domino!<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>Quit acting macho for the camera, douche - bag.<\/dialogue>\n    <scene_description>Domino notices something different about his face .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Are you wearing make - up?<\/dialogue>\n    <scene_description>Ed shifts around uncomfortably . Choco giggles .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Can you tell?<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>You're wearing eyeliner. You look like a queen.<\/dialogue>\n    <scene_description>Domino notices a SECOND WINNEBAGO parked on the street .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Who the hell is that?<\/dialogue>\n    <character>CHOCO<\/character>\n    <parenthetical>( IN SPANISH WITH SUBTITLES . )<\/parenthetical>\n    <dialogue>That's the crew. They follow us.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREW WINNEBAGO -- NEXT<\/stage_direction>\n    <scene_description>Weiss and Kimmie sit in the CREW WINNEBAGO in front of a bank of MONITORS . Both are wearing HEADSETS . Weiss looks ' to Ian Ziering and Brian Austin Green on one of the monitors that is linked to a CAMERA in the CAST WINNEBAGO .<\/scene_description>\n    <character>WEISS<\/character>\n    <parenthetical>( into headset . )<\/parenthetical>\n    <dialogue>Okay guys, let's greet the bounty hunters.<\/dialogue>\n    <scene_description>ON THE MONITOR . Green is doing PUSH - UPS on the floor of the Winnebago . Ziering claps his hands together .<\/scene_description>\n    <character>ZIERING<\/character>\n    <dialogue>Let's do this.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOPHIE THOMAS MANSION -- NEXT<\/stage_direction>\n    <scene_description>Green and Ziering emerge from the Cast Winnebago .<\/scene_description>\n    <character>ZIERING<\/character>\n    <dialogue>Hey guys! I'm Ian Ziering. This is Brian Austin Green.<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>What the fuck is this? We've already met you.<\/dialogue>\n    <scene_description>Green eyes Ziering warily .<\/scene_description>\n    <character>ZIERING<\/character>\n    <dialogue>They need to get the introduction on camera. Just play along, alright?<\/dialogue>\n    <character>GREEN<\/character>\n    <dialogue>They're gon na edit it together out of sequence so it's more exciting.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEVERLY HILLS -- LATER ON<\/stage_direction>\n    <scene_description>The CAMERA TRACKS the Winnebagos as they wind through the suburban streets of Beverly Hills .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAST WINNEBAGO -- NEXT<\/stage_direction>\n    <scene_description>Green talks into the CAMERA with mock enthusiasm .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Claremont fed us a fake story about the First Ladies.<\/dialogue>\n    <character>GREEN<\/character>\n    <dialogue>Today, Domino and her team are out to nab four criminals wanted for forging checks with counterfeit driver's licenses.<\/dialogue>\n    <scene_description>The CAMERA PANS over to Ziering , who sits next to Ed and Domino .<\/scene_description>\n    <character>ZIERING<\/character>\n    <dialogue>What do we know about these four creeps, Domino?<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>Apparently they call themselves the First Ladies.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOLLYWOOD RECORDING STUDIO -- NEXT<\/stage_direction>\n    <scene_description>LESTER KINCAID -LRB- 206 -RRB- is in a RECORDING STUDIO . speaking with several other PRODUCERS . He turns to one of the ENGINEERS at the mixing board .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Jackie Onassis. His real name was Lester Kincaid.<\/dialogue>\n    <character>LESTER<\/character>\n    <dialogue>Alright. we on the clock. Let's get this show on the road.<\/dialogue>\n    <scene_description>A RAP BASE LINE throbs through the studio . Through the GLASS PARTITION . LASHANDRA and LASHINDRA stand before the mike . They rock back and forth in unison .<\/scene_description>\n    <character>LASHANDRA<\/character>\n    <dialogue>Got ta strip \/ Got ta give some lip \/ Got ta make my tip \/ But keep yo hands to yourself - Cuz you ai n't touching these tits.<\/dialogue>\n    <character>LASHINDRA<\/character>\n    <dialogue>House is a wreck \/ Got ta collect my check \/ Got ta perfume my neck \/ But keep yo hands off the weave cuz this black bitch do n't suck the dick.<\/dialogue>\n    <character>LASHANDRA\/LASHINDRA<\/character>\n    <dialogue>We're Peaches N' Cream and we do n't take no shit!<\/dialogue>\n    <scene_description>The STUDIO DOOR slams open . Domino and her crew come in . GUNS BLAZING . CAMERA CREW in tow .<\/scene_description>\n    <character>LESTER<\/character>\n    <dialogue>What the fuck is this shit?<\/dialogue>\n    <scene_description>Domino cocks her shotgun and aims it at Lester .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>Lester Kincaid. you're going to jail.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREW WINNEBAGO - NEXT<\/stage_direction>\n    <scene_description>Weiss watches the action unfold on the monitor . Choco slams Lester up against the wall . exploding his upper lip and eyebrow .<\/scene_description>\n    <character>WEISS<\/character>\n    <dialogue>Jesus. That guy is a psychopath.<\/dialogue>\n    <scene_description>Weiss turns to Kimmie . snapping his fingers in her face .<\/scene_description>\n    <character>WEISS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Clearances. Get me signatures.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAWTHORNE COMMUNITY CENTER -- LATER ON<\/stage_direction>\n    <scene_description>CARL STEIN -LRB- 40s -RRB- stands on a stage in front of a huge BANNER that reads NYMPHOMANIACS ANONYMOUS with several dozen other SEX ADDICTS .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( v.o . )<\/parenthetical>\n    <dialogue>Nancy Reagan turned out to be a sex - addict named Carl Stein.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>My name is Carl. I am a recovering nymphomaniac.<\/dialogue>\n    <scene_description>Carl turns to a BOOM BOX that sits on a wooden stool next to him on stage left .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Today's topic is. ME SO HORNY.<\/dialogue>\n    <scene_description>Carl presses the PLAY button on the boom box . `` ME SO HORNY '' by 2 LIVE CREW blares from it .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>If 2 Live Crew have taught us nothing else. it is that horniness in today's society is out of control. Sexual saturation in all cultural media is at an all time high. At some point within the next decade, society will achieve APATT.<\/dialogue>\n    <scene_description>Carl turns to a MARKER BOARD on stage right . He writes out the initials : A. P. A. T. T.<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>All. Porno. All the time. Porn addiction in this country will become an epidemic. Phase one. masturbation. We must not revert to masturbatory habits that are filth and danger oriented.<\/dialogue>\n    <scene_description>A CAMERA OPERATOR enters the community center . quietly preparing to capture the moment .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>To our male friends here today. We must remove the vacuum cleaners from our homes. We must turn off our jacuzzi jets. To our female friends. we must stop abusing our dogs with the lure of a peanut butter snatch.<\/dialogue>\n    <scene_description>Domino and her crew enter the LOBBY of the Community Center .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>We must channel our horniness into extracurricular activities such as fantasy football, Taekwondo and needle - point.<\/dialogue>\n    <scene_description>Domino bursts through the doors dramatically .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>CARL STEIN.<\/dialogue>\n    <scene_description>The crowd stirs in their seats , turning to face Domino . Carl rises slowly to his feet with a look of anguish on his chubby face .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <scene_description>Ed and Choco round the side aisles blocking all exits from the building . Choco looks like he 's gon na commit genocide .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Cool it, Choco.<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>YOU'RE UNDER ARREST.<\/dialogue>\n    <scene_description>Choco pounces on Carl . knocking him to the ground . He screams out in pain . The Sex Addicts leer at Domino . Male and Female .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREW WINNEBAGO -- NEXT<\/stage_direction>\n    <scene_description>Weiss turns from the monitors . cringing .<\/scene_description>\n    <character>WEISS<\/character>\n    <dialogue>Kimmie, who is this chump?<\/dialogue>\n    <scene_description>Kimmie is on the phone . scrawling notes frantically .<\/scene_description>\n    <character>KIMMIE<\/character>\n    <dialogue>Carl Stein. He's an entertainment lawyer. Some shit firm.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KAPPA EPSILON GAMMA -- SUNSET<\/stage_direction>\n    <scene_description>A FRAT HOUSE sits on FRATERNITY ROW at CALIFORNIA UNIVERSITY .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Barbara Bush and Hillary Clinton were next. We found them at their Frat House.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KEG HOUSE -- NEXT<\/stage_direction>\n    <scene_description>Frances and his cousin CHUCKIE -LRB- 24 -RRB- are chalking up lines of COCAINE on a GLASS TABLE in the fraternity house . STACIE STEVENS -LRB- 20 -RRB- and ARIANA BOWER -LRB- 21 -RRB- are sitting across from them .<\/scene_description>\n    <character>STACIE<\/character>\n    <dialogue>I've never snorted ritalin before.<\/dialogue>\n    <character>CHUCKIE<\/character>\n    <dialogue>This is coke on the right. Ritalin is on the left. Snort one line in each nostril.<\/dialogue>\n    <character>FRANCES<\/character>\n    <dialogue>In Vegas we call it Peaches and Cream. It's a killer high.<\/dialogue>\n    <character>ARIANA<\/character>\n    <dialogue>I love Vegas.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KAPPA EPSILON GAMMA -- NEXT<\/stage_direction>\n    <scene_description>There is a FLORIST VAN parked across the street from the KEG HOUSE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLORIST VAN -- NEXT<\/stage_direction>\n    <scene_description>Two FBI AGENTS are sitting inside the van . A bunch of SOUND RECORDING equipment sits in front of them . The sound of Stacie Stevens snorting cocaine and ritalin can be heard echoing throughout the van .<\/scene_description>\n    <character>CHUCKIE<\/character>\n    <parenthetical>( V. O . )<\/parenthetical>\n    <dialogue>Yeah. That's Peaches and Cream, babe.<\/dialogue>\n    <scene_description>FBI AGENT # 1 looks through the back window of the van . The Winnebagos are approaching from the south end of FRATERNITY ROW .<\/scene_description>\n    <character>FBI AGENT #1<\/character>\n    <dialogue>Alright boys. we are in business. The bounty hunters have arrived. They are driving. winnebagos.<\/dialogue>\n    <scene_description>The Agent has BINOCULARS aligned on Alf 's face through the windshield of the cast winnebago .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAST WINNEBAGO -- NEXT<\/stage_direction>\n    <scene_description>Carl and Lester are handcuffed . sitting next to each other on the couch . Domino is feeding the new additions . 4 GOLDFISH in a BOWL sitting in the kitchenette .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Get that fucking camera out of my face!<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>You're just making yourself look like a bigger loser by yelling.<\/dialogue>\n    <scene_description>Carl notices Ziering and Green .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Wait a minute. are you. You're those fucking assholes from 90210!<\/dialogue>\n    <character>GREEN<\/character>\n    <dialogue>We're hosting a new show now. It's called Bounty Hunters.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Fuck you.<\/dialogue>\n    <character>ZIERING<\/character>\n    <dialogue>This show is gon na be our big comeback. You just wait and see.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Right! You're about a week away from hosting an infomercial.<\/dialogue>\n    <scene_description>Ziering grits his teeth . trying to quell his rage .<\/scene_description>\n    <character>ZIERING<\/character>\n    <dialogue>Listen, dick - fuck. I had a good run while it lasted. Now I've got ten million in the bank. I'll never have to work again for the rest of my life.<\/dialogue>\n    <character>GREEN<\/character>\n    <dialogue>And he used to fuck a Playboy centerfold every night.<\/dialogue>\n    <character>ZIERING<\/character>\n    <dialogue>Twice a night, sometimes.<\/dialogue>\n    <scene_description>Green and Ziering high five .<\/scene_description>\n    <character>LESTER<\/character>\n    <dialogue>Shazaam.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREW WINNEBAGO\/INT. CAST WINNEBAGO -- NEXT<\/stage_direction>\n    <scene_description>Weiss is watching this encounter on the monitors with manic intensity . ON THE MONITOR : The Bounty Hunters say GRACE together . ALF speaks in ARABIC . They then break and start to devour their sub sandwiches .<\/scene_description>\n    <character>WEISS<\/character>\n    <dialogue>This is. fascinating. I. for one. just ca n't stop watching.<\/dialogue>\n    <scene_description>Kimmie nods her head in agreement .<\/scene_description>\n    <character>KIMMIE<\/character>\n    <dialogue>This could break new ground in terms of traditional host models. It's self - reflexive reality television.<\/dialogue>\n    <character>WEISS<\/character>\n    <dialogue>Your theory is valid. in theory.<\/dialogue>\n    <character>KIMMIE<\/character>\n    <dialogue>We ca n't lose focus of Domino's journey, Mark.<\/dialogue>\n    <scene_description>Kimmie speaks into the microphone on her headset .<\/scene_description>\n    <character>KIMMIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Domino, we're going to send Ziering and Green in with you on this next raid.<\/dialogue>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Fine. As long as they stay out of our way.<\/dialogue>\n    <character>WEISS<\/character>\n    <parenthetical>( to Kimmie . )<\/parenthetical>\n    <dialogue>We're covered on legal with that, right?<\/dialogue>\n    <character>KIMMIE<\/character>\n    <dialogue>In theory.<\/dialogue>\n    <scene_description>Weiss speaks into his headset .<\/scene_description>\n    <character>WEISS<\/character>\n    <dialogue>Guys. the last two raids. they were a bit too psychotic for my insurance carrier's taste. I think he just had a bowel movement in his pants. Could you maybe ratchetdown the violence just a tad this time? Especially you, Coco.<\/dialogue>\n    <character>CHOCO<\/character>\n    <parenthetical>( on monitor . )<\/parenthetical>\n    <dialogue>It's Choco.<\/dialogue>\n    <character>WEISS<\/character>\n    <dialogue>We want non - violent action. Bounty hunter life in the fastlane.<\/dialogue>\n    <character>KIMMIE<\/character>\n    <dialogue>Fast and or furious.<\/dialogue>\n    <character>WEISS<\/character>\n    <dialogue>But real. This is gritty. Like Cassavetes.<\/dialogue>\n    <character>KIMMIE<\/character>\n    <dialogue>Exactly. Why do n't you leave the guns behind this time? Go in with only batons, brass knuckles, and numb - chucks.<\/dialogue>\n    <scene_description>ON THE MONITOR : Domino and Ed stare at each other .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( on the monitor . )<\/parenthetical>\n    <dialogue>It's a fucking frat house. Why not?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLORIST VAN -- NEXT<\/stage_direction>\n    <scene_description>FBI AGENT # 2 watches Domino and her crew exit the Winnebago with the CAMERA MAN in tow .<\/scene_description>\n    <character>FBI AGENT #2<\/character>\n    <dialogue>Okay. they have a camera man with them for some reason.<\/dialogue>\n    <character>FBI AGENT #1<\/character>\n    <dialogue>What is this shit?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KEG HOUSE -- NEXT<\/stage_direction>\n    <scene_description>Domino and her crew approach the entrance to the Keg house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KEG HOUSE -- NEXT<\/stage_direction>\n    <scene_description>The CAMERA TRACKS along with Domino as she works her way through the corridors of the Keg house . Choco and Ed flanking her on either side . KEG BROTHERS emerge from their rooms . staring at her in awe .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( to Choco . )<\/parenthetical>\n    <dialogue>Take it easy. There's no need to get too rough with these kids.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KEG HOUSE -- BACK LOT -- NEXT<\/stage_direction>\n    <scene_description>Domino and her crew emerge into the BACK LOT of the Keg house . Several dozen COLLEGE STUDENTS are surrounding a KEG that has been placed near the edge of the SAND VOLLEYBALL COURT .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>We're looking for Frances and Charles. Are they here?<\/dialogue>\n    <scene_description>The students eye Choco .<\/scene_description>\n    <character>KEG BROTHER<\/character>\n    <dialogue>Who wants to know?<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>We're with a new reality show. It's called Bounty Hunters.<\/dialogue>\n    <character>KEG BROTHER<\/character>\n    <dialogue>No shit? How does that work?<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>Well. if we catch the right guy we get to keep 10 % of is bail and he gets to go to jail.<\/dialogue>\n    <character>KEG BROTHER<\/character>\n    <dialogue>Whoa. Cool.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREW WINNEBAGO -- NEXT<\/stage_direction>\n    <scene_description>Kimmie turns to Weiss .<\/scene_description>\n    <character>KIMMIE<\/character>\n    <dialogue>This girl is going to be a star. She just tells it like it is.<\/dialogue>\n    <character>WEISS<\/character>\n    <dialogue>We should sign her to a talent holding deal.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KEG HOUSE -- FRANCES' ROOM -- NEXT<\/stage_direction>\n    <scene_description>Stacie and Ariana are dancing on the table in FRANCES ' ROOM . Their hips gyrate to the smooth Mary J. Blige beat . Frances and Chuckie sit on the couch . fidgeting from the drugs . A bunch of Keg Brothers enter with Domino and her crew . -LRB- ` Real People Casting ' -RRB-<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>Frances. where is Frances?<\/dialogue>\n    <scene_description>The Keg Brothers cheer in anticipation . Frances and Chuckie look at one another in shock .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CIRCUS CIRCUS -- HONEYMOON SUITE -- NEXT<\/stage_direction>\n    <scene_description>Cosgrove and Espinoza are huddled around Zendejas . listening to the audio feed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KEG HOUSE -- FRANCES' ROOM -- LATER ON<\/stage_direction>\n    <scene_description>Domino approaches Frances and Chuckie . flanked on either side by her `` BODYGUARDS '' Choco and Ed .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>Who wants to be on Bounty Hunters? You can all be famous if you cooperate!<\/dialogue>\n    <scene_description>Ed pushes several of the Keg brothers back .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Everyone. please give Domino her space. Step back, please!<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>You have sixty seconds. here's the question.<\/dialogue>\n    <parenthetical>( dramatic pause . )<\/parenthetical>\n    <dialogue>Which one of you is Frances?<\/dialogue>\n    <scene_description>Frances and Chuckie glance at one another nervously . The crowd goes wild . Frances locks eyes with Domino . He knows something is awry . Domino retrieves two pairs of HANDCUFFS and twirls them around either finger .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Cuff'em boys.<\/dialogue>\n    <scene_description>The crowd goes ballistic as Domino hands the CUFFS to Choco and Ed . Just as they move toward the couch . Frances stands up and FLIPS THE GLASS TABLE OVER . He then CLOCKS Ed in the face with a RIGHT HOOK . Chuckie bolts for the exit . Choco chases after Chuckie . Mayhem in the Keg house . The CAMERA MAN catches all of it . Ed tries to restrain Frances . but several Keg Brothers jump him . Domino goes to intervene . but STACIE jumps on her back .<\/scene_description>\n    <character>STACIE<\/character>\n    <dialogue>FUCK YOU BITCH!<\/dialogue>\n    <scene_description>Domino shakes Stacie off . She lunges back at Domino again . Domino CLOCKS HER IN THE FACE . stacie falls back onto the floor . Ed CLOBBERS two Keg Brothers in the face with his BATON . just as Domino catches up with Frances as he tries to escape the crowded room . Frances slams Domino against the wall . and she responds by wrapping the CHAIN of her NUMB - CHUCKS around his neck . She twists the handles . and Frances lets out a CHOKING sound . grasping at the chain with his fingertips . Ed approaches from behind and handcuffs Frances .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>You're under arrest.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KEG HOUSE -- BACK LOT -- NEXT<\/stage_direction>\n    <scene_description>The Camera Man follows Choco into the back lot . ACROSS THE LOT . Chuckie is behind the wheel of his SILVER BMW . starting the engine . He puts the BMW in drive and floors it out of the parking lot toward the REAR DRIVEWAY . As he rounds the corner . Choco is on a balcony with a huge television OVER HIS HEAD . Chuckle slams on the breaks .<\/scene_description>\n    <character>CHUCKIE<\/character>\n    <dialogue>Fuck.<\/dialogue>\n    <scene_description>Choco HURLS THE TELEVISION AND IT PLUNGES THROUGH THE WINDSHIELD INTO THE FRONT SEAT OF THE CAR . Choco jumps fifteen feet off the balcony onto the hood of the BMW , lifts Chuckie out of the driver 's seat and launches him like a two pound bag of sugar .<\/scene_description>\n    <character>CHOCO<\/character>\n    <dialogue>AAAAHHHHHHHHH!<\/dialogue>\n    <scene_description>Chuckie travels a good twenty feet and lands on his head .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREW WINNEBAGO -- NEXT<\/stage_direction>\n    <scene_description>Weiss and Kimmie watch the monitors in awe .<\/scene_description>\n    <character>WEISS<\/character>\n    <dialogue>Good lord.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 15 NORTH FREEWAY -- NIGHT<\/stage_direction>\n    <scene_description>HELICOPTER SHOT : The Winnebagos make their way east on the 15 FREEWAY .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AM\/PM COMPLEX -- NIGHT<\/stage_direction>\n    <scene_description>The CAMERA TRACKS through the OUTDOOR PATIO of the IN &amp; OUT BURGER adjacent to the AM\/PM COMPLEX outside of Barstow . Lateesha is sitting at one of the tables with Lashandra , Lashindra and Raoul .<\/scene_description>\n    <character>LATEESHA<\/character>\n    <dialogue>This new wrinkle in the plan. It was one of those last minute decision - type decisions.<\/dialogue>\n    <character>LASHANDRA<\/character>\n    <dialogue>Those are the worst kind.<\/dialogue>\n    <scene_description>Lateesha swallows every last ounce of pride she once had .<\/scene_description>\n    <character>LATEESHA<\/character>\n    <dialogue>Lateesha has dug herself a deep hole. and she ca n't get out by herself. Can you dig?<\/dialogue>\n    <character>RAOUL<\/character>\n    <dialogue>We're in that hole with you, Teesha. We dig together. We're a team.<\/dialogue>\n    <scene_description>Raoul and Lateesha join hands in the center of the table . Raoul 's NAILS are painted semi - turbo .<\/scene_description>\n    <character>LASHANDRA<\/character>\n    <dialogue>Just like Billy Ocean says. When the going gets tough.<\/dialogue>\n    <character>LASHINDRA<\/character>\n    <dialogue>The tough get going.<\/dialogue>\n    <scene_description>Lashandra and Lashindra put their hands in with Lateesha and Raoul . The FOURSOME IS UNITED .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AM\/PM COMPLEX -- NIGHT<\/stage_direction>\n    <scene_description>The Winnebagos are fueling up at the same complex . There are dozens of cars waiting under the fluorescent lights . Domino and her crew emerge from the Crew Winnebago . Weiss and Kimmie are following close behind . Alf is pumping gas . He looks over at a WHITE TRASH FAMILY gawking at the MURAL on the side of the RV . The MOM begins to SNAP PHOTOGRAPHS of him . Alf waves to the camera .<\/scene_description>\n    <character>ALF<\/character>\n    <dialogue>Praise Allah.<\/dialogue>\n    <scene_description>Domino is on the phone with Claremont .<\/scene_description>\n    <character>CLAREMONT<\/character>\n    <parenthetical>( PHONE . )<\/parenthetical>\n    <dialogue>Did you get all four?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Yep.<\/dialogue>\n    <character>CLAREMONT<\/character>\n    <parenthetical>( PHONE . )<\/parenthetical>\n    <dialogue>Deliver them to the Needles DMV. Sundown at the Sam Kinison monument.<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>Why the hell are we delivering them out here? I ca n't even find any warrants in the system for these four.<\/dialogue>\n    <character>CLAREMONT<\/character>\n    <parenthetical>( PHONE . )<\/parenthetical>\n    <dialogue>The system has n't been updated.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AM\/PM COMPLEX -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Domino arrives in line at the KFC counter in a huff . Choco and Green are waiting in line . Green smiles at Domino . studying her .<\/scene_description>\n    <character>GREEN<\/character>\n    <dialogue>It's all just an act. is n't it.<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>GREEN<\/character>\n    <dialogue>This tough girl thing.<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>What makes you so sure?<\/dialogue>\n    <character>GREEN<\/character>\n    <dialogue>Because I'm an actor.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You ca n't fake it like we can. You're just a scared little girl with some serious daddy issues.<\/dialogue>\n    <scene_description>Domino glares at him . punches him in the face . She storms off . Choco laughs to himself .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AM\/PM COMPLEX -- TARMAC -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Domino walks across the TARMAC toward the winnebagos . Ziering is signing AUTOGRAPHS for a group of COLLEGE KIDS bound for Vegas .<\/scene_description>\n    <character>COLLEGE GIRL<\/character>\n    <dialogue>My friend Tina thought you were dead.<\/dialogue>\n    <character>ZIERING<\/character>\n    <dialogue>Oh really?<\/dialogue>\n    <scene_description>He hands her the autograph .<\/scene_description>\n    <character>ZIERING<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Tell your friend Tina she's a whore.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREW WINNEBAGO -- NEXT<\/stage_direction>\n    <scene_description>Domino steps into the Crew Winnebago . Choco and Alf are playing cards . Ed is watching television .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>Where are the bond certificates for the First Ladies?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>There are no bond certificates.<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>What do you mean? Claremont did n't provide them?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>No. What's the big deal?<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>Something is going down. Something bad.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Claremont said we deliver the First Ladies in Needles. Then we go home. No questions asked.<\/dialogue>\n    <scene_description>Domino thinks to herself for a moment .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>You know why there are n't bond certificates? Because these guys have never been arrested. This is a private job. I'm telling you that Lateesha and Claremont are setting us up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEEDLES DMV -- NEXT<\/stage_direction>\n    <scene_description>The WINNEBAGOS pull into the NEEDLES TOWN HALL parking lot . There are THREE BLACK CHEVY SUBURBANS parked below the SAM KINISON monument .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAST WINNEBAGO -- NEXT<\/stage_direction>\n    <scene_description>Carl fidgets anxiously on the couch .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>What happens now?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Now we turn you over to the authorities.<\/dialogue>\n    <scene_description>Frances glances over at Chuckie . shaking his head slowly .<\/scene_description>\n    <character>CHUCKlE<\/character>\n    <dialogue>You drove us all the way out to fucking Needles to put us in jail?<\/dialogue>\n    <character>FRANCES<\/character>\n    <dialogue>This is fucked up. I do n't like this. We got ta call my dad.<\/dialogue>\n    <scene_description>Domino and Ed begin to escort the First Ladies out of the Winnebago .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>Turn off the camera.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREW WINNEBAGO -- NEXT<\/stage_direction>\n    <scene_description>Weiss and Kimmie watch from the monitors . Ziering and Green are both talking on their cell phones .<\/scene_description>\n    <character>WEISS<\/character>\n    <dialogue>Do n't listen to her. Keep filming.<\/dialogue>\n    <scene_description>Green is pacing around in the back of the Winnebago with his cell phone to his ear .<\/scene_description>\n    <character>GREEN<\/character>\n    <dialogue>I DO N'T HAVE TO TAKE THIS SHIT! JUST GOT PUNCHED IN THE FACE BY A GIRL! ON CAMERA!<\/dialogue>\n    <scene_description>Green has two black eyes . congealed blood dripping from his nose .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAST WINNEBAGO -- NEXT<\/stage_direction>\n    <scene_description>Choco RIPS the camera away from the Camera Man . who steps back in fear . He then hurls it out the door onto the tarmac . An 18 WHEELER TRUCK drives by and decimates it .<\/scene_description>\n    <character>CAMERA MAN<\/character>\n    <dialogue>Please. do n't hurt me.<\/dialogue>\n    <character>CHOCO<\/character>\n    <dialogue>When Domino speaks. you listen.<\/dialogue>\n    <scene_description>Domino turns to Ed .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>This whole situation is fucked. I sure as hell hope you know what you're doing.<\/dialogue>\n    <scene_description>Ed turns away . ignoring her . Domino notices the fish tank . The FISH is floating DEAD on the surface of the water . She retrieves her SILVER DOLLAR from her pocket . flipping it through her fingers .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEEDLES DMV -- NEXT<\/stage_direction>\n    <scene_description>Ed and Choco escort the First Ladies toward the Suburbans . Two of BISHOP 'S GOONS emerge from inside .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>What is this shit? These are n't cops.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Shut the fuck up.<\/dialogue>\n    <scene_description>Frances looks terrified .<\/scene_description>\n    <character>FRANCES<\/character>\n    <dialogue>Shit. This is bad. This is really bad, Chuckie.<\/dialogue>\n    <character>LESTER<\/character>\n    <dialogue>Watch your mouth. God is listening. We need him now.<\/dialogue>\n    <scene_description>They arrive at the first SUV . The Goons look at one another .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Here's your First Ladies.<\/dialogue>\n    <scene_description>The Goons shove the First Ladies into the two SUVs .<\/scene_description>\n    <character>GOON #2<\/character>\n    <dialogue>It's been a pleasure doing business with you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BONNIE SPRINGS MOTEL -- LATER ON<\/stage_direction>\n    <scene_description>The Winnebagos are parked in front of a BONNIE SPRINGS in Needles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BONNIE SPRINGS MOTEL -- LOUNGE -- NEXT<\/stage_direction>\n    <scene_description>The entire BOUNTY HUNTERS GANG is assembled in the LOUNGE . sipping on cocktails . Weiss is deep in conversation with Ziering and Green . Some FAT REDNECK WOMAN is singing KARAOKE .<\/scene_description>\n    <character>WEISS<\/character>\n    <dialogue>I'm telling you guys. the footage we captured today was phenomenal. This is going to jump start your careers.<\/dialogue>\n    <scene_description>Ziering claps his hands together .<\/scene_description>\n    <character>ZIERING<\/character>\n    <dialogue>Fuck yeah. Told you it was worth it.<\/dialogue>\n    <scene_description>Green smiles with a sense of cautious optimism .<\/scene_description>\n    <character>ZIERING<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Come on, B.A. Think positive for once. Let's go out and celebrate. Where's the nearest strip club?<\/dialogue>\n    <scene_description>Kimmie looks around . Choco is meandering around .<\/scene_description>\n    <character>KIMMIE<\/character>\n    <dialogue>Where is Domino?<\/dialogue>\n    <character>WEISS<\/character>\n    <dialogue>She went up to her room.<\/dialogue>\n    <scene_description>Choco notices a vase of SILK FLOWERS on a side table . He grabs one .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL ROOM -- BATHROOM -- NEXT<\/stage_direction>\n    <scene_description>Domino sits on the floor of the bathroom . freshly showered . The GOLDFISH floats on the surface of the toilet water . She then flushes the toilet . as the dead goldfish disappears down into the vortex . into the ABYSS OF SHIT .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Something awful was about to happen. I could feel it in my bones.<\/dialogue>\n    <scene_description>A TEAR traces her cheek . Just then . there is a KNOCK at her door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOTEL ROOM -- NEXT<\/stage_direction>\n    <scene_description>Choco stands at her door . He holds the linen flower . As he fidgets in front of her door , he chickens out . throws the flower behind a towel cart . Domino opens the door , tears still in her eyes .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>What is it, Choco?<\/dialogue>\n    <character>CHOCO<\/character>\n    <parenthetical>( IN SPANISH WITH SUBTITLES . )<\/parenthetical>\n    <dialogue>Are you all right?<\/dialogue>\n    <scene_description>Nothing from Domino .<\/scene_description>\n    <character>CHOCO<\/character>\n    <parenthetical>( SPANISH ; CONT 'D . )<\/parenthetical>\n    <dialogue>Did somebody hurt you? Tell me, I'll fucking kill him.<\/dialogue>\n    <scene_description>Domino sighs .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>Mind if I ask you a question?<\/dialogue>\n    <parenthetical>( Choco nods . )<\/parenthetical>\n    <dialogue>Do I look like I speak Spanish? Do I look Mexican to you? ENGLISH! SPEAK IN ENGLISH!<\/dialogue>\n    <scene_description>She steps into the hallway .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>ED IS RIGHT, IT'S NOT CUTE! IT'S NEVER BEEN CUTE. I DO N'T UNDERSTAND YOU!<\/dialogue>\n    <scene_description>Choco retreats down the hall .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHOCO'S MOTEL ROOM -- NEXT<\/stage_direction>\n    <scene_description>Choco returns to his room , devastated by Domino 's tirade . PORN BLARES on the TV . Ed sits on the bed with a BUDWEISER in hand . COCAINE on his upper lip .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>They never show penetration in these piece of shit hotels.<\/dialogue>\n    <scene_description>Choco picks up a chair and throws it at the TV , putting an end to a dedicated group copulation .<\/scene_description>\n    <character>ED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I just charged $ 12.95 to our room for that movie. Now I'll never know how the story ends.<\/dialogue>\n    <character>CHOCO<\/character>\n    <dialogue>Do n't fuck with me, Ed. Not you, not tonight.<\/dialogue>\n    <scene_description>Ed walks over to the mirror and fixes his hair .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Very well. If you need me, I'll be in Domino's room. making up my own ending.<\/dialogue>\n    <scene_description>That was it . The STRAW . the CAMEL . the BROKEN BACK . Choco LUNGES at Ed and throws him to the ground . PUNCHES . KICKS . you name it . they 're doing it .<\/scene_description>\n    <character>ED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>C'mon, boy. I'm gon na whup you and then I'm gon na walk over there and whup your girlfriend.<\/dialogue>\n    <scene_description>Choco CLOCKS Ed in the face . Ed falls to the ground . Choco grabs a CHAIR , moves to strike , but Ed thwarts him by pulling his GUN . They stare at one another .<\/scene_description>\n    <character>ED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Put that fucking chair down and do n't say a word, Spanish or otherwise.<\/dialogue>\n    <scene_description>Choco slowly lowers the chair to the ground . Ed gets up , sits on it . Choco tries to talk but Ed checks him with his gun .<\/scene_description>\n    <character>ED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Young, dumb, full of cum. Do n't you get it, boy? I got no designs on Domino, she's like a daughter to me. And you're like a son.<\/dialogue>\n    <parenthetical>( massages his jaw . )<\/parenthetical>\n    <dialogue>I've been in this business for as long as I can remember and I do n't know anybody who can bust down a door as well as you. And we're talking the top half.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Yet when it comes to her, I've never seen such a pussy. You'd just as well stick a shotgun barrel to your head than ask her out. So when are you going to do something about it?<\/dialogue>\n    <scene_description>Choco just sits there on the bed . He knows that Ed 's dead on .<\/scene_description>\n    <character>ED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oh! And another thing. I am a liar. A pathological liar. There was no day in Danang, no multiple tours in Nam. Just lies to get laid, lies to get respect.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Truth is. I'm scared shitless all the time.<\/dialogue>\n    <character>CHOCO<\/character>\n    <dialogue>What about your toe?<\/dialogue>\n    <character>ED<\/character>\n    <parenthetical>( points his gun at his foot . )<\/parenthetical>\n    <dialogue>Anything to get the fuck out of dodge.<\/dialogue>\n    <character>CHOCO<\/character>\n    <dialogue>Did it hurt?<\/dialogue>\n    <character>ED<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>What do you think, dumbshit?<\/dialogue>\n    <scene_description>Choco laughs .<\/scene_description>\n    <character>ED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Shat my pants.<\/dialogue>\n    <scene_description>They laugh , together .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL ROOM -- NEXT<\/stage_direction>\n    <scene_description>Domino sits on the bed with a LAPTOP in front of her . She has pulled up copies of the FOUR DRIVER 'S LICENSES on the screen . The CAMERA moves in toward FRANCES ' FACE on the computer screen .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>Who are you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI JET -- NEXT<\/stage_direction>\n    <scene_description>The CAMERA MOVES down the aisle of an FBI JET . Taryn , Cosgrove and Espinoza are sitting across from Zendejas . They are all three staring at a MONITOR . On it is an INFRARED SATELLITE IMAGE looking down at the desert landscape . Taryn leans in for a closer look .<\/scene_description>\n    <character>COSGROVE<\/character>\n    <dialogue>Can you zoom in?<\/dialogue>\n    <scene_description>Zendejas types something on the keyboard and the IMAGE ZOOMS IN closer to reveal TWO CHEVY SUBURBANS driving north through the desert .<\/scene_description>\n    <character>ESPINOZA<\/character>\n    <dialogue>Where are they taking these kids?<\/dialogue>\n    <scene_description>The CAMERA MOVES THROUGH THE INFRARED MONITOR .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEVADA DESERT -- NEXT<\/stage_direction>\n    <scene_description>and DROPS DOWN above the CHEVY SUBURBANS as they move through the night . The HEADLIGHTS refract through the dust spinning from the tires .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHEVY SUBURBAN #1 -- NEXT<\/stage_direction>\n    <scene_description>Frances and Chuckie sit in the back of SUBURBAN # 1 . Chuckie shakes his head slowly .<\/scene_description>\n    <character>CHUCKIE<\/character>\n    <dialogue>I never should have listened to you, Frances. You went too far this time.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHEVY SUBURBAN #2 -- NEXT<\/stage_direction>\n    <scene_description>Lester and Carl sit in the back of SUBURBAN # 2 .<\/scene_description>\n    <character>LESTER<\/character>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>Our Father. who art in Heaven. Hallowed be thy name.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL ROOM -- NEXT<\/stage_direction>\n    <scene_description>Domino stares at the laptop . She looks very distraught . She has discovered something .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Thy Kingdom come. Thy will be done. On Earth as it is in Heaven.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEVADA DESERT -- NEXT<\/stage_direction>\n    <scene_description>Frances , Chuckie , Lester and Carl are lined up next to one another . GOON # 2 has an AK - 47 aimed at them . GOON # 1 has his phone to his ear .<\/scene_description>\n    <character>GOON #1<\/character>\n    <dialogue>Sir. would you like us to shoot them in the kneecaps?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CIRCUS CIRCUS -- CASINO OFFICE -- NEXT<\/stage_direction>\n    <scene_description>Bishop stares out at the Vegas strip .<\/scene_description>\n    <character>BISHOP<\/character>\n    <dialogue>Ask them politely where the money is. If they do n't know. tell them to start digging their own graves. It's that simple.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEVADA DESERT -- NEXT<\/stage_direction>\n    <scene_description>GOON # 1 hangs up the phone and raises his own AK - 47 . He turns the safety off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CIGLIUTI COMPOUND -- MASTER BEDROOM -- NEXT<\/stage_direction>\n    <scene_description>Anthony Cigliuti is asleep in his bed when the PHONE begins to ring . He reaches over and answers it .<\/scene_description>\n    <character>CIGLIUTI<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>KEG PRESIDENT<\/character>\n    <parenthetical>( PHONE . )<\/parenthetical>\n    <dialogue>Mr. Cigliuti?<\/dialogue>\n    <character>CIGLIUTI<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>KEG PRESIDENT<\/character>\n    <parenthetical>( PHONE . )<\/parenthetical>\n    <dialogue>I'm calling from the Kappa Epsilon Gamma house at California University.<\/dialogue>\n    <character>CIGLIUTI<\/character>\n    <dialogue>Yes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KEG HOUSE -- CHAPTER ROOM -- NEXT<\/stage_direction>\n    <scene_description>The KEG PRESIDENT is sitting at the head of the CHAPTER ROOM with a phone to his ear . The rest of the fraternity watches in silent dread .<\/scene_description>\n    <character>KEG PRESIDENT<\/character>\n    <dialogue>I'm so sorry to be bothering you in the middle of the night like this. but it's a bit of an emergency.<\/dialogue>\n    <character>CIGLIUTI<\/character>\n    <parenthetical>( PHONE . )<\/parenthetical>\n    <dialogue>What is it?<\/dialogue>\n    <character>KEG PRESIDENT<\/character>\n    <dialogue>Your son. and your nephew have been kidnapped by these crazy game show hosts from the Fox network.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CIGLIUTI COMPOUND -- MASTER BEDROOM -- NEXT<\/stage_direction>\n    <scene_description>Cigliuti sits up in bed .<\/scene_description>\n    <character>CIGLIUTI<\/character>\n    <dialogue>My Frances? Frances and Charles have been kidnapped?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEVADA DESERT -- NEXT<\/stage_direction>\n    <scene_description>The GOONS have their AK - 47s aimed and ready to fire . Frances and the others are standing in front of their own graves in the desert sand .<\/scene_description>\n    <character>GOON #1<\/character>\n    <dialogue>For the last time. where is our fucking money?<\/dialogue>\n    <scene_description>Frances and Chuckie are hyperventilating .<\/scene_description>\n    <character>FRANCES<\/character>\n    <dialogue>We do n't know anything about any money. Me and Chuckie just wanted fake IDs!<\/dialogue>\n    <character>CHUCKlE<\/character>\n    <dialogue>We wo n't tell anyone about the DMV scam! We promise!<\/dialogue>\n    <scene_description>Carl falls to his knees .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( crying . )<\/parenthetical>\n    <dialogue>Please. I just supply them with pussy.<\/dialogue>\n    <scene_description>A TEAR rolls down Lester 's cheek .<\/scene_description>\n    <character>LESTER<\/character>\n    <parenthetical>( whisper . )<\/parenthetical>\n    <dialogue>I just wanted to get people high.<\/dialogue>\n    <scene_description>The GOONS look at one another and roll their eyes . Death seems imminent . SMASH CUT TO CLOUDS : THE SILVER DOLLAR SPINS THROUGH THE AIR<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Forgive us oh Lord for our daily trespasses. for we know not what we do.<\/dialogue>\n    <scene_description>The COIN floats to the APEX of its ark . The GOONS fire their weapons . unloading a hail of bullets into the four men .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>And what we see. may not be the truth.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TEXACO STATION -- [FLASHBACK] EARLY THAT MORNING<\/stage_direction>\n    <scene_description>Locus Fender is behind the wheel of the BLACK VAN at the TEXACO STATION . He turns to look into the back of the van . The FIRST LADIES are there . Their masks are still on .<\/scene_description>\n    <character>LOCUS<\/character>\n    <dialogue>I'm gon na fill up the tank and grab a cup of coffee. Do n't make a peep. especially you. Barbara.<\/dialogue>\n    <scene_description>Locus exits the van . BARBARA BUSH rips off his mask . It is RAOUL .<\/scene_description>\n    <character>RAOUL<\/character>\n    <dialogue>Now what?<\/dialogue>\n    <scene_description>The rest of the masks come off . LATEESHA . LASHINDRA . LASHANDRA . and RAOUL . are the FIRST LADIES .<\/scene_description>\n    <character>LATEESHA<\/character>\n    <dialogue>I do n't know!<\/dialogue>\n    <scene_description>Lateesha 's CELL PHONE begins to ring .<\/scene_description>\n    <character>LATEESHA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Where are you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHEVY SUBURBAN -- NEXT<\/stage_direction>\n    <scene_description>Claremont is behind the Wheel of a BLACK CHEVY SUBURBAN . He pulls into the Texaco parking lot .<\/scene_description>\n    <character>CLAREMONT<\/character>\n    <dialogue>I'm pulling up right now. Evacuate the fucking van! Plans have changed!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TEXACO STATION -- NEXT<\/stage_direction>\n    <scene_description>The FIRST LADIES emerge from the back of the van and jumps into the black Chevy . Claremont slams on the gas . peeling out of the parking lot .<\/scene_description>\n    <character>CLAREMONT<\/character>\n    <dialogue>You motherfuckin' Tino. You fucked us so bad.<\/dialogue>\n    <character>LATEESHA<\/character>\n    <dialogue>I fucked up. You ca n't help your greedy black lying ass from trying to get everything. All you've done is put a death sentence on Meeka.<\/dialogue>\n    <scene_description>Claremont puts the phone up to his ear .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL ROOM -- [FLASH FORWARD] NEXT<\/stage_direction>\n    <scene_description>Ed and Choco are sitting on separate beds . staring at the smashed television with a blank expression . Ed turns to face him .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Promise me. you wo n't ever tell Domino.<\/dialogue>\n    <character>CHOCO<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Promise me. you wo n't tell her. that I never fucked Pat Benatar.<\/dialogue>\n    <scene_description>Choco sighs .<\/scene_description>\n    <character>CHOCO<\/character>\n    <dialogue>I promise.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL ROOM -- [FLASH FORWARD] NEXT<\/stage_direction>\n    <scene_description>Domino paces around the room anxiously . phone rings .<\/scene_description>\n    <character>CLAREMONT<\/character>\n    <parenthetical>( PHONE . )<\/parenthetical>\n    <dialogue>The FBI was breathing down Lateesha's neck. and she assumed that they were onto our scam. So she set up some college kids to take the fall for the heist. They have been under FBI surveillance for the past 6 months.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHEVY SUBURBAN<\/stage_direction>\n    <scene_description>Claremont drives like a maniac .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( PHONE . )<\/parenthetical>\n    <dialogue>What happened to them?<\/dialogue>\n    <character>CLAREMONT<\/character>\n    <dialogue>I do n't know. They might be dead already.<\/dialogue>\n    <scene_description>SMASH CUT TO : The QUARTER descends from Michelangelo 's heavenly glow .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL ROOM -- NEXT<\/stage_direction>\n    <scene_description>Domino sits down on the floor . devastated . Her sense of guilt and responsibility . fear and betrayal . all molded into one .<\/scene_description>\n    <character>CLAREMONT<\/character>\n    <parenthetical>( PHONE . )<\/parenthetical>\n    <dialogue>There's something else you should know, Domino. Those college kids. were mafia kids. Cigliuti's kids.<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>Jesus Christ! Anthony Cigliuti?! You set me up to deliver the children of a mafia crime boss to be executed? Do you know how fucked we are?!<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You've started a war, Claremont! And you've killed four innocent people!<\/dialogue>\n    <scene_description>Silence on the other end of the line .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What are we supposed to do now?<\/dialogue>\n    <character>CELES<\/character>\n    <parenthetical>( PHONE . )<\/parenthetical>\n    <dialogue>Follow my instructions. and we all walk away from this clean.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BONNIE SPRINGS MOTEL -- CORRIDOR -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Domino emerges into the CORRIDOR with her BACKPACK in tow . She moves swiftly toward the elevators .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Claremont laid it all out on the table. His plan was to ask for a $ 300,000 finders fee to recover the ten million he'd stolen. The whole thing became a huge cluster fuck when Lateesha tried to pin it on the Cigliuti kids.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BONNIE SPRINGS MOTEL -- LOUNGE -- NEXT<\/stage_direction>\n    <scene_description>Weiss is singing KARAOKE with Kimmie in the lounge . The song is `` MANIC SUPERSTAR '' by Sandra Bernhardt . They are completely wasted . Alf watches from the bar . clapping .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Now our only chance for survival was to stay on course and retrieve the money.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>First priority was cut loose the television crew and sabotage the footage. We could n't leave any evidence behind.<\/dialogue>\n    <scene_description>Domino approaches . grabbing Alf by the arm .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>WE HAVE TO GO! NOW!<\/dialogue>\n    <parenthetical>( beat : V.O . )<\/parenthetical>\n    <dialogue>I knew in my heart of hearts we should have stopped when my goldfish died. It was a sign from a higher power.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BONNIE SPRINGS MOTEL -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Domino and her crew rush toward the Winnebagos .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>Grab that fucking footage. Every tape you see.<\/dialogue>\n    <scene_description>Alf moves toward the Crew Winnebago .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREW WINNEBAGO -- NEXT<\/stage_direction>\n    <scene_description>Alf KICKS DOWN THE DOOR into the Crew Winnebago . He looks around frantically for the TAPES . There are BOXES everywhere . He begins to tear through them . MAKE - UP . CRAFT SERVICE . SCRIPTS . NO TAPES .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAST WINNEBAGO -- NEXT<\/stage_direction>\n    <scene_description>Domino , Choco and Ed burst into the Cast Winnebago .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>We have to find a man named Locus Fender. He knows where the money is hidden. If we return Bishop's money we might be in the clear.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREW WINNEBAGO -- NEXT<\/stage_direction>\n    <scene_description>Alf is tearing the Winnebago apart . He arrives at one BOX . it is filled with a DOZEN TAPES . TOO MANY TO CARRY . He hears HONKING outside .<\/scene_description>\n    <character>ALF<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <scene_description>Alf rifles through his back and pulls out an AMATEUR BOMB that he has made . He LIGHTS the fuse and drops it onto the carpet of the winnebago .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAST WINNEBAGO -- NEXT<\/stage_direction>\n    <scene_description>Choco is pounding on the HORN . Domino sits shotgun .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>COME ON, ALF!<\/dialogue>\n    <scene_description>Alf comes into the Cast Winnebago empty - handed .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Where are the tapes?<\/dialogue>\n    <character>ALF<\/character>\n    <dialogue>They go boom!<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>BOOM? WHAT DO YOU MEAN?<\/dialogue>\n    <scene_description>Alf steps on the gas .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BONNIE SPRINGS MOTEL -- NEXT<\/stage_direction>\n    <scene_description>The Cast Winnebago peels out of the parking lot . Just then . THE CREW WINNEBAGO EXPLODES .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VEGAS SECURITY LOCKDOWN -- NIGHT<\/stage_direction>\n    <scene_description>Taryn stares at Domino .<\/scene_description>\n    <character>TARYN<\/character>\n    <dialogue>We know that the Afghani burned the Winnebago because of the tapes.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>But there were duplicate tapes in Mr. Weiss's room. We know everything, Domino. Come clean now. and you can save yourself from going to jail.<\/dialogue>\n    <scene_description>Domino takes a pull from her Marlboro .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The bitch was bluffing. There were no dupe tapes. If there were. they'd have shown them to me by now.<\/dialogue>\n    <character>DOMINO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Show me the tapes. I want to see them.<\/dialogue>\n    <character>TARYN<\/character>\n    <dialogue>Not yet.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAST WINNEBAGO -- NEXT<\/stage_direction>\n    <scene_description>Alf pulls onto the 15 FREEWAY .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>Take us to Vegas.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BONNIE SPRINGS MOTEL -- LATER ON<\/stage_direction>\n    <scene_description>The HOTEL is being evacuated . POLICE OFFICERS and FIREMEN move onlookers away from the fire . Weiss watches in horror with Kimmie at his side .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAS VEGAS STRIP -- NIGHT<\/stage_direction>\n    <scene_description>HELICOPTER SHOT : The CAMERA sweeps across the VEGAS STRIP .<\/scene_description>\n    <character>CLAREMONT<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>If Locus Fender has money in his pocket. you'll find him at Olympic Gardens.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLYMPIC GARDENS -- NEXT<\/stage_direction>\n    <scene_description>The CAMERA TRACKS through a large strip club called OLYMPIC GARDENS . arriving at Locus Fender as he sits next to the STAGE . He is HAMMERED . dropping $ 100 BILLS like they were singles . A STRIPPER approaches him . It is Lashandra .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Lashandra and Lashindra were one step ahead of us. orchestrating Claremont's plan.<\/dialogue>\n    <character>LASHANDRA<\/character>\n    <dialogue>Would you like a lapdance? Tonight we have a two for one deal for these luscious tits.<\/dialogue>\n    <scene_description>Locus smiles up at her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLYMPIC GARDENS -- PRIVATE ROOM -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Lashandra leads Locus into the private LAPDANCE ROOM . Domino and her crew are waiting there . Choco grabs him and slams him against the wall . Domino slaps on the handcuffs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLYMPIC GARDENS -- NEXT<\/stage_direction>\n    <scene_description>Domino and Ed follow Choco and Locus through the club . She notices Ziering and Green sitting at the BAR . Ed grabs Domino by the arm and points over at them .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>We need hostages. Celebrity hostages. Just in case this gets ugly.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEVADA DESERT -- LATER ON<\/stage_direction>\n    <scene_description>The Cast Winnebago drives through the desert .<\/scene_description>\n    <character>CLAREMONT<\/character>\n    <parenthetical>( PHONE . )<\/parenthetical>\n    <dialogue>The combination code is tattooed on his right arm. You'll never get inside Edna Fender's safe without the code - breaker on that arm.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAST WINNEBAGO -- NEXT<\/stage_direction>\n    <scene_description>Domino rides shotgun with her CELL PHONE to her ear .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>You're breaking up. I ca n't hear you.<\/dialogue>\n    <character>CLAREMONT<\/character>\n    <parenthetical>( PHONE . )<\/parenthetical>\n    <dialogue>Remove.<\/dialogue>\n    <parenthetical>( STATIC . )<\/parenthetical>\n    <dialogue>. the. right arm.<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>What!?<\/dialogue>\n    <scene_description>The phone disconnects . Ed leans in from the back .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>What did he say about the arm?<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>He said. take his right arm.<\/dialogue>\n    <scene_description>Ed looks over at Choco with an expression that says . DO IT . Choco nods his head . then moves toward the back area with his SAWED - OFF SHOTGUN and disappears behind the curtain .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAST WINNEBAGO -- BACK BED AREA -- NEXT<\/stage_direction>\n    <scene_description>In the BACK BED AREA . Locus is sitting next to Ziering and Green . who are both HANDCUFFED watching ` SPUN ' on TV . Locus has DUCT TAPE over his mouth . Choco pushes LOCUS up against the wall with his foot . cocking the SHOTGUN .<\/scene_description>\n    <character>ZIERING<\/character>\n    <dialogue>What the fuck is this?<\/dialogue>\n    <scene_description>Choco raises his shotgun and places it against Locus 's shoulder .<\/scene_description>\n    <character>LOCUS<\/character>\n    <dialogue>PLEASE! NO!<\/dialogue>\n    <scene_description>Choco pulls the trigger . BLOOD EXPLODES ACROSS THE WALL . ALL OVER ZIERING AND GREEN .<\/scene_description>\n    <character>GREEN<\/character>\n    <dialogue>OH FUCK! HOLY FUCK!<\/dialogue>\n    <scene_description>Choco fires off another round .<\/scene_description>\n    <character>ZIERING<\/character>\n    <dialogue>OH MY FUCKING GOD!<\/dialogue>\n    <scene_description>HE THEN RETRIEVES THE ARM . NOW SEVERED FROM LOCUS ' BODY . Choco throws a roll of DUCT TAPE to Ziering . unlocking his handcuffs .<\/scene_description>\n    <character>CHOCO<\/character>\n    <parenthetical>( IN SPANISH WITH SUBTITLES . )<\/parenthetical>\n    <dialogue>Cauterize the wound.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FENDER COMPOUND -- NEXT<\/stage_direction>\n    <scene_description>The Winnebago drives out toward the FENDER COMPOUND . SMOKE BILLOWS from the METAL BARRELS in the distance .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FENDER COMPOUND -- NEXT<\/stage_direction>\n    <scene_description>The DOOR is KICKED DOWN . Ed and Choco step through . followed by Domino .<\/scene_description>\n    <character>TARYN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>So now. we're back to where we started.<\/dialogue>\n    <scene_description>Domino walks through the family room . The Manchurian Candidate can be heard playing on the Mitsubishi widescreen . She notices the LA - Z - BOY in the corner of the room . It is gently rocking back and forth .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Yes. we sure are.<\/dialogue>\n    <scene_description>A low growling noise can be heard from the kitchen .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>EDNA! WE KNOW YOU'RE IN HERE!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FENDER COMPOUND -- SAFE ROOM -- NEXT<\/stage_direction>\n    <scene_description>The DOOR to the SAFE ROOM opens . The TWO DUFFEL BAGS are sitting on the cement floor .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>We found the money in the safe. It was all there.<\/dialogue>\n    <scene_description>Domino stares at them for a silent moment .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FENDER COMPOUND -- FAMILY ROOM -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Domino and Choco arrive with the duffel bags .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>Let's roll.<\/dialogue>\n    <scene_description>Ed turns to Edna .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Make us a pot of coffee, Edna.<\/dialogue>\n    <parenthetical>( back to Domino . )<\/parenthetical>\n    <dialogue>It's gon na be a long night.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FENDER COMPOUND -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Edna stands next to her MAIMED SON near the burning barrels as they watch the Winnebago drive off into the desert . Locus is sobbing . latching onto his mother 's sweater .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Turned out Edna. had one last trick up her sleeve.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FENDER COMPOUND -- KITCHEN -- [FLASHBACK] TEN MINUTES AGO<\/stage_direction>\n    <scene_description>Edna is in the kitchen . pouring coffee grounds into the COFFEE MAKER . She casually retrieves a small CONTAINER OF POWDER from a DRAWER and drops several spoonfuls into the coffee grounds .<\/scene_description>\n    <character>EDNA<\/character>\n    <dialogue>Cock - fuckers are gon na pay.<\/dialogue>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Mescaline.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAST WINNEBAGO -- NIGHT<\/stage_direction>\n    <scene_description>Domino and the others are all drinking coffee . Alf stares out through the windshield at the GLOW of Vegas in the distance .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>With each passing second. reality eclipsed into the asphalt horizon. Soon the mescaline was pulsing through our veins.<\/dialogue>\n    <scene_description>Alf slowly lowers his foot onto the ACCELERATOR . The Winnebago is now going 80 MPH . Alf is SWEATING PROFUSELY . In the back . Choco stares at Domino with PSYCHOTIC LOVE .<\/scene_description>\n    <character>CHOCO<\/character>\n    <parenthetical>( IN SPANISH WITH SUBTITLES . )<\/parenthetical>\n    <dialogue>You are the Angel of fire. You burn the brightest.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I want to fuck you in the ass.<\/dialogue>\n    <scene_description>Ed is FLEXING his hands back and forth .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Fuck. Fuck. Fuck. Fuck.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I GOT FUCKING VISUALS HERE!<\/dialogue>\n    <scene_description>Domino begins to figure it out .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>The bitch dosed the coffee.<\/dialogue>\n    <scene_description>IN THE FRONT . Alf is now doing 100 MPH . The entire Winnebago has begun to shake . THROUGH THE WINDSHIELD . the HIGHWAY begins to twist and turn like a CARTOON CEMENT RACETRACK imbedded into ROCK FACE WALLS OF SAND . ALF steers the Winnebago to follow the ROAD TO ARMAGEDDON unfolding in his brain . Standing in the middle of the road is ALF . the SITCOM ALIEN . He is pumped up like STALLONE . holding a FUTURISTIC MACHINE GUN .<\/scene_description>\n    <character>ALF<\/character>\n    <dialogue>HOLD ON! WE GO FOR A RIDE!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY -- NEXT<\/stage_direction>\n    <scene_description>The Winnebago SWERVES off the highway into the desert . CAREENING BACK AND FORTH .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAST WINNEBAGO -- NEXT<\/stage_direction>\n    <scene_description>Domino and the others are thrown violently across the Winnebago .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>ALF! STOP THE CAR!<\/dialogue>\n    <character>ALF<\/character>\n    <parenthetical>( Arabic . )<\/parenthetical>\n    <dialogue>SHEKARALLAH! MALAAKAALLAAHHHH!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEVADA DESERT -- NEXT<\/stage_direction>\n    <scene_description>THE WINNEBAGO TURNS VIOLENTLY TO THE LEFT . TEARING THROUGH DESERT SAND AND PLANTS . FLIPPING OVER AT MORE THAN 100MPH .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAST WINNEBAGO -- NEXT<\/stage_direction>\n    <scene_description>Domino . Choco . Ed . Ziering . Green . TUMBLE THROUGHOUT THE CAB . SMASHING INTO EVERYTHING . A TORNADO OF DESTRUCTION . GOLDFISH TWIST IN THE AIR . GLASS SHATTERS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEVADA DESERT -- NEXT<\/stage_direction>\n    <scene_description>THE GIGANTIC VEHICLE ROLLS OVER A DOZEN TIMES BEFORE SLIDING INTO A SAND RAVINE . Smoke drifts from the wreckage .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VEGAS SECURITY LOCKDOWN -- NIGHT<\/stage_direction>\n    <scene_description>Taryn retrieves a form .<\/scene_description>\n    <character>TARYN<\/character>\n    <dialogue>Your blood test confirms that there is mescaline in your blood. But then that's nothing new. You have a history of drug use, do n't you?<\/dialogue>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Now the bitch was getting personal.<\/dialogue>\n    <character>TARYN<\/character>\n    <dialogue>That's the only way you can cope with the route your life has taken. The fact that you made the choice to pursue this life - style. much to the chagrin of your mother. who is so clearly ashamed of you.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Imagine her shame when we cart you off to prison because you wo n't just tell the truth about what really happened.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEVADA DESERT -- DAY FOR NIGHT [MESCALINE TRIP]<\/stage_direction>\n    <scene_description>The CAMERA SLOWLY APPROACHES the side of the wrecked RV . The BLANK VISAGES of DANCING WOMEN IN BIKINIS stare up at the stars with airbrushed eyes . DEBRIS is scattered about the desert . Domino 's GOLDFISH do their dance of DEATH on the sandy floor . The SIDE DOOR to the Winnebago SLAMS OPEN . it 's Domino . She is bruised and battered . She is TRIPPING OUT OF HER MIND . IMAGES CASCADE over one another under a PURPLE SKY . She staggers into the desert , trying to find the others but there is no one around . She is all alone . By her feet , a SHIMMERING ORANGE LIGHT in the sand catches her eye . It 's her GOLDFISH , dancing its dance of death in the sand . She tries to save it but it 's too late . Domino begins to tremble . the eight - year - old inside emerges . she drops to her knees and weeps . In her moment of need , an ANGEL appears . FLOATING it seems over the desert touching nothing , not even the sand . The Angel kneels beside her .<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Everything is going to be alright.<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>I do n't want to be alone.<\/dialogue>\n    <scene_description>Domino catches a glimpse of Ziering and Green . wandering out into the sand . vomiting . It 's not until the Angel envelops her with his arms and lifts her from the sand that his face becomes clear . It is Choco .<\/scene_description>\n    <character>CHOCO<\/character>\n    <dialogue>You are not alone.<\/dialogue>\n    <scene_description>As TIME AND SPACE shift and change all around , they hold on to one another for dear life . From this embrace , they begin to kiss . undressing one another . They begin to have CRAZY SEX .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEVADA DESERT -- DAWN<\/stage_direction>\n    <scene_description>Domino is being cradled by Choco . He is pouring BOTTLED WATER over her head . Stroking her hair gently . The WIND whistles through the early morning light .<\/scene_description>\n    <character>CHOCO<\/character>\n    <dialogue>You are cleansed.<\/dialogue>\n    <scene_description>Domino 's eyes flutter open . This is the first time Choco has spoken English to Domino . Alf and Ed are standing there . bloody and bruised .<\/scene_description>\n    <character>CHOCO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>She's awake.<\/dialogue>\n    <scene_description>The Winnebago lays turned over in the sand . Ziering and Green lean up against it . Green has an ICE PACK on his head . ziering is bleeding from several outs .<\/scene_description>\n    <character>ZIERING<\/character>\n    <dialogue>Someone's coming!<\/dialogue>\n    <scene_description>Ziering points WEST . A RED FORD PICKUP TRUCK approaches on a TINY DESERT SIDE ROAD . The Red Truck stops . and an old INDIAN MAN , the WANDERER -LRB- 70s -RRB- , steps out . The Wanderer slowly approaches the group . Domino is standing there with Ed , Choco and Alf . He stares at them for a long moment . studying them .<\/scene_description>\n    <character>WANDERER<\/character>\n    <dialogue>If you do not return this money, you will all die.<\/dialogue>\n    <parenthetical>( pointing to Domino . )<\/parenthetical>\n    <dialogue>You are the angel of fire. You burn bright enough to know that sometimes certain sacrifices must be made.<\/dialogue>\n    <scene_description>Domino just stares out at the vast expanse of desert earth . The Wanderer 's voice echoes through her head .<\/scene_description>\n    <character>WANDERER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>A great puzzle has formed. Within the puzzle. there is a child. A sick child. She will grow up to be great world leader some day.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Do you know what child I speak of?<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>WANDERER<\/character>\n    <dialogue>Your destiny is this : You must be willing to offer your lives in exchange for the life of this child.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Only then will you truly be cleansed in the eyes of God.<\/dialogue>\n    <character>CHOCO<\/character>\n    <dialogue>Will we survive this sacrifice?<\/dialogue>\n    <character>WANDERER<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Only one of you will survive.<\/dialogue>\n    <scene_description>Choco stares at the others . his fingers intertwined with Domino 's .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Which one of us?<\/dialogue>\n    <character>WANDERER<\/character>\n    <dialogue>That I do not know.<\/dialogue>\n    <scene_description>Domino retrieves the S ! LVER DOLLAR from her pocket . she looks at the others . then back at the Wanderer .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>Take us to Vegas.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT ROAD -- DAY<\/stage_direction>\n    <scene_description>The crew rides in the back of the Wanderer 's truck toward Vegas .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VEGAS SECURITY LOCKDOWN -- NIGHT<\/stage_direction>\n    <scene_description>Domino stares at Taryn as she returns to the table .<\/scene_description>\n    <character>TARYN<\/character>\n    <dialogue>This is your last chance. Tell us everything you know.<\/dialogue>\n    <scene_description>Domino lights a cigarette . Her strength has returned .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>Do you want know the real reason why I became a bounty hunter?<\/dialogue>\n    <character>TARYN<\/character>\n    <dialogue>No. Please enlighten me.<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>I became a bounty hunter because of cunts like you.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I remember all the cunts in high school who were mean to me. Eventually. they all grew up to be just like you. Angry and bitter because they peaked early. and now they're stuck in some dead end marriage. or worse yet. an unfulfilling job that keeps them from meeting a man.<\/dialogue>\n    <scene_description>Domino stares her up and down . taking a drag from her Marlboro .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>But that's not the case with you, is it Taryn? Because I bet when you go to sleep alone tonight. it's my pussy you'll be dreaming of.<\/dialogue>\n    <scene_description>Taryn looks legitimately turned on . but she 's too tough to lose track .<\/scene_description>\n    <character>TARYN<\/character>\n    <dialogue>We discovered the bodies early this morning.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEVADA DESERT -- MORNING<\/stage_direction>\n    <scene_description>Taryn , Cosgrove and Espinoza emerge from a pair of SUBURBANS at a LARGE TENT erected in the desert . There are PRESS HELICOPTERS circling above .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The FBI was lying. The guys we nabbed were n't dead after all.<\/dialogue>\n    <scene_description>SMASH CUT TO CLOUDS : The SILVER DOLLAR descends . A GOON with a SHOVEL sighs in frustration .<\/scene_description>\n    <character>GOON #1<\/character>\n    <dialogue>Fuck'em. they do n't know.<\/dialogue>\n    <scene_description>The IMAGINARY BULLETS REWIND from the bodies of FRANCES , CHUCKlE , CARL and LESTER .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TENT -- NEXT<\/stage_direction>\n    <scene_description>Frances , Chuckie , Carl and Lester are BURIED UP TO THEIR NECKS in the sand . They are sunburned and pissed off . FBI AGENTS are grilling them , trying to get information out of them . Cosgrove and Espinoza are overseeing the whole scene .<\/scene_description>\n    <character>COSGROVE<\/character>\n    <dialogue>This could work in our favor. Let Cigliuti think that his kids are dead.<\/dialogue>\n    <character>ESPINOZA<\/character>\n    <dialogue>And then we can flush out Bishop and Cigliuti in the money exchange. Fucking take down of the century.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CIGLIUTI COMPOUND -- SWIMMING POOL -- NEXT<\/stage_direction>\n    <scene_description>Several MOBSTERS tread underneath the surface of the swimming pool at the CIGLIUTI COMPOUND . They have the YELLOW JAPANESE PHONES connecting their ears to mouthpieces .<\/scene_description>\n    <character>MOBSTER<\/character>\n    <parenthetical>( PHONE . )<\/parenthetical>\n    <dialogue>The FBI is out there right now excavating the bodies. Bishop whacked Frances and Chuckie.<\/dialogue>\n    <scene_description>BY THE POOL . Anthony Cigliuti sits at a TABLE next to his SOBBING WIFE . His eyes are filled with rage and sorrow . He turns to one of the other MOBSTERS . approaching from the pool with a TOWEL around his waist .<\/scene_description>\n    <character>MOBSTER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What's our option?<\/dialogue>\n    <scene_description>The RAGE is building .<\/scene_description>\n    <character>CIGLIUTI<\/character>\n    <dialogue>Kill'em. Kill'em all.<\/dialogue>\n    <scene_description>The CAMERA MOVES in toward a FLOWER POT on the table .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI JET -- NEXT<\/stage_direction>\n    <scene_description>Several FBI AGENTS are listening from the JET as it flies over Vegas .<\/scene_description>\n    <character>CIGLIUTI<\/character>\n    <parenthetical>( PHONE . )<\/parenthetical>\n    <dialogue>Kill'em. Kill'em all.<\/dialogue>\n    <character>MOBSTER<\/character>\n    <parenthetical>( PHONE . )<\/parenthetical>\n    <dialogue>When?<\/dialogue>\n    <character>CIGLIUTI<\/character>\n    <parenthetical>( PHONE . )<\/parenthetical>\n    <dialogue>Tonight. Get it done tonight.<\/dialogue>\n    <scene_description>FBI AGENT # 1 reaches for a PHONE .<\/scene_description>\n    <character>FBI AGENT #1<\/character>\n    <dialogue>Cigliuti just ordered a hit on Drake Bishop. It's going to happen tonight.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEVADA DESERT -- NEXT<\/stage_direction>\n    <scene_description>Taryn , Cosgrove and Espinoza rush toward their SUBURBANS . SCREAMING into their phones .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TENT -- NEXT<\/stage_direction>\n    <scene_description>Frances , Chuckie , Carl and Lester are finally being excavated from their graves by the FBI . They CRY in relief . chugging BOTTLED WATER under the MASSIVE TENT .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAS VEGAS STRIP -- SUNSET<\/stage_direction>\n    <scene_description>HELICOPTER SHOT : The CAMERA soars across the strip at SUNSET . approaching the CIRCUS CIRCUS HOTEL\/CASINO .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CIRCUS CIRCUS -- LOBBY -- NEXT<\/stage_direction>\n    <scene_description>Ziering and Green walk through the SHIT LOBBY of the CIRCUS CIRCUS . following Domino , Ed , Choco and Alf . All of them still look like hell . reeling from the mescaline .<\/scene_description>\n    <character>ZIERING<\/character>\n    <dialogue>We did n't sign on for this shit.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Fuck! This shit is intense. I need to call my agent.<\/dialogue>\n    <character>GREEN<\/character>\n    <dialogue>Just shut up and do what they say. They're gon na kill us if we do n't, Ian.<\/dialogue>\n    <scene_description>Domino turns back to Ziering and Green .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>I need you to book us a luxury suite. Put it on your credit card.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CIRCUS CIRCUS -- CASINO BAR -- NEXT<\/stage_direction>\n    <scene_description>Claremont sits in the casino bar . He watches Ziering and Ed walk past toward the elevators . Claremont dials a number on his phone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRATOSPHERE -- ROOF RESTAURANT -- NEXT<\/stage_direction>\n    <scene_description>Drake Bishop and Burke Beckett are in the empty TOP OF THE WORLD restaurant in the STRATOSPHERE . surrounded by various GOONS . HUGE WINDOWS over look the entire city . The TELEPHONE rings . Bishop picks up .<\/scene_description>\n    <character>BISHOP<\/character>\n    <dialogue>This is Bishop.<\/dialogue>\n    <character>CLAREMONT<\/character>\n    <parenthetical>( PHONE . )<\/parenthetical>\n    <dialogue>The Bounty Hunters have arrived. They will drop off the money in exactly one hour.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Where do you want to meet?<\/dialogue>\n    <character>BISHOP<\/character>\n    <dialogue>Top of the World at the Stratosphere. It's completely secure.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI JET -- NEXT<\/stage_direction>\n    <scene_description>Cosgrove and Espinoza listen to this conversation .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CIGLIUTI COMPOUND -- NEXT<\/stage_direction>\n    <scene_description>Cigliuti sits in the KITCHEN with various MOBSTER relatives . Someone hands him a phone .<\/scene_description>\n    <character>CIGLIUTI<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>COSGROVE<\/character>\n    <parenthetical>( PHONE . )<\/parenthetical>\n    <dialogue>The money exchange with Drake Bishop will occur on the top floor suite of the Stratosphere at exactly midnight.<\/dialogue>\n    <scene_description>The phone disconnects . Cigliuti turns to the other mobsters .<\/scene_description>\n    <character>CIGLIUTI<\/character>\n    <dialogue>We have ourselves a Negro Deep Throat.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI JET -- NEXT<\/stage_direction>\n    <scene_description>Cosgrove turns to Espinoza .<\/scene_description>\n    <character>COSGROVE<\/character>\n    <dialogue>DID I SOUND TOUGH ENOUGH?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CIRCUS CIRCUS -- LUXURY SUITE -- LATER ON<\/stage_direction>\n    <scene_description>Choco , Ed , Ziering and Green are all freshly showered . pacing around the shitty luxury suite . tripping hard . Domino stares out at the city . the mescaline still pulsing through her veins .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CIRCUS CIRCUS -- SUITE BATHROOM -- NEXT<\/stage_direction>\n    <scene_description>Alf is in the bathroom staring at hL ~ self in the mirror . He has a cup of Edna 's MESCALINE COFFEE sitting on the counter . He takes an EYE DROPPER and dips it into his coffee . then dangles the dropper over his EYEBALL .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CIRCUS CIRCUS -- LUXURY SUITE -- NEXT<\/stage_direction>\n    <scene_description>There is a KNOCK at the door . Domino peers through the PEEPHOLE . LATEESHA and her crew are there . Domino opens the door .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>Lateesha.<\/dialogue>\n    <character>LATEESHA<\/character>\n    <dialogue>Domino.<\/dialogue>\n    <scene_description>Lashandra , Lashindra and Raoul enter the hotel room .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>What the hell have you gotten us into?<\/dialogue>\n    <character>LATEESHA<\/character>\n    <dialogue>Claremont negotiated a finder's fee of $ 300,000. All we want is that money off the top.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Fuck that! You set us up!<\/dialogue>\n    <character>LATEESHA<\/character>\n    <dialogue>I had to throw the FBI a bone or they was gon na nail me to the wall. I do n't know how this happened. If I could take it all back I would.<\/dialogue>\n    <scene_description>Domino paces around the suite anxiously .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>They're gon na kill us unless we deliver all of the money.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Why should I help you?<\/dialogue>\n    <scene_description>Tears begin to flow from Lateesha 's eyes . She wipes them . turbo nails trembling .<\/scene_description>\n    <character>LASHANDRA<\/character>\n    <dialogue>Meeka's white blood cell count is dropping fast.<\/dialogue>\n    <character>LASHINDRA<\/character>\n    <dialogue>Real fast.<\/dialogue>\n    <scene_description>Domino stares at Lateesha . beginning to understand . She clutches the SILVER DOLLAR in her grip .<\/scene_description>\n    <character>LATEESHA<\/character>\n    <dialogue>$ 300,000. We need to collect that fee. right now. It will pay for the entire operation.<\/dialogue>\n    <scene_description>Domino closes her eyes . turning to the others . looking for permission to grant Lateesha 's request . Ed nods his head slowly in a Mescaline haze . Choco follows his lead .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Domino knocks on the bathroom door . again and again . We hear Alf muttering into his phone .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>ALF! WHAT THE FUCK ARE YOU DOING IN THERE!?<\/dialogue>\n    <scene_description>The bathroom door explodes open 1\/2 inch . An AMPHETAMINE EYEBALL fills the gap .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Cut the drama and pullout 300K from one of the bags.<\/dialogue>\n    <scene_description>Alf begins to shove money through the crack in the door in sizable increments . He then slams the door .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>THANKS, A - HOLE!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CIRCUS CIRCUS -- LUXURY SUITE -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Lateesha places the duffel bag over her shoulder . turning back to Domino at the door .<\/scene_description>\n    <character>LATEESHA<\/character>\n    <dialogue>I love you, Domino.<\/dialogue>\n    <scene_description>Lateesha embraces Domino .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>Do n't blow it.<\/dialogue>\n    <scene_description>Lateesha waves at them and moves out the door with her crew . closing the door behind her . Domino turns back to her FAMILY .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>We are so fucked.<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>Then so be it. If you believe what that Indian said we were fucked either way.<\/dialogue>\n    <scene_description>She flips the SILVER DOLLAR through her fingers . The TELEPHONE rings . Ed answers it .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>CLAREMONT<\/character>\n    <parenthetical>( PHONE . )<\/parenthetical>\n    <dialogue>The money exchange will take place at Top of the World at the Stratosphere. Get there at exactly midnight.<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>CLAREMONT<\/character>\n    <parenthetical>( PHONE . )<\/parenthetical>\n    <dialogue>I wo n't forget this, Domino. I'm sorry it turned out like this.<\/dialogue>\n    <scene_description>Ed snatches the phone from her .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Tell your friends that we have celebrity hostages. So no more funny stuff, Claremont! You ca n't bury a celebrity body in the desert without some motherfucker from E! Entertainment television sniffing down the case.<\/dialogue>\n    <scene_description>Ziering and Green 's faces are white with terror .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAS VEGAS AIRSTRIP -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Cosgrove and Espinoza run across an AIRSTRIP where an FBI HELICOPTER is waiting .<\/scene_description>\n    <character>COSGROVE<\/character>\n    <dialogue>LET'S GO! LET'S GO!<\/dialogue>\n    <scene_description>Taryn watches them go .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CIRCUS CIRCUS -- VALET PARKING<\/stage_direction>\n    <scene_description>Ziering , Green and Alf struggle with the DUFFEL BAGS . getting them into the TRUNK of a CAB . Alf closes the trunk . He makes eye contact with the ARABIC DRIVER of the cab . Another CAB pulls up into the valet entrance . Another Arabic driver . Alf seems to know him . The driver throws him an Afghani salute . Domino comes out into the valet area with Ed and Choco .<\/scene_description>\n    <character>ALF<\/character>\n    <dialogue>You take that cab, we take this one.<\/dialogue>\n    <scene_description>Ed and Choco step into the cab with Ziering and Green . Domino rides with Alf .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STRATOSPHERE -- ENTRANCE -- LATER ON<\/stage_direction>\n    <scene_description>Domino and the rest of her crew approach the crowded entrance to the Stratosphere . There are FOUR GOONS waiting at the entrance among throngs of YOUNG PEOPLE . Alf unloads the FOUR LARGE CANVASS BAGS onto a luggage cart .<\/scene_description>\n    <character>GOON #1<\/character>\n    <dialogue>We need to frisk you.<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>No need to bother.<\/dialogue>\n    <scene_description>Domino nods to Ed and Choco . They both remove their GUNS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRATOSPHERE -- LOBBY -- NEXT<\/stage_direction>\n    <scene_description>The Goons lead them through the crowded casino . filled with young people . They approach the bank of ELEVATORS with the trolly and the bags . moving through a X - RAY SECURITY GATE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRATOSPHERE -- ELEVATOR -- NEXT<\/stage_direction>\n    <scene_description>They ride up to the top floor in SILENT DREAD . Alf begins to twitch from the mescaline . Ziering puts his hand on Green 's shoulder . His face is completely white with terror .<\/scene_description>\n    <character>ZIERING<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>You're my best friend, B.A.<\/dialogue>\n    <scene_description>Green nods his head slowly back at Ziering . Domino retrieves the SILVER DOLLAR from her pocket and begins to flip it between her fingers .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRATOSPHERE -- ROOF RESTAURANT -- NEXT<\/stage_direction>\n    <scene_description>The Goons lead them out of the elevator into the HALLWAY that leads to the TOP OF THE WORLD . Beckett is waiting there for them . Claremont is there too . Alf pushes the luggage cart .<\/scene_description>\n    <character>GOON #1<\/character>\n    <dialogue>They're clean.<\/dialogue>\n    <scene_description>Drake Bishop turns from the PICTURE WINDOWS that overlook the entire strip . He looks Domino up and down .<\/scene_description>\n    <character>BISHOP<\/character>\n    <dialogue>Welcome to the Top of the World. I thought privacy might be in order for the nature of the business that we're conducting.<\/dialogue>\n    <scene_description>Bishop glances at Alf . who is SWEATING PROFUSELY . then at Ziering and Green . He approaches the actors . sizing them up .<\/scene_description>\n    <character>BISHOP<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Where have I seen you two before?<\/dialogue>\n    <scene_description>Sweat pours down Ziering 's face .<\/scene_description>\n    <character>ZIERING<\/character>\n    <dialogue>We're. actors.<\/dialogue>\n    <character>BISHOP<\/character>\n    <dialogue>What the fuck are you doing here?<\/dialogue>\n    <character>GREEN<\/character>\n    <dialogue>We're celebrity hostages.<\/dialogue>\n    <scene_description>Ziering has now begun to cry .<\/scene_description>\n    <character>BISHOP<\/character>\n    <dialogue>Celebrity hostages.<\/dialogue>\n    <character>ZIERING<\/character>\n    <dialogue>They think you wo n't kill them if we're in the room. People do n't kill other people. when there are celebrities present.<\/dialogue>\n    <character>BISHOP<\/character>\n    <dialogue>I see.<\/dialogue>\n    <parenthetical>( chuckling . )<\/parenthetical>\n    <dialogue>We'll I better have you escorted downstairs then.<\/dialogue>\n    <scene_description>Bishop nods his head to two of the goons . They grab Ziering and Green and take them away . Green throws Domino a fleeting glance as he walks away . Bishop turns back to face Domino .<\/scene_description>\n    <character>BISHOP<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You're a bounty hunter?<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>Yes I am.<\/dialogue>\n    <scene_description>Bishop nods his head curiously .<\/scene_description>\n    <character>BISHOP<\/character>\n    <dialogue>Is it a dangerous profession?<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>Sometimes.<\/dialogue>\n    <character>BISHOP<\/character>\n    <dialogue>Can you be more specific?<\/dialogue>\n    <scene_description>Domino thinks for a moment .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>It can be dangerous when you do n't know what to expect from a situation.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>When you have no idea what could possibly happen next.<\/dialogue>\n    <scene_description>Bishop smiles at Domino .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRATOSPHERE -- ELEVATOR -- NEXT<\/stage_direction>\n    <scene_description>Ziering and Green ride down in the elevator with the Goons . They reach the BOTTOM FLOOR and the doors open . CIGLIUTI and more than a DOZEN MAFIA GUYS waiting there . They glare at Ziering and Green as they walk past . escaping into the night .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRATOSPHERE -- ROOF RESTAURANT -- NEXT<\/stage_direction>\n    <scene_description>Bishop looks down at the DUFFEL BAGS .<\/scene_description>\n    <character>BISHOP<\/character>\n    <dialogue>Gentlemen, check and see if our money is all there. then let these bounty hunters go.<\/dialogue>\n    <character>DOMINO<\/character>\n    <dialogue>There is ten million here. Minus the $ 300,000 finders fee you agreed to pay Claremont.<\/dialogue>\n    <scene_description>Alf fumbles for the keys to the locks on the bags . Bishop takes a puff from his cigar . assessing Domino once again .<\/scene_description>\n    <character>BISHOP<\/character>\n    <dialogue>Bold move, Ms. Harvey. I think I can give you this one.<\/dialogue>\n    <scene_description>The GOONS begin to unzip the DUFFEL BAGS . retrieving stack after stack of PORNO NEWSPAPERS . dropping them on the floor . GOON # 2 looks over at GOON # 1 bitterly .<\/scene_description>\n    <character>GOON #2<\/character>\n    <dialogue>It's nothing but a bunch of porno.<\/dialogue>\n    <character>GOON #1<\/character>\n    <dialogue>It's all porno.<\/dialogue>\n    <scene_description>Bishop tries to remain calm . Choco and Ed look at Domino in disbelief .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>What the fuck?<\/dialogue>\n    <scene_description>Bishop turns to Domino . who looks shocked and terrified . a young girl Once again .<\/scene_description>\n    <character>BISHOP<\/character>\n    <dialogue>Would you care to explain yourself?<\/dialogue>\n    <scene_description>Domino is frozen . Ed and Choco stare at one another in horror . Alf is sweating like a pig . eyes darting in every direction from the mescaline .<\/scene_description>\n    <character>BISHOP<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Ms. Harvey. what happened to my money?!<\/dialogue>\n    <scene_description>Domino seems lost in a trance . resigned to die . She clutches the SILVER DOLLAR . ALF STEPS FORWARD .<\/scene_description>\n    <character>ALF<\/character>\n    <dialogue>Your money is gone. It has been sent to help free Afghanistan. This is all that's left.<\/dialogue>\n    <parenthetical>( long beat . )<\/parenthetical>\n    <dialogue>It's called APATT.<\/dialogue>\n    <character>BISHOP<\/character>\n    <dialogue>APATT. What the fuck is APATT?<\/dialogue>\n    <scene_description>SMASH CUT TO : The ARABIC CAB DRIVER speeds away from Circus Circus .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRATOSPHERE HOTEL -- EMERGENCY STAIRS -- NEXT<\/stage_direction>\n    <scene_description>Cigliuti and his GOONS rush up the stairs . armed to the teeth .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRATOSPHERE -- ROOF RESTAURANT -- NEXT<\/stage_direction>\n    <scene_description>Domino closes her eyes . realizing what just transpired .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( resigned to die . )<\/parenthetical>\n    <dialogue>All porno. all the time.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>It's an epidemic.<\/dialogue>\n    <scene_description>One of the goons is rifling through the porno in the bag and comes out with a BLUE POWDER on his fingers . He then sniffs it .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Pervert.<\/dialogue>\n    <character>GOON #1<\/character>\n    <dialogue>It's. C - 4.<\/dialogue>\n    <scene_description>Suddenly . Alf removes a TELEVISION REMOTE from his pocket . A SMALL RED LIGHT flashes on one of the black canvass bags .<\/scene_description>\n    <character>ALF<\/character>\n    <dialogue>LET US GO! LET US GO. OR I BLOW THIS NEEDLE TO OUTER SPACE!<\/dialogue>\n    <scene_description>Before Bishop has a chance to respond . CIGLIUTI AND HIS MAFIA GOONS BUST INTO THE LUXURY SUITE . GUNS BLAZING .<\/scene_description>\n    <character>MAFIA GOON #1<\/character>\n    <dialogue>DROP YOUR WEAPONS!<\/dialogue>\n    <scene_description>The GOONS refuse to listen .<\/scene_description>\n    <character>GOON #1<\/character>\n    <dialogue>FUCK YOU!<\/dialogue>\n    <scene_description>SCREAMING MAYHEM ENSUES .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAS VEGAS STRIP -- NEXT<\/stage_direction>\n    <scene_description>The FBI HELICOPTER approaches the STRATOSPHERE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HELICOPTER -- NEXT<\/stage_direction>\n    <scene_description>Inside . Espinoza and Cosgrove direct the pilot toward the VEGAS SPACE NEEDLE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRATOSPHERE -- TOP FLOOR -- NEXT<\/stage_direction>\n    <scene_description>The SCREAMING MAYHEM dies down as everyone realizes that Alf is a REAL BOMB connected to his remote control detonator .<\/scene_description>\n    <character>ALF<\/character>\n    <dialogue>LET US GO OR WE ALL DIE!<\/dialogue>\n    <character>BISHOP<\/character>\n    <dialogue>You've got to be kidding me!<\/dialogue>\n    <scene_description>SLOW MOTION : The CAMERA slowly approaches Domino as she notices an ETHEREAL GLOW outside the windows of the space needle . IT IS THE FBI HELICOPTER . SHINING A MASSIVE SPOTLIGHT THROUGH THE WINDOWS . MAFIA GOONS BEGIN TO FIRE THEIR GUNS . BISHOP AND BECKETT ARE TORN APART LIKE RAG DOLLS . GOONS FALL BACK AGAINST EXPLODING FURNITURE . PORNO PAPERS EXPLODE LIKE CONFETTI . ALF GRABS DOMINO AND PULLS HER TOWARD THE ELEVATOR AT THE END OF THE HALLWAY . CHOCO AND ED FOLLOW . A BULLET STRIKES CHOCO IN THE ARM AS HE RUSHES FOR THE ELEVATOR . HE SPINS , DROPS TO THE FLOOR . ED , ALREADY WAITING IN THE ELEVATOR AND SCARED SHITLESS , ABANDONS HIS COVER AND PULLS CHOCO INSIDE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAS VEGAS STRIP -- NEXT<\/stage_direction>\n    <scene_description>THE FBI HELICOPTER SPINS AROUND IN RETREAT FROM THE HOTEL . A GOON FIRES OFF HIS AUTOMATIC WEAPON TOWARD THE CHOPPER .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HELICOPTER -- NEXT<\/stage_direction>\n    <scene_description>A BULLET HITS THE PILOT IN THE NECK . BLOOD EXPLODES . THE CHOPPER BEGINS TO SPIN OUT OF CONTROL . Espinoza and Cosgrove scream out .<\/scene_description>\n    <character>ESPINOZA<\/character>\n    <dialogue>FUCK!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRATOSPHERE ELEVATOR -- NEXT<\/stage_direction>\n    <scene_description>Alf shoves Domino into the elevator with Choco and Ed . Ed clamps down on Choco 's bleeding wound .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>We're gon na make it. All of us. That Indian was wrong!<\/dialogue>\n    <scene_description>This gets a smile out of Choco . Alf stands in the HALLWAY with the REMOTE CONTROL DETONATOR in his right hand . nodding his head .<\/scene_description>\n    <character>ALF<\/character>\n    <dialogue>I MAKE EVERYTHING OKAY!<\/dialogue>\n    <scene_description>AFGHANI STANDOFF - Alf stands in front of the elevator door , TV remote in hand , heavy firepower aimed at him . THE ELEVATOR DOORS CLOSE . SMASH CUT TO CLOUDS : The SILVER DOLLAR flips upward once again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRATOSPHERE -- TOP FLOOR -- NEXT<\/stage_direction>\n    <scene_description>Alf rushes toward the elevator with the remote detonator out . catching his arm in between the doors . The doors close on the remote . ALF REACHES OUT TO STOP THE DOORS FROM CLOSING . LODGING THE REMOTE CONTROL BETWEEN THE METAL DOORS . A RED LIGHT GOES ON .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAS VEGAS STRIP -- NEXT<\/stage_direction>\n    <scene_description>A HUGE FIREBALL EXPLODES OUT OF THE TOP OF THE STRATOSPHERE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRATOSPHERE -- ELEVATOR -- NEXT<\/stage_direction>\n    <scene_description>THE EXPLOSION ROCKS THE ELEVATOR . SEVERING THE WIRES THAT HOLD THE METAL CAGE IN PLACE . THEY BEGIN TO PLUMMET DOWN THE SHAFT . SLOW MOTION : DOMINO LOOKS ACROSS THE ELEVATOR AT ED AND CHOCO AS THEIR BODIES BECOME WEIGHTLESS . FLOATING THROUGH THE AIR IN A FREEFALL . THEY LOCK EYES .<\/scene_description>\n    <character>CHOCO<\/character>\n    <parenthetical>( screaming out . )<\/parenthetical>\n    <dialogue>I LOVE YOU, DOMINO.<\/dialogue>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I once vowed never to invest too much emotion into anyone, anything.<\/dialogue>\n    <scene_description>DOMINO GLANCES DOWN AT HER HAND AND SEES THE SILVER DOLLAR FLOAT UP INTO THE AIR .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>In our descent into hell together, I'm glad I made this one exception.<\/dialogue>\n    <scene_description>THE ROOF OF THE ELEVATOR IS NOW GONE . MICHELANGELO 'S HEAVEN GLOWS ABOVE DOMINO . AS HER QUARTER FLOATS UP AND OUT OF THE ELEVATOR INTO THE BLUE SKY ABOVE . THE ELEVATOR HURTLES DOWN TOWARD THE LOBBY AND HELL BENEATH IT . FLASH CUT : DOMINO -LRB- 8 -RRB- IN THE CATHEDRAL . LOOKING UP .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRATOSPHERE -- LOBBY -- NEXT<\/stage_direction>\n    <scene_description>As the ELEVATOR SMASHES DOWN ON IMPACT . the ELEVATOR WALL COLLAPSES into the lobby in a fury of SMOKE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAS VEGAS STRIP -- NEXT<\/stage_direction>\n    <scene_description>THE FBI HELICOPTER SPINS OUT of CONTROL . CRASHING INTO THE PARKING LOT OF CIRCUS CIRCUS . EXPLODING INTO A BALL OF FIRE . THE CAMERA FLOATS THROUGH THE CITY NIGHT . CATCHING A TORN PIECE OF PORNOGRAPHY . A WOMAN 'S NAKED BODY FLUTTERING AWAY AND INTO THE NIGHT . SILENCE .<\/scene_description>\n    <character>ROBOTIC FEMALE VOICE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Now serving F134. Please report to window eight.<\/dialogue>\n    <scene_description>The rumble of a HELICOPTER emerges from the darkness .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>When I was a little girl. my mum took me to Las Vegas. She told me that it was the most dangerous place on earth.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STRATOSPHERE -- TEETER TOTTER -- [FLASHBACK] NIGHT<\/stage_direction>\n    <scene_description>YEARS AGO . DOMINO and SOPHIE on the TEETER TOTTER RIDE mounted on top of the stratosphere . hanging above the abyss of desert lights . screaming with exhilaration .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAS VEGAS STRIP -- DAWN<\/stage_direction>\n    <scene_description>HELICOPTER SHOT : The CAMERA approaches the mayhem of carnage that was once the Stratosphere . There are AMBULANCES and FIRE TRUCKS everywhere .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>She told me that if you were n't careful. you could lose everything you'd ever earned in life in a split second.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You have to know when to cash out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VEGAS SECURITY LOCKDOWN -- NIGHT<\/stage_direction>\n    <scene_description>Domino Harvey sits on the metal table , alive and well , somewhat of a disheveled and bloody appearance . Taryn puts her hand to her EARPIECE . shaking her head in disgust as security comes in to escort Domino out .<\/scene_description>\n    <character>TARYN<\/character>\n    <parenthetical>( broken .<\/parenthetical>\n    <parenthetical>finally . )<\/parenthetical>\n    <dialogue>I suggest you retire. Ms. Harvey.<\/dialogue>\n    <scene_description>Domino turns back to Taryn as she leaves .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>Sweet dreams. Ms. Miles.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOPHIE THOMAS MANSION -- EARLY MORNING<\/stage_direction>\n    <scene_description>Domino swims underwater . emerging from the pool . Sophie is there . in her lounge chair . Her little dog asleep next to her .<\/scene_description>\n    <character>DOMINO<\/character>\n    <dialogue>I love you, mum.<\/dialogue>\n    <scene_description>Sophie smiles at her daughter .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Time to go shopping.<\/dialogue>\n    <scene_description>Sophie lowers her sunglasses . Finally . the words she has longed to hear from her daughter 's mouth .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>There are three kinds of people in the world. The rich.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AFGHANISTAN CAMP -- DAY<\/stage_direction>\n    <scene_description>A group of AFGHANI CHILDREN opens a HUGE FED - EX BOX . filled with CASH . They scream and yell . pulling out the money .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The poor.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UCLA MEDICAL CENTER -- SEVERAL DAYS LATER<\/stage_direction>\n    <scene_description>Lateesha , Kee Kee , Lashandra , Lashindra , Claremont and Raoul sit in the HOSPITAL WAITING ROOM . Kee Kee paces around nervously .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And everyone in between.<\/dialogue>\n    <scene_description>Claremont approaches . putting his hand on her shoulder .<\/scene_description>\n    <character>CLAREMONT<\/character>\n    <parenthetical>( gentle whisper . )<\/parenthetical>\n    <dialogue>We must learn to channel our horniness into extracurricular activities such as modern dance, Taichi, and erotic Chia art.<\/dialogue>\n    <character>KEE KEE<\/character>\n    <dialogue>What the fuck is erotic Chia art?<\/dialogue>\n    <scene_description>He hands her a CHIA - PET carved with GIGANTIC BREASTS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MRI MACHINE -- NEXT<\/stage_direction>\n    <scene_description>MEEKA lays on her back as she is slowly pulled back into the TUNNEL of an MRI MACHINE .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>If you're wondering what's true and what is n't. you can fuck off. because it's none of your Goddamn business. I'll never tell you what it all meant.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>All that matters is that my mission is complete. I saved her.<\/dialogue>\n    <scene_description>The FULL BODY X - RAY DEVICE scans over her entire body .<\/scene_description>\n    <character>DOMINO<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>And when she is older. a woman named Domino will tell her that there is only one conclusion to every story.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>We all fall down.<\/dialogue>\n    <scene_description>The baby smiles helplessly at the CAMERA .<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Domino Harvey, a bounty hunter, has been arrested by the FBI, investigating the theft of $10 million from an armored truck. She is interviewed by criminal psychologist Taryn Mills and tells her everything she knows about the case. Domino explains her profession and the events leading up to the theft with Mills occasionally prompting her to give more detail. Domino is a former model living in Los Angeles who becomes a bounty hunter when, after being kicked out of college, she notices a newspaper advertisement for a bounty hunter training seminar. Her colleagues are Ed Moseby, Choco and Afghan driver Alf. They are employed by Claremont Williams III, a bail bondsman who also runs an armored car business, and whose mistress, Lateesha Rodriguez, works for the California Department of Motor Vehicles. Lateesha's granddaughter Mica is suffering from a blood disease and needs an operation that costs $300,000. Claremont sets up the robbery of $10 million from Drake Bishop, the owner of the Stratosphere Hotel and Casino in Las Vegas and a client of Claremont. His bounty hunters would return the stolen money and collect a $300,000 finder's fee from Bishop. Lateesha has been running a counterfeit driver's license racket at the DMV. A teenager named Frances arrives at the DMV and asks Lateesha for fake licenses for himself, his brother, and two of their friends. The FBI are tipped about Lateesha's racket. They threaten to send her to jail unless she gives them information about Frances, whom they have been surveilling. Lateesha throws them off the trail by saying that Frances, his brother, and his two friends are going to commit the armored car robbery, when in reality she and Claremont are doing it themselves. Lateesha carries out the robbery with the help of three co-workers. Claremont finds that Frances and his brother are the sons of mafia boss Anthony Cigliutti. He phones Lateesha and tells her to abort the plan, leaving the money with getaway driver Locus Fender, who takes the money to his mother's trailer home. Claremont has the bounty hunters apprehend Frances, his brother and his two friends and then tells them to deliver them to men working for Drake Bishop. Claremont tells them to retrieve the money from Fender and to deliver it to Bishop at the Stratosphere Casino. Following a shootout with Fender's mother, the money is retrieved. Cigliutti is told about his sons' arrest and is led to believe that Bishop had his sons killed. In reality Bishop's men released the boys after learning that they did not know anything about the robbery. Believing his sons dead, Cigliutti wants revenge and heads for the Stratosphere. In Las Vegas, Domino takes $300,000 of Bishop's money and gives it to Lateesha for Mica's operation. At the Stratosphere, the bounty hunters meet with Bishop, who has an armed crew with him. Domino and Bishop discuss the money and what should happen next. Alf has stolen the money and filled the sacks with plastic explosives. He then reveals that he has the remote detonator taped to his hand, and has shipped the money to free Afghanistan. Shortly after this revelation Cigliutti turns up with his crew. Though Bishop denies he had Cigliutti's sons killed, Cigliutti shoots him. In the ensuing gunfight Choco and Ed are severely wounded, but make it into the elevator with Domino. Alf blows up the top of the Stratosphere and Domino is the only survivor. After telling Taryn Mills everything, Domino is released by the FBI. Mills advises her to retire from bounty hunting. The money in boxes is delivered to Afghanistan and opened by celebrating children in the streets, Mica gets her operation, and Domino shares a moment with her mother."}
{"movie_name":"Phone Booth_2002","imdb_id":"tt0183649","script":"<script>\n  <scene>\n    <scene_description>PHONE BOOTH by Larry Cohen FADE IN: NEW YORK CITY - AERIAL VIEW OF DOWNTOWN MANHATTAN - DAY MULTIPLE STREET SCENES - DAY The sidewalks crowded as usual. A sea of humanity. People come and go -- always in a hurry. Oblivious of one another. A TRAFFIC JAM -- A STREET being torn up by construction workers; A SANITATION TRUCK loading up refuse; VENDORS PEDDLING nuts and salted pretzels; PANHANDLERS blocking a passerby. Intimidating. Demanding. Almost mocking. We're surrounded by the teeming life of the city as we've come to expect it -- complete with a cacophony of sound. MULTIPLE CUTS -- Phone kiosks and phone booths on the East Side and West Side -- uptown and down. One frustrated caller has lost his money in the slot and he takes it out on the equipment -- smashing the receiver violently against the coin box until the instrument splinters into a dozen pieces.<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>There are 237,911 pay telephones in the five burroughs of the city of New York. Many of them are still in working order.<\/dialogue>\n    <scene_description>DOZENS OF QUICK CUTS -- NEW YORKERS on the phone in extreme close up. We don't hear the words. Only the facial expressions inform us that these are human beings under tremendous pressure. Life in the city is wearing them down. MULTIPLE SHOTS - JUST MOUTHS Lips jabbering into receivers. Cross-cut against one another.<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>Despite increased usage of cellular devices, an estimated four and a half million New Yorkers and two million visitors still utilize pay telephones on a regular basis. At thirty-five cents a pop... for the first three minutes.<\/dialogue>\n    <scene_description>ANGLE ON CORNER IN MID-MANHATTAN - DAY There's a phone booth situated on the southeast side of the street.<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>You're looking at the telephone booth at the corner of 45th Street and 8th Avenue in the heart of the Manhattan theatrical district. It has been scheduled to be removed and replaced by a kiosk. It's one of the few remaining phone booths<\/dialogue>\n    <dialogue>left in the city.<\/dialogue>\n    <scene_description>CAMERA MOVES IN on the irate caller in the booth -- a very well-dressed gray-haired lady -- totally conservative in appearance.<\/scene_description>\n    <character>WOMAN IN BOOTH<\/character>\n    <parenthetical>(into receiver)<\/parenthetical>\n    <dialogue>You have lied to me for the last time, you lowlife prick bastard! I don't ever want to hear the sound of your fucking voice again.<\/dialogue>\n    <parenthetical>(listens)<\/parenthetical>\n    <dialogue>Yes, well fuck you, too!<\/dialogue>\n    <scene_description>She slams down the receiver and exits. The booth remains vacant for a brief interval.<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>At least three hundred calls daily originate from this booth. The coins are collected twice a day. This booth has been burglarized forty-one times in the last six months.<\/dialogue>\n    <scene_description>Someone is approaching the booth, fishing in his pocket for coins. This is STUART SHEPARD, snappily dressed, his hair styled and his nails manicured. Here is a man who clearly takes excellent care of himself. He sports a Donna Karen suit and silk Armani tie. He's about to step into the booth when he's accosted by a middle-aged man in a soiled apron who's run out of a nearby restaurant and has finally caught up with him.<\/scene_description>\n    <character>MARIO<\/character>\n    <dialogue>Stu, we got to talk.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Wish I could accommodate you, Mario, but this is my busy time of day.<\/dialogue>\n    <character>MARIO<\/character>\n    <dialogue>How come you cross the street every time you go past the restaurant?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Why don't I stop in later for some lunch?<\/dialogue>\n    <character>MARIO<\/character>\n    <dialogue>There's no more drinks or free meals until the restaurant starts showing up in the columns like you said.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I'm doing my level best for you people.<\/dialogue>\n    <character>MARIO<\/character>\n    <dialogue>One lousy mention in the Post and you expect to eat for six months!<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I got the food critic from the Village Voice all lined up to give you a review.<\/dialogue>\n    <character>MARIO<\/character>\n    <dialogue>That's what you tell me last July. And he never shows.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I was allowing you time to expand the menu. Wallpaper the bathrooms, for God sakes. You get only one shot with these fucking critics and I don't want you to blow a rare opportunity.<\/dialogue>\n    <character>MARIO<\/character>\n    <dialogue>You the one blowing it. How long you think you can fuck everybody?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Hold on right there. I've got a very excellent reputation around this town.<\/dialogue>\n    <character>MARIO<\/character>\n    <dialogue>So how come you take two nice suits of clothes from Harry and never get his daughter on David Letterman?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Hell, I'm not an agent. I'm a publicist.<\/dialogue>\n    <character>MARIO<\/character>\n    <dialogue>Mister, you're nothing!<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Believe me, Valerie's on the waiting list to audition. Harry's got no complaints. He just let me pick out this tie the other day.<\/dialogue>\n    <character>MARIO<\/character>\n    <dialogue>That Harry's a damn fool!<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Mario, please let me make this up to you. How about I arrange for the opening night party for this new off-Broadway show I'm handling -- to be held at your place with local TV coverage on nine and eleven? I mean I had it promised to another client -- who actually pays me money. But it isn't firmed up yet. And I could throw it your way. Maybe.<\/dialogue>\n    <character>MARIO<\/character>\n    <dialogue>What is involved?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>You'd toss in the buffet for say seventy or eighty. The producers would supply their own vino, of course. I'd deliver you a truckload of celebrities. And if they like the food, they'll all come back, naturally.<\/dialogue>\n    <character>MARIO<\/character>\n    <dialogue>What celebrities?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>You want Liza Minelli? An Oscar winner. Or Douglas Fairbanks, Jr.?<\/dialogue>\n    <character>MARIO<\/character>\n    <dialogue>Is he still alive?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I saw him last night going into the Four Seasons. I'll bring you over a whole VIP list when we come by for dinner.<\/dialogue>\n    <character>MARIO<\/character>\n    <dialogue>How come everybody wants to eat but nobody wants to pay?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>You can't think small like that. Hey, you still feature musicians Fridays and Saturdays?<\/dialogue>\n    <character>MARIO<\/character>\n    <dialogue>At least they work for their meals.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>What about Harry's daughter as an extra added attraction? She'll belt out five or six showtunes -- two sets a night -- and it won't cost you a fucking nickel.<\/dialogue>\n    <character>MARIO<\/character>\n    <dialogue>How come?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Star Showcase! Let me handle setting that up. And when she eventually goes on Letterman, she'll announce I'm currently appearing over at Mario's fine supper club. Right over CBS she'll say that, Mario.<\/dialogue>\n    <character>MARIO<\/character>\n    <dialogue>You're full of shit. You know that? All bullshit!<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>That's just a vulgar word for PR.<\/dialogue>\n    <parenthetical>(placing an arm around him)<\/parenthetical>\n    <dialogue>Mario, you can't hurt my feelings. Even when I was a kid and they hurled certain invectives my way, it never bothered me. Other kids would fall apart if anybody called them a fucking name. Me, I just loved the attention! 'Shit-for- brains' -- that's what the bigger kids named me. And I answered to it. Hey, 'shit-for brains' reporting for duty. Everybody loved me for that. I could take abuse. After a while, I kind of wore them down. There was nothing more they could say to me. So they<\/dialogue>\n    <scene_description>stopped. I kind of missed it.<\/scene_description>\n    <character>MARIO<\/character>\n    <dialogue>I'm sorry I even talked to you.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I'll bet your loving wife put you up to this. She saw me pass by and she sent you out in the street. But I don't hold it against you personally -- you still serve up superior veal chop.<\/dialogue>\n    <parenthetical>(entering phone booth)<\/parenthetical>\n    <dialogue>Now I got urgent business to conduct, Mario.<\/dialogue>\n    <scene_description>He slides the booth closed in Mario's face. The frustrated restaurateur glares at him through the glass before giving up and walking off -- talking to himself as he goes up the block. INSIDE THE BOOTH, Stu inserts his thirty-five cents and dials.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>Hello, Mavis, sweet creature.<\/dialogue>\n    <character>MAVIS' VOICE<\/character>\n    <dialogue>Where have you been? Do you think I have nothing to do but wait around for you to call?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I'm only a few minutes late, loveliest individual on earth.<\/dialogue>\n    <character>MAVIS' VOICE<\/character>\n    <dialogue>Stu, I'm so lonely. When can I see you?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Good news in that arena. Kelly goes into rehearsal as of Monday. You know how dedicated she is. By the time she gets back from dancing her ass off, she goes right to sleep. We'll have both our days and certain nights. Not to mention when they take the show on the road.<\/dialogue>\n    <character>MAVIS' VOICE<\/character>\n    <dialogue>How long is that for?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Four to five weeks -- minimum.<\/dialogue>\n    <character>MAVIS' VOICE<\/character>\n    <dialogue>Maybe I should quit my job so we can be together full time.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I wouldn't do that.<\/dialogue>\n    <character>MAVIS' VOICE<\/character>\n    <dialogue>Sometimes I think if I have to give one more fucking manicure...<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>That's how you met me.<\/dialogue>\n    <character>MAVIS' VOICE<\/character>\n    <dialogue>I never saw a worse set of nails. Bit right down to the quick.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I'm much better groomed since you've been looking after me.<\/dialogue>\n    <character>MAVIS' VOICE<\/character>\n    <dialogue>I'm glad you admit it.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Even Kelly remarked on it when I first met her.<\/dialogue>\n    <character>MAVIS' VOICE<\/character>\n    <dialogue>She could care less how you look. She's only interested in pushing her own career. Some wife you're stuck with!<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>The marriage is not without its compensations. Do you imagine I could afford that apartment on what I'm earning? Not with everybody cutting back on the publicity. Not to mention a million college graduates coming into the profession trying to cut me out. And one thing you can't expect from your clients is loyalty. They get<\/dialogue>\n    <scene_description>a couple of bad notices, they dump you. Goodbye.<\/scene_description>\n    <character>MAVIS' VOICE<\/character>\n    <dialogue>Don't go.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I wasn't saying goodbye to you. I was saying how the clients try to give you the wave off without even a month's notice.<\/dialogue>\n    <scene_description>A conservative businessman now stands outside the booth waiting to use it. He deliberately glances at his watch a few times to demonstrate his impatience. This bothers Stu who slides the booth open a crack.<\/scene_description>\n    <character>STU<\/character>\n    <parenthetical>(yelling)<\/parenthetical>\n    <dialogue>What? Is your watch busted? It's twenty after eleven and I'm gonna be occupied indefinitely with my transaction. So get out of my face!<\/dialogue>\n    <scene_description>He closes the booth up again and turns his back to the gentleman who gives up and departs.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>Sorry, honey. There will be no further interruption.<\/dialogue>\n    <character>MAVIS' VOICE<\/character>\n    <dialogue>Why must you always be calling me from some booth?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>On account of that phone records are regularly subpoenaed in divorce proceedings. And I don't want some entry showing up on my cellular bill either. She gets the mail. She looks these items over. Sometimes she even dials up a strange number to see who it is.<\/dialogue>\n    <character>MAVIS' VOICE<\/character>\n    <dialogue>Then she suspects something.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>It's only because her last husband, the choreographer, ran around on<\/dialogue>\n    <scene_description>her. She can't get that out of her head. That's how she caught onto him. The phone bills.<\/scene_description>\n    <character>MAVIS' VOICE<\/character>\n    <dialogue>She hasn't developed much skill at holding a man.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>You know what a self-fulfilling prophecy is? She was so sure I was going to find me a woman that she finally drove me back to you. I thought I'd feel all guilty about it -- but I guess it hasn't kicked in yet.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Still, I wouldn't do anything to hurt her. Basically, Kelly's a decent individual.<\/dialogue>\n    <character>MAVIS' VOICE<\/character>\n    <dialogue>What about hurting me? Like last time?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Hurt? You were glad to be rid of me.<\/dialogue>\n    <character>MAVIS' VOICE<\/character>\n    <dialogue>For a while I was, 'til I took stock of what was around. You're the lesser of many evils.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>That's about the nicest thing you ever said.<\/dialogue>\n    <character>MAVIS' VOICE<\/character>\n    <dialogue>I'll have it engraved.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>We've been up front with each other from the beginning. Let's keep it that way. How about a drink? Say seven o'clock? The Monkey Bar?<\/dialogue>\n    <character>MAVIS' VOICE<\/character>\n    <dialogue>Meet me in front. I don't like walking in there unescorted.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Yeah, you're great enough looking to be mistaken for one of those thousand dollar a night girls.<\/dialogue>\n    <character>MAVIS' VOICE<\/character>\n    <dialogue>It happens all the time lately.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>And wear that short black number I bought you from Bendel's.<\/dialogue>\n    <character>MAVIS' VOICE<\/character>\n    <dialogue>Again? I don't know if it's me or that dress you like.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Have a good day. Make plenty of tips. And leave the whole evening open. She thinks I've got Knicks tickets.<\/dialogue>\n    <scene_description>He hangs up. Then whips a tiny cellular phone out of his jacket pocket, flips it open and dials. Someone answers on the first ring.<\/scene_description>\n    <character>COLUMNIST (V.O.)<\/character>\n    <dialogue>Speak!<\/dialogue>\n    <character>STU<\/character>\n    <parenthetical>(into cellular)<\/parenthetical>\n    <dialogue>It's your boy Stuart. When was the last time I called you for a favor?<\/dialogue>\n    <character>COLUMNIST (V.O.)<\/character>\n    <dialogue>The column is already full.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I just need one line. Anybody you wanna say was seen dining out at Mario's Stromboli restaurant.<\/dialogue>\n    <character>COLUMNIST (V.O.)<\/character>\n    <dialogue>Maybe you don't hear so good? I got no space for you.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Who's asking any favors? I'm offering reciprocal information.<\/dialogue>\n    <character>COLUMNIST (V.O.)<\/character>\n    <dialogue>Since when were you ever a reliable source?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Check it out. Tony award-winning producer Willie Beagle tossed his wife back into rehab again following her third attempt at diving off the terrace at their plush eighteen room residence at the San Remo. I got it from the doorman.<\/dialogue>\n    <character>COLUMNIST (V.O.)<\/character>\n    <dialogue>I got it from their maid yesterday. It's in the paper today. Or don't you bother to read my shit?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Louis, my intentions were entirely honorable.<\/dialogue>\n    <character>COLUMNIST (V.O.)<\/character>\n    <dialogue>I'll drop your item in sometime next week. If you promise not to call me for a month.<\/dialogue>\n    <scene_description>He hangs up. Stu looks pleased as he folds the cell phone and tucks it away. Then he starts to vacate the booth. The phone rings. And rings. Curious, he picks up the receiver. There's a voice on the other end of the line. A DISTINCTIVE MALE VOICE.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Don't even think about leaving that booth.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Stay exactly where you are and listen carefully.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I've got a heavy day, mister.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You know better than to disobey me.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I don't know you at all.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Are you absolutely sure?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Who is this?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Someone who's watching you.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Get lost!<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Love the gray suit. That red and black tie makes a nice combination.<\/dialogue>\n    <scene_description>Stu is taken back by the accurate description of his apparel. He looks around nervously.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>Where? Where are you?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Closer than you think.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I don't see you.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>There are any number of windows. Check them out.<\/dialogue>\n    <scene_description>Indeed that street corner is surrounded by high rise buildings and hotels.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>Okay, you had your little joke.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I'm not sufficiently amused. Not yet. We have more to talk about.<\/dialogue>\n    <scene_description>Stu knows he should simply hang up but something tells him not to. Perhaps it's the strange tone of the man's voice.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>Do me a favor. Call up somebody else.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>But it's you I'm interested in. You know how many people use that<\/dialogue>\n    <scene_description>booth every day?<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>Why don't you tell me?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Better than two-hundred people on average.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Is that what you do? Count them?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>What else do I have to do? It's interesting watching people. Trying to guess who they are. And what they're up to.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>What are you -- a shut-in of some kind?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You might say that. I can't go out. I might be seen.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Somebody's looking for you?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Desperately.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>The cops?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Not yet.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>The ex-wife. What'd you do -- run out on child support?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>What kind of man do you think I am?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Frankly, I could care less. You had your fun. Now goodbye.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>It's not in your best interests to hang up on me. That would make me angry.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Isn't that just too bad?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>For you.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>There's ten million names in the phonebook. Pester somebody else.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I never talk to people I can't see. I need to study their reactions.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Alright, bullshit artist, what am I doing right now?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Scratching your forehead with your left hand. Now you're brushing your hair back.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Okay, okay, you got me in your scrutiny. So what?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>So let's talk.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Only I got nothing to say.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Oh, you will. You'll do a lot of talking before this conversation is over. And it'll only end when I want it to.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Is that a fact? Well if you watch closely, you will see me hang up.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I don't think you will.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I interest you.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Why should I be interested in some creep who gets his jollies spying on strangers in phone booths?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>But you're not a stranger, Stu.<\/dialogue>\n    <scene_description>The sound of his own name sends a chill through him.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>Who put you up to this?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You were my very own selection.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Why me in particular?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Because you're so afraid.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Ha! What've I got to be afraid of?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Just about everything. You have so much to hide.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>How do you figure that?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Why else would a man with a perfectly good cellular bother to make calls from a pay booth?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>That's my business.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I've made it mine.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>All of a sudden I'm required to give explanations to you?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>In explicit detail.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>What is this? Some kind of candid camera gag? Or like that thing on HBO where the cab driver is taping what goes on in the back seat?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>This is not showbusiness, my friend. This is reality.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Your reality. Not mine, you lowlife fuck.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Stu, you'll be made to suffer for your attitude, so let's dispense with the vulgarities.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Now you're threatening me! Fuck you. Could that be any clearer?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You're only making it easier for me to do you harm.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Oh yeah. Right. Can you see how I'm trembling?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You will be.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Shit, this is a new one. Fucking threatening calls in a goddam phone booth. When are you going to start with the heavy breathing.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I'm not the degenerate. You are, Stu.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>You don't know anything about me.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Infinitely more than you know about me.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Like what?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Like the number you dialed when you first entered the booth.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>How would you know that?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I'm watching through a scope and I could clearly read the buttons you pushed. I have another extension here by the window. Shall I dial that same number back for you? Would that convince you?<\/dialogue>\n    <scene_description>Stu nervously cranes his neck, looking around at all the tall buildings that surround the street corner. STU'S POV PANNING up at thousands of windows. The Voice could be coming from anywhere. BACK TO STU IN THE BOOTH<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Let's see who's on the other end of the line.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Don't.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Too late.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>It's already ringing. I'll hold the receiver up so you can listen in.<\/dialogue>\n    <scene_description>Stu can hear the beeping as the other line rings. Then Mavis' voice can be heard answering. Stu listens helplessly.<\/scene_description>\n    <character>MAVIS' VOICE<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Well, hello.<\/dialogue>\n    <character>MAVIS' VOICE<\/character>\n    <dialogue>Who is this?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Someone who's really tight with your boyfriend -- who just called you from his favorite phone booth.<\/dialogue>\n    <character>MAVIS' VOICE<\/character>\n    <dialogue>You know Stu?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Stu? Oh, I know him better than anyone. What he does -- how he thinks. How he lies.<\/dialogue>\n    <character>MAVIS' VOICE<\/character>\n    <dialogue>Who the hell is this?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Stu is listening in. He knows what we're both saying.<\/dialogue>\n    <character>MAVIS' VOICE<\/character>\n    <dialogue>Stu? Is that true? Are you there?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>He doesn't feel like talking.<\/dialogue>\n    <character>STU<\/character>\n    <parenthetical>(shouts)<\/parenthetical>\n    <dialogue>Mavis! Just hang up the goddam phone.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>She can't hear you, Stu. Only me.<\/dialogue>\n    <parenthetical>(a pause)<\/parenthetical>\n    <dialogue>Mavis, I'm afraid Stu hasn't been totally honest with you. But then he can't be honest with anyone, can he?<\/dialogue>\n    <character>MAVIS' VOICE<\/character>\n    <dialogue>What's your name? To whom am I speaking?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You've never heard of me, Mavis. He doesn't want you to know I exist. He wishes I didn't exist. But there isn't anything he can do about that.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Still there, Stu? All you can do is listen.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Mavis -- the guy is a fucking nutcase! Hang the fuck up.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>She doesn't want to. She wants to know all about us. Don't you, Mavis?<\/dialogue>\n    <character>MAVIS' VOICE<\/character>\n    <dialogue>Did his wife put you up to this? That bitch, Kelly?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Oh yes, the bitch wife, Kelly. My very next call.<\/dialogue>\n    <character>STU<\/character>\n    <parenthetical>(yells)<\/parenthetical>\n    <dialogue>He doesn't know my wife! Don't tell him anything else.<\/dialogue>\n    <scene_description>Outside the booth, a huge, heavy-set black woman in a too tight dress, now appears with the clear desire to use the phone. Her name is FELICIA. She taps on the glass.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Could you hurry it along?<\/dialogue>\n    <scene_description>Stu ignores her and Felicia glares at him through the glass with hostility. Stu has no inclination to deal with anybody else. He's too distracted by the madness happening over the telephone.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>Can you hear me, Mavis? Keep your big mouth shut.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Is that any way to talk to a woman you love?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Mavis, is he always that abusive to you?<\/dialogue>\n    <character>MAVIS' VOICE<\/character>\n    <dialogue>You're getting me all upset. I<\/dialogue>\n    <dialogue>don't know who you are or how you know all this --<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I find out things -- from watching people and listening to them.<\/dialogue>\n    <character>MAVIS' VOICE<\/character>\n    <dialogue>Just what is your relationship to Stu? That's all I want to know.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Well, what do you think?<\/dialogue>\n    <character>MAVIS' VOICE<\/character>\n    <dialogue>Answer me, goddam it!<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Well alright. Stu and I are -- longtime companions. A pair. Two of a kind. Closer than close. Peas in a pod. Spoons in a drawer.<\/dialogue>\n    <character>MAVIS' VOICE<\/character>\n    <dialogue>You pervert!<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>That, too.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Don't believe a word of it. It's all lies.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Too late, Stu. She already believes it.<\/dialogue>\n    <character>MAVIS' VOICE<\/character>\n    <dialogue>You can tell that scumbag never to bother me again.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>He won't care. He'll still have me.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>It's not true. I do care.<\/dialogue>\n    <scene_description>From outside the booth, there's a louder rapping on the glass. Felicia really wants in.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Get done in there, mister. I got me an important call.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Go away.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Shit I will! Finish up!<\/dialogue>\n    <scene_description>She continues to rap on the glass as Stu tries to focus on the two-way phone call.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Why don't you tell me what you think of us?<\/dialogue>\n    <character>MAVIS' VOICE<\/character>\n    <dialogue>You're both disgusting.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>That's what he said about you. Well, if Stu didn't have the balls to come out and tell you the truth, I felt it was my responsibility to clear the air. Goodbye now, Mavis. Thanks for your time.<\/dialogue>\n    <parenthetical>(the phone clicks off; we hear only a dial tone)<\/parenthetical>\n    <dialogue>Back to you again, Stu.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>You total asshole! How could you do that?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Speaking of females, that woman hovering outside the booth -- may as well tell her that you'll be on the line forever.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Like hell I will.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I'm ready for you to take out your cellular and phone home. And this time, I'll listen in.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>There's no chance of that.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Or should I call Kelly and make up something totally outrageous? You must realize by now I have a vivid imagination.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>You don't know our phone number!<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Are you absolutely sure? I may have been watching you on a regular basis. Keeping track of all the numbers I see you dial.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>And I'm supposed to believe that?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I've put a great deal of preparation into this -- prior to actually saying hello. Now do you want to dial 832-7165 -- or should I?<\/dialogue>\n    <scene_description>The sound of the actual number being spoken shocks him even more than the earlier mention of his name.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>What are you going to tell her?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You'll do the talking.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>What am I supposed to say?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Try telling her the truth.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Look, I don't want to hurt Kelly. She's always there for me. It's just my nature to have a little 'strange' on the side. It doesn't mean shit.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>But you still find it necessary?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Kind of like having a beautiful home. With everything you ever<\/dialogue>\n    <dialogue>dreamed of. But you still need that vacation now and then. Some nice hotel room with a great view. Maybe a pool. Only you wouldn't want to spend more than a few days in any hotel. Eventually, you want to go back to your home and all your stuff. You're real glad to check out.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Kelly is home and Mavis is a hotel? I'm sure they'll both appreciate that explanation.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>You're ruining my fucking life, you sonofabitch.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Didn't I warn you about calling me names? It makes me vindictive.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>What else can you do to me?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>We haven't even begun.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>She's not home. She went out.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I'll bet she's back. Now hold the cellular up where I can see it -- so I can be certain you don't misdial on me.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>A little higher and to your left. Now I have it in perfect view. Dial slowly.<\/dialogue>\n    <scene_description>More violent rapping on the glass from the persistent black lady outside.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>If you got you a cell phone, how come you taking up the whole fucking booth! This here's an emergency!<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>There's another booth on the next block.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>It's busted. Every damn phone on Eighth Avenue is busted but this one.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Well, I'm not through! Go in a restaurant or someplace, but get away from me!<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>I'm gonna pull you out of that booth and snatch you ballheaded!<\/dialogue>\n    <scene_description>She tries to pull open the sliding door to the booth but Stu jams it shut, right on her hand.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>You assaulted my person.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Let me hear from your lawyer!<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>You're hear alright. I'm coming back. And your ass better not be around.<\/dialogue>\n    <scene_description>She stalks off obviously in search of assistance.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Good work, Stu. Now let me see you dial. Tuck the receiver under your chin and dial your remote.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I'm doing it.<\/dialogue>\n    <scene_description>He punches in the digits. The phone rings -- and rings.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>I told you she was out.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Let it ring.<\/dialogue>\n    <scene_description>Then a girl's voice is heard.<\/scene_description>\n    <character>KELLY'S VOICE<\/character>\n    <dialogue>Shepard residence.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Hold it close to the receiver so I can hear.<\/dialogue>\n    <character>KELLY'S VOICE<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Honey, it's me.<\/dialogue>\n    <character>KELLY'S VOICE<\/character>\n    <dialogue>What's taking you so long? I thought we were having some lunch at Mario's?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Change of plan. We're not eating in that dump any more.<\/dialogue>\n    <character>KELLY'S VOICE<\/character>\n    <dialogue>How come?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>The Health Department gave them a 'C' rating -- that's how come. Here I'm trying to put the place on the map and he fucks it all up with a major roach problem.<\/dialogue>\n    <character>KELLY'S VOICE<\/character>\n    <dialogue>That's disgusting. Okay, I'll fix us a sandwich. Where are you now?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Just in a phone booth.<\/dialogue>\n    <character>KELLY'S VOICE<\/character>\n    <dialogue>How come? The caller ID says you're on your cellular.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Oh yeah, I am.<\/dialogue>\n    <character>KELLY'S VOICE<\/character>\n    <dialogue>But you're also in some phone booth?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Explain that one, Stu.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I only stepped in because the traffic was so loud outside.<\/dialogue>\n    <character>KELLY'S VOICE<\/character>\n    <dialogue>Well just hurry on back.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Tell her you can't.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Not for a few minutes.<\/dialogue>\n    <character>KELLY'S VOICE<\/character>\n    <dialogue>Are you sure you're alone? I hear somebody in the background.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>The guy in the next booth. He's got a bad connection and he's hollering his fool head off.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You've got an answer for everything.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I love you, baby.<\/dialogue>\n    <character>KELLY'S VOICE<\/character>\n    <dialogue>Do you?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>You know that.<\/dialogue>\n    <character>KELLY'S VOICE<\/character>\n    <dialogue>Stu -- who was that man?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>What man?<\/dialogue>\n    <character>KELLY'S VOICE<\/character>\n    <dialogue>Some person who phoned fifteen minutes ago -- just after you went out.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I don't understand...<\/dialogue>\n    <character>KELLY'S VOICE<\/character>\n    <dialogue>This total stranger rang up and told me to wait by the phone -- because you'd be calling me in a few minutes -- from a booth. And I said what would he be doing in any phone booth?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>And what did this guy say?<\/dialogue>\n    <character>KELLY'S VOICE<\/character>\n    <dialogue>He said you'd be making phone calls. What else?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Making calls is part of my business.<\/dialogue>\n    <character>KELLY'S VOICE<\/character>\n    <dialogue>To whom?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Clients. People. Planting items like I do.<\/dialogue>\n    <character>KELLY'S VOICE<\/character>\n    <dialogue>Women?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Once in a while one of them could be a woman. I just called \"Elaine's\" and talked to her to see who was in there last night.<\/dialogue>\n    <character>KELLY'S VOICE<\/character>\n    <dialogue>You know exactly what I mean.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>You're not going to start that shit again?<\/dialogue>\n    <character>KELLY'S VOICE<\/character>\n    <dialogue>I just feel something is wrong.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>What could be wrong?<\/dialogue>\n    <character>KELLY'S VOICE<\/character>\n    <dialogue>The way you sound. You don't sound like yourself.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Yeah? Who do I sound like?<\/dialogue>\n    <character>KELLY'S VOICE<\/character>\n    <dialogue>Someone who's scared. There's fear in your voice like I've never heard before.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>See, Stu? Kelly agrees with me.<\/dialogue>\n    <character>KELLY'S VOICE<\/character>\n    <dialogue>I want you to come back home. Now!<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I told you. In a while.<\/dialogue>\n    <character>KELLY'S VOICE<\/character>\n    <dialogue>No. I want you here now. In case he calls back, I don't want to answer again.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Why should he call back?<\/dialogue>\n    <character>KELLY'S VOICE<\/character>\n    <dialogue>I feel like he's going to.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>You're the one that sounds frightened. And of nobody.<\/dialogue>\n    <character>KELLY'S VOICE<\/character>\n    <dialogue>He's not a nobody. He knows about us.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>You're not telling me all he said. What are you holding back?<\/dialogue>\n    <character>KELLY'S VOICE<\/character>\n    <dialogue>I can't discuss it on the phone. Just get over here!<\/dialogue>\n    <scene_description>CLICK! She hangs up.<\/scene_description>\n    <character>STU<\/character>\n    <parenthetical>(into pay phone)<\/parenthetical>\n    <dialogue>Why did you do that to her? She never did you any harm.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>How would you know? Everybody does harm to somebody. And then they try their best to forget it.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Maybe me -- but not her. Whatever I've done, there's no reason to take it out on her.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Suppose that's the only way I can get to you? You claim you love her.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Yeah, I do.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You don't even love yourself.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>But Kelly... I would never hurt.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Still you have to uphold your status as an honorary asshole.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Listen, I've treated all my women decent. I never laid a hand on any of them, even when provoked. And I always let them down easy.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm not ready to let Kelly go. Maybe I never will be.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>What if she dumps you first? What's the odds she's already taken up with somebody? One day soon you'll come home and find her gone along with the CD player and the<\/dialogue>\n    <scene_description>VCR.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>I'm not gonna let you mind-fuck me all day! That's it. This call is ended.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Not until I say it is.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>What happens if I hang up?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You don't really want to find out.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I'm dying to hear this!!! What the fuck can you do about it -- up in your fucking high window with your goddam binoculars?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I never indicated I had binoculars. I said I had a highly magnified telescopic image of you that brought you up so close I could see where you nicked yourself under the chin shaving this morning.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Oh -- while you're at it, have a look up my ass.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I may very well do that, Stu. In the meantime, think about what kind of device has a telescopic sight mounted on it.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>What? You mean... like a rifle?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>A high-powered .30 calibre bolt action Remington 700 with a carbon one modification and a state of the art Henzholdt tactical sniperscope. And you're in the cross hairs, Stu.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I'm supposed to believe that?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>There's only one way I can prove it to you. Hang up the receiver and find out. At this range, the exit wound ought to be about the size of a small tangerine.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>And you're just going to kill me for no reason?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>For plenty of reasons! Because you hung up. For years I hated people hanging up on me. Ex-girlfriends. Women I didn't even know. Prospective employers.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I get hung up on all the time. You get used to it.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Or else you don't. I worked for months getting people to switch to MCI -- being insulted at and being hung up on hundreds of times a day. The ones that cursed me out for invading their privacy never bothered me as much as those that clicked off without even bothering to reply.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Then why didn't you go after one of them?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Maybe you are one of them.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Hey, I have worked in a boiler room myself peddling \"Term Life.\" I Would never be rude to a fellow salesperson.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Can you feel it on you now? The heat of it. I'm moving the strike zone down to your stomach area. Now I'm raising it up again. Directly above the chest cavity -- sliding up to the forehead just above the left ear.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Shit -- I do feel it.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Tell me where I'm going with it now.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Across my forehead -- now back where it was before.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I'm amazed how you can do that. You're amazingly accurate.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Now I know what you're thinking. If I drop down on the floor of the booth and flatten myself out...<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>No, I'm not thinking that.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Oh yes you are. Can I crawl out using the booth as a shield? Can I crawl to that Chrysler illegally parked only three or four feet away? The shattering glass may cut me, but it'll only be superficial. Otherwise, this lunatic will never let me out alive.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>No. You will. I know you will. If I just cooperate.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Where is it now? Think and feel for the warm spot.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Below the shoulder?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Which one?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>The right shoulder.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Remarkable how we're in tune. You're doing far better than the others.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>What others? What do you mean?<\/dialogue>\n    <parenthetical>(no reply)<\/parenthetical>\n    <dialogue>You said 'others!'<\/dialogue>\n    <character>VOICE<\/character>\n    <parenthetical>(finally)<\/parenthetical>\n    <dialogue>I'm sure you read about the Italian tourist shot dead ten days ago at the corner of Forty-fifth and Eighth?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I saw it on the news.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>And where are we now?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Oh, God. Forty-fifth and Eighth.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>What else do you remember about that killing?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Try.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>He was gunned down. And nobody was caught. And they didn't even bother to take his wallet or his watch... or anything.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Now you know why. It wasn't a robbery.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>What did he do?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>He hung up -- so I disconnected him permanently.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Please -- don't do it to me. You got no reason to do it to me.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Don't give me reason.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I'm not looking to. Tell me what you want!<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Tell me about your job.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>What's to tell? I'm in Public Relations. They used to call us \"flacks.\" Now we're media consultants.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>What do you do, exactly?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Plant items in the paper and on the tube. More important sometimes, keep stuff out.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>What've you kept out?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>One of my people got nailed for indecent exposure. I managed for the cops to use his real name instead of his stage name so nobody picked up on it.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You saved the little deviate's ass, didn't you?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>He's in major therapy now. I swear he is.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You must hang with some major celebrities. Journalists, newscasters -- those types.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I'm real close with Larry King. And the \"Hard Copy\" people.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Could you get him down here? Larry King?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Why would he want to come here?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Because you asked him to.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>He comes from Atlanta.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Well, who could you get?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Wolf Blitzer?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Probably not.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Regis?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Definitely no chance.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You'd be offering them an exclusive newsbreak. I'm talking about more than one homicide.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>How many?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I don't answer questions. I ask them.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I gotta have the facts. They might not believe me. My record isn't too good when it comes to hard news.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You're not considered a reliable source?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>On a divorce or separation, maybe. Or who's gay, or who isn't gay any more. I kind of specialize in that kind of material. I mean I could probably get you Joe Franklin.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>How about Cindy Adams?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I might have a shot. Are you familiar with Liz Smith?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Do you know her number?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Want I should call her? How much can I say?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Tell her you're in direct touch with a killer who's willing to speak honestly if she shows up here alone and without notifying the authorities.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>She usually likes to have a celebrity involved. If you had an actor or a sports figure held prisoner instead of me, there'd be better odds she's come.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Then lie. Pick a celebrity and put them in the booth.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Let's see. Who does she like? Who couldn't be reached to deny it?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I'm anxious to see you in action. Don't keep me waiting.<\/dialogue>\n    <scene_description>Stu uses his cellular again.<\/scene_description>\n    <character>STU<\/character>\n    <parenthetical>(dialing)<\/parenthetical>\n    <dialogue>Sometimes you only get her service.<\/dialogue>\n    <parenthetical>(into cellular)<\/parenthetical>\n    <dialogue>Hi -- Stu Shepard. Put me through. I've got hard news for her. I can only talk to her directly. But say it regards -- Liza.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Liza? That was imaginative.<\/dialogue>\n    <character>STU<\/character>\n    <parenthetical>(into cellular)<\/parenthetical>\n    <dialogue>No, I can't call back. I'll have to lay in on somebody else. Alright, but I can't hang on long.<\/dialogue>\n    <parenthetical>(to pay phone)<\/parenthetical>\n    <dialogue>She's coming on.<\/dialogue>\n    <parenthetical>(to cellular)<\/parenthetical>\n    <dialogue>Liz, hello. Sure I'll make it brief. Killing two weeks ago in the theatre district? Turn out a sniper did the job. Yeah, a sniper with a rifle. Now he's got another victim lined up. Not just your anonymous New Yorker, but Liza. Now you can't call anybody or Ms. Minelli's dead meat and so am I. She's hostage in a phone booth right in the sniper's sights. But he says he'll talk to you and let her walk. I know it'll take balls to do this, but you're a fine and courageous newspaper woman...<\/dialogue>\n    <scene_description>There's a click. Silence.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>Hello? Hello?<\/dialogue>\n    <parenthetical>(to pay phone)<\/parenthetical>\n    <dialogue>Either she's on her way over or she doesn't believe me.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You weren't particularly convincing.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I didn't really believe in what I was saying.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Because you don't really believe my Remington is pointed at you?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I do.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You're ninety percent sure.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>At least ninety-five percent, easy.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Let me erase all doubt.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>No. Don't shoot.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Control yourself, Stu. Glance down at your chest. What do you see.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Oh, my God. A dot. A fucking red dot.<\/dialogue>\n    <scene_description>A tiny red dot now moves across Stu's chest.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Like you've seen in the movies?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>The laser dot. Just before some poor bastard always gets blown away.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Usually a supporting player. That lovely but by now generic special effect of the bullet piercing the forehead.<\/dialogue>\n    <scene_description>The tiny red laser dot dances around Stu's chest and stomach -- the jumps up and remains between his eyes.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>This takes all the guesswork out of it. You know exactly where to expect it before I even tighten my finger on the trigger.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Don't tighten. Don't even tickle that fucking finger.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>How about Geraldo? He's run his ass off to get in on this.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>You're talking about the old<\/dialogue>\n    <dialogue>Geraldo. Look, I can try and reach cable NBC. They're hungry.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I'm disappointed. I wanted to go first class.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>They do a great job. They'll haul a whole crew over to cover your surrender \"live.\"<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I never expressed interest in giving myself up. There are so many other phone booths in the city. I'm just getting warmed up.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>That's entirely up to you. Your choice. I'm just trying to set you up with the proper communicator.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I suppose Liza wasn't strong enough. I should've said Madonna.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Now you're being creative.<\/dialogue>\n    <scene_description>Outside the booth, the angry black woman has returned, bringing with her a gaudily dressed pimp named LEON who looks like he means business. He slams his fist against the glass, nearly shattering it.<\/scene_description>\n    <character>LEON<\/character>\n    <dialogue>Drag your baggy butt out of that booth. We got business to conduct out of there.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>He been in there all day.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I'm not through.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>Hang up that receiver or I'll make you eat the fucking thing!<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Fuck off or I'll call a cop.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>Do you see one around here? What you think I'm gonna be doing while you're waiting for a prowl car to get assigned? I'm about to cut you a second asshole if you don't vacate those premises.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I can't.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>He's got him a fucking cellular. What's he need to be on our booth for?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I can't explain it.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>I'm not interested in your explanations even if you had any.<\/dialogue>\n    <scene_description>He withdraws a switchblade knife from his pocket but doesn't open it -- yet.<\/scene_description>\n    <character>LEON<\/character>\n    <dialogue>If I flick this, I use it.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I'll make it worth your while to go away. How much do you want?<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>Make me an offer.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Thirty dollars. It's all I've got in cash. Take it and go.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>You're offering to rent my phone booth? For how long?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I don't know. For as long as it takes.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>What's so special in there?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Do you want the money?<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>Is that a genuine Rolex you've got on?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Come on, man. That's my good watch.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>That's what it's gonna take.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Then here. Take the damn thing.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>And the thirty!<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Take it all.<\/dialogue>\n    <scene_description>The pimp pockets the watch and the money. But doesn't go away.<\/scene_description>\n    <character>LEON<\/character>\n    <dialogue>Now I'm satisfied. But you still got to deal with Felicia here. I believe you spoke harshly to her.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I apologize.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>And did her some injury.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>An accident. I'm sorry about that, too.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>The man don't sound like he means it.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>I agree.<\/dialogue>\n    <parenthetical>(to Stu)<\/parenthetical>\n    <dialogue>Why don't you hang up a minute so we can discuss this matter at length.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>It's long distance. I can't lose the call -- I might not get them back.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>Do I have to rip that fucking phone out of there?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>That wouldn't be a good idea.<\/dialogue>\n    <parenthetical>(into pay phone)<\/parenthetical>\n    <dialogue>Would it?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Not at all.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I gave you everything I've got.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>That pinky ring looks attractive. Felicia might like that.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>It might fit.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>You want the ring, you've got the ring. If I can get it off.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>I can get it off you.<\/dialogue>\n    <scene_description>Leon reaches in and grabs Stu's ring hand.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>Let go of me! It's coming loose. There.<\/dialogue>\n    <parenthetical>(he tosses it)<\/parenthetical>\n    <dialogue>Okay, Felicia, with my deepest apologies. Goodbye now.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>What's really going on in that booth -- that escapes the naked eye?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Nothing. Talk. That's all.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>That your connection on the end of<\/dialogue>\n    <scene_description>the line? Or are you dealing?<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>This has nothing to do with drugs.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>You gotta be high on something to willingly divest yourself of your valuables -- just to maintain occupancy of a fucking phone booth that the local bums piss in every night.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I knew it smelled for some reason.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>You look like you're ready to piss yourself.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Because I am.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>Maybe if the city provided decent public toilets, folks wouldn't relieve themselves in the subway stations and phone booths!<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I'll take it up with the mayor.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>Next thing you know you're gonna claim we mugged you -- took your billfold and watch.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>No, you didn't. It was a fair and equitable deal. You had territorial rights to this booth and I paid a license fee. Fair is fair. Now leave me in peace.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>You sure you're alright?<\/dialogue>\n    <parenthetical>(to Felicia)<\/parenthetical>\n    <dialogue>He don't look well.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Kind of pale. Even for a white man.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>Jaundice they calls it. Probably advanced liver trouble.<\/dialogue>\n    <parenthetical>(to Stu)<\/parenthetical>\n    <dialogue>If it's cirrhosis, you better find yourself a twelve step program and quick.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Thanks for your interest but I'm in perfect health.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>So how come his hand is shaking?<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>The man is cracking up.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Lookit the sweat pouring off the sonofabitch. That's one sick mother you started up with, Leon!<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>Me? You're the one that brought me over and exposed me to all his germs.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I'm terminal, okay? Now can I close the booth and continue my conversation?<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>I'm worried now it might be catching. All that money out of your sweaty pocket is probably crawling with some rare and incurable disease.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Fine. Give it back.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>What good's that? We done touched it.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Well go wash your hands.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>Come on now. Own up to what you're carrying. Is it some of that sexually transmitted shit? Cause in that case, we can relax.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I'm sick of you. Now get out of my face.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>Here we's being solicitous as to your health and you respond by heaping abuse!<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Whip his arrogant ass.<\/dialogue>\n    <scene_description>Leon reaches into the booth and grabs Stu's jacket.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>Touch me and I'll throw up on you.<\/dialogue>\n    <scene_description>At the suggestion, Leon lets go quickly. It looks like a stalemate. Stu isn't vacating the booth and Leon and his lady are reluctant to touch him further. He does indeed look sick.<\/scene_description>\n    <character>STU<\/character>\n    <parenthetical>(into pay phone)<\/parenthetical>\n    <dialogue>You can see what I'm up against here.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Want me to get rid of him for you?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>What do you have in mind?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I'll think of something.<\/dialogue>\n    <scene_description>Suddenly the red dot reappears on the forehead of the pimp. Leon doesn't realize it's there. The hooker behind him has no way of seeing it. But to Stu, there's no way to miss it. He reacts.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>God -- no.<\/dialogue>\n    <parenthetical>(into pay phone)<\/parenthetical>\n    <dialogue>Don't. It's not necessary.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You asked for my help.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I'll handle it myself.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You're not doing too well. I can settle it in a fraction of a second. Shall I demonstrate?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>No.<\/dialogue>\n    <parenthetical>(to Leon)<\/parenthetical>\n    <dialogue>For your own safety, mister, just walk away.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>Now the man is turning aggressive... issuing threats upon my person.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>You're making this happen.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>If you don't hang up and step out, I'm about to topple this booth into the gutter with you inside it.<\/dialogue>\n    <scene_description>Reluctant to touch Stu again, Leon assaults the booth itself. He begins shaking it violently -- trying to rip it from its foundation. And the rickety booth is not too sturdy. It starts rocking back and forth. Stu is thrown around inside it, barely keeping his footing.<\/scene_description>\n    <character>STU<\/character>\n    <parenthetical>(into pay phone)<\/parenthetical>\n    <dialogue>This isn't my fault.<\/dialogue>\n    <parenthetical>(shouts)<\/parenthetical>\n    <dialogue>Stop that!<\/dialogue>\n    <scene_description>But Leon continues rocking the booth. It won't come loose -- so in frustration, he punches in a side pane of glass. The glass shatters all around Stu, who does his best to shield himself from the slivers.<\/scene_description>\n    <character>STU<\/character>\n    <parenthetical>(into pay phone)<\/parenthetical>\n    <dialogue>The guy's insane!<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Only one way to stop a mad dog. Give me permission.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I can't.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>If he forces you out of that booth, I've told you what to expect. You or him, Stu.<\/dialogue>\n    <scene_description>Leon is smashing other panes of glass now -- one after another -- as Stu cowers inside.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Don't cut yourself, honey.<\/dialogue>\n    <scene_description>A crowd of derelicts and street people are now gathering to watch the out of control pimp take out his wrath on the booth and its occupant.<\/scene_description>\n    <character>DERELICT<\/character>\n    <dialogue>Looks like the fucker is comin' loose.<\/dialogue>\n    <character>STREET PERSON<\/character>\n    <dialogue>Shove it out into the oncoming traffic.<\/dialogue>\n    <character>DERELICT<\/character>\n    <dialogue>What'll you bet the bus could knock that fifty feet?<\/dialogue>\n    <scene_description>The booth is being decimated but Stu hangs onto the phone.<\/scene_description>\n    <character>STU<\/character>\n    <parenthetical>(into pay phone)<\/parenthetical>\n    <dialogue>Hello? Hello?<\/dialogue>\n    <character>VOICE<\/character>\n    <parenthetical>(with heavy static)<\/parenthetical>\n    <dialogue>You're breaking up. We're about to be cut off.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I can't help it!<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>That counts as a hang-up.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>No. It can't. That's not fair.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I can still make him stop. Say the word. Can you hear me?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Stu sees the red dot reappear on Leon's chest as he continues to barrage the booth with punches and kicks. Then Leon recoils, staggers a step backward. He doesn't realize he's been shot. There's been no sound of gunfire. Perhaps a silencer was used -- or the downtown traffic drowned out the solitary discharge. Leon looks confused at first. His ladyfriend has no idea he's wounded -- neither do the derelicts and street people who've assembled on the corner. Even Stu isn't sure -- until the blood starts oozing from the wound on the pimp's chest -- staining his yellow vest. He isn't assaulting the booth anymore. He's trying to keep his balance. He slumps forward, hanging onto the booth for support -- only a few inches from Stu's face. The blood runs down the side of the booth.<\/scene_description>\n    <character>STU<\/character>\n    <parenthetical>(into pay phone)<\/parenthetical>\n    <dialogue>You did it!<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You said 'yes.'<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I said 'Yes, I can hear you.' Not 'Yes -- kill the motherfucker!'<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Don't try to renege on it. I was following orders.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>You're twisting it all around. I didn't do this!<\/dialogue>\n    <scene_description>Meanwhile, Leon leans upright against the booth. Then his legs cave in and he begins to slide to his knees. Felicia runs up beside him. She sees the blood.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>I warned you not to cut yourself.<\/dialogue>\n    <parenthetical>(to crowd)<\/parenthetical>\n    <dialogue>Look at all that blood. He must've hit an artery.<\/dialogue>\n    <scene_description>She screams as Leon topples backwards onto the pavement. Now his chest wound is evident.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Oh, Jesus. What is that? Talk to me! What happened?<\/dialogue>\n    <scene_description>The crowd tightens around the fallen body. Street people who are fascinated but not shocked.<\/scene_description>\n    <character>DERELICT<\/character>\n    <dialogue>Gunshot!<\/dialogue>\n    <character>STREET PERSON<\/character>\n    <dialogue>Yeah. Sucking chest wound right over the heart.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Somebody call an ambulance.<\/dialogue>\n    <character>STREET PERSON<\/character>\n    <dialogue>Call the meatwagon. He's fucked up.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>You shut the fuck up!<\/dialogue>\n    <scene_description>Her focus turns to Stu in the battered phone booth.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Why did you do that to him?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I didn't.<\/dialogue>\n    <character>FELICIA<\/character>\n    <parenthetical>(to crowd)<\/parenthetical>\n    <dialogue>You all saw it! He shot my man without no provocation!<\/dialogue>\n    <character>DERELICT<\/character>\n    <dialogue>Yeah. Pumped one right into him at close range.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>How could I? I don't even have a gun. Look!<\/dialogue>\n    <character>STREET PERSON<\/character>\n    <dialogue>Everybody get the fuck back! They shoot one -- then they shoot everybody in sight! Kill all the fucking witnesses!<\/dialogue>\n    <scene_description>The crowd disperses to doorways and around the corner -- out of immediate range.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>Come back. You've got to see -- I'm not armed.<\/dialogue>\n    <scene_description>Only Felicia remains, leaning over the pimp's body, staring helplessly.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Hang up and dial 911. Get a doctor!<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I can't hang up. That's what this is all about.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>You're gonna stand there and let him die?<\/dialogue>\n    <character>STU<\/character>\n    <parenthetical>(takes out cellular)<\/parenthetical>\n    <dialogue>I can use this.<\/dialogue>\n    <parenthetical>(he dials)<\/parenthetical>\n    <dialogue>Emergency. Yes. There's been a shooting at Forty-fifth and Eighth -- on the corner. A man is down. What's the difference who I am? I don't want to be involved.<\/dialogue>\n    <character>FELICIA<\/character>\n    <parenthetical>(shouts)<\/parenthetical>\n    <dialogue>That's bullshit. He's the shooter. You're talking to the shooter.<\/dialogue>\n    <scene_description>Stu quickly disconnects the cellular.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>That wasn't nice.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Go ahead -- make a fucking run for it. I hope they gun you down -- like you did him!<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I'm not going anyplace. I'm staying right here in this booth.<\/dialogue>\n    <parenthetical>(into pay phone)<\/parenthetical>\n    <dialogue>Unless you give me permission.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You're attracting a lot of attention. I suppose when the police get there, you'll accuse me.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>What do you expect me to say?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>That's up to you. But any mention of me will not be appreciated.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>You mean...?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You won't even get to finish your sentence. Oh look, that little red dot is dancing around all over you again. You saw how quickly it can happen. And how accurate I can be.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>They can't blame me -- I'm not armed.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Who's going to believe that? With all those witnesses to the contrary.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>They can see with their own eyes.<\/dialogue>\n    <scene_description>Not far away, we hear the BLAST of POLICE SIRENS drawing closer.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Remember to leave me out of it.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>How can I?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You'll put the proper spin on it. Isn't that your specialty? Feeding the public a story that may not have a shred of truth -- and making it totally believable?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>This isn't a story. This is real. This is murder.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>If you'd only dealt with the man reasonably, shown him some respect, this might not have been necessary.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I gave him my money, my watch...<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>But not your respect. Which is what he required of you.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>He was a fucking thief.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>And now he's a fucking dead thief. Do you feel better about that?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I don't feel a bit guilty. This is all your doing!<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Now you're being disrespectful of me. You never learn. Your job is to deal with people -- but you're not good at it.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Hey, I'm not taking any more criticism from some lunatic sniper who gets his kicks killing strangers.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You keep insisting I'm a stranger. Probably because you don't recognize the voice. But there are cheap electronic devices available that disguise the voice. I might not even be a man. I might be one of those many women you've almost totally forgotten. One who doesn't forgive easily. One who wants to watch you squirm.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>You're a man. I know you're a man. Women don't kill with telescopic rifles. They stab you.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You sound so sure of that. But you've never provoked any man as much as have the women in your life. And so many of them, Stu.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>Do you even remember their names?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I've got no time to rehash my whole life. Oh my God! The cops are here.<\/dialogue>\n    <scene_description>Police cars are pulling up on all sides of Eighth Avenue. Traffic has suddenly been shut down. Prowl cars have now blocked the streets. PRODUCTION NOTE: Everything is seen from Stu's perspective without intercuts. Half a dozen cops now emerge and approach with drawn guns.<\/scene_description>\n    <character>FELICIA<\/character>\n    <parenthetical>(pointing)<\/parenthetical>\n    <dialogue>That's him -- in the booth. He's got a gun!<\/dialogue>\n    <scene_description>As she hurls accusations, she's lugging Leon's lifeless body out into the gutter into the center of Eighth Avenue. It's a bright afternoon. In the distance, we hear the maddening HONKING of uptown traffic that is now being rerouted, creating a huge bottleneck and raising the anger of irate motorists and bus drivers whose horns provide their simplest form of protest. It's a discordant concert that echoes the confusion and frustration which Stu now feels... As the cops surround the booth -- at a distance.<\/scene_description>\n    <character>SERGEANT<\/character>\n    <parenthetical>(into bullhorn)<\/parenthetical>\n    <dialogue>Throw down your weapon and come out with your hands raised.<\/dialogue>\n    <character>STU<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>They're ordering me to come out.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I can see that. Ignore them.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>What if they open fire?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>They probably won't. Look across on the east side of the street. Do you see the tourist with the home video camera?<\/dialogue>\n    <scene_description>STU'S POV A distant crowd gathering on the opposite west side corner behind the police cars. Some tourist is capturing the event on video. BACK TO STU<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>What about him?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>He's going to keep the police on their best behavior. So long as you don't take what could be interpreted as hostile action, you'll be safe.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>You call this safe? Six cops with guns pointed my way?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You want me to reduce them to three -- or two?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Absolutely no more shooting. Now is that clear?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You can always change your mind.<\/dialogue>\n    <character>SERGEANT<\/character>\n    <parenthetical>(with bullhorn)<\/parenthetical>\n    <dialogue>You know the drill. Hands clasped behind the back of your neck -- moving slowly -- step out of the booth. If we see any sign of a weapon, we will respond.<\/dialogue>\n    <character>STU<\/character>\n    <parenthetical>(shouts)<\/parenthetical>\n    <dialogue>You won't, because there isn't any.<\/dialogue>\n    <character>SERGEANT<\/character>\n    <parenthetical>(bullhorn)<\/parenthetical>\n    <dialogue>I repeat. Raise your hands.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I can't. I'm on a phone call.<\/dialogue>\n    <scene_description>Now a black POLICE CAPTAIN arrives and takes full command of the situation.<\/scene_description>\n    <character>CAPTAIN RAMEY<\/character>\n    <dialogue>You have thirty seconds to comply.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I told you. I'm busy. Come back later.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Very good, Stu.<\/dialogue>\n    <scene_description>The cops take cover behind parked cars, keeping Stu clearly in their sights. He has no place to hide. He's in the battered phone booth in plain view from all sides.<\/scene_description>\n    <character>RAMEY<\/character>\n    <dialogue>You've been given an order.<\/dialogue>\n    <scene_description>The Sergeant slides up beside the Captain to confer. PRODUCTION NOTE: We remain in LONG SHOT of the cops -- always from Stu's POV. But we can hear their voices and all that is said as if they were in close up. It has an odd, unreal and distancing effect.<\/scene_description>\n    <character>SERGEANT<\/character>\n    <dialogue>We're dealing with a mental case. He's looking for us to kill him.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>Well he's not getting his wish.<\/dialogue>\n    <scene_description>In the center of the street, an ambulance pulls up and a team of medics jump out. They rush to Leon's body. (Again we hear their voices close, even though visually they are far off.)<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Tell me he's gonna be alright.<\/dialogue>\n    <character>MEDIC<\/character>\n    <dialogue>Step aside. Let us look at him.<\/dialogue>\n    <scene_description>The medics push her aside -- then examine the victim. He's DOA.<\/scene_description>\n    <character>MEDIC<\/character>\n    <dialogue>Nothing we can do. Don't touch the body. They'll need it to mark the crime scene.<\/dialogue>\n    <scene_description>Far across the street, the Captain confers with his subordinates. They are small figures on the screen but we hear them sharply.<\/scene_description>\n    <character>SERGEANT<\/character>\n    <dialogue>Same corner as two weeks ago.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>Maybe it's more than a coincidence. Cover me. I need to talk to him.<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>You've got your vest on?<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <scene_description>The Captain steps out of cover and boldly approaches the phone booth. He stops cautiously about fifteen feet away.<\/scene_description>\n    <character>RAMEY<\/character>\n    <dialogue>I'm not armed.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Neither am I.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>Yeah, sure. I need to know what happened.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Can't talk about it.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>Sure you can. My name's Ramey. Captain Ed Ramey. What's yours?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Look, I don't want to be friends.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>You look like you need a friend.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Tell him you've already got a friend.<\/dialogue>\n    <character>STU<\/character>\n    <parenthetical>(yells)<\/parenthetical>\n    <dialogue>I've got a friend, okay.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>Is that who you're talking to on the phone?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>None of your business.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>When somebody gets shot, it becomes my business. Let's not have anybody else killed. I want to hear your side of it.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I've got no side of it.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Don't worry, Stu. I've got him fixed right in my sights. I won't let him hurt you.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>Has this happened to you before? The need to hurt someone? To put a bullet in them?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>You won't believe anything I say.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>Try me.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I couldn't shoot anybody. I'm not armed.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>You're right. I don't believe you. What's that bulge in your pants pocket?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>That? That's my cellular.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>A cellular? Then what are you doing in a phone booth making calls?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Do you want to see it?<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>Don't reach for it, mister.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Then how can I show it to you?<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>I don't need to see it. I know what's there. All these witnesses saw you use it on him.<\/dialogue>\n    <scene_description>From behind a parked car, a HOMELESS PERSON calls out.<\/scene_description>\n    <character>STREET PERSON<\/character>\n    <parenthetical>(hollers)<\/parenthetical>\n    <dialogue>Damn straight!<\/dialogue>\n    <scene_description>Another DERELICT, crouched in a doorway, joins in.<\/scene_description>\n    <character>DERELICT<\/character>\n    <parenthetical>(shouts)<\/parenthetical>\n    <dialogue>Yeah! Shot him down like a dog!<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>They're all lying. Nobody saw it because it didn't happen.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>A man is dead but it didn't happen.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Not on account of me! This is like some bad dream.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>You're walking through a bad dream and you can't wake up. Do you want to wake up?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I'm trying.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>And in this dream, you killed that man. He was bothering you so you iced him.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>Then who did?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Don't tell him, Stu. Or it'll be the last thing he ever hears. His blood will be on your hands.<\/dialogue>\n    <character>STU<\/character>\n    <parenthetical>(to Ramey)<\/parenthetical>\n    <dialogue>I don't know.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>But you saw it happen?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>You were the closest one to him. You must've seen who did it.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>We're trying to be honest with each other, aren't we?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Not necessarily.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I'm losing patience with this cop.<\/dialogue>\n    <character>STU<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>I'm handling this.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>Who do you keep talking to on the phone?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Nobody. My psychiatrist.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Excellent, Stu. You're getting good at this.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>What's this doctor's name? It's important we know.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>He says not to tell you. It's privileged information.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Damn good reply. Now you're having fun. Admit it.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Whatever you say.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Playing it so close to the edge. I'll bet you've never felt so alive. That's how I feel when I look through the sight and select somebody.<\/dialogue>\n    <scene_description>The Captain begins advancing a few steps closer.<\/scene_description>\n    <character>RAMEY<\/character>\n    <dialogue>I respect your right to privacy. I've been to therapy myself. The department provides it. I know it's not good form for a cop to be admitting that, but...<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Tell him not to come any closer.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Stop right there. Back up a few steps. Back where you were.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>If it makes you more comfortable.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Tell him to read you your rights.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I want you to read me my rights and stop asking questions.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>Al least tell me your first name.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>It's my right not to have any name.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>No gun and no name. You're a highly underprivileged person.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Demand a lawyer.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>And get me a lawyer, too. I want a lawyer brought down here to negotiate my surrender.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Brilliant, Stu. Keep winging it.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>It'll be hard to find a lawyer willing to risk his life. But if you hand over the gun...<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>How can I when you won't let me take it out?<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>We'll take it out for you -- as soon as you exit the booth with your hands raised and...<\/dialogue>\n    <character>STU<\/character>\n    <parenthetical>(interrupts)<\/parenthetical>\n    <dialogue>Now we're back to that again. It's always \"Get out of the booth.' 'You can't stay in the booth.' Well, I like it in the fucking booth. It's my whole world now. It's my booth and I'm never coming out.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>We're not about to force you because there could be a miscalculation and then we'd never find out why this happened.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Why is it so important to know? The guy is dead. Isn't that enough? Knowing isn't going to make him alive again. So who gives a fuck!<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>It's what makes the job interesting. Finding out why. Something drove you to do this. You didn't go out today expecting this to happen. It was a nice day. You were out for a walk. And then suddenly it all changed.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>All I wanted was to make a phone call. One lousy phone call for thirty-five fucking cents.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Careful, Stu. Don't volunteer too much.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>You got some bad news on that call.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>The worst.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>Something that pushed you over the edge?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>And I've been falling ever since.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>Time to land.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>When you hit bottom, you die.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>I'm your safety net.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>If I tell you what you want to know -- you'll die, too.<\/dialogue>\n    <scene_description>Something about the implied threat sends a chill through Captain Ramey. INSERT SHOT The Captain's head as seen through a telescopic sight. Ramey could be dead in an instant. PRODUCTION NOTE: The only time we deviate from Stu's perspective is when we see the sniper's POV through his scope. ANGLE BACK ON STU IN THE BOOTH, the detective fifteen feet away. Ramey decides to back off momentarily.<\/scene_description>\n    <character>RAMEY<\/character>\n    <dialogue>I'll go see about that lawyer.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Now that's a good idea.<\/dialogue>\n    <scene_description>The Captain withdraws back across the street.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>He's lucky. I had him centered in my cross hairs. I really had to restrain myself.<\/dialogue>\n    <scene_description>We hear the approach of a helicopter. Stu peers up ward as not one but two choppers appear above the tall buildings.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>It's not the police. It's the media. You're news, Stuart.<\/dialogue>\n    <scene_description>The helicopters circle above.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>You've never gotten this much press for any of your clients. I'm making you a famous person.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>They're just hoping for coverage of me dying in the gutter.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Their presence is putting the police on their continued best behavior.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Those cops are just looking for any excuse.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Then don't give them one.<\/dialogue>\n    <scene_description>Then, as if on cue, Stu's cellular phone in his pocket starts ringing. But he can't allows himself to reach for it. To do so might cause the police to believe he was trying to draw his gun. It rings quietly -- virtually inaudible outside the booth. Drowned out by the traffic horns, the static from the police radios and the newly introduced sound of television helicopters circling over Eighth Avenue taking video coverage of the event below.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Who could it be?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Kelly. She was worried about me.<\/dialogue>\n    <scene_description>Stu is afraid to reach in his pocket lest the cops think he's going for a gun.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Maybe she's seen this on television. It must be on every channel by now. Breaking news.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>She doesn't watch daytime TV.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>One of the neighbors could've alerted her.<\/dialogue>\n    <scene_description>The cell phone keeps ringing, almost drowned out by the sound of helicopters circling overhead.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>Why are you saying this? You want me to reach in my pocket so you can see them open fire?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>That's an unwarranted accusation and very unbecoming in light of the good advice I've given in the past. Have I ever steered you wrong?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>God -- how I'd love to hear her voice.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>It might even be worth it. She's insistent, isn't she?<\/dialogue>\n    <scene_description>The cellular won't stop ringing.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>If she knows I'm in trouble, she won't give up.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Probably glued to the TV by now. I'm watching coverage on two stations now. Channel surfing.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Well, there you are on two and four and five. Not any decent angles on you, though, stuck inside there.<\/dialogue>\n    <scene_description>The cell phone continues beeping until the sound of it is maddening. Stu is still afraid to reach for it and provide the cops with an excuse to open fire.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>But if you'd take one or two steps outside and look up, I think they<\/dialogue>\n    <dialogue>could get a clear picture of you.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>You said I'm not allowed to leave the booth.<\/dialogue>\n    <scene_description>Finally the cell phone stops ringing.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>I might be willing to bend the rules and let you enjoy your moment of fame. Set the phone down without hanging up... and take a step or two outside. Just for a minute. Then come straight back in or I'll be forced to provide 'live' coverage that should rival the historic Zapruder footage.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Nothing like an exploding head to excite viewer interest.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>No, thanks. I'll stay where I am.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>It was only a suggestion. Since you're convinced I'm going to plug you anyway, it can't matter much.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>If you shoot me, you give yourself away.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Even without a muffler, they'd never hear the report with all this noise. Afterwards, it'd take them a good ten minutes to realize you weren't plugged by some overzealous officer. Then they'll blame the media for inciting a crackpot vigilante to come down here and do the SWAT team's job for them.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>You expected them to come. You had this all worked out.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I write the scenario and you all play your parts -- as directed.<\/dialogue>\n    <scene_description>The damned cell phone starts beeping again. Stu fights the temptation to grab for it and hear Kelly's voice for one last time.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>Poor Kelly. What she must be going through.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Why don't you tell her how you feel about her?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I'd never get the words out. Not with fifteen or twenty rounds in me.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You can't be certain they'd fire. They'd see it was only a phone.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>They wouldn't wait to see.<\/dialogue>\n    <scene_description>The cellular ringing continues jangling Stu's nerves.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>Why doesn't she hang up?<\/dialogue>\n    <scene_description>Then Stu notices something in the crowd gathering far across the street behind the police barricades. Countless faces rubbernecking, probably hoping to see some display of violence that would end with him face down dead on the pavement. And in the midst of them -- one face familiar to him. A female, quite pretty... even in tears. It's Kelly. (We see her only in LONG SHOT -- a distant figure in bright green jacket that makes her stand out from the crowd.)<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>It's her! She's not calling me. She's over there.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Is she?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>The blonde girl in the green jacket.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Can't miss her. Very attractive, isn't she?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>She must've heard all the commotion and come downstairs.<\/dialogue>\n    <scene_description>The cellular is still ringing.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>It's somebody else who knows my cell number.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>It's you!<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You continue to impress.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Why is it so important that they kill me?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Because that's how I win.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>This time you won't. If you want me dead, you'll have to do it yourself.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Either way I can't lose.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>It's all a game to you -- because you're incapable of feelings. You're not even human.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I pride myself on that. What's so great about being human? It's the lowest form of life on this planet and I've taken it upon myself to thin the herd.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I quit. I'm not answering back any more. I won't hang up but I'm not playing.<\/dialogue>\n    <scene_description>There's silence now between them.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Stu? Stu, don't be that way. You're taking the pleasure out of it.<\/dialogue>\n    <scene_description>Stu doesn't take the bait. He remains absolutely silent. A stalemate has been reached. WE RACK FOCUS ACROSS THE STREET TO THE POLICE clustered behind an emergency vehicle. The Sergeant brings a civilian to meet Captain Ramey of the SWAT unit. The newcomer wears coveralls stenciled \"AT&amp;T.\" (Although they are very far away, we hear their voices close up as they come into sharper focus.)<\/scene_description>\n    <character>SERGEANT<\/character>\n    <dialogue>This here's Helfand, of New York Telephone.<\/dialogue>\n    <character>HELFAND<\/character>\n    <dialogue>Glad to help out.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>Have you got the number of that booth?<\/dialogue>\n    <character>HELFAND<\/character>\n    <dialogue>Sure do.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>Can you tap into that call?<\/dialogue>\n    <character>HELFAND<\/character>\n    <dialogue>It can be done.<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>But not without a warrant. You could be violating this psycho's civil rights. Especially if he's on the line with his fucking psychiatrist.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>Shit. I don't want to blow this on a technicality. Tracing the call isn't any violation, is it?<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>As long as we don't listen in.<\/dialogue>\n    <scene_description>We remain in LONG SHOT of the POLICE as they continue in heated conversation.<\/scene_description>\n    <character>RAMEY<\/character>\n    <parenthetical>(to Helfand)<\/parenthetical>\n    <dialogue>Okay, we've got to know who he's talking to and their current location.<\/dialogue>\n    <character>HELFAND<\/character>\n    <dialogue>That I can handle. As long as they keep the circuit open.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>I need the number and an address to go with it.<\/dialogue>\n    <scene_description>Helfand rushes off. At the corner, we can glimpse him entering a phone company utility truck parked on Forty-Fifth Street. RACK FOCUS BACK TO PHONE BOOTH Stu remains tight lipped and silent, refusing to give his tormentor the conversation he so craves.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Stuart, my friend. Do you want to see how close I can come without actually hitting you?<\/dialogue>\n    <scene_description>Stu resists pleading because he knows his silence is more powerful. There's no glass in the left side of the booth since the late Leon smashed it all out. Nothing to shatter when the sniper squeezes off his shot.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>May I call attention to the yellow pages?<\/dialogue>\n    <scene_description>The frayed yellow phonebook dangling from a chain under the telephone shudders under the impact of a direct hit. There's been no sound of a gunshot, but the damage is there to behold. Stu reaches for the phonebook. There's a bullet hole straight through it. Pieces of the .30 calibre slug have shattered into many tiny fragments and are imbedded between the pages, half-way through the thick volume. Stu pries pieces out of the pages of the directory. He looks at them in the palm of his hand.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Hollow points are designed to break up on impact. It would've behaved differently if it had pierced your soft flesh. The pieces would've bounced around looking for a way out. That's where the real damage occurs -- finding an exit -- deflecting off all that bone...<\/dialogue>\n    <scene_description>Stu wants to shout \"STOP,\" but restrains himself. Not talking gives him some degree of power.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Still the silent treatment? My father used to dish that out when he chose to punish me. Not a word spoken -- one time for over a month. I'd try and goad him to acknowledge I existed, but he stared right through me. You're bringing back unhappy childhood, Stu. That's not wise.<\/dialogue>\n    <scene_description>Stu still declines to answer. His silence seems his only weapon. He tosses the bullet fragments out of the booth onto the pavement.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Since you're ignoring me, I'll focus on someone else.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>There she is -- nice and sharp. I can see the two little punctures in each earlobe and my God, what kind of a girl would have her nostril pierced?<\/dialogue>\n    <scene_description>Stu realizes the sniper now has Kelly in his sights.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>What was that? Louder, Stu. We must have a bad connection.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Leave her out of it.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I didn't expect her to show up here. But since she has -- I'll improvise.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Don't. Please don't. I'm sorry. I'm talking to you again. I'll talk all you want!<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>It's a bad dye job. The black roots are growing in and it makes her look cheap.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I've screwed up her life enough already. Please don't hurt her.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I don't necessarily have to kill her. I could be persuaded to settle for a reasonable mutilation. Which part of her displeases you most? If she turns a bit more in profile, I'm accurate enough to remove the tip of her unpleasantly protruding nose. It's just cartilage. Any decent cosmetic surgeon will have her looking better than ever.<\/dialogue>\n    <scene_description>STU'S POV - FOCUS SHIFTS TO KELLY in the crowd. Distant yet distinct amongst the curious onlookers. JUMP CUT CLOSER ON KELLY -- OBLIVIOUS TO HER DANGER. AS SEEN THROUGH CROSS HAIRS OF TELESCOPIC SIGHT following her as she forces her way through the crowd toward the police officers. Her face virtually fills the screen. PRODUCTION NOTE: The only time we deviate from Stu and his POV is when we see the sniper's own POV through his telescopic sight.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>You can see her talking to the police now. She's identifying herself as your wife. They're very interested in who you are. They're taking her over to see the officer in charge. What was his name?<\/dialogue>\n    <scene_description>SNIPER'S POV Through the cross hairs of the sniperscope, we can see Kelly conversing with Captain Ramey. She's in a state of complete agitation. ANGLE ON STU half leaning out of the booth, staring at his wife and the cops in the distance. RACK FOCUS TO THEM -- and suddenly we can hear them clearly in spite of the distance.<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>What do you mean psychiatrist? He doesn't see any psychiatrist.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>Then who'd your husband be talking to?<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>There was some guy that called the house this morning and said weird stuff to me.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>Stu seems to be checking things out with this person.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>He hasn't got many friends -- I can tell you that.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>Remain here, please. We may need you later.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>You won't hurt him?<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>We'll do our best not to.<\/dialogue>\n    <scene_description>Kelly is left alone as the Captain returns to their command center. Kelly is once again a solitary target. She could be picked off without attracting undue attention.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>She won't even feel it when it happens.<\/dialogue>\n    <scene_description>BACK TO PHONE BOOTH<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>Take me instead.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Don't distract me. Now's the time to be absolutely still. I have to hold my breath as I squeeze gently --<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>No! I'm hanging up. That's it.<\/dialogue>\n    <scene_description>Stu hangs up the receiver. He disconnects. RACK FOCUS TO LONG SHOT -- The police as they react. We see a flurry of activity across the street. Voices become clear as focus shifts.<\/scene_description>\n    <character>RAMEY<\/character>\n    <dialogue>Shit. He hung up.<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>Maybe they already traced it. Anyhow, it doesn't matter. Looks like he's coming out.<\/dialogue>\n    <scene_description>RACK FOCUS BACK TO STU -- slowly stepping out of the booth. His hands are raised.<\/scene_description>\n    <character>STU<\/character>\n    <parenthetical>(shouts)<\/parenthetical>\n    <dialogue>I've giving myself up. Take me!<\/dialogue>\n    <character>SWAT OFFICER<\/character>\n    <parenthetical>(distant)<\/parenthetical>\n    <dialogue>First the gun. We want to see you toss away your weapon!<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Shit. I can't.<\/dialogue>\n    <character>SWAT OFFICER<\/character>\n    <parenthetical>(distant)<\/parenthetical>\n    <dialogue>Freeze where you are! Turn around and keep those hands clasped.<\/dialogue>\n    <parenthetical>(signals the others)<\/parenthetical>\n    <dialogue>Take him.<\/dialogue>\n    <scene_description>The SWAT OFFICERS in protective gear now step out of cover and fan out as they approach the booth. TIGHTER ON STU He's just outside the booth -- expecting to feel the sniper's bullet go through him at any moment. Then the pay phone starts ringing. The sniper is calling back. RACK FOCUS AGAIN to the police. All the cops react. Particularly the Captain and the Sergeant. Their voices seem close up when they sharpen in focus.<\/scene_description>\n    <character>SERGEANT<\/character>\n    <dialogue>What is going on with these fucking phone calls?<\/dialogue>\n    <character>RAMEY<\/character>\n    <parenthetical>(shouts)<\/parenthetical>\n    <dialogue>Hold your fire. Let him answer it.<\/dialogue>\n    <scene_description>The SWAT team backs up but maintain their aim.<\/scene_description>\n    <character>SERGEANT<\/character>\n    <dialogue>Are you nuts?<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>Let them talk. He's not going anywhere.<\/dialogue>\n    <parenthetical>(shouts)<\/parenthetical>\n    <dialogue>He's going back inside the booth.<\/dialogue>\n    <scene_description>Indeed we see Stu re-enter the battered phone booth and pick up the receiver. FOCUS RETURNS TO STU<\/scene_description>\n    <character>STU<\/character>\n    <parenthetical>(into pay phone)<\/parenthetical>\n    <dialogue>Yeah?<\/dialogue>\n    <scene_description>A strange voice begins chattering away in Spanish. Totally unintelligible to Stu.<\/scene_description>\n    <character>STU<\/character>\n    <parenthetical>(into pay phone)<\/parenthetical>\n    <dialogue>You got the wrong number. Hang up.<\/dialogue>\n    <scene_description>The voice, probably a Puerto Rican gentleman, rattles on in Spanish.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>Wrong number. Wrong number.<\/dialogue>\n    <scene_description>Then the voice on the phone suddenly alters the Hispanic accent. It is the now familiar tone of his tormentor.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Aw, relax, Stu. Only yanking your chain. Now can we start over?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Those cops won't wait much longer.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>What else can they do? They can't afford to just shoot you like I can. Not with so much media coverage. Not unless you make some stupid aggressive move.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>The ABC Mobile Unit just rolled up.<\/dialogue>\n    <scene_description>Across the street, Stu can see various TV units from local stations setting up cameras on roofs of trucks.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>Will you look at that? I must be<\/dialogue>\n    <scene_description>going out over the network. Bet they're pre-empting usual programming.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>And just think -- if you survive this, your trial will be televised. And you can try and make the world believe I ever existed. I'd be your only defense.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>How are they gonna prove that I killed anybody when there's no gun?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>They'll plant one. The police aren't above that -- when they're desperate to convict.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>No, sir. No gun and I walk.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Don't you think I took that into account? Am I a fool?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Haven't I considered every eventuality? I knew they'd come and cordon off the block.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And that there'd have to be a gun someplace.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>It's a small booth, Stu. Have you checked every inch of it?<\/dialogue>\n    <character>STU<\/character>\n    <parenthetical>(looking up and down)<\/parenthetical>\n    <dialogue>It's not on the floor.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Then what's left?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Up above.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Could be. Why don't you reach up there and lift the plastic sheet -- and feel around.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>If they see me reach for something, they could open fire.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>They could. But you have to know if it's there. Don't you?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I totally don't give a shit.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>In a narrow space, tucked just to the left of the fluorescent bulb. You can almost see it outlined if you look closely.<\/dialogue>\n    <scene_description>Stu peers upward at the clouded plastic, now stained and dirty. There are shadows of objects above in the shallows area around the light fixture that automatically goes on when the door to the phone booth is tightly closed. Stu opens and closes the door a few times, watching the light click on -- watching the shadows around the light. Could that be an accumulation of dirt, dust, or dead insects? Or could something be stashed up there?<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>It doesn't matter. I know about ballistics. The slug in that dead guy came from your rifle, not any handgun.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You saw how hollow points splinter on impact. There's nothing much for ballistics to match to. The same make .30 calibre bullets are in that handgun. The prosecution rests.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>There's no gun up there. I don't<\/dialogue>\n    <scene_description>see a damn thing.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Slide your finger up under the plastic and you'll feel the cold metal surface. There are four rounds left in it. Should you decide to shoot your way out.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I could never shoot anybody.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You could shoot me, Stu. You'd do that in a minute if you could.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>And I'd fucking love it!<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Now you're speaking from the heart. Come on, just lift the partition a few inches and feel what's there for you.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I'm not getting my fingerprints on your fucking weapon. What about powder residue? How are they going to explain that to a jury?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Do you think that'll matter with so many eye witnesses?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Do it... or should I re-focus my attention on Kelly?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You carefully distracted me from her before and I let you get away with it. But if you're not going to play fairly --<\/dialogue>\n    <parenthetical>(a pause)<\/parenthetical>\n    <dialogue>There she is again. So close I feel like I could touch her.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Get off her!<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Then mind me when I speak.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Look! I'm reaching up with my left hand. I'm pushing against the partition. It's giving. I'm feeling around with my fingertips. It's filthy up there.<\/dialogue>\n    <scene_description>TIGHT SHOT - STU'S FINGERS feel about inside the shallow space. The shriveled remains of dead flies -- a layer of dust -- and then a .30 handgun.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>I'm -- touching something.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>One of the finest handguns Remington makes. Lightweight, efficient and highly accurate.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I'm not picking it up.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Not right now. But eventually...<\/dialogue>\n    <scene_description>Stu lowers his hand, still empty.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>I wouldn't have a chance.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I never said you would.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I'm not insane.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>But you're getting there. It wouldn't take much.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>That won't happen.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You could pull the gun down, shove it in your own mouth and jerk the trigger. That's another option.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Why would I do that?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>To please me. And ensure that nothing happens to Kelly. I don't necessarily have to deal with her today in the midst of a crowd of cops. I can take her out any time I like. When she goes to pull down her blinds at night or when she walks the dog first thing in the morning. What is it -- a Jack Russell?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Okay. I know you can do it. But don't talk about that. Please.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I'd rather see you remembered as the gallant gunman who tried to shoot his way past an army of police -- than as a coward who sucked the barrel. I'm doing your PR for you. Creating a final image that'll endure. The outraged New Yorker who was pushed too far. When some lowlife street person tries to invade his territory, he retaliated. And when the forces of the law closed in, he was defiant... to the end.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Like that nerdy sonofabitch who blew those three wiseass kids away on the subway?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Exactly. Nobody minded that he was a sicko. He was living out a New Yorker's pet fantasy. Can you remember that movie where Peter Finch started screaming 'I'm not taking it anymore!' And everybody picked up on it.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>'I'm mad as hell and I'm not taking it anymore.'<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>That was it. Poor Finch got himself an Oscar for that. But he was dead by then. I mean he really died. Maybe playing that part took too much out of him.<\/dialogue>\n    <character>STU<\/character>\n    <parenthetical>(softly to himself)<\/parenthetical>\n    <dialogue>'I'm not taking it anymore.' 'I'm not taking it anymore.'<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>That's the way! Psyche yourself up. Everybody respects a man who fights back, even if he goes a little berserk in the process.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Fighting back. That's what it's about.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Exactly! We all understand the poor schmuck that gets laid off and comes back and shoots all his bosses. We all thought of doing that. But only he had the balls. The terminally ill husband who gets his policy canceled and machine guns the insurance company offices. Maybe somebody will finally get the message. You can fuck human beings over only for so long before they come back at you. I'm still holding on Kelly and she looks very concerned. I could relieve all that anguish in a fraction of a second. Shall I?<\/dialogue>\n    <scene_description>Stu is hearing these words but thinking only of what the man on the line has done to him. His turn has come to fight back. He has an idea. If the sniper is focused on Kelly, he can't be watching Stu. Turning his back to the police, Stu slowly sinks to his knees.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>I'm on my knees begging you.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Stand up, Stu. You're embarrassing yourself.<\/dialogue>\n    <scene_description>TIGHT ANGLE -- Stu now down on his knees in the booth. He's curled up almost into a fetal position. By doing so, he hopes to hide the fact that he's reaching into his pants pocket and pulling out his cellular phone. He half expects to hear a shot ring out either from the sniper or the cops. But nothing happens.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Stu -- I want you back on your feet facing me. So you can see what I'm going to do to her.<\/dialogue>\n    <scene_description>Stu ignores the command. He's quickly dialing. He's calling police emergency. SNIPER'S POV Stu seen through the cross hairs of the sniperscope, crouched, doubled up at the foot of the booth. But the cell phone is hidden in front of him.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Be a man, Stuart. Don't let them see you like this. You're an embarrassment to me.<\/dialogue>\n    <scene_description>WIDER SHOT - THE BOOTH with Stu still kneeling. RACK FOCUS to police across the street as their voices become clear --<\/scene_description>\n    <character>SERGEANT<\/character>\n    <parenthetical>(listening to transmission)<\/parenthetical>\n    <dialogue>Officer on east side of the street reports subject removed a dark metallic object from his pocket.<\/dialogue>\n    <scene_description>We better move.<\/scene_description>\n    <character>RAMEY<\/character>\n    <dialogue>Hold all fire until you actually identify a weapon. We're doing this on fucking TV!<\/dialogue>\n    <scene_description>RACK FOCUS BACK TO -- STU IN THE BOOTH crouched forward. The pay phone receiver dangles just above his head. The cellular remains cupped in his hand. Stu never lifts the cell phone. He keeps the palm of his hand over the speaker of the phone to muffle any sound from the other end. It rings and finally someone answers.<\/scene_description>\n    <character>EMERGENCY OPERATOR<\/character>\n    <parenthetical>(faint)<\/parenthetical>\n    <dialogue>Police. Is this an emergency? Hello? Is someone on the line?<\/dialogue>\n    <scene_description>But Stu addresses himself loudly to the pay phone which he now grips in his other hand. Hoping that his words will be picked up by the emergency operator listening via the cellular. To help in this regard, he reaches back and slides the door to the booth tightly closed. He pretends to be talking to the sniper but his words are meant for the 911 operator to hear.<\/scene_description>\n    <character>STU<\/character>\n    <parenthetical>(loud)<\/parenthetical>\n    <dialogue>You've made your point. Who's going to believe I've got a sniper with a telescopic sight holding me in a fucking phone booth at 45th and 8th?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>It took you a while to believe it yourself.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>If you'd put a bullet in that Captain Ramey, it would've been a different story -- but you were too wise to do that.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Why don't you do it for me? Wave<\/dialogue>\n    <dialogue>the old captain back over and get him nice and close and then use the handgun on him.<\/dialogue>\n    <character>STU<\/character>\n    <parenthetical>(talking loud)<\/parenthetical>\n    <dialogue>Why me? You could pick off any of those cops from your window up there. Like you did that pimp. And that tourist last week. But this time you want me to do your killing for you.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>And you will! To save Kelly.<\/dialogue>\n    <scene_description>EXTREME TIGHT SHOT - CELL PHONE cupped in Stu's hand and held low. Can they hear him on the other end?<\/scene_description>\n    <character>EMERGENCY OPERATOR<\/character>\n    <parenthetical>(muffled, almost inaudible)<\/parenthetical>\n    <dialogue>Can you speak up, sir? What is your name?<\/dialogue>\n    <scene_description>Stu is concerned that the sniper might hear the voice of the emergency operator. He sets the cell phone down flat on the floor of the booth facing upward. He puts his foot over the receiving end to muffle the incoming voice. Then he stands up.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>That's better, Stu. Now turn around so I can see you.<\/dialogue>\n    <scene_description>Stu talks close into the pay phone receiver now. But keeps his voice raised.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>This booth. It's my whole world -- shrunk down to four feet by three feet. Not much bigger than the size of a coffin.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>They can put handles on the booth and bury you in it.<\/dialogue>\n    <character>STU<\/character>\n    <parenthetical>(loudly into pay phone)<\/parenthetical>\n    <dialogue>When I saw you put that bullet into that black dude, I knew you'd never let me out of this phone booth alive.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You're wasting my time. Reach up and take the gun.<\/dialogue>\n    <character>STU<\/character>\n    <parenthetical>(peering upward, squinting)<\/parenthetical>\n    <dialogue>Let me see you first. What harm can that do you? You're in one of those windows. I've got to know which one.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>No need for that.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Being so far, I could never identify you. I don't even want to.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>What is it then?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Don't worry that I'd try to point you out. You'd shut me up with one of your .30 calibre hollow points before I could even raise a finger.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Why does it matter so much?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I want to see that you exist. Like God exists. It's not enough to believe. You want to see him -- just once -- even at a distance.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>And then you'd take the gun down. And use it. We have a deal on that?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Show yourself to me and I'll take the gun down. I swear.<\/dialogue>\n    <dialogue>There's a pause as the sniper mulls it over.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I don't have to make deals. And you're irritating me by trying to negotiate. God doesn't have to prove anything. He just strikes you down when he gets in the mood.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Stop! I won't ask to see you anymore.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I'm glad that's settled. But look who else has showed up?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I guess she saw the coverage on TV and just couldn't keep away.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>The 'hotel' just arrived. And a very beautiful little hotel she is. Actually, I'd classify her as more of a motel.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Mavis? I don't see her.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>She's too far back behind the police line. But I've got a fine shot at her from up here.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>You don't even know what she looks like.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You're in an enviable position now, Stu. You get to choose between them. Tell me which one.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I can't.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Which will it be? Kelly or Mavis? Or should I simply select one?<\/dialogue>\n    <scene_description>INSERT SHOT - THE CELL PHONE lying face up on the floor of the booth. Is anybody listening? BACK TO STU Stu looks down at the cellular. He has no way of knowing if the police operator can hear any of his words.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>I need time to think...<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You've got to be more in touch with your feelings. You said you love Kelly.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I do.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Then I'm doing you a favor putting you out of the way of temptation.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>It wasn't Mavis' fault. It was all my fault.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Then take the third option. Reach above you and pick up the gun.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>You'll leave them both alone?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>There won't be much point in harming them without you around to impress.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I'll do it.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Let me see you do it.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I need one minute. One last minute, please. Can you give me that?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Don't tell me you're going to say your prayers?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Something like that.<\/dialogue>\n    <scene_description>WE RACK FOCUS AWAY TO LONG SHOT - THE POLICE assembled on the opposite side of the street.<\/scene_description>\n    <character>RAMEY<\/character>\n    <dialogue>They should've traced the fucking call by now.<\/dialogue>\n    <character>SERGEANT<\/character>\n    <parenthetical>(listening on transmitter)<\/parenthetical>\n    <dialogue>There's something else coming in. A 911 operator says your name was mentioned by somebody that's still on the line. Somebody talking about a phone booth. And a sniper.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>Patch me through. Hello, this is Captain Edward Ramey. What about that call?<\/dialogue>\n    <character>EMERGENCY OPERATOR<\/character>\n    <dialogue>The line is still open. It's originating from a booth at 45th and 8th.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>We're there! Can you play me back your recording of the entire call?<\/dialogue>\n    <character>EMERGENCY OPERATOR<\/character>\n    <dialogue>I can't replay the tape while it's still running.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>Then switch to another machine and play back what you've got.<\/dialogue>\n    <character>EMERGENCY OPERATOR<\/character>\n    <dialogue>It's awful faint. He's not talking<\/dialogue>\n    <dialogue>directly into the receiver.<\/dialogue>\n    <scene_description>Ramey begins to listen. We hear snatches of Stu's call picking up words which are at times incomprehensible.<\/scene_description>\n    <character>STU'S VOICE<\/character>\n    <parenthetical>(faint)<\/parenthetical>\n    <dialogue>'Who's going to believe I've got a sniper with a telescopic sight holding me in some fucking phone booth...'<\/dialogue>\n    <scene_description>The uniformed TELEPHONE TECHNICIAN now joins Ramey and the Sergeant.<\/scene_description>\n    <character>TELEPHONE TECHNICIAN<\/character>\n    <dialogue>Got what you wanted. The call's coming from up the street. The Hotel Broadway.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>Have you got the room?<\/dialogue>\n    <character>TELEPHONE TECHNICIAN<\/character>\n    <dialogue>It's not that easy. Electronic switchboard.<\/dialogue>\n    <character>RAMEY<\/character>\n    <parenthetical>(to Sergeant)<\/parenthetical>\n    <dialogue>Move your SWAT units to the hotel. No... wait. Any movement will alert the sniper. If he sees any of us withdraw, he may panic.<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>There's another SWAT unit on the way.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>Intercept them. Divert them to the hotel.<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>It's done.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>Send them in from the Forty-third Street side. I don't want any activity the sniper might catch sight of. He's probably high up and facing that booth. He's got to continue to believe our full<\/dialogue>\n    <dialogue>attention is focused on the man inside -- whoever the hell that poor bastard is.<\/dialogue>\n    <parenthetical>(to emergency operator)<\/parenthetical>\n    <dialogue>Hello 911 operator, I missed some of that. Run it halfway back and repeat it.<\/dialogue>\n    <character>STU'S VOICE (REPLAY)<\/character>\n    <parenthetical>(faint)<\/parenthetical>\n    <dialogue>'... Like you did that pimp. And that tourist last week. But this time you want me to do the killing for you...'<\/dialogue>\n    <character>RAMEY<\/character>\n    <parenthetical>(listening)<\/parenthetical>\n    <dialogue>Jesus... he's a dead man.<\/dialogue>\n    <scene_description>BACK INSIDE PHONE BOOTH<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>The police seem all excited about something, Stu.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Are they? I wasn't looking.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I can't wait any longer. Say amen, then reach up for the gun. When your hand comes down, I want to see it.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I'm too afraid.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>For once, be brave. Surprise yourself.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I'm shaking all over.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Guys in combat situations even shit their pants. But they follow orders.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>As soon as the cops see a gun, they'll open fire.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Then I'd advise you to fire first.<\/dialogue>\n    <scene_description>Stu's arm goes up in a supreme act of willpower. His fingers run along the two clouded plastic sheets that cover the roof of the booth. It raises up easily at the middle where two sheets join. TIGHT INSERT SHOT The space between the roof of the booth and the sheets of clouded plastic. We see the fluorescent lighting fixture covered with dust. The solitary object -- a cruel-looking weapon. Now Stu's fingertips protrude into the small space. He touches the gun, brushes back and forth, feeling the roughness of the grip. TIGHT SHOT - STU'S FACE as below he continues to hesitate -- it's agony -- The sweat pours down his forehead and his eyes are squeezed tightly shut. He can already imagine the police bullets tearing into him. A POLICE SNIPER IS MOVING INTO POSITION.<\/scene_description>\n    <character>POLICE SNIPER<\/character>\n    <parenthetical>(into transmitter)<\/parenthetical>\n    <dialogue>Give me the word.<\/dialogue>\n    <scene_description>RACK BACK TO STU - IN THE BOOTH His arm still raised. He hasn't brought it down with the gun in it. Not yet. He holds the pay phone receiver jammed up against his mouth.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Hard part's over. Drop your arm and point it like you'd point your finger and squeeze.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>No. You do it. If you want me dead, then fucking murder me!<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Why must I keep invoking some poor<\/dialogue>\n    <scene_description>girl's name every time we come to an impasse? I'm focused back on Kelly again. You're obviously not willing to trade your life for hers.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>I am! I'm doing it!<\/dialogue>\n    <scene_description>He pulls the handgun down into full view. Curiously, the police do not open fire.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>There! You see it? They all see it.<\/dialogue>\n    <scene_description>He waves the gun so nobody can miss it.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>Where are you? Damn you!!<\/dialogue>\n    <scene_description>He drops the receiver and steps halfway out of the booth. Still the cops do not open fire. Then Stu starts shooting. Not at the police, but at the high rise buildings across the street. At the thousands of windows that look down upon him. He gets off two shots before a solitary rifle shot rings out in response. RACK FOCUS TO THE POLICE SNIPER He has fired. ANGLE ON STU The remaining glass on the south side of the booth shatters. Stu tumbles forward, sprawling out of the booth onto the pavement. RACK FOCUS TO KELLY She screams, tries to break through but cops restrain her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHONE BOOTH<\/stage_direction>\n    <scene_description>ANGLE ON DANGLING RECEIVER as it sways back and forth. From it, we hear the voice.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Thanks for such an interesting afternoon.<\/dialogue>\n    <scene_description>THEN THERE ARE OTHER SOUNDS EMANATING FROM THE DANGLING SWAYING PHONE. A wooden door being battered open. A few incomprehensible shouts as a SWAT TEAM dashes in. Stu's stalling for time has paid off. THE SOUND OF A BARRAGE OF GUNFIRE. THE SOUND OF A MUFFLED SCREAM. The police have broken in on Stu's tormentor and there has been a rapid exchange of shots. A HAND reaches into the booth and grabs the receiver. ANGLE WIDENS as Ramey places it to his ear.<\/scene_description>\n    <character>RAMEY<\/character>\n    <dialogue>Hello? This is Captain Ramey. Somebody talk to me.<\/dialogue>\n    <character>SWAT OFFICER'S VOICE<\/character>\n    <dialogue>Yeah. We took him out, Captain. Nobody else got hurt.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>What's his condition?<\/dialogue>\n    <character>SWAT OFFICER'S VOICE<\/character>\n    <dialogue>Critical. The sonofabitch took two. Probably won't survive the ride.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>Get a statement from him. I'll be right over.<\/dialogue>\n    <scene_description>He drops the receiver so that it dangles again. CAMERA FOLLOWS RAMEY to where Stu lies surrounded by cops and medics. He's stunned, but very much alive.<\/scene_description>\n    <character>MEDIC<\/character>\n    <dialogue>Don't try to sit up.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>What was that?<\/dialogue>\n    <character>RAMEY<\/character>\n    <parenthetical>(kneeling)<\/parenthetical>\n    <dialogue>Rubber bullet.<\/dialogue>\n    <character>MEDIC<\/character>\n    <dialogue>You'll have one hell of a nasty welt. Busted rib. Maybe a permanent scar there.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>It couldn't hurt much more if you really shot me.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>Somebody was going to and we thought it may as well be us.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Did you get him?<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>Sure as hell did. Thanks to you.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Still alive?<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>Barely.<\/dialogue>\n    <character>MEDIC<\/character>\n    <dialogue>We'll be giving him a hypo for the pain. It'll put him out for a while.<\/dialogue>\n    <scene_description>Kelly is now brought over by a female cop. She drops to her knees beside Stu and tries to embrace him. The medics restrain her.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>It's okay. I'm not really shot.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>I was so afraid. I thought...<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I thought so, too. But we're going to be alright. Both of us.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>Remember how you swore up and down you'd get me on TV? Well, you did. I already got interviewed on Fox and Channel Eleven and they even want me on A.M. America tomorrow morning.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Bet you didn't think I could deliver on that.<\/dialogue>\n    <character>MEDIC<\/character>\n    <dialogue>Will you please let go of him, Miss?<\/dialogue>\n    <scene_description>A gurney is wheeled over from a police ambulance. The medic is about to administer the hypo but Stu pushes him away.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>No. No hypo. I want to see him first.<\/dialogue>\n    <scene_description>The medics are now ready to lift Stu onto the gurney and cart him off. But Stu struggles against them.<\/scene_description>\n    <character>RAMEY<\/character>\n    <dialogue>Relax. The guy's dying.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>That's why I've gotta talk to him. Please!<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>We'll see.<\/dialogue>\n    <character>MEDIC<\/character>\n    <parenthetical>(to Kelly)<\/parenthetical>\n    <dialogue>You can ride with him in the ambulance.<\/dialogue>\n    <scene_description>The woman cop escorts Kelly to the waiting ambulance. Ramey meanwhile tries to resume contact with the SWAT team inside the hotel.<\/scene_description>\n    <character>RAMEY<\/character>\n    <dialogue>This is Ramey. Over. This is Ramey. Ten-Four.<\/dialogue>\n    <scene_description>There's nothing but static, mixed up feedback and multiple garbled voices on the other end of the line.<\/scene_description>\n    <character>RAMEY<\/character>\n    <dialogue>Shit. Get everybody off this wavelength.<\/dialogue>\n    <scene_description>He crosses back to the phone booth -- picks up the dangling receiver.<\/scene_description>\n    <character>RAMEY<\/character>\n    <dialogue>Hello. Hello! Pick up! Yeah, it's Ramey again. Can you hold the phone close enough so the perp can listen?<\/dialogue>\n    <character>COP'S VOICE<\/character>\n    <dialogue>He's not saying a word, Captain.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>He's not about to talk to us. Maybe to him.<\/dialogue>\n    <scene_description>Ramey looks back to where the medics are still trying to lift Stu onto the gurney.<\/scene_description>\n    <character>RAMEY<\/character>\n    <dialogue>Forget that. Stand him up.<\/dialogue>\n    <parenthetical>(to Stu)<\/parenthetical>\n    <dialogue>Can you stand?<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I can try.<\/dialogue>\n    <character>RAMEY<\/character>\n    <dialogue>Help him over here.<\/dialogue>\n    <scene_description>The medics support Stu and inch him back to the booth. It's painful, but Stu ignores it. Ramey holds the phone up so Stu can both listen and speak.<\/scene_description>\n    <character>RAMEY<\/character>\n    <dialogue>Here. Speak up.<\/dialogue>\n    <character>STU<\/character>\n    <parenthetical>(into pay phone)<\/parenthetical>\n    <dialogue>It's me. Do you hear me? Answer me.<\/dialogue>\n    <character>VOICE<\/character>\n    <parenthetical>(wheezing)<\/parenthetical>\n    <dialogue>Had to have the last word, Stu.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>I finally beat your ass. Admit it, you fuck.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>But you'll never forget me. I gave you the most thrilling day of your life. Say thanks.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Now you're gonna die, you bastard.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I lost a lot of blood. Don't you want to donate some for me? Then we'd really be part of each other.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>Hang on. I can't wait to see you at the hospital. So I can yank your fucking air tube out.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Wish I could give you that pleasure. You deserve it.<\/dialogue>\n    <parenthetical>(coughing)<\/parenthetical>\n    <dialogue>... Only I'm out of time.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>What's your name? At least tell me who you are.<\/dialogue>\n    <scene_description>There's more violent coughing, then silence. Then a cop's voice is heard.<\/scene_description>\n    <character>COP'S VOICE<\/character>\n    <dialogue>He's gone.<\/dialogue>\n    <scene_description>Stu stares at the receiver.<\/scene_description>\n    <character>RAMEY<\/character>\n    <dialogue>Don't worry. We'll find out who he is. And why he picked you.<\/dialogue>\n    <character>STU<\/character>\n    <dialogue>No. You won't.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>What do you want to bet you won't?<\/dialogue>\n    <scene_description>Stu reaches over and hangs up the receiver. CLICK.<\/scene_description>\n    <character>STU<\/character>\n    <dialogue>I'll spend my whole life trying to figure that out.<\/dialogue>\n    <scene_description>Then he sinks into the arms of the medics who lower him onto the waiting gurney. The hypo is finally administered. It kicks in immediately, relieving the pain. He's wheeled away from the booth to the waiting ambulance. Kelly is already inside waiting to accompany Stu to the hospital. STU'S POV - BEING WHEELED AWAY FROM THE EMPTY BOOTH pulling away in LOW ANGLE. CAMERA SLIDES BACK inside the ambulance with Stu. The doors shut, obliterating our view of the phone booth that was his entire world until moments ago.<\/scene_description>\n    <character>STU<\/character>\n    <parenthetical>(groggy)<\/parenthetical>\n    <dialogue>Gotta sleep now. No phone calls...<\/dialogue>\n    <scene_description>Kelly smiles down at him as the image blurs. Stu passes out -- into a deep sleep he much deserves. A SIREN BLARES. CUT TO BLACK.<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Stuart Shepard is an arrogant and dishonest New York City publicist who has been having an affair with Pamela McFadden behind the back of his wife Kelly. While in Times Square, Stuart uses a public phone booth to contact Pam, allowing him to avoid detection by Kelly. During the call, he is interrupted by a pizza delivery man who attempts to deliver a free pizza to him, but Stuart aggressively turns him away. As soon as Stuart completes his call, the phone rings. Stuart answers; a man on the other end, who knows his name, warns him not to leave the booth, threatening to tell Kelly about Pam. The caller tells Stuart that he has tested two previous individuals who have done wrong deeds in a similar manner, giving each a chance to reveal the truth to those they wronged, but in both cases they refused and were killed. Stuart must confess his feelings to both Kelly and Pam to avoid the same fate. To demonstrate the threat, the caller fires a suppressed sniper rifle with pinpoint accuracy. The caller then contacts Pam and connects her to Stuart, who admits that he is married. The booth is approached by three prostitutes demanding to use the phone, but Stuart refuses to leave, without revealing his dilemma. Leon, a pimp, breaks the glass side of the booth, grabs Stuart and pummels him while the prostitutes cheer. The caller offers to \"make him stop\" and in Stuart's confusion, he inadvertently asks for this; the caller shoots Leon dead. The prostitutes immediately blame Stuart, accusing him of having a gun, as the police and news crews converge on the location. NYPD Captain Ed Ramey seals off the area and negotiates to make Stuart leave the booth, but he refuses. Stuart tells the caller that there is no way they can incriminate him, but the caller draws his attention to a handgun planted in the roof of the phone booth. As Kelly and Pam both arrive on the scene, the caller demands that Stuart tell Kelly the truth, which he does. The caller then orders Stuart to choose between Kelly and Pam, and the woman he does not choose will be shot. Stuart secretly uses his cell phone to call Kelly, allowing her to overhear his conversation with the caller; she quietly informs Ramey of this. Meanwhile, Stuart continues to confess to everyone that his whole life is a lie, to make himself look better than he really is. Stuart's confession provides sufficient distraction to allow the police to trace the payphone call to a nearby building. Stuart warns the caller that the police are on the way, and the caller replies that if he is caught, he will kill Kelly. Desperate, Stuart grabs the handgun and leaves the booth, begging for the sniper to kill him instead. The police fire upon Stuart, while a SWAT team breaks into the room that the caller was tracked to, only to find a rifle and a man's corpse. Stuart regains consciousness; the police having fired only rubber bullets, stunning but not harming him. Stuart and Kelly happily reconcile. As the police bring down the body, Stuart identifies it as the pizza delivery man from earlier. Stuart gets medical treatment at a local ambulance. After getting a shot from a paramedic, he starts losing conscience. The real caller passes by, warning Stuart that if his newfound honesty does not last, he will return, before disappearing into the crowd, while the pay phone rings again."}
{"movie_name":"The Place Beyond the Pines_2012","imdb_id":"tt1817273","script":"<script>\n  <scene>\n    <scene_description>The Place Beyond The Pines Written by Derek Cianfrance, Ben Coccio &amp; Darius Marder Producers Jamie Patricof Lynette Howell Alex Orlovsky 8409 Santa Monica Blvd White West Hollywood, CA 90069 06\/14\/2011 (323) 654-7800 \"He linked the past with the present, and the eternity behind him throbbed through him in a mighty rhythm to which he swayed as the tides and seasons swayed.\" Jack London, THE CALL OF THE WILD \"One cannot violate the promptings of one's nature without having that nature recoil upon itself.\" Jack London, WHITE FANG<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. ALTAMONT FAIR - NIGHT 1<\/stage_direction>\n    <scene_description>LUKE GLANTON; 28, handsome; has sex with a GROUPIE in his trailer. Very animal. They finish. He zips up a motorcycle jacket over two faded prison tatoos, strides from his trailer through the corridors of the arena, passing other performers on his way to the main ring. He hears echoing strains of DEATH METAL on the PA mix &amp; a cheering audience.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALTAMONT FAIR MAIN RING- CONTINUOUS 2<\/stage_direction>\n    <scene_description>Luke climbs onto his bike, revs the engine. Roadies slap his back, give him high 5's. He is joined by 2 motorcyclists.<\/scene_description>\n    <character>ANNOUCER OVER P.A.<\/character>\n    <dialogue>And now, ladies and gentlemen, boys and girls, get ready to be rocked by the motor-cycle mayhem of...<\/dialogue>\n    <scene_description>A spherical, metal cage sits under the Big-Top. Next to it stands an ornate portico with a red velvet curtain as a door.<\/scene_description>\n    <character>ANNOUCER OVER P.A.<\/character>\n    <dialogue>Luke Glanton and his Rough Riders!<\/dialogue>\n    <scene_description>The two motor-cycles ride ahead of Luke through the curtain and into the cage. Luke bursts through, stops, revs his engine and pumps his fist at the roaring crowd. ROMINA GUTIERREZ, 26, Hispanic; sits in the bleacher seats, watching the spectacle. Enraptured. Luke drives into the cage where the other riders make long, lazy loops. Luke guns it, guides his bike over the inside walls of the cage. He defies gravity while weaving his way around the other two stunt riders. He makes it look easy. But it isn't. It is a death-defying act of bravado. The other two drivers leave the cage and Luke performs his finale; a slow inside loop where his bike leaps from one facet of the cage to another. The crowd goes wild.<\/scene_description>\n    <character>ANNOUCER OVER P.A.<\/character>\n    <dialogue>Let's hear it for Luke Glanton and his Rough Riders, folks!<\/dialogue>\n    <scene_description>LATER Lights are up. Luke sits on his bike, signing autographs and taking pictures with a gaggle of extremely psyched 8-year old boys. Luke clearly enjoys being the coolest thing in the world to these kids. Romina walks against the surge of people exiting the arena. Luke catches sight of her; he drops what he's doing.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <character>ROMINA<\/character>\n    <parenthetical>(shifting, awkward)<\/parenthetical>\n    <dialogue>I didn't know if you'd remember...<\/dialogue>\n    <scene_description>Luke looks at her like she's crazy. His fans tug on his clothing, vying for his attention. He pushes through them to get closer to Romina. They give each other a little hug, careful not to smush the youngsters all around them.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>You wanna go somewhere? You got plans tonight?<\/dialogue>\n    <character>ROMINA<\/character>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>I gotta go. I just wanted to see you again.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Can I give you a ride home?<\/dialogue>\n    <scene_description>She remembers the thrill riding on the back of Luke's bike.<\/scene_description>\n    <character>ROMINA<\/character>\n    <dialogue>I'm fine. I can just take the bus.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROUTE 5 - NIGHT<\/stage_direction>\n    <scene_description>Luke tears away from the Arena. Everything around looks run- down, abandoned. We are in Schenectady; a smaller, upstate- New York version of Detroit. It is 1994. Romina rides on the back of his bike, her arms holding tight around his abdomen. The wind blows hair into her indecisive face. She really should be on the bus right now. But the air is cold and Luke's body is warm. She buries her face into the back of his leather jacket.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TWO-FAMILY HOUSE - LATER<\/stage_direction>\n    <scene_description>Luke pulls up in front of an old, two-family house. Romina gets off, looks over her shoulder; the living room light is ON. She says, \"thanks\" and gives Luke a peck on the cheek.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>That's it? You don't wanna talk, or anything...<\/dialogue>\n    <character>ROMINA<\/character>\n    <parenthetical>(hiding something)<\/parenthetical>\n    <dialogue>I can't. I think about you a lot.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>So then lets hang. We pack up after tomorrow night's show and I probably won't be back this way for another year. At least. Wanna get a beer or something?<\/dialogue>\n    <character>ROMINA<\/character>\n    <parenthetical>(comes close, whispers)<\/parenthetical>\n    <dialogue>I'm with someone... I just wanted to see you again...<\/dialogue>\n    <scene_description>She kisses him again quick, wishing she could stay. Then runs away, not looking back, up the steps of her childhood home.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Say 'hi' to your mom.<\/dialogue>\n    <scene_description>Luke starts his bike, tears out of the neighborhood, tires squealing smoke, blackening the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALTAMONT FAIR. NIGHT. 6<\/stage_direction>\n    <scene_description>Engine gunning, Luke circles the inside of the steel cage in a rage. He is on the verge of crashing. The audience rapt. 7 LATER 7 ROADIES and performers pack up the steel cage. Luke wanders through the activity and ignores the throngs of kids seeking autographs. He searches the fair for Romina. She is nowhere to be found. He mounts his bike.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROUTE 5 - NIGHT<\/stage_direction>\n    <scene_description>Raging, Luke drives fast through the night streets.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. TWO FAMILY HOUSE - LATER. 9<\/stage_direction>\n    <scene_description>MALENA, 47, Guatemalan, opens the door in nurse's scrubs. Instantly, she recognizes Luke.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Hello mama.<\/dialogue>\n    <character>MALENA<\/character>\n    <dialogue>She's no here.<\/dialogue>\n    <character>LUKE<\/character>\n    <parenthetical>(sighs, resigned)<\/parenthetical>\n    <dialogue>Is the man of the house home?<\/dialogue>\n    <scene_description>Luke hears a BABY crying from inside. Malena tries to hide it by closing the door so only her head is visible.<\/scene_description>\n    <character>MALENA<\/character>\n    <dialogue>Nobody's home...<\/dialogue>\n    <scene_description>Malena is short. And Luke peeks over her into the house. SEES - a few baby toys scattered in the floor. Luke looks down. Malena relents. She can't keep him away from the truth any longer.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TWO- FAMILY HOUSE- CONTINUOUS 10<\/stage_direction>\n    <scene_description>He gets past her. Looks around the house. Follows the sound of the crying baby upstairs. He pushes open the door to Romina's bedroom. A BABY wails in the center of a twin bed surrounded by pillows. Malena comes in, scoops him up, starts to bounce and \"shush\" him. Luke stands near the door, rocked.<\/scene_description>\n    <character>MALENA<\/character>\n    <dialogue>You wanna hold him?<\/dialogue>\n    <scene_description>Luke is unsure. He awkwardly, but gently accepts the baby into his arms. Luke and the baby stare at one another. Tears well in Luke's eyes as he falls in love with his son. Malena smiles.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Romina still work at the diner?<\/dialogue>\n    <scene_description>Malena tries to give nothing away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLYMPIC DINER - LATER<\/stage_direction>\n    <scene_description>Luke walks into the diner. He's pissed, looks around but doesn't see Romina. Luke doesn't sit. He waits. Romina exits kitchen with a tray of food. Sees Luke immediately.<\/scene_description>\n    <character>ROMINA<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Oh, I don't know... You think we have anything else to discuss before I take off again tomorrow forever?<\/dialogue>\n    <scene_description>Romina is frozen for a second. She knows that Luke knows her secret. She walks to a table with her tray of food. Luke stands still. Waits for her to come back. When she returns, she is flustered.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>You weren't gonna tell me?<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>It was just a fling.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Still... It's common courtesy. Might even be the law.<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>I haven't heard from you in a year.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>I know it. It's not 'cause I haven't thought about you...<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>I haven't been waiting to hear from you, or anything.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>What's his name?<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>Jason.<\/dialogue>\n    <scene_description>Luke and Romina look at each other in silence.<\/scene_description>\n    <character>ROMINA<\/character>\n    <dialogue>I'm going to school nights now.<\/dialogue>\n    <character>LUKE<\/character>\n    <parenthetical>(quickly)<\/parenthetical>\n    <dialogue>Good for you.<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>I don't have a lot of time for anything except Jason and school and work. And my boyfriend.<\/dialogue>\n    <scene_description>Silence. A challenge.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Great. Sounds like you got everything you need.<\/dialogue>\n    <scene_description>Luke turns and walks away from Romina. She is crushed as she watches him walk away. She gets back to work.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALTAMONT FAIR. TRAILER OFFICE. 12<\/stage_direction>\n    <scene_description>The fair is packed up and ready to leave. Luke wheels his bike up to a trailer office.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALTAMONT FAIR. TRAILER OFFICE- 13<\/stage_direction>\n    <scene_description>JACK, weathered, 55, sips coffee &amp; shoots Luke with venom from his dilated pupils.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>How many fuckin' times I have to tell you?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>\"After the show, help everyone dismantle.\" Then you can go get your dick wet &amp; whatever the fuck- else you need to do.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>When's this pay period end? Friday?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>I need whatever's coming to me now. You can cut off the next two days.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I don't give out advances.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>It's not an advance. I quit.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>You can't quit.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>I'm taking the bike too.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>You can't take the bike.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>It's my bike.<\/dialogue>\n    <scene_description>Jack sighs. He leans forward and pulls a wad of bills from his back pocket. He peels off some bills.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TURNPIKE. MORNING. SIDE OF THE ROAD.<\/stage_direction>\n    <scene_description>Luke sits on his bike watching the Fair drive away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BLUE BELL MOTEL - AFTERNOON 15<\/stage_direction>\n    <scene_description>Luke's bike is parked in front of an old, run-down motel.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLUE BELL MOTEL- CONTINUOUS 16<\/stage_direction>\n    <scene_description>Luke sits on his bed, eats McDonald's. The TV is on playing a news report from 1994. He counts his pay-out, folds it, slips it in his boot.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TWO-FAMILY HOUSE - MORNING 17<\/stage_direction>\n    <scene_description>Luke rings the doorbell, bag of BISQUICK under his arm. Door opens. Romina stands there, wearing her Sunday's best. She is speechless and stares at Luke through the screen door.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Wow. Look at you. You look like a princess.<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>What are you still doing here?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>I'm here.<\/dialogue>\n    <scene_description>He holds out the bag of BISQUICK.<\/scene_description>\n    <character>LUKE (CONT'D)<\/character>\n    <dialogue>You like pancakes? I like to make people pancakes. I got a special way with 'em. You wanna know my secret ingredient? Huh? LOVE. They're not the kind of pancakes you get at that greasy place you work. You know?<\/dialogue>\n    <scene_description>Romina nervously looks back into the house.<\/scene_description>\n    <character>LUKE (CONT'D)<\/character>\n    <dialogue>And anyway... I'd like to make you and Jason some of my special pancakes. Would you allow me to do that?<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>This isn't a good time.<\/dialogue>\n    <character>KOFI (O.S.)<\/character>\n    <dialogue>Ready?<\/dialogue>\n    <scene_description>Romina turns. Sees KOFI CANKAM - 28, black, wearing a suit come down the stairs carrying Jason in his arms.<\/scene_description>\n    <character>ROMINA<\/character>\n    <dialogue>(back to Luke)<\/dialogue>\n    <scene_description>We're going to church. Kofi opens the door. Steps out onto the porch. Faces Luke.<\/scene_description>\n    <character>KOFI<\/character>\n    <dialogue>I know who you are.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Well you got me at a disadvantage.<\/dialogue>\n    <scene_description>Luke sees his son, Jason, dressed in a white baptismal gown. He is less frightened of his own son now. In fact, he wants to hold him. He gestures to Kofi.<\/scene_description>\n    <character>LUKE (CONT'D)<\/character>\n    <dialogue>Do you mind?<\/dialogue>\n    <scene_description>Kofi doesn't want Luke to take Jason away from him.<\/scene_description>\n    <character>ROMINA<\/character>\n    <dialogue>It's okay. Let him.<\/dialogue>\n    <scene_description>Kofi hesitates. Concedes that he really has no choice in this matter. He hands Jason to Luke.<\/scene_description>\n    <character>KOFI<\/character>\n    <dialogue>Watch his neck.<\/dialogue>\n    <scene_description>Luke and the baby stare at one another.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Whoa. He looks like a little prince.<\/dialogue>\n    <scene_description>Romina watches Luke and Jason, smiles. Tears well in her eyes. Kofi sees it all happen.<\/scene_description>\n    <character>KOFI<\/character>\n    <dialogue>So, when do you leave town?<\/dialogue>\n    <scene_description>Luke doesn't answer. Instead, he asks his own question.<\/scene_description>\n    <character>LUKE (TO KOFI)<\/character>\n    <dialogue>How long you lived here?<\/dialogue>\n    <scene_description>Kofi has had enough but is playing along.<\/scene_description>\n    <character>KOFI<\/character>\n    <dialogue>Couple months.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Little cheaper than having your own place, I suppose...<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>Kofi's helping us buy this house.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Wow. You move fast huh?<\/dialogue>\n    <character>KOFI<\/character>\n    <dialogue>I'm not moving at all actually.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>How much they want for a place like this anyway?<\/dialogue>\n    <character>KOFI<\/character>\n    <dialogue>Bout a hundred and twenty five thousand. Why? You in the market?<\/dialogue>\n    <scene_description>Romina reaches in and takes Jason from Luke.<\/scene_description>\n    <character>ROMINA<\/character>\n    <dialogue>Okay we have to go. Or we're gonna be late.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>I'd like to come.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CATHOLIC CHURCH. JASON'S BAPTISM. DAY. 18<\/stage_direction>\n    <scene_description>Kofi holds Jason at the altar. Romina and Malena stand next to him. A PRIEST pours holy water over Jason's head. Luke stands in the pews, watching, seething.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRIENDLY'S RESTAURANT - DAY 19<\/stage_direction>\n    <scene_description>Luke pulls his bike into the parking lot, gets off, walks into the restaurant.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRIENDLY'S RESTAURANT - DAY<\/stage_direction>\n    <scene_description>MR. FEINSTEIN, the manager of the restaurant peruses Luke's neatly handwritten resume. He looks up, smiles.<\/scene_description>\n    <character>MR. FEINSTEIN<\/character>\n    <dialogue>So why do you want to work at Friendly's, Mr. Glanton?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>I don't really want to in particular. I need to. You were the first to get back to me.<\/dialogue>\n    <character>MR. FEINSTEIN<\/character>\n    <dialogue>You shouldn't answer like that.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Just being honest, sir.<\/dialogue>\n    <character>MR. FEINSTEIN<\/character>\n    <dialogue>An answer like that won't get you the job.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>I need this. For my boy.<\/dialogue>\n    <character>MR. FEINSTEIN<\/character>\n    <dialogue>Now, see? That's better and you didn't even have to lie.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STOCKROOM, FRIENDLY'S - LATER<\/stage_direction>\n    <scene_description>Luke sits in front of a television hooked up to a VCR. Mr. Feinstein puts a tape in the machine, presses 'play.'<\/scene_description>\n    <character>MR. FEINSTEIN<\/character>\n    <dialogue>This is only a few minutes long. Take a look, then come find me.<\/dialogue>\n    <scene_description>Mr. Feinstein leaves the room. VIDEO BEGINS - instructs new employees how to make the various types of sundaes. Everyone in the video is 19 or younger. Everyone smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. FRIENDLY'S RESTAURANT - CONTINUOUS<\/stage_direction>\n    <scene_description>Luke strolls briskly out the front door. Feinstein catches him leaving out of the corner of his eye. Watches Luke straddle his bike and roar away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PINE BARRENS - DAY<\/stage_direction>\n    <scene_description>Outside of town, thousands of tall, thin pines stand cheek by jowl. Luke speeds between them with reckless abandon and joy. He catches sight of an ATV through the pines, plotting a parallel course, as if in unspoken friendly competition.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING AREA OFF THE ROAD NEAR PINE BARRENS - LATER<\/stage_direction>\n    <scene_description>Luke comes to a parking area adjacent to the main road. Sees - ROBIN VAN DER ZEE, 48, white, working hard to get his ATV onto the trailer behind his pickup. Luke trots up to help. They roll the ATV onto the trailer, secure it with nylon straps. Robin makes note of Luke's bike.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Mean machine.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>I built it myself. Mostly.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>You handle it like a pro.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Yessir.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>You headed back to town?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>I suppose...<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Give you a ride. Save you some gas.<\/dialogue>\n    <scene_description>They strap his bike next to the ATV. Robin notices one of Luke's prison tatoos.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BLUE BELL MOTEL - LATER 25<\/stage_direction>\n    <scene_description>Robin pulls up to the Esquire, surveys the run-down motel.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Thank you kindly.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>You're staying here?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Temporarily.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Just passing through, huh?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Naw. I'm transitionin' in.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>What are you doing for work?<\/dialogue>\n    <scene_description>Luke looks around... not many opportunities in his sights.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>You know your way around an engine?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>I do.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>I run a little service station back down route 5. I could use a good, you know, American worker like you, you know what I mean? Good people. At least, that's what you seem like. I can put you up, too. Got a little apartment above the garage. It's modest, but its got what you need. Better than this shit-hole.<\/dialogue>\n    <scene_description>Luke considers the offer. Robin flashes a wry smile.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Did I catch you at a busy time or something?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VAN DER ZEE'S STATION - LATER<\/stage_direction>\n    <scene_description>They pull up to into a run-down service station. Busted cars crowd the bays. A JUNKYARD DOG named TONY barks at Luke.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT ABOVE SERVICE STATION - CONTINUOUS<\/stage_direction>\n    <scene_description>Robin opens the door to a tiny studio. A tiny fridge sits next to a tiny stove, next to a twin bed.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>It's not much. We'll take the rent out of your pay, okay?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>I'm not sucking your cock.<\/dialogue>\n    <scene_description>Robin laughs, awkward.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Okay... This isn't jail. This can be your home. You ever been in jail?<\/dialogue>\n    <scene_description>Luke has. But he's not about to tell Robin about it.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>You don't have to be coy with me, son. See this?<\/dialogue>\n    <scene_description>Robin pulls out his top row of teeth. Dentures. Just gums remain. He pops the teeth back in.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I had too many postage stamps. Contraband, they said. They tell me their gonna put me in solitary for a month. Problem is, I had this gum infection. Doc ordered 2 weeks of antibiotics before they would put me in solitary. But the warden... he saw no need for postponement. So he orders the prison dentist to pull all my top teeth. Then put me in solitary. Damn near starved to death. Mom smuggled in crushed penicillin pills.<\/dialogue>\n    <scene_description>Robin punctuates his story by clacking his teeth.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Ten years in Attica. Ten years probation. I'm clean as a whistle now. You ever been in jail?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>I knew it when I first saw you. Birds of a feather... Wanna flock?<\/dialogue>\n    <scene_description>Luke has a mind to knock Robin's block off. Robin starts laughing at him, deep belly laughs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - DUSK 28<\/stage_direction>\n    <scene_description>Luke tears down a winding road. The low sun creates a long shadow of him on his bike on the road in front of him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TWO FAMILY HOUSE, NIGHT 29<\/stage_direction>\n    <scene_description>Luke sits on the side of his bike. Across the street is Romina's house. The kitchen is brightly lit and Luke can hear the sound of talking and laughter. From his bike he sees Kofi lifting Jason over his head and talking to him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBIN'S SERVICE STATION - DAY 30<\/stage_direction>\n    <scene_description>Luke, covered in grease, works diligently under a 1988 Ford Taurus. He notices Robin's feet approach. Slides out from under. Robin peels a few bills and hands them down to Luke.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Payday, my boy. Less room &amp; board.<\/dialogue>\n    <scene_description>Luke counts his paltry sum. Sighs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PINE BARRENS - DAY 31<\/stage_direction>\n    <scene_description>LATER. Luke and Robin sit an old tree stump drinking beer.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>All my people were Dutch. This town, the whole area started Dutch.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>I need to earn more money. Any chance you give me a raise?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Believe me, kid. If I could give anyone a raise, it would be you. You're a real asset. And good company too. The big chains bleed me a little bit more each month. The only regular work I get into the shop is souping up low-riders for niggers and spics.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>My kid is half spic. Or half something south of the border...<\/dialogue>\n    <scene_description>Robin toasts Luke with his beer. They drink.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I like you, boy. You remind me of me. A lo-o-o-o-ong time ago.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>You ain't so old.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Not so old I'm throwing in the towel. I'm not just gonna sit there and wait around til someone tell's me I'm a dead duck. I have a feeling you're the same way. Right?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>I don't like waiting around for other people to give me permission to live.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>You're like me. You're a chisler.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>I ain't no chisler. What's that, anyway?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>You play all the angles... I know you've been to jail. More than once, right?<\/dialogue>\n    <scene_description>Luke puts down his beer and stares at Robin hard.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Course you have. You've stolen before.<\/dialogue>\n    <scene_description>Luke gets up and starts to walk away.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Now don't be like that. You know I'm not judging you. Hell, I admire a thief. It takes a man to steal.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>You don't know a thing about me.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Oh, please do pardon me. I certainly hope my misjudging you in this way didn't hurt your feelings too deeply. Tell me you've stolen!<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>I've stolen.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>But you did it stupid, right? You got liquored up and knocked over a convienience store or something?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>I didn't need to be liquored up.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Fair enough. But you got caught... I know you like you're my own flesh and blood. Your problem wasn't your lack of courage. It was your lack of foresight. Your plan failed you. Look, how would you like to do it right? With me? What do you say?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>I got two things to say. First of all, thank you, for considering me. Second of all, fuck you. I got a kid!<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Well that's why we're talking here, isn't it. I never had children, that I know of, but I do watch a lot of TV. Nature shows mostly.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Providing for your family, that's something I understand. It's animal. It's instinct. You get a mouth to feed and all of a sudden you got a purpose, you have a goal. And you focus everything you have, everything you are like a laser on that goal, right? You gotta edge out the competition with whatever you have to offer. With whatever talents are at your disposal. And you're a man with some very, very unique talents.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLYMPIC DINER - DARKEST HOUR BEFORE DAWN 32<\/stage_direction>\n    <scene_description>The middle of a long shift. Romina steps from the kitchen carrying several plates. She drops off the breakfast specials at their destination and sees Luke - slumped in a booth. Romina stares at the back of his head for a while. MOMENTS LATER. They look at one another over cups of coffee.<\/scene_description>\n    <character>LUKE!<\/character>\n    <dialogue>Marry me.<\/dialogue>\n    <scene_description>Romina tries to repress her laughter.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Why are you laughing?<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>You're corny. You don't even know me.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>I know I love my boy. He's definitely my boy, right?<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>...Yeah... But you didn't even know he existed until a few days ago.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>...Don't matter.<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>You say you want to marry me. You don't mean it. You might think you do. But it's not true. You're just excited...<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>How can you sit there, and tell me what I do and don't feel? What're you, Carnac? I'm saying \"I love you.\" I'll learn to. Even when you hurt my feelings. And I'm saying, \"I love him.\" That's it. There's nothin' left to say. That's truth.<\/dialogue>\n    <scene_description>Romina soaks up his words.<\/scene_description>\n    <character>LUKE (CONT'D)<\/character>\n    <dialogue>I can take care of you.<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>Oh, really?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>How are you gonna do that? You don't even have a job.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>That's not true. I have a job now. I'm making money. That's not a problem. I'm saving up. I was thinkin' we could buy a RV or something. And get out of this god- forsaken town. And in style, ya know? I could show you the country. We could raise Jason in home of the brave. Ya know? Let our boy smell freedom.<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>You're crazy.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Why? Why do you say that? You're the one who's crazy to question it.<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>I'm not leaving my mom.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>She can come. Bring her. We'll make room. Not a problem.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>ROMINA<\/character>\n    <dialogue>What about Kofi?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>He can stay home.<\/dialogue>\n    <scene_description>Romina gets up from the booth.<\/scene_description>\n    <character>LUKE (CONT'D)<\/character>\n    <dialogue>So what do you think?<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>Sounds like a nice dream for you.<\/dialogue>\n    <scene_description>She sets the check, $1.50 face down, in front of him.<\/scene_description>\n    <character>ROMINA (CONT'D)<\/character>\n    <dialogue>I need to get back to work.<\/dialogue>\n    <scene_description>She walks away. Luke scans the check, digs in his pocket.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBIN'S KITCHEN - LATER 33<\/stage_direction>\n    <scene_description>Robin and Luke sit at the kitchen table. A map is spread out before them. On it - several locations marked with red dots.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>These are a few prospects, but I'm sure we could find some more.<\/dialogue>\n    <scene_description>Robin places something swaddled in old flannel rags on the table. He pushes it toward Luke.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Don't ask me where I got it from.<\/dialogue>\n    <scene_description>Luke slowly unwraps the flannel - a .38 snub-nosed pistol sits on the table.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>We'd split everything fifty-fifty.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Seems like I'm taking most of the risk. I should get most of the reward.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>I'll just find someone else who will be happy with an even split.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Really? You're gonna get someone else to rob a goddamned bank with you? Okay Robin.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Come on! Don't get lawyerly on me.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Sixty-forty.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Seventy-thirty.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Sixty-five-thirty-five or go to hell.<\/dialogue>\n    <scene_description>Luke picks up the pistol.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROBIN'S SERVICE STATION - LATER 34<\/stage_direction>\n    <scene_description>Robin and Luke inspect a beat-to-hell cube truck. It's white and nondescript. The windshield has a crack across it.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Doesn't look like much, but it runs fine. And the back is big enough.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>You bought this? For this?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>You gotta spend $ to make $.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBIN'S SERVICE STATION - NIGHT<\/stage_direction>\n    <scene_description>Robin clicks the button of a stop-watch.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Go.<\/dialogue>\n    <scene_description>Halfway across the garage bay stands an old bureau. Luke runs up to the bureau and vaults it.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Ten seconds. Let's go.<\/dialogue>\n    <scene_description>Luke stands behind the bureau and grabs Monopoly money that had been placed in the bureau's drawers.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>You didn't tell anyone what to do. People are getting panicked.<\/dialogue>\n    <scene_description>Luke halfheartedly speaks into the empty garage.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Everyone get down on the floor.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Aw, Jesus. You sound like you're asking some jerk off for directions. Twenty seconds.<\/dialogue>\n    <scene_description>Luke grabs the rest of the money and leaps over the bureau. He runs for the bay's door. Robin clicks his stopwatch.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Pathetic.<\/dialogue>\n    <scene_description>Robin places his hand gently on Luke's chest.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Listen, kid. You're a performer, right? These folks in the bank, they're your audience. They're expecting a show. They want to see a real live bank robber. Give 'em what they want, and you won't get any trouble.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANK - MORNING<\/stage_direction>\n    <scene_description>Robin and Luke step up to the young, female TELLER and smiles.<\/scene_description>\n    <character>TELLER<\/character>\n    <dialogue>How can I help you today?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Hi there, sweetheart. I need to break this hundred. One fifty, two twenties and a ten, please.<\/dialogue>\n    <scene_description>Robin watches the teller use a set of keys she has wrapped around her wrist on an elastic band to open up three separate drawers. The drawers contains different bills.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBIN'S SERVICE STATION - NIGHT<\/stage_direction>\n    <scene_description>Robin starts his stopwatch.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Go.<\/dialogue>\n    <scene_description>Luke bounds past him into the bay like Gene Kelly.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Ladies and Gentlemen! I ask that each and every one of you lay yourselves down on the Goddman floor, if you please!<\/dialogue>\n    <scene_description>Luke vaults the 'counter' grabs the money, vaults back and runs to Robin who clicks his stop watch.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>You're making me proud.<\/dialogue>\n    <scene_description>A bit out of breath, Luke pulls the gun from his waistband.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>This thing gotta be loaded?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Just sayin'. I'm not gonna hurt no one.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Well hell's bells. Why don't we just get you a squirt gun instead?<\/dialogue>\n    <scene_description>Not a bad idea. Luke laughs. Robin doesn't. He grabs the gun.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>You understand fully what we've engaged here, correct?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Yeah, I do.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>I don't want anything to happen to you. And if God forbid it does, I don't want the other guy walking away like it's no big deal.<\/dialogue>\n    <scene_description>Luke looks down at the ground and smiles, like a kid reacting to a compliment from his proud father.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT ABOVE SERVICE STATION - NIGHT<\/stage_direction>\n    <scene_description>Luke sits on his bed and inspects the pistol. He swings open the cylinder, methodically removes the bullets. He lines them up meticulously on his night stand.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBIN'S SERVICE STATION. BAY. NIGHT.<\/stage_direction>\n    <scene_description>Luke uses a spray gun to paint his bike black.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROBIN'S SERVICE STATION - MORNING<\/stage_direction>\n    <scene_description>Luke and Robin eating breakfast together.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Good pancakes.<\/dialogue>\n    <scene_description>Luke collects his plate, rinses it in the sink. He heads out the door for his bike. He climbs on his black bike.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TURNPIKE - MIDDAY<\/stage_direction>\n    <scene_description>Luke wears a motorcycle helmet as he bolts down the turnpike; an empty child's school backpack on his back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BANK - LATER<\/stage_direction>\n    <scene_description>Luke parks, climbs off, leaves his bike running right outside the front door of a bank. He checks the time and performs his OCD ritual before bursting through the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANK- CONTINUOUS<\/stage_direction>\n    <scene_description>INSIDE - Luke, still wearing his helmet, pulls the pistol from his front jacket pocket and points it theatrically into the air. He strolls through the bank with measured strides.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Ladies and gentleman, listen up. This is gonna be the fastest bank robbery you've ever witnessed.<\/dialogue>\n    <scene_description>Clipped screams of shock echo through the bank.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Now if you'll all please oblige me and get on down onto the floor there, I'd really appreciate it.<\/dialogue>\n    <scene_description>The bank falls silent with fear. Luke runs up to the counter and vaults it, slips off the backpack. 3 female tellers huddle behind the counter. Luke squats down on his haunches and finds the one who served Robin before. He pulls the keys off her wrist and opens the top drawer at her station.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Open up the top two drawers all the way along.<\/dialogue>\n    <scene_description>Luke tosses his backpack to another teller.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Hold the bag so she can fill it.<\/dialogue>\n    <scene_description>They fill the bag with money, hand it to Luke, back away, hands raised. Luke vaults the counter to the other side.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Thank you all kindly for your attentive cooperation.<\/dialogue>\n    <scene_description>Luke walks out the door calmly and quickly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BANK PARKING LOT - CONTINUOUS<\/stage_direction>\n    <scene_description>Sound of sirens approach. Luke gets on the bike, takes off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TURNPIKE - CONTINUOUS<\/stage_direction>\n    <scene_description>Luke tears down the road, passes cars in front of him, The cops can't catch up. Luke takes a dangerous and wild right turn onto a small country road. After a few more turns, Luke drives up to Robin's old cube truck which is parked on the side of the road. Its back is open and its loading ramp down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REAR OF CUBE TRUCK - CONTINUOUS<\/stage_direction>\n    <scene_description>Luke drives into it, hops off, shuts the door. The truck lurches forwards, pulls a U-ey.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TURNPIKE - CONTINUOUS<\/stage_direction>\n    <scene_description>Cop cars scream by the truck. Robin drives the other way.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REAR OF CUBE TRUCK - CONTINUOUS<\/stage_direction>\n    <scene_description>Luke turns on a fluorescent camping lamp and secures his bike. He gets thrown around a little bit by Robin's driving. His adrenaline rushes. His breathing heavy. He puts his hands on his knees and pukes all over the truck's floor. Sits down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROBIN'S SERVICE STATION - LATER<\/stage_direction>\n    <scene_description>Robin pulls into the station, opens up the back of the truck. The stink of warm vomit hits Robin.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Jesus! Phew!<\/dialogue>\n    <scene_description>Luke sits against the wall, dazed and tired, and laughing.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>I puked on my boots.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBIN'S KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Luke and Robin lay out the money in neat piles.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>It's not a million dollars or anything. But we do this a few more times...<\/dialogue>\n    <scene_description>Robin pushes Luke's cut to him and stands up and walks around the table. He plants a big phoney kiss on Luke's check.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Are you kidding me? We did it!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DINER. MORNING. 51<\/stage_direction>\n    <scene_description>Romina gets off work, walks into the parking lot. SEES Luke in the early morning light, leaning against his bike. His aura is magnetic. He holds a DISPOSABLE BOX CAMERA. Takes her picture with it. She suppresses a smile. Moves to him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL. MORNING. 52<\/stage_direction>\n    <scene_description>Luke and Romina lay naked on a bed, postcoital, sheets on the floor. They smoke. The mood is bright.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Let me take you guys out for ice cream. He's never had it, right? You get to have all his firsts. First steps, first words. I want some firsts. Do you remember the first time you ate chocolate ice cream? Remember what it was like?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>I wanna be there when he first tastes it.<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>He don't even eat solid food yet.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>They have soft ice cream.<\/dialogue>\n    <scene_description>Laughs.<\/scene_description>\n    <character>LUKE (CONT'D)<\/character>\n    <dialogue>I want him to see my face when he tastes chocolate ice cream for the first time. Can you give me that?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUMPY'S ICE-CREAM STORE. 7 IN THE MORNING. 53<\/stage_direction>\n    <scene_description>Luke holds a sugar cone of chocolate ice cream up to Jason's mouth, presses it gently on his lips. Instinctively, the baby licks the ice cream, gets a taste. His eyes light up &amp; he starts \"cooing.\" Excited, he wants more. Luke is so happy, probably the happiest he has ever been in his whole life. His eyes well up with big, heavy tears. Romina is conflicted, but infected by the joy of the moment. Luke goes up to the LADY WORKING IN THE ICE CREAM SHOP and asks her if she will take a picture of the 3 of them. She agrees. The family poses on his motorcycle. And the Lady working in the ice cream shop takes their family picture.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>54 I\/E BANK - DAY 54<\/stage_direction>\n    <scene_description>LUKE walks into the bank brimming with confidence and charm.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Ladies and Gentlemen... This is a robbery. I know you might be peeing your pants now. Trembling with fear. Don't be scared. I'm a blessing in your boring, average lives. Just think about the story you are gonna be able to tell.<\/dialogue>\n    <scene_description>He hands a bag to the teller.<\/scene_description>\n    <character>LUKE (CONT'D)<\/character>\n    <dialogue>Please fill it up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REAR OF CUBE TRUCK - LATER 55<\/stage_direction>\n    <scene_description>Luke rides up into the back of the truck, slams the door closed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUANE'S TOYLAND - DAY 56<\/stage_direction>\n    <scene_description>Luke fills his cart with every colorful toy, game &amp; book that catches his eye. He rolls by a frazzled YOUNG MOTHER &amp; CHILD.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>You got a lively one there. Mine too. He's very lively. I suppose they all are. Unless something's wrong with 'em.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TWO-FAMILY HOUSE - AFTERNOON 57<\/stage_direction>\n    <scene_description>Luke stands on Romina's porch, waits. He frequently looks over his shoulder. The door opens and Malena stands there.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>She's not home, right?<\/dialogue>\n    <character>MALENA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>What about the man of the house?<\/dialogue>\n    <scene_description>Malena shakes her head. Luke turns around, whistles through his fingers. A delivery van pulls up in front of the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TWO-FAMILY HOUSE - LATER 58<\/stage_direction>\n    <scene_description>Jason swings back and forth in the new free standing swing that Luke has bought for him. Luke assembles a crib on the floor Romina and Kofi's bedroom. He talks to Jason as he works, about the importance of being brave in a mean ole world. He HEARS the front door open downstairs, then Romina's voice.<\/scene_description>\n    <character>ROMINA (DOWNSTAIRS)(IN SPANISH)<\/character>\n    <dialogue>Hello Mama. Where's Jason?<\/dialogue>\n    <character>MELENA (DOWNSTAIRS)(IN SPANISH)<\/character>\n    <dialogue>Up stairs...<\/dialogue>\n    <character>ROMINA (DOWNSTAIRS)(IN SPANISH)<\/character>\n    <dialogue>He's sleeping?<\/dialogue>\n    <character>MELENA (DOWNSTAIRS)(IN SPANISH)<\/character>\n    <dialogue>Luke's up there with him.<\/dialogue>\n    <character>ROMINA (DOWNSTAIRS)(IN SPANISH)<\/character>\n    <dialogue>You let him in?<\/dialogue>\n    <scene_description>Luke HEARS the trunk to a car slam outside.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>(to Jason)<\/dialogue>\n    <scene_description>Uh oh. Luke LOOKS out the window, SEES Kofi hefting many bags of groceries up toward the house.<\/scene_description>\n    <character>MELENA (DOWNSTAIRS)(IN SPANISH)<\/character>\n    <dialogue>He brought a lot of stuff.<\/dialogue>\n    <scene_description>Luke HEARS Romina coming up the stairs.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>(to Jason)<\/dialogue>\n    <scene_description>When your mom comes in here, do you think she's gonna be bummed? Or do you think she's gonna be psyched? Jason just swings. Romina enters the room.<\/scene_description>\n    <character>ROMINA<\/character>\n    <dialogue>What's this shit? What is all this?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>(to Jason)<\/dialogue>\n    <scene_description>She's bummed.<\/scene_description>\n    <character>ROMINA<\/character>\n    <dialogue>What are you doing here? You are gonna screw up my life.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Just calm down. Don't be so dramatic. OK.<\/dialogue>\n    <scene_description>(to Jason) You needed this right? You can't be sleeping at night in a bed with two huge people, worrying about being crushed the whole time if they roll over or something. You need some space to dream, right? Romina turns and looks down the stairs, SEES Kofi coming up. She resigns herself to be a spectator.<\/scene_description>\n    <character>KOFI<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <scene_description>Luke continues to work.<\/scene_description>\n    <character>KOFI (CONT'D)<\/character>\n    <dialogue>(to Romina)<\/dialogue>\n    <scene_description>This okay with you? Romina is frozen, staring at the stuff on the floor.<\/scene_description>\n    <character>KOFI (CONT'D)<\/character>\n    <dialogue>Cause I'm not really sure if all this THREE'S COMPANY shit is working for me.<\/dialogue>\n    <scene_description>Kofi looks at the stuff littering his bedroom.<\/scene_description>\n    <character>KOFI (CONT'D)<\/character>\n    <dialogue>If you come in to my house. You gotta come with a little more respect, ya heard?<\/dialogue>\n    <scene_description>Kofi steps over boxes as he makes his way into the room. Luke is not responding but his eyes are peripherally aware of Kofi as he moves to sit on the bed.<\/scene_description>\n    <character>KOFI (CONT'D)<\/character>\n    <dialogue>I'm not going to say you can't give this to your son. You're his father, you have the right to provide for him as you see fit. But in my house, I have the right to raise him as I see fit. And you can't just bust in here, in this house, and do it like this. Not this way. Not to me. Not to my family.<\/dialogue>\n    <scene_description>Luke doesn't stop working.<\/scene_description>\n    <character>KOFI (CONT'D)<\/character>\n    <dialogue>I want you take all this stuff out of here. All this...<\/dialogue>\n    <scene_description>Kofi, anger building, stands.<\/scene_description>\n    <character>KOFI (CONT'D)<\/character>\n    <dialogue>Take it away.<\/dialogue>\n    <scene_description>Kofi reaches down to grab the frame of the crib that Luke is working on and, in an instant, Luke grabs a wrench, springs forward and cracks Kofi's forehead open with it. Kofi is knocked out. He crashes to the floor, hitting the back of his head. Concussion. Romina screams and so does Jason. In a rage, Luke takes Kofi's body by the shirt and pulls it down the stairs. Romina does anything to try and make him stop.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>You want me to take this shit out? I'll take it out.<\/dialogue>\n    <scene_description>59 EXT HOUSE- CONTINOUS 59 Luke pulls Kofi's body out onto the porch, drops him like the saber-tooth tiger does to FRED FLINSTONE. Romina shoves past him to tend to Kofi. He watches as Romina cradle Kofi's head.<\/scene_description>\n    <character>ROMINA (O.S.)(IN SPANISH)<\/character>\n    <dialogue>(to Malena)<\/dialogue>\n    <scene_description>Mama call an ambulance. Luke just stands there, invisible. Malena dials 911.<\/scene_description>\n    <character>MALENA<\/character>\n    <dialogue>(to Luke)<\/dialogue>\n    <scene_description>Leave! Luke walks back up stairs and into the bedroom. SEES - Jason swinging back and forth, still screaming. Luke puts his arms over the side of his head in an effort to block out the noise and the mess that he made. Sound of sirens approaching.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHENECTADY POLICE STATION - LATER 60<\/stage_direction>\n    <scene_description>The Police book, fingerprint and photograph Luke.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHENECTADY POLICE HOLDING CELL - LATER 61<\/stage_direction>\n    <scene_description>Luke sits, wearing prison orange, touching each bar in succession firmly with his fore-finger.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHENECTADY COURTHOUSE - DAY 62<\/stage_direction>\n    <scene_description>Luke sits in a courtroom in his prison orange with his STATE APPOINTED COUNCIL. He fidgets as he waits. THE JUDGE sets the court date, posts the bail at five thousand dollars. Luke can pay it. The Judge then suggests and sets a court date that will put in affect a restraining order for Kofi against Luke.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBIN'S KITCHEN - NIGHT 63<\/stage_direction>\n    <scene_description>Luke smokes a cigarette in the Kitchen. Robin watches him. Knows something has changed. Long moment of awkward silence.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>I was thinkin' maybe we could do 2 in 1 day. The big Trustco on Brandywine and the other First National Rotterdam.<\/dialogue>\n    <scene_description>Robin eyes him warily.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>You know what they say about people who rob banks?<\/dialogue>\n    <scene_description>Luke takes a drag. Waits for Robin to answer his own question.<\/scene_description>\n    <character>ROBIN (CONT'D)<\/character>\n    <dialogue>They say they always do one too many. The trick is to know how many is too many, and do one less.<\/dialogue>\n    <scene_description>Luke sucks on his cigarette absorbed in deep negativity.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BANK PARKING LOT - DAY<\/stage_direction>\n    <scene_description>Luke runs from a bank with a bag of cash. Another job 1\/2 completed. He hops on his bike, peels out onto the main road.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAIN ROAD- CONTINUOUS 65<\/stage_direction>\n    <scene_description>The police are on him quicker this time. He can't shake them. He nears the rendezvous point with Robin, sees the truck waiting patiently up ahead, but a glance back confirms he hasn't lost the heat yet. He makes a slicing gesture across his throat to signal Robin the rendezvous is off. Robin watches Luke take a right turn, leading the cops away from the truck. Robin hops out, closes the rear door, drives off. 66 EXT ROAD- CONTINOUS 66 The cops try to stay with Luke, but his maneuverability daunts them. He cuts hard onto a path that cuts next to the train tracks. The cops do not follow. He follows the tracks until he comes to a clearing which leads into the woods.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS- CONTINUOUS<\/stage_direction>\n    <scene_description>Luke drives through the tall pines. He goes deep into the woods as fast as he can.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>E\/I ROBIN'S SERVICE STATION\/KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Luke comes in - finds Robin sitting at th e table, a pack of cigarettes smoulder in the ashtray before him.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Get in and close the Goddamn door.<\/dialogue>\n    <character>LUKE<\/character>\n    <parenthetical>(manic, adrenalized)<\/parenthetical>\n    <dialogue>It's okay, I lost em. I'm like the fucking Road Runner. BEEP BEEP!<\/dialogue>\n    <scene_description>Luke dumps the bag of money on the table, squats down and pets Tony the dog. Tony licks his face. Robin tugs on a smoke, his hands shaking from a combo of nerves and nicotine. He surveys the money, wont touch it.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>You do realize, we're done here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OLYMPIC DINER - DAWN 69<\/stage_direction>\n    <scene_description>Luke waits for Romina outside the diner. Romina comes out, sees him.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <scene_description>She makes a b-line for her car. Luke intercepts her, hands her a sugar bag which is filled with cash.<\/scene_description>\n    <character>LUKE (CONT'D)<\/character>\n    <dialogue>It ain't sugar in there.<\/dialogue>\n    <scene_description>Keeps moving.<\/scene_description>\n    <character>LUKE (CONT'D)<\/character>\n    <dialogue>Look. I know that you think lowly of me. I do. I know you hold it against me that I wasn't there for you when you were going through everything. I know that.<\/dialogue>\n    <scene_description>She gets to her car. Fumbles with the keys.<\/scene_description>\n    <character>LUKE (CONT'D)<\/character>\n    <dialogue>You can't run from me now. I'm here. I'm a person. And I want you to treat me like a person. Like I'm here. Like I'm not nothing. Like I'm not a piece of shit. Hey!<\/dialogue>\n    <scene_description>She finds her keys, opens her car door. Gets in. Luke moves his body into place so she can't close her door.<\/scene_description>\n    <character>LUKE (CONT'D)<\/character>\n    <dialogue>Listen to me you fucking lunatic. This money, it's not yours. OK?<\/dialogue>\n    <scene_description>He throws the bag of money in her car.<\/scene_description>\n    <character>LUKE (CONT'D)<\/character>\n    <dialogue>You don't buy yourself anything with that, OK? None of those diamond studded jeans that you wear, no make-up, no jewelry, no perfume. No nothing. Don't buy yourself a thing. You hear me? This money is not for you. It's for Jason. You give every penny to him. OK? He needs it. Say OK. Say OK... Say OK!<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>...OK.<\/dialogue>\n    <scene_description>She starts the car.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>I'm his father. I'm his. Ya hear me? He's not mine. I'm his. You understand? And there's nothing you're gonna do to keep him from me.<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>You broke it. You're not his father. You're an animal. If I ever see you again, I'm calling the police.<\/dialogue>\n    <scene_description>She drives away. He is left alone. He gets into the cube truck, drives away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBIN'S SERVICE STATION - LATER 70<\/stage_direction>\n    <scene_description>Drunk, Robin has taken an acetylene torch to Luke's bike and cuts it to pieces. Only the engine is intact. He ponders his next cut when - Luke walks in - can't believe his eyes.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>What the fuck! What're you doing?!<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>We had a good thing going. We kept it up as long as we could, made a nice little score, now it's over.<\/dialogue>\n    <scene_description>Luke reacts as if Robin put down his horse. He storms out of the garage. We follow him to...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT ABOVE SERVICE STATION - CONTINUOUS<\/stage_direction>\n    <scene_description>Luke picks up the bullets from his nightstand, fights against his better judgement, loads the gun.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBIN'S SERVICE STATION - CONTINUOUS<\/stage_direction>\n    <scene_description>Robin is still cutting up the bike. Luke comes in and sticks the barrel of the pistol against the back of Robin's head. Luke is out of his fucking mind here, close to squeezing the trigger.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>You fucking killed my fucking bike?! Open your mouth.<\/dialogue>\n    <scene_description>Luke sticks the gun inside Robin's mouth. Turns it against his teeth. Robin pisses his pants. Luke pulls the gun out.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>You owe me for a new bike.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREST MOTORS - MORNING 73<\/stage_direction>\n    <scene_description>Luke and a DEALER stand over a red 1994 Honda Fireblade.<\/scene_description>\n    <character>DEALER<\/character>\n    <dialogue>It's a sport bike. Honda calls it a 'super-bike.' It's a racing model with a few changes for the street.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>How's the balance?<\/dialogue>\n    <character>DEALER<\/character>\n    <dialogue>What are you used to riding?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Nevermind. You take cash?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GAS STATION - CONTINUOUS<\/stage_direction>\n    <scene_description>Luke fills the tank. A pickup truck at the pump next to him blares Bon Jovi's 'Dead or Alive' from its speakers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAYPHONE - LATER<\/stage_direction>\n    <scene_description>Robin, out of breath, runs to a payphone - dials 911.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I want to make an anonymous report.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 911 CALL CENTER. DAY.<\/stage_direction>\n    <scene_description>An OPERATOR types the info from Robin into her computer. \"SUSPECTED ROBBERY IN PROGRESS\", color-coded RED, comes up on the DISPATCHER'S screen.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHENECTADY POLICE CRUISER. DAY.<\/stage_direction>\n    <scene_description>AVERY CROSS, 28, rookie, patrols the western district.<\/scene_description>\n    <character>RADIO DISPATCH (ON RADIO)<\/character>\n    <dialogue>ADAM-22. 211 in progress at Trustco bank at 320 State St.<\/dialogue>\n    <character>AVERY (INTO RADIO)<\/character>\n    <dialogue>ADAM-22. Copy that. Enroute.<\/dialogue>\n    <scene_description>Avery flips a u-ey. Accelerates toward the bank.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>E\/I TRUSTCO BANK - CONTINUOUS<\/stage_direction>\n    <scene_description>Luke gets off his bike. Enters the bank, gun above his head. Luke kicks the bank door hard. The patrons, confused, stop what they're doing and take notice. Luke is all rage and animal. He is intimidating and dangerous.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Every last one of you get down on the Goddamn floor! Right now!!!<\/dialogue>\n    <scene_description>He goes to the teller, SEES that the counter has a Lucite window which rises up to the ceiling. He turns white. He takes the empty bag, shoves it through the teller's slot.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Fill it up and pass it back.<\/dialogue>\n    <character>TELLER<\/character>\n    <dialogue>We can't open the vault.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>From the drawers then! With some urgency! Come on!<\/dialogue>\n    <scene_description>The teller reluctantly does as she is instructed. Luke looks around to make sure no one is sneaking up on him. The teller finishes, tries to pass the bag through the slot.<\/scene_description>\n    <character>TELLER<\/character>\n    <dialogue>It won't fit, sir.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>What're you an ignoramus? Take some damn money out. I got to think of everything?<\/dialogue>\n    <scene_description>The teller pulls out some of the cash. She tries to fit the bag back through. Still won't fit. She takes out some more cash. Luke hears sirens. Goddamnit. He tries to force the bag back through the slot. It opens and most of the money spills out on the teller's side. He is left with an empty bag. Fuck. He bolts out the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHENECTADY POLICE CRUISER OUTSIDE BANK-CONTINUOUS<\/stage_direction>\n    <scene_description>Sirens blare. Avery turns the corner, SEES Luke take off, trying to quickly master his unfamiliar bike.<\/scene_description>\n    <character>AVERY (INTO RADIO)<\/character>\n    <dialogue>ADAM-22. In pursuit of a possible suspect on a motorcycle. ADAM-21 make contact with the bank.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHENECTADY STREETS. CONTINUOUS<\/stage_direction>\n    <scene_description>Luke has the cruiser on his tail. He blasts through an intersection and turns hard down a small, residential street. He blasts through two more intersections in the wrong lane; barely avoiding oncoming traffic.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHENECTADY RESIDENTIAL STREETS- CONTINUOUS<\/stage_direction>\n    <scene_description>Luke takes another hard right, runs up onto a lawn, and tries to head back to the street. Avery's car runs up onto the lawn and comes to a jarring halt. Luke tries to maneuver but can't keep the bike under him. He ditches further up the road. Luke pushes the wrecked bike off of his scraped up leg, limps away, looking for a way out. Behind him, 3 houses away, Avery pursues on foot.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TWO FAMILY HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Luke enters through a screen door, looks around the house for a place to hide. SEES - a MOTHER and her young BOY staring at him wordlessly from the kitchen. They had been making a cake.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Anyone else home?<\/dialogue>\n    <scene_description>The mother and her boy barely move. Luke shows them his gun.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Take me upstairs. COME ON! LETS GO!<\/dialogue>\n    <parenthetical>(softens)<\/parenthetical>\n    <dialogue>I won't hurt you. Come on!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TWO FAMILY HOUSE STAIRS\/BEDROOM- CONTINUOUS 83<\/stage_direction>\n    <scene_description>Luke corrals the scared family up the stairs to a bedroom. He closes the door behind them, and waves the gun at the bed.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Sit down.<\/dialogue>\n    <scene_description>The mother and boy sit on the ground in the corner by the bed and bury their faces into each other, making themselves as small as possible. Desperate, Luke looks out the window. It would be a long drop to the ground. He opens the window. He starts to climb through. His leg is in pain and hard to move. HEARS Avery downstairs calling, \"POLICE! DROP YOUR WEAPON!\" He is cornered.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Aw, hell. Do you have a phone?<\/dialogue>\n    <scene_description>The mother nods, tells him it's on the nightstand. He picks up the phone, dials information.<\/scene_description>\n    <character>OPERATOR (OVER THE PHONE)<\/character>\n    <dialogue>What city and listing please?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Schenectady. Her name is Romina.<\/dialogue>\n    <character>OPERATOR (OVER THE PHONE)<\/character>\n    <dialogue>Romina. Last name?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Guitierrez... I think...<\/dialogue>\n    <scene_description>While the operator checks, he sits down on the window sill, sets his gun down between his legs.<\/scene_description>\n    <character>OPERATOR (OVER THE PHONE)<\/character>\n    <dialogue>I have a Romina Guitierrez on Brandywine. I have the number. Would you like me to connect you?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Yes! Connect me!<\/dialogue>\n    <scene_description>The phone rings. Luke swings one leg out the window, but he can barely move it. He can't jump out.<\/scene_description>\n    <character>LUKE (CONT'D)<\/character>\n    <dialogue>Pick up...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TWO FAMILY HOUSE- AT THE BOTTOM OF THE STAIRS. 84<\/stage_direction>\n    <scene_description>Avery can HEAR Luke talking upstairs. Back to the wall, gun drawn, he slides quietly up the stairs. He gets outside the door.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>POLICE! Put the weapon down!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TWO FAMILY HOUSE BEDROOM<\/stage_direction>\n    <scene_description>The phone continues to ring. A realization and a deep despair creep upon Luke.<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Please answer.<\/dialogue>\n    <scene_description>He hears the cop outside his door. CLICK. The phone picks up.<\/scene_description>\n    <character>ROMINA (ON PHONE)<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Romina?<\/dialogue>\n    <scene_description>Avery hears Luke's voice. Weapon aimed, he bursts through the bedroom door, sees Luke with the phone in one hand, and his body halfway out the window. He shoots. The shot makes a loud, sharp noise. A small cloud of blue smoke rises from the muzzle and floats toward the ceiling. Luke is hit in the abdomen, he drops the phone. Avery sees it, lowers his gun, thinks, \"did I just shoot a man with a phone in his hand?\" Luke looks down at the blood spreading through the fabric of his shirt. He grabs the gun on the sill, shoots back: hits Avery in the knee. The kickback from the gun pushes Luke's body back and he falls out the window like a rag doll: ass over teakettle. Avery clutches his leg; agony. FUCK! Avery tries to get himself up off the floor. He can't. His knee is destroyed.<\/scene_description>\n    <character>AVERY (INTO RADIO)<\/character>\n    <dialogue>ADAM-22. Officer down. Suspect escaped through window. Request paramedics and backup at the scene.<\/dialogue>\n    <scene_description>The young mother grabs her son, shields his eyes from the carnage, and bolts out of the room. Avery is left alone. He stares at the window. Blood splatter on the wall. A curtain blows gently in the breeze. He can hear ROMINA's VOICE screaming, \"Luke!\" out of the speaker of the phone. He crawls to the window using his 3 functional limbs; Sirens in the distance. He uses his arms to prop himself up on the window; SEES; Luke splayed out on his back on the ground below. His body is contorted in an impossible awkward position. A pool of blood forms around his head. It is a nightmarish image. Cop cars and ambulances descend on the scene.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELLIS HOSPITAL - LATER<\/stage_direction>\n    <scene_description>Avery lies on a moving gurney. His pant-leg is being cut away from his skin. A nurse sedates him. A DOCTOR explains.<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>We're giving you a mild sedative now and saline for shock, okay?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELLIS HOSPITAL - LATER -<\/stage_direction>\n    <scene_description>The ER staff rolls Avery into the operating theater. Another team in there already frantically works on Luke. Avery hears Luke's heart monitor beep erratically. He watches the doctors act more frantically. Finally, the heart monitor emits a flat, even tone. The sound of screaming. Avery looks and sees Romina wailing and fighting with ER staff. Kofi helps to restrain her. An INTERN straddles Luke and starts to give him CPR. A nurse closes a curtain around Luke.<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>Officer? We need to operate now.<\/dialogue>\n    <scene_description>Behind the curtain, the other team tries to shock Luke's heart back to life before the SURGEON finally gives up.<\/scene_description>\n    <character>SURGEON (O.S.)<\/character>\n    <dialogue>Time of death four thirty-nine.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <parenthetical>(To Avery)<\/parenthetical>\n    <dialogue>Don't be afraid.<\/dialogue>\n    <scene_description>An anesthesiologist fits a mask over Avery's mouth and nose.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL RECOVERY ROOM. LATER THAT NIGHT.<\/stage_direction>\n    <scene_description>Balloons, flowers &amp; cards fill Avery's room. CHIEF GORDON WEIRZBOWSKI, 50's, enters the room followed by DA BILL KILLCULLEN, mid-40's. Both are reverent and respectful. They greet Avery, who is lying in bed. His father AL, late 60's is there, along with his wife JENNIFER, 27, who holds Avery's baby boy A.J. Gordon kisses Jennifer and offers his understanding.<\/scene_description>\n    <character>CHIEF WEIRZBOWSKI<\/character>\n    <dialogue>How's our hero?<\/dialogue>\n    <character>JENNIFER<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <scene_description>She squeezes Avery's hand.<\/scene_description>\n    <character>AL<\/character>\n    <dialogue>No more than a scratch really.<\/dialogue>\n    <character>CHIEF WEIRZBOWSKI<\/character>\n    <dialogue>Your Honor. Pleasure... I believe you two know each other...<\/dialogue>\n    <scene_description>Killcullen comes in to shake Al's hand.<\/scene_description>\n    <character>AL<\/character>\n    <dialogue>Of course, Bill. Nice to see you.<\/dialogue>\n    <character>KILLCULLEN<\/character>\n    <dialogue>We miss you at the court house.<\/dialogue>\n    <character>AL<\/character>\n    <dialogue>Well, I hate to break it to you, but I don't miss you (he he). Swinging that gavel was starting to interfere with my golf game.<\/dialogue>\n    <scene_description>Little laughs.<\/scene_description>\n    <character>CHIEF WEIRZBOWSKI<\/character>\n    <dialogue>Whatdaya think - with Avery, injured, and you out of work, maybe you'd consider joining the force. We could use a good man.<\/dialogue>\n    <character>AL<\/character>\n    <dialogue>I'm afraid you're only recruiting one from this family.<\/dialogue>\n    <character>CHIEF WEIRZBOWSKI<\/character>\n    <parenthetical>(to Avery)<\/parenthetical>\n    <dialogue>They give you any idea when you might get outta here?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Can't be soon enough.<\/dialogue>\n    <character>CHIEF WEIRZBOWSKI<\/character>\n    <parenthetical>(to Al)<\/parenthetical>\n    <dialogue>Boy's got ambition. Give him that.<\/dialogue>\n    <character>AL<\/character>\n    <dialogue>That's one word for it.<\/dialogue>\n    <parenthetical>(to Jennifer)<\/parenthetical>\n    <dialogue>We better be taking you home.<\/dialogue>\n    <scene_description>He takes Jennifer's hand and leads her out.<\/scene_description>\n    <character>CHIEF WEIRZBOWSKI<\/character>\n    <dialogue>We'll take care of your husband. Don't you worry Jenny.<\/dialogue>\n    <scene_description>Weirzbowski kisses A.J.'s little hand, then Jennifer's cheek.<\/scene_description>\n    <character>JENNIFER<\/character>\n    <parenthetical>(to Avery)<\/parenthetical>\n    <dialogue>Are you going to be Okay?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Yeah. You guys go.<\/dialogue>\n    <scene_description>They leave. Gordon pulls up a chair next to Avery's bed. Killcullen stands.<\/scene_description>\n    <character>KILLCULLEN<\/character>\n    <dialogue>How's the knee?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Fucked.<\/dialogue>\n    <character>CHIEF WEIRZBOWSKI<\/character>\n    <dialogue>It'll heal. You're young. Young body bounces back. I want to introduce you to Bill Killcullen, Schenectady DA. Bill needs to ask you some questions. You up for it? Good to do it before the paint dries, know-whatimean?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>So you're effectively putting me on trial?<\/dialogue>\n    <character>CHIEF WEIRZBOWSKI<\/character>\n    <dialogue>Mister sensitive... Don't get your panties in a bind. You're gonna be our poster boy. This is a formality. Best get it outta the way.<\/dialogue>\n    <scene_description>Weirzbowski puts his hat on, gets up to leave.<\/scene_description>\n    <character>CHIEF WEIRZBOWSKI<\/character>\n    <dialogue>I'll leave you two to get to know each other. Shouldn't be too hard. You both speak lawyer talk.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL RECOVERY ROOM- ELLIPSE.<\/stage_direction>\n    <scene_description>They are deep into Avery's recounting of the events. Killcullen records everything on tape deck and jots notes.<\/scene_description>\n    <character>KILLCULLEN<\/character>\n    <dialogue>So what happened when you were outside the door?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>I heard him on the other side. Sounded like he was talking on the phone. But I couldn't tell who he was talking to. So, I made my presence known.<\/dialogue>\n    <character>KILLCULLEN<\/character>\n    <dialogue>How'd you do that.<\/dialogue>\n    <character>AVERY<\/character>\n    <parenthetical>(piecing it together)<\/parenthetical>\n    <dialogue>Announced myself. \"Police. Drop the weapon.\" And when he didn't respond. I kicked the door open... and I saw him sitting on the ledge of the window with... he was holding a phone...<\/dialogue>\n    <character>KILLCULLEN<\/character>\n    <dialogue>... and he had a gun?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Yeah...<\/dialogue>\n    <parenthetical>(deep sigh)<\/parenthetical>\n    <dialogue>...I saw him drop the phone.<\/dialogue>\n    <character>KILLCULLEN<\/character>\n    <dialogue>And when did he fire?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>After he dropped the phone...<\/dialogue>\n    <character>KILLCULLEN<\/character>\n    <dialogue>And then you returned fire?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>...Yeah...<\/dialogue>\n    <character>KILLCULLEN<\/character>\n    <dialogue>And then he fell out the window?<\/dialogue>\n    <scene_description>Avery nods.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>KILLCULLEN<\/character>\n    <dialogue>Good riddance.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AVERY AND JENNIFER'S HOME - EVENING<\/stage_direction>\n    <scene_description>ON THE TV: A local NEWS ANCHOR sits at her studio desk.<\/scene_description>\n    <character>NEWS ANCHOR (ON T.V.)<\/character>\n    <dialogue>A triumphant moment for a young Schenectady Police officer today. He left the hospital after recovering from gunshot wounds.<\/dialogue>\n    <scene_description>ON TV: Footage of the day Avery shot Luke.<\/scene_description>\n    <character>NEWS ANCHOR (ON T.V.)<\/character>\n    <dialogue>Officer Avery Cross hadn't been on the force for a full year before he ran head-on into the alleged MOTOBANDIT. Reporter Ed Dague was there as officer Cross left Ellis hospital.<\/dialogue>\n    <scene_description>ON TV: Avery is wheeled out of the hospital. Dozens of cops stand around and cheer him as he rolls past &amp; pumps his fist.<\/scene_description>\n    <character>ED DAGUE (V.O.) (ON T.V.)<\/character>\n    <dialogue>Facing the danger and fighting the brave fight, Avery Cross accepting the praise of his fellow officers as he is wheeled through a gauntlet of cheers and applause. Turning a corner in his recovery, he's leaving Ellis hospital, well enough to return home - happy to be alive.<\/dialogue>\n    <scene_description>ON TV: Cops lift his wheelchair into an ambulance.<\/scene_description>\n    <character>AVERY (ON T.V.)<\/character>\n    <dialogue>I'll be back before you know it.<\/dialogue>\n    <scene_description>ON TV: File footage from the day of the shooting.<\/scene_description>\n    <character>ED DAGUE (V.O.) (ON T.V.)<\/character>\n    <dialogue>This young officer's life flashed before him in a flash of gunfire. Responding to a bank robbery, Avery Cross pursued alleged motor-cycle bandit Luke Glanton through the streets of Schenectady.<\/dialogue>\n    <scene_description>Avery sits on a sofa in his comfortable but not fancy home, his leg elevated in a cast. Jennifer sits next to him trying to calm A.J.<\/scene_description>\n    <character>ED DAGUE (V.O.) (ON T.V.)<\/character>\n    <dialogue>Glanton then fled into this house, took Melissa Majack &amp; her son Gabe hostage, &amp; came face to face with Officer Cross. Glanton shot Officer Cross in the knee before officer Cross returned fire, killing the suspect and saving the hostages.<\/dialogue>\n    <scene_description>ON TV: DAGUE stands in front of the hospital, holding a mic.<\/scene_description>\n    <character>ED DAGUE (ON T.V.)<\/character>\n    <dialogue>Officer Cross was rushed here to Ellis hospital and listed in critical condition. He has made a swift recovery, but doctors say the bullet that struck him has caused nerve damage in his leg.<\/dialogue>\n    <scene_description>ON TV: Police CHIEF GORDON WEIRZBOWSKI, 50's greying, fireplug, talks to the reporters at the scene.<\/scene_description>\n    <character>CHIEF WEIRZBOWSKI (ON T.V.)<\/character>\n    <dialogue>He's a hero. Plain and simple. There's one thing he wants to do more than anything else; that's slide behind the wheel of a radio car and go back out there and do the same thing he was doing that day. Hopefully with better results.<\/dialogue>\n    <scene_description>ON TV: Avery sits on the same couch he is sitting on as he watches himself on TV.<\/scene_description>\n    <character>AVERY (ON T.V.)<\/character>\n    <dialogue>I've only ever wanted to be a cop. Ever since I was six.<\/dialogue>\n    <scene_description>The baby's cries drown out the TV. Jennifer stands, trying to calm him down by bouncing. Jennifer doesn't look so calm herself. Avery turns up the volume.<\/scene_description>\n    <character>ED DAGUE (ON T.V.)<\/character>\n    <dialogue>We talked with Officer Cross for a moment about the high crime rate in Schenectady.<\/dialogue>\n    <character>AVERY (ON T.V.)<\/character>\n    <dialogue>It's an epidemic. And it's up to the police to do the heavy lifting. That's our job. But also something the community has to help with.<\/dialogue>\n    <character>ED DAGUE (ON T.V.)<\/character>\n    <dialogue>We also asked Cross how he feels about ongoing allegations of corruption dogging the police.<\/dialogue>\n    <character>AVERY (ON T.V.)<\/character>\n    <dialogue>Schenectady deserves better.<\/dialogue>\n    <scene_description>A.J. Is wailing. Avery is numb to it. Jennifer can't take any more. She retreats with the baby to their bedroom. ON TV: Luke's mug-shot.<\/scene_description>\n    <character>ED DAGUE (V.O.) (ON T.V.)<\/character>\n    <dialogue>Glanton, a drifter and sometime motor-cycle stunt-rider, had a violent history and a long record. Police say he moved here last spring and it only took him a month to start robbing local banks. He leaves behind a infant son. I'm Ed Dague, WNYT, Schenectady.<\/dialogue>\n    <scene_description>A commercial begins on TV. Avery is alone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM. NIGHT.<\/stage_direction>\n    <scene_description>A.J. sleeps in a crib in the corner of a small bedroom. Avery and Jennifer talk softly, lying in bed next to one another.<\/scene_description>\n    <character>JENNIFER<\/character>\n    <dialogue>Was it scary?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>It happened so fast. Wasn't time to be scared.<\/dialogue>\n    <character>JENNIFER<\/character>\n    <dialogue>It's scary for me.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>I'm okay.<\/dialogue>\n    <character>JENNIFER<\/character>\n    <dialogue>I just can't really believe that we're dealing with this you know? It's just so weird...<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>What do you mean weird?<\/dialogue>\n    <character>JENNIFER<\/character>\n    <dialogue>I guess the fact that you're in this position. I just never imagined our life like this.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Yeah well it's just part of the job unfortunately.<\/dialogue>\n    <character>JENNIFER<\/character>\n    <dialogue>Haven't you had enough, now?<\/dialogue>\n    <scene_description>Avery sees tears welling in her eyes.<\/scene_description>\n    <character>JENNIFER<\/character>\n    <dialogue>I mean there's so many things you could do.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Why are you making me feel like I'm doing something wrong? I'm a cop. And I don't know why I have to apologize for that.<\/dialogue>\n    <character>JENNIFER<\/character>\n    <dialogue>We are just worried about you...<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Who's \"we?\"<\/dialogue>\n    <character>JENNIFER<\/character>\n    <dialogue>I talked to your dad today...<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Oh Jesus Christ. Leave him OUT of it Jenny. He made his decisions and now I'm making mine. OK.<\/dialogue>\n    <scene_description>Avery turns away from Jennifer. She looks at the ceiling.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - DAY<\/stage_direction>\n    <scene_description>MONTAGE. Physical therapy. Avery literally learns to walk all over again. We HEAR the doctor's prognosis over these images.<\/scene_description>\n    <character>DOCTOR (V.O.)<\/character>\n    <dialogue>You're going to be extremely weak on this leg for a while, so don't push too far too fast.<\/dialogue>\n    <character>AVERY (V.O.)<\/character>\n    <dialogue>How long before I'm back to normal?<\/dialogue>\n    <character>DOCTOR (V.O.)<\/character>\n    <dialogue>I'd rather not give you any unrealistic expectations.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM. EVENING. 93<\/stage_direction>\n    <scene_description>The SOUND of the SHOWER RUNS in the background. Baby A.J., irresistibly cute, plays on a blanket, cooing. Avery sits on the floor, legs set wide apart. He doesn't look at his son, doesn't want to. His mind is somewhere else completely. The doorbell rings. Avery gets up to answer it. It is Scott.<\/scene_description>\n    <character>SCOTT<\/character>\n    <dialogue>Hey partner. We thought you might like a little distraction.<\/dialogue>\n    <scene_description>Avery looks past Scott, sees PAUL DELUCA and his partner CROTTY idling in a cruiser out front.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNMARKED POLICE CAR - EVENING<\/stage_direction>\n    <scene_description>Avery and Scott ride in the back. DeLuca and Crotty up front.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>You are aware I'm not back on active duty yet.<\/dialogue>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>We're aware. This is our gift to you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TWO FAMILY HOUSE - AFTERNOON<\/stage_direction>\n    <scene_description>Avery and Scott stand at the base of the steps and watch - Deluca and Crotty ring the bell to Romina's house. Malena opens the door. DeLuca flashes his badge.<\/scene_description>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>Is Romina Gutierrez at home?<\/dialogue>\n    <scene_description>Malena turns her head into the house.<\/scene_description>\n    <character>MALENA<\/character>\n    <dialogue>Romina!<\/dialogue>\n    <scene_description>Kofi and Romina come to the door. Avery recognizes her from the hospital. Deluca flashes his badge.<\/scene_description>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>Good afternoon, ma'am. We're here to search the house.<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>For what?<\/dialogue>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>Evidence.<\/dialogue>\n    <character>KOFI<\/character>\n    <dialogue>Evidence for what?<\/dialogue>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>We're looking for the money Luke Glanton may or may not have given to you.<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>You supposed to have a warrant or something, right?<\/dialogue>\n    <scene_description>DeLuca leans in close to Romina, quietly.<\/scene_description>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>How about you assume I have a warrant, and I assume she has a green card.<\/dialogue>\n    <scene_description>Deluca nods toward Malena. Romina is out-manoeuvered. She lets them in. DeLuca nods to Scott and Avery to head upstairs. Avery reluctantly enters. Romina recognizes him from TV.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>I'm sorry for your loss.<\/dialogue>\n    <scene_description>Romina feels violated by his presence. Avery side-steps around her, nodding.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TWO-FAMILY HOME- UPSTAIRS.<\/stage_direction>\n    <scene_description>Aided by a cane, Avery follows Scott as he heads into the first room on the left. They speak in hushed tones.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>I don't think I like this.<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>We're safe. Come on.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TWO-FAMILY HOME -DOWNSTAIRS.<\/stage_direction>\n    <scene_description>DeLuca and Crotty sit across from Kofi and Romina. Malena brings out coffee and Hostess donuts.<\/scene_description>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>Thank you, ma'am.<\/dialogue>\n    <parenthetical>(to Romina)<\/parenthetical>\n    <dialogue>Mostly this is just a formality. I believe you when you tell me you don't have the money, I really do.<\/dialogue>\n    <character>KOFI<\/character>\n    <parenthetical>(To Romina)<\/parenthetical>\n    <dialogue>Don't say anything 'til we got a lawyer.<\/dialogue>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>Relax, pal. You're not under arrest yet. Nothing you say matters.<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>We don't got the money.<\/dialogue>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>This guy was a real piker. 10G from this bank, 7 from that one. To them it's peanuts. It's all covered by the FDIC anyways.<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>He offered us the money but we never took it.<\/dialogue>\n    <character>KOFI<\/character>\n    <dialogue>Romina.<\/dialogue>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>It's okay, really. It's my boss see, the chief. He's very concerned about appearances.<\/dialogue>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>We gotta harass good people so he looks like he's doing his job. It's all politics.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TWO-FAMILY HOUSE- UPSTAIRS.<\/stage_direction>\n    <scene_description>Scott and Avery search Jason's room quietly. Scott begins to lift the crib mattress.<\/scene_description>\n    <character>SCOTT<\/character>\n    <dialogue>Hold the baby.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>This is too much.<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>Come on. I don't wanna wake him.<\/dialogue>\n    <scene_description>Avery picks up Jason, stares at his little, sleeping body and contemplates the fact that he killed this kids father. Meanwhile, Scott lifts the mattress.<\/scene_description>\n    <character>SCOTT<\/character>\n    <dialogue>Bingo.<\/dialogue>\n    <scene_description>He pulls out a stack of cash, shows it to Avery, hides it on his person. Avery rests Jason back into the crib.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TWO-FAMILY HOUSE- DOWNSTAIRS.<\/stage_direction>\n    <scene_description>Avery and Scott come down the stairs. Scott approaches DeLuca, whispers in his ear. DeLuca smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNMARKED POLICE CAR\/EXT HOME - CONTINUOUS 100<\/stage_direction>\n    <scene_description>Avery, Scott and Crotty wait in the car, WATCHING. Romina and Kofi see them off from the porch. DeLuca is the last to leave. He lingers for a second on the lawn.<\/scene_description>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>I gave you my card, right? If you remember anything regarding that money, you call me first, OK?<\/dialogue>\n    <character>KOFI<\/character>\n    <dialogue>Of course. Have a good evening officer.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNMARKED POLICE CAR- CONTINIOUS 101<\/stage_direction>\n    <scene_description>DeLuca climbs into the car and drives off. Avery watches Romina and Kofi head back inside.<\/scene_description>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>So, what's our haul?<\/dialogue>\n    <scene_description>Scott produces the money and all the cops except Avery hoot. Scott starts to flip through the bills.<\/scene_description>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>Where'd you find it?<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>Under the fucking crib.<\/dialogue>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>Ha! Perfect.<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>When do you think they'll notice it's missing?<\/dialogue>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>They're noticing it right now.<\/dialogue>\n    <scene_description>Crotty grabs the bills from Scott.<\/scene_description>\n    <character>CROTTY<\/character>\n    <dialogue>You're too young to count.<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>It's over fourteen grand!<\/dialogue>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>It's not gonna be an even split. The lion's share is going to you.<\/dialogue>\n    <scene_description>DeLuca looks at Avery in his rearview mirror.<\/scene_description>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>A little unofficial hazard pay.<\/dialogue>\n    <scene_description>Crotty counts out the money. He gives a little of it to Scott and a lot of it to Avery.<\/scene_description>\n    <character>SCOTT<\/character>\n    <dialogue>Thank you!<\/dialogue>\n    <scene_description>Avery is slow to say something as he is handed the money.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <scene_description>DeLuca stares at him in the rearview. Avery can't meet his gaze.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AVERY AND JENNIFER'S HOME. DAWN.<\/stage_direction>\n    <scene_description>Avery puts the money in an old shoe box and stashes it somewhere in the shed. Jennifer stands in the upstairs window. She sees him come out of the shed and turn off the light.<\/scene_description>\n    <character>CORY (V.O.)<\/character>\n    <dialogue>I know you're probably feeling a little disoriented by all that has happened.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION. OFFICE. DAY.<\/stage_direction>\n    <scene_description>CORY GILBEAU, 37 female police psychologist interviews Avery.<\/scene_description>\n    <character>CORY<\/character>\n    <dialogue>I'm here to start a conversation with you. And although I will ultimately make a recommendation as to whether you're ready or not to return to duty. I want you to know that the details of what we discuss together will never move beyond these walls. OK?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>CORY<\/character>\n    <dialogue>OK. So how are you Avery?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>OK. Other than my knee, I'm OK.<\/dialogue>\n    <character>CORY<\/character>\n    <dialogue>What are the doctors saying about your knee?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>I'll never be able to bend it properly. But that's just what it is.<\/dialogue>\n    <character>CORY<\/character>\n    <dialogue>That doesn't bother you?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>I haven't had much time to think about it yet.<\/dialogue>\n    <character>CORY<\/character>\n    <dialogue>What have you been thinking about?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Since the shooting?<\/dialogue>\n    <scene_description>Cory nods.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>Well... you know... it's just been such a crazy time with physical therapy and everything you know... getting everything back on track.<\/dialogue>\n    <character>CORY<\/character>\n    <dialogue>What do you have to get on track?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Everything.<\/dialogue>\n    <scene_description>Cory waits for him to elaborate.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>I mean like the job and relearning to walk and everything at home.<\/dialogue>\n    <character>CORY<\/character>\n    <dialogue>What do you mean 'everything at home?'<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Well you know it's a shock for my wife and it doesn't help that there's a baby around but it's OK.<\/dialogue>\n    <character>CORY<\/character>\n    <dialogue>You say it doesn't help that there's a baby around...<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Well I just mean that it's just another thing you know? I think I just need time to get everything else sorted out first.<\/dialogue>\n    <character>CORY<\/character>\n    <dialogue>First before what?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Before I can deal with that I guess...<\/dialogue>\n    <character>CORY<\/character>\n    <dialogue>You mean before you can deal with your baby?<\/dialogue>\n    <scene_description>Avery doesn't respond. Cory waits.<\/scene_description>\n    <character>CORY<\/character>\n    <dialogue>What happened Avery? Is this hard to talk about?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>It's just been hard I guess.<\/dialogue>\n    <character>CORY<\/character>\n    <dialogue>Hard to what?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Hard to look at him. I can't look at him.<\/dialogue>\n    <character>CORY<\/character>\n    <dialogue>What about your wife? Are you having the same problems with her?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>...I'm having a hard time...<\/dialogue>\n    <scene_description>He looks at her after he says it. Silence.<\/scene_description>\n    <character>CHIEF WEIRZBOWSKI (V.O.)<\/character>\n    <dialogue>We are gathered here today to celebrate a cop who makes other cops proud.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PROCTOR'S THEATER - DAY<\/stage_direction>\n    <scene_description>Avery, propped up by a cane, is in uniform for the first time in weeks. He stands on stage at Proctor's Theater. His dad, Jennifer and A.J. sit in the audience along with members of the community and reporters. Local news videotapes it. Chief Weirzbowski, in his best dress uniform, grips a podium.<\/scene_description>\n    <character>CHIEF WEIRZBOWSKI<\/character>\n    <dialogue>...Officer Avery Cross. We can all rest a little easier at night now that he's on the path of recovery.<\/dialogue>\n    <scene_description>The crowd spontaneously applauds.<\/scene_description>\n    <character>CHIEF WEIRZBOWSKI<\/character>\n    <dialogue>Officer Cross is the first member of his family to join the force. And not just any force. He joined the Schenectady Police Department. He said he wanted to go where the action was. Well, careful what you wish for, right?<\/dialogue>\n    <scene_description>Gordon beams and the audience laughs. Gordon lumbers over to Avery and officially affixes a decoration on Avery's uniform. MOMENTS LATER. Photo ops. Avery in center is surrounded by Weirzbowski, Jennifer, A.J., and Avery's dad.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEAKHOUSE. NIGHT.<\/stage_direction>\n    <scene_description>DeLuca raises a glass and the other cops follow.<\/scene_description>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>To hero boy. Lucky fuck. I been on the force 22 years, only pulled my weapon once. You been on less than 6 months you already got one in the bag. And he's white! (har har) Lucky fuck! How's that feel?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Better him than me, right?<\/dialogue>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>Speedy recovery. Next time, duck!<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>You mean, \"jump!\"<\/dialogue>\n    <scene_description>Everyone laughs, cheers. Al sits at the head of a large table filled with people from the ceremony - Weirzbowski, Deluca, Crotty, Stevens, Jennifer and Avery and Al.<\/scene_description>\n    <character>AL<\/character>\n    <parenthetical>(to Avery, privately)<\/parenthetical>\n    <dialogue>Hell of a group.<\/dialogue>\n    <scene_description>Avery doesn't quite know how to respond to his Father's veiled insult.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOLF COURSE. DAY.<\/stage_direction>\n    <scene_description>Avery watches his dad set up the tee and prepare for his drive. Al swings. Hits a beautiful shot. EXT GOLF COURSE- LATER LATER. Avery and Al are PUTTING. Avery lines up his shot but has trouble navigating his bum knee.<\/scene_description>\n    <character>AL<\/character>\n    <dialogue>How's it feel to be a hero, Avery?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Honestly, I'm ready for it to end.<\/dialogue>\n    <character>AL<\/character>\n    <dialogue>Well don't worry it will. You can be sure of that. Police always put on a big show when something like this happens. Because other than this, what else is there to keep people motivated? The hero card is the only one they have to play. It's the same thing that gets people signed up for the army.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>I'm not thinking about all that. I just want to get back to work.<\/dialogue>\n    <character>AL<\/character>\n    <dialogue>Well, you can go back. Or you can go forward. Truthfully Avery if you had planned this you couldn't have orchestrated it any better. But you're not going to make it work for you within the police department I promise.<\/dialogue>\n    <scene_description>Avery putts. The ball goes... (well that's up to the putt!)<\/scene_description>\n    <character>AL<\/character>\n    <dialogue>Depends what you want, really. It's your choice. But if your smart you ride this wave into some kind of office.<\/dialogue>\n    <scene_description>Al putts.<\/scene_description>\n    <character>AL (CONT'D)<\/character>\n    <dialogue>Look at Roosevelt - A limp goes a long way in politics.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHENECTADY POLICE STATION - DAY<\/stage_direction>\n    <scene_description>Avery slips into the station. Everyone greets him reverently.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OUTSIDE CHIEF WEIRZBOWSKI'S OFFICE - LATER<\/stage_direction>\n    <scene_description>Avery sits outside of the Chief of Police's office.<\/scene_description>\n    <character>CHIEF WEIRZBOWSKI (V.O.)<\/character>\n    <dialogue>I received a call today from Bill Killcullen. He wanted me to convey to you some words which should come as a relief to you -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHIEF WEIRZBOWSKI'S OFFICE - LATER<\/stage_direction>\n    <scene_description>Avery sits across from the Chief.<\/scene_description>\n    <character>CHIEF WEIRZBOWSKI<\/character>\n    <dialogue>The state's internal investigation into the shooting of Luke Glanton has been deemed lawful. Congratulations Officer. Put it behind you and let's get back to police work. OK?<\/dialogue>\n    <character>AVERY<\/character>\n    <parenthetical>(relieved)<\/parenthetical>\n    <dialogue>OK. That's the question I wanted...<\/dialogue>\n    <character>CHIEF WEIRZBOWSKI (V.O.)<\/character>\n    <dialogue>The question is can you go back out on patrol anytime soon? And if you went out, could you be effective?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>No, I know. I can't.<\/dialogue>\n    <character>CHIEF WEIRZBOWSKI<\/character>\n    <dialogue>I'm glad you're being clear-eyed about this. A lot of guys think there's only one way to be a cop. You know, out there busting heads.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>I've never been interested in that.<\/dialogue>\n    <character>CHIEF WEIRZBOWSKI<\/character>\n    <dialogue>There are a lot of jobs that need to be done around here that in ways, and you know this, in ways are more important than what happens out on the street.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>I want you to make me a Lieutenant. Put me in charge of special investigations.<\/dialogue>\n    <character>CHIEF WEIRZBOWSKI<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>I can't fucking do that.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Yes you can. You're the boss.<\/dialogue>\n    <character>CHIEF WEIRZBOWSKI<\/character>\n    <dialogue>You paid too much for your education to act so stupid, kid.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>I deserve it. But more importantly, I have ideas that could turn that whole division around.<\/dialogue>\n    <character>CHIEF WEIRZBOWSKI<\/character>\n    <dialogue>That's one mighty healthy sense of entitlement you got there Cross. There's guys here who have been waiting 4 or 5 years to make Sergeant. Good cops. You're on the force barely a year, get lucky, &amp; think you deserve to jump steps?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>I deserve something.<\/dialogue>\n    <character>CHIEF WEIRZBOWSKI<\/character>\n    <dialogue>How about you trade in your fifteen minutes of fame for a piece of pussy, okay? In the meantime, back here in real life, you got two choices. Retire on disability, or reassignment at your current rank.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Reassignment?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EVIDENCE ROOM - DAY<\/stage_direction>\n    <scene_description>Avery works behind the desk at the evidence room. It's in the basement. Behind him are rows of wire-caged shelves. Scott Stevens, in plain-clothes, approaches the desk.<\/scene_description>\n    <character>SCOTT<\/character>\n    <dialogue>Hey, man, heard you were down here.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>What's with the street clothes?<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>You didn't hear? I'm vice now.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>No shit?<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>I'm actually paired up with DeLuca. Crotty retired last month.<\/dialogue>\n    <scene_description>Scott hands over a folder with 2 bags of marijuana.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>Thanks for the drugs.<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>Any time.<\/dialogue>\n    <scene_description>Scott pauses a beat, he's got something on his mind.<\/scene_description>\n    <character>SCOTT<\/character>\n    <dialogue>We should get a bite sometime. Talk about things...<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Hey, sure. Anything to get me outta this cage. Name the time...<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>...You name the place.<\/dialogue>\n    <scene_description>They shake. Scott leaves, says, \"see ya.\" Avery heads back into the lockers. Puts the evidence inside. Once done, he heads deeper into the room, stands in front of another locker, opens it up. He takes out a cardboard box, sits on the floor, spreads out evidence: gun, key to his motorcycle, empty backpack, wallet. Inside the wallet, he finds a picture of Luke, Romina, and Jason.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OLYMPIC DINER - DAY<\/stage_direction>\n    <scene_description>Avery is parked in his unmarked Cavalier across the street from the diner where Romina works. He watches her through the window, going about her job. Avery can't seem to assuage the guilt he feels for this woman.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLYMPIC DINER - DAY<\/stage_direction>\n    <character>ROMINA<\/character>\n    <dialogue>What can I get you?<\/dialogue>\n    <scene_description>Romina looks up from her pad, sees Avery sitting in a booth. She tries to hide her contempt for him, looks around for help, but she is the only waitress on duty. Awkward beat.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>How are you? How's your boy, Jason?<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>Do you really care about my boy? You care about my family? Or is this just small talk?<\/dialogue>\n    <scene_description>Avery can't keep eye contact, her eyes full of venom. He looks down, notices that Romina is pregnant.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>I'll just take a coffee...<\/dialogue>\n    <scene_description>Romina walks back into the kitchen. Avery watches her go. Scott Stevens approaches and sits down. Both men shake hands.<\/scene_description>\n    <character>SCOTT<\/character>\n    <dialogue>Thanks for meeting me. You order? I'm starving.<\/dialogue>\n    <scene_description>Scott puts his hand up and waves for Romina. \"Ma'am!\"<\/scene_description>\n    <character>SCOTT<\/character>\n    <dialogue>We're dealing with a case, DeLuca and me. And it's pretty sensitive. I'm hoping this can stay private.<\/dialogue>\n    <scene_description>Avery is listening. Romina comes back to the table, trembling with fear and rage. She pours Avery's coffee.<\/scene_description>\n    <character>SCOTT<\/character>\n    <dialogue>Tuna melt. Large iced tea.<\/dialogue>\n    <scene_description>Scott hands her the menu, notices who she is, makes big eyes at Avery. She turns to Avery, waits for his order. Avery can't tell if she is terrified or angry. Probably both.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>I'm fine with coffee.<\/dialogue>\n    <scene_description>She takes his menu, walks away. Scott looks at Avery like a kid who has just gotten away with something.<\/scene_description>\n    <character>SCOTT<\/character>\n    <dialogue>Small fucking world.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>What'd you want to talk about?<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>Right. I knew I could come to you. You could really help us bust this thing wide open.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>I don't know what I can do, but I'm here for you.<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>We have an operation going with these low level pushers. Kids. It could lead to their higher-ups, but we need to convince them we're legitimate. Now, you know how it is. You want to sign out drugs or money for an operation and the list of regulations... It's insane. As long as your arm, right?<\/dialogue>\n    <scene_description>Romina returns with the ice tea. Scott adds 4 sugars.<\/scene_description>\n    <character>SCOTT<\/character>\n    <parenthetical>(stirring his drink)<\/parenthetical>\n    <dialogue>DeLuca and I thought, you know, you're a stand-up guy. If we can arrange something where we can have, you know, temporary access to the evidence room, and we could borrow some stuff.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>I'm listening...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELAN'S STRIP CLUB - NIGHT<\/stage_direction>\n    <scene_description>Girls on stage grind to music and will do anything for a dollar. Avery and DeLuca share a booth with Scott.<\/scene_description>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>We'll give you a list of what we need and you pull it out for us. We'll use it and then get it or something exactly like it back to as soon as we can.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>For this one investigation?<\/dialogue>\n    <scene_description>Scott and DeLuca look at one another.<\/scene_description>\n    <character>SCOTT<\/character>\n    <dialogue>Well, yeah, for this investigation. But we were hoping this could be like something we're all involved in. Periodically. If we need it.<\/dialogue>\n    <scene_description>A COKE-HEAD moves quick through the club and ducks into the bathroom. DeLuca eyes him, lets it slide.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>Like an open-ended thing?<\/dialogue>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>What the hell? Scott told me you wanted to help us do some real police work.<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>Take it easy, Paul. Avery is helping. We're just working it out.<\/dialogue>\n    <scene_description>Paul smiles. He points to Scott with his thumb.<\/scene_description>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>My better half.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>What happens if somebody comes up for trial and the evidence isn't there?<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>That's not a problem...<\/dialogue>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>You just fudge the paper work. We'll give you cover from the DA.<\/dialogue>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>Also, you should file the occasional report about how disorganized the evidence room is. It's a good hedge if something surprises us.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Why? Why would I do this? What do I get out of it?<\/dialogue>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>What are you saying? You want us to bribe you or something? To do your fucking job?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>I'm not asking for fucking bribes. Just assurances. I want to do what's right, but I need assurances.<\/dialogue>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>The fuck? You need fucking assurances? I don't even know what that means. Assurance? You get that in law school? Listen, pal, if this blows up we're all fucked. But you, see, you make sure it doesn't blow up. You can walk around all day looking down your self-righteous fucking nose at everybody, but you!say you wanna be a cop. Do you?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Yes, but...<\/dialogue>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>You wanna see what we're dealing with? C'mere.<\/dialogue>\n    <scene_description>Deluca stands, walks into the bathroom where the Coke-head disappeared minutes earlier. He beckons Avery and Scott to follow. Anticipating the adventure ahead, Scott stands, sighs. Avery follows his lead.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELAN'S BATHROOM. CONTINUOUS.<\/stage_direction>\n    <scene_description>DeLuca sees feet standing inside one of the stalls. Pants aren't down. DeLuca kicks open the door. SEES the guy snorting a line.<\/scene_description>\n    <character>COKE-HEAD<\/character>\n    <dialogue>What the fuck, man?<\/dialogue>\n    <character>DELUCA<\/character>\n    <dialogue>Gimme your dope.<\/dialogue>\n    <character>COKE-HEAD<\/character>\n    <dialogue>I'm not doing nothing, man.<\/dialogue>\n    <scene_description>DeLuca grabs the man by his hair, jerks his head back, looks up his nostrils. He pulls the man out of the stall, head still pulled back.<\/scene_description>\n    <character>DELUCA<\/character>\n    <dialogue>You're full of shit.<\/dialogue>\n    <parenthetical>(to Avery)<\/parenthetical>\n    <dialogue>See this? No fucking nose hair. It's the absolute tell-tale sign of a fucking coke-head.<\/dialogue>\n    <parenthetical>(to the Coke-head)<\/parenthetical>\n    <dialogue>Who's your source asshole?<\/dialogue>\n    <character>COKE-HEAD<\/character>\n    <dialogue>I don't know what the fuck you're talking about!<\/dialogue>\n    <scene_description>The man is scared, doesn't say anything. Deluca looks at Avery and Scott, before yanking him out of the joint.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DELUCA'S CAR - NIGHT 116<\/stage_direction>\n    <scene_description>Deluca and Scott are in front and Avery sit's in the back with the Coke-head. He looks at Avery. Avery looks away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PINE BARRENS - LATER<\/stage_direction>\n    <scene_description>DeLuca leads the cuffed Coke-head into the pines with a flashlight. Scott and Avery follow. Deluca stops.<\/scene_description>\n    <character>DELUCA<\/character>\n    <dialogue>Okay shitbag, walk ahead of us and stand by that tree.<\/dialogue>\n    <scene_description>The Coke-head is petrified. Deluca takes Avery aside.<\/scene_description>\n    <character>DELUCA<\/character>\n    <dialogue>Okay hero go find out who his source is.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>This is crazy. What are we doing here?<\/dialogue>\n    <character>DELUCA<\/character>\n    <dialogue>This is the fucking job.<\/dialogue>\n    <scene_description>Avery looks at Scott. Unspoken, Scott urges him on. Avery walks to the Coke-head, tries to be a human being.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>What's your name?<\/dialogue>\n    <character>JUNKIE<\/character>\n    <dialogue>Fuck you motherfucker.<\/dialogue>\n    <scene_description>Avery leans in and whispers.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>Listen. You have any idea what kind of trouble you're in here? I need to know the name of your source so i can get you outta here.<\/dialogue>\n    <scene_description>Junkie doesn't say anything. He's not scared of Avery.<\/scene_description>\n    <character>DELUCA<\/character>\n    <dialogue>What's taking so long? Do the right thing, hero.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>This is your last chance.<\/dialogue>\n    <character>JUNKIE<\/character>\n    <dialogue>Or what? Fuck you bitch.<\/dialogue>\n    <scene_description>The other cops hoot with laughter. Avery is mortified by the man's defiance and the ultimate ghetto insult - no man calls another man a bitch without a fight. Avery slams the junkie up against the tree.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>Give me a fucking name.<\/dialogue>\n    <scene_description>Avery's presses the mans face against the tree. He pulls his head back and slams against the tree again. Deluca puts his hands on Avery's shoulder.<\/scene_description>\n    <character>DELUCA<\/character>\n    <dialogue>Whoa, whoa... No need to hurt the guy for Christ sake.<\/dialogue>\n    <scene_description>Avery's breathing hard. He steps back.<\/scene_description>\n    <character>DELUCA<\/character>\n    <dialogue>Apologies for my colleague here... He's still learning how to be a cop.<\/dialogue>\n    <scene_description>Deluca produces a bag of crack cocaine. He holds it up with the flash light on it.<\/scene_description>\n    <character>DELUCA<\/character>\n    <dialogue>See this... It's the real deal. Give it a taste. It's all yours. We just need one name from you. And there's more where this came from.<\/dialogue>\n    <scene_description>The junkie is interested. He takes the bag. Avery learns.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AVERY AND JENNIFER'S HOME. NIGHT.<\/stage_direction>\n    <scene_description>Avery can't sleep. He stares at the ceiling. He gets out of bed, very quietly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AVERY AND JENNIFER'S HOME. SHED. PRE-DAWN<\/stage_direction>\n    <scene_description>Avery digs out the shoe box with the plastic bag of money he took from Romina's place. He quietly walks back to his car.<\/scene_description>\n    <character>JENNIFER (O.S.)<\/character>\n    <dialogue>Avery?<\/dialogue>\n    <scene_description>Jennifer opens the back porch screen door, and comes out in her nightgown. She sees the bag of money in his hand. He tries to hide it. They stand there for a minute.<\/scene_description>\n    <character>JENNIFER<\/character>\n    <dialogue>Do you wanna talk?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>I have to go.<\/dialogue>\n    <character>JENNIFER<\/character>\n    <dialogue>OK.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>OK.<\/dialogue>\n    <scene_description>He goes for his car.<\/scene_description>\n    <character>JENNIFER<\/character>\n    <dialogue>This stuff you're doing doesn't feel good.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>What stuff am I doing?<\/dialogue>\n    <character>JENNIFER<\/character>\n    <dialogue>Are you in trouble?<\/dialogue>\n    <scene_description>Avery sighs. At a loss on how to answer.<\/scene_description>\n    <character>JENNIFER<\/character>\n    <dialogue>I've never seen you like this.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Like what?<\/dialogue>\n    <character>JENNIFER<\/character>\n    <dialogue>So distant.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I just don't feel like I can trust you right now and I never thought I'd feel that way about you.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Then maybe I shouldn't be here.<\/dialogue>\n    <character>JENNIFER<\/character>\n    <dialogue>Will you just come inside? I miss you, Avery.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>...I can't... I can't do this...<\/dialogue>\n    <scene_description>Jennifer gathers the courage to ask...<\/scene_description>\n    <character>JENNIFER<\/character>\n    <dialogue>Are you leaving me?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <scene_description>Avery gets in his car. Shuts the door. Starts it up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OLYMPIC DINER - MORNING<\/stage_direction>\n    <scene_description>Romina gets off of her shift. Avery climbs out of his car.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>Excuse me. Don't worry. I'm not here as a police officer. I'm just a regular guy.<\/dialogue>\n    <scene_description>Avery holds out the money for her. Romina won't touch it.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>I don't judge anything you've done. This is yours, not mine. Please.<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>I don't know where that money is from. And What you're doing is very inappropriate.<\/dialogue>\n    <scene_description>Romina walks over to her car and gets in. Avery follows.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>I'm not trying to entrap you. Take it. You need it. For the baby.<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>What do you know about what my baby needs?<\/dialogue>\n    <scene_description>Romina backs out and almost runs over Avery's foot. Avery watches her drive away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION. WEIRZBOWSKI'S OFFICE. DAY.<\/stage_direction>\n    <scene_description>The end of another long day. But Avery has been waiting a long time. Weirzbowski calls him in. Avery walks in, sees the chief gathering his things to leave for the day.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>Chief.<\/dialogue>\n    <scene_description>Avery closes the door behind him. Chief finds it curious.<\/scene_description>\n    <character>CHIEF WEIRZBOWSKI<\/character>\n    <dialogue>What's up, Cross? Don't tell me you're gonna ask for another promotion.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>No. Something else...<\/dialogue>\n    <scene_description>Avery reaches in his jacket, pulls out the bag of money.<\/scene_description>\n    <character>CHIEF WEIRZBOWSKI<\/character>\n    <dialogue>What's that doing up here?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>It came from one of the houses. During a search. And it's not just this...<\/dialogue>\n    <character>CHIEF WEIRZBOWSKI<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>Don't say another word.<\/dialogue>\n    <scene_description>Avery puts the money down on the chief's desk. They both look at it, then at each other.<\/scene_description>\n    <character>CHIEF WEIRZBOWSKI<\/character>\n    <dialogue>What do you want me to do with this? What do want me to do. What do you expect me to do?<\/dialogue>\n    <scene_description>Silence. Avery wishes he would have never brought it up with the chief. He stands up to leave.<\/scene_description>\n    <character>CHIEF WEIRZBOWSKI<\/character>\n    <dialogue>Whoa. Wait a minute. I want you to know that this is not good business. This is not the way to build a career.<\/dialogue>\n    <scene_description>The chief takes a couple of tissues from a box, uses them to pick up the bag of money (so as not to get his fingerprints on it). He throws it at Avery. Hard.<\/scene_description>\n    <character>CHIEF WEIRZBOWSKI<\/character>\n    <dialogue>Take this shit outta my office.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>What should I do with it?<\/dialogue>\n    <character>CHIEF WEIRZBOWSKI<\/character>\n    <dialogue>Shove it up your fucking ass! I don't care! You figure it out.<\/dialogue>\n    <scene_description>Avery retreats out of the office. Moves through the station with increasing determination.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EVIDENCE ROOM. DAY. CONTINUOUS.<\/stage_direction>\n    <scene_description>Unlocks door. Takes out Luke's box. Unzips the backpack. Stuffs the money in there.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE STATION. PARKING LOT. LATE AFTERNOON.<\/stage_direction>\n    <scene_description>Avery walks out of the station, with paranoid urgency. \"Chirp chirp\" Unlocks his car. He looks to the left, SEES - Weirzbowski talking to Deluca. They turn and watch him. Shit! He get's into his car - kind of a lengthy process with his bum knee - has to stick his bad leg in first without bending it. He's nervous and impatient. Finally gets in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AVERY'S CAR. DUSK.<\/stage_direction>\n    <scene_description>His heart is racing from the adrenaline. He drives down ERIE BLVD toward home. Not much traffic. He talks to himself. Suddenly. The lights from a cruiser flash behind him. \"What the fuck?\" He doesn't know what to do. He keeps driving. The cruiser gets closer. Sirens bleat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT AVERY'S CAR- CONTINUOUS<\/stage_direction>\n    <scene_description>Avery is covered in sweat. He pulls over to the side. Watches in the rear-view. The cruiser is parked behind him. Lights still flashing. He can't make out who is driving, just hazy silhouettes. The driver's door cracks open. Beat. DeLuca steps out. Pulls up his pants. Approaches Avery's window. He rolls down his window.<\/scene_description>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>License and registration.<\/dialogue>\n    <scene_description>Avery's thrown off. He reaches into his pocket. DeLuca starts laughing (deep laugh of a smoker).<\/scene_description>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>What the fuck is wrong with you? If I tol' ya to bend over so I can fuck ya up the ass would you do it?<\/dialogue>\n    <scene_description>Avery feels like snapping.<\/scene_description>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>It's a fucking joke. Have a sense of humor. You okay?<\/dialogue>\n    <scene_description>Avery nods.<\/scene_description>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>You sure? 'Cause you don't look so good.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>I'm good.<\/dialogue>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>Scott told me he talked to you about that thing. You know, that thing? We need to talk it over. Get a little game plan together - if you know what I'm sayin'.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>When? Now?<\/dialogue>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>Now? No last week. Whatdaya mean, \"now?\" Yeah now. Follow me.<\/dialogue>\n    <scene_description>He returns to his cruiser, pulls up next to Avery, rolls down his passenger side window.<\/scene_description>\n    <character>PAUL DELUCA<\/character>\n    <dialogue>We're gonna go out a little ways. Get away from the ears in this city. Follow me.<\/dialogue>\n    <scene_description>Avery rolls up his window and nervously goes along with it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AVERY'S CAR INTO THE PINES- CONTINUOUS DRIVING<\/stage_direction>\n    <scene_description>The headlights of Avery's car illuminate endless rows of lonely pine trees. Deluca's tail lights hover ahead, leading Avery deeper and deeper into the darkness. Avery's heart is in his throat. He takes his gun out of his holster, sets it next to him. \"where the fuck are you going?\" Deluca turns down a dirt road, and Avery has no choice but to follow. \"oh my fucking god.\" Avery stops. Sees, Deluca's brakes light. DeLuca's door opens. Abject terror. Avery does a super fast and messy 3-point turn to get out of there. He is nearly hyperventilating. He peels out sending a cloud of gravel and dirt into the atmosphere. He straightens out on the main road and drives like hell out of the forest.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. AVERY'S FATHER'S HOME - GE PLOT - NIGHT<\/stage_direction>\n    <scene_description>Avery pulls into his father's driveway. Stately mini mansion - now all dark. Avery rings the bell. Knocks. Porch light turns on. Al Cross, in robe, opens the door. He looks into his son's desperate eyes. Nods. \"Come in...\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AVERY'S FATHER'S HOME- LATER<\/stage_direction>\n    <scene_description>They sit in a large kitchen, drinking scotch. We pick up in the middle of their conversation.<\/scene_description>\n    <character>AL<\/character>\n    <dialogue>There's always a way out. And there's a way out of this... but you're not going to like it. Do you want to hear?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>I want to hear.<\/dialogue>\n    <character>AL<\/character>\n    <dialogue>OK Let's start at the precinct. Who, if anyone, still trusts you?<\/dialogue>\n    <scene_description>Avery knows that this is the moment he can't turn back from. He knows who trusts him...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CRUISER. THE NEXT DAY<\/stage_direction>\n    <scene_description>Avery balances 2 cups of coffee and opens the passenger's side door. Scott sits in the driver's seat.<\/scene_description>\n    <character>SCOTT<\/character>\n    <dialogue>You really gave Deluca quite the scare...<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>That's one way to look at it.<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>What the fuck were you thinking? He's ready to dump you and give up on the whole thing. What happened?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>I just wasn't in the mood to get fucked around.<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>Look. I know. He's very difficult to deal with sometimes. But that's just him.<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>He needs to get comfortable. He's just testing you. He needs to know you're on board. And it's getting a little hard for me to keep vouching for you. Especially when you act so fucking weird all the time.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Well enough with the fucking tests. You tell me what you want me to do or just fucking leave me alone.<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>Damn, you're touchy.<\/dialogue>\n    <scene_description>Avery is all nerves.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>Okay fuck it. I'm out.<\/dialogue>\n    <scene_description>Avery opens his car door to get out.<\/scene_description>\n    <character>SCOTT<\/character>\n    <dialogue>Hey come on partner.<\/dialogue>\n    <scene_description>Avery stops. Wants to just walk away, but he can't leave.<\/scene_description>\n    <character>SCOTT<\/character>\n    <dialogue>Remember the MacInnis case? The kilo? We need you to pull that out for us. Deluca will make the pick up. We'll get it, or something exactly like it, back to as soon as we can.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Not a problem.<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>I knew I could count on you.<\/dialogue>\n    <scene_description>They slap \"five.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHENECTADY COUNTY D.A.'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Avery, in uniform, sits across from D.A. Killcillen. He holds a small tape-recorder up &amp; plays his conversation with Scott which he secretly recorded. Killcillen leans in to listen.<\/scene_description>\n    <character>SCOTT (ON TAPE RECORDER)<\/character>\n    <dialogue>I knew we could count on you.<\/dialogue>\n    <scene_description>Avery clicks off the tape, hands the recorder to Killcullen.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>I have more. Much more.<\/dialogue>\n    <scene_description>Killcullen studies the recorder and puts it on his desk.<\/scene_description>\n    <character>BILL KILLCULLEN<\/character>\n    <dialogue>Have you shown this to IA?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>No way.<\/dialogue>\n    <character>BILL KILLCULLEN<\/character>\n    <dialogue>What's that supposed to mean?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>I have no interest in being a martyr. I can give you this whole case on a silver platter.<\/dialogue>\n    <scene_description>Killcullen smiles. He presses a button on his intercom. His receptionist STACY answers on the other end.<\/scene_description>\n    <character>BILL KILLCULLEN<\/character>\n    <dialogue>Stacy? Is it Christmas?<\/dialogue>\n    <character>STACY (OVER THE INTERCOM)<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>BILL KILLCULLEN<\/character>\n    <dialogue>Can you check for me and see if it's Christmas?<\/dialogue>\n    <character>STACY (OVER THE INTERCOM)<\/character>\n    <dialogue>I'm busy.<\/dialogue>\n    <scene_description>The intercom clicks off.<\/scene_description>\n    <character>BILL KILLCULLEN<\/character>\n    <dialogue>To the best of my knowledge, it's not Christmas. Therefore, I assume this isn't just a gift you want to give me?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>No. I have conditions.<\/dialogue>\n    <character>BILL KILLCULLEN<\/character>\n    <dialogue>And what are these conditions?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>First off, you need to give me your word you're going to follow through. Second, I want immunity if you do follow through. And third, whether you follow through or not, I want you to make me an assistant D.A. I have a law degree and I passed the BAR.<\/dialogue>\n    <character>BILL KILLCULLEN<\/character>\n    <dialogue>I already have an assistant D.A. Two, actually.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Make room.<\/dialogue>\n    <character>BILL KILLCULLEN<\/character>\n    <dialogue>Officer Cross. Avery, right? Can I call you Avery? Avery, you're obviously someone I can be candid with. No bullshit. Well let me ask you straight, just on the face of this proposition, why the hell do you think I'd be willing to reward you for this shit sandwich? I have to work with the guys on this tape. I'm not going to make it my business to screw them.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>You can say no to me and I'll walk out of here and walk right into the Gazette. Only when I play the tapes for them, they'll be some new material.<\/dialogue>\n    <scene_description>Avery pulls another little recorder from his inside coat pocket and shows it to Killcullen. It's recording. Killcullen leans back in his chair and smiles. Avery smiles back.<\/scene_description>\n    <character>BILL KILLCULLEN<\/character>\n    <dialogue>Wow. You're a real asshole, huh?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Act now, and I'm your asshole.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DELUCA RESIDENCE - DAY<\/stage_direction>\n    <scene_description>Federal agents arrest Paul DeLuca at his home and lead him down his sidewalk in cuffs.<\/scene_description>\n    <character>ANCHOR (ON T.V.) (V.O.)<\/character>\n    <dialogue>Drugs, corruption and gangs. It's not an investigation by the Schenectady Police it's an investigation into the Schenectady Police.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON CELL - DAY<\/stage_direction>\n    <scene_description>Scott Stevens is put into a cell. The door closes behind him.<\/scene_description>\n    <character>ANCHOR (ON T.V.) (V.O.)<\/character>\n    <dialogue>Earlier today, DA William Killcullen announced that his office, in conjunction with the F.B.I. would be handing down indictments that would lead to the arrests of Schenectady Police officers.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION. NIGHT.<\/stage_direction>\n    <scene_description>Chief Weirzbowski stands, watching the TV, seething.<\/scene_description>\n    <character>REPORTER 2 (ON T.V.)<\/character>\n    <dialogue>The D.A. is making allegations today that Schenectady vice officers acted like the gangs they were supposed to be busting.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AVERY AND JENNIFER'S HOME. NIGHT<\/stage_direction>\n    <scene_description>ON TV: A REPORTER stands in front of the Police station.<\/scene_description>\n    <character>REPORTER 2<\/character>\n    <dialogue>Officers allegedly stole drugs, money and even guns from the police department's evidence room. With the stolen evidence, officials say, the cops allegedly paid criminals to help set up their rivals which lead to headline grabbing arrests.<\/dialogue>\n    <scene_description>Jennifer watches the news report on TV, bounces A.J.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. AVERY'S FATHER'S HOME - GE PLOT - NIGHT<\/stage_direction>\n    <scene_description>Avery and his father watch the local news. His father takes a phone call, and Avery is left alone, in the kitchen.<\/scene_description>\n    <character>REPORTER 2 (ON T.V.)(V.O)<\/character>\n    <dialogue>The D.A. Announced a star witness in the case, hero-cop Avery Cross, who just under a year ago was shot in the line of duty while saving two Schenectady residents from the alleged \"motobandit.\"<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEGAL OFFICE. CONFERENCE ROOM. MONTHS LATER. DAY.<\/stage_direction>\n    <scene_description>Avery and Jennifer enter a room with their LAWYERS and a MEDIATOR. Avery sits on one side of a!big conference table ! with his Lawyer and Jennifer sits on the other with hers. The mediator sits at the head. Awkward. Little eye contact.<\/scene_description>\n    <character>MEDIATOR<\/character>\n    <dialogue>It's always nice when two parties can come to an agreement on their own without having to enter a courtroom because we all know where that can lead.!That being said I just want to remind all parties present that we're not locked in yet and there's still time to revise the specifics of this agreement but after these divorce documents are signed of course that window closes. Ok? Mr. Cross, do you fully understand that in signing this document you are willingly giving away sole custody of your son A.J.<\/dialogue>\n    <character>MEDIATOR<\/character>\n    <dialogue>Cross to your former wife Jennifer Cross and in so doing you understand that you are relinquishing all rights going forward to make decisions regarding the parenting of you son. Do you fully understand the implications of what you're signing?<\/dialogue>\n    <scene_description>Avery leans over to his lawyer.<\/scene_description>\n    <character>AVERY'S LAWYER<\/character>\n    <dialogue>Yes he does.<\/dialogue>\n    <character>MEDIATOR<\/character>\n    <dialogue>And do you, Jennifer Cross understand the terms of this agreement?<\/dialogue>\n    <scene_description>Jennifer is heart-broken.!She looks at Avery, hoping that he'll put up a fight. He doesn't. Defeated, disappointed, disillusioned, she looks down and says \"yes.\"<\/scene_description>\n    <character>JENNIFER'S LAWYER<\/character>\n    <dialogue>Yes she does.<\/dialogue>\n    <scene_description>ELLIPSE. Documents are signed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETARY. DAY. 16 YEARS LATER. 137<\/stage_direction>\n    <scene_description>The cemetary is natural, hilly and wild. Pall-bearers remove a casket from the back of a Hearse.<\/scene_description>\n    <character>PREACHER (V.O.)<\/character>\n    <dialogue>Albert Cross was someone who brought justice and strength to all aspects of his life.<\/dialogue>\n    <scene_description>People awkwardly mingle as they find their seats. This is a big funeral. A preacher stands at a podium next to an tent and an open grave. People sit and stand, listen and remember.<\/scene_description>\n    <character>PREACHER<\/character>\n    <dialogue>He was not only a father to his beautiful family but also a father to our entire community.<\/dialogue>\n    <scene_description>Avery, now the distinguished looking statesman (a little grayer at the temples, but still in great shape), sits next to a now 16-year old A.J. Jennifer sits next to A.J.<\/scene_description>\n    <character>PREACHER<\/character>\n    <dialogue>I would like to welcome his son, who I know he was extremely proud of, to say a few words. DA Cross?<\/dialogue>\n    <scene_description>Avery stands. People watch him with sympathetic expressions as he quietly makes his way to the podium.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>Let me start by saying thank you to everyone who has come out today to honor my father's life. I know Al had a tremendous impact on so many of you here. He was not exactly what you would call a low impact man. I remember as a boy looking at him in his judges gown and thinking my dad is a super hero. Now looking back I think I was not so far off. My father had that all important quality as a judge of being both compassionate and ferocious at the same time. He was not afraid to make enemies and because of that he made many friends. Before he fell into a coma I was able to tell him that I was dedicating my run for Senate to him.<\/dialogue>\n    <parenthetical>(chokes up)<\/parenthetical>\n    <dialogue>He shook his head no. I didn't understand why he did this. And so I leaned in close and he managed to whisper... and he said to me, \"I'll take the win not the run.\"<\/dialogue>\n    <scene_description>People laugh. Jennifer doesn't.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>That was Al.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. AVERY'S FATHER'S HOME - GE PLOT - LATER<\/stage_direction>\n    <scene_description>Well dressed folks gather at Al's house for a reception. Pot luck dishes cover the grand dining room table. A.J. wears headphones as he fills a plate with food. Avery makes the rounds accepting condolences with the grace of a politician. Jennifer watches him finish one conversation and move quickly to another. She hangs back until the opening reveals itself.<\/scene_description>\n    <character>JENNIFER<\/character>\n    <dialogue>Avery.<\/dialogue>\n    <scene_description>Avery turns around and Jennifer gives him a meaningful hug.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>I guess this day had to come at some point right?<\/dialogue>\n    <scene_description>Jennifer nods.<\/scene_description>\n    <character>JENNIFER<\/character>\n    <dialogue>I know how hard this must be for you.<\/dialogue>\n    <scene_description>Avery knows that Jennifer knows the true depth of how hard it is. He works to stay composed.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Avery averts his eyes from Jennifer's stare.<\/scene_description>\n    <character>JENNIFER<\/character>\n    <dialogue>So I know this is not the ideal time but I need to talk to you about A.J. a little bit.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>It's hard for Jennifer to say this...<\/scene_description>\n    <character>JENNIFER<\/character>\n    <dialogue>He wants to live with you... He won't stop asking me about it.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Really? Well I think he should at some point.<\/dialogue>\n    <scene_description>Jennifer looks at him sadly. She would do anything to keep him at home.<\/scene_description>\n    <character>JENNIFER<\/character>\n    <dialogue>This is his senior year Avery. There isn't going to be another point.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>It's just... a tough time for me right now. With the campaign and... I'm totally unprepared you know?<\/dialogue>\n    <character>JENNIFER<\/character>\n    <dialogue>Is that what you want me to tell him? That it's a tough time for you?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Jennifer...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AVERY'S HOME. POOLSIDE. DAY. 139<\/stage_direction>\n    <scene_description>Avery is sitting in an patio chair, trying to lead a conference call with his political advisors. They discuss details of his campaign. A.J. walks out of the house with a big beach towel, sets it on a chair. He takes off his shirt and stands on the edge of the pool, watching his dad talking on the phone. Avery looks at his son, shirtless, skinny, pale, standing on the edge of his pool. As if A.J. senses his dad's inspection, he jumps and cannonball's into the pool. He makes a big splash and lots of noise. Avery takes the conference call inside. A.J. is left in the pool alone. 140 EXT LINTEN HIGH SCHOOL. DAY. 140 A.J. parks his nice car in the student lot of the school.<\/scene_description>\n    <character>GUIDANCE COUNSELOR (O.S.)<\/character>\n    <dialogue>Let's see... Avery Cross?<\/dialogue>\n    <character>A.J.<\/character>\n    <dialogue>A.J.<\/dialogue>\n    <character>GUIDANCE COUNSELOR<\/character>\n    <dialogue>Oh okay.<\/dialogue>\n    <scene_description>A.J. passes by other students on his way into school.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUIDANCE COUNSELOR'S OFFICE - LATER<\/stage_direction>\n    <scene_description>A.J. sits across from the GUIDANCE COUNSELOR. He looks over his schedule.<\/scene_description>\n    <character>GUIDANCE COUNSELOR<\/character>\n    <dialogue>I saw your dad on TV the other day. He's really good in front of those cameras.<\/dialogue>\n    <character>A.J.<\/character>\n    <dialogue>Yeah. We're really proud of him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUNCHROOM. 142<\/stage_direction>\n    <scene_description>A.J. wanders around the lunchroom with a tray of pizza - doesn't know anybody, doesn't see a place to sit. Sees a big, rebellious looking kid - JASON sitting alone. A.J. walks over and puts his tray down across from him.<\/scene_description>\n    <character>A.J.<\/character>\n    <dialogue>What's up?<\/dialogue>\n    <scene_description>Jason eyes A.J., then nods. A.J. opens his milk carton. Looks around at GIRLS walking by.<\/scene_description>\n    <character>A.J.<\/character>\n    <dialogue>Must be extra hormones in the chicken here cuz these girls are developed. N'aw mean?<\/dialogue>\n    <scene_description>Jason looks around and smiles.<\/scene_description>\n    <character>A.J.<\/character>\n    <dialogue>Damn...My dad wanted me here for my senior year - I don't know why. I'm so fucking glad to get out of fucking Troy though man.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>A.J.<\/character>\n    <dialogue>That fucking town sucks dude. Way worse than here.<\/dialogue>\n    <scene_description>Jason eats.<\/scene_description>\n    <character>A.J.<\/character>\n    <dialogue>You have any good distractions 'round here?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>(thinks)<\/dialogue>\n    <scene_description>Some.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GROUT PARK. AFTERNOON.<\/stage_direction>\n    <scene_description>A.J. takes the first drag of a marijuana pipe. Holding the smoke in his lungs he passes it to Jason. Jason does the same.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAIN TRACK MONTAGE- LATER<\/stage_direction>\n    <scene_description>They tell jokes, get high, wrestle lost in the hot autumn friendship. The characters literally get to know each other before our eyes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAIN TRACK- LATER<\/stage_direction>\n    <character>A.J.<\/character>\n    <dialogue>You live with both of your parents?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>A.J.<\/character>\n    <dialogue>That's cool they're still together.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Yeah well it's not my real dad but...<\/dialogue>\n    <character>A.J.<\/character>\n    <dialogue>Where's your real dad at?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Died. In a car accident. I was still a baby though.<\/dialogue>\n    <character>A.J.<\/character>\n    <dialogue>That's fucked up right?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>That's the way it is.<\/dialogue>\n    <scene_description>Beat. A.J. looks at him. They walk.<\/scene_description>\n    <character>A.J.<\/character>\n    <dialogue>This is kind bud dude - but you know where we can score some X?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUV. NIGHT<\/stage_direction>\n    <scene_description>A.J. drives his dad's SUV through Hamilton Hill section of Schenectady.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Take a right. And then pull over up there.<\/dialogue>\n    <scene_description>A.J. puts on his blinker, turns the corner, &amp; pulls over. It's a rough part of town. He gives Jason a pile of cash, and leaves the engine running.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>K wait here.<\/dialogue>\n    <scene_description>A.J. cranks his head to see Jason run\/walk down the block to a shitty looking house. A.J. waits, looks around, nervous. Jason is back relatively quickly. He hands A.J. a package of 20 tabs.<\/scene_description>\n    <character>A.J.<\/character>\n    <dialogue>Yeah son!<\/dialogue>\n    <scene_description>A.J. takes his X.<\/scene_description>\n    <character>A.J. (CONT'D)<\/character>\n    <dialogue>What you waiting for?<\/dialogue>\n    <scene_description>Jason thinks twice. Then pops his tab. A.J. hoots and hollers, pumps his stereo, then pulls away from the curb. Suddenly. Cop lights flash behind them.<\/scene_description>\n    <character>A.J.<\/character>\n    <parenthetical>(freaking out)<\/parenthetical>\n    <dialogue>What the fuck? Oh fuck. Holy shit.<\/dialogue>\n    <scene_description>A.J. keeps driving. Jason turns down the music.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Shit. Just pull over.<\/dialogue>\n    <character>A.J.<\/character>\n    <dialogue>What the fuck, dude?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Just chill out. Just pull over.<\/dialogue>\n    <scene_description>Finally, A.J. does.<\/scene_description>\n    <character>A.J.<\/character>\n    <dialogue>What the fuck did you do?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHENECTADY POLICE STATION - CONTINUOUS<\/stage_direction>\n    <scene_description>Avery gets out of his car and walks into the station.<\/scene_description>\n    <character>AVERY (V.O.)<\/character>\n    <dialogue>Where have you got him?<\/dialogue>\n    <character>CHIEF WEIRZBOWSKI (V.O.)<\/character>\n    <dialogue>Downstairs.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION. CONT<\/stage_direction>\n    <scene_description>Chief WEIRZBOWSKI briefs Avery as they walk through the halls of the station.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>CHIEF WEIRZBOWSKI<\/character>\n    <dialogue>He was buying ecstasy from some Schenectady kid.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Who arrested him?<\/dialogue>\n    <character>CHIEF WEIRZBOWSKI<\/character>\n    <dialogue>Beat cop. Central district patrol.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Anyone see him come in other than him?<\/dialogue>\n    <character>CHIEF WEIRZBOWSKI<\/character>\n    <dialogue>No. I made sure of that.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>And what about the arresting officers? Stand up guys?<\/dialogue>\n    <character>CHIEF WEIRZBOWSKI<\/character>\n    <dialogue>They'll sit on this. If they hear it from me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIDEO MONITOR ROOM- CONTINUOUS<\/stage_direction>\n    <scene_description>They arrive at a video monitor which is split into quadrants. Avery looks at the screen, SEES - A.J. sitting alone in an interrogation room, &amp; Jason, with his head down in his folded arms on the table, sitting alone in a separate room.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>Who's the other kid?<\/dialogue>\n    <character>CHIEF WEIRZBOWSKI<\/character>\n    <dialogue>Jason Kancam. Got caught a few years ago on some vandalism charge. Another aimless youth.<\/dialogue>\n    <scene_description>Avery can't believe it. He tries to hide his surprise.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>Cut the mic in room 2.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INTERROGATION ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Avery enters the room, takes off his jacket, uses his jacket to cover the hidden camera; obscuring the surveillance feed. A.J. is rolling.<\/scene_description>\n    <character>A.J.<\/character>\n    <dialogue>I'm really sorry dad. It was my fault. I shouldn't have been there. I know you don't have time to deal with this kinda stuff right now. It won't happen again. You have my word.<\/dialogue>\n    <scene_description>Avery holds a stare at his son. His apology falls on deaf ears.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>Not him.<\/dialogue>\n    <scene_description>Awkward beat.<\/scene_description>\n    <character>A.J.<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Leave that kid alone.<\/dialogue>\n    <character>A.J.<\/character>\n    <dialogue>(smiles)<\/dialogue>\n    <scene_description>Why? Avery pushes him into the wall. Gets up in his face. Avery's voice is full of malice but he keeps it at a raspy whisper.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>Wipe that fucking smile off your face.<\/dialogue>\n    <scene_description>A.J.'s smile has become a terrified quiver.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>You hear me? Not him.<\/dialogue>\n    <scene_description>A.J. doesn't respond - tears are now coming out of his eyes. Avery releases him, stands up.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>Stay away from him, you understand me?<\/dialogue>\n    <scene_description>A.J. nods his head slightly. He puts his jacket on and resumes the face of a politician. A.J. follows him out of the room wiping the tears from his eyes with the sleeve of his sweatshirt.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OTHER INTERROGATION ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Jason sits alone in the other interrogation room. A COP opens the door and enters the room. The cop takes a seat across from Jason.<\/scene_description>\n    <character>COP<\/character>\n    <dialogue>Okay. You are under arrest. I'm supposed to advise of your rights. You have the right to remain silent. Anything you say can and will be used against you. You have the right to an attorney. If you can't afford an attorney, one will be appointed for you.<\/dialogue>\n    <scene_description>Jason swallows hard. His eyes dart around the room.<\/scene_description>\n    <character>COP<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <scene_description>Jason nods, rapidly.<\/scene_description>\n    <character>COP<\/character>\n    <dialogue>We're gonna book you now, okay?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>'kay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHENECTADY POLICE STATION - LATER<\/stage_direction>\n    <scene_description>Jason is fingerprinted and photographed. His personal possessions are taken from him and cataloged.<\/scene_description>\n    <character>COP<\/character>\n    <dialogue>Do you want to call someone?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>What's not to know?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>I don't want my mom to find out.<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>She's gonna find out anyway. If you don't call someone, you're gonna spend the night in jail.<\/dialogue>\n    <scene_description>Jason thinks about it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOLDING CELL - LATER<\/stage_direction>\n    <scene_description>Scared, Jason sits in a holding cell with 1 or 2 DRUNKS.<\/scene_description>\n    <character>DRUNK<\/character>\n    <dialogue>I look where I want to look. I'm looking at you and if you say anything about it, I'll defend myself.<\/dialogue>\n    <scene_description>Jason tries to look away. Tries to make himself disappear.<\/scene_description>\n    <character>DRUNK<\/character>\n    <dialogue>Don't ignore me. Don't you fucking ignore me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AVERY'S HOME. DAY. 154<\/stage_direction>\n    <scene_description>A.J. sits alone on the living room couch. He eats a piece of pizza and watches a news report. The report shows Avery campaigning at the local BOYS AND GIRLS CLUB.<\/scene_description>\n    <character>ANCHOR<\/character>\n    <dialogue>... The senatorial candidate even took time to play a few innings with the local youth.<\/dialogue>\n    <scene_description>We see Avery at bat, swing, hit and run the bases (his limp slowing him down of course.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURT ROOM - DAY 155<\/stage_direction>\n    <scene_description>Jason sits alone in the gallery of a court house with a PUBLIC DEFENDER. Kofi and Romina, both 16 years older, enter the room, shake hands with the public defender. Jason can't really make eye contact with them because he knows how ANGRY they are.<\/scene_description>\n    <character>PUBLIC DEFENDER<\/character>\n    <dialogue>So, Jason. Seems like you have some friends in high places?<\/dialogue>\n    <scene_description>Jason is visibly confused.<\/scene_description>\n    <character>PUBLIC DEFENDER (CONT'D)<\/character>\n    <dialogue>Just lucky, I guess. I'm getting some pretty strong signals from the prosecutor that if you plead guilty, we can bargain this down to almost nothing.<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>What do you mean? Like it will be dismissed?<\/dialogue>\n    <character>PUBLIC DEFENDER<\/character>\n    <dialogue>No. If he pleads guilty he'll have a record.<\/dialogue>\n    <character>PUBLIC DEFENDER<\/character>\n    <dialogue>But if we bargain down to misdameanor possession we can get some time served from the night in jail and at worst maybe a fine and some probation.<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>And we get that if we plead guilty?<\/dialogue>\n    <scene_description>Defender gets up to leave, stacking folders as he goes.<\/scene_description>\n    <character>PUBLIC DEFENDER<\/character>\n    <dialogue>It's your lucky day, I guess.<\/dialogue>\n    <scene_description>Romina stares at her son. He looks to her, finds no approval.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KOFI'S CAR. DAY. 156<\/stage_direction>\n    <scene_description>They drive home. Nobody says a word. You could cut the tension with a knife.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TWO-FAMILY HOUSE. DAY. 157<\/stage_direction>\n    <scene_description>Jason enters the house and runs up to his room. Kofi and Romina enter behind him. HEAR him shut his door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TWO FAMILY HOUSE, JASON'S ROOM - LATER 158<\/stage_direction>\n    <scene_description>Knock at the door.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Romina enters the room and looks around. Jason closes his notebook and looks at her. He knows how fucked he is. She walks over to Jason and slaps him across the face. It's the kind of slap that makes your eyes water.<\/scene_description>\n    <character>ROMINA<\/character>\n    <dialogue>Don't you ever do that to me.<\/dialogue>\n    <scene_description>Jason looks up at his mom. It's the first time she's hit him.<\/scene_description>\n    <character>ROMINA (CONT'D)<\/character>\n    <dialogue>No call? No nothing? You were afraid we'd be angry?<\/dialogue>\n    <scene_description>(Beat) Well guess what. We're angry.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>You need to start acting like you're a part of this family.<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>Not just some guy who lives in the same house. Okay?<\/dialogue>\n    <scene_description>Nothing.<\/scene_description>\n    <character>ROMINA (CONT'D)<\/character>\n    <dialogue>Say \"okay.\"<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Jason puts his head down.<\/scene_description>\n    <character>ROMINA<\/character>\n    <dialogue>I will not watch this happen.<\/dialogue>\n    <scene_description>She leaves his room, slamming his door shut.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHRISTIAN BROTHERS ACADEMY. WAITING ROOM. 159<\/stage_direction>\n    <scene_description>Jason and Romina sit in the waiting room.<\/scene_description>\n    <character>SERGEANT (V.O.)<\/character>\n    <dialogue>We see kids like yours every day Mrs. Cankam. Young men who come here and think that somehow the laws of the land don't apply to them.<\/dialogue>\n    <scene_description>160 MONTAGE. CHRISTIAN BROTHERS ACADEMY. 160 A SERGEANT gives Jason and Romina a tour of the facilities.<\/scene_description>\n    <character>SERGEANT (V.O.)<\/character>\n    <dialogue>Boys who have been through countless schools, jails, foster homes, you name it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHRISTIAN BROTHERS ACADEMY. OFFICE - CONTINUOUS 161<\/stage_direction>\n    <scene_description>Jason and Romina sit across a desk from the SERGEANT.<\/scene_description>\n    <character>SERGEANT<\/character>\n    <dialogue>I've spoken to countless mothers just like your self who feel with out hope for their sons and all I have to tell you is that what we do here at the Christian Brothers Academy works. We do not deviate from our routine for anything or anyone. Every cadet does physical training starting at 6:05 sharp. Then chores, then formation, advisory, academics and so on until chores and lights out at 10 pm. Cadets have 35 minutes per day of free time.<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>If this is not respected it will be promptly retracted. We believe, Mrs. Cankam, that freedom is earned. It all comes down to the character of the individual.<\/dialogue>\n    <scene_description>They both look to Jason.<\/scene_description>\n    <character>ROMINA<\/character>\n    <dialogue>Well, I honestly don't know what else there is for us to do.<\/dialogue>\n    <scene_description>Jason is shocked. He's not going here in a million years.<\/scene_description>\n    <character>SERGEANT<\/character>\n    <dialogue>Well let's talk to the young man himself. How do you see yourself fitting in here, Jason?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>I don't. I'm not coming here. No way.<\/dialogue>\n    <scene_description>The sergeant is not surprised by Jason's answer. He turns and speaks to Romina as if Jason is not there.<\/scene_description>\n    <character>SERGEANT<\/character>\n    <dialogue>This kind of resistance to the program is typical Mrs. Cankam.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR. MOVING. CONTINUOUS. 162<\/stage_direction>\n    <scene_description>Romina drives. Jason is very distant.<\/scene_description>\n    <character>ROMINA<\/character>\n    <dialogue>I'm doing this only because I love you.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>How can you say that? How can you say you love me when you're gonna kick me out of your house?<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>You can be mad at me all you want. But you have made your own choices here, Jason.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>That's a funny way to love someone.<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>Jason...<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>This is my last year at home, and you're gonna send me away? You must really love me.<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>Jason. Jason. No one's sent you away yet...<\/dialogue>\n    <scene_description>Jason looks away from his mom, yanks on the strings on his hoodie until his face disappears into a black hole.<\/scene_description>\n    <character>ROMINA (CONT'D)<\/character>\n    <dialogue>The application process takes 2 weeks. You can change my mind about this. But you're gonna have to prove it to me. You have 2 weeks. But I need you to try really really hard. OK?<\/dialogue>\n    <scene_description>She puts out her hand to shake.<\/scene_description>\n    <character>ROMINA (CONT'D)<\/character>\n    <dialogue>Jason... Do we have a deal? Jason?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Yeah<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>You gotta shake on it.<\/dialogue>\n    <scene_description>Jason does. A little bit of the tension is lifted.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LINTEN HIGH SCHOOL. MORNING. 163<\/stage_direction>\n    <scene_description>Kofi pulls his SUV up into the student lot. Vanessa gets out of the passenger's seat, Jason gets out of the back seat. Kofi gets out of the driver's seat, pops the back hatch, retrieves a diorama. He brings it to Vanessa, kisses her on the top of her head. Then, pulls Jason by neck, and kisses him on the top of his head. Embarrassed, Jason swings a playful punch at Kofi. A.J., surrounded by other kids, watches the scene from the fancy tail of his SUV. Jason sees that A.J. has been watching him. He waves at A.J. A.J. turns away from him. Jason, a little perplexed, walks into school with his sister.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL. POOL - DAY 164<\/stage_direction>\n    <scene_description>Loud echoing yells and laughter fill the pool area. Students enjoy free time. Jason stands on the edge, reticent to get in.<\/scene_description>\n    <character>GYM TEACHER<\/character>\n    <dialogue>Gotta get wet, Cancam. Only way to get credit is to get in the pool.<\/dialogue>\n    <scene_description>Jason slowly descends the stairs into the pool. The water is cold. He holds onto the wall because he can't swim. Looks up, SEES A.J. run on the diving board do a sick flip into the pool. Big splash. Kids cheer. Using the wall, Jason makes his way over to A.J., who is talking and goofing off with a group of guys.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Sup?<\/dialogue>\n    <character>A.J.<\/character>\n    <dialogue>Sup dude?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>That was a sick dive.<\/dialogue>\n    <scene_description>Jared comes up behind A.J. and dunks him. A.J. retaliates and gets Jared back. Jason watches, a bit uncomfortably, hoping they don't try and do the same to him.<\/scene_description>\n    <character>GYM TEACHER<\/character>\n    <dialogue>Hands off the side, Cancam.<\/dialogue>\n    <scene_description>Jason lets go of the edge. Tries desperately to stay afloat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCKER ROOM. LATER 165<\/stage_direction>\n    <scene_description>Students get dressed. Loud. Commotion. Jason sits near A.J. who sits with other kids.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Hey, sorry man. I didn't mean to get you busted.<\/dialogue>\n    <character>A.J.<\/character>\n    <dialogue>Fuck that, dude. My dad had me outta there in like 5 minutes. I wasn't gonna stay there and get fucked up the ass all night.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>You get grounded or something like that? What was your punishment?<\/dialogue>\n    <character>A.J.<\/character>\n    <dialogue>(Laughs)<\/dialogue>\n    <scene_description>My punishment is I can do no wrong. What about you?<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>I'm OK.<\/dialogue>\n    <character>A.J.<\/character>\n    <dialogue>Really? Cause I saw that guy today.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>What guy?<\/dialogue>\n    <character>A.J.<\/character>\n    <dialogue>Your dad... That's your fucking dad? Dude, he looks like fucking linebacker.<\/dialogue>\n    <scene_description>Jared laughs. A.J. enjoys the attention.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Kofi's cool.<\/dialogue>\n    <character>A.J.<\/character>\n    <dialogue>He's fucking ridiculous, bro. When'd he move in?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>What? He didn't move in.<\/dialogue>\n    <character>A.J.<\/character>\n    <dialogue>He's always been there? Did he at least wait until your dad died to move in on your momma?<\/dialogue>\n    <scene_description>Laughter. Jason is rip shit. Gets in A.J.'s face.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>What the fuck are you talking about, A.J.?<\/dialogue>\n    <character>A.J.<\/character>\n    <dialogue>Dude. Chill. Only playin. Don't be so serious. You got a fucking temper, man. You need to get that shit under control. Or you're gonna get into trouble, b.<\/dialogue>\n    <scene_description>A.J. and gang get up, leaving Jason alone in the locker room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JASON'S HOUSE, DINING ROOM - EVENING 166<\/stage_direction>\n    <scene_description>Jason and his family eat dinner. Kofi and Vanessa talk about her day at school. Jason won't make eye contact with anyone in his family. He's deep in his own thoughts.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>(blurting)<\/dialogue>\n    <scene_description>What's the deal with my dad? Everyone in the house goes quiet. Kofi looks to Romina to see how she wants to answer this. This question takes her aback, bringing to surface many conflicting emotions. She becomes a wall.<\/scene_description>\n    <character>JASON (CONT'D)<\/character>\n    <dialogue>Did you hate him or something?<\/dialogue>\n    <scene_description>Romina can't look at Jason. She can't look at anyone.<\/scene_description>\n    <character>JASON (CONT'D)<\/character>\n    <dialogue>I'm just wondering, because, I'm just - I don't even know what color his eyes were...<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>I told you everything there is to know Jason.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>You haven't told me shit.<\/dialogue>\n    <scene_description>She gets up with her plate. Disappears into the kitchen. Kofi watches, then looks toward Jason. Jason looks dejected. Kofi takes a bite of his food.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JASON'S ROOM. NIGHT. 167<\/stage_direction>\n    <scene_description>Jason doodles in a notebook - violent pictures. KNOCK at the door. Kofi appears in the doorway.<\/scene_description>\n    <character>KOFI<\/character>\n    <dialogue>Feel like going for a ride?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Not realy.<\/dialogue>\n    <character>KOFI<\/character>\n    <dialogue>I do. Let's go. Come on.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRIENDLY'S RESTAURANT - PARKING LOT - LATER<\/stage_direction>\n    <scene_description>Kofi and Jason lean against his SUV. Kofi drinks a shake. Jason licks an ice cream cone.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Can we drive around?<\/dialogue>\n    <character>KOFI<\/character>\n    <dialogue>With ice cream? Come on. I'm trying to keep that car nice.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>That car is older than you.<\/dialogue>\n    <scene_description>Kofi laughs in spite of himself.<\/scene_description>\n    <character>KOFI<\/character>\n    <dialogue>Wait til you have your own. Which at the rate you're going will be never.<\/dialogue>\n    <scene_description>Kofi and Jason enjoy their ice cream in silence.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>How come mom won't talk to me about my dad?<\/dialogue>\n    <scene_description>Another silence. Kofi searches...<\/scene_description>\n    <character>KOFI<\/character>\n    <parenthetical>(like DARTH VADER)<\/parenthetical>\n    <dialogue>I'm your father. Search your feelings, you know it to be true.<\/dialogue>\n    <scene_description>Jason laughs.<\/scene_description>\n    <character>KOFI<\/character>\n    <dialogue>It's your mom's business to talk about or not talk about, you know?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Grandma used to tell me some.<\/dialogue>\n    <character>KOFI<\/character>\n    <dialogue>Oh yeah? What'd she say?<\/dialogue>\n    <character>JASON<\/character>\n    <parenthetical>(beaming)<\/parenthetical>\n    <dialogue>She said he was a bad man. An outlaw or something.<\/dialogue>\n    <character>KOFI<\/character>\n    <parenthetical>(unimpressed)<\/parenthetical>\n    <dialogue>That sound cool to you?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>I don't know. Was he really messed up?<\/dialogue>\n    <scene_description>Jason licks his ice cream and tries to look unmoved.<\/scene_description>\n    <character>KOFI<\/character>\n    <dialogue>He's not your father. Not really. He's some guy who had a baby. I'm your father. I been there since you were born. I love you. I'll always love you.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Will you tell me his name?<\/dialogue>\n    <scene_description>Kofi considers this request.<\/scene_description>\n    <character>KOFI<\/character>\n    <dialogue>Your mom is gonna murder me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL LIBRARY. DAY.<\/stage_direction>\n    <scene_description>Jason GOOGLES the name 'LUKE GLANTON' on the school computer. A list of links to old news articles comes up. Jason clicks on one - a text only article. READS: \"MOTO-bandit LUKE Glanton was shot and killed yesterday in a shoot-out with Schenectady Police... Jason is floored. He continues discovering more details on his father's life, and death. Nearing the end of the article he READS: \"Glanton, a former motorcycle stunt rider had been working at Van Der Zee service station in Rotterdam. His former boss, ROBIN VAN DER ZEE, declined to be interviewed for this article.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NISKAYUNA STREETS\/SCHENECTADY STREETS - AFTERNOON<\/stage_direction>\n    <scene_description>Jason rides away from school down Route 5 toward ROTTERDAM.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VAN DER ZEE SERVICE STATION - LATER<\/stage_direction>\n    <scene_description>Other then the assortment of cars parked out front, not much has changed in the last 15 years. Jason leans his bike against an old pay phone out front.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAN DER ZEE SERVICE STATION<\/stage_direction>\n    <scene_description>Jason walks INTO THE FRONT OFFICE. It's empty. He sits down, waits &amp; can see into the busy garage bays from where he sits. DEAN THE MECHANIC walks into the office, startles Jason.<\/scene_description>\n    <character>DEAN<\/character>\n    <dialogue>Can I help you?<\/dialogue>\n    <character>JASON<\/character>\n    <parenthetical>(clears throat)<\/parenthetical>\n    <dialogue>Yeah. I'd like to talk to Robin Van Der Zee?<\/dialogue>\n    <character>DEAN<\/character>\n    <dialogue>He's busy right now. What can I do for you?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>I just need to talk to him. It's not about a car.<\/dialogue>\n    <character>DEAN<\/character>\n    <dialogue>Alright... Wait here.<\/dialogue>\n    <scene_description>Dean walks back into the bays. Jason watches him talk to Robin, who is working over the engine of a Ford Focus. Robin looks at the office. Comes out, wiping the grease off his hands?<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Do I know you?<\/dialogue>\n    <scene_description>Jason shakes his head, \"no.\"<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>My name's Jason.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>OK.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>I was wondering if I could talk to you about Luke Glanton.<\/dialogue>\n    <scene_description>Robin hasn't heard that name in a long time. It registers a change on Robin's face. He tries not to betray it. However, Jason sees it.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>I'm not a cop.<\/dialogue>\n    <character>ROBIN<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>Clearly.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>I'm his son.<\/dialogue>\n    <scene_description>A change comes over Robin's face again.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>No shit... Goddamn. You kinda look like him.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>A little bit, I think.<\/dialogue>\n    <scene_description>Jason is warmed by this.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>You drink beer?<\/dialogue>\n    <scene_description>Jason nods.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Come on in.<\/dialogue>\n    <scene_description>Jason follows Robin into the back.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>How old are you anyway?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>ROBIN<\/dialogue>\n    <scene_description>17. Goddamn.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACK ROOM. LATER.<\/stage_direction>\n    <scene_description>Robin pulls out a box of papers, memorabilia.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Gotta be in here somewhere... there we go.<\/dialogue>\n    <scene_description>Robin pulls out dusty newspaper from the stack. Above the fold headline reads, 'Moto Bandit Killed by Sch'dy Cop.' He hands it to Jason.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>There he is. That's him. That's Luke.<\/dialogue>\n    <scene_description>Jason stares in awe at LUKE'S MUGSHOT. It is the first time he has ever seen his father.<\/scene_description>\n    <character>ROBIN (O.S.)<\/character>\n    <dialogue>He was a crazy son of a bitch. But he had a big heart.<\/dialogue>\n    <scene_description>Next to Luke's picture is Avery's portrait in his police uniform. Robin points to it.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>And there's the pig who tagged him.<\/dialogue>\n    <scene_description>Jason looks up at Robin. Angry and confused.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Shame it went down that way. Didn't anyone ever tell you about any of this?<\/dialogue>\n    <scene_description>Jason shakes his head, \"no.\" Looks back into the newspaper.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>That's just bullshit. Plain and simple. Shouldn't be scared of the truth. Gotta confront it, straight on.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Will you tell me about him?<\/dialogue>\n    <scene_description>Robin thinks about it. Kills his beer.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Why not? Y'need another beer?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBIN'S SERVICE STATION. LUKE'S OLD ROOM. AFTERNOON.<\/stage_direction>\n    <scene_description>Robin, spins tales and opens the door to reveal the dusty old room where Luke used to sleep.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Not much of a room. Then again, he didn't need much. Didn't take up much space. I appreciated that about him. I truly did.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Was he good at anything?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>You're dad was good a LOT of things. Riding a bike for one. It was like it was attached to him. Like part of his body. An appendage. Never saw anyone ride like him. Unfuckingbelievable. And he knew his way around an engine. Oh boy, did he...<\/dialogue>\n    <scene_description>Jason is beaming with pride.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Do you still have his bike?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>No. In fact I don't. Police probably cut it up, &amp; used it for scrap.<\/dialogue>\n    <scene_description>Jason goes back into the rabbit hole of his mind.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>He used to talk about you.<\/dialogue>\n    <scene_description>Jason is listening.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Quite a lot, actually. You changed his life in many ways. Just a shame he couldn't slow down enough to fully appreciate it. But I know, and this is a fact, that he loved you. That he truly did. And I know if he could see you now, he'd be proud.<\/dialogue>\n    <scene_description>Jason is crying. Not slobbery sobbing cries. But the cries of a kid who is feeling more than he's ever felt. He tries to drown it out with a slug of beer. Robin stands in the doorway, watching him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROBIN'S SERVICE STATION. LATE AFTERNOON. CONTINUOUS.<\/stage_direction>\n    <scene_description>Robin closes up garage doors, locks up. He walks Jason to his bike.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I'm glad you came by. Don't let those people keep you in the dark anymore. Ya hear me?<\/dialogue>\n    <scene_description>Jason gets on his bike, pops a wheelie, rides away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN STREETS - LATER<\/stage_direction>\n    <scene_description>Jason rides reckless and drunk through the streets of Schenectady, narrowly missing traffic.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONVENIENCE STORE - LATER 177<\/stage_direction>\n    <scene_description>Jason walks down the brightly lit aisles looking at the array of food options. The woman behind the counter glances up at him as he shops. Jason turns his body slightly away from the woman's gaze and loads a couple of candy bars in his pockets. He stands up and looks at the woman behind the counter before walking out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JASON'S HOUSE - LATER 178<\/stage_direction>\n    <scene_description>Jason walks through the front door, still a bit tipsy. Romina and Kofi are watching TV. Romina gets up to intercept Jason. She SEES Jason close the door, somewhat drunkenly, behind him. Jason turns and looks at her, takes a big bite of his candy bar, keeps his eyes on her, as he walks past her and up to his room. Romina doesn't say anything. She can tell something in Jason has changed. Silent moment of reckoning between them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JASON'S HOUSE VANESSA'S ROOM- CONTINUOUS 179<\/stage_direction>\n    <scene_description>UPSTAIRS. Jason knocks on Vanessa's door. He opens it. She's in there, with her headphones on, listening to music and doing homework.<\/scene_description>\n    <character>VANESSA<\/character>\n    <dialogue>Oh my god Mom has been freaking out.<\/dialogue>\n    <scene_description>Jason produces a ring pop from his pocket, tosses it to her.<\/scene_description>\n    <character>VANESSA<\/character>\n    <dialogue>A ring pop? What is going on with you Jason?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Eat it up. It was a steal.<\/dialogue>\n    <scene_description>He leaves, closes the door behind him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL. STAGE. LATER<\/stage_direction>\n    <scene_description>Jason stands in a class. In front of them a kind of quirky, earthy looking DANCE TEACHER in her mid 30's.<\/scene_description>\n    <character>DANCE TEACHER<\/character>\n    <dialogue>So to swing dance you only really need 3 things. 1 - a partner. 2 - endurance cause it's really like a sport in a way. And 3 a sense of humor. OK? So let's get started. I need one brave volunteer please.<\/dialogue>\n    <scene_description>A beat. No one volunteers. The teacher points to Jason.<\/scene_description>\n    <character>DANCE TEACHER<\/character>\n    <dialogue>How 'bout you? What's you're name?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Jason.<\/dialogue>\n    <scene_description>Kids snicker.<\/scene_description>\n    <character>DANCE TEACHER<\/character>\n    <dialogue>K Jason. So come up here. Stand facing me and... Hold my hands.<\/dialogue>\n    <scene_description>Jason does it, despite onlookers.<\/scene_description>\n    <character>DANCE TEACHER<\/character>\n    <dialogue>This is called open position. And for now follow me Jason. Eventually you'll be leading but for now follow me. Basically you'll be my mirror image.<\/dialogue>\n    <scene_description>Dance teacher starts to mover her feet and count. 1 and 2 and 1 and 2 and. Jason does his best to follow. He's surprisingly quick to pick it up. She smiles at him.<\/scene_description>\n    <character>DANCE TEACHER<\/character>\n    <dialogue>Ope. We've got a natural here. Let's try with music.<\/dialogue>\n    <scene_description>She presses play on a portable CD player. Music starts. A.J. watches. Tries to make fun with others but it doesn't affect Jason at all. Jason playfully tries to spin the teacher. Gets tangled.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL HALLWAY. - LATER<\/stage_direction>\n    <scene_description>Jason shuts his locker and makes his way down to the exit.<\/scene_description>\n    <character>A.J.<\/character>\n    <dialogue>Yo!<\/dialogue>\n    <scene_description>A.J. catches up to Jason.<\/scene_description>\n    <character>A.J.<\/character>\n    <dialogue>Wow dude. Didn't know you had it in ya.<\/dialogue>\n    <scene_description>Jason is over A.J. at this point, and he doesn't really want to talk to him right now.<\/scene_description>\n    <character>A.J.<\/character>\n    <dialogue>That was cool though. She was hot. I saw you check out her titties though, that was hilarious.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>(stops)<\/dialogue>\n    <scene_description>What do you want, man?<\/scene_description>\n    <character>A.J.<\/character>\n    <dialogue>OK. So. Dude, I'm sorry I was kinda a dick to you yesterday and everything. I was just kinda rip shit with you about losing my $500 bucks, you know. But it's cool. I'm over it.<\/dialogue>\n    <character>A.J.<\/character>\n    <dialogue>And I hope you're over it, as well. So, what do you think? We cool?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Yeah, whatever, man.<\/dialogue>\n    <scene_description>Jason walks off. A.J. gets up along side him.<\/scene_description>\n    <character>A.J.<\/character>\n    <dialogue>Hey dude. Dude. I'm having a party at my house tonight - my dad's house is seriously ridiculous. Anyway. I was thinking you should come over. I know you have the sick connection and everything. And I was thinking, if you brought the skittles or something, I could just forget about the money you lost me.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Yeah? I thought we were cool, bro?<\/dialogue>\n    <character>A.J.<\/character>\n    <dialogue>We are, man. You know. We're just making it correct.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>I got shit to do tonight, A.J.<\/dialogue>\n    <scene_description>Jason keeps going. He seems in a hurry.<\/scene_description>\n    <character>A.J. (CALLING OUT)<\/character>\n    <dialogue>What do you have to do?<\/dialogue>\n    <scene_description>(to himself) Play scrabble with your family?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROBIN'S SERVICE STATION - LATER<\/stage_direction>\n    <scene_description>Jason walks inside the FRONT OFFICE. No one is in there. Jason waits for a couple beats and looks around. He ventures into the garage. Dean looks out from under a car.<\/scene_description>\n    <character>DEAN<\/character>\n    <dialogue>Can I help you?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Is Robin around?<\/dialogue>\n    <scene_description>Dean yells loud for Robin. \"KID'S BACK!\" Jason waits, hands in his pockets, looking around the shop, trying to get a feel for it. It feels good.<\/scene_description>\n    <character>ROBIN (O.S.)<\/character>\n    <dialogue>What're you doing back here?<\/dialogue>\n    <scene_description>Jason turns, SEES: Robin, with cigarette, approach him. Not so cordially this time.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Sorry. Just coming to say \"hi.\"<\/dialogue>\n    <scene_description>Robin ushers Jason out of the bay with a whistle and a snap of his finger.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Come on. Let's get out. Can't have you back here. Regulations.<\/dialogue>\n    <scene_description>They snake through the office and out into the front of the shop. Robin keeps it moving the whole time.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I can't have you just walking in on me like that. It's not professional. I have a lot of work on my plate, and I am in no position to fall behind. I wish I could spend my days reminiscing and getting all nostalgic with you about your dear old daddy. All misty eyed and shit. But I just can't. See you down the road, though.<\/dialogue>\n    <scene_description>Robin has walked Jason to the edge of his property.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Oops. Hang on a beat.<\/dialogue>\n    <scene_description>He turns and walks to where Jason has parked his bike. Grabs it. Walks it back to Jason.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Can't leave without your wheels. Gotta outrun the woodchucks.<\/dialogue>\n    <scene_description>He holds it up for Jason, ensuring he gets on. Jason does. Robin pats his ass and sends him on his way. Jason feels pretty dejected. He pedals away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CVS - LATER<\/stage_direction>\n    <scene_description>Jason enters a pharmacy. Surveys nervously. He knows what he wants and he scans the aisles until he finds the cough medicine section. Scans the cough medicine until he finds boxes of little red Coricidin pills. Looks nervously around - puts a bunch of boxes in his sweatshirt. Now he's really nervous but tries to play it cool. A CLERK stands in front of the door as Jason walks towards it.<\/scene_description>\n    <character>CLERK<\/character>\n    <dialogue>Take the shit outta your pockets.<\/dialogue>\n    <scene_description>Jason keeps going. The guy tries to stop him. Jason breaks free and runs out the door. Outside Jason grabs his bike and tries wildly to run with it as he's jumping on. The guy chases after him. Jason peddles like mad. Barely gets away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AJ'S HOUSE\/AVERY'S MANSION HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Sound of music, bass thumping. Jason rides his bike up to a large, palatial, suburban McMansion. Cars are parked all over. Music spills out of the windows. Kids are streaming in and out of the front door. Jason, covered in sweat, goes in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AJ'S HOUSE\/AVERY'S MANSION- CONTINUOUS<\/stage_direction>\n    <scene_description>The MUSIC is so loud that you cannot have a conversation without screaming in someone's ear (ala FIRE WALK WITH ME). Jason makes it through the crush of dancing bodies, finds A.J. in a crowd of kids. They shout to talk.<\/scene_description>\n    <character>A.J.<\/character>\n    <dialogue>Oh shit! You made it!<\/dialogue>\n    <scene_description>They give hugs. Jason is all wet and sweaty.<\/scene_description>\n    <character>A.J. (CONT'D)<\/character>\n    <dialogue>Damn, bro. You stink!<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>What?!<\/dialogue>\n    <scene_description>A.J. leans in to shout in Jason's ear.<\/scene_description>\n    <character>A.J.<\/character>\n    <dialogue>You got the skittles?!<\/dialogue>\n    <scene_description>Jason produces the boxes of Coricidin from his hoodie pockets. A.J. is beyond psyched. He grabs the boxes and immediately shows off the score to friends around him. A.J. starts handing out the skittles to party goers. An adoring group forms quickly around him. Jason looks on somewhat dejected. He approaches the group and waits his turn to receive. He holds out his hand. A.J. pops 6 little red pills in his palm. Jason eats them like candy. Someone hands him a beer. He takes a long slug.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AJ'S HOUSE\/AVERY'S MANSION- LATER<\/stage_direction>\n    <scene_description>In time the party starts to slow down. Lights blur. Music seeps deep into his consciousness. He goes and sits down on a couch. Watches ASHLEY, a girl with an endless mid-riff, dance before him: so beautiful, so sensual. Jason falls into the spell of everything. The girl beckons him up off the couch. He gets up. She keeps dancing so good. He does his swing two step from earlier that day. She giggles at him. He's cute to her. She moves closer. The room is slowing down around him and her hips and pierced navel swallow his focus. She pulls him towards her and their bodies grind together. A.J. checks them out from across the crowded room. Jared approaches &amp; starts grinding her from behind. Her movements have changed. She seems to be enjoying the crude grindings of this other guy. Jason can't get her back. It disgusts him. His moment is being torn from him. Jason lets go and moves away. Leaving his girl in an animal embrace. Drugs really setting in now, Jason's unstable. He winds his way through the party, losing his equilibrium. He finds a staircase, sees a few people up the stairs. He moves towards them in a moment of pure exploration.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AJ'S HOUSE\/AVERY'S MANSION- CONTINUOUS<\/stage_direction>\n    <scene_description>THE HALLWAY UPSTAIRS is crowded with dark figures. Jason can't make out anyone's face, as hard as he squints. He looks down at the floor to try and center himself, but the rug is vibrating. Jason steadies himself against the wall. The wall is covered with photos. Jason zeroes in on a photo of A.J. when he was young sitting in Grandpa Al's lap. Jason is sucked in, he moves to the next and the next; pictures of a fractured and empty family. Jason finds himself at the end of the hall looking at Avery's rookie cop photo - the same one paired with Luke from the paper at Robin's. The drugs are doing their thing but the power of the picture is undeniable. Ashley walks up behind.<\/scene_description>\n    <character>ASHLEY<\/character>\n    <dialogue>Boo!<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Is that A.J's dad?<\/dialogue>\n    <scene_description>Jason doesn't take his eye off the photo.<\/scene_description>\n    <character>ASHLEY<\/character>\n    <dialogue>Duh... He's like the mayor or something.<\/dialogue>\n    <scene_description>She produces a pipe.<\/scene_description>\n    <character>ASHLEY (CONT'D)<\/character>\n    <dialogue>Do you want to smoke this with me?<\/dialogue>\n    <scene_description>Jason looks back at the picture of Avery on the wall. He's trying to piece it together, but the pull of Ashley wins out.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>OK.<\/dialogue>\n    <scene_description>She puts the pipe in his mouth. Brings up a lighter, lights. He inhales. Bubbles. He holds in his hit.<\/scene_description>\n    <character>ASHLEY<\/character>\n    <dialogue>Your name is Jason, right?<\/dialogue>\n    <scene_description>He nods. Lets out a cough.<\/scene_description>\n    <character>ASHLEY (CONT'D)<\/character>\n    <dialogue>Hi. I'm Ashley.<\/dialogue>\n    <scene_description>She lights up for herself. The world is getting more trippy.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>This house is pretty insane. Do you live in an insane house?<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>(lets out a cough)<\/dialogue>\n    <scene_description>My house is normal. Jason is getting more and more woozy. She leans in and gives him a long, deep kiss.<\/scene_description>\n    <character>ASHLEY (CONT'D)<\/character>\n    <dialogue>You taste good.<\/dialogue>\n    <scene_description>He kisses her forehead and eyebrows and down to her waiting lips. He doesn't ever want it to stop.<\/scene_description>\n    <character>ASHLEY (CONT'D)<\/character>\n    <dialogue>Not here. Not here.<\/dialogue>\n    <scene_description>She leads him down the hall to a bedroom. He can barely walk.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AJ'S HOUSE\/AVERY'S MANSION- LATER 188<\/stage_direction>\n    <scene_description>Jason is asleep on the bed alone. He is under the covers and completely naked. A.J. jostles him repeatedly.<\/scene_description>\n    <character>A.J.<\/character>\n    <dialogue>Come on, dude. Wake up.<\/dialogue>\n    <scene_description>Jason struggles to come back to full consciousness.<\/scene_description>\n    <character>A.J. (CONT'D)<\/character>\n    <dialogue>Come on. Party's over. Get your clothes on, dude.<\/dialogue>\n    <scene_description>Jason takes stock of where he is. The house is very quiet. His clothes are scattered. He reaches for his pants. A.J. WATCHES him get dressed. Jason turns for some privacy.<\/scene_description>\n    <character>A.J. (CONT'D)<\/character>\n    <dialogue>Good party, right?<\/dialogue>\n    <scene_description>A.J. sees Jason to the door. They shake hands.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Yeah thanks man.<\/dialogue>\n    <character>A.J.<\/character>\n    <dialogue>Go take a shower dude.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Okay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NISKAYUNA STREETS - LATER 189<\/stage_direction>\n    <scene_description>Jason, unable to ride competently, walks his bike home. Behind him, without him realizing it, a police cruiser slowly catches up with him. Once it's nearby, its siren bleats and lights flash. Jason barely notices. He slows to a stop, turns to face the blinding searchlight. 2 COPS climb out.<\/scene_description>\n    <character>COP<\/character>\n    <dialogue>Good evening, young man. Why don't you lay the bike down on the lawn there.<\/dialogue>\n    <scene_description>Confused, Jason complies slowly. The cop moves in.<\/scene_description>\n    <character>COP (CONT'D)<\/character>\n    <dialogue>What's your name?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Jason Cankam.<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>Have you got any ID on you, Jason?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>I don't have a driver's licence.<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>Where are you headed tonight?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Home.<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>Where's that?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>1412 Balltown Road.<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>Where are you coming from?<\/dialogue>\n    <scene_description>Jason looks around, knows this is no good.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>A friend's house.<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>What's the address of your friend?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Not sure. It's on, uh, Myron?<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>Have you been drinking this evening? Have you been using any illegal drugs?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>No. I had a beer.<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>If I search you, am I going to find any illegal drugs?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>Am I gonna find any weapons?<\/dialogue>\n    <scene_description>Jason shakes his head 'no', and intuitively puts his hands on the back of his head before anyone asks him. The cops laugh at how Jason jumps the gun.<\/scene_description>\n    <character>COP 2<\/character>\n    <dialogue>(To his partner)<\/dialogue>\n    <scene_description>Now there's someone who's been processed before.<\/scene_description>\n    <character>COP<\/character>\n    <dialogue>Can I search you?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>Come on over here.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>That's not mine.<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>Whose is it?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>I have no idea.<\/dialogue>\n    <scene_description>The cops also discover a small-bladed knife.<\/scene_description>\n    <character>COP<\/character>\n    <dialogue>This also not yours?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Not mine.<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>Put your hands behind your back.<\/dialogue>\n    <scene_description>Jason feels trapped. He tries to run. And the cop takes him to the ground, smashing his face into the dirt. Jason continues to resist, and the cops twists his arms behind his back to control him. Knee in the back, they cuff him, lift him up, and put him in the back of a police cruiser.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A.J.'S HOUSE. NIGHT. 190<\/stage_direction>\n    <scene_description>The cruiser is parked in the drive-way of A.J.'s house. Jason sits in the backseat, his face red and swollen from the struggle with police. Light from the house shines on his face. He watches A.J., up by his front door, talk to the 2 cops. He can't HEAR what he's saying, but he SEES A.J. pointing at him in the backseat. Jason is seething.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - LATER 191<\/stage_direction>\n    <scene_description>Jason is booked, printed, photographed and put in a cell.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOLDING CELL - LATER 192<\/stage_direction>\n    <scene_description>Jason tries to clear the lingering fogginess in his head.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Aw fuck. Aw goddammit! God damn it!<\/dialogue>\n    <scene_description>Jason is alone in the holding cell. It looks more like an asylum than a jail.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAW OFFICE - LATER 193<\/stage_direction>\n    <scene_description>Jason, Kofi and Romina sit at a conference table with CLAIRE MULFORD, 40's, attorney.<\/scene_description>\n    <character>CLAIRE<\/character>\n    <dialogue>Among the many complications of this case is Jason's prior conviction.<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>The lawyer at that time told us to plead guilty.<\/dialogue>\n    <character>CLAIRE<\/character>\n    <dialogue>I'm gonna tell you to do the same.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>I didn't do it.<\/dialogue>\n    <character>KOFI<\/character>\n    <dialogue>Shut up! No one wants to listen to you right now. You need to shut up and listen to the expert here!<\/dialogue>\n    <character>CLAIRE<\/character>\n    <dialogue>This is not about right or wrong. It's about what's best for you in the long run. You plead innocent, and take this trial, I guarantee you a conviction for a class E felony.<\/dialogue>\n    <character>ROMINA<\/character>\n    <dialogue>Can you tell us... how long...<\/dialogue>\n    <character>CLAIRE<\/character>\n    <dialogue>At least a year in jail. Probably more.<\/dialogue>\n    <character>KOFI<\/character>\n    <dialogue>Jesus.<\/dialogue>\n    <scene_description>The family sits in silent contemplation.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURT HOUSE - LATE AFTERNOON SUN. 194<\/stage_direction>\n    <scene_description>Romina and Jason stand on the sidewalk in front of the court house. Romina, still shaken up, stares at what has become of her son. She reaches up to touch his bruised face. Jason doesn't react. !<\/scene_description>\n    <character>ROMINA<\/character>\n    <dialogue>Does it hurt baby?<\/dialogue>\n    <scene_description>Jason doesn't look at her.<\/scene_description>\n    <character>ROMINA (CONT'D)<\/character>\n    <dialogue>It's going to be okay Jason.<\/dialogue>\n    <scene_description>Still no reaction.<\/scene_description>\n    <character>ROMINA (CONT'D)<\/character>\n    <dialogue>Why won't you talk to me Jason?<\/dialogue>\n    <scene_description>Jason turns his head and looks at his mother.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>You're a liar.<\/dialogue>\n    <scene_description>They stare at each other. Kofi pulls up his SUV. Jason gets in the back seat, shuts his door. Looks at his mom standing, frozen on the sidewalk.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JASON'S ROOM - NIGHT 195<\/stage_direction>\n    <scene_description>Jason watches a news clip on his computer.<\/scene_description>\n    <character>ANCHOR (V.O.)<\/character>\n    <dialogue>... The senatorial candidate's son reported the robbery, which allegedly took place during an unsupervised party. When asked about whether or not the party involved drinking or drugs, Cross said he was unsure, but then went on to take responsibility if that were the case.<\/dialogue>\n    <character>AVERY (ON T.V.)(O.S.)<\/character>\n    <dialogue>Even if there were no drinking at the party, the fact that it was unsupervised is not acceptable. I take responsibility for this. It seems my son made a mistake. But I'm his father. And I take responsibility for what he does.<\/dialogue>\n    <scene_description>ON TV: File footage from the Luke Glanton incident.<\/scene_description>\n    <character>ANCHOR (V.O.)<\/character>\n    <dialogue>Cross's career has been defined by dramatic events. As a young police officer he was launched into the spotlight when, acting on an anonymous tip he shot and killed a wanted bank robber known as the Motobandit.<\/dialogue>\n    <scene_description>Jason processes the information that is coming at him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JASON'S HOUSE. NIGHT. 196<\/stage_direction>\n    <scene_description>He pulls his bike, quietly out of the garage, rides away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEED SPOT. DEEP NIGHT. 197<\/stage_direction>\n    <scene_description>Jason knocks on the door of a two-family house.<\/scene_description>\n    <character>VOICE BEHIND DOOR<\/character>\n    <dialogue>What's the word?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>It still peanut?<\/dialogue>\n    <scene_description>The door opens. BENNY, 22, stares at Jason, bruised and soaking wet.<\/scene_description>\n    <character>BENNY<\/character>\n    <dialogue>The fuck happened to you?<\/dialogue>\n    <scene_description>(he calls up behind him) Yo, Dri, check this nigga out. (back to Jason) Son, you get hit by a bus?<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>I need a gun.<\/dialogue>\n    <character>BENNY<\/character>\n    <dialogue>Maybe this isn't the time for that killer. I don't need to ask you why you need one but you sure this is a good time?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>I need some protection.<\/dialogue>\n    <character>BENNY<\/character>\n    <dialogue>I see that. Ok my man. You know 'bout the neighborhood gun?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Neighborhood gun?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHENECTADY CEMETARY - JUST BEFORE DAWN. 198<\/stage_direction>\n    <scene_description>Jason walks through the graves, comes to the edge of the cemetery, where he finds 3 large dumpsters. He checks under all three &amp; finds an irregular lump under the last one. He digs at the lump and unearths a metal case. Etched crudely onto the front cover are the words 'Brandywine Ave Burner.' Jason opens the box, finds a pistol. He hefts the beat-up pistol in his hand. On the bottom of the box is etched a simple request: 'Reload when you done, son' Jason flips out the cylinder. Someone has clearly not followed the request; the gun is loaded with only 3 shells.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>E\/I ROBIN'S SERVICE STATION - EARLY MORNING<\/stage_direction>\n    <scene_description>Jason walks slowly up the driveway to Robin's service station. His new clothes and messed up face give him the aura of a completely different person. He walks into the front office, looks around. It's empty. Jason notices a long hallway leading to the back of the station. Jason walks down it slowly, comes to a half open door. Through the door, Jason sees Robin. Robin stares with deep concentration at his computer. Jason stands and stares at him until he suddenly looks up, startled by the sight of Jason... He pushes himself back in a protective instinct.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>The hell you doing back here?<\/dialogue>\n    <scene_description>Robin's still trying to recover from the scare.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>What're you doing sneaking up like that, boy?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>I was wondering something.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Were you now? Well wonder your way outside my fucking garage and maybe I'll come out and entertain your musings.<\/dialogue>\n    <scene_description>Jason looks around, decides not to move, breathes in courage.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Do you know who called in the tip on my dad?<\/dialogue>\n    <character>ROBIN<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>You insinuating something son?<\/dialogue>\n    <scene_description>Jason pulls out the revolver. He doesn't point it at Robin, he just shows it to him.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Decided to grow a pair did ya? You putting the old misty eyed kid away and jumping into the man act?<\/dialogue>\n    <scene_description>Jason can't bring himself to point the gun at Robin. Robin sniffs his weakness.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>You think you're a fucking man? Cause you look a lot like a fucking kid to me Jason.<\/dialogue>\n    <scene_description>Jason raises the gun at Robin, without conviction, bottom lip trembling.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>How come you're still alive?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Oh, I get it now. This is where you come to settle your old man's score. Well, you got the wrong guy. I stupidly tried to help that sorry sonofabitch. If it weren't for me he would've been living in the Y and giving blow jobs at the bus station for a living.<\/dialogue>\n    <scene_description>Robin laughs.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>You need someone to blame for making you a bastard, look no further than your father.<\/dialogue>\n    <scene_description>Jason holds back the urge to cry. He can't stop himself and his embarrassment is obvious.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Chip off the old block, aren't ya?! Another gutless wonder. Only a Glanton would pull a gun on an unarmed fucking man who's minding his own fucking business. Put that away before you hurt yourself. Chickenshit.<\/dialogue>\n    <scene_description>Jason lowers the gun. He wishes he never came in here. Robin stands, approaches him.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>You know, Jason. Sometimes people die for a reason. I'm looking at you, Jason... And I'm realizing, I'm looking at that reason. Look at yourself. You're the reason your dad died. And I'm thinkin' - what a Goddamn tragedy.<\/dialogue>\n    <scene_description>Jason is frozen.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>You want a little piece of advice? Put that gun to good use. Stick the barrel in your mouth, pull the trigger.<\/dialogue>\n    <scene_description>Robin turns his back on Jason.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Because listen - if you're too pussy to do it... I can certainly arrange a meeting between you and your dad.<\/dialogue>\n    <scene_description>Jason scared now. He retreats, down the hall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROBIN'S SERVICE STATION - CONTINUOUS<\/stage_direction>\n    <scene_description>Jason hobbles away as fast as his injured body will take him. He looks back at Robin who watches through the front window.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHENECTADY HIGH SCHOOL - LATER 201<\/stage_direction>\n    <scene_description>Jason hides outside the school, waiting. He sees his sister, VANESSA, walk into school. Her face is innocent and beautiful although she looks consumed with worry. Jason watches her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHENECTADY HS- BELL RINGS. SCHOOL IS OUT FOR THE DAY.<\/stage_direction>\n    <character>202<\/character>\n    <dialogue>Kids file out of their classrooms. We find A.J. walking down the hall with some friends. He places his books in his locker. His friends ask him to go with them to hang.<\/dialogue>\n    <character>A.J.<\/character>\n    <dialogue>I can't. I got that thing with my dad.<\/dialogue>\n    <scene_description>They are disappointed. He walks with a spring in his step.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NISKAYUNA STREETS - AFTERNOON<\/stage_direction>\n    <scene_description>A.J. walks home through the sun dappled suburban streets.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A.J.'S HOUSE - AFTERNOON<\/stage_direction>\n    <scene_description>A.J. walks the long driveway to his dad's house. Key turns in the lock. He goes inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AJ'S HOUSE- KITCHEN.<\/stage_direction>\n    <scene_description>AJ Drinks juice out of the container.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AJ'S HOUSE STAIRS\/ UPSTAIRS ROOM- CONTINUOUS<\/stage_direction>\n    <scene_description>AJ walks upstairs, goes to his closet, pulls out a suit and tie.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AJ'S HOUSE\/AVERY'S SHOWER\/BEDROOM- CONTINUOUS<\/stage_direction>\n    <scene_description>AJ showers in his dad's shower. He turns off the water. Pulls on his dress pants, dress shirt. He stands in front of the mirror tying his tie. He catches something in the reflection. TURNS QUICKLY! Jason is standing there with the gun pointed at his face. A.J. screams, scared shitless. Jason, pale, out of a nightmare, closes the door with the heel of his shoe.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Get on the floor. On your face.<\/dialogue>\n    <character>A.J.<\/character>\n    <dialogue>What're you doing? Jason!<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>On the floor.<\/dialogue>\n    <scene_description>A.J. takes a little step towards the door.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>GET ON YOUR FUCKING FACE!<\/dialogue>\n    <scene_description>A.J. startled, breaks into sobs. He lies down on the floor. Pleading for his life. He is sobbing, \"Don't! Don't!\"<\/scene_description>\n    <character>JASON (CONT'D)<\/character>\n    <dialogue>You want someone to rob you? Bitch. That what you want, bitch?<\/dialogue>\n    <scene_description>A.J. can't stop crying.<\/scene_description>\n    <character>A.J.<\/character>\n    <dialogue>I'm so sorry Jason. Please. Please!<\/dialogue>\n    <scene_description>Jason walks slowly over to the drawer and grabs the hand cuffs he saw earlier. He comes back to A.J. Mounts him.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Put your hands behind your back.<\/dialogue>\n    <scene_description>A.J. continues to cry as he complies. Jason puts the cuffs on him. A.J.'s moans are getting to Jason. He presses the gun to the back of his head.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Stop it.<\/dialogue>\n    <character>A.J.<\/character>\n    <parenthetical>(more frantic)<\/parenthetical>\n    <dialogue>I don't want to die! Please!<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Stop it! Just fucking stop it!<\/dialogue>\n    <scene_description>A.J. is in hysterics. Jason swings the gun sideways and fires a shot into the floor beside A.J.'s head. It tears through the hardwood floor, kicking up a cloud of sawdust and smoke. The muzzle flash burns A.J.'s face and deafens him. He goes silent his ears ring with deafness.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT AVERY'S HOUSE, DRIVEWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Avery is in his car, slowly driving up the driveway. The garage door is automatically moving up. Avery, on the phone, steps out of his car, stares up at his house - he thought he just heard a gunshot. He forgets to close the car door behind him.<\/scene_description>\n    <character>AVERY (INTO PHONE)<\/character>\n    <dialogue>Gotta call you back.<\/dialogue>\n    <scene_description>He pockets the phone, deep concern in his eyes. He runs under the garage door and opens the door to his house.<\/scene_description>\n    <character>AVERY<\/character>\n    <parenthetical>(calls out)<\/parenthetical>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A.J.'S PARENT'S ROOM. 209<\/stage_direction>\n    <scene_description>Jason hears Avery calling for A.J. downstairs.<\/scene_description>\n    <character>A.J.<\/character>\n    <dialogue>(screams)<\/dialogue>\n    <scene_description>Dad! Jason hits A.J. in the head with the butt of his gun and he stops screaming<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AVERY'S HOUSE, STAIRS- CONTINUOUS<\/stage_direction>\n    <scene_description>He cautiously moves up his stairs, the old police training coming back to him. Only now, he's unarmed. He SEES - The door to his bedroom OPEN - Jason comes out - He's holding a pistol. Both stop. Jason levels the gun at Avery. The two stare at one another.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Are you alone?<\/dialogue>\n    <scene_description>Avery says nothing, confused, shocked.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Are you alone!?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>You're gonna drive me away from here. Now.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Turn around. Down the stairs. Now.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>What's happened?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>If you don't start walking, I'll just shoot you in your face.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AVERY'S CAR - LATER<\/stage_direction>\n    <scene_description>Jason is crouched down in front of the passenger seat with the pistol pointed up at Avery.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Go to route 7.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>How did you get in without setting off the alarm?<\/dialogue>\n    <scene_description>Jason does not respond.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>Did someone let you in?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Your son let me in.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Is my son okay?<\/dialogue>\n    <scene_description>Jason doesn't answer. Avery is immediately concerned.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>If you don't tell me if my son is okay I'll pull over right now. I don't care.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>He's fine.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Where is he?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Your son is fine.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>I don't believe you. I heard a shot.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>You should be more worried about yourself.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PINE BARRENS - EVENING<\/stage_direction>\n    <scene_description>Avery's car is parked away from the side of the road. Jason pushes Avery deep into the woods. Avery limps.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>You'll be in jail for the rest of your life if you do this. You understand that?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>What do you think I'm going to do?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Tell me about my son. If he's hurt let me please call an ambulance. I'll give you the phone. You can call it. That way you don't have to worry about me tricking you.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Gimmie your phone.<\/dialogue>\n    <scene_description>Avery gladly complies. Jason wings the device against the nearest pine tree. It shatters into a hundred pieces.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>Oh Jesus.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Take off your jacket.<\/dialogue>\n    <scene_description>Avery hesitates.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Take off your fucking jacket!<\/dialogue>\n    <scene_description>Avery complies. Hands his jacket to Jason. Jason digs into the pockets, grabs Avery's keys and his wallet. Pockets them.<\/scene_description>\n    <character>JASON (CONT'D)<\/character>\n    <dialogue>Keep going.<\/dialogue>\n    <scene_description>Avery turns, continues to limp into the woods, his hands up.<\/scene_description>\n    <character>JASON (CONT'D)<\/character>\n    <dialogue>I know who you are, but you don't know who I am, do you?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>I don't know... I'm sorry. Just please let me know if my son is okay. Is A.J. okay?<\/dialogue>\n    <scene_description>Jason hits Avery in the head with the pistol. He topples over.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Shut up! I told you! I told you! He's fine! Don't you fucking listen? He's fine!<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Oh, my son! My son!<\/dialogue>\n    <scene_description>Avery wails. Jason tries to get a hold of himself and the situation.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Shut up! Stop crying!<\/dialogue>\n    <scene_description>Jason puts the muzzle of the pistol against Avery's head. You're not crying for him. You're crying for yourself. Avery stops wailing for moment. He stares at Jason, and with a flush of realization, it all come clear to him.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>I know who you are. I'm sorry. I'm so sorry! You shoulda just killed me, not my son.<\/dialogue>\n    <scene_description>Jason points the pistol at him.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>I deserve it. I should die. But not my son. Not my poor son.<\/dialogue>\n    <scene_description>Avery wails. Jason aims at Avery, prepares for the rapport of his pistol.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>You shoulda killed me.<\/dialogue>\n    <scene_description>Jason lowers the pistol to his side. He can't do it. He's not a killer.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>My boy. My poor boy. I'm so sorry.<\/dialogue>\n    <scene_description>Jason backs away from Avery. Soon, Avery's wails get more and more faint.<\/scene_description>\n    <character>AVERY (O.S.)<\/character>\n    <dialogue>Oh, my boy. My boy.<\/dialogue>\n    <scene_description>EXT PINES- EDGE OF THE PINES Jason can still barely hear the sound of Avery wailing. He rifles the money from Avery's wallet. Tosses the wallet. Counts as he walks. Something catches his eye. He stops. Notices the faded picture of his family.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PINE BARRENS - CONTINUOUS<\/stage_direction>\n    <scene_description>Avery's wails become slow and more quiet until they transform into a somber moan. Finally, he goes silent. His ashen face expresses grief and bewilderment. He stands and finds himself in the woods. He is alone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AVERY'S CAR - CONTINUOUS<\/stage_direction>\n    <scene_description>Jason drives for a long time, further and further away from Schenectady.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TURNPIKE - CONTINUOUS<\/stage_direction>\n    <scene_description>Avery starts the long walk back to Schenectady. Over this lonely image, we HEAR... APPLAUSE come up.<\/scene_description>\n    <character>AVERY (V.O.)<\/character>\n    <dialogue>Thank you... thank you...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. AVERY'S HOUSE - LATER 217<\/stage_direction>\n    <scene_description>Avery's house is swarming with police cars, blocked off with crime scene tape. He walks toward his home like a ghost. The cops let him through, give him wide birth. APPLAUSE AND CHEERING.<\/scene_description>\n    <character>AVERY (V.O.)<\/character>\n    <dialogue>Thanks so much.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AVERY'S HOUSE- CONTINOUS 218<\/stage_direction>\n    <scene_description>Avery heads up stairs. People talk to him, but he can't hear it. He heads into his bedroom. MORE APPLAUSE. Sitting on the edge of the bed, wrapped in a blanket and absentmindedly holding a bottled water is a dazed and exhausted A.J. His head is bandaged, but he is alive.<\/scene_description>\n    <character>AVERY (V.O.)<\/character>\n    <dialogue>Thank you all so very much.<\/dialogue>\n    <scene_description>Avery is stunned. He thought his son was dead. It all feels like a dream. He runs over to A.J., Gathers his son in his arms. Both of them cry. THE APPLAUSE SWELLS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL BALLROOM - EVENING 219<\/stage_direction>\n    <scene_description>Avery stands at a podium. His name in red, white, and blue behind him. The crowd is cheering, endlessly.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>Please. Thank you.<\/dialogue>\n    <scene_description>The crowd won't settle down enough to let Avery speak.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>The crowd goes crazy.<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>I cannot tell you how truly humbled and honored I am to stand here today as a Senator of the great state of NY.!<\/dialogue>\n    <scene_description>Applause. Applause. Applause.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROMINA'S HOUSE. DRIVEWAY. EVENING.<\/stage_direction>\n    <scene_description>Romina's car is stopped in the driveway, door open, engine running. We can HEAR the news report seeping out of her car radio.<\/scene_description>\n    <character>AVERY (ON RADIO)<\/character>\n    <dialogue>Freedom... Is never more than one generation away from extinction. We didn't pass it on to our children in the bloodstream.<\/dialogue>\n    <character>AVERY (ON RADIO)<\/character>\n    <dialogue>It must be fought for, protected, and handed on for them to do the same, or one day we will spend our sunset years telling our children and our children's children what it was once like in the United States where men were free.<\/dialogue>\n    <scene_description>Romina opens the mailbox. Sorts through letters. Finds one with no return address. She opens it. INSIDE, she finds the old, faded picture. She sees herself in a happier time. Surrounded by love.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - DAY<\/stage_direction>\n    <scene_description>Jason walks down a long, straight road surrounded by flat farm land in all directions. It's winter, and his coat is inadequate for the season. Behind him in the distance stand the Rocky Mountains. He turns left and heads down a long driveway which leads to a farm house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SECLUDED HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Jason rings the doorbell. An OLD MAN opens the door, waits.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Hi... We emailed? I told you I'd be coming today?<\/dialogue>\n    <character>OLD MAN<\/character>\n    <dialogue>Oh, right, of course. Wow, you're early.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>There's only one bus out this way a day.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SECLUDED HOUSE - LATER<\/stage_direction>\n    <scene_description>Jason sits at the breakfast table, clutching a coffee cup for warmth, with the old man and his WIFE.<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>You're not from around here, huh?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>How do you know that?<\/dialogue>\n    <character>OLD MAN<\/character>\n    <dialogue>I'm as observant as the next guy. You just passing through?<\/dialogue>\n    <character>JASON<\/character>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>Headed out west I suppose.<\/dialogue>\n    <character>OLD MAN<\/character>\n    <dialogue>A fine destiny for a young man.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>It's warm there. Sunny.<\/dialogue>\n    <character>OLD MAN<\/character>\n    <dialogue>That's what I've been lead to believe. Well, you ready? It's down at the barn. We'll go take a look, okay?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GARAGE - LATER<\/stage_direction>\n    <scene_description>Jason and the old man stand over a dirt-bike which is much like Luke's old Fair special.<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>Runs great. Gotta a lot of miles on it, but I kept the maintenance up.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Can I take it for a test drive?<\/dialogue>\n    <character>OLD MAN<\/character>\n    <dialogue>Okay. Go on ahead and take 'er down the driveway.<\/dialogue>\n    <scene_description>Jason hands the old man a stack of bills.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Here. You can hold onto this. For like collateral.<\/dialogue>\n    <character>OLD MAN<\/character>\n    <dialogue>That's okay.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>No, really. It's a little more than what you were asking.<\/dialogue>\n    <scene_description>Jason holds out the money until the old man accepts it. He then straddles the bike. He starts it up with confidence.<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>You ever ridden one of these before?<\/dialogue>\n    <scene_description>Jason can barely hear the old man over the engine. He does a tight donut and guns the engine as he takes it down the driveway. He turns left at the road and rides with the Rockies at his back.<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In 1997, Luke Glanton is a motorcycle stuntman with a traveling carnival. In Schenectady, he meets his ex-lover Romina Gutierrez, who is now with another man, Kofi Kancam. Luke discovers that he unknowingly fathered Romina's baby Jason the previous year. He leaves the carnival to stay near mother and son. Luke begins working part-time for auto mechanic Robin Van Der Hook. When he asks for more work Robin reveals his past as a bank robber and suggests they commit robberies together. Luke robs the banks at gunpoint and gets away on his motorcycle which he rides into a box truck driven by Robin. Luke and Romina have sex in his trailer and he spends time with her and Jason. He lets himself into Romina and Kofi's house and attempts to assemble a crib for Jason. When Kofi demands he leave Luke strikes him with a wrench and is arrested. Robin bails him out of jail and Luke says he wants to provide for Jason's future. Robin refuses to do any more robberies and the pair fall out. Robin dismantles Luke's motorcycle, so Luke robs Robin and buys a new bike with the money. Luke bungles a bank robbery and is pursued by police on foot. He enters a stranger's home and phones Romina to ask her not to tell Jason about him. Rookie police officer Avery Cross enters the room and shoots Luke in the stomach. He fires back, hitting Avery in the leg, then falls out of the window to his death. Avery, a married man with a baby son, is hailed as a hero. He is remorseful but tells police investigators that Luke shot first. A group of corrupt officers coerce Avery to join them in seizing the stolen money from Romina's home. Avery later tries to return his cut to Romina, who rejects it. He attempts to hand the money over to the chief of police, who rebuffs him. Avery secretly records other illegal practices in the department and uses the recordings to obtain a position as assistant district attorney. Fifteen years later in 2012, Avery is running for Attorney General of New York. His rebellious, drug-using teenage son A.J. has been living with Avery's ex-wife, Jennifer, but now moves in with his father and transfers to Schenectady High School, befriending the now-teenage Jason. Neither boy knows the history between their fathers. When the teens are arrested for felony drug possession, Avery recognizes Jason's name and gets Jason's charge dropped to a misdemeanor. He orders A.J. to stay away from him. Kofi tells Jason his birth father's name, which allows him to discover Luke's past. Jason visits Robin, who tells him about Luke and their robberies. A.J. pressures Jason to steal OxyContin for a party. At the party, Jason discovers that A.J.'s father, Avery, is the man who killed his father, Luke. Jason is hospitalized after a violent confrontation with A.J., and buys a gun when he is released. Jason goes to the Cross family home, assaults A.J., and takes Avery hostage. He forces Avery to drive into the woods where Avery breaks down and apologizes. Jason leaves him unharmed but takes his wallet. Inside it, Jason finds a photo of himself with his parents, which Avery had stolen from the evidence locker. Some time later, Avery becomes New York attorney general and celebrates with A.J. at his side. Romina receives an envelope addressed to \"Mom\", with the old photograph inside. Jason buys a motorcycle and rides away."}
{"movie_name":"The Lost City of Z_2016","imdb_id":"tt1212428","script":"<script>\n  <scene>\n    <character>THE LOST CITY OF Z<\/character>\n    <dialogue>Written by<\/dialogue>\n    <dialogue>James Gray<\/dialogue>\n    <scene_description>Based on the book by David Grann WHITE DRAFT July 31, 2015 BLUE REVISIONS August 19, 2015 PINK REVISIONS August 24, 2015 YELLOW REVISIONS September 6,2015 GREEN REVISIONS September 30, 2015 GOLDENROD REV. October 18, 2015 BUFF REVISIONS OCTOBER 25th, 2015 LCOZ Productions, Ltd. THE LOST CITY OF Z White 7\/31\/15<\/scene_description>\n    <character>GRAY AND WHITE.<\/character>\n    <dialogue>Our opening image is uneven lines of gray and white, beautiful and abstract.<\/dialogue>\n    <dialogue>We HEAR WIND.<\/dialogue>\n    <dialogue>The CAMERA ZOOMS OUT to REVEAL:<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. IRISH LANDSCAPE - LATE DAY 1<\/stage_direction>\n    <scene_description>A desolate-seeming, visually magnificent landscape. We were looking at clouds, and they form glorious patterns in the lowered sky. Like a painting by Lorraine, or Corot, or Turner. The horizon is dark, almost charcoal black. A thin layer of fog drifts slowly across that abstract surface. As the FOG MOVES, it reveals: a MAN. He has been running towards us. A silhouette. Like the rest of the opening image, his appearance to us should conjure the PRIMAL, the MYTHIC, the ELEMENTAL. It is as though he were born out of this fog, this cosmic force. He emerges from the fog. It is PERCY HARRISON FAWCETT. Thirties and handsome. Not exactly a youngster, but not creaky and old, either. Strikes us as cheerful. A gentle voice, an even manner. Despite his cheer and charm, however, there is something steely about him, resolved, committed. His eyes reveal a far more complex person than the exterior might first allow; behind their twinkle there lurks a capacity for furious wrath and implacable resolution, the more dangerous because they are held in leash... Over the wind now, we begin to HEAR CHURCH BELLS RINGING. Fawcett himself gets closer and closer to us... We HEAR a WOMAN'S VOICE, distant:<\/scene_description>\n    <character>WOMAN'S VOICE<\/character>\n    <dialogue>Percy! Percy!<\/dialogue>\n    <scene_description>The CAMERA PULLS BACK to reveal a SILHOUETTE in the foreground, through a doorway. A WOMAN'S FORM.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCH - MOMENTS LATER<\/stage_direction>\n    <scene_description>Outside a rural church. A woman steps toward the outer fence, holding a small baby. She is waiting for Percy, it seems. The WOMAN is NINA FAWCETT. The baby is JACK FAWCETT, their newborn son. Nina Fawcett, thirties, is bubbly and flighty, but also highly cultured. Brash at times, a woman of independent curiosity. There are a few other people, of varying ages and shapes and sizes, right behind her. All look happy, very happy. Among them: JAMES BERNARD, 4th EARL OF BANDON (\"LORD BERNARD\"), seventies, piercing eyes, intense. Percy ARRIVES AT LAST. He meets her and the child. He embraces her, and the couple look ecstatic, glowing.<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>We'd no doubt you'd be here--<\/dialogue>\n    <parenthetical>(to the baby)<\/parenthetical>\n    <dialogue>DID we, Jack.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>The men made a complete hash of drill and I had to set them to rights.<\/dialogue>\n    <parenthetical>(looks at the other people)<\/parenthetical>\n    <dialogue>Good afternoon all... We're very grateful for your attendance today.<\/dialogue>\n    <parenthetical>(back to Nina)<\/parenthetical>\n    <dialogue>Shall we, darling?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - LATER<\/stage_direction>\n    <scene_description>It is a rural Irish church, lovely, with history. We are toward the end of a CHRISTENING CEREMONY.<\/scene_description>\n    <character>SUPERIMPOSE: \"CORK, IRELAND, 1903\"<\/character>\n    <dialogue>A MINISTER is here, putting the christening robe on the boy. He anoints him with oil, and as he does he speaks. While he speaks, we have a CLOSE SHOT on the INFANT'S HAND. Percy's hand caresses it. Then a CLOSE SHOT on PERCY--a smile, then a kind of regression into thought. HE GETS EMOTIONAL...<\/dialogue>\n    <character>MINISTER<\/character>\n    <dialogue>May God, who has received you by baptism into his Church, pour upon you the riches of his grace...<\/dialogue>\n    <scene_description>WHILE HE IS FINISHING HIS SPEECH: NINA WITHDRAWS AN ELABORATE MANDALA NECKLACE, which she HANGS AROUND the CHILD'S HEAD. The others nearby who see this are flummoxed for a moment. Except for Percy, who touches the mandala with a surprising reverence... Those IN ATTENDANCE finish things with an \"AMEN\". The Minister then turns to Percy and Nina and the others:<\/scene_description>\n    <character>MINISTER<\/character>\n    <dialogue>As this is a private ceremony, I shall take the liberty to welcome Jack's parents back from Ceylon, where they have been stationed for three years. I know Major Percy Fawcett and his lovely wife, Nina to be fine people, who, though they have often pursued their own path, remain committed to making their family a true support of our Christian community.<\/dialogue>\n    <scene_description>A \"HERE HERE\" from those in attendance. All converge on Percy and Nina and baby Jack. James Bernard, 4th Earl of Bandon (\"LORD BERNARD\") approaches Nina and Percy:<\/scene_description>\n    <character>LORD BERNARD<\/character>\n    <dialogue>What a beautiful ceremony. Such a precious child--congratulations to you both. And no doubt, great comfort after such a difficult birth.<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>Thank you, Lord Bernard. It WAS a very near thing, and there was much concern. But all is well now.<\/dialogue>\n    <character>LORD BERNARD<\/character>\n    <dialogue>Of course, of course!<\/dialogue>\n    <parenthetical>(turns to Percy)<\/parenthetical>\n    <dialogue>A word to the wise--been very difficult for many of the men at the Fort to find a nanny of good character.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>We intend to raise the boy ourselves, Lord Bernard--we don't wish for our children to be strangers.<\/dialogue>\n    <parenthetical>(to Nina)<\/parenthetical>\n    <dialogue>Our children will become our dearest companions.<\/dialogue>\n    <character>LORD BERNARD<\/character>\n    <dialogue>(as though they were insane)<\/dialogue>\n    <scene_description>Ah... I see...very well, then... I...wish you the very best... Fawcett nods to Bernard, then, beaming, turns back to his wife. With great expectation and tenderness, to his wife:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Our lives begin anew today...<\/dialogue>\n    <scene_description>We begin to HEAR: a GALLOPING HORSE: THUMPITY THUMPITY THUMPITY... LOUDER AND LOUDER... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CORK HARBOR, IRELAND - LATE DAY 4<\/stage_direction>\n    <scene_description>A Fort: large and foreboding. SILHOUETTED, the sun behind: MOUNTED SOLDIERS ON HORSES, galloping in circles. PERCY FAWCETT is dressed impeccably atop his horse; he wears a crisp uniform with gold buttons and a spiked helmet strapped under his chin. NEAR A WALL AT THE CHURCH: a GROUP OF OLDER MEN, standing, and WOMEN, seated, with their children. With umbrellas above their heads, fans in hand. NINA is here, holding JACK, NOW AGE 3. IRISH BAGPIPES and DRUMS are playing; children are dancing. LORD BERNARD is here, standing near NINA. ANGLE ON: a HUNT LEADER, late forties. He is surrounded by the mounted soldiers, ready for a big moment. LOUDLY:<\/scene_description>\n    <character>HUNT LEADER<\/character>\n    <dialogue>Gentlemen! I expect you to behave with distinction on this hunt! The deer will be delivered to the Archduke Ferdinand at the gala! Remember: honor, duty, and good sportsmanship are the cornerstones of our proud civilization! Good luck and godspeed!<\/dialogue>\n    <scene_description>Fawcett sees them in the distance. They wave to him. In return, he explodes in warmth, waves. OTHER SOLDIERS circle FAWCETT, ribbing him in their soldierly way:<\/scene_description>\n    <character>OTHER SOLDIER #1<\/character>\n    <dialogue>Could they not fit your rocking chair on the horse, granddad?!?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>You'll all be my gunbearers by evening--have no doubt of that!<\/dialogue>\n    <character>ANGLE ON NINA<\/character>\n    <dialogue>Who sits many feet away.<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>(in the boy's ear)<\/dialogue>\n    <scene_description>Wave, to your father... The child waves, and PERCY, THRILLED, WAVES BACK. ANOTHER SOLIDER BLOWS a HORN. Fawcett and the REST OF THE MEN ON HORSEBACK break out with great determination. Fawcett YELLS at, KICKS, his horse...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CORK HARBOR - FIELDS<\/stage_direction>\n    <scene_description>A WILD DEER, a buck with big antlers, speeds through the grass. Hounds BARK, running through the terrain... The PACK OF HORSES, FAWCETT AMONG THEM, chases behind. We HEAR the distant WHOOPS, the CHEERS, the HORNS, the EXULTATION of the MOUNTED TROOPS charging in pursuit of the deer... PERCY FAWCETT is on his horse, HOOTING, as are the others. The Other Soldiers RIDE NEXT TO HIM--COMPETITIVE and SOUR- FACED that he rides off in a different direction:<\/scene_description>\n    <character>OTHER SOLDIER #1<\/character>\n    <dialogue>Fawcett! There's no path there! FAWCETT! You're mad!<\/dialogue>\n    <scene_description>FAWCETT RIDES OFF into another direction--where there is no path. THE HOUNDS run as though their lives depend on it, BARKING rabidly in pursuit... THE DEER is running because its life DOES depend on it... The horses are kicked until bloody... HORSE after HORSE tumbles from rough terrain, and many of the MEN--UNLIKE FAWCETT--are not able to continue... FAWCETT kicks\/whips his horse with astonishing drive, and does an end-run around many of his competitors, cutting them off. The deer, meanwhile, enters a nearby area of dense, tall grass. It runs in a circle, entangled by the weeds. FAWCETT approaches the animal. Fawcett takes out his RIFLE... HE FIRES. The deer stumbles to the ground. JUST THEN, YOUNG SOLDIERS ARRIVE AT THE SCENE, hounds too. Fawcett watches the animal die. One of the soldiers examins the deer and calls out, \"DEAD!\". A CHEER. The men pass a FLASK to Fawcett, who takes a swig:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>To death--the best sauce to life!<\/dialogue>\n    <scene_description>Some of the men let out another LOUD CHEER as others are considerably more disappointed...<\/scene_description>\n    <character>NEAR THE CHURCH<\/character>\n    <dialogue>Fawcett goes to his BABY SON and beaming Nina. He kisses Nina, then HOLDS THE CHILD HIGH, kisses him. A HUGE GRIN from the happy father amidst cheers.<\/dialogue>\n    <dialogue>Music up: \"Avrem Lieta,\" from Giuseppe Verdi's LA TRAVIATA, a forceful and upbeat waltz:<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A6 EXT. FAWCETT RESIDENCE - ARMY BARRACKS - NIGHT A6<\/stage_direction>\n    <scene_description>Fawcett approaches his barracks door. We PASS a GROUP of SINGING TROOPS.<\/scene_description>\n    <character>ARMY SOLDIERS<\/character>\n    <dialogue>And I never get a knock when the boys call Cock, cockity ock ock, cock Robin! In my old red vest, I mean to cut a shine, walking down the street they call me 'Danger on the Line!'<\/dialogue>\n    <scene_description>Then:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARMY BARRACKS- NIGHT 6<\/stage_direction>\n    <character>SERIES OF SHOTS:<\/character>\n    <dialogue>1. MEDIUM SHOT - The Fawcett RESIDENCE. FILLED WITH CLUTTER. With THREE FOX TERRIERS MOVING ABOUT.<\/dialogue>\n    <dialogue>2. CLOSE SHOT - a STATUE OF THE BUDDHA.<\/dialogue>\n    <scene_description>3. CLOSE SHOT - a STACK of LEAFLETS on a DESK: \"VOTES FOR WOMEN!\" 4. MEDIUM SHOT - a JOYOUS little JACK, with his stuffed animal, plays with the dogs. 5. CLOSE SHOT - All the formal wear for Percy Fawcett LAID ON A BED. A HAND REACHES down, PICKS UP a PIECE OF CLOTHING. TILT UP to REVEAL: PERCY PUTTING IT ON. He looks STIFF, but bemused. 6. CLOSE SHOT - A WOMAN, a MAID, is STRUGGLING with SOMETHING. WIDEN to REVEAL: SHE is HELPING NINA get into a CORSET. Nina spots Percy, all finished dressing. He STANDS in the DOORWAY, silhouetted, watching. (Young ARMY SOLDIERS are outside, chanting:)<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>Oh, this damned thing!<\/dialogue>\n    <parenthetical>(to Percy)<\/parenthetical>\n    <dialogue>You must be so pleased with yourselves, you men! Making us wear these awful things!<\/dialogue>\n    <scene_description>She then adjusts her HAIR:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>If you keep refusing to wear your hair as the others do, at least you'll not appear tonight in trousers.<\/dialogue>\n    <scene_description>The MAID LEAVES. His smiles deserts him; he looks at his POCKET WATCH:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>We're going to be late.<\/dialogue>\n    <scene_description>Nina fixes herself for another beat, then:<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>Done.<\/dialogue>\n    <parenthetical>(beat; showing herself)<\/parenthetical>\n    <dialogue>Well?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Rather lovely.<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>\"Rather lovely\". Thank you! You look \"rather\" well yourself!<\/dialogue>\n    <scene_description>Percy nods. Then says nothing. She eyes him for a moment, then, turning back to the mirror:<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>All right, out with it. What's amiss?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I'll be the only man there tonight of my rank whose uniform is unadorned.<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>My God, that again?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>The great Secretary Bryce will be in attendance.<\/dialogue>\n    <scene_description>(mocking voice; as a joke) \"Oh Major Fawcett, have you no medals? Oh no, Mr. Bryce--I've been quite busy training ancient militia men to point their rifles at tree stumps. So--no medals for me.\" He sits down near her. She sits on his lap, KISSES him. Then she leans back.<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>Who's this Mr. Bryce when he's at home?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>The last man here upon whom we might possibly rely for advancement.<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>I see.<\/dialogue>\n    <scene_description>A beat. Then:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <parenthetical>(more serious now)<\/parenthetical>\n    <dialogue>I'm getting older, Cheeky. And very impatient of lost years. I know the tokens are ridiculous. I do. But I think of our boy--we cannot close any doors to him.<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <parenthetical>(smiles gently)<\/parenthetical>\n    <dialogue>Then let us be off.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LORD BERNARD'S MANSION - BALLROOM - NIGHT 7<\/stage_direction>\n    <scene_description>The MUSIC CONTINUES. The camera BEGINS on a CLOSE SHOT of a WALTZING COUPLE, then PULLS BACK TO REVEAL: A GALA for FRANZ FERDINAND, Archduke of Austria-Este and heir presumptive to the Austro-Hungarian throne. An enormous ballroom in a mansion, with tens of couples dancing in seeming unison, twirling around and around, almost like dolls. CLOSE SHOT: THE DEER. Laid out... THE ARCHDUKE STANDS in a receiving line with OFFICERS. SHAKES HANDS, SMILING. LORD BERNARD and BRIGADIER GENERAL SIDNEY VARNON THORNTON, forties, are here with him. ACROSS THE ROOM: PERCY AND NINA FAWCETT ENTER, their image reflected multiple times on a wall of mirrors. Fawcett nods greetings to his fellow officers; Nina SPEAKS GREETINGS in GERMAN to an officer from Austria as all women check out the handsome Percy... Fawcett and Nina move through the crowd. Many recognize them; random PARTYGOERS pass by, say hello.<\/scene_description>\n    <character>LORD BERNARD<\/character>\n    <dialogue>Good evening, Madame Nina... You're looking wonderful... Major... Welcome. So happy to have you here.<\/dialogue>\n    <scene_description>The two acknowledge the hellos. MOMENTS LATER Percy and Nina are in the middle of the dance floor. They pose for a moment, about to start a waltz. And then they start dancing to the rhythm of the Verdi. Fawcett and Nina are fine dancers, blessed with grace but also training. ANGLE BACK ON THE CHIEF SECRETARY OF IRELAND, JAMES BRICE, here at the head of a receiving line. TROOPS ready the deer to present to the Archduke.<\/scene_description>\n    <character>SECRETARY BRYCE<\/character>\n    <dialogue>Your majesty--I present to you this fine animal, a gift from our government to yours, and a recognition of our shared history and mutal interests.<\/dialogue>\n    <scene_description>The ARCHDUKE BOWS IN GRATITUDE, ACCEPTS THE DEER. Bryce ushers the Archduke toward an antechamber. As he does, Bryce turns to Lord Bernard.<\/scene_description>\n    <character>SECRETARY BRYCE (CONT'D)<\/character>\n    <dialogue>Lord Bernard, we do appreciate the use of your magnificent home.<\/dialogue>\n    <character>LORD BERNARD<\/character>\n    <dialogue>Oh, it is my pleasure. We've seen far too little of this type of cheer these past few seasons.<\/dialogue>\n    <character>SECRETARY BRYCE<\/character>\n    <dialogue>Yes, a fine showing by the men... By the way, who got the kill?<\/dialogue>\n    <character>LORD BERNARD<\/character>\n    <parenthetical>(pointing him out)<\/parenthetical>\n    <dialogue>That would be Major Fawcett, Mr. Secretary.<\/dialogue>\n    <character>SECRETARY BRYCE<\/character>\n    <dialogue>Well then, invite him in for a drink!<\/dialogue>\n    <scene_description>Bernard gives a SLIGHT WAVE OF HIS HAND; then:<\/scene_description>\n    <character>LORD BERNARD<\/character>\n    <dialogue>(moves closer)<\/dialogue>\n    <scene_description>A bit odd. And, may I say, not entirely... fortunate in his choice of ancestors.<\/scene_description>\n    <character>SECRETARY BRYCE<\/character>\n    <dialogue>(comprehending somehow)<\/dialogue>\n    <scene_description>I see. Right, then... FAWCETT AND NINA DANCE Around and around. Fawcett SEES the OFFICERS STARING AT HIM, and he can TELL they are talking about him--and not in a flattering way, either. A LAUGH, a SNICKER... HE IS DISRESPECTED, AND HE KNOWS IT. They are toasting each other. Nina sees the line too as they dance and turn:<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>They're toasting the kill without you.<\/dialogue>\n    <scene_description>Fawcett looks, then turns back:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Well, I am dancing with you. So I've got the better of the bargain.<\/dialogue>\n    <scene_description>An OLDER OFFICER, THOMAS FRANCIS BUSBY, cuts in:<\/scene_description>\n    <character>THOMAS FRANCIS BUSBY<\/character>\n    <dialogue>May I, Major?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I'm afraid I've spoken too soon.<\/dialogue>\n    <scene_description>As is the custom, Fawcett bows gracefully, nods his assent, gives his wife to Busby, who is short and pudgy. Nina and Percy lock eyes; they are not given chance to speak. Off Busby and Nina go, dancing. Percy takes out a CIGAR. He LOOKS at Secretary Bryce and Lord Bernard and Sidney Thornton and the rest of the officers as they then enter a smaller antechamber. And the DOOR is CLOSED ON HIM. And US. We TILT DOWN. PERCY BREAKS THE CIGAR in TWO.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FORT - OUTSIDE HORSE STABLES - DAY 8<\/stage_direction>\n    <character>SUPERIMPOSE THE LEGEND: \"APRIL, 1906\".<\/character>\n    <dialogue>Troops load ARTILLERY SHELLS onto CARTS which are dragged by horses. The shells are heavy; and the troops stand knee-deep in the muddy water. Fawcett is supervising an OFFICER:<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Each can contain no more than twelve shells, Corporal...<\/dialogue>\n    <character>OFFICER<\/character>\n    <parenthetical>(to the grunts)<\/parenthetical>\n    <dialogue>Come on! Put your backs into it!<\/dialogue>\n    <scene_description>The OFFICER CANES A GRUNT. Fawcett cannot hide his distaste. Turning his back to the troops, in the Officer's face, he grabs the cane:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>We lead the men--we don't beat them into submission!<\/dialogue>\n    <scene_description>The Officer registers this, his head sinking in shame. A SOLDIER drops a shell; they holler in caution at one another. Then an OFFICER BARKS from behind:<\/scene_description>\n    <character>BARKING VOICE<\/character>\n    <dialogue>Fawcett!<\/dialogue>\n    <scene_description>Fawcett looks up: COMMANDING OFFICER SIDNEY VARNON THORNTON and THOMAS FRANCIS BUSBY. They approach him. Fawcett salutes.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Sir!<\/dialogue>\n    <character>SIDNEY VARNON THORNTON<\/character>\n    <dialogue>You're off to London tomorrow. To the Royal Geographical Society.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Sir? The Royal Geographical--?<\/dialogue>\n    <character>THOMAS FRANCIS BUSBY<\/character>\n    <dialogue>YES, FAWCETT--SOMETHING WRONG WITH YOUR EARS?!?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>No, sir!<\/dialogue>\n    <character>SIDNEY VARNON THORNTON<\/character>\n    <dialogue>Best bring your long johns. You might well be off to the North Pole.<\/dialogue>\n    <scene_description>THORNTON turns and leaves Fawcett standing there. ANGLE ON FAWCETT as we GO TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LONDON STREET - DAY 9<\/stage_direction>\n    <scene_description>London. Busy, cluttered, noisy, dirty. We PAN TO REVEAL a TOWNHOUSE in CENTRAL LONDON, with a sign in front: \"ROYAL GEOGRAPHICAL SOCIETY\". Fawcett approaches, enters.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RGS OFFICE - DAY<\/stage_direction>\n    <scene_description>A big wooden space. Regal. Standing behind his desk: SIR GEORGE GOLDIE. Goldie, sixties, with intense blue eyes and a keen intelligence. Seated nearby: SIR JOHN SCOTT KELTIE, also sixties. Fawcett enters. Goldie does not look up from his notes. Keltie does, but says nothing. He merely clears his throat, with no reaction for Goldie. After an awkward beat, Percy KNOCKS:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Sir? Major Fawcett--the War Office sent me?<\/dialogue>\n    <character>SIR GEORGE GOLDIE<\/character>\n    <dialogue>Oh yes yes--come in! I am Sir George Goldie. President of the RGS. This is Sir John Scott Keltie, our Secretary.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <parenthetical>(as they shake)<\/parenthetical>\n    <dialogue>How do you do.<\/dialogue>\n    <character>SIR JOHN SCOTT KELTIE<\/character>\n    <dialogue>Good morning, Major.<\/dialogue>\n    <character>SIR GEORGE GOLDIE<\/character>\n    <dialogue>Our paths did not cross during your work here some years back.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>No they did not, sir. I was likely consumed with my studies at the time.<\/dialogue>\n    <character>SIR GEORGE GOLDIE<\/character>\n    <dialogue>Of course. Please, sit down...<\/dialogue>\n    <parenthetical>(F. does; a beat, then)<\/parenthetical>\n    <dialogue>You've gone on several missions in the past, I see?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Yes. I've served in Ceylon, and in Hong Kong as well. I've...not stayed in one place for very long.<\/dialogue>\n    <scene_description>Goldie looks down at a stack of papers. Keltie speaks up:<\/scene_description>\n    <character>SIR JOHN SCOTT KELTIE<\/character>\n    <dialogue>You also served in intelligence, in Morocco? Is that correct?<\/dialogue>\n    <scene_description>NO ANSWER from FAWCETT. Goldie looks to Keltie, vaguely in disgust:<\/scene_description>\n    <character>SIR GEORGE GOLDIE<\/character>\n    <dialogue>Are you referring to the yellow document? The YELLOW document?<\/dialogue>\n    <character>SIR JOHN SCOTT KELTIE<\/character>\n    <dialogue>I beg your pardon, sir. Let's pass on.<\/dialogue>\n    <character>SIR GEORGE GOLDIE<\/character>\n    <parenthetical>(beat; back to Percy)<\/parenthetical>\n    <dialogue>Your time in Ceylon--there are rumors you went Buddhist. Such an act would of course be seditious.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Sir, my record speaks for itself. No one can question my commitment to King and country.<\/dialogue>\n    <character>SIR JOHN SCOTT KELTIE<\/character>\n    <dialogue>ARE you a Buddhist, Major?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>My experience in the Orient taught me that no religion is higher than truth. I make no apologies.<\/dialogue>\n    <scene_description>A pregnant pause. Then Goldie leans forward:<\/scene_description>\n    <character>SIR GEORGE GOLDIE<\/character>\n    <dialogue>Major, what do you know about Bolivia?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>In South America, sir?<\/dialogue>\n    <character>SIR GEORGE GOLDIE<\/character>\n    <dialogue>That's right.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Only what I've read.<\/dialogue>\n    <scene_description>Goldie chuckles. An atlas is put in front of Fawcett.<\/scene_description>\n    <character>SIR GEORGE GOLDIE<\/character>\n    <dialogue>Then you can't know very much. This's about as good a map of Bolivia as we have.<\/dialogue>\n    <scene_description>The map literally says \"UNEXPLORED\". Referring to the map:<\/scene_description>\n    <character>SIR GEORGE GOLDIE<\/character>\n    <dialogue>Most of it's blank, as you can see. Nothing's really known of it at all. The rivers are all a guess. These are rubber centers here--very profitable. Some are even apparently quite lavish.<\/dialogue>\n    <scene_description>As Goldie forwards another book:<\/scene_description>\n    <character>SIR GEORGE GOLDIE<\/character>\n    <dialogue>There is now considerable argument between Bolivia and Brazil, over what constitutes their borders. So fantastically high is the price of rubber that war could arise. Do you follow?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I do, sir. But with respect--I'm not sure what it has to do with me. Sir.<\/dialogue>\n    <character>SIR GEORGE GOLDIE<\/character>\n    <dialogue>I'm getting to that.<\/dialogue>\n    <scene_description>Goldie moves closer to Fawcett, to the edge of the desk:<\/scene_description>\n    <character>SIR GEORGE GOLDIE<\/character>\n    <dialogue>Neither country will accept mapping done by the other, so they've requested us to act--as referee.<\/dialogue>\n    <scene_description>Keltie gets up, stands next to Goldie:<\/scene_description>\n    <character>SIR JOHN SCOTT KELTIE<\/character>\n    <dialogue>As you completed your courses in mapping here with distinction, you came under our consideration.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Sirs--to be honest, my survey work was long ago. And I was...I was really hoping for a posting where I might be able to see a fair bit of action.<\/dialogue>\n    <character>SIR GEORGE GOLDIE<\/character>\n    <dialogue>Oh, I do understand your concern-- we're aware you've never faced a shot fired in anger. But Major, this is far more than just survey work. It's exploration, in the jungle. The environment is brutally difficult. There's terrible disease and murderous savages. The journey may well mean your life. But should you succeed, such an undertaking could earn you soldierly decoration--AND even reclaim your family name.<\/dialogue>\n    <scene_description>Goldie leans back. Then:<\/scene_description>\n    <character>SIR GEORGE GOLDIE<\/character>\n    <dialogue>You know, we knew your father.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Did you. I did not.<\/dialogue>\n    <character>SIR JOHN SCOTT KELTIE<\/character>\n    <dialogue>Terrible thing, a man's love of drink... And gaming...<\/dialogue>\n    <character>SIR GEORGE GOLDIE<\/character>\n    <dialogue>But: as I say, success in this venture could change your lot. Considerably.<\/dialogue>\n    <scene_description>Fawcett looks back down at the map. \"UNEXPLORED\".<\/scene_description>\n    <character>SIR JOHN SCOTT KELTIE<\/character>\n    <dialogue>Well, Major? What's it going to be?<\/dialogue>\n    <scene_description>ANGLE ON FAWCETT as he looks up. He SMILES.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEAR THE FAWCETT HOME - BLUFFS - LATE DAY<\/stage_direction>\n    <scene_description>ANGLE ON JACK, playing in the sand. WIDEN: Fawcett and Nina near him. As Fawcett stares at the kid:<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>He'll not know you when you return.<\/dialogue>\n    <scene_description>Fawcett nods. A beat. Then:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>You must protect him from the sort of schooling to which I was subjected.<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>(of COURSE!)<\/dialogue>\n    <scene_description>Our minds are as one on this, have no fear of that.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>(to himself; aloud)<\/dialogue>\n    <scene_description>I'll not have him caned for wearing the wrong frock coat...<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>Puggy--<\/dialogue>\n    <scene_description>(beat) I must tell you--I believe I'm going to have another child. He turns to look at her directly. A half-smile:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Another child...?<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>But this cannot distract you, or lead you to doubt my capacities. I'm an independent woman. And our children could have no better protector than their own mother.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I do not doubt you.<\/dialogue>\n    <scene_description>(moves closer to her; touches her abdomen)<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>The thought of you all will be my greatest inspiration. I swear to you, I shall succeed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FAWCETT RESIDENCE - ARMY BARRACKS - EARLY MORNING 12<\/stage_direction>\n    <scene_description>Still dark. Fawcett is packed and ready to go. A SHOT OF HIS SUITCASES. Fawcett stands just outside Jack's bedroom. Turns around to see his wife. Nina's back is to us; she is about to put Fawcett's coat over his suitcase, but instead chooses to caress the coat with enormous tenderness. As though the coat were a living thing, a beautiful child... She SLIPS a BOOKLET into his COAT. He comes up behind her, touches her shoulders. She whispers, afraid to wake up Jack:<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>I've given you a book of poems, for your journey.<\/dialogue>\n    <scene_description>He nods in appreciation. Matter-of-factly, without self- pity:<\/scene_description>\n    <character>NINA FAWCETT (CONT'D)<\/character>\n    <dialogue>One more kiss, please. We may never meet again.<\/dialogue>\n    <scene_description>But A VOICE interrupts:<\/scene_description>\n    <character>JACK FAWCETT (O.C.)<\/character>\n    <dialogue>Papa?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACK'S BEDROOM<\/stage_direction>\n    <scene_description>Fawcett enters the bedroom, stands over his son. Also whispered:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>It's still very early, my boy. You should go back to sleep.<\/dialogue>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>Where are you going?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Far away. You're to look after your mother.<\/dialogue>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>I want to come.<\/dialogue>\n    <scene_description>Fawcett sits at the edge of the bed:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Darling, I'm afraid it's no place for children.<\/dialogue>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Because there's great danger.<\/dialogue>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>Then why are you going?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>We must all do our duty for King and country, first and foremost.<\/dialogue>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Well...this is how we keep the world civilized.<\/dialogue>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>What is civilized?<\/dialogue>\n    <scene_description>Fawcett laughs at all the questions. Then:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Goodbye, darling.<\/dialogue>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>I want to come with you--<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Perhaps someday you will. I love you most deeply.<\/dialogue>\n    <scene_description>Nina enters from behind them.<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>Jack, give your father his present.<\/dialogue>\n    <scene_description>Jack grins, reaches under his pillow, gives his father a small box. Inside: a gold ring. It's all Fawcett can do to not burst into tears. He begins to get choked up:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>It's--it's lovely.<\/dialogue>\n    <scene_description>An inscription is on it: NEC ASPERA TERRENT.<\/scene_description>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>What do the words say, Papa?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>It means, \"difficulties be damned\".<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Thank you so much for my beautiful gift. When I see you next, you'll be ready to sit a horse.<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>Now give your father a proper kiss so that he may be on his way...<\/dialogue>\n    <scene_description>They boy sits up; Fawcett hugs, kisses him tightly as Nina looks on. TEARS BEGIN TO STREAM DOWN FAWCETT'S CHEEKS, but he SMILES TO THE CHILD THROUGH THE TEARS. A SHIP HORN:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OCEAN - OCEAN LINER - DUSK<\/stage_direction>\n    <scene_description>A ship steams on the ocean. The S.S. PANAMA.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OCEAN LINER - HOLD<\/stage_direction>\n    <scene_description>Fawcett sits in the cramped, dirty hold, which is filled with toughs and scoundrels. Meanwhile, he looks clean-cut in a starched white collar, focused intently on a SPANISH LANGUAGE BOOK. Passengers drink whiskey, spit tobacco, play dice. And sing in a drunken stupor. A PICKPOCKET is reaching around, attempting to filch something out of Fawcett's hanging coat. Fawcett SEES this in the REFLECTION of a MIRROR that a man is using for shaving, across from his bunk. He wraps his hands around a handkerchief, and with great speed, he pulls it around the neck of the Pickpocket and yanks him forward. Pulls out his REVOLVER:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I should think twice if I were you.<\/dialogue>\n    <scene_description>The PICKPOCKET simply withdraws his hand. A BIG FIGHT breaks out between two DRUNKS in the game. Fawcett turns to look. ANOTHER MAN, clutching a rifle, standing with his arm around a woman who might well be a prostitute, catches Fawcett's eye. The Man takes a SWIG from a FLASK. Fawcett goes back to his reading...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OCEAN LINER - SECOND DECK - BRIGHT DAY<\/stage_direction>\n    <scene_description>Fawcett, smoking inside the ship, walking from the dining room. IN THE DISTANCE, DOWN THE DECK HALL: he SPOTS the MAN with the rifle again, now slung on his back. And the man is staring back at him. Odd. Suspicious. Fawcett walks around, to the other side of the ship. And the MAN APPEARS AGAIN. AGAIN, staring at him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OCEAN LINER - PANTRY<\/stage_direction>\n    <scene_description>Fawcett walks around the deck and opens a door. He ducks into a pantry. Dark. Pulls out his weapon. Through the grated metal window in the door, we see a SILHOUETTE approach. A beat, as the silhouette looks inside. The DOORKNOB moves. Fawcett MOVES behind the door. The door opens and the man comes in. Instantly, Fawcett WRAPS his FOREARM AROUND THE MAN'S NECK. The MAN PUSHES ON FAWCETT'S FACE. They TUSSLE, awkwardly, even humorously, each trying to out-tough the other, each proving himself sillier than the other. When they separate, the Man PULLS a KNIFE. Fawcett turns on the light, a solitary bulb that is turned on or off by a string. The light SWINGS, back and forth.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <scene_description>He is CORPORAL HENRY COSTIN, twenties, with a bold Kiplingesque mustache and heavily-hooded eyes. Exceptionally fit, having been a gymnastics instructor in the Army.<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>I'm Corporal Henry Costin, sir! I saw your advert in the Times--I'll be your aide-de-camp on the mission!<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>(incredulous; upset)<\/dialogue>\n    <scene_description>We've been at sea a week--why in God's name haven't you revealed yourself until now?!<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>Had to make certain you were up to the task, sir! I'm not looking to get killed because you're too long in the tooth!<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>You're speaking rather loudly, Mr. Costin.<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>(softer)<\/dialogue>\n    <scene_description>Sorry, sir. Beat.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>And what if I were?<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>Were what, sir?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Too long in the tooth.<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>Ah--well, then I would assume command. Sir.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I wasn't planning to hurt you.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I assumed as much--you're carrying that ridiculous rifle.<\/dialogue>\n    <scene_description>Fawcett backs up, puts away his knife. Said as a command:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Where's your paperwork.<\/dialogue>\n    <scene_description>Costin reaches into his coat, pulls out a stack of paper, along with a small whiskey flask. And a small, tarnished medal with a ribbon. Fawcett looks at all of it.<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>It's a medal. For bravery, against the Boer.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm skilled, with both pistol and rifle, as you can see.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <parenthetical>(as he looks at the papers)<\/parenthetical>\n    <dialogue>I myself have never been in war.<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>It was a fine time, sir. Gave us a real taste of glory.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>You've a family, Mr. Costin?<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>None at all.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Good. Nothing to shed.<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>But you do, I take it then?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Yes. A wife and a boy, with another child on the way.<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>(vaguely challenging)<\/dialogue>\n    <scene_description>And you'll have no difficulty shedding them?<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Mr. Costin, my reputation as a man rests entirely on our success. You shall find me capable of every sacrifice.<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>Well I must say, I for one am fair itching for action.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I'm certain you won't be disappointed. You'll need every last bit of fortitude you've got. Therefore, I must insist--<\/dialogue>\n    <scene_description>Fawcett takes Costin's whiskey flask.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>You'll need no more Dutch courage.<\/dialogue>\n    <scene_description>As Fawcett pours it into a nearby sink in the pantry, sotto:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>\\[It's\\] destroyed many a fine man.<\/dialogue>\n    <scene_description>The alcohol runs along the sink bottom. We MATCH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOLIVIAN PLAIN - DAY<\/stage_direction>\n    <scene_description>A TRAIN rockets through the area.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN<\/stage_direction>\n    <scene_description>A crummy and cramped and loud interior. Filled with Bolivian and indigenous peoples. Fawcett talks inaudibly with a Bolivian, then walks toward a seat, holding a map in his hand. He avoids a FRUITSELLER (who is ad-libbing: \"chirimoyas, grenadillas!\"). Costin is seated, READING A NEWSPAPER. THE HEADLINE: \"SHACKLETON, MURRAY TO SOUTH POLE\". A PICTURE OF SHACKLETON and JAMES MURRAY. REMEMBER MR. MURRAY'S FACE. A Woman with a DOG in a basket stands right near Costin when he moves to accommodate Fawcett; the dog bothers him by continually sniffing his ear. Fawcett joins him in the empty seat, holding a map and a smaller piece of paper. He seems concerned, remote.<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>There a problem?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>We received a cable, in Asuncion. The political situation appears to have worsened and there's been a change in plan.<\/dialogue>\n    <parenthetical>(to the map)<\/parenthetical>\n    <dialogue>We'll need to redirect our line of approach--our first priority must now be to map the Verde River and find its source. It forms a critical part of the border between Bolivia and Brazil.<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>It's rather far from here, is it not?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>It is.<\/dialogue>\n    <parenthetical>(unfolds the map)<\/parenthetical>\n    <dialogue>Our survey route for the river would begin here, at, at--Fazienda Jacobina.<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>Yes, I've come across it in my reading--it's meant to be quite enchanting.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <parenthetical>(looking at his telegram)<\/parenthetical>\n    <dialogue>We're to meet a Corporal Manley there. He's contacted an Indian guide and hired the rest of our crew.<\/dialogue>\n    <parenthetical>(back to the map)<\/parenthetical>\n    <dialogue>We must chart our progress with as much survey detail as possible. Hopefully any mail from our loved ones will beat us to the spot.<\/dialogue>\n    <parenthetical>(as he folds the map)<\/parenthetical>\n    <dialogue>Time is of the essence. War is at stake and the environment will not be friendly.<\/dialogue>\n    <scene_description>Costin battles the dog in the basket; it keeps sniffing his ear:<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>We're to stop a war, you and I? The two of us, and a couple of mules?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <parenthetical>(speechless for a moment; the odds ARE long; then:)<\/parenthetical>\n    <dialogue>Mr. Costin--we're going to have to depend on each other. Because neither of us will survive this alone.<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>I understand pefectly, sir. However, this DOG will not survive this train ride.<\/dialogue>\n    <parenthetical>(seeing Fawcett reading the journal)<\/parenthetical>\n    <dialogue>What's that you're reading?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>It's a poem. For our journey.<\/dialogue>\n    <scene_description>Costin looks over at the book. CLOSE SHOT ON HANDWRITING ABOVE THE TEXT: \"TO PERCY, WITH LOVE, NINA.\" We TILT DOWN to THE TEXT, and we HEAR:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>\"THERE'S no sense in going further-- it's the edge of cultivation,<\/dialogue>\n    <dialogue>So they said, and I believed it--\"<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANDES MOUNTAINS - DAY<\/stage_direction>\n    <scene_description>A wide shot. Our two men look like ants. Over this, we HEAR the PREVIOUS SCENE continue, and we CUT TO A SERIES OF SHOTS of our men walking in MOUNTAINOUS TERRAIN, then HILLS, then GRASS... Now, NINA FAWCETT's VOICE. SHE IS READING IT:<\/scene_description>\n    <character>NINA FAWCETT (V.O.)<\/character>\n    <dialogue>\"Till a voice, as bad as Conscience, rang interminable changes On one everlasting Whisper day and night repeated--so: 'Something hidden. Go and find it. Go and look behind the Ranges-- Something lost behind the Ranges. Lost and waiting for you. Go!'\"<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUNTAINS - LATER 21<\/stage_direction>\n    <scene_description>A different kind of vegetation--GREEN. The SOUNDS begin to change, too--much less wind, much more active with insects... Fawcett is sweating. It is starting to get hot. There are rivulets that all seem to be flowing downhill and gaining steam. Costin stops to take notes in a survey book.<\/scene_description>\n    <character>BACK TO FAWCETT: THERE IS OVERGROWN VEGETATION BLOCKING THE<\/character>\n    <dialogue>VIEW on the path. Fawcett HACKS AWAY with his machete.<\/dialogue>\n    <dialogue>He STOPS. SOMETHING SEEMS TO DAWN ON HIM.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Mr. Costin--<\/dialogue>\n    <scene_description>Then he starts to HACK AWAY AGAIN! With an astonishing furor. WE PAN WITH HIM with each BLOW. His FEET are in mud; seeing this:<\/scene_description>\n    <character>PERCY FAWCETT (CONT'D)<\/character>\n    <dialogue>Mr. Costin!<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>What is it...?<\/dialogue>\n    <scene_description>Costin approaches quickly. Finally, a clearing. REVEALING: AMAZONIA. A VAST GREEN. The JUNGLE, which engulfs the riverbanks of the magnificent AMAZON RIVER. It is beautiful and beguiling, and so enormous it fills one with awe. Costin comes up behind him, looking over Fawcett's shoulder. He is blown away by the vista.<\/scene_description>\n    <character>HENRY COSTIN (CONT'D)<\/character>\n    <dialogue>My God...<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>(almost to himself)<\/dialogue>\n    <scene_description>It's even grander than one could have imagined... Stifling the briefest of smiles, Fawcett goes right back to putting up a steely front. He starts going through his things. But he cannot hide his excitement. As he rummages:<\/scene_description>\n    <character>PERCY FAWCETT (CONT'D)<\/character>\n    <dialogue>The manual insists we keep only the essentials now and live off the land, as best we can.<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>Only the essentials, yes.<\/dialogue>\n    <scene_description>(to himself) Cricket whites, begone...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JUNGLE 22<\/stage_direction>\n    <scene_description>The camera MOVES THROUGH THE GROWTH, the POINT-OF-VIEW of our characters... The SOUNDS of the jungle are loud and yet oddly soothing. It should be clear to us from the noises that nature has taken over. BUZZING of unidentifiable creatures...<\/scene_description>\n    <character>SERIES OF SHOTS<\/character>\n    <dialogue>Of monkeys and birds and snakes and spiders and frogs...<\/dialogue>\n    <dialogue>Fawcett, Costin ENTER THE JUNGLE in SILENCE... ONLY THE RUMBLE OF THUNDER... THUNDER, but no RAIN. YET.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JUNGLE - LATER<\/stage_direction>\n    <scene_description>Fawcett and Costin's feet sink in mud; a bright YELLOW SNAKE slithers around Fawcett's feet. Costin's eyes widen at the sight of it; Fawcett steps over it with studied calm... Sweat pours off their faces; terrible HEAT... SWARMING INSECTS... SAUBA ANTS... TICKS... CHIGGERS... Percy Fawcett BREATHES heavily but HACKS away with his machete. Costin is nearby, slightly ahead, HACKING AWAY at the JUNGLE. Occasionally, Fawcett stops to check a map, takes out his surveying equipment. He calls out:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Twenty-nine degrees, 16 minutes, south of the equator.<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>Twenty-nine, and sixteen!<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>(as he starts hacking again)<\/dialogue>\n    <scene_description>Tell me, Mr. Costin! What induced you to brave this place?<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>Well...I'd studied the natural sciences in Africa, and let's just say I'd had about enough of the army...<\/dialogue>\n    <scene_description>(beat; he stops) You know, I'm beginning to miss that dog on the train. (back to hacking) At least I prefer it to all the creatures currently crawling down my neck. SMACK. Fawcett hits his own neck. BUGS, which force the men constantly to be swatting their arms and necks. Then Costin stops. Freezes.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <parenthetical>(as a joke)<\/parenthetical>\n    <dialogue>Every one we kill is one less obstacle in our path!<\/dialogue>\n    <parenthetical>(preoccupied; to self)<\/parenthetical>\n    <dialogue>Some of them are edible, though.<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>Major--<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <parenthetical>(brought back to reality)<\/parenthetical>\n    <dialogue>Yes, Mr. Costin--what is it?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Why are you not proceeding?<\/dialogue>\n    <scene_description>Costin points down. Fawcett SEES a track of FOOTPRINTS. Looking around, they SPOT:<\/scene_description>\n    <character>THROUGH THE TREES AND THE BRANCHES AND THE SHRUBS: INDIANS.<\/character>\n    <dialogue>STILL. SILENTLY WATCHING THEM.<\/dialogue>\n    <dialogue>Fawcett stares STRAIGHT INTO THE EYES of ONE OF THE INDIANS. He then gestures to Costin to KEEP MOVING. He and Costin both put their hands on their guns as they begin to plod ever slower through the greenery.<\/dialogue>\n    <dialogue>THE INDIANS OBSERVE FAWCETT AND COSTIN with an astonishing stillness; almost like statues.<\/dialogue>\n    <dialogue>Fawcett SEES A SEA OF SHRUNKEN HEADS, hanging from trees.<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <parenthetical>(whispered)<\/parenthetical>\n    <dialogue>\\[Are they\\] cannibals?<\/dialogue>\n    <scene_description>Fawcett shakes his head just a touch, as if to say, \"I do not know\", and signals to Costin to keep walking...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JUNGLE - NIGHT<\/stage_direction>\n    <character>BATS OVERHEAD...<\/character>\n    <dialogue>THEN SILENT AGAIN.<\/dialogue>\n    <character>AND THEN FAWCETT AND COSTIN HEAR IT: OPERA MUSIC.<\/character>\n    <dialogue>At first, it is distant. Then, less faint, and as they progress, one can even tell the piece: from Gaetano Donizetti's DON PASQUALE. Both men wonder if they're crazy.<\/dialogue>\n    <dialogue>They reach a clearing, slowly but surely making their way through the gauntlet of Indians. And what do they see but...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLEARING<\/stage_direction>\n    <scene_description>A THATCHED-ROOF MAKESHIFT STAGE that is serving as an \"OPERA HOUSE\". Here, in the middle of the jungle. Positively surreal. Fawcett turns to the Indians, who are surrounding the two men. In imperfect Portuguese:<\/scene_description>\n    <character>PERCY FAWCETT (SUBTITLE)<\/character>\n    <dialogue>This is Fazienda Jacobina?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Do you understand?<\/dialogue>\n    <scene_description>They don't answer. Instead, they back up, melting away back into the jungle. Fawcett enters the:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \"OPERA HOUSE\"<\/stage_direction>\n    <scene_description>Fawcett surveys the scene. Even though it's merely a large clearing, the stage is, oddly, MAGNIFICENTLY APPOINTED with antiques from Old Europe. They're scattered about. Pathetic space, but you'd never know it listening to the singers and the orchestra. A smattering of people dressed to the nines in the audience--wood benches in the middle of the rainforest. In the back, Indians sit, quietly, listening to the music. A bizarre sight indeed. A DIMINUTIVE LATINO MAN dressed in a tuxedo approaches Fawcett. In Portuguese:<\/scene_description>\n    <character>DIMINUTIVE LATINO MAN (SUBTITLE)<\/character>\n    <parenthetical>(cheerful, almost like an advertisement)<\/parenthetical>\n    <dialogue>Welcome to the Grand Opera House of beautiful Fazienda Jacobina--thanks to our Baron De Gondoriz and the Inca Mining Company. Do you have your ticket?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FAZIENDA JACOBINA - RAINY AND THUNDERING NIGHT<\/stage_direction>\n    <character>SUPERIMPOSE: \"FAZIENDA JACOBINA PLANTATION, BRAZIL.<\/character>\n    <dialogue>1906\".<\/dialogue>\n    <character>JUNE,<\/character>\n    <dialogue>The RAIN begins to FALL. HARD. FAR FROM THE ELEGANT PLACE THEY'D EXPECTED. Fawcett enters this nightmare of a rubber town, with Costin right behind.<\/dialogue>\n    <dialogue>We PASS TREES with PANS attached to their TRUNKS. LEAKING WHITE FLUID. RUBBER. A DARK-SKINNED MAN is collecting the substance...<\/dialogue>\n    <dialogue>Fawcett sees that this is not much more than a strip of mud with bamboo huts with one notable exception: a RUBBER BARON'S LARGE HOME, which sits higher on a hill overlooking the city. Shockingly miserable. FIRES all over--in cans, campfires, fires incinerating garbage and remains...<\/dialogue>\n    <dialogue>The presence of the Inca Mining Company is clear, with their corporate logo painted on several of the huts.<\/dialogue>\n    <dialogue>Fawcett turns, eyes: RAILROAD TRACKS that lead to nowhere. BOLIVIAN ARMY OFFICERS line the fronts of the huts, \"on the nod,\" drunk, all of it. A TEXAN GUNMAN stands out, watching.<\/dialogue>\n    <dialogue>Running down the \"road,\" comes: BRITISH OFFICER ARTHUR MANLEY, early twenties, young and cheery but slightly frail. Fawcett is still stunned by the misery as Manley begins:<\/dialogue>\n    <character>ARTHUR MANLEY<\/character>\n    <dialogue>Major Fawcett? Is that you?? It MUST be you!<\/dialogue>\n    <character>ARTHUR MANLEY<\/character>\n    <parenthetical>(introducing himself)<\/parenthetical>\n    <dialogue>Lance Corporal Manley, sir--liason from the Governor General!<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>How do you do... This is Corporal Costin.<\/dialogue>\n    <scene_description>Costin nods.<\/scene_description>\n    <character>ARTHUR MANLEY<\/character>\n    <dialogue>You weren't expected for another fortnight! I...hate to be the bearer of bad news, but--we received a telegraph. The Border Commission has cancelled your mission!<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Cancelled!? What on earth do you mean?!?<\/dialogue>\n    <character>ARTHUR MANLEY<\/character>\n    <dialogue>What I've said, sir! It's become far too dangerous--there've already been more than a few skirmishes between the Bolivians and Brazilians, and they won't be able to reprovision you as planned!<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Where is the government office?<\/dialogue>\n    <character>ARTHUR MANLEY<\/character>\n    <dialogue>Government?<\/dialogue>\n    <scene_description>(morbid smile) Sir, I'm afraid you've left \"government\" behind a long time ago. We're grateful for the road!<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Then Mr. Manley, you send back a telegram--that we will not stand down and we shall proceed as planned! We will CONTINUE and see this through!<\/dialogue>\n    <scene_description>Manley looks at him for a moment.<\/scene_description>\n    <character>PERCY FAWCETT (CONT'D)<\/character>\n    <dialogue>Are you WITH me, Corporal?<\/dialogue>\n    <character>ARTHUR MANLEY<\/character>\n    <dialogue>Yessir.<\/dialogue>\n    <scene_description>As Fawcett looks at Costin, as if to say, \"My God, this is a terrible place\":<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Now what about an Indian guide--did you get us a guide?<\/dialogue>\n    <scene_description>ANGLE ON MANLEY as he stops. He turns stone-faced.<\/scene_description>\n    <character>ARTHUR MANLEY<\/character>\n    <dialogue>I...I did, sir.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Well where is he?<\/dialogue>\n    <scene_description>A VOICE, in Portuguese, then English:<\/scene_description>\n    <character>A VOICE (O.S.)<\/character>\n    <dialogue>Cattle! Coming through!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HUT - OPEN VERANDA - NEAR THE BANKS OF THE RIVER<\/stage_direction>\n    <scene_description>A LONG LINE of YOUNG MEN, INDIANS, lumbering, HEADS DOWN, in CHAINS, through the TOWN. Getting off a SMALL RIVERBOAT that's beached. Our men are here: Fawcett, Costin, Manley. Whispered to Fawcett:<\/scene_description>\n    <character>ARTHUR MANLEY<\/character>\n    <dialogue>He's one of them now, sir. Name's Tadjui. The company took him.<\/dialogue>\n    <scene_description>Fawcett steps out to observe. Guards with whips motivate the line of men by beating.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Who are they?<\/dialogue>\n    <character>ARTHUR MANLEY<\/character>\n    <dialogue>Slaves, sir.<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>Slaves?!?<\/dialogue>\n    <character>ARTHUR MANLEY<\/character>\n    <dialogue>Kidnapped from the jungle and brought here for the rubber company.<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <parenthetical>(a sad laugh; sotto)<\/parenthetical>\n    <dialogue>I don't believe it...<\/dialogue>\n    <scene_description>Fawcett is appalled too, his face souring instantly. Costin seems in shock.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Who's in charge here?<\/dialogue>\n    <scene_description>Manley points to the HOUSE, on the HILL:<\/scene_description>\n    <character>ARTHUR MANLEY<\/character>\n    <dialogue>That would be the Baron de Gondoriz, sir--up there.<\/dialogue>\n    <scene_description>Fawcett begins to walk toward the house. Costin runs up to Fawcett. In his ear:<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>Where're you going?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>He's got the men we need.<\/dialogue>\n    <scene_description>Fawcett takes several steps out, into the rain. To Manley:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Bring the Indian up to the house. Tell them we'll pay.<\/dialogue>\n    <character>ARTHUR MANLEY<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <scene_description>MANLEY SPEAKS TO THE GUARDS. A BRAZILIAN GUARD CLAPS his HANDS TWICE, yells out some Portuguese. An Indian, TADJUI, twenties, in chains, is BUTTED, HARD, by a rifle. He does not react. He then steps out from the huge line as though it were voluntary.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RUBBER BARON HOUSE<\/stage_direction>\n    <scene_description>BARON DE GONDORIZ, forty, a stocky and imperious sort, sits on a CHAIR, surrounded by furs and with a Latino woman serving him drink and food. The Brazilian Infantry is here, surrounding (guarding?) him. An INDIAN CRANKS A VICTROLA. DE GONDORIZ'S CHILDREN are here, too, as is his wife. They are dressed in WHITE SUITS and are serious-faced and silent. Champagne is poured like water, and food abounds. It's a real contrast with the street below. Gondoriz is an imposing figure, to be sure. He has a pet JAGUAR, who resides alongside him. The jaguar seems particularly peeved at Costin, for no reason. It growls at him, and Costin's eyes bulge at the ferocious \"pet\"...<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>(smiles)<\/dialogue>\n    <scene_description>Baron, we're from the British Army. We're very sorry to interrupt your meal. We're to be venturing down the Rio Verde as peacekeepers and will be in need of some of your men. No response from the Baron.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>In exchange, I'm prepared to tell my government of your cooperation.<\/dialogue>\n    <character>BARON DE GONDORIZ<\/character>\n    <dialogue>You are from England?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Yes, we are.<\/dialogue>\n    <character>BARON DE GONDORIZ<\/character>\n    <dialogue>I've been to London, many times. I have seen the opera there--have you seen my opera house?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>We did, on our way into town. Congratulations--it was quite impressive.<\/dialogue>\n    <character>BARON DE GONDORIZ<\/character>\n    <dialogue>I have the best singers from all over Europe. And my conductor, he is sick now, but he trained with the great Hubay.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <character>BARON DE GONDORIZ<\/character>\n    <dialogue>Before I come here, I tell myself I will not be a savage.<\/dialogue>\n    <character>BARON DE GONDORIZ<\/character>\n    <dialogue>And so I bring civilization to the jungle. I brought my family here, and I raised my children to be cultivated people. I am from Portugal, from Sintra. Someday I will return there.<\/dialogue>\n    <parenthetical>(beat; wistful)<\/parenthetical>\n    <dialogue>Someday.<\/dialogue>\n    <scene_description>The Texan ENTERS with Tadjui, who is CHAINED AROUND THE NECK.<\/scene_description>\n    <character>TEXAN GUNMAN<\/character>\n    <dialogue>You're goin' upriver, are ya?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>We are indeed. For surveying.<\/dialogue>\n    <character>TEXAN GUNMAN<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>Well, ain't nobody comes back from up there. Ever.<\/dialogue>\n    <parenthetical>(looks at the Indian)<\/parenthetical>\n    <dialogue>This the one you're looking for?<\/dialogue>\n    <scene_description>Fawcett eyes him for a beat, then:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Yes, we'd like very much to employ him.<\/dialogue>\n    <character>TEXAN GUNMAN<\/character>\n    <dialogue>He's a rebellious son of a bitch, I'll tell you that. He's been beaten. And he'll be beaten again.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>All the better I should take him off your hands, then.<\/dialogue>\n    <scene_description>Tadjui, Fawcett exchange glares. Fawcett approaches Tadjui:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Do you speak English?<\/dialogue>\n    <character>TEXAN GUNMAN<\/character>\n    <dialogue>We taught 'em. \\[To\\] Civilize 'em.<\/dialogue>\n    <character>TADJUI<\/character>\n    <dialogue>I am speaking little.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>And you know the river?<\/dialogue>\n    <scene_description>Tadjui nods.<\/scene_description>\n    <character>PERCY FAWCETT (CONT'D)<\/character>\n    <parenthetical>(to Baron De Gondoriz)<\/parenthetical>\n    <dialogue>What will you take for him and any four men he chooses?<\/dialogue>\n    <character>TEXAN GUNMAN<\/character>\n    <dialogue>You got money?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I--promise highly favorable treatment from my country.<\/dialogue>\n    <character>BARON DE GONDORIZ<\/character>\n    <dialogue>Your country is not what it used to be.<\/dialogue>\n    <scene_description>Fawcett is momentarily at a loss for words.<\/scene_description>\n    <character>BARON DE GONDORIZ (CONT'D)<\/character>\n    <dialogue>It offends you to negotiate with me. I see this is true.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>No--<\/dialogue>\n    <character>BARON DE GONDORIZ<\/character>\n    <dialogue>Please--do not embarrass yourself. I prefer to speak openly when it is possible; do you not?<\/dialogue>\n    <scene_description>(before Fawcett can answer:) You come here to make maps. And why is that? So that there may be peace. What is peace? Peace means my business will flourish--I will flourish. You may hold your nose when you accept my help, yet without my help you know you cannot succeed. The closer you will look at the truth, the more disgusted you will grow--not at me but at yourself. In the end, peace means only that nothing will change. So I will help you because you will make sure nothing will change. Then De Gondoriz notices something. Points to Costin's rifle.<\/scene_description>\n    <character>BARON DE GONDORIZ<\/character>\n    <dialogue>That is very beautiful.<\/dialogue>\n    <character>TEXAN GUNMAN<\/character>\n    <dialogue>There ain't a whole lot of those in these parts, Baron. A fine piece.<\/dialogue>\n    <scene_description>Costin seems reluctant. Fawcett looks to Costin, takes him aside. Costin is impatient, whispers to Fawcett:<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>It's a family heirloom, sir. It's a Henry--my father used it against the Zulu.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Consider it your gift to the King.<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>You do realize this goes to pay for a slave.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>(to the others)<\/dialogue>\n    <scene_description>Would you excuse me, please. Fawcett leads Costin outside:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A30 EXT. RUBBER BARON HOUSE A30<\/stage_direction>\n    <scene_description>Under an overhang, on the porch. Starts quiet, but heated:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>We'll hire as many of them as we can and set them free when we're done.<\/dialogue>\n    <scene_description>Fawcett starts to turn back; Costin stops him:<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>When we're DONE? Are we slaveowners now?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>No. As I say, we'll pay them and treat them as any other in our party.<\/dialogue>\n    <scene_description>(beat) It's the most we can do under the circumstances.<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>I'll not dirty my hands just because it suits our needs.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Would your hands be any cleaner if we left them here to die? We're the only hope they've got. We need them and we'll take them with us.<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>But we've got to report it--<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <parenthetical>(loses a bit of patience)<\/parenthetical>\n    <dialogue>To whom, Corporal? To WHOM? Have you taken a look around--do you see where we are?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I promise you, their story shall not go untold if we survive. I promise you that.<\/dialogue>\n    <scene_description>Costin realizes Fawcett is right. He steps forward, and swallowing his pride, he unslings his rifle. Muttering:<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>Just as it's always been. One group gets the sugar, the other one gets the shit.<\/dialogue>\n    <scene_description>Costin walks past Fawcett, reentering:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>B30 INT. RUBBER BARON HOUSE B30<\/stage_direction>\n    <scene_description>Costin approaches the Texas Gunman as Percy reenters:<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <parenthetical>(holding up the rifle; a hint of sarcasm)<\/parenthetical>\n    <dialogue>Here. Is your very own handmade rifle. A Martini-Henry. Well done.<\/dialogue>\n    <scene_description>The Texas Gunman takes the rifle, looks at it, aims it. Then passes it to the Baron. The Baron looks to Costin, Fawcett, aims, pulls the trigger. CLICK. Then:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BANKS OF THE RIVER - CAMPFIRE - DAWN - CLEAR SKY 30<\/stage_direction>\n    <scene_description>Fawcett stands by the river. Ties a rope for a boat. WIDEN TO REVEAL: THE INDIAN TADJUI, and he has brought FOUR OTHER LEJO INDIANS with him. They work on the rafts, passing the drink kachasa between them. TADJUI, shirtless, has SCARS on his BACK, which Fawcett notices. A SACK OF MAIL is dropped at Fawcett's feet by a local. He sifts through it, finding a letter from his WIFE. FLASH CUT TO:<\/scene_description>\n    <character>A CLOSE SHOT OF NINA<\/character>\n    <dialogue>As SHE SITS AT HER DESK, writing. Their SON JACK, in the background. We STILL HEAR the SOUNDS OF THE JUNGLE.<\/dialogue>\n    <character>CUT BACK TO:<\/character>\n    <dialogue>He is about to open it. Merely pockets it. He then walks over to Tadjui.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Can you show me where we're to pitch camp tonight?<\/dialogue>\n    <scene_description>Tadjui traces his finger along the river on the map, then stops several inches into a blank area. HE TRACES THE SHAPE WITH HIS FINGER. SEEMS TO KNOW EVERY CURVE.<\/scene_description>\n    <character>TADJUI<\/character>\n    <dialogue>Long time on the river before stop.<\/dialogue>\n    <scene_description>Fawcett looks out, at the RIVER...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVERBANK - DAY - LATER 33<\/stage_direction>\n    <scene_description>We then SEE: A GROUP OF SCRUFFY MEN, building rafts with sticks and twine, shoving estopa (beaten palm fiber) into cracks in the rafts. Costin is working with the group, but MANLEY SEEMS TO KNOW THEM ALL:<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>This's our party then?<\/dialogue>\n    <scene_description>(Manley nods, so:) It's a bloody desperate lot you've got us.<\/scene_description>\n    <character>ARTHUR MANLEY<\/character>\n    <dialogue>They're as dependable as can be found here. I'm the only one who'll pay them.<\/dialogue>\n    <scene_description>The MEN: DAN, a flamboyant drunk, does a dance as he loads the raft. WILLIS, a capable Jamaican cook, loads the FOOD, in large baskets. THREE OTHER WHITE MEN, DESPERADOS, who look like Jurgen Prochnow's more frightening brothers. Mustachioed. One is an Austrian named URQUHART. Arthur Manley has loaded an ACCORDION onto the boat. Fawcett steps near the men, securing a parcel loaded improperly. He interrupts one of them trying to tighten:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>(as he tightens the rope; then looks at all of them)<\/dialogue>\n    <scene_description>The river shall be our home for the next two years and we'll not turn back. Twelve hours a day and no less. MUSIC UP: A SWEET AND MELANCHOLY SONG, PLAYED BY INDIANS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EDGE OF THE RIVER - MIDDAY 34<\/stage_direction>\n    <scene_description>Fawcett, Costin, Manley, Willis, Dan, Urquhart, the silent and tall DESPERADOS, Tadjui and the 4 LEJO INDIANS push off on TWO LARGE RAFTS. Three SMALL HOUNDS ACCOMPANY THE MEN. A CROWD has assembled around the group as they depart. The Indians sing a local folk song as they shove off. MANY OF THE BRAZILIAN INFANTRY set off their Winchesters into the air to celebrate. The INDIAN WOMEN wave their goodbyes... The BARON and his TEXAN GUNMAN eye the men from higher up. The TEXAN DRAWS HIS FINGER ACROSS HIS NECK, smiling... Fawcett averts his gaze, looks down at his MAP. We TILT DOWN to SEE THE WORD: \"UNEXPLORED\". The river is READY.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RICARDO FRANCO HILLS<\/stage_direction>\n    <scene_description>The group drifts on their rafts through a cavernous space, with eerie plateaus of the Ricardo Franco Hills on both sides of the rafts. FAWCETT'S MEN push with the bamboo poles through the water as FAWCETT SURVEYS. The camera PANS PAST his notes on flora and fauna and temperature and barometric readings, all painstakingly done. His attention, however, begins to be divided between his surveying and the astonishing scenery around him. BEAUTIFUL RAINBOW-COLORED FISH swim in the river next to enormous EELS. DAN turns to COSTIN, re the eels:<\/scene_description>\n    <character>DAN<\/character>\n    <dialogue>They'll shock you to death, those things. Other fish, the candiru-- they'll swim right up your johnson-- so don't never be letting loose in the river.<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <parenthetical>(wide smile; sarcastic)<\/parenthetical>\n    <dialogue>Thank you so very much for that information.<\/dialogue>\n    <scene_description>Costin then reflexively touches his crotch. It is SILENT, so Fawcett turns to Manley, and, half-jokingly:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Can you play?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>We don't want to be driven mad by the silence.<\/dialogue>\n    <scene_description>Fawcett points to Manley's accordion case.<\/scene_description>\n    <character>ARTHUR MANLEY<\/character>\n    <dialogue>Right, sir.<\/dialogue>\n    <scene_description>Manley takes out his ACCORDION. The sounds ECHO, all over the space. MANLEY PLAYS a BRITISH WAR SONG. The accordion sounds like a full orchestra here...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE AMAZON JUNGLE - THE RIVER - DAY<\/stage_direction>\n    <character>EERIE QUIET. SURVEYING BOOKS: THE MAP IS BEING FILLED IN,<\/character>\n    <dialogue>slowly but surely. TILT UP: Fawcett is taking photographs. The Indians are assembled in one corner of one of the rafts. Tadjui plays a ZAMPONA (the Incan PAN FLUTE).<\/dialogue>\n    <dialogue>Fawcett finishes his work, and folding the tripod legs, observes the mailbag. He reaches into his pocket and opens up the LETTER from his wife. Unwrapping it, a PICTURE FALLS OUT. A BABY, along with JACK and NINA. A NEWBORN with his family. Costin picks it up:<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>A new one, Major? A boy?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>It must be so.<\/dialogue>\n    <scene_description>Fawcett takes the picture, looks at it.<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>Congratulations.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Thank you, Mr. Costin.<\/dialogue>\n    <scene_description>He then POCKETS THE PHOTO. Costin eyes him. FAWCETT TAKES THE PHOTO OUT AGAIN.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>The boy's name is \"Brian\".<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>Major, if I may venture a suggestion--<\/dialogue>\n    <scene_description>Fawcett sees Costin point to the photo, then to his pocket. Fawcett stares at Costin, then, deciding Costin is right, NODS ONCE AND PUTS THE PHOTO BACK in his POCKET:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Right, Mr. Costin...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVER - MOMENTS LATER<\/stage_direction>\n    <scene_description>The two RAFTS travel one right behind the other, as the overgrowth gets lower and lower over the banks of this narrowing AMAZON TRIBUTARY. They approach an abandoned steamer on the river: a German ship, the ANTONIA. From Hamburg, painted on its back. As this is happening, Urquhart is on the flat raft, attempting to catch fish with the net. With his thick accent:<\/scene_description>\n    <character>URQUHART<\/character>\n    <dialogue>Nothing again! Not ONE fish! It's a desert--a green desert!<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Pull it in, we'll try further down.<\/dialogue>\n    <scene_description>Fawcett steps onto the raft, to help Urquhart pull the net in. SIMULTANEOUS, on the batelon:<\/scene_description>\n    <character>ARTHUR MANLEY<\/character>\n    <dialogue>What on earth's she doing all the way out here?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <parenthetical>(turning back)<\/parenthetical>\n    <dialogue>She's come to load rubber, no doubt.<\/dialogue>\n    <parenthetical>(to Costin)<\/parenthetical>\n    <dialogue>Get us closer, Mr. Costin! Maybe they'll have news, or food for us!<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>Looks abandoned to my eye!<\/dialogue>\n    <scene_description>As he steers, Costin NOTICES a BLACK SPOT IN HIS SKIN. UH- OH.<\/scene_description>\n    <character>DAN<\/character>\n    <parenthetical>(as they get closer, seeing \"HAMBURG\")<\/parenthetical>\n    <dialogue>It's German! I say we go aboard and have a beer--I bet they have real German beer, fresh from the cask!<\/dialogue>\n    <scene_description>But, as they get closer, they see something macabre: A LONE MAN, maybe dead, maybe not, sits on the top of the boat, still. Nude. Staring at them, not moving. The hull's riddled with arrows.<\/scene_description>\n    <character>URQUHART<\/character>\n    <dialogue>Is he ALIVE? Try to talk to him! See where they are from in--<\/dialogue>\n    <scene_description>And he FREEZES. FAWCETT, next to him, is momentarily bewildered. THEN: HE SEES AN ARROW in his BACK.<\/scene_description>\n    <character>URQUHART SPINS OFF THE RAFT, TANGLED IN THE FISHING NET.<\/character>\n    <dialogue>ALL OF A SUDDEN: FLYING ARROWS. FEROCIOUS. AND SPEARS.<\/dialogue>\n    <dialogue>Coming from the trees. We can't SEE any other INDIANS, but they're there, in the forest.<\/dialogue>\n    <dialogue>The flurry does not stop. All the men duck for cover. PANIC. The arrows come with tremendous and frightening force, some of them penetrating inches deep into the rafts' wood.<\/dialogue>\n    <dialogue>Costin pushes with his long BAMBOO pole. The rafts begin to drift in an altogether different direction, away from the arrows.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTER OF THE RIVER<\/stage_direction>\n    <scene_description>Fawcett IS YANKED INTO THE RIVER by Urquhart, who is dying and has tangled the two of them in the fishing net. The arrows continue to fly. The RAFT TILTS DANGEROUSLY with the weight shift. Costin tumbles as well, but stays aboard, making sure THE MAPBOOKS survive. He loses his JOURNAL book and other personal items in the mayhem, however, as the bag of photographs falls overboard:<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>God damn it! GET THEM OUT!<\/dialogue>\n    <scene_description>Manley attempts to retrieve the net--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDERWATER<\/stage_direction>\n    <scene_description>Fawcett is underwater, with Urquhart atop him as the two struggle with the rope. FAWCETT untangles his feet from the rope and pulls himself up, attempting to grab Urquhart as he rises to the surface. One thing gets in the way:<\/scene_description>\n    <character>PIRANHAS.<\/character>\n    <dialogue>Piranhas start nipping at the men. The piranhas focus on Urquhart, who was cut by the arrow--the blood is attracting them. The feeding has begun to turn into a FRENZY.<\/dialogue>\n    <dialogue>Getting pinched by the fish as well--though with nowhere near the ferocity, for he has no open wound--Fawcett is forced to abandon Urquhart and PULLS HIMSELF ALONG THE ROPE.<\/dialogue>\n    <scene_description>COSTIN GRABS FAWCETT and helps pull him onto the RAFT.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RAFT<\/stage_direction>\n    <scene_description>Fawcett gets aboard the raft with more than a couple of piranhas still attached to his arms and legs. Fawcett and Costin swat away the piranhas and, courageously braving the still-constant stream of arrows, tries to get Urquhart aboard:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Come on, pull!<\/dialogue>\n    <scene_description>Manley and the others help, with Tadjui looking on. Fawcett finally succeeds in pulling Urquhart up, onto the raft. And he is DEAD. His lower half has been completely devoured by the piranhas... The RAFTS FINALLY PASS THE FLURRY OF ARROWS AND SPEARS. The last FLURRY OF SPEARS hit near the raft without incident... ANGLE ON FAWCETT. Out of breath and spent beyond words. He SEES his PERSONAL EFFECTS--the LETTER, the FAMILY PHOTOGRAPHS, on the raft and soaked. They'd been spilled during the chaos.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Thank you for your aid, Mr. Costin.<\/dialogue>\n    <scene_description>Costin nods. Fawcett's face wrinkles in anguished recognition of his articles' damage. HE COLLECTS HIS THINGS. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE AMAZON JUNGLE - SHALLOW RIVER BED - DUSK 41<\/stage_direction>\n    <scene_description>Rain. Silence. Gloom. Fear. All stumble, quietly, as they help pull the boats across shallow water. FAWCETT is still alert. The MAPBOOKS are getting more and more completed... Virtually no more food in the containers. The hounds rummage alongside the rafts, sniffing at anything they can lick or chew. MORE BUGS: flies, mosquitos, spiders, maggots in the skin. Costin, who has now grown very sick with fever, shivers in the rain as he can barely walk. Manley VOMITS black fluid. Hunched by the edge of the raft:<\/scene_description>\n    <character>ARTHUR MANLEY<\/character>\n    <dialogue>I...I'm sick...I think I've malaria... Perhaps the sun shall bake the fever out of me!<\/dialogue>\n    <scene_description>Dan is hallucinating; he mutters about his hallucinations aloud:<\/scene_description>\n    <character>DAN<\/character>\n    <dialogue>Months on the river! And--so many beautiful flowers...<\/dialogue>\n    <scene_description>Dan has MAGGOTS in his ARM.<\/scene_description>\n    <character>DAN (CONT'D)<\/character>\n    <dialogue>My maggots... Are they...they're my friends!<\/dialogue>\n    <scene_description>He SMILES. Fawcett sees Costin, who hides his own skin blemish, on his arm. Costin makes eye contact, pulling down his sleeve:<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>It's nothing at all...<\/dialogue>\n    <scene_description>Percy moves to Tadjui:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Are we close?<\/dialogue>\n    <character>TADJUI<\/character>\n    <dialogue>Many week to go. The river still strong.<\/dialogue>\n    <scene_description>Fawcett looks at his men, then back to Tadjui:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>We won't survive another attack. If there are more dangerous tribes ahead--<\/dialogue>\n    <character>TADJUI<\/character>\n    <dialogue>The river is death.<\/dialogue>\n    <scene_description>(beat) But you will see--many people live here once. Beautiful city of gold and maize. Even older than English. With roads and bridges. Percy SNAPS to attention. He looks at Tadjui as though he is completely mad.<\/scene_description>\n    <character>TADJUI (CONT'D)<\/character>\n    <dialogue>Deep, in the forest. All gold. It blaze, like fire.<\/dialogue>\n    <scene_description>Fawcett turns away, devastated by the prospect that Tadjui is also going mad. Under his breath:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Christ...<\/dialogue>\n    <character>TADJUI<\/character>\n    <dialogue>Conquistador try to find it, many try. But the white man never find it...<\/dialogue>\n    <scene_description>Reaching for his RIFLE, Fawcett LOADS IT. POCKETS SPARE SHELLS. TADJUI STARTS TO SCREAM:<\/scene_description>\n    <character>TADJUI (CONT'D)<\/character>\n    <dialogue>I feel sorry for you, English! Soon I am free! For the Espanol and you, there is no escape from jungle--only death!<\/dialogue>\n    <character>WILLIS<\/character>\n    <dialogue>The river's coming back! Pitching camp!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BY THE CAMPFIRE - NIGHT 42<\/stage_direction>\n    <scene_description>The members of the group sit with their rifles aimed into the darkness. They see the TWINKLES from the eyes of animals out into that dark. The noises of the jungle frighten them beyond belief. Then the jungle goes SILENT. Then the noises pick up again. Terrifying. Even the hounds are petrified. Fawcett sits near the fire, rifle aimed outward into the dark. Costin, without his Martini-Henry rifle, is covered in blankets. HUSHED, SHIVERING.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>(to Costin, whispered)<\/dialogue>\n    <scene_description>Mr. Costin? Mr. Costin, are you alert?<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>(a morbid joke as he shivers)<\/dialogue>\n    <scene_description>I am, feeling just fit as a fiddle. How you have managed to avoid any maladies is utterly beyond me.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>(approaches Costin, still whispered)<\/dialogue>\n    <scene_description>Even the Indian's gone mad now.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>He's been going on about gold cities. We should be prepared for anything.<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>Then I would suggest you keep your firearm close and ready, sir.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>(nods; then)<\/dialogue>\n    <scene_description>I'd like you to read this to me. If you can. Fawcett reaches into his pocket. Takes out many envelopes. Sifts through the letters. Hands one to Costin:<\/scene_description>\n    <character>PERCY FAWCETT (CONT'D)<\/character>\n    <dialogue>We may be at the end now and I believe it's time.<\/dialogue>\n    <scene_description>(beat) I'm afraid it's quite unbearable for me to read it myself. Would you please? Costin wordlessly takes it from Fawcett, staring at Fawcett.<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>(beat)<\/dialogue>\n    <scene_description>\"My dearest Puggy--\"<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Feel free to summarize.<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>I was hoping you'd say that... She's moved the family to Devon, and in your absence is promoting your name. Your new son Brian is doing well. And your older son Jack is excelling, she says in all ways...<\/dialogue>\n    <scene_description>Fawcett is devastated hearing about all this. Starts to tear up. Costin holds up the letter:<\/scene_description>\n    <character>HENRY COSTIN (CONT'D)<\/character>\n    <dialogue>Shall I continue?<\/dialogue>\n    <scene_description>Fawcett gently takes the LETTER from Costin's hand. HE PUTS THE LETTER IN THE FIRE. Fawcett WATCHES IT BURN FOR A MOMENT. We SEE the SCRIBBLED WORDS ON THE PAPER as they get CONSUMED BY THE FIRE. Fawcett watches the letter burn. He shakes his head at the preposterousness:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I see my son's face in my dreams now.<\/dialogue>\n    <scene_description>(sotto) What a mistake to come here... He GRABS HIS HEAD, each palm of his hand on each side of his head. Closes his eyes in ANGUISH. As Fawcett wipes tears from his face:<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>Major--I'm not one for speeches. And if I should die here, I know my name dies with me. But I have fought as a soldier, and I have tasted victory. What have you tasted--besides your unrealized dreams? If you allow yourself to perish here, you will have achieved nothing. Now that my fever has come on, I may well not survive. Indeed, I am of little use in my current state. But you must persevere.<\/dialogue>\n    <scene_description>(a sardonic smile) And may I add, if you should manage to take me with you, I'll not protest.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>(he smiles as the words sink in; checks his chronometer)<\/dialogue>\n    <scene_description>I shall endeavor to do both, Mr. Costin. (louder, to the group) Six hours rest. Dawn's approaching. Dan, collapsed at the base of a tree nearby, begs Fawcett:<\/scene_description>\n    <character>DAN<\/character>\n    <dialogue>Please, Mr. Fawcett--I'm not fit. I, I think I might be near my end in this bloody hell.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>You can walk, can you not?<\/dialogue>\n    <scene_description>Dan can, but does not answer. Fawcett takes out his BIG KNIFE. Moves up to Dan, puts his blade to Dan's throat:<\/scene_description>\n    <character>PERCY FAWCETT (CONT'D)<\/character>\n    <dialogue>If we die, we'll die on our feet-- unless you prefer the knife.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVER - ON THE RAFT - NARROW CAVERNS 43<\/stage_direction>\n    <character>DRIZZLING RAIN. CLOSE SHOT ON FAWCETT.<\/character>\n    <dialogue>STARE, with DARK and DEEP-SET EYES.<\/dialogue>\n    <character>HE'S GOT A WIDE-EYED<\/character>\n    <dialogue>Fawcett may be frail, but he is at least mentally in control of himself--unlike the others. Costin is either unconscious or DEAD.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Mr. Costin...? Mr. Costin?<\/dialogue>\n    <scene_description>Fawcett is visibly upset that Costin does not answer. Tadjui prays aloud... Manley is shivering terribly and covered with maggots; HE IS STICKING HIS TONGUE OUT, TO CATCH THE RAIN AS IT FALLS FOR HYDRATION. Dan is muttering to himself, aloud; he also sticks out his tongue for the rain's water. Even the dogs have gone totally lethargic, and the carcass of one of them slides into the river. Willis rummages through the food baskets. Nothing but a couple of rotten fruit. He begins to cry:<\/scene_description>\n    <character>WILLIS<\/character>\n    <dialogue>No more food! Ain't nothing left-- NOTHING--<\/dialogue>\n    <scene_description>ONLY A ROTTEN BANANA REMAINS. Willis charges for it; Dan and he FIGHT OVER IT BRIEFLY. SEEING this: Fawcett gets up, approaches the men:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Stop it--get--we're not savages!<\/dialogue>\n    <scene_description>Tadjui stops playing the zampona. He stands.<\/scene_description>\n    <character>DAN<\/character>\n    <dialogue>We're leaving our bones here! And for what?!? A map??? We're not even lookin' for gold!<\/dialogue>\n    <scene_description>Dan STEPS BACK, ARMED. He approaches Fawcett, dangerously close, with his RIFLE POINTED AT FAWCETT:<\/scene_description>\n    <character>DAN<\/character>\n    <dialogue>There could be war already and we wouldn't even know it! Have you ever considered that?!<\/dialogue>\n    <scene_description>Dan turns to the others. He is ready to CHARGE. MUTINY?!?<\/scene_description>\n    <character>DAN<\/character>\n    <dialogue>Even if we get there, we ain't makin' it back with nothing in our bellies!<\/dialogue>\n    <parenthetical>(turning back to Fawcett, still directed to others)<\/parenthetical>\n    <dialogue>Let's have at him!<\/dialogue>\n    <scene_description>Fawcett looks at the others. With the exception of Costin and Manley, both of whom now LOOK UNCONSCIOUS if NOT DEAD, they all SEEM READY TO CHARGE AT HIM. Fawcett seems to steel himself. Dan TAKES A STEP FORWARD, and Fawcett's eyes widen. Then FAWCETT CATCHES SIGHT OF COSTIN--WHO HAS TURNED TOWARD US, HOLDING HIS PISTOL! (Dan has his back to Costin and cannot see.) Dan takes a step TOWARD Fawcett, ready to do away with him, when--COSTIN FIRES! Dan CURLS OVER with a STUNNING VIOLENCE, BLOOD POURING FROM HIS EAR. Dan CUPS his ear with his hands, howling in pain.<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>The next one I'll put between your eyes!<\/dialogue>\n    <scene_description>AND THEN: wordlessly, TADJUI POINTS. The others turn to look, one by one. EMERGING: THE SOURCE OF THE VERDE RIVER. The men are frozen in awe.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAND NEAR THE SOURCE OF THE VERDE RIVER<\/stage_direction>\n    <scene_description>The water dribbles from a small cliff, down into the base of the river. It is a beautiful sight. Fawcett slowly takes out his surveying equipment and the camera.<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <parenthetical>(proud, almost giddy)<\/parenthetical>\n    <dialogue>We made it! No one's ever been here before! No one! NO ONE!!!<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Prepare for the group photograph, Mr. Costin...<\/dialogue>\n    <scene_description>Costin takes the camera and plants it on a TRIPOD for THE GROUP PHOTO, but he is so depleted he can barely move his limbs. The others weakly get into position for the photo. Dan weeps as he slides into his position. Manley looks around, then calls out:<\/scene_description>\n    <character>ARTHUR MANLEY<\/character>\n    <dialogue>Major... We've, we've lost the Indian--<\/dialogue>\n    <scene_description>FAWCETT SPINS AROUND. TADJUI IS INDEED GONE. As are the other INDIANS. Fawcett sees footprints, leading off into the jungle. Manley seems primed to track the footprints when Fawcett stops him.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Mr. Manley! He got us here, didn't he...?<\/dialogue>\n    <scene_description>Fawcett hears a subtle CRUNCHING NOISE in the brush. ALL ARE STARTLED. Takes a quiet step forward. FAWCETT holds his finger to his lips--\"QUIET!\" And then ducks into the brush. Costin approaches, sees something, or at least thinks he does. Turns to Manley, who is standing next to him. Whispering:<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>Am I dreaming it?<\/dialogue>\n    <character>ARTHUR MANLEY<\/character>\n    <dialogue>No--I see it too.<\/dialogue>\n    <scene_description>LONG-LENS CLOSE SHOT on a DEER. SEVERAL YARDS AWAY, about 30, deeper into the forest. The deer is oblivious. Fawcett has his gun trained on it. The men now surround Fawcett with the gun. Fawcett is silently getting ready to fire. The deer is chewing grass. Manley is praying to himself. Dan, also praying but aloud, is still panicking:<\/scene_description>\n    <character>DAN<\/character>\n    <dialogue>Please... Lord... It's our only chance!<\/dialogue>\n    <character>WILLIS<\/character>\n    <parenthetical>(whispered)<\/parenthetical>\n    <dialogue>Shut up!<\/dialogue>\n    <scene_description>CLOSE SHOT ON FAWCETT'S EYE as he readies the shot. CLOSE SHOT ON THE DEER--which seems to spot FAWCETT. THE DEER GALLOPS AWAY JUST AS FAWCETT FIRES THE GUN. A TUFT OF SMOKE. The deer is gone.<\/scene_description>\n    <character>DAN<\/character>\n    <parenthetical>(breaking down)<\/parenthetical>\n    <dialogue>God damn you, you missed! We'll starve for sure!<\/dialogue>\n    <scene_description>Without answering, Fawcett charges up to where the deer was.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST<\/stage_direction>\n    <scene_description>The deer is here. On the ground. DEAD. Fawcett hit it square in the head. The others have now joined him around the animal.<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>I couldn't have done that better myself.<\/dialogue>\n    <scene_description>The men start to drag the deer to the riverbank. And onto the raft.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Start a fire. We'll--<\/dialogue>\n    <scene_description>Then FAWCETT FREEZES. He has SEEN SOMETHING. WHITE AS A GHOST. Costin approaches, sees it too. WE CUT TO REVEAL: COVERED WITH MOSS, unmistakably: a SMALL STATUE, perched atop a ROCK.<\/scene_description>\n    <character>FAWCETT WALKS TO IT.<\/character>\n    <dialogue>REACHES OUT.<\/dialogue>\n    <scene_description>THEN TAKES SEVERAL STEPS FORWARD, as if to continue the MISSION DEEPER INTO THE JUNGLE. HE SEES: PAINTINGS, on ROCKS. He looks to the ground, SPOTTING SHARDS OF POTTERY, STATUES. He SEEMS ALMOST LIKE A RABID DOG. Under his breath:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Good Christ--<\/dialogue>\n    <character>HE SPINS AROUND TO THE OTHERS:<\/character>\n    <dialogue>PERCY FAWCETT<\/dialogue>\n    <scene_description>There's...pottery--right beneath our feet! Fawcett pockets it, starts to dig.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>It's all over--deep, in the ground...<\/dialogue>\n    <scene_description>Then he takes a few more steps. Fawcett runs his fingers along a ROCK PAINTING.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>My God, he was right--<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>The Indian was right--<\/dialogue>\n    <scene_description>He starts putting all the pottery in his pockets... RUMMAGING IN THE MUD, he is covered like a PRIMATE:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <parenthetical>(to the others)<\/parenthetical>\n    <dialogue>The Indian spoke of this!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>He was bloody right! HE WAS BLOODY RIGHT!!!<\/dialogue>\n    <parenthetical>(charges up to Costin)<\/parenthetical>\n    <dialogue>Mr. Costin, you said no one'd ever been here before--<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>(stunned)<\/dialogue>\n    <scene_description>Yes, Chief. I--I did--<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>No white man had, Mr. Costin. NO WHITE MEN!<\/dialogue>\n    <scene_description>A BEAT as Costin lets it sink in. FAWCETT TURNS BACK TO THE BRUSH. A HOUND FOLLOWS HIM. Through some vines, he SEES a carving in stone--or so he thinks. About to reach out to it. The hound leads the way a bit--<\/scene_description>\n    <character>WHEN--A VICIOUS, ENORMOUS BLACK PANTHER CHARGES OUT OF THE<\/character>\n    <dialogue>JUNGLE, RIGHT TOWARD THEM! It TAKES the DOG in its TEETH...<\/dialogue>\n    <dialogue>Fawcett and the men BOLT, some yelling in fear, away from the panther.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVER - ON THE RAFT<\/stage_direction>\n    <scene_description>CLOSE SHOT ON FAWCETT as the mouth of the RIVER RECEDES...<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>We'll follow the watershed and pray it brings us out.<\/dialogue>\n    <scene_description>(beat) If we ever make it back, the world must know what we've found here...<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>That deer better have more meat on its bones than we do...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOLIVIAN GOVERNMENT BUILDING - BRITISH EMBASSY - DAY<\/stage_direction>\n    <scene_description>A magnificent building in busy downtown La Paz. BUSTLING.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOLIVIAN GOVERNMENT BUILDING - DAY<\/stage_direction>\n    <scene_description>A group of very comfortable British soldiers are at work at their desks as one BRITISH SECRETARY types at the front desk. Smiles, joking. Then they STOP. Percy Fawcett walks into the building. He looks and smells like hell, filthy and unshaven and shaking like a leaf from malnutrition. Hair completely out of control, his beard at epic length. He approaches an official (CECIL GOSLING) at the front desk. The official, whose nose crinkles up--presumably at the stench of Fawcett--seems bewildered. Fawcett SHAKES LIKE A LEAF; is he mad?<\/scene_description>\n    <character>CECIL GOSLING<\/character>\n    <dialogue>May I...help you, sir?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Tell me please--is there war, between Bolivia and Brazil? I'll fight if I'm needed.<\/dialogue>\n    <character>CECIL GOSLING<\/character>\n    <parenthetical>(baffled)<\/parenthetical>\n    <dialogue>War? No, sir--there's no war. Is there something we might do for you?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>My name is Major Percy Fawcett. If you could, please contact my family through the Royal Geographical Society, in London.<\/dialogue>\n    <scene_description>SLAM! Fawcett DUMPS a series of frayed map notebooks on the desk. He also EMPTIES HIS POCKETS OF POTTERY SHARDS. A BRITISH OFFICIAL (\"SIMON BEAUCLERK\") with his back to us overhears this. He seems interested, turns. Approaches. Meanwhile, Fawcett is hurriedly throwing everything on the desk:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I've the maps here, they're, they're all completed...<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>And, and I found these, these bits of pottery, and statues, in the jungle--a great discovery...to be pursued...<\/dialogue>\n    <character>SIMON BEAUCLERK<\/character>\n    <dialogue>Major Fawcett?<\/dialogue>\n    <scene_description>Fawcett struggles even to nod:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Yes...?<\/dialogue>\n    <scene_description>ENTERING, almost crawling in now, behind Fawcett: COSTIN, MANLEY, WILLIS.<\/scene_description>\n    <character>SIMON BEAUCLERK<\/character>\n    <dialogue>I believe I got your orders on my desk just last week. You were supposed to arrive here in July 1908?<\/dialogue>\n    <scene_description>Fawcett looks up, sees a calendar on the wall: \"AUGUST.\"<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <parenthetical>(devastated)<\/parenthetical>\n    <dialogue>I'm, I'm so very sorry, it's August... We did the best we could- -most members of our party did not survive.<\/dialogue>\n    <character>SIMON BEAUCLERK<\/character>\n    <dialogue>Major, it's August 1907. You're eleven months early. You've mapped the entire Verde tributary a year ahead of schedule.<\/dialogue>\n    <scene_description>HE AND THE OTHER OFFICERS ARE ASTONISHED. Another British Officer, seeing how frail Fawcett looks, runs to get a chair and positions it right behind Fawcett:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I can stand, thank you.<\/dialogue>\n    <scene_description>A whole host of officers now seem to realize what's going on and begin to gather around Fawcett.<\/scene_description>\n    <character>CECIL GOSLING<\/character>\n    <dialogue>Sir, should you like a bed? Some food, or a bath perhaps?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Yes. For ALL of us.<\/dialogue>\n    <character>CECIL GOSLING<\/character>\n    <dialogue>Yessir. Of course.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>And I'd like you to send a telegram to my wife, Mrs. Nina Agnes Fawcett --HELL VERDE CONQUERED.<\/dialogue>\n    <scene_description>And then FAWCETT'S EYES ROLL BACK INTO HIS HEAD. He COLLAPSES... PRE-LAP a MARCHING BAND playing an UPBEAT SONG: CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PORT - DOCK - LATE DAY<\/stage_direction>\n    <scene_description>It is late afternoon and the port is PACKED with people. A band plays a MARCH and the mood is an absolute celebration. A BOAT is at the DOCK. OFF THE BOAT COMES PERCY FAWCETT. A CHEER. A HERO'S WELCOME. He LOOKS THROUGH THE CROWD. He looks for someone... The CROWD TRIES TO TOUCH HIM, DOES TOUCH HIM. PUSHING HER WAY toward him: NINA FAWCETT, HOLDING A BABY. It's BRIAN. Her other HAND holds the hand of her son JACK, now significantly older. To the children, with a huge smile:<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>There's your father--everyone's here for him! He's the hero of the day!<\/dialogue>\n    <scene_description>PERCY makes his way through the crowd and the two finally spot each other. He PUSHES. She PUSHES. As the shoving continues, a RANDOM MAN AT THE PORT:<\/scene_description>\n    <character>RANDOM MAN AT THE PORT<\/character>\n    <dialogue>Major Fawcett! You've raised the Union Jack for all the world to see!!!<\/dialogue>\n    <scene_description>Fawcett finally gets to her. A beat of silence as they look at each other, then:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <parenthetical>(through happy tears)<\/parenthetical>\n    <dialogue>You're the most beautiful woman I've ever seen.<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>You're different. And yet exactly the same.<\/dialogue>\n    <scene_description>THEY EMBRACE, KISS. Intimate, through tears:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I've missed you so much--though God knows, I tried not to...<\/dialogue>\n    <scene_description>They separate. Fawcett looks down. Jack looks at him with total dispassion:<\/scene_description>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>Are you my father?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I am indeed, my son!<\/dialogue>\n    <scene_description>Percy hugs him so very tightly and bursts into tears BUT: JACK HAS VIRTUALLY NO REACTION. PERCY REGISTERS THIS; the boy COULD CARE LESS. It is AWKWARD; PERCY'S SMILE DISAPPEARS. So: standing next to Percy is Brian:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>And this is my little Brian...? My little Brian!! Come here--come!<\/dialogue>\n    <scene_description>CUT TO: CLOSE SHOT of an INVITATION. The Royal Geographical Society invitation, to a dinner celebrating Maj. Percy Fawcett. At the home of the Honorable Mr. James Murray...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JAMES MURRAY MANSION - LONDON - NIGHT<\/stage_direction>\n    <scene_description>A beautiful structure. A PARTY, with MUSIC.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MURRAY MANSION - FOYER<\/stage_direction>\n    <scene_description>Two receiving lines: one for women, one for men. PERCY AND NINA FAWCETT enter and immediately are greeted by members of their own gender, but extremely WARMLY. (This should be in marked contrast to the film's opening gala.) Fawcett is THE TOAST OF THE TOWN. Sir George Goldie SWALLOWS him up, moves him away from Nina. Nina and Percy exchange bemused looks as he is pulled away:<\/scene_description>\n    <character>SIR GEORGE GOLDIE<\/character>\n    <dialogue>Percy! Come... Meet our host. He is most anxious to meet you. I must say, he is the most marvelous of men. A person of considerable... resources. And of the finest stock.<\/dialogue>\n    <scene_description>The DOOR OPENS, REVEALING:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MURRAY LIVING ROOM<\/stage_direction>\n    <scene_description>A magnificent room, with long tables and sofas and beautiful paintings on the walls. ALL MEN, dressed in black tie. The top brass of the RGS: Sir John Scott Keltie, Sir George Goldie, others. AND: MR. JAMES MURRAY, fifty-five and dashing, with graying hair and a well-trimmed mustache. We remember him somehow-- the cover of that newspaper! Cigars are smoked. The air is thick with wealth and decorum. It could not be further from the jungle here, as SERVANTS PLACE CUPS with SAUCERS DOWN IN PERFECT SYNCHRONIZED RHYTHM.<\/scene_description>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>Major Fawcett--what an honor! What an HONOR! Everyone's talking about your mission. Just remarkable, a real triumph!<\/dialogue>\n    <character>SIR GEORGE GOLDIE<\/character>\n    <dialogue>Major, this is Mr. James Murray.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>How do you do.<\/dialogue>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>Very well, very well... Welcome to the inner circle!<\/dialogue>\n    <scene_description>Murray puts his arm around Fawcett, cheerfully.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A53 INT. DINING ROOM - MOMENTS LATER A53<\/stage_direction>\n    <scene_description>The men and women, seated around a large and elegant table.<\/scene_description>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>I read your editorial in the Times this morning--about the slave trade in the Americas. Truly enlightened. Poor savages.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>The native does deserve our sympathy. We've only just scratched the surface in Amazonia.<\/dialogue>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>Yes, certainly, there's much more territory to be charted!<\/dialogue>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>You know, I am a biologist and explorer myself--I was second-in- command to Mr. Shackelton on his Antartica expedition.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I don't think there's anyone here who's not well aware of your achievements, Mr. Murray. You've distinguished yourself with great bravery.<\/dialogue>\n    <character>JAMES MURRAY<\/character>\n    <parenthetical>(a bit of false modesty)<\/parenthetical>\n    <dialogue>Oh, it's nothing compared to Amazonia. Surveying the Amazon's always been a great goal of mine.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I would hope the RGS continues its pursuits. But I believe mapmaking should be of secondary interest now. I witnessed many archeological sightings of great significance.<\/dialogue>\n    <scene_description>Some guy interrupts MURRAY. He is WILLIAM BARCLAY, thirty- one (more from him later):<\/scene_description>\n    <character>WILLIAM BARCLAY<\/character>\n    <dialogue>Mr. Murray!<\/dialogue>\n    <scene_description>Murray turns to talk to him; Sir John Scott Keltie moves in. To Fawcett; sotto:<\/scene_description>\n    <character>SIR JOHN SCOTT KELTIE<\/character>\n    <dialogue>My friend--your recent exploits have opened every door to you--so I would suggest keeping such sightings to yourself. Of course, no one here would dispute you believed you saw it. But a trip like that--very hard on the mind. Very hard.<\/dialogue>\n    <scene_description>The evening changes now for Fawcett. He DARKENS.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Sir John, my mind is perfectly fit-- and thank heavens, still open.<\/dialogue>\n    <scene_description>Fawcett steps away from Keltie and eyes JAMES MURRAY, holding court. Others around him LAUGH at a joke we cannot HEAR. Then, re a painting behind him:<\/scene_description>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>I have painted these works. All of the home is my work--these sculptures as well...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FAWCETT LONDON HOME - FAWCETT'S OFFICE - DAY 53<\/stage_direction>\n    <scene_description>It is FILLED with artifacts--from Amazonia, from Ceylon, from other exotic locations: spears, Indian blankets, pottery, Incan attire. And the Buddha. The TICK-TOCK and GONG of a grandfather clock... Young JACK excitedly leafs through his father's SCRAPBOOK, wearing a piece of Amazonian Indian headgear. He is fascinated. Toddler Brian pulls out some Indian necklaces. Percy enters:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Boys--these are not your toys. If you wish to play you may go outside. If you wish to remain, you must sit quietly.<\/dialogue>\n    <scene_description>We PAN OVER TO REVEAL Nina entering the room. She moves to give Brian his milk. A beat, then:<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>You might think to donate much of this to the RGS. They can preserve it better than we can.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>(looks at her; beat)<\/dialogue>\n    <scene_description>I'm not going to do that.<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <parenthetical>(surprised, confused)<\/parenthetical>\n    <dialogue>Why not?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>They believe I'm crazed, prone to hallucination. They value only the survey work. They do not respect my archeological discovery at all.<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <parenthetical>(re: pottery on the desk)<\/parenthetical>\n    <dialogue>Then I suggest you either ignore them or you prove your case, in public. You have those pieces as evidence. You can show them.<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>And if we must, we shall find more evidence.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Then we shall find more evidence. As they will noy yet allow a womamn through the doors of their august establishment, we will look elsewheere and prove your case in public.<\/dialogue>\n    <scene_description>ANGLE ON FAWCETT. His FACE LIGHTENS.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>If they only knew... you would be the true cause of their envy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRINITY COLLEGE LIBRARY - DUBLIN - ARCHIVES<\/stage_direction>\n    <scene_description>It is the dark and vast archives of the famed library. Fawcett is in the stacks, looking through materials.<\/scene_description>\n    <character>SUPERIMPOSE: \"FEBRUARY 1909.\"<\/character>\n    <dialogue>He takes out some FOLDERS, walks over to the big table where Nina sits, her hands full of ancient paper. Fawcett sits down across from her, begins to look through the items in his own folders.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Arrow drawings, meant to represent fractional distances, evidence of advanced mathematics. It's incredible...<\/dialogue>\n    <parenthetical>(to Nina)<\/parenthetical>\n    <dialogue>I should have engaged the Indians more directly--they no doubt had a great deal to teach me.<\/dialogue>\n    <scene_description>No response from Nina, who had been sifting through another set of old and frayed documents, letters, writings. She SEEMS TO HAVE STOPPED. Staring at one YELLOWED PIECE OF PAPER, for seconds on end.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Cheeky?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Cheeky, did you hear me?<\/dialogue>\n    <scene_description>Nina does not look over at Fawcett. She does not move, just stares at that paper. At last, Nina looks at Fawcett.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>I believe you have got your proof.<\/dialogue>\n    <scene_description>At that moment, the CAMERA TILTS DOWN to REVEAL THE YELLOWED DOCUMENT. Then we HEAR:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROYAL GEOGRAPHICAL SOCIETY - AUDITORIUM<\/stage_direction>\n    <scene_description>The room is PACKED with dozens of scientists and explorers from across Europe. CIVILIANS line the BALCONIES. In the first level, we NOTICE that MEN sit with each other, and what few WOMEN there are sit in a separate section, fanning themselves. PERCY FAWCETT is in front of the room, near JAMES MURRAY; NINA SHOWS UP, sits in the WOMEN'S SECTION. HENRY COSTIN and ARTHUR MANLEY enter, all smiles, and go to their seats. SIR JOHN SCOTT KELTIE, the secretary of the RGS, and SIR GEORGE GOLDIE are next to Fawcett, in great humor.<\/scene_description>\n    <character>SIR GEORGE GOLDIE<\/character>\n    <dialogue>Revel in this, my dear boy. You will relive it with your children until the end of your days.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Yes, Sir George. I shall try.<\/dialogue>\n    <scene_description>Keltie has stepped up to the podium and is banging on the hammer:<\/scene_description>\n    <character>SIR JOHN SCOTT KELTIE<\/character>\n    <dialogue>Gentlemen, good afternoon.<\/dialogue>\n    <character>HOOTS, HOLLERS, CHEERS. WILD APPLAUSE.<\/character>\n    <parenthetical>(The MEETING IS LIKE A ROWDY BRITISH PARLIAMENT MEETING, with interruptions and yelling par for the course.)<\/parenthetical>\n    <character>SIR JOHN SCOTT KELTIE (CONT'D)<\/character>\n    <dialogue>I should like to introduce one of our brothers, whose achievements are well-known here and not inconsiderable--the Honorable Mr. James Murray!<\/dialogue>\n    <scene_description>ROUSING APPLAUSE. A BEAMING James Murray stands:<\/scene_description>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>I met a remarkable man but a few months ago upon his return from a place no one here has ever ventured.<\/dialogue>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>Major Percy Fawcett has demonstrated--to me, at least--that there is a place where the explorer can go forth and exhibit perseverance, energy, courage, forethought, and all those qualities of an explorer of the times now passing away. Gentlemen, I give you...MAJOR PERCY FAWCETT!<\/dialogue>\n    <scene_description>As Fawcett stands, amidst cheers, we overhear a whisper from William Barclay:<\/scene_description>\n    <character>WILLIAM BARCLAY<\/character>\n    <dialogue>Now for fairy tales from the resident Buddhist!<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>My esteemed colleagues...it is now my firm belief that Amazonia is far more than the green desert many of us had supposed. I am proposing a that Amazonia contains a hidden civilization--one that may well predate our own.<\/dialogue>\n    <scene_description>MURMURS. SKEPTICISM. The room is RESTLESS. Interrupting, STANDING in the CROWD:<\/scene_description>\n    <character>WILLIAM BARCLAY<\/character>\n    <dialogue>Major Fawcett, I am Mr. William Barclay, of Bedford. I have been in South America.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Mr. Barclay.<\/dialogue>\n    <character>WILLIAM BARCLAY<\/character>\n    <dialogue>To be clear: are you insisting on mythical kingdoms of gold? Those fantasies lured the Conquistadors to destruction--<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>SIR--it was the Conquistadors and WE who have been destroying Amazonia. This is a crime that must be stopped. I have seen with my own eyes evidence of their civilization and I assure you it is real--<\/dialogue>\n    <character>RANDOM SCIENTIST<\/character>\n    <dialogue>What is your point?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Perhaps it is too difficult for some of you to admit. We, who have been steeped in the bigotry of the Church for so long, cannot give much credence to an \"older civilization\"--particularly one created by a race the white man has so brutally condemned to slavery and death. YET WE MUST ENGAGE WITH THIS RACE, TO COME TO KNOW THEM AND LEARN FROM THEM, UNDERSTAND THEIR CUSTOMS AND LANGUAGES--<\/dialogue>\n    <character>WILLIAM BARCLAY<\/character>\n    <dialogue>Savages, in Westminster Abbey!<\/dialogue>\n    <scene_description>LAUGHTER. Percy, shouting the first word:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>HENCE your disrespect--but I ask you, what is at stake? If we may learn of a city where one was considered impossible to exist, it might well write a whole new chapter in human history. Man would be shown as a conqueror of his environment and not a slave to it!<\/dialogue>\n    <scene_description>Outright BOOING now. Fawcett shouts over the boos:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>CONSIDER MY EVIDENCE! My sightings of statues and archeological finds!<\/dialogue>\n    <scene_description>Fawcett HOLDS UP A PIECE OF POTTERY:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Antiquities as sophisticated as any in Asia or Europe, in the middle of the jungle!<\/dialogue>\n    <character>RANDOM SCIENTIST #2<\/character>\n    <dialogue>Pots and pans, pots and pans!<\/dialogue>\n    <scene_description>Many in the ROOM begin to chant, \"POTS AND PANS!\" Costin, who is finding all of this most amusing, leans forward, cups his hands around his mouth and screams:<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>Shut your hole!<\/dialogue>\n    <scene_description>Then LAUGHS RIOTOUSLY at his own outburst. Fawcett continues, himself most amused at the riot he's causing:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <parenthetical>(yelling above the crowd)<\/parenthetical>\n    <dialogue>AND after my return from the jungle, I have examined a signal document dating from the Conquistadors.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>It states explicitly the discovery of a lost city in Amazonia! Uncovered earlier this week, a copy in the archives of Trinity College in Dublin. Its original from Rio De Janeiro, written by a Portugese soldier. \"Historical account, large, hidden ancient city, 1753. We came upon ruins of an ancient city, bedecked with gold. Stone archways, roads, temple, ancient symbols.\"<\/dialogue>\n    <character>WILLIAM BARCLAY<\/character>\n    <dialogue>El Dorado!<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>No, gentlemen--I call it \"Z\"--the ultimate piece of the human puzzle! It is there and we must find it!<\/dialogue>\n    <scene_description>James Murray stands. Shouts, pointing:<\/scene_description>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>MR. FAWCETT! I SAY WE RETURN! WE<\/dialogue>\n    <character>WILL GO AND FIND THE GLORY!!! WHAT<\/character>\n    <scene_description>FAWCETT BEAMS. HE POINTS BACK TO MURRAY:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>MR. MURRAY, I WILL MEET THAT<\/dialogue>\n    <character>CHALLENGE! I WILL GO BACK!<\/character>\n    <dialogue>Fawcett looks around the room. Which begins to explode.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>MR. COSTIN! I SEE YOU, SEATED UP<\/dialogue>\n    <character>THERE!<\/character>\n    <dialogue>Costin stands, POINTING DIRECTLY AT FAWCETT:<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>MR. FAWCETT! THAT JUNGLE IS HELL--<\/dialogue>\n    <character>BUT--<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <character>BUT ONE KIND OF LIKES IT! I WILL<\/character>\n    <dialogue>RETURN!<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Mr. Manley! What say YOU?!?<\/dialogue>\n    <character>ARTHUR MANLEY<\/character>\n    <dialogue>I WILL INDEED, SIR! I AM WITH YOU!<\/dialogue>\n    <scene_description>NINA stands, CLAPPING. ANGLE ON HENRY COSTIN and ARTHUR MANLEY, here too, as they stand on their feet, applauding. JAMES MURRAY is basking, a KING here. Others JEER, however. Slightly humbled, William Barclay SITS DOWN. Percy Fawcett remains standing at the podium, determined, now even somewhat amused by the insanity he's caused...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FAWCETT LONDON HOME - BEDROOM - NIGHT 56<\/stage_direction>\n    <scene_description>Percy and Nina, in bed. Dark. A beat. They are touching each other's hands. It should have the mood of being post- coital. It is raining outside. After a beat:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I have such high hopes, Cheeky...<\/dialogue>\n    <scene_description>(beat) Mr. James Murray has added immeasurably to the luster of our mission. And...with his participation, I genuinely believe we may have acquired the keys to immortality. ANGLE ON NINA as she ponders mentioning something. And then:<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <parenthetical>(readies herself)<\/parenthetical>\n    <dialogue>I...do believe I am quite ready to accompany you on your next journey as well.<\/dialogue>\n    <scene_description>Fawcett is surprised and flummoxed:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>What...?<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>The children will be off to school by the time it would begin. And I've learned to read the stars and navigate, and become very well- versed in the history of the region.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>After all, it was I who found the document.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <parenthetical>(dumbfounded; stuttering-- with a laugh)<\/parenthetical>\n    <dialogue>That would be--impossible. It's not a place at all for a woman.<\/dialogue>\n    <scene_description>She sits up:<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>Not a place? We believe firmly in the equality between us.<\/dialogue>\n    <scene_description>So does he, now:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Equality, yes--of course. But in mind, not in body. The rigors of such a trip would be beyond your imagination.<\/dialogue>\n    <scene_description>She turns away from him, turning onto the edge of the bed. A beat. Then, with her back to him:<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>I believe it is generally acknowledged that the pain a woman experiences in childbirth far exceeds anything a man must endure.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>This is not about childbirth--<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>What do you know of childbirth? Have you witnessed a minute of it, much less endured it?<\/dialogue>\n    <scene_description>He gets up, out of the bed, walks to face her. Kneeling:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Cheeky--the jungle is years of hard work and experience in the art of soldiering. It's about maggots in your skin, and deadly snakes, and disease. I love you and I could not bear that.<\/dialogue>\n    <scene_description>(beat) The children need their mother. She gets up, off the bed, walks to her dresser. He STANDS, does not approach her (instead, staying close to the bed).<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>Somehow I was able to bear the dangers you faced, the years you were gone. This way, we might be together--<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>You're my wife. I need you here, not as a tentmate in need of constant care. Be reasonable.<\/dialogue>\n    <scene_description>She turns to him, flush with anger:<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>You will throw \"reasonable\" in my face?<\/dialogue>\n    <character>PERCY FAWCETT (SIMULTANEOUS)<\/character>\n    <dialogue>I'm simply speaking the truth--<\/dialogue>\n    <scene_description>She approaches him, strong and evincing a centeredness:<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>Was it reasonable to stay here and struggle to provide for the children while you wandered the jungle? Now you've no relationship with them whatsoever. And you have given no thought to my aspirations.<\/dialogue>\n    <scene_description>He turns away from her, his hand slicing the air as he makes his points:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Men and women have each performed their roles since the beginnings of time. This is a cornerstone of our civilization. A man does not take his wife into the most dangerous place in the world on a whim!<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>I did expect more understanding from you and I am disgraced by your ignorant posture!<\/dialogue>\n    <scene_description>Young JACK enters. He stares at the quarreling couple. He GRABS ONTO HIS MOTHER'S LEG with a FEROCIOUSNESS:<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>I'm all right, darling. Your father and I were just having a discussion.<\/dialogue>\n    <scene_description>Jack will not let go of his mother as he STARES at HIS FATHER:<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <parenthetical>(to Jack)<\/parenthetical>\n    <dialogue>It's late, Jack. Return to your bed. I will come tuck you in in a moment.<\/dialogue>\n    <scene_description>Jack won't budge.<\/scene_description>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>Mother, I love you.<\/dialogue>\n    <character>JACK!<\/character>\n    <dialogue>PLEASE!<\/dialogue>\n    <scene_description>The child finally lets go and leaves the room. She turns back to Percy. A LONG BEAT. Then she moves to him, takes his hand.<\/scene_description>\n    <character>NINA FAWCETT (CONT'D)<\/character>\n    <dialogue>I've not prepared myself for the jungle, it is true...<\/dialogue>\n    <scene_description>They come together. Softly, emotional:<\/scene_description>\n    <character>NINA FAWCETT (CONT'D)<\/character>\n    <dialogue>(emotional; sotto)<\/dialogue>\n    <scene_description>I couldn't bear that you might think my dreams ridiculous...<\/scene_description>\n    <character>THE SOUNDS OF THE JUNGLE BEGIN TO BUILD.<\/character>\n    <dialogue>LOUDER AND LOUDER.<\/dialogue>\n    <scene_description>SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE AMAZON JUNGLE - RAINING<\/stage_direction>\n    <character>SUPERIMPOSE: \"MATO GROSSO REGION, BRAZIL. 1912\".<\/character>\n    <dialogue>The party hacks away. Fawcett, Costin, Manley, two Indian men, and James Murray, bringing up the rear. Two MULES, two HORSES, three DOGS. Fawcett leads and is ferocious, hacking as if he were swatting bees, with a giant machete in one hand and a map in the other. (Fawcett is looking slightly native.)<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <parenthetical>(calling out)<\/parenthetical>\n    <dialogue>One hundred twenty-one miles until Oviedo's last marking!<\/dialogue>\n    <parenthetical>(to Costin)<\/parenthetical>\n    <dialogue>Costin has stopped, is examining himself.<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>Damn these things...<\/dialogue>\n    <scene_description>Fawcett then looks down at Costin's arm. He's got MAGGOTS eating his flesh. And an INECTION which has begun in his nostrils--ESPUNDIA. FAWCETT PAUSES.<\/scene_description>\n    <character>HENRY COSTIN (CONT'D)<\/character>\n    <dialogue>My nose now, too. Don't YOU ever get so much as a bee sting?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <parenthetical>(still to Costin; jokes)<\/parenthetical>\n    <dialogue>Mr. Costin, do you not know I have not my equal for virtue in the service? The insects honor this!<\/dialogue>\n    <scene_description>Fawcett is immediately on the move again, slides down a muddy path toward the RIVER. Way behind him: Murray is struggling. The weight of the backpack.<\/scene_description>\n    <character>PERCY FAWCETT (CONT'D)<\/character>\n    <dialogue>Where's Mr. Murray?<\/dialogue>\n    <character>ARTHUR MANLEY<\/character>\n    <dialogue>Bringing up the rear, Chief.<\/dialogue>\n    <scene_description>Calls out:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Mr. Murray!<\/dialogue>\n    <scene_description>A VOICE FROM WAY BEHIND: MURRAY:<\/scene_description>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>Yes, Major Fawcett!<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>How are you managing?<\/dialogue>\n    <character>JAMES MURRAY<\/character>\n    <parenthetical>(huffing and puffing)<\/parenthetical>\n    <dialogue>Very well, Major! Acquiring many samples! But--but my pack's getting quite heavy! Perhaps...I ought to leave some of my accoutrements behind!<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>You don't want to be ill-equipped for the journey ahead! You'll need all you can carry!<\/dialogue>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>Of course! I'm speaking merely of my extra clothes! They're slowing me down a touch, that's all!<\/dialogue>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>I'm sure to be moving better if I might lose them!<\/dialogue>\n    <scene_description>Fawcett looks back at Murray, who is lagging way behind:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Very well--when we get to the river. But you MUST keep one change of clothes and your mattress!<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>Bugger probably wishes he were back on the South Pole...<\/dialogue>\n    <scene_description>Fawcett stops. Turns around:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <parenthetical>(almost peeved at Costin)<\/parenthetical>\n    <dialogue>Mr. Costin, he's proven his valor beyond doubt when you and I were wet behind the ears.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>He'll pull his weight soon enough.<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>And what weight.<\/dialogue>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>He'll wind up bringing us down with him, I tell you...<\/dialogue>\n    <scene_description>Fawcett continues to chop away. The group reaches the riverbank.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE AMAZON RIVER - CLOUDY DAY<\/stage_direction>\n    <scene_description>The Group is in canoes. Quiet, except for Manley:<\/scene_description>\n    <character>ARTHUR MANLEY<\/character>\n    <dialogue>We've gotten ahead of the others...<\/dialogue>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>A magnificent view, Mr. Fawcett.<\/dialogue>\n    <scene_description>:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>You'll see greater sights than this, I promise you...<\/dialogue>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>The thought thrills me, Major! I assure you, it thrills me!<\/dialogue>\n    <scene_description>Murray then puts his handkerchief in the water.<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>I don't advise that. We don't know what's in that water yet.<\/dialogue>\n    <scene_description>Murray nods, stops what he is doing. Beat. ALL OF A SUDDEN: ARROWS! Arrows and spears rain down on the men.<\/scene_description>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>Savages! Arm yourselves!<\/dialogue>\n    <scene_description>MURRAY takes out his RIFLE. In fact, ALL the men--save Fawcett--take out their RIFLES and FIRE INTO THE AIR. Fawcett sees the Indians through the trees. Costin looks up and down:<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>We're surrounded!<\/dialogue>\n    <scene_description>FAWCETT SPINS HIS HEAD AROUND. They seem DOOMED. The GUNS ARE FIRING, IN THE AIR. The ARROWS COME, FAST AND FURIOUS. ANGLE ON FAWCETT as he seems to think of something... Fawcett yells to his comrades:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Hold your fire! HOLD YOUR FIRE!<\/dialogue>\n    <scene_description>The canoes halt on the bank and the men get out, moving through the water to the:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OPPOSITE RIVERBANK<\/stage_direction>\n    <scene_description>MURRAY moves near the riverbank, hiding from the arrows under tree branches.<\/scene_description>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>Look for cover, men!<\/dialogue>\n    <scene_description>Fawcett instructs Arthur Manley to:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Mr. Manley! Play your accordion!<\/dialogue>\n    <character>ARTHUR MANLEY<\/character>\n    <dialogue>My accordion--?!?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>\"Soldiers of the Queen,\" come on!<\/dialogue>\n    <character>ARTHUR MANLEY<\/character>\n    <dialogue>All due respect sir, they seem likely to skin us alive!<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Mr. Manley! Do as I say!<\/dialogue>\n    <parenthetical>(to everyone)<\/parenthetical>\n    <dialogue>Everyone--\"Soldiers of the Queen\"!<\/dialogue>\n    <scene_description>A \"YES, SIR,\" could be heard. Manley begins to play, and the whole party begins to sing:<\/scene_description>\n    <character>THE ENTIRE PARTY<\/character>\n    <dialogue>In the fight for England's glory, lads, of its worldwide glory let us sing!<\/dialogue>\n    <scene_description>Fawcett then unties the handkerchief around his neck and waves it above his head at the Indians. No effect.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVER<\/stage_direction>\n    <scene_description>Fawcett enters the water again. Waving his handkerchief. The river gets deeper. He stops somewhere near the middle, with the river around his armpits. THE ARROWS AND SPEARS DO NOT STOP COMING. He wades directly INTO the fusillade of arrows. He repeats, over and over, in Portuguese and other dialects:<\/scene_description>\n    <character>PERCY FAWCETT (SUBTITLE)<\/character>\n    <dialogue>Friend! Friend! Friend!<\/dialogue>\n    <scene_description>The arrows keep coming, FASTER THAN EVER. Several come INCREDIBLY CLOSE, zooming right by his head. We can even hear a ZIPPING SOUND. But Fawcett braves it nonetheless, holding a SURVEYING BOOK in front of his face to protect it from the arrows. THWACK! An ARROW HITS the SURVEYING BOOK, in front of his face! Fawcett stands there, a man between two sides of the river, between two worlds maybe, and closes his eyes. The water surrounds Fawcett's armpits; no one moves. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A61 EXT. CEYLON BEACH A61<\/stage_direction>\n    <scene_description>A FLASH of shots, over which we STILL HEAR the sounds from the jungle: 1. A SHOT OF THE BUDDHA - a statue, surrounded by dark vines; a COLORED RIBBON is TIED to it, BLOWING IN THE WIND 2. A SHOT OF NINA and PERCY - on the BEACH. Holding hands. 3. A SHOT OF A BUDDHIST PRIEST - standing in front of them.<\/scene_description>\n    <character>A WHISPERED VOICE (V.O.)<\/character>\n    <dialogue>I will take the Pansil... I vow not to kill or injure any living thing...nor to take that which is not given...<\/dialogue>\n    <scene_description>CUT BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>B61 EXT. RIVER B61<\/stage_direction>\n    <scene_description>Then: THE ARROWS AND SPEARS STOP. Fawcett opens his eyes. The sound returns--except that it's gone quiet. A GUARAYO INDIAN peers out from the forest.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVER<\/stage_direction>\n    <scene_description>Paddling out toward Fawcett in a raft, the GUARAYO takes the handkerchief from Fawcett; Fawcett motions to be taken across, and the two go to the Indian side with Fawcett kneeling humbly on the flimsy float. The whole group waits in silence for Fawcett, who disappears into the forest.<\/scene_description>\n    <character>JAMES MURRAY<\/character>\n    <parenthetical>(to the others, loud)<\/parenthetical>\n    <dialogue>All of you! Should the red man attack, keep your eye on me! Rally to me at all costs!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVERBANK - MOMENTS LATER<\/stage_direction>\n    <scene_description>MOMENTS LATER: the Indian emerges, CHEERFULLY wearing Fawcett's Stetson hat. PANIC! IS FAWCETT DEAD?!? THEN: Fawcett emerges too, smiling. He waves to his men.<\/scene_description>\n    <character>JAMES MURRAY<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>Good God.<\/dialogue>\n    <scene_description>The group, including Murray, all venture across the river.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GUARAYOS CAMPFIRE AREA<\/stage_direction>\n    <scene_description>The men slowly approach the area. Human skulls abound. A HUMAN BEING'S BODY is BEING COOKED on a SPIT. The troops are spooked. Murray, in particular, seems appalled.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I recognize a bit of the chief's language. It's safe for us.<\/dialogue>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>Are you mad?!? They're cannibals!<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I recognize your reluctance and I sympathize.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>But I'm asking you to trust my experience--we must attempt to engage.<\/dialogue>\n    <character>JAMES MURRAY<\/character>\n    <parenthetical>(incredulous)<\/parenthetical>\n    <dialogue>They've cooked a body, for chrissakes! Have you gone insane?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>It's a dead member of the tribe-- his spirit will enter them if they eat it. It's their custom.<\/dialogue>\n    <parenthetical>(to the whole group)<\/parenthetical>\n    <dialogue>They may have critical information about our destination.<\/dialogue>\n    <character>JAMES MURRAY<\/character>\n    <parenthetical>(to the others)<\/parenthetical>\n    <dialogue>They'll kill us, these savages!<\/dialogue>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>I refuse this madness. I refuse it!<\/dialogue>\n    <scene_description>Manley, Costin, and the others look at Fawcett as though he is insane as well. MURRAY STARTS TO BACK AWAY, toward the FOREST.<\/scene_description>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>Madness!<\/dialogue>\n    <scene_description>Fawcett sees the others agree with Murray to a degree. He doesn't respond, and a brief look of madness, of possession, flashes across his face. So instead he walks to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUARAYOS TENT<\/stage_direction>\n    <scene_description>The other men eventually, reluctantly follow Fawcett into the tent--though conspicuously missing is MURRAY. Packed with both our guys and the Guarayos now. A beat of silence, then, to Costin:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Can you give them something?<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>Yes--yes, of course.<\/dialogue>\n    <scene_description>Costin stupidly strikes a match, and though panicked, the Indians calm quickly when Fawcett takes out a glittering necklace:<\/scene_description>\n    <character>PERCY FAWCETT (SUBTITLE)<\/character>\n    <dialogue>No--it's a gift! A gift! For you. And your--your son?<\/dialogue>\n    <dialogue>The Chief Guarayo, sitting next to a boy, gestures to him.<\/dialogue>\n    <character>PERCY FAWCETT (SUBTITLE)<\/character>\n    <dialogue>Yes, wonderful... I have sons, too.<\/dialogue>\n    <scene_description>The Chief smiles, points to Costin, Manley. Fawcett laughs:<\/scene_description>\n    <character>PERCY FAWCETT (CONT'D)<\/character>\n    <dialogue>No no, my sons are far away.<\/dialogue>\n    <character>CHIEF GUARAYO (SUBTITLE)<\/character>\n    <dialogue>How can you be so far from them?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <parenthetical>(his smile disappears)<\/parenthetical>\n    <dialogue>Our world is not like yours...<\/dialogue>\n    <scene_description>ANOTHER GUARAYO, A WOMAN, responds:<\/scene_description>\n    <character>GUARAYO WOMAN (SUBTITLE)<\/character>\n    <dialogue>All people are made of the same clay.<\/dialogue>\n    <scene_description>The Chief takes a crushed BERRY COMPOUND and gestures to FAWCETT around his EYES. FAWCETT COMPLIES, spreading the DARK RED MIXTURE ON HIS FACE. Then one of the GUARAYOS reaches for Costin's ARM. At first, Costin has trepidation, then allows the man to grab his forearm. THE GUARAYO WHISTLES LOUDLY, in a STRANGE PITCH. And the MAGGOTS in Costin's arm STAND UP. The Guarayo simply squeezes gently and the maggots fall on the ground. Costin's arm is cured of the maggots--! Costin TRIES TO WHISTLE like the GUARAYO but cannot:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Not sure we have the touch.<\/dialogue>\n    <parenthetical>(back to the Guarayo; SUBTITLE)<\/parenthetical>\n    <dialogue>We're looking for old houses, many houses, many many people, deep into the forest. Do you know of this?<\/dialogue>\n    <scene_description>The Guarayo speaks in his native tongue. Then, to Costin:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>He's heard rumors, but is uncertain. Further down the river, he believes there'll be others who can help us.<\/dialogue>\n    <scene_description>Then another Guarayo motions to his mouth. Food.<\/scene_description>\n    <character>PERCY FAWCETT (SUBTITLE)<\/character>\n    <dialogue>Food--yes--thank you!<\/dialogue>\n    <scene_description>ANGLE ON THE CHIEF as we GO TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVERBANK<\/stage_direction>\n    <scene_description>A Guarayo crushes a plant with a stone and lets the juice spill into the water. A milky cloud forms. After a moment, DOZENS OF FISH RISE TO THE SURFACE, gasping. A Guarayo boy wades into the water and pulls out the biggest. Fawcett, who had been making his own face up with beads, bows his head in thanks as he takes the fish. Fawcett turns and looks at the water.<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>MY GOD! It's only stunned them! They don't kill any more than they have to! 'S remarkable!<\/dialogue>\n    <scene_description>The other fish that the boy didn't withdraw from the water swim away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GUARAYOS TENT - CLEARING<\/stage_direction>\n    <scene_description>A thunderstorm is coming. Fawcett, with his makeup looking native now, walks into the clearing, and in front of him he sees that here are THOUSANDS of Indians living about. An astonishing discovery. And they are not just savages. They have advanced methods of farming; MAIZE GROWS AS FAR AS THE EYE CAN SEE. Costin approaches:<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>We seem to have lost Mr. Murray.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>They've made the jungle into farmland somehow. All the families are working together--and there is no rank or superiority among them. It's truly humbling.<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>Chief--<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Designed at right angles, mathematical in its precision.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>It confirms so much of what we believed.<\/dialogue>\n    <parenthetical>(to Costin)<\/parenthetical>\n    <dialogue>Can you imagine what our lost city must be like...?<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>Chief, did you hear me about Mr. Murray? Your great polar explorer's gone lost in the trees--<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Mr. Murray is an accomplished man-- we're not to fret over him. And anyhow, he can't have gone very far. Tell the men I've designed new rafts--the canoes are riddled with arrows and useless now. We'll be off on foot in the morning...<\/dialogue>\n    <scene_description>Fawcett walks into the field of MAIZE. The wind blows the plants, and Fawcett is an incongruous figure amidst the Guarayos, who tend to the crops. Costin watches as Fawcett approaches the LEADER OF THE GUARAYOS and teaches him to HANDSHAKE. A GOODBYE OF SORTS...<\/scene_description>\n    <character>CHIEF GUARAYO (SUBTITLE)<\/character>\n    <dialogue>You may stay here with us. Join your spirit to ours.<\/dialogue>\n    <character>PERCY FAWCETT (SUBTITLE)<\/character>\n    <parenthetical>(a beat; awe)<\/parenthetical>\n    <dialogue>You honor me beyond words. But it is not yet time for me to rest.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JUNGLE - MORNING<\/stage_direction>\n    <scene_description>Murray is asleep on the ground. He has gotten lost. Strewn nearby: his machete, all the photos of his family. Sitting in the mud. Food eaten, the wrappings all over. Turkish cigarette butts... He awakens to see FAWCETT AND THE REST OF THE GROUP, approaching him. Fawcett sees all the food's been eaten. To Murray, Fawcett must appear a strange figure--with his FACE PAINT, now slightly streaked from the rain like tears...<\/scene_description>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>Thank God you've found me--I--I got lost.<\/dialogue>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>I didn't think we'd survive in the presence of those horrible savages. My clothes and mouth--full of grit!<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>You'll be looked after. We must be on our way now--<\/dialogue>\n    <scene_description>BUT THEN: Fawcett reaches down, finds: AN EMPTY BOX OF CARAMELS. INSIDE THE LID: \"For your journey, darling, I love you. Nina\". A FAWCETT FAMILY PHOTO IS INCLUDED. Something changes in Fawcett. DARKENS.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>This...was from my wife and children...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>For all of us.<\/dialogue>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>Yes--I know--I was hungry! It was supposed to be just a short rest. The scrub's incredibly dense and I fell. I think I've a terrible fever...<\/dialogue>\n    <scene_description>A BEAT. And then Fawcett looks like he is about to EXPLODE. His EYES BULGE WITH RAGE:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Get up.<\/dialogue>\n    <scene_description>Fawcett turns, ferociously hacks a branch with a machete.<\/scene_description>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>Mr. Fawcett--just one more moment of rest... I'm very tired--<\/dialogue>\n    <scene_description>Fawcett FREEZES. SPINS BACK AROUND. Raging:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>You're tired? You have no right to be tired!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>My own sons--at their tender ages-- could be counted on more than you. I could be with them at this very moment, yet I am here with YOU, to attempt great things.<\/dialogue>\n    <scene_description>He collects himself, bends down again. Privately:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>You stole from the group and violated our trust. I won't have this again.<\/dialogue>\n    <character>JAMES MURRAY<\/character>\n    <parenthetical>(shocked)<\/parenthetical>\n    <dialogue>How dare you speak to me that way! Have you seen my leg? HAVE YOU?!?<\/dialogue>\n    <scene_description>Fawcett looks down: Murray's leg has a gash. Fawcett bends down, looks at the wound. The other men surround Murray. Murray's things have scattered all over the jungle.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>It's not yet infected, but if blood poisoning should set in, you'll be a dead man.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>If you'd stayed with the group and trusted the so-called savage, you'd be fed--and cured. As it is, we've got to hope for the best.<\/dialogue>\n    <character>JAMES MURRAY<\/character>\n    <parenthetical>(at a loss for words)<\/parenthetical>\n    <dialogue>Yes, well, I'll, I'll do that!<\/dialogue>\n    <scene_description>ANGLE ON MURRAY as FAWCETT walks away. He is STEAMING.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE RIVER<\/stage_direction>\n    <scene_description>They are rafting. Dizzying. Murray is SHIVERING, VERY SICK, a mess. Maggots have overwhelmed his legs. Fawcett and Costin are maneuvering the raft. BUMP! The rafts shift with the river's flow. Murray and Costin fall off the raft. Costin knows what to do; he starts swimming to shore. Murray does not.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Swim to shore! The water's too rough for piranhas!<\/dialogue>\n    <scene_description>Instead, Murray attempts to hold onto the raft and threatens to capsize it.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I said, swim to shore!<\/dialogue>\n    <scene_description>The raft starts to shift. Fawcett is enraged:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>God damn it!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Let go! You pink-eyed weakling-- LET GO!<\/dialogue>\n    <scene_description>The raft tips, and TWO CRATES OF SUPPLIES GO TUMBLING OVERBOARD. Manley tries to stop them, to no avail...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHORE<\/stage_direction>\n    <scene_description>Fawcett directs the raft to the shore using a bamboo pole. The raft bumps up against the riverbank. Everyone has congregated. All are out of breath. Fawcett eyes Murray with utter contempt.<\/scene_description>\n    <character>ARTHUR MANLEY<\/character>\n    <dialogue>We've just lost a third of our rations!<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>(glaring at Murray)<\/dialogue>\n    <scene_description>Getting to the city and back was already going to be difficult.<\/scene_description>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>For heaven's sake, I was drowning! Didn't you SEE?!?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>There was no chance of that! And this after you took our food!<\/dialogue>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>I suppose the honorable course of action would be for me to starve, then? Is that it? Is that what you wish for? My death?!?<\/dialogue>\n    <scene_description>Fawcett, to Costin:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Where are we now, do we know? Are we behind our schedule?<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>Yes. We are--<\/dialogue>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>You're entirely without mercy! You could at least slow down to give a lame man a chance for his life!<\/dialogue>\n    <scene_description>Still not paying attention to Murray, Fawcett remains fixed on Costin. Seeing a couple of ABANDONED HUTS behind Costin:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Pitch camp here for the night, we'll determine our progress.<\/dialogue>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>And now you ignore me!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMP - DUSK<\/stage_direction>\n    <scene_description>One of the HORSES starts to collapse. Looks very ill. A CREWMEMBER turns to the others, shouting:<\/scene_description>\n    <character>CREWMEMBER<\/character>\n    <dialogue>Horse down!<\/dialogue>\n    <scene_description>The Crewmember takes out his gun, SHOOTS THE HORSE.<\/scene_description>\n    <character>ACROSS THE FIRE:<\/character>\n    <dialogue>Murray has a fever. Truly sick: swollen, distended, in terrible shape--covered with maggots. A colorful snake hangs from a tree over his head. He moans over and over, shivering. To a noncomprehending Indian, he gets delirious:<\/dialogue>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>I'm going to die too, just like that horse. I'm a man of property...now worth as much as that horse...<\/dialogue>\n    <character>SEEING THE MAGGOTS, TEARS COME TO MURRAY'S EYES.<\/character>\n    <dialogue>SICK, DYING, DELIRIOUS:<\/dialogue>\n    <character>COMPLETELY<\/character>\n    <dialogue>JAMES MURRAY<\/dialogue>\n    <scene_description>The affrontery of this upstart, and his vulgar quest for glory... Like a Judas...delivering me over to this jungle when he handed over our Lord, to be crucified... Father, forgive me this trespasses, As we forgive them that trespass against us... But...but let me not compare myself to thee, my Lord. You have delivered me from other evils, Lord. The fierce cold in Antarctica, was I weak then? (strained smile through tears) He is not even worthy to kiss the hem of my garment, Lord. Even as I am not worthy to touch yours... Give me strength to survive, to forgive this man his sins against me...<\/scene_description>\n    <character>SEVERAL YARDS AWAY<\/character>\n    <dialogue>Costin comes over to Fawcett, who is standing near the fire. Pondering...something. Manley is here, too.<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>We're about two weeks behind our planned pace. That's my best guess, from the sextant and the charts.<\/dialogue>\n    <scene_description>In the background, James Murray lets out a MOAN.<\/scene_description>\n    <character>ARTHUR MANLEY<\/character>\n    <dialogue>It appears our Mr. Murray's got blood poisoning now.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Yes... I'd noticed that.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>So much for his good bloodline.<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>I caught him with our maize yesterday morning. He claimed it was from his own private store.<\/dialogue>\n    <scene_description>Fawcett moves closer. Sotto voce, looking at Murray:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I fooled myself for some time, but no longer--the man is a cancer. If we keep him with us we won't survive, much less reach the city and return to our families.<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>I say we ditch him, leave him to rot. I've wanted to from the beginning. His Lordship's a coward and a thief.<\/dialogue>\n    <character>ARTHUR MANLEY<\/character>\n    <dialogue>I'm in agreement, Major--there aren't two sets of rules, one for the high and one for the low.<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>What's it going to be, Chief?<\/dialogue>\n    <scene_description>Fawcett eyes Murray. MOMENTS LATER PERCY APPROACHES MURRAY, around whom flies swarm. Murray eyes Fawcett suspiciously:<\/scene_description>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>What is it...?<\/dialogue>\n    <scene_description>Fawcett speaks deliberately, almost as if proving a case in a courtroom. In measured and careful tones, like a speech he has prepared:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>When traveling in the jungle without other resources, every man must realize that if he falls sick and cannot move with the others that there must be consequences. The others cannot wait and die with him.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Do you understand?<\/dialogue>\n    <scene_description>Murray seems to get it. An awkward beat, then: Murray starts to grip his revolver.<\/scene_description>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>You're only here--all of you-- because of the funds I provided!<\/dialogue>\n    <scene_description>Costin whips his shotgun out, points it directly at Murray. Pushes the shotgun up against his cheek. A tense moment.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Many of us have families back home. And I cannot allow you to further jeopardize the welfare of our entire party.<\/dialogue>\n    <parenthetical>(to Costin)<\/parenthetical>\n    <dialogue>Mr. Costin.<\/dialogue>\n    <scene_description>As Costin takes Murray's revolver from him:<\/scene_description>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>You don't care one whit about me or the rest of our party, Mr. Fawcett. You don't even care about returning home--you only care about finding your bloody city!<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>There are some in our group that would have me abandon you here and leave you to die. But I will not. There are mining encampments south of us, along the river. In the morning you'll be on your way to them. I'll give you our last horse with what supplies we can spare and an Indian to guide you.<\/dialogue>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>You'll pack me off with a bloody swamp wog, will you?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>This calm willingness to abandon me is a queer thing to hear from an Englishman. But it does not surprise me, as I have now sufficiently gauged your class and character.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JUNGLE - MORNING<\/stage_direction>\n    <scene_description>Murray is placed atop a mule. Manley and Costin have trained their guns on him. Fawcett notices MURRAY'S INFECTED KNEE.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Godspeed, Mr. Murray--<\/dialogue>\n    <character>JAMES MURRAY<\/character>\n    <parenthetical>(interrupting, with rage)<\/parenthetical>\n    <dialogue>Let's hope our paths don't ever cross again, Mr. Fawcett. For your sake.<\/dialogue>\n    <scene_description>With that, Murray rides off. Fawcett and the others watch as the mule disappears into the jungle.<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>Good riddance, I say.<\/dialogue>\n    <character>ARTHUR MANLEY<\/character>\n    <dialogue>Any chance for him, Chief?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Slim, to be sure. But it's the best we could do...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Let us go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CANYON - DUSK<\/stage_direction>\n    <scene_description>Fawcett leads the men as they slide down a steep canyon. The RAIN comes.<\/scene_description>\n    <character>LIGHTNING.<\/character>\n    <dialogue>THE RUMBLE OF THUNDER.<\/dialogue>\n    <scene_description>Fawcett looks up, through heavy downpour: SEES what he thinks is a MASSIVE STONE FACE CARVED INTO THE WALL OF THE CANYON. A GODLIKE VISION. Then, A ROAR. The \"STONE FACE\" CARVED INTO THE WALL OF THE CANYON seems to CRUMBLE AMIDST THE DOWNPOUR... Fawcett SEEMS in a TRANCE when--<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>Chief!<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Yes, I saw it! We're close now!<\/dialogue>\n    <scene_description>The men are SOAKED. FROZEN. PANTING. FAWCETT, HOWEVER, IS READY TO KEEP MOVING:<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>All our reserves are lost!<\/dialogue>\n    <scene_description>The CAMERA TILTS DOWN. Costin and the others have flung over the rations CRATES. INSIDE, the rations are COVERED with OIL. Ruined:<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>They're covered in paraffin! The bloody bastard destroyed them!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>We've got to head back!<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>We can't! We've nothing to show for our efforts--no evidence--<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>MAJOR! With what little we've got on our backs, death would be certain within days! If we'd still had the horse you gave Murray and all it could carry, we might have a fighting chance!<\/dialogue>\n    <scene_description>Fawcett ponders. Through gritted teeth and deep rage:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>God damn me for a fool to bring him!<\/dialogue>\n    <scene_description>Then: he bashes the side of a rock repeatedly with his machete. Pure frustration over the whole situation. Over this, we HEAR:<\/scene_description>\n    <character>PERCY FAWCETT (O.S.)<\/character>\n    <dialogue>To be sent to the R.G.S.: Mr. James Murray was forced to separate from our expedition to seek medical attention. His location is currently unknown, and he has most likely perished.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LA PAZ - BRITISH EMBASSY - DAY<\/stage_direction>\n    <scene_description>Fawcett has arrived in La Paz, Bolivia, to the British Embassy. He is writing on a notepad a message to the RGS, which an English Officer is typing:<\/scene_description>\n    <character>PERCY FAWCETT (V.O.)<\/character>\n    <dialogue>The British Minister has his case in hand and his family should not be contacted unless there is definitive news of some kind. The rest of the group shall arrive back in England as soon as is possible...<\/dialogue>\n    <scene_description>Fawcett looks at the counter. CLOSE SHOT ON a newspaper. The headline, in Spanish, is all about the ASSASSINATION OF THE ARCHDUKE FERDINAND and WAR IN EUROPE. The ENGLISH OFFICER sees Percy looking at the paper. In a jolly tone:<\/scene_description>\n    <character>ENGLISH OFFICER<\/character>\n    <parenthetical>(grinning)<\/parenthetical>\n    <dialogue>Looks like a war with Fritz! We'd better all get home or we'll miss our chance to fight!<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <parenthetical>(eyes him; then, re telegram)<\/parenthetical>\n    <dialogue>Please send this immediately.<\/dialogue>\n    <character>ENGLISH OFFICER<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <scene_description>WE SEE PERCY WALK OUT OF THE OUTLET into the distance...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTSIDE THE FAWCETT HOME - LATE DAY, SUNNY<\/stage_direction>\n    <scene_description>It's quiet, punctuated only by the sounds of boys playing in the distance: Fawcett's sons play with a rugby ball. CLOSE SHOT on a BEAUTIFUL BABY GIRL, ALMOST A TODDLER, sitting on the ground surrounded by blocks. We HEAR:<\/scene_description>\n    <character>NINA FAWCETT (O.S.)<\/character>\n    <dialogue>That is Joan, as you might have guessed.<\/dialogue>\n    <scene_description>Widen to SEE FAWCETT and NINA in the backyard of the house, eyeing their daughter. Nina has a BROAD SMILE.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Beautiful name. For a beautiful child.<\/dialogue>\n    <parenthetical>(to the toddler)<\/parenthetical>\n    <dialogue>Joan, I'm your father.<\/dialogue>\n    <scene_description>SHE SMILES AT HIM, POKES HIS FACE. An instant connection.<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>I'll go and get the boys--they're playing a fierce match--<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>No no. Let them finish. It's good for them...<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>(beat)<\/dialogue>\n    <scene_description>There are many urgent telegrams waiting for you, inside. Fawcett nods.<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>Perhaps it's about the war, on the continent--<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <parenthetical>(interrupting her)<\/parenthetical>\n    <dialogue>It's not. It's about my mission. I'll need to go to London soon, no doubt. There will be a reckoning.<\/dialogue>\n    <scene_description>He steps forward, watches his boys play in the distance.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I came close, Cheeky. I had to turn back, for the good of the men.<\/dialogue>\n    <parenthetical>(fighting tears)<\/parenthetical>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I face humiliation now... I did everything I could and I accomplished nothing.<\/dialogue>\n    <scene_description>Her face contorts: ANGRY, she stands over him but remains outwardly calm:<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>If you have accomplished nothing, then what does that say about us? That all our efforts on behalf of this family have been for naught? Our willingness to live in something less than splendor will not be in vain.<\/dialogue>\n    <scene_description>Fawcett turns back to face Nina; starts to walk to the house.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>When the boys are done with their game, send them in and I'll tell them what's happened.<\/dialogue>\n    <scene_description>Fawcett walks into the house. Looking around, he disappears-- but we still see his SHADOW. He buries his head in his hands.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROYAL GEOGRAPHICAL SOCIETY - NEW BUILDING - DAY<\/stage_direction>\n    <scene_description>A magnificent structure.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROYAL GEOGRAPHICAL SOCIETY - HALLWAY<\/stage_direction>\n    <scene_description>Fawcett walks down the hall and, looking lost, he enters:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAP ROOM 78<\/stage_direction>\n    <scene_description>An elegant space. FAWCETT EYES THE ROOM. Packed, with Sir George Goldie, Sir John Scott Keltie, and the rest of the RGS gang we know--including Manley and Costin and William Barclay among the roughly twenty in attendance.<\/scene_description>\n    <character>SIR JOHN SCOTT KELTIE<\/character>\n    <dialogue>Major. You know many of us here.<\/dialogue>\n    <scene_description>Then a seated man with his back to us turns: JAMES MURRAY. Fawcett spots him, then moves to a seat; a trial-like atmosphere in the room, tense. A silent beat, then:<\/scene_description>\n    <character>SIR JOHN SCOTT KELTIE<\/character>\n    <dialogue>Mr. James Murray has arrived in London just this morning.<\/dialogue>\n    <scene_description>Fawcett eyes Murray without a HINT of what has gone on between them. If anything, he seems calm, with the trace of a smile on his face:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I would like to congratulate you. On your safe return.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>A remarkable effort.<\/dialogue>\n    <scene_description>No answer by Murray.<\/scene_description>\n    <character>SIR JOHN SCOTT KELTIE<\/character>\n    <dialogue>Mr. Murray contends that you abandoned him.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Is this true?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>No, it is not. He was sent back with both food and money. It was a necessary maneuver, in order to save lives.<\/dialogue>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>He also tried to kill me, Sir George. Ask him about THAT--<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>That's absurd. We almost killed ourselves giving you what rations we could!<\/dialogue>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>Sir John, we spent all our time playing around in the mud with savages. And may I say, I never saw any evidence of a lost city, either.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Mr. Murray, you were the reason we did not reach our destination!<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>(to Percy)<\/dialogue>\n    <scene_description>Tell them--our rations were covered with paraffin!<\/scene_description>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>I reject that accusation--<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <parenthetical>(to the room)<\/parenthetical>\n    <dialogue>You may ask Mr. Manley here--or ANY of the other members of my team--if you have doubt of it.<\/dialogue>\n    <scene_description>SIR GEORGE GOLDIE, who has been listening this whole time, STARES AT PERCY. Looks almost DISAPPOINTED in him.<\/scene_description>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>Sir John, I will not tolerate any further insult from this young man! I have retained counsel and will proceed accordingly. And as for his lackeys--they're swine, as untrustworthy as their master!<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>(to Percy)<\/dialogue>\n    <scene_description>It is out of respect for you that I do not beat him like the dog he is. Costin STANDS. Goldie speaks up, looking utterly heartbroken, near tears:<\/scene_description>\n    <character>SIR GEORGE GOLDIE<\/character>\n    <dialogue>Please. Sit down.<\/dialogue>\n    <scene_description>(Costin does so; then) Gentlemen, our nation is now at war, and it ill becomes us to hold onto private conflicts. I earnestly beseech you to come to an understanding. A beat. Then:<\/scene_description>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>Well... I will...very generously offer that if Mr. Fawcett were willing to apologize--here, in the company of the entire society, then...I might be inclined to drop my claims against him and the RGS.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>With certain conditions, of course.<\/dialogue>\n    <character>SIR JOHN SCOTT KELTIE<\/character>\n    <dialogue>What about it, Percy? Will you apologize?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>For the general good, I am willing to reconcile.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>However, I should like to hear Mr. Murray's conditions.<\/dialogue>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>On the night I agreed to join you-- and allowed your star to enter my sphere--your wife was there to witness your ascent. My condition-- my sole condition--is that she once again be present. On this occasion she will witness your acknowledgement of the wrongs you have done me.<\/dialogue>\n    <scene_description>Fawcett stews, contemplating a response in front of the enormous--and uncharacteristically quiet--group. Then:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>When I last saw you, Mr. Murray, I was putting you on our only remaining horse and giving you more than your share of our food. The rest of my men urged me to leave you where you lay, but I could not bring myself to do so. And as a consequence I saved your life.<\/dialogue>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>Saved my life, did you?!? You left me to die! Yet by my own expertise, which you despise, I was able to escape the hell to which you had abandoned me! And I now confound your hopes to bury your shame in that filthy jungle!<\/dialogue>\n    <scene_description>(to Keltie) Mr. Secretary--I demand that apology!<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Yes. I should apologize.<\/dialogue>\n    <parenthetical>(looks to Costin, Manley)<\/parenthetical>\n    <dialogue>To my crew. I'm sorry that I ever believed Mr. Murray to be worthy of your company. And that I ever mistook a man's rank for his mettle. I shall not make that mistake again.<\/dialogue>\n    <scene_description>Fawcett stands, walks toward the door.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Sir John, what your purpose can be in this ambush I cannot say. But you need fear no more embarrassment from me.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I hereby resign myself from this institution. And I shall proceed on my own. Good day.<\/dialogue>\n    <scene_description>MURRAY SMILES JUST A BIT as he says:<\/scene_description>\n    <character>JAMES MURRAY<\/character>\n    <dialogue>Mr. Fawcett, no man is an island unto himself--a fact you shall soon discover to your deep regret! I shall teach you what it means to challenge your betters!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FAWCETT HOME - NIGHT 79<\/stage_direction>\n    <scene_description>Fawcett gets out of a Hanson Cab.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FAWCETT HOME - FOYER - NIGHT<\/stage_direction>\n    <scene_description>Fawcett enters. Nina's been in the kitchen, extinguishing the oil lamps. She looks toward the door, looking grave. She and Percy exchange looks. Something is amiss:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <scene_description>WHAT'S WRONG?:<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>You've received a letter. All former officers not currently posted must send their names to the War Office.<\/dialogue>\n    <scene_description>(beat) I suppose it's best we try and find your uniform. She goes back to extinguishing the lamps.<\/scene_description>\n    <character>NINA FAWCETT (CONT'D)<\/character>\n    <dialogue>(upset, trying not to be)<\/dialogue>\n    <scene_description>Let us hope it's a brief conflict.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Don't be concerned, Cheeky. I've spent a whole life training for this. Besides, the jungle has never harmed me--a little war cannot beat that challenge.<\/dialogue>\n    <scene_description>He walks up the stairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FAWCETT HOME - STAIRWELL<\/stage_direction>\n    <scene_description>Fawcett comes up the stairs, sees BRIAN AND JACK, at their desks from the hall. Presumably doing homework. Jack is now almost a young teen now and Brian a boy. Fawcett stands near the doorway, looking at them. SMILES.<\/scene_description>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>Father.<\/dialogue>\n    <character>BRIAN FAWCETT<\/character>\n    <dialogue>Papa.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Jack. Brian.<\/dialogue>\n    <character>BRIAN FAWCETT<\/character>\n    <dialogue>Papa, why are we at war?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <parenthetical>(nonplussed)<\/parenthetical>\n    <dialogue>As to that, greater men than we must answer that question.<\/dialogue>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>You're not going away again, are you? To fight?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>If the reports are true, I must.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>But you've only just returned.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I've received my orders, Jack. I'm obligated to serve.<\/dialogue>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>What about your obligations to mother and to us?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>We are your family and you have abandoned us for many years.<\/dialogue>\n    <character>NINA COMES UP THE STAIRS, ENTERS:<\/character>\n    <dialogue>NINA FAWCETT<\/dialogue>\n    <scene_description>Jack!<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <parenthetical>(shocked; darkens)<\/parenthetical>\n    <dialogue>How dare you talk to me in such a manner?<\/dialogue>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>How dare you, Father? You do not think of us. You think of Indians or Germans, or any other path to glory that you can find.<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <parenthetical>(appalled)<\/parenthetical>\n    <dialogue>JACK! You must stop it at ONCE!<\/dialogue>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>Mother, I will NOT STOP! He's returned a failure. ALL the papers are full of it! And now he wants to abandon us again! It is contemptible!<\/dialogue>\n    <scene_description>Percy EXPLODES. He LUNGES ACROSS THE ROOM and SLAPS THE BOY with tremendous and frightening ferocity.<\/scene_description>\n    <character>BRIAN FAWCETT<\/character>\n    <parenthetical>(bursting into tears)<\/parenthetical>\n    <dialogue>Father!<\/dialogue>\n    <scene_description>Brian COVERS HIS EYES, deeply distraught. Nina steps forward to defend Percy, who, though furious, steps back--eyes widened, still in a dazed fit of anger.<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>Everything your father has done, since the day you came into this world, has been to better your life, and that of your brother and sister. For your own sake, I hope the day will come when you regret the things you have said to him.<\/dialogue>\n    <scene_description>Jack's FACE is buried in his pillow:<\/scene_description>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>I hate him, Mother! I hope he never comes back!<\/dialogue>\n    <scene_description>Percy exits the room. We PAN off this image to the WALL of the bedroom. A LARGE SPEAR from AMAZONIA-- MATCH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BATTLE OF THE SOMME - THE FRONT - CLOUDY DAY<\/stage_direction>\n    <scene_description>A MACHINE GUN on a battle-scarred scene. Total devastation. We PAN past a field scorched by destruction, as far as the eye can see. No vegetation at all. The area is EERILY QUIET, only occasionally punctuated by a RAT-A-TAT-TAT or a distant explosion. We SEE a TRENCH LINE.<\/scene_description>\n    <character>SUPERIMPOSE: \"THE FRONT, RIVER SOMME, FRANCE. TWO YEARS<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRENCH<\/stage_direction>\n    <scene_description>The trench itself is filled with weary and shattered troops, and rotting corpses. Blood and fumes. Urine and shit and bones and lice and maggots and rats. A dead man has drowned in the slime, only part of his head exposed. HELL ON EARTH.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUNKER - FAWCETT'S SPACE<\/stage_direction>\n    <scene_description>A table, a phone, a lantern, not much else. Dark corners. There's someone in the corner, in that darkness. Manley is here, in uniform. He is reading a letter with a NEWSPAPER CLIPPING. He LAUGHS.<\/scene_description>\n    <character>ARTHUR MANLEY<\/character>\n    <parenthetical>(amazed)<\/parenthetical>\n    <dialogue>Well what do you know! It appears our old friend Mr. James Murray isn't so powerful after all!<\/dialogue>\n    <character>PERCY FAWCETT'S VOICE<\/character>\n    <dialogue>What's that, Mr. Manley?<\/dialogue>\n    <character>ARTHUR MANLEY<\/character>\n    <dialogue>He and his bloody cronies may have put us in this hellhole, but his latest expedition seems to have come a cropper.<\/dialogue>\n    <character>PERCY FAWCETT'S VOICE<\/character>\n    <dialogue>Please give me the details.<\/dialogue>\n    <scene_description>Manley approaches the dark corner, holding the CLIPPING and putting it in Fawcett's face (presumably). As he does so:<\/scene_description>\n    <character>ARTHUR MANLEY<\/character>\n    <dialogue>Bastard went off on an arctic expedition with Canadians and mutinied--he's not been heard from since!<\/dialogue>\n    <scene_description>ANGLE ON THE DARKNESS. We SEE an ARM REACH UP, out of the dark, and turn up the LANTERN. The LIGHT REVEALS only PART OF FAWCETT'S SHOULDER, SURROUNDED BY LARGE DRAWINGS OF THE AMAZONIAN JUNGLE, FAMILY PHOTOS, ETC. An elaborate shrine.<\/scene_description>\n    <character>MANLEY IS LAUGHING.<\/character>\n    <dialogue>Fawcett enters the light, and it looks like he's aged a THOUSAND YEARS. LOOKING DOWN AT THE MURRAY NEWSPAPER CLIPPING:<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Someone should warn the eskimos that Mr. Murray is on the prowl...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRENCH - LATER<\/stage_direction>\n    <scene_description>A young man RUNS from atop the trench, JUMPING DOWN into the trench. He runs toward the small bunker and ENTERS:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUNKER - FAWCETT'S SPACE<\/stage_direction>\n    <scene_description>Where Fawcett is in the midst of writing at his desk and Manley is reading. The TRENCH RUNNER announces himself:<\/scene_description>\n    <character>TRENCH RUNNER<\/character>\n    <dialogue>Sir! A message, from Colonel Howard!<\/dialogue>\n    <scene_description>Fawcett READS THE NOTE. A beat. Then:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Thank you, Private.<\/dialogue>\n    <scene_description>The Private salutes. Leaves. Percy looks unsettled.<\/scene_description>\n    <character>ARTHUR MANLEY<\/character>\n    <dialogue>What is it, Chief?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <parenthetical>(very grave)<\/parenthetical>\n    <dialogue>There's movement in the German position. Perhaps preparing for some kind of attack.<\/dialogue>\n    <parenthetical>(with disgust)<\/parenthetical>\n    <dialogue>We may be asked to withdraw...<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>(sotto)<\/dialogue>\n    <scene_description>Fools... He gets up, looks through the periscope to SEE: MOVEMENT AMONG THE GERMAN TROOPS. THEY ARE PREPARING THEIR GUNS.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>How many men are at our command at present?<\/dialogue>\n    <character>ARTHUR MANLEY<\/character>\n    <dialogue>Seven hundred, sir. And the two Indian brigades on horseback.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Gather up as many men as you can. Cooks and signallers as well. We'll go over the top at dawn.<\/dialogue>\n    <character>ARTHUR MANLEY<\/character>\n    <dialogue>Chief, if plans are being made to withdraw--<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Those plans are absurd. We might all die if the Germans attack. Is that what you prefer? There is no other course open to us but to fight it out.<\/dialogue>\n    <scene_description>(beat) There can be no retirement--our backs are against the wall. Prepare to go over the top. Any man who has not written to his loved ones should do so.<\/scene_description>\n    <character>ARTHUR MANLEY<\/character>\n    <parenthetical>(humbled)<\/parenthetical>\n    <dialogue>Yes, Chief.<\/dialogue>\n    <scene_description>Manley turns away, to carry out the orders.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRENCH - OUTSIDE THE BUNKER - JUST BEFORE DAWN<\/stage_direction>\n    <scene_description>Fires illuminate the space. Fawcett checks his watch, then walks through the trench, passing frightened soldiers. Then toward the bunker, where he hears a CHEERFUL COMMOTION.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUNKER<\/stage_direction>\n    <scene_description>HE ENTERS THE BUNKER, where his AMAZON ARTWORK is all over the walls. The troops--about twenty--sit around a table, packed into the cavernous room. Seated at the table is MADAME KUMEL, a mystic. The soldiers see Fawcett; HENRY COSTIN is here! Costin shouts out:<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>Won't you join us, sir! We're having a mysticism--a medium of fine spiritualist skills!<\/dialogue>\n    <scene_description>Costin approaches:<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>She'll bless us for the fight with Fritz. With a bit of the occult-- part of the world that isn't right in front of our face, if you know what I mean.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Yes... I surely do.<\/dialogue>\n    <parenthetical>(to the Madame)<\/parenthetical>\n    <dialogue>We'll be in battle soon, madame. Any spiritual aid we can get--I think we'd all very much like your blessing.<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>Madame, how 'bout you read the Major?<\/dialogue>\n    <scene_description>The whole group CHEERS the idea. Madame Kumel motions for Fawcett to sit down. Fawcett sits and the men CHEER WILDLY. Manley ENTERS the BUNKER.<\/scene_description>\n    <character>MADAME KUMEL<\/character>\n    <parenthetical>(the men told her)<\/parenthetical>\n    <dialogue>You are the explorer?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I am. As are these fine men, who have transferred here, to be with me.<\/dialogue>\n    <scene_description>Points to Costin and Manley, who cheer. She reaches over, takes an Indian NECKLACE that Fawcett has wrapped around his hand like a bracelet. She slips it off. She looks up at the WALL, SEES THE JUNGLE ARTWORK. She begins to HYPNOTIZE THE ROOM. She holds the object and with her other hand holds Fawcett's:<\/scene_description>\n    <character>MADAME KUMEL<\/character>\n    <dialogue>Feel my hand... Listen to my voice. Only my voice... Only my voice. Empty your mind, the only thing is my voice...<\/dialogue>\n    <scene_description>Fawcett stares at the mesmerizing Madame.<\/scene_description>\n    <character>MADAME KUMEL<\/character>\n    <dialogue>You have loved ones at home?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I do... My wife, and children...<\/dialogue>\n    <character>MADAME KUMEL<\/character>\n    <dialogue>But you are not home. Can you take me where you are...?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Can you take me to where you dream to be?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>It is far away...<\/dialogue>\n    <character>MADAME KUMEL<\/character>\n    <dialogue>Is it the forest?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You wish to be in the forest?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I wish to find a lost city...<\/dialogue>\n    <character>MADAME KUMEL<\/character>\n    <dialogue>Can you see yourself there, now...? Try to picture it, in your mind.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Yes. I can. I can see it, in the jungle. My family is with me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JUNGLE - DAY<\/stage_direction>\n    <scene_description>We SEE Kumel and Fawcett, at the table--which is now situated in the middle of the jungle. NINA and THE CHILDREN are SEATED AROUND HIM--JACK'S BACK is to US. We still HEAR ONLY the SOUND FROM THE BUNKER and the sounds of the WAR. KUMEL CONTINUES:<\/scene_description>\n    <character>MADAME KUMEL<\/character>\n    <dialogue>Your place is beyond the jungle city. A timeless place.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RUINS<\/stage_direction>\n    <scene_description>We are in what looks like a more extensive Machu Picchu. There are GOLD STATUES, ENORMOUS, everywhere. Still, we HEAR ONLY THE SOUND FROM THAT BUNKER. And yes, now Kumel and Fawcett are around the table in the middle of the ruins:<\/scene_description>\n    <character>MADAME KUMEL<\/character>\n    <dialogue>I see a valley... A valley and a great city, full of jewels.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>A wealth of real jewels and gold. But also jewels of the spirit...<\/dialogue>\n    <scene_description>THE EXPLOSIONS GET LOUDER. AND LOUDER. THEN, a BEAUTIFUL RAIN OF FLAKES OF GOLD COMES DOWN, NOT TOUCHING OUR PROTAGONISTS BUT SEEMINGLY COVERING THE GROUND LIKE SNOW... Kumel continues:<\/scene_description>\n    <character>MADAME KUMEL<\/character>\n    <dialogue>Your soul is not quiet. You must find this new world. It is your destiny. You seek escape from our world, escape from its cruelties and customs...<\/dialogue>\n    <scene_description>CUT TO: 91 FAWCETT IN THE JUNGLE 91 Seated, by himself. The CAMERA DOLLIES IN, SLOWLY:<\/scene_description>\n    <character>PERCY FAWCETT (V.O.)<\/character>\n    <dialogue>Our world has set itself afire...and we must look elsewhere to quench the blaze...<\/dialogue>\n    <character>ALL OF A SUDDEN, A DEAFENING EXPLOSION SHATTERS THE MOMENT<\/character>\n    <dialogue>and we are BACK IN:<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE BUNKER<\/stage_direction>\n    <scene_description>Which has been hit by a shell. The men all scatter, in panicked chaos... Fawcett covers his head from the falling debris... A close call... The rain of gold flakes was actually falling dirt... Fawcett exits the bunker, into:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRENCH - JUST BEFORE DAWN<\/stage_direction>\n    <scene_description>The troops, looking weary and beyond battle-scarred, stare at CAMERA as we DOLLY PAST THEM. They cower from the shells. We're in Fawcett's POV. FAWCETT PATROLS THE TRENCH. Fawcett then looks over to SEE a LOW PRIVATE, shaking like a leaf. The Private has vomited all over his uniform. Fawcett then charges through the trench, YELLING HIS SPEECH:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>When I was younger, I ventured all for King and Country, for place, and rank. I believed that to be the makings of a man. But my travels have taught me that such ambitions are mere phantoms. Phantoms that exclude humanity from the Garden of Eden. My dear friends, what DOES matter--the only thing that matters--is the esteem we show our fellow man. In our hearts we fight for our loved ones; as they are not here today, we fight for each other.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Good luck and may God be with you.<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>And fuck the bloody Boche!<\/dialogue>\n    <scene_description>Everyone laughs, including Fawcett. Then the men separate, begin to line the trenches. Cleaning their rifles, making sure the bayonets are screwed on tightly. Readying the charge. Many men start throwing up; others kiss small bibles; others look at family photos which they kiss and place in their breastpockets. Others are merely still, awaiting almost certain death. Fawcett takes a small drawing of AMAZONIA JUNGLE, holds it to his head. Almost like he's praying to it. Then pockets it. We SEE: ROWS OF HORSES, getting GAS MASKS put on their heads. INDIAN TROOPS are getting ready to mount them, and are adorned in the most elaborate and absurd manner...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRENCH - BATTLEFIELD - DAY<\/stage_direction>\n    <scene_description>Fawcett takes several steps near the top of the trench. Places a whistle in his mouth. Looks at his men, who are donning GAS MASKS. Raises his arm and BLOWS THE WHISTLE. Upon blowing the whistle, an army of men charge out of the trench with a collective BATTLE CRY. Among them, the Low Private. ALMOST INSTANTLY, so many of the men are RIDDLED WITH MACHINE GUN FIRE. Others are SET AFIRE with FLAMETHROWERS. EXPLOSIONS ALL AROUND. Mines. Shells. Brutally loud. THEN: THE TWO INDIAN CAVALRY REGIMENTS GALLOP out of the TRENCHES; the HORSES HAVE GAS MASKS OF THEIR OWN. Absurd. They charge toward the German position, but are SET ON FIRE by FLAMETHROWERS and HIT BY THE HAIL OF BULLETS. Huge numbers of new troops leap from the trenches, many to be met with a similar fate. Wounded infantrymen crawl into shell holes. Fawcett himself emerges from the trench. Sees ARTHUR MANLEY, shrieking. Then MANLEY gets his FACE BLOWN OFF. Costin charges right along with Fawcett. Fawcett whips off the gas mask and starts to yell. Screams to his soldiers, often inaudible from the devastating sounds of war, we can nonetheless tell what he's saying either by reading his lips or by the occasional word peaking through:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Come on! Come on! Come on!<\/dialogue>\n    <scene_description>FLASH CUT TO: 95 FAWCETT, URGING ON FELLOW EXPLORERS IN THE JUNGLE; HIS MOTION CUT BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BATTLEFIELD<\/stage_direction>\n    <scene_description>A GONG sound. CHEMICAL WEAPONS are coming. HENRY COSTIN SCREAMS FROM HIS POSITION:<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>Incoming! Gas!<\/dialogue>\n    <scene_description>Fawcett stands in the middle of the battlefield, seemingly a man on his own. And in his own world. Men shrink and charge forward around him; men die around him; men courageously stand their ground. BULLETS and FLAMES seem mysteriously to avoid him; he seems impervious... SMOKE seems to envelop Fawcett in his crazed, dazed state. He holds up his rifle with its bayonet into the air. He has a THOUSAND-YARD STARE NOW... AND THEN WE HEAR IT: A GONG SOUND. A nearby explosion. Fawcett falls to his knees. His mouth opens in lockjaw and his eyes roll back into his head. He falls... WE PAN OFF HIM TO REVEAL: bits of letters and photos that the men carry into battle flutter over the corpses like snow. The CAMERA MOVES through the battlefield, littered with the papers and blood and parts of bodies. The camera settles, finally, on a piece of BARBED WIRE. Attached to it: the DRAWING BY FAWCETT of AMAZONIA. Stained with blood, moving gently in the wind...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILITARY HOSPITAL - ROOM - DAY<\/stage_direction>\n    <scene_description>Fawcett, in the hospital. In bed, somewhere in England. He awakens, dazed, shocked--by the EYE PATCHES which cover his eyes. NINA FAWCETT is here, with the three children behind her. She approaches the bedside as he moves. She TEARS UP. Fighting the tears, she smiles, puts on a brave face:<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>Darling, it is I. We're here--the children are here.<\/dialogue>\n    <scene_description>The children walk to Fawcett's side, all muttering \"HELLO\". Jack is now a young adult; Brian, a young teen; and young daughter JOAN a toddler.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Let me kiss you all.<\/dialogue>\n    <scene_description>Nina lifts the toddler Joan, and Fawcett kisses her. Fawcett strokes the top of Brian's head tenderly.<\/scene_description>\n    <character>PERCY FAWCETT (CONT'D)<\/character>\n    <dialogue>Joan, and Brian...where's Jack?<\/dialogue>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>Here, father.<\/dialogue>\n    <scene_description>Jack steps forward, CRYING. Then to Nina:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>What's...happened to me...?<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>They say you've been exposed to chlorine gas. Your eyes were affected, but with any luck, your sight shall return. And--you're here, darling. You're with us, and that is what matters.<\/dialogue>\n    <scene_description>Fawcett lifts his head a bit, straining for sensation. A DOCTOR is here, too.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>What about Costin? The rest of the men?<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>Mr. Costin was unhurt. As for your division, they suffered many losses- -but far fewer than others. It is the most death in the history of any battle.<\/dialogue>\n    <scene_description>(beat) But darling, because of your bravery, the Germans have retreated, all along the front. We've made His Majesty aware of what you've done. And they're going to award you with the distinguished service order. They've also agreed to raise your rank to Lieutenant Colonel. Jack cannot help himself, but, appalled, he blurts out:<\/scene_description>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>Lieutenant Colonel? After all he's done?!?<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>(not now)<\/dialogue>\n    <scene_description>Jack... The young man, still in tears, takes several steps backward and sits on a bench.<\/scene_description>\n    <character>NINA FAWCETT (CONT'D)<\/character>\n    <dialogue>We'll bring you home as soon as we're able, darling.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>(beat)<\/dialogue>\n    <scene_description>What about--what about my travels? To Amazonia? Nina cannot answer this. She looks to the Doctor:<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>I...I'm afraid you may never be able to return to your jungle.<\/dialogue>\n    <scene_description>Percy Fawcett shuts his eyes in quiet disappointment and turns away. The Doctor attempts to cheer him:<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>However, you can take comfort in the fact that here we'll be able to offer you the very best care in all the civilized world.<\/dialogue>\n    <scene_description>Fawcett turns back to the Doctor when he hears this:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>\"Civilized\"? That word is an obscenity. I've been years in that jungle, with so-called savages. And none would ever bring such horror and destruction on his fellow creatures.<\/dialogue>\n    <scene_description>Percy turns away. Everyone takes the hint--Nina pats everyone out. But staying is JACK. Jack sits down in a chair against the wall. NINA TURNS to OBSERVE:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <parenthetical>(sotto voce)<\/parenthetical>\n    <dialogue>Jack...?<\/dialogue>\n    <scene_description>Jack approaches his father's bedside. Without being able to make eye contact, Fawcett somehow finds his son's FACE. He TOUCHES it, FEELING ITS CONTOURS--then touching the young man's tear...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FAWCETT HOME - STOKE CANON, ENGLAND<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FAWCETT HOME - STOKE CANON, ENGLAND<\/stage_direction>\n    <scene_description>The camera PANS PAST many objects from the Fawcett past. We HEAR an AMERICAN MAN'S VOICE, a reporter whom we never see:<\/scene_description>\n    <character>AMERICAN MAN'S VOICE (O.C.)<\/character>\n    <dialogue>Our readers have been asking where you've been since the war. America has quite a fascination with you.<\/dialogue>\n    <scene_description>ANGLE ON PERCY AND NINA FAWCETT, seated on a couch. Nina holds young Joan; Percy pets the family dog.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I'm grateful for their interest. You may tell your readers I've recovered from my wounds and have adapted to home life. The family's lived in many places--Jamaica, also in America, briefly. We've only just returned to England.<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>It's been quite wonderful to have him with us for this time.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Yes--my family's needs are above all now.<\/dialogue>\n    <character>AMERICAN MAN'S VOICE (O.C.)<\/character>\n    <dialogue>But your pursuits in South America led to tremendous interest in exploration in the United States. There have been many new voyages planned.<\/dialogue>\n    <scene_description>Percy Fawcett perks up. NEW voyages?<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Have there...?<\/dialogue>\n    <character>AMERICAN MAN'S VOICE (O.C<\/character>\n    <dialogue>Well, Dr. Hamilton Rice is headed to Brazil soon...with radio, and airplanes.<\/dialogue>\n    <scene_description>Fawcett gets up, walks over to a large MAP of South America. He stares at it. ANGLE ON FAWCETT still looking at that map:<\/scene_description>\n    <character>AMERICAN MAN'S VOICE (O.C.<\/character>\n    <dialogue>He's taking a large and very well- armed party.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>We can only hope that--with all of his arms, Dr. Rice doesn't destroy what he wishes to discover...<\/dialogue>\n    <parenthetical>(turns back to the reporter)<\/parenthetical>\n    <dialogue>Tell me, how did you find us here?<\/dialogue>\n    <character>AMERICAN MAN'S VOICE (O.C.)<\/character>\n    <parenthetical>(surprised)<\/parenthetical>\n    <dialogue>Your son, Colonel. He wrote us a letter--didn't he tell you?<\/dialogue>\n    <scene_description>ANGLE ON FAWCETT as we GO TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LARGE FIELD - CLOUDY DAY<\/stage_direction>\n    <scene_description>We HEAR distant GUN SHOTS. The wind howls. Then we SEE, emerging from over a hill, Jack Fawcett, holding a RIFLE. A RABBIT runs through the grass. Jack raises his rifle, FIRES again. He hits the RABBIT. Percy and Nina Fawcett emerge, having seen the shot.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>You've become quite expert with that rifle!<\/dialogue>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>Thank you, father.<\/dialogue>\n    <scene_description>After he recovers, he WATCHES HIS SON RUN to GET THE RABBIT. JACK PROUDLY HOLDS UP THE CARCASS. Father stares at son, something on his mind. Then, re the rabbit:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>No no, I'll retrieve it...<\/dialogue>\n    <scene_description>As Percy goes to get the animal, Nina has a private moment with Jack:<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>I know you feel remorse about the harsh words you said to him. But that was years ago. He loves you. Go talk with him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOP OF A HILL - LATER<\/stage_direction>\n    <scene_description>The RABBIT hangs from a tree. Fawcett and Jack are settled here, atop a hill, overlooking the field. Fawcett stands, lighting a small cigar; Jack sits, cleaning his gun. Fawcett PETS THE HANGING CARCASS of the rabbit, then lowers it from the string and begins to prep it for eating.<\/scene_description>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>Father...?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Mmm?<\/dialogue>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>I realize how fortunate I am not to have lost you in the war. When we came back to England, I saw how few of my friends still had their fathers.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <parenthetical>(nods; then)<\/parenthetical>\n    <dialogue>It's been a difficult few years for many.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You've been writing to the American newspapers about us, I'm told.<\/dialogue>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>I have. I've been reading of your exploits. They are quite extraordinary.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I've something for you.<\/dialogue>\n    <scene_description>Fawcett pulls something out of his bag: AN INDIAN NECKLACE. He gives it to Jack:<\/scene_description>\n    <character>PERCY FAWCETT (O.C.)<\/character>\n    <dialogue>It was from a Guarani Indian. It's yours now.<\/dialogue>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>Thank you... It's remarkable...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>The Americans are going to Amazonia now. I'm sickened by the thought that they might steal your thunder.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>(a broad smile)<\/dialogue>\n    <scene_description>I've little enough thunder to steal, my boy. I never did find Z.<\/scene_description>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>You must not say that! I've read of your achievements--you are a great man! You still believe in Z, do you not? That we have always underestimated the Indian?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>(beaming at his son's enthusiasm)<\/dialogue>\n    <scene_description>Of course...<\/scene_description>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>Then why don't we go back? You and I, together--to find the lost city once and for all?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>(taken aback; a flood of emotion)<\/dialogue>\n    <scene_description>I--I don't know if I able, Jack.<\/scene_description>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>I know you are. You easily outmatch my strengths.<\/dialogue>\n    <scene_description>Fawcett STANDS, looks out at the VISTA as Jack continues:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I am touched by your faith in me. But--the war took its toll.<\/dialogue>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>Father, the Americans will venture there with their guns. And then we must pray they do not destroy the Indian. We must beat them to the spot.<\/dialogue>\n    <parenthetical>(beat; he smiles)<\/parenthetical>\n    <dialogue>I want to go with you so much, I want nothing more.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>We could find Z. You and I can do it.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>On this, Jack, we must consult a higher authority.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Your mother, I mean.<\/dialogue>\n    <scene_description>Jack lets out a laugh. Then:<\/scene_description>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>Father, there is something else I can barely speak of. I wish...to apologize for the disgraceful things I said to you before you went away.<\/dialogue>\n    <scene_description>Fawcett turns back, looks at Jack.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>You were only doing your best to protect all of us.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>The hero in you was speaking.<\/dialogue>\n    <scene_description>Fawcett approaches Jack. Offers him a hand:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Come. We'll conquer your mother's reserve together...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FAWCETT HOME - EARLY MORNING<\/stage_direction>\n    <scene_description>Fawcett, silhouetted in the unlit office. He is SILENT. Only the daylight illuminates the room. Jack faces NINA.<\/scene_description>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>Please, Mother. I know it's dangerous. But you've said yourself with...with all that's happened--it's not possible to choose a safe passage through life. So many men near my own age did not return from the war--and who is to say it will not happen again?<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>By all rights I should be furious. You've used my very own words against me.<\/dialogue>\n    <scene_description>(fighting with herself) Yet I do not refute them now-- indeed, try as I will, I cannot.<\/scene_description>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>(beat; gets emotional)<\/dialogue>\n    <scene_description>Please...<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>(looks at Percy; then)<\/dialogue>\n    <scene_description>There's little doubt I would worry night and day about my two boys in the jungle. But...your father and I have never let fear determine our future-- Jack gets up and excitedly kisses his mother, who looks less than overjoyed.<\/scene_description>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>Thank you so much, Mum. Thank you!<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>We're not there yet, Jack. These journeys require a great deal of money and training.<\/dialogue>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>Of course, father... But I shall begin preparing immediately, nonetheless! You and I, and perhaps Mr. Costin, too. He'll come, I know it!<\/dialogue>\n    <scene_description>Jack leaves the room. Fawcett turns to maps on his desk, starts collecting them.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I admit I'm surprised by your speedy acceptance.<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>Did I have another choice? It would be wrong to betray his nature now.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>If you shall go, the both of you, then you must find Z, once and for all.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Yes...we shall see it through... I'll go see Mr. Costin.<\/dialogue>\n    <parenthetical>(beat; looks at her)<\/parenthetical>\n    <dialogue>You're concerned about Jack?<\/dialogue>\n    <scene_description>She does not answer.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>He'll perform splendidly. I've learned from the past that character is more important than experience.<\/dialogue>\n    <scene_description>The CAMERA PANS to the WINDOW, to SEE JACK RUNNING. OUTSIDE IS YOUNG JOAN, playing. Fawcett watches them both, then:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>The boy has what it takes, I'm sure.<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <parenthetical>(brightening; a laugh)<\/parenthetical>\n    <dialogue>He should--he is my son, after all!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAVAGE CLUB - LONDON - NIGHT<\/stage_direction>\n    <scene_description>It is the elegant club in London. A place for gentlemen. Not a place for Percy. Men in black tie, men drinking brandy. HENRY COSTIN is here, looking older, simultaneously more settled yet more shattered. Percy sits across from him. Both are in high-backed leather chairs, and a small table sits between the two. Costin opens a large BRIEFCASE sitting next to his chair. Withdraws something... Costin places NOTEBOOKS on the table and slides them to Fawcett. With a smile:<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>In fine condition, Chief. All my notes. I hope they are of help to you.<\/dialogue>\n    <scene_description>Percy takes them as one would handle a delicate child.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Can I truly not persuade you to come with us?<\/dialogue>\n    <scene_description>Costin averts Percy's gaze. Percy leans forward. Whispering:<\/scene_description>\n    <character>PERCY FAWCETT (CONT'D)<\/character>\n    <dialogue>We were so close before--and think of what it would mean, for all human history.<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>I'm honored you still consider me worthy. But...things have changed. I've a wife and children now.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I would remind you that when we went on our travels, my own children were younger than yours are now.<\/dialogue>\n    <scene_description>(leans back, subtly introspective) I did have my fair share of concern about their welfare, it's true. (leans forward again, louder) Yet my son today--if you were to see his character, his vim and vigor, for yourself, it would tear down your resistance in an instant. A WAITER comes over:<\/scene_description>\n    <character>WAITER<\/character>\n    <dialogue>Would you like some more brandy, sir?<\/dialogue>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>No, thank you, Nigel.<\/dialogue>\n    <scene_description>The Waiter leaves.<\/scene_description>\n    <character>HENRY COSTIN (CONT'D)<\/character>\n    <dialogue>Chief--I do not doubt Jack's excellence. But I'm afraid you and I part ways in this regard. For me, the search for Z--I can no longer bear the cost, you see.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>(surprised)<\/dialogue>\n    <scene_description>You doubt its existence.<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>No. Not for a moment. But I do doubt that it can ever provide all the answers you require from it.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>You feel I romanticize the significance of Z.<\/dialogue>\n    <scene_description>Costin begins to protest. Fawcett stops him:<\/scene_description>\n    <character>PERCY FAWCETT (CONT'D)<\/character>\n    <dialogue>The charge does not dismay me. But let the world stand in judgement once I knock the scales from their eyes. Do not doubt me, my friend.<\/dialogue>\n    <scene_description>Costin breaks out into a huge smile.<\/scene_description>\n    <character>HENRY COSTIN<\/character>\n    <dialogue>God bless you, Colonel--you've not lost your fire.<\/dialogue>\n    <scene_description>(beat) Forgive me, I cannot say yes. (beat) I wish you godspeed and the greatest success.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DORCHESTER HOTEL LOBBY - PRESS CONFERENCE - DAY<\/stage_direction>\n    <character>SUPERIMPOSE THE LEGEND: \"LONDON. DECEMBER 3, 1924\".<\/character>\n    <dialogue>Percy Fawcett talks to a syndicate of newspapers. A press conference. REPORTERS and PHOTOGRAPHERS pack the room. Jack Fawcett and Nina are here, too, by Fawcett's side. So are a host of cigar-smoking financiers...<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>This will be no pampered expedition. Top-heavy missions get nowhere; they linger on the fringe of civilization and bask in publicity. We will not. Our journey will last three years. A tribesman will take our messages to bring them to you as often as we can, for you to publish.<\/dialogue>\n    <character>REPORTER #1<\/character>\n    <dialogue>Who is financing this latest journey of yours?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>The money is generously being supplied by a consortium of American newspapers and Mr. John D. Rockefeller, Jr.<\/dialogue>\n    <character>REPORTER #2<\/character>\n    <dialogue>Are you aware the Royal Geographical Society has just offered to help with the financing?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I am glad to see our nation is not to be left behind.<\/dialogue>\n    <character>REPORTER #2<\/character>\n    <dialogue>What about America's own explorers? They're in South America now, with great technology--<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I'm not concerned with them--we have our own plans. I would like to introduce to you now my son, Mr. Jack Fawcett.<\/dialogue>\n    <scene_description>ANGLE ON JACK, who is beaming.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>He will be my companion on this historic expedition.<\/dialogue>\n    <parenthetical>(Fawcett looks at his son)<\/parenthetical>\n    <dialogue>He is strong as a horse and keen as mustard.<\/dialogue>\n    <scene_description>FLASH! go the cameras. Then we HEAR:<\/scene_description>\n    <character>SIR GEORGE GOLDIE (O.S.)<\/character>\n    <dialogue>Well, we could not very well be shamed by the Americans, now could we.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROYAL GEOGRAPHICAL SOCIETY - CONFERENCE ROOM<\/stage_direction>\n    <scene_description>Fawcett and Jack, inside a large conference room. A GROUP OF PEOPLE is standing there, getting ready to SAY GOODBYE to PERCY FAWCETT: KELTIE, WILLIAM BARCLAY, others.<\/scene_description>\n    <character>SIR JOHN SCOTT KELTIE (CONT'D)<\/character>\n    <dialogue>I'm proud to say, we did finally meet them halfway...<\/dialogue>\n    <parenthetical>(sobers; sheepish)<\/parenthetical>\n    <dialogue>Percy, this organization has not...<\/dialogue>\n    <character>SIR JOHN SCOTT KELTIE<\/character>\n    <dialogue>always recognized you as perhaps we should have in the past.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Our differences were always honorable, Sir John.<\/dialogue>\n    <character>SIR JOHN SCOTT KELTIE<\/character>\n    <dialogue>(nods; then)<\/dialogue>\n    <scene_description>Sir George, rest in peace, always bore you great affection. But I admit my error in not accepting your beliefs long ago. Fawcett takes out his COMPASS. Moves close to Keltie.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>When I find Z, I shall send it to you. Consider it a sign.<\/dialogue>\n    <scene_description>Keltie looks at it.<\/scene_description>\n    <character>SIR JOHN SCOTT KELTIE<\/character>\n    <dialogue>Godspeed, Percy.<\/dialogue>\n    <scene_description>A NEARBY CHURCH BELL RINGS in the now-quiet room.<\/scene_description>\n    <character>SIR JOHN SCOTT KELTIE (CONT'D)<\/character>\n    <dialogue>We do have something here for you, at the Society.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Mr. Barclay?<\/dialogue>\n    <scene_description>William Barclay OPENS A WOODEN CASE. Inside:<\/scene_description>\n    <character>SIR JOHN SCOTT KELTIE (CONT'D)<\/character>\n    <dialogue>It's our highest honor. The Founders' Gold Medal.<\/dialogue>\n    <scene_description>ANGLE ON JACK. His eyes widen; he is truly impressed.<\/scene_description>\n    <character>WILLIAM BARCLAY<\/character>\n    <dialogue>You are truly deserving, Colonel. Truly.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <parenthetical>(virtually moved to tears)<\/parenthetical>\n    <dialogue>I'm grateful...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>My son and I will rejoice in telling you the whole story in three years time.<\/dialogue>\n    <scene_description>Fawcett grabs both arms, squeezes. Jack has a smile from ear to ear. Champagne is served, and the men toast--in SILENCE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STOKE CANON HOUSE - DAWN<\/stage_direction>\n    <scene_description>A TRUCK is idling. Percy and Jack Fawcett are loading it with supplies. Alongside them are the rest of the family: Nina, Brian, Joan.<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>All the arrangements are completed-- we're off to Portugal on the 7th and then we meet in Brazil.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Good. Now remember: the code with the coordinates--a copy is in my desk and another is in safekeeping, with Mr. Costin.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>No one will trump us now...<\/dialogue>\n    <scene_description>Awkward silence as Nina begins to turn inward.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Well, I suppose that's all. I'll send you the dispatches, for the newspapers.<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>Jack--<\/dialogue>\n    <scene_description>She gestures to his suit coat handkerchief, which is falling out. Fawcett, meanwhile, moves close to her, out of earshot of anyone else:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Cheeky, if I should not come back-- do not look for me. If one of us lives, we all shall live.<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <parenthetical>(as though his death is an insane thought)<\/parenthetical>\n    <dialogue>I've complete faith in you. You'd better get going, you'll miss your boat.<\/dialogue>\n    <scene_description>Fawcett moves to Brian, who is quiet.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>You're a man now, responsible for your mother and sister's care. It's a fine calling, no less and perhaps more virtuous than ours.<\/dialogue>\n    <scene_description>No response. Percy Fawcett takes out a sealed LETTER.<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>Brian? Say goodbye to your father. And tell him how much you'll miss him.<\/dialogue>\n    <character>BRIAN FAWCETT<\/character>\n    <dialogue>Goodbye, father. I shall indeed miss you. As I always have.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I've written something for you.<\/dialogue>\n    <scene_description>Brian takes it. Fawcett kisses Joan:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Dear Joan. Take care of your mother.<\/dialogue>\n    <character>JOAN FAWCETT<\/character>\n    <dialogue>Goodbye, father.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>On to Z, then. And a new history.<\/dialogue>\n    <scene_description>Fawcett then leans over, kisses Nina briefly, and unsentimentally boards the truck. Jack hugs Nina, who then turns and gets in the truck as well. Brian watches as his father and brother WAVE. He looks down at the ENVELOPE FROM HIS FATHER. FAWCETT AND JACK WAVE as the TRUCK DRIVES OFF...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FAWCETT STOKE CANON HOME - BRIAN'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Brian opens the envelope: a poem. Starts reading.<\/scene_description>\n    <character>PERCY FAWCETT (V.O.)<\/character>\n    <dialogue>Never forget us, brave little man Mother and father trust in you. Be brave as a lion, yet kind returning<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AQUITANIA - DUSK 108<\/stage_direction>\n    <scene_description>The ship at sea, on its way to South America. We STILL HEAR:<\/scene_description>\n    <character>PERCY FAWCETT (V.O.)<\/character>\n    <dialogue>Ready to fight and averse to wrong... Never forget you're a gentleman And never a fear you'll do.<\/dialogue>\n    <character>CUT TO:<\/character>\n    <dialogue>109 STILL PHOTOS of the AQUITANIA, a huge SHIP. WIDE SHOTS. 109<\/dialogue>\n    <scene_description>Then CLOSE SHOTS of JACK AND PERCY on the DECK, WAVING. BLACK AND WHITE STILLS.<\/scene_description>\n    <character>PERCY FAWCETT (V.O.)<\/character>\n    <dialogue>Life is short and the world is wide.<\/dialogue>\n    <character>CUT TO:<\/character>\n    <dialogue>110 SERIES OF SHOTS of Fawcett's house and old Ireland ARMY 110<\/dialogue>\n    <character>BARRACKS:<\/character>\n    <dialogue>THE ARMY BARRACKS in Ireland - empty, save the usual post- move detritus. THE BEDROOM - empty. Dust now. ARMY BACKYARD - empty. Windswept, covered with leaves. THE FRONT LAWN - empty. A child's TOY, covered in dirt.<\/dialogue>\n    <character>PERCY FAWCETT (V.O.)<\/character>\n    <dialogue>We're just a ripple on life's great pond.<\/dialogue>\n    <scene_description>We END with:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW MADEIRA HOME - NINA'S BEDROOM - NIGHT 111<\/stage_direction>\n    <scene_description>A new ROOM, in Madeira. Nina is asleep with a newspaper on her lap. It reads, \"EXPLORERS ENTER JUNGLES TO SEEK LOST RACE\". Then we HEAR a LOUD TRAIN WHISTLE:<\/scene_description>\n    <character>PERCY FAWCETT (V.O.)<\/character>\n    <dialogue>Enjoy your life to the best you can, All will help enrich the span,<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN - BRAZIL - NIGHT<\/stage_direction>\n    <scene_description>On the train into the jungle, they pass parades for the Carnival. They pass beautiful fields, vistas. Crowds wave to them. Jack stands, looking out the window. Fawcett remains seated, eyes a map.<\/scene_description>\n    <character>PERCY FAWCETT (V.O.)<\/character>\n    <dialogue>But never forget you're a gentleman.<\/dialogue>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>Forty million, father! The newspaper said forty million are following our journey! Look, even here!<\/dialogue>\n    <scene_description>Fawcett stands, looks out the train. Sotto:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>It is rather marvelous...<\/dialogue>\n    <scene_description>Fawcett turns to look at the people waving at the train. ANGLE ON A SLIGHTLY WISTFUL YET ALSO ENTHUSIASTIC PERCY FAWCETT; he waves back to them. CUT TO: SERIES OF SHOTS as we STILL HEAR the train: The CAMERA DOLLIES PAST a sleeping Nina in the MADEIRA HOME. Next: the CAMERA DOLLIES PAST a sleeping Brian. Last: PAST a sleeping Joan. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAIN 114<\/stage_direction>\n    <scene_description>Loses his STETSON HAT. It blows away. THE HAT TWISTS AND SPINS AND FLOATS IN THE WIND, eventually leaving our sight.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>(to Jack)<\/dialogue>\n    <scene_description>We are getting closer. The CAMERA SPINS PAST the COUNTRYSIDE-- MATCH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JUNGLE - DAY 115<\/stage_direction>\n    <scene_description>CLOSE SHOT: Fawcett. He consults a map. ZOOM OUT: DWARFED BY NATURE, THE AWESOME DEPTHS OF THE JUNGLE. Jack is right behind him. The Peons (Indian messengers) are near but bringing up the rear and looking exhausted.<\/scene_description>\n    <character>SUPERIMPOSE: \"PANTANAL REGION, BRAZIL.<\/character>\n    <dialogue>APRIL 30, 1925\".<\/dialogue>\n    <scene_description>Percy turns to Jack.<\/scene_description>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>My compass appears to have stopped working.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>It's nothing to fret over--I've two others. How are you faring?<\/dialogue>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>I've rarely felt better.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Good. We'll be on the river soon-- and then if we're lucky, to see an opera...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FAZIENDA JACOBINA - CLEARING<\/stage_direction>\n    <scene_description>Out of the jungle comes our group. They are close to the hut that served as an opera house... But it seems abandoned. Fawcett leads the group toward its front doors, which are swinging open... The old opera hut house is still in the jungle, but this time it is COVERED WITH VINES, overgrown with weeds and spiders.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OPERA HOUSE<\/stage_direction>\n    <scene_description>Fawcett cannot believe what he sees. The jungle is swallowing up the structure, with spiderwebs and detritus. The men stand in the center, stunned. The camera PULLS BACK TO REVEAL A RUIN being OVERRUN BY MONKEYS. PERCY FAWCETT IS LEFT STANDING IN THE MIDDLE OF THE DILAPIDATED STRUCTURE as the PRIMATES SWIRL AROUND HIS LEGS.<\/scene_description>\n    <character>SWARMS OF VAMPIRE BATS SHRIEK ABOVE THEIR HEADS...<\/character>\n    <dialogue>PERCY FAWCETT<\/dialogue>\n    <scene_description>A pity you could not see it intact... (brightens) No matter. We'll hit the river as scheduled.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVERBANK<\/stage_direction>\n    <scene_description>Percy and Jack and the Peons have made a canoe. They SLIDE IT OFF, into the RIVER.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVER<\/stage_direction>\n    <scene_description>The men in their canoe. They move through the river. AND THEN: Bodies. Floating. WHITE MEN, looking EMACIATED. FACE DOWN. NUMBERING AROUND TEN OR SO... FAWCETT seems to accept it. JACK is terrified... THE CANOE MOVES PAST THE CORPSES... THE PEONS are in the canoe behind them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLEARING - LATER<\/stage_direction>\n    <scene_description>Jack hacks away at a tree with his machete, collecting firewood. A PEON, looking feverish, approaches Percy as he sits by the fire. He has been writing in a notebook. In Portuguese:<\/scene_description>\n    <character>PEON (SUBTITLE)<\/character>\n    <dialogue>Mr. Fawcett, our work is done. We warn you, past this point is only danger.<\/dialogue>\n    <scene_description>Fawcett stands.<\/scene_description>\n    <character>PERCY FAWCETT (SUBTITLE)<\/character>\n    <dialogue>You have acquitted yourself wonderfully. We are grateful for your efforts.<\/dialogue>\n    <parenthetical>(reaching down, into a stack of his papers and envelopes)<\/parenthetical>\n    <character>PERCY FAWCETT (SUBTITLE)<\/character>\n    <dialogue>Please--if you could deliver this final dispatch...<\/dialogue>\n    <scene_description>The Peon nods, takes the ENVELOPE.<\/scene_description>\n    <character>MOMENTS LATER<\/character>\n    <dialogue>WIDE SHOT of group. The Peons say GOODBYE, shaking hands, and disappear into the jungle. Our men are alone now.<\/dialogue>\n    <dialogue>Fawcett and Jack walk off into the jungle in the opposite direction...<\/dialogue>\n    <character>PERCY FAWCETT (V.O.)<\/character>\n    <dialogue>Dearest Cheeky, this is the last letter you shall receive until we reach Z.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE JUNGLE - DUSK 121<\/stage_direction>\n    <scene_description>The men get off the canoe and ENTER THE DEEP JUNGLE. They look thinner now, more worn.<\/scene_description>\n    <character>PERCY FAWCETT (V.O.)<\/character>\n    <dialogue>As always, we have encountered some setbacks. But Jack is acquitting himself marvelously. Today we reached a tribe of Bakairi Indians, who told us of a cave entirely unknown to anyone outside their clan.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JUNGLE VILLAGE - DAY<\/stage_direction>\n    <scene_description>A Bakairi village. The men enter the place and speak with the Indians. CLOSE SHOT of PERCY FAWCETT as HE TAKES PICTURES WITH HIS CAMERA, which is mounted on a TRIPOD. Our CAMERA DOLLIES INTO an EXTREME CLOSE SHOT on the camera's LENS...<\/scene_description>\n    <character>PERCY FAWCETT (V.O.;<\/character>\n    <dialogue>They tell of an enormous rock there, covered with painted pictures of men and horses. Its location is perhaps the gateway to Z...<\/dialogue>\n    <scene_description>SERIES OF BLACK AND WHITE PHOTOS of the INDIANS: In the photos, Jack and Fawcett all pose with the \"savages\". Standing in different positions, some holding arrows, some merely seated. Other photos show the Indians in the middle of ritual, crouched, dancing, upright, with spears, in a circle, etc. CLOSE SHOT on PHOTOGRAPHS FLOATING THROUGH THE STREAM, GETTING DEVELOPED, THE IMAGES QUICKLY FADING BEFORE OUR EYES FROM THE HEAT...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE AMAZON JUNGLE - DAY<\/stage_direction>\n    <scene_description>Near Dead Horse Camp. Fawcett EYES the camp... He and Jack approach it...<\/scene_description>\n    <character>PERCY FAWCETT (V.O.)<\/character>\n    <dialogue>...I expect we will be in touch with the old civilization within a month, and to be at the main objective in August.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW MADEIRA HOME - BEDROOM<\/stage_direction>\n    <scene_description>Nina is at her desk, reading the letter:<\/scene_description>\n    <character>PERCY FAWCETT (V.O.)<\/character>\n    <dialogue>Thereafter, our fate is in the lap of the gods.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You need have no fear of any failure.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JUNGLE<\/stage_direction>\n    <scene_description>Fawcett and Jack walk down a muddy path. Fawcett takes notes while walking. Then:<\/scene_description>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>Father--<\/dialogue>\n    <scene_description>Fawcett looks up from his journal to SEE: RED-MASKED SUYA. TENS OF THEM. FAWCETT motions for JACK to stop, then TAKES ONE SINGLE STEP FORWARD. A SINGLE ARROW WHIZZES BY HIS HEAD. SUYA INDIANS are ABOUT 200 YARDS away. STARING.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Stay calm. I know precisely the approach.<\/dialogue>\n    <scene_description>Confident, he tries his signature approach with the SUYA. He begins to walk toward them, waving his handkerchief:<\/scene_description>\n    <character>PERCY FAWCETT (SUBTITLED)<\/character>\n    <dialogue>Friend! Friend!<\/dialogue>\n    <character>AND THEN: MORE ARROWS COME, FAST AND FURIOUS.<\/character>\n    <dialogue>CLOSER. THEY DON'T STOP.<\/dialogue>\n    <character>FAWCETT WALKS<\/character>\n    <dialogue>THIS TIME, THE SUYA INDIANS START CHARGING TERRIFYINGLY<\/dialogue>\n    <character>TOWARD THE MEN. THE INDIANS LET OUT A TERRIFYING WAR CRY...<\/character>\n    <dialogue>ALL OF A SUDDEN: WHOOP WHOOP WHOOP WHOOP WHOOP--<\/dialogue>\n    <dialogue>A SPINNING CLUB OF WOOD, about three feet in length, comes seemingly from nowhere.<\/dialogue>\n    <character>WHOOP WHOOP WHOOP--A PUNISHING BLOW TO THE HAND.<\/character>\n    <dialogue>A WAR CLUB, then another.<\/dialogue>\n    <dialogue>Realizing his tried-and-true plan will not work, Fawcett takes his RIFLE OFF HIS SHOULDER AND FIRES:<\/dialogue>\n    <dialogue>He shoots one of the Suyas in the stomach. The Indian bleeds profusely and falls down, dying...<\/dialogue>\n    <character>FAWCETT SEES THIS AND HIS FACE WRINKLES IN ANGUISH:<\/character>\n    <dialogue>PERCY FAWCETT<\/dialogue>\n    <scene_description>Oh Lord... (recovering) Into the brush! Fawcett and Jack bolt into the dense jungle, and so do the Indians, in pursuit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE JUNGLE<\/stage_direction>\n    <scene_description>Fawcett and Jack run for their lives. A chase on foot has begun.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE AMAZON JUNGLE - LATER<\/stage_direction>\n    <character>THE DENSE JUNGLE. VERTIGINOUS. BACK AND FORTH.<\/character>\n    <dialogue>LEAVES, VEGETATION, MUD, BUGS, HEAT.<\/dialogue>\n    <character>TREE<\/character>\n    <dialogue>The camera is HAND-HELD now, tossing back and forth, our characters' POV. DISORIENTED...<\/dialogue>\n    <dialogue>A sound: WHIRRING. What is that? CLUBS. CLUBS OF WOOD. WAR CLUBS.<\/dialogue>\n    <dialogue>The Suyas are HURLING THEM through the trees, presumably. BUT WE CAN'T SEE THEM. ONLY SPINNING CLUBS OF WOOD--A TORRENT OF SPINNING WOODEN STICKS, CUTTING THROUGH THE FOREST.<\/dialogue>\n    <dialogue>SPINNING AND MOVING AT INCREDIBLE SPEED. And they are coming CLOSE TO US, millimeters from FAWCETT'S HEAD. Fawcett ducks them as he bolts through the trees.<\/dialogue>\n    <dialogue>WHOOSH! Jack, away from Fawcett, is hit in the chest. It knocks him over, but he gets up and continues to run.<\/dialogue>\n    <character>ANGLE BACK ON FAWCETT<\/character>\n    <dialogue>Who is moving through the forest with great speed, determined to survive. In his POV, the denseness becomes DIZZYING, obscuring, difficult. We HEAR the WHIRRING and his HURRIED BREATHING.<\/dialogue>\n    <dialogue>Fawcett gets up. He is on the move again as ARROWS DART PAST HIM, PERILOUSLY CLOSE...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVERBANK<\/stage_direction>\n    <scene_description>Fawcett reaches the riverbank. Jack is here on his knees, with his back to us. Is he dead? He's oddly still. Fawcett approaches his son. THEN HIS SON TURNS, TERRIFIED. IN SHOCK and SHAKING.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>They'll keep after us--we've got to keep moving.<\/dialogue>\n    <scene_description>Fawcett grabs his son, shakes his head.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Do you hear me?!?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLEARING - LATER<\/stage_direction>\n    <scene_description>Fawcett and Jack are running in tall grass. Then they stop. Surrounded by Indians. They have more PAINT on them, more MUD, than the other group of Indians that were chasing them earlier. Fawcett and Jack turn around. Indians close in behind them, too. DOOMED? ONE INDIAN STEPS FORWARD. HE TAKES HIS SPEAR and HURLS IT RIGHT TOWARD FAWCETT. Fawcett thinks this is the END. Instead, it goes past him, and THWOK! HITS ANOTHER INDIAN, RIGHT BEHIND HIM. KILLS THE MAN. THE OTHER INDIAN, A SUYA, was POISED WITH BOW AND ARROW, ready to kill Fawcett. THIS INDIAN HAS SAVED FAWCETT'S LIFE. WARRING TRIBES. The Indians fire at each other, as Fawcett and Jack duck down into the grass...<\/scene_description>\n    <character>THE SUYAS RETREAT... THE NEW GROUP OF INDIANS SURROUND<\/character>\n    <dialogue>FAWCETT AND JACK. Fawcett looks up, raises his hands...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLAGE SQUARE - LATE DAY<\/stage_direction>\n    <scene_description>Fawcett and Jack sit in the middle of the Indian tribal village. A RAIN BEGINS TO FALL. LIGHTNING and THUNDER, though in the distance. A low rumble, then nothing but rain... Fawcett whispers to his son:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>I've encountered this before. We're in no real danger.<\/dialogue>\n    <scene_description>Jack nods. A KAYAPO INDIAN plays with a FLASHLIGHT that Fawcett has given him. Fawcett and Jack are seated with the Indians surrounding them. The Indian appears thrilled with the flashlight. Two other Kayapos are in a debate:<\/scene_description>\n    <character>KAYAPO INDIAN #2 (SUBTITLE)<\/character>\n    <dialogue>The Christian is not one of us.<\/dialogue>\n    <character>KAYAPO INDIAN #1 (SUBTITLE)<\/character>\n    <dialogue>He is not one of them, either.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>He is a shadow man, never at rest...we must send him back to the shadows...<\/dialogue>\n    <scene_description>The Kayapo BRING IN THREE CORPSES, THE SUYA INDIANS WHOM THEY KILLED. The bodies are tied up on TREE BRANCHES. And PUT OVER THE FIRE. Jack's EYES POP as he sees this.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>They eat the ash of the bodies. They believe it saves their enemy's souls.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ABOVE A RIVER WITH ROCKS<\/stage_direction>\n    <scene_description>The Kayapo lead Jack and Percy up a PATH of ROCK. They lie them down in a circle of ROCKS. In Portuguese:<\/scene_description>\n    <character>KAYAPO INDIAN #1 (SUBTITLE)<\/character>\n    <dialogue>Sleep...<\/dialogue>\n    <scene_description>Percy nods. The Kayapo SEEMS entirely friendly. And they place ONE TORCH in between TWO LARGE ROCKS.<\/scene_description>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>Are...are we going to die?<\/dialogue>\n    <scene_description>Fawcett looks to his son for a moment, cupping his son's chin in his hand. Then his eyes unexpectedly turn to the heavens, and he begins:<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>\"Hast thou commanded the morning since thy days, and caused the dayspring to know his place? Who hath put wisdom in the inward parts? Or who hath given understanding to the heart?\"<\/dialogue>\n    <scene_description>(his head sinks; not making eye contact with his son, but to his son) Most of life is a mystery. We know so little of the world. But we've made a journey other men cannot even imagine. And it has given understanding to our hearts. We do not need to know the future. Jack sits up. Then he STANDS.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Jack, sit down. They need to know that we trust them.<\/dialogue>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>Father...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Is--is this not Z?<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>No... Zed is over those mountains. Let us hope we'll be on our way soon.<\/dialogue>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>But--I believe we may have already reached part of Z.<\/dialogue>\n    <character>123A.<\/character>\n    <dialogue>PERCY FAWCETT<\/dialogue>\n    <scene_description>Temper your enthusiasm, my boy. We've not yet reached our coordinates.<\/scene_description>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>Do you not see the causeways you've described? They're perfectly straight and stretch as far as the eye can see. And a bridge as well! The ancient Indians must have forged something truly astonishing. Imagine the plans, the skill, all of them working together, to achieve it!<\/dialogue>\n    <scene_description>Percy stands and takes a few steps to see the causeway.<\/scene_description>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>And you just told me how they were saving the souls of their enemies.<\/dialogue>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>That is the sort of civilization your opponents always denied could exist here.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>We are IN Z, father! It's all around us!<\/dialogue>\n    <scene_description>Percy takes a step forward. Looks around. A STUNNING REVELATION--in the look of SHOCK--SEEMS TO COME OVER HIS FACE.<\/scene_description>\n    <character>JACK FAWCETT<\/character>\n    <dialogue>One day the whole world will see it, without doubt. It's everything you've always wanted!<\/dialogue>\n    <scene_description>Percy EYES his son, then breaks down. He begins to cry.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>My boy, to be here with you, on this journey...is everything.<\/dialogue>\n    <scene_description>Fawcett tenderly grabs Jack's neck. Percy then withdraws a LETTER from his pocket, hands it to Jack Fawcett.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>Your mother gave this letter to me some time ago. It's given me great strength over the years. You should have it now.<\/dialogue>\n    <scene_description>Jack takes it. CLOSE SHOT ON THE LETTER, as it is being opened. Then, MUSIC UP: A KAYAPO DANCE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMPFIRE - NIGHT<\/stage_direction>\n    <scene_description>The Tribe does a ritual dance around Fawcett and Jack. They then approach the men, who sit, kneeling with their heads down. A Kayapo then begins to paint Fawcett and his son, GIVING THEM SOME KIND OF MILKY DRINK. The Indians paint the men's chests too, around their necks and sterna. A close shot on Percy Fawcett. He stares at his son, who appears to be at peace. FAWCETT turns away. Seems to drift off. We PUSH EVER CLOSER ON HIM. He looks over, at the GROUND. He SEES: the LETTER from NINA. Then: all sound from the jungle disappears. We:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM - LORD BERNARD HOME - BRIGHT DAY<\/stage_direction>\n    <scene_description>A CLOSE SHOT of NINA, MUCH YOUNGER THAN WHEN WE LAST LEFT HER. SHE IS HOLDING A BABY. WIDEN to REVEAL: A dining table, covered with food. Crowded with presumably family and friends. A CHEER goes out. Nina and Fawcett stand at the head of the table, having just arrived with their newborn: JACK. Lord Bernard is here, too, as are the other faces from our story's opening at the church. (The scene is UNNATURALLY QUIET, almost like a HALLUCINATION. But it's an event that it's happened, a FLASHBACK.)<\/scene_description>\n    <character>RANDOM WOMAN<\/character>\n    <dialogue>So wonderful, little Jack!<\/dialogue>\n    <parenthetical>(to Nina)<\/parenthetical>\n    <dialogue>And you--you look so robust, and healthy!<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>Thank you... Yes. I do feel better.<\/dialogue>\n    <scene_description>Fawcett pulls out a chair for Nina and the baby. Then:<\/scene_description>\n    <character>LORD BERNARD<\/character>\n    <dialogue>A toast--shall we?<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>Yes, Lord Bernard. But--I--I would like, if I could, to read something first.<\/dialogue>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>(as a joke)<\/dialogue>\n    <scene_description>Now I'm in for it! LAUGHTER.<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>I wrote it for you. In the event I did not survive the birth.<\/dialogue>\n    <character>LORD BERNARD<\/character>\n    <dialogue>Oh, but you did, my dear, thank heavens!<\/dialogue>\n    <scene_description>LAUGHTER. She begins, reading off a small piece of stationery as Fawcett eyes her:<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>\"My Percy, I know your first instinct will be to grieve, but I adjure you rather to consider our son and the love you must show him--\"<\/dialogue>\n    <parenthetical>(looking at young Jack)<\/parenthetical>\n    <dialogue>See--? I knew it would be a boy, and born on the birthday of the Buddha, no less!<\/dialogue>\n    <parenthetical>(only some laughter; back to letter)<\/parenthetical>\n    <dialogue>\"--Always teach him to dream. For as the Buddha teaches, to seek the unknown, to look for what is beautiful, is its own reward. And I beg you to remember those words so easy to forget, written by our beloved Browning--allow me one last time to repeat them: \"a man's reach should exceed his grasp, or what's a heaven for?\" My dearest love forever, Cheeky.\"<\/dialogue>\n    <scene_description>The women at the table let out a collective \"AWWWW\" as Fawcett smiles, kisses his wife's hand. He then looks over to the baby, reaching out to touch its hand. We MATCH CUT:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE JUNGLE AGAIN<\/stage_direction>\n    <scene_description>We're back where we were. Or are we? It's oddly silent, save for Fawcett's breathing. Percy touches his son's hand.<\/scene_description>\n    <character>PERCY FAWCETT<\/character>\n    <dialogue>We're here, Jack... You're right... Z is all around us...<\/dialogue>\n    <scene_description>CLOSE UP ON PERCY FAWCETT as the Indians dance, lifting and moving him somewhat sloppily. It is not tender, but it is not violent, either. Fawcett turns: musicians and dancers circle what looks like a plaza. In the distance: mound-shaped houses in endless rows. They hold him aloft... He reaches up. SEES something. Tries to touch it. We SEE what PERCY FAWCETT SEES: SILHOUETTED: A GATEWAY, a LARGE ARCH, in the distance, through the trees. Across the river. The Indians carry FAWCETT AND NOW JACK too. The KAYAPO begin a march... They CARRY PERCY AND JACK up toward the GATEWAY, which is HIGH ABOVE the community...<\/scene_description>\n    <character>PERCY SEES SCORES OF TORCHES, EVERYWHERE...<\/character>\n    <dialogue>SO MANY PEOPLE...<\/dialogue>\n    <character>SO MANY INDIANS,<\/character>\n    <dialogue>CUT TO:<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RGS OFFICE - DAY<\/stage_direction>\n    <scene_description>Seated behind his desk: SIR JOHN SCOTT KELTIE. Keltie is near eighty now. ENTERING: WILLIAM BARCLAY. Keltie does not look up from his notes. After an awkward beat:<\/scene_description>\n    <character>WILLIAM BARCLAY<\/character>\n    <dialogue>Sir John?<\/dialogue>\n    <character>SIR JOHN SCOTT KELTIE<\/character>\n    <dialogue>Yes...?<\/dialogue>\n    <character>WILLIAM BARCLAY<\/character>\n    <dialogue>She's outside again.<\/dialogue>\n    <scene_description>Keltie seems both sympathetic and peeved. After a beat:<\/scene_description>\n    <character>SIR JOHN SCOTT KELTIE<\/character>\n    <dialogue>Bring her in.<\/dialogue>\n    <scene_description>Barclay spins around, opens the door. Entering the room: NINA FAWCETT. Keltie gets up, smiles. Puts on his best behavior in her presence.<\/scene_description>\n    <character>WILLIAM BARCLAY<\/character>\n    <dialogue>Miss Nina.<\/dialogue>\n    <character>SIR JOHN SCOTT KELTIE<\/character>\n    <dialogue>Nina my dear, how are you?<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>Sir John... Mr. Barclay.<\/dialogue>\n    <character>SIR JOHN SCOTT KELTIE<\/character>\n    <dialogue>How may we be of help to you today?<\/dialogue>\n    <scene_description>Nina speaks, but in a way that is almost interior, trancelike. Her eyes have a kind of thousand-yard stare, and she seems to connect, then turn inward, from moment to moment:<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>A man...came to see me yesterday.<\/dialogue>\n    <character>SIR JOHN SCOTT KELTIE<\/character>\n    <dialogue>A man?<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>He was from Brazil. He's seen Percy, and Jack, living with the Indians. He says they claim to have reached Z.<\/dialogue>\n    <scene_description>Keltie tries to hide his skepticism, but cannot. Reaches out to Nina. Tenderly:<\/scene_description>\n    <character>SIR JOHN SCOTT KELTIE<\/character>\n    <dialogue>My dear, it's been years. Almost a hundred men now have been sent to look for your husband and son. I'm...I'm afraid they are no more. And I would advise...<\/dialogue>\n    <scene_description>He cannot continue. Tears well up in her eyes--and, amazingly, he gets emotional as well.<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>Sir John, I confess that the brutal wear and tear is great, and I suffer with heart and soul.<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>It has taken all my strength of will to push horrors out of my thoughts...<\/dialogue>\n    <scene_description>Then Nina seems to reconnect:<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>But I beg you not to lose confidence. I cannot doubt--after so many years of sacrifice--it has become my own life's work. It cannot have all been in vain...<\/dialogue>\n    <character>WILLIAM BARCLAY<\/character>\n    <dialogue>Miss Nina, we do plan more search parties. We do.<\/dialogue>\n    <scene_description>No response. Keltie looks pained. He sits back down, behind his desk.<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>The Brazilian gave me this, to give to you. He said Percy told him you would understand.<\/dialogue>\n    <scene_description>Nina hands him THE COMPASS. Keltie takes the COMPASS. Tries to reveal not a hint of wide-eyed shock. BUT HE IS SHOCKED!<\/scene_description>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>I have trained myself to be impartial to evidence, but surely this is a sign.<\/dialogue>\n    <character>SIR JOHN SCOTT KELTIE<\/character>\n    <parenthetical>(in a state of shock)<\/parenthetical>\n    <dialogue>I--I will have it examined...<\/dialogue>\n    <character>NINA FAWCETT<\/character>\n    <dialogue>Thank you, Sir John. It is all I can ask.<\/dialogue>\n    <scene_description>Nina withdraws again. DEVASTATED BY HIS WORDS. A beat, and then she nods, turns, leaves. Keltie looks up after she has left. Takes the compass in his hand, is WHITE AS A SHEET!<\/scene_description>\n    <character>SIR JOHN SCOTT KELTIE<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>Good God...<\/dialogue>\n    <character>WILLIAM BARCLAY<\/character>\n    <dialogue>What is it, Sir John? Anything? At all?<\/dialogue>\n    <scene_description>Sir John looks up at Barclay. We: CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - ROYAL GEOGRAPHICAL SOCIETY 136<\/stage_direction>\n    <scene_description>Nina enters the hall. The camera PANS with her. We WATCH her solitary figure walk off, back to us... And as she makes the turn in the hallway, she enters: THE JUNGLE. THE HALLWAY becomes DARK JUNGLE! SHE DISAPPEARS INTO THE DARKENSS. And then we HEAR:<\/scene_description>\n    <character>A NARRATOR<\/character>\n    <dialogue>Many rescue groups were sent to find Percy and Jack Fawcett, but none was successful. Nina Fawcett kept hope that they would return up until her death in 1954.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMAZONIA<\/stage_direction>\n    <scene_description>An aerial SHOT of the Amazon river, snaking through GREEN FOREST...<\/scene_description>\n    <character>A NARRATOR<\/character>\n    <dialogue>Though many recognized Fawcett's attitude toward the peoples of Amazonia to be ahead of its time, his belief in a lost city was ridiculed for almost a hundred years. But early in the 21st century, scientists were astonished to discover key evidence of ancient roads, bridges, and complex agricultural systems spread throughout the jungle: an advanced civilization.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>The modern age had come to see, in this way too, that Percy Fawcett was correct.<\/dialogue>\n    <character>CUT TO BLACK.<\/character>\n    <dialogue>The End<\/dialogue>\n  <\/scene>\n<\/script>","summary":"In 1905, Percy Fawcett is a young British major who participates in a stag hunt on an Irish baronial estate for the visiting Archduke Franz Ferdinand\u2019s benefit. A skilled horseman and marksman, he brings down the stag swiftly, but is snubbed at the after-hunt party. A year later, Fawcett meets officials of the Royal Geographical Society (RGS) in London, where he is informed that the governments of Bolivia and Brazil are nearly at war over the location of their mutual boundary. Directly affecting the region\u2019s extremely lucrative rubber trade, they have asked the British government to survey it. Fawcett leads the survey party, meeting Corporal Henry Costin, who is familiar with the Amazon rainforest,  aboard the ship to Brazil. At a large rubber plantation in the jungle owned by Portuguese nobleman Baron de Gondoris, they meet Lance Corporal Arthur Manley, who tells them the British government advises against further exploration. Nevertheless, Fawcett and Costin, along with several guides and Amazonian scout Tadjui, complete the mission. Tadjui tells him stories about a legendary jungle city covered in gold and full of people. Fawcett dismisses this as insane ravings, but he soon discovers highly advanced broken pottery and some small stone statues in the jungle, convincing him of the story\u2019s veracity. Upon his return, Fawcett is praised, and his wife, Nina (Sienna Miller), has given birth to their second son. In the Trinity College Library of Dublin, she discovers a conquistador text telling of a city deep in the Amazonian jungle, which Fawcett names \u201cthe Lost City of Z\u201d. He also meets renowned biologist James Murray, who agrees to back his Amazon expedition to find that lost city. Attempting to convince RGS members for backing, he is initially ridiculed, but ultimately they concede to further exploration. Murray, unfamiliar with the rigors of the deep jungle, greatly slows them down. Fawcett\u2019s party is attacked along the river, but he makes peace with the natives. Murray\u2019s leg injury becomes severely infected, and he begins to succumb to madness. Fawcett sends him off with a native guide and their last pack animal to find aid. The team must abandon the expedition after discovering that Murray poured paraffin on their supplies. Murray survives and, in front of RGS trustees, accuses Fawcett of abandoning him in the jungle, demanding an apology. Fawcett opts to resign from the society rather than do so. When World War I breaks out in Europe, Fawcett fights in France. Manley dies in the trenches at the Battle of the Somme, and Fawcett is temporarily blinded in a chlorine gas attack whilst leading an infantry attack. His estranged eldest, Jack, who had long accused Fawcett of abandoning them, reconciles with him as he recovers. In 1923, Fawcett is living in obscurity in Britain. American interest in exploring the Amazon has escalated, mostly due to Fawcett\u2019s stories of the lost city. John D. Rockefeller Jr. and a consortium of U.S. newspapers finance a new Fawcett expedition. The RGS co-funds it at the last moment to maintain British pride. Fawcett shows Sir John Scott Keltie a compass, telling him that he will send it back to him once he finds the lost city. Fawcett and his son go alone this time, travelling as light as possible for up to three years to find \u201cZ\u201d. Costin declines an invitation to join them. The Fawcetts are attacked by natives and run off, only to be stopped by a second tribe, who say that the Englishmen's spirits aren\u2019t wholly of their own world. They declare their spirits \u201cmust belong\u201d somewhere, so they will help them find their rightful place. The Fawcetts are drugged during a ceremony and carried away. Years later, Nina Fawcett has a meeting with Keltie at the RGS, claiming she has heard that Fawcett and Jack are still alive and living with tribespeople. The RGS, having sent over a hundred people to search for Fawcett over the years, refuses to do another search; and Keltie advises Nina to accept her husband\u2019s death, but she refuses. Instead, she shows him the compass Fawcett had promised to send once he found the lost city. As Nina leaves, her reflection in a mirror shows her walking out into what looks like the Amazonian jungle."}
{"movie_name":"Enemy_2013","imdb_id":"tt2316411","script":"<script>\n  <scene>\n    <character>AN ENEMY<\/character>\n    <dialogue>by<\/dialogue>\n    <scene_description>Javier Gull\u00f3n (Adapted from \"The Double\" by Jos\u00e9 Saramago) (Dir: Denis Villeneuve) January 23, 2012 Rhombus Media Inc. 99 Spadina Ave, Suite 600 Toronto ON M5V 3P8 Canada (1) 416 971 7856 Roxbury Pictures Balmes 123, 2\u00ba, 1 08008 Barcelona Spain (34) 932211077 FADE IN:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TORONTO - DAWN<\/stage_direction>\n    <scene_description>The infinite urban skyscraper landscape of Toronto as seen from above. The metropolis is under a cloud of fog. No movement can be seen: it's a dead city at dawn. A hundred-story high giant black SPIDER is moving through the city very slowly. With the remarkable elegance of a ballerina and in frightening silence, the spider finds its way between buildings, moving towards the lake. An indiscernible feeling of high intelligence is emanating from the beast. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARK ROOM - NIGHT<\/stage_direction>\n    <scene_description>THE SILHOUETTES OF SEVERAL MEN standing in a dimly-lit room with carpeted walls and floor. A lustful, prohibitive, musty atmosphere. The room is deeply dark, but some of the men are illuminating a stage with flashlights. The men are watching something on the stage that we can't see. We only hear the sounds coming from it, strange sounds, pleasure... Then we hear a key turning. A door opens. A SILHOUETTE appears in the room, that of a MAN. The good-looking Man (35) walks over and observes the scene on stage, entranced by the overlapping sounds, growing increasingly dangerous. Then it stops. We hear movement. On the stage, there is a WOMAN (we never see her face, only her long legs standing on dreadful high heels). There's a silver cloche (a dome shaped plate-warmer seen in fancy old- fashioned restaurants) on the floor. The Woman lifts the cloche - under it, a hideous spider. The woman is clearly afraid of it, but the men just keep watching. We understand that she must crush the spider with one of her heels. The Man's eyes glow as he watches. In his right eye we can see the reflection of something moving, ready to burst. FADE TO BLACK.: TITLE: AN ENEMY CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TEACHER'S LOUNGE - DAY<\/stage_direction>\n    <scene_description>TWO MEN are sitting in silence. One is the same man from the dark room, ABUNDIE BELL. The other one, CARL (40), always looks like he's smiling, even when he is not. Abundie and Carl are sitting in a teacher's lounge, which consists of two long tables, chairs and a coffee machine. A long, boring silence. They've obviously played out this routine before. Abundie looks at his coffee mug, mulling something over. Carl sighs, glances at Abundie and looks off into a corner of the room where's there's nothing to look at. One clears his throat, the other scratches himself. More silence. Abundie reaches for a book by his coffee mug and opens it. That's when Carl's lips separate slightly to speak:<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>You don't go to the movies, do you?<\/dialogue>\n    <scene_description>Abundie tries to answer courteously despite the unwanted interruption.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Movies?<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>In your free time, I mean.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>I don't usually have much free time. And I'm too lazy to go out.<\/dialogue>\n    <scene_description>Carl nods, thinking. Abundie goes back to his book.<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>You can be too lazy to go out and still watch movies at home.<\/dialogue>\n    <scene_description>Abundie looks up from his book.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>That's true.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>I usually rent them.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>I could do that.<\/dialogue>\n    <scene_description>Another silence. Abundie has doubts about reading on. He's afraid he'll be interrupted again. Finally, he breaks the silence.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Are you asking for some reason in particular?<\/dialogue>\n    <character>CARL<\/character>\n    <parenthetical>(surprised)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>What I mean is, now that you've brought it up, do you have a particular recommendation? Have you seen anything good lately?<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Ah, you know... There's always something.<\/dialogue>\n    <scene_description>Carl thinks.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>I could use something cheerful.<\/dialogue>\n    <character>CARL<\/character>\n    <parenthetical>(under his breath)<\/parenthetical>\n    <dialogue>You're telling me.<\/dialogue>\n    <scene_description>Abundie waits for an answer but it never comes. Another silence. Abundie goes back to reading his book. Finally Carl responds.<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>\"Where There's a Will, There's a Way.\"<\/dialogue>\n    <scene_description>Abundie looks at Carl curiously.<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>I saw it a while ago, but I remember I liked it.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>\"Where There's a Will, There's a Way.\"<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>That's right. A local film.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>I'll keep it in mind.<\/dialogue>\n    <scene_description>Carl smiles, satisfied. More silence. Abundie looks at his book... but decides to close it. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL CORRIDORS - DAY<\/stage_direction>\n    <scene_description>Classes are over for the day. Abundie walks towards the exit with a pile of exams under his arm. He walks among teenage boys wearing matching school uniforms. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL - DAY<\/stage_direction>\n    <scene_description>Abundie exits the old building, a prep school with plenty of tradition. There's an enigmatic and puzzling fog in the air. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - EVENING<\/stage_direction>\n    <scene_description>Abundie walks down the street on his way home when his cell phone rings. The name MARY appears on screen. He answers.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>MARY (V.O.)<\/character>\n    <parenthetical>(over cell phone)<\/parenthetical>\n    <dialogue>I bought dinner and a bottle of wine and I'm heading to your place.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Okay... Then I'll see you there.<\/dialogue>\n    <character>MARY (V.O.)<\/character>\n    <parenthetical>(over cell phone)<\/parenthetical>\n    <dialogue>Okay, see you soon.<\/dialogue>\n    <scene_description>He stops and hesitates. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIDEO RENTAL STORE - EVENING<\/stage_direction>\n    <scene_description>Abundie enters the video store as if it's the first time he's ever been in one. He walks down the aisles without really noticing any movies on the shelves. Finally he walks over to the counter and speaks to a young EMPLOYEE.<\/scene_description>\n    <character>EMPLOYEE<\/character>\n    <dialogue>Can I help you?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>I'm looking for a movie. It's called \"Where There's a Will, There's a Way.\"<\/dialogue>\n    <scene_description>The employee thinks a moment. He doesn't seem to recognize the title. He checks the computer.<\/scene_description>\n    <character>EMPLOYEE<\/character>\n    <dialogue>Oh, yeah. There should be two copies.<\/dialogue>\n    <scene_description>The employee opens a drawer and takes out a copy of the movie.<\/scene_description>\n    <character>EMPLOYEE<\/character>\n    <dialogue>Here you go. Are you a member?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>EMPLOYEE<\/character>\n    <dialogue>I'll sign you up. It only takes a second. Give me your name.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Abundie Bell.<\/dialogue>\n    <scene_description>The employee looks at Abundie oddly. Abundie's used to it.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABUNDIE'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Abundie eats the last bite of dinner off his plate.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>That was delicious, thank you.<\/dialogue>\n    <scene_description>Sitting across from him, MARY, in her early thirties, finishes a glass of wine. She's beautiful, serene, with frankness in her eyes.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>It's a new shop, just around the corner from my building.<\/dialogue>\n    <scene_description>Mary picks up the open bottle of wine, gets up and walks over to Abundie.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Want to finish it?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>No, thanks.<\/dialogue>\n    <scene_description>Mary leaves the bottle on the table and hugs Abundie from behind, sliding her fingers across his chest.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>I think I've had too much to drink...<\/dialogue>\n    <scene_description>She kisses his neck.<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>(softly)<\/parenthetical>\n    <dialogue>Wanna go to bed?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>You go ahead, okay? I have to correct some exams for tomorrow.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>I'll wait up for you.<\/dialogue>\n    <scene_description>They kiss.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Ok. I'll be done in no time.<\/dialogue>\n    <scene_description>Mary sighs softly and pulls away. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABUNDIE'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Later, Abundie corrects exams on the sofa. He analyzes the answers given by his students, all similar, written in the same spaces, all in the same color... Tired, Abundie looks over at several exams resting on a small table. Under the papers we see the DVD he rented... CUT TO: Abundie places the DVD in the DVD player. He sits on the sofa and gets comfortable, switching off a light. He presses play on the remote and the opening credits appear on screen. The film is obviously a light comedy. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR, ABUNDIE'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Abundie appears in the corridor after turning off the light in the living room. He stretches his neck, tired, on his way to the bedroom. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABUNDIE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Abundie comes into the bedroom and sees Mary, asleep on the bed, wearing nearly nothing. He contemplates her for a few seconds... He undresses and lies next to her. Mary shifts her position when she notices his presence beside her, without opening her eyes. Abundie buries his face in her hair and slowly begins stroking her breasts. Mary moans softly, still half-asleep. Abundie slides his hand along her stomach and under her panties as she opens her eyes. They kiss. Abundie turns Mary around and pulls her hair back so he can kiss her neck. They start making love; slowly at first, but quickly growing in intensity. We hear strange sounds of pleasure mixed with some violence, which we recognize as the same sounds we heard in the dark room at the beginning. Mary turns to him. Abundie keeps thrusting. He's making the sounds without even realizing. In his right eye we can see the reflection of something moving, ready to burst. Suddenly Mary pulls away, uncomfortable.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Stop.<\/dialogue>\n    <scene_description>Abundie stops.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>What's wrong?<\/dialogue>\n    <scene_description>Mary slides away and sits up on the edge of the bed.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>I didn't like it.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <parenthetical>(worried)<\/parenthetical>\n    <dialogue>You didn't like what?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <scene_description>Abundie slides over to her, trying to sympathize.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>What happened? What did I do?<\/dialogue>\n    <scene_description>Mary stands up and starts getting dressed.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>I better go home.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Mary, how am I supposed to know what's wrong if you don't tell me?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>You were there too.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Never mind. I'll call you tomorrow.<\/dialogue>\n    <scene_description>Mary finishes dressing and leaves the room. Abundie watches her leave and sits there on the bed, naked, thinking. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABUNDIE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Hours later, Abundie is fast asleep. He's suddenly startled awake. He thinks he heard something. He slowly sits up and looks at the open bedroom door, convinced there's somebody else in the apartment. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR, ABUNDIE'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Abundie crosses the hall with the lights off. From the living room he thinks he can hear A STRANGE SOUND, a groan... He passes the kitchen and peeks in, but there's nobody there. Abundie enters the kitchen for a moment and returns to the corridor, holding a kitchen knife. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABUNDIE'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Abundie enters the living room and finds it empty as well. He looks over at the television, still feeling unnerved. He notices the small display screen of the DVD player is still on with the counter functioning. Abundie sets the knife on the table and turns on the television. Unsure exactly of what he's looking for, he fast forwards through the film... He reaches a scene in a hotel where the BELLHOP helps a CUSTOMER with his bags, a woman with a lot of make up. The bellhop turns and faces the camera. Abundie freezes the image. The bellhop's face is his own. Exactly the same features. Abundie looks at the screen as if he's looking in the mirror. The actor on screen is an exact copy of him, with one notable difference: a moustache. Time stops. Abundie looks at himself on screen as if he's been hypnotized. Shaken by what he has just seen, Abundie opens a drawer and starts searching through a pile of photos. He finds one of himself with a moustache, but the photo has been ripped in half. Whoever was next to Abundie has been ripped out. He compares the photo to the frozen image on screen. It's exactly the same moustache. Abundie shakes his head. He doesn't want to believe it. He takes the DVD case and checks the year the film was produced: 2005. Then he turns over the ripped photo and reads a note in handwriting: \"Adelaide and me, June, 2006.\" CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABUNDIE'S BATHROOM - DAY<\/stage_direction>\n    <scene_description>Boiling hot water on Abundie's face. He stands in the shower looking like he's trying to wash off a bad dream.<\/scene_description>\n    <character>COMMON SENSE (V.O.)<\/character>\n    <dialogue>Now what, Abundie? What are you going to do? You'd better keep your mouth shut.<\/dialogue>\n    <scene_description>Abundie turns off the shower and stays still a few seconds. He lets the last drops of water run down his face.<\/scene_description>\n    <character>COMMON SENSE (V.O.)<\/character>\n    <dialogue>I know you'll just do whatever you want, you always do. But as your common sense, it's my duty to warn you.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL PARKING LOT - DAY<\/stage_direction>\n    <scene_description>Abundie shuts his car door after parking. As he heads for the main building, with the pile of exams under his arm, he notices something odd in the air; tension, a general murmur on campus. He turns the corner and sees a large group of students and staff staring at something on the front facade of the building. Abundie looks over and sees what they're seeing: \"CHAOS IS AN ORDER YET UNDECIPHERED\" is painted in huge letters across the brick wall. Abundie looks at the painted phrase, both surprised and shocked. The way the sentence is distributed between the windows, across the wall, the composition of the words... There's something harmonious about it, he can't stop looking. He's mesmerized. \"CHAOS IS AN ORDER YET UNDECIPHERED.\" CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TEACHER'S LOUNGE - DAY<\/stage_direction>\n    <scene_description>Abundie walks into the teacher's lounge. There are two teachers by the coffee machine. EVE, in her forties, and JULIA, in her fifties. But Abundie stares over at Carl, sitting in the back. Abundie walks over to the coffee pot and pours himself a cup. Julia and Eve are in mid-conversation.<\/scene_description>\n    <character>JULIA<\/character>\n    <dialogue>...the same as spraying graffiti on a sculpture or a painting.<\/dialogue>\n    <character>EVE<\/character>\n    <parenthetical>(nods disdainfully)<\/parenthetical>\n    <dialogue>This is one of the few remaining heritage buildings in the city... They should have picked the shopping mall across from where I live. It couldn't possibly be uglier.<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>I saw a couple of photographers out there. We'll probably be in the papers tomorrow.<\/dialogue>\n    <character>EVE<\/character>\n    <dialogue>I wonder how they got up there? You think they used ropes?<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <scene_description>Abundie glances over at Carl, who still hasn't seen him come in.<\/scene_description>\n    <character>JULIA<\/character>\n    <dialogue>The thing is, I've heard that phrase somewhere.<\/dialogue>\n    <character>EVE<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>I don't know where, but it just sounds familiar.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>The Book of Opposites.<\/dialogue>\n    <scene_description>The two women look at Abundie.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>\"Chaos is an order yet undeciphered.\" I'm pretty sure it's from The Book of Opposites.<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>It could be, yes.<\/dialogue>\n    <scene_description>Abundie nods and smiles politely. He walks over to Carl's table and sits down.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Good morning.<\/dialogue>\n    <scene_description>Carl looks up from the exams he was correcting and smiles.<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Morning, Abundie. Incredible, that graffiti thing, isn't it?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Yeah...<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Pedantic terrorism. Never seen that before.<\/dialogue>\n    <scene_description>Carl goes back to correcting. Abundie watches him in silence, wondering whether he should mention the movie. The two men remain quiet for a moment. Abundie focuses on his coffee. Finally Carl puts his exams away and sighs.<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Well? Did you rent that movie?<\/dialogue>\n    <scene_description>Abundie wasn't expecting him to be so direct.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>The movie we spoke about yesterday. Did you rent it?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Yeah. Yeah...<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>What did you think?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Well... It wasn't bad.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Cheer you up?<\/dialogue>\n    <scene_description>Abundie nods, trying to hide his discomfort.<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>I guess that was the idea, right?<\/dialogue>\n    <scene_description>Carl gets up to leave. Abundie looks at him, unsure whether he should mention the actor. But, just as Carl starts walking away, he turns and comes back over.<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>By the way, did you notice the actor who looks just like you?<\/dialogue>\n    <scene_description>The question is like a punch in the ribs.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Yes, as a matter of fact, I did.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Who was it, the bartender...?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>The bellhop.<\/dialogue>\n    <character>CARL<\/character>\n    <parenthetical>(amused)<\/parenthetical>\n    <dialogue>Yeah the bellhop, that's it.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>If I had a moustache we'd be identical.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>If you had a moustache, he'd be a history teacher.<\/dialogue>\n    <scene_description>Carl puts his hand warmly on Abundie's back. But Abundie's reflex is to reject him, arching his shoulder and backing away. Carl notices.<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>(annoyed)<\/parenthetical>\n    <dialogue>I'm late for class.<\/dialogue>\n    <scene_description>Carl walks off, bothered by Abundie's impolite gesture. Abundie is left alone at the table, in a daze. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABUNDIE'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>The frozen image of the bellhop on the TV screen. Abundie stands before it, holding the remote, deep in thought. He fast forwards to the final credits. Once there, he slows it down and follows the titles as they scroll up the screen. Finally four credits catch his attention: BELLHOP 1: FRASER ASH BELLHOP 2: KEVIN KRIKST BELLHOP 3: DANIEL SAINT-CLAIRE BELLHOP 4: TIM MARCZENKO Abundie writes down the four names in a small notebook.<\/scene_description>\n    <character>COMMON SENSE (V.O.)<\/character>\n    <dialogue>Okay, I can understand your curiosity. But Remember that curiosity and common sense are usually incompatible. Who do you think invented the wheel? The wheel was invented by someone's common sense.<\/dialogue>\n    <scene_description>CUT TO: Abundie, sitting at the computer, types in the names one by one. He is looking for information and hopefully photographs of the actors.<\/scene_description>\n    <character>COMMON SENSE (V.O.)<\/character>\n    <dialogue>It's true, you didn't create this situation, but it's like you turned on a chainsaw and it's heading straight for your head.<\/dialogue>\n    <scene_description>He types in DANIEL SAINT-CLAIRE and a photograph appears of a guy who looks exactly like him. There he is, his face smiling back at him from the screen. There aren't a lot of other photos. It looks like Daniel Saint-Claire is a minor actor who hasn't worked very much. He doesn't seem to have been in anything that stands out. After several clicks, Abundie finds a website belonging to the talent agency representing Daniel, along with a few more photographs and his filmography. Abundie writes down the agency's address and also the titles of a few more movies he's been in. He picks up the phone book and finds three Saint-Claires listed. He writes down the three phone numbers. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIDEO RENTAL STORE - NIGHT<\/stage_direction>\n    <scene_description>Abundie hurries into the video store, which looks like it's about to close. He walks straight over to the employee at the counter.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Good evening.<\/dialogue>\n    <character>EMPLOYEE<\/character>\n    <dialogue>Good evening.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>I was looking for a couple of movies.<\/dialogue>\n    <scene_description>Abundie checks his notebook.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>\"Call me Later\" and \"Passenger Without a Ticket.\"<\/dialogue>\n    <scene_description>The employee checks the computer.<\/scene_description>\n    <character>EMPLOYEE<\/character>\n    <dialogue>Yeah. We have both of them.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABUNDIE'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Abundie walks in and heads right to the DVD player. He puts in one of the movies and quickly hits play. That's when he spots the red light blinking on the answering machine, indicating he has a message. Abundie walks over and presses a button.<\/scene_description>\n    <character>VOICE (V.O.)<\/character>\n    <dialogue>You have two messages. First message.<\/dialogue>\n    <scene_description>After a beep:<\/scene_description>\n    <character>CAROLINE (V.O.)<\/character>\n    <dialogue>Hello dear, it's your mother. Can you call me when you have a minute and explain again how I can set up the TV channels. I don't know what I did wrong, but now I can't see a thing.<\/dialogue>\n    <scene_description>We hear a dog barking.<\/scene_description>\n    <character>CAROLINE (V.O.)<\/character>\n    <parenthetical>(to the dog)<\/parenthetical>\n    <dialogue>I'm coming, I'm coming...<\/dialogue>\n    <scene_description>The message ends.<\/scene_description>\n    <character>VOICE (V.O.)<\/character>\n    <dialogue>Second message.<\/dialogue>\n    <scene_description>After a beep:<\/scene_description>\n    <character>MARY (V.O.)<\/character>\n    <parenthetical>(over answering machine)<\/parenthetical>\n    <dialogue>It's me. I'm calling again... You're not answering your cell.<\/dialogue>\n    <parenthetical>(sweetly but also sadly)<\/parenthetical>\n    <dialogue>I know we had that awkward moment last night and... I'd really like to speak. Call me. Please.<\/dialogue>\n    <scene_description>Abundie thinks to himself. But rather than call, he goes back to his main concern: the TV. He fast forwards through the movie, moving closer to the screen. Abundie watches a kid running, and then a group of PEASANTS searching the countryside with sickles and rakes... Something catches his eye and he perks up: an image of the peasants running. Abundie freezes the image. Suddenly his cell phone rings. But Abundie doesn't pay attention. His eyes and all his senses are fixated on the screen. He moves in closer for a look at the peasants. Abundie has spotted a man... He's hard to distinguish, because he's running and screaming. Abundie studies the face in the pixels on screen, his own face, that of Daniel Saint-Claire. His cell phone keeps ringing. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL - DAY<\/stage_direction>\n    <scene_description>On the front of the building we can still read the letters \"AOS AN ORDE ET DECIPH.\" TWO WORKERS are slowly scrubbing away the letters. Several yards away, Abundie watches the workers, standing with Julia and the PRINCIPAL, a man close to his seventies with white hair, wearing a suit.<\/scene_description>\n    <character>PRINCIPAL<\/character>\n    <dialogue>In 90 years nothing like this has ever happened...<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>They're doing a great job. It'll look brand new after this.<\/dialogue>\n    <character>PRINCIPAL<\/character>\n    <dialogue>Unheard of.<\/dialogue>\n    <scene_description>The principal shakes his head, dismayed. Julia tries to console him.<\/scene_description>\n    <character>JULIA<\/character>\n    <dialogue>Everything will be okay.<\/dialogue>\n    <scene_description>Abundie keeps looking at the wall, still hypnotized.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>\"Aos an orde et deciph.\"<\/dialogue>\n    <scene_description>Julia rolls her eyes and glances dryly at the principal, amused by Abundie's eccentricity. Abundie sees Carl walking towards them, but he decides to avoid him. Abundie walks to the main entrance. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLASSROOM - DAY<\/stage_direction>\n    <scene_description>Abundie is teaching history. On the blackboard, covering part of it, there is a map of ancient Mesopotamia.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>That's why in Mesopotamian civilizations there are fascinating and varied records that reflect on the idea. When I say records I mean cultural manifestations of some kind.<\/dialogue>\n    <scene_description>Abundie goes over to the blackboard and picks up a piece of chalk.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>There's a phrase found in the Book of Facts that refers to a similar notion.<\/dialogue>\n    <scene_description>Abundie writes a sentence on the blackboard.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>\"You know the name you were given, not the one you have.\"<\/dialogue>\n    <scene_description>Abundie looks at the phrase he just wrote: \"YOU KNOW THE NAME YOU WERE GIVEN, NOT THE ONE YOU HAVE.\" He ran out of space on the blackboard and wrote the last word below on the right, by itself. He turns to the class.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>I'm aware that we usually focus more on factual history than on the history of ideas. But keep in mind that the history of ideas is every bit as important, if not more so.<\/dialogue>\n    <scene_description>The class looks on. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABUNDIE'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Abundie's notebook, open to the page with the movie titles (crossed out), the three phone numbers he found for Saint- Claire in the phone book and the talent agency's address. Abundie has his cell phone in hand, looking at the phone numbers, deciding whether to call or not. Suddenly his cell phone rings. The screen reads: MARY. Abundie answers.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Mary...<\/dialogue>\n    <character>MARY (V.O.)<\/character>\n    <parenthetical>(over cell phone)<\/parenthetical>\n    <dialogue>It's me.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>I meant to call you back. I'm sorry.<\/dialogue>\n    <character>MARY (V.O.)<\/character>\n    <parenthetical>(over cell phone)<\/parenthetical>\n    <dialogue>I had an errand to run nearby and... I'm right around the corner.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>You are?<\/dialogue>\n    <character>MARY (V.O.)<\/character>\n    <parenthetical>(over cell phone)<\/parenthetical>\n    <dialogue>This might be a bad time, but I was thinking maybe we could talk now.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Um... Yeah, sure we can. Ring me from downstairs and I'll buzz you up.<\/dialogue>\n    <scene_description>Abundie hangs up and looks at himself in the mirror. He's wearing a worn-out T-shirt and pajama bottoms. He decides to change clothes but the buzzer already sounds from downstairs. He walks over to the phone and dials her in.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <parenthetical>(into intercom)<\/parenthetical>\n    <dialogue>Come on up.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABUNDIE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Abundie puts on some pants but leaves his T-shirt on. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABUNDIE'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Abundie opens the front door and there's Mary.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Mary...<\/dialogue>\n    <scene_description>Abundie and Mary kiss, but in a strange way. She offers her face with a certain coldness and he kisses her ambiguously between the mouth and the cheek. Mary enters the living room, maintaining a certain stiffness in attitude and in the way she carries herself.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>You're a movie buff now?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <parenthetical>(surprised)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>It's the first time I've ever seen you with a movie at home.<\/dialogue>\n    <scene_description>Mary points to the three DVD cases on the floor in front of the TV. Abundie quickly picks them up, trying to keep them out of Mary's sight.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>I'm writing an essay...<\/dialogue>\n    <scene_description>Mary looks at Abundie oddly.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>It's about... references made to teaching history in fiction feature films.<\/dialogue>\n    <scene_description>Mary sits on the sofa, watching Abundie, unsure whether to believe him... though she doesn't know why she shouldn't. Abundie puts the DVD's away.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>You wanna drink something?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Did you get my message?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Yeah, I owe you a call... and an apology.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>An apology?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>For not calling you back.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>If you had, you'd have saved yourself the apology.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>You mean...<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>I think you're right. We need to talk.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Okay...<\/dialogue>\n    <parenthetical>(cuts herself off, gulps)<\/parenthetical>\n    <dialogue>You think we should stop seeing each other?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Why do you say that?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>We've had a few weird days, but I don't think it's such a big deal...<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>I saw the photos.<\/dialogue>\n    <scene_description>Abundie doesn't follow. Mary looks over at the drawers of the dresser with some of the pictures Abundie took out after seeing the movie. Abundie gets her meaning.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Have you been thinking about her again?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>No. Of course not.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>You can tell me.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>I would. But I haven't. I was looking for something else and I haven't had a chance to clean up.<\/dialogue>\n    <scene_description>Mary looks at Abundie, wanting more information. But he suddenly seems distant... because he's spotted the open notebook on the table, to the page with all the information about Daniel Saint-Claire.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Then what do you want to talk about?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>You said we need to talk.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>I meant about the other night. I thought you were going to tell me why you left like that.<\/dialogue>\n    <scene_description>Abundie wants to put the notebook away, get it away from Mary. She moves closer to him, sweetly.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>I wouldn't know how to explain it.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Don't worry. We don't have to talk if you don't feel like it. Let's forget it.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>I need to drink something.<\/dialogue>\n    <scene_description>Mary heads for the kitchen, but the table with the notebook is right on her path! Trying to stop her, Abundie positions himself between her and the notebook, touching her hand...<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>I'll get it. What would you like?<\/dialogue>\n    <scene_description>Mary takes this gesture as a caress and touches his hand as well. They make eye contact and... kiss. Their lips separate. Mary seems reassured by this kiss. She gets emotional, avoiding Abundie\/s look. Her eyes get wet...<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>It's okay. I'll go.<\/dialogue>\n    <scene_description>Mary gestures affectionately and enters the kitchen, trying to hide her tears. Abundie watches her disappear. Then he quickly turns and hides the notebook (and the photos) in a drawer. He sighs, relieved. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABUNDIE'S KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Abundie sneaks a peek in the kitchen where Mary is looking for something in the cupboard.<\/scene_description>\n    <character>COMMON SENSE (V.O.)<\/character>\n    <dialogue>Don't screw it up, Abundie. I don't know what you need to convince yourself about. She's right for you, she's perfect.<\/dialogue>\n    <scene_description>She reaches up for a box of tea and we can see her back exposed above her waist. Abundie walks over and takes her in his arms, pressing her tightly against his body. Mary smiles and turns to kiss him, this time differently, returning the strength of his embrace. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL CORRIDOR - DAY<\/stage_direction>\n    <scene_description>Abundie dials the first Saint-Claire phone number in his notebook, standing in a hallway in what looks like a quieter part of the school. The phone rings. Somebody answers.<\/scene_description>\n    <character>SAINT-CLAIRE (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Good morning, may I please speak to Daniel Saint-Claire?<\/dialogue>\n    <character>SAINT-CLAIRE (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>I'm sorry, nobody named Daniel lives here.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>You don't know how I can get in touch with Daniel Saint-Claire, do you?<\/dialogue>\n    <character>SAINT-CLAIRE (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>I don't know anyone by that name. I'm sorry.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Thank you. Sorry to bother you.<\/dialogue>\n    <scene_description>He hangs up and spots Carl approaching down the hall. He puts his notebook away and smiles at him. Carl looks at him oddly, not expecting to see him calling from there.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Heading to class?<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Me too.<\/dialogue>\n    <scene_description>Abundie joins Carl and they walk together. Carl seems less cheerful than usual, probably due to the tension last time they spoke. After a few steps...<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Carl, I'm sorry I reacted that way the other day.<\/dialogue>\n    <character>CARL<\/character>\n    <parenthetical>(playing dumb)<\/parenthetical>\n    <dialogue>What way?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>You know.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Don't worry about it.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>I've been on edge lately.<\/dialogue>\n    <scene_description>Carl shows concern.<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Is everything okay?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Yeah, there's no reason in particular. Just a bad streak.<\/dialogue>\n    <character>CARL<\/character>\n    <parenthetical>(lowers his voice)<\/parenthetical>\n    <dialogue>I'm here for you. I was here when it all went down... and I'll still be here if you need me again.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <parenthetical>(awkward)<\/parenthetical>\n    <dialogue>This has nothing to do with that.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>Abundie and Carl approach the classrooms.<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>(trying to be nice)<\/parenthetical>\n    <dialogue>But you haven't been the same since you saw that movie.<\/dialogue>\n    <scene_description>Abundie takes this comment in silence.<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>I may have to watch it again to see what affected you so much.<\/dialogue>\n    <parenthetical>(trying to joke)<\/parenthetical>\n    <dialogue>I don't remember it being that bad!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PAY PHONE - EVENING<\/stage_direction>\n    <scene_description>Abundie dials the second Saint-Claire phone number on a pay phone outside his building. After several rings someone picks up.<\/scene_description>\n    <character>YOUNG SAINT-CLAIRE (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Good evening, is Daniel Saint- Claire there?<\/dialogue>\n    <character>YOUNG SAINT-CLAIRE (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>Daniel? You mean David Saint- Claire?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>No, sorry, my mistake.<\/dialogue>\n    <scene_description>Abundie hangs up and dials the third number. After a few seconds...<\/scene_description>\n    <character>FEMALE SAINT-CLAIRE (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Good evening. May I please speak to Daniel Saint-Claire?<\/dialogue>\n    <character>FEMALE SAINT-CLAIRE (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>I already told you yesterday, there's nobody here by that name.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Yesterday?<\/dialogue>\n    <character>FEMALE SAINT-CLAIRE (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>Didn't you call yesterday asking for that same name?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>FEMALE SAINT-CLAIRE (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>There must be a wrong listing somewhere. There's no Daniel here, I'm sorry.<\/dialogue>\n    <scene_description>Abundie hangs up and looks at his notebook. He crosses out the third phone number with a pen. At this point, in the notebook, only one piece of information remains: the talent agency. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABUNDIE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Abundie and Mary are lying on the bed, trying to sleep. She smiles softly.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Are you okay?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>You're upset because we aren't making love.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Of course I'm not.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>It's just... I think we need more time.<\/dialogue>\n    <parenthetical>(she kisses him)<\/parenthetical>\n    <dialogue>Let's do something this weekend. We could go to the countryside, you know how much I love it.<\/dialogue>\n    <scene_description>Abundie pretends to remember something.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>I can't, I'm sorry. I forgot to tell you...<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>You're going to see your mother?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>No, I plan to visit her soon. But tomorrow I... I have some interviews related to my report.<\/dialogue>\n    <scene_description>Mary looks at him strangely.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>I told you, remember? About references to teaching in movies.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>How could I forget.<\/dialogue>\n    <scene_description>Abundie ignores her irony.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Actually I have to get up early.<\/dialogue>\n    <scene_description>Mary gets the hint.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Then I'd better go.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>No, that's not what I meant. You can stay the night.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>\"You can stay the night\"? Or \"Stay the night.\"<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>You can stay. Stay. Both.<\/dialogue>\n    <scene_description>Abundie looks at her, asking her to relax.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Sorry. I'm still a little tense.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>That's okay.<\/dialogue>\n    <scene_description>Mary takes a deep breath.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Should I stay?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Stay.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Are you sure?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>I'm sure.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COSTUME SHOP - DAY<\/stage_direction>\n    <scene_description>START MONTAGE: Abundie's face, with a beard. Abundie takes off the fake beard and tries another one. He's standing in front of a mirror in a costume shop. The second beard looks better on him, more appropriately matching the color of his hair. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABUNDIE'S CAR - DAY<\/stage_direction>\n    <scene_description>Abundie's face, without the beard. He drives through the city, focused on the streets. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABUNDIE'S CAR - DAY<\/stage_direction>\n    <scene_description>Abundie's face, with the beard. He checks himself in the rear-view mirror, making sure the beard is on right. Suddenly someone walks by. Abundie quickly puts his hands on the steering wheel, trying to act nonchalant. But his fake beard is hanging halfway off his face. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABUNDIE'S CAR - DAY<\/stage_direction>\n    <scene_description>Abundie's face, with the beard. Abundie behind the wheel again. He looks around curiously. END MONTAGE. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. DOWNTOWN \/ ABUNDIE'S CAR - DAY<\/stage_direction>\n    <scene_description>Abundie's car is driving through a downtown neighborhood very different from his own. He drives slowly, looking at the streets. He checks the notebook on the passenger seat, where he wrote down the name and address of the talent agency. He stops the car on a wide street, in front of number 183. This is the place. He looks up the fa\u00e7ade of a tall and modest office building. He turns off the engine and notices a few people walking down the street. You can tell it's the weekend as the sidewalks are not overtly crowded. Nobody enters or exits the building.<\/scene_description>\n    <character>COMMON SENSE (V.O.)<\/character>\n    <dialogue>Is anybody there, listening to me? Stay away from him, Abundie. Just let him remain what he was up until now. A stranger.<\/dialogue>\n    <scene_description>Abundie makes himself comfortable, ready to wait. CUT TO: A while later, Abundie eats a sandwich. He experiences some trouble eating as his fake beard gets in the way and he has to adjust it a couple of times in order to chew. Suddenly Abundie sees a WOMAN exit the building, accidentally leaving the front door ajar. It's the first opportunity he's had to get inside, and he isn't going to let it go. Abundie checks his beard in the rear-view mirror and opens the door. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TALENT AGENCY BUILDING - DAY<\/stage_direction>\n    <scene_description>Abundie crosses the street, trying to look assured. The door to the building is still ajar. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TALENT AGENCY BUILDING - DAY<\/stage_direction>\n    <scene_description>Abundie enters the lobby, which is completely deserted, and looks over at a panel of mailboxes to the right. He quickly finds what he's looking for on the ninth floor: VOLGA TALENT AGENCY. The mailbox is empty.<\/scene_description>\n    <character>CONCIERGE (O.S.)<\/character>\n    <dialogue>Anthony?<\/dialogue>\n    <scene_description>Abundie doesn't know whether to turn around or not.<\/scene_description>\n    <character>CONCIERGE (O.S.)<\/character>\n    <dialogue>Anthony.<\/dialogue>\n    <scene_description>Abundie slowly turns around and finds a short CONCIERGE standing there, happy to see him.<\/scene_description>\n    <character>CONCIERGE<\/character>\n    <dialogue>Anthony! Long time no see! I couldn't tell if it was you with that ridiculous beard.<\/dialogue>\n    <scene_description>Abundie tries to smile, but it doesn't come out right.<\/scene_description>\n    <character>CONCIERGE<\/character>\n    <parenthetical>(pointing at the beard)<\/parenthetical>\n    <dialogue>Is that for a movie?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Yeah...<\/dialogue>\n    <character>CONCIERGE<\/character>\n    <dialogue>You haven't been around here for ages.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Ages, yeah.<\/dialogue>\n    <parenthetical>(loosens up)<\/parenthetical>\n    <dialogue>I can't even remember the last time.<\/dialogue>\n    <character>CONCIERGE<\/character>\n    <dialogue>Six months, I'd say.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Six months or more.<\/dialogue>\n    <character>CONCIERGE<\/character>\n    <dialogue>How is everything?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Fine...<\/dialogue>\n    <scene_description>They look at each other.<\/scene_description>\n    <character>CONCIERGE<\/character>\n    <dialogue>Are you meeting someone here? Because there's no one around.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>No?<\/dialogue>\n    <character>CONCIERGE<\/character>\n    <dialogue>No, you know nobody comes in here on Saturdays.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Oh, right. They told me to come in and pick up some contracts. But I forgot it was Saturday.<\/dialogue>\n    <scene_description>The concierge looks at him oddly.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>My head...<\/dialogue>\n    <character>CONCIERGE<\/character>\n    <dialogue>You actors are really something else!<\/dialogue>\n    <scene_description>Abundie nods, ready to leave.<\/scene_description>\n    <character>CONCIERGE<\/character>\n    <dialogue>But now that you mention it...<\/dialogue>\n    <scene_description>The concierge hurries over to the reception desk and opens a drawer.<\/scene_description>\n    <character>CONCIERGE<\/character>\n    <dialogue>The Agency's mail came in yesterday and I think there was something for you. Hold on.<\/dialogue>\n    <scene_description>The concierge takes out several envelopes of different sizes and colours. One of them is for ANTHONY.<\/scene_description>\n    <character>CONCIERGE<\/character>\n    <dialogue>Here it is, look.<\/dialogue>\n    <scene_description>He hands Abundie an envelope. Abundie takes it gratefully.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>This must be it.<\/dialogue>\n    <character>CONCIERGE<\/character>\n    <dialogue>I was going to send it on Monday.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>This is definitely it.<\/dialogue>\n    <character>CONCIERGE<\/character>\n    <dialogue>Well, there you go.<\/dialogue>\n    <scene_description>Abundie turns and heads for the door.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Thanks a lot.<\/dialogue>\n    <character>CONCIERGE<\/character>\n    <dialogue>Don't be a stranger!<\/dialogue>\n    <scene_description>Abundie opens the door.<\/scene_description>\n    <character>CONCIERGE<\/character>\n    <dialogue>Good luck with the movie.<\/dialogue>\n    <scene_description>Abundie smiles and walks out. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TALENT AGENCY BUILDING - DAY<\/stage_direction>\n    <scene_description>Abundie exits the building. We can still hear the concierge's voice inside.<\/scene_description>\n    <character>CONCIERGE (O.S.)<\/character>\n    <dialogue>The beard looks great...<\/dialogue>\n    <scene_description>He crosses the street and gets in his car. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABUNDIE'S CAR - DAY<\/stage_direction>\n    <scene_description>Once inside, Abundie settles down. He got very nervous, but somehow the encounter was also exhilarating... He looks at the envelope in his hand. It's addressed to ANTHONY CLAIRE.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Anthony Claire.<\/dialogue>\n    <scene_description>Beside the new name, there's an address and a phone number (with a lot of threes). CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. APARTMENT BUILDING \/ ABUNDIE'S CAR - DAY<\/stage_direction>\n    <scene_description>A large apartment building with dozens of identical square windows. Abundie observes the building carefully from inside his car. He checks the envelope, which says 7TH FLOOR. Abundie follows the windows with his finger up to the 7th floor. Then he points sideways from apartment to apartment, imagining which one belongs to Anthony Claire.<\/scene_description>\n    <character>COMMON SENSE (V.O.)<\/character>\n    <dialogue>Hey, what you're about to do isn't only careless, it's stupid. And I must advise you to be cautious, especially in cases when stupidity takes over.<\/dialogue>\n    <scene_description>Abundie checks himself in the rear-view mirror.<\/scene_description>\n    <character>COMMON SENSE (V.O.)<\/character>\n    <dialogue>Seriously, Abundie. The more you disguise yourself, the more you look just like yourself.<\/dialogue>\n    <scene_description>He adds to the disguise, putting on a baseball cap. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANTHONY'S BUILDING - DAY<\/stage_direction>\n    <scene_description>Abundie gets out of the car and starts walking self consciously, as if he's crossing enemy territory, afraid he'd get caught. Each time he sees someone, he gets nervous and excited at the same time.<\/scene_description>\n    <character>OLD MAN (O.S.)<\/character>\n    <dialogue>Good afternoon.<\/dialogue>\n    <scene_description>Abundie is surprised by the greeting. He turns and sees an OLD MAN walking away. It's obvious his disguise isn't working all that well. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHONE BOOTH OUTSIDE ANTHONY'S BUILDING - DAY<\/stage_direction>\n    <scene_description>From a phone booth with a view of Anthony's building, Abundie dials the phone number written on the envelope.<\/scene_description>\n    <character>HELEN (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>First, Abundie is surprised to hear a female voice...<\/scene_description>\n    <character>HELEN (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>Yes? Who is speaking?<\/dialogue>\n    <scene_description>And second, Abundie seems to recognize that voice.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <parenthetical>(disturbed)<\/parenthetical>\n    <dialogue>A... Adelaide?<\/dialogue>\n    <character>HELEN (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>Anthony?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Who is it?<\/dialogue>\n    <character>HELEN (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>Anthony, you called home.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>That isn't you?<\/dialogue>\n    <character>HELEN (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>It's me. Helen.<\/dialogue>\n    <scene_description>Abundie suddenly changes his tone, going back to his original plan.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>I think there's been some misunderstanding. I was hoping to speak to Daniel Saint-Claire.<\/dialogue>\n    <character>HELEN (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>Right.<\/dialogue>\n    <character>HELEN (V.O.)<\/character>\n    <dialogue>Daniel isn't here right now but when he gets back I'll tell him Anthony called asking to speak to himself.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>I don't understand...<\/dialogue>\n    <character>HELEN (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>That's enough, Anthony. I don't know why you're calling. But I can't wait to hear who the hell Adelaide is.<\/dialogue>\n    <scene_description>Abundie doesn't modulate his voice, he just tries to speak naturally.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Excuse me, but my name isn't Anthony.<\/dialogue>\n    <scene_description>Silence. Helen reassesses the situation.<\/scene_description>\n    <character>HELEN (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>You're not Anthony?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>No. I'm just trying to locate Daniel Saint-Claire, the actor. If I'm not mistaken, that's Anthony Claire's stage name.<\/dialogue>\n    <scene_description>Silence.<\/scene_description>\n    <character>HELEN (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>Like I said, he's not here at the moment.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Ok then, I'm sorry to bother you.<\/dialogue>\n    <character>HELEN (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>I find it hard to believe.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>HELEN (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>Your voice. You have exactly the same voice as he does.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <parenthetical>(doubts)<\/parenthetical>\n    <dialogue>Sometimes telephones can play tricks.<\/dialogue>\n    <scene_description>Silence. Helen is thinking again.<\/scene_description>\n    <character>HELEN (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>Can you tell me your name so I can give Anthony the message when he gets back?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>He doesn't know me.<\/dialogue>\n    <character>HELEN (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>Is this a work-related call?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>HELEN (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>In any case, if you give me your name I can tell him...<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>I'll call back later.<\/dialogue>\n    <scene_description>Abundie hangs up, cutting her off. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABUNDIE'S CAR - DAY<\/stage_direction>\n    <scene_description>Abundie's face, with the beard. Abundie drives, concentrating, crossing the city on his way back home. He takes off his beard, driving and facing ahead, deep in thought.<\/scene_description>\n    <character>COMMON SENSE (V.O.)<\/character>\n    <dialogue>You think you heard her voice on the telephone. But we both know that voice wasn't her voice. You have to keep your feet on the ground.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Or one foot, at least.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABUNDIE'S LIVING ROOM - EVENING<\/stage_direction>\n    <scene_description>Abundie enters his apartment and leaves his notebook and Anthony's envelope on the living room table. He exits the living room, returning a few moments later, holding a soft drink. He walks back over to the envelope, thinking. Abundie takes out his cell phone and dials Anthony's number. He presses the call button and sits on the sofa. After a few seconds...<\/scene_description>\n    <character>ANTHONY (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Good evening. Anthony Claire?<\/dialogue>\n    <character>ANTHONY (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>Speaking.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>I called earlier.<\/dialogue>\n    <character>ANTHONY (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>Yeah, my wife told me.<\/dialogue>\n    <parenthetical>(dry)<\/parenthetical>\n    <dialogue>What was it you wanted?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>You may have noticed that our voices are identical.<\/dialogue>\n    <character>ANTHONY (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>Sounds like it.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Well, that's not the only thing about us that's identical.<\/dialogue>\n    <character>ANTHONY (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>I've seen three of your movies.<\/dialogue>\n    <character>ANTHONY (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>And?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>You and I are the same.<\/dialogue>\n    <character>ANTHONY (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>What do you mean, the same?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Exactly the same.<\/dialogue>\n    <scene_description>A brief silence. Anthony appears somewhat curious.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Not even your wife could tell us apart.<\/dialogue>\n    <character>ANTHONY (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>Right.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Do we have the same name too?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <parenthetical>(pensive)<\/parenthetical>\n    <dialogue>No...<\/dialogue>\n    <character>ANTHONY (V.O.)<\/character>\n    <dialogue>What's your name?<\/dialogue>\n    <scene_description>Abundie doubts...<\/scene_description>\n    <character>ANTHONY (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>Look, I don't know who you are or...<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <parenthetical>(cutting him off)<\/parenthetical>\n    <dialogue>My name is Abundie Bell and I'm a history teacher. While watching one of your films I discovered that you and I are physically identical.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I think we should meet.<\/dialogue>\n    <character>ANTHONY (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>That was almost funny. Almost.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>You have a birthmark on your right arm.<\/dialogue>\n    <character>ANTHONY (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>You could have seen it in one of the movies.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>That's right. But I have exactly the same birthmark.<\/dialogue>\n    <character>ANTHONY (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>That's what you say.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>I also have a scar on my left knee. And a scar isn't like a birthmark.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTHONY'S LIVING ROOM - EVENING<\/stage_direction>\n    <scene_description>ANTHONY CLAIRE, physically identical to Abundie, is on the phone.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>I don't believe you.<\/dialogue>\n    <character>ABUNDIE (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>I wonder if we both had the same accident.<\/dialogue>\n    <scene_description>Anthony remains silent, serious. The small screen on the phone reads \"UNKNOWN CALLER ID.\"<\/scene_description>\n    <character>ABUNDIE (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>That's why I think it's important for us to meet.<\/dialogue>\n    <scene_description>Anthony isn't amused, he's getting uncomfortable.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>Why are you doing this?<\/dialogue>\n    <character>ABUNDIE (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>Put yourself in my shoes. Imagine what went through my head when I first saw you in a movie.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Even if what you're saying is true, which I'm sure it isn't, I'd never want to meet you.<\/dialogue>\n    <character>ABUNDIE (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>Were you born on September 1st, 1975?<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>You could have seen that on the internet.<\/dialogue>\n    <character>ABUNDIE (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>You're right. But that's my birthday as well.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>I don't care.<\/dialogue>\n    <character>ABUNDIE (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>You're not even curious?<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>I think you may be a stalker.<\/dialogue>\n    <character>ABUNDIE (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>Come on...<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Or you're just crazy.<\/dialogue>\n    <character>ABUNDIE (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>I'm not a stalker and I'm not crazy.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Don't call again or I'll have to call the police.<\/dialogue>\n    <character>ABUNDIE (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>I won't call again.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Good.<\/dialogue>\n    <scene_description>Anthony hangs up... ...and remains still a few moments, thinking deeply about the conversation he just had. HELEN, his wife, appears behind him, beautiful and pregnant, with big, attractive eyes.<\/scene_description>\n    <character>HELEN<\/character>\n    <parenthetical>(serious, affected)<\/parenthetical>\n    <dialogue>What did he want?<\/dialogue>\n    <scene_description>Anthony shakes his head. He picks up a notepad and writes: ABUNDY BELL, HISTORY TEACHER.<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Anthony, what did he want?<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Why won't you tell me?<\/dialogue>\n    <scene_description>Anthony gets up.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>Because there's nothing to tell. He sounds crazy. Like a stalker.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>He didn't sound all that crazy when I spoke to him.<\/dialogue>\n    <parenthetical>(thinks)<\/parenthetical>\n    <dialogue>Or like a stalker.<\/dialogue>\n    <scene_description>Helen has something in mind. She looks at Anthony.<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>You're hiding me something.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Please, don't start again.<\/dialogue>\n    <scene_description>Helen thinks, upset.<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Are you having another affair?<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>You heard the voice! It was a man, for god's sake!!<\/dialogue>\n    <character>HELEN<\/character>\n    <parenthetical>(desperate)<\/parenthetical>\n    <dialogue>He could be a jealous husband.<\/dialogue>\n    <scene_description>Anthony leaves the room. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTHONY'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>The alarm clock reads 4:21 AM in large red numbers. Helen and Anthony are fast asleep. Helen awakens and perks up.<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Did you hear that?<\/dialogue>\n    <scene_description>With one hand resting on her pregnant belly, Helen looks at Anthony sleeping beside her.<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Anthony?<\/dialogue>\n    <scene_description>He's fast asleep. Helen looks down the corridor outside the bedroom. She decides to get up. Still looking out the door, she searches for something to serve as a weapon. She picks up the alarm clock. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR, ANTHONY'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Helen crosses the hallway, guided by the red light from the alarm clock. In the middle of the deep silence she thinks she hears A STRANGE SOUND... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTHONY'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Helen appears in the living room, which is deserted. She relaxes a bit, putting the alarm clock on a shelf. Suddenly she spots the note pad by the sofa. It may as well be a person sitting there. She walks over and picks it up. It's dark but she can still read what's written: \"Abundy Bell\". CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOCKEY RINK - DAY<\/stage_direction>\n    <scene_description>In the middle of the rink there is graffiti written on the ice: \"YOU KNOW THE NAME YOU WERE GIVEN, NOT THE ONE YOU HAVE.\" It's a strange sight, and as in the case of the graffiti on the fa\u00e7ade of the building, there is something captivating about it. One detail stands out: \"HAVE,\" the last word, is written below the rest of the phrase on the right, exactly the way Abundie had written it on the blackboard. Standing in the bleachers are the principal, Carl, Julia, Eve, Abundie and a few more TEACHERS. Abundie is particularly struck by the graffiti this time.<\/scene_description>\n    <character>PRINCIPAL<\/character>\n    <dialogue>I think we should call an emergency staff meeting and tighten security.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>What about the night watchmen?<\/dialogue>\n    <character>PRINCIPAL<\/character>\n    <dialogue>They don't seem to be doing a good enough job. We have to install some surveillance cameras.<\/dialogue>\n    <scene_description>The teachers remain silent. Abundie makes the most of it and leaves without saying a word. Carl notices.<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>At least it's not as bad as last time.<\/dialogue>\n    <scene_description>The others look at her without understanding.<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>All we have to do is scrape the ice.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOCKEY RINK \/ SCHOOL - DAY<\/stage_direction>\n    <scene_description>Abundie exits the building and starts walking, worried, with a hint of anxiety on his face... He crosses paths with TWO STUDENTS who laugh as they walk by, speaking in low voices. Abundie isn't sure whether they're laughing at him or not...<\/scene_description>\n    <character>COMMON SENSE (V.O.)<\/character>\n    <dialogue>How can you even know if this is really happening? Do you-<\/dialogue>\n    <scene_description>He's stopped by Carl's voice.<\/scene_description>\n    <character>CARL (O.S.)<\/character>\n    <dialogue>Abundie.<\/dialogue>\n    <scene_description>Abundie turns to Carl, who has followed him outside.<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Going back to your car?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <parenthetical>(points at the main building)<\/parenthetical>\n    <dialogue>I have a class now.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Is everything ok?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Sure, why?<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>You left without saying anything...<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Actually I'm running a little late.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Maybe I should stop worrying about you so much.<\/dialogue>\n    <scene_description>Abundie nods, trying to be nice.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Maybe you should.<\/dialogue>\n    <scene_description>CUT TO: A few yards away, standing next to a tree, a figure seems to be watching them. It's Helen, frozen, unable to take her eyes off the man who looks exactly like her husband. While Carl and Abundie keep talking, Helen takes out her cell phone and dials Anthony's number. Without blinking or taking her eyes off the two men, Helen listens to Anthony's phone ringing... Suddenly...<\/scene_description>\n    <character>ANTHONY (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>Helen listens to her husband's voice in terror as Abundie's image is reflected in her eyes.<\/scene_description>\n    <character>ANTHONY (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>Helen?<\/dialogue>\n    <scene_description>Helen's eyes tremble.<\/scene_description>\n    <character>ANTHONY (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>Helen?<\/dialogue>\n    <scene_description>Helen remains still, watching Abundie and Carl say goodbye and walk off. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTHONY'S KITCHEN - DAY<\/stage_direction>\n    <scene_description>Whole plums (and pieces of other fruit) inside a blender. Suddenly the blades turn on and chop everything up, creating a strange thick juice of an unpleasant blue color. Anthony, wearing a sweaty shirt after exercising, pours the liquid into a glass. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTHONY'S LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Anthony enters the living room with the juice. We get a good look at the living room, which has a large studio photo of Anthony on the wall. We also see smaller photos scattered around the room of Anthony with actors more famous than himself. Anthony looks strangely at the alarm clock out of place on the table. He gulps down the juice all at once, grimacing slightly with disgust. He flexes his muscles, proud of his body. He looks at the large photo of himself on the wall... He thinks... He walks over to the note pad, which is still in the same place but not exactly in the same position he left it in. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTHONY'S LIVING ROOM \/ ANTHONY'S BATHROOM - DAY<\/stage_direction>\n    <scene_description>On the screen of a computer, in a search window, we see the name \"Abundy Bell\". Anthony is sitting at his laptop, searching the Internet for \"ABUNDY BELL, HISTORY TEACHER.\" Nothing comes up right away but finally he finds a list of teachers at CAMPBELL UPPER ACADEMY where Abundie's name appears, properly spelled. Slowly he fine tunes his search until he finds a faculty photo from a few years back. It's a group photo outside the main building of Abundie surrounded by a few other teachers. Anthony zooms in on the image and observes the blurry face apparently identical to his own. Anthony hears the front door open. He shuts the laptop right before Helen appears in the living room.<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Where have you been? I called you a bunch of times.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>My battery went dead. Sorry.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>We ran out of plums.<\/dialogue>\n    <scene_description>CUT TO: Helen enters the BATHROOM, still holding her bag. She takes out a bottle of pills and swallows one. She stops at the sink for a moment.<\/scene_description>\n    <character>ANTHONY (O.S.)<\/character>\n    <dialogue>I need my plums in the morning darling, you know that. Gotta keep in top shape!<\/dialogue>\n    <scene_description>Helen is obviously nervous, upset about what she saw at the school. Tears well up in her eyes.<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>You didn't ask me where I was?<\/dialogue>\n    <character>ANTHONY (O.S.)<\/character>\n    <dialogue>Where were you?<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>With my sister.<\/dialogue>\n    <character>ANTHONY (O.S.)<\/character>\n    <dialogue>If you were with your sister it's because there's something wrong. What is it?<\/dialogue>\n    <scene_description>CUT TO: Helen is back in the LIVING ROOM.<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Nothing. I'm going to change.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Are you still upset about that crank caller? Look, let's just forget it. He isn't going to...<\/dialogue>\n    <character>HELEN<\/character>\n    <parenthetical>(interrupting him)<\/parenthetical>\n    <character>I WAS THERE.<\/character>\n    <dialogue>ANTHONY<\/dialogue>\n    <scene_description>Where?<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>At his work. I saw him.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>What?!<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>He is real... He's exactly like you.<\/dialogue>\n    <scene_description>Anthony stands up. He is getting really mad.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>What the hell did you do that for?!<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>I needed to know.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <parenthetical>(very upset)<\/parenthetical>\n    <dialogue>Fuck!<\/dialogue>\n    <character>HELEN<\/character>\n    <parenthetical>(about to cry)<\/parenthetical>\n    <dialogue>Why is this happening to us?<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>This is not about us, this is about me!<\/dialogue>\n    <scene_description>Anthony thinks.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>Did he see you?<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>If he really exists, how will that affect my career?<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Your career... What career? You don't have a career.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>I've been building my image for years.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>You haven't had any auditions for years...<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>But I DO have an audition!<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>You never told me that!<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>A major one! Next week! I didn't want to jinx it by telling you. And the moment I get it, that freak appears out of nowhere to distract me. For years I've been struggling, taking stupid small parts. But we both know I'm a serious contender for Christ sake! I'm over talented! TOO BIG for this ridiculous country!<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>AFTER ALL THOSE YEARS I FINALLY<\/dialogue>\n    <character>HAVE A CHANCE TO PROVE IT AND THAT<\/character>\n    <dialogue>CLOWN FUCKS WITH MY HEAD!<\/dialogue>\n    <scene_description>The telephone rings. They look at one another. He gestures as if he's about to answer.<\/scene_description>\n    <character>HELEN<\/character>\n    <parenthetical>(serious)<\/parenthetical>\n    <dialogue>Please.<\/dialogue>\n    <scene_description>Anthony stops.<\/scene_description>\n    <character>HELEN<\/character>\n    <parenthetical>(almost begging)<\/parenthetical>\n    <dialogue>Don't answer it.<\/dialogue>\n    <scene_description>Anthony decides to obey. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLASSROOM - DAY<\/stage_direction>\n    <scene_description>Abundie lectures to his students as he walks between the desks.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>After Hammurabi's death in 1750 B.C., problems intensified with a nomadic tribe, the Kassites, until they finally conquered the Mesopotamian territory.<\/dialogue>\n    <scene_description>Abundie has a thought...<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>There's a very eloquent phrase...<\/dialogue>\n    <scene_description>He walks to the blackboard.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>\"We always...\"<\/dialogue>\n    <scene_description>He writes \"WE ALWAYS...\" on the board but stops. He turns around and looks at his students. They watch him quietly.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Actually, I don't remember it exactly...<\/dialogue>\n    <scene_description>Abundie turns and erases what he had written.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>And I don't want to get it wrong.<\/dialogue>\n    <scene_description>The bell rings. Class is over.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>See you next week.<\/dialogue>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>If someone could be sure of such a thing.<\/dialogue>\n    <character>COMMON SENSE (V.O.)<\/character>\n    <dialogue>Now we are talking.<\/dialogue>\n    <scene_description>Abundie gathers his books. The students start to talk, getting up. Then, Abundie spots the principal walking in, approaching against the wave of students rushing out.<\/scene_description>\n    <character>PRINCIPAL<\/character>\n    <dialogue>Abundie, have you got a minute?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>The last students exit the room, leaving them alone. The principal is evidently choosing his words very carefully.<\/scene_description>\n    <character>PRINCIPAL<\/character>\n    <dialogue>I wanted to discuss an issue with you which is of much concern to me... Well, to everyone.<\/dialogue>\n    <scene_description>Abundie looks at him with interest.<\/scene_description>\n    <character>PRINCIPAL<\/character>\n    <dialogue>I'm referring to the graffiti incidents.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Yes...<\/dialogue>\n    <character>PRINCIPAL<\/character>\n    <dialogue>I wanted a moment alone with you before the emergency staff meeting.<\/dialogue>\n    <scene_description>Abundie observes him questioningly.<\/scene_description>\n    <character>PRINCIPAL<\/character>\n    <dialogue>Is there anything you haven't mentioned, which you may want to tell me in private...?<\/dialogue>\n    <scene_description>Abundie looks at him without understanding...<\/scene_description>\n    <character>PRINCIPAL<\/character>\n    <dialogue>Maybe something related to certain coincidences with... your class.<\/dialogue>\n    <scene_description>Abundie widens his eyes, surprised.<\/scene_description>\n    <character>PRINCIPAL<\/character>\n    <parenthetical>(low voice)<\/parenthetical>\n    <dialogue>It's better if you tell me with confidence, before the staff meeting.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Well, yeah, there was something...<\/dialogue>\n    <parenthetical>(cuts himself off)<\/parenthetical>\n    <dialogue>But I don't think it's right to accuse a particular student without having...<\/dialogue>\n    <character>PRINCIPAL<\/character>\n    <parenthetical>(interrupting him)<\/parenthetical>\n    <dialogue>It was the students themselves who brought this to my attention. They're concerned.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Concerned?<\/dialogue>\n    <character>PRINCIPAL<\/character>\n    <dialogue>Everybody knows the severity of your depression a few years back...<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <parenthetical>(offended)<\/parenthetical>\n    <dialogue>What has that got to do with anything?<\/dialogue>\n    <character>PRINCIPAL<\/character>\n    <dialogue>All I'm saying is if you have anything to confess... the sooner you do so, the better.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Me?<\/dialogue>\n    <scene_description>Abundie can't believe his ears. Before he can say anything else, his cell phone rings. He recognizes the number on screen (a lot of threes)...<\/scene_description>\n    <character>PRINCIPAL<\/character>\n    <dialogue>We can speak later if you like.<\/dialogue>\n    <scene_description>The principal tries to downplay the situation with his attitude and gestures.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>I have to take this...<\/dialogue>\n    <character>PRINCIPAL<\/character>\n    <dialogue>Of course, go ahead. I'll be staying late in my office.<\/dialogue>\n    <scene_description>Abundie picks up the phone and walks over to the window. Right when the principal leaves the room he answers.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>ANTHONY (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>It's me.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTHONY'S APARTMENT \/ CLASSROOM - DAY<\/stage_direction>\n    <scene_description>(INTERCUT)<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Is this a bad time?<\/dialogue>\n    <scene_description>Abundie gathers himself after the conversation with the principal.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>I've been thinking about what you said and... I agree that we should meet.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>I had a feeling you'd change your mind.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>You had a feeling?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>It's a figure of speech.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <parenthetical>(offended)<\/parenthetical>\n    <dialogue>Just because we may be identical doesn't mean our brains work the same way.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>That's not what I meant.<\/dialogue>\n    <scene_description>Silence.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>I have a cottage in the lake country. It's about 80 miles from the city. I'll email you the directions.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Is it remote?<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Nobody around for miles.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>That doesn't sound overly comforting.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>You're not scared now, are you?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <parenthetical>(joking)<\/parenthetical>\n    <dialogue>As long as you don't bring a gun.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>I won't need to.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>I already have a hunting rifle at the house.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <parenthetical>(ironic)<\/parenthetical>\n    <dialogue>Great.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>I like hunting.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>This is getting more appealing all the time.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <parenthetical>(being nice)<\/parenthetical>\n    <dialogue>Actually the house is full of guns. You can have one too.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>A duel.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>That's right.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Very appropriate.<\/dialogue>\n    <scene_description>Silence.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>So... this weekend?<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Sunday?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Sunday it is.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGHWAY 401 - DAY<\/stage_direction>\n    <scene_description>Rows and rows of nearly identical cars, arranged in lanes, driving along the highway at the same speed. Abundie's car takes the next exit. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. ABUNDIE'S CAR \/ ROADS - DAY<\/stage_direction>\n    <scene_description>Abundie drives with his fake beard on. The printed version of a map Anthony sent him is resting on the passenger seat. He's also got the white envelope he picked up at the talent agency. Abundie turns onto smaller and smaller roads. A few miles later, another turn. The road is narrow and winding. Abundie drives ahead, focused on the empty road. He stops at another intersection. He checks the map to see which way to turn. He drives on, this time taking a dirt road. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE IN THE COUNTRY - DAY<\/stage_direction>\n    <scene_description>Abundie's car drives along the dirt road until it reaches a small house surrounded by trees. A modest, one-story cabin. Abundie parks his car beside Anthony's, which is sportier. He gets out of the car and observes the house. The front door is open. He slowly approaches it, with the white envelope in his hand. Once he's a few steps away from the entrance, he stops. He looks around nervously.<\/scene_description>\n    <character>ANTHONY (O.S.)<\/character>\n    <dialogue>Come in, it's open.<\/dialogue>\n    <scene_description>He looks at the front door, where the voice identical to his own just came from. He takes a deep breath, removes his beard and enters the house. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE IN THE COUNTRY - DAY<\/stage_direction>\n    <scene_description>Abundie enters the living room, a small room with two sofas and a dining table. An assortment of weapons is hanging on the walls: shotguns, rifles... And various trophies: the heads of two deer and a wild moose. Abundie sees Anthony's silhouette appear from the darkness.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>I'm over here.<\/dialogue>\n    <scene_description>The two men look at each other. They're obviously identical. They study one another quietly. A long silence. Abundie looks somewhat uneasy. Anthony looks stupefied, with increasing fascination.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>I told you.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>It's incredible.<\/dialogue>\n    <scene_description>Their physical proximity, being in unknown territory and all those guns on the walls obviously worry Abundie. Anthony tries to be friendly.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>What are you drinking?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Nothing, thanks.<\/dialogue>\n    <scene_description>Anthony walks over to a cabinet.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>Whisky, vodka, gin...<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Vodka.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Good. I'll go with whisky.<\/dialogue>\n    <scene_description>Anthony serves two drinks as Abundie looks around at the guns and trophies on the walls.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>Do they intimidate you?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>All the guns.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Abundie thinks a moment, not expecting the question.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>The heads more than the guns, maybe.<\/dialogue>\n    <scene_description>Anthony walks over with the drinks.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>Of all these guns, only one is loaded.<\/dialogue>\n    <scene_description>Abundie looks at him gravely.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>I'm joking.<\/dialogue>\n    <scene_description>Anthony invites him to sit at the table. They sit across from each other, face to face, sipping their drinks, taking their time.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>I'm still a little shocked.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>I'm past that phase.<\/dialogue>\n    <scene_description>Abundie sips his drink.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Now all I can think about is what comes next.<\/dialogue>\n    <scene_description>Anthony takes a sip of whisky, thinking.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>How did you find me?<\/dialogue>\n    <scene_description>Abundie hands Anthony the white envelope. Anthony inspects it curiously.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>I found the agency that represents you on the Internet. I went there. The concierge thought I was you. He had this envelope for me. For you.<\/dialogue>\n    <scene_description>Silence.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <parenthetical>(pensive)<\/parenthetical>\n    <dialogue>You went to the agency...<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <parenthetical>(apologetic)<\/parenthetical>\n    <dialogue>Sorry.<\/dialogue>\n    <scene_description>Light enters through the open doorway. Anthony and Abundie make eye contact but quickly look away. Abundie sets aside his drink and puts his palms on the table, with his fingers open like stars.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Let's compare.<\/dialogue>\n    <scene_description>Anthony takes another sip and puts his hands over Abundie's, pressing them against the table so Abundie won't notice they're trembling. Their hands are identical in every way. Every vein, wrinkle, hair, fingernail... even a small broken fingernail. The only difference is Anthony's gold wedding ring on his left ring finger.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Let's see the mark on your right arm.<\/dialogue>\n    <scene_description>Abundie rolls up his sleeve to the elbow. Anthony does the same. As expected, each has the exactly the same birthmark in exactly the same place.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Now the scar on your knee.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>I don't think that's necessary.<\/dialogue>\n    <scene_description>Abundie seems slightly disappointed. Anthony takes another sip of whisky and gets up. He puts his left foot on the chair and rolls up his pant leg, exposing his knee. Abundie does the same. They compare their knees: exactly the same scar on the kneecap.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <parenthetical>(not very convinced)<\/parenthetical>\n    <dialogue>Maybe we're brothers. Twins.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <parenthetical>(doubtfully)<\/parenthetical>\n    <dialogue>Twins with the same scars? With the same broken fingernail?<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>I don't know...<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>If I had a twin, my mother would have told me.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Not necessarily.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>You don't know my mother.<\/dialogue>\n    <scene_description>The two men remain standing, facing each other, both with their right shirt sleeves and left pant legs rolled up. Anthony starts unbuttoning his shirt. He takes off his shirt and pants and looks defiantly at Abundie. Anthony opens his arms, trying to encourage Abundie, who finally snickers and starts unbuttoning his shirt. Anthony smiles. The two men stand there, facing each other in their underwear: boxers vs. briefs. Now more than ever it seems like they're looking in the mirror.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <parenthetical>(checking out his abs)<\/parenthetical>\n    <dialogue>You work out?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Not really.<\/dialogue>\n    <scene_description>This response slightly annoys Anthony.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>If we're not brothers... then what are we?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>This is scary.<\/dialogue>\n    <scene_description>Abundie and Anthony try to assimilate what's happening.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>We're... errors.<\/dialogue>\n    <scene_description>Abundie looks disappointed and gets dressed again.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>There.<\/dialogue>\n    <scene_description>Anthony gets dressed as well.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Thanks for the drink.<\/dialogue>\n    <scene_description>Abundie finishes buttoning his shirt and heads for the door.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>I think it's best if we don't see each other again.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Before you go there's one last thing I'd like to clear up.<\/dialogue>\n    <scene_description>Abundie looks at him curiously. Anthony invites him to sit back down, which he doesn't.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>Even if we were born on the same day, there's obviously no way to know if we're going to die on the same day. But we can find out who was born first.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>What would that change?<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Everything.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Once we know the time we were born, we'll know which of us is a duplicate of the other.<\/dialogue>\n    <scene_description>Abundie thinks about these words.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>The first one born is the original.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>I don't think I want to know.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Seriously?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>You do?<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>Silence. Abundie, this time, sits back down.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>How do I know you're not lying? You could say you were born at 12:05 A.M. to make sure you were born first.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>We could check hospital records.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>But the point is to be honest.<\/dialogue>\n    <scene_description>Abundie nods. Anthony dives in.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>I was born at 1:30 in the afternoon. At 1:29, to be exact.<\/dialogue>\n    <scene_description>Abundie freezes. Soon his eyes become sad.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>I... I was born at 2 P.M.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Half an hour later.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Yes...<\/dialogue>\n    <scene_description>Abundie gets up again, letting the news sink in.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>You're the duplicate.<\/dialogue>\n    <scene_description>The two men say goodbye with their eyes. Abundie puts on his fake beard and walks out the door. Anthony looks at him, proud, winner. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE IN THE COUNTRY - DAY<\/stage_direction>\n    <scene_description>Abundie leaves the house and heads for his car.<\/scene_description>\n    <character>COMMON SENSE (V.O.)<\/character>\n    <dialogue>You're still wearing that ridiculous beard.<\/dialogue>\n    <scene_description>He yanks the beard off angrily and throws it on the windshield of Anthony's car.<\/scene_description>\n    <character>COMMON SENSE (V.O.)<\/character>\n    <dialogue>The thing about not seeing each other again... Nobody is buying that. The inertia is too strong.<\/dialogue>\n    <scene_description>Abundie gets in his car. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTHONY'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>The fake beard is sitting on the living room table. Helen and Anthony look at it.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>It's the beard he was wearing when he came to the cottage.<\/dialogue>\n    <scene_description>Helen looks upset. She's going through a rough time.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>He's provoking me.<\/dialogue>\n    <scene_description>Anthony picks up the beard and looks at Helen.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>This is war. Kind of.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>What makes you say that?<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>It's what I think.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>What will you do with it?<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Throw it away. Or I'll do it for you.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>What difference will it make?<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>You're not going to keep that beard, used by...<\/dialogue>\n    <parenthetical>(doubts)<\/parenthetical>\n    <dialogue>...another person.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Another person. But with exactly the same face.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>It's not the same.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>It is.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>If you want me to go totally berserk, just keep on saying that your face is his face.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Helen, please, take it easy.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>You said he's provoking you, didn't you? Then just throw it away.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>The beard is the least of it.<\/dialogue>\n    <scene_description>Helen looks at the clump of hair on the table.<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Look, we already have too many issues we're dealing with. This is making things worse. Can't you see that?<\/dialogue>\n    <parenthetical>(she touches her belly instinctively)<\/parenthetical>\n    <dialogue>You have to end this, Anthony.<\/dialogue>\n    <parenthetical>(her voice wavers)<\/parenthetical>\n    <dialogue>I never want to hear about that man again.<\/dialogue>\n    <scene_description>Suddenly Helen starts crying. She leaves the room before Anthony can console her. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABUNDIE'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>A pair of underpants in a very neat suitcase. Abundie adds one shirt and one sweater; he looks a little nervous, acting fast. Mary is sitting on the bed, getting dressed.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>It'll do you good to get out of the city and get some fresh air.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Yeah...<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Give you mother a kiss for me.<\/dialogue>\n    <scene_description>Abundie leaves the bedroom, looking for something.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>If you don't feel like driving alone I can go with you. You know how much your mother likes me.<\/dialogue>\n    <scene_description>Mary slightly regrets having said that. Abundie comes back in with a small toilet bag.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>I didn't hear you, what was that?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ABUNDIE'S BUILDING - DAY<\/stage_direction>\n    <scene_description>Hidden beneath the fake beard and a baseball cap, Anthony waits in a discreet corner of Abundie's neighborhood. From his vantage point he can see Abundie's building and anyone going in or out. Anthony finally spots Abundie leaving the building with Mary and carrying his suitcase. To his surprise, Abundie is not alone, but accompanied by an attractive younger woman. Anthony wasn't expecting a female presence. Anthony crosses the street to follow them.<\/scene_description>\n    <character>WOMAN (O.S.)<\/character>\n    <dialogue>Good morning.<\/dialogue>\n    <scene_description>Anthony hears a woman greet him but doesn't want to turn around. He keeps walking and follows a few yards behind Abundie and Mary, keeping a safe distance. He can't help noticing Mary's enticing figure... Before reaching the corner, Abundie and Mary kiss each other goodbye. Anthony sees Abundie walk to the corner and get in his car. Mary walks off in the other direction. Anthony hesitates... He looks at them both, but quickly chooses. He'd rather keep following that beautiful woman. Anthony crosses the street behind Mary. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETCAR STOP - DAY<\/stage_direction>\n    <scene_description>Anthony watches Mary hurry over to catch a streetcar that is stopping a few yards away. Mary gets on with time to spare. Anthony doesn't know what to do. But the opportunity arises to get on without being seen and he grabs it. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STREETCAR - DAY<\/stage_direction>\n    <scene_description>Anthony takes advantage of the crowded streetcar to observe Mary without being noticed. He looks at her feet, sensually raised by low heels, her hard calves, her hips, her hair pinned up, the corner of her mouth and her neck... especially her neck. Mary is an attractive woman and Anthony is very observant. After a lengthy look-over which for Anthony passes in a split second, Mary gets off. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BANK - DAY<\/stage_direction>\n    <scene_description>Mary crosses the street and enters the bank where she works. Anthony watches her from across the street. Through the window, Anthony can still see Mary inside. She is taking off her jacket and greeting her co-workers. He contemplates the scene, devising a new plan. But a new plan requires a new strategy... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. ABUNDIE'S CAR - SUNSET<\/stage_direction>\n    <scene_description>Abundie drives on, his face lit up by the sunset. He looks shaken, out of place, almost desperate. He is driving out of the city. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOTHER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Outside the house, a small single story dwelling in a rural area, Abundie parks and leaves his car. He takes a breath, looking at the house. Abundie walks up to the door and is about to ring the doorbell... But something stops him: He notices small cracks on the wall, just by the doorbell. He touches one of the cracks and follows it with his finger, along the exterior wall of the house. For a moment, he thinks he may have heard a noise coming from deep inside the crack. Just then, Abundie notices the long and thin leg of a spider emerging from the crack, moving towards him slowly. Immediately following, he sees a second leg... A barking sound stops him and the spider disappears. Abundie recognizes the dog, waiting for him on the other side of the door. He decides to ring. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTHER'S KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Sitting at the table, Abundie watches his mother, CAROLINE, in her sixties. A woman with wrinkles and a strong personality. The dog sniffs Abundie's legs. Caroline finishes eating an omelet. She looks serious, like she's mulling something over. Abundie waits. After a long silence...<\/scene_description>\n    <character>CAROLINE<\/character>\n    <dialogue>There must be some difference.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>There isn't.<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>You can't be exactly identical.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>We are.<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>You didn't take your clothes off in front of each other, did you?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Um, no.<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>Okay, then.<\/dialogue>\n    <scene_description>Caroline gets up with her plate and disappears. Abundie sighs, a bit overwhelmed by the situation. Caroline returns with four plums and sits down again, leaving two of them next to Abundie's plate.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>I don't like plums.<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>Of course you do.<\/dialogue>\n    <scene_description>Abundie looks at his mother, surprised, as she eats a plum quietly. After a few seconds...<\/scene_description>\n    <character>CAROLINE<\/character>\n    <dialogue>I'm going to pretend I never heard a word of what you just told me.<\/dialogue>\n    <scene_description>That's not the answer Abundie was hoping for.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>I needed to tell someone and you're the only person I can ask for advice.<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>You don't want advice.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Mother...<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>I don't want to hear any more about it. I think anything else we say will only make things worse. And if you pursue this any further you'll only get hurt.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>I'm not pursuing it. I'm facing up to it.<\/dialogue>\n    <scene_description>Caroline shakes her head.<\/scene_description>\n    <character>CAROLINE<\/character>\n    <dialogue>You're my only son and I'm your only mother. You had a respectable job and a nice apartment. Now I think you should quit that silly job as a second rate movie actor. And since we're being frank here, you should also leave that depressing woman. She's dragging you down with her, for God's sake.<\/dialogue>\n    <scene_description>Abundie freezes.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <parenthetical>(can't get the words out)<\/parenthetical>\n    <dialogue>What...?<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>You wanted my advice, so there you have it.<\/dialogue>\n    <scene_description>Caroline picks up her plate and gets up from the table. She points at the plums.<\/scene_description>\n    <character>CAROLINE<\/character>\n    <dialogue>Eat those.<\/dialogue>\n    <scene_description>Caroline walks over to the sink. Abundie leaves the table, completely beside himself. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABUNDIE'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Abundie drives home in the middle of the night. His face has changed; he looks completely broken.<\/scene_description>\n    <character>COMMON SENSE (V.O.)<\/character>\n    <dialogue>You've learned from the past that people aren't as strong as they think they are. There's no way around it: focus on Mary. You need her to help you wake up.<\/dialogue>\n    <scene_description>While driving, Abundie nervously takes out his cell phone and dials Mary's number. After several rings the answering machine picks up.<\/scene_description>\n    <character>ANSWERING MACHINE (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>Please leave a message after the beep.<\/dialogue>\n    <scene_description>After the beep:<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Mary... I know it's very late...<\/dialogue>\n    <parenthetical>(thinks a moment, has a lot on his mind)<\/parenthetical>\n    <dialogue>I realize there's plenty I should apologize for. But I want you to know that everything is going to change. Please don't worry about anything.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Anyway... I'll try to call you in the morning.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I can't wait to see you.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY - SUNRISE<\/stage_direction>\n    <scene_description>Abundie's car reaches the city as the sun rises behind the permanent fog. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABUNDIE'S LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Abundie walks in. He takes out his cell phone and checks the messages.<\/scene_description>\n    <character>VOICEMAIL (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>No new messages.<\/dialogue>\n    <scene_description>Abundie takes a look at his cell phone. He walks over to the window looking over a view of the city. He waits. Suddenly, the doorbell rings. Abundie turns, surprised. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABUNDIE'S LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Abundie opens the front door, not expecting what he sees: Anthony on the landing, wearing Abundie's fake beard.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <parenthetical>(tense, in a low voice)<\/parenthetical>\n    <dialogue>What do you want?<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>We need to talk.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>There's nothing to talk about.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>You didn't call me back.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <parenthetical>(emphasizes)<\/parenthetical>\n    <dialogue>We have nothing to talk about.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>I think we do.<\/dialogue>\n    <scene_description>Abundie looks around, afraid a neighbor will see them.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>Somebody might see us.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>All right. Talk.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>It's about Mary.<\/dialogue>\n    <scene_description>Abundie lets Anthony in and quickly shuts the door. The two men enter the living room. Anthony takes off the beard, inspecting the room curiously.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <parenthetical>(points at the TV)<\/parenthetical>\n    <dialogue>I bet that's where you saw me the first time.<\/dialogue>\n    <scene_description>Abundie gives him a tense look without answering. Anthony takes in every detail of the living room: the books, the furniture, the papers, the telephone.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>What does Mary have to do with anything?<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>She does. Like Helen, who hasn't been the same since you first called. She's pregnant and this whole situation has had a huge impact on her emotional well being. She's very upset.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>We were already having problems... And your presence hasn't exactly been helpful.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>How would you like it if I randomly called Mary and introduced myself as your exact double?<\/dialogue>\n    <scene_description>Abundie grows more tense.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>If you're going to threaten me, I'll just pick up the telephone and that'll be that.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>You'll never call the police or anyone else for that matter because you're terrified of this getting out.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Especially after what you've been through these past few years.<\/dialogue>\n    <scene_description>Abundie looks at him, surprised.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>The internet is a powerful weapon. It was pretty easy to find out about your past.<\/dialogue>\n    <scene_description>Abundie shakes his head...<\/scene_description>\n    <character>ANTHONY<\/character>\n    <parenthetical>(savoring it)<\/parenthetical>\n    <dialogue>You know the story: first you start acting strangely at work. Distant, absent. Then you disappear for a few days. They find a naked person writing cryptic words and symbols on the walls of your girlfriend's building. And that naked person... happens to be you...<\/dialogue>\n    <parenthetical>(low voice)<\/parenthetical>\n    <dialogue>It was all over the papers. Big commotion in a relatively quiet city. And in the middle of it all your girlfriend takes off just before you were supposed to get married. What was her name again?<\/dialogue>\n    <parenthetical>(thinks)<\/parenthetical>\n    <dialogue>Adelaide.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <parenthetical>(not letting him finish)<\/parenthetical>\n    <dialogue>Shut up.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Several more days on medical leave for treating the depression... You alternate between pills and therapy and finally go back to work: the other teachers doubting, students whispering...<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>I'm over all that.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <parenthetical>(ironic)<\/parenthetical>\n    <dialogue>Sure. Of course you are.<\/dialogue>\n    <scene_description>Anthony moves closer, changing his tone.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>Why did Adelaide leave you? What did she discover?<\/dialogue>\n    <scene_description>Abundie is looking at the floor, at his shoes, not answering.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>Look, I have no interest in having your past re-emerge, or in any of this getting out. It wouldn't do me any good.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>That's why we both agreed to put an end to the whole affair.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>That's true. But it can't be over for another 24 hours.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Because of Mary.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>None of this involves Mary.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Too late.<\/dialogue>\n    <scene_description>Abundie turns white.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>You didn't seem to mind involving Helen, so I took the liberty of bringing Mary into the picture as well. But in a different way.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Don't worry, she doesn't know any of the details.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I just spoke to her and invited her to my cottage...<\/dialogue>\n    <scene_description>Abundie doesn't want to hear another word.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>But of course, I didn't invite her, you did.<\/dialogue>\n    <scene_description>Abundie looks at him with anger and hate. Anthony nods, satisfied with his scheme.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>You know exactly why.<\/dialogue>\n    <scene_description>Abundie can't take it anymore. He takes a step towards Anthony, but Anthony menacingly steps towards him. Abundie stops. The two stand there a moment, completely still.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>Don't even think about it. You know you're going to lose.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Or at least you won't win.<\/dialogue>\n    <scene_description>Tense, feeling humiliated, slightly flustered, Abundie looks at Anthony.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>You can't do this to me.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>It's already done.<\/dialogue>\n    <scene_description>Abundie sits on the sofa, hanging his head, catching his breath. Abundie can't go on. Anthony brings over a chair and sits in front of him.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>You'll be glad to know that convincing her wasn't all that easy, but I'm an actor, right? I don't think she doubted I was you for a second.<\/dialogue>\n    <scene_description>Abundie shakes his head.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>Abundie gets up, tormented. Anthony walks over to him, trying to sound friendly, trustworthy.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>Look at it this way: I'll spend one night with Mary, and she'll never know what happened.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>I can't do this to her. You can't...<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>I'm picking her up in two hours. That's why I came here. I need your clothes.<\/dialogue>\n    <scene_description>Abundie looks up curiously.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Clothes?<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>And your car as well.<\/dialogue>\n    <scene_description>Abundie shakes his head again.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>You know what will happen if you say no. I'll go public with the whole story. You'll be back in the news. I could go even further and claim the baby is yours, that you got Helen pregnant. I bet we even have the same DNA.<\/dialogue>\n    <scene_description>Abundie doesn't answer.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>And I don't believe Mary could ever overcome all this. You'll lose her.<\/dialogue>\n    <scene_description>Abundie looks defeated. Anthony moves closer to him, speaking more calmly now, trying to display confidence.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>If you cooperate she'll be yours again in 24 hours. As if nothing happened. And I'll disappear from your life forever.<\/dialogue>\n    <scene_description>Silence.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>You can lose it all. Or get everything back tomorrow morning. It's up to you.<\/dialogue>\n    <scene_description>Abundie gulps. His eyes are misty. His feels sick to his stomach, anxious. Frightened. About to gag. After a few seconds...<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>What would you like to wear then?<\/dialogue>\n    <scene_description>Anthony smiles, barely containing his excitement.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>What would you wear?<\/dialogue>\n    <scene_description>CUT TO: Anthony's clothes on one of the chairs. His belongings are spread out on the table: a set of keys, his wallet, his cell phone, a pack of chewing gum... And also his wedding ring, which Anthony has just placed there with the other objects. He's wearing Abundie's clothes. He's even subtly restyled his hair to look more like Abundie. Abundie gives him his cell phone and keys. But he can't look him in the eye.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>These shoes are pretty comfortable.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>That's the key to my apartment.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>I'll come by tomorrow around eleven to change clothes. Helen thinks I'm at an audition out of town. I told her I'd be home before noon.<\/dialogue>\n    <scene_description>Abundie nods. It looks like he wants to get this over with as soon as possible. He heads for the front door.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Weren't you wearing the beard?<\/dialogue>\n    <character>ANTHONY<\/character>\n    <parenthetical>(checks himself)<\/parenthetical>\n    <dialogue>I don't need it anymore.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Now I'm Abundie Bell.<\/dialogue>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>Nice name.<\/dialogue>\n    <scene_description>Anthony leaves. Abundie closes the door. He rushes back to the living room and sits on a chair, leaning on the table, hanging his head, pensive and sad. Seconds pass... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABUNDIE'S CAR \/ HIGHWAY - DAY<\/stage_direction>\n    <scene_description>The reflection of the trees on the windshield. The wheels of the car spin at full speed. We hear only the sound of the engine and the wind. Light filters between the trees, lighting up the inside of the car, as Anthony and Mary enjoy the ride. She looks radiant. She smiles. She says something to Anthony and he reaches over and strokes her with his hand. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABUNDIE'S LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Abundie, naked, standing in the living room. His face has changed. He looks strangely serene. Suddenly... He starts putting on Anthony's clothes. He does so calmly and without hesitation. It's as if he's doing something that he's done many times before. Abundie picks up Anthony's keys, cell phone and wallet. Finally, the wedding ring. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ABUNDIE'S BUILDING - DAY<\/stage_direction>\n    <scene_description>Abundie leaves the building, dressed as Anthony Claire. He tosses the fake beard in a waste basket and looks around. He spots Anthony's sports car parked around the corner. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANTHONY'S BUILDING - DAY<\/stage_direction>\n    <scene_description>There's Abundie, standing in front of Anthony's apartment building, keys in hand. He fiddles with them, trying to calm his nerves. Abundie walks over to the front door. Once there, he puts the key in the door.<\/scene_description>\n    <character>COMMON SENSE (V.O.)<\/character>\n    <dialogue>Abundie, what the hell are you...?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Not now.<\/dialogue>\n    <character>COMMON SENSE (V.O.)<\/character>\n    <dialogue>This is absurd. It won't...<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>NOT NOW.<\/dialogue>\n    <character>COMMON SENSE (V.O.)<\/character>\n    <dialogue>There's no place for me in there.<\/dialogue>\n    <scene_description>He enters the building. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY, ANTHONY'S BUILDING - DAY<\/stage_direction>\n    <scene_description>Abundie approaches the mailboxes and confirms that Anthony's apartment is on the 7th floor: apartment 7E. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR - DAY<\/stage_direction>\n    <scene_description>In the elevator, Abundie has time to fix his hair in the mirror. He's pleasantly surprised by how good he looks in Anthony's clothes. The elevator stops on the seventh floor. Abundie watches the doors open little by little... revealing something surprising written on the wall in front of him: \"WE ALWAYS GET WHERE WE'RE GOING.\" The phrase is written in the same ink as the other graffiti, but in much smaller letters. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 7TH FLOOR \/ ANTHONY'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Abundie exits the elevator, staring at the words written on the wall, uneasy. He looks around, making sure he's not alone. He walks towards apartment 7E. He takes out the keys and realizes his hands are shaking. On the second attempt, he opens the front door of the apartment, then takes a deep breath and walks in. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR \/ ANTHONY'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Abundie closes the door slowly behind him and inspects the corridor.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>H...<\/dialogue>\n    <parenthetical>(can't get it out)<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>Silence. Abundie walks reluctantly through the corridor.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTHONY'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Abundie enters the empty living room. It looks like there's nobody home. He checks the kitchen and bathroom. Nobody. Now that he's sure the apartment is empty, Abundie can think more clearly. He starts inspecting the entire space. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTHONY'S LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>In the living room, Abundie opens several drawers to see what's inside them. He takes a look at the books on the shelves and learns how to turn the TV on and off. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTHONY'S KITCHEN - DAY<\/stage_direction>\n    <scene_description>Abundie checks the cabinets and studies the contents of the fridge: a couple of eggs, milk, vegetables, several kinds of cheese and a bowl of plums. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTHONY'S BATHROOM - DAY<\/stage_direction>\n    <scene_description>Abundie turns on the faucet, the shower, checks the medicine cabinet (with Helen's pills), inspecting Helen's beauty products and Anthony's toiletries. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTHONY'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>Abundie looks under the bed, figures out the alarm clock and studies the closet carefully. There, he finds a plastic bag with two cans of spray paint. Abundie holds them, trying to understand, shaking his head... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTHONY'S LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Once finished, Abundie returns to the living room. He selects a sofa and sits down, ready to wait. After a few seconds, Abundie sees something that attracts his attention. He seems surprised and increasingly anxious... He gets up and walks over to a cabinet with several photos on top that he hadn't noticed before. He picks up one of the frames and studies it, his hands shaking, unsure of what he's looking at. It's a photo of Anthony, with a moustache, and Helen... Exactly the same photo Abundie had at home of himself, the one ripped in half! FADE TO BLACK.: OVER BLACK. We hear a key turn and a door opening. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR, ANTHONY'S APARTMENT - EVENING<\/stage_direction>\n    <scene_description>The figure of a pregnant woman crosses the corridor, heading for the living room.<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Anthony?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTHONY'S LIVING ROOM - EVENING<\/stage_direction>\n    <scene_description>Abundie is sitting on the sofa. He perks up when Helen appears in the living room and looks at him oddly.<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>The light scared me. What are you doing here?<\/dialogue>\n    <scene_description>Abundie gets up. He remains strangely calm... He looks at the beautiful, pregnant woman in front of him.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>I decided not to go to the audition.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>I changed my mind.<\/dialogue>\n    <parenthetical>(improvising)<\/parenthetical>\n    <dialogue>It was a stupid role.<\/dialogue>\n    <scene_description>Helen is a little surprised by his answer, but doesn't want to argue. She walks over and kisses him on the lips briefly.<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>You could have called me.<\/dialogue>\n    <scene_description>Helen hesitates a moment. She might have noticed something strange about the kiss.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>I also thought it best for us to stay close.<\/dialogue>\n    <scene_description>Helen didn't expect that comment... She nods lightly. Then, she heads for the bedroom.<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>I'm beat.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTHONY'S BEDROOM - EVENING<\/stage_direction>\n    <scene_description>Abundie timidly follows her to the bedroom and stops in the doorway as she puts down her bag and takes off her shoes.<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>I thought you weren't around so I stayed longer at the pool.<\/dialogue>\n    <scene_description>Helen undresses. Abundie's first reaction is to look away, but he quickly gathers himself and tries to behave as Anthony would.<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>I'm going straight to bed.<\/dialogue>\n    <scene_description>Abundie heads back to the living room, trying to act naturally. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTHONY'S LIVING ROOM - EVENING<\/stage_direction>\n    <character>ABUNDIE<\/character>\n    <parenthetical>(raising his voice so Helen will hear him)<\/parenthetical>\n    <dialogue>Do you want any dinner?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>There are some eggs left, I can make us an omelet.<\/dialogue>\n    <character>HELEN (O.S.)<\/character>\n    <dialogue>Since when can you make an omelet?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>I can... try.<\/dialogue>\n    <scene_description>Helen enters the living room in her pajamas. She looks at Abundie oddly. He observes her more closely; she is unquestionably a very attractive woman. Helen seems to notice something strange about him.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Nothing. You know I'm a bit...<\/dialogue>\n    <parenthetical>(moving on)<\/parenthetical>\n    <dialogue>You go ahead. I just want to go to bed.<\/dialogue>\n    <scene_description>Helen leaves the room. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTHONY'S KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Abundie cracks two eggs into the frying pan and cooks an omelet with great skill. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTHONY'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Abundie eats the omelet alone, sitting in the living room, noticing details of the strange apartment around him, feeling more and more comfortable. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTHONY'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Abundie enters the bedroom where Helen is sleeping. He undresses, trying not to make any noise. He looks under the pillow for pajamas but there aren't any. He gets in bed in his underwear. Abundie is lying on his back, looking at the ceiling, a bit tense. He looks at Helen, her bare shoulders. She turns and puts her arm around him, stroking his chest and places her mouth very close to his neck. Abundie's heart races as her belly and her breast rub up against his ribs. She squeezes him tighter. She breathes faintly on his neck and slightly opens her eyes, grunting ever so softly. Abundie doesn't move. Helen smells his neck and presses her hips against him, sliding her hand down under the sheets. Abundie, in one sweeping move, turns his head to Helen. They share a moment of deep intimacy, not only physical. She opens her eyes all the way and puts her tongue in his mouth. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTHONY'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>It's morning. Abundie's face is squashed on the pillow with his eyes closed. Tiny drops of water land on his cheek, waking him up. Abundie slowly opens his eyes. More tiny drops of water land on his face. Finally he sees Helen, standing over him, wearing a towel, wringing out her wet hair.<\/scene_description>\n    <character>HELEN<\/character>\n    <parenthetical>(amused)<\/parenthetical>\n    <dialogue>It's so late.<\/dialogue>\n    <scene_description>Abundie stretches and starts waking up.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>What time is it?<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Ten thirty.<\/dialogue>\n    <scene_description>Abundie quickly gets out of bed, anxiety setting in.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Ten thirty?<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>What's wrong?<\/dialogue>\n    <scene_description>Abundie looks at Helen. She looks very attractive. She gets down off the bed, still in a good mood.<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>What? Do you have plans?<\/dialogue>\n    <scene_description>Abundie goes in the bathroom. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTHONY'S BATHROOM - DAY<\/stage_direction>\n    <scene_description>Abundie in the shower. The soap goes through the ring in his finger... He looks around for shampoo. The only men's shampoo he can find is for hair loss. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTHONY'S LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>The clock in the living room marks 11:02. Abundie looks at it tensely, standing before the large studio photo of Anthony. Abundie turns to the exit door. He is about to leave, just when Helen enters the living room, taking off her apron.<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>I'm going out to get some bread.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>No, I'll go.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Yeah, I'll do it. Don't worry about it.<\/dialogue>\n    <scene_description>Abundie heads for the door. Helen comes over to him.<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Get two loaves and I'll freeze one.<\/dialogue>\n    <scene_description>Helen moves closer, looking into his eyes.<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>No problem.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>For last night.<\/dialogue>\n    <scene_description>Helen kisses him. She moves closer and speaks softly into his ear.<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>It was very intense.<\/dialogue>\n    <scene_description>They kiss and Abundie walks out. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR, ANTHONY'S BUILDING - DAY<\/stage_direction>\n    <scene_description>Abundie calls the elevator which arrives quickly. With a NEIGHBOR inside. Abundie enters. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR - DAY<\/stage_direction>\n    <scene_description>The two men wait in silence as the elevator goes down.<\/scene_description>\n    <character>NEIGHBOR<\/character>\n    <dialogue>How's it going?<\/dialogue>\n    <scene_description>Abundie greets him discreetly, trying not to start a conversation. Suddenly...<\/scene_description>\n    <character>NEIGHBOR<\/character>\n    <parenthetical>(in a low voice)<\/parenthetical>\n    <dialogue>I can't stop thinking about the other night.<\/dialogue>\n    <scene_description>Abundie turns, trying to hide his surprise.<\/scene_description>\n    <character>NEIGHBOR<\/character>\n    <dialogue>I can't get it out of my head.<\/dialogue>\n    <scene_description>Abundie doesn't know what to say.<\/scene_description>\n    <character>NEIGHBOR<\/character>\n    <dialogue>I know I shouldn't talk about this, but... I'd love to go back.<\/dialogue>\n    <scene_description>Silence. Abundie doesn't look at Anthony's neighbor. He doesn't know how to get out of this.<\/scene_description>\n    <character>NEIGHBOR<\/character>\n    <parenthetical>(seems desperate)<\/parenthetical>\n    <dialogue>I need to go back.<\/dialogue>\n    <scene_description>Abundie feels obliged to say something.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Let me think about it. It might not be possible.<\/dialogue>\n    <scene_description>The elevator reaches the lobby. They walk out. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANTHONY'S BUILDING - DAY<\/stage_direction>\n    <scene_description>Abundie walks out ahead of the neighbor. The neighbor waves and heads off in the opposite direction.<\/scene_description>\n    <character>NEIGHBOR<\/character>\n    <dialogue>Call me when you figure it out.<\/dialogue>\n    <scene_description>Abundie walks off. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABUNDIE'S LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Abundie rushes in and stares at the spot where he and Anthony exchanged clothes. There's nobody there. And there's no messages on the answering machine. He nervously looks at the clock: 11:35. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABUNDIE'S LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Abundie picks up the phone and calls Anthony. His own voicemail picks up.<\/scene_description>\n    <character>ABUNDIE (V.O.)<\/character>\n    <dialogue>I can't answer the phone right now. Please leave me a message.<\/dialogue>\n    <scene_description>Abundie thinks, taking another look at the clock. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTHONY'S CAR - DAY<\/stage_direction>\n    <scene_description>Abundie gets in Anthony's car and starts the engine. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM, HOUSE IN THE COUNTRY - DAY<\/stage_direction>\n    <scene_description>Mary sleeps peacefully in the soft light shining through the half-closed windows. Two male hands begin to caress her. The hands belong to Anthony, who pulls the sheet off her as she opens her eyes. They kiss. Anthony and Mary make love on the wrinkled sheets. He takes advantage and roughly controls the situation, enjoying an exhilarating sense of ultimate power. Mary's moans of pleasure slowly become strained, hard to identify. She turns uncomfortably towards Anthony. The situation is somewhat familiar to her and she remembers not liking it the first time.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>No...<\/dialogue>\n    <scene_description>Anthony keeps thrusting, holding himself up with his hands on the pillow. In his right eye we can see the reflection of something moving, ready to burst...<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>No...<\/dialogue>\n    <scene_description>Mary is really uncomfortable, no longer enjoying herself at all. Anthony's left hand crushes the pillow, right by her face... That's when she notices his finger has a visible tan line from a missing wedding ring. Mary shudders. She looks at the mark in terror. She knows Abundie doesn't have one. In fact, she's positive.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Stop!<\/dialogue>\n    <scene_description>Mary pushes Anthony away and gets out of bed.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <scene_description>Mary turns, startled, seeing Anthony get out of bed. She steps away.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Who are you?!<\/dialogue>\n    <scene_description>Anthony is surprised to hear this. She seems to have had her suspicions, but he didn't expect her to be so direct.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>Mary...<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>(tears in her eyes)<\/parenthetical>\n    <dialogue>Who are you?!<\/dialogue>\n    <scene_description>Anthony doesn't know whether or not to go on lying.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>The ring.<\/dialogue>\n    <scene_description>Anthony looks at the mark on his ring finger. He has no choice but to drop the charade.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>Shit. I totally forgot about that.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>You're not Abundie.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>No. I'm not...<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Who are you?!!<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>What does it matter?<\/dialogue>\n    <scene_description>Anthony walks over to her. She's freaking out.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Don't touch me!<\/dialogue>\n    <scene_description>Mary steps away from him.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Where is he?<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Probably at home, waiting for you...<\/dialogue>\n    <scene_description>Mary steps into a corner, crying. She feels sick to her stomach. Anthony looks at her without compassion, quickly tiring of the game he created.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>Your boyfriend is no angel...<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>(sobbing)<\/parenthetical>\n    <dialogue>What...? What...<\/dialogue>\n    <scene_description>Mary weeps inconsolably. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY \/ ANTHONY'S CAR - DAY<\/stage_direction>\n    <scene_description>Abundie leaves the highway, taking the exit that leads to the house in the country. He drives along the road, trying to remember how to get there. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE IN THE COUNTRY - DAY<\/stage_direction>\n    <scene_description>Mary and Anthony exit the house and head for the car. Mary is pale, shivering, her arms crossed. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. ANTHONY'S CAR - DAY<\/stage_direction>\n    <scene_description>Abundie reaches the last turn off and drives along the winding dirt road. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. ABUNDIE'S CAR - DAY<\/stage_direction>\n    <scene_description>Anthony drives down the winding road with Mary at his side. She doesn't look well. Suddenly, on a brief straightaway between two curves, they see a car approaching. Anthony spots it first coming around the curve up ahead. It's his own car. Anthony's face freezes. Mary notices Anthony staring wide-eyed at the approaching car. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. ANTHONY'S CAR - DAY<\/stage_direction>\n    <scene_description>Abundie sees his own car coming towards him. He notices Anthony and Mary in the front seat. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. ABUNDIE'S CAR - DAY<\/stage_direction>\n    <scene_description>Mary turns and looks at the car. She thinks she can make out the driver...<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Stop!<\/dialogue>\n    <scene_description>Mary turns to Anthony, trying to get him to stop the car.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Stop the car!<\/dialogue>\n    <scene_description>Mary starts hitting Anthony. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. ANTHONY'S CAR - DAY<\/stage_direction>\n    <scene_description>Abundie looks at the other car: it looks like Mary is hitting Anthony... The road is narrow and both cars must squeeze along the side of the embankment. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. ABUNDIE'S CAR - DAY<\/stage_direction>\n    <scene_description>Anthony keeps driving and the two cars cross paths. Anthony makes eye-contact with Abundie for a split second. A few yards ahead as Mary gets more hysterical, Anthony reacts too late and misses a sharp curve in the road... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. ANTHONY'S CAR - DAY<\/stage_direction>\n    <scene_description>Abundie brakes instinctively. In his rear-view mirror he sees his own car swerve as it misses the sharp curve. It loses control, drives off the road, flips over violently and slams sideways into a tree. Abundie stops the car, terrified. All Abundie can hear is the sound of his own breathing and his heart beating loudly. He turns to check the road, but sees only a part of his own car and smoke rising from it. He catches his breath and turns Anthony's car around. He slowly drives down the road to the curve where Anthony and Mary just crashed. Through the smoke, Abundie stares at the car smashed against the tree. He stops as close as he can and decides to get out. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - DAY<\/stage_direction>\n    <scene_description>Abundie slowly walks towards the vehicle. He sees oil and metal. Smoke and blood. He sees an arm covered in blood, hanging out the window. An arm identical to his own. He sees a woman's shoe and thinks he can make out Mary's head tilted to one side. Abundie moves closer, terrified, until he sees Anthony and Mary's smashed bodies, apparently dead. Anthony's eyes are opened, apparently looking straight at Abundie. Abundie retches deeply and painfully. He opens his mouth but can't manage to make a sound. He still hasn't had a chance to register what he's feeling when he hears another car approaching. Abundie freezes, not knowing what to do. Then Abundie decides to return to Anthony's car, without looking back. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. ANTHONY'S CAR - DAY<\/stage_direction>\n    <scene_description>Abundie gets back in Anthony's car and drives off. As he drives away he checks the rear-view mirror and sees a VEHICLE pull over and stop. The DRIVER gets out, approaching the ditch. Abundie looks straight ahead, wanting to be somewhere else. He squeezes the steering wheel tightly and starts sobbing inconsolably, huge tears streaming down his cheeks. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOTEL - EVENING<\/stage_direction>\n    <scene_description>Hardly any light left in the sky. The motel looks like the only lodging around for many miles. Very few cars are parked outside. One of them is Anthony's. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL RECEPTION - EVENING<\/stage_direction>\n    <scene_description>A RECEPTIONIST takes down info from Anthony's driver's licence.<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <parenthetical>(while writing)<\/parenthetical>\n    <dialogue>Anthony... Claire.<\/dialogue>\n    <scene_description>Abundie doesn't flinch.<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>How many nights?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>One, for the moment.<\/dialogue>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>Sign here.<\/dialogue>\n    <scene_description>The receptionist hands him a pen and gives him the registry. Abundie glances at Anthony's signature on the driver's license and scribbles something similar. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Abundie is lying fully clothed on the made bed. The cell phone on the night table vibrates. Abundie sits up and sees the name \"HELEN\" on the screen. When it stops vibrating we see he's missed eight calls. Abundie takes a deep breath, holding the cell phone. His head is going to burst. He dials a number and waits.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Mother, it's me.<\/dialogue>\n    <character>CAROLINE (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Has anybody called you?<\/dialogue>\n    <character>CAROLINE (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>What do you mean, has anybody called me?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Has anybody called you saying anything about me?<\/dialogue>\n    <character>CAROLINE (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>No... Nobody's called. Who is this?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>It's me, mother. Abundie. Listen, they're going to call you. They're going to call and tell you something terrible has happened...<\/dialogue>\n    <character>CAROLINE (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>He's dead, mother.<\/dialogue>\n    <character>CAROLINE (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>Who?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>The other one like me is dead.<\/dialogue>\n    <character>CAROLINE (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>Who's speaking? Who are you?<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>Your son! Abundie! Damn it!<\/dialogue>\n    <character>CAROLINE (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>I'm gonna call the police right away! My son died this morning in a car accident and...<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <parenthetical>(interrupting her)<\/parenthetical>\n    <dialogue>I'm not dead, mother!<\/dialogue>\n    <character>CAROLINE (V.O.)<\/character>\n    <parenthetical>(over telephone)<\/parenthetical>\n    <dialogue>You pervet!<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>I\/m not dead!<\/dialogue>\n    <scene_description>Caroline hangs up the phone. Abundie's eyes are full of tears. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOTEL - DAWN<\/stage_direction>\n    <scene_description>Abundie leaves the motel at dawn. He gets in the car and drives off. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GAS STATION - DAY<\/stage_direction>\n    <scene_description>Abundie picks up a copy of each newspaper and walks over to the counter to pay for them. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTHONY'S CAR - DAY<\/stage_direction>\n    <scene_description>Parked in a corner of the gas station, Abundie goes through each newspaper looking for something he can't find. Abundie scans each page and turns anxiously to the next. Finally in a lateral column he spots something: \"COUPLE DIES IN UNFORTUNATE ACCIDENT.\" Abundie keeps reading: \"THE VEHICLE SWERVED OFF CONCESSION ROAD NUMBER 12 FOR UNKNOWN REASONS. ABUNDIE BELL AND MARY STUBBS WERE FOUND DEAD.\" Abundie reads the news about his own death. Blood rushes to his head and his stomach shrinks. His eyes fill with tears. They are fixated on the newspaper. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTHONY'S LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Abundie opens the door and enters the apartment, holding the newspaper. Helen appears right away, startled by the noise, her face distraught, with heavy bags under her eyes.<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>What happened? Where have you been?<\/dialogue>\n    <scene_description>Helen takes him by the arm, very worried. Abundie walks into the living room.<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>I've called the police, I've called everyone. I thought something had happened to you!<\/dialogue>\n    <scene_description>Abundie looks at her.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>I...<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>What's wrong??<\/dialogue>\n    <character>ABUNDIE<\/character>\n    <dialogue>There's something you should know...<\/dialogue>\n    <scene_description>Abundie puts the newspaper on the table and points at the article. Helen sits down and reads it. Abundie slowly takes off Anthony's watch and puts it on the table, then his cell phone and wallet. He's about to take off Anthony's wedding ring... But something stops him.<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Oh, how awful...<\/dialogue>\n    <scene_description>She looks up. Abundie looks at this beautiful woman, her wet eyes, the ring on her finger.<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>It's not like I'm glad he's dead.<\/dialogue>\n    <scene_description>Abundie suddenly decides to keep the ring on his finger.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>Me neither.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>But I am glad it's all over.<\/dialogue>\n    <scene_description>Silence. Helen stands up and hugs Abundie.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <parenthetical>(softly)<\/parenthetical>\n    <dialogue>I needed to see you again.<\/dialogue>\n    <character>HELEN<\/character>\n    <parenthetical>(without understanding)<\/parenthetical>\n    <dialogue>Again?<\/dialogue>\n    <scene_description>Then, Anthony kisses her with unusual sweetness.<\/scene_description>\n    <character>ABUNDIE<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <scene_description>They look at each other.<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>I love you, Anthony.<\/dialogue>\n    <scene_description>They embrace, standing in the middle of the living room. Anthony's wedding ring is on his finger, touching her belly. She whispers something in his ear:<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>You can stay.<\/dialogue>\n    <scene_description>Abundie looks at her.<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Stay.<\/dialogue>\n    <scene_description>FADE TO BLACK:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETERY - DAY<\/stage_direction>\n    <scene_description>A group of PEOPLE, not very many, standing around a grave as they lower in the casket. Inside the casket is Anthony's body. Although everyone there thinks it's Abundie. Everyone except Caroline, his mother, dressed in black. Once they've closed the casket, Caroline is greeted by different people, including Carl, the principal and other teachers and acquaintances.<\/scene_description>\n    <character>NEIGHBOR (O.S.)<\/character>\n    <dialogue>I'm so sorry.<\/dialogue>\n    <scene_description>Caroline turns and sees the Neighbor, sad eyes, staring at her.<\/scene_description>\n    <character>NEIGHBOR<\/character>\n    <dialogue>It's a terrible misfortune.<\/dialogue>\n    <scene_description>Caroline nods, trying to figure out if she knows that man.<\/scene_description>\n    <character>NEIGHBOR<\/character>\n    <dialogue>His last major role...<\/dialogue>\n    <scene_description>Caroline looks at him without understand anything. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTHONY'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>Sunlight fills the bedroom as Abundie gets dressed, taking clothes out of Anthony's closet. He can hear the water running in the bathroom, supposing Helen is taking a shower. Abundie buttons up his shirt and tightens his belt. Then he notices something in the closet which catches his eye. Abundie moves closer to a drawer that has the corner of a white piece of paper sticking out... He opens the drawer and takes out a white envelope, the same envelope he picked up at the talent agency and later gave to Anthony. Abundie sits on the bed, thinking, staring at the envelope without opening it. He decides to open it. After all, it's addressed to him now. Inside he finds... a black envelope. He opens it and takes out a KEY. Nothing else, just a key. No key chain, nothing indicating what it's for. Abundie stares at it. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARK CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>A door opens to a strange, neutral dark corridor. A MAN closes the door behind him. He walks slowly through the dark corridor towards another door at the far end. We see it's Abundie, holding the key in his hand. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARK ROOM - DAY<\/stage_direction>\n    <scene_description>The door opens. Abundie enters slowly. We see SEVERAL MEN standing in front of a stage. A lustful, prohibitive, musty atmosphere. Abundie walks over and observes the scene on stage, entranced by the overlapping sounds, growing increasingly dangerous. Abundie's eyes glow as he watches. In his right eye we can see the reflection of something moving, ready to burst. In the reflection we can barely discern the legs of a spider. FADE TO BLACK.:<\/scene_description>\n  <\/scene>\n<\/script>","summary":"A man attends an erotic show at an underground club, which culminates with a naked woman on the verge of crushing a live tarantula under her platform high-heel. Adam Bell, a college history professor, lives a quiet, monotonous life in Toronto. He rents a film, Where There's a Will There's a Way, on the recommendation of a colleague, and spots an actor who looks strikingly like himself, briefly, in the film as a bellhop. Searching online, Adam identifies the actor as Anthony Claire, whose stage name is Daniel Saint Claire. Adam rents the other two films in which Anthony has appeared and becomes obsessed with the man, who appears to be his physical twin. Immediately afterwards, Adam searches some boxes in his own house and finds a photo of someone who looks like himself, with a woman's hand over his shoulder. However, part of the photo is torn out, making the woman impossible to identify. Adam stalks Anthony, visiting his talent agency, where he is mistaken for Anthony and given a confidential letter. Discovering Anthony's apartment in Mississauga, Adam calls the home, but reaches Anthony's pregnant wife, Helen. She also mistakes Adam's voice for Anthony's and assumes it's a joke, but Adam insists he is not Anthony. This frightens Helen, and Adam abruptly ends the call. Adam calls again later and reaches Anthony, who assumes Adam is a stalker and tells him not to call again. Helen confronts Anthony about the phone call and Adam's existence, but Anthony insists he knows nothing. Unconvinced, Helen researches Adam, discovers the college where he teaches, and finds him. Helen is visibly stunned at his exact resemblance to her husband, though Adam does not realize who Helen is. Anthony eventually calls Adam, and they agree to meet in a hotel room, where they discover that they are perfectly identical, even having the same scar. Adam is taken aback by Anthony's direct personality, says the meeting was a mistake, and swiftly departs. The two men begin having similar dreams, or perhaps the same dream, featuring first a naked woman with a spider's head, and later a giant skyscraper-sized spider walking amidst the buildings of the city where they live. The next day, Anthony is now stalking Adam. He sees Adam's girlfriend, Mary, whom he finds attractive. Anthony plots to accuse Adam of sleeping with his wife, and shame and manipulate Adam into letting him sleep with Mary to 'get even'. He demands Adam's clothes and car keys for a night, after which he promises to disappear forever. Adam complies. Anthony impersonates him and takes Mary to the hotel. Meanwhile, Adam goes to Anthony's apartment in retaliation, and is let inside. The building concierge desperately asks 'Anthony' to take him back to the underground sex club. Inside the apartment, Adam finds a framed photo on a shelf which looks like the one he had found earlier in his own house, but now the photo is intact, and the woman is revealed to be Helen. Adam tries to act as Anthony in front of Helen, but it appears that she recognizes his nicer demeanor. She pretends not to notice and cuddles with him. Later that night, however, Helen wakes to find Adam crying and apologizing; she tells him she prefers him and asks him to stay, then has sex with him. Back at the hotel, Mary panics during sex when she notices Anthony's wedding-ring mark and asks who he really is. Anthony claims he has always had the mark. She forces Anthony to drive her home; the two get into a fight in the car which results in a high-speed crash, presumably killing them both. The next day, Adam dresses in Anthony's clothes and finally opens the confidential letter received earlier. He finds the key to the underground sex club, given only to select members. He resolves to go there, and shouts to Helen that he's going out, but he hears no response. As he enters the bedroom, he sees, instead of Helen, a room-sized tarantula cowering against the rear wall. Adam, with a resigned look, sighs."}
{"movie_name":"Beloved_1998","imdb_id":"tt0120603","script":"<script>\n  <scene>\n    <stage_direction>EXT. 124 BLUESTONE ROAD - DAWN.<\/stage_direction>\n    <scene_description>It is winter in Ohio . A house sits isolated beside a barren field . The field stretches beyond , until a line of distant woods stops it . Around the back of the house stands a rundown STORAGE SHED , a cold house , a privy and a water pump . A porch with a single door serves as the only entrance . Camera begins a slow move toward the house as we ; SUPER - OHIO , 1865 WE HEAR SOUNDS from inside the house - BUMPS , A CHAIR FALLING OVER . and FEET RUNNING on wooden floor boards .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 124 BLUESTONE ROAD - DAWN.<\/stage_direction>\n    <scene_description>C.U. - THE HANDS OF TWO BROTHERS HOLDING EACH OTHER AS THEY RUN DOWN THE STAIRS . BULGAR -LRB- 13 yrs . old -RRB- and HOWARD -LRB- 14 yrs . old -RRB- run down the steps from the second floor . They are fully dressed , carrying a small bag of belongings .<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>We gon na need food. Wait here.<\/dialogue>\n    <scene_description>Bulgar reluctantly lets go of Howard 's hand as the latter runs into the kitchen . Alone , he edges towards the front door , when suddenly ; THE DOOR SLOWLY CREAKS OPEN on it 's own . Scared , he steps away slowly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - DAWN.<\/stage_direction>\n    <scene_description>Howard is trying to toss some food into a bag . He spots A CAKE sitting on top the wooden table , with some pieces already eaten . He finds a knife and approaches the table . He is about to cut into the cake when he sees TWO TINY HAND PRINTS appear on the cake 's surface . Howard stops cold - dropping the knife .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRONT ENTRANCE - DAWN.<\/stage_direction>\n    <scene_description>Howard exits the kitchen and takes Bulgar 's hand ;<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Come on!<\/dialogue>\n    <character>DENVER<\/character>\n    <parenthetical>( OS . )<\/parenthetical>\n    <dialogue>Bul?<\/dialogue>\n    <scene_description>The boys look up the stairs and see their baby sister , nine year old DENVER .<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>Where you goin?<\/dialogue>\n    <scene_description>The brothers are brokenhearted at the sight of her . They love their sister . But there are stronger forces here . A MIRROR on a wall beside Howard cracks down the middle .<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>We got ta go!<\/dialogue>\n    <scene_description>Bulgar looks up to Denver . They exchange a look of deep affection and pained longing . He wants to take her .<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Bye, Denver. You take care.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Bye? Bul?<\/dialogue>\n    <scene_description>Bulgar is starting to cry . He rushes up the steps and hugs his sister . He kisses her hard then breaks away . Denver 's outstretched hand misses his shirt and hangs mid - air .<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>No. Bul.<\/dialogue>\n    <scene_description>Bulgar flies down the steps and disappears out of the house holding Howard 's hand once more . Denver sits alone at the top of the stairs . She sadly looks up and weeps , as if to the house itself :<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>Now what you go and do that for?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD TO THE TRAIN - DAWN.<\/stage_direction>\n    <scene_description>THE VOICE OF SETHE HUMMING A MELODY carries over the images of : The two boys running for their lives towards the train , holding hands all the way . Howard is the first to reach it . As it passes by , he throws his bag upon it and jumps in . Bulgar races beside it as Howard reaches for him . C.U. - HOWARD 'S HAND reaching for BULGAR 's . They connect . WIDE SHOT - The boys are on the train as it leaves town . On it 's route , the train passes a ramshackle GRAVEYARD . CAMERA MOVES SLOWLY INTO THE GRAVEYARD until it reaches A HEADSTONE , made with flecked pink stone . Upon the headstone is only one word : BELOVED .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 124 BLUESTONE RD. - CONTINUOUS.<\/stage_direction>\n    <scene_description>Camera moves slowly towards the side exterior of 124 , into a Close - Up of a WOMAN looking out of a second floor bedroom window . It is SETHE , mother of the two boys and Denver . She hums her melody , softly , sadly , with a resigned understanding of why her boys are running away . and a deep pain that is too constant to notice . FADE OUT ;<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 124 - BABY SUGGS BEDROOM - LATER THAT DAY.<\/stage_direction>\n    <scene_description>BABY SUGGS , grandmother and mother - in - law to Sethe , sits in her bed fondling colored fabric of BRIGHT GREEN . It is the only vibrant color in an otherwise drab surrounding . Suggs is bed - ridden , exhausted to her bones - her face a mosaic of suffering and sacrifice and tested faith .<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <dialogue>Ya know what I'd love to see? I loved to see me some lavender. You got any lavender? Or even pink - pink'll do.<\/dialogue>\n    <scene_description>Sethe is placing folded laundry into a dresser . She stops and checks her pockets for rags or swatches . She looks around the room .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>No. Sorry.<\/dialogue>\n    <character>BABY SUGGS<\/character>\n    <dialogue>Ah, winter in Ohio is especially rough if you've got an appetite for color.<\/dialogue>\n    <scene_description>Suggs goes back to contemplating her green until ;<\/scene_description>\n    <character>SETHE<\/character>\n    <parenthetical>( OS . )<\/parenthetical>\n    <dialogue>Oh wait.<\/dialogue>\n    <scene_description>Suggs looks up to see Sethe sticking her pink tongue out at her . Suggs smiles .<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <dialogue>Oh, that's fine. Fine.<\/dialogue>\n    <scene_description>Sethe lets out a small laugh . She walks toward the window , stretching her body . Her expression changes as she thinks of her boys . Baby Suggs reads her like a book .<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <dialogue>They'll be all right. I'm surprised they lasted here this long.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>I do n't know. Maybe we should have moved.<\/dialogue>\n    <character>BABY SUGGS<\/character>\n    <dialogue>What'd be the point? Not a house in the country ai n't packed to the rafters with some dead Negro's grief. We lucky our ghost is a baby. My husband spirit come back? Or yours? Do n't talk to me! Ha. You lucky. You got one child left, still pullin at your skirts. Be thankful. I had eight. Eight with six fathers. Every one of them gone from me. Four taken, four chased and all, I expect, worrying somebody's house into evil. My first born - alls I can remember of her now is how she loved the burned bottom of bread. Her little hands. I would n't know'em if they slapped me. Can you beat that? Eight children and that's all I remember.<\/dialogue>\n    <character>SETHE<\/character>\n    <parenthetical>( returning to her work . )<\/parenthetical>\n    <dialogue>You remember Halle.<\/dialogue>\n    <character>BABY SUGGS<\/character>\n    <dialogue>Oh, I remember bits and pieces of all of'em I guess. Halle, of course. I had Halle a lifetime. Almost twenty years. My two girls, sold and gone before I could even a heard about it, and them without their grown up teeth yet. My third child, my son after Halle. I let that straw boss have me for four months so's I could keep that boy. Next year, he had him traded for lumber anyway and me pregnant with his child. I could n't love that child. I would n't. Not any of the rest either. God take what He would. and He did.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>The boys would n't have left if Halle were here.<\/dialogue>\n    <character>BABY SUGGS<\/character>\n    <dialogue>Those boys did n't even know him. You had six whole years of marriage to my Halle Fathered every one of your children. A blessing. I learned hard that a man's just a man, but a son like that. like Halle. now that's somebody.<\/dialogue>\n    <scene_description>Sethe 's mixed feelings show all over her face . Although she loved Halle , there is clearly something unresolved in her .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Just got a few more things to do, then I'll start supper.<\/dialogue>\n    <scene_description>Sethe exits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 124 BLUESTONE RD. - LATE DAY.<\/stage_direction>\n    <scene_description>Denver is playing in the front yard by herself . Sethe is pumping water into a bucket for clothes washing . A gentle breeze carries a LEAF into the bucket . Sethe sees it floating atop the water for a moment , then picks it up . C.U. of SETHE as the image triggers a feeling - and the feeling a memory - from long ago . Sethe looks around her and finds she is no longer standing in the barren field of 124 . but rather - MEMORY ;<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SWEET HOME - LATE DAY.<\/stage_direction>\n    <scene_description>A stunning vista of the plantation SWEET HOME - sun beating down on groves and rows of gorgeous sycamores for as far as the eye can see . Sethe 's figure dwarfed by the majestic landscape . Sethe looks frightened . Her breathing grows shallow . She hears something ; THE SOUND OF A WAGON 'S WHEELS - rolling over a road , growing louder , coming towards her INTERCUT ; C.U. OF A WAGON WHEEL MOVING RAPIDLY ON A ROAD . CAMERA PANS UP TO THE MAN DRIVING THE WAGON - A STERN WHITE MAN WEARING A DISTINCTIVE HAT . SETHE TURNS away from the sycamores towards the road to see ; END OF MEMORY ;<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 124 BLUESTONE - LATE DAY.<\/stage_direction>\n    <scene_description>A MAN driving a horse and wagon with two children in the back , coming up Bluestone Road . He wears no hat . Sethe breathes easily . She looks around her - the reality of 124 's barren field has returned . The memory of Sweet Home 's sycamores have vanished . Denver is playing near the road . As the wagon nears 124 , Denver looks up and smiles . The Man whips the horse hard so as to ride past the house faster . The children stare at Denver and 124 , with horror and curiosity . The stares of the children destroy Denver 's smile . She watches them go , then turns to hide her upset and sees her mother watching her . Sethe looks to Denver with empathy and impotence : wanting to ease her daughter 's pain and knowing full well she can not . Hurt and angry , Denver runs past Sethe , towards the woods .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - LATE DAY.<\/stage_direction>\n    <scene_description>Denver runs with a purpose , knowing exactly where she is going . She reaches FIVE BOXWOOD BUSHES planted in a ring . The tall bushes stretch toward each other four feet off the ground , forming a round , emerald room in the center , seven feet high , with walls fifty inches thick of murmuring leaves . This is Denver 's private place . She bends low and crawls through the leaves into the center . Once there , this lonely child wipes away her tears and tries to pull herself together . She lays her face against the cool earth .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 124 BLUESTONE RD. - NIGHT.<\/stage_direction>\n    <scene_description>Denver walks to her room in her night dress . She passes the opened door of her mother 's bedroom and peeks in :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SETHE'S BEDROOM - NIGHT.<\/stage_direction>\n    <scene_description>Sethe kneeling by her bed , as if praying . Beside Sethe , A WHITE DRESS KNEELS as well , with it 's sleeve around Sethe 's waist . Like two friendly grown - up women , comforting each other in prayer . Denver tip toes away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DENVER'S ROOM - NIGHT.<\/stage_direction>\n    <scene_description>Sethe enters to check on Denver , whom she thinks is asleep . She leans over and kisses her forehead , only to discover she is awake ;<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>Mama?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>What is it baby?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>You think maybe when daddy comes, he could talk to the baby ghost. Maybe make her behave and then people wo n't be scared of here no more.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Why wo n't she ever settle?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>She's mad like a baby gets mad. You forgetting how little it is. She was n't even two years old when she died. Too little to understand.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>For a baby she throws a powerful spell.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>No more powerful than the way I loved her.<\/dialogue>\n    <scene_description>Hearing her mother say this , moves Denver .<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>What do you pray for Mama?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Oh, I do n't really pray anymore. I just talk.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>About what?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Oh, about time. How some things go. Pass on. Some things just stay.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>What things?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Like, the place I was at before here - Sweet Home. Even if that whole farm and every tree and blade of grass on it died - it'll still be there. Waiting. And if you go and stand in the place where it was, what happened there once, will happen again.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>If it's still there, waiting, that mean nothing ever dies?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Nothing ever does. That's why I had to get my children out. No matter what. That's why you can never go there.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>You never tell me all what happened. Just that they whipped you and you run off pregnant with me.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>You do n't need to know nothing else.<\/dialogue>\n    <character>DENVER<\/character>\n    <parenthetical>( nods . )<\/parenthetical>\n    <dialogue>I saw a white dress kneeling next to you when you was praying.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>White? Maybe it was my bedding dress. Describe it to me.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Had a high neck. Whole mess of buttons coming down the back.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Buttons. Well, that's not my bedding dress. I never had a button on nothing. What else?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>A bunch at the back. On the sit down part.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>A bustle?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>I do n't know what it's called.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>You say it was holding on to me. How?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Kneeling next to you while you were praying. I mean, talking. It looked just like you.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Well, I'll be.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>I think it was a sign. I think maybe baby's got plans.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>What plans?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>I do n't know, but that dress holding onto you got to mean something.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Maybe. Maybe it does.<\/dialogue>\n    <scene_description>Sethe smiles sympathetically for her lonely child . They hear a sound in the house - floor boards creaking .<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>She's crawling again.<\/dialogue>\n    <scene_description>Sethe nods and holds her daughter 's hand as they listen . FADE OUT ; SUPER : 1873 . FADE IN ;<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 124 BLUESTONE ROAD - DAY.<\/stage_direction>\n    <scene_description>C.U. - PAUL D. GARNER . Paul stands on the road , gazing up at the house . Grateful he 's arrived , cautious about what he 'll find , he steps towards the porch . His clothes are ragged . His feet sore and blistering in his shoes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE PUMP - DAY.<\/stage_direction>\n    <scene_description>Off to the side of the house , Sethe washes her feet and legs at the pump . She looks up and sees Paul 's figure walking towards the house . The sun blazes in her eyes . She ca n't make out who it is , or whether or not he 's even real . As he reaches the porch , Paul disappears from view . Sethe walks towards the front of the house . When she is little more than forty feet away , she stops - still not certain Paul is a real man or an hallucination of the past .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Paul? Paul D? Is that you?<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>What's left.<\/dialogue>\n    <parenthetical>( He rises . )<\/parenthetical>\n    <dialogue>How you been girl, besides barefoot?<\/dialogue>\n    <scene_description>Sethe jams her balled up stockings into her pocket . She smiles like a little girl , not able to believe her eyes .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>You looking good.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Devil's confusion. He lets me look good long as I feel bad.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>How long has it been?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>` Bout eighteen years, I figure.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Eighteen years.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>And I swear I been walking every one of them. Mind if I join you?<\/dialogue>\n    <scene_description>He begins taking off his shoes .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>You want to soak them? Let me get you some water.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>No, uh, uh. Ca n't baby feet. A whole more tramping they got to do yet.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>You're not leaving right away, are you? You stay awhile.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Well, long enough to see Baby Suggs, you. Where is she?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Dead.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Aw no. When?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Eight years now. Almost nine.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Was it hard? I hope she did n't die hard.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Soft as cream. Being alive was the hard part. Sorry you missed her though. Is that what you came by for?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>That's some of what I came for. The rest is you.<\/dialogue>\n    <scene_description>Sethe does n't know what to do with her eyes when he says this . she looks away instinctively . Paul realizes that may have sounded too intimate so he leans back and sighs :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>The truth be known, I go anywhere these days. Anywhere they let me sit down.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Come on inside.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Porch is fine. Cool out here. Sit with me.<\/dialogue>\n    <scene_description>Like a nervous little girl , Sethe takes a sit beside a man for the first time in years , folding her sweat stained skirt beneath her .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>So Baby Suggs is gone. Somehow never thought death would find her.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>It finds everyone.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>We managed well enough without meeting it.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>I suppose.<\/dialogue>\n    <scene_description>Awkward pause . Sethe tries to find the words to a difficult question - but one that is foremost in her mind ;<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>I would n't have to ask about him, would I? You'd tell me if there was anything to tell, would n't you?<\/dialogue>\n    <scene_description>Paul knows instantly she is asking about Halle .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You know I would. But I do n't know any more about what happened to Halle now than I did then.<\/dialogue>\n    <scene_description>Something about Paul 's expression might suggest he 's keeping something from her . He turns his gaze outward as he says ;<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You must think he's still alive.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>No. I think he's dead. It's just not being sure that keeps him alive.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>What did Baby Suggs think?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Same. Ha, listen to her, all her children dead and she felt each one go the very day and hour it happened.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>When she say Halle went?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>1855. Same day my baby was born.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You had that baby, did you? Damn, never thought you'd make it. Running off pregnant.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Had to. Could n't be no waiting.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>All by yourself too.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Almost. A white girl helped me.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Then she helped herself, God bless her.<\/dialogue>\n    <scene_description>Awkward silence .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>We got spare rooms. You could stay the night, if you had a mind to.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You do n't sound too steady in the offer.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Oh it's. it's truly meant. I just hope you'll pardon my house.<\/dialogue>\n    <scene_description>Paul smiles a warm , touched smile that after all that they 've survived , Sethe is worried about what he 'll think of her home .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>My house. I like the sound of that.<\/dialogue>\n    <scene_description>Sethe smiles , then rises to escort him in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 124 BLUESTONE ROAD - DAY.<\/stage_direction>\n    <scene_description>Sethe opens the front door and enters , with Paul behind her , hanging his shoes by the laces over his shoulder . As he follows her in ; A POOL OF RED , UNDULATING LIGHT forms around him . It worries him .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You got company?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>On and off.<\/dialogue>\n    <scene_description>The light undulates faster and faster , extending all the way to the kitchen at the end of the hall . Frightened , Paul steps back out the door .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Good God! What kind of evil you got in there?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>It's not evil. It's just. just sad. Come on. Just step through.<\/dialogue>\n    <scene_description>Sethe reaches out her hand . Paul tentatively takes it and is lead through the red light of the hallway , through to the kitchen where it ends . As he walks through , we can see Paul affected by the light . It is sad . A sadness that touches him , welling up inside until tears are brimming in his eyes . He reaches the normal light of the kitchen and steps out of it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - DAY.<\/stage_direction>\n    <scene_description>Paul turns back to find the red light in the hall is gone .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>I thought you said she died soft as cream.<\/dialogue>\n    <character>SETHE<\/character>\n    <parenthetical>( busying herself in kitchen . )<\/parenthetical>\n    <dialogue>Oh that's not Baby Suggs. That's my daughter. The one I sent ahead with the boys before I run off.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>She did n't live?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>The boys too?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>No, they alive - they run off before Baby Suggs died. The one I was carrying when I left Sweet Home is all I got left.<\/dialogue>\n    <scene_description>Still affected by the light , Paul eases himself down at the table , finding something to say .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Well, probably best. If a Negro boy got legs he ought to use them. Sit down too long, somebody figure out a way to tie them up.<\/dialogue>\n    <parenthetical>( the image disturbs Sethe . )<\/parenthetical>\n    <dialogue>You by yourself then?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Me and Denver. my daughter.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>No man?<\/dialogue>\n    <parenthetical>( Sethe shakes head `` no '' . )<\/parenthetical>\n    <dialogue>And that's all right by you?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>It's all right by me. I cook at a restaurant in town. Sew a little on the sly.<\/dialogue>\n    <scene_description>She places a bottle and a glass on the table before him . The light jarred him . He snatches the bottle to drink and calm himself down . She jokes .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>You look more done in by a walk through my front hall than all those eighteen years of walking put together.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Got that right.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SECOND FLOOR OF 124 - MORNING.<\/stage_direction>\n    <scene_description>Denver , all of eighteen years old now , and beautiful , is buttoning up her dress when she hears the voice of a man down in the kitchen . She stops . Her face lights up .<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>Daddy?<\/dialogue>\n    <scene_description>She runs down the white staircase .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - MORNING.<\/stage_direction>\n    <scene_description>As Denver runs into the kitchen , we hear :<\/scene_description>\n    <character>SETHE<\/character>\n    <parenthetical>( OS . )<\/parenthetical>\n    <dialogue>Wo n't you stay a little while? Ca n't nobody catch up on eighteen years in a day.<\/dialogue>\n    <scene_description>Denver appears expectantly , down the white staircase that leads from the second floor . She looks at Paul wide eyed . They turn to her with gentle smiles ;<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Baby, this here's Paul D. Garner. Paul, this is my Denver. Paul's the last of the Sweet Home men.<\/dialogue>\n    <scene_description>Denver 's heart sinks .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Good morning Miss Denver. It's a pleasure.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Good morning, Mr. D.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Garner, baby. Paul D. Garner.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Glad to get a look at you. Last time I saw your mama, you were pushing out the front of her dress. She's a fine looking young lady, Sethe. Fine looking. Got her daddy's sweet face.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>You knew my father?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Knew him. Knew him well.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Of course he did. I told you, he's from Sweet Home. Paul may stay with us a while. Wo n't that be nice, having an old friend stay a spell?<\/dialogue>\n    <scene_description>But Denver reacts with surprise and dismay . Paul is not her friend . Paul , right now , is more of an intruder .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>If that's all right with you, that is?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>We have a ghost here, you know.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>We met. But sad, your mama said. Not evil.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>No sir, not evil. But not sad either.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>What then?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Lonely.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>I do n't see how it could be lonely spending every minute with us like it does.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>It's my sister. She was just a baby when she died in this house.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Reminds me of that headless bride back behind Sweet Home. Remember that Sethe? Used to roam them woods regular.<\/dialogue>\n    <character>DENVER<\/character>\n    <parenthetical>( annoyed , resentful . )<\/parenthetical>\n    <dialogue>Mama does n't like talk about Sweet Home. Says it was never sweet and it sure was n't home.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Girl, mind yourself!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Now, now, she got it right there, Sethe.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>But it's where we were. All together. It's where I met your father. And it comes back on us whether we want it to or not.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Then why do n't you ever tell me about it?<\/dialogue>\n    <scene_description>Sethe pauses - unnerved and irritated by Denver 's challenge .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Denver, start up the stove. Paul must be hungry.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Do n't go to no trouble on my account.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Bread's no trouble. The rest I brought back from where I work. Least I can do, cooking dawn to noon, is bring dinner home. You got any objections to pike?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>If he do n't object to me I do n't object to him.<\/dialogue>\n    <scene_description>He addresses his humor to Denver who offers no response . She crosses to the stove and works on lighting it . She 's mad .<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>Where's he going to sleep? Baby Sugg's room got no sheets or nothing.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>We'll figure it out.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Maybe you should stay with mama, Mr. Garner. Then you two can talk about Sweet Home all night long.<\/dialogue>\n    <character>SETHE<\/character>\n    <parenthetical>( explodes . )<\/parenthetical>\n    <dialogue>What's the matter with you! I never knew you to behave like this!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Leave her be, Sethe. I'm a stranger to her.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>That's just it. She got no cause to act up with a stranger.<\/dialogue>\n    <scene_description>Denver collapses where she stands , sobbing out loud . Sethe moves to her .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Baby, what is it? Did something happen?<\/dialogue>\n    <scene_description>Denver moves away . Sethe registers this rejection .<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>I ca n't no more! I ca n't no more!<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Ca n't what? What ca n't you?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>I ca n't live here! I do n't know where to go or what to do but I ca n't live here. Nobody speaks to us. Nobody comes by. Nobody even knows I'm alive.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>What she talking about ` nobody speaks to you'?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>It's the house. People do n't.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>It's not! It's not the house! It's us! It's you!<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Denver!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Leave off, Sethe. It's hard for a young girl living in a haunted place. That ca n't be easy.<\/dialogue>\n    <character>SETHE<\/character>\n    <parenthetical>( growing irritated . )<\/parenthetical>\n    <dialogue>It's easier than some other things. Come here, baby.<\/dialogue>\n    <scene_description>Denver allows herself to be held .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>I'm a grown man with nothing new left to see or do and I'm telling you it' ai n't easy. Maybe you oughta move.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Sethe!<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>No. No moving. No leaving. It's all right the way it is.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You going to tell me it's all right with this child half out of her mind.<\/dialogue>\n    <character>SETHE<\/character>\n    <parenthetical>( holding Denver in her arms . )<\/parenthetical>\n    <dialogue>I got a tree on my back and a haunt in my house and nothing in between but the daughter I'm holding in my arms. No more running - from nothing! I will never run from another thing on this earth, you hear! I took one journey and I paid the ticket but let me tell you something, Paul D. Garner ; it cost too much! Do you hear me?! It cost too much! Now sit down and eat with us or leave us be!<\/dialogue>\n    <scene_description>Sethe 's sudden outburst startles Paul . He watches as Sethe ushers Denver out to the keeping room off the kitchen to quiet her down . Alone , Paul is disturbed by Sethe 's words . He fishes out a pouch of tobacco and concentrates on it , searching for smoking papers he knows he does n't have . waiting for Sethe to return . When she does , she heads straight for the stove . She spits on her finger and touches it to check it 's heat . She then begins to make bread from flour , soda and salt - keeping her back to Paul throughout - as the scene continues ;<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>What tree, Sethe?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>What tree on your back? I do n't see nothing growing on your back.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>It's there all the same.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Who told you that?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>White girl. That's what she called it. I never seen it and never will. But she said that's what it looked like. A chokecherry tree. Leaves, branches. That was 18 years ago. Could have cherries by now for all I know.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I do n't follow.<\/dialogue>\n    <scene_description>Sethe pauses . Something in her decides to tell Paul D , although she keeps working on the bread to stay in control ;<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>I had milk, see. I was pregnant with Denver but I had milk for my baby girl that I sent ahead with the boys. I had n't stopped nursing her when I sent her and the boys ahead of me. Anybody could smell me long before they saw me. Nothing I could do about it. All I knew is I had to get my milk to my little girl. Nobody was going to nurse her like me. Nobody was going to get it to her fast enough or take it away when she had enough. nobody knew she could n't pass her air if you held her up on your shoulder, only if she was lying on your knee. Nobody knew that but me.<\/dialogue>\n    <scene_description>Paul listens , half dreading where he thinks this story 's going .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>We was talking about a tree, Sethe.<\/dialogue>\n    <scene_description>Sethe works faster . It is the work , taking an action - any action - that allows her tell the story numbly , without the pain of reliving it . without the images attacking<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Schoolteacher's boys drag me into the barn and took my milk.<\/dialogue>\n    <scene_description>. yet , the images come anyway . INTERCUT : FLASHES OF MEMORY attack as SETHE TELLS HER STORY .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARN - A NIGHT REMEMBERED.<\/stage_direction>\n    <scene_description>- Sethe being raped , beaten , held down by SCHOOLTEACHER 'S BOYS in a barn with a loft .<\/scene_description>\n    <character>SETHE<\/character>\n    <parenthetical>( IN KITCHEN . )<\/parenthetical>\n    <dialogue>. Held me down in that barn and took it.<\/dialogue>\n    <scene_description>Sethe screams and is smacked across the face .<\/scene_description>\n    <character>SETHE<\/character>\n    <parenthetical>( IN KITCHEN . )<\/parenthetical>\n    <dialogue>They were like boulders on me. Their hands over my mouth and on my shoulders and my legs.<\/dialogue>\n    <scene_description>One of the boys holds her face and mouth and head as the two others hold down her body and ravage her .<\/scene_description>\n    <character>SETHE<\/character>\n    <parenthetical>( IN KITCHEN . )<\/parenthetical>\n    <dialogue>I could n't move. Alls I could see was the loft above their heads.<\/dialogue>\n    <scene_description>Her mouth covered , her head immobile - she stares up at the loft . END OF MEMORY IMAGES .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>The loft?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - PRESENT DAY.<\/stage_direction>\n    <scene_description>Sethe squeezes her eyes to erase the image and works harder on the biscuit dough . The flashes of IMAGES STOP .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>I told Mrs. Garner on them. She had that lump on her neck and could n't speak but her eyes rolled out tears, I remember. Them boys found out I told on'em and Schoolteacher made one open up my back, and when it closed it made a tree.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>They used cowhide on you?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>And they took my milk.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>They beat you and you was pregnant?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>And they took my milk!<\/dialogue>\n    <scene_description>Sethe has separated the dough into biscuits which she slips into the stove . As she rises , Paul steps gently behind her . He slowly caresses her breasts from behind , pressing his cheek against her back . He rubs his cheek against it , feeling the scars beneath the dress . Raising his fingers to the hooks , as Sethe cries silently , he undoes her dress which slips down to her hips , exposing the sculpture her back has become .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Aw Lord, girl.<\/dialogue>\n    <scene_description>Grateful to have her body be someone else 's responsibility for the moment , Sethe closes her eyes as Paul touches every ridge and leaf of her tree with his mouth . The tenderness is almost unbearable . Suddenly , PAUL 'S LEGS BEGIN TREMBLING . He pauses and looks down . He realizes it is not his legs that tremble , but rather ; THE FLOORBOARDS THEMSELVES ARE PITCHING , GRINDING , SHOVING the house from side to side . Sethe slides to the floor , struggling with her dress . On all fours , Denver crawls in from the keeping room as if trying to keep the house together . Paul , falling , reaching for an anchor , begins to shout ;<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>GOD DAMN IT! HUSH UP! Leave this place alone! Get the hell outta here!<\/dialogue>\n    <scene_description>A table rushes at him but Paul grabs it 's leg . Managing to stand at an angle as the house continues to pitch , he holds the table by two legs and bashes it about , wrecking everything , screaming at the house ;<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>YOU WANT TO FIGHT, COME ON! GOD DAMN IT! SHE GOT ENOUGH WITHOUT YOU! SHE GOT ENOUGH!<\/dialogue>\n    <scene_description>The quaking slows to an occasional lurch but Paul does not stop whipping the table around until everything it is absolutely still . He leans against the wall , panting . Sethe is crouched by the stove . A mixed expression of relief and guilt - the expression of a mother whose disobedient child has been sent away . But a child she loves nonetheless . Denver looks frightened . More alone than ever , now that her one companion is gone . All three are breathing together as if to the same beat , like one tired person .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - LATER THAT DAY..<\/stage_direction>\n    <scene_description>Denver walks through the broken furniture and dishes . At the stove , she ashes over the fire and pulls the pan of biscuits from the oven ,<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 124 BLUESTONE RD. - CONTINUOUS.<\/stage_direction>\n    <scene_description>A shirtless Paul D. is by the water pump washing himself .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - CONTINUOUS.<\/stage_direction>\n    <scene_description>Denver lifts the fallen jelly cupboard , it 's contents laying in a heap in the corner of the bottom shelf . She takes out a jar . She looks for a plate and finds half of one by the broken table . She picks it up as she hears Paul enter through the front door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BABY SUGGS BEDROOM - CONTINUOUS.<\/stage_direction>\n    <scene_description>Sethe prepares a bed for Paul . Baby Suggs quilt is on the bed . She hesitates whether or not to leave it there . Paul stands by the door with his shoes in his bands , his shirt hanging open down the front . Sethe is surprised to see him there - she feels awkward .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Why do n't you. take a rest. I'll call you when we're ready.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Sure you do n't want me to help clean up?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>No. you'd just get in my way. Denver and me'll do it.<\/dialogue>\n    <scene_description>They stand in silence , looking at each other for a moment . The awkwardness they both feel strike them suddenly as funny . Paul starts smiling . Sethe covers her mouth to conceal it . And then , just as quickly , the urge to laugh subsides - and the fear they feel takes it 's place . Paul slowly closes the door and places his shoes on the floor . Sethe watches him . Paul crosses to her . He moves in to kiss her . They approach each other 's lips like two burn victims , trying desperately not to hurt the other with their touch .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 124 BLUESTONE RD. - CONTINUOUS.<\/stage_direction>\n    <scene_description>Denver sits on the porch steps , alone once again . Miserably eating the biscuit and jelly off of a half broken plate .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BABY SUGGS BEDROOM - MINUTES LATER.<\/stage_direction>\n    <scene_description>Sethe and Paul lay in bed , after lovemaking . They are still fully clothed . The lovemaking was fast and finished quickly . Now , there is an awkwardness that is without humor or excitement - but sits like a chasm between them . As Sethe lays there , SHE REMEMBERS :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE CORN FIELDS OF SWEET HOME - A DAY REMEMBERED.<\/stage_direction>\n    <scene_description>A brilliant bright yellow and green corn stalks in a tiny corn field . Sethe and a slightly older HALLE - handsome , strong - run through the field until Halle stops them at an isolated spot .<\/scene_description>\n    <character>HALLE<\/character>\n    <dialogue>How's this?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Here?! out in the open?!<\/dialogue>\n    <character>HALLE<\/character>\n    <dialogue>Look around - can you see anybody?<\/dialogue>\n    <scene_description>Sethe looks and can see nothing through the corn stalks . She shakes her head no .<\/scene_description>\n    <character>HALLE<\/character>\n    <dialogue>Then nothing can see us neither.<\/dialogue>\n    <scene_description>He takes off his shirt . Seethe giggles as she gets on the ground , keeping her ankles crossed . Halle lays her back and gently separates her legs . She giggles . Halle pauses before laying on top of her .<\/scene_description>\n    <character>HALLE<\/character>\n    <dialogue>You are a beautiful sight.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Do n't talk stupid.<\/dialogue>\n    <character>HALLE<\/character>\n    <dialogue>You're my wife now! I can talk as stupid as I like about you!<\/dialogue>\n    <parenthetical>( she giggles . )<\/parenthetical>\n    <dialogue>I ai n't never loved nothing like you before, Sethe.<\/dialogue>\n    <parenthetical>( Sethe is moved . )<\/parenthetical>\n    <dialogue>And after I get mama out. then I get us out too. And you'll see, baby girl.<\/dialogue>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>we're gon na have us a liiife.<\/dialogue>\n    <scene_description>He sings the word `` life '' , so that Sethe laughs . Then , Halle lowers himself slowly to her and they begin to make love . As camera pans up to a HILL above the field , we hear Sethe ask ;<\/scene_description>\n    <character>SETHE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>You sure nobody can see?<\/dialogue>\n    <scene_description>We hear Halle grunt `` uh - huh '' as we arrive on the hill where a GREAT TREE sits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GREAT TREE ON THE HILL - DAY.<\/stage_direction>\n    <scene_description>Beneath the tree , PAUL D , SIXO and Paul 's brothers Paul A. and Paul P. are pouring water over heads and watching ; POV ; Unbeknownst to Halle and Sethe , their lovemaking is in clear view to anyone on the hill .<\/scene_description>\n    <character>PAUL A<\/character>\n    <dialogue>Damn. I do n't get why she picked him.<\/dialogue>\n    <character>PAUL D<\/character>\n    <dialogue>Halle's got that way about him. That way a woman feels he's doing it all for her, not for himself at all.<\/dialogue>\n    <character>PAUL A<\/character>\n    <dialogue>I ca n't see nothing so special about Halle.<\/dialogue>\n    <character>PAUL F<\/character>\n    <dialogue>What about what he's doing for his mama?<\/dialogue>\n    <character>PAUL A<\/character>\n    <dialogue>Fool thing, if you ask me. By the time he buys it, freedom wo n't mean a thing to somebody that old and worn.<\/dialogue>\n    <character>SIXO<\/character>\n    <dialogue>Freedom mean something anytime it come.<\/dialogue>\n    <scene_description>The men watch the corn stalks swaying to the lovemaking . A YOUNG PAUL D. , in particular , watches with tender yearning .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN AT SWEET HOME - EARLY EVENING.<\/stage_direction>\n    <scene_description>MR. GARNER , the man who owns and runs Sweet Home . He offers cooked corn to the men .<\/scene_description>\n    <character>MR. GARNER<\/character>\n    <dialogue>Raccoon must've got into my corn. Damaged a few so, no use throwing them out.<\/dialogue>\n    <scene_description>The men looks to each other , suppressing a laugh .<\/scene_description>\n    <character>MR. GARNER<\/character>\n    <dialogue>Sethe, get the butter there.<\/dialogue>\n    <scene_description>Everyone looks at each other as they thank No . Garner and begin to smear butter on their corn and eat . A NEIGHBORING FARMER visiting the Garner 's cautions him ;<\/scene_description>\n    <character>NEIGHBORING FARMER<\/character>\n    <dialogue>You spoil these nigger boys.<\/dialogue>\n    <character>GARNER<\/character>\n    <dialogue>Maybe you got boys on your farm. My nigger's are men. Not a boy among'em. Bought'em thataway, raised'em thataway.<\/dialogue>\n    <character>NEIGHBORING FARMER<\/character>\n    <dialogue>Beg to differ Garner. Ai n't no nigger men.<\/dialogue>\n    <character>GARNER<\/character>\n    <dialogue>Not if you scared. But if you a man yourself, you'll want your niggers to be men too.<\/dialogue>\n    <character>NEIGHBORING FARMER<\/character>\n    <dialogue>Would n't have no nigger men around my wife.<\/dialogue>\n    <character>GARNER<\/character>\n    <dialogue>Neither would I. Neither would I.<\/dialogue>\n    <scene_description>Sethe hides a smile as she hands a piece of corn to Halle . Paul A and Paul F hesitate as they think of eating the corn which the lovers consummated . But Sixo digs right in . Paul D eats slowly , his eyes never leaving Sethe as she moves Around the kitchen , her eyes never leaving Halle . Paul 's Attraction and love for her are apparent . END OF MEMORY ;<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SETHE'S BEDROOM - EARLY EVENING.<\/stage_direction>\n    <scene_description>C.U. on PAUL , on his back , turned away from Sethe . What began as Sethe 's memory , has blended into Paul 's . Sethe rises off the bed , breaking the thick silence between them :<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>I'll call you when there's something to eat.<\/dialogue>\n    <scene_description>She exits , leaving Paul alone on the bed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 124 BLUESTONE RD. - THE FOLLOWING DAY.<\/stage_direction>\n    <scene_description>We see the house now . No creaking or sounds of breaking furniture . Just the sound of Paul D. singing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - DAY.<\/stage_direction>\n    <scene_description>Paul is singing as he fixes the table he broke while driving the baby ghost away . Denver is sweeping the floor - irritated by Paul 's presence and voice . They both hear the front door open as Sethe arrives home from work . They look to each other to see which one will make a move for Sethe first . Paul knows enough to bide his time with Denver . He watches as she places the broom down and exits the kitchen .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 124 BLUESTONE RD. - NIGHT.<\/stage_direction>\n    <scene_description>Paul and Sethe sit on the porch together . Sethe is sewing . Paul nervously gets up his nerve to ask :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Sethe.<\/dialogue>\n    <parenthetical>( she stops and looks . )<\/parenthetical>\n    <dialogue>I was thinking of looking for work around here. What do you think?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Ai n't much. River mostly. And hogs.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Hogs is fine.<\/dialogue>\n    <scene_description>Paul moves to where Sethe is sitting .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>I do n't need much, Sethe. Eat, sleep, sing a little when it strikes me. I do n't ask for more to. to live somewhere.<\/dialogue>\n    <scene_description>Sethe realizes what he is asking and tentatively responds :<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>All right. It's. it's fine with me.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Your girl Denver. Seems she's of a different mind.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Do n't worry about her. She's a charmed child. Nothing ever touch her too bad. From the beginning. Everybody I knew dead or gone, but not her.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>You got to know something, though - this here ai n't no better life. It's just not that other one. What I do here - all I ever do - is keep Denver from that other. So if you stay, there's no more talk about Sweet Home or anything else. I wo n't let the past in my yard again. Getting me and Denver through this here life is all that matters. You understand?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Dangerous to love anything that much, Sethe. Best thing is to love everything just a little bit. that way, when it breaks or runs off or gets taken, well maybe you'd have a little love left over for the next one.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Do n't be asking me to choose, Paul D. There ai n't no choice here.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>That's the whole point. I'm not asking you to choose. Just want to know if there's some space for me. Want to know if it's more than `` you can stay'', `` it's fine''. more like, `` I want you here Paul''.<\/dialogue>\n    <scene_description>Beat . Sethe is frightened by the prospect of feeling for him .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Maybe we should leave things the way they are.<\/dialogue>\n    <scene_description>Sethe rises to enter the house when Paul 's words stop her :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>How are they?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>We get along.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>What about inside?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>I do n't go inside.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Sethe, if I'm here with you, with Denver, you can go anywhere you want. Jump, if you want to,'cause I'll catch you. Go as far inside as you need - I'll hold your ankles. Make sure you get back out. I'm not saying this because I need a place to stay. I told you, I'm a walking man, but I been heading in this direction for seven years. When I got here and sat out there on the porch, waiting for you, well, I knew it was n't the place I was heading toward. It was you. We can make a life girl. A life.<\/dialogue>\n    <character>SETHE<\/character>\n    <parenthetical>( scared . )<\/parenthetical>\n    <dialogue>I do n't know. I do n't know.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Leave it to me. See how it goes. No promises, if you do n't want to make any. Just see how it goes, all right?<\/dialogue>\n    <scene_description>Sethe 's heart is twisted . She wants to cry . because she feels hope . and because she feels fear .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>All right. We'll see how it goes.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You willing to leave it to me?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Well. some of it.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Some? Well okay. some.<\/dialogue>\n    <scene_description>Sethe manages a smile .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DENVER'S BEDROOM - NIGHT.<\/stage_direction>\n    <scene_description>Denver lies curled up in her bed . Alone . Sethe enters and crawls in unexpectedly . Denver looks up , surprised to see her .<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>What is it? What's wrong?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Nothing. Nothing's wrong. Lay back down.<\/dialogue>\n    <scene_description>Denver obeys , unsure .<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>You think baby ghost's really gone?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Do n't know.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>I miss her.<\/dialogue>\n    <scene_description>Sethe lets out a small laugh .<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>I do. Baby Suggs told me baby ghost would never hurt me. She was my sister. When I was little, after the boys left, I used to think that she and me both were waiting for daddy to come. And once he did, she would n't be mad no more.<\/dialogue>\n    <parenthetical>( Sethe listens sadly . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>They hear Paul singing out on the porch . Denver grimaces .<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>Wish he'd shut - up. He's ruined everything.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>No, he has n't. He wo n't.<\/dialogue>\n    <parenthetical>( hesitates . )<\/parenthetical>\n    <dialogue>He. he wants to takes us to the carnival next Thursday.<\/dialogue>\n    <scene_description>Denver 's eyes light up with excitement then caution .<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>You mean, go out where they'll be other people?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Dress up a little bit. Wear our hats. What do you think?<\/dialogue>\n    <character>DENVER<\/character>\n    <parenthetical>( downplaying her excitement . )<\/parenthetical>\n    <dialogue>Maybe.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Maybe. All right. all right.<\/dialogue>\n    <parenthetical>( difficult for her to say . )<\/parenthetical>\n    <dialogue>Can I ask you something?<\/dialogue>\n    <parenthetical>( Denver nods , her back to Sethe . )<\/parenthetical>\n    <dialogue>I was wondrin'. What you think about us. maybe. maybe thinking we could start. if we got an idea to, thinking we could start. countin' on.<\/dialogue>\n    <parenthetical>( she stops . )<\/parenthetical>\n    <dialogue \/>\n    <character>DENVER<\/character>\n    <dialogue>On what mama? Countin' on what?<\/dialogue>\n    <scene_description>Sethe can barely bring herself to say . To hope . To imagine . Paul ? But , for Denver , she forces herself and whispers ;<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Something.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARNIVAL - DAY.<\/stage_direction>\n    <scene_description>Paul and Sethe and Denver walk among the hundreds of black townspeople gathered for the carnival . A sign reads COLORED THURSDAY . TWO PENNIES ENTRANCE FEE . Paul is in high spirits . Saying hello to anyone whose eye he catches . Willing , eager to get anything for Denver she wants . Feeling a little more like a normal van in a normal life . Denver is excited but worried . She does n't want to like Paul but ca n't help the thrill she 's feeling . And when one or two passersby shout out ;<\/scene_description>\n    <character>VARIOUS PASSERS-<\/character>\n    <dialogue \/>\n    <character>BY<\/character>\n    <dialogue>Hey Denver! Hi there Denver!<\/dialogue>\n    <scene_description>Denver heart almost weeps with joy . Sethe walks cautiously . Overdressed for the occasion , it is her first outing among neighborhood folk in many years . She catches the eyes of some of the women she knows . ELLA and LADY JONES . good Christian women who nod in their acknowledgement yet are holding back something . A judgement ? A repulsion ? Paul does n't notice them and for this Sethe is glad . MONTAGE of SCENES . the various carnival acts , all performed by a WHITE TROUPE ; magic , clowning , fire swallowing , spitting ribbons , acrobats forming pyramids . Our trio take it all in like water to the thirsty . At one point , A WHITE CARNIVAL BARKER shouts to the children ;<\/scene_description>\n    <character>CARNIVAL BARKER<\/character>\n    <dialogue>All Pickaninnies free!<\/dialogue>\n    <scene_description>The phrase stabs Sethe and Paul a bit . But Paul whispers ;<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Two pennies and an insult well spent in my opinion to see the spectacle of whitefolks making a spectacle of themselves.<\/dialogue>\n    <scene_description>Sethe ca n't help but let out a small laugh - and with that laugh , a sudden sensation of relief . Paul buys Denver some licorice , peppermint and lemonade . Holding the lemonade for her , Paul asks ;<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Mind if I take a sip?<\/dialogue>\n    <scene_description>Denver agrees . Paul takes some lemonade then wipes the rim where he sipped with a small napkin and gently hands it back to her . Denver , in spite of herself , is starting to like him . END MONTAGE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY ROAD - DAY.<\/stage_direction>\n    <scene_description>Our trio are leaving the carnival , walking three astride with distance in between each . The sunlight casts strong shadows . Sethe 's eyes glance towards the ground behind them and sees ; THEIR THREE SHADOWS ARE HOLDING HANDS . as they walk home . FADE OUT ; FADE - IN .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A STREAM AND THE BANK BESIDE IT - DAY.<\/stage_direction>\n    <scene_description>WIDE ANGLE of a BEAUTIFUL , WIDE STREAM -LRB- more like a small river -RRB- with a MULBERRY TREE standing tall on the bank before it . There is not a soul in sight as the stream moves gracefully beneath the sun . SUDDENLY ; A FULLY DRESSED YOUNG BLACK WOMAN EMERGES FROM THE MIDDLE OF THE STREAM LIKE A GODDESS ARISING OUT OF SPIRITUAL WATERS . SHE WEARS A STRAW HATT A WHITE DRESS WITH BUTTONS , A LACE COLLAR AND NEW SHOES . SHE WALKS OUT OF THE WATER TO THE BANK . Exhausted , sopping wet and breathing heavily as if from asthma , she sits , leaning against the mulberry tree . She seems too tired to even hold her head upon her neck . Yet her skin is like new lineless and smooth . Glowing . Although racked with pain , SHE IS SMILING . Smiling the way travellers smile when they have finally arrived after a long and arduous journey .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - DAY.<\/stage_direction>\n    <scene_description>The Young Black Woman makes her way through the woods . She passes by Denver 's BOXWOOD BUSH secret place . Then continues forward , as if with a specific direction in mind .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 124 BLUESTONE ROAD - LATE AFTERNOON.<\/stage_direction>\n    <scene_description>Sethe , Paul and Denver approach 124 . Denver is the first to see .<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>Look. What is that?<\/dialogue>\n    <scene_description>All three look to see ; THE YOUNG BLACK WOMAN sitting on a stump not far from the steps of 124 . As the three approach , the Young Woman lifts her head and stares directly at Sethe . The two women exchange a moment in their eyes - Sethe , curious yet warm . The Young Woman , happy yet there is a hunger in her stare .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - MOMENTS LATER.<\/stage_direction>\n    <scene_description>The Young Woman seated on a chair as Denver refills a tin cup of water . The Young Woman drinks greedily , cup after cup .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>You from around here?<\/dialogue>\n    <scene_description>The Young Woman shakes her head NO . She reaches down and takes off her shoes , which Sethe notices as new . Sethe bends down to pick them up . The Young Woman never lets her eyes leave Sethe .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Those shoes look brand new.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>What might your name be?<\/dialogue>\n    <scene_description>The Young Woman speaks in a low , rough voice ;<\/scene_description>\n    <character>BELOVED<\/character>\n    <dialogue>Beloved.<\/dialogue>\n    <scene_description>Sethe drops the shoes . Denver sits down . Paul smiles ;<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Beloved. You use a last name, Beloved?<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>Last. No. just Beloved.<\/dialogue>\n    <parenthetical>( she spells it . )<\/parenthetical>\n    <dialogue>B. E. L. O. V. E. D.<\/dialogue>\n    <scene_description>As she spells it we see sethe 's reaction ; she is deeply touched . Then Denver 's - who looks both amazed and curiously excited . Sethe hangs her own hat on a peg then approaches Beloved .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>That's a pretty name Beloved. Take off your hat and I'll make us something. We just got back from the carnival over near Cincinnati -<\/dialogue>\n    <scene_description>But Beloved has fallen asleep upright in the chair .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Miss. Miss, you want to lay down?<\/dialogue>\n    <scene_description>Her eyes open to slits . Paul is about to help her when Denver rises ;<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>I'll take her up. She can sleep in baby Suggs room - that all right Mama?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Course.<\/dialogue>\n    <scene_description>Denver eases Beloved onto her feet , which Sethe and Paul notice do not have a line or sore on them .<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>( whispers to Sethe . )<\/parenthetical>\n    <dialogue>Look at her feet? They're not walking feet. More like she rode from somewhere all the way here.<\/dialogue>\n    <scene_description>Yet , Beloved can barely stand upon them as Denver escorts her to the white staircase . Beloved starts coughing .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Sounds like the croup.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Is she feverish, Denver?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>No. She's cold.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Then she is. Fever goes from hot to cold.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Could have the cholera.<\/dialogue>\n    <character>DENVER<\/character>\n    <parenthetical>( adamant . )<\/parenthetical>\n    <dialogue>She's not sick!<\/dialogue>\n    <scene_description>Denver helps her up the stairs . Sethe and Paul register Denver 's defensive reaction .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BABY SUGG'S ROOM - SAME TIME.<\/stage_direction>\n    <scene_description>Denver eases Beloved into the bed . Beloved falls asleep the second she hits the pillow . Denver gently - cautiously - strokes Beloved 's forehead and cheek .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BABY SUGG'S ROOM - NIGHT.<\/stage_direction>\n    <scene_description>Denver stands vigil beside Beloved , wrapped beneath a quilt .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BABY SUGG'S ROOM - THE FOLLOWING DAY.<\/stage_direction>\n    <scene_description>Denver watches her sleep , wiping her hot forehead with cold cloths .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BABY'S SUGG'S ROOM - NIGHT.<\/stage_direction>\n    <scene_description>Denver washes out Beloved 's underwear and stockings . She hears Beloved murmuring . She moves quickly to her side .<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>Beloved? Beloved I'm here. what is it?<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>Heavy. this place is heavy.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Would you like to sit up?<\/dialogue>\n    <scene_description>Beloved shakes her head no . She takes hold of Denver 's arm and wraps it around her own body . Denver sits up against the pillow as Beloved snuggles her body into Denver 's arms and falls back asleep . Denver holds her , lovingly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BABY SUGGS ROOM - DAYS LATER.<\/stage_direction>\n    <scene_description>Denver has not left her bedside . She places another quilt upon her , tucking it in around the sides . As she does this , Beloved 's eyes open for a brief moment , catching the sight of Denver over her . She smiles . Denver gratefully smiles back .<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>Can I get you anything? Are you hungry?<\/dialogue>\n    <scene_description>Beloved looks over to a plate of half finished food - Denver 's meal . Denver picks up a piece of sweet bread and feeds her . Denver is thrilled . THE FOLLOWING SCENES TAKE PLACE OVER SEVERAL WEEKS ;<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - THE NEXT DAY.<\/stage_direction>\n    <scene_description>Denver places sugar between two pieces of bread and gives the sandwich to Beloved , who , no longer feeling sickly , accepts it with a bright smile .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HEN HOUSE - ANOTHER DAY.<\/stage_direction>\n    <scene_description>Denver explains how to pack mud in the cracks of the hen house as Beloved listens attentively , eating jelly out of a jar .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HEN HOUSE - ANOTHER DAY.<\/stage_direction>\n    <scene_description>Denver explains to Beloved how to warm the chicks with their skirts as the latter eats something sweet . They both giggle at the softness of the chicks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DENVER &amp; BELOVED'S BEDROOM - ANOTHER DAY.<\/stage_direction>\n    <scene_description>Denver is showing Beloved how to make her bed .<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>then you fold it over like this see. This here used to be where my brothers and me slept. I was always at the top.<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>How you get so smart?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>I ai n't so smart.<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>Yes you are!<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Well, I used to go to Lady Jones. She'd teach us with songs how to spell and count.<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>You do n't go no more?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>No I. I had to stop going.<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>You so smart. Tell me about your brothers.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Well. they're names were Howard and.<\/dialogue>\n    <scene_description>As Denver continues , Beloved steps towards her and begins to touch her face - examining her lips , her nose , her skin as if it were a rose to admire . Denver drinks in the attention , her heart expanding with love with every touch from this strange creature .<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>and. and Bulgar. At night, we used to. crawl into bed together. I'd lay down on Bul's lap and Howard would tell us die - witch stories. He said they would protect us. And if I learned them, they would protect me if ever they were gone.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PORCH - EARLY EVENING.<\/stage_direction>\n    <scene_description>Everyone is sitting on the porch after dinner . Beloved , looking strong and fit , eats a cane stick - gnawing at it to the flax , keeping the strings in her mouth long after the syrup had been sucked off . It makes Denver laugh , as she licks her cane stick . It makes Sethe smile , to see them both happy . It makes Paul disgusted .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KEEPING ROOM - NIGHT.<\/stage_direction>\n    <scene_description>Paul confronts Sethe as she sews .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You gon na just feed her, from now on?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Denver likes her. She's no real trouble.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>But do n't she have a home? Some place to go?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Did n't mention one. I thought we'd wait until her breathing got better. She still sounds a little lumbar.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>She breathe like she can eat, she could blow this whole house down. And all those sweets.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Sometimes the body needs that sugar for strength when it's trying to recover after an illness.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>But that's just it. She do n't seem sick. Something funny about her.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Funny? How?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Acts sick, sounds sick but she do n't look sick. Good skin, bright hands and strong as a bull.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>She can hardly walk without holding onto something.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>That's what I mean. Ca n't walk but I passed by Baby Sugg's room this morning and saw her lifting the rocker with one hand.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>You did n't?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Do n't tell me. Ask Denver. She was right there.<\/dialogue>\n    <scene_description>At that moment , Denver passes by on her way to the kitchen .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Denver. Come in here a minute.<\/dialogue>\n    <scene_description>Denver enters the keeping room .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Paul says you saw Beloved pick up the rocking chair in Baby Suggs room with one hand. That so?<\/dialogue>\n    <scene_description>Denver looks at Paul with a hard gaze ;<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>I did n't see no such thing.<\/dialogue>\n    <scene_description>From Paul 's expression we can tell Denver is lying . and whatever fragile connection they were building , is swiftly destroyed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SETHE'S BEDROOM - NIGHT.<\/stage_direction>\n    <scene_description>Sethe is getting ready for bed . Denver sticks her head in :<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>Have you seen her? I ca n't find her.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Beloved.<\/dialogue>\n    <scene_description>Sethe shakes her head . Denver exits anxiously . The mentions of Beloved 's name stir a MEMORY in Sethe :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRAVESTONE YARD - A DAY REMEMBERED.<\/stage_direction>\n    <scene_description>Sethe talks to the HEADSTONE ENGRAVER as he works in the hot sun . His YOUNG SON helps him .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>She need a marker. Somethin' to tell me where she is. But I ai n't got no money.<\/dialogue>\n    <scene_description>The Engraver eyes her body .<\/scene_description>\n    <character>ENGRAVER<\/character>\n    <dialogue>What you got then?<\/dialogue>\n    <scene_description>Sethe is embarrassed by his lascivious tone , especially in front of the young boy . The Engraver rises , takes a step toward Sethe and touches her hip , curling his hand around to her back .<\/scene_description>\n    <character>ENGRAVER<\/character>\n    <dialogue>What you want it to say?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>I was thinking what the preacher say at the funeral. Dearly Beloved.<\/dialogue>\n    <character>ENGRAVER<\/character>\n    <parenthetical>( touching her . )<\/parenthetical>\n    <dialogue>For ten minutes I give you one word for free.<\/dialogue>\n    <scene_description>His hand glides down to her buttocks . Sethe ca n't help but see the Young Boy watching the scene . END of MEMORY .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SETHE'S BEDROOM - NIGHT.<\/stage_direction>\n    <scene_description>As the memory starts to fade form her mind , Sethe suddenly feels someone else 's presence . She looks up to find : Beloved standing by the door - watching her .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Oh! I did n't know you were there.<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>Can I help?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Help what, honey?<\/dialogue>\n    <scene_description>Beloved kneels before her on the floor and finishes buttoning up Sethe 's night dress .<\/scene_description>\n    <character>BELOVED<\/character>\n    <dialogue>Where you go in the morning?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Work. I work in a restaurant.<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>What time you go?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Little after the sun come up. I like to make a loaf of bread before I go. How you feelin'?<\/dialogue>\n    <scene_description>Beloved nods , absorbing the information .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>You remember your mother at all?<\/dialogue>\n    <character>BELOVED<\/character>\n    <parenthetical>( scratching back of her head . )<\/parenthetical>\n    <dialogue>I remember a woman who was mine and I remember bein snatched away from her.<\/dialogue>\n    <scene_description>Sethe , nods , understanding such things . She cautiously reaches out to stroke Beloved 's face . Beloved responds like a puppy , pressing her cheek against Sethe 's hand . Sethe is moved .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - PRE DAWN.<\/stage_direction>\n    <scene_description>Sethe enters the kitchen to make bread before she leaves for work . She finds Beloved waiting for her , placing out her cooking things on the table . Beloved looks up and smiles .<\/scene_description>\n    <character>BELOVED<\/character>\n    <dialogue>I'm helpin make your bread.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 124 BLUESTONE - EARLY EVENING.<\/stage_direction>\n    <scene_description>Beloved waits anxiously at the window for the sight of Sethe coming home from work . When she sees her , she runs through the house , out the door to meet her . Denver appears at the door , upset by Beloved 's loss of attention in her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PORCH - EVENING.<\/stage_direction>\n    <scene_description>C.U. - SETHE , as she leans her tired head against the porch , sitting on the step . She closes her eyes and is about to drift off , when ; BELOVED 'S HAND gently touches her shoulder , settling there . Sethe looks up and smiles , patting her hand . Beloved stands above her as Denver takes a seat on the step . Beloved searches Sethe 's eyes and asks ;<\/scene_description>\n    <character>BELOVED<\/character>\n    <dialogue>Where your diamonds?<\/dialogue>\n    <scene_description>The question surprises Sethe . and startles Denver .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Diamonds? What would I be doing with diamonds?<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>On your ears.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Wish I did.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Hmm. come to think of it, I had some crystal once. A present from Mrs. Garner - woman I worked for at Sweet Home.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>I never saw you with no earrings.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Gone. Long gone.<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>Tell me. Tell me about your diamonds.<\/dialogue>\n    <scene_description>Sethe hesitates . Beloved kneels at her feet .<\/scene_description>\n    <character>DENVER<\/character>\n    <parenthetical>( to Beloved . )<\/parenthetical>\n    <dialogue>Ma'am do n't talk about Sweet Home.<\/dialogue>\n    <character>BELOVED<\/character>\n    <parenthetical>( ignoring her . )<\/parenthetical>\n    <dialogue>Tell me. Tell me about your diamonds.<\/dialogue>\n    <scene_description>Denver awaits her mother 's reaction with great interest . Sethe looks at Beloved sweet , innocent expression and something in her resistance , eases :<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Well. this lady I worked for in Kentucky gave them to me when I got married.<\/dialogue>\n    <scene_description>Denver is both interested and slightly hurt at her mother 's willingness to tell Beloved what she 'd never tell her :<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>What they called married back then. I remember going up to her in the kitchen to tell her. I'd help her make ink for Mr. Garner in the kitchen. I was fool enough to think I was going have some kind of ceremony. maybe even a new dress.<\/dialogue>\n    <parenthetical>( CONTINUES AS WE CUT TO ; . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Sethe 's continues telling Beloved , an attentive audience . Denver , more attuned to Beloved 's interest than the story , is disturbed at her mother 's telling of it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - ANOTHER EVENING.<\/stage_direction>\n    <scene_description>Camera moves up from the mended legs of the table Paul broke to ; A suspicious Paul glares at Beloved as they eat dinner . Beloved is ever ready to pass Sethe a bowl or napkin or whatever she needs . She is `` shining '' - for Sethe , and for Sethe alone . Denver notices it as well . It is raining outside . Both Denver and Beloved are wet from the rain . Denver 's hair is all tangled .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Best unbraid that hair.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Tomorrow.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Today's always here. Tomorrow never.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>It hurts.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Comb it everyday, it wo n't.<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>Your woman never fixed up your hair?<\/dialogue>\n    <scene_description>All three look to Beloved , puzzled by her question , which is clearly intended for Sethe . Paul 's getting more annoyed .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>My woman? You mean my mother?<\/dialogue>\n    <scene_description>Beloved nods . Paul and Denver exchange a curious look .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>If she did I do n't remember. I do n't think I saw her but a few times.<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>Tell me ` bout her.<\/dialogue>\n    <scene_description>Paul and Denver look to Sethe , waiting to see if she 'll answer .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>I remember once, she picked me up and carried me behind the smokehouse. The only thing I do remember in fact.<\/dialogue>\n    <scene_description>Paul is disturbed by Sethe 's carefree storytelling - how it contradicts her words to him that first day and worried it will lead to no good . Once again , Denver is surprised to hear what she 's never heard before . She looks to Paul and knows what he is thinking . Paul looks back and knows Denver realizes it . But Denver returns his glance with a defensive dismissal of the eyes .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>She opened up her dress and right on her rib, right here, was a circle and a cross burnt right into the skin.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( interrupts her . )<\/parenthetical>\n    <dialogue>Sethe.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Paul does n't want her to continue but does n't want to say so .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Any more beans?<\/dialogue>\n    <scene_description>Sethe rises to get him more food and she continues :<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>anyway, she points to this mark and says to me `` This is your ma'am. I am the only one whose got this mark now. The rest all dead. If something happens to me and you ca n't tell me by my face, you can know me by this mark''. Scared me so. I could n't think of anything to say so I said `` Yes Ma'am. but how will you know us? Mark me too. Mark the mark on me too.''<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Did she?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>No. She slapped my face. I did n't understand it then. Not until I had a mark of my own.<\/dialogue>\n    <scene_description>Paul is disturbed . He can see Sethe getting upset . He is mad at Beloved for her damn questions .<\/scene_description>\n    <character>BELOVED<\/character>\n    <dialogue>What happened to her?<\/dialogue>\n    <scene_description>Something inside of Sethe stops , a wall erected . Something unwanted is coming into her consciousness . Paul notices it . She rises ;<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Do n't know. Everybody done?<\/dialogue>\n    <scene_description>Sethe collects a few dishes and crosses to the sink as Paul asks :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Well, as long as we're all asking questions, getting to know each other.<\/dialogue>\n    <parenthetical>( to Beloved . )<\/parenthetical>\n    <dialogue>Why do n't you tell us a little bit about yourself?<\/dialogue>\n    <scene_description>Camera follows Sethe as she arrives at the sink , placing the dish inside . We hear the others O.S. :<\/scene_description>\n    <character>DENVER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( defensively . )<\/parenthetical>\n    <dialogue>She do n't remember nothing.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>You be surprised what you start remembering once you start talking.<\/dialogue>\n    <character>BELOVED<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Can I have some more pudding?<\/dialogue>\n    <scene_description>Camera stays on Sethe as we drown out the voices at the kitchen table . She is staring out the window above the sink as if watching the MEMORY BEING RELIVED IN HER YARD ; POV - OUT THE WINDOW ;<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A LARGE TREE IN A FIELD - A DAY REMEMBERED.<\/stage_direction>\n    <scene_description>A CROWD of people surround a tree . SEVERAL WHITE MEN are preparing to hang a group of black men and women standing in line , awaiting their turn . Among the crowd is A CHILD -LRB- SETHE -RRB- holding the hand of an OLDER BLACK SLAVE WOMAN -LRB- NAN -RRB- . Nan is pointing to a WOMAN -LRB- SETHE 'S MOTHER -RRB- , who is one of the people waiting in line to be hanged . Nan whispers to Sethe :<\/scene_description>\n    <character>NAN<\/character>\n    <dialogue>That's your mama - right there.<\/dialogue>\n    <scene_description>Little Sethe looks up and sees her mother - her face a mask of courage and rage and tears . She looks straight ahead - not at anyone in particular , especially not her daughter .<\/scene_description>\n    <character>NAN<\/character>\n    <dialogue>I'm telling you, small girl Sethe. Me and your Mama was taken by the men many times. She threw them other babies away. the others from the whites, without names, she threw them away. But you she gave the name of the black man. She had her arms around him, child. The others, she did not put her arms around. Never. Never.<\/dialogue>\n    <scene_description>The child Sethe listens , watching her mother move further down the line . END of MEMORY as WE CUT BACK TO :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN <\/stage_direction>\n    <scene_description>Sethe , the memory passing , hears the voices in her kitchen :<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Ai n't you got no brothers or sisters?<\/dialogue>\n    <character>BELOVED<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I do n't have nobody.<\/dialogue>\n    <scene_description>She finds Paul interrogating Beloved who eats a second pudding . Denver tries to interfere .<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>She has us now!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You been here five weeks, we still do n't know nothing bout you.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Paul, Stop it. Denver bring those dishes.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>What was you looking for when you came here?<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>This place. I was looking for this place I could be in.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Somebody tell you about this place?<\/dialogue>\n    <scene_description>At the sink , both Sethe and Denver pause , obviously interested .<\/scene_description>\n    <character>BELOVED<\/character>\n    <dialogue>She told me. When I was at the bridge, she told me.<\/dialogue>\n    <scene_description>Paul looks quizzically at Sethe , who shrugs ;<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Must be somebody from the old days.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>How'd you come? Who brought you?<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>I walked here. A long, long, long, long way. Nobody bring me.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You had new shoes. If you walked so long why do n't your shoes show it?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Paul D. stop picking on her.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I want to know! Where'd you get them shoes and that dress you had on?<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>I take the shoes!<\/dialogue>\n    <parenthetical>( coughs . )<\/parenthetical>\n    <dialogue>I take the dress!<\/dialogue>\n    <parenthetical>( coughs . )<\/parenthetical>\n    <dialogue>The shoe strings do n't fit! I.<\/dialogue>\n    <scene_description>Suddenly , she begins to CHOKE on a raisin from the pudding and falls backward , off the chair . Denver and Sethe rush towards her . Beloved thrashes around until they help her turn over and spit up the raisin . She breathes in Sethe 's arms as Denver wipes up the mess , glaring at Paul .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>You all right?<\/dialogue>\n    <character>BELOVED<\/character>\n    <parenthetical>( whispers . )<\/parenthetical>\n    <dialogue>I want to go to sleep now.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Come to my room. I can watch out for you up there.<\/dialogue>\n    <scene_description>Sethe gets Beloved to her feet . Denver takes her up the staircase to her room - glaring at Paul . When the girls have gone , Sethe turns on Paul as she cleans up .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>What's the matter with you?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I do n't understand what the hold is. It's clear why she holds onto you, but I just ca n't see why you holding on to her.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>What you care who's holding on to who? Feeding her is no trouble. And she's nice company for Denver.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>We was just starting to feel a little like a family ourselves.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Is that what's got your teeth on edge?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I ca n't place it. It's a feeling in me.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>You wan na feel somethin!? Feel how it is to have a bed to sleep in and somebody there not worrying you to death about what you got to do each day to deserve it. And if that do n't get it, feel how it feels to be a colored woman roaming the roads with anything God made liable to jump on you. Feel that!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I know every bit of that, Sethe. I was n't born yesterday and I never mistreated a woman in my life!<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Well, that makes one of you in this world.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( surprised . )<\/parenthetical>\n    <dialogue>One? Not two.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>No. Not two!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>What Halle ever do to you? Halle stood by you. He never left you.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Ha, what'd he leave then if not me, huh?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I do n't know but it was n't you. That's a fact.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Then he did worse - he left his children.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You do n't know that.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>HE WAS N'T THERE! He was n't where he said he would be! I had to pack my babies off ahead of me, on their own, so I could stay behind to look for him. Underground agent said by Sunday we had to leave. Sunday came and he was n't there.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>He could n't get out of the loft, I expect.<\/dialogue>\n    <scene_description>Forgetting himself , Paul let that slip out .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Loft? What loft?<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( hesitates . )<\/parenthetical>\n    <dialogue>The one over your head. The one in the barn.<\/dialogue>\n    <scene_description>Sethe stops dead cold . It 's no use . The MEMORY TAKES OVER :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARN - THE PAST.<\/stage_direction>\n    <scene_description>Violent , rapid images of Sethe being raped and beaten held down by SCHOOLTEACHER 'S BOYS . Sethe , pinned down , stares up at the loft . Camera rises up . There , in the loft , hides HALLE . The expression on his face is that of a man broken in two . END of MEMORY .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT.<\/stage_direction>\n    <scene_description>Sethe wraps her arms tightly around herself and asks ;<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>He saw? He told you he saw?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You told me. The day I came here. You said they stole your milk. I never knew what messed Halle up. That was it, I guess. I seen him the day after you left. Says where you been Halle? All he says to me was `` the loft''. I asked him what he meant not going with you but he never answers me. But I knew was something broke him. Not one of them years of Saturdays, Sundays and nighttime extra never touched him. But whatever he saw go on in the barn that day broke him like a twig.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>He saw them boys do that to me and let them keep on breathing?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>A man ai n't a Goddamn ax, Sethe. Chopping, hacking, busting every Goddamn minute of the day. Things get to him. Things he ca n't chop down cause they inside him. The last time I saw him, I knew he was broken for good.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>What did he say?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>What did you say? Did n't you say anything to him?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I could n't.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Could n't?! Why the hell not?!<\/dialogue>\n    <scene_description>C.U. on PAUL who does n't want to explain - or even remember - as we cut to :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SWEET HOME - DAY.<\/stage_direction>\n    <scene_description>PAUL HAS A BIT IN HIS MOUTH CHAINED TO A WAGON . He is being lead away from Sweet Home with other black men , by Three white Men . The bit jerks his head back , saliva spills uncontrollably out of his mouth . His hands are chained behind him . His feet chained together at the ankles . Another chain is connected to an iron belt and stretches to a wagon . He is being lead away with forty five other prisoners .<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>I tried to kill Brandywine - man Schoolteacher sold me to. Do n't know what possessed me. Me and about 45 other prisoners were being walked from Kentucky to Virginia. then on to Georgia. Two places I do n't ever want to see again.<\/dialogue>\n    <scene_description>He is lead past the milk shed , when he sees : HALLE , alone with a crazed faraway look in his eyes , sitting by the butter churn . HALLE 'S FACE IS COVERED WITH BUTTER AND CLABBER . He sticks his hands in the churn and continues to cover his face with the sticky , slippery , white substance covering his face and head , squeezing it through his hands . The White Men laugh . Paul is aching to scream out to him but the iron bit holds down his tongue . As Paul is lead past Halle , A ROOSTER named MISTER is SITTING ON A TUB in the sun shrieks with an almost arrogant glee .<\/scene_description>\n    <character>WHITE MAN<\/character>\n    <dialogue>Look at Mister there.<\/dialogue>\n    <parenthetical>( referring to the rooster . )<\/parenthetical>\n    <dialogue>You go tell these niggers where to go there Mister! Crow'em right outta here!<\/dialogue>\n    <scene_description>Mister crows and the white men laugh . Tears of rage and humiliation stream down Paul 's face . He struggles to keep a view of Halle , until he is out of sight . END OF MEMORY .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PORCH. - EARLY EVENING.<\/stage_direction>\n    <scene_description>Paul approaches Sethe , touching her gently .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>I did n't mean to tell you that.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>I did n't plan on hearing it.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I ca n't take it back but I can leave it alone.<\/dialogue>\n    <scene_description>Sethe , instead of collapsing from the information , she seems hardened .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Let's do that. let's leave it alone now.<\/dialogue>\n    <character>SETHE<\/character>\n    <parenthetical>( more to herself . )<\/parenthetical>\n    <dialogue>Let it alone. Just sit down and leave it be! Yeah that would be nice. Would be even nicer to lose it altogether - if I had my choice. Halle did. Other people's brains stopped, went crazy. How sweet that would have been. Me and Halle squatting by that churn, smashing cold lumpy butter in our faces, not a care in the world.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Sethe, do n't do this.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>What a relief to just stop it all right there, huh?! Close it shut! Squeeze that butter. But I had three children on their way to Ohio and nothing would have changed that! And you tell me he did n't leave me!<\/dialogue>\n    <scene_description>Sethe exits O.S. Paul is left alone on the porch until Beloved runs out of the house giggling with Denver in pursuit . As Denver passes , Paul sarcastically remarks ;<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Guess she's feeling better, huh?<\/dialogue>\n    <scene_description>Denver gives him a quick , disdainful look , then continues after Beloved . The two girls run towards the woods .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOXWOOD BUSH ROOM - NIGHT.<\/stage_direction>\n    <scene_description>Beloved is dancing beneath a bright moon . Denver is an attentive , grateful audience .<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>Where'd you learn to dance?<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>Nowhere. Look at me do this!<\/dialogue>\n    <scene_description>She puts her fists on her hips and skips .<\/scene_description>\n    <character>BELOVED<\/character>\n    <dialogue>Now you! Come on! Come on!<\/dialogue>\n    <scene_description>She takes Denver 's hand and places another on her shoulder . As they dance , Denver laughs harder and harder - a giddiness from the dizziness and the gratitude she feels for Beloved 's attention . They spin and fall to the ground , like two lovers nestled . Beloved catches her breath as Denver asks ;<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>Why you call yourself Beloved?<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>In the dark my name is Beloved.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>What's it like where you were before?<\/dialogue>\n    <character>BELOVED<\/character>\n    <parenthetical>( a thoughtful expression . )<\/parenthetical>\n    <dialogue>Dark. I'm small in that place. I'm like this here.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Were you cold?<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>Hot. Nothing to breathe there. No room to move.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>How did you get here?<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>I wait ; then I got on the bridge. I stay there in the dark, in the daytime, in the dark in the daytime. Long time.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>All this time you were on the bridge?<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>No. After. When I got out.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Why'd you come here?<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>To see her face.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Ma'am's? Sethe's?<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>Yes. Sethe.<\/dialogue>\n    <scene_description>And with that , Denver takes a breath of courage to ask the question she 's been longing to ask :<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>You my sister, ai n't you? You really are.<\/dialogue>\n    <scene_description>Beloved looks at her and smiles . They are so close she leans in curiously and - touching Denver 's face - kisses her on the lips .<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>You wo n't leave us, will you?<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>No. Never. This is where I am.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>I knew it. I knew. First time I saw you and you said your name. And when you touched me - real gentle. And familiar. Like I'd felt that touch before.<\/dialogue>\n    <scene_description>Smiling , Beloved moves to touch Denver 's cheek when suddenly , Denver sits up cross legged and urges Beloved ;<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>Do n't tell mama. You mus n't tell her who you really are. I do n't know what she'd do! Please, you hear?<\/dialogue>\n    <scene_description>Suddenly , Beloved 's face turns to rage as she rises up as well ;<\/scene_description>\n    <character>BELOVED<\/character>\n    <dialogue>Do n't tell me what to do? Do n't never tell me what to do!?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>But. but I'm on your side. I want to protect you.<\/dialogue>\n    <character>BELOVED<\/character>\n    <parenthetical>( stands above Denver . )<\/parenthetical>\n    <dialogue>She's the one! She's the one I need! You can go but she's the one I have to have!<\/dialogue>\n    <scene_description>Beloved abruptly drops to her knees and crawls out the boxwood bush room as Denver 's pleads ;<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>No. Beloved please! Do n't go! I did n't do nothing! We were dancing! Do n't go!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DENVER'S &amp; BELOVED'S ROOM - DAWN THE FOLLOWING DAY.<\/stage_direction>\n    <scene_description>The room is still dark from the night but the sun is rising outside . Suddenly , Beloved awakens with a start . She senses something . She rises and looks out the window to see ; POV ; SETHE WALKING ACROSS THE FIELD . Beloved quickly grabs her clothes and exits to follow her , as Denver awakens just in time to see her go .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS EARLY MORNING.<\/stage_direction>\n    <scene_description>Sethe is dressed as if for church as she makes her way through the woods with a specific destination in mind . Soon , she comes upon ;<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A CLEARING IN THE WOODS - EARLY MORNING.<\/stage_direction>\n    <scene_description>Sethe steps out of the woods and into an open clearing . A LARGE ROCK sits in the clearing like a pulpit above the pew 's of grass and weeds . Sethe remembers the place as it was . She hears the VOICES OF A CROWD . a gathering of people though the clearing remains empty . She crosses to the rock and sits . Camera moves up to reveal - BABY SUGGS , vital and strong , standing on the rock , preaching :<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <dialogue>I'm not here to tell you all to clean up your lives and sin no more. I'm not here to tell you we're the blessed meek and are glorybound! I'm here to tell you that the only grace we can have, is the grace we can imagine. And if you can not see it, then you shall not have it.<\/dialogue>\n    <scene_description>END OF MEMORY . C.U. on SETHE as she remembers Baby Suggs words , sitting alone in the clearing - the images of the past gone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - SAME TIME.<\/stage_direction>\n    <scene_description>Beloved has found her and watches from a hidden place . Camera moves beyond her to find ; Denver , having followed Beloved , watches her from a distance .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A CLEARING IN THE WOODS - EARLY MORNING.<\/stage_direction>\n    <scene_description>Sethe remembers Baby Suggs advice :<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>. God lead you home. So now, lay'em down, child. Sword and shield. Do n't study war no more. Lay all that mess down. Sword and shield.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Lay'em down. sword and shield.<\/dialogue>\n    <scene_description>Sethe weeps . She slides to the ground and holds her head to weep . She covers her head from God and cries AS SHE LETS THE MEMORIES COME . memories she can no longer fight from coming ; SETHE 'S MEMORIES ;<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SWEET HOME - A NIGHT REMEMBERED.<\/stage_direction>\n    <scene_description>SETHE IS IN THE SAME BENT OVER POSITION only here , her back is exposed and she is being beaten by the Schoolteacher 's boys . The BOY BEATING SETHE never stops with the whip for a second as he rants ;<\/scene_description>\n    <character>BOY BEATING SETHE<\/character>\n    <dialogue>NIGGER TRASH. OPENING YOUR MOUTH.<\/dialogue>\n    <character>SECOND BOY<\/character>\n    <dialogue>YOU GON NA KILL HER! YOU BETTER STOP!<\/dialogue>\n    <character>BOY BEATING SETHE<\/character>\n    <dialogue>I'LL KILL HER ALL RIGHT. NEVER OPEN HER MOUTH ` BOUT ME AGIN.<\/dialogue>\n    <scene_description>They beat her mercilessly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD - NIGHT.<\/stage_direction>\n    <scene_description>Sethe , tear stained , bloody and very pregnant fights her way through a corn field as she makes her escape . Her dress hangs torn at the back - her wounds open and bleeding . Her feet already swollen and blistered . She is in agonizing pain . She moves like a figure in a nightmare . A SERIES OF IMAGES IN WHICH WE SEE SETHE STRUGGLING THROUGH DAYS AND NIGHTS OF WALKING AND HIDING , IN VARIOUS LOCATIONS AS SHE MAKES HER WAY ACROSS THE STATE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ONION FIELD - DAY.<\/stage_direction>\n    <scene_description>Sethe falls to the ground unable to move - her contractions have started and the pain is unbearable . Her breasts are leaking on her sweat stained body . Her legs are scratched and bleeding from moving through broken twigs and rock . On her back , the tree is starting to form . She lays there waiting for death . Until a VOICE ASKS :<\/scene_description>\n    <character>AMY<\/character>\n    <parenthetical>( OS . )<\/parenthetical>\n    <dialogue>WHO THAT BACK THERE!<\/dialogue>\n    <scene_description>Sethe can not answer as she hears TWO FEET moving through the field . She clutches her pregnant stomach as if somehow she might hide it from whoever might be coming to harm her . A RAGGEDLY LOOKING WHITE GIRL with arms like cane stalks and enough hair for five heads steps through into view .<\/scene_description>\n    <character>AMY<\/character>\n    <dialogue>Look there. A nigger. If that do n't beat all.<\/dialogue>\n    <scene_description>Sethe can not speak for fear .<\/scene_description>\n    <character>AMY<\/character>\n    <dialogue>Man, you ` bout the scariest looking something I ever seen. What you doing back up here?<\/dialogue>\n    <scene_description>Sethe manages to control her breath and push out the word ;<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Running.<\/dialogue>\n    <scene_description>Amy looks at Sethe 's swollen , bloody flesh at the end of her legs .<\/scene_description>\n    <character>AMY<\/character>\n    <dialogue>Them the feet you running on? My Jesus my.<\/dialogue>\n    <character>SETHE<\/character>\n    <parenthetical>( semi - delerious . )<\/parenthetical>\n    <dialogue>Am I in Ohio?<\/dialogue>\n    <character>AMY<\/character>\n    <dialogue>Ohio! Fool girl - you in Kentucky. You ` bout a thousand miles from Ohio.<\/dialogue>\n    <character>SETHE<\/character>\n    <parenthetical>( murmurs to herself . )<\/parenthetical>\n    <dialogue>I'm still in Kentucky.<\/dialogue>\n    <character>AMY<\/character>\n    <dialogue>You got anything on you, gal, pass for food?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>No, ma'am.<\/dialogue>\n    <character>AMY<\/character>\n    <dialogue>I like to die I'm so hungry. Thought there might be huckleberries. That's why I come up here. You having a baby?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>I expect this baby ma'am is gon na die in these wild onions.<\/dialogue>\n    <scene_description>Amy does n't know what to do with that information . So .<\/scene_description>\n    <character>AMY<\/character>\n    <dialogue>Well, I got to eat something.<\/dialogue>\n    <scene_description>Any stands and looks as if she 's about to leave when Sethe , feeling the girl is safe , stops her with a question .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Where you on your way to, miss?<\/dialogue>\n    <character>AMY<\/character>\n    <parenthetical>( eager to tell . )<\/parenthetical>\n    <dialogue>Boston. Get me some velvet. It's a store called Wilson. I seen pictures and they have the prettiest velvet.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Boston - is that far?<\/dialogue>\n    <character>AMY<\/character>\n    <dialogue>Farther than Ohio.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Must be velvet closer by.<\/dialogue>\n    <character>AMY<\/character>\n    <dialogue>Not like in Boston. Be so pretty on me. You ever touch velvet? Or even seen it?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>If I did, I did n't know it. What's it like?<\/dialogue>\n    <scene_description>Sethe desperately wants her to stay - to not be alone . Amy kneels back down to her , curious now ;<\/scene_description>\n    <character>AMY<\/character>\n    <dialogue>What they call you?<\/dialogue>\n    <character>SETHE<\/character>\n    <parenthetical>( lies . )<\/parenthetical>\n    <dialogue>Lu.<\/dialogue>\n    <character>AMY<\/character>\n    <dialogue>What you gon na do, just lay there and foal?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>I ca n't get up.<\/dialogue>\n    <character>AMY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>I ca n't get up.<\/dialogue>\n    <scene_description>Amy wipes her nose and looks up beyond Sethe .<\/scene_description>\n    <character>AMY<\/character>\n    <dialogue>There's a house back yonder. Well, not a house with people in it - more like a lean - to near the river.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>How far?<\/dialogue>\n    <character>AMY<\/character>\n    <dialogue>Make a difference, does it? You stay here, snake might get you.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Well, he may come but I ca n't stand up, let alone walk. and God help me, I ca n't crawl.<\/dialogue>\n    <character>AMY<\/character>\n    <dialogue>Sure you can Lu. come on.<\/dialogue>\n    <scene_description>Amy helps Sethe turn over onto all fours .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ONION FIELD - DAY...MINUTES LATER.<\/stage_direction>\n    <scene_description>Amy walks beside Sethe as the latter painfully crawls , taking moments to stop and let the pain go through her .<\/scene_description>\n    <character>AMY<\/character>\n    <dialogue>Come on Lu! You got to move faster than that. You wo n't get to Ohio til you ninety years old, you keep moving that ways.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEAN-TO - EARLY EVENING.<\/stage_direction>\n    <scene_description>Amy makes a pile of leaves for Sethe to lay on and some rocks for her to put up her feet . She talks non - stop as she works .<\/scene_description>\n    <character>AMY<\/character>\n    <dialogue>Never know it to look at me but I used to be a good size. Nice arms, everything. That was before they put me in the root cellar.<\/dialogue>\n    <scene_description>She eases Sethe onto the leaves then lifts her feet onto the rocks .<\/scene_description>\n    <character>AMY<\/character>\n    <dialogue>Mama worked for these people here to pay for her passage but then she had me and died right after so I had to work for'em. I was fishing off the Beaver once and a nigger floated right by me. I do n't like drowned people, do you? Your feet remind me of him. All swole like.<\/dialogue>\n    <scene_description>Amy props Sethe up from behind when she notices<\/scene_description>\n    <character>AMY<\/character>\n    <dialogue>You all bloody back here. Gal you a mess. Undo your dress - let me see.<\/dialogue>\n    <scene_description>Sethe makes a tremendous effort just to turn to her side as Amy undoes her dress ;<\/scene_description>\n    <character>AMY<\/character>\n    <dialogue>Lord, I ai n't never seen a poorer excuse for a -<\/dialogue>\n    <scene_description>Amy sees Sethe 's back and , for a moment , is speechless . Then :<\/scene_description>\n    <character>AMY<\/character>\n    <dialogue>Jesus. It's a tree Lu. A chokecherry tree. I had me some whippings but I do n't remember nothing like this. Glad I ai n't you. what God have in mind I wonder. You thank your Maker I come along. Spiderwebs all I can do for you. What's in here ai n't enough. I'll look outside. Maybe I ought to break them blossoms open and let the pus run.<\/dialogue>\n    <parenthetical>( rises . )<\/parenthetical>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>That you ai n't dead yet Lu's a miracle. Make you a bet. You make it through the night, you make it all the way.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEAN-TO - NIGHT.<\/stage_direction>\n    <scene_description>To Sethe 's amazement , Amy begins to massage her feet and legs the pain of which causes Sethe to cry .<\/scene_description>\n    <character>AMY<\/character>\n    <dialogue>It's gon na hurt now. Anything dead coming back to life hurts. Stop wiggling, girl.<\/dialogue>\n    <parenthetical>( sings . )<\/parenthetical>\n    <dialogue>`` WHEN THE BUSY DAY IS DONE AND MY WEARY LITTLE ONE ROCKETH TO AND FRO ; WHEN THE NIGHT WINDS SOFTLY BLOW AND CRICKETS CHIRP AGAIN ; WHERE'PON THE HAUNTED GREEN FAIRIES DANCE AROUND THEIR QUEEN THEN FROM YONDER MISTY SKIES COMETH LADY BUTTON EYES.''.<\/dialogue>\n    <parenthetical>( talks . )<\/parenthetical>\n    <dialogue>Do n't up and die on me in the night, you hear me Lu? I do n't want to see your ugly face hankering over me. If you do die, just go on off somewhere where I ca n't see you, hear?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>I'll do what I can, miss.<\/dialogue>\n    <scene_description>Amy continues singing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PATH LEADING TO RIVER - DAY.<\/stage_direction>\n    <scene_description>Sethe is trying to walk , holding on to Amy at first , then a tree .<\/scene_description>\n    <character>AMY<\/character>\n    <dialogue>Cause of me, you up and walking. See, Jesus - Lu made it through. I'm good at sick things, ai n't I?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Yeah, you good.<\/dialogue>\n    <character>AMY<\/character>\n    <dialogue>What's that all over your dress?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Milk. Got to get my milk to my baby girl.<\/dialogue>\n    <character>AMY<\/character>\n    <dialogue>You got another baby waiting for you?<\/dialogue>\n    <character>SETHE<\/character>\n    <parenthetical>( stops and touches belly . )<\/parenthetical>\n    <dialogue>I think this one is dead.<\/dialogue>\n    <scene_description>Amy does n't know what to say , so she says :<\/scene_description>\n    <character>AMY<\/character>\n    <dialogue>You hungry?<\/dialogue>\n    <scene_description>Sethe keeps trying to walk ;<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>I ai n't nothing but in a hurry, miss. Got to meet someone. help bring me and my milk to my baby girl.<\/dialogue>\n    <character>AMY<\/character>\n    <dialogue>You want shoes?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Say what?<\/dialogue>\n    <character>AMY<\/character>\n    <dialogue>I figured how.<\/dialogue>\n    <scene_description>Amy cutting two pieces form Sethe shawl then filling them with leaves and tying them over her feet -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVERBANK - DAY.<\/stage_direction>\n    <scene_description>Sethe and Amy walk towards the river when then see : A SMALL , ABANDONED ROWBOAT with oars .<\/scene_description>\n    <character>AMY<\/character>\n    <dialogue>Jesus looking at you, girl!<\/dialogue>\n    <scene_description>Sethe ca n't believe her eyes . She walks right into the water when suddenly , her own water breaks and her labor begins . She doubles up in pain ;<\/scene_description>\n    <character>AMY<\/character>\n    <dialogue>What you doing that for!? Ai n't you got a brain in your head? Stop that right now! I said stop it, Lu. You the dumbest thing on this here earth, LU! LU!<\/dialogue>\n    <scene_description>Sethe , on her knees , crawls into the boat and props her feet up . Water leaks in wherever it can , rising up as high as her waist . Amy takes her position to assist .<\/scene_description>\n    <character>AMY<\/character>\n    <dialogue>Oh Jesus, I'm awful sorry ` bout the braggin. I need you here now. Come on Jesus. do n't be getting lost on me now.<\/dialogue>\n    <scene_description>Sethe screams in agony as the child pushes through . Amy curses ;<\/scene_description>\n    <character>AMY<\/character>\n    <dialogue>Damn daddies never around ` cept for the fun part. Biggest joke God made on woman was giving men the planters ` stead of the soil!! PUSH!<\/dialogue>\n    <character>SETHE<\/character>\n    <parenthetical>( gasping . )<\/parenthetical>\n    <dialogue>PULL!<\/dialogue>\n    <scene_description>Amy 's strong hands pull Denver 's head out and up , to meet Sethe 's eyes . Sethe can not believe this creature made it through . Amy rinses it with water then , wrapping it in her skirt , holds it up to Sethe .<\/scene_description>\n    <character>AMY<\/character>\n    <dialogue>My Lord. She's never gon na know who I am. You gon na tell her? Who brought her into this world. You better tell her, you hear! You say MISS AMY DENVER. Of Boston.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>That's pretty. Denver. Real pretty.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BANKS OF THE OHIO RIVER - DAY.<\/stage_direction>\n    <scene_description>Sethe awakens , mud - caked , on the banks of the river . Her baby girl crying beside her . Amy is gone . She rises , painfully , picks up her child and continues on her way . MONTAGE - MORE DAYS AND NIGHTS OF SETHE , NOW WITHOUT AMY - A NEW BABY STRAPPED TO HER BODY - MAKING HER AWAY ALONG THE OHIO RIVER . THROUGH HOT SUNNY DAYS AND RAINY NIGHTS WITHOUT PROTECTION . SEARCHING FOR FOOD AND SHELTER .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVER BANK - OAK TREE - NIGHT.<\/stage_direction>\n    <scene_description>A thunderstorm cracks across the sky and floods the river . Sethe is sitting beneath the oak - the rain soaking her as she breast feeds her baby . She cries out loud - but her sobs and tears are lost in the rain and thunder .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVERBANK - LATER THAT DAY.<\/stage_direction>\n    <scene_description>Sethe walks downriver with Denver tied to her chest . She stops when she sees : A FLATBED gliding down river . She ca n't make out if they 're white people or not , so she hides behind a tree until it passes ; Waiting behind the tree , we see that Sethe is sweating a fever . But Denver seems to be doing fine . She sees the flatbed pass her and continues on her way . She sees ; THREE COLORED PEOPLE - AN OLDER MAN and two boys - fishing . She approaches cautiously . One of the boys is the first to see her . Sethe 's bloody and torn clothes and her feverish face make her quite a sight to the young boy . He taps the Old Man on the shoulder and motions for him to turn around . The Old Man takes in Sethe and instantly knows where she 's been and why she 's there .<\/scene_description>\n    <character>STAMP PAID<\/character>\n    <dialogue>Headin cross?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>Anybody know you coming?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Yes sir. My mother - in - law over in.<\/dialogue>\n    <scene_description>Stamp Paid raises his hand to stop her . He looks around to see that no one else is in sight , then motions for her to sit on a rock . As she does , he gets a water jug and hands it to her - she drinks like a madman in the desert . The Boys watch in fascination . Stamp Paid turns to one of them and says :<\/scene_description>\n    <character>STAMP PAID<\/character>\n    <dialogue>Take off that coat?<\/dialogue>\n    <character>BOY<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>You heard me?<\/dialogue>\n    <scene_description>The Boy slips out of his jacket , complaining .<\/scene_description>\n    <character>BOY<\/character>\n    <dialogue>What am I gon na wear?<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>You want it back.<\/dialogue>\n    <scene_description>He unties the baby from Sethe and wraps it in the coat .<\/scene_description>\n    <character>STAMP PAID<\/character>\n    <dialogue>then you go head and take it off this baby. And if you can do that, then go ` way somewhere and do n't come back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVER - DAY.<\/stage_direction>\n    <scene_description>On a flatbed , Stamp Paid crosses the river with Sethe , her baby and the two boys .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OPPOSITE RIVER BANK - DAY.<\/stage_direction>\n    <scene_description>Stamp Paid helps Sethe walk up a very steep bank while the Boy without a jacket , carries the baby who wears it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRUSH-COVERED HUTCH - DAY.<\/stage_direction>\n    <scene_description>Stamp Paid leads Sethe and the others into the hutch .<\/scene_description>\n    <character>STAMP PAID<\/character>\n    <dialogue>Wait here. Somebody be here directly. Do n't move. They'll find you.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Thank you. What's your name - so I can remember you right.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>Name's Stamp. Stamp Paid. Watch out for that baby, you hear?<\/dialogue>\n    <scene_description>She nods as he and the boys exit . Sethe is asleep with the baby when ELLA enters the hutch ;<\/scene_description>\n    <character>ELLLA<\/character>\n    <dialogue>Saw the sign a while ago but I could n't get here no quicker.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>What sign?<\/dialogue>\n    <character>ELLA<\/character>\n    <dialogue>Stamp always leave the old sty open when there's a crossing. Knots a white rag on the post if it's a child too.<\/dialogue>\n    <parenthetical>( kneels . )<\/parenthetical>\n    <dialogue>My name's Ella. Where you headed?<\/dialogue>\n    <scene_description>Ella empties a sack with a wool blanket , cotton cloth , two baked sweet potatoes and a pair of men 's shoes .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>My mother - in - law's. Name's Baby Suggs. She got my other three children I sent ahead.<\/dialogue>\n    <character>ELLA<\/character>\n    <dialogue>When was this one born?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Yesterday. I hope she makes it.<\/dialogue>\n    <character>ELLA<\/character>\n    <dialogue>Hard to say.<\/dialogue>\n    <parenthetical>( gives her men 's shoes . )<\/parenthetical>\n    <dialogue>Let's try to get these on your feet.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 124 BLUESTONE ROAD - NIGHT.<\/stage_direction>\n    <scene_description>Baby Suggs rises off the bench on the porch when she sees Sethe coming up the walk . She runs to her and embraces Sethe and the baby , tears in her eyes .<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <dialogue>Oh my Lord. My sweet Lord thank you.<\/dialogue>\n    <scene_description>Baby Suggs welcomes Sethe into the house , kissing her hard on the lips . Sethe ca n't believe she 's in her arms .<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <dialogue>Where's Halle?<\/dialogue>\n    <scene_description>Sethe looks at her with confusion and exhaustion .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>He was n't there.<\/dialogue>\n    <scene_description>A flash of fear is quickly transformed into pragmatism .<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <dialogue>Well, he be along presently, I'm sure.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Where are the children?<\/dialogue>\n    <character>BABY SUGGS<\/character>\n    <dialogue>Not now. You too ugly looking to wake'em up in the night. First we get you well.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KEEPING ROOM - NIGHT.<\/stage_direction>\n    <scene_description>Baby Suggs bathes Sethe - first her face , her body . hands , arms , legs . When she gets to her unrecognizable feet , she touches them .<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <dialogue>You feel this?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Feel what?<\/dialogue>\n    <character>BABY SUGGS<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <scene_description>Baby Suggs notices roses of blood on Sethe 's back . She looks and covers her mouth when she sees the remnants of the whipping .<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <dialogue>Girl.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KEEPING ROOM - LATER THAT DAY.<\/stage_direction>\n    <scene_description>Baby Suggs with two other grown women attend to Sethe 's back - greasing it and pinning double thicknesses of cloth to the inside of a newly stitched dress .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KEEPING ROOM - STILL LATER THAT DAY.<\/stage_direction>\n    <scene_description>Sethe , sitting in bed with her new dress and her wounds dressed waits for her children . Baby Suggs opens the door and the boys are ushered in . Sethe welcomes them to her arms . They run to her , jumping on the bed . The startle causes some pain but Sethe does n't care . The Little Girl -LRB- Beloved -RRB- is crawling and ushered toward her mama .<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <dialogue>Already crawling - ai n't that somethin? Come on, baby girl. right this way. Mama's waiting.<\/dialogue>\n    <scene_description>Sethe picks her up and the tears flow . She ca n't stop kissing them - their necks , their heads , their hands . The Boys inspect her strange looking feet and ask ;<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Pappie come?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Soon.<\/dialogue>\n    <scene_description>Baby Suggs seems doubtful but appreciates the lie for the children .<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <dialogue>All right boys - mama's home now, you be seeing her all the time. Go downstairs and get your supper. Go on.<\/dialogue>\n    <scene_description>Sethe hugs and kisses them as if for the last time - as if she still does n't believe she can just get out of bed , walk downstairs and be with them . The Boys leave as Sethe cradles the Little Girl . Sethe anxiously undoes her dress and carefully guides her breast to the Little Girl . She winces with pain and smiles - she got her milk to her baby girl . Baby Suggs gathers the rags Sethe wore when she first arrived .<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <dialogue>Nothing worth saving here.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Oh wait. Look and see if there's something knotted up in the petticoat. Wedding present. From Mrs. Garner.<\/dialogue>\n    <scene_description>Baby Suggs finds TWO CRYSTAL EARRINGS .<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <dialogue>Be nice if there was a groom to go with it. What do you think happened to him?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>I do n't know. He was n't where he said to meet him at. I had to get out. I had to. He'll make it. if I made it, Halle sure can.<\/dialogue>\n    <character>BABY SUGGS<\/character>\n    <parenthetical>( skeptical . )<\/parenthetical>\n    <dialogue>Well put these on - maybe they'll light his way.<\/dialogue>\n    <scene_description>As Sethe takes the earrings , the Little Baby Girl reaches for them . Through her eyes , we see them sparkle and shine - like diamonds . Baby Suggs hands gently massage Sethe 's neck as she says ;<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <dialogue>Whatever happens now. God lead you home. So now lay'em down Sethe. Sword and shield. Do n't study war no more. Lay all that mess down. Sword and shield.<\/dialogue>\n    <scene_description>Sethe surrenders herself to Baby Suggs firm , safe hands - letting go of the `` diamonds '' , one of which lands in the hands of the Little Girl . who plays with them in fascination . END OF MEMORY . PRESENT DAY ;<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A CLEARING IN THE WOODS - DAY<\/stage_direction>\n    <scene_description>Sethe is remembering these last images , she eases her own hand up to her neck - rubbing herself the way Baby Suggs did . She realizes how much she misses her . and wonder who can touch her now and help her `` lay it all down '' . And then , quite suddenly ; AN IMAGE FLASHES ACROSS HER MIND ; - PAUL GENTLY EASING HIS HANDS AROUND SETHE FROM BEHIND . TENDERLY KISSING SETHE 'S BACK Paul . There is Paul . Sethe realizes , as IMAGES FLASH ACROSS HER MIND 'S EYE : - PAUL SITTING ON THE PORCH THE FIRST DAY HE ARRIVED . - PAUL BATTLING THE BABY GHOST . - PAUL SINGING AS HE FIXES THE KITCHEN TABLE . - SETHE WRAPPED IN PAUL 'S BIG ARMS AS THEY LAY IN BED . Sethe rises from the ground , as if with a new realization . She begins to walk out of the clearing and into the woods , her pace increasing with each image .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - DAY.<\/stage_direction>\n    <scene_description>Sethe walks through the woods , passing Beloved unawares - who has fallen asleep by a tree . Beloved is awakened as Sethe walks by , and gets to her feet to follow . Further on , Sethe passes a sleeping Denver , who also awakens upon hearing the footsteps of her mother , followed by Beloved . Sethe walks on , unaware of them following her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD OF 124 BLUESTONE - DAY.<\/stage_direction>\n    <scene_description>Wide angle of Sethe walking well ahead of Beloved and Denver . Sethe is walking with great purpose and energy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 124 BLUESTONE ROAD - DAY.<\/stage_direction>\n    <scene_description>Sethe enters and runs through the house to the kitchen ;<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Paul? Paul, you home?<\/dialogue>\n    <scene_description>Paul sits in a tub under the white staircase . He smiles . Sethe is relieved . grateful to find him there , for her .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Where else would I be on a Sunday off?<\/dialogue>\n    <scene_description>Sethe smiles , almost in tears .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Why do n't you come on in here?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Paul D. What if the girls came in?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I do n't hear nobody.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>I have to cook.<\/dialogue>\n    <scene_description>Paul D. stands up in the tub and holds Sethe against his wet , naked body .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>What you gon na cook?<\/dialogue>\n    <character>SETHE<\/character>\n    <parenthetical>( loving his body and his attention . )<\/parenthetical>\n    <dialogue>I thought I'd make some snap beans.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Oh yeah.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Fry up a little corn?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>He kisses her - and that 's exactly what she wanted .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Oh Paul.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I'm right here baby.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Thank you Lord.<\/dialogue>\n    <scene_description>Camera slowly moves out of the kitchen as Sethe and Paul begin to make love , revealing ; Beloved watching from the doorway , unknown to Sethe or Paul . She is disgusted , envious . and runs out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 124 BLUESTONE ROAD - DAY.<\/stage_direction>\n    <scene_description>Beloved runs out of the house and heads back for the woods . She passes Denver as if she were n't there .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREAM IN THE WOODS - DAY.<\/stage_direction>\n    <scene_description>Beloved reaches the stream and steps in . She begins to violently hit the water around her , then begins hitting her own face and head , clawing at it as if to escape from the boundaries of flesh . Suddenly she submerges herself underwater and holds herself there , as if to drown herself . She bursts out of the water , gasping for air . Slowly , her rage subsides , replaced with a calm , ruthless understanding<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE FIELD OF 124 BLUESTONE RD.- DAY.<\/stage_direction>\n    <scene_description>Beloved is walking back toward the house . She stops . She looks back at the house to the kitchen window - knowing Paul and Sethe are in there . She approaches the kitchen window and looks in . POV - Sethe is drying off Paul 's body and rebuttoning her dress . Camera moves slowly into a C.U. of Beloved , this time her focus is on Paul .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 124 BLUESTONE ROAD - EVENING.<\/stage_direction>\n    <scene_description>The inhabitants eat dinner in silence . Denver awaits a look from Beloved . As Beloved passes her a bowl of peas with a smile , Denver is satisfied . Beloved then turns to Paul , offering him the bowl .<\/scene_description>\n    <character>BELOVED<\/character>\n    <dialogue>You have brothers or sisters?<\/dialogue>\n    <scene_description>Caught off guard , Paul looks to Sethe - whose expression asks him to be nice .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>We do n't talk about that.<\/dialogue>\n    <scene_description>Beat .<\/scene_description>\n    <character>BELOVED<\/character>\n    <dialogue>Sethe told us you been walking for eighteen years. Where you been all that time?<\/dialogue>\n    <scene_description>Paul is about to get mad when he looks to Sethe again , reels it back in and answers curtly , but politely ;<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Lots of places. I do n't remember them all. Do n't remember much about anything.<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>You be surprised what you start remembering once you start talking.<\/dialogue>\n    <scene_description>Hearing his own words echoed back to him , annoys him .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Well not me. What's gone is gone. No good come from bringing it back.<\/dialogue>\n    <scene_description>Pause . Paul focuses on his dinner , suddenly ill at ease . He ca n't help looking , covertly , at Beloved and finds Beloved staring right back at him . It makes him shiver .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SETHE'S BEDROOM - NIGHT.<\/stage_direction>\n    <scene_description>Sethe is asleep . Paul is restless - tossing and turning as we Intercut ; Dream Images flashing across his mind . - RAIN POURING DOWN A TRENCH . A MUDDY POOL FORMING AROUND A BLACK MAN 'S FEET . - IRON CHAINS FED INTO METAL ANKLE CUFFS . - PAUL D. ON HIS KNEES BEFORE A WHITE GUARD crotch .<\/scene_description>\n    <character>WHITE GUARD<\/character>\n    <parenthetical>( OS . )<\/parenthetical>\n    <dialogue>YOU HUNGRY NIGGER?<\/dialogue>\n    <scene_description>Paul awakens .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - DAWN.<\/stage_direction>\n    <scene_description>Sethe enters to find Paul asleep in the rocker by the stove . She stirs him .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Paul? Paul?<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( waking up . )<\/parenthetical>\n    <dialogue>Mmmm. What?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>I called you two or three times but I gave up round midnight. I thought maybe you went out somewhere.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Damn. I'm sorry honey.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>I'll make some breakfast - you get yourself washed up.<\/dialogue>\n    <scene_description>Sethe begins to make breakfast as Beloved enters the kitchen and sees Paul has slept in the rocker . She looks at him with a smile , as if she knows more than she 's letting on . Paul registers the look .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT.<\/stage_direction>\n    <scene_description>Paul is asleep in the rocker . He is restless . HE DREAMS :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A ROAD IN VIRGINIA - DAY.<\/stage_direction>\n    <scene_description>Paul is chained by the ankles to forty - five other men . He hands are shackled . In his mouth , an iron bit . The men are being led by WHITE GUARDS with rifles . Camera follows them under a burning sun as they approach ; A TRENCH . One thousand feet long . Five feet deep . Five feet wide . Camera tilts down to reveal , within the trench ; WOODEN BOXES , with scrap limber roofs and a door of bars fitted on them like a cage that opens up to a wall of red dirt stretching two feet above the top of the bars themselves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT.<\/stage_direction>\n    <scene_description>Paul awakens . his face and body drenched in sweat .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD BETWEEN 124 AND THE STOREROOM - NIGHT.<\/stage_direction>\n    <scene_description>Paul D. walks across the field with a thin blanket over his nightclothes - walking toward the storeroom . In the window of her bedroom , Sethe watches him - sensing he is moving further and further away from her . In the window of Denver 's room , Beloved watches Paul as well - with a pleased expression . PAUL 'S MEMORIES ;<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A FIELD IN GEORGIA - DAY.<\/stage_direction>\n    <scene_description>A RIFLE SHOT . A WHITE GUARD SHOUTS ;<\/scene_description>\n    <character>WHITE GUARD<\/character>\n    <dialogue>Hiiiiiii!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRENCH - DAY.<\/stage_direction>\n    <scene_description>Three white Men walk along the trench unlocking the cage doors one by one . One by one , the Black men emerge and stand in a line in the trench . When all are assembled , A SECOND RIFLE SHOT signals them to climb out of the trench to the ground above . Waiting for them above the trench , is one thousand feet of chain . Each Black Man bends over and waits as the First Man on line threads the chain through his leg iron , passing it to the second and so on . As they connect each other to the chain , Camera Pans down the line of men and while not a word is spoken , WE HEAR THEIR THOUGHTS . thoughts to themselves , or , if possible , through their eyes to the man beside them :<\/scene_description>\n    <character>BLACK MAN ONE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>I'm a make it.<\/dialogue>\n    <character>BLACK MAN TWO<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>New man. New man.<\/dialogue>\n    <character>BLACK MAN THREE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>Steady now, steady.<\/dialogue>\n    <character>BLACK MAN FOUR<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>Help me. this mornin's bad.<\/dialogue>\n    <scene_description>THE BLACK MEN ARE CHAINED AND KNEELING IN A STRAIGHT LINE . The White Guards walk passed them . one White Guard stops in front of the man beside Paul D . He turns to him .<\/scene_description>\n    <character>WHITE GUARD<\/character>\n    <dialogue>Breakfast? Want some breakfast nigger?<\/dialogue>\n    <character>BLACK MAN ONE<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <character>WHITE GUARD<\/character>\n    <dialogue>Hungry nigger?<\/dialogue>\n    <character>BLACK MAN ONE<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <character>WHITE GUARD<\/character>\n    <dialogue>Here you go.<\/dialogue>\n    <scene_description>The White Guard unzips his fly and undoes his pants and moves a step closer to the Black Man 's mouth . Paul D. looks ahead , trembling . He vomits . The Guard steps away as another Guard steps in and hits Paul on the shoulder with a rifle .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD - DAY.<\/stage_direction>\n    <scene_description>The Black Men work . sledge hammers in hand . As they work , miraculously , THEY SING . `` They sing about the women they knew , the children they had been . they sing of bosses and masters and misses . of mules and dogs and the shamelessness of life . They sing of sisters long gone . They sing love songs to Death . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRENCH - NIGHT.<\/stage_direction>\n    <scene_description>A torrential downpour . The men in the wooden cages watch the rain filling the trench , corroding the red dirt wall around them . Bugs and human debris swirl around their legs and feet . Mud covering them through the cracks of the scrap lumber roof . Some finds rest . other 's minds are long gone . Camera finds Paul . HE IS SCREAMING . But there is no sound coming from his mouth . Tears flow down his face , but when he touches them , he realizes ; They are tears of mud . He looks up and the wooden planked roof is breaking under the power of the rain . He looks down and the water is up to his thighs . Suddenly , the chain linking his feet is pulled and he is knocked down . He gets up , searches through the mud for the chain and notices it 's slack . He pulls as well . One by one the men in the boxes realize the chain 's end is being undone by the rain , as camera tracks down towards the last box to the dirt wall , into which the chain has been locked . It is giving way within the muddy wall . THE MEN BREAK THROUGH THE ROTTED WOOD ROOFS TO FREEDOM . WIDE ANGLE ; AS THE MEN CLIMB OUT OF THE MUDDY COFFINS , GRASPING FOR A HOLD , CRAWLING WITH EVERY MUSCLE OF THEIR BODIES - TO GET OUT OF THE TRENCH before mud and water drown them . Paul climbs with the will of ten men , with every ounce of strength he has left . END of MEMORY .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLD ROOM - A WINTER NIGHT.<\/stage_direction>\n    <scene_description>Paul D. is wide awake . The memories wo n't let him sleep . Winter has arrived and the night is cold . He lies underneath a thin blanket in yet another sleeping place , even further from the house . He adds newspapers under and around his body to stay warm . He looks as if he has given up on sleeping altogether . He hears the door to the cold room open . But he does not turn to look .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>What do you want in here?<\/dialogue>\n    <scene_description>Beloved enters the cold room .<\/scene_description>\n    <character>BELOVED<\/character>\n    <dialogue>I want you to touch me on the inside part and call me my name.<\/dialogue>\n    <scene_description>She hoists up her skirt and turns her head away . Paul stares at a silver lard can so as not to look .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>When good people take you in and treat you good, you ought to try to be good back. You do n't. Sethe loves you. Much as her own daughter. You know that.<\/dialogue>\n    <character>BELOVED<\/character>\n    <parenthetical>( drops her skirt . )<\/parenthetical>\n    <dialogue>She do n't love me like I love her. I do n't love nobody but her.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Then what you come in here for?<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>I want you to touch me on the inside part.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Ever since you come here - feel like I got a new devil to face.<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>You have to touch me. On the inside part. And you have to call me my name.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Ai n't no chains on me no more. I do n't have to do nothing. Now, go back in that house and go to bed.<\/dialogue>\n    <scene_description>Paul continues to stare at the lard can - like Lot 's wife , he 's fearful what turning to look will do .<\/scene_description>\n    <character>BELOVED<\/character>\n    <dialogue>Call me my name.<\/dialogue>\n    <scene_description>Beloved moves closer , right up behind him , entwining her arms around his body , like chains .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>No. Ai n't no chains on me.<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>Call me.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Ai n't no chains on me.<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>I'll go if you say it.<\/dialogue>\n    <scene_description>Tears well up in his eyes . Paul can feel her warmth . He surrenders .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Beloved.<\/dialogue>\n    <scene_description>Beloved presses her body against his . He turns and grabs her , kissing her with a passion bordering on hatred .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COLD HOUSE - NIGHT.<\/stage_direction>\n    <scene_description>Denver sits outside the cold house - and listens to the sounds of lovemaking . And cries .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT.<\/stage_direction>\n    <scene_description>Sethe , Denver , Paul and Beloved eat dinner . in silence .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLD HOUSE - ANOTHER NIGHT.<\/stage_direction>\n    <scene_description>Beloved is wrapping her body with a blanket as Paul lies on his bed of newspapers - their lovemaking finished . Beloved gives him a final look - no tenderness or affection or even friendliness . Just a cold look , void of respect or even attraction . She exits the cold house , leaving Paul alone . He is on the verge of tears .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SETHE'S BEDROOM - NIGHT.<\/stage_direction>\n    <scene_description>Paul stands above the sleeping Sethe - his guilt driving him mad . He wants to touch her , to wake her , to ask for forgiveness and help . But he can not and buries his head in his hands .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAWYER RESTAURANT - LATE AFTERNOON.<\/stage_direction>\n    <scene_description>Paul waits outside in the cold , cupping his hands and breathing inside to keep them warm . He is rehearsing :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Look here Sethe. You ai n't gon na like what I got to say but I got to say it. See, it's not the. a man ca n't. what I mean is, it ai n't really me. see, it ai n't weakness, the kind of weakness I can fight, that girl is doing it. I know you think I never liked her nohow, still do n't, but she is doing it to me anyway. Fixing me, Sethe, she's fixed me and I ca n't break it.<\/dialogue>\n    <scene_description>Sethe appears , exiting the back door of the restaurant with a scrap pan in the crook of her arm . To her surprise . she finds Paul waiting for her .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Man, you make me feel like a young girl, you coming by to pick me up after work. Nobody ever did that before. Better watch out, I might start looking forward to it.<\/dialogue>\n    <scene_description>She tosses the bones and skins from the scrap pan into a heap before four dogs who wait there as if by appointment .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Got to rinse this out.<\/dialogue>\n    <scene_description>She enters the restaurant . Paul watches the dogs eat - watching them getting what they wanted . Sethe re - appears with a cloth over her head .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>You get off early or what?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I took off early.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Anything the matter?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>In a way of speaking.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Not cut back?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>No, no. They got plenty of work with them pigs. More they can handle. I just.<\/dialogue>\n    <parenthetical>( Sethe waits . )<\/parenthetical>\n    <dialogue>You ai n't gon na like what I'm about to say, Sethe.<\/dialogue>\n    <scene_description>Sethe steps forward to hear what Paul came to tell her . There is no apprehension or anger in her look . Instead , a calm resolve - as if she were already able to accept whatever he had to tell her without it being anyone 's fault . As if she already knew he cane to say he was leaving her . She smiles .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Well say it, Paul D. whether I like it or not.<\/dialogue>\n    <scene_description>Paul knows what she 's expecting . And when he sees her diminished expectation , the melancholy without blame in her eyes . he ca n't tell her about Beloved . He is filled with respect and admiration for her in that moment . Something pops into his head and out of his mouth that was n't planned ;<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>I want you pregnant, Sethe. Would you do that for me?<\/dialogue>\n    <scene_description>Sethe breaks up with laughter . Paul joins in .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>You came by here to ask me that!? You are one crazy - headed man. You right ; I do n't like it! Do n't you think I'm a little too old to start that all over again?<\/dialogue>\n    <scene_description>She slips her fingers into his .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Think about it.<\/dialogue>\n    <scene_description>Paul lifts them , putting the tips of her fingers on his cheek . He smiles broadly ; She laughs , shaking her head . A burden transformed into a gift , so suddenly . They begin walking . Sethe and Paul catch and snatch each other 's fingers , stealing quick pats on the behind , joyfully . Paul throws his arm around Sethe and squeezes . She lets her head touch his chest . They stop and stay that way for a moment - not breathing . Sethe closes her eyes . Paul looks up to the trees lining the roadside like defending arms against attack . Softly , suddenly , it begins to snow . Sethe opens her eyes :<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Mercy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BLUESTONE ROAD - EARLY EVENING.<\/stage_direction>\n    <scene_description>On the road towards 124 , Paul and Sethe run hand in hand . Snow falling all around them .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>I been on my feet all day, Paul D.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Where I been? Sitting down!?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Stop! I do n't have the legs for this!<\/dialogue>\n    <scene_description>They slow to a walk .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Then give'em to me.<\/dialogue>\n    <scene_description>Before she can stop him , Paul hoists Sethe up over his shoulders .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>You need some babies. somebody to play with in the snow.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I sure would like to give it a try. Need a willing partner though.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>I'll say. Very, very willing.<\/dialogue>\n    <scene_description>They continue laughing and moving down Bluestone Road when they are jolted by the appearance of ; Beloved . Waiting in her usual place for Sethe . Her hands wrapped in a long shawl , waiting to be given to Sethe . Her eyes only on Sethe , not even acknowledging Paul 's presence . Sethe gets herself down from Paul .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Crazy girl. You out here with nothing on.<\/dialogue>\n    <scene_description>She takes the shawl from Beloved 's hands and wraps it around her shoulders .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>You got to learn more sense than that.<\/dialogue>\n    <scene_description>She walks on ahead with Beloved . Paul , suddenly icy cold and filled with anger , walks behind .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 124 BLUESTONE ROAD - NIGHT.<\/stage_direction>\n    <scene_description>Denver waits on the porch . Sethe and Beloved walk by her .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Evening, girl.<\/dialogue>\n    <scene_description>Sethe and Beloved enter the house . As Paul approaches , he stops before Denver . Their eyes meet . Paul stares at her , as if to ask - `` Who 's ally are you ? '' . Denver , unnerved by his look , runs into the house . Paul waits on the porch until , a moment later , Sethe re - appears .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Now I know you not sleeping out there tonight, are you Paul D?<\/dialogue>\n    <parenthetical>( Paul does n't reply . )<\/parenthetical>\n    <dialogue>You come upstairs tonight. Where you belong. and stay there.<\/dialogue>\n    <scene_description>As if healed by her strength , Paul 's face melts into relief .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT.<\/stage_direction>\n    <scene_description>Denver is cleaning the dishes . Beloved sits like an angry , upset five year old with her fingers in her mouth .<\/scene_description>\n    <character>BELOVED<\/character>\n    <dialogue>She likes him here.<\/dialogue>\n    <parenthetical>( to Denver . )<\/parenthetical>\n    <dialogue>Make him go away.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>She'd be mad if he leaves.<\/dialogue>\n    <scene_description>Beloved did n't consider that . Her fingers move violently in her mouth as if something were bothering her . until , finally , she pulls out a back tooth . her lips slightly bloody .<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>OOoo. did n't that hurt you?<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>It's like my dreams. I get two dreams, see. One, I exploding. BUUOOGGG. The other I being swallowed. Sometimes it's hard to keep my head on my neck, or these legs connected to my hips. One day I think I might wake up and I'll be in pieces.<\/dialogue>\n    <parenthetical>( Looks at tooth . )<\/parenthetical>\n    <dialogue>Maybe it's starting.<\/dialogue>\n    <character>DENVER<\/character>\n    <parenthetical>( cleans Beloved 's mouth . )<\/parenthetical>\n    <dialogue>Oh stop. It's just a tooth. Probably wisdom. Does it hurt?<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Then why do n't you cry?<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>If it hurts, why do n't you cry?<\/dialogue>\n    <scene_description>Beloved , eases herself into Denver 's arms , and cries .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WINDOW OF 124 - NIGHT.<\/stage_direction>\n    <scene_description>We see Sethe and Paul united as the snow begins to pile up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SETHE'S BEDROOM - LATER THAT NIGHT.<\/stage_direction>\n    <scene_description>Sethe lies with Paul , in the dark , her face looking up to the ceiling . Paul is asleep . On her face are reservations . She rises , crossing to the window to look out . At the same time , Beloved appears silently at the doorway of the room , looking at Sethe - hurt and sad . She walks by without Sethe noticing her . Sethe takes a breath at the window , watching the snow fall . Then , as she moves back to the bed , . Camera moves ahead of her to : A DIFFERENT BED IN WHICH HALLE IS TRYING TO FALL ASLEEP . A YOUNGER SETHE CRAWLS IN BESIDE HIM . WE ARE IN MEMORY ;<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLE &amp; SETHE'S SWEET HOME LIVING QUARTERS - NIGHT.<\/stage_direction>\n    <scene_description>Sethe , Halle and the baby girl -LRB- Beloved -RRB- sleep together by the wall . The boys sleep together under a window . Halle is trying to sleep but Sethe is awake .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>What you think about Schoolteacher?<\/dialogue>\n    <character>HALLE<\/character>\n    <dialogue>He white, ai n't he?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>I mean, is he different like Mr. Garner was?<\/dialogue>\n    <character>HALLE<\/character>\n    <dialogue>How was he different?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Well, he and Mrs. Garner - they ai n't like other whites I seen before. Mr. Garner always spoke soft, for one. Mrs. Garner too.<\/dialogue>\n    <character>HALLE<\/character>\n    <dialogue>Do n't matter. Loud or soft, what they say is the same.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Mr. Garner let you buy out your mother. Found that house for her to live in from those friends of his in Ohio.<\/dialogue>\n    <character>HALLE<\/character>\n    <dialogue>Yep. He did.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Well?<\/dialogue>\n    <character>HALLE<\/character>\n    <dialogue>If he had n't, she would have dropped in his cooking stove.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Still, he did it. Let you work off her fee, lending yourself out on Sundays. He could of said no. He did n't tell you no.<\/dialogue>\n    <character>HALLE<\/character>\n    <dialogue>No, he did n't tell me no. She worked here ten years. If she worked another ten, ya think she would have made it? I pay him for her last years and in return he got you, me and three more coming.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>He always treated you fair. Called you all men - said he never wanted niggers on his farm.<\/dialogue>\n    <character>HALLE<\/character>\n    <dialogue>That's just it. We was men because he said so. We was men because we was on his land. You think he be calling us men if we ever walked off his land?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>When we walk, do n't matter what they call you. You'll be free.<\/dialogue>\n    <character>HALLE<\/character>\n    <dialogue>Sethe. baby girl, that ai n't gon na happen. Not by walking, anyway.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>What you mean?<\/dialogue>\n    <character>HALLE<\/character>\n    <dialogue>Schoolteacher in there told me to quit lending myself out.<\/dialogue>\n    <scene_description>That phrase '' . while the boys is small '' . causes Sethe to look at her sleeping boys .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>But. then. how you gon na buy yourself out? Or them?<\/dialogue>\n    <parenthetical>( points to the children . )<\/parenthetical>\n    <dialogue>Or me?<\/dialogue>\n    <scene_description>Halle raises himself up to face her , to give her the final blow .<\/scene_description>\n    <character>HALLE<\/character>\n    <dialogue>Ai n't gon na be no buying us out, like I did with mama. Or them. As far as Schoolteacher concerned, ai n't no other life ahead for any of us but this one.<\/dialogue>\n    <scene_description>Sethe understands , looks to her sleeping children and is frightened .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Halle. what we going to do?<\/dialogue>\n    <character>HALLE<\/character>\n    <parenthetical>( whispers . )<\/parenthetical>\n    <dialogue>Sixo, ya know he creeps out at night. he says the way they took my ma'am. he says freedom is that way. He and Paul A. got a plan. They heard of this man, what they call an underground agent. if we do what he says, do n't need no buy out.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>You mean? But what if we caught? What'd they do to us? To the children?<\/dialogue>\n    <character>HALLE<\/character>\n    <dialogue>Same thing they're doing now, honey - only quicker.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SWEET HOME - A DAY REMEMBERED.<\/stage_direction>\n    <scene_description>Sethe carries a big basket of berries as young Howard and Bulgar run ahead of her . She turns in the opposite direction and walks along the side of the house to the back entrance of the kitchen . She passes the open window of the classroom and hears ;<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( OS . )<\/parenthetical>\n    <dialogue>Which one are you doing?<\/dialogue>\n    <character>BOY<\/character>\n    <parenthetical>( OS . )<\/parenthetical>\n    <dialogue>Sethe?<\/dialogue>\n    <scene_description>Hearing her name , Sethe stops and peeks through the window . Schoolteacher is standing over the student , who has been writing in a notebook . Schoolteacher licks his finger and thumbs a couple of pages before saying ;<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>No, no. That's not the way. I told you to put her human characteristics on the left ; her animal ones on the right. And do n't forget to line them up.<\/dialogue>\n    <scene_description>Although Sethe does n't entirely understand , something about the words disturb her . She looks to her children .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MRS. GARNER'S BEDROOM - A DAY REMEMBERED.<\/stage_direction>\n    <scene_description>Mrs. Garner is sick in bed with a goiter . Sethe enters with some soup .<\/scene_description>\n    <character>MRS. GARNER<\/character>\n    <dialogue>I do n't think I can swallow that. Too thick. I'm sure it's too thick.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Want me to loosen it up with a little water?<\/dialogue>\n    <character>MRS. GARNER<\/character>\n    <dialogue>No. Take it away. Bring me some cool water, that's all.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Yes ma'am.<\/dialogue>\n    <scene_description>Sethe helps her drink a glass of cold water .<\/scene_description>\n    <character>MRS. GARNER<\/character>\n    <dialogue>Yes, you can have quite a few.<\/dialogue>\n    <parenthetical>( drinks . )<\/parenthetical>\n    <dialogue>Mmmm. Thank you Sethe. Now tell me, I know Halle's no trouble but the others, the Pauls and Sixo - how's my brother - in - law handling them? All right?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Yes Ma'am. Look like it.<\/dialogue>\n    <character>MRS. GARNER<\/character>\n    <dialogue>They do what he tells them?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>They do n't need telling.<\/dialogue>\n    <character>MRS. GARNER<\/character>\n    <dialogue>Good. That's a mercy. I know he's no Mr. Garner. But after he died, I had no else to turn to. I would've had to sell one. It was n't even enough selling Paul F. And in my condition. I needed help. People said I should n't be alone here with nothing but Negroes. And he is a learned man being a schoolteacher.<\/dialogue>\n    <scene_description>As Sethe fills Mrs. Garner 's basin with fresh water , she looks out the window and sees : SCHOOLTEACHER outside with his students , we notice HE WEARS A VERY DISTINCTIVE HAT as Mrs. Garners description continues ;<\/scene_description>\n    <character>MRS. GARNER<\/character>\n    <dialogue>I know his ways might be a little more strict but as long as the men do as they're told I'm sure it'll be fine. All right, I'm through. Talking makes me tired.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Yes ma'am.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARN - A NIGHT REMEMBERED.<\/stage_direction>\n    <scene_description>Sethe lies beaten and raped , her clothes torn , her body aching and sweaty . She struggles to get to her feet and exit the barn .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLE AND SETHE'S LIVING QUARTERS - NIGHT.<\/stage_direction>\n    <scene_description>Sethe opens the door to find her children asleep . She is about to wake them when ; She notices Mrs. Garner 's light is on in her bedroom window . Sethe , blind with rage , decides there 's one thing she must do before she takes her children to the meeting place .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MRS. GARNER'S BEDROOM - NIGHT.<\/stage_direction>\n    <scene_description>Mrs. Garner lies ailing through a sleepless night when her bedroom door opens . Sethe enters - her appearance tells all .<\/scene_description>\n    <character>MRS. GARNER<\/character>\n    <dialogue>My God Sethe. what happened to you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SWEET HOME - NIGHT.<\/stage_direction>\n    <scene_description>Sethe carried her baby girl in one arm , her two boys by the hand with the other . They move as fast as they can .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CORN FIELD - NIGHT.<\/stage_direction>\n    <scene_description>They arrive at the meeting place where A WOMAN crouching in the field is waiting .<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Hurry up. You're late.<\/dialogue>\n    <character>SETHE<\/character>\n    <parenthetical>( hands her the children . )<\/parenthetical>\n    <dialogue>Here!<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>But ma'am.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Just go with her! Do what I tell ya!<\/dialogue>\n    <scene_description>Sethe carefully hands her baby girl to the woman .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Put sugar water on that cloth for her to suck so she wo n't forget me til I come.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Where you going?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Halle was n't there. I got ta go back.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>You crazy.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Take em out. Now! I'll get there myself. I got her milk. I'll get there. Do n't worry.<\/dialogue>\n    <scene_description>She kisses her baby girl , a little too hard perhaps , waking her . along with the boys .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Go. Go! Now!<\/dialogue>\n    <scene_description>Sethe disappears back into the corn field leaving the Woman holding the baby girl . as Bulgar cries out .<\/scene_description>\n    <character>BULGAR<\/character>\n    <dialogue>Mama?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CORN FIELD CLOSER TO SWEET HOME HOUSE - NIGHT.<\/stage_direction>\n    <scene_description>Sethe exits the corn field and heads for her living quarters when suddenly ; THE FOUR BOYS appears from out of nowhere . two restraining her , one holding a horsewhip .<\/scene_description>\n    <character>BOY WITH HORSEWHIP<\/character>\n    <dialogue>You nigger bastard.<\/dialogue>\n    <scene_description>Sethe struggles and is about to scream out when she is slapped and muffled and dragged into the corn field to be beaten . END OF MEMORY ;<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SETHE'S BEDROOM - NIGHT.<\/stage_direction>\n    <scene_description>Sethe awakens , sweating from having fallen asleep and reliving her past nightmare . She sits up and realizes where she is . She looks beside her and sees Paul asleep . She lays down , pressing her body against his so that there is no space between - enfolding her arms around him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PIG SLAUGHTERHOUSE - DAY.<\/stage_direction>\n    <scene_description>Pigs are crying in the chute as Paul , Stamp Paid and twenty other workers push and prod them towards the slaughterhouse . Although steeped in pig shit on a wintry day - his hands numb from the cold - Paul D. is in high spirits . HE SINGS as he works much to the amusement of his fellow co - workers .<\/scene_description>\n    <character>CO-WORKER 1<\/character>\n    <dialogue>Hey - you like this work so much maybe you best get in the chute with the others. You ai n't got much more sense than they do.<\/dialogue>\n    <scene_description>The men laugh . Paul smiles and brushes it off .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Ai n't just a job reason to sing. Other things a man's got to look forward to that a job just a way to spend your day til the good times arrive.<\/dialogue>\n    <character>CO-WORKER 2<\/character>\n    <dialogue>Good times? Ai n't no such day.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>Now, now. it's all a state a mind, right Paul D. If you can think it, it can happen.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>More than that. When a man can make plans then a man can make good times happen.<\/dialogue>\n    <character>CO-WORKER 1<\/character>\n    <dialogue>Oh the man's got plans! You saving up for a gold mine, boy.<\/dialogue>\n    <parenthetical>( more laughter . )<\/parenthetical>\n    <dialogue \/>\n    <character>PAUL<\/character>\n    <dialogue>Better then gold, my friend. Me and my woman's planning on starting a family.<\/dialogue>\n    <scene_description>Stamp Paid 's face registers sudden concern .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>New life. Born free, hear! Now if that do n't define a good tine, I do n't know what does.<\/dialogue>\n    <character>CO-WORKER 2<\/character>\n    <dialogue>Nothing born free ever again.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>What you talkin? Nobody owns us no more. Nobody gon na own my children neither.<\/dialogue>\n    <character>CO-WORKER 2<\/character>\n    <dialogue>Children inherit what come before'em. Just cause you ca n't see no chains, do n't mean they not there. We're not free men. We're somewhere between freedom and chains. And as long as the world is white, that's where we're stayin.<\/dialogue>\n    <scene_description>The truth of this causes the men to be silent as they continue working . Stamp Paid looks at Paul , confused by what he should do .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PIG SLAUGHTERHOUSE - LATER THAT DAY.<\/stage_direction>\n    <scene_description>The men are on break . Paul sits alone enjoying a lunch packed by Sethe . Stamp Paid approaches and sits beside him .<\/scene_description>\n    <character>STAMP PAID<\/character>\n    <dialogue>May I?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Free country. No matter what anybody says.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>I like the way you think, boy. Good. Good to think that way. Friend of mine, Baby Suggs was her name. sort of became a preacher in these parts. that was her way of thinking too. When she was at her best, that is.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You knew Baby Suggs?<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>Oh yes. You're not one of her Sweet Home men, now are you?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Yes sir. Me and my brothers and her son.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>Oh, I see now.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Sethe told me she died soft as cream.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>Well. maybe on the outside.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Why is that?<\/dialogue>\n    <scene_description>Stamp Paid looks at him with sympathetic , sudden understanding .<\/scene_description>\n    <character>STAMP PAID<\/character>\n    <dialogue>You do n't know, son, do you? See I had to figure that out first.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Know what?<\/dialogue>\n    <scene_description>Stamp Paid pulls out AN OLD NEWSPAPER CLIPPING from a bag he carries with him all the time . He hands it to Paul who looks to see : A DRAWING OF A YOUNG BLACK WOMAN beneath a HEADLINE ; MURDER ! RUNAWAY SLAVE KILLS CHILD .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Who is it?<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>That there's a picture of Sethe.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Sethe?<\/dialogue>\n    <parenthetical>( studies it . )<\/parenthetical>\n    <dialogue>Nah, that ai n't her mouth. I can see where you might think it around the eyes but that there ai n't her mouth. Besides, why would some black woman's picture be in the paper?<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>You do n't read son, do you?<\/dialogue>\n    <parenthetical>( Paul shakes head NO . )<\/parenthetical>\n    <dialogue>You want me to read to you?<\/dialogue>\n    <scene_description>Paul senses something terribly wrong . and does n't know whether to say yes or no .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 124 BLUESTONE RD. - EARLY EVENING.<\/stage_direction>\n    <scene_description>Sethe is sweeping the porch . Paul appears on the road . When he sees Sethe on the porch in the distance , he stops . Sethe sees him and smiles - but something about his slow approach to the house sends off an alarm within her . Paul makes his way to the porch . He stops before her .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Already fed the girls. You eat?<\/dialogue>\n    <parenthetical>( he shakes NO . )<\/parenthetical>\n    <dialogue>Want something?<\/dialogue>\n    <scene_description>Paul does n't answer . Instead , he steps up to her as he removes the clipping from his pocket and hands it to her . Sethe 's heart stops beating for a moment - not having seen this image for many years . But she 's survived worse than the telling so she faces him .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Best you come inside.<\/dialogue>\n    <scene_description>She rises and enters the house . Paul follows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - EARLY EVENING.<\/stage_direction>\n    <scene_description>Paul sits at the table . Sethe begins her story seated before him .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>I do n't have to tell you about Sweet Home. What it was. But maybe you do n't know what it was like for me to get away from there.<\/dialogue>\n    <scene_description>She looks for a response but expects none .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>I did it. I got us all out. Without Halle too. Up til then it was the only thing I ever did on my own. Decided. And it came off right like it was supposed to.<\/dialogue>\n    <scene_description>She rises and begins to move about the room , circling Paul as she tries to find a way to explain it all ;<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>We was here. Each and every one of my babies and me too. I birthed them and I got'em out and it was n't no accident. I did that! I had help, of course, lots of that, but still it was me doing it ; me saying, `` Go on'' and `` Now!''. Me having to look out. Me using my own head. But it was more than that. It was a kind of. ` thinking - about - myself' I never knew nothing about before. It felt good. Good and right. I was big, Paul, and deep and wide and when I stretched out my arms all my children could get in between. I was that wide. Look like I loved them more after I got them here. Or maybe I could n't love'em proper in Sweet Home'cause they was n't mine to love. But when I got here, when I jumped off that wagon - there was n't nobody in the world I could n't love if I wanted to.<\/dialogue>\n    <scene_description>MEMORY . as SETHE NARRATES :<\/scene_description>\n    <character>SETHE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>I had 28 days. 28 good days of free life.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SETHE'S ROOM AT 124 - A DAWN REMEMBERED.<\/stage_direction>\n    <scene_description>Sethe , out of habit , is awake before the sun has risen . She is fully dressed .<\/scene_description>\n    <character>SETHE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>of getting up like I always did, getting dressed before the sun came out, and then realizing I had to decide myself what to do with the day.<\/dialogue>\n    <scene_description>She sits on the bed , watching the sun rise .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CHILDREN'S ROOM - CONTINUOUS.<\/stage_direction>\n    <scene_description>Sethe watches her children sleeping , safely .<\/scene_description>\n    <character>SETHE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>Days of watching my children sleep away the morning. And taking care of my baby like it was the most important thing I had to do.<\/dialogue>\n    <scene_description>Denver is asleep in a bassinet . Sethe reaches in and picks her up . She sits by a window and breast feeds her as she hums A MELODY . -LRB- This is the same melody we heard Sethe humming in the beginning of the film -RRB- . Sethe 's melody carries itself over the following images ;<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 124 BLUESTONE ; WATER PUMP - DAY.<\/stage_direction>\n    <scene_description>Sethe is carrying a bucket of water to the house . She sees : Bulgar and Howard running and playing . Howard tackles his brother and starts tickling him . The two boys laugh hard . Sethe watches , a moment of fear across her face ;<\/scene_description>\n    <character>SETHE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>I'd hear my boys laughing a laugh I ai n't never heard. And for a second I'd get scared - scared someone might hear them and get mad.<\/dialogue>\n    <scene_description>Sethe realizes , placing down the bucket :<\/scene_description>\n    <character>SETHE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>Then I remembered. and if they laughed that hard til it hurt, that would be the only hurt they had all day.<\/dialogue>\n    <scene_description>Sethe sobs , uncontrollably .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 124 BLUESTONE RD. - DAY.<\/stage_direction>\n    <scene_description>Ella teaches Sethe a new stitch as she chatters on .<\/scene_description>\n    <character>SETHE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>We had us days of company.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD - DAY.<\/stage_direction>\n    <scene_description>Another woman teaches Sethe the alphabet , as Sethe cradles Denver and the Little Girl -LRB- Beloved -RRB- crawls around her feet .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - DAY.<\/stage_direction>\n    <scene_description>Baby Suggs and Sethe cook with a kitchen full of men and women who have come for a visit .<\/scene_description>\n    <character>SETHE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>of ease and real talk. Talks about the Fugitive Bill, Dred Scott or book learning. Talks as quiet or as stormy as we wanted.<\/dialogue>\n    <scene_description>Two men get into an argument to the amusement of the women .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLEARING IN THE WOODS - DAY.<\/stage_direction>\n    <scene_description>As folks gather to hear Baby Suggs preach , she introduces a smiling , shy Sethe to each one .<\/scene_description>\n    <character>SETHE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>And when everyone would gather to hear Baby Suggs, I saw something I ai n't never seen before in my whole life.<\/dialogue>\n    <scene_description>Alone for a moment , Sethe looks around at the crowd of faces ; Sethe 's Melody stops as Baby Suggs stands on her rock and calls to the crowd :<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <dialogue>Let the children come!<\/dialogue>\n    <scene_description>FROM OUT OF THE WOODS , CHILDREN RUN INTO THE CLEARING . Camera follows the joyous exodus to reveal : THE CLEARING IS FILLED WITH ADULTS the entire black community of the days when Sethe first arrived . The children run to their respective families ;<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <parenthetical>( with joy . )<\/parenthetical>\n    <dialogue>Let your mother's hear you laugh!<\/dialogue>\n    <scene_description>The children , loving the game , laugh hard . The adults get a kick out of it . Sethe watches her boys and hides her laughter .<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <dialogue>Let the grown men come!<\/dialogue>\n    <scene_description>OUT OF THE WOODS , A GROUP OF GROWN MEN COME INTO THE CLEARING .<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <dialogue>LET YOUR WIVES AND YOUR CHILDREN SEE YOU DANCE!<\/dialogue>\n    <scene_description>The men form a circle and dance as the crowd supports them with a clapping rhythm . A SONG arises from the women to accompany to dance .<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <dialogue>Now. you women. I want you to cry. For the living. For the dead. Just cry.<\/dialogue>\n    <scene_description>Camera follows those women who are not singing as one by one , they remember and weep . Sethe watches . and weeps .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Something in me knew Halle was never gon na knock on our door. He was never gon na see what I saw that day. I saw what men look like. and I saw mothers, for the first time.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 124 BLUESTONE RD. - DAY.<\/stage_direction>\n    <scene_description>Stamp Paid walks up to the porch carrying a TWO BIG BASKETS OF BLACKBERRIES . his body dirty , scratched and bleeding .<\/scene_description>\n    <character>SETHE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>I think it was Stamp Paid who started it. He walked six miles to the riverbank, slid into a ravine, reached through blood drawing thorns, suffered mosquitoes, wasps and the meanest lady spiders in the State just to bring us those berries.<\/dialogue>\n    <scene_description>He places the baskets on the porch in front of Baby Suggs , Sethe who is holding Denver . and the Little Girl -LRB- Beloved -RRB- .<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>What a sight you are, Stamp.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>Worth it though. Just one bite of these berries and you feel down right anointed.<\/dialogue>\n    <scene_description>He puts one into Denver 's mouth .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>She's too little for that, Stamp. Her bowels be soup.<\/dialogue>\n    <character>BABY SUGGS<\/character>\n    <dialogue>It'll sickify her stomach. Now go wash up round back. crazy fool.<\/dialogue>\n    <scene_description>Stamp exits .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>It was real nice of him.<\/dialogue>\n    <character>BABY SUGGS<\/character>\n    <dialogue>He's a good one, no doubt of that. I can get three, maybe four pies out of this. Seems a shame just for us though. I'm gon na invite Ella and John over.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>How ` bout if I make a couple of chickens to back it up?<\/dialogue>\n    <character>SETHE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>And that's how it began.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - DAY.<\/stage_direction>\n    <scene_description>Sethe and Baby Suggs and Ella and several other women cook .<\/scene_description>\n    <character>SETHE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>Three pies became twelve. two hens became five turkeys.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.THE FIELD\/124 BLUESTONE RD. - EVENING.<\/stage_direction>\n    <scene_description>Various images of people gathered enjoying food and drink . laughing and singing .<\/scene_description>\n    <character>SETHE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>and Ella and John turned into almost ninety others.<\/dialogue>\n    <scene_description>- Women serving up the food . - Older men sitting and talking as they eat . - Younger men playing with the children . Chasing them with sheets on their backs , scaring them into laughter . - A Man with a guitar playing a blues song and singing . While Sethe enjoys her free life and , most of all , her children - the boys running around her . Denver in her arms . Her Little Girl -LRB- Beloved -RRB- by her side . Baby Sugg 's visits with various guests , serving up the food .<\/scene_description>\n    <character>SETHE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>Everybody ate so well and laughed so much.<\/dialogue>\n    <scene_description>INTERCUT ; Images of whispers exchanged between some of the women :<\/scene_description>\n    <character>SETHE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>it made them angry.<\/dialogue>\n    <scene_description>Women head to head with a remark or an eye of disapproval towards Baby Suggs as she continues cooking and feeding .<\/scene_description>\n    <character>SETHE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>The pies, the turkeys. the bread pudding and shortbread. the one whole block of ice brought all the way from Cincinnati - it made'em mad. Loaves and fishes were Jesus's powers. they did not belong to an ex - slave who never had a white boy beat her, who had her freedom bought, who rented a house from white folks that hated slavery worse than they hated slaves. It made'em furious - her thoughtless generosity and un - called for pride. She had over stepped. offended them by giving too much. and they left their disapproval there so's you could smell in the air the whole next day.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE FIELD\/ 124 BLUESTONE RD. - THE FOLLOWING DAY.<\/stage_direction>\n    <scene_description>Baby Suggs works the field , not far from Stamp Paid .<\/scene_description>\n    <character>SETHE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>Later on I wondered why no one warned us. why no one saw them coming and ran to 124 to tell us.<\/dialogue>\n    <scene_description>She chops at the soil over the roots of the pepper plants . She stops - sensing something is wrong . She looks up at a clear blue sky . She hears the birds and the stream way down beyond the woods . She looks around and sees Bulgar , Howard and the Little Girl -LRB- Beloved -RRB- playing with loud voices by the side of the house . She sees Sethe squatted in the pole beans with Denver in a bushel basket beside her . The clok , clok of wood being chopped causes her to look over to Stamp Paid , helping out with the axe . She returns to her work . but something is deeply wrong . And then she hears it ; THE SOUND OF HORSES and A HORSE DRAWN WAGON coming from the distance . -LRB- The same sound Sethe heard in her first memory of the sycamores earlier on -RRB- She rises up and looks ; POV ;<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BLUESTONE ROAD - DAY.<\/stage_direction>\n    <scene_description>Far in the distance , FOUR HORSEMEN ARE RIDING TOWARD THEM . ONE DRIVES A WAGON and IS WEARING A DISTINCTIVE HAT - IT IS SCHOOLTEACHER .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE FIELD OF 124 BLUESTONE - DAY.<\/stage_direction>\n    <scene_description>Sethe continues working until she notices peripherally that Baby Suggs is standing stock still , staring at something . Sethe rises and looks in the same direction ;<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BLUESTONE ROAD - DAY.<\/stage_direction>\n    <scene_description>The Four Horsemen are closer .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE FIELD OF 125 BLUESTONE - DAY.<\/stage_direction>\n    <scene_description>Sethe 's face freezes in terror as . Stamp Paid , in between chops , looks up and sees the two women . then turns his face to see the men . BUT IT IS SETHE 'S FACE WE CONCENTRATE ON - AS WE INTERCUT THE ONCOMING APPROACH OF THE FOUR HORSEMEN and HEAR HER WORDS :<\/scene_description>\n    <character>SETHE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>There's a Look whitefolks get. a Look every Negro learns to recognize along with his ma'am's tit. That righteous Look that's like a flag going up the pole. the righteousness that announces the whip, the fist, the burning, the lie. long before it happens in the open.<\/dialogue>\n    <scene_description>Over the above speech , we see in Sethe 's expression a death of soul - an instantaneous loss of hope for possibilities of joy and life . And with it , an insane rage . Sethe grabs Denver out of the basket , then scrambles after the crawling Little Girl -LRB- Beloved -RRB- , scooping her under her free arm .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Howard! Bulgar!<\/dialogue>\n    <scene_description>The tone of her voice cause the boys to freeze . She runs towards them , grabbing one by the hand and ordering the other to run in front of them . She moves and speaks with efficient clarity .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>The shed! Get in the shed! Run!<\/dialogue>\n    <scene_description>Baby Suggs and Stamp Paid watch helplessly -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 124 BLUESTONE <\/stage_direction>\n    <scene_description>The Four Horsemen - Schoolteacher , his Nephew , a Slave Catcher and a Sheriff - arrive at the house and dismount , tying their horses to the front gate -LRB- which is no longer there -RRB- . The Nephew scampers to the front of the house and peers in the window - he listens . Hearing nothing he motions for them to go round the side of the house . Camera follows them as it reveals Baby Suggs and Stamp Paid standing exactly where we left them . Except ; They are both staring at the shed - out of which strange noises , thuds and the FRIGHTENED CRIES OF CHILDREN are heard . Two Black Boys and several Woman are coming up the road . The Slave Catcher motions with his rifle for them to stop - and they do . The men move towards the shed , meeting up with the Nephew as he runs past Baby Suggs and Stamp Paid . POV ; Camera moves closer towards the shed , the sounds coning from within more audible now .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE SHED <\/stage_direction>\n    <scene_description>The Nephew opens the door . The Four Men enter . Howard and Bulgar are bleeding in the sawdust , unconscious - a bloody shovel lays near them . Sethe is holding a blood - soaked Little Girl -LRB- Beloved -RRB- to her chest with one hand . and Denver by the heels of the other . She is swinging Denver toward the wall planks , misses then tries again . When out of nowhere , Stamp Paid rushes by the horrified white men and GRABS DENVER OUT OF SETHE 'S HAND before she can swing her a second time . Stillness . Schoolteacher looks at the carnage . a bloody saw lies at Sethe 's feet , the weapon she used on her own child 's throat . The Nephew is paralyzed . horrified .<\/scene_description>\n    <character>NEPHEW<\/character>\n    <dialogue>What she go and do that for? What she go and do that for?<\/dialogue>\n    <scene_description>Baby Suggs walks in . Whatever amount of God 's grace she could imagine and will into being , vanishes with one look into that shed .<\/scene_description>\n    <character>SHERIFF<\/character>\n    <dialogue>You all better go on.<\/dialogue>\n    <parenthetical>( to Schoolteacher . )<\/parenthetical>\n    <dialogue>Nothing here to claim, I guess. Look like your business is over. Mine's started.<\/dialogue>\n    <scene_description>Schoolteacher beats his hat against his thigh and spits in the shed before exiting , followed by the catcher and the nephew . The Sheriff speaks to Sethe .<\/scene_description>\n    <character>SHERIFF<\/character>\n    <dialogue>I'll have to take you in. No trouble now. You've done enough to last you.<\/dialogue>\n    <scene_description>Sethe does n't move .<\/scene_description>\n    <character>SHERIFF<\/character>\n    <dialogue>You come quiet, here, and I wo n't have to tie you up.<\/dialogue>\n    <scene_description>Meanwhile , Baby Suggs notices who breathes and who does not and moves straight to the boys . Stamp Paid extends his arm to Sethe .<\/scene_description>\n    <character>STAMP PAID<\/character>\n    <dialogue>Sethe. You take my arm and gim me yours.<\/dialogue>\n    <scene_description>Sethe turns to him , the first time she 's looked into anyone 's eyes and sees Denver in his arms . A sound escapes from her throat as though she 'd made a mistake .<\/scene_description>\n    <character>SHERIFF<\/character>\n    <dialogue>I'm going out here and send for a wagon.<\/dialogue>\n    <scene_description>He exits . Baby Suggs rubs the boys ' hands , tries to raise their eyelids , spits on her dress and wipes away the blood as they slowly regain a dazed consciousness . She whispers ;<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <dialogue>I beg you pardon. I beg your pardon.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 124 BLUESTONE RD. <\/stage_direction>\n    <scene_description>Sethe , clutching the dead baby to her chest , is led out of the shed by Stamp Paid , Outside , a throng of black faces have gathered who stop murmuring the second they see her . Among them are Ella and Lady Jones . They are shocked and pained . Sethe is led past them to a waiting cart - in total silence . Baby Suggs , at the same time , is getting the boys up the porch into the house . When Denver cries in Stamp Paid 's arms , she stops . lets the boys sit and runs towards the cart . Sethe is seated in the cart beside the Sheriff . Baby Suggs takes the crying Denver from Stamp Paid . She tells the Sheriff .<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <dialogue>Excuse me. but the child needs nursin. needs the mother's milk.<\/dialogue>\n    <character>SHERIFF<\/character>\n    <dialogue>Then she's best come too.<\/dialogue>\n    <scene_description>Baby Suggs approaches Sethe who sees Denver crying and reaches for her without letting the baby go . Baby Suggs resists ;<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <dialogue>One at a time! And you got ta clean yourself up!<\/dialogue>\n    <scene_description>But Sethe only wants her living child . The two women struggle as Stamp Paid does what he can . Finally , Sethe wins and takes Denver with her free hand , undoes her dress and nurse 's her with a bloody breast . Baby Suggs breaks inside . Breaks right in two , although from outwards appearances , she looks merely numbed by shock . A WHITE BOY makes his way through the crowd with a pair of shoes and hands them to her .<\/scene_description>\n    <character>WHITE BOY<\/character>\n    <dialogue>Mama says Wednesday. She says you got to have them fixed by Wednesday.<\/dialogue>\n    <scene_description>Baby Suggs looks at him not understanding .<\/scene_description>\n    <character>WHITE BOY<\/character>\n    <dialogue>You hear, Baby? She says Wednesday.<\/dialogue>\n    <character>BABY SUGGS<\/character>\n    <parenthetical>( taking the shoes . )<\/parenthetical>\n    <dialogue>I beg your pardon. Lord, I beg your pardon. I sure do.<\/dialogue>\n    <scene_description>PRESENT DAY -LRB- END OF MEMORY -RRB- :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 124 BLUESTONE ROAD - NIGHT.<\/stage_direction>\n    <scene_description>Paul D. sits at the kitchen table . The story told . Sethe looks out the window . and waits .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Your love is too thick, Sethe.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Love is or it is n't. Thin love ai n't love at all. I did stop him. I took and put my babies where they'd be safe.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Did n't work though, did it?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>It worked.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>How? Your boys gone, you do n't know where. One girl dead, the other ca n't go farther than the yard. How did it work?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>They ai n't at Sweet Home! Schoolteacher ai n't got'em!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Maybe there's worse.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>It ai n't my job to know what's worse. It's my job to know what is and keep them away from what I know is terrible. I did that.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>What you did was wrong, Sethe.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>I should have gone back there? Taken my babies back there?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>There could have been a way. Some other way.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>What way?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You got two feet, Sethe. Not four!<\/dialogue>\n    <scene_description>That jumped out before he had a chance to choose saying it . Sethe has no response . The distance between these two people in this small room is suddenly vast . Paul rises , playing with his hat . not knowing how to leave . But desperately needing to . He moves to the exit and stops .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You can set aside supper for me. Might be late getting back.<\/dialogue>\n    <scene_description>Unable to look at her , he turns to exit . When Sethe speaks in a soft , forgiving tone , he stops to listen ;<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>After all I told you, Paul D. and after telling me how many feet I have, you think saying goodbye is gon na break me into pieces?<\/dialogue>\n    <scene_description>Paul turns to look at her and realizes she saw right through him .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>You're a sweet man.<\/dialogue>\n    <scene_description>Unable to bear it , Paul turns and leaves . Sethe stands still , fighting tears , and whispers .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>So long, Paul D.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - DAY.<\/stage_direction>\n    <scene_description>Sethe is scrubbing the floor , with Denver trailing by with dry rags . Beloved enters holding a pair of ice skates ;<\/scene_description>\n    <character>BELOVED<\/character>\n    <dialogue>What do these do?<\/dialogue>\n    <scene_description>Sethe and Beloved look up . Sethe smiles ;<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>My Lord. where'd you dig up those?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>There for skating on the ice. We have another pair and half of another, I think.<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>Can we try them?<\/dialogue>\n    <scene_description>Sethe takes the skates and looks at them with a curious lightness :<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Go ice skating? Ha.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Why not?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>You sure mama?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Strikes me that after your man leaves, it might just be the wrong time to be scrubbing floors. might just be the perfect time to go ice skating.<\/dialogue>\n    <scene_description>Denver and Beloved register hopefulness in the light of Sethe 's attitude . Sethe speaks to Denver ;<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Go get the shawls. and find me an old shoe for that half a pair.<\/dialogue>\n    <scene_description>The girls get excited . Sethe tosses the scrub brush into the pail .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A FROZEN CREEK - DAY.<\/stage_direction>\n    <scene_description>A bright , cold winter day . Beloved wears a pair of old skates . Denver wears the second pair and Sethe has one skate and one shoe . The two girls giggle and fall as they try to skate on the ice . helping each other up . Their skirts whirling . their laughter mingled with screams of delight . Sethe , wearing only shoes , watches them and laughs .<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>Come on, ma'am. try!<\/dialogue>\n    <scene_description>Sethe steps onto the ice and takes a few strides and promptly falls on her rear . The girls scream with laughter . Sethe tries to get up and falls , their laughter infecting her as well . The girls try to help her and fall over each other in the trying . Denver rises and tries an independent glide . The tip of her skate hits a bump and she falls , flapping her arms wildly . All three laugh so hard , they start coughing . Beloved goes to Denver 's aid . Sethe rises up on her hands and knees , her laughter shaking her chest and causing her eyes to tear in the cold air . Beloved helps Denver , and falls as well . The two girls see Sethe laughing and play it up even more , a few more times . Until , Denver notices something and motions Beloved to stop and look . The two glide back to Sethe . Her laughter has stopped , but her tears have not . They gently , comfortingly , touch her shoulder .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT.<\/stage_direction>\n    <scene_description>It is a snowy night outside the windows . Sethe has laid out blankets and quilts in front of the fire in the stove . She has made sweet milk that she hands to the girls before taking her place in between them , on the floor , facing the fire ; Denver , on her right , rests her head on her lap . Beloved sits on her left . She looks over to Beloved who is staring at the fire . The illumination highlights her beauty and her profile ; the chin , mouth , forehead - all copied and exaggerated in a huge shadow the fire threw on the wall . Sethe ca n't help but stare as another thought occurs to her ;<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>All I remember is how she loved the bottom of burned bread. Her little hands. I would n't know'em if they slapped me''.<\/dialogue>\n    <character>SETHE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>`` Here. Look here. See this mark? If you ca n't tell me by my face, look here.''<\/dialogue>\n    <scene_description>Beloved lifts her head towards the fire at the same time she leans back to rest on a propped - up pillow . In the flickering of the firelight , Sethe can see : A SMILE OF A SCAR BENEATH HER CHIN . Sethe knows before she 's aware of it consciously . And just as it hits her , BELOVED BEGINS TO HUM A MELODY . Sethe recognizes it as her own melody .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>I made that song up. I made it up and sang it to my children.<\/dialogue>\n    <scene_description>Denver lifts her head from her mother 's lap to look at Sethe , knowing what is happening .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Nobody knows that song but me and my children.<\/dialogue>\n    <scene_description>Beloved turns to Sethe ;<\/scene_description>\n    <character>BELOVED<\/character>\n    <dialogue>I know it.<\/dialogue>\n    <scene_description>A click . Sethe looks at her daughter , returned . `` There is no gasp of astonishment - no exclaim for the miraculous . For what is truly miraculous is so , because the magic lies in the fact that you knew it was there for you all along . '' MORNING ;<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - MORNING.<\/stage_direction>\n    <scene_description>It 's snowy white outside . The girls are still asleep in front of the stove . But Denver awakens upon hearing her mother load the stove with dry wood and begin to cook breakfast . Sethe hears her wake up and turns , as she beats eggs in a bowl ;<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Back stiff?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>OOh, yeah. Do n't know if it's the floor or the skating.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Could be that fall you took.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>That was fun.<\/dialogue>\n    <scene_description>Beloved snores lightly beside her ;<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>Should I wake her?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>No, let her rest.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>She likes to see you off in the morning.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>I'll make sure she does. But first I'm going make up a nice, big breakfast against that cold outside.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Wo n't you be late for work?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Do n't matter. First time I'll be late in nine years. No great trouble. Whatever goes on out there goes on with or without me showing up on time. do n't matter.<\/dialogue>\n    <parenthetical>( looks at the girls . )<\/parenthetical>\n    <dialogue>The world is in this room, baby. This is all there is and all there needs to be.<\/dialogue>\n    <scene_description>Denver smiles - but it is a cautious smile . Something about her mother 's statement both elates and disturbs her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BLUESTONE RD. - DAY.<\/stage_direction>\n    <scene_description>A conflicted and contrite Stamp Paid walks through the snow down Bluestone road towards 124 . As he does , he remembers his last conversation with Baby Suggs ;<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RICHMOND STREET - DAY.<\/stage_direction>\n    <scene_description>A fall day . Leaves ankle high . Stamp Paid is walking when he sees baby Suggs carrying a carpetbag full of repaired shoes . He crosses over to her as he gets her attention ;<\/scene_description>\n    <character>STAMP PAID<\/character>\n    <dialogue>You missed the Clearing meeting three Saturdays running.<\/dialogue>\n    <scene_description>Baby Suggs turns to her old friend - but there is no sign of welcome or recognition . There is a noticeable change in her demeanor . She continues walking . He follows ;<\/scene_description>\n    <character>STAMP PAID<\/character>\n    <dialogue>Folks came.<\/dialogue>\n    <character>BABY SUGGS<\/character>\n    <dialogue>Folks come. Folks go.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>Here, let me carry that.<\/dialogue>\n    <scene_description>He reaches for the carpetbag but Baby Suggs pulls it away .<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <dialogue>I got a delivery around here. Name of Tucker.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <parenthetical>( points . )<\/parenthetical>\n    <dialogue>Yonder. Twin chestnuts in the yard.<\/dialogue>\n    <scene_description>They walk a bit , until ;<\/scene_description>\n    <character>STAMP PAID<\/character>\n    <dialogue>Well?<\/dialogue>\n    <character>BABY SUGGS<\/character>\n    <dialogue>Well what?<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>This Saturday - you coming to Call or what?<\/dialogue>\n    <character>BABY SUGGS<\/character>\n    <dialogue>If I call them, and they come what on earth am I going to say to them.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>Say the Word!<\/dialogue>\n    <scene_description>Two whitemen raking leaves look up at the sound of Stamp Paid 's voice , which was too loud . So he whispers ;<\/scene_description>\n    <character>STAMP PAID<\/character>\n    <dialogue>The Word. What you was put here to speak.<\/dialogue>\n    <character>BABY SUGGS<\/character>\n    <dialogue>That's the last thing they took from me.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>But you got to do it. You got to. Ca n't nobody Call like you. You have to be there.<\/dialogue>\n    <character>BABY SUGGS<\/character>\n    <dialogue>What I have to do is get in my bed and lay down. I want to fix on something harmless in this world.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>What world are you talking about? Ai n't nothing harmless down here.<\/dialogue>\n    <character>BABY SUGGS<\/character>\n    <dialogue>Blue. That does n't hurt nobody. Yellow neither.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>You getting into bed to think about yellow?<\/dialogue>\n    <character>BABY SUGGS<\/character>\n    <dialogue>I likes yellow.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>Then what? When you get through with blue and yellow, then what?<\/dialogue>\n    <character>BABY SUGGS<\/character>\n    <dialogue>Ca n't say. It's something ca n't be planned.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>You blaming God. That what you're doing?<\/dialogue>\n    <character>BABY SUGGS<\/character>\n    <dialogue>No, Stamp. I ai n't.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>You saying whitefolks won. That what you saying?<\/dialogue>\n    <character>BABY SUGGS<\/character>\n    <dialogue>Those white things have taken all I had or dreamed. I'm saying ai n't no bad luck in this world ` cept for white folks. They just do n't know when to stop.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>You saying nothing counts?<\/dialogue>\n    <character>BABY SUGGS<\/character>\n    <dialogue>I'm saying they came into my yard.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>You saying God give up? Nothing left for us but pour out our own blood?<\/dialogue>\n    <character>BABY SUGGS<\/character>\n    <dialogue>I'm saying they came into my yard.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>You punishing Him, ai n't you?<\/dialogue>\n    <character>BABY SUGGS<\/character>\n    <dialogue>Not like He punished me.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>You ca n't do that, Baby. It ai n't right.<\/dialogue>\n    <character>BABY SUGGS<\/character>\n    <dialogue>Was a time I knew what was.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>You still know.<\/dialogue>\n    <character>BABY SUGGS<\/character>\n    <dialogue>What I know is what I see : a nigger woman hauling shoes.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>Aw, Baby.<\/dialogue>\n    <scene_description>He stops her , before the Twin Chestnuts of the Tucker house .<\/scene_description>\n    <character>STAMP PAID<\/character>\n    <dialogue>We have to be steady. `` These things too will pass''. What you looking for? A miracle?<\/dialogue>\n    <character>BABY SUGGS<\/character>\n    <dialogue>No. I'm looking for what I was put here to look for : the back door.<\/dialogue>\n    <scene_description>They exchange a look of silence and finality . She turns and walks to the back door of the house and knocks . A moment later a White Woman appears , takes the carpetbag and keeps Baby waiting on the back steps while she goes in for a dime . Baby rests on the railing until the whitewoman returns . MEMORY END .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 124 BLUESTONE RD. - DAY.<\/stage_direction>\n    <scene_description>Now , Stamp Paid feels the need to find out what 's going on inside 124 since he caused Paul to leave . He approaches the porch , then the front door . He raises his hands to knock - but he ca n't bring himself to do it . He turns to walk away then stops . He turns back and with a force of will , KNOCKS LOUDLY upon the door . No answer . He KNOCKS AGAIN . Still no answer . He steps back , trying to sense if anyone 's there . He turns to leave when he sees ; TWO HEADS in the window . Denver and Beloved . Denver bolts away , but Beloved remains a moment longer - looking in Stamp Paid 's eye , then disappearing into the house . Stamp Paid is unnerved by her look .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAWYER'S RESTAURANT - LATE MORNING.<\/stage_direction>\n    <scene_description>Sethe enters late , putting on her apron as SAWYER yells ;<\/scene_description>\n    <character>SAWYER<\/character>\n    <dialogue>What the hell you thinking, girl? Strolling in here this late?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Do n't talk to me, Mr. Sawyer. Do n't say nothing to me this morning.<\/dialogue>\n    <character>SAWYER<\/character>\n    <dialogue>What? What? You talking back to me?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>I'm telling you do n't say nothing to me.<\/dialogue>\n    <scene_description>Sethe begins organizing her counter to make pies .<\/scene_description>\n    <character>SAWYER<\/character>\n    <dialogue>You better get them pies made!<\/dialogue>\n    <scene_description>Sethe ignores him as she begins . Sawyer is at a loss .<\/scene_description>\n    <character>SAWYER<\/character>\n    <dialogue>Not too sweet! You make it too sweet they do n't eat it.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Make it the way I always do.<\/dialogue>\n    <character>SAWYER<\/character>\n    <dialogue>Yeah. Too sweet.<\/dialogue>\n    <parenthetical>( he exits . )<\/parenthetical>\n    <dialogue \/>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELLA'S HOUSE - DAY.<\/stage_direction>\n    <scene_description>Ella opens the front door for Stamp Paid . He looks disturbed .<\/scene_description>\n    <character>ELLA<\/character>\n    <dialogue>Where you been keeping yourself? I told John must be cold if Stamp stay inside.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>Oh I been out.<\/dialogue>\n    <scene_description>Stamp takes off his hat and follows Ella , who is doing laundry in the kitchen .<\/scene_description>\n    <character>ELLA<\/character>\n    <dialogue>Out where?<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>Was over to Baby Suggs.<\/dialogue>\n    <character>ELLA<\/character>\n    <dialogue>What you want there? Somebody invite you in?<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>That's Baby's kin. I do n't need no invite to look after her people.<\/dialogue>\n    <scene_description>Ella shrugs and continues folding wet laundry on a line behind the stove . Stamp sits .<\/scene_description>\n    <character>STAMP PAID<\/character>\n    <dialogue>Somebody new there. A woman. Thought you might know who she is.<\/dialogue>\n    <character>ELLA<\/character>\n    <dialogue>Ai n't no new Negroes in this town I do n't know about. What she look like? You sure that was n't Denver?<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>I know Denver.<\/dialogue>\n    <character>ELLA<\/character>\n    <dialogue>You sure?<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>I know what I see.<\/dialogue>\n    <character>ELLA<\/character>\n    <dialogue>Might see anything at all at 124.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>True.<\/dialogue>\n    <character>ELLA<\/character>\n    <dialogue>Better ask Paul D.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>Ca n't locate him.<\/dialogue>\n    <character>ELLA<\/character>\n    <dialogue>He's sleeping in the church.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>The church!<\/dialogue>\n    <character>ELLA<\/character>\n    <dialogue>Yeah. Asked Rev. Pike if he could stay in the cellar.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>It's cold as charity in there! What he do that for? Any number'll take him in.<\/dialogue>\n    <character>ELLA<\/character>\n    <dialogue>Ca n't nobody read minds long distance. All he have to do is ask somebody.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>Why? Why he have to ask? Ca n't nobody offer? What's going on? Since when a black man come to town have to sleep in the cellar like a dog?!<\/dialogue>\n    <character>ELLA<\/character>\n    <dialogue>Unrile yourself, Stamp. It's only a few days he been there.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>NO! Should n't be no days! You know all about it and do n't give him a hand? That do n't sound like you, Ella. Me and you been pulling colored folk out the water more'n twenty years! Now you tell me you ca n't offer a man a bed?! A working man who can pay his own way?<\/dialogue>\n    <character>ELLA<\/character>\n    <dialogue>He ask, I give him anything.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>Why's that necessary all of a sudden?<\/dialogue>\n    <character>ELLA<\/character>\n    <dialogue>I do n't know him that well.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>You know he's colored? What else there to know?<\/dialogue>\n    <character>ELLA<\/character>\n    <dialogue>Stamp, do n't tear me up this morning! I do n't feel like it.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>It's her, ai n't it?<\/dialogue>\n    <character>ELLA<\/character>\n    <dialogue>Her who?<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>Sethe. He took up with her and stayed in there and you do n't want nothing to -<\/dialogue>\n    <character>ELLA<\/character>\n    <dialogue>Hold on! Do n't jump if you ca n't see bottom!<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>Girl, give it up! We been friends too long to act like this.<\/dialogue>\n    <scene_description>Beat . Ella knows he 's right . She surrenders the truth .<\/scene_description>\n    <character>ELLA<\/character>\n    <dialogue>Well, who can tell what went on in there? I never even knew who Sethe was or none of her people.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>You know she married Baby Suggs' boy.<\/dialogue>\n    <character>ELLA<\/character>\n    <dialogue>I ai n't sure I know that. Baby never laid eyes on her till she showed up here. And how'd she make it and her husband did n't? And where is he? And how she have that baby in the woods by herself? Said a whitewoman help her. Shoot. You believe that? Well, I know what kind of white that was.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>Aw, no, Ella.<\/dialogue>\n    <character>ELLA<\/character>\n    <dialogue>Anything white floating around in the woods - if it do n't got a shotgun, it's something the Lord tells me I do n't want no part of.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>You was friends.<\/dialogue>\n    <character>ELLA<\/character>\n    <dialogue>Till she showed herself.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>Ella.<\/dialogue>\n    <character>ELLA<\/character>\n    <dialogue>I ai n't got no friends take a handsaw to their own children.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>What's any of that got to do with Paul D?<\/dialogue>\n    <character>ELLA<\/character>\n    <dialogue>What run him off? Tell me that!<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>I run him off.<\/dialogue>\n    <character>ELLA<\/character>\n    <parenthetical>( surprised . )<\/parenthetical>\n    <dialogue>You?<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>I told him. Showed him the newspaper. About Sethe. Read it to him. He left that very day.<\/dialogue>\n    <character>ELLA<\/character>\n    <dialogue>You did n't tell me that. I thought he already knew.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>He did n't know nothing. And nobody. Except her, from when they was at that place Baby Suggs was at.<\/dialogue>\n    <character>ELLA<\/character>\n    <dialogue>He knew Baby Suggs?<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>Sure he knew her. Her boy Halle, too.<\/dialogue>\n    <character>ELLA<\/character>\n    <dialogue>And he left when he found out what Sethe did?<\/dialogue>\n    <parenthetical>( Stamp sits . )<\/parenthetical>\n    <dialogue>What you say casts a different light on it, I guess. I thought -<\/dialogue>\n    <scene_description>Stamp knows what she thought .<\/scene_description>\n    <character>ELLA<\/character>\n    <dialogue>But you did n't come here talking ` bout Paul. You came asking about a new girl.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>That's so.<\/dialogue>\n    <character>ELLA<\/character>\n    <dialogue>Well, Paul D. must know who she is. Or what she is.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>You mind loaded with spirits. Everywhere you look you see one.<\/dialogue>\n    <character>ELLA<\/character>\n    <dialogue>You know as well as I do, Stamp, that people who die bad do n't stay in the ground.<\/dialogue>\n    <scene_description>Stamp can not deny this .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BLUESTONE ROAD - EARLY EVENING.<\/stage_direction>\n    <scene_description>Sethe is walking home to her daughters . There is a serene , introverted expression on her face . as if she were detached from the world around her , safe inside . We hear her thoughts :<\/scene_description>\n    <character>SETHE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>Beloved, she my daughter. She mine. She come back to me of her own free will and I do n't have to explain a thing. She had to be safe and I put her where I knew she would be. But my love was tough and she back now. She come back to me in the flesh. I wo n't never let her go. I'll explain to her, even though I do n't have to. Why I did it. How if I had n't killed her she would have died and that is something I could n't let happen to her. When I explain she'll understand, cause she understands everything already. And she ai n't even mad. When I put that headstone up I wanted to lay in there with you, put your head on my shoulder and keep you warm and I would have if Bulgar and Howard and Denver did n't need me, because my mind was homeless then. I could n't lay down with you then. No matter how much I wanted to. I could n't lay down nowhere in peace, back then. Now I can. I can sleep like the drowned, have mercy. She come back to me, my daughter,<\/dialogue>\n    <scene_description>DENVER 'S VOICE OVER FADES IN OVER SETHE 'S .<\/scene_description>\n    <character>SETHE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>my Beloved and she is mine.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Beloved is my sister.<\/dialogue>\n    <character>DENVER<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>. and she is mine.<\/dialogue>\n    <scene_description>FADE TO ;<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 124 BLUESTONE ROAD - EARLY EVENING.<\/stage_direction>\n    <scene_description>Denver is cleaning the kitchen , waiting for her mother . We hear her thoughts :<\/scene_description>\n    <character>DENVER<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>. I swallowed her blood right along with my mother's milk. She played with me and always came to be with me whenever I needed her. Me and her waited for our daddy. I love her. I do. She never hurt me. I love my mother but I know she killed one of her own, and tender as she is with me, I'm scared of her because of it. All the time, I'm afraid the thing that happened that made it all right to kill her own, could happen again. Whatever it is, it comes from outside this house, outside the yard. So I never leave this house and I watch over the yard so it ca n't happen again. I have to keep it away from my sister. I'll protect Beloved.'Cause She's mine.<\/dialogue>\n    <scene_description>BELOVED 'S VO FADES IN OVER DENVER 'S .<\/scene_description>\n    <character>DENVER<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>Beloved. She's mine<\/dialogue>\n    <character>BELOVED<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>I am Beloved<\/dialogue>\n    <character>BELOVED<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>and she is mine.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 124 BLUESTONE RD. - EARLY EVENING.<\/stage_direction>\n    <scene_description>Beloved , waiting for Sethe to come home , sees her approaching . We hear her thoughts :<\/scene_description>\n    <character>BELOVED<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>I am not separate from her. There is no place where I stop. Her face is my own and I want to be there in the place where her face is and to be looking at it too. a hot thing. In the beginning I could see her. I could not help her because the clouds were in the way. But I could see her. The shining in her ears. I look hard at her so she will know that the clouds are in the way. I can not lose her again. I see her face which is mine. It is the face that was going to smile at me in the place where we crouched before I come up out of the blue water. Sethe's is the face that left me. Sethe's sees me in her and I see the smile. She is my face smiling at me. It is the face I lost. Now we can join. a hot thing.<\/dialogue>\n    <scene_description>Sethe comes to the waiting Beloved and smiles . She offers her hand and Beloved rises . Denver exits to them and smiles . She extends her hand to Beloved 's free hand . The three women stand astride each other , arms around each other 's waist as they walk toward the porch . The dusk sunlight creates THREE SHADOWS - three figures holding each other the way Sethe saw the shadows at the carnival . Only they were n't Hers , Denver 's and Paul 's . They were Hers , Denver 's and Beloved 's .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 124 BLUESTONE RD. - EARLY EVENING.<\/stage_direction>\n    <scene_description>The girls rush into the house , and down the hall . Sethe enters . Then turns back to the door . C.U. OF SETHE 'S HAND LOCKING THE FRONT DOOR AS WE HEAR ;<\/scene_description>\n    <character>SETHE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>I AM BELOVED AND SHE IS MINE.<\/dialogue>\n    <character>DENVER<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>SHE IS MINE.<\/dialogue>\n    <scene_description>OVER THE FOLLOWING CHORUS OF DIALOGUE , A MONTAGE OF IMAGES DEPICTING SETHE , BELOVED AND DENVER CLOSING UP THE HOUSE FROM THE OUTSIDE WORLD - LOWERING SHADES , LOCKING WINDOWS , BARRING DOORS .<\/scene_description>\n    <character>SETHE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>TELL ME THE TRUTH.<\/dialogue>\n    <character>BELOVED<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>CAN NOT LOSE HER AGAIN.<\/dialogue>\n    <character>SETHE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>DID YOU COME FROM THE OTHER SIDE.<\/dialogue>\n    <character>BELOVED<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>YES. I WAS ON THE OTHER SIDE.<\/dialogue>\n    <character>SETHE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>YOU CAME BACK BECAUSE OF ME?<\/dialogue>\n    <character>BELOVED<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>YES.<\/dialogue>\n    <character>SETHE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>YOU NEVER FORGOT ME?<\/dialogue>\n    <character>BELOVED<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>YOUR FACE IS MINE.<\/dialogue>\n    <character>DENVER<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>DO N'T LOVE HER TOO MUCH.<\/dialogue>\n    <character>SETHE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>DO YOU FORGIVE ME?<\/dialogue>\n    <character>BELOVED<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>YOU HURT ME.<\/dialogue>\n    <character>DENVER<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>I WILL PROTECT YOU.<\/dialogue>\n    <character>SETHE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>WILL YOU STAY?<\/dialogue>\n    <character>BELOVED<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>WHY DID YOU LEAVE ME WHO AM YOU?<\/dialogue>\n    <character>SETHE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>I WILL NEVER LEAVE YOU AGAIN.<\/dialogue>\n    <character>DENVER<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>WATCH OUT FOR HER ; SHE CAN GIVE YOU DREAMS.<\/dialogue>\n    <character>BELOVED<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>WHERE ARE THE MEN WITHOUT SKIN?<\/dialogue>\n    <character>DENVER<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>THE WHITEFOLK?<\/dialogue>\n    <character>SETHE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>OUT THERE. WAY OFF.<\/dialogue>\n    <character>DENVER<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>DADDY IS COMING FOR US.<\/dialogue>\n    <character>BELOVED<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>CAN THEY GET IN HERE?<\/dialogue>\n    <character>SETHE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>NO. THEY TRIED ONCE BUT I STOPPED THEM. THEY WO N'T EVER COME BACK. YOU MY BEST THING.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 124 BLUESTONE RD. - EARLY EVENING.<\/stage_direction>\n    <scene_description>CAMERA PULLS BACK FROM THE FRONT DOOR , NOW LOCKED AGAINST THE WORLD , IN A SLOW MOVE . AS WE HEAR A BLEND OF THE THREE WOMEN 'S VOICES - THE OVERLAPPING , HAUNTED THOUGHTS OF THE LIVING .<\/scene_description>\n    <character>THREE WOMAN<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>BELOVED. YOU ARE MY SISTER. YOU ARE MY DAUGHTER. YOU ARE MY FACE. YOU ARE ME. I HAVE FOUND YOU AGAIN. I WAITED FOR YOU. YOU ARE MY BELOVED. DO N'T LOVE HER TOO MUCH. YOU MY BEST THING. YOU ARE MINE. YOU ARE MINE. YOU ARE MINE.<\/dialogue>\n    <scene_description>BY THE TIME THE CAMERA REACHES BLUESTONE ROAD , THE VOICES ARE MIXED , UNDECIPHERABLE YET AUDIBLE . AUDIBLE TO STAMP PAID , WHO STANDS ON BLUESTONE RD. . LISTENING TO THE HAUNTED VOICES OF 124 . HE IS FRIGHTENED . FADE - OUT .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCH - DAY.<\/stage_direction>\n    <scene_description>A cold day . Paul D. sits against the church drinking from a bottle when a voice causes him to look up ;<\/scene_description>\n    <character>STAMP PAID<\/character>\n    <dialogue>Howdy.<\/dialogue>\n    <scene_description>Stamp has his hands in his pockets , moving about .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You got any more newspaper in that pocket for me, just a waste of time. Ai n't interested.<\/dialogue>\n    <scene_description>Stamp sits beside him .<\/scene_description>\n    <character>STAMP PAID<\/character>\n    <dialogue>This is hard for me. But I got to do it. Two things I got to say to you. I'm a take the easy one first.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>If it's hard for you, might kill me dead.<\/dialogue>\n    <parenthetical>( he drinks . )<\/parenthetical>\n    <dialogue \/>\n    <character>STAMP PAID<\/character>\n    <dialogue>I come looking for you to ask your pardon. Apologize.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>For what?<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>You pick any house, any house where colored live. Pick any one and you welcome to stay there. I'm apologizing'cause they did n't offer to tell you. But you welcome anywhere you want to be. My house. John and Ella. Miss Lady Jones. anybody. You choose. You ai n't got to sleep in no cellar and I apologize for each and every night.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Well I. I did get offered one place but I just wanted to be off by myself a spell.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>Oh yeah. Oh that's load off. I thought everybody gone crazy.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Just me.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>You planning to do anything about it?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Oh yeah. I got big plans.<\/dialogue>\n    <scene_description>He drinks from the bottle like an angry , broken man . It stabs at Stamp 's heart to see him like this . A WHITE MAN in a horse and wagon drives up the path leading to the church . He leans stops before them and leans forward ;<\/scene_description>\n    <character>WHITE MAN<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <parenthetical>( on his feet . )<\/parenthetical>\n    <dialogue>Yes sir.<\/dialogue>\n    <character>WHITE MAN<\/character>\n    <dialogue>I'm looking for a gal name of Judy. Works over by the slaughterhouse. Said she lived on Plank Road.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>Plank Road. Yes sir. That's up a ways. Mile, maybe.<\/dialogue>\n    <character>WHITE MAN<\/character>\n    <dialogue>You do n't know her? Judy? Works in the slaughterhouse.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>No sir, I do n't, but I know Plank Road. ` Bout a mile up thataway.<\/dialogue>\n    <scene_description>Paul drinks from the bottle . The White Man addresses him .<\/scene_description>\n    <character>WHITE MAN<\/character>\n    <dialogue>Look here. There's a cross up there, so I guess this here's a church or used to be. Seems to me like you ought to show it some respect, you follow me?<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>Yes sir. You right about that. That's just what I come over to talk to him about. Just that.<\/dialogue>\n    <scene_description>Paul offers no response . The White Man clicks his tongue and drives off . Stamp breathes a sigh of relief .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You remember your price, Stamp?<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>Never found out.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I did. Down to the cent. $ 900. Always wondered though what Mrs. Garner got for my brother Paul F. Must of been more than nine hundred dollars cause she use that money for Sweet Home for almost two years. But then they hung my other brother Paul A. up on a tree so I guess he was n't worth the same. I wonder what was Baby Suggs worth? And Halle? I was n't surprised when I found out they tracked down Sethe all the way to Cincinatti. Her price must have been higher than all of us - her being property that reproduced itself without cost. A breeder.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>No use thinking these things now.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Oh but we got to. How we gon na know our price in the future? How are children's children's children gon na know what they cost? Who's gon na tell them? What are they gon na pay for us, if we free?<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>Children ai n't gon na need to know that kind of thing.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>They'll know. They'll know as soon as they born. Cause it's inside us, Stamp. It'll be inside them. We'll pass it down. Schoolteacher did n't just change the outside, he changed the mind. and the blood. and what it carries. and what it's worth.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>I do n't believe that. I wo n't.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>There was a rooster named Mister down at Sweet Home. Last time I saw Halle, with that butter all over his face and me with an iron bit in my mouth, I saw Mister - sitting on a tub. He loved that tub. Like king on a throne. He was a hateful thing. Bloody and evil. But he was better than me. Mister was allowed to be and stay what he was. Even if you cooked him you'd be cooking a rooster named Mister. But was n't no way I'd ever be Paul D. again. Schoolteacher changed me. Was never no beating under Mr. Garner. Schoolteacher changed that. Why would n't a man run from that? Why would n't a man not work, kill, starve, pull out his own heart to stop feeling ` stead of feeling that? And it strikes me, it's got to be cause we were something else. And that something was less than a chicken sitting in the sun on a tub.<\/dialogue>\n    <scene_description>He drinks .<\/scene_description>\n    <character>STAMP PAID<\/character>\n    <dialogue>I said I had two things to say to you. I only told you one. I have to tell you the other.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I do n't want to know.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>I was there Paul D. There in the yard. When she did it.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>What yard? When who -<\/dialogue>\n    <scene_description>And then Paul realizes he 's talking of Sethe .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Jesus.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>It ai n't what you think.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You do n't know what I think.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>She ai n't crazy. She love those children. She was trying to outhurt the hurter's all.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Leave off.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>She was only -<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Stamp, leave off I said! I knew her when she was a girl. She scares me and I knew her when she was a girl.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>You ai n't scared of Sethe. I do n't believe you.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>She scares me. I scare me. And that girl in her house scares me.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>Who is she? Where she come from?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Do n't know. Just shot up one day from a stump.<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>She what run you off? Not what I told you ` bout Sethe?<\/dialogue>\n    <scene_description>Paul thinks a moment . Then , tears brimming in his eyes :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Tell me something, Stamp. Tell me this one thing. How much is a nigger supposed to take?<\/dialogue>\n    <character>STAMP PAID<\/character>\n    <dialogue>All he can. All he can.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Why? Why? Why? Why? Why?<\/dialogue>\n    <scene_description>FADE OUT ; FADE IN ; SPRING .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 124 BLUESTONE RD. - MORNING.<\/stage_direction>\n    <scene_description>The sun shines on a warm April day . a day abundant with growth and renewed hope . But a shadow appears to be hovering over 124 . It looks more worn than before . neglected , abused . A broken window . the front door off it 's hinge . a front step splintered and dangerous .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 124 BLUESTONE RD. - MORNING.<\/stage_direction>\n    <scene_description>Camera opens on the front hall and moves through the house , revealing the same neglect inside ; Broken furniture , dusty floors , mess and disorder . Camera enters ;<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - MORNING.<\/stage_direction>\n    <scene_description>Dirty pans , crusted food on the table , window curtains hanging askew . Sethe sits hunched over , asleep , in a chair against the wall . She wears a dirty , torn dress that hangs on her body - which seems withered , frailer since we last saw her . In her lap lies a clean pretty dress she was in the process of sewing when she fell asleep from fatigue . A LOUD CRASH wakes her up . Followed by a LOUD FRUSTRATED YELL . Her face registers fear . She realizes where she is , what time it is . and begins organizing breakfast . She places the dress neatly on the chair , then grabs a cloth and wipes away the crumbs and dirty plates from supper , placing them in the sink . She opens a pantry cupboard to reveal BARE SHELVES except for a SINGLE EGG and a bowl of HOMINY GRAINS about 1\/4 full . She searches in a panic for more food - anywhere - opening cabinets , doors - places that never stored food . She realizes there is none left .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DENVER'S ROOM - MORNING.<\/stage_direction>\n    <scene_description>Denver finished dressing . She has been able to maintain a semblance of order about her person and room . But as she steps out into the second floor hallway , we see the same disarray as downstairs . She passes by Baby Sugg 's old room and discovers ; BELOVED , sprawled across the bed , half naked . Her belly is huge , her body unwashed . She looks , and behaves , like a wild animal . A broken lamp lies on the fall - pushed over by her leg as she shifted in bed . Her feet , overhanging the bed , are still touching the bedside table where the lamp sat . She is awake now - making a small hole larger in Baby Sugg 's old quilt .<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>You should n't be in here?<\/dialogue>\n    <scene_description>Beloved jolts her head up to Denver . She does n't like being looked at unawares .<\/scene_description>\n    <character>BELOVED<\/character>\n    <dialogue>What do you know about it? I sleep where I want.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>You best leave that quilt alone. That was grandma's quilt.<\/dialogue>\n    <scene_description>Beloved looks at Denver , then at the quilt - then abruptly tears the hole apart with one strong pull . Triumphant , she gets out of bed and exits , passing Denver ;<\/scene_description>\n    <character>BELOVED<\/character>\n    <dialogue>Breakfast ready? I'm hungry!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - MORNING.<\/stage_direction>\n    <scene_description>Sethe has prepared all the food that was left and placed it on one plate which she sets on the table . She stands at the stove , with her back to us , picking crusted pieces of food off the bottom of the pan . Beloved moves straight to the chair in front of the place and begins to eat , shovelling the food into her mouth . Denver sees her mother covertly eating the burnt pan crumbs , as she pretends to wash the dishes .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Morning.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Morning, ma'am.<\/dialogue>\n    <scene_description>Sethe turns , not realizing Denver was there as well . Their eyes meet . Sethe wonders if her daughter saw her eating the pan crumbs . She smiles ;<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>You hungry?<\/dialogue>\n    <scene_description>Knowing there must be nothing left , Denver answers ;<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>No, ma'am.<\/dialogue>\n    <scene_description>Sethe looks relieved .<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>I'll finish those. Why do n't you sit down?<\/dialogue>\n    <scene_description>Denver crosses to the dishes , taking the pan from her mother . Sethe nods and crosses to the table , to sit down . But as she sinks into the chair , Beloved kicks it away ;<\/scene_description>\n    <character>BELOVED<\/character>\n    <dialogue>You do n't sit with me!<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Baby, do n't be like that.<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>You do n't sit with me! I do n't sit with people who leave me!<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Do n't talk like that. Your mama loves you.<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>I had another dream last night.<\/dialogue>\n    <parenthetical>( as she eats . )<\/parenthetical>\n    <dialogue>The dead man laying on top of me and I had nothing to eat. And the ghosts without skin stuck their fingers in me and said Beloved in the dark and bitch in the light.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Do n't say those things. You forget about those dreams.<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>You gave me the bad dreams. You left me behind.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Mama told you - I'd give up my own life, every minute, every hour of it to take back one of your tears baby. My children my best thing. You my best thing!<\/dialogue>\n    <character>BELOVED<\/character>\n    <dialogue>You're were n't nice to me. you did n't smile at me.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>That's not true. I told you, I had to get you out, make you safe. so's you and me could be together on the other side, forever.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Ma'am.<\/dialogue>\n    <scene_description>No one pays attention to Denver .<\/scene_description>\n    <character>BELOVED<\/character>\n    <dialogue>LIAR!<\/dialogue>\n    <scene_description>Beloved flings her plate at Sethe , hitting her hard across the eye . the plate breaking .<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>MAMA!<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Hold back Denver - I'm fine. You. you go on upstairs. I'll do the cleaning up.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>But mama.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Go upstairs I said!<\/dialogue>\n    <scene_description>Sethe 's harsh tone is only for Denver . Denver exits the kitchen , afraid to leave them alone . As she moves from the kitchen , she hears ;<\/scene_description>\n    <character>BELOVED<\/character>\n    <parenthetical>( OS . )<\/parenthetical>\n    <dialogue>I want somethin' sweet.<\/dialogue>\n    <character>SETHE<\/character>\n    <parenthetical>( OS . )<\/parenthetical>\n    <dialogue>We do n't have nothing sweet no more, baby.<\/dialogue>\n    <character>BELOVED<\/character>\n    <parenthetical>( OS . )<\/parenthetical>\n    <dialogue>Not for me, you do n't! You do n't let me eat the pies.<\/dialogue>\n    <character>SETHE<\/character>\n    <parenthetical>( OS . )<\/parenthetical>\n    <dialogue>No. Since mama lost her job, we do n't have no more pies.<\/dialogue>\n    <scene_description>Denver walks up the white stairs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BABY SUGGS' ROOM - DAY.<\/stage_direction>\n    <scene_description>Denver has straightened up her grandmother 's room . Cleaned away the broken pieces of the lamp . Gathered the remnants of the quilt . She holds the quilt as she sits on the bed , facing the headboard . SHE REMEMBERS :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BABY SUGGS' ROOM - A DAY REMEMBERED.<\/stage_direction>\n    <scene_description>Baby Suggs , near death , lying in her bed , chuckles and coughs ;<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <dialogue>You mean I never told you about your daddy? About the Bodwins who let me rent this here house while I do my shoe repairing? About your mother's feet, not to mention her back? I never told you all that?<\/dialogue>\n    <scene_description>A NINE YEAR OLD DENVER shakes her head .<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <dialogue>Is that why you ca n't walk down the steps and out yonder by yourself?<\/dialogue>\n    <scene_description>Denver ca n't answer .<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <dialogue>Why you never go back to Lady Jone's and learn your letters? You liked going there I remember. Seeing the other children. Then all a sudden, you stop.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>There was a boy there. said mama was a jailbird. said he could prove it.<\/dialogue>\n    <scene_description>Baby Suggs face registers the pain of her granddaughter , hurt by hurtful words .<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <dialogue>My Jesus my. What people wo n't say. Why did n't you come and ask me?<\/dialogue>\n    <parenthetical>( Denver shrugs . )<\/parenthetical>\n    <dialogue>` Fraid I'll tell ya, huh?<\/dialogue>\n    <parenthetical>( Denver looks at her . )<\/parenthetical>\n    <dialogue>Come here, child.<\/dialogue>\n    <scene_description>Denver crawls into her arms .<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <dialogue>You got to go sometime. You got to go out there by yourself sometime.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>But you said. you said out there, there ai n't no. what was that word? no. de - fense. No de - fense.<\/dialogue>\n    <character>BABY SUGGS<\/character>\n    <dialogue>There ai n't.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Then what do I do?<\/dialogue>\n    <character>BABY SUGGS<\/character>\n    <dialogue>Know it, and go on out the yard. Go on.<\/dialogue>\n    <scene_description>END OF MEMORY .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BABY SUGGS' ROOM - DAY.<\/stage_direction>\n    <scene_description>Denver has crawled up and snuggled against the pillow in the same position as when she was nine in her grandma 's arms .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SECOND FLOOR LANDING - DAY.<\/stage_direction>\n    <scene_description>Denver has changed into a clean , pretty dress and is approaching the stairs when she passes Sethe 's room . It 's door is open . She looks in . Sethe stands with her back to the door , cleaned up , wearing her best dress and the hat she last wore to the carnival . Denver smiles , hopefully ;<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>Mama?<\/dialogue>\n    <scene_description>Sethe turns , startled , to reveal - it is BELOVED in Sethe 's best clothes . When Beloved sees Denver , she smiles tauntingly and strikes a pose .<\/scene_description>\n    <character>BELOVED<\/character>\n    <dialogue>I look just like her.<\/dialogue>\n    <scene_description>Disgusted , Denver exits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - DAY.<\/stage_direction>\n    <scene_description>Denver walks down the stairs , entering the kitchen ; Sethe is on her knees , picking up pieces of broken plate . As she moves the skin on her knees bleeds as it scrapes against pieces too small to clean .<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>Mama let me help you.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>NO! She wanted me to do it.<\/dialogue>\n    <scene_description>Sethe continues her work , without even looking at Denver . Denver pauses a moment , realizing she is of no use here - but knowing she needs to help her mother somehow . She looks up to the kitchen , where every cupboard door is open revealing empty shelves . SHE EXITS - HEADING FOR THE FRONT DOOR .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRONT HALL - DAY.<\/stage_direction>\n    <scene_description>C.U. - FRONT DOOR . Denver 's hands slowly reaches towards the door lock - and OPENS IT .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 124 BLUESTONE RD. - DAY.<\/stage_direction>\n    <scene_description>Denver opens the door , then pushes the broken screen door off it 's hinge . She closes the door behind her . She begins her walk from the porch to the road . The first time she 's ever gone alone . not knowing what she will face beyond the perimeters of her home . She reaches Bluestone Road and stops . She looks in either direction and sees not a soul . She takes a breath . She begins to walk - to get help . A block from the house , TWO BLACK MEN turn a corner and walk towards her . Denver stops , frightened , not knowing what to do . The TWO BLACK MEN pass her , tipping their hats , saying ;<\/scene_description>\n    <character>TWO BLACK MAN<\/character>\n    <dialogue>Morning. Morning.<\/dialogue>\n    <scene_description>And they walk by . Denver 's eyes speak the gratitude she never got her mouth open in time to reply . Heartened by the encounter , she picks up speed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LADY JONES' HOUSE - DAY.<\/stage_direction>\n    <scene_description>LADY JONES - a light - skinned black woman with gray eyes and yellow woolly hair - opens the door to find Denver .<\/scene_description>\n    <character>LADY JONES<\/character>\n    <dialogue>Why Denver. Look at you.<\/dialogue>\n    <scene_description>Denver manages to smile .<\/scene_description>\n    <character>LADY JONES<\/character>\n    <dialogue>It's been so long. It's so nice of you to come see me. What brings you?<\/dialogue>\n    <scene_description>Unfortunately , Denver ca n't manage anything beyond the smile .<\/scene_description>\n    <character>LADY JONES<\/character>\n    <dialogue>Well, never mind - nobody needs a reason to visit. Let me make us some tea. Come on.<\/dialogue>\n    <scene_description>Lady Jones takes her by the hand and leads her inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LADY JONES' HOUSE - DAY.<\/stage_direction>\n    <scene_description>Tea things sit on a table between them . Denver eats whatever she can . Lady Jones watches with care and concern .<\/scene_description>\n    <character>LADY JONES<\/character>\n    <dialogue>How's your family, honey?<\/dialogue>\n    <scene_description>Denver swallows a bite of something with some tea , then ;<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>I want to work, Miss Lady.<\/dialogue>\n    <character>LADY JONES<\/character>\n    <dialogue>Work? Start learnin your letters again?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>No. I mean work work.<\/dialogue>\n    <character>LADY JONES<\/character>\n    <dialogue>Well, what can you do?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>I ca n't do anything but I would learn it for you if you have a little extra.<\/dialogue>\n    <character>LADY JONES<\/character>\n    <dialogue>Extra?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Food. My mama, she does n't feel well. I could n't stay away from her too long, cause of her condition but I could do chores in the mornings.<\/dialogue>\n    <character>LADY JONES<\/character>\n    <dialogue>Oh baby. I do n't know anyone could pay anybody anything for work they did themselves. But if you all need to eat until your mother's well, all you have to do is say so. We have a church committee invented so nobody had to go hungry.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>No. No that wo n't do.<\/dialogue>\n    <scene_description>Lady Jones can sense something far more serious is going on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 124 BLUESTONE RD.\/ KITCHEN - DAY.<\/stage_direction>\n    <scene_description>Denver brings four eggs , some rice and some tea onto the kitchen table . Sethe 's eyes well up . She looks at Denver as if for the first time . Her face an expression of gratitude . Suddenly ;<\/scene_description>\n    <character>BELOVED<\/character>\n    <parenthetical>( OS . )<\/parenthetical>\n    <dialogue>RAAAIN! RAAAAIN!<\/dialogue>\n    <scene_description>Sethe and Denver rush out of the kitchen to see ; beloved running through the rooms , clawing at her throat , causing it to bleed .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>BABY!<\/dialogue>\n    <scene_description>Sethe and Denver rush towards into the keeping room . Sethe stumbles over a chair to get to Beloved , kneeling on the floor , ripping at her own neck . Denver gets her from behind and Sethe grabs her from the front , pinning her down - trying to stop her from hurting herself . Beloved screams and strikes out at Sethe , pulling her hair , clawing at her as well .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 124 BLUESTONE RD. - DAY.<\/stage_direction>\n    <scene_description>Denver exits the house because she sees something unusual in the yard ; POV - THE STUMP ; On the same stump that Beloved first appeared , sits A BASKET OF EGGS . Denver crosses to it , lifts it and a PAPER flutters to the ground . She reads it ; M. LUCILLE WILLIAMS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. M. LUCILLE WILLIAMS HOUSE - DAY.<\/stage_direction>\n    <scene_description>Denver returns the empty basket to M. Lucille Williams .<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>M. LUCILLE<\/character>\n    <dialogue \/>\n    <character>WILLIAMS<\/character>\n    <dialogue>Your welcome.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 124 BLUESTONE RD. - DAY.<\/stage_direction>\n    <scene_description>Beloved eats ravenously from a bowl of white beans . Sethe sits in the corner , as if waiting to serve her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 124 BLUESTONE RD. - DAY<\/stage_direction>\n    <scene_description>Upon the stump , sits a plate of cold rabbit meat , which Denver brings inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRACE'S HOUSE - DAY.<\/stage_direction>\n    <scene_description>Denver is returning a bowl to Grace , a friendly woman .<\/scene_description>\n    <character>GRACE<\/character>\n    <dialogue>No, darling. That's not my bowl. Mine's got a blue ring around it. Would you like to come in a spell?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 124 BLUESTONE RD. - DAY.<\/stage_direction>\n    <scene_description>Beloved sleeps curled up on the kitchen floor after eating - her mouth still dirty from the meal . Sethe , unwashed , her hair uncombed , sits in her corner chair . She is trying to mend a torn dress . Denver eats a little from the latest neighborhood gift . She hears her mother mumbling to herself like a madwoman .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Nobody. no sir. that's right. nobody's going be doing that. nobody going be writing my daughter's characteristics on the animal side. no sir. I do n't care. ai n't laying that down. no sir. I refuse. that's right. that's right.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Mama. Mama she's asleep. Why do n't you eat something.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>She likes this dress.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>But you'll hurt your eyes doin it there. Come sit at the table.<\/dialogue>\n    <scene_description>Sethe considers this . She rises cautiously , then sits at the table . Denver rises and gets her some food , placing it before her .<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>Please mama, eat something.<\/dialogue>\n    <scene_description>Sethe nods . Denver is getting more and more frightened of losing her mother completely . Instead of protecting Beloved from Sethe , she must protect her mother from Beloved .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE BODWIN'S HOUSE; BACK DOOR - DAY.<\/stage_direction>\n    <scene_description>A white family home in a white Ohio neighborhood . JANEY WAGON , a benevolent black servant woman , opens the back door for Denver .<\/scene_description>\n    <character>JANEY<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>May I come in?<\/dialogue>\n    <character>JANEY<\/character>\n    <dialogue>What you want?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>I want to see Mr. and Mrs. Bodwin.<\/dialogue>\n    <character>JANEY<\/character>\n    <dialogue>Miss Bodwin. They brother and sister, darlin.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>JANEY<\/character>\n    <dialogue>What you want'em for?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>I'm looking for work. I was thinking they might know of some.<\/dialogue>\n    <character>JANEY<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>You Baby Sugg's kin, ai n't you?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Yes ma'am.<\/dialogue>\n    <character>JANEY<\/character>\n    <dialogue>I heard your mother took sick, that so?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Yes ma'am.<\/dialogue>\n    <character>JANEY<\/character>\n    <dialogue>Well, come on in. You letting in flies.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE BODWIN'S HOUSE - DAY.<\/stage_direction>\n    <scene_description>The house is filled with books and pearl white lamps and glass cases filled with glistening things . Denver pushes her feet into the soft blue carpet as she sits with Janey .<\/scene_description>\n    <character>JANEY<\/character>\n    <dialogue>You know what? I've been here since I was fourteen and I remember like yesterday when Baby Suggs, holy, came here and sat right where you are. Whiteman name of Garner brought her. He and Mr. Bodwin were good friends. That's how she got that house you all live in. Other things too.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Yes ma'am.<\/dialogue>\n    <character>JANEY<\/character>\n    <dialogue>I never went to those woodland services but she was always nice to me. Always. Never be another like her.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>I miss her.<\/dialogue>\n    <character>JANEY<\/character>\n    <dialogue>Bet you do. Everybody miss her. That was a good woman. Well, I do n't know whether the Bodwins think it or not but they sure could use some extra help.<\/dialogue>\n    <character>DENVER<\/character>\n    <parenthetical>( hopeful . )<\/parenthetical>\n    <dialogue>Ya think?<\/dialogue>\n    <character>JANEY<\/character>\n    <dialogue>They getting older now and I ca n't take care of'em like I used to. More and more they keep asking me to sleep over night. Now, I do n't want to quit these people but they ca n't have all my days and nights too. I got my own family needs me. It'll take some convincing but maybe you could come after supper - take care of your mama during the day, then earn a little something at night, how's that?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Fine. But what would I do at night?<\/dialogue>\n    <character>JANEY<\/character>\n    <dialogue>Be here. In case.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>In case of what?<\/dialogue>\n    <character>JANEY<\/character>\n    <dialogue>In case the house burn down or bad weather slops the roads so bad I ca n't get here on time or late guests needed cleaning up after. Anything.<\/dialogue>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>Do n't ask me what whitefolks need at night.<\/dialogue>\n    <scene_description>During Janey 's lines , Denver looks about the house imagining herself here at night . her eyes happen upon A STATUE OF A BLACK BOY on his knees , his head thrown back farther than a head could go , his mouth wide open like a cup and filled with money for delivery tips . On the pedestal are the words ' AT YO SERVICE ;<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>They good whitefolks?<\/dialogue>\n    <character>JANEY<\/character>\n    <dialogue>Oh yeah. They good. Ca n't say they ai n't good. I would n't trade them for another pair, tell you that. But you come back in a few days - give me a chance to lead'em to it. All right?<\/dialogue>\n    <scene_description>Denver nods , beaming gratefully - so gratefully that no words come , only tears . Janey reaches for Denver 's hand and holds it warmly ;<\/scene_description>\n    <character>JANEY<\/character>\n    <dialogue>What is it, child? What's the trouble with Sethe?<\/dialogue>\n    <scene_description>Denver looks at her and we know she needs to tell someone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELLA'S HOUSE - DAY.<\/stage_direction>\n    <scene_description>Ella has gathered all the women of the town for a meeting including Lady Jones , Janey Wagon , M. Lucille Williams , Grace ;<\/scene_description>\n    <character>GRACE<\/character>\n    <dialogue>But is it really the daughter, Janey? The killed one?<\/dialogue>\n    <character>JANEY<\/character>\n    <dialogue>That what she say.<\/dialogue>\n    <character>M. LUCILLE<\/character>\n    <dialogue \/>\n    <character>WILLIAMS<\/character>\n    <dialogue>How they know it's her?<\/dialogue>\n    <character>ELLA<\/character>\n    <dialogue>It's sitting there. Sleeps, eats and raises hell. Whipping Sethe every day.<\/dialogue>\n    <character>GRACE<\/character>\n    <dialogue>I'll be. A baby?<\/dialogue>\n    <character>JANEY<\/character>\n    <dialogue>No. Grown now. The age it would have been had it lived.<\/dialogue>\n    <character>GRACE<\/character>\n    <dialogue>In the flesh. And whipping her.<\/dialogue>\n    <character>M. LUCILLE<\/character>\n    <dialogue \/>\n    <character>WILLIAMS<\/character>\n    <dialogue>Guess she had it coming a little.<\/dialogue>\n    <character>ELLA<\/character>\n    <dialogue>Nobody got that coming.<\/dialogue>\n    <character>M. LUCILLE<\/character>\n    <dialogue \/>\n    <character>WILLIAMS<\/character>\n    <dialogue>But Ella - you ca n't just up and kill your children.<\/dialogue>\n    <character>ELLA<\/character>\n    <dialogue>No, and the children ca n't just up and kill the mama. What's fair ai n't necessarily right.<\/dialogue>\n    <parenthetical>( the women listen . )<\/parenthetical>\n    <dialogue>Now you all know how I felt about the whole thing. I know the rage Sethe felt in that shed that day. We all do. But what I could not understand, and still do n't, was her reaction to it. Prideful. Too damn complicated for a black woman in her position before God. But whatever she done, I do n't like the idea of past errors taking possession of the present. I do n't cotton to sin moving in on a house, unleashed and sassy. Every day life takes enough, takes all a woman has. `` Sufficient unto the day is evil thereof'' and nobody needs more. Nobody needs a grown up evil sitting at a table with a grudge. As long as that ghost showed itself from a ghostly place, I respected it. But once it take on flesh and come into this world, well, the shoe's on the other foot now. I do n't mind a little communication between worlds. But this here's an invasion.<\/dialogue>\n    <scene_description>The women agree .<\/scene_description>\n    <character>GRACE<\/character>\n    <dialogue>Should we pray?<\/dialogue>\n    <character>ELLA<\/character>\n    <dialogue>Uh - huh. First. Then we got to get down to business.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 124 BLUESTONE RD.: KITCHEN - DAYS LATER.<\/stage_direction>\n    <scene_description>Denver comes down the stairs , entering the kitchen . Sethe , worn out , looking more beaten and ravaged than before , stands at the sink with an ICE PICK chopping up ice . Denver speaks to her , but she does not turn or acknowledge her .<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>Mama? Mama I'm going out.<\/dialogue>\n    <parenthetical>( no response . )<\/parenthetical>\n    <dialogue>Mama, I got a job. Working over at the Bodwins at night. Mr. Bodwin coming over now to pick me up on his way back from town. I'll be staying there nights and coming back here for the daytime. We'll have some money, mama. Mama?<\/dialogue>\n    <scene_description>Sethe continues her action as if hypnotized . Denver approaches her from behind and whispers softly ;<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>I'm going help you, mama. Do n't you give up yet.<\/dialogue>\n    <scene_description>Denver touches her gently , but Sethe acts as if she hears and feels nothing . Denver exits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 124 BLUESTONE RD. - LATE THAT DAY.<\/stage_direction>\n    <scene_description>Denver is sitting on the stump waiting for Mr. Bodwin when she hears ; THIRTY WOMEN , gathered together , walking up Bluestone Rd. towards 124 , SINGING A HOLY SONG ; Denver is amazed by the sight as the women position themselves right in front of 124 - armed with bibles , crucifixes and whatever other symbols of heavenly power they could find .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 124 BLUESTONE RD; THE KEEPING ROOM - DAY.<\/stage_direction>\n    <scene_description>Sethe is rubbing a naked Beloved 's forehead with a cool cloth filled with ice , when the two women hear the singing . Beloved rises first and moves to the window to see .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 124 BLUESTONE RD. - DAY.<\/stage_direction>\n    <scene_description>The women continue singing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FURTHER DOWN BLUESTONE RD. - DAY.<\/stage_direction>\n    <scene_description>MR. BODWIN , sitting on a wagon pulled by a horse , is riding toward 124 when he hears the singing as well . WE NOTICE THAT MR. BODWIN IS WEARING A HAT SIMILAR TO THE ONE SCHOOLTEACHER WORE on that fateful day .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 124 BLUESTONE RD. - DAY.<\/stage_direction>\n    <scene_description>The women continue singing as : Sethe and Beloved , her belly as big as a pregnant woman 's , exit the house . The women are stunned by the sight and slightly confused by the lack of fear between the women . Sethe is holding Beloved 's hand . Beloved is smiling brightly at the beautiful singing . Denver looks to her mother ; Tears run down Sethe 's face but she is not crying . The sound of the women 's voices wash over her like a baptism . She looks to all the women , faces she remembers , faces she has missed although up until this moment was not conscious of missing . Then , Sethe looks beyond the women and sees : MR. BODWIN APPROACHING IN HIS WAGON . SHE SEES MR. BODWIN WEARING A HAT THAT LOOKS LIKE SCHOOLTEACHERS . Sethe 's expression turns to fear , then rage . In her ravaged mind , she thinks it is Schoolteacher coming back .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>No. No, he's not coming into my yard. He not taking my best thing. No.<\/dialogue>\n    <scene_description>She releases Beloved 's hand and moves forward .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>No. no. no.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Mama?<\/dialogue>\n    <scene_description>She passes Denver , feeling for the ICE PICK IN HER APRON .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>No. NO. NO. NOOOOOOOOOOOO!<\/dialogue>\n    <scene_description>As Mr. Bodwin reaches the thirty women who separate him from 124 . HIS EYES FOCUS IN WONDER ON THE NAKED BELOVED AS ; SETHE RUNS TOWARDS HIM AND THE WOMEN , HER HAND EXTENDED HOLDING THE ICE PICK .<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>MAMA. NOOOOOOO!<\/dialogue>\n    <scene_description>DENVER RUNS AFTER HER . SETHE REACHES THE WOMEN AND LUNGES FOR BODWIN BUT THE WOMEN SEIZE HER , CREATING A HILL OF BLACK PEOPLE . SETHE RISING TO THE TOP , HER HAND EXTENDED . DENVER REACHING HER FROM BEHIND , PULLING HER BACK AND PUNCHING HER OUT COLD AS THE BODIES FALL AROUND THEM . Beloved watches from the house - watches Sethe attack and defend with the ice pick . And something within her is resolved . For a moment , we see a calm spirit instead of a wild animal . And a tear upon her face . Then , just as quickly , she sprints around the side of the house and disappears from view . The Women try to help Sethe as Denver cries for her mother . Mr. Bodwin looks on stunned . WIDE ANGLE - OF A NAKED BLACK WOMAN WITH A FULL BELLY RUNNING THROUGH AN OPEN FIELD , REACHING THE WOODS THEN DISAPPEARING INTO THE TREES . FADE OUT ;<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RICHMOND ST. - DAY. WEEKS LATER.<\/stage_direction>\n    <scene_description>Paul D. is on his way to work when he sees ; A poised , confident Denver walking in the opposite direction . She spots him and smiles ;<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>Good morning, Paul D.<\/dialogue>\n    <scene_description>Paul is clearly impressed by the sight of her .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Well, is it now? How you getting along?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Do n't pay to complain.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You on your way home?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>No. Got me an afternoon job at the shirt factory. Figure between that and my night work at the Bodwins I might be able to put something away for me and mama.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>They treating you right over at the Bodwins?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>More than all right. Miss Bodwin, she teach me stuff. Book stuff. She says I might go to Oberlin. She's experimenting on me.<\/dialogue>\n    <scene_description>Paul smiles - wanting to warn her but deciding not to spoil the possibilities that lay before her .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Your mother all right?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>No. Not a bit all right. Has n't gotten out of bed since that day.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You think I should stop by? Think she'd welcome it?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>I do n't know. I think I've lost my mother, Paul D.<\/dialogue>\n    <scene_description>Silence .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>That girl. You know, Beloved.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>She gone like they say?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Have n't seen her since that day. Ella thinks she might be waiting in the woods for another chance but. I do n't think so. Mama thinks she's gone for good. Says she can feel it.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You think she sure ` nough your sister?<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>At times. At other times I think she was. more. But who would know that better than you. I mean, you sure ` nough you her.<\/dialogue>\n    <scene_description>She levels her eyes at him and he knows what she means .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Well, if you want my opinion.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>I do n't. I have my own.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You grown.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Yes sir<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Well, good luck with the job.<\/dialogue>\n    <character>DENVER<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>They pass each other until Denver turns back ;<\/scene_description>\n    <character>DENVER<\/character>\n    <dialogue>And Paul D. you do n't have to stay ` way, but be careful how you talk to my mama, hear?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I will.<\/dialogue>\n    <scene_description>Paul watches her walk away . He watches as a YOUNG BLACK MAN runs towards her shouting ;<\/scene_description>\n    <character>YOUNG MAN<\/character>\n    <dialogue>Hey, Miss Denver. Wait up!<\/dialogue>\n    <scene_description>He watches as the two young people , the future , walk together .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 124 BLUESTONE RD. - DAY.<\/stage_direction>\n    <scene_description>Paul enters the house and hears HUMMING . He walks towards the keeping room , whose door is ajar ;<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KEEPING ROOM - DAY.<\/stage_direction>\n    <scene_description>Sethe lies in bed with the remnants of Baby Sugg 's quilt over her , as she hums her melody and looks out of the window .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Sethe?<\/dialogue>\n    <character>SETHE<\/character>\n    <parenthetical>( turns to him . )<\/parenthetical>\n    <dialogue>Paul D.<\/dialogue>\n    <scene_description>She looks like she 's dying .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Aw, Sethe.<\/dialogue>\n    <scene_description>He approaches her .<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>You shaved.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Yeah. Look bad?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>No, You looking good.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Devil's confusion. What's this I hear about you not getting out of bed?<\/dialogue>\n    <parenthetical>( no response . )<\/parenthetical>\n    <dialogue>I saw Denver. She tell you?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>She comes in the daytime. She still with me, my Denver.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( nervous . )<\/parenthetical>\n    <dialogue>You got to get up from here, girl.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>I'm tired, Paul. So tired. I have to rest a while.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( getting upset , shouts . )<\/parenthetical>\n    <dialogue>Do n't you die on me! This is Baby Suggs quilt. Is that what you planning!?<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>Oh, I do n't have no plans. No plans at all.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Look - Denver be here in the day. I be here in the night. I'm a take care of you, you hear? Starting now.<\/dialogue>\n    <scene_description>Sethe looks at him - a long look - and sees in him that thing , that blessedness , `` that makes him the kind of man who can walk into a house and make women cry , make women tell him things they could only tell each other '' .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>What, baby?<\/dialogue>\n    <character>SETHE<\/character>\n    <parenthetical>( cries . )<\/parenthetical>\n    <dialogue>She left me. She's gone again.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Aw, girl. Do n't cry. Me and you, we got more yesterday than anybody. We need some kind of tomorrow.<\/dialogue>\n    <character>SETHE<\/character>\n    <dialogue>She was my best thing.<\/dialogue>\n    <scene_description>Paul leans down and takes her hand , entwining his fingers into hers .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You your best thing, Sethe. You are.<\/dialogue>\n    <scene_description>Sethe smiles , with tears in her eyes , looking almost surprised ;<\/scene_description>\n    <character>SETHE<\/character>\n    <dialogue>Me? Me?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE CLEARING - A DAY OUT OF TIME.<\/stage_direction>\n    <scene_description>A beautiful , sunny day . The clearing is full . Everyone looks bright and hopeful . Dressed in bright , summer clothes . A robust Baby Suggs is on her rock giving her best Call , as camera pans the crowd of faces eager to believe .<\/scene_description>\n    <character>BABY SUGGS<\/character>\n    <dialogue>The only grace we can have, is the grace we can imagine. If you can not see it, you will not have it. Here, in this place, we are flesh. Flesh that weeps, laughs, dances on bare feet in the grass. Love it. Love it hard. Yonder they do not love your flesh. They despise it. They flay it. O, my people, they do not love your hands. Those they only use, tie, bind, chop off and leave empty, Love your hands. Love them. Raise them up and kiss them. Touch others with them, put them together, stroke them on your face'cause they do n't love that either. You got to love it. You. Yonder out there, they ai n't in love with your moth. They will see it broken and break it again. What you say out of it, they will not heed. What you scream from it they do not hear. No, they do n't love your mother. You got to love it. And the feet that need to rest and to dance. The backs that needs support. The shoulders that need arms, strong arms I'm telling you! O my people, out yonder they do n't love your neck unnoosed and straight. So love your neck ; put a hand on it, grace it, stroke it and hold it up. Love all your inside parts, love'em. and the beating heart, love that too. More than eyes or feet. More than lungs that have yet to draw free air, love your heart. For this is the prize.<\/dialogue>\n    <scene_description>And with her twisted , broken old body BABY SUGGS BEGINS TO DANCE AND TWIRL UP ON HER ROCK . And the crowd gives her music , SINGING IN FOUR PART HARMONY . CAMERA PANS THE CROWD OF BEAUTIFUL FACES singing together . Among the crowd , we see FAMILIAR FACES . WE SEE THE WOMEN WHO SANG AT 124 . WE STAMP PAID , ELLA , JOHN , and LADY JONES . AND WE SEE SETHE , SURROUNDED BY ALL HER CHILDREN . FADE OUT . THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Set shortly after the Civil War, the film revolves around Sethe, a former slave living on the outskirts of Cincinnati. When the film begins, an angry poltergeist terrorizes Sethe and her three children, causing her two sons to run away forever. Eight years later, Sethe (Oprah Winfrey) lives alone with her daughter, Denver (Kimberly Elise). Paul D (Danny Glover), an old friend from Sweet Home, the plantation Sethe had escaped from years earlier, finds Sethe's home, where he drives off the angry spirit. Afterwards, Paul D. proposes that he should stay and Sethe responds favorably. Shortly after Paul D. moves in, a clean young woman (Thandie Newton) named Beloved stumbles into Sethe's yard and also stays with them. Denver is initially happy to have Beloved around, but learns that she is Sethe's reincarnated daughter. Nonetheless, she chooses not to divulge Beloved's origins to Sethe. One night, Beloved, aware that Paul D. dislikes her, immobilizes him with a spell and proceeds to assault him sexually. Paul D. resolves to tell Sethe what happened, but instead tells what has happened to a co-worker, Stamp Paid (Albert Hall). Stamp Paid, who has known Sethe for many years, pulls a newspaper clipping featuring Sethe and tells her story to the illiterate Paul D. Years ago, Sethe was raped by the nephews of Schoolteacher, the owner of Sweet Home. She complained to Mrs. Garner, Schoolteacher's sister-in-law, who confronted him. In retaliation, Schoolteacher and his nephews whip Sethe. Heavily pregnant with her fourth child, Sethe planned to escape. Her other children were sent off earlier to live with Baby Suggs, Sethe's mother-in-law, but Sethe stayed behind to look for her husband, Halle. Sethe was assaulted while searching for him in the barn. The Schoolteacher's nephews held her down, raped her and forcibly took her breast milk. When Halle failed to comply, Sethe ran off alone. She crossed paths with Amy Denver, a white girl who treated Sethe's injuries and delivered Sethe's child, whom Sethe named Denver after Amy. Sethe eventually reached Baby Sugg's home, but her initial happiness was short-lived when Schoolteacher came to claim Sethe and her children. In desperation, Sethe cuts her older daughter's neck and tried to kill her other children. Stamp Paid managed to stop her and the disgusted Schoolteacher leaves them alone. Paul D., horrified by the revelation and suddenly understanding the origin of the poltergeist, confronts Sethe. Sethe justifies her decision without apology, claiming that her children would be better off dead than enslaved. Paul D. departs shortly thereafter in protest. After Paul D.'s departure, Sethe realizes that Beloved is the reincarnation of her dead daughter. Feeling elated yet guilt, Sethe spoils Beloved with elaborate gifts while neglecting Denver. Beloved soon throws a destructive tantrum and her malevolent presence causes living conditions in the house to deteriorate. The women live in squalor and Sethe is unable to work. Denver becomes depressed yet, inspired by a memory of her grandmother's confidence in her, she eventually musters the courage to leave the house and seek employment. After Denver attains employment, women from the local church visit Sethe's house at the request of her new co-worker to perform an exorcism. The women from the church comfort the family, and they are praying and singing loudly when Denver's new employer arrives to pick her up for work. Sethe sees him and, reminded of Schoolteacher's arrival, tries to attack him with an icepick, but is subdued by Denver and the women. During the commotion, Beloved disappears completely and Sethe, freed from Beloved's grip, becomes permanently bedridden. Some months later, Paul D. encounters Denver at the marketplace. He notices she has transformed into a confident and mature young woman. When Paul D. later arrives at Sethe's house, he finds her suffering from a deep malaise. He assures Sethe that he and Denver will now take care of her. Sethe tells him that she doesn't see the point, as Beloved, her \"best thing\", is gone. Paul D disagrees, telling Sethe that she herself is her own best thing."}
{"movie_name":"Darkest Hour_2017","imdb_id":"tt4555426","script":"<script>\n  <scene>\n    <character>DARKEST HOUR<\/character>\n    <dialogue>A Screenplay<\/dialogue>\n    <scene_description>By Anthony McCarten<\/scene_description>\n    <character>SHOOTING SCRIPT<\/character>\n    <dialogue>\u00a9 2016 Working Title Films Limited. All Rights Reserved.<\/dialogue>\n    <scene_description>THIS SCREENPLAY IS THE PROPERTY OF WORKING TITLE FILMS LIMITED (\"WT\"). DISTRIBUTION OR DISCLOSURE OF ANY INFORMATION OF WHATEVER NATURE IN WHATEVER FORM RELATING TO THE CHARACTERS, STORY AND THE SCREENPLAY ITSELF OBTAINED FROM ANY SOURCE INCLUDING WITHOUT LIMITATION THIS SCREENPLAY OR INFORMATION RECEIVED FROM WT, TO UNAUTHORISED PERSONS, OR THE SALE, COPYING OR REPRODUCTION OF THIS SCREENPLAY IN ANY FORM IS STRICTLY PROHIBITED. THIS SCREENPLAY IS INTENDED TO BE READ SOLELY BY WT EMPLOYEES AND INDIVIDUALS UNDER CONTRACT TO OR INDIVIDUALS PERMITTED BY WT. THIS SCREENPLAY CONTAINS CONFIDENTIAL INFORMATION AND THEREFORE IS GIVEN FOR REVIEW ON A STRICTLY CONFIDENTIAL BASIS. BY READING THIS SCREENPLAY YOU AGREE TO BE BOUND BY A DUTY OF CONFIDENCE TO WT, ITS PARENT AND SUBSIDIARY COMPANIES. On BLACK SCREEN: Run CAPTIONS: MAY 9TH 1940: HITLER HAS INVADED CZECHOSLOVAKIA, POLAND, DENMARK, AND NORWAY. HE IS NOW POISED TO CONQUER THE REST OF EUROPE.: IN BRITAIN, PARLIAMENT HAS LOST FAITH IN ITS LEADER, NEVILLE THE SEARCH FOR A REPLACEMENT HAS ALREADY BEGUN\u2026 FADE IN....<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE OF COMMONS CHAMBER - DAY<\/stage_direction>\n    <scene_description>...is in an uproar. The PRIME MINISTER, NEVILLE CHAMBERLAIN (71), sits with the MAJORITY, RULING CONSERVATIVE PARTY on one side of the house... ...whilst the LEADER of the MINORITY, OPPOSITION LABOUR PARTY, CLEMENT ATTLEE (57) sits with the OPPOSITION PARTIES on the other side. They face each other like two warring armies. Shouting. Accusations. Wild gesturing. Paper darts thrown. Mayhem.<\/scene_description>\n    <character>CAPTION:<\/character>\n    <dialogue>MAY 9, 1940<\/dialogue>\n    <scene_description>ATTLEE rises to his feet, amid jeers and heckles, to denounce CHAMBERLAIN, directly opposite him across the aisle -<\/scene_description>\n    <character>ATTLEE<\/character>\n    <dialogue>Mr Speaker! Mr Speaker!<\/dialogue>\n    <character>SPEAKER<\/character>\n    <dialogue>The Honourable Leader of the Opposition, Clement Attlee!<\/dialogue>\n    <character>ATTLEE<\/character>\n    <dialogue>Mr Speaker--Mr Speaker--it seems I have not been clear enough. Then let me leave no doubt regarding my feelings about Mr Chamberlain's future as Prime Minister.<\/dialogue>\n    <parenthetical>(over boos and applause)<\/parenthetical>\n    <dialogue>Owing to his years of inactivity and incompetence -<\/dialogue>\n    <parenthetical>(cheers and boos)<\/parenthetical>\n    <character>ATTLEE<\/character>\n    <dialogue>- we find him personally responsible, personally responsible for leaving our nation ruinously unprepared to face the present Nazi peril. We are at war, Mr Speaker. At war. And leaving aside whether he is fit to be a leader in peace- time he has proven himself incapable of leading us in war- time.<\/dialogue>\n    <scene_description>Cries of support to this - Looking down from the LORDS GALLERY is - VISCOUNT HALIFAX (59), appalled by what he is seeing. He exchanges a look with the bereft CHAMBERLAIN.<\/scene_description>\n    <character>ATTLEE<\/character>\n    <dialogue>Therefore, in the national interest, we the Opposition, are willing to enter into a Grand Coalition--with the \"ruling\" Conservative Party, so-called!...<\/dialogue>\n    <scene_description>An OPPOSITION MP stands and starts singing \"Rule Britannia\". Others soon begin to join in.<\/scene_description>\n    <character>SPEAKER<\/character>\n    <dialogue>Order! Order!<\/dialogue>\n    <character>ATTLEE<\/character>\n    <dialogue>...but not, and I stress this, never, under the leadership of Mr Chamberlain...<\/dialogue>\n    <parenthetical>(angle on CHAMBERLAIN)<\/parenthetical>\n    <dialogue>...who has lost the confidence of this House!<\/dialogue>\n    <scene_description>A REBEL CONSERVATIVE MEMBER rises and crosses the floor to stand with the OPPOSITION MPs, betraying Chamberlain.<\/scene_description>\n    <character>ATTLEE<\/character>\n    <parenthetical>(directly to CHAMBERLAIN)<\/parenthetical>\n    <dialogue>In the country's interest man, resign! Step down! And let us find a new leader!<\/dialogue>\n    <scene_description>UPROAR, and many cry \"HEAR-HEAR!\" and \"GO!\"<\/scene_description>\n    <character>SPEAKER<\/character>\n    <dialogue>I said, ORDER!<\/dialogue>\n    <scene_description>The camera passes along the CONSERVATIVE benches to find ANTHONY EDEN (43), behind him sits KINGSLEY WOOD (59).<\/scene_description>\n    <character>KINGSLEY WOOD<\/character>\n    <parenthetical>(into EDEN's ear)<\/parenthetical>\n    <dialogue>Where's Winston?<\/dialogue>\n    <scene_description>On the bench beside EDEN, as if to reserve a space, is an old Royal Naval Yacht Club CAP.<\/scene_description>\n    <character>EDEN<\/character>\n    <dialogue>Ensuring his fingerprints are not on the murder weapon.<\/dialogue>\n    <scene_description>The singing of \"Rule Britannia\" continues over -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM\/ SIR JOHN SIMON'S COUNTRY HOUSE - NIGHT<\/stage_direction>\n    <scene_description>NEVILLE CHAMBERLAIN addresses the other CONSERVATIVE guests gathered around a circular dining table.<\/scene_description>\n    <character>CHAMBERLAIN<\/character>\n    <dialogue>Accordingly--tomorrow--I will resign as Prime Minister.<\/dialogue>\n    <scene_description>GREAT FEAR in the faces of the NOBLES. CUT BETWEEN their FACES, during the following -<\/scene_description>\n    <character>CHAMBERLAIN<\/character>\n    <parenthetical>(suppressing emotion)<\/parenthetical>\n    <dialogue>As the Opposition refuse to join a government headed by me, we must select my successor.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I will step down tomorrow but I wanted my own party, the gentlemen I most respect, to know first.<\/dialogue>\n    <character>LORD LONDONDERRY.<\/character>\n    <dialogue>Halifax. There's no question! Our Foreign Secretary -<\/dialogue>\n    <character>SIR JOHN SIMON<\/character>\n    <dialogue>No contest! HALIFAX<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>I appreciate your confidence but my time has yet to come. However, on whomever the task may fall, he shall be charged with the security of these islands and of our Empire, and shall be required to explore all avenues.<\/dialogue>\n    <character>CHAMBERLAIN<\/character>\n    <dialogue>Including that of Diplomatic talks.<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>Indeed, towards the restoration of peace in Europe.<\/dialogue>\n    <character>ALL<\/character>\n    <dialogue>Hear Hear!!!<\/dialogue>\n    <character>CHAMBERLAIN<\/character>\n    <dialogue>Gentlemen, I'm afraid there is only one candidate. Only, one man that the Opposition will accept?<\/dialogue>\n    <character>ALL<\/character>\n    <dialogue>Oh no.<\/dialogue>\n    <character>SIR JOHN SIMON<\/character>\n    <dialogue>Surely not...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHARTWELL\/ COUNTRY HOUSE OF WINSTON &amp; CLEMENTINE<\/stage_direction>\n    <scene_description>CHURCHILL DAY<\/scene_description>\n    <character>CAPTION:<\/character>\n    <dialogue>A plate of BACON &amp; EGGS is set on a BREAKFAST TRAY. Then...a<\/dialogue>\n    <character>FRIDAY, MAY 10, 1940<\/character>\n    <dialogue>glass of WHITE WINE is poured by WINSTON's VALET, SAWYERS, and set beside the plate. A glass of SCOTCH and SODA is also prepared and set beside these on the tray. For Breakfast?<\/dialogue>\n    <dialogue>SAWYERS carries the TRAY through servants quarters towards the ENTRANCE HALL of the house, where -<\/dialogue>\n    <dialogue>- the TRAY passes by - WINSTON's PRIVATE SECRETARY, JOHN EVANS (35), as he schools the NEW YOUNG SECRETARY, ELIZABETH LAYTON. Evans, an immaculately-groomed rake, snobbishly thinks himself infinitely superior to the Elizabeth Laytons of the world.<\/dialogue>\n    <character>JOHN EVANS<\/character>\n    <parenthetical>(to ELIZABETH)<\/parenthetical>\n    <dialogue>...and if he stretches out his hand and says, \"Gimme\", you need to anticipate what he wants - black pen, red pen, paper, or \"Clop\", that's his hole punch.<\/dialogue>\n    <scene_description>EVANS and LAYTON walk past - - SAWYERS-with-TRAY, as he waits for the COOK to iron a NEWSPAPER (DAILY EXPRESS)and as the SCULLERY MAIDS, over her shoulder, ANXIOUSLY read the headline:<\/scene_description>\n    <character>\"CHAMBERLAIN TO RESIGN\"<\/character>\n    <dialogue>SAWYERS<\/dialogue>\n    <scene_description>Don't smudge the ink.<\/scene_description>\n    <character>MAID<\/character>\n    <dialogue>How selfish to resign, time like this.<\/dialogue>\n    <character>COOK<\/character>\n    <dialogue>D'you think they'll take me to Downing Street?<\/dialogue>\n    <character>SAWYERS<\/character>\n    <dialogue>Not after the Spotted Dick you served last week.<\/dialogue>\n    <scene_description>The COOK then sets the PAPER on the TRAY, whereupon SAWYERS carries the TRAY up the stairs. CUT TO: EVANS and LAYTON approach a BEDROOM DOORWAY.<\/scene_description>\n    <character>JOHN EVANS<\/character>\n    <dialogue>...He mumbles, so it's almost impossible to catch everything. And be prepared to type fast - short bursts - and double-spaced, he hates single-spaced--hates it! Good luck.<\/dialogue>\n    <scene_description>EVANS knocks on the door, opens it and then pushes the now- quaking ELIZABETH LAYTON inside, closing the door again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM\/ CHARTWELL - DAY<\/stage_direction>\n    <scene_description>Her POV of the dimly-lit room. And then, a MATCH is struck, a CIGAR lit. We can just make out a MAN in bed, as - SAWYERS tugs open the CURTAINS, revealing - - WINSTON CHURCHILL (65), in BED, with the BREAKFAST TRAY on his lap, in a pink silk dressing-gown (naked beneath). His dispatch box, piled high with telegrams, stands open by his bed . His marmalade cat, TANGO, sits at the end of the bed, as WINSTON reads a dispatch and dictates...<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>To the French Ambassador. Come on -<\/dialogue>\n    <scene_description>WINSTON looks up at ELIZABETH, to see if she is writing this down. She's not -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>- telegram!<\/dialogue>\n    <scene_description>ELIZABETH realises, to her horror, that the dictation has already begun, and she hurries to the TYPE-WRITER, which has already been loaded with a sheet...She begins to type FAST, in short bursts -<\/scene_description>\n    <character>WINSTON<\/character>\n    <parenthetical>(dictating)<\/parenthetical>\n    <dialogue>With German forces crossing into Holland...Holland alone...request reassurance...that French forces will now move--move at once--to protect Belgium. Stop. Read!<\/dialogue>\n    <character>ELIZABETH<\/character>\n    <parenthetical>(nervously)<\/parenthetical>\n    <dialogue>\"To--to the French Ambassador. With German forces crossing into Holland...Holland alone... request reassurance that -<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>- immediate reassurance -<\/dialogue>\n    <scene_description>ELIZABETH adjusts the typewriter's carriage and paten and types the word \"IMMEDIATE\" above the previous text...<\/scene_description>\n    <character>ELIZABETH<\/character>\n    <dialogue>\"- immediate - reassurance - \"<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>\" - that -\" Go on - \"- that \"<\/dialogue>\n    <scene_description>SAWYERS enters, as ELIZABETH struggles to re-set the carriage.<\/scene_description>\n    <character>ELIZABETH<\/character>\n    <dialogue>\" - that - \"<\/dialogue>\n    <scene_description>The BEDROOM TELEPHONE rings -<\/scene_description>\n    <character>SAWYERS<\/character>\n    <dialogue>French Ambassador sir -<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Monsieur Ambassador!<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Ah. They've already invaded Belgium.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I will convey your plea to the Prime Minister at once. Yes, the situation is still very confused. Goodbye.<\/dialogue>\n    <scene_description>WINSTON hangs up. A concerned pause, and then -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Holland and Belgium.<\/dialogue>\n    <scene_description>ELIZABETH types this - tap,tap,tap,tap -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>No, no, no.<\/dialogue>\n    <character>ELIZABETH<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>Sir?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Scrap that. New telegram.<\/dialogue>\n    <scene_description>In a fluster, she pulls out the old PAGE from the TYPEWRITER CARRIAGE and quickly inserts a new page, as -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>To General Ismay...<\/dialogue>\n    <scene_description>WINSTON grabs his WHISKEY and SODA, as - the PHONE rings again. SAWYERS re-appears.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Dammit Sawyers! What is it now?!<\/dialogue>\n    <character>SAWYERS<\/character>\n    <dialogue>Your son.<\/dialogue>\n    <scene_description>WINSTON, his concentration broken, goes to the PHONE.<\/scene_description>\n    <character>WINSTON<\/character>\n    <parenthetical>(into Phone)<\/parenthetical>\n    <dialogue>Randolph, quickly -<\/dialogue>\n    <parenthetical>(listens)<\/parenthetical>\n    <dialogue>Last night they said I may be made Prime Minister today. But that was yesterday. Let's see what Neville does today. Thank--thank you my boy. Keep buggering on!<\/dialogue>\n    <scene_description>Puts down the phone. Turns to look at ELIZABETH.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Now...<\/dialogue>\n    <scene_description>Sips his SCOTCH. This calms him.<\/scene_description>\n    <character>ELIZABETH LAYTON<\/character>\n    <dialogue>General Ismay...<\/dialogue>\n    <scene_description>Moving to the end of the bed -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Ah, General Ismay.<\/dialogue>\n    <parenthetical>(to Sawyers)<\/parenthetical>\n    <dialogue>Sawyers - get rid of this will you?<\/dialogue>\n    <scene_description>Winston gestures to Sawyers to move his tray away and then swings his legs - indecorously! - out of bed. ELIZABETH quickly turns her face away! WINSTON then begins to pace -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>In the light of today's events, the time is ripe for many preparations to be made...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Are you striking those typewriter keys in a normal fashion? It's awfully loud, I can't think!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Read it back.<\/dialogue>\n    <character>ELIZABETH<\/character>\n    <dialogue>Ahh--To General Ismay. In the light of today's events, the time is right for many prep -<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>RIPE! Not RIGHT! God's teeth girl! I said ripe, ripe, ripe - P-P-P! The last sentence...<\/dialogue>\n    <character>ELIZABETH LAYTON<\/character>\n    <parenthetical>(shaken)<\/parenthetical>\n    <dialogue>The--the time is ripe...<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>For! FOR!<\/dialogue>\n    <character>ELIZABETH LAYTON<\/character>\n    <parenthetical>(her nerve broken)<\/parenthetical>\n    <dialogue>...many...many...many...<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>How many \"many\"s did you write?! One many!<\/dialogue>\n    <parenthetical>(sighs)<\/parenthetical>\n    <dialogue>\"For...for MANY preparations-- to be made...\"<\/dialogue>\n    <scene_description>He walks up to her and looks over her chair, and is horrified to see -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Single-spaced? What are you doing?! What are you doing?!<\/dialogue>\n    <character>ELIZABETH<\/character>\n    <dialogue>Someone set it on single-spaced and before I realised -<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Then why did you persist?!<\/dialogue>\n    <character>ELIZABETH<\/character>\n    <dialogue>I -<\/dialogue>\n    <scene_description>As she starts to rush out -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Tell Evans to send me someone who can do it right the first time! RIGHT! T-T-T-T!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY\/ CHARTWELL - DAY<\/stage_direction>\n    <scene_description>ELIZABETH comes down the stairs, and stops, her face tear- stained. CLEMENTINE CHURCHILL - WINSTON's WIFE, 55 YEARS OLD - beautiful, elegant, highly-strung, is at that moment crossing the hall, with a HANDFUL of BROWN ENVELOPES. She sees ELIZABETH.<\/scene_description>\n    <character>CLEMMIE<\/character>\n    <dialogue>Ah. He shouted at you. Did he shout at you?<\/dialogue>\n    <character>ELIZABETH<\/character>\n    <dialogue>Yes, but I....<\/dialogue>\n    <character>CLEMMIE<\/character>\n    <dialogue>He can be an awful brute.<\/dialogue>\n    <character>ELIZABETH<\/character>\n    <dialogue>No! I made too many mistakes.<\/dialogue>\n    <character>CLEMMIE<\/character>\n    <dialogue>I think you were nervous. And he has a knack for drawing out the very worst in those trying to help him the most.<\/dialogue>\n    <character>ELIZABETH<\/character>\n    <dialogue>Oh it's not him. It's me. He's - he's -<\/dialogue>\n    <character>CLEMMIE<\/character>\n    <dialogue>He's just a man, like any other. Wait here.<\/dialogue>\n    <scene_description>CLEMMIE climbs the stairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM\/ CHARTWELL - DAY<\/stage_direction>\n    <scene_description>CLEMMIE enters - WINSTON (on his knees) is looking for Tango the cat under his bed.<\/scene_description>\n    <character>CLEMMIE<\/character>\n    <dialogue>My Darling?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>The War Cabinet has been called. The bloody cat is under the bed again.<\/dialogue>\n    <scene_description>CLEMMIE indicates that SAWYERS should go and moves around WINSTON tucking his shirt in.<\/scene_description>\n    <character>CLEMMIE<\/character>\n    <dialogue>Can I tell you something that I feel you ought to know?<\/dialogue>\n    <scene_description>He looks at her -<\/scene_description>\n    <character>CLEMMIE<\/character>\n    <dialogue>I've noticed a recent deterioration in your manner. You're not so kind as you used to be. You've become rough, sarcastic, over-bearing and rude.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Is this about the new girl?<\/dialogue>\n    <character>CLEMMIE<\/character>\n    <dialogue>If the King asks you to become Prime Minister -<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>We don't know that -<\/dialogue>\n    <character>CLEMMIE<\/character>\n    <dialogue>I don't want you to be disliked.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>More than I already am?<\/dialogue>\n    <character>CLEMMIE<\/character>\n    <dialogue>Darling, you may be on the brink, the brink--of having tremendous power, surpassed only by the King. With such power you really must try to be more kind and, if possible, calm. I want others to love and respect you as I do.<\/dialogue>\n    <scene_description>Clemmie falls back in the bed, shortly joined by Winston- they share a moment of fondness.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHARTWELL - DAY<\/stage_direction>\n    <scene_description>WIDE SHOT of Chartwell bathed in sunshine. ELIZABETH LAYTON, with hat and coat now on, is attempting to make a discreet escape from the house but is stopped by a MOTORCYCLE COURIER with a telegram to deliver. We do not hear what is said. CLOSE-UP on the telegram turning in ELIZABETH'S hands as the COURIER rides away. ELIZABETH looks back to the house, makes her decision and re-enters the lair.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRS \/ CHARTWELL - DAY<\/stage_direction>\n    <scene_description>ELIZABETH climbs the stairs holding a telegram, braced to once more enter the Lion's Den. She enters -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM\/ CHARTWELL - DAY<\/stage_direction>\n    <scene_description>- and finds WINSTON, CLEMMIE, JOHN EVANS, SAWYERS and a MAID - all listening with rapt attention to a RADIO BROADCAST.<\/scene_description>\n    <character>BBC RADIO ANNOUNCER<\/character>\n    <dialogue>\"This is BBC Home Service. Here is a short news bulletin. The German army invaded Holland and Belgium early this morning, by land, and land parachutes--<\/dialogue>\n    <character>ELIZABETH<\/character>\n    <dialogue>There's a telegram.<\/dialogue>\n    <character>JOHN EVANS<\/character>\n    <dialogue>Sssshhh!<\/dialogue>\n    <character>BBC RADIO ANNOUNCER<\/character>\n    <dialogue>...\"The Armies of the Low Countries are resisting. An appeal for help has been made to the Allied governments and Brussels says the Allied troops are moving to their support...\"<\/dialogue>\n    <character>ELIZABETH<\/character>\n    <dialogue>It's from the Palace.<\/dialogue>\n    <scene_description>All eyes turn to look at her, as if an elephant has entered the room. A silent beat in which no-one breathes.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Thank you, Miss...?<\/dialogue>\n    <character>ELIZABETH<\/character>\n    <dialogue>Layton.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STUDY\/HALLWAY, CHARTWELL - DAY<\/stage_direction>\n    <scene_description>CLEMMIE hands WINSTON his watch, glasses, cigar case, matches and a sugar cube.<\/scene_description>\n    <character>CLEMMIE<\/character>\n    <dialogue>You're shaking.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>So are you!<\/dialogue>\n    <scene_description>It's true CLEMMIE is just as nervous -<\/scene_description>\n    <character>CLEMMIE<\/character>\n    <dialogue>You from excitement--I from terror. You have been wanting this your entire adult life.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>No--since the nursery.<\/dialogue>\n    <scene_description>CLEMMIE laughs.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>But do the public want me?<\/dialogue>\n    <character>CLEMMIE<\/character>\n    <dialogue>It's your own Party to whom you'll have to prove yourself.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>I'm getting the job only because the ship is sinking. It's not a gift, it's revenge.<\/dialogue>\n    <character>CLEMMIE<\/character>\n    <dialogue>Let them see your true qualities. Your courage...<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>...My poor judgement.<\/dialogue>\n    <character>CLEMMIE<\/character>\n    <dialogue>...Your lack of vanity.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>...My iron will.<\/dialogue>\n    <character>CLEMMIE<\/character>\n    <parenthetical>(in playful rebuke)<\/parenthetical>\n    <dialogue>...Your sense of humour.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Ho Ho Ho!<\/dialogue>\n    <character>CLEMMIE<\/character>\n    <dialogue>Now go.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Go?<\/dialogue>\n    <character>CLEMMIE<\/character>\n    <dialogue>Be.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Be?<\/dialogue>\n    <scene_description>She touches his face tenderly -<\/scene_description>\n    <character>CLEMMIE<\/character>\n    <dialogue>Yourself.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Which self?<\/dialogue>\n    <scene_description>CLEMMIE walks away. WINSTON turns to a wall on which are hung many HATS - (Royal Naval Yacht Club Cap, Admiral's hat with plume, aviator helmet with goggles, riding hat, pith helmet, French WW1 helmet, fez, Homburg, top hat, etc ) all on display like HUNTING TROPHIES.<\/scene_description>\n    <character>WINSTON<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>Which self should I be today?<\/dialogue>\n    <scene_description>WINSTON surveys the collection, then plucks the TOP HAT from its hook -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>One should have had power when a young man. When wits were sharp, sinews strong. Oh well.<\/dialogue>\n    <scene_description>He returns to her -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Lead on Macduff-- When youth departs-- may wisdom prove enough.<\/dialogue>\n    <scene_description>They kiss, and she gives him a silver BOX OF MATCHES, embossed with loving message from his children.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. PRINCES STREET\/ WINSTON'S CAR - DAY<\/stage_direction>\n    <scene_description>WINSTON, in the back seat, (with JOHN EVANS in front) looks out the window at the human traffic - seems like he's in a gold-fish bowl, disconnected. He watches as - MEN IN BOWLER HATS and YOUNG WOMEN in SUMMER DRESSES walk to work.<\/scene_description>\n    <character>JOHN EVANS<\/character>\n    <dialogue>Hardly seems like there's a war on at all.<\/dialogue>\n    <scene_description>THREE DELIVERY BOYS ride by on bicycles, notice him and wave excitedly.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>How odd it is.<\/dialogue>\n    <character>JOHN EVANS<\/character>\n    <dialogue>Sir?<\/dialogue>\n    <scene_description>They stop, waiting behind a BUS.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>You know--I have never ridden a bus. Never queued for bread. I believe I can boil an egg but only because I saw it done once.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUCKINGHAM PALACE - DAY<\/stage_direction>\n    <scene_description>WINSTON's car approaches the Palace gates, which are open. The CAR drives up to the PALACE. WINSTON gets out and he and EVANS enter the PALACE -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE ENTRANCE - DAY<\/stage_direction>\n    <scene_description>A grand hall. Winston removing his hat and coat, hands his cane and gloves, then hat to a LIVERIED DOORMAN whilst a LIVERIED STAFF MEMBER waits nearby.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>The only time I tried to ride the Underground was during the General Strike. Clemmie dropped me at South Kensington station. I went down-- but I got lost and came straight back up. Awful!<\/dialogue>\n    <parenthetical>(girding himself)<\/parenthetical>\n    <dialogue>Well, \"Here we go\"...<\/dialogue>\n    <character>EVANS<\/character>\n    <dialogue>Good luck sir.<\/dialogue>\n    <scene_description>WINSTON strides away, following the EQUERRY.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATE CHAMBERS\/ BUCKINGHAM PALACE - DAY<\/stage_direction>\n    <scene_description>KING GEORGE VI (agitated, troubled) speaks with the ill, weak, outgoing PRIME-MINISTER NEVILLE CHAMBERLAIN. CHAMBERLAIN watches the KING.<\/scene_description>\n    <character>GEORGE VI<\/character>\n    <dialogue>Why not Halifax? I favour Halifax.<\/dialogue>\n    <character>CHAMBERLAIN<\/character>\n    <dialogue>I wanted Halifax. The Lords wanted Halifax. Halifax wanted Halifax.<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>Then--then why have I been forced to send for Churchill?<\/dialogue>\n    <character>CHAMBERLAIN<\/character>\n    <dialogue>Because he's the only member of our party who has the support of the Opposition.<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>His record is a litany of catastrophe. Gallipoli, 25,000 dead. The India Policy. Russian Civil War. The Gold Standard. The the the Abdication. And now this Norway 'adventure'. What, eighteen hundred men?<\/dialogue>\n    <character>CHAMBERLAIN<\/character>\n    <dialogue>One aircraft carrier, two cruisers, seven destroyers and a submarine.<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>Winston lacks judgement.<\/dialogue>\n    <character>CHAMBERLAIN<\/character>\n    <dialogue>He was right about Hitler.<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>Even a stopped clock is right twice a day.<\/dialogue>\n    <scene_description>EQUERRY enters.<\/scene_description>\n    <character>EQUERRY<\/character>\n    <dialogue>First Lord of the Admiralty, Mr Winston Churchill!<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>Early.<\/dialogue>\n    <character>CHAMBERLAIN<\/character>\n    <dialogue>Keen.<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>I accept your resignation--but I want you to know--how--cruelly I think you've been treated.<\/dialogue>\n    <character>CHAMBERLAIN<\/character>\n    <dialogue>Thank you Your Majesty.<\/dialogue>\n    <scene_description>He and GEORGE shake hands.<\/scene_description>\n    <character>EQUERRY<\/character>\n    <dialogue>This way, my Lord.<\/dialogue>\n    <scene_description>The KING waits - SIGHS deeply, until... We hear footsteps approaching. WINSTON enters.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Your Majesty.<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>Mr Churchill.<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>I believe you know why I--I I have asked you here today.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Sir, I simply can't imagine why.<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>It is my duty to-to-to invite you to take up - the position of of Prime Minister of this United Kingdom. Will you form a government?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>I will.<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>Very well.<\/dialogue>\n    <scene_description>WINSTON bows, and when the KING offers his hand, WINSTON kisses it. WINSTON rises.<\/scene_description>\n    <character>GEORGE VI<\/character>\n    <dialogue>That was--quite easy.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>They stare at each other in uneasy silence.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>I believe we are to meet regularly.<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>Once a week, I'm afraid. How are you on--on--on Mondays?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>I shall endeavour to be available on Mondays.<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>Four o'clock?<\/dialogue>\n    <character>WINSTON<\/character>\n    <parenthetical>(resolutely)<\/parenthetical>\n    <dialogue>I nap at 4.<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>Is that--permissible?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>No. But necessary. I work late.<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>Then perhaps lunch?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Lunch! Mondays.<\/dialogue>\n    <parenthetical>(WINSTON bows)<\/parenthetical>\n    <dialogue>Your majesty.<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>Prime Minister.<\/dialogue>\n    <scene_description>When WINSTON backs out of the room, the KING anxiously lights a cigarette, and broods.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 10 DOWNING STREET - DAY<\/stage_direction>\n    <scene_description>WINSTON pulls up in his PRIVATE CAR, alights, (followed by EVANS) waves at the PRESS, an effortless SELF-PUBLICIST, at total ease in the spotlight. Ever the showman - taps the NUMBER 10 on the famous front door with his walking stick for the amusement of the PHOTOGRAPHERS -<\/scene_description>\n    <character>PHOTOGRAPHER<\/character>\n    <dialogue>Prime Minister? First order of business, sir?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>A glass of Pol Roger!<\/dialogue>\n    <scene_description>He enters the building, and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY\/ 10 DOWNING STREET - DAY<\/stage_direction>\n    <scene_description>- is greeted by EDEN.<\/scene_description>\n    <character>EDEN<\/character>\n    <dialogue>Prime Minister!<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Anthony.<\/dialogue>\n    <character>EDEN<\/character>\n    <dialogue>How was the K-k-king?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Anxious. Never forgiven me for supporting his brother's marriage to Wallis Simpson.<\/dialogue>\n    <scene_description>WINSTON and EDEN step into his office, with WINSTON closing the door on EVANS in the hallway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE\/ 10 DOWNING STREET - CONTINUOUS<\/stage_direction>\n    <character>EDEN<\/character>\n    <dialogue>You only have to meet him once a week.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>That's like saying you only have to have your tooth pulled once a week.<\/dialogue>\n    <scene_description>EDEN takes out a pen, opens a notebook -<\/scene_description>\n    <character>EDEN<\/character>\n    <dialogue>Composition of your War Cabinet. Who should sit on it?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Chamberlain. And the Reverend \"Holy Fox\" -<\/dialogue>\n    <character>EDEN<\/character>\n    <parenthetical>(writes)<\/parenthetical>\n    <dialogue>Halifax. Keeping your enemies close?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>More than that, without them the party will get rid of me.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And that sheep in sheep's clothing, Attlee.<\/dialogue>\n    <scene_description>MARY, CHURCHILL's 18 year old daughter, appears in the doorway.<\/scene_description>\n    <character>MARY CHURCHILL<\/character>\n    <dialogue>Come on Daddy--everyone's waiting.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Be there in a jiffy, my love.<\/dialogue>\n    <scene_description>MARY exits.<\/scene_description>\n    <character>EDEN<\/character>\n    <dialogue>I heard that before you were asked, they offered it to Lord Halifax.<\/dialogue>\n    <character>WINSTON<\/character>\n    <parenthetical>(shakes head)<\/parenthetical>\n    <dialogue>I doubt that. Halifax would never turn it down. He's the fourth son of an Earl. Fourth sons turn nothing down.<\/dialogue>\n    <character>EDEN<\/character>\n    <dialogue>I only wish the position had come your way in better times, sir. You have an enormous task ahead of you.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>I hope it's not too late. I am very much afraid it is. But we can only do our best.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM\/ 10 DOWNING STREET - DAY<\/stage_direction>\n    <scene_description>CLEMMIE and the CHURCHILL CHILDREN wear GAS-MASKS as they shout -<\/scene_description>\n    <character>CHURCHILL CHILDREN<\/character>\n    <dialogue>HURRAY!<\/dialogue>\n    <character>RANDOLPH CHURCHILL<\/character>\n    <dialogue>Hip Hip -<\/dialogue>\n    <character>CHURCHILL CHILDREN<\/character>\n    <dialogue>HURRAY!<\/dialogue>\n    <scene_description>WINSTON enters - and stops, aghast, and stares at his family -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Good lord, what a frightful sight!<\/dialogue>\n    <scene_description>CLEMMIE, SARAH CHURCHILL (26), DIANA CHURCHILL(31), RANDOLPH CHURCHILL (29) and his WIFE PAMELA (pregnant), and MARY CHURCHILL (18) all pull off their GAS MASKS, grab their glasses of CHAMPAGNE, then converge on him and kiss him. He stares at them, a SMILE FORMING AT LAST, deeply touched, actually. He is presented with a glass of champagne.<\/scene_description>\n    <character>CHURCHILL<\/character>\n    <dialogue>Thank you. Thank you.<\/dialogue>\n    <scene_description>PAMELA raises her glass -<\/scene_description>\n    <character>PAMELA<\/character>\n    <dialogue>A toast! Come on!<\/dialogue>\n    <character>DIANA<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <scene_description>Mary makes her way to sit on a cushion on the floor next to Winston. She looks proudly at WINSTON -<\/scene_description>\n    <character>CLEMMIE<\/character>\n    <dialogue>My darling husband--Something you all might not know is that on the eve of our marriage I got \"cold feet\"--but as I'd already called off two engagements by the age of 21 I was in danger of gaining a reputation for being a 'bolter'-- and it would've been poor form to call off a third!<\/dialogue>\n    <scene_description>LAUGHTER. WINSTON smiles.<\/scene_description>\n    <character>RANDOLPH<\/character>\n    <dialogue>Hear hear.<\/dialogue>\n    <character>DIANA<\/character>\n    <dialogue>Lucky for Daddy.<\/dialogue>\n    <character>CLEMMIE<\/character>\n    <dialogue>But the real reason for my wintry feet was because I knew, even then, that his priority would be public life. It worried a young girl greatly--this wretched thought of coming second, eternally. But so it has proven to be. And in due course (Mary takes Winstons hand) our children would also have to make their own peace with this same fact.<\/dialogue>\n    <parenthetical>(directly to Winston)<\/parenthetical>\n    <dialogue>We all did, you see, in our own ways. And now, today, we all receive our reward--proof that our small sacrifice was for a far, far greater good. I give you, your father, my beloved husband - the Prime Minister.<\/dialogue>\n    <character>ALL<\/character>\n    <dialogue>Prime Minister!<\/dialogue>\n    <scene_description>They raise their GLASSES in a toast -<\/scene_description>\n    <character>CHURCHILL<\/character>\n    <dialogue>Here's to--(thinks) not buggering it up.<\/dialogue>\n    <character>FAMILY<\/character>\n    <dialogue>Not buggering it up!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BIG BEN \/ LONDON - DAY<\/stage_direction>\n    <scene_description>BIG BEN starts the WESTMINSTER CHIME -<\/scene_description>\n    <character>CAPTION:<\/character>\n    <dialogue>MONDAY, MAY 13, 1940<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WESTMINSTER HALL\/ PARLIAMENT - DAY<\/stage_direction>\n    <scene_description>WINSTON approaches EDEN in the ancient hall and together they climb the steps beneath the great gothic WINDOW.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Belgium was a ploy. They just punched through the Ardennes into France and crossed the Meuse in under 24 hours!<\/dialogue>\n    <character>EDEN<\/character>\n    <dialogue>No-one can cross the Meuse River in 24 hours.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Apparently the Germans can.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLOCK TOWER - DAY<\/stage_direction>\n    <scene_description>BIG BEN strikes the hour - 3 PM.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMONS\/ PARLIAMENT - DAY<\/stage_direction>\n    <scene_description>To the sound of the distant BELLS, WINSTON enters, with EDEN, and small knuckle-knocking on woodwork, mainly from the LABOUR benches. WINSTON looks around, not actually surprised at the contemptuous reception.<\/scene_description>\n    <character>WINSTON<\/character>\n    <parenthetical>(to EDEN)<\/parenthetical>\n    <dialogue>Contempt. Well, you have to start somewhere.<\/dialogue>\n    <scene_description>In the LORDS GALLERY, above, HALIFAX enters and looks down at proceedings, and on - WINSTON, looking at his FOB-WATCH. The HUBBUB dies down and WINSTON puts on his GLASSES.<\/scene_description>\n    <character>SIR SAMUEL HOARE<\/character>\n    <parenthetical>(whispered, to SIMON)<\/parenthetical>\n    <dialogue>Here we go.<\/dialogue>\n    <scene_description>WINSTON reaches into his waistcoat for his TYPED SPEECH, then delivers his MAIDEN SPEECH as PRIME MINISTER...<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Mr Speaker. On Friday evening last-- I received His Majesty's commission to form a new administration...<\/dialogue>\n    <scene_description>ANGLE ON: CONSERVATIVE MP's, all looking worried.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>...It was the evident wish and will of Parliament, and the Nation, that this should be conceived on the broadest possible basis, and that it should include all parties.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM \/ 10 DOWNING STREET - DAY<\/stage_direction>\n    <scene_description>CLOSE ON: TYPED PAGE (with TEXT) being rapidly tugged from a TYPEWRITER CARRIAGE (to a LOUD explosive ratchet-whirr)!!! CUT TO:<\/scene_description>\n    <character>WINSTON (O.S.)<\/character>\n    <dialogue>A War Cabinet has been convened...<\/dialogue>\n    <scene_description>CLOSE ON: TYPE-WRITER keys typing...\"A War Cabinet has been convened\" - WIDE: ELIZABETH TYPES, as WINSTON dictates -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Correction - \"has been formed\" -<\/dialogue>\n    <scene_description>ELIZABETH adjusts the PATEN, then types - \"formed\" above \"convened\" -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMONS\/ PARLIAMENT - DAY<\/stage_direction>\n    <character>WINSTON<\/character>\n    <dialogue>- has been formed--of five members -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM\/ 10 DOWNING STREET - DAY<\/stage_direction>\n    <character>WINSTON<\/character>\n    <dialogue>...representing, with the Opposition parties, the unity of the Nation.<\/dialogue>\n    <scene_description>CUT TO: CLOSE ON: A FRESHLY TYPED PAGE (ROUGH DRAFT) is set down on the desk by ELIZABETH's hand. The stationary bears the Prime Minister's monogram, and we see typed TEXT plus several phrases struck out (between parentheses). The CAMERA moves in on the paragraph that reads... \"The three party Leaders have agreed to serve, either in the War Cabinet, or in (positions of authority\\*) high executive office.\" (\\* denotes struck through phrase)<\/scene_description>\n    <character>ELIZABETH (O.S.)<\/character>\n    <dialogue>The three party Leaders have agreed to serve, either in the War Cabinet-<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMONS\/ PARLIAMENT - DAY<\/stage_direction>\n    <character>ELIZABETH (O.S.)<\/character>\n    <dialogue>- or in high executive office.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>- or in high executive office.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>The three fighting Services have been filled.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY\/ 10 DOWNING STREET - DAY<\/stage_direction>\n    <scene_description>OUTSIDE the BATHROOM DOOR - ELIZABETH LAYTON waits, with a PAD and PAPER, taking down his dictation...<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Sawyers is she there?<\/dialogue>\n    <character>ELIZABETH<\/character>\n    <dialogue>Yes she is.. I mean, I am<\/dialogue>\n    <character>WINSTON (O.S.)<\/character>\n    <dialogue>Don't come in!<\/dialogue>\n    <scene_description>SOUNDS of him taking a BATH, the SPONGE being squeezed over his head...She starts to move away, but is arrested by -<\/scene_description>\n    <character>WINSTON (O.S.)<\/character>\n    <dialogue>Don't go away!<\/dialogue>\n    <character>ELIZABETH LAYTON<\/character>\n    <dialogue>No, no--I'm still here.<\/dialogue>\n    <character>WINSTON (O.S.)<\/character>\n    <dialogue>\"With this agreement, I now invite the House -<\/dialogue>\n    <parenthetical>(water sounds)<\/parenthetical>\n    <dialogue>- by the resolution which stands in my name, to record its approval, and to declare its confidence in the new government.\"<\/dialogue>\n    <scene_description>Sound of WINSTON getting out of the BATH.<\/scene_description>\n    <character>WINSTON (O.S.)<\/character>\n    <dialogue>Miss? I'm coming out in a state of nature!<\/dialogue>\n    <scene_description>ELIZABETH LAYTON flees, as the DOOR opens and as WINSTON (naked) looks up and down the HALLWAY to see where his TYPIST has gone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMONS\/ PARLIAMENT - DAY<\/stage_direction>\n    <character>WINSTON<\/character>\n    <dialogue>I now invite the House by a resolution to declare its confidence in the new government.<\/dialogue>\n    <scene_description>ANGLE on the CONSERVATIVE PARTY - unimpressed. KINGSLEY-WOOD advises A JUNIOR CONSERVATIVE, ERNLE HASTINGS.<\/scene_description>\n    <character>KINGSLEY WOOD<\/character>\n    <dialogue>Look to Chamberlain's handkerchief. If he waves it at the end of Churchill's speech, we show approval, if not, keep quiet.<\/dialogue>\n    <scene_description>ERNLE HASTINGS looks over at CHAMBERLAIN. CHAMBERLAIN, still on the front bench but not in the PM's chair, draws a WHITE HANDKERCHIEF out of his BREAST POCKET and folds it in his LAP. ERNLE HASTINGS nods - understanding.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>It must be remembered that we are in the preliminary stage of one of the greatest battles in history...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE\/ 10 DOWNING STREET - NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON: A HEAVILY MARKED-UP PAGE of TYPED SPEECH (ROUGH DRAFT) much worked-over, annotated, altered - with WINSTON's HAND just then adding the latest change in the margins...we see his HAND write (in his tiny cursive scrawl) - and that many (arrangements\\*) preparations have to be made here at home.<\/scene_description>\n    <character>WINSTON (O.S.)<\/character>\n    <dialogue>...and that many preparations have to be made here at home.<\/dialogue>\n    <scene_description>WIDE: WINSTON, alone in his OFFICE, hunkered at NIGHT, goes through the speech, meticulous, obsessive, a perfectionist.<\/scene_description>\n    <character>WINSTON (O.S.)<\/character>\n    <dialogue>Sir, I take up my task with buoyancy and hope -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE\/ 10 DOWNING STREET - DAY<\/stage_direction>\n    <scene_description>CLOSE ON: The TYPEWRITER hammers typing the CLEAN (FINAL) DRAFT of the speech, on SMALLER SHEETS of PAPER, the TEXT now set out like BLANK VERSE in a POEM, or in the BIBLE, each phrase spaced apart from the next - and say to the House, as I said to those who have joined the government -<\/scene_description>\n    <character>WINSTON (O.S.)<\/character>\n    <dialogue>- and say to the House, as I said to those who have joined the government -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. WINSTONS CAR, PARLIAMENT - DAY<\/stage_direction>\n    <scene_description>WINSTONS car is stationary in the internal courtyard at Parliament. WINSTON, in the back seat (with ELIZABETH LAYTON in the front, her TYPE-WRITER on her knee, typing away) dictates.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>- I have nothing to offer but blood, toil--tears--and sweat.<\/dialogue>\n    <scene_description>EXTREME CLOSE ON: her keys typing: \"sweat!\" CLOSE ON: The PAGE being tugged from the TYPEWRITER. WINSTON alights the car, and ELIZABETH passes the PAGES of the SPEECH, which he grabs, then hurries away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMONS\/ PARLIAMENT - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: ERNLE HASTINGS, unable to take his eyes off CHAMBERLAIN, waiting for the HANDKERCHIEF to be waved. ANGLE ON WINSTON: readying himself for the final assault!<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>We have before us an ordeal of the most grievous kind. We have before us many, many long months of struggle and of suffering. You ask, what is our policy? I say it is to wage war by sea, land and air, with all our might and with all the strength God can give us--to wage war against a monstrous tyranny never surpassed in the dark and lamentable catalogue of human crime.<\/dialogue>\n    <scene_description>ANGLE ON: HALIFAX, in the GALLERY - he shoots a look to CHAMBERLAIN.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>That is our policy. You ask, what is our aim? I can answer in one word. Victory - victory at all costs, victory in spite of terror, victory however long and hard the road may be. For without victory, there is no survival.<\/dialogue>\n    <scene_description>WINSTON feels he must have won them over, but his confident smile fades as he realises he stands alone. Small KNUCKLE-KNOCKING begins - but it is MUTED. SIMON and HOARE and the other CONSERVATIVE PLOTTERS all look to CHAMBERLAIN, as he - - puts his WHITE HANDKERCHIEF back in his BREAST POCKET!!! The TORIES sit back - NONE APPLAUD. EXT - ROSE GARDEN\/ DOWNING STREET - DAY CHAMBERLAIN, attempting to catch his breath, sits on a bench looking across the rose in bloom so ripe they're almost rotten. HALIFAX sees, then approaches CHAMBERLAIN.<\/scene_description>\n    <character>HALIFAX<\/character>\n    <dialogue>\"Our policy is to wage war--At all costs--No survival\". Winston is incapable of pronouncing the word peace, let alone engaging in peace talks.<\/dialogue>\n    <scene_description>He sits next to CHAMBERLAIN.<\/scene_description>\n    <character>CHAMBERLAIN<\/character>\n    <dialogue>Awful, the thought that I shall never see my country at peace again.<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>Neville?<\/dialogue>\n    <scene_description>CHAMBERLAIN turns and faces HALIFAX - ashen faced.<\/scene_description>\n    <character>CHAMBERLAIN<\/character>\n    <dialogue>I have cancer.<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>Oh Neville.<\/dialogue>\n    <character>CHAMBERLAIN<\/character>\n    <dialogue>Winston must be removed from office.<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>How?<\/dialogue>\n    <character>CHAMBERLAIN<\/character>\n    <dialogue>A vote of \"no confidence\".<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>If we can get him to declare that he refuses to consider a negotiated peace with Germany then perhaps you and I will have grounds to resign. The party wont stand for that, you're still the chairman for heavens sake, that will force a vote of \"no confidence\" in his leadership and he'll be finished.<\/dialogue>\n    <character>CHAMBERLAIN<\/character>\n    <dialogue>And would you agree to be Prime Minister?<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>With Winston out of the way ... who can say, but the important thing, Neville, is that your policies, of peace and the protection of this nation, would be back on the table.<\/dialogue>\n    <character>CHAMBERLAIN<\/character>\n    <dialogue>On record.<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>Pardon?<\/dialogue>\n    <character>CHAMBERLAIN<\/character>\n    <dialogue>He must declare on record his refusal to engage in peace talks, we must have it in writing.<\/dialogue>\n    <scene_description>HALIFAX's eyes glisten with renewed purpose.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HM TREASURY - LONDON - DAY<\/stage_direction>\n    <scene_description>ELIZABETH LAYTON makes her way to work, but today it's a new location - the grand TREASURY BUILDING in WHITEHALL, crossing, through traffic, Horse Guards Road and entering through the pillared main doors...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TREASURY - CONTINUOUS<\/stage_direction>\n    <scene_description>ECU - Elizabeth's hand signs the Official Secrets Act which is duly stamped. An elderly CIVIL SERVANT hands her a security pass. JOHN EVANS meets ELIZABETH in the lobby and leads her down to an INCONSPICUOUS DOOR where a SOLDIER checks her security pass.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAR ROOMS\/ UNDERGROUND BUNKER - DAY<\/stage_direction>\n    <scene_description>EVANS leads ELIZABETH down a narrow staircase that leads to the SECRET WAR-ROOMS, the underground nerve centre of BRITISH HIGH COMMAND. But the place is very humble, low ceiling and narrow hallways, the rooms small. No hint of luxury here. Austerity Britain.<\/scene_description>\n    <character>JOHN EVANS<\/character>\n    <dialogue>Follow me.<\/dialogue>\n    <character>ELIZABETH<\/character>\n    <dialogue>What goes on down here?<\/dialogue>\n    <character>JOHN EVANS<\/character>\n    <dialogue>That's a need to know. And you don't.<\/dialogue>\n    <scene_description>JOHN EVANS keeps walking at a brisk pace through the telephonists room. ELIZABETH, clocking her surroundings, notices a door with a dial lock that reads \"VACANT\".<\/scene_description>\n    <character>ELIZABETH<\/character>\n    <dialogue>The lavatory?<\/dialogue>\n    <character>EVANS<\/character>\n    <dialogue>For the PM's use only.<\/dialogue>\n    <scene_description>EVANS leads her down the corridor, through a narrow room of bunk beds...John Evans gestures towards them.<\/scene_description>\n    <character>EVANS<\/character>\n    <dialogue>Sleeping quarters, for when you miss the last train.<\/dialogue>\n    <scene_description>They pass the MAP ROOM -<\/scene_description>\n    <character>JOHN EVANS<\/character>\n    <dialogue>That's the Map Room. No women allowed.<\/dialogue>\n    <character>ELIZABETH LAYTON<\/character>\n    <dialogue>What department is this?<\/dialogue>\n    <character>JOHN EVANS<\/character>\n    <dialogue>Indiscretion in conversation, or any other form, within or without these rooms regarding what happens here is a statutory offense and punishable by up to two years imprisonment with hard labour. Clear?<\/dialogue>\n    <character>ELIZABETH<\/character>\n    <dialogue>Crystal.<\/dialogue>\n    <character>JOHN EVANS<\/character>\n    <dialogue>Good.<\/dialogue>\n    <scene_description>Elizabeth follows Evans as they stop at the War Cabinet Room.<\/scene_description>\n    <character>JOHN EVANS<\/character>\n    <dialogue>That's the War Cabinet room--never! Don't mean to be rough on you but them's the rules.<\/dialogue>\n    <scene_description>They arrive at the TYPISTS POOL ROOM, full of NINE bust TYPISTS.<\/scene_description>\n    <character>JOHN EVANS<\/character>\n    <dialogue>This is the typists room, you are allowed in here.<\/dialogue>\n    <character>TYPISTS<\/character>\n    <parenthetical>(In Unison)<\/parenthetical>\n    <dialogue>Good Morning Sir.<\/dialogue>\n    <scene_description>And then indicates another Room - the door is ajar, its no bigger than a shoe-box!<\/scene_description>\n    <character>JOHN EVANS<\/character>\n    <dialogue>And here's you.<\/dialogue>\n    <scene_description>ELIZABETH enters the tiny, windowless room not much bigger than a cupboard, containing only a desk and a chair. CUT TO: She arranges her effects - a BLACK PEN, a RED PEN and a HOLE PUNCH on her desk, and then sets carefully a PHOTOGRAPH of a HANDSOME SOLDIER.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAP ROOM\/ WAR ROOMS - NIGHT<\/stage_direction>\n    <scene_description>The CHIEFS OF STAFF brief WINSTON: IRONSIDE for the ARMY, DOWDING (a New Zealander) for the AIR FORCE, and a NAVAL ADMIRAL (DUDLEY POUND). CHAMBERLAIN and HALIFAX are also present - as other OFFICERS all crowd in and look up at - THREE LARGE OPERATIONS MAPS of EUROPE hang on three different walls, each full of pins and strings to show positions - ONE for the ARMY, ONE for the NAVY, ONE for the AIR-WAR. Down the centre of the room runs a long table bearing MULTIPLE TELEPHONES of different colors which are always RINGING...and being answered by OFFICERS of the three services. The BRIEFING begins in front of - the ARMY MAP - showing (with pins and colored string) how far WESTWARD the GERMAN LINE has advanced.<\/scene_description>\n    <character>GENERAL IRONSIDE<\/character>\n    <dialogue>Belgium and Holland may fall any hour.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>The French?<\/dialogue>\n    <character>GENERAL IRONSIDE<\/character>\n    <dialogue>The entire French ninth army--some two hundred thousand men--have capitulated.<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>All of them?!<\/dialogue>\n    <character>GENERAL IRONSIDE<\/character>\n    <dialogue>Capitulated. Surrendered. Deserted. It was a rout. All our land forces, roughly 300,000 men, are now in full retreat.<\/dialogue>\n    <character>WINSTON<\/character>\n    <parenthetical>(to DOWDING)<\/parenthetical>\n    <dialogue>Air-cover? For our troops?<\/dialogue>\n    <character>AIR MARSHALL DOWDING<\/character>\n    <dialogue>The Luftwaffe control the skies. We simply don't have enough planes to challenge them. In fact, I strongly recommend we stop sending our precious fighter-planes to be wasted in France--save them for our own defence.<\/dialogue>\n    <scene_description>WINSTON moves to the NAVAL MAP, showing WARSHIP DEPLOYMENTS...<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>And our navy--sits idle, neutralized, useless.<\/dialogue>\n    <character>NAVAL ADMIRAL POUND<\/character>\n    <dialogue>Our fleets no sooner come within their range than we come under blistering air attack.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Their speed is devastating.<\/dialogue>\n    <scene_description>WINSTON returns to the ARMY MAP -<\/scene_description>\n    <character>GENERAL IRONSIDE<\/character>\n    <dialogue>Panzer tanks. Plunging rapidly westward, through the centre.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>But they will have to pause for fuel supplies.<\/dialogue>\n    <scene_description>IRONSIDE looks at GENERAL ISMAY.<\/scene_description>\n    <character>GENERAL IRONSIDE<\/character>\n    <dialogue>Ismay?<\/dialogue>\n    <character>ISMAY<\/character>\n    <dialogue>This is not the last war, Sir. Their tanks can stop for fuel at a petrol station.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Petrol station?<\/dialogue>\n    <character>GENERAL IRONSIDE<\/character>\n    <dialogue>The road to Paris now lies open. 7 million refugees are on the move. Collectively we are looking at the collapse of Western Europe in a few days.<\/dialogue>\n    <character>ISMAY<\/character>\n    <dialogue>Should the public be told?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Not yet. First, we must rouse our old friends to an heroic resistance. France must be saved.<\/dialogue>\n    <scene_description>CAMERA moves in on the MAP... Over this, we start to dissolve in - - footage of a FLAMINGO PASSENGER PLANE in flight - - as the MAP itself dissolves into - - a real rural LANDSCAPE, as seen from above...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AERIAL\/ SKIES OVER FRANCE - DAY<\/stage_direction>\n    <scene_description>WINSTON's FLAMINGO PASSENGER PLANE flies over FRENCH FIELDS. The PLANE is soon joined by two SPITFIRE FIGHTER ESCORTS, one on each wing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLAMINGO\/ CIVILIAN PASSENGER PLANE - DAY<\/stage_direction>\n    <scene_description>We see pilots in the cockpit looks down, a drink is poured and is taken to Winston as he looks down - His face goes grey as he sees - for the first time - CIVILIAN REFUGEES, long meandering columns of desperate humanity. On BOARD with WINSTON - ISMAY, DOWDING and IRONSIDE. The SHOCK of this plays on his face. WINSTON's POV of: the vast tragedy. Amongst straggling vagabonds and columns of refugees. Signs of the GERMAN conquest - abandoned TANKS and ARTILLERY stand in flames. CLOSE ON: A YOUNG REFUGEE BOY (his POV) looks up at WINSTON's PLANE. He holds his left hand up to his left eye to look at the plane. UP WITH CAPTION: THURSDAY MAY 16<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>This can't go on. Must not.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. FRENCH AIRCRAFT HANGER - DAY<\/stage_direction>\n    <scene_description>A LARGE DELEGATION of CIVILIANS and MILITARY await WINSTON, as WINSTON alights the PLANE and approaches down a long RED CARPET. PRIME MINISTER REYNAUD steps forward and shakes WINSTON's hand.<\/scene_description>\n    <character>WINSTON<\/character>\n    <parenthetical>(to REYNAUD)<\/parenthetical>\n    <dialogue>Brace yourselves, I am about to add to your terrible suffering-- by speaking French.<\/dialogue>\n    <scene_description>They sit at a long table in the hangar.<\/scene_description>\n    <character>WINSTON<\/character>\n    <parenthetical>(in bad FRENCH)<\/parenthetical>\n    <dialogue>Bien que notre situation soit tr\u00e8s grave ce n'est pas la premi\u00e8re fois que nous faisons face \u00e0 une crise, ensemble.<\/dialogue>\n    <scene_description>Subtitles: Although our plight is grave, this was not the first time we has been in a crisis together.<\/scene_description>\n    <character>REYNAUD<\/character>\n    <dialogue>Perhaps in English, Prime Minister.<\/dialogue>\n    <character>WINSTON<\/character>\n    <parenthetical>(after a moment's offence)<\/parenthetical>\n    <dialogue>We have--we have survived crises before, and I am confident we will survive this one. Tell me how you plan to counter-attack.<\/dialogue>\n    <character>REYNAUD<\/character>\n    <dialogue>There is no plan.<\/dialogue>\n    <scene_description>Silence - then...<\/scene_description>\n    <character>WINSTON<\/character>\n    <parenthetical>(in FRENCH)<\/parenthetical>\n    <dialogue>You must counter-attack. Premier, you must!<\/dialogue>\n    <character>WINSTON<\/character>\n    <parenthetical>(in ENGLISH)<\/parenthetical>\n    <dialogue>You must counter-attack!<\/dialogue>\n    <dialogue>Vous devez contrattaquer! Il le faut! Gentlemen--I do not believe this Panzer breakthrough is a real invasion.<\/dialogue>\n    <character>REYNAUD<\/character>\n    <dialogue>Not a real invasion?<\/dialogue>\n    <scene_description>Stupefied looks from the FRENCH and ISMAY alike.<\/scene_description>\n    <character>DALADIER<\/character>\n    <parenthetical>(in FRENCH)<\/parenthetical>\n    <dialogue>Tell this to the families of the dead perhaps.<\/dialogue>\n    <character>REYNAUD<\/character>\n    <dialogue>We sincerely appreciate your efforts and optimism, but--we have lost.<\/dialogue>\n    <scene_description>WINSTON seems unable\/unwilling to process this -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>As long as--as their tanks are not supported by infantry units they are merely little flags, stuck on the map, because the tank crews are unable to support themselves. No, I refuse to see in this spectacular raid of the German tanks a real invasion.<\/dialogue>\n    <scene_description>Silence to this. Is WINSTON losing his mind?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRENCH-AIRFIELD - DAY<\/stage_direction>\n    <scene_description>WINSTON's FLAMINGO takes off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRENCH STAFF-CAR\/ FRENCH AIRFIELD - DAY<\/stage_direction>\n    <scene_description>REYNAUD and DALADIER, side by side in the car, watch WINSTON's FLAMINGO climbing into the sky -<\/scene_description>\n    <character>REYNAUD<\/character>\n    <parenthetical>(in FRENCH, with SUBTITLES)<\/parenthetical>\n    <dialogue>Il Devine! Delusional! (He's delusional)<\/dialogue>\n    <character>DALADIER<\/character>\n    <dialogue>C'est Anglais (He's English.)<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PARLIAMENTARY LIBRARY - DAY<\/stage_direction>\n    <scene_description>SIR JOHN SIMON and LORD LONDONDERRY walk and talk along the libary gallery -<\/scene_description>\n    <character>SIR JOHN SIMON<\/character>\n    <dialogue>He's an actor. In love with the sound of his own voice.<\/dialogue>\n    <character>LONDONDERRY<\/character>\n    <dialogue>Oh I love to listen to him--but we must never take his advice. Has a hundred ideas a day. Four are good, the other 96 downright dangerous.<\/dialogue>\n    <character>SIR JOHN SIMON<\/character>\n    <dialogue>His father was a great orator but...<\/dialogue>\n    <character>LONDONDERRY<\/character>\n    <dialogue>Until he lost his mind to syphilis -<\/dialogue>\n    <character>SIR JOHN SIMON<\/character>\n    <dialogue>How nations suffer for the sins of their fathers.<\/dialogue>\n    <scene_description>Across the AISLE, STANHOPE is also talking about CHURCHILL with SIR SAMUEL HOARE -<\/scene_description>\n    <character>STANHOPE<\/character>\n    <dialogue>My opinion? At this critical juncture for the empire, we have a drunkard at the wheel.<\/dialogue>\n    <character>SIR SAMUEL HOARE<\/character>\n    <dialogue>Wakes with a scotch, bottle of champagne at lunch, another at dinner, brandy and port till the wee hours...I wouldn't let him borrow my bicycle!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TREASURY TOILETS - DAY<\/stage_direction>\n    <scene_description>KINGSLEY WOOD is talking to a COLLEAGUE -<\/scene_description>\n    <character>KINGSLEY WOOD<\/character>\n    <dialogue>He's a Conservative, who defects to the Liberals--lobs grenades at us for 10 years--then flops Conservative again, as it bloody suits him! Sorry, but--he stands for one thing: himself!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHAPEL - DAY<\/stage_direction>\n    <scene_description>HALIFAX is sitting with KING GEORGE VI.<\/scene_description>\n    <character>HALIFAX<\/character>\n    <dialogue>We might have to replace him, Bertie.<\/dialogue>\n    <character>KING GEORGE VI<\/character>\n    <dialogue>Replace him?!<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>We must strive for peace--for every son and daughter of this land so that we may emerge from this crisis with something recognisable as 'home.'<\/dialogue>\n    <character>KING GEORGE VI<\/character>\n    <dialogue>Spoken like a true Prime Minister.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN\/ 10 DOWNING STREET - DAY<\/stage_direction>\n    <scene_description>YELLOW POWDERED EGGS are being MIXED with WATER, then fried then slopped onto a plate as SCRAMBLED EGGS. On a BREAKFAST TRAY (once more)are set - (in rapid cuts) BACON and POWDERED EGGS, SCOTCH and SODA, a GLASS of WINE...<\/scene_description>\n    <character>CAPTION:<\/character>\n    <dialogue>SUNDAY, MAY 19, 1940<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRESSING ROOM\/BEDROOM\/ 10 DOWNING STREET - DAY<\/stage_direction>\n    <scene_description>JOHN EVANS stands outside the LOO (whose door is closed), with a note-pad and pen, ready to record WINSTON's instructions.<\/scene_description>\n    <character>JOHN EVANS<\/character>\n    <dialogue>Sir, you need to reply to the Lord Privy Seal.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOO\/ 10 DOWNING STREET - DAY<\/stage_direction>\n    <scene_description>WINSTON sits on the TOILET, reading a French newspaper whose front page shows a picture of FRENCH SOLDIER with his arm around his FRENCH SWEETHEART, holding up his fingers in a V- FOR-VICTORY gesture (palm-outward). The headline is \"V POUR LA VICTOIRE\". Winston is sitting on the toilet.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>The Privy Seal?<\/dialogue>\n    <character>JOHN EVANS<\/character>\n    <dialogue>Yes sir?<\/dialogue>\n    <character>WINSTON<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>\"V for Victory\"<\/dialogue>\n    <scene_description>WINSTON closes the newspaper, stands -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Tell the Lord Privy Seal -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRESSING ROOM\/BEDROOM\/ 10 DOWNING STREET - DAY<\/stage_direction>\n    <character>WINSTON (O.S.)<\/character>\n    <dialogue>- tell him I'm sealed in the Privy -<\/dialogue>\n    <scene_description>We hear a flush and then WINSTON appears, wearing his pink silk dressing-gown.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>- and I can only deal with one shit at a time!<\/dialogue>\n    <scene_description>He goes into the bedroom, followed by EVANS, where we find - ELIZABETH LAYTON, typing at the nearby desk, and - ANTHONY EDEN, seated in a chair beside the bed, reading WINSTON'S TYPED SPEECH...<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Don't spare me, Anthony--be frank.<\/dialogue>\n    <character>EDEN<\/character>\n    <dialogue>Mmmmm.<\/dialogue>\n    <scene_description>As EDEN reads, WINSTON stares at him, awaiting his reaction.<\/scene_description>\n    <character>WINSTON<\/character>\n    <parenthetical>(to EDEN)<\/parenthetical>\n    <dialogue>I think it's rather good. The ending especially.<\/dialogue>\n    <scene_description>When EDEN says nothing the wait becomes agonizing. EDEN finishes reading the speech, turns over the last page to see if there is more on the back. There isn't. WINSTON waits for the verdict. EDEN takes off his glasses slowly and looks up at a hopeful WINSTON -<\/scene_description>\n    <character>EDEN<\/character>\n    <dialogue>I don't think so.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>You don't think so, what?<\/dialogue>\n    <character>EDEN<\/character>\n    <dialogue>You're suggesting we're--somehow-- winning.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>We're not.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>No but...it will inspire them.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>You don't understand -<\/dialogue>\n    <character>EDEN<\/character>\n    <dialogue>Winston, I know -<\/dialogue>\n    <character>WINSTON<\/character>\n    <parenthetical>(stubbornly)<\/parenthetical>\n    <dialogue>- no, no, no. I am going to imbue them, Anthony, with a spirit of feeling they don't yet know they have!<\/dialogue>\n    <scene_description>Silence. Stalemate. EDEN looks gravely concerned.<\/scene_description>\n    <character>EDEN<\/character>\n    <dialogue>You asked my opinion. I caution against it.<\/dialogue>\n    <scene_description>WINSTON stares at his trusted ally, his hopes fading, until - he snaps his finger, pointing at EDEN -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Cicero!<\/dialogue>\n    <scene_description>He's on the move again - heading out of the bedroom, with EVANS and LAYTON, and finally EDEN, forced to follow...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY\/ 10 DOWNING STREET - DAY<\/stage_direction>\n    <character>WINSTON<\/character>\n    <dialogue>\"Live as\", \"Live as brave men\" - da,da,da - \"and if fortune is adverse, something, something, something<\/dialogue>\n    <scene_description>He then enters the -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIBRARY\/ 10 DOWNING STREET - DAY<\/stage_direction>\n    <character>WINSTON<\/character>\n    <parenthetical>(shouting)<\/parenthetical>\n    <character>CLEMMIE!!! CAT!!!<\/character>\n    <dialogue>CLEMMIE!!!<\/dialogue>\n    <scene_description>As he looks for his book in the library he finds CLEMMIE...STRESSED, struggling to cope, busily writing CHEQUES.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Cat--my copy of Cicero. Did you shelve it?<\/dialogue>\n    <character>CLEMMIE<\/character>\n    <dialogue>Did you hear what I said?!<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>CLEMMIE<\/character>\n    <dialogue>We're broke.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Everybody out! Get out!<\/dialogue>\n    <scene_description>He shooes JOHN EVANS, ELIZABETH and EDEN from the room as if they were cats.<\/scene_description>\n    <character>CLEMMIE<\/character>\n    <dialogue>I dare not write another cheque.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>I'll economise - only four cigars a day!<\/dialogue>\n    <character>CLEMMIE<\/character>\n    <dialogue>You're insufferable!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Was there something else? Anything?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Yes, my love for you.<\/dialogue>\n    <character>CLEMMIE<\/character>\n    <dialogue>How much have you had to drink this morning?<\/dialogue>\n    <scene_description>He goes to her, drawing up a chair, close -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>I see you now as I first saw you in nineteen hundred and four across a crowded dance-floor. I simply stood- -speechless.<\/dialogue>\n    <character>CLEMMIE<\/character>\n    <dialogue>I must have been very beautiful to have achieved that miraculous effect.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Four years till we saw each other again.<\/dialogue>\n    <character>CLEMMIE<\/character>\n    <dialogue>They went by in an absolute flash.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>You didn't lack for admirers. Your fid\u00e8le serviteur in Sidney Peel.<\/dialogue>\n    <character>CLEMMIE<\/character>\n    <dialogue>Brilliant man.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Lionel Earle.<\/dialogue>\n    <character>CLEMMIE<\/character>\n    <dialogue>Wonderful dancer.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>And then--at Lady St Hellier's dinner party--who should show up?<\/dialogue>\n    <character>CLEMMIE<\/character>\n    <dialogue>Pig. (little snort)<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>The same.<\/dialogue>\n    <scene_description>They look at each other, their faces very close.<\/scene_description>\n    <character>CLEMMIE<\/character>\n    <dialogue>Are we terribly old?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Yes. I'm afraid you are.<\/dialogue>\n    <scene_description>She LAUGHS and pushes him away. Winston takes her hand.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Will you hear me read my speech for tonight's broadcast?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 10 DOWNING STREET \/ TREASURY - DAY<\/stage_direction>\n    <scene_description>WINSTON emerges and is accosted by... the PRESS.<\/scene_description>\n    <character>TERENCE BIRKEMP<\/character>\n    <dialogue>Prime Minister - the situation in France - Is it true we're in full retreat? Is France lost?<\/dialogue>\n    <scene_description>He fires the REPORTER a steely look of rebuke and then spins, faces their CAMERAS, takes his CIGAR out of his mouth with INDEX and SECOND finger and makes, for the CAMERAS, his first- ever V-FOR-VICTORY SIGN (but PALM-INWARD, the RUDE VERSION). WINSTON crosses the road, practising a tongue-twister as he enters the TREASURY.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WINSTON'S OFFICE\/ WAR ROOMS - NIGHT<\/stage_direction>\n    <scene_description>WINSTON sitting on his bed, is AGITATED, UNEASY, UNSURE now about the speech he is to deliver on RADIO. ELIZABETH LAYTON sits at a desk in the corner holding files and paperwork. Two MICROPHONES sit on a table. An ACTOR also stands by. The Producer guides Winston to his desk.<\/scene_description>\n    <character>BBC PRODUCER<\/character>\n    <dialogue>So--if you will sit here - at your desk<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Mmmmm.<\/dialogue>\n    <scene_description>WINSTON sits, studying with CONCERN the SPEECH lying on the table in front of him, and taking out his PEN.<\/scene_description>\n    <character>BBC PRODUCER<\/character>\n    <dialogue>- and speak slowly and clearly. Into the microphone.<\/dialogue>\n    <scene_description>WINSTON starts to jot last-minute CHANGES to the SPEECH. Increasingly PRESSURISED, he CROSSES OUT the CHANGES he just made, and tries to write alternatives. He's clearly in a state.<\/scene_description>\n    <character>BBC PRODUCER<\/character>\n    <dialogue>So--if you are ready--on the stroke of 9 the light will go red, and we shall go live to the nation. Nine O Clock. Red light. You begin. Yes?<\/dialogue>\n    <scene_description>But WINSTON isn't ready. He's too busy trying to rewrite his speech The SWEEP SECOND HAND on the WALL CLOCK approaches 12. The PRODUCER, and ELIZABETH, become very concerned now as the last seconds vanish -<\/scene_description>\n    <character>BBC PRODUCER<\/character>\n    <dialogue>Prime Minister? Are we ready?<\/dialogue>\n    <character>WINSTON<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>One moment, one moment -<\/dialogue>\n    <character>BBC PRODUCER<\/character>\n    <dialogue>We are going live. Prime -<\/dialogue>\n    <character>WINSTON<\/character>\n    <parenthetical>(exploding)<\/parenthetical>\n    <character>I SAID ONE MOMENT, DAMN YOU!<\/character>\n    <dialogue>This eruption stuns the PRODUCER and ELIZABETH.<\/dialogue>\n    <dialogue>WINSTON's hand, holding the PEN, shakes now with indecision as he fails to think of the right words in time -<\/dialogue>\n    <character>BBC PRODUCER<\/character>\n    <dialogue>Four--three--two--one...<\/dialogue>\n    <scene_description>On the stroke of 9 pm, the light goes RED, bathing him in red light. They are LIVE. SILENCE. TOTAL SILENCE. The PRODUCER is now in a panic. WINSTON seems frozen for a second, until - WINSTON takes a breath and begins...<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>\"I speak to you for the first time as Prime Minister in a solemn hour for the life of our country, of our Empire, of our allies, and, above all, of the cause of Freedom. A tremendous battle is raging in France and Flanders.\"<\/dialogue>\n    <scene_description>ELIZABETH sighs relief, then follows on her carbon copy, mouthing the words, many of which she knows by heart. CAMERA follows the WIRES that lead out of the office, down the corridor, and into the TRANSMITTER ROOM. Reveal BBC Radio Recorder men.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUCKINGHAM PALACE - NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON: A RADIO. PULL BACK to reveal: The KING, looking up from the PAPER, as he listens to WINSTON's speech on the radio, and studies his FRAMED FAMILY PHOTOS of his CHILDREN...Princesses ELIZABETH and MARGARET.<\/scene_description>\n    <character>WINSTON (O.S.)<\/character>\n    <dialogue>\"The Germans...by a remarkable combination of air bombing and heavily armored tanks, have broken through the French defenses north of the Maginot Line, and strong columns of their armoured vehicles are ravaging the open country...\"<\/dialogue>\n    <scene_description>CLOSE ON: NEWSPAPER - the HEADLINE reads: IN CONTROL, SAY FRENCH Despite Nazi Raid<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOREIGN OFFICE - NIGHT<\/stage_direction>\n    <scene_description>HALIFAX sits at the table, a minister standing behind him as they listen to Winston's radio address<\/scene_description>\n    <character>WINSTON (O.S.)<\/character>\n    <dialogue>\"...which for the first day or two was without defenders...But!...I have invincible confidence in the French Army and its leaders. Only a very small part of that splendid Army has yet been heavily engaged; and only a very small part of France has yet been invaded...Side by side, the British and French peoples--have advanced...\"<\/dialogue>\n    <scene_description>HALIFAX is disgusted by this DISTORTION of the facts.<\/scene_description>\n    <character>HALIFAX<\/character>\n    <dialogue>\"Advanced\"?! How bloody dare he!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRENCH BATTLEFIELD - EVENING<\/stage_direction>\n    <scene_description>AERIAL SHOT OF: the BRITISH and FRENCH armies in retreat - leaving behind SMOKING TRUCKS and ABANDONED ARTILLERY. TRACKING OVER this ravaged landscape, we see- CUT TO: - the abstracted landscape of a human CORPSE...<\/scene_description>\n    <character>WINSTON (O.S.)<\/character>\n    <dialogue>\"...the British and French peoples-- have advanced--to rescue not only Europe, but mankind from the foulest and most soul-destroying tyranny which has ever darkened and stained the pages of history.<\/dialogue>\n    <scene_description>...until an EYE is revealed in CLOSE-UP, staring into CAMERA.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WINSTON'S OFFICE\/ WAR ROOMS - NIGHT<\/stage_direction>\n    <scene_description>CLOSE-UP ON: the RED RECORDING LIGHT.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>\"But now one bond unites us all - to wage war until victory is won, and never to surrender ourselves to servitude and shame, whatever the cost and the agony may be...Conquer we must, as conquer we shall.\"<\/dialogue>\n    <scene_description>CLOSE-UP ON: WINSTON's FACE...<\/scene_description>\n    <character>ELIZABETH LAYTON<\/character>\n    <dialogue>Well done, sir.<\/dialogue>\n    <scene_description>WINSTON sits back - UNHAPPY. CLOSE-UP ON: the RED RECORDING LIGHT goes off. The BROADCAST is over.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIBRARY\/ NUMBER 10 DOWNING STREET - NIGHT<\/stage_direction>\n    <scene_description>CLEMMIE turns off the RADIO, concerned.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDORS - WAR ROOMS - NIGHT<\/stage_direction>\n    <scene_description>WINSTON, UNHAPPY, walks up to a DOOR, enters it -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TUNNEL\/ BENEATH 10 DOWNING STREET - NIGHT<\/stage_direction>\n    <scene_description>- then walks down the long tunnel (connecting the WAR ROOMS with DOWNING STREET) until, at its end, he enters an ELEVATOR-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR\/ 10 DOWNING STREET - NIGHT<\/stage_direction>\n    <scene_description>- WINSTON rides the ELEVATOR upward -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAIN HALLWAY\/ 10 DOWNING STREET - NIGHT<\/stage_direction>\n    <scene_description>- WINSTON exits the ELEVATOR, and begins to climb the stairs -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM\/ 10 DOWNING STREET - NIGHT<\/stage_direction>\n    <character>CLEMMIE<\/character>\n    <dialogue>You did marvelously.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>For the last ten years I was the only one who told them the truth. Until tonight. There's no advance. It's a shambles. We're in full retreat.<\/dialogue>\n    <character>CLEMMIE<\/character>\n    <dialogue>Would you be serving them tonight by denying them sleep, terrifying their children?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Even if the terror is coming?!<\/dialogue>\n    <character>CLEMMIE<\/character>\n    <dialogue>Because it's coming! There is time enough for truth.<\/dialogue>\n    <scene_description>He nods, accepting this. He walks off, still anxious. She watches him go, worried.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN\/ WAR ROOM - DAY<\/stage_direction>\n    <scene_description>The front page of a newspaper: a PHOTO of WINSTON doing his V FOR VICTORY SIGN (palm inward). ELIZABETH LAYTON, leaning by the door, reading the paper. At her side stands another typist, SYBIL, reading another copy of the same PAPER - ELIZABETH is giggling - WINSTON passes the doorway in the corridor, then re-appears -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>What's so funny?<\/dialogue>\n    <character>ELIZABETH<\/character>\n    <dialogue>Prime Minister sir -<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Go on. What is it?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDORS - WAR ROOMS - DAY<\/stage_direction>\n    <scene_description>ELIZABETH steps out into the corridor so they can have some privacy -<\/scene_description>\n    <character>ELIZABETH<\/character>\n    <dialogue>Not sure if you know this but-- the way you are doing your V For Victory sign--well, in the poorer quarters that gesture means--something else.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>What does it mean?<\/dialogue>\n    <character>ELIZABETH<\/character>\n    <dialogue>Wouldn't like to say sir.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>I was captured by the Boer. I spent time in a South African prison.<\/dialogue>\n    <character>ELIZABETH<\/character>\n    <dialogue>Up yer' bum. Sir.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Up yer' bum?<\/dialogue>\n    <scene_description>WINSTON roars with LAUGHTER - which sets ELIZABETH laughing -<\/scene_description>\n    <character>ELIZABETH<\/character>\n    <dialogue>The way you do it, sir. Yes sir.<\/dialogue>\n    <parenthetical>(demonstrates)<\/parenthetical>\n    <dialogue>But if you turn it around -<\/dialogue>\n    <parenthetical>(palm out)<\/parenthetical>\n    <dialogue>- that's fine.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>I see.<\/dialogue>\n    <character>ELIZABETH<\/character>\n    <dialogue>Wouldn't like millions of people to take it the wrong way.<\/dialogue>\n    <scene_description>WINSTON steps away, still chuckling -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Up yer' bum!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUCKINGHAM PALACE \/ WINSTON'S OFFICE, WAR ROOMS - DAY<\/stage_direction>\n    <scene_description>KING GEORGE speaks into the TELEPHONE -<\/scene_description>\n    <character>KING GEORGE VI<\/character>\n    <dialogue>Don't wish to take too much of your time.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I heard you--on the--wireless.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Was I comprehensible?<\/dialogue>\n    <character>KING GEORGE VI<\/character>\n    <dialogue>The public need to be led, not misled--not left to work it out for them-themselves.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Right. Will that be all, your majesty?<\/dialogue>\n    <character>KING GEORGE VI<\/character>\n    <dialogue>Yes. Good day Prime Minister. (click)<\/dialogue>\n    <scene_description>WINSTON puts down the PHONE and turns to EVANS.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>I believe I've just recieved a royal rap on the knuckles.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAR CABINET ROOM\/ WAR ROOMS - DAY<\/stage_direction>\n    <character>CAPTION:<\/character>\n    <dialogue>WAR CABINET MEETING 1<\/dialogue>\n    <character>SATURDAY, MAY 25, 1940<\/character>\n    <dialogue>PRESENT: 17 PERSONS. The Main War Cabinet, minus WINSTON (CHAMBERLAIN, HALIFAX, GREENWOOD, ATLEE) and the FOLLOWING (ALEXANDER, SINCLAIR, COOPER, CADOGAN, ANDERSON, POUND, DOWDING, IRONSIDE, BRIDGES, ISMAY, NICHOLL, WILKINSON)<\/dialogue>\n    <dialogue>CABINET SECRETARY BRIDGES is helping to seat everyone as they move around the table looking for their placement card.<\/dialogue>\n    <character>CABINET SECRETARY BRIDGES<\/character>\n    <parenthetical>(indicating to HALIFAX's seat)<\/parenthetical>\n    <dialogue>Foreign Minister?<\/dialogue>\n    <scene_description>A NEW MAP shows the NEW POSITIONS of BRITISH TROOPS. SURROUNDED at DUNKIRK. Finally, WINSTON enters, shakes the hands of IRONSIDE and ISMAY first, but has less enthusiasm for ATTLEE and GREENWOOD, and nothing for CHAMBERLAIN and HALIFAX, who do not expect to have their hands shaken.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Tiny, good to see you.<\/dialogue>\n    <parenthetical>(to ISMAY)<\/parenthetical>\n    <dialogue>Pug. Welcome to the War Cabinet, such as we are.<\/dialogue>\n    <parenthetical>(to ALL)<\/parenthetical>\n    <dialogue>Please, sit.<\/dialogue>\n    <scene_description>He sits.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>War is usually a catalogue of blunders, and this one is proving no exception.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>General - its all yours.<\/dialogue>\n    <character>IRONSIDE<\/character>\n    <dialogue>You have this morning's report in front of you -<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Yes. General -<\/dialogue>\n    <character>IRONSIDE<\/character>\n    <dialogue>- if you turn to page 3 - Ummm - so on page 3 - are we all Looking at page 3? - no, the other document - second paragraph down -<\/dialogue>\n    <scene_description>WINSTON, agitated, reeling from the royal reprimand, taps his wedding ring finger on the side of his chair impatiently -<\/scene_description>\n    <character>GREENWOOD<\/character>\n    <dialogue>Second?<\/dialogue>\n    <character>IRONSIDE<\/character>\n    <dialogue>Yes, the second--no, page -<\/dialogue>\n    <scene_description>WINSTON can stand it no longer -<\/scene_description>\n    <character>WINSTON<\/character>\n    <parenthetical>(his patience snapping)<\/parenthetical>\n    <dialogue>Edmund!--why don't you just tell us- -please--in your own words-- what kind of mess we are looking at here. What's going on?<\/dialogue>\n    <character>IRONSIDE<\/character>\n    <dialogue>Right. (beat) As of 2200 hours last night--the Germans have encircled sixty British, Belgian and French divisions. On our part all our forces under Lord Gort have now withdrawn, or are trying to withdraw, to the French coast, to Dunkirk, where we cannot reach them. Ships sunk by the Nazis block the harbour entrance and the Luftwaffe control the skies above.<\/dialogue>\n    <character>CHAMBERLAIN<\/character>\n    <dialogue>How many of our men are trapped?<\/dialogue>\n    <character>IRONSIDE<\/character>\n    <dialogue>All of them.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Our nation's entire professional soldiery. And...<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>...we can see no clear way to rescue them.<\/dialogue>\n    <scene_description>Silence -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>General--are you telling me that we shall have lost the British army by the next few days?<\/dialogue>\n    <character>IRONSIDE<\/character>\n    <dialogue>That's correct.<\/dialogue>\n    <character>ATTLEE<\/character>\n    <dialogue>What are the French doing?<\/dialogue>\n    <character>IRONSIDE<\/character>\n    <dialogue>Premiere Raynaud sent a radio message. He expects the defence of Paris will soon fail.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>We must counter-attack. Anyone?<\/dialogue>\n    <parenthetical>(silence)<\/parenthetical>\n    <dialogue>Surely -<\/dialogue>\n    <character>IRONSIDE<\/character>\n    <dialogue>The German forces are superior in every regard and are only fifty miles from the coast. They are pushing us into the sea.<\/dialogue>\n    <character>ATTLEE<\/character>\n    <dialogue>Fifty miles! Good God!<\/dialogue>\n    <character>GREENWOOD<\/character>\n    <dialogue>For a German tank, two days.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>They must not reach the sea! Not before we evacuate our men! General Ismay? What have you got for us?<\/dialogue>\n    <scene_description>Everyone looks at ISMAY.<\/scene_description>\n    <character>ISMAY<\/character>\n    <dialogue>As it stands--I cannot see that we have much hope of getting any of our forces out in time.<\/dialogue>\n    <scene_description>A gasp in the cabinet. WINSTON takes this news badly.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Not a man? We cannot be so totally at their mercy!<\/dialogue>\n    <scene_description>REACTION HALIFAX: Only just holding his tongue. He looks at CHAMBERLAIN, who does not maintain the look.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>General. What is our next step?<\/dialogue>\n    <character>IRONSIDE<\/character>\n    <dialogue>I'm not sure, sir, that we have one.<\/dialogue>\n    <scene_description>Silence. A pall settles. ISMAY looks at IRONSIDE, who says nothing. CHAMBERLAIN and HALIFAX also exchange a look.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>So? So where are we to look for salvation?<\/dialogue>\n    <parenthetical>(silence)<\/parenthetical>\n    <dialogue>Anyone? Come on! Speak!<\/dialogue>\n    <character>IRONSIDE<\/character>\n    <dialogue>We still have a Garrison at Calais. 25 miles to the west.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Well why didn't you say so?! How many men do we have there?<\/dialogue>\n    <character>IRONSIDE<\/character>\n    <dialogue>4,000. More or less.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Then have them go east--engage with the German columns moving on Dunkirk. Buy us some time. Draw the Nazi focus away from Dunkirk whilst we execute a maritime evacuation of our forces. Ironside--is that possible?<\/dialogue>\n    <character>IRONSIDE<\/character>\n    <dialogue>It would mean a huge sacrifice.<\/dialogue>\n    <character>ATTLEE<\/character>\n    <dialogue>Four thousand young men!<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>To save 300,000!<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Under whose command is the Calais Garrison?<\/dialogue>\n    <character>ISMAY<\/character>\n    <dialogue>Brigadier Nicholson.<\/dialogue>\n    <scene_description>Silence. The burden falls on Winston...<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Very well--tell...<\/dialogue>\n    <scene_description>A hint of UNCERTAINTY here, as WINSTON taps his SIGNET RING on the wooden arm of his chair.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>...tell--Nicholson--that it is of the greatest importance to this island that his garrison draw the enemy's tanks and artillery and bombers away from Dunkirk--invite their wrath--and to--to fight on if needs be until--until the destruction of his command.<\/dialogue>\n    <scene_description>A PALL settles over the room. Almost a GASP.<\/scene_description>\n    <character>ATTLEE<\/character>\n    <dialogue>It's suicide.<\/dialogue>\n    <scene_description>HALIFAX, emotions rising, can stay silent no longer.<\/scene_description>\n    <character>HALIFAX<\/character>\n    <dialogue>Prime Minister! I have reservations...<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Who is free of reservations?<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>...about such a fateful course when we have the option of a peace offer.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>What peace offer?!<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>The Italians have offered to mediate between ourselves and Germany. And I indicated that provided our liberty and independence were assured, we would consider any proposal.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>With Hitler holding the whip hand do you really think he would honour our liberty and independence?<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>It would be in his interest to do so. He -<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>The only thing to do is to show that maniac that he cannot conquer this country, and for that we need an army. General, tell Brigadier Nicholson, \"The Germans must not reach the sea! Not before we get our boys off that bloody beach!\"<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I take full responsibility.<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>WINSTON<\/character>\n    <parenthetical>(temper exploding)<\/parenthetical>\n    <dialogue>REALLY! YES! It is the reason I sit in this chair!<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>Surely--before we send 4,000 men to their graves, we must explore -<\/dialogue>\n    <character>WINSTON<\/character>\n    <parenthetical>(frustrated)<\/parenthetical>\n    <dialogue>What is this?!<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>What is your mind on the principle of peace talks? Do we take it for example, that you preclude yourself from even considering engaging in such negotiations?<\/dialogue>\n    <scene_description>A TENSE SILENCE. ANGLE ON: the TWO SECRETARIES, pencil's raised, waiting to record WINSTON's reply. WINSTON, aware that history is listening, senses a TRAP -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>I should like to speak to Viscount Halifax and Mr Chamberlain alone.<\/dialogue>\n    <parenthetical>(to IRONSIDE)<\/parenthetical>\n    <dialogue>Issue the order to the Calais Garrison. Confirm it has been done.<\/dialogue>\n    <parenthetical>(to BRIDGES)<\/parenthetical>\n    <dialogue>Bridges! You too! Out! Hop it!<\/dialogue>\n    <scene_description>BRIDGES puts down his pencil. Consternation from those departing at this breach of protocol.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - WAR ROOMS - DAY<\/stage_direction>\n    <scene_description>At the end of the line of unneeded WAR CABINET members filing out, comes the disgruntled BRIDGES with his TWO SECRETARIES.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAR CABINET ROOM\/ WAR ROOMS - DAY<\/stage_direction>\n    <scene_description>WINSTON lights his CIGAR, and takes his time, slowly approaching the HALIFAX seated at the back of the room.<\/scene_description>\n    <character>HALIFAX<\/character>\n    <dialogue>Winston. We are facing certain defeat on land--the annihilation of our army--and imminent invasion! We must be rational!<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>We are a sea-going nation. Have been since the Bronze Age. The Channel is ours--our moat--our battlement and the German doesn't recognise an expanse of water greater than a bloody lake! They have first to reach this island -<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>- which will be full of terrified men, women and children, whom we have failed, despicably, in our duty of protection. Germany has won- -we are entirely defenceless -<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>And who's fault is that ?!<\/dialogue>\n    <scene_description>CHAMBERLAIN averts his face.<\/scene_description>\n    <character>HALIFAX<\/character>\n    <dialogue>- facing the largest army the world has seen. Furthermore, once France falls, Germany can concentrate on aircraft production and they will then have the French fleet as well! What is to stop Hitler then? Words? Words, Winston? Words alone?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>If you will not permit any talk of peace then I will be forced -<\/dialogue>\n    <scene_description>CHAMBERLAIN steps in, to stop Halifax from resigning.<\/scene_description>\n    <character>CHAMBERLAIN<\/character>\n    <dialogue>Might we not allow Edward simply to meet the Italian ambassador, Bastianini--discuss their possible role as mediators between us and Germany, and find out their price?<\/dialogue>\n    <scene_description>WINSTON is calmed by CHAMBERLAIN's manner -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Bastianini? Ha! A man about whom we might say there is less to him than meets the eye.<\/dialogue>\n    <scene_description>WINSTON looks at HALIFAX, and sighs -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>I remain opposed to any negotiations -<\/dialogue>\n    <character>CHAMBERLAIN<\/character>\n    <dialogue>- of course -<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>- which might lead to a derogation of our rights and power.<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>AS DO WE ALL! There is no question that our sovereignty is non- negotiable!<\/dialogue>\n    <character>CHAMBERLAIN<\/character>\n    <dialogue>Winston?<\/dialogue>\n    <scene_description>With nowhere left to turn - WINSTON gives a slow inclination of the head, and then - NODS.<\/scene_description>\n    <character>CHAMBERLAIN<\/character>\n    <dialogue>Good. Thank you.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>...but! No-one outside this room must ever know.<\/dialogue>\n    <character>CHAMBERLAIN<\/character>\n    <dialogue>Of course.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - WAR ROOMS - NIGHT<\/stage_direction>\n    <scene_description>WINSTON walks through the corridors - then approaches and opens a SMALL LAVATORY DOOR. As he enters - CLOSE ON: The door's lock, which slides from \"VACANT\" to \"ENGAGED\".<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRANS-ATLANTIC TELEPHONE ROOM\/ WAR ROOMS - NIGHT<\/stage_direction>\n    <scene_description>Inside, it's no LAVATORY. It is actually - a secret PRIVATE TELEPHONE SYSTEM, linking WINSTON with the ROOSEVELT WHITE HOUSE. WINSTON, seated, holding the receiver, takes a few moments before he lifts the phone to his ear -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Mr President?<\/dialogue>\n    <character>ROOSEVELT<\/character>\n    <dialogue>Winston!<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>How are you Franklin?<\/dialogue>\n    <character>ROOSEVELT<\/character>\n    <dialogue>Fine. Fine. How are you Prime Minister?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>I am phoning about--about your Navy ships. If you were to loan us just 50 of your older Destroyers I feel sure -<\/dialogue>\n    <character>ROOSEVELT<\/character>\n    <dialogue>Ah! Yes!<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>- even 40 would -<\/dialogue>\n    <character>ROOSEVELT<\/character>\n    <dialogue>Well I -<\/dialogue>\n    <character>ROOSEVELT<\/character>\n    <dialogue>- I did ask around, but just not possible I'm afraid. The Neutrality Act we signed last year has tied my hands. Just can't swing it. I tried.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Then--can I--do I have your permission to send an aircraft carrier to pick up the P-40 fighter planes we purchased? Mr President.<\/dialogue>\n    <character>ROOSEVELT<\/character>\n    <parenthetical>(wincing, hating not being able to help)<\/parenthetical>\n    <dialogue>You got me there again. New law-- preventing trans-shipment of military equipment.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>But we've paid for them--with the money we borrowed from you!<\/dialogue>\n    <character>ROOSEVELT<\/character>\n    <parenthetical>(anguished)<\/parenthetical>\n    <dialogue>So sorry, Winston.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>I need not impress upon you the trouble faced by the Western Hemisphere. Without your support, in some fashion...<\/dialogue>\n    <scene_description>Silence. A tense moment...<\/scene_description>\n    <character>ROOSEVELT<\/character>\n    <dialogue>I know. I know. You are on my mind day and night.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Look. We could--possibly...<\/dialogue>\n    <scene_description>But words fail the hampered ROOSEVELT and his voice trails off.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Mr President--we are facing the gravest odds!<\/dialogue>\n    <character>ROOSEVELT<\/character>\n    <dialogue>...we could take your planes to about a mile from the Canadian border--and then if you send across a team of horses from Canada-- nothing motorized--then you could pull 'em over the border yourself. How does that sound?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Horses? You said \"a team of horses\"?<\/dialogue>\n    <character>ROOSEVELT<\/character>\n    <dialogue>I guess you could push 'em yourself. The damn things have wheels. Up to you.<\/dialogue>\n    <scene_description>WINSTON is speechless -<\/scene_description>\n    <character>ROOSEVELT<\/character>\n    <dialogue>We could do that.<\/dialogue>\n    <parenthetical>(silence)<\/parenthetical>\n    <dialogue>Prime Minister?<\/dialogue>\n    <scene_description>WINSTON covers the PHONE, bunches his fist, swallows his RAGE, and then speaks again, as calmly as he can-<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Anything you can do at this time would be welcome.<\/dialogue>\n    <character>ROOSEVELT<\/character>\n    <dialogue>Goodnight to you Winston.<\/dialogue>\n    <parenthetical>(feeling WINSTON's pain)<\/parenthetical>\n    <dialogue>It must be late there?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>In more ways than you could possibly know.<\/dialogue>\n    <scene_description>He puts down the phone and sits back in his chair - stunned, fuming. But as he stews, he slowly - slowly - conceives an idea, a new IDEA!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAP ROOM \/ WAR ROOMS - NIGHT<\/stage_direction>\n    <scene_description>WINSTON enters and strides past the staff, making for the LARGE MAP of EUROPE. He puts his finger on the FRENCH COAST, at DUNKIRK, encircled by RED THREAD. And then looks at ENGLAND, the COAST, and then taps DOVER on the map. He turns, sees the DOZEN colorful TELEPHONES and addresses a NAVAL MAP-ROOM OFFICER -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Get me Vice-Admiral Ramsay on one of these.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOVER CASTLE - PRE-SUNRISE (5 AM)<\/stage_direction>\n    <scene_description>HIGH AERIAL of the CASTLE atop the famous WHITE-CLIFFS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ADMIRAL RAMSAY'S BEDROOM\/ TUNNELS\/ BENEATH DOVER CASTLE<\/stage_direction>\n    <scene_description>- NIGHT ADMIRAL RAMSAY is woken by a STAFFER.<\/scene_description>\n    <character>STAFFER<\/character>\n    <dialogue>Admiral Ramsay?<\/dialogue>\n    <character>RAMSAY<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>STAFFER<\/character>\n    <dialogue>It's the Prime Minister.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DYNAMO ROOM\/ TUNNELS\/ BENEATH DOVER CASTLE - NIGHT<\/stage_direction>\n    <scene_description>RAMSAY, on the PHONE with WINSTON.<\/scene_description>\n    <character>WINSTON (O.S.)<\/character>\n    <dialogue>Bertie? I hope I didn't wake you.<\/dialogue>\n    <character>RAMSAY<\/character>\n    <dialogue>Of course not. I was just reading the Bible.<\/dialogue>\n    <parenthetical>(INTERCUT, as necessary with - )<\/parenthetical>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAP ROOM\/ WAR ROOMS - NIGHT<\/stage_direction>\n    <scene_description>WINSTON, on a PHONE, studies the COAST of ENGLAND.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Exodus?<\/dialogue>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>We need to evacuate our boys, Bertie. The Navy is saying that with one cruiser and six destroyers, and with the Luftwaffe controlling the skies above, we'll be lucky to get 10% out. I want you to order an assembly of boats.<\/dialogue>\n    <character>RAMSAY<\/character>\n    <dialogue>Boats?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Yes. Civilian boats, as many as you can get your hands on. Country's full of boats--let's put 'em to use. Bertie? You there?<\/dialogue>\n    <character>RAMSAY<\/character>\n    <parenthetical>(sceptical)<\/parenthetical>\n    <dialogue>Rrrr-ight.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>- anyone with a pleasure craft bigger than 30 foot that can get to France. Longley's clipper, Fearnley's gin palace, any half- rotten fishing boat that'll float.<\/dialogue>\n    <character>RAMSAY<\/character>\n    <dialogue>Mmmm-hmmm.<\/dialogue>\n    <scene_description>WINSTON senses BERTIE's reticence...and makes a different appeal...<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Help me stage this thing, Bertie. We must at least try to bring some of our boys home.<\/dialogue>\n    <scene_description>After a pause -<\/scene_description>\n    <character>RAMSAY<\/character>\n    <dialogue>I will have the BBC issue the order.<\/dialogue>\n    <scene_description>WINSTON starts to put the phone down, and then remembers something -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Oh-- Bertie--still there?<\/dialogue>\n    <character>RAMSAY<\/character>\n    <dialogue>Sir?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>We need a name--for this Operation.<\/dialogue>\n    <scene_description>RAMSAY looks around him - a blazon on a generator says \"DYNAMO\".<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR\/ WAR ROOMS - DAY<\/stage_direction>\n    <character>CAPTION:<\/character>\n    <dialogue>WINSTON walks OFFICE, whose his fury, the WINSTON PULLS<\/dialogue>\n    <character>SUNDAY, MAY 26 1940<\/character>\n    <dialogue>with EDEN, but then they pass an OFFICER's DOOR is open - and it's then that he hears, to sound of a RADIO playing a SPEECH BY HITLER! THE DOOR SHUT, silencing the dictator.<\/dialogue>\n    <scene_description>WINSTON and EDEN look at each other, then walk on, and stop before entering the WAR CABINET ROOM, (as if before taking the stage). WINSTON takes a deep breath and tries to shake off his worries. Only then does he enter, followed by EDEN -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAR CABINET ROOM\/ WAR ROOMS - DAY<\/stage_direction>\n    <scene_description>WAR CABINET MEETING 2. PRESENT: 17 PERSONS. The Main War Cabinet (CHURCHILL, CHAMBERLAIN, HALIFAX, GREENWOOD, ATLEE) and the FOLLOWING (EDEN, ALEXANDER, SINCLAIR, CADOGAN, ANDERSON, POUND, DOWDING, IRONSIDE, BRIDGES, ISMAY, NICHOLL, WILKINSON) A tense atmosphere - faces riven with doubt. The CABINET is standing, conferring anxiously with each other......but then fall silent when WINSTON and ANTHONY EDEN enter.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Good day. I've asked the Minister for War to join us.<\/dialogue>\n    <scene_description>HALIFAX and CHAMBERLAIN share a look - this doesn't bode well. All sit. WINSTON looks around the table - sees the fear and doubt and nervousness in his CABINET right away. WINSTON starts to tap his SIGNET RING on his right hand on the wooden arm of his chair, until -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Obviously--we are in a dangerous situation. But - I am assured by the French Premiere that while some German tank units have reached the sea, the situation generally seems to be well in hand.<\/dialogue>\n    <scene_description>No-one looks at all convinced by this - CLOSE ON: the wooden arm of WINSTON's chair - the varnish has worn away from three weeks of such anxious tapping.<\/scene_description>\n    <character>GREENWOOD<\/character>\n    <dialogue>Prime Minister. You don't believe that.<\/dialogue>\n    <character>ATTLEE<\/character>\n    <dialogue>France will fall.<\/dialogue>\n    <character>GREENWOOD<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ATTLEE<\/character>\n    <dialogue>And invasion of this island will follow.<\/dialogue>\n    <scene_description>WINSTON changes the subject -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>What news from Calais?<\/dialogue>\n    <character>ATTLEE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>IRONSIDE<\/character>\n    <dialogue>The Garrison attacked, but was forced back and is now surrounded on all sides. They are being shelled and bombed mercilessly. Casualties are at sixty percent.<\/dialogue>\n    <scene_description>The CABINET all shake their heads - all look to have lost FAITH in WINSTON. CHAMBERLAIN nods at HALIFAX -<\/scene_description>\n    <character>HALIFAX<\/character>\n    <dialogue>On the question of peace talks -<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>- We must hold our nerve. Signal only that we are going to fight it out to the end. A peace offer telegraphs our weakness.<\/dialogue>\n    <scene_description>CHURCHILL looks to EDEN for support -<\/scene_description>\n    <character>EDEN<\/character>\n    <dialogue>Agreed.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>And even if we were beaten--we should be no worse off than we should be if we were now to abandon the struggle. Let us therefore avoid being dragged down the slippery slope with talk of a negotiated peace.<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>Slippery slope? The only -<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>-I suspect Germany and Italy -<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>-the only slippery slope -<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>-want to get us so deeply involved in negotiations that we should be unable to turn back!<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>Oh nonsense! Bastianini informed me-<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>The approach -<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>- The only slippery slope -<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>WILL YOU STOP INTERRUPTING ME<\/dialogue>\n    <character>WHILE I AM INTERRUPTING YOU!?<\/character>\n    <dialogue>When I chose my War Cabinet I took great care to surround myself with old rivals. I may have overdone it.<\/dialogue>\n    <scene_description>Only GREENWOOD and ATTLEE and EDEN smile. HALIFAX and CHAMBERLAIN look exasperated.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Viscount Halifax--the approach you proposed is not only futile, but involves us in a deadly danger.<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>THE DEADLY DANGER HERE IS THIS<\/dialogue>\n    <character>ROMANTIC FANTASY OF FIGHTING TO THE<\/character>\n    <dialogue>END!!! What is \"the end\" if not the destruction of all? There is nothing heroic in going down fighting if it can be avoided. Nothing even remotely patriotic in death or glory if the odds are on the former; nothing inglorious in trying to shorten a war that we are clearly losing.<\/dialogue>\n    <scene_description>WINSTON cannot bear this talk -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Europe is still -<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>Europe is lost!<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>And before our forces are wiped out completely this is the time to negotiate, in order to obtain the best conditions possible. It would not be in Hitler's interests to insist on outrageous terms. He will know his own weaknesses. He will be reasonable.<\/dialogue>\n    <scene_description>WINSTON cannot bear this talk -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>When will the lesson be learned? How many more dictators must be wooed, appeased--Good God, given immense privileges, before we learn!--that you can't reason with a tiger when your head is in its mouth!<\/dialogue>\n    <scene_description>WINSTON rises and walks out. HALIFAX, escaping CHAMBERLAIN's grip on his forearm, alone chases WINSTON...into -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMALL CORRIDOR TO TUNNEL\/ WAR ROOMS - DAY<\/stage_direction>\n    <scene_description>HALIFAX pursues WINSTON into the vestibule-<\/scene_description>\n    <character>HALIFAX<\/character>\n    <dialogue>PRIME MINISTER -<\/dialogue>\n    <scene_description>WINSTON turns back to him - they are now enclosed in the vestibule.<\/scene_description>\n    <character>HALIFAX<\/character>\n    <dialogue>Winston! Yesterday you gave permission for -<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>What permission?<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>- for me to meet -<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>-<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>with Bastianini -<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>- the theoretical ex-<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>-ploration -<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>- theoretical?! -<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>- of what price Italy would ask. No more. I did not sanction-<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>If you will not allow any further exploration of a peace agreement, then--you will have my resignation.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Don't be absurd. I need you Edward. You know I do!<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>I will not stand by to watch another generation of young men die at the bloody altar of your hubris!<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>And you would have us die as lambs!<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>Was Gallipoli not enough for you?!<\/dialogue>\n    <character>WINSTON<\/character>\n    <parenthetical>(angry)<\/parenthetical>\n    <dialogue>How dare you?! Our troops were chewing barbed wire in Flanders! I saw it! Opening a second front, outflanking the Turks, was a serious military idea - and it could've damn-well worked if - the Admirals and First Sea Lord hadn't dithered away our element of surprise!<\/dialogue>\n    <scene_description>Silence. WINSTON realises he's gone too far. Totally lost his poise. He calms himself. But too late. HALIFAX, undaunted, fixes WINSTON with a cold judicial eye -<\/scene_description>\n    <character>HALIFAX<\/character>\n    <dialogue>The choice is yours. You have 24 hours to enter into peace talks, or I resign.<\/dialogue>\n    <scene_description>HALIFAX walks back into the war rooms. WINSTON, regretful for his display of temper.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY\/ 10 DOWNING STREET - DAY<\/stage_direction>\n    <scene_description>WINSTON emerges from the ELEVATOR, to find - - the YOUNG CONSERVATIVE MP, ERNLE HASTINGS, waiting for him at the bottom of the stairs.<\/scene_description>\n    <character>ERNLE HASTINGS<\/character>\n    <dialogue>Prime Minister. I wonder if we might schedule you to address the Outer Cabinet?<\/dialogue>\n    <scene_description>WINSTON climbs the stairs, without saying a word.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TREASURY TOILETS - DAY<\/stage_direction>\n    <scene_description>HALIFAX, energized, and CHAMBERLAIN, looking unwell, confer as CHAMBERLAIN dampens a handkerchief and dabs his head with cold water...<\/scene_description>\n    <character>HALIFAX<\/character>\n    <dialogue>I told him. It shook him.<\/dialogue>\n    <character>CHAMBERLAIN<\/character>\n    <dialogue>Imagine it did.<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>Gave him 24 hours--I don't expect him to agree, so I will resign first. You then join me. That's critical if we are to trigger a revolt in the chamber. I'll announce it. The King will back us.<\/dialogue>\n    <scene_description>HALIFAX nods. CHAMBERLAIN now mentors him, paternally -<\/scene_description>\n    <character>CHAMBERLAIN<\/character>\n    <dialogue>Be sure of your motives, Edward. Country first! Country First always. Career third, fourth-- after family, and church - and, in your case (small smile) - fox hunting. Come.<\/dialogue>\n    <scene_description>CHAMBERLAIN bravely leads an emotional HALIFAX out of the BATHROOM.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WESTMINSTER\/ LONDON - NIGHT<\/stage_direction>\n    <scene_description>HIGH-ANGLE WIDE-SHOT of LONDON - then PAN to reveal RADIO AERIALS, as we hear -<\/scene_description>\n    <character>RADIO ANNOUNCER (O.S.)<\/character>\n    <dialogue>\"Today, the Admiralty have made an Order requesting all owners of self- propelled pleasure craft, between 30' and 100' in length, to send all particulars to the Admiralty, immediately -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIBRARY\/ 10 DOWNING STREET - NIGHT<\/stage_direction>\n    <scene_description>WINSTON listens to the RADIO BROADCAST:<\/scene_description>\n    <character>RADIO ANNOUNCER<\/character>\n    <dialogue>\"- if they have not already been offered or requisitioned.\"<\/dialogue>\n    <scene_description>WINSTON turns off the RADIO, turns to face ELIZABETH LAYTON who sits at her type-writer, waiting. They look at each other.<\/scene_description>\n    <character>CHURCHILL<\/character>\n    <parenthetical>(dictating)<\/parenthetical>\n    <dialogue>To Brigadier Nicholson, 30th Infantry Brigade. Calais.<\/dialogue>\n    <character>CHURCHILL<\/character>\n    <dialogue>Every hour you continue to exist is of the greatest help to our forces at Dunkirk. Have the greatest possible admiration for your splendid stand. Your evacuation however--your evacuation will not, repeat not, take place. Signed...<\/dialogue>\n    <scene_description>ELIZABETH LAYTON, has stopped typing. CHURCHILL, looks up and sees tears in her eyes. He goes to her, offering a handkerchief.<\/scene_description>\n    <character>CHURCHILL<\/character>\n    <dialogue>Here.<\/dialogue>\n    <parenthetical>(softening)<\/parenthetical>\n    <dialogue>What is it?<\/dialogue>\n    <character>ELIZABETH LAYTON<\/character>\n    <dialogue>May I be excused?<\/dialogue>\n    <character>CHURCHILL<\/character>\n    <dialogue>You may not. Tell me what this is about.<\/dialogue>\n    <character>ELIZABETH LAYTON<\/character>\n    <dialogue>No-one tells us anything. It's all classified and--we hear scraps and it's worse than knowing nothing.<\/dialogue>\n    <character>CHURCHILL<\/character>\n    <dialogue>What would you like to know?<\/dialogue>\n    <scene_description>She stares into his eyes -<\/scene_description>\n    <character>ELIZABETH LAYTON<\/character>\n    <dialogue>How many men will survive?<\/dialogue>\n    <scene_description>He stares at her - it's the great PUBLIC QUESTION. It deserves an answer.<\/scene_description>\n    <character>CHURCHILL<\/character>\n    <dialogue>Come with me. Come on.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TUNNEL\/ BENEATH 10 DOWNING STREET - NIGHT<\/stage_direction>\n    <scene_description>WINSTON leads ELIZABETH down the long tunnel -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR\/ WAR ROOMS - NIGHT<\/stage_direction>\n    <scene_description>- ELIZABETH follows WINSTON to the MAP-ROOM.<\/scene_description>\n    <character>CHURCHILL<\/character>\n    <dialogue>Come in.<\/dialogue>\n    <character>ELIZABETH<\/character>\n    <dialogue>No. I'm not allowed in the Map Room.<\/dialogue>\n    <character>CHURCHILL<\/character>\n    <dialogue>You are now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAP ROOM\/ WAR-ROOMS - NIGHT<\/stage_direction>\n    <scene_description>She enters the MAP ROOM, which is manned with MALE personnel who look askance at ELIZABETH. WINSTON shows her the ARMY MAP of WESTERN EUROPE. The BRITISH FORCES are represented, surrounded by GERMAN troops at the seaside town of DUNKIRK.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>The German army now controls every French port except Dunkirk, here--and Calais, here to the west, where a garrison is drawing fire and delaying the German advance on Dunkirk.<\/dialogue>\n    <scene_description>She nods.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>At both points our troops are encircled. We're still trying to clear Dunkirk harbour of wrecked ships so we can then land the boats we need to get our boys off those beaches, but enemy planes are attacking us constantly. Our only hope in Dunkirk is thick cloud cover to thwart these attacks, but-- the skies remain clear. Even then I am told we will need a miracle to get even 10% of our men out.<\/dialogue>\n    <scene_description>She is shocked -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Courage, Miss Layton--courage.<\/dialogue>\n    <character>ELIZABETH<\/character>\n    <dialogue>How long have they got if we don't rescue them?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>One, maybe two days.<\/dialogue>\n    <scene_description>ISMAY enters -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>General?<\/dialogue>\n    <character>ISMAY<\/character>\n    <dialogue>News from Calais, the 30th Infantry, sir. They've retreated to the town's citadel... As a last and probably hopeless stand-the order \"Everyman for himself' has been given.<\/dialogue>\n    <character>WINSTON<\/character>\n    <parenthetical>(As he exits)<\/parenthetical>\n    <dialogue>Good.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CALAIS - NIGHT<\/stage_direction>\n    <scene_description>The CITADEL rises, ancient and proud above the town, as - - a GERMAN RECONNAISSANCE PLANE flies a circle over the CITADEL and lays a CIRCLE OF WHITE SMOKE.<\/scene_description>\n    <character>ISMAY (O.S.)<\/character>\n    <dialogue>... as a last, and probably hopeless, stand. The order, 'every man for himself' has been given.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CITADEL\/ CALAIS - NIGHT<\/stage_direction>\n    <scene_description>BRIGADIER NICHOLSON, surrounded by the DEAD and WOUNDED, reads the dispatch from CHURCHILL - grim reading. He lowers it, stricken, afraid, as he hears...the DRONE of 50 GERMAN BOMBERS rising...coming closer...closer...He looks up into the dark skies...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GERMAN BOMBER - NIGHT<\/stage_direction>\n    <scene_description>From the POV of a GERMAN bomber, at high altitude - - the CIRCLE OF SMOKE comes beneath it, and in the middle of the circle, perfectly targeted far below, the CITADEL. Into the CIRCLE of SMOKE the BOMBER drops its PAYLOAD.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAP ROOM\/ WAR ROOMS - NIGHT<\/stage_direction>\n    <scene_description>ECU on: WINSTON's EYES, as if -while staring at the map- he is witness to this defeat...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CALAIS - NIGHT<\/stage_direction>\n    <scene_description>The BOMBS fall on the town, and at last the CITADEL itself takes a DIRECT HIT. It crumbles, and falls...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WINSTON'S STUDY \/ 10 DOWNING STREET - NIGHT<\/stage_direction>\n    <scene_description>ECU ON: A MILITARY DISPATCH, that reads: CALAIS FALLEN. NUMBERS OF DEAD OR CAPTURED UNCERTAIN. GENERAL GORT. Across the room, WINSTON is at his desk, immobile, nursing a glass of whiskey and soda, as, - - CLEMMIE enters - and looks at him, with concern.<\/scene_description>\n    <character>CLEMMIE<\/character>\n    <parenthetical>(worried)<\/parenthetical>\n    <dialogue>Go to bed, Pig.<\/dialogue>\n    <scene_description>He gives no reply -<\/scene_description>\n    <character>CLEMMIE<\/character>\n    <dialogue>You must sleep.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Leave me, Clemmie.<\/dialogue>\n    <character>CLEMMIE<\/character>\n    <dialogue>The opportunity for doing so passed a long time ago.<\/dialogue>\n    <scene_description>She gets an idea, and exits urgently, leaving him alone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE\/ 10 DOWNING STREET - MORNING<\/stage_direction>\n    <scene_description>WINSTON, in his SILK ROBE, still sits at his desk. The curtains are drawn. It's MORNING. He walks to a TELEPHONE and dials - ADMIRAL RAMSAY.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Bertie--what's been the response?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BATTLEMENTS\/ DOVER CASTLE - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: 5 SMALL CRAFT, arriving at DOVER - a packet boat, a yacht, a fishing boat, a skiff... ANGLE ON: RAMSAY, talking into a FIELD TELEPHONE, watching from atop DOVER CASTLE.<\/scene_description>\n    <character>ADMIRAL RAMSAY<\/character>\n    <dialogue>It will take time. It's too soon to judge.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>How many boats so far?<\/dialogue>\n    <character>ADMIRAL RAMSAY<\/character>\n    <dialogue>It will take time.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>The request for civilian boats was not a request, Bertie. It was an order!<\/dialogue>\n    <scene_description>In frustration, WINSTON slams down the PHONE, as - - SAWYERS, the VALET, enters and draws the curtains. As LIGHT floods the room--<\/scene_description>\n    <character>CAPTION:<\/character>\n    <dialogue>MONDAY, MAY 27, 1940<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 10 DOWNING STREET - DAY<\/stage_direction>\n    <scene_description>A CROWD of ON-LOOKERS are gathered there, as - - WINSTON, emerges to get into a GOVERNMENT CAR. He is angst- ridden now, gives the (POLITE) V-FOR-VICTORY SIGN, (PALM-OUT) but his heart isn't in it. Hunch-backed, his eyes downcast, he gets in his GOVERNMENT CAR.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUCKINGHAM PALACE - DAY<\/stage_direction>\n    <scene_description>WINSTON and the KING at lunch at a DINING TABLE. WINSTON eats heartily. The KING, with little appetite, smokes, watches WINSTON wash down the food with hearty gulp of champagne.<\/scene_description>\n    <character>GEORGE VI<\/character>\n    <parenthetical>(pours drinks)<\/parenthetical>\n    <dialogue>How do you manage drinking during the day?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Practice.<\/dialogue>\n    <scene_description>After another silence -<\/scene_description>\n    <character>GEORGE VI<\/character>\n    <dialogue>I have been asked--if plans should be drawn--to evacuate my f-family and I--to Canada. I wish to know the opinion of our prime minister.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>My opinion? My opinion would be that you must do what you feel is right for yourself, your family, and for the country. Your survival is paramount. Prime Ministers--we seem to come and go at an astonishing rate.<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>Your--p-position in parliament, I hear, is not strong.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>My party resents how Chamberlain was pushed aside. And many others doubt me. I was not a popular choice.<\/dialogue>\n    <scene_description>The KING nods - he himself resented WINSTON - and he turns away briefly, in embarrassment.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>They want Halifax still. But why get rid of the organ grinder and replace him with the monkey.<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>Lord Halifax is a close personal friend of mine!<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>I am unwanted. I've never been trusted since the Gallipoli campaign. Unwanted.<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>Perhaps--it is because--you scare people.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Who?!<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>You scare me.<\/dialogue>\n    <character>WINSTON<\/character>\n    <parenthetical>(scarily)<\/parenthetical>\n    <dialogue>What?! What nonsense! What could be scary about me?<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>One never knows what is going to come out of your mouth next. Something that w-will flatter-- or wound.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>My emotions are unbridled.<\/dialogue>\n    <scene_description>WINSTON drops some meat into the mouth of a CORGIE waiting at WINSTON's feet for food.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>A wildness. In the blood. I share it with my father.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Mother also. We lack the gift of-- temperance.<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>Were you close--to your parents?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>My mother was glamorous--but perhaps too widely loved.<\/dialogue>\n    <scene_description>This draws an eye-brow rise from the King.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>My father--to me was like God-- busy elsewhere.<\/dialogue>\n    <scene_description>The KING smiles. He cannot help but like this man.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR\/ WAR ROOMS - DAY<\/stage_direction>\n    <scene_description>WINSTON walks through the MEN and WOMEN en route to his OFFICE. He stops before ELIZABETH LAYTON - looks into her eyes. She can see the DOUBT, the SADNESS, the PAIN.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Miss Layton.<\/dialogue>\n    <character>ELIZABETH LAYTON<\/character>\n    <dialogue>Sir.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Reach--I need to reach--speak to...<\/dialogue>\n    <character>ELIZABETH LAYTON<\/character>\n    <dialogue>To?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>3pm.<\/dialogue>\n    <character>ELIZABETH LAYTON<\/character>\n    <dialogue>3pm, sir?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Ask Bridges to summon the--the uh-- the War Cabinet for 3pm. Thank you.<\/dialogue>\n    <scene_description>She watches him walk away - - only for WINSTON to be stopped by JOHN EVANS with a COMMUNIQUE.<\/scene_description>\n    <character>JOHN EVANS<\/character>\n    <dialogue>Sir!<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>JOHN EVANS<\/character>\n    <dialogue>Sir-from Lord Gort, in France.<\/dialogue>\n    <scene_description>WINSTON reads the message -- his EYES WIDEN.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Belgium has fallen. They will surrender at midnight. France will soon follow suit.<\/dialogue>\n    <scene_description>REACTION WINSTON: Shock.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAR CABINET ROOM\/ WAR ROOMS - DAY<\/stage_direction>\n    <scene_description>WAR CABINET MEETING 3. PRESENT: 9 PERSONS. The Main War Cabinet (CHURCHILL, CHAMBERLAIN, HALIFAX, GREENWOOD, ATLEE) and the FOLLOWING (EDEN, CADOGAN, IRONSIDE, BRIDGES.) A FILM REEL is projected onto a SCREEN. We see images of GERMAN SPEEDBOATS. We see the NAZI leadership, holding maps, pointing out to sea toward Britain...We see a giant LONG- RANGE SUPER CANNON being revealed by GERMAN soldiers. Over this, we hear -<\/scene_description>\n    <character>IRONSIDE<\/character>\n    <dialogue>We have received reports that the most probable method of attack, which Germany might employ against this country, is a large fleet of fast motor boats, possibly up to 200, carrying 100 men apiece to carry out a seaborne raid on a large scale. By this means a considerable force of the enemy could be landed at many points on the coast simultaneously with air- borne raids inland. We do not feel that by naval or air action we could prevent such a landing.<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>Could you repeat that?<\/dialogue>\n    <scene_description>HALIFAX turns to look hard at WINSTON.<\/scene_description>\n    <character>IRONSIDE<\/character>\n    <dialogue>We must prepare for the imminent invasion of our island.<\/dialogue>\n    <scene_description>The shock registers on all the faces. Hold on ANTHONY EDEN, as he lowers his HEAD. BRIDGES opens a BOTTLE of WHISKEY and starts to pour into tumblers for the non-military personnel. Silence, as IRONSIDE sits. Silence. Lost looks. General state of high anxiety. They look to WINSTON for leadership - and he appears to be about to say something in response to this black news - BUT NO WORDS COME. After this awkward silence - HALIFAX looks directly at WINSTON -<\/scene_description>\n    <character>HALIFAX<\/character>\n    <dialogue>Let the record state--that I have received word from the Italian Embassy in London that Italy is prepared to mediate a resolution between Britain, its Allies, and Germany.<\/dialogue>\n    <scene_description>The CABINET SECRETARY, records this statement for history. WINSTON fumes that this has been put on the record and stares with anger at HALIFAX. WINSTON has been totally put on the spot!<\/scene_description>\n    <character>WINSTON<\/character>\n    <parenthetical>(sunk by the news)<\/parenthetical>\n    <dialogue>Perhaps--then--<\/dialogue>\n    <scene_description>The CABINET waits on the final INEVITABLE words -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>--the time for such an offer from us is -<\/dialogue>\n    <scene_description>HALIFAX nods at CHAMBERLAIN - success, surely! But WINSTON still can't speak the words they ache to hear.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>- is when Germany has made an unsuccessful attempt to invade this country.<\/dialogue>\n    <scene_description>HALIFAX throws his GLASSES on the table in DISBELIEF!<\/scene_description>\n    <character>CHAMBERLAIN<\/character>\n    <dialogue>Unsuccessful?!<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>Then you leave me no other option -<\/dialogue>\n    <character>CHAMBERLAIN<\/character>\n    <parenthetical>(cutting him off)<\/parenthetical>\n    <dialogue>Winston--you are refusing to grasp the realities of how precarious our position is! Our entire army is about to be wiped out! Terms! Must! Be struck!<\/dialogue>\n    <scene_description>Silence. WINSTON has no room left in which to move. ALL FACES examine his. WINSTON looks finally to ANTHONY EDEN - his staunchest supporter.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Anthony?<\/dialogue>\n    <scene_description>EDEN's face is pained - as he retains a MEANINGFUL SILENCE. CHURCHILL looks to each MAN around the room, and their faces proclaim their support of HALIFAX's view. UTTERLY ISOLATED - WINSTON has no choice now.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Then...<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Then it seems...<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>...we have no choice but to at least consider the path of negotiation.<\/dialogue>\n    <scene_description>CHAMBERLAIN and HALIFAX share an astonished look!<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>If Hitler's peace terms are-- overlordship of Central Europe and return of certain German colonies -<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>- and if he will leave us our independence, then - then I would be thankful to get out of our present difficulties. It's quite unlikely that he will make any such offer, but...<\/dialogue>\n    <scene_description>WINSTON looks at the CABINET SECRETARY who records for posterity his every word -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>...if I were told what the German terms were, then--I would be-- prepared---to--to consider them.<\/dialogue>\n    <scene_description>The SECRETARY notes down this historic concession, and WINSTON observes this.<\/scene_description>\n    <character>HALIFAX<\/character>\n    <dialogue>Thank you. Prime Minister.<\/dialogue>\n    <scene_description>CHAMBERLAIN nods at HALIFAX. They have prevailed.<\/scene_description>\n    <character>HALIFAX<\/character>\n    <parenthetical>(triumphant)<\/parenthetical>\n    <dialogue>I shall prepare a draft memorandum at once.<\/dialogue>\n    <scene_description>Finally, WINSTON nods. CHAMBERLAIN and HALIFAX look at each other again - victory!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TREASURY DRUM - DAY<\/stage_direction>\n    <scene_description>HIGH WIDE-SHOT as WINSTON walks through the TREASURY DRUM toward DOWNING STREET. MILES ALDRIDGE, a lone photographer calls out -<\/scene_description>\n    <character>MILES ALDRIDGE<\/character>\n    <dialogue>Mr. Churchill! One picture, one picture, come on sir, one picture! How about a smile, Prime Minister?<\/dialogue>\n    <scene_description>WINSTON steps toward him, and then DELIBERATELY gives the RUDE VERSION of the V-FOR-VICTORY sign (PALM-INWARD). Winston walks on.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM\/ TREASURY - DAY<\/stage_direction>\n    <scene_description>CHAMBERLAIN, alone, steadies himself against a wall - his health is fading. He takes out his bottle of MORPHINE and drinks.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. BUCKINGHAM PALACE - NIGHT<\/stage_direction>\n    <scene_description>KING GEORGE walks out on to a BALCONY and looks down the MALL in BLACKOUT, as his EQUERRY joins him...<\/scene_description>\n    <character>GEORGE VI<\/character>\n    <dialogue>I was--ju--just imagining never standing--here again. Perhaps because I am no longer alive, or-- or because the palace itself-- is gone.<\/dialogue>\n    <character>EQUERRY<\/character>\n    <dialogue>Canada. You must decide, sir. You could rule in exile.<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>Truly? Is that my fate?<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>You know what? I feel angry. In this moment I'm aware of feeling-- bloody angry.<\/dialogue>\n    <scene_description>The EQUERRY studies him, as he studies the MALL.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELIZABETH'S \"SHOE-BOX\" ROOM\/ WAR ROOMS - NIGHT<\/stage_direction>\n    <scene_description>ELIZABETH LAYTON waits, her fingers at the ready. She sneaks a glance at the CLOCK on her DESK - it is 1.30! WINSTON is in a BLACK MOOD. He struggles to DICTATE a SPEECH...<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>I have...come to...to wonder...in... recent days...whether it was...my duty...<\/dialogue>\n    <scene_description>ECU of: the TYPEWRITER hammers typing \"duty\" -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>- to consider...<\/dialogue>\n    <scene_description>EVANS enters, carrying a TRAY holding a glass and a bottle. Elizabeth yawns.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>...consider...entering...<\/dialogue>\n    <scene_description>EVANS is standing there staring at WINSTON, waiting to knock off for the night. WINSTON notices -<\/scene_description>\n    <character>JOHN EVANS<\/character>\n    <dialogue>Will that be all for tonight, sir?<\/dialogue>\n    <scene_description>WINSTON ignores him.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>...entering into negotiations with...<\/dialogue>\n    <parenthetical>(unable to speak the dreaded name)<\/parenthetical>\n    <dialogue>...that...corporal...no...<\/dialogue>\n    <scene_description>EVANS departs without an answer, as - WINSTON pours himself a SCOTCH and mumbles to himself -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>...gangster--no--tyrant... ...monster of wickedness, no...<\/dialogue>\n    <scene_description>WINSTON, wanting more inspiration, turns over a NEWSPAPER and on the COVER is - a LARGE PHOTO of ADOLPH HITLER. WINSTON looks at HITLER'S FACE with LOATHING -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>...butcher--no good--monstrous savage?--bloodthirsty guttersnipe!-- housepainter...<\/dialogue>\n    <parenthetical>(throws newspaper on the ground)<\/parenthetical>\n    <character>HOUSEPAINTER!<\/character>\n    <parenthetical>(his head clears)<\/parenthetical>\n    <dialogue>Where were we? Where - ?<\/dialogue>\n    <scene_description>WINSTON, hearing no sound of typing, turns - and sees ELIZABETH LAYTON staring at her TYPEWRITER, frozen -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Well?<\/dialogue>\n    <character>ELIZABETH<\/character>\n    <parenthetical>(softly)<\/parenthetical>\n    <dialogue>I didn't understand you, sir.<\/dialogue>\n    <scene_description>He doesn't reply. She finally adds -<\/scene_description>\n    <character>ELIZABETH<\/character>\n    <dialogue>You were -<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Were?<\/dialogue>\n    <character>ELIZABETH<\/character>\n    <dialogue>You were - mumbling.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Mumbling.<\/dialogue>\n    <character>ELIZABETH<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <scene_description>WINSTON, crosses to the other side of her and sits down -he picks up a FRAMED PHOTO of A HANDSOME YOUNG SOLDIER from her desk.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Your beau?<\/dialogue>\n    <scene_description>ELIZABETH maintains her composure with true grit during the following exchange -<\/scene_description>\n    <character>ELIZABETH<\/character>\n    <dialogue>My brother.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Where is he now?<\/dialogue>\n    <character>ELIZABETH<\/character>\n    <dialogue>He was falling back on Dunkirk but he never made it.<\/dialogue>\n    <scene_description>This rocks WINSTON to the core. He studies ELIZABETH, stirred by the beauty of her sad face.<\/scene_description>\n    <character>ELIZABETH<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>His eyes moisten - at all she represents, innocence and loss and courage and purity.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>I'm just looking at you.<\/dialogue>\n    <scene_description>She turns back to her TYPE-WRITER and sits there waiting, until - feeling awkward - she offers -<\/scene_description>\n    <character>ELIZABETH<\/character>\n    <dialogue>Shall I read back what we have?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Please.<\/dialogue>\n    <character>ELIZABETH<\/character>\n    <dialogue>\"I have come to wonder in recent days whether it was my duty to consider entering into negotiations- -with...\"<\/dialogue>\n    <scene_description>WINSTON ponders his next line - but again, NO WORDS COME.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>With...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOF TOP\/ DEFENCE MINISTRY - NIGHT<\/stage_direction>\n    <scene_description>WINSTON emerges on to the ROOFTOP of the building, and proceeds to LIGHT UP a CIGAR as he takes in the CLEAR NIGHT SKY above him.<\/scene_description>\n    <character>WINSTON (O.S.)<\/character>\n    <dialogue>...with...<\/dialogue>\n    <scene_description>He then hears a DRONE... it is a SINGLE SPITFIRE on NIGHT PATROL. It comes into view, slowly crossing the sky. WINSTON watches this GHOSTLY SIGHT come and go. The little plane looks very small in such a big expanse of sky... His eyes are WET with TEARS, as he ANGRILY GRINDS OUT his CIGAR. The CAMERA rises up - up - into an AERIAL SHOT of - - WINSTON on the ROOF until - WINSTON is no bigger than a TOY LEAD SOLDIER.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPARE ROOM\/ 10 DOWNING STREET - NIGHT<\/stage_direction>\n    <scene_description>CLEMMIE enters and sees - WINSTON, sitting on a large boat- shaped bed in the dark staring into space, amid UNPACKED BOXES. He's at a very low ebb.<\/scene_description>\n    <character>CLEMMIE<\/character>\n    <dialogue>Darling, Winston, Darling?<\/dialogue>\n    <scene_description>No answer. She goes to him. He's clearly in trouble -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>I -<\/dialogue>\n    <character>CLEMMIE<\/character>\n    <dialogue>Shhh. Shhh. You've the full weight of the world on your shoulders. But these inner battles, darling -<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>I can't -<\/dialogue>\n    <character>CLEMMIE<\/character>\n    <dialogue>- I know, I know - but they have actually trained you for this moment. You are strong because you are imperfect. You are wise because you have doubts. From this uncertainty the wisest words will come. Now. I will let him in.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>CLEMMIE<\/character>\n    <dialogue>The King.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Which King? Our King?<\/dialogue>\n    <character>CLEMMIE<\/character>\n    <dialogue>Well if it isn't him, it's a wonderful impersonation.<\/dialogue>\n    <scene_description>CLEMMIE closes the door. WINSTON looks DISHEVELLED, his suit RUMPLED. A Mess. He makes a small effort to tuck in a shirt and buttons his waistcoat. KING GEORGE VI enters - the most 'proper' man in Europe. The height of manners and decorum. Wears an IMPECCABLE SUIT.<\/scene_description>\n    <character>KING GEORGE VI<\/character>\n    <dialogue>Mr Churchill--I hope you can for-- give the late hour but your wife thought tonight would be a good time.<\/dialogue>\n    <scene_description>Winston is standing by the bed.<\/scene_description>\n    <character>KING GEORGE VI<\/character>\n    <dialogue>Shall we sit?<\/dialogue>\n    <scene_description>The KING sits in an ARMCHAIR. Winston sits on the bed. WINSTON makes a futile effort to put on his public face...<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Something to drink? Er -<\/dialogue>\n    <character>KING GEORGE VI<\/character>\n    <dialogue>No, thank you.<\/dialogue>\n    <scene_description>WINSTON remains seated on the edge of the bed.<\/scene_description>\n    <character>KING GEORGE VI<\/character>\n    <dialogue>I received a visit...<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>From?<\/dialogue>\n    <character>KING GEORGE VI<\/character>\n    <dialogue>Viscount Halifax.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>It appears--the prospect of a peace deal with Hitler--has increased dramatically.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Later today I will address The House. The war cabinet is drafting a letter to Mussolini, asking him to broker talks with Herr Hitler.<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>Then Halifax was correct.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>I should like to know your mind.<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>It would be helpful to know yours first.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Mine? I should like to know it myself.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Nations which go down fighting rise again, but those which surrender tamely are finished.<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>Belgium?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Collapsed.<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>Norway -<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Holland. France any hour.<\/dialogue>\n    <scene_description>After a hard silence -<\/scene_description>\n    <character>GEORGE VI<\/character>\n    <dialogue>And the mood of parliament?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Fear. Panic.<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>And are you not afraid? At all?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>I am most terribly.<\/dialogue>\n    <scene_description>GEORGE VI scrutinizes him closely -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Our defeat in France is the most crushing in the history of the Empire. Support among my party for a campaign of resistance has collapsed.<\/dialogue>\n    <scene_description>Finally - GEORGE has heard what he has wanted to hear, and so makes his pledge - He moves to sit next to Winston on the bed<\/scene_description>\n    <character>GEORGE VI<\/character>\n    <dialogue>You have my support.<\/dialogue>\n    <scene_description>WINSTON cannot believe his ears.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Your Majesty?<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>You have my support.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I must confess, I had some reservations about you at-at first. And while some in this country might have dreaded your appointment, none dreaded it like- like Adolph Hitler.<\/dialogue>\n    <scene_description>WINSTON - speechless.<\/scene_description>\n    <character>GEORGE VI<\/character>\n    <dialogue>Whomever can strike fear into that brute heart is worthy of all our trust. We shall work together. You shall have my support. At any hour.<\/dialogue>\n    <parenthetical>(passionate)<\/parenthetical>\n    <dialogue>Beat the buggers.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>I fear I may be defeated.<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>You--you once gave me some advice. Perhaps I can give you some. Go to the people. Let them instruct you. Quite silently, they usually do. But tell them the truth. Unvarnished.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>I shall speak to parliament, but without support in my own party, I must sue for peace.<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>You warned us this day was coming. We failed to listen to you. Lift us up, Mr Churchill.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>On certain matters I have few people with whom I can talk frankly.<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>Perhaps now we have each other?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>I no longer scare you?<\/dialogue>\n    <character>GEORGE VI<\/character>\n    <dialogue>Only a little. I can cope.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Yes you can. Your majesty.<\/dialogue>\n    <scene_description>They remain sitting there, side by side on the boat-shaped bed, friends hereafter.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DYNAMO ROOM\/ BENEATH DOVER CASTLE - MORNING<\/stage_direction>\n    <character>CAPTION:<\/character>\n    <dialogue>RAMSAY, dressed in UNIFORM, is on the phone to -<\/dialogue>\n    <character>ENGLISH COAST, TUESDAY, MAY 28<\/character>\n    <dialogue>INT. WINSTON'S BEDROOM\/ 10 DOWNING STREET - MORNING<\/dialogue>\n    <dialogue>- WINSTON, in bed, taking the call.<\/dialogue>\n    <parenthetical>(INTERCUT, as necessary - )<\/parenthetical>\n    <character>RAMSAY<\/character>\n    <dialogue>We are ready. More or less.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>More or less what, Bertie? Give me a number!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DYNAMO ROOM\/ BENEATH DOVER CASTLE - MORNING<\/stage_direction>\n    <scene_description>RAMSAY opens the METAL FRENCH DOORS and steps out onto -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BALCONY\/ DYNAMO ROOM\/ BENEATH DOVER CASTLE - MORNING<\/stage_direction>\n    <scene_description>RAMSAY's POV OF: over 800 SMALL boats, the \"LITTLE SHIPS\", ARRIVING or MOORED. NAVAL officers and VOLUNTEERS board them. A RAG-TAG ARMADA.<\/scene_description>\n    <character>RAMSAY<\/character>\n    <dialogue>In total--860 vessels. The biggest civilian fleet ever assembled.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>May God watch over them all.<\/dialogue>\n    <scene_description>The SHOT PULLS AWAY from RAMSAY on the BALCONY -<\/scene_description>\n    <character>RAMSAY<\/character>\n    <dialogue>Operation Dynamo waits upon your command...<\/dialogue>\n    <scene_description>- and we reveal - that the BALCONY of his BEDROOM is cut right into the cliff-face of THE WHITE CLIFFS OF DOVER!<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Admiral--you may initiate Dynamo.<\/dialogue>\n    <scene_description>- CAMERA pulls back and back - until we see the ENTIRE ENGLISH COASTLINE, complete with the \"DYNAMO\" FLEET.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. PRINCES STREET\/ WINSTON'S CAR - DAY<\/stage_direction>\n    <scene_description>WIDE SHOT of - WINSTON's CAR, moving slowly through the rainy street. WINSTON, in the back seat, looks out the window at the human traffic - seems like he's in a gold-fish bowl, disconnected. He watches as - MEN IN BOWLER HATS and YOUNG WOMEN in SUMMER DRESSES walk to work. As they rush through the rain shielding themselves with umbrellas and newspapers. WINSTON, with an UNLIT CIGAR in his mouth, searches his pockets for a MATCH. But he can't find his matches. When the CAR stops at a RED LIGHT - - TOM LEONARD hears the car door slam. He turns, looks back, WINSTON has jumped out of his car. Tom Leonard opens his door and stands looking around for Winston, as crowds rush past in the pouring rain.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAR CABINET ROOM\/ WAR ROOMS - DAY<\/stage_direction>\n    <scene_description>BRIDGES puts down the TELEPHONE and turns to the ASSEMBLED WAR CABINET -<\/scene_description>\n    <character>BRIDGES<\/character>\n    <dialogue>We've lost the Prime Minister!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ST JAMES PARK UNDERGROUND - DAY<\/stage_direction>\n    <scene_description>The CROWD of COMMUTERS parts to reveal - WINSTON, closely studying the UNDERGROUND MAP, trying to work it out, until he is RECOGNISED for the FIRST TIME. A great commotion starts, as people watch respectfully their PRIME MINISTER trying to work out how to use the TUBE. ANGLE ON: WINSTON, studying the MAP, lighting a CIGAR, as - - a TEENAGE GIRL stands beside him. She looks at the MAP too. WINSTON notices her.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Do you know how to use this thing?<\/dialogue>\n    <character>TEENAGE GIRL<\/character>\n    <dialogue>Yes -<\/dialogue>\n    <parenthetical>(recognising him, her eyes widen)<\/parenthetical>\n    <dialogue>- yes sir.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>So--tell me--how do I get to Westminster?<\/dialogue>\n    <character>TEENAGE GIRL<\/character>\n    <dialogue>Westminster? Um, the District Line. East. One stop.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>District Line. East. One stop. Doesn't sound so hard.<\/dialogue>\n    <character>TEENAGE GIRL<\/character>\n    <dialogue>No, sir.<\/dialogue>\n    <scene_description>WINSTON stalks off, taking the steps down, down. Now everyone is stopping to let him go by - PEOPLE are STUNNED SPEECHLESS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PLATFORM\/ DISTRICT LINE EASTBOUND\/ ST JAMES PARK TUBE - DAY<\/stage_direction>\n    <scene_description>WINSTON arrives on the PLATFORM as a TRAIN arrives. The busy CHATTER dies down at once - as everyone recognizes WINSTON.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>So--this is the Underground!<\/dialogue>\n    <scene_description>He BOARDS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DISTRICT LINE TRAIN - DAY<\/stage_direction>\n    <scene_description>He boards the TRAIN with an UNLIT CIGAR in his mouth. COMMUTERS look up and FALL SILENT at once, all RISING to their feet, as if a Lady has entered a room. WINSTON tips his HAT to them.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>What are you all staring at? Have you never seen a Prime Minister ride on the Underground before.<\/dialogue>\n    <scene_description>When he sits, the COMMUTERS follow suit. The TRAIN doesn't immediately start going. He waits. Then he looks around him. EVERYBODY is doing their best to be well mannered and not stare, but all are failing! They immediately avert their eyes from WINSTON. WINSTON remembers his unlit CIGAR -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Does anyone have a match?<\/dialogue>\n    <scene_description>Down the CARRIAGE an OLD MAN shakes a box of matches. WINSTON rises and goes to him. The OLD MAN strikes a match on the THIRD STRIKE. With a SHAKING HAND he lights WINSTON's CIGAR.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>WINSTON offers his hand...<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>What is your name?<\/dialogue>\n    <character>OLD MAN<\/character>\n    <dialogue>Oliver Wilson, sir.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>And what do you do Mr Wilson?<\/dialogue>\n    <character>OLD MAN<\/character>\n    <dialogue>Brick-layer, sir.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Good!<\/dialogue>\n    <parenthetical>(loudly)<\/parenthetical>\n    <dialogue>We shall have great need of brick- layers soon! Business will be looking up!<\/dialogue>\n    <scene_description>The GROUP laughs, as - the TRAIN lurches into MOTION.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Progress!<\/dialogue>\n    <scene_description>The mood of REVERENCE lightens now, as WINSTON goes to - - a WOMAN WITH A BABY, touches its head.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>How old?<\/dialogue>\n    <character>WOMAN WITH BABY<\/character>\n    <dialogue>Eight months, sir. He looks like you.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Madam, all babies look like me.<\/dialogue>\n    <scene_description>The causes widespread DELIGHT. Another woman steps up to shake his hand -<\/scene_description>\n    <character>WOMAN WITH BABY<\/character>\n    <dialogue>Mrs Jessie Sutton.<\/dialogue>\n    <scene_description>Everyone has got the hang of this now, and don't need to be spoken to. They step forward in close order -<\/scene_description>\n    <character>YOUNG WOMAN<\/character>\n    <parenthetical>(shaking WINSTON's hand)<\/parenthetical>\n    <dialogue>Abigail Walker.<\/dialogue>\n    <character>WEST-INDIAN MAN<\/character>\n    <parenthetical>(shaking WINSTON's hand)<\/parenthetical>\n    <dialogue>Marcus Peters.<\/dialogue>\n    <character>YOUNG IRISH WOMAN<\/character>\n    <parenthetical>(shaking WINSTON's hand)<\/parenthetical>\n    <dialogue>Agnes Dillon.<\/dialogue>\n    <character>YOUNG MAN<\/character>\n    <parenthetical>(shaking WINSTON's hand)<\/parenthetical>\n    <dialogue>Maurice Baker.<\/dialogue>\n    <character>MIDDLE AGED WOMAN<\/character>\n    <parenthetical>(shaking WINSTON's hand)<\/parenthetical>\n    <dialogue>Alice Simpson.<\/dialogue>\n    <character>MIDDLE-AGED WOMAN<\/character>\n    <parenthetical>(shaking WINSTON's hand)<\/parenthetical>\n    <dialogue>Miss Margaret Jerome.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>My mother was a Jerome--I expect we are closely related!<\/dialogue>\n    <scene_description>Laughter. He now switches into SPEECH MODE, switches on the inner lights -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>And how are you all bearing up?<\/dialogue>\n    <scene_description>A great hearty response.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Of good spirits? Just as well!<\/dialogue>\n    <parenthetical>(laughter)<\/parenthetical>\n    <dialogue>We will need them!<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Now let me ask you all something-- which has been weighing on my mind. Perhaps you can provide me with an answer.<\/dialogue>\n    <scene_description>A hushed SILENCE again - they wait. He studies their faces, reading their minute expressions -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>The British people. What is their mood? Is it confident?<\/dialogue>\n    <character>YOUNG MAN<\/character>\n    <dialogue>Very.<\/dialogue>\n    <character>OLD MAN<\/character>\n    <dialogue>Some people say it's a lost cause.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Lost causes are the only ones worth fighting for. Now let me ask you this--if the worst came to pass, and the enemy were to appear on these streets, what would you do?<\/dialogue>\n    <character>YOUNG MAN<\/character>\n    <dialogue>Fight.<\/dialogue>\n    <character>MIDDLE AGED WOMAN<\/character>\n    <dialogue>Fight the fascists!<\/dialogue>\n    <character>OLD MAN<\/character>\n    <dialogue>Fight them with whatever we can lay our hands on!<\/dialogue>\n    <character>IRISH WOMAN<\/character>\n    <dialogue>Broom handles if we must!<\/dialogue>\n    <character>YOUNG WOMAN<\/character>\n    <dialogue>Street by street!<\/dialogue>\n    <character>WEST-INDIAN MAN<\/character>\n    <dialogue>They'll never take Picadilly!<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Ha!Ha! Never Picadilly indeed!<\/dialogue>\n    <scene_description>The public laugh. WINSTON SMILES, proud of these people -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>And what--what if I put it to you all--that we might - if we ask nicely - receive very favourable terms from Mr. Hitler if we enter into a peace deal with him right now? What would you say to that?<\/dialogue>\n    <character>ALL<\/character>\n    <dialogue>NEVER! NEVER!<\/dialogue>\n    <scene_description>A pause, and then -<\/scene_description>\n    <character>ALL<\/character>\n    <dialogue>NEVER! NEVER!<\/dialogue>\n    <scene_description>When SILENCE returns, one (young) voice chimes in, late -<\/scene_description>\n    <character>YOUNG GIRL<\/character>\n    <dialogue>Never!<\/dialogue>\n    <scene_description>WINSTON turns to look for the source of the voice and he sees, and moves toward, one YOUNG GIRL...<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Will you never give up?<\/dialogue>\n    <character>YOUNG GIRL<\/character>\n    <dialogue>Never.<\/dialogue>\n    <scene_description>Touched, he crosses and sits down opposite the child -<\/scene_description>\n    <character>WINSTON<\/character>\n    <parenthetical>(to YOUNG GIRL)<\/parenthetical>\n    <dialogue>\"Then out spake brave Horatius, The Captain of the gate: To every man upon this earth Death cometh soon or late. And how can man die better Than facing fearful odds - \"<\/dialogue>\n    <character>WEST INDIAN MAN<\/character>\n    <dialogue>\"- for the ashes of his fathers And the temples of his gods.\"<\/dialogue>\n    <scene_description>Everyone is moved. WINSTON, himself, has tears in his eyes. He wipes his eyes with a handkerchief.<\/scene_description>\n    <character>YOUNG GIRL<\/character>\n    <dialogue>Are you crying?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>I blub a lot. You'll have to get used to it.<\/dialogue>\n    <scene_description>The TRAIN stops.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>What stop is this?<\/dialogue>\n    <character>MIDDLE AGED WOMAN<\/character>\n    <dialogue>Westminster.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>That's my stop.<\/dialogue>\n    <scene_description>Before stepping off the TRAIN he stops to look into the faces of the good, brave, true people. Emboldened by their simple courage, he exits.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAR CABINET ROOM\/ WAR ROOMS - DAY<\/stage_direction>\n    <scene_description>WAR CABINET MEETING 4. PRESENT: 17 PERSONS. The Main War Cabinet, minus WINSTON (WINSTON's CHAIR remains empty): (CHAMBERLAIN, HALIFAX, GREENWOOD, ATLEE) and the FOLLOWING (EDEN, ALEXANDER, SINCLAIR, COOPER, CADOGAN, ANDERSON, POUND, DOWDING, IRONSIDE, BRIDGES, ISMAY, NICHOLL, WILKINSON.) All are actively discussing the wording of a PEACE OFFER. HALIFAX, leading the formulation of the offer, looks very pleased with the current situation.<\/scene_description>\n    <character>HALIFAX<\/character>\n    <dialogue>The Memorandum--titled \"Suggested Approaches to Italy\"--is as follows...<\/dialogue>\n    <character>CADOGAN<\/character>\n    <dialogue>\"If Signor Mussolini will co- operate with us in securing a settlement of all European questions which safeguard the independence and security of the allies...\"<\/dialogue>\n    <scene_description>CAMERA moves in on: WINSTON's SILVER BOX OF MATCHES. EXT HOUSE OF COMMONS - DAY WINSTON comes up from WESTMINSTER TUBE STATION and crosses to PARLIAMENT.<\/scene_description>\n    <character>CADOGAN (O.S.)<\/character>\n    <dialogue>\"...and could be the basis of a just and durable peace for Europe, we will undertake at once to discuss, with the desire to find solutions, the matters in which Signor Mussolini is primarily interested...\"<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE OF COMMONS - WESTMINISTER HALL - DAY<\/stage_direction>\n    <scene_description>Deep in anxious thought, WINSTON stalks in to the House of Commons and walks down a long hallway....<\/scene_description>\n    <character>CADOGAN ((O.S.)<\/character>\n    <dialogue>..\"We understand that he desires the solution of certain Mediterranean questions: and if he will state in secrecy what these are, France and Great Britain will at once do their best to meet those wishes\".<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRS AND CORRIDORS\/ PARLIAMENT - DAY<\/stage_direction>\n    <scene_description>To the first floor and is met by a relieved JOHN EVANS -<\/scene_description>\n    <character>JOHN EVANS<\/character>\n    <dialogue>Sir! The War Cabinet is waiting!<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>I am due to address the Outer Cabinet. I haven't spoken to them since the formation of the new government.<\/dialogue>\n    <scene_description>Moving up the HALLWAY, WINSTON and EVANS pass huddled groups of YOUNGER MP's - WINSTON STOPS, thinks, and then turns back to them.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Good day.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I am--about to speak to my Outer Cabinet in my rooms and--I extend the invitation to any of you who would care to join them.<\/dialogue>\n    <scene_description>WINSTON forces a SMILE, then departs. After a moment, the MP's rise, look at each other, murmur, rise and follow him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMITTEE ROOM\/ PARLIAMENT - DAY<\/stage_direction>\n    <scene_description>The ROOM is now FULL with 40 MEN - CABINET MEMBERS and YOUNG BACK-BENCHERS. WINSTON enters, with JOHN EVANS - shakes the hand of YOUNG CONSERVATIVE MP (ERNLE HASTINGS). The DOORS are CLOSED. WINSTON stands in front of the GATHERING. They wait for him to speak. At first no words come from WINSTON, and then -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Later today--I will address the House on the matter of our nation's security.<\/dialogue>\n    <parenthetical>(silence)<\/parenthetical>\n    <dialogue>At this very moment the War Cabinet is drafting papers that lay out our willingness to enter into peace talks with Herr Hitler, via his lacky, Signor Mussolini.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I have thought carefully in these last days--whether -<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>-whether it was part of my duty-- to consider entering into negotiations with -<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>- that Man.<\/dialogue>\n    <scene_description>He puts on his GLASSES and takes out a MATCH-BOOK - on which is written the names of the people he met in the Underground.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>But then I spoke--with Oliver Wilson -<\/dialogue>\n    <parenthetical>(starts to read names from his matchbook)<\/parenthetical>\n    <dialogue>- Mrs Jessie Sutton, Mrs Abigail Walker...<\/dialogue>\n    <scene_description>ANGLE ON: the CARD. The names of the TUBE COMMUTERS are all written there... REACTION: MP's, slight confusion as they try to remember who these people are...<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>...Marcus Peters, Agnes Dillon, Maurice Baker, Alice Simpson, and Miss Margaret Jerome--brave, good, true citizens of this kingdom--and they argued, strongly, that it was idle to think that, if we tried to make peace now, we should get better terms than if we fought it out. The Germans, Mr Baker felt, would demand - in the name of disarmament - our naval bases, and much else. And I think he's right. Jessie Sutton, speaking for many, believes we should then become a slave state, though a British Government - which would be Hitler's puppet - would be set up - under Mosley or some such person.<\/dialogue>\n    <character>ERNLE HASTINGS<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>And I join with them in asking a further question, a question I put to you: where should we be at the end of all that?<\/dialogue>\n    <scene_description>He SURVEYS their silent UNCERTAIN FACES.<\/scene_description>\n    <character>WINSTON<\/character>\n    <parenthetical>(silence)<\/parenthetical>\n    <dialogue>Perhaps some might benefit--the powerful might be able to parlay good terms--preserved in their country redoubts, out of sight of the Swastika flying on Buckingham Palace, over Windsor, draped on these very buildings -<\/dialogue>\n    <character>BACK-BENCHER 1<\/character>\n    <dialogue>Never!<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>So I come to you--to learn your minds in this grave hour.<\/dialogue>\n    <scene_description>The FACES of the MP's are RESOLUTE, MOVED, READY TO FIGHT.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>You see, we do still have immense reserves and advantages...<\/dialogue>\n    <scene_description>A NOISE begins to build in the room, mumbling, turning into shouts, over which WINSTON must shout -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>...and it was pointed out to me -<\/dialogue>\n    <parenthetical>(holding up list of names from Underground)<\/parenthetical>\n    <dialogue>- by my new friends--that you might even rise up and tear me down were I for one moment to contemplate parley or surrender.<\/dialogue>\n    <scene_description>A spontaneous round of emotional applause. It surprises WINSTON. It surprises even those who are applauding.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Were they wrong?<\/dialogue>\n    <character>ALL<\/character>\n    <dialogue>NO! NO!<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Then...then...then -<\/dialogue>\n    <scene_description>The DIN dies down. When silence returns...<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>- then--it appears to be your will also, that if this long island story of ours is to end at last, then it should only be -<\/dialogue>\n    <parenthetical>(pause, then powerfully -)<\/parenthetical>\n    <dialogue>- when each one of us lies choking in his own blood upon the ground!<\/dialogue>\n    <scene_description>A GIANT HOORAY goes up and the YOUNG MPs RUSH UP to WINSTON, who is soon SWAMPED by MPs shaking his HAND, PATTING HIM on the back - a MASSIVE SIGN OF SUPPORT.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAR CABINET ROOM\/ WAR ROOMS - DAY<\/stage_direction>\n    <scene_description>WINSTON somberly addresses the WAR CABINET (plus ANTHONY EDEN).<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>And when I asked to know their minds there occurred a demonstration which, considering the character of the gathering, quite surprised me. There is no doubt that if we falter at all in the leading of the nation we should all be hurled out of office. I am sure now that every Minister on both sides of the house is ready to be killed quite soon, and have all his family and possessions destroyed, rather than give in. In this they represent almost all the people. It falls to me in these coming days and months to express their sentiments. There shall be no negotiated peace...<\/dialogue>\n    <parenthetical>(to HALIFAX)<\/parenthetical>\n    <dialogue>..and you must each do now as you see fit.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I must now address parliament, and I'm yet to write a word of my speech.<\/dialogue>\n    <scene_description>WINSTON grabs his SILVER BOX OF MATCHES left earlier on the table -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>There's the buggers.<\/dialogue>\n    <scene_description>- then walks out, passing the tall IRONSIDE, and clapping him on the shoulder.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>\"Tiny\".<\/dialogue>\n    <scene_description>GENERAL IRONSIDE - having his war at last - smiles.<\/scene_description>\n    <character>IRONSIDE<\/character>\n    <dialogue>Sir.<\/dialogue>\n    <scene_description>EDEN happily follows his LEADER now. REACTION: HALIFAX. BETRAYAL. CHAMBERLAIN avoids HALIFAX's eyes. ATTLEE and GREENWOOD smile.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - WAR ROOMS \/ ELIZABETH'S ROOM - DAY<\/stage_direction>\n    <scene_description>WINSTON walks toward ELIZABETH LAYTON's \"Shoe-Box\" room, knocks, opens the door, remains in the doorway -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Miss Layton?<\/dialogue>\n    <scene_description>ELIZABETH looks up from her work -<\/scene_description>\n    <character>ELIZABETH<\/character>\n    <dialogue>Sir?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>I'm in need of you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAR CABINET ROOM - DAY<\/stage_direction>\n    <scene_description>HALIFAX detains CHAMBERLAIN as the CABINET leaves the meeting -<\/scene_description>\n    <character>HALIFAX<\/character>\n    <dialogue>We must both now resign. Force a vote of no confidence. I have your word?<\/dialogue>\n    <character>CHAMBERLAIN<\/character>\n    <dialogue>Let us--let us go to the Commons first. Join our colleagues. And speak after the Prime Minister's address.<\/dialogue>\n    <scene_description>CHAMBERLAIN takes his coat and leaves HALIFAX worried.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM\/ 10 DOWNING STREET - DAY<\/stage_direction>\n    <scene_description>CLEMMIE is getting dressed, and then turns to look at herself in the mirror, and reveal - - that she is in UNIFORM (Red Cross).<\/scene_description>\n    <character>CLEMMIE<\/character>\n    <parenthetical>(to her reflection)<\/parenthetical>\n    <dialogue>Here lies a woman, who is always tired--for she lived in a world where too much was required.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARLIAMENT - DAY<\/stage_direction>\n    <scene_description>CAMERA moves in on WINSTON'S PARKED CAR, and we gradually hear the sound of - TYPING. Through the WINDOW of the CAR we finally see - WINSTON, dictating to ELIZABETH LAYTON, her TYPE-WRITER on her knee going clack, clack, clack. (WINSTON gesticulates as he composes the crucial words.)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMONS\/ PARLIAMENT - DAY<\/stage_direction>\n    <scene_description>WINSTON addresses a PACKED HOUSE of COMMONS. A CROWD of some FIVE HUNDRED listen, with more in the GALLERY. Among the GALLERY crowd, JOHN EVANS. ELIZABETH LAYTON arrives late, and learns over the hand-rail, looking down anxiously at - WINSTON, as he launches his final assault -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Turning once again--to the question of invasion--I would observe that there has never been a period in all these long centuries of which we boast, when an absolute guarantee against invasion could have been given to our people.<\/dialogue>\n    <scene_description>ANGLE ON: HALIFAX, in the GALLERY, keenly watching.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>I have, myself--full confidence that if all do their duty, if nothing is neglected, and if the best arrangements are made, as they are being made, we shall prove ourselves once more able to defend our island home, to ride out the storm of war, and to outlive the menace of tyranny -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM\/ DOWNING STREET - DAY<\/stage_direction>\n    <scene_description>CLEMMIE, in her UNIFORM, listens to WINSTON's broadcast on the RADIO, as she has her portrait photographed by CECIL BEATON. She is awkward in front of the camera.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUCKINGHAM PALACE - DAY<\/stage_direction>\n    <scene_description>The KING smokes as he listens to the same broadcast.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE OF COMMONS CHAMBER - DAY<\/stage_direction>\n    <character>WINSTON<\/character>\n    <dialogue>- if necessary for years, if necessary alone. At any rate, that is what we are going to try to do. That is the resolve of His Majesty's Government - every man of them. That is the will of Parliament and the nation. The British Empire and the French Republic, linked together in their cause and in their need, will defend to the death their native soil, aiding each other like good comrades to the utmost of their strength.<\/dialogue>\n    <scene_description>ANGLE ON: ELIZABETH, who is \"mouthing\" these words, some of which she already knows by heart -<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Even though large tracts of Europe and many old and famous States have fallen or may fall into the grip of the Gestapo and all the odious apparatus of Nazi rule, we shall not flag or fail. We shall go on to the end. We shall fight in France--we shall fight on the seas and oceans, we shall fight with growing confidence and growing strength in the air, we shall defend our island - whatever the cost may be. We shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills; We shall never surrender, and if, which I do not for a moment believe, this island or a large part of it were subjugated and starving, then our Empire beyond the seas, armed and guarded by the British Fleet, would carry on the struggle, until, in God's good time, the New World, with all its power and might, steps forth to the rescue and the liberation of the old!<\/dialogue>\n    <scene_description>The LABOUR BENCHES begin to wave their papers in the air and call their approval, (it is against Parliamentary etiquette to ever clap in the House of Commons). WINSTON'S children bang their hands on the woodwork. WINSTON's CONSERVATIVE colleagues all look to CHAMBERLAIN. CLOSE ON: HALIFAX, looking down from the GALLERY at CHAMBERLAIN, closes his eyes, knowing what is coming next - - CHAMBERLAIN TAKES OUT HIS WHITE HANDKERCHIEF, and tamps his forehead with it. It's enough. The CONSERVATIVE FACTION, ignited, rises to their feet in THUNDEROUS SUPPORT of WINSTON. REACTION HALIFAX: Defeat. WINSTON turns to ANTHONY EDEN, registering surprise at the strength of support, and winks - EDEN grins and SHAKES his FRIEND's HAND.<\/scene_description>\n    <character>EDEN<\/character>\n    <dialogue>Changed your mind?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Those who never change their mind never change anything.<\/dialogue>\n    <scene_description>The UPROAR in the HOUSE continues, those in the gallery begin to throw their parliamentary papers into the air which then rain down into the chamber.<\/scene_description>\n    <character>STANHOPE<\/character>\n    <dialogue>What just happened?<\/dialogue>\n    <character>HALIFAX<\/character>\n    <dialogue>He just mobilized the English language--and sent it into battle.<\/dialogue>\n    <scene_description>Every man is on his feet waving their parliamentary papers and throwing them into the air, shouting and stamping. Smiling with due deference WINSTON takes up his things and walks down the central aisle of the house as papers continue to rain down from the gallery like ticker tape or confetti. As the GREAT DOORS of the COMMONS close behind him - the screen becomes BLACK. Up with END CAPTIONS: ALMOST ALL OF THE 300,000 TROOPS AT DUNKIRK WERE CARRIED HOME BY WINSTON'S CIVILIAN FLEET NEVILLE CHAMBERLAIN DIED SIX MONTHS LATER VISCOUNT HALIFAX WAS SOON REMOVED BY WINSTON FROM THE WAR CABINET AND SENT TO WASHINGTON ON MAY 8, FIVE YEARS LATER, BRITAIN AND ITS ALLIES WOULD DECLARE VICTORY WITHIN WEEKS OF VICTORY, CHURCHILL AND HIS PARTY WERE VOTED OUT OF OFFICE BY THE BRITISH PEOPLE. \"SUCCESS IS NOT FINAL, FAILURE IS NOT FATAL: IT IS THE COURAGE TO CONTINUE THAT COUNTS.\"<\/scene_description>\n    <character>WINSTON CHURCHILL<\/character>\n    <dialogue>Roll End Credits.<\/dialogue>\n  <\/scene>\n<\/script>","summary":"In May 1940, the opposition Labour Party in Parliament demand the resignation of British Prime Minister Neville Chamberlain for being too weak in the face of the Nazi onslaught. Conservative Party colleagues want Lord Halifax as his successor, but Halifax does not feel it is his time. Chamberlain chooses the only man whom the opposition parties will accept as the leader of a national government: Winston Churchill, the First Lord of the Admiralty, who correctly predicted the danger from Adolf Hitler before the war but has a poor reputation in Parliament because of his role in the disastrous Gallipoli campaign, his views on India, the Russian Civil War, The Gold Standard, his record in the Admiralty and his past defection from the Liberal Party. As Germany invades the Low Countries, Churchill is brusque with his new secretary Elizabeth Layton for mishearing him, which earns him a rebuke from his wife Clementine. King George VI, who is skeptical of Churchill due to his actions during the abdication crisis, reluctantly invites him to form a government. Churchill includes Chamberlain (as Lord President of the Council) and Halifax (as Secretary of State for Foreign Affairs). Parliament reacts coolly to Churchill's first speech promising \"Blood, toil, tears, and sweat\". Chamberlain and Halifax are appalled by Churchill's refusal to negotiate for peace and plan to resign from the government to force a vote of no confidence, creating a situation in which Halifax would likely become Prime Minister. Churchill visits French Prime Minister Paul Reynaud, who thinks Churchill delusional for not admitting that the Allies are losing the Battle of France, while Churchill is furious that the French do not have a plan to counterattack. Although US President Franklin Roosevelt is sympathetic to Churchill's plight, his actions are limited by an isolationist Congress and the Neutrality Acts. Churchill draws ire from his cabinet and advisers for delivering a radio address in which he falsely implies the Allies to be advancing in France, earning him a rebuke from the king. Halifax and Chamberlain continue to push to use Italian Ambassador Giuseppe Bastianini as an intermediary with Germany. The British Expeditionary Force is trapped at Dunkirk and Calais, and Britain begins preparing for a German invasion. Against the advice of the War Cabinet, Churchill orders Brigadier Nicholson in Calais to lead the 30th Infantry Brigade to distract the enemy and buy time for the evacuation of soldiers from Dunkirk. The debacle in France causes the War Cabinet to support negotiating with Germany. Under heavy pressure, Churchill agrees to consider a negotiated peace, but chokes on the words as he tries to dictate a letter requesting talks. George VI unexpectedly visits Churchill, explaining that he has come to support Churchill to continue the war. Churchill's idea to have \"civilian boats\" evacuate troops from Dunkirk, Operation Dynamo, is initiated. Still uncertain, Churchill impulsively rides the London Underground (for the first time in his life) and asks startled passengers their opinions; they all want to continue to fight Hitler. Churchill addresses the Outer Cabinet and other members of parliament and finds they, too, have little or no desire to surrender. As Churchill prepares to address Parliament, Halifax asks Chamberlain to continue with their plan to resign, but Chamberlain decides first to listen to the address. Finishing his speech, Churchill proclaims \"we shall fight on the beaches\" should the Germans invade, to resounding support from the Opposition, while the Tory MPs behind him sit silently, until Chamberlain mops his brow with his handkerchief, a prearranged signal that they should support the PM. Churchill exits the chamber to cheers and enthusiastic waving of Order Papers."}
{"movie_name":"Kung Fu Panda_2008","imdb_id":"tt0441773","script":"<script>\n  <scene>\n    <stage_direction>EXT. VALLEY -- DAY<\/stage_direction>\n    <scene_description>A MYSTERIOUS WARRIOR treks across the rugged landscape .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Legend tells of a legendary warrior whose Kung Fu skills were the stuff of legend.<\/dialogue>\n    <scene_description>The warrior , his identity hidden beneath his flowing robe and wide - brimmed hat , gnaws on a staff of bamboo .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>He traveled the land in search of worthy foes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAR<\/stage_direction>\n    <scene_description>The warrior sits at a table drinking tea and gnawing on his bamboo . The door BLASTS open . The MANCHU GANG rushes in and surrounds him .<\/scene_description>\n    <character>GANG BOSS<\/character>\n    <parenthetical>( to warrior . )<\/parenthetical>\n    <dialogue>I see you like to CHEW!<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Maybe you should chew on my FIST!<\/dialogue>\n    <scene_description>The Boss punches the table .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The warrior said nothing for his mouth was full. Then, he swallowed.<\/dialogue>\n    <scene_description>He swallows .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>And then, he spoke.<\/dialogue>\n    <character>WARRIOR<\/character>\n    <parenthetical>( dubbed hero voice . )<\/parenthetical>\n    <dialogue>Enough talk. Let's FIGHT! SHASHABOOEY!<\/dialogue>\n    <scene_description>WHAM ! The warrior delivers a punch and the whole gang goes flying .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He was so deadly in fact that his enemies would go blind from overexposure to pure awesomeness.<\/dialogue>\n    <scene_description>The gang members blindly flail about .<\/scene_description>\n    <character>NINJA CAT<\/character>\n    <dialogue>MY EYES!<\/dialogue>\n    <character>GATOR<\/character>\n    <dialogue>HE'S TOO AWESOME!<\/dialogue>\n    <scene_description>ONLOOKERS swoon .<\/scene_description>\n    <character>SMITTEN BUNNY<\/character>\n    <dialogue>And ATTRACTIVE!<\/dialogue>\n    <character>GRATEFUL BUNNY<\/character>\n    <dialogue>How can we repay you?<\/dialogue>\n    <character>WARRIOR<\/character>\n    <dialogue>There is no charge for awesomeness, or attractiveness.<\/dialogue>\n    <scene_description>ONE HUNDRED ASSASSINS appear and surround the warrior .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAR - CONTINUOUS<\/stage_direction>\n    <scene_description>The entire bar swells , packed to the rafters with ninjas .<\/scene_description>\n    <character>WARRIOR<\/character>\n    <dialogue>KABLOOEY!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAR - CONTINUOUS<\/stage_direction>\n    <scene_description>The roof EXPLODES and a cloud of ninjas erupts into the sky . Like a tornado , the warrior spins and knocks them all down .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It mattered not how many foes he faced. They were no match for his bodacity.<\/dialogue>\n    <scene_description>The warrior beats up a thousand ninjas , delivering his final blow while doing a split between two trees . The warrior stands amongst a field of vanquished foes as god - rays shine down upon him .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Never before had a panda been so feared. and so loved. Even the most heroic heroes in all of China, the Furious Five, bowed in respect to this great master.<\/dialogue>\n    <character>MONKEY<\/character>\n    <dialogue>We should hang out.<\/dialogue>\n    <character>WARRIOR<\/character>\n    <dialogue>Agreed.<\/dialogue>\n    <scene_description>As the Five salute the warrior , he turns to see more bandits approaching . The Five strike an attack pose . The warrior brandishes a shiny green sword and leaps off the mountain into the sea of bandits .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>But hanging out would have to wait. ` Cause when you're facing the ten thousand demons of Demon Mountain, there's only one thing that matters. And that's -<\/dialogue>\n    <scene_description>In mid air , the Five talk to the warrior in a strange voice .<\/scene_description>\n    <character>MONKEY<\/character>\n    <dialogue>Po! Get up!<\/dialogue>\n    <character>TIGRESS<\/character>\n    <dialogue>You'll be late for work!<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Whu?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PO'S ROOM - DAY<\/stage_direction>\n    <scene_description>Po lands hard on the floor . He tries to clear his head and wake up .<\/scene_description>\n    <character>PO'S DAD<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Po! Get up!<\/dialogue>\n    <scene_description>We see his room is filled with various kung fu posters -LRB- including a poster featuring all of the Five -RRB- and souvenirs , and a wooden version of the Sword of Heroes -LRB- the green sword -RRB- . Po SIGHS . He attempts to kick himself to his feet but alas , his belly is too worthy a foe .<\/scene_description>\n    <character>PO'S DAD<\/character>\n    <parenthetical>( O.S. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Po! What are you doing up there?<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Uh, nothing!<\/dialogue>\n    <scene_description>Po hops to his feet , imitating his Kung Fu action figures .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Monkey! Mantis! Crane! Viper! Tigress! Rowrrrr.<\/dialogue>\n    <scene_description>OUTSIDE on the balcony of the neighboring house , a pig watering flowers stares at Po . Po tries to play it cool and then quickly ducks out of sight .<\/scene_description>\n    <character>PO'S DAD<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Po! Let's go! You're late for work!<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Coming!<\/dialogue>\n    <scene_description>He takes a ninja star from his floor and chucks it at the wall . It bounces off . He throws the star again , but it bounces off again . He picks it up and heads downstairs . He trips and falls the rest of the way .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - DAY<\/stage_direction>\n    <scene_description>Po falls flat on his face on the kitchen floor . A panda - shaped shadow looms over Po .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Sorry, Dad.<\/dialogue>\n    <character>PO'S DAD<\/character>\n    <dialogue>Sorry does n't make the noodles.<\/dialogue>\n    <scene_description>Reveal that the shadow is actually caused by a basket being carried by a small DUCK . This is PO 'S DAD . Po gets to work , which is not easy since the kitchen 's not really made for a panda his size .<\/scene_description>\n    <character>PO'S DAD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What were you doing up there? All that noise.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Oh, nothing. Just had a crazy dream.<\/dialogue>\n    <scene_description>He gets back to work .<\/scene_description>\n    <character>PO'S DAD<\/character>\n    <dialogue>About what?<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>PO'S DAD<\/character>\n    <dialogue>The dream. What were you dreaming about?<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>What was I. eh, I was dreaming about uh. heh.<\/dialogue>\n    <scene_description>Push in on Po - is he going to admit his dream ? He hides his throwing star behind his back .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Noodles.<\/dialogue>\n    <scene_description>THOK . Dad stops chopping vegetables .<\/scene_description>\n    <character>PO'S DAD<\/character>\n    <dialogue>Noodles. You were really dreaming about noodles?<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Uh, yeah. What else would I be dreaming about?<\/dialogue>\n    <scene_description>Po hands a noodle bowl to a customer , then realizes his throwing star is sitting in it .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( to customer . )<\/parenthetical>\n    <dialogue>Careful, that soup is. sharp!<\/dialogue>\n    <character>PO'S DAD<\/character>\n    <dialogue>Oh, happy day! My son, finally having the noodle dream!<\/dialogue>\n    <scene_description>He throws his arms around Po .<\/scene_description>\n    <character>PO'S DAD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You do n't know how long I have been waiting for this moment.<\/dialogue>\n    <scene_description>When Dad pulls out of the hug , Po is now wearing a noodle apron .<\/scene_description>\n    <character>PO'S DAD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>This is a sign, Po!<\/dialogue>\n    <scene_description>Po looks at the apron nervously - what has he gotten himself into ?<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Uh. a sign of what?<\/dialogue>\n    <character>PO'S DAD<\/character>\n    <dialogue>You are almost ready to be entrusted with the secret ingredient of my `` Secret Ingredient Soup.'' And then you will fulfill your destiny and take over the restaurant, just as I took it over from my father, who took it over from his father, who won it from a friend in a game of mahjong.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Dad Dad Dad, it was just a dream.<\/dialogue>\n    <character>PO'S DAD<\/character>\n    <dialogue>No, it was the dream. We are noodle folk. Broth runs through our veins.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>But Dad, did n't you ever, I dunno, want to do something else? Something besides noodles?<\/dialogue>\n    <character>PO'S DAD<\/character>\n    <dialogue>Actually.<\/dialogue>\n    <scene_description>Po looks surprised .<\/scene_description>\n    <character>PO'S DAD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>When I was young and crazy.<\/dialogue>\n    <scene_description>Dad gets a wistful look in his eyes .<\/scene_description>\n    <character>PO'S DAD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I thought about running away and learning how to make tofu.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>So why did n't you?!<\/dialogue>\n    <character>PO'S DAD<\/character>\n    <dialogue>Oh, because it was a stupid dream. Can you imagine, me making tofu?<\/dialogue>\n    <parenthetical>( laughs at the thought . )<\/parenthetical>\n    <dialogue>No. We all have our place in this world. Mine is here. And yours is -<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>I know. Is here.<\/dialogue>\n    <character>PO'S DAD<\/character>\n    <dialogue>No, it's at tables two, five, seven, and twelve.<\/dialogue>\n    <scene_description>He loads Po 's arms with bowls of soup .<\/scene_description>\n    <character>PO'S DAD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Service with a smile!<\/dialogue>\n    <scene_description>A GONG sounds in the distance . Po looks out the window at the distant JADE PALACE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JADE PALACE - DAY<\/stage_direction>\n    <scene_description>SLAM ZOOM in towards Palace . End next to palace on an old red panda -LRB- SHIFU -RRB- playing a FLUTE . He is surrounded by the bushes and trees that nestle between the Palace buildings . Wider : We dolly around from behind the bushes . Stealthy dark shapes move in the foreground . Back on Shifu , still playing . He seems oblivious . Five figures explode from the undergrowth simultaneously , diving on Shifu . Shifu moves like lightning - the flute now wielded like a staff - he deflects , blocks , dodges , parries - the attackers go flying - They roll and pick themselves up , turning to face Shifu , who is now standing - poised - ready for their next move .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>Well done, students. if you were trying to disappoint me.<\/dialogue>\n    <scene_description>He uses his flute to correct the Five 's technique .<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Tigress, you need more ferocity. Monkey, greater speed.<\/dialogue>\n    <scene_description>Each of the Five bows respectfully as their name is mentioned .<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Crane - height. Viper - subtlety. Mantis -<\/dialogue>\n    <scene_description>Shifu suddenly points the flute at a scared PALACE GOOSE .<\/scene_description>\n    <character>ZENG<\/character>\n    <dialogue>Master Shifu!<\/dialogue>\n    <character>SHIFU<\/character>\n    <parenthetical>( impatiently . )<\/parenthetical>\n    <dialogue>What?!<\/dialogue>\n    <character>ZENG<\/character>\n    <parenthetical>( startled . )<\/parenthetical>\n    <dialogue>Aah! It's Master Oogway. He wants to see you.<\/dialogue>\n    <scene_description>Shifu looks up , concerned .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY<\/stage_direction>\n    <scene_description>Shifu strides purposefully down the hallway , which is lined with palace geese .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCROLL ROOM - DAY<\/stage_direction>\n    <scene_description>Candles , incense , and smoke fill the room . The door bursts open , the candles flicker . Shifu enters .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>Master Oogway? You summoned me.<\/dialogue>\n    <scene_description>He bows . Then looks up without unbowing .<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Is something wrong?<\/dialogue>\n    <scene_description>Reveal Master Oogway . a wise , old tortoise .<\/scene_description>\n    <character>OOGWAY<\/character>\n    <dialogue>Why must something be wrong for me to want to see my old friend?<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>So. nothing's wrong?<\/dialogue>\n    <character>OOGWAY<\/character>\n    <dialogue>Well, I did n't say that.<\/dialogue>\n    <scene_description>Shifu looks up , concerned . Oogway opens his mouth . and blows out a candle . And another candle . And another . Finally , Shifu uses his Kung Fu to blow them all out . Oogway smiles knowingly .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>You were saying?<\/dialogue>\n    <character>OOGWAY<\/character>\n    <dialogue>I have had a vision. Tai Lung will return.<\/dialogue>\n    <scene_description>Shifu looks stricken . FLASHBACK - INT . SCROLL ROOM Quick , impressionistic images of Shifu battling a large , shadowy figure -LRB- Tai Lung -RRB- . PRESENT - INT . SCROLL ROOM Shifu is rattled . He looks at the claw marks that still scar the wall and quickly looks away . But he regains his composure .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>That is impossible. He is in prison.<\/dialogue>\n    <character>OOGWAY<\/character>\n    <dialogue>Nothing is impossible.<\/dialogue>\n    <scene_description>Shifu makes a split decision .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>Zeng!<\/dialogue>\n    <scene_description>He comes flying in . Shifu gets in his face .<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Fly to Chogun Prison and tell them to double the guards, double their weapons. Double everything! Tai Lung does not leave that prison!<\/dialogue>\n    <character>ZENG<\/character>\n    <dialogue>Yes, Master Shifu.<\/dialogue>\n    <scene_description>The goose flies off , but . SMACK ! He hits a column . Then he is off . Back on Oogway , as he walks toward camera , away from Shifu .<\/scene_description>\n    <character>OOGWAY<\/character>\n    <dialogue>One often meets his destiny on the road he takes to avoid it.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>We have to do something. We ca n't just let him march on the valley, and take his revenge! He'll, he'll -<\/dialogue>\n    <scene_description>Oogway looks into the water of the moon pool .<\/scene_description>\n    <character>OOGWAY<\/character>\n    <dialogue>Your mind is like this water, my friend. When it is agitated, it becomes difficult to see. But if you allow it to settle, the answer becomes clear.<\/dialogue>\n    <scene_description>Shifu and Oogway stare into the pool . Oogway settles the water , revealing the reflection of an intricately carved dragon clutching a SCROLL in its mouth .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>The Dragon Scroll.<\/dialogue>\n    <character>OOGWAY<\/character>\n    <dialogue>It is time.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>But who? Who is worthy to be trusted with the secret to limitless power? To become. the Dragon Warrior?!<\/dialogue>\n    <scene_description>Dramatic music as we push in on Oogway 's face . Then .<\/scene_description>\n    <character>OOGWAY<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NOODLE SHOP - DAY<\/stage_direction>\n    <scene_description>Po is serving customers , but has trouble squeezing between tables .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Oop. sorry.<\/dialogue>\n    <character>ANGRY PATRON<\/character>\n    <dialogue>Hey! Watch it, Po!<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Sorry. Suck it up.<\/dialogue>\n    <scene_description>He sucks his belly in , but this causes his butt to interfere with a bunny family 's meal .<\/scene_description>\n    <character>DISGUSTED PATRON<\/character>\n    <dialogue>Ugh!<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Oop! Sorry! A thousand pardons.<\/dialogue>\n    <scene_description>A couple palace geese put up a poster on the wall and a palace pig hits a tiny gong . This gets Po 's attention . He rushes up to the poster .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What?! Master Oogway's choosing the Dragon Warrior! Today!<\/dialogue>\n    <scene_description>Customers jump up excitedly .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Everyone! Everyone! Go! Get to the Jade Palace!<\/dialogue>\n    <scene_description>Po urges the villagers out the restaurant .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>One of the Five is gon na get the Dragon Scroll!<\/dialogue>\n    <scene_description>Customers rush to finish their food .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>We've been waiting a thousand years for this! Just take the bowl!<\/dialogue>\n    <scene_description>Other customers are finishing their soup . One old lady customer slowly counts out coins and puts them on the table .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>This is the greatest day in Kung Fu history! Do n't worry about it, just go!<\/dialogue>\n    <scene_description>He starts to run .<\/scene_description>\n    <character>PO'S DAD<\/character>\n    <dialogue>Po! Where are you going?<\/dialogue>\n    <scene_description>Po stops dead in his tracks , busted .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>To the. Jade Palace?<\/dialogue>\n    <character>PO'S DAD<\/character>\n    <dialogue>But you're forgetting your noodle cart! The whole valley will be there, and you'll sell noodles to all of them.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Selling noodles? But Dad, you know, I was kinda thinking maybe I.<\/dialogue>\n    <character>PO'S DAD<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>I was kinda thinking maybe I.<\/dialogue>\n    <character>PO'S DAD<\/character>\n    <dialogue>Uh huh?<\/dialogue>\n    <scene_description>Po wants to say something to his dad , but he loses his nerve .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Could also sell the bean buns. They are about to go bad.<\/dialogue>\n    <character>PO'S DAD<\/character>\n    <dialogue>That's my boy! I told you that dream was a sign!<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Yeah, ha ha, glad I had it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VALLEY SQUARE - DAY<\/stage_direction>\n    <scene_description>Throngs of Villagers are streaming into the arena . A couple BUNNY KIDS run by .<\/scene_description>\n    <character>BUNNY FAN #1<\/character>\n    <dialogue>Yippee!<\/dialogue>\n    <character>BUNNY FAN #2<\/character>\n    <dialogue>I'm a Kung Fu warrior!<\/dialogue>\n    <character>BUNNY FAN #1<\/character>\n    <dialogue>Me too!<\/dialogue>\n    <scene_description>Where 's Po ? PAN DOWN a long , long , long , long flight of stairs . Po stands at the bottom with his noodle cart , looking up at the daunting task before him . Po struggles to pull his noodle cart up the stairs . The sun beats down on Po , but he presses forward . Climbing . Climbing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VALLEY SQUARE - LATER<\/stage_direction>\n    <scene_description>Po is still struggling up the stairs .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Come on! Come on, ya - Almost there.<\/dialogue>\n    <scene_description>He stops , flopping onto his back to catch his breath . WIDEN TO REVEAL he 's only made it up seven steps .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What? No! Oh No!<\/dialogue>\n    <scene_description>Two Pigs pass by .<\/scene_description>\n    <character>KG SHAW<\/character>\n    <dialogue>Sorry, Po.<\/dialogue>\n    <character>JR SHAW<\/character>\n    <dialogue>We'll bring you back a souvenir.<\/dialogue>\n    <scene_description>Po watches as they run up the stairs . His eyes narrow . This is his heroic moment .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>No. I'll bring me back a souvenir.<\/dialogue>\n    <scene_description>Po tosses off his hat and apron and begins his ascent up the stairs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JADE PALACE - ARENA PLATFORM<\/stage_direction>\n    <scene_description>Oogway reaches the bottom of the palace stairs and a Palace Pig bangs a gong .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>It is an historic day, is n't it, Master Oogway?<\/dialogue>\n    <character>OOGWAY<\/character>\n    <dialogue>Yes, and one I feared I would not live to see. Are your students ready?<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>Yes, Master Oogway.<\/dialogue>\n    <character>OOGWAY<\/character>\n    <dialogue>Now know this, old friend. Whomever I choose will not only bring peace to the Valley, but also to you.<\/dialogue>\n    <scene_description>As Shifu contemplates what this could mean , Oogway starts walking off . Shifu quickly joins Oogway as they head towards the roaring crowd below . The pig bangs the gong .<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <dialogue>Let the tournament begin!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VALLEY SQUARE - DAY<\/stage_direction>\n    <scene_description>Throngs of Villagers are streaming into the arena .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOP OF STAIRS - DAY<\/stage_direction>\n    <scene_description>Po gasps for air as he hoists himself over the last step , laughing victoriously .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( out of breath . )<\/parenthetical>\n    <dialogue>Yeah!<\/dialogue>\n    <scene_description>The doors to the palace arena begin to close .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oh no! No no no! Wait! I'm coming!<\/dialogue>\n    <scene_description>Po runs to the entrance and proceeds to bang on the door .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hey! Open the door!<\/dialogue>\n    <scene_description>DRUMS inside drown out Po 's pounding . He yells .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Let me in!<\/dialogue>\n    <scene_description>Inside , spectators ' screams drown out Po 's yelling . Po panics for a beat and then finds a window . He jumps and weakly struggles to pull himself up . Po struggles to peek through the window .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE ARENA - CONTINUOUS<\/stage_direction>\n    <character>SHIFU<\/character>\n    <dialogue>Citizens of the Valley of Peace! It is my great honor to present to you. Tigress! Viper! Crane! Monkey! Mantis! The Furious Five!<\/dialogue>\n    <scene_description>The Five jump into the middle of the ring .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>The Furious Five!<\/dialogue>\n    <scene_description>Po manages a brief glimpse of the Five before a gust of wind knocks Po to the ground and shuts the window .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>Warriors prepare!<\/dialogue>\n    <scene_description>Po runs over to a crack in the wall .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Peeky - hole!<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>Ready for battle!<\/dialogue>\n    <scene_description>Inside the arena , Po catches a glimpse of Crane as he spreads his wings .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Yeah! Woo! The Thousand Tongues of Fire!<\/dialogue>\n    <scene_description>One of the spectators walks in front of Po , cutting off his view .<\/scene_description>\n    <character>PIG FAN<\/character>\n    <dialogue>Whoa! Look at that.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Hey, get out of the way!<\/dialogue>\n    <scene_description>Po backs up to get a better look at Crane in the sky and accidentally falls down the stairs . Po climbs back up and drops his head - he missed it . Po tries karate chopping the door open . to no avail . He slumps to the ground .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Ow.<\/dialogue>\n    <scene_description>Po attempts a pole vault , but falls on his back . The pole whips around and hits him into the arena wall . Po rigs a catapult , only to get clobbered by it . The crowd CHEERS . Po sits atop the stairs . Alone .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>And finally. Master Tigress!<\/dialogue>\n    <scene_description>Po snaps to attention . Po pulls on a rope tied to a tree .<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( O.S. ; CONT 'D . )<\/parenthetical>\n    <dialogue>And believe me citizens, you have not seen anything yet!<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>I KNOW!<\/dialogue>\n    <character>SHIFU<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Master Tigress! Face Iron Ox and his Blades of Death!<\/dialogue>\n    <scene_description>Tigress sets up to deliver her move . Po launches himself up above the fence , gets a peek at Tigress , then falls out of view just as she does her move . Po lands outside the arena in a fireworks tent .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOURNAMENT RING - DAY<\/stage_direction>\n    <scene_description>Oogway senses something . He raises his hand and the crowd hushes .<\/scene_description>\n    <character>OOGWAY<\/character>\n    <dialogue>I sense the Dragon Warrior is among us.<\/dialogue>\n    <scene_description>Shifu motions for the Five to gather in the center of the ring .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>Citizens of the Valley of Peace! Master Oogway will now choose. the Dragon Warrior!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOURNAMENT RING - DAY<\/stage_direction>\n    <scene_description>Po comes to .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Huh? Oh no! Wait!<\/dialogue>\n    <scene_description>He sees the fireworks and has an idea .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Yeah!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOURNAMENT RING - DAY<\/stage_direction>\n    <scene_description>Oogway closes his eyes and raises his hand as ceremonial DRUMS start to play .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOURNAMENT RING - DAY<\/stage_direction>\n    <scene_description>Po struggles with something , his back turned to us . Reveal he has tied a load of fireworks to a chair . He hops on and lights the fuse .<\/scene_description>\n    <character>PO'S DAD<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Po?!<\/dialogue>\n    <scene_description>Po 's Dad rushes over and tries to blow out the fuse .<\/scene_description>\n    <character>PO'S DAD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>What does it look like I'm doing? Stop! Stop! I'm going to see the Dragon Warrior!<\/dialogue>\n    <character>PO'S DAD<\/character>\n    <dialogue>But I do n't understand. You finally had the noodle dream.<\/dialogue>\n    <scene_description>Po looks uneasy .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>I lied. I do n't dream about noodles, Dad!<\/dialogue>\n    <scene_description>He looks at the fuse . almost all gone . Po holds onto the chair for dear life , closes his eyes , and braces himself for liftoff .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I love kung fuuuuuuuuuuuuuuuuu -<\/dialogue>\n    <scene_description>Po finally opens his eyes . He 's still on the ground . The fuse was a dud . Po falls face first into the dirt . He looks away , embarrassed . Po 's Dad holds out his apron .<\/scene_description>\n    <character>PO'S DAD<\/character>\n    <dialogue>Come on, son. Let's get back to work.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Po sighs , starts to reach for the apron , then - BOOM ! The rockets ignite , propelling Po into the stadium wall .<\/scene_description>\n    <character>PO'S DAD<\/character>\n    <dialogue>Oh! Come back!<\/dialogue>\n    <scene_description>Po 's rocket chair blasts him into the sky amid a shower of fireworks .<\/scene_description>\n    <character>CROWD<\/character>\n    <dialogue>Oooh! Aaahh!<\/dialogue>\n    <scene_description>Po climbs up and up . until the rockets die out and the chair loses power .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Uh oh.<\/dialogue>\n    <scene_description>Oogway 's arm sweeps down the line of the expectant Five . Po falls towards the center of the ring . The tension builds as the Five wait to see who will be picked . Then . SMASH ! Po lands and kicks up a huge dirt cloud , obscuring the ring .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARENA<\/stage_direction>\n    <scene_description>PO POV : He sees the Five looking down at him , appalled . Po comes round slowly , getting his bearings . He looks around and sees Oogway . Strangely , the old turtle is smiling .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>What's going on? Where. uh? What are you pointing -?<\/dialogue>\n    <scene_description>He looks up . An awful realization starts to dawn . Po GULPS . He is desperately embarrassed .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oh. Okay. Sorry. I just wanted to see who the Dragon Warrior was.<\/dialogue>\n    <scene_description>He tries to shuffle his butt out of there , mumbling apologies .<\/scene_description>\n    <character>OOGWAY<\/character>\n    <dialogue>How interesting.<\/dialogue>\n    <character>TIGRESS<\/character>\n    <dialogue>Master, are you pointing at. me?<\/dialogue>\n    <character>OOGWAY<\/character>\n    <dialogue>Him.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Who -?<\/dialogue>\n    <scene_description>Po tries moving out of the way of Oogway 's finger , but it keeps following him .<\/scene_description>\n    <character>OOGWAY<\/character>\n    <dialogue>You.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Me?<\/dialogue>\n    <scene_description>Oogway grabs Po 's hand and holds it up for all to see .<\/scene_description>\n    <character>OOGWAY<\/character>\n    <dialogue>The universe has brought us the Dragon Warrior!<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>FURIOUS FIVE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>PO'S DAD<\/character>\n    <dialogue>WHAT?<\/dialogue>\n    <scene_description>The pig bangs the gong . The crowd goes wild ! They cheer ! They scream ! Confetti falls ! A palanquin is carried past Shifu .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>Stop! Wait! Who told you to -?<\/dialogue>\n    <scene_description>Po stands there , utterly stunned , his mouth hanging open . He is abruptly lifted up out of shot . Cut to the Palace Geese straining . Po is being lifted with great effort on the palanquin . He is carried off . Shifu elbows his way urgently through the thronging crowd to get to Oogway .<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Master Oogway, wait! That flabby panda ca n't possibly be the answer to. our problem. You were about to point at Tigress. That thing fell in front of her. That was just an accident!<\/dialogue>\n    <character>OOGWAY<\/character>\n    <dialogue>There are no accidents.<\/dialogue>\n    <scene_description>Oogway smiles benignly as we hear an off - screen CRASH ! The camera adjusts to reveal the palanquin has collapsed under Po . Shifu looks at Oogway . Oogway just smiles . A squad of burly pigs rushes in and hoists Po , the palanquin , and the Geese onto their shoulders , and they head off for the Jade Palace . Stunned , Shifu watches them go . Behind him , the Five approach and bow .<\/scene_description>\n    <character>TIGRESS<\/character>\n    <dialogue>Forgive us, Master. We have failed you.<\/dialogue>\n    <scene_description>Shifu spins around .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>No. If the panda has not quit by morning, then I will have failed you.<\/dialogue>\n    <scene_description>Confetti flutters through the air as the celebration continues around them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRISON -- NIGHT<\/stage_direction>\n    <scene_description>A huge prison is carved into the side of a frozen mountain . Fifteen stories of iron and rock . No windows . One door - locked , bolted and sealed tight . Rhinoceros guards in armor patrol the perimeter . Zeng , the palace goose , flies into frame and a Rhino Sentry spots him in the distance . He lands , sliding on the ice and crashing into the gate . The rhinos point their spears at him .<\/scene_description>\n    <character>ZENG<\/character>\n    <dialogue>Wait wait wait! I bring a message from Master Shifu.<\/dialogue>\n    <scene_description>CLANG ! The doors creak open . The terrified goose peers in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON -- A MOMENT LATER<\/stage_direction>\n    <character>COMMANDER<\/character>\n    <dialogue>What?!?!<\/dialogue>\n    <parenthetical>( reading . )<\/parenthetical>\n    <dialogue>`` Double the guard?! Extra precautions?! Your prison may not be adequate!''<\/dialogue>\n    <scene_description>The Goose is quaking in fear . Stern Rhinos surround him , staring daggers at him . The Commander snaps the scroll shut .<\/scene_description>\n    <character>COMMANDER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You doubt my prison's security?<\/dialogue>\n    <character>ZENG<\/character>\n    <dialogue>Absolutely not.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>Shifu does. I'm just the messenger.<\/dialogue>\n    <character>COMMANDER<\/character>\n    <dialogue>I'll give you a message for your Master Shifu.<\/dialogue>\n    <scene_description>ON A BRIDGE<\/scene_description>\n    <character>COMMANDER<\/character>\n    <dialogue>Escape from Chogun Prison is impossible!<\/dialogue>\n    <scene_description>The Goose is awed by the cavernous prison .<\/scene_description>\n    <character>ZENG<\/character>\n    <dialogue>Whoa.<\/dialogue>\n    <scene_description>The goose looks over the bridge 's edge . The prison goes down a long ways . The commander hits the goose on the back .<\/scene_description>\n    <character>COMMANDER<\/character>\n    <dialogue>Impressive, is n't it?<\/dialogue>\n    <scene_description>A feather from the goose drifts down the prison .<\/scene_description>\n    <character>ZENG<\/character>\n    <dialogue>Yes, very impressive. It's VERY impressive.<\/dialogue>\n    <character>COMMANDER<\/character>\n    <dialogue>One way in, one way out, one thousand guards, and one prisoner.<\/dialogue>\n    <character>ZENG<\/character>\n    <dialogue>Yes, except that prisoner is Tai Lung.<\/dialogue>\n    <scene_description>AT THE ELEVATOR<\/scene_description>\n    <character>COMMANDER<\/character>\n    <dialogue>Take us down.<\/dialogue>\n    <scene_description>Several guard rhinos winch the goose and the commander down . The commander grabs the chain and shakes the elevator , trying to scare the goose .<\/scene_description>\n    <character>ZENG<\/character>\n    <dialogue>What are you doing?!<\/dialogue>\n    <scene_description>The commander just laughs . The elevator finally lands , sending an echo throughout the prison . AT DOORS - A number of doors unlock , one after the other . Finally , a drawbridge is lowered out onto an island .<\/scene_description>\n    <character>ZENG<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oh my.<\/dialogue>\n    <character>COMMANDER<\/character>\n    <dialogue>Behold, Tai Lung.<\/dialogue>\n    <character>ZENG<\/character>\n    <dialogue>I'll um. I'm just gon na wait right here.<\/dialogue>\n    <character>COMMANDER<\/character>\n    <dialogue>It's nothing to worry about. It's perfectly safe.<\/dialogue>\n    <scene_description>He shoves the goose out ahead of him .<\/scene_description>\n    <character>ZENG<\/character>\n    <dialogue>Oof!<\/dialogue>\n    <character>COMMANDER<\/character>\n    <dialogue>Crossbows! At the ready!<\/dialogue>\n    <character>ZENG<\/character>\n    <dialogue>Crossbows?!<\/dialogue>\n    <scene_description>They approach TAI LUNG , a giant , muscular snow leopard bound in a giant piece of tortoise shell armor and chains . He barely registers signs of life . The commander walks right up to him .<\/scene_description>\n    <character>COMMANDER<\/character>\n    <dialogue>Hey, tough guy, did you hear? Oogway's finally gon na give someone the Dragon Scroll and it's not gon na be you!<\/dialogue>\n    <scene_description>The goose ca n't believe it .<\/scene_description>\n    <character>ZENG<\/character>\n    <dialogue>What are you doing?! Do n't get him mad.<\/dialogue>\n    <character>COMMANDER<\/character>\n    <dialogue>What's he gon na do about it? I've got him completely immobilized.<\/dialogue>\n    <scene_description>The Commander stomps on Tai Lung 's tail . We hear a crunch . The goose flinches . But Tai Lung does not react .<\/scene_description>\n    <character>COMMANDER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Awww. Did I step on the witty kitty's tail? Awww.<\/dialogue>\n    <scene_description>Tai Lung does n't move . His eyes stare coldly straight ahead .<\/scene_description>\n    <character>ZENG<\/character>\n    <dialogue>I'm good. I've seen enough. I'm gon na tell Shifu he's got nothing to worry about.<\/dialogue>\n    <character>COMMANDER<\/character>\n    <dialogue>No, he does n't.<\/dialogue>\n    <character>ZENG<\/character>\n    <dialogue>Okay, I'll tell him that. Can we please go now?<\/dialogue>\n    <scene_description>The Commander starts to walk back to the elevator . The goose hurries after him . The goose 's feather flutters into frame . We follow the feather as it lands right in front of Tai Lung . HIS EYES OPEN . Tai Lung grabs the feather with his tail .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JADE PALACE - HALLWAY<\/stage_direction>\n    <scene_description>The palace doors open to reveal Po on the palanquin , hundreds of villagers behind him .<\/scene_description>\n    <character>CROWD<\/character>\n    <parenthetical>( chanting . )<\/parenthetical>\n    <dialogue>Dragon Warrior! Dragon Warrior!<\/dialogue>\n    <scene_description>Po is ushered in and the doors close . He is alone . He runs back to the closed palace doors .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Wait a second! Hello? Uh. I think there's been a slight mistake. Everyone seems to think that I'm, uh.<\/dialogue>\n    <scene_description>Po finally realizes where he is .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Whoa. The Sacred Hall of Warriors. No way! Would you look at this place!<\/dialogue>\n    <scene_description>He rushes up to a display of armor .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( GASP . )<\/parenthetical>\n    <dialogue>Master Flying Rhino's Armor! With authentic battle damage!<\/dialogue>\n    <scene_description>He rushes up to a green sword , making sure not to touch it .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( GASP . )<\/parenthetical>\n    <dialogue>The Sword of Heroes! Said to be so sharp you can cut yourself just by looking - OW!<\/dialogue>\n    <scene_description>He stares at a black sopt on the wall .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( GASP . )<\/parenthetical>\n    <dialogue>The Invisible Trident of Destiny!?<\/dialogue>\n    <scene_description>He admires a painting .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( GASP . )<\/parenthetical>\n    <dialogue>I've only seen paintings of that painting.<\/dialogue>\n    <scene_description>Po runs around the room , amazed by all the ancient kung fu artifacts . Something special catches Po 's eye .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( loudly . )<\/parenthetical>\n    <dialogue>Nooo! Ohhhh!<\/dialogue>\n    <scene_description>He runs over to it .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>The legendary Urn of Whispering Warriors! Said to contain the souls of the entire Tenshu army.<\/dialogue>\n    <parenthetical>( calling into vase . )<\/parenthetical>\n    <dialogue>Hellooo?<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>Have you finished sight - seeing?<\/dialogue>\n    <scene_description>Po GASPS .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( to vase . )<\/parenthetical>\n    <dialogue>Sorry. I should've come to see you first.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>My patience is wearing thin.<\/dialogue>\n    <character>PO<\/character>\n    <parenthetical>( to vase . )<\/parenthetical>\n    <dialogue>Oh. Well, I mean, it's not like you were going anywhere.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>Would you turn around?<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>Po turns and sees Shifu .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hey, how's it going?<\/dialogue>\n    <scene_description>Po turns back to the vase .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( to vase . )<\/parenthetical>\n    <dialogue>Now how do you get five thousand -.<\/dialogue>\n    <parenthetical>( cutting himself off . )<\/parenthetical>\n    <dialogue>Master Shifu!<\/dialogue>\n    <scene_description>Po bumps the vase which falls and BREAKS .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Someone. broke that. But I'm gon na fix it. Do you have some glue?<\/dialogue>\n    <scene_description>The vase debris screams as Po tries to pick up the pieces .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Ow! Ooh. Splinter.<\/dialogue>\n    <scene_description>Po fumbles around . Shifu looks irked .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>So you're the legendary Dragon Warrior. Hmmm?<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Uh. I guess so?<\/dialogue>\n    <scene_description>Shifu smiles and shakes his head .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>Wrong! You are not the Dragon Warrior. You will never be the Dragon Warrior until you have learned the secret of the Dragon Scroll.<\/dialogue>\n    <scene_description>He points to a dragon on the ceiling with a single scroll in its mouth .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( in awe . )<\/parenthetical>\n    <dialogue>Whoa.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>So how does this work? You have a ladder or trampoline or?<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>You think it's that easy? That I am just going to hand you the secret to limitless power?<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>No, I.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>One must first master the highest level of kung fu. And that is clearly impossible if that one is someone like you.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Someone like me?<\/dialogue>\n    <scene_description>Shifu walks around Po - pointing out his weaknesses .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>Yes. Look at you. this fat butt.<\/dialogue>\n    <scene_description>Shifu HITS Po on the butt with his staff .<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Flabby arms.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Those are sensitive in the flabby parts.<\/dialogue>\n    <scene_description>Shifu SWATS Po on the arm with his staff .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>And this ridiculous belly.<\/dialogue>\n    <scene_description>Shifu HITS Po in the belly with his staff .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>- and utter disregard for personal hygiene.<\/dialogue>\n    <character>PO<\/character>\n    <parenthetical>( pointing at Shifu . )<\/parenthetical>\n    <dialogue>Now wait a minute. That's a little uncalled - for.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>Do n't stand that close. I can smell your breath.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Listen. Oogway said that I was the -<\/dialogue>\n    <scene_description>Shifu pinches Po 's outstretched digit .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( gasp . )<\/parenthetical>\n    <dialogue>The Wuxi Finger Hold?! Not the Wuxi Finger Hold!<\/dialogue>\n    <character>SHIFU<\/character>\n    <parenthetical>( sly . )<\/parenthetical>\n    <dialogue>Oh, you know this hold?<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>DevelopedbyMasterWuxiInTheThirdDyna sty - YES.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>Oh, then you must know what happens when I flex my pinky.<\/dialogue>\n    <scene_description>Po nervously eyes his finger locked in Shifu 's grip and nods quickly .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>No no no!<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>You know the hardest part of this? The hardest part is cleaning up afterwards.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Okay! Okay! Take it easy.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>Now listen closely, panda. Oogway may have picked you, but when I'm through with you, I promise you, you're going to wish he had n't. Are we clear?<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Yeah, we're clear. We're clear. We are so clear.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>Good. I ca n't wait to get started.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAINING HALL<\/stage_direction>\n    <scene_description>The doors open , revealing Po nursing his wounded finger . Shifu steps out of the way and Po 's face goes into shock . The Five are performing death - defying kung fu moves in the training hall . Tigress smashes a swinging , spiked ball of wood . ANGLE ON AN AWESTRUCK PO , as shards of wood blast into his face . Po is intimidated and overwhelmed . Shifu scowls at Po .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>Let's begin.<\/dialogue>\n    <scene_description>He gestures to the gauntlet . Po 's eyes go wide .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Wait wait wait. What? Now?<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>Yes. now. Unless you think the great Oogway was wrong, and you are not the Dragon Warrior.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Oh, okay. Well - I do n't know if I can do all of those moves.<\/dialogue>\n    <scene_description>Shifu walks away and Po half - heartedly follows .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>Well, if we do n't try, we'll never know will we?<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Uh, yeah. It's just, maybe we can find something more suited to my level.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>And what level is that?<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Well, ya know. I'm not a master, but uh, let's just start at zero, level zero.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>There is no such thing as level zero.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Hey! Maybe I can start with that.<\/dialogue>\n    <scene_description>Po points at a rather friendly - looking dummy .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>That? We use that for training children. And for propping the door open when it's hot. But if you insist.<\/dialogue>\n    <scene_description>Relieved , Po turns to the dummy . The Five gather around him .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Whoa. The Furious Five. You're so much bigger than your action figures - except for you, Mantis. You're about the same.<\/dialogue>\n    <scene_description>Mantis gives him a look .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>Go ahead, panda. Show us what you can do.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Um, are they gon na watch? Or should I just wait until they get back to work or something.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>Hit it.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Ok. I mean, I just ate. So I'm still digesting. So my kung fu might not be as good as later on.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>Just hit it.<\/dialogue>\n    <scene_description>Po psyches himself up , doing some Jack Fu .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Alright. Whatcha got? You got nothing cause I got it right here. You picking on my friends? Get ready to feel the thunder. I'm comin' at him with the crazy feet. Whatcha gon na do about my crazy feet? I'm a blur. I'm a blur. You never seen bear style, you only seen praying Mantis! OR. I could come at you Monkey style. OR. I'm comin' at ya snikity - snake.<\/dialogue>\n    <scene_description>Shifu and the Five stare at Po , perplexed .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>Would you hit it!<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Alright. alright.<\/dialogue>\n    <scene_description>Po lightly hits the dummy and it rocks back into place .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>Why do n't you try again? A little harder.<\/dialogue>\n    <scene_description>Po punches it again , knocking it all the way backwards . He turns to Shifu , smug .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>How's tha -<\/dialogue>\n    <scene_description>WHAP ! The dummy rights itself and smacks Po . Totally dazed , Po trips and stumbles his way through the obstacle course . The Five instinctively step forward to help Po , but Shifu holds up his hand to stop them . BACK ON PO<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Ow, that hurts.<\/dialogue>\n    <scene_description>A spiky tethered ball sends Po flying into the jade turtle exercise , where it rattles him around .<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( to the Five . )<\/parenthetical>\n    <dialogue>This'll be easier than I thought.<\/dialogue>\n    <scene_description>Back to Po in the turtle bowl .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Feeling a little nauseous.<\/dialogue>\n    <scene_description>The turtle spills him out and he stumbles into the army of wooden dummies .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Ow, those are hard! Ooh! I think I.<\/dialogue>\n    <scene_description>The last dummy whaps him in the crotch and everything becomes still .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oooohoohoo. my tenders.<\/dialogue>\n    <scene_description>He struggles to get on his feet , takes one step and reaches out to a dummy arm . and immediately gets pummeled all over again . Po comes out the other side battered and bruised and finds he is standing on the floor that shoots out bursts of flame . We see reflections of fire on the Five and Shifu as Po gets singed . He comes crawling into frame .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>How did I do?<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>There is now a level zero.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUNKHOUSE - NIGHT<\/stage_direction>\n    <scene_description>The Five are walking to the bunkhouse , which sits high on a hill .<\/scene_description>\n    <character>MANTIS<\/character>\n    <dialogue>There's no words.<\/dialogue>\n    <character>CRANE<\/character>\n    <dialogue>No denying that.<\/dialogue>\n    <character>VIPER<\/character>\n    <dialogue>I do n't understand what Master Oogway was thinking. The poor guy's just gon na get himself killed.<\/dialogue>\n    <character>CRANE<\/character>\n    <parenthetical>( mocking . )<\/parenthetical>\n    <dialogue>He is so mighty! The Dragon Warrior fell out of the sky on a ball of fire.<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>When he walks, the very ground shakes!<\/dialogue>\n    <character>TIGRESS<\/character>\n    <dialogue>One would think that Master Oogway would choose someone who actually knew Kung Fu.<\/dialogue>\n    <character>CRANE<\/character>\n    <dialogue>Yeah, or could at least touch his toes.<\/dialogue>\n    <character>MONKEY<\/character>\n    <dialogue>Or even see his toes.<\/dialogue>\n    <scene_description>As the others walk off , we reveal Po , who unbeknownst to them has been walking behind them this whole time , hearing everything . He attempts to look at his toes but just sees gut . He lifts up his stomach , leans forward . leans . leans . and falls over . He gets up and watches them go inside . He sighs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUNKHOUSE<\/stage_direction>\n    <scene_description>Po peeks around the corner .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>He tip - toes into the hall . SQUEAK . The floorboards strain beneath him . SQUEAK .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>Great.<\/dialogue>\n    <scene_description>Po takes a gentle step . CRE - E - E - A - AA - CHUNK ! Po 's foot goes through the floor . Po tries to recover . SQUEAK - SQUEAK - SQUEAK ! THUNK ! Po rolls his ankle and stumbles through a bedroom door . Crane is staring back at him .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oh hey. hi. You're up.<\/dialogue>\n    <character>CRANE<\/character>\n    <dialogue>Am now.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>I was just uh. Some day huh? That kung fu stuff is hard work, right? Your biceps sore?<\/dialogue>\n    <scene_description>Crane looks at his wing .<\/scene_description>\n    <character>CRANE<\/character>\n    <dialogue>Um. I've had a long and rather disappointing day, so uh. yeah, I should probably get to sleep now.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Yeah yeah yeah, of course.<\/dialogue>\n    <character>CRANE<\/character>\n    <parenthetical>( relieved . )<\/parenthetical>\n    <dialogue>Okay, thanks.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>It's just. I'm such a big fan.<\/dialogue>\n    <character>CRANE<\/character>\n    <dialogue>Oop.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>You guys were totally amazing at the Battle of Weeping River. Outnumbered a thousand to one, but you did n't stop, and then you just. HI - YAH!<\/dialogue>\n    <scene_description>Po does a spastic series of Kung Fu moves . We hear a RIP , and reveal that he 's kicked his foot through the paper wall .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Ooo, sorry about that.<\/dialogue>\n    <character>CRANE<\/character>\n    <dialogue>Look, you do n't belong here.<\/dialogue>\n    <scene_description>Po looks stung to be hearing this from one of his heroes .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>I know. I know. You're right. I just - my whole life I've dreamed of -<\/dialogue>\n    <scene_description>Crane stops Po before he embarrasses himself even more .<\/scene_description>\n    <character>CRANE<\/character>\n    <dialogue>No no no. I meant you do n't belong here. I mean, in this room. This is my room. Property of Crane.<\/dialogue>\n    <scene_description>Po is mortified , but covers .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Oh, okay. Right right. Yeah, you want to get to sleep.<\/dialogue>\n    <character>CRANE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>I'm keepin' you up. We got big things tomorrow. Alright. You're awesome. Last thing I'm gon na say. Okay. Bye bye.<\/dialogue>\n    <scene_description>Po shuts the door . Crane sighs . The door flies open . Po enters with an eager smile .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What was that?<\/dialogue>\n    <character>CRANE<\/character>\n    <dialogue>I did n't say anything.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Okay. Alright. Goodnight. Sleep well.<\/dialogue>\n    <scene_description>Po backs out into the hall and closes the door .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Seemed a little bit awkward.<\/dialogue>\n    <scene_description>Po turns and walks down the hall to find a vacant room . CREAK - CREAK . Tigress opens the door behind him . Po winces .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Master Tigress! Did n't mean to wake you. Just uh.<\/dialogue>\n    <character>TIGRESS<\/character>\n    <dialogue>You do n't belong here.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Uh, yeah, yeah. Of course. This is your room.<\/dialogue>\n    <character>TIGRESS<\/character>\n    <dialogue>I mean. you do n't belong in the Jade Palace. You're a disgrace to Kung Fu, and if you have any respect for who we are and what we do, you will be gone by morning.<\/dialogue>\n    <scene_description>She closes the door on Po , who slumps sadly .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Big fan.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JADE PALACE - NIGHT<\/stage_direction>\n    <scene_description>A dejected Po stands under a peach tree in the moonlight . Oogway approaches .<\/scene_description>\n    <character>OOGWAY<\/character>\n    <dialogue>I see you have found the Sacred Peach Tree of Heavenly Wisdom.<\/dialogue>\n    <scene_description>Po spins around , his face dripping with peach juice .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( mouth full . )<\/parenthetical>\n    <dialogue>Is that what this is? I am so sorry. I thought it was just a regular peach tree.<\/dialogue>\n    <character>OOGWAY<\/character>\n    <dialogue>I understand. You eat when you are upset.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Upset? I'm not upset. What makes you think I'm upset?<\/dialogue>\n    <character>OOGWAY<\/character>\n    <dialogue>So why are you upset?<\/dialogue>\n    <scene_description>Po sighs , there 's no use trying to lie to Oogway .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>I probably sucked more today than anyone in the history of kung fu, in the history of China, in the history of sucking.<\/dialogue>\n    <character>OOGWAY<\/character>\n    <dialogue>Probably.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>And the Five. man, you should have seen them, they totally hate me.<\/dialogue>\n    <character>OOGWAY<\/character>\n    <dialogue>Totally.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>How's Shifu ever going to turn me into the Dragon Warrior? I mean, I'm not like The Five. I've got no claws, no wings, no venom. Even Mantis has those.<\/dialogue>\n    <parenthetical>( he imitates a mantis ' front legs . )<\/parenthetical>\n    <dialogue>. thingies. Maybe I should just quit and go back to making noodles.<\/dialogue>\n    <character>OOGWAY<\/character>\n    <dialogue>Quit, do n't quit. Noodles, do n't noodles.<\/dialogue>\n    <scene_description>Po looks confused .<\/scene_description>\n    <character>OOGWAY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You are too concerned with what was and what will be. There is a saying : Yesterday is history, tomorrow is a mystery, but today is a gift. That is why it is called the present.<\/dialogue>\n    <scene_description>Oogway hits the tree with his staff as he walks away and a peach falls into Po 's open hand .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON -- NIGHT<\/stage_direction>\n    <scene_description>Using the goose 's feather to pick the lock , Tai Lung BURSTS free from his armor . An ALARM RINGS OUT ! The Commander runs to the ledge , the Goose right behind him .<\/scene_description>\n    <character>ZENG<\/character>\n    <dialogue>What's happening?!<\/dialogue>\n    <scene_description>The Goose looks over the edge and sees Tai Lung at the bottom of the pit . Tai Lung struggles with his shackles .<\/scene_description>\n    <character>COMMANDER<\/character>\n    <dialogue>Fire Crossbows!<\/dialogue>\n    <scene_description>Tai Lung uses the incoming spears to break his shackles and then manages to kick the spears back up into the walls , creating a makeshift staircase .<\/scene_description>\n    <character>ZENG<\/character>\n    <dialogue>Tai Lung is free! I must warn Shifu!<\/dialogue>\n    <scene_description>The Commander shuts the Goose up .<\/scene_description>\n    <character>COMMANDER<\/character>\n    <dialogue>You're not going anywhere. And neither is he.<\/dialogue>\n    <character>ZENG<\/character>\n    <dialogue>Let go of me!<\/dialogue>\n    <character>COMMANDER<\/character>\n    <parenthetical>( to guards . )<\/parenthetical>\n    <dialogue>Bring it up!<\/dialogue>\n    <scene_description>The winch turns and the elevator starts to rise . A rhino guard tries to reach it , but just misses .<\/scene_description>\n    <character>RHINO GUARD #1<\/character>\n    <dialogue>Wait! Bring it back!<\/dialogue>\n    <character>ZENG<\/character>\n    <dialogue>He's coming this way!<\/dialogue>\n    <character>COMMANDER<\/character>\n    <dialogue>He wo n't get far.<\/dialogue>\n    <parenthetical>( to guards . )<\/parenthetical>\n    <dialogue>Archers!<\/dialogue>\n    <scene_description>Leaping across the spears , Tai Lung catches the elevator as the volley of arrows flies down past him . The guards cut the rope and the elevator crashes back down to the bottom of the pit . Tai Lung swings up from the bottom of the elevator house and catches the guards by surprise . He grabs the chain and jumps over the edge and swings around , launching himself up to the next tier , disappearing into the shadows . Tai Lung lands on a bridge , fights his way through , finally reaching the top tier where the Commander and the rest of the Rhino army await .<\/scene_description>\n    <character>ZENG<\/character>\n    <dialogue>We're dead. So very, very dead.<\/dialogue>\n    <scene_description>The Commander hushes the Goose .<\/scene_description>\n    <character>COMMANDER<\/character>\n    <parenthetical>( to Goose . )<\/parenthetical>\n    <dialogue>Heh heh. not yet we're not! Now!<\/dialogue>\n    <scene_description>Archers set off charges on the ceiling . Massive stalactites crash down and the bridge begins to crumble . Tai Lung leaps across the crumbling debris and attempts one last huge jump towards the Commander . But he falls short , claws scraping and sparking against the rock wall . The Commander laughs maniacally . On his way down , Tai Lung looks up and sees a fuse burning down to the last group of explosives . He leaps across the raining debris up to the ceiling of the cavern . Grabbing a hold of the dynamite , Tai Lung falls and slings it ahead of him at the guards .<\/scene_description>\n    <character>ZENG<\/character>\n    <dialogue>Can we run now?<\/dialogue>\n    <character>COMMANDER<\/character>\n    <dialogue>Yes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRISON<\/stage_direction>\n    <scene_description>KA - THOOM ! The door blasts open and Rhinos go flying everywhere . WHUMP . The Goose hits the ground . The commander 's horn prosthetic falls in front of him .<\/scene_description>\n    <character>ZENG<\/character>\n    <dialogue>Nuuu. Urggg.<\/dialogue>\n    <scene_description>Tai Lung picks up the Goose by the throat .<\/scene_description>\n    <character>ZENG<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>URRK!<\/dialogue>\n    <character>TAI LUNG<\/character>\n    <dialogue>I'm glad Shifu sent you. I was beginning to think I had been forgotten.<\/dialogue>\n    <scene_description>With a creepy tenderness , Tai Lung smooths the Goose 's ruffled feathers .<\/scene_description>\n    <character>TAI LUNG<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Fly back there and tell them. the real Dragon Warrior is coming home.<\/dialogue>\n    <scene_description>Tai Lung throws the Goose into the air and he flutters off . Lightning strikes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUNKHOUSE - MORNING<\/stage_direction>\n    <scene_description>CLOSE - UP of a gong being struck .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUNKHOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Shifu enters the hallway of the bunkhouse . The Five burst out of their rooms and land , ready for inspection .<\/scene_description>\n    <character>FURIOUS FIVE<\/character>\n    <dialogue>Good morning master!<\/dialogue>\n    <scene_description>One door remains closed .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>Panda! Panda, wake up!<\/dialogue>\n    <scene_description>He slides open Po 's door . The room is empty .<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( satisfied . )<\/parenthetical>\n    <dialogue>Hmm. He's quit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAINING HALL - MOMENTS LATER<\/stage_direction>\n    <scene_description>Shifu walks with a bit more energy .<\/scene_description>\n    <character>VIPER<\/character>\n    <dialogue>What do we do now, Master? With the panda gone, who will be the Dragon Warrior?<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>All we can do is resume our training and trust that in time, the true Dragon Warrior will be revealed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JADE PALACE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Shifu enters the training hall , only to find himself face - to - face with Po 's butt . Shifu and the Five are taken aback .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>What are you doing here?!<\/dialogue>\n    <scene_description>Reveal Po is in the middle of the floor , his legs spread wide apart . Po looks back over his shoulder to see Shifu and the Five enter the hall .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Hey! Huh. Good morning, Master! I thought I'd warm up a little.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>You're stuck.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Stuck?! Whaa? Pfft. stuck. Yeah, I'm stuck.<\/dialogue>\n    <character>SHIFU<\/character>\n    <parenthetical>( to Crane . )<\/parenthetical>\n    <dialogue>Help him.<\/dialogue>\n    <scene_description>Crane approaches Po .<\/scene_description>\n    <character>CRANE<\/character>\n    <dialogue>Oh dear.<\/dialogue>\n    <scene_description>Crane gingerly grabs Po 's waistband and attempts to pull him up by flapping his wings .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Maybe on three. One. Two -<\/dialogue>\n    <scene_description>Crane pulls him up and Po flops onto his back .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Threeeee. Thank you.<\/dialogue>\n    <character>CRANE<\/character>\n    <dialogue>Do n't mention it.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>No really, I appreci -<\/dialogue>\n    <character>CRANE<\/character>\n    <dialogue>- EVER.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>You actually thought you could learn to do a full split in one night? It takes years to develop one's flexibility and years longer to apply it in combat.<\/dialogue>\n    <scene_description>Shifu flings two boards into the air . Instantly , Tigress leaps up and executes a perfect split kick . Po is awestruck . As Tigress lands , the broken chunks of board land all around Po , knocking him on the head . Po collects a piece of splintered board as a souvenir . Shifu notices and steps forward .<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Put that down! The only souvenirs we collect here are bloody knuckles and broken bones.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Yeah, excellent!<\/dialogue>\n    <scene_description>He laughs excitedly and salutes Shifu .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>Let's get started.<\/dialogue>\n    <scene_description>MONTAGE Shifu snaps his fingers . Viper and Po face off .<\/scene_description>\n    <character>VIPER<\/character>\n    <dialogue>Are you ready?<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>I was born ready -<\/dialogue>\n    <scene_description>Viper lashes her tail around Po 's wrist , wrenches his arm back , flings him into the air and brings him crashing back down on his head .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Eaghhh.<\/dialogue>\n    <character>VIPER<\/character>\n    <dialogue>I'm sorry, brother! I thought you said you were ready!<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>That was awesome! Let's go again.<\/dialogue>\n    <parenthetical>( salutes . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Shifu snaps . Monkey twirls a bamboo staff . He lunges at Po who takes a comical beating . Shifu snaps . Po and Crane prepare to spar atop the turtle bowl . CRASH . Po falls in and is tossed around like a sack of soup . Shifu snaps . We see a series of shots of Po falling on his face at the hands of some invisible opponent , who turns out to be . Mantis . Shifu smiles . Flat on his back , Po manages a salute . Shifu has had it .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>I've been taking it easy on you, panda, but no more! Your next opponent. will be me.<\/dialogue>\n    <scene_description>Po looks excited .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Alright! Let's go!<\/dialogue>\n    <scene_description>The Five exchange worried looks .<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( to Po . )<\/parenthetical>\n    <dialogue>Step forth.<\/dialogue>\n    <scene_description>Po does n't even finish the step as Shifu whirls him around and throws him to the floor pinning his arm behind him .<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>The true path to victory is to find your opponent's weakness and make him suffer for it.<\/dialogue>\n    <character>PO<\/character>\n    <parenthetical>( delighted . )<\/parenthetical>\n    <dialogue>Oh, yeah!<\/dialogue>\n    <scene_description>Shifu whips Po around again .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>To take his strength and use it against him.<\/dialogue>\n    <scene_description>Again , this time Shifu holds Po by the nose .<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>- until he finally falls, or quits.<\/dialogue>\n    <scene_description>Po is totally inspired .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>But a real warrior never quits. Do n't worry, Master, I will never quit!<\/dialogue>\n    <scene_description>At his breaking point , Shifu flings Po into the air and then leaps at him with a flying kick .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAINING HALL - CONTINUOUS<\/stage_direction>\n    <scene_description>Po crashes out of the door and tumbles down the steps . The Five watch him fall .<\/scene_description>\n    <character>TIGRESS<\/character>\n    <dialogue>If he's smart, he wo n't come back up those steps.<\/dialogue>\n    <character>MONKEY<\/character>\n    <dialogue>But he will.<\/dialogue>\n    <character>VIPER<\/character>\n    <dialogue>He's not gon na quit, is he?<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>He's not gon na quit bouncin', I'll tell ya that.<\/dialogue>\n    <scene_description>Cut WIDE as Po continues to tumble .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUNKHOUSE - EVENING<\/stage_direction>\n    <scene_description>Close on Po , who grimaces .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Aaaoo. whoohoo. EEEee. hee - hee. I thought you said acupuncture would make me feel better.<\/dialogue>\n    <scene_description>Mantis pops up from behind Po holding a handful of needles and sticks Po again .<\/scene_description>\n    <character>MANTIS<\/character>\n    <dialogue>Trust me, it will. It's just not easy finding the right nerve points under all this -<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Fat?<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>Fur, I was gon na say fur.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Sure you were.<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>Who am I to judge a warrior based on his size? I mean - look at me.<\/dialogue>\n    <scene_description>Po looks for Mantis .<\/scene_description>\n    <character>MANTIS<\/character>\n    <parenthetical>( O.C. ; CONT 'D . )<\/parenthetical>\n    <dialogue>I'm over here.<\/dialogue>\n    <scene_description>But Mantis is now on his other shoulder . He jabs another needle into Po .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Ow!<\/dialogue>\n    <character>VIPER<\/character>\n    <dialogue>Maybe you should take a look at this again.<\/dialogue>\n    <scene_description>Viper is holding a diagram of acupuncture meridians -LRB- onto which someone has overlaid a drawing of a panda . -RRB-<\/scene_description>\n    <character>MANTIS<\/character>\n    <parenthetical>( re : diagram . )<\/parenthetical>\n    <dialogue>Oh! Okay.<\/dialogue>\n    <scene_description>Quick cuts to Monkey meditating in his room and Crane doing calligraphy in his . Po 's yelps distract them .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Ow! Do n't.<\/dialogue>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>Stop it, stop - Yow! I know Master Shifu's trying to inspire me and all, but if I did n't know any better, I'd say he was trying to get rid of me.<\/dialogue>\n    <scene_description>Po chuckles . The others look at each other and chuckle awkwardly .<\/scene_description>\n    <character>MANTIS<\/character>\n    <dialogue>I know he can seem kind of heartless -<\/dialogue>\n    <scene_description>He violently jabs another needle in Po .<\/scene_description>\n    <character>MANTIS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>But, ya know, he was n't always like that.<\/dialogue>\n    <character>VIPER<\/character>\n    <dialogue>According to legend, there was once a time when Master Shifu actually used to smile.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Cut to Tigress out in the hallway . She can hear them talking .<\/scene_description>\n    <character>VIPER<\/character>\n    <dialogue>But that was before.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Before what?<\/dialogue>\n    <scene_description>Tigress enters .<\/scene_description>\n    <character>TIGRESS<\/character>\n    <dialogue>Before Tai Lung.<\/dialogue>\n    <scene_description>Crane 's shadow is silhouetted on the wall .<\/scene_description>\n    <character>CRANE<\/character>\n    <dialogue>Uh yeah, we're not really supposed to talk about him.<\/dialogue>\n    <character>TIGRESS<\/character>\n    <dialogue>Well, if he's going to stay here, he should know.<\/dialogue>\n    <character>PO<\/character>\n    <parenthetical>( trying to ease the tension . )<\/parenthetical>\n    <dialogue>Guys, guys. I know about Tai Lung.<\/dialogue>\n    <scene_description>Tigress turns to Po .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>He was a student, the first ever to master the thousand.<\/dialogue>\n    <scene_description>Tigress approaches Po and leans in towards him .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( nervously trailing off . )<\/parenthetical>\n    <dialogue>. scrolls of. kung fu. and. then he turned bad. and now he's in jail.<\/dialogue>\n    <scene_description>Tigress shakes her head at the panda 's ignorance .<\/scene_description>\n    <character>TIGRESS<\/character>\n    <dialogue>He was n't just a student.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAINING HALL<\/stage_direction>\n    <scene_description>FLASHBACK . Shifu peeks out of the Training Hall and finds a baby leopard cub on the steps .<\/scene_description>\n    <character>TIGRESS<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Shifu found him as a cub. And he raised him as a son.<\/dialogue>\n    <scene_description>Baby Tai Lung pulls on Shifu 's whiskers .<\/scene_description>\n    <character>TIGRESS<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>and when the boy showed talent in Kung Fu.<\/dialogue>\n    <scene_description>Baby Tai Lung punches the training dummy across the floor .<\/scene_description>\n    <character>TIGRESS<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Shifu trained him.<\/dialogue>\n    <scene_description>Shifu teaches Baby Tai Lung how to punch .<\/scene_description>\n    <character>TIGRESS<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>He believed in him. He told him he was destined for greatness.<\/dialogue>\n    <scene_description>Hard cut to a full - grown Tai Lung demolishing a training dummy .<\/scene_description>\n    <character>TIGRESS<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>It was never enough for Tai Lung. He wanted the Dragon Scroll. But Oogway saw darkness in his heart and refused. Outraged, Tai Lung laid waste to the valley. He tried to take the scroll by force. And Shifu had to destroy what he had created.<\/dialogue>\n    <scene_description>Tai Lung ransacks a village on his way up to the Jade Palace . He crashes through the doors , running towards a waiting Shifu and Oogway . Shifu leaps at Tai Lung to deliver a kick .<\/scene_description>\n    <character>TIGRESS<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>But how could he?<\/dialogue>\n    <scene_description>Seeing only baby Tai Lung running towards him , Shifu pulls his kick short . Tai Lung counters with a devastating strike and Shifu crashes to the ground holding his broken leg . Tai Lung leaps for the scroll , but Oogway stops him with strikes at his pressure points . He falls to the ground in a heap .<\/scene_description>\n    <character>TIGRESS<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Shifu loved Tai Lung like he'd never loved anyone before.<\/dialogue>\n    <scene_description>Young Tigress in the training hall strikes the dummy in the same manner as Tai Lung . Shifu corrects her form . Nothing more . Young Tigress looks crestfallen .<\/scene_description>\n    <character>TIGRESS<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>or since.<\/dialogue>\n    <scene_description>The sad , young Tigress cross - dissolves to adult Tigress .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUNKHOUSE - EVENING<\/stage_direction>\n    <scene_description>Everyone is quiet in the moment .<\/scene_description>\n    <character>TIGRESS<\/character>\n    <dialogue>And now he has a chance to make things right, to train the true Dragon Warrior. And he's stuck with you : a big, fat panda who treats it like a joke.<\/dialogue>\n    <scene_description>Po makes a googly - eyed face .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Doieeeee.<\/dialogue>\n    <character>TIGRESS<\/character>\n    <parenthetical>( charging at Po . )<\/parenthetical>\n    <dialogue>Oh! That is it!<\/dialogue>\n    <scene_description>Mantis pops up and halts Tigress .<\/scene_description>\n    <character>MANTIS<\/character>\n    <dialogue>Wait! My fault! I accidentally tweaked his facial nerve.<\/dialogue>\n    <scene_description>Po falls face first to the floor , revealing his back is covered with needles .<\/scene_description>\n    <character>MANTIS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And may have also stopped his heart.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAINING HALL - NIGHT<\/stage_direction>\n    <scene_description>Shifu is sitting in meditation , fidgeting incessantly .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>Inner peace. Inner peace. Inner peace.<\/dialogue>\n    <scene_description>He finally opens one eye .<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Would whoever is making that flapping sound, quiet down!<\/dialogue>\n    <scene_description>Satisfied with the silence , Shifu nods and resumes his meditation .<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Inner.<\/dialogue>\n    <scene_description>BOOM . Zeng drops in from the ceiling .<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oh, Zeng. Excellent. I could use some good news right now.<\/dialogue>\n    <character>ZENG<\/character>\n    <dialogue>Uh.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JADE PALACE GROUNDS - EVENING<\/stage_direction>\n    <scene_description>Oogway stands under the peach tree , deep in thought . Shifu rushes in , emerging from the mist , extremely agitated .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>Master! Master!<\/dialogue>\n    <character>OOGWAY<\/character>\n    <dialogue>Hmmm?<\/dialogue>\n    <character>SHIFU<\/character>\n    <parenthetical>( out of breath . )<\/parenthetical>\n    <dialogue>I have - it's - it's very bad news.<\/dialogue>\n    <character>OOGWAY<\/character>\n    <dialogue>Ah, Shifu. There is just news. There is no good or bad.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>Master, your vision. your vision was right. Tai Lung has broken out of prison. He's on his way!<\/dialogue>\n    <character>OOGWAY<\/character>\n    <dialogue>That is bad news.<\/dialogue>\n    <scene_description>He turns to face Shifu and stares at him , eyebrow raised .<\/scene_description>\n    <character>OOGWAY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>If you do not believe that the Dragon Warrior can stop him.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>The panda? Master, that panda is not the Dragon Warrior. He was n't even meant to be here - it was an accident!<\/dialogue>\n    <character>OOGWAY<\/character>\n    <dialogue>There are no accidents.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>Yes, I know. You've said that already. Twice.<\/dialogue>\n    <character>OOGWAY<\/character>\n    <dialogue>Well, that was no accident either.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>Thrice.<\/dialogue>\n    <character>OOGWAY<\/character>\n    <dialogue>My old friend, the panda will never fulfill his destiny, nor you yours, until you let go of the illusion of control.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>Illusion?<\/dialogue>\n    <character>OOGWAY<\/character>\n    <dialogue>Yeah. Look at this tree, Shifu. I can not make it blossom when it suits me, nor make it bear fruit before its time.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>But there are things we can control.<\/dialogue>\n    <scene_description>Shifu kicks the tree and a peach falls to his feet .<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I can control when the fruit will fall.<\/dialogue>\n    <scene_description>A peach falls on his head and Oogway chuckles . Shifu tosses the peach in the air , leaps up , and splits it with a chop .<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And I can control -<\/dialogue>\n    <scene_description>Shifu punches the ground , creating a hole and places the seed in it .<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>- where to plant the seed. That is no illusion, Master.<\/dialogue>\n    <character>OOGWAY<\/character>\n    <dialogue>Ah, yes. But no matter what you do, that seed will grow to be a peach tree. You may wish for an apple, or an orange. but you will get a peach.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>But a peach can not defeat Tai Lung!<\/dialogue>\n    <character>OOGWAY<\/character>\n    <dialogue>Maybe it can. If you are willing to guide it, to nurture it. To believe in it.<\/dialogue>\n    <scene_description>Oogway covers the seed with dirt .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>But how? How? I need your help, Master.<\/dialogue>\n    <character>OOGWAY<\/character>\n    <dialogue>No, you just need to believe. Promise me, Shifu. Promise me you will believe.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>I. I will try.<\/dialogue>\n    <scene_description>Oogway smiles , then glances up at the sky , then back down to Shifu .<\/scene_description>\n    <character>OOGWAY<\/character>\n    <dialogue>Good. My time has come. You must continue your journey without me.<\/dialogue>\n    <scene_description>He hands his staff to a confused Shifu .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>What. what are you?<\/dialogue>\n    <scene_description>Oogway backs away into the swirling fog .<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Master, you ca n't leave me!<\/dialogue>\n    <scene_description>The petals surround Oogway as he approaches the cliff 's edge .<\/scene_description>\n    <character>OOGWAY<\/character>\n    <dialogue>You must believe.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>Master!<\/dialogue>\n    <scene_description>Shifu runs after him . Oogway is engulfed by peach blossoms . As the winds settle , Shifu is revealed standing at the edge of a cliff . Oogway is gone . We pan across to the bunkhouse .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>So I'm like, fine, you may be a wolf, you may be the scariest bandit in Haijin Province.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN -- NIGHT<\/stage_direction>\n    <scene_description>Reveal Po is cooking for the Five . He chops some veggies mid - air .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>but you're a lousy tipper.<\/dialogue>\n    <character>CRANE<\/character>\n    <parenthetical>( incredulous . )<\/parenthetical>\n    <dialogue>Really? So. how'd you get out of there alive?<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>I mean, I did n't actually say that, but I thought it. in my mind.<\/dialogue>\n    <scene_description>Po flips some bowls and expertly lines them up on his arm . He ladles soup into them .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( covering . )<\/parenthetical>\n    <dialogue>If he. could read my mind, he'd have been like, `` What?''.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>Order up!<\/dialogue>\n    <scene_description>Po looks around expectantly and the Five -LRB- minus Tigress -RRB- dig in .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hope you like it.<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>This is really good.<\/dialogue>\n    <character>PO<\/character>\n    <parenthetical>( bashful . )<\/parenthetical>\n    <dialogue>No, c'mon. You should try my dad's secret ingredient soup. He actually knows the secret ingredient.<\/dialogue>\n    <character>VIPER<\/character>\n    <dialogue>What are you talking about? This is amazing.<\/dialogue>\n    <character>CRANE<\/character>\n    <dialogue>Wow, you're a really good cook.<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>I wish my mouth was bigger.<\/dialogue>\n    <scene_description>The others laugh . But not Tigress .<\/scene_description>\n    <character>MONKEY<\/character>\n    <dialogue>Tigress, you got ta try this.<\/dialogue>\n    <scene_description>Tigress looks up from her meal .<\/scene_description>\n    <character>TIGRESS<\/character>\n    <dialogue>It is said that the Dragon Warrior can survive for months at a time on nothing but the dew of a single gingko leaf and the energy of the universe.<\/dialogue>\n    <scene_description>On the others for a beat . Then Po shrugs .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>I guess my body does n't know it's the Dragon Warrior yet. I'm gon na need a lot more than dew. And, uh, universe juice.<\/dialogue>\n    <scene_description>Po laughs . He picks up his bowl and takes a giant gulp . When he lowers the bowl , we see a noodle hanging from his face - it looks like a moustache . Mantis snickers .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>Oh, nothing. Master Shifu!<\/dialogue>\n    <scene_description>The rest start laughing . Po realizes he 's wearing a noodle moustache . He plays it up .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( imitating Shifu . )<\/parenthetical>\n    <dialogue>You will never be the Dragon Warrior, unless you lose five hundred pounds and brush your teeth!<\/dialogue>\n    <scene_description>The Five LAUGH .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( imitating Shifu . )<\/parenthetical>\n    <dialogue>What is that noise you're making? Laughter? I never heard of it!<\/dialogue>\n    <scene_description>The Five keep LAUGHING . Po reaches over and grabs two empty bowls and holds them up like ears .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( imitating Shifu . )<\/parenthetical>\n    <dialogue>Work hard, Panda. And maybe, someday. you will have ears like mine.<\/dialogue>\n    <scene_description>As the rest of the Five laugh , Tigress sneaks a moment to smell Po 's soup . Leaning towards the bowl , she suddenly looks up and stops . The Five also look up and stop laughing . Reveal Shifu has entered behind Po . He is holding Oogway 's staff .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( normal . )<\/parenthetical>\n    <dialogue>Ears. It's not working for you? I thought they were pretty good.<\/dialogue>\n    <scene_description>Po looks at the stone - faced Five . Tigress jumps to her feet .<\/scene_description>\n    <character>MONKEY<\/character>\n    <dialogue>It's Shifu.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Of course it's Shifu. What do you think I'm doing?<\/dialogue>\n    <scene_description>He finally notices Shifu standing there , doing a slow burn . Embarrassed , he places the soup bowls on his chest like a bra .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Ooh! Master Shifu!<\/dialogue>\n    <scene_description>Po slurps up the noodle moustache . Monkey ca n't help but snicker .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>You think this is funny? Tai Lung has escaped from prison and you're acting like children!<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>He is coming for the Dragon Scroll, and you are the only one who can stop him.<\/dialogue>\n    <scene_description>The bowls fall off . A beat as this sinks in . then Po starts to laugh .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>And here I am saying you got no sense of humor. I'm gon na stop Tai.<\/dialogue>\n    <scene_description>Shifu just stares at him , deadly serious .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What? You're serious? And I have to - uh, Master Oogway will stop him! He did it before, he'll do it again.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>Oogway can not, not anymore.<\/dialogue>\n    <scene_description>They notice Shifu holding Oogway 's staff . They know what this means . They are saddened by the news .<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Our only hope is the Dragon Warrior.<\/dialogue>\n    <character>TIGRESS<\/character>\n    <dialogue>The panda?<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>Yes, the panda!<\/dialogue>\n    <character>TIGRESS<\/character>\n    <dialogue>Master, please. Let us stop Tai Lung. This is what you've trained us for.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>No! It is not your destiny to defeat Tai Lung. It is his.<\/dialogue>\n    <scene_description>He dramatically points at Po . but Po is gone .<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Where'd he go?<\/dialogue>\n    <scene_description>Shifu throws up his hands in frustration and heads after Po .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUNKHOUSE \u00ad DAY<\/stage_direction>\n    <scene_description>Super wide shot as Po runs away from the compound . Closer as he continues running . He checks over his shoulder , turns back . Shifu lands right in front of him .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>You can not leave! A real warrior never quits!<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Watch me!<\/dialogue>\n    <scene_description>He tries to maneuver around Shifu , but is redirected back .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Come on! How am I supposed to beat Tai Lung? I ca n't even beat you to the stairs.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>You will beat him because you are the Dragon Warrior!<\/dialogue>\n    <scene_description>He pushes Po back with the staff .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Ow! You do n't believe that! You never believed that! From the first moment I got here, you've been trying to get rid of me.<\/dialogue>\n    <scene_description>Shifu pokes him again , this time causing Po to fall on his back .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>Yes. I was. But now I ask you to trust in your master as I have come to trust in mine.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>You're not my master. And I'm not the Dragon Warrior.<\/dialogue>\n    <scene_description>Po shoves the staff away and gets up .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>Then why did n't you quit? You knew I was trying to get rid of you, and yet you stayed.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Yeah, I stayed. I stayed because every time you threw a brick at my head or said I smelled, it hurt. But it could never hurt more than it did every day of my life just being me.<\/dialogue>\n    <scene_description>Po looks down at the Valley , then turns back to Shifu .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I stayed because I thought if anyone could change me, could make me. not me, it was you. The greatest kung fu teacher in all of China.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>But I can change you! I can turn you into the Dragon Warrior! And I will!<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>C'mon, Tai Lung is on his way here right now. And even if it takes him a hundred years to get here, how are you gon na change this.<\/dialogue>\n    <parenthetical>( indicate belly . )<\/parenthetical>\n    <dialogue>. into the Dragon Warrior? How? How? How?!<\/dialogue>\n    <scene_description>In frustration , Shifu yells out the answer .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>I do n't know!<\/dialogue>\n    <parenthetical>( then , resigned . )<\/parenthetical>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>That's what I thought.<\/dialogue>\n    <scene_description>Shifu walks away , leaving the path open to Po .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JADE PALACE - NIGHT<\/stage_direction>\n    <scene_description>Tigress stands in the moonlight outside the palace . She has seen what just transpired between Shifu and Po . She turns away , a look of resolve on her face . and LEAPS . She flies through the air , finally landing on a rooftop in the valley below . She looks back up at the palace .<\/scene_description>\n    <character>TIGRESS<\/character>\n    <dialogue>This is what you trained me for.<\/dialogue>\n    <scene_description>She takes off running . The other four are right behind her .<\/scene_description>\n    <character>VIPER<\/character>\n    <dialogue>Tigress!<\/dialogue>\n    <scene_description>She keeps going and they give chase .<\/scene_description>\n    <character>TIGRESS<\/character>\n    <dialogue>Do n't try and stop me!<\/dialogue>\n    <scene_description>The chase continues through the village .<\/scene_description>\n    <character>VIPER<\/character>\n    <dialogue>We're not trying to stop you!<\/dialogue>\n    <character>TIGRESS<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>VIPER<\/character>\n    <dialogue>We're coming with you!<\/dialogue>\n    <scene_description>Then . the others join her . Tigress smiles . They leap off into the night .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JADE PALACE - EVENING<\/stage_direction>\n    <scene_description>Night dissolves to dawn . Shifu sits under the peach tree . He stirs , hearing KUNG FU NOISES from the training hall . He goes to investigate .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAINING HALL - DAWN<\/stage_direction>\n    <scene_description>Shifu looks inside - it 's empty . The NOISES continue from somewhere else - the bunkhouse .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - DAWN<\/stage_direction>\n    <scene_description>As Shifu turns the corner he sees Po 's shadow as he performs some amazing Kung Fu . Entering the kitchen , Shifu finds Po is stuffing his face with food . Seeing Shifu , he stops mid - munch . In silence they eye each other . Shifu surveys the room - broken lock , smashed doors , unhinged cabinets . Po belches .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( mouth full . )<\/parenthetical>\n    <dialogue>What? I eat when I'm upset, okay?<\/dialogue>\n    <scene_description>Shifu gets a glimmer in his eye . He has an idea .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>Oh, no need to explain. I just thought you might be Monkey - he hides his almond cookies on the top shelf.<\/dialogue>\n    <scene_description>Shifu calmly exits and hides just outside the doorway , waiting to see if his hunch is correct . KLUMP ! KLONK ! THUNK ! Shifu peeks back inside and finds Po perched atop the high shelves jamming more cookies into his mouth . Po notices Shifu walking back in .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( mouth full . )<\/parenthetical>\n    <dialogue>Do n't tell Monkey.<\/dialogue>\n    <scene_description>He glances back down at Shifu , whose disbelief turns to a wise smile .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>Look at you.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Yeah, I know. I disgust you.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>No no, I mean. how did you get up there?<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>I do n't know. I guess I - I do n't know. I was getting a cookie.<\/dialogue>\n    <scene_description>He looks at the cookie and then ca n't help but eat it .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>And yet you are ten feet off the ground and have done a perfect split.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>No, this. this is just an accident.<\/dialogue>\n    <scene_description>He and Po stare at each other for a beat . Then . WHOOMP ! Po slips and crashes to the kitchen floor . A cookie rolls over to Shifu . He picks it up .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>There are no accidents. Come with me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUNTAINS - DAWN<\/stage_direction>\n    <scene_description>Shifu leads Po through the mountains .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>I know you're trying to be all mystical and kung fu - y, but could you at least tell me where we're going?<\/dialogue>\n    <scene_description>Shifu just continues walking .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUNTAINS - LATER<\/stage_direction>\n    <scene_description>Shifu is sitting beneath a tree . Winded and wheezing , Po slowly works his way up the hill . Po sets his gear down and looks around . Shifu breathes in the morning mist as Po approaches .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>You dragged me all the way out here for a bath?!<\/dialogue>\n    <scene_description>Po begins to pat his armpits with water .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>Panda, we do not wash our pits in The Pool of Sacred Tears.<\/dialogue>\n    <scene_description>Po quickly stops . Realizing .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( in awe . )<\/parenthetical>\n    <dialogue>The pool of.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>This is where Oogway unravelled the mysteries of harmony and focus. This is the birthplace of Kung Fu.<\/dialogue>\n    <scene_description>The camera cranes up to reveal they are standing on rock shapes that resemble a yin yang symbol . As the camera pulls further out , it pulls back through a vision of Oogway doing Kung Fu moves . FLASH FRAME - Shifu leaps atop one of the rocks and looks down at Po .<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Do you want to learn Kung Fu?<\/dialogue>\n    <character>PO<\/character>\n    <parenthetical>( awestruck . )<\/parenthetical>\n    <dialogue>Yeah.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>Then I am your master!<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Okay!<\/dialogue>\n    <scene_description>Tears of joy well up in Po 's eyes .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>Do n't cry.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Po sniffs the tears back and smiles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD - LATER<\/stage_direction>\n    <scene_description>Shifu leads Po out into an open field .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>When you focus on Kung Fu, when you concentrate. you stink.<\/dialogue>\n    <scene_description>Po scowls .<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>But perhaps that is my fault. I can not train you the way I have trained the Five. I now see that the way to get through to you is with this!<\/dialogue>\n    <scene_description>Shifu produces a bowl of dumplings .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Oh great, ` cause I'm hungry.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>Good. When you have been trained, you may eat. Let us begin.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD - LATER<\/stage_direction>\n    <scene_description>Po 's training unfolds - deep breathing exercises , balance tests , push ups , sit ups , climbing , etc. . Through it all , he never gets to eat , although he does indeed learn kung fu .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLEARING - A MOMENT LATER<\/stage_direction>\n    <scene_description>Shifu sets a bowl of dumplings on a boulder .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>After you, panda.<\/dialogue>\n    <scene_description>Po stops short , suspicious .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Just like that? No situps? No ten mile hike?<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>I vowed to train you. and you have been trained. You are free to eat.<\/dialogue>\n    <scene_description>Po grabs one of the dumplings in his chopsticks .<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Enjoy.<\/dialogue>\n    <scene_description>Po raises the dumpling to his mouth . WHOOSH ! Shifu snatches the dumpling away and eats it himself .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>I said you are free to eat. Have a dumpling.<\/dialogue>\n    <scene_description>Po reaches again as Shifu leaps across the table and kicks the dumpling into the air .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>Shifu eats it and Po scowls .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>You are free to eat!<\/dialogue>\n    <character>PO<\/character>\n    <parenthetical>( upset . )<\/parenthetical>\n    <dialogue>Am I?<\/dialogue>\n    <character>SHIFU<\/character>\n    <parenthetical>( challenging . )<\/parenthetical>\n    <dialogue>Are you?!<\/dialogue>\n    <scene_description>Po and Shifu ready their chopsticks . Po slams the table and sends the bowl of dumplings airborne . Back and forth , Po and Shifu spar , vying for the dumplings . Until there is only one left . Shifu tries every trick to keep the dumpling away from Po . He hides it underneath one of the bowls . He uses his chopsticks as weapons to smack Po 's chopsticks away . He attacks Po with his bamboo staff . But Po skillfully manages to best Shifu for the final dumpling . Shifu smiles . Po has passed the final test . But then Po tosses the dumpling into Shifu 's open hand .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>I'm not hungry. master.<\/dialogue>\n    <scene_description>Master and pupil bow to each other .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUNTAIN PASS<\/stage_direction>\n    <scene_description>The Five race toward a rope bridge stretched between mountain peaks . Tai Lung appears at the other end of the bridge . He ROARS and races toward them .<\/scene_description>\n    <character>TIGRESS<\/character>\n    <dialogue>Cut it!<\/dialogue>\n    <scene_description>The others slash at the ropes securing the bridge to the mountain . Tai Lung is almost upon them when Tigress cuts the final rope . But Tai Lung is too close - Tigress must launch herself into him . The two cats end up in the middle of the bridge just as it starts to tumble into the canyon below . The Five grab support ropes and hold on for dear life .<\/scene_description>\n    <character>TAI LUNG<\/character>\n    <dialogue>Where's the Dragon Warrior?<\/dialogue>\n    <character>TIGRESS<\/character>\n    <dialogue>How do you know you're not looking at her?<\/dialogue>\n    <scene_description>Tai Lung laughs . It echoes off the mountain walls .<\/scene_description>\n    <character>TAI LUNG<\/character>\n    <dialogue>You think I'm a fool? I know you're not the Dragon Warrior. None of you!<\/dialogue>\n    <scene_description>The Five exchange quick , worried looks .<\/scene_description>\n    <character>TAI LUNG<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( nodding confidently . )<\/parenthetical>\n    <dialogue>I heard how he fell out of the sky on a ball of fire, that he's a warrior unlike anything the world has ever seen.<\/dialogue>\n    <scene_description>The Five exchange quick , confused looks .<\/scene_description>\n    <character>MONKEY<\/character>\n    <dialogue>Po?<\/dialogue>\n    <character>TAI LUNG<\/character>\n    <dialogue>So that is his name - Po. Finally, a worthy opponent. Our battle will be legendary!<\/dialogue>\n    <scene_description>Tigress charges at him . The battle begins . Tigress punches Tai Lung as he hangs from the bridge . But Tai Lung counters with a maneuver that sends Tigress slamming backwards through the bridge 's wooden slats . Then Tigress gets choked by the bridge 's ropes . Monkey turns to Crane and Viper .<\/scene_description>\n    <character>MONKEY<\/character>\n    <dialogue>We've got this. Help her!<\/dialogue>\n    <scene_description>Viper grabs Tai Lung , which causes him to let go of the ropes . Tigress plummets down into the gorge . but Crane manages to catch her . Viper punches Tai Lung repeatedly with his own fist . Tai Lung manages to get a paw around Viper 's `` throat '' .<\/scene_description>\n    <character>VIPER<\/character>\n    <dialogue>Monkey!<\/dialogue>\n    <scene_description>ANGLE ON MANTIS AND MONKEY . Mantis is straining to hold the rope by himself .<\/scene_description>\n    <character>MANTIS<\/character>\n    <dialogue>Go!<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>Ack! What was I thinking?!<\/dialogue>\n    <scene_description>Monkey leaps into action , kicking Tai Lung in the chest and sending him crashing through the slats of the bridge . He gets back to his feet and starts running back to them on a single strand of rope .<\/scene_description>\n    <character>TIGRESS<\/character>\n    <dialogue>Mantis!<\/dialogue>\n    <scene_description>Mantis whips his end of the rope , sending a sine wave shooting toward Tai Lung . The rope whips Tai Lung in the face and he gets tangled up . The Five see their chance .<\/scene_description>\n    <character>TIGRESS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Now!<\/dialogue>\n    <scene_description>Working as a team , the Five kick Tai Lung 's butt every which way . Tigress finally slashes the last rope holding up Tai Lung . He plummets down . down . disappearing into the mist . Mantis whips his end of the rope , returning his buddies safely to the mountain . The Five look relieved . But the relief is short - lived . Tigress notices that the other end of the bridge is circling the far mountain peak . Her eyes go wide with dread . The rope whips up . But Tai Lung is n't there . With a crash , he suddenly appears behind the Five .<\/scene_description>\n    <character>TAI LUNG<\/character>\n    <dialogue>Shifu taught you well.<\/dialogue>\n    <scene_description>Tai Lung jabs a finger at Monkey , who instantly freezes .<\/scene_description>\n    <character>TAI LUNG<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>But he did n't teach you everything.<\/dialogue>\n    <scene_description>Tai lung lunges toward the rest .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAINING HALL - EVENING<\/stage_direction>\n    <scene_description>Shifu and Po walk through the palace courtyard . Po has an easy spring in his step .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>You have done well, Panda.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Done well? Done well?! I've done awesome!<\/dialogue>\n    <scene_description>He swings his belly around and knocks Shifu off balance . Shifu staggers back , regaining his dignity .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>The mark of a true hero is humility!<\/dialogue>\n    <scene_description>After a moment 's thought , though , he leans toward Po -<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>But yes. you have done awesome.<\/dialogue>\n    <scene_description>And he punches him playfully on the arm . Po smiles at him . As they LAUGH , an indistinct figure appears in the clouds behind them . IT 'S CRANE ! Crane carries the five to the palace grounds , crashing in a heap .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Huh? Guys? Guys!<\/dialogue>\n    <scene_description>Po throws his backpack aside and runs over to them .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>They're dead? No, they're breathing! They're asleep?! No, their eyes are open.<\/dialogue>\n    <scene_description>Crane struggles to lift his head .<\/scene_description>\n    <character>CRANE<\/character>\n    <dialogue>We were no match for his nerve attack.<\/dialogue>\n    <scene_description>His head collapses to the ground .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>He has gotten stronger.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Who? Tai Lung? Stronger?<\/dialogue>\n    <scene_description>Shifu starts freeing the Five . First Viper , then Mantis , then Monkey releases suddenly from his paralysis -<\/scene_description>\n    <character>MONKEY<\/character>\n    <dialogue>He's too fast!<\/dialogue>\n    <scene_description>He delivers a Kung Fu punch to Po 's head and then slowly realizes where he is .<\/scene_description>\n    <character>MONKEY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Sorry, Po.<\/dialogue>\n    <scene_description>Shifu kneels before Tigress and works to free her .<\/scene_description>\n    <character>TIGRESS<\/character>\n    <dialogue>I thought we could stop him.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>He could have killed you.<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>Why did n't he?<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>So you could come back here and strike fear into our hearts. But it wo n't work!<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Uh, it might, I mean, a little. I'm pretty scared.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>You can defeat him, panda.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Are you kidding? If they ca n't - They're five masters. I'm just one me.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>But you will have the one thing that no one else does.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCROLL ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>CLOSE - UP of the Dragon Scroll . Po stares at Shifu - then looks up at the Scroll . Then back at Shifu -<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>You really believe I'm ready?<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>You are, Po.<\/dialogue>\n    <scene_description>They look at each other . This is a big moment . Oogway 's staff hangs in a rack surrounded by candles . As Po and The Five stand by , Shifu carries the staff over to the reflecting pool . Shifu bows his head , then , eyes still closed , he raises the staff up above his head . Po and the others watch , expectantly . The peach blossom petals rise in a flickering , spinning cloud up from the pool . The gentle tornado rises up around the ceiling carving that holds the Dragon Scroll . The petals loosen the scroll from the dragon 's mouth and it falls . At the last second , Shifu reaches out with the staff to catch the scroll on the end of it . He turns to Po , holding it out .<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Behold. The Dragon Scroll. It is yours.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Wait, what happens when I read it?<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>No one knows, but legend says you will be able to hear a butterfly's wing - beat.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Whoa! Really? That's cool.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>Yes. And see light in the deepest cave. You will feel the universe in motion around you.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Wow! Can I punch through walls? Can I do a quadruple back flip? Will I have invisibility -<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>Focus. Focus.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Huh? Oh, yeah. yeah.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>Read it, Po, and fulfill your destiny. Read it and become. the Dragon Warrior!<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Whooaa!<\/dialogue>\n    <scene_description>Po takes a deep breath . Then he grasps the tube and tries to pull the top off it . It does n't budge . He strains at it .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It's impossible to open.<\/dialogue>\n    <scene_description>He strains again . He tries to bite it off .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Come on baby. Come on now.<\/dialogue>\n    <scene_description>Shifu SIGHS and holds out his hand . Po passes him the tube . Shifu pops the end off effortlessly and passes it back to Po .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Thank you. I probably loosened it up for you though. Okay, here goes.<\/dialogue>\n    <scene_description>He glances at the Five . They look on in awe . Monkey gives him the ` thumbs up . ' Po starts to unroll the scroll , the golden light bathing his face . Across the scroll we see Shifu , excited that he is witness to history . On Po 's face as he finishes opening the scroll . Then -<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>AAAAAAAAAAAAAAAAAAAAAAAAA!<\/dialogue>\n    <scene_description>Shifu looks concerned . The Five look concerned . Po looks utterly terrified .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It's blank!<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Here! Look!<\/dialogue>\n    <scene_description>Po tries to show Shifu the scroll . Shifu covers his eyes and turns his head away .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>No! I am forbidden to look upon -<\/dialogue>\n    <scene_description>But he ca n't help himself . He takes a peek . Then he GRABS if off Po . He turns it around , then upside down . He closes it and opens it again , astonished .<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Blank? I do n't. I do n't understand.<\/dialogue>\n    <scene_description>Shifu turns away , contemplative . What can this mean ?<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Okay. So like, Oogway was just a crazy old turtle after all?<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>No. Oogway was wiser than us all.<\/dialogue>\n    <scene_description>Po sits heavily on the floor , dejected .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Oh, come on! Face it. He picked me by accident. Of course I'm not the Dragon Warrior. Who am I kidding?<\/dialogue>\n    <scene_description>The Five do n't argue .<\/scene_description>\n    <character>TIGRESS<\/character>\n    <dialogue>But who will stop Tai Lung?<\/dialogue>\n    <character>CRANE<\/character>\n    <dialogue>He'll destroy everything. and everyone.<\/dialogue>\n    <scene_description>Shifu puts the scroll back in its container and seals it . He looks oddly calm as he turns around .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>No, evacuate the Valley. You must protect the villagers from Tai Lung's rage.<\/dialogue>\n    <character>TIGRESS<\/character>\n    <dialogue>What about you master?<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>I will fight him.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>I can hold him off long enough for everyone to escape.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>But Shifu, he'll kill you.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>Then I will finally have paid for my mistake.<\/dialogue>\n    <scene_description>The Five and Po look devastated .<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Listen to me, all of you. It is time for you to continue your journey without me. I am very proud to have been your master.<\/dialogue>\n    <scene_description>Shifu salutes them and turns away . Po is heartbroken . Crane steps forward and kindly puts a wing around Po , pulling away . Po resists for a moment , then lets the Five lead him off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VALLEY<\/stage_direction>\n    <scene_description>The Five arrive at the base of the stairs .<\/scene_description>\n    <character>TIGRESS<\/character>\n    <dialogue>We've got to get them out safely.<\/dialogue>\n    <scene_description>Monkey picks up a small child .<\/scene_description>\n    <character>MONKEY<\/character>\n    <dialogue>Come, little one. Let's find your mama.<\/dialogue>\n    <character>TIGRESS<\/character>\n    <dialogue>Viper, gather the southern farmers. Mantis, the north. Crane, light the way.<\/dialogue>\n    <scene_description>They split up and begin helping the villagers evacuate . Po is left by himself . He makes his way through the bustling town .<\/scene_description>\n    <character>JR SHAW<\/character>\n    <parenthetical>( skeptically . )<\/parenthetical>\n    <dialogue>Look, it's the Dragon Warrior.<\/dialogue>\n    <scene_description>Po approaches the Noodle Shop .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Hey, Dad.<\/dialogue>\n    <character>PO'S DAD<\/character>\n    <dialogue>Po!<\/dialogue>\n    <scene_description>Seeing Po , Po 's Dad hurries over and wraps his arms around his son . Po bends down to reciprocate the hug , as Po 's dad pulls away , having fastened an apron around Po 's waist .<\/scene_description>\n    <character>PO'S DAD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Good to have you back, son!<\/dialogue>\n    <character>PO<\/character>\n    <parenthetical>( listlessly . )<\/parenthetical>\n    <dialogue>Good to be back.<\/dialogue>\n    <scene_description>Po 's Dad goes back to packing things up .<\/scene_description>\n    <character>PO'S DAD<\/character>\n    <dialogue>Let's go Po. So, for our next shop, it's time to face it - the future of noodles is dice - cut vegetables, no longer slices.<\/dialogue>\n    <scene_description>Dad starts to walk off , unaware that Po is n't following .<\/scene_description>\n    <character>PO'S DAD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Also, I was thinking, maybe this time we'll have a kitchen you can actually stand up in. Hmm? You like that?<\/dialogue>\n    <scene_description>He turns and notices that Po has n't moved . He walks to Po sympathetically .<\/scene_description>\n    <character>PO'S DAD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Po, I'm sorry things did n't work out. It just. was n't meant to be.<\/dialogue>\n    <scene_description>Po slumps against the cart .<\/scene_description>\n    <character>PO'S DAD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Po, forget everything else. Your destiny still awaits. We are noodle folk - broth runs deep through our veins.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>I do n't know, Dad. Honestly, sometimes I ca n't believe I'm actually your son.<\/dialogue>\n    <scene_description>Dad is taken aback .<\/scene_description>\n    <character>PO'S DAD<\/character>\n    <dialogue>Po, I think it's time I told you something I should have told you a long time ago.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Dad pauses dramatically .<\/scene_description>\n    <character>PO'S DAD<\/character>\n    <dialogue>The secret ingredient of my secret ingredient soup!<\/dialogue>\n    <scene_description>Po feigns excitement .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>PO'S DAD<\/character>\n    <dialogue>C'mere! The secret ingredient is. nothing!<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>PO'S DAD<\/character>\n    <dialogue>You heard me. Nothing. There is no secret ingredient!<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Wait wait. it's just plain old noodle soup? You do n't add some kind of special sauce or something?<\/dialogue>\n    <character>PO'S DAD<\/character>\n    <dialogue>Do n't have to. To make something special, you just have to believe it's special.<\/dialogue>\n    <scene_description>Po looks at his father with dawning realization . He picks up the Scroll . For a moment , Po stares at his reflection on the scroll , then he smiles serenely . He gets it now .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>There is no secret ingredient.<\/dialogue>\n    <scene_description>Po turns back to look at the palace .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JADE PALACE - DAWN<\/stage_direction>\n    <scene_description>At the top of the stairs , Shifu looks upon the Valley , awaiting his fate . With a gust of wind , Tai Lung appears before him .<\/scene_description>\n    <character>TAI LUNG<\/character>\n    <dialogue>I have come home, Master.<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>This is no longer your home. And I am no longer your master.<\/dialogue>\n    <character>TAI LUNG<\/character>\n    <dialogue>Yes. You have a new favorite. So where is this. Po? Did I scare him off?<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>This battle is between you and me.<\/dialogue>\n    <character>TAI LUNG<\/character>\n    <dialogue>So. That is how it's going to be?<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>That is how it must be.<\/dialogue>\n    <scene_description>They fight . At last . Tai Lung punches Shifu clean through the doors of the Jade Palace . Tai Lung enters .<\/scene_description>\n    <character>TAI LUNG<\/character>\n    <dialogue>I rotted in jail for twenty years because of your weakness!<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>Obeying your master is not weakness!<\/dialogue>\n    <character>TAI LUNG<\/character>\n    <dialogue>You knew I was the Dragon Warrior! You always knew.<\/dialogue>\n    <scene_description>Dissolve to FLASHBACK . A young Tai Lung looks expectant . Oogway shakes his head .<\/scene_description>\n    <character>TAI LUNG<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>But when Oogway said otherwise, what did you do? What did you do?!<\/dialogue>\n    <scene_description>Tai Lung looks to Shifu who averts his eyes and the past dissolves into the present .<\/scene_description>\n    <character>TAI LUNG<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>NOTHING!<\/dialogue>\n    <scene_description>Shifu takes a Kung Fu stance .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>You were not meant to be the Dragon Warrior! That was not my fault!<\/dialogue>\n    <character>TAI LUNG<\/character>\n    <dialogue>NOT YOUR FAULT?!<\/dialogue>\n    <scene_description>Enraged , Tai Lung knocks over the Kung Fu artifacts and throws them at Shifu .<\/scene_description>\n    <character>TAI LUNG<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>WHO FILLED MY HEAD WITH DREAMS?! WHO DROVE ME TO TRAIN UNTIL MY BONES CRACKED?! WHO DENIED ME MY DESTINY?!<\/dialogue>\n    <scene_description>Shifu dodges each attack .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>It was never my decision to make!<\/dialogue>\n    <scene_description>Tai Lung pulls Oogway 's staff from the shrine .<\/scene_description>\n    <character>TAI LUNG<\/character>\n    <dialogue>It is now.<\/dialogue>\n    <scene_description>They fight . Tai Lung pins Shifu down with the staff .<\/scene_description>\n    <character>TAI LUNG<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Give me the scroll!<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>I would rather die.<\/dialogue>\n    <scene_description>They struggle for a beat until finally , the staff splinters into a hundred pieces . Shifu looks back at the pieces and a flutter of peach tree petals fly by . Caught off guard , Shifu gets kicked by Tai Lung into a column . Shifu climbs the column to the rafters . Tai Lung follows and sends them both crashing through the roof . Lightning flash . Grappling in mid - air , Tai Lung gets his hands around Shifu 's throat as they crash back through the roof . They kick apart . Shifu crashes to the floor and lands hard . Tai Lung bounces off the wall and throws a lantern to the floor . Flames go everywhere . Tai Lung 's arms are aflame as he charges at Shifu .<\/scene_description>\n    <character>TAI LUNG<\/character>\n    <dialogue>All I ever did, I did to make you proud! Tell me how proud you are, Shifu! Tell me! TELL ME!<\/dialogue>\n    <scene_description>THOOM ! A fiery punch sends Shifu skidding across the floor and crashing against the reflecting pool . The flames extinguish and Tai Lung extends his claws .<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( weakly . )<\/parenthetical>\n    <dialogue>I have always been proud of you. From the first moment, I've been proud of you. And it was my pride that blinded me. I loved you too much to see what you were becoming. What I was turning you into. I'm. sorry.<\/dialogue>\n    <scene_description>Tai Lung stops in his tracks . Shifu waits . Tai Lung 's expression goes cold . He grabs Shifu by the throat .<\/scene_description>\n    <character>TAI LUNG<\/character>\n    <dialogue>I do n't want your apology. I want my scroll!<\/dialogue>\n    <scene_description>He holds Shifu up to the ceiling . Looking up , Tai Lung bristles when he sees the scroll is missing .<\/scene_description>\n    <character>TAI LUNG<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>WHAT? WHERE IS IT?!<\/dialogue>\n    <scene_description>Tai Lung slams Shifu to the floor .<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( weakly . )<\/parenthetical>\n    <dialogue>Dragon Warrior has taken scroll halfway across China by now. You will never see that scroll, Tai Lung. Never. Never.<\/dialogue>\n    <scene_description>Tai Lung is furious . He roars , ready to strike Shifu . Suddenly .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>Tai Lung turns around to find Po standing in the doorway .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( out of breath . )<\/parenthetical>\n    <dialogue>Stairs.<\/dialogue>\n    <scene_description>Tai Lung casts Shifu aside .<\/scene_description>\n    <character>TAI LUNG<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Buddy, I am the Dragon Warrior.<\/dialogue>\n    <parenthetical>( exhales hard . )<\/parenthetical>\n    <dialogue>Huhhh.<\/dialogue>\n    <character>TAI LUNG<\/character>\n    <dialogue>You?! Him?!<\/dialogue>\n    <parenthetical>( to Shifu . )<\/parenthetical>\n    <dialogue>He's a panda.<\/dialogue>\n    <parenthetical>( back to Po . )<\/parenthetical>\n    <dialogue>You're a panda. What are you gon na do, big guy? Sit on me?<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Do n't tempt me. Haha. No. I'm gon na use this. You want it? Come and get it.<\/dialogue>\n    <scene_description>Po shows him the Dragon Scroll . From out of nowhere , Tai Lung appears and punches Po across the room , grabbing the scroll knocked from Po 's hands .<\/scene_description>\n    <character>TAI LUNG<\/character>\n    <dialogue>Finally!<\/dialogue>\n    <scene_description>Po bounces off a nearby pillar and slams back into Tai Lung , sending him flying into a column . Po puts on a brave face and strikes a pose as Tai Lung recovers and charges . Po turns to run . Tai Lung quickly catches up and they both sail off the Palace steps . Po clings to the scroll as Tai Lung delivers a kick and sends him crashing onto the theater rooftops below . Po rolls down off a tree and uses the recoil to whip back and smash Tai Lung . He briefly skids across the rooftop and comes right back at Po .<\/scene_description>\n    <character>TAI LUNG<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>That scroll is mine!<\/dialogue>\n    <scene_description>Down the Theater steps , Po and Tai Lung grapple for the scroll . Po is oblivious to the effects of crashing down stairs and in slow motion , his voluminous butt presses down on Tai Lung 's head . As they crash through the Gateway the scroll is knocked loose . Tai Lung goes for the scroll but Po snatches it away using a noodle lasso . The scroll flies towards him and bounces off his head . Tai Lung leaps for it , but Po grabs his tail and pulls him back down onto a cart which see - saws Po into the air . In mid - air , Po slurps the noodle . Up and over the rooftops , Po lands in a grove of bamboo trees and into a nearby wok shop . The scroll rolls to a stop in the street . As Tai Lung makes his move on the scroll , Po turns the array of overturned woks into a shell game , sliding the woks around to hide the scroll .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Lightning!<\/dialogue>\n    <scene_description>Tai Lung knocks the woks away and exposes the scroll as Po uses his bamboo stilts to block Tai Lung . The leopard swipes out the stilts and brings Po down on top of him as the scroll rolls down the steps towards the river . Po gets thrown into a fireworks booth . As Tai Lung chases down the scroll , he turns back to see Po flying through the fireworks - filled sky . Po slams through Tai Lung and crashes into a rock wall . The scroll flies out of his hand and lands in the mouth of an ornamental rooftop dragon . He looks back at Tai Lung , who sees where the scroll has landed . Via the magic of cookie - vision , Po effortlessly scales the building . Tai Lung is shocked .<\/scene_description>\n    <character>TAI LUNG<\/character>\n    <dialogue>The scroll has given him power.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>NOOO0!<\/dialogue>\n    <scene_description>He takes a giant leap and kicks the wall . The resulting shockwave collapses the building . Amazingly , Po skips across the falling roof tiles to reach the scroll in mid - air as Tai Lung leaps up behind him and unleashes a punishing blow that sends Po smashing into the ground . As Tai Lung lands , he delivers a final devastating punch . As the dust settles , Tai Lung is looming over Po in the impact crater .<\/scene_description>\n    <character>TAI LUNG<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( out of breath . )<\/parenthetical>\n    <dialogue>Finally. oh yes. the power of the Dragon Scroll. is mine!<\/dialogue>\n    <scene_description>Tai Lung grabs for the scroll and opens it . His face falls .<\/scene_description>\n    <character>TAI LUNG<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It's NOTHING!<\/dialogue>\n    <scene_description>Po stirs .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>It's okay. I did n't get it the first time either.<\/dialogue>\n    <character>TAI LUNG<\/character>\n    <parenthetical>( disbelief . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Po gets to his feet .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>There is no secret ingredient. It's just you.<\/dialogue>\n    <scene_description>Tai Lung snarls and lunges at Po .<\/scene_description>\n    <character>TAI LUNG<\/character>\n    <dialogue>RRRAAAH!<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>AAAAGGGHH!<\/dialogue>\n    <scene_description>Tai Lung attacks Po 's nerve points . But Po begins giggling .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Stop! Stop it! I'm gon na pee! Do n't! Do n't!<\/dialogue>\n    <scene_description>Tai Lung 's nerve attack has no effect on Po . Frustrated , he delivers a double - fisted punch to Po 's belly . The shockwave ripples through Po 's entire body and Po 's arms come back and strike Tai Lung , sending the leopard crashing back into a building . Po looks at his hands , amazed at what he just did . Tai Lung rises from the rubble and runs at Po again . But Po strikes back , using an unorthodox panda - style technique , even getting Tai Lung to chomp down on his own tail . Po gives Tai Lung a butt bump that sends him crashing into a building . Tai Lung emerges and attempts one more lunge at Po . But Po prepares . and Tai Lung is swiftly met by Po 's IRON BELLY ! He is launched into the air . Po waits . and waits . until finally , Tai Lung appears in the sky and crashes to the ground . Tai Lung is battered , but still defiant .<\/scene_description>\n    <character>TAI LUNG<\/character>\n    <parenthetical>( heavy breathing . )<\/parenthetical>\n    <dialogue>You. ca n't defeat me. You're just a big, fat panda!<\/dialogue>\n    <scene_description>SCHWING ! Po grabs Tai Lung 's finger . Tai Lung 's eyes go wide .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>I'm not a big, fat panda. I'm the big, fat panda.<\/dialogue>\n    <scene_description>Po 's pinky pops up . Tai Lung gasps .<\/scene_description>\n    <character>TAI LUNG<\/character>\n    <dialogue>The Wuxi Finger Hold!<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Oh, you know this hold?<\/dialogue>\n    <character>TAI LUNG<\/character>\n    <dialogue>You're bluffing. You're bluffing! Shifu did n't teach you that.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Nope. I figured it out.<\/dialogue>\n    <scene_description>He flexes his pinky .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Skadoosh!<\/dialogue>\n    <scene_description>KA - THOOM !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VALLEY OF PEACE<\/stage_direction>\n    <scene_description>A mushroom cloud appears over the Valley , sweeping past the Furious Five and the fleeing villagers .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VALLEY SQUARE - A LITTLE LATER<\/stage_direction>\n    <scene_description>Villagers emerge from hiding . Po walks out from the mist looking very much like the warrior from the opening dream .<\/scene_description>\n    <character>KG SHAW<\/character>\n    <dialogue>Look! The Dragon Warrior.<\/dialogue>\n    <scene_description>As he nears , we see that his hat is an upside down wok and his scarf is a torn apron . Villagers CHEER the Dragon Warrior . Po 's Dad emerges from the crowd .<\/scene_description>\n    <character>PO'S DAD<\/character>\n    <dialogue>That's my boy. That big, lovely kung fu warrior is my son!<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Thanks, Dad.<\/dialogue>\n    <scene_description>Po hugs his dad . The wok falls off Po 's head and rolls on the ground until Mantis appears in frame and stops it . The rest of the Five are with him . Po takes notice .<\/scene_description>\n    <character>PO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hey, guys.<\/dialogue>\n    <character>TIGRESS<\/character>\n    <dialogue>Master.<\/dialogue>\n    <scene_description>Tigress bows deeply . The others follow .<\/scene_description>\n    <character>FURIOUS FIVE<\/character>\n    <dialogue>Master.<\/dialogue>\n    <character>PO<\/character>\n    <parenthetical>( modest . )<\/parenthetical>\n    <dialogue>Master?<\/dialogue>\n    <parenthetical>( then , remembering . )<\/parenthetical>\n    <dialogue>Master Shifu!<\/dialogue>\n    <scene_description>Po races toward the Jade Palace . He climbs the steps . Then more steps .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Po arrives breathless at the Jade Palace . Shifu is still lying in the scroll room , his eyes closed . Po rushes to his side .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Master! Shifu! Shifu! Are you okay?<\/dialogue>\n    <scene_description>Shifu weakly opens his eyes .<\/scene_description>\n    <character>SHIFU<\/character>\n    <dialogue>Po! You're alive!<\/dialogue>\n    <parenthetical>( then , darkly . )<\/parenthetical>\n    <dialogue>Or we're both dead.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>No, Master, I did n't die. I defeated Tai Lung!<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>You did?!<\/dialogue>\n    <scene_description>Shifu smiles and shakes his head in disbelief .<\/scene_description>\n    <character>SHIFU<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Wow. It is as Oogway foretold - You are the Dragon Warrior. You have brought peace to this Valley. And to me. Thank you. Thank you, Po. Thank you.<\/dialogue>\n    <scene_description>Shifu closes his eyes . He is still . Po starts freaking out .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>No! Master! No No No! Do n't die, Shifu. Please.<\/dialogue>\n    <character>SHIFU<\/character>\n    <parenthetical>( eyes snapping open . )<\/parenthetical>\n    <dialogue>I'm not dying, you idiot - ah, Dragon Warrior. I'm simply at peace. Finally.<\/dialogue>\n    <character>PO<\/character>\n    <dialogue>Oh. So, um, I should. stop talking?<\/dialogue>\n    <character>SHIFU<\/character>\n    <dialogue>If you can.<\/dialogue>\n    <scene_description>Po nods reverently as Shifu closes his eyes again . Master and pupil lie next to each other . The camera pulls up and back away from them . Po tries to remain still , but it 's hard . He 's about to say something , but he stops himself . He fidgets for a beat , then ca n't control himself any longer .<\/scene_description>\n    <character>PO<\/character>\n    <dialogue>Want to get something to eat?<\/dialogue>\n    <character>SHIFU<\/character>\n    <parenthetical>( sighs . )<\/parenthetical>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>IRIS OUT . THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In the Valley of Peace, a land in ancient China inhabited by anthropomorphic animals, Po Ping the giant panda is a kung fu fanatic who idolizes the Furious Five \u2013 Tigress, Monkey, Crane, Viper, and Mantis \u2013 a quintet of awesome kung fu masters trained by Master Shifu, the red panda. However, Po is unable to pursue his dream of learning kung fu as he helps his adoptive father, Mr. Ping the goose, in his noodle restaurant. Grand Master Oogway, an old Gal\u00e1pagos tortoise, Shifu's mentor and friend, has a vision that Shifu's former student and adoptive son, the evil snow leopard, Tai Lung, will escape from prison and return to the valley to exact his revenge for being denied the Dragon Scroll, which is said to hold the secret to boundless power. Panicked, Shifu sends his messenger, Zeng the goose, with a request for the prison to tighten its security. He then holds a tournament for the Furious Five so that Oogway can identify the Dragon Warrior, the one kung fu master worthy of receiving the Dragon Scroll. Po arrives too late to enter the arena; desperate to see the Dragon Warrior, Po straps himself to a set of fireworks and launches himself into the middle of the arena in front of Oogway as he points towards the Dragon Warrior. To the astonishment of everyone present, Oogway proclaims Po as the chosen warrior. Unwilling to accept Oogway's decision, and believing it to be an accident, Shifu tries to dispose of Po with a harsh training regime. The Furious Five berate Po as an enthusiast with no potential in martial arts. Po considers resigning, but after receiving encouragement from Oogway, he endures his training and gradually befriends the Five with his resilience, culinary skill, and good humor. One night when Po talks about Shifu's treatment toward him, Tigress tells the story of how Shifu raised Tai Lung since finding him as a cub and trained him in kung-fu. After Tai Lung was denied the Dragon Scroll he went on a rampage across the valley and tried to take the scroll by force, with Shifu unable to fight his adoptive son. Though Oogway was able to stop him, Tai Lung's betrayal caused Shifu to become cold and distant. Meanwhile, Tai Lung escapes from prison, ironically picking his locks with Zeng's fallen feather. Shifu learns of Tai Lung's escape from Zeng and informs Oogway, who extracts a promise from Shifu to believe in Po, and then passes on to the heavens in a stream of peach blossoms. Still unable to grasp the basics of kung fu, Po despairingly admits that he has no chance of defeating Tai Lung. Overhearing this, the Five leave to stop Tai Lung themselves. However, Shifu discovers that Po is capable of impressive physical feats when motivated by food. Using food as positive reinforcement, Shifu successfully trains Po by incorporating these feats into an innovative kung fu style. Meanwhile, the Five battle with Tai Lung, but are defeated by his nerve attacks. He spares Crane to transport the rest of the Five, still paralyzed from his nerve strikes, back to Shifu as a warning. After reviving them, Shifu decides that Po is ready to receive the Dragon Scroll, but the scroll reveals nothing but a blank, reflective surface. Believing the scroll to be useless, Shifu orders Po and the Five to evacuate the valley while he faces Tai Lung. A distraught Po finds Mr. Ping. In an attempt to console his son, Mr. Ping reveals that the secret ingredient to his famous \"special secret ingredient noodle soup\" is \"nothing\", explaining that things are special when believed to be. Po realizes that this is the message of the Dragon Scroll and goes back to confront Tai Lung. Po arrives to find Shifu badly injured and defeated. He then becomes a formidable challenge for Tai Lung, frustrating him with confusing fighting techniques on top of his excessive body fat that renders him immune to Tai Lung's nerve strikes. Tai Lung momentarily beats Po and retrieves the scroll, but he is unable to understand it and continues attacking Po. Eventually, Po defeats Tai Lung in combat by using the mysterious Wuxi Finger Hold to vanquish him. Po is praised by the Valley of Peace and earns the respect of the Furious Five, who fully acknowledge him as a true kung fu master, while Shifu finally attains peace."}
{"movie_name":"The Spy Who Dumped Me_2018","imdb_id":"tt6663582","script":"<script>\n  <scene>\n    <scene_description>By Susanna Fogel &amp; David Iserson FIRST DRAFT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EASTERN EUROPE - OUTDOOR MARKET - DAWN<\/stage_direction>\n    <scene_description>A MAN -- rugged, square chin, hasn't slept or shaven in days. This is DREW THAYER (30s). He wears a thick coat, tries not to stand out. He's not from around here. \"Here\" is a bleak, locals-only market surrounded by crumbling Soviet-era buildings. Anemic vegetables. Dried meat. Fish. Handmade woolens. This place isn't in a Lonely Planet guide.<\/scene_description>\n    <character>VILNIUS, LITHUANIA<\/character>\n    <dialogue>Drew shouldn't be out in public but he needs to eat. He glances around furtively as he buys a ROLL from a BAKER.<\/dialogue>\n    <character>DREW<\/character>\n    <parenthetical>(Lithuanian)<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>He sees something in his periphery -- his gears turn -- knows he'll have to run. Or fight. Probably both. He crosses to -- A table of sad Chernobyl-looking shit manned by a skinny LITTLE GIRL -- bootleg Snoopy alarm clock, filthy handmade dolls -- one man's trash... Drew picks up a HAND MIRROR.<\/scene_description>\n    <character>LITTLE GIRL<\/character>\n    <parenthetical>(broken English)<\/parenthetical>\n    <dialogue>Three Euro.<\/dialogue>\n    <scene_description>Drew ignores her, uses the mirror to look behind him -- at a FLOWER STAND there's a THUG. Shaved head. Flat nose from repeated breaks. The kind of man who'd never buy you flowers.<\/scene_description>\n    <character>LITTLE GIRL<\/character>\n    <parenthetical>(broken English)<\/parenthetical>\n    <dialogue>Two? I give you for two.<\/dialogue>\n    <scene_description>Drew puts the mirror down and walks away.<\/scene_description>\n    <character>LITTLE GIRL<\/character>\n    <dialogue>One-fifty... ?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOOLEN STAND - CONTINUOUS<\/stage_direction>\n    <scene_description>Colorful clothes sway as Drew slips behind them. The THUG appears... looks around... Then suddenly -- a STRIPED SCARF ensnares his neck. Tightens, tightens -- Thug gasps for air. Drew's behind him -- he's done this before -- Thug kicks, knocks over a table of mittens -- The AGING VENDOR SCREAMS. Then it's over. Thug goes LIMP. Drew holds him by the waist with one hand, swiftly reaches the other to his belt. Pulls out Thug's HANDGUN and lets the dead body fall into a PUDDLE.<\/scene_description>\n    <character>VENDOR<\/character>\n    <parenthetical>(Lithuanian)<\/parenthetical>\n    <dialogue>Savages! You pay for this mess!<\/dialogue>\n    <scene_description>As Drew drops a stack of Euros onto her table... ANOTHER GUY jumps out. Probably his brother. Bigger -- if that's possible. Drew FIRES -- but his target's ready for it and dives behind a BUTCHER'S STAND. Drew FIRES again... most of the bullets hit SALAMI. But his last bullet HITS the guy's CHEST. He falls. Drew calmly moves in to finish the job. Click. Gun's empty. Fuck. As the guy gasps for life, goes for his own gun -- Drew yanks down a SALAMI, smacks the guy's hand with it -- a makeshift bat -- then leaps onto his chest. With one hand, Drew holds the guy's nose -- with the other, shoves the jagged, broken SALAMI DOWN THE GUY'S THROAT. Bad way to die. But at least there's no one coming after him now. Wait. Spoke too soon. From around the corner, a MAN with a horrible 1994 haircut comes at Drew -- GUN BLASTING. Drew DUCKS. He WEAVES. Drew dives around the corner, disappearing. The GUNFIRE keeps coming...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARCADE - LOS ANGELES - NIGHT<\/stage_direction>\n    <scene_description>The GUNFIRE now comes from DUCK HUNT -- the old Nintendo game. We're in a retro arcade-themed bar and the shooter of the ORANGE PLASTIC HANDGUN is AUDREY. She turns 27 today. She decimates duck after duck, insanely good at this game. Unlike every female character in every other movie, Audrey knows exactly how beautiful she is. Like a 7. Maybe an 8 if she wasn't wearing her tacky Hawaiian TRADER JOE'S UNIFORM.<\/scene_description>\n    <character>LOS ANGELES, CALIFORNIA<\/character>\n    <dialogue>MORGAN (27), her best friend, walks over with TWO BEERS.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>You can't stand over here all night.<\/dialogue>\n    <scene_description>Morgan's parents always told her she could be anything, including a rocket scientist or a supermodel, if she wanted. Morgan totally buys that. Girl has zero insecurities.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Why? I'm having a good time.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Because it's your birthday party.<\/dialogue>\n    <scene_description>Behind Audrey: some FRIENDS, a half-eaten supermarket cake.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Right. And for my birthday, I want to stand in the corner and not talk to anyone who isn't caught up on my life. Everyone's gonna ask me what I'm up to cause that's what you do, and I'll have to tell everyone that I'm not up to anything.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Audrey...<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Look at me. I'm twenty-seven years old and I work at Trader Joe's. I wear a Hawaiian shirt to work and I am neither Hawaiian nor Jimmy Buffett. Like, three years ago what I'm doing was considered \"finding myself.\" Now I'm suddenly at the age where people feel bad for me for doing the exact same thing.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Who feels bad for you? I'll kill them.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>My parents called today. They spent five seconds saying happy birthday, and the next forty-five minutes bragging about how my brother Adam is about to cure Cystic Fibrosis.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Fuck Cystic Fibrosis.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Actually, it's a really serious disease. Adam has a huge heart.<\/dialogue>\n    <parenthetical>(sighing)<\/parenthetical>\n    <dialogue>And everyone's gonna ask about Drew.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Fuck Drew. That guy was a dick.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>You're just saying that to make me feel better. You never said that when we were together.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Well yeah. You can't say shit about your friend's current boyfriend. But dude, he dumped you in a text. Objectively, he suuuucks.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Or he just wasn't in love with me.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Audrey, you control the narrative here. It's all about spin. Look at me. Am I successful? Not in the conventional sense of being like, employed. But ask me what I'm doing with my life.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Say, hey Morgan, what have you been up to lately?<\/dialogue>\n    <character>AUDREY<\/character>\n    <parenthetical>(flat)<\/parenthetical>\n    <dialogue>Hey Morgan. What have you been up to lately?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Getting in touch with my gifts. Voice lessons. Stage combat. So no matter what roles come along in theater, film, or life's journey itself, I'm ready. It's a beautiful thing as a woman to empower yourself like that, you know?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Okay that was amazing.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Hey, do I have your e-mail? My one woman show is really coming together.<\/dialogue>\n    <scene_description>TESS (27) walks in. She's anorexic, personality-free and a huge cunt. (We're taking back that word, sorry!)<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Shit. It's Tess. Don't make me talk to Tess. She's gonna do that thing she always does, where she gives me a bullshit compliment then pivots it into something super insulting.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Audrey. Spin. You got this. Here...<\/dialogue>\n    <scene_description>She hands Audrey a tube of lipstick.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Put this on. Tell the world you're trying. Ideally, you'd change out of your work clothes too but...<\/dialogue>\n    <scene_description>Morgan walks away. Tess is now next to Audrey.<\/scene_description>\n    <character>TESS<\/character>\n    <dialogue>Hey lady! Oh my God, those earrings are so cute! Are those shells?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Yeah...<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>Where's your adorable boyfriend? You guys are such a surprising couple!<\/dialogue>\n    <scene_description>Audrey just... can't. She takes the plastic gun from the game, puts it to her OWN TEMPLE. Pulls the trigger and dramatically FAKE DIES. Tess has no idea how to react.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILNIUS ALLEY - DAY<\/stage_direction>\n    <scene_description>Drew runs down stairs down to a rusty basement door. It's locked. Drew turns, sprints back to an overflowing DUMPSTER. He grabs a busted HAIR DRYER. This'll do. He bashes it on the ground til the innards are exposed. Yanks out a HEATING COIL. BACK AT THE DOOR -- Drew picks the lock with the coil. He's fast. Walks in like he owns the place.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT OF LITHUANIAN BROTHEL - DAY<\/stage_direction>\n    <scene_description>A tall LATEX-CLAD DOMINATRIX clicks a REMOTE CONTROL. Across the room: a MAN suspended from a harness wearing only underwear, tattoos and piercings -- his nipples hooked up to electrodes. He screams in pain\/gratification. Nonplussed, Drew brushes past -- grabs a WHIP, CHAINS, and a SPIKED COLLAR for later use. He shoves them into his jacket.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LITHUANIAN BROTHEL - DAY<\/stage_direction>\n    <scene_description>Upstairs, WOMEN IN LINGERIE work the early-morning shift. You could catch herpes just by looking at them. Drew emerges and the ANCIENT MADAM approaches, cigarette dangling. Drew hands her a wad of cash. He's done this before.<\/scene_description>\n    <character>MADAM<\/character>\n    <parenthetical>(Lithuanian)<\/parenthetical>\n    <dialogue>Which one?<\/dialogue>\n    <scene_description>Drew points to a young, thin, SPOOKED GIRL. She nods. Drew takes the spooked girl's hand and she leads him upstairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROTHEL - UPSTAIRS ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Drew closes the door behind them. The girl starts to take off her clothes, speaks in Broken English.<\/scene_description>\n    <character>DREW<\/character>\n    <dialogue>No. Keep them on.<\/dialogue>\n    <scene_description>Drew pulls the SPIKED COLLAR out of his jacket. The Girl is terrified. But Drew crosses to the WINDOW, opens it.<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>What you into?<\/dialogue>\n    <character>DREW<\/character>\n    <parenthetical>(Lithuanian)<\/parenthetical>\n    <dialogue>I'm into you never saw me.<\/dialogue>\n    <scene_description>With that, Drew hands her more money than she's ever seen in her life ($25 USD). Then turns the COLLAR upside down and loops it over the POWER LINE out the window. He jumps out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BROTHEL - CONTINUOUS<\/stage_direction>\n    <scene_description>Drew ZIPLINES out of the brothel, over rooftops, and finally jumps off on a LANDING outside the open window of a --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAMSHACKLE HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>TWO BORED TEENAGERS watch THE MINDY PROJECT dubbed in Lithuanian. They barely look up as Drew runs past them --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAMSHACKLE HOUSE - KITCHEN<\/stage_direction>\n    <scene_description>The MATRIARCH ladles BORSCHT from a pot. Seeing Drew, she SCREAMS and drops it, Pepto Bismol pink everywhere. SIRENS WAIL in the distance.<\/scene_description>\n    <character>DREW<\/character>\n    <parenthetical>(Lithuanian)<\/parenthetical>\n    <dialogue>Keys.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILNIUS ROAD - MINUTES LATER<\/stage_direction>\n    <scene_description>Drew whizzes down a COBBLESTONE STREET on a MOPED. TWO COP CARS round the corner, in hot pursuit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARCADE - LOS ANGELES - NIGHT<\/stage_direction>\n    <scene_description>Morgan sits at the bar, flirting with Eurotrash VIKTOR -- shaved head, Ukrainian football tracksuit.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Such a coincidence. I just auditioned to be a Ukrainian farm girl in a Geico spot. Wait, so is it \"Ukraine\" or \"The Ukraine?\"<\/dialogue>\n    <character>VIKTOR<\/character>\n    <dialogue>You say how you like. Always let beautiful woman decide.<\/dialogue>\n    <scene_description>Morgan swoons... then notices Audrey, head pressed mournfully against the JUKEBOX. Draining her SCOTCH. She puts it on top of the juke next to TWO OTHER EMPTIES. Morgan grimaces.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Hey, Viktor? Hold that thought.<\/dialogue>\n    <scene_description>Morgan crosses to Audrey.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Why did I have my birthday here? This is where I met Drew.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Enough. After tonight, I never want to hear the name \"Drew\" again. Even if you, like, \"drew\" me a picture, you say \"I painted you something with pencils.\" You have to move on.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I know. It's just kinda hard to do that when he left that box of shit in our apartment that I have to see every day. He won't even text me back about picking it up.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Let me see your phone for a sec.<\/dialogue>\n    <scene_description>Audrey hands her CELL over. Morgan finds the BREAKUP TEXT. \"Hey there -- it's over. Sorry.\" Morgan then scrolls through a series of UNANSWERED REPLIES from Audrey: Why \/ What are you... \/ Call me \/ WTF? \/ How can you... Then she starts a NEW TEXT MESSAGE.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Who are you texting?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Drew. \"Fuck you, you worthless pussy -- I'm setting your shit on fire.\"<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Why are you saying that?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Because we're gonna go set his fucking shit on fire. I love setting things on fire.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILNIUS SLUMS - DAY<\/stage_direction>\n    <scene_description>Drew speeds through the decrepit, graffitied streets, on a mission. He parks behind a burnt out APARTMENT COMPLEX. He looks at his cell -- GRIMACES. Then rounds the corner and sees something worse -- Three GIANT THUGS waiting for him. Drew takes the long way around the building, stealthily pulling the WHIP and CHAINS from his jacket. He rounds the corner -- now behind the men -- and just STARTS SWINGING. In seconds, all three men are bloody messes. Two knocked out, the other moaning in pain. Drew steps over them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDREY AND MORGAN'S FIRE ESCAPE - LOS ANGELES - NIGHT<\/stage_direction>\n    <scene_description>Typical L.A. stucco fourplex. Audrey and Morgan stand drunkenly on the fire escape over a BANKERS BOX of Drew's stuff. Morgan holds a bottle of LIGHTER FLUID. Audrey gingerly picks up a pair of BOXER BRIEFS.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Really Drew? Skid marks on your underwear? Are you eight? Was I supposed to wash this for you? Is that why you dumped me? I didn't mother you enough?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Fuck you and wipe your own ass!<\/dialogue>\n    <scene_description>Next, Audrey picks up a small PLASTIC TROPHY shaped like a VICTORIOUS FOOTBALL PLAYER. The plaque reads: SECOND PLACE.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Your Fantasy Football trophy for SECOND place? And you saved it?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>It's not even real football. It's a fucking fantasy.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>And I'm a real fucking person. So if you think you're gonna get some supermodel who also has nothing better to do with her time than blow you while you watch the game... uh, fuck you.<\/dialogue>\n    <scene_description>Morgan pulls out a STRAIGHT TO DVD SPY ACTION MOVIE.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Um, speaking of fantasy, say goodbye to your straight-to-DVD shitty action movie starring Ryan Phillipe and Mischa Barton!<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>That you forced me to watch with you. I will never get those 82 minutes back. There's like one review on the cover. Three and a half stars from JeffreyLovesMovies.com?!<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>And you got it used at Chevron? Really Drew? You walked into a gas station and you're like, yes! One copy of \"Marked Target\" please. Here's $3.99.<\/dialogue>\n    <scene_description>Morgan pours LIGHTER FLUID all over the box and its contents. She hands Audrey a matchbox.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>You do the honors, birthday girl.<\/dialogue>\n    <scene_description>Audrey takes the matches. We're CLOSE on the MATCH LIGHTING... and then... BUZZ. Her cell, in her pocket. Audrey shakes out the match and pulls out her phone...<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>It's... Drew.<\/dialogue>\n    <character>DREW (V.O.)<\/character>\n    <dialogue>Hey.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DREW'S SHITTY VILNIUS APARTMENT - INTERCUT<\/stage_direction>\n    <scene_description>Not a place you'd want to spend the night in. Peeling walls, roaches, bare light bulb. Drew paces, earpiece in, checking the SURVEILLANCE SCREENS by his bed.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Really? That's it? \"Hey?\"<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>Audrey, I'm so sorry. I fucked up.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Tell him to go fuck himself.<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>I'll come by your place tomorrow. I can explain everything... and I'll get the stuff I left there.<\/dialogue>\n    <character>AUDREY<\/character>\n    <parenthetical>(annoyed)<\/parenthetical>\n    <dialogue>So that's why you called? Just to get your shit back? Awesome.<\/dialogue>\n    <scene_description>She awaits a response. But Drew's busy PUNCHING THE DRYWALL by his night stand. In the hole: a SECRET STASH of MONEY, PASSPORTS and GUNS. Drew stuffs it in his POCKETS.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>It's my birthday, by the way.<\/dialogue>\n    <scene_description>Drew hears a GUN COCK. Someone's behind him. ON AUDREY: The line goes DEAD. ON DREW -- spinning around -- knocking the gun from his attacker, an OLDER THUG. They know each other. No weapons now. They punch and kick, equally matched.<\/scene_description>\n    <character>OLDER THUG<\/character>\n    <dialogue>Fight me all you want but you have more problems coming. You know what they want.<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>They're not getting it.<\/dialogue>\n    <character>OLDER THUG<\/character>\n    <dialogue>They'll get it when you're dead.<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>I can handle dead. Can you?<\/dialogue>\n    <scene_description>Drew PINS the old thug to the floor with one hand. CRACKS HIS NECK with the other. Drew shakes off the body and moves to -- THE KITCHENETTE Drew pulls a bag of MICROWAVE POPCORN from an almost-bare cupboard. Then, from the hole in the wall, delicately -- A BRICK OF C-4 Drew affixes it to the bag of NEWMAN'S OWN (in Cyrillic), tosses it in the microwave, presses the POPCORN SETTING. The popcorn STARTS POPPING...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS OF VILNIUS - MOMENTS LATER<\/stage_direction>\n    <scene_description>Drew walks away from his building as his apartment EXPLODES. In the flames, our title:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARCADE - NIGHT (FLASHBACK)<\/stage_direction>\n    <scene_description>A year ago. Audrey, happier, before her heartbreak. She's at the jukebox, flipping. She's lightly bumped on the back.<\/scene_description>\n    <character>DREW (O.S.)<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <scene_description>Audrey turns, notices DREW behind her. Back then he was clean- shaven, like any guy you'd see in a Silver Lake bar.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>That's okay.<\/dialogue>\n    <scene_description>Audrey's wears a \"HAPPY BIRTHDAY\" PARTY STORE TIARA.<\/scene_description>\n    <character>DREW<\/character>\n    <dialogue>Oh. Hey. Happy birthday.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>What?<\/dialogue>\n    <parenthetical>(off tiara, deadpan)<\/parenthetical>\n    <dialogue>Oh, this? It's not my birthday. I just wear this for warmth.<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>Well, if it was your birthday, I would say happy birthday.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>And I would say thank you.<\/dialogue>\n    <scene_description>A moment. They're clearly feeling a vibe.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Hey, can I get your help with something really really important?<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>I do consider myself a problem- solver.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I have one quarter left. Your mission, should you choose to accept it, is to find the absolute worst song on this jukebox.<\/dialogue>\n    <scene_description>Drew smiles, joins her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRADER JOE'S - DAY (PRESENT)<\/stage_direction>\n    <scene_description>Audrey snaps out of the memory, hands a CUSTOMER a RECEIPT. She's at her shitty CASHIER JOB at Trader Joe's.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Thank you. Have a great day.<\/dialogue>\n    <scene_description>Audrey notices her reflection in a MIRROR by the register. She looks hung over. Remembering Morgan's words, she pulls out the LIPSTICK and applies it. Almost immediately -- SEBASTIAN HENSHAW (30) -- shirt, tie, charming, British -- steps to her register. With NO GROCERIES. Audrey's confused.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Can I help you?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Yes... one gum please.<\/dialogue>\n    <scene_description>He hastily grabs the nearest pack of GUM and hands her a dollar. As Audrey rings him up.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Have a nice day.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>...Sebastian. Aren't you going to ask me if I need help to my car?<\/dialogue>\n    <scene_description>Audrey smiles. He's flirting with her. Well, look at that.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRADER JOE'S PARKING LOT - MOMENTS LATER<\/stage_direction>\n    <scene_description>Audrey follows Sebastian to a far corner of the parking lot.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>So, where are you from?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>England.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>That's what I thought. But sometimes when I think that, people end up being Australian.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <parenthetical>(amused)<\/parenthetical>\n    <dialogue>People do sometimes end up being Australian.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Shut up.<\/dialogue>\n    <parenthetical>(then, flustered)<\/parenthetical>\n    <dialogue>Sorry, I didn't really mean shut up. It's a figure of speech. I dunno if you do that in England...<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Figures of speech? We invented that.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Some would say I'm not exercising good judgment, following a strange man through a parking lot. I mean, this is how people get shoved into the back of sketchy vans, right?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <parenthetical>(dead serious)<\/parenthetical>\n    <dialogue>Get in the van.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>REVEAL Sebastian's stopping in front of a BLACK VAN with TINTED WINDOWS. The DOOR OPENS from the inside. Sebastian flashes a BADGE.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Federal agent.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAN - DAY<\/stage_direction>\n    <scene_description>The van moves. Sebastian faces Audrey. Next to him is TOPHER PATEL (30) -- a smarmy jerk. Audrey is beyond freaked out.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>What's going on? Am I in trouble? I didn't do anything wrong.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>There's nothing to be afraid of, Ms. Stockman.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Says the guy who just kidnapped me. And knows my name. Oh my God what the fuck is happening... ?<\/dialogue>\n    <character>PATEL<\/character>\n    <dialogue>We just want to talk. About Drew Thayer. He's your boyfriend, right?<\/dialogue>\n    <character>AUDREY<\/character>\n    <parenthetical>(surprised)<\/parenthetical>\n    <dialogue>No. I mean he was. But we broke up. Why? Is he in trouble or something?<\/dialogue>\n    <character>PATEL<\/character>\n    <dialogue>Yes. Drew is in a lot of trouble.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Do you know where your ex-boyfriend worked, Ms. Stockman?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Yeah. NPR. He has this podcast about... um, honestly, I'm not positive. The episode I listened to was about little-known composers of the 18th Century... well, I listened to most of it.<\/dialogue>\n    <character>PATEL<\/character>\n    <dialogue>Nobody listened to that podcast. Not even me and I went to Harvard.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Wow. Only took you two minutes.<\/dialogue>\n    <parenthetical>(flat)<\/parenthetical>\n    <dialogue>Patel went to Harvard.<\/dialogue>\n    <character>PATEL<\/character>\n    <dialogue>That podcast was Drew's cover job.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>He never said anything about having another job.<\/dialogue>\n    <character>PATEL<\/character>\n    <dialogue>That's what \"cover\" means, hon.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Okay I know. I'm not stupid. I'm just... processing. This is a lot. What was it a cover for?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Drew was a CIA agent.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Wait, what?!<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Then he stole things he shouldn't have and killed people he shouldn't have. Now he's on the run.<\/dialogue>\n    <character>PATEL<\/character>\n    <dialogue>And if we don't find him, a lot of innocent people are going to die. Do you want that to happen?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>No! Jesus. No. Look, I'm with you that Drew's an asshole. I just can't believe he's... a killer.<\/dialogue>\n    <scene_description>Sebastian pulls out a FOLDER of PHOTOS. Grainy surveillance pictures of Drew -- with guns, making a drop, stabbing a man in the neck. Audrey gets more anxious as she flips through.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Oh my God. OH MY GOD.<\/dialogue>\n    <scene_description>She stops at a photo of HERSELF with DREW, in VEGAS.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>You guys were in Vegas when we saw Celine Dion?<\/dialogue>\n    <character>AUDREY<\/character>\n    <parenthetical>(quickly)<\/parenthetical>\n    <dialogue>Ironically.<\/dialogue>\n    <scene_description>He hands her another photo. TWO DEAD BODIES by a CRAPS TABLE.<\/scene_description>\n    <character>PATEL<\/character>\n    <dialogue>Has Drew been in touch since you broke up?<\/dialogue>\n    <scene_description>ON AUDREY - should she tell them?<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>No... well, yes. He called me last night. I mean, he called me back. Finally. I had called him like a thousand times.<\/dialogue>\n    <parenthetical>(self-conscious)<\/parenthetical>\n    <dialogue>After he disappeared. I called him a normal amount when we were together. I'm normal.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDREY'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>An Ikea-filled two-bedroom. Audrey rushes in, still in her uniform (she'll continue to be until we say otherwise.)<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Morgan! Morgan!<\/dialogue>\n    <scene_description>Morgan emerges from the kitchen in her bra and underwear, mid- phone call. Peeling and eating string cheese.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>...Yeah, Mom. Audrey just got home.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I have to talk to you.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Dude, I have to talk to you. I slept with Viktor.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>From your birthday party.<\/dialogue>\n    <scene_description>Behind her, Viktor emerges in nothing but RED LYCRA BRIEFS. He kisses Morgan intensely, then grabs a sleeve of CRACKERS.<\/scene_description>\n    <character>VIKTOR<\/character>\n    <dialogue>I will hit shower, yes?<\/dialogue>\n    <scene_description>He heads into the bathroom. The shower runs.<\/scene_description>\n    <character>MORGAN<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>What? Sorry, Mom, I'm kind of in a sex haze...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Hmm. I don't know, I'll ask her. Audrey, have you ever been with an uncircumcised guy?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Morgan!<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Audrey thinks I tell you guys too much... I know! I think it's healthy too. But yeah, I know most European guys are uncircumcised. Like when I first saw it I was like, ew this looks like an unbaked crescent roll. But then it's like when it's in there, the whole thing expands and it feels like -- I know this doesn't sound like it would feel good -- but it's like your insides are covered in scotch tape. Wait, duh, you already know this, Mom. You did a year abroad.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>MORGAN HANG UP THE FUCKING PHONE!<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>I'll call you back.<\/dialogue>\n    <parenthetical>(hangs up)<\/parenthetical>\n    <dialogue>Jesus. What?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>These guys from the CIA came to Trader Joe's today. To talk about Drew. They said... he's a spy.<\/dialogue>\n    <scene_description>Morgan cracks up, assuming she's kidding.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>I'm serious. They showed me pictures of him with like, weapons and dead bodies. People he killed.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Wait. What?!<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I know it sounds fucking batshit. But think about it. There were just so many unanswered questions with that guy...<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Yeah there were. Like if he really went to Vassar, why does he pronounce it liberry?<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Oh my fucking God!<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Thank you! That is the appropriate reaction!<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>No. Behind you!<\/dialogue>\n    <scene_description>Audrey turns. DREW is on the fire escape, wresting the window open. He smiles. Ugh. It's a charming fucking smile.<\/scene_description>\n    <character>DREW<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>AUDREY<\/character>\n    <parenthetical>(reeling)<\/parenthetical>\n    <dialogue>Hi...<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>So you have my stuff?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Yeah...<\/dialogue>\n    <scene_description>Then Audrey snaps out of it, remembers how angry she's been.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Wait, that's all you have to say? What happened to you explaining everything?<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>I will, just right now I'm in a rush. Where's the stuff? Your room?<\/dialogue>\n    <scene_description>He just heads for her room. Audrey follows, pissed off.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Stop. You can't just go in there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDREY'S BEDROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Audrey walks in to find Drew grabbing THE BOX on the floor. She shuts the door behind him. They share a silent look.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Hey. Asshole. We're not together. There are like, rules.<\/dialogue>\n    <character>DREW<\/character>\n    <parenthetical>(re: the box)<\/parenthetical>\n    <dialogue>This smells like lighter fluid.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Yeah. I wasn't kidding when I said I was gonna burn your shit.<\/dialogue>\n    <scene_description>But Drew just keeps moving, back to...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDREY AND MORGAN'S LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Audrey follows Drew as he heads back to the window. This is all happening so fast. But it's her last chance to say it...<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>I know you're a spy.<\/dialogue>\n    <scene_description>This finally stops Drew. His face drops. He turns around.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>People from the CIA came to my work. They made me get in a van and showed me pictures of people you killed.<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>What did you tell them?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>You're not gonna give me a bullshit excuse about how this is a joke your coworkers are playing on you? And those pictures were photoshopped?<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>Audrey...<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>It was fucking scary, Drew.<\/dialogue>\n    <scene_description>Drew is PANICKED. Checks windows, behind doors, opens the closet. Then, he pulls a HANDGUN out of his jacket.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Jesus! Fuck.<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>Audrey. Listen to me. I need to know exactly what you told them.<\/dialogue>\n    <character>AUDREY<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>What's on your head?<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>You have a red dot on your head.<\/dialogue>\n    <scene_description>Sure enough, there's a LASER SIGHT right between Drew's eyes. GUNSHOTS -- BANG -- shattering windows. Drew springs to action, SHOVES AUDREY behind the COUCH -- pulls them both down and holds her close. It's weirdly intimate.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>What the fuck is going on?<\/dialogue>\n    <scene_description>Then she sees the BLOOD. Drew's been shot twice in the CHEST. But he's ALIVE. Audrey GASPS--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MORGAN'S BEDROOM - SAME<\/stage_direction>\n    <scene_description>Morgan is still on the phone again as she gets dressed.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>What the fuck was that?!<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Dad, I have to call you back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDREY AND MORGAN'S LIVING ROOM - SAME<\/stage_direction>\n    <scene_description>BEHIND THE SOFA. GUNFIRE doesn't let up. Drew speaks, urgent.<\/scene_description>\n    <character>DREW<\/character>\n    <dialogue>Audrey... bad people are after me--<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>The CIA guys?<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>There's more than just the CIA chasing me. And now they're after you too. Fuck. This is exactly what I didn't want -- you in danger. That's why I broke up with you.<\/dialogue>\n    <scene_description>Before Audrey can respond, Drew reaches into the box and pulls out his FANTASY FOOTBALL TROPHY.<\/scene_description>\n    <character>DREW<\/character>\n    <dialogue>But we're in this together now. And a lot of innocent people are gonna die if we don't bring this where it needs to go. So listen. We're gonna leave this apartment, we're gonna fly to Vienna, and give this to someone named Verne at the Hotel Sacher Cafe at 6pm tomorrow...<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Why are you telling me this if we're going together?<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>In case I don't make it out of here alive. Verne. 6pm. Hotel Sacher Cafe. Then you'll be safe. And so will everyone else. Got it?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Drew, you're not gonna die --<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>Listen. Don't trust anybody.<\/dialogue>\n    <scene_description>The bathroom door opens and VIKTOR appears in the doorway. TOTALLY NAKED. CLOSE ON: HIS WEIRD UNCIRCUMCISED DICK.<\/scene_description>\n    <character>AUDREY\/DREW<\/character>\n    <dialogue>Eughhhhhh!<\/dialogue>\n    <scene_description>Viktor pulls out a GUN, SHOOTS Drew in the HEART point blank. Audrey's next... THEN. Morgan RUNS out of her room like a banshee. PLOWS into Viktor full force, shoving him into -- THE KITCHEN Before he can catch his balance, she pushes Viktor out the open window. He SCREAMS as he FALLS to his death. Audrey and Morgan are in total shock. Drew is dead! The shooting's stopped -- But only because they now hear a BATTALION OF FOOTSTEPS running up the stairs.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>We have to get the fuck out of here!<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Oh my God, Drew!<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>We have to go. Now!<\/dialogue>\n    <scene_description>As they BOLT for the FIRE ESCAPE, Audrey yanks the FOOTBALL TROPHY out of Drew's dead hands. She spots a wad of FOREIGN BILLS in his jacket. Stuffs them in her pockets. Overwhelmed, Audrey gives Drew one last look. Is there something she could have done? But it's too late now. ANGLE on the DOOR as a SWARM of SPECIAL FORCES PERSONNEL burst in, led by SEBASTIAN and PATEL. But the girls are gone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. AUDREY'S HONDA CIVIC - DAY<\/stage_direction>\n    <scene_description>Audrey, shaking, fighting tears, drives as fast as she can -- not terribly fast. A conservative driver. Morgan's shotgun.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Where are we going?!<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I don't know. Give me a minute. Okay. Where would we be safe?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Pull into this parking lot. There's a bathroom in Pilates Plus.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>We're not hiding in fucking Pilates Plus! Where's the police station? I think I voted there...<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>We can't go to the police. I just killed someone. And I have a ton of unpaid speeding tickets. And... Black Lives Matter.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>You killed someone in self-defense. That doesn't count.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Just call those CIA agents.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Drew said we can't trust anyone. And he's right. He's dead. Probably because I talked to them.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Or because I brought an assassin into our apartment.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Okay so it's both our faults.<\/dialogue>\n    <scene_description>Audrey slows as she approaches a STOP SIGN.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Go! Why are you stopping at stop signs? People are after us.<\/dialogue>\n    <scene_description>Audrey nervously SPEEDS through the stop sign. Then her PHONE RINGS on the BLUETOOTH. BLOCKED NUMBER. She inhales, picks it up. It plays through the CAR SPEAKERS.<\/scene_description>\n    <character>SEBASTIAN (V.O.)<\/character>\n    <dialogue>Audrey? It's Sebastian.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>You killed Drew. I told you where he was gonna be and you killed him.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Who is this asshole?<\/dialogue>\n    <character>SEBASTIAN (V.O.)<\/character>\n    <dialogue>Are you in the car?<\/dialogue>\n    <parenthetical>(no response)<\/parenthetical>\n    <dialogue>What did Drew say to you?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Why would I tell you anything after everything you've done?<\/dialogue>\n    <character>SEBASTIAN (V.O.)<\/character>\n    <dialogue>Audrey. Where are you taking it?<\/dialogue>\n    <scene_description>Audrey eyes the TROPHY, on the car's console.<\/scene_description>\n    <character>SEBASTIAN (V.O.)<\/character>\n    <dialogue>Give us the package. Trust me.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I don't trust anyone anymore.<\/dialogue>\n    <scene_description>Audrey HANGS UP. A moment.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>You trust me though, right?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Of course. Not counting you.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Good. Cause this isn't like, a fake spy friendship that the Russians put together.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Dude, shut up. I know.<\/dialogue>\n    <parenthetical>(grabbing the trophy)<\/parenthetical>\n    <dialogue>Drew said a lot of people are gonna die if we don't deliver this.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>What people?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>He didn't get that far. But he was like, lying on the floor about to die when he said it. I know he lied about a lot of shit, but like...<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>if I don't do what he said and a bunch of people die, in a terrorist attack or whatever, I will always wonder if I could have stopped it.<\/dialogue>\n    <scene_description>Morgan thinks about this.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>That would fucking suck.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>What did he say we have to do?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Bring this to some cafe in Vienna.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Vienna? As in, Austria, Vienna?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>That's what he said.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Then... why don't we do that?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Why don't we go to Europe when people are trying to kill us?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>They're trying to kill us here too.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>But we're just like, regular people. Yes, we happen to be in this extreme situation right now but we are not qualified to like... do some international spy mission.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>It doesn't sound like a whole \"mission.\" It's just doing this one thing. Versus staying here and getting killed. Plus, you've never been to Europe. Do you really want to die never having gone to Europe? Or do you want to go to Europe and die, having been to Europe?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Why are those my only two options?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>I don't know, cause you dated a spy?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>You fucked an assassin.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>That I did.<\/dialogue>\n    <scene_description>Morgan opens the GLOVE COMPARTMENT, pulls out PASSPORTS.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>I'm just saying. Our passports are still in here from our road trip to Mexico. And I have my dad's credit card for emergencies...<\/dialogue>\n    <character>AUDREY<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Are we going to Austria?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>I think we're going to Austria.<\/dialogue>\n    <scene_description>Audrey sharp-turns on to the FREEWAY ON-RAMP.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>But we should ditch our phones. Bad guys can track us with our phones. Even if the phone is off.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>How do you know that?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>I went to summer camp with Edward Snowden.<\/dialogue>\n    <parenthetical>(proudly)<\/parenthetical>\n    <dialogue>First hand job. Oh my God that guy was obsessed with me.<\/dialogue>\n    <scene_description>She grabs Audrey's phone and fishes hers from her bag.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>And he was really into ska.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Weird.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Right? When that whole thing was going down, I was like - hello, why is no one talking about how Edward Snowden is really into ska?<\/dialogue>\n    <scene_description>Morgan THROWS THEIR PHONES OUT THE WINDOW into the opposite lane. Watches in the rearview as CARS CRUSH THEM.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Do you think my Candy Crush progress will be saved?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Yeah, in the cloud. You linked your account with Facebook, right?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>No. I don't like getting all those notifications.<\/dialogue>\n    <parenthetical>(mournful)<\/parenthetical>\n    <dialogue>Fuck.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. 405 FREEWAY\/AUDREY'S HONDA CIVIC - DAY<\/stage_direction>\n    <scene_description>Audrey starts to pull off at an EXIT.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Why are you getting off here?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>To park.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Dude, people are trying to kill us. We are not fucking parking in Lot C.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPLANE - DAY<\/stage_direction>\n    <scene_description>Mid-flight. Audrey and Morgan sit next to each other, eyeing all fellow passengers suspiciously. Wondering who might be a threat. A WELL-DRESSED BUSINESSMAN. A PROFESSORIAL TYPE in a bow-tie. Everyone in between. A FLIGHT ATTENDANT passes.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Could I get a Pinot Grigio please?<\/dialogue>\n    <scene_description>The Flight Attendant nods and leaves.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>You can't drink right now!<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>I have to. This is so fucking stressful. Like, any of these people could be trying to kill us.<\/dialogue>\n    <scene_description>She makes eye contact with a LITTLE GIRL across the aisle. The little girl stares back stoically. Morgan's freaked out.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Morgan. We need all our faculties.<\/dialogue>\n    <character>MORGAN<\/character>\n    <parenthetical>(re: her screen)<\/parenthetical>\n    <dialogue>That guy just drank like three martinis.<\/dialogue>\n    <scene_description>Reveal she's watching a BOND MOVIE. Audrey's watching BOURNE.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>He's been doing this a really long time. This is our first time.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Do you think Drew was a James Bond kind of spy?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I don't know. I don't think James Bond would like, need to try every breakfast burrito in Los Angeles.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Yeah. Seems more like a Bourne thing.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Are your parents gonna be pissed that we used their credit card?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Not if I tell them why. That's our family policy. As long as I tell the truth, they can't get mad.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Morgan. You can't tell them the truth about this.<\/dialogue>\n    <character>MORGAN<\/character>\n    <parenthetical>(deeply conflicted)<\/parenthetical>\n    <dialogue>What if I tell them we went to Europe to go to museums?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>You just said you weren't supposed to lie!<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>It won't be a lie if we go to a museum.<\/dialogue>\n    <parenthetical>(off Audrey's look)<\/parenthetical>\n    <dialogue>As long as we're there! We drop off the trophy at this cafe, that's like an hour, tops. And then one museum.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>We'll play it by ear.<\/dialogue>\n    <scene_description>The wine arrives. Morgan gulps it down. Audrey shakes her head and puts on her headphones, focusing on her movie. ANGLE ON: BOURNE in a kickass action sequence... and we...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARCADE - AUDREY AND DREW - FLASHBACK<\/stage_direction>\n    <scene_description>Audrey and Drew stand close at the jukebox, scrolling.<\/scene_description>\n    <character>DREW<\/character>\n    <dialogue>Oh God. That Sarah McLachlan song. This is the one in the commercial where the dogs are sad, right?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I think the sad dogs redeem the song. Ugh, what about Mambo No. 5?<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>Please. That's nothing compared to Mambos one through four.<\/dialogue>\n    <scene_description>Audrey laughs. They're enjoying each other.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Oh. Oh my God I have it. Close your eyes. Don't look.<\/dialogue>\n    <scene_description>Drew closes his eyes. Audrey gleefully puts the quarter in. THE CRASH TEST DUMMIES \"MMM MMM MMM MMM\" plays. Drew opens his eyes. Without missing a beat, starts singing along in the lead singer's super-deep bass.<\/scene_description>\n    <character>DREW<\/character>\n    <dialogue>\"Oooooonce there was this kiiiid who \/ got into an accident and couldn't come to school \/ But wheeen he finally caaaame back... \"<\/dialogue>\n    <scene_description>Audrey laughs, totally smitten.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. CAB - DAY<\/stage_direction>\n    <scene_description>The gorgeous sights of Vienna flash by as the girls sit in a CAB heading across town. The driver is a middle-aged elegant AUSTRIAN WOMAN. Morgan and Audrey whisper.<\/scene_description>\n    <character>VIENNA, AUSTRIA<\/character>\n    <dialogue>MORGAN<\/dialogue>\n    <scene_description>She hasn't smiled once. Do you think she's an assassin?<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>No. We just randomly picked this cab. And she's like, delicate.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Dude. Sexist! Women of all shapes and sizes can be anything they want to be. They can be assassins...<\/dialogue>\n    <parenthetical>(points to themselves)<\/parenthetical>\n    <dialogue>They can be operatives.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I wouldn't say we're \"operatives.\" This is just one operation.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Yeah. But you and me? We're always operating.<\/dialogue>\n    <scene_description>Morgan notices something out the window. She GASPS in shock.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Oh my GOD.<\/dialogue>\n    <character>AUDREY<\/character>\n    <parenthetical>(scared)<\/parenthetical>\n    <dialogue>What? What?!?!<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>That building is fucking beautiful.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL SACHER CAFE - DAY<\/stage_direction>\n    <scene_description>An ornate European restaurant packed with high-end tourists and locals. Audrey and Morgan sit tensely in a corner table, subtly checking everyone out as they eat SACHERTORTES.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Okay. Who do we think Verne is?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>I don't know. It's kind of a frumpy name.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>You think? We might just be pronouncing it frumpy. Like, Jules Verne wasn't frumpy.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>I beg to differ. And wait, won't this guy be looking for Drew?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Yes. Shit. He will.<\/dialogue>\n    <scene_description>A beat as they scan... then Morgan suddenly TENSES UP.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>What? What do you see?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Nothing...<\/dialogue>\n    <parenthetical>(sighs)<\/parenthetical>\n    <dialogue>Okay, I know being here right now is really important but this cake is a lot of flour and dairy for me and... I need to go have diarrhea.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>It's just a biological fact. No matter who you are, no matter how high the stakes in a given moment, sometimes you have to-<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Oh my God just go.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Thank you. I'll be right back.<\/dialogue>\n    <scene_description>Morgan rushes toward the bathroom. We stay with Audrey as a BUTCH WAITRESS approaches.<\/scene_description>\n    <character>WAITRESS<\/character>\n    <dialogue>Anything else?<\/dialogue>\n    <character>SEBASTIAN (O.S.)<\/character>\n    <dialogue>Zwei Kaffee, bitte.<\/dialogue>\n    <scene_description>Before Audrey knows what's happening, SEBASTIAN emerges from behind her, takes Morgan's seat. Audrey's about to SCREAM --<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Don't scream. I'm the person you're here to see.<\/dialogue>\n    <character>AUDREY<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>You're Verne?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>It's an alias.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Hand it over.<\/dialogue>\n    <scene_description>Audrey hedges.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>If Drew wanted me to give this to you, why wouldn't he have done it himself?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>It's a long story.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I'm not in a rush.<\/dialogue>\n    <scene_description>Then something touches her leg under the table. A GUN.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Oh my God!<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Don't make any noise. Just hand it over. I'm not gonna hurt you. I'm trying to protect you.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Like you protected Drew?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>That wasn't us. We didn't do that.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>If you were really protecting me, you wouldn't be pointing a gun at me. I may not be in the fucking CIA but I know that.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I'm MI-6, actually.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Whatever.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL SACHER CAFE, BATHROOM - DAY<\/stage_direction>\n    <scene_description>Morgan washes her hands next to their WAITRESS. She smiles politely. Then Morgan double-takes. The waitress's NAME TAG -- VERNE.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>You're Verne?<\/dialogue>\n    <character>VERNE<\/character>\n    <dialogue>Guttentag!<\/dialogue>\n    <scene_description>Morgan rushes out of the bathroom, back to --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL SACHER CAFE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Morgan FREEZES, seeing Sebastian at the table with Audrey. She waves -- tries to get Audrey's attention. Audrey sees her but doesn't react. The gun's still trained on her. AT THEIR TABLE -- Sebastian continues to explain.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I'm only pointing this at you so you sit still and listen. In a minute, everyone in this cafe is going to start shooting. If you run, you'll be killed. And even if you manage to get out alive, you won't be able to go anywhere.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>If you scan your passport at a border, there'll be men with guns a lot bigger than this one who won't say a word before they shoot you in the face. So hand me what I want and no one gets hurt.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Except for Drew.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Okay, it's not productive to keep bringing that up.<\/dialogue>\n    <scene_description>Audrey has no choice. She reaches into her POCKET and grabs the TROPHY. She starts to hand it over, when -- Morgan -- seeing this -- SCREAMS.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>THAT'S. NOT. VERNE!<\/dialogue>\n    <scene_description>CHAOS ERUPTS! Almost everyone in the cafe has a gun, and most of them start SHOOTING. Sebastian whips around, SHOOTS BACK. A DEAD ASSASSIN plummets into an elaborate ROAST CHICKEN. A DEAD VERNE FALLS ON TOP OF AUDREY, GUN in her dead hand. Morgan drops to the ground, hides under a TABLE... thinking fast, Audrey GRABS Verne's GUN. Crouching, scans for Morgan -- just as -- an ARYAN-LOOKING MAN with a RIFLE stalks Morgan, prepares to end her short, wonderful life... Audrey acts on instinct, aims with precision -- just like Duck Hunt -- and BLOWS THE GUY'S BRAINS OUT. Saving her. Morgan looks up, shocked, grateful. AUDREY's surprised too. She stares at the gun in her hands -- SHE'S GOOD AT THIS. Then a GUTTURAL SCREAM from behind them-- Sebastian throws SCALDING HOT COFFEE on an attacker, stabs a FORK in his neck. While he's distracted, Audrey and Morgan fucking run for it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VIENNA STREET - MOMENTS LATER<\/stage_direction>\n    <scene_description>Audrey and Morgan sprint down the alley, panicking...<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>I just killed someone... oh my god Morgan, I just killed someone...<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Don't think about it! Keep running!<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I killed someone!<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Stop yelling that!<\/dialogue>\n    <scene_description>Up ahead, an OLDER RICH COUPLE -- dressed for a night at the OPERA -- are climbing into their VINTAGE M.G. when -- AUDREY and MORGAN run up behind them like crazy people. Audrey SNATCHES THE MAN'S KEYS right out of his hand.<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>Was machst Du da f\u00fcr Schei\u00dfe!<\/dialogue>\n    <scene_description>Audrey pushes into the car. Morgan gets in the passenger side.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STOLEN M.G. - SAME<\/stage_direction>\n    <scene_description>They lock the doors. Audrey hastily turns the car on. The Man and Woman scream -- YELL for POLICE -- banging on the windows. Audrey looks down -- A GEAR SHIFT.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Shit. Can you drive a stick?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>No! What?! Do I look like a fifty- five year old man?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VIENNA ALLEY - SAME<\/stage_direction>\n    <scene_description>The M.G. rolls VERY SLOWLY down the street in NEUTRAL. The OLDER COUPLE easily keeps up on foot, banging on the windows. The car SLOWLY rolls into a NEWSSTAND, barely nudging it... But PAPERS fall, on to the windshield. Blocking their view.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Fuck.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <scene_description>The girls jump out, apologizing profusely as they run.<\/scene_description>\n    <character>AUDREY\/MORGAN<\/character>\n    <dialogue>Sorry\/ so sorry!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANOTHER VIENNA STREET - MOMENTS LATER<\/stage_direction>\n    <scene_description>The girls dash around a corner --<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Get in there!<\/dialogue>\n    <scene_description>She gestures to an UBER decal on a WAITING CAR. They jump in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. UBER - DAY<\/stage_direction>\n    <scene_description>Driving. LUKAS, pierced and bohemian, at the wheel.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Go go go go go! Go! Go!<\/dialogue>\n    <scene_description>Lukas stares at HIS PHONE: A picture of an ASIAN MAN.<\/scene_description>\n    <character>LUKAS<\/character>\n    <dialogue>Mr. Nguyen?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Yes. Mr. Nguyen. Just go!<\/dialogue>\n    <scene_description>Audrey throws a bunch of BILLS at him. Lukas shrugs and drives. Typical Uber chatter ensues.<\/scene_description>\n    <character>LUKAS<\/character>\n    <dialogue>So you guys visiting?<\/dialogue>\n    <scene_description>The girls' eyes dart everywhere -- frantic -- not listening --<\/scene_description>\n    <character>MORGAN<\/character>\n    <parenthetical>(panicking)<\/parenthetical>\n    <dialogue>Can we go another way? There's a lot of traffic here --<\/dialogue>\n    <character>LUKAS<\/character>\n    <dialogue>Bottled water? Still? Sparkling?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>No! Just drive --<\/dialogue>\n    <character>LUKAS<\/character>\n    <dialogue>You have enough air back there?<\/dialogue>\n    <scene_description>A GUY ON A MOTORCYCLE PULLS ALONGSIDE THEM -- full-head helmet obscuring his face. He LIFTS a MACHINE GUN. Ready to fire... Audrey and Morgan SCREAM. Audrey reaches over and kicks her own LEG down on top of Lukas's -- SPEEDING THE CAR UP.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Here's the deal, okay? Some guys with guns are trying to kill us right now. Can you just, lose them?<\/dialogue>\n    <character>LUKAS<\/character>\n    <parenthetical>(lighting up)<\/parenthetical>\n    <dialogue>Fuck yeah!<\/dialogue>\n    <scene_description>Lukas starts driving like a MANIAC. EFFECTIVELY. He makes a SHARP TURN, losing the assassin. The girls exhale. Until:<\/scene_description>\n    <character>LUKAS<\/character>\n    <dialogue>Good thing I smoked a little meth before. Fear is an illusion!<\/dialogue>\n    <scene_description>He turns down a ONE-WAY STREET. The wrong way. CARS HONK, pull to the side. Lukas swerves in and out... on to nearby TRAIN TRACKS. He drives down the tracks at top speed... bumping wildly... heads into a NARROW TUNNEL. In the dark, the lights of an ONCOMING TRAIN appear...<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Lukas!<\/dialogue>\n    <character>LUKAS<\/character>\n    <dialogue>I see it. No problem.<\/dialogue>\n    <scene_description>Lukas SPEEDS UP. The girls SCREAM at the top of their lungs... The Uber pulls out of the tunnel and off to the side JUST IN THE NICK OF TIME -- The TRAIN rushes by.<\/scene_description>\n    <character>LUKAS<\/character>\n    <dialogue>Up here!<\/dialogue>\n    <scene_description>Lukas lifts a hand to HIGH-FIVE. Before they can return it-- BLAM! -- BLAM!! THE BACK WINDOW shatters! THE GIRLS -- duck! LUKAS -- is sprayed with bullets. He DIES TEN TIMES OVER. MORGAN lifts her head cautiously over the back seat... FIVE MORE MOTORCYCLE GUYS are racing through the tunnel, armed --<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Audrey, get on top of him!<\/dialogue>\n    <scene_description>Audrey jumps on the LAP of Lukas's DECIMATED CORPSE. She DRIVES, cautious at first... then gets an ADRENALINE RUSH. Drives FASTER AND FASTER. When she gets to a CROSSING, she TURNS off the tracks, into TRAFFIC -- Weaving between cars. Audrey is a quick fucking study. She makes a SHARP TURN. Loses her pursuers. For now.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Hey! Pull over! Stop the car!<\/dialogue>\n    <scene_description>A BAROQUE SIGN AHEAD -- STEPHANSPLATZ. METRO STATION. Audrey pulls up to the curb. Morgan jumps out. Audrey climbs off Lukas' dead body. Glances back at him one more time...<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>(ruefully)<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Five stars.<\/dialogue>\n    <scene_description>Five stars, Lukas. They sprint toward the Metro. SIRENS in the distance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIENNA SUBWAY STATION - DAY<\/stage_direction>\n    <scene_description>AUDREY and MORGAN run down the ESCALATOR, to the TURNSTILES.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Jump the turnstile!<\/dialogue>\n    <scene_description>Audrey stops. There's a COP patrolling nearby.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIENNA METRO STATION - MOMENTS LATER<\/stage_direction>\n    <scene_description>POUNDING MUSIC FROM THEIR CHASE continues as the girls try to work the confusing METRO PASS DISPENSER.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Gah!<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Fucking take my Euro!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIENNA METRO STATION - MOMENTS LATER<\/stage_direction>\n    <scene_description>Music continues as they keep swiping their cards to no avail... they keep getting an ERROR MESSAGE: FEHLER! FEHLER! Finally, they get through. Slip into a METRO CAR.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIENNA METRO - SAME<\/stage_direction>\n    <scene_description>Audrey and Morgan collapse on to seats, breathless. Finally. The train moves. They look up -- A VERY PREGNANT WOMAN and an ELDERLY MAN. Audrey and Morgan exchange a look and give up their seats. Hold the bars as they continue panting.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CIA PARIS STATION - NIGHT<\/stage_direction>\n    <scene_description>An industrial underground complex with SCREENS everywhere.<\/scene_description>\n    <character>CIA STATION -- PARIS, FRANCE<\/character>\n    <dialogue>SEBASTIAN -- still in his bloody shirt -- enters the SITUATION ROOM. Patel sees him, breaks from a conversation with WENDY (50s), their permanently-disgruntled BOSS.<\/dialogue>\n    <character>PATEL<\/character>\n    <dialogue>Great job, Henshaw!<\/dialogue>\n    <parenthetical>(deadpan)<\/parenthetical>\n    <dialogue>Your mission was to have everyone in that cafe die and the girls get away, right?<\/dialogue>\n    <scene_description>Sebastian ignores PATEL, turns to Wendy.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Extenuating circumstances.<\/dialogue>\n    <character>WENDY<\/character>\n    <dialogue>They had the package and you didn't get it. Explain that circumstance.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I was trying to protect them.<\/dialogue>\n    <character>PATEL<\/character>\n    <dialogue>Why? Let them die. They're idiots. I know an idiot when I see one.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>In the mirror.<\/dialogue>\n    <character>PATEL<\/character>\n    <dialogue>I'm not an idiot, Sebastian. I was--<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Harvard. Yes. We know.<\/dialogue>\n    <character>WENDY<\/character>\n    <parenthetical>(stern)<\/parenthetical>\n    <dialogue>Boys. If I wanted to sit here with two children, I'd spend time with my own children. And I don't want to spend time with my own children. Now what do we know about these idiots?<\/dialogue>\n    <scene_description>PATEL leans over and types a few keys. ON THE SCREENS -- DMV PHOTOS of AUDREY and MORGAN.<\/scene_description>\n    <character>PATEL<\/character>\n    <dialogue>Audrey Stockman. 27. Works at Trader Joe's.<\/dialogue>\n    <parenthetical>(to Sebastian)<\/parenthetical>\n    <dialogue>You're right. Can't let anything happen to her. Who else would serve the samples of Vegan Gyoza?<\/dialogue>\n    <parenthetical>(to Wendy)<\/parenthetical>\n    <dialogue>She's worked there since she graduated from Oberlin with a B minus average. Which is where she met this genius...<\/dialogue>\n    <scene_description>MORGAN's PICTURE.<\/scene_description>\n    <character>PATEL<\/character>\n    <dialogue>Or shall I say \"This Musical Theater major who designed her own minor.\"<\/dialogue>\n    <character>WENDY<\/character>\n    <dialogue>In what?<\/dialogue>\n    <character>PATEL<\/character>\n    <dialogue>She literally minored in \"Personality.\"<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>What's your point, Patel? You're okay letting two innocent women die?<\/dialogue>\n    <character>PATEL<\/character>\n    <dialogue>I think society is okay letting these two die. They're losers. And we'll catch them the minute they try to cross the border.<\/dialogue>\n    <character>PATEL<\/character>\n    <dialogue>These girls are the stupidest people America hasn't managed to kill yet.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WIEN HAUPTBAHNHOF TRAIN STATION - NIGHT<\/stage_direction>\n    <scene_description>An uber-modern mall-like International hub.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE TICKET WINDOW<\/stage_direction>\n    <scene_description>AUDREY grabs two tickets and hurries through the CROWD, keeping her head down, lying low... she arrives<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OUTSIDE THE GIFT SHOP<\/stage_direction>\n    <scene_description>Just as MORGAN emerges with a BAG. The girls walk quickly.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Keep moving. There are cameras everywhere.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>I got us changes of clothes.<\/dialogue>\n    <scene_description>Morgan pulls out two BASEBALL HATS with MOZART'S FACE.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>They really play up that Mozart's from here. Really downplay that Hitler's from here.<\/dialogue>\n    <scene_description>The girls put on the hats and head for the tracks.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>What else did you get?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Everything that said Wiener on it.<\/dialogue>\n    <scene_description>She shows Audrey a jar of VIENNA SAUSAGES and a cake labeled TORTE WIENER ART. Then Audrey suddenly STOPS.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Wait. Fuck. Our passports. Sebastian said we'll get stopped if we try to use them.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Okay. So we just have to get new ones. Let's find a couple of girls who look like us, tell them what happened and convince them to give us theirs. They can just go to the embassy and say theirs were stolen.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Who would do that for us?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Any girls! It's girl code. Eat Pray Love.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>They look kinda like us.<\/dialogue>\n    <scene_description>She points to two KIND OF NERDY GIRLS who look like them.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Babe, what are you talking about? Those girls look nothing like us. Those girls look like us.<\/dialogue>\n    <scene_description>Morgan points to two TALL BACKPACKERS WHO LOOK LIKE MODELS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN STATION BENCH - MOMENTS LATER<\/stage_direction>\n    <scene_description>By the TRACKS -- Audrey and Morgan are nearly in TEARS as they explain their predicament to the AUSTRALIAN BACKPACKERS.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>... Just think about the only guy you've ever really loved dying in front of you. And asking you to do this one thing for him. Wouldn't you sacrifice anything?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Yeah, I mean this was my favorite shirt. It's H&amp;M but now it's also B&amp;B. Blood and Brains.<\/dialogue>\n    <character>AUSSIE TOURIST 1<\/character>\n    <dialogue>You guys are weird.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>We're not...<\/dialogue>\n    <parenthetical>(mocking Australian accent)<\/parenthetical>\n    <dialogue>weeeeeid. We're serious. You'd be saving our lives. And a lot of other innocent people. You don't want those people to die, right?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Please guys. Just go to the embassy and get new passports. We'll give you some money for your time --<\/dialogue>\n    <character>AUSSIE TOURIST 2<\/character>\n    <dialogue>Sorry. We'd love to help you out, mate, but we don't know you and...<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>No, I get it. I get it.<\/dialogue>\n    <scene_description>The TRAIN pulls in behind them. Morgan and Audrey exchange a look. They both know what they have to do.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Thanks anyway. It was beautiful meeting you two.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Have a great time in Poland.<\/dialogue>\n    <scene_description>They pull the two Backpackers in for a HUG...<\/scene_description>\n    <character>MORGAN<\/character>\n    <parenthetical>(yelling)<\/parenthetical>\n    <dialogue>Now!<\/dialogue>\n    <scene_description>AUDREY and MORGAN GRAB the girls' FANNY PACKS and dash for the WAITING TRAIN. Before the Aussies know what's happening, the train has left the station. Along with their passports. PRE-LAP thumping ETHEREAL HOUSE MUSIC...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILAN PALAZZO - NIGHT<\/stage_direction>\n    <scene_description>Dizzying strobe lights -- thumping bass -- an AVANT GARDE runway show in a drafty PALACE BALLROOM. Androgynous men and women move stiffly down the catwalk in clothes that look like armor. Vacant faces STREAKED with black and metallic paint.<\/scene_description>\n    <character>MILAN, ITALY<\/character>\n    <dialogue>We track one MODEL -- 6'3, deathly pale, beauty that only exists in unpronounceable countries. NADEJDA (pronounced \"Nadia\" but everything, including spelling, is harder where she's from.) She completes her walk and heads back to --<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILAN PALAZZO BACKSTAGE - CONTINUOUS<\/stage_direction>\n    <scene_description>The bullpen. Nadedja ignores the chatter of models and interns as she goes to a CUBBY, removes an expensive leather bag. Pulls out her BUZZING PHONE. In a heavy SLAVIC accent:<\/scene_description>\n    <character>NADEDJA<\/character>\n    <dialogue>Hello... Yes... I understand.<\/dialogue>\n    <scene_description>She crosses behind a CURTAIN, pulls it shut.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRESSING AREA - CONTINUOUS<\/stage_direction>\n    <scene_description>Nadedja strips NAKED, revealing a bony, hairless body. She pulls out the components of -- A GUN. Assembles it expertly. From outside the curtains --<\/scene_description>\n    <character>MALE INTERN (O.S.)<\/character>\n    <dialogue>Nadedja? You're not changing, are you? Carlo wants everyone out there.<\/dialogue>\n    <scene_description>Nadedja continues, unperturbed by the request. Moves on to a HANDGUN -- screws in a SILENCER. The curtain is YANKED OPEN, revealing the CHUBBY MALE INTERN.<\/scene_description>\n    <character>MALE INTERN<\/character>\n    <dialogue>Carlos said now -- HOLY SHIT.<\/dialogue>\n    <scene_description>His eyes widen, taking in the nudity -- luckier than he's ever been in his life. And ever will be. Because he's about to die. He should not have seen those guns. Nadedja moves like lightning -- AIMS, FIRES. Intern FALLS. She pulls a shapeless FROCK from a nearby rack, checks her reflection in a mirror. Uses a MAKEUP SPONGE to wipe the Intern's blood off her face, steps over him in her stilettos.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS OF MILAN - DAY<\/stage_direction>\n    <scene_description>Nadedja climbs into a MERCEDES SLR MACLAREN -- mirrored exterior, as otherworldly as she is. This is like, a 650K\u20ac car (given the current European economy, you could negotiate down to six, but Nadedja doesn't negotiate.) She speeds away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. TRAIN - DAY<\/stage_direction>\n    <scene_description>Gorgeous countryside. Audrey and Morgan -- now in different clothes -- sit in a TRAIN COMPARTMENT. Morgan holds the TROPHY, Audrey removes a PHONE from one of the FANNY PACKS.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>We should get you a gun. Cause dude. Back there? In that cafe? You're like, deadly.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I play a lot of Duck Hunt.<\/dialogue>\n    <character>MORGAN<\/character>\n    <parenthetical>(re: trophy)<\/parenthetical>\n    <dialogue>God, what is the fucking deal with this thing?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I don't know. That's what we have to figure out.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Or maybe... we don't. I mean, Drew asked you to hand it to this one person. We tried.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>People shot at us. And each other. Clearly this isn't as easy as we thought. Maybe we should just like... throw it out the window. Then it's just... not on us.<\/dialogue>\n    <scene_description>Audrey thinks about it. Tempting, but she just can't.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>No. If it's really that important and we just ditch it and something really bad happens... I don't want that blood on my hands. In addition to the literal blood that's already all over my hands.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>That train station hand soap is for shit.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>We just have to get out of this country of murderers. We'll be in Prague in a few hours.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Prague does not sound free of murderers.<\/dialogue>\n    <scene_description>But Audrey's distracted, clicking around on one of the Aussie's CELL PHONES with a bejeweled pot leaf case.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>What are you looking at?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Facebook. Photos of me and Drew. He's looking away in every picture. How did I never notice that before?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>When you're in love you don't see shit you don't want to see. Are those his parents?<\/dialogue>\n    <scene_description>ANGLE on a photo of Audrey and Drew -- head turned -- with a MIDDLE AGED MIDWESTERN-LOOKING couple. TOM and MARSHA.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Yeah. I met them the night before he disappeared. We all went to the Cheesecake Factory.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>God, that menu. Too many options.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I know. We ended up splitting a lot of things.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Do you think they knew?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I don't know who knows anything anymore. All I know is I really fucking liked that guy...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARCADE - NIGHT (FLASHBACK)<\/stage_direction>\n    <scene_description>The CRASH TEST DUMMIES song is still playing. Audrey and Drew SLOW-DANCE in the bar, half-ironic, Junior High-style.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>I don't know. Like my best friend always knew she wanted to be an actress. And she's just... a natural at it. I've never had anything like that. I've never had a thing where people are like, \"Audrey, this is what you were born to do.\"<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>You will.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>How do you know? You just met me.<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>I'm a good judge of character.<\/dialogue>\n    <scene_description>Audrey smiles. A moment. Are they going to kiss? Then the song FADES OUT, breaking the moment.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Anyway, thanks for the dance.<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>You too.<\/dialogue>\n    <scene_description>Audrey heads back to MORGAN, drinking at the bar...<\/scene_description>\n    <character>DREW<\/character>\n    <dialogue>Actually, wait.<\/dialogue>\n    <parenthetical>(she turns around)<\/parenthetical>\n    <dialogue>Let's play it again.<\/dialogue>\n    <scene_description>Drew pulls a TWENTY out of his wallet.<\/scene_description>\n    <character>DREW<\/character>\n    <dialogue>Like, a lot of times.<\/dialogue>\n    <scene_description>Audrey laughs, delighted.<\/scene_description>\n    <character>CZECH BORDER GUARD (PRE-LAP)<\/character>\n    <dialogue>Passports?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN - NIGHT<\/stage_direction>\n    <scene_description>CLOSE on two stern-looking CZECH SOLDIERS studying the AUSTRALIAN GIRLS' PASSPORTS. They look up and we -- RACK FOCUS to AUDREY and MORGAN, smiling innocently from their seats. Morgan speaks in a HEAVY AUSTRALIAN ACCENT.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Hi! Name's Briony! As you can tell by my accent, I grew up in Perth. Though I live in Sydney now.<\/dialogue>\n    <scene_description>Audrey chimes in awkwardly... in a TEXAS DRAWL.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Great uniforms! Thanks y'all!<\/dialogue>\n    <scene_description>The guards stamp their passports and hand them back. Move on. Audrey and Morgan slide the door shut and exhale.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>I can't believe that worked.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Me neither. You sounded like if Matthew McConaughey had a stroke.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Wait. I just thought of something.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Audrey picks up the TROPHY. BASHES IT against the armrest.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>What are you doing?! What if that's like, a bomb?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>No way. We went through airport security. Twice.<\/dialogue>\n    <scene_description>Sure enough, the trophy CRACKS. There's a FLASH DRIVE inside.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Oh my God, dude. Audrey! You are such an operative right now.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I bet we'll know what to do and where to go if we can just figure out what's on this thing.<\/dialogue>\n    <scene_description>She pulls out the drive, discards the trophy.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>But we don't have our laptops. And even if we did, I'm sure it's like, top secret stuff in code or whatever. We'd need some computer genius to figure it out for us...<\/dialogue>\n    <scene_description>SMASH TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRAGUE APPLE STORE - DAY<\/stage_direction>\n    <scene_description>The iconic APPLE image above the GENIUS BAR.<\/scene_description>\n    <character>PRAGUE, CZECH REPUBLIC<\/character>\n    <dialogue>A CZECH VERSION of an AMERICAN COMPUTER GEEK -- GAUGED ears, kinda cool, kinda not. NEON GREEN tee. He holds the drive.<\/dialogue>\n    <character>CZECH GENIUS<\/character>\n    <dialogue>It's not something we sell. But let's take a look!<\/dialogue>\n    <scene_description>He opens the nearest LAPTOP and plugs the drive into the USB port. A STREAM OF NUMBERS AND LETTERS APPEAR.<\/scene_description>\n    <character>CZECH GENIUS<\/character>\n    <dialogue>Wow. This is something I have not seen before. Let me ask Lubos...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRAGUE APPLE STORE - DAY<\/stage_direction>\n    <scene_description>NINE GENIUSES huddle over the laptop. No other customers are being helped. The STORE MANAGER shakes his head.<\/scene_description>\n    <character>STORE MANAGER<\/character>\n    <dialogue>I've never seen anything like this. This is some serious government Mr. Robot shit. Where did you get this?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Uh, Best Buy?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>My Grandma Rose... who works at Best Buy.<\/dialogue>\n    <scene_description>LUBOS -- ENORMOUS, BEARDED -- pipes up.<\/scene_description>\n    <character>LUBOS<\/character>\n    <dialogue>Wait. Here's something...<\/dialogue>\n    <parenthetical>(he clicks)<\/parenthetical>\n    <dialogue>What if we open up this guy...<\/dialogue>\n    <scene_description>The Geniuses nod, mutter their agreement. ALL POWER IN THE APPLE STORE goes OUT. THE COMPUTERS SMOKE!<\/scene_description>\n    <character>CZECH GENIUS<\/character>\n    <dialogue>What the fuck... ?<\/dialogue>\n    <character>AUDREY<\/character>\n    <parenthetical>(to Morgan)<\/parenthetical>\n    <dialogue>Fuck. Get the drive! Get it out!<\/dialogue>\n    <scene_description>In the darkness, Morgan GRABS THE FLASH DRIVE. They RUN.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CIA PARIS STATION - DAY<\/stage_direction>\n    <scene_description>In the bullpen, on a COMPUTER SCREEN, a NOTIFICATION FLASHES on a DIGITAL MAP. A TECH shouts to the room:<\/scene_description>\n    <character>TECH<\/character>\n    <dialogue>Prague! They're in Prague.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. MERCEDES MACLAREN - DAY<\/stage_direction>\n    <scene_description>Nadedja -- intense EDM blasting -- SPEEDS down a highway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHARLES BRIDGE - DAY<\/stage_direction>\n    <scene_description>The iconic bridge. Packed with tourists, vendors, caricature artists. Morgan and Audrey move through the crowd. Morgan holds the Aussie's POT LEAF PHONE.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>I just want to tell them I'm safe! I haven't gone a day without talking to my parents, like, ever.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Fine. But you cannot tell them what's going on.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>I can't lie. That's our deal. If I tell the truth, they can't get mad.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>They might get mad this time.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>They didn't get mad when I tried cocaine with our rabbi. They didn't get mad when I blew the homeless guy.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>You didn't know he was homeless though.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>That's what they said! Trust me. It's better to have someone know where we are right now.<\/dialogue>\n    <scene_description>Audrey sighs but doesn't argue as Morgan steps aside, dials. The phone rings. Morgan's mom CAROL answers.<\/scene_description>\n    <character>CAROL (V.O.)<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Mom! It's me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAROL AND ARNIE'S LIVING ROOM - DAY- INTERCUT<\/stage_direction>\n    <scene_description>CAROL (50s) sits at the kitchen table in their suburban home, cutting an ARTICLE out of the Asbury Park Press.<\/scene_description>\n    <character>CAROL<\/character>\n    <dialogue>Oh thank God. Arnie, she's okay! Honey you're all over the news.<\/dialogue>\n    <scene_description>REVEAL the article is about AUDREY and MORGAN. \"FREEHOLD NATIVE AND FRIEND SOUGHT IN INT'L MURDER CONSPIRACY\".<\/scene_description>\n    <character>CAROL<\/character>\n    <dialogue>I'm conferencing your father in.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAROL AND ARNIE'S BATHROOM - SAME- INTERCUT<\/stage_direction>\n    <scene_description>ARNIE (50s) is on the toilet, on his cell.<\/scene_description>\n    <character>ARNIE<\/character>\n    <dialogue>Honey? This is Dad. Where are you? Did you and Audrey murder two people? That's what they said on Channel Seven.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>No! I mean yes I killed someone but he was an assassin. And then Audrey killed someone in Austria. But that was self-defense...<\/dialogue>\n    <character>ARNIE<\/character>\n    <dialogue>You're in Austria?!<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Arnie, get out of the bathroom. I can hear the echo.<\/dialogue>\n    <scene_description>A FLUSH.<\/scene_description>\n    <character>CAROL<\/character>\n    <dialogue>Oh God, mute yourself. Your father's a pig.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CIA PARIS STATION - DAY<\/stage_direction>\n    <scene_description>A LISTENING STATION picks up a HIT. A map of NEW JERSEY with a blinking dot over FREEHOLD. Another TECH traces the call.<\/scene_description>\n    <character>TECH 2<\/character>\n    <dialogue>Charles Bridge. Prague.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHARLES BRIDGE - DAY<\/stage_direction>\n    <scene_description>AUDREY nervously looks around at passersby, suspecting everyone. Morgan is still absorbed in her PHONE CALL.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAROL AND ARNIE'S BEDROOM - SAME - INTERCUT<\/stage_direction>\n    <scene_description>Arnie is now sitting on the bed.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>...And we can't go to the police because they might be in on this. That's what we're trying to figure out right now.<\/dialogue>\n    <character>ARNIE<\/character>\n    <dialogue>Where are you staying tonight?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>We hadn't gotten that far...<\/dialogue>\n    <character>ARNIE<\/character>\n    <dialogue>Listen. I have a friend. Roger Bernstein. Ophthalmologist. Met him doing Doctors Without Borders. He's got a big place in Prague. Lotta money, that guy. Married a Czech woman. Beautiful girl. Zaftig.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Arnie.<\/dialogue>\n    <character>ARNIE<\/character>\n    <dialogue>She left him but he stayed on. I think he likes the culture.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Sexually adventurous.<\/dialogue>\n    <character>ARNIE<\/character>\n    <dialogue>He'll behave. I'll give him a call.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRAGUE BUILDING - DAY<\/stage_direction>\n    <scene_description>NADEDJA stands on top of BUILDING, behind a SNIPER RIFLE. She looks through her sight at -- THE CHARLES BRIDGE. Nadedja pauses. Makes a CALL. The voice on the other end speaks through a VOICE MODULATOR.<\/scene_description>\n    <character>NADEDJA<\/character>\n    <dialogue>Who am I looking for?<\/dialogue>\n    <character>VOICE MODULATOR (V.O.)<\/character>\n    <dialogue>I texted pictures. Targets are two dumb American women.<\/dialogue>\n    <scene_description>Nadedja looks on her phone. Pictures of AUDREY and MORGAN. She looks through her sight again. THROUGH THE CROSSHAIRS: SO MANY PAIRS OF DUMB AMERICAN WOMEN -- Two SLUTTY GIRLS take duck-face Selfies. A DRUNK CHICK pukes over the side of the bridge while her HUNG-OVER FRIEND holds her hair back. Two girls HUMP a statue of JESUS, cracking each other up. OFF NADEDJA -- she has no idea who to shoot.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHARLES BRIDGE - DAY<\/stage_direction>\n    <scene_description>Audrey, sensing DANGER, leans over to Morgan.<\/scene_description>\n    <character>MORGAN<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Wait, there are Ophthalmologists in Doctors Without Borders?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>We should go.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>What, you think people in Afghanistan don't have astigmatism?<\/dialogue>\n    <character>ARNIE<\/character>\n    <dialogue>Your judgment is also a border, young lady.<\/dialogue>\n    <scene_description>Audrey GRABS THE PHONE and THROWS IT OFF THE BRIDGE.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>We have to fucking go!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS OF PRAGUE - DAY<\/stage_direction>\n    <scene_description>The girls race CITY BIKES through Prague, passing Cathedrals, Museums, etc. Not stopping to see the sights.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E ROGER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Audrey and Morgan POUND ON THE ORNATE WOODEN DOOR as they glance behind them, paranoid. Finally it opens. ROGER (50s) -- cardigan, balding, benign -- appears.<\/scene_description>\n    <character>ROGER<\/character>\n    <dialogue>Whoa there! One of you must need the bathroom.<\/dialogue>\n    <scene_description>Morgan and Audrey just hurry inside and slam the door.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Yeah. Sorry. Nice to meet you.<\/dialogue>\n    <character>ROGER<\/character>\n    <parenthetical>(to Audrey)<\/parenthetical>\n    <dialogue>You must be Morgan! You've got your mother's face.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Actually... I'm Morgan.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Audrey.<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>Audrey, has anyone ever told you you've got Morgan's mother's face?<\/dialogue>\n    <scene_description>The uncle humor relaxes them a bit. Roger leads the way upstairs - but the girls linger, glancing at the door.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Mind if I lock the door... ?<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>Nervous traveler, eh?<\/dialogue>\n    <parenthetical>(she nods)<\/parenthetical>\n    <dialogue>Come on. Let's go help you relax.<\/dialogue>\n    <scene_description>He WINKS as he locks the bolt. The girls cringe a little. Ew.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROGER'S DINING ROOM - NIGHT<\/stage_direction>\n    <scene_description>At a candlelit table, Audrey and Morgan serve themselves salad. Roger enters from the kitchen.<\/scene_description>\n    <character>ROGER<\/character>\n    <dialogue>You girls look like you'd enjoy some pot...<\/dialogue>\n    <scene_description>He pulls a POT ROAST off the counter.<\/scene_description>\n    <character>ROGER<\/character>\n    <dialogue>...Roast!<\/dialogue>\n    <scene_description>He cracks himself up.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Thank you so much, Roger, I'm starving.<\/dialogue>\n    <scene_description>Audrey serves herself some but Morgan wrinkles her nose.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Oooh. Uh... I'm sort of vegan.<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>Oh. I wish I'd known...<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>It's kind of a new thing.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Except when she gets really drunk and eats bacon-wrapped hot dogs off this gross cart.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Drunk Morgan doesn't have the same ethics as sober Morgan.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Roger, this is delicious. You're a great cook.<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>Morgan, I can't let you eat salad for dinner. What kind of host would I be? I'll just whip something up.<\/dialogue>\n    <scene_description>He ducks back into the kitchen. A moment.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Am I crazy or is Roger into me?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Oh God.<\/dialogue>\n    <scene_description>Audrey clutches her stomach.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>I think I'm eating too fast. All this meat is hitting me weird.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>That's your body questioning your moral decisions.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I'm gonna find the bathroom.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROGER'S HOUSE - BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>Audrey, pale, clutching her stomach, races into the bathroom and THROWS UP in the toilet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROGER'S HOUSE - DINING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Roger re-emerges with a dish of GRILLED EGGPLANT.<\/scene_description>\n    <character>ROGER<\/character>\n    <dialogue>Here. Eat.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>You know what? I'm good. I'm trying not to eat when I'm not hungry.<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>What happened to Audrey?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>She went to the bathroom. But I think she's done.<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>Then let's retire to the living room, shall we?<\/dialogue>\n    <scene_description>Morgan smiles politely and follows, but she's skeeved out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROGER'S HOUSE - BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>Audrey wretches again. IN HER POV... The room is SPINNING.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROGER'S HOUSE - LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Roger and Morgan stand before an intense EGON SCHIELE NUDE.<\/scene_description>\n    <character>ROGER<\/character>\n    <dialogue>You like art?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>She doesn't look like she's enjoying herself.<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>Sometimes the sweetest pleasure comes when you're not enjoying yourself.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>I don't think I agree with that.<\/dialogue>\n    <scene_description>And then Roger PUTS HIS ARM AROUND HER. Morgan stiffens.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Uh, hey Roger? You're so nice and my dad says great things about you and everything you did with those refugees' eyes... but...<\/dialogue>\n    <scene_description>He squeezes Morgan's shoulder harder.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Ow. That hurts, actually. Can you --<\/dialogue>\n    <scene_description>She realizes Roger's hands are drifting up to her NECK. Before Morgan can stop him, he's SHOVED HER TO THE GROUND.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Aaaaaah! Help!<\/dialogue>\n    <scene_description>She kicks Roger in the BALLS.<\/scene_description>\n    <character>ROGER<\/character>\n    <dialogue>Ow! Fuck! Roger climbs on top of Morgan.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Audrey!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROGER'S HOUSE - BATHROOM- SAME<\/stage_direction>\n    <scene_description>Still in Audrey's POV. Morgan's yelling is muffled. Audrey tries to stand -- but loses her balance. She falls into -- THE SHOWER. THERE'S A DEAD BODY IN THE TUB. A different BALD NERD. THE REAL ROGER. Audrey flails to get off him. It's tough. She's been drugged. She COLLAPSES to the floor, barely conscious.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROGER'S HOUSE - LIVING ROOM - SAME<\/stage_direction>\n    <scene_description>Roger, on top of a screaming Morgan, yanks up the side of her shirt and injects her with a TRANQUILIZER.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROGER'S HOUSE - BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>Roger tosses a WOOZY MORGAN into the bathroom with Audrey, slams the door. The girls are barely lucid.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Audrey... Roger drugged me...<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>That's not Roger.<\/dialogue>\n    <scene_description>Audrey pulls back the shower curtain, reveals the body. Morgan gasps. Audrey pulls out the flash drive.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>You have to swallow this.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>So they can't find it. Come on! Before he comes back!<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>You swallow it.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I just puked like nine times. I'll just throw it back up.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>I can't even swallow Advil! I have to mash it up and put it in Applesauce... that thing is huge.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Pretend it's that homeless guy.<\/dialogue>\n    <character>MORGAN<\/character>\n    <parenthetical>(fading)<\/parenthetical>\n    <dialogue>Dude. I didn't know...<\/dialogue>\n    <scene_description>Audrey musters the strength to lift Morgan's head to the sink. She runs the water into Morgan's mouth, putting the FLASH DRIVE IN. Morgan tries to swallow... but coughs it up.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Lift your head back. Hold your nose.<\/dialogue>\n    <scene_description>Morgan tries holding her nose and dangling the flash drive into her mouth. It goes in... and Morgan starts CHOKING. Audrey SLAPS her on the back. The flash drive flies out. Audrey, passing out, picks up the flash drive, thinking fast-- THE DOOR flies open just AS THE TOILET FLUSHES. \"Roger\" is flanked by THREE THUGS. IN THE GIRLS' POV, we FADE TO BLACK.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABANDONED LOCKER ROOM - DAY<\/stage_direction>\n    <scene_description>The girls come to -- finding their hands are CHAINED TO PIPES above their heads. They're in an old, rusted out locker room.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Audrey?<\/dialogue>\n    <scene_description>They're not alone. A MIDDLE AGED COUPLE sits by the SHOWERS. Audrey squints at them -- recognizes them -- gasps! IT'S DREW'S PARENTS. TOM and MARSHA are typical Midwesterner parents -- greying, thick, Patagonias. They look exhausted.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Oh my God. Tom! Marsha!<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Drew's parents.<\/dialogue>\n    <parenthetical>(to Tom and Marsha)<\/parenthetical>\n    <dialogue>Oh God. Am I the reason you got dragged into this? Believe me, I never meant for of this to happen. I never meant for Drew to die...<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Help us get these off before they come back and chain you up too...<\/dialogue>\n    <scene_description>Marsha nods sweetly, crosses slowly to Audrey and... PUNCHES HER HARD ACROSS THE FACE.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Ahhhhhh! What the --<\/dialogue>\n    <scene_description>Marsha speaks... with a HEAVY RUSSIAN ACCENT.<\/scene_description>\n    <character>MARSHA<\/character>\n    <dialogue>Shut up, you dumb bitch.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Where's the drive?<\/dialogue>\n    <scene_description>He has an accent too. He approaches Morgan, pulling a KNIFE.<\/scene_description>\n    <character>AUDREY<\/character>\n    <parenthetical>(realizing)<\/parenthetical>\n    <dialogue>You guys are in on this too.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Tell your friend to answer my fucking question.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Trust me. Your son would have wanted you to protect us.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Uh, Audrey. I don't think those are really Drew's parents.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Yes they are! Right?<\/dialogue>\n    <parenthetical>(to Tom and Marsha)<\/parenthetical>\n    <dialogue>That dinner happened. We split the chicken lettuce wraps. We talked about Tom's colonoscopy. We both love Scandal, Marsha! I was team Fitz, you were team Jake! Jake's the good guy! Scott Foley!<\/dialogue>\n    <character>MARSHA<\/character>\n    <dialogue>I can like Scott Foley and be a Russian operative who is not Drew's mother. Drew worked for us.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Where's the fucking drive?!<\/dialogue>\n    <scene_description>He holds the KNIFE to Audrey's throat. A long beat.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>I... flushed it down the toilet.<\/dialogue>\n    <scene_description>Silence. This is a big fucking deal.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Do you know what you've done?<\/dialogue>\n    <scene_description>He glares at them. It's a scary fucking look.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Nadedja!<\/dialogue>\n    <scene_description>NADEDJA enters, now wearing a FORM-FITTING LEATHER SUIT.<\/scene_description>\n    <character>MARSHA<\/character>\n    <dialogue>Shoot these cunts in the head.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Torture them first. Make sure they're not lying.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>We're not! We have no reason to lie! We don't even know what's on that drive! No one ever told us!<\/dialogue>\n    <scene_description>They leave the girls with Nadedja. She UNZIPS her CASE -- lays out a bunch of fucked up looking DENTAL EQUIPMENT. Audrey starts shaking. Morgan nervously starts rambling...<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>You're really pretty. Like you're barely human you're so pretty --<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Morgan, shut up.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>No! Everybody likes compliments!<\/dialogue>\n    <scene_description>NADEDJA removes a pair of PLIERS. Approaches Morgan.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Wow! Did you sharpen that yourself? Do you work with metal often?<\/dialogue>\n    <scene_description>Nadia brings the PLIERS closer.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Oh God oh God oh God... EXT. BELGIAN COUNTRYSIDE - DAY<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Please no, stop!<\/dialogue>\n    <scene_description>A fleet of BLACK SUVs races across the bleak countryside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E BLACK SUV - SAME<\/stage_direction>\n    <scene_description>Patel drives the lead car. Sebastian sits shotgun.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ABANDONED ICE HOCKEY ARENA, BELGIUM - DAY<\/stage_direction>\n    <scene_description>A long-abandoned, run down ICE HOCKEY RINK from the 70s. That's where the girls are being held. On the ROOF -- the parents and some THUGS load gear into a whirring HELICOPTER. ANGLE ON the DECAL on the chopper -- VOLVO. (Did you know Volvo made choppers? Apparently they do for assassins posing as Midwestern parents)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCKER ROOM - DAY<\/stage_direction>\n    <scene_description>Nadedja nears Audrey's mouth with the pliers...<\/scene_description>\n    <character>NADEDJA<\/character>\n    <dialogue>I ask question. If I don't like answer, I take tooth. Same as her.<\/dialogue>\n    <scene_description>A SOB. We reveal Morgan -- BLOOD is pouring from her mouth.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>That was a fucking wisdom tooth! It was all the way up in there.<\/dialogue>\n    <character>NADEDJA<\/character>\n    <dialogue>Where is the drive?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I already told them. I flushed it down the toilet.<\/dialogue>\n    <character>NADEDJA<\/character>\n    <dialogue>I don't like answer.<\/dialogue>\n    <scene_description>She takes the PLIERS to one of Audrey's FRONT TEETH.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>This is so bad for women!<\/dialogue>\n    <scene_description>Nadedja brutally TWISTS AUDREY'S TOOTH. Audrey GASPS in pain.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ABANDONED ICE HOCKEY ARENA - DAY<\/stage_direction>\n    <scene_description>THE SUVs pull up just in time to see the CHOPPER LEAVING.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLACK SUV - DAY- CONTINUOUS<\/stage_direction>\n    <scene_description>Patel and Sebastian watch as the chopper retreats.<\/scene_description>\n    <character>PATEL<\/character>\n    <dialogue>Fuck. They got the drive.<\/dialogue>\n    <parenthetical>(into a handset)<\/parenthetical>\n    <dialogue>Okay kids. On my order, scuttle the F-15s. Let's blow this shithole up.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Wait. The girls could be in there.<\/dialogue>\n    <character>PATEL<\/character>\n    <dialogue>If they are, they're either dead or surrounded by terrorists. Also: I don't care.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Just give me five minutes and three agents. I want to check.<\/dialogue>\n    <character>PATEL<\/character>\n    <dialogue>So four agents can get killed? I can't authorize that. And this is my operation.<\/dialogue>\n    <character>THE RADIO (V.O.)<\/character>\n    <dialogue>F-15s are a minute out.<\/dialogue>\n    <character>PATEL<\/character>\n    <dialogue>Sweet. Let's crush this mother like we've crushed Yale in every football game since 2007.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>By \"we\" I mean Harvard.<\/dialogue>\n    <scene_description>Sebastian makes a snap decision. He SLAMS PATEL'S HEAD INTO THE STEERING WHEEL, knocking him out. Sebastian seizes his RADIO. Does his best Patel impression:<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Actually guys, hold up? Abort mission.<\/dialogue>\n    <character>THE RADIO (V.O.)<\/character>\n    <dialogue>Roger that.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Go Crimson.<\/dialogue>\n    <scene_description>He HANDCUFFS Patel to the steering wheel.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ABANDONED ICE HOCKEY ARENA - MOMENTS LATER<\/stage_direction>\n    <scene_description>Sebastian, HANDGUN up, creeps along the side of the building.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABANDONED ICE HOCKEY ARENA - CONTINUOUS<\/stage_direction>\n    <scene_description>A GUARD on the other side of the door with a RIFLE. Sebastian leaps out of nowhere -- KICKS HIM IN THE FACE -- we see his training in action. The Guard's rifle CLANGS to the ground. Sebastian STOMPS on his fallen body. He's out. THROUGH ANOTHER SET OF DOORS Sebastian peeks out -- moves quietly -- hiding under a BLEACHER. Takes in the cavernous HOCKEY RINK. Rats scuttle across DIRT where the ICE used to be. A MASSIVE DECREPIT ZAMBONI in the corner. A moldy old HOCKEY GOAL. In the shadows, creepy THUGS stalk, on patrol. A muffled SCREAM from across the rink. Sebastian spots the locker room door on the far side. Knows they're in there. FLICK! A RUSSIAN GUARD lights a cigarette inches from Sebastian -- doesn't see him. He takes a drag, enjoying it. He'd better - it'll be his last ever. He walks a couple paces, around the ZAMBONI -- Sebastian's waiting. In one fluid move, he has the guard in a headlock -- shoves the lit cigarette into his mouth -- holds it closed as the guard burns from the inside. Then crumples. Sebastian drops him -- runs swiftly, unseen, under the rink- side barriers. Stops a few yards from the LOCKER ROOM... A CARD TABLE stands in the way. NINE BAD FUCKING GUYS around it. All with guns on them. Eating, drinking, laughing. Sebastian silently checks his clip. He wouldn't have enough bullets for all of them even if every shot was perfect. Fuck.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCKER ROOM - DAY<\/stage_direction>\n    <scene_description>Blood is now streaming out of both the girls' mouths. Nadedja smiles for the first time -- albeit sadistically -- as she pulls out JUMPER CABLES attached to a CAR BATTERY.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>I'm telling you we don't know anything!<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>I've never kept a secret in my life! I tell everyone everything!<\/dialogue>\n    <scene_description>Nadedja just hits the jumpers together. SPARKS fly.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>I have herpes!<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Proving to her that I'm honest and have nothing to hide! I stole my dad's painkillers from his hernia surgery and sold them at Coachella!<\/dialogue>\n    <scene_description>Nadedja approaches Morgan with the jumpers...<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>I text while I drive -- drunk -- all the time! I once made out with this guy who has a hormone disorder where he looks twelve. He's actually forty, but still! It's like I hooked up with a child!<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Morgan. This is not helping--<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Tell her something personal about you.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Audrey has a recurring sex dream about Turtle from Entourage!<\/dialogue>\n    <scene_description>Nadedja SHOCKS MORGAN. Morgan SCREAMS. Blinding pain.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. BLACK SUV - DAY<\/stage_direction>\n    <scene_description>Patel stirs awake -- groggily realizes what happened. Then realizes his hand is CUFFED.<\/scene_description>\n    <character>PATEL<\/character>\n    <dialogue>You fucking dick, Henshaw.<\/dialogue>\n    <scene_description>Fuming, he reaches down with his free arm, manages to grab the WIRE to his mouthpiece. Talks into it.<\/scene_description>\n    <character>PATEL<\/character>\n    <dialogue>Okay! Send the F-15s.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABANDONED ICE HOCKEY ARENA - DAY<\/stage_direction>\n    <scene_description>SEBASTIAN HEARS THIS...<\/scene_description>\n    <character>PATEL (V.O.)<\/character>\n    <dialogue>Drop the payload. Now.<\/dialogue>\n    <scene_description>SEBASTIAN knows he has to move. Now. THE ZAMBONI -- MOMENTS LATER Sebastian sits astride the beast. There's no way this thing still works, right? No fucking way. But he has to try. He turns the IGNITION. It burps awake. Fucking miracle. AT THE CARD TABLE The thugs are confused. What the fuck is that? THE ZAMBONI ROARS AHEAD -- NOW ON TOP OF THEM. SEBASTIAN drives. One moment the table was full of scary dudes. Now a THREE TON hunk of metal and giant spinning blades SHRED the life out of every one of them. Someone's SEVERED HAND flies into the HOCKEY GOAL. Sebastian doesn't have time to be impressed with himself -- A GIANT MAN pulls him out of his seat. No actually, a straight up HULK -- pulls him to the ground. Stands over him. This guy is the biggest monster Russia has ever created and he's about to crush Sebastian. Sebastian KICKS. Gets him in the shin. This is nothing to him. Hulk leans down, takes Sebastian's left arm. SNAPS IT. Blinding pain. Then Hulk SHOOTS him in the OTHER SHOULDER. Sebastian writhes in agony as the thug points his gun at Sebastian's head. So much for playing hero. He's gonna die. One last ditch thought -- Sebastian grabs for his gun. With two fucked up arms, he can't AIM so he just SHOOTS WILDLY. WHEREVER HE CAN. Hulk laughs. Bullets nowhere near him, but -- ONE BULLET ricochets around the rafters, hits a CHAIN. Which holds -- AN ANCIENT SCOREBOARD. The scoreboard FALLS, right on the Hulk. CRUSHES his SKULL.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCKER ROOM - DAY<\/stage_direction>\n    <scene_description>Hearing the LOUD NOISE, Nadedja turns. What was that? A momentary reprieve for Morgan and Audrey as she grabs two guns and heads toward the noise...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OUTSIDE THE LOCKER ROOM - SAME<\/stage_direction>\n    <scene_description>Sebastian crouches under the bleachers as NADEDJA'S HIGH HEELS pass. Once she's gone -- he crawls to the locker room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCKER ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Sebastian enters and GASPS. Audrey and Morgan look horrible. But they're alive. Seeing him, they start collapsing in sobs -- but there's no time --<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>We have to move fast.<\/dialogue>\n    <scene_description>Sebastian struggles to lift Audrey -- unhooks her from the pipe she hangs from. Not easy given his own injuries... Audrey unhooks Morgan. They hurry toward the BACK EXIT--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ABANDONED ICE HOCKEY ARENA - DAY<\/stage_direction>\n    <scene_description>A bloody, hobbled Audrey, Morgan and Sebastian hurry out of the arena into the sunlight. The girls stop.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Where are we -- ?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Keep moving! Go! Go!<\/dialogue>\n    <scene_description>The F-15s buzz over the ARENA. DROP THEIR PAYLOAD. Sebastian pulls them away as fast as he can as the building -- EXPLODES. A fiery boom. Then just a fire. The old rink is now a HEAP of RUBBLE along with everyone inside. At least they're safe. Sebastian crouches over the girls, shielding them from the debris. As the smoke clears:<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Okay. I trust you now.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Jesus, I should hope so.<\/dialogue>\n    <scene_description>But when the smoke clears... there are FIFTY SPECIAL FORCES AGENTS surrounding them. Guns drawn. Oh shit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CIA PARIS STATION, HOLDING CELL - DAY<\/stage_direction>\n    <scene_description>Sebastian -- one arm bandaged, one in a SLING -- sits with the girls in a holding room.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Be honest. Does this look fake?<\/dialogue>\n    <scene_description>She smiles. An UNNATURALLY WHITE FAKE TOOTH where hers was.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>You know I would never lie to you.<\/dialogue>\n    <scene_description>Morgan leaves it at that. Audrey turns to Sebastian.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>I should have just given you the drive in the cafe. Then none of this would have happened.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I wouldn't have believed me either. Drew told you to keep it safe.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Okay. Can you just tell us what is on that fucking drive?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I actually don't know. What I know is it was made by an international terrorist group called Highland. Intelligence tells us they're planning a series of assassinations. High profile people. The plans will be on that drive. So if we had it, we'd know how to stop them.<\/dialogue>\n    <scene_description>Audrey is about to say something when -- THE DOOR OPENS. WENDY enters with PATEL -- his nose broken and bandaged.<\/scene_description>\n    <character>WENDY<\/character>\n    <dialogue>Henshaw? My office. Patel, stay here.<\/dialogue>\n    <scene_description>Sebastian glances back at the girls, then follows Wendy out. In their wake, PATEL is alone with the girls. Awkwardly:<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>What happened to your nose?<\/dialogue>\n    <character>PATEL<\/character>\n    <dialogue>Your new best friend slammed my head into a steering wheel so he could put our entire team at risk. In order to save you.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>An awkward silence.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>So, \"Patel.\" Do you know a Danny Patel who went to Wesleyan?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CIA PARIS STATION - WENDY'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Wendy coldly sits across from Sebastian.<\/scene_description>\n    <character>WENDY<\/character>\n    <dialogue>Henshaw, you read English at university. Did you ever learn the word \"hierarchy\"?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Wendy, I know I --<\/dialogue>\n    <character>WENDY<\/character>\n    <dialogue>How about the word \"treason\"? That's a good one. Love when it comes up in the crossword.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I know I overstepped --<\/dialogue>\n    <character>WENDY<\/character>\n    <dialogue>Overstepped? Overstepping is wearing a tank top on Casual Friday. Overstepping is stealing my Activia from the office fridge even though I brought it from home.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I didn't steal your Activia.<\/dialogue>\n    <character>WENDY<\/character>\n    <dialogue>Goddammit. We work for an international intelligence organization and I can't figure out who's been eating my yogurt. My point is you did a lot more than overstep. You violated my direct orders, handcuffed your superior and went into a building swarming with terrorists without backup.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I know. I exercised poor judgment --<\/dialogue>\n    <character>WENDY<\/character>\n    <dialogue>Which one of them is it?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Sorry?<\/dialogue>\n    <character>WENDY<\/character>\n    <dialogue>The only reason I can fathom why you'd put the entire mission on the line to save two girls' lives is you're in love with one of them. So which one is it?<\/dialogue>\n    <character>WENDY<\/character>\n    <dialogue>The one with the tooth or the one who invited me to see her in Pippin at the Santa Monica Playhouse?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CIA PARIS STATION HOLDING CELL - LATER<\/stage_direction>\n    <scene_description>PATEL paces the room, enjoying this. The girls are upset.<\/scene_description>\n    <character>PATEL<\/character>\n    <dialogue>So what was going through your mind exactly when you flushed it down the toilet? \"This thing is so important that actual people are actually dying because of it. So I know what I'll do! I'll treat it like a piece of shit wrapped in a piece of toilet paper.\"<\/dialogue>\n    <scene_description>Morgan involuntarily LAUGHS. Claps a hand over her mouth.<\/scene_description>\n    <character>PATEL<\/character>\n    <dialogue>This is funny? Death is funny to you?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>No, just... that's how you go to the bathroom?<\/dialogue>\n    <scene_description>Audrey starts quietly laughing too.<\/scene_description>\n    <character>PATEL<\/character>\n    <dialogue>Go ahead. Laugh. Meanwhile, I'll tell you how many lives were lost and will be lost because of you.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>...So let me get this straight. You take a piece of toilet paper and what? You like wrap your hands in it and then poop into it, and then take that whole contraption and that's what you drop into the toilet? You know the toilet is designed to take all that work out of it for you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CIA PARIS STATION. WENDY'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Wendy and Sebastian, as before.<\/scene_description>\n    <character>WENDY<\/character>\n    <dialogue>How long did the doctor say it would take your arm to heal?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Two months for the bullet wound. Three for the fracture.<\/dialogue>\n    <character>WENDY<\/character>\n    <dialogue>Great. Take a five month leave.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Oh, I assume he meant the two arms will heal simultaneously.<\/dialogue>\n    <character>WENDY<\/character>\n    <dialogue>I know what I said.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CIA PARIS STATION HOLDING CELL - DAY<\/stage_direction>\n    <scene_description>Patel is in the middle of berating the girls. He leans in.<\/scene_description>\n    <character>PATEL<\/character>\n    <dialogue>And every time you hear the song that will be recorded by Sting (featuring Bruno Mars) about everyone who's about to be killed, just know that that song would never have had to be made if you two weren't such fuck-ups.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Okay. We get it.<\/dialogue>\n    <character>PATEL<\/character>\n    <dialogue>Oh, sorry, have you had enough?<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Drew was right about you.<\/dialogue>\n    <scene_description>Audrey FLINCHES. Patel savors this.<\/scene_description>\n    <character>PATEL<\/character>\n    <dialogue>You're nothing to him. Just a place for him to put his stuff. Because no one would ever suspect you of anything. No one would ever think you were important enough.<\/dialogue>\n    <scene_description>This hangs in the air for Audrey. The door opens and SEBASTIAN re-enters. Avoids Patel, addresses the girls.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I just wanted to say goodbye. You're on the next flight to LA.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>What happens when we get there? Are we gonna go to jail?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>No, we'll take care of it. That's what we do here.<\/dialogue>\n    <character>PATEL<\/character>\n    <dialogue>Actually Henshaw, not to be a grammarian here but you're not technically included in \"we\" anymore when referring to what we do here. Since you're suspended.<\/dialogue>\n    <scene_description>Sebastian seethes but doesn't say anything.<\/scene_description>\n    <character>PATEL<\/character>\n    <dialogue>Now how about you drop these two at the airport on your way home? Good practice for your next career driving a SuperShuttle.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. TOYOTA COROLLA - DAY<\/stage_direction>\n    <scene_description>Sebastian drives his modest car out of the parking garage. Audrey sits shotgun, Morgan in the back.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Sorry about all the dog hair back there.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>I'm surprised they don't give you more of a badass James Bond car.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I don't have company car privileges right now. Or for the next five months.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Ugh. We ruined your life.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>No you didn't. I'll be fine. And I don't know what Patel said to you in there but this situation would be much worse if you hadn't flushed that drive and it ended up in the wrong hands.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>But a lot of people are gonna die.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>And they would have died if you'd never found the drive in the first place. This is not your fault.<\/dialogue>\n    <scene_description>A moment.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Just out of curiosity, if we did still have the drive, what would have happened?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Well, hopefully we could de-encrypt it. Then ideally, we'd see what Highland's plans are and stop them.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>How do you de-encrypt something?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Why do you want to know?<\/dialogue>\n    <character>AUDREY<\/character>\n    <parenthetical>(a nervous beat)<\/parenthetical>\n    <dialogue>Because the drive is in my vagina.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Sorry?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Yeah...<\/dialogue>\n    <scene_description>Sebastian and Morgan are SHOCKED.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Wait.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Are you fucking kidding?!<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>You told me it was important! I'm not going to flush something that important down the toilet!<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>So it's in there right now? Doesn't that hurt?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>You get used to it.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>So even when you were being tortured... you didn't give it up.<\/dialogue>\n    <scene_description>Sebastian is really impressed with Audrey.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>The ultimate irony would be if you saved the world, then died of Toxic Shock Syndrome.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Right then, not to be impolite but do you think you might... access it? From... the place where--<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Yeah. Everyone turn your head.<\/dialogue>\n    <scene_description>ANGLE on AUDREY'S FACE as she unzips, removes the flash drive. A moment, then another ZIP. She holds out the drive.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Should I just put it...<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Uh, I'll take that.<\/dialogue>\n    <scene_description>An awkward -- and extremely intimate -- moment as Audrey hands the drive to Sebastian. He puts it on the dash, then turns off at an exit for CHARLES DE GAULLE AIRPORT.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Where are you going after this? Back to headquarters or whatever?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Yeah. I'm sure they'll un-suspend you if you show up with this.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Maybe. But I may try to take this one on myself.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>How? Look at you. You're like, disabled right now.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I'll figure something out.<\/dialogue>\n    <scene_description>A moment. Audrey and Morgan exchange a look.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Dude, no. I'm not gonna sit on the plane watching Cake Boss while you're risking your life to clean up a mess we made. I want to help.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Me too. You can't do this alone.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>No. No. You two have risked your lives enough as it is.<\/dialogue>\n    <scene_description>A moment. Then the other part of the truth comes out.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>But... I don't want to go back yet.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Me neither. This might sound stupid because this is your job and it's really serious and dangerous, but I feel like this is something we could actually be... good at.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>I know. This is everything I love about theater and I'm finally getting to do it. Just pretending to be a spy.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>You're not pretending.<\/dialogue>\n    <scene_description>Sebastian DOES AN AGGRESSIVE U-TURN. New plan.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BIBLIOTHEQUE MAZARINE - DAY<\/stage_direction>\n    <scene_description>A gorgeous historical library on the Seine facing the LOUVRE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BIBLIOTHEQUE MAZARINE - DAY<\/stage_direction>\n    <scene_description>Breathtaking details, centuries-old books. A tourist destination. But these are no ordinary tourists. The READING ROOM -- Sebastian inserts the FLASH DRIVE into his laptop while the girls look on. The same ENCRYPTED numbers and letters that appeared in the Apple Store pop up.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Hmmmm. That's odd.<\/dialogue>\n    <scene_description>He LOOKS DOWN AT THE DRIVE. Then back at Audrey. Then back at the DRIVE. Audrey gets paranoid about what he's judging.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Whatever dude. Not every woman is like, a waxed porn star. We have stuff going on in there.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>No, no. I mean on the drive... this is State Department encryption.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Meaning?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Highland didn't make this. Your government did. I can't access it. I don't have clearance. I'm suspended.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Can't you just hack the password? You're a spy.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>They change it every 24 hours. It's 16 characters. Numbers, letters, case-sensitive. Even if I had a supercomputer, it would take days.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>So... what are you saying?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>We can't get into the flash drive. I'm saying we lost.<\/dialogue>\n    <scene_description>A sober moment for all of them.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>There must be something else we can do.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Not unless you have access to some sort of expert on U.S. intelligence computer security.<\/dialogue>\n    <scene_description>Morgan gets an idea.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Actually, hold on.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BIBLIOTHEQUE MAZARINE - NIGHT<\/stage_direction>\n    <scene_description>Two FRENCH STUDENTS absorbed in MATH TEXTBOOKS. Around them, the usual student technology -- laptops, mobiles, etc. Morgan appears at their table. In her best French accent --<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>O\u00f9 est la biblioth\u00e8que?<\/dialogue>\n    <scene_description>They students are confused.<\/scene_description>\n    <character>FRENCH STUDENT<\/character>\n    <dialogue>You're already at the library.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Yeah, sorry, it's the only thing I remember from high school French.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I'm just gonna borrow this for one second. Be right back.<\/dialogue>\n    <scene_description>She grabs one of their MOBILES and steps outside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOSCOW HOTEL - DAY- INTERCUT<\/stage_direction>\n    <scene_description>The back of someone's head, staring out the window at the KREMLIN as he ties a TIE. His phone buzzes. He looks at the number, doesn't recognize it, but answers it anyway.<\/scene_description>\n    <character>EDWARD SNOWDEN<\/character>\n    <dialogue>This is Edward.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Eddie? Eddie Snowden?<\/dialogue>\n    <scene_description>Yes -- it's EDWARD SNOWDEN.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>It's Morgan. From Buck's Rock Camp.<\/dialogue>\n    <scene_description>Edward Snowden loses his shit.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Oh my God, Morgan! How are you? It's been forever. I've sent you a bunch of emails over the years... I thought maybe you didn't have your AOL account anymore.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Yeah, I have a Gmail now.<\/dialogue>\n    <character>EDWARD SNOWDEN<\/character>\n    <dialogue>Actually... I knew that.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Right. I guess you would.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>So hey. I need a really big favor.<\/dialogue>\n    <scene_description>A knock at Edward's hotel room door. A RUSSIAN AIDE appears.<\/scene_description>\n    <character>RUSSIAN AIDE<\/character>\n    <dialogue>Sir, Mr. Putin is ready for you.<\/dialogue>\n    <character>EDWARD SNOWDEN<\/character>\n    <dialogue>He can wait.<\/dialogue>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>What do you need, Morgan? Anything.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Are you near a computer?<\/dialogue>\n    <character>EDWARD SNOWDEN<\/character>\n    <dialogue>Always.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CIA SITUATION ROOM - DAY<\/stage_direction>\n    <scene_description>In the SITUATION ROOM, Wendy stares at the screens. Silence. Then a CIA TECHNICIAN notices something on his computer.<\/scene_description>\n    <character>CIA TECHNICIAN<\/character>\n    <dialogue>Ma'am! Ma'am.<\/dialogue>\n    <parenthetical>(Wendy looks over)<\/parenthetical>\n    <dialogue>They didn't get on their flight.<\/dialogue>\n    <character>WENDY<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <scene_description>She turns to PATEL.<\/scene_description>\n    <character>WENDY<\/character>\n    <dialogue>Either those dum-dums took their selfie sticks to the Eiffel Tower or they lied about not having the drive and they're on the run. Which agent took them to the airport?<\/dialogue>\n    <scene_description>Patel freezes. He fucked up.<\/scene_description>\n    <character>PATEL<\/character>\n    <dialogue>I, uh, sent Henshaw.<\/dialogue>\n    <character>WENDY<\/character>\n    <dialogue>You sent the agent I just suspended for insubordination?<\/dialogue>\n    <character>PATEL<\/character>\n    <dialogue>I'll fix it.<\/dialogue>\n    <character>WENDY<\/character>\n    <dialogue>You'd better. Give me an excuse to leave couples therapy early. I'm sick of watching my husband cry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BIBLIOTHEQUE MAZARINE - DAY<\/stage_direction>\n    <scene_description>Sebastian types in the password Morgan reads off...<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>...Two, upper case L, at sign, at sign, asterisk, lower-case j...<\/dialogue>\n    <scene_description>ON THE SCREEN: A CHECK MARK. Sebastian and Audrey exchange a look, amazed. Sebastian hastily downloads the de-encryption key. He's in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BIBLIOTHEQUE MAZARINE - LATER<\/stage_direction>\n    <scene_description>Morgan is now trying desperately to wrap it up with Snowden.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Yeah. Yeah. Totally. I love the Mighty Mighty Bosstones too. Makes sense that they're touring Eastern Europe now... I'll definitely try to make it.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>But if I can't, call me if you're ever in LA!... Oh right, I guess I knew that. K then... bye.<\/dialogue>\n    <scene_description>She hangs up on Edward Snowden. ON SEBASTIAN'S LAPTOP: ICONS flood the screen and don't stop. There must be millions. Sebastian's eyes widen.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>What? What's on the drive.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>These... aren't Highland's plans. This is a lot bigger.<\/dialogue>\n    <scene_description>Sebastian SLAMS THE LAPTOP SHUT just as Morgan returns.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>We have to get out of here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EUROPEAN HOTEL ROOM - SUNSET - INTERCUT<\/stage_direction>\n    <scene_description>In a lavish bed in a luxury hotel in Europe somewhere sits -- NADEDJA. She's still alive? What the fuck? Her PROFILE, haunting beauty, lit by the sunset. She's stone- faced, chain smoking, surrounded by artillery. EURO MTV plays low in the background but she stares out the window. Her CELL buzzes. She answers in CROATIAN.<\/scene_description>\n    <character>NADEDJA<\/character>\n    <dialogue>Zdravo.<\/dialogue>\n    <scene_description>A VOICE speaks through a VOICE MODULATOR.<\/scene_description>\n    <character>VOICE MODULATOR<\/character>\n    <dialogue>I need to add another target.<\/dialogue>\n    <character>NADEDJA<\/character>\n    <dialogue>Double rate.<\/dialogue>\n    <character>VOICE MODULATOR<\/character>\n    <dialogue>No. You failed once. The girls are still alive. You should be happy we're still working with you. I'll send you everything you need.<\/dialogue>\n    <scene_description>We stay on NADEDJA as her A TEXT comes through. A picture of SEBASTIAN. Then, LINK to GOOGLE MAPS with a MOVING DOT. Nadedja turns to assemble her weapons -- and we reveal -- HALF HER FACE IS MELTED OFF. Hideously deformed. The bombing at the ice rink. Well... she's survived worse.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN PARIS SHOPPING CENTRE PARKING LOT - DAY<\/stage_direction>\n    <scene_description>By the parked Corolla, Sebastian switches the SIM CARD in his phone -- opens the TRUNK, pulls out DRY CLEANING.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Here. Change your clothes. We need to ditch anything they could use to find out where we're going.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Where are we going?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Amsterdam. I know a place we can hide.<\/dialogue>\n    <scene_description>As they all put on Sebastian's DRESS SHIRTS...<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Oh my God my friend Beth lives in Amsterdam! She just emailed me about a new gallery show.<\/dialogue>\n    <parenthetical>(to Sebastian)<\/parenthetical>\n    <dialogue>She uses pipe cleaners and glitter to discuss draconian abortion access in contemporary India.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Interesting. Do you want your friend Beth to die?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>I wasn't saying we should go.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Unless we get this all resolved and we're safe. Then I wouldn't mind supporting her.<\/dialogue>\n    <scene_description>Meanwhile, Audrey tries not to stare at Sebastian's body as she helps him button his shirt. Dude's in great shape. He catches her looking. An awkward moment as they both redden. There's tension -- and not just the life and death kind. A series of QUICK CUTS, over energetic music -- -Morgan THROWS ALL THEIR CLOTHES into a DUMPSTER. -Sebastian pulls a stash of SPY SHIT -- MONEY, PASSPORTS, GUNS, GADGETS, A PACK OF CIGARETTES -- from his glove box... -Sebastian walks Morgan through JIMMYING the lock on another car, a modest PEUGEOT HATCHBACK. Then through hot-wiring it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRENCH HIGHWAY - MINUTES LATER<\/stage_direction>\n    <scene_description>The Peugeot zips out on to the road. Success.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. A PARIS TRAIN - NIGHT<\/stage_direction>\n    <scene_description>NADEDJA in a CLOSED TRAIN CAR -- bad side facing away from us, toward the window. She tracks the moving DOT. KNOCK KNOCK! A sleazy SPANISH GUY slides the door open.<\/scene_description>\n    <character>SPANISH GUY<\/character>\n    <dialogue>Good evening, beautiful.<\/dialogue>\n    <scene_description>He sits next to her. Nadedja blithely turns, revealing the other side of her face -- now bandaged but SOAKED WITH BLOOD.<\/scene_description>\n    <character>SPANISH GUY<\/character>\n    <dialogue>Bella, what happened to your face?<\/dialogue>\n    <scene_description>Nadedja calmly lifts a hand and BASHES HIS NOSE IN. Amused:<\/scene_description>\n    <character>NADEDJA<\/character>\n    <dialogue>What happened to yours?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. SEBASTIAN'S CAR - MIDDLE OF THE NIGHT<\/stage_direction>\n    <scene_description>Sebastian and Audrey up front, Morgan sleeping in back.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>So what kind of dog do you have?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Well, had.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Oh. I'm sorry.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>No. No. The dog's still alive. He just lives with my ex.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Do you ever see him?... Or her? Or, sorry, maybe they're both \"him,\" I don't mean to be presumptuous.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>The dog's a \"he.\" The ex is a \"she.\"<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Got it. What happened?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>You know. The usual. I worked too much. We never saw each other. She was having an emotional affair with one of her coworkers. They were always hugging. They once hugged for five minutes.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Just try to hug someone for five minutes. I bet you can't.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Yeah, that's a really long time.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Also I found out she was selling weapons to the Chinese government.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Where is she now?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Off the grid. I lost track of her -- and Banjo -- somewhere along the Kyrgyzstan border.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I'm really sorry.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Yeah. Breakups suck. As you know.<\/dialogue>\n    <scene_description>A moment of connection.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>They just make you feel crazy. Like, you're with someone for ten months, you think you're in love... then you're like, oh wait, that was all a lie. I was just a vagina for him to store a flash drive in.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>It's more complicated than that. People reveal who they are in the end. It doesn't mean what you had wasn't real.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Morgan says Drew was always a selfish dick.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>And what do you think?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I mean, he did bring assassins to my apartment. But then again, so did you.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>Shut up.<\/dialogue>\n    <scene_description>In the back, MORGAN wakes up.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Hey guys? I know we're on the run from a shit-ton of people but can we eat soon? I'm fucking starving.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROTTERDAM, NETHERLANDS - DAY<\/stage_direction>\n    <scene_description>The sun rises over the gorgeous town.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AN OFFICE - DAY<\/stage_direction>\n    <scene_description>Long, thin fingers type into a PHONE. \"Targets located.\" NADEDJA stands in a corporate office -- empty for the weekend -- overlooking a quaint outdoor cafe. Through her SCOPE...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTDOOR CAFE - SAME<\/stage_direction>\n    <scene_description>AUDREY, MORGAN and SEBASTIAN eat breakfast - in her CROSSHAIRS. We leave Nadedja's POV and pull closer... revealing... It's NOT THEM. It's the AUSTRALIAN TOURIST GIRLS they stole passports from in Vienna. And some RANDOM SKEEVY GUY. One of the girls wears SEBASTIAN'S JACKET FROM EARLIER.<\/scene_description>\n    <character>AUSSIE TOURIST 1<\/character>\n    <dialogue>How cute is this jacket?<\/dialogue>\n    <character>AUSSIE TOURIST 2<\/character>\n    <dialogue>I can't believe you found it in a dumpster. You always find the best secondhand stuff.<\/dialogue>\n    <character>SKEEVY GUY<\/character>\n    <dialogue>Yeah, so, you guys into threesomes?<\/dialogue>\n    <scene_description>BAM-BAM-BAM! All three collapse, instantly dead --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A DIFFERENT CAFE - DAY<\/stage_direction>\n    <scene_description>In an entirely different CAFE, our three heroes eat Dutch apple pancakes in peace. Totally safe. For now.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>So Sebastian, is this what your job is like all the time?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Uh, no. Mostly it's a lot of paperwork. Reading reports. Waiting to get sent into the field.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>At least you have a field. My field is a conveyor belt with almond milk and cruelty-free chicken coming at me. Reeeeally slowly. With plenty of time for me to intercept them.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>I've never had a job. But I love hearing about jobs. Maybe I should get a job here serving pannekoeken. I do a really good Dutch accent. Audrey knows.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>She played a guard in Diary of Anne Frank.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>The part was written as a man but at Oberlin we did a Gender-Switch version.<\/dialogue>\n    <scene_description>On Sebastian -- what the fuck are they talking about?<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Speaking of hiding out, where are we staying tonight? Do we finally get to sleep in a real hotel?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Yeah, like one of those ones in Bond where there just happens to be a private waterfall for him to have sex under?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>No. We need to stay somewhere we won't stand out. Where we don't seem weird. Because everyone there will be weirder.<\/dialogue>\n    <scene_description>SMASH TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLYING PIG YOUTH HOSTEL, AMSTERDAM - NIGHT<\/stage_direction>\n    <scene_description>A grimy YOUTH HOSTEL. Full of freaks. A JAPANESE GUY plays with a POSSUM. A SWISS GUY openly sells COCAINE. A THRUPLE of IRISH TOURISTS make out.<\/scene_description>\n    <character>AMSTERDAM, THE NETHERLANDS<\/character>\n    <dialogue>At the check-in desk, Sebastian hands cash to a clerk.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLYING PIG YOUTH HOSTEL - ROOM - NIGHT<\/stage_direction>\n    <scene_description>Sebastian sits on one of the beds, on his laptop while Audrey looks on. Morgan, on another bed, channel-surfs on the tiny TV. On the tiny DESK, an assortment of GUNS is laid out.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>...So you're telling me this drive gives us access to the entire Cloud? Everyone's private shit?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>The U.S. government has built a back door to access everything. Everyone's private emails, their finances... everyone's secrets. That's what Drew stole.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>What does Highland want with that?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Imagine the power that comes from unlimited information. Blackmail, theft, they can take anything. Know anything. This is why people are --<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Hey! You guys!<\/dialogue>\n    <scene_description>On TV: CNN INTERNATIONAL NEWS. It's a story about AMERICAN GIRLS ARMED, DANGEROUS, AT LARGE. It's Audrey and Morgan.<\/scene_description>\n    <character>CNN INTERNATIONAL ANCHOR<\/character>\n    <dialogue>...Thought to be part of a bigger terrorist plot, the young women were said to be involved in a hack at the Apple Store in Prague...<\/dialogue>\n    <scene_description>The girls stare, mesmerized...<\/scene_description>\n    <character>CNN INTERNATIONAL ANCHOR<\/character>\n    <dialogue>...and the murder of a local doctor, which may have had a sexual motive.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Ew. We would not have sexual motives with that guy. That's like, so insulting to us.<\/dialogue>\n    <character>CNN INTERNATIONAL ANCHOR<\/character>\n    <dialogue>Here are recent photographs of the suspects...<\/dialogue>\n    <scene_description>ON THE TV: Morgan's photo is a glamorous headshot. Audrey's is a drunken, shiny bar photo. Baggy, stained sweatshirt.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Ugh, I keep trying to untag myself in that picture.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Was that from Halloween?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>It's cute!<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>It's really not.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Sebastian, back me up here. Doesn't Audrey look cute in that photo?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I'm busy.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>What, you don't have one second to validate her? All you have to do is give a thumbs up or thumbs down!<\/dialogue>\n    <character>CNN INTERNATIONAL ANCHOR<\/character>\n    <dialogue>...The FBI has released transcripts of Facebook messages between the suspects about victim Drew Thayer, confirming their intent.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Oh God. Morgan. Our chats...<\/dialogue>\n    <character>CNN INTERNATIONAL ANCHOR<\/character>\n    <dialogue>\"I just wish he would die. Is that too much to ask? Just for someone to \\[expletive\\] murder him,\" said Audrey Stockman. Then, \"Do you want me to murder him? I totally will. That's what friends are for. Music note emoji, music note emoji,\" replied Morgan Freedman.<\/dialogue>\n    <scene_description>Sebastian finally looks up, amused.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Your name is Morgan Freedman?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>It's Morgan Alexa Freedman on IMDB.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Oh God. Morgan. Look.<\/dialogue>\n    <scene_description>Onscreen - TESS BAKER-TONETTI: COLLEGE FRIEND OF SUSPECT.<\/scene_description>\n    <character>TESS<\/character>\n    <dialogue>...Honestly? I just don't believe Audrey would ever do this.<\/dialogue>\n    <scene_description>Audrey is surprised and weirdly touched. Until...<\/scene_description>\n    <character>TESS<\/character>\n    <dialogue>She's just like, not that complicated of a thinker. I mean she's 27 years old and she doesn't even have a bed frame.<\/dialogue>\n    <scene_description>Audrey shuts off the TV. She and Morgan cross to Sebastian.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>So with this drive, if anyone had ever emailed or like iMessaged a naked picture to someone else...<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>This drive could access it.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Who did you send naked pictures to?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Don't worry about it.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I can find out. He just said I can find out.<\/dialogue>\n    <scene_description>Audrey grabs the LAPTOP. Morgan smacks her hands away.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Or we could look at pictures of someone we actually want to see naked.<\/dialogue>\n    <scene_description>The girls exchange a knowing look. Beat.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Anderson Cooper.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Amal Clooney.<\/dialogue>\n    <scene_description>Morgan starts typing... Sebastian tries to wrestle the laptop back but she playfully holds it out of his reach.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Guys. This is not a joke...<\/dialogue>\n    <scene_description>ONSCREEN -- A NAKED ANDERSON COOPER. Reverent silence.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>God. Everything about that guy is chiseled.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Snow white carpet, snow white drapes.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Ooh, is that one from behind?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Anderson Cooper 360.<\/dialogue>\n    <scene_description>Suddenly -- An ENORMOUS FINNISH BACKPACKER bursts into the room! ALL THREE OF THEM PANIC, SCRAMBLE FOR THEIR GUNS. Point it right at the backpacker... who is totally non-plussed.<\/scene_description>\n    <character>ENORMOUS FINNISH BACKPACKER<\/character>\n    <parenthetical>(thick accent)<\/parenthetical>\n    <dialogue>Cool.<\/dialogue>\n    <scene_description>He plops on one of the beds and immediately falls asleep.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLYING PIG YOUTH HOSTEL BATHROOM - LATER<\/stage_direction>\n    <scene_description>Audrey enters the communal bathroom to find Sebastian unwrapping a KID'S travel toothbrush. She does the same.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>What'd you get? I got the blond girl from Frozen.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>That's Elsa. You can have my Olaf if you'd prefer.<\/dialogue>\n    <parenthetical>(off her look)<\/parenthetical>\n    <dialogue>I have nieces.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Who are quite weirded out that I saw Frozen in the theater three times by myself.<\/dialogue>\n    <scene_description>Audrey laughs. They switch toothbrushes, brush their teeth.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I hope you're not upset about what that girl said. On the news.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I mean, I'm not surprised she said that. I haven't really done anything that impressive with my life so far.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I've seen you do some pretty impressive things. You were a great shot in the cafe. You didn't break when you were tortured. You had the forethought to put that thing up your... thing. You're a natural at this.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>You think so?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Absolutely.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Well, I'm impressed with you too. Not a lot of people would've cared about saving me. Including my ex.<\/dialogue>\n    <scene_description>A moment.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Audrey. About that. I want to clear something up. You weren't just a cover for Drew. That much I know.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>How?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I was... there the night you two met. At your birthday last year.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>You were at Barcade?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Outside. In the surveillance van. Drew was actually there to take out a target.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>The bartender. He was in ISIS.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARCADE - NIGHT(FLASHBACK)<\/stage_direction>\n    <scene_description>A BARTENDER with a VERY LONG BEARD -- could be in Isis, could be in Iron &amp; Wine -- hands DREW a drink at the bar.<\/scene_description>\n    <character>ISIS BARTENDER<\/character>\n    <dialogue>Craft Bourbon Cocktail with tobacco bitters and a rhubarb zest?<\/dialogue>\n    <scene_description>We hear Sebastian in V.O. through Drew's earpiece.<\/scene_description>\n    <character>SEBASTIAN (V.O.)<\/character>\n    <dialogue>Can you identify him as the target?<\/dialogue>\n    <scene_description>Drew's leans back to get a better view, knocking into Audrey at the jukebox. He turns, sees her. Smiles. She's cute.<\/scene_description>\n    <character>DREW<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>It's okay.<\/dialogue>\n    <scene_description>From DREW'S SIDE NOW, we see Audrey turn around in her TIARA.<\/scene_description>\n    <character>DREW<\/character>\n    <dialogue>Oh. Happy birthday.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>What?<\/dialogue>\n    <parenthetical>(off tiara, deadpan)<\/parenthetical>\n    <dialogue>Oh, this? It's not my birthday. I just wear this for warmth.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SURVEILLANCE VAN - NIGHT- (FLASHBACK)<\/stage_direction>\n    <scene_description>Sebastian sits with TWO OTHER AGENTS, watching FOOTAGE of different areas of the bar. ONSCREEN, Drew and Audrey flirt.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Thayer. We do not have time for this.<\/dialogue>\n    <parenthetical>(Drew ignores him)<\/parenthetical>\n    <dialogue>Thayer. Show me you're listening to me.<\/dialogue>\n    <parenthetical>(Drew keeps ignoring him)<\/parenthetical>\n    <dialogue>Tell me this earpiece is still working. Or I'm coming in there.<\/dialogue>\n    <scene_description>They start dancing. Drew subtly NODS over Audrey's shoulder.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>If you see me, why aren't you fucking moving?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARCADE - NIGHT- (FLASHBACK)<\/stage_direction>\n    <scene_description>MORGAN approaches the dancing couple.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Okay, kids. The birthday girl's gonna turn into a pumpkin in a second. Let's get Del Taco.<\/dialogue>\n    <scene_description>Audrey and Drew break apart. Morgan addresses Drew.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>You're coming. You can bring your giant square chin with you.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>No night is complete without a bad decision at Del Taco.<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>Actually... I can't.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Oh. Okay.<\/dialogue>\n    <scene_description>She's disappointed. Drew glances back at ISIS BARTENDER, now closing out the register. Preparing to leave...<\/scene_description>\n    <character>DREW<\/character>\n    <dialogue>I just, have a work thing.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>At 2am?<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>Yeah, my job is weird.<\/dialogue>\n    <scene_description>This sounds like bullshit.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Okay, well, nice meeting you, Drew.<\/dialogue>\n    <scene_description>She turns to leave. ON DREW -- glancing from the BARTENDER retreating to the BATHROOM and AUDREY on her way out...<\/scene_description>\n    <character>DREW<\/character>\n    <dialogue>Wait.<\/dialogue>\n    <character>SEBASTIAN (V.O.)<\/character>\n    <dialogue>Don't you dare give her your number. Do not give a witness at the bar where you're about to murder a man your phone number.<\/dialogue>\n    <character>DREW<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>Too late.<\/dialogue>\n    <scene_description>Audrey turns.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Too late for what?<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>Nothing. Here. Take my number. Maybe we can hang out another time.<\/dialogue>\n    <scene_description>Audrey lights up, hands him her phone. He punches in his number. Audrey leaves with Morgan. The second they're gone, Drew SPRINTS TOWARD THE BATHROOM.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SURVEILLANCE VAN - NIGHT- (FLASHBACK)<\/stage_direction>\n    <scene_description>The agents watch as onscreen, in the BATHROOM -- ISIS BARTENDER is finishing up at the urinal. Drew walks in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARCADE BATHROOM - NIGHT- (FLASHBACK)<\/stage_direction>\n    <scene_description>Drew, now steely-eyed, expertly moves toward him, grabs the back of his head -- shoves him hard right INTO THE FLUSHER HANDLE. We SMASH BACK TO --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSTEL BATHROOM - NIGHT- PRESENT DAY<\/stage_direction>\n    <scene_description>Audrey and Sebastian, as before. Audrey is overwhelmed.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>My point is, being with someone -- caring about them -- makes our job harder. So if Drew was trying with you... that was real.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Until I got him killed.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>He got himself killed.<\/dialogue>\n    <scene_description>A moment. Sebastian tries to lighten the mood.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>And not that you asked my opinion, but I would say the worst song on that jukebox is \"Your Body is a Wonderland.\" No question.<\/dialogue>\n    <character>AUDREY<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>No way dude! I lost my virginity to that song.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Wow. To who? The cheesiest person in the world?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Oh, I'm sorry. Did you lose your virginity in a non-cheesy way, Fancy British Guy?<\/dialogue>\n    <scene_description>Now Sebastian's laughing too. They're enjoying each other. Audrey turns to leave... then turns back.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Hey. Why didn't you let us die? Before.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I just thought you had value.<\/dialogue>\n    <scene_description>We see this means a lot to Audrey. And clearly there's a mutual attraction. Another charged moment between them... Until THE ENORMOUS FINNISH BACKPACKER bursts in.<\/scene_description>\n    <character>ENORMOUS FINNISH BACKPACKER<\/character>\n    <dialogue>Rookworst, am I right?<\/dialogue>\n    <scene_description>He slams into a stall. The SOUNDS of a really large man having really an explosive shit. And the moment is gone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLYING PIG YOUTH HOSTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Sebastian and Audrey are mid-conversation, laughing, as they walk back into the room.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>There are a lot of Jim Morrison posters in Amsterdam. SEBASTIAN AUDREY<\/dialogue>\n    <scene_description>God I hate the Doors. Fucking hate the Doors. They laugh. Then Sebastian suddenly stops. FREEZES.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Audrey.<\/dialogue>\n    <scene_description>Audrey turns, GASPS-- Morgan is BOUND AND GAGGED in the middle of the room -- strapped to a CHAIR -- tied to the DESK.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Oh my God! Morgan, what--<\/dialogue>\n    <character>A VOICE (O.S.)<\/character>\n    <dialogue>She talks too much.<\/dialogue>\n    <scene_description>It's PATEL. He emerges from behind the door -- GUN trained on them. Fuck. Sebastian acts lightning-quick, on instinct. He SWINGS at Patel with his unslinged arm -- but he's injured, weakened. Patel easily bats him away -- then shoves the muzzle of the PISTOL into Sebastian's shoulder -- into his RAW BULLET HOLE. Sebastian SCREAMS in pain.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Stop! Please! Don't! Stop it --<\/dialogue>\n    <scene_description>Patel just pushes harder, harder. Sebastian WRITHES. Audrey STEPS FORWARD to intervene, but he whips the gun back to her.<\/scene_description>\n    <character>PATEL<\/character>\n    <dialogue>Hands! Up. Both of you.<\/dialogue>\n    <parenthetical>(to Sebastian)<\/parenthetical>\n    <dialogue>That's both hands, cripple.<\/dialogue>\n    <scene_description>Audrey and Sebastian raise their arms. Sebastian winces -- he can't raise his injured arm very high. Patel notices, smirks.<\/scene_description>\n    <character>PATEL<\/character>\n    <dialogue>Higher.<\/dialogue>\n    <scene_description>Sebastian tries. It's excruciating.<\/scene_description>\n    <character>PATEL<\/character>\n    <dialogue>...Just because I can.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>What is this, Patel? Revenge? I was already suspended. You won.<\/dialogue>\n    <character>PATEL<\/character>\n    <dialogue>I know I won. This isn't about you. Or them. I'm just here for this.<\/dialogue>\n    <scene_description>Patel moves to the desk -- reaches over a whimpering Morgan -- slides the FLASH DRIVE from the computer.<\/scene_description>\n    <character>PATEL<\/character>\n    <dialogue>Of course, now I have a couple of loose ends to tie up.<\/dialogue>\n    <scene_description>He retrains the GUN on Sebastian, point blank...<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Wait! None of this is his fault, okay? It's mine. This was all me and Morgan. Just tell the CIA that.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Audrey, no...<\/dialogue>\n    <parenthetical>(to Patel)<\/parenthetical>\n    <dialogue>He's not here on CIA business. He's working for Highland.<\/dialogue>\n    <character>PATEL<\/character>\n    <dialogue>Please. Highland works for me. And you won't believe how much the Chinese Mafia is offering me for this thing. And the Russian Mafia. Multiple mafias.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>So this is all about money?<\/dialogue>\n    <character>PATEL<\/character>\n    <dialogue>Money, justice, whatever you want to call it. I personally think it's unjust that I risk death every day and sacrifice any shred of a personal life to make sixty five grand a year and wear a suit from Men's Wearhouse. And on that note, I'll just finish you all and be on my way. As much fun as it's been watching you kids play Tinker Tailor Stoner Spy.<\/dialogue>\n    <scene_description>Patel waits for a reaction. Nothing. Audrey's incredulous.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>What, were you hoping to get a laugh? You're about to kill us.<\/dialogue>\n    <character>PATEL<\/character>\n    <dialogue>I was on the Lampoon in college. Whatever. I'm funny. Doesn't matter. Cause one thing's mightier than the pen and it's called a fucking handgun. For heckling me, princess, you die first.<\/dialogue>\n    <scene_description>Patel moves the gun to AUDREY'S TEMPLE... hand on the trigger... SQUEEZING. SQUEEZING. A tense final second, AND -- Patel GASPS and DROPS to the ground, DEAD! The ENORMOUS FINNISH BACKPACKER stands behind him. He leans down, pulls his BLOODY KNIFE from Patel's back.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Jesus!<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Oh my God.<\/dialogue>\n    <scene_description>Shell-shocked, Audrey rushes to Morgan and UNPEELS the tape. They hug, both messes of emotion.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Thank you. Oh my God, thank you.<\/dialogue>\n    <character>ENORMOUS FINNISH BACKPACKER<\/character>\n    <dialogue>This man was robbing us, yes?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ENORMOUS FINNISH BACKPACKER<\/character>\n    <dialogue>He might have stolen Angelika.<\/dialogue>\n    <scene_description>He unzips his backpack. A GIANT YELLOW SNAKE SLITHERS OUT.<\/scene_description>\n    <character>ENORMOUS FINNISH BACKPACKER<\/character>\n    <dialogue>Just ignore her. She'll take herself for a walk.<\/dialogue>\n    <scene_description>He climbs back into his bed, puts the knife down on the sill, closes his eyes. The snake slithers over Patel's dead body. Everyone is a little disgusted. But they don't dare complain after what he just did for them. Morgan turns to Sebastian.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>So what now?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>First, we have to move this body.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLYING PIG YOUTH HOSTEL - LOBBY - NIGHT<\/stage_direction>\n    <scene_description>Morgan and Audrey carry a blanket-wrapped SOMETHING -- it's clearly a body -- through the lobby. Sebastian in tow. There are just a couple of people there. They're all suspicious.<\/scene_description>\n    <character>SEBASTIAN (V.O.)<\/character>\n    <dialogue>Just act like everything we're doing is normal and no one will question it. People only suspect you when you look like you're trying to hide something. Smile. Make eye contact. Say hi.<\/dialogue>\n    <scene_description>Morgan and Audrey take the note too far, smiling and saying hello to EVERY PERSON they pass. A SLEAZY GUY by the desk smiles back at Morgan. Gives her a little nod - 'Sup girl.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMSTERDAM STREET - NIGHT<\/stage_direction>\n    <scene_description>Sebastian hot-wires a BLACK SEDAN as Audrey and Morgan ease Patel's body into the trunk.<\/scene_description>\n    <character>SEBASTIAN (V.O.)<\/character>\n    <dialogue>We need a clean car. Then we need to get out of the city.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. BLACK SEDAN - NIGHT<\/stage_direction>\n    <scene_description>Audrey drives. Sebastian's shotgun. Morgan in the back.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>How did he find us?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>We took every precaution. We used cash. No phones --<\/dialogue>\n    <scene_description>Then Audrey realizes something. Turns back to Morgan. Morgan quickly looks out the window. Audrey realizes.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Morgan, did you call your parents?!<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>I'm sorry! I just had to tell them I was okay! I thought maybe my dad found out about Roger and I didn't want them to think I was dead so I got a burner phone at the gift shop and just said hey I'm fine -- real fast -- then I threw it in a dumpster! Like on The Wire! I thought you couldn't track a call if it was less than two minutes!<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>That's not a thing anymore.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>I realize that now.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Morgan. Listen to me. You cannot do any more shit like that. You put all of our lives in jeopardy.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>I'm sorry! But it's not like I'm the only one of us who fucked up.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Who else fucked up?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>You left the drive in the computer?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Just for a second! You were in the room! Where else would I put it?!<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>What's wrong with your ass?!<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>My ass? I couldn't have done that with my arm like this! I wouldn't have been able to get the angle.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>You could have asked one of us to help you insert it. I was in the bathroom with you.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Yeah. I'm sure Audrey would have loved to put something up your ass! I'm sure she still would.<\/dialogue>\n    <character>AUDREY<\/character>\n    <parenthetical>(reddening)<\/parenthetical>\n    <dialogue>Not in a sexual way. Just like, for the sake of mankind.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NDSM WHARF, OUTSIDE AMSTERDAM - NIGHT<\/stage_direction>\n    <scene_description>An abandoned industrial area by the waterfront under the cover of night. The girls fill Patel's pockets with ROCKS. The girls lower Patel into the water. As body slowly sinks, a CELL PHONE BUZZES. PATEL's. It's coming from under the blanket. It's on him. The girls freeze, set the body down.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>We need to check who he's texting.<\/dialogue>\n    <scene_description>Audrey takes a breath, and wades into the water. His dead face stares back at her. She winces, reaches into his jacket, removes the phone before it gets wet. Slides to unlock it.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>The phone needs his thumbprint.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Well... there's his thumb.<\/dialogue>\n    <scene_description>Audrey grabs Patel's dead arm. She presses thumb to button. The phone unlocks. There's a TEXT from an unknown number: \"Text me when you get the package.\"<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>What do I say back? Who is he texting with?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Let's find out. Tell them we have it and ask them where the drop is.<\/dialogue>\n    <scene_description>She writes back. A moment, then another BUZZ. \"Bring it to Operation Albrecht.\"<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>What's \"Operation Albrecht\"?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Let's check his emails.<\/dialogue>\n    <scene_description>Sebastian pulls the DRIVE and laptop from his bag. Inserts the drive, kneels on the dirty ground, laptop on his knee... ONSCREEN -- PATEL'S EMAILS. He searches \"Albrecht.\"<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>He's been emailing with someone named \"Hunter Pierce.\"<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Okay, so, a gay porn star.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>\"Operation Albrecht\" appears to be Highland's first planned assassination. They don't name the target, but it's going down tomorrow night. There's a gala at the Museum of German Technology in Berlin. Text back and tell him you'll be there with the drive.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Shit. It locked again.<\/dialogue>\n    <scene_description>Audrey uses Patel's thumb again, replies. Meanwhile--<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Wow, Patel has a lot of pictures of his mom on here.<\/dialogue>\n    <scene_description>ON THE SCREEN -- Photos of PATEL and an OLDER WOMAN. Then one where they're BOTH NAKED AND MAKING OUT.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Ahh. Not his mom! Not his mom!<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Wait!<\/dialogue>\n    <parenthetical>(urgent)<\/parenthetical>\n    <dialogue>That person's gonna keeps texting. We'll need his thumb.<\/dialogue>\n    <scene_description>They all exchange looks. There's just one option and Audrey is already in the water. She grabs a BEER BOTTLE from the shore and SMASHES IT on a rock. Holding the JAGGED GLASS, she returns the cold water, over to Patel's body, nearly under. CLOSE on his hand as it sinks. Audrey grabs it -- uses the glass as a BLADE, CUTS PATEL'S THUMB OFF. Not much blood. She holds up the thumb to her cohorts in victory. It's disgusting, but we see Audrey is also weirdly proud of herself. She really is a natural at this.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERLIN - DAY<\/stage_direction>\n    <scene_description>The sun rises over Berlin.<\/scene_description>\n    <character>BERLIN, GERMANY<\/character>\n    <dialogue>SEBASTIAN (V.O.)<\/dialogue>\n    <scene_description>Here's the plan. The guest list for the gala includes the Canadian ambassador and his wife. Audrey, you and I will pose as them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TEGEL AIRPORT, BERLIN - CUSTOMS - DAY<\/stage_direction>\n    <scene_description>Passengers deplane, hug family, pick up their bags.<\/scene_description>\n    <character>AUDREY (V.O.)<\/character>\n    <dialogue>Won't people know what they look like?<\/dialogue>\n    <character>SEBASTIAN (V.O.)<\/character>\n    <dialogue>No. No one ever remembers what Canadians look like... They land at Tegel Airport at 2pm.<\/dialogue>\n    <scene_description>At BAGGAGE CLAIM -- a GENERICALLY HANDSOME MAN and his PLAIN BLOND WIFE walk briskly towards... A SIGN with their NAMES on it: \"AMBASSADOR AND MRS. MULLICAY.\" Pan up-- The DRIVER HOLDING IT is MORGAN. In a hat and everything.<\/scene_description>\n    <character>MORGAN (V.O.)<\/character>\n    <dialogue>Can I do an accent?<\/dialogue>\n    <character>SEBASTIAN (V.O.)<\/character>\n    <dialogue>You don't need to.<\/dialogue>\n    <character>MORGAN (V.O.)<\/character>\n    <dialogue>Nah, I'm gonna do an accent. I know what I'm gonna do. \"To really inhabit a character, you must speak with their tongue.\" Stanislavsky.<\/dialogue>\n    <scene_description>She takes the couple's carry-ons. In a THICK COCKNEY ACCENT:<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>'ELLO. Funny coincidence -- you two is from London, Ontario and me, I'm from Jolly Old London! England.<\/dialogue>\n    <scene_description>The Canadians are taken aback.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TEGEL AIRPORT - PARKING GARAGE ROOF - DAY<\/stage_direction>\n    <scene_description>Morgan leads them to a LIMO in a corner of the EMPTY roof. It wasn't necessary to park this far. The Canadians exchange glances but don't say anything because they're Canadian.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMO - MOMENTS LATER<\/stage_direction>\n    <scene_description>Morgan turns on the engine and opens the sunroof... AUDREY -- suddenly on TOP OF THE CAR -- sticks her head down into it! The Canadians SCREAM. Morgan feigns SHOCK too.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Oh my! Rascal! Ruffian! Begone!<\/dialogue>\n    <scene_description>Audrey shoots the couple with TRANQ DARTS. They pass out.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Have a nice nap, guys. Sorry you'll miss the party.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GERMAN REST STOP BATHROOM - DAY<\/stage_direction>\n    <scene_description>A dingy public bathroom. Audrey DYES HER HAIR BLOND in the sink to MATCH THE CANADIAN WOMAN'S. Morgan dyes her hair RED.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Do I look like her?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Yeah. Do I look awesome?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>You look cute.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>I just feel like for our friendship, we should be changing our looks at the same time. You to a Canadian Ambassador's wife and me to a young Julianne Moore.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEUTSCHES TECHNIKMUSEUM BERLIN - NIGHT<\/stage_direction>\n    <scene_description>A stunning modern glass-walled building with a GOLDEN PLANE on top. Fancy couples walk up a RED CARPET to the GRAND ENTRANCE, manned by SECURITY. From behind, we follow a MAN in a TUXEDO, and a BLOND WOMAN in a RED SATIN DRESS and HEELS. We move around them... It's Sebastian and Audrey. They look amazing. Throughout this sequence, Sebastian, Audrey and Morgan will be able to hear each other on earpieces.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Morgan, are you in position?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEUTSCHES TECHNIKMUSEUM BERLIN - BACK DOOR - INTERCUT<\/stage_direction>\n    <scene_description>Morgan is dressed in a LAVENDER UNITARD. Acrobats in matching unitards stretch and warm up. Morgan stretches with them.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>I was born in position.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Everyone was born in position. That's why they call it \"the fetal position.\"<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Oh, I just put that together. But yes. I'm psyched about this. Performing with Cirque de Soleil is like, a top three dream. I was a C.I.T. in Acrobatics and Clowning at camp. It was competitive.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Once again, Morgan, you are not performing with the troupe. Your job is to stay backstage and watch the surveillance. We have to locate the assassin.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>What about just for one song?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Morgan longingly eyes a LITHE MAN doing a warm-up back flip.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>This is like taking a thoroughbred to the Kentucky Derby and telling him, \"you have to stand here and watch the Kentucky Derby, Horse.\"<\/dialogue>\n    <scene_description>Sebastian addresses the Marines in a PERFECT CANADIAN ACCENT.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Evening! Honey, you have our passports?<\/dialogue>\n    <scene_description>Audrey proffers the Canadians' passports. The Marine surveys them. Looks back to Sebastian and Audrey. A tense moment. Then he waves them through. As they enter the party...<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>That was a perfect Canadian accent.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I watch a lot of Degrassi.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Really?!<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <parenthetical>(dumb bro accent)<\/parenthetical>\n    <dialogue>Naw -- it's my training, dumbass.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>That was my LA accent.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Shut it.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>You look good as a blond, by the way. And are you wearing lipstick?<\/dialogue>\n    <scene_description>Hearing this, MORGAN smiles as she mans --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEUTSCHES TECHNIKMUSEUM BERLIN, BACKSTAGE - NIGHT<\/stage_direction>\n    <scene_description>-- a bank of SECURITY SCREENS. Guests move around the party.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>What am I watching for exactly?<\/dialogue>\n    <character>SEBASTIAN (V.O.)<\/character>\n    <dialogue>Anyone you've seen before. Or anyone who looks suspicious.<\/dialogue>\n    <scene_description>But Morgan can't help but glance longingly at the unitard- clad Cirque de Soleil performers as they frolic past the curtains to a STAGE set up in the ATRIUM.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEUTSCHES TECHNIKMUSEUM BERLIN, LOCOMOTIVE ROOM - SAME<\/stage_direction>\n    <scene_description>A vast room of German TRAIN CARS from various eras. Sebastian and Audrey hold hands as they move through the crowd.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>What constitutes suspicious?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Use your instincts.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I have great instincts. If I'm attracted to them, they're probably gonna get us killed.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <parenthetical>(deadpan)<\/parenthetical>\n    <dialogue>So, that guy might kill us?<\/dialogue>\n    <scene_description>Sebastian points to a cheesy BRAZILIAN DIPLOMAT with a ponytail, in a white tux.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Actually, my high school boyfriend Craig looked like that.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Interests included: Family Guy and finger-banging. Usually at the same time.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>My girlfriend at Uni kinda looked like her.<\/dialogue>\n    <scene_description>He points to a TINY VIETNAMESE WOMAN.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>I had that phase in college too.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEUTSCHES TECHNIKMUSEUM BERLIN, BACKSTAGE - INTERCUT<\/stage_direction>\n    <scene_description>Morgan's eyes widen, seeing someone head towards the stage.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Hey. I see someone very suspicious.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Okay. Stay calm. Describe him.<\/dialogue>\n    <scene_description>REVEAL the man Morgan was talking about as she describes him.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>He has a long twirly mustache. Big pointy scary eyebrows. He's holding... yeah, he's holding a bag with a big dollar sign on it.<\/dialogue>\n    <scene_description>Sebastian and Audrey glance at the stage. The MUSTACHE MAN is clearly the bad guy in the Cirque de Soleil show.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I think that guy's part of the show.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Yeah, I don't know that an actual bad guy would look like an evil Mr. Monopoly.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>I'm gonna go with my gut on this.<\/dialogue>\n    <scene_description>Morgan joins the acrobats heading for the stage. She keeps her eyes on Mustache Man as she climbs THE TRAPEZE. The man is miming and twirling his mustache. As Morgan gets to the top... he opens his DOLLAR SIGN BAG and CONFETTI pours out on to the crowd.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Wait. You know what? I think you might be right.<\/dialogue>\n    <scene_description>AUDREY notices a COUPLE across the room. She grabs Sebastian.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Oh my God.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Tom and Marsha. Or whatever the fuck their names are. Drew's fake parents. They're the assassins.<\/dialogue>\n    <scene_description>Sure enough, \"Tom and \"Marsha\" -- also dressed FORMALLY, blending in -- stand at the bar. Glam outfits. Finally looking like the chameleonic agents they really are. \"Marsha\" spots them. She taps \"Tom.\" The couples stare at each other for an intense moment across the room... Just as a group of people passes between them. When the sea opens up again, \"Tom\" and \"Marsha\" are gone.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Morgan, get down. I've been blown.<\/dialogue>\n    <scene_description>Morgan LAUGHS.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>This isn't funny.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Oh God, I know. I know.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But you just said \"I've been blown.\"<\/dialogue>\n    <scene_description>She laughs again. Sebastian shakes his head.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Okay, both of you. Stay together and in plain sight until I get back.<\/dialogue>\n    <parenthetical>(then, to Audrey)<\/parenthetical>\n    <dialogue>You put the drive somewhere safe?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Yes. Very safe.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Is it in... the same place as last time?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>You'll have to find out.<\/dialogue>\n    <scene_description>She flinches. That came out way too forward. Audrey stammers.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>I mean, not \"you'll see\" as in... I just meant I'll tell you later... Whatever, just go!<\/dialogue>\n    <scene_description>As Sebastian hurries off, also blushing a little.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAPEZE - SAME<\/stage_direction>\n    <scene_description>Morgan turns to descend the ladder when she sees someone across the way, on the opposite acrobat landing. NADEDJA. Face bandaged but wearing a unitard like it was made for her. Morgan mutters to herself:<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Oh my God. That girl.<\/dialogue>\n    <scene_description>A MALE ACROBAT behind her pipes up, also staring at Nadedja.<\/scene_description>\n    <character>MALE ACROBAT<\/character>\n    <dialogue>I know. Butterface, right?<\/dialogue>\n    <scene_description>Nadedja sees them. Morgan grabs the trapeze. It's going down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEUTSCHES TECHNIKMUSEUM BERLIN, HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Sebastian hurries to the edge of the ballroom -- a big DOOR into a BACK HALLWAY... manned by a SECURITY GUARD. Sebastian thinks fast -- pretends not to see the guard as he pulls a pack of CIGARETTES from his jacket, tries to hurry past.<\/scene_description>\n    <character>SECURITY GUARD<\/character>\n    <dialogue>Rauchen verboten! No smoking! Sir!<\/dialogue>\n    <scene_description>But Sebastian's on the other side of him now. He plays DUMB, steps back. The guard follows. Now they're behind the door.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Sorry. Filthy habit, I know.<\/dialogue>\n    <parenthetical>(conspiratorially)<\/parenthetical>\n    <dialogue>Want one?<\/dialogue>\n    <character>SECURITY GUARD<\/character>\n    <dialogue>Sir, I don't smoke.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Me neither. Me neither.<\/dialogue>\n    <scene_description>Sebastian TOUCHES THE UNLIT CIGARETTE to the guard's neck. BZZZZZT. It's a TASER. The guard attempts to GRAB SEBASTIAN as he falls... knocking out Sebastian's EAR PIECE.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <scene_description>He scans the floor but can't find it in the shadowy darkness. Fuck it. He has to move. Sebastian hurries down the hallway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEUTSCHES TECHNIKMUSEUM BERLIN, LOCOMOTIVE ROOM - NIGHT<\/stage_direction>\n    <scene_description>Back in the crowded ballroom. Audrey stands alone in the CROWD. PATEL'S PHONE VIBRATES in her hand. A new text: \"In position. Where are you?\"<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Sebastian? They just texted me... Sebastian?<\/dialogue>\n    <scene_description>Silence. Audrey starts to get nervous.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEUTSCHES TECHNIKMUSEUM BERLIN, AVIATION ROOM - SAME<\/stage_direction>\n    <scene_description>Sebastian enters a dark room full of imposing GERMAN PLANES. He looks around. No one in sight. THUNK! A PROPELLER comes out of nowhere and KNOCKS HIM from behind. Sebastian collapses, passed out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEUTSCHES TECHNIKMUSEUM BERLIN - SAME<\/stage_direction>\n    <scene_description>Audrey stares at the phone. Still no response. Tries again.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Sebastian, what's going on?<\/dialogue>\n    <scene_description>Audrey inhales. She's gonna have to do this herself. She subtly reaches into her bag and pulls out her TUBE OF LIPSTICK. Takes the cap off... twists it. PATEL'S THUMB SPIRALS UP. Audrey shudders a little as she uses it unlock the phone. Sends a text. She texts: \"I don't see you\" She gets another text: \"Ships Room\" Audrey takes a deep breath. As she crosses to the EXIT, she STUMBLES over the FALLEN GUARD. Beside him, Sebastian's \"CIGARETTES.\" Audrey picks them up, hurries down the hall. PRE-LAP loud CHEERING...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATRIUM, TRAPEZE - SAME<\/stage_direction>\n    <scene_description>THE CROWD GOES WILD as \"Butterface\" guy does an impressive back-flip. On the landing... CLOSE ON MORGAN. She's next. Morgan's entire life has been building to this moment. Morgan jumps from the landing, SWINGING a HUNDRED FEET IN THE AIR! NADEDJA does the same, swinging from the other side. CRASH! The women meet in the middle. NADEDJA deals the first blow -- KICKING MORGAN in the stomach. Morgan SWINGS BACK, sticks her FEET OUT, CAREENS back into Nadedja. Knocks her back. The crowd CHEERS, unaware this is for real. Loving it. Despite that it's life or death, Morgan is exhilarated too.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHIPS ROOM - NIGHT<\/stage_direction>\n    <scene_description>Audrey enters a ROOM of CENTURIES-OLD SHIPS. She steps to the middle of room. Silence. Then -- She sees a SHADOW moving. Audrey freezes. The figure keeps moving toward her. And finally emerges into the light... IT'S DREW. HOLY SHIT. IT'S FUCKING DREW!<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>What the fuck?<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>Oh my God! Audrey!<\/dialogue>\n    <scene_description>He seems overjoyed to see her. Audrey's mind is blown.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>So wait, you're not... ?<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>Dead? Yeah. That was a surprise to me too, after what happened.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>But I saw you get shot. You were bleeding. You were dead. I thought. You weren't dead?<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>I was right on the edge. But the bullets missed my vital organs. I woke up in a military hospital.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>But on the news... Morgan and I are like, wanted for your murder.<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>You're not. That's how the CIA's been trying to find you. They lie. But they don't want to hurt you. They're trying to keep you alive. That's why I'm here. To save you.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And stop Henshaw.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Sebastian? He's been helping us.<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>Audrey, have you heard of Highland?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Yeah...<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>That's who Sebastian's working for. He's the assassin.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>So who's the target?<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>Me. I am. He's been using you to get to me. And it worked.<\/dialogue>\n    <character>AUDREY<\/character>\n    <parenthetical>(wait? what?)<\/parenthetical>\n    <dialogue>That doesn't make sense. Sebastian knows I thought you were dead. And I saw Patel try to kill him. And Patel admitted he worked with Highland. And I've been texting with the assassin with Sebastian right next to me, so how --<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>Hey. Can we like, stop with the questions for a second? I'm just... I almost died a few days ago. I thought I would never see you again. Can I just give you a hug?<\/dialogue>\n    <scene_description>But when he steps toward her, Audrey reflexively steps back.<\/scene_description>\n    <character>DREW<\/character>\n    <dialogue>Audrey...<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Sorry. I'm just on edge. People have been trying to kill me all week. I know that's like, all in a day's work for you but I work at Trader Joe's...<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>You must have been so scared. Ugh, the thought of anyone trying to hurt you...<\/dialogue>\n    <scene_description>Audrey flinches. This triggers something for her.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>You hurt me, Drew. A lot.<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>I know I did. And I'm so sorry...<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>You lied to me about everything. You let me think I was meeting your parents and they weren't your parents.<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>They're the people I've been hiding from. When they found me in LA, I knew my cover was blown. And it was just easier to... make something up... I knew if I told you the truth, it would lead to questions I couldn't answer.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Is that why you broke up with me by text message? Because it was too hard to tell me the truth? You said you loved me. Was that a lie too?<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>No! I did love you. I do love you. Even more now that we can finally be honest with each other.<\/dialogue>\n    <scene_description>This is everything Audrey was waiting for. Especially when--<\/scene_description>\n    <character>DREW<\/character>\n    <parenthetical>(playful)<\/parenthetical>\n    <dialogue>Audrey Stockman, I love you as much as I hate that fucking Crash Test Dummies song.<\/dialogue>\n    <scene_description>Audrey smiles. Letting her guard down a little. Playing back:<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Which Crash Test Dummies song are you referring to, Drew? Cause there are so many. I don't remember any one in particular.<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>Shut up.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>No really, I'm gonna need you to jog my memory. Cause I have all their albums and there are just, a lot of tracks. And bonus tracks.<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>I hate you. I know I just said I love you but I also hate you.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>If you could maybe just sing a couple bars. How does it go?<\/dialogue>\n    <scene_description>Drew shakes his head. He knows what he has to do. And then, in a deep bass-baritone, Drew starts SERENADING AUDREY.<\/scene_description>\n    <character>DREW<\/character>\n    <dialogue>Once, there was this girl who...<\/dialogue>\n    <scene_description>Off Audrey -- a captive audience in spite of herself.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATRIUM, TRAPEZE - SAME<\/stage_direction>\n    <scene_description>Morgan struggles to hang on to the TRAPEZE with one hand as-- NADEDJA swings across... SLAMS both her feet into the arm that's holding on. Morgan's FINGERS slip... but she regains her balance, tightens her fist. Reaches up with the other hand, steadies herself, swings back towards waiting Nadedja -- Morgan KICKS Nadedja at full force. It just makes Nadedja mad. From behind her unitard, Nadedja PULLS a GUN. The crowd keeps cheering. Assuming it's part of the show. Until... Nadedja FIRES -- Morgan LETS GO OF THE TRAPEZE -- sails through the air, just missing the BULLET. It HITS an ACROBAT on the far platform. The Acrobat falls backward, DEAD. He hits the floor, at the crowd's feet. SLAM. The crowd is stunned. As they realize what's really going on-- MORGAN SAILS onto NADEDJA'S TRAPEZE... landing on top of Nadedja -- her legs wrapped around Nadedja's NECK. NADEDJA TIPS backwards under the weight... just as MORGAN manages to GRAB the TRAPEZE by the tips of her fingers. Nadedja flails, tries to get a grip. But Morgan blocks her. NADEDJA FALLS, FALLS, FALLS -- SLAM. She hits the FLOOR from a hundred feet, at the crowd's feet. People are now fully SCREAMING. NADEDJA is finally DEAD. Morgan SWINGS safely above, watching from her perch. Catching her breath. Holy fucking shit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEUTSCHES TECHNIKMUSEUM BERLIN, SHIPS ROOM - SAME<\/stage_direction>\n    <scene_description>Drew is now standing close to Audrey. Leaning against an old ship just like they leaned against that jukebox at Barcade.<\/scene_description>\n    <character>DREW<\/character>\n    <dialogue>...When I woke up in that hospital and I didn't know where you were, or if you were even alive...<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I know. I know. When that guy shot you... it was so fucking horrible.<\/dialogue>\n    <scene_description>Audrey chokes back tears a little. The adrenaline she's been running on for days giving way to the raw emotion she'd tamped down. She tries to fight it but Drew's not blind.<\/scene_description>\n    <character>DREW<\/character>\n    <dialogue>Hey. Kiddo.<\/dialogue>\n    <scene_description>The term of endearment just makes Audrey more emotional. Drew puts his arm around her and holds her close. Audrey tentatively lets him. In his arms, she relaxes. She's been wanting this for months. They embrace for a moment. Then...<\/scene_description>\n    <character>DREW<\/character>\n    <dialogue>Ooh, what's this?<\/dialogue>\n    <scene_description>Drew pulls the TASER CIGARETTES sticking out of her purse.<\/scene_description>\n    <character>DREW<\/character>\n    <dialogue>You got some spy gadgets?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Shut up.<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>What else you got here, Jane Bond?<\/dialogue>\n    <scene_description>He tosses the cigarettes aside and gently takes Audrey's bag off her shoulder. Starts rifling through.<\/scene_description>\n    <character>DREW<\/character>\n    <dialogue>When'd you start wearing lipstick?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Uh, I wouldn't open that.<\/dialogue>\n    <scene_description>He does anyway. Finds Patel's THUMB.<\/scene_description>\n    <character>DREW<\/character>\n    <dialogue>Wow. A thousand guesses and I never would have landed on thumb.<\/dialogue>\n    <scene_description>Audrey laughs as Drew returns to the purse. Rifles quicker now -- less playful. Audrey gets a weird feeling.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Hey. The drive isn't in there.<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>What? No! Audrey...<\/dialogue>\n    <scene_description>He stops rummaging. Puts a hand on Audrey's shoulder.<\/scene_description>\n    <character>DREW<\/character>\n    <parenthetical>(too fast, less genuine)<\/parenthetical>\n    <dialogue>We're in this together! We just have to get out of here. Trust me. We can go anywhere you want. You pick. China? You love Chinese food. Can you imagine what they can do with a breakfast burrito over there with those moo shu pancakes?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>You said not to trust anyone.<\/dialogue>\n    <scene_description>They lock eyes for a second.<\/scene_description>\n    <character>DREW<\/character>\n    <dialogue>Touch\u00e9.<\/dialogue>\n    <scene_description>Then the DOOR OPENS. \"TOM\" and \"MARSHA\" drag in a CUFFED, GROGGY SEBASTIAN.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Oh my God! Sebastian...<\/dialogue>\n    <scene_description>Audrey rushes toward him.<\/scene_description>\n    <character>DREW<\/character>\n    <dialogue>Audrey. He's with them.<\/dialogue>\n    <character>\"MARSHA\"<\/character>\n    <dialogue>Oh look! We're all together again. Just like the Cheesecake Factory.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Fuck, you hit me hard. I'm hallucinating.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>No, it's Drew. He's still alive.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Audrey... get away from him. Now. He's gonna kill all of us.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Funny, he just said the same thing about you.<\/dialogue>\n    <scene_description>We can see Audrey really doesn't know who to trust.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEUTSCHES TECHNIKMUSEUM BERLIN HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Morgan rushes down the hall, frantically looking for Sebastian and Audrey.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHIPS ROOM - NIGHT<\/stage_direction>\n    <scene_description>The others, as before. \"Tom\" turns to Drew impatiently.<\/scene_description>\n    <character>\"TOM\"<\/character>\n    <dialogue>All right, Thayer, we gave him a full check. Drive's not on him. Can we remove the target now?<\/dialogue>\n    <character>AUDREY<\/character>\n    <parenthetical>(to Drew)<\/parenthetical>\n    <dialogue>Wait, you said you were the target. You said you're Operation Albrecht.<\/dialogue>\n    <scene_description>\"Marsha\" points her gun at Audrey's head. Audrey is TERRIFIED. Then DREW pulls out a GUN as well... Audrey screams... But he doesn't shoot her. He SHOOTS MARSHA. BAM. \"TOM\" LUNGES for the door but Drew gets him too. BAM. \"Tom\" falls back, on to an ANCIENT ANCHOR. It IMPALES HIS HEAD. Brain matter everywhere. Audrey shakes, tries not to wretch.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Oh my god...<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>It's okay, Audrey. I'm right here. No one else matters right now.<\/dialogue>\n    <scene_description>He turns the gun on SEBASTIAN.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Drew, don't!<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <parenthetical>(calmly)<\/parenthetical>\n    <dialogue>Audrey, listen to me. Drew has been working with Patel.<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>Sebastian was working with Patel.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Audrey, you saw Patel try to kill me yesterday. He's the one who sent that assassin after you in Belgium. Drew was gonna let that happen. He would have let you die.<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>Sebastian sent the assassin to Belgium.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Okay. Everything I say you did, you can't just say I did.<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>I can do whatever I want! I'm the one with the gun.<\/dialogue>\n    <scene_description>He turns to Audrey. Meanwhile, Audrey notices MORGAN slip into the room. No one else sees her... Morgan spots DREW. SHOCKING. But she stops herself from making any noise. The girls share a meaningful look. Morgan tiptoes into the SHIP beside Drew.<\/scene_description>\n    <character>DREW<\/character>\n    <dialogue>That night we met... changed my life. I was driving by that bar and I saw you. Walking. And I was like, wherever that girl's going, that's where I want to be.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>So that's why you went into Barcade? Because you saw me?<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>I would have followed you anywhere. There was just something magnetic. I know this is cheesy but it felt like Kismet. It felt like fate.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Really? Cause I thought we were being totally honest with each other. You went to Barcade to assassinate the bartender.<\/dialogue>\n    <scene_description>And suddenly, Audrey puts it all together.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Wait. Hunter Pierce, from those emails. That was Ryan Phillippe's character in that terrible \"Marked Target\" movie you made me watch. And \"Albrecht\". That's Theo Albrecht. Founder of Trader Joe's. You came here to assassinate... me.<\/dialogue>\n    <scene_description>SIRENS approach outside. Drew SNAPS.<\/scene_description>\n    <character>DREW<\/character>\n    <dialogue>Oh my God, I forgot how fucking annoying you are. Fuck this shit.<\/dialogue>\n    <scene_description>Drew SHOOTS SEBASTIAN, who falls backwards. Audrey tries to move to him but Drew is now pointing the gun at her.<\/scene_description>\n    <character>DREW<\/character>\n    <dialogue>Where's the fucking drive?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I'll tell you, okay? But there's one thing you need to know first. Morgan likes to set things on fire.<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Morgan likes to set things on fire.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHIP - SAME<\/stage_direction>\n    <scene_description>Morgan crouches behind a SMALL SHIP'S CANNON, aiming it at Drew. She uses the CIGARETTE TASER he tossed aside to LIGHT THE FUSE. Amazingly, it WORKS. BAM!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHIPS ROOM - SAME<\/stage_direction>\n    <scene_description>A CANNONBALL sails from the ANCIENT CANNON across the room... NOWHERE NEAR DREW. It arcs through the air -- CRASHES through the glass window. SMASH! It lands on a parked car outside. A CAR ALARM sounds. Bystanders yell -- what the fuck? Drew turns to Audrey, his charming smile now condescending.<\/scene_description>\n    <character>DREW<\/character>\n    <dialogue>Nice shot. Great plan, Audrey.<\/dialogue>\n    <scene_description>He aims his gun at Audrey's head.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHIP - SAME<\/stage_direction>\n    <scene_description>Panicking, she picks up a SOFTBALL-SIZED CANNONBALL -- heavy as hell. But she flings it with every bit of her strength.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHIPS ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>The CANNONBALL CONKS Drew on the head. HARD. He weaves. He falls. He drops his gun -- Audrey scrambles for the gun. As does Drew. As she gets closer he reaches for her leg. She FALLS. Drew pulls her as Audrey reaches and stretches for the gun. She kicks -- gets him a few times in the face -- but Drew holds on. She... GRABS it just as -- Drew gets up and LEAPS on top of her. They struggle -- Audrey points her gun at Drew but doesn't shoot as Drew pulls the gun from her by the barrel. Then BAM. She SHOOTS. There's a big bloody GAPING HOLE in his hand. She stands and aims at the now fallen Drew.<\/scene_description>\n    <character>DREW<\/character>\n    <dialogue>Bitch! You blew my fucking hand off!<\/dialogue>\n    <scene_description>Morgan runs to Audrey from the ship as Drew continues wailing.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Jesus, how are you still alive?<\/dialogue>\n    <character>DREW<\/character>\n    <dialogue>Fuck you. I never liked you.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Feeling's mutual, dick.<\/dialogue>\n    <character>AUDREY<\/character>\n    <parenthetical>(to Drew)<\/parenthetical>\n    <dialogue>She tried to tell me you were full of shit. Should've listened.<\/dialogue>\n    <scene_description>SIREN LIGHTS flash from right outside. The COPS are coming. Sounds of COMMOTION as POLICE descend on the building. Audrey stays still and strong, gun steady, trained on Drew.<\/scene_description>\n    <character>DREW<\/character>\n    <dialogue>You're running out of time. Kill me. That's what I would do.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I'm sure it is. But I'm a better person than you. You revealed your true self. This is mine.<\/dialogue>\n    <scene_description>The GERMAN POLICE burst in! Audrey calmly puts the gun down and nods to them. Take him. As the Polizei circle Drew, they try to cuff him but can only manage his non-destroyed hand.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>To quote a text message I got once: \"Hey there -- it's over. Sorry.\"<\/dialogue>\n    <scene_description>Another OFFICER HELPS SEBASTIAN TO HIS FEET. He's okay -- he was wearing a BULLET PROOF VEST. Audrey rushes up.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>What?! I didn't know you had bullet- proof vests!<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I just had the one.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>You know, I would've felt a little more comfortable if I also had a bullet-proof vest. So much for you protecting me.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>You protected yourself.<\/dialogue>\n    <scene_description>Audrey smiles. He's right, on a number of levels.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEUTSCHES TECHNIKMUSEUM BERLIN - NIGHT<\/stage_direction>\n    <scene_description>Chaos. The place is SURROUNDED by POLICE CARS. The POLIZEI haul Drew into one just as Sebastian and Audrey step outside.<\/scene_description>\n    <character>SECURITY GUARD<\/character>\n    <dialogue>Ambassador? Ma'am? Do you need an ambulance?<\/dialogue>\n    <character>AUDREY<\/character>\n    <parenthetical>(demure, Canadian)<\/parenthetical>\n    <dialogue>Oh no. We're fine, thanks. We just have to leave... emergency back home... our hockey team is sick.<\/dialogue>\n    <scene_description>Morgan runs out after them. As she passes the guard:<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Cirque de Soleil is also from Canada. So I know them.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LANDWEHR CANAL - NIGHT<\/stage_direction>\n    <scene_description>Our heroes walk down the gorgeous riverside BIKE PATH, away from the FUCKING CHAOS behind them.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Sebastian... can I see your phone?<\/dialogue>\n    <scene_description>He hands it over. Morgan dials as they walk.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Mom! Get Dad! Yeah, I know, I'm calling from this international spy's phone... Sebastian Henshaw.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Can you not reveal my identity?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>She tells them everything. She's not allowed to lie.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Now I don't have to.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <character>MORGAN<\/character>\n    <dialogue>Guess what, guys?! I just went to a museum.<\/dialogue>\n    <scene_description>BEEP. Call waiting.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Ugh. Hang on a second.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CIA PARIS STATION, WENDY'S OFFICE - NIGHT - INTERCUT<\/stage_direction>\n    <scene_description>Wendy sits at her desk, on the phone.<\/scene_description>\n    <character>WENDY<\/character>\n    <dialogue>Nice job, Henshaw. We found the correspondence between Thayer, Patel and Highland... I'm sorry I questioned your loyalty.<\/dialogue>\n    <scene_description>Behind her, Wendy's ADORABLE SON (6) hands her a cute drawing.<\/scene_description>\n    <character>WENDY<\/character>\n    <dialogue>What's this supposed to be? A dog? A cat? It looks like a piece of shit.<\/dialogue>\n    <parenthetical>(then, into phone)<\/parenthetical>\n    <dialogue>Destroy that drive. Then come in.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>I'll give him the message. I'm just kinda on the other line right now.<\/dialogue>\n    <scene_description>Morgan hangs up on Wendy. Wendy stares at the phone. That was a first. Morgan Sebastian.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>CIA lady said destroy the drive.<\/dialogue>\n    <parenthetical>(then, to her parents)<\/parenthetical>\n    <dialogue>Okay, and what did the Doctor say about your cholesterol?<\/dialogue>\n    <scene_description>On Sebastian and Audrey --<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>So Drew didn't get the drive.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>You said put it somewhere safe.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Morgan, give me the thing.<\/dialogue>\n    <scene_description>Morgan, still on the phone, fishes the drive from her CLEAVAGE. Hands it to Audrey. Then Morgan notices a MAN coming her way, carrying flowers. EDWARD SNOWDEN.<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>The fuck... I'll call you back.<\/dialogue>\n    <parenthetical>(hanging up)<\/parenthetical>\n    <dialogue>Eddie... how'd you know I was here?<\/dialogue>\n    <character>EDWARD SNOWDEN<\/character>\n    <dialogue>I know everything that has happened and everything that's going to happen.<\/dialogue>\n    <parenthetical>(then, flirty)<\/parenthetical>\n    <dialogue>Want to know what's gonna happen right now?<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>Uh, sure.<\/dialogue>\n    <scene_description>Edward Snowden produces two THEATER TICKETS from his pocket.<\/scene_description>\n    <character>EDWARD SNOWDEN<\/character>\n    <dialogue>You're coming with me to see Guys and Dolls at the Admiralspalast. Then a bottle of ice-cold Riesling. And then maybe we can repeat what happened last time after we saw Guys and Dolls together at camp.<\/dialogue>\n    <character>MORGAN<\/character>\n    <dialogue>...Or another idea is we can just go see Guys and Dolls as friends.<\/dialogue>\n    <character>EDWARD SNOWDEN<\/character>\n    <dialogue>Should've known that was gonna happen.<\/dialogue>\n    <scene_description>BACK ON AUDREY and SEBASTIAN. Staring at the drive.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>You can do the honors.<\/dialogue>\n    <scene_description>Audrey smiles. Then SNAPS THE DRIVE IN HALF. She hurls the pieces OFF THE BRIDGE.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Can't they just make another one?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>It's their software. They can make these whenever they want. That's where the world is headed anyway. Total transparency. Everyone wants to know everything.<\/dialogue>\n    <character>AUDREY<\/character>\n    <parenthetical>(shrugging)<\/parenthetical>\n    <dialogue>I still think it's better to give people the chance to show you who they are. On their own terms.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Safe to say you've done that.<\/dialogue>\n    <scene_description>A sweet, intimate silence... Then Audrey and Sebastian finally KISS. We leave them in peace, pulling out to the Berlin night...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SILVER LAKE TRADER JOE'S - DAY<\/stage_direction>\n    <scene_description>Audrey's back at the register, still with her BLOND HAIR. And there's another big difference: she looks HAPPY to be here as she rings up a customer. The next customer steps up... TESS.<\/scene_description>\n    <character>TESS<\/character>\n    <dialogue>Oh my God, Audrey! Your blond hair is so fun!<\/dialogue>\n    <parenthetical>(then, pitying)<\/parenthetical>\n    <dialogue>I didn't know you still worked here.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Hey Tess! Yeah, you know, I realized this job is actually perfect for me. It's easy, it's not too stressful, I can save my energy for my real passions. And you can't beat the flexibility.<\/dialogue>\n    <scene_description>Tess is taken aback. Audrey's CELL BUZZES with a TEXT.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Speaking of which, they need me in the supply room! God I love when I have to get supplies.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRADER JOE'S SUPPLY ROOM - DAY<\/stage_direction>\n    <scene_description>Audrey works quickly -- stealthily removes a CINDER BLOCK from the wall -- pulls out a FAKE PASSPORT, FOREIGN MONEY, etc. As skilled as Drew was at this.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRADER JOE'S PARKING LOT - DAY<\/stage_direction>\n    <scene_description>Audrey moves fast toward the corner of the lot where the SAME BLACK VAN she was interrogated in is parked. This time, Audrey confidently slides the door open and dives in without hesitation. The van glides away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHIBUYA, TOKYO - LATE NIGHT<\/stage_direction>\n    <scene_description>The unmistakable neon hub of Tokyo's popular nightlife area. As we move to a side street, push into a dark BASEMENT CLUB--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHIBUYA KARAOKE CLUB - NIGHT<\/stage_direction>\n    <scene_description>Dimly lit except for garish flashing neon lights. We follow-- AUDREY -- now in a stunning GOLD COCKTAIL DRESS -- as she confidently winds through a packed, intoxicated crowd. Approaches an expressionless CLERK at a HOST STAND.<\/scene_description>\n    <character>CLERK<\/character>\n    <parenthetical>(Japanese)<\/parenthetical>\n    <dialogue>Reservation?<\/dialogue>\n    <scene_description>Audrey's about to give her name when the sound of GLASS SHATTERING cuts the air. The clerk -- and everyone else -- turns, distracted by the DRUNK COUPLE who just knocked over a huge stack of glasses... It's MORGAN. With a Japanese BUSINESSMAN. Making a huge scene. Seemingly oblivious to Audrey.<\/scene_description>\n    <character>MORGAN<\/character>\n    <parenthetical>(to the Businessman)<\/parenthetical>\n    <dialogue>Oh my God Akira you're a mess!<\/dialogue>\n    <parenthetical>(to the bartenders)<\/parenthetical>\n    <dialogue>Barkeep! Two more Yakuzas please! Or wait, whatever this whiskey is called. Yakuza is the thing you're in, right? Oh wait, shit, was that a secret?<\/dialogue>\n    <scene_description>Unattended now, Audrey subtly REACHES BEHIND THE HOST STAND and presses a button. A DOOR behind the stand clicks. Unlocked. Audrey heads for it, when--<\/scene_description>\n    <character>MAN (O.S.)<\/character>\n    <dialogue>Miss? Excuse me! Miss!<\/dialogue>\n    <scene_description>This stops Audrey dead. She slowly turns... It's SEBASTIAN. At the bar behind her. Holding out a GOLD PURSE that matches Audrey's dress.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Oh! Silly me. Must have dropped that.<\/dialogue>\n    <scene_description>They share a private, knowing, look, then she keeps moving.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - MOMENTS LATER<\/stage_direction>\n    <scene_description>...Audrey removes a GUN from the purse as she strides down the hall, solo. Drops the purse in the trash as she arrives -- At the end of the hall. Another door. Inside, muffled voices conspire, up to no good. Audrey takes a deep breath. As she cocks the gun and kicks the door open, we -- SMASH TO BLACK.:<\/scene_description>\n    <character>THE END<\/character>\n  <\/scene>\n<\/script>","summary":"In Los Angeles, cashier Audrey Stockman spends her birthday upset after her boyfriend Drew dumps her. Her best friend and roommate, Morgan Freeman, convinces her to burn his things and texts him beforehand as a warning. Audrey has no idea Drew is a government agent being pursued by men trying to kill him. He promises to return and asks her to not torch anything in the meantime. At work, Audrey flirts with a man who asks her to walk him to his car. Forced into a van, the man identifies himself as Sebastian Henshaw. He reveals that Drew works for the Central Intelligence Agency (CIA) and has gone missing. Audrey claims not to have heard from him and is let go. Drew shows up for his possessions, including a fantasy football trophy. People begin shooting at them and he tells Audrey that, if he dies, she must go to a certain caf\u00e9 in Vienna and give the trophy to his contact. Drew is then shot by a man Morgan had taken home from a bar, whom she then pushes off the balcony. Morgan convinces Audrey to go to Vienna. At the caf\u00e9, Sebastian appears and demands the trophy at gunpoint. Audrey reluctantly hands it over before the entire caf\u00e9 is attacked. The friends flee, chased by men on motorcycles. Audrey reveals that she still has Drew's trophy as she had switched it with one of several decoys they purchased. Boarding a train to Prague, they discover the trophy contains a USB. Morgan calls her parents, who tell her they can stay in Prague with family friend Roger. Audrey and Morgan get to the apartment, but discover \"Roger\" is actually a spy who drugged them and killed the real Roger. Morgan tries to swallow the flash drive. After that fails, Audrey tells their captors that she flushed it down the toilet. The ladies wake up in an abandoned gymnastics training facility, about to be tortured by Nadejda, a Russian gymnast, model, and assassin trained by the older couple who had previously masqueraded as Drew's parents. Audrey and Morgan are rescued by Sebastian, who defied orders to save them. He brings them to his boss in Paris, where they once again tell the CIA and MI6 that the drive was flushed. The women are given tickets back to America, and Sebastian is suspended. Driving back to the airport, Sebastian explains that Drew's \"parents\" are actually notorious criminals; Drew was discreetly negotiating with them to sell the USB, and Audrey was part of his cover. Audrey confesses that she hid the drive in her vagina. When Sebastian cannot decrypt the information, Morgan calls Edward Snowden for assistance, and he helps them hack it. The trio travel to a hostel in Amsterdam, where they are attacked by Sebastian's CIA partner Duffer, who plans to sell the drive himself. They are rescued by their hostel roommate, who thinks they are being robbed and body slams Duffer to his death. Audrey answers Duffer's phone when it rings and agrees to sell the drive at a private party in Berlin. To get into the party, Audrey and Sebastian go as the Canadian ambassador and his wife, while Morgan joins the Cirque du Soleil crew. Sebastian is attacked and Morgan is confronted by Nadejda on an acrobat swing, eventually kill her Meanwhile, Audrey meets her mysterious contact and finds Drew, who is still alive and searches through her purse for the USB. Sebastian arrives, held hostage by Drew's \"parents\". After a standoff, Drew's \"parents\" are shot, leaving Sebastian and Drew, who accuse each other of trying to hurt Audrey. Drew then shoots Sebastian, and Audrey pretends to be glad before grabbing his gun. When he tries to attack her, she kicks him in the groin. Once he is on the ground, Morgan throws a cannonball at him. Drew is arrested, and Audrey, Morgan, and Sebastian escape. Sebastian later gives Morgan his untraceable phone to let her parents know she is alive. As she's talking, Sebastian's boss calls to lift his suspension. Morgan begs her for a job as a spy. Meanwhile, Sebastian and Audrey kiss. A year later, while celebrating Audrey's birthday in Tokyo, her party is revealed to be a ruse, as it's actually an assignment with Sebastian to stop a group of Japanese Yakuza gangsters."}
{"movie_name":"The Crow_1994","imdb_id":"tt0109506","script":"<script>\n  <scene>\n    <stage_direction>EXT. CEMETERY - LATE AFTERNOON<\/stage_direction>\n    <scene_description>BOOM ! A crack of lightning illuminates the silhouette of a perched crow large in the f.g. TIGHT ANGLE - FRESH GRAVE As a spade smooths the walls of a new double - decker plot .<\/scene_description>\n    <character>DIMITRI<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>We're losing the light ; let's pack it in.<\/dialogue>\n    <scene_description>ANGLE - DIMITRI AND ALEXI TWO GRAVEDIGGERS . Scoop digger parked f.g. towering gothic - style church b.g. Rolls of astro turf . They look up toward the sky .<\/scene_description>\n    <character>ALEXI<\/character>\n    <dialogue>Snow, maybe?<\/dialogue>\n    <character>DIMITRI<\/character>\n    <dialogue>What, you gon na ski on this?<\/dialogue>\n    <scene_description>He indicates the mound of fresh dirt . Spits into the grave .<\/scene_description>\n    <character>DIMITRI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Come on, let's bag this. It's beer time.<\/dialogue>\n    <scene_description>Alexi nods and unfurls the tarp over the dirt . LOW ANGLE TRACKING SHOT - FLOWERS ON GRAVES As we MOVE alongside a pair of canvas - sided combat boots , as the wearer collects the most lively flowers from each grave in sequence . TIGHT ANGLE - THE CROW Cemetery DEFOCUSED b.g. Large , glossy - black , the bird follows the arc of movement in the previous shot . Ruffles its feathers as it begins to sprinkle rain . ANGLE - ELLY - RESUMING HER MOTION A dirty - blondish tenement KID of eleven , clad in a blend of cast - offs and hand - me - downs ; her version of street punk chic . She totes a skateboard under one arm -LRB- itself a berserk Jackson Pollock chaos of band stickers , silver marker and graffiti , with day - glo wheels -RRB- , and transfers her impromptu bouquet so she may unzip a flap and hike up a ragged hood against the rain . She stops to watch the grave diggers pack up and EXIT b.g.<\/scene_description>\n    <character>ELLY<\/character>\n    <dialogue>Guess the picnic got rained out.<\/dialogue>\n    <scene_description>She looks down o.s. at - ANGLE - SHELLY WEBSTER 'S GRAVE as Elly places the gathered flowers down . Almost reverent . RESUME CROW ANGLE - ELLY B.G. as Elly takes a single white rose and places it atop the grave near Shelly Webster 's . ANGLE ON GRAVE - AS ELLY LEAVES TILT UP from rose to the name : ERIC DRAVEN . Rain spatters the granite , darkening it . EXTREME CLOSE - UP - CROW 's EYE It blinks in its alien way . WITH THE CROW as it takes wing from it 's unseen perch . Lands stop Eric 's headstone . It pecks tentatively at the top of the monument . ANGLE - ELLY NEAR ERIC 'S GRAVE She has n't gotten too far before she notices the bird .<\/scene_description>\n    <character>ELLY<\/character>\n    <dialogue>Oh, scary.<\/dialogue>\n    <scene_description>The bird blinks at her from the headstone .<\/scene_description>\n    <character>ELLY<\/character>\n    <dialogue>What are you, like, the night watchman?<\/dialogue>\n    <scene_description>Another blink from El Birdo . CAMERA WITH ELLY - BOOMING BACK HIGH as she exits the iron gates of the cemetery without looking back . Brutal building facades , like dead eyes , and bad alleyways , like hungry mouths , are gradually revealed as we continue PULLING BACK to unveil that the cemetery is smack in the middle of the city .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAXI-DOGS - TWILIGHT - RAIN CONTINUES<\/stage_direction>\n    <scene_description>CLOSE - UP of a foot - long hot dog being drowned in mustard .<\/scene_description>\n    <character>MICKEY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>What this place needs is a good natural catastrophe. Earthquake, tornado.<\/dialogue>\n    <scene_description>ANGLE - ALBRECHT AND MICKEY ALBRECHT is a black beat cop , 35 , in a rain slicker . MICKEY is the grease - aproned entrepreneur of MAXI DOGS , a steamy open - front fast foodery .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <dialogue>You got ta put the mustard underneath first.<\/dialogue>\n    <character>MICKEY<\/character>\n    <dialogue>Maybe a flood, like in the Bible.<\/dialogue>\n    <character>ALBRECHT<\/character>\n    <dialogue>Here, let me do it.<\/dialogue>\n    <scene_description>He grabs the dog from Mickey . Mickey puffs his cigar while he cooks . Albrecht methodically spreads a napkin and performs surgery on the hot dog , coating the bun with mustard , rolling the dog in the bun . Flashes Mickey a `` gim me '' look .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <dialogue>Come on. onion. Do n't cheap out on me. Lotta onions.<\/dialogue>\n    <scene_description>MOVING ANGLE - AS ELLY SKATEBOARDS TOWARDS MAXI DOGS<\/scene_description>\n    <character>MICKEY<\/character>\n    <dialogue>Heyyy - it's the Elly monster.<\/dialogue>\n    <character>ALBRECHT<\/character>\n    <dialogue>How do you ride that thing on a wet street?<\/dialogue>\n    <character>ELLY<\/character>\n    <dialogue>Talent. Hi.<\/dialogue>\n    <character>ALBRECHT<\/character>\n    <dialogue>Care for a hot dog?<\/dialogue>\n    <character>ELLY<\/character>\n    <dialogue>You buying?<\/dialogue>\n    <character>ALBRECHT<\/character>\n    <dialogue>I'm buying.<\/dialogue>\n    <scene_description>Elly grabs the stool next to Albrecht . They ` ve done this routine before .<\/scene_description>\n    <character>ELLY<\/character>\n    <dialogue>No onions though, okay?<\/dialogue>\n    <character>ALBRECHT<\/character>\n    <parenthetical>( horror . )<\/parenthetical>\n    <dialogue>No onions?<\/dialogue>\n    <character>ELLY<\/character>\n    <dialogue>They make you fart.<\/dialogue>\n    <scene_description>Mickey laughs . Spots Elly a Coke .<\/scene_description>\n    <character>MICKEY<\/character>\n    <dialogue>What's goin' on, Elly?<\/dialogue>\n    <character>ELLY<\/character>\n    <dialogue>I went to see a friend of mine.<\/dialogue>\n    <character>MICKEY<\/character>\n    <dialogue>Well, how's your friend?<\/dialogue>\n    <character>ELLY<\/character>\n    <dialogue>She's still dead.<\/dialogue>\n    <scene_description>Albrecht and Mickey exchange a look re : Elly 's matter - of - factness .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETERY - NIGHT (RAIN)<\/stage_direction>\n    <scene_description>Thunder KABOOMS o.s. . The crow pecks the top of the stone again and a chip of granite flies off , bang ! EXTREME CLOSE - THE HEADSTONE as the crow pecks again and draws blood from the rock . CLOSE - UP - THE CROW A dot of blood on its ebony beak . LOW ANGLE - HEADSTONE A thin , watery trickle of blood wanders from the top of the stone towards the earth . Rain does not interfere . Lightning plays in the rolling cloud cover , b.g. RESUME THE CROW as it takes off from the gravestone , into the rain . CLOSE - UP - THE BLOOD It slowly fills the name Eric Draven into the rock . CLOSE - UP - FOOT TAPPER A LOW ANGLE like the SHOT introducing Elly 's boot . This time we see cowboy boots , leather chaps . The foot taps . Waiting . MEDIUM ANGLE - THE FOOT TAPPER as lightning strikes . Just enough for us to see a figure in a long duster and a cowboy hat . RESUME ERIC 'S HEADSTONE DRAVEN fills with blood . Blood continues groundward . NEW ANGLE - THE FOOT TAPPER Turning to meet FRAME as the crow alights on his outstretched arm . This is the SKULL COWBOY . We glimpse the deathshead , beneath the brim of the cowboy hat . RESUME ERIC 'S GRAVE as blood trickles into the turf at the base of the grave . TIGHT ANGLE - THE CROW shaking off rain . Watching intently . CLOSE - UP - THE SKULL COWBOY 'S FREE HAND Black gloved . It walks a flat silver throwing knife across it 's knuckles , like a quarter somersaulting . RESUME ERIC 'S GRAVE The turf stirs beneath the white rose . Magically , a slim white parts the earth to grasp the rose . SKULL COWBOY POV - ERIC 's GRAVE as the figure of Eric Draven stands up from behind his own headstone . LOW ANGLE -LRB- FROM GRAVE -RRB- - ERIC Pale . Clad in cerements : cheap black burial suit , slit open in back . WHite shirt . A nothing tie . No shoes . Rain sluices mud from his upturned face . He looks to the sky . Lightning . ANOTHER ANGLE - FOLLOW ERIC as he weaves to lean against a nearby tree . Looks o.s. ERIC 's POV - THE SKULL COWBOY water - blurred , through the rain , standing with the crow perched on his arm like a hunting falcon . He releases it and it flies to the tree . ANGLE - ERIC Watching this . Wipes mud from his eyes , tries to clear vision . The crow lights in the tree and they meet eye - to - eye . Eric looks back o.s. and we RACK to include the Skull Cowboy .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>What the hell are you?<\/dialogue>\n    <character>SKULL COWBOY<\/character>\n    <dialogue>Interested? Follow the crow.<\/dialogue>\n    <scene_description>NB . The Skull Cowboy speaks in nicely distorted , buzzlike charnal house whisper . Unsettling and hackle - raising . Eric turns back to the bird , which takes wing in the rain , His eyes follow it . He looks back , disoriented , doubtful , but the Skull Cowboy is gone . LOW DEEP ANGLE - THE CROW Taking wing in the rain , showing the way . ANOTHER ANGLE - ERIC alone in the cemetery . After a moments hesitation , he lurches off , following the crow .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARCADE GAMES SUPPLY OFFICE - NIGHT - TO ESTABLISH:<\/stage_direction>\n    <scene_description>A candy - flaked muscle T - bird is parked at the curb .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARCADE GAMES SUPPLY OFFICE - NIGHT<\/stage_direction>\n    <scene_description>A MOVING SHOT during o.s. lines . Past dead video and pinball devices . Pasta desk with an open briefcase , coffee cup , ashtray - someone was just there . Then past a WOMAN , trussed with duct tape to her office chair , gagged , hot fear in her darting eyes . COMPLETE CAMERA MOVE to include SKANK , a blade - thin speed freak with pattern baldness , always loud , jittery , a manic dust puppy . And T - BIRD , an arrogant Arayan , brush - cut iron pumper , who is prepping an incendiary . He exhibits a small squeeze bottle of arson cocktail to Skank .<\/scene_description>\n    <character>T-BIRD<\/character>\n    <dialogue>Uncle T - Bird's 100 - proof accelerator. I squirt you with this, you could jump in the Detroit river and burn all the way to the bottom.<\/dialogue>\n    <scene_description>INSERT A CLOSE - UP of the bomb in his hands as he works . Silver canisters , an LED timer , wires .<\/scene_description>\n    <character>T-BIRD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You know, Lake Erie actually caught on fire once, from all the crap in it. Wish I coulda seen that.<\/dialogue>\n    <scene_description>He CLICKS a switch . PEEP . LED countdown blurs .<\/scene_description>\n    <character>T-BIRD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>We're ready to rock.<\/dialogue>\n    <scene_description>Skank notices the captive woman 's handbag on the floor . Picks it up . Looks through it for valuables .<\/scene_description>\n    <character>SKANK<\/character>\n    <dialogue>What about working girl?<\/dialogue>\n    <scene_description>INTERCUT the woman 's increasingly horrified reactions .<\/scene_description>\n    <character>T-BIRD<\/character>\n    <dialogue>What about her?<\/dialogue>\n    <character>SKANK<\/character>\n    <dialogue>I say we leave her here to fry, man.<\/dialogue>\n    <scene_description>T - Bird looks casually at the woman . Smiles hideously .<\/scene_description>\n    <character>T-BIRD<\/character>\n    <dialogue>No. Let's take her with us.<\/dialogue>\n    <scene_description>ANGLE - THE WOMAN Her eyes bug in a terrified NO !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - MOVING - NIGHT<\/stage_direction>\n    <scene_description>As the T - Bird fishtails wildly around the corner and eats street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. T-BIRD - TRAVELLING - NIGHT<\/stage_direction>\n    <scene_description>TB drives . One eye on his digital watch -LRB- doing an equally fast countdown -RRB- . Skank wrestles their captive , the woman , in the back seat .<\/scene_description>\n    <character>TB<\/character>\n    <parenthetical>( pissed off . )<\/parenthetical>\n    <dialogue>Skank, shut her the fuck up!<\/dialogue>\n    <scene_description>SKank punches her and she sags . Then he looks forward .<\/scene_description>\n    <character>SKANK<\/character>\n    <dialogue>Whoaaa - T - Bird, red light, red light!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET CORNER NEAR MAXI-DOGS - NIGHT<\/stage_direction>\n    <scene_description>As the T - Bird slews wide , cutting sidewalk , scattering nightwalkers , immediately attracting everybody 's attention . ANGLE - ALBRECHT - AT MAXI - DOGS Reacting , with a mouthful .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <dialogue>Goddammit.<\/dialogue>\n    <scene_description>Mickey grabs the counter phone instantly .<\/scene_description>\n    <character>MICKEY<\/character>\n    <dialogue>Call it in?<\/dialogue>\n    <scene_description>Albrecht is off and running for the corner already .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <dialogue>Yeah, do it!<\/dialogue>\n    <parenthetical>( to Elly . )<\/parenthetical>\n    <dialogue>Stay right there!<\/dialogue>\n    <scene_description>HOLD ON MICKEY . He points at Albrecht 's hot dog . Yecch .<\/scene_description>\n    <character>MICKEY<\/character>\n    <parenthetical>( yelling after . )<\/parenthetical>\n    <dialogue>You want I should save this for you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUTH OF ALLEY ACROSS FROM CEMETERY - NIGHT<\/stage_direction>\n    <scene_description>The car slides to a nose - down panic stop .<\/scene_description>\n    <character>SKANK<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Dump her, man, dump her!<\/dialogue>\n    <scene_description>The woman comes tumbling from the car , which blasts off with a war hoop from the guys inside . ANGLE - CORNER - ON ALBRECHT Gun out , hauling ass on wet pavement . Aims at the departing car . Gives it up . Still too far away . Pedestrians in the way . ANGLE - THE WOMAN hurting , cut , bleeding , tottering toward the dumpster . Duct tape stuck to her face but cut away around her mouth . With her as she falls into the alley darkness . straight into the arms of CLOSE TWO - SHOT - ERIC AND THE WOMAN Their eyes lock . Eric stiffens with his first FLASH . NB : Eric 's flashes of past memory are conditioned by the nature of things with which he makes physical contact . Hints and fragments in fierce , super - saturated COLOR . Puzzle pieces he must assemble . Each flash keynoted by a BLOWBACK NOISE and accompanied by a degree of pain . It hurts to remember . FLASH : INT . T - BIRD - WOMAN 'S STRUGGLE The faces of Skank and T - Bird are murky , ephemeral , their voices hideous , distorted echoes . A knife snaps open . We see the blade . Blood . Skank hits her , pow ! and -<\/scene_description>\n    <character>FLASH ENDS.<\/character>\n    <dialogue>says.<\/dialogue>\n    <scene_description>ANOTHER ANGLE - ERIC AND WOMAN An airborne crow POV spiralling up and away from them . ANGLE - THE CROW perched on a fire escape , high above , watching and waiting . ANGLE - RESUMING ERIC AND WOMAN She fades . He lets her drop away , horrified . And staggers back into the cover of the alley . Her blood is on his hands . ANGLE - ALBRECHT RUNNING Skidding in , spotting the woman . Kneeling to her .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <dialogue>Here now! You're gon na be okay! Can you understand me? I'm a police officer.<\/dialogue>\n    <scene_description>The woman is no longer in pain . Deathly calm now .<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>He touched me and it stopped. The pain.<\/dialogue>\n    <character>ALBRECHT<\/character>\n    <dialogue>What did you say?<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>I saw a ghost.<\/dialogue>\n    <scene_description>Her eyes roll back and she dies in Albrecht 's arms .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <dialogue>Oh no. do n't go, darlin', you stay with me, now. shit!<\/dialogue>\n    <scene_description>HIGH ANGLE CROW POV - THE ALLEY BOOMING BACK from Albrecht , the woman , onlookers , as police units screech up to assist .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY BEHIND ARCADES GAMES SUPPLY HOUSE - ON ERIC - NIGHT<\/stage_direction>\n    <scene_description>Eric in lurching flight , panting . Stops and steadies against the wall across from the backside of Arcade Games . ANGLE - THE CROW -LRB- FLYING -RRB- Circling , then lighting on the fire escape above Eric . BACK WINDOWS OF ARCADE GAMES - -LRB- `` CROWVISION '' -RRB- `` CROWVISION '' is what the crow `` gives '' Eric to see . Visually distinct and immediately identifiable . ERIC 'S POV - BACK WINDOWS OF ARCADE GAMES Which he 's already seen through the crow 's eyes . ANGLE - ERIC looking up at the crow . Disoriented . Does n't understand . Suddenly he cottons , and covers his eyes just in time to shield from : ANGLE - BACK OF ARCADE GAMES The rear windows EXPLODING outward in a spray of fire and debris . ANGLE - WITH ERIC he reels back , crashes into a dumpster . Falls . ANGLE - THE CROW landing on the dumpsters edge near a pair of discarded combat boots in the trash . Flames . LOW ANGLE - ERIC The blood from his hands mars his burial shirt . He tears the shirt away , leaving his tie absurdly intact . Wipes his face with his shirt . Discards it . Stops , held by his discovery - PUSH IN ON ERIC as his fingers explore the five puckered bullet punctures in his chest . Almost a circle . Comically , he feels his back foe exit wounds . Then hauls himself upright , coming level with the crow . His glance at the bird is almost accusatory . ANGLE - THe CROW Inscrutable . We should get the idea that some silent communication is taking place . ANGLE - ERIC 'S FEET bare , muddied , frozen . TILT to Eric . His gaze moves from the crow to the boots in the trash . He grabs them , pushes them onto his bare feet . His eyes catch the firelight . Distant o.s. SIRENS<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Fire. In the rain.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLUB TRASH - NIGHT<\/stage_direction>\n    <scene_description>We are now within the neon techno - depths of Club Trash . The BG music is hard , savage , primal : a doom - laden Radio Werewolf band rules . Cabaret Blitzkrieg , packed with Death - to - Yup trendazoids . We 'll see more of this circus later . Right now the BG SOUND is our biggest clue to the flavor of this establishment since we are - TIGHT CLOSE - UP A FRAMED 8X10 Thinly filmed in dust , mounted among dozens of other band shots . Visible among the posed members of a group called Diabolique is Eric , wielding guitar on the club stage . ND BLUR as people CROSS FRAME . GRANGE , 45 - 50 , powerful , a seasoned assassin , cruel but loyal . His facade remains stony as he leads three other men briskly down the corridor. : NGO NWA , 50ish , clad Chinese gangster style - white topcoat , white scarf , tinted shades - and two body guards supplying a power perimeter around him , lean , dark - haired Asian killers who would gladly die for Ngo Nwa , which they will in just a minute . They have just passed the Diabolique 8X10 . Ngo Nwa 's gloved fingers , in passing , leave little skid tracks in the dust that clear the eyes of Eric in the photo . As the foursome reaches the DOOR , Grange turns doubtfully - suspiciously - to Nwa .<\/scene_description>\n    <character>NGO NWA<\/character>\n    <dialogue>He will see me. unannounced.<\/dialogue>\n    <scene_description>ANOTHER ANGLE - THE DOOR As Grange keys in the enter code the door hisses open . Without a word , Nwa passes inside and the door is pulled shut in Grange 's face by the Bodyguards , who post themselves to either side .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAO'S NIGHTCLUB OFFICE - NIGHT<\/stage_direction>\n    <scene_description>The door CLOSES and the BG NOISE is GONE . Through a large window -LRB- mirrored on the club side -RRB- all sorts of activity is visible through automatic mini - blinds . A fly - vision bank of 12 TV monitors is hot with surveillance . LAO , a painfully clean - cut , Armani - clad Asian , impeccable , almost dashing , but the dynamic here is crystal clear : Nwa is the King : Lao , the dark prince in this hierarchy . At the desk , Lao is startled from his contemplation of a tiny , perfect rat skeleton by Ngo Nwa 's unheralded entry . The desktop is bare except for and Arcane Vietnamese fighting knife , half a meter long with an ideogrammed blade , dramatically positioned beneath an Artemide lamp . Lao rises and feigns servility . NB : The following exchange will play FAST , and entirely in VIETNAMESE .<\/scene_description>\n    <character>LAO<\/character>\n    <parenthetical>( formal greeting . )<\/parenthetical>\n    <dialogue \/>\n    <character>NWA<\/character>\n    <parenthetical>( dismissiveness , contempt , then chastizing anger as : . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Nwa INDICATES the blade with some ridicule .<\/scene_description>\n    <character>LAO<\/character>\n    <parenthetical>( phony assuagement . )<\/parenthetical>\n    <dialogue \/>\n    <character>NWA<\/character>\n    <parenthetical>( knows it 's bullshit . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Lao turns , staring out the blinds , fighting for control . Deep breath . He turns back to his `` master . '' Nwa gestures broadly at the oppulent office , indicating that Lao should be grateful , but is somehow errant<\/scene_description>\n    <character>NWA<\/character>\n    <parenthetical>( respect is required . )<\/parenthetical>\n    <dialogue \/>\n    <character>LAO<\/character>\n    <parenthetical>( begrudging agreement . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Lao sees the blade . An idea . He lifts it reverently , bears it the Nwa hilt - first in both hands , as if bestowing a thing of immeasurable worth .<\/scene_description>\n    <character>NGO NWA<\/character>\n    <parenthetical>( why give me this ? )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Nonetheless , Nwa accepts the blade . It gleams . Hypnotic . Even Nwa has to admire it . Turns it so the blade is pointed at his sternum . His attitude indicates Lao is too far away to do anything untoward .<\/scene_description>\n    <character>LAO<\/character>\n    <parenthetical>( sinister punchline . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Lao spins through the air and HEEL - KICKS the blade THROUGH Nwa 's chest , pinning him to the door . It 's over so fast the gasp of astonishment never escapes Nwa . Lao is much more than merely treacherous , he is extremely capable .<\/scene_description>\n    <character>LAO<\/character>\n    <parenthetical>( in perfect English . )<\/parenthetical>\n    <dialogue>When I spoke of an offering, I did n't mean an offering to you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - NIGHT (CONTINUOUS)<\/stage_direction>\n    <scene_description>Grange , standing out of arm 's reach in the corridor , kills both Bodyguards with a double headshot as they turn in greeting as the door OPENS . ANOTHER ANGLE - CORRIDOR - LAO , GRANGE , AND CORPSES Lao exchanges a look with his right arm ; Grange nods affirmatively .<\/scene_description>\n    <character>GRANGE<\/character>\n    <dialogue>You gon na smoke his bones now, or however it is you do it?<\/dialogue>\n    <scene_description>Lao smiles indulgently . He wipes the blood from the blade on the jacket of his ex - lord . Lao now bows to no one .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIRE ESCAPE - ANOTHER ALLEY - NIGHT<\/stage_direction>\n    <scene_description>Eric , wearing the combat boots , climbs as the crow leads him . Up . He jams his hand on a rusty wedge of metal . Ouch . CLOSE - UP - ERIC 'S PALM Blood flows from the gash . He vises his fist shut . ANGLE - ERIC ON FIRE ESCAPE Eye - to - eye with the crow . Opens his hand . CLOSE - UP - ERIC 'S PALM The blood flows back into the wound , which closes itself , leaving another scar . ANGLE - ERIC Vising the rail . Speaks to the night . Almost a mantra .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>`` My kitten walks on velvet feet, and makes no sound at all. And in the doorway nightly sits to watch the darkness fall. I think he loves the lady night.''.<\/dialogue>\n    <parenthetical>( to crow . )<\/parenthetical>\n    <dialogue>Am I alive? Am I dead? Something else? Something in between?<\/dialogue>\n    <scene_description>CLOSE - UP - THE CROW Inscrutable . No answer here . RESUME ERIC Almost bemused . Steadier . A hint of friendliness .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Thanks for sharing that.<\/dialogue>\n    <scene_description>ETC. . GIDEON ` S PAWN SHOP - NIGHT As the T - Bird grumbles tp park curbside . Menacing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GIDEON'S PAWN SHOP - NIGHT<\/stage_direction>\n    <scene_description>A junkyard of loot and dusty discards . Junkie thievings and other people 's stereos . Behind a wire - meshed security counter GIDEON reads a racing form , chain - smoking throughout the scene . He is pear - shaped , stubbled , unkempt . Food on his shirt . JINGLE of doorbells . Gideon lowers his paper to reveal Skank and T - Bird on approach .<\/scene_description>\n    <character>GIDEON<\/character>\n    <dialogue>Ahhh, jesus, the creatures of the night, here they come. Tweedledum and Tweedledummer.<\/dialogue>\n    <scene_description>Skank riles<\/scene_description>\n    <character>SKANK<\/character>\n    <dialogue>Hey, blow me, fat boy!<\/dialogue>\n    <scene_description>Just as quick , Gideon cocks and levels a Magnum at Skank .<\/scene_description>\n    <character>GIDEON<\/character>\n    <dialogue>Blow yourself, bigmouth.<\/dialogue>\n    <character>T-BIRD<\/character>\n    <parenthetical>( interposing . )<\/parenthetical>\n    <dialogue>Whoa, hey, whoa.<\/dialogue>\n    <parenthetical>( hands up . )<\/parenthetical>\n    <dialogue>Business.<\/dialogue>\n    <scene_description>He lifts a small carton onto the counter .<\/scene_description>\n    <character>GIDEON<\/character>\n    <dialogue>Whatcha got?<\/dialogue>\n    <scene_description>NEW ANGLE - COUNTER Transaction time . T - Bird passes items through the screen slot and Gideon gives each one cursory , doubtful inspection .<\/scene_description>\n    <character>T-BIRD<\/character>\n    <dialogue>Coupla more rings. 24k.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>18k. Crap.<\/dialogue>\n    <character>T-BIRD<\/character>\n    <dialogue>necklace. pearls.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>Nineteen bucks at Sears. Fake,<\/dialogue>\n    <character>T-BIRD<\/character>\n    <dialogue>Leather purse.<\/dialogue>\n    <scene_description>He hands though the bag rested from the woman .<\/scene_description>\n    <character>GIDEON<\/character>\n    <dialogue>What's this - a little, ah, bloodstain, right?<\/dialogue>\n    <parenthetical>( does n't matter . )<\/parenthetical>\n    <dialogue>Fifty bucks for the box, and I'm doin' you a -<\/dialogue>\n    <character>T-BIRD<\/character>\n    <dialogue>Yeah, I know, fatso. Do us all a favor. Make Top Dollar smile.<\/dialogue>\n    <character>SKANK<\/character>\n    <dialogue>You would n't want Top Dollar not to smile.<\/dialogue>\n    <scene_description>Mention of Top Dollar clams Gideon efficiently up . He hands over the cash to T - Bird with a grimace .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOP - ON ERIC - NIGHT<\/stage_direction>\n    <scene_description>Eric stares upward at the crow as it drops like a bomber from the night sky , flying past him , skimming the roof , leading him on . Eric exhales , shrugs , feeling mocked by the bird .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>All right.<\/dialogue>\n    <scene_description>And he takes off on a run . Only to stumble and fall . But the falls turns into a TUMBLING ROLL that lands Eric back on his feet still moving . He looks back as if to ask : `` Did I do that ? '' and runs out of the frame . ANOTHER ANGLE - PICKING UP ERIC ON THE RUN . as he squints towards the crow and does his best to keep up . TRACK WITH HIM to the edge of the roof , heavily misted in rain . He jumps a negligible gap to the next lower roof . The next roof - top is a one - story jump down . Eric clears the jump with a WOOF of air . Keeping his eyes on the flying crow ; gaining strength . His next leap is more like a broad - jump . Athletic . FAST MOVING ANGLE - THE CROW keeping airborne , keeping ahead . MOVING ANGLE - ERIC Eyes confidently on the sky as he arches out into space . UP ANGLE FROM STREET - BUILDINGS As Eric is seen to jump across the gap at least three stories up where there is no connecting building . CLOSE ANGLE - TARGET BUILDING LEDGE as Eric smashes into it , just missing , hinging at the waist , grabbing for purchase , suddenly panicked , gravity pulling him downward . ANGLE - AT ERIC FROM PHONE CABLE BRACKET Eric falls but manages to grab the bracket one - handed . He hangs for another deadly moment , then slowly , to his own astonishment , executes a one - handed pull - up that will save his ass .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Gotcha.<\/dialogue>\n    <scene_description>He completes the pull - up , bringing his chin level with the ledge . As he reaches for it with his other hand the bracket rips from the wall and Eric plummets , with a howl of defeat . UP ANGLE FROM STREET - ERIC 'S DOWNFALL It 's a looooooong way down . ANGLE - ALLEYWAY as Eric lands and splits a trash can in two . A beat as we wonder if any bones are left unpulped . PUSH IN as Eric rolls from facedown to his back . TIGHT SHOT - ERIC 'S FACE as he completes the roll , gasping , amazed he 's still in one piece . ANGLE - TRASHCAN - ON THE CROW It flies easily down to inspect Eric as he slowly sits up , examining his hands . Frustrated and pissed off .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>CLOSE - UP - THE CROW Not `` your welcome '' , but other - worldly patience . It waits . RESUME ERIC<\/scene_description>\n    <character>ERIC<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Where're we going next - the sewer?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOP - NIGHT<\/stage_direction>\n    <scene_description>Still , dark silence until Eric lands from ABOVE FRAME , feline . The crow lands simultaneously b.g. , perched near a roof access door with a shaded , dim - yellow bulb . CLOSE - UP - THE CROW It just blinks at him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABANDONED STAIRWELL - NIGHT<\/stage_direction>\n    <scene_description>as Eric yanks open the rusty rooftop door from the outside and sweeps down the steps in a swirl of night mist ANGLE - FOOT OF STAIRS Trash and detritus all around , clogging the arteries of the building , which is old , unoccupied , forsaken . The crow lights on a scarred banister knob . Eric 's footsteps come down into frame . ANGLE ON LOFT DOOR - INCLUDE ERIC A year ago this door was sealed with police barricade tape . which now sags , faded . A sticker across the jam notifies potential trespassers that this is - was - a crime scene . Eric slows , stops , his hand on the banister . ANGLE - THE CROW as is wafts ahead of Eric , arriving at the door first . ANGLE ON ERIC , THE DOOR , THE CROW Eric has had enough .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Are we finished yet?<\/dialogue>\n    <scene_description>CLOSE - UP - ERIC 'S HAND ON BANISTER sliding along , as he speaks , until it hits a cigarette burn . PUSH IN ON ERIC - TIGHT stiffening as he suffers his second - FLASH : IMAGES and DIALOG are not linked . A rapidfire MONTAGE set in the loft , a year earlier -LRB- it is decorated for Halloween -RRB- . The broken door . The stairwell is filled with cops and cop noise ; lab guys bustle . Albrecht is there , making notes as a DETECTIVE steps over to him .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <dialogue>Victim's name is Shelly Webster. The guy who got tossed is, uh. -.<\/dialogue>\n    <parenthetical>( checks his notebook . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Albrecht grinds out his smoke on the banister . FLASH ENDS . RESUME ERIC ON THE STAIRS . He sits down hard , hurting from the flash . His eyes seek the crow . He completes Albrecht 's line :<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>`` Draven, Eric.''<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE PIT - NIGHT<\/stage_direction>\n    <scene_description>LOW DOLLY of Elly 's little combat boots moving toward the entryway of the pit . MUSIC gradually UP LOUDER O.s. as she nears . ANGLE - ELLY IN DOORWAY Luridly - lit . A grown - up 's place . A burly BOUNCER appraises her , his tone jokey . He knows Elly .<\/scene_description>\n    <character>BOUNCER<\/character>\n    <dialogue>Hey! You got any ID?<\/dialogue>\n    <character>ELLY<\/character>\n    <dialogue>Very funny. Ha. Ha. Oh my, sides.<\/dialogue>\n    <scene_description>The Bouncer jerks a thumb . Go on in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE PIT - NIGHT<\/stage_direction>\n    <scene_description>A grungy sawdust - floored shot - and - beer joint packed tight with urban BURNOUTS rushing to drink their lives away . Hammering MUSIC and rude whorehouse lighting . Each predator straining to be badder than the next . TRACK THROUGH this maze at Elly 's eye level until we reach DARLA , waitressing her heart out , the drug mileage on her obvious .<\/scene_description>\n    <character>ELLY<\/character>\n    <dialogue>Mom -?<\/dialogue>\n    <character>DARLA<\/character>\n    <dialogue>I told you you're not supposed to come in here.<\/dialogue>\n    <character>ELLY<\/character>\n    <parenthetical>( a quick lie . )<\/parenthetical>\n    <dialogue>I lost my key.<\/dialogue>\n    <scene_description>Disgustedly - goddamn kids - Darla fishes up a key and slaps it into Elly 's hand .<\/scene_description>\n    <character>FUNBOY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hey, Darla - before we die of old age, how about it -?<\/dialogue>\n    <character>DARLA<\/character>\n    <parenthetical>( to Elly . )<\/parenthetical>\n    <dialogue>Out. Now. I got ta work.<\/dialogue>\n    <scene_description>RACK PAST Darla and MOVE IN CLOSE on a corner table - where sit Funboy , Skank , T - Bird and a black , vested muscle gypsy , TIN - TIN .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOFT - NIGHT<\/stage_direction>\n    <scene_description>As Eric shoves the door open from the outside . The lock , popped from the frame , spins on the wooden floor . The barrier tape whisps and dust roils . Dark , chilly , damp . A rat 's nest of disuse . PULL BACK THROUGH THE BROKEN PICTURE WINDOW as Eric enters . Glass blown out . Shards poking . Jagged . NEW ANGLE - AS ERIC WALKS IN He scans the loft . Sees reflecting golden eyes near the floor . ERIC 'S POV - FLOOR NEAR WINDOW A white , long - haired cat walks into a pool of night light . ANGLE - ERIC AND THE CAT He kneels . Extends his hand . The cat nears ; likes Eric . CLOSE - UP - ERIC 'S HAND . as the cat makes contact . Sudden white jolt - a FLASH . FLASH : we HEAR Eric strumming his Strat o.s. . We see what he saw : Shelly , holding the cat . FLASH ENDS . UP ANGLE - ERIC Wincing . Recovering from the flash . He purposefully gathers the cat into his arms and braces for more , harder , stronger . FLASH : A MAN and a WOMAN make love on a big bed amidst a hundred points of candlelight . Shelly and Eric , once upon a time . FLASH ENDS . REVERSE ANGLE FROM BEDROOM DOOR - ON ERIC as the cat , dropped , hits the floor and scrambles out of the way . CLOSE - UP - ERIC vising his head , teary - eyed , his nose bleeding .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>No! Do n't look! No! No!<\/dialogue>\n    <scene_description>He whirls unexpectedly and punches his fist completely through the masonry wall . FLASH : Eric and Shelly in a mock waltz . He spins her and they collapse on the bed . FLASH ENDS . ANGLE - ERIC slowly pulling his arm out of the wall .<\/scene_description>\n    <character>ERIC<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>Stop it.<\/dialogue>\n    <scene_description>His eyes roll up and he slumps the length of the door frame like a drowning man . ANGLE - GABRIEL watching Eric . He hits with an o.s. THUD .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE PIT - ON FUNBOY'S TABLE - NIGHT<\/stage_direction>\n    <scene_description>As a gloved hand sets up four bullets next to four shots .<\/scene_description>\n    <character>FUNBOY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Let's have some fun.<\/dialogue>\n    <scene_description>Funboy pops the bullet , like a contact capsule and washes it down . T - Bird turns to Tin - Tin , the new guy .<\/scene_description>\n    <character>T-BIRD     You first.<\/character>\n    <dialogue>says.<\/dialogue>\n    <character>TIN-TIN<\/character>\n    <dialogue>You're outta your fuckin' mind.<\/dialogue>\n    <scene_description>Into it , almost jazzed , Tin - Tin downs his bullet and shot , and T - Bird does likewise . Points to Skank .<\/scene_description>\n    <character>T-BIRD<\/character>\n    <dialogue>No. I'm not the lunatic. He is.<\/dialogue>\n    <scene_description>Skank riles , pulls a huge Auto Mag and sticks it in T - Bird 's face , cocking .<\/scene_description>\n    <character>SKANK<\/character>\n    <dialogue>Fuck you, T - Bird.<\/dialogue>\n    <scene_description>Just as lightning fast , T - Bird has his own gun out and jammed right under Skank 's jawbone . He makes a kissy face .<\/scene_description>\n    <character>T-BIRD<\/character>\n    <dialogue>I love you too, you madman.<\/dialogue>\n    <scene_description>They all crack up laughing like ax murderers . Skank drinks , Tin - Tin spot checks the satchell from Top Dollar 's . Darla delivers more shots and funboy feels her ass .<\/scene_description>\n    <character>FUNBOY<\/character>\n    <dialogue>Hey, pussycat.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOFT - DOWN ANGLE (CROW POV) - ERIC ON FLOOR<\/stage_direction>\n    <scene_description>He 's awake . Pushes himself up . REVERSE ANGLE - THE CROW Is perched in a dead light fixture , monitoring Eric . ANGLE - ERIC ON FLOOR He 's awake . Pushes himself up . Realizes he is in the center of a faint chalk outline on the hardwood floor . He reaches to touch the dark stain of old blood . FLASH : Shelly spills into frame , mouth bloodied . T - Bird instantly on top of her , rough . FLASH ENDS . ANGLE - WITH ERIC as he abandons the outline and staggers to the window . where he cuts open his hand on jags of glass . FLASH : Eric held firm in the grasp of T - Bird and Funboy , one arm each . Five bloody bullet holes in Eric 's chest . The thugs 1 - 2 - 3 and hurl Eric backwards through the window , which shatters . FLASH ENDS . ANGLE - ERIC AT THE WINDOW Reeling backward , same trajectory as in the Flash , but toward the floor , in SLO - MO. . Overloaded . Blacking out . AS ERIC FALLS - INTERCUT MONTAGE A jumble of good\/bad images from the loft : Tin - Tin embedding a page of paper in the loft wall with a throwing knife . Shelly 's face as she lights a candle . a POPPING champagne cork . the echoing CANNONADE of the shots that killed Eric . Skank backhanding Shelly . Shelly blowing bubbles from a clawfoot tub full of suds . Eric catching Funboy 's first slug high in the chest . NEW ANGLE of the glass in the window blowing out as T - Bird and Funboy through Eric through . ANGLE - ERIC 'S REAL TIME FALL He plummets to BLACK OUT FRAME . THUMP . Out cold .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PIT - RESUMING FUNBOY'S TABLE - NIGHT<\/stage_direction>\n    <scene_description>Funboy contemplates his drink as the previous scene reverbs .<\/scene_description>\n    <character>FUNBOY<\/character>\n    <dialogue>More fun than a torture chamber.<\/dialogue>\n    <scene_description>Tin - Tin 's pocket pager goes BEEP and startles them all . Skank nearly shoots it , jumpy . Tin - Tin pulls back on a black leather trenchcoat after clicking off the pager .<\/scene_description>\n    <character>TIN-TIN<\/character>\n    <dialogue>I hate this goddamn thing.<\/dialogue>\n    <scene_description>ANGLE - DARLA watching them from a distance as Tin exits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOFT - FLOOR LEVEL - NIGHT<\/stage_direction>\n    <scene_description>An enormous cockroach trundles past , large in FRAME . RACK to show Eric lying on floor b.g. as his eyes pop open . A flurry of dark motion as the crow flies past frame . ANGLE - THE CROW - Having snatched the bug in it 's beak . Eats it . ANGLE - ERIC rising from the floor . Careful . Stealthy . Watches his fireplace .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>We have company.<\/dialogue>\n    <scene_description>ANGLE ON FIREPLACE Huge . Marble . COld . Eric 's paper mache masks of Comedy and Tragedy still hang there . The Skull Cowboy steps out of the dark and into the vague blue light . Shadowy as ever .<\/scene_description>\n    <character>SKULL COWBOY<\/character>\n    <dialogue>Having fun yet? No?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I'll give you a hint. Remember whatshername?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Shelly?<\/dialogue>\n    <character>SKULL COWBOY<\/character>\n    <dialogue>Miss her?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>SKULL COWBOY<\/character>\n    <dialogue>Kill the men who killed you both, and the Day of the Dead will be your reunion.<\/dialogue>\n    <scene_description>The Skull Cowboy prestidigitates a flat throwing knife -LRB- like Tin - Tin 's -RRB- . Eric 's gaze follow it closely .<\/scene_description>\n    <character>SKULL COWBOY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You must use your eyes.<\/dialogue>\n    <scene_description>He points to the crow . ANGLE - THE COMING KNIFE - -LRB- `` CROWVISION '' -RRB- Weirdly distorted , a shared vision between Eric and the crow . TIGHT ON ERIC As he DUCKS out of the path of the knife he sees through the bird 's eyes . He rolls . ON THE CROW It hops out of the way as the knife embeds in the wall . Eric 's ROLL finishes him up nearby .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Goddammit.<\/dialogue>\n    <scene_description>He grabs for the knife as if to use it on the Skull Cowboy , but the knife causes an unexpected painful FLASH . FLASH : Eric bouncing off the bedroom doorframe , Tin - Tin 's knife stuck in his shoulder . FLASH ENDS . RESUME ERIC vising his head with his hands , in pain . Too much pain .<\/scene_description>\n    <character>SKULL COWBOY<\/character>\n    <dialogue>Get it?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Leave me alone -!<\/dialogue>\n    <scene_description>He looks up , the Skull Cowboy is still there .<\/scene_description>\n    <character>SKULL COWBOY<\/character>\n    <parenthetical>( contempt . )<\/parenthetical>\n    <dialogue>Do something about it.<\/dialogue>\n    <scene_description>ANOTHER ANGLE - ERIC AND THE SKULL COWBOY . A horrible beat between them . The Eric runs full tilt across the room , bounding to the open window and then leaping . ANGLE - SKULL COWBOY as close to surprise as he gets . Steps out to watch as - ANGLE ON WINDOW - ERIC FLIES feet first out into space . CLOSE - UP - BRICKWORK ABOVE WINDOWFRAME Eric 's fingers smash into grip the tiny mortared gaps !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOFT BUILDING - UP ANGLE FROM STREET - NIGHT<\/stage_direction>\n    <scene_description>High above , Eric 's feet shoot out the window , knocking loose stray shards that fall toward frame . He swings into an upside - down pose , impossibly holding himself rigid against the building 's side , face down . by his quarter - inch finger grip . CLOSE - UP - ERIC Every muscle rigid , quivering with tension . Hold . Then he relaxes , and swings back inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOFT - AT WINDOW, PICKING UP ERIC - NIGHT<\/stage_direction>\n    <scene_description>He arches , flips , to land on his feet . The Skull Cowboy is gone . No knife either . The crow watches . O.S. `` meow '' . ANGLE - WITH ERIC AS HE TURNS TO SEE THE CAT<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>I guess I'm not ready to leave. just yet.<\/dialogue>\n    <scene_description>He picks up the cat - wary of flashes , which do n't come this time - and returns to the window . Feeling safer .<\/scene_description>\n    <character>ERIC<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>The last time we saw each other, I did n't do so well.<\/dialogue>\n    <parenthetical>( holds cat up . )<\/parenthetical>\n    <dialogue>Huh, Gabriel?<\/dialogue>\n    <scene_description>He moves to the fireplace . With his free hand , lifts the Tragedy mask off its hook . Puzzles it , fact - to - mask .<\/scene_description>\n    <character>ERIC<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I bet you need some cat food. right?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT -ESTABLISHING:<\/stage_direction>\n    <scene_description>Eric walking , the Tragedy mask hanging from his hip . An occasional PEDESTRIAN passes without comment , brutalized by the city . Eric , more confident , smells the night 's bouquet .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY - NIGHT (\"CROWVISION\")<\/stage_direction>\n    <scene_description>Two men around a trashcan fire . We should recognize Tin - Tin by his black leather trench coat . A wonderfully rude Rap tune , `` Got a White WOman Tied Up In My Closet , Gon na Jab Her With A Stick , '' RAZZLES b.g.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - RESUMING ERIC - NIGHT<\/stage_direction>\n    <scene_description>As Eric reacts to what the crow has just seen . Slows . Stops . And directs his attention toward the mouth of the alley .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY - TIGHT ON TIN-TIN - NIGHT<\/stage_direction>\n    <scene_description>He pulls the nickel plated revolver from the satchel . FOLLOW as he hands it across to RATSO , who removes the suitcase - sized boom box -LRB- the source of the music -RRB- from his shoulder to accept . Ratso is a feral skull - head ; street trash .<\/scene_description>\n    <character>TIN-TIN<\/character>\n    <dialogue>Three hundred and your a gunslinger.<\/dialogue>\n    <scene_description>HIGH ANGLE - TIN - TIN and RATSO As the crow is still watching , yet perched . A brief shove - and - standoff . The gun deal has gone bad .<\/scene_description>\n    <character>RATSO<\/character>\n    <dialogue>Please, TIn - Tin, you know I'm good for the money, man, I promise, Leslie put me up to it, please, man, do n't -.<\/dialogue>\n    <parenthetical>( choking scream . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Tin - Tin has just up - rammed a throwing knife into Ratso .<\/scene_description>\n    <character>TIN-TIN<\/character>\n    <dialogue>Ratty - shut the fuck up.<\/dialogue>\n    <scene_description>Tin - Tin lifts Ratso on the knife , gutting him . Ratso goes slack , deader 'n hell . Tin - Tin reaches around to click OFF the boom box . then let 's Ratso ` s corpse fall .<\/scene_description>\n    <character>ERIC<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Another satisfied customer?<\/dialogue>\n    <scene_description>TIGHT ANGLE - TIN - TIN galvanized by the surprise voice . He automatically draw a fresh knife from the bandolero of knives across his chest inside the coat . Ca n't yet track the source of the voice .<\/scene_description>\n    <character>TIN-TIN<\/character>\n    <dialogue>Who the hell is that?<\/dialogue>\n    <parenthetical>( beat , venomous . )<\/parenthetical>\n    <dialogue>Come on out man, I wo n't hurt you.<\/dialogue>\n    <scene_description>ANGLE - ERIC IN ALLEY He steps out from behind another flaming trashcan . Wearing a long black scarf and the Tragedy mask .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Hello, Tin - Tin.<\/dialogue>\n    <scene_description>ANGLE ON TIN - TIN - AS HE RISES -LRB- FROM RATSO -RRB- trying to process what he sees . And cover . And buy time .<\/scene_description>\n    <character>TIN-TIN<\/character>\n    <dialogue>Little early from trick - or - treat, homie.<\/dialogue>\n    <parenthetical>( re : Ratso . )<\/parenthetical>\n    <dialogue>This dick trying to bushwack me.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Murderer.<\/dialogue>\n    <scene_description>Tin - Tin blows out a breath . No bluff . Time to kill again .<\/scene_description>\n    <character>TIN-TIN<\/character>\n    <dialogue>Guess you got that goddamn right.<\/dialogue>\n    <scene_description>He shrugs . The shrug becomes the launch of a knife . TIGHT SHOT - MOVING - ERIC His black - gloved hand slaps away the incoming knife and inch from his nose . It CLATTERS . Eric continues striding toward Tin - TIn .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Try harder. Try again.<\/dialogue>\n    <scene_description>SHIFTING ANGLE - ERIC NEARS TIN - TIN as Tin - TIn throws another knife . Eric closing in . He claps hand together , immobilizing the next knife . Opens his hands , almost an `` oops '' gesture . Keeps on coming . ANGLE - ERIC AND TIN - TIN As they meet . Tin - Tin attempts a roundhouse . Eric blocks it and smashes Tin - Tin into the alley wall .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>A year ago. Halloween. A man and a woman. In a loft. You helped to murder them.<\/dialogue>\n    <character>TIN-TIN<\/character>\n    <dialogue>Last Halloween, eh? Yeah.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Yeah, I remember. I fucked her too, I think.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>You cut her. You raped her.<\/dialogue>\n    <parenthetical>( rage . )<\/parenthetical>\n    <dialogue>You watched!<\/dialogue>\n    <character>TIN-TIN<\/character>\n    <dialogue>Hey, I got my rocks off, so fuck you in the ass, man.<\/dialogue>\n    <scene_description>They 're face - to - face now , sweaty and tense . Eric peels off the Tragedy mask .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>I want you to tell me a story, Tin - Tin.<\/dialogue>\n    <character>TIN-TIN<\/character>\n    <dialogue>I do n't know you.<\/dialogue>\n    <scene_description>But , as Eric bears down on Tin - TIn , Tin begins to recognize him . Fear . Sweat . For the first time , Tin - Tin starts to loose control .<\/scene_description>\n    <character>TIN-TIN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Holy shit. you're dead, man.<\/dialogue>\n    <scene_description>EXTREME CLOSE - UP - ERIC<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Victims. Are n't we all.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOFT - NIGHT<\/stage_direction>\n    <scene_description>TIGHT ANGLE - TABLETOP as Eric 's hands place Ratso 's boom box on the table and click on suitable weird b.g. MUSIC . ANGLE - FLOOR LEVEL Eric 's boots pass frame . An open can of cat food CLANKS down big in f.g. as Eric walks b.g. obviously wearing Tin - Tin 's trenchcoat . Gabriel noses into to frame to eat from the can .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOFT, BEDROOM - NIGHT (LATER)<\/stage_direction>\n    <scene_description>Shelly 's vanity . Dusty , disused . The mirror spiderwebbed with cracks but still hanging precariously in its frame . Eric is seated , his image crazily split into many . He pulls on a long - sleeved , tight - knit , black shirt . WIDEN ANGLE to reveal the loft now lit with dozens of candle stubs . Placed all around . Ceremonial and weird . CLOSE - UP - ERIC<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Halloween is coming. The Day of the Dead.<\/dialogue>\n    <scene_description>In the mirror , multi Eric 's . He touches the glass , tightening up as he realizes he 's in for another - FLASH : Shelly , sleeping on her divan , a year ago , wakes as Eric -LRB- O.S. -RRB- says `` Boo '' . She cracks an eye open .<\/scene_description>\n    <character>SHELLY<\/character>\n    <dialogue>Your scary quotient needs work.<\/dialogue>\n    <scene_description>FLASH ENDS . ANOTHER ANGLE - ERIC AT VANITY Considering old cosmetics . Everything he touches will hurt him . But he 's ready to eat this pain . He grabs a lipstick . FLASH : Shelly at the vanity in happier times<\/scene_description>\n    <character>SHELLY<\/character>\n    <dialogue>I think red's my color, do n't you?<\/dialogue>\n    <scene_description>FLASH ENDS . RESUME ERIC wincing . He drops the lipstick on the floor . Grabs a hairbrush . FLASH : Eric smashes into the street after his death - fall , trailing broken glass . FLASH ENDS . NEW ANGLE - ERIC AT VANITY Later . He 's wearing white pancake makeup on his cheeks . Shaky . FLASH : Eric sucks up Funboy 's gunshots in the chest . 1 - 2 - 3 - 4 . FLASH ENDS . RESUMING ERIC AT VANITY his face a crazy warpaint maze of white streaks , not blended yet . He looks at his own reflection . In one cracked , triangular facet of the mirror is not a multiple of his face , but the Skull Cowboy . Just one .<\/scene_description>\n    <character>SKULL COWBOY<\/character>\n    <dialogue>Glad to see you're finally with the program.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Bugger off to the graveyard, skull - face, I'm busy.<\/dialogue>\n    <character>SKULL COWBOY<\/character>\n    <dialogue>You work for the dead. Forget that, and you can forget it all.<\/dialogue>\n    <scene_description>The Cowboy tips his hat and is n't there . Eric sees the crow perched on the edge of the mirror now .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Forget this.<\/dialogue>\n    <scene_description>He smears the streaks until his face is uniformly grave - wave white . ANGLE - GABRIEL THE CAT coming in to sniff around the clutter at the foot of the vanity . Eric looks down towards him . and toward the lipstick he dropped . CLOSE - UP - ERIC 'S HAND as it glides down to pick up the lipstick . CONTACT , and - FLASH : Eric , smashed on the street , T - Bird 's car b.g. , upside down in Eric 's POV as he rolls over and blood courses from both corners of his mouth , a definite foreshadow of the `` Crow '' face . FLASH ENDS . RESUMING ERIC AT VANITY - TIGHT<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>She always red red was her color.<\/dialogue>\n    <scene_description>EXTREME CLOSE - THE MIRROR We see only a reflected corner of Eric 's mouth as he duplicates the blood trail in red lipstick , making one one half of a crow harlequin smile .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOFT BUILDING - LATER - NIGHT<\/stage_direction>\n    <scene_description>A MEDIUM SHOT as lightning strikes ; a storm brews .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOFT - LATER - NIGHT<\/stage_direction>\n    <scene_description>CLOSE - UP - ERIC 'S BOOTS crossing the floor . Tin - Tin 's knife slotted to the bucklework . CLOSE - UP - VANITY Eric 's hands discard a hairbrush there . He moves off . CLOSE - UP - GABRIEL looking up o.s. , watching his master stalk around with purpose . Thunder rumbles long o.s. ANGLE - AT ERIC IN WINDOW FROM OUTSIDE The storm boils . Eric framed in broken window . CLOSER ANGLE - ERIC IN WINDOW Eric all in black , Firm - wrapped . Tight - wired . The trenchcoat flutters , cloak - like . His shadowy face framed by the upturned collar , his hair punkish and spiky . SIDE ANGLE - ERIC as he moves forward in the light . The crow lights on his shoulder .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>All right, bad guys.<\/dialogue>\n    <scene_description>FRONT VIEW - ERIC Full crow regalia . Face makeup streamlined . Eric 's eyes flash .<\/scene_description>\n    <character>ERIC<\/character>\n    <parenthetical>( in drawn out yell . )<\/parenthetical>\n    <dialogue>Here I commme -!<\/dialogue>\n    <scene_description>PULL BACK swiftly , vertiginously , as Eric swan dives from the window , his voice a howl . UP ANGLE FROM STREET - ERIC 'S FALL Coat , wing - like . MATCH his dive yell with o.s. crow SCREECH . SLOW MOTION as Eric fills the frame and we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY - WHERE TIN-TIN GOT IT - NIGHT<\/stage_direction>\n    <scene_description>Cop lights bounce , competing with the trash fires . Albrecht and several other UNIFORMS assess the double - death scene . A detective , TORRES tries to appear in charge .<\/scene_description>\n    <character>TORRES<\/character>\n    <dialogue>Could n't have happened to a nicer couple.<\/dialogue>\n    <scene_description>ANGLE - ALBRECHT AND TORRES OVER DEAD TIN - TIN Tin - Tin frozen in deathshock , all of his knives sticking out of him . Dead Ratso , b.g. , where he fell .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <dialogue>Sure it coulda. Funboy's not here, neither is T - Bird - none of Top Dollar's number ones.<\/dialogue>\n    <character>TORRES<\/character>\n    <dialogue>You know, you sure got a hard - on for a guy that's guilty of zip on paper. Top Dollar runs Showtime ; what's the matter, do n't you like adult entertainment?<\/dialogue>\n    <character>ALBRECHT<\/character>\n    <dialogue>This sack of shit is called Tin - Tin.<\/dialogue>\n    <character>TORRES<\/character>\n    <dialogue>Do n't any of your little pals have real, grown up names?<\/dialogue>\n    <character>ALBRECHT<\/character>\n    <dialogue>He was a runner for Top Dollar. Just muscle.<\/dialogue>\n    <character>TORRES<\/character>\n    <dialogue>Was.<\/dialogue>\n    <character>ALBRECHT<\/character>\n    <parenthetical>( sigh . )<\/parenthetical>\n    <dialogue>This is n't Top Dollar's style anyway. This was somebody else. Somebody new.<\/dialogue>\n    <scene_description>Albrecht lights a fresh smoke . Torres waves the smoke away .<\/scene_description>\n    <character>TORRES<\/character>\n    <dialogue>And you're gon na tell me who.<\/dialogue>\n    <character>ALBRECHT<\/character>\n    <dialogue>Who ever made that.<\/dialogue>\n    <scene_description>Albrecht points . CAMERA FOLLOWS to wall behind Tin - Tin . A crow silhouette has been daubed in blood there , now dry .<\/scene_description>\n    <character>TORRES<\/character>\n    <dialogue>What in the hell. do you call that?<\/dialogue>\n    <character>ALBRECHT<\/character>\n    <dialogue>I call it blood, Detective. If you want, you can call it graffiti.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GIDEON'S PAWN SHOP - NIGHT<\/stage_direction>\n    <scene_description>CLOSE - UP of Gideon 's thick fingers shuffling grimy currency . Some scratchy 1920 's TUNE plays throughout b.g. , like a broadcast from another time and place . TIGHTER ANGLE - GIDEON looking up at a metallic SOUND , o.s. Irritated .<\/scene_description>\n    <character>GIDEON<\/character>\n    <dialogue>Piss off, we're closed.<\/dialogue>\n    <scene_description>As the outside security gate rattles , Gideon draws his magnum and approaches the front door .<\/scene_description>\n    <character>GIDEON<\/character>\n    <dialogue>Fucking creatures of the night ; they never goddamn learn.<\/dialogue>\n    <scene_description>Sudden surprise as he sees the silhouette of the gate SCREE back against the frosted glass of the front door .<\/scene_description>\n    <character>GIDEON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>HEY!<\/dialogue>\n    <scene_description>And he hustles to close up the distance between himself and the door , gun up . Before he can touch the door , the crowbar comes rocketing through the glass , pegging Gideon in the forehead and knocking him flat on his ass . He loses the pistol . Eric walks through the door , causing the fractured glass to disintegrate around him . He disclaims , thespian .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>`` Suddenly I heard a tapping, as of someone gently rapping, rapping at my chamber door.''<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>You heard me rapping, right?<\/dialogue>\n    <scene_description>LOW ANGLE - GIDEON ON THE FLOOR reacting to Eric 's weird appearance and looking for his gun .<\/scene_description>\n    <character>GIDEON<\/character>\n    <dialogue>Oh, bullshit! You're trespassing asshole, you're breakin' and enterin' and you just bought me a fucking door!<\/dialogue>\n    <scene_description>During Gideon 's rant , Eric brushes glass cubes from his shoulders , nonplussed . Now he flings Gideon across the room . Gideon crashes into the counter cage . As Eric advances on him :<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>I'm looking for something in an engagement ring. Gold.<\/dialogue>\n    <scene_description>As Eric comes up behind him , Gideon reaches through the open cage door and pulls a big combat knife from beneath the counter .<\/scene_description>\n    <character>GIDEON<\/character>\n    <dialogue>You're looking for a coroner, shit - for - brains!<\/dialogue>\n    <scene_description>And he tries to nail Eric with the knife . NEW ANGLE - BEHIND GIDEON - AS GIDEON SWINGS No Eric behind him . TILT to reveal Eric hanging off the cage above Gideon . Eric slams the cage door against Gideon 's head . Drops down like a spider and collects the knife .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>I repeat : a gold engagement ring. It was pawned here, a year ago, by another gentleman whose name, I believe was. `` T - Bird''?<\/dialogue>\n    <scene_description>IN TIGHT ON ERIC AND GIDEON Eric twists Gideon 's sail - like shirt and Gideon turns bright red .<\/scene_description>\n    <character>ERIC<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Cute nickname, do n't you think?<\/dialogue>\n    <character>GIDEON<\/character>\n    <parenthetical>( gasping . )<\/parenthetical>\n    <dialogue>I ai n't got no fuckin' ring.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Wrong answer.<\/dialogue>\n    <scene_description>Eric nails Gideon 's hand to the counter top . Gideon howls !<\/scene_description>\n    <character>GIDEON<\/character>\n    <dialogue>All's I got is in a box! Behind the counter!<\/dialogue>\n    <scene_description>Eric jumps through the cage door . Gideon 's eyes bug as he sees his own pierced hand , immobilized . ANGLE - ON ERIC BEHIND THE COUNTER scans the shelves . Rows of boxed ammo . Kerosene tins . A shotgun . Knives and assorted knuckle duster curios . And the ring box . CLOSE - UP - THE RING BOX IN ERIC 'S HAND . Dozens of gold rings . Eric 's fingers sift through them . TIGHTER ON ERIC He brings each ring to his face . INTERCUT with Gideon 's feeble struggles and invective , o.s.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>No. no. no. no.<\/dialogue>\n    <scene_description>He tosses each rejected ring over his shoulder . Until : CLOSE - UP - THE RING IN ERIC 'S HAND Obliterated by a stab of brilliant white light - FLASH : Shelly 's face . A perfect vision . FLASH ENDS . RESUMING ERIC He closes his fist tightly around the ring . A moment of decision . Then he draws the shotgun from beneath the counter . Uses the butt to knock the knife free of Gideon 's hand . It goes spinning across the countertop . Eric shucks the shotgun and rams it into Gideon 's nose as the big man slumps to the floor .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Tin - Tin confided in me, before he ran out of breath. You have one chance to live.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>No fucking way. He'll kill me.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Who would waste time killing you. besides me?<\/dialogue>\n    <scene_description>Gideon sweats , pants , contemplates the hole in his hand .<\/scene_description>\n    <character>GIDEON<\/character>\n    <parenthetical>( cowed . )<\/parenthetical>\n    <dialogue>Top Dollar.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Another jolly nickname?<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>You want those assholes, you want Top Dollar.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>T - Bird?<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>Like the car. He hangs out with Skank. that little ass - hair, and they hang at the Pit - hell, Funboy lives there. Ask Top Dollar.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>A whole club of pirates, with pirate names.<\/dialogue>\n    <scene_description>Eric seems to go berserk , SMASHING and PUNCTURING cans of flammables and powder while Gideon flinches , nursing his holed hand . Blows just miss Gideon 's head . Soon he 's cowering . LOW ANGLE - ERIC Looking down at Gideon in revulsion .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>You feed off the living.<\/dialogue>\n    <scene_description>SMASH ! as another tin ceases to exist next to Gideon . Then Eric is gone , past him without further word , ignoring him entirely . As he exits , shotgun shouldered , he pauses to admire a white Fender Strat hanging among the pawnables . He reaches for it . ON GIDEON As he summons some last minute budget bravery .<\/scene_description>\n    <character>GIDEON<\/character>\n    <dialogue>You walk outta here Top Dollar will erase your ass! Top Dollar owns the fucking street here and you ca n't dick with me, you son of a bitch!<\/dialogue>\n    <scene_description>RESUME ERIC - FRAMED IN DOORWAY The guitar now bowslung across his back , the shotgun levelled at Gideon 's position .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>One chance to live. Take it.<\/dialogue>\n    <scene_description>MOVE IN TIGHT ON GIDEON as he realizes what Eric means . Hauls ass and bangs through the rear door with a bleat of terror . ANGLE - RESUMING ERIC IN DOOR as he cuts loose with the shotgun .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GIDEON'S PAWN SHOP - NIGHT<\/stage_direction>\n    <scene_description>as seen from across the street . Eric silhouetted , unmoving as the whole store front blows hellaciously out around him , raining glass and debris . Stirring his hair . Eric is the black eye of the fireball . LOW ANGLE - FRONT OF PAWN SHOP - EMPHASIZE ERIC lit by flames and residual explosions . He hurls the shotgun into the inferno . Casually brushes flaming\/smoking detritus from his own clothes .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Do n't move! I said do n't move.<\/dialogue>\n    <scene_description>NEW ANGLE - ERIC as he turns slowly , to see Albrecht , out of reach , gun drawn . Eric 's attitude lightens ; Albrecht is not the threat here .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>I thought the police always said `` freeze :.<\/dialogue>\n    <scene_description>Albrecht divides his attention , jumpy , between the odd sight of Eric -LRB- guitar on his back -RRB- , and the raging instant inferno of Gideon 's .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <dialogue>I'm the police and I say do n't move, Snow White. You're under arrest ; I do n't care what else is wrong with you! You move and you're dead.<\/dialogue>\n    <scene_description>Eric has begun to pace towards Albrecht . Palms up . A gesture of submission . Albrecht 's battle calm begins to waiver .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>And I say I'm dead. and I move.<\/dialogue>\n    <character>ALBRECHT<\/character>\n    <dialogue>No further. I'm serious.<\/dialogue>\n    <scene_description>Eric bows , bringing his forehead in line with the gun 's muzzle .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Then shoot, if you will.<\/dialogue>\n    <scene_description>TIGHT ANGLE - ALBRECHT He gives it up . Ca n't shoot . This is too weird for him .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <dialogue>Are you nuts, walking into a gun?<\/dialogue>\n    <scene_description>NEW ANGLE - LESS THREATENING - ERIC AND ALBRECHT<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>You must listen carefully : the Fire Department will be here soon. There is an injured man in the alley who needs assistance.<\/dialogue>\n    <parenthetical>( meaningfully . )<\/parenthetical>\n    <dialogue>As Shelly Webster once needed your assistance, and as you are shortly going to need my assistance.<\/dialogue>\n    <scene_description>Albrecht gestures casually , almost comically , with his pointed gun . B.g. , the crow lands on a fire escape to monitor them .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <dialogue>You wan na run that back for me one time?<\/dialogue>\n    <scene_description>SIRENS near , o.s. Eric listens to them , to the night .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Listen : Top Dollar. He `` owns the street here.'' He will `` erase my ass.''<\/dialogue>\n    <character>ALBRECHT<\/character>\n    <dialogue>You do n't say.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>I know Top Dollar has turned your streets into his hell.<\/dialogue>\n    <character>ALBRECHT<\/character>\n    <dialogue>Fucking A, my friend.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>The others are called Skank, T - Bird. Street names. Funboy.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Watch me, office Albrecht.<\/dialogue>\n    <scene_description>Eric lifts a chunk of glass from the sidewalk . Slow and easy . Albrecht does n't completely trust him . Up comes the gun .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <dialogue>Watch it.<\/dialogue>\n    <scene_description>Eric slices open his palm . Blood flows . To his fingertips . NEW ANGLE - ERIC AND ALBRECHT as Eric quickly daubs a crow silhouette in blood on the wall . then exhibits the gashed hand to Albrecht . CLOSE - UP - ERIC 'S HAND as the blood retreats and the wound seals itself up . TIGHT ON ALBRECHT and the silhouette . Mouth hangs .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <dialogue>You're the one who did Tin - Tin.<\/dialogue>\n    <scene_description>PULL BACK FAST to reveal Eric is gone from the frame . Albrecht does a quick 180 . No Eric . Flashbars from incoming units begin to bounce red and blue off his face .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Great. Good night. Guy shows up looking like a mime from hell.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Least he did n't do that `` walking against the wind'' shit ; I hate that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHOWTIME - NIGHT - TO ESTABLISH.<\/stage_direction>\n    <scene_description>A night - owl pornucopia . T - Bird enters beneath a garish theater marquee . The 2 - bill : RUMP ROMP with BUTTBUSTERS II .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOWTIME LOBBY - NIGHT<\/stage_direction>\n    <scene_description>T - Bird approaches the snack bar . Wet , breathy mating NOISES from the auditorium throughout , o.s. Looking supremely bored , the counterman , DICKEY BIRD , thumbs a porn tabloid . So what .<\/scene_description>\n    <character>DICKEY BIRD<\/character>\n    <dialogue>T - Bird. Thrill me.<\/dialogue>\n    <character>T-BIRD<\/character>\n    <dialogue>Business.<\/dialogue>\n    <scene_description>T - bird heads left through s steal door that Dickie buzzes open for him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SHOWTIME AUDITORIUM (BACKSTAGE) - NIGHT<\/stage_direction>\n    <scene_description>T - Bird walks past dust - covered boxy black speakers as we glimpse Lance and Angelique making history in reverse , on the back of the movie screen : oratoria as good as porn films can make it .<\/scene_description>\n    <character>PORN QUEEN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I do n't know how to describe how I feel, Lance - so restless -<\/dialogue>\n    <character>PORN KING<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>You're my Moon Queen, Angelique.<\/dialogue>\n    <character>PORN QUEEN<\/character>\n    <parenthetical>( o.S . )<\/parenthetical>\n    <dialogue>Oooh - I want you're rocket right now in my Sea of Tranquility - Lance -<\/dialogue>\n    <scene_description>ANGLE - CATWALK STAIRS As T - Bird approaches , the movie sounds dwindle o.s. . He ascends the skinny metal stairway two steps at a time . ANGLE - STEEL FACED DOOR AT TOP OF STAIRS . As T - Bird nears it , a viewplate SNAPS open to asses him . By the time he reaches the top , the door unbolts to admit him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOP DOLLAR'S LAIR - NIGHT<\/stage_direction>\n    <scene_description>As T - Bird enters . The room is organized around a long meeting table and flavored with a taste of everything illegal : drug paraphernalia , weapons . Across the table are a couple of Sentries like the one that admits T - Bird to the room . TRACK PAST them to a lank - haired silhouette as he turns away from a windowshade , backlit by Showtime 's exterior neon . This is TOP DOLLAR . Who looks like a Johnny Winter acid casualty but is deadly cold , definitely the man in charge .<\/scene_description>\n    <character>TOP DOLLAR<\/character>\n    <dialogue>Wild fucking night. I hear our pal Tin - Tin got himself very dead.<\/dialogue>\n    <character>T-BIRD<\/character>\n    <dialogue>And Gideon's just burned all the down to the foundation.<\/dialogue>\n    <scene_description>Top 's eyebrows go up . Oh really ?<\/scene_description>\n    <character>T-BIRD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I did n't have nothin to do with that.<\/dialogue>\n    <character>TOP DOLLAR<\/character>\n    <dialogue>Bet that pisses you off, right?<\/dialogue>\n    <character>T-BIRD<\/character>\n    <dialogue>Top, what the fuck is going on tonight?<\/dialogue>\n    <character>TOP DOLLAR<\/character>\n    <dialogue>Stay normal, T. Cops'll be all hotwired and aggressive. No combat moves until I check this out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT - (~CROWVISION\") HIGH ANGLE<\/stage_direction>\n    <scene_description>Taking in the street , the Pit , and a little girl seated on an abandoned car . ANGLE - STREET LEVEL - ON ELLY . Seated on the looted wheelless car , playing with a small doll . CLOSER ANGLE - ON ELLY She does n't notice someone is watching her yet . TIGHT ON DOLL , THEN ELLY She looks up o.s. at Eric , who is still out of the frame .<\/scene_description>\n    <character>ELLY<\/character>\n    <dialogue>What are you supposed to be? A clown?<\/dialogue>\n    <scene_description>CLOSE - UP - ERIC He smiles for what seems to be the first time . Warm , even past his crow makeup .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Sometimes.<\/dialogue>\n    <scene_description>He glances back and logs the location of the Pit for later , not in a big hurry just now . Turns back to Elly . WIDE ANGLE - ERIC AND ELLY<\/scene_description>\n    <character>ELLY<\/character>\n    <dialogue>You look like a rock star without a job.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>I dabble. May I?<\/dialogue>\n    <scene_description>He indicates the car hood , a `` seat '' next to Elly from which he may observe the Pit .<\/scene_description>\n    <character>ELLY<\/character>\n    <dialogue>If you're not some kinda child molester.<\/dialogue>\n    <scene_description>Eric looks behind himself . Who , me ? Genuinely amused . He shakes his head no and sits down next to Elly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLUB TRASH - NIGHT<\/stage_direction>\n    <scene_description>The music POUNDS and smoke is everywhere , like incense . INTERCUTS of the clientele , retro , robotic , clove cigarettes and rubber clothing ; fetish casual wear . ANGLE - TOP DOLLAR right in the center of the noise , looking downscale and dirty in this milieu . ANGLE - ANOTHER CUSTOMER Passing Top , appraising him , finding him as boring as life itself . Undertaker chic , she stares at Top .<\/scene_description>\n    <character>TOP DOLLAR<\/character>\n    <dialogue>I thought Halloween was tomorrow night.<\/dialogue>\n    <scene_description>An Oriental bodyguard passes him in f.g. , motioning to follow .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAO'S NIGHTCLUB OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Lao watches club activity on his flybank of TVs . When Top Dollar shows up at the office door two Sentries try to bar his passage . He shoves through .<\/scene_description>\n    <character>TOP DOLLAR<\/character>\n    <dialogue>Get outta my way, you mooks.<\/dialogue>\n    <scene_description>Lao 's demeanor indicates that they should not kill Top .<\/scene_description>\n    <character>LAO<\/character>\n    <dialogue>An unexpected pleasure.<\/dialogue>\n    <character>TOP DOLLAR<\/character>\n    <dialogue>Bad news. Alot of action on the streets tonight, and nobody bothered to clear it with me. Tin - Tin got himself whacked.<\/dialogue>\n    <character>LAO<\/character>\n    <dialogue>Who got himself what?<\/dialogue>\n    <character>TOP DOLLAR<\/character>\n    <dialogue>One of mine. And it was n't a standard hit.<\/dialogue>\n    <character>LAO<\/character>\n    <dialogue>I had heard something like this.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Describe it for me. The `` hit''.<\/dialogue>\n    <character>TOP DOLLAR<\/character>\n    <dialogue>I was wondering if you could tell me anything. about a wildcat operative.<\/dialogue>\n    <character>LAO<\/character>\n    <dialogue>I know of no one.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>But even if there is, I am sure it is nothing outside your capacity to deal with?<\/dialogue>\n    <character>TOP DOLLAR<\/character>\n    <dialogue>Anybody violates my turf - our turf - I'll rip out there heart and show it to'em.<\/dialogue>\n    <character>LAO<\/character>\n    <dialogue>To be sure. Now tell how your friend died.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRECINCT HOUSE - NIGHT<\/stage_direction>\n    <scene_description>ANNABELLA , a comfortable large , spider - in - the - web deskworker , sits typing at a terminal . Miked headphone in one ear , police scanner chatter o.s. . She blows and pops a pink bubble of gum .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Annie?<\/dialogue>\n    <scene_description>ANGLE - ANNABELLA AND ALBRECHT Albrecht enters frame from across her countertop .<\/scene_description>\n    <character>ANNABELLA<\/character>\n    <dialogue>Whatever it is, the answer's no, Eddie. I'm too busy tonight.<\/dialogue>\n    <character>ALBRECHT<\/character>\n    <dialogue>Annie, I need a file.<\/dialogue>\n    <scene_description>There is a desperate edge to Albrecht 's voice .<\/scene_description>\n    <character>ANNABELLA<\/character>\n    <dialogue>Speak up.<\/dialogue>\n    <parenthetical>( beat ; her guard up . )<\/parenthetical>\n    <dialogue>Clear it with the Captain if you need a file.<\/dialogue>\n    <character>ALBRECHT<\/character>\n    <dialogue>This is special, darlin'. Please?<\/dialogue>\n    <scene_description>Annabella eyes Albrecht doubtfully . Fatalistic sigh .<\/scene_description>\n    <character>ANNABELLA<\/character>\n    <dialogue>Just do n't tell me you `` owe me one.'' What file?<\/dialogue>\n    <character>ALBRECHT<\/character>\n    <dialogue>Double homicide. A year ago. Las Halloween.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET NEAR THE PIT - ERIC AND ELLY - NIGHT<\/stage_direction>\n    <scene_description>Still hanging by the car , a bit more familiar with each other now . A low - slung mirror - windowed LIMOUSINE hisses past them and curbs across the street from the Pit .<\/scene_description>\n    <character>ELLY<\/character>\n    <dialogue>My mom works over there. I'm waiting for her, but she's probably with him, right now.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>ELLY<\/character>\n    <dialogue>Mister Funboy.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Mister Funboy lives there?<\/dialogue>\n    <scene_description>TWO SHOT - ELLY AND ERIC - -LRB- PIT B.G. -RRB-<\/scene_description>\n    <character>ELLY<\/character>\n    <dialogue>He has a room, upstairs. I do n't like him very much.<\/dialogue>\n    <scene_description>Elly is not happy about this . B.G. we see Grange get out of the car , heading to the Pit , and notice in passing a guy with the white face talking to the little girl down on the block .<\/scene_description>\n    <character>ELLY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Can you play that thing or do you just carry it around everywhere?<\/dialogue>\n    <scene_description>Elly indicates the guitar strapped to Eric ' back .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>I can pick out a tune now and again.<\/dialogue>\n    <character>ELLY<\/character>\n    <dialogue>Can you play `` Teddy Bears' Picnic?''.<\/dialogue>\n    <parenthetical>( re : doll . )<\/parenthetical>\n    <dialogue>It used to be her favorite.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Does she have a name?<\/dialogue>\n    <character>ELLY<\/character>\n    <dialogue>No name. You sure ask a lot of questions.<\/dialogue>\n    <scene_description>Elly HANDS the doll to Eric and he experiences a wholly unexpected flash . FLASH : Elly and SHelly sitting as SHelly 's vanity , goofing with makeup , test - driving lipstick , the doll visible on the vanity . FLASH ENDS . RESUME ERIC - AS THE DOLL DROPS FROM HIS HAND Pain is trying to fight it 's way out of Eric in surges .<\/scene_description>\n    <character>ELLY<\/character>\n    <parenthetical>( OS . )<\/parenthetical>\n    <parenthetical>( smart alec . )<\/parenthetical>\n    <dialogue>Hel - lo? Earth to anybody?<\/dialogue>\n    <scene_description>Eric snaps out of it . Elly retrieves the doll .<\/scene_description>\n    <character>ELLY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Do you feel okay.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ELLY<\/character>\n    <dialogue>You got ta go now, I bet.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>I have to go.<\/dialogue>\n    <scene_description>Half - zomboid , half - determined , he exits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PIT - NIGHT - WITH GRANGE<\/stage_direction>\n    <scene_description>As he circulates to the bar , unimpressed . To the bouncer :<\/scene_description>\n    <character>GRANGE<\/character>\n    <dialogue>Top Dollar?<\/dialogue>\n    <character>BOUNCE<\/character>\n    <dialogue>Never heard of him.<\/dialogue>\n    <character>GRANGE<\/character>\n    <dialogue>Funboy?<\/dialogue>\n    <character>BOUNCER<\/character>\n    <dialogue>Oh, prob ` ly upstairs bangin' Darla. Pay for your own beer and they'll prob ` ly be down before you can drink it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRECINCT HOUSE - OFFICE - NIGHT<\/stage_direction>\n    <scene_description>CLOSE - UP of an 8x10 of the loft slaughter in Albrecht 's hands . Subject : a document pinned to the wall with a knife . ANGLE - ALBRECHT AT DESK . flipping through the file . Smoking . ANGLE - THE 8X10 IN ALBRECHT 'S HAND Subject : Eric , dead in the street in front of the loft building . The blood on his face reminiscent of his crow face . As Albrecht 's hand moves the photo we can see in the file several band shots of Eric as a member of Diabolique . including the shot on Lao 's wall gallery of past performers at Club Trash . A DOUGHUT on a paper plate suddenly touches down in the middle of all this research , startling Albrecht . ANGLE - ANNABELLA BEHIND HIM<\/scene_description>\n    <character>ANNABELLA<\/character>\n    <dialogue>Do n't thank me. Your ass is already in enough trouble for this shit.<\/dialogue>\n    <character>ALBRECHT<\/character>\n    <dialogue>I knew that.<\/dialogue>\n    <scene_description>Albrecht holds a typewritten page closer to the the light . CLOSE - UP DOCUMENT , torn by the knife hole made by Tin - Tin . It reads : We , the Undersigned tenants of 1929 Calderone Court Apartments .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <dialogue>Another nice white girl with a cause. Like a big KICK ME sign.<\/dialogue>\n    <scene_description>Albrecht takes up and 8x10 of Eric 's face .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Shelly Webster. And her nice white boyfriend, Eric Draven.<\/dialogue>\n    <scene_description>With a felt - tip pen he superimposes the crow smile , like the make - up , like the blood .<\/scene_description>\n    <character>ANNABELLA<\/character>\n    <dialogue>Your last little wild goose chase got you busted back to the Beat Patrol, just like in a bad detective story, Eddie. Are we doing the wildgoose thing again?<\/dialogue>\n    <scene_description>UNDER THIS Albrecht sketches in Eric 's spiky Crow hairdo .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <dialogue>Could be.<\/dialogue>\n    <character>ANNABELLA<\/character>\n    <dialogue>You gon na wind up working at a school crosswalk. that doughnut's chocolate you, know.<\/dialogue>\n    <scene_description>PUSH IN on the doctored photo . It 's Eric . It 's the Crow . PUSH IN on ALbrecht .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <dialogue>Well, hello there. chocolate,<\/dialogue>\n    <character>ANNABELLA<\/character>\n    <dialogue>Do n't thank me.<\/dialogue>\n    <character>ALBRECHT<\/character>\n    <dialogue>Thanks, babe.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE PIT (REAR) - ERIC ON FIRE ESCAPE - NIGHT<\/stage_direction>\n    <scene_description>Climbing . The crow perched on his shoulder . Not in a hurry .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>It's a Raymond Chandler evening And the pavements are all wet, And I'm lurking in the shadows, for it has n't happened.<\/dialogue>\n    <scene_description>TIGHT CLOSE - UP - ERIC Impish . Clown killer .<\/scene_description>\n    <character>ERIC<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>yet.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE PIT - NIGHT<\/stage_direction>\n    <scene_description>Grange at a table . SMoking and waiting . No beer . His back protected , he is stationed near the fire stair door and has a good overview of the room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FUNBOY'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>CLOSE - UP of a base pipe being lit and hit hard .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE PIT (REAR) - FIRE ESCAPE - RESUMING ERIC - NIGHT<\/stage_direction>\n    <scene_description>Eric 's gloved hand slides sinuously up rusted railing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FUNBOY'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>A hypodermic needle rises into frame . A nicotined fingernail flicks bubbles in the syringe . FOLLOW needle down and BROADEN ANGLE : Funboy taps up a vein in Darla 's arm and shoots her up . Both are naked in a shabby bed . Bare lightbulb above .<\/scene_description>\n    <character>DARLA<\/character>\n    <dialogue>Ooh, baby - gim me all of it.<\/dialogue>\n    <scene_description>CLOSE - UP - THE NEEDLE As the plunger depresses . ANGLE - ON THE WINDOW As the crow quite unexpectedly arrives and perches on the sill , scaring the shit out of our two dopey friends . Funboy pulls a giant auto pistol ; mock aims , calms down , does n't fire .<\/scene_description>\n    <character>DARLA<\/character>\n    <dialogue>It's a big fucking bird.<\/dialogue>\n    <scene_description>She falls back against her pillow , eyes dreamily defocusing . Funboy giggles . Relaxes the gun , which half - disappears into the sheets at his side .<\/scene_description>\n    <character>FUNBOY<\/character>\n    <dialogue>It's a squab. Here bird, Here, birdie.<\/dialogue>\n    <scene_description>NEW ANGLE - DARLA AND FUNBOY Except that Eric now stands near their bed , across from the bird 's position , the guitar bowslung .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Here Funboy.<\/dialogue>\n    <scene_description>Contained panic as Funboy and Darla both startle . The needle flies and lands at Eric 's feet . Empty . Funboy struggles to maintain against his high .<\/scene_description>\n    <character>FUNBOY<\/character>\n    <dialogue>Oh wow, oh wow, do n't fucking do that, man. I nearly had a fucking heart attack.<\/dialogue>\n    <character>DARLA<\/character>\n    <dialogue>Fun - look at that guy.<\/dialogue>\n    <character>FUNBOY<\/character>\n    <dialogue>It's just the dope, do n't worry<\/dialogue>\n    <character>DARLA<\/character>\n    <dialogue>Fun, he's not going away ; he's scaring the piss outta me!<\/dialogue>\n    <character>FUNBOY<\/character>\n    <dialogue>Not me.<\/dialogue>\n    <scene_description>Funboy draws the gun from underneath the sheers . Suddenly he seems totally focused .<\/scene_description>\n    <character>FUNBOY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Time for you to take your bird and leave, freako.<\/dialogue>\n    <scene_description>Eric rips open his shirtfront to reveal a circlet of bullet punctures . This gives Funboy pause .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Take your shot funboy. You got me, dead bang.<\/dialogue>\n    <scene_description>Funboy tilts the gun off target . Grins as Eric flat handedly past his chest , indicating where to shoot .<\/scene_description>\n    <character>FUNBOY<\/character>\n    <dialogue>You are seriously fucked up, man. Just look at yourself.<\/dialogue>\n    <scene_description>In a blur , he sighs , and shoots Eric through the heart .<\/scene_description>\n    <character>FUNBOY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>BANG! He shoots, he scores!<\/dialogue>\n    <scene_description>Then his expression drags a little bit . ANGLE - ERIC Looking down and daubing his hand in the bullet wound on his chest .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Bull's eye. Good shot.<\/dialogue>\n    <scene_description>ANGLE - DARLA who starts scrambling to get out . Grabbing clothes on the floor around herself . she runs right into Eric 's outstretched hands .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Stay.<\/dialogue>\n    <scene_description>Eric twists her arm . CLOSE - UP - DARLA 'S FOREARM . where we may clearly see the needle tracks . UP ANGLE - ERIC<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Morphine is bad for you.<\/dialogue>\n    <scene_description>He holds her arm captive . Tight , and we PUSH IN CLOSER to see the dope evacuating from the punctures , a reverse of Eric 's , Blood trail . The dope drips from Darla 's arm to the floor . Darla 's eyes roll up into the unconscious . She slumps . ANGLE - ON FUNBOY - GAWPING<\/scene_description>\n    <character>FUNBOY<\/character>\n    <dialogue>How the hell did you do that?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Magic.<\/dialogue>\n    <scene_description>Funboy regards Eric 's battlescars and guitar .<\/scene_description>\n    <character>FUNBOY<\/character>\n    <dialogue>Either die or do a solo.<\/dialogue>\n    <scene_description>Eric looks briefly to his chest wound , wincing . He ca n't seem to make it tie off fast enough . He turns his attention back to Funboy . But his strength is mysteriously ebbing .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Neither.<\/dialogue>\n    <character>FUNBOY<\/character>\n    <dialogue>Yeah, I got a more fun idea myself.<\/dialogue>\n    <scene_description>Funboy lashes out and broadsides Eric across the temple with the gun . Eric falls , rolls back to a stance , but Funboy is right on top of him , howling like a lunatic and pistol - whipping Eric relentlessly .<\/scene_description>\n    <character>FUNBOY<\/character>\n    <dialogue>I hate trespassers!<\/dialogue>\n    <parenthetical>( whack ! )<\/parenthetical>\n    <dialogue>I hate prowlers!<\/dialogue>\n    <parenthetical>( whack ! )<\/parenthetical>\n    <dialogue>I hate peeping toms!<\/dialogue>\n    <parenthetical>( whack ! )<\/parenthetical>\n    <dialogue>And right now I hate you!<\/dialogue>\n    <scene_description>ANGLE - WALL NEAR BATHROOM as Eric , caught off - guard by Funboy 's hyper high and weakened by his wound , comes slamming into the wall , losing his footing . Here comes Funboy , and we TILT UP from Eric 's position as he looms , cocking the pistol , which now has Eric 's blood on it .<\/scene_description>\n    <character>FUNBOY<\/character>\n    <dialogue>Ahh, the hell with it, I still got five shots left.<\/dialogue>\n    <scene_description>In a blur , Eric grabs Funboy ` s gun hand . Twists to the crunching of bones . Funboy 's skewed - around gun hand blows a hole in his own thigh . Funboy fall back across the bed .<\/scene_description>\n    <character>FUNBOY<\/character>\n    <dialogue>Owwwaaaa - fuck me! Look what you did to my sheets, you lame piece'a shit! AAAAaa! Goddd!<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Does it hurt?<\/dialogue>\n    <character>FUNBOY<\/character>\n    <dialogue>Does it hurt?! You dead - ass, clown - faced fuck, of course it fucking hurts! What the shit are you gon na do about this?!<\/dialogue>\n    <scene_description>Eric sits on the bed next to Funboy ; inspects the ampule of morphine on the nightstand , the needle of the syringe already inserted .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>I have some pain killer right here.<\/dialogue>\n    <scene_description>And he fills the syringe all the way . ANGLE ON FUNBOY as he begins to see the light . He ca n't get away . Growing terror .<\/scene_description>\n    <character>FUNBOY<\/character>\n    <dialogue>No, wait, no WAIT, that's too much, man, that's like overkill, nobody can take that much, you're wasting it -!<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Your pain ends now.<\/dialogue>\n    <scene_description>And Eric rams the needle into Funboy 's heart , driving home the full dose . Funboy begins to convulse . Eric falls back on the bed , his force spent . Darla COMES TO in the corner , shock - traumatized . On O.S. COUGH , and Eric opens his eyes . The Skull Cowboy , standing in the room , tips his hat .<\/scene_description>\n    <character>SKULL COWBOY<\/character>\n    <dialogue>Howdy.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You look a mess. Like an ole cooter dog.<\/dialogue>\n    <scene_description>TIGHT SHOT - ERIC 'S FACE streaked with - mostly - his own blood . ANOTHER ANGLE - THE SKULL COWBOY AND ERIC<\/scene_description>\n    <character>SKULL COWBOY<\/character>\n    <dialogue>Getting a little ambitious and extracurricular, are n't we?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Go away.<\/dialogue>\n    <character>SKULL COWBOY<\/character>\n    <dialogue>You need to learn to mind your own business or you'll never get where you think you're going.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Shut up.<\/dialogue>\n    <character>SKULL COWBOY<\/character>\n    <dialogue>Maybe I was wrong about you.<\/dialogue>\n    <scene_description>The Skull Cowboy seems saddened or disappointed . All we get is a little shake of his skull - head . Darla makes a SOUND and Eric turns toward her . She 's really confused . She 's looking to Eric for some kind of answer .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Your daughter is out there, on the street, waiting for you.<\/dialogue>\n    <scene_description>She 's stunned , utterly speechless . All she can do is look in Eric 's eyes , try to ponder the phantoms there .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Go. Now.<\/dialogue>\n    <scene_description>Darla shoves helter - skelter past Eric and out the door without a glance back at Funboy . Eric , recovering , follows slowly , staring at the open door , stooping to lift the guitar dropped during the fight with Funboy . The Skull Cowboy has vanished . PUSH IN . Grimly , Eric takes a syringe and begins to draw blood from the late Funboy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE PIT - NIGHT<\/stage_direction>\n    <scene_description>As a hastily dressed Darla BANGS out through the fire stair door behind Grange and FLEES the Pit .<\/scene_description>\n    <character>BOUNCER<\/character>\n    <dialogue>Hey, g ` night, Darla.<\/dialogue>\n    <parenthetical>( to Grange . )<\/parenthetical>\n    <dialogue>That there is Darla.<\/dialogue>\n    <character>GRANGE<\/character>\n    <dialogue>Funboy?<\/dialogue>\n    <scene_description>Bartender indicates UP with his thumb . Grange moves to the fire stairs door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FUNBOY'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Grange has seen the door ajar and now ENTERS gun - first . Freezes when he sees : GRANGE POV - FUNBOY Half - sheeted , bloody , a hypo hanging out of his heart . RESUME GRANGE Eyes darting , drawn to - GRANGE 'S POV - THE WALL NEAR FUNBOY A crow silhouette spray - painted with a syringe of Funboy 's blood . A thin outline , drippy . RESUME GRANGE whirling with his gun to bring it to bear on - ANGLE - GRANGE SEES THE WINDOW The crow is no longer in the room . Eric is perched on the sill , guitar and all , looking right at Grange as if waiting from him . He winks , holds a finger to his lips - sshh - and jumps out into the night . ANOTHER ANGLE - GRANGE He almost fires , but does n't . We see instead the priceless expression on his face as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRECINCT FOYER - NIGHT<\/stage_direction>\n    <scene_description>Albrecht lights another smoke , quitting for the night . Waves to the late - working Annabella en route .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRECINCT HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Albrecht has n't gone three steps before Eric appears behind him , cat silent , matching pace . NB : Eric has got a new black rock - n - roll shirt on . and a shell casing from Funboy 's gun tied in his hair .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Freeze.<\/dialogue>\n    <scene_description>Albrecht startles ; drops his file . Nearly draws his gun .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <dialogue>Jeezus! Do n't ever do that, man!<\/dialogue>\n    <scene_description>Albrecht pants , hysterical but calming down . Eric waits .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I told you cops do n't say `` freeze''.<\/dialogue>\n    <scene_description>He retrieves Eric 's doctored photo from the spill of papers .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You, my friend, are dead. I saw your body. You got buried.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>I saw it, too.<\/dialogue>\n    <scene_description>Albrecht gathers up the file . Eric stands there . We realize he is hesitant about touching the file .<\/scene_description>\n    <character>ERIC<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Walk with me.<\/dialogue>\n    <scene_description>As Albrecht comes up with the file as they walk . ANOTHER ANGLE - ERIC AND ALBRECHT ON THE STREET<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <dialogue>You died, man. I ca n't believe it but here you are. Last year, you and your girlfriend -<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>I need you to tell me what you remember. What happened to us?<\/dialogue>\n    <character>ALBRECHT<\/character>\n    <dialogue>You went out the window. She was beaten and raped. She died in the hospital.<\/dialogue>\n    <scene_description>They stop . Eric did n't know this . Fixes Albrecht with a look .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hey, you asked, man.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>She held on for thirty hours in intensive care. Hemorrhage, trauma. He body just finally gave it up.<\/dialogue>\n    <parenthetical>( beat ; regret . )<\/parenthetical>\n    <dialogue>I saw it and could n't do jack for her.<\/dialogue>\n    <scene_description>Eric has grown increasingly distraught over Albrecht 's lines . Now he turns to Albrecht and , holding Albrecht 's temples with his fingers , puts his thumbs over Albrecht 's eyes . TIGHT ON ERIC - ALBRECHT AGAINST WALL We see Eric react to a brutal Flash . but we do n't see the Flash . NEW ANGLE - ERIC AND ALBRECHT And Eric tears from Albrecht ; staggers back , now holding his own head . His crow face slacked in realized horror .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <dialogue>You okay, man? I mean, what just happened.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>The venom of bad memories. You were there ; you saw her. I saw you seeing her.<\/dialogue>\n    <scene_description>Understandable nervous , Albrecht lights up a cigarette .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <dialogue>You got ta understand - I was hoping she'd talk, give me a lead, a clue, something to work with. But she only said one thing to me before she died.<\/dialogue>\n    <scene_description>Eric lowers his head , penitent .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>My name.<\/dialogue>\n    <character>ALBRECHT<\/character>\n    <parenthetical>( fizzles . )<\/parenthetical>\n    <dialogue>I'm sorry as hell, man.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Thirty hours. A day of life, plus change.<\/dialogue>\n    <scene_description>TIGHT TWO - SHOT - ALBRECHT AND ERIC Eric plucks the cigarette from Albrecht 's lips , taking a single contemplative puff from it .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Halloween is coming, soon. You will have Top Dollar if you watch for me at the Showtime, tomorrow night.<\/dialogue>\n    <character>ALBRECHT<\/character>\n    <dialogue>I should be trying to stop you.<\/dialogue>\n    <scene_description>Eric nods , keeping his eyes on the cigarette .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Thank you. For giving a damn.<\/dialogue>\n    <character>ALBRECHT<\/character>\n    <dialogue>My pleasure.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Do n't smoke these.<\/dialogue>\n    <scene_description>As a bus grumbles past on the street , Eric pitches the butt and simultaneously ducks out of frame . ANGLE - ALBRECHT TURNS to see a blank building wall . Fire escape . Darkness . No Eric . He does a full 360 degree turn . Eric is gone again .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <dialogue>Damn, I wish he would n't do that.<\/dialogue>\n    <scene_description>MOVING ANGLE - FROM BUS ROOF Coat flapping , Eric is standing on the bus roof as the bus moves away from Albrecht 's position .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAO NIGHTCLUB OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Lao has the partially disassembled rat skeleton in front of him , as well as a mortar and pestle with some bits of crushed bone , and is smoking powdered rat bone in a pipe and Grange reports to him .<\/scene_description>\n    <character>GRANGE<\/character>\n    <dialogue>The son of a bitch winked at me. The he jumped. Three stories.<\/dialogue>\n    <scene_description>Lao seems strangely unaffected by the bizarre nature of Grange 's tale .<\/scene_description>\n    <character>LAO<\/character>\n    <dialogue>Did you see an animal of any kind? Did you see a bird?<\/dialogue>\n    <character>GRANGE<\/character>\n    <parenthetical>( puzzled . )<\/parenthetical>\n    <dialogue>No. I saw a guitar.<\/dialogue>\n    <parenthetical>( beat ; irritated . )<\/parenthetical>\n    <dialogue>This is n't some rock - n - roller you forgot to pay, is it?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>There was a drawing on the wall that looked like a bird. In blood.<\/dialogue>\n    <scene_description>Lao 's expression is one of sublime content .<\/scene_description>\n    <character>LAO<\/character>\n    <dialogue>Good.<\/dialogue>\n    <character>Grange<\/character>\n    <dialogue>It could've been a chicken.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIQUOR STORE - NIGHT - (\"CROWVISION\")<\/stage_direction>\n    <scene_description>A LONG SHOT of the T - Bird parked across the street from the store as two figures - T - Bird and Skank - approach on the store side .<\/scene_description>\n    <character>SKANK<\/character>\n    <dialogue>I wish to hell I had torched Gideon's, that fat fuck.<\/dialogue>\n    <character>T-BIRD<\/character>\n    <dialogue>I wish to hell I knew who it was that made Tin - Tin into a voodoo doll last night.<\/dialogue>\n    <scene_description>ANGLE - CLOSER ON T - BIRD AND SKANK - STREET LEVEL They stop walking . Look at each other and sanctimoniously cross themselves . Tin - Tin 's big R.I.P. moment . T - Bird indicates the liquor store .<\/scene_description>\n    <character>T-BIRD<\/character>\n    <dialogue>We need some smokes and some road beers.<\/dialogue>\n    <character>SKANK<\/character>\n    <dialogue>Got it.<\/dialogue>\n    <scene_description>Skank hustles toward the store . T - Bird crosses to the car . ANGLE - T - BIRD - THROUGH CAR WINDOWS WIDEN ANGLE to include the car as he nears it . Behind him , two 12 - year - old KIDS , AXEL and CHOPPER , enter the store after Skank , one wearing a long duster .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIQUOR STORE - NIGHT<\/stage_direction>\n    <scene_description>as the KIDS enter and split between the counter and magazine rack . East Indian CLERK . Two boys fight video game wars in the corner . Skank browses , grabbing odds and ends .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET \/ INT. CAR - LOWER ANGLE - NIGHT<\/stage_direction>\n    <scene_description>as T - Bird climbs in , digs the last cigarette from his pack , snaps his Zippo and in the sudden orange light , sees : INSERT - REARVIEW MIRROR Eric 's purloined Strat in the back sear reflecting the light . ANGLE - T - BIRD He tries to spin and draw his gun but Eric is upon him , nestling one of Tin - Tin 's throwing knives right inside T - Bird 's ear .<\/scene_description>\n    <character>T-BIRD<\/character>\n    <dialogue>What the fuck are you supposed to be, man?!<\/dialogue>\n    <scene_description>INSERTS : Eric liberates T - Bird 's automatic from the shoulder holster ; Eric 's hand closes T - Bird 's door for him .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>I'm your passenger. You drive. And stop talking.<\/dialogue>\n    <scene_description>TIGHT ANGLE - T - BIRD 'S HANDS on ignition key and gearshift , making ready . As ordered .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIQUOR STORE - ON SKANK AT COUNTER - NIGHT<\/stage_direction>\n    <scene_description>He looks outside and sees Eric as the car fires up , pipes and glasspacks grumbling . Skank moves , BRISTLING .<\/scene_description>\n    <character>SKANK<\/character>\n    <dialogue>What's all this happy horseshit?<\/dialogue>\n    <scene_description>And the car peels out maniacally ! Skank tries to pursue - but the two KIDS draw weapons and freeze everyone in the store .<\/scene_description>\n    <character>AXEL<\/character>\n    <dialogue>Alright, alright, alright - everybody be cool and stay exactly where you are.<\/dialogue>\n    <scene_description>Chopper hustles up to the counter and relieves Skank of a gigantic Auto Mag .<\/scene_description>\n    <character>CHOPPER<\/character>\n    <dialogue>Whooooa, cowboy! Cool gun.<\/dialogue>\n    <scene_description>Off Skank 's look of total outfoxed disgust . -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. T-BIRD - TRAVELING FAST - NIGHT<\/stage_direction>\n    <scene_description>Vertiginous windshield POV of onrushing street , highspeed .<\/scene_description>\n    <character>ERIC<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Faster, T - Bird. Faster. You're a hell of a wheelman ; you know you can drive faster.<\/dialogue>\n    <scene_description>ANGLE - ERIC AND T - BIRD Eric now holds T - Bird 's own gun on him . Eyes locked on T - Bird . T - Bird 's jump between Eric 's nightmare visage and the roadway .<\/scene_description>\n    <character>T-BIRD<\/character>\n    <dialogue>You call it, blood - you got the gun. You just tell me where you want to go.<\/dialogue>\n    <scene_description>Clearly T - Bird would relish bisecting Eric with a meat cleaver as he says this . He 's nervous and needs to hold the road .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>That's good. We're going someplace you've never been before.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - HIGH ANGLE ON T-BIRD - NIGHT<\/stage_direction>\n    <scene_description>as the car burns up the obstacle course of pavement , kicking wake of litter . PEDESTRIANS scurry to clear the way .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE CRUISER - NIGHT<\/stage_direction>\n    <scene_description>Parked in an alley , facing the street . Two cops work on large styro cups of steaming coffee . MJ -LRB- driver -RRB- and SPEEG .<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>Smells like rain.<\/dialogue>\n    <character>SPEEG<\/character>\n    <dialogue>Smells like a septic tank. You got that cream stuff?<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>In the bag.<\/dialogue>\n    <scene_description>Speeg rummages inside the takeout bag .<\/scene_description>\n    <character>SPEEG<\/character>\n    <dialogue>I hate this cream stuff. They ca n't even call it cream, legally.<\/dialogue>\n    <scene_description>They snap to as the T - Bird blazes past , doing ninety .<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>What in the crap?<\/dialogue>\n    <scene_description>MJ floors the pedal , drenching Speeg in coffee on takeoff .<\/scene_description>\n    <character>SPEEG<\/character>\n    <dialogue>Ow! Owowoowowoowo, goddammit!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - ON ALLEY - NIGHT<\/stage_direction>\n    <scene_description>as the cruiser roars out to give chase .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. T-BIRD - TRAVELLING FAST - NIGHT<\/stage_direction>\n    <scene_description>Eric lends the chase car a backward look .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>You caught one. Drive faster.<\/dialogue>\n    <character>T-BIRD<\/character>\n    <dialogue>Man, you gon na get us killed dead and I do n't even know what you want!<\/dialogue>\n    <scene_description>Eric cocks T_Bird 's pistol and levels it at his face .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>I want you to stop talking. And drive. Drive faster.<\/dialogue>\n    <scene_description>Eric rifles the glove box , tossing items out the window : clips for the gun . Sunglasses . A giant dildo -LRB- brief eyebrows - up to T - Bird -RRB- . Then : a roll of -LRB- previously established -RRB- gaffer 's tape . What Eric needs . ANGLE - T - BIRD AND REARVIEW MIRROR as he sees a second cop car join the high speed pursuit ,<\/scene_description>\n    <character>ERIC<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You're very popular. Thought you could handle this thing.<\/dialogue>\n    <scene_description>T - Bird macho calcifies . He 's going to win .<\/scene_description>\n    <character>T-BIRD<\/character>\n    <dialogue>To hell with you.<\/dialogue>\n    <character>ERIC<\/character>\n    <parenthetical>( wry . )<\/parenthetical>\n    <dialogue>Naturally.<\/dialogue>\n    <scene_description>INSERT - SPEEDOMETER Climbing swiftly toward the 100 mark .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY STREETS - VARIOUS ANGLES - THE CHASE - NIGHT<\/stage_direction>\n    <scene_description>A 3 - way pursuit until the T - Bird reaches the outskirts of the city .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOCKSIDE STREET - NIGHT<\/stage_direction>\n    <scene_description>All quiet . until the T - Bird ZOOMS past frame . The lead cop tries to duplicate the T - Bird 's corner - cut and starts spinning . It clips a light pole . Rebounds into the path of MJ 's unit .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE CRUISER - ON SPEEG AND MJ - TRAVELING - NIGHT<\/stage_direction>\n    <scene_description>as MJ stands on the brakes . Collision imminent . They howl .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOCKSIDE STREET - NIGHT<\/stage_direction>\n    <scene_description>as MJ 's unit broadsides the first cop car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DETROIT RIVER SHIPYARD - NIGHT<\/stage_direction>\n    <scene_description>The T - bird careens through dockside silence , alone , then fishtails , SCREECHING , to a lung - compressing halt .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. T-BIRD - ON ERIC AND T-BIRD - NIGHT<\/stage_direction>\n    <scene_description>T - bird respirating like a jackhammer . Eric holds stoic .<\/scene_description>\n    <character>T-BIRD<\/character>\n    <dialogue>So what - you gon na rape me now?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Time for your reward, T. Payback with interest earned.<\/dialogue>\n    <scene_description>Eric rips a long strip of tape from the roll .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DETROIT RIVER SHIPYARD - NIGHT<\/stage_direction>\n    <scene_description>A HIGH ANGLE of the car as Eric opens the trunk . ERIC 'S POV - The Trunk . loaded with plastique , canisters , timers , arson paraphernalia .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. T-BIRD - FAVOR T-BIRD - NIGHT<\/stage_direction>\n    <scene_description>SLOW TILT starting with T - Bird 's foot , firmly taped to the pedal . Mummified into his seat . Hands taped to the wheel . Throat taped hard against the headrest . The car is now in gear , idling . ANGLE - ON ERIC FROM WINDOW He drops an incendiary right into T - Bird 's lap . T - Bird squirms . No go . Eric reaches in with a bungie cord .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>A little restrictive? Good.<\/dialogue>\n    <parenthetical>( chilling . )<\/parenthetical>\n    <dialogue>You held her down and raped her. You were the first. She burned while you were inside of her.<\/dialogue>\n    <parenthetical>( re : bomb . )<\/parenthetical>\n    <dialogue>What's the lag on this? About twenty seconds, would you say?<\/dialogue>\n    <scene_description>T - bird thrashes , but he 's immobilized . Ca n't even budge the wheel .<\/scene_description>\n    <character>ERIC<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I've comrades in hell, T - bird. Give them my best.<\/dialogue>\n    <scene_description>Eric activates the timer . Yanks up hard on the bungie cord . INSERT : T - BIRD FOOTWELL The bungie cord pulls T - Bird 's foot all the way down on the pedal . ANGLE - ON CAR , FROM DOCKSIDE Eric steps back , plucks the guitar out as the car starts to move . The car roars for the edge of the dock , about a distance of a football field . Eric examines T - bird 's auto pistol and pops the clip . INTERCUTS : as the car speeds for the water 's edge , Eric thumbs bullets from the clip , one by one .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. T-BIRD - TRAVELING FAST - NIGHT<\/stage_direction>\n    <scene_description>T - bird 's eyes bug in horror and he goes MMMMMMMMHHH ! CLOSE - UP - THE CLIP IN ERIC 'S HAND thumbing out the final bullet .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DETROIT RIVER SHIPYARD - RESUMING ERIC - NIGHT<\/stage_direction>\n    <character>ERIC<\/character>\n    <dialogue>All gone.<\/dialogue>\n    <scene_description>ANGLE - T - BIRD REACHES DOCKSIDE Lifting off and blowing all to hell , a billion smithereens of phosphorescent firs pattering into the dark water . It hits . Sinks . Weird flare glow as the car quickly submerges . ANGLE - ERIC heaving the gun into the distant water . Plosh . He produces T - Bird 's accelerator . Squirts it into the ground . He prestidigitates and T - Bird 's Zippo appears in his hand . He flicks it and drops it into the flammable puddle . HIGH LONG SHOT - ERIC walking slowly out of the scene as the firepool coalesces into a burning crow shape .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARLA'S APARTMENT - DAWN<\/stage_direction>\n    <scene_description>CLOSE - UP of a frying pan busy burning some pretty firebombed looking eggs . Kind gross . ANGLE - DARLA AT THE STOVE . NOT THRILLED WITH HER OWN PROGRESS .<\/scene_description>\n    <character>DARLA<\/character>\n    <dialogue>I never was too good at this domestic shit.<\/dialogue>\n    <scene_description>ANGLE - ELLY AT LIVING ROOM WINDOW staring outside at nothing in particular . Yet .<\/scene_description>\n    <character>ELLY<\/character>\n    <dialogue>Do n't say `` shit''.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>That's okay. Corn Flakes are okay. Anything.<\/dialogue>\n    <scene_description>She pauses as she hears a lilting , faraway GUITAR STRAIN . Across the street she can make out the figure of Eric on his roof playing the guitar .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOF OF LOFT BUILDING DAWN<\/stage_direction>\n    <scene_description>EXTREME CLOSE of a Pignose Amp . More soft GUITAR strokes as CAMERA FOLLOWS a patchwork a taped - together , jerry - rigged cables to : ANGLE - ERIC ON ROOF - shirtless , crosslegged , his Crow make - up streaked by the night 's work . His fingering is unsure and he tries the tune again . INSERT - We she Shelly 's engagement ring on a leather thong around Eric 's neck . Like an amulet . ANGLE - ERIC PLAYING He 's got it right this time . Strong , sure CHORDS . Passionate . We can almost imagine him conjuring Shelly via musical sorcery . He holds a stroke , letting it ring . Sun rises behind him .<\/scene_description>\n    <character>IRATE VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hey, shut the fuck up!<\/dialogue>\n    <scene_description>Eric 's eyes , closed with the moment , dart left . Funny .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAXI-DOGS - DAY<\/stage_direction>\n    <scene_description>Later . Elly is seated on a stool . Mickey gives her a chili dog .<\/scene_description>\n    <character>MICKEY<\/character>\n    <dialogue>Chili dog for breakfast. it's original.<\/dialogue>\n    <character>ELLY<\/character>\n    <dialogue>Mom tried to cook.<\/dialogue>\n    <character>MICKEY<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>CUSTOMER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hey, Mickey, I need a special with everything. No sawdust.<\/dialogue>\n    <character>MICKEY<\/character>\n    <parenthetical>( to Elly . )<\/parenthetical>\n    <dialogue>Everyone's a comedian. Enjoy.<\/dialogue>\n    <scene_description>Mickey EXITS FRAME .<\/scene_description>\n    <character>GRANGE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>You're Elly, right? I know your mom.<\/dialogue>\n    <scene_description>Elly turns . Grange sits next to her . Lao 's mirrored - windowed car is parked across the street , b.g.<\/scene_description>\n    <character>ELLY<\/character>\n    <dialogue>A lot of people `` know'' my mom.<\/dialogue>\n    <scene_description>Grange points o.s. , indicating he wants coffee from Mickey .<\/scene_description>\n    <character>GRANGE<\/character>\n    <dialogue>I know your friend, too - the one that looks like a rock star.<\/dialogue>\n    <character>ELLY<\/character>\n    <dialogue>I do n't know you.<\/dialogue>\n    <character>GRANGE<\/character>\n    <parenthetical>( easily . )<\/parenthetical>\n    <dialogue>I'd like to get in touch with him.<\/dialogue>\n    <scene_description>Elly sizes Grange up .<\/scene_description>\n    <character>ELLY<\/character>\n    <dialogue>You're not a cop, either. What do you want him for?<\/dialogue>\n    <character>GRANGE<\/character>\n    <dialogue>I'm looking for a good guitar man.<\/dialogue>\n    <character>ELLY<\/character>\n    <dialogue>Right.<\/dialogue>\n    <scene_description>Grange withdraws a $ 10 bill from his wallet and slides it across the countertop to Mickey .<\/scene_description>\n    <character>ELLY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You buying?<\/dialogue>\n    <parenthetical>( cuts him some slack . )<\/parenthetical>\n    <dialogue>He kinda wanders around. You'll see him if you pay attention.<\/dialogue>\n    <character>GRANGE<\/character>\n    <dialogue>I need to find him kind of soon, Elly.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOFT - ON ERIC - DAY<\/stage_direction>\n    <scene_description>No shirt , the ring on the thong around his neck - workout mode . He twirls and performs odd Crow moves of increasing complexity in the big open living room . On purpose , he stretches hard against the bedroom doorframe . FLASH : Shelly stands in the blue moonlight near the picture window wearing a rococo Victorian gown . PUSH IN TIGHT as she is embraced by a nude Eric . He undoes the last few remaining ties that hold the gown in place . FOLLOW THE GOWN as it crumples down the length of Shelly 's -LRB- also otherwise nude -RRB- body to the floor . FLASH ENDS . LOW ANGEL - FROM INSIDE THE BEDROOM - ON ERIC hanging there , inviting the pain the FLASHES bring . Breathing as though he is pumping iron , pumping up . ANGLE - LATER - ERIC IN BEDROOM embracing a ragged full - length dress that used to be Shelly 's . FLASH : Eric and Shelly -LRB- wearing the same dress -RRB- , exchange an extremely passionate and intimate KISS in the moonlight . FLASH ENDS . ANGLE - RESUMING ERIC as he drops the dress . Absorbing the pain and memories . ANGLE - LATER - ERIC IN LIVING ROOM executing a complex roll that winds him up at the windowsill . He grasps it with both hands . FLASH : A series of CLOSE SHOTS of Eric and Shelly 's HANDS , each moving along the other 's body . Curves and dips and contours . But Eric 's gaze never leaves SHelly 's eyes . FLASH ENDS . ANGLE - RESUMING ERIC AT WINDOW His GAZE similarly FIXED . Bringing his hands away and clapping them together , deep breath , fingertips pressed to his face , like Kung Fu prep . When he opens his eyes , the crow is there before him on the sill .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>That's better.<\/dialogue>\n    <scene_description>He wipes his torso down with a towel .<\/scene_description>\n    <character>ERIC<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It's almost time.<\/dialogue>\n    <scene_description>He holds his hand in front of his face and he flexes it . We can HEAR tendons CRACKLE like a harness . Closes it into a powerful fist .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOP DOLLAR'S LAIR - NIGHT<\/stage_direction>\n    <scene_description>TIGHT on Skank as he slams his fist down on the table . He has a black eye and facial scuffs from his liquor store encounter .<\/scene_description>\n    <character>SKANK<\/character>\n    <dialogue>Top, I made the sumbitch! Face all painted white like some kinda fuckin' kabuki homo!<\/dialogue>\n    <scene_description>WIDE ANGLE to include all present : Lao , Grange , Lao Guards # 1 and # 2 , Top Dollar , and a Sentry . Top dusts up a line and rinses his nostrils with brandy .<\/scene_description>\n    <character>LAO<\/character>\n    <dialogue>Sounds like our `` Crow'' is out - maneuvering you.<\/dialogue>\n    <character>TOP DOLLAR<\/character>\n    <dialogue>`` Our'' Crow?<\/dialogue>\n    <character>LAO<\/character>\n    <dialogue>Come now. You've seen the graffiti - all over the city in the few hors it has taken your men to drop like plague victims. What about your turf, Top?<\/dialogue>\n    <parenthetical>( mockingly . )<\/parenthetical>\n    <dialogue>You do n't seem to have ripped out anyone's heart yet.<\/dialogue>\n    <character>TOP DOLLAR<\/character>\n    <parenthetical>( pissed off . )<\/parenthetical>\n    <dialogue>The night is young.<\/dialogue>\n    <character>SKANK<\/character>\n    <parenthetical>( hot . )<\/parenthetical>\n    <dialogue>The found T - bird flash - fried to what was left of his fucking car!<\/dialogue>\n    <scene_description>Top is angry too , but wo n't show it to Lao . He rises and goes to the window . Neon glow . Top sees something outside , below , that really torques him off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET OUTSIDE SHOWTIME - NIGHT (TOP'S POV)<\/stage_direction>\n    <scene_description>A phantom GRAFFITI ARTIST is spray - painting a crow shape on the condemned building right across the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOP DOLLAR'S LAIR - NIGHT<\/stage_direction>\n    <scene_description>Top whip - drawing an auto pistol and shooting below .<\/scene_description>\n    <character>TOP DOLLAR<\/character>\n    <dialogue>Hey, you little fuckweed! That's against the law!<\/dialogue>\n    <scene_description>His gun smoking . Momentary empowerment .<\/scene_description>\n    <character>TOP DOLLAR<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I do n't give a shit what kinda bird this guy is.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WINDOW - NIGHT<\/stage_direction>\n    <scene_description>As Top turns from the window , PULL BACK to incorporate the chunky shadows where the lights do n't fall . Eric is there , perched on the narrow exterior ledge . but we do n't know it until he opens his eyes , two dots of white in the blackness .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOP DOLLAR'S LAIR - NIGHT<\/stage_direction>\n    <scene_description>LAO AT TABLE - angered by this macho horseshit , annoyed at his time being frittered .<\/scene_description>\n    <character>LAO<\/character>\n    <dialogue>I am sitting over here.<\/dialogue>\n    <scene_description>He SLAMS a palm on the table and the room goes silent . Top looks sheepish .<\/scene_description>\n    <character>LAO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Do you think this childish machismo impresses me?<\/dialogue>\n    <parenthetical>( regains composure . )<\/parenthetical>\n    <dialogue>When I was a boy in Saigon I watched my country change one block at a time, one building at a time. Whole lives erased. A way of life, polluted. Today, no one forces me to move. I use my powers to change your country, one block at a time, one building at a time.<\/dialogue>\n    <character>TOP DOLLAR<\/character>\n    <dialogue>Nice speech. What's it supposed to mean?<\/dialogue>\n    <character>LAO<\/character>\n    <dialogue>Your comprehension is not required. Your cooperation and, indeed, your ability are the issues on the table.<\/dialogue>\n    <scene_description>Top rallies to this .<\/scene_description>\n    <character>TOP DOLLAR<\/character>\n    <dialogue>Whatever you say, I can do.<\/dialogue>\n    <scene_description>Skank looks around , nervous and jumpy , a contradiction to Top 's guarantee .<\/scene_description>\n    <character>LAO<\/character>\n    <dialogue>That's reassuring.<\/dialogue>\n    <scene_description>CLOSE - UP - TOP 'S SHELL CASING IN ERIC 'S HAND from the ledge . Endstamp is for a .45 caliber . ANGLE - ERIC ON LEDGE He sniffs the cartridge . We can see Funboy 's cartridge in his hair . He fists the shell casing tightly . ANGLE - DOWN - TABLE , AT SKANK Jittery , grabbing a clip for his own automatic .<\/scene_description>\n    <character>SKANK<\/character>\n    <dialogue>What was that -!?<\/dialogue>\n    <scene_description>It was n't anything . Skank loads , stands and jacks the action on his gun . Lao looks questioningly to Top Dollar .<\/scene_description>\n    <character>TOP DOLLAR<\/character>\n    <dialogue>Too many poppers, Skank. Relax. Heel.<\/dialogue>\n    <scene_description>ANGLE - WINDOW BEHIND TOP DOLLAR A black blur as Eric arches through , spilling Top . ANGLE - MEN SEATED AT TABLE Eric back flips the length of the table and kicks the gun from Skank 's hand . All react . Weapons out . CLOSE - UP - SKANK 'S GUN spinning mid - air to land in Eric 's open hand ! GENERAL ANGLE - BIG MOBY SHOOTOUT - -LRB- VARIOUS -RRB- Death cleans house . Standing on the table , Eric fires rearward under his own arm to clip Lao Guard # 1 . He pivots , shooting , and takes out Lao Guard # 2 - who slams backward into the steel door as it being opened by the Sentry outside . Crash ! The door is shut again . ANGLE - GRANGE AND LAO Grange sprays the room with a Calico 950 Auto , shoving Lao beneath the table for cover . ANGLE - ERIC Bullets hit him and demolish everything behind him . Skank hits the deck again . Eric fires and Lao Guard # 1 sucks three hits across the chest , firing convulsively against the ceiling , blowing the lights . ANGLE - TOP DOLLAR springing up from behind table . But Eric is gone from the field of fire and one shot strikes Skank , rising at the far end . ANGLE - LAO AND GRANGE making for the door , Grange as shield . Lao draws a pistol . The door opens and Lao shoots a Sentry to clear him out of the way . ANGLE - TIGHTER ON LAO A last look back toward Eric and Grange hustle Lao out . Door SLAM o.s. Top is out of ammo as Eric lands from above frame right in front of him and slaps the gun from his hand .<\/scene_description>\n    <character>TOP DOLLAR<\/character>\n    <parenthetical>( awed but maintained . )<\/parenthetical>\n    <dialogue>You want my attention, man you got it.<\/dialogue>\n    <scene_description>ANGLE - SKANK UNDER TABLE Wounded but clawing toward Eric just the same .<\/scene_description>\n    <character>SKANK<\/character>\n    <dialogue>It's him, Top! He dusted T - Bird!<\/dialogue>\n    <scene_description>ANGLE - ERIC AND TOP DOLLAR , FACE - TO - FACE<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>You have to be SKank.<\/dialogue>\n    <parenthetical>( to Top Dollar . )<\/parenthetical>\n    <dialogue>One moment.<\/dialogue>\n    <scene_description>As he speaks , WIDEN FRAME as he turns and grabs the incoming Skank by the hair .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Thank of a snappy comeback for me on your way down.<\/dialogue>\n    <scene_description>Without a beat he pitches Skank right out the window ! Skank howls all the way down .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - ON POLICE CAR - NIGHT<\/stage_direction>\n    <scene_description>Damaged from the wreck , limping home , piloted by our pals Speeg and MJ . Skank smashes down into the roof , imploding the flashbar and windshield . MJ drenches his lap in fresh coffee .<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>OwwwAAHHH son of a BITCH!<\/dialogue>\n    <scene_description>ANGLE - SIDEWALK ACROSS THE STREET - ON ALBRECHT who watches with slow marvel from the shadows<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <dialogue>Jesus Christ.<\/dialogue>\n    <scene_description>He runs to assist the demolished cruiser .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOP DOLLAR'S LAIR - RESUMING - NIGHT<\/stage_direction>\n    <scene_description>Just Top , Eric , corpses , and lazily drifting gunsmoke .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Top Dollar, you're the only one here still wasting good air.<\/dialogue>\n    <character>TOP DOLLAR<\/character>\n    <dialogue>Five large, in the drawer right over there. I never saw you.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Do you know what you destroyed?<\/dialogue>\n    <character>TOP DOLLAR<\/character>\n    <dialogue>Take the dope, too.<\/dialogue>\n    <scene_description>Eric backhands Top into the wall . Gets in his face , seething .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>A year ago. A very nice lady circulated a petition. She died. Last Halloween. Answer yes or no.<\/dialogue>\n    <character>TOP DOLLAR<\/character>\n    <dialogue>That's ancient history.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>It's yesterday! Do you know what you destroyed?<\/dialogue>\n    <scene_description>Top Dollar yells right back at Eric 's anger .<\/scene_description>\n    <character>TOP DOLLAR<\/character>\n    <dialogue>Who gives a fuck! I'm a businessman. You gon na do me, then do me and shut you're face!<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>You do n't even remember.<\/dialogue>\n    <character>TOP DOLLAR<\/character>\n    <dialogue>I never forget anything, dickhead. That building was a sweep - and - clear ; the bitch was a nuisance with her goddamned petition. It got a little rowdy. end of story.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Rowdy. Let me fill in some gaps for you.<\/dialogue>\n    <scene_description>And he grabs Top 's head the way he grabbed ALbrecht 's earlier , slams Top into the wall . Nose - to - nose . FLASH : Shelly backing away from oncoming Funboy in the loft , trying to retreat , nowhere to run , her home invaded , scared . FLASH ENDS . ANGLE - TOP DOLLAR AND ERIC Top is quivering , almost helpless in Eric 's hypnotic grasp . Eric winces , hard , and - FLASH : Shelly cut , bleeding , struggling against T - Bird . Wild . FLASH ENDS . ANGLE - RESUMING TOP DOLLAR AND ERIC Viciously close , more intimate and lethal than anything .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>You're a detail man, Top - you need to see more.<\/dialogue>\n    <scene_description>This time Top tries to twist from Eric 's grasp but it 's no good . FLASH : Shelly , comatose in ICU , eyes fixed and staring , hoses darting in and out , cold blue refrigerator light . Bloody , bruised and broken -LRB- from Albrecht ; s memory -RRB- FLASH ENDS . CLOSE - UP - TOP DOLLAR arching , stiffening in pain . CLOSE - UP - TOP DOLLAR AND ERIC<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>All of her pain, Top. Thirty hours. All at once.<\/dialogue>\n    <scene_description>Eric bears down on Top Dollar again . Top screams . Blood begins to leak from his eyes , nose , ears .<\/scene_description>\n    <character>ERIC<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>all for you.<\/dialogue>\n    <scene_description>FLASH : Rapidfire CLOSE - UPS . A jagged compound fracture , jutting , Shelly 's eye , blood - red sclera , purpled and sunken . Her scraped - raw hand clawing at air . Icebox lighting . A TIGHT SHOT of her monitor going flatline : eeeeeeeeeeeeee . TWO - SHOT - RESUMING ERIC AND TOP DOLLAR . as Top sags in Eric 's grasp , terror fixing his wide - staring dead eyes . Eric lets him drop like a laundry sack .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>I did n't think you could handle it either.<\/dialogue>\n    <scene_description>O.S. BANG of impact , heavy against the steel door . Eric turns . ANGLE - STEEL DOOR as it is battered down by a squad of police using a power - ram . All weapons snap up to bear on Eric .<\/scene_description>\n    <character>LEAD SWAT<\/character>\n    <dialogue>That's all she wrote, Bozo! You stand down now, and that's an order!<\/dialogue>\n    <scene_description>ANGLE - ERIC AS HE MOVES using his foot to shove the massive conference table at the incoming SWATS while launching himself into the air , flipping toward the window and arching through cleanly as the cops open fire on command . Bullets tear the room to pieces .<\/scene_description>\n    <character>LEAD SWAT<\/character>\n    <dialogue>The fire escape's covered.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHOWTIME - FRONT FIRE ESCAPE - NIGHT<\/stage_direction>\n    <scene_description>Picking up Eric on his dive through the window , bullets chasing him . Immediate police fire from below sparks off the ironwork . Eric ducks slugs balletically and scampers to the roof . ANGLE - SHOWTIME ROOFTOP EDGE Eric somersaults over . Bullets chip brick in his wake . STREET LEVEL - UP ANGLE TOWARD ROOF . Showtime girded police cars and MARKSMEN , Eric a distant shadow figure above . Here comes a TEAM LEADER with a bullhorn .<\/scene_description>\n    <character>TEAM LEADER<\/character>\n    <parenthetical>( FILTERED . )<\/parenthetical>\n    <dialogue>On the roof! Keep firing! Keep firing!<\/dialogue>\n    <scene_description>A fury of law enforcement ordnance cuts loose all around him . RESUMING ERIC ON SHOWTIME ROOF EDGE A forearm up against the fusillade . Below him - ANGLE - PIT FRONT FIRE ESCAPE Here come Lead SWAT and his Merry MEN . MOVING ANGLE - WITH ERIC - ADJACENT ROOFTOP Eric runs for it . Half a story higher . He hits the wall and skitters up , gripping tiny cracks in the brickwork . ANGLE - RESUMING MEN ON FRONT SHOWTIME FIRE ESCAPE . Lead SWAT hesitates - because of what he sees .<\/scene_description>\n    <character>LEAD SWAT<\/character>\n    <dialogue>Holy shit, it's spiderman.<\/dialogue>\n    <scene_description>He tries to pull a bead and fires too late .<\/scene_description>\n    <character>LEAD SWAT<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What're you boy scouts staring at! Let's Go! Let's go! Let's go!<\/dialogue>\n    <scene_description>MOVING ANGLE - PICKING UP ERIC ON NEXT ROOF He sprints to the far edge and dives to the next lower rooftop . As he lands he is nailed by a helicopter spotlight , boring in from behind and above the row of buildings . MOVING ANGLE - THE STREET BELOW COPS below , COPS in the chopper , everyone rushing parallel to Eric , trying to keep up . ERIC 'S POV - THE STREET , THE HELICOPTER PAN QUICK to the next ledge . COPS right behind him on the roof as well . WITH ERIC - AS HE RUNS TO THE EDGE . and finds a void waiting there . No connecting building . ANOTHER MOVING ANGLE - ERIC staying ahead of the search light . A fantastic series of artful moves that wind him up at the rear edge of the roof . ANGLE - SWAT MEN ON NEXT ROOF sighting Eric as the light picks him out . Eric glances at them . then jumps .<\/scene_description>\n    <character>CHOPPER PILOT<\/character>\n    <parenthetical>( O.S. \/ FILTERED . )<\/parenthetical>\n    <dialogue>He's off the roof. We ca n't see him.<\/dialogue>\n    <scene_description>CLOSE - UP - LEAD SWAT pulling his weapon off target , because there is not target .<\/scene_description>\n    <character>LEAD SWAT<\/character>\n    <dialogue>Dammit to hell!<\/dialogue>\n    <parenthetical>( beat ; to men . )<\/parenthetical>\n    <dialogue>Come on.<\/dialogue>\n    <scene_description>ANGLE - ALLEY - STREET LEVEL Eric lands like a falling safe , scattering garbage . But he 's okay , up and running . ANGLE - ERIC 'S RUNNING POV - END OF ALLEY as his escape is cut off by a police car that screeches to a stop , blocking the exit . ANOTHER ANGLE - ERIC as he backpedals , scanning for an alternate escape .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <parenthetical>( from car . )<\/parenthetical>\n    <dialogue>Come on!<\/dialogue>\n    <scene_description>CLOSER ANGLE - POLICE CAR We can see Albrecht . Eric dives inside and the car burns rubber .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALBRECHT'S CAR - TRAVELLING - NIGHT<\/stage_direction>\n    <scene_description>Albrecht harried and frantic , but in control .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <dialogue>Keep your head down!<\/dialogue>\n    <scene_description>He twists and turns the car , glancing rearward for pursuit . Gradually he calms down .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I figured you might need a ride home.<\/dialogue>\n    <scene_description>Eric looks up at him from his half - concealed crouch .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>It's done.<\/dialogue>\n    <character>ALBRECHT<\/character>\n    <dialogue>I figured as much. Did you cap off Funboy.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Funboy had to leave this mortal coil.<\/dialogue>\n    <character>ALBRECHT<\/character>\n    <dialogue>Yeah, among others.<\/dialogue>\n    <parenthetical>( sees Eric 's condition . )<\/parenthetical>\n    <dialogue>Hey, man - you're hit.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>It's only a flesh wound.<\/dialogue>\n    <character>ALBRECHT<\/character>\n    <dialogue>It's only fourteen or fifteen flesh wounds.<\/dialogue>\n    <scene_description>Eric sits up as the car gains distance . Grabs the cigarette out of ALbrecht 's mouth . Takes his single puff .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>You should n't smoke these.<\/dialogue>\n    <scene_description>He pitches the smoke out the open car window .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <dialogue>Great. Litterbug of the Living Dead.<\/dialogue>\n    <scene_description>Eric turns back to Albrecht .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>I'm finished.<\/dialogue>\n    <scene_description>Eric shoots him a doubtful look .<\/scene_description>\n    <character>ERIC<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I mean, I've done what I came to do. It should n't hurt this much. But it will pass.<\/dialogue>\n    <character>ALBRECHT<\/character>\n    <parenthetical>( not buying it . )<\/parenthetical>\n    <dialogue>Right.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You sure I ca n't just take you to the emergency ward?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT - ON ALBRECHT'S CAR<\/stage_direction>\n    <scene_description>It hangs a turn and their escape is made .<\/scene_description>\n    <character>ERIC<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>They could n't do anything for me.<\/dialogue>\n    <character>ALBRECHT<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>How ` bout the morgue?<\/dialogue>\n    <character>ERIC<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>No. I have one more thing to do.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - ANOTHER PART OF THE CITY - NIGHT<\/stage_direction>\n    <scene_description>Lonelier , less traffic , more deserted . ANGLE - ON ALBRECHT AND ERIC THROUGH WINDSHIELD - TRAVELLING<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <dialogue>You're gon na kill somebody else.<\/dialogue>\n    <parenthetical>( beat ; no response . )<\/parenthetical>\n    <dialogue>We're gon na stop and get a shit - load of Band - Aids?<\/dialogue>\n    <scene_description>Eric is obviously fighting to stay centered , stay conscious . His last fight has caused him a great deal of damage , taken a lot out of him . He needs to recharge .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>I have to prepare for an anniversary. This coming night.<\/dialogue>\n    <scene_description>HOLD on their two kinds of determination . as we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITYSCAPE - DAY<\/stage_direction>\n    <scene_description>High blue sky . It might even be pretty if it was n't Detroit .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAO'S CLUB OFFICE - DAY<\/stage_direction>\n    <scene_description>The TV flybank pulses with videotaped images of Club Trash 's of various performers - including Diabolique . On several screens , one - by - one , various images of a guitar - playing Eric Draven FREEZE - FRAME as we PULL BACK to the desk . Lao has the 8x10 from the corridor gallery . He places it within eyeshot and resumes work on the desk BELOW FRAME ; we ca n't see it yet , among other scattered research and inconcubula . ANGLE - GRANGE Entering and crossing to the desk . As he comes up to the desk , he DRAWS BACK .<\/scene_description>\n    <character>GRANGE<\/character>\n    <dialogue>What. the hell is that?<\/dialogue>\n    <character>LAO<\/character>\n    <parenthetical>( calmly . )<\/parenthetical>\n    <dialogue>This is a cobra, Mr. Grange. Yes, it is real.<\/dialogue>\n    <scene_description>NEW ANGLE - LAO AND GRANGE Revealing Lao with a sealed cage , holding a large , live cobra in his hands . The killing blade is nearby .<\/scene_description>\n    <character>GRANGE<\/character>\n    <dialogue>That thing is poisonous.<\/dialogue>\n    <character>LAO<\/character>\n    <dialogue>Extremely so.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You and I are the recipients of unwanted good fortune, in the form of a man everyone is calling The Crow.<\/dialogue>\n    <scene_description>Grange makes a face . Ca n't keep his eyes off the cobra .<\/scene_description>\n    <character>GRANGE<\/character>\n    <dialogue>Give me a break. That guy's a wacko.<\/dialogue>\n    <character>LAO<\/character>\n    <dialogue>I intend no slight to you, but I can not find the English to adequately express just what he is. I suppose Western mythology would describe him as a Fury.<\/dialogue>\n    <character>GRANGE<\/character>\n    <dialogue>Not a Plymouth Fury, I bet.<\/dialogue>\n    <scene_description>Lao chuckles indulgently .<\/scene_description>\n    <character>LAO<\/character>\n    <dialogue>Do you know of spirit assassins? You do know the dead can rise? Properly motivated, of course.<\/dialogue>\n    <character>GRANGE<\/character>\n    <dialogue>Like some sort of zombie on a revenge trip.<\/dialogue>\n    <character>LAO<\/character>\n    <dialogue>Mmm. But tonight I can take what is his.<\/dialogue>\n    <character>GRANGE<\/character>\n    <dialogue>Only thing you'll get from that clown is a faster way to die.<\/dialogue>\n    <character>LAO<\/character>\n    <dialogue>To the contrary.<\/dialogue>\n    <scene_description>ZZLIP ! Lao smoothly BEHEADS the snake with the Blade against the stone surface of the desk and discards the writhing body . He squeezes behind one of the eyes and a VENOM SAC protrudes like a dark pimento . LAO pulls it free of the milky , clinging tissue and EATS IT . Off Grange 's stunned expression .<\/scene_description>\n    <character>LAO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>all the dying tonight will be done by the former Eric Draven.<\/dialogue>\n    <scene_description>Lao exhibits the blade to Grange as though it explains all .<\/scene_description>\n    <character>LAO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Who is only invulnerable so long as he cares about the dead. When he begins to care about the living, you'll find his heart can bleed. and I want it to bleed for me.<\/dialogue>\n    <character>GRANGE<\/character>\n    <dialogue>Kill a dead guy?<\/dialogue>\n    <scene_description>Lao POPS the second venom sac ; swallows it . Pleased .<\/scene_description>\n    <character>LAO<\/character>\n    <dialogue>Truly kill him. So I may crush his skull and smoke it.<\/dialogue>\n    <scene_description>Lao SHRUGS . Grange can handle it .<\/scene_description>\n    <character>LAO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Let it suffice that I need him. and to get to him, we'll need his little friend.<\/dialogue>\n    <scene_description>Finally , an assignment Grange can comfortable understand .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOFT - DAY<\/stage_direction>\n    <scene_description>Eric , barechested , emotionally tapped , clean of makeup and blood but exhausted , his movements retarded and slack . Staring fixedly into the fireplace , where he burns everything he could find of his past : the junk from the makeup table , the masques , photos of himself and Shelly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOFT - STAIRWELL - DAY<\/stage_direction>\n    <scene_description>Moving with Elly as she nears the open loft door . She PEEKS cautiously inside . RESUME ERIC Without looking toward the door , he speaks .<\/scene_description>\n    <character>ELLY<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>A remembrance.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>A closure.<\/dialogue>\n    <scene_description>And Eric consigns to the fire the DRESS we saw earlier . Holds a photograph in a broken frame . Cracked glass . Subject : Eric and Shelly , goofing for the camera . He chucks it into the fire . Draws a deep breath .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Better now. I feel good. How are you, Elly, my friend?<\/dialogue>\n    <scene_description>Elly is clearly uncomfortable , groping for an excuse just to see Eric . Eric is staring at her , intently .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>ELLY<\/character>\n    <dialogue>I knew. I knew I knew you. Even with the makeup and stuff you wore.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You really loved her, did n't you?<\/dialogue>\n    <scene_description>CLOSE - UP - FIREPLACE The photo burns and blackens in the grate .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>You brought flowers. As long as you do n't forget her, Elly, she lives.<\/dialogue>\n    <character>ELLY<\/character>\n    <parenthetical>( upset . )<\/parenthetical>\n    <dialogue>She's dead. She's gone. And now you're just gon na go away and never come back, too. I hate this place ; it is n't fair.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Elly.<\/dialogue>\n    <scene_description>He draws her close . Wipes away an errant tear with his thumb .<\/scene_description>\n    <character>ERIC<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Sometimes the people we care about are gone, for no reason. Sometimes that's really tough. I cry. But if the people we love are gone, we keep them -<\/dialogue>\n    <scene_description>He taps Elly 's temple , then his won .<\/scene_description>\n    <character>ERIC<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>- right here. It's a big responsibility. And that makes it okay to mourn.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I know that if you were n't here, I'd be very sad.<\/dialogue>\n    <scene_description>Elly gives Eric a hug .<\/scene_description>\n    <character>ELLY<\/character>\n    <dialogue>You look funny without your white face on. Like it's your day off or something.<\/dialogue>\n    <scene_description>He quizzical expression amuses him .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Somebody here wants to meet you. Gabriel?<\/dialogue>\n    <scene_description>Gabriel the cat has wandered near the fireplace to join them . Elly is immediately smitten . Happy .<\/scene_description>\n    <character>ELLY<\/character>\n    <dialogue>I remember him! Here, Gabriel. here kitty. Gabriel. Is he still yours?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>I think he's yours, now.<\/dialogue>\n    <scene_description>The cat seems to like that idea . Elly wraps him hugely up in her arms , talking to him : `` How 're you , Gabriel , whatcha doin ' '' ANOTHER ANGLE - TIGHTER ON ERIC While Elly is preoccupied with the cat , Eric gives up his last bit of Shelly to the fire - a portrait photo of her , small and creased . He puts it in the fire , watches it burn for a beat , then turns to Elly .<\/scene_description>\n    <character>ERIC<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I have something else for you.<\/dialogue>\n    <scene_description>BACK FOCUS as Eric lifts off his neck Shelly 's ring for Elly 's inspection . The ring twirls large in f.g.<\/scene_description>\n    <character>ELLY<\/character>\n    <dialogue>Nobody ever gave me something like that before. Ever.<\/dialogue>\n    <scene_description>Eric places it around her neck . Elly BEAMS .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Shelly would've wanted you to have it. This way, you'll think of her every time you see it.<\/dialogue>\n    <character>ELLY<\/character>\n    <dialogue>And she'll be alive. Up here.<\/dialogue>\n    <scene_description>Elly TAPS her own temple with a smile , keeping one hand on the ring .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>Blowing wind . TRICK - OR - TREATERS wisp past . Ghosts , witches , demons out for Halloween . ANGLE - CEMETERY FENCE walking home with Gabriel zipped up inside her coat is Elly . A fire engine wails past in the opposite direction . ANGLE - ELLY ON BROWNSTONE STEPS Strictly downscale building . Elly to Gabriel ''<\/scene_description>\n    <character>ELLY<\/character>\n    <dialogue>You're gon na like it here.<\/dialogue>\n    <scene_description>A car curbs across the street as she enters the building . ANGLE - PUSH IN ON CAR as the window cranks down to reveal Grange at the wheel .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARLA'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Darla nervously smoking , doing her best to stay clean , but jittery . Elly enters the shabby living room with Gabriel in her arms .<\/scene_description>\n    <character>DARLA<\/character>\n    <dialogue>I was wonderin' where you'd gotten to -.<\/dialogue>\n    <parenthetical>( she sees Gabriel . )<\/parenthetical>\n    <dialogue>Oh, Elly, honey, a cat. Here?<\/dialogue>\n    <character>ELLY<\/character>\n    <dialogue>He was a present. Besides, we're moving anyway. You said.<\/dialogue>\n    <character>DARLA<\/character>\n    <dialogue>We'll discuss this later. Obviously. You left the door open.<\/dialogue>\n    <scene_description>DARLA points . As Elly goes to close the door it opens . NEW ANGLE - FAVOR THE DOOR Grange enters accompanied by two Asian martial arts STRONGARMS -LRB- Lao Guards # 3 &amp; # 4 -RRB- . Grange looks around , bemused , his manner avuncular .<\/scene_description>\n    <character>GRANGE<\/character>\n    <dialogue>Hi, Elly. Remember me?<\/dialogue>\n    <scene_description>Elly 's surprise is evident . Darla is just plain pissed off .<\/scene_description>\n    <character>DARLA<\/character>\n    <dialogue>I do n't remember you. And I do n't remember inviting.<\/dialogue>\n    <character>GRANGE<\/character>\n    <parenthetical>( to his MEN . )<\/parenthetical>\n    <dialogue>If she opens her face again, shoot her in the head.<\/dialogue>\n    <scene_description>ANGLE - DARLA Mouth stalling in the ON position as Lao Guard # 3 pulls a gigantic gun , draws and cocks .<\/scene_description>\n    <character>ELLY<\/character>\n    <parenthetical>( panicked . )<\/parenthetical>\n    <dialogue>Mom -!<\/dialogue>\n    <scene_description>ANGLE - GUARD # 4 AND ELLY as he scoops her up , captive . ANGLE - GRANGE AND GABRIEL He strolls the circuit of the room , stopping near the window .<\/scene_description>\n    <character>GRANGE<\/character>\n    <dialogue>You should listen to your mother. She said no cats.<\/dialogue>\n    <scene_description>Grange pitches Gabriel right out the window .<\/scene_description>\n    <character>ELLY<\/character>\n    <dialogue>Gabriel!<\/dialogue>\n    <scene_description>Grange pulls out a compact Polaroid camera .<\/scene_description>\n    <character>GRANGE<\/character>\n    <dialogue>Now that's the expression I want.<\/dialogue>\n    <scene_description>ANGLE - ELLY AND GUARD # 4 As she struggle mightily , to no avail , as Grange moves in to snap his shot .<\/scene_description>\n    <character>GRANGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Say cheese.<\/dialogue>\n    <scene_description>He snaps . On the SX - 70 WHIRR and flash white - out , we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOFT BUILDING ROOFTOP - SUNSET<\/stage_direction>\n    <scene_description>Dark clouds have gathered to highlight the sunset . Eric plays the guitar - LOUD , the SHelly theme in a major key . Where before it was wandering , uncertain , now it 's bold and heartbreaking . Definitive . Pain replaced by strength and a sense of homecoming . As Eric gets to the end of it , the notes are flying out . At the climax , rips the guitar up over his head and brings it down - SMASH - on the Pignose . He 's finished here . ROOF EDGE - FROM STREET as the broken guitar SAILS OUT over the building edge .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOFT BUILDING STAIRWELL - DUSK<\/stage_direction>\n    <scene_description>As Eric comes down the stairs . Notices the open door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOFT - DUSK<\/stage_direction>\n    <scene_description>He enters , cautiously , to find an envelope laying in the middle of the floor . He opens it . INSERT - THE POLAROID OF ELLY with a note . UP ANGLE AT ERIC READING THE NOTE - FROM FLOOR The crow flies past behind him as his expression hardens . NEW ANGLE - A MOMENT LATER - FAST AND HARD Eric brutally crisscrosses his arms with black vinyl tape . ANGLE - ERIC DRESSING Pulling on black night - fighting clothes , skintight . ANGLE - THE VANITY as Eric -LRB- seen in mirror -RRB- jabs his fingers into the white makeup and smears it on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET NEAR CEMETERY - NIGHT<\/stage_direction>\n    <scene_description>Eric marches along in plain view since everyone around him seems to be in costume . The wind whips his coat . KIDS bustle around him with trick - or - treat bags . The crow perched on his shoulder . ERIC 'S POV - CITY SKYLINE Somewhere , a few blocks over , a building is burning . ANGLE - ERIC WALKING A fire engine races past on the street . He steps out in its wake and crosses over to - MEDIUM MOVING SHOT - THE CEMETERY waiting for him as he crosses to the fence . Beyond the fence , in the distance , the church looms . ANGLE - ERIC He pauses . A KID in a Creature from the Black Lagoon mask comes , passes Eric , then comes back for a touch .<\/scene_description>\n    <character>CREATURE KID<\/character>\n    <dialogue>Trick or treat!<\/dialogue>\n    <scene_description>Eric smiles . Not tonight .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETERY - NIGHT<\/stage_direction>\n    <scene_description>Eric is standing over the grave of Shelly Webster , looking down . He holds for a moment then moves on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCH - NIGHT<\/stage_direction>\n    <scene_description>Eric ascends toward giant oak doors , tres Gothique . The crow flaps past , leading him . NEW ANGLE - TOP OF STEPS - where waits the Skull Cowboy . As Eric approaches , the Skull Cowboy interposes himself between Eric and the huge double doors . Eric glares up , defiant . Moves up the steps . The Skull Cowboy extends a skeletal hand . STOP .<\/scene_description>\n    <character>SKULL COWBOY<\/character>\n    <dialogue>Stop screwing around.<\/dialogue>\n    <scene_description>TIGHT ON ERIC Angry , ready to battle : You talking to me ?<\/scene_description>\n    <character>SKULL COWBOY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Your job is done. You interfere with the living again.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Tell me I'll get hurt. That I might die.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I've already done that. I do n't need anyone's help. Yours included.<\/dialogue>\n    <scene_description>STAIR ANGLE - ERIC AND SKULL COWBOY Eric lower , Skull Cowboy superior , the storm wild around them .<\/scene_description>\n    <character>SKULL COWBOY<\/character>\n    <dialogue>Do this thing and you will be vulnerable. The blood will not return.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>No powers. No reunion. Nothing.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Fine with me.<\/dialogue>\n    <scene_description>He ADVANCES a step up ; the Skull Cowboy Hold fast .<\/scene_description>\n    <character>SKULL COWBOY<\/character>\n    <dialogue>You'll be alone.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>I'm already alone.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELL TOWER - NIGHT<\/stage_direction>\n    <scene_description>Through a castle keep - like slit , Grange monitors Eric 's arrival . He speaks into a headset .<\/scene_description>\n    <character>GRANGE<\/character>\n    <dialogue>We've got company.<\/dialogue>\n    <character>LAO<\/character>\n    <parenthetical>( O.S. \/ FILTERED . )<\/parenthetical>\n    <dialogue>Is he inside?<\/dialogue>\n    <scene_description>GRANGE 'S POV - ERIC Eric Talking to dead air . Almost arguing with it . Eerie . RESUME GRANGE As he talks into his mike he hefts a nightscoped , laser - sighted sniper 's rifle .<\/scene_description>\n    <character>GRANGE<\/character>\n    <dialogue>He's just out front talking to himself. You tell me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCH - RESUMING ERIC ON STEPS - NIGHT<\/stage_direction>\n    <scene_description>Eric , eyes steely , stares down the Skull Cowboy .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Do n't waste my time.<\/dialogue>\n    <character>SKULL COWBOY<\/character>\n    <dialogue>Very well, it's your ass.<\/dialogue>\n    <scene_description>And the wind kicks up around them both , powerfully . ANGLE - SKULL COWBOY -LRB- EFFECT -RRB- As the force of the storm dust - devils around him and begins to disassemble him . The fire in his eye sockets goes out . His hat flies off an is pulverized by the wind . The garments begin to disintegrate and blow around , rotten cerements falling apart in mid - air . ANGLE - ERIC ON STEPS - transfixed by this unexpected development . A shard of the Skull Cowboy blows past Eric 's face and transmutes to dust ! RESUME SKULL COWBOY AT TOP OF STEPS -LRB- EFFECT -RRB- Transparent , ancient bones , crumbling and blowing away . ANOTHER ANGLE - ERIC ON STEPS As Eric lunges for what 's left of his mysterious , smart - ass mentor CLOSE - UP - ERIC 'S LUNGING HAND Meeting only a swirl of vaporous dust where the Skull Cowboy 's heart would have been . TIGHT ANGLE - ERIC ON STEPS He has time to register the dust in his palm before it , too , renders down to nothingness , leaving a vague green glow that dies . And as he looks to the sky - UP ANGLE - THE CROW flapping down to land on Eric 's shoulder . Eric is astonished .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>But why are you still here?<\/dialogue>\n    <scene_description>CLOSE - UP - THE CROW No answer in the crow 's eyes . RESUME AND FOLLOW ERIC That 's good enough for Eric . He marches to the double doors and shoves them back .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - AS ERIC COMES THROUGH THE DOORS - NIGHT<\/stage_direction>\n    <scene_description>The high breeze blows in with him , disturbing dust in the disused Gothic dark . Hollow cathedral ECHOES to sounds . A giant 27 '' TV positioned on the alter , broadcasting static . LONG SHOT - ERIC AS HE APPROACHES THE ALTER - -LRB- `` CROWVISION '' -RRB- Leery of potential danger from a thousand dark places . ANGLE - THE TV - AS ERIC ENTERS FRAME Onscreen : Elly , gagged with duct tape and handcuffed to an iron ring bolted to a flagstone wall . Could be anywhere inside the church .<\/scene_description>\n    <character>LAO<\/character>\n    <parenthetical>( O.S. \/ FILTERED . )<\/parenthetical>\n    <dialogue>I believe our friend Elly call you Mister Crow.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Please acknowledge ; the mike will pick you up.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>I can see her.<\/dialogue>\n    <character>LAO<\/character>\n    <dialogue>Of course you can.<\/dialogue>\n    <scene_description>ANGLE - GRANGE IN THE GALLERY - in darkness . The running lights on his night - scoped , laser - sighted sniper 's rifle which THROWS vague sprays of eerie red and green light .<\/scene_description>\n    <character>LAO<\/character>\n    <parenthetical>( CONT 'D ; O.S. \/ FILTERED . )<\/parenthetical>\n    <dialogue>Do n't permit your rage to cloud the issue. I believe in barter. I propose a simple trade.<\/dialogue>\n    <scene_description>Grange sights his weapon . CROSSHAIR POV - ERIC AT THE ALTER Bluring as Grange resights . Eric is not the target . Blur FINDS the crow at the far end of the nave , perched in front of a giant stained glass window . NEW ANGLE - GRANGE - squeezing off two quick , SILENCED shots . ANGLE - STAINED GLASS WINDOW - the first shot blows a hole in some pastoral religious presentation . TINKLE of glass . ANGLE - ERIC - Spinning at the quiet ! pfut ! sound , to witness . ANGLE - INCOMING DART - -LRB- `` CROWVISION '' -RRB- SPinning and hissing venomously . ANGLE - ERIC DUCKS As before , but the crow is not as fast . TIGHT ANGLE - THE CROW As it catches the dart and goes down in a flurry of feathers . LOW ANGLE - ERIC AT ALTER - INCLUDE TV His knees buckle . Sympathetic PAIN from the hit .<\/scene_description>\n    <character>LAO<\/character>\n    <parenthetical>( O.S. \/ FILTERED . )<\/parenthetical>\n    <dialogue>You intended to finish this evening in the cemetery. I am here to help you on your way.<\/dialogue>\n    <scene_description>ANGLE - RESUMING GRANGE IN GALLERY Swapping his tranquilizer gun for a more lethal rifle , similarly scoped . He sights the fallen Eric in a spray of green light . HIGH ANGLE - HAND HELD - ERIC AT ALTER Groping for support to drag himself back to standing .<\/scene_description>\n    <character>GRANGE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I've got him if you want him.<\/dialogue>\n    <character>LAO<\/character>\n    <parenthetical>( O.S. \/ FILTERED . )<\/parenthetical>\n    <dialogue>No shooting.<\/dialogue>\n    <character>GRANGE<\/character>\n    <parenthetical>( into headset . )<\/parenthetical>\n    <dialogue>Move in, guys.<\/dialogue>\n    <scene_description>HIGH ANGLE - THE SANCTUARY - as Lao Guards # 3 and # 4 move into light , closing on Eric 's position in the center of isle . Both wield calico 's and one bears a sword . CLOSE ANGLE - ALTER - Lao makes his entrance from shadow wearing a brisk pugilist get - up , a practical fighting outfit . Makes a show of drawing the killing blade .<\/scene_description>\n    <character>LAO<\/character>\n    <dialogue>I wish to possess what you have now.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>I want the girl. Unharmed. Now.<\/dialogue>\n    <character>LAO<\/character>\n    <dialogue>I know. That is why I will prevail. Mr. Grange?<\/dialogue>\n    <scene_description>Eric CRAMPS UP , CLUTCHING his throat in obvious pain . ANGLE - GRANGE AT STAINED GLASS WINDOW Holding the crow by the neck , TIGHTLY . He plucks the tranq dart from the its body . ANGLE - RESUMING ERIC AS LAO MOVES IN CLOSER Crashing to one knee , invisibly bludgeoned , struggling to breathe . Lao has no fear , walking around the stricken Eric .<\/scene_description>\n    <character>LAO<\/character>\n    <dialogue>Sooner or later, my action were destined to bring me a genuine Fury. And it turned out to be you. At last. I appreciate your abilities as few mortals can. That's why I desire them.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>You're too late. There was a guy outside - on the stairs - you really need to talk to. But he turned to dust and blew away.<\/dialogue>\n    <parenthetical>( beat , gasping . )<\/parenthetical>\n    <dialogue>I do n't have any power for you to take.<\/dialogue>\n    <character>LAO<\/character>\n    <dialogue>I do n't believe that.<\/dialogue>\n    <scene_description>Lao motions to Grange with the killing blade . Grange RELAXES his deathgrip on the crow . MOVE IN CLOSE on Eric so we may perceive a palpable degree of relief .<\/scene_description>\n    <character>LAO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Time for you to die for me.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Funny, how the dead can still bleed. How they need air.<\/dialogue>\n    <scene_description>Eric IMMOBILIZED as Lao DRAWS BACK the Blade . To Grange :<\/scene_description>\n    <character>LAO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Break its neck.<\/dialogue>\n    <scene_description>ANGLE - RESUMING GRANGE AT WINDOW as he prepares to do dirty on the bird . Over his shoulder , we PUSH in to the BULLETHOLE from the first dart until we 're in TIGHT CLOSE - UP of an eye watching through the hole .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCH - OBVERSE OF WINDOW - NIGHT<\/stage_direction>\n    <scene_description>Albrecht digs through a sling bag of weaponry , trying to simultaneously monitor the peephole , muttering sotto to himself .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <dialogue>Had to go get yourself hip - deep in shit, did n't you, my friend.<\/dialogue>\n    <scene_description>It begins to rain . Albrecht glances resentfully toward the sky .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Give it a rest, huh?<\/dialogue>\n    <scene_description>A hefts a machinegun , clipped over and under . CUTS LOOSE on full auto into the Madonna on the window .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  CHURCH NAVE - NIGHT<\/stage_direction>\n    <scene_description>As the window EXPLODES toward Grange and he sucks big hits from behind , DROPPING the crow . The bird hits the ground , flapping weakly . LAO GUARDS # 3 &amp; # 4 exchange a look and whip up their Calicos , RETURNING FIRE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCH - NIGHT<\/stage_direction>\n    <scene_description>Albrecht takes cover as a lot of religious stuff is noisily destroyed all around his position . Chunks of the window continue to disintegrate .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH ALTER (NIGHT)<\/stage_direction>\n    <scene_description>Eric tuck - and - rolls out of the way as we go CLOSE on Lao , screaming .<\/scene_description>\n    <character>LAO<\/character>\n    <dialogue>I said no shooting!<\/dialogue>\n    <scene_description>Then he 's ducking bullets himself as Albrecht STEPS IN through the blown out window , the machine gun stuttering on slugs . The sanctuary comes apart around Lao . He RETREATS to the alter and EXITS whence he came . TIGHT ON PEW - ERIC DIVES just as Guard # 4 comes after him with the sword , which chomps into the wood and gets stuck there . Guard # 4 releases it and cross draws his Calico as ERIC springs back into the frame - STRAIGHT UP . TIGHT ON GUARD # 4 as Eric 's lancing foot propels him backward before he can fire . INTERCUTS - ALBRECHT AND GUARD # 3 scrambling to reload . Guard changes magazine ; Albrecht swaps clips . ANGLE - DOWN LENGTH OF PEW - Guard # 4 slides . Sits up with his gun as Eric , down - pew , grabs the sword . ANGLE - ALBRECHT AT WINDOW firing now with a gun in each hand . RESUME ERIC AND GUARD # 4 , who eats it from Albrecht 's gunfire , but not before he puts a round through Eric . Eric staggers back from the impact but keeps his feet . RESUME ALBRECHT as he tosses away the dry pistol . His machine gun jams , he fights to get the clip . ANGLE - GUARD # 3 - reloaded and rising , having caught Albrecht dead - bang in the open by the window . MOVING ANGLE - WITH ERIC - A complex leap with the sword flashing . He lands near Guard # 3 and SLASHES UPWARDS , blade up . CLOSE - UP - GUARD # 3 - screaming in pain , gaping DOWN O.S. TIGHT ON ALBRECHT - looking UP , following the trajectory of something AIRBORNE toward him . CLOSE - UP - GUARD # 3 'S Calico spinning mid - air with Guard # 3s HANDS still attached , severed mid - forearm by Eric 's devastating strike . ANGLE - ALBRECHT drops Guard # 3 - to REVEAL Eric in the background . Eric salutes Albrecht with the tip of the sword . WITH ALBRECHT as he moves into the nave , which has been torn apart by gunfire . Hazy smoke . Two dead guys . And Eric .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <dialogue>You sorta looked like you might need my help.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>This is n't your place. This is n't your fight. And I do n't need your help.<\/dialogue>\n    <character>ALBRECHT<\/character>\n    <dialogue>You're welcome.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Leave here. Do n't do this. I do n't want you here.<\/dialogue>\n    <character>ALBRECHT<\/character>\n    <dialogue>The hell you say. This is n't just about you any more.<\/dialogue>\n    <scene_description>Eric stares dead - on at Albrecht , acidly , then BREAKS the Guard 's sword , dropping the pieces and turning his back on Albrecht , who pursues Eric to :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPIRAL STAIRCASE - TO BELL TOWER - NIGHT<\/stage_direction>\n    <scene_description>The crow FLAPS UPWARD through the void . Eric grabs the thick bellrope , testing it . A final look to Albrecht .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Do n't interfere.<\/dialogue>\n    <character>ALBRECHT<\/character>\n    <dialogue>You're bleeding, man. You ca n't make it.<\/dialogue>\n    <scene_description>Eric shinnies up the bellrope , ignoring Albrecht . ON ALBRECHT Watching as Eric dissappears from view , fast . Grumbles .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <dialogue>You wo n't mind if I just take the stairs, then, smartass.<\/dialogue>\n    <scene_description>He hefts his arsenal bag of hardware and begins to plod up the steps . ANGLE - MOVING WITH ERIC ON THE ROPE - A weird perspective of speed climb . Zip ! All the way to the top .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT - CHURCH ROOF - NIGHT<\/stage_direction>\n    <scene_description>Slanted , shingled , slippery , dark . Lightning deep in the turbid clouds . The crow circles as Eric RISES INTO FRAME .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Here I am.<\/dialogue>\n    <scene_description>DOWNFRAME lightning STRIKES the ornate LIGHTNING ROD -LRB- large , Victorian , lance - like -RRB- at the far end of the roof from the bell tower . SILHOUETTING Lao and Elly standing in front of it . Elly flinches at the strike .<\/scene_description>\n    <character>LAO<\/character>\n    <dialogue>Can you fly, Crow man?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLTOWER SPIRAL STAIRS - RESUMING ALBRECHT<\/stage_direction>\n    <scene_description>He stops his ascent to light a cigarette .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <dialogue>I ai n't cut out for this superhero shit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCH ROOF - RESUMING LAO - NIGHT<\/stage_direction>\n    <scene_description>Lao SNAPS Elly 's free handcuff to the dimly glowing lightning rod and advances , one foot on either side of the peak of the roof , his blade brandished . CLOSE MOVING SHOT - ERIC - Hands up to grapple , but weaponless . He spiders to meet Lao , suddenly PICKING UP SPEED and RUNNING along the precarious peak . Lao sees him coming , braces to strike , but Eric executes a BROAD FLYING LEAP right over Lao 's head . ERIC LANDS , SLIPS , sprawls sideways , clinging to the peak of the roof . Lao hurries in to slash with the blade , as Eric averts . The steel RINGS . Eric converts his dodge into a low spin kick that DUMPS Lao . Eric SPREAD - EAGLES to keep from falling . Distantly , Lao similarly saves himself . NEW ANGLE - THE FIGHT - Here comes Lao , crabbing back toward the peak . Eric ROLLS to Elly 's position , GRABS the lightning rod and tries to wrest it loose . SIZZLE OF FLESH as Eric 's hands are scorched : the metal is still blue - hot . MOVING WITH LAO as Eric battles to free the lightning rod . Lao closes up distance , gives a warcry and prepares to swing as - Eric WRENCHES the rod loose and turns to deflect Lao 's blow . The weapons spark as they meet . and there goes Elly , her handcuff freed , SLIDING DOWN THE ROOF SLOPE . ANGLE - ROOF SLOPE - WITH ERIC as he dodges Lao by using the lightning rod to vault down to where Elly is about to slip off the roof . With the rod embedded in the roof , Eric hangs on , and elly hangs on to Eric . UP ANGLE - LAO , a dark figure against the night sky , raising the sword .<\/scene_description>\n    <character>LAO<\/character>\n    <dialogue>Face me!<\/dialogue>\n    <scene_description>Eric guides Elly to the top of one of the flying buttresses . When he looks up , Lao is gone . ANGLE - BELL TOWER - Albrecht 's head pokes up at last . Looks around , finally spots Eric below and to the left . YELLS , serio - comic .<\/scene_description>\n    <character>ALBRECHT<\/character>\n    <dialogue>Is he dead yet?<\/dialogue>\n    <scene_description>INSERT - ALBRECHT 'S HOLSTER as Lao 's hand draws Albrecht 's gun quickly . ANGLE - ALBRECHT AND LAO - Lao has blindsided Albrecht .<\/scene_description>\n    <character>LAO<\/character>\n    <dialogue>No. You are.<\/dialogue>\n    <scene_description>He jams the gun into the base of ALbrecht 's neck and fires three times . CLOSE ANGLE - ERIC - He 's too far away to matter . Shock . INSERT - ALBRECHT 'S CIGARETTE as it rolls down the slope , trailing sparks , snuffing out . ANGLE - ERIC holding onto the lightning rod as lightning CUTS the night above him . ANGLE - LAO AT BELL TOWER , triumphant and a bit wild , SHOUTING .<\/scene_description>\n    <character>LAO<\/character>\n    <dialogue>You've caused another death, Mister Draven! The girl will die as well - because of you!<\/dialogue>\n    <scene_description>ANGLE - ELLY ON FLYING BUTTRESS The base of a triangle - Lao , Eric , Elly .<\/scene_description>\n    <character>ELLY<\/character>\n    <dialogue>You go to hell, you pervert!<\/dialogue>\n    <scene_description>RESUME ERIC Rage over the loss of Albrecht . He RISES , hurting but mad as hell . GLARES UP toward Lao .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>And how many lives have you destroyed?<\/dialogue>\n    <character>LAO<\/character>\n    <dialogue>I took yours from you. Your little girlfriend? I took hers, too. Your meaningless, petty life? I took it so that tonight your existence might gain a purpose. You're no avenger. You're mine.<\/dialogue>\n    <scene_description>PUSH IN TIGHT ON ERIC . Eyes alight with hatred for Lao .<\/scene_description>\n    <character>ERIC<\/character>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>You're right, I'm not an avenger. Not any more.<\/dialogue>\n    <scene_description>As lightning strikes , Eric Fires his gaze TOWARD THE SKY . HIGH ANGLE - LAO ON ROOFTOP - -LRB- `` CROWVISION '' -RRB- SEEING the crash dive toward Lao through the row 's eyes . ANGLE - LAO ON ROOFTOP As the crow wings down INTO FRAME and lights on Lao 's head , CLAWING ! CLOSE - UP - THE CROW ON LAO 'S HEAD slashing with its claws . Pecking out Lao 's eyes . WITH ERIC - on the roofslope as he totters but maintains his climb , the crow\/Lao UPFRAME B.G. RESUME LAO - as the crow abandons him . Lao STAGGERS AND FALLS down the roof - toward Eric . SLANTED ANGLE - ERIC AND LAO - Eric ARRESTS Lao 's fall , fisting lapels and bringing him nose to nose . Fury .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Time for a sacrifice.<\/dialogue>\n    <scene_description>Lao 's face is a hideous bloody mask with black holes where the eyes used to be . He smiles gruesomely .<\/scene_description>\n    <character>LAO<\/character>\n    <dialogue>I do n't need eyes to take what I want from you.<\/dialogue>\n    <scene_description>He EMBRACES Eric and RAMS the killing blade deep into Eric 's back ! ON ERIC as he looks down to see the blade protruding from his sternum . Tight grimace . A lot of pain .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Can you fly?<\/dialogue>\n    <scene_description>He pulls Lao into a BACKWARD ROLL down the roof , HOLDING HIM TIGHT . MOVING ANGLE - INTERCUTS - ERIC AND LAO FALL Eric lands on his back , forcing the blade THROUGH himself and INTO Lao . Eric completes the roll and KICKS Lao off INTO SPACE , the killing blade still embedded in him ! WITH LAO as crashes , sliding , sprawling down PAST Elly 's position . Gets to his knees atop the flying buttress . Sees the blade in his own chest . CLOSE - UP - ELLY - she sees it all happen . RESUME LAO - a regretful look toward Eric . He PLUMMETS off the roof edge . ANGLE - ERIC SLIDES DOWN ROOF - He slows , stopping when Elly is in frame . He clutches his own chest . Regards his own shaking hand , drenched in his won blood . Glazed . ON ELLY , as she finally gets the duct tape off her mouth , trying to get to Eric . She flails and cries out .<\/scene_description>\n    <character>ELLY<\/character>\n    <dialogue>Do n't let me fall!<\/dialogue>\n    <scene_description>CLOSE - UP - their hands finally meet and GRASP TIGHT .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETERY - NIGHT (LATER) (RAIN)<\/stage_direction>\n    <scene_description>A low angle TRACKING SHOT -LRB- as when we first met Elly -RRB- . Eric 's and Elly 's feet pass graves . Eric 's pace is slow , crippled , limping . They STOP at a grave where elly BENDS INTO FRAME to steal the flowers there . Eric is bloody and out of it . She helps him walk .<\/scene_description>\n    <character>ELLY<\/character>\n    <dialogue>Now do you get to see her? Shelly, I mean.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>In a better place. I hope.<\/dialogue>\n    <character>ELLY<\/character>\n    <dialogue>You're not gon na come back, are you?<\/dialogue>\n    <scene_description>Eric 's response is halting and uncertain . But he tries to give her hope . He reaches for Shelly 's ring around her neck , holds it up to her .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>I do n't know if I can. But you have this. and you know where to come.<\/dialogue>\n    <character>ELLY<\/character>\n    <dialogue>You mean you'll, like' dig your way out of the grave? Euww.<\/dialogue>\n    <scene_description>Eric is amused by this in spite of his grievous injuries . He grasps Elly 's face in his hands and bends , painfully , to kiss her on the forehead .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>For you, I'll try. Promise.<\/dialogue>\n    <scene_description>MOVE WITH ERIC Spent , empty , he holds the rose determinedly , but he 's never going to make it the few yards back to his own grave . So close . His legs finally go and he collapses onto the humus . One groping hand tries to drag him further .<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Leave me now.<\/dialogue>\n    <scene_description>ANGLE - ELLY Tears on her face . She ca n't watch this . She TURNS and drops the flowers on Shelly 's grave . ERIC 'S POV - HIS OWN GRAVE Still too far away to matter . RESUME ERIC ON GROUND He gives it up , his face sinking into the wet grass for a beat before SHELLY 'S HAND intrudes INTO FRAME to GRASP his hand . No ethereal glow , no heavenly choir . just a near - dead Eric 's blank - faced astonishment , and he moves forward . ANGLE - ELLY - SHELLY 'S GRAVE BG She struggles to get her hood up against the rain and roughly wipes the moisture from her face with her sleeve . She turns toward Eric 's grave . Then , surprised , she looks close . ANGLE - ERIC 'S GRAVE Eric is gone . The white rose lies neatly on the top of the undisturbed earth there . HIGH ANGLE - CEMETERY Emphasizing that Elly is now ALONE in the graveyard . LOW ANGLE on Elly , ROSE in the foreground - She walks OFF . HOLD the rose .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARLA'S APARTMENT - DAY (OVERCAST)<\/stage_direction>\n    <scene_description>A grey day but no rain . Elly stands wistfully by the window , her doll on standby . The apartment is in order and perhaps we notice a few new items . Gabriel the cat , miraculously ALIVE , is sprawled on a chair , licking himself . Darla BUSTLES INTO FRAME B.G. . Her wardrobe more upscale , her hair done . Her manner is hectic but natural .<\/scene_description>\n    <character>DARLA<\/character>\n    <dialogue>Worktime, kiddo. First day, new job, got ta go.<\/dialogue>\n    <scene_description>This does not get the expected smile from Elly .<\/scene_description>\n    <character>DARLA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You sure you're gon na be okay?<\/dialogue>\n    <scene_description>Elly turns from the window and NODS silently . ELLY 'S POV - OUTSIDE The aforementioned grey day in the city . ANGLE - DARLA AND ELLY AT THE WINDOW . Darla comes up . Arm around Elly . Cheer up ; he attitude much more connected and loving . PUSH IN ON ELLY so we know she is clutching SHelly 's ring tightly in her hand . Darla looks past Elly , out the window .<\/scene_description>\n    <character>DARLA<\/character>\n    <dialogue>At least it finally stopped raining.<\/dialogue>\n    <character>ELLY<\/character>\n    <dialogue>It ca n't rain all the time.<\/dialogue>\n    <scene_description>Darla kisses Elly on the temple and it out the door . Elly OPENS her hand to consider the ring . She looks back out the window - ANGLE - THE CROW ON THE LEDGE Elly is looking right at it . Same crow . We 're positive . So is Elly . It TAKES WING and flies away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETERY - DAY<\/stage_direction>\n    <scene_description>An UP ANGLE from Eric 's grave toward the tree as the crow FLIES INTO FRAME and perches there , shucking water . PUSH IN on the crow . Watching . Waiting . SLOW FADE TO DEAD BLACK . THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"On October 30, Devil's Night in Detroit, Sergeant Albrecht is at the scene of a crime where Shelly Webster has been beaten and raped, and her fianc\u00e9, Eric Draven, lies dead on the street after being stabbed, shot, and thrown out the window. The couple had planned on getting married the following day, Halloween. As he leaves for the hospital with Shelly, Albrecht meets a young girl, Sarah, who says that she is their friend, and that they take care of her. Albrecht tells her that Shelly is dying. One year later, a crow taps on the grave stone of Eric Draven; Eric awakens and climbs out of his grave. Meanwhile, a low level street gang, headed by T-Bird, is setting fires in the city. Eric goes to his old apartment and finds it derelict. He has flashbacks of the murders, remembering that those responsible were T-Bird and his gang: Tin Tin, Funboy and Skank. Eric soon discovers that any wounds he receives heal immediately. Guided by the crow, he sets out to avenge his and Shelly's murders by killing the perpetrators. The crow helps Eric locate Tin Tin; Eric kills him and takes his coat. He goes to the pawn shop where Tin Tin pawned Shelly's engagement ring. Eric forces the owner, Gideon, to return the ring and blows up the shop with gasoline, letting Gideon live so that he can warn the others. Eric finds Funboy with Sarah's mother, Darla. After killing Funboy, Eric talks to Darla, making her realize that Sarah needs her to be a good mother. He visits Albrecht, explaining who he is and why he is here. Albrecht tells him what he knows about Shelly's death and that he watched as she suffered for thirty hours before dying. Eric touches Albrecht and feels the pain Shelly felt during those hours. Sarah and her mother begin to repair their strained relationship. Sarah goes to Eric's apartment and tells him that she misses him and Shelly. Eric explains that, even though they cannot be friends anymore, he still cares about her. As T-Bird and Skank stop at a convenience store to pick up supplies, Eric arrives and kidnaps T-Bird. Skank follows the pair and witnesses Eric kill T-Bird; he escapes and goes to Top Dollar, a top-level criminal who controls all the street gangs in the city. Top Dollar and his lover\/half-sister Myca have become aware of Eric's actions through various reports from witnesses. Top Dollar holds a meeting with his associates where they discuss new plans for their Devil's Night criminal activities. Eric arrives looking for Skank. A gun fight ensues, killing nearly everyone there, and Eric kills Skank. Top Dollar, Myca and Grange, Top Dollar's right-hand man, escape. Eric, having finished his quest, returns to his grave. Sarah says goodbye to him, and he gives her Shelly's engagement ring. She is abducted by Grange, who takes her into the church where Top Dollar and Myca are waiting. Through the crow, Eric realizes what has happened and goes to rescue her. Grange shoots the crow as it flies into the church, making Eric lose his invincibility. Myca grabs the wounded crow, intending to take its mystical power. Albrecht arrives, wanting to pay his respects to Eric, just after Eric is shot and wounded. Top Dollar grabs Sarah and climbs the bell tower as a fight ensues, and Albrecht kills Grange. The crow escapes Myca's grip, claws her eyes, and sends her down the bell tower to her death. When Albrecht is wounded, Eric climbs to the roof of the church on his own. There, Top Dollar admits ultimate responsibility for what happened to Eric and Shelly. In their fight, Eric gives Top Dollar the thirty hours of pain he absorbed from Albrecht; the sensation sends Top Dollar over the roof of the church to his death. Sarah accompanies Albrecht to the hospital, and Eric is reunited with Shelly at their graves."}
{"movie_name":"Disobedience_2017","imdb_id":"tt6108178","script":"<script>\n  <scene>\n    <character>DISOBEDIENCE<\/character>\n    <dialogue>Written by<\/dialogue>\n    <scene_description>Sebastian Lelio Rebecca Lenkiewicz Based on the novel by Naomi Alderman.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HENDON SYNAGOGUE. DAY<\/stage_direction>\n    <scene_description>An Orthodox Jewish synagogue in North West London is bursting with PEOPLE. The Torah is in the arch. The doors are closed. Everybody holds their breath as their spiritual leader, the old and frail RAV KRUSHKA (70s) steps up to the podium, helped by a younger Rabbi, DOVID KUPERMAN, tall, attractive,(40s).<\/scene_description>\n    <character>RAV KRUSHKA<\/character>\n    <dialogue>In the beginning, Hashem made three types of creatures: the angels, the beasts and the human beings.<\/dialogue>\n    <scene_description>His face lights up speaking about the Torah.<\/scene_description>\n    <character>RAV KRUSHKA<\/character>\n    <dialogue>The angels, He created from His pure word. The angels have no will to do evil, they cannot deviate for one moment from His purpose...<\/dialogue>\n    <scene_description>The crowd hangs on his every word.<\/scene_description>\n    <character>RAV KRUSHKA<\/character>\n    <dialogue>The beasts have only their instinct to guide them. They too follow the commands of their Maker... The Torah states that Hashem spent almost six whole days of creation fashioning these creatures. Then just before sunset, He took a small quantity of earth and from it He fashioned man-and-woman. An afterthought? Or His crowning achievement?<\/dialogue>\n    <scene_description>The Rav looks weak, but wants to carry on.<\/scene_description>\n    <character>RAV KRUSHKA<\/character>\n    <dialogue>So, what is this thing, man? Woman? It is a being with the power to disobey. Alone among all the creatures we have free will.<\/dialogue>\n    <scene_description>His strength is failing him. He's unable to speak for a few moments. He tries again, more urgently.<\/scene_description>\n    <character>RAV KRUSHKA<\/character>\n    <dialogue>We hang suspended between two certainties: the clarity of the angels and the desires of the beasts.<\/dialogue>\n    <character>RAV KRUSHKA<\/character>\n    <dialogue>Hashem gave us Choice which is both a privilege and a burden: we must then Choose the tangled life we live.<\/dialogue>\n    <scene_description>The Rav closes his eyes for a moment. When he opens them, he stares at the crowd, blankly. He can't continue. Dovid takes the Rav's arm and starts leading him back to his seat. The Rav stops, mumbles something in Yiddish about not being able to see very clearly\u2026 And collapses. An instant of stunned silence, then several MEN rush over to the body.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MORGUE. FUNERAL RITES MONTAGE. DAY<\/stage_direction>\n    <scene_description>A HAND rips the right lapel of a coat. This is Dovid, who watches the funeral ritual of the Rav. The CHEVRA KADISHA --almost silhouettes-- clean the Rav's nails with small wooden sticks. They purify the body by pouring three lots of water continuously. They put clay upon his eyes and mouth. They cover the Rav's head and clothe him. The Chevra Kadisha surround the Rav's body and ask his forgiveness. They put the body into a coffin and nail the lid down with two wooden sticks.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETERY. DAY<\/stage_direction>\n    <scene_description>The burial. Chants and prayers are uttered as the coffin is cast into a hole. CRACK.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MANHATTAN APARTMENT. NIGHT<\/stage_direction>\n    <scene_description>RONIT KRUSHKA (40) dances softly, enjoying herself, at an intimate gathering in a trendy downtown apartment. She is a beautiful woman, made irresistible by the abandon with which she dances. Ronit holds her hand out to someone. A GIRL joins her on the floor. They dance moving closer, until their foreheads touch. A MAN (30s) now comes over and dances with them both.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE NEW YORK SUBWAY. DAWN.<\/stage_direction>\n    <scene_description>Ronit sits on one side of the carriage, alone. The train speeds through the city which is blurred lights and shapes through the window.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A STREET IN MANHATTAN. DAWN.<\/stage_direction>\n    <scene_description>Ronit walks towards her apartment. She smokes her last cigarette of the night, throws the butt towards the road, reaches for her keys and goes to the front door of a large warehouse type building.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RONIT'S APARTMENT LIVING ROOM\/BEDROOM. MANHATTAN. DAWN.<\/stage_direction>\n    <scene_description>Ronit is in a t-shirt and pyjama bottoms. She walks from the living room to her bedroom. The living room is sparse, basic and functional. There is no element of family. There are stacks of large art books and some photographic equipment, piles of photo contact sheets on the floor. Ronit walks into the bedroom and perches on the couch next to a large window. She looks at the vast cityscape whilst taking out her ear- rings and undoing her necklace; placing them on the window sill. The view is of buildings, a vast and lonely city. Ronit gets into bed. She drinks some water and puts in a gumshield to stop her grinding her teeth. She lies down and tries to sleep. The water pipes start to make a noise.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A PHOTOGRAPHIC STUDIO. MANHATTAN. DAY.<\/stage_direction>\n    <scene_description>Ronit takes pictures of an OLD MAN, 70s, from various angles. He wears jeans, he's shirtless and is completely tattooed. He seems relaxed and looks at Ronit. He looks iconic and is friendly. CLAUDIA, African-American, stylish, confident, 30s, stands at the side of a white backdrop. On chairs at the side there are various OLDER TATTOOED PEOPLE. They drink coffee and watch.<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>Are you getting what you need?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Yes. This is great. Thank you. Are you okay?<\/dialogue>\n    <character>OLD MAN<\/character>\n    <dialogue>I'll need a smoke in a bit.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Just five more minutes.<\/dialogue>\n    <scene_description>The TATTOOED MAN nods. A knock on the door a level above. Claudia goes up the spiral stairs. Ronit looks around but keeps taking pictures. Claudia comes back down to Ronit, serious.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>Ronnie.. You need to speak to this man.<\/dialogue>\n    <scene_description>Ronit is about to protest but sees Claudia's expression. Ronit goes up the staircase and looks to the door. She sees the silhouette of an older man, an ORTHODOX JEW. He wears a hat and a long black coat. Ronit puts her camera down and approaches him. She hesitates now, he is framed by the door, almost a silhouette of another time. She walks towards him, suddenly quietly terrified.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A PHOTOGRAPHIC STUDIO. MANHATTAN. DAY.<\/stage_direction>\n    <scene_description>Ronit takes more photos of the Old Man. But now Ronit's hands are shaking, she is in quiet shock, distracted, but trying to carry on. The Old Man takes out a battered old silver cigarette case from his back pocket.<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>Are you okay? Do you want to stop?<\/dialogue>\n    <scene_description>Ronit stares, nods.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>No, I'm fine.<\/dialogue>\n    <character>OLD MAN<\/character>\n    <dialogue>.. Okay..<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Actually... Can I have a cigarette?<\/dialogue>\n    <character>OLD MAN<\/character>\n    <dialogue>Sure. I'll have one with you.<\/dialogue>\n    <scene_description>The Old Man offers her a cigarette from his case. Ronit takes it with a shaking hand.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>She heads towards a door to a balcony. The Old Man follows her.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>Do you want a coffee or something?<\/dialogue>\n    <character>RONIT ( GENTLE)<\/character>\n    <dialogue>No.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PHOTOGRAPHIC STUDIO. A BALCONY. MANHATTAN. DAY.<\/stage_direction>\n    <scene_description>The Old Man gets out his zippo and lights the cigarette for a clearly shaken Ronit. It's a long way down and it is noisy and industrial below.<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>You take it easy.. I've been there.<\/dialogue>\n    <scene_description>Ronit nods, she doesn't want to speak for fear of breaking down. The OLD MAN puts his hand on her shoulder for a moment.<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>..You'll be okay. The world stops for a bit. Then it starts turning again.<\/dialogue>\n    <scene_description>Ronit breathes and smokes, looks down at the people who are like ants beneath her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A CAB. MANHATTAN. DAY.<\/stage_direction>\n    <scene_description>Ronit and Claudia sit in the back of a cab. Ronit is in quiet shock. They have a lot of equipment with them. Boxes and lights.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>I'm not going to London.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Okay.. You do what you need to do Ronnie. Are you sure though?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>I think so.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Can I do anything?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>No.. I'm going to walk..<\/dialogue>\n    <scene_description>Claudia nods, leans forward to the cab driver.<\/scene_description>\n    <character>CLAUDIA ( TO THE DRIVER)<\/character>\n    <dialogue>Could you pull over please?<\/dialogue>\n    <character>RONIT ( TO HERSELF)<\/character>\n    <dialogue>..I kept meaning to send pipe tobacco... And I didn't.<\/dialogue>\n    <scene_description>Claudia puts her hand on Ronit's arm.<\/scene_description>\n    <character>RONIT (TO CLAUDIA)<\/character>\n    <dialogue>Can you take this back?<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Of course...<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Thanks. Thanks Claudia.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK STREET. DAY.<\/stage_direction>\n    <scene_description>Ronit closes the cab door and walks away from the traffic. She is shaken, trying to grasp reality.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW YORK BAR. DAY.<\/stage_direction>\n    <scene_description>Ronit sits in a trendy but almost empty bar and drinks a glass of wine, her bottle is almost empty. STEVEN, 40s, taps away at a lap top, busy. He is attractive, intelligent looking and slightly craggy. He looks over at Ronit. She looks straight back at him. He smiles at her.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>Ronit half smiles but doesn't reply, she can't do small talk. He looks back to his computer but then looks at her again and Ronit looks back at him.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>I'm Steven.<\/dialogue>\n    <scene_description>Ronit nods, then looks back to her drink.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW YORK BAR. A BATHROOM. DAY.<\/stage_direction>\n    <scene_description>Ronit and Steven, clothed, are in a cubicle, having quiet sex. Ronit is trying to distract herself from the pain she is feeling; she feels primal, from her grief comes a need for sex.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK STREET. DAY.<\/stage_direction>\n    <scene_description>Ronit walks, she needs to just walk and walk, very alert but lost .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICE SKATING RINK. NEW YORK. NIGHT.<\/stage_direction>\n    <scene_description>There are a few PEOPLE, MUSIC over the speakers. Ronit starts to skate around the rink. With every lap she goes faster, more frantically. She falls down and gets back up. She tries harder, hoping to cast out her anxiety. She skates faster and faster, but again falls hard on the ice. Finally, she gives up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICE SKATING RINK. DRESSING ROOM. NEW YORK. NIGHT.<\/stage_direction>\n    <scene_description>Still panting, Ronit takes off her skates. She has no choice but to accept it -- she stands up and tries to rip the right side of her collar. The seams won't give, Ronit gets frustrated. Finally, she uses her teeth and hands\u2026 then RIPS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AN AEROPLANE. DAWN.<\/stage_direction>\n    <scene_description>Ronit is bundled up on a seat with her jumper behind her neck. She half wakes with the golden light that comes through the window. She takes in the beauty of it, the pink and gold clouds, then closes her eyes again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HEATHROW AIRPORT ARRIVALS. LONDON. DAY.<\/stage_direction>\n    <scene_description>Various CABBIES and PEOPLE stand with signs with names of different people. Ronit looks at the signs and walks past, no one is expecting her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. TAXI\/ NORTH CIRCULAR. DAY.<\/stage_direction>\n    <scene_description>Ronit is in the back of a taxi, exhausted and nervous. The roofs of London houses hurtle past as they are on an elevated road.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. TAXI\/ HENDON HIGH STREET. DAY.<\/stage_direction>\n    <scene_description>Ronit looks out at suburbia; there are shops with occasional Hebrew letters, PEOPLE in Orthodox Jewish outfits\u2026 large families.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOVID &amp; ESTI'S HOUSE. HENDON. DAY.<\/stage_direction>\n    <scene_description>The taxi drops Ronit off on a street of small houses. Ronit is about to cross the road but a door opens to the house opposite and a SMALL GROUP of Orthodox Jews come out. Ronit wears a shirt that shows her cleavage. As she looks at the group she automatically does up the buttons to the neck. Ronit waits for them to leave, half-hidden behind a tree. Then she crosses over with her large wheelie suitcase. The wheels sound loud in the silence. The door is open. Ronit waits and looks at the open door. A TEENAGE GIRL comes out and sees Ronit and walks back inside. Dovid Kuperman appears now. He's tall, a handsome face but slightly worn, unshaven, tired, and his lapel is torn. He is shocked to see Ronit there, with her bags.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Ronit....<\/dialogue>\n    <scene_description>It's all awkward. He nods, sighs.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Ronit..<\/dialogue>\n    <scene_description>Ronit smiles, unsure.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Hello Dovid.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>We weren't expecting you.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>No..<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>... May you live a long life.<\/dialogue>\n    <scene_description>Ronit looks at him, hurt, imploring. She moves forward to hug him but he draw back. He cannot touch her, these are the rules. Ronit sees this, remembering.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Did you come straight from the airport?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>..Yeah.. I'll go to a hotel.<\/dialogue>\n    <scene_description>Dovid nods.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>..People are here.. To honour the Rav..<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Right..<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Are you okay?<\/dialogue>\n    <scene_description>Ronit nods, tries to be strong.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>How did he die?<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Pneumonia finally.<\/dialogue>\n    <scene_description>Ronit's bag falls over, uneven weight. Dovid picks it up for her.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Can you face everyone?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Yeah..<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>... It's good to see you Ronit.<\/dialogue>\n    <scene_description>Ronit is grateful for his warmth, smiles at Dovid.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Is it?<\/dialogue>\n    <scene_description>Dovid opens the door wider, he takes her bag in. Ronit takes a deep breath, ready to face people. Dovid beckons her in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVID &amp; ESTI'S HOUSE. LIVING ROOM. DAY.<\/stage_direction>\n    <scene_description>The room has a dozen PEOPLE. A RITUAL CANDLE burns on a side table, the mirror on the wall is covered, there's a table with food. Ronit follows Dovid, uncomfortable to find that her presence doesn't go unnoticed. A MAN nods at her, gravely, a few WOMEN turn to look at her openly and murmur, but no one speaks to her. Ronit looks around the room, gets more stares\u2026 She goes over to the table and looks at the food instead -- the dishes and the way they're served: it takes her back. The young WIVES obviously admire DOVID as a young and handsome leader. FRUMA HARTOG ( 60s) walks in, she is in her thick coat and sees Ronit.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Fruma..<\/dialogue>\n    <scene_description>Fruma puts her arms out and goes quickly to Ronit and hugs her.<\/scene_description>\n    <character>FRUMA<\/character>\n    <dialogue>Moshe.. Look! Look... Ronit? It's really you.. Ronit is here... Of course you're here. Moshe!<\/dialogue>\n    <scene_description>MOSHE HARTOG, 60s, walks over to them, imposing, large coat. He stares at Ronit.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Uncle Hartog. How are you?<\/dialogue>\n    <character>HARTOG<\/character>\n    <dialogue>Ronit.... How are you?<\/dialogue>\n    <scene_description>Ronit shrugs, stuck for words. Hartog and Ronit evidently have a troubled history but Hartog puts his hands above Ronit's shoulders, indicating his awkward sympathy but not touching her. Hartog wants to cry about his brother-in-law the Rav.<\/scene_description>\n    <character>HARTOG<\/character>\n    <dialogue>May you live a long life.<\/dialogue>\n    <scene_description>Hartog is tapped on the shoulder by an OLD MAN and, relieved, he turns to talk to him. FRUMA indicates that she'll hang up her coat and walks towards the hall. HINDA (40) waves over, fascinated at Ronit, who nods. HINDA touches her heart and indicates tears down her own cheek, the gesture annoys Ronit. Dovid approaches and Hinda smiles a huge smile at him which Ronit registers. Hinda's FEMALE FRIEND also gives Dovid a huge smile, they look at Dovid and Ronit, intrigued, then away as Ronit stares back at them.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Are you alright?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Can I get a coffee?<\/dialogue>\n    <scene_description>Dovid nods.... He starts towards the kitchen through the dining room. Ronit follows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>23A INT. DOVID &amp; ESTI'S HOUSE. DINING ROOM. DAY. 23A<\/stage_direction>\n    <scene_description>There are a few PEOPLE in this room, talking, eating. Ronit is about to follow Dovid into the kitchen but now she sees ESTI KUPERMAN (30s), dressed like a perfect Orthodox wife: wig, headscarf, high neck, long sleeves, a skirt to her feet\u2026 in spite of which her beauty and sensuality radiate. Esti looks over at Ronit-- her slacks, designer coat, haircut and makeup\u2026 It's like they come from different eras. Ronit and Esti signal hello with a nod. They look at each other almost antagonistically for a moment. Fruma approaches Ronit.<\/scene_description>\n    <character>FRUMA<\/character>\n    <dialogue>Ronit.. It's so good that you came. When will you go back? Will you stay for the Hesped?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>..How have you been Fruma?<\/dialogue>\n    <character>FRUMA<\/character>\n    <dialogue>Oh you know Ronit..My eyes. My back..But I don't complain. And the Rav, Ronit.. We are bereft. But you know Dovid may take over at the shul? And you.. Married?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>They look across at Hinda who has just walked through with her Friend, curious.<\/scene_description>\n    <character>FRUMA<\/character>\n    <dialogue>Did you speak to Hinda yet? You were friends no?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>No. Fruma nods. Ronit looks over at Esti. Fruma follows her gaze.<\/dialogue>\n    <character>FRUMA<\/character>\n    <dialogue>Three boys Hinda has. And there's Esti of course.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>What does Esti do now?<\/dialogue>\n    <character>FRUMA<\/character>\n    <dialogue>Esti teaches at your old girls' school. No children.<\/dialogue>\n    <scene_description>Ronit and Esti catch each other's eye again.<\/scene_description>\n    <character>FRUMA<\/character>\n    <dialogue>Esti has forgiven you Ronit. We all have.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>What? For what?<\/dialogue>\n    <character>FRUMA<\/character>\n    <dialogue>For everything. Your.. Rage.<\/dialogue>\n    <scene_description>Ronit cannot reply, puzzled and quietly angry.<\/scene_description>\n    <character>FRUMA<\/character>\n    <dialogue>Dovid nursed the Rav you know.. to the end. He was like a son to him. Never left his side. But so much pain. It was a release. It must be so hard for you not to have said goodbye.<\/dialogue>\n    <scene_description>It's all too much for Ronit. She takes her cigarettes out of her bag.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Excuse me Fruma.<\/dialogue>\n    <character>FRUMA<\/character>\n    <dialogue>You'll never conceive. With the nicotine Ronit. And all these mobile phones.<\/dialogue>\n    <scene_description>Ronit walks away towards the kitchen, Fruma turns, concerned, to the WOMAN next to her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVID &amp; ESTI'S HOUSE. KITCHEN. DAY.<\/stage_direction>\n    <scene_description>Ronit walks over to Dovid who pours her a coffee from a jug flask.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Fruma just referred to \"my rage\".<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Do you still take it black?<\/dialogue>\n    <scene_description>Dovid hands Ronit a coffee.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Yeah.. I'll get a cab in a bit.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Stay here Ronit.<\/dialogue>\n    <scene_description>Dovid smiles, Ronit smiles, she appreciates his warmth. Dovid seems to be somewhat quietly battling with himself.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Will you take over at the shul?<\/dialogue>\n    <scene_description>Dovid shrugs.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>It's too early to think of such things..<\/dialogue>\n    <scene_description>He pauses, really takes Ronit in.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>So you came.. To mourn the Rav?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Why else would I be here?<\/dialogue>\n    <scene_description>Dovid shrugs.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>You were never very predictable.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Are you still angry with me?<\/dialogue>\n    <scene_description>Dovid doesn't know if he is or he isn't.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>You left very suddenly.....<\/dialogue>\n    <scene_description>Ronit and Dovid are silent for a moment.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Are you married?<\/dialogue>\n    <scene_description>DOVID smiles, nods.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>When did that happen?<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>A while ago.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Who is she? Do I know her? It's not Hinda? Please.. Hinda of Hendon...<\/dialogue>\n    <scene_description>Dovid keeps his wife's name to himself.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Shit.. It Is Hinda.. I'm sorry..no? Dovid?<\/dialogue>\n    <scene_description>Ronit smiles, that would be awful. Dovid smiles. Ronit is trying to resurrect their old camaraderie and humour which seems to be all but absent.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>No. No, I didn't marry Hinda.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Good. So that leaves a hundred identical to Hinda.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Don't be cruel.<\/dialogue>\n    <scene_description>Esti walks past them with some plates. Ronit stares at her.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Esti..<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Ronit. How are you?<\/dialogue>\n    <scene_description>The women look at each other, Esti stacked with plates, Ronit just a cigarette.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>I'm..here..which is.. Strange. You?<\/dialogue>\n    <scene_description>Esti looks to Dovid, what have they been talking about?<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>... May you live a long life.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>..Fruma said you're teaching.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>I am... You look very New York.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>You look very.. frum.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Shall I take more food out?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Leave it. I'll do it. Or Dovid's wife.. when she appears.<\/dialogue>\n    <scene_description>Ronit looks to Esti for some humorous support. Esti simply looks at her, puts down the plates.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>So who became Mrs. Kuperman Esti? Do we approve?<\/dialogue>\n    <scene_description>Ronit wants to reconnect with them...Dovid and Esti look at each other.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Ronit was going to go to a hotel. But I told her she should stay with us.<\/dialogue>\n    <scene_description>Esti hesitates, unsure, then nods.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Yes.. Yes you must.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Ronit looks to Esti who looks down. Esti looks to Dovid who stares straight back at Ronit who realises that they are married. And is beyond surprised.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>I'll fold down the bed in the spare room?<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>I'll do it.<\/dialogue>\n    <scene_description>But Esti is slightly embarrassed at the domestic request.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>You two.. You're married..<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Yes. Yes we are, Ronit.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>You're married..<\/dialogue>\n    <scene_description>Ronit is amazed.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>The Rav gave us his blessing. Baruch Hashem.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Nobody told me. You didn't let me know.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>You disappeared.<\/dialogue>\n    <scene_description>Esti leaves them to sort the spare room.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>The hesped will be a big event.. The Rav was so loved... I don't know how I'm going to cope without him.<\/dialogue>\n    <scene_description>This is all too awkward for Ronit whose loss is more complex.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>You and Esti got married? It was always the three of us.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>You went away. That left the two of us.<\/dialogue>\n    <scene_description>Ronit is shocked and quietly raging.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>I would have come over, if you'd told me he was ill.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>The Rav didn't want you to know.<\/dialogue>\n    <scene_description>Ronit nods, she feels rejected once more by her father. Dovid can see this and is sorry.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>He became very frail. He probably didn't want you to see him like that.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>You still should have called me. Then I could have been here.<\/dialogue>\n    <scene_description>Ronit is confused and angry, she struggles to contain herself. She lights up a cigarette. Dovid opens a door for her to step into the garden. They really look at each other. Ronit doesn't move outside.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>This week has been harsh Ronit... Please?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>My father just died.<\/dialogue>\n    <character>DOVID ( GENTLY)<\/character>\n    <dialogue>I know. I was there.<\/dialogue>\n    <scene_description>Dovid looks away, upset. Ronit is lost. Dovid drums the table with his fingers, tired, blasted. Ronit throws her lit cigarette butt away and starts to walk away from Dovid. She tries to overcome her upset.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>At least you told me he was dead.<\/dialogue>\n    <scene_description>Dovid didn't let her know but he lets this go by.. He is very determined to make things good.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Ronit.. It is important that this week is conducted with honour.<\/dialogue>\n    <scene_description>It's not a threat but a plea.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Honour..<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>That is the most important thing.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Absolutely.<\/dialogue>\n    <scene_description>Dovid sighs, real pain and trouble has arrived.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVID &amp; ESTI'S HOUSE. THE LIVING ROOM. DUSK.<\/stage_direction>\n    <scene_description>Dovid stands by the ritual candle. Esti is behind him. Hartog stands beside Esti and Fruma beside him. Still stunned, Ronit stands apart from them and back as the people gather around him for the end of shiva.<\/scene_description>\n    <character>DOVID<\/character>\n    <parenthetical>(recites in Hebrew)<\/parenthetical>\n    <dialogue>Your sun shall no more go down, nor your moon withdraw itself; for the Lord will be your everlasting light, and your days of mourning shall be ended.<\/dialogue>\n    <scene_description>Dovid heads for the front door, everybody follows him. Ronit stands there looking, but finds herself being pulled into the group.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOVID &amp; ESTI'S HOUSE. STREET. DUSK.<\/stage_direction>\n    <scene_description>Ronit is in the group of Men and Women that walk around the block to the right, part of the ritual. She can see Dovid and Esti walking ahead, through the faces. Suddenly, Esti turns back and looks at Ronit who stares back at her for a second. These events are affecting Ronit, who unexpectedly finds herself absorbed by the strength of the Orthodox Jewish world.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVID &amp; ESTI'S HOUSE. ATTIC GUEST ROOM. NIGHT.<\/stage_direction>\n    <scene_description>Esti shows Ronit into the guest room. Ronit takes in the place -- mismatched furniture from long ago, a sofa bed turned down. Dovid's teenage quilt cover with cars on it. Esti goes to the closet.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>I'll get you some hangers.<\/dialogue>\n    <scene_description>She throws some things around inside the closet, awkward. Ronit looks at her.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>What? I look older?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>I wasn't thinking that.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>I look tired. We all do.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Should I stay somewhere else?... Esti?<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Do what you want Ronit.<\/dialogue>\n    <scene_description>Ronit sighs, this is all going to be difficult.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Does this window open?<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>No. If you want to smoke you need to go downstairs.<\/dialogue>\n    <scene_description>Esti walks out of the room. On the table, Ronit sees the latest issue of the Jewish Messenger. She flips a page and finds -- INSERT -- RAV KRUSHKA'S OBITUARY A PHOTO of the Rav when he was younger, charismatic. Ronit starts to read. Something suddenly upsets her. Dovid comes in with an extra blanket. He puts it on the bed.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Do you need anything?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>RONIT (READS..)<\/character>\n    <dialogue>\"\u2026Rav Krushka's untimely death\u2026 is a crushing blow to Anglo-Jewry. He was a giant of the faith. Sadly he left no children.\"<\/dialogue>\n    <scene_description>Ronit looks up at Dovid, hurt.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Lazy journalism. That would have upset the Rav.<\/dialogue>\n    <scene_description>Dovid takes the paper from Ronit.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Childless..<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>It's probably some twelve year old reporter. Forget about it.<\/dialogue>\n    <scene_description>Ronit feels vulnerable, all this talk of her father and she is not really involved in any of it.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Everybody loves him so much. I used to wonder if I loved him as much as all those strangers did. Or sometimes if I loved him at all.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>You're his daughter.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>He was always closer to you.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>..He enjoyed teaching me.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>I used to wonder how the two of you could talk together for so long.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>He'd talk and I'd listen. Mostly about the Torah..Try to get some sleep Ronit.<\/dialogue>\n    <scene_description>Esti comes in and puts some hangers in the wardrobe, a towel on her arm. Dovid loiters, waiting for her to finish the task and they can both go. Esti puts the towel on the bed.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Thanks.. Dovid..<\/dialogue>\n    <scene_description>She goes to her suitcase and looks for something. Takes out an art catalogue of her photographs. She gives it to Dovid.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>I brought this for you.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Your pictures. Wonderful..<\/dialogue>\n    <scene_description>Esti waits at the door.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Thank you Ronit. Good night.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>So are you two well? Is it good?.. being married? ..<\/dialogue>\n    <scene_description>Dovid hesitates, nods.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>We're very happy.<\/dialogue>\n    <scene_description>Dovid and Esti exit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVID &amp; ESTI'S HOUSE. DINING ROOM. NIGHT.<\/stage_direction>\n    <scene_description>Esti goes to a covered mirror and takes the drape off it. She catches sight of herself for a moment, worried. Then she goes towards the kitchen.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>28A INT. DOVID &amp; ESTI'S HOUSE. KITCHEN. NIGHT. 28A<\/stage_direction>\n    <scene_description>Esti goes to the sink and turns on the tap. She takes a glass from the draining board and she's surprised to see -- her hands are shaking.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVID &amp; ESTI'S HOUSE. DOVID &amp; ESTI'S BEDROOM. DAY.<\/stage_direction>\n    <scene_description>Esti sits on her bed, already dressed, her wig on. She watches Dovid who wakes up. He almost immediately starts to say a morning blessing. He looks beautiful,half asleep.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Modeh Ani Lefanecha, Melech Chai Vekayam, Shehechezarta Bi Nishmati, Bechemla, Raba Emunatecha.<\/dialogue>\n    <scene_description>Esti crosses to him. He looks at her, what does she want? She kisses him on the mouth, with passion. He is surprised. She leaves the room. He gets up and goes to wash his hands in the water jug and bowl on a nearby table.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVID &amp; ESTI'S HOUSE. KITCHEN. DAY.<\/stage_direction>\n    <scene_description>Esti and Dovid sit at the table after breakfast, having tea. Esti turns the pages of Ronit's monogram, they are photographic portraits of twins.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Have you looked at these?<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Ronit appears at the bottom of the stairs, still in her pyjamas.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Morning Ronit.. Did you sleep?<\/dialogue>\n    <scene_description>Ronit comes and sits with them at the table, restless. Esti pours her a cup of tea.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Not really.<\/dialogue>\n    <scene_description>Ronit drinks her tea.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>What will you do today? Do you want us to show you the new wing of the shul?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>I'm fine. I want to have a wander round the old places.<\/dialogue>\n    <scene_description>A pause, \"their old places.\" Esti sorts her bag for school.<\/scene_description>\n    <character>ESTI ( TO DOVID)<\/character>\n    <dialogue>You've read Othello haven't you? Mrs. Shapiro wants your approval on my teaching it.<\/dialogue>\n    <scene_description>Ronit looks at them. She is totally floored by the need for the husband's compliance.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>It's a great play. Why wouldn't you teach it?..Where will you go Ronit?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>I'll go to Greenbergs and eat cakes. Sit at our table... Where we all planned our escape together.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Your pictures are very beautiful Ronit.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Do you have a dark room?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Yeah, I've sectioned part of the room off.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Do you remember my grandfather's dark room?<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Under the stairs with the red light and the pictures gradually coming out. I liked the smell in there..<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>It was always very warm..we got high on the developing fluid.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>I didn't know you did that.<\/dialogue>\n    <scene_description>Esti looks at the cover, \" Identical ; by Ronnie Curtis.\"<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Is Curtis your married name?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>No. I'm single.. Mrs. Kuperman.<\/dialogue>\n    <scene_description>Ronit smiles at Esti, tries to make light of things, to pretend everything is normal.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Will you have some breakfast?<\/dialogue>\n    <scene_description>Ronit seems nervous about something she has to say.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Thank you both.. for\u2026<\/dialogue>\n    <scene_description>They both look at Ronit.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>For taking care of my father.<\/dialogue>\n    <scene_description>Dovid is upset by the thought of the Rav ill. He tries to control his emotion.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>The Rav took care of me. Many times... I have to go. Are you ready Esti?<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>I'll be there in a minute.<\/dialogue>\n    <scene_description>Dovid gets up, leaving Esti and Ronit awkward. Ronit and Esti sit in silence for some moments.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Dovid has been incredibly upset.<\/dialogue>\n    <scene_description>Ronit is irritated by this.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Do you really have to get permission from your husband? To teach a play?<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Don't Ronit...<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>It's just a question.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>It's not what you're asking. It's the way you ask it.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>I'm just amazed..It's a classic text? It's not porn.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>I have to go.<\/dialogue>\n    <scene_description>Esti looks at Ronit and gets up, she puts some spare keys next to Ronit and takes her handbag.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>E\/I. DOVID &amp; ESTI'S HOUSE\/ DOVID'S CAR. DAY.<\/stage_direction>\n    <scene_description>Dovid starts the car as Esti comes out of the house.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Are you okay?<\/dialogue>\n    <scene_description>Esti nods. They drive away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GIRLS' SCHOOL. DAY.<\/stage_direction>\n    <scene_description>MOTHERS are walking their DAUGHTERS into school, the girls are in uniform. Dovid stops outside the GIRLS' SCHOOL and Esti gets out of the car. She waves goodbye and heads toward the building. TWO SECURITY GUARDS stand outside. Several GIRLS, 12ish, with their mothers wave at Esti. One GIRL, RINA, 12, waves adamantly, smiling.<\/scene_description>\n    <character>RINA<\/character>\n    <dialogue>Good morning Mrs. Kuperman!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GIRLS' SCHOOL. CORRIDOR. DAY.<\/stage_direction>\n    <scene_description>Esti and the imposing MRS. HANNAH SHAPIRO (50s), the headmistress, walk towards Esti's classroom.<\/scene_description>\n    <character>MRS. SHAPIRO<\/character>\n    <dialogue>Miss Scheinberg has been very capable. I worried as she's never had a class of her own but no..<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Good.. I appreciated the time off. Thank you.<\/dialogue>\n    <scene_description>At the classroom Mrs. Shapiro walks on. Esti stops outside it, TEENAGE GIRLS are inside. They are singing the morning prayer. They kiss their prayer books and then they sit down. Esti looks in closer through the door window and sees -- The substitute teacher, MISS SCHEINBERG (20s), attractive, hopeful, stands at the whiteboard at front. Esti stares at Miss Scheinberg, the young woman that she used to resemble. Esti knocks and opens the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL. CLASSROOM. DAY.<\/stage_direction>\n    <scene_description>Miss Scheinberg and the GIRLS turn to see Esti walk in. The girls stand up. They are bright and pleased to see Esti.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Good morning, girls!<\/dialogue>\n    <character>GIRLS<\/character>\n    <dialogue>Good morning, Mrs. Kuperman!<\/dialogue>\n    <scene_description>Esti crosses to Miss Scheinberg.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Thank you. For covering for me.<\/dialogue>\n    <character>MISS SCHITZLER<\/character>\n    <dialogue>It was a pleasure. Your class is very bright.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Have you done me proud girls?<\/dialogue>\n    <scene_description>The girls smile back at her.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>I'll take over now..<\/dialogue>\n    <character>MISS SCHITZLER<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>ESTI<\/character>\n    <parenthetical>( to the girls)<\/parenthetical>\n    <dialogue>I missed you!<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>We missed you too Mrs. Kuperman!<\/dialogue>\n    <scene_description>Miss Scheinberg crosses to her. Esti walks to the whiteboard. She smiles but she is troubled.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVKAH'S COUNCIL BLOCK. HENDON. DAY.<\/stage_direction>\n    <scene_description>Dovid waits at a door of a large council house block. He rings (again).. He hears steps on the stairs. RIVKAH, ( 30s) opens the door, with a baby in her arms.<\/scene_description>\n    <character>RIVKAH<\/character>\n    <dialogue>Sorry.. Sorry.. The children!<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Hello Rivkah.. How are you?<\/dialogue>\n    <character>RIVKAH<\/character>\n    <dialogue>Better, much better thanks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RIVKAH'S FLAT. A FRONT ROOM. HENDON. DAY.<\/stage_direction>\n    <scene_description>RIVKAH and AVI ( 30s) and Dovid sit around a coffee table. SHMULI (6) sits on the couch in a blanket in his pyjamas. He has a cold. One of a set of TWINS, a redhead, one year old, is held by Rivkah, the other is in a Moses basket near to them, also a redhead, and sleeps. There is a brown envelope on the table.<\/scene_description>\n    <character>AVI<\/character>\n    <dialogue>Thank you Dovid. I'll get it back to all of you, it was just impossible you know, with Rivkah being so ill?<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>It's not a loan. It's from everyone....And you have the all clear now yes?<\/dialogue>\n    <character>RIVKAH<\/character>\n    <dialogue>I do.. I go for a check up every six months from now on.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Wonderful..that's great... And you've got the day off school Shmuli?<\/dialogue>\n    <scene_description>Shmuli nods, happy.<\/scene_description>\n    <character>RIVKAH<\/character>\n    <dialogue>He didn't sleep. He's got a cold.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Are you going to help your mother instead?<\/dialogue>\n    <character>SHMULI<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Shmuli smiles, naughty and easy with Dovid.<\/scene_description>\n    <character>AVI<\/character>\n    <dialogue>I saw they've started extending the eruv?<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Yes. By a few miles.<\/dialogue>\n    <character>SHMULI<\/character>\n    <dialogue>What's an eruv?<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Come here.<\/dialogue>\n    <scene_description>Dovid indicates for Shmuli to come up into his arms. He lifts him up and takes him to the window. They are familiar, Shmuli trusts him.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>You see the line over there in the sky? Between the poles?<\/dialogue>\n    <scene_description>Shmuli nods.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>That's the eruv.<\/dialogue>\n    <character>RIVKAH<\/character>\n    <dialogue>It's like a big circle around where we live.<\/dialogue>\n    <character>AVI<\/character>\n    <dialogue>It's not an exact circle.<\/dialogue>\n    <character>SHMULI<\/character>\n    <dialogue>Where's the rest of it?<\/dialogue>\n    <character>RIVKAH<\/character>\n    <dialogue>It's all around us... You know how before we couldn't push the twins in their buggy on Shabbos outside? And dad couldn't carry his keys in the street?<\/dialogue>\n    <scene_description>Shmuli nods.<\/scene_description>\n    <character>RIVKAH<\/character>\n    <dialogue>Now we can. Because the circle is bigger and it becomes like your house.<\/dialogue>\n    <character>SHMULI<\/character>\n    <dialogue>Can we go outside it?<\/dialogue>\n    <character>AVI<\/character>\n    <dialogue>You don't need to. We have everything we need inside of it.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>You should go outside of it Shmuli, when you're older. Then you'll know if you want to stay inside.<\/dialogue>\n    <scene_description>Avi disagrees, but lets it go. Dovid puts Shmuli back down and Rivkah tickles him. Shmuli laughs and struggles.<\/scene_description>\n    <character>AVI<\/character>\n    <dialogue>Be careful of your mother eh, careful! No jumping on her!<\/dialogue>\n    <scene_description>Avi shakes his head, smiles, the family is well, thankfully. Dovid watches them all, he aches for a family.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. DOVID'S CAR\/ SYNAGOGUE. DAY.<\/stage_direction>\n    <scene_description>Dovid parks outside the synagogue. He gets out and walks to the temple.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SYNAGOGUE. STAIRWELL. DAY<\/stage_direction>\n    <scene_description>Dovid walks down a corridor, where a few MEN go about their business.<\/scene_description>\n    <character>KIRSCHBAUM (O.S.)<\/character>\n    <dialogue>Dovid!<\/dialogue>\n    <scene_description>Dovid turns. YOSEF KIRSCHBAUM (60s) and DR. GIDEON RIGLER (50s) come up to him and shake hands.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Good morning, Yosef. Dr. Rigler.<\/dialogue>\n    <character>DR. RIGLER<\/character>\n    <dialogue>Good morning.<\/dialogue>\n    <character>KIRSCHBAUM<\/character>\n    <dialogue>How are you, Dovid?<\/dialogue>\n    <scene_description>Dovid nods, smiling.<\/scene_description>\n    <character>KIRSCHBAUM<\/character>\n    <dialogue>How is your speech coming along? It will be a wonderful Hesped.<\/dialogue>\n    <character>DR. RIGLER<\/character>\n    <dialogue>The Rav would be very proud of you Dovid.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>It will be hard to do justice to his life and work.<\/dialogue>\n    <character>KIRSCHBAUM<\/character>\n    <dialogue>Ronit Krushka is staying with you?<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Yes, she is.<\/dialogue>\n    <scene_description>Kirschbaum and Dr. Rigler nod, unsure. Dovid smiles and he starts walking again, more tense.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SYNAGOGUE. LIBRARY. DAY.<\/stage_direction>\n    <scene_description>Dovid leads a study group with GAVRIEL, LEVI and AKIVA, three rabbinical newly married students, all in their 20s. They have open books before them.<\/scene_description>\n    <character>GAVRIEL<\/character>\n    <dialogue>\"Ud-she'ha'melech bim'siboy nir'di nosson reichoy.\"<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>OK stop there. So what does it mean? Give us the translation - in English.<\/dialogue>\n    <character>GAVRIEL<\/character>\n    <dialogue>\"While the king is at his table, my perfume sends forth its fragrance.\"<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Yes - \"A bundle of myrrh is my beloved to me, that lies all night between my breasts. My beloved is to me as a cluster of henna blooms in the vineyards of Ein-Gedi.\"<\/dialogue>\n    <scene_description>Dovid stops, sits back and motions to the others to comment.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Nu?<\/dialogue>\n    <character>LEVI<\/character>\n    <dialogue>Rashi makes the point...<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>No - let's not think about Rashi's commentaries for a moment.. What do YOU think?<\/dialogue>\n    <scene_description>The students look at him, a touch shocked.<\/scene_description>\n    <character>GAVRIEL<\/character>\n    <dialogue>Is it that.. is it about Hashem and Israel?<\/dialogue>\n    <character>AKIVA<\/character>\n    <dialogue>Or is it about sensuality?.. That is the way in which true love manifests itself?<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>But might it also mean that between a male and a female there is something higher than that.<\/dialogue>\n    <character>LEVI<\/character>\n    <dialogue>No. The references to sensual pleasures celebrate physical love here.<\/dialogue>\n    <character>LEVI<\/character>\n    <dialogue>The enjoyment of that love becomes, in this context, the highest.<\/dialogue>\n    <character>GAVRIEL<\/character>\n    <dialogue>Perhaps.. but that is a limited view. There are many different forms of love.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>\"See, you are fair, my love, you are fair; your eyes are doves.\"<\/dialogue>\n    <scene_description>Dovid suddenly looks very tired. He takes off his glasses and closes his eyes. Pinches the bridge of his nose.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>\"See, you are handsome, my beloved, yea, pleasing; and our bed is verdant. The beams of our house are cedar, and our rafters\u2026\"<\/dialogue>\n    <scene_description>Dovid stops.<\/scene_description>\n    <character>DOVID<\/character>\n    <parenthetical>(puts on his glasses)<\/parenthetical>\n    <dialogue>Continue to read the commentaries to yourselves.<\/dialogue>\n    <scene_description>They look back to their books.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETERY STREET. DAY<\/stage_direction>\n    <scene_description>Ronit walks. She crosses the street towards the\u2026<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETERY. RAV'S GRAVE. DAY<\/stage_direction>\n    <scene_description>Ronit walks through the rows of gravestones. Makes an effort to connect. She sees, from a distance -- Four ORTHODOX TEENAGERS dressed in black with black hats, standing before a new grave: a mound of dirt. The TEENAGERS each hold a prayer book. Ronit moves closer. It's the Rav's grave, a mound of earth. Ronit waits for the teenagers to leave. But they don't move. Ronit looks around at the headstones\u2026 Finally, she loses her patience. She approaches the Rav's grave. The teenagers watch her, with surprise and desire. Ronit gets to the grave and tries to focus on her farewell\u2026 Ronit stares at the teenagers, they look down, but they don't leave. Ronit looks at the grave, again tries to calm herself\u2026 But the boys are still staring.<\/scene_description>\n    <character>RONIT ( IN YIDDISH)<\/character>\n    <dialogue>That's my dad.<\/dialogue>\n    <scene_description>The Teenagers nod and shuffle off, awkward.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Good morning, Tatti..<\/dialogue>\n    <scene_description>Ronit looks at the earth mound and leaves, upset.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVID &amp; ESTI'S HOUSE. DOVID &amp; ESTI'S BEDROOM. DAY.<\/stage_direction>\n    <scene_description>Dovid unbuttons his shirt. He is in his trousers, his body is fit and attractive. Esti lies down on the beds which are pulled together. She has underwear on and pulls a cover over her. Dovid sits on the side of the bed and he takes Esti's hand which is waiting to take his. Now he takes away the cover from Esti and kisses her. Esti cradles his head and kisses him, affectionate but not passionate.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GREENBERGS' BAKERY AND CAFE. DAY.<\/stage_direction>\n    <scene_description>Ronit points to a particular pastry that she has been aching for. The SHOP ASSISTANT points her tongs at a pastry.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Yes. Just one... And an apple strudel thanks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GREENBERGS' BAKERY AND CAFE. DAY<\/stage_direction>\n    <scene_description>Outside the shop Jewish and non Jewish folk hurry about, stressed. A window cleaner cleans the large shop window. We see Ronit appear and disappear behind the foam and wiper, sat at the table and looking at the two empty chairs beside her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVID &amp; ESTI'S HOUSE. LIVING ROOM. NIGHT.<\/stage_direction>\n    <scene_description>Ronit walks down the stairs wearing a tight blue skirt with a long slit up the leg. She watches Esti and Dovid preparing the candles for Shabbos. Dovid and Esti turn to look at her. Dovid is surprised by her outfit and smiles, shaking his head. Esti seems distanced from them both.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>What? Is it too much? It's only Uncle Hartog.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>It's the Goldfarbs too. Rabbi and Rebbetzin Goldfarb.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>And he still invited me?<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>I've invited you.<\/dialogue>\n    <scene_description>Esti picks up the ornate Shabbos matchbox and lights a candle. Esti waves her hands over the flames three times and brings her hands to her eyes, praying. Dovid watches, Ronit mouths the familiar words and feels the rhythm of the prayer.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Baruch atah Adonai, Eloheinu, melech haolam, asher kid'shanu b'mitzvotav, v'tzivanu l'hadlik ner shel Shabbat.<\/dialogue>\n    <scene_description>Ronit watches Esti, who turns to look at her. Ronit is moved by the familiar ritual. Dovid and the women look beautiful in the light of the candles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HARTOG'S HOUSE. STREET. NIGHT.<\/stage_direction>\n    <scene_description>Dovid, Esti and Ronit walk up towards Hartog's house, big and impressive. They say nothing to each other but it's not awkward.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARTOG'S HOUSE. DINING ROOM. NIGHT<\/stage_direction>\n    <scene_description>A long table with lit candles, two Challah breads under an ornate cover. Hartog stands at the head of the table. Dovid, and RABBI GOLDFARB ( 70s) stand on one side, Ronit, Esti, Fruma Hartog and REBBETZIN GOLDFARB (70s) on the other. They all look at Hartog, at the head of the table, holding a silver jug in his right palm, reciting.<\/scene_description>\n    <character>HARTOG<\/character>\n    <dialogue>\u2026v'shabat kad'sh'kha b'ahavah uv'ratzon hin'chal'tanu Barukh atah Adonai m'kadeish hashabat.<\/dialogue>\n    <character>ALL<\/character>\n    <dialogue>Amen.<\/dialogue>\n    <scene_description>Hartog pours wine into seven small glasses. He sits down, drinks from one glass, he passes a second to Rabbi Goldfarb. Dovid looks at Esti and Ronit, across the table. They look at him. Rabbi Goldfarb passes Dovid two glasses. Dovid drinks from his glass and passes the other glass to Esti. Esti drinks. Hartog passes glasses to Ronit, Fruma and Rebbetzin Goldfarb. As Esti drinks she looks at Ronit who looks back at her and drinks. Rebbetzin Goldfarb drinks and stares at Ronit and without realising it, she shakes her head, Ronit should not be here.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARTOG'S HOUSE. DINING ROOM. NIGHT<\/stage_direction>\n    <scene_description>The food has been eaten. They are drinking coffee.<\/scene_description>\n    <character>GOLDFARB<\/character>\n    <dialogue>So our youngest one Basha, she has just had her second boy. And they named him Daniel, for my father.<\/dialogue>\n    <scene_description>Goldfarb smiles.<\/scene_description>\n    <character>REBBETZIN GOLDFARB<\/character>\n    <dialogue>They live in Australia. Too far. Melbourne. Thirty seven grandchildren!<\/dialogue>\n    <character>GOLDFARB<\/character>\n    <dialogue>We saw your photos in a magazine.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Your pictures of the twins.<\/dialogue>\n    <character>REBBETZIN<\/character>\n    <dialogue>But they called you What was wrong with Krushka? You should<\/dialogue>\n    <character>GOLDFARB<\/character>\n    <dialogue>Ronnie Curtis? your real name, be proud of it.<\/dialogue>\n    <character>FRUMA<\/character>\n    <dialogue>Artists change their names, don't they Moshe?<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Women change their names every day. They take their husband's name and their own history is gone.<\/dialogue>\n    <scene_description>Everyone looks at Esti, unsure, as she has said it gently. Everybody is silent.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>What? They do, don't they?<\/dialogue>\n    <scene_description>Fruma stares at Ronit.<\/scene_description>\n    <character>FRUMA<\/character>\n    <dialogue>You look so much like your mother. You have Leah's eyes, don't you think Moshe?<\/dialogue>\n    <scene_description>Everyone looks at Ronit.. She smiles. Hartog looks at her, nods, affected..<\/scene_description>\n    <character>GOLDFARB (TO HARTOG)<\/character>\n    <dialogue>Your dear sister was taken too soon... And now the Rav.. This must all be such a shock to you Ronit.<\/dialogue>\n    <character>REBBETZIN GOLDFARB<\/character>\n    <dialogue>You're away it's a shock. Of course it is! We never thought we'd see you again.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>I'm sorry to disappoint you...<\/dialogue>\n    <character>HARTOG<\/character>\n    <dialogue>Ronit.. More coffee?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>No thanks. I need to sort the house while I'm over here.<\/dialogue>\n    <character>HARTOG<\/character>\n    <dialogue>Nisht Shabbos garecht...Come to the office and we'll talk about it.<\/dialogue>\n    <character>FRUMA<\/character>\n    <dialogue>You must take Leah's candlesticks Ronit. From the house.<\/dialogue>\n    <character>REBBETZIN GOLDFARB<\/character>\n    <dialogue>Yes of course. And then you must give them to your children.<\/dialogue>\n    <scene_description>They wait.. Ronit says nothing, stifled by the talk of children whilst saddened by the thought of her mother. She half nods, feeling awkward.<\/scene_description>\n    <character>FRUMA<\/character>\n    <dialogue>Ronit? They must be passed on through the mother's side.. to carry on the bloodline.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Perhaps Ronit doesn't want to have children..<\/dialogue>\n    <scene_description>Everyone looks at Esti, how could anyone not want them? Esti looks down.<\/scene_description>\n    <character>RONIT ( TO HARTOG)<\/character>\n    <dialogue>..Can you help me sell the house?<\/dialogue>\n    <scene_description>Hartog puts his finger to his lips, quiet! Ronit obeys.<\/scene_description>\n    <character>GOLDFARB<\/character>\n    <dialogue>How old were you Dovid when the Rav took you in? And taught you? Thirteen was it?<\/dialogue>\n    <scene_description>Dovid nods.<\/scene_description>\n    <character>GOLDFARB<\/character>\n    <dialogue>Dovid has been doing great work in the community.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>There have been a lot of problems. With housing. And jobs.<\/dialogue>\n    <character>FRUMA<\/character>\n    <dialogue>The youth... Even one incident of drugs.<\/dialogue>\n    <character>REBBETZIN GOLDFARB<\/character>\n    <dialogue>Nothing that we cannot deal with. Hashem protects us.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Perhaps people should stop having such huge families.<\/dialogue>\n    <scene_description>Hartog is becoming quietly furious with Ronit.<\/scene_description>\n    <character>REBBETZIN GOLDFARB<\/character>\n    <dialogue>And you're not married yet? You must find someone Ronit. It's not funny growing old alone.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>I have good friends.<\/dialogue>\n    <character>REBBETZIN GOLDFARB<\/character>\n    <dialogue>Oh, I'm sure you have lots of fun. But that will pass. Being married.. Well, it's the way it should be.<\/dialogue>\n    <scene_description>Her words hit a mark with Ronit, who is quietly in pain amongst all the couples.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Is it? Or is it just institutional obligation?<\/dialogue>\n    <character>HARTOG<\/character>\n    <dialogue>Ronit.. Stop right there. Yes?<\/dialogue>\n    <scene_description>Ronit approaches it as an academic problem, not an emotional one.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>If I hadn't left here when I did.. If I'd stayed a year longer I'd have been married off to whoever... Give it ten years in some loveless marriage and I might have killed myself. Or at least felt like doing it.<\/dialogue>\n    <scene_description>Esti looks down, she is upset. Ronit sees this.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>I'm sorry.. I should go.<\/dialogue>\n    <character>FRUMA<\/character>\n    <dialogue>Ronit?<\/dialogue>\n    <scene_description>Ronit gets up.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Excuse me. Thank you Fruma.. Sorry.. That was.. lovely.<\/dialogue>\n    <scene_description>Ronit gets up and leaves. There is an awkward silence. Dovid stands.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>I'll walk Ronit back to ours. Esti?<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>You go on. I'll get my coat.<\/dialogue>\n    <scene_description>Esti looks at him, then down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HARTOG'S HOUSE. STREET. NIGHT<\/stage_direction>\n    <scene_description>Dovid catches up with Ronit who is leaving the driveway.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Ronit..<\/dialogue>\n    <scene_description>Ronit looks back, slows a touch for Dovid to join her.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Happy Shabbos...<\/dialogue>\n    <scene_description>They walk in time. Ronit smiles.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Why is Rebbetzin Goldfarb so angry? She has a good life. What else does she want?<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>What do any of us want?.. Do you know what you really want?<\/dialogue>\n    <scene_description>Ronit shakes her head, they walk on quietly. Ronit stops now, she wants to cry and tries to stop herself.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>I do. I know what I want.<\/dialogue>\n    <scene_description>Dovid stops with her, concerned.<\/scene_description>\n    <character>DOVID (GENTLY)<\/character>\n    <dialogue>Ronit? What is it you want?<\/dialogue>\n    <scene_description>Ronit nods but cannot trust herself to say anything without crying.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>What? What is it Ronit?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>My dad.. My dad...I want him to know that I loved him... Do you think he knew that?<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Yes. Yes he did. He had to know that.<\/dialogue>\n    <scene_description>Ronit looks at him, lost. Dovid wants to hold her but is not allowed to. He places his hands near to her arms as if to suggest holding her.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>I'm so sorry Ronit. The Rav was.. You've lost your father.<\/dialogue>\n    <scene_description>Ronit wants comfort from him and sees behind Dovid that Esti is standing in the street outside Hartog's house, watching them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WIGMAKER'S SHOP. HENDON. DAY.<\/stage_direction>\n    <scene_description>Ronit arrives at a large wigmaker's shop. She goes in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WIGMAKER'S SHOP. HENDON. DAY<\/stage_direction>\n    <scene_description>Endless rows of mannequin heads sporting all kinds of hairstyles and sensible colors and cuts. A FEMALE ASSISTANT, 60s, helps another WOMAN, 50s, to find a wig. The Assistant looks at Ronit as she comes in. Both older women are very aware of Ronit being an Outsider.<\/scene_description>\n    <character>ASSISTANT<\/character>\n    <dialogue>Can I help you?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>I need to speak to my uncle, Mr. Hartog.<\/dialogue>\n    <character>ASSISTANT<\/character>\n    <dialogue>One moment.<\/dialogue>\n    <scene_description>The Assistant slowly crosses to the door to Hartog's office. Ronit looks at the various wigs, they're awful. She tries one on, it's terrible, she takes it off. The Assistant comes back in and holds up two fingers gently.<\/scene_description>\n    <character>ASSISTANT<\/character>\n    <dialogue>Two minutes.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>The Assistant goes back to helping the Woman try her wig on. Ronit can feel their disapproval and looks; she picks up a nicer dark bob wig.<\/scene_description>\n    <character>ASSISTANT<\/character>\n    <dialogue>I can help you in a minute if you'd like to wait?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>No no I'm fine.. Thanks.<\/dialogue>\n    <scene_description>Ronit puts it on, it looks very French new wave. A dark curtain behind a window flicks and Hartog looks through to the shop. He holds a mobile and nods at Ronit, indicates for her to wait. Ronit waits for a few moments then a knock is heard on the door from the office, Hartog's indication to his assistant.<\/scene_description>\n    <character>ASSISTANT<\/character>\n    <dialogue>He's ready for you now.<\/dialogue>\n    <scene_description>Ronit walks into the office, bewigged.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WIGMAKER'S SHOP. OFFICE. DAY<\/stage_direction>\n    <scene_description>Hartog shows Ronit into a small office with cabinet files, stacks of papers, posters of wigs. A desk facing two chairs.<\/scene_description>\n    <character>HARTOG<\/character>\n    <dialogue>Have a seat, please. Ronit?<\/dialogue>\n    <scene_description>Indicating her to take the wig off, but she doesn't.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>HARTOG<\/character>\n    <dialogue>So..<\/dialogue>\n    <scene_description>They sit. He takes his time.<\/scene_description>\n    <character>HARTOG<\/character>\n    <dialogue>How is life\u2026 are you making a living with your photos?<\/dialogue>\n    <scene_description>Ronit is a bit thrown by his questions.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>I get by.<\/dialogue>\n    <character>HARTOG<\/character>\n    <dialogue>You broke the Rav's heart when you left.<\/dialogue>\n    <scene_description>Ronit tries to stay strong.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>He told me to leave.<\/dialogue>\n    <character>HARTOG<\/character>\n    <dialogue>For Israel yes. Not for New York. He gave you the ticket, the funds.<\/dialogue>\n    <scene_description>Ronit finds this all too hard.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Can we talk about the house?<\/dialogue>\n    <character>HARTOG<\/character>\n    <dialogue>It was very hard for him. Your disappearing like that...<\/dialogue>\n    <scene_description>Hartog pushes a bunch of yale keys towards her.<\/scene_description>\n    <character>HARTOG<\/character>\n    <dialogue>These are the keys for you to gather any personal possessions.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Thanks. Can you help me to sell it? Ronit takes the set of keys with various key label fobs on them. Hartog opens a drawer. He looks through some papers, grabs a folder. He takes out a document and hands it to Ronit.<\/dialogue>\n    <character>HARTOG<\/character>\n    <dialogue>So.. you would want to honour your family Ronit? ..clause three\u2026 read it.<\/dialogue>\n    <scene_description>Ronit looks at the small print but does not read it.<\/scene_description>\n    <character>HARTOG<\/character>\n    <dialogue>Rav Krushka, bless his memory, left the house and everything in it to the synagogue\u2026<\/dialogue>\n    <scene_description>Ronit makes an effort to appear strong.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>HARTOG<\/character>\n    <dialogue>I'm sorry if that's a shock.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>No. No it's not. It's just.. A house.<\/dialogue>\n    <scene_description>Ronit prepares to leave.<\/scene_description>\n    <character>HARTOG<\/character>\n    <dialogue>A father should have a child to look after him in his final hours.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>But I didn't know he was ill.<\/dialogue>\n    <character>HARTOG<\/character>\n    <dialogue>How could you know when you are not here?<\/dialogue>\n    <scene_description>Ronit endeavours not to cry, to be clear.<\/scene_description>\n    <character>HARTOG<\/character>\n    <dialogue>Your mother.. My sister.. She was a wonderful woman Ronit.. a very loyal person. When Leah died Shlomo grieved deeply for her.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>I don't remember a time when he wasn't grieving for her.<\/dialogue>\n    <character>HARTOG<\/character>\n    <dialogue>You were all he had left.... it must be very painful for you.. Not to receive the Rav's forgiveness.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>You're a monster Moshe. All you see is your own righteousness but you ..hurt and you hurt.<\/dialogue>\n    <scene_description>Ronit stands up, sad, furious. She has forgotten she is even wearing the wig. She is enveloped by sadness about her father's further rejection of her.<\/scene_description>\n    <character>HARTOG<\/character>\n    <dialogue>Ronit?<\/dialogue>\n    <scene_description>He indicates the wig but Ronit starts to walk out.<\/scene_description>\n    <character>HARTOG<\/character>\n    <dialogue>The wig!<\/dialogue>\n    <scene_description>But she is gone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KOSHER SUPERMARKET. DAY<\/stage_direction>\n    <scene_description>Esti walks down an aisle with a shopping cart. She stops in front of the canned tomatoes, conflicted. Little Shmuli comes towards her, carrying a basket.<\/scene_description>\n    <character>SHMULI<\/character>\n    <dialogue>Good morning, Mrs. Kuperman!<\/dialogue>\n    <scene_description>Esti turns around to see him.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Hello, Shmuli!<\/dialogue>\n    <scene_description>RIVKAH (30s) comes down the aisle pushing a double buggy.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Rivkah, you look great. How are you all?<\/dialogue>\n    <character>RIVKAH<\/character>\n    <dialogue>We're good. And all the help Esti, it was very appreciated.<\/dialogue>\n    <scene_description>One of the redhead twins starts to cry inside the buggy.<\/scene_description>\n    <character>RIVKAH<\/character>\n    <dialogue>Oh no, she'll wake up her sister.<\/dialogue>\n    <scene_description>Rivkah lifts the cover, revealing the twins. She picks up the one that's crying, starts to rock her -- too late. Her sister wakes up and starts crying too. Esti looks on with some distance. But Rivkah puts one of the twins in Esti's arms so she's free to pick up the other one. Instinct takes over as Esti holds the child and starts to rock her. Much to her surprise, the baby stops crying. She looks at Esti with her big baby eyes and smiles.<\/scene_description>\n    <character>RIVKAH<\/character>\n    <dialogue>That's Shayna.<\/dialogue>\n    <character>ESTI<\/character>\n    <parenthetical>(coos)<\/parenthetical>\n    <dialogue>Hey there, Shayna\u2026<\/dialogue>\n    <character>RIVKAH ( WARM)<\/character>\n    <dialogue>I saw Ronit just now. She hasn't changed, has she?<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>No.. No she hasn't.<\/dialogue>\n    <scene_description>Rivkah returns one baby to the buggy. Esti reluctantly returns Shayna to Rivkah.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KOSHER SUPERMARKET \/ STREETS. DAY<\/stage_direction>\n    <scene_description>Esti comes out of the supermarket with her wheelie shopping bag and starts down the street. Suddenly, she spots Ronit, waiting to cross, smoking, tense, in her wig. Esti stops to watch her, puzzled. Ronit crosses the street. Esti follows her at a distance. Ronit walks on, intense. Esti looks at her. Suddenly Ronit stops and turns around. She sees Esti.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Hello..<\/dialogue>\n    <scene_description>Esti approaches Ronit.<\/scene_description>\n    <character>ESTI<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>Are you wearing a wig?<\/dialogue>\n    <scene_description>Ronit takes it off. Puts it in her bag.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RAV'S HOUSE. DAY<\/stage_direction>\n    <scene_description>Esti and Ronit get to the Rav's deserted-looking house. It's uncared for, in need of repair. Ronit finds the key on her bunch and tries to open the front door. But it sticks. Esti takes over and gives the key a pull and push, the knack of it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAV'S HOUSE. LIVING ROOM. DAY<\/stage_direction>\n    <scene_description>The place is dark and stale behind closed curtains. Ronit is shocked as she discovers -- the living room has been turned into a makeshift sickroom. There's a bed with dirty linen, an oxygen tank beside it. She takes out her cigarettes, abstracted. Esti almost shouts.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Ronit! Not near that..<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>I wasn't going to!..<\/dialogue>\n    <scene_description>Ronit doesn't know if she was about to light up in her distraction.. But she puts her cigarettes away. She walks to the window, throws open the curtains, the glass is yellowed with the Rav's past smoking. The light reveals just how messy and rundown everything is. The bedsheets have small spots of blood. Ronit takes this in and sees a bedcover on a chair. She takes the cover and carefully lays it over the sheets to cover them. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAV'S HOUSE. HALLWAY. DAY.<\/stage_direction>\n    <scene_description>Ronit and Esti walk towards the stairs and Esti sees a pair of slender candlesticks. A framed picture of Ronit's mother Leah next to it.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>You should take these. Your mother's candlesticks.<\/dialogue>\n    <scene_description>Ronit looks at them and the picture of her mother.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>..I can't.<\/dialogue>\n    <scene_description>Ronit walks away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAV'S HOUSE. DINING ROOM. DAY<\/stage_direction>\n    <scene_description>Ronit looks through the jumbled room, overwhelmed. Esti accompanies her. There is a battery radio. Ronit tries it and hears static. She finds some gangsta rap music and plays it as loud as she can, which is not very loud. Her rebellion is a touch feeble.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>He left it all to the synagogue.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Would you really want it?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Financial freedom? Of course not. That would be far too easy... I would have liked him to remember me though, in his will. Just to have left me a pipe.. to have named me.<\/dialogue>\n    <scene_description>Ronit looks at the masses of stuff, Esti watches her. Ronit turns off the radio. Silence.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>I'm not going to the Hesped. There's no point in my being here. I'll change my ticket.<\/dialogue>\n    <scene_description>Ronit heads for the stairs, there are piles of books everywhere, the Rav was a hoarder, stacked by the wall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAV'S HOUSE. UPSTAIRS. BEDROOM. DAY<\/stage_direction>\n    <scene_description>Ronit tries to open the door to her old bedroom, Esti stands behind her. It opens a touch but has so many boxes and books in it that they can't push the door to.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>My room..<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAV'S HOUSE. UPSTAIRS. STUDY. DAY.<\/stage_direction>\n    <scene_description>The Study has more order than the other rooms. Endless rows of impeccable leather bound books in Hebrew. Silence. Ronit and Esti stand at the door for a moment before going in. There's an old reading chair with a table and a lamp. Ronit walks over. On the table she finds the Rav's pipe stand, a tin of tobacco, and a book. She picks it up, turns a few pages. Enjoys it.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>That's all he did..stay in here all day with the Torah. And the commentaries on the Torah. And the notes on the commentaries, and the debates on the notes\u2026<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>It meant that we could do what we wanted.<\/dialogue>\n    <scene_description>Ronit smiles, remembering.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>..Do you think I should go back early?<\/dialogue>\n    <scene_description>Ronit really looks at Esti and for the first time Esti does not avoid her gaze. Esti puts her hands on Ronit's shoulders. Then Esti moves her hands to Ronit's chest and she puts her left hand on Ronit's breast and her right hand around Ronit's back and she puts her head to Ronit's heart.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>No. No I don't think you should leave at all. Ronit..<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Esti..? ..When I saw you.. My heart..<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>I know..<\/dialogue>\n    <scene_description>Esti wants to cry. They are full of each other. Ronit and Esti breathe in this touch. Esti rocks for a moment with Ronit then kisses her. Boldly. Ronit kisses her back for some moments. They hold each other. Then Ronit backs off.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>No..<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Why? Why not?<\/dialogue>\n    <scene_description>Ronit turns away. She walks out of the room. Esti takes a moment to recompose herself. Then she follows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAV'S HOUSE. HALLWAY. DAY.<\/stage_direction>\n    <scene_description>Ronit walks down the stairs and Esti follows. At the door Ronit looks around at the dark hallway.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Ronit..<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>I'm sorry..<\/dialogue>\n    <scene_description>Ronit waits for Esti, ready for something to happen. But as Esti reaches her they look at each other. Ronit starts to open the door to go. Esti slams it shut.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>No! You don't just walk out! Not again! I waited Ronit! I waited such a long time!<\/dialogue>\n    <scene_description>They stare at each other. Esti holds Ronit's face. Ronit and Esti kiss hard and fast and passionate for a while. But again Ronit pulls away.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>...Ronit.<\/dialogue>\n    <scene_description>Ronit walks out. Esti glances at the candlesticks and at Ronit walking away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HENDON STREET. DAY.<\/stage_direction>\n    <scene_description>Ronit and Esti walk down a street. Ronit studies Esti, Ronit is beyond confused.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>..It was me who rang the shul in New York. To let you know.<\/dialogue>\n    <scene_description>Ronit stops and looks at her. Esti is self-conscious.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>It was the right thing to do.<\/dialogue>\n    <scene_description>A couple of JEWISH MEN pass by on the sidewalk opposite; Esti and Ronit try to act normal. They keep walking. Esti's wheelie shopping bag is a bit awkward to wheel.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Why did you get married Esti? Why didn't you just leave?<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Do you remember what the Rav used to say about marriage?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>You do..<\/dialogue>\n    <scene_description>Ronit almost smiles, remembering..<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>..\"Will you grow old by yourself?\"<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>No no.. \"Vill you grow old alone, vith no family, no joys?\"<\/dialogue>\n    <scene_description>Ronit remembers and almost laughs. Esti continues with the game.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>\"Dovid is a good boy, he has a generous heart, and he's crazy about you. Marry him!\"<\/dialogue>\n    <scene_description>It hurts Esti to recollect the simplicity of it.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>So you were.. alright.. After I left?<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>No. I was.. ill..<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>What sort of ill? Esti shrugs.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>In my head.. The Rav was afraid for me\u2026 and if I was going to have to sleep with a man why not with our best friend?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Esti..<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>I think he felt marriage would \"cure\" me... And it hasn't been a disaster.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>And that's Enough? ..Do you have to have sex every Friday?<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>It's expected.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>It's medieval.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>It's not mandatory. Nobody gets beaten if they don't feel like it.<\/dialogue>\n    <scene_description>Ronit really looks at Esti now.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>What? ..<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>What Happened to you?<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Nothing..You happened to me.. And then I started teaching and .. That became important.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>You can teach anywhere.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>I really love the girls. And I give them ambition.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>To do what? Have seven babies and be a great wife?<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Don't.. I'm a good teacher. I help them. To value themselves.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>But what about You?<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>.. That is me.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Do you want a cigarette?<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>No. And you? Are you happy?<\/dialogue>\n    <scene_description>Ronit nods.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>I am.<\/dialogue>\n    <scene_description>Esti's happily not convinced.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Have you been with other women?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Not really.. and you?<\/dialogue>\n    <scene_description>Esti shakes her head. She takes Ronit's cigarette and stops to take one puff of it. Esti loves the cigarette puff and this makes Ronit smile. She passes it back to Ronit and they start walking again. Ronit laughs.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Your bag. It's deeply erotic.<\/dialogue>\n    <scene_description>Esti shakes her head, smiles. This is all madness.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Let me take it.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>No. You're not frum. You don't get one.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Please?<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>No.. Okay, you can have a turn.<\/dialogue>\n    <scene_description>Ronit takes the wheelie bag, Esti takes Ronit's cigarette and they walk on.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>And children?<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>I have three. In the bag. All redheads... It didn't happen... Everyone prayed for us. The Wives all think Dovid's wasted himself on a barren woman.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>They don't.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>They do. They lust for him.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>But do you want to have children?<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Yes. Desperately. But then sometimes I think I willed it this way. The air here is maybe too thin. For me. For a child.<\/dialogue>\n    <scene_description>They get to the edge of the park and go in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARK. HENDON. DUSK<\/stage_direction>\n    <scene_description>Ronit and Esti walk through the deserted park. They stop under a white tree.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>I used to love this park...<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>It's insane that you're here. We're here.<\/dialogue>\n    <scene_description>Esti laughs.. Ronit is surprised to be suddenly so moved by Esti. They hold hands as they walk but Esti is cautious.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARK. TENNIS COURT. NIGHT.<\/stage_direction>\n    <scene_description>Ronit looks over at the old tennis court. Esti walks towards the gate of the court and looks back at Ronit who follows her. Esti goes into and behind the steel gate and parks her wheelie bag. Ronit follows her. Esti stands against a brick wall. They look at each other for a moment. The air is heightened for them -- they kiss again, in the half light, against the wall, long and passionate. Then a flickering light. They look like they are in a silent movie. Ronit and Esti break away from each other to see why the light is happening. Standing fifteen yards away, staring at them -- a couple, Hinda and her husband, LEV (40s). Hinda wears a long skirt and holds a tennis racquet. Lev holds a racquet too.<\/scene_description>\n    <character>HINDA<\/character>\n    <dialogue>Ronit? Is that you?<\/dialogue>\n    <scene_description>Esti turns white and turns away from Hinda. They're not sure how much the couple saw. Esti turns and disappears down a path and past a building.<\/scene_description>\n    <character>HINDA<\/character>\n    <dialogue>What are you doing in here?<\/dialogue>\n    <scene_description>The light comes on and bright now. Hinda and Lev start walking towards Ronit, who stands there, not knowing what to do.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>I'm just.. seeing the old places.<\/dialogue>\n    <character>HINDA<\/character>\n    <dialogue>This is my husband, Lev. This is Ronit, the Rav's daughter. Remember I told you all about her?<\/dialogue>\n    <scene_description>Lev stares at Ronit sternly. Ronit shields her eyes from the bright light.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Hi Lev. How's it going?<\/dialogue>\n    <scene_description>Lev is obviously resentful of her presence.<\/scene_description>\n    <character>LEV<\/character>\n    <dialogue>I hear that you're attending the Hesped. The Rav was a truly great man.<\/dialogue>\n    <scene_description>Lev's coldness infuriates Ronit.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>I know. I was his daughter. Would you like a cigarette?<\/dialogue>\n    <scene_description>They both shake their heads.<\/scene_description>\n    <character>HINDA<\/character>\n    <dialogue>Was that Rebbetzin Kuperman?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>HINDA<\/character>\n    <dialogue>Whose shopping is that?<\/dialogue>\n    <scene_description>Ronit looks at the wheelie bag.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Mine.<\/dialogue>\n    <scene_description>A few seconds of tense silence. No one knows what to say.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Well.. Have a good match.<\/dialogue>\n    <character>HINDA<\/character>\n    <dialogue>It's really good to see you. Really good. So good.<\/dialogue>\n    <scene_description>More silence\u2026 No one moves. Lev is still glaring at Ronit. The tension won't subside.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Can I?<\/dialogue>\n    <scene_description>Ronit indicates Hinda's racquet which she gives to her. Ronit takes a ball from Lev. Ronit bounces it a bit then serves an amazing thwack of an ace to the other side. Ronit takes out her wig from her bag and gives it to a puzzled Hinda. Ronit leaves, lighting up a cigarette as she goes. She even manages to look good trailing the wheelie bag, New Yorkish.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOVID &amp; ESTI'S HOUSE. NIGHT<\/stage_direction>\n    <scene_description>Esti runs up to the house, in turmoil. Dovid's car is not outside. She goes into the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVID &amp; ESTI'S HOUSE. HALLWAY\/STAIRS. NIGHT<\/stage_direction>\n    <scene_description>Esti runs up the stairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVID &amp; ESTI'S HOUSE. BATHROOM. NIGHT.<\/stage_direction>\n    <scene_description>Esti runs into the bathroom, she turns on the shower. She sits on the edge of the bath. Takes her wig off, starts to undress.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>68A INT. DOVID &amp; ESTI'S HOUSE. BATHROOM. NIGHT 68A<\/stage_direction>\n    <scene_description>The shower is running and Esti is in it but we do not really see her, it is shower curtain and steam. A knock at the door.<\/scene_description>\n    <character>DOVID (O.S.)<\/character>\n    <dialogue>Esti, is that you? Are you alright?<\/dialogue>\n    <scene_description>Esti tenses up.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Yes. I'm fine.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVID &amp; ESTI'S HOUSE. LANDING\/BATHROOM. NIGHT<\/stage_direction>\n    <scene_description>Dovid waits outside the bathroom door.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Esti?<\/dialogue>\n    <scene_description>The shower stops.<\/scene_description>\n    <character>ESTI (O.S.)<\/character>\n    <dialogue>I'll be out in a minute.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>ESTI (O.S.)<\/character>\n    <dialogue>Who? What?<\/dialogue>\n    <scene_description>Dovid opens the door a little.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>You ran into the house like you were being chased?<\/dialogue>\n    <scene_description>Esti is about to step out of the shower, nude, dripping wet. She stares at Dovid defiantly. Dovid looks at her. Feels his intrusion. Suddenly, Esti steps out, still dripping, comes up to Dovid and hugs him, tight and long. Dovid enjoys the embrace. He starts to kiss her passionately. Esti almost responds but then doesn't.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Dry yourself. You'll get ill.<\/dialogue>\n    <scene_description>He hands her a towel.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AVENUE\/ HENDON PUB. NIGHT<\/stage_direction>\n    <scene_description>Ronit crosses an avenue with Esti's wheelie bag, heads for a bar.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HENDON PUB. NIGHT<\/stage_direction>\n    <scene_description>Suddenly, Ronit's back in this century: noise, music, a regular CROWD wearing regular clothes, texting\u2026 Ronit sits at the bar. The BARMAN comes over.<\/scene_description>\n    <character>BARMAN<\/character>\n    <dialogue>What will it be?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>A pint of lager\u2026 No.. a double vodka and tonic.<\/dialogue>\n    <character>BARMAN<\/character>\n    <dialogue>Ice and lemon?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Everything. If you have a straw I'll have one. And an umbrella.<\/dialogue>\n    <scene_description>The barman smiles, nods. Ronit looks around. A TV is showing a football match, a goal is scored.. A group of MEN cheer. Ronit takes out her mobile, checks her e-mail. The Barman puts down her drink. It has a mini umbrella and straw. Ronit drinks from the straw, a kid and an adult.<\/scene_description>\n    <character>INSERT -- RONIT'S PHONE<\/character>\n    <dialogue>The magazine cover with the Old tattooed Man is on it. And pictures and text from an article \"Ancient Patterns.\"<\/dialogue>\n    <dialogue>Ronit looks at the photos\u2026 they're so distant right now. She looks at the Man.<\/dialogue>\n    <character>RONIT (CONT'D WHISPERS)<\/character>\n    <dialogue>The world has stopped.<\/dialogue>\n    <scene_description>She sighs and sucks the last dregs through her straw and opens and closes the mini umbrella, not knowing what to do.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVID &amp; ESTI'S HOUSE. HALLWAY\/LANDING. NIGHT<\/stage_direction>\n    <scene_description>Ronit walks in. Everything's dark except for a single lamp they've left on for her. She turns it off. The ritual candle still burns in the living room. Ronit walks up the stairs, trying to be quiet, but at the top she walks into a small pile of books on the floor.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Shit.. sorry.<\/dialogue>\n    <scene_description>A small lamp is on underneath Dovid and Esti's door. Ronit walks slowly, but the floorboards CREAK. She walks up to Esti's door and listens.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVID &amp; ESTI'S HOUSE. DOVID &amp; ESTI'S BEDROOM. NIGHT<\/stage_direction>\n    <scene_description>Dovid and Esti lie in their beds, in the dark. But Dovid is awake, hearing every creak outside in the corridor. He sees -- the shadow of Ronit's feet under the door.<\/scene_description>\n    <character>DOVID ( SHOUTS)<\/character>\n    <dialogue>Ronit? Are you okay?<\/dialogue>\n    <character>RONIT (O.S.)<\/character>\n    <dialogue>Yes. Sorry I.. Walked into the books.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>We're in bed. Good night.<\/dialogue>\n    <scene_description>In her bed, with her back to him -- Esti is also awake.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GIRLS' SCHOOL. CLASSROOM. DAY<\/stage_direction>\n    <scene_description>Esti is in her classroom, teaching. 'OTHELLO AND DESDEMONA\" is written on the board with lots of different lines saying character traits in different girls' writing under the two names.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>So.. what stands out for you in the play?<\/dialogue>\n    <scene_description>The class look at her, thinking. SARA puts her hand up.<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>The handkerchief.. With the strawberries on it.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Why did that stay with you do you think? Do you remember what Othello says about how it was made?<\/dialogue>\n    <scene_description>Rita puts her hand up.<\/scene_description>\n    <character>RINA<\/character>\n    <dialogue>He says the red of it was dye from virgin's blood.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>That's right.<\/dialogue>\n    <scene_description>Sara puts up her hand.<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>And the lies. How Iago just lies more and more to him. And you don't really know why.<\/dialogue>\n    <character>RINA<\/character>\n    <dialogue>And the killing Mrs Kuperman. That was horrible.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>It was. Her death is very shocking.<\/dialogue>\n    <scene_description>Miss Scheinberg comes in and stays at the door.<\/scene_description>\n    <character>MISS SCHEINBERG<\/character>\n    <dialogue>I'm sorry to interrupt Mrs. Kuperman but Mrs. Shapiro needs to see you.<\/dialogue>\n    <scene_description>The GIRL puts her hand down. Esti looks at the other teacher warmly, but Miss Scheinberg looks troubled.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Thank you Miss Scheinberg. I'll go in the break.<\/dialogue>\n    <character>MISS SCHEINBERG<\/character>\n    <dialogue>\"Immediately\", she said.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Oh..Keep reading the scenes in pairs, girls.<\/dialogue>\n    <scene_description>Esti starts to leave. Miss Scheinberg stays to look after the class.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GIRLS' SCHOOL. CORRIDOR. DAY.<\/stage_direction>\n    <scene_description>Esti steps out into the corridor and walks towards Mrs. Shapiro's office. She is nervous, terrified that this might be to do with Ronit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GIRLS' SCHOOL. CORRIDOR\/HEADMISTRESS' OFFICE. DAY<\/stage_direction>\n    <scene_description>Esti knocks on the Headmistress's door.<\/scene_description>\n    <character>MRS. SHAPIRO (O.S.)<\/character>\n    <dialogue>Come in.<\/dialogue>\n    <scene_description>Esti enters and finds Mrs. Shapiro waiting for her\u2026 with Hinda and Lev. They all stare at her icily.<\/scene_description>\n    <character>MRS. SHAPIRO<\/character>\n    <dialogue>Close the door, Esti. Have a seat.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SYNAGOGUE. SMALL SYNAGOGUE. DAY<\/stage_direction>\n    <scene_description>A group of Rabbis surround Dovid, who recites the Torah. DR. RIGLER ( 50s) is there too and is vaguely watching Dovid who seems distracted, uncomfortable, he can't lose himself in prayer. Dovid tries harder to connect.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SYNAGOGUE. HALL. DAY<\/stage_direction>\n    <scene_description>DR. RIGLER (50s) addresses Dovid in front of several other MEN including GOLDFARB.<\/scene_description>\n    <character>RIGLER<\/character>\n    <dialogue>Dovid.. You know that we would all be very happy if you chose to take on the Rav's work.<\/dialogue>\n    <scene_description>Dovid nods, thinks.<\/scene_description>\n    <character>RIGLER<\/character>\n    <dialogue>There are always obstacles of course to anything that is challenging.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>It would be hard to measure up to the Rav in any meaningful way.<\/dialogue>\n    <character>RIGLER<\/character>\n    <dialogue>And your wife. She would welcome it if you took over the shul?<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Esti will be happy with whatever decision I make.<\/dialogue>\n    <character>RIGLER<\/character>\n    <dialogue>And Ronit Krushka? We were surprised at her being here.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Ronit is grieving. And we will make her very welcome at the hesped.<\/dialogue>\n    <character>GOLDFARB<\/character>\n    <dialogue>Certainly.<\/dialogue>\n    <character>RIGLER<\/character>\n    <dialogue>And your wife? She is not distracted by Ronit Krushka's return?<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Why should she be? This is my house you are talking about. And I keep it in order.<\/dialogue>\n    <character>RIGLER<\/character>\n    <dialogue>Then do so.<\/dialogue>\n    <scene_description>Goldfrab breaks the tension.<\/scene_description>\n    <character>GOLDFARB<\/character>\n    <dialogue>Let us discuss the arrangements for the choir now..<\/dialogue>\n    <scene_description>Dovid stares at Rigler, angry but trying to be flexible.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GIRLS' SCHOOL. DAY<\/stage_direction>\n    <scene_description>Esti walks out of school. The TWO SECURITY GUARDS are present. A few PARENTS meet their CHILDREN. Ronit walks towards Esti, but Esti is very troubled to see her. She walks past Ronit without looking at her, indicating with a look that Ronit must follow her down a street.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Esti?<\/dialogue>\n    <scene_description>Esti shoots her a look: not here. She walks off down the street. Ronit follows her. Esti is uneasy, turns to see if anybody is watching. Esti keeps going, Ronit after her.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Are you alright?<\/dialogue>\n    <scene_description>Esti nods, they turn a corner.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HENDON STREET. DAY<\/stage_direction>\n    <scene_description>This street has fewer people. Esti relaxes a little. Finally she turns to Ronit as they keep walking.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>What's happened? .. Esti?<\/dialogue>\n    <scene_description>Esti walks beside her, gathers herself.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Yesterday ...I behaved like an adolescent.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>It was stupid. Senseless.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Esti.. Did someone say something? At school?<\/dialogue>\n    <scene_description>Esti looks at Ronit, longing and guilt clashing inside of her.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Yes.. And I live here...<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Tell me.. What did they say?<\/dialogue>\n    <scene_description>They get to a corner, wait for a car to pass. Ronit looks at Esti -- her outfit, her headscarf, her neck. She feels moved\u2026 and attracted. But also Ronit feels a touch foolish and exposed.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>The headmistress... It doesn't matter. We need to stop this.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Okay...<\/dialogue>\n    <scene_description>Ronit is really upset, trying not to cry. Esti sees this and can't bear it.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Ronit.. Please...I can't do this.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>.. Okay.<\/dialogue>\n    <scene_description>Ronit is trying to be brave..Esti tries to find the right words.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>We try here Ronit. We try to lead a good life.<\/dialogue>\n    <character>RONIT (GENTLE)<\/character>\n    <dialogue>I know.. So do I.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>I do believe.. Profoundly..<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>The word of Hashem is my life.<\/dialogue>\n    <scene_description>Ronit nods. She tries to gain her reason over her emotion.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>... I'll leave. Tomorrow.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>I don't want you to go.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Esti.. I didn't expect any of this...<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>I thought it would be simple.. I'd be here a few days and then I'd leave..<\/dialogue>\n    <scene_description>Esti nods her head, it's the same for her. Ronit touches Esti's face. She looks at Ronit with longing, but again starts to feel conflicted. PEOPLE walk past them and look. Ronit and Esti look at each other,lost, found\u2026<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>.. Let's go somewhere else.. Just for a few hours. Come on.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TUBE. DAY<\/stage_direction>\n    <scene_description>Esti and Ronit stand in a full carriage, pressed close together. There is a party of OLDER TEENAGE GIRLS in their track suits going home from playing sport, looking at their phones and gossiping. Esti closes her eyes and breathes in Ronit. She opens her eyes, they look at each other, Ronit gently leans her head against Esti's neck. They subtly caress through their necks and heads and even the touch of Ronit's hair upon Esti's neck is amazing. They are completely turned on.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TUBE STATION. ESCALATOR. DAY.<\/stage_direction>\n    <scene_description>Esti and Ronit stand on the right hand side of a long escalator. They are still connected and do not move as other people pass them on their left hand side, hurrying.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL LONDON STREET. TUBE STATION. DAY<\/stage_direction>\n    <scene_description>Ronit and Esti walk through the frantic central London CROWD. Esti looks at the people from all over the world. Her Haredi attire doesn't stand out particularly. Ronit takes Esti's hand. Esti allows it. Loves the touch.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL LONDON. BACK STREET. DAY<\/stage_direction>\n    <scene_description>Ronit and Esti walk down a street full of advertisements. Tense but happy. Ronit stops and kisses Esti, in the middle of the street, they keep kissing, it's wonderful. They look at each other, with a mixture of fear and excitement. They turn a corner.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL. RECEPTION. DAY.<\/stage_direction>\n    <scene_description>Esti waits nervously next to Ronit as a lift arrives, a BUSINESSMAN walks out. Esti and Ronit walk into the lift. It closes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM. DAY<\/stage_direction>\n    <scene_description>Ronit and Esti stand in the hotel room. Ronit closes the door behind her. Esti goes to the window and opens it and looks out at the people below, the colours of life. Ronit stands behind her and puts her arms around her and looks outside too. Esti turns to her and they kiss. Esti takes off her headscarf, then her wig. Her hair is cut short and she looks beautiful to Ronit, strangely modern suddenly. They make love, at last unhindered and uninhibited. They are sheer chemistry, understanding\u2026 and excruciating pleasure. They whisper urgently between their kisses --<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>I missed you.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>I missed you...<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Esti....<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Ronit.. Ronit.<\/dialogue>\n    <scene_description>LATER -- Esti and Ronit lie on the bed, sated, happy.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Feel..<\/dialogue>\n    <scene_description>Esti takes Ronit's hands and puts them on Esti's thighs.. They are twitching. Ronit smiles. They look at each other. Esti kisses Ronit's hand.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>We smell the same.<\/dialogue>\n    <scene_description>Ronit kisses her. They touch each other, it's wonderful. Ronit runs her hand through Esti's short hair. Esti smiles, feels post coital sleepy. They caress each other in silence for a few seconds. Then settle into holding each other.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>I used to think about you in New York...with your new friends.. I tried to imagine your room..Or us on the subway...I wrote the time zones down and the hours so I knew what time you were awake and asleep.<\/dialogue>\n    <scene_description>87A LATER 87A The room is darker. They have half dozed. Esti switches on a light. Ronit looks at her. Esti gazes at the door.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Esti hesitates for a moment.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>I was thinking of the Rav walking in on us\u2026<\/dialogue>\n    <parenthetical>(in Yiddish)<\/parenthetical>\n    <dialogue>\"Oh Hashem, strike me dead!\" His face.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Don't.<\/dialogue>\n    <scene_description>Ronit doesn't want to think about him. She lights up a cigarette.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>..What?<\/dialogue>\n    <scene_description>Ronit smiles, she is happy. There is a serenity in Esti that wasn't there before and makes her incredibly attractive. Ronit sees it. She touches Esti's skin.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>I want to take your picture.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>For the Jewish Messenger?<\/dialogue>\n    <scene_description>Esti laughs. Ronit laughs and jumps up from bed, finds her handbag and takes out her camera. She points it at Esti who shakes her head.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Look at me.<\/dialogue>\n    <scene_description>Esti looks at Ronit and ignites. She looks so beautiful. Esti is half naked and so happy and free. Ronit shoots, CLICK.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SYNAGOGUE. SUCCAH. DAY.<\/stage_direction>\n    <scene_description>Dovid and other RABBIS, clipboards in hand, check practical details for the Hesped. Behind them, two DELIVERY MEN are dropping off crates of wine, while other Rabbis count and sign for them.<\/scene_description>\n    <character>YOUNG RABBI<\/character>\n    <parenthetical>(reads)<\/parenthetical>\n    <dialogue>\u2026Waldorf salad, three-bean salad, barley salad, tabbouleh salad, Moroccan salad.<\/dialogue>\n    <scene_description>The Rabbis nod.<\/scene_description>\n    <character>YOUNG RABBI<\/character>\n    <dialogue>Fish: Poached salmon, fried fish balls, sweet and salty. Smoked salmon, smoked mackerel, smoked trout\u2026<\/dialogue>\n    <scene_description>Dovid is checking the items in his own list.<\/scene_description>\n    <character>MRS. SHAPIRO (O.S.)<\/character>\n    <dialogue>Rabbi Kuperman?<\/dialogue>\n    <scene_description>Everyone looks up. Mrs. Shapiro is standing at the door. Dovid feels exposed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SYNAGOGUE. SUCCAH. DAY.<\/stage_direction>\n    <scene_description>Dovid comes out to the corridor with Mrs. Shapiro.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Mrs. Shapiro.. We're just preparing for the Hesped.<\/dialogue>\n    <character>MRS. SHAPIRO<\/character>\n    <dialogue>Forgive me, Rabbi Kuperman. It's about Rebbetzin Kuperman. Something has happened.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>To Esti? Is she hurt?<\/dialogue>\n    <character>MRS. SHAPIRO<\/character>\n    <dialogue>Nothing like that... Can we go somewhere? ( private)<\/dialogue>\n    <scene_description>Dovid senses her enjoying the drama..and won't move.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Go on..<\/dialogue>\n    <scene_description>Dovid regards her coldly.<\/scene_description>\n    <character>MRS. SHAPIRO<\/character>\n    <dialogue>Lev and Hinda Berdichter came to see me\u2026<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>And?<\/dialogue>\n    <character>MRS. SHAPIRO<\/character>\n    <dialogue>Mr. Berdichter and his wife\u2026 in the park\u2026 They saw Rebbetzin Kuperman and Miss Krushka\u2026 in a rather confusing situation....They were.. in each other's arms.. but not chastely.<\/dialogue>\n    <scene_description>Dovid doesn't know how to react. Dovid stares at her unsympathetically.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>It is a great sin to spread false tales Mrs. Shapiro..or listen to them. Thank you.<\/dialogue>\n    <scene_description>Dovid walks away from her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVID &amp; ESTI'S HOUSE. DOWNSTAIRS\/UPSTAIRS\/ATTIC ROOM.<\/stage_direction>\n    <character>NIGHT.<\/character>\n    <dialogue>Dovid gets home. All the lights are out. He turns them on as he goes.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Esti?<\/dialogue>\n    <scene_description>There's no one in the living room. No one in the kitchen. Dovid goes upstairs, opens the door of his room: also empty. He walks into the attic room, nothing. He stands there, looking at Ronit's things.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVID &amp; ESTI'S HOUSE. LIVING ROOM. LATER. NIGHT.<\/stage_direction>\n    <scene_description>Dovid sits in the living room. He stares at the ritual candle, which is almost finished. Suddenly the flame starts to flicker and finally the flame dies. Dovid's expression hardly changes; he stares at the plume of white smoke that rises.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVID &amp; ESTI'S HOUSE. DOVID &amp; ESTI'S BEDROOM. NIGHT.<\/stage_direction>\n    <scene_description>Dovid stands by his bed, undressing into his boxers and vest. Esti comes in and closes the door. They look at each other in silence. Dovid starts to drag his bed towards Esti's, joining them. Esti ignores him pointedly. She sits on her bed with her back to him.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Don't..<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>We need to be close Esti. Ronit coming back is nothing. You know that don't you? She'll be gone in a few days and then it will be us again.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Dovid..<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>You were infatuated with each other once.. A crush..But this.. Us..<\/dialogue>\n    <scene_description>Dovid stands in front of her. Esti finally looks up at him. Dovid kisses her face\u2026 but Esti is cold.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Esti?<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Are you here?<\/dialogue>\n    <scene_description>She doesn't answer.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Esti..tell me what's going on.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Ronit will be be gone soon.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>I'd do anything for you Esti. You know that don't you?<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Yes... I'm sorry ..<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>For?<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Anything.. That might hurt you.<\/dialogue>\n    <scene_description>He takes this in. Sighs. Gets into bed. He really tries to understand.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>What's happened between you two?<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Nothing. Nothing's happened.<\/dialogue>\n    <scene_description>Esti resumes changing, mechanically, her back to him. But her face reveals -- she's suffering too.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVID &amp; ESTI'S HOUSE. BATHROOM. DAY.<\/stage_direction>\n    <scene_description>Esti closes the door. She feels nausea but cannot be sick. She throws water on her face and looks at herself in the mirror. Suddenly it dawns on her -- like a bucket of ice water. She puts her hand on her stomach and feels it. Esti looks terrified.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVID &amp; ESTI'S HOUSE. KITCHEN. DAY.<\/stage_direction>\n    <scene_description>Dovid and Esti sit at the table. Dovid has just finished eating breakfast. Esti takes his plate to the sink. Dovid notices that she hasn't touched her food. He looks at her -- she's rinsing out dishes. With the thought of the pregnancy Esti has a strange new life about her, bolder, more questioning although with an underlying fear.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Mrs. Shapiro made a formal complaint about you and Ronit.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>What? She came to you?<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Esti looks at him. Then turns back again. Dovid loses his patience, he walks up to her and turns her around.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Esti.. Tell me the truth.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>What?... I kissed Ronit.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>You kissed her.<\/dialogue>\n    <scene_description>Esti looks at him, he takes this in, is it all of the truth?<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>You kissed her.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <scene_description>Dovid suddenly feels the anger of it. He grabs Esti by the wrists.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Esti.. What are you doing to us? You think it's okay to just bulldoze our life like this?<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Dovid.. Don't!..I've tried! I have!<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>What do you want? To be hurt again? Has Ronit asked you to go back with her? No! She'll go back to her friends, her men!.. And you? What's wrong with you, Esti? What is it? Tell me!<\/dialogue>\n    <scene_description>Esti just looks at him. Dovid lets go, frustrated, he walks away from her.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>We've always been honest with each other. We have that at least.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Have we though? Have we?<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Of course we have.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>I got the message to Ronit about her father! I wanted her to come back..<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>No, no... She's taking advantage of you and you don't see it. You're blind!<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>No one is taking advantage of anyone. I wanted it to happen. And when we were girls It was the same... I've always wanted it.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>What did you do yesterday? You and Ronit?<\/dialogue>\n    <scene_description>He stares at Esti, her look tells him.. Everything. Dovid walks out of the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVID &amp; ESTI'S HOUSE. ATTIC GUEST ROOM LANDING. DAY.<\/stage_direction>\n    <scene_description>Ronit has heard them argue from the landing. She listens to the door slam and Dovid go outside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVID &amp; ESTI'S HOUSE. STAIRS. DAY.<\/stage_direction>\n    <scene_description>Esti remains motionless for a few long seconds, processing everything. Then she walks up the stairs\u2026<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVID &amp; ESTI'S HOUSE. LIVING ROOM\/ STAIRS. MORNING.<\/stage_direction>\n    <scene_description>Esti gets to the top and Ronit is there.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>You should leave him.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>And where would I go?<\/dialogue>\n    <scene_description>Esti looks at Ronit, a challenge to her, Ronit cannot answer, she can't commit to them. Esti looks at her, strong but hurt.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>When you left.. I wrote and wrote.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>I wrote back to you.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Three postcards. It wasn't enough Ronit.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>You don't have to be a victim Esti? You can do what you want.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>I'm not a victim..<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>You're unhappy..<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>And you? I look at you and.. you're just trapped somewhere else, in a bigger place.. in a different way..<\/dialogue>\n    <scene_description>The words resonate with Ronit but she is in denial.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>I'm not.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Really? .. I'm late for school.<\/dialogue>\n    <scene_description>Esti stares at her then walks away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. DOVID'S CAR\/ HENDON STREETS. DAY<\/stage_direction>\n    <scene_description>Dovid drives slowly. He's troubled, he has never been so angry before. Dovid stops at a red light. He switches the radio on. Classical music. He turns it up loud. Beside Dovid he sees a cherry picker machine with two men on it in high viz jackets placing the eruv lines up on high with thick thread and poles to mark the eruv. It used to be so important but it seems irrelevant now. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. DOVID'S CAR\/ HARTOG'S HOUSE. DAY<\/stage_direction>\n    <scene_description>Dovid slams the door of his car. He walks towards Hartog's house. He'd rather not be there. He sighs and knocks at the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GIRLS' SCHOOL. CLASSROOM. MORNING.<\/stage_direction>\n    <scene_description>Esti sits at her desk, completely lost in thought, while all the 12 year old GIRLS wait for her next exercise. SARA raises her hand.<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Mrs. Kupermann?.. Mrs. Kuperman?<\/dialogue>\n    <scene_description>Esti glances at Sara.<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>We've all finished.<\/dialogue>\n    <scene_description>Esti nods, perturbed.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Excuse me Sara.. Excuse me girls.<\/dialogue>\n    <scene_description>She gets up and walks out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVID &amp; ESTI'S HOUSE. DOVID &amp; ESTI'S BEDROOM. DAY.<\/stage_direction>\n    <scene_description>Ronit hovers on the threshold of Dovid and Esti's bedroom. She walks in, feeling like a trespasser. She sees the two beds. She sees Esti's shoes next to her bed and her tights hanging on the end. She sees a pile of books next to Dovid's bed. On the top is \"Day by Day\" by Rav Shlomo Krushka. \" Thoughts on Life and Faith.\" Ronit picks it up and looks at the photo of her father on the back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARTOG'S HOUSE. LIVING ROOM. DAY<\/stage_direction>\n    <scene_description>The WIVES have prepared a feast. The GUESTS are enjoying the food and drinks, including Kirschbaum and the CHOIR. There are some suitcases stacked near the wall. Dovid shakes hands with one of the choir. The Hendon Rabbis stand around the choir who talk quietly of the Rav, we cannot hear them. One of the choir nods and feels the pain of the Rav's passing; he starts to sing under his breath. Another of the choir moves his head to the rhythm of the song and joins in and so does another couple. They are singing gently together for hope. Dovid enjoys the singing but Kirschbaum puts his hand on Dovid's shoulder and leads him to a door. He shows him in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARTOG'S HOUSE. KITCHEN. DAY<\/stage_direction>\n    <scene_description>Hartog, Goldfarb, Rigler and the other Rabbis of the Board turn to look at Dovid. Kirschbaum closes the door.<\/scene_description>\n    <character>HARTOG<\/character>\n    <dialogue>Dovid, please, have a seat.<\/dialogue>\n    <scene_description>Dovid remains standing.<\/scene_description>\n    <character>HARTOG<\/character>\n    <dialogue>There have been rumors Dovid.<\/dialogue>\n    <character>KIRSCHBAUM<\/character>\n    <dialogue>About your wife.<\/dialogue>\n    <character>GOLDFARB<\/character>\n    <dialogue>The community respects and admires you.<\/dialogue>\n    <scene_description>Dovid tries to keep his head.<\/scene_description>\n    <character>HARTOG<\/character>\n    <dialogue>We have found a highly recommended seminary for Esti in Israel.<\/dialogue>\n    <character>KIRSCHBAUM<\/character>\n    <dialogue>It provides time for reflection, for turning to Hashem\u2026 and Esti can spend some time with her parents there?<\/dialogue>\n    <scene_description>Dovid is outraged.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Did you just say that?.. That you want to send my wife away?<\/dialogue>\n    <character>HARTOG<\/character>\n    <dialogue>Temporarily.<\/dialogue>\n    <character>GOLDFARB<\/character>\n    <dialogue>For her own good.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Esti is not going anywhere..I decide where my wife goes.<\/dialogue>\n    <scene_description>A heavy silence that no one dares break. Hartog looks sternly at Dovid.<\/scene_description>\n    <character>HARTOG<\/character>\n    <dialogue>Dovid..Ronit Krushka will not be endured at the Hesped. Please convey that to her.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>I will not be dictated to Moshe! Ronit Krushka is the Rav's only child.<\/dialogue>\n    <character>HARTOG<\/character>\n    <dialogue>And do you think he would want a non believer to be present at his hesped?<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>I do yes.. But only Hashem and the Rav know the answer to that.<\/dialogue>\n    <character>HARTOG<\/character>\n    <dialogue>You want to protect the woman who is shaming you and your wife?<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>There is only shame where shame is felt. And I feel none. We will welcome Ronit with grace. She is in mourning for the Rav.<\/dialogue>\n    <character>HARTOG<\/character>\n    <dialogue>Dovid.. Her presence will not be tolerated. And your behaviour is not befitting to this week of mourning!<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>You think I'm not in mourning? That I do not grieve?<\/dialogue>\n    <scene_description>Dovid, bereft, angry, looks at them all and walks out of the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GREENBERGS' CAFE AND BAKERY. DAY.<\/stage_direction>\n    <scene_description>Ronit sits with a coffee and two cakes and upon a plate by the main window. She looks at \"their table\", now being used by strangers. The queue of cakes is three very frum women in dark clothes. More orthodox costumers surround Ronit, who cannot eat and simply stares out of the window, isolated.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SYNAGOGUE. OFFICE CORRIDOR\/PRIVATE ROOM. DUSK.<\/stage_direction>\n    <scene_description>Dovid picks up some keys from an office and walks through a corridor and unlocks a door. Then down another corridor and he unlocks a second door. Then a third into a small and amazing library. It is full of rare hebraic texts. On a table are some plastic cups and a full bottle of malt whiskey. He pours a glass and starts to drink it. He looks at the books, puts his finger along the spines of these precious texts.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SYNAGOGUE. PRIVATE ROOM. NIGHT.<\/stage_direction>\n    <scene_description>Dovid sits on the floor. He is bereft, confused and profoundly sad.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HENDON STREET. NIGHT.<\/stage_direction>\n    <scene_description>Dovid, half drunk, steps out of his car, which is still running and pees into the bushes. The relief is great. It seems to him that all of life is constraint and then relief for a few seconds.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVID &amp; ESTI'S HOUSE. KITCHEN. NIGHT.<\/stage_direction>\n    <scene_description>Ronit walks in and finds Esti preparing dinner, with her back turned. Esti senses Ronit and stops chopping. Ronit takes off her coat and puts her bag down. Esti turns around\u2026 They look at each other, their eyes full of unanswered questions.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>How are you?<\/dialogue>\n    <scene_description>Ronit shrugs.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Okay. You?<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>I'm .. Fine.<\/dialogue>\n    <scene_description>The front door opens. They both go quiet. Dovid is coming in. He is not drunk but sort of fevered, still holding his whiskey.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Dovid.. Do you want some dinner?<\/dialogue>\n    <scene_description>Dovid tries to sober up.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>.. Yes.. Yes let's eat something.<\/dialogue>\n    <scene_description>He does not sit down at the table but just stands and looks at the three place settings. He places the whiskey on the table. He pours out three whiskeys and raises one for himself and to the women.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>L'chaim!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVID &amp; ESTI'S HOUSE. DINING ROOM. NIGHT.<\/stage_direction>\n    <scene_description>Ronit and Dovid sit at the table. Esti serves some pasta. She sits with them. Dovid prays with his eyes closed, Ronit and Esti watch him, nervous.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>\u2026Baruch atah Adonai Eloheinu Melech Haolam, borai minai mezonot.<\/dialogue>\n    <scene_description>Dovid opens his eyes and looks at them. They start to eat, in silence\u2026 only the sound of the CUTLERY against the plates, the three of them trapped in an impossible situation. Dovid notices that Esti can't eat, about to crack from the pressure. He is quietly raging but abstracted through the drink and the situation.<\/scene_description>\n    <character>DOVID (CONT'D.. TO ESTI)<\/character>\n    <dialogue>You're not eating..<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>No..<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>I've booked a flight back. I'll be leaving tonight.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Oh.. Good.. That's good..<\/dialogue>\n    <scene_description>Esti is wracked by the situation and by her being pregnant.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>I hope that the hesped goes well..<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>It will.. Now it will. And you Esti?.. What will you do?<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Dovid... It's so.. complicated..<\/dialogue>\n    <character>DOVID ( TO ESTI)<\/character>\n    <dialogue>Please.. try.. Try to explain it to me..<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>I can't.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Ah..<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>I'm going to pack.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>The complication was your coming here Ronit.. It would have been much simpler if you'd stayed at home. You've ignored us for years...You should have continued to do that.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Excuse me..<\/dialogue>\n    <scene_description>Esti gets up and leaves the table and goes upstairs. Dovid stares at Ronit.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>What will you do when you go back?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>I'm sorry.. That I've hurt you.<\/dialogue>\n    <scene_description>Dovid shakes his head, puts his head in his hands.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVID &amp; ESTI'S HOUSE. HALLYWAY\/LIVING ROOM. NIGHT<\/stage_direction>\n    <scene_description>The house is in shadows, completely silent. Ronit's large suitcase is there and her holdall. Esti walks down the stairs with a large package in her hand, wrapped. She puts it into Ronit's holdall. She hears Ronit on the stair now and watches her walk down to her.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Ronit?.. You're leaving again?<\/dialogue>\n    <scene_description>Ronit looks at her: \"Yes\". Esti nods, defiantly.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>..It's easier to leave....<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Esti..<\/dialogue>\n    <scene_description>Ronit is devastated, she touches Esti's face. She invites Esti to kiss her but Esti simply looks at her. Ronit retreats, takes her bags and steps outside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>111A EXT. DOVID &amp; ESTI'S HOUSE 111A<\/stage_direction>\n    <scene_description>The DOOR SLAMS behind her, devastating.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGH STREET. NIGHT<\/stage_direction>\n    <scene_description>Shaken, Ronit walks down a street pulling her large suitcase and holdall. She hails a lone taxi.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVID &amp; ESTI'S HOUSE. DOVID &amp; ESTI'S BEDROOM. NIGHT<\/stage_direction>\n    <scene_description>Esti looks over at Dovid, fast asleep in his bed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HENDON UNDERPASS. NIGHT.<\/stage_direction>\n    <scene_description>Esti walks through a tiled underpass, lit brutally.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT BUS. NIGHT.<\/stage_direction>\n    <scene_description>Esti sits on the top deck of a night bus. All manner of NIGHTHAWKS are on it, CLUBBERS and CLEANERS and tired people. Esti is both fascinated and nervous.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALL NIGHT PHARMACY. NIGHT<\/stage_direction>\n    <scene_description>Everything is shut except for the 24 hour Pharmacy. There is not a soul about. We see Esti through the window, searching the aisles then taking a product.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM. NIGHT<\/stage_direction>\n    <scene_description>Esti sits on the hotel bed which she and Ronit shared. She has nothing except the paper bag from the pharmacy. A glass of water next to her bed. She looks at the bag, ready to open it. She looks lonely and conflicted. She stands up and begins to pray. She rocks a little with it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HEATHROW AIRPORT. WAITING AREA. DAWN<\/stage_direction>\n    <scene_description>Ronit tries to sleep on some fixed chairs, she is deeply uncomfortable and the airport is deserted bar a few WORKERS. One FEMALE CLEANER, Polish, 50s, pushes an industrial vacuum cleaner around, it makes a loud noise and Ronit wakes with it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HEATHROW AIRPORT. CHECK IN DESK. DAWN<\/stage_direction>\n    <scene_description>Ronit stands in line to check-in her large suitcase at the counter. Her mobile RINGS.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Hello? \u2026 Dovid..? ..What? No she's not with me\u2026<\/dialogue>\n    <scene_description>Ronit listens for a moment. She gets upset.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>When did you last see her?... She'll be back..<\/dialogue>\n    <scene_description>SOMEBODY behind her nudges her. It's Ronit's turn.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>I have to go now. I'll call you when I've gone through security.<\/dialogue>\n    <scene_description>She hangs up and goes to the counter.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HEATHROW AIRPORT. SECURITY CHECK. DAWN<\/stage_direction>\n    <scene_description>Ronit puts her carry-on wheelie bag and holdall in the X-ray machine. She goes through the metal detector. The AGENT checking the monitor calls her.<\/scene_description>\n    <character>AGENT<\/character>\n    <dialogue>Is this your bag?<\/dialogue>\n    <scene_description>Ronit sees, IN THE X-RAY MONITOR -- the thin metal shape of the candlesticks in negative colors.<\/scene_description>\n    <character>AGENT<\/character>\n    <dialogue>Is that metal?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>.. Yes.<\/dialogue>\n    <scene_description>The image hits her.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>They're candlesticks.. They're not mine.<\/dialogue>\n    <character>AGENT<\/character>\n    <dialogue>They belong to someone else?<\/dialogue>\n    <scene_description>Ronit speaks almost to herself.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>They're my mother's...<\/dialogue>\n    <character>AGENT<\/character>\n    <dialogue>Your mother? Is she travelling?<\/dialogue>\n    <scene_description>Ronit is suddenly hit by the fact that she has no parents.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>No... no she died.<\/dialogue>\n    <character>AGENT<\/character>\n    <dialogue>You can't take them with you.<\/dialogue>\n    <scene_description>Another AGENT unwraps and hands the candlesticks to the first AGENT. Ronit stares at them.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>And my father died.<\/dialogue>\n    <character>AGENT<\/character>\n    <dialogue>You can't take them on the plane. You'll have to leave them here.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>I ... I can't.<\/dialogue>\n    <scene_description>The whole of the last week hits Ronit and she is paralyzed by it. Ronit feels like an abandoned child.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>I'm really sorry ..I thought I could leave them behind.. but I can't.. I can't.<\/dialogue>\n    <character>AGENT<\/character>\n    <dialogue>Are you alright?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Yes.. No..<\/dialogue>\n    <scene_description>Ronit cannot move for a moment.. Other PEOPLE are having to walk past her.<\/scene_description>\n    <character>AGENT<\/character>\n    <dialogue>Do you want some water?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>No. I just need to go back.<\/dialogue>\n    <scene_description>The Agent waits for her to come to. Another Agent comes around from behind with a plastic chair for her. .<\/scene_description>\n    <character>AGENT<\/character>\n    <dialogue>Alright?<\/dialogue>\n    <scene_description>Ronit sits down carefully in the chair, disorientated.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>I can't leave. I can't get on the plane.<\/dialogue>\n    <scene_description>The Agent,puzzled, gets onto his walkie talkie. Ronit waits.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOVID &amp; ESTI'S HOUSE. DAY.<\/stage_direction>\n    <scene_description>Ronit gets out of a cab with her luggage. Dovid is leaving the house, going to look for Esti.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>She's gone Ronit. She's left me.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>She won't have just disappeared.. Wait..<\/dialogue>\n    <scene_description>Ronit goes up to the house and puts her luggage inside. Dovid gets into his car. Ronit comes down and tries to open the passenger door but he has locked it. She taps the window. He unlocks it. Ronit gets in and they drive away. OMITTED.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. DOVID'S CAR. DAY<\/stage_direction>\n    <scene_description>Ronit and Dovid ride in his car.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Did you want this to happen? Between you two?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>I didn't think about it.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Exactly! And now?<\/dialogue>\n    <scene_description>Ronit doesn't know what to say.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>You have a choice Ronit.. Your being here is destroying us.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Your marriage existed for years before I arrived Dovid, I only just got here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>123A EXT. RAV'S HOUSE. DAY 123A<\/stage_direction>\n    <scene_description>They get to the Rav's house, get out of the car. The front door is locked. Dovid unlocks it with a key from his large ring of keys\u2026<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAV'S HOUSE. HALLWAY\/ LIVING ROOM DAY<\/stage_direction>\n    <scene_description>The house is completely empty, ready for the renovations to begin. Dovid runs upstairs.<\/scene_description>\n    <character>DOVID (O.S.)<\/character>\n    <dialogue>Esti\u2026! Esti?<\/dialogue>\n    <scene_description>It hits Ronit to see the house like that -- her childhood home and all that remained of her father, cleared away, gone. Dovid returns to the living room. Ronit looks at the empty walls.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM. DAY.<\/stage_direction>\n    <scene_description>Esti lies motionless on the bed. The paper bag is on the floor. She is in the deepest of sleeps and deathly pale.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>125A INT\/EXT. DOVID'S CAR. STREET NEAR PARK. DAY 125A<\/stage_direction>\n    <scene_description>Dovid and Ronit drive along in silence.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Try the park.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>I can't live without her Ronit. She's my soul mate - my B'shert<\/dialogue>\n    <scene_description>Ronit nods, perhaps she cannot either, Dovid sense this and is angry, perhaps Ronit has come back to win her?<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>I know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>125B INT\/EXT. DOVID'S CAR. STREET NEAR PARK. 125B<\/stage_direction>\n    <scene_description>Dovid waits in the car. Takes one of Ronit's cigarettes. Then gets out the car and starts smoking, looking around, in a slightly paralyzed state.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARK. HENDON. DUSK<\/stage_direction>\n    <scene_description>Ronit walks in the park. The winter sun is setting. There's no one in sight. Ronit gets to the tree where she and Esti held hands. She looks at some bushes nearby. She can almost sense Esti hiding there\u2026<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. DOVID'S CAR\/ HENDON STREETS. NIGHT.<\/stage_direction>\n    <scene_description>Ronit and Dovid drive around in his car, silent, worried.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>You think you understand but you don't.... I have always accepted that Esti can only love me in a certain way.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>And you think that's honest? To live like that.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>It's decent.<\/dialogue>\n    <scene_description>Darkness has fallen. OMITTED.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVID &amp; ESTI'S HOUSE. THE HALLWAY. NIGHT.<\/stage_direction>\n    <scene_description>Dovid and Ronit are taking off their coats. Dovid walks to the base of the stairs.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Esti?!<\/dialogue>\n    <scene_description>Nothing.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>I wished she never contacted you.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>She did the right thing. My father died... And you weren't even going to tell me.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Can you see why I didn't, I was protecting my wife.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>You're a good man Dovid but you're not protecting her.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Yes I am, I am protecting Esti from herself. The healthy relationship is between a man and a woman. It's human to have immoral thoughts. To act on them is an Aveira.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>So if we're sick why does it feel so good between me and Esti?<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Damn you, Ronit, I'm her husband. She's my wife!<\/dialogue>\n    <scene_description>The phone rings. Dovid grabs it, hopeful, but it's not Esti.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Hello?.. Yes I'll be at the rehearsal. Shortly.<\/dialogue>\n    <scene_description>He puts the phone down.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>They're all at the synagogue.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Wonderful...<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>You think you understand but you don't.... I have always accepted that Esti can only love me in a certain way.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>And you think that's honest? To live like that.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>She's my soul mate - my B'shert. And you're trying to tempt her away. Did you want this to happen? Between you two?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>You gave it no thought! Exactly! The same as before!.. And now?<\/dialogue>\n    <scene_description>Ronit doesn't know what to say.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>You have a choice Ronit.. Your being here is destroying us.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Then your marriage had problems, I only just got here.<\/dialogue>\n    <scene_description>The phone RINGS again. Dovid picks up, listens.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>I said I was coming!<\/dialogue>\n    <scene_description>He hangs up. Dovid looks at Ronit, rage present and not far from violence. Suddenly, floorboards CREAK. Dovid and Ronit turn -- Esti walks down the stairs. She's been there the whole time and has heard everything.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Esti. Where have you been?<\/dialogue>\n    <scene_description>Esti looks strangely serene.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>I want you to give me my freedom.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>What? Esti... Come here.<\/dialogue>\n    <scene_description>Esti walks over to him, oddly calm. He puts his arms around her.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>I was terrified..<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>I didn't mean for you to worry.. I'm pregnant.<\/dialogue>\n    <scene_description>Silence. Ronit and Dovid are astonished with the news. Dovid breathes.. He wants to cry with the brilliant news which will solve all the problems. He feels her stomach.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>A child then. We'll have a child. Hashem is looking over us.<\/dialogue>\n    <scene_description>Dovid is quietly jubilant, relieved. Esti holds her nerve.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>I don't think that we should be together anymore.<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Hashem has given us a life to protect Esti. Together. This is his wish.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Dovid is suddenly afraid, seeing how calm Esti is.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>I was born in this community. I had no choice. I want my child to be free to decide \u2026<\/dialogue>\n    <scene_description>Esti holds his gaze, with quiet determination. Dovid realizes how serious she is.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Esti! We've waited so long for this!<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Please.. give me my freedom.<\/dialogue>\n    <scene_description>The phone RINGS again. Dovid ignores the ringing, desperate.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>And Hashem?<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Hashem made me this way. If He wishes to punish me, that is His right. But it is my right to disobey.<\/dialogue>\n    <scene_description>Dovid hangs the phone up.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>No..<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Dovid..<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Stay out of it.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>I can't... you and Esti are my only family.<\/dialogue>\n    <scene_description>Dovid is speechless. He gets up and goes out the front door, overwhelmed. Esti goes after him. Ronit is too shocked to react.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOVID &amp; ESTI'S HOUSE. NIGHT.<\/stage_direction>\n    <scene_description>Esti comes out in time to see Dovid opening the door of his car.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Dovid!<\/dialogue>\n    <scene_description>He turns -- deeply hurt. It's almost more than Esti can bear. She stops dead, suddenly crushed by guilt, and watches Dovid get in and drive away. Ronit comes outside and finds Esti on the verge of tears.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>It's all he ever wanted. He's watched everyone else and never once complained. He so wants a child.<\/dialogue>\n    <scene_description>Ronit holds her.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Our one time to be joyful and I killed him...<\/dialogue>\n    <scene_description>Esti stares after Dovid's absence. Ronit looks at her, excluded.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HENDON STREETS. NIGHT.<\/stage_direction>\n    <scene_description>Ronit and Esti walk, a little intimidated, in the river of PEOPLE who are going to the hesped.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>It's all he ever wanted. He's watched everyone else and never once complained. He so wants a child.<\/dialogue>\n    <scene_description>Ronit holds her.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Our one time to be joyful and I killed him...<\/dialogue>\n    <scene_description>Ronit sees Fruma, who looks down at the ground. Ronit crosses to her.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Fruma. I'm not trying to upset anyone. I need to honour my father.<\/dialogue>\n    <scene_description>Fruma nods, she has heard the rumours and cannot ignore them and walks away from Ronit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SYNAGOGUE. NIGHT<\/stage_direction>\n    <scene_description>Ronit and Esti get to the synagogue. Everybody's going in, the hesped is starting. Esti sees Dovid's car parked outside, but no sign of him. She goes in. Ronit looks at the temple for a moment\u2026 she can't go inside. Esti sees her outside. Waits for her. Ronit steels herself and then follows Esti inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SYNAGOGUE - FOYER -- NIGHT<\/stage_direction>\n    <scene_description>Esti looks around the foyer -- MEN filing into the hall, WOMEN heading upstairs. She sees Dovid walking towards the far door of the hall, with Hartog and Goldfarb.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Dovid!<\/dialogue>\n    <scene_description>He doesn't hear her. Esti tries to reach him, but the line of staring MEN makes it impossible. Esti confronts him. The Men disapprove. Esti takes his arm and they walk to a quiet corridor.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Dovid...<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>Esti.. please tell me you've changed your mind.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>No.. But I want you to be in our child's life.<\/dialogue>\n    <scene_description>A Rabbi waves Dovid over and he puts up a hand to say he can't come over.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Go. And speak. I've always been very proud.. to be your wife.<\/dialogue>\n    <scene_description>Dovid reluctantly leaves Esti alone. Esti rejoins Ronit and they walk up the wooden stairs towards the Women's Section.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SYNAGOGUE. WOMEN'S SECTION. NIGHT<\/stage_direction>\n    <scene_description>Ronit and Esti walk down the centre aisle towards the empty front row, oblivious to the looks some Women give them. They sit, apart from the others. The Hall waits in silence. Ronit and Esti see\u2026<\/scene_description>\n    <character>DOWNSTAIRS --<\/character>\n    <dialogue>Next to the podium, there's a large PHOTO OF RAV SHLOMOH BEN DOVID KRUSHKA, with his beard and his hat\u2026 and a kind light shining in his eyes.<\/dialogue>\n    <dialogue>The Beth El Cantor Choir take the podium, in two rows. Their Conductor gives the signal and they start chanting a soulful and melodious funeral prayer.<\/dialogue>\n    <character>BETH EL CHOIR<\/character>\n    <parenthetical>(sing)<\/parenthetical>\n    <dialogue>Al molay rachamim, shochayn bam'romim, ham-tzay m'nucha n'chona al kanfay Hash'china\u2026<\/dialogue>\n    <character>IN THE WOMEN'S SECTION --<\/character>\n    <dialogue>Ronit finds herself deeply touched by the music, the temple.<\/dialogue>\n    <character>BETH EL CHOIR<\/character>\n    <dialogue>\u2026b'ma-alot k'doshim ut-horim k'zo-har haraki-a mazhirim, et nishmat Shloimoh ben Dovid\u2026<\/dialogue>\n    <scene_description>Ronit hears her father's name and something clicks in her. She gazes at his photograph. Esti looks around the hall downstairs and finally spots -- Dovid, sitting in one of the front rows.<\/scene_description>\n    <character>BETH EL CHOIR<\/character>\n    <dialogue>\u2026she-halach l-olama, ba-avur shenodvu tz'dakah b'ad hazkarat nishmata.<\/dialogue>\n    <scene_description>DOWNSTAIRS -- Dovid looks like he needs air. He loosens his tie, then tightens it back up. He notices that Hartog and Goldfarb, sitting in his row, are looking at him with concern.<\/scene_description>\n    <character>BETH EL CHOIR<\/character>\n    <dialogue>B'Gan Ayden t'hay m'nuchata; la-chayn Ba-al Harachamim\u2026<\/dialogue>\n    <scene_description>Dovid can't take it. He suddenly stands up and heads out. IN THE WOMEN'S SECTION -- Esti sees Dovid walking down the side aisle towards the exit.<\/scene_description>\n    <character>BETH EL CHOIR<\/character>\n    <dialogue>\u2026yas-tire-ha b'sayter k'nafav l'olamim, v'yitz-ror bitz-ror hacha-yim et nishmatah,\u2026<\/dialogue>\n    <scene_description>Esti turns to Ronit, and sees that she's touched by the music, looking at the photo. Esti can't help feeling moved.<\/scene_description>\n    <character>BETH EL CHOIR<\/character>\n    <dialogue>\u2026Ado-nay Hu na-chalatah, v'tanu-ach b'shalom al mishkavah. V'nomar: Amayn.<\/dialogue>\n    <scene_description>Ronit joins the Hall in replying a heartfelt:<\/scene_description>\n    <character>HALL<\/character>\n    <dialogue>Amen.<\/dialogue>\n    <scene_description>A tear rolls down Ronit's face. Esti squeezes her hand in support. Ronit looks at her, whispers.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Be with me.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Come to New York. Have the baby. And be with me.<\/dialogue>\n    <scene_description>Esti looks at her, shocked, excited, confused. She holds Ronit's hand tight as she looks back to the front. Other Women look at them and their hand holding. Ronit looks forward again. Esti holds Ronit's hand so tight.<\/scene_description>\n    <character>DOWNSTAIRS --<\/character>\n    <dialogue>Hartog takes the podium.<\/dialogue>\n    <character>HARTOG<\/character>\n    <dialogue>Rav Krushka's departure leaves us facing a void, bewildered. Today, we take comfort in knowing that his legacy will be preserved and carried through to the next generations.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SYNAGOGUE. FOYER. NIGHT<\/stage_direction>\n    <scene_description>Dovid stands outside the door to the hall, in the deserted foyer. He's pale and out of breath.<\/scene_description>\n    <character>HARTOG (O.S.)<\/character>\n    <dialogue>I call upon a new voice, Rav Krushka's closest disciple, spiritual son and successor, Rabbi Dovid Kuperman.<\/dialogue>\n    <scene_description>Dovid doesn't move.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SYNAGOGUE. WOMEN'S SECTION. NIGHT<\/stage_direction>\n    <scene_description>Esti and Ronit wait for Dovid to appear. Esti's fists are white with tension.<\/scene_description>\n    <character>DOWNSTAIRS --<\/character>\n    <dialogue>Hartog looks around\u2026 nothing. Then he looks up, and sees Ronit and Esti in the women's section. He takes it in.<\/dialogue>\n    <character>HARTOG<\/character>\n    <dialogue>Rabbi Kuperman?<\/dialogue>\n    <scene_description>Nothing. People start looking around. Dovid stands inside the door. He looks at the hall for a few seconds\u2026 He takes a deep breath, gathering his strength, and starts for the podium, down one of the side aisles. IN THE WOMEN'S SECTION -- Ronit and Esti watch Dovid approaching the podium. Hartog steps down. DOWNSTAIRS -- Dovid steps up to the podium. He looks at the crowd for a moment, the faces he knows so well, but doesn't see Esti and Ronit yet. He takes a deep breath and starts to deliver, rather mechanically, the speech he memorized.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Rav Krushka often spoke about the duty of the teacher, the duty...<\/dialogue>\n    <scene_description>He loses his train of thought and cannot speak for a moment.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>I'm sorry. I can't.....<\/dialogue>\n    <scene_description>He can't go through with the official speech. He looks for something truthful to say. He sees Ronit.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>The Rav's only daughter Ronit Krushka is here with us today.<\/dialogue>\n    <scene_description>He indicates Ronit, looks at her then back to the gathering. The Elders are annoyed.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>The Rav's final words to us\u2026\u2026<\/dialogue>\n    <scene_description>Dovid stops, not knowing where he's going.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>..Why did he choose to discuss the idea of choice? .. And .. Freedom. There is nothing so.. tender..<\/dialogue>\n    <character>DOVID<\/character>\n    <dialogue>or truthful.. as the true feeling of .. Being free.<\/dialogue>\n    <scene_description>He looks at the hall, tense. Everybody's listening.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Free.. To choose.<\/dialogue>\n    <scene_description>He hesitates, he looks up at the women's section and sees -- Esti is looking at him, with deep love. And seeing her triggers something in him. He looks at Esti and Ronit with love beyond blame. He knows what he must do.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>The Rav was a giant of Torah. But it wasn't a giant that we saw collapse that day, but a man.<\/dialogue>\n    <scene_description>His words start raising some eyebrows, but he speaks with captivating honesty.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>He talked of the angels.. and the desires of the beasts. With his last breath, the Rav reminded us of this: we are free to choose.<\/dialogue>\n    <scene_description>He looks up at Esti.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>You are free.<\/dialogue>\n    <scene_description>Esti understands, moved. Ronit is also deeply touched.<\/scene_description>\n    <character>DOVID<\/character>\n    <parenthetical>(to all)<\/parenthetical>\n    <dialogue>You are free.<\/dialogue>\n    <scene_description>His passion has captured the synagogue. Dovid remains silent for a few moments.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>I cannot accept the honour or position that is offered to me. I do not have sufficient... understanding. Please forgive me.<\/dialogue>\n    <scene_description>The room stands still. Dovid steps off the podium\u2026 and heads quietly to the door. Hartog is in shock.<\/scene_description>\n    <character>IN THE WOMEN'S SECTION --<\/character>\n    <dialogue>Esti and Ronit stand up and head for the exit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SYNAGOGUE. STAIRS\/FOYER. NIGHT<\/stage_direction>\n    <scene_description>Ronit follows Esti down the stairs to the foyer. Esti stops for a moment.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Ronit..<\/dialogue>\n    <scene_description>Ronit stops too.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>I can't come with you.<\/dialogue>\n    <scene_description>Ronit takes a moment, but understands.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>Esti walks on and is the first one outside the door. Ronit follows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SYNAGOGUE. NIGHT<\/stage_direction>\n    <scene_description>Ronit comes out and sees -- Dovid standing in the middle of the empty street. Esti approaches him. She hugs him tight. Ronit watches, moved. Dovid sees her\u2026 and opens one arm to include her. Ronit joins them, and the three melt into an awkward but heartfelt embrace: Family.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARK. HENDON. DAWN<\/stage_direction>\n    <scene_description>At first light -- the tree where Ronit and Esti held hands, surrounded by mist. The tennis court looks incredibly cold, uninhabited.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HENDON STREET. DAWN<\/stage_direction>\n    <scene_description>The thread of the eruv. Wind\u2026<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>140A EXT. DOVID'S HOUSE. DAWN. 140A<\/stage_direction>\n    <scene_description>The house is quiet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVID &amp; ESTI'S HOUSE. ATTIC GUEST ROOM. DAWN.<\/stage_direction>\n    <scene_description>Ronit lies in bed. It is dawn and some light comes through the window. She watches the dust motes in the air. She hasn't slept much.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVID &amp; ESTI'S HOUSE. LANDING. DAWN.<\/stage_direction>\n    <scene_description>Ronit is dressed and packs her carry on, her candlesticks, last bits of clothes. Walks down the stairs trying not to make any noise with her bags, but the floorboards CREAK. As Ronit walks, Dovid opens his bedroom door, still half- asleep. Ronit stops for a moment to look at him.<\/scene_description>\n    <character>DOVID<\/character>\n    <dialogue>Shalom.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Shalom Dovid.<\/dialogue>\n    <scene_description>Ronit walks to him and puts her hand on Dovid's arm, he accepts the touch. Ronit walks down the stairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVID &amp; ESTI'S HOUSE. LIVING ROOM\/ HALLWAY. DAWN.<\/stage_direction>\n    <scene_description>Downstairs in the living room, Esti sits up on the couch where she has relocated herself. Her hair is natural, no wig or scarf.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Morning.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Good morning..<\/dialogue>\n    <scene_description>They feel self-conscious with Dovid nearby. They hear a CAR pull up outside. Dovid goes back to his room, leaves them to be alone. The cab honks. Ronit crosses to Esti and perches near to her.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>When the Rav was dying he took my hand and he looked into my eyes and he said \"Ronit\". He thought I was you. He was thinking of you.<\/dialogue>\n    <scene_description>Ronit takes this in. Ronit and Esti look at each other in silence\u2026 everything unsaid. Ronit heads to the door. Esti looks at her with sadness.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>\"May you live a long life!\"<\/dialogue>\n    <scene_description>Ronit smiles at her and steps out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>E\/I. DOVID &amp; ESTI'S HOUSE\/ TAXI. DAWN<\/stage_direction>\n    <scene_description>Ronit closes the door and walks to a taxi, waiting in the misty street. The DRIVER gets out when he sees her coming. He takes her luggage and puts it in the trunk.<\/scene_description>\n    <character>CAB DRIVER<\/character>\n    <dialogue>Heathrow is it?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>They get in.<\/scene_description>\n    <character>CAB DRIVER<\/character>\n    <dialogue>Which terminal?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Five.. thanks.<\/dialogue>\n    <scene_description>The taxi starts. Just as it's pulling away\u2026<\/scene_description>\n    <character>ESTI (O.S.)<\/character>\n    <dialogue>Ronit!<\/dialogue>\n    <scene_description>Ronit turns and sees Esti rushing towards the cab.<\/scene_description>\n    <character>ESTI<\/character>\n    <dialogue>Wait!<\/dialogue>\n    <scene_description>The cab stops. Esti opens the door, gets inside, and gives Ronit a long kiss on the mouth\u2026 she's radiant. Ronit wants to cry.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>You'll be a brilliant mother. Brave. Beautiful. Don't let anyone hurt her.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>I won't.<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>Will you call me?.. Tell me where you are.<\/dialogue>\n    <character>ESTI<\/character>\n    <dialogue>Yes.. Yes..I will.<\/dialogue>\n    <scene_description>Esti gets out quick, shuts the door. Their eyes connect. The taxi drives away. Ronit looks back at Esti, until they turn the corner.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAB. HENDON\/CEMETERY STREET. DAWN.<\/stage_direction>\n    <scene_description>Ronit watches the streets disappear and now she sees the cemetery wall as they drive past it.<\/scene_description>\n    <character>RONIT<\/character>\n    <dialogue>Sorry.. Sorry could we just stop here for five minutes? Thanks..<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETERY. CAR PARK. DAWN<\/stage_direction>\n    <scene_description>The cab stops. Ronit gets out. And walks towards the ENTRANCE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETERY. DAWN<\/stage_direction>\n    <scene_description>Ronit walks in the cemetery, deserted at that hour. She holds her camera. The gravestones are surrounded by mist, lit by the first rays of sunlight. Ronit walks through the graves. Focused, alive, feeling. She gets to her father's grave. Feels the earth a touch. She looks at the sky. She points at the grave, focuses\u2026 CLICK. Ronit lowers the camera. Her face is lost in emotion, still gazing at the grave.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. YELLOW CAB. NEW YORK. DAY.<\/stage_direction>\n    <scene_description>Ronit sits at the back of a cab. She looks through the window at the skyline and lots of wires in a beautiful pattern as the cab crosses a bridge. An OLD AFRICAN AMERICAN CAB DRIVER catches her eye. He is playing some fantastic drums music. Ronit stares towards the Babylon of New York across the bridge.<\/scene_description>\n    <character>CABBIE<\/character>\n    <dialogue>You want the music down?<\/dialogue>\n    <character>RONIT<\/character>\n    <dialogue>No. No. Turn it up.<\/dialogue>\n    <scene_description>The cabbie turns up the music. Ronit is full or life as she stares at the expanse of iron and sky above her, the water below and the humming city beyond. THE END.<\/scene_description>\n  <\/scene>\n<\/script>","summary":"New York photographer Ronit (known as Ronnie in the United States) returns to her childhood home in North London after her father, the old Rav Krushka succumbs to pneumonia. Ronit is uncomfortable seeing everyone again since she was banished from the community for behaving in a manner not conforming to Orthodox culture. Ronit is shocked to learn that her childhood friends Dovid, a chosen disciple of her father, and Esti, are now married. Dovid invites Ronit to stay with them. They attend Shabbat dinner at her uncle Moshe's house where she is questioned by the guests about changing her name, and they tell her she should get married, because that is what is right. Ronit tells them if she had stayed in London she probably would have been married off, but she would have been suicidal. Ronit, accompanied by Esti, visits Moshe at his office to discuss the disposition of her father's house and discovers her father has left all of his possessions to the synagogue. Upset, Esti tenderly kisses Ronit, who initially resists before reciprocating. Esti confesses to having asked Ronit to be notified of her father's death out of a desire to see her again. She also reveals her unhappiness with her life choices, taken based on the Rav's advice and her strong belief in HaShem. It is revealed that Ronit and Esti were caught in a romantic tryst when they were younger, leading Ronit to leave the United Kingdom; neither has been with another woman since. On the way home, they stop at a nearby park and kiss again, but are spotted by a couple from the congregation. The next day Esti, who works as a teacher at the local Jewish school, is called into the headmistress' office after the couple deliver a complaint about what they saw. Meanwhile, Dovid is asked to take over the Rav's duties. Ronit tells Esti she is leaving London, and the two of them sneak away to a hotel room in central London for passionate sex. When Esti arrives home, she turns down Dovid when he tries to initiate intimacy. She later tells him the truth about her feelings for Ronit, causing him to leave. Esti later purchases a pregnancy test and discovers she is pregnant. The next morning, Dovid calls Ronit and says that Esti is missing. They spend the day looking for her and, when they return home, Esti has come back; she asks Dovid for her freedom, stating that she wants to give her unborn child a chance to decide whether or not to be part of their community. Ronit and Esti attend the Rav's hesped (eulogy gathering), which is to be given by Dovid. Under the guise of addressing the congregation, he releases Esti from their marriage and then publicly turns down the offer of becoming the congregation's new spiritual guide. Esti finds him outside and they embrace. Dovid motions for Ronit to join them, finally reconciling their old friendship. Ronit departs for New York, cordially bidding Dovid and Esti goodbye. As Ronit's cab is driving away, Esti chases it down and gives her a final kiss. Ronit tells Esti that she will be a brilliant mother, and they confess their love for each other. Esti promises to let Ronit know where she goes. Before going to the airport, Ronit makes a detour to her father's grave to bid him a final goodbye after taking a picture of his grave."}
{"movie_name":"The Incredible Hulk_2008","imdb_id":"tt0800080","script":"<script>\n  <scene>\n    <character>TIH<\/character>\n    <dialogue>Part 1: Flight<\/dialogue>\n    <scene_description>Edward Norton First Draft<\/scene_description>\n    <character>05-13-07<\/character>\n    <dialogue>We have only to follow the thread of the hero path,<\/dialogue>\n    <dialogue>and where we had thought to find an Abomination, we shall find a God...<\/dialogue>\n    <dialogue>And where we had thought to be alone, we will be with all the world.<\/dialogue>\n    <dialogue>Joseph Campbell BLACK: THE SOUND OF COLD WIND<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DECK OF AN ICE-BREAKING TUG BOAT - ARCTIC SEA - DAY<\/stage_direction>\n    <scene_description>A battered old rescue tug churns north through broken pack ice. A MAN stands in the prow staring at the world of ice. A wasteland. He signals up to CAPTAIN. The boat slows to a halt. The man shoulders a small pack. He climbs over onto a ladder and descends onto the frozen edge of the pack ice. He turns his back on the boat and starts walking toward the distant shore. The CAPTAIN stares at the receding figure, expressionless. He pushes the throttle forward and the boat moves on.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GLACIER EDGE - DAY<\/stage_direction>\n    <scene_description>Small in the frame the man trudges resolute toward nothing. The wind starting to whip up. He climbs through the maze of ice and rock to reach the plateau of the glacier. He stops and shrugs off the pack, roots around and takes something out, we can't see what. He unzips the parka and puts the object in his waist and zips up and sets off again. Incomprehensibly he leaves the pack behind.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLATEAU OF THE GLACIER - DAY<\/stage_direction>\n    <scene_description>The man has been walking a long time. He stops and looks around. Ice. Mountains behind. The green-black of the sea out in front. Not a human sign, no life at all. Except... AN ARCTIC FOX, buried almost invisible, watching. The man looks up at THE AURORA BOREALIS - eerie dancing sheets of green and purple flowing across the sky. Tighter on THE MAN'S FACE: looking up\u2026hollowed out, haunted. MEMORY FLASH: A banshee shriek of sound. An image streaked liked a camera moved on a slow shutter. A WOMAN'S BODY on the ground, FLAMES\u2026but we probably can't make it out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GLACIER - DAY<\/stage_direction>\n    <scene_description>THE MAN'S EYES: wide open. Anguish. He takes off the parka and throws it away from him and it is taken by the wind. He falls to his knees, much too exposed now. He stares forward at nothing, gathering his will. And now we see the GUN in his waistband. His hand takes it and points it down and into the snow but he stares ahead. His thumb PULLS THE HAMMER BACK and the heartbeat starts to race. From behind and to the side a bit: THE DULL PULSE OF A GREENISH GLOW IN THE BASE OF HIS SKULL, beneath the edge of his cap. EYES: flaring wide snapping from blue to DEEP GLOWING GREEN. From behind him again: the hand with the gun JERKS UP - THE FOX in the snow: a FLASH OF GREEN LIGHT on the white snow and a muffled report of a GUNSHOT and the fox is gone... From a distance: the man, hard to make out the figure from this far away, hard to get a sense of scale\u2026 still on the knees, head bent, falling forward now but HIS ARM SHOOTS OUT TO CATCH HIM. THE ARM: close on the forearm as it hits the snow, hand outstretched. HUGE. MUSCLED. GREEN. A clicking sound\u2026metal on teeth\u2026the hand rises toward the face out of frame and the clicking stops. The hand lowers, open. A MASSIVE FLAT PALM WITH A BULLET IN IT. Smashed completely flat. A long beat with nothing but cold wind.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GLACIER SHELF - DAY<\/stage_direction>\n    <scene_description>Wide: the cliff edge of the whole glacier shelf seen from out in the water looking back. In the wind: A SOUND. Was that a distant ROAR? A HOWL? The wind took it away... and then... BOOM: a huge dull reverberation echoing And with it a HUGE PIECE OF THE GLACIER the size of an aircraft carrier cleaves off the shelf and tumbles roaring into the sea. A WAVE, the enormous tsunami ripple from the ice pounding into the water\u2026 we're at water level and it's coming toward us like a freight train and over us and we're\u2026<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNDERWATER - ARCTIC SEA - DAY<\/stage_direction>\n    <scene_description>Inky green black of the frozen sea but exploding into frame from above, massive chunks of greenish, white ice. Plunging down into the black, trailing bubbles that fade\u2026 and out of their ghostly greenish traces in the black: TITLES: THE INCREDIBLE HULK FADE UP: TITLE: FIVE YEARS LATER - PORTO VERDE, BRAZIL<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLS ABOVE A FAVELA SLUM - MORNING<\/stage_direction>\n    <scene_description>BRUCE BANNER is running. Up in the hills, past the fringes of the favela, he descends toward the chaos of houses and streets of the city, sprawled like a living organism, teeming with people. He slows to check something on his wrist: A PULSE MONITOR It shows: 90 Low for somebody running hard.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FAVELA STREET - MORNING<\/stage_direction>\n    <scene_description>Banner walking now, anonymous in the teeming streets. Nondescript.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET MARKET - DAY<\/stage_direction>\n    <scene_description>Banner stops at a market stall and picks up a package. He opens it and takes out a BOOK. If we see it we will see that it is a book of rare South American FLOWERS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHOPFRONT - STREET MARKET - DAY<\/stage_direction>\n    <scene_description>Banner greets a SHOP-OWNER he's friendly with. The man has a COMPUTER that he lets Banner use sometimes. BANNER gets online and sends a quick MESSAGE: \"Mr. Blue: Received your package. Still looking for my flower. Mr Green.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARTIAL ARTS STUDIO - DAY<\/stage_direction>\n    <scene_description>BANNER enters a low building, a knapsack slung over his shoulder.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIKIDO STUDIO - DAY<\/stage_direction>\n    <scene_description>Banner and an INSTRUCTOR train by themselves. Banner practices deflecting aggressive energy and attacks without losing his composure. Just as his instructor seems to be complimenting him on a move and Banner relaxes, the instructor SLAPS him, hard. It surprises him and his PULSE beeps up a bit\u2026over 80. But he stays calm and nods, it's a test they practice. The instructor nods and then SLAPS HIM HARDER and SHOVES him\u2026 PULSE pegs up near 100, Banner holds out a hand \"Stop\". He takes a deep breath and calms himself. The instructor's fingernail has scratched his cheek. A DROP OF BLOOD oozing... He feels it and immediately dabs it with a cloth from his bag. Then he pulls out a tube of CRAZY GLUE and applies a little to the cut carefully. Puts the cloth in his bag.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOTTLING PLANT - MORNING - (DAYS LATER)<\/stage_direction>\n    <scene_description>The massive ungainly bulk of a Third World factory. BANNER enters it with a line of Brazilian laborers. Time has passed, he's been working and biding his time.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOTTLING PLANT - CHANGING ROOM - DAY<\/stage_direction>\n    <scene_description>The rough locker room of the male workers. Dirty walls, old cracked floors naked bulb. Men pulling gloves and goggles out of lockers, changing shirts. BANNER is among them. FOUR YOUNG TOUGH GUYS are the most boisterous, one shoving the other playfully, BUMPING BANNER slightly. They don't apologize but it doesn't matter because he literally doesn't even react.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOTTLING PLANT - FACTORY FLOOR - DAY<\/stage_direction>\n    <scene_description>An enormous sprawling forest of machinery, steam pipes, conveyor belts...all in a huge open floor with a high tin-roof ceiling. A catwalk runs around the perimeter up above and across to the tops of certain of the biggest machines. BANNER works in the soda bottling plant. His job is rudimentary, carrying supplies of bottle caps or bottles to the workers who man the massive conveyor belts of bottles moving through the process: GUARANA SODA flowing in from massive tanks, caps being sealed on, labels being applied: \"AMAZONA - with Guarana Kick!\" A PRETTY YOUNG WOMAN smiles at BANNER as he delivers to her and he smiles back but keeps moving, distant.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOTTLING PLANT - DELIVERY BAYS - DAY<\/stage_direction>\n    <scene_description>Break time. Seen from a distance, BANNER is by the TRUCK DELIVERY BAYS talking to a SUPPLY DRIVER, an INDIAN from the interior. We can't hear what they're saying with the noise all around. The driver has something wrapped in a tied-up leaf... he opens it to show Banner... We can't see it very well, maybe a FLASH OF WHITE But it seems to excite Banner. He has his BOOK...it's more worn than when he first received it... he opens to a marked page...compares something in the book to what's in the driver's leaf. He looks up with a HINT OF A SMILE and nods. He takes out money to pay the guy...he seems to be asking if the driver has more... but the guy shakes his head.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOTTLING PLANT - DAY<\/stage_direction>\n    <scene_description>Back at work: The MANAGER has a problem with the machine that fills the soda from above the bottles ; he comes to Banner and we can see that Banner speaks a little rough Portuguese. Banner works on a machine, opening the back of one of those \"ON\/OFF BUTTON\" boxes, fixing frayed wires. The BOTTLES FLOW BENEATH HIM ON THE CONVEYOR BELT. The manager likes him, but can't figure him out. He smiles.<\/scene_description>\n    <character>MANAGER<\/character>\n    <parenthetical>(Portuguese)<\/parenthetical>\n    <dialogue>I keep telling you...let me put you on payroll. I can pay you what you're worth!<\/dialogue>\n    <scene_description>Banner looks up and smiles and shakes his head and in doing so he CUTS HIS HAND. C.U. - TWO DROPS OF BLOOD: fall toward the moving bottles. BANNER: seeing this...sudden intensity, tracking it\u2026 he MUST find where the blood went. Tracking the bottles he thinks were under him with his eyes...LOCKED on them. He jumps down and starts moving along with the belt, trying hard to track them, YELLING at his friend the manager to stop the belt\u2026 The belt stops. BANNER MOVES ALONG IT SEARCHING. And he finds it: a BLOOD SPOT on the conveyor belt. RELIEF. He wipes it off carefully. Not noticing... ANOTHER BOTTLE, with drops of blood dripping just inside the glass lip, down into the soda. He signals \"Okay\" and the belt starts up again. BANNER: taking out the CRAZY GLUE again. Applying some to the cut on the edge of his hand. The MANAGER: laughs and shakes his head. This guy is unique.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BANNER'S APARTMENT BUILDING - ESTABLISHING - EVENING<\/stage_direction>\n    <scene_description>A rough and tumble 3 or 4 story affair, one of the few block apartment buildings in the tin roof sprawl of the favela.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANNER'S APARTMENT - EVENING<\/stage_direction>\n    <scene_description>We can see the details of his essential life, his work, the STRAY DOG he feeds. Oblique details like rope tied to jam of kitchen window and coiled neatly on counter. A Styrofoam head with a wig of dark hair and a baseball cap on it. We notice these things without emphasizing them. A low bed in the corner against a wall. Not much else. He's living like a monk. BANNER is entering, eager to get to work... He sits at his roughly fashioned WORKTABLE. On it seems to be his only possessions of note: rows of various SMALL GLASS BOTTLES with liquid in them, neatly self-labeled and arranged in rows. One DECENT LOOKING MICROSCOPE. A SMALL FIELD SATELLITE LINK ANTENNA and a LAPTOP COMPUTER. He turns on the SATELLITE LINK and the COMPUTER and starts to Instant Message: BANNER'S SCREEN: (Banner's writing in Green, his collaborator's in Blue) \"Mr. Blue?\" (a pause) \"Mr. Green...hello. Did you find what you were looking for?\" \"Yes.\" \"And you have my notes on derivation of the inhibitor?\" \"Yes.\" \"For most cellular exposures a concentration of 50-80 parts per million will suffice. Keep me posted. And good luck :)\" And Banner begins to work: MONTAGE: BANNER EXTRACTING A CHEMICAL FROM HIS FLOWERS Over many hours, Banner works. Methodically and painstakingly extracting tiny amounts of juice from his precious flowers, mixing it carefully with chemicals from self-labeled bottles and mixing it all in an assortment of glasses doubling as homemade test tubes; cooking it down over a small gas flame. Referring to BLUE's NOTES on his computer. Finally, all seems ready...a final step. He PRICKS HIS OWN FINGER...so carefully placing ONE DROP of his BLOOD on a glass slide. He slides it under the microscope and looks at it: C.U. - BANNER'S BLOOD: red blood cells fringed with a subtle GLOWING GREEN ENERGY. Like residual radiation. He takes the slide back out. Takes a breath. This is it. In a dropper, he extracts some of the PURPLISH LIQUID he has been slowly refining from the very small amount in the glass. Carefully he brings it over the blood sample... and squeezes ONE, TWO THREE drops onto the blood. He places the slide under the SCOPE and looks again: C.U. - BLOOD: The Purple liquid seems to be literally boiling away around the cells. Frying. No change. The GREEN TINGE is still there. BANNER pulls back from the scope and puts his forehead against the heel of his hands. He had let himself hope and now he is devastated. BANNER'S SCREEN: Green: \"No mitigation.\" Blue: \"None? Your tissue exposure must be relatively high.\" Green: \"Very high. Blue: \"Try a higher concentration. Slightly. 100 parts per million = lethal toxicity.\" BANNER leans back and looks at: HIS WILTED FLOWERS. He has milked them for all they have. Green: \"Impossible at present. Supply is limited.\" Blue: \"Not here. We're making pure synthetic by the gallon.\" (pause) \"Why are we doing this backwards? Chasing flowers in the jungle = silly. Send me a blood sample.\" Green: \"Not prudent.\" Blue: \"Living with Gamma poisoning not prudent. Most people not alive long enough to be helped. Intrigued by your case.\" Green: \"Not safe for either of us.\" Blue: \"You need help. Gamma not something to mess with.\"<\/scene_description>\n    <character>BANNER<\/character>\n    <dialogue>You can say that again.<\/dialogue>\n    <scene_description>He stares at his dead flowers long and hard. Out of options. BANNER MOVES TO THE TABLE AND PROCEEDS TO EXTRACT A VIAL OF HIS OWN BLOOD. He labels it \"MR. GREEN\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - MARKET - DAY<\/stage_direction>\n    <scene_description>At the PACKAGE STAND, sending the blood to Mr. Blue. BANNER turns and starts away, stops and looks back...he's taking a big risk. But he has to. So he turns and walks home.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANNER'S APARTMENT - EVENING<\/stage_direction>\n    <scene_description>Packing his computer and sat link antenna in his backpack. Careful. Always making himself ready to leave. As he closes and packs the computer we see behind it... A PHOTO OF A WOMAN (BETTY ROSS): he stares at it for a beat. So far away now. Time-cut: Banner is meditating, seated on the floor, his legs crossed, calming his mind.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - NIGHT - MEMORY FLASHBACK<\/stage_direction>\n    <scene_description>Moving past a Police Cruiser, torn in two, a trooper unmoving on the ground. Bright lights, accelerating toward him, horrible sound.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANNER'S APARTMENT<\/stage_direction>\n    <scene_description>Back on Banner: PULSE CLIMBS TO 85. He breathes. Calms it. Time-cut: Banner in a state of deep meditation. Pulse: 37<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - MIDDLE AMERICA - MORNING - WEEKS LATER<\/stage_direction>\n    <scene_description>A MOM is making a chaotic lunch for a bunch of seven year olds on a playdate. Whole thing one camera shot: moving around, staying with her, back and forth from fridge to table: a plate of apple slices to get em started\u2026popping the tops off some bottles of juice and handing them around, stops to take a swig of her own soda bottle sitting on the counter (we might know that bottle if we got a close look at it, but we probably don't)\u2026 a plate of chicken fingers and as they're dropped off we see some kids are drinking\u2026 back for something to dip em in\u2026<\/scene_description>\n    <character>KID<\/character>\n    <dialogue>Mom, I need a napkin!!<\/dialogue>\n    <scene_description>We stay with the kid and MOM GOES BACK OUT OF FRAME. Kids laughing and picking at each others plates and SOMETHING HITS THE FLOOR OFF CAMERA Kids faces: all turn frozen staring at something<\/scene_description>\n    <character>KID<\/character>\n    <dialogue>Mom?<\/dialogue>\n    <scene_description>WHIP PAN: Mom is on the floor, her body in a spasm, eyes rolled back<\/scene_description>\n    <character>KID<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GENERAL ROSS'S OFFICE - DAY<\/stage_direction>\n    <scene_description>GEN. T. ROSS at his desk. Lost in thought. Snaps out of it when his female aide, MAJOR CABOT, puts some forms on his desk. She moves him through signing boring requisition orders\u2026<\/scene_description>\n    <character>CABOT<\/character>\n    <dialogue>...and here's something a little more interesting.<\/dialogue>\n    <scene_description>He holds out his hand, not that optimistic... she hands him a two page fax..<\/scene_description>\n    <character>CABOT<\/character>\n    <dialogue>Possible gamma sickness. Milwaukee. Woman drank one of these guarana sodas. Had more kick than she was looking for.<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>Last three were irradiated fruit, not Gamma...<\/dialogue>\n    <character>CABOT<\/character>\n    <dialogue>Look at the spectrograph in that path report. Even the FDA didn't approve that. Whatever it was it was concentrated. Got less than a tenth of a milliliter and it almost killed her.<\/dialogue>\n    <scene_description>Ross' eyes narrow: Milwaukee? He hands her the pages.<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>Get it confirmed.<\/dialogue>\n    <character>CABOT<\/character>\n    <dialogue>Already put calls in.<\/dialogue>\n    <scene_description>She starts out but he stops her, mind alive now.<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>Where was it bottled?<\/dialogue>\n    <character>CABOT<\/character>\n    <dialogue>Porto Verde, Brazil...<\/dialogue>\n    <scene_description>Both look at each other\u2026 searching for the same thing.<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>Remember that package we tracked to the girl that just had a pressed orchid in it? Year and half ago maybe...?<\/dialogue>\n    <character>CABOT<\/character>\n    <dialogue>It came from Sao Paolo.<\/dialogue>\n    <scene_description>Ross comes alive.<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>Get our Agency people looking for a white man at that bottling plant. Tell them no contact, if he even sees them he's gone. And get me Sam Greller!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPECIAL FORCES BASE - STAGING AREA NEAR RUNWAY<\/stage_direction>\n    <scene_description>A TRANSPORT VAN pulling up, TWO ARMY SPECIAL FORCES SOLDIERS hop out with their light gear and move to join... THREE OTHER COMMANDOS gathered by the edge of the tarmac. They all greet each other, one or two introductions, a few know each other.<\/scene_description>\n    <character>COMMANDO 1<\/character>\n    <dialogue>Who's our 6?<\/dialogue>\n    <character>COMMANDO 2<\/character>\n    <dialogue>Blonsky.<\/dialogue>\n    <character>COMMANDO 1<\/character>\n    <dialogue>Thought he was on vacation?<\/dialogue>\n    <character>COMMANDO 2<\/character>\n    <dialogue>He got bored. Volunteered.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELICOPTER - ALOFT AND DESCENDING TO BASE<\/stage_direction>\n    <scene_description>BLONSKY sits by the open door. Over his shoulder we look down at the BASE below rising to meet us.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPECIAL FORCES BASE - TARMAC<\/stage_direction>\n    <scene_description>Blonsky is out of the bird and moving with his gear before it's even fully come to rest. He moves to join the others. IN VIEW BEHIND THEM: just stepping out of the Operations Building... ROSS stands aside with his old friend GEN. SAM GRELLER.<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>...I know you cashed some chips for this, Sam. I'm grateful.<\/dialogue>\n    <character>GRELLER<\/character>\n    <dialogue>Glad to do it. Just make it good.<\/dialogue>\n    <scene_description>They shake hands and Ross heads for a waiting... C-130 TRANSPORT PLANE Ross, Cabot a Medical Officer and the Team muster into the plane as the engines wind up. No delay. The plane lumbers down the runway and roars aloft.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. C-130 TRANSPORT PLANE - NIGHT<\/stage_direction>\n    <scene_description>Gen. Ross on the phone up front clearing up details. CABOT with him. Soldiers in the rear waiting on intel.<\/scene_description>\n    <character>COMMANDO 1<\/character>\n    <dialogue>Since when do they fob us off to Logistics officers?<\/dialogue>\n    <character>COMMANDO 2<\/character>\n    <dialogue>Ain't exactly feeling A-Team is it?<\/dialogue>\n    <scene_description>CABOT comes back to brief the team. Hands out PHOTOS OF BANNER and BANNER'S APT BUILDING and SURROUNDING AREA.<\/scene_description>\n    <character>CABOT<\/character>\n    <dialogue>This is the target and the location. Insert and grab only, live capture. You'll have tranq rifles and suppression ordnance. Live fire for backup only. We've got help from local but we want it tight and quiet.<\/dialogue>\n    <scene_description>One of the soldiers needles gently...<\/scene_description>\n    <character>COMMANDO 1<\/character>\n    <dialogue>Little excitement, huh Major?<\/dialogue>\n    <character>CABOT<\/character>\n    <dialogue>How's that?<\/dialogue>\n    <character>COMMANDO 1<\/character>\n    <dialogue>Got tired of pushing paper around?<\/dialogue>\n    <scene_description>She's way ahead of him.<\/scene_description>\n    <character>CABOT<\/character>\n    <dialogue>I worked intel for 3rd I.D. on the way in to Baghdad my first tour. I got bumped to you Rangers in time for Falluja. Says here me and Blonsky got our Purple Hearts same week. So, no, I'd very much like to get back to my office, thanks.<\/dialogue>\n    <scene_description>To all of them...<\/scene_description>\n    <character>CABOT<\/character>\n    <dialogue>Only way this'll get exciting is if you guys screw it up. Any more questions?<\/dialogue>\n    <scene_description>No more stupid ones. ROSS appears behind them.<\/scene_description>\n    <character>BLONSKY<\/character>\n    <dialogue>Is he a fighter?<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>Your target is a fugitive from the US government and stole military secrets. He is implicated in the deaths of three scientists, a military officer, an Idaho State trooper and possibly two Canadian hunters. Don't wait to see if he's a fighter. Put him to sleep.<\/dialogue>\n    <scene_description>Blonsky nods. A good mission.<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>Each two man team will be issued a radiation sensor which we will monitor remotely as well. First blip I want to know about it.<\/dialogue>\n    <character>COMMANDO 2<\/character>\n    <dialogue>This guy steal plutonium?<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>Something like that. That's all.<\/dialogue>\n    <scene_description>He and Cabot return to the front. Team gossips about Ross a little, his dead arm.<\/scene_description>\n    <character>COMMANDO 1<\/character>\n    <dialogue>Vietnam?<\/dialogue>\n    <scene_description>Blonsky shrugs, studying Banner.<\/scene_description>\n    <character>COMMANDO 3<\/character>\n    <dialogue>I heard he ran R&amp;D, real black box shit. One of his experiments blew up in his face, literally. They gave him a desk to run.<\/dialogue>\n    <scene_description>ROSS AND CABOT: his head is back, his moment getting closer. Hoping it's not a goose chase. Cabot studying team files.<\/scene_description>\n    <character>CABOT<\/character>\n    <dialogue>Blonsky's your point man.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOTTLING PLANT - DAY<\/stage_direction>\n    <scene_description>BANNER carting around supplies to the workers at the different points on the bottling line. As he comes around a piece of machinery he sees... THE NICE YOUNG WOMAN being hassled by the FOUR YOUNG TOUGHS. They are teasing her, blocking her from sitting back down at her station while the TOUGH LEADER asks her questions:<\/scene_description>\n    <character>TOUGH LEADER<\/character>\n    <dialogue>Why do you act so shy? It's not a sin to have some fun in life...<\/dialogue>\n    <scene_description>HER EYES MEET BANNER'S: she could use some help. He hesitates, torn. He really can't get involved, can't risk... But then the TOUGH LEADER tries to STROKE HER CHEEK and she SHOVES HIS HAND AWAY... AND HE GRABS HER ARM.<\/scene_description>\n    <character>TOUGH LEADER<\/character>\n    <dialogue>What are you, too good for us?<\/dialogue>\n    <scene_description>AND BANNER ENTERS:<\/scene_description>\n    <character>BANNER<\/character>\n    <dialogue>Everything good?<\/dialogue>\n    <scene_description>They all turn... Her eyes plead with him...<\/scene_description>\n    <character>TOUGH LEADER<\/character>\n    <dialogue>Dump your load and get lost, mule. We're talking.<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>You want some coffee, Martina? With me?<\/dialogue>\n    <character>TOUGH LEADER<\/character>\n    <dialogue>I said beat it, you want a problem?<\/dialogue>\n    <scene_description>He advances on BANNER... Banner backs up.<\/scene_description>\n    <character>BANNER<\/character>\n    <dialogue>No problem...<\/dialogue>\n    <character>TOUGH LEADER<\/character>\n    <dialogue>Too late...<\/dialogue>\n    <scene_description>He shoves Banner in the chest, hard. OTHER TOUGHS moving to the sides. The YOUNG WOMAN SCREAMS AT THEM... PULSE MONITOR: 75...76... Banner holds up his hand...<\/scene_description>\n    <character>BANNER<\/character>\n    <dialogue>Okay listen... don't make hungry... you wouldn't like me when I'm...<\/dialogue>\n    <scene_description>Confusion on their faces -- \"that's a weird thing to say\"<\/scene_description>\n    <character>BANNER<\/character>\n    <dialogue>...no wait...that's not right... ah shit.<\/dialogue>\n    <scene_description>And the TOUGH takes SWING at him. But BANNER DODGES IT DEFTLY. He doesn't hit the guy, he hardly seems to touch him but the guy goes flying past and stumbles. TOUGH LEADER gets up and wipes his hands, pissed now. AND HE PUTS UP HIS FISTS AND COMES AT BANNER PUNCHING Banner dodges, ducks, weaves and applies his non-aggressive martial arts techniques, hardly touching the guy but leaving him flailing like a total fool... The MANAGER, from the catwalk above...sees what's going on<\/scene_description>\n    <character>MANAGER<\/character>\n    <dialogue>HEY!! Cut it out! I got supply sitting here collecting bugs! You want me to hire somebody else to move it! NOW!!<\/dialogue>\n    <scene_description>The TOUGHS shoot looks at Banner \"..another time...\" And they walk away, one of them laughing a little and patting LEADER on the shoulder. THE YOUNG WOMAN, sighs and thanks Banner, grateful.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANNER'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Banner lying on his rough bed, THE DOG at his feet. He stares at the ceiling lost in thought when he hears... HIS COMPUTER CHIMES. He gets up and goes to the screen: Blue: \"Success.\" Green: \"Please elaborate\" Blue: \"Concentration of 150ppm mitigates the gamma saturation in your sample. Incredible toxicity but it works.\" BANNER'S FACE: He's been dreaming of hearing this news for 5 years...but... Green: \"Encouraging. But sample is baseline...I have...spikes.\" Blue: \"Tricky. Can you extract sample during next 'spike'?\" Green: \"No.\" Blue: \"Spike can't exceed exposure. What was your original exposure?\" Green: \"Data no longer available.\" Blue: \"Toxicity at this level too risky without precision.\" Green: \"Will it cure me?\" Blue: \"Barring new gamma exposure... good chance.\" BANNER sits STUNNED, mind racing. On a pad of paper he scribbles: Data from MAYNARD Green: \"Will get back to you. Thank you.\" Blue: \"Pleasure. Hope you walk through the door one day. You must be a very unique individual.\" Banner closes the computer and stares at the picture of THE WOMAN (BETTY)... a step closer maybe. He packs up his core equipment into the knapsack as always. Then he remembers the note on the pad. He tears it off and wads it up... nowhere to throw it and so, distracted, he PUTS THE NOTE INTO HIS POCKET. Timecut: BANNER MEDITATING: in the lotus position, unmoving PULSE: 55 - THE SOUND OF A SLOW HEARTBEAT that RISES and SPEEDS UP THROUGH THE FOLLOWING: MEMORY IMAGES: his mind wandering, happy memories leading to bad. - BETTY ROSS at a LAB TABLE looking up at us, smiling - BETTY and BRUCE sitting on a CAMPUS LAWN in late afternoon light with pizza; she gives him a bite and kisses him - JARRING SOUND and SURREAL IMAGE: FLAMES; a POV from 10 FEET HIGH, looking down at BODIES on the floor beneath CRUSHED AND BROKEN LAB EQUIPMENT. One of them is BETTY, a GASH in her head -GEN ROSS looking right at us, hand on our shoulder consoling; lips move but no sound comes out; intense -our POV: looking out a CURTAINED WINDOW down on a FRONT DOOR. Two MILITARY POLICE, knocking. We JERK AWAY from the window. EYES: SNAP OPEN PULSE: 89...90 He sighs and breathes deeply. He can't clear his mind tonight. He gives up and gets up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BANNER'S APARTMENT BUILDING - ROOFTOP - EVENING<\/stage_direction>\n    <scene_description>He stands on the roof, sipping a beer. His isolation intense.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANNER'S APARTMENT - LATER - NIGHT<\/stage_direction>\n    <scene_description>THE DOG. Asleep at Banner's feet on the rough bed. Banner on his side breathing deeply.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY BEHIND BANNER'S BUILDING - SAME MOMENT - NIGHT<\/stage_direction>\n    <scene_description>A VERY DARK ALLEY \u2026almost black and then suddenly snapping into GREEN NIGHT VISION POV: scanning the back entrance of the building.<\/scene_description>\n    <character>VOICE (O.S.)<\/character>\n    <dialogue>Clear.<\/dialogue>\n    <scene_description>Two of the SHADOWS along the wall detach themselves and move in a crouch toward the back door; DART RIFLES held at ready, MP5 SUB- MACHINE GUNS slung, balaclavas covering faces. Commandos.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANNER'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Same sounds of the night. And then the muffled barking stops. No yelp or anything obvious. It just stops. Banner's Dog: head comes up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRWELL<\/stage_direction>\n    <scene_description>A DOG on the landing of the stairwell, darted with a nasty looking little tranquilizer, twitching. BLACK BOOTS move past it, climbing. HIGH POV: Outside Banner's door, looking down. FOUR COMMANDOS climb the steps silently, covering doors and corners. Eyes of the leader: Blonsky He signals and one drops low and pulls a snake camera out, feeds it silently under the door. The two others move to apply small plastique packs to the hinges. Camera POV: scanning the room, no movement, panning right. To see THE DOG trotting towards the camera, investigating. The soldier with the camera holds up a hand\u2026be ready\u2026 Camera POV: the dog nuzzles and licks the camera and turns and goes back to bed, where Banner's sleeping form lies still. Camera Soldier holds up one finger, points right, signals \"low, lying down\" Blonsky keys his mic in code: no speaking.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMAND\/TECH SUPPORT VAN - SAME<\/stage_direction>\n    <scene_description>INSIDE A BLACK VAN: Ross, Cabot and a BRAZILIAN LIASON OFFICER hear the signal. On different MONITORS they can see the feed from the HEAD CAM on one of Blonsky's 4-man team at the door, one from a soldier positioned in front of the building, one from a soldier on the back entrance.<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>Geiger?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRWELL - SAME<\/stage_direction>\n    <scene_description>Soldier by door looks down at a unit affixed to his gun stock. L.E.D of radiation counter: dark. Nothing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMAND\/TECH SUPPORT VAN - SAME<\/stage_direction>\n    <scene_description>Maj. Cabot's monitor of all three team Geigers shows the same. She shakes 'Negative'.<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>Take him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANNER'S APARTMENT<\/stage_direction>\n    <scene_description>THE DOOR BLOWS OFF IT'S HINGES with a sharp fast crack. Blonsky in first, spinning right, the others covering angles behind him. There's A FLASH OF MOVEMENT FROM THE FORM IN THE BED, legs scrambling to roll away? Blonsky drops to his knee and fires, but not a gunshot, a silent THWWP of a Tranq Dart. Three in quick succession into Banner's body and legs. They move to the bed and YANK THE COVERS BACK. Pillows, the Styrofoam head with the cap and the wig on it.<\/scene_description>\n    <character>BLONSKY<\/character>\n    <dialogue>Target's on the move.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIRSHAFT \/ INT. NEIGHBOR'S APT - NIGHT<\/stage_direction>\n    <scene_description>BANNER: hanging on his rope. Backpack on his back, descending slowly from the kitchen window hanging over the central air shaft not in the view of any of the sentries. Passing a kitchen window he looks inside and sees: THE GIRL FROM THE FACTORY. His neighbor, getting a glass of water. She sees him hanging there and SCREAMS. BLONSKY: hears the scream and sees the rope at the same time. Runs to the sink window and looks down. POV: Rope swinging empty. Only exit is an alley toward the back.<\/scene_description>\n    <character>BLONSKY<\/character>\n    <dialogue>He's on the ground, going rear.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BANNER'S APARTMENT BUILDING - SAME<\/stage_direction>\n    <scene_description>The Soldier on the Front: bolts to rear of the Building. THE VAN: punches it and heads that way.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. NEIGHBOR'S APARTMENT - SAME<\/stage_direction>\n    <scene_description>BANNER: crouched in the GIRL'S apartment by the door, poised, calming his breathing. Nods at her. She opens the door. She looks: nothing. Banner sprints for the stairs, no time to even thank her. He's down the stairs and hits....<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET BY BANNER'S BUILDING<\/stage_direction>\n    <scene_description>... the street, hustling at a carefully controlled walk. ...and we're parallel along with him and as he passes the ALLEY along the side of the building he (and we) catch a moving glimpse of the tail lights of the BLACK VAN and a BLACK CLAD COMMANDO... ...and the COMMANDO sees him ... and IT'S ON.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHASE THROUGH THE FAVELA<\/stage_direction>\n    <scene_description>Streets, alleys and rooftops of the SLUM at night. Late night crowds of drinkers and people in the streets. We cut between BANNER, HIS PURSUERS and THE VAN: BANNER: at a DEAD RUN. PULSE: 70 \u2026 71 Snaking into the favela. COMMANDOS: converging in a flat-out footchase. BANNER: three hard turns into the back alleys.. PULSE CHECK: 91\u202692 COMMANDOS: splitting with hand signals. BLONSKY and his partner making the correct guesses about which way to turn in the alleys, hot on Banner's tail... BANNER: up onto trash cans, up onto a tin fence, up onto a roof and we're rising with him and suddenly\u2026 ROOFTOPS OF THE FAVELA\u2026 dropping away in tin terraces below and beyond. A Maze for a rat-race\u2026 BANNER'S FEET POUNDING ON TIN ROOFS. BLONSKY: still on the street, catches a glimpse of Banner skylighted up high, leaping down the roofs. Reads his angle, signals his partner to keep following Banner as Blonsky BREAKS AWAY to cut off his route. THE VAN: blasting through the night streets of the slum, circling to come in from the other side. VIDEO MONITORS: the chaotic green images of the chase from the HEAD CAMS POV'S BANNER: Jumping across narrow alleys\u2026 Looking back\u2026 Two Black figures pounding down the roofs, skylighted behind him. A bigger gap between roofs\u2026 he takes it without hesitating and makes it but... PULSE MONITOR: goes 101\u2026102\u2026 BANNER: can't stop, to his feet and off again THREE COMMANDOS: Blonsky's partner and 2nd Team, take the same jump together. More gear than Banner. Two make it, the other doesn't. HARD HIT into edge of tin roof and to the muddy street. No hesitation, up and moving on the ground\u2026 VAN: moving to stay with the chase. A screen with green dots on it shows Soldier positions.<\/scene_description>\n    <character>CABOT<\/character>\n    <dialogue>Leader we're at your two-o'clock, team coming from your nine. Got him boxed. Three more moves. Game over.<\/dialogue>\n    <scene_description>ROSS: not celebrating yet\u2026 there's an X Factor he's waiting for. Glances at RADIATION MONITORS\u2026 nothing. STREET: a lot of people out in this part of the neighborhood, spilling out of bars, walking with girls, easy to get lost in. BANNER: LEAPING OFF A ROOF he pounds into their midst, turns right and sees\u2026 BLONSKY: DROPPING DOWN ON HIM AND FIRING A DART BANNER: Feels the breeze of it and hears it clank into a tin wall. He turns and bolts into THICK CROWD of revelers. BLONSKY: up and after him but a lot of people around slow him up. Loses sight of Banner. PULSE MONITOR: 109\u2026110\u2026 BANNER: trouble. He can't do this much more before\u2026 Runs through an alley, around a corner. Pops out and sees\u2026 BLACK VAN: Side door ripping open and looking right at him is\u2026 ROSS: They lock eyes for the first time in five years. Equal adrenaline. BANNER: instead of turning, DASHES across the street right in front of the Van and back into the alleys like a rocket.<\/scene_description>\n    <character>CABOT<\/character>\n    <dialogue>Okay...Past mobile unit now and heading oh-nine-zero.<\/dialogue>\n    <scene_description>BANNER: In the Alleys, breathing too hard. Too freaked by Ross. Has to hide. Hard right into\u2026<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A FAVELA BAR - SAME<\/stage_direction>\n    <scene_description>Plenty of people drinking. Perfect. Pushing through to the back toward the kitchen. SLAM: he runs right into TOUGH LEADER from the factory and THREE TOUGH GUY PALS. And they are drunk and looking to fight and nobody better could have showed up. No chit-chat\u2026the guy curses and TAKES A WILD SWING. BANNER: can't play dodge games this time and in a swift move takes the guy's wrist, goes under his arm, grabs the back of his neck and levers him into the bar\u2026and splits out the back without breaking stride. THE BRAZILIANS SCRAMBLE AFTER HIM.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY NEAR BOTTLING PLANT\/ BOTTLING PLANT - NIGHT<\/stage_direction>\n    <scene_description>Back in the smallest of the dark alleys...Banner looks up THE BOTTLING FACTORY looms out of the favela. TOUGH GUYS: pound out of the alley and move along the side of the huge FACTORY, hear the SOUND OF A CHAIN RATTLING, come around the corner and see\u2026 A metal door in the back of the factory, it's security chain hanging too loose. They shush each other and the TOUGH LEADER directs two into the door to go after Banner and pulls one with him around to the other side. SOLDIERS: moving slower, lost their target. Hunting stealthy now. He can't be far. Checking doorways. BLONSKY: up on the roof. He sees... A DARK FIGURE: down below (the last of the Brazilian toughs) slipping stealthy into the side of the factory.<\/scene_description>\n    <character>BLONSKY<\/character>\n    <dialogue>Target acquired.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOTTLING PLANT - CHANGING ROOM - SAME - NIGHT<\/stage_direction>\n    <scene_description>PULSE MONITOR: 103\u2026102\u2026101.. BANNER: back against a wall inside the dimly lit locker room of the factory workers. Calming his racing heart. Mind racing. The wet drip of showers. A CLANK. He reacts\u2026 Pulse rising again ... 102..103\u2026<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOTTLING PLANT FACTORY FLOOR - NIGHT<\/stage_direction>\n    <scene_description>BANNER: creeps through this, pausing to listen. Hears the whispers of the drunk toughs, clumsily following. Weaving through the innards of the machinery\u2026almost to the far side now. An Exit sign glowing dim green in the dark\u2026 he moves to it. Pushes gently on the latch and opens it to slide out into\u2026 TOUGH GUY: smiling. He SHOVES Banner back inside with a loud laugh.. BANNER: turns to run back into the factory but the OTHER TOUGHS have come up behind him \u2026and now they are all around him, shoving and kicking him back inside and up against a piece of machinery in the dark.<\/scene_description>\n    <character>BANNER<\/character>\n    <dialogue>Please...don't do this.<\/dialogue>\n    <scene_description>PULSE MONITOR: 109...110... THE TOUGH: laugh at him and SHOVE HIM up against the massive machinery near the middle of the floor. THEY TAKE HIS BACKPACK FROM HIM. TOUGH LEADER slapping him lightly, taunting:<\/scene_description>\n    <character>TOUGH LEADER<\/character>\n    <dialogue>What? I can't understand you. No fight? Not so tough now, huh? Try those fancy moves again. Come on, we all want to see.<\/dialogue>\n    <scene_description>A HARD PUSH and Banner hits his back into a knob and he CRIES OUT in pain. COMMANDOS: Coming through the locker and office area of the factory hear the yell of pain and the laughter. BLONSKY: hand signals and they split up. NIGHT VISION POV: SNAPS ON and turns the factory into a Surreal world of Black with a very few green illuminated patches. Through the forest of pipes and metal - dim green shapes of a cluster of men in the dark. CUTTING BETWEEN BANNER AND TOUGHS, COMMANDO TEAM, VAN: VAN: Night vision on the monitors. Ross and Cabot glued. PULSE MONITOR: 111\u2026112\u2026113 BANNER: pinned against the machinery by TWO TOUGHS holding him now.<\/scene_description>\n    <character>BANNER<\/character>\n    <dialogue>Stop. Please stop. Me. Angry. Very bad.<\/dialogue>\n    <character>TOUGH LEADER<\/character>\n    <dialogue>You bad angry, son? I VERY BAD ANGRY!<\/dialogue>\n    <scene_description>BANNER'S POV: In the shadows off to the left beyond the men holding him. A BLACK FIGURE moves through dim light in a crouch. BANNER's FACE: reacting. Panic. PULSE MONITOR: 125\u2026126\u2026127\u2026<\/scene_description>\n    <character>BANNER<\/character>\n    <dialogue>Let me go! You don't understand. Something really bad is going happen here!!<\/dialogue>\n    <character>TOUGH LEADER<\/character>\n    <dialogue>Yeah, something bad is going to happen.<\/dialogue>\n    <scene_description>NIGHT VISION SCOPE: finding BANNER's face, sighting on his neck. A MUZZLE PEEKS OUT OF THE DARK AND THEN-- ALL AT THE SAME TIME: BANNER LUNGES, pulling the men holding him TOUGH GUY SLAMS A FIST IN BANNER'S GUT BLONSKY FIRES ONE GUY HOLDING BANNER TAKES A DART IN THE NECK AND SPINS, CONFUSED PULSE MONITOR: literally racing up through 180\u2026200... BLONSKY'S NIGHT VISION: The green cluster of figures, one crumpling, and one falling and suddenly\u2026 A GREEN PULSE OF LIGHT CUTS ACROSS THE NIGHT VISION RADIATION SENSOR LED's: SPIKE into the RED. VAN: RADIATION COUNTERS SPIKE and ROSS bolts forward in his chair. BLONSKY: Rips night vision off his head. What the hell was that? Signals 'hold'. BRAZILIAN TOUGHS, turning, all stepping away from Banner crumpled invisible down in the dark out into floor to investigate, two looking at their friend on the ground starting to freak.<\/scene_description>\n    <character>TOUGH GUY<\/character>\n    <dialogue>What the hell...?<\/dialogue>\n    <scene_description>COMMANDOS in the dark trying to get a fix on what's happening they hear\u2026 Cabot on the com in their ears...<\/scene_description>\n    <character>CABOT<\/character>\n    <dialogue>Is target neutral? Did we get a shot?<\/dialogue>\n    <scene_description>TEAM 2 NIGHT VISION POV: through the obscuring forest of metal, the cluster of figures, some stepping toward 1st Team (where the dart came from)., one lying still (the downed Brazilian), but the other\u2026 the hardest to see... very dim even in the Night Vision but... ...something is happening to that one\u2026dim and obscure behind the other figures etched in green\u2026 THE SHAPE OF THE FIGURE ON THE GROUND IS CHANGING BRAZILIANS: Banner's groan in the dark, turns into a horrible anguished sound\u2026with it the sound of tearing and popping and cracking... TOUGH LEADER: just on the edge of shadow and light, the booze wearing off him, eyes narrowing\u2026something weird is going on but he can't read it\u2026the SOUNDS of PAIN in the dark behind him distract him and, angry, he turns--<\/scene_description>\n    <character>TOUGH LEADER<\/character>\n    <dialogue>SHUT UP!!!<\/dialogue>\n    <scene_description>He throws a kick into the shadows\u2026 and it's the worst mistake of his life. His foot meets something hard and faster than you can blink he is GONE. RIPPED UPWARD by the leg and into the shadow\u2026 His terrified scream drowned by\u2026 A ROAR OF RAGE unlike anything. PRIMAL. Not human. ROSS and CABOT: the sound ripping into their earphones \"What the\u2026?\" THE DARK OF THE FACTORY: The sound of bone cracking and TOUGH LEADER's TERRIFIED SCREAM OF PAIN and then... ...HE FLIES OUT OF THE DARK, from a height of 14 feet and rising as he goes... thrown literally across the factory like a child's ball, clipping through shafts of light and hitting the far wall head first so hard that you hope he didn't survive. The ROAR fading\u2026 A STRANGE BEAT OF SILENCE, as each face tries to grasp the IMPOSSIBLE. WHAT HAPPENS NEXT IS CHAOS: TEAM 2 NIGHT VISON: from the left: through the forest of pipes, the cluster of Toughs turn to run from something in the shadow and \u2026 SOMETHING ENORMOUS REACHES OUT after them. TEAM 1 POV: THE TOUGHS explode toward us out of dark, panicked, straight at camera the last of them rising from the Dart-felled friend, a step behind and too slow for THE HUGE ARM THAT COMES OUT OF THE DARK TO GRAB HIM AND YANK HIM BACK. BLONSKY: as the TOUGHS sprint past him in the dark, not even noticing him. HE SAW THAT ARM. TEAM 3 NIGHT VISION: (from the right side, at a distance). Through the maze of metal, an ENORMOUS GREEN FIGURE, lifts another green figure\u2026puny in it's HUGE HANDS, struggling and screaming and then gurgling and simply going limp as though the life were literally squeezed out of it like a bug. Dropped like a rag-doll. And then THE SHAPE starts to move\u2026 OVER ALL OF THIS:<\/scene_description>\n    <character>CABOT<\/character>\n    <dialogue>Where's the target?<\/dialogue>\n    <scene_description>Chattered responses on the com.<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>That is the target, goddam it, now take it out!!<\/dialogue>\n    <scene_description>CRASHING METAL. Something isn't moving between the machinery, it's smashing through it. We can see the tops of huge arrays, shaking in the light. Sounds of metal wrenching and huge percussive smashes. And somewhere in all the chaos a button gets hit and all the belts and bottles start to move. Adding to the confusion and sound.<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>Don't let him out of the building! Put all your tranqs in him! Every one you've got! Do it now!!<\/dialogue>\n    <scene_description>TEAM 2: Advancing forward slightly on the THING IN THE DARK A Shadow moving among the metal and Team 2 opens up. THWWP. THWWP. THWWP. Darts zipping into the dark. A PATCH OF LIGHT on the concrete floor and the darts fall into it. Bent at right angles like they've hit a concrete wall. THE SHADOW SPINS AND COMES AT THEM. TEAM 2 NIGHT VISION: A HUGE BLURRY GREEN SHAPE, COMING AT THEM TEAM 2: whipping up machine guns\u2026<\/scene_description>\n    <character>COMMANDO 1<\/character>\n    <dialogue>Holy SHIT! GO LIVE! GO LIV--<\/dialogue>\n    <scene_description>MONITORS IN THE VAN: TEAM 2's NIGHT VISION, then the image is awash in blur and static and the... SOUND OF THAT ROARING RAGE and SOLDIERS SCREAMING. TEAM 3's POV: In the black, they see the muzzle flashes of two MP5's open up from Team 2's position, an incredible clatter of weaponry after all the silent darts, TRACER FIRE streaking out of them, but not aimed...both LIFTED, rising in the dark and ARCING WILDLY toward the ceiling, bullets clanging into the metal roof, taking out bottles of juice on the belt, the muzzles spinning\u2026 the effect almost like a child in the dark twirling two light sticks. BLONSKY: seeing the same. Despite bullets spraying everywhere, he doesn't hesitate, HE CHARGES\u2026 bringing up his GUN, sprinting past the moving machinery. He sees THE MUZZLE FLASHES STOP and hears THE SOUNDS OF BODIES HITTING THE GROUND. THE SHADOW MOVES AGAIN. BLONSKY: Drops to his knee with his partner beside him and both OPEN FIRE ON THE SHADOW as it moves to the right across their field toward TEAM 3. If the Roars were loud before they now become truly horrifying\u2026 THE THING in the DARK turns and moves from left to right, the Soldiers' pan their fire concentrating it on the shadow, most of it clanking into machinery sparks flying, but\u2026 IN THE STROBE EFFECT OF THE MUZZLE FLASHES, BEHIND THE FOREST OF METAL...WE SEE THE FORM OF THE THING\u2026 MOVING, POWERFUL., SURREAL. THE HEAD HIDDEN IN SHADOW OVER A GIANT, HULKING FORM. As the SHADOW moves across Team 1's fire toward Team 3, BLONSKY BREAKS AND RUNS RIGHT. As always, one step ahead, moving for position. He sees\u2026 A LADDER UP TO A CATWALK RUNNING THE PERIMETER OF THE FACTORY. He goes for it. TEAM 3: The Monster coming past their position now, heading for the EXIT in the far corner...they OPEN FIRE with BLONSKY's PARTNER moving in behind them and shooting high over their heads\u2026 IMPOSSIBLE THAT THEY COULD BE MISSING IT. SOUND OF BULLETS CLANKING INTO METAL mixed with SOUND OF BULLETS HITTING FLESH\u2026 a flat, thick sound. THE SHADOW TURNS AROUND DIRECTLY INTO THE STREAM OF FIRE CLOSE UP: FLOOR LEVEL BEHIND A GARGANTUAN ANKLE AND NAKED FOOT IN SHADOW\u2026THE FLESH GREYISH GREEN. BULLETS: LANDING NEXT TO THE FOOT BY THE DOZEN, SMASHED FLAT. BLONSKY: Reaches the cat walk and spins\u2026 Can make out his men in the dark\u2026 follow the line of their tracers into the shadow \u2026 and then a ROAR and a SICKENING RENDING OF STEEL and AN ENTIRE TOWER of the CONVEYOR BELT is being torn from its base\u2026 THE BELT SWUNG at the SOLDIERS LIKE A CLUB. FROM BEHIND THE SOLDIERS: The CONVEYOR BELT coming at them\u2026a giant clothesline of steel. They turn to run and dive but it catches BOTH OF TEAM 3 in the back, SMASHING THEM TO THE GROUND. BLONSKY'S PARTNER DIVES, but it tumbles onto his leg, BREAKING THE BONE. HE SCREAMS. VAN: All cameras dead. Monitors black. Just the sounds of moaning over the mic. ROSS THROWS THE DOOR OPEN AND MOVES:<\/scene_description>\n    <character>CABOT<\/character>\n    <dialogue>Sir, no!!<\/dialogue>\n    <scene_description>INSIDE: THE SHAPE IS MOVING AGAIN NOW\u2026 Faster, it's tormentors silenced\u2026 it heads for the back corner, moving under the catwalk where.... BLONSKY: SPRINTS ALONG ABOVE\u2026 He can get in position right above where it's heading if he's fast. He makes it just as the SHADOW moves under him, braces his gun on the rail, aims for the HEAD SHOT\u2026 BELOW, LOOKING BACK UP: The SHADOW is moving right at us, still just a BLACK SHAPE. BLONSKY above and beyond IT on the left\u2026OPENS FIRE. THE TRACERS STREAK IN STRAIGHT AT US, HITTING THE FORM IN THE RIGHT SHOULDER BLADE. ENRAGED IT SPINS and as it does\u2026. THE CAMERA SLIDES TO THE RIGHT\u2026PAST THE BACK OF THE ENORMOUS HEAD\u2026and as it passes the head, emerging over the right shoulder\u2026 REALITY DISTORTS HORRIBLY: THE ACID TRIP VERSION OF THE SAME VIEW. BLONSKY'S TRACERS A NIGHTMARE OF LIGHT COMING AT US\u2026 EVERYTHING STREAKING AND ACCELERATING AND STUTTERING\u2026. AND THE SOUND: SO OVER-AMPED THAT WHAT WAS LOUD IS LITERALLY NOW AN INTOLERABLE BANSHEE SHRIEK OF NOISE. THE HAND OF THE THING RISES IN FRONT OF US, BLOCKING THE STREAM OF STREAKING BULLETS, AS THOUGH SWATTING AT BEES. ON BLONSKY: End of the mag, drops the clip, moves another into the gun without taking his eyes off the target in the shadows\u2026 AND THEN HE FREEZES. BLONSKY POV: THE ARM\u2026RAISED TO BLOCK HIS SHOTS, DROPS, AND THE MONSTER STEPS HALF OUT OF THE SHADOW. OUR FIRST LOOK AT THE HULK'S FACE: HALF IN LIGHT, HALF IN SHADOW...AND IT'S STARING UP AT BLONSKY WITH FURY...AND BLONSKY IS PARALYZED WITH AWE. AND THEN WITH A SNARL THE ENORMOUS SHOULDER FLEXES AND THE ARM COMES UP......AND A FORKLIFT IS COMING THROUGH THE AIR LIKE A BASEBALL AT BLONSKY. HE DIVES\u2026 IT CRUSHES THE CATWALK WHERE HE WAS JUST STANDING\u2026 COLLAPSING IT PARTLY AND LEAVING HIM LITERALLY HANGING ON FOR LIFE ABOVE THE FACTORY FLOOR, spinning\u2026. But still able to watch as\u2026. THE HULK bends down into shadow\u2026and with a mighty heave, RIPS A HUGE MACHINE BLOCK OUT OF THE FACTORY FLOOR AND INTO THE AIR\u2026 RUNNING IT FORWARD STRAIGHT THROUGH THE FACTORY WALL WITH A TREMENDOUS CRASH. OUTSIDE: OVER ROSS' SHOULDER, RUNNING TOWARD THE LOOMING WALLS OF THE FACTORY until... THE ENTIRE WALL OF THE FACTORY EXPLODES, THROWING HIM AGAINST A WALL FOR COVER\u2026 HE LOOKS JUST IN TIME TO SEE...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..BEHIND ALL THE METAL, MOVING AWAY DOWN THE ALLEY, OBSCURED.. HE<\/stage_direction>\n    <scene_description>SEES THE PHANTOM HE'S BEEN CHASING. IT LOOKS AROUND FOR A MOMENT, EYES GLINT IN THE DARK...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..AND THEN IT'S GONE.<\/stage_direction>\n    <scene_description>ROSS: CHEST HEAVING STARING AFTER IT.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANNER'S APARTMENT - LATER - DAWN<\/stage_direction>\n    <scene_description>ROSS is looking around for clues in Banner's existence. CABOT is finishing a conversation with the BRAZILIAN OFFICER.<\/scene_description>\n    <character>CABOT<\/character>\n    <dialogue>The stuff in the bottles was basic lab chemicals. Zero intel. Like he knew we were coming and cleaned the place. Not a scrap of paper.<\/dialogue>\n    <scene_description>As if on cue, BLONSKY enters... with BANNER's BACKPACK. He thunks it up on the table...<\/scene_description>\n    <character>BLONSKY<\/character>\n    <dialogue>Saw he had it on the run, but it was gone right before I got the shot off... found it under the machine that our guys got hit with.<\/dialogue>\n    <scene_description>CABOT is already in it. Antenna...COMPUTER. Jackpot. And the PICTURE OF BETTY. Blonsky examines it.<\/scene_description>\n    <character>BLONSKY<\/character>\n    <dialogue>Girlfriend? Maybe she helps him...<\/dialogue>\n    <scene_description>Cabot shoots a look at Ross. Hard, expressionless.<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>No, we closed that door to him a long time ago.<\/dialogue>\n    <scene_description>Ross takes the photo from Blonsky and stares at it for a long beat. Thoughts unreadable.<\/scene_description>\n    <character>BLONSKY<\/character>\n    <dialogue>Sir, with all respect...Does somebody want to tell me just what the hell went down in there? What was that thing?<\/dialogue>\n    <scene_description>Ross looks away out the window at the light coming up on the slum.<\/scene_description>\n    <character>CABOT<\/character>\n    <dialogue>There's rumors in the street about sightings...farmer says he saw a gorilla going into the edge of the forest.<\/dialogue>\n    <character>BLONSKY<\/character>\n    <dialogue>That was no gorilla. It was 10 feet tall and green...or gray. I couldn't tell. But it wasn't an animal and you can't tell me that thing is hiding somewhere.<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>Two thousand miles of jungle to hide in. He's gone.<\/dialogue>\n    <character>BLONSKY<\/character>\n    <dialogue>What about Banner?<\/dialogue>\n    <character>CABOT<\/character>\n    <dialogue>Local PD's on alert. He must have got out when that Thing attacked us...<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>That was Banner.<\/dialogue>\n    <character>CABOT<\/character>\n    <dialogue>You think he led us into it?<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>No I mean It...was Banner. It wasn't an animal, it was him.<\/dialogue>\n    <character>BLONSKY<\/character>\n    <dialogue>You're going to have to explain that statement.<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>No, I'm not. You did your jobs well, both of you. We were undermanned and that's my fault.<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>I didn't think it would happen again... Pack up and get our men on the plane. We're going home.<\/dialogue>\n    <scene_description>He walks out leaving Cabot and Blonsky dumbstruck.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RAINFOREST - MORNING<\/stage_direction>\n    <scene_description>Banner wakes up in the woods. It's looks like the South American forest.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MUDDY ROAD IN THE FOREST - SAME<\/stage_direction>\n    <scene_description>Banner makes his way up out of the trees to a rough mountain road. A LOGGING TRUCK is coming down the road. He waves it down. Leans in the window<\/scene_description>\n    <character>BANNER<\/character>\n    <dialogue>Can you help me?<\/dialogue>\n    <character>TRUCKER<\/character>\n    <dialogue>No habla Portuguese.<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>Where..? Donde...donde estoy?<\/dialogue>\n    <character>TRUCKER<\/character>\n    <dialogue>Paroma. Paraguay? Brazil es ayi... Ochenta kilometers.<\/dialogue>\n    <scene_description>He waves Banner inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARAGUAY SLUM - STREET - DAY<\/stage_direction>\n    <scene_description>Banner sits against a wall begging for money.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARAGUAY SLUM - MARKET - DAY<\/stage_direction>\n    <scene_description>Banner buys clothes at a stall in the market. Finds stretchy pants finally. Better yet, finds a pair of Lycra shorts that look like they'd almost be too big for him. Discreetly holds the leg of the Lycra shorts up behind a very fat lady and stretches one leg hole wide - not as big as her back.<\/scene_description>\n    <character>BANNER<\/character>\n    <dialogue>Mas grande.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY - PARAGUAY STREET - DAY<\/stage_direction>\n    <scene_description>A muddy alley full of raw trash. Banner is pulling on his new clothes. Finishing he starts to ball up his shredded pants to toss them in a pile when a piece of paper floats down out of one of the torn pockets. He throws the pants down and picks the paper up and looks at it... Data from MAYNARD He remembers what he needs to do.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. C-130 TRANSPORT PLANE<\/stage_direction>\n    <scene_description>Two body bags in the back of the plane (Team 2). Two mobile hospital beds with commandos in them (Team 3). One soldier with his leg up and splinted and his arm in a sling (Blonsky's Team 1 partner). Only Blonsky made it through unhurt. He sleeps. Cabot is up front with Ross who is already studying Banner's docs and correspondence with Mr. Blue. C.U. - COMPUTER SCREEN: we see Ross flicking past the evidence of Banner's attempt to cure himself --<\/scene_description>\n    <character>CABOT<\/character>\n    <dialogue>He's tight, this one. No names, all authors names deleted. He was using a randomizer to tap different wireless networks every time he went online. We can't even trace where his email went or where it came from.<\/dialogue>\n    <scene_description>Ross absorbed in the pages, a new urgency breaking over him.<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>He's trying to get rid of it.<\/dialogue>\n    <character>CABOT<\/character>\n    <dialogue>We'll have the Agency people down here keep their radar up.<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>It doesn't matter. He's already on the move.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK OF A TRUCK - DAY<\/stage_direction>\n    <scene_description>Banner riding with migrant workers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLS - DAY<\/stage_direction>\n    <scene_description>Banner hiking through rugged terrain to avoid border crossings<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOORWAY - NIGHT<\/stage_direction>\n    <scene_description>Banner trying to sleep in the doorway of a locked store in a Latin city somewhere. Car lights spill across him huddled there. Eyes closed, but moving under the lids... FLASHBACK: (CANADIAN BORDER APPREHENSION) LIGHTS ACCELERATING AT US, horribly overcharged sound of a TRUCK HORN and a TREMENDOUS CRASH. Jump cutting -- The impossible image of the CAB OF A TRACTOR TRAILER being twisted over by our own massive hands... the HUGE LOAD OF LOGS ON ITS BED SPILLING OUT BEYOND. All horribly distorted and streaked. Like an acid trip. BANNER WAKES: eyes darting. He shakes it off and gets up and keeps moving.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BORDER - RIO GRANDE RIVER - NIGHT<\/stage_direction>\n    <scene_description>Night crossing the desert border with illegals (Mexico to US). A family has children with them, having trouble. Banner picks one up and helps the child across the river.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RAIL LINE - DAY<\/stage_direction>\n    <scene_description>Banner jumps a FREIGHT TRAIN. In the U.S. now...heading somewhere.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GENERAL GRELLER'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Greller sits at his desk looking up at Ross, incredulous.<\/scene_description>\n    <character>GRELLER<\/character>\n    <dialogue>You wanna tell me that one more time?<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>Do I look like I'm not being serious, Sam?<\/dialogue>\n    <character>GRELLER<\/character>\n    <dialogue>T., I've known you a long time and I've never seen a cooler head under fire.<\/dialogue>\n    <character>GRELLER<\/character>\n    <dialogue>I know something bit you in the ass down there, but that is one hell of a White Whale story. And I am way out on a limb with you on this already.<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>Ask Blonsky.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRELLER'S OFFICE - WAITING AREA - SAME<\/stage_direction>\n    <scene_description>BLONSKY sits in dress uniform, waiting. DOOR OPENS from the inner office. ROSS stands there...nods.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRELLER'S OFFICE - SAME<\/stage_direction>\n    <character>BLONSKY<\/character>\n    <dialogue>...yes, sir. I'd say ten or eleven feet. I'd put him at 1500 pounds easily but could be more. And green. Or gray. Greenish gray. It was very dark. I put three clips on it, sir and didn't even flinch. I didn't miss, I'll stake my medals on that.<\/dialogue>\n    <character>GRELLER<\/character>\n    <dialogue>Captain, is there a medal you haven't won?<\/dialogue>\n    <character>BLONSKY<\/character>\n    <dialogue>Medal of Honor, sir. A high percentage are given posthumously of course.<\/dialogue>\n    <scene_description>Greller rubs his forehead, Blonsky still sharp at attention.<\/scene_description>\n    <character>GRELLER<\/character>\n    <dialogue>Relax, will you Blonsky? T., you wanna tell me what the hell you think is really going on here?<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>Banner's work was a tangent of Bio-Tech.<\/dialogue>\n    <character>GRELLER<\/character>\n    <dialogue>You told me you were going to Brazil to nab a scientist. Are you telling me one of your Super Soldier experiments got out of the box?<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>I'm telling you that this could be an incredibly dangerous weapon in the wrong hands and we have no idea what his intentions are.<\/dialogue>\n    <character>GRELLER<\/character>\n    <dialogue>Put together a new list.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR\/HALLWAY - ARMY BASE - SAME<\/stage_direction>\n    <scene_description>Ross and Blonsky walk out of the meeting with Greller.<\/scene_description>\n    <character>BLONSKY<\/character>\n    <dialogue>Are you telling me he becomes that thing at will?<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>I don't have an answer to that, soldier.<\/dialogue>\n    <character>BLONSKY<\/character>\n    <dialogue>Greller said \"Super Soldier\". Do you mind if I ask...<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>Yes, I mind. You're asking questions way above your paygrade, Captain.<\/dialogue>\n    <character>BLONSKY<\/character>\n    <dialogue>Respectfully sir, I lost two men back there who had made it through some bad shit with me. One was on his way out to have a family. I'd just like to know what we got mixed up in.<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>You hungry?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DINER - AFTERNOON<\/stage_direction>\n    <scene_description>A classic silver-car diner near the base. Through the plate glass windows in a corner booth we see Ross and Blonsky over a table.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINER - SAME<\/stage_direction>\n    <character>ROSS<\/character>\n    <dialogue>...do appreciate your professionalism but let me emphasize that what I'm about to share with you is tremendously sensitive to both me personally and the Army.<\/dialogue>\n    <scene_description>Blonsky nods, all ears<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>I'm sure you're aware that we've got an Infantry Weapons Development program...within it however we ran a subprogram for Bio-Tech Force Enhancement.<\/dialogue>\n    <character>BLONSKY<\/character>\n    <dialogue>Super Soldier.<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>Yes...an oversimplification...but yes. Across the hall they're trying to arm you better, we were trying to make you better. In all the obvious ways and some not so obvious. Banner's work was very early phase, it wasn't even a weapons application. It was radiation mitigation, see if we could give our boys built in insulation against all that depleted uranium nobody likes talking about. It was promising but politicians don't give a Flying F about what real soldiers need, they like big twin rotor heli-planes that don't work that they can build in their states... and so our money was running out. Banner was so sure of what he was on to that he tested it on himself. It was supposed to be very low-exposure and something went wrong. Or went very right... I still don't know.<\/dialogue>\n    <character>BLONSKY<\/character>\n    <dialogue>Why did he rabbit on you?<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>Banner was brilliant, one in a generation...but he is scientist, not one of us. He doesn't grasp that to have peace and freedom you need Power. That people like you and I need instruments to do what we do.<\/dialogue>\n    <character>BLONSKY<\/character>\n    <dialogue>So it'd be good to nail him sure, but why not just take the data to someone else?<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>Because he IS the data. As far as I'm concerned, that man's whole body is property of the US Army.<\/dialogue>\n    <character>BLONSKY<\/character>\n    <dialogue>I have real contempt for people like that.<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>You and me both, Captain. You and me both.<\/dialogue>\n    <character>BLONSKY<\/character>\n    <dialogue>What about the rest of it? You tried other things?<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>It was very promising but none of it panned out. Or, it did but it was...unstable. Made the subjects unstable. I wanted to refine it.. but then Al-Haquid happened and Congress killed it. No stomach.<\/dialogue>\n    <character>BLONSKY<\/character>\n    <dialogue>You'll need something special to go against that thing. Someone who can survive to learn how to fight it. I'd be willing.<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>Blonsky, how old are you? 40?<\/dialogue>\n    <character>BLONSKY<\/character>\n    <dialogue>ROSS<\/dialogue>\n    <scene_description>Why are you still a Captain? You should be a full Colonel with your record. Shit you could be a Senator! Take your pick. Get out of the trench.<\/scene_description>\n    <character>BLONSKY<\/character>\n    <dialogue>I don't want to lead. I'm a fighter. That's all I want to be and I want to be the best for as long as I can and I don't want to lose a step and if there's something I can take to give me an edge, I want it.<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>Well, I'm glad to see that all that advertising we do actually works. You know when I came back from Vietnam I was 27. I looked 45. So you're beating the curve. But it takes a toll doesn't it?<\/dialogue>\n    <character>BLONSKY<\/character>\n    <dialogue>Yes it does.<\/dialogue>\n    <scene_description>They clink glasses. Mutual respect growing. A team forming.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SECURE LOCKUP\/COLD STORAGE - ARMY MEDICAL LABS - NIGHT<\/stage_direction>\n    <scene_description>Ross admits himself and one medical technician into a secured medical storage room. It takes codes to get through doors. Individual codes to open any of the cold storage lockers. Ross opens one\u2026the fog of liquid nitrogen keeping something preserved. Ross nods and the technician lifts out the metal canisters\u2026<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - ARMY MEDICAL LABS - SAME<\/stage_direction>\n    <scene_description>After hours and off the books. Ross supervises as Blonsky gets his first injection of the Super Soldier serum. TWO MEDICAL TECHS make the preparations.<\/scene_description>\n    <character>MEDICAL TECH<\/character>\n    <dialogue>You'll get two separate infusions, dripped in very slowly. One into the deep muscle, one into bone marrow centers. The bone ones are going to hurt.<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>We're giving you a very low dose only. I need you sharp out there, disciplined. First side of any side effect and we stop and you're off team until you straighten out. Agreed?<\/dialogue>\n    <scene_description>Blonsky nods again. He's committed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNIVERSITY CAMPUS - ESTABLISHING - DAY<\/stage_direction>\n    <scene_description>A sprawling semi-rural Southeastern campus. PANNING WITH TWO STUDENTS walking along a path the camera finds: BANNER: standing by a tree, He scopes out the surroundings, not overly intense but careful. He walks to a BIG STONE BUILDING. He looks up... MAYNARD HALL OF PHYSICAL SCIENCES (the note in his pocket) He watches as students and faculty flow in and out. He mounts the steps and peers through the doors POV: a SECURITY PASS THROUGH. Guards checking ID's, a metal detector. More secure than in his day. He walks away, head down, thinking...passing ANOTHER BUILDING.. He stops. Looks at it. BIOLOGY. He hangs a moment, deciding then goes in the doors.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BIOLOGY BUILDING - LOBBY<\/stage_direction>\n    <scene_description>BANNER scans the directory\/faculty board. Searching for something... and there it is... \"CELLULAR BIOLOGY - DR. ELIZABETH ROSS\" He slips back out the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BIOLOGY BUILDING - SOME TIME LATER - DAY<\/stage_direction>\n    <scene_description>Banner on a bench: Reading a book and watching the door. TWO WOMEN talking together as they exit, and one of them is BETTY ROSS. Dark, lovely. He sits frozen: the closest he's been to her in five years. And then he follows-- Bruce watching Betty: keeping his distance - she gets coffee with the friend and sits and talks - says goodbye and checks her blackberry and smiles and types back She is walking now...He could go to her...and then... ...he sees the guy walking toward her smile. And she smiles back and accepts his embrace and kiss. This is SAMSON. They link arms and walk together and Banner has to watch them walk away, Betty's hand slipping inside Samson's. Another life. He turns away and puts himself back on course.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STANLEY'S PIZZA PARLOR - NIGHT<\/stage_direction>\n    <scene_description>The owner, STAN, early 60's, is turning the sign on the door to CLOSED when a figure slides up and knocks on the glass. STAN freezes as he sees the face of... BANNER. Stan looks like he's seen a ghost.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACK KITCHEN OF THE PIZZA PARLOR - NIGHT<\/stage_direction>\n    <scene_description>Bruce and the owner catch up. Clearly, they were friends from Bruce's old life.<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>...so many rumors. People say the worst things without any idea what they're saying.<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>Stan, I promise you, whatever you've heard about me isn't true.<\/dialogue>\n    <scene_description>Stan pats his leg...<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>I know it. I know people and I always knew it. But you know how I felt about you two... Have you talked to...?<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>No. She's with....<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Samson. Yeah, you heard. He's a head shrink. They say one of the best. But a good guy. Take my word. Reminds me of you a lit-- Sorry. Bruce, what can I do to help you?<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>I could use a place to stay a few nights.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>You'll stay in the spare room upstairs. Use the back, nobody'll see you come or go.<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>Great. One other thing...can I deliver a few pizzas?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Deliver all you want, I'll give Lou the week off. But someday you gotta tell me what all this was about.<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>Stan, if I told you, you'd never believe me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMPUS - THE NEXT DAY<\/stage_direction>\n    <scene_description>BANNER ON A BICYCLE, delivering pizzas. He's even got the Stanley's hat. Shades too now, keeping a very low profile.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DORM HALLWAY\/DORM ROOM<\/stage_direction>\n    <scene_description>Banner delivers a pie to a room full of kids studying and arguing about issues. That used to be him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SORORITY HOUSE PORCH\/FRONT DOOR - EVENING<\/stage_direction>\n    <scene_description>A HOT, BITCHY SORORITY CHICK opens the door, others beyond her. She's laughing, takes the two pies and bag of extras and sodas without even acknowledging him... She goes to close the door--<\/scene_description>\n    <character>CHICK<\/character>\n    <dialogue>Thanks...<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>Ummm...sorry. That's $46.50<\/dialogue>\n    <character>CHICK<\/character>\n    <dialogue>Oh...we have an account with Stanley. He knows us... We're Theta.<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>I can see that you are. Do you mind if we call him?<\/dialogue>\n    <character>CHICK<\/character>\n    <dialogue>Yes, I mind...anyway it took forever and now it's cold.<\/dialogue>\n    <scene_description>As she says this she pulls out a black olive and on 'cold' she FLICKS IT OFF HER FINGER... And it lands on Banner's hat...<\/scene_description>\n    <character>CHICK<\/character>\n    <dialogue>Oops. Sorry.<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>You know, you shouldn't make me angry. You wouldn't like me when I'm angry<\/dialogue>\n    <character>CHICK<\/character>\n    <dialogue>Whatever, pscycho.<\/dialogue>\n    <scene_description>She slams the door on him. Peals of laughter from inside. He turns to go off the porch and a fat KEG DELIVERY KID is coming up the steps... he saw it all.<\/scene_description>\n    <character>KEG GUY<\/character>\n    <dialogue>Dude, where are your balls? You can't lay down for that shit! You gotta smash that door in and...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAYNARD HALL - LOBBY SECURITY - NIGHT<\/stage_direction>\n    <scene_description>Banner enters with two pizzas. Guard looks up. (Lou Ferrigno)<\/scene_description>\n    <character>BANNER<\/character>\n    <dialogue>I got a delivery on 5.<\/dialogue>\n    <character>GUARD<\/character>\n    <dialogue>I don't think anybody's up there.<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>Oh man, everybody's bailing... I already got an medium with no takers. You want it?<\/dialogue>\n    <character>GUARD<\/character>\n    <dialogue>Don't let me stand in the way of commerce. God bless, brother.<\/dialogue>\n    <scene_description>Takes the pizza happily and waves him through.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANNER'S OLD LAB - HALLWAY AND LAB ROOM<\/stage_direction>\n    <scene_description>Banner comes down the hall toward his former lab, the place HULK was born... The LAB is a large open space seen through half-glassed walls. Long work tables full of computer terminals. Large Super-Computer arrays along the walls. It has been turned into a Computer Science lab in the intervening years. One lone computer nerd GRAD STUDENT, burning the midnight oil at a terminal..brain fried, eyes bleary. Banner stares at the familiar layout and just as the GRAD STUDENT looks up and meets his eye... FLASHBACK: Images from the accident that created the HULK. Surreal and overamped as before but more detailed this time. - FIRE - a huge MRI-like machine (the Gamma Pulse) rising above us and being smashed through glass -bodies of two of Banner's grad students lying still under the control console driven back onto them, a soldier in uniform also still - BETTY, still on the ground a gash in her head - ROSS on the floor, backing up holding his left arm in agony, trying to reach Betty and looking up at... BANNER POPS OUT OF IT. The guy is looking at him... or at his pizza. Banner opens the door.<\/scene_description>\n    <character>BANNER<\/character>\n    <dialogue>Those douches in radiation called this in and then split. You want it?<\/dialogue>\n    <character>COMPUTER NERD<\/character>\n    <dialogue>Whoever you are, you are my new personal hero.<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>Hey...you mind if I jump online for a second?<\/dialogue>\n    <character>COMPUTER NERD<\/character>\n    <dialogue>Totally. You wanna join my Vice City...\"Manolo, choot this piece of chit.\"<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>Righteous. Gimme a sec.<\/dialogue>\n    <scene_description>He sits down and gets to work accessing the University's mainframe. It asks for \"USER: PASSWORD: \" He types: \"Dr. Elizabeth Ross\"... then thinks a beat. Tries \"BettyLovesBruce\". Rejected. Tries another of her old ones: \"CellsUnite!\" Bingo. TIGHT ON: COMPUTER SCREEN and BANNER'S FACE as he searches for the records from his work. Searching under - USMD Research Protocol 456-72378: No results - GAMMA PULSE: No results Every attempt to find the records of his program yields no evidence that it ever existed. They have totally expunged all record of his work. HE SAGS. RING. He looks up. He is receiving a chat invite from \"StealthWarrior229\". He looks at it for a long time. The ringing continues. It's impossible they have found him here. Almost impulsively he clicks \"Accept\"... the VIDEO CHAT WINDOW OPENS TO REVEAL... A DIGITAL ANIMATION OF A HUGE MONSTROUS CREATURE, like something out of DOOM, SMASHING WALLS, RAGING until it finds... A PIZZA. AND EATS IT. AND THE MONSTER STARTS TO SHRINK, GROWLING CONTENTEDLY AND THE IMAGE RESOLVES INTO... THE GRAD STUDENT. BANNER: lifts his head above the computer to look across the rows of terminals and see... THE GRAD GEEK: lifting his head above his port...gives Banner \"Thumbs up.\" Banner's face: time to go.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PIZZA PARLOR - BACK KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Banner is talking to Stan...<\/scene_description>\n    <character>BANNER<\/character>\n    <dialogue>...gone. All of it. Like it never happened.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>The whole building was closed for a year after the explosion. Military guards...<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>I don't know what I was thinking. There's nothing for me here. I don't know why I came...I hoped...<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>What'll you do now?<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>I'll go in the morning.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>It's better if I don't tell you, Stan.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I'm so sorry. I wish I could...<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>You did help me, Stan. You've got no idea how nice it is just to see a friendly face.<\/dialogue>\n    <scene_description>THE BELL ON THE DOOR TINGS, a customer entering...<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>I'll just get rid of em and we'll have some food...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PIZZA PARLOR - SERVING COUNTER<\/stage_direction>\n    <scene_description>Stan comes out of the back hearing laughter and looks up and stops cold... IT'S BETTY AND SAMSON, grabbing a slice on the way home. He tries to hurry em along...<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Kids! I got nothing but marinara now...<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>Oh, I need a Mr. Pink, Stan. Please!<\/dialogue>\n    <character>SAMSON<\/character>\n    <dialogue>She worked through dinner again.<\/dialogue>\n    <scene_description>Betty and Samson talk as Stan starts to make up the special slices... his eyes keep darting to the back... Tight on: Betty and Samson. He's telling a story about something one of his patient's said. BETTY's EYES flick down to the food...<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>Not too spicy, Stan...<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I know how you like it...<\/dialogue>\n    <scene_description>Her focus comes back up to Stan and behind him, in the back, A MOVEMENT CATCHES HER EYE. BETTY'S POV: BANNER HAS MOVED TO HANG UP STAN'S JACKET AND HAT AND HE LEANS OUT JUST ENOUGH FOR HER TO SEE HALF HIS FACE. BANNER'S EYES FLICK UP -- A FROZEN INSTANT: his face only half in the light. STAN MOVES AND BLOCKS HER VIEW...THEN MOVES AWAY AGAIN AND BANNER IS GONE. BETTY: FROZEN SHOCK SAMSON'S MOUTH is moving but everything is SILENT. She stares at the space where she just saw a ghost. But it wasn't a ghost...it was BRUCE. AND SHE RUNS. Dashing under the counter and through the back after him... Samson agape...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. REAR ALLEY OR PARKING LOT BEHIND THE PIZZA PARLOR<\/stage_direction>\n    <scene_description>THUNDER RUMBLING in the distance, the first drops of RAIN... BETTY explodes out the back door, looking left and right BANNER IS WALKING QUICKLY ACROSS THE FAR SIDE OF THE LOT.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>BRUCE!<\/dialogue>\n    <scene_description>He stops but doesn't turn and she moves toward him, still not able to believe it's actually him...and as she draws near. HE TURNS AND FACES HER and she stops in her tracks, her hand flying to her mouth...she could literally faint from the level of adrenaline and emotion shooting through her body.<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>It's alright...<\/dialogue>\n    <scene_description>SAMSON bursts out the door...<\/scene_description>\n    <character>SAMSON<\/character>\n    <dialogue>Betty!?<\/dialogue>\n    <scene_description>He sees her standing with a dark figure, her hand starting to reach trembling toward him.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>When did...? Are you...?<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>I'm alright. I'm so sorry, I didn't want to...<\/dialogue>\n    <scene_description>Samson comes up behind her and Banner looks up.<\/scene_description>\n    <character>SAMSON<\/character>\n    <dialogue>Betty, what happened? Are you okay?<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>Samson, this is....this is Bruce... Bruce Banner.<\/dialogue>\n    <scene_description>He takes Banner in for a beat and then reaches out his hand..<\/scene_description>\n    <character>SAMSON<\/character>\n    <dialogue>Samson Adams.<\/dialogue>\n    <scene_description>And he and Banner shake. The rain is starting to fall more steadily...<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>Can you...? There are just so many things... I can't...<\/dialogue>\n    <character>SAMSON<\/character>\n    <dialogue>We should get in out of the rain. We're just on our way home now. Will you join us?<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>Yes...thanks, I'd like that. I need to...uh... Tell me where and I'll meet you there in a few minutes.<\/dialogue>\n    <character>SAMSON<\/character>\n    <dialogue>39 Hillhouse. On the corner of Maple...by the old...<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>Yes I remember. Alright.<\/dialogue>\n    <scene_description>Samson nods and turns with Betty to go back through Stanley's.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANNER'S ROOM ABOVE PIZZA PLACE<\/stage_direction>\n    <scene_description>Banner explodes into the room, and starts throwing his few clothes into a very small nylon bag. He stops over the sink, looking at himself in the mirror...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - NIGHT - RAIN<\/stage_direction>\n    <scene_description>Raining hard now. Samson and Betty pull up through their driveway and into the garage.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>I need to go find him...<\/dialogue>\n    <character>SAMSON<\/character>\n    <dialogue>I think you should...<\/dialogue>\n    <scene_description>Samson looks at her, understanding...nods.<\/scene_description>\n    <character>SAMSON<\/character>\n    <dialogue>I'll be here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. A CAR DRIVING IN THE RAIN - NIGHT<\/stage_direction>\n    <scene_description>BETTY drives through the streets looking for him, desperate. The RAIN is hard now, a thundershower. She pulls up to the bigger road leading out away to the highway, looks right into the dark...nothing. Looks left and we see the reaction on her face at something she sees...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - NIGHT<\/stage_direction>\n    <scene_description>WIDE looking at the shoulder of the road, RAIN pouring down... and BANNER's lonely figure, small in the dark walking along. HEADLIGHTS approach him from behind and he turns and holds out his thumb and we pan left as the car pulls up ahead of him on the shoulder, brake lights casting a red glow... AND THE DOOR BURSTS OPEN AND BETTY IS OUT AND RUNNING TOWARD HIM. AND SHE EMBRACES HIM LIKE SOMEONE BACK FROM THE DEAD...AND HE HUGS HER BACK, FINALLY.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>Please don't go away. Please. I need to see you and talk to you.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>I want to...so much. But it's not safe.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>I don't care. Please. You can't just disappear again. I couldn't take it.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>I don't want to make things more difficult for you. I couldn't bear that.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>I want you to come with me now. He does too.<\/dialogue>\n    <scene_description>Banner's face: torn. What should he do?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BETTY AND SAMSON'S HOUSE - DRIVEWAY - NIGHT - RAIN<\/stage_direction>\n    <scene_description>Betty's car pulls in through the driveway and into the garage. We can see that she is alone in the car.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - INSIDE THE GARAGE<\/stage_direction>\n    <scene_description>Betty hits the clicker and the garage door descends behind her. And then BANNER SITS UP IN THE PASSENGER SEAT.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAMSON AND BETTY'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Samson steps into the living room as Betty emerges from the mudroom\/garage entrance. He looks at her...wondering. Betty holds out her hand... AND BANNER STEPS INTO THEIR HOME.<\/scene_description>\n    <character>SAMSON<\/character>\n    <dialogue>Welcome. Now both of you go get out of those wet clothes. I think we all need some hot food and a number of drinks. You're talking, I'm cooking. Now go...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - DINING ROOM \/ INT. KITCHEN - INTERCUT<\/stage_direction>\n    <scene_description>Samson cooking food while Bruce and Betty talk across a small dining table off the living room. We hear some of what they're saying in fragments from Samson's side of it. Betty has drawn all the curtains. They are in mid conversation:<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>...and they just let you stay?<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>I think it was novel at first, they don't get the spiritual tourism up there on the Northern Plateau. And I'm good at fixing things so... It was peaceful. For a long time that's all I wanted.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>When I heard the rug dealer down in town had gotten internet...my brain started going and eventually I couldn't resist. That's how I got to Sterns.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>And trimethodine...<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>I didn't think you could synthesize an inhibitor that complex but he has been. I mean five years ago...<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>We're all a lot further along than we were then, but Sterns is way out in front on that score. He had some kind of ethics cloud around him at Cal Tech but it didn't stop him. His work is unbelievably brilliant. So, Brazil for the corablanca?<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>He's synthesizing it but I had to try to get it at the source. It took a long time just to get there. And I couldn't get a thousandth of what I'd need. If he's even right...<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>And now?<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>I go find him, I suppose. I don't know if he's really got something and it's a much longer shot without the data but I've got to risk it...<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>No, you don't.<\/dialogue>\n    <scene_description>She gets up and goes to a bookshelf with a vase on it. She shakes out a small DATA\/FLASHCARD on ring, with a lanyard. She goes back and hands it to him.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>I got in there before they carted it all away. I hoped it would tell us something someday.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Does the General know you have this?<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>I don't think so.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>He was there in Brazil. When they came for me. I saw him.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>Oh my god...he's crazier than anybody knows. I'm so sorry... How?<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>I've twisted it round every possible way. Is there anyway it could have been Sterns?<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>I hear he's a total anarchist. Hates authority. Doesn't think he should answer to anybody. That's why he got in trouble. Bruce, why didn't you...?<\/dialogue>\n    <scene_description>SAMSON enters:<\/scene_description>\n    <character>SAMSON<\/character>\n    <dialogue>I think we're all set.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN<\/stage_direction>\n    <scene_description>Bruce\/Betty\/Samson eat together at a kitchen table. Convivial, determinedly light, staying off the obvious weight of it all for a moment. Samson is telling a funny story.<\/scene_description>\n    <character>SAMSON<\/character>\n    <dialogue>...and I said \"Miss So-and-so, I've been analyzing your 'condition' for nearly three months and I think I can say conclusively that your issues are more Caffeinated-UnCaffeinated than Manic- Depressive...<\/dialogue>\n    <scene_description>They all laugh, even Banner chuckles.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>...You're not so much Multiple Personality as Spoiled Brat...<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>Your problem isn't ADD so much as laziness.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>It makes you sound cruel. But Samson takes a few of these to pay for all the free work he does.<\/dialogue>\n    <character>SAMSON<\/character>\n    <dialogue>Pro-whiners to pay for the pro-bono...<\/dialogue>\n    <scene_description>Still laughing... but something has happened. Banner has put his hand to his forehead and...he is weeping. Something long-held is being released and he begins to simply cry. Betty and Samson fall silent, bearing witness. Betty takes his hand until he pulls himself together.<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>I'm so sorry. It's been a long time since I felt...light...about anything.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>It's alright...you're with friends.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAYS\/BEDROOMS\/BATHROOM<\/stage_direction>\n    <scene_description>All say good night. Bruce shakes Samson's hand.<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>Good night.<\/dialogue>\n    <character>SAMSON<\/character>\n    <dialogue>Sleep well.<\/dialogue>\n    <scene_description>Samson heads for their bedroom. Betty walks Bruce to the spare room. The moment is bittersweet.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>Do you need anything?<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>No. I should go early tomorrow. If I can borrow cash from you, I'll take the bus.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>Of course. I'll drive you out to the station.<\/dialogue>\n    <scene_description>It's hard for her to leave him alone, awkward. He looks so tired and lonely. But she finally turns.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM<\/stage_direction>\n    <scene_description>Betty shuts the door and dissolves, crying hard, silently, stifling it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BETTY AND SAMSON'S BEDROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>She enters. He can see that she's cried and comes to her. She hugs him hard<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>Thank you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BETTY AND SAMSON'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>All the lights off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPARE ROOM - SAME<\/stage_direction>\n    <scene_description>Bruce can't sleep: Lying in the dark, staring up. Memory Flash: Betty lying in a sunny room under sheets next to him, playing with his hand, biting his fingertips Memory Flash: Betty lying in a coma, turning to see Ross outside the glass door with two MP's. He hears a small thump from the Living Room and turns his head to listen....<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM<\/stage_direction>\n    <scene_description>Banner emerges into the dark of the living room, cautious. SAMSON is in front of the fireplace adding a log to a small fire he's got going. He got a pillow and blanket on the couch for himself and a bottle of wine.<\/scene_description>\n    <character>BANNER<\/character>\n    <dialogue>Hey...<\/dialogue>\n    <scene_description>Samson jumps badly...he didn't hear Bruce...<\/scene_description>\n    <character>SAMSON<\/character>\n    <dialogue>Good lord, you scared me...<\/dialogue>\n    <scene_description>He sits on the couch and Banner sits in the chair opposite him.<\/scene_description>\n    <character>SAMSON<\/character>\n    <dialogue>I thought it might be easier for all of us...Want some wine? I'm having a lot.<\/dialogue>\n    <scene_description>They both start to laugh because there's no getting around it all. He drains his glass, fills it and gives it to Bruce and keeps the bottle. They talk in low tones...<\/scene_description>\n    <character>BANNER<\/character>\n    <dialogue>You're been incredibly generous. I'm very sorry to have...dropped in like this.<\/dialogue>\n    <character>SAMSON<\/character>\n    <dialogue>I think I read a Raymond Carver story about a situation like this once...<\/dialogue>\n    <character>SAMSON<\/character>\n    <dialogue>I seem to remember thinking there was a lesson in it but it eludes me at the moment. So much for the insights of literature.<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>Whatever you may think, I didn't come here to see Betty...<\/dialogue>\n    <character>SAMSON<\/character>\n    <dialogue>Then why did you come?<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>I have a problem...I thought part of the solution might be here.<\/dialogue>\n    <character>SAMSON<\/character>\n    <dialogue>Cryptic. But I'll take it at face value. I'll confess something to you if you'll clear up some things for me...First, I confess, as a man...as Betty's lover... that I have always hoped you were dead. Not because I didn't like you but because I love Betty and I've known that unless you were really gone, or she believed you were, that there would always be three of us in this relationship. I've dreaded the thought of you walking through the door. But now that you're here...I have to admit that I'm very happy about it. Because I'm also a psychiatrist. And I'm very committed to putting light into dark corners, so to speak, and I'm very good at finding my way into the places people hide their secrets. I do it primarily because I think it helps them but also frankly because I'm interested in what people have to hide. Betty has a very dark corner that I have never found my way into, despite considerable, careful effort. And the only thing I know about her dark place is that you are in it. And I'm wondering if you'll be honest enough to tell me: why are you something that she won't talk about?<\/dialogue>\n    <scene_description>This is said simply, directly...without threat or malice.<\/scene_description>\n    <character>BANNER<\/character>\n    <dialogue>There are...aspects of my personality that I can't control. And I hurt Betty...in ways I will never forgive myself for.<\/dialogue>\n    <character>SAMSON<\/character>\n    <dialogue>You don't drop your career and fall off the face of the earth for five years because you've got an anger management issue, Bruce. You see a shrink.<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>It's a little more complicated than that. Samson, I've been alone for a long time now. I have to be. The toughest part of it is that I worry about what I've done to Betty. If she's happy and you're a part of that, then that makes me very happy. Honestly. The last thing I want to do is cause any trouble for her...or for you. I'd kill myself before I'd hurt her again.<\/dialogue>\n    <character>SAMSON<\/character>\n    <dialogue>Totally honest and yet avoiding something. Exactly like her.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAMSON AND BETTY'S HOUSE - MORNING<\/stage_direction>\n    <scene_description>Bruce pulling his sweatshirt on, stepping into the hall. He can hear Betty and Samson in the kitchen. Talking in low tones... barely hears....<\/scene_description>\n    <character>SAMSON (O.S.)<\/character>\n    <dialogue>Just promise me you'll come straight home...<\/dialogue>\n    <scene_description>Betty steps out into the living room, Samson behind her.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>Ready?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BETTY'S CAR - CAMPUS ROADS - MORNING<\/stage_direction>\n    <scene_description>Betty and Bruce drive through campus.<\/scene_description>\n    <character>BANNER<\/character>\n    <dialogue>Stop a second...<\/dialogue>\n    <scene_description>She pulls the car over.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMPUS - CONTINUOUS<\/stage_direction>\n    <scene_description>Banner gets out of the car and steps up onto the grass and across the walking paths to a spot with a tree and bench and a view of the buildings and lawns. Betty moves next to him.<\/scene_description>\n    <character>BANNER<\/character>\n    <dialogue>What were we doing here? I mean what were we really trying to accomplish? Do you ever ask yourself that?<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>We were trying to...understand. Crack a puzzle. Advance things a little.<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>I think that's what we told ourselves. At least the General was honest about what he wanted out of it. I don't think we were as honest.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>No, you've turned this on yourself too hard. We did talk about it and we were all comfortable. The worst you can say is that you rushed it...but you took your own risks, you didn't ask anybody else too.<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>But it wasn't me that died.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>Nobody thought something like that was possible...<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>I don't know...Nature took a long time to build us like we are...this whole delicate wonderfully sophisticated system refined over billions of years. We come in and monkey with it...think we can improve it overnight. Sooner or later it's going to blow up in our face...<\/dialogue>\n    <scene_description>Thunder rumbles in the distance\u2026 a summer storm. As they are talking\u2026 he begins to perceive something odd\u2026 people clearing away from the open campus\u2026 is it about to rain again? In the distance beyond a building: A STUDENT reacting to something unseen BANNER's eyes flick: Just beyond the far edge of a building A SNIPER MOVES FOR POSITION...THEY'VE COME FOR HIM. His face tenses... He grabs Betty<\/scene_description>\n    <character>BANNER<\/character>\n    <dialogue>They're here.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>What...?<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>Go home. You've got to get as far away from me as you can, right now! Go!!<\/dialogue>\n    <scene_description>And he breaks and runs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMPUS GROUNDS LEFT - DAY<\/stage_direction>\n    <scene_description>He takes off at a full sprint, moving right to left along the buildings, trying to outdistance the soldiers before they get a bead on him...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMPUS GROUNDS RIGHT - DAY<\/stage_direction>\n    <scene_description>Betty starting to run toward the direction they saw the soldiers. MORE SOLDIERS coming into view, sweeping across the grounds between the buildings heading in the direction Bruce went. In the distance, through the campus complex on the road on the far side she sees FOUR HUMVEES jumping off the road and heading the same way along the opposite perimeter of the campus. One has a MOUNTED .50 Cal gun; two have LARGE STRANGELY SHAPED CANNONS MOUNTED ON THE REAR; One has a FLAMETHROWER on a SWIVEL MOUNT. Betty starts looking around, frantic...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMPUS GROUNDS LEFT<\/stage_direction>\n    <scene_description>Banner still sprinting to get in the clear; catching glimpses of: Soldiers on foot giving chase\u2026 a Humvee far off behind the buildings, accelerating along the grass. BANNER'S POV: THE TREELINE -- out beyond the last of the buildings and across an open expanse of field.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMAND\/TECH SUPPORT VAN<\/stage_direction>\n    <scene_description>Ross, Cabot and technicians, monitoring the progress. Ross is fuming that the trap got blown...Cabot is already adjusting.<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>Goddam it! We'd have had snipers on target in three more minutes. I want to know who waved at that civilian... They're going to Sadr City!! EXT. TREELINE BLONSKY's POV: SNIPER SCOPE: the long lens of the scope.<\/dialogue>\n    <character>CABOT<\/character>\n    <dialogue>Target on the run, heading 350, Sniper 2 has the shot. Straight at your 12 Blonsky. Banner running directly at him in<\/dialogue>\n    <character>BLONSKY<\/character>\n    <dialogue>Got him.<\/dialogue>\n    <scene_description>REVEAL: BLONSKY and THREE OF HIS TEAM, hidden in the trees, waiting.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMPUS GROUNDS LEFT \/ EXT. TREELINE - INTERCUT<\/stage_direction>\n    <scene_description>BANNER RUNNING: Eyes reading the field. Something ahead catches his eye.. IN THE TREELINE: a dull flash. Nothing obvious, but light kicked off something in the trees. BLONSKY's POV: Banner puts on the brakes and stops, seeming to stare right at him. BANNER: alarm bells going off..HE BREAKS TO HIS RIGHT, INTO THE BUILDING COMPLEX BLONSKY POV (SCOPE): BANNER turns into the buildings<\/scene_description>\n    <character>BLONSKY<\/character>\n    <dialogue>Shit. We're made. He's going inside.<\/dialogue>\n    <scene_description>Blonsky and his men break from cover and sprint to close in from this side. WIDE: Blonsky and team explode out of the trees and sprint across the wide open space between the forest and the buildings BLONSKY is MUCH FASTER than the others. IMPOSSIBLY FAST.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMPUS BUILDINGS - DAY<\/stage_direction>\n    <scene_description>BANNER: weaving among the buildings. Getting closed in. He has to find cover\u2026 he sprints through an enclosed courtyard, pulls open a side door and ducks inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRWELL<\/stage_direction>\n    <scene_description>Kneeling at the bottom of the stairs, ripping off his pack, fumbling to get something out... THE DATA CARD.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMPUS GROUNDS RIGHT<\/stage_direction>\n    <scene_description>BETTY: Clears the line of buildings and sees the open rolling lawns of the campus and the park and woods beyond Then Betty sees: A BLACK MILITARY MOBILE COMMAND VEHICLE cruising on the road beyond the lawns, parallel to the action. She heads toward it\u2026<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRWELL<\/stage_direction>\n    <scene_description>BANNER: He's got a water bottle out of his pack\u2026 he rips the cap off, and then takes the DATA CARD and SHOVES IT INTO THE BACK OF HIS THROAT, FORCING IT DOWN\u2026 SLUGGING WATER TO CHOKE IT BACK\u2026 He coughs and gags but gets it down\u2026 He's not going to lose it after all this. He tears up the stairs...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMPUS GROUNDS LEFT<\/stage_direction>\n    <scene_description>SOLDIERS: Outside swarming around the base of the buildings starting to enter doors... BLONSKY: Reaches the outer edges of the quads, can see that there are troops and vehicles surrounding the buildings now.<\/scene_description>\n    <character>BLONSKY<\/character>\n    <dialogue>Look alive, this could get interesting.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNIVERSITY BUILDING - HALLWAYS<\/stage_direction>\n    <scene_description>BANNER: At the top floor, around through the corridor, looks out a window: POV: Soldiers entering the base of his building.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMPUS GROUNDS RIGHT<\/stage_direction>\n    <scene_description>BETTY: Catching up to the Command Vehicle on road beyond the grass, running in the grass parallel to it she starts to yell.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>I know it's you!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMAND\/TECH SUPPORT VAN<\/stage_direction>\n    <scene_description>ROSS and CABOT are monitoring screens, radiation counters. CABOT looks out the window to monitor movements on the ground and she spots Betty...<\/scene_description>\n    <character>CABOT<\/character>\n    <dialogue>Sir...sir?<\/dialogue>\n    <scene_description>Ross looks up at her...<\/scene_description>\n    <character>CABOT<\/character>\n    <dialogue>It's your daughter.<\/dialogue>\n    <scene_description>Ross turns\u2026sees Betty outside\u2026<\/scene_description>\n    <character>BETTY (FROM OUTSIDE)<\/character>\n    <dialogue>Come out of there!<\/dialogue>\n    <scene_description>Ross throws the door of the vehicle open and jumps out\u2026 two soldiers emerge to flank and cover him \u2026 and they stand facing each other.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>Please don't do this... He needs help!<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>You can't see this clearly now get inside.<\/dialogue>\n    <scene_description>He moves to grab her arm and she resists...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PEDESTRIAN OVERPASS\/ EXT. GROUNDS BEYOND CAMPUS BUILDINGS -<\/stage_direction>\n    <scene_description>INTERCUT BANNER: bursts through double doors and into a GLASS ENCLOSED PEDESTRIAN OVERPASS, FOUR STORIES UP, leading to the next building\u2026<\/scene_description>\n    <character>SOLDIER'S VOICE (OVER RADIO)<\/character>\n    <dialogue>Target is in the overpass. Have visual.<\/dialogue>\n    <character>ONE OF ROSS'S SOLDIERS<\/character>\n    <dialogue>There he is!<\/dialogue>\n    <scene_description>Ross, Betty everybody looks to see BANNER STREAKING ACROSS THE OVERPASS BANNER'S POV: through the doors ahead - SOLDIERS. Whips around. More visible back where he came from. He's trapped. GROUND: Ross dashes back at the van...<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>Do not engage! Repeat: do NOT engage!<\/dialogue>\n    <character>CABOT<\/character>\n    <dialogue>Hold positions, stand down.<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>Put canisters in that tube, one on either side.<\/dialogue>\n    <scene_description>FROM SHELTERING COVER ALONG THE WALLS OF THE BUILDINGS BELOW THE OVERPASS, TWO SOLDIERS WITH SHOULDER FIRED GRENADE LAUNCHERS STEP OUT AND AIM UP AT THE TUBE... AND FIRE GAS CANISTERS UP AT IT. BANNER: inside the tube looking left and right at SOLDIERS holding outside the doors at each end of the tube, wondering why they haven't moved on him when... SMASH! The gas canisters BURST through the windows from below on either side of BANNER, CLANK into the ceiling, clatter to the floor and immediately start filling the tube of the overpass with a paralyzing gas. BANNER's EYES GO WIDE, reflexively he takes a deep breath and holds it. FROM THE GROUND: BANNER DROPS TO HIS KNEES UP IN THE TUBE<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>BRUCE!!<\/dialogue>\n    <scene_description>She breaks from in front of the Command Van and starts running across the wide grass toward the tube...<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>Get her back here!!<\/dialogue>\n    <scene_description>THE SOLDIERS ARE ALREADY SPRINTING AFTER HER. IN THE TUBE: filling with white smoke BANNER spots Betty running across the grass get TACKLED BY TWO SOLDIERS BANNER'S EYES GO WIDE just as... ON THE GROUND: BLONSKY ROUNDS THE CORNER AND LOOKS UP AT THE TUBE FILLED WITH SMOKE...just in time to see... A GREEN PULSE STROBES THROUGH THE WHITE SMOKE Blonsky, Ross, Betty and Cabot react\u2026 RADIATION MONITORS in the VAN SPIKE INTO RED<\/scene_description>\n    <character>CABOT<\/character>\n    <dialogue>Geiger's lighting up!<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>Alright...now we'll see.<\/dialogue>\n    <scene_description>LIGHTS FLICKER over the Soldiers on either side of the door SOLDIER'S POV: BANNER'S FIGURE through the double doors\u2026 doubled over on the floor\u2026mostly obscured by the WHITE SMOKE BANNER'S FACE: MOSTLY HIDDEN IN SMOKE, TWISTED IN AGONY\u2026but even through the smoke we can see\u2026 THAT THE COLOR OF HIS SKIN IS SURGING A DARK GREEN. ON THE GROUND: Seen from below the tube is now filled with white smoke. No figure is visible. BETTY's FACE, looking up at the tube as... A HAND AND ARM SLAP UP AGAINST THE GLASS, CLAWING IN AGONY\u2026 NORMAL EXCEPT FOR ITS GREENISH GRAY COLOR AND THEN THAT ARM STARTS TO SWELL AND RIPPLE, MUSCLES EXPLODING ALONG THE LENGTH OF IT\u2026 AND THEN THE ARM DROPS OUT OF SIGHT. SOLDIER'S POV: OBSCURED BY SMOKE. A MUFFLED HOWL OF PAIN COMING FROM INSIDE THE TUBE THE FIGURE IN THE SMOKE NOW AN ENORMOUS DARK SHAPE ON ITS KNEES... IT BEGINS TO RISE. FROM BELOW: THE SHADOW RISES INTO VIEW, SLOWLY TURNS, SHAKING ITS HEAD...THROWS ITS ARMS BACK WIDE AND ROARS...SMASHING ITS FISTS FORWARD GLASS SHATTERS ALONG THE ENTIRE LENGTH OF THE TUBE, SMOKE POURING OUT OF IT...REVEALING... THE HULK. OUR FIRST FULL VIEW OF HIM\u2026 MUSCLES RIPPLING, POURING HIS RAGE OUT ON THE PUNY PEOPLE BELOW...<\/scene_description>\n    <character>CABOT<\/character>\n    <dialogue>They should not put this in the recruitment video.<\/dialogue>\n    <scene_description>AND THEN HULK LEAPS DOWN FROM ABOVE, SMOKE TRAILING OFF HIM AS HE FALLS... POUNDING INTO THE GROUND, MAKING IT TREMBLE. LANDING WITH ONE KNEE BENT... HE RISES UP TO FIGHT.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMPUS PERIMETER - DAY<\/stage_direction>\n    <scene_description>The lawns and fields between the campus buildings and the woods.<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>We're going to Bravo. Move him 360 in range of the cannons. Keep your cool and be ready to move. Alpha Team give him all of it.<\/dialogue>\n    <scene_description>Immediately a BARRAGE OF MACHINE GUN FIRE POUNDS INTO THE HULK's RIGHT...BLASTING FROM THE SCULPTURE GARDEN. Six Soldiers with assault rifles supported by a HUMVEE with a MOUNTED .50 Cal. ROUNDS pepper the Hulk like bees, stinging and enraging him. He throws up an arm to ward them off but then instead of being driven left HE TURNS AND CHARGES INTO THE FIRE THE .50 Caliber STARTS BLASTING These rounds hit HULK harder, with the flat smack of a bullet hitting a tree. THEY HURT. HULK RAISES UP HIS HAND LIKE A SHIELD, THE HEAVY ROUNDS POUNDING AGAINST HIS PALM AND RAKING DOWN HIS LEGS BUT HE COMES CHARGING ON and Soldiers scatter... HUMVEE DRIVER POV: HULK COMING AT HIM. He floors it in reverse but too late... Hulk raises his fists high and brings them down through the engine block, CRUSHING THE NOSE INTO THE GROUND. HANDS IN THE ENGINE BLOCK, HE HEAVES THE VEHICLE UP, THE GUNNER STILL CLINGING ON FOR LIFE, AND SMASHES IT AGAINST THE MASSIVE BLACK, STEEL PLATES OF A 20 FOOT HIGH CALDER SCULPTURE, OVER AND OVER. THE HUMVEE DISINTEGRATES IN EXPLOSIONS OF METAL AND GAS, SCATTERING REMAINING SOLDIERS LIQUID FLAME: BLASTING IN FROM HULK'S LEFT, flowing over his shoulder and back, singing his skin and hair ROARING HE SPINS BEHIND THE HUGE SCULPTURE, THE ENGINE BLOCK STILL DANGLING IN HIS HANDS. From profile now we can see that A MOUNTED FLAMETHROWER ON ANOTHER HUMVEE is pouring a stream of flame across the lawn at HULK, the FIRE BLASTING AGAINST THE PLATES OF THE SCULPTURE AND FLOWING AROUND AND PAST HULK. THE JET CUTS OFF AS THE VEHICLE MANEUVERS TO GET AN ANGLE ON HULK AND IN THIS SPLIT SECOND BREAK HULK STEPS OUT , RAISES THE ENGINE BLOCK OVER HIS HEAD AND HURLS IT LIKE SOCCER THROW-IN, PULVERIZING THE VEHICLE AND FLAME GUN WHICH CATCH FIRE, THE DRIVER CRUSHED, THE GUNNER SPILLING OUT IN FLAMES AND ROLLING. THUNDER CRACKS and HULK ROARS HIS DISPLEASURE\u2026<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>GODDAM IT!! I need real firepower, where's our air support?!<\/dialogue>\n    <character>CABOT<\/character>\n    <dialogue>Base, we need that bird on target without delay...<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>If you can't push him get him to chase you but move him toward those cannons, damn it--!<\/dialogue>\n    <scene_description>KABOOM: THE FLAME THROWER AND HUMVEE EXPLODE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAMSON AND BETTY'S HOUSE<\/stage_direction>\n    <scene_description>SAMSON: at home in the kitchen. Under the rumble of thunder he hears the explosion. His head jerks up. Mind starts racing\u2026<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAMSON AND BETTY'S HOUSE<\/stage_direction>\n    <scene_description>Exits his front door and hears the clatter of small arms fire...and he STARTS TO RUN.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMPUS PERIMETER<\/stage_direction>\n    <scene_description>BACK AT THE FIGHT: SOLDIERS are peppering the HULK with machine gun fire from UP IN THE BROKEN SHELL OF THE OVERPASS and from BLONSKY's POSITION. HULK IGNORES THEM, bullets smacking his back and CLANKING off the steel plates of the big sculpture. HULK likes these plates and he HEAVES AGAINST ONE, tearing it off it's metal hanging arm, holding it's center mounting bolt like the handle of a huge shield. HE PULLS AGAINST A SECOND PLATE-- the RIVETS POPPING and the SOUND OF METAL SCREECHING as it tears away. BLONSKY: Realizing that somebody's got to come up with a better idea:<\/scene_description>\n    <character>BLONSKY<\/character>\n    <dialogue>Cover me....<\/dialogue>\n    <scene_description>BLONSKY races across the grass straight at the back of\u2026. HULK: with a final pop of rivets the plate tears off. HE NOW HAS TWO HUGE STEEL SHIELDS, one with JAGGED TORN EDGES like a circular saw blade. And then something hard and heavy strikes the back of his head and EXPLODES UNDER HIM, stinging his legs\u2026 He turns....BLONSKY. Throwing GRENADES like fastballs, perfect strikes. He's got Hulk's attention and that's what Blonsky wants.<\/scene_description>\n    <character>BLONSKY<\/character>\n    <dialogue>Remember me?<\/dialogue>\n    <scene_description>HULK ROARS AND CHASES BLONSKY, wielding his plates like scythes... Blonsky dodges and fights with what increasingly looks like impossible (enhanced) strength and speed. LEAPING TO AVOID THE SLICING PLATES, SPRINGBOARDING OFF OF THEM, WHILE TURNING AND FIRING HIS WEAPONS INTO THE HULK AT CLOSE RANGE. ROSS: reacting to his SECRET WEAPON<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>Jesus, he's doing it... EARS ON!!<\/dialogue>\n    <scene_description>SOLDIERS: in all positions, scramble to pull the ear protection on. BLONSKY: at a dead sprint now, actually moving out on HULK a little BLONSKY POV: 100 yds out, TWO HUMVEES ABOUT 50 yds APART in the field...LARGE CANNONS POINTING RIGHT AT BLONSKY He's dashing between them. CANNON SOLDIERS: unsure if they should fire, Blonsky in the field of fire...<\/scene_description>\n    <character>BLONSKY<\/character>\n    <dialogue>Hit him....hit him NOW!!<\/dialogue>\n    <scene_description>AND THEY FIRE: but these are no normal cannons. The are SONIC CANNONS, unleashing a murderous cone of low-frequency sound. Huge circular waves expanding as they warp the air moving at Blonsky and HULK. BLONSKY IS GOING TO BE CAUGHT IN THE CROSS FIRE WITH HULK... BUT HE DIVES OVER 20 FEET INTO THE SAFETY ZONE AND ROLLS, COMES UP AND LOOKS BACK AT... HULK: ENGULFED IN THE SOUND WAVES. The first one hits him slightly from the front left, knocking him down on his right knee. The second one comes right on the heels of the first, pounding in from the right, catching him in a crushing crossfire. HIS HANDS FLY TO HIS HEAD. With his over-amped sense this is the worst thing that could happen to him. THE WAVES spill across Hulk and beyond him, expanding and decimating all in their path. TREES vibrate and split; WINDOWS in the faces of the buildings explode and BRICK and MORTAR tremble. SOLDIERS ON THE TUBE: scramble to get inside the building as THE ALREADY BROKEN TUBE COMES APART. ONE SOLDIER: from Blonsky's position who watched the HULK chase Blonsky past, DASHING OUT OF ONCOMING WAVES.... STUMBLES. GETS HIT and literally BLOWN SIDEWAYS, Ear protection comes loose, BLOOD COMING OUT HIS EARS AND NOSE AND MOUTH, his insides PULVERIZED. HULK: HOWLING IN PAIN. On his knees, his SHIELDS on the ground in front of him, his skin literally RIPPLING under the waves of sound WRAPPING AROUND BEHIND HIS HEAD: THE SCENE DISTORTS into HULK'S REALITY... THE WAVES ARE NIGHTMARE OF DISTORTION...ALMOST LIKE BEING HAMMERED BY STEEL. THE WORLD A DISTORTED BLUR BEYOND ANYTHING WE'VE YET SEEN. DARK GREEN BLOOD TRICKLING OUT HIS EARS: his brains are literally being scrambled.<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>Nets!<\/dialogue>\n    <scene_description>SOLDIERS in two TWO MAN TEAMS with RPG-like UNITS, run forward into the point of the 'V' between the cannons waves and FIRE... NETS...EXPANDING WEBS OF SUPER-STRONG STEEL CABLES DROPPING OVER HULK HULK FALLS FORWARD ONTO ONE FIST, TRYING TO HOLD HIMSELF UP, HIS ARMS STICKING THROUGH THE NETS. BETTY: can't take anymore<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>You're killing him!<\/dialogue>\n    <scene_description>She starts to run toward him but the same SOLDIERS chase and HOLD HER BACK. SAMSON: dashing past the last edge of the CAMPUS RIGHT buildings and running toward the Sculpture Garden sees... CARNAGE: Soldiers and metal lying at the foot of the sculptures, the smoking wreckage of the Flamethrower vehicle AND AN IMPOSSIBLE SIGHT: A HUGE GREEN HULKING FORM engulfed in nets and waves of distortion... he looks right, searching... Betty - held by two soldiers straining toward the THING.<\/scene_description>\n    <character>SAMSON<\/character>\n    <dialogue>BETTY!!<\/dialogue>\n    <scene_description>And as he shouts this Betty strains forward screaming at the HULK:<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>BRUUCE!!<\/dialogue>\n    <scene_description>SAMSON: following her gaze back to the HULK. And suddenly Samson understands what was in that dark corner she wouldn't let him into. He stands gaping at the impossible. ROSS: moves to pull Betty back to the van.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>BRUCE!!<\/dialogue>\n    <scene_description>HULK: Hears her scream and turns his head and SEES BETTY AND HEARS THAT NAME. A GREEN PULSE IN THE BASE OF HIS SKULL AS RAGE COURSES THROUGH HIM: His strength and form visibly swell and he STRAINS upward, raising one of the plates\u2026.but the sound waves are too much for him and he DROPS THE PLATE AGAINST THE OTHER ONE CLANG: The clanging of the metal, disrupts the waves around him for a just for a second and he feels it\u2026 With TITANIC EFFORT, his arms sticking through the nets\u2026he heaves up on the steel plates, every muscle straining and bursting with new power, he spreads his arms wide and SMASHES THE PLATES together like giant CYMBALS\u2026 THE CRASH is unbelievable and the vibrations push the SONIC WAVES clear of him for a moment and in this moment of freedom... With his right arm HE HURLS ONE PLATE LIKE A MASSIVE THROWING STAR AT THE LEFT-HAND CANNON and THE PLATE CUTS THE HUMVEE AND THE CANNON IN HALF and possibly its operator too. THE SOUND WAVE IS COMING BACK INTO FOCUS from the remaining cannon but now HULK HAS HIS OTHER BIGGER SHIELD UP IN FRONT OF HIS LEFT SHOULDER and the SOUND POURS AGAINST IT AND OVER AND AROUND IT. IN THIS SHELTER he rips the nets off of himself with his right hand. AND LEANS THE SHIELD AGAINST THE SOUND WAVES AND BEGINS TO ADVANCE. BLONSKY AND OTHERS FIRE ON HIM HITTING HIS LEGS but.. LEANING INTO IT LIKE A MAN WALKING INTO A FIREHOSE HULK CLOSES ON THE CANNON, BENDS DOWN, and LEAPS UP AND OUT OF THE CONE OF SOUND, AND COMING DOWN WITH HIS SHIELD DIRECTLY ON THE CANNON, SMASHING IT AND THE WHOLE REAR OF THE HUMVEE AS NEATLY AS A CAR-CRUSHER IN A JUNK YARD. SILENCE: HULK steps off the crushed car, Shield in his left hand.<\/scene_description>\n    <character>PILOT'S VOICE (OVER RADIO)<\/character>\n    <dialogue>Two minutes out, Major...<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>All positions, keep him engaged, don't let him leave and prepare to fall back on my order...<\/dialogue>\n    <scene_description>Nobody moves. Nobody's engaging that THING anymore... Except BLONSKY. He gets up and comes at Hulk. UNLOADS HIS FINAL CLIP at Hulk just to get his attention as he circles round to face him. Whips up an M-79 GRENADE LAUNCHER, breaks the short fat tube open and loads a MORTAR ROUND. HULK stands strangely still...watching Blonsky.<\/scene_description>\n    <character>PILOT'S VOICE<\/character>\n    <dialogue>Closing...what's the target?<\/dialogue>\n    <character>CABOT<\/character>\n    <dialogue>290 from my position, 300 yds, ten feet tall and green<\/dialogue>\n    <character>PILOT'S VOICE<\/character>\n    <dialogue>Come again.<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>You heard right. Put everything you've got on it. Take it out. Ground teams pull back...<\/dialogue>\n    <scene_description>ROSS\/CABOT\/BETTY POV: across the grass, BLONSKY on the right squaring off against HULK, huge on the left, dwarfing him.<\/scene_description>\n    <character>BLONSKY<\/character>\n    <dialogue>Come on, Banner!! That all you got!?<\/dialogue>\n    <character>ROSS (OVER RADIO)<\/character>\n    <dialogue>Blonsky, fall back now!<\/dialogue>\n    <scene_description>HULK'S EYES NARROW. THIS ONE HE REALLY DOESN'T LIKE. HE LIFTS HIS SHOULDER WITH THE SHIELD AS THOUGH HE MIGHT SWING IT.<\/scene_description>\n    <character>BLONSKY<\/character>\n    <dialogue>Come on let's see what else you've g--<\/dialogue>\n    <scene_description>SMASH!! WITH BLINDING SPEED, HULK SNAPS HIS FOOT OUT AND CATCHES BLONSKY TOTALLY FLATFOOTED THE WHOLE BOTTOM OF HULK'S MASSIVE SOLE MEETS BLONSKY'S BODY SQUARE ON, INSTANTLY BREAKS EVERY BONE IN HIS BODY AND SENDS HIM HURTLING 50 YDS IN THE AIR, LANDING AND SKIDDING FOR 100 YDS MORE THROUGH GRASS, SKIDDING LIKE A LIMP BROKEN DOLL. THE THUNDER CRACKS AND IT BEGINS TO RAIN. HULK TURNS TOWARD ROSS AND BETTY's POSITION AND STARTS WALKING TOWARD THEM.<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>Fall back! Bird hitting the deck, fall back!<\/dialogue>\n    <scene_description>In the distance, maybe the first faint dull THWOP of a rotor. SOLDIERS in Ross's team scrambling back across the road. Piling out of the command van... ROSS and CABOT hustling too...abandoning the van. Ross's eyes dart to his soldiers who held Betty...they're moving across the road... The next all happens within seconds: ROSS TURNS TO SEE... BETTY MOVING TOWARD HULK ACROSS THE GRASS SAMSON: watching wide-eyed as BETTY steps up to the monster, hears a sound behind him and turns. AN APACHE GUNSHIP ARCS IN OVER TREES, LOW IN THE DISTANCE and HOVERS INTO POSITION. C.U.- GUNSHIP TARGETING COMPUTER: target acquisition zoning in on the massive form of the HULK's BACK, not seeing Betty on the other side of him HULK and BETTY face each other. Betty reaches a hand up to touch his arm...<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>Bruce...?<\/dialogue>\n    <scene_description>Dim recognition on Hulk's face<\/scene_description>\n    <character>PILOT'S VOICE (OVER RADIO)<\/character>\n    <dialogue>Hold onto your hats...<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>Hold fire---!!!<\/dialogue>\n    <scene_description>TOO LATE -- MASSIVE GATLIN CANNONS OF THE APACHE UNLOAD, TEARING UP THE EARTH AROUND HULK AND BETTY<\/scene_description>\n    <character>SAMSON<\/character>\n    <dialogue>NO!<\/dialogue>\n    <scene_description>BETTY instinctively presses into HULK's body for shelter. ROUNDS POUND INTO HULK'S BACK...SOME ACTUALLY SLICE THROUGH THE FLESH OF HIS LEGS, TEAR THE SKIN ON HIS BACK KEEPING BETTY BEHIND HIM, HULK TURNS TO FACE THE ONSLAUGHT, ROARING.. THE APACHE STARTS TO ACCELERATE TOWARD HIM TO BRING THE FULL CONCENTRATION OF FIRE ON HIM<\/scene_description>\n    <character>CABOT<\/character>\n    <dialogue>CEASE FIRE!!<\/dialogue>\n    <scene_description>THE GUNSHIP is a quarter mile away now and very low and coming on fast. HULK TORQUES HIS BODY LIKE A GREEK DISCUS THROWER AND... HURLS THE MASSIVE PLATE THROUGH THE AIR THE GUNSHIP never sees the MISSILE until it's too late IT RIPS THROUGH THE ROTOR TOWER, LITERALLY CLEAVING THE WHOLE MAIN ROTOR OFF THE SHIP AND THE SHIP GOES DOWN...NOSE FIRST, DROPPING OUT OF THE AIR AS IT PASSES OVER SAMSON PLOWING INTO THE GROUND 50 YDS FROM HULK AND BETTY HULK SPINS HIS BACK TO THE EXPLOSION, WRAPPED AROUND BETTY. THE GUNSHIP EXPLODES, THE FLAME AND METAL TUMBLING ALONG THE GROUND AND COMPLETELY ENGULFING HULK AND BETTY. EVERYBODY KNOCKED TO THE GROUND BY THE CONCUSSION OF THE FIREBALL. From the ground Ross looks up at the inferno that probably killed his daughter, and sees... HULK EMERGING FROM THE FLAMES, CRADLING AND SHELTERING AN UNCONSCIOUS BETTY. HE SNARLS AT ROSS, THEN THUNDER CRACKS AND HIS HEAD JERKS UP SENSING MORE ASSAULT.... RAIN STARTS POURING DOWN AND HE RUNS.... ACROSS THE LAWNS, PAST SOLDIERS AND WRECKAGE, PAST BLONSKY'S BODY, HIS STRIDES LENGTHENING WITH EACH STEP SMASHING INTO THE TREES AND OUT OF FRAME INTO THE DARK.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BETTY AND SAMSON'S HOUSE - DAY - RAIN<\/stage_direction>\n    <scene_description>Samson stands in the empty garage<\/scene_description>\n    <character>ROSS (O.S.)<\/character>\n    <dialogue>You did the right thing calling us.<\/dialogue>\n    <scene_description>REVEAL: ROSS, standing in the garage with Samson. MILITARY VEHICLES wait in the street.<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>You're doubting it now because it went bad but your instincts were right. You see who he is now...what he is.<\/dialogue>\n    <character>SAMSON<\/character>\n    <dialogue>No, I don't actually. He wasn't what I thought he'd be at all. It was strange to me that she would never say what had happened between them...she's one of the most honest people I know. But it was this, wasn't it? And you knew about it too...you were all a part of it?<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>I need to know where they're going. She'll be in incredible danger as long as she's with him.<\/dialogue>\n    <character>SAMSON<\/character>\n    <dialogue>From who? He protected her. You almost killed her.<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>I give you my word that her safety is my main concern at this point. Bruce's as well. I care about him more than you realize. I don't want to hurt him, I want to help him.<\/dialogue>\n    <character>SAMSON<\/character>\n    <dialogue>You know it's a point of professional pride with me that I can always tell when somebody is lying. He wasn't...and you are. But I don't know where he was going. I know that she'll help him if she can.<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>Then she'll be aiding a fugitive and I won't be able to help either of them.<\/dialogue>\n    <scene_description>Ross walks out the driveway to his waiting van.<\/scene_description>\n    <character>SAMSON<\/character>\n    <dialogue>I used to wonder why she never talked about you...now I know.<\/dialogue>\n    <scene_description>Ross walks away without looking back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST - NIGHT - RAIN<\/stage_direction>\n    <scene_description>Hulk emerges from the trees in the rain holding Betty Hulk spies a cave opening in the rocks\u2026<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. CAVE - NIGHT<\/stage_direction>\n    <scene_description>HULK lays her gently down inside the opening out of the rain. This wakes Betty and, disoriented she reacts in terror to the monstrous face next to hers... SHE SCREAMS AND PUNCHES HIM reflexively...HE GROWLS surprised.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>Oh no...I'm sorry...I'm...<\/dialogue>\n    <scene_description>But he is already standing up. He can't fit under the roof so stands in the entrance. Betty stares up at him. Then she notices...THAT HE IS WOUNDED. HULK SHOT: over his left. Betty stands and comes toward him.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>You're hurt.<\/dialogue>\n    <scene_description>And as we slide across behind the head REALITY MORPHS into HULK'S VISION...hallucinatory, distorted. BETTY fractured into two, the SOUND OF RAIN like an acid sizzle, etc...<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>Bruce, can you understand me? Are you hurt?<\/dialogue>\n    <scene_description>Betty's voice cuts through the bad Trip he's on and things actually settle and straighten out a bit but then... WHITE FLASH of LIGHTNING\u2026seen still in our HULK VIEW. Supercharged, annihilating, terrifying. HULK'S FACE: RAGE explodes in his face and he whips around looking for the source of the assault, ROARS and the woods, grabs a MAMMOTH ROCK and as the THUNDER CRASHES, HURLS IT AT THE SKY. HE ROARS BACK AT THE THUNDER.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>It's okay...we're okay.<\/dialogue>\n    <scene_description>She steps out in the rain and touches his arm and he turns, still growling... She takes his massive hand BETTY'S POV: CLOSEUP ON HULK'S ARM - in the deep cuts we can LITERALLY SEE HULK'S BODY HEALING ITSELF<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>Come here... come on.<\/dialogue>\n    <scene_description>She pulls him down out of the rain and he huffs and sits down and she sits with him. She sits with him calming him. FROM WIDE OUTSIDE THE CAVE we can see the outline of the two of them sitting together in the dark, lightning pops a flash on the image of the woman and the monster sitting together....BLACKOUT.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARMY BASE HOSPITAL WARD - SAME NIGHT<\/stage_direction>\n    <scene_description>Ross is coming into the ICU with a DOCTOR<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>Will he walk again?<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>Most of the bones in his body look like crushed gravel right now. If he lives he'll be lucky if he can lift the straw to eat his liquid meals.<\/dialogue>\n    <scene_description>They come to BLONSKY's BED. He has every tube imaginable in him.<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>I will say this, he's got a heart like a machine. Never seen anything like it outside a race horse.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAVE - MORNING<\/stage_direction>\n    <scene_description>Bruce and Betty wake up in the cave. He tries to rise and retches. Bruce has scars all over his body where the Hulk's wounds were made.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOTEL - DAY<\/stage_direction>\n    <scene_description>Appalachia or maybe the Smokies. Some little nowhere town in the mountains. BETTY is coming along the ground floor units with a KEY. Bruce emerges from behind the ice machine, wearing her coat over his nude torso and shredded pants. She helps him into the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL ROOM - DAY<\/stage_direction>\n    <scene_description>Banner emerging from the shower, a towel around him. Bathroom full of steam. No sign of Betty. FOCUS ON: BANNER'S BODY -- ALL SCARS ARE GONE. Totally healed. Tighter on Banner: He wipes steam off the mirror and... THE HULK'S FACE SNARLS AT HIM -- A FLASH of Hulk-Memory of the GUNSHIP ROUNDS coming at him No more than a flash but it doubles him over the sink. Jump cut: few minutes later The door the room opens and Betty comes in with a number of SHOPPING BAGS. She hears... BANNER THROWING UP in the bathtub. She waits, concerned. He emerges.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>Still feeling sick?<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>No, I feel better. Getting my data back.<\/dialogue>\n    <scene_description>He holds up the little data Flash Card. It worked.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>I think I've got a good selection for you. First things first...<\/dialogue>\n    <scene_description>She tosses him a new PULSE MONITOR.<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>You're kidding me...<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>Target: they've got everything. Okay, it ain't Armani but...<\/dialogue>\n    <scene_description>He puts it on as she starts showing him clothes. She holds up a large pair of STRETCHY PURPLE PANTS<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>I'm an irradiated freak, that doesn't mean I've lost my sense of style.<\/dialogue>\n    <scene_description>He changes. His hair is an unkempt mess.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>When was the last time anybody but you cut your hair, Mr. Style Council?<\/dialogue>\n    <scene_description>Timecut: Bruce in a chair with a towel around his shoulders. Betty cutting his hair. He checks suspiciously with his fingers.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>I have done this before.<\/dialogue>\n    <scene_description>He drops his head forward, letting her rub his neck a little.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>I don't know how you've done this alone.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>With clippers usually...No, I didn't want you to be afraid all the time.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>It is frightening. But it was worse not knowing...<\/dialogue>\n    <scene_description>He twists around and THEY ARE KISSING and it all breaks loose. He PUSHES HER TOWARD THE BED AND ONTO IT and MOVES ON TOP OF HER PULSE MONITOR: 89...90...91 He hears it..glances: 94...95 He slows...anguished<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>No, wait...I'm sorry...<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>What...?<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>We can't...<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>It's okay...I want to.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>No... I can't. I can't get too...excited.<\/dialogue>\n    <scene_description>She understands now. They want to and know it but they can't.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>Not even a little excited?<\/dialogue>\n    <scene_description>Banner studies her face, he's imagined this moment so many times.<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>I thought I couldn't risk this...that it was better to deal with it alone. But it wasn't...this is better. I wanted so much to...it was so hard just to move from place to place...so risky. I sent you small things to try to let you know... I sent you a Canthia Tigris from Brazil. I don't know if...<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>I got it.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>I'm so sorry...so sorry...<\/dialogue>\n    <scene_description>She stops him and shakes her head and kisses him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARMY BASE - PLANNING ROOM \/ INT. PENTAGON OFFICES - NIGHT -<\/stage_direction>\n    <scene_description>INTERCUT Ross is at a desk off the open room of a Strategic Operations Command Center. The desks on the floor are empty. Ross is up late alone. A WALL-MOUNTED TV is tuned to NEWS, reporting the dramatic battle. SOME FOOTAGE OF AN EXPLOSION SEEN FROM A NEWSCOPTER FAR AWAY. A TV NEWS REPORTER reporting live from the edge of the campus runs over the following dialogue.<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>Rumors continue to swirls about a violent clash between forces of the US Army and an unknown adversary on the campus of Southern Polytech earlier today... Authorities have renewed the long-cold hunt for fugitive government scientist David Bruce Banner....<\/dialogue>\n    <scene_description>BANNER'S PICTURE fills the screen. Ross on the phone with SAM GRELLER...speaking hurriedly, overlapping each other.<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>...for goddsake Sam, the National Guard can't get tents to hurricane zones in time, you're telling me I've got to liase with part-timers?<\/dialogue>\n    <scene_description>GEN. GRELLER: standing in the foyer outside the large paneled doors of a Pentagon Conference room.<\/scene_description>\n    <character>GRELLER<\/character>\n    <dialogue>It's domestic on paper so Guard and FBI have to be involved...<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>FBI!! Did the Chiefs get a look at those tapes?! Do they think that was a video game?<\/dialogue>\n    <character>GRELLER<\/character>\n    <dialogue>They saw them, nobody's doubting anymore...<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>What's the FBI gonna do...pull out badges? Why don't we get ATF while we're at it!<\/dialogue>\n    <character>GRELLER<\/character>\n    <dialogue>It's formalities, T. Use em for intel and then tell em to back off. The Chiefs are giving you total authority to run this operation. Make your list of what you need and get back to me.<\/dialogue>\n    <scene_description>Ross hangs up. Looks up at the news in time to catch: TV NEWS: REPORTER standing with TWO COLLEGE KIDS, slackers, clearly stoned.<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>Very few outside the military got a first- hand look at their rumored adversary. Sophomores Jack McGhee and Kevin Feige were coming home from a hike and witnessed some of the battle. McGhee captured this on his cell phone<\/dialogue>\n    <scene_description>EXTREMELY GRAINY IMAGE OF HULK BATTLING SEEN FROM FAR AWAY<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>Can you describe what you saw?<\/dialogue>\n    <character>MCGHEE<\/character>\n    <dialogue>Dude, it was like a huge and green... HUGE... I mean like the way Steve Nash looks standing next to Shaq...Shaq would look like that standing next to this...<\/dialogue>\n    <character>FEIGE<\/character>\n    <dialogue>Dude, it was so big. It was like this huge....Hulk<\/dialogue>\n    <character>REPORTER<\/character>\n    <dialogue>Further search for the mysterious 'Hulk' was delayed by powerful thunderstorms in the Smoky Mountain National forest.<\/dialogue>\n    <scene_description>ROSS breaks away as CABOT enters breathless:<\/scene_description>\n    <character>CABOT<\/character>\n    <dialogue>It's Blonsky.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARMY BASE HOSPITAL WARD - HALLWAY AND ICU<\/stage_direction>\n    <scene_description>Cabot and Ross hustle down the hall, Ross grim faced. As they come through the ICU door<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>Has anybody found out if he has next of kin or family?<\/dialogue>\n    <character>CABOT<\/character>\n    <dialogue>You can ask him yourself.<\/dialogue>\n    <scene_description>BLONSKY's BED: Doctors and nurses standing around the end of it part to reveal: BLONSKY: sitting up on the end of the bed in his underwear, talking and laughing with doctors. HE IS COMPLETELY HEALED. More than healed, HE LOOKS STRONGER THAN EVER, literally. THE SUPER-SOLDIER SERUM IS TURNING HIM INTO AN ADONIS. Blonsky is grinning like a cat. Astounded Ross shakes his hand.<\/scene_description>\n    <character>BLONSKY<\/character>\n    <dialogue>Sir.<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>Good to see you on your feet, Soldier. How do you feel?<\/dialogue>\n    <character>BLONSKY<\/character>\n    <dialogue>Pissed off and ready for Round 3.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL ROOM - MORNING<\/stage_direction>\n    <scene_description>ON THE BED: Phone; credit card; bank card; license; $70 cash, make- up; University ID, small camera. BANNER: all but the cash, camera goes back in the purse.<\/scene_description>\n    <character>BANNER<\/character>\n    <dialogue>Can't use any of it but the cash. Don't even turn the phone on, they can track it.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>My lipstick? Can they track that?<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>No you can keep that.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>Not going to get where we're going on 70 bucks.<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>Not quickly enough.<\/dialogue>\n    <scene_description>Betty turns and reaches for a small chain around her throat, pulls up A GOLD PENDANT. Takes it off.<\/scene_description>\n    <character>BANNER<\/character>\n    <dialogue>No. It's the only thing of hers that you have. No.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>We'll get it back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARMY BASE - PLANNING ROOM - DAY<\/stage_direction>\n    <scene_description>Ross has a real team assembled now. Technicians, intel, law- enforcement. All of it. There are at least two dozen people in the room and Cabot is wrapping up the briefing. Ross stands to the side. BANNER and BETTY'S PHOTOS FILLS THE SCREEN<\/scene_description>\n    <character>CABOT<\/character>\n    <dialogue>...Federal is already monitoring phone, plastic and Dr. Ross's web accounts, and local PD's have been put on alert... They'll pop up somewhere and when they do it comes straight to us...<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>They won't just pop up. He made it five years and got across borders without making a mistake and he won't use a damn credit card now. If he was trying to escape he'd be long gone. But he's not trying to escape...he's looking for help. And that's how we're going to get him. We don't know where they're going but we know what they're after and we know he's been talking to somebody. You've all got copies of that correspondence. There are only a few hundred people in world who have what he needs. Figure out who they are, he's going to one of them.<\/dialogue>\n    <character>CABOT<\/character>\n    <dialogue>Under no circumstances whatsoever are your people to engage these subjects directly. Apprehension will be handled exclusively from this office. Call it in and we'll tell you what to do.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PAWN SHOP - DAY<\/stage_direction>\n    <scene_description>Betty exiting with cash. She pawned her mother's locket.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>We'll get it back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GAS STATION - DAY<\/stage_direction>\n    <scene_description>Bruce and Betty with a \"FOR SALE\" sign in their hands, buying something in cash from the YOUNG GUY behind the counter. The GUY is on a computer. Banner offers the guy $50.<\/scene_description>\n    <character>BANNER<\/character>\n    <dialogue>Mind if I send a quick email off your account?<\/dialogue>\n    <scene_description>Guy takes the money happily and Banner quickly plugs in the data card and sends a message to Mr. Blue\/Sterns. SCREEN\/EMAIL: \"What you requested is attached. Maybe it's time to meet. Green.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GAS STATION<\/stage_direction>\n    <scene_description>Betty and Bruce getting into their newly purchased BATTERED OLD PICKUP TRUCK. Bruce getting in the passenger side...<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>Hey...<\/dialogue>\n    <scene_description>He turns and she has her little camera out. He gives her a quizzical look.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>It's been worse than this before right?<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Yes...much worse.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>Then we're on the way to something better.<\/dialogue>\n    <scene_description>He smiles a sad uncertain smile and she SNAPS THE PICTURE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. PICKUP TRUCK ON THE HIGHWAY - NIGHT<\/stage_direction>\n    <scene_description>Betty drives. Banner stares out in to the dark, a darker mood back on him.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>Penny for your thoughts.<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>How long have you known Samson?<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>About a year and a half. He came to lecture on a fellowship and stayed.<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>Do you trust him?<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>Yes. I do. Bruce, you know that I...<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>You don't have to explain anything to me. Ever. He seems like a good man and he treats you well and that makes me happy.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>He does. I never trusted him with this. Trust isn't the right word. I didn't test his faith in me by asking him to believe something I still can't believe myself.<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>Who could? Sometimes I even convince myself it's not real.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>What is it like...when it happens? What do you experience?<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>Remember those clinical experiments we volunteered for at Harvard? The induced hallucinations? It's like that, amplified by a thousand. It feels like someone is pouring a liter of acid into my brain. The sound is the worst.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>Do you remember anything?<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>Fragments. Nothing I can derive anything from.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>But then it's still you...inside it.<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>It's not me.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>In the cave, I felt that you knew...that IT knew me. Maybe your mind is in there it's just...overcharged...can't process what's happening. You know Samson works with people on 'conscious dreaming', helping them direct themselves out of their nightmares even though the conscious brain seems asleep... maybe...<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>I don't want to control it. I want to get rid of it. It kills people. It almost killed you. I didn't do those things.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>Of course not...<\/dialogue>\n    <scene_description>He looks out the window in silence, tormented.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARMY BASE MEDICAL LABS - NIGHT<\/stage_direction>\n    <scene_description>Blonsky sits on the table. TWO MEDICAL TECHS are prepping the syringes that we saw deliver Blonsky his first dose of Super Soldier serum. He's getting more. Reveal ROSS: standing there. He's authorized it.<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>You ready?<\/dialogue>\n    <character>BLONSKY<\/character>\n    <dialogue>Let's even the game a little.<\/dialogue>\n    <scene_description>DREAM IMAGE: A rough wooden door opening from the inside out, bright sunlight washing in to reveal HIGH PEAKS of the HIMALAYAS; a rocky path leading up to us and on it a MONK in saffron and red robes. He looks up at us and holds up a hand in greeting and SMILES.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. PICKUP TRUCK ON THE HIGHWAY - MORNING<\/stage_direction>\n    <scene_description>BANNER WAKES UP: disoriented. THE RADIO is on news...<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>I thought I should let you sleep.<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>Where are we?<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>Stuck in traffic. But getting close.<\/dialogue>\n    <scene_description>He looks around. Traffic lockup. Radio talking about traffic delays due to heightened security alert. He opens the door and stands up to look. POV: the gates of a toll booth a long way ahead (maybe we see that it says \"Holland Tunnel\". He can see uniformed officers actually standing by toll gates looking at faces.<\/scene_description>\n    <character>BANNER<\/character>\n    <dialogue>Let's go.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>Go where?<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>We've got to get out.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>Right here...I mean...now?<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>Yes, right here....let's go.<\/dialogue>\n    <scene_description>WIDE AND HIGH ABOVE THE TRAFFIC JAM - LOOKING STRAIGHT DOWN: the doors of the truck open and two figures slide out...pick their way through honking cars and disappear.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - JERSEY CITY - INDUSTRIAL AREA - DAY<\/stage_direction>\n    <scene_description>Banner and Betty walk down the sidewalk and we pan and see that they are heading for the WATER'S EDGE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOCKS<\/stage_direction>\n    <scene_description>BANNER and BETTY talking to an OLDER GUY standing by a rail with a fishing pole and bucket (Stan Lee!). They're offering him some money and he's nodding.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HUDSON RIVER - NEW YORK CITY SKYLINE - DAY<\/stage_direction>\n    <scene_description>Bruce and Betty in the bow of a small OUTBOARD MOTOR BOAT. The OLDER GUY throttles up and as they move out into the river we TILT UP to reveal: NEW YORK CITY: and this is where they're heading.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET BY BATTERY PARK - DAY<\/stage_direction>\n    <scene_description>Betty and Bruce on the sidewalk by a kiosk with a map<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>Long way uptown. Subway's quickest.<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>Me in a tight metal tube underground with hundreds of other people in the most aggressive city in the world?<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>Right. Let's get a cab.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. NEW YORK CITY CAB<\/stage_direction>\n    <scene_description>SCREAMING up 6th Avenue. The DRIVER is without a doubt the most terrifying cab driver in a whole city of bad cab drivers. Slashing across two lanes, accelerating like an F-1 racer, braking and honking nearly killing a bike messenger, racing through yellow lights from much too far away. All with RADIO BLARING and on CELL PHONE talking a mile a minute. Banner and Betty getting tossed around like dolls. PULSE MONITOR: 97...98..99 Banner: head back eyes closed, breathing deeply.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - COLUMBUS CIRCLE (OR BRYANT PARK)<\/stage_direction>\n    <scene_description>SLAM! Betty and Banner have bailed on Hell Ride. Betty hurling money in increments through the passenger window.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>...god forbid you should give a SHIT about the living, breathing PEOPLE in the back of your office on wheels with no SHOCKS...<\/dialogue>\n    <character>DRIVER<\/character>\n    <dialogue>What's the matter baby? You no like a good ride?<\/dialogue>\n    <scene_description>He makes a kiss noise and takes off. Betty BOOTS the rear panel as he goes<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>Asshole!!<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>You know I can show you some techniques to help you manage that rage a little better...<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>Zip it. We're walking.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL PARK WEST - DAY<\/stage_direction>\n    <scene_description>Banner and Betty walk up along the Park past the Natural History Museum.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COLUMBIA UNIVERSITY - GATES AT 116TH AND BROADWAY<\/stage_direction>\n    <scene_description>Banner and Betty enter the gates of COLUMBIA UNIVERSITY.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARMY BASE - PLANNING ROOM - SIDE OFFICE - DAY<\/stage_direction>\n    <scene_description>CABOT in a glassed-in office off the OPEN ROOM full of desks and terminals. AN INTELLIGENCE OFFICER walks in with a file<\/scene_description>\n    <character>OFFICER<\/character>\n    <dialogue>That's from Quantico. They're getting blanked. The academic language in the published stuff could be three dozen off our list. And we haven't even got samples for three dozen more.<\/dialogue>\n    <scene_description>CABOT sighs... She nods and the OFFICER goes out. She rubs her temples and stares at her COMPUTER. Gets a 'what the fuck' look on her face and types: SCREEN: Google Search: \"Mr Blue cellular biology\" A bunch of links come up and she clicks one and gets: A YOU TUBE VIDEO: Scientist JR STERNS holds a press conference to demonstrate a breakthrough for medical science.<\/scene_description>\n    <character>STERNS<\/character>\n    <dialogue>\"...full cell saturation, a method of moving desired compounds into every cell in the body which will revolutionize medical therapies.\"<\/dialogue>\n    <scene_description>VIDEO: Sterns puts an inert blue dye into a WILD LOOKING MACHINE hooked up to a YOUNG GRADUATE STUDENT. In front of our eyes, the student starts to TURN BLUE. PEOPLE laugh and clap at the demonstration.<\/scene_description>\n    <character>STUDENT (O.S.)<\/character>\n    <dialogue>What's his name?<\/dialogue>\n    <character>STERNS<\/character>\n    <dialogue>Who, Mr. Blue here?<\/dialogue>\n    <scene_description>CABOT: BOLTS FORWARD, EYES WIDE. Her fingers fly across the keyboard, typing in the name \"JR STERNS cellular biology\" A Google link appears for Columbia University. Cabot clicks on the link and uploads a photo of Professor JR Sterns, the same man in the You Tube video. CABOT BURSTS INTO THE DOORWAY OF HER OFFICE<\/scene_description>\n    <character>CABOT<\/character>\n    <dialogue>They're going to New York!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. COLUMBIA UNIVERSITY SCIENCE BUILDING LOBBY - DAY<\/stage_direction>\n    <scene_description>Professor Sterns emerges.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>Excuse me, Dr Sterns?<\/dialogue>\n    <character>STERNS<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>Sorry to bother you. I'm Elizabeth Ross.<\/dialogue>\n    <character>STERNS<\/character>\n    <dialogue>Dr. Ross, my goodness...I read your wonderful paper on synthesizing nucleotides!! To what do I owe the...<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>There's someone I'd like to introduce you to...<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>Mr. Blue, I presume.<\/dialogue>\n    <character>STERNS<\/character>\n    <dialogue>Mr Green!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STERNS' LAB - DAY - SOME TIME LATER<\/stage_direction>\n    <scene_description>The lab has a bit of the 'Mad Scientist' clutter to it. Sterns speaks very quickly.<\/scene_description>\n    <character>STERNS<\/character>\n    <dialogue>...it took some work, let me tell you, we've never tried to concentrate the trimethodine a tenth of what your peak exposure correlates with. That you survived an event like that to stand here and discuss this....it has something to do with Dr. Ross's protein primer capacitating the cells of course, but<\/dialogue>\n    <dialogue>it's beyond my reckoning...we could study it for years.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>But you think you've got the concentration right?<\/dialogue>\n    <character>STERNS<\/character>\n    <dialogue>Well yes...on paper anyway. And my cell saturation will make sure we don't miss any spots...but...even if we hit the levels right, I can't promise this will cure you. It might only be an antidote to suppress the specific flare up.<\/dialogue>\n    <dialogue>When you have one of these 'spikes' ... is the experience extreme?<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>You might say that.<\/dialogue>\n    <character>STERNS<\/character>\n    <dialogue>Well I can't wait to see it! You know I must say...I wondered if you were real. And if you were I wondered what it would look like...a person with that much power lurking in him. Nothing could have surprised me more than this unassuming young man shaking my hand!<\/dialogue>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>I'd be remiss however if I didn't point out that these concentrations carry extraordinary levels of toxicity. If we're over by even a small integer, the residual could kill you. Will kill you.<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>There's a flip side to that ... if we miss on the low side...if we induce me and it fails...it will be very dangerous for you.<\/dialogue>\n    <character>STERNS<\/character>\n    <dialogue>I've always been more curious than cautious. It's served me well so far but if that's what kills this cat in the end...well at least I'll have peeked around a few corners.<\/dialogue>\n    <parenthetical>(smiles)<\/parenthetical>\n    <character>STERNS<\/character>\n    <dialogue>So then we're all agreed?<\/dialogue>\n    <parenthetical>(they nod)<\/parenthetical>\n    <dialogue>Into the Glorious Unknown!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MILITARY BASE - EVENING<\/stage_direction>\n    <scene_description>Ross' forces mobilize. A Sikorsky winding up its jets.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCKER ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Blonsky stands alone, staring at himself in the mirror, studying his own face. Something is changing in him. HIS SHOULDERS AND NECK SEEM TO HAVE GROWN MASSIVE LITERALLY OVERNIGHT. As he studies his body and face, we pull round to his reflection, back over his shoulder, further back revealing his naked back and we can see something that even he can't...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..SOMETHING VERY STRANGE IS HAPPENING TO THE BONES IN HIS SPINE.<\/stage_direction>\n    <scene_description>They have become too big, almost simian, protruding from between his enlarged back muscles in a disturbing way.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. SIKORSKY - EVENING<\/stage_direction>\n    <scene_description>Blonsky loads in with OTHER SPECIAL FORCES SOLDIERS. There are THREE TWO MAN SNIPER TEAMS WITH SPECIAL THERMAL SCOPES AND RIFLES AGAINST ONE WALL. BLONSKY sits against the wall next to a familiar face, a SOLDIER who was in the campus fight with him.<\/scene_description>\n    <character>SOLDIER<\/character>\n    <dialogue>How you feeling, man?<\/dialogue>\n    <character>BLONSKY<\/character>\n    <dialogue>Like a monster.<\/dialogue>\n    <scene_description>Blonsky grunts aggressively and flexes his arm. HIS ARM MUSCLE ACTUALLY TEARS HIS SLEEVE A LITTLE. The other soldier shoots a look around. Cabot and Ross come back to the rear to brief the team. She has copies of BLUEPRINTS OF THE LAYOUT OF STERNS BUILDING AND SURROUNDING BUILDINGS<\/scene_description>\n    <character>BLONSKY<\/character>\n    <dialogue>Back on the Hulk Hunt, Major...<\/dialogue>\n    <character>CABOT<\/character>\n    <dialogue>Banner is the target. Snipers have the point. Delta in backup. If we make it before they move we'll have two tries. If we can't take him inside, we'll try for a shot as he exits.<\/dialogue>\n    <character>CABOT<\/character>\n    <dialogue>If we can't hit him unaware before he makes the street then plainclothes will try to follow and we stand down. Under no circumstance is Banner to be engaged directly. If we can't get a shot we fall back and let him go.<\/dialogue>\n    <character>BLONSKY<\/character>\n    <dialogue>And if he goes nuclear?<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>Then we'll have failed to learn from our mistakes, won't we? You've got the compact sonics. Try to at least move him out of the city center toward the river. Then disengage. We'll follow from the air but not fight. Any questions?<\/dialogue>\n    <character>BLONSKY<\/character>\n    <dialogue>Not much of a rematch.<\/dialogue>\n    <character>CABOT<\/character>\n    <dialogue>1.5 Million people within a five mile radius. You want to fight that thing here?<\/dialogue>\n    <scene_description>Cabot steps to the front of the cabin, sits near Ross.<\/scene_description>\n    <character>CABOT<\/character>\n    <dialogue>You sure about your boy?<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>I need a dog in the hunt that's not going to run from a bear if it shows up. If we do this right, I'll never have to let him off the leash.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STERNS' LAB - EVENING<\/stage_direction>\n    <scene_description>Sterns and Betty make the preparations to 'treat' Banner. There is a table that looks disturbingly like a set-up for a lethal injection. A little bit of a Frankenstein vibe too. Banner strips to his lycra shorts and gives his clothes to Betty.<\/scene_description>\n    <character>BANNER<\/character>\n    <dialogue>Think of all the money I'll save on wardrobe if this works. If this starts to go bad, promise me you won't stay and try to help me.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>Bruce...<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>It's the worst when it starts. You have to promise me you'll run or I can't do this.<\/dialogue>\n    <scene_description>Betty nods. Sterns indicates the nylon medical restraints.<\/scene_description>\n    <character>STERNS<\/character>\n    <dialogue>If you have a strong reaction these will keep you from hurting yourself.<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>If I have a strong reaction you're not going to need to worry about me.<\/dialogue>\n    <scene_description>Banner climbs on the table. Sterns tilts it back so that Banner is still at a slight angle and begins to strap him in. Sterns puts an I.V. in each of Banner's arms and legs linked to the CELL SATURATION MACHINE which he primes. A canister with the antidote and some sort of futuristic spinner or plunger to send it through his body. Then he puts contact pads connected to electrical wires on Banner's temples. And finally a plastic bite suppressor for Banner's mouth. Banner shakes it off.<\/scene_description>\n    <character>STERNS<\/character>\n    <dialogue>Ready?<\/dialogue>\n    <scene_description>STERNS JOLTS BANNER WITH ELECTRICITY. A lot of it. It hits him and HIS WHOLE BODY SPASMS, every muscle in his body straining against the straps, eyes clenched and then - CLOSE ON BANNER'S EYES: snapping open, GREEN LIGHT glowing. A PULSE OF GREEN in the base of his skull sends green Gamma energy shooting through his body, HIS SKIN FLOODS WITH COLOR FROM TOP TO BOTTOM, SPREADING FROM THE BASE OF HIS SKULL AS THE GAMMA ENERGY SHOOTS OUT OF HIS BRAIN.<\/scene_description>\n    <character>STERNS<\/character>\n    <dialogue>My God...!<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>There's more. Wait for it!<\/dialogue>\n    <scene_description>Now we see the full agony of it as Banner's body starts to swell and stretch and harden. We should feel the trauma of it on his bones and muscles. Sterns is staggered. Betty watches the man she loves be tortured in front of her, he howls in agony. Sterns steps closer...too close. The restraints pop like rubber bands, one of them striking Sterns who gets knocked back and dazed...The Hulk is appearing on the table, still in spasms.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>Now! Do it!<\/dialogue>\n    <scene_description>The table starts to buckle under the weight as THE HULK continues to grow. Hulk is going to lift his head up and get seriously angry any second... but then BETTY LITERALLY JUMPS ONTO THE TABLE OVER HIM, leaning on that massive torso, looking for his eyes.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>BRUCE, STAY WITH ME!<\/dialogue>\n    <scene_description>Banner\/Hulk howls.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>Do it NOW!!!!<\/dialogue>\n    <scene_description>Sterns hits the button and THE ANTIDOTE starts to flow into him. And slowly, painfully, THE PROCESS STARTS TO REVERSE. You can almost see the fluid moving through those massive veins and finding its way into every corner and calm the radiation fire in his blood. AND HE SHRINKS... Finally, Banner is back, lying on the buckled table with Betty kneeling over him. She strokes his forehead. He's drenched in sweat, wrung out like a marathoner.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>It's alright. You're alright. It's over.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL PARK NORTH LAWN - NIGHT<\/stage_direction>\n    <scene_description>Helicopters landing. Snipers and Blonsky's team hit the ground running. CABOT AND ROSS moving with MOBILE COMMUNICATIONS team right behind. All heading into waiting UNMARKED VANS on 110th ST.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STERNS' LAB - NIGHT<\/stage_direction>\n    <scene_description>They're debriefing. Sterns talks a mile a minute.<\/scene_description>\n    <character>STERNS<\/character>\n    <dialogue>...the pulse came from the amygdala. I think Dr. Ross' 'primer' lets the cells absorb the energy temporarily and then it abates. That's why you didn't die of radiation sickness years ago. Now maybe we've neutralized those cells permanently or maybe we just suppressed that event.<\/dialogue>\n    <character>STERNS<\/character>\n    <dialogue>I'm inclined to think the latter because none of our test subjects had a decline in absorption capacity, but of course they were getting Gamma in MUCH lower doses externally each time... But You! It's like you've got a turbo booster in your brain. It's one of the most wonderful things I've ever seen!<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>It's not wonderful for Bruce.<\/dialogue>\n    <character>STERNS<\/character>\n    <dialogue>In a medical science sense, of course. You're miraculous.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>So how did you know it would work?<\/dialogue>\n    <character>STERNS<\/character>\n    <dialogue>I didn't. But now that we have the data on Bruce's initial -<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>Wait. You said 'test subjects'. What test subjects?<\/dialogue>\n    <scene_description>Sterns gestures and they follow him to a door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK CITY ROOFTOPS - NIGHT<\/stage_direction>\n    <scene_description>Sniper teams take roof positions around Sterns lab building. Each team with one shooter and one spotter with a THERMAL SCANNER. SCANNERS springing on line. A THERMAL IMAGE of Betty, Banner and Sterns moving from one part of the lab into another.<\/scene_description>\n    <character>CABOT (OVER RADIO)<\/character>\n    <dialogue>Target is the tallest, in the middle.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLUMBIA UNIVERSITY SCIENCE BUILDING - CONTINUOUS<\/stage_direction>\n    <scene_description>Night. No civilians. AN NYPD SWAT OFFICER is hustling a SECURITY GUARD OUT OF THE LOBBY. Blonsky and his team move into positions in LOBBY. BLONSKY near the stairwell.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STERNS' LAB \/ INT. LOBBY \/ INT. COMMAND POST IN ANOTHER<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>BUILDING LOBBY \/ EXT. ROOFTOP - INTERCUTTING<\/stage_direction>\n    <scene_description>STERNS' LAB - THE OTHER ROOM: MUTATED ANIMALS: Rats, rheesus monkeys - some normal, others slightly Hulked-out versions of themselves...none Green, they are more grey.<\/scene_description>\n    <character>BANNER<\/character>\n    <dialogue>Oh my god... what have you been doing?<\/dialogue>\n    <character>STERNS<\/character>\n    <dialogue>Well you didn't send me much of yourself to work with and I couldn't risk blowing the opportunity so we concentrated it and grew more. The same thing you were trying to do with the corablanca! You were my flower, see?<\/dialogue>\n    <scene_description>Banner is looking around in horror: his worst nightmare is coming true before his eyes. He has been replicated.<\/scene_description>\n    <character>STERNS<\/character>\n    <dialogue>A lot of the first pass didn't survive of course but as you can see we're doing much better. And we're only giving them very low-dose Gamma so no power-lifters yet but the interesting thing...<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>You've got to destroy all of it.<\/dialogue>\n    <character>STERNS<\/character>\n    <dialogue>Sorry, what...<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>All of it. Right now. Show me your supply.<\/dialogue>\n    <character>STERNS<\/character>\n    <dialogue>You must be joking. We'll share a Nobel for this, the three of us! Think of the applications.<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>It doesn't matter if it can't be controlled...You don't know the power of what we're dealing with here!<\/dialogue>\n    <character>STERNS<\/character>\n    <dialogue>But we've got the antidote now!<\/dialogue>\n    <scene_description>THERMAL IMAGE: of the three as seen by snipers. Banner moves into a window zone, but Betty blocks a clean shot. CABOT: sits in front of a panel of video monitors, observing the soldier camera feeds. Ross stands behind her.<\/scene_description>\n    <character>CABOT<\/character>\n    <dialogue>At your discretion shooter.<\/dialogue>\n    <scene_description>SNIPER: eye to his scope...<\/scene_description>\n    <character>SHOOTER<\/character>\n    <dialogue>Almost...<\/dialogue>\n    <scene_description>BLONSKY and TEAM: silent, firearms at the ready, waiting for something, anything.<\/scene_description>\n    <character>SHOOTER (OVER RADIO)<\/character>\n    <dialogue>No shot.<\/dialogue>\n    <scene_description>Blonsky loses patience and he bolts into the stairs. COMMAND POST: On MONITOR: Blonsky's dot on the move.<\/scene_description>\n    <character>SOLDIER (OVER RADIO)<\/character>\n    <dialogue>Blonsky's going in...he's going in!<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>Blonsky! Stand down!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRWELL - CONTINUOUS<\/stage_direction>\n    <scene_description>Blonsky takes entire flights in a jump easily. He goes up eight stories in seconds.<\/scene_description>\n    <character>CABOT (OVER RADIO)<\/character>\n    <dialogue>Shooter, be advised...<\/dialogue>\n    <character>SHOOTER (OVER RADIO)<\/character>\n    <dialogue>Almost...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STERNS' LAB - CONTINUOUS<\/stage_direction>\n    <character>BANNER<\/character>\n    <dialogue>They don't want the antidote! They want a weapon. They want it to fight for them and if they get it then we lose control of it!<\/dialogue>\n    <character>STERNS<\/character>\n    <dialogue>Oh look I hate the government too but you're being a little paranoid don't you th---?<\/dialogue>\n    <scene_description>CRUNCH! The sound of something fast going through glass. STERNS' POV: Banner has a funny look on his face. He turns to reveal... A TRANQ DART IN THE BACK OF HIS NECK. Sterns screams, backs away from the window. Banner's eyes widen.<\/scene_description>\n    <character>SHOOTER (OVER RADIO)<\/character>\n    <dialogue>Target is hit...Dart onboard.<\/dialogue>\n    <scene_description>PULSE MONITOR: surging through 120...122...125...<\/scene_description>\n    <character>BANNER<\/character>\n    <dialogue>Get out now.<\/dialogue>\n    <scene_description>His knees start to buckle and Betty rushes over and catches him. PULSE MONITOR: 119...117...115... BLONSKY: EXPLODES THROUGH THE DOOR, rifle raised. BETTY: jumps up in front of BANNER Blonsky SHOVES HER...too hard, his strength abnormal...and she is knocked five feet before hitting the ground on her arm, crying out in pain. BANNER'S EYES: LIVID...but Hazy, struggling to focus. Blonsky looks at him, his eyes boring into Banner's...<\/scene_description>\n    <character>BLONSKY<\/character>\n    <dialogue>Come on! COME ON!! WHERE IS IT?!<\/dialogue>\n    <scene_description>OTHER SOLDIERS burst through the lab door.<\/scene_description>\n    <character>SOLDIER<\/character>\n    <dialogue>BLONSKY!!!<\/dialogue>\n    <scene_description>BLONSKY CRACKS BANNER IN THE HEAD with his GUN BUTT BLACK:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 120TH ST. - NIGHT<\/stage_direction>\n    <scene_description>Street running along north end of Columbia campus, behind Sterns' building. Street closed off by police vehicles. A VAN: with it's back doors open toward the sidewalk A STRETCHER: being moved toward the van... On it BANNER: in enormous, possibly slightly futuristic wrist shackles with electro-magnetic locks, being loaded into the back of the van. He is awake, amazingly, but groggy. Betty: walking with him, talking to him, her wrist in a splint. TWO SOLDIERS: walk with them standing guard. On CABOT and ROSS:<\/scene_description>\n    <character>CABOT<\/character>\n    <dialogue>Never seen anyone come round from a tranq dose like that. Why the hell aren't we keeping him under?<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>You want to be the one to stick a needle in his arm that he doesn't want? She's our best insurance. Keep her right next to him...He knows if he pops off it's her that gets hurt.<\/dialogue>\n    <character>CABOT<\/character>\n    <dialogue>What do you want to do with Sterns?<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>I want him pinned in that lab with you. Don't let him leave the room to piss until he's identified every bottle, every box, every machine in the place. Then package it up and get it back home. Then get aiding and abetting charges and get him turned over to us. If Banner won't give us answers maybe we can get him to.<\/dialogue>\n    <scene_description>CABOT nods and heads into the building.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL PARK NORTH LAWN - NIGHT<\/stage_direction>\n    <scene_description>BANNER: getting walked in shackles up the rear ramp of the Sikorsky under Ross's gaze. Betty, following, ROSS PUTS A HAND ON HER ARM AND STOPS HER.<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>Betty...<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>I will never forgive what you have done to him. And to me.<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>He is a fugitive. He made choices and I have a responsibility...<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>You made him a fugitive! To cover your failures and save your career. He told me what you said to him after the accident, before I woke up...what you proposed. That's why he ran and gave up...<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>His work...his blood...is the property of the United States Army and my Duty supersedes my personal feelings in this matter.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>Truth Justice and the American Way...<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>Something like that.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>You have to start with Truth or the rest of it doesn't work. Don't speak to me as your daughter. Not ever again.<\/dialogue>\n    <scene_description>She moves up the ramp...<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>It's only because you're my daughter that you're not in handcuffs too.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STERNS' LAB - NIGHT<\/stage_direction>\n    <scene_description>An ARMY RANGER SENTRY outside the doors. CABOT QUESTIONING STERNS who sits in a chair.<\/scene_description>\n    <character>CABOT<\/character>\n    <dialogue>...then it's not the same.<\/dialogue>\n    <character>STERNS<\/character>\n    <dialogue>Not exactly no, but it could be better. What happened to him was a freak accident. We've sorted out some of the pieces but I don't think I could put together the same Humpty Dumpty just yet if you follow me...<\/dialogue>\n    <character>CABOT<\/character>\n    <dialogue>I don't want to know if you can make another one I want to know if Banner's the only serious threat at the....<\/dialogue>\n    <scene_description>THUNK. CABOT JERKS A LITTLE, EYES ROLL BACK, AND SHE SLUMPS. BLONSKY STANDS BEHIND HER IN SHADOW, HE HIT HER IN THE BACK OF THE HEAD WITH THE BUTT OF HIS KNIFE.<\/scene_description>\n    <character>STERNS<\/character>\n    <dialogue>Jeez, what is it with you hitting people all the ti---?<\/dialogue>\n    <scene_description>CLICK! BLONSKY'S PISTOL IS OUT AND COCKED IN STERNS' FACE.<\/scene_description>\n    <character>STERNS<\/character>\n    <dialogue>What could I have possibly done to deserve this?<\/dialogue>\n    <character>BLONSKY<\/character>\n    <dialogue>It's not what you've done. It's what you're going to do.<\/dialogue>\n    <character>STERNS<\/character>\n    <dialogue>Well I like your use of future tense in that sentence anyway.<\/dialogue>\n    <character>BLONSKY<\/character>\n    <dialogue>I want what you got out of Banner.<\/dialogue>\n    <character>STERNS<\/character>\n    <dialogue>You've got it! Before you knocked the Major out I told her I'll help in any way as long as I can...<\/dialogue>\n    <character>BLONSKY<\/character>\n    <dialogue>I want it in me.<\/dialogue>\n    <character>STERNS<\/character>\n    <dialogue>You look like you've got a little something extra in you already, don't you.<\/dialogue>\n    <character>BLONSKY<\/character>\n    <dialogue>I want more. You saw what he becomes?<\/dialogue>\n    <character>STERNS<\/character>\n    <dialogue>I did. It's beautiful...God-like. But I can't make you like that... I don't know what's in you...the mix could be something terrible.<\/dialogue>\n    <scene_description>BLONSKY BENDS AND GRABS STERNS BY THE FRONT OF HIS JACKET WITH ONE HAND, LIFTING HIM EASILY, PLACING THE GUN UNDER HIS CHIN.<\/scene_description>\n    <character>STERNS<\/character>\n    <dialogue>I'm not unwilling I just need 'informed consent'...and you've given it!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NIGHT SKY OVER MANHATTAN - NIGHT<\/stage_direction>\n    <scene_description>The Sikorsky cuts through the air over the Hudson River.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIKORSKY - CONTINUOUS<\/stage_direction>\n    <scene_description>Bruce and Betty sit across from each other toward the rear. ARMED SOLDIERS flanking them. ROSS up toward the front with COMMUNICATIONS OFFICERS and a BANK OF MONITORS. Bruce and Betty stare at each other. She takes his hand, holds it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COLUMBIA UNIVERSITY SCIENCE BUILDING - NIGHT<\/stage_direction>\n    <scene_description>Low, looking up at the building. A few of BLONSKY'S DELTA TEAM and a couple NYPD keep the area on lockdown.<\/scene_description>\n    <character>SOLDIER 2<\/character>\n    <dialogue>...ten feet and green...You're getting your news off Inside Edition. \"The Hulk\"... gimme a break...<\/dialogue>\n    <character>SOLDIER<\/character>\n    <dialogue>...telling you, whatever went down it shook Tommy up...he said be heads up on this one.<\/dialogue>\n    <character>SOLDIER 2<\/character>\n    <dialogue>Only action we're gonna see is those blue- shirts bringing each other coffee...<\/dialogue>\n    <scene_description>BOOM!!! AN EXPLOSION RIPS OUT THE WINDOWS OF THE TOP CORNER OF THE BUILDING FROM STERNS' LAB, FLAME AND STONE RAINING DOWN. SOLDIERS AND COPS HIT THE DECK.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIKORSKY - NIGHT<\/stage_direction>\n    <scene_description>The RADIO crackles:<\/scene_description>\n    <character>SOLDIER (OVER RADIO)<\/character>\n    <dialogue>Delta 4 to Leader, something big just went off down here!<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>This is Ross. What went off?<\/dialogue>\n    <character>SOLDIER (OVER RADIO)<\/character>\n    <dialogue>The whole floor just blew out Blonsky, Stoller, Robertson and the Major...they were all still up there!!<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>Get our teams moving back there and get PD Special Units out... Turn us around...<\/dialogue>\n    <scene_description>THE HELICOPTER BANKS SHARPLY IN BACK: Banner and Betty can't tell what's going on, but they can tell something has happened.<\/scene_description>\n    <character>BANNER<\/character>\n    <dialogue>We're going back...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NIGHT SKY OVER MANHATTAN - CONTINUOUS<\/stage_direction>\n    <scene_description>The Sikorsky banks hard and turns back into the eye of the storm.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COLUMBIA UNIVERSITY SCIENCE BULDING - NIGHT<\/stage_direction>\n    <scene_description>THE SOLDIERS AND COPS have taken positions covering the lobby of the building<\/scene_description>\n    <character>SOLDIER 2<\/character>\n    <dialogue>I'm going up...<\/dialogue>\n    <scene_description>He rises to dash to the lobby when CRASH!! The sound of something huge crashing into a car out on 120th St, out of sight. And then they hear: AN UNBELIEVABLE ROAR OF RAGE. They're eyes on the narrow space between the Lab Building and the one to its left...out toward the street where IN THE SPACE BETWEEN THE BUILDINGS, AN ENORMOUS, HULKING GRAY FORM SURGES PAST. AT LEAST 14 FEET TALL. Soldiers and cops look at each other...\"What the..?\" THEY DASH FOR THE STREET, and turn to the left in time to see THE MASSIVE GREY BACK OF THE THING DISAPPEARING TO THE RIGHT AROUND THE CORNER, UP BROADWAY.<\/scene_description>\n    <character>COP 1<\/character>\n    <dialogue>What in God's name was that?<\/dialogue>\n    <scene_description>Soldier 1 keys mic<\/scene_description>\n    <character>SOLDIER 1<\/character>\n    <dialogue>The Hulk's in the street!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIKORSKY - NIGHT - CONTINUOUS<\/stage_direction>\n    <character>SOLDIER 1<\/character>\n    <dialogue>Repeat: THE HULK IS IN THE STREET! Where the hell are we? 120TH AND BROADWAY, HEADING UP BROADWAY!!<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>Hold it together, soldier! Have any of you got a live feed?<\/dialogue>\n    <character>SOLDIER 1 (OVER RADIO)<\/character>\n    <dialogue>Yeah...<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>Then stay with it and get me a visual, we've got help on the way. Now get moving!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK CITY STREET - NIGHT<\/stage_direction>\n    <scene_description>SOLDIER 1 activates his mini helmet battle camera<\/scene_description>\n    <character>SOLDIER 1<\/character>\n    <dialogue>C'mon!!<\/dialogue>\n    <scene_description>ALL FOUR RUN TOWARD A PARKED OPEN-TOP HUMVEE<\/scene_description>\n    <character>SOLDIER 1<\/character>\n    <dialogue>Can you drive this thing?<\/dialogue>\n    <character>COP 1<\/character>\n    <dialogue>Marines, 8 years. Let's go.<\/dialogue>\n    <scene_description>The TWO SOLDIERS AND TWO COPS jump in and fire up. THEY PEEL OUT TO THE RIGHT AND MAKE A QUICK LEFT UP AMSTERDAM.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STERNS' LAB - CONTINUOUS<\/stage_direction>\n    <scene_description>FLAMES FLICKERING, SMOKE. A CANISTER FROM THE SATURATION MACHINE, FULL OF BLOOD, DRIPPING DOWN ONTO... STERNS ON THE FLOOR: EYES WIDE OPEN, AN EXPRESSION OF HORROR AND AMAZEMENT ON HIS FACE, curiosity seems to have finally killed him. Blood from the machine above drips on his face. TIGHT ON: A RADIO CRACKLING: We can hear the SOLDIERS calling out positions: \"121st st moving north...what is that thing?\" REVEAL CABOT: knocked unconscious or dead?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMSTERDAM AVE \/ INT. SIKORSKY - INTERCUT<\/stage_direction>\n    <scene_description>THE HUMVEE: BLASTS up the street, hugging the left side, TWO COPS in the front, TWO SOLDIERS standing up in the back with assault rifles. SOLDIER 1 on the left keeping his view trained down the cross streets whipping by... POV: GLIMPSES OF THE CREATURE'S REAR FLANK AS IT MOVES UP THE PARALLEL STREET. SMASHING CARS AND HURLING PEOPLE AS IT GOES. MONITORS: Ross seeing the same, it looks like Hulk but it's not a good enough look at it.<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>Goddam it I said get me eyes on that thing!<\/dialogue>\n    <scene_description>BANNER moves toward Ross... the SOLDIER STOPS HIM<\/scene_description>\n    <character>SOLDIER<\/character>\n    <dialogue>Sit down!<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>Shoot me...let's see what happens.<\/dialogue>\n    <scene_description>BANNER SHOVES PAST HIM AND UP NEXT TO ROSS AT THE MONITORS, BETTY FOLLOWS. THE HUMVEE: reaches 125th St. The heart of Harlem. RIPPING THE WHEEL TO THE LEFT, SLAMS ON THE BRAKES. THEIR JAWS DROP... Still from a distance, A MASSIVE GREY CREATURE IS CAUSING HAVOC. Pedestrians flee in panic, cars skidding and trying to turn around. STREET COPS fire on the CREATURE -- IT RIPS A LIGHTPOLE OFF THE CORNER AND SWATS THEM ASIDE LIKE MOSQUITOS ROSS, BANNER AND BETTY: Agape at this horror<\/scene_description>\n    <character>SOLDIER 1 (OVER RADIO)<\/character>\n    <dialogue>Sir are you seeing this? What the hell is that? Is that Banner?<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>No. Is it Sterns?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STERNS' LAB - CONTINUOUS<\/stage_direction>\n    <scene_description>A HAND GRABS A RADIO... CABOT<\/scene_description>\n    <character>CABOT<\/character>\n    <dialogue>General, it's Blonsky. Sterns is dead... It's Blonsky.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 125TH STREET - NIGHT<\/stage_direction>\n    <scene_description>TIGHTER ON THE CREATURE, first good look at it from the front. 14 FEET TALL, GRAY, AS HEAVILY MUSCLED AS HULK BUT WITH STRANGE BONES PROTRUDING LIKE SPURS AT ITS ANKLES AND WRISTS A HORRIBLE SNARLING FACE, AND IN IT WE CAN SEE THAT INDEED THIS IS BLONSKY. HE HAS BECOME: AN ABOMINATION<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIKORSKY<\/stage_direction>\n    <scene_description>BANNER: staring at the monitor. His worst fear come to life.<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>Hit it with whatever you've got, try to draw it after you and get it to the river. We've got cutters on both sides of the island with sonic!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 125TH STREET<\/stage_direction>\n    <scene_description>ABOMINATION IS HAVING A FIELD DAY, REVELLING IN DESTRUCTION. SOLDIER 1 drops to the floor, prying open a large compartment.<\/scene_description>\n    <character>SOLDIER 2<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>SOLDIER 1<\/character>\n    <dialogue>You think a rifle's gonna hurt that? Blonsky told me he put in some ordinance...<\/dialogue>\n    <scene_description>HE COMES UP WITH A ROCKET PROPELLED GRENADE LAUNCHER.<\/scene_description>\n    <character>SOLDIER 1<\/character>\n    <dialogue>That's what I'm talking about, G!<\/dialogue>\n    <scene_description>He spins, flips the sight up, flips off the safety and throws it on his shoulder<\/scene_description>\n    <character>SOLDIER 1<\/character>\n    <dialogue>Now say 'good night, Gracie'...<\/dialogue>\n    <scene_description>FIRES. THE ABOMINATION TURNS AS THE RPG STREAKS DOWN THE STREET, TRAILING SMOKE, STRAIGHT AT THE MONSTER'S HEAD... SNATCH! LIKE A CAT THE ABOMINATION GRABS THE MISSILE STRAIGHT OUT OF THE AIR...LOOKS STRAIGHT AT THEM...AND SMASHES IT AGAINST HIS OWN FOREHEAD WHERE IT EXPLODES ABOMINATION LEERS AT THEM. HE'S ENJOYING THIS.<\/scene_description>\n    <character>SOLDIER 2<\/character>\n    <dialogue>Time to go!<\/dialogue>\n    <scene_description>The cop at the wheel hits reverse and floors it, COP in front, and BOTH SOLDIERS whip up their weapons and POUR FIRE IN ON ABOMINATION, CHARGING STRAIGHT AT THEM, TAKING BULLETS LIKE HE'S RUNNING THROUGH A LIGHT RAIN. HE CLOSES ON THEM, RAISING A MASSIVE ARM... AT THE SAME MOMENT THE HUMVEE SLAMS INTO A CAR COMING UP AMSTERDAM ACROSS THE INTERSECTION AND THE ABOMINATION SEIZES IT BY THE HOOD, HEAVES IT UP ,TWISTS IT SIDEWAYS AND SMASHES IT TO THE GROUND, OVER AND OVER...METAL, HELMETS, BODIES FLYING.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI CAB - COMING UP AMSTERDAM - CONTINUOUS<\/stage_direction>\n    <scene_description>The same TERRIBLE CAB DRIVER that terrorized Bruce and Betty, speeding up the avenue, he can see the light ahead is green but traffic is slowed up ahead. Light goes yellow...<\/scene_description>\n    <character>DRIVER<\/character>\n    <dialogue>This is bullshit, people!!<\/dialogue>\n    <scene_description>He FLOORS IT, cuts to the side and races through the light turning red straight into... ABOMINATION -- WHO SIMPLY TURNS, HAMMERS HIS FOOT DOWN INTO THE HOOD OF THE CHARGING CAB, JACKING IT STRAIGHT UP INTO THE AIR, WHERE HE GRABS IT BY THE UNDERCARRIAGE AND SMASHES IT INTO THE MANGLED HUMVEE LIKE TWO PIECES OF BREAD BEING SMACKED TOGETHER. HE ROARS, EXULTING IN HIS INVINCIBILITY, SCATTERING TERRIFIED PEOPLE FROM THEIR CARS WHICH THEY ABANDON.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIKORSKY<\/stage_direction>\n    <scene_description>MONITOR: FUZZED OUT. BANNER, ROSS and BETTY: silent.<\/scene_description>\n    <character>COMMUNICATIONS OFFICER<\/character>\n    <dialogue>General, NYPD wants to know what to use against it, SAC has that A-10 in the air and ready... What do you want me to tell them? .... Sir?<\/dialogue>\n    <scene_description>ROSS IS FROZEN: there is no way to fight this monster<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>The sound waves stopped it at the campus...they stopped Bruce...<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>They need an open field of fire, there's too much down there to absorb them...too many places to hide...<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>You can't stop it, you have to kill it.<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>And what do you propose, a bomb? How big should it be, you tell me!<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>You have to take me back there.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>No...<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>It's the only thing that can stop it. I'm the only thing that can stop it.<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>Forget it, if I put you down there you won't fight, you'll run.<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>We made that thing, you and I!! We've got to try something! I think you were right, it's still me. I heard you on the table calling to me and I held on...<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>You think you can control it?<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>No but maybe I can aim it.<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>What if you just double my problem?<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>Have you got a better idea?<\/dialogue>\n    <character>ROSS<\/character>\n    <dialogue>Put us near it. Get those cuffs off him.<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>No... Open the door. Do it!<\/dialogue>\n    <scene_description>Ross nods and the soldier hits the button and the huge REAR RAMP of the helicopter starts to hinge open, COOL NIGHT AIR RUSHES IN. Bruce moves toward the back, still in his wrist shackles.<\/scene_description>\n    <character>BANNER<\/character>\n    <dialogue>Put me over it! Go higher!<\/dialogue>\n    <scene_description>They surge upward...climbing, the city dropping away. Bruce looks out the open door of the Chinook, the city 3000 feet below.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>Oh my god, no...what are you doing?! You don't even know if you'll turn!<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>I tried to do this a long time ago, when I thought I'd killed you. It wouldn't let me.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>This is too risky, it's insane!<\/dialogue>\n    <character>BANNER<\/character>\n    <dialogue>I know, but I have to try. I'm sorry.<\/dialogue>\n    <scene_description>He takes a deep breath, kisses her AND FALLS OUT THE DOOR.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NIGHT SKY OVER 125TH ST AND BROADWAY<\/stage_direction>\n    <scene_description>TIGHT ON BANNER: as he falls, eyes squeezed tight, waiting... EYES SNAP OPEN: Nothing. His face \"Uh oh.\" And he falls away from us, becoming smaller and smaller, plunging toward the street until we can barely see him and then...far below... A small FLASH OF GREEN.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BROADWAY AND 125TH ST - CONTINUOUS<\/stage_direction>\n    <scene_description>Looking up, something PLUNGES DOWN out of the dark, SPEEDING DOWN THROUGH THE FRAME...there might have been a greenish glow as it... CRASHES THROUGH THE STREET, leaving a very deep, rough hole. LOOKING PAST THE HOLE, DOWN THE STREET: the figure of the ABOMINATION wreaking havoc...CIVILIANS FLEEING...running towards us. REVERSE ON the hole as A MIGHTY GREEN HAND AND ARM RISE UP, crushing the stone of the street to create a grip, muscles flexing, hauling up a great weight... TERRIFIED PEOPLE running from the Abomination, looking over their shoulders, coming straight at us. One looks forward to see where he's going and STOPS IN HORROR at the sight of THE HULK, pulling himself out of the hole. On his hands and knees, Hulk looks up at the terrified guy and ROARS. HULK POV SHOT: Over Hulk's left shoulder we can see the guy screaming even harder now, police lights flashing, people running. A Police Chopper with it's spotlight trained down on Abomination in the distance... ...and as we SLIDE RIGHT PAST HULK'S MASSIVE HEAD... IT ALL TURNS INTO HIS HALLUCINATORY MADNESS: CAMERA CONTINUES TO ROLL AROUND HULK'S HEAD as we see all this, landing back on his face where we see and really understand by now the AGONY FOR BANNER OF BEING INSIDE HULK'S BRAIN... ...but something new happens. HULK GRIMACES AT THE CHAOS OF IT ALL, CLOSES HIS EYES AND STRAINS AND ROARS, SHAKING HIS HEAD AS IF TO CLEAR IT...LOOKS UP...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..AND THINGS ARE MORE FOCUSED...THE SOUND CLARIFIES A LITTLE. Not perfect...but better...and most importantly, he can see his target: ABOMINATION.<\/stage_direction>\n    <scene_description>Among the last of the fleeing people emptying the street, A HARLEM LOUDMOUTH, hustling and protesting at the same time<\/scene_description>\n    <character>LOUDMOUTH<\/character>\n    <dialogue>...tired of this shit! Show me some motherfuckin' fifteen foot monster buggin' out in the WHITE man's neighborhood, somebody'd be...<\/dialogue>\n    <scene_description>He turns and sees HULK...stops cold...Looks back at Abomination...<\/scene_description>\n    <character>LOUDMOUTH<\/character>\n    <dialogue>Oh, I see...it's a family thing. I'm gonna let you all work this out.<\/dialogue>\n    <scene_description>He scoots. HULK STARES AT ABOMINATION'S BACK, STANDS TALL AND FLEXES AND ROARS...and it SHAKES THE STREET. ABOMINATION TURNS...SEES HIM. EYES FLARE...RECOGNITION.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIKORSKY - NIGHT<\/stage_direction>\n    <scene_description>Ross and Betty looking down on the lanes of 125th St. POV: the two TITANS START TO RUN AT EACH OTHER<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 125TH STREET - NIGHT<\/stage_direction>\n    <scene_description>HULK and ABOMINATION ACCELERATING TOWARD EACH OTHER. AND THEY COLLIDE, LIKE TWO ELEPHANTS BEING SHOT TOGETHER THE COLLISION EMITS A SOUND LIKE A THUNDERCLAP AND THE SHEER FORCE OF IT BLOWS OUT THE GLASS AND LIGHTS OF THE MARQUEE ON THE APOLLO THEATER AND SURROUNDING STOREFRONTS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HARLEM STREETS - NIGHT<\/stage_direction>\n    <scene_description>MANO A MANO: the TITANS brawl through the street, BEATING EACH OTHER SAVAGELY. ABOMINATION'S BONE PROTRUSIONS SLASH HULK'S SKIN. HULK'S THUNDEROUS PUNCHES RATTLE OFF ABOMINATION STAGGERING HIM BUT ALSO SHREDDING THE FLESH ON HULK'S KNUCKLES. ABOMINATION HAS HIM FROM BEHIND, A CHOKE HOLD. HULK DROPS A KNEE AND LEVERS THE OPPOSITE SHOULDER, HEAVING ABOMINATION THROUGH THE FRONT OF A CIRCUIT CITY SUPERSTORE...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUPERSTORE<\/stage_direction>\n    <scene_description>ABOMINATION crashes headfirst through the glass doors and his head goes straight into the stairs of an escalator, his shoulders splitting the hand rails apart as TERRIFIED NIGHTTIME SHOPPERS DIVE AWAY. ABOMINATION pulls his head out of the NOW BROKEN ESCALATOR STAIR BELT AND SEIZES IT BY A BROKEN END<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET<\/stage_direction>\n    <scene_description>ABOMINATION emerges from the store with THE SERRATED STEEL ESCALATOR STAIR AS A FEARSOME WHIP HE SLINGS IT AT HULK, SLICING LIGHTPOLES OFF AS IT ROLLS OUT AND SLASHES HULK ACROSS HIS UPRAISED ARMS AND SHOULDERS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIKORSKY - NIGHT<\/stage_direction>\n    <scene_description>THE GUNSHIP ARCING LOW OVER HARLEM<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIKORSKY<\/stage_direction>\n    <scene_description>Ross and Betty watch from above, as the Pilot tries to stay with the fight POV: the silver whip arcing back through the air<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>WHIPPING AT HIM A SECOND TIME BUT HULK IS UNDER IT NOW, CATCHING IT AS IT HISSES OVER, SPINNING HIS WEIGHT AGAINST IT AND FLINGING ABOMINATION INTO A BRICK WALL, ONLY TO HAVE ABOMINATION SNAP IT FROM UP TO DOWN SO THAT A NASTY WAVE ROLLS THROUGH IT CRACKING THE END UP AND INTO HULK'S FACE, KNOCKING HIM ON HIS BACK. AND ABOMINATION IS ON HIM AND BEATING HIM WITH HORRIBLE BLOWS... CRABBING UP, HULK GETS HIS FEET UP UNDER HIM, ROLLS BACKWARD AND FLIPS ABOMINATION UNDER HIM NOW, IMMEDIATELY RETURNING HORRIBLE BLOWS INTO ABOMINATIONS RIBS THAT MAKE HIM HOWL IN PAIN. BUT NOW IT'S ABOMINATION'S TURN TO GET HIS FEET INTO HULK'S TORSO AND HURL HULK WITH THE FULL FORCE OF HIS LEGS A FULL BLOCK IN THE AIR AND INTO THE 4TH FLOOR OF A 16 STORY APARTMENT BUILDING. HE ROLLS OVER AND CHARGES THE BUILDING IN THE WINDOWS WE CAN LITERALLY SEE HULK FALLING DOWN THROUGH THE CEILINGS OF TERRIFIED DWELLERS UNTIL HE HITS THE GROUND FLOOR AGAIN<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT BUILDING - CONTINUOUS<\/stage_direction>\n    <scene_description>ABOMINATION BURSTS INTO A GROUND FLOOR APT, LOOKING FOR HULK SEES HIM THROUGH THE SMALL DOORWAYS AND BARRELS IN. AS HULK RISES, HE PUNCHES HIM WITH AN UPPERCUT THAT SENDS HIM BACK UP TWO FLOORS. ABOMINATION HAULS HIMSELF UP IN PURSUIT, LOOKS LEFT TO GET KICKED IN THE FACE, BLOWING HIM LATERALLY THROUGH THE WALL, PAST A FAMILY WATCHING TV AND INTO THE NEXT APARTMENT AND OUT THE FAR WALL OF THE BUILDING. THE BONES IN HIS ANKLES GRAB LIKE HOOKS AND PREVENT HIM FROM FALLING AND HE DOES A SIT UP, SEES HULK CHARGING HIM, GRABS THE OUTER WALL AND CLIMBS OUT OF THE WAY USING HIS HANDS TO PULVERIZE HAND-HOLDS IN THE BRICK WALL . HULK LOOKS OUT AND UP AND SCRAMBLES AFTER HIM, CRUSHING HIS OWN HAND-HOLDS AND CLIMBING<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIKORSKY<\/stage_direction>\n    <scene_description>Looking down, they spot the monsters climbing onto the roof They bank and circle<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>They're a block north of the university again...can we get a local chopper with a spot on it, maybe we can give him some help.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 121ST STREET<\/stage_direction>\n    <scene_description>CABOT, battered and shaken limps out onto the sidewalk the HUMVEE departed and looks up at THE SIKORSKY, arcing overhead, above a tall apartment building.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. APARTMENT BUILDING ROOF - CONTINUOUS<\/stage_direction>\n    <scene_description>A forest of water towers, huge industrial AC units. HULK emerges over the lip of the roof, landing with a THUD QUIET. No sign of Abomination. METAL GROANING. A WATER TOWER SHAKES ON ITS IRON LEGS. Behind Hulk as he steps right to look around the stairwell... nothing. Back left...ABOMINATION. STANDING WITH A 20 FOOT IRON GIRDER IN HIS HANDS LIKE A BASEBALL BAT. SLIDING FROM HULK'S LEFT SHOULDER PAST HIS HEAD: HULK'S DISTORTION VIEW: ABOMINATION SWINGS THE LETHAL CLUB TOO FAST. IT CONNECTS -- A HORRIBLE SOUND. LIKE AN ALUMINUM BAT AND IT CREAMS HULK BACK THROUGH THE AIR FULLY OVER THE ROOF OF THE NEXT TWO BUILDINGS AND DOWN, DISAPPEARING WITH MUFFLED CRASH SOMEWHERE 16 STORIES DOWN AND TWO BLOCKS AWAY.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIKORSKY<\/stage_direction>\n    <scene_description>Betty gasps... ROSS acts<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>Fire! Give him all of it!<\/dialogue>\n    <scene_description>And with that the DOOR CANNON JUST BEHIND THE COCKPIT OPENS UP STREAMS OF HIGH CALIBER FIRE STREAKING OUT THROUGH THE DARK<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOP<\/stage_direction>\n    <scene_description>ROUNDS POUND INTO ABOMINATION, SOME GLANCING OFF THE PLATELIKE BONES, OTHERS RIPPING THROUGH HIS FLESH PURPLISH BLOOD RISING IN THE WOUNDS HE TURNS, ENRAGED BY THIS NEW ATTACK AND HURLS HIS IRON GIRDER LIKE A JAVELIN IT ROCKETS AT THE HELICOPTER, MISSING BY A HAIR AND DISAPPEARING OUT INTO THE DARK SKY<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 5TH AVENUE - NEAR THE NORTH END OF CENTRAL PARK<\/stage_direction>\n    <scene_description>An UPPER EAST SIDE MOM with her YOUNG SON and their DOG, walking north, when A 20 FOOT IRON GIRDER PLUNGES OUT OF THE SKY, CHOPPING ONE OF THOSE RIDICULOUS HUMMER LIMOS IN HALF AND BOUNCING DOWN THE STREET<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>And that is why I tell you, \"never go above 96th Street!\"<\/dialogue>\n    <scene_description>She turns them around.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY - NIGHT<\/stage_direction>\n    <scene_description>HULK sprawled in a huge green DUMPSTER, shaking off stars. He jumps up, TAKES A RUNNING START DOWN THE ALLEY AND LEAPS... HULK DOES A PARKOUR MOVE, USING HIS FEET TO RUN UP THE WALL BY BOUNCING OFF EITHER SIDE OF THE CORNER.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOPS<\/stage_direction>\n    <scene_description>HULK pops out on the roof. Three blocks away he can see the helicopter pouring fire down onto the roof at his foe. ABOMINATION: taking hits, furious, reaches for A SATELLITE DISH. HULK STARTS TO SPRINT RUNNING ACROSS THE ROOFTOPS, LEAPING GAPS IN BUILDINGS AND RISING TO HIGHER ROOFS, USING BOTH HANDS AND FEET TO ACCELERATE HIMSELF PARKOUR-STYLE HE CHARGES ABOMINATION: RIPS THE SATELLITE DISH FROM ITS BASE AND LOOKS UP AS THE HELICOPTER ARCS ROUND TO FIND HIM, HE TWISTS HIS BODY LIKE GREEK DISCUS THROWER HULK: CLOSING... HE ACCELERATES IN A FINAL BURST AND DIVES, HITTING ABOMINATION JUST AS HE THROWS - THE SATELLITE DISH, WOBBLED OFF ITS COURSE BY HULK'S HIT, CLIPS THE TAIL ROTOR OF THE SIKORSKY - HULK HITS ABOMINATION SO HARD THAT IT SEEMS TO SNAP HIM ALMOST IN HALF - THE HELICOPTER STARTS ARCING DOWN OUT OF CONTROL<\/scene_description>\n    <character>PILOT'S VOICE<\/character>\n    <dialogue>I can't hold it! I gotta put it down! Hang on!!<\/dialogue>\n    <scene_description>- BETTY CLOSES HER EYES - HULK AND ABOMINATION FLY ON THEIR OWN PARALLEL ARC, BARELY MISSING THE UNDERSIDE OF THE PLUNGING SIKORSKY - CABOT'S POV FROM THE STREET: THE TWIN FORMS OF THE MONSTERS AND THE CRASHING HELICOPTER DESCENDING IN A RUSH OF SOUND - HULK AND ABOMINATION PLUNGE OVER THE ROOF OF A UNIVERSITY BUILDING, POUNDING THROUGH THE SUPPORT STRUCTURE OF A HUGE WATER- TOWER ON THE WAY DOWN - THE WATER TOWER TOPPLES - THE HELICOPTER SPINNING WILDLY AROUND ITS MAIN ROTOR BARELY CLEARS A BUILDING, CLIPS THE SIDE OF A LARGE UNIVERSITY HALL AND CRASHES INTO THE CORNER OF A LARGE STONE PLAZA, SURROUNDED BY UNIVERSITY BUILDINGS - HULK AND ABOMINATION CRASH INTO THE SAME PLAZA, PULVERIZING THE STONE AND GOUGING A 100 FOOT LONG GROOVE - THE WATER TOWER CRASHES, HITS THE EDGE OF THE BUILDING, SNAPS THE TANK ITSELF OFF, WHICH PLUMMETS TO THE GROUND AND BURSTS, SENDING THOUSANDS OF GALLONS WASHING OVER HULK AND ABOMINATION AND SEPARATING THEM SLIGHTLY.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK CITY PLAZA - CONTINUOUS<\/stage_direction>\n    <scene_description>People in windows and surging into the perimeter to watch. People are starting to CHEER FOR HULK. BUT ABOMINATION BEATS HULK AGAINST A WALL LIKE A BOXER CLINCHES AND STARTS TO CHOKE HULK WITH HIS MASSIVE FOREARM PINNING HIS THROAT AGAINST THE STONE WALL, CRACKING IT; HIS WRIST BONE DIGGING INTO HULK'S NECK. THE SHATTERED HELICOPTER: Lying on its side; the rear end and ramp are crushed closed. There is no side door. In the cockpit glass the pilot looks dead; in the gunner's opening on the side, the GUNNER slumped unconscious, the CANNON bent blocking the escape of BETTY: trying to find a way out SPARKS BURST IN CASCADES from the shattered Rotors assembly, flying closer and closer to the HUGE SIDE GAS TANKS, torn open and dripping POOLS OF GAS right below Betty. BETTY looks down into the cabin at: ROSS, battered<\/scene_description>\n    <character>ROSS<\/character>\n    <dialogue>Go...GO!!<\/dialogue>\n    <scene_description>BETTY can only get halfway out...she sees the flames...<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>BRUCE!!<\/dialogue>\n    <scene_description>HULK SEES BETTY TRAPPED IN THE HELICOPTER, SHE's IN TROUBLE GREEN PULSE: IN THE BASE OF HULK'S SKULL AND NEW SIZE AND STRENGTH LITERALLY SURGE INTO HIM IN FRONT OF OUR EYES ABOMINATION'S EYES GO WIDE AS HULK SEIZES HIS WRISTS AND WITH RAW POWER SPREADS ABOMINATION'S HANDS AWAY FROM HIS THROAT HULK HEAD-BUTTS AGAIN AND AGAIN, THEN DELIVERS A MASSIVE BLOW TO THE SOLAR PLEXUS, DOUBLING ABOMINATION WHO HE THEN DRIVES HEADFIRST INTO THE WALL HULK SPRINTS FOR BETTY AS THE SPARK HITS THE TANK WITH A WHOOSH OF FLAME HULK ISN'T GOING TO BEAT AN EXPLOSION AND HE SUCKS IN A HUGE BREATH AND BLOWS A TREMENDOUS BLAST OF BREATH AT THE FLAME FROM 15 FEET AWAY, BLOWING IT OUT.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <scene_description>A CRACKING, RATTLING SOUND....Her eyes go wide. And HULK takes A TREMENDOUS BLOW TO THE SIDE OF THE HEAD, STAGGERING HIM. HE SPINS... ABOMINATION HAS MADE A CLUB OUT OF A CHAIN RUNNING BETWEEN CONCRETE POSTS, WITH THE POSTS STILL ATTACHED LIKE A MACE BEFORE HULK CAN RECOVER FROM THE BLOW, HE SWINGS AGAIN; THIS TIME HULK DUCKS BUT IT CATCHES HIM IN THE THIGH AND KNEE, WIPING HIS LEGS OUT... A HORRIBLE BONE-CRUNCHING BLOW. HULK TRIES TO RISE, BATTERED...ON ONE KNEE BETTY: helping Ross out of the crushed cabin turns to see... ABOMINATION WINDS UP FOR THE FINAL BLOW HULK, INTO A SQUAT, RAISES HIS FISTS HIGH ABOVE HIS HEAD AND DRIVES THEM INTO THE GROUND, THE CONCUSSION SO POWERFUL THAT A CRACK EXPLODES VIOLENTLY UP ALONG THE LENGTH OF THE PLAZA SO THAT AS ABOMINATION STEPS TO SWING, HE IS KNOCKED OFF BALANCE, HIS FOOT COMING DOWN IN THE FISSURE AND AS THE CLUB ARCS OVER HULK'S HEAD, MISSING, HE GRABS THE CHAIN, DIVES AND ROLLS FORWARD PAST ABOMINATION, WRAPPING THE CHAIN AROUND HIS ENEMY'S NECK ONCE, TWICE... AND HEAVES BACK ON IT. ABOMINATION'S LEG IS CAUGHT IN THE FISSURE, HULK TWISTING HIM AGAINST THE TRAPPED LEG TO TRAP HIM. DESPITE THE HORRENDOUS TORQUE ON HIS BODY, IT ALMOST SEEMS AS THOUGH ABOMINATION HAS THE BRUTE STRENGTH IN HIS NECK AND BACK TO RESIST...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..THE EYES OF ALL ONLOOKERS GLUED TO THE DEATH MATCH<\/stage_direction>\n    <scene_description>ABOMINATION'S HAND GRABS BEHIND HIM TEARING AT HULK'S FACE AND SHOULDERS, CUTTING FLESH, GOUGING HULK'S EYES HULK DOESN'T FLINCH. HEAVING BACK WITH EVERY FIBRE OF HIS STRENGTH HE LIFTS ONE FOOT AND PLANTS IT INTO ABOMINATION'S SHOULDER...THIS IS THE LETHAL LEVERAGE HE NEEDED. HE PRESSES OUT WITH HIS LEG, REARING BACK AND UP ON THE CHAIN WITH HIS SHOULDERS AND ARMS...BOTH CREATURES HOWL, EVERY VEIN BURSTING. AND THEN WITH A HORRIBLE POPPING AND CRACKING...HULK BREAKS THE ABOMINATION'S NECK, LITERALLY STRETCHING AND TWISTING IT GROTESQUELY ABOMINATION'S EYES FLARE...AND THEN WITH A FINAL KICK...HE SAGS. HULK FALLS BACK, SITTING, HIS FOOT STILL ON THE SHOULDER. HE RISES, SHOVING THE BODY OVER ONTO ITS FACE, AND WITH ONE FOOT PLANTED ON THE HUGE BACK OF HIS ENEMY AND THE MOON SHINING DOWN ON HIM, HE THROWS BACK HIS FISTS AND ROARS FACES: ROSS, BETTY, CABOT, onlookers... STARING IN AWE HULK SCANS THE RING -- looking for any new threat, face fierce. DARK GREEN BLOOD RUNS IN THICK RIVULETS FROM TEARS ALL OVER HIS BODY... HIS NOSE...HIS GAZE FINDS... Betty. He stops and stares at her. Knows her. Behind her: Ross - he knows him too and his EYES FLARE, but Ross only stares.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>Shh. It's over... it's over.<\/dialogue>\n    <character>HULK<\/character>\n    <dialogue>Betty.<\/dialogue>\n    <scene_description>It's a deep bass rumble, barely a whisper. A tear falls down her cheek and he puts out a finger to catch it. Tired. Eyes almost drooping... THE BEATING OF ROTORS AND A WHITE BEAM OF LIGHT sweeping on him. SLIDING INTO HULK'S POV: THE LIGHT IS HORRIBLE, an ASSAULT Betty's head drops... she knows... AND HULK RUNS... Straight at a limping CABOT, standing between him and the street...<\/scene_description>\n    <character>CABOT<\/character>\n    <dialogue>You gotta be kidding me...<\/dialogue>\n    <scene_description>She DUCKS as he HURDLES OVER HER.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS OF HARLEM - RIVERSIDE PARK - CONTINUOUS<\/stage_direction>\n    <scene_description>Hulk sprints west, crosstown\u2026 Pounding the pavement\u2026cars screeching to a halt\u2026people gaping as the Titan flashes past\u2026. \u2026accelerating\u2026out of the buildings and through the trees at the top end of Riverside Park\u2026 Helicopters above tracking him\u2026 sound of radio calls trying to keep tabs on him\u2026 warning the Coast Guard ship that he's heading their way\u2026 \u2026and he can see it \u2026 the water of the Hudson River\u2026 A COAST GUARD CUTTER on the near shore blocking his path\u2026 The spotlight from the POLICE CHOPPER on him now\u2026 the Coast Guard cutter swinging it's own light up to find him as he races toward it, reaches the elevated spans of the West Side Highway\u2026 \u2026and LEAPS...HIS MOST POWERFUL LEAP YET...SOARING HIGH\u2026 Sailor's POV: THE HULK HURTLING THROUGH THE BLACK SKY, LIT BY SPOTLIGHTS, COMING RIGHT AT HIM...FEET EXTENDED, ARMS OUT WIDE...HE SMASHES THROUGH THE RADAR DISH... AND JACKKNIFES INTO THE WATER LIKE A DEPTH CHARGE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNDERWATER<\/stage_direction>\n    <scene_description>In the inky green black of the river\u2026 THE HULK SMASHES INTO FRAME FROM ABOVE He rockets through the frame\u2026trailing greenish white bubbles\u2026 \u2026AND DISAPPEARS\u2026 as the bubbles fade\u2026 TO BLACK. FADE UP:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILITARY BASE BAR - DAY<\/stage_direction>\n    <scene_description>Ross sits on a bar stool in the middle of a mostly empty bar, mid- afternoon. He lifts his drink to his lips, catches his reflection in a mirror behind the bar.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BETTY AND SAMSON'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Samson sits on the front steps, staring out at the street. He lifts the cordless phone in his hand and dials a number.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BATTERY PARK- CONTINUOUS<\/stage_direction>\n    <scene_description>Betty stands by a railing overlooking the river and the New York Harbor. A FERRY tugs out towards the Statue of Liberty. Her phone rings, she pulls it out and looks at the number, answers.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>SAMSON<\/character>\n    <dialogue>Oh, thank god. You're alright? When I couldn't reach you...<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>I'm not hurt. A lot of people were though.<\/dialogue>\n    <character>SAMSON<\/character>\n    <dialogue>I know, it's been all over the tv. It doesn't seem real.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>It was real.<\/dialogue>\n    <character>SAMSON<\/character>\n    <dialogue>Come home. Just come home.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>Samson, did you call somebody the night Bruce was at our home? Is that why they came for him?<\/dialogue>\n    <character>SAMSON<\/character>\n    <dialogue>I was frightened. Forgive me.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>I do. But I'm not coming home yet.<\/dialogue>\n    <character>SAMSON<\/character>\n    <dialogue>Where are you going?<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>I have no idea. But I'll let you know when I do. I promise.<\/dialogue>\n    <scene_description>She hangs up. He buries his face in his hands. Betty takes out her camera and looks at the PICTURE SHE TOOK OF BRUCE...THAT SAD, HOPEFUL SMILE. She looks out at the harbor and tries to imagine where he is...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT - REMOTE EXOTIC LOCATION - DAY<\/stage_direction>\n    <scene_description>A BEACH: Banner staring out at the ocean. He steps into A SMALL ROUGH BUNGALOW. He walks to a tidy desk and takes out an envelope from the drawer. He has something in his hand... it's Betty's mother's necklace. He slides it into the envelope and writes her name on it. TIME CUT: We're behind his head now...rolling around him to find him sitting in the lotus position...meditating. Black pants. No shirt. His eyes closed. Pulse monitor on his wrist. Faces the open doors opened out towards the ocean waves. He hardly seems to breathe. PULSE: 42. Then, with a deep inhale...his PULSE STARTS TO RISE... Nothing has changed around him, but his pulse is RACING UPWARD...the sound of his heart BEATING FAST RACING OVER 200 EYES SNAP OPEN: GREEN WAS THAT A FLASH OF A SMILE? BLACK: END.<\/scene_description>\n  <\/scene>\n<\/script>","summary":"At Culver University in Virginia, General Thaddeus \"Thunderbolt\" Ross meets with Dr. Bruce Banner, the colleague and boyfriend of his daughter Betty, regarding an experiment that Ross claims is meant to make humans immune to gamma radiation. The experiment\u2014part of a World War II-era \"super soldier\" program that Ross hopes to re-create\u2014fails. The exposure to gamma radiation causes Banner to transform into the Hulk for brief periods of time, whenever his heart rate rises above 200 beats per minute. The Hulk destroys the lab and surrounding area, killing several people inside and injuring the General and Betty, and others outside. Banner becomes a fugitive from the U.S. military and Ross, who wants to weaponize the Hulk. Five years later, Banner works at a bottling factory in Rocinha, Rio de Janeiro, Brazil, while searching for a cure for his condition. On the internet, he anonymously collaborates with a colleague known only as \"Mr. Blue.\" He is learning Yoga techniques to help keep control and has not transformed in five months. After Banner cuts his finger, a drop of his blood falls into a bottle, which is eventually ingested by an elderly consumer in Milwaukee, Wisconsin, giving him gamma sickness. Using the bottle to track down Banner, Ross sends a special forces team, led by Emil Blonsky, to capture him. Banner transforms into the Hulk and defeats Blonsky's team, with Blonsky surviving. After Ross explains how Banner became the Hulk, Blonsky agrees to be injected with a small amount of a similar serum, which gives him enhanced speed, strength, agility, and healing powers but also begins to deform his skeleton and impairs his judgment. Banner returns to Culver University and reunites with Betty. Banner is attacked a second time by Ross and Blonsky's forces, tipped off by Betty's suspicious boyfriend, Leonard Samson, causing Banner to again transform into the Hulk. The ensuing battle outside the university proves futile for Ross's forces, and they retreat, though Blonsky, whose sanity is faltering, attacks and mocks the Hulk. The Hulk severely injures Blonsky and flees with Betty. After the Hulk reverts to Banner, he and Betty go on the run, and Banner contacts Mr. Blue, who urges them to meet him in New York City. Mr. Blue is actually cellular biologist Dr. Samuel Sterns, who tells Banner he has developed a possible antidote to Banner's condition. After a successful test, he warns Banner that the antidote may only reverse each transformation. Sterns reveals he has synthesized Banner's blood samples, which Banner sent from Brazil, into a large supply, to apply its \"limitless potential\" to medicine. Fearful of the Hulk's power falling into the military's hands, Banner wishes to destroy the blood supply. A recovered Blonsky joins Ross's forces for a third attempt to take Banner into custody. They succeed, and Banner and Betty are taken away in a helicopter. Blonsky stays behind and orders Sterns to inject him with Banner's blood, as he covets the Hulk's power. The experiment mutates Blonsky into the Abomination, a creature with size and strength surpassing that of the Hulk. He attacks Sterns, who gets some of Banner's blood in a cut on his forehead, causing him to begin mutating as well. The Abomination rampages through Harlem. Realizing that the Hulk is the only one who can stop the Abomination, Banner convinces Ross to release him. He jumps from Ross's helicopter and transforms after hitting the ground. After a battle throughout Harlem, the Hulk defeats the Abomination by nearly strangling him to death with a chain, but spares his life upon hearing Betty's plea and leaves the Abomination for Ross and his forces to arrest. After having a peaceful moment with Betty, the Hulk flees New York. A month later, Banner is in Bella Coola, British Columbia. Instead of suppressing his transformation, he begins to transform in a controlled manner with a slight smirk. Later, Tony Stark approaches Ross at a local bar and informs him that a team is being put together."}
{"movie_name":"Get on Up_2014","imdb_id":"tt2473602","script":"<script>\n  <scene>\n    <character>GET ON UP<\/character>\n    <dialogue>Story by<\/dialogue>\n    <scene_description>Steven Baigelman and Jez Butterworth &amp; John-Henry Butterworth Screenplay by Jez Butterworth &amp; John-Henry Butterworth<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD. AUGUSTA. 1988.<\/stage_direction>\n    <scene_description>A hot muggy Georgia morning. A pickup truck comes around a corner and moves towards us. Inside, music plays on the radio. We can't quite see who's driving.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. PICKUP TRUCK\/AUGUSTA STREETS. MOMENTS LATER<\/stage_direction>\n    <scene_description>The driver heads down the road. He beats his hand on the steering wheel to the rhythm of the music. The driver turns up the music. As the rhythm speeds, so does the truck.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - SAME TIME<\/stage_direction>\n    <scene_description>A WOMAN, 40, sits on toilet within a stall using the bathroom. She's smoking a cigarette.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT. MOMENTS LATER.<\/stage_direction>\n    <scene_description>Cars parked in rows. The pickup pulls into the lot and screech-stops.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ADJACENT OFFICE. INSURANCE SEMINAR. DAY.<\/stage_direction>\n    <scene_description>About 30 people are attending a seminar. Behind a SEMINAR PRESENTER, The truck can be seen outside a window, stereo thumping.<\/scene_description>\n    <character>SEMINAR PRESENTER<\/character>\n    <dialogue>Which brings us on to Dental Insurance. Generally speaking, when you receive care from a participating PDP dentist, your out- of-pocket expenses will typically be lower than if your were to accept care from a dentist outside the group. The law deems it illegal for dentists to charge any more than the network approves... But listen, in my three and a half years of experience in this business people mainly care about keeping their premiums low. So, each of you must be prepared to sell the network to your clients and always cater to their specific condition.<\/dialogue>\n    <scene_description>Annoyed, the presenter turns momentarily to the truck.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. PICKUP TRUCK \/ PARKING LOT<\/stage_direction>\n    <scene_description>A fifty-five year, out of shape black man in mirror shades and a shell-suit. He's breathing heavily. Patting the dashboard, as the song ends. The man sits there a moment and exits. JAMES BROWN hitches up his pants, and walks across the lot.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NONDESCRIPT OFFICE<\/stage_direction>\n    <scene_description>There's no one around. He's jumpy. His movements odd. Twitchy.<\/scene_description>\n    <character>JAMES<\/character>\n    <parenthetical>(To himself)<\/parenthetical>\n    <dialogue>Where's everybody?<\/dialogue>\n    <scene_description>Around a corner he comes face to face with a cleaner, MAVIS, who is wearing headphones as she vacuums. Mavis screams and removes her headphones.<\/scene_description>\n    <character>MAVIS<\/character>\n    <dialogue>Mr. Brown. You scared me!<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Mavis. Where's everybody at? I got a meetin' this mornin'.<\/dialogue>\n    <character>MAVIS<\/character>\n    <dialogue>It's Sunday, Mr. Brown.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>No, it's Tuesday, Mavis.<\/dialogue>\n    <scene_description>James is caught flat-footed. SOMEWHERE OFF a toilet flushes. He rounds the corner. No-one. Opens the bathroom door. Looks inside. Sniffs. Slams it and storms off down the corridor passing a sign outside his office that reads: GET ON UP.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. ADJACENT OFFICE\/ PARKING LOT. DAY.<\/stage_direction>\n    <scene_description>As the INSURANCE SEMINAR presenter continues, the woman who was on the toilet takes her seat.<\/scene_description>\n    <character>SEMINAR PRESENTER<\/character>\n    <dialogue>Now, understand that not all people have the same type of needs. When it comes to an insurance plan everyone is different.<\/dialogue>\n    <character>SEMINAR PRESENTER<\/character>\n    <dialogue>You can't possibly sell the same monthly premium to just anyone who strolls through your door. If you learn one lesson this weekend, let it be this: We must accommodate the specific condition of the client. Bottom line! Their needs are-<\/dialogue>\n    <scene_description>The adjoining door flies opens as James enters, pissed.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>OK Stop. Sir. Stop. Who been in there?<\/dialogue>\n    <character>SEMINAR PRESENTER<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I own this building, someone has been in there used my commode. Now who was it?<\/dialogue>\n    <character>SEMINAR PRESENTER<\/character>\n    <dialogue>Sorry. We're actually renting this part of the building today, and we're in the middle of a seminar.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I don't care if you're in the middle of a heart attack son. Someone been in there, I hear the chain flush, I can smell it. Now who it was?<\/dialogue>\n    <character>INSURANCE SALESMAN<\/character>\n    <dialogue>It is. It's fuckin' him.<\/dialogue>\n    <scene_description>BACK AT THE FRONT someone sniggers. James spins round. SILENCE. Someone sniggers behind him. James spins back round and approaches the salesman.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Something funny?<\/dialogue>\n    <character>INSURANCE SALESMAN<\/character>\n    <dialogue>No, sir.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Then why you cats laughing?<\/dialogue>\n    <character>INSURANCE SALESMAN<\/character>\n    <dialogue>I wasn't laughing. It wasn't me.<\/dialogue>\n    <scene_description>James stares at the man. Turns on his heel. He storms out of the building and across the lot to his pickup truck THE PAYBACK starts: insanely tight, deep funk.<\/scene_description>\n    <character>INSURANCE SALESMAN<\/character>\n    <dialogue>I'm telling you that was James Brown.<\/dialogue>\n    <scene_description>Outside a window behind the seminar presenter, James can be seen rifling through the back of his pickup truck. The woman who used his bathroom watches James' every move.<\/scene_description>\n    <character>SEMINAR PRESENTER<\/character>\n    <dialogue>Look, I suggest we just continue... OK. So. How does the program work? Initially, participating dentists undergo an extensive credentialing process which, if approved, allows customers to pay the minimum deductible allowed and the remainder is insured. But with non- participating dentists the cost per visit is much higher and comes completely out of pocket. So some people may want a high deductible because they have more to cover, but most common folks simply want the lowest possible plan... and remember our key takeaway!?<\/dialogue>\n    <scene_description>Entire seminar in UNISON. We must accommodate the specific condition of- The office door flies open. James comes back in with a SHOTGUN.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>OK listen up people.<\/dialogue>\n    <scene_description>The room goes still and completely silent.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Being it's Sunday and all I'm gone ask each of you to imagine you're sittin' in church right now. While today's sermon may be good they's something else on your mind. You realize you gotta take a shit.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Real bad. And you don't want to shit at the church house, naw sir. So you just sit there and think about getting home to your own toilet in your own master bath on Beech Island, South Carolina. I gotta a bidet in my master bath. Love my bidet. And a big pretty oval tub too.<\/dialogue>\n    <scene_description>James spins around to man.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>You got a bidet, Sir?<\/dialogue>\n    <scene_description>He shakes his head. James looks to a woman.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>You?<\/dialogue>\n    <scene_description>She shakes her head.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Well you gotta get you one. You all gotta get you a bidet. Are y'all sure its really Sunday today?<\/dialogue>\n    <scene_description>A woman nods.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>What was just saying... Oh, that's right. Yes! You gotta take shit. So, after church, you speed back home and you run like hell to the house scared you ain't gonna make it. But you do. Now imagine unhitching your pants as your open your bathroom door. And then you see me. James Brown. Sittin' on your master toilet taking a break. What would you do?<\/dialogue>\n    <scene_description>More sniggers from all over the room. James raises his gun and KABLOOM!!! James accidentally blasts an enormous hole in the ceiling. SCREAMS AS EVERYONE HITS THE DECK. James looks up the the hole in the ceiling.<\/scene_description>\n    <character>JAMES<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>Good God. Tear up the devil. I'm gone have to get that fixed.<\/dialogue>\n    <scene_description>James looks to the gun unsure of how it went off.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Now I'm a busy man, and I'm guessin' you cats are too. But someone has abused a personal convenience. Now I ask you nicely. I'm gone ask you again. Which one of you gentlefolk hung a number two in my commode?<\/dialogue>\n    <scene_description>James approaches the salesman.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Was it you, Sir? Was it you?!<\/dialogue>\n    <character>INSURANCE SALESMAN<\/character>\n    <dialogue>Don't shoot.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I ain't gone shoot nobody, son.<\/dialogue>\n    <scene_description>Then, as if told by God, James spins around and locks eyes with the woman who used his bathroom. He approaches her.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Ma'am, it was you wasn't it? You took a break in my bathroom, didn't you?<\/dialogue>\n    <scene_description>She shakes her head and begins to cry.<\/scene_description>\n    <character>FEMALE SALESWOMAN<\/character>\n    <dialogue>Yes sir, Mister Brown.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Yes you did. Now, don't cry. It's gone be okay.<\/dialogue>\n    <scene_description>James lowers the gun to the floor. As he tries to console the woman.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>You had to use the toilet. You saw an opportunity and you took it. Yeah, I got mad but, Lady, you did right by yourself. I've spent my whole life doing right by myself. I'm James Brown and I made a difference.<\/dialogue>\n    <scene_description>JAMES LOOKS TO CAMERA AND TALKS DIRECTLY TO US:<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>You cats may not own my records but you can bet every record you have got a piece of me in 'em. Ain't nobody singing today that ain't been touched by James Brown.<\/dialogue>\n    <scene_description>James turns back to the woman.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>So, Lady, you did right by yourself. And there ain't no other way to live. You understand me?<\/dialogue>\n    <scene_description>The woman nods. James turns back to us.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>You understand me?<\/dialogue>\n    <scene_description>Police sirens are heard in the distance. James turns to his truck outside the window.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY ROAD. DAY.<\/stage_direction>\n    <scene_description>SUDDENLY - a pickup truck passes at a hundred MPH. FOLLOWED A MOMENT LATER by two city cop cars.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PICKUP TRUCK. DAY.<\/stage_direction>\n    <scene_description>James rocks in his seat. Odd guttural sounds. In the rearview. The two cop cars close upon him. Hits the gas, hard.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>HELICOPTER SHOT: EXT. ON RAMP - I-20. DAY<\/stage_direction>\n    <scene_description>The pickup truck skids onto the interstate where two city cars are now joined by two Highway Patrol cars.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>11A EXT. STREET LEVEL 11A<\/stage_direction>\n    <scene_description>A police car pulls up next to him, the officer aiming a weapon and flagging the car down. James sees him and flinches.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Don't hurt me. Don't stop me. Don't stop me.<\/dialogue>\n    <scene_description>He rams the cop car. It retreats.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. I-20. DAY<\/stage_direction>\n    <scene_description>Three prowlers and a highway patrol RV form a road block. A high engine note pierces the air. The police take up firing positions.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PICKUP TRUCK. DAY<\/stage_direction>\n    <scene_description>James sees the roadblock ahead.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Don't stop me. Don't stop me.<\/dialogue>\n    <scene_description>He smashes through road block. The windscreen is blown out with gunfire showering James with glass. He glances in the mirror as wind whips around the truck: Up ahead another police car sits in the middle of the road. A policeman steps out from the car firing his pistol at the pickup truck. James makes a hard right down a dirt road.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. PICKUP TRUCK. GRAVEL PITTS, DAY<\/stage_direction>\n    <scene_description>James's front tires are blown out. James struggles to control the skidding vehicle.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>C'mon. C'mon.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRAVEL PITTS, DAY<\/stage_direction>\n    <scene_description>The pickup truck rolls to a stop. Five various police cars from different jurisdictions enter the Pitts from five different entrances and take up positions blocking exit routes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PICKUP TRUCK. DAY.<\/stage_direction>\n    <scene_description>James sits staring straight ahead. Breathing hard. A loud hailer off screen: \"EXIT THE VEHICLE WITH YOUR HANDS ABOVE YOUR HEAD.\" James opens the door scattering glass onto the ground. Around the perimeter armed police tense. Safety's off. Keeping James in their sights. A young officer sweats nervously. James stands next to the bullet riddled wreckage of his pickup, hands above his head. He leans back and sings to the sky.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>\"I Don't Feel Noways Tired\".<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AUGUSTA COUNTRY CLUB. NIGHT. 1942 JAMES 9 YRS<\/stage_direction>\n    <scene_description>A wide, opulent looking club has taken residence in a huge antebellum home with wrap around porches. A crowd of Deep Southern white folk, in cocktail attire, fill both levels of the porches and spill out onto the lawn surrounding a BOXING RING. A GROUP OF SIX BLACK MUSICIANS FORM A DIXIELAND BAND. Without inspiration they play methodically to the all white crowd. A FAT, SWEATING ANNOUNCER, walks into the ring, grasps a dangling mic.<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <dialogue>Aaannd now folks, before the main event, the Augusta Country club is proud to present to y'all it's Annual Charity ex-travagaaanza..!<\/dialogue>\n    <parenthetical>(Drum-roll)<\/parenthetical>\n    <dialogue>Ladies and gentlemen..The Battle... Royale!<\/dialogue>\n    <scene_description>Music. HALF A DOZEN BLACK BOYS enter the ring. Hyped. A glove is pulled onto one hand. The other tied behind their backs. They are blind-folded. A WHITE MAN with a BUCKET OF WHITE PAINT daubs a number onto each boy's chest. DING! DING! The boys stagger out, blindly swinging. The crowd roars, bangs the tables as they stumble, lurch, in the baying din. The smallest of the boys stands stiff. He struggles to throw much less land a punch. The number \"One\" is painted on his chest. A much bigger boy, \"Number Six\" punches \"One\" in the gut. \"One\" goes down but then slowly rises. The dixieland band watches the exploitation with both horror and intrigue as they can't help but wonder who will be left standing. The band's sound begins to change. It becomes as energized as the match before them. They sink into the rhythm, and the effect is one of heightened energy. The drummer begins to pull the beat and the bass player instantly follows suit finding the new pocket. The drummer and bass player share a glance. This inspired pocket soars across the lawn and into the ears of boy \"Number One\". We are now transported into the mind of \"Number One\". Complete silence except for the sound of the band. Then one by one all other instruments fade away leaving only the drum and bass. James turns to the band and lowers his blindfold from over one eye. He catches eyes with the drummer and bass player. The drummer nods at James and smiles. James nods back and closes his eye. The sound morphs again as \"Number One\" begins to arrange the music in his head to his own liking. James opens his one eye and sees only the drummer and bass player on the stage. They are now playing what we and James are hearing in his head. James covers his eye again with the blindfold and forms a slight smile. His stance becomes more relaxed. His body begins to swing and morph like rubber. He throws a punch. IT LANDS. ALL AT ONCE \"Number One\" dances forward, dips, swings and sweetly CONNECTS to \"Number Four\". As the vanquished head hits the canvas, the victor, \"Number One\", bloodied, panting in the waves of laughter and summer heat, stands alone. As the boys hit the deck and are deemed \"out\" they are pulled off the mat and carried to the bed of a parked truck. \"Three\" goes down. Then \"Two\" and \"Five\". A ringside punter THUMPS the canvas with a fistful of dollars, berating him. People screaming with laughter. Only \"One\" and \"Six\" remain. Panicky, jerky, they stalk one another. Listening. \"Number One\" connects with lighting speed. \"Six\" removes his blindfold, jumps off the ring and runs across the lawn disappearing into the nearby woods. \"Number One\" stands victorious. The crowd goes wild. \"Number One\" absorbs the admiration as he slowly pushes up the blindfold and looks toward the bandstand. All the band members have returned to the stand as in reality they always were. They clap wildly as the beat and rhythm of this budding continues in his head. THE EIGHT YEAR OLD JAMES BROWN LOOKS RIGHT AT US. A level gaze. That million dollar smile, teeth coated with blood. THE BEAT CONTINUES OVER... CLOSE UP ON: The June 1968 cover of Look Magazine: A silhouette portrait of James: \"IS THIS THE MOST IMPORTANT BLACK MAN IN AMERICA?\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLANE. VIETNAM. DUSK. 1968 JAMES 35YRS<\/stage_direction>\n    <scene_description>A rickety old twin prop army plane flies low over the jungle. SUDDENLY below, tracer fire BURSTS out of the canopy.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PLANE. VIETNAM. IN THE BELLY<\/stage_direction>\n    <scene_description>Marva Whitney, Clyde Stubblefield, Jimmy Nolen, MACEO PARKER, Waymond Reed and BOBBY BYRD sit in a line opposite a line of soldiers. The soldiers hold rifles. The band hold instruments. PING! PING! PING!<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>What was that?<\/dialogue>\n    <scene_description>They glance at each other nervously. PING! PING! PING! OUTSIDE - A rocket propelled grenade streaks up out of the canopy and explodes near the plane, rocking it violently. BELOW - The world explodes, as Napalm sears across a football pitch size of jungle, a hundred feet below.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>They're shooting at us.<\/dialogue>\n    <character>MACEO<\/character>\n    <dialogue>Please, Lord! Please!<\/dialogue>\n    <scene_description>They look at the soldiers, who are also nervous. Marva looks out the window. Nothing but fire below.<\/scene_description>\n    <character>MACEO<\/character>\n    <parenthetical>(Shaking)<\/parenthetical>\n    <dialogue>Oh. My. God.<\/dialogue>\n    <scene_description>Drummond taps the soldier opposite. Points out the window. A soldier looks out, turns white.<\/scene_description>\n    <character>SOLDIER<\/character>\n    <dialogue>Holy shit.<\/dialogue>\n    <scene_description>IN THE COCKPIT - The pilots wrestle to keep the craft upright. Between them, a completely unruffled James Brown is holding court.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>See Captain Jenkins, the James Orchestra is a 22 piece, but the Gov'ment or the Army, powers't be say I can only bring six fellas. Right now I got 16 pieces sittin' in a Bangkok hotel. If I'm paying my own money to be here, and I am, I oughtta bring as many cats as I want. Breaks my heart, son. 'cause I know they all wish they was here right now.<\/dialogue>\n    <character>PILOT<\/character>\n    <dialogue>Mr. Brown, it's probably best if you go back now.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>We gone be fine, Captain.<\/dialogue>\n    <character>PILOT<\/character>\n    <dialogue>We're under attack Mr. Brown.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Settle down, Captain. James Brown was born dead but then I breathed. God didn't want me then and he sure ain't gonna call me back now.<\/dialogue>\n    <scene_description>The soldier from the back rushes in.<\/scene_description>\n    <character>SOLDIER<\/character>\n    <dialogue>The port engine's on fire.<\/dialogue>\n    <scene_description>The PILOT looks back.<\/scene_description>\n    <character>PILOT<\/character>\n    <dialogue>How far to Tan Son?<\/dialogue>\n    <scene_description>IN THE BELLY - Everyone is frozen. Saying prayers. Moaning. James appears.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Marva, fellas, Listen up. We under attack.<\/dialogue>\n    <character>MACEO<\/character>\n    <dialogue>No shit, Mr. Brown.<\/dialogue>\n    <scene_description>James flashes five fingers at Maceo four times.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Watch that mouth, Maceo. That's twenty dollars right there.<\/dialogue>\n    <scene_description>The plane suddenly lurches forty five degree and lets out an awful groan. Everyone screams. Except James who is still standing like rubber even though he wasn't holding onto anything. Bobby sees this.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Mr. Byrd, I've decided to open tonight's show with \"I Got The Feeling\".<\/dialogue>\n    <scene_description>James demeanor somehow gives comfort to Bobby. James nods at Bobby and smiles.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>How's that sound?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Sounds good, Mr. Brown.<\/dialogue>\n    <scene_description>Bobby smiles at James. The plane lurches again, Bobby screams.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HANGER - SAME TIME<\/stage_direction>\n    <scene_description>A very white female news journalist talks into a camera, as scores of rowdy troops rush toward a make shift stage. Next to her, a group of BLACK SOLDIERS wait to be interviewed.<\/scene_description>\n    <character>NEWS JOURNALIST<\/character>\n    <dialogue>Soul Brother Number One James Brown, the Hardest Working Man in Show business is embarking on a tour with a difference.<\/dialogue>\n    <character>NEWS JOURNALIST<\/character>\n    <dialogue>In association with the USO, Mr. Brown is playing a series of shows for battle fatigued US troops across Vietnam-<\/dialogue>\n    <scene_description>A BLACK INFANTRYMAN grabs the mic and looks into the camera.<\/scene_description>\n    <character>BLACK INFANTRYMAN 1<\/character>\n    <dialogue>80 percent of 9th Division is brothers. We been here 2 years. What do we get as thanks?<\/dialogue>\n    <scene_description>Another Infantryman leans in.<\/scene_description>\n    <character>BLACK INFANTRYMAN 2<\/character>\n    <dialogue>Country music.<\/dialogue>\n    <character>BLACK INFANTRYMAN 1<\/character>\n    <dialogue>Country and fuckin' Western. But James is ours, man. He's comin'. Bringin' some fuckin' soul, brother.<\/dialogue>\n    <scene_description>The other Infantryman grabs the mic.<\/scene_description>\n    <character>BLACK INFANTRYMAN 2<\/character>\n    <dialogue>Welcome to the shit, nigger!<\/dialogue>\n    <scene_description>The Infantrymen laugh and slap hands. As they walk toward stage...<\/scene_description>\n    <character>NEWS JOURNALIST<\/character>\n    <parenthetical>(To Cameraman)<\/parenthetical>\n    <dialogue>We can't use that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PLANE. IN THE COCKPIT.<\/stage_direction>\n    <character>PILOT<\/character>\n    <dialogue>I'm losing her. We're going<\/dialogue>\n    <character>SOLDIER<\/character>\n    <dialogue>Oh mother of Christ!<\/dialogue>\n    <scene_description>down. The wounded beast judders in low over the canopy and starts sinking into it when the jungle suddenly clears.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TAN SON NHUT AIRFIELD 9TH DIV INFANTRY CAMP OUTSIDE<\/stage_direction>\n    <scene_description>NOM PEI. JUNE 1968. SAME TIME The damaged plane breaks out over the field with both engines smoking. Barely regaining control, the pilots make a very hard landing. MUSIC: \"There Was A Time\" begins. Army personnel race toward the plane. Next to the runway an old hanger is teeming with soldiers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIRFIELD. MOMENTS LATER<\/stage_direction>\n    <scene_description>Biblically pissed, James and Bobby walk from the flaming plane alongside CORPORAL DOOLEY. Behind them, in deep shock, Maceo and the rest of the band, clutching instruments.<\/scene_description>\n    <character>CORPORAL DOOLEY<\/character>\n    <dialogue>Welcome to Bear Cat, Mr. Brown. Corporal Dooley. USO Liaison officer. Can I first say I'm a big, big fan of your mus-<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>You in charge when Bob Hope was over Corporal?<\/dialogue>\n    <character>CORPORAL DOOLEY<\/character>\n    <parenthetical>(proudly)<\/parenthetical>\n    <dialogue>I was.<\/dialogue>\n    <character>JAMES<\/character>\n    <parenthetical>(to Bobby)<\/parenthetical>\n    <dialogue>Mr. Byrd, You think Bob Hope's plane got shot down?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No sir, Mr. Brown.<\/dialogue>\n    <scene_description>As they approach the hanger filled with troops, a chant begins inside.<\/scene_description>\n    <character>TROOPS<\/character>\n    <dialogue>James Brown! James Brown! James Brown!<\/dialogue>\n    <character>CORPORAL DOOLEY<\/character>\n    <parenthetical>(Tightly)<\/parenthetical>\n    <dialogue>Sorry about the plane trouble-<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Plane trouble? They tried to kill James Brown today. You wanna go down in history as the man who killed the funk?<\/dialogue>\n    <scene_description>James and crew near the rear stage entrance of the hanger.<\/scene_description>\n    <character>CORPORAL DOOLEY.<\/character>\n    <dialogue>About the show, if you could just keep it to 25, 30 min-<\/dialogue>\n    <character>JAMES.<\/character>\n    <parenthetical>(Interrupting)<\/parenthetical>\n    <dialogue>Whoa, whoa, whoa.<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(under his breath)<\/parenthetical>\n    <dialogue>Oh no.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Corporal, let me tell you the first thing about James Brown. The first thing is James Brown don't tell no man his business. He won't tell you how to take Pnom Ridge or how you screwed up the Tet offensive. I don't tell you how to fight your war Corporal. So don't tell me when, where or for how long I can be funky.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HANGAR. CONTINUOUS.<\/stage_direction>\n    <scene_description>HUNDREDS OF HOT, STEAMING TROOPS ROAR, like a thousand space rockets taking off at once. It's awesome, shaking the stage.<\/scene_description>\n    <character>TROOPS<\/character>\n    <dialogue>James Brown! James Brown! James Brown!<\/dialogue>\n    <scene_description>James and Bobby enter the hanger. We walk with them and strut up six steps and onto the stage. Bobby stands back and watches as James grabs the mic and looks out over the sea of faces.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Sorry we're late. Are you cats ready?<\/dialogue>\n    <scene_description>The troops roar even louder. James turns straight to camera, flashes his smile and talks directly to us.<\/scene_description>\n    <character>JAMES<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Are you cats ready?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A PINE WOOD. 1941. DAY. JAMES 8 YRS<\/stage_direction>\n    <scene_description>A cold fog hangs in the fading sunlit trees. Eight year old James stands alone in a forest clearing. He looks all around him.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Momma?<\/dialogue>\n    <scene_description>He scans the trees. He's alone. SUDDENLY in the trees he glimpses someone. A woman. 30. Red dress. She giggles as she scampers from behind one tree to another. She peeps round. He beams.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Momma!<\/dialogue>\n    <scene_description>He chases her. She's laughing.<\/scene_description>\n    <character>SUSIE<\/character>\n    <dialogue>You can't catch me!<\/dialogue>\n    <scene_description>Each time he loses her she peers from behind a tree he squeals in delight but she disappears. He is suddenly alone.<\/scene_description>\n    <character>JAMES<\/character>\n    <parenthetical>(Scared)<\/parenthetical>\n    <dialogue>Momma?<\/dialogue>\n    <scene_description>She jumps out from behind a tree and scoops him up.<\/scene_description>\n    <character>SUSIE<\/character>\n    <dialogue>I gotcha!<\/dialogue>\n    <scene_description>He squeals and laughs in her arms.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODED PATH. DAY. 1941<\/stage_direction>\n    <scene_description>Susie and James walk hand in hand.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Momma, I'm hungry.<\/dialogue>\n    <character>SUSIE<\/character>\n    <dialogue>You ain't hungry baby. That feeling in yo tummy?<\/dialogue>\n    <character>SUSIE<\/character>\n    <dialogue>That feelin' is the spirit inside you. He's in there tickling your belly right now cause he knows you such a good boy. You ain't hungry. He's just trying to make you laugh.<\/dialogue>\n    <scene_description>Susie begins tickling James. James starts to laugh.<\/scene_description>\n    <character>SUSIE<\/character>\n    <dialogue>Are you a good boy?<\/dialogue>\n    <scene_description>He tries to speak but can't from laughing.<\/scene_description>\n    <character>SUSIE<\/character>\n    <dialogue>I can't hear you.<\/dialogue>\n    <scene_description>Susie continues to tickle James.<\/scene_description>\n    <character>JAMES<\/character>\n    <parenthetical>(through laughter)<\/parenthetical>\n    <dialogue>I'm a good boy!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHACK. BROWN FAMILY HOME. DEEP WOODS. SOUTH CAROLINA.<\/stage_direction>\n    <scene_description>Cold. James sits on the porch with a stick. He continually beats the stick on the porch post forming a beat. He suddenly stops as a man in a thick worn work coat and heavy boots, is approaching singing the blues to himself. The man puts his pack down, ruffles the kid's hair, says nothing and walks inside.<\/scene_description>\n    <character>SUSIE<\/character>\n    <dialogue>Where you been? I been sittin' here for nine days with your child. You nine days late Joe. Where you been?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Working turpentine, baby. Chippin' trees.<\/dialogue>\n    <scene_description>James peers around the opened door and watches.<\/scene_description>\n    <character>SUSIE<\/character>\n    <dialogue>Where you been? Gamblin? You spent the money again?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>SUSIE<\/character>\n    <dialogue>DON'T LIE TO ME JOE! Give me some money.<\/dialogue>\n    <character>JOE BROWN<\/character>\n    <dialogue>I ain't lyin'!<\/dialogue>\n    <character>SUSIE<\/character>\n    <dialogue>Give me some money!<\/dialogue>\n    <scene_description>Susie tries to put her hands in Joe's pocket. He shoves her hand to his side.<\/scene_description>\n    <character>SUSIE<\/character>\n    <dialogue>I'm here all alone here for four weeks. And we got nothing. Nothing!<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Susie. Shut your sweet mouth get those panties off baby.<\/dialogue>\n    <scene_description>Joe grabs Susie and carries her into the cabin.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>28A INT. CABIN. CONTINUOUS. 28A<\/stage_direction>\n    <scene_description>Joe and Susie kiss and begin tearing at each others clothes. Joe's been gone A LONG TIME. As they lower to the bed, we see James watching through the opened door. James soon turns his head and walks off into the woods.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>28A EXT. FOREST. BARNWELL. DAY. LATER THAT DAY 28A<\/stage_direction>\n    <scene_description>James walks down a worn path deep in the woods singing a song to himself. He suddenly stops. There, about ten feet up in the air, hanging in a tree is a black man. Aged about eighteen. The child stares up at the lynched man who is dressed in nice clothes. Then to his feet within beautiful leather shoes. Silence. He looks at him carefully. James reaches his small hand up to touch the suspended foot of the man. Pulls on his laces. His shoe comes off. James drops the shoe and removes the other. CUT TO: OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARK CORRIDOR. DAY. TAMI SHOW 1964<\/stage_direction>\n    <scene_description>BEN BART, 50's, running along the corridor backstage. He reaches the door with JAMES BROWN written on it. Outside sits an enormous, middle aged black woman, knitting.<\/scene_description>\n    <character>BEN BART<\/character>\n    <dialogue>I need to speak to James.<\/dialogue>\n    <character>GERTRUDE<\/character>\n    <dialogue>He resting, Pop.<\/dialogue>\n    <character>BEN BART<\/character>\n    <dialogue>Gertrude, it's important.<\/dialogue>\n    <character>GERTRUDE<\/character>\n    <dialogue>He resting. Nobody allowed in.<\/dialogue>\n    <scene_description>Ben offers Gertrude some money. It's a twenty. She takes it. Gertrude kisses Bart on the cheek. She opens the door.<\/scene_description>\n    <character>GERTRUDE<\/character>\n    <dialogue>Mr. Brown will see you now, Mr. Bart.<\/dialogue>\n    <scene_description>We go inside with Ben. Sitting slumped, back to us, on a burnished throne in front of a lit mirror, James Brown. HENRY STALLINGS attends to the towering bouffant on James' head. Bobby Byrd sits in a chair next to James going over a play list. James stares at Ben in the mirror.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Gertrude!<\/dialogue>\n    <scene_description>Gertrude walks in.<\/scene_description>\n    <character>GERTRUDE<\/character>\n    <dialogue>Yes, Mr. Brown.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I said I didn't want to be disturbed.<\/dialogue>\n    <parenthetical>(holds out his hand)<\/parenthetical>\n    <dialogue>That'll be twenty dollars.<\/dialogue>\n    <scene_description>Gertrude walks over and hands James the same twenty spot Ben gave her. Ben winks at Gertrude as she exits.<\/scene_description>\n    <character>BEN BART<\/character>\n    <dialogue>James, I just spoke to the producers. They've requested the Rolling Stones close the show.<\/dialogue>\n    <scene_description>James looks confused.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>BEN BART<\/character>\n    <dialogue>Rolling Stones, James. You'll go on right before them. It'll be you, then the Rolling Stones top of the bill.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>The Rolling Stones, huh?<\/dialogue>\n    <scene_description>James to Bobby.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Then why we here, Bobby?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>We here to play, James.<\/dialogue>\n    <character>BEN BART<\/character>\n    <dialogue>You're here because they want you here, James. You're James Brown! I want you here. Because this isn't the chitlin' circuit man. We're done with that shit. This is an audience full of white faces and you're gonna make them love you. You're just not closing the show.<\/dialogue>\n    <scene_description>His eyes focus.<\/scene_description>\n    <character>BEN BART<\/character>\n    <dialogue>James. Now don't start. Let it go.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>This don't matter, James.<\/dialogue>\n    <scene_description>THE DOOR FLIES OPEN. JAMES BROWN STRUTS DOWN THE CORRIDOR AS BEN BART FOLLOWS.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>The Rolling Stones ain't even had a hit record here.<\/dialogue>\n    <scene_description>They pass several dressing rooms along the way.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>They ain't even ever played in America. Have they?<\/dialogue>\n    <scene_description>James passes a dressing room where a group is rehearsing.<\/scene_description>\n    <character>BEN BART<\/character>\n    <dialogue>They're just kids. In a year from now we won't even know who they are. It's business, James.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>And it's my business to hear what they got to say about this.<\/dialogue>\n    <scene_description>He passes another dressing room with a group of guys harmonizing. James stops, glances at the VERY WHITE CALIFORNIA GROUP and then to Ben.<\/scene_description>\n    <character>BEN BART<\/character>\n    <dialogue>James, don't...<\/dialogue>\n    <scene_description>James is off again. He rounds the corner walks straight up to the Stones dressing room. On the door it says THE ROLLING STONES. A guy on the door stands but knows he can't stop James Brown who walks straight in. Ben stops at the door and watches.<\/scene_description>\n    <character>JAMES BROWN<\/character>\n    <dialogue>Fellas, how ya doin'. Mr. Jagger. Mr. Richard. Hear you boys are closing the show. Did you know that?<\/dialogue>\n    <character>MICK JAGGER<\/character>\n    <dialogue>Uh..That's what they're saying. Yeah. They just told us.<\/dialogue>\n    <scene_description>Mick looks over to Keith and the rest of the Rolling Stones.<\/scene_description>\n    <character>JAMES BROWN<\/character>\n    <dialogue>Uh-hmm. Well, I was told I'm closing the show. That's why I flew out here.<\/dialogue>\n    <scene_description>Mick leads James to a couch. They sit.<\/scene_description>\n    <character>MICK JAGGER<\/character>\n    <dialogue>Listen man. We're filming a movie here today. This isn't live.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I know that.<\/dialogue>\n    <character>MICK JAGGER<\/character>\n    <dialogue>What I mean is, the order in which we play makes no difference. They're going to edit and arrange the show any way they want later.<\/dialogue>\n    <scene_description>James raises and shakes Mick's hands. James shakes a couple of the other guys hands.<\/scene_description>\n    <character>JAMES BROWN<\/character>\n    <dialogue>Y'all have a great show, fellas.<\/dialogue>\n    <scene_description>We march out with James. He turns to Ben.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I'll be on stage in five. They better be ready. And the white people.<\/dialogue>\n    <character>BEN BART<\/character>\n    <dialogue>Yes Sir, Mr. Brown.<\/dialogue>\n    <scene_description>JAMES struts to the side of the stage. On a television backstage we see a live feed of: ARCHIVAL FOOTAGE: THE SUPREMES FINISHING THEIR PERFORMANCE. James waits in the wings. On the other side of the stage, the Rolling Stones watch. James flashes his trademark smile. They all wave back. Archival Footage: JAN AND DEAN approach the microphone and introduce the flames. ZAP -a white follow spot burns into James as he stands head bowed. Check jacket, waistcoat, black pipes and mirror boots. He throws his head back, steps forward and the groove starts. The screams rise to a deafening pitch- He's already on the move, in a snake hipped side slide, mash potatoes, up on one leg, level with the mike, spin and BAM!<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>You got your high-heel sneakers on-<\/dialogue>\n    <scene_description>The teens in the audience lose it. Bobby Byrd and the Flames in immaculate tuxedos snap and step in time.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>You know you out of sight-<\/dialogue>\n    <scene_description>IN THE WINGS - The Stones and Ben Bart watch a television being fed the show in real time. A big smile crosses Ben's face. CLOSE ON TELEVISION\/INSERT ARCHIVAL FOOTAGE INTERCUT FILMED STAGE AND ARCHIVAL FOOTAGE OF JAMES AND THE FLAMES ON TELEVISION.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Say I...I...I...I love you so!<\/dialogue>\n    <scene_description>ARCHIVAL FOOTAGE: Teenagers shake their heads completely in the thrall of the minutely controlled and manipulated frustration and reward. BACK STAGE - James stalks off past the Stones and Ben. Keith Richards is slack jawed. Ben swallows a laugh. James continues on. We go with him.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Welcome to America.<\/dialogue>\n    <scene_description>James looks right at us. Sweating. Focused. Wide awake. CLOSE ON TELEVISION\/INSERT ARCHIVAL FOOTAGE The Rolling Stones begin their first song. TIME IS ON MY SIDE The crowd goes wild. A sea of white faces screaming for Mick. James is watching the monitor. His face registers a realization. James stays on the Stone's as he talks to us. CLOSE ON JAMES MOUTH IN PROFILE SURROUNDED BY BLACK AND WHITE SCREEN<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>The British Invasion make a man strong. Make him stand up. You ain't never been down how ya gonna get on up?<\/dialogue>\n    <scene_description>James turns to us with an even deeper intensity.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I can't never quit cause it get hard. You quit, you going backwards. You going backwards, you dead. So, I take it. But I take it and flip it. I go forward. And I live.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHACK. WOODS. DAY. 1941. JAMES 8 YRS<\/stage_direction>\n    <scene_description>Fall day. Under the eves, James climbs round the side of the house. He reaches the corner to see HIS MOTHER STANDING ON THE PORCH of the cabin, a suitcase packed. Her eye is swollen.<\/scene_description>\n    <character>JOE BROWN<\/character>\n    <dialogue>You leavin' you take your child, girl. You his momma. I don't need no hungry child.<\/dialogue>\n    <scene_description>Confused, James approaches. Looks up at his mother.<\/scene_description>\n    <character>SUSIE<\/character>\n    <dialogue>You keep him. You can feed him. I can't.<\/dialogue>\n    <parenthetical>(She holds him, kisses him)<\/parenthetical>\n    <dialogue>Bye, baby. You be good. She leaves. Joe calls after her.<\/dialogue>\n    <character>JOE BROWN<\/character>\n    <dialogue>That's right. Why don't you go try to sell your ass on Twigg Street. That's right. Buy yourself a dress. Maybe I pay you a visit.<\/dialogue>\n    <scene_description>Alone with his son, Joe stares at him. The boy stares back. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. SHACK. DAY. 1941<\/stage_direction>\n    <scene_description>A MORNING IN THE CABIN. James watches his father silently pack a few meager belongings into a sack.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Be back in a week or so. Mind you don't makes no mess.<\/dialogue>\n    <scene_description>James runs over to the glassless window to watch his father lead a mule, barrels on its back, away into the woods. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHACK. NIGHT. 1941<\/stage_direction>\n    <scene_description>Wind howls and blows the door open. Shivering, Young James pulls a chair across the door of the shack and makes a nest of blankets under the bed. He crawls in. TIME LAPSE PHOTOGRAPHY OF NIGHT CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHACK. DAY. 1941<\/stage_direction>\n    <scene_description>Morning. James tries to fetch water from a stream. He pulls a bucket via a rope. The bucket tips over and spills the water. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRODUCE STAND. 1941<\/stage_direction>\n    <scene_description>James approaches a woman who's selling produce. Annoyed, she picks up a over-ripened tomato and throws it to James' feet. James picks up the tomato and walks away. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS. DILAPIDATED CABIN. MOMENTS LATER<\/stage_direction>\n    <scene_description>James approaches a dilapidated cabin that has been flattened by a fallen tree. He raises his stick and begins tapping it on the cabins rusted tin roof. Slowly he begins to work out a simple, familiar tune. He begins to stomp his feet, move his hips. CUT TO: TIME LAPSE PHOTOGRAPHY HERE - LEAVES BEGIN TO CHANGE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHACK. DAY - 10 WEEKS LATER. 1941<\/stage_direction>\n    <scene_description>Joe's back. Fully bearded. He unpacks his sack onto the bed. In the doorway appears the boy. Half naked. Covered in mud. Its clearly been weeks rather than days he's been alone.<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>(Chuckling)<\/parenthetical>\n    <dialogue>Look at you boy. You go clean yourself up 'fore you come in here.<\/dialogue>\n    <scene_description>CUT TO: Int. SHACK. KITCHEN TABLE. DAY. 1941 James sits opposite his father at the table. Joe eats and hums and sings a blues tune, No More My Lord. James beats his stick on the leg of the table perhaps to join in and impress his dad. Joe acknowledges the beat that James is creating. For a brief moment, father and son are making music together. Joe quits singing but James continues beating the stick on the table.<\/scene_description>\n    <character>JOE BROWN<\/character>\n    <dialogue>Quit that. Driving me crazy.<\/dialogue>\n    <character>LITTLE JAMES<\/character>\n    <dialogue>Keep singin'.<\/dialogue>\n    <scene_description>(James taps the stick quieter. (Staring at his father.) \"No more my Lord\" JOE BROWN I said stop! Joe gets up. Takes the stick and snaps it in two. James stares hard at his father's face.<\/scene_description>\n    <character>JOE BROWN<\/character>\n    <dialogue>You gawkin' at me?<\/dialogue>\n    <scene_description>James stays on Joe. Joe quickly rises and yanks James out of his chair. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. SHACK. DAY. 1941<\/stage_direction>\n    <scene_description>From outside the shack, we hear the sounds of abuse.<\/scene_description>\n    <character>JOE BROWN (O.C.)<\/character>\n    <dialogue>Stop crying. I said stop crying.<\/dialogue>\n    <scene_description>Suddenly the shack door opens, and James runs out. He sprints full pelt through the woods. He comes to a clearing. He slows, approaches us and suddenly stops, breathing heavily, he stops and looks straight at us. Levelly. BLACKOUT. A THUMPING RHYTHM BEGINS. Beneath his tears a smile emerges... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOLLWOOD SOUND STAGE - DAY - 1964 JAMES 31YRS<\/stage_direction>\n    <scene_description>CLOSE ON: An argyle sweater. The intro to I GOT YOU (I FEEL GOOD) ramps up. We widen to see James Brown singing.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I feel good! And I knew that I would now...<\/dialogue>\n    <scene_description>Even wider to reveal BOBBY BYRD and the rest of the flames dancing in sound stage dressed to resemble a Ski Lodge. FRANKIE AVALON and THIRTY VERY WHITE EXTRAS dance around James and the flames. Everyone is in argyle and bright colors. To the side, FILM CREW MEMBERS AND A DIRECTOR do their best to keep up with the rhythm. James is killing it. His legendary moves in full force.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I feel nice. Like sugar and spice.<\/dialogue>\n    <scene_description>SLOW MOTION PHOTOGRAPHY Music stops. (Tom Newman theme here) James watches the cast, crew and Flames doing their thing for camera. James turns to us and speaks.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Take it and flip it.<\/dialogue>\n    <scene_description>END SLOW MOTION. END TOM NEWMAN THEME. James removes his sweater and begins dancing and singing again but now to a faster version of \"I GOT YOU\". He smiles at us, looks into our eyes. We push in tight. We pull back to reveal James now singing this song in the future at The Olympia show. He's sporting a \"natural\". Beautiful girls dancing behind him. Flash- We are back to \"Ski Party\". Now the boring extras are up on their feet. They dance with precision the way Mr. Brown would prefer. Just for us, James has transformed the \"Ski Party\" into something way cooler. James' feet slide and move him back toward the door of the ski lodge set.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I feel good and I knew that I would now. So good. So good. Cause I got you.<\/dialogue>\n    <scene_description>James moves outside the door and does a split in the pile of fake snow. We are now back to reality. James is again wearing the sweater. The extras are now seated and clapping in a corny fashion. The stage bell rings. Over a loudspeaker-<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>That was great James.<\/dialogue>\n    <scene_description>Frankie Avalon runs up to James. James remains in his split.<\/scene_description>\n    <character>FRANKIE<\/character>\n    <dialogue>Wow, James. You've got some groovy moves my friend.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Thank you, Mr. Avalon. And please call me, Mr. Brown<\/dialogue>\n    <scene_description>As Frankie nods and walks away, James catches eyes with BOBBY BYRD, 30. Bobby stares quizzically at James as he remains on the floor in his split.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Get up, James.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>How many times have I done this split Bobby?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>A thousand, maybe five thousand.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Exactly, and now the first and only time I rip my pants has to be in front of all those white people.<\/dialogue>\n    <scene_description>Bobby cracks up.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>In white boy sweater.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>My trumpet, bass, and drums are spread out all over this cold floor.<\/dialogue>\n    <scene_description>James begins to laugh.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Go get my towel!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You got it boss.<\/dialogue>\n    <scene_description>OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR. 1949 DAY. JAMES 16 YRS<\/stage_direction>\n    <scene_description>A man's three piece suit hangs in the rear of a sedan. SMASH. An elbow shatters the back door glass. A hand comes inside and pulls the suit out of the car.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>44AA EXT. RURAL ROAD. MOMENTS LATER. 44AA<\/stage_direction>\n    <scene_description>A picturesque country road flanked by high, earthen embankments lined with trees. James sudden bolts out of the trees with the stolen suit and runs down the embankment. Just then a police car speeds down the road towards him. James drops the suit and runs to the opposite embankment. As James tries to climb the embankment, the police car stops, two officers get out. James can't get a footing on the steep embankment. We now see that James is wearing the lynched man's shoes. CLOSE ON SHOES: Digging deeper and deeper in the soil embankment. BLAM! A gun fires. James stops climbing and turns to see two guns pointed at him. He slides back down the embankment and raises his hands. CUT TO: FLASH! James gets his mug shot. Front and side.<\/scene_description>\n    <character>JAMES (O.S.)<\/character>\n    <dialogue>I'm seventeen...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RICHMOND COUNTY JAIL - THAT NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON: James speaking through bars.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Know what that means, Big Junior? Means they can try me in Superior Court. Means they can send my juvenile ass down for a man's term. 3 maybe 4 years.<\/dialogue>\n    <scene_description>Reveal a young man, BIG JUNIOR, 25, standing on the lawn by the jail house holding a lantern. He looking up to James on the second floor speaking out of the window.<\/scene_description>\n    <character>BIG<\/character>\n    <dialogue>For robbing a suit?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>You reach my daddy?<\/dialogue>\n    <character>BIG<\/character>\n    <dialogue>He's in the Army, James.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I know he's in the Army. So you gotta go find him.<\/dialogue>\n    <scene_description>Big Junior looks to the ground and nods.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>What'd Aunt Honey say?<\/dialogue>\n    <character>BIG<\/character>\n    <dialogue>Aunt Honey say she can't help you right now. Not this week.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Go find my daddy, Big. Please! Okay?<\/dialogue>\n    <scene_description>Big Junior sighs, really uncomfortable.<\/scene_description>\n    <character>BIG<\/character>\n    <dialogue>Aunt Honey already talked to him, James. Your daddy say it's a bad time too.<\/dialogue>\n    <scene_description>James fills with panic.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>So, he knows I'm here?<\/dialogue>\n    <scene_description>Big looks all around, everywhere except at James.<\/scene_description>\n    <character>BIG<\/character>\n    <dialogue>He say ain't nothing he can do. Got money problems. Sorry.<\/dialogue>\n    <scene_description>He shrugs and walks away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CELL. NIGHT - CONTINUOUS<\/stage_direction>\n    <scene_description>James turns from the window. He goes to the sink of his tiny cell, heaving for breath. He looks at himself in the tiny cracked mirror.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Don't cry Junior. Don't cry now.<\/dialogue>\n    <scene_description>James begins expertly tapping his sliding his feet on the floor. A more developed version of the tune he arranged in his head during the boxing match is heard. James stares at us in the mirror. He smiles.<\/scene_description>\n    <character>WARDEN (O.S.)<\/character>\n    <dialogue>And you were thinking of this as a profession...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAROLE REVIEW BOARD, ALTO REFORM SCHOOL. 1952. DAY<\/stage_direction>\n    <scene_description>James, 19 years old, sits on a bare wooden chair. James' aunt, HONEY, 40, is in attendance. Next to her sit two young black women dressed very sexy.<\/scene_description>\n    <character>WARDEN<\/character>\n    <dialogue>So you want to be a singer?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Oh no Sir. Truth is I ain't really into all that so much. Not no more.<\/dialogue>\n    <scene_description>Five white adults sit behind a long table, studying him.<\/scene_description>\n    <character>WARDEN<\/character>\n    <dialogue>But the other boys, they call you Music-box.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>It's just a old nickname is all. I'm looking for something stable. Steady. I want to be a Mechanic.<\/dialogue>\n    <character>WARDEN<\/character>\n    <dialogue>So first a singer and now a Mechanic?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Yes Sir. There's a fella I know back in Augusta, he owns a garage, he said he could find me a job if-<\/dialogue>\n    <character>WARDEN<\/character>\n    <dialogue>You can't go back to Augusta. In the event of parole, the Court in Augusta ruled you not be allowed to set foot in Richmond County til the full term of your sentence.<\/dialogue>\n    <scene_description>James is silent. Aunt Honey locks eyes with the Warden and smiles.<\/scene_description>\n    <character>WARDEN<\/character>\n    <dialogue>Do you know anyone outside Augusta who could act as your parole sponsor? Any family? Associates? Is there anywhere else you could go?<\/dialogue>\n    <scene_description>Aunt Honey and the girls raise their skirts up there legs ever so slightly with subtle sexual gestures. The Warden gives Aunt Honey and the girls a disapproving stare. STAMP! A red stamp hammers down - REFUSED.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALL. ALTO. DAY. JAMES 19 YRS<\/stage_direction>\n    <scene_description>A BAND, The Starlighters \"entertains\" the inmates. A tall black kid in a white tux, flanked by four other boys.<\/scene_description>\n    <character>BOBBY BYRD<\/character>\n    <dialogue>We the Gospel Starlighters, from right here in Toccoa. Three Four..<\/dialogue>\n    <scene_description>The vocal group rip into a juiced up \"Mary Don't You Weep\". And its good. James watches intently. The music plays over... James begins to sing along and dance. Two rows back, a huge, badass looking kid is staring. James turns and stares straight back. The big kid walks up to James.<\/scene_description>\n    <character>BIG KID<\/character>\n    <dialogue>You eyeballin' me, Music-Box?<\/dialogue>\n    <scene_description>The big kid punches James in the gut. James struggles to his feet and punches the BIG KID and fights back fearlessly. All hell breaks loose. Two rough factions break out and the melee spreads. James picks up a chair and throws it at the big kid. He ducks. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INFIRMARY, ALTO. LATER THAT DAY<\/stage_direction>\n    <scene_description>Bobby sits in a chair outside the infirmary. He holds a cold press to his nose. James, bruised and torn but apparently victorious is led by a warden into the infirmary to cheers from his friends. He's seated next to Bobby and cuffed to the chair.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>What happened to you?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Someone threw something.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Gee, that's too bad.<\/dialogue>\n    <scene_description>They sit there. James shrugs.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Walk in the jungle sometimes you get bit by a snake.<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(Deadpan)<\/parenthetical>\n    <dialogue>I'll try an' remember that.<\/dialogue>\n    <scene_description>They sit there.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Say. What's that song you done?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>We only done half of it. \"Mary Don't You Weep\" is an old gospel, man. You ain't heard that before? Everybody be doin' it.<\/dialogue>\n    <character>JAMES BROWN<\/character>\n    <dialogue>I ain't heard nothing since my radio got busted. That's a cool song bro'. You sung it great. That sounded real sweet.<\/dialogue>\n    <character>BOBBY BYRD<\/character>\n    <dialogue>Crowd sure went crazy.<\/dialogue>\n    <parenthetical>(James smiles. Then:)<\/parenthetical>\n    <dialogue>You like music?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Only thing keeps me sane in here.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>How long you in for?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Five to thirteen years.<\/dialogue>\n    <scene_description>Bobby moves his chair an inch or two away.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>What did you do?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Robbed a suit.<\/dialogue>\n    <scene_description>A nurse leads Bobby inside the exam room.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>They give you five to thirteen for...<\/dialogue>\n    <parenthetical>(Shakes his head)<\/parenthetical>\n    <dialogue>That's time man.<\/dialogue>\n    <scene_description>James turns to the doorway and continues talking to Bobby as the nurse tends to his nose.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Tell me about it.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You get parole?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Board say I need a permanent family address and a job. But see I don't know no folks here.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Where yo' folks at?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>My Daddy's in the army. And my momma... well, she left.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Sorry to hear that.<\/dialogue>\n    <scene_description>They sit there.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Seriously. You think I sung it good?<\/dialogue>\n    <scene_description>James looks at Bobby. He moves his seat a bit closer to the door.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>You got that swing feel. Hittin' it late. Buh, dum, Bop. That's what a song need.<\/dialogue>\n    <scene_description>James rises up, pulling the chair with him.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>See without that feel, song just sit there. Don't move. You gotta fill it with something. You know what I'm sayin'?<\/dialogue>\n    <scene_description>Suddenly James breathes in deep, and sings \"Mary Don't You Weep\". It's sweet, hard, deep, raw all at the same time. James holds the chair and begins to dance. The nurse shuts the door. Bobby and James stay on each other through glass. James' talent hits Bobby like a ten pound hammer between the eyes. A warden forces James to his chair. We hear one unforgettable line of the song before we... ESTABLISHING. TOCCOA STREET. THE BYRD HOUSE. 1952. DAY.<\/scene_description>\n    <character>BOBBY (O.S.)<\/character>\n    <dialogue>He can do Roy Brown and The Dominoes and Louis Jordan and and...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BYRD HOUSE. KITCHEN. DAY<\/stage_direction>\n    <scene_description>Bobby, panting, petitions his impassively busy mother.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>-you should hear'm holler momma! You ain't heard nothing LIKE IT. He sings every day in chapel. He's a very, very religious boy Momma. He could sing in St. Stephens!<\/dialogue>\n    <character>MRS. BYRD<\/character>\n    <dialogue>Bobby. We got us enough mouths to feed an' enough butts to clothe.<\/dialogue>\n    <parenthetical>(Yelling out the door)<\/parenthetical>\n    <dialogue>Daryl! Sarah! Get down here!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>He sings every day in chapel. He's a very, very religious boy Momma. He could sing in St. Stephens! Since Old Henry passed you been shy a baritone...he a showstopper. Momma? This is it. It's like a miracle. This is what Jesus wants!<\/dialogue>\n    <scene_description>He knows he's over-done it.<\/scene_description>\n    <character>MRS. BYRD<\/character>\n    <dialogue>Jesus speak to Bobby Byrd now. He tell you that himself?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Momma, he could be in there another ten year just 'cause he got no folks. He got no-one.<\/dialogue>\n    <character>MRS. BYRD<\/character>\n    <dialogue>Bobby. The answer is NO. Now, go on outta here and get cleaned up.<\/dialogue>\n    <scene_description>Crestfallen, he plays his final card.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>What's that thing you always told me, since I was real small. About Mercy. What's that saying momma? That thing you always say?<\/dialogue>\n    <scene_description>She glares at her son.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BYRD HOUSE. DAY JAMES 19 YRS<\/stage_direction>\n    <scene_description>Dinner at the Byrds. Mom, Pop, and Grandpa, sister SARAH, ten year old brother DARYL, BOBBY.... and James. He's clearly uncomfortable. James' eyes dart around the well-appointed dining room with its beautiful wallpaper and curtains hanging from a window. James traces the lines of the curtain noticing its lace and perfect pleats.<\/scene_description>\n    <character>MRS. BYRD<\/character>\n    <dialogue>Like I always say.<\/dialogue>\n    <parenthetical>(Sighs)<\/parenthetical>\n    <dialogue>\"Its a sin to stand in Mercy's way\".<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Thank you, Mrs Byrd.<\/dialogue>\n    <scene_description>Grandpa stares hard and James for a moment. Then...<\/scene_description>\n    <character>GRANDPA BYRD<\/character>\n    <dialogue>So what you in the pokey for?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Grandpa-<\/dialogue>\n    <character>GRANDPA<\/character>\n    <parenthetical>(to Bobby)<\/parenthetical>\n    <dialogue>You know how would have felt you bringing this boy over here?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Big momma married you and you were in the pokey before.<\/dialogue>\n    <scene_description>Bobby gets a look from his mom.<\/scene_description>\n    <character>MRS. BYRD<\/character>\n    <dialogue>Bobby Byrd!<\/dialogue>\n    <character>GRANDPA BYRD<\/character>\n    <parenthetical>(to Bobby)<\/parenthetical>\n    <dialogue>If I'm going to be forced to have a jailbird in my house I at least like to know what I'm dealing with.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Grandpa-<\/dialogue>\n    <scene_description>James looks to Bobby.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>No. He got a right to ask. I am a jailbird. I've done wrong and I gotta own up to that.<\/dialogue>\n    <scene_description>James turns to Bobby's grandfather.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I stole a man's three piece suit. You want to know me? I tell ya. My daddy is in the army. My momma left when I was five. I'm skinny but I'm strong. I can read a little bit and I like to sing. That's who's sittin' here.<\/dialogue>\n    <scene_description>James becomes emotional and sincere.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>And I think God knew that when I took that suit that I might end up with you. I ain't never sat at a table with such a fine group of people in my life.<\/dialogue>\n    <scene_description>Sarah looks admiringly at James.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I used to wish I could put that suit back, but now I'm here with y'all. Fried chicken. Green beans. Corn bread. Those nice curtains.<\/dialogue>\n    <scene_description>Grandpa Byrd turns to the curtains.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>A house smells good. I'm happy I stole that suit. And I thank you for having me here.<\/dialogue>\n    <character>GRANDPA<\/character>\n    <dialogue>Boy, pass them beans before you get your bullshit all over them.<\/dialogue>\n    <character>MRS. BYRD<\/character>\n    <parenthetical>(Changing subject)<\/parenthetical>\n    <dialogue>James is going to sing with us in church this Sunday Sarah.<\/dialogue>\n    <character>SARAH BYRD<\/character>\n    <dialogue>Really. Well maybe we could work up a little harmony together.<\/dialogue>\n    <scene_description>Sarah turns to James and gives a tiny wink. James stops chewing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>52A INT. BYRD HOUSE. NEXT MORNING. 52A<\/stage_direction>\n    <scene_description>Bobby Byrd sleeps in his bed. James sleeps in a cot that has been brought into Bobby's room. Grandpa Byrd enters the room holding a suit. He approaches the sleeping James.<\/scene_description>\n    <character>GRANDPA BYRD<\/character>\n    <dialogue>Jailbird!<\/dialogue>\n    <scene_description>Startled, James and Bobby rise up from their pillows.<\/scene_description>\n    <character>GRANDPA BYRD<\/character>\n    <parenthetical>(to James)<\/parenthetical>\n    <dialogue>This out to fit ya.<\/dialogue>\n    <scene_description>Grandpa Byrd throws the suit on top of James and exits. James smiles at his new suit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BYRD HOUSE. NEXT MORNING.<\/stage_direction>\n    <scene_description>Bobby comes in with NAFLOYD and BABY ROY who are all dressed for church<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>There's coffee in the kitchen, Nafloyd. Make yourselves at home.<\/dialogue>\n    <parenthetical>(Calls)<\/parenthetical>\n    <dialogue>James!<\/dialogue>\n    <scene_description>Bobby vaults upstairs.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>James. Come meet the band.<\/dialogue>\n    <scene_description>Opens a door. INSIDE James has Sarah pressed up against the wall. They are having vigorous sex. James' pants are around his ankles. Sarah's church dress is pushed up her body. Sarah has her hand over James' mouth trying to keep him quiet. Bobby throws it into reverse, shutting the door. Did he just see that? A full gamut of emotions cross his face. Mrs. Byrd starts up the stairs.<\/scene_description>\n    <character>MRS. BYRD<\/character>\n    <dialogue>Sarah! I ain't tellin' you again. Get down here.<\/dialogue>\n    <scene_description>Bobby panics. He crosses and meets his mother at the top of the stairs.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>She's coming, Momma. She's coming.<\/dialogue>\n    <character>MRS. BYRD<\/character>\n    <dialogue>Sarah!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Go fix Nafloyd and the boys some coffee. We got guests, Momma.<\/dialogue>\n    <scene_description>Mrs Byrd nods and heads down the stairs.<\/scene_description>\n    <character>MRS. BYRD<\/character>\n    <dialogue>Nafloyd?! Where you boys at?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ST. STEPHENS CHURCH. DAY.<\/stage_direction>\n    <scene_description>A congregation watches as BOBBY, NAFLOYD, BABY ROY, SARAH AND JAMES sing righteous gospel. \"Steal Away To Jesus\". Above their heads a HOME-MADE SHEET-BANNER: \"The Gospel Starlighters\" Bobby looks to Sarah and James with a searing gaze. Sarah innocent, James really giving it up. James steps out front. His voice soars sweetly over the congregation. Bobby's gaze softens. MRS. BYRD and GRANDPA watch on. Mrs. Byrd leans forward and catches Bobby's eye. Gives a small nod of approval. Bobby's smile is...more equivocal.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>FLASHBACK: INT. SHACK. BARNWELL. DAY. 1942 JAMES 9 YRS<\/stage_direction>\n    <scene_description>James is asleep in his bed. Alone. It's been a year after his momma left. Suddenly, Joe approaches and throws a burlap sack at James.<\/scene_description>\n    <character>JOE BROWN<\/character>\n    <dialogue>Pack up. We leaving.<\/dialogue>\n    <scene_description>James wakes and sits up in bed. Joe is clean shaven and wears his nicest shirt and neck tie.<\/scene_description>\n    <character>JOE BROWN<\/character>\n    <dialogue>Hurry up.<\/dialogue>\n    <scene_description>James waits a beat to make sure his father is gone. James gets out of bed and crawls deep underneath. He backs out holding the dead man's pair of shoes and places them in the burlap sack.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AUNT HONEY'S HOUSE. LATER THAT DAY.<\/stage_direction>\n    <scene_description>Joe and James walk down Twigg street. Joe pulls his donkey along with them.<\/scene_description>\n    <character>JOE BROWN<\/character>\n    <dialogue>You miss your momma, boy?<\/dialogue>\n    <scene_description>James nods.<\/scene_description>\n    <character>JOE BROWN<\/character>\n    <dialogue>We gone fix that.<\/dialogue>\n    <scene_description>James flashes a hopeful smile.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TWIGG STREET, THE TERRY. DAY. 1942 JAMES 9 YRS<\/stage_direction>\n    <scene_description>Red dirt street. Shacks. Joe and James walk around to the back of \"AUNT HONEY'S\" house. The donkey has been tied to Aunt Honey's fence. BACKYARD We find Aunt Honey sitting a chair. She holds a small dog in her arms. SEVEN PROSTITUTES wash clothes in tubs and hang them on a line to dry. Aunt Honey clearly runs the house. She rises from her chair. Clearly she takes no shit.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>..S'much appreciated Honey. Sure is mighty kind..<\/dialogue>\n    <character>AUNT HONEY<\/character>\n    <dialogue>What the hell am I supposed to do with that donkey, Joe?<\/dialogue>\n    <character>JOE BROWN<\/character>\n    <dialogue>Thought you could sell it.<\/dialogue>\n    <character>AUNT HONEY<\/character>\n    <dialogue>I don't sell donkey, Joe. And Jumpin' in the Army ain't gone make this boy go away.<\/dialogue>\n    <scene_description>Joe looks away from Honey.<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>(to James)<\/parenthetical>\n    <dialogue>Look after yourself Junior.<\/dialogue>\n    <scene_description>Aunt Honey and James watch Joe cross the street and disappear.<\/scene_description>\n    <character>AUNT HONEY<\/character>\n    <dialogue>Everybody gotta be somewhere. What's your name, sugar?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Junior.<\/dialogue>\n    <character>AUNT HONEY<\/character>\n    <dialogue>Guess you Little Junior now.<\/dialogue>\n    <scene_description>Honey turns to a small two story building in the rear of the yard.<\/scene_description>\n    <character>AUNT HONEY<\/character>\n    <dialogue>Big Junior!<\/dialogue>\n    <scene_description>A huge 15 year old boy comes out of the building and begins walking down the stairs. This is the younger version of Big Junior who we met outside the jail.<\/scene_description>\n    <character>AUNT HONEY (TO JAMES)<\/character>\n    <dialogue>You show me you can bring it in you an me ain't got no problem.<\/dialogue>\n    <parenthetical>(as Junior approaches)<\/parenthetical>\n    <dialogue>Junior'll show y'how to do.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE TERRY. STREET. DAY.<\/stage_direction>\n    <scene_description>Big Junior leads James away from Aunt Honey's. Big Junior turns to James.<\/scene_description>\n    <character>BIG JUNIOR<\/character>\n    <dialogue>I do this...<\/dialogue>\n    <parenthetical>(BJ touches his hat)<\/parenthetical>\n    <dialogue>You say 'Pretty girls', unnerstand? So when they come, you be ready, alright? I'll say- Yessir, yessir, come on down the street-we got sweet whiskey, we got music-<\/dialogue>\n    <parenthetical>(touches his hat)<\/parenthetical>\n    <character>JAMES<\/character>\n    <dialogue>Pretty girls.<\/dialogue>\n    <character>BIG JUNIOR<\/character>\n    <dialogue>We got cards, we got dice, dancing-<\/dialogue>\n    <parenthetical>(touches his hat again)<\/parenthetical>\n    <character>JAMES<\/character>\n    <dialogue>Pretty girls.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUS STOP. THE TERRY. AUGUSTA. DAY. JAMES 9 YRS<\/stage_direction>\n    <scene_description>Soldiers disembark from a troop Bus. Big Junior and James stand on the platform playing and dancing in bare feet. The soldiers ignore James. We again begin to hear \"James' Theme\" in James' head. He dances faster, sharper. The soldiers stop and take notice of his ever sharping skill.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUNT HONEY'S PARLOR. LATER THAT NIGHT.<\/stage_direction>\n    <scene_description>The Brothel is in full swing. Girls. Soldiers. Drunks. Hustlers. Music. Ten soldiers scramble over only five prostitutes. James hands over money to Aunt Honey. She bundles him up and kisses him. He holds onto her tightly. She sets him down.<\/scene_description>\n    <character>AUNT HONEY<\/character>\n    <dialogue>You done good Little Junior. You the sweetest little boy in the world. Hear me?<\/dialogue>\n    <scene_description>James nods as two soldiers begin fighting over one of the prostitutes. Each pulling her in a different direction. Honey rises.<\/scene_description>\n    <character>AUNT HONEY<\/character>\n    <parenthetical>(to James)<\/parenthetical>\n    <dialogue>Go on in the kitchen. Find you a scrap to eat.<\/dialogue>\n    <scene_description>Aunt Honey pulls out a knife that has been nuzzled inside her bra. James watches as she fixes the situation.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARBERSHOP. THE NEXT DAY. JAMES 19 YRS 1952<\/stage_direction>\n    <scene_description>The band has just gotten their hair-cut like Louis Jordan (and James Brown). Bobby Byrd looks at his hair in the mirror.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I don't know, James. This don't look too gospel.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>What you talkin' about? Your hair is rising up to the Lord right? Like a flame.<\/dialogue>\n    <scene_description>Nayfloyd looks deep into the mirror in front of him.<\/scene_description>\n    <character>NAYFLOYD<\/character>\n    <dialogue>The flames of hell. We're the Gospel Starlighters. We a gospel group. This is R &amp; B hair.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>What you think \"Caldonia\" is, Nafloyd.<\/dialogue>\n    <character>NAFLOYD<\/character>\n    <parenthetical>(Ruffled)<\/parenthetical>\n    <dialogue>We just playin' around with \"Caldonia\" when we practicing. That don't make us R &amp; B. We still Gospel.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BIG BILL'S RENDEZVOUS. TOCCOA, 1954. NIGHT.<\/stage_direction>\n    <scene_description>The place is packed. On stage the 22 year old Little Richard is all over the piano, singing the hell out of Tutti Frutti. AT THE BACK -- Bobby and the band stand in shock and awe.<\/scene_description>\n    <character>NAFLOYD<\/character>\n    <dialogue>I swear he's gonna break that piano.<\/dialogue>\n    <scene_description>James is transfixed. Motionless. Soaking it up. ON STAGE -- The song ends. The crowd explode.<\/scene_description>\n    <character>LITTLE RICHARD<\/character>\n    <dialogue>We'll be back in ten to flip you again! Whoooo! Yeah!<\/dialogue>\n    <scene_description>Bobby scans the crowd.<\/scene_description>\n    <character>BOBBY BYRD<\/character>\n    <parenthetical>(Frustrated)<\/parenthetical>\n    <dialogue>Look at these people James. Man! I'm ready. You know'm saying? When it gone be us up there?<\/dialogue>\n    <scene_description>James hasn't moved. He's still staring at the stage.<\/scene_description>\n    <character>JAMES BROWN<\/character>\n    <dialogue>Now.<\/dialogue>\n    <character>BOBBY BYRD<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>James turns to Bobby.<\/scene_description>\n    <character>JAMES BROWN<\/character>\n    <dialogue>There's a piano. And a stage. And right now.<\/dialogue>\n    <parenthetical>(Looks at it)<\/parenthetical>\n    <dialogue>Ain't no one on it.<\/dialogue>\n    <character>NAFLOYD<\/character>\n    <dialogue>What you talking about? We can't go up there.<\/dialogue>\n    <character>JAMES BROWN<\/character>\n    <dialogue>Why not? Like you said, Nafloyd, \"We just playin' around with \"Caldonia\". So let's go play around.<\/dialogue>\n    <scene_description>Bobby nods, and James strides towards the stage and gets up. The others look at each other: HOLY SHIT! and scramble after him. James gestures to them to pick up instruments.<\/scene_description>\n    <character>JAMES BROWN<\/character>\n    <dialogue>Ladies 'n Gentlemen. Hope you're enjoying the show.<\/dialogue>\n    <scene_description>Nafloyd speaks into his mic.<\/scene_description>\n    <character>NAYFLOYD<\/character>\n    <dialogue>We're the Star-<\/dialogue>\n    <scene_description>James quickly interrupts.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>We're the Famous Flames.<\/dialogue>\n    <scene_description>Nafloyd looks at Bobby.<\/scene_description>\n    <character>NAFLOYDS<\/character>\n    <dialogue>Flames?<\/dialogue>\n    <character>BABY ROY<\/character>\n    <dialogue>Famous?<\/dialogue>\n    <scene_description>James hollers. The Flames hit their queue, bang on, and they TEAR INTO Caldonia. James loosens with every bar. Unhooks the mic. Throws a move. As he hits the hook again the audience is drawn to his energy like a magnet. BACKSTAGE DOOR - Leaning against a wall backstage, Little Richard looks up from his pocket mirror. Frowns.<\/scene_description>\n    <character>LITTLE RICHARD<\/character>\n    <dialogue>What is that?<\/dialogue>\n    <scene_description>IN THE WINGS - the club manager watches on unsure what to do. ON STAGE - James and Bobby, hollering into the same mic are ripping the place up. IN THE WINGS - Little Richard appears at his side, fuming.<\/scene_description>\n    <character>LITTLE RICHARD<\/character>\n    <dialogue>Get those bitches off my stage!<\/dialogue>\n    <scene_description>Power to the stage is cut off. The performance is over but the crowd go batshit. NAFLOYD, BABY ROY are shaking.<\/scene_description>\n    <character>NAFLOYD<\/character>\n    <dialogue>We the Flames.<\/dialogue>\n    <scene_description>BOBBY looks at JAMES. A new, knowing look. They bow as one, turn, and walk offstage, CLEAN PAST a furious Little Richard. James returns his glare with an even straighter one.<\/scene_description>\n    <character>JAMES BROWN<\/character>\n    <parenthetical>(Deadpan)<\/parenthetical>\n    <dialogue>Just keepin' it warm for ya.<\/dialogue>\n    <scene_description>He walks past.<\/scene_description>\n    <character>LITTLE RICHARD<\/character>\n    <dialogue>Hey. What's your name?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>The Famous Flames.<\/dialogue>\n    <scene_description>James looks back levelly.<\/scene_description>\n    <character>LITTLE RICHARD<\/character>\n    <dialogue>No. What's your name?<\/dialogue>\n    <scene_description>They look at each other. Neither blinks.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MALT SHOP. NIGHT.<\/stage_direction>\n    <scene_description>2AM. James sits alone at a table off to the side of the order window. Little Richard dressed as a chef comes out of the kitchen and drops two burgers in front of them. James and Richard, cigarette in a long holder, holds forth.<\/scene_description>\n    <character>LITTLE RICHARD<\/character>\n    <dialogue>I play a show in Lafayette last week twenty thirty girls pass clean out. Need oxygen. I'm killing 'em James. They should lock me away. I cut loose it's like a spaceship land. Did I say I got a record out? They drop it five times a day on WIBB. Five times a day.<\/dialogue>\n    <parenthetical>(He looks at James)<\/parenthetical>\n    <dialogue>And I'm flippin' burgers. You know why?<\/dialogue>\n    <character>LITTLE RICHARD<\/character>\n    <dialogue>Cause WIBB antenna reach 60 mile. 60 mile. This country is 5000 miles top to toe and 7000 coast to coast. You catch the wind, get a hit, a real hit, every inch of that is yours.<\/dialogue>\n    <character>JAMES BROWN<\/character>\n    <dialogue>So how we catch the wind?<\/dialogue>\n    <scene_description>Richard smiles. Stops the waitress. All charm.<\/scene_description>\n    <character>LITTLE RICHARD<\/character>\n    <dialogue>Sugar, may I borrow your pencil?<\/dialogue>\n    <scene_description>He takes a napkin. Starts writing on it. All business.<\/scene_description>\n    <character>LITTLE RICHARD<\/character>\n    <dialogue>You got a hundred bucks?<\/dialogue>\n    <character>JAMES BROWN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>LITTLE RICHARD<\/character>\n    <dialogue>Rob a liquor store. You take a hundred bucks to WIBB in Macon. Ask for Big Sauk. Say Richard sent you. You make an acetate. Ten copies. You send them to these people.<\/dialogue>\n    <scene_description>He writes them down. James watches.<\/scene_description>\n    <character>JAMES BROWN<\/character>\n    <dialogue>It's that easy why don' you do it?<\/dialogue>\n    <character>LITTLE RICHARD<\/character>\n    <dialogue>I already did. Baby, this is the last time you're gone see my beautiful ass 'cep on TV. Six months the whole world gone know me. I gone be bigger than Cleopatra. It's written in the stars James. Yes Sir. I'm gone have the world on a string.<\/dialogue>\n    <parenthetical>(Then)<\/parenthetical>\n    <dialogue>And that's when the trouble start.<\/dialogue>\n    <character>JAMES BROWN<\/character>\n    <dialogue>And why that.<\/dialogue>\n    <scene_description>He fixes James. The air turns cold.<\/scene_description>\n    <character>LITTLE RICHARD<\/character>\n    <dialogue>That when the Devil come. And he ain't gonna be red with no fiery tail. He gone be white. In a fancy suit. And he gone look you in the eye and he gonna ask what you want. And you best not shake, nor tremble. You best not blink one eye.<\/dialogue>\n    <scene_description>Swats a fly on the table. James doesn't blink.<\/scene_description>\n    <character>LITTLE RICHARD<\/character>\n    <dialogue>You gone be ready for him James? You got it inside?<\/dialogue>\n    <character>JAMES BROWN<\/character>\n    <dialogue>You tell me Richard. You tell me what you see.<\/dialogue>\n    <scene_description>James stares at Richard, who stares the same stare back.<\/scene_description>\n    <character>LITTLE RICHARD<\/character>\n    <dialogue>What happen to you?<\/dialogue>\n    <scene_description>He looks real hard.<\/scene_description>\n    <character>LITTLE RICHARD<\/character>\n    <dialogue>I know what happened to me. What happen to you?<\/dialogue>\n    <scene_description>James looks away. OMITTED OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSTAIRS AT TWIGG STREET. DAWN. 1942 JAMES 9 YRS<\/stage_direction>\n    <scene_description>James lies awake in a bed with four or five other sleeping bodies. He looks out of the window. Dawn is breaking through a cracked pane. Way off in the distance he hears music and singing. He gets out of bed. He passes a room, TWO SOLDIERS wait their turn with one of Aunt Honey's PROSTITUTES. James reaches the front of the house. He looks to Honey, out cold in a chair. A needle protrudes from her harm. He walks out of the house passing several people asleep in the yard.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCH\/ DIRT ROAD. DAY<\/stage_direction>\n    <scene_description>Early morning. James continue his walk towards the music.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNITED HOUSE OF PRAYER FOR ALL PEOPLE. DAY<\/stage_direction>\n    <scene_description>A evangelical congregation lit up by the spirit. SWEET DADDY GRACE: a suavely coiffed but ferocious southern firebrand preacher wearing a suit made of dollar bills screams and berates the congregation into a frenzy.<\/scene_description>\n    <character>DADDY GRACE<\/character>\n    <dialogue>Do you love him?!<\/dialogue>\n    <scene_description>People are having fits on the floor, beating themselves. Shrieking and weeping hallelujah.<\/scene_description>\n    <character>DADDY GRACE<\/character>\n    <parenthetical>(even higher pitched)<\/parenthetical>\n    <dialogue>Say you love him!<\/dialogue>\n    <scene_description>Daddy raises his voice even louder ending in a shrilling falsetto.<\/scene_description>\n    <character>DADDY GRACE<\/character>\n    <dialogue>Say it louder for Jesus! Say it louder!<\/dialogue>\n    <scene_description>Daddy Grace falls to the floor and is attended by alter boys who drape a cape around his shoulders which he flings aside. James looks around the room at the people. Then at the preacher.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TWIGG STREET BUS STOP. NIGHT. 1942<\/stage_direction>\n    <scene_description>James stands silhouetted against the high beams of the approaching troop Bus. James begins to dance to the theme in his head. He's dancing differently now. Mimicking the moves of Sweet Daddy Grace. James does a spilt in the beams of light. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>71A INT. BYRD HOUSE. 71A<\/stage_direction>\n    <scene_description>Mr. and Mrs. Byrd listen to Please Please Please on the radio. They aren't pleased.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>71B INT. AUNT HONEY'S BEDROOM. NIGHT 71B<\/stage_direction>\n    <scene_description>Aunt Honey has just injected herself with Morphine. She opens a drawer and places a needle and vial inside. She crosses to her bed and lays down. Please Please Please plays on a radio. Aunt Honey sings along and closes her eyes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>71C INT. CAR - NIGHT 71C<\/stage_direction>\n    <scene_description>RALPH BASS drives and hears Please Please Please. A smile crosses his face.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>71D EXT. BOARDING HOUSE - LATER THAT NIGHT. 1954 71D<\/stage_direction>\n    <scene_description>Establishing of exterior boarding house with the crappy station wagon parked out front. 72-73 OMITTED 72-73<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOARDING HOUSE - LATER THAT NIGHT.<\/stage_direction>\n    <scene_description>All the flames asleep laying across as single bed in one motel room. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOARDING HOUSE. NIGHT.<\/stage_direction>\n    <scene_description>James and Bobby sleep next to each other. James whispers to Bobby:<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Bobby. I can't make practice Thursday. I gotta get married.<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(Whispers)<\/parenthetical>\n    <dialogue>What are you talkin' about? Who you marryin'?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>That chick I met after the Stone Mountain Show. Velma.<\/dialogue>\n    <scene_description>A silence falls.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>What about my sister?<\/dialogue>\n    <scene_description>James flashes a devilish smile.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Oh, I'll still harmonize with Sarah from time to time.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I ain't playin', James. How you gone do all this?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Do all what?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Practice. The road. Makin' records. Startin' a family.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I ain't startin' nothin', Bobby. Except what we doin'.<\/dialogue>\n    <scene_description>James reaches under the bed and pulls out the acetate they just recorded.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>That us. We in there Bobby.<\/dialogue>\n    <scene_description>James holds the record close and studies it with Bobby.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>That's all the money we got. And some we don't.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>But, it is beautiful. All those little grooves. That's us. It's been written.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Now, men gone lay with women. That's nature. But a woman ain't never gone stop a real man from what he's supposed to do. That's God. Husband? Daddy? That gives a man purpose. Man gotta have purpose. But purpose don't stop me neither, Bobby. Ain't nothin' gone stop us. Nothin'. And that's God too.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHENETTE. 1955. DAY. JAMES 22 YRS<\/stage_direction>\n    <scene_description>James Brown stares back at his infant son with the same wary look.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>You gone smile for me, Teddy Brown?<\/dialogue>\n    <scene_description>He bounces him on his knee once.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Come on, boy.<\/dialogue>\n    <scene_description>Twice. The kid smiles. James suddenly becomes moved. He leans over and kisses his son.<\/scene_description>\n    <character>VELMA<\/character>\n    <dialogue>We out of greens. You want me to go pick some up?<\/dialogue>\n    <scene_description>Velma, a cute nineteen year old girl is fixing dinner.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>No baby.<\/dialogue>\n    <scene_description>A car horn outside. He looks out the window.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Baby. I gotta go.<\/dialogue>\n    <character>VELMA<\/character>\n    <dialogue>But I got your supper.<\/dialogue>\n    <scene_description>He hands her the baby, kisses her passionately. She melts.<\/scene_description>\n    <character>VELMA<\/character>\n    <dialogue>Wake me up.<\/dialogue>\n    <scene_description>James pretends to look shocked, covers Teddy's ears.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JAMES AND VELMA'S KITCHENETTE<\/stage_direction>\n    <scene_description>James bounds off the porch towards the station wagon. Velma steps onto the porch with the baby. She suddenly looks very young. James turns to his family and pats his hand over his heart.<\/scene_description>\n    <character>JAMES<\/character>\n    <parenthetical>(shouts out)<\/parenthetical>\n    <dialogue>I got you right in here, Teddy Brown.<\/dialogue>\n    <scene_description>Velma raises Teddy's hand and waves it at James. James begins to serenade \"Lost Someone\" to his family...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CRAPPY STATION WAGON. RURAL ROAD - SUNSET. 1955<\/stage_direction>\n    <scene_description>CLOSE ON: James continues to sing. Only now he's humming as if working out a new way into \"Lost Someone\". We widen to see The Flames, Baby Roy, Nafloyd, Bobby and James pushing an old crappy Chevy station wagon down the road. Nafloyd has the easy job of keeping the steering wheel straight. Nafloyd is clearly annoyed by James' humming.<\/scene_description>\n    <character>JAMES BROWN<\/character>\n    <dialogue>Nafloyd, you know in \"Let's Make It\" when it goes (he hums). If you go up there and hold it, like. (hums). It's gone be sweet. Make it like you got a harmonica stuck in your throat.<\/dialogue>\n    <scene_description>Nafloyd looks back at Bobby Byrd.<\/scene_description>\n    <character>NAFLOYD SCOTT<\/character>\n    <dialogue>You know what? Why don't you sing it, James?<\/dialogue>\n    <character>JAMES BROWN<\/character>\n    <dialogue>What? I can't sing it. It's your song man.<\/dialogue>\n    <character>NAFLOYD SCOTT<\/character>\n    <dialogue>But I ain't singing it right James. I just ain't.<\/dialogue>\n    <character>NAFLOYD SCOTT<\/character>\n    <dialogue>I ain't got a harmonica in my throat. But you do. We all know you do.<\/dialogue>\n    <scene_description>James continues with his humming. Nafloyd stops pushing and walks alongside with a finger on the wheel.<\/scene_description>\n    <character>NAFLOYD SCOTT<\/character>\n    <dialogue>You know how it be done. You got it all worked out. Don't you?<\/dialogue>\n    <character>BOBBY BYRD<\/character>\n    <dialogue>James ain't saying that 'floyd. He's just hearing something. Get back to pushing the car.<\/dialogue>\n    <character>NAYFLOYD<\/character>\n    <dialogue>Let's all take a break for a minute.<\/dialogue>\n    <scene_description>Everyone stops pushing. Bobby turns to Nafloyd. Fuming.<\/scene_description>\n    <character>BOBBY BYRD<\/character>\n    <dialogue>What I say in Peterstown? Huh?<\/dialogue>\n    <character>NAFLOYD SCOTT<\/character>\n    <dialogue>I know what you said.<\/dialogue>\n    <character>BOBBY BYRD<\/character>\n    <dialogue>What I say?<\/dialogue>\n    <character>NAFLOYD SCOTT<\/character>\n    <dialogue>You said 'Fill her up Floyd.<\/dialogue>\n    <character>BABY ROY<\/character>\n    <dialogue>That's right. That's what he said.<\/dialogue>\n    <character>NAFLOYD SCOTT<\/character>\n    <dialogue>I know you he said fill her up, Baby Roy! Problem is we don't got the dough to fill it.<\/dialogue>\n    <parenthetical>(to Bobby)<\/parenthetical>\n    <dialogue>We don't got the dough because Bobby here let James spend all our money on some fake record which is right now sittin' in trash cans outside King, outside RCA, outside Chess.<\/dialogue>\n    <parenthetical>(to James)<\/parenthetical>\n    <dialogue>You took all our money, James. Where my money at?<\/dialogue>\n    <scene_description>They are about to throw down.<\/scene_description>\n    <character>BABY ROY<\/character>\n    <dialogue>Cool it Floyd!<\/dialogue>\n    <character>NAFLOYD SCOTT<\/character>\n    <dialogue>Where my money, James?!<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I'm taking you to the money, Nafloyd.<\/dialogue>\n    <parenthetical>(James tap his head)<\/parenthetical>\n    <dialogue>Right now.<\/dialogue>\n    <scene_description>This lands hard on Bobby's ears. He smiles<\/scene_description>\n    <character>BOBBY BYRD<\/character>\n    <dialogue>So, push the Wagon, Nafloyd.<\/dialogue>\n    <scene_description>Nafloyd resumes pushing the wagon.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PEACHES DINER. 1955. EARLY MORNING.<\/stage_direction>\n    <scene_description>James stands in the rear of an African American diner talking on a pay phone. He's a sweaty mess having walked through the night. His face drops. It registers sudden concern.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Are you sure, Baby?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PEACHES DINER. MOMENTS LATER<\/stage_direction>\n    <scene_description>James joins Bobby at a booth of the diner. Bobby is also a sweaty mess.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>The Tuxedo Room already cancelled tonight's show. Said if we couldn't show up last night then why we gonna show up tonight.<\/dialogue>\n    <scene_description>James shrugs.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Now we got twenty four hours to get to Prestonville. Hundred and forty miles West. We got no gas. No bread. No show. I miss anything?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Velma's pregnant again.<\/dialogue>\n    <scene_description>Bobby looks at him. Deadpan.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Congratulations.<\/dialogue>\n    <scene_description>James nods.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>So now, we gotta make us a business decision.<\/dialogue>\n    <scene_description>He reaches in his pocket. Puts a few coins on the table.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Thirty cents. The question is, do I call the Two Spot, find out we got any messages. Or do I get me a coffee. Or do I skip the coffee, and get me a donut.<\/dialogue>\n    <scene_description>James considers this. Reaches in his pocket. Puts some coins on the table.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Knock yourself out.<\/dialogue>\n    <scene_description>A black waitress comes over. Bobby acts as if he's a high roller. Living the life. Perusing the menu.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Hey honey. Can I get me a coffee...<\/dialogue>\n    <scene_description>Looks at James. Now for the ultimate luxury.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>..and...let's see...a donut?<\/dialogue>\n    <character>WAITRESS<\/character>\n    <dialogue>You boys from outta town?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>We're Musicians. We the Famous Flames.<\/dialogue>\n    <character>WAITRESS<\/character>\n    <dialogue>Flames?<\/dialogue>\n    <parenthetical>(noting their disheveled look)<\/parenthetical>\n    <dialogue>More like a flicker.<\/dialogue>\n    <scene_description>James reaches over and grabs the waitress' hand.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>All we need is a spark, baby. So we can turn the lamp down low till this sun rise up on us in the morning.<\/dialogue>\n    <scene_description>The waitress pulls her hand back.<\/scene_description>\n    <character>WAITRESS<\/character>\n    <dialogue>Y'all's broke ass is splittin' that donut, ain't you?<\/dialogue>\n    <scene_description>Bobby starts to laugh.<\/scene_description>\n    <character>WAITRESS<\/character>\n    <dialogue>I'll bring it with a knife.<\/dialogue>\n    <scene_description>James winks before the waitress walks away.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I gone call the Two Spot.<\/dialogue>\n    <scene_description>James expression instantly changes.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Oh no.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Over at the door, A white guy. Obviously a cop. He waves our waitress over.<\/scene_description>\n    <character>WHITE GUY<\/character>\n    <dialogue>Excuse me ma'am, I just came from a place called the Tuxedo Room. I'm looking for the boys who were supposed to be playing there tonight?<\/dialogue>\n    <character>JAMES<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>I ain't supposed to leave Bibb County without telling my parole officer.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Shit James! What we do?<\/dialogue>\n    <scene_description>Bobby looks around and James has disappeared under the table. Bobby drops like a stone under the table as well. Bobby peers around the booth for a peek.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>He's coming this way. Oh shit.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I can't go back to prison Bobby.<\/dialogue>\n    <scene_description>The waitress sits the man down at a nearby table.<\/scene_description>\n    <character>WHITE GUY<\/character>\n    <dialogue>I've been driving across over two states looking for these boys. They have to be here in Macon. Tell ya what, I'll make it worth your while if you can tell me where they are.<\/dialogue>\n    <scene_description>The man hands the waitress ten bucks and a business card. The woman shrugs as she reads the card.<\/scene_description>\n    <character>WAITRESS<\/character>\n    <dialogue>King Records? What did they do?<\/dialogue>\n    <character>WHITE GUY<\/character>\n    <dialogue>Everything right.<\/dialogue>\n    <scene_description>Bobby and James look at each other.<\/scene_description>\n    <character>JAMES BROWN<\/character>\n    <parenthetical>(pole-axed)<\/parenthetical>\n    <dialogue>King records?<\/dialogue>\n    <scene_description>Bobby crawls out from under the table suddenly all business.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Evening, Sir. I'm Bobby Byrd this is my associate James Brown.<\/dialogue>\n    <scene_description>James crawls out and stands before RALPH BASS.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I understand you're looking for the Famous Flames.<\/dialogue>\n    <scene_description>LATER AT THE DINER - Bobby and James sit with Ralph Bass. The breakfast crowd has cleared out.<\/scene_description>\n    <character>RALPH BASS<\/character>\n    <dialogue>I'm Ralph Bass from Federal records in Cincinnati. An imprint of King Records. I heard your acetate. I want you to come to Cincinnati. I want you to make a record for King.<\/dialogue>\n    <scene_description>Bobby looks back at him. Nods.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>King records. As in King Records. The King records.<\/dialogue>\n    <scene_description>The waitress arrives with a donut and a plate of steak and eggs. She places the steak and eggs in front of James and winks.<\/scene_description>\n    <character>RALPH BASS<\/character>\n    <dialogue>You sure put a lot into that cut. The main vocal. You got some soul right there.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Uh.. That's not me. That's uh. That's James.<\/dialogue>\n    <character>RALPH BASS<\/character>\n    <dialogue>That you singing?<\/dialogue>\n    <scene_description>James looks BACK TO US.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Yeah. That's me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FEDERAL\/KING RECORDS, CINCINNATI. DAY.<\/stage_direction>\n    <scene_description>James stands alone looking up at the towering building. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RECORDING STUDIO. DAY. JAMES 23<\/stage_direction>\n    <character>JAMES BROWN<\/character>\n    <dialogue>Please, Please, Please....!<\/dialogue>\n    <scene_description>They put everything they've got into \"Please, Please, Please\". James leans into a chrome studio mic and sings: Please... please...please... He leans out and the Flames lean in to the same mic. \"Please please don't go\".. IN THE BOOTH -- Gene Redd mans the desk. Ralph stands nervously while SYD NATHAN, the impressively fat 60-year-old owner of King sits in jamjar spectacles and Bakelite Headphones, listening.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Wait...wait a second here-<\/dialogue>\n    <scene_description>Raggedly they all come to a halt. Nafloyd seems annoyed.<\/scene_description>\n    <character>NAFLOYD<\/character>\n    <dialogue>What we stop for? That was cookin'.<\/dialogue>\n    <scene_description>Everyone looks pissed at James who seems agitated. Byrd's nervous they're wasting time.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>It's OK sir we OK. We can just start right at the top.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>It ain't right. It's too slow. We gotta pick up the pace fellas.<\/dialogue>\n    <scene_description>James begins to pace. Bobby grows concerned.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>What are you doing, James? These men been doing this for a long time. We need to listen to them.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I need to come in early..push it. Drive it. Early. Before the beat. Then speed it up, man.<\/dialogue>\n    <scene_description>Ralph Bass speaks to James from the booth.<\/scene_description>\n    <character>RALPH<\/character>\n    <dialogue>James, this is a ballad. The pace we've set is perfect.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I know it's a ballad, Mr. Bass. But a ballad is supposed to get her in the mood, not put her to sleep.<\/dialogue>\n    <scene_description>The Flames all look at Bobby who looks at the impatient faces waiting on the other side of the glass.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Let's just get it done OK?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>But it ain't right.<\/dialogue>\n    <scene_description>THEY LAUNCH INTO PLEASE PLEASE PLEASE. JAMES NAILS HIS LEAD but the pace remains the same. IN THE RECORDING BOOTH Syd Nathan, takes of his headphones, and turns to Ralph, pissed as hell.<\/scene_description>\n    <character>SYD NATHAN<\/character>\n    <parenthetical>(Takes off cans. Yells)<\/parenthetical>\n    <dialogue>What the hell is this Ralph?! Where's the rest of the song?<\/dialogue>\n    <character>RALPH BASS<\/character>\n    <dialogue>Syd-<\/dialogue>\n    <character>SYD NATHAN<\/character>\n    <dialogue>He just keeps hollering that one word over and over. \"Please\". \"Please\" what, Ralph?! Please jerk my dick? What the hell does he want? If he doesn't tell me, you're fired.<\/dialogue>\n    <scene_description>IN THE STUDIO Bobby and Nafloyd can see something is wrong. James oblivious still singing, lost in the moment. IN THE BOOTH<\/scene_description>\n    <character>RALPH<\/character>\n    <dialogue>Listen, Mr. Nathan. This song-<\/dialogue>\n    <character>SYD NATHAN<\/character>\n    <dialogue>I don't hear a song Ralph. A song has verses. A snappy chorus. It's not just some unfortunate nigger pleading. Who needs that? Give me the fucking song Ralph. The song.<\/dialogue>\n    <character>RALPH<\/character>\n    <dialogue>It's not about the song.<\/dialogue>\n    <scene_description>Nathan stops. This is sacrilege.<\/scene_description>\n    <character>SYD NATHAN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RALPH<\/character>\n    <dialogue>It's not the song.<\/dialogue>\n    <scene_description>Nathan turns to and looks again. His eyes narrow UPON James Brown, his heart and soul pouring out onto the tape. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>82A INT. BIG BILLS RENDEZVOUS. 1954. NIGHT. 82A<\/stage_direction>\n    <scene_description>THE FAMOUS FLAMES are back on stage at Big Bills only now THEY OWN THE ROOM. A packed standing room only house is going wild for James and the flames. Side doors to the club have been opened. People pour outside and dance. James sings PLEASE! at a much faster pace than at King. Aunt Honey and her girls bump and grind to the music.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Please! Please! Please.<\/dialogue>\n    <scene_description>James lowers to the floor and belts his heart out as the song concludes. James walks off stage and just outside Big Bills. A bath towel is put over James' back and head to absorb his sweat. James is breathing hard, completely exhausted. The crowd is not wanting the show to end. The band is vamps amid cheers.<\/scene_description>\n    <character>CROWD<\/character>\n    <dialogue>James Brown, James Brown, James Brown.<\/dialogue>\n    <scene_description>James slowly rises his head from under his towel and looks right at us. He begins to smile. He then looks over to Bobby and nods. The band resumes Please, Please, Please. Suddenly James throws the towel off of himself and runs to the stage. The cape act is born.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Please! Please! Please!<\/dialogue>\n    <scene_description>James jumps onto the floor singing as if for his life. He soon disappears into a sea of women pulling at his clothes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KING RECORD. MEETING ROOM. DAY JAMES 23<\/stage_direction>\n    <scene_description>James Brown sits on a couch next to Ralph Bass.<\/scene_description>\n    <character>RALPH<\/character>\n    <dialogue>James. I want you to meet somebody.<\/dialogue>\n    <scene_description>Ralph Bass gets up and opens the door. On the chairs outside the meeting room a friendly looking man looks up from a magazine.<\/scene_description>\n    <character>RALPH<\/character>\n    <dialogue>James, this is Ben Bart. Ben is President of Universal Attractions. New York's biggest booking agency.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>That was a great show last week over in Jersey.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Well thank you Sir, we worked real hard to-<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Not we James. Not the Famous Flames. You. James Brown.<\/dialogue>\n    <scene_description>James looks from one to the other.<\/scene_description>\n    <character>RALPH<\/character>\n    <dialogue>What Bart is saying James is-<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I know what Mr. Bart is saying. I heard him. Loud and clear.<\/dialogue>\n    <scene_description>He looks at them both.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I see where we goin'. Saw it this morning when your secretary called ask me to come here an hour early. Alone. I knew it six months ago. Hell, I knew it the day I was born.<\/dialogue>\n    <scene_description>James looks back. He doesn't blink. He looks to us.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>There's some things I'm gonna want.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>83A INT. KING RECORDS. CONFERENCE ROOM. LATER THAT MORNING. 83A<\/stage_direction>\n    <scene_description>A receptionist shows the rest of the band in. The Flames join Ralph, Syd Nathan, Ben Bart, and James.<\/scene_description>\n    <character>BEN BART<\/character>\n    <dialogue>Come in Boys. Come in.<\/dialogue>\n    <scene_description>There's no chairs. They stand.<\/scene_description>\n    <character>BEN BART<\/character>\n    <dialogue>Boys, I have something to show you.<\/dialogue>\n    <scene_description>He hands them each a record sleeve. They look down.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I don't understand. Is this some sort of mistake?<\/dialogue>\n    <character>NAFLOYD<\/character>\n    <parenthetical>(Reads)<\/parenthetical>\n    <dialogue>His Famous Flames?<\/dialogue>\n    <scene_description>The sleeve has clearly printed on it \"James Brown and his Famous Flames.\"<\/scene_description>\n    <character>BABY ROY<\/character>\n    <dialogue>Sir, this ain't right.<\/dialogue>\n    <character>BEN BART<\/character>\n    <dialogue>We agree. See I believe it should say simply James Brown. The fact is Gentlemen, James Brown doesn't need the Famous Flames. King records and Universal don't need the Famous Flames. But James has requested that the name remain in some form. Now if you want to stay, stay, but from now on you work for James Brown, on James Brown's records. Should you find this disagreeable in part or whole, you can go home.<\/dialogue>\n    <character>NAFLOYD<\/character>\n    <parenthetical>(Stunned)<\/parenthetical>\n    <dialogue>James?<\/dialogue>\n    <scene_description>James stares straight ahead. Nafloyd throws the record at the wall. Bobby stands there, stunned. Slowly, James looks at Bobby and then crosses to him.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Bobby. It's just a name. Ain't nothing different between us. This for all us not just me. It's gone be good.<\/dialogue>\n    <scene_description>Bobby stares back. Nafloyd steps up to James.<\/scene_description>\n    <character>NAFLOYD<\/character>\n    <dialogue>James Brown. I never liked you. Come on. Let's get outta here..<\/dialogue>\n    <scene_description>He turns and walks away with the band. Bobby rises and follows out the door. PUSH IN On James. Bart sits down opposite him.<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>So. Do you know what you want James?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS. DILAPIDATED CABIN. 1941.<\/stage_direction>\n    <scene_description>FLASHBACK - JAMES, aged eight, outside the shack in Barnwell, beating his stick against the shack.<\/scene_description>\n    <character>YOUNG JAMES<\/character>\n    <parenthetical>(Incredulous)<\/parenthetical>\n    <dialogue>I know exactly what I want.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KING RECORDS. CINCINNATI. DAY. 1962 JAMES 29 YRS<\/stage_direction>\n    <character>SYD NATHAN<\/character>\n    <dialogue>Forget it. King doesn't make live albums. They're too expensive.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I think a live album-<\/dialogue>\n    <character>SYD NATHAN<\/character>\n    <dialogue>James, your audience is Negro. Negroes don't buy albums. They don't have the resources. Especially not for a bunch a songs they already got.<\/dialogue>\n    <scene_description>James turns to Ben Bart.<\/scene_description>\n    <character>BEN BART<\/character>\n    <dialogue>James, Recording live is five, six times as expensive as the studio. And that's for some violin concerto at the Met. No one jumps up and shouts \"Blow it fucker!\" in the middle of The Magic Flute.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>But, Pop, you know my show.<\/dialogue>\n    <scene_description>James turns to Syd.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Mr. Nathan, you ain't ever even seen the show. My show.<\/dialogue>\n    <character>SYD<\/character>\n    <dialogue>Don't need to.<\/dialogue>\n    <scene_description>Syd rises and begins to dance. He attempts the \"Mashed Potato\".<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Mr. Nathan-<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>SYD<\/character>\n    <dialogue>The \"Mashed Potato\".<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>That ain't the \"Mashed Potato\".<\/dialogue>\n    <character>SYD<\/character>\n    <dialogue>Exactly.<\/dialogue>\n    <character>SYD<\/character>\n    <dialogue>I can't do the \"Mashed Potato\". That's your job. That's the show. But what I can do is the business.<\/dialogue>\n    <scene_description>Syd goes back to his desk and sits.<\/scene_description>\n    <character>SYD NATHAN<\/character>\n    <dialogue>So I stick to what I know. You stick to what you know. And that's the showbusiness.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELITE RESTAURANT. 1962. DAY.<\/stage_direction>\n    <scene_description>Ben Bart and James, in a booth. James silent, tense.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Book the Apollo. I'm gonna spend my own money on this. Syd Nathan's wrong.<\/dialogue>\n    <character>BEN BART<\/character>\n    <dialogue>I'm not going to let you do that, Jimmy.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Book it out next week for the whole week, go in, we drill it, we drill it, we drill it, then we drop it.<\/dialogue>\n    <character>BEN BART<\/character>\n    <dialogue>Forget it, Jimmy. It's too big of a risk. Let's order something to eat.<\/dialogue>\n    <scene_description>Ben signals for a waitress to come over. James grows intense.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I don't understand risk?<\/dialogue>\n    <scene_description>James stiffens.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I don't understand cos I'm just the \"show\"? Is that all I am to you, Pop? The show? The money?<\/dialogue>\n    <character>BEN BART<\/character>\n    <dialogue>Of course not, Jimmy.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Sure it is. That's all me and my black brothers are to the \"White Devil\". We the show and you the money. And that's how the White Devil keeps it all.<\/dialogue>\n    <character>BEN BART<\/character>\n    <dialogue>I'm not the \"White Devil\". I'm trying to protect you. I'm doing my job.<\/dialogue>\n    <scene_description>James becomes intense. A waitress walks over.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Pop, look me in the eye.<\/dialogue>\n    <scene_description>Ben stays on his menu.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Pop.<\/dialogue>\n    <scene_description>Ben looks up. The waitress scurries away.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Yeah, I'm the show. But, if I'm spendin' my own money on the show, then I'm gone be the business too.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>And after we kill The Apollo, I'll kick over a few bucks to the white devil. Whatever I think he deserves. And If I'm payin' you, Pop, you gone show me how to do it.<\/dialogue>\n    <scene_description>Ben takes this in.<\/scene_description>\n    <character>BEN BART<\/character>\n    <dialogue>I'll call Nola Sound. They got these new three track stereo recorders from Ampex.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>And I want the best engineer in town. I don't care what it takes. I don't care what it cost. I want everyone in uniform, the ushers, front of house, the peanut peddlers.<\/dialogue>\n    <character>BEN BART<\/character>\n    <dialogue>We'll need the band in New York immediately.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>And I want 'em in Sapphire blue suits. Pop. Sapphire.<\/dialogue>\n    <character>BEN BART<\/character>\n    <dialogue>Sapphire Blue. Underwear too. How does that sound?<\/dialogue>\n    <scene_description>Pop smiles as does James.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. CAR\/ APOLLO THEATER. 1962. NIGHT.<\/stage_direction>\n    <scene_description>Ben Bart drives a sedan. James rides in the front seat.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>It's cold. It's cold. It's too cold man. It's too cold. Cold. Cold.<\/dialogue>\n    <scene_description>They round the corner.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>C'mon. C'mon. C'mon. C'mon. C'mon.<\/dialogue>\n    <scene_description>SUDDENLY and for the first time, we hear the classic James grunt, guttural. A THUMPING RHYTHM BEGINS. James, stock still, no longer looking out of the window. Head completely still. Out of the window: a line of people. On and on. We round the corner. More people. Another corner. More. The doors of the theatre open as we pass. People rush forward as THE CAR PULLS UP. James gets out outside by the stage entrance. Ben follows.<\/scene_description>\n    <character>GERTRUDE<\/character>\n    <dialogue>Evening, Mr. Brown. Cold out tonight.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Gertrude. See if you can get some coffee for the folks in line.<\/dialogue>\n    <scene_description>James walks into the stage door entrance of the Apollo. Ben follows with a big smile. It's happening.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APOLLO THEATER. STAGE. NIGHT. 1962<\/stage_direction>\n    <scene_description>ONE BY ONE TWELVE PAIRS OF PATENT LEATHER SHOES HIT THE STAGE. THE NEW JAMES BROWN REVUE file in with instrument cases like some ultra hip sect. In the dimly lit back stage we see the motions of opening their cases and begin setting up their stations, A beautiful black girl pulls up her mini to reveal even more leg. James enters looking amazing in a cobalt sharkskin. He approaches the all new band. A member of the band, whose back is to us, peers out of the scarlet curtains towards the packed house.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>You ready Mr. Byrd?<\/dialogue>\n    <scene_description>Bobby Byrd turns from the curtains. THE ONLY SURVIVING MEMBER OF THE STARLIGHTERS. His profile lighted by a powerful spot.<\/scene_description>\n    <character>BOBBY BYRD<\/character>\n    <parenthetical>(Ice cool)<\/parenthetical>\n    <dialogue>Ready Mr. Brown.<\/dialogue>\n    <scene_description>Gertrude rushes to James with his jacket. He smooths his hair.<\/scene_description>\n    <character>FATS V\/O<\/character>\n    <dialogue>Are you ready for star time? Thank you and thank you very kindly-<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APOLLO. STAGE. NIGHT.<\/stage_direction>\n    <scene_description>Syd Nathan and Ben Bart stand in the wings. Syd shouts in Ben's ear.<\/scene_description>\n    <character>SYD<\/character>\n    <dialogue>We got the level on his main mic way up to drown out the crowd. You gotta get him to hold back a little in the first number!<\/dialogue>\n    <scene_description>CLOSE UP: Big two inch tape magnacorders turn on brushed aluminium spindles. Recording live. Ben Bart looks over at James at the curtain edge. A man possessed.<\/scene_description>\n    <character>BEN BART<\/character>\n    <dialogue>I think its too late for that. You ain't got a breeze, Syd. You got a hurricane.<\/dialogue>\n    <scene_description>James looks at Bobby. Bobby nods. James nods back. The band vamp.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Watch me.<\/dialogue>\n    <scene_description>The curtain opens. BANG! James Brown &amp; the New Revue are in perfect timing looking impeccable in their new sapphire blue suits. The crowd goes wild with excitement. Mr. Dynamite steps on stage-- and floats and dances across bare planks like they were polished ice. He reaches the mike.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>You know I feel alright.<\/dialogue>\n    <parenthetical>(Yeah!)<\/parenthetical>\n    <dialogue>You know I feel alright children.<\/dialogue>\n    <parenthetical>(Yeah!)<\/parenthetical>\n    <dialogue>I feel aaaaaaaallllriiiiiiight.<\/dialogue>\n    <scene_description>Les Buie whacks the guitar strings and the world ceases to spin. A rising 6\/8 blues riff pulses up like adrenaline. As he sings the song, a shock wave blasts out from the stage of the theatre on 125th street and into the Universe. Bobby might as well be sitting on the moon. He never misses a beat. CUT TO: James Brown and the New Revue are tearing up their second number, \"Think.\" SYD NATHAN now sits in the audience surrounded by a SEA OF BLACK FACES. We gather that Syd has never really experienced \"The Show\". He smiles and nods to the beat. Just then a female seated behind him shouts as the horns kick in.<\/scene_description>\n    <character>FEMALE IN AUDIENCE<\/character>\n    <dialogue>Blow it fuckers!!!<\/dialogue>\n    <scene_description>James stares into the darkness. He's already begun to sweat. The drums stop a six punch combination from the horns dead. He reaches for the mic without looking. Leans in and locks eyes with Syd.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Think...Think...Think...About your bad self...<\/dialogue>\n    <scene_description>James drops to his knees. The crowd goes wild. A few rows behind Syd, we find Susie Brown sitting in the audience. James' mother has come to the show.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APOLLO DRESSING ROOM. NIGHT.<\/stage_direction>\n    <scene_description>After. The cheers still ringing out. People packed into his dressing room. Champagne corks pop. Congratulations from all.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Thank you. That's very kind of you.<\/dialogue>\n    <scene_description>Bobby, at the door. Can't get to him. Turns to Gertrude.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Gertrude. Get everybody out.<\/dialogue>\n    <character>GERTRUDE<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>ACROSS THE ROOM<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>We gone celebrate tonight. And then tomorrow we gone Wilmington and do it to it all over again.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Mr. Brown. Excuse me. Mr. Brown.<\/dialogue>\n    <parenthetical>(Then)<\/parenthetical>\n    <dialogue>...James.<\/dialogue>\n    <scene_description>James stops. Turns to face Bobby's grave expression. Bobby whispers in James' ear.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>There's a woman here, Mr. Brown. She says she's your mother.<\/dialogue>\n    <scene_description>James stops dead. COMPLETELY STILL. We push in. He doesn't blink.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>FLASHBACK - EXT. STREET. NIGHT. 1942. JAMES 9 YRS<\/stage_direction>\n    <scene_description>Little Junior walks Twigg street at night. Passing dives and joints. Suddenly he stops, across the street, he sees a woman coming out of a bar arm in arm with a BLACK SOLDIER. He follows her up the street. She's weaving and laughing with the drunk soldier.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Momma?<\/dialogue>\n    <scene_description>SUSIE and the soldier walk into a side yard where a party is in full swing. James approaches her from behind.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Momma it's me. It's me.<\/dialogue>\n    <scene_description>She turns. Focuses blearily.<\/scene_description>\n    <character>SOLDIER<\/character>\n    <dialogue>You know this little nigger?<\/dialogue>\n    <scene_description>For a moment it looks as if there is a flicker of recognition. Then swivels her head to look at the soldier. She shakes her head.<\/scene_description>\n    <character>SOLDIER<\/character>\n    <dialogue>Beat it.<\/dialogue>\n    <character>YOUNG JAMES<\/character>\n    <dialogue>But Momma!<\/dialogue>\n    <scene_description>The soldier picks up a rock a throws it.<\/scene_description>\n    <character>SOLDIER<\/character>\n    <dialogue>Get the fuck out of here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUNT HONEY'S BEDROOM. NIGHT. 1942<\/stage_direction>\n    <scene_description>Aunt Honey and James lie in bed together. James has been crying.<\/scene_description>\n    <character>AUNT HONEY<\/character>\n    <dialogue>Don't cry, Little Junior. Don't cry. Now, child, I want you to listen to me. You gone be okay. You hear me? Little Junior, you were born dead. Did you know that?<\/dialogue>\n    <scene_description>James shakes his head.<\/scene_description>\n    <character>AUNT HONEY<\/character>\n    <dialogue>When your great Aunt pulled you into this world you were dead. You had gone cold. She slapped your ass hard too but you never drew a breath. Your momma and daddy had to say goodbye to you. But then your Great Aunt breathed in you one last time. And then you turned warm and then you screamed. So loud we heard it all the way here in Augusta. You're special, boy. Cause you got the spirit in you. And that spirit told me you gone be a rich man, Little Junior. And Everybody gone know your name. Ain't nothin' can touch you. You hear me? Nothin'.<\/dialogue>\n    <scene_description>James nods.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>92A INT. TOUR BUS. DAY. 1964 92A<\/stage_direction>\n    <scene_description>The band on the bus. Bobby Bennet frowns and turns to Bobby Byrd. A new girl, YVONNE FAIR, gets on. DOWN THE BUS -- The others watch.<\/scene_description>\n    <character>MACEO<\/character>\n    <dialogue>Who's this?<\/dialogue>\n    <character>BOBBY BENNET<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>James gone wear that seat out.<\/dialogue>\n    <character>MACEO<\/character>\n    <dialogue>Which seat. Her's or the bus?<\/dialogue>\n    <scene_description>Having overheard, Yvonne spends around.<\/scene_description>\n    <character>YVONNE<\/character>\n    <dialogue>I'm Yvonne! I'm a singer. Let me worry about my seat.<\/dialogue>\n    <scene_description>Bennet and Maceo snicker.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET\/FISH HOUSE. DAY. 1965<\/stage_direction>\n    <scene_description>James and Ben Bart walk up a street. They turn a corner to see a gleaming new Cadillac parked next to the Fish House. We see a DRIVER inside. The driver exits.<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Compliments of Universal Attractions.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>This for me? Looky this! We got us a chauffeur.<\/dialogue>\n    <character>JAMES<\/character>\n    <parenthetical>(to the chauffeur)<\/parenthetical>\n    <dialogue>Gimme the keys. What they payin' you?<\/dialogue>\n    <scene_description>James takes the keys and then pulls out a roll of bills and counts out six hundreds. He hands them to chauffeur.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>This here's a month's pay, help you get yourself another job. I gone drive myself.<\/dialogue>\n    <scene_description>The chauffeur smiles, hands Bart his hat and walks off down the street.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Don't mention it.<\/dialogue>\n    <parenthetical>(turns to Ben Bart)<\/parenthetical>\n    <dialogue>That's six a month goin' somewhere else.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FISH HOUSE - DAY<\/stage_direction>\n    <scene_description>James and Pop sit at a small dining table outside the Fish House.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Pop, see there's something I been meaning to ask you.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>What's that Jimmy.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I got a seventh grade education Pop, so you'll have to excuse me. I was looking over those figures you sent me, and something occur to me: we don't pay the promoter, the promoter pay us.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Just standard Jimmy. Guarantee against fluctuating ticket sales. Lets plan a-<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>-sure we planning, see I ask myself, what if we don't got fluctuating sales. What if you knocking the tar out of every show.<\/dialogue>\n    <scene_description>Ben Bart watches James with a new outlook on his partner and friend.<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Well let me explain the way it works. When you book a show. Take Chicago. Now our promoter in Chicago is-<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Lenny J Frank. Lenny's the number one promoter in Chicago has been for twenty years.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I don't doubt it.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Now when Lenny pays us a flat rate, we can account. You know, number one, you're getting top rate and number two-<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>What if we took the gate?<\/dialogue>\n    <parenthetical>(Bart stops JAMES looks over)<\/parenthetical>\n    <dialogue>What if we took it ourself.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>And still got the show promoted, but better.<\/dialogue>\n    <character>BEN BART<\/character>\n    <dialogue>Better than Lenny Franks?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Lenny Franks a James Brown fan? How old he, sixty? Why's he gone try harder for James Brown than for Sam Cooke? Or Ray Charles. Or Tom Jones. See Pop. We go to the radio stations.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Jimmy, I understand your frustration but you gotta realize you're entering a game where the rules are set out. If you were a ball player you can't walk in and change how many innings they're gonna play just because...<\/dialogue>\n    <scene_description>As Bart drones on, James loses interest and starts addressing us directly.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>You see my point right? OK. Listen up. We go to the radio station. We go to the young cats. The hungry cats. The late night cat.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RADIO STATION.<\/stage_direction>\n    <scene_description>James talks to us as he stands next to a DEEJAY, ALAN LEEDS, The deejay doesn't hear James talking to us.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>The twenty year old white deejay in Richmond Virginia who's getting paid nothing and is only doin' it because he loves music. We go to him we ask him if he want to be the sole James Brown promoter for the Richmond show. For a percentage. He gone say:<\/dialogue>\n    <scene_description>The deejay suddenly looks up to James.<\/scene_description>\n    <character>YOUNG RICHMOND DEEJAY<\/character>\n    <dialogue>Are you fucking kidding me? Do you know how much they pay me?<\/dialogue>\n    <character>JAMES WALKS PAST THROUGH THE STATION TALKING TO US.<\/character>\n    <dialogue>JAMES<\/dialogue>\n    <scene_description>Between nothing and fifty bucks a week. But he love my music. He digs James Brown. And he got a microphone and a turn-table and four hours airtime to kill.<\/scene_description>\n    <character>YOUNG RICHMOND DEEJAY<\/character>\n    <dialogue>Screw Payola.<\/dialogue>\n    <character>LATER - THE RADIO STATION.<\/character>\n    <dialogue>He spins it. MUSIC starts: \"Papa's Got a Brand New Bag.\"<\/dialogue>\n    <character>JAMES BEGINS TO GROOVE.<\/character>\n    <dialogue>JAMES<\/dialogue>\n    <scene_description>And at the end he gone say.. 95A ARCHIVAL FOOTAGE. VOICE-OVER OF DEEJAYS ANNOUNCING THE 95A<\/scene_description>\n    <character>UPCOMING SHOWS OVER.. \"MAKE SURE YOU CATCH JAMES AT THE ARENA<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FISH HOUSE. DAY.<\/stage_direction>\n    <character>BACK AT THE FISH HUT, JAMES IS TALKING TO US AS HE ORDERS A<\/character>\n    <dialogue>PLATE OF FISH.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Now because he's twenty he's got strong legs. And he knows everyone.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE STREETS. 1965.<\/stage_direction>\n    <scene_description>THE VARIOUS DEEJAYs -- riding around town on bikes, on skates, diving out of cars, pasting up posters everywhere.<\/scene_description>\n    <character>JAMES (V.O.)<\/character>\n    <dialogue>He know the guy in the barber shop knows the guy at the pool hall, the guy at the garage.<\/dialogue>\n    <scene_description>INSIDE JAMES PAYS FOR A LARGE PLATE OF FISH.<\/scene_description>\n    <character>JAMES<\/character>\n    <parenthetical>(to us)<\/parenthetical>\n    <dialogue>That way we get our record played outside Payola, we get our show promoted better, harder, cheaper, and we keep the gate.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FISH HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>James exits the fish house and sits down at a rickety card table with Bart.<\/scene_description>\n    <character>JAMES<\/character>\n    <parenthetical>(to Bart)<\/parenthetical>\n    <dialogue>And the best part is, you can put it all through the books. Item. Promoter.<\/dialogue>\n    <parenthetical>(He turns to Bart)<\/parenthetical>\n    <dialogue>What'd you think Pop?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Its beautiful Jimmy. I can't do it.<\/dialogue>\n    <scene_description>Bart picks up a piece of fish and eats it.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Universal Attractions promotes many acts. I can't piss off the 60 or 70 promoters in this country to skim a little extra on the James Brown Show.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>It's not a little. If the show sells, and it's sellin', we talking thousands of dollars a night. Difference per year between 2 and 3 million dollars.<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>And I'm out of a job. Think you're forgetting I don't just work for James Brown.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>And there's my next point Pop. Why not?<\/dialogue>\n    <parenthetical>(Bart stops)<\/parenthetical>\n    <character>JAMES<\/character>\n    <dialogue>I can do something for you, and you can do something for me, and it ain't buy me no Cadillac. Did you buy Wilson Pickett a Cadillac? Did you buy Jackie Wilson a Cadillac? You know which way this thing is going Pop. I got people around me who don't see it.<\/dialogue>\n    <scene_description>Bart looks at him for some time as a black 1965 limousine pulls up to the fish house. James looks straight back to us. Smiles. Ben Bart rises and grabs a piece of fish.<\/scene_description>\n    <character>BEN BART<\/character>\n    <parenthetical>(to James)<\/parenthetical>\n    <dialogue>I thank you for the fish. And I'm gonna need some benefits, boss.<\/dialogue>\n    <scene_description>Bart crosses to the limo and leaves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THEATER. NIGHT. 1965 JAMES 32<\/stage_direction>\n    <scene_description>The whole band on stage looking sharp. Knocking the shit out of MAN'S WORLD. James falls to his knees James turns to backup singer, YVONNE and winks. She winks back. James scans the front row and sees a very beautiful black woman, DEDE, dancing in the audience. James and Dede lock eyes. The attraction immediate. Man's World continues over the next three scenes. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SECURE ROOM<\/stage_direction>\n    <scene_description>Ben Bart counts bundles of cash. He shuts a case full of money. Hands it to 300lb MINDER. An ASSISTANT tries to handcuff it to his wrist. It won't close.<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Po-lice have the same problem.<\/dialogue>\n    <scene_description>Bart looks at the three hundred pound minder. Tacitly decides it's probably safe.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET IN CINCINNATI. 1965. DAY.<\/stage_direction>\n    <scene_description>Two shiny cars pull up to the bank. The 300lb MINDER, and a couple of his fellas, head into the bank each carrying several suitcases full of money.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANK. DAY.<\/stage_direction>\n    <scene_description>They form a queue as the good folk of Cincinnati stare agog. The carriers hand over BUNDLES AND BUNDLES OF CASH. BEHIND THE COUNTER The manager spots how many suitcases they have.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>103A INT. THEATER. NIGHT. LATER THAT SAME NIGHT. 103A<\/stage_direction>\n    <scene_description>James is concluding his show with Please, Please, Please. He is at the tail end of his cape routine. The cape is brilliant blue with rhinestones. He glances at Dede one last time from under the cape.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACKSTAGE. POST SHOW. NIGHT. 1965<\/stage_direction>\n    <scene_description>James walks down the corridor backstage. Stops. Sniffs. Opens an equipment room door. NEW BAND MEMBER is inside smoking reefer.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Who you play Sax with son?<\/dialogue>\n    <character>NEW BAND MEMBER<\/character>\n    <dialogue>James Brown Orchestra, Mr. Brown.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>What's the rule?<\/dialogue>\n    <character>NEW BAND MEMBER<\/character>\n    <dialogue>No hopheads. No reefer heads. No junkies.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Not on the bus. Not backstage. You a talented horn player, son. You gotta keep your game tight. Now you wanna smoke a little groove on your own time, that's yo' business. But we out here to work hard and we gone do just that you dig? Fifty.<\/dialogue>\n    <scene_description>Puts out his hand. NEW BAND MEMBER counts off bills and walks down the corridor. James turns around to find a beautiful black woman staring back at him. She holds a notebook and pen.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Hello pretty thing. You want an autograph?<\/dialogue>\n    <scene_description>She nods. James approaches and tries to grab the notebook. She pulls it back from his grasp with a smile<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>You want to come with me? So I can sign it somewhere private?<\/dialogue>\n    <scene_description>James flashes that million dollar smile. They walk away together.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAMES BROWN'S HOME. BEDROOM. WALTON WAY. AUGUSTA.<\/stage_direction>\n    <scene_description>James walks into the bedroom of his home. Dede is sitting at the end of their bed looking beautiful in a sexy negligee.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I called you yesterday, you ain't home.<\/dialogue>\n    <character>DEDE<\/character>\n    <dialogue>I was home all day.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>You were home all day. So why you didn't pick up the phone?<\/dialogue>\n    <character>DEDE<\/character>\n    <dialogue>I don't know. What time you call?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I call you at one and quarter past one, then I call you at two. And I call again at three.<\/dialogue>\n    <character>DEDE<\/character>\n    <dialogue>You must've wanted to talk to me pretty bad.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Where were you?<\/dialogue>\n    <character>DEDE<\/character>\n    <dialogue>Yesterday. I don't know..in the bath?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>For two hours?<\/dialogue>\n    <character>DEDE<\/character>\n    <dialogue>You want me to take shorter baths? You don't have a phone in the bathroom, James. What you gonna do? Fine me?<\/dialogue>\n    <scene_description>He looks at her levelly as he walks past and grabs a phone from the bedside table. He yanks it out of the wall. Dede turns, James races towards her but passes and heads into the bathroom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>James walks in with the phone. James throws the phone at a bathroom mirror. It shatters.<\/scene_description>\n    <character>BACK IN THE BEDROOM<\/character>\n    <dialogue>Dede is still as stone. James looks to Dede and then begins to smile.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I ain't gone fine you, baby. You fine enough already.<\/dialogue>\n    <scene_description>Dede smiles.<\/scene_description>\n    <character>DEDE<\/character>\n    <dialogue>Then get over here, Mr. Dynamite.<\/dialogue>\n    <scene_description>James approaches Dede and begins taking off his clothes.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Got you a phone in the bathroom now.<\/dialogue>\n    <scene_description>James and Dede begin making love. MUSIC. MONEY WON'T CHANGE YOU. Over.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CADILLAC. 1965. DAY.<\/stage_direction>\n    <scene_description>James, Dede and Bobby are standing outside James' Cadillac. Dede has her hands over Bobby's eyes. Dede has a huge diamond ring on her finger.<\/scene_description>\n    <character>DEDE<\/character>\n    <dialogue>Keep your eyes closed Bobby. Keep 'em closed.<\/dialogue>\n    <character>BOBBY BYRD<\/character>\n    <dialogue>They're closed, Dede.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>You peekin' brother? OK. OK.<\/dialogue>\n    <parenthetical>(James stops the car.)<\/parenthetical>\n    <dialogue>You ready. You ready? OK. Open 'em.<\/dialogue>\n    <parenthetical>(Bobby does. )<\/parenthetical>\n    <dialogue>Check it Bobby. Is that something?<\/dialogue>\n    <scene_description>Bobby opens his eyes and sees a Lear Jet stands on a runway. \"James Brown\" on the side.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>That something Bobby? Is that something?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yeah brother. That's something.<\/dialogue>\n    <scene_description>Velma pulls up in another car. It's full of James kids. Teddy plus four more. He picks them all up and hugs them. As he does, Bobby sheepishly greets Velma.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Hey Velma.<\/dialogue>\n    <character>VELMA<\/character>\n    <dialogue>Hey Bobby.<\/dialogue>\n    <scene_description>James and Dede come over. Bobby takes a step back.<\/scene_description>\n    <character>VELMA<\/character>\n    <dialogue>Teddy got impetigo.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Impetigo?<\/dialogue>\n    <character>DEDE<\/character>\n    <dialogue>It's a skin infection.<\/dialogue>\n    <character>VELMA<\/character>\n    <dialogue>All that mess round his mouth. That's impetigo. It's highly infectious.<\/dialogue>\n    <scene_description>Velma turns to Dede.<\/scene_description>\n    <character>VELMA<\/character>\n    <dialogue>I'm just sayin' Mrs. Brown, I wouldn't go too near Teddy. Not unless you wanna catch impetigo.<\/dialogue>\n    <character>DEDE<\/character>\n    <dialogue>Thank you, Velma. I'll consider myself warned.<\/dialogue>\n    <character>VELMA<\/character>\n    <dialogue>Warned? Oh, that's a whole other conversation. Welcome to the family.<\/dialogue>\n    <scene_description>Dede and Velma smile at each other. James looks at the two women then to Teddy. He pulls Teddy in close. James turns to his other kids.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Listen up. Which one of you cats want to fly to Reno on daddy's airplane?<\/dialogue>\n    <scene_description>The kids all say \"me!... me!\" The kids, Bobby and Dede walk up the steps onto the plane as Velma gets in her car. James lingers.<\/scene_description>\n    <character>JAMES<\/character>\n    <parenthetical>(to Velma)<\/parenthetical>\n    <dialogue>You need anything?<\/dialogue>\n    <character>VELMA<\/character>\n    <dialogue>I'll let you know. I'm putting a big list together right now.<\/dialogue>\n    <scene_description>Velma smiles and cranks her car.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RENO PRIVATE AIRPORT. ESTABLISHING. DAY. 1965<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRIVATE AIRPORT TERMINAL. LATER THAT DAY. JAMES<\/stage_direction>\n    <scene_description>James is giving a press conference to a group of journalists. Bobby, Teddy and Dede stand next to James.<\/scene_description>\n    <character>INTERVIEWER<\/character>\n    <dialogue>Welcome to Reno, Mr. Brown. What exactly do you call your style of music?<\/dialogue>\n    <character>JAMES BROWN<\/character>\n    <dialogue>I call it James Brown music. What I mean is, it's so far ahead of it's time that they ain't got a name for it yet. Take another record, any record from your stack at home. I don't care if it's from Motown or Stax or whatever...and put it on your box. None of them are gonna sound like mine. Not even my own old records. Just like the title says, it's a \"new bag\". See the funk is in the bass. The bass never changes. It's a groove, lady. Soon as you hear that groove, I know I got you.<\/dialogue>\n    <character>INTERVIEWER<\/character>\n    <dialogue>And what exactly is the groove?<\/dialogue>\n    <character>JAMES BROWN<\/character>\n    <dialogue>The groove is something you feel. The groove is solid. Bam Bap. It don't move. It's like a heartbeat. It's inside you, driving everything. Hard. Flat. A groove.<\/dialogue>\n    <character>INTERVIEWER<\/character>\n    <dialogue>But how exactly do you define it?<\/dialogue>\n    <character>JAMES BROWN<\/character>\n    <dialogue>I just did.<\/dialogue>\n    <parenthetical>(Then)<\/parenthetical>\n    <dialogue>See Miss. See there's some things, they're just too big to fit in a magazine. But we all feel it. Even little Teddy here know it when he feel it.<\/dialogue>\n    <scene_description>James groans \"Um booga chooca. Um\". Teddy is lit up; thrilled. He sings.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>\"Um Booga Chooca\"<\/dialogue>\n    <character>JAMES BROWN<\/character>\n    <dialogue>See. Right there. We all feel it together. And that's the groove. Understand?<\/dialogue>\n    <character>INTERVIEWER<\/character>\n    <parenthetical>(Checks her questions)<\/parenthetical>\n    <dialogue>So what's your favorite food?<\/dialogue>\n    <scene_description>James catches Dede's eye. She and James share a knowing look with Bobby. Bobby takes the mic as James walks away to a side room where Ben Bart is waiting. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPORT MEETING ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>BART, James study at a map. BOBBY sits across the aisle.<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Then we got a day between Raleigh, Carolina and Columbia two days after.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Day off?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>Sure. Regroup. Rest the horses.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>We ain't payin' the horses to rest 'em. Besides, we got a day off in two weeks in New Orleans. The boys can get their wives, girlfriends along, kick back. What's between Raleigh and Columbia? Spartanburg?<\/dialogue>\n    <character>BACK THE PRESS CONFERENCE:<\/character>\n    <dialogue>BOBBY BYRD<\/dialogue>\n    <scene_description>Well see, James started out in Augusta. Then his family moved to Toccoa. That's where we met.<\/scene_description>\n    <character>JOURNALIST<\/character>\n    <dialogue>And tell me about James' first band, the Famous Flames.<\/dialogue>\n    <character>BOBBY BYRD<\/character>\n    <dialogue>Well there was five of us to start with. Nafloyd Scott, Baby Roy Scott, Sylvester Keels..<\/dialogue>\n    <character>JOURNALIST<\/character>\n    <dialogue>And they left...<\/dialogue>\n    <character>BOBBY BYRD<\/character>\n    <dialogue>Yeah. They left.<\/dialogue>\n    <scene_description>James walks into the interview area.<\/scene_description>\n    <character>JAMES<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>Bobby? What's the name of the theater in Spartanburg...<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Uh.. The Viceroy. The..<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>The Regal!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yeah. That's it. The Regal.<\/dialogue>\n    <character>JAMES<\/character>\n    <parenthetical>(to Bart)<\/parenthetical>\n    <dialogue>On Howard Street and main. Hold about 750 people. Guy named Bennett used to own it. Yeah, Spartanburg. Yeah, we'll play there and I can bring in my masseuse from Anderson.<\/dialogue>\n    <scene_description>James disappears again.<\/scene_description>\n    <character>JAMES (O.C.)<\/character>\n    <dialogue>Call 'em up, Pop.<\/dialogue>\n    <scene_description>The journalists laugh.<\/scene_description>\n    <character>JOURNALIST<\/character>\n    <dialogue>Wow. He's got an amazing memory.<\/dialogue>\n    <scene_description>Bobby nods to himself.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Yeah. James remembers everything.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JAMES BROWN'S HOME. WALTON WAY. 1967. CHRISTMAS.<\/stage_direction>\n    <scene_description>On the lawn of James' and Dede's new home a Christmas spectacular is staged. The Brown's Colonial is smack dab in the middle of Augusta's most elite, white neighborhood. Fake snow is being sprayed on the lawn by Teddy. Kids of all races play in the white stuff. We widen to see a huge line of people waiting to meet James who is dressed as Santa Clause. Dede is dressed as a sexy Mrs. Clause. Dede wears sexy fish net hose which rise up her legs, disappearing into a short red skirt. Dede holds an infant girl. One by one, kids and their parents approach James. He hands each Kid a five dollar bill. A little white boy approaches.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Hey little man, you been good this year.<\/dialogue>\n    <character>LITTLE BOY<\/character>\n    <dialogue>Yes, Mister Brown.<\/dialogue>\n    <scene_description>James hands him a five spot. Dede hands the little boy a candy apple. Another little white boy and his father approach. James as James speaks to the little boy.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Merry Christmas, Little Man.<\/dialogue>\n    <scene_description>James then notices the boy's father checking out Dede. The little boy moves on to Dede. She leans over and picks up an apple from a tray. The boy's father takes full notice of Dede's ass. James takes full notice of the entire thing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAMES BROWN'S HOME. WALTON WAY. AUGUSTA. LATER THAT<\/stage_direction>\n    <character>DAY.<\/character>\n    <dialogue>James and Dede enter the Brown home, passing a huge life size portrait of James hanging in the foyer.<\/dialogue>\n    <character>DEDE<\/character>\n    <dialogue>Great crowd today, Baby.<\/dialogue>\n    <scene_description>James passes Dede without a word and heads to the back of the house. Dede follows James thought the living room and into the kitchen. James disappears around a corner.<\/scene_description>\n    <character>DEDE<\/character>\n    <dialogue>You want some dinner?<\/dialogue>\n    <scene_description>Dede follows James around the corner and disappears.<\/scene_description>\n    <character>JAMES (O.C.)<\/character>\n    <dialogue>You stand up in James Brown's yard dressed like that? So every man can see you?<\/dialogue>\n    <scene_description>Then suddenly, A SMACK is heard. Dede's Body falls back into frame and collapses on the kitchen floor. A towel flies into frame and lands next to Dede.<\/scene_description>\n    <character>JAMES (O.C.)<\/character>\n    <dialogue>Cover yourself up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAMES BROWN'S HOME. WALTON WAY. AUGUSTA. CONTINUOUS<\/stage_direction>\n    <scene_description>We are now with James in the room off the kitchen. Behind James we see Dede starting to get up off the floor. The camera is on James' face. We get the sense that James wants to look at us and talk directly to us but he won't. Out of Shame, James leaves the room and goes to Dede's aid. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL POOL. NEW ORLEANS. 1967. DAY<\/stage_direction>\n    <scene_description>The long awaited day off. The James revue kicks back by the pool in the sunshine, wives, girls, and kids. An idyllic scene. Kids playing with fathers. Kids towelled down by mothers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL POOL. CHECK IN STAND. CONTINUOUS<\/stage_direction>\n    <scene_description>A WHITE FEMALE TOURIST in swimming kit has been complaining to a HOTEL MANAGER. Her HUSBAND, tries to make peace.<\/scene_description>\n    <character>HUSBAND<\/character>\n    <parenthetical>(regarding the manager)<\/parenthetical>\n    <dialogue>Honey, his hands are tied. The pool area has been reserved for a private function.<\/dialogue>\n    <character>WIFE<\/character>\n    <dialogue>We're good people and we've paid good money. We didn't come all the way to New Orleans to swim in a pool full of-<\/dialogue>\n    <character>WIFE<\/character>\n    <dialogue>Niggers.<\/dialogue>\n    <character>HUSBAND<\/character>\n    <dialogue>Entertainers.<\/dialogue>\n    <scene_description>Just then a band member's kid does a cannonball in the pool.<\/scene_description>\n    <character>BACK AT THE POOL<\/character>\n    <dialogue>Bobby, poolside, messes about with the new singer, Vicki ANDERSON.<\/dialogue>\n    <character>VICKI ANDERSON<\/character>\n    <dialogue>You a bad man Bobby Byrd.<\/dialogue>\n    <scene_description>Suddenly he pulls her to him. They NEARLY share a kiss. But laugh instead. Bobby turns his head to a hotel balcony. Vicki grabs Bobby's face and turns it back toward her.<\/scene_description>\n    <character>VICKI ANDERSON<\/character>\n    <dialogue>Quit lookin' for James Brown and keep your eyes on me, Bobby Byrd.<\/dialogue>\n    <scene_description>She sexily rises and goes and sits on a lounger. Bobby watches her all the way. She catches his eye. Looks at him, raises an eyebrow like \"what you looking at?\" He feigns innocence, turns, and smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL BALCONY - SAME TIME<\/stage_direction>\n    <scene_description>James discreetly watches from behind a blind on his balcony high above.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL POOL. CONTINUOUS.<\/stage_direction>\n    <scene_description>Pee Wee, in jams, walks with a new band member, FRED WESLEY, who is still wearing a suit.<\/scene_description>\n    <character>PEE WEE<\/character>\n    <dialogue>Fella's this is Fred. I thought we'd show him how things work?<\/dialogue>\n    <scene_description>Pee Wee pulls out a cheap wig from his pocket and puts it on. Everyone around the pool begins to laugh as Pee Wee begins demonstrating how things work to Wesley. Pee Wee is full on imitating James Brown<\/scene_description>\n    <character>PEE WEE ELLIS<\/character>\n    <dialogue>So when I do this..<\/dialogue>\n    <parenthetical>(Turns head, stamps foot)<\/parenthetical>\n    <dialogue>Means you give it some punch. See. When I dip like this.<\/dialogue>\n    <parenthetical>(Dips hip and slides)<\/parenthetical>\n    <character>BOBBY<\/character>\n    <dialogue>Means less sharp. Bring it down.<\/dialogue>\n    <scene_description>Fred nods.<\/scene_description>\n    <character>PEE WEE ELLIS<\/character>\n    <dialogue>When I do this.<\/dialogue>\n    <parenthetical>(Juts chin back and forth)<\/parenthetical>\n    <character>MACEO<\/character>\n    <dialogue>Mean I give it some heat.<\/dialogue>\n    <character>PEE WEE ELLIS<\/character>\n    <dialogue>Right. Now when I do this.<\/dialogue>\n    <parenthetical>(Stamps foot and moves elbow.)<\/parenthetical>\n    <dialogue>And you stab..<\/dialogue>\n    <character>ALL<\/character>\n    <dialogue>On the one.<\/dialogue>\n    <character>PEE WEE ELLIS<\/character>\n    <dialogue>See? And when I pop his head like this, it mean.<\/dialogue>\n    <character>ALL<\/character>\n    <dialogue>Take it to the bridge.<\/dialogue>\n    <character>MACEO<\/character>\n    <dialogue>What about when he do this..?<\/dialogue>\n    <scene_description>Maceo crunches his shoulder blades together.<\/scene_description>\n    <character>PEE WEE ELLIS<\/character>\n    <dialogue>I ain't ready to tell you that one yet. I'm in control Mr. Parker. Got it. Don't ask about that again.<\/dialogue>\n    <scene_description>Pee Wee flashes his hand at Maceo.<\/scene_description>\n    <character>PEE WEE<\/character>\n    <dialogue>That'll be ten thousand dollars.<\/dialogue>\n    <scene_description>The band loses their shit at this one. Laughs all around. An hotel employee walks out with a note and hands it to Pee Wee. Pee Wee reads. Pee Wee removes the wig.<\/scene_description>\n    <character>PEE WEE<\/character>\n    <dialogue>He's called a rehearsal.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>When?<\/dialogue>\n    <character>PEE WEE<\/character>\n    <dialogue>Now. We gotta go get dressed.<\/dialogue>\n    <character>MACEO<\/character>\n    <dialogue>You're kidding. Tell me you kidding.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL ROOM BALCONY \/ POOL.<\/stage_direction>\n    <scene_description>Hiding behind a partition, James raises a cigarette to his mouth.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW ORLEANS HOTEL REHEARSAL ROOM. 1967 JAMES 34 YRS<\/stage_direction>\n    <scene_description>The band, all in their suits, with their instruments. All glaring. One more pissed off than the next. Vicki stands in the corner. James is in the middle of an extended anecdote.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>See My great grandmother on my momma's side, she Asian. She got Asian blood. See Asians are a flexible race. You get with an Asian chick? That a whole other story. No spank but they got it baby they got it. Anyway what was I talkin 'bout?<\/dialogue>\n    <character>MACEO<\/character>\n    <dialogue>Your Chinese knees Mr. Brown.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>That's right. That it. I got these Chinese knees.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>That's how come I can dance the way I do. Anyway. One. Two. Three. Four. Hit it.<\/dialogue>\n    <scene_description>The band starts up. During the introduction to COLD SWEAT, MACEO comes in late on the Sax. Everything stops.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Stop. Maceo.<\/dialogue>\n    <parenthetical>(Laughs)<\/parenthetical>\n    <dialogue>What you doing man? You coming in maybe a little too late. What's the matter son. You lost your feeling?<\/dialogue>\n    <character>MACEO<\/character>\n    <parenthetical>(Flatly)<\/parenthetical>\n    <dialogue>No Sir. I ain't lost no feeling.<\/dialogue>\n    <scene_description>SILENCE. James tunes into the vibe for the first time. SOMETHING's wrong.<\/scene_description>\n    <character>JAMES<\/character>\n    <parenthetical>(Innocently)<\/parenthetical>\n    <dialogue>Something wrong, Maceo?<\/dialogue>\n    <parenthetical>(SILENCE. Directly)<\/parenthetical>\n    <dialogue>Is something wrong, Maceo?<\/dialogue>\n    <character>BOBBY BYRD<\/character>\n    <dialogue>James-<\/dialogue>\n    <scene_description>James rounds on Bobby.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>You got something to say Mr. Byrd?<\/dialogue>\n    <parenthetical>(Silence. Smiling)<\/parenthetical>\n    <dialogue>Because a man got something to say he should say it. You got something to say?<\/dialogue>\n    <scene_description>SILENCE. Vicki looks away. All at once James loses it.<\/scene_description>\n    <character>JAMES<\/character>\n    <parenthetical>(Shouting)<\/parenthetical>\n    <dialogue>Well then you just HOLDING UP THE REHEARSAL Mr. Byrd.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I can't have people HOLDING UP THE REHEARSAL. If I can't do it right I ain't gone do it at all. We got to GET ON. GET AHEAD. Now you know the rule.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>You late, you off or you hold us up, it's no good, Mr. Byrd. Its gonna cost you 50 dollars.<\/dialogue>\n    <scene_description>Bobby's jaw tightens. Everyone holds their breath.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Now are you ready Mr. Byrd. Are you ready Mr. Byrd?<\/dialogue>\n    <scene_description>Pause.<\/scene_description>\n    <character>BOBBY BYRD<\/character>\n    <dialogue>Yes, Mr. Brown.<\/dialogue>\n    <scene_description>James glances to Vicki and winks.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Good. I ain't fattening frogs for snakes. From the top. One Two...<\/dialogue>\n    <scene_description>COLD SWEAT resumes. Bobby sings his backing part. James stands in the middle of the floor. Its good but-<\/scene_description>\n    <character>JAMES BROWN<\/character>\n    <dialogue>Quit it.<\/dialogue>\n    <parenthetical>(They all stop)<\/parenthetical>\n    <dialogue>Clyde man. Lets get that POP! Dee.. app..POP! Unnerstand? It drop before you reach the beat. Dig?<\/dialogue>\n    <scene_description>Jimmy Nolen looks worriedly at Pee Wee.<\/scene_description>\n    <character>MACEO<\/character>\n    <parenthetical>(Whispers to Waymon)<\/parenthetical>\n    <dialogue>Does he mean top of the bar?<\/dialogue>\n    <character>PEE WEE<\/character>\n    <parenthetical>(To Maceo)<\/parenthetical>\n    <dialogue>He means the down beat.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>It goin' wrong there Pee Wee, when it rise up.<\/dialogue>\n    <character>MACEO<\/character>\n    <dialogue>But Mr. Brown.<\/dialogue>\n    <scene_description>Maceo pauses and waits to be acknowledged by James. James turns and glares at Maceo.<\/scene_description>\n    <character>MACEO<\/character>\n    <dialogue>We rehearsed it like you told us. We got it like you like it. Jimmy can't do that with the part he's playing. We can change the part if you want.<\/dialogue>\n    <character>JAMES BROWN<\/character>\n    <parenthetical>(Suddenly angry)<\/parenthetical>\n    <dialogue>Did I say change the part? Don't change the part. How many records you got?<\/dialogue>\n    <scene_description>James sarcastically responds to Maceo's silence.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Thank you! I like the part he playin' now. I just want it in a different place.<\/dialogue>\n    <scene_description>Blank stares from the band. James walks over to Clyde's snare and points.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>What's this, Maceo.<\/dialogue>\n    <character>MACEO.<\/character>\n    <dialogue>It's a snare, Mr. Brown.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>A snare what?<\/dialogue>\n    <character>MACEO.<\/character>\n    <dialogue>Drum.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Correct.<\/dialogue>\n    <scene_description>James moves over to Jimmy. Points to his guitar.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>What's this, Maceo?<\/dialogue>\n    <character>MACEO<\/character>\n    <dialogue>Guitar, Mr. Brown.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>No it's not.<\/dialogue>\n    <scene_description>James goes back to Clyde and points to Maceo's sax<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>What's that, Pee Wee?<\/dialogue>\n    <character>PEE WEE.<\/character>\n    <dialogue>A drum, Mr. Brown?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Now you're getting it.<\/dialogue>\n    <scene_description>James crosses to Pinckney and points to Odum's guitar<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>What's that he's holding.<\/dialogue>\n    <character>PEE WEE<\/character>\n    <dialogue>A drum?<\/dialogue>\n    <scene_description>James points to the horn section.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>You Fellas. What are those shiny things you holding.<\/dialogue>\n    <character>EVERYBODY IN THE ROOM<\/character>\n    <dialogue>Drums.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Now we all got our drums. Now when you're playing the drum it don't matter what key you're in, what bar your in or what planet you on. Dig?<\/dialogue>\n    <character>MACEO<\/character>\n    <parenthetical>(With trepidation)<\/parenthetical>\n    <dialogue>But Mr. Brown.<\/dialogue>\n    <scene_description>Maceo pauses and waits for JB to acknowledge him.<\/scene_description>\n    <character>MACEO<\/character>\n    <dialogue>Clyde'll be in a different time to the rest of the band. That doesn't work musically.<\/dialogue>\n    <scene_description>They all know it.<\/scene_description>\n    <character>JAMES BROWN<\/character>\n    <dialogue>But does it sound good?<\/dialogue>\n    <scene_description>The band nods.<\/scene_description>\n    <character>JAMES BROWN<\/character>\n    <dialogue>Does it feel good?<\/dialogue>\n    <scene_description>More nods.<\/scene_description>\n    <character>JAMES BROWN<\/character>\n    <dialogue>Then it's musical. So play it like I say. From the top.<\/dialogue>\n    <scene_description>The groove of COLD SWEAT comes to life. The beat heavier, almost irregular but actually in the pocket, the horns and Bass clipped, drum-like, the off rhythm of Jimmy's guitar bringing the whole room together.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>119A EXT. POOL AREA BAR. SAME TIME. 119A<\/stage_direction>\n    <scene_description>Our racist couple has now bellied up to an outside bar. Cold Sweat leaks out into the bar area. Unable to help themselves, the couple rises and begins to dance. 119B BACK INSIDE THE REHEARSAL: 119B The band is really hitting it hard. Vicky, Bobby...everyone feelin' it.<\/scene_description>\n    <character>JAMES BROWN<\/character>\n    <dialogue>Mmmn! Huh! Now that a groove.<\/dialogue>\n    <scene_description>By God it is. James starts singing the cut.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL BAR. NIGHT.<\/stage_direction>\n    <scene_description>The recording session is over. James has long since gone. Maceo and Bobby relax at the bar.<\/scene_description>\n    <character>MACEO<\/character>\n    <dialogue>Bobby, James Brown's my meal ticket. So I just shut my ears and chomp down his bullshit. But why you soak it up man? You his best friend. You know him for time brother. And he treat you like that. I was you I'd bust him in his damn mouth.<\/dialogue>\n    <scene_description>Bobby Byrd nods his head.<\/scene_description>\n    <character>BOBBY BYRD<\/character>\n    <dialogue>I hang in there cause I remember the day that I knew. Knew I was never gonna be in front.<\/dialogue>\n    <scene_description>He looks at Maceo with a calm, measured sense of reality.<\/scene_description>\n    <character>BOBBY BYRD<\/character>\n    <dialogue>You work so hard at this one thing and then one day you realize it ain't supposed to be you. You can get mad. Try to fight it but if it's God's truth. It's God's truth. James is supposed to be in front. I saw it happen. And the man in front has to BE the man in front. It ain't always pretty but that's the man's responsibility if he wanna stay there. And you and me can't know what that is. We ain't supposed to. So, don't lie to yourself Maceo. Every man in this band walks taller because he with James Brown. Every man in this band believe in himself a little more because he's with James Brown.<\/dialogue>\n    <character>MACEO<\/character>\n    <dialogue>You sure you just ain't too scared to be in the front?<\/dialogue>\n    <character>BOBBY BYRD<\/character>\n    <dialogue>No. But my ears a' open. Open your ears, Maceo. He's a genius. And he's takin' us with him.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KING RECORDING STUDIO. DAY. 1968 JAMES 35 YRS<\/stage_direction>\n    <scene_description>Boiling studio. James drenched in sweat howls at the microphone.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Mother, she got to have. Say, you got to have a mother for me. Yeah, popcorn!<\/dialogue>\n    <scene_description>The band sit right into the groove of MOTHER POPCORN and sweet thunder rolls onto another master tape. Everyone's eyes are glued to James standing in the centre: directing them with body movements and gestures, playing the whole band like a single instrument.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Quit it.<\/dialogue>\n    <parenthetical>(They stop.)<\/parenthetical>\n    <dialogue>We missing something.<\/dialogue>\n    <parenthetical>(They look at each other. It was perfect.)<\/parenthetical>\n    <character>JAMES<\/character>\n    <dialogue>Pee Wee, get over here by the microphone. And bring that horn box. That's where you keep the wig, right?<\/dialogue>\n    <scene_description>They all stop. Oh. Shit.<\/scene_description>\n    <character>PEE WEE<\/character>\n    <dialogue>Mr. Brown?<\/dialogue>\n    <scene_description>CUT TO: Now Pee Wee stands at the Microphone, uncomfortable, with the wig on, singing the song. James is in with the horns, who are all crying with laughter, enjoying the hell out of this rare moment of levity. James, deadpan, eggs him on. Pee Wee calls for a horn solo from him. SUDDENLY there's a commotion in the mixing booth. James brings them to a stop.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>What is it? Why we stop Henry?<\/dialogue>\n    <scene_description>The engineers hands go to their faces. Shaking heads.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>What? What is it?<\/dialogue>\n    <scene_description>Bobby enters the room.<\/scene_description>\n    <character>BOBBY BYRD<\/character>\n    <dialogue>It's King. They shot Dr. King.<\/dialogue>\n    <scene_description>121A BLACKOUT: SFX: BURNING. SIRENS. GUNFIRE. 121A TELEVISION FOOTAGE. Riots all over America. Police beating back groups of rioting youths.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KING RECORDS - SYD NATHAN'S OFFICE - NIGHT.<\/stage_direction>\n    <scene_description>James sits watching the carnage unfold. Ben Bart knocks and enters<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Jimmy, Mayor of Boston's office called. Wanted you to know they've cancelled tomorrow's show at the Garden. For reasons of public safety. He's worried about rioting.<\/dialogue>\n    <scene_description>James doesn't look away from the screen.<\/scene_description>\n    <character>JAMES BROWN<\/character>\n    <dialogue>Tell the Mayor, I sold 30 million records and ninety five percent of them are to the black community. They listen to me. They won't riot<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>We have virtual race war looming across the South, Jimmy. Politics, 101? Don't put 10,000 angry blacks together in one place in the middle of a city, and broadcast it live to the world.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Get the Mayor on the phone.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KING RECORDS. SYD NATHAN'S OFFICE - NIGHT.<\/stage_direction>\n    <scene_description>James is on the phone with the mayor<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Mr. Mayor, the way I see it, you already lost your next election. You lost it at 7:05 PM Memphis time.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOSTON MAYOR OFFICE - NIGHT.<\/stage_direction>\n    <scene_description>The mayor listens intently with the phone pressed to his ear.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Now tomorrow night, you either got 10,000 angry folks in the Boston Garden, or you got 10,000 angry folks on your front lawn. Take your pick son. Which one you want?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOSTON GARDENS. NIGHT. 1968 JAMES 35 YRS<\/stage_direction>\n    <scene_description>Tension in the air. Police on every exit. Dogs. On stage, MAYOR WHITE speaks to a restless audience.<\/scene_description>\n    <character>MAYOR<\/character>\n    <dialogue>All of us are here to night to listen to a great talent. James Brown. But we're also here to pay tribute to one of the greatest Americans, Dr. Martin Luther King. So, let us look at each other and pledge that whatever else any other community might do we in Boston will honour Dr. King in peace.<\/dialogue>\n    <scene_description>James steps forward.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Brother before I get to this next thing I wanna say. He's a young man you dig. He's a young man so he's thinking together. The man is together. Give him another round of applause.<\/dialogue>\n    <scene_description>James watches the restless, shouting, crowd. He looks at the cameramen. The tension is unbearable. He lets it build.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Hit it.<\/dialogue>\n    <scene_description>A fast, rhythmic drum solo. Building. Faces in the crowd. The police. Tense promoters and politicians to the beating rhythms. The band whipcrack into I GOT THE FEELING. James pulsates. Spins. Pushes the stand away. Zip! It's back. A kid at the front gets onto the stage and sprints for James only to be tackled by James' security. Another clambers up but is kicked back by a police officer. The audience react badly. Another kid gets on stage and cops harshly push him to the floor and throw him back into the audience. Police come out onto the right side of the stage and shine torches down into the audience. They shove people back down. A kid in a white jacket leaps on stage right in front of James. For a moment everyone stops. A white cop appears from nowhere and viciously bodychecks the kid back into the front row in full view of the cameras. The mayor stands in the wings flanked by policemen. Dede stands behind them watching nervously.<\/scene_description>\n    <character>MAYOR<\/character>\n    <dialogue>Oh no.<\/dialogue>\n    <scene_description>On stage James stops the band.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Wait a minute. Step off. Move off. I'll be a'ight here. I be fine.<\/dialogue>\n    <scene_description>James waves the police off the stage on either side to cheers and whistles from the audience. Suddenly a ten year old kid appears next to James from out of the audience. He seems amazed to find himself there.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Do you wanna dance son? You dance.<\/dialogue>\n    <scene_description>No longer held back by police more kids invade the stage. James respects them all, shaking hands and looking at them eye to eye. Kids throng around him on stage. He's losing control.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>C'mon. C'mon now. Y'all go down. Go back down. Don't nobody else come up. Wait a minute. Wait. Ladies and gentleman. This is no way. This is. We are black. We are black.<\/dialogue>\n    <parenthetical>(Cheers.)<\/parenthetical>\n    <dialogue>Wait a minute go back. Can't y'all go back down and lets do the show together. We're black don't make us all look bad. Let me finish the show. Step down there. Be a gentleman. Lets represent our own selves. Lets represent our own selves.<\/dialogue>\n    <scene_description>One by one they step back down into the crowd.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Now I ask the police to step back because I figure I could get some respect from my own people. Now we together ain't we.<\/dialogue>\n    <parenthetical>(Cheers! Screams!)<\/parenthetical>\n    <dialogue>Hit that thing man.<\/dialogue>\n    <scene_description>The band strike back up and James kicks back into \"I Can't Stand Myself\" The stage clear. The crowd calmed. The panic over.<\/scene_description>\n    <character>MAYOR<\/character>\n    <parenthetical>(to a policeman)<\/parenthetical>\n    <dialogue>Holy shit. He did it.<\/dialogue>\n    <character>DEDE<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>Of course he did.<\/dialogue>\n    <scene_description>Dede smiles proudly. I Don't Want Nobody To Give Me Nothing kicks in over intercut Archival footage of Newscasters discussing the last minute decision for the concert to go ahead.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARCHIVAL NEWS REPORT.<\/stage_direction>\n    <scene_description>HEADLINE, under a picture of James: RACIAL PEACE RESTORED IN CAPITOL AFTER RIOTING.<\/scene_description>\n    <character>ARCHIVAL NEWS REPORT<\/character>\n    <dialogue>City officials in Washington DC have praised James Brown. Order has returned to the city hit by rioting largely because of radio and television appeals from the soul singer over the weekend.<\/dialogue>\n    <character>OVER JAMES' PERFORMANCE AT THE GARDEN AS YOUNG BLACK GUYS<\/character>\n    <dialogue>DANCE.<\/dialogue>\n    <character>JAMES (V.O.)<\/character>\n    <dialogue>In America today you've either got to be an entertainer or a ball player or what? If you poor, young and black, what is there? And you ask me why they on the street? It ain't politics we watchin'. It's economics.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAMES BROWN PRODUCTIONS LEAR JET. NIGHT.<\/stage_direction>\n    <scene_description>James is on the plane with Ben Bart.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>You got kids out there that can't eat, robbing and stealing and doing what they have to do to make it. And if you don't do something about it we gonna lose the country. I go to Harlem, talk to Rap Brown, talk to the Nation they call me a separatist. Here we're on our way to the White House, Pop, and they already calling me an Uncle Tom. So what I supposed to do?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Write a check for Rap so he buy rifles, machine guns, rally on 125th and take it south? What it say to you, a street kid from Augusta, Georgia in the White House?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>It says you kissin' up to the Man James.<\/dialogue>\n    <scene_description>James is taken aback. No-one else in the world could say this.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>You asking me to turn this plane around and stand up the President?<\/dialogue>\n    <character>BART<\/character>\n    <dialogue>No. I'm saying who gives a shit. You're already screwed, James. Think about it. If you stand up Lyndon Johnson to go kiss up to the Panthers, you ain't gone be playin' Vegas anytime soon because if they think you can stop a riot, they sure as hell will expect you to start one.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>So here I am. Just a sorry soul brother whining inside his private jet, huh?<\/dialogue>\n    <scene_description>They both laugh. But James is troubled. Bart tone changes.<\/scene_description>\n    <character>BART<\/character>\n    <dialogue>Don't be scared my friend. Because if you're scared, it doesn't end well for the black man. Do your thing, James.<\/dialogue>\n    <parenthetical>(He looks at him hard)<\/parenthetical>\n    <dialogue>It's worked for you so far.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE HOUSE - NEXT MORNING - 1968<\/stage_direction>\n    <character>CLOSE ON JAMES WITH HIS HEAD TILTED BACK TALKING UPWARD:<\/character>\n    <dialogue>JAMES<\/dialogue>\n    <scene_description>I want to go to Vietnam. I want to show unity for the boys out there. The beleaguered, the tired and in the dark.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>And we need to bring awareness, and Mr. President, we need to bring the super heavy funk.<\/dialogue>\n    <scene_description>We widen to see 5'7\" James looking up to the 6'4\" Lyndon Johnson. President Johnson shakes James' hand.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>128A INT. HANGER. VIETNAM. 128A<\/stage_direction>\n    <scene_description>We are now back in Vietnam at the hanger concert. James looks right at us.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Take it and flip it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOLF COURSE - MORNING.<\/stage_direction>\n    <scene_description>Ben Bart is playing golf with several friends. Bart drives the ball straight and hard. We watch as the ball land three hundred yards down the runway. Back on the tee box. Ben Bart lays face down dead in the turf. His friends race to his side in shock.<\/scene_description>\n    <character>CLOSE ON:<\/character>\n    <dialogue>Ben's face is pressed sideways on the grass. His opened, dead eyes stare right at us.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETERY - DAY<\/stage_direction>\n    <scene_description>A casket lays at the bottom of a grave that has been dug. TEN MALE FUNERAL ATTENDEES IN SUITS AND YAMMAKAS take turns shoveling dirt onto Ben Bart's casket. Dede and James stand to the side. Completely distraught. James starts to panic and lowers to the ground. Dede catches him under the arm. One of the men approach James with the shovel. James can't bring himself to put dirt on the casket.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RECORDING STUDIO. LOS ANGELES. NIGHT.<\/stage_direction>\n    <scene_description>BAND MEMBERS FITTED WITH THEIR AFRICAN DASHIKIS are rolling a funky vamp together into a groove. Clyde hits a fat 'pop pop' beat. Sweet Charles locks the bass line in to the beat. Country finds a chunky B-flat-9 rhythm on the guitar and the groove takes shape. The door opens. James and Teddy walk in. James and Teddy's hair is cut into a short natural. Everyone looks at each other.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Hit it.<\/dialogue>\n    <scene_description>The band starts. James makes a few adjustments. Jimmy Nolen strikes up a womp-womp sound on a single string. The horns do the James trademark ladidadidat.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Quit it.<\/dialogue>\n    <parenthetical>(he pushes the intercom to the booth)<\/parenthetical>\n    <dialogue>Bring 'em in.<\/dialogue>\n    <scene_description>The door opens. 32 children enter the room. Most kids are black, except for a few Mexican children. Dede and Teddy are there, along with some of James' other kids.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>How we all doin'. Hope this ain't too late for you folks.<\/dialogue>\n    <scene_description>James and Teddy stand before the group. James puts his arms around Teddy as he addresses the kids.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I brought you all here today so I could tell you something very important. I want you all to know that you can do or be anything you want in this world. Don't let anybody tell you anything different. You understand? When I was a boy I used to shine shoes in front of radio station. Now I own that radio station. You got to build it. And then you gotta learn it... and that's when you earn it.<\/dialogue>\n    <scene_description>James gets all the kids around one mic. He puts Dede and Teddy to the side of the kids. CUT TO: Later everyone is cued. Maceo whispers to Pee Wee Ellis.<\/scene_description>\n    <character>MACEO<\/character>\n    <dialogue>You think they fuck up he gone take they pocket money.<\/dialogue>\n    <scene_description>Pee Wee laughs and nods his head.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>We ready fellas?<\/dialogue>\n    <scene_description>The groove starts again. James flies into I'm Black and I'm Proud.<\/scene_description>\n    <character>WHICH PLAYS OVER ADDRESSING US DIRECTLY<\/character>\n    <dialogue>JAMES<\/dialogue>\n    <scene_description>I think about a lot of things. About problems. About solutions. You know one way of solving a lot of problems that we've got in this country...is letting a person feel that they important. Feel that they somebody. It's it. Man can't get hisself together... ...until he know who he is and be proud of what and who he is and where he come from! WHERE WE ALL COME FROM! James leaves us and continues with the song. He looks to the children<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Say it loud!<\/dialogue>\n    <scene_description>They scream into the mic.<\/scene_description>\n    <character>CHILDREN<\/character>\n    <dialogue>I'm Black and I'm Proud!<\/dialogue>\n    <scene_description>James catches eyes with Teddy. He nods proudly. Teddy smiles.<\/scene_description>\n    <character>JAMES BROWN - GHETTO REALITY BEGINS TO PLAY AND CONTINUES<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>131A EXT. AUNT HONEY'S 1968 HOUSE IN THE LATTER YEARS - DAY 131A<\/stage_direction>\n    <scene_description>James and Teddy pull up in front of a small shotgun house in the Terry. They exit and walk up to the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>131B INT. 1968 AUNT HONEY'S 1968 HOUSE IN THE LATTER YEARS- 131B<\/stage_direction>\n    <character>DAY<\/character>\n    <dialogue>Aunt Honey, now 70, sits in a chair in front of a small TV. We soon gather that she has \"retired\" and is at the end of her colorful life.<\/dialogue>\n    <dialogue>James has brought Teddy to meet Aunt Honey for the first time.<\/dialogue>\n    <scene_description>Teddy extends his hand toward Aunt Honey. Aunt Honey shakes his hand and then brings him in close for an embrace. 132-134 OMITTED 132-134<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAMES BROWN PRODUCTIONS. JAMES BROWN'S OFFICE. NIGHT<\/stage_direction>\n    <scene_description>James is standing in his office bathroom smoking a joint. He lights it and has four or five epic pulls as he scans the walls admiring his framed accolades and gold records. END GHETTO REALITY:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>135AA INT. JAMES BROWN PRODUCTIONS. NEXT MORNING. 135AA<\/stage_direction>\n    <scene_description>James Brown enters his recording booth to find Teddy at the controls. Gertie sits in a chair behind Teddy.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>You the man, Teddy Brown?<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>I'm the man, Mr. Brown.<\/dialogue>\n    <scene_description>James notices the band sitting idle on the other side of the glass.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Gertie. The band ready?<\/dialogue>\n    <character>GERTRUDE<\/character>\n    <dialogue>They're ready Mr. Brown.<\/dialogue>\n    <character>JAMES BROWN<\/character>\n    <dialogue>Don't look like it.<\/dialogue>\n    <scene_description>James grabs Teddy.<\/scene_description>\n    <character>JAMES BROWN<\/character>\n    <dialogue>Come watch how Poppa don't take no mess.<\/dialogue>\n    <scene_description>He and Teddy walk straight into the-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>135A INT. JAMES BROWN PRODUCTIONS. STUDIO. DAY. 135A<\/stage_direction>\n    <scene_description>The band is there.<\/scene_description>\n    <character>JAMES BROWN<\/character>\n    <dialogue>Y'all act like y'all don't know what time it is. What you doin'?<\/dialogue>\n    <scene_description>Nothing happens. James looks Maceo in the eye. Maceo approaches.<\/scene_description>\n    <character>MACEO<\/character>\n    <dialogue>I've been elected spokesman to speak on behalf of the band.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Spokesman? Elected?<\/dialogue>\n    <character>MACEO<\/character>\n    <dialogue>We asked to get paid on time. We haven't been paid in weeks. We asked for scheduled days off. Every day off we get you make us rehearse.. We asked to get paid for recording but you included it in our salary.<\/dialogue>\n    <scene_description>James turns to Teddy. The two stare at each other.<\/scene_description>\n    <character>JAMES BROWN<\/character>\n    <dialogue>Teddy, go on and wait outside.<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>Yes, Sir.<\/dialogue>\n    <scene_description>Teddy exits.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Fellas. I hear ya. I really do. And I appreciate the honesty. That can't be easy. No Sir. You got grievances. You got your own selves to think about. Hell, you're men. I dig it.<\/dialogue>\n    <character>PEE WEE<\/character>\n    <dialogue>I don't think you understand.<\/dialogue>\n    <scene_description>James looks to Bobby.<\/scene_description>\n    <character>MACEO<\/character>\n    <dialogue>We know you owe the government back taxes. Your restaurant, radio stations, recording studios, labels, all different businesses, Unaccounted cash passing between them.<\/dialogue>\n    <character>MACEO<\/character>\n    <dialogue>It's a mess, Mr. Brown and if you want us to be a part of it, we gonna need our cash too. Right now.<\/dialogue>\n    <scene_description>James looks at them all for a very long time hiding his shame.<\/scene_description>\n    <character>MACEO<\/character>\n    <dialogue>And most of all none of us ever want to be fined for anything ever again.<\/dialogue>\n    <scene_description>James nods. Studying them.<\/scene_description>\n    <character>JAMES BROWN<\/character>\n    <dialogue>I'll tell ya what I'm gonna do. I'm gonna think about it. That's all.<\/dialogue>\n    <scene_description>They look at each other and file out. Waymon, Pee Wee, Maceo, Kush and Jimmy Nolen file out. Leaving Bobby and James alone. SILENCE. He looks at the empty room. Smiling. Unable to show any pain.<\/scene_description>\n    <character>JAMES<\/character>\n    <parenthetical>(He shakes his head.)<\/parenthetical>\n    <dialogue>It's like I always say Bobby. You gotta know who you are. You got to know where you are in this world. Five minutes ago, those boys were the best band on the planet. Now they nothing. Now they a bunch of sidemen with their hearts beatin' fast. Maceo comin' in here talking about my taxes. All I've done for this country and they comin' after James Brown? How you gone keep everybody happy? Huh? And stay on top? You along for the ride while everything is groovy and now they gone kick me when I'm down? People either on the bus or they off it.<\/dialogue>\n    <scene_description>James crosses to the door and opens it for Bobby to exit<\/scene_description>\n    <character>JAMES BROWN<\/character>\n    <parenthetical>(He turns to Bobby.)<\/parenthetical>\n    <dialogue>Well go on. Get out of here. Y'might catch 'em they gone need a singer.<\/dialogue>\n    <scene_description>Bobby rises and walks past James into the foyer. He turns.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Negro, what makes you think I'm leaving? I been here all the time, Mr. Brown. I'm still here.<\/dialogue>\n    <scene_description>James looks at Bobby.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>See that's the thing about the funk. The funk don't quit.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Last time I checked.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Cause if the funk gone up'n'quit that's it.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>That's why the funk don't quit.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Are we done here Mr. Byrd?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I'm afraid we ain't Mr. Brown.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Are we done?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I think we got more funk in the trunk.<\/dialogue>\n    <scene_description>James laughs.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>That's right. Two Musketeers.<\/dialogue>\n    <scene_description>Bobby looks at James. Remembers. Beams. James beams back. Then, James is all business.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>What's those kids from Cincinnati. The New Dapps...Blackenizers? Who that kid play bass?<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(Smiles)<\/parenthetical>\n    <dialogue>Bootsy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>135B INT. OLYMPIA THEATRE 135B<\/stage_direction>\n    <scene_description>A pre-show theater in action with stagehands and riggers busy setting up. The new kids are now all in suits and bow ties.<\/scene_description>\n    <character>CATFISH<\/character>\n    <dialogue>Fancy suit bro'.<\/dialogue>\n    <character>BOOTSY<\/character>\n    <dialogue>Backatcha slick. How you doin, Chicken?<\/dialogue>\n    <character>CHICKEN<\/character>\n    <dialogue>Just shit my pants.<\/dialogue>\n    <character>BOOTSY<\/character>\n    <dialogue>Easy now. Don't forget. Don't ever call him James or nothin'. He ain't no-one but Mr. Brown.<\/dialogue>\n    <character>CATFISH<\/character>\n    <dialogue>Check.<\/dialogue>\n    <character>CHICKEN<\/character>\n    <dialogue>Gotcha.<\/dialogue>\n    <scene_description>James Brown walks in from the wings. They all stand straighter. He looks at them.<\/scene_description>\n    <character>BOOTSY<\/character>\n    <dialogue>Good evening Mr. Brown.<\/dialogue>\n    <character>CHICKEN<\/character>\n    <dialogue>Mr. Brown.<\/dialogue>\n    <character>CATFISH<\/character>\n    <dialogue>Mr. Brown.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Do that button up son.<\/dialogue>\n    <parenthetical>(Chicken does)<\/parenthetical>\n    <dialogue>You know Kansas City?<\/dialogue>\n    <parenthetical>(Blank faces)<\/parenthetical>\n    <dialogue>You know Cold Sweat? Do you know Please Please?<\/dialogue>\n    <character>BOOTSY<\/character>\n    <dialogue>Can I stop you Mr. Brown. We been learning off yo' records since we was nine years old. You already taught us the songs. So with respect. We ready. Mr. Brown.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>They say they ready Mr. Byrd. What you think?<\/dialogue>\n    <character>CATFISH<\/character>\n    <dialogue>We been waiting for this moment our entire lives, Mr. Brown.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>How old are you son?<\/dialogue>\n    <character>CATFISH<\/character>\n    <dialogue>Twenty.<\/dialogue>\n    <parenthetical>(Then)<\/parenthetical>\n    <dialogue>Mr. Brown.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Cats know Super Bad?<\/dialogue>\n    <scene_description>Bootsy lays down a mammoth bass line on his plugged in bass.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>135C INT. PARIS HOTEL ROOM. LATE AFTERNOON. 135C<\/stage_direction>\n    <scene_description>The backup singer, Yvonne, nude, carries two glasses of champagne from a wet bar to a very sweaty James who is lying in bed.<\/scene_description>\n    <character>YVONNE<\/character>\n    <dialogue>Why won't you say it? I said it. Why won't you say it back?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Baby, I gotta get to my show. I can't be playin' around right now<\/dialogue>\n    <character>YVONNE<\/character>\n    <dialogue>I love you.<\/dialogue>\n    <scene_description>Yvonne rests the cold glass on James' stomach. He squirms.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>You know I don't drink.<\/dialogue>\n    <scene_description>Yvonne pours a little champagne onto James' stomach. She then begins licking it with her tongue.<\/scene_description>\n    <character>YVONNE<\/character>\n    <dialogue>Say it, Mr. Brown. Say you love me.<\/dialogue>\n    <scene_description>In a flash James rolls over and pins Yvonne down on her back. She screams with delight. He whispers in her ear.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Happy now?<\/dialogue>\n    <scene_description>She kisses him.<\/scene_description>\n    <character>YVONNE<\/character>\n    <dialogue>I'm pregnant.<\/dialogue>\n    <scene_description>James stares back at her without expression. 135D FLASH FORWARD - ADULT JAMES, IMMACULATE, LOOKING AT US. 135D<\/scene_description>\n    <character>THE SKYLINE OF PARIS IS BEHIND HIM. 1971<\/character>\n    <dialogue>James walks along the outside of Olympia Theatre in Paris in full costume.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Now it's true, we work hard. A man gotta work hard if he wanna break ground. And we breaking new ground everyday...<\/dialogue>\n    <scene_description>James enter the theatre front door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>135E INT. OLYMPIA THEATRE. LOBBY. CONTINUOUS. 135E<\/stage_direction>\n    <scene_description>James begins walking toward us.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>My record Live at the Apollo is the first R&amp;B album in the history of the world to go top ten. Stayed up in there for 66 weeks..<\/dialogue>\n    <scene_description>James walks into the rear of the packed house.<\/scene_description>\n    <character>GIRLS AND GUYS SCREAMING, DANCING. JAMES IS INVISIBLE TO<\/character>\n    <dialogue>THEM.<\/dialogue>\n    <dialogue>From the rear of the house, James watches himself and the band performing on stage. He and his band are IN MID-GROOVE. A BEAUTIFUL BLACK DANCER DANCES ON A RISER BEHIND THE BAND.<\/dialogue>\n    <dialogue>Vicki Anderson, sings backup.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>That record come across. I mean it hit hard!!! Uhn!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>135F INT. OLYMPIA THEATRE. STAGE. CONTINUOUS. 135F<\/stage_direction>\n    <scene_description>James walks among his performing band members. He watches himself on stage at the microphone driving the crowd crazy.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>And slowly, the whole World knew who we were.<\/dialogue>\n    <scene_description>James walks to each band member and places a twenty dollar bill in each of their pockets. They don't see the James who is talking directly to us. He straightens a band members tie. James turns to stage left and sees his son, Teddy Brown, dancing. He then gives Yvonne a wink who's also standing in the wings looking HOT.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>See in showbusiness, you got two parts. You got the show and you got the business. And brother.<\/dialogue>\n    <parenthetical>(Deadly serious)<\/parenthetical>\n    <dialogue>You better believe. You looking at both.<\/dialogue>\n    <scene_description>He spins around and runs up to the microphone. He replaces himself and begins to sing. SCREAMS. HORNS VAMPING. James performs out of his skin. A medley of three songs, \"Soul Power,\" into \"Sex Machine,\" into \"Super Bad\". Backup dancers and singers are tearing it up! On James' signal the rag tag band of kids behind the godfather of soul take off like a rocket ship into one of the above songs. It sounds nothing like the old version. Its raw urgent, stripped down. The Bootsy's bass rumbles like trouble brewing and Catfish's over driven guitar slicing clean through the hook. Before them a standing room crown dance and sing from the stage to all the way back to entrance James and Bobby look at each other. Holy shit. James drops into the splits, flips up again. The crowd is seeing something for the first time on European soil. They erupt with joy and begin dancing in their seats. CUT TO: 136-138 OMITTED 136-138<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLYMPIA STAGE. SAME NIGHT.<\/stage_direction>\n    <scene_description>The crowd has left. A custodian roams the isles picking up trash. James and Bobby sit on the edge of an empty stage, laughing.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You know what I think? After we put out my next solo album, I bet I could play Paris or the Apollo.<\/dialogue>\n    <scene_description>James TUNES IN<\/scene_description>\n    <character>JAMES BROWN<\/character>\n    <dialogue>How's that?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I was just saying when me and you put out my new record, I bet I could fill this place all myself. No problem.<\/dialogue>\n    <scene_description>James stiffens at this comment.<\/scene_description>\n    <character>JAMES BROWN<\/character>\n    <dialogue>What the hell you talking about? \"Fill this place all myself\"? \"No problem?\" You sayin' I'm slippin'?<\/dialogue>\n    <character>BOBBY BYRD<\/character>\n    <dialogue>No I don't think you slippin'. You James Brown. You ain't never slippin'. I was just...<\/dialogue>\n    <character>JAMES BROWN<\/character>\n    <dialogue>People copy me, Mr. Byrd. People gonna copy my moves till the earth goes dark. You understand? You think people are gonna buy that record like they buy my record? That what you sayin'?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>JAMES BROWN<\/character>\n    <dialogue>Who you been tellin' this too? You been telling that to the Apollo?<\/dialogue>\n    <scene_description>Bobby gets mad.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>No, James! I haven't told nobody but you. We were just talking.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I thought you be cool with that. You always been talking about... About... About... standin' on my own feet.<\/dialogue>\n    <character>JAMES BROWN<\/character>\n    <dialogue>Bobby, how you gone stand on your own feet? You just spent twenty years gettin' fat on a man's dollar. I produce a record for you and now it's gone to your head. You go talking big behind my back. You go sneaking round, raising heat off another man's name. We here, we doing something and you making plans sucker?<\/dialogue>\n    <scene_description>Bobby gets more upset. He's using a tone with James we've never heard before.<\/scene_description>\n    <character>BOBBY<\/character>\n    <parenthetical>(Shouting)<\/parenthetical>\n    <dialogue>I ain't told nobody or made any plans. We just talkin' about it. Now. That's it.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I'm ashamed of you, Bobby. And you should be ashamed of you. Now you tryin' to run around with Vicki. Don't jive yourself bro'. Now, Vicki, she could fill this place.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Well, Vicki ain't yours. So, Vicki and me ain't none of your damn business.<\/dialogue>\n    <scene_description>James smiles.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>But she's been my business before.<\/dialogue>\n    <scene_description>Bobby walks up close to James and stares him in the eye. He balls his fist.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I can't do this no more, James.<\/dialogue>\n    <character>JAMES BROWN<\/character>\n    <dialogue>Damn right you can't do this no more.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I said I can't do this no more.<\/dialogue>\n    <scene_description>James looks absolutely poleaxed. THEN. He laughs. And looks at Bobby, almost affectionately.<\/scene_description>\n    <character>JAMES BROWN<\/character>\n    <dialogue>See, the funny part. You say that like it's a big thing. Like \"oh my God, Bobby Byrd gone leave James Brown on his own.\"<\/dialogue>\n    <scene_description>Bobby fights to control himself. To find anything left to give.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I ain't leaving you on your own, Mr. Brown. You already on your own. Always were.<\/dialogue>\n    <scene_description>He shakes his head and walks across the stage. He turns.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Is that God too?<\/dialogue>\n    <scene_description>Bobby turns and leaves James ALONE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLYMPIA. NIGHT.<\/stage_direction>\n    <scene_description>Bobby walks across the big empty stage and for a split second looks right at us. He continues past us and away. CROSSFADE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APOLLO CORRIDOR \/ DRESSING ROOM.<\/stage_direction>\n    <scene_description>FLASHBACK - Corridor in 1962. The Night of Live At The Apollo. MUSIC: Wonder When You're Coming Home plays over: A woman in a flower print dress and a cheap hat sits on a bench with a coat over her arm. A young Bobby comes out of the dressing room. She stands.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APOLLO DRESSING ROOM. NIGHT.<\/stage_direction>\n    <scene_description>BOOM! A flashbulb goes off. James sits next to his mother, on a couch, SMILING Happily, having the moment documented. She is smiling too. Bobby and other guests in the room watch the photographers. The photographer is ushered out of the room by Bobby Byrd.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Bobby? Get everybody out of here and wait outside.<\/dialogue>\n    <scene_description>Bobby ushers the guests outside. James sits opposite his mother. She is very, very uncomfortable but trying to appear relaxed.<\/scene_description>\n    <character>SUSIE<\/character>\n    <dialogue>I was on the Subway last week, and the two kids next to me was arguing who was the best, James Brown or Little Willy John. And this one boy, he was saying \"James Brown the best\" \"There ain't no one better than James Brown\", he got so mad I thought he was gonna whup this other boy. And then-<\/dialogue>\n    <scene_description>James holds up his hand. She falls silent.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Why tonight?<\/dialogue>\n    <parenthetical>(She stops, her face falls.)<\/parenthetical>\n    <dialogue>Why you come here?<\/dialogue>\n    <scene_description>She starts to flap.<\/scene_description>\n    <character>SUSIE<\/character>\n    <dialogue>Well. Sugar, I live over in Brooklyn... and you my baby and you here playin' the Apollo.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I don't want you to feel proud. I ain't your sugar. I ain't your baby. Not then. Not now. And I don't want you to tell anyone you my momma, because you and me know that ain't true.<\/dialogue>\n    <character>SUSIE<\/character>\n    <dialogue>Your daddy beat me. Beat you. I stayed because I loved you. I didn't know nothin' about being a wife. Nothin' about being a mother. I did the best I could. I did that.<\/dialogue>\n    <character>SUSIE<\/character>\n    <dialogue>I left because I loved you. I ain't had nothing to make no other choice. I was shamed. I was.<\/dialogue>\n    <scene_description>He holds up his hand.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>See I thought about this. I know it weren't personal and that's why this ain't neither. It turned out fine. I didn't need you. I looked after James Brown. Made sure he was OK. No-one else. No-one help me.<\/dialogue>\n    <scene_description>She starts to cry.<\/scene_description>\n    <character>SUSIE<\/character>\n    <dialogue>I never wanted to be a momma. But I carried you, boy. I didn't know nothin' about being a wife or being a momma. But I carried you and I loved you when you were in me. I chose you. I chose you.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Don't cry. Don't cry. Don't cry.<\/dialogue>\n    <scene_description>He stiffly offers her a handkerchief.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Clean yourself up. That's it.<\/dialogue>\n    <scene_description>James softens.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I'm James Brown. And James Brown don't need nothing. Don't need no- body.<\/dialogue>\n    <scene_description>Susie looks back a James. She doesn't move.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Why are you really here? What do you want?<\/dialogue>\n    <scene_description>She shakes her head, searching his face. James looks back unmoved. James reaches in is pocket and pulls out some money. He hands it to her.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Here. That's a hundred dollars. I'm sorry but I'm gonna ask you to leave now.<\/dialogue>\n    <scene_description>He sits perfectly still as she gets up. She walks to the door and turns to James.<\/scene_description>\n    <character>SUSIE<\/character>\n    <dialogue>You're so beautiful. You're so pretty.<\/dialogue>\n    <scene_description>Susie exits into the party outside and shuts the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CABIN - BARNWELL S.C. 1941. JAMES 8 YRS<\/stage_direction>\n    <scene_description>We return to the day that Susie left. We stay on her face as she leaves her family behind. Tears stream down her cheek. James tries to chase after his mother but Joe restrains him. Joe pulls a pistol from his belt. He fires. Bark explodes from a tree a few feet from where Susie is walking. Susie flinches but never turns.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR.<\/stage_direction>\n    <scene_description>Bobby waits. The door opens, and Susie comes out, tears in her eyes. She looks wildly into Bobby's face who has clearly heard everything. She runs off down the corridor. Bobby looks through the open door. Devastated, James sits staring at the floor. He looks up at Bobby.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Tell Pop to make sure she's taken care of. Whatever she needs.<\/dialogue>\n    <scene_description>As Bobby nods, James gets up, walks over to the door, and slowly closes it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAMES BROWN'S HOME. 1988. 18 YEARS LATER.<\/stage_direction>\n    <character>JAMES 55 YRS<\/character>\n    <dialogue>CLOSE ON - Numerous framed pictures of Teddy span all ages of his life now fill the top of James' dresser.<\/dialogue>\n    <dialogue>We widen to find James Brown sitting very alone in his bedroom staring at the pictures of his son.<\/dialogue>\n    <dialogue>He wears a bathrobe. His hair is up in rollers. He's twitchy and sweating.<\/dialogue>\n    <dialogue>He raises a glass pipe to his mouth, lites the PCP within and inhales it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY ROAD. LATER THAT DAY. 1988<\/stage_direction>\n    <scene_description>A peaceful road. SUDDENLY - a pickup truck passes at a hundred MPH. FOLLOWED.. A MOMENT LATER - by nine cop cars. A cop car pulls up next to James' truck. James looks to the car.<\/scene_description>\n    <character>SLOW MOTION SEQUENCE:<\/character>\n    <dialogue>In the front a cop drives but James' father, Joe, rides in the back next to his mother, Susie. They stare blankly at James.<\/dialogue>\n    <dialogue>Glass shatters in the truck.<\/dialogue>\n    <character>SLOW MOTION ENDS.<\/character>\n    <dialogue>James turns back to the cop car next to him. The vision of his parents is gone.<\/dialogue>\n    <dialogue>Two cops ride together. The cop in the front seat aims his revolver directly at James. It's clear he intends to kill him.<\/dialogue>\n    <dialogue>James speeds up as the cop fires. The bullet strikes the truck just behind him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRAVEL PITTS. 1988. DAY.<\/stage_direction>\n    <scene_description>The pickup truck rolls to a stop. Police cars from different jurisdictions take up positions blocking exit routes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/ EXT. PICKUP TRUCK\/ GRAVEL PITTS. DAY.<\/stage_direction>\n    <scene_description>James sits staring straight ahead. Breathing hard.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I'm OK. I'm OK. I'm OK.<\/dialogue>\n    <character>LOUD HAILER<\/character>\n    <dialogue>EXIT THE VEHICLE WITH YOUR HANDS<\/dialogue>\n    <character>ABOVE YOUR HEAD. DO NOT RUN. DO NOT<\/character>\n    <dialogue>ATTEMPT TO START THE VEHICLE.<\/dialogue>\n    <scene_description>James opens the door scattering glass onto the tarmac. Around the perimeter armed police tense. Keeping James in their sights. ONLY NOW, YOUNG JAMES STANDS IN PLACE OF HIS ADULT SELF. He stands next to the bullet riddled wreckage of his pickup, hands above his head. He leans back and sings to the sky.<\/scene_description>\n    <character>YOUNG JAMES<\/character>\n    <dialogue>\"I Don't Feel Noways Tired\"<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON WING. DAY. 1988<\/stage_direction>\n    <scene_description>A warden walks a dishevelled James along the corridor. They stop. The cell door buzzes open. They put him in the cell.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CELL. DAY.<\/stage_direction>\n    <scene_description>The doors slide close. CLANK. James leans on the tiny sink. He looks up into the mirror and faces what's he's become. His face is bloated, his eyes wild, hair unkempt. We feel James wanting to turn to us but shame won't allow it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>FLASHBACK - INT. ST. STEPHENS CHURCH. DAY. 1952<\/stage_direction>\n    <scene_description>BOBBY, NAFLOYD, BABY ROY SARAH AND JAMES sing righteous gospel that first time together in St. Stephens Church. James is Really giving it up singing Send it on Down. His voice soars sweetly over the congregation. MRS. BYRD and GRANDPA watch on. Mrs. Byrd leans forward and catches Bobby's eye. Gives a small nod of approval for James. Bobby looks to James. They catch eyes. In awe of James' talent, Bobby unconsciously, stops singing. He just stands their watching and listening to his friend. END FLASHBACK - BACK AT THE MIRROR James pulls back from the mirror and splashes some water on his face and begins to press his hair down with his hands. He breathes harder and harder as he assesses his life. He stands straight and proud. Still looking in the mirror, he begins to chant quietly to himself.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>James Brown, James Brown. James Brown, James brown.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN STREET. ATLANTA. MORNING. 1993 JAMES 60 YRS<\/stage_direction>\n    <scene_description>A pool cleaning truck pulls up outside a suburban home. A thirty something white guy gets out with a satchel. He rings on the door. Bobby Byrd, aged sixty, comes out of his house in a robe and slippers.<\/scene_description>\n    <character>POOL CLEANER<\/character>\n    <dialogue>Morning Mr. Byrd. Come to open up the pool.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Got a real algae problem.<\/dialogue>\n    <character>POOL CLEANER<\/character>\n    <dialogue>I'll take a look.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Sure. You need anything, I be inside.<\/dialogue>\n    <scene_description>As the Pool Cleaner walks around to the back yard, Bobby walks towards the pool cleaning truck parked on the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>153A EXT. STREET. BEHIND TRUCK. MOMENTS LATER. 153A<\/stage_direction>\n    <scene_description>Bobby pulls out a pack of cigarettes from his pocket as he walks behind the truck. He pulls out a smoke and lights up. Bobby soon notices a Limo parked on the other side of the street. He stares at it for a while. The door opens. James Browns gets out of the Limo and waves. Bobby watches as James approaches. He's clean and sober in a suit looking sharp. James' appearance and presence throws Bobby.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Mr. Brown.<\/dialogue>\n    <scene_description>They shake hands.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>What you doing out here in your robe, Mr. Byrd?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What? Oh. See, I snuck out for a smoke. I s'posed to quit. Vicki don't know.<\/dialogue>\n    <scene_description>He laughs. They both do.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Well I ain't gone tell.<\/dialogue>\n    <scene_description>They laugh a little. When they stop, there's a long lull.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Well I was just passing. Playing a show tonight at the Omni.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Say. Maybe you and Vicki could come along. We got a great new horn section. Tight. We getting there.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>We got plans tonight. Vicki got family coming over.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Well you think about it. See what Vicki say.<\/dialogue>\n    <scene_description>Bobby laughs. Rumbled.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Yeah. She still in charge.<\/dialogue>\n    <scene_description>They both chuckle at this. A nod of understanding. But then:<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You look well.. Man. I ain't seen you since-<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Teddy's funeral.<\/dialogue>\n    <scene_description>Bobby pauses, grows uncomfortable. Bobby throws his cigarette to the ground and stomps it out.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Right. Teddy's funeral. Damn. You look well. You shoulda called-<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>You know, Bobby, they still don't know what happened to Teddy and that boy. Those boys weren't drinkin' or doin' drugs.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I know, James.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>No sir. Nothin' like that. He was a good boy. The car just hit that bridge head on. We ain't ever gone know how or why. They say he didn't feel a thing.<\/dialogue>\n    <scene_description>Bobby nods.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>That's good, James.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>But we brought him back to Augusta didn't we? Got him home then sent him on to the Lord.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>We did, Mr. Brown. We did.<\/dialogue>\n    <scene_description>James stands there, fixedly. The Pool cleaner comes from around the truck, breaks the tension.<\/scene_description>\n    <character>POOL CLEANER<\/character>\n    <dialogue>OK. Mr. Byrd. I fixed your problem. I'll be back in the Spring to open her up.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I'm much obliged. Do I have to-<\/dialogue>\n    <character>POOL CLEANER<\/character>\n    <dialogue>No no. We'll send the bill on. Well that's that. Good day Gentlemen.<\/dialogue>\n    <scene_description>He gets in his truck and pulls away leaving Bobby and James standing in an awkward silence.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Look at that. We got white folk cleaning our pool. Come a long way huh, Mr. Byrd?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yeah. We come a long way.<\/dialogue>\n    <scene_description>Suddenly this is awkward. For both of them. Bobby defuses it:<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>You still makin' the steps, Mr. Byrd?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Here and there.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>You hurtin' a little in the hips?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>A little. You?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Not me. I just get stronger ever day. Gettin' better every day.<\/dialogue>\n    <scene_description>James pulls out two concert tickets from his jacket and hands them to Bobby.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Maybe you and Vicki got some friends who could come tonight. Good seats, too.<\/dialogue>\n    <scene_description>James turns sharply and walks back to the Limo. He sings to himself.<\/scene_description>\n    <character>JAMES<\/character>\n    <parenthetical>(Sings)<\/parenthetical>\n    <dialogue>Oh, Mary Don't You Weep...<\/dialogue>\n    <scene_description>Bobby listens. And remembers.<\/scene_description>\n    <character>JAMES<\/character>\n    <parenthetical>(Sings)<\/parenthetical>\n    <dialogue>Tell Martha Not to Moan.<\/dialogue>\n    <scene_description>He stops and turns to Bobby.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>What's the next line?<\/dialogue>\n    <scene_description>Bobby looks at James.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I can't seem to recall. Was a long time ago.<\/dialogue>\n    <scene_description>James nods. After a moment Bobby nods.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>See you around Mr. Brown.<\/dialogue>\n    <scene_description>Bobby turns. James watches as he walks back to his house.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>See you around Mr. Byrd.<\/dialogue>\n    <scene_description>James walks towards his Limo. SFX: Audience noise, cheering, whistles, clapping. Louder. Louder.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRESSING ROOM. 1993. NIGHT.<\/stage_direction>\n    <scene_description>Show time. James sits in front of the mirror, putting on greasepaint with the assistance of a make-up artists. A much older Gertrude comes in.<\/scene_description>\n    <character>JAMES BROWN<\/character>\n    <dialogue>How we doin, Gertrude?<\/dialogue>\n    <character>GERTRUDE<\/character>\n    <dialogue>To the rafters Mr. Brown. To rafters.<\/dialogue>\n    <character>JAMES BROWN<\/character>\n    <dialogue>That's good. You two gimme a minute here.<\/dialogue>\n    <scene_description>Gertrude and the make-up artist look at each other. They leave him. Alone, he looks around the dressing room. At the walls. The ceiling fan. Finally at his reflection. He holds his own gaze. We push in, as he fights it. And fights it. Slowly, inevitably the sound from the auditorium grows. Thousands of people shouting his name: \"JAMES BROWN JAMES BROWN, JAMES BROWN, JAMES BROWN.\".<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>FLASHBACK - INT. JAIL CELL. 1949. DAY.<\/stage_direction>\n    <scene_description>JAMES AGED SIXTEEN, SITS ALONE, staring at the wall. Incanting his name, quietly. Intently.<\/scene_description>\n    <character>JAMES<\/character>\n    <parenthetical>(Quietly)<\/parenthetical>\n    <character>JAMES BROWN JAMES BROWN, JAMES<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM.<\/stage_direction>\n    <scene_description>The crowd are going wild.<\/scene_description>\n    <character>CROWD<\/character>\n    <dialogue>JAMES BROWN JAMES BROWN, JAMES<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCH\/ DIRT ROAD. DAY. 1941.<\/stage_direction>\n    <scene_description>Young James, 8, walking through the forest alone, hollering his name.<\/scene_description>\n    <character>YOUNG JAMES<\/character>\n    <dialogue>JAMES BROWN JAMES BROWN, JAMES<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - EVERYONE CHANTING<\/stage_direction>\n    <character>CROWD<\/character>\n    <dialogue>JAMES BROWN JAMES BROWN, JAMES<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BARREN PATH. DAY. 1942.<\/stage_direction>\n    <scene_description>YOUNG JAMES, nine, battered, bruised and shirtless walks toward us with the number \"One\" painted on his chest. He says his name to himself over and over.<\/scene_description>\n    <character>YOUNG JAMES<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <character>JAMES BROWN JAMES BROWN, JAMES<\/character>\n    <dialogue>BROWN, JAMES BROWN.<\/dialogue>\n    <scene_description>We soon realize this is the same path where he discovered the body of the lynched young man.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - EVERYONE CHANTING.<\/stage_direction>\n    <scene_description>We see Bobby and Vicki in the crowd. Slowly Bobby begins to whisper..<\/scene_description>\n    <character>BOBBY BYRD<\/character>\n    <parenthetical>(To himself)<\/parenthetical>\n    <dialogue>James Brown. James Brown...<\/dialogue>\n    <character>CROWD<\/character>\n    <dialogue>JAMES BROWN JAMES BROWN, JAMES<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVER. DAY. 1942.<\/stage_direction>\n    <scene_description>Bloodied 9 year old James begins walking by the side of a river.<\/scene_description>\n    <character>YOUNG JAMES<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <character>JAMES BROWN JAMES BROWN, JAMES<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRESSING ROOM.<\/stage_direction>\n    <scene_description>SLOWLY James stands, buttons his jacket and opens the dressing room door.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>James Brown. James Brown. James Brown.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACKSTAGE CORRIDOR.<\/stage_direction>\n    <scene_description>James marches out of the room into the corridor..<\/scene_description>\n    <character>CROWD<\/character>\n    <dialogue>JAMES BROWN JAMES BROWN, JAMES<\/dialogue>\n    <character>BROWN, JAMES BROWN.<\/character>\n    <dialogue>...two assistants fall into step and we follow on his shoulder as he struts his way past the dressing rooms, to the wings, where the band stand.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAGE WINGS.<\/stage_direction>\n    <scene_description>Alone, JAMES closes his eyes. Bows his head.<\/scene_description>\n    <character>ANNOUNCER V\/O<\/character>\n    <dialogue>...the Hardest Working Man in show business, Mr. Dynamite...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVER. DAY.<\/stage_direction>\n    <scene_description>Over announcer's introduction we watch Young James reach the river's edge,<\/scene_description>\n    <character>ANNOUNCER V\/O<\/character>\n    <dialogue>Mr. Please, Please himself..<\/dialogue>\n    <scene_description>His head and body proud, overlooking the mighty river.<\/scene_description>\n    <character>DANNY RAY V\/O<\/character>\n    <dialogue>..ladies and gentlemen its showtime...the one and only JAAAAAAAMES BROWN!!!<\/dialogue>\n    <scene_description>YOUNG JAMES, eyes closed saying his name over and over.<\/scene_description>\n    <character>YOUNG JAMES<\/character>\n    <dialogue>JAMES BROWN JAMES BROWN, JAMES<\/dialogue>\n    <character>BROWN, JAMES BROWN.<\/character>\n    <dialogue>YOUNG JAMES suddenly opens his swollen eyes and looks right at us.<\/dialogue>\n    <character>YOUNG JAMES<\/character>\n    <dialogue>I paid the cost to be the boss.<\/dialogue>\n    <scene_description>James leans back, widens his arms and looks to the sky.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE STAGE.<\/stage_direction>\n    <scene_description>James steps forward and strides across the stage to the mic stand.<\/scene_description>\n    <character>CROWD<\/character>\n    <dialogue>JAMES BROWN JAMES BROWN, JAMES<\/dialogue>\n    <character>BROWN, JAMES BROWN.<\/character>\n    <dialogue>He looks out over the crowd. Then... He begins to sing a capella. He stares right us.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Try me. Try me. Darlin tell me. I need you. Try me. Try me. And your love will always be true<\/dialogue>\n    <scene_description>The crowd goes silent. All we hear is Mr. Brown's soulful voice.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Oh I need you (I need you) Hold me. Hold me. I want you right here by my side. Hold me. Hold me. And your love we won't hide<\/dialogue>\n    <scene_description>Slowly Bobby smiles. Tears in his eyes.<\/scene_description>\n    <character>THE END.<\/character>\n  <\/scene>\n<\/script>","summary":"The film uses a nonlinear narrative, following James Brown's stream of consciousness as he recalls events from his life in an asynchronous manner, occasionally breaking the fourth wall to address the audience. In 1939, young James lives in poverty with his mother and abusive father in the backwoods of Augusta, Georgia. His mother eventually leaves and becomes a prostitute. His father joins the Army, leaving James in the care of his brothel-running aunt. He is fascinated by the shout music at a black church. Later, he fights in a \"battle royal\" boxing match for the amusement of a white audience. Imagining the jazz band breaking into a funk style inspires him to win the bout. He spots his mother on the street one night, but she denies knowing him. In 1949, 17 year-old James is imprisoned for stealing a suit. When Bobby Byrd and his gospel group perform at the prison, James is inspired. He impresses Bobby with his singing, and Bobby's family supervises his parole. James establishes himself as a lead singer and shifts the group's sound toward R&B. He leads them to jump onstage at a Little Richard show, introduces them as \"the Famous Flames\", and they perform a rousing rendition of \"Caldonia\". Richard gives James advice and warns him of the \"white devil\". James marries Velma Warren, and they have a son, Teddy. In 1955, Ralph Bass signs the band to King Records and records their first single, \"Please, Please, Please\". Ben Bart becomes James' manager; he and label executive Syd Nathan relegate the rest of the band to salaried employee status, and they quit. By 1962 James and Bobby have re-formed the band, and James finances the recording of the hugely successful Live at the Apollo. After the show he is approached by his mother, who apologizes for leaving him. He wants nothing to do with her, but gives her financial support. In 1964 James upstages the up-and-coming Rolling Stones on the T.A.M.I. Show with his high-energy performance and dance moves. By paying young radio DJs to promote his shows, he is able to avoid promoter fees. He divorces Velma and marries Deidre Jenkins, but becomes abusive toward her. He treats his new backing band like lackeys, fining them for various infractions, calling rehearsals on their days off, and berating them for questioning him. He develops a signature groove, laying the foundation for funk. When the King-assassination riots break out in 1968, James convinces the mayor of Boston not to cancel his show at the Boston Garden. Tensions are high between the police and the black audience, but James calms the crowd and issues a plea for togetherness. He records \"Say It Loud \u2013 I'm Black and I'm Proud\" and pitches President Lyndon B. Johnson his idea to perform a series of USO shows for American troops in Vietnam. Though their plane is nearly shot down, the band survives and their performance is well-received. James suffers several setbacks, beginning with Ben's death from a heart attack. He starts several businesses and is investigated by the IRS for back taxes. His band presents a list of demands; when James rebuffs them, all quit except Bobby, who helps him assemble a new band. After a 1971 concert in Paris, Bobby proposes doing a second solo album. James considers this a betrayal; they argue and Bobby quits. James' eldest son, Teddy, dies in a car accident. In Augusta in 1988, James gets high on marijuana and PCP and visits one of his businesses, finding that someone from a neighboring seminar has used his private restroom. He confronts the seminar carrying a shotgun, which he accidentally fires into the ceiling before forgiving the offender. The police arrive and James flees in his truck, crashing through a roadblock before being apprehended and imprisoned. In 1993, James meets Bobby for the first time in 20 years and gives him tickets to his concert at Atlanta's Omni Coliseum. As he takes the stage, he reflects on the cost he has paid for success. Seeing Bobby and his wife in the audience, he performs \"Try Me\", moving them to tears."}
{"movie_name":"Snow Falling on Cedars_1999","imdb_id":"tt0120834","script":"<script>\n  <scene>\n    <stage_direction>EXT. THE SUSAN MARIE, SHIP CHANNEL BANK - NIGHT<\/stage_direction>\n    <scene_description>Fog . Penetrated only by sound . The LAPPING of sea at a drifting hull . Tendrils of mist part , revealing . a face . Strong and blond and handsome . SUPERIMPOSE : SEPTEMBER 15 , 1954 LONG ANGLE . from below , we watch CARL HEINE , high on the cross spar of his mast . He has pulled a SHUTTLE of TWINE from his rubber overalls , and is LASHING a LANTERN in the cloud of mist , as MAIN TITLES BEGIN . ANGLE . the tiny , meticulously neat cabin . Empty , silent . A tin COFFEE CUP on the counter 's edge . The battery well open , revealing two large BATTERIES in place . PAN to . the deck of this sturdy stern - picker . The fishing net stretched from the huge DRUM into the sea . Keep PANNING to the bow , where . Carl stands with his kerosene lantern and his air horn , watching as another BOAT comes slowly out of the mist . The silhouette of a FISHERMAN , holding a long fishing GAFF . As fragments of fog part , we CLOSE on the figure 's face , to see . his eyes . They are Asian . SMASH CUT to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE SUSAN MARIE, SHIP CHANNEL BANK - MORNING<\/stage_direction>\n    <scene_description>Blinding sun . Our boat bobs lifeless on placid water . As CREDITS CONTINUE , two figures slowly reel in the massive net . SHERIFF ART MORAN is painfully thin , unimposing , methodical . Only the eyes reflect his disquiet . His young deputy , ABEL MARTINSON , cuts anxious looks between his mentor and the sea . As the net brings silvered salmon across the gunnel , CUT to . the cabin . Tidy as before . Only two things have changed . CLOSE on the tin coffee cup , which now lies OVERTURNED on the floor . PAN above the open battery well , where a third MARINE BATTERY now stands next to the wheel . CUT to . the stern , as the raveling net LIFTS from the water 's surface . the face of Carl Heine . Turned to the sun . SMASH CUT to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORONER'S LAB - DAY<\/stage_direction>\n    <scene_description>WHITE fills the frame . A hand PULLS back the blanket - shroud revealing Carl 's face . As CREDITS CONTINUE , tilt up to the coroner , HORACE WHALEY , gazing down . A shading of regret behind the professional mask . A series of QUICK CUTS . Whaley 's hand pulls the SHUTTLE of TWINE from Carl 's pocket . examines the open , empty KNIFE SHEATH at Carl 's belt . Carl 's wrist , its WATCH stopped at 1:47 . Whaley bends over Carl 's body , presses on his solar plexus , watching pink FOAM rise from Carl 's mouth and nose . And then . He sees something more . His fingers gently pull back the hair from above Carl 's left ear , to reveal . a skull wound . The bone caved in . Four inches across .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAN PIEDRO ISLAND - DAY<\/stage_direction>\n    <scene_description>Snow falling on cedars . SUPERIMPOSE : DECEMBER 6 . The heavens descend softly onto our island . Exquisite , silent , hypnotic . An epic snowfall inspiring awe at our frailness against the limitless scope of nature . As CREDITS CONCLUDE , a series of QUICK ANGLES . cars pirouetting , skating on their tires , past an abandoned school bus , where kids throw snowballs at is windows . Fisk 's Hardware Center , its endless queue of orderly citizens waiting stoically for their snow shovels and kerosene . the harbor , with its moored fleet of tiny fishing vessels blanketed as if by volcanic ash , a pair of teenage lovers building a snowman at the edge of a dock , she pushes the boy into the water , and he rises laughing , steam rising from his clothes . undulating strawberry fields of pure white , untouched and flawless as the Sahara . Finally , to a public building , cars gathering as best they can , people streaming up snow - laden steps to the entrance , and as we FOLLOW them , SMASH CUT to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>CLOSE on impassive EYES . They are Asian . We have seen them before . PULL BACK to see . KABUO MIYAMOTO . Early 30 's , dark blue suit , clean shirt . He sits ramrod straight , utterly motionless , expressionless , the eye of a storm of movement in . the assembling COURTROOM . A packed gallery of buzzing locals , the scent of anticipation . A bank of REPORTERS and PHOTOGRAPHERS , cosmopolitan in attire , bearing themselves as jaded dignitaries from the civilized world . As we PAN their ranks .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It was the first murder trial on the island in thirty - one years.<\/dialogue>\n    <scene_description>we look over the right shoulder of ISHMAEL CHAMBERS , early 30 's , dark , a rugged , somber man jotting notes on a pad which rests on his right leg .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Our only newspaper was the San Piedro Review, a four - page weekly that I operated alone.<\/dialogue>\n    <scene_description>He glances blandly at his nonchalant colleagues .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What, I wondered, could the Seattle boys know of the hearts of these people.<\/dialogue>\n    <scene_description>To the JURY BOX . Truck farmers , grocers , fishermen , in sober neckties . A waitress , a secretary , fisher wives in Sunday dresses .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Neighbors, sitting in judgement. On their neighbor.<\/dialogue>\n    <scene_description>To the neighbor . The ramrod - still defendant .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Kabuo Miaymoto sat with the rigid grace of a Samurai warrior. As if detached from his own trial.<\/dialogue>\n    <scene_description>Ishmael writing on the pad balanced precariously on his knee , until .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Did he know how dangerous his demeanor could be? With this jury.<\/dialogue>\n    <scene_description>it falls with a CLATTER of pages . He reaches with his right hand , replaces the pad on his thigh . Around him , CAMERAS are being swung to the ready . Ishmael looks to see . a slender WOMAN of refined beauty , entering the courtroom . A few flashes POP , and Ishmael 's right hand retrieves a venerable box camera from beneath his seat , as his notepad falls once more , unheeded .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Hatsue Miyamoto had been without her husband for 77 days.<\/dialogue>\n    <scene_description>Ishmael pivots , and we understand his struggle with the notepad . For he is forced to rest his camera on the stump of his amputated left arm , its empty sleeve pinned at the elbow .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He was in jail. When his baby son learned to walk.<\/dialogue>\n    <scene_description>Through his VIEWFINDER , we see HATSUE take her place in the first row . And sensing her presence , her husband turns . Their eyes meet . A string of FLASHES . But none from Ishmael . He hesitates . As if considering whether he will violate this woman 's privacy . The camera lowers . HOLD on his face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTHOUSE CORRIDOR - DAY<\/stage_direction>\n    <scene_description>MATCH CUT to Hatsue 's face . Staring , impassive , empty . PULL BACK to see that she sits alone on a wooden bench by the courtroom door . Her hands rest delicately on the purse in her lap . Her demeanor as removed from this place as is her husband 's .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Earlier, I noticed her in the corridor.<\/dialogue>\n    <scene_description>PULL BACK to see him alone , in shadow . It is more than a notice . Ishmael stares with fixed intensity at the motionless woman , as she gathers her thoughts . A moment of decision . He approaches . Stops , respectfully , at a distance which will not invade her personal space . And softer than we might have imagined .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Are you all right?<\/dialogue>\n    <scene_description>She turns her head only slightly . It is enough . Her voice quiet and firm at once .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>Go away, Ishmael.<\/dialogue>\n    <scene_description>There is no anger . Only directness and resolve .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Please do n't be like th.<\/dialogue>\n    <character>HATSUE<\/character>\n    <parenthetical>( softer . )<\/parenthetical>\n    <dialogue>Go away.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>PAN the back of the courtroom . Twenty - four citizens of Japanese ancestry fill the last row , dressed in their most formal clothes . Shades of Atticus Finch . As one , the Japanese - Americans watch . the prosecutor , ALVIN HOOKS , a crisp , even dapper man . There is a quickness about the eyes , a tendency to sharpness of manner , that he works carefully against .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>four inch gash, skull crushed, and your thought was, what?<\/dialogue>\n    <scene_description>JUDGE FIELDING , tall and gray and rawboned , leans on his elbows , his eyelids droop slightly , a deceptive masking of keen attention .<\/scene_description>\n    <character>HOOKS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>That he. fell? Hit his head on the gunnel going over?<\/dialogue>\n    <scene_description>The witness is Sheriff Moran . He answers as if this were a sincere question . As if he had never heard it before .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>Well, Carl was six - four, went 235. He was a grizzly bear and an able seaman.<\/dialogue>\n    <scene_description>Ishmael watching . Thinking on that .<\/scene_description>\n    <character>MORAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>For him to just. go over. Crush his skull like that on the way in.<\/dialogue>\n    <scene_description>HOLD on Ishmael .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TEAM BUS - DAY<\/stage_direction>\n    <scene_description>Teenage BOYS in football uniforms . They ride with their helmets in their laps .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He was a mountain, all right. Anchored the line for us little fellers.<\/dialogue>\n    <scene_description>CLOSE on Carl and Ishmael at 18 , riding together . Ishmael , dark and rugged even then , is scarcely little . But dwarfed by the blond giant at his side , who glares out the window , at .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Chambers. Y ` see the geese?<\/dialogue>\n    <scene_description>snow geese landing in low flooded wheat . The grace of it holds both boys .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Picture'd be nice. In your pa's paper.<\/dialogue>\n    <scene_description>Ishmael nods absently . They stare , side - by - side .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Lucky I got the camera in my helmet.<\/dialogue>\n    <scene_description>They never look at each other . They never smile . But you can almost hear one in .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Careful, Chambers. That was almost a joke.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>Hooks now stands with his polished shoe up on the witness podium . Like chatting with the Sheriff across the back fence .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>And you were n't there, when the coroner examined the wound.<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>Nossir. I'd gone to tell the wid. to tell Mrs. Heine.<\/dialogue>\n    <scene_description>And his glance inevitably goes to the first row behind the prosecutor 's table . Taking the glances of the jury with it . SUSAN MARIE HEINE is pretty and blonde and full - bodied in her modest black dress . Composure and dignity . Against her grief .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HEINE HOME - DAY<\/stage_direction>\n    <scene_description>Moran climbs from his vehicle , as Carl 's young SONS dash around the corner of the house . Seeing the Sheriff , they stop cold . Silent , shirtless , barefoot .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>Hey there, men. Is your mother home a - tall?<\/dialogue>\n    <scene_description>He spits his Juicy Fruit into a wrapper . And as the younger boy nods across the distance .<\/scene_description>\n    <character>SUSAN MARIE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Sheriff Moran, hullo.<\/dialogue>\n    <scene_description>She has appeared in the doorway , smiling , spittle - marked baby 's diaper across her shoulder . And he smiles back . Tells the boys .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>You go on and play, now.<\/dialogue>\n    <scene_description>But they do n't . So he follows into her entryway , closing the door behind him . And at the foot of her curving staircase .<\/scene_description>\n    <character>SUSAN MARIE<\/character>\n    <dialogue>What can I do for you, Sheriff, Carl's not home y.<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>That's.<\/dialogue>\n    <scene_description>Too quick . He stops himself . And she sees that .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>It's why I'm here. I'm afraid I have some. very bad news to tell you, the. worst. kind of news.<\/dialogue>\n    <scene_description>She looks at him , uncomprehending , the smile only beginning to fade , before .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>Carl died last night. In a fishing accident. In White Sand Bay.<\/dialogue>\n    <scene_description>She only blinks . As if translating the words from a foreign language .<\/scene_description>\n    <character>SUSAN MARIE<\/character>\n    <dialogue>No, Carl's fine, h.<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>We found him, Mrs. Heine. Tangled in his net.<\/dialogue>\n    <scene_description>And with these words , a slack , blank look crosses her face , and she stumbles back one step , sitting down HARD on the bottom stair of her curved staircase . He does n't know what to do . She digs her elbows into her lap , and begins to rock , very slowly , wringing the diaper in her hands . Her face is more terrible than tears . It is frightened . She murmurs to herself , so that we can barely hear .<\/scene_description>\n    <character>SUSAN MARIE<\/character>\n    <dialogue>I told him this could happen.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>CLOSE on Hooks , nodding . As if , slowly , digesting something in his mind .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>So, no. immediate suspicion, no. general talk of enmity between the two.<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>These are fishermen, Alvin. They do n't talk at all to each other and less to me. Specially gossip.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOCKS - DAY<\/stage_direction>\n    <scene_description>Ishmael walking down the sunlit wharf . Purpose in his stride .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>A gill - netter works through black nights with only himself to talk to. And learns to be silent. They were lonely men and products of geography.<\/dialogue>\n    <scene_description>Up ahead , the Susan Marie has been brought to dock . Moran stands chatting with a knot of six or seven FISHERMEN .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>men who, on occasion, realized that they wished to speak, but could n't.<\/dialogue>\n    <scene_description>As he arrives , Moran smiles a thin greeting . Not happy to see him . Of course , neither is anyone else .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>Figure you ` da heard by now.<\/dialogue>\n    <scene_description>Ishmael shakes his head in silent helplessness . WILLIAM GJOVAAG , a sunburned , big - bellied , tattooed gill - netter , clamps on his damp cigar butt .<\/scene_description>\n    <character>GJOVAAG<\/character>\n    <dialogue>You go fishing, it happens.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( to Moran . )<\/parenthetical>\n    <dialogue>You see Susan Marie?<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>I did. Boy.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Three kids. What's she going to do?<\/dialogue>\n    <character>GJOVAAG<\/character>\n    <parenthetical>( disgusted . )<\/parenthetical>\n    <dialogue>Well, what can she do? Jesus Christ.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Excuse me, Gjovaag.<\/dialogue>\n    <character>GJOVAAG<\/character>\n    <dialogue>I do n't need to excuse nothin'. Fuck you anyhow, Chambers.<\/dialogue>\n    <scene_description>Everybody laughs . It is all good - natured , sort of .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Like the Sheriff, I did not work the sea, and could never merit trust. Or respect.<\/dialogue>\n    <character>MARTY JOHANSSON<\/character>\n    <dialogue>Sheriff's been askin' which boats followed Carl out last night.<\/dialogue>\n    <character>MORAN<\/character>\n    <parenthetical>( quickly . )<\/parenthetical>\n    <dialogue>Only to see if somebody talked to him out th.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>So who talked to him? Out there.<\/dialogue>\n    <scene_description>Staring . At each other . Eye contact holds during .<\/scene_description>\n    <character>JAN SORENSEN<\/character>\n    <parenthetical>( heavy Danish . )<\/parenthetical>\n    <dialogue>So far, we figured the guys who went to Ship Channel Bank, was Jim Ferry, Hardwell, Moulton, Miyamoto.<\/dialogue>\n    <character>GJOVAAG<\/character>\n    <parenthetical>( spits . )<\/parenthetical>\n    <dialogue>Japs.<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>All right, look, if you see these boys.<\/dialogue>\n    <character>GJOVAAG<\/character>\n    <dialogue>Never saw you so hard - ass, Art. Ai n't this just an accident?<\/dialogue>\n    <scene_description>Moran finds his eyes drifting to Ishmael 's . Which are right there , waiting . Moran looks away .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>Course it is, but a man's dead, William. I got to write my report.<\/dialogue>\n    <scene_description>ANGLE . Ishmael and Moran , walking alone back up the wharf . The Sheriff is worried . Finally .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>I'm not gon na see some article about an investigation, am I?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>You want me to lie?<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>No, I wan na be off the damn record, that's what I want.<\/dialogue>\n    <scene_description>No answer . They keep walking .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>I mean, if there is a killer, why would you want him all alerted?<\/dialogue>\n    <scene_description>Silence . Silence . And slowly .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Let's say. someday I need some cooperation from you on this thing. Do I get it?<\/dialogue>\n    <scene_description>And looks over . Like the guy holding all the aces .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>Moran fidgets on the stand .<\/scene_description>\n    <character>NELS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>No sign of a struggle, you say.<\/dialogue>\n    <scene_description>SEE him now . NELS GUDMUNDSSON , attorney for Kabuo Miyamoto , stands beside his impassive client . Nels is 79 , blind in his left eye , a little shaky . His body is winding down .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>Well, the coffee cup was layin' right in the middle of the floor, like I said. And with a fella so neat as Carl, that did seem peculiar.<\/dialogue>\n    <scene_description>And Nels begins to walk toward him . Limping , as he comes .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>As peculiar as a struggle between a 235 pound man, and an assailant strong enough to subdue him. that leaves only a single overturned cup in its wake?<\/dialogue>\n    <character>HOOKS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Objection, asking the witness to speculate.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>My gosh, Alvin, was I supposed to object every time you did that?<\/dialogue>\n    <scene_description>A real . Friendly smile .<\/scene_description>\n    <character>JUDGE<\/character>\n    <parenthetical>( wearily . )<\/parenthetical>\n    <dialogue>That's quite enough horseplay, Nels, why do n't you act your age?<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>If I did that Your Honor, I'd be dead.<\/dialogue>\n    <scene_description>Some gentle laughter . Judge Fielding does n't even bother to look annoyed .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Any more homely loveable tricks, and you'll be worse than that. Proceed, gentlemen.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>There's an objection, Your H.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>And it's overruled, answer the question. If you can recall it.<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>Maybe the assailant straightened the cabin. And forgot the cup.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>Right. In the middle. Of the floor.<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>Maybe.<\/dialogue>\n    <scene_description>Nels nods to himself , as if considering that . So that the jury will do the same .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>I think you testified all the lights were on. Cabin, mast, net lights, picking lights.<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>Yessir, there'd been real heavy fog.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>And yet you started the engine right up. With all those lights drawing all night, the batteries had that much charge. Did that strike you odd?<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>Did n't think about it at the time. So no, it did n't strike me odd.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>Does it now?<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>A little. Yes. You have to wonder.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>You have to wonder.<\/dialogue>\n    <scene_description>And lets that sit . Scratches his neck .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>You found three batteries, you say. A D - 6 and D - 8 in the well. And a spare D - 8 on the cabin floor. Correct?<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>It is.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>Now I did some measuring down at the chandlery. A D - 6 is one inch wider than a D - 8. It would be too large for the deceased's well.<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>He's done some on - the - spot refit - ting. You could see the side flange was banged away to make room for the D - 6.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>But he had a spare D - 6, you said. Right there. Why not use that?<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>It was dead. We had it tested. Maybe the D - 6 was the spare and he had to use it.<\/dialogue>\n    <scene_description>Ah .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Maybe he carried a spare that was too large to fit. So he'd have to bang out the flange to squeeze it in?<\/dialogue>\n    <scene_description>No answer to that . The silence rests .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Sheriff, how many batteries and what size did you find on defendant's boat?<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>Two D - 6's. That's the kind his well was fitted for.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>No spare.<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>So the defendant went out fishing for the night with no spare battery, hmmn?<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>Apparently.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>I'm curious. The D - 6 that was refitted into the deceased's well. Was it exactly the same brand and model as defendant's?<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>I believe so.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>Now you've testified that the deceased was a heavy man, and hard to bring out of the net.<\/dialogue>\n    <scene_description>Stops . Thinking .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Is it possible his head struck the transom, or the stern gunnel, or the net roller, as you were bringing him in?<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>I do n't think so.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>You do n't. Think so.<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>He was heavy, but we were real careful. But I do n't remember him hitting anything, anywhere.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>You do n't. Remember.<\/dialogue>\n    <scene_description>And clears his throat .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Operating this winch you'd rarely operated before, doing this awkward job of bringing in a drowned man of 235 pounds. is it possible. Possible that he struck his head after death. Possible?<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>Possible. But not darn likely.<\/dialogue>\n    <character>NELS<\/character>\n    <parenthetical>( turns to jury . )<\/parenthetical>\n    <dialogue>No further questions.<\/dialogue>\n    <scene_description>And limps back to the defendant 's table . Where Kabuo Miyamoto sits watching him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - LATER<\/stage_direction>\n    <scene_description>Horace Whaley , the county coroner , folds his stork - like limbs uncomfortably . Searching for the appearance of ease .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>so when the sheriff returned, you showed him the injury to the deceased's head.<\/dialogue>\n    <character>WHALEY<\/character>\n    <dialogue>He said, ` Could it be somebody hit him?' And I said, ` You want to play Sherlock Holmes, here?'<\/dialogue>\n    <scene_description>Shakes his head , with a wry , disgusted smile .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>Did you say more?<\/dialogue>\n    <character>WHALEY<\/character>\n    <dialogue>I said that if I was playing Sherlock Holmes. I'd maybe look for a. Japanese person. With a bloody gun - butt. A right - handed fella, to be precise.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>And why. Is that?<\/dialogue>\n    <scene_description>Slight shrug .<\/scene_description>\n    <character>WHALEY<\/character>\n    <dialogue>Well, I was a doctor in the Jap theater, in the war. I saw those kendo wounds, many times. Looked exactly like this one.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>Could you tell me what ` kendo' is?<\/dialogue>\n    <character>WHALEY<\/character>\n    <dialogue>Japanese stick - fighting. They're trained as kids, y' know. To kill with sticks.<\/dialogue>\n    <scene_description>And the prosecutor 's eyes drift to the defendant . So that the jury 's will do the same . HOLD on Kabuo 's regal bearing . His neutral mask .<\/scene_description>\n    <character>HOOKS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>No further questions.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STRAWBERRY FIELDS - DAWN<\/stage_direction>\n    <scene_description>Mist of early light . Two dark figures , little more than silhouettes , measuring each other with their lethal bokken staffs . We may think of Luke Skywalker and Darth Vader , for one is a full - grown man . The other , eight years old . Dialogue plays in subtitled JAPANESE .<\/scene_description>\n    <character>ZENHICHI<\/character>\n    <dialogue>Hips, stomach, cut. Stomach muscles tighten as stroke advances.<\/dialogue>\n    <scene_description>And STRIKES a fearsome blow , which the child REPELS with startling proficiency . We can see ZENHICHI 's stony face , now . If he is impressed by his son , he does not show it .<\/scene_description>\n    <character>ZENHICHI<\/character>\n    <dialogue>Elbow soft, or there is no follow - through. You cut your bokken off from the power of your body, unl.<\/dialogue>\n    <scene_description>WHAP ! WHAP ! WHAP ! The boy LASHES fiercely , the man parrying each stroke with blinding ease .<\/scene_description>\n    <character>ZENHICHI<\/character>\n    <dialogue>Hips sink more. Less weight on the heels, so tha.<\/dialogue>\n    <scene_description>CRASH ! The father has sent a blow in mid - word , FLINGING the child like a doll . The boy BOUNCES up , snatching his bokken into ready position .<\/scene_description>\n    <character>ZENHICHI<\/character>\n    <parenthetical>( very quiet . )<\/parenthetical>\n    <dialogue>Zenshin. Is constant awareness. Of dang.<\/dialogue>\n    <scene_description>WHAP ! The child has unleashed a blow at the left side of his father 's HEAD . It has been blocked . The staffs rest against each other , just above Zenhichi 's ear . There is no anger in either warrior . That we can see .<\/scene_description>\n    <character>ZENHICHI<\/character>\n    <dialogue>Elbow soft. A little better.<\/dialogue>\n    <scene_description>LATER . father and son sit on the ground , eating a small meal . The sun has risen , angling light across the undulating fields . They are alone in beauty . A long silence . Dialogue in subtitled JAPANESE .<\/scene_description>\n    <character>ZENHICHI<\/character>\n    <dialogue>You can be good with the bokken. If you begin to concentrate.<\/dialogue>\n    <scene_description>Eyes on his food . As if alone , as if speaking to himself . The boy darting glances , unseen , at his father 's profile .<\/scene_description>\n    <character>ZENHICHI<\/character>\n    <dialogue>You must choose now, Kabuo. At eight years. If you want this.<\/dialogue>\n    <character>KABUO<\/character>\n    <parenthetical>( boldly . )<\/parenthetical>\n    <dialogue>I want it.<\/dialogue>\n    <scene_description>The father keeps eating . Never turns .<\/scene_description>\n    <character>ZENHICHI<\/character>\n    <dialogue>Then speak quietly. So you may be heard.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - MORNING<\/stage_direction>\n    <scene_description>Whaley stares down the end of his needle - nose . The air of disdain of a man playing chess with an unworthy opponent .<\/scene_description>\n    <character>NELS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>So this. foam you found in the lungs. How does it get there?<\/dialogue>\n    <character>WHALEY<\/character>\n    <dialogue>As I testified. It occurs when water, mucus and air are mixed by respiration. I believe I said that.<\/dialogue>\n    <character>NELS<\/character>\n    <parenthetical>( slightly confused . )<\/parenthetical>\n    <dialogue>But a drowned person ca n't breathe.<\/dialogue>\n    <character>WHALEY<\/character>\n    <dialogue>Of course not. The foam means that he went in breathing.<\/dialogue>\n    <scene_description>Ah .<\/scene_description>\n    <character>WHALEY<\/character>\n    <dialogue>That's why the autopsy report identifies drowning as the cause of death.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>Meaning that he was n't murdered first, say on the deck of the boat, and then thrown overboard.<\/dialogue>\n    <character>WHALEY<\/character>\n    <dialogue>Well.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>Your report says death by drowning, which means he went into the water alive and breathing. And the report is accurate?<\/dialogue>\n    <character>WHALEY<\/character>\n    <parenthetical>( bristles . )<\/parenthetical>\n    <dialogue>Of course it's accurate, but.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>Of course, it is. Now as to the head injury. You say made by an object narrow and flat. That is your inference, correct?<\/dialogue>\n    <character>WHALEY<\/character>\n    <parenthetical>( really pissed . )<\/parenthetical>\n    <dialogue>It's my job to infer, that's what coroners do. You get hit with a crowbar, or a ball - peen hammer, or fall off a motorcycle, the injuries look different, that's my area of expertise.<\/dialogue>\n    <scene_description>Nels nods . He can be quiet now . The witness distracted from volunteering the opinions Nels did not wish for .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>In your motorcycle example. Those injuries are produced by the head being propelled against an object. Rather than the reverse, yes?<\/dialogue>\n    <character>WHALEY<\/character>\n    <dialogue>Obviously.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>Can you tell whether an object moved against the head, or the other way around? Or would both look the same.<\/dialogue>\n    <character>WHALEY<\/character>\n    <dialogue>The same.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>So if his head struck something narrow and flat, the gunnel of a boat, a net roller, a fairlead, could that have.<\/dialogue>\n    <character>WHALEY<\/character>\n    <dialogue>If the head was moving fast enough, but I do n't see how it could be.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>Is it possible?<\/dialogue>\n    <character>WHALEY<\/character>\n    <dialogue>Sure, anything's poss.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>Is it fair to say that you do not know for certain which it was.<\/dialogue>\n    <character>WHALEY<\/character>\n    <dialogue>I already said that, b.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>And that you ca n't say for certain whether the head injury was sustained before or after death?<\/dialogue>\n    <scene_description>Whaley thinks .<\/scene_description>\n    <character>WHALEY<\/character>\n    <dialogue>For certain, no.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>But you are certain that he died by drowning.<\/dialogue>\n    <character>WHALEY<\/character>\n    <dialogue>For the third time, yes.<\/dialogue>\n    <scene_description>Nels nods . Whaley is beyond frustrated .<\/scene_description>\n    <character>WHALEY<\/character>\n    <dialogue>Can I say something, here?<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>Yes, you can tell me about the minor cut you found on the deceased's right hand. The report says ` recent origin'. How recent? As much as 24 hours before death?<\/dialogue>\n    <character>WHALEY<\/character>\n    <dialogue>Absolutely not. Probably one or two hours. Four at the most.<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Are you absol.<\/dialogue>\n    <character>WHALEY<\/character>\n    <dialogue>Yes, I'm sure.<\/dialogue>\n    <scene_description>Nels nods . Silence .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Thank you, Horace. No more questions.<\/dialogue>\n    <scene_description>Horace wants to say more . Does n't immediately move .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>We'll take our luncheon recess. Reconvene at. 2 o'clock sharp.<\/dialogue>\n    <scene_description>The gavel CRACKS onto the block . Judge Fielding stands to leave , and the BAILIFF begins to usher the jury from its box . Abel Martinson , the deputy , stands near as Kabuo rises . As he puts his hand gently on Kabuo 's arm , the defendant turns smoothly . to face a woman . Standing at the rail . And beneath the courtroom buzz .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>How are the kids?<\/dialogue>\n    <scene_description>The voice so colloquially American , we are taken back . Having envisioned Kabuo as a silent Samurai .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>They need their father.<\/dialogue>\n    <scene_description>The look holds . Abel increasingly uneasy .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>Well. Just a few more days.<\/dialogue>\n    <character>ABEL<\/character>\n    <parenthetical>( coughs . )<\/parenthetical>\n    <dialogue>Look, Art's gon na want me t.<\/dialogue>\n    <character>KABUO<\/character>\n    <parenthetical>( ignoring him . )<\/parenthetical>\n    <dialogue>You look beautiful.<\/dialogue>\n    <scene_description>Abel grasps his arm .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>I look terrible. Do n't sit so straight like Tojo's soldier. The jury will be afraid of you.<\/dialogue>\n    <scene_description>He thinks about that . Abel tugs him .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>Okay, I'll hide under the table from now on. That make you happy?<\/dialogue>\n    <scene_description>And for the first time . He smiles . And seems suddenly very American indeed . She stares back , her heart in her eyes . Abel tugs harder , but he ca n't budge the defendant .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>I'm not going until you smile.<\/dialogue>\n    <scene_description>But she does n't . So his fades . One last look . And he lets Abel lead him away . HOLD on her . Watching him go .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MANZANAR INTERNMENT CAMP - NIGHT<\/stage_direction>\n    <scene_description>Stars above a desert . Wind gusts . PAN barbed wire , rows of dark barracks blurred by swirling dust , to . a fragile tar paper structure , its ` walls ' rippling pre - cariously . And inside , to see that it is .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUDDHIST CHAPEL - NIGHT<\/stage_direction>\n    <scene_description>a makeshift sanctuary . Candles , offerings of fruit . A young COUPLE together before a Buddhist PRIEST . Kabuo and Hatsue . Becoming one .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARRACKS - LATER<\/stage_direction>\n    <scene_description>A cramped , ramshackle room . Dust blowing through gaps in the flimsy beams . Kerosene light . FUJIKO IMADA hangs the last of the woolen army blankets to divide the room in half , as her four youngest DAUGHTERS watch . We PUSH THROUGH the blankets to the other side , to see . the newlyweds . Standing at a window in their wedding clothes . Kissing . Slow and full . Until she whispers into his ear .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>They'll hear everything.<\/dialogue>\n    <scene_description>And her young husband turns . Speaks to the curtain .<\/scene_description>\n    <character>KABUO<\/character>\n    <parenthetical>( loud . )<\/parenthetical>\n    <dialogue>There must be something good on the radio!<\/dialogue>\n    <scene_description>She giggles . His hands trace her body .<\/scene_description>\n    <character>KABUO<\/character>\n    <parenthetical>( louder . )<\/parenthetical>\n    <dialogue>Would n't some music be nice?<\/dialogue>\n    <scene_description>And in a moment . The MUSIC begins . Glenn Miller . A song that sent our boys off to war . And our young American prisoners . begin to undress each other . Her slender fingers find the buttons of his shirt , deftly undoing it , as he kisses her face . He unclasps her dress . And as it falls from her shoulders , falls to the floor , we PUSH INTO her eyes , and . INTERCUT her MEMORY of . a beach . Two 10 - year - old CHILDREN floating on the water . Clinging to a wooden box , with a glass bottom for fish - watching . The girl is Asian . The boy is not .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>Ishmael. See the yellow one?<\/dialogue>\n    <scene_description>And the boy wriggles around , leans over the box , as if seeking a better view . And KISSES the girl . Full on her startled mouth . BACK TO . the newlyweds . On their cot now . Close together . Naked and hungry for each other .<\/scene_description>\n    <character>KABUO<\/character>\n    <parenthetical>( loud . )<\/parenthetical>\n    <dialogue>Can the music be louder, please? We ca n't hear so good in here!<\/dialogue>\n    <scene_description>The girl laughs soundlessly . And as the music BLARES , he has slid his body above hers . A whisper .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>Have you ever done this?<\/dialogue>\n    <scene_description>A whisper back , sure and strong .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>Never. You're my only.<\/dialogue>\n    <scene_description>And as he enters her . As she holds him close with all her strength . Her lips breathe into his ear .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>so right.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>Hatsue watching her husband disappear through a door . RACK FOCUS to see across the way . A man stares at her .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Course, we grew up together.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMADA PARLOR - DAY<\/stage_direction>\n    <scene_description>Hatsue at 12 , sits with an OLD WOMAN who guides her silently , exquisitely , through the ritual of the tea ceremony .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Her mom had this Mrs. Shigemura come on Wednesdays. Teach her how to be Japanese.<\/dialogue>\n    <scene_description>The woman turns the cup in her hands . One - quarter turn . Bows slightly , as she presents the tea .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Dances, calligraphy. Doing her hair. How to sit without moving.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOLLOW CEDAR - DAY<\/stage_direction>\n    <scene_description>Hatsue and Ishmael , both 12 , are sprawled on the ground , sheltered in the hollowed - out base of a cedar tree . They watch the rain as it pummels the woods around them . She is speaking , carefully , thoughtfully . He listens with complete attention .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>She would tell me stories of this woman and her lessons. As if complaining, or at least ex - plaining her world.<\/dialogue>\n    <scene_description>He shifts his position , his body brushing against hers , which makes him reflexively pull away . She seems not to notice .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>But I always fantasized. The lessons were for me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - DAY<\/stage_direction>\n    <scene_description>Hatsue sits at a bedroom mirror . Mrs. Shigemura watching analytically , as Hatsue weaves her hair into a thick plait .<\/scene_description>\n    <character>MRS. SHIGEMURA<\/character>\n    <dialogue>No. You must never look at a man directly. This is part of grace.<\/dialogue>\n    <scene_description>The girl smiles a small sour smile . Speaks quietly .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>I do n't think the boys on this island. Are impressed. By grace.<\/dialogue>\n    <scene_description>The old woman studies her without irritation .<\/scene_description>\n    <character>MRS. SHIGEMURA<\/character>\n    <dialogue>Hakujin know nothing of life, Hatsue.<\/dialogue>\n    <scene_description>Apparently , the girl has heard this before .<\/scene_description>\n    <character>MRS. SHIGEMURA<\/character>\n    <dialogue>This is why they fear death. Because life here is separate from Being.<\/dialogue>\n    <scene_description>The girl takes a long pin . Begins carefully to fasten her hair . Breaking eye contact with the mirror .<\/scene_description>\n    <character>MRS. SHIGEMURA<\/character>\n    <dialogue>It is why they have no soul.<\/dialogue>\n    <scene_description>Is the girl even listening ? The old woman 's voice never rises . Remains patient .<\/scene_description>\n    <character>MRS. SHIGEMURA<\/character>\n    <dialogue>Life embraces death, includes it. This truth brings tranquility. You must see yourself.<\/dialogue>\n    <character>HATSUE<\/character>\n    <dialogue>as a leaf. On a great tree.<\/dialogue>\n    <scene_description>No irony in the girl 's voice . No disrespect . The old woman reads the young face in the mirror .<\/scene_description>\n    <character>MRS. SHIGEMURA<\/character>\n    <dialogue>The pin. Could be better placed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAN PIEDRO REVIEW - DAY<\/stage_direction>\n    <scene_description>CLOSE on 12 - year - old Ishmael . Neutral eyes . Eating an apple . A horrific CLANGING surrounds us . The clash of metal on metal .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>My lessons came from my father. They were different. Or seemed so, at the time.<\/dialogue>\n    <scene_description>See ARTHUR CHAMBERS now , at the printing press , an enormous lime green contraption , with rollers and conveyor pulleys in a cast - iron housing . The shrieking of metal and gears recalls an ancient locomotive .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He operated the Review alone, with an integrity and passion for principle that made him a figure of respect. If slightly larger than life.<\/dialogue>\n    <scene_description>Arthur is a large , rugged man , with round gun - metal rimmed spectacles and garters on his shirtsleeves . He wears the soft , perpetual smile of an Oxford Don , as he gracefully ducks in and out of the machine , inspecting plates and printing cylinders .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He never spoke of wanting me to succeed him. And, in truth, it was the last job on earth I thought I'd ever want.<\/dialogue>\n    <scene_description>The boy rises now . Sets his apple carefully aside . And under his father 's supervision , takes his place operating the press . His arms inches from the fearful clatter of the rollers .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>When I was five, he casually mentioned that if his sleeve got caught in the press, he'd be instantly popped open like a child's balloon, and splattered across the walls.<\/dialogue>\n    <scene_description>Watch Ishmael running the monster , coolly , efficiently , with complete concentration .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Even his bones would disappear, to be discovered later on the floor, as strips of white confetti.<\/dialogue>\n    <scene_description>Arthur turns away , lest his son feel a lack of confidence . Picks up the boy 's apple . A crisp BITE .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Which, of course, made me certain that life would have no meaning until I could run that teakettle.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAIN STREET, AMITY HARBOR - SUNSET<\/stage_direction>\n    <scene_description>Arthur and Ishmael , now 17 , strolling Main Street in the midst of what seems a festive carnival .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He was, for better or worse, the only God in my life. I guess it's our nature to resent those we know we can never measure up to.<\/dialogue>\n    <scene_description>They are passing modest parade floats , booths with food and games . A genial crowd of farmers , fishermen , families , both races heedlessly mingling . A community . Arthur unselfconsciously slips his arm over the shoulder of his tall son .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>which keeps us from accepting the warmth. The way we should.<\/dialogue>\n    <scene_description>Up ahead , a crowd has gathered at the steps of the courthouse . Something 's up .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Every summer, after harvest, the Strawberry Festival was Dad's favor - ite story to cover. Good news was his preference. Making him an oddity among journalists.<\/dialogue>\n    <scene_description>As we approach , we see a ceremony begin at the top of the courthouse steps .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Highlight was crowning the Strawberry Princess. Always a Japanese girl, sort of an unwitting virgin sacrifice to the concept of racial harmony.<\/dialogue>\n    <scene_description>We are there now . Arthur pulling down the same box camera Ishmael would use years later . Focusing up at the MAYOR , as he places the crown on the radiant young girl .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Senior Year. It was Hatsue.<\/dialogue>\n    <scene_description>And as the applause ripples through the crowd . As the Strawberry Princess acknowledges her subjects , her eye falls on . Ishmael . She drops him a wink . And a special wave .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>She winked at me. In public. Which was unusual.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOUTH BEACH - DAY<\/stage_direction>\n    <scene_description>Two 14 - year - olds alone on a beach . Digging for clams in the mud .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I had kissed her once, when we were ten. Looking at fish through a glass - bottomed box. It was just an impulse, and no big deal.<\/dialogue>\n    <scene_description>Ishmael pulls back from the deep hole , to make room for Hatsue to reach down . We can see her fingers explore the shell of the dug - in geoduck clam .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>He's still got a good grip. We need to dig more.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>At school, she kept mostly to the Japanese kids, and sort of ignored me. As if all of our times alone together. in the hollow cedar, everywhere. were a secret.<\/dialogue>\n    <scene_description>They are digging now , together . Carefully .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I told myself that was good. That it made our friendship special. And did n't mean she was ashamed of it. Necessarily.<\/dialogue>\n    <character>HATSUE<\/character>\n    <dialogue>Easy. Slow is best.<\/dialogue>\n    <scene_description>Gently , she begins to dislodge the clam from its lair .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I thought about her. Sometimes, all the time. I knew I was unhappy. But I knew if I told her.<\/dialogue>\n    <scene_description>She lifts it clear . And as she admires its size and roughness with her fingertips . As she washes it in the shallows . He watches her movements .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It might be a mistake. I could never correct.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>I like you.<\/dialogue>\n    <scene_description>The words make her turn . Not startled , exactly . Alerted . But neutral , without affect .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Do you know what I mean, Hatsue? I've always liked you.<\/dialogue>\n    <scene_description>There is no answer . He leans slightly closer , and she looks down . This is the moment . Afraid and driven , he moves slowly to her face . And puts his mouth against hers . She lets him and , encouraged , he pushes harder , making Hatsue . lose her balance , and planting a hand beneath the water to support herself , eyes closed too tightly , she kisses Ishmael for a long moment , before . leaping up , snatching her clam pail and running AWAY down the beach like a deer . He stands slowly . To watch her go .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I knew in my heart that we would love each other forever.<\/dialogue>\n    <scene_description>His face is slack and unsmiling , but he is helpless with happiness . Contemplating this truth .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The way she kissed me. She knew it, too.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. IMADA FARM - DUSK<\/stage_direction>\n    <scene_description>Ishmael crouching at the edge of the farm , in near - darkness .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>She avoided me for a week.<\/dialogue>\n    <scene_description>Across the distance , the screen door opens , light slips across the porch . Hatsue appears with a wicker basket , to take the laundry from the line .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>So this way, I could see her without. bothering anyone.<\/dialogue>\n    <scene_description>He watches , rapt , as she unpins and folds the clothes , clenching the clothespins in her teeth . Then reeling the line again , elegant hand over elegant hand .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I was certain everything would work out.<\/dialogue>\n    <scene_description>She corrals the long sweep of her hair , knotting it deftly , before heading inside .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And frightened.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STRAWBERRY FIELDS - DAY<\/stage_direction>\n    <scene_description>Children working fields in sunlight . Kneeling in the rows . Hatsue with a half - dozen Japanese girls , her hair loose , her face lightly sheened with sweat . She works with efficiency and grace , filling her flat . Three rows away . Ishmael watches . The fear not far beneath the surface of his quiet , dark features .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>By two weeks, I knew I had made the defining mistake of my life.<\/dialogue>\n    <scene_description>Hatsue 's gaze drifts slightly in this direction , and Ishmael looks DOWN rapidly at his work . Cheeks burning , certain she is watching . Which she is not .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I'd ruined everything.<\/dialogue>\n    <scene_description>LATER . end of day . The young pickers turning in their flats as a gentle rain begins . Hatsue counts her money , slips it into her pocket , and . runs lightly off , into the growing rain . Ishmael sees . Stricken to his soul with longing . And indecision .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEDAR GROVE - DAY<\/stage_direction>\n    <scene_description>Hatsue , drenched , alone with her thoughts in the protection of the hollow cedar . The rain is driving now , and she glances up . At something we do n't see . And watches it . Finally .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>You followed me, huh?<\/dialogue>\n    <scene_description>PULL BACK to see him . Rain pelting off his poor soaked form . She is waiting for an answer . So .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Sorry. It sort of. happened, I just. I followed you. I'm sorry.<\/dialogue>\n    <scene_description>She pulls her hair behind her ears . A movement which stretches her body .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>I'm all wet.<\/dialogue>\n    <scene_description>She starts refastening her hair now , looking away . He comes inside , crouches as respectfully far from her as he can . Which is close . He watches her , watches her , and .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>I'm sorry I kissed you on the beach.<\/dialogue>\n    <scene_description>No reaction . As if she has n't heard . Now his heart is beating straight through his chest .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Let's just forget about it. Forget it happened.<\/dialogue>\n    <scene_description>She picks up her damp straw hat . And , eyes down , tracing a finger around its brim .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>Do n't be sorry. I'm not sorry about it.<\/dialogue>\n    <scene_description>His heart bursts within him . And he struggles to keep it from his face . Even though she is n't watching .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Me neither.<\/dialogue>\n    <scene_description>She turns her face to him , and offers a small smile . It is genuine , and therefore dazzling to the boy . She lies back on the ground . Her eyes so unafraid and direct .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>Do you think this is wrong?<\/dialogue>\n    <scene_description>He swallows . Staring at her lying there so comfortably .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The best part was that there was a ` this'. To debate the wrongness of.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Your friends would. Your dad would kill me with a machete.<\/dialogue>\n    <character>HATSUE<\/character>\n    <dialogue>We're Japanese, not Mexican, Ishmael. He'll slice you up with a ceremonial sword.<\/dialogue>\n    <scene_description>Ah . Better . They are both grinning now .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>My mom. Would be the problem.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Why? We're only talking.<\/dialogue>\n    <scene_description>Her eyes flicker . The synapse that a woman can offer a man .<\/scene_description>\n    <character>HATSUE<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>And touches his hand . With her fingertips . The barest whisper .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>I ca n't hear you.<\/dialogue>\n    <scene_description>Thus invited , he leans down over Hatsue . Kisses her mouth with all the tenderness in him . This time , her eyes close gently . And her body arches slightly , into his .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>We kissed for half an hour, that first time. And I knew there would never be another day like it.<\/dialogue>\n    <scene_description>Rain POUNDING now . A curtain of water , sealing them from the world .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>No matter how long I lived.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>CLOSE on Ishmael , once more in the row of reporters . Absently kneading the stump of his amputated arm . The way some men drum their fingers .<\/scene_description>\n    <character>HOOKS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>you were acquainted with the defendant and his family.<\/dialogue>\n    <scene_description>ETTA HEINE is a linebacker in a dress . Stout and German and wary . She is 57 , and pulls her hem down tight below her knees .<\/scene_description>\n    <character>ETTA<\/character>\n    <dialogue>Him and his folks and two brothers and two sisters worked our land. Lived in a picker's cabin at first.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>So the defendant knew the deceased, your son, even then.<\/dialogue>\n    <character>ETTA<\/character>\n    <dialogue>They fished t ` gether. Went to school. Carl Junior treated him like a white person. Like any friend.<\/dialogue>\n    <scene_description>Said not with pride , but regret .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>But the dispute began. With the father, yes?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HEINE FARMHOUSE - DAY<\/stage_direction>\n    <scene_description>Etta twenty years younger , watches stoically from the parlor window , as her husband CARL SENIOR strools the strawberry fields with Kabuo 's father Zenhichi . Carl is a huge rawboned man , and puffs a pipe as Zenhichi stops , sweeps his arms this way and that . Etta knows trouble when she sees it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - LATER<\/stage_direction>\n    <scene_description>Etta pours her husband 's coffee . It is very quiet .<\/scene_description>\n    <character>ETTA<\/character>\n    <dialogue>Do n't sell, Carl. You'll regret it.<\/dialogue>\n    <character>CARL SR.<\/character>\n    <dialogue>Only seven acres, and the worst seven, at that. They're decent folks. They got five hunnerd to put down now.<\/dialogue>\n    <character>ETTA<\/character>\n    <dialogue>Do n't go wavin' new church clothes at me. We're not such paupers as sell to Japs, are we? For what, a pouch of fancy pipe tobacco?<\/dialogue>\n    <scene_description>She walks about the kitchen with her arms folded . Too upset to be still .<\/scene_description>\n    <character>CARL SR.<\/character>\n    <dialogue>They work hard, live clean, do n't spend nothin'. Even kind to the Indjuns. People is people, comes down to it.<\/dialogue>\n    <scene_description>Etta turns sharply . Glares at the big man . He just blinks blandly , puffs his pipe . She can see this ship has sailed .<\/scene_description>\n    <character>ETTA<\/character>\n    <dialogue>You wear the pants, doncha? Go ahead, sell our land to a Jap and see what comes of it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>Hooks pacing , slow and calm . This part needs to be clear .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>But back in' 34, Japanese - born could not own land. So?<\/dialogue>\n    <character>ETTA<\/character>\n    <dialogue>Carl held it for'em. Called it a lease. They make payments every June and December.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>Why? If they could never take title.<\/dialogue>\n    <character>ETTA<\/character>\n    <dialogue>Their kids was born here. So when the oldest, that one there, was twenty. last payment gets made, and he could own it.<\/dialogue>\n    <scene_description>She folds her hands . Looks Kabuo square in the eye .<\/scene_description>\n    <character>ETTA<\/character>\n    <dialogue>But they missed their last two payments. So that was that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FARMHOUSE KITCHEN - DAY<\/stage_direction>\n    <scene_description>Carl Sr. and Zenhichi sit at the table . There is coffee . But it is untouched . Etta watches by the stove .<\/scene_description>\n    <character>ETTA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>March 1942, orders came down. Japs had eight days before the Army was gon na cart'em off.<\/dialogue>\n    <scene_description>Carl lights his pipe . Compassion in his broad weathered face .<\/scene_description>\n    <character>CARL SR.<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Eight days. It ai n't right.<\/dialogue>\n    <character>ZENHICHI<\/character>\n    <dialogue>We must leave everything. If you like, you can work our fields, sell berries, keep the money. Otherwise, they just rot.<\/dialogue>\n    <character>ETTA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Japs are shrewd. Offer berries he ca n't use. Soften us up about those two payments still to come.<\/dialogue>\n    <scene_description>And sure enough , Zenhichi produces a neat stack of bills . Puts them on the table .<\/scene_description>\n    <character>ZENHICHI<\/character>\n    <dialogue>Today, I have $ 120 toward next paym.<\/dialogue>\n    <character>CARL SR.<\/character>\n    <dialogue>Absolutely not, Zenhichi. I'm not gon na take your savings at a time like this.<\/dialogue>\n    <scene_description>The small man spreads the bills out . On the table .<\/scene_description>\n    <character>ZENHICHI<\/character>\n    <dialogue>Please, you take. Then, I send more from where I'm going. If not enough, you still have seven acres strawber.<\/dialogue>\n    <character>ETTA<\/character>\n    <dialogue>Thought you was givin' us those.<\/dialogue>\n    <scene_description>And everything . Stops .<\/scene_description>\n    <character>ETTA<\/character>\n    <dialogue>Did n't you come in here givin' them away? Now you want $ 130, after our labor and fertilizer. Is that what you come here hopin' on?<\/dialogue>\n    <scene_description>Zenhichi keeps his anger within . His face is stone .<\/scene_description>\n    <character>ETTA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I spit on him, and he's pretending it did n't happen that way. How could anyone trust people like that?<\/dialogue>\n    <character>ETTA<\/character>\n    <dialogue>You want more coffee?<\/dialogue>\n    <character>ZENHICHI<\/character>\n    <dialogue>No, thank you. Take money, please.<\/dialogue>\n    <scene_description>But Carl is staring at his wife . She stares right back . Carl turns , slides the money toward Zenhichi .<\/scene_description>\n    <character>CARL SR.<\/character>\n    <dialogue>Etta's been rude to you, and I apologize for that. You keep this money, and those payments will work out fine. Somewhere down the road.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PARLOR - TWILIGHT<\/stage_direction>\n    <scene_description>Silence . Palpable . Two figures sit at opposite ends of this darkening room , each under a lamp . Carl Sr. is reading the paper . His face is stone . Etta at a small writing desk strewn with bills and ledgers . Her face is angry . A screen door opens . Slams shut . Big footfalls coming . No one looks up .<\/scene_description>\n    <character>CARL JR.<\/character>\n    <dialogue>Look at this!<\/dialogue>\n    <scene_description>He stands in the doorway . A bamboo fishing road in his giant hand .<\/scene_description>\n    <character>CARL JR.<\/character>\n    <dialogue>Kabuo loaned it to me. Til he gets back.<\/dialogue>\n    <scene_description>And his parents stare back him .<\/scene_description>\n    <character>CARL JR.<\/character>\n    <dialogue>It's great for sea - run cutthroat. The ferrules are smooth, silk wrapped.<\/dialogue>\n    <character>ETTA<\/character>\n    <dialogue>Take that back. And do it now.<\/dialogue>\n    <scene_description>The big young face is stunned , hurt .<\/scene_description>\n    <character>CARL JR.<\/character>\n    <dialogue>I told Kabuo I'd take ca.<\/dialogue>\n    <character>ETTA<\/character>\n    <dialogue>Those Japs owe us. I do n't want nothin' confusing that.<\/dialogue>\n    <scene_description>The boy looks to his father . Who says nothing .<\/scene_description>\n    <character>ETTA<\/character>\n    <dialogue>I said now, boy. Supper's in forty minutes.<\/dialogue>\n    <scene_description>Crestfallen , defeated , the boy backs away . Hear his footfalls . The screen door SLAM hard . And Carl Sr. looks at his wife . No sound , until .<\/scene_description>\n    <character>CARL SR.<\/character>\n    <dialogue>We ai n't right together.<\/dialogue>\n    <scene_description>The words are flat and straight . Etta stoic .<\/scene_description>\n    <character>CARL SR.<\/character>\n    <dialogue>You and me. We just ai n't right.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>Hooks settles back . His butt on the edge of the prosecutor 's table . The soul of patience and clarity .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>You said neither of the last two payments were made. But your husband told defendant's father that he could pay them. what, ` down the road'.<\/dialogue>\n    <scene_description>And straight back .<\/scene_description>\n    <character>ETTA<\/character>\n    <dialogue>Road ended October 1944, when my husband passed away.<\/dialogue>\n    <scene_description>She nods . That 's all there was to it .<\/scene_description>\n    <character>ETTA<\/character>\n    <dialogue>I sold all the land to our neighbor, Ole Jurgensen. Got a fair price, this time. And.<\/dialogue>\n    <scene_description>Straightens her spine . To deliver the clincher .<\/scene_description>\n    <character>ETTA<\/character>\n    <dialogue>Sent all their equity back to those Japs down in California. Which I did n't have to do. Specially since my boy was out in the Pacific, gettin' shot at by Japs at the time.<\/dialogue>\n    <scene_description>Hooks pauses . As if drinking this in .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>Now defendant's father had also died by that point. Where was the defendant? When you sent his family their equity.<\/dialogue>\n    <character>ETTA<\/character>\n    <dialogue>In the war. Europe, I believe. They could hardly send him to the Pacific, could they?<\/dialogue>\n    <scene_description>Kabuo watching the woman . Eyes as hard as her own .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>And when he came home. Did he write you about this? Or phone, perhaps.<\/dialogue>\n    <character>ETTA<\/character>\n    <dialogue>Just showed up at my door, big as life and twice as mean. Wanted to talk to my son.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ETTA'S APARTMENT, AMITY HARBOR - DAY<\/stage_direction>\n    <scene_description>Kabuo stands at the open door . No one is inviting him inside .<\/scene_description>\n    <character>ETTA<\/character>\n    <dialogue>He's over the ocean, fighting the Japs. They're just about licked.<\/dialogue>\n    <character>KABUO<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>Just about.<\/dialogue>\n    <scene_description>And there it sits .<\/scene_description>\n    <character>ETTA<\/character>\n    <dialogue>When Mr. Heine passed away, I could n't farm the place myself, could I? You're gon na have to talk to Ole abou.<\/dialogue>\n    <character>KABUO<\/character>\n    <dialogue>I just did. He did n't know we were one payment away. You did n't tell him Mr. Heine promised my fath.<\/dialogue>\n    <character>ETTA<\/character>\n    <dialogue>I was s ` posed to tell him there's some illegal contract muddling things up? You folks did n't make your pay - ments. In America, bank comes in and repossesses your land. I did n't do anything wrong.<\/dialogue>\n    <scene_description>Kabuo stands . Calm , unblinking .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>Nothing illegal. Wrong is a different mat.<\/dialogue>\n    <character>ETTA<\/character>\n    <dialogue>Get out of here.<\/dialogue>\n    <character>KABUO<\/character>\n    <dialogue>You sold our land out from under us, Mrs. Heine. You took advantage of the fact that we were gone. You.<\/dialogue>\n    <scene_description>SLAMM . The door has closed in his face . And Kabuo stands there . As if deciding . Whether to break it down .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>Hooks standing at the jury box now . Looking at them , as he asks .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>What do you mean by ` dirty looks'?<\/dialogue>\n    <character>ETTA<\/character>\n    <dialogue>Well. Every time I see him in town or somewhere, he's starin' at me with these narrow eyes. Givin' me his mean face.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>When your son came back from the war, what did he say about all this?<\/dialogue>\n    <character>ETTA<\/character>\n    <dialogue>That he'd keep an eye on Miyamoto. Watch out for him.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>Did he see some danger from defen.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>Objection. Asking witness to speculate about deceased's state of mind.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>All right. What did your son say to that effect?<\/dialogue>\n    <scene_description>She looks up . As if trying to recall .<\/scene_description>\n    <character>ETTA<\/character>\n    <dialogue>He said he wished Kabuo would forget about his seven acres, and stop lookin' at us cross - eyed.<\/dialogue>\n    <scene_description>Hooks stares at the jury . Holds the moment .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>Your witness.<\/dialogue>\n    <scene_description>And goes slowly back to his seat . Nels waits until his opponent is seated . Then , rises .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Just three questions. The Miyamoto family bought your seven acres for $ 4500?<\/dialogue>\n    <character>ETTA<\/character>\n    <dialogue>Tried to. Defaulted on their payments.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>Second question. What did Ole Jurgensen pay you per acre?<\/dialogue>\n    <character>ETTA<\/character>\n    <dialogue>A thousand.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>So that makes what would have been $ 4500 into $ 7000, does n't it? If you sent the equity back, you had a profit of $ 2500.<\/dialogue>\n    <character>ETTA<\/character>\n    <dialogue>Is that your third question?<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>It is.<\/dialogue>\n    <character>ETTA<\/character>\n    <dialogue>You done your math right.<\/dialogue>\n    <scene_description>The old man wears a thin , cold smile .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>You, too. No further questions.<\/dialogue>\n    <scene_description>HOLD on Kabuo . As he watches Etta rise heavily from the box .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEEP FOREST - FIRST LIGHT<\/stage_direction>\n    <scene_description>Mist of moments before dawn . As tendrils part , there is enough light to see . eyes . They are Asian . They are razor - keen . PULL BACK to reveal . Kabuo alone in G.I. gear and helmet . Rifle up high , sweat on his face , moving soundlessly , turning in a circle as he goes , until . he stops . A heartbeat of silence . Then . the BLAST of automatic tracer TEARS through trees , as he WHIRLS and RETURNS FIRE in a single motion , until . Silence . His heart is pounding . He waits . Waits . Weapon at the ready , he pushes THROUGH the dense foliage to see . the 15 - year - old German SOLDIER , splayed on the forest floor , his chest torn and bloodied . Kabuo 's gaze LOCKS with the boy 's . The young soldier 's empty left hand reaches out in a a plea , and as Kabuo steps forward , the boy 's right hand comes suddenly . INTO view , metal GLINTING in motion , as Kabuo . BLOWS the boy AWAY with staccato rifle BURSTS that JUMP the already - lifeless body like an electric jolt . And falling from the kid 's hand , not a pistol , but . ID TAGS . No expression on Kabuo 's face . None at all . He moves on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>OLE JURGENSEN wobbles slightly in the witness box , hands resting on the cane planted unsteadily between his frail legs . His eyes leak water , his beard is wispy and unkempt .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>Were those his exact words?<\/dialogue>\n    <character>OLE<\/character>\n    <parenthetical>( shaky . )<\/parenthetical>\n    <dialogue>He say Mrs. Heine robbed him. Mr. Heine never woulda let no such ting like that hap.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>Robbed. He was angry.<\/dialogue>\n    <character>OLE<\/character>\n    <dialogue>Oh, yeh. He said someday he would get his land back.<\/dialogue>\n    <scene_description>Hooks nodding . Nodding .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>Mr. Jurgensen. Did he offer to buy the seven acres from you?<\/dialogue>\n    <character>OLE<\/character>\n    <dialogue>Oh, yeh. But this is nine year ago, I had my healt, I was n't wantin' to sell.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>And then your stroke came this summer. And you put your property on the market, I believe you said September 7. Which, remember, is eight days before Carl Heine died. And who comes Spetember 7, wanting to buy?<\/dialogue>\n    <character>OLE<\/character>\n    <dialogue>Carl Heine came.<\/dialogue>\n    <scene_description>Hooks pauses . Lets that sink in .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>But Carl was a fisherman. And successful at it.<\/dialogue>\n    <character>OLE<\/character>\n    <dialogue>He said he did n't want that life no more. He'd been saving to buy a farm. He was sorry I got sick. But pretty excited to get back his father's place.<\/dialogue>\n    <scene_description>The old man 's head bobs . Recalling .<\/scene_description>\n    <character>OLE<\/character>\n    <dialogue>Liesel and me. Was happy for him.<\/dialogue>\n    <scene_description>Hooks smiles . As if he would be happy , too . Anyone would be .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>And later, that same day. Only eight days before Carl Heine died. Did another prospective buyer appear?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FARMHOUSE PORCH - DAY<\/stage_direction>\n    <scene_description>Ole sits in a wicker chair at a wicker table . His wife LIESEL is setting out cold drinks . But their visitor stands rigid , disbelieving .<\/scene_description>\n    <character>LIESEL<\/character>\n    <dialogue>I'm sorry to tell you, we took his earnest money, he shook Ole's hand. Come November, he'll sell his boat, and take over the farm.<\/dialogue>\n    <scene_description>Kabuo is thunderstruck .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>But your sign.<\/dialogue>\n    <character>OLE<\/character>\n    <dialogue>We di n't have no time to take it down. He just come ten o'clock.<\/dialogue>\n    <scene_description>Kabuo nods . His voice is soft , but his eyes are steel .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>It's my fault. I should have come earlier.<\/dialogue>\n    <scene_description>He looks so odd , perhaps he 's ill . Liesel looks concerned .<\/scene_description>\n    <character>OLE<\/character>\n    <dialogue>If you want t ` buy them seven acres. Carl Heine's the only fella can sell'em.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - EVENING<\/stage_direction>\n    <scene_description>The witness box is empty . The snow outside the windows is falling in darkness . And Judge Lew Fielding is leaning his frame toward the jurors .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>I apologize for keeping you folks from your families in a storm like this. I do hope you'll be reasonably comfortable in the hotel tonight. And one more thing.<\/dialogue>\n    <scene_description>He smiles softly .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>This Court takes judicial notice of the fact that tomorrow is the 13th anniversary of the attack on Pearl Harbor.<\/dialogue>\n    <scene_description>Slight pause . To make sure they are listening .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Which has no relationship to this trial. Which is why I mention it.<\/dialogue>\n    <scene_description>Gavel CRACKS down .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>10 o'clock tomorrow, folks. Stay warm.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTHOUSE CORRIDOR - MINUTES LATER<\/stage_direction>\n    <scene_description>Hatsue walks briskly down the crowded hallway , her eyes searching the benches lining the corridor ahead . Her view obscured by the crowd hurrying to fight the storm . Suddenly . she stops . Because there . On a bench . Sits Ishmael . Next to him , a round Japanese - American baby boy of 11 months . Before him , squat the boy 's sisters , eight and four . All are watching Ishmael . manipulating a COIN . It rolls across his knuckles and back again , with amazing dexterity . Then , he snatches it into his palm . Holds up his fist . All little eyes are glued . The fist . opens . It is EMPTY . There are GASPS .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Know where it is?<\/dialogue>\n    <scene_description>They do n't .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>It's in my other hand.<\/dialogue>\n    <scene_description>The four - year - old LAUGHS . Her big sister socks her . And Mom steps in . The man looks up , with the sweetest smile .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Your mother went to the bathroom. She said I could show them a trick.<\/dialogue>\n    <character>FOUR-YEAR-OLD<\/character>\n    <dialogue>HE DOES N'T HAVE A OTHER HAND!<\/dialogue>\n    <scene_description>Hatsue is not smiling . Nor is she angry . Even awkward comes to her in a graceful way . She scoops up her son .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>Thank you for your help.<\/dialogue>\n    <parenthetical>( to the girls . )<\/parenthetical>\n    <dialogue>Let's go find obaasan.<\/dialogue>\n    <scene_description>And without even glancing at him , she heads off at a brisk pace . The girls following . The four - year - old turning back to wave once . And then they are gone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAIL - NIGHT<\/stage_direction>\n    <scene_description>Kabuo stands outside the open steel door of his tiny cell , as Abel Martinson clumsily unfastens the manacles . A cot , a toilet without a seat , a bare bulb hanging from a wire . No windows to the outside world . Only the small barred one in the cell door . As the manacles fall away . Abel removes two objects from his pocket .<\/scene_description>\n    <character>ABEL<\/character>\n    <dialogue>This is from Nels, I ca n't see the harm. Do n't tell Art, okay?<\/dialogue>\n    <scene_description>Hands him two CANDY BARS . A Snickers . And a Baby Ruth . Kabuo looks at them . In spite of himself . Kabuo smiles . Remembering .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAIL - DAY<\/stage_direction>\n    <scene_description>Kabuo sits in jailhouse overalls on the edge of his cot . Motion - less . On a private journey of the mind . The door CLANGS open .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>This here is Nels Gudmundsson, he's your attorney.<\/dialogue>\n    <scene_description>Kabuo looks over . That flat , unsmiling gaze . The old man has a folded chessboard and a Havana cigar box under his arm . Their eyes lock , as if the Sheriff were n't even here . And Moran leaves , closing the door with respectful quiet . Nels does n't smile , does n't speak . Opens the chessboard on the cot . Opens the cigar box filled with chess pieces , two cigars , a Snickers and a Baby Ruth . He puts the candy bars by Kabuo 's pillow , a silent gift . Begins to set up the chessboard .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>What makes you think I play?<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>Your daddy played. I asked, down at the Japanese Community Center. You smoke cigars?<\/dialogue>\n    <scene_description>And offers one up , rough and black .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>I'm not sure. I better check down at the Center.<\/dialogue>\n    <scene_description>Kabuo smiles only with his eyes . Nels nods , maybe you better . Lights his own cigar . Puts the matches and the other cigar at Kabuo 's side .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>White or black?<\/dialogue>\n    <character>KABUO<\/character>\n    <dialogue>You mean, do I like to take the offensive? Or hang back and wait.<\/dialogue>\n    <scene_description>That seems answer enough for Nels . He turns the board around to where he has white , and makes the first move .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Nice. When two fellas understand each other.<\/dialogue>\n    <scene_description>Kabuo picks up the cigar . STRIKES a match . white . Kabuo moves a black bishop . Nels ' eyes shoot around the table . He reaches and KNOCKS OVER Kabuo 's black king . Kabuo blinks , studies the board silently . Then smiles . He unwraps the Snickers bar . Breaks it in half . Hands one piece across to his lawyer . SERIES OF ANGLES . RAPID CUTS , different days , Nels in different suits , chess pieces in different positions , each time Nels reaching to topple Kabuo 's king . The last time . Kabuo has to study the board for a beat . Shakes his head .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>You must think I like losing.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>I think you like learning.<\/dialogue>\n    <scene_description>And leans his old bones back against the hard wall .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Me, too. That's why I come.<\/dialogue>\n    <scene_description>Pulls out two cigars . Kabuo looks at them .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Bet there's a few things you could teach me. Kendo, for one.<\/dialogue>\n    <character>KABUO<\/character>\n    <dialogue>Sure. I could take a fishing gaff and split your head open. Right above your left ear.<\/dialogue>\n    <scene_description>No smile . Steady gaze .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>You would n't even see it move.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>You're wonderin'. how come I never ask. If you did it.<\/dialogue>\n    <scene_description>Hands one cigar . Across the chessboard .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Now, you've told me you killed four men. In Germany. So I know you are the kind of man who can kill. When there's a reason.<\/dialogue>\n    <character>KABUO<\/character>\n    <parenthetical>( very quiet . )<\/parenthetical>\n    <dialogue>Guess I am.<\/dialogue>\n    <scene_description>Takes the cigar . Rolls it between his thumb and forefinger .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>You feel guilty. That you took their lives. That's in your eyes.<\/dialogue>\n    <scene_description>STRIKES a match .<\/scene_description>\n    <character>NELS<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Jury sees what I see. More often than not.<\/dialogue>\n    <scene_description>Reaches stiffly . Kabuo bends toward him . Accepts the flame . Takes a puff .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Prosecutor thinks. What was your reason? To kill Carl Heine.<\/dialogue>\n    <scene_description>Kabuo says not a word .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Well, there is the land itself. Raise your children where you were raised. Sleep with your wife at night, ` stead of bein' alone on the sea.<\/dialogue>\n    <scene_description>Brings the match to his own cigar . Careful . Expert .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>There's fairness and honor. You were cheated by that old bitch. Boy, she is something.<\/dialogue>\n    <character>KABUO<\/character>\n    <parenthetical>( simply . )<\/parenthetical>\n    <dialogue>She's not alone.<\/dialogue>\n    <scene_description>Worlds within those words .<\/scene_description>\n    <character>NELS<\/character>\n    <parenthetical>( a murmur . )<\/parenthetical>\n    <dialogue>None of us are.<\/dialogue>\n    <scene_description>And in those .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>And prejudice, like you say. Your people locked in a concentration camp. You go off to fight for our country's freedom. Come back to this.<\/dialogue>\n    <scene_description>Shakes his head .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>But Mr. Hooks has missed the one reason. One reason. You coulda done it.<\/dialogue>\n    <scene_description>A flicker . Behind the defendant 's eyes .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>I read you Etta Heine's deposition. So I could watch your mind. Like I do when you move your rook, or when I move mine.<\/dialogue>\n    <scene_description>A smile now . Very kind . Very sad .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>And you were n't thinking about her. Or about land. Or about you.<\/dialogue>\n    <scene_description>No , you were n't . And in the gentlest voice .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>No, someone cheats you, you can rise above that. You're a family man. You put them ahead of you, hmmn?<\/dialogue>\n    <scene_description>He sighs . But .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Was n't you she dishonored.<\/dialogue>\n    <scene_description>And the old watering eyes are rock steady now .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Your father was a strong and tireless man. Honest to a fault. Kind, and humble as well.<\/dialogue>\n    <scene_description>There is a silence . And then .<\/scene_description>\n    <character>KABUO<\/character>\n    <parenthetical>( real quiet . )<\/parenthetical>\n    <dialogue>Nice. When two fellas. Understand each other.<\/dialogue>\n    <scene_description>They let that sit .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Now this jury is gon na be lookin' at the evidence with one eye. And at you with the oth.<\/dialogue>\n    <character>KABUO<\/character>\n    <dialogue>Mr. Gudmundsson, we know what that jury is looking at.<\/dialogue>\n    <scene_description>He wo n't let hs eyes lie to this man .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Your father needs you. To return to your family.<\/dialogue>\n    <scene_description>Silence .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>So every time you think about showing that jury strength. Or honor or composure. Or dignity.<\/dialogue>\n    <character>KABUO<\/character>\n    <dialogue>I should show them an American?<\/dialogue>\n    <scene_description>Nels sees the rage . It breaks his heart . It makes him feel old and helpless .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Show them an innocent man.<\/dialogue>\n    <scene_description>What he stares at now . Is a neutral mask . As powerful and opaque as the voice is quiet .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>Shame you could n't play chess with my dad, sir. He'd kick your ass.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ISHMAEL'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Through glass , snow is tumbling in endless cascades , the world dwarfed by a descending heaven . A sound , a strange soft CLICK . PAN across . the small , well - kept bachelor apartment . Neat stacks of books on the floor , catching the overflow of shelves crammed full . Someone likes to read . Another soft CLICK . To . the kitchen now , along the floor . An awkward high - top SHOE , its buckled straps above elastic LACES that fasten across the instep . The shoe steps on a crude wooden PEDAL . And we hear another CLICK . PAN up along a vertical strip of mesh WIRE to . a plywood CONTRAPTION , held by a partially closed drawer . A piece of spring steel holding a set of NAIL CLIPPERS . Ishmael inserts his pinkie carefully . CLICK . Finishes clipping the fingernails of his only hand . And looks out . At the magic of white .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOLLOW CEDAR - DAY<\/stage_direction>\n    <scene_description>Safe within their haven , the 18 - year - olds kiss and hold each other urgently . Their tongues exploring each other 's mouth , her legs open beneath her skirt , pressing her body up against him .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I gave her all of my soul to love. I knew someday we would live in France. Italy. Somewhere. Far from the things that upset her.<\/dialogue>\n    <scene_description>ANGLE . later , they lie so quietly . Her head nestled in the crook of his arm , he gently plays with her hair . Her face so still , so thoughtful and grave .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( a murmur . )<\/parenthetical>\n    <dialogue>You do n't have to be so tragic, you know.<\/dialogue>\n    <scene_description>Ah . Her dark eyes flicker .<\/scene_description>\n    <character>HATSUE<\/character>\n    <parenthetical>( dry . )<\/parenthetical>\n    <dialogue>Kind of magical, the way you know how to comfort a girl.<\/dialogue>\n    <scene_description>She cuts the irony by sending her fingertips to stroke his .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>I can just feel my spirits soar.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Well, I do n't do it for just anybody.<\/dialogue>\n    <scene_description>And kisses her head . But her eyes still stare off into the tangle of her worries . He draws a breath .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>There ca n't be any wrong in this, Ha.<\/dialogue>\n    <character>HATSUE<\/character>\n    <dialogue>I lie to my parents every day. And every night.<\/dialogue>\n    <scene_description>His light tone against the fear .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Well. Since I never told your folks, I guess I'm lying to'em, too. But you do n't hear me complaining about it.<\/dialogue>\n    <scene_description>She winds her fingers with his . Loyalty against her doubt . Very soft with .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>I'm in awe. Of your strength.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL BUS - DAY<\/stage_direction>\n    <scene_description>Hatsue sits with the Japanese kids . Ishmael with his friends . The bus filled with stone - faced teenagers listening to the DRIVER , who brandishes his newspaper at the Japanese side of the bus .<\/scene_description>\n    <character>DRIVER<\/character>\n    <dialogue>not just Pearl, they're attackin' all over the Pacific, the whole fleet's destroyed. The FBI's in Seattle right now.<\/dialogue>\n    <scene_description>And pauses . His eyes moving from one Japanese face to the next . Are you listening ?<\/scene_description>\n    <character>DRIVER<\/character>\n    <dialogue>arresting Jap traitors, the spies and everything. There'll be a blackout tonight, so keep your radios off. So the Japs do n't pick up no signals. You get the message?<\/dialogue>\n    <scene_description>Stares them down . Until , from across the bus .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hey, Mr. Lamberson, over here!<\/dialogue>\n    <scene_description>The driver 's eyes snap around . The tall boy is waiting .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>I have a radio, too. Do n't you want to be sure I got the message?<\/dialogue>\n    <scene_description>Ishmael sees the anger . He 's not afraid of it .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Just checking.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAN PIEDRO REVIEW - LATE NIGHT<\/stage_direction>\n    <scene_description>The horrid CLANGING of the great rattletrap press , Arthur Chambers ducking nimbly among the rollers .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It was a special edition, an extra. My father wrote, ` These people are our neighbors, they have sent their sons to the United States Army.'<\/dialogue>\n    <scene_description>Print flying onto paper as it rolls through the green metal gauntlet .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>` They are no more an enemy than our fellow islanders of German or Italian descent.'<\/dialogue>\n    <scene_description>Belary - eyed Ishmael , pulling finished copies from the bin . As he stacks them for delivery , he reads aloud , above the CLASH of metal .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( sleepy and loud . )<\/parenthetical>\n    <dialogue>LET US SO LIVE THAT, WHEN IT IS OVER, WE CAN LOOK EACH OTHER IN THE EYE. AND KNOW WE HAVE ACTED HONORABLY.<\/dialogue>\n    <scene_description>Big yawn . It 's really late . He turns , and sees . his father . Staring at him .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I guess courage never inspires the young. Until the danger of it bites their butt.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - TWILIGHT<\/stage_direction>\n    <scene_description>They walk slowly up the path . An arm around each other 's waist , their bodies brushing as they go .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>My father ca n't get our money from the bank. We have a few dol.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>It'll be over soon. I can get you money.<\/dialogue>\n    <scene_description>She stops . By a weathered fence , covered in vines . It 's growing dark .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>It's not going to get better, okay?<\/dialogue>\n    <scene_description>She sighs . He moves close , looks so grave .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>They arrested Mr. Shirazaki, because his farm is near a navy transmitter. And his family ca n't leave their house.<\/dialogue>\n    <scene_description>What can he say .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>It's just Pearl Harbor. People are a little crazy, right n.<\/dialogue>\n    <character>HATSUE<\/character>\n    <dialogue>Look at my face. It's the face of the people who did that. My father hardly speaks English. We're in bad trouble, you have to see that.<\/dialogue>\n    <scene_description>He reaches . Touches this face that he loves with all his heart . Forces up a smile .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Maybe we can fix your eyes.<\/dialogue>\n    <scene_description>She leans up . CROSSES her eyes in a goofy expression . Then kisses his mouth . When she pulls back .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Do n't let this hurt us, okay? Whatever happens.<\/dialogue>\n    <scene_description>And she studies this boy . Knowing more than he can ever understand . And chooses to whisper .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>It wo n't. You'll see.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMADA FARMHOUSE - NIGHT<\/stage_direction>\n    <scene_description>Hatsue and her older daughter are setting the farmhouse table , as snow drifts down beyond the window . Plates and flatware . Glasses and napkins . Slowly , in silence , as if a ritual bonding mother and daughter . She glances to the next room . her mother Fujiko plays with the babies . Her father HISAO reads the paper . Smoking his pipe . And Hatsue is motionless for a moment . Watching him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMADA FARMHOUSE - DAY<\/stage_direction>\n    <scene_description>CLOSE on Hatsue at 18 , staring with silent anger greater than her fear .<\/scene_description>\n    <character>HISAO<\/character>\n    <parenthetical>( O.S. shaky . )<\/parenthetical>\n    <dialogue>We are loyal.<\/dialogue>\n    <scene_description>PULL BACK to see the room . Hatsue and her sisters side by side , staring at the table . On it rests a shotgun , four boxes of shells , a ceremonial sword . An FBI AGENT , a small man in a dark suit , is tagging each item . He wears a light , perpetual , insincere smile .<\/scene_description>\n    <character>FUJIKO<\/character>\n    <dialogue>Everyone on the island has these things.<\/dialogue>\n    <scene_description>Fujiko at her husband 's side . She is quietly indignant . He is frightened .<\/scene_description>\n    <character>AGENT<\/character>\n    <parenthetical>( overly casual . )<\/parenthetical>\n    <dialogue>Well, they'll hold this stuff for a little bit, then ship it back to you. It's nothing to worry about.<\/dialogue>\n    <scene_description>And walks over to the tansu , a chest of drawers , and begins to remove items .<\/scene_description>\n    <character>AGENT<\/character>\n    <dialogue>You folks have been real polite, and we'll be outta your hair in just a second.<\/dialogue>\n    <scene_description>a silk kimono with gold brocaded sash .<\/scene_description>\n    <character>AGENT<\/character>\n    <dialogue>That's very nice. From the old country, it appears. Very high class.<\/dialogue>\n    <scene_description>And lays it on another table . Next to a bamboo flute , a stack of shakuhachi sheet music .<\/scene_description>\n    <character>AGENT<\/character>\n    <dialogue>These are real nice things. They'll take special care of'em.<\/dialogue>\n    <scene_description>Hisao sees his wife 's sudden alarm . And , as respectfully as he can manage .<\/scene_description>\n    <character>HISAO<\/character>\n    <dialogue>The flute is precious. The kimono, the music. Must you take th.<\/dialogue>\n    <character>AGENT<\/character>\n    <dialogue>oh yeh, any old country stuff, we have to take.<\/dialogue>\n    <scene_description>And sees on the sofa , an open album . Strolls over .<\/scene_description>\n    <character>FUJIKO<\/character>\n    <dialogue>This is only my daughter's scrapbook. For her memories.<\/dialogue>\n    <scene_description>So he picks it up . Does n't see Hatsue stiffen with repulsion , as he wanders , thumbing through it , toward the hallway .<\/scene_description>\n    <character>AGENT<\/character>\n    <parenthetical>( calling out . )<\/parenthetical>\n    <dialogue>Wilson? Do n't go pawing through the underwear!<\/dialogue>\n    <scene_description>And chuckles . He knows they appreciate a joke . It means there 's nothing to be afraid of . Stops turning pages now . Looks up , his eyes moving until they find Hatsue .<\/scene_description>\n    <character>AGENT<\/character>\n    <dialogue>Strawberry Princess, huh? You musta been flattered by that. Looks just like y.<\/dialogue>\n    <scene_description>The soft slamming of a screen door . Another AGENT , large and shambling in his too - small suit , is carrying a crate . And a telling look .<\/scene_description>\n    <character>AGENT #2<\/character>\n    <parenthetical>( quiet triumph . )<\/parenthetical>\n    <dialogue>Dynamite. Twenty - four sticks.<\/dialogue>\n    <scene_description>And the crate BANGS onto the table . Just beside the kimono . Lifts out two sticks and holds them high . Proof .<\/scene_description>\n    <character>HISAO<\/character>\n    <dialogue>You must believe. This for tree stumps. For clearing land.<\/dialogue>\n    <scene_description>The small man 's smile fades now . First time . And his eyes fix Hisao before he speaks . As if reading his mind .<\/scene_description>\n    <character>AGENT<\/character>\n    <dialogue>Maybe. Maybe. But this is still bad, y ` see.<\/dialogue>\n    <scene_description>Fujiko slips her hand into her husband 's . To give him strength .<\/scene_description>\n    <character>AGENT<\/character>\n    <dialogue>It's illegal contraband, you were s ` posed to turn this stuff in. We, uh.<\/dialogue>\n    <scene_description>Slight shrug .<\/scene_description>\n    <character>AGENT<\/character>\n    <dialogue>We got ta arrest you. Have to take you to Seattle.<\/dialogue>\n    <scene_description>Fujiko 's breath catches . One of the daughters whimpers . The silence hangs thick and frightening . The bigger agent unhooks a pair of handcuffs from his belt , but .<\/scene_description>\n    <character>AGENT<\/character>\n    <dialogue>Naw, you do n't need those. Mister Eee - ma - da - san here is a class act, a real gentleman.<\/dialogue>\n    <scene_description>The younger girls are crying now , clinging to their sisters . The agent regrets this .<\/scene_description>\n    <character>FUJIKO<\/character>\n    <dialogue>Please, reconsider. He has done no bad th.<\/dialogue>\n    <character>AGENT<\/character>\n    <dialogue>Well, nobody knows that yet, do they? So, best for an honest man to clear his name for godd and all.<\/dialogue>\n    <scene_description>Ai n't that right ?<\/scene_description>\n    <character>AGENT<\/character>\n    <dialogue>Only a few questions in Seattle, okay? Few questions, few answers, the whole thing is over.<\/dialogue>\n    <scene_description>He puts his hand on Hisao 's arm . Not roughly , but much firmer than the ease of his voice .<\/scene_description>\n    <character>AGENT<\/character>\n    <dialogue>Simple as that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FARMHOUSE KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Eight pages of a letter , carefully written in Kanji characters , folded neatly on a table .<\/scene_description>\n    <character>FUJIKO<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Why do I read you this distres - sing letter? From your father. From this hakujin. work camp, it is called. In Montana.<\/dialogue>\n    <scene_description>PULL BACK to see mother and five daughters around the table . Even the youngest girls somber , attentive . As if they have aged these past few weeks .<\/scene_description>\n    <character>FUJIKO<\/character>\n    <dialogue>Because you need to know the darkness. In the hearts of the hakuj.<\/dialogue>\n    <character>HATSUE<\/character>\n    <parenthetical>( blurts . )<\/parenthetical>\n    <dialogue>Not all of them.<\/dialogue>\n    <scene_description>The silent wake of her outburst , her interruption , lingers . Her mother studies her .<\/scene_description>\n    <character>FUJIKO<\/character>\n    <dialogue>The whites are enslaved by their egos, Hatsue. Each believes his aloneness is everything. We seek union wi.<\/dialogue>\n    <character>HATSUE<\/character>\n    <dialogue>the ones seeking union with the Greater Life bombed Pearl Harbor. They are not humble. I am not part of them, I'm part of here.<\/dialogue>\n    <scene_description>Her voice so loud , so insistent . Her sisters are afraid for her . To have shown such disrespect . They look down at their hands . Or away , as if not hearing .<\/scene_description>\n    <character>FUJIKO<\/character>\n    <parenthetical>( quietly , slowly . )<\/parenthetical>\n    <dialogue>I see this. This lack of purity is a mist around your soul. I see it every day, it haunts your face in unguarded moments.<\/dialogue>\n    <scene_description>The room is still as the grave . The mother 's eyes burn silently .<\/scene_description>\n    <character>FUJIKO<\/character>\n    <dialogue>I see it in your eagerness to leave here. And walk the woods. In the afternoon.<\/dialogue>\n    <scene_description>What does she know ? Hatsue 's heart pounding . And to her surprise , her mother 's voice softens .<\/scene_description>\n    <character>FUJIKO<\/character>\n    <dialogue>If you lose your true self, Hatsue. True self.<\/dialogue>\n    <scene_description>The stern warning , the unrelenting judgement , has become a plea .<\/scene_description>\n    <character>FUJIKO<\/character>\n    <dialogue>There is no way back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ISHMAEL'S KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Ishmael washing his supper plate . His fork and knife . His coffee mug . His skillet . Hard labor with one hand . And as he works , he looks at . the window above his sink . Darkness and moonlit snow . And his own reflection . CLOSE on his face in the glass , and MATCH DISSOLVE to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAN PIEDRO REVIEW - NIGHT<\/stage_direction>\n    <scene_description>Arthur Chambers . Weary . Worn behind the smile of knowing ease , as he sips coffee from a mug of his own . His boy sits across from him in the silent press room . Feet up , reading their paper . Its headline , ISLAND JAPANESE ACCEPT ARMY MANDATE TO MOVE .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>See, you bring it on yourself. 23 ladies honored by the PTA, you single out three names. And they're all Japanese. That is n't journalism.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>Because?<\/dialogue>\n    <scene_description>Ishmael has heard this gently prodding word all his life . He sighs .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Because journalism. Is just the facts.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Which facts? You ca n't print them all. Journalism is balance. Finding the facts folks need to know.<\/dialogue>\n    <scene_description>The boy looks dryly at his father . SLAPS the page with the back of his hand .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Hence. The letters.<\/dialogue>\n    <scene_description>Arthur closes his eyes . Recites from memory .<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>` Seems like you're favoring the Japs, Art. Writin' all about their patriotism and loyalty with nothin' ` bout the treachery.'<\/dialogue>\n    <scene_description>A smile in the voice . A sad one .<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>` Your newspaper is an insult to all white Americans. Please cancel my subscription and send refund.'<\/dialogue>\n    <scene_description>Now the smile is on his face . Even sadder .<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>The calls are better. ` Jap lovers get their balls cut off and stuffed down their.'.<\/dialogue>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>Missed the rest. Hanging up will do that.<\/dialogue>\n    <scene_description>Silence . Two men . Watching each other .<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>We lost the Price - Rite ads. And Lottie Opsvig's shop, and Larsen's Lumberyard and the Anacortes Cafe. And 30 percent of our subscribers.<\/dialogue>\n    <scene_description>A deeper silence .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Integrity is expensive stuff, huh?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Valuable things. Sometimes are.<\/dialogue>\n    <scene_description>Toasts his son . With coffee .<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>But. I've got the answer.<\/dialogue>\n    <scene_description>A wink . A swallow of Joe .<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Print four pages. Instead of eight.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOLLOW CEDAR - DUSK<\/stage_direction>\n    <scene_description>They lie so close . Their bodies touching , not moving . Their faces inches apart , so that every word is a murmur .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>You're like me. You've learned to be devious.<\/dialogue>\n    <scene_description>He 's never seen her this fragile , this scared . He knows he has to be strong for her .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>It's not devious, it's what we have to do. You're leaving tomorrow.<\/dialogue>\n    <scene_description>He unties her hair . So gently . Tries to keep his smile calm , steady .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>You write to my house, and put Kenny Yamashita's name on the return address. It's no big deal.<\/dialogue>\n    <scene_description>He brings his face to her hair . Kisses it .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>You smell like cedar.<\/dialogue>\n    <scene_description>Her eyes are wide . They move over his face . A murmured .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>So do you. It's your smell I'll miss as much as anything.<\/dialogue>\n    <scene_description>He looks in her eyes . And words come from his heart , before he can stop them .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Let's get married, okay?<\/dialogue>\n    <scene_description>Her eyes fill with tears . Are they from happiness ?<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>I want to marry you. Is that okay?<\/dialogue>\n    <scene_description>Her face so still . One tear falls , and he kisses it .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( a whisper . )<\/parenthetical>\n    <dialogue>Just say yes.<\/dialogue>\n    <scene_description>No answer . Not knowing what to say , she winds an arm behind his head , and brings him nearer . His mouth opens into hers , with more force , more of his heart , than he has ever given . Deep and tender . His hands reach beneath her dress . peel her panties down her thighs .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>When something that means your whole life. Is the last time ever.<\/dialogue>\n    <scene_description>And suddenly , he is OVER her , drawing her legs up around him .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>God should tell you. Or it's not fair.<\/dialogue>\n    <scene_description>Her head tilts back , her eyes squeeze closed . And as he enters her .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( whispers . )<\/parenthetical>\n    <dialogue>Please say yes.<\/dialogue>\n    <scene_description>her hands GRASP his upper arms . And push away .<\/scene_description>\n    <character>HATSUE<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <scene_description>And he blinks . As if waking from a dream . Everything has stopped . Her face is strong and yet overflowing with regret .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>No. No. It is n't right.<\/dialogue>\n    <scene_description>So he draws away . Stunned , uncomprehending . Watching with blank eyes , as she stares up at him . Then , with dignity and tenderness , he helps her dress , his eyes awkwardly away from hers .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>It felt right to me. It felt like getting married.<\/dialogue>\n    <scene_description>She draws her legs up . Kneeling now , putting her hands on his face . But no words come . No words . Until .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>I'll write you.<\/dialogue>\n    <scene_description>And KISSES him fiercely , and BOLTS up before he can grab her , RUNNING off like a deer , while he . kneels . His mouth open . Like a silent scream .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMITY HARBOR FERRY - MORNING<\/stage_direction>\n    <scene_description>An army truck pulls up behind several others in cold morning air . Hesitantly , looking in all directions , Fujiko , Hatsue , and her four sisters climb from the truck , to see .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>On Monday, March 30, 1942, the United States Army graciously transported the Imada women to the docks.<\/dialogue>\n    <scene_description>a ferry , the KEHLOKEN , stands waiting . Soldiers are dis - tributing tags for luggage and coats . The evacuees , mostly women , stand in the cold , trying to smile bravely for each other . And lined against the railing .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Lifelong neighbors came to watch. Curiosity masked as kindness.<\/dialogue>\n    <scene_description>a cluster of white islanders gawking as their Japanese neighbors file toward the ferry . A middle - aged woman waves to Fujiko , who casts her eyes down , refusing to acknowledge the greeting . And just as they reach the gangway . Hatsue sees Ishmael , who stands at an unobtrusive distance , among a group of students . She pauses . Her eyes hold his for a heartbeat .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>with some exceptions.<\/dialogue>\n    <scene_description>The wisp of a smile . And she is gone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. IMADA FRONT PORCH - NIGHT<\/stage_direction>\n    <scene_description>Hatsue comes alone onto the white - blanketed porch . Snow is no longer falling . She takes out a cigarette , lights it impassively . The mannerisms make her seem fully American , despite the porcelain impenetrability of her Asian exterior . She closes her eyes , and . draws deep on the smoke . The act seems to cause her pain . When the eyes open , they are frightened , unguarded . Nowhere to turn . The next puff looks desperate , and she FLIPS the cigarette out onto the snow . Jams her hands in the pockets of her parka , stamps her feet against the cold , the helplessness . And looks out . strawberry fields , endless and white , shimmering in filtered moonlight , become .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MANZANAR INTERNMENT CAMP - NIGHT<\/stage_direction>\n    <scene_description>a moonlit DESERT . PAN the barbed wire , the distant barracks , the desolation . Come to . two women walking alone . The younger one glancing at her mother as they go . Fujiko 's eyes unreadable , stare implacably ahead . The barracks , everything , in distance behind them .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>You think we're far enough away now?<\/dialogue>\n    <scene_description>No sarcasm in the voice . She lets the words carry her irony . Her mother stops . Looks at her so directly , so strong . Even her tough - minded daughter flinches slightly .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>Mom, whatever this is, they do n't keep war secrets this carefully.<\/dialogue>\n    <scene_description>Fujiko thinks that over . Nods .<\/scene_description>\n    <character>FUJIKO<\/character>\n    <dialogue>Secrets are hard to keep.<\/dialogue>\n    <scene_description>She goes over to a large , flat rock . Sits down . Pulls two sheets of paper from her coat . And waits . As her daughter comes and crouches at her feet . Fujiko clears her throat .<\/scene_description>\n    <character>FUJIKO<\/character>\n    <dialogue>This letter. Was opened. By mistake.<\/dialogue>\n    <scene_description>And watches . As the shard of fear penetrates her daughter 's mask . Silence . Then .<\/scene_description>\n    <character>FUJIKO<\/character>\n    <parenthetical>( reads . )<\/parenthetical>\n    <dialogue>` My love. I still go to our cedar tree in the afternoons every day. I shut my eyes, waiting.'<\/dialogue>\n    <scene_description>Hatsue has turned to stone . To ice . Wind blows .<\/scene_description>\n    <character>FUJIKO<\/character>\n    <parenthetical>( reads . ) '<\/parenthetical>\n    <dialogue>I smell your smell. And I dream of you. And I ache for you to come home. So I can hold you and feel you near.'<\/dialogue>\n    <scene_description>Fujiko scans the page silently . Turns to the second .<\/scene_description>\n    <character>FUJIKO<\/character>\n    <parenthetical>( reads . )<\/parenthetical>\n    <dialogue>` After all these years that we've been together, I find you're a part of me. Without you, I have nothing. All my love, forever.'<\/dialogue>\n    <scene_description>And looks up . Her eyes calm , quiet .<\/scene_description>\n    <character>FUJIKO<\/character>\n    <dialogue>The neighborhood boy. Who taught you to swim?<\/dialogue>\n    <scene_description>The look holds . And holds .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>You should n't have opened that. It was mi.<\/dialogue>\n    <character>FUJIKO<\/character>\n    <parenthetical>( so quiet . )<\/parenthetical>\n    <dialogue>How deceitful of me.<\/dialogue>\n    <scene_description>Anger only at the edges . Like finely - honed steel .<\/scene_description>\n    <character>FUJIKO<\/character>\n    <dialogue>How can I ever hope. For your forgiveness.<\/dialogue>\n    <scene_description>The wind swirls a cloud of dust between them . They seem not to notice .<\/scene_description>\n    <character>FUJIKO<\/character>\n    <dialogue>I have written this letter to the boy's parents.<\/dialogue>\n    <scene_description>She pulls out a single page . Hands it down to her daughter . Hatsue 's eyes move quickly over the words .<\/scene_description>\n    <character>FUJIKO<\/character>\n    <dialogue>Attraction is no crime, certainly among children. The dishonor lies in the concealment. From your families.<\/dialogue>\n    <scene_description>Watches her daughter reading . And quietly .<\/scene_description>\n    <character>FUJIKO<\/character>\n    <dialogue>I know that you know this. I know you have suffered. Even if the hakujin could not.<\/dialogue>\n    <scene_description>Silence . Hatsue 's eyes cast down . She folds the page .<\/scene_description>\n    <character>FUJIKO<\/character>\n    <dialogue>There will be no further letters. No contact of any k.<\/dialogue>\n    <scene_description>And stops . Because Hatsue is TEARING the page in two . She looks up . Into her mother 's shock .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>One more letter. I will write it. You may read it, and send it for me.<\/dialogue>\n    <scene_description>Her mother 's anger fades . Into interest .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>I deceived more than you. I deceived this sweet boy. And myself. It was never love.<\/dialogue>\n    <scene_description>Never love . The mother 's face changes . There is understanding , acceptance . Even pride .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>I will work hard. To earn your forgiveness.<\/dialogue>\n    <scene_description>A sigh . A sadness deep , beyond her years .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>I can never hope for his.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARRACKS - NIGHT<\/stage_direction>\n    <scene_description>Mother and daughter enter their crude quarters . They find Hatsue 's sisters sitting on the wooden floor , watching . a team of young MEN , working with tools and pieces of lumber . One is building shelves , two others , a chest of drawers . Their leader kneels tacking scraps of tin over the knotholes on the floor . One girl beams at her mother .<\/scene_description>\n    <character>SUMIKO<\/character>\n    <dialogue>These boys are buildings us a mansion!<\/dialogue>\n    <scene_description>The leader grins and rises . Bows slightly to Fujiko . He is , of course .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>I'm Kabuo Miyamoto, Mrs. Imada.<\/dialogue>\n    <scene_description>The woman smiles . Bows slightly in return .<\/scene_description>\n    <character>FUJIKO<\/character>\n    <dialogue>We are in your debt, Miyamoto - san. How are your parents, your family?<\/dialogue>\n    <character>KABUO<\/character>\n    <dialogue>My father is sick with the camp food. The rest of us are fine. Do n't speak of dept, please, we just want to help.<\/dialogue>\n    <scene_description>And glances . To the eldest daughter . In the doorway .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>Hi, Hatsue, remember me?<\/dialogue>\n    <scene_description>She looks back , without expression . There is much on her mind . His smile is handsome , easy .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>I was a senior when you were a junior. But I've seen you around.<\/dialogue>\n    <scene_description>She tosses her hair free of the parka . Gathers it in her hands . Saying only .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <scene_description>Ca n't win a smile , but he does n't seem to mind .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>Nice to see you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. APARTMENT HOUSE REAR PORCH - NIGHT<\/stage_direction>\n    <scene_description>Ishmael steps from the building onto the rear porch . He draws from his coat a black CIGAR . Box of matches . The cigar goes into his mouth . With amazing dexterity . he slips a single match from the box , turns his face to the wall , and still palming the box , STRIKES a match on the buckle of his belt , bringing it smoothly to the cigar for a few critical puffs before the match dies . He turns toward . the fields . Stretching treeless , endless , seemingly to the horizon . Bathed in filtered moonlight , they become .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TARAWA ATOLL - NIGHT<\/stage_direction>\n    <scene_description>the shimmering Pacific . We are with Ishmael in an LCVP landing craft , as his platoon enters Tarawa lagoon . Bobbing past two DESTROYERS firing in waves at the beach . Ishmael and his platoon mates watch with adrenaline - fueled fear as amphibious tractors draw fire on the sand , one exploding in flame .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Her letter reached me on the North Island of New Zealand. So I had a month to think it over.<\/dialogue>\n    <scene_description>Men around him are shouting , cursing , jostling against each other , frightened out of their minds , as SHELLS POUND the ocean , horrify - ingly huge and near .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I wrote her four times.' I hate you with all my heart. I hate you, Hatsue, I'll hate you always!'<\/dialogue>\n    <scene_description>Suddenly their craft runs AGROUND on the hidden reef . They are still 300 yards from shore .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I never sent the letters. I wanted to kill as many Japs as possible.<\/dialogue>\n    <character>SQUAD LEADER<\/character>\n    <dialogue>MOVE IT, MOVE IT, MOVE IT, LET'S GO!<\/dialogue>\n    <scene_description>The SQUAD LEADER goes over the side , Ishmael and others follow , struggling with 85 pound packs . As Ishmael hits the water , the squad leader is SHOT in the face , a man five yards from Ishmael has the top of his head BLOWN AWAY , men are DROPPING in numbers under the WITHERING BURSTS of fire , the deafening ordnance sweeping over the SHRIEKS of terror and agony , and Ishmael . submerges behind his pack , splashing hard , keeping its bulk ahead of him as a shield , until he can wade and swim and plunge toward shore , as hellfire CRASHES everywhere , dead bodies floating , machine - gun blasts WHIPPING the water 's surface , Ishmael at . the shallows now , men rising to make a run at the seawall , being CUT DOWN , Ishmael crouching in the water , watching other men draw fire , and in a moment 's lull , four of them and Ishmael . GO for it , lungs BURSTING , pounding MADLY up the sand , one SHOT DEAD , another SCREAMS as his knee is blown away and goes down writhing , as three men . MAKE IT to the wall . Gasping , puking , shivering with cold and fright . They have no gear , no weapons . One of them is Ishmael . He looks back to .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Eric Bledsoe was bleeding to death. Thirty yards away.<\/dialogue>\n    <scene_description>Bullets FLYING everywhere , CHEWING up the sand . The young man twitching , pleading .<\/scene_description>\n    <character>BLEDSOE<\/character>\n    <parenthetical>( crying . )<\/parenthetical>\n    <dialogue>Oh, shit, please, please help me you guys, come on, help me, fucking help me, PLEASE!<\/dialogue>\n    <scene_description>And flat against the seawall , three men watch . Not daring to look at each other .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I knew nothing could save him. Hell, I did n't have so much as a band - aid. I also knew I was a coward. For not giving up my life to try.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SEAWALL - DAY<\/stage_direction>\n    <scene_description>Ishmael and his companions have been joined by others . Sixty or so men mill in the shadow of the seawall . The beach is littered with dead marines and wounded , calling for help . As Ishmael glances up , a SERGEANT leaps ONTO the seawall , cigarette dangling from his mouth .<\/scene_description>\n    <character>SERGEANT<\/character>\n    <dialogue>You pussies are the kinda chickenshits deserve to have your balls chewed off real slow when this is over!<\/dialogue>\n    <scene_description>Stands with his hands on his hips . The men below him properly mesmerized .<\/scene_description>\n    <character>SERGEANT<\/character>\n    <dialogue>Any man who wo n't follow me over this wall is a cornhole - fucker with a half - inch hard - on wh.<\/dialogue>\n    <scene_description>The words CUT OFF by the shell that RIPS THROUGH his spine , OPENING his shirt front as he PITCHES forward FLAT upon the sand . No one looks . No one speaks . It never happened .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I wanted to live. And I did n't know why.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SEAWALL - NIGHT<\/stage_direction>\n    <scene_description>Ishmael has a carbine now and a field machete . PULL BACK to reveal 300 MARINES all down the wall , a striking force assembled from the survivors of multiple landings .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Some colonel came down the beach. Any man who did n't go over the wall at 2100 would be court - martialed, disgraced and imprisoned.<\/dialogue>\n    <scene_description>Every man lining up now , rifles at the ready .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The captain who followed said shot on sight.<\/dialogue>\n    <scene_description>They seem more resigned , or is it stunned numb , than terrified . There is no interaction . Each man dealing with his own insides . And suddenly . squad leaders go OVER THE WALL , the firing ERUPTS , and three hundred marines SCRAMBLE into the teeth of it , mortar and machine - gun BARRAGE lighting the sky from the row of battered palm trees , Ishmael SPRINTING , the man next to him goes DOWN , Ishmael TURNS instinctively , and a shot . RIPS into his left bicep , SPINNING him OFF his feet in SLO - MO , falling to dirt as all goes . BLACK .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHIPBOARD OPERATING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Ishmael feverish , writhing unconscious against the straps that hold him to a table . All around him , a hell of men and blood and doctors and limbs and shouted curses they never showed us on M.A.S.H.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>My arm was dealt with by a pharmacist's mate, whose surgical career was four hours old.<\/dialogue>\n    <scene_description>Ishmael LURCHES , his eyes pop OPEN , wild and bleary .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He used a handsaw.<\/dialogue>\n    <scene_description>seeing there , in a corner , on a pile of blood - soaked dressings . his left arm .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I dream of it, now and then. The way my fingers curled. Against the wall.<\/dialogue>\n    <scene_description>He blinks at it . Realizing at last that the arm is his .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>fucking goddam Jap bitch!<\/dialogue>\n    <scene_description>An ORDERLY turns at the words . Nods . As if he knows .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It was all I could think of to say.<\/dialogue>\n    <scene_description>His eyes squeeze shut .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>There was nothing more to say. For a long while.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KABUO'S CELL - LATE NIGHT<\/stage_direction>\n    <scene_description>CLOSE on a dark blue suit . Clean shirt . Hanging on a hook against the green wall . PAN ACROSS the bars in the cell door 's tiny window . All is dark out there , and silent . Here . the bare bulb glows . Its light throws shadows of castles and horses across the chessboard . Kabuo cross - legged on the floor , alone . His back erect . His eyes calm . Stare at the pieces .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - NIGHT<\/stage_direction>\n    <scene_description>Kabuo at 19 sits on the earth . By a shovel . By a lantern . This place is shielded by trees . PAN across the ground to . his father . Slowly , reverently , placing objects into burlap sacks , beside a shallow hole in the earth . Wooden swords , hakama pants , a bokken , scrolls written with care . Dialogue plays in subtitled JAPANESE .<\/scene_description>\n    <character>ZENHICHI<\/character>\n    <dialogue>Your great - grandfather was a samurai, a magnificent soldier.<\/dialogue>\n    <scene_description>The father never looks at the son . Only at his work .<\/scene_description>\n    <character>ZENHICHI<\/character>\n    <dialogue>He killed himself. On the battlefield. At Kumamoto.<\/dialogue>\n    <scene_description>The boy knows this . Yet his entire being is focused on every word .<\/scene_description>\n    <character>ZENHICHI<\/character>\n    <dialogue>He went to battle with a sword. Against rifles, mind you. Knowing what honor required.<\/dialogue>\n    <scene_description>An elegant SWORD . Its curved blade gleaming in the lantern light .<\/scene_description>\n    <character>ZENHICHI<\/character>\n    <dialogue>He was angry. To the point of being crazy, yes. But he knew what honor. Required.<\/dialogue>\n    <scene_description>A separate sack , just for this . Folded with respect .<\/scene_description>\n    <character>ZENHICHI<\/character>\n    <dialogue>Honor can require loyalty. Revenge. Death.<\/dialogue>\n    <scene_description>It goes into the ground . With the others . He seems nearly overcome now . By some emotion that sweeps through him . Prompting the boy to murmur .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>These are safe, father. The hakujin will never f.<\/dialogue>\n    <character>ZENHICHI<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>it is the only scale.<\/dialogue>\n    <scene_description>Meaning , be still . So the boy is still .<\/scene_description>\n    <character>ZENHICHI<\/character>\n    <dialogue>Only scale. In which our worth. Is weighed.<\/dialogue>\n    <scene_description>The man gazes into the hole . At his treasures .<\/scene_description>\n    <character>ZENHICHI<\/character>\n    <dialogue>Every life ends. And if it ends dishonored. It is as if.<\/dialogue>\n    <scene_description>And turns to his son . To complete the words .<\/scene_description>\n    <character>KABUO<\/character>\n    <parenthetical>( in English . )<\/parenthetical>\n    <dialogue>we have never lived.<\/dialogue>\n    <scene_description>There is love . There is strength . There is no more to say .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>Sheriff Moran sits in the witness box , blade - thin and fidgeting ever so slightly . Uncomfortable in the limelight . In his hands are four pieces of ROPE .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>Well, this one here comes off Miyamoto's boat. Matches all his others, worn equal and so on. But this one here.<\/dialogue>\n    <scene_description>Holds it up for Hooks . So the jury can see .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>comes off third cleat from the stern, port side. And it's brand new. Unlike the rest.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>And the next one?<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>From Carl Heine's boat. All his were like this one, three - strand manila, new condition, braided in loops. Not bowlined like Miyamoto's.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>And the last?<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>Found on Carl's boat, too. Starboard side, second cleat from the stern. But it does n't match Carl's lines. It matches Miyamoto's. perfect.<\/dialogue>\n    <scene_description>Ah . Hooks nods . Significant .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>So if defendant had tied up to deceased's boat. With that last one. Would those cleats have lined up?<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>You bet. And if Miyamoto there had been in a hurry to cast off, he coulda left this line behind on Carl's boat.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>And replaced it later with the new one. That's your inference?<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>Pretty darn clear.<\/dialogue>\n    <scene_description>I see . Hooks begins to pace . Toward the jury .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>And when you visited defendant on his boat. The evening after Carl Heine's death. Did it seem pretty darn clear to him?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE ISLANDER - NIGHT<\/stage_direction>\n    <scene_description>Kabuo kneeling at the battery well of his boat . He is sliding a new BATTERY into place . Beside its older companion . He bolts it down . Starts his engine . He is visibly tense . As he steps onto the deck , he sees . two figures at the pilings . Sheriff Moran makes a cutting motion across his throat , as Abel moves to grasp the mooring line .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>Cut your engine, we're coming aboard.<\/dialogue>\n    <scene_description>Kabuo does n't move . The tension has fled beneath the surface . His face now a mask .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>What for, Sheriff?<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>We have a warrant. To search your boat.<\/dialogue>\n    <scene_description>He holds it up . Abel looks uneasy , as if expecting anything .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>Well, what are you looking f.<\/dialogue>\n    <character>MORAN<\/character>\n    <parenthetical>( calmly . )<\/parenthetical>\n    <dialogue>A murder weapon. We think you might be responsible for the death of Carl Heine.<\/dialogue>\n    <scene_description>Kabuo blinks . As if hearing a foreign language . Words that do not compute .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>Sheriff, if somebody killed Carl, it sure as hell was n't me.<\/dialogue>\n    <scene_description>Moran steps from the dock ONTO the boat , Abel awkwardly following .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>Then let's get this over with, so you can get to fishin'. Now, cut yor engine.<\/dialogue>\n    <scene_description>And walks ahead into the cabin , shining his flashlight across everything . Kabuo follows , killing the engine . And in the sudden silence , Moran 's beam finds . the still - open battery well .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>You always run with the well open?<\/dialogue>\n    <character>KABUO<\/character>\n    <dialogue>I was checking the cables.<\/dialogue>\n    <scene_description>Moran 's light moves over the batteries .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>D - 6s, huh?<\/dialogue>\n    <scene_description>And says no more . Runs his beam once more around the cabin .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>We'll come back, let's take a look at the stern.<\/dialogue>\n    <scene_description>Off he goes . Kabuo 's glance goes to the open well . Then follows , noticing Abel Martinson prowling around the bow . But in the stern , Moran is shining his light . Third cleat . Port side .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>See you replaced a mooring line, lately. This one's new.<\/dialogue>\n    <character>KABUO<\/character>\n    <dialogue>Naw, I had that around for a while.<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>Sure you did. Help me with this hold cover, willya?<\/dialogue>\n    <scene_description>So Kabuo slides the cover away . They peer in .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>There's nothin' to see. I need to get out there fi.<\/dialogue>\n    <character>ABEL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Art. Looka this.<\/dialogue>\n    <scene_description>He has the fishing GAFF . Three - and - a - half feet long . Steel hook at one end . Hands it to Moran .<\/scene_description>\n    <character>ABEL<\/character>\n    <dialogue>There's blood on it.<\/dialogue>\n    <character>KABUO<\/character>\n    <dialogue>Fish blood, I gaff fish with that.<\/dialogue>\n    <scene_description>Moran carefully examines the object .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>You gaff with the hook end. Blood's on the butt. Where your hand goes.<\/dialogue>\n    <character>KABUO<\/character>\n    <dialogue>Sure. Blood gets all over your hand, Sheriff, ask any fisherman.<\/dialogue>\n    <scene_description>Moran takes out a handkerchief . Holds the gaff with it .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>Gon na have this tested. Now you go home, okay? Wait til you hear from me.<\/dialogue>\n    <scene_description>Kabuo 's heart is racing .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>Sheriff, I ca n't afford not to fish toni.<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>Look, no way I'm lettin' you out there. In a half hour you could be in Canada.<\/dialogue>\n    <scene_description>Kabuo 's face has gone dead . Which makes it seem somehow fierce , almost threatening . And the sheriff is watching that .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>I'm sorry, son. But you're under arrest.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>Moran still on the stand . The ropes are gone now . His hands interlock across his narrow thighs .<\/scene_description>\n    <character>NELS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Now your testimony was interrupted yesterday, when that power line set fire to your mother - in - law's farmhouse.<\/dialogue>\n    <scene_description>Art looks really irritated .<\/scene_description>\n    <character>NELS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>How is your mother - in - law?<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>She's alright, Nels, thanks for asking.<\/dialogue>\n    <character>NELS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>And her farmhouse?<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>The damage was considerable. But she's insured. Thanks, again.<\/dialogue>\n    <scene_description>See Nels now . Avuncular as hell . Bemused by Moran 's annoyance .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Well, just to put it back in our minds, could you repeat what you told us. About the type of batteries you found. One Carl's boat.<\/dialogue>\n    <scene_description>Moran sighs . Tries to be patient .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>One D - 6 and one D - 8 in the well. And a dead D - 8 on the deck.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>Which you inferred was replaced by the D - 6, which must have been a spare.<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>What else could it be?<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>Even though a D - 6 is too big, and the flange had to be banged out to squeeze it in.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Which makes it a peculiar choice. For a spare.<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>You said that. That was your testimony.<\/dialogue>\n    <scene_description>Everybody laughs . Including Nels .<\/scene_description>\n    <character>NELS<\/character>\n    <parenthetical>( chuckling . )<\/parenthetical>\n    <dialogue>I guess I'm a pretty smart feller, after all. And what were the type batteries you found on defendant's boat?<\/dialogue>\n    <character>MORAN<\/character>\n    <parenthetical>( bland . )<\/parenthetical>\n    <dialogue>D - 6s. Like I sa.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>No further questions.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>DR. STERLING WHITMAN sits in his expensive suit , a giant of a man whose towering frame ill fits the witness box . His eyes are small and blue , and carry the weight of superiority with practiced ease .<\/scene_description>\n    <character>NELS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>So the blood on the gaff was not fish blood at all. It was human, yes? Type B positive.<\/dialogue>\n    <character>DR. WHITMAN<\/character>\n    <dialogue>Carl Heine's type.<\/dialogue>\n    <scene_description>Nels nodding . Seemingly unconcerned by this fact .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>But you ca n't say with any certainty that the blood was his.<\/dialogue>\n    <character>DR. WHITMAN<\/character>\n    <dialogue>No, but as I say, the type is rare. Ten percent of Caucasian males.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>And the blood could not have belonged to defendant. Seeing that his type is O negative.<\/dialogue>\n    <character>DR. WHITMAN<\/character>\n    <dialogue>That's obvious.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>You scraped the dried blood from the butt of the gaff. Where a fella's hand goes. And what did you see under your microscope, besides the B positive blood and the wood scrapings?<\/dialogue>\n    <scene_description>And the witness stops . A curious question . But Nels is waiting . With an expectant smile .<\/scene_description>\n    <character>DR. WHITMAN<\/character>\n    <dialogue>Bits of blood and wood. What else would there be?<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>No bits of bone, no particles of scalp, no strands of hair?<\/dialogue>\n    <character>DR. WHITMAN<\/character>\n    <dialogue>None.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>Well, if the blood got onto the gaff by crushing a man's skull.<\/dialogue>\n    <character>DR. WHITMAN<\/character>\n    <dialogue>I'm a hemotologist, sir, I was asked only t.<\/dialogue>\n    <character>NELS<\/character>\n    <parenthetical>( gently persistent . )<\/parenthetical>\n    <dialogue>would that seem logical?<\/dialogue>\n    <character>DR. WHITMAN<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>You do n't.<\/dialogue>\n    <scene_description>Nels lifts the gaff off the table . Looks at it .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>The coroner testified that Carl Heine had a cut. A fresh cut. Probably one or two hours old.<\/dialogue>\n    <scene_description>And grasps the butt end . Of the gaff .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>On the palm. Of his right hand.<\/dialogue>\n    <scene_description>Walks , dragging one leg just slightly , toward the box . And holding the butt of the gaff toward him .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>With no bone or scalp or hair present. Would it be more probable that the blood came from crushing a man's skull.<\/dialogue>\n    <character>DR. WHITMAN<\/character>\n    <dialogue>I'm a hemotologist, not a detective.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>or from the cut on his hand. Which is more probable?<\/dialogue>\n    <scene_description>Whitman wo n't be badgered . His smile carries only a trace of coldness .<\/scene_description>\n    <character>DR. WHITMAN<\/character>\n    <dialogue>It is not my function. To weigh those probabilities.<\/dialogue>\n    <scene_description>Nels looks him over .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>You're right.<\/dialogue>\n    <scene_description>And turns his back . Walks away .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>that's the jury's job.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>Hooks in pin - stripe serge today . Pommaded hair , glossy wing - tips . He is crisp .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>Now this regiment you were training, the 442nd, this was all Nisei boys.<\/dialogue>\n    <scene_description>First Sergeant VICTOR MAPLES wears his green dress uniform , splashed with decorations . Thick and powerful , no neck , razor cut . The eyes are alive .<\/scene_description>\n    <character>MAPLES<\/character>\n    <dialogue>They were Japanese - American boys, yes sir.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>And you were generally experienced in training men for hand - to - hand combat.<\/dialogue>\n    <character>MAPLES<\/character>\n    <dialogue>It was my specialty, sir, I trained several thousand over the years.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>So. Wide cross - section of men to evaluate. And the day that the defendant volunteered for this. demonstration. Did you find him eager?<\/dialogue>\n    <character>MAPLES<\/character>\n    <dialogue>More than eager. He was out to make a point.<\/dialogue>\n    <scene_description>Hooks finds that interesting . Begins to pace .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>And what point. Was that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAINING FIELD, CAMP SHELBY, MISSISSIPPI - DAY<\/stage_direction>\n    <scene_description>The squad of Nisei recruits , one hundred young Asian faces , surround Sgt. Maples . He paces before them , holding up a wooden staff , looking in their eyes .<\/scene_description>\n    <character>MAPLES<\/character>\n    <dialogue>Anyone.<\/dialogue>\n    <scene_description>And Kabup steps forward . Bows slightly . Then salutes .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>SIR!<\/dialogue>\n    <scene_description>Maples stares . Hard .<\/scene_description>\n    <character>MAPLES<\/character>\n    <dialogue>You do n't salute me, you do n't call me ` sir', soldier, I'm an enlisted man.<\/dialogue>\n    <scene_description>Kabuo stares back . Blank .<\/scene_description>\n    <character>MAPLES<\/character>\n    <dialogue>And nobody bows in this man's Army, you're in America, son. Not Japan.<\/dialogue>\n    <character>KABUO<\/character>\n    <dialogue>I'm sorry, sir, force of habit.<\/dialogue>\n    <character>MAPLES<\/character>\n    <dialogue>No more ` sir'. That's the last of that.<\/dialogue>\n    <scene_description>Tosses Kabuo a wooden staff and a helmet . A little hard . As Kabuo slips the helmet on .<\/scene_description>\n    <character>MAPLES<\/character>\n    <dialogue>The exercise is avoiding thrusts. Now, first y.<\/dialogue>\n    <character>KABUO<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>Ready, sergeant.<\/dialogue>\n    <scene_description>Cut off in mid - word , Maples glares back . Are you ? THRUSTS sharply , but Kabuo moves just enough to slip the blow by no more than an inch . Their eyes lock . Suddenly , Maples unleashes . a SAVAGE series of THRUSTS at blinding SPEED , and Kabuo . SLIPS them all effortlessly , scarcely seeming to move . As a man might toy with a child . Maples studies the face for any trace of mockery . And sees nothing at all . STABS out , only to have Kabuo . SLASH Maples ' staff from his grasp , with a move so quick as to be nearly invisible . Maples clearly STUNNED by the display .<\/scene_description>\n    <character>KABUO<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>Excuse me.<\/dialogue>\n    <scene_description>He bends , picks up Maples ' staff , hands it to him . And bows . Slightly . The sergeant is hot . He looks into the faces of this Nisei regiment , searching for a single smirk . There is none .<\/scene_description>\n    <character>MAPLES<\/character>\n    <dialogue>Are you ready for some simulated combat, soldier?<\/dialogue>\n    <character>KABUO<\/character>\n    <dialogue>For combat. Sergeant.<\/dialogue>\n    <scene_description>And Maples LUNGES with surprising speed , to be SWEPT off his feet in a BLUR , lying FLAT on the earth , his head PINNED to the ground by the tip of Kabuo 's staff . A hush . Kabuo withdraws his staff . Retrieves Maples ' .<\/scene_description>\n    <character>KABUO<\/character>\n    <parenthetical>( just above a whisper . )<\/parenthetical>\n    <dialogue>Your weapon, sergeant.<\/dialogue>\n    <scene_description>And bows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>Maples smiling easily . Like a guy telling the story in a bar .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>Well, what then, sergeant?<\/dialogue>\n    <character>MAPLES<\/character>\n    <dialogue>What else? I had the boy teach me kendo. Including. the importance of the bow.<\/dialogue>\n    <scene_description>Everyone laughs . Maples the loudest . Hooks smiles like a regular Joe .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>And your evaluation of the defendant? Could he kill a much larger man with a fishing gaff? So quickly, there would be no sign of struggle?<\/dialogue>\n    <character>MAPLES<\/character>\n    <dialogue>Oh, in a heartbeat.<\/dialogue>\n    <scene_description>And the smiles are gone . All around .<\/scene_description>\n    <character>MAPLES<\/character>\n    <dialogue>Able and willing. Like few men I've ever seen.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>Hooks sits against the prosecution table . His demeanor gentle , respectful . His voice soft .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>So the plan was for your husband to fish through the prime season. Then, in November, sell the boat. And you would move onto the farm.<\/dialogue>\n    <scene_description>In the box , the widow sits in lovely dignity . Blonde and alabaster and modest , in her black dress of mourning .<\/scene_description>\n    <character>SUSAN MARIE<\/character>\n    <dialogue>That was his plan, yes.<\/dialogue>\n    <scene_description>In the press row , the boys are attentive . An angle they know they can sell . Ishmael among them , watching with neutral eyes .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Whatever she said, she was Hooks' star witness. The jury, especially the men, would not betray this fine lady with a not guilty verdict. How could they face her?<\/dialogue>\n    <scene_description>Hooks walks slowly toward her . As if she were a precious object , deserving of reverence .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>Can you think back for me to the morning of September 8? The day after your husband purchased the farm. One week before his death. Can you recall that morning?<\/dialogue>\n    <character>SUSAN MARIE<\/character>\n    <dialogue>I can.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - DAY<\/stage_direction>\n    <scene_description>A bright bathroom , filled with STEAM , filtering the sunlight . PUSH toward the opaque shower door , TOWARD the sound of rushing water . And of breathing . THROUGH it to . Susan Marie and her husband . Her arms are wound about his neck . Her legs wrapped around his body , feet locked behind the small of his back . Carl holds her high with his strong hands , so he can lick her breasts to the rhythm of the slow , slow thrusts . Her wet blonde hair is pasted across her face , and her eyes are closed . The intensity holds us .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PARLOR - MORNING<\/stage_direction>\n    <scene_description>CLOSE on a paint brush . It rests across the lid of a can of wood stain . See now . Susan Marie kneeling by the table she is refinishing . But her hands , her body , are motionless . Her eyes stare out the window . across the yard . Her towering husband walks beside a smaller man . Carl is doing the talking . Kabuo 's face is stone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PARLOR - LATER<\/stage_direction>\n    <scene_description>Susan Marie sits quietly in a rocker , nursing her baby . Her hands tenderly stroke the feeding infant . But her eyes are attentive . Concerned .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>What could I tell him? There's my mother to think about. You know what she'd say?<\/dialogue>\n    <scene_description>Susan Marie knows . What Etta would say .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I said I'd think it over, talk with you.<\/dialogue>\n    <character>SUSAN MARIE<\/character>\n    <dialogue>Did he go away angry?<\/dialogue>\n    <scene_description>See Carl now , pacing his own parlor like a caged bear . Agitated in a way we could not have expected .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>He kept talkin' about those seven acres belonged to his father, and how honorable and decent his father was. His meaning was pretty clear. And I did n't much like it.<\/dialogue>\n    <character>SUSAN MARIE<\/character>\n    <dialogue>You had a scrap.<\/dialogue>\n    <scene_description>Nursing her baby . Calm , direct .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>I could n't. talk to him. Look, Kabuo's a Jap. And I do n't hate Japs, but I do n't like'em neither. It's hard to explain if you were n't in the war, you know?<\/dialogue>\n    <character>SUSAN MARIE<\/character>\n    <dialogue>He's not a Jap. You do n't mean that. You and he were friends.<\/dialogue>\n    <scene_description>And Carl turns . Looks at her . A full beat .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>We were kids.<\/dialogue>\n    <scene_description>He looks helpless . Frustrated . He does n't want his anger to spill onto her . He leaves the room . Without a word . HOLD on her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>Susan Marie 's cornflower eyes are set . Wary .<\/scene_description>\n    <character>NELS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>So your husband said he's think it over. Encouraged Mr. Miyamoto to believe he might sell to h.<\/dialogue>\n    <character>SUSAN MARIE<\/character>\n    <dialogue>I would n't say encouraged.<\/dialogue>\n    <character>NELS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Well, he did n't say ` no', did he? Did n't say no hope existed.<\/dialogue>\n    <character>SUSAN MARIE<\/character>\n    <dialogue>Not in those words.<\/dialogue>\n    <character>NELS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>So the defendant was encouraged to hope. Or could have been.<\/dialogue>\n    <scene_description>She thinks about this .<\/scene_description>\n    <character>SUSAN MARIE<\/character>\n    <dialogue>I guess so.<\/dialogue>\n    <scene_description>Nels is nodding . Nodding .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>I guess you'd have to guess. Not having been there with them. Having to guess whether your husband's report was word for word accurate.<\/dialogue>\n    <character>SUSAN MARIE<\/character>\n    <dialogue>Carl never lied.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>Of course not. But it was emotional. A friend's plea set against his mother's attitude.<\/dialogue>\n    <scene_description>And then . As if it had just occurred to him .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Those ` dirty looks'. Defendant ever aim one of those at you?<\/dialogue>\n    <character>SUSAN MARIE<\/character>\n    <dialogue>He had no reason to.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>Carl ever say he got one?<\/dialogue>\n    <character>SUSAN MARIE<\/character>\n    <dialogue>I ca n't speak for him.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>You can speak for what he said. Just like you did for Mr. Hooks.<\/dialogue>\n    <character>HOOKS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Objection, badgering the wi.<\/dialogue>\n    <scene_description>CLICK . All the lights in the courtroom go OUT . A loud murmur . A FLICKER of light . Then , they go OUT again . The crowd BUZZES , laughs , the gavel RAPS . The lights come ON . A collective sound of relief . The gavel AGAIN . Finally , silence .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Sorry about that, Mrs. Heine. Shall I repeat the ques.<\/dialogue>\n    <character>SUSAN MARIE<\/character>\n    <dialogue>Carl said he did n't like Kabuo much anymore.<\/dialogue>\n    <scene_description>A silence . A deep one .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>The question is more about the defendant's attitu.<\/dialogue>\n    <character>SUSAN MARIE<\/character>\n    <dialogue>That's all he said.<\/dialogue>\n    <scene_description>She arches her throat .<\/scene_description>\n    <character>SUSAN MARIE<\/character>\n    <dialogue>And we ca n't ask him anymore.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ISHMAEL'S DESOTO, CENTER VALLEY - TWILIGHT<\/stage_direction>\n    <scene_description>Ishmael driving an aged DeSoto through the blanketed strawberry fields of Center Valley .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>My father had bought the DeSoto fifteen years before. Driving it reminded me of him. Which I considered a neutral fact.<\/dialogue>\n    <scene_description>He turns the wheel , using a cherry wood knob , specially mounted for his convenience .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Actually, it was pleasant.<\/dialogue>\n    <scene_description>Following the curve , fields are pure white to the horizon .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Snow made all the fields into one. The notion that one man might kill another for a small patch, made no sense.<\/dialogue>\n    <scene_description>Up ahead , a Willys station wagon has run into a ditch . A middle aged Japanese man is working at a rear wheel with a shovel .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>But I knew such things occurred. Having been to war and all.<\/dialogue>\n    <scene_description>The man is Hisao Imada , and we can now see his eldest daughter working with a shovel behind the car . Ishmael pulls up behind them . And gets out . He crunches over to where Hisao works .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>May I give you folks a lift?<\/dialogue>\n    <scene_description>Hatsue has come around the car now , pulling her snowflaked hair from her eyes .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I did n't look at her. I thought that would be best.<\/dialogue>\n    <scene_description>Her eyes on Ishmael 's profile , Hatsue goes to her father 's side . Murmurs to him in Japanese . WHen he answers , she turns to face Ishmael .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>My father is grateful for your kindness. But he will free his car, shortly.<\/dialogue>\n    <scene_description>Ishmael smiles softly . This car is n't going anywhere . He goes to Hatsue , reaching gently for her shovel .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Okay, I'll help.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DESOTO, SOUTH BEACH DRIVE - TWILIGHT<\/stage_direction>\n    <scene_description>Ishmael drives with Hisao beside him .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>I know it's caused you trouble. But do n't you think the snow is beautiful, coming down?<\/dialogue>\n    <scene_description>His eyes flick to Hatsue in the rearview mirror . She stares out the side window , concentrating on the world . Two strands of wet hair pasted against her cheek .<\/scene_description>\n    <character>HISAO<\/character>\n    <dialogue>Yes, very beautiful.<\/dialogue>\n    <scene_description>Suddenly , her eyes SNAP to meet Ishmael 's in the mirror . His dart away . Hers hold .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>This trial is unfair. You should write about that in your newspaper.<\/dialogue>\n    <scene_description>He keeps driving . And he keeps his eyes on the road .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( calmly . )<\/parenthetical>\n    <dialogue>What should I say?<\/dialogue>\n    <character>HATSUE<\/character>\n    <dialogue>Just that. This trial is wrong, they are calling a good man a killer. It is only about prejudice, and that is unfair.<\/dialogue>\n    <scene_description>He thinks . As he drives . Hisao Imada silent beside him .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>We all expect the world to be fair. As if we have some right t.<\/dialogue>\n    <character>HATSUE<\/character>\n    <dialogue>I do n't mean everyone. Just people who can do things because they can arrest people or convict them. Or run a newspaper.<\/dialogue>\n    <scene_description>And his eyes come up . Meet hers in the mirror .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Maybe I should write a column. What do you think?<\/dialogue>\n    <scene_description>She studies his face .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <scene_description>No smile . On either side .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>I think people. Should be fair.<\/dialogue>\n    <scene_description>His eyes on the road now . The farmhouse seen through the drifting screen of white .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>Will you write that?<\/dialogue>\n    <scene_description>Her voice is soft . The difference is palpable .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>I might just.<\/dialogue>\n    <scene_description>His voice is kindness and friendship .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I was part of her life again. I was a person.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COAST GUARD LIGHTHOUSE, POINT WHITE - DUSK<\/stage_direction>\n    <scene_description>A tower of reinforced concrete , rising a hundred feet above the sea . Ishmael 's hand in his pocket . Trudging toward it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIGHTHOUSE RECORDS ROOM - DUSK<\/stage_direction>\n    <scene_description>Ishmael being led into a cramped room , stacked floor to ceiling with wooden crates , file cabinets , duffel bags . Our host is LEVANT , a young Coast Guard radioman nearly six foot six , with a huge Adam 's apple , and kinky black hair . He gestures around the room at all the records . Voila .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>You have the night watch? On the radio.<\/dialogue>\n    <character>LEVANT<\/character>\n    <dialogue>Since September. Last guys got transferred.<\/dialogue>\n    <scene_description>Ishmael looks around . There is a lot of stuff .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>And you keep the records, or contribute to'em.<\/dialogue>\n    <character>LEVANT<\/character>\n    <dialogue>Shorthard the radio transmis - sions, write'em up, file'em in a cabinet. Nobody ever looks. Just take up space.<\/dialogue>\n    <scene_description>Ishmael nods . Guess so .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>All kinds of radio transmissions? Fisherman in trouble, and such.<\/dialogue>\n    <scene_description>Innocent question . Random example .<\/scene_description>\n    <character>LEVANT<\/character>\n    <dialogue>All kinds. Make yourself at home.<\/dialogue>\n    <scene_description>And leaves . Ishmael looks at the task before him . Then , out the window . Dark now . His reflection stares back . As troubled as he is .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETERSEN'S GROCERIES - DAY<\/stage_direction>\n    <scene_description>Ishmael at 24 , carrying milk and crackers down the aisle of a grocery store , the empty sleeve of his mackinaw pinned up at the elbow . He turns the corner to see . three people in line at the register . The second is Hatsue . An infant carried at her shoulder .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I'd been back two months. It was the first time I'd seen her.<\/dialogue>\n    <scene_description>He joins the line . The CHECKER glances his way , then looks awkwardly down . This makes the others turn . And Hatsue 's eyes . Meet his .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <scene_description>The voice , the face , are cool and formal . There is no anger , no unkindness . Only the absence of warmth . Ishmael nods . His face hard , stricken . His heart pounds in his throat .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I could n't say anything. I just stood there, hating her.<\/dialogue>\n    <character>HATSUE<\/character>\n    <dialogue>I'm sorry about your arm. Kabuo and I. Are very sor.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>The Japs did it.<\/dialogue>\n    <scene_description>No one knows where to look . Down , away , anything . But Hatsue never blinks .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>They shot it off. At Tarawa.<\/dialogue>\n    <scene_description>She holds her ground , her eyes soften , somehow . Somewhere between compassion and pity . Her slender fingers stroke the baby at her shoulder .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>I'm sorry, I'm sorry I said that.<\/dialogue>\n    <scene_description>All the feeling comes to his eyes . Everything he will never tell her . A murmur .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>I'm sorry about everything. All of it.<\/dialogue>\n    <scene_description>He drops his milk and crackers on the counter . And walks away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIGHTHOUSE RECORDS ROOM - NIGHT<\/stage_direction>\n    <scene_description>Ishmael sits alone . Beyond the glass , a SEARCHLIGHT sweeps the sea , the snow - covered shore . But Ishmael stares at a folder . Open in his lap .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>September 16. At 1:42 A.M., the dead of night. The S.S. West Corona, a Greek - owned freighter, was lost. In heavy fog.<\/dialogue>\n    <scene_description>His finger . Traces a line of the report .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>They radioed to the lighthouse. They would have to dogleg, bisecting Ship Channel Bank. And Seaman Philip Milholland wrote that down. In his report.<\/dialogue>\n    <scene_description>Ishmael closes his eyes .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Carl Heine drowned. In Ship Channel Bank. And his watch stopped. At 1:47.<\/dialogue>\n    <scene_description>He looks out through the glass . As if he could watch it happen .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>A huge freighter plowing through. Throwing a wake big enough to fling any man overboard.<\/dialogue>\n    <scene_description>And Ishmael removes the page from the file . Slowly , he folds it into quarters . Slides it into his coat pocket .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( calls out . )<\/parenthetical>\n    <dialogue>Seaman?<\/dialogue>\n    <scene_description>And closes the file . Slips it back into the cabinet . Levant appears , vaguely irritated by the summons . So Ishmael smiles . Sorry , nothing important .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>How long you have this detail?<\/dialogue>\n    <character>LEVANT<\/character>\n    <dialogue>Me and Smoltz came on dogwatch September 16.<\/dialogue>\n    <scene_description>Ishmael 's face . Just to clarify .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>You mean, early morning the 16th?<\/dialogue>\n    <character>LEVANT<\/character>\n    <dialogue>No, night of the 16th, morning the 17th. We replaced two guys named Miller and Milholland.<\/dialogue>\n    <scene_description>Oh . Ishmael nods .<\/scene_description>\n    <character>LEVANT<\/character>\n    <dialogue>They got transferred that day. Out to Cape Flattery.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Some seaman's loast report. Stuffed in a cabinet, good as lost forever. No one knows.<\/dialogue>\n    <scene_description>Ishmael rises , stiffly . Starts to pull on his coat .<\/scene_description>\n    <character>LEVANT<\/character>\n    <dialogue>You get what you come for?<\/dialogue>\n    <scene_description>And Ishmael looks at the youngster . A little oddly . Admits .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Guess I'm not completely sure. What that was.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FLETCHER'S BAY - MORNING<\/stage_direction>\n    <scene_description>Ishmael at 24 , crouched among trees . Above a sunlit stretch of beach .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I left the grocery, and wrote a letter. I apologizes from my heart. I should never have said that word to her. I never would again.<\/dialogue>\n    <scene_description>CLOSE on his face . Eyes gazing down . At something .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It sat in my desk for two weeks. Before I threw it away.<\/dialogue>\n    <scene_description>He sighs . Rises slowly .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I knew her car. And sometimes when I'd see it, I'd. drive that way. At a distance.<\/dialogue>\n    <scene_description>See Hatsue down on the beach . Alone , raking for steamer clams . Her baby beside her on a blanket , beneath an umbrella . Ishmael walks down to the sand . Crosses to where she works . And squats down . At a respectful distance .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Can I talk to you?<\/dialogue>\n    <scene_description>She must have seen who was coming . Because the words do not startle her . Or slow her work .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>I'm married, Ishmael. It is n't right for us to be alone. People will t.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>There's no one here, and I've got to talk to you.<\/dialogue>\n    <scene_description>Her back is to him . She is motionless .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Do n't you owe me that?<\/dialogue>\n    <scene_description>And she turns . Her eyes go first to her sleeping child . Then she walks over , and sinks to the sand . Just before him . Near enough to touch . She looks in his eyes . And waits .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>I'm like a dying person.<\/dialogue>\n    <scene_description>The words just came out . His eyes move over her face . His aching for her is naked , beyond his ability to cope .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>I do n't sleep. I tell myself this ca n't go on, but it goes on anyway.<\/dialogue>\n    <scene_description>He seems at the edge of insanity . Or tears .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>I did a terrible thing, Ishmael. I knew what you felt. And what I did n't.<\/dialogue>\n    <scene_description>Sadness in her voice . But strength as well .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>And I never found the courage to tell you.<\/dialogue>\n    <scene_description>His eyes swim with tears . He chokes them back , he has to .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>You'll think this is crazy, but all I want is to hold you. Just once. And smell your hair.<\/dialogue>\n    <scene_description>She absorbs this . No sign of repulsion or anger . Her eyes seem wise . And very sad .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>You have to hear this, I can never touch you, Ishmael. Not once, not ever. There's no half - way. As much as I know it hurts you, you have to let this go.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Look, I want to forget you, I do. I think if you hold me, just this once, I can walk away and never speak to you again.<\/dialogue>\n    <scene_description>She just keeps looking at him . There is a bravery to her steady gaze . Her calm resolve .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Please? As one human being to another, just because I'm miserable and do n't know where to turn. I need to be in your arms. If it's just for thirty seconds.<\/dialogue>\n    <scene_description>His pleading look holds her for a moment . In the silence .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>I hurt for you. Whether you'll ever believe that or not.<\/dialogue>\n    <scene_description>Feeling behind her eyes . First time she lets it show .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>I feel sick sometimes, with the guilt of what I've done to you. And I ca n't make it right.<\/dialogue>\n    <scene_description>She rises slowly . Brushes the sand from her skirt .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>To hold you would be wrong and deceitful. You're going to have to live without holding me, that is the truth of the way things are.<\/dialogue>\n    <scene_description>She takes one step back .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>Things end. They do. Get on with your life.<\/dialogue>\n    <scene_description>And turns away . She gathers her baby in her arms . Takes her blanket , her umbrella , her rake and her pail . He watches , never moving , as she gathers her things . Gathers them as if he was n't there . And with her back turned .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>Get on with your life.<\/dialogue>\n    <scene_description>She walks slowly away . Her baby cries .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>CLOSE on a steaming soup kettle , resting on a woodstove . A woman 's hand stirs with a wooden ladle . PULL BACK to see . HELEN CHAMBERS , slender and strong and keen . She is not yet 60 . A code of fairness and self - reliance is written on the fine - boned features .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I drove from the lighthouse to my mother's place. I brought her some groceries.<\/dialogue>\n    <scene_description>Beyond the window , snow falls more heavily than ever . Silent . Spellbinding .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Your father thought that heavy snow was God's kindness. Despite the hardship, it brought us beauty.<\/dialogue>\n    <scene_description>Ishmael at the rustic table . Watching her back .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>and reminded us. Of our place in things.<\/dialogue>\n    <scene_description>Softer . Not bitter , but regretful that .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>You do n't believe in God anymore.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Agnostics do n't believe or disbelieve, Ma. We just do n't pretend we know.<\/dialogue>\n    <scene_description>She begins ladling the soup into big porcelain bowls .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>We do n't know God, we feel Him. You felt Him as a child. I remember.<\/dialogue>\n    <scene_description>And turns . Looks at him .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>That's a long time ago. What a child feels. that's different.<\/dialogue>\n    <scene_description>She studies him silently for a moment . Then brings the bowls to the table .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Spend the night, will you? Do n't go back out into all that snow.<\/dialogue>\n    <scene_description>Sets them down .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I felt Milholland's report in my pocket. And wondered why I was n't telling her. Telling someone. What I'd found.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>You've been busy with that trial, I suppose. Such a travesty.<\/dialogue>\n    <scene_description>She takes her seat . As he watches her .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>They only arrested that poor soul because he's Japanese.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Seattle boys think he's guilty. They say the evidence is rock solid.<\/dialogue>\n    <scene_description>She begins to eat . Eyes on her bowl .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>They're not his neighbor, like you are. He is a husband, a father, he risked his life for their country. The same as you.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Those are n't the facts that matter.<\/dialogue>\n    <scene_description>She looks up . Straight to his eyes .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Well, folks are pretty cold. And folks who believe in nothing else. they're cold, too.<\/dialogue>\n    <scene_description>No mistaking her meaning . He swallows . Uneasy as always , in the path of her disapproval .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>I've tried to understand your unhappiness, all these years. Having gone to war, losing your arm.<\/dialogue>\n    <scene_description>The directness of her gaze . He ca n't turn from that .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>But other boys came back. And pushed on. They found girls, and married, had babies.<\/dialogue>\n    <scene_description>He does n't flinch . His voice too quiet with .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Someday I'll get lucky, too.<\/dialogue>\n    <scene_description>Too quiet to conceal the hurt . She thinks it is hurt she has caused . It changes her tone to a plea .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Your father fought at Belleau Wood, it took him years to get over it. Nightmares, tears, b.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>but he found you.<\/dialogue>\n    <scene_description>Their eyes locked .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>It is n't the war, Ishmael. All those years growing up. You never had a real girl of your own.<\/dialogue>\n    <scene_description>And now he looks down . He sees that his fist is tight around the handle of his spoon .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>And I know you have it in you to love. I know that much. I wish I knew more.<\/dialogue>\n    <scene_description>His fingers open , and the spoon clatters softly on the wood .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>I'll stay tonight. Thanks for asking.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Ishmael wanders through a silent room . A bed , a dresser . Work table and lamp . A room denuded of all decoration , all possessions , all sign of life .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I came back from the war to this room. I stayed a few months. Until my father passed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VETERAN'S CEMETERY - DAY<\/stage_direction>\n    <scene_description>Ishmael at 24 , the left sleeve of his dark suit of mourning pinned at the elbow . The diggers are filling a grave in distance . Mourners mingle , some casting glances back at Ishmael . Keeping their distance out of awkwardness rationalized as respect . One man comes to him . MASATO NAGAISHI is aging and frail . But his voice is clear .<\/scene_description>\n    <character>NAGAISHI<\/character>\n    <dialogue>The Japanese people of the island are saddened by this loss. Your father was a man of great fairness and compassion for others.<\/dialogue>\n    <scene_description>He stands at a respectful distance . Ishmael clears his throat . He nods , thank you . No words to say . So the small man adds .<\/scene_description>\n    <character>NAGAISHI<\/character>\n    <dialogue>A friend to us. And to all people.<\/dialogue>\n    <scene_description>Silence . They are a tableau of stone . Finally .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Well.<\/dialogue>\n    <scene_description>And no more . The man takes a step back .<\/scene_description>\n    <character>NAGAISHI<\/character>\n    <dialogue>We know you will follow in his footsteps. And honor his legacy.<\/dialogue>\n    <scene_description>Which changes Ishmael 's face . To something harder .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I thought it then. And often since. A balance, he's said. Finding the facts. That folks needed to know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Ishmael stands at an open closet . Cardboard boxes have been set aside . One has been searched for treasure . The page is in his hand . Only slightly discolored by age .<\/scene_description>\n    <character>HATSUE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Dear Ishmael. These things are very difficult to say. I ca n't think of anything more painful than writing this letter.<\/dialogue>\n    <scene_description>He closes his eyes .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( a murmur . )<\/parenthetical>\n    <dialogue>Think of reading it.<\/dialogue>\n    <character>HATSUE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I do n't love you, Ishmael. There is no more honest way to say it.<\/dialogue>\n    <scene_description>He carries the letter to the twin bed . Where he slept alone . Thinking of her .<\/scene_description>\n    <character>HATSUE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Whenever we were together, I knew it. I loved you and I did n't love you at the same moment.<\/dialogue>\n    <scene_description>He sinks slowly . As if beneath the letter 's weight .<\/scene_description>\n    <character>HATSUE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The last time. At the cedar tree. I knew we could never be right together. And that soon I would have to tell you.<\/dialogue>\n    <scene_description>His eyes are dry . The letter has used up his tears long ago .<\/scene_description>\n    <character>HATSUE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>This is the last time I will write to you. I am not yours anymore.<\/dialogue>\n    <scene_description>He sets the letter on the bed beside him .<\/scene_description>\n    <character>HATSUE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I wish you the very best. Your heart is large and you are gentle and kind. I know you will do great things in the world.<\/dialogue>\n    <scene_description>He reaches now to his inside coat pocket . Withdrawing .<\/scene_description>\n    <character>HATSUE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I must say good - bye to you now. Our lives will move on. The best we can.<\/dialogue>\n    <scene_description>a page . Folded in quarters . Sets it near the letter .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Milholland's report was like her letter. Something no one else. Would ever read.<\/dialogue>\n    <scene_description>He stares at them . Side by side .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Thing about having only one hand. It's hard to tear pages up. And I was n't carrying a match.<\/dialogue>\n    <scene_description>He lies back . Across the bed .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>So I thought of my father. The man who would have taken this report to Judge Fielding.<\/dialogue>\n    <scene_description>Tears stand in his eyes .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>But every reporter. Chooses his own balance. FInds the facts that matter.<\/dialogue>\n    <scene_description>Shuts the eyes . Against them . Against everything .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>After all, the freighter was only a theory. It proved nothing at all. There were other facts. That mattered.<\/dialogue>\n    <scene_description>We CLOSE on his face . The tightness of the muscles .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Tomorrow I would write a column. About prejudice. And she would be grateful. For my large. and gentle. heart.<\/dialogue>\n    <scene_description>The eyes open , they are blank . Staring .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Her husband would be judged. And she would be alone.<\/dialogue>\n    <scene_description>at the future .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Alone. The past looks different.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>Hatsue Miyamoto in the witness box . Graceful , erect , her porcelain beauty accessible , eager to cooperate . Humble .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>Hopeful. Is the word I would use.<\/dialogue>\n    <scene_description>And Nels seems slightly surprised .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>But Carl did n't say yes.<\/dialogue>\n    <character>HATSUE<\/character>\n    <dialogue>He did n't say no. That was Kabuo's point. Given how Carl's mother felt, Carl was still willing to consider selling to us. It was a good sign.<\/dialogue>\n    <scene_description>Nels considers that .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Well, in the week that followed, the week before Carl's death. did your husband pursue him?<\/dialogue>\n    <character>HATSUE<\/character>\n    <dialogue>No. Kabuo did not wish to beg, he respected Carl's right to reflect. He was sure Carl would do the honorable thing.<\/dialogue>\n    <character>NELS<\/character>\n    <parenthetical>( right back . )<\/parenthetical>\n    <dialogue>And did he?<\/dialogue>\n    <scene_description>She nods . Only once . Her eyes bright .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>The night of the 15th, Kabuo helped Carl at sea. With his dead battery.<\/dialogue>\n    <scene_description>Nels raises his eyebrows . To give the point its weight .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>Right there, on the boat, they agreed. $ 8400 for the seven acres, $ 800 down. They shook on it. Kabuo was so excited when he came home.<\/dialogue>\n    <scene_description>Nels lets that sit . And sit .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>And when did you first learn. That Carl had drowned?<\/dialogue>\n    <scene_description>The slightest pause . As if hesitant to confess .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>One o'clock, that afternoon, from a clerk at Petersen's.<\/dialogue>\n    <character>NELS<\/character>\n    <parenthetical>( turning to Hooks . )<\/parenthetical>\n    <dialogue>Your witness.<\/dialogue>\n    <scene_description>And Alvin Hooks rises . Perches on the edge of the prosecutor 's table . And looks at the witness with fairness and suspicion .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>Your husband came home agitated, after his encounter with the deceased?<\/dialogue>\n    <scene_description>No impatience across her perfect features . Only earnestness will do .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>I said ` excited'. Not agitated, he was excited in the sense of being overjoyed.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>You were. overjoyed yourself, to hear the news?<\/dialogue>\n    <character>HATSUE<\/character>\n    <dialogue>Happy for him. And relieved.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>So, then, you. and your husband. must have called friends, relatives, to tell them the amazing news. Yes?<\/dialogue>\n    <character>HATSUE<\/character>\n    <parenthetical>( calm , respectful . )<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>Really? Did n't call your mother, your sisters, about starting a new life. Your husband never tells his brothers that the family honor is vindicated.<\/dialogue>\n    <scene_description>Hatsue shifts in her chair . Smooths her skirt .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>We hear how Carl. passed away. Only a few hours later.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>Your husband returned at, what, seven o'clock?<\/dialogue>\n    <character>HATSUE<\/character>\n    <dialogue>Closer to eight.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>So, five hours. Plenty of time for a call. He was ` excited', you say. In the sense of being ` overjoyed'.<\/dialogue>\n    <scene_description>She nods , he was .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>We are. cautious people. You would say conservative. There would be time for celebrating with others when a paper was signed.<\/dialogue>\n    <scene_description>Hooks pouts . He allows himself that .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>You thought the deceased might. break his promise?<\/dialogue>\n    <character>HATSUE<\/character>\n    <dialogue>Of course not. We're just not quick to run and boast. In case something went wrong.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>And then, something did. Carl Heine was found dead. With his head crushed.<\/dialogue>\n    <scene_description>She weathers that last part . As if taking no notice .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>Yes, and then, what was there to call about? Everything was up in the air.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>Up in the air? Was that your reaction?<\/dialogue>\n    <scene_description>And he rises . Tastefully indignant .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>I would suggest that more happened than a land sale evaporating. A man died, Mrs. Miyamoto. A husband and father of small children had his skull bashed in!<\/dialogue>\n    <character>HATSUE<\/character>\n    <parenthetical>( quiet dignity . )<\/parenthetical>\n    <dialogue>If you mean to imply that we were callous about Carl's death, that is wrong and insulting.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>I see. Well, did you come forward to tell Sheriff Moran what you knew? The encounter in the fog, the. dead battery, was it?<\/dialogue>\n    <scene_description>Silence .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>We discussed that. And decided not to.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <scene_description>She looks at him with the directness we 've seen before .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>Because the facts could be misconstrued as murder.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>But if truth was on your side, whatever were you worried about?<\/dialogue>\n    <scene_description>Her eyes cut to Nels . He smiles , to blunt the harm she 's done by looking to him for support . Her gaze goes down now . And then . back up . Straight to Hooks .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>Trials are n't only about truth, Mr. Hooks. Even though they should be. They're about what people believe is true.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>So you hid the truth. Deliberately.<\/dialogue>\n    <character>HATSUE<\/character>\n    <dialogue>We were afraid. Silence seemed better. To come forward seemed like a mistake.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>Well, it seems to me.<\/dialogue>\n    <character>NELS<\/character>\n    <parenthetical>( gently . )<\/parenthetical>\n    <dialogue>Objection. Mr. Hooks can give his view in his summation.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>Does n't it seem to you, Mrs. Miyamoto, that your mistake was in being deceitful? Concealing information during the course of a sheriff's investigation.<\/dialogue>\n    <character>HATSUE<\/character>\n    <dialogue>It seems human. To me.<\/dialogue>\n    <scene_description>Oh . Hooks raises his brows .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>I suppose that you mean this excuses concealing the truth. Then why ahouls any of us believe you now?<\/dialogue>\n    <scene_description>And in the silence .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>Question withdrawn, you may step down.<\/dialogue>\n    <character>HATSUE<\/character>\n    <dialogue>You're implying th.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>I said. No further questions.<\/dialogue>\n    <scene_description>Anger flashes across her eyes . Her face colors . She draws a breath .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>That's enough, Mrs. Miyamoto, not another word. Step down, please.<\/dialogue>\n    <scene_description>She looks to Nels in her desperation and regret for making things worse . he chuckles and waves . It 's quite all right . She sits for a frozen moment . And as she rises . The boys in the reporter 's row are scribbling furiously . All but one .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>JOSIAH GILLANDERS folds his blunt , thick hands across his belly . Nearly 50 , sporting a walrus moustache and the watery , dull eyes of an alcoholic , he is a man ready to make the most of his fifteen minutes of fame .<\/scene_description>\n    <character>NELS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Thirty years fishing alone. Ever had an occasion to board another man's boat except in an emergency? Maybe to socialize or some such?<\/dialogue>\n    <character>GILLANDERS<\/character>\n    <parenthetical>( ready for this . )<\/parenthetical>\n    <dialogue>Never. Only boarded some fella's boat five, six times in thirty - one years. Dead engine, broken hip, only in need.<\/dialogue>\n    <character>NELS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Now, Mister Gi.<\/dialogue>\n    <character>GILLANDERS<\/character>\n    <dialogue>Unwritten rule of the sea. We do n't bother each other, stick to ourselves. Ask anybody.<\/dialogue>\n    <scene_description>Nels is wandering over to the jury box .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Now if you wanted to kill a man. Think you'd try boarding against his will, and hitting him with a fishing gaff?<\/dialogue>\n    <character>GILLANDERS<\/character>\n    <dialogue>It's a joke. Maneuver up to Carl's boat? Tie your lines fast? Come aboard? All against Carl's will? It's the stupidest suggestion I ever heard of.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>I'm sorry about that. It was n't mine in the first place.<\/dialogue>\n    <scene_description>Gentle laughter . Even some on the jury .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>So the fishing gaff method would n't make sense?<\/dialogue>\n    <character>GILLANDERS<\/character>\n    <dialogue>Could n't get on the boat. I'd just shoot the feller. Then tie up, throw him inta th' drink. And skip bein' the first gill - netter in history to make a successful forced boarding.<\/dialogue>\n    <scene_description>More laughter . Hooks at his table . Simply smiles .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Now the sheriff believed that the D - 6 battery in Carl's well was Carl's own spare. Even though it was too large f.<\/dialogue>\n    <character>GILLANDERS<\/character>\n    <dialogue>No sense to have any at all., even the right size. It's like having an extra battery in the trunk of your car. Nobody does.<\/dialogue>\n    <scene_description>Nobody . No way .<\/scene_description>\n    <character>GILLANDERS<\/character>\n    <dialogue>Boat has two batteries. Lose one you run off the other til morning. Carl musta lost both, so Miyamoto there gave him one a his.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>Course, if Carl lost both batteries, dead in the water, his radio would n't work. So how would he signal for help?<\/dialogue>\n    <character>GILLANDERS<\/character>\n    <dialogue>Compressed air horn, most likely. Hope to God some man hears you in that fog.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>All right, what if the defendant heard? So Carl let him aboard, to help. And then the fishing gaff?<\/dialogue>\n    <scene_description>Gillanders grins . Wide .<\/scene_description>\n    <character>GILLANDERS<\/character>\n    <dialogue>You mean Miyamoto followed him out there, and sucker - punched him?<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>Well, what if?<\/dialogue>\n    <character>GILLANDERS<\/character>\n    <dialogue>Now, how is Miyamoto gon na know in advance? That Carl loses two batteries. Must happen once ever' 20 years or so.<\/dialogue>\n    <scene_description>Another chuckle or two from the gallery .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Thank you, Mr. Gillanders. Thank you for coming down, in this cold weather.<\/dialogue>\n    <character>GILLANDERS<\/character>\n    <dialogue>Well, it does seem mighty warm in here. Specially for Mr. Hooks.<\/dialogue>\n    <scene_description>And looks at the prosecutor . Who rises , easily . A most polite fuck - you smile . Hooks strolls now . Slow and steady . Straight to the witness box . Rests his hands on the rail . Leans in .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>What if the defendant follows Carl. And pretends his own batteries are dead? Would Carl tie up and help?<\/dialogue>\n    <scene_description>And the smile on Gillander 's face . Stops . Cold .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>Is the word you're groping for. ` yes', perha.<\/dialogue>\n    <character>JUDGE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Alvin!<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>Rephrase. Do you agree that he might tie up to the defendant's bo.<\/dialogue>\n    <character>GILLANDERS<\/character>\n    <dialogue>So why's the D - 6 in Carl's well?<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>Who's to say? Maybe it was just a spare, after all. Or maybe the defendant left it, as a potential alibi. In case somebody saw him in Ship Channel Bank.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>In case we put two and two together, knowing of the hostility. Between the families.<\/dialogue>\n    <scene_description>Gillanders . Actually thinking about that .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>My question is. Could Carl have tied up to help the defendant?<\/dialogue>\n    <scene_description>A beat . A cleared throat .<\/scene_description>\n    <character>GILLANDERS<\/character>\n    <dialogue>It coulda happened. And if I start to say it's doubtful, you'd probl' y say ` no further questions', right?<\/dialogue>\n    <scene_description>Once more , laughter . Enough to bring the gavel DOWN .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>Right about that. And right that it ` coulda happened'.<\/dialogue>\n    <scene_description>Turns his back , walks away .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>Thanks for your help. Hope the witness box was n't too warm for your comfort.<\/dialogue>\n    <scene_description>All eyes follow the prosecutor , as he sits . Except for the defendant . His stare forward . Recalling .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KABUO'S CELL - NIGHT<\/stage_direction>\n    <scene_description>Kabuo seated on the concrete floor of his cell , leaning back against the wall . Leaving the cot . For his guest .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>But the toughest scenario. Is the one Hooks will never raise.<\/dialogue>\n    <scene_description>Kabuo watching . Quiet . Takes a breath .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>And what's that?<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>That you came upon Carl by accident. Like you said. Gave him the battery. Like you said. Asked him about the seven acres. Like you said.<\/dialogue>\n    <scene_description>The hardest . Straightest . Look .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Only. He said no.<\/dialogue>\n    <scene_description>Silence .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>And something. happened. That you'd never planned. Because you're not a cold - blooded killer.<\/dialogue>\n    <scene_description>Nobody flinches . Nobody blinks .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>I'm more a hot - blooded killer, huh? Like a soldier. Like a samurai.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>You wo n't hear that from Hooks. Because the charge is first - degree murder, which requires premeditation. He ca n't change the charge.<\/dialogue>\n    <scene_description>Do you understand ?<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>So if the jury thinks you did kill. but only in the heat of anger. They have to acquit.<\/dialogue>\n    <scene_description>Do you ?<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>And you could n't. Be. Re - tried.<\/dialogue>\n    <scene_description>Kabuo 's face is stone . A warrior 's mask .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>You want me to say that.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>I want you. To tell the truth.<\/dialogue>\n    <scene_description>There is no kindly smile tonight . No candy bars .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>You think that is the truth.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>I told your wife. Trials are n't always so much about actual truth. As about what folks believe is true. That's sad. And it's real.<\/dialogue>\n    <character>KABUO<\/character>\n    <dialogue>And what do you believe?<\/dialogue>\n    <scene_description>Nels sighs . Cocks his head just to one side .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>A question first. Why do you want to know?<\/dialogue>\n    <character>KABUO<\/character>\n    <parenthetical>( straight back . )<\/parenthetical>\n    <dialogue>Because you're my friend.<\/dialogue>\n    <scene_description>The old man thinks about that . Studies his client .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>I believe you are a good man. Who belongs with his family.<\/dialogue>\n    <scene_description>And then the feeling comes . To the watery eyes .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>And I believe. You did n't do it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHIP CHANNEL BANK - NIGHT<\/stage_direction>\n    <scene_description>Fog . The sound of water . Lapping at the hull of a boat . The mist drfits , revealing . Eyes . They are blue . The heavy brows above them dark gold , matted and damp .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>My batteries are drawed down, both of'em. ALternator belts were loose.<\/dialogue>\n    <scene_description>PULL BACK to see him . With his keroses lantern and his air horn .<\/scene_description>\n    <character>KABUO<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>No sweat. We'll pull one a mine, get ya started.<\/dialogue>\n    <scene_description>PULL BACK to see him now , leaning on his gaff . Squinting up . At the top of Carl 's mast . We follow his gaze to see .<\/scene_description>\n    <character>KABUO<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>You lashed up a lantern? ` Gainst a fog like this?<\/dialogue>\n    <scene_description>See it now . SWAYING as the helpless boat bobs in the night .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Lantern and a air horn. That's all I got, without my juice.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARL'S CABIN - LATER<\/stage_direction>\n    <scene_description>CLOSE on a battery well . One battery sits in place , one spot is empty . And . CRASH ! The butt end of a fishing gaff BANGS against the metal flange . Again . Again . AGAIN . And as the next blow is STRUCK , the huge hand . slips , and the soft metal SLICES Carl 's flesh across his palm . He stops . Then SMASHES away , twice more . We PULL BACK to see . two batteries lie above the well . Carl sucks the blood from his cut . Then lifts Kabuo 's D - 6 into place .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Do n't know how long it's take to get a charge.<\/dialogue>\n    <character>KABUO<\/character>\n    <dialogue>Keep it tonight. We'll catch fish. I'll see ya back on the docks.<\/dialogue>\n    <scene_description>Kabuo takes his gaff . Heedless of Carl 's blood on the butt end . Carl looks up , still crouching above his well .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>Hold on. You know as well as I do, we got somethin' to talk about.<\/dialogue>\n    <scene_description>No response from Kabuo . He stands above the larger man . Silent , neutral . Waiting .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Seven acres. I'm wonderin' what you'd pay for'em. Just curious, is all.<\/dialogue>\n    <character>KABUO<\/character>\n    <dialogue>What are you sellin''em for? Why do n't we start there.<\/dialogue>\n    <scene_description>Which makes the big man smile . Just a little .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Did I say I was selling? But if I was, I'd have to figure you want'em real bad. Oughta charge a sall fortune, maybe.<\/dialogue>\n    <scene_description>A slight shrug . Of giant shoulders .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Then again. Maybe you'd want your battery back.<\/dialogue>\n    <scene_description>Kabuo does n't grin back . His face shows nothing at all .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>The battery's in, that's done with. Besides, you'd do the same for m.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>might do the same. I have to warn you ` bout that, chief. I'm not screwed together like I used to be.<\/dialogue>\n    <scene_description>Kabuo 's face remains impassive . Patient . And the big man squints up into it . Holding a handkerchief to his injured hand .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Hell, I'm sorry, okay? About the whole damn mess. If I'd a been around, my mother would n't a pulled it off that way.<\/dialogue>\n    <scene_description>He is sorry . And with that , Kabuo 's face eases . Becomes like Carl 's own .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( grins . )<\/parenthetical>\n    <dialogue>I was out there at sea. Fightin' you Jap sons - a - bitches.<\/dialogue>\n    <character>KABUO<\/character>\n    <parenthetical>( no grin . )<\/parenthetical>\n    <dialogue>I'm an American. Did I call you a Nazi, you big Nazi bastard?<\/dialogue>\n    <character>CARL<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Not that I recall.<\/dialogue>\n    <character>KABUO<\/character>\n    <dialogue>I killed men who looked just like you, pig - fed German bastards. And their blood do n't wash off so easy.<\/dialogue>\n    <scene_description>Still no smile . Carl staring up .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>So do n't talk to me about Japs, you big Nazi son of a bitch.<\/dialogue>\n    <scene_description>Carl laughs . And Kabuo chuckles , right along with him . Having kept his poker face the longer .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>I am a bastard. I'm a big Hun Nazi son of a bitch. And I still got your bamboo fishing rod.<\/dialogue>\n    <character>KABUO<\/character>\n    <dialogue>Oh, yeh?<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Hid it from my mom. Caught a mess a sea runs. Damn thing's still in my closet.<\/dialogue>\n    <character>KABUO<\/character>\n    <parenthetical>( very softly . )<\/parenthetical>\n    <dialogue>You can have it. The hell with it.<\/dialogue>\n    <scene_description>The look between them now . Is very wonderful . In the subtlety of its connection .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>$ 1200 an acre, that's what I paid Ole, wo n't take a dime less. You got no choice on that.<\/dialogue>\n    <character>KABUO<\/character>\n    <dialogue>Did n't say I was buyin' did I? What you want down? Just bein' curious, is all.<\/dialogue>\n    <scene_description>The handkerchief comes away from Carl 's palm . And rising , his hand extends toward the smaller man .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>A thousand down. We'll sign papers t ` morrow.<\/dialogue>\n    <scene_description>The hands grip . And they hold . And the length of this clasp , and the straightness of their gaze , and the silence of the moment . Wash years away .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>Eight hundred. And it's a deal.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>CLOSE on eyes . They are Asian . Unblinking .<\/scene_description>\n    <character>HOOKS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>For the life of me, sir, I can not imagine why you kept this story from the sheriff.<\/dialogue>\n    <scene_description>PULL BACK to see Kabuo in the witness box . Ramrod straight . Face composed .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>As my wife testified, we were considering it.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>Actually, she said you had decided. Decided not not come forward.<\/dialogue>\n    <character>KABUO<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>I was thinking about it. Every minute.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>Except even when Sheriff Moran arrested you. You said nothing about seeing Carl.<\/dialogue>\n    <scene_description>Turns to the jury . Openly bewildered .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>At that point, you were already under suspicion. The battery story explained things. If the story was true. and not simply something you thought up later.<\/dialogue>\n    <scene_description>Turns back . To the defendant .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>Why. Did n't you. Tell it?<\/dialogue>\n    <scene_description>No reaction from the defendant . Nothing anyone can see .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>Sheriff said right off, I was under suspicion. I did n't have a lawyer.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>But even after you had an attorney. You still claimed to know nothing. Claimed not to have seen Carl. Am I correct?<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>Yes. Initially.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>Well, ` initially' is an interesting word, sir. You'd been arrested, you had a lawyer, and you still claimed ignorance!<\/dialogue>\n    <scene_description>Silence .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>I should have told everything right away. I know that now, and I regret it.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>Should have told ` everything'. Meaning, you should have told the truth.<\/dialogue>\n    <scene_description>We can just discern the anger . At the edge of Kabuo 's steady gaze . Silence .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>Nothing to say?<\/dialogue>\n    <character>KABUO<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>I did n't know that was a question. It sounded like a speech.<\/dialogue>\n    <scene_description>And Hooks smiles . Loving it . Walks toward the witness , stalking him .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>My apologies. Do you regret not telling the truth?<\/dialogue>\n    <character>KABUO<\/character>\n    <dialogue>I have told the truth.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>You mean, this morning. The new story, the battery story. That one is the truth? That's a question, sir.<\/dialogue>\n    <character>KABUO<\/character>\n    <parenthetical>( even quieter . )<\/parenthetical>\n    <dialogue>Yes. And I told it long before this morning.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>I see. Now what happened the day Carl Heine was found? Before your arrest.<\/dialogue>\n    <character>KABUO<\/character>\n    <dialogue>I slept til one - thirty, when my wife woke me up with the news. We talked for a few hours. I left at six and went straight to my boat.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>Did n't go anywhere else? No errands, no purchases? Just straight to the boat. That's the truth.<\/dialogue>\n    <character>KABUO<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Hooks leans over the box . Ever so slightly invading Kabuo 's space .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>Well, the sheriff found two batteries in your well. If you left one with Carl Heine, how is that possible?<\/dialogue>\n    <character>KABUO<\/character>\n    <dialogue>I had a spare battery in my shed. I brought it down, and put it in just before the sheriff showed up.<\/dialogue>\n    <scene_description>Ah . I see .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>Conveniently, in your shed. Only you did n't mention that a moment ago. Why does this battery story change every time a new question is raised?<\/dialogue>\n    <scene_description>Kabuo looks at him , evenly .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>You asked if I went straight to the boat. I did. With the battery.<\/dialogue>\n    <scene_description>Hooks steps back . Looks the witness over .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>You're a hard man to trust, sir. You sit before us, with no expression, keeping a poker f.<\/dialogue>\n    <character>NELS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Objection!<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>You know better than that, Mr. Hooks. Either ask questions that count for something, or sit down and be done with it.<\/dialogue>\n    <scene_description>Silence . The judge staring hard . Hooks never flinching .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Shame on you.<\/dialogue>\n    <scene_description>Hooks turns his eyes to Kabuo . Stares him down , so the jury can watch Kabuo 's implacable stare in return . And softly .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>I apologize to the court, for letting my feelings get the better of me.<\/dialogue>\n    <scene_description>Turns away .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>No other questions. We'll go to summation.<\/dialogue>\n    <scene_description>As he returns to his table . As Kabuo steps down from the box . We PAN . reporters ' row . The boys are writing as fast as their hands can move . Only Ishmael is not writing at all . He stares at the pad resting on hsi right knee . We CLOSE to see . One word circled . The word ` lantern ' .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - LATER<\/stage_direction>\n    <scene_description>Alvin Hooks stalks the jury box now . Prowls before them along the rail . As their eyes follow .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>believing that Etta Heine's son would never sell him the land. Land that in his mind, filtered through ancient rules of behavior handed down from his ancestors' culture, belonged to his family by right.<\/dialogue>\n    <scene_description>Stops . To make sure they understand .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>His only choice to get the land would be to eliminate Carl Heine. So that Ole Jurgensen would need a new buyer.<\/dialogue>\n    <scene_description>Pacing again , hand trailing along the rail .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>In his mind. Seen through codes of revenge difficult for us to fathom, this was also the only way to avenge what he felt to be the grievous dishonor brought to his father, his family.<\/dialogue>\n    <scene_description>Raises his finger . This must be heard .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>to a thousand years of ancestry, in a foreign land we still find an enigma. Despite our recent bitter experience with its ways.<\/dialogue>\n    <scene_description>And stops once more . Places his hands on the rail .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>Thus believing cold - blooded murder to be justified. he trailed Carl Heine. could hear his engine in the fog. and sounded his own horn, claiming distress.<\/dialogue>\n    <scene_description>Straightens up . Shakes his head , ever so slightly .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>As Carl pulled alongside : ` Please, Carl,' the defendant must have said.' I am sorry for what has come between us, but adrift here in the fog, I plead for your help!'<\/dialogue>\n    <scene_description>Imagine . Imagine that .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>And so this good man tied his boat fast, while his enemy leaps aboard, striking the treacherous blow he was trained to strike by his father's hand.<\/dialogue>\n    <scene_description>Counting off the facts . One finger at a time .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>The feud over these seven acres had festered for eight years. He argued with Carl about buying the land one week before Carl was killed. Carl's skull was crushed, and his blood is on a murder weapon with which the defendant is a deadly expert!<\/dialogue>\n    <scene_description>Spreads his arms . Wide .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>And after a series of lies. The defendant at last admits he was there. Alone on the boat. In the fog. Carl Heine's blood on his fishing gaff.<\/dialogue>\n    <scene_description>A hush . A murmur .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>My lord. My lord.<\/dialogue>\n    <scene_description>Looking into the eyes now . Of each man . Each woman .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>Look clearly at the defendant. See the truth self - evident in him. And in the facts of this case.<\/dialogue>\n    <scene_description>And turns . So that they will follow his eyes to Kabuo 's stone - hard gaze .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>Look into his eyes, ladies and gentlemen, consider his face. And ask yourself what your duty is as citizens of this community.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - LATER<\/stage_direction>\n    <scene_description>PAN the jury , slowly , as they hear .<\/scene_description>\n    <character>NELS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>not a single witness has testified to anything that could suggest pre - meditated murder. Not in the days before Carl Heine's death. or at any time. has anyone described a murderous rage toward the deceased.<\/dialogue>\n    <scene_description>Nels stands very still . Hands resting on the rail . As calm and quiet as his adversary had been dramatic .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Etta Heine had cheated his family. He had asked his childhood friend Carl to sell him the land. And Carl was considering it.<\/dialogue>\n    <scene_description>Leans forward . Just a little .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>There is no evidence of anger at Carl, much less rage, much less murderous rage. No reason for premeditation and no evidence of it. Anywhere.<\/dialogue>\n    <scene_description>He picks out a housewife . The youngest . Smiles sadly , wisely . As her grandfather might .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>And yet the state is required to prove these things. Beyond. A reasonable. Doubt.<\/dialogue>\n    <scene_description>His eyes widen .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Can you seriously think there is no reasonable doubt? Why is Kabuo's D - 6 battery in Carl's well, if Carl was helping him?<\/dialogue>\n    <scene_description>Why ?<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Why is n't the blood on the gaff more consistent with Carl's hand wound than a skull fracture? Given the absence of bone or brain tissue.<\/dialogue>\n    <scene_description>And now . he begins to pace , limping slightly , eyes down .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>What Mr. Hooks asks you to believe is that no proof is needed. Against a man who bombed Pearl Harbor.<\/dialogue>\n    <scene_description>Slow . Eyes on his feet .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Look at his face, the prosecutor said. Presuming that you will see an enemy there. Treacherous by nature, by a thousand years of something or other.<\/dialogue>\n    <scene_description>He stops . Looks at them .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>An argument I find as despicable as it is dishonest and twisted and insulting to us all. Mr. Miyamoto is a much - decorated hero of the United States Army. For God's sake.<\/dialogue>\n    <scene_description>The feeling wells in te old man . It bleeds through the very quietness of his voice .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>If someone said you should convict Carl Heine. Or his lovely widow. Of murder. Without proof. Because their ancestry is the same as Hitler's. You would spit in his eye.<\/dialogue>\n    <scene_description>Yes , you would .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>And every decent American. Would applaud you.<\/dialogue>\n    <scene_description>He leans his elbows on their rail . As if confiding to them across their backyard fence .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Now Kabuo Miyamoto did one thing wrong. He was afraid to trust us, at first. Afraid that he would be crucified by prejudice. As Mr. Hooks is urging you to do.<\/dialogue>\n    <scene_description>Silence .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Well, we sent him. And his wife. And thousands of Americans to concentration camps. They lost homes, belongings, everything. We did that, folks. Can we now be unforgiving about his uncertainty? His mistrust?<\/dialogue>\n    <scene_description>Looking in their eyes . As if waiting for an answer . They shift their weight , fidget beneath his gaze .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>You may think this is a small trial. In a small place. Well, it is n't.<\/dialogue>\n    <scene_description>He straightens his spine . Winces slightly , with the pain of it .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Every once in awhile. Somewhere in the world. Humanity goes on trial. And integrity. And decency. Every once in awhile, common folks get called on to give the report card for the human race.<\/dialogue>\n    <scene_description>The eyes are watering . But the voice gains strength .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Now here in America. We relish those chances. Give us that one, we say. That's why we built this country in the first place.<\/dialogue>\n    <scene_description>One step back . Just above a whisper .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Be Americans. Make your children proud.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - LATER<\/stage_direction>\n    <scene_description>CLOSE on handcuffs SNAPPING into place . Sheriff Moran checks their snugness about Kabuo 's wrists , as the crowd mills through the courtroom in the wake of adjournment . Grasping Kabuo 's arm , Moran begins leading him toward a small doorway just at the rear of the witness box . But . someone is there . In the doorway . And Moran 's grip tightens as they approach .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>I'm awful sorry, Ma'am, but you know I c.<\/dialogue>\n    <character>HATSUE<\/character>\n    <dialogue>What are you afraid of, Sheriff?<\/dialogue>\n    <scene_description>The edge on that , the ballsy undertone , throws him a little .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>Am I going to slip him a weapon for a mad escape? Perhaps a kendo staff hidden in my dress?<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>There's rules.<\/dialogue>\n    <character>HATSUE<\/character>\n    <dialogue>Well, please break them, then. I wo n't keep you a moment.<\/dialogue>\n    <scene_description>And she reaches past him . To take her husband 's hands . She looks in his eyes , as if they are alone .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>I love you. And tomorrow, when I make our bed. I'm setting out your pillow.<\/dialogue>\n    <scene_description>Tears just flood her eyes . Sudden , unbidden . She holds tight to her smile . And to his hands .<\/scene_description>\n    <character>HATSUE<\/character>\n    <parenthetical>( whispers . )<\/parenthetical>\n    <dialogue>You better be there.<\/dialogue>\n    <scene_description>He smiles . A lovely , easy , cowboy - American smile .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>Only if you ask me nice.<\/dialogue>\n    <scene_description>ANGLE . from the gallery . One man watches . Watches as a woman brings manicled hands to her lips . And walks quickly away . toward us . Straight toward us , in fact . And when she stands before us , her hands mangle her purse . The eyes are hollow , flint - edged .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>Did you write that column?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I did. But the jury wo n't s.<\/dialogue>\n    <character>HATSUE<\/character>\n    <dialogue>It's not for the. They only get to convict him.<\/dialogue>\n    <scene_description>She arches her throat . As if facing a firing squad .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>It's the judge who decides. If he'll hang.<\/dialogue>\n    <scene_description>He reaches . His fingertips find her shoulder . She does not resist his touch .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( gently . )<\/parenthetical>\n    <dialogue>None of that is gon na ha.<\/dialogue>\n    <character>HATSUE<\/character>\n    <dialogue>You do n't think he did this.<\/dialogue>\n    <scene_description>His hand comes away . From his heart .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>I know he did n't.<\/dialogue>\n    <scene_description>She nods . Nods . Her eyes filling . Moving over his face .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>Come to supper, tonight. My mother would be proud to have you with us.<\/dialogue>\n    <scene_description>He hears the emotion in her voice . He swallows hard .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>I ca n't.<\/dialogue>\n    <scene_description>No , I ca n't .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Tell your mom. I want a rain check.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KABUO'S CELL - NIGHT<\/stage_direction>\n    <scene_description>Kabuo sits on the cot , the way we have always seen him . Alone in his mind . Footfalls . Kabuo oblivious , far away . The door CLANGS open .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>You have a visitor, son.<\/dialogue>\n    <scene_description>Turns to the visitor .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>You said three minutes.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Wo n't take two.<\/dialogue>\n    <scene_description>And Moran leaves . The door CLANGS shut . They are alone . Only one man smiling .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>Please, sit down.<\/dialogue>\n    <scene_description>But the tall man does n't . Does n't move .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>She told me you're writing a column. We're very grateful.<\/dialogue>\n    <scene_description>Ishmael nods , awkwardly . Acknowledging this .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>She. Said you two go way back.<\/dialogue>\n    <scene_description>Ishmael stares into Kabuo 's earnest smile .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>That's nice.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>You said there was a lantern in his hand. When you found him in the fog.<\/dialogue>\n    <scene_description>Kabuo blinks . The man 's tone is formal . As if the offer of friendliness is somehow rejected .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>And another one. Lashed to the mast?<\/dialogue>\n    <scene_description>Kabuo 's own smile has faded . The mask has returned .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>That's right.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Two. Lanterns.<\/dialogue>\n    <scene_description>And Kabuo grins . In spite of himself .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>If I did the math right.<\/dialogue>\n    <scene_description>Ishmael leans back . Against the door .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>It's the sheriff's math. I'm wondering about.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOMMENSEN'S WAREHOUSE - NIGHT<\/stage_direction>\n    <scene_description>Blackness . The sound of wind . Of water lapping at wood . CLICK of a key , springing a lock . The SCRAPE of a large PADLOCK sliding away . A door CREAKS open , and from the sound of it , a large one . Gray light seeps in .<\/scene_description>\n    <character>MORAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Blackmail. That's all it is.<\/dialogue>\n    <scene_description>See them now . Three SILHOUETTES framed in thr barn 's open doorway . Against the night sky .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I call it keeping your promise. We said if I ever needed some cooperation from you.<\/dialogue>\n    <scene_description>A soft CLICK , and the LIGHTS go on . Such as they are . A few bare bulbs strung across the rafters of this towering ramshackle enclosure . A 50 - year - old mildewed barn , built of creosoted timbers . This is a place for overhauling boats , with sea doors facing the harbor . Two BOATS are tied to wide - elbowed piers . We 've seen them before .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>You threatened me, Chambers, pure and simple. And what idiot's gon na believe some cock and bull story that I made a deal to keep stuff outta your paper? Not that anybody reads your paper.<\/dialogue>\n    <scene_description>Abel Martenson leads the way . Along soaking planks .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Same idiots who'll believe you cracked this case. When I tell'em you did.<\/dialogue>\n    <scene_description>Moran snorts . Points up to the cross spar , high on the mast of the first boat .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>See, no lantern.<\/dialogue>\n    <character>ABEL<\/character>\n    <parenthetical>( respectfully . )<\/parenthetical>\n    <dialogue>Sheriff? That's Miyamoto's boat.<\/dialogue>\n    <scene_description>Oh . Moran swings his gaze up to the second boat .<\/scene_description>\n    <character>MORAN<\/character>\n    <parenthetical>( quiet triumph . )<\/parenthetical>\n    <dialogue>No lantern there, neither.<\/dialogue>\n    <scene_description>Sure enough . No lantern on the cross spar . They keep walking .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>Never shoulda given you that inventory in the first place.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>It's public record. If the public cares enough to read it.<\/dialogue>\n    <scene_description>They step across the gunnel . Onto Carl Heine 's boat . Flashlights working against the dim , eerie glow of distant bulbs , they enter Carl 's cabin . Neat as a pin . Ishmael scans the floor .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>You said there was a coffee c.<\/dialogue>\n    <character>ABEL<\/character>\n    <parenthetical>( sorry . )<\/parenthetical>\n    <dialogue>I picked it up.<\/dialogue>\n    <scene_description>And points to the cup . Sitting on the counter .<\/scene_description>\n    <character>ABEL<\/character>\n    <dialogue>It's the only thing I moved, I swear. It was right there.<\/dialogue>\n    <scene_description>The sheriff glares at the boy .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>You wan na see that in the papers? Do n't ever touch something at a cri.<\/dialogue>\n    <scene_description>And stops . Because Ishmael 's gaze has gone to a kerosene lantern . In the corner .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>One lantern. Like the inventory says. Sorry to disappoint you.<\/dialogue>\n    <scene_description>But Ishmael is out the door . Shining his flashlight . Up the mast .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Actually. I was hoping you got it right. What's that, up there?<\/dialogue>\n    <scene_description>And they all squint up . Shining their lights together . Along the cross spar .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>Nothin'. Bits of string.<\/dialogue>\n    <scene_description>That 's what it looks like . Many of them .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Pieces of twine are n't nothing.<\/dialogue>\n    <scene_description>And he steps to the base of the mast . Puts the flashlight in his pocket . Wraps his arm around the shaft of wood .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>Here now, what are you fixin' to do?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Have a look. At nothing.<\/dialogue>\n    <scene_description>And wrapping his legs around the mast , he hoists himself up .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>You ca n't go up there, touch things.<\/dialogue>\n    <scene_description>With all his strength . Ishmael begins to climb .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( grunting . )<\/parenthetical>\n    <dialogue>Trial's over, Sheriff, it's with the jury now.<\/dialogue>\n    <scene_description>Supporting himself with his legs , he struggles upward .<\/scene_description>\n    <character>MORAN<\/character>\n    <dialogue>You gon na climb that with one arm?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>You're right. I better use two.<\/dialogue>\n    <scene_description>Up he goes , inching his way , Abel shining his flashlight . Moran swings his beam up , too .<\/scene_description>\n    <character>ABEL<\/character>\n    <dialogue>There's lots of'em, Art, look.<\/dialogue>\n    <scene_description>And Moran is looking . Saying nothing . Now , Ishmael is there .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>A dozen or more, all figure eights. All cut clean through on an angle.<\/dialogue>\n    <character>ABEL<\/character>\n    <dialogue>And look at that streak of rust, across the mast.<\/dialogue>\n    <scene_description>His light playing on it . Bracing his full weight with his legs , Ishmael fingers the scraps of rope .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>It's on the twine, too. But it's not r.<\/dialogue>\n    <character>MORAN<\/character>\n    <dialogue>Do n't prove there was two lanterns. Coulda been the one in the cabin.<\/dialogue>\n    <scene_description>Still supporting himself with his legs , Ishmael pulls out his flashlight .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>There's a stretch of ground between guessin' and provin', Sheriff. I'll give you that.<\/dialogue>\n    <scene_description>shines it DOWN on the deck . Along the gunnel . Just below the mast . And as we watch the circle of light move .<\/scene_description>\n    <character>MORAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>What do you think you're lookin' at now?<\/dialogue>\n    <scene_description>Still moving . And in the silence , an absent .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Not what I'm looking at. It's what I'm looking for.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JURY ROOM - NIGHT<\/stage_direction>\n    <scene_description>Eleven citizens around a walnut table . Eleven . Glaring at the twelfth .<\/scene_description>\n    <character>ALEXANDER VAN NESS<\/character>\n    <dialogue>Well. I guess it comes down to a feeling, do n't it? If I feel uncertain, I feel a doubt. Is n't that it?<\/dialogue>\n    <scene_description>And the boat builder smiles amicably , rubs his gray beard . No other smiles . Anywhere .<\/scene_description>\n    <character>HAROLD JENSEN<\/character>\n    <dialogue>Alex, nobody ai n't ever sure about nothin'. It's unreasonable to be so stubborn that you think you're smarter than eleven folks who all agree!<\/dialogue>\n    <character>EDITH TWARDZIK<\/character>\n    <dialogue>The man sat there and admitted he lied, Mr. Van Ness. Now why is n't that enough for you?<\/dialogue>\n    <character>ALEXANDER VAN NESS<\/character>\n    <dialogue>We're not tryin' him for lying. Lots of us told lies, one time or another. Prob ` ly none of us murdered anybody.<\/dialogue>\n    <character>HAROLD JENSEN<\/character>\n    <dialogue>But what drives a man to lie? Means he's hiding somethin'.<\/dialogue>\n    <character>ALEXANDER VAN NESS<\/character>\n    <dialogue>Not necessarily that he killed Carl. I'm not sayin' you're wrong, just that I have my doubts.<\/dialogue>\n    <character>BURKE LATHAM<\/character>\n    <dialogue>Look, if you changed chairs right now, cos you doubted that maybe a chunk of the moon was gon na fall through the roof, that would n't be a reasonable doubt.<\/dialogue>\n    <scene_description>Folks turn to Burke . What the hell are you talking about ?<\/scene_description>\n    <character>ALEXANDER VAN NESS<\/character>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>Okay, you win that one. Now can we all go to bed?<\/dialogue>\n    <character>HARLAN McQUEEN<\/character>\n    <dialogue>The mooring line. Does n't that tell you something?<\/dialogue>\n    <character>ALEXANDER VAN NESS<\/character>\n    <dialogue>I think it does. Miyamoto was on Carl's boat, or vice - versa. Not much doubt about th.<\/dialogue>\n    <character>MARLAN McQUEEN<\/character>\n    <dialogue>And Carl's blood on the gaff?<\/dialogue>\n    <character>ALEXANDER VAN NESS<\/character>\n    <dialogue>There's a chance it came from his hand.<\/dialogue>\n    <character>BURKE LATHAM<\/character>\n    <dialogue>There's a chance of everything. But you add a chance from here and a chance from there, the world ai n't made a coincidences only.<\/dialogue>\n    <scene_description>Everyone agrees . Almost everyone .<\/scene_description>\n    <character>EDITH TWARDZIK<\/character>\n    <dialogue>Look, if he gave Carl a battery like he said, he'd only a had one left. Not two.<\/dialogue>\n    <character>ALEXANDER VAN NESS<\/character>\n    <dialogue>He explained that. He replaced it.<\/dialogue>\n    <character>HARLAN McQUEEN<\/character>\n    <dialogue>Only he threw that part in when he got cornered. But first time around, he never mentioned it.<\/dialogue>\n    <character>ROGER PORTER<\/character>\n    <dialogue>Alex, stop arguin' just to argue. You can see what really happened, same as us. Is n't that what we're supposed to do is tell the actual truth? My God, Carl died, here.<\/dialogue>\n    <character>ALEXANDER VAN NESS<\/character>\n    <dialogue>So I do n't care Carl died, unless I'm ready to reach for the hangman's rope? You oughta stop tryin' to bully me into hurrying.<\/dialogue>\n    <scene_description>Little anger in that . It brings a silence .<\/scene_description>\n    <character>BURKE LATHAM<\/character>\n    <dialogue>Been six hours. You sayin' there's a way to go slower?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NELS' KITCHEN - LATE NIGHT<\/stage_direction>\n    <scene_description>Nels in a ratty , frayed old robe , pouring hot water from a kettle into mismatched cups . His hair is wispy and wild , his eyes puffy . He COUGHS horrible . CLEARS his throat .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Well. It's imaginative.<\/dialogue>\n    <scene_description>And drops tea bags into the cups with a splash .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>I'll give you that.<\/dialogue>\n    <scene_description>Lisps over to the cluttered table . Where his guest is waiting .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>It's the way it happened, I know it is.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>No, you do n't.<\/dialogue>\n    <scene_description>Nels sits . Slowly . Ishmael removes his bag . Sips his tea .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>That report. About the freighter? You did n't find that tonight, did you?<\/dialogue>\n    <scene_description>No answer . Ishmael keeps sipping . Holding eye contact .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>You went right to the cell. Then to the boat. Then here. How long did you know about the freighter?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( just above a whisper . )<\/parenthetical>\n    <dialogue>One day.<\/dialogue>\n    <scene_description>Nels ' turn . To sip his tea .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>This tastes horrible, hmmn?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>You're wondering why I held it.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>I'm wondering how the judge is gon na like my waking up his old bones. in the middle of the night.<\/dialogue>\n    <scene_description>And he smiles . A wonderful smile .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Your daddy. Was quite a feller.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Yes, he was.<\/dialogue>\n    <scene_description>Another sip .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>He's looking down. And he's not thinking ` bout the man you were yesterday. He's proud of the man you are tonight. That's what counts.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>To my father. Everything counts.<\/dialogue>\n    <scene_description>Nels watches the pain in that .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>What if I told you he once said to me. do n't matter the road we take. Just so we get there.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Then you'd be lying.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>Does n't make me wrong.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>The jury once more in the jury box . PAN their faces . The faces we saw last night .<\/scene_description>\n    <character>NELS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>All right, let's say that twine had been there to lash a lantern. That it had come from the shuttle of twine found in the deceased's pocket.<\/dialogue>\n    <scene_description>Edith Twardzik . Burke Latham . Alexander Van Ness .<\/scene_description>\n    <character>NELS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Now to re - open a trial that had gone to jury. new evidence should be pretty important.<\/dialogue>\n    <scene_description>See Ishmael . Quiet , intense . On the witness stand .<\/scene_description>\n    <character>NELS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Tell us why that lantern would be so significant.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Well. It shows the prosecutor was wrong. It was Carl's boat that was dead in the water. Or he'd never have put up the lantern.<\/dialogue>\n    <scene_description>Nels thinks about that . So the jury will , too .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Now you believe there were two lanterns when defendant arrived. One in Carl's hand. The second lashed to the mast.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>That's what Mr. Miyamoto reported, and he'd have no reason to lie. He could n't know that it would help his case.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>Well, why does it?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Because the second lantern, the one on the mast. Was never found. So we have to ask.<\/dialogue>\n    <scene_description>A slight shurg . Stating the obvious .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>where did it go?<\/dialogue>\n    <scene_description>And then .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Maybe it went. Where Carl went. Over the side.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>Objection! Speculation.<\/dialogue>\n    <scene_description>Nels smiles his grandfather smile .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Your Honor, all of this is speculation. Including Mr. Hooks' dramaturgy about the defendant issuing a false distress call.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>Tht was summation, Your H.<\/dialogue>\n    <character>JUDGE<\/character>\n    <parenthetical>( gently . )<\/parenthetical>\n    <dialogue>Overruled, Alvin. Let's hear this, hmmn?<\/dialogue>\n    <scene_description>Nels Gudmundsson nods to himself . Takes a stroll over to the jury box . No limp today . Something has put some spring in his step .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>So how does this fit with what you told us at the start? The freighter that plowed through Ship Channel Bank.<\/dialogue>\n    <scene_description>And turns . Leaning his scrawny butt against the jury 's rail . He 'll watch this with them now .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>That's when he fell.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>Fell.<\/dialogue>\n    <scene_description>Ishmael settles in . Here we go .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Miyamoto gave him the battery, and left. Carl's boat was running, he goes back to fishing. But at some point, he thinks of the lantern.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>Still lashed to the mast.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>He figures a perfectly good lantern could get banged around up there. So he climbs up. To cut it down.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>Just as the freighter comes through? Is n't that quite a coincidence?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Coincidences happen. You run a yellow light just as a car comes out of nowhere. Split - second tragedy happens every day. Or maybe.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>Maybe?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Maybe Carl picks up something about the freighter on his radio, which is now working. Same report Milholland heard. And that makes him get the lantern fast. Before the freighter's wake can bang it around.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>But you could be wrong. He could have climbed up earlier.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Then where's the lantern? And where's the knife?<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>The knife. What knife?<\/dialogue>\n    <scene_description>As if he really has forgotten . As if he wants to know .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Coroner found an empty knife sheath on Carl's belt. But they never found the knife.<\/dialogue>\n    <scene_description>He 's nodding . Yes , that 's right .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>He climbs up. His hand wound still bleeding. That's the blood I found on the mast. And the twine.<\/dialogue>\n    <scene_description>Nels ' eyes are rapt . His mouth is shut . No way he interrupts this roll .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>He cuts the lantern free, the freighter's wake hits, the boat rolls hard, his bloody hand slips. tracing blood along the mast.<\/dialogue>\n    <scene_description>A hush .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>He falls. The lantern, the knife, go into the water. Same as Carl.<\/dialogue>\n    <scene_description>The words hang there .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>And inside the cabin, a coffee cup falls off the counter.<\/dialogue>\n    <scene_description>Shakes his head .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>But there's no one around. To pick it up.<\/dialogue>\n    <scene_description>Nels ponders . Puts his hand to his chin .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Still a coincidence. Timing and all.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>The freighter started through at 1:42. The sea water seeped into Carl's watch and stopped it. At 1:47.<\/dialogue>\n    <scene_description>CUT to the defendant . Ramrod straight , nothing revealed in his face . And to his wife . Elegant , erect . Her eyes flooded with tears .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Still and all. Carl was a strong swimmer, he m.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>He hit his head. On the way in.<\/dialogue>\n    <scene_description>Silence .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>You think so?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>The sheriff and the deputy and I inspected the deck closely. We found a small fracture in the wood of the gunnel. Just below the mast.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>Well, anything coulda caused that.<\/dialogue>\n    <scene_description>Ishmael nods . No smile at all .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Anything. That had a blond hair.<\/dialogue>\n    <scene_description>And Nels is walking now . Toward the prosecutor 's table . Pulling a small cellophane bag from hisinside pocket .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Request introduction of Exhibit 18. One single blond hair. Which Sheriff Moran dug out of that fracture. Below the mast. Of Carl Heine's boat.<\/dialogue>\n    <scene_description>Lays the bag on the table . Just in front of Hooks . Turns to the judge .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>We will call Sheriff Moran, who will confirm this. And Coroner Whaley to testify that the damage to the gunnel is of a size and nature not inconsistent with the deceased's skull fracture.<\/dialogue>\n    <scene_description>Turns to the prosecutor .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>But for now. Your witness.<\/dialogue>\n    <scene_description>And just strolls on over to his seat . Looks in his client 's eyes . How ` bout them apples ? Kabuo loves this old guy . And right here , he lets a little of that show . Across the way , the prosector is rising . He smiles . Friendly , almost amused .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>I have to start reading your paper more closely. You're quite a storyteller.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( straight back . )<\/parenthetical>\n    <dialogue>Thank you. Coming from the man who wrote, ` But here, adrift in the fog, I plead for your help'. that's quite a compliment.<\/dialogue>\n    <scene_description>There is a ripple of laughter . But no smile on Ishmael 's features . His game face is on . Come and get me , sucker . And Hooks does come , one step at a time . Straight to the box .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>Everything had to happen just right. For your little story to fly. I mean, a blond hair could be on that gunnel for a lot of reasons.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I'm sorry, was there a question in there?<\/dialogue>\n    <scene_description>No love lost . And no pretense about it . Hatsue Miyamoto sits with her hand in her mother 's . Watching these men battle for her husband 's life .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>Well, the freighter. The twine. The blood. The knife. The cup. The watch. The second battery. The phantom lantern. The fishing gaff. The cracked gunnel. The skull wound. The blond hair. That's eleven things.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Twelve.<\/dialogue>\n    <scene_description>Hooks smiles .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>I stand corrected, sir. And you have a neat explanation for every one of them.<\/dialogue>\n    <scene_description>Hooks nods . Yes , you do .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>And since you confess this is all pure guesswork. What is your expertise, sir, are you a detective of sorts?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>My expertise. Is that I'm a journalist.<\/dialogue>\n    <scene_description>Right at his eyes .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>And journalism. Is balance. Finding the facts folks need to know.<\/dialogue>\n    <scene_description>The words ring with quiet , heartfelt conviction , that others can not fully appreciate .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Then putting them together. So truth is revealed.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>But is n't the truth that there are several other ways to explain each of these twelve pieces.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Oh, yes.<\/dialogue>\n    <scene_description>And the prosecutor stops . Confused for an instant by this confession . Until .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>But no other way. To explain them all.<\/dialogue>\n    <scene_description>A heart - stopping hush . As everyone , as Hooks himself , sees the cehckmate .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>And since they all happened. This is the only explanation that's the truth.<\/dialogue>\n    <scene_description>The prosecutor looks like he 's been slapped . Like every act of will is necessary to maintain composure . To find the easy , untroubled smile .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>Your line of work. You must meet a lot of men play fast and loose with the truth.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Like you could n't believe.<\/dialogue>\n    <scene_description>Service returned . Hooks leans in .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>Well, the defendant is a liar. He's confessed that much. And his explanation is. he was afraid.<\/dialogue>\n    <scene_description>And leans in some more .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>Afraid that the good folks of this jury. Would be too stupid to understand. Too prejudiced to be fair.<\/dialogue>\n    <scene_description>Shakes his head .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>You buy that?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( gently . )<\/parenthetical>\n    <dialogue>I think he was greedy.<\/dialogue>\n    <scene_description>And once more . The prosecutor can only blink . Can only move toward the trap .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>Greedy.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>He did n't want to lose any more.<\/dialogue>\n    <scene_description>No smile . No smile as the trap springs shut .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>He'd lost a lot in the war, you see. I had sent him away. To a concentration camp. But a nice one. Far less brutal than the Nazis. Because I'm a civilized person.<\/dialogue>\n    <scene_description>He stops . Lets Hooks clear his throat .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>I asked you a question, you're writing a tract, h.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>That's how journalists. Answer questions.<\/dialogue>\n    <scene_description>Turns to Judge Fielding . With all respect .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>May I answer the question, Your Honor? Anout the defendant's motivation to lie?<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>I would n't miss it for the world, son. Now, you say you sent the defendant to Manzanar?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I did n't say. I did it alone.<\/dialogue>\n    <scene_description>And things get real quiet .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>So there he was. His father lost his health there, finally died. They lost more than Etta Heine's seven acres. They lost their liberty, their dignity. Their ideals about this country.<\/dialogue>\n    <scene_description>So much feeling in this . He has to stop . Swallow hard .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>They lost their trust in us. We had treated them worse than animals. How would we now see tham. As human beings?<\/dialogue>\n    <scene_description>Tells the jury . Straight to their faces .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>This man lost a lot in the war. He did n't want now to lose his babies. Or the woman who loves him.<\/dialogue>\n    <scene_description>Another level of quiet . He turns to the prosecutor .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>And my expertise in this, sir. Is that I lost a lot in the war myself.<\/dialogue>\n    <scene_description>Words coming from someplace very deep .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>And the fact that I am the only witness. Who placed his right hand upon the Holy Bible. Is the least of it, sir. I assure you of that.<\/dialogue>\n    <scene_description>Silence .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>Well, sir. I hate to spoil the soliloquy, I truly do. But the fact is. you are not on trial here. Nor is Judge Fielding, or myself. Nor the good people of this jury. For events that took place twelve years ago.<\/dialogue>\n    <scene_description>No sir .<\/scene_description>\n    <character>HOOKS<\/character>\n    <dialogue>And I would n't blame these good people if they were a mite resent - ful. At a tactic that insults their intelligence.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>That's curious. I was appealing to their intelligence.<\/dialogue>\n    <character>HOOKS<\/character>\n    <dialogue>Were you, sir? Can you prove one word of all your fancy story?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>No, sir, I ca n't. Not beyond a reasonable doubt.<\/dialogue>\n    <scene_description>And he smiles . First time .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>It's fortunate that the man who needs to prove his fancy story. Beyond a reasonable doubt. Is someone else.<\/dialogue>\n    <scene_description>There is laughter in the room , so welcome is any chance to relieve the tension . The gavel BANGS .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>I'm sorry, Mr. Hooks. I apologize for my tone. This is not a contest. Between you and me.<\/dialogue>\n    <scene_description>Shakes his head . No , it is n't .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>For it is not. As Mr. Gudmundsson so wisely put it. A small trial. In a small place.<\/dialogue>\n    <scene_description>His eyes are damp now . Strangely enough , after all this . He is at last on the brink of losing control . Because .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>I lost more in that war than anyone will ever know. So did a lot of folks. And what we got back in return.<\/dialogue>\n    <scene_description>His voice breaks slightly . But it rings with dignity on .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>was a country. Where a man was innocent. Until we proved him guilty.<\/dialogue>\n    <scene_description>And the voice drops . To just above a whisper .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Whether we all got cheated. We're about to find out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTHOUSE CORRIDOR - DAY<\/stage_direction>\n    <scene_description>CLOSE on Hatsue Miyamoto , speaking earnestly , her eyes down , her purse in her lap , her slender hands expressing the intensity of her feelings as she makes her point , and we . PULL BACK to reveal that she is on a corridor bench , surrounded by a half dozen REPORTERS , who are crouching , standing , scribbling away . Two PHOTOGRAPHERS pop flashes that she does not seem to notice , as she continues with refined determination , and we . PULL BACK , down the hallway to the POV of a man who sits alone , unnoticed . There is an unopened pack of cigarettes in his only hand , turning absently in long , strong fingers that crinkle the pristine cellophane . His eyes are fixed to hatsue , holding court at a distance . Fixed , as if no other sight could ever command this level of attention .<\/scene_description>\n    <character>NELS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>All things considered.<\/dialogue>\n    <scene_description>Hearing the voice , Ishmael looks down . Uneasy to have been caught staring so intently .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>you were adequate.<\/dialogue>\n    <scene_description>No smile accompanies the irony . For that would be condescending .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>I could make a few quibbles, but I am loathe to hurt your feelings.<\/dialogue>\n    <scene_description>The old man sits . Very slowly .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Cigarette?<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>I'll take two. One for later.<\/dialogue>\n    <scene_description>Ishmael tries to tear the cellophane without success . Nels seems not even to notice .<\/scene_description>\n    <character>NELS<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>She is simply. Beautiful.<\/dialogue>\n    <scene_description>Ishmael 's eyes cut to him . A little quickly . Confides .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>I've always thought so.<\/dialogue>\n    <scene_description>There it sits . His fingers claw absently at the cellophane . Nels makes no move to intervene .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>If I whistle. Those boys'll see you, and come runnin'. You're the story today.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>You ever been strangled by a single hand?<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>Naw, I've seen what that can do to a pack of cigarettes.<\/dialogue>\n    <scene_description>Comfortable together . In this hour of discomfort . Ishmael brings the corner of the pack to his teeth , and tears the cellophane away .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Better take three.<\/dialogue>\n    <scene_description>Fingers nimbly shred the seal , open the pack .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Maybe they'll keep us waiting.<\/dialogue>\n    <scene_description>Shake the tips free . Holds the pack forward .<\/scene_description>\n    <character>NELS<\/character>\n    <parenthetical>( very quiet . )<\/parenthetical>\n    <dialogue>Maybe they wo n't.<\/dialogue>\n    <scene_description>The way he said that . Subtly ominous . Ishmael watching Nels ' face , as the old man takes two cigarettes .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Prejudice is like any obsession.<\/dialogue>\n    <scene_description>Tucks one in his pocket . And his eyes slide , unmistakably , to Hatsue .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>There's a reason why we ca n't let go. Even when we want to.<\/dialogue>\n    <scene_description>Ishmael is stone still . Nels just gazing at Hatsue . Until .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>A reason.<\/dialogue>\n    <character>NELS<\/character>\n    <parenthetical>( simply . )<\/parenthetical>\n    <dialogue>We do n't want to.<\/dialogue>\n    <scene_description>Looks back to Ishmael . Very straight .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Hate or love. It works the same.<\/dialogue>\n    <scene_description>In the silence .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Your client's wife ever mention? We go way ba.<\/dialogue>\n    <character>NELS<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Her mother. May have said something.<\/dialogue>\n    <scene_description>There it is . Kindness in this old man 's face . He brings the other cigarette to his lips . And Ishmael takes out the match box . Never breaking eye contact .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>We do n't let go, you s.<\/dialogue>\n    <character>NELS<\/character>\n    <dialogue>It's a rare thing. Takes a turning point.<\/dialogue>\n    <scene_description>Expertly , Ishmael 's fingers withdaw a match .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>You gave this jury three chances. To turn.<\/dialogue>\n    <scene_description>Palming the box , Ishmael STRIKES the match . On his belt buckle .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>No other way to explain it all. That was one. I caught some of'em fluttering, waking up, on that.<\/dialogue>\n    <scene_description>Reaches the flame toward the old man .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Second. You sent him to Manzanar, and you did n't do it alone. I liked that one, they did n't. No surprise.<\/dialogue>\n    <scene_description>Nels leans to the flame . Sucks it in . Savors a drag .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Last. You gave your arm. To buy this woman back her husband. Are they gon na cheat you out of that?<\/dialogue>\n    <character>BAILIFF<\/character>\n    <parenthetical>( O.S. , calling out . )<\/parenthetical>\n    <dialogue>JURY'S COMIN' IN.<\/dialogue>\n    <scene_description>Everywhere , the buzz RISES , there is motion an expectation . But Nels does n't seem to notice .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Some let go, some do n't. Where did you?<\/dialogue>\n    <scene_description>Asked so casually . Ishmael turns . Hatsue is standing now , surrounded by people , her mother grasping her arm .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( a murmur . )<\/parenthetical>\n    <dialogue>Hooks called her deceitful. And I knew she was n't.<\/dialogue>\n    <scene_description>He 's watching her . Across the way . So intently .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>She was an honest person. Doing the best she could.<\/dialogue>\n    <scene_description>We follow her approach toward the courtroom door . She has not yet turned to us .<\/scene_description>\n    <character>NELS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>The prosecutor, the judge, cut her off. She was desperate. Her husband helpless. I was helpless.<\/dialogue>\n    <scene_description>Nels rises . With great effort .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>You could n't let her. Be helpless.<\/dialogue>\n    <scene_description>Ishmael 's eyes still fixed to Hatsue , grim - faced , listening to her mother 's murmurings , as she . disappears through the door . Never having looked our way .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>When this verdict is read. She may look for your face.<\/dialogue>\n    <scene_description>And Ishmael 's eyes come up . Because the voice commands it .<\/scene_description>\n    <character>NELS<\/character>\n    <dialogue>Here's what she needs to see : This is nothing. We win it on appeal.<\/dialogue>\n    <scene_description>The old man is stern and strong . He wants a promise .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>It'll be there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>The hush of a hundred silences . We can feel the air crackle in the stillness . Judge Fielding is leafing through papers . No one coughs , no one blinks .<\/scene_description>\n    <character>JUDGE<\/character>\n    <parenthetical>( clears his throat . )<\/parenthetical>\n    <dialogue>Mister foreman, has the jury reached a verdict?<\/dialogue>\n    <scene_description>He looks up . Across the distance , Harold Jensen rises in the jury box .<\/scene_description>\n    <character>HAROLD JENSEN<\/character>\n    <dialogue>We have, Your Honor.<\/dialogue>\n    <scene_description>And holds out a slip of paper . Little more than a scrap . Folded once .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Will the bailiff please bring the verdict to the bench.<\/dialogue>\n    <scene_description>The bailiff does so , walking crisply to minimize his moment in the limelight . He hands the slip to the judge , who unfolds it , and . stops . Staring for a hung instant . As if seeing something unexpected . he folds it again , rather carefully , thoughtfully , and as he hands it back to the bailiff .<\/scene_description>\n    <character>JUDGE<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Will the defendant please rise.<\/dialogue>\n    <scene_description>Kabuo and Nels rise together . But it is only into the defendant 's eyes that the judge stares . No expression in the face of either man . But something passes , all the same . As the bailiff crosses to return the verdict to the foreman , we SNAP TO . REVERSE ANGLE . every pair of eyes in the room are on the foreman , now opening the slip of paper . Every pair . But one .<\/scene_description>\n    <character>JUDGE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Will the foreman please read the verdict aloud.<\/dialogue>\n    <scene_description>One reporter stares across the grain of all other sight lines . Toward a woman who does not see him . In case she needs his eyes . To be waiting .<\/scene_description>\n    <character>HAROLD JENSEN<\/character>\n    <parenthetical>( reads . )<\/parenthetical>\n    <dialogue>We the jury, find the defendant, Kabuo Kenji Miyamoto, to be not guilty of the cri.<\/dialogue>\n    <scene_description>A sharp SCREAM , and the defendant 's mother - in - law covers her mouth in embarrassment .<\/scene_description>\n    <character>HAROLD JENSEN<\/character>\n    <parenthetical>( continues . )<\/parenthetical>\n    <dialogue>of the crime with which he has been char.<\/dialogue>\n    <scene_description>APPLAUSE breaks out from the back row of the gallery , where citizens of Japanese ancestry have forgotten custom and decorum , as has . a woman who comes OUT of her seat , tears on her face , not even realizing she is standing , Hatsue clings to the railing that separates her from her husband . Throughout the gallery , now . some of the citizens assembled add their applause . Others look awkward , not knowing how to react . The gavel lies untouched , unnoticed , by a jurist who has no problem with anything that is taking place right now . Saying only to the jury .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>This is your verdict, so say you all?<\/dialogue>\n    <scene_description>As they assent .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>This Court thanks you for the good work you have done under difficult circumstances.<\/dialogue>\n    <scene_description>Reaches STRONG to the gavel , turns to the defendant .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Go home, son. God bless.<\/dialogue>\n    <scene_description>CRACKS the gavel on its block . The defendant is OUT of his chair , and with one strong grip of gratitude to the frail shoulder of his counsel , he is . AT the rail , through the POPPING of flashbulbs , she is IN his arms , the embrace so FIERCE on both sides , everyone crowding around them . An old man 's eyes sweep the gallery , looking for someone . Only to find . Ishmael 's back . As he disappears through the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTHOUSE CORRIDOR - LATER<\/stage_direction>\n    <scene_description>The Miyamotos holding court , surrounded by nearly twenty reporters and photographers , and countless looky - loo 's of all persuasions . Hatsue 's face is flushed and intense , unsmiling , she seems scarcely to have caught her breath . She holds tight to her husband 's hand , as he . carries his baby son in the other arm , his 8 - year - old daughter leaning against him , her 4 - year - old sister standing on the bench beside her mom . Kabuo submits to questions with a boyish grin of humility and friendliness . An American family . Photogenic as hell .<\/scene_description>\n    <character>REPORTER #1<\/character>\n    <dialogue>And how about the jury? You had confidence they'd see justice done?<\/dialogue>\n    <scene_description>Kabuo glances to his lawyer , wan na field this one ? But Nels sends it back with a twinkle .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>Oh, sure. These are our neighbors, you know. They've got good hearts. We could see they were following the evidence real close.<\/dialogue>\n    <scene_description>At his side , Hatsue seems to be scanning the jumble of faces .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>We're just grateful to every one of them.<\/dialogue>\n    <scene_description>looking for something she does n't find .<\/scene_description>\n    <character>REPORTER #2<\/character>\n    <dialogue>And you ma'am? You felt the same as your husband, I expect?<\/dialogue>\n    <scene_description>Her eyes move to the eager young man . She reflects for a beat .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>Honestly, no.<\/dialogue>\n    <scene_description>Which catches everyone . A little short .<\/scene_description>\n    <character>HATSUE<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>I felt my husband would be found guilty. Unless proven innocent.<\/dialogue>\n    <scene_description>No apologies for the truth . That 's not her way .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>And Mr. Chambers did that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTHOUSE BASEMENT<\/stage_direction>\n    <scene_description>A vending machine stands in silence . The eerie strobing glow of defective neon . PULL BACK as . Ishmael thinks it over . Drops in his dime . Pulls the plunger , to watch a Snickers fall . Scoops the candy from the tray , pins it between his body and the machine . tears the wrapper .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTHOUSE CORRIDOR<\/stage_direction>\n    <scene_description>BACK to the reporters . The crowd of onlookers has grown .<\/scene_description>\n    <character>REPORTER #3<\/character>\n    <dialogue>can we get some background on your handsome family? I understand you two were childhood sweethearts.<\/dialogue>\n    <scene_description>And brings his Parker pen to his notepad . His subject smiles easily .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>Well, no sir, not exactly. We met in the Manzanar camp, you see, so I guess that was the most beautiful place I've ever been.<\/dialogue>\n    <scene_description>There is gentle laughter . And as Kabuo looks up , he sees something in the rear of the crowd . Something we do not . And softly .<\/scene_description>\n    <character>KABUO<\/character>\n    <dialogue>No, her first love was another fella.<\/dialogue>\n    <scene_description>Which brings Hatsue 's eyes up , following his gaze . And there , in the back . A man watches . Eating a candy bar .<\/scene_description>\n    <character>KABUO<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I was the lucky one.<\/dialogue>\n    <scene_description>No one sees their eyes lock . It is only an instant . It is enough .<\/scene_description>\n    <character>REPORTER #4<\/character>\n    <dialogue>It all sounds very romantic, ma'am. Falling in love under those circumstances.<\/dialogue>\n    <scene_description>And as she looks to the reporter , Ishmael begins to walk away .<\/scene_description>\n    <character>HATSUE<\/character>\n    <dialogue>He went off to the Army, right from Manzanar. And that last night, we danced alone in the desert.<\/dialogue>\n    <scene_description>And somehow , Ishmael catches the eye of Hatsue 's 4 - year - old daughter . So he pulls a coin from his pocket .<\/scene_description>\n    <character>HATSUE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I told him. If you do n't come back alive, I'll kill you.<\/dialogue>\n    <scene_description>Ishmael ROLLS the coin across his knuckles . And the child responds . With her mother 's smile .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTHOUSE STEPS - DUSK<\/stage_direction>\n    <scene_description>Alone on the steps where the Strawberry Princess once winked at him . Snow has begun to fall , soft and altogether beautiful . He squints up .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>God's kindness, my father said. Despite the hardship. it reminds us. Of our place in things.<\/dialogue>\n    <scene_description>Our place in things . He slides a black cigar between his teeth .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What the hell. Did he mean by that?<\/dialogue>\n    <scene_description>He has the match box . Manipulating it with the dexterity we 've come to know .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Things fall on us, I suppose. From the sky.<\/dialogue>\n    <scene_description>STRIKES the match on his belt buckle .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Wars. Freighters plowing through.<\/dialogue>\n    <scene_description>Cupping it expertly in a single motion , he brings the flame to the cigar . A single puff .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And we seem. helpless. Until we understand.<\/dialogue>\n    <scene_description>One more . Savors it . The sky . The thought .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Accident rules every corner of the universe.<\/dialogue>\n    <scene_description>Down the steps . Snow swirling between us . Gone .<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Except the chambers. Of the human heart.<\/dialogue>\n    <scene_description>FADE SLOWLY TO BLACK . ROLL END CREDITS .<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Set on the fictional San Piedro Island in the northern Puget Sound region of the Washington state coast in 1950, the plot revolves around the murder case of Kabuo Miyamoto (Rick Yune), a Japanese American accused of killing Carl Heine, a White fisherman.  The trial occurs in the midst of deep anti-Japanese sentiments following World War II.  Covering the case is the editor of the town's one-man newspaper, Ishmael Chambers (Ethan Hawke), a World War II veteran who lost an arm fighting the Japanese in the Pacific War.  Ishmael struggles with his childhood, and continuing, love for Kabuo's wife, Hatsue (Youki Kudoh), and his conscience, wondering if Kabuo is truly innocent. Spearheading the prosecution are the town's sheriff, Art Moran (Richard Jenkins), and prosecutor, Alvin Hooks (James Rebhorn).  Leading the defense is the old, experienced attorney Nels Gudmundsson (Max von Sydow).  An underlying theme throughout the trial is prejudice.  Several witnesses, including Etta Heine (Celia Weston), Carl's mother, accuse Kabuo of murdering Carl for racial and personal reasons. This stance is not without irony, as Kabuo (a decorated war veteran of the 442nd Regimental Combat Team), experienced prejudice because of his ancestry, following the Japanese attack on Pearl Harbor.  By the same standard, Etta, a German American, could be blamed for Nazi war crimes. Also involved in the trial is Ole Jurgensen, an elderly man who sold his strawberry field to Carl.  The strawberry field is a contested issue during the trial.  The land was originally owned by Carl Heine Sr.  The Miyamotos lived in a house on the Heines' land and picked strawberries for Carl Sr.  Kabuo and Carl Jr. were close friends as children.  Kabuo's father, Zenhichi, eventually approached Carl Sr. about purchasing 7 acres (28,000 m2) of the farm.  Though Etta opposed the sale, Carl Sr. agreed.  The payments were to be made over a ten-year period.  However, before the last payment was made, war erupted between the U.S. and Japan, and all islanders of Japanese ancestry were forced to relocate to internment camps.  In 1944, Carl Sr. died and Etta sold the land to Ole.  When Kabuo returned after the war, he was extremely bitter toward Etta for reneging on the land sale.  When Ole suffered a stroke and decided to sell the farm, he was approached by Carl Jr., hours before Kabuo arrived, to try to buy the land back.  During the trial, the land is presented as a family feud and the motivation behind Carl's murder. Ishmael's search of the maritime records reveals on the night that Carl Heine died a freighter had passed through the channel where Carl had been fishing at 1:42am, five minutes before his watch had stopped.  Ishmael realises that Carl was thrown overboard by the force of the freighter's wake.  Despite the bitterness he feels at Hatsue's rejection, Ishmael comes forward with the new information.  Further evidence is collected in support of the conclusion that Carl had climbed the boat's mast to cut down a lantern, been knocked from the mast by the freighter's wake, hit his head, then fallen into the sea.  The charges against Kabuo are dismissed. Hatsue thanks Ishmael by allowing him to hold her \"one last time.\""}
{"movie_name":"Love, Simon_2018","imdb_id":"tt5164432","script":"<script>\n  <scene>\n    <scene_description>LOVE.:<\/scene_description>\n    <character>EVERYONE DESERVES<\/character>\n    <dialogue>A GREAT LOVE STORY<\/dialogue>\n    <scene_description>Written by Isaac Aptaker<\/scene_description>\n    <character>&amp;<\/character>\n    <dialogue>Elizabeth Berger<\/dialogue>\n    <scene_description>Based on the novel by Becky Albertalli Temple Hill Fox 2000 OVER BLACK The upbeat indie-electronic Passion Pit song Little Secrets, coming from computer speakers in \u2022..<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S ROOM- MORNING<\/stage_direction>\n    <scene_description>We move through this TEENAGEBOY'S BEDROOM,passing relics of a thoughtful suburban adolescent: A framed Elliott Smith RECORDCOVER. A half-eaten package of DOUBLE-STUFFEDOREOS. A pile of PROSPECTIVE STUDENTcollege brochures for big city schools: NYU, BU, USC. Stacks of CHUCKKLOSTERMAN BOOKS and NEWYORK MAGAZINES. So many HOODIES, strewn across pretty much every surface. Till we land on our hero, SIMON SPIER (17), boyishly handsome with vibrant blue eyes and a thick mop of unruly hair. He hurriedly gets ready for school as an old inkjet printer spits out his English essay. Simon sits down at his desk to staple his essay, when he's distracted by something outside the window: A SHIRTLESS GARDENERmowing the lawn. He's a twenty-something guy with the shoulders and the chest and the one-million abs glistening with just the right amount of sweat. Simon's eyes are locked on the hot gardener. He's clearly attracted to him. A KNOCKon the door. Simon spins around just as his father, JACK (47, loves dad jokes), pokes his head in:<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Hey, Nora made pancakes.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Cool. Be down soon.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>And by \"soon\" do you mean once you finish searching for pictures of Gigi Habib in lingerie?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>It's Hadid .<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Sorry, didn't realize she was your girlfriend.<\/dialogue>\n    <scene_description>Jack chortles as he closes the door. Clearly he has no idea Simon is gay. Because Simon is still in the closet.<\/scene_description>\n    <character>SIMON<\/character>\n    <parenthetical>(under his breath)<\/parenthetical>\n    <dialogue>Yup, you got me.<\/dialogue>\n    <scene_description>Simon turns back to the window. But now Hot Gardener is blocked by his much older, much fatter, also shirtless COLLEAGUE. Simon leans over to get a glance at the hot one again. Way over. Just when he finally has a good view -- WHAM! The desk chair flies out from under him and he falls out of frame. Hard. As Passion Pit sings: \"Let this be our little secret, no one needs to know we' re feeling ..\u2022 \" CUT TO OUR TITLE:<\/scene_description>\n    <character>SIMON VS.<\/character>\n    <dialogue>The song continues as our MAIN TITLES play<\/dialogue>\n    <character>THE HOMOSAPIENS AGENDA<\/character>\n    <dialogue>over<\/dialogue>\n    <scene_description>sequence that is Simon's morning routine:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S KITCHEN - MORNING<\/stage_direction>\n    <scene_description>Jack, Simon's mom, DENISE (40's, warm and thoughtful), and his sister, NORA (14, awkward and rnumbly) eat pancakes. Simon bounds through, pulling on his Jansport.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>Simon, sit. Breakfast is--<\/dialogue>\n    <character>SIMON<\/character>\n    <parenthetical>(teasing)<\/parenthetical>\n    <dialogue>Please mom, don't say breakfast is the most important meal of the day. It's so cliche. You're better than that.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>I was going to say breakfast lowers LDL cholesterol and prevents fluctuating glucose levels which can lead to type two diabetes. Is that cliche?<\/dialogue>\n    <character>SIMON<\/character>\n    <parenthetical>(grinning)<\/parenthetical>\n    <dialogue>Touche.<\/dialogue>\n    <scene_description>Simon grabs a PANCAKEfrom the stack and takes a large bite.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Nora, this is incredible.<\/dialogue>\n    <scene_description>He ruffles Nora's hair. She blushes and awkwardly mumbles:<\/scene_description>\n    <character>NORA<\/character>\n    <dialogue>Oh, thanks. They're cornmeal with blackberry compote. No big deal.<\/dialogue>\n    <scene_description>Simon gives a bite to his GOLDEN RETRIEVER, BIEBER.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Here you go, Bieber. Most important meal of the day.<\/dialogue>\n    <scene_description>And Simon's gone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \/ EXT. SIMON'S OLD HONDA\/ SIMON'S STREET - DAY<\/stage_direction>\n    <scene_description>A pretty residential street in the suburbs of Atlanta. Simon jumps into his car, drives five houses down, and re- parks.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NICK'S BASEMENT- CONTINUOUS<\/stage_direction>\n    <scene_description>Simon enters a cozy, finished basement - giant TV, mini fridge, soccer trophies. The kind of hangout room you wish you had in high school. NICK (17, easy jock good looks) snores on an futon. An old soccer game plays on the TV. Simon pulls off Nick's blanket and yanks him to his feet.<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(waking up, startled)<\/parenthetical>\n    <dialogue>Ahh!<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Homeroom starts in eighteen minutes.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Shit. I fell asleep studying Roberto Baggio's moves in the '94 World Cup.<\/dialogue>\n    <scene_description>He glances at the TV. Brazil is celebrating their victory.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Damnit. Now I know who won.<\/dialogue>\n    <scene_description>Simon grab~ a clean TEE from a laundry basket, tosses it to Nick. Nick pulls it on, then realizes it reads \"ATLANTA'S GREATEST DAD!\" Nick shrugs, going with it.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Did you buy that for your dad?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>He bought it for himself. It was at the peak of his mid-life crisis.<\/dialogue>\n    <scene_description>They head upstairs, where Nick hurriedly stuffs his SOCCER CLEATS and SHIN PADS inside a duffel.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>I was just having the craziest dream.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Nick, you have the \"craziest dream\" every night.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I was in the bathroom putting on my contacts.<\/dialogue>\n    <scene_description>They head out the front door ...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NICK'S HOUSE - DAY<\/stage_direction>\n    <scene_description>... where their other best friend, LEAH (17, sensitive, artsy, makes her own clothes) approaches from her house across the street. A perfectly choreographed morning routine.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>But I couldn't figure out which lens went in which eye--<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Wait for Leah.<\/dialogue>\n    <scene_description>Leah approaches, clocks Nick's dad shirt and bed head.<\/scene_description>\n    <character>LEAH<\/character>\n    <dialogue>We never should've told you about ESPN Classic.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Sorry we can't all make our own clothes.<\/dialogue>\n    <parenthetical>(then, re: her outfit)<\/parenthetical>\n    <character>NICK<\/character>\n    <dialogue>Seriously though, that dress is really cool. You're gonna be very rich one day.<\/dialogue>\n    <character>LEAH<\/character>\n    <dialogue>Maybe we can collaborate on a clothing line, like H &amp; Mand Beckham.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>And then Si will write a profile about us in some fancy magazine.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I love how successful we are in the pretend future.<\/dialogue>\n    <scene_description>Leah smiles. They all get into \u2022\u2022.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT, \/ EXT. SIMON'S HONDA\/ SHADY CREEK STREETS - CONTINUOUS<\/stage_direction>\n    <scene_description>Leah rides shotgun. Nick leans forward from the backseat as Simon drives them to school.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>So Leah, last night I dreamt I was in the bathroom putting on my contacts and I couldn't figure out which lens went in which eye--<\/dialogue>\n    <character>LEAH<\/character>\n    <dialogue>Wait. I have something really important to tell you guys.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I'm in the middle of--<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I pick Leah's thing. Leah, say your thing.<\/dialogue>\n    <character>LEAH<\/character>\n    <dialogue>Last night I was walking past Jackie Morgan's house and her parents were having sex in the hot tub.<\/dialogue>\n    <scene_description>Simon and Nick react with disgust.<\/scene_description>\n    <character>LEAH<\/character>\n    <dialogue>Oh. I was happy for them.<\/dialogue>\n    <parenthetical>(off their surprise)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>LEAH<\/character>\n    <dialogue>They've been married thirty years and they haven't lost their spark.<\/dialogue>\n    <scene_description>Simon smiles. He loves the way Leah sees the world.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Simon, remember when you dated Jackie?<\/dialogue>\n    <scene_description>Simon tenses up ever so slightly.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Vaguely, Ninth grade is a long time ago.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>You'd probably remember it better if you'd gotten past first base.<\/dialogue>\n    <character>SIMON<\/character>\n    <parenthetical>(forced)<\/parenthetical>\n    <dialogue>Yup, I tanked it.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>If it were me, I would've gotten all up in there and been like, \"Hey Jackie, I just really wanna .\u2022. \"<\/dialogue>\n    <scene_description>Nick MOTORBOATS Leah's neck.<\/scene_description>\n    <character>LEAH<\/character>\n    <dialogue>Ahh! Get away from me.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>You are such an idiot.<\/dialogue>\n    <scene_description>But Leah is grinning. Simon notices. He's pretty sure she has a crush on Nick. The gang pulls into, ..<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WAFFLE HOUSE DRIVE THROUGH- CONTINUOUS<\/stage_direction>\n    <scene_description>\u2022.\u2022 and Leah leans over Simon to order.<\/scene_description>\n    <character>LEAH<\/character>\n    <dialogue>Three black iced coffees, please.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Wait, get one for Abby.<\/dialogue>\n    <scene_description>Leah looks irked at the mention of \"Abby.\"<\/scene_description>\n    <character>LEAH<\/character>\n    <dialogue>Four black iced coffees, please.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Abby likes hers with cream- -<\/dialogue>\n    <character>LEAH<\/character>\n    <dialogue>Three black, one with cream.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>And sugar.<\/dialogue>\n    <character>LEAH<\/character>\n    <dialogue>And sugar .<\/dialogue>\n    <parenthetical>(back to Ni ck, a nnoyed)<\/parenthetical>\n    <dialogue>What are you, her barista?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>We've been friends with her for two months. It's not that hard to remember \"cream and sugar . \"<\/dialogue>\n    <scene_description>An uncomfortabl e silence . Simon cranks up the radio and the song carries us t o: INT . CREEKWOOD<\/scene_description>\n    <character>HIGH SCHOOL- LOBBY - DAY<\/character>\n    <dialogue>Gossip! Body spray! Ho:rmonesl Welcome t o Cr eekwood, a mid- sized public high school buzzing with studen t s gett i ng ready for class .<\/dialogue>\n    <dialogue>Simon, Leah, and Ni ck e nter wi t h the ir coffees. ABBY (17) runs up to them . She is black, gorgeous, and rocking a very cool beat up leathe r jacket and boots.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Hey, guys .<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Hey, Abby .<\/dialogue>\n    <scene_description>And jud ging by the dumb grin on his face , Ni ck is totally into her,<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>We got you a cof fe e.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Cream and \u00b7 augar.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Oh, you guys are the best . I am figura ti vely dying.<\/dialogue>\n    <scene_description>Leah for ces a smile . Simon notices, very aware of the t ension brewing in his friend group.<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>Have you guys looked at the Creeksecrets Turnblr today?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>No, what'd we miss?<\/dialogue>\n    <scene_description>As Abby takes out her phone and calls up the website:<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>At my old school, if there was a website just for school gossip, someone definitely would've gotten stabbed.<\/dialogue>\n    <scene_description>Simon laughs, then falls silent as he realizes:<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Oh, you're serious.<\/dialogue>\n    <scene_description>Abby hands her phone to Simon. It's displaying a Tumblr where students can anonymously post the most salacious happenings at Creekwood High School.<\/scene_description>\n    <character>SIMON<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>Becca Peterson got caught giving Ryan O'Donovan a handjob in the pool. That's the real reason they had to drain it.<\/dialogue>\n    <scene_description>Simon holds up the phone which displays a photo of an ANGRY JANITOR draining the CREEKWOODHIGH POOL. Everyone reacts, joyously disgusted.<\/scene_description>\n    <character>SIMON {<\/character>\n    <dialogue>Janitor Rick deserves a raise.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>So Abby, last night I dreamt I put the wrong contacts in my eyes.<\/dialogue>\n    <scene_description>Leah and Simon GROAN. Abby is charmed.<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>We're analyzing another dream? You're like the love child of Sigmund Freud and Christiano Renaldo.<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(very proud)<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(then, back to dream)<\/parenthetical>\n    <dialogue>So I can 't see anyth in g. I'm stumbling around the bathroom, crashing into everything. And then I wake up.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>That's it? That's what you've been trying to tell us all morni ng?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I'm pretty sure it means there's something I'm not seeing clearly. Something that's right in fron t of me. What do you guys think?<\/dialogue>\n    <scene_description>Simon and Leah look unco mfortab l e.<\/scene_description>\n    <character>LEAH<\/character>\n    <dialogue>I dunno. Simon nervo usl y ta kes a sip INT. SPIER LIVING ROOM- NIGHT Simon, watch Videochatti ng in from her dorm on an iPad is Simon's<\/dialogue>\n    <character>SI MON<\/character>\n    <dialogue>No idea. of his Nora, and their parents eat Indian the end of ABC's The Ba che lorette. older<\/dialogue>\n    <scene_description>sister ALICE (18) in a BARDCOLLEGESWEATSHIRT.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>There is no way they went into the fantasy suite just to give each other ufoot massages.\"<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Ser ious ly. How dumb do they think we are?<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>I dunno. Cody is from Utah, which is super Mormon an d virgin - y.<\/dialogue>\n    <character>NORA<\/character>\n    <dialogue>Virginal.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>You'd know.<\/dialogue>\n    <character>NORA<\/character>\n    <dialogue>So would you .<\/dialogue>\n    <scene_description>Simon shuts up.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>Even if they did more than foot massages, it doesn't mean they made love.<\/dialogue>\n    <scene_description>All three kids GROAN.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>Oh my god, you guys are so repressed--<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Don't therapize us. We're not your patients.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>Oh, I know. If you were my patients, you'd be way more well- adjusted.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Nice therapist burn, baby.<\/dialogue>\n    <scene_description>They fist bump.<\/scene_description>\n    <character>DENISE<\/character>\n    <parenthetical>(to Alice)<\/parenthetical>\n    <dialogue>How's our own little college bachelorette doing? Any special someones?<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>Ew, no, I'm not talking about my life.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>We raised a vault, honey.<\/dialogue>\n    <character>ALICE<\/character>\n    <parenthetical>(back to the show)<\/parenthetical>\n    <dialogue>I think she's gonna pick Daniel F. He's the hottest one.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>The gay one?<\/dialogue>\n    <character>NORA<\/character>\n    <dialogue>Daniel's not gay.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Look at that haircut. The guy is a one-man Pride Parade.<\/dialogue>\n    <parenthetical>(singing)<\/parenthetical>\n    <dialogue>It's fun to stay at the Y-M-C-A.<\/dialogue>\n    <scene_description>This is Jack's sense of humor. Bad and out-of-touch, but not malicious. Still, Simon tenses up.<\/scene_description>\n    <character>ALICE<\/character>\n    <dialogue>Dad, stop.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>It's A ... \u2022<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>fun is so offensive.<\/dialogue>\n    <scene_description>(then, quickly) even realize how pervasive With Daniel F! It's fun to your casual heterosexism is! stay at the Y-M-C-A, Alice continues to throw around words she's learned in her gender studies class. Denise and Nora laugh a little in spite of themselves. And no one notices Simon, wildly uncomfortable. The opening chords of ELLIOTT SMITH'S \"WALTZ#2\" kick in, taking us to ..\u2022<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S ROOM- NIGHT<\/stage_direction>\n    <scene_description>\u2022\u2022. where Simon listens to Elliott Smith as he scans the latest CREEKSECRETSTUMBLRgossip: a stuffed bra-gate, a Lacrosse player caught getting head under the bleachers. The usual. He's about to close the site when a POST catches his eye. It's a stock photo of a FERRIS WHEEL accompanied by a short entry. We hear SIMON'S VOICE in his head as he reads the text:<\/scene_description>\n    <character>SIMON ( V \u0080\ufffd 0 \u0080\ufffd )<\/character>\n    <dialogue>Sometimes I feel like I'm stuck on a ferris wheel. One minute I'm on top of the world, the next I'm at rock bottom. Over and over, all day long. Because a lot about my life is great. But nobody knows I'm gay.<\/dialogue>\n    <scene_description>It's signed with only the pseudonym: Blue. Simon sits back, stunned. There's another secretly gay kid at Creekwood? He considers for a beat, then navigates to Gmail and REGISTERS FOR A NEW E-MAIL ACCOUNT. Gmail asks for a USERNAME. Simon considers as Elliott Smith sings: \"I'm doing just fine hour to hour, note to note.\" So, Simon signs up for hourtohour.notetonote@gmail.com. Available! He clicks back to the CREEKSECRETS ENTRY, and comments: I can relate. He ponders a pseudonym for himself, then notices a FRAMED PHOTO of his family in Paris's Luxembourg Park when he was a little boy. Something about this photo makes him decide to sign his comment Jacques. And then he adds the new e-mail address beneath his comment so \"Blue\" can reach him. Simon hesitates for a moment, then hits POST. Off his face, excited and terrified \u2022.. CUT TO BLACK.:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S ROOM - MORNING<\/stage_direction>\n    <scene_description>Simon wakes up. Instantly picks up his phone and checks his \"hourtohour\" Grnail account: ONE NEWMESSAGE! He can't open the inbox fast enough. But it's just the stupid AUTOMATEDMESSAGE Gmail sends when you open an account. And thus begins Simon's EXCRUCIATING SCHOOL DAY waiting for Blue to respond.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOODHIGH SCHOOL - MATH CLASS - MORNING<\/stage_direction>\n    <scene_description>CLOSE ON a NO CELL PHONES poster. Simon and his CLASS sit in agony as a MATH TEACHER desperately tries to get them excited about geometric proofs.<\/scene_description>\n    <character>MATH TEACHER<\/character>\n    <dialogue>\u2022.\u2022 and we know this side here is<\/dialogue>\n    <scene_description>twelve inches. So how do we determine the length of side A? He is met with a roomful of BORED, VAGUELY HOSTILE STARES. Finally, Simon raises his hand.<\/scene_description>\n    <character>MATH TEACHER<\/character>\n    <dialogue>Yes! Simon!<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>May I go to the bathroom?<\/dialogue>\n    <scene_description>The Math Teacher deflates, silently wishing he became an engineer.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOODHIGH SCHOOL - BOYS' ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Simon locks himself in a stall. Takes out his phone. Still NO NEW MESSAGES.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOODHIGH SCHOOL - CAFETERIA - LATER<\/stage_direction>\n    <scene_description>Simon sits at lunch with Nick, Abby, Leah and a couple of Nick's soccer friends, BRAM(handsome, with olive skin and dark brown eyes) and GARRETT (affable jock). Simon compulsively hits refresh on his phone, but he has no signal,<\/scene_description>\n    <character>GARRETT<\/character>\n    <dialogue>Did you guys see that Creeksecrets post last night with the ferris wheel picture? Who do you think is gay?<\/dialogue>\n    <scene_description>This gets Simon's attention. He looks up from his phone, tries to keep his expression neutral.<\/scene_description>\n    <character>ABBY<\/character>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>Who cares? It's 2016.<\/dialogue>\n    <character>GARRETT<\/character>\n    <parenthetical>(immediately defensive)<\/parenthetical>\n    <dialogue>I don't care. I was just curious. I love gay people. My dad's assistant is gay!<\/dialogue>\n    <character>BRAM<\/character>\n    <parenthetical>(fake impressed)<\/parenthetical>\n    <dialogue>Wow, your dad's assistant? How have you not gotten a GLAAD award yet?<\/dialogue>\n    <scene_description>Everyone LAUGHS, including Simon. He takes in Bram, gets a little lost in his dark brown eyes. Bram catches Simon staring at him and misunderstands:<\/scene_description>\n    <character>BRAM<\/character>\n    <dialogue>You want some of my fries?<\/dialogue>\n    <scene_description>Simon blushes, but quickly covers:<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Urn, yeah, Thanks.<\/dialogue>\n    <scene_description>Clearly Simon's got a crush.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOODHIGH SCHOOL - HALLWAY- LATER<\/stage_direction>\n    <scene_description>Simon refreshes his e-mail while hurrying to his next class. And thus, he CRASHES right into the Vice Principal, MR. WORTH (30's). He's one of those administrators who desperately wants to be friends with his students.<\/scene_description>\n    <character>MR. WORTH<\/character>\n    <dialogue>Simon, buddy, you know there's no texting in the halls.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I know, I just--<\/dialogue>\n    <character>MR. WORTH<\/character>\n    <dialogue>You know I love you.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>You do?<\/dialogue>\n    <character>MR, WORTH<\/character>\n    <dialogue>But a rule's a rule. I have to confiscate the phone. You can pick it up after play rehearsal, 'kay?<\/dialogue>\n    <scene_description>Simon reluctantly hands over his phone as we PRELAP Oliver's You've Got to Pick a Pocket or Two. INT, CREEKWOODHIGH SCHOOL - AUDITORIUM - AFTER SCHOOL Simon, Abby, and the CAST OF OLIVER perform a very sloppy run- through. The harmonies are off, the choreography is a mess, and actors keep crashing into each other. Simon plays one of the Orphans. Abby is the Artful Dodger. MARTIN (17, oddball class clown in a punt-shirt that says \"IRONY, THE OPPOSITE OF WRINKLY\") is Fagin.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>You've got to pick a pocket or two, boooooys. You've got to pick a pocket or twoooooooo!<\/dialogue>\n    <scene_description>MS, ALBRIGHT (30's, no-bullshit drama teacher) and CAL (17, indie-dreamy stage manager) give a weak round of applause.<\/scene_description>\n    <character>MS. ALBRIGHT<\/character>\n    <dialogue>Okay, that was .\u2022. help me, Cal.<\/dialogue>\n    <character>CAL<\/character>\n    <dialogue>That was a start.<\/dialogue>\n    <character>MS. ALBRIGHT<\/character>\n    <dialogue>That was a start!<\/dialogue>\n    <scene_description>Simon leans over and anxiously whispers to Abby:<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>What time is it?<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Ten minutes later than the last time you asked me.<\/dialogue>\n    <scene_description>TAYLOR, the type-A blonde Senior girl playing Oliver, raises her hand.<\/scene_description>\n    <character>MS, ALBRIGHT<\/character>\n    <dialogue>Yes, Taylor?<\/dialogue>\n    <character>TAYLOR<\/character>\n    <dialogue>Um, I was pretty singularly focused on being Oliver but I could still tell that sucked. Jake and Samantha were practically dry humping the entire time.<\/dialogue>\n    <scene_description>ANGLE ON two entwined TEENS playing Fagin's Boys. They have their hands in each other's back pockets.<\/scene_description>\n    <character>MS. ALBRIGHT<\/character>\n    <dialogue>Point taken. Let's try and put aside our steamy personal lives when we're in character, shall we?<\/dialogue>\n    <scene_description>Jake and Samantha reluctantly remove their hands from each other's pockets.<\/scene_description>\n    <character>CAL<\/character>\n    <dialogue>From the top, people!<\/dialogue>\n    <scene_description>Everyone GRUMBLESas they take their places.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>What time is it now?<\/dialogue>\n    <scene_description>HIGH SCHOOL- MR. WORTH'S OFFICE - DAY<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOOD<\/stage_direction>\n    <scene_description>Simon enters Mr. Worth's office, dying to get his phone back,<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Hi, I'm here for my phone.<\/dialogue>\n    <scene_description>Mr. Worth reaches into his desk, takes out Simon's phone.<\/scene_description>\n    <character>MR. WORTH<\/character>\n    <dialogue>I hope you enjoyed your time being \"disconnected.\" We depend so much on our devices these days.<\/dialogue>\n    <character>SIMON<\/character>\n    <parenthetical>(dying)<\/parenthetical>\n    <dialogue>Yup. Totally.<\/dialogue>\n    <character>MR. WORTH<\/character>\n    <dialogue>I know I can't go a few hours without checking my Insta or playing a little Angry Birds.<\/dialogue>\n    <scene_description>Simon is going crazy.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Mhmm. It's a struggle.<\/dialogue>\n    <scene_description>Finally, Mr. Worth hands over the phone. Simon checks the little mail icon: one new e-mail! INT, \/ EXT, SIMON'S HONDA\/ CREEKWOOD<\/scene_description>\n    <character>PARKING LOT - DAY<\/character>\n    <dialogue>Simon gets in his car, takes out his phone, and opens thee- mail. It's from bluegreen118@gmail.com. As Simon reads, he imagines \u2022\u2022\u2022<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TEEN BOY'S BEDROOM- DAY (SIMON'S FANTASY)<\/stage_direction>\n    <scene_description>A suburban bedroom with distinctive NAVYBLUE WALLS. It belongs to a MYSTERIOUSTEEN BOY writing an e-mail to Simon. He is shot from behind so we never see his face. This is BLUE as Simon imagines him. He has a warm, intelligent voice.<\/scene_description>\n    <character>BLUE (V .0.)<\/character>\n    <dialogue>You can relate? I guess that means you're either gay or you're stuck on a ferris wheel. And I have a Google alert for carnival mishaps, so I know it's not the latter. When did you know? And have you told anyone? Blue.<\/dialogue>\n    <scene_description>BACK TO REALITY:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \/EXT.SIMON'S HONDA\/ CREEKWOOD<\/stage_direction>\n    <character>PARKING LOT - DAY<\/character>\n    <dialogue>Simon stares at the e-mail, totally exhilarated till-- HONK, HONK! He realizes someone is waiting for his spot.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Sorry! I'm leaving.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S BEDROOM- AFTERNOON<\/stage_direction>\n    <scene_description>Simon rushes in and opens his laptop to respond to Blue. We hear his voice as he types:<\/scene_description>\n    <character>SIMON (V.O.)<\/character>\n    <dialogue>No, Blue. I haven't told anyone. And honestly, I can't even really explain why. I know deep down my family would be fine with it.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIMON'S HOUSE - DAY (FLASHBACK)<\/stage_direction>\n    <scene_description>Denise and Jack struggle mightily to stake a HILLARY sign in their yard. They give up and lean it against a bush.<\/scene_description>\n    <character>SIMON (V.O.)<\/character>\n    <dialogue>Both my parents voted for Hillary.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - DAY (FLASHBACK)<\/stage_direction>\n    <scene_description>Simon and his family sit in a pew during Sunday mass. They're hot and bored.<\/scene_description>\n    <character>SIMON (V.O,)<\/character>\n    <dialogue>And we only go to church when my grandma comes to town.<\/dialogue>\n    <scene_description>REVEAL their GRANDMA, listening to the sermon, rapt. Denise nudges Jack awake.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOODHIGH SCHOOL - CAFETERIA - DAY (SIMON'S FANTASY)<\/stage_direction>\n    <scene_description>Simon gets lunch with his friends. A couple of JOCKS do that BLOW JOB GESTURE at him. Leah flips them off.<\/scene_description>\n    <character>SIMON (V.O.)<\/character>\n    <dialogue>I'm sure a few dicks from school would give me hell because half of Shady Creek is still stuck in the 1950's. But my friends would be fine with it.<\/dialogue>\n    <scene_description>BACK TO REALITY:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S BEDROOM- AFTERNOON<\/stage_direction>\n    <scene_description>Simon continues writing the e-mail.<\/scene_description>\n    <character>SIMON (V.O.)<\/character>\n    <dialogue>So I guess I'll ruminate on what's stopping me and get back to you on it. Ruminate. Pretty good word, huh?<\/dialogue>\n    <parenthetical>(beat, then)<\/parenthetical>\n    <dialogue>As for how I knew I was gay, it was a bunch of little things .\u2022\u2022<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S BEDROOM- NIGHT (FLASHBACK)<\/stage_direction>\n    <scene_description>TWEEN SIMON (12) sleeps soundly in bed.<\/scene_description>\n    <character>SIMON (V,O.)<\/character>\n    <dialogue>... Like this weird dream I had about Daniel Radcliffe.<\/dialogue>\n    <scene_description>Tween Simon wakes up and looks at a Harry Potter poster on his wall, surprised.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S BEDROOM<\/stage_direction>\n    <character>- ANOTHERNIGHT (FLASHBACK)<\/character>\n    <dialogue>SIMON (V,O.)<\/dialogue>\n    <scene_description>And then proceeded to have every night for a month. An exasperated Tween Simon takes down the Harry Potter poster and stuffs it in the trash.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PASSION PIT CONCERT- NIGHT (FLASHBACK)<\/stage_direction>\n    <scene_description>Tween Simon and Alice bop their heads as PASSION PIT sings.<\/scene_description>\n    <character>SIMON (V,O,)<\/character>\n    <dialogue>Or how I was obsessed with Passion Pit in middle school \u2022\u2022\u2022<\/dialogue>\n    <scene_description>He stares at the lead singer, MICHAEL ANGELAKOS,transfixed by his scruffy good looks.<\/scene_description>\n    <character>SIMON (V,O,)<\/character>\n    <dialogue>And then I realized it wasn't really about the music.<\/dialogue>\n    <scene_description>INT, MIDDLE SCHOOLDANCE- DAY (FLASHBACK) Tween Simon awkwardly slow dances with his pretty, EXTREMELY DEVELOPED7TH GRADE GIRLFRIEND. SIMON (V .o.) And then there was my first girlfriend. SIMON'S FIRST GIRLFRIEND leans in and whispers to Simon:<\/scene_description>\n    <character>SIMON'S FIRST GIRLFRIEND<\/character>\n    <dialogue>I think I'm falling in love with you.<\/dialogue>\n    <character>TWEENSIMON<\/character>\n    <dialogue>Wow. Uh, I'll be right back.<\/dialogue>\n    <scene_description>Tween Simon darts out of the gymnasiwn, leaving his confused girlfriend staring after him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIDDLE SCHOOLBATHROOM<\/stage_direction>\n    <character>- CONTINUOUS(FLASHBACK)<\/character>\n    <dialogue>Tween Simon crouches on a toilet so no one can see his feet, and texts his mom: Come pick me up. Kids are drinking alcohol.<\/dialogue>\n    <character>SIMON (V. 0. )<\/character>\n    <dialogue>It wasn't my proudest moment.<\/dialogue>\n    <scene_description>BACK TO REALITY:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S BEDROOM- AFTERNOON<\/stage_direction>\n    <scene_description>Simon finishes up his e-mail to Blue.<\/scene_description>\n    <character>SIMON (V. 0. )<\/character>\n    <dialogue>How about you? How did you know?<\/dialogue>\n    <scene_description>Simon considers how to sign his e-mail.<\/scene_description>\n    <character>SIMON (V .0.)<\/character>\n    <dialogue>Wa:anly, Jacques.<\/dialogue>\n    <parenthetical>(ech)<\/parenthetical>\n    <dialogue>Fondly, Jacques.<\/dialogue>\n    <parenthetical>(nope)<\/parenthetical>\n    <dialogue>Jacques.<\/dialogue>\n    <scene_description>Satisfied, Simon hits SEND.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Nora serves Simon, Denise, and Jack STUFFED PEPPERS that would be right at home in a Michelin star restaurant.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>So after we finish installing all the shower tiles, she decides the black and whi te checks are \"too black and white.\"<\/dialogue>\n    <character>NORA<\/character>\n    <parenthetical>(timid)<\/parenthetical>\n    <dialogue>These are peppers stuffed with barl ey and cremini mushrooms, dusted with parm esan breadcrumbs.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(big bite, not discerning)<\/parenthetical>\n    <dialogue>Tastes great, Nor.<\/dialogue>\n    <parenthetical>(then, back into it)<\/parenthetical>\n    <dialogue>So now she wants marbl e. It's not even the mast er bath?<\/dialogue>\n    <scene_description>Simon's PHONE BUZZES: one new e-mail. He jumps up without th inking . Then:<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Great story, dad. We're out of Sprite. There's a bottle in the basement, so ...<\/dialogue>\n    <scene_description>And he ' s gone \u2022<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S BASEMENT - MOMENTSLATER<\/stage_direction>\n    <scene_description>Simon stan ds in front of a storage shelf holding a two liter of Spri te and reading an e-mail from Blue.<\/scene_description>\n    <character>BLUE (V.O.)<\/character>\n    <dialogue>Jacqu e s, don't worr y . If your proudest moment happened in middle school that woul d be pretty sad.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>For me, I re a lized I liked guys watching Game o f Thr one s.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S BEDROOM- LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Simon is sprawl e d in front of his lap top wat chi ng a TV SHOW.<\/scene_description>\n    <character>BLUE (V.O.)<\/character>\n    <dialogue>My friends were all holding their breaths waiting to see the Dragon Princess's boobs. I was crushing hard on Jon Snow.<\/dialogue>\n    <scene_description>REVEAL Simon is watching an early Game of Thrones episode. Kit Harrington's hair looks super dreamy. Simon gets it.<\/scene_description>\n    <character>BLUE (V,O, )<\/character>\n    <dialogue>Wow. I've n ever to ld that to anyo ne befo re .<\/dialogue>\n    <scene_description>Simo n smile s, touch ed th at Blu e h as conf ided in him. He c licks over to Gmail and repl ies to Bl ue:<\/scene_description>\n    <character>S IMON ( V. 0 \u0080\ufffd )<\/character>\n    <dialogue>Well , I've neve r to l d anyone about my Daniel Radcliffe phase, so now we'r e ev en. And f or the recor d, I think th is J on Snow guy is an excel lent choice fo r your s e xual awake ni ng. I wish we 'd sta rt ed e - mailing a mont h ago, I tot ally would' v e been him fo r Hall oween. But peop l e probably woul d ' v e j us t though t I was th e singer Lorde . Who did you dre ss up as?<\/dialogue>\n    <scene_description>Simon hit s SEND. INT . CREEKWOOD<\/scene_description>\n    <character>HIGH SCHOOL - HALLS - THE NEXT MORNIN<\/character>\n    <dialogue>G<\/dialogue>\n    <scene_description>Simo n, Ni c k, Abby, and Le ah fight th eir way th r ough the crush of k ids headi ng to homeroom . Simo n t ake s in the HUNDREDSOF MALE CREEKWOOD STUDENTS . QUICK CUTS of FACE a fter FACE aft er FACE, fas te r and fa st er and faste r . Lit era ll y any one of th em co u l d be Blu e . They p ass a CUTE DORKYGUY pu tti ng b ooks in his loc ker . Simon not i ces t h e guy has a Game of Thro nes poster taped in si de i t . Just as Simon is wondering if he coul d be Bl ue , he pa sses anoth er guy wearing a Game of Thrones t -shir t . Hope l es s. Simon goes to ta ke out hi s ph one when he sp ots Mr. Wort h app roac hi ng. He pocke ts the pho ne, spli ts away fro m hi s frie nd s , and enter s: I NT. CREEKWOOD<\/scene_description>\n    <character>HIGH SCHOOL - LI BRARY - DAY<\/character>\n    <dialogue>He sits down at a computer and ea ger ly logs into hi s \"no t etonote \" Gmail , wher e he fin ds a new mes sage from Blue.<\/dialogue>\n    <character>BLUE (V . 0,)<\/character>\n    <dialogue>I di dn 't dr ess up this yea r. For me, Hallo ween is r eal ly a ll about the Reese's .<\/dialogue>\n    <scene_description>Simon scrolls down to find a photo attached to the e-mail. It's LORDE'S HEAD Photoshopped onto JON SNOW'S SHIRTLESS BODY. Simon laughs.<\/scene_description>\n    <character>BLUE (V ,0,)<\/character>\n    <dialogue>Here's a mock-up of your Halloween costume for next year. You're welcome. Blue.<\/dialogue>\n    <scene_description>Simon sits with a DAZED SMILE. The Librarian passes by \u2022\u2022\u2022<\/scene_description>\n    <character>LIBRARIAN<\/character>\n    <dialogue>You certainly look happy today, Mr. Spier.<\/dialogue>\n    <scene_description>Simon immediately stops smiling. Once the Librarian is far enough away, he Google images a photo of a HUGE PILE OF REESE'S CUPS and drags it into the e-mail. The BELL rings.<\/scene_description>\n    <character>LIBRARIAN<\/character>\n    <dialogue>Everybody get to homeroom!<\/dialogue>\n    <scene_description>Simon hurriedly writes:<\/scene_description>\n    <character>SIMON (V.O.)<\/character>\n    <dialogue>Reese's are better than sex.<\/dialogue>\n    <character>LIBRARIAN<\/character>\n    <parenthetical>(to Simon)<\/parenthetical>\n    <dialogue>That means you, Smiley.<\/dialogue>\n    <scene_description>Simon sends the e-mail and hurries off to class. INT, CREEKWOODHIGH SCHOOL - CAFETERIA - DAY Simon tears into a pack of REESE'S CUPS at lunch with his friends. Bram sits down with his tray.<\/scene_description>\n    <character>BRAM<\/character>\n    <parenthetical>(re: Reese's)<\/parenthetical>\n    <dialogue>Man, I love those.<\/dialogue>\n    <scene_description>Simon looks from his Reese's to Bram. He's stunned. Could his totally unattainable soccer crush be Blue?<\/scene_description>\n    <character>BRAM<\/character>\n    <dialogue>So, good news. My aunt's boyfriend just took off with her car and all her jewelry--<\/dialogue>\n    <character>GARRETT<\/character>\n    <dialogue>Dude, that's terrible!<\/dialogue>\n    <character>BRAM<\/character>\n    <dialogue>I know. But this is the third time it's happened. She has really bad taste in guys. My mom is going down to Orlando to deal with it which means I get to throw a party.<\/dialogue>\n    <scene_description>He flashes them all a shy smile. Simon smiles back, total ly charmed by Bram's enthusiasm.<\/scene_description>\n    <character>GARRETT<\/character>\n    <dialogue>Aw, sweetness! Thank you Bram's stupid aunt! Let's get a mini keg. No, two mini kegs.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Why don't we just get a regular keg?<\/dialogue>\n    <character>GARRETT<\/character>\n    <dialogue>Yes! And a vodka luge!<\/dialogue>\n    <scene_description>As Garrett continues to ramble on excitedly, Simon can't help but feel like Bram's eyes are lingering on him. Off Simon, unsure ...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOODHIGH SCHOOL - CLASSROOM - DAY<\/stage_direction>\n    <scene_description>Simon sits in class, sneakily reading a new Blue e-mail on his phone. He now imagines Bram's voice narrating . BRAM (V .o,) Really, Jacques? Reese's are better than sex? I'm not speaking from experience, but I sincerely hope you're wrong. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRAM'S BEDROOM - DAY (SIMON'S FANTASY)<\/stage_direction>\n    <scene_description>We're in the same, blue-walled bedroom, but now it belongs to Bram. Because Blue is now Bram in Simon's mind. A shirtless Bram speaks directly to camera. He licks some melted chocolate off his fingers.<\/scene_description>\n    <character>BRAM<\/character>\n    <dialogue>Although if sex is chocolatey, and salty, and sweet ...<\/dialogue>\n    <parenthetical>(signature shy smile)<\/parenthetical>\n    <dialogue>I guess tha t wouldn't be too bad ...<\/dialogue>\n    <scene_description>BACK TO REALITY:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOOD<\/stage_direction>\n    <character>HIGH SCHOOL- CLASS ROOM-<\/character>\n    <dialogue>Simon shifts INT. CREEKWOOD<\/dialogue>\n    <character>DAY<\/character>\n    <dialogue>in his<\/dialogue>\n    <scene_description>HIGH SCHOOL- AUDITORIUM- DAY The Oliver cast build sets and hang lights. Taylor approaches Simon and Abby who are painting a backdrop of London.<\/scene_description>\n    <character>TAYLOR<\/character>\n    <dialogue>Do you guys think I should cut my hair short to play Oliver?<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Aren't you wearing a hat the entire time?<\/dialogue>\n    <character>TAYLOR<\/character>\n    <dialogue>Yeah, but I read that when Daniel Day Lewis played that paralyzed guy in My Left Foot he made the crew carry him around and feed him with a little spoon.<\/dialogue>\n    <scene_description>Abby and Simon stare at Taylor. After a moment:<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>In that case, yeah. You should cut your hair.<\/dialogue>\n    <character>TAYLOR<\/character>\n    <parenthetical>(instantly panicked)<\/parenthetical>\n    <dialogue>Really? My hair is kind of my thing.<\/dialogue>\n    <character>SIMON<\/character>\n    <parenthetical>(has to get away from her)<\/parenthetical>\n    <dialogue>I'm gonna get some more paint.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOOD<\/stage_direction>\n    <scene_description>HIGH SCHOOL- DRAMASUPPLY CLOSET - DAY Simon rummages through the shelves looking for the right can of paint.<\/scene_description>\n    <character>MARTIN (O,S.)<\/character>\n    <dialogue>Simon?<\/dialogue>\n    <scene_description>Simon whirls around, startled. Martin (our pun-shirted Fagin) stands behind him with a strange, nervous look.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Jesus, Martin. You scared me. What's up?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>I used the computer in the library right after you.<\/dialogue>\n    <character>SIMON<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>Okay?<\/dialogue>\n    <scene_description>Martin shuffles awkwardly. Then:<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>When I went to Gmail, it pulled up your account. And I read some of your e-mails. I shouldn't have done it, but they were all just like, right there.<\/dialogue>\n    <scene_description>Simon stares at Martin, his mind racing as he realizes Martin now knows he's gay.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>It'll probably interest you to know my brother is gay.<\/dialogue>\n    <scene_description>Simon struggles to keep his voice from trembling.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>No, Martin. That does not interest me to know.<\/dialogue>\n    <scene_description>Simon takes his paint and turns to go.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Simon, calm down. I'm not going to show anyone.<\/dialogue>\n    <scene_description>Simon stops, turns back around to face Martin.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Show anyone what?<\/dialogue>\n    <scene_description>Martin can't meet Simon's eyes. Simon starts to panic.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Did you print my e-mails or something?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>No, I ... took a screenshot.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Why the hell would you take a screenshot of my e-mails?<\/dialogue>\n    <scene_description>Martin does his awkward shuffle again.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>You and Abby Suso are like, best friends, right?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>We're friends, we're not best friends. What does that have to do with anything?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>I need you to ... help me talk to her, And to, y'know, hang out with her.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>What? Why would I help you do that?<\/dialogue>\n    <scene_description>Martin stares at Simon, not wanting to say it.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Oh my god. Are you blackmailing me?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Don't be so dramatic. It's not like that. I just like her and I need your help.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>And what if I say no? You'll tell the whole school I'm gay? You'll leak my e-mails? Post them on Creeksecrets?<\/dialogue>\n    <scene_description>Martin doesn't respond. Simon realizes that's exactly what Martin will do. Finally, Martin speaks.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>I think we're in a position to help each other out is all. Just think about it.<\/dialogue>\n    <scene_description>Martin walks out, leaving a spiraling Simon in his wake.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \/EXT.SIMON'S CAR\/ SHADYCREEK STREET - DAY<\/stage_direction>\n    <scene_description>Simon drives home in a daze. He blows a stop sign and doesn't even notice till someone HONKSat him. Simon gestures a vacant apology.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S HOUSE - KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Family dinner. Simon stares off into space as Jack, Denise, and Nora laugh and swap stories. Their voices sound A MILLION MILES AWAY.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIMON'S NEIGHBORHOOD - NIGHT<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>SIMON WALKS BIEBER. SUDDENLY, HE STARTS TO SPRINT.<\/stage_direction>\n    <scene_description>He runs until his lungs are burning. He falls to his knees, gasping for air. Bieber licks his face, oblivious.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S ROOM - MORNING<\/stage_direction>\n    <scene_description>Simon's ALARM goes off. He wakes with a start. And then, yesterday's events come rushing back to him.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <scene_description>Simon checks his phone: a new e-mail from Blue. He begins to read it ...<\/scene_description>\n    <character>BRAM (V.O.)<\/character>\n    <dialogue>Jacques, I have to get something off my chest. The other day you asked me who I was for Halloween and I told you I didn't dress up. I lied.<\/dialogue>\n    <scene_description>Simon straightens up, worried about where this is going.<\/scene_description>\n    <character>BRAM (V,O.)<\/character>\n    <dialogue>The truth is, I didn't want you to know my costume. If you did, you could just click through Facebook photos and figure out who I am.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOODHIGH SCHOOL - HALLWAY- DAY (SIMON'S FANTASY)<\/stage_direction>\n    <scene_description>Simon, Leah, Nick and Abby walk down the hall in SLOW MO.<\/scene_description>\n    <character>BRAM (V.O,)<\/character>\n    <dialogue>Right now these e-mails feel like this totally safe place where I can tell you anything. And they won't feel that way anymore if we know each other's identities. I'm just not ready.<\/dialogue>\n    <scene_description>They pass Bram and his SOCCER BUDDIES. Simon and Bram stare straight ahead, ignoring each other.<\/scene_description>\n    <character>BRAM {V.O.)<\/character>\n    <dialogue>Do you ever feel locked in your own body? Like there are things you are absolutely dying to do and say ...<\/dialogue>\n    <scene_description>Suddenly, Bram turns around and begins to run towards Simon. But before he reaches him he stops, FROZEN. BRAM (V .o.) But for some reason, you just can't? BACK TO REALITY:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S ROOM - MORNING<\/stage_direction>\n    <scene_description>Simon sighs. He imagines \u2022\u2022\u2022 CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOODHIGH - DRAMACLOSET - DAY (SIMON'S FANTASY)<\/stage_direction>\n    <scene_description>We're back in the moment where Martin blackmailed Simon.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>It'll probably interest you to know, my brother is gay.<\/dialogue>\n    <scene_description>Simon stares at Martin for a beat. Then, Simon does what he's dying to do: he PUNCHES Martin right in the face. For a brief moment, he is triumphant. But then, his fist moves backwards as if in REWIND. Martin gets up, rights himself. And Simon says what he actually said:<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>No Martin. That does not interest me to know.<\/dialogue>\n    <scene_description>BACK TO REALITY:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S ROOM - MORNING<\/stage_direction>\n    <scene_description>Simon writes back to Blue.<\/scene_description>\n    <character>SIMON ( V . 0 . )<\/character>\n    <dialogue>Yes, Blue. I know just what you mean.<\/dialogue>\n    <scene_description>Simon hits SEND.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOOD<\/stage_direction>\n    <scene_description>HIGH SCHOOL- LOCKERS - DAY Simon watches from afar as Martin struggles to close his locker which is overflowing with old gym clothes and empty soda cans. Martin pulls out a very questionable sandwich, considers eating it. Simon approaches.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>If you want me to help you get with Abby, you cannot eat that.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>So you're going to help me?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Martin instantly warms up, as if he wasn't blackmailing Simon in a supply closet just yesterday.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>This is awesome! I really think Abby and I are meant to be.<\/dialogue>\n    <character>SIMON<\/character>\n    <parenthetical>(dryly)<\/parenthetical>\n    <dialogue>Really? Do you?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Not everything is about looks, Simon.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>So you're banking on your great, blackmail-y personality getting the job done?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>That's hurtful.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Don't care. Do you want to come with us to Bram's party this weekend?<\/dialogue>\n    <scene_description>Martin lights up.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>I love it, It's so simple, I bet that's why they call you Simple Simon.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>No one calls me that, Martin.<\/dialogue>\n    <scene_description>Simon turns to leave. Martin goes to take a bite of his old sandwich.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Don't eat that sandwich, Martin.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NICK'S BASEMENT- NIGHT<\/stage_direction>\n    <scene_description>Simon and his friends are sprawled out, snacking on chips and drinking sodas pre-Bram's party.<\/scene_description>\n    <character>LEAH<\/character>\n    <dialogue>When should we head to Bram's?<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Let's give it an hour. We don't want to get there when it's just Bram and the soccer dweebs.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Hey! I'm one of the soccer dweebs.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Oh, I know. If I have to listen to you brag about your epic bicycle kick one more time--<\/dialogue>\n    <scene_description>Nick throws a pillow at Abby and she shrieks.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Do you even know what a bicycle kick is? It's insanely difficult to execute!<\/dialogue>\n    <scene_description>Simon clocks Leah's discomfort as Nick and Abby flirt.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Leah, let's go make those frozen pizzas.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NICK'S KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Simon and Leah pull Trader Joe's pizzas out of the oven,<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Excited for the party?<\/dialogue>\n    <character>LEAH<\/character>\n    <dialogue>You mean am I excited to stand amongst our sweaty peers, be too self-conscious to dance and pretend to like the taste of beer?<\/dialogue>\n    <parenthetical>(beat, obvious lying)<\/parenthetical>\n    <dialogue>Totally!<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Why would you be self-conscious? You're like the coolest person in our school.<\/dialogue>\n    <scene_description>Leah snorts like, \"as if.\"<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>I'm serious. Look at you.<\/dialogue>\n    <scene_description>Simon drags her over to a wall mirror and they both take in her stylish, homemade outfit.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>You're like, effortlessly cool.<\/dialogue>\n    <character>LEAH<\/character>\n    <dialogue>I'm pretty sure you're the only person that feels that way.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Well, it's true. Ever since you made yourself that macaroni headband in kindergarten, you've been a trendsetter.<\/dialogue>\n    <character>LEAH<\/character>\n    <dialogue>Also known as the day you had to go to the hospital.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Yup. Nick told me if I shoved the macaroni deep enough in my nose a mac and cheese tree would grow out of my head. He was very convincing.<\/dialogue>\n    <scene_description>Leah grins. After a moment:<\/scene_description>\n    <character>LEAH<\/character>\n    <dialogue>I'm sorry I've been weird lately.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I get it. It's been just you, me, and Nick for so long. And now Abby's here.<\/dialogue>\n    <character>SIMON<\/character>\n    <parenthetical>(gently, for Leah)<\/parenthetical>\n    <dialogue>It's different.<\/dialogue>\n    <scene_description>Leah stares at him. It seems like she wants to say more. But the moment is interrupted by the DOORBELL,<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NICK'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Simon and Leah enter as Nick and Abby come upstairs.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Who's that?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I invited Martin.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Martin Addison?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>SIMON<\/character>\n    <parenthetical>(barely selling it)<\/parenthetical>\n    <dialogue>He's cool.<\/dialogue>\n    <scene_description>Simon opens the door to reveal Martin wearing one of his iconic pun shirts (this one says I'M A FUNGI with a picture of a MUSHROOMIN SUNGLASSES.) He's not even cool adjacent.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Evening, Spier. Ready to party?<\/dialogue>\n    <scene_description>Simon stares at Martin's shirt, perturbed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \/EXT.LEAH'S CAR\/ SHADY CREEK STREETS - NIGHT<\/stage_direction>\n    <scene_description>Leah drives with Simon riding shotgun. Abby is sandwiched between Nick and Martin in the back. She scrolls through Spotify on her phone.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Would you just pick a song already!<\/dialogue>\n    <character>ABBY<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>It's hard! There are so many choices.<\/dialogue>\n    <scene_description>Martin sees an opening to connect with Abby \u2022\u2022\u2022<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>You should see me try and choose a film on Netflix.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Am I feeling like Apatow or am I in a Billy Wilder mood? Not like you have to be in a mood for the genius of Billy--<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(ignoring Martin)<\/parenthetical>\n    <dialogue>Just put on Drake! You're black, I've been to Canada. A little something for everybody.<\/dialogue>\n    <scene_description>Abby laughs. As they continue to flirt, Martin mumbles to himself,<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>\u2022\u2022\u2022 sometimes if I can't decide I watch Knocked Up and Sunset Boulevard.<\/dialogue>\n    <scene_description>Simon shakes his head. This is not going well for Martin.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRAM'S STREET - NIGHT<\/stage_direction>\n    <scene_description>Everyone gets out of the car and walks toward Bram's. As the gang charges towards the party, Martin pulls Simon aside.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>What the hell, Spier? Nick won't stop flirting with Abby.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I don't know what to tell you.<\/dialogue>\n    <character>MARTIN<\/character>\n    <parenthetical>(annoyed)<\/parenthetical>\n    <dialogue>Tell me you'll make him stop.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>How am I supposed to--<\/dialogue>\n    <scene_description>But Martin is already hurrying after Abby. Simon sighs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRAM'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>A who's who of the Junior class dancing, flirting, and drinking very cheap flavored vodka. Simon, Nick, and Leah enter trailed by Martin who regales Abby with more hyper-specific conversation:<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>... but I think Gilda Radner was the greatest SNL member of all time.<\/dialogue>\n    <character>ABBY<\/character>\n    <parenthetical>(polite)<\/parenthetical>\n    <dialogue>Wow, you know a lot about sketch comedy.<\/dialogue>\n    <scene_description>Abby spots a friend across the party.<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>Chloe, hi!<\/dialogue>\n    <scene_description>Abby takes Leah's hand and drags her away with her. Martin considers for a moment. Then he follows after the girls. Bram approaches Simon and Nick. Simon automatically smooths down his hair nervously.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>This party is crazy!<\/dialogue>\n    <character>BRAM<\/character>\n    <dialogue>I know. I invited like fifteen people. And then Garrett invited the rest of the school. I think most of these people think we're at his house.<\/dialogue>\n    <scene_description>ACROSS THE ROOM, a drunk Garrett karaokes to Beyonce.<\/scene_description>\n    <character>GARRETT<\/character>\n    <dialogue>What's worse, looking jealous or crazy? Jealous or crazy?<\/dialogue>\n    <character>RANDOMKID<\/character>\n    <dialogue>Great party, Garrett!<\/dialogue>\n    <character>GARRETT<\/character>\n    <dialogue>Thanks, Benji!<\/dialogue>\n    <scene_description>BACK ON Simon, Nick, and Bram:<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>How about a shot? To your party.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>And your aunt finding a man who isn't a con artist.<\/dialogue>\n    <scene_description>Bram smiles. Nick grabs a bottle of FIREBALL WHISKEY and pours TWO SHOTS, assuming Simon doesn't want one.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Uh, I'll have one too.<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(surprised)<\/parenthetical>\n    <dialogue>Really? You couldn't even finish a glass of Manischewitz at Leah's seder.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Just give me the shot, Nick.<\/dialogue>\n    <character>BRAM<\/character>\n    <dialogue>I've found it helps not to breathe through your nose until it's all the way down. Then you pretend you loved it and go \"whooo!\"<\/dialogue>\n    <scene_description>Simon nods, grateful for Bram's candor. Nick hands Simon a shot glass. They all down their shots. There's a CRASH in the next room.<\/scene_description>\n    <character>BRAM<\/character>\n    <dialogue>Oh god, I hope that wasn't one of my mom's porcelain owls. She does not have a sense of humor about those.<\/dialogue>\n    <scene_description>He hurries into the crowd. Simon stares after him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRAM'S BACKYARD- NIGHT<\/stage_direction>\n    <scene_description>Simon and Nick step out onto a deck overlooking PARTYGOERSin the yard below. Nick can't take his eyes off of Abby, who whips and nae naes with a group of GIRLS. Including Leah, who awkwardly snaps her fingers to the music, trying her best to cut loose.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Abby is so hot it's insane.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Yeah, she's ... unstoppable.<\/dialogue>\n    <scene_description>Suddenly, Nick looks worried,<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Wait, you're not, like, into her, are you?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Nah. She's hot but she's not, uh, my type.<\/dialogue>\n    <parenthetical>(then, quickly)<\/parenthetical>\n    <dialogue>Not because she's black. I love black women.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Not like, I have a thing for black women. I just love all women,<\/dialogue>\n    <scene_description>Simon grimaces at his awkwardness. But Nick doesn't notice.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>The other day, she missed her bus to stay and help me make a list of all the colleges that have soccer scholarships. And she's the only person whose eyes don't glaze over when I recap my dreams.<\/dialogue>\n    <parenthetical>(resolved)<\/parenthetical>\n    <dialogue>I'm gonna ask her out.<\/dialogue>\n    <scene_description>Shit. Simon glances down at Martin, desperately trying to dance with Abby. She's focused on her circle of girlfriends and has no idea that he's even there. Simon can't let Nick get in the way of Martin's pursuit of Abby. So .\u2022\u2022<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>You can't ask Abby out.<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(surprised)<\/parenthetical>\n    <dialogue>Why not?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Because ..\u2022<\/dialogue>\n    <scene_description>Simon racks his brain for a reason. Unfortunately, the only one he can think of is a lie.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Look. At her old school, Abby had kind of a reputation.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>What kind of reputation?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>For being ... experienced. She hooked up with a ton of guys.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Oh. I didn't know that.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>And have you seen her old Facebook photos?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>It's like everyone at that school was a seven foot tall black dude. So she probably has very high standards ... sexually.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>But I've only had sex once.<\/dialogue>\n    <character>SIMON<\/character>\n    <parenthetical>(meaningfully)<\/parenthetical>\n    <dialogue>I know.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>And I could barely figure out where my dick went.<\/dialogue>\n    <character>SIMON<\/character>\n    <parenthetical>(gravely)<\/parenthetical>\n    <dialogue>I know.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I mean, I knew where it went, but no one tells you how dark it's gonna be. Or how slippery everything gets. And how parts that you think are the right parts are actually the other parts. And then by the time I figured it out, it was over.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I think she's used to guys who know<\/dialogue>\n    <scene_description>which parts are the right parts.<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(hating himself)<\/parenthetical>\n    <dialogue>I don't blame her.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Don't tell her I told you about how many guys she's been with, okay? She'd be super embarrassed.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Yeah, of course.<\/dialogue>\n    <parenthetical>(overwhelmed)<\/parenthetical>\n    <dialogue>I'm gonna go get another drink.<\/dialogue>\n    <scene_description>Silnon watches Nick go, then glances down at Abby, happily dancing. He feels like shit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRAM'S BACKYARD- LATER<\/stage_direction>\n    <scene_description>Simon comes down from the deck onto the lawn where Bram is setting up a BEER PONG TABLE with Abby.<\/scene_description>\n    <character>BRAM<\/character>\n    <dialogue>Abby says it's not a real party until there's beer pong.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>That's right. Words to live by.<\/dialogue>\n    <character>BRAM<\/character>\n    <dialogue>You wanna play?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>sure.<\/dialogue>\n    <character>BRAM<\/character>\n    <dialogue>Cool. We need one more.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Hey. How about you and me versus Abby and ...<\/dialogue>\n    <parenthetical>(fake scans the crowd)<\/parenthetical>\n    <dialogue>Martin. Martin, come over here!<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>No, don't--<\/dialogue>\n    <scene_description>But it's too late. Martin bounds over.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Martin, you're on Abby's team.<\/dialogue>\n    <scene_description>Abby shoots Simon an annoyed look. Simon gives an innocent shrug.<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>Have you ever even played beer pong before?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Totally.<\/dialogue>\n    <character>ABBY<\/character>\n    <parenthetical>(to everyone, no BS)<\/parenthetical>\n    <dialogue>Great. No blowing, two re-racks, two balls in one cup means you drink three. Cool?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Actually, I was thinking of a different game. I've never played.<\/dialogue>\n    <character>BRAM<\/character>\n    <parenthetical>(gently)<\/parenthetical>\n    <dialogue>We'll explain as we go.<\/dialogue>\n    <character>ABBY<\/character>\n    <parenthetical>(not gently)<\/parenthetical>\n    <dialogue>Simon and Martin, shoot to decide who goes first. You can't break eye contact. Whoever gets their ball in wins.<\/dialogue>\n    <scene_description>Bram hands Simon and Martin each a ping pong ball. He pats Simon on the back, his hand lingering on his shoulder.<\/scene_description>\n    <character>BRAM<\/character>\n    <dialogue>You got this.<\/dialogue>\n    <scene_description>Simon turns from the adorable soccer player to face the nerd threatening to ruin his life, He is DETERMINED TO WIN THIS SHOOT OFF. Simon focuses, aims, tosses, and ... GETS HIS BALL IN A CUP! Martin's ball meanwhile flies across the yard in the complete wrong direction, hitting a--<\/scene_description>\n    <character>PARTYGOER<\/character>\n    <dialogue>ow, what the hell!<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Sorry!<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I got it in!<\/dialogue>\n    <character>BRAM<\/character>\n    <dialogue>I saw!<\/dialogue>\n    <scene_description>And with this, MUSIC KICKS IN for a SEQUENCE intercutting Simon's beer pong game with moments of Simon thriving at the party, emerging from his shell a bit, and getting DEEE-RUNK.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEER PONG TABLE - NIGHT<\/stage_direction>\n    <scene_description>Simon shoots and gets a ball in a cup. He's a natural!<\/scene_description>\n    <character>BRAM<\/character>\n    <dialogue>Drink, Martin!<\/dialogue>\n    <parenthetical>(to Simon)<\/parenthetical>\n    <dialogue>We need a handshake.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>We do need a handshake!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRAM'S BACKYARD- NIGHT<\/stage_direction>\n    <scene_description>Simon does Big Sean's rap from Justin Bieber's \"As Long As You Love Me\" for a crowd of KIDS. He is surprisingly good.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Now we on top of the world, 'Cause that's just how we do. Used to tell me sky's the limit Now the sky's our point of view!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEER PONG TABLE - NIGHT<\/stage_direction>\n    <scene_description>Bram gets a ball in a cup. They do an elaborate handshake they've apparently just made up.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Should we have a handshake too?<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>You get one ball in, we'll make up a handshake.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRAM'S BACKYARD- NIGHT<\/stage_direction>\n    <scene_description>Simon grabs Leah and pulls her onto the grass where a bunch of kids are dancing. She gives in and starts actually having fun. EXT, BEER PONG TABLE - LATER Bram gets in a shot and Martin has to chug a beer. He sways a little, already kind of drunk.<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>Do you want me to drink for you?<\/dialogue>\n    <character>MARTIN<\/character>\n    <parenthetical>(trying for swagger)<\/parenthetical>\n    <dialogue>I can hold my own, kiddo.<\/dialogue>\n    <scene_description>He THROWSthe ball.<\/scene_description>\n    <character>SPECTATOR<\/character>\n    <dialogue>It's not your turn, Mar-tard!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRAM'S BACKYARD- NIGHT<\/stage_direction>\n    <scene_description>Simon watches as Bram surveys the snack table then pops a REESE'S PEANUT BUTTER CUP into his mouth. Simon is feeling like Bram is totally Blue.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEER PONG TABLE - LATER<\/stage_direction>\n    <scene_description>Simon and Bram have one cup to go. Simon is up. If he makes the shot, they win.<\/scene_description>\n    <character>BRAM<\/character>\n    <dialogue>You got this.<\/dialogue>\n    <scene_description>Simon takes a deep breath, focuses, and shoots the ball. And he gets it in!<\/scene_description>\n    <character>BRAM<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <scene_description>Simon and Bram share a quick victory hug. Simon is totally feeling their chemistry.<\/scene_description>\n    <character>BRAM<\/character>\n    <dialogue>I'm gonna go make us victory drinks. Be right back.<\/dialogue>\n    <scene_description>Bram heads inside. A wasted Martin approaches Simon.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>I think tonight is going well. She didn't want to see my ventriloquist act but that actually works out because I don't have my dummy with--<\/dialogue>\n    <scene_description>Before Martin can finish, he BARFS all over. A little of it splatters on Simon's shoes.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Daronit, Martin.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRAM'S HOUSE - UPSTAIRS HALL - NIGHT<\/stage_direction>\n    <scene_description>Simon carries his barf-covered shoes as he drunkenly searches for the bathroom door. He opens it. Except it isn't the bathroom. It's a \u2022\u2022.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM- NIGHT<\/stage_direction>\n    <scene_description>..\u2022 where Bram is making out with a HOT SOPHOMOREGIRL, who is aggressively unzipping his pants. Bram starts to unhook her bra. Simon stands there in shock. Bram looks up, notices Simon.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>I, uh-- sorry. Bathroom. Bye.<\/dialogue>\n    <scene_description>Simon slams the door shut, He sighs. Guess Bram wasn't Blue after all. Fuck.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRAM'S YARD - NIGHT<\/stage_direction>\n    <scene_description>A spent Simon comes outside to find Martin passed out, Nick sitting alone spiraling about his lack of sexual experience, and Abby dancing with Garrett and Leah. Simon approaches,<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>No, that is definitely not it.<\/dialogue>\n    <character>GARRETT<\/character>\n    <parenthetical>(spastically dancing)<\/parenthetical>\n    <dialogue>Simon, tell them that this is the Macarena.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I got thrown up on. Can we go home?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIMON'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Abby and Simon say goodbye to Leah who is in her car.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Thanks<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>for<\/dialogue>\n    <scene_description>Abby and Simon approach Simon's front door. A light is stil l on in the living room.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Oh god. I think my parents are still up. Do I seem drunk?<\/dialogue>\n    <scene_description>Simon struggles not to sway.<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>Yes. Just stand strong, like a tree. And think of something sad. Like that documentary about how all the whales hate living at Sea World.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I can't think about that. Too sad.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Exactly. And here.<\/dialogue>\n    <scene_description>Abby takes a JAR OF PEANUT BUTTER out of her purse, scoops a dollop out with her finger and offers it to Simon.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Uh, no thanks?<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>It's to cover up the booze on your breath. Which right now smells like my Uncle Lester when the Braves lose a game. Or win a game.<\/dialogue>\n    <scene_description>Simon takes a scoop. Through a mouthful of peanut butter:<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>You're my smartest friend. You should get an award. For outstanding friendship smartness and intelligence,<\/dialogue>\n    <scene_description>Abby wipes a glob of peanut butter from Simon's upper lip.<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>Let me do the talking, 'kay?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Simon and Abby enter. Denise and Jack are watching a movie.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>Hi, guys. How was the party?<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Great.<\/dialogue>\n    <scene_description>Denise sniffs the air.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>Why does it smell like peanut butter?<\/dialogue>\n    <character>SIMON<\/character>\n    <parenthetical>(drunk\/guilty)<\/parenthetical>\n    <dialogue>What? No, it doesn't! Maybe you're having a stroke.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Okay, good night! Thanks for letting me stay over!<\/dialogue>\n    <scene_description>Abby drags Simon out of the room. Once they're gone:<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>He's a little drunk, right?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Definitely. But he didn't drive and he made it home by curfew. So I'd say we're killing it.<\/dialogue>\n    <scene_description>Denise nods in agreement. Then:<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>Do you think we should have Abby sleep on the couch?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Nah, there's nothing to worry about. She's way out of his league.<\/dialogue>\n    <scene_description>Denise gives Jack a shove.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S ROOM- NIGHT<\/stage_direction>\n    <scene_description>Abby snores soundly on a sleeping bag on the floor. Simon is in bed, wide awake, mind reeling. He takes out his iPhone and opens a new e-mail. He begins to type quickly, the words pouring out of him:<\/scene_description>\n    <character>SIMON (V.O.)<\/character>\n    <dialogue>Dear Blue, I've been thinking about why I haven't come out yet. Maybe it's because it doesn't seem fair that only gay people have to come out. Why is straight the default?<\/dialogue>\n    <scene_description>Simon stares over at Abby, sleeping peacefully. He imagines a SEQUENCE of his best friends \"coming out\" ... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABBY'S APARTMENT - DAY (SIMON'S FANTASY)<\/stage_direction>\n    <scene_description>Abby approaches her MOM, who is drinking coffee at the kitchen counter.<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>Mom, there's something I have to tell you.<\/dialogue>\n    <scene_description>Abby's Mom looks alarmed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NICK'S HOUSE - DAY (SIMON'S FANTASY)<\/stage_direction>\n    <scene_description>Nick approaches his PARENTS, watching television the couch.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Guys. Um, can we talk?<\/dialogue>\n    <scene_description>Nick's Mom shuts off the TV, concerned.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEAH'S HOUSE - DAY (SIMON'S FANTASY)<\/stage_direction>\n    <scene_description>Leah eats dinner with her ENTIRE FAMILY. She taps on her GLASS to get them to quiet down:<\/scene_description>\n    <character>LEAH<\/character>\n    <dialogue>There's something I need to say.<\/dialogue>\n    <scene_description>QUICK CUTS as Leah, Nick, and Abby, \"come out.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABBY'S HOUSE - DAY (SIMON'S FANTASY)<\/stage_direction>\n    <character>ABBY<\/character>\n    <dialogue>I'm straight.<\/dialogue>\n    <scene_description>Abby's Morn BURSTS INTO TEARS. She crosses herself.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NICK'S HOUSE - DAY (SIMON'S FANTASY)<\/stage_direction>\n    <character>NICK<\/character>\n    <parenthetical>(deep breath, then)<\/parenthetical>\n    <dialogue>I like girls.<\/dialogue>\n    <scene_description>Nick's Morn takes Nick's Dad's hand.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEAH'S HOUSE - NIGHT (SIMON'S FANTASY)<\/stage_direction>\n    <character>LEAH<\/character>\n    <dialogue>I have a crush on Nick. Because ..\u2022 I'm into guys.<\/dialogue>\n    <scene_description>Leah's family looks STUNNED. Leah's Dad walks out of the room, furious. Leah hangs her head, devastated. BACK TO REALITY:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S ROOM- NIGHT<\/stage_direction>\n    <scene_description>Simon continues writing to Blue.<\/scene_description>\n    <character>SIMON (V.O.)<\/character>\n    <dialogue>Or maybe it's because I'm tired of coming out. I keep changing in all these tiny ways.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOOD<\/stage_direction>\n    <scene_description>HIGH SCHOOL- CAFETERIA - DAY (FLASHBACK) Simon introduces Abby to Leah and Nick for the first time.<\/scene_description>\n    <character>SIMON (V.O.)<\/character>\n    <dialogue>I make a new friend.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRAM'S PARTY - EARLIER THAT NIGHT (FLASHBACK)<\/stage_direction>\n    <scene_description>Simon takes his first shot of Fireball.<\/scene_description>\n    <character>SIMON ( V \u0080\ufffd 0 \u0080\ufffd )<\/character>\n    <dialogue>I get drunk.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S ROOM- DAY (FLASHBACK)<\/stage_direction>\n    <scene_description>Simon locks his bedroom door.<\/scene_description>\n    <character>SIMON ( V \u0080\ufffd 0 \u0080\ufffd )<\/character>\n    <dialogue>I start locking my door so I can fantasize about someone I've never even met.<\/dialogue>\n    <scene_description>He lies on his bed and slides his hand down his pants. BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S ROOM- NIGHT<\/stage_direction>\n    <scene_description>Simon continues his e-mail:<\/scene_description>\n    <character>SIMON (V \u0080\ufffd 0 \u0080\ufffd )<\/character>\n    <dialogue>And every single time, I have to reintroduce myself to the world all over again.<\/dialogue>\n    <scene_description>Simon takes a moment to consider. Then, he keeps writing:<\/scene_description>\n    <character>SIMON (V.O.)<\/character>\n    <dialogue>There's not that much of high school left.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \/ EXT. SIMON'S CAR\/ CREEKWOODHIGH - DAY (FLASHBACK)<\/stage_direction>\n    <scene_description>Simon, Nick, and Leah drive into school with iced coffees, their classic morning routine. They laugh and joke with the ease of lifelong friends.<\/scene_description>\n    <character>SIMON ( V. 0 \u0080\ufffd )<\/character>\n    <dialogue>And part of me wants to hold on to who I've always been, just a little longer.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DORMROOM- DAY (SIMON'S FANTASY)<\/stage_direction>\n    <scene_description>Simon's ROOMMATE hangs a sexy EMILY RATAJKOWSKIPOSTER above his bed.<\/scene_description>\n    <character>SIMON (V .O.)<\/character>\n    <dialogue>And then in college, I'll be gay and proud, I promise.<\/dialogue>\n    <scene_description>Simon hangs a MICHAEL ANGELAKOS PASSION PIT POSTER above his bed. BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Simon finishes writing to Blue.<\/scene_description>\n    <character>SIMON (V \u0080\ufffd0 , )<\/character>\n    <dialogue>Not sure who I'm promising. You? The universe? Myself? I'll keep ruminating. Love, Jacques.<\/dialogue>\n    <scene_description>Simon hits SEND. After a moment, he panics. He reviews his message, and there it is in front of him: -\"Love, Jacques.\" He closes his e-mail.<\/scene_description>\n    <character>SIMON<\/character>\n    <parenthetical>(terrified)<\/parenthetical>\n    <dialogue>Oh god.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOODHIGH SCHOOL - AUDITORIUM - DAY<\/stage_direction>\n    <scene_description>The cast mills about onstage, waiting for rehearsal to begin.<\/scene_description>\n    <character>TAYLOR<\/character>\n    <dialogue>-- and then for New Year's, we fly to Kauai! But don't worry, I'm going to wear so much sunscreen. A tan Oliver would completely ruin the integrity of our production. Anyone else doing Christmas to Hawaii?<\/dialogue>\n    <scene_description>Abby stares daggers at Taylor.<\/scene_description>\n    <character>CAL<\/character>\n    <dialogue>I'm going to an unheated vacation house in the middle of nowhere. As is my bleak family tradition.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I'm staying here. Alice is coming home from--<\/dialogue>\n    <character>MARTIN<\/character>\n    <parenthetical>(approaching.)<\/parenthetical>\n    <dialogue>Simon, can I talk to you?<\/dialogue>\n    <scene_description>Simon's heart sinks.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>College.<\/dialogue>\n    <scene_description>He reluctantly steps away to talk to Martin.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>I got nowhere with Abby at Bram's party!<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Well, maybe you shouldn't have worn your uI'm A Fungus\" t-shirt.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Fungi! Like fun guy.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I got it, Martin. Nobody wants to have sex with a pun.<\/dialogue>\n    <scene_description>Martin is starting to get worked up,<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Stop joking around, man! I don't want to leak those e-mails, but I will. And I know you don't want the whole school learning that you and your internet boyfriend have crushes on Jon Snow.<\/dialogue>\n    <scene_description>Simon freezes.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>You can't drag Blue into this. He's really private.<\/dialogue>\n    <scene_description>Martin avoids eye contact. He clearly feels guilty, but not guilty enough to take back the threat.<\/scene_description>\n    <character>SIMON<\/character>\n    <parenthetical>(panicking)<\/parenthetical>\n    <dialogue>You don't understand. If you posted our e-mails he'd be so freaked out. He'd never talk to me again.<\/dialogue>\n    <scene_description>Before Martin has a chance to respond, Abby approaches with her Oliver script. She has no idea she's walking into such a loaded moment.<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>I cannot memorize all my Oliver lines. The Artful Dodger never shuts the hell up.<\/dialogue>\n    <parenthetical>(off their weird looks)<\/parenthetical>\n    <dialogue>What's wrong with you two?<\/dialogue>\n    <scene_description>Simon takes a beat. Then:<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Martin's having trouble learning his part too. Why don't we all go to Waffle House later this week and run lines?<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Really? That'd be great!<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>I'm insky.<\/dialogue>\n    <scene_description>Abby heads off. Once she's gone:<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Nice work, Spier,<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>{cold)<\/dialogue>\n    <scene_description>Go to hell, Martin. Simon walks backstage, anxious to get away from Martin. He takes out his phone. He has a new e-mail from Blue. We hear it read in the anonymous voice Simon imagined, before he suspected Blue was Bram:<\/scene_description>\n    <character>BLUE (V.O.)<\/character>\n    <dialogue>Jacques, I know what you mean about wanting to wait till college.<\/dialogue>\n    <scene_description>EXT, CREEKWOODHIGH SCHOOL - FRONT STEPS - LATER THAT DAY Simon heads towards his car, a dazed look on his face.<\/scene_description>\n    <character>BLUE (V,O,)<\/character>\n    <dialogue>I've got a pretty good thing going as closeted me. Can't I just hold on a little longer?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And you're right, it's not fair that straight people get to go about their lives without thinking twice.<\/dialogue>\n    <scene_description>Simon passes a straight couple MAKING OUT passionately. Nobody pays them any attention.<\/scene_description>\n    <character>BLUE (V.O.)<\/character>\n    <dialogue>They should definitely have to come out. As straight. I guess this is our version of the Homosexual Agenda? Love, Blue.<\/dialogue>\n    <scene_description>Simon takes out his phone. He opens up the same e-mail we just heard. There it is in black and white: \"Love, Blue.\" He stares at the words, terrified of losing Blue. INT, WAFFLEHOUSE - DAY Simon and Abby grab a booth.<\/scene_description>\n    <character>SIMON<\/character>\n    <parenthetical>( scanning)<\/parenthetical>\n    <dialogue>I guess Martin's not here yet.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Um, not to be a bitch, but why are we hanging out with Martin so much lately?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I like him. He marches to the beat of his own drum.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>I bet the drum has a bad pun on it.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Sooo, while we're waiting ..\u2022 what do you think about Nick?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Like, do you think Nick is ... cool?<\/dialogue>\n    <scene_description>Simon knows where this is going. And he wants no part of it.<\/scene_description>\n    <character>SIMON<\/character>\n    <parenthetical>(too sharp)<\/parenthetical>\n    <dialogue>Of course I think he's cool. If I didn't, why would I be friends with him?<\/dialogue>\n    <scene_description>Abby shoots him a weird look.<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>Uh, okay, sorry. I guess what I'm trying to ask is, do you think he's worthy of the new girl in school crushing on him? Just a little?<\/dialogue>\n    <scene_description>Simon stiffens. He's going to have to play defense to keep Nick and Abby apart. Again.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>No. You should not get with Nick.<\/dialogue>\n    <character>ABBY<\/character>\n    <parenthetical>(deflating)<\/parenthetical>\n    <dialogue>Really? Why not?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Because ...<\/dialogue>\n    <parenthetical>(lying)<\/parenthetical>\n    <dialogue>Nick's bad to women.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>SIMON Not like Chris Brown bad. He's just immature. And selfish.<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>Really? How?<\/dialogue>\n    <character>SIMON<\/character>\n    <parenthetical>(thinks, then)<\/parenthetical>\n    <dialogue>He had a serious girlfriend before you moved here. And he cheated on her.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>He did?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Yeah. She was crazy about him. And he slept with someone else.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>I mean, that's shitty \u2022\u2022\u2022 but we're in high school. Stuff like that happens.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>The girl he slept with was his girlfriend's cousin.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Oh my god.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I know. She came to visit for the summer. From Maine.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Well, maybe he really liked her?<\/dialogue>\n    <character>SIMON<\/character>\n    <parenthetical>(getting frustrated)<\/parenthetical>\n    <dialogue>No. He didn't. That's the worst part. He just kept saying, \"How cool would it be if I banged cousins?\"<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>That's really effed up.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>It doesn't sound like him at all.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>You can't say anything to Nick. He'd be so mad if he knew I told you,<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>I won't. I promise.<\/dialogue>\n    <scene_description>They sit in unpleasant silence for a moment. Simon feels like shit. Then, Martin enters wearing a NON-FUNNY POLO SHIRT and some PRODUCT in his hair.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Sorry I'm late.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Hey. Nice shirt.<\/dialogue>\n    <scene_description>Martin immediately turns beet red and gets so weird.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Oh, really? I don't know. I'm just trying something.<\/dialogue>\n    <scene_description>Abby smiles, a little charmed by Martin's awkwardness. Their waiter, LYLE (17, cute), approaches.<\/scene_description>\n    <character>LYLE<\/character>\n    <dialogue>Hey guys, what can I get you?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Hey, Lyle,<\/dialogue>\n    <parenthetical>(to Simon and Abby)<\/parenthetical>\n    <dialogue>Do you guys know Lyle? We have Latin together.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Don't<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>think<\/dialogue>\n    <character>LYLE<\/character>\n    <parenthetical>(to Simon)<\/parenthetical>\n    <dialogue>Actually, we had Bio together last year.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Oh, sorry.<\/dialogue>\n    <character>LYLE<\/character>\n    <dialogue>That's okay. It was a big class. I have a good memory for faces.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I don't. One time I asked Jake Gyllenhaal for Toby Maguire's autograph. He said no.<\/dialogue>\n    <character>LYLE<\/character>\n    <parenthetical>(smiles, then)<\/parenthetical>\n    <dialogue>I'm going to seem like a total stalker, but I'm guessing you want a banana strawberry waffle with whipped cream and chocolate chips?<\/dialogue>\n    <scene_description>Simon is surprised: clearly Lyle has REALLY noticed him. Could he be into guys?<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Yeah. I do.<\/dialogue>\n    <character>LYLE<\/character>\n    <dialogue>I've waited on you before. And it's kind of a memorable order.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Because I order like a four-year- old destined for diabetes?<\/dialogue>\n    <character>LYLE<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>No. You order like someone who knows what he wants.<\/dialogue>\n    <scene_description>Simon smiles at Lyle and imagines .\u2022. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLUE'S BEDROOM- DAY (SIMON'S FANTASY)<\/stage_direction>\n    <scene_description>The same navy blue bedroom we've seen our faceless Blue writing e-mails in. Except now the door opens and LYLE ENTERS, taking off his Waffle House vest, BACK TO REALITY:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAFFLE HOUSE - DAY<\/stage_direction>\n    <scene_description>Simon stares at Lyle as he writes down their order, wondering if he could be Blue,<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAFFLE HOUSE - LATER<\/stage_direction>\n    <scene_description>We're mid-meal. Abby and Martin run Oliver lines. Simon keeps casually glancing over at Lyle, waiting tables.<\/scene_description>\n    <character>ABBY<\/character>\n    <parenthetical>(as Artful Dodger)<\/parenthetical>\n    <dialogue>Fagin, this is my new friend, Oliver Twist.<\/dialogue>\n    <scene_description>Simon checks the script and gives her a thumbs up. Martin stares dreamily at Abby.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>It's your line, Martin.<\/dialogue>\n    <character>MARTIN<\/character>\n    <parenthetical>(ignoring him)<\/parenthetical>\n    <dialogue>That's a great British accent. You sound like Audrey Hepburn.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Thanks. Do you need Simon to give you your line?<\/dialogue>\n    <character>MARTIN<\/character>\n    <parenthetical>(ignoring her)<\/parenthetical>\n    <dialogue>Have you ever been to London?<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Nope. Simon, maybe you should give him--<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>You're from D.C., right?<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Mhram. Let's try not to lose--<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>That's awesome, What part?<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>What's with the third degree, Martin? You writing a book about black girls from D.C.?<\/dialogue>\n    <character>MARTIN<\/character>\n    <parenthetical>(faux offended)<\/parenthetical>\n    <dialogue>I'm naturally inquisitive. My mom says it's one of my best qualities.<\/dialogue>\n    <scene_description>Abby can't help but smile at Martin.<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>Not sure your mom is the most reliable source.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Are you calling Janet Addison a liar? Because that's blasphemy, she is a phenomenal judge of character.<\/dialogue>\n    <scene_description>Abby laughs and grabs a french fry off Martin's plate. Simon watches, pleasantly surprised. It's not exactly sexually charged but maybe Martin isn't totally hopeless? Simon notices Lyle standing outside on his break and decides to take advantage of the opportunity.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Be right back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WAFFLEHOUSE - MOMENTSLATER<\/stage_direction>\n    <scene_description>Simon steps outside to find Lyle finishing up something on his phone. Simon musters up his courage and approaches.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>So, were you in Bio the day we performed the \"identifying leaves\" test?<\/dialogue>\n    <scene_description>Lyle looks up from his phone.<\/scene_description>\n    <character>LYLE<\/character>\n    <dialogue>Oh my god, yes. And Joel Winslow ate the poison ivy?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Yes! Because Doug Fogerty told him it was pot.<\/dialogue>\n    <scene_description>Lyle laughs.<\/scene_description>\n    <character>LYLE<\/character>\n    <dialogue>I should get back to disinfecting the waffle irons.<\/dialogue>\n    <parenthetical>(off Simon's look)<\/parenthetical>\n    <dialogue>It's not as bad as it sounds. Actually, it is.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>If you don't remember me the next time we meet I'm going to take it personally.<\/dialogue>\n    <scene_description>They share a smile and Lyle heads in. Simon takes out his phone and notices he has a new e-mail. Blue. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WAFFLE HOUSE - MINUTES EARLIER (FLASHBACK)<\/stage_direction>\n    <scene_description>We're back to moment ago, when Simon stepped outside and saw Lyle finishing something on his phone. Could he have been typing this very e-mail? BACK TO: EXT, WAFFLE HOUSE - AS WE WERE Simon starts to read the e-mail, imagining Lyle's voice narrating it.<\/scene_description>\n    <character>LYLE (V.O.)<\/character>\n    <dialogue>So my dad's flying in tonight for Chanukah. Did I mention my parents are divorced and I'm half-Jewish?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CRAPPY HOTEL - DAY (SIMON'S FANTASY)<\/stage_direction>\n    <scene_description>A BEAT UP CHEVY pulls into the parking lot of this low-rent hotel. LYLE'S FATHER (40's) gets out of the car, takes in the hotel and sighs.<\/scene_description>\n    <character>LYLE (V,O,)<\/character>\n    <dialogue>My dad is staying at the same crappy hotel as always. And we'll do all our horribly awkward traditions.<\/dialogue>\n    <scene_description>INT, CRAPPY HOTEL ROOM - NIGHT (SIMON'S FANTASY) Lyle's Father opens the front door to let in Lyle. He steps into the room and the two men share an awkward hug.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CRAPPY HOTEL ROOM- LATER (SIMON'S FANTASY)<\/stage_direction>\n    <scene_description>Lyle watches as his dad makes a big show of PRETENDING TO LIGHT A MENORAH.<\/scene_description>\n    <character>LYLE (V.O.)<\/character>\n    <dialogue>We'll mime lighting the menorah. We won't actually light it because that could set off the smoke detector.<\/dialogue>\n    <scene_description>INT, CRAPPY HOTEL ROOM - LATER (SIMON'S FANTASY) Lyle sits in front of a bunch of WRAPPING PAPER, having just unwrapped seven VERY LACKLUSTER GIFTS.<\/scene_description>\n    <character>LYLE (V.O.)<\/character>\n    <dialogue>And then I'll open all eight presents. Because this is the only night of Chanukah we'll actually spend together.<\/dialogue>\n    <scene_description>He finishes unwrapping the last one ... a pair of BOXERS with bottles of HOT SAUCE on them. He feigns enthusiasm.<\/scene_description>\n    <character>LYLE (V.O.)<\/character>\n    <dialogue>The only thing worse than how much I hate the gifts my dad gives me is how much he hates the gifts he gives me.<\/dialogue>\n    <scene_description>His dad shrugs and winces.<\/scene_description>\n    <character>LYLE (V.O.)<\/character>\n    <dialogue>Would you believe I'm actually considering doubling down and turning this awkward mess into a coming out thing? Something about him living across the country makes me feel like I can tell him without blowing up my entire world.<\/dialogue>\n    <scene_description>Lyle puts down the boxers. He takes a deep breath and stares his dad straight in the eyes.<\/scene_description>\n    <character>LYLE (V.O.)<\/character>\n    <dialogue>Do you think I'm crazy? Love, Blue.<\/dialogue>\n    <scene_description>BACK TO REALITY:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WAFFLE HOUSE - DAY<\/stage_direction>\n    <scene_description>Simon responds immediately:<\/scene_description>\n    <character>SIMON (V.O.)<\/character>\n    <dialogue>No, Blue. I don't think you're crazy. I think you're brave as fuck. Love, Jacques.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/ EXT. ABBY'S CAR\/ SHADYCREEK STREETS - DUSK<\/stage_direction>\n    <scene_description>Abby drives as Simon sits shotgun. He's deep in thought as Abby rambles on about Martin.<\/scene_description>\n    <character>ABBY<\/character>\n    <parenthetical>(thoughtful)<\/parenthetical>\n    <dialogue>Y'know, Martin's not that bad. But we didn't get anything done. He was too busy asking how being a child of divorce informed my ideal romantic partner ..\u2022<\/dialogue>\n    <scene_description>As Abby continues her rant about Martin, we \u2022.\u2022 CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CRAPPY HOTEL ROOM- NIGHT (SIMON'S FANTASY)<\/stage_direction>\n    <scene_description>Lyle and his dad sit on the foot of the bed. Lyle takes a deep breath and tells his dad he's gay. His dad nods as the enormity of Lyle's words sink in. BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \/EXT.ABBY'S CAR\/ SHADYCREEK STREETS - DUSK<\/stage_direction>\n    <scene_description>And something about imagining this is making Simon practically burst ..\u2022<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>Maybe if I try recording my Oliver lines and listening to them while I sleep--<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Abby!<\/dialogue>\n    <parenthetical>(beat, then)<\/parenthetical>\n    <dialogue>I'm gay.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>They drive for a moment. Simon begins to panic at the enormity of what he's just done:<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>You can't tell anyone. No one else knows--<\/dialogue>\n    <scene_description>Abby pulls over. They're quiet for a moment.<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>So this is the first time you've told anyone?<\/dialogue>\n    <scene_description>Simon nods.<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>I'm honored.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Are you surprised?<\/dialogue>\n    <character>ABBY<\/character>\n    <parenthetical>(thinks, then)<\/parenthetical>\n    <dialogue>No .<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>So you knew?<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>No .<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>But you're not surprised?<\/dialogue>\n    <character>ABBY<\/character>\n    <parenthetical>(gently)<\/parenthetical>\n    <dialogue>Do you want me to be surprised?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>What are you going to do now? Are you going to tell more people?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Okay, well, I love you.<\/dialogue>\n    <scene_description>And there's nothing else to say. They stare at each other a moment longer. Abby smiles at him then begins to drive again. Simon brushes away tears.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Simon enters to find his parents cuddled up, reading.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>Hey, Si.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>How was your day, buddy?<\/dialogue>\n    <scene_description>Simon considers the enormity of his day. But all he says is:<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>It was fine.<\/dialogue>\n    <scene_description>They smile at him then go back to reading. Simon lingers, staring at the OLD FRAMEDFAMILY PHOTOS on the piano. It all seems like a simpler time. And one that seems further away with every passing second. As he exits, we hear his next e-mail to Blue:<\/scene_description>\n    <character>SIMON (V.O.)<\/character>\n    <dialogue>Dear Blue, I hope it goes okay with your dad. Whatever happens, you inspired me.<\/dialogue>\n    <scene_description>EXT, SIMON'S BACKYARD- NIGHT Simon lies in the hammock, writing to Blue on his phone:<\/scene_description>\n    <character>SIMON (V.O.)<\/character>\n    <dialogue>I came out to my friend tonight. I never would have done it without you.<\/dialogue>\n    <scene_description>Simon considers for a moment. He's buzzing with adrenaline and excitement and he can't help but add ...<\/scene_description>\n    <character>SIMON (V.O.)<\/character>\n    <dialogue>Maybe we should ride this bravery train and reveal our identities. I'm dying to know who you are. Love, Jacques.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S ROOM- MIDDLE OF THE NIGHT<\/stage_direction>\n    <scene_description>Simon is asleep. Then, the unmistakable NEW E-MAIL BING on his phone. Simon checks his e-mail and reads Blue's new message:<\/scene_description>\n    <character>LYLE (V.O.)<\/character>\n    <dialogue>I told my dad. It was insanely awkward. But in the end, it went well,<\/dialogue>\n    <character>LYLE (V,O.) {<\/character>\n    <dialogue>We even decided to throw caution to the wind and light the menorah for real.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CRAPPY HOTEL ROOM- NIGHT (SIMON'S FANTASY)<\/stage_direction>\n    <scene_description>Lyle's Dad lights the Chanukah candles with a Bic.<\/scene_description>\n    <character>LYLE (V,O.)<\/character>\n    <dialogue>That went less well.<\/dialogue>\n    <scene_description>The SPRINKLERS in the room turn on, dousing Lyle and his dad with water. BACK TO REALITY:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S ROOM- NIGHT<\/stage_direction>\n    <scene_description>Simon smiles, continues reading:<\/scene_description>\n    <character>LYLE (V.O.)<\/character>\n    <dialogue>Also, you've got it backwards. It's you who inspired me.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But, I'm sorry. I'm just not ready for us to know each other's identities, Love, Blue.<\/dialogue>\n    <scene_description>Simon's smile fades as he comes crashing back to earth. Then, he notices he has TWOUNREADTEXTS: one from Martin, one from Abby. He opens Martin's first. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARTIN'S ROOM- NIGHT (SIMON'S FANTASY)<\/stage_direction>\n    <scene_description>Martin addresses the camera, relaying her text message out loud:<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Great job orchestrating today's hang. I feel like Abby and I were really vibing. Keep up the good work and maybe your secret will stay in the closer.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Sorry, autotype. Closet.<\/dialogue>\n    <scene_description>BACK TO REALITY:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S ROOM- NIGHT<\/stage_direction>\n    <scene_description>Simon looks worried. Then, he opens Abby's text. CUT TO: INT, ABBY'S ROOM- NIGHT (SIMON'S FANTASY) Abby sits on her bed in PJS. She speaks directly to camera:<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>You coming out made me think, Life is short. Don't care about Nick's past. Gonna tell him how I feel. Heart emoji, nervous emoji. Sorry for late night text. XX.<\/dialogue>\n    <scene_description>She BLOWS TWO KISSES to the camera. BACK TO REALITY: INT, SIMON'S BEDROOM- NIGHT Simon stares at his phone, very worried.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <scene_description>Off Simon, desperate to protect his relationship with Blue ...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOOD<\/stage_direction>\n    <scene_description>HIGH SCHOOL - THE NEXT DAY Nick closes his locker door and is startled to find Simon standing right it.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Ahh! God, ever since that sinus surgery you're such a quiet breather.<\/dialogue>\n    <scene_description>Nick and Simon start walking to class.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>I figured out your dream.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Putting in your contacts backwards. I figured out what you can't see that's right in front of you.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Oh, yeah. That was a good one. But not as good as the one I had<\/dialogue>\n    <dialogue>last night. I'm playing goalie for Atletico Madrid, and Lionel Messi is about to shoot on me when I<\/dialogue>\n    <dialogue>realize there's a heart shaped hole in my shorts and my balls are hanging out-<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Shut up!<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I figured out what you can't see that's right in front of you.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Leah.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>What about her?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>She's who you really want to be with.<\/dialogue>\n    <scene_description>NICK Uh, wouldn't I know if I wanted to be with Leah?<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>No. Because you're too close to it. You've been best friends so long that you can't see what's right in front of you.<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(doubtful)<\/parenthetical>\n    <dialogue>I don't think so-<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Of course! It's always been Leah. Abby was just your way of<\/dialogue>\n    <dialogue>distracting yourself because you're scared to go for it with Leah.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I dunno, the Abby thing feels real. And I've been thinking, the sexual experience thing isn't really that big a deal.<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(drops voice to whisper)<\/parenthetical>\n    <dialogue>I've actually been practicing. I got this thing on the internet called a pocket puss--<\/dialogue>\n    <character>SIMON<\/character>\n    <parenthetical>(blurting out)<\/parenthetical>\n    <dialogue>Abby likes Martin!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>What? Martin Addison? No way.<\/dialogue>\n    <scene_description>Simon takes a breath. Time for some more lying.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>I know. I was surprised too, but they've been spending a ton of time together at rehearsals. She likes how quirky he is.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>But Martin definitely isn't good at sex!<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I heard he learned a ton from some divorced woman. On a family cruise.<\/dialogue>\n    <scene_description>Nick looks disgusted as they stop outside his classroom.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Just promise me you'll think about asking Leah out. You're the one who's always saying the subconscious works in mysterious ways.<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(unsure)<\/parenthetical>\n    <dialogue>I do say that.<\/dialogue>\n    <scene_description>Nick heads into his class, lost in thought. Off Simon, feeling like the biggest shit heel in the world ... HIGH SCHOOL - HALLWAY-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOOD LATER<\/stage_direction>\n    <scene_description>Simon shuts his locker door to find Leah standing behind it , a la Simon in the previous scene.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Ahh!<\/dialogue>\n    <character>LEAH<\/character>\n    <parenthetical>(uncomfortable)<\/parenthetical>\n    <dialogue>So \u2022.\u2022 Nick asked me to have dinner before the Christmas homecoming game.<\/dialogue>\n    <scene_description>Simon feigns ignorance.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Uh, okay?<\/dialogue>\n    <character>LEAH<\/character>\n    <dialogue>No, you don't understand. He was like, \"Do you want to have dinner?\" And I was like, \"Sure, are Abby and Simon in?\" And he was like, \"I was thinking it could be just the two of us. Like \u2022\u2022\u2022 a date.\"<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Oh. Wow, This is amazing!<\/dialogue>\n    <character>LEAH<\/character>\n    <dialogue>It is?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I mean, isn't it? I know you're into him.<\/dialogue>\n    <scene_description>Leah looks surprised. Like she didn't realize Simon knew that.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Come on, Leah. I'm your best friend. I see things. And I've always thought you guys would be great together.<\/dialogue>\n    <character>LEAH<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Of course. You were born two weeks apart, you grew up across the street from each other, your middle names are both Alex, You guys are one tragic boating accident away from being a Nicholas Sparks movie.<\/dialogue>\n    <scene_description>Simon sees that Leah still looks very unsure. And he's pretty sure he knows why \u2022.\u2022<\/scene_description>\n    <character>SIMON<\/character>\n    <parenthetical>(gently)<\/parenthetical>\n    <dialogue>I know you haven't really dated before. But you have nothing to be worried about. It's Nick.<\/dialogue>\n    <scene_description>Leah finally manages a nervous:<\/scene_description>\n    <character>LEAH<\/character>\n    <dialogue>Okay, then. I guess I'll say yes.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I'm so psyched for you guys.<\/dialogue>\n    <scene_description>Simon gives her a hug, praying that he hasn't set Leah up to get her heart broken by the guy she's in love with .. ,<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CREEKWOODHIGH SCHOOL - FOOTBALL FIELD - NIGHT<\/stage_direction>\n    <scene_description>Creekwood's Christmas-themed homecoming is a real spectacle: The MARCHING BAND plays a horn version of \"All I Want For Christmas Is You\". CHEERLEADERS form a very impressive Christmas tree (okay, it's a pyramid, but they're holding ornaments!). STUDENTSchow down on pulled pork and apple cider from a collection of food trucks. And the CREEKWOODGRIZZLY BEAR MASCOT chases the ALMONT ARCHER (a guy dressed as a giant foam bow and arrow) across the field. Simon and Abby take in the scene.<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>Why is the Almont Archer mascot a giant bow and arrow? Shouldn't it be an archer?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>It used to be this super racist Native American character that was played by a Jewish kid with a spray tan.<\/dialogue>\n    <character>ABBY<\/character>\n    <parenthetical>(cringing)<\/parenthetical>\n    <dialogue>Oooooh.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Yeah. This is better.<\/dialogue>\n    <scene_description>They scan the crowd for Nick and Leah.<\/scene_description>\n    <character>ABBY<\/character>\n    <parenthetical>(bummed)<\/parenthetical>\n    <dialogue>I guess Nick and Leah are still on their date.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I'm sure they'll be here soon.<\/dialogue>\n    <parenthetical>(then, off Abby)<\/parenthetical>\n    <dialogue>I'm really sorry it didn't work out with you and Nick.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>It's cool. I'm not really thinking about it. Definitely not picturing them parked on a quiet street. Zayn Malik comes on, they make out. And then it starts to rain .\u2022.<\/dialogue>\n    <scene_description>Simon feels awful. Tries to change the subject.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>How about something deep fried?<\/dialogue>\n    <scene_description>He leads Abby to the food trucks. Abby gazes out at the FOOTBALL PLAYERS warming up on the field in their uniforms.<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>At least the eye candy here is a distraction. Is it just me, or is the Almont QB insanely hot?<\/dialogue>\n    <scene_description>Simon is immediately uncomfortable.<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>We can talk about stuff like that now, you know.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I guess so. I don't really know how though.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Then you better practice. Simon, do you think the quarterback is looking fooiiine in his hot pants?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Yeah, he's pretty fine.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>No. Foooiinne.<\/dialogue>\n    <character>SIMON<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>Foooiine.<\/dialogue>\n    <scene_description>Simon and Abby approach a BURGERTRUCK,<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>Four cheeseburgers, please.<\/dialogue>\n    <parenthetical>(then, realizing)<\/parenthetical>\n    <dialogue>Oh, duh, Nick and Leah will have eaten. Just two.<\/dialogue>\n    <scene_description>Simon gives Abby a sad smile.<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>You know what, even if Nick and I had gotten together, we just would've broken up when college started.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>You would have?<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Of course. All high school couples say they're gonna do the long distance thing. Then three months into freshman year you get tired of Facetiroe sex, have a few too many vodka cranberries, and all of a sudden you're hooking up with your Poly Sci TA in the back of his truck.<\/dialogue>\n    <parenthetical>(off Simon)<\/parenthetical>\n    <dialogue>It happened to my cousin.<\/dialogue>\n    <scene_description>Before Simon has a chance to respond \u2022\u2022.<\/scene_description>\n    <character>LYLE (O.S.)<\/character>\n    <dialogue>Hey, guys,<\/dialogue>\n    <scene_description>Simon and Abby turn around to find Lyle getting in line at a chicken and biscuits truck.<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>Lyle. My favorite waiter.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Hey. 'Sup.<\/dialogue>\n    <scene_description>Simon quickly runs his hand through his hair. And Abby realizes Simon is into Lyle.<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>I'm going to go grab us some drinks.<\/dialogue>\n    <scene_description>Abby gives Simon a pointed look and walks away.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Wouldn't have taken you for a homecoming guy.<\/dialogue>\n    <character>LYLE<\/character>\n    <dialogue>I'm just here for the biscuits.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I get it. It's all about the sweet tea and camaraderie for this guy.<\/dialogue>\n    <scene_description>Simon cringes at his lame line. But Lyle smiles. Charmed?<\/scene_description>\n    <character>LYLE<\/character>\n    <parenthetical>(suddenly nervous)<\/parenthetical>\n    <dialogue>Hey, so, Can I ask you a question?<\/dialogue>\n    <scene_description>Simon is nearly bursting with anticipation.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>Lyle steels himself. Then asks:<\/scene_description>\n    <character>LYLE<\/character>\n    <dialogue>What's Abby's deal?<\/dialogue>\n    <scene_description>Seriously? Lyle likes Abby? Simon can barely hide his devastation.<\/scene_description>\n    <character>LYLE<\/character>\n    <dialogue>I know you and her hang out a lot. Are the two of you--<\/dialogue>\n    <character>SIMON<\/character>\n    <parenthetical>(annoyed)<\/parenthetical>\n    <dialogue>We're just friends,<\/dialogue>\n    <character>LYLE<\/character>\n    <dialogue>Cool, Good to know. God, I could never be best friends with someone that hot.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Yup. Every day is a struggle,<\/dialogue>\n    <character>LYLE<\/character>\n    <dialogue>Uh, I think the Creekwood Grizzly Bear wants to talk to you.<\/dialogue>\n    <scene_description>Lyle points to the edge of the field where the CREEKWOOD GRIZZLY BEAR MASCOT is beckoning to Simon. Simon goes over to the Bear, confused.<\/scene_description>\n    <character>CREEKWOODGRIZZLY BEAR<\/character>\n    <dialogue>Dude. It's me.<\/dialogue>\n    <scene_description>Simon looks into the mouth of the bear, where he can see behind some gauzy black fabric ... Martin.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>You're the Creekwood Grizzly Bear? Actually, that makes total sense.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Thank you,<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Not a compliment.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>I saw you come in with Abby. Has she said anything about me since Waffle House?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>She had fun,<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>I knew we had a breakthrough!<\/dialogue>\n    <scene_description>Simon isn't in the mood for Martin's bullshit right now.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>I gotta go, Martin.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Wait! I need to build on this momentum fast. What do I do?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I'm sure you'll figure something out.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>No, I won't figure something out. That's what you're for, to help me figure it out--<\/dialogue>\n    <scene_description>Maybe it's what just happened with Lyle. Maybe it's feeling like shit about what he's doing to Nick and Abby. But Simon snaps:<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>I don't know what to tell you, Martin! I guess if I was a heterosexual guy who liked a girl, I'd shout it from the rooftops. Because I could. So maybe it's time to tell her you like her. Go big or go home.<\/dialogue>\n    <scene_description>Simon takes off, leaving Martin considering his words. He finds Abby, struggling to carry their burgers and teas. Simon takes the cups.<\/scene_description>\n    <character>ABBY<\/character>\n    <parenthetical>(re: Lyle)<\/parenthetical>\n    <dialogue>Eh?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Nah.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Aww. At least we can die alone together.<\/dialogue>\n    <scene_description>She puts her arm around Simon and they head to find seats. HIGH SCHOOL- FOOTBALLBLEACHERS- LATER<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CREEKWOOD<\/stage_direction>\n    <scene_description>Simon and Abby sit in the packed stands, digging into their burgers and waiting for the game to start. Nick and Leah approach, fresh from their date. They're both dressed a little nicer than usual. Nick glances at Abby, uncomfortable. Leah looks nervous as hell.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Hey, guys.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>Nick and Leah sit down next to them, hard to read. Simon tries to break the silence.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Uh, how was dinner?<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(forced)<\/parenthetical>\n    <dialogue>It was cool.<\/dialogue>\n    <character>LEAH<\/character>\n    <dialogue>Mhmm. We got soup dumplings.<\/dialogue>\n    <scene_description>Another loaded silence. Our gang has never been so awkward together. Finally:<\/scene_description>\n    <character>ABBY<\/character>\n    <parenthetical>(to Leah)<\/parenthetical>\n    <dialogue>I like your dress.<\/dialogue>\n    <character>LEAH<\/character>\n    <dialogue>Oh, thanks--<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(bitter, to Abby)<\/parenthetical>\n    <dialogue>I bet you'd like it even better if it had a pun on it.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>What's that supposed to mean?<\/dialogue>\n    <scene_description>Nick shrugs, and puts his arm around Leah. She's super uncomfortable, weirded out by Nick and Abby's charged dynamic. Simon cringes. This is a disaster.<\/scene_description>\n    <character>ANNOUNCER (V,O,)<\/character>\n    <dialogue>And now, everyone please rise for the national anthem.<\/dialogue>\n    <scene_description>Taylor walks onto the field with a microphone.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>I'm sure this will be a subtle and tasteful rendition.<\/dialogue>\n    <character>TAYLOR<\/character>\n    <dialogue>{crazy vibrato)<\/dialogue>\n    <scene_description>Oooo-oohhh say-- Taylor stops singing when she notices Martin rushing the field in his Grizzly Bear costume. He reaches for her microphone. As they struggle over the mic:<\/scene_description>\n    <character>TAYLOR<\/character>\n    <dialogue>What the hell are you doing?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>I need the mic.<\/dialogue>\n    <scene_description>He YANKS the mic away from her. Everyone stares at them, rapt. Martin takes off his BEAR HEAD.<\/scene_description>\n    <character>SIMON<\/character>\n    <parenthetical>(under his breath)<\/parenthetical>\n    <dialogue>Oh no.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Sorry to interrupt, but I have something to say that's a little more important than our national anthem. No offense, America.<\/dialogue>\n    <scene_description>Martin waits for a laugh that never comes. He clears his throat and finds Abby in the audience.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Abby, when you came to Creekwood High School three and a half short months ago, you didn't just transfer into a new school. You transferred into my heart,<\/dialogue>\n    <scene_description>As he talks, he walks up into the bleachers, approaching her.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Whether it's being your partner in pong or your Waffle House warrior ...<\/dialogue>\n    <scene_description>Everyone looks confused. This isn't the easiest declaration of love to follow.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>I've really loved getting to know you this semester.<\/dialogue>\n    <parenthetical>(deep breath)<\/parenthetical>\n    <dialogue>And I know you're a beautiful, smart, perfect woman, and I'm just a sweaty schlub in a bear suit. But like ol' Bogie said, it's a crazy, mixed-up world.<\/dialogue>\n    <scene_description>By now Martin is standing right in front of Abby.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>So? What do you say? Would you want to go out sometime?<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Oh. Um \u2022\u2022 \u2022<\/dialogue>\n    <scene_description>Abby takes Martin's microphone and SWITCHESIT OFF. Martin shuffles uncomfortably. He can tell this isn't going well.<\/scene_description>\n    <character>JOCK A FEW ROWSBACK<\/character>\n    <dialogue>She's too hot for you, Martin!<\/dialogue>\n    <character>JOCK'S BUDDY<\/character>\n    <dialogue>Way out of your league, buddy!<\/dialogue>\n    <scene_description>People around the Jocks LAUGH.<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>Shut up, Lucas!<\/dialogue>\n    <parenthetical>(then, to Martin)<\/parenthetical>\n    <dialogue>I-- I just don't feel that way about you.<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(surprised, blurting out)<\/parenthetical>\n    <dialogue>You don't?<\/dialogue>\n    <scene_description>Abby shoots him a weird look. Nick looks at Simon like, \"You told me she liked him.\" Simon shrugs.<\/scene_description>\n    <character>ABBY<\/character>\n    <parenthetical>(to Martin)<\/parenthetical>\n    <dialogue>I'm really sorry. I hope we can still be friends.<\/dialogue>\n    <scene_description>Martin is devastated. He takes a deep breath, wipes his sweaty hair out of his eyes. Then:<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Sure. Don't worry about it.<\/dialogue>\n    <scene_description>He turns the mic back on and forces a manic:<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>And now back to Taylor with our regular scheduled anthem!<\/dialogue>\n    <scene_description>He stumbles awkwardly back down to the field. He almost trips over a STRAY HOTDOG. Abby picks up Martin's bear head.<\/scene_description>\n    <character>\u00b7 ABBY<\/character>\n    <parenthetical>(feels terrible)<\/parenthetical>\n    <dialogue>Martin, don't forget your \u2022\u2022. head.<\/dialogue>\n    <scene_description>He grabs it, puts it on, and abruptly re-assumes chipper mascot mode, dancing back down to the field. Nick whispers to Simon:<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>You said she liked him.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I thought she did.<\/dialogue>\n    <character>ABBY<\/character>\n    <parenthetical>(stricken)<\/parenthetical>\n    <dialogue>That was horrible.<\/dialogue>\n    <character>LEAH<\/character>\n    <parenthetical>(gently)<\/parenthetical>\n    <dialogue>Don't worry. People will have forgotten about it by the time we're back from Christmas break.<\/dialogue>\n    <scene_description>Simon watches Martin go, hoping Leah is right ...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S BEDROOM- NIGHT<\/stage_direction>\n    <scene_description>Simon sits at his desk, calling Martin and watching a MUTED VIDEO someone has posted to the CREEKSECRETSTUMBLRof Martin's big speech under the headline GRIZZLY GROVELSFOR LOVE. Simon grimaces, feeling bad for Martin in spite of himself,<\/scene_description>\n    <character>MARTIN (ON PHONE)<\/character>\n    <dialogue>You've reached Martin, leave me a message.<\/dialogue>\n    <scene_description>{bad jokey message) Oh no you didn't, mother-- BEEEEEP.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Martin, it's Simon. I'm sorry about tonight. Call me, okay?<\/dialogue>\n    <scene_description>Simon hangs up, worried about Martin.<\/scene_description>\n    <character>NORA (O.S.)<\/character>\n    <dialogue>She's here!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S HOUSE - ENTRYWAY<\/stage_direction>\n    <character>- MOMENTSLATER<\/character>\n    <dialogue>Everyone excitedly greets Alice, home from college for Christmas break.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>You're supposed to gain the freshman fifteen, not lose the freshman twenty!<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>You are literally insane.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>She looks fat to me.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>That's not funny, Jack!<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I think you look the exact same weight. But a foot shorter.<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>I missed you, bub.<\/dialogue>\n    <scene_description>Simon and Alice HUG. Everything seems a little better to Simon with Alice around.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S LIVING ROOM- LATER<\/stage_direction>\n    <scene_description>Jack passes out mulled cider for the family as Alice tells them all about college.<\/scene_description>\n    <character>ALICE<\/character>\n    <dialogue>I mean, I get being comfortable with your body but my roommate is always naked ...<\/dialogue>\n    <scene_description>Alice fades into the background as Simon checks his phone: a new e-mail from Blue. He steps away to read it and we ... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLUE'S BEDROOM- NIGHT (SIMON'S FANTASY)<\/stage_direction>\n    <scene_description>Blue writes an e-mail as he packs a duffel bag. We're back to anonymous Blue, shot so we never see his face.<\/scene_description>\n    <character>BLUE (V .0.)<\/character>\n    <dialogue>I'm drinking eggnog and packing to go to my dad's cabin on Lake Rabun. I'm pretty sure there's a photo of it on the Wikipedia page for \"middle of nowhere.\"<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S ROOM- NIGHT<\/stage_direction>\n    <scene_description>Simon pauses. Something about this sounds familiar. The wheels in his head begin to turn ... FLASHBACKTO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOOD<\/stage_direction>\n    <scene_description>HIGH SCHOOL- AUDITORIUM- DAY (FLASHBACK) Cal tells the Oliver cast:<\/scene_description>\n    <character>CAL<\/character>\n    <dialogue>I'm going to an unheated vacation house basically in the middle of nowhere.<\/dialogue>\n    <scene_description>BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S ROOM- NIGHT<\/stage_direction>\n    <scene_description>Simon connects the dots. Could Cal be Blue?<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Holy shit.<\/dialogue>\n    <scene_description>He starts imagining ... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAKE RABUNCABIN - DAY (SIMON'S FANTASY)<\/stage_direction>\n    <scene_description>Cal and his DAD (the same guy as Lyle's Father) pull up to a very rustic cabin on a beautiful Georgia lake.<\/scene_description>\n    <character>CAL (V.O.)<\/character>\n    <dialogue>There's barely electricity and definitely no cell service, so this will be my last e-mail for a while.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAKE RABUN- DAY (SIMON'S FANTASY)<\/stage_direction>\n    <scene_description>Cal and his DAD are bundled up on a boat, fishing.<\/scene_description>\n    <character>CAL (V .O.)<\/character>\n    <dialogue>It should be a real rite of passage though: a dad and his gay son pretending they like fishing and trying to find things to talk about \u00b7 for two weeks.<\/dialogue>\n    <scene_description>Cal's Dad looks like he's about to say something, then reconsiders, and takes a sip of beer.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAL'S BEDROOM- NIGHT (SIMON'S FANTASY)<\/stage_direction>\n    <scene_description>Cal continues to pack.<\/scene_description>\n    <character>CAL (V .O.)<\/character>\n    <dialogue>She and Him's cover of \"Have Yourself a Merry Little Christmas\" just came on Spotify. I know I should think it's too twee, but I kind of love it. Don't judge me. And have yourself a merry little Christmas, Jacques.<\/dialogue>\n    <character>CAL ( V . 0 \u0080\ufffd ) ( CONT' D )<\/character>\n    <dialogue>Don't judge me for that lame segue either. God, it's going to be an excruciating two weeks without you. Love, Blue.<\/dialogue>\n    <scene_description>INT, SIMON'S LIVING ROOM - NIGHT Simon finishes the e-mail. She and Him's \"Have Yourself a Merry Little Christmas\" kicks in and the song carries us into a SEQUENCE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GROCERY STORE - DAY<\/stage_direction>\n    <scene_description>Simon and his entire family pile a cart full of their favorite holiday foods. They pass the CANDY AISLE where Simon sees Cal putting a PACK OF REESE'S CUPS into his basket. He smiles at Simon. But then suddenly, he's gone. Just Simon's imagination.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S DINING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Denise serves everyone FRENCH TOAST for dinner, a Spier family tradition. Simon looks past his family to a SPRIG OF MISTLETOE hanging above a doorway. He imagines CAL STANDING BENEATH IT. Cal gestures at the mistletoe, like should we kiss? INT, SIMON'S LIVING ROOM - NIGHT Simon and his family watch Love Actually. Jack and Denise snuggle on the couch. Nora and Alice are sprawled out on the floor. Suddenly, an ARM wraps itself around Simon. He looks over to find Cal curled up next to him. Cal puts his head on Simon's shoulder. Alice playfully tosses a pillow at them. Denise offers Cal a glass of cider. Everything is perfect. Simon reaches for a cookie on the coffee table, and when he sits back, CAL IS GONE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Simon is wrapping presents. There's a KNOCK on his door.<\/scene_description>\n    <character>NORA (0. S.)<\/character>\n    <dialogue>Simon?<\/dialogue>\n    <scene_description>Simon throws a towel over the presents.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Come in.<\/dialogue>\n    <scene_description>Nora enters with her iPad. She sits on the edge of Simon's bed and brings her knees to her chest like a little kid.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Well? What do you want?<\/dialogue>\n    <character>NORA<\/character>\n    <dialogue>I need to show you something.<\/dialogue>\n    <scene_description>Nora turns her laptop around. The Creeksecrets Turnblr page is already open. Simon's face goes white: Because there's a new entry: SIMON SPIER'S OPEN INVITATION TO ALL DUDES, Martin's SCREENSHOTof Simon and Blue's e-mails, accompanied by a short post. As Simon reads ..\u2022 CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARTIN'S BEDROOM- NIGHT (SIMON'S FANTASY)<\/stage_direction>\n    <scene_description>A vindictive Martin speaks directly to camera.<\/scene_description>\n    <character>MARTIN {V.O.)<\/character>\n    <dialogue>Dear all dudes of Creekwood, with this missive, I hereby declare that I am supremely gay and open for business. Interested parties may contact me directly to discuss arrangements for anal butt sex. Strong resemblance to Jon Snow preferred. Ladies need not apply. Homosexually yours, Simon Spier.<\/dialogue>\n    <scene_description>BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S ROOM- NIGHT<\/stage_direction>\n    <scene_description>Simon sits frozen in place, Nora stares at him intently.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Oh my god.<\/dialogue>\n    <character>NORA<\/character>\n    <dialogue>I already reported it. They'll take it down.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Everyone has already seen it though.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>It's true. I'm gay.<\/dialogue>\n    <scene_description>Nora is stunned. But she tries not to make a big deal of it.<\/scene_description>\n    <character>NORA<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>So what are you gonna do now?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>NORA<\/character>\n    <dialogue>You could deny it--<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I'm not going to deny it. I'm not ashamed--<\/dialogue>\n    <character>NORA<\/character>\n    <dialogue>Well, you haven't said anything until now, so--<\/dialogue>\n    <character>SIMON<\/character>\n    <parenthetical>(snapping)<\/parenthetical>\n    <dialogue>So what? What the hell are you talking about?<\/dialogue>\n    <scene_description>Nora's face crumples into tears. Simon realizes she's completely overwhelmed.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Nora, I--<\/dialogue>\n    <character>NORA<\/character>\n    <dialogue>It's not my fault!<\/dialogue>\n    <scene_description>She hurries out in tears. Simon feels bad but he has bigger things to worry about. He goes to his computer in a total panic. He furiously types an e-mail to Blue:<\/scene_description>\n    <character>SIMON (V. 0, )<\/character>\n    <dialogue>I know you're going off the grid and you probably won't see this until you're back, but something's happened. You're going to find out who I am. But please don't freak out and stop writing to me. Please, Blue. As soon as you get this, I need you to promise me you won't disappear.<\/dialogue>\n    <scene_description>Simon hits SEND, close to hyperventilating. His phone BUZZES. Then BUZZES again. He checks it - texts from his friends: Abby: Are you okay? Leah: Can you call me? Nick: Hey dude. Wanna go for a walk? Abby: Simon, please call me. I love you. Simon turns off his phone, unable to deal. He turns off the lights, crawls under his bed covers, puts a pillow over his face, and SCREAMS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPIER LIVING ROOM- MORNING<\/stage_direction>\n    <scene_description>Christmas morning. The whole family sits around the tree, opening presents in pajamas. Nora and Simon avoid each other's eyes.<\/scene_description>\n    <character>SIMON<\/character>\n    <parenthetical>(opening a gift)<\/parenthetical>\n    <dialogue>A Kindle case? But I don't even have--<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Open the next one, Sherlock.<\/dialogue>\n    <scene_description>Simon opens the next one, revealing a brand new KINDLE. He stares at it for a long time.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>Um, if you don't like it, you can return it. But since you already have every other device--<\/dialogue>\n    <character>SIMON<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>No . I love it.<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>Are you okay?<\/dialogue>\n    <scene_description>Nora gives Simon a supportive smile.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Actually, I want to talk to you guys about something.<\/dialogue>\n    <scene_description>Denise leans in, realizing something's up.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <scene_description>But Simon can't find the words.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Lemme guess. You got someone pregnant. No, you're gay. No, you're pregnant.<\/dialogue>\n    <character>NORA<\/character>\n    <dialogue>Dad, stop it.<\/dialogue>\n    <character>SIMON<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Yeah, I'm pregnant.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I knew it! What'd I tell you, he's got the glow.<\/dialogue>\n    <scene_description>Nobody laughs. Simon looks like he really wants to run out of the room and throw up, but he forces himself to continue.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>No. I'm not pregnant.<\/dialogue>\n    <parenthetical>(deep breath, then)<\/parenthetical>\n    <dialogue>I'm gay.<\/dialogue>\n    <scene_description>A beat as everyone takes in his words. Denise reaches out to take Simon's hand.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>Oh, honey.<\/dialogue>\n    <scene_description>Simon stares into his mother's eyes. His voice is shaking.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Don't worry, I'm still me.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>What? Of course you are.<\/dialogue>\n    <scene_description>Simon nods, unsure. Alice puts her arm around Simon's leg from her spot on the floor.<\/scene_description>\n    <character>ALICE<\/character>\n    <dialogue>Good for you, Bub.<\/dialogue>\n    <scene_description>Everyone turns to Jack, waiting for him to say something.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Gay, huh?<\/dialogue>\n    <parenthetical>(then, forced brightness)<\/parenthetical>\n    <dialogue>So which one of them did it?<\/dialogue>\n    <scene_description>Alice looks like she's going to kill her father.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Did what?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Which one of your old girlfriends turned you off women? Was it the one with the eyebrows or the overbite?<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>Jack--<\/dialogue>\n    <character>NORA<\/character>\n    <dialogue>JESUS CHRIS, DAD! CAN YOU<\/dialogue>\n    <character>EVER JUST SHUT THE HELL UP!?<\/character>\n    <dialogue>Everyone turns to Nora, stunned. Simon sighs, exhausted.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIMON'S BACKYARD- LATER<\/stage_direction>\n    <scene_description>In the far reaches of the yard, Simon lays in a hammock with Bieber the dog. He listens to music and stares up at the clouds. He checks his e-mail: nothing from Blue. Alice approaches.<\/scene_description>\n    <character>SIMON<\/character>\n    <parenthetical>(groaning)<\/parenthetical>\n    <dialogue>No, go away.<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>No.<\/dialogue>\n    <parenthetical>(then, holds up Oreos)<\/parenthetical>\n    <dialogue>I have Eggnog Oreos. They're disgusting. I've had fifteen.<\/dialogue>\n    <scene_description>Simon doesn't say anything. But he does take out his earbuds. Alice climbs into the hammock.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Just don't tell mom I'm out here.<\/dialogue>\n    <scene_description>They're quiet for a moment. Finally:<\/scene_description>\n    <character>ALICE<\/character>\n    <dialogue>I have a boyfriend.<\/dialogue>\n    <scene_description>This actually manages to snap Simon out of his daze.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>His name's Theo. He's a junior majoring in classical guitar. And he has this weird facial hair on his chin that I should totally hate but I inexplicably find cute.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Oh, god . Like a soul patch?<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>Ughh, yeah. It's the worst. I love it.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>What's happening right now? You hate talking about your personal life.<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>I know. But I figure if you have the guts to admit you're gay .\u2022\u2022<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>You should have the guts to admit you're straight.<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>You're funny.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I try.<\/dialogue>\n    <scene_description>They lie next to each other in silence. It's the least excruciating moment of Simon's day. He eats a cookie.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Yeah, these are awful.<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>They both reach for another. Denise calls out from inside:<\/scene_description>\n    <character>DENISE (O.S.)<\/character>\n    <dialogue>Simon, Nick's here!<\/dialogue>\n    <scene_description>Simon looks nervous. Alice gives him an encouraging arm squeeze.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIMON'S FRONT PORCH - DAY<\/stage_direction>\n    <scene_description>Simon steps outside to find Nick pacing back and forth. He immediately, nervously launches into a pre-rehearsed speech:<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Hey. You weren't answering any of our texts and we're worried about you. And since I'm the only one of your best friends lame enough to be spending the holidays stuck in Shady Creek, we decided I should come check in. I have no idea if that post is true, but if it is--<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>It is.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Wow. Okay. Do you want to talk about it?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Not really.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Cool. Cool. What should we talk about?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <scene_description>They stand in silence for a moment. Finally:<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Oh. So, Leah and I shut it down before she left for her grandparents. You were dead wrong about us. Zero chemistry.<\/dialogue>\n    <scene_description>Simon cringes, worried for Leah.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Oh. Sorry. Is she okay?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Yeah, of course. It was totally mutual.<\/dialogue>\n    <scene_description>Simon nods, unsure whether to believe him. After another silence:<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(then, remembering)<\/parenthetical>\n    <dialogue>Oh, here. I got you this. For Christmas.<\/dialogue>\n    <scene_description>He hands Simon at-shirt. Simon unfolds it, to reveal it says WORLD'S GREATEST FRIEND, in the style of the WORLD'S GREATEST DAD tee Nick was wearing before.<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(proud)<\/parenthetical>\n    <dialogue>This one I actually bought.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>You are such a nerd.<\/dialogue>\n    <scene_description>But Simon's clearly very touched.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Yup, Wanna go for a drive?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Actually, I kind of just want to be alone.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Nah, let's go for a drive.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Nick-<\/dialogue>\n    <scene_description>But Nick's already bounding towards his car. Simon sighs and follows after him. INT, NICK'S MOM'S PRIUS \/ ATLANTA HIGHWAY - NIGHT Nick and Simon joyride down the highway, singing\/screaming along to Rihanna.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>He said me haffi-<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Work, work, work, work, work, work!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>He see me do me-<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Dirt, dirt, dirt, dirt, dirt, dirt!<\/dialogue>\n    <scene_description>Simon can't help but grin as the tension of the past couple of days start to melt away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \/ EXT. PRIUS \/ THE ATLANTAEAGLE - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Nick parks on a Midtown Atlanta street. Simon is confused.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Where are we going?<\/dialogue>\n    <scene_description>Simon follows Nick's gaze out the window and realizes they're parked outside of a dive bar with a rainbow flag above its entrance. Simon turns back to Nick, sees the guilty look on his face and realizes:<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>You are insane. No way.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Come on. This place had great reviews on Yelp, They're known for their ribs!<\/dialogue>\n    <scene_description>Simon stares at the bar. He is curious.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Okay. But how are we getting in?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I don't see anyone checking IDs ..\u2022<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE ATLANTAEAGLE - NIGHT<\/stage_direction>\n    <scene_description>Nick and Simon enter a dimly lit space with motorcycle themed decor. A crowd of older, stocky DUDES wearing lots of leather drink and dance. This is definitely not Simon's scene. Simon watches two guys his dad's age AGGRESSIVELY MAKINGOUT in a dark corner.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Uh, should we try the ribs?<\/dialogue>\n    <character>SIMON<\/character>\n    <parenthetical>(terrified)<\/parenthetical>\n    <dialogue>I guess.<\/dialogue>\n    <scene_description>A HAIRY GUY in a LEATHER VEST notices Simon's discomfort.<\/scene_description>\n    <character>HAIRY GUY<\/character>\n    <dialogue>You might want to try Joe's.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Let's try Joe's.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOE'S ON JUNIPER - NIGHT<\/stage_direction>\n    <scene_description>Another gay bar\/restaurant with a younger crowd - lots of attractive college-age kids, a DJ spinning Calvin Harris. Simon and Nick sit at a table eating fries.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>I think that guy is checking me out.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>You have said that about every single guy.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I can't help it. The gays love me.<\/dialogue>\n    <character>CUTE GUY (O.S.)<\/character>\n    <dialogue>Alex?<\/dialogue>\n    <scene_description>Simon spins around to come face to face with a boyish CUTE GUY with cool hair and skinny jeans.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>I'm not-<\/dialogue>\n    <character>CUTE GUY<\/character>\n    <dialogue>You're not Alex. Sorry, you have Alex hair.<\/dialogue>\n    <character>SIMON<\/character>\n    <parenthetical>(nervous)<\/parenthetical>\n    <dialogue>Is that, um, a good thing?<\/dialogue>\n    <character>CUTE GUY<\/character>\n    <dialogue>It's literally the only good thing about Alex. Do you want to dance?<\/dialogue>\n    <scene_description>Simon hesitates. Nick is grinning like an idiot, beyond excited by how well this is going.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Yes. Yes, he does.<\/dialogue>\n    <scene_description>Simon's head is exploding with excitement and nerves. He's in a public place and an attractive guy is hitting on him. The Cute Guy takes Simon's hand and leads him out to the dance floor. They awkwardly dance for a moment, before the Cute Guy turns to a passing WAITER.<\/scene_description>\n    <character>CUTE GUY<\/character>\n    <dialogue>Two shots of Patron please.<\/dialogue>\n    <character>SIMON<\/character>\n    <parenthetical>(nervous)<\/parenthetical>\n    <dialogue>Oh, actually-<\/dialogue>\n    <scene_description>The WAITER eyes Simon skeptically.<\/scene_description>\n    <character>WAITER<\/character>\n    <dialogue>I'm gonna need to see some ID.<\/dialogue>\n    <scene_description>Off Simon, at a loss ..\u2022<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JOE'S ON JUNIPER - NIGHT<\/stage_direction>\n    <scene_description>Simon and Nick are escorted out of the bar by a SECURITY GUY. Nick feels awful.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>I'm really sorry, man. I dragged you all the way out here so you could get humiliated in front of the first guy who ever asked you to dance. Please don't let this traumatize you-<\/dialogue>\n    <scene_description>Simon throws his arms around Nick, exhilarated by their disastrous night and incredibly grateful for his friendship,<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Thank you, I love you, man.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>No homo.<\/dialogue>\n    <scene_description>Nick and Simon burst out laughing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S ROOM- DAY<\/stage_direction>\n    <scene_description>Simon sits at his computer, writing to Blue:<\/scene_description>\n    <character>SIMON (V.O.)<\/character>\n    <dialogue>Dear Blue, happy New Year's Eve. I haven't heard from you, so I'm going to assume slash pray it's because you have no service, and not that you've decided it's too risky to keep e-mailing your innermost feelings to a guy who doesn't know how to log out of Gmail.<\/dialogue>\n    <parenthetical>(deep breath, then)<\/parenthetical>\n    <character>SIMON (V.O.)<\/character>\n    <dialogue>I came out to my entire family on Christmas. And now, everything is different.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. SIMON'S CAR\/ WAFFLEHOUSE- DAY (SIMON'S FANTASY)<\/stage_direction>\n    <scene_description>Simon pulls up to the window to get his order.<\/scene_description>\n    <character>SIMON ( V \u0080\ufffd 0 \u0080\ufffd )<\/character>\n    <dialogue>It's not like my life has become one big pride parade.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I got the iced coffee.<\/dialogue>\n    <character>WAFFLEHOUSE GUY<\/character>\n    <dialogue>Yeah you did, boy!<\/dialogue>\n    <scene_description>WAFFLE HOUSE GUY hits PLAY on a BOOMBOXand it BLASTS Lady Gaga's \"Born This Way\". Waffle House Guy throws a bunch of RAINBOW CONFETTI in Simon's face. Then puts a pair of RAINBOW SUNGLASSES on him. Simon spits some of the confetti out of his mouth. BACKTO REALITY:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \/EXT.SIMON'S CAR\/ WAFFLEHOUSE DRIVE THRU - DAY<\/stage_direction>\n    <scene_description>(FLASHBACK) Simon pulls up to get his order.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>I got the iced coffee.<\/dialogue>\n    <character>WAFFLE HOUSE GUY<\/character>\n    <parenthetical>(hands him coffee, bored)<\/parenthetical>\n    <dialogue>Have a Waffle-icious day.<\/dialogue>\n    <scene_description>Simon drives away.<\/scene_description>\n    <character>SIMON (V .0.)<\/character>\n    <dialogue>It's the little things.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S HOUSE - DAY (FLASHBACK)<\/stage_direction>\n    <character>SIMON (V. 0. )<\/character>\n    <dialogue>Like the way my mom watches me.<\/dialogue>\n    <scene_description>Simon and his entire family wear HAPPY NEW YEAR HATS and watch Anderson Cooper host a New Year's Eve celebration on television. He realizes his mom is STARING at him. She quickly looks back at the television when Simon catches her.<\/scene_description>\n    <character>SIMON (V. 0. )<\/character>\n    <dialogue>Or the awkward physical affection my dad has started to exhibit for the first time ever.<\/dialogue>\n    <scene_description>Jack reaches out and makes the bizarre choice to pat Simon on the cheek. BACKTO PRESENT: INT, SIMON'S ROOM- DAY Simon continues his e-mail at his desk.<\/scene_description>\n    <character>SIMON (V.O.)<\/character>\n    <dialogue>Don't get me wrong, there are good parts too. My friend even took me to my first gay bar. It was terrible and great at the same time.<\/dialogue>\n    <scene_description>INT, SIMON'S BEDROOM- NIGHT A pajaroa'd Simon packs his bag for school the next day.<\/scene_description>\n    <character>SIMON ( V . 0 , )<\/character>\n    <dialogue>But change is exhausting. And I feel like there's nowhere to hide from all the new-ness of everything. Except here. With you.<\/dialogue>\n    <scene_description>Simon sets his alarm and climbs into bed.<\/scene_description>\n    <character>SIMON ( V. 0 \u0080\ufffd )<\/character>\n    <dialogue>Please write to me. As soon as you get even one bar of service. Love, Jacques.<\/dialogue>\n    <scene_description>Simon clicks out the light.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S BEDROOM- MORNING<\/stage_direction>\n    <scene_description>Simon's alarm wakes him up. It's 7:00 AM. He immediately checks his e-mail. Nothing new from Blue.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S BATHROOM- MORNING<\/stage_direction>\n    <scene_description>Simon gets ready for his first day of school as an out gay kid. QUICK CUTS as he tries on a bunch of different T- shirts, then one tight tank top. He looks at his reflection like, what am I doing?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S KITCHEN - DAY<\/stage_direction>\n    <scene_description>Simon crosses through, wearing a typical hoodie. He's visibly nervous.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>Si, have some breakfast.<\/dialogue>\n    <scene_description>Simon makes a beeline for the door.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>I really can't eat right now--<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>Wait.<\/dialogue>\n    <scene_description>Denise turns on what is clearly her \"therapist voice.\"<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>This is going to be a time of real exploration for you. Sexual and emotional feelings you've been repressing for a long time are going to come to the--<\/dialogue>\n    <character>SIMON<\/character>\n    <parenthetical>(pained)<\/parenthetical>\n    <dialogue>Morn.<\/dialogue>\n    <scene_description>Denise realizes Simon doesn't need a therapist right now. And frankly, she doesn't feel like being one.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Have I ever told you about your first day of pre-school?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Mom--<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>I was so nervous you were gonna fall apart when we dropped you off, You loved being home with your baby sister so much.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>And you'd never been without me or dad for more than a couple hours.<\/dialogue>\n    <parenthetical>(beat, then)<\/parenthetical>\n    <dialogue>But we walked in and you took in all the kids playing and you proclaimed, \"Hello everybody. I'm Simon Spier and I'm here!\" And that's when I realized, my son is brave.<\/dialogue>\n    <scene_description>Simon can't meet her eyes. He's not feeling very brave. Denise's voice is filled with defiant emotion:<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>So today, you go in there, and you remember you're Simon Spier. And you say, \"Hello everyone. I'm here.\"<\/dialogue>\n    <scene_description>Simon and Denise share an emotional look. Then:<\/scene_description>\n    <character>DENISE<\/character>\n    <parenthetical>(trying to lighten the mood)<\/parenthetical>\n    <dialogue>But don't actually say that. That'd be weird.<\/dialogue>\n    <scene_description>Simon forces a smile and leaves. We hang on Denise, her smile fading. She could not look more worried for her son.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \/EXT.SIMON'S CAR\/ SHADY CREEK STREETS - MORNING<\/stage_direction>\n    <scene_description>Simon pulls up in front of Nick's house. He's surprised to see Abby, Nick, and Leah standing on Nick's front porch. Simon gets out of the car ...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NICK'S HOUSE - DAY - CONTINUOUS<\/stage_direction>\n    <scene_description>... And approaches his friends.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Hey, guys. Sorry I've been MIA. Thanks for all the texts.<\/dialogue>\n    <parenthetical>(re: Nick)<\/parenthetical>\n    <dialogue>And for sending the friendship ambassador over to check in.<\/dialogue>\n    <scene_description>Simon smiles at them. To his surprise, nobody smiles back. Nick clears his throat.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Simon, we need to talk.<\/dialogue>\n    <scene_description>Simon realizes that Leah looks very emotional. And Abby looks very angry.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Abby and I hooked up on New Year's Eve. And now we're like, together.<\/dialogue>\n    <character>SIMON<\/character>\n    <parenthetical>(nervous)<\/parenthetical>\n    <dialogue>Wow. That's awesome.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Yeah. It is. But then we got to talking about why it took us so long.<\/dialogue>\n    <scene_description>Simon goes white. He knows where this is going and he tries to get ahead of it.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>You guys--<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Why did tell Abby I had an ex- girlfriend who I cheated on?<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>And why did you tell Nick I hooked up with a ton of jacked black guys at my old school?<\/dialogue>\n    <scene_description>They stare at him, really hoping he has a great answer. Simon takes a deep breath. He attempts to explain himself.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Martin's the one who wrote on the Creeksecrets post about me. He screenshotted those e-mails and he's been using them to blackmail me for months.<\/dialogue>\n    <scene_description>Nick, Leah, and Abby look horrified. But then ...<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>What does that have to do with us?<\/dialogue>\n    <character>SIMON<\/character>\n    <parenthetical>(pained)<\/parenthetical>\n    <dialogue>He said if I didn't help him get with Abby, he'd out me. So I had to ... keep you guys apart.<\/dialogue>\n    <scene_description>Nick and Abby absorb this ...<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>So you made up a bunch of lies?<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(realizing)<\/parenthetical>\n    <dialogue>Oh my god. That's why you convinced me to go out with Leah? To keep me away from Abby?<\/dialogue>\n    <scene_description>It takes all of Simon's effort to look at Leah. She looks back, overcome with sadness and hurt.<\/scene_description>\n    <character>ABBY<\/character>\n    <parenthetical>(slowly understanding)<\/parenthetical>\n    <dialogue>So us running lines at Waffle House? And beer pong at Bram's party? All of that was you trying to pawn me off on Martin?<\/dialogue>\n    <scene_description>Simon nods, beyond embarrassed. Abby is livid.<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>I'm not a piece of meat, Simon.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I know. I'm sorry.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>I would never do anything like that to you. I would never try and stop you from being happy,<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>A horrible, quiet moment. Then:<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>We're gonna be late for school. I'll drive.<\/dialogue>\n    <scene_description>Nick takes Abby's hand and they head towards his car. Leah hangs back a moment, like she wants to say something to Simon.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Leah, please. You have to understand \u2022\u2022\u2022<\/dialogue>\n    <scene_description>She shakes her head and follows Nick and Abby. Simon stares after them, devastated.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOOD<\/stage_direction>\n    <scene_description>HIGH SCHOOL- LOBBY - DAY Simon enters school, bracing himself for what's next in this shitty day. He comes face to face with \u2022\u2022. Life as usual. Students get books out of their lockers, hurry to class. No one really looks twice at him. Maybe this won't be so bad after all. And then Mr. Worth passes by and points to a RAINBOWFLAG PIN on his lapel.<\/scene_description>\n    <character>MR. WORTH<\/character>\n    <parenthetical>(in solidarity)<\/parenthetical>\n    <dialogue>I got you, buddy. Tolerance: it's what's for dinner.<\/dialogue>\n    <scene_description>Simon looks uncomfortable. And we begin a SEQUENCEas Simon experiences his first day as an openly gay student.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOOD<\/stage_direction>\n    <scene_description>HIGH SCHOOL- MATHCLASS - DAY Simon sits in class. He notices Martin staring at him from his desk. As soon as Simon catches Martin's eye, Martin looks away, ashamed. INT, CREEKWOOD HIGH SCHOOL- HALLWAY- DAY A SENIOR GIRL who has never spoken to Simon corners him.<\/scene_description>\n    <character>SENIOR GIRL<\/character>\n    <dialogue>We need to be best friends. First things first: I'm getting a haircut tomorrow and I'm thinking bangs. Please weigh in.<\/dialogue>\n    <scene_description>Simon just stares at her, clueless.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOOD<\/stage_direction>\n    <scene_description>HIGH SCHOOL- BOY'S ROOM- DAY Simon washes his hands. A PIMPLY FACED KID washes his hands at the next sink.<\/scene_description>\n    <character>PIMPLY FACED KID<\/character>\n    <dialogue>Can you pass a paper towel?<\/dialogue>\n    <scene_description>Simon hands him a towel. Their hands briefly touch.<\/scene_description>\n    <character>PIMPLY FACED KID<\/character>\n    <dialogue>I'm straight.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOOD<\/stage_direction>\n    <scene_description>HIGH SCHOOL- GYM- DAY A STONER comes up to Simon during volleyball.<\/scene_description>\n    <character>STONER<\/character>\n    <dialogue>My second cousin is trans.<\/dialogue>\n    <scene_description>Simon doesn't know what to do with this information.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Cool?<\/dialogue>\n    <character>STONER<\/character>\n    <dialogue>Pre-op .<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Thanks for letting me know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOODHIGH SCHOOL - MATH CLASS - DAY<\/stage_direction>\n    <scene_description>The Math Teacher drones on. A GOSSIPY GIRL leans over and whispers to Simon:<\/scene_description>\n    <character>GOSSIPY GIRL<\/character>\n    <dialogue>So, are you a top or a bottom?<\/dialogue>\n    <scene_description>Simon just stares at her, quietly furious.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CREEKWOODHIGH - COURTYARD- DAY<\/stage_direction>\n    <scene_description>Simon eats lunch alone on a bench. A FRESHMAN DUDE comes up to him.<\/scene_description>\n    <character>FRESHMAN DUDE<\/character>\n    <dialogue>Is it because you don't like the way pussy smells? I don't either. But that doesn't make me gay, right?<\/dialogue>\n    <scene_description>Simon stares at him, annoyed. The Dude takes his silence to mean \"Yes, you're gay.\"<\/scene_description>\n    <character>FRESHMAN DUDE<\/character>\n    <parenthetical>(panicking)<\/parenthetical>\n    <dialogue>Actually, I do like the way it smells.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOODHIGH - GYM - DAY<\/stage_direction>\n    <scene_description>Simon plays volleyball. The Stoner re-approaches him.<\/scene_description>\n    <character>STONER<\/character>\n    <dialogue>I forgot to tell you that my cousin started hormones.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>I don't care, Evan! I don't know your cousin!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOOD<\/stage_direction>\n    <scene_description>HIGH - HALLWAY- DAY The Senior Girl rambles on to Simon.<\/scene_description>\n    <character>SENIOR GIRL<\/character>\n    <dialogue>Jennifer Lawrence pulls off that look, but she has a really symmetrical face, and my left eye is actually bigger than my right. Maybe just highlights?<\/dialogue>\n    <scene_description>Off Simon . . . HIGH SCHOOL- AUDITORIUM - LATER<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOOD<\/stage_direction>\n    <scene_description>We're mid-dress rehearsal. The cast performs \"I'd Do Anything\", actually nailing the choreography, Cal and Ms, Albright excitedly watch from the front row. As Simon dances onstage, he can't help but stare at Cal, searching for any sign that he's Blue. But Cal's focused on the performance, impossible to read.<\/scene_description>\n    <character>MARTIN<\/character>\n    <parenthetical>(singing as Fagin)<\/parenthetical>\n    <dialogue>Would you rob a shop?<\/dialogue>\n    <character>ENSEMBLE<\/character>\n    <dialogue>Anything!<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Would you risk the--<\/dialogue>\n    <scene_description>Suddenly, Martin stops singing. Everyone follows his gaze to the back of the auditorium, where TWO IDIOT JOCKS have entered. One is dressed in a SHAGGYWIG and GREY HOODIE, just like Simon. The other is wearing his FOOTBALL JERSEY.<\/scene_description>\n    <character>IDIOT JOCK IN JERSEY<\/character>\n    <dialogue>This one's for you, Spier!<\/dialogue>\n    <scene_description>He hits a button on his JAMBOXand Ice Cube's You Can Do It plays: \"You can do it put your back into it! I can do it put your ass into itl\" The Jock dressed as Simon gets down on his hands and knees, and the Jock in the jersey starts humping his butt, simulating anal sex.<\/scene_description>\n    <character>IDIOT JOCK IN JERSEY<\/character>\n    <dialogue>You like that big dick, don't you Spier?<\/dialogue>\n    <character>IDIOT DRESSED AS SIMON<\/character>\n    <dialogue>Oh, yeah! Give it to me, big boy! Simon likey!<\/dialogue>\n    <scene_description>Simon stares at them, stone-faced. This all seems unreal. He notices Abby's eyes are locked on the jocks, burning with rage. But she refuses to make eye contact with Simon. Suddenly, Taylor CHARGESdown the aisle towards the guys.<\/scene_description>\n    <character>TAYLOR<\/character>\n    <dialogue>Get out of here you ignorant pieces of-<\/dialogue>\n    <character>IDIOT JOCK IN JERSEY<\/character>\n    <dialogue>Oh, shiiiit!<\/dialogue>\n    <scene_description>The two guys run out of the auditorium, Taylor in hot pursuit. There's muffled shouting from the hallway. Ms. Albright races after them, calling back to the cast:<\/scene_description>\n    <character>MS. ALBRIGHT<\/character>\n    <dialogue>I'll be right back.<\/dialogue>\n    <scene_description>Everyone sinks to the ground, shell-shocked. Martin covers his face with his hands. Ms. Albright returns with a still-fuming Taylor. Simon remains stiff with shock and discomfort.<\/scene_description>\n    <character>MS. ALBRIGHT<\/character>\n    <dialogue>I'm sorry you guys had to see that. Today's rehearsal is cancelled,<\/dialogue>\n    <scene_description>Everyone slowly gets up and heads out. Cal gives Simon a sad smile as he passes. But it's impossible to tell if he's Blue or if he's just being supportive. After a moment, Simon turns to Taylor:<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Um, thanks. And I'm sorry. About missing a rehearsal. I know how much this means to you.<\/dialogue>\n    <scene_description>Taylor stares at him, surprised.<\/scene_description>\n    <character>TAYLOR<\/character>\n    <dialogue>It's just a play, Simon.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Fuck those guys.<\/dialogue>\n    <scene_description>He nods, surprised by this other side of Taylor. As Abby passes Simon, she gives him a stoic:<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>I'm sorry. That was messed up.<\/dialogue>\n    <scene_description>But doesn't stop walking. Ms. Albright approaches Simon.<\/scene_description>\n    <character>MS\u0080\ufffd ALBRIGHT<\/character>\n    <dialogue>Are you okay?<\/dialogue>\n    <character>SIMON<\/character>\n    <parenthetical>(mortified)<\/parenthetical>\n    <dialogue>Yes. I'm sorry.<\/dialogue>\n    <character>MS. ALBRIGHT<\/character>\n    <dialogue>Don't you dare be sorry. None of this is your fault. Those assholes are getting suspended. I will make it my hill to die on.<\/dialogue>\n    <scene_description>Simon stares at her, amazed by her candor. He realizes she's doing her best to stay calm, but is absolutely furious. Which makes him feel a little better. Then, Mr. Worth storms in with the two idiot jocks in tow. The color drains from Simon's face.<\/scene_description>\n    <character>MR. WORTH<\/character>\n    <dialogue>Simon, Devon and Carl have something to say to you.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>No. That's okay--<\/dialogue>\n    <character>MR. WORTH<\/character>\n    <dialogue>No, it's not okay. Boys?<\/dialogue>\n    <character>IDIOT JOCK IN JERSEY<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <character>IDIOT DRESSED AS SIMON<\/character>\n    <dialogue>My bad.<\/dialogue>\n    <character>MR. WORTH<\/character>\n    <dialogue>At Creekwood High we believe in tolerance. Which means, we respect Simon's choice to love another man.<\/dialogue>\n    <scene_description>As Mr. Worth drones on, the Jocks can barely contain their snickers. Off Simon, completely humiliated ...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CREEKWOOD<\/stage_direction>\n    <scene_description>HIGH SCHOOL - NIGHT Simon approaches his car to find Martin standing there. He is the last person Simon wants to see.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Hey, can we talk?<\/dialogue>\n    <scene_description>All Simon wants is to get as far away from Creek:wood High as possible.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>I don't have anything to say to you.<\/dialogue>\n    <scene_description>Simon reaches for the car door, but Martin is in the way.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Martin--<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>I just wanted to say that I'm sorry. I didn't know that would - I didn't think people still did shit like that.<\/dialogue>\n    <scene_description>Simon stares at Martin, stone-faced.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>I was pissed off about Abby and I wasn't thinking. I didn't think it would be a big thing.<\/dialogue>\n    <scene_description>Martin struggles to collect his thoughts.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>The whole thing with my brother ... Ever since he came out, my parents have turned our house into a gay utopia. But Carter's in college, he's not even home. We marched in the Pride Parade this year and he wasn't even there. It was my idea. When I told Carter about it, he was like, \"Urn, okay, cool.\" Like it was a little much. I felt like a total asshole. It doesn't matter. Will you please say something?<\/dialogue>\n    <scene_description>Simon closes his eyes for a moment. Finally:<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>I don't care about your brother, Martin. Or how him corning out made you feel.<\/dialogue>\n    <parenthetical>(shaking with rage)<\/parenthetical>\n    <dialogue>And I don't care if you didn't think my coming out would be \"a big thing.\" You don't get to decide that. I'm supposed to decide when and where and who knows and how I want to say it.<\/dialogue>\n    <scene_description>Simon's voice cracks. He shakes away the emotion, refusing to let Martin see him break down.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Can you please just move away from my car and leave me the fuck alone?<\/dialogue>\n    <scene_description>A devastated Martin walks off into the night. Simon gets in his car, locks the doors, and punches his steering wheel with rage.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Simon is pulling on his pajamas, totally exhausted from the day, when his computer BINGS. He races over and checks his e- mail - Blue! Simon nervously opens the message and begins to read:<\/scene_description>\n    <character>CAL (V,O.)<\/character>\n    <dialogue>You're right, I know who you are.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOODHIGH - AUDITORIUM - DAY (SIMON'S FANTASY)<\/stage_direction>\n    <scene_description>Cal stands center stage, staring straight into camera.<\/scene_description>\n    <character>CAL<\/character>\n    <dialogue>Jacques a dit, right?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARIS - LUXEMBOURGPARK - DAY (FLASHBACK)<\/stage_direction>\n    <scene_description>EIGHT-YEAR-OLDSIMON and his family are on a Parisian vacation. The framed photo in Simon's room that inspired his pseudonym \"Jacques\" was taken on this trip. A group of FRENCH KIDS play \"Jacques a dit\" in the park.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>Jacques a dit is what they call Simon Says in French. Just like you, kiddo.<\/dialogue>\n    <scene_description>Off Young Simon \u2022.. BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S ROOM- NIGHT<\/stage_direction>\n    <scene_description>Simon stands there reading the e-mail.<\/scene_description>\n    <character>CAL (V.O.)<\/character>\n    <dialogue>I'm sorry, Simon. I can't do this anymore. I'm so sorry.<\/dialogue>\n    <scene_description>Simon stares at his computer in dazed shock. He hurriedly writes back:<\/scene_description>\n    <character>SIMON (V. 0. )<\/character>\n    <dialogue>Please, Blue. You can't leave me alone. Everything's falling apart.<\/dialogue>\n    <scene_description>And hits send. A beat, then his computer BINGS again with a response from MAILER DAEMON.<\/scene_description>\n    <character>AUTOMATEDVOICE (V.O.)<\/character>\n    <dialogue>Delivery to the recipient bluegreenll8@gmail.com failed permanently.<\/dialogue>\n    <scene_description>Blue deleted the account. Simon stares at the word \"permanently\" for a beat, as he realizes Blue shut down the account. Then, he slams his computer shut. He notices the WORLD'S GREATEST FRIEND t-shirt Nick gave him, strewn on a chair. And it's all just too much. He picks up the shirt, buries his head in it, and begins to sob.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOODHIGH SCHOOL - LOCKERS<\/stage_direction>\n    <scene_description>Cal is putting books in his locker. Simon walks up to him. He's bleary eyed, clearly having been up most of the night.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>CAL<\/character>\n    <dialogue>Hey, what's up?<\/dialogue>\n    <scene_description>Simon takes a deep breath. Then , in a shaky voice:<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Is it you?<\/dialogue>\n    <character>CAL<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>Is what me?<\/dialogue>\n    <scene_description>Simon stares at him for a long beat. Then:<\/scene_description>\n    <character>SIMON<\/character>\n    <parenthetical>(barely audible)<\/parenthetical>\n    <dialogue>Blue?<\/dialogue>\n    <scene_description>Cal looks uncomfortable.<\/scene_description>\n    <character>CAL<\/character>\n    <dialogue>Simon, are you okay? I know you've had a crazy couple days. Do you wanna talk about it? I can skip Bio, I'm failing anyway.<\/dialogue>\n    <scene_description>Cal gives him a friendly smile. Simon stares at him. It's clear to him that Cal is not Blue after all. After a moment:<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>No. It's okay. I'm okay. Sorry to bother you.<\/dialogue>\n    <scene_description>Simon hurries away, embarrassed. Elliott Smith kicks in, coming from the stereo of ...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT, \/EXT.SIMON'S CAR\/ WAFFLE HOUSE DRIVE THRU - DAY<\/stage_direction>\n    <scene_description>Where Simon gets an after school iced coffee for one.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \/EXT.SIMON'S CAR\/ SHADY CREEK STREETS - DAY<\/stage_direction>\n    <scene_description>Simon drives home alone, passing a field where WORKERS are setting up CARNIVAL RIDES, including an OLD FERRIS WHEEL,<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \/EXT.SIMON'S CAR\/ CREEKWOODSTREETS - DAY<\/stage_direction>\n    <scene_description>Simon turns onto his street when he spots Leah on her bike. He makes a decision, rolls down his window and slows down so he's driving next to her.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Can we talk?<\/dialogue>\n    <parenthetical>(off her silence)<\/parenthetical>\n    <dialogue>Leah, please. I know what I did was messed up. I knew you were in love with Nick and I--<\/dialogue>\n    <character>LEAH<\/character>\n    <dialogue>Stop it!<\/dialogue>\n    <scene_description>Leah pulls her bike over. Simon parks, gets out, approaches. Leah closes her eyes and lowers her voice:<\/scene_description>\n    <character>LEAH<\/character>\n    <dialogue>You are insanely stupid, Simon. I was never in love with Nick.<\/dialogue>\n    <character>LEAH<\/character>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I was in love with you.<\/dialogue>\n    <scene_description>Leah angrily brushes away tears. Simon stares at her, totally blindsided.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>What? But we're ... us .<\/dialogue>\n    <character>LEAH<\/character>\n    <dialogue>Yeah, well. Sorry.<\/dialogue>\n    <scene_description>Simon doesn't know what to say.<\/scene_description>\n    <character>LEAH<\/character>\n    <dialogue>I thought you were into Abby. And then when you told me I should go out with Nick, I realized you were never gonna see me that way.<\/dialogue>\n    <scene_description>Leah takes a deep breath then presses on:<\/scene_description>\n    <character>LEAH<\/character>\n    <dialogue>I can deal with you being gay.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But you set me up to get my heart broken when you thought I was in love with Nick. And that makes you cruel.<\/dialogue>\n    <scene_description>Simon has never felt worse in his young life.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Leah, please. I was desperate.<\/dialogue>\n    <character>LEAH<\/character>\n    <dialogue>I know, you didn't want anyone to know you were gay--<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>No, it wasn't just that. I fell in love with someone. The guy in the e-mails, I love him. And I knew if Martin leaked our e-mails it would scare him off. I've been so lonely for so long. And and with him, I didn't feel lonely \u2022\u2022.<\/dialogue>\n    <scene_description>Simon trails off. Leah softens, starting to forgive Simon ..<\/scene_description>\n    <character>LEAH<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>No, I'm sorry. It's not an excuse. You're my best friend.<\/dialogue>\n    <character>LEAH<\/character>\n    <dialogue>If I'm your best friend, why did you come out to Abby and not me?<\/dialogue>\n    <scene_description>Simon considers.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>It was easier. I've known Abby for three months. I've known you for thirteen years. And I knew that once I told you, everything would be different. And I loved things the way they were.<\/dialogue>\n    <scene_description>Leah nods. These two can feel their friendship changing before their very eyes. And it hurts. But they know they need to try and embrace it. So:<\/scene_description>\n    <character>LEAH<\/character>\n    <dialogue>Tell me about this guy you love.<\/dialogue>\n    <scene_description>Simon hesitates.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Are you sure?<\/dialogue>\n    <character>LEAH<\/character>\n    <dialogue>Yeah, It'll help me kill off Hetero Simon in my mind.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Well, you don't have to kill him off--<\/dialogue>\n    <character>LEAH<\/character>\n    <dialogue>He's dead, Si. Hacking him up with a mental machete as we speak.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Fair enough. So, I call him Blue.<\/dialogue>\n    <scene_description>Leah forces a smile. And we leave these two, trying to adjust to their new normal ...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \/EXT.JACK'S CAR\/ SHADYCREEK STREETS - NIGHT<\/stage_direction>\n    <scene_description>Jack and Simon drive home with THAI FOOD in uncomfortable silence.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Thanks for coming with me to pick up the food.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Mhmm.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>If I get one more ticket for double parking outside Wakdongmoonlek Noodle, we can't afford to send you to college.<\/dialogue>\n    <scene_description>Simon forces a smile. It's clearly still awkward between these two. Jack presses on,<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Excited for the show tomorrow night?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Uh huh.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Morn and Nora and I are really looking forward to it.<\/dialogue>\n    <parenthetical>(beat, then)<\/parenthetical>\n    <dialogue>You gonna go to the carnival after?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Yup.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(forcing conversation)<\/parenthetical>\n    <dialogue>I've always loved the winter carnival. One of my favorite Shady Creek traditions.<\/dialogue>\n    <scene_description>Simon nods. Another awkward silence. Then:<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>So, that Sam Smith guy is pretty cool, huh?<\/dialogue>\n    <scene_description>Simon stares at his dad, worried about where this is going \u2022\u2022\u2022<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Uh huh.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I've actually been really into his tunes lately.<\/dialogue>\n    <scene_description>Jack hits the STEREO and Sam Smith's S~ay With Me begins to play. Jack awkwardly bobs along with it.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Dad, did you tee up a gay singer just to talk to me about being gay?<\/dialogue>\n    <scene_description>Jack sighs, frustrated with himself. He turns off the music. Simon notices his hand is trembling a little,<\/scene_description>\n    <character>JACK<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>I'm sorry, Si. For all the gay jokes.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>It's fine.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(firmly)<\/parenthetical>\n    <dialogue>No. It' s not.<\/dialogue>\n    <scene_description>Jack sounds so angry and ashamed with himself. Simon realizes how much he's been beating himself up.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>I'm just going to put this out there, in case the message got lost somewhere. I love you. A lot.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And I'm really proud of you.<\/dialogue>\n    <character>SIMON<\/character>\n    <parenthetical>(re: proud)<\/parenthetical>\n    <dialogue>Why?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>For coming out on your terms. You really took control of your destiny.<\/dialogue>\n    <scene_description>Simon stares out the window. He couldn't possibly feel in less control of his destiny. Jack clears his throat. After a beat:<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>So, are there any special guys--<\/dialogue>\n    <scene_description>Simon turns back on Sam Smith. Jack gets the message.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S ROOM - MIDDLE OF THE NIGHT<\/stage_direction>\n    <scene_description>Simon lies in bed, wide awake. He clicks on the light, goes to his desk, navigates to the Creeksecrets Twnblr. He grabs an Eggnog Oreo from a nearby pack, clicks on NEW POST, and begins to TYPE.<\/scene_description>\n    <character>SIMON (V.O.)<\/character>\n    <dialogue>Dear Students of Creekwood High School, As anyone with a half- decent data plan already knows, a recent post on this very website declared that I was gay. The delivery left something to desired, but the message is true. I am. Gay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CREEKWOODHIGH SCHOOL - FRONT STEPS - THE NEXT MORNING<\/stage_direction>\n    <scene_description>Students head into school, glued to their phones. Everyone is reading Simon's post.<\/scene_description>\n    <character>SIMON (V.O.)<\/character>\n    <dialogue>For a long time, I was bending over backwards to hide that fact. I had all these reasons. It was unfair that only gay people had to come out. I was sick of change. But the truth is, I was terrified.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOODHIGH SCHOOL - HALLWAY- DAY<\/stage_direction>\n    <scene_description>Ms. Albright readsSimon's post on her phone as an EAGER DRAMA STUDENT hangs an OLIVER: TONIGHT! banner. The Student checks with Ms. Albright for approval, but she's totally focused on her phone.<\/scene_description>\n    <character>SIMON (V.O.)<\/character>\n    <dialogue>Announcing who you are to the world is terrifying. Because ... what if the world doesn't like you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CREEKWOODHIGH SCHOOL - COURTYARD- DAY<\/stage_direction>\n    <scene_description>Nick and Abby read Simon's post as they sip iced coffees on a bench.<\/scene_description>\n    <character>SIMON (V.O.)<\/character>\n    <dialogue>So, I did whatever I could to keep my secret. I hurt people. I hurt the best, most important people. I want them to know that I'm sorry.<\/dialogue>\n    <character>SIMON (V.O.)<\/character>\n    <dialogue>I'm sorrier than I've ever been about anything in my life.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOODHIGH SCHOOL- EMPTY ART CLASS - DAY<\/stage_direction>\n    <scene_description>Leah has stopped SKETCHINGA DRESS to read Simon's post.<\/scene_description>\n    <character>SIMON (V .0.)<\/character>\n    <dialogue>And I want everyone to know that from this point forward, I aro. done being terrified.<\/dialogue>\n    <scene_description>Leah smiles, proud of Simon.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT, \/ EXT. SIMON'S CAR\/ CREEKWOODHIGH SCHOOL - DAY<\/stage_direction>\n    <scene_description>Simon pulls into a parking spot. He takes a deep breath and gets out of the car to face his school. INT, CREEKWOODHIGH SCHOOL- LOBBY- DAY Simon heads to his locker. He's met with nods of recognition, a few pats on the back, a fist pound. He shyly accepts it all, a little overwhelmed by the attention.<\/scene_description>\n    <character>SIMON (V.O.)<\/character>\n    <dialogue>I'm done living in a world where I don't get to be who I am.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And I'm done living in a world where I don't get to have a great love story.<\/dialogue>\n    <scene_description>INT, CREEKWOODHIGH SCHOOL - DAY Nora stands at her locker, reading the post on her phone.<\/scene_description>\n    <character>SIMON (V, 0, )<\/character>\n    <dialogue>Disclaimer: this is about to get romantic as eff, so anyone averse to gratuitous feelings, kindly click over to a Buzzfeed quiz or resume the porn you paused to read this.<\/dialogue>\n    <scene_description>Nora smiles. Mr. Worth notices Nora on her phone and beckons for it. She stares him down. He gives her a \"never mind\" gesture and hurries away. Nora sends an e-mail on her phone \u2022\u2022.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALICE'S BARD DORM ROOM - DAY<\/stage_direction>\n    <scene_description>Alice sits on her bed, eating Oreos and studying. Her phone dings and she looks at it. Nora has forwarded her Simon's post, She starts to read.<\/scene_description>\n    <character>SIMON (V.O,)<\/character>\n    <dialogue>This guy that I love once wrote that he felt like he was stuck on a ferris wheel. On top of the world one minute, at rock bottom the next. That's how I feel now. I couldn't ask for better friends. A more understanding family. But none of it means anything if I can't share it with him.<\/dialogue>\n    <scene_description>Alice's SOUL PATCHED BOYFRIEND enters from the next room and sits down on the bed. She leans into him as she continues reading.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOODHIGH SCHOOL - AUDITORIUM - LATER<\/stage_direction>\n    <scene_description>We're at the end of the Oliver performance. The entire company BOWS to a STANDING OVATION.<\/scene_description>\n    <character>SIMON (V.O,)<\/character>\n    <dialogue>So, guy I love, after the play tonight, at 10:00, you know where I'll be.<\/dialogue>\n    <scene_description>Simon scans the crowd, looking at all the HIGH SCHOOL GUYS in the audience, wondering if any of them are Blue. If he'll ever find out who Blue is.<\/scene_description>\n    <character>SIMON (V.O.)<\/character>\n    <dialogue>There's no pressure for you to show up. Just because I can't wait a second longer to grand gesture the crap out of you doesn't mean you have to be ready for all that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOODHIGH SCHOOL - OUTSIDE AUDITORIUM - LATER<\/stage_direction>\n    <scene_description>Simon receives FLOWERS from his family after the show. Nora gives him a big hug, proud of him for his Creeksecrets post. Simon looks around and sees lots of STRAIGHT COUPLES congratulating each other and kissing. Sure, he's surrounded by people who love him, but he feels very much alone.<\/scene_description>\n    <character>SIMON (V .O.)<\/character>\n    <dialogue>But I hope you are. Because you deserve a great love story too. And I sure would like to meet you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMON'S BEDROOM- THE NIGHT BEFORE<\/stage_direction>\n    <scene_description>Simon finishes writing his post.<\/scene_description>\n    <character>SIMON (V.<\/character>\n    <dialogue>Sincerely,<\/dialogue>\n    <character>0. )<\/character>\n    <dialogue>Simon<\/dialogue>\n    <scene_description>Simon posts the same stock image of the ferris wheel from Blue's original Creeksecrets post and hits SEND.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREEKWOOD<\/stage_direction>\n    <scene_description>HIGH SCHOOL- OUTSIDE AUDITORIUM- PRESENT Nick and Abby approach Simon and his family. Simon is immediately uncomfortable.<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>Hey, Spiers.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(bad British accent)<\/parenthetical>\n    <dialogue>Great job, Dodge. Stay away from my wallet!<\/dialogue>\n    <scene_description>Abby forces a laugh.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Simon, do you need a ride to the carnival?<\/dialogue>\n    <scene_description>Simon stares at them, hopeful. Abby rolls her eyes and gives him a smile like, \"We're fine.\" Simon throws his arms around them, very emotional. Jack and Denise exchange a confused look.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>He never does that when I offer him a ride.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WINTER CARNIVAL- NIGHT<\/stage_direction>\n    <scene_description>Simon, Nick, Abby, and Leah walk through a bustling old- school carnival with rickety rides and candy apples and rigged games. It seems like the whole town is there. Simon checks his watch and gives his friends a nod. It's time. They hug him. And then, he takes off on his own.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WINTER CARNIVAL - FERRIS WHEEL - NIGHT<\/stage_direction>\n    <scene_description>Simon boards the ferris wheel, giving the OPERATOR a HANDFUL OF RIDE TICKETS.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>This should last a while.<\/dialogue>\n    <scene_description>The ride starts. A pair of CREEKWOODGIRLS notice Simon riding alone.<\/scene_description>\n    <character>CREEKWOODGIRL<\/character>\n    <dialogue>Oh my god, look.<\/dialogue>\n    <character>OTHER CREEKWOODGIRL<\/character>\n    <dialogue>I bet he's waiting for the other gay kid, That's romantic as shit. Where's Dana, she'll love this.<\/dialogue>\n    <scene_description>Off Simon, realizing he's been noticed \u2022.. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WINTER CARNIVAL - FERRIS WHEEL - LATER<\/stage_direction>\n    <scene_description>A crowd of CREEKWOODSTUDENTS has gathered below the ferris wheel, waiting to see if Simon's significant other will show up. Everyone we've met from school is there: Nora, Nick, Abby, Leah, Taylor, Bram, Garrett, Lyle. Plus plenty of others. Every now and then someone calls out something like:<\/scene_description>\n    <character>SUPPORTIVE GUY<\/character>\n    <dialogue>Hang in there!<\/dialogue>\n    <scene_description>Or:<\/scene_description>\n    <character>SENIOR GIRL<\/character>\n    <dialogue>We love you, Simon!<\/dialogue>\n    <scene_description>Simon hates the attention. Nora goes into defensive sister mode, trying to get rid of the crowd below.<\/scene_description>\n    <character>NORA<\/character>\n    <dialogue>Don't you people have anything better to do? Go get candy cotton and make out with each other.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>You heard the woman, move people!<\/dialogue>\n    <scene_description>But no one moves. TIME CUTS as Simon continues to ride, realizing that if Blue doesn't show up, his humiliation will now be quite public. Happy couples get on and off the ride. Whenever the ferris wheel stops, Simon looks at the line hopefully. But no one joins him in his car. EXT, WINTER CARNIVAL - FERRIS WHEEL - LATER Simon checks his watch - it's 10:28. He's been at this for almost half an hour. The ride comes to a stop.<\/scene_description>\n    <character>OPERATOR<\/character>\n    <dialogue>That was your last ride ticket, buddy.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Simon stands up when Martin races out of the crowd.<\/scene_description>\n    <character>MARTIN<\/character>\n    <parenthetical>(to Operator)<\/parenthetical>\n    <dialogue>One more. On me.<\/dialogue>\n    <scene_description>Martin hands the Operator a five dollar bill, shoots Simon a quick look, and returns to the crowd. Everyone watches as the Operator loads new passengers onto the ferris wheel, waiting to see if Simon's guy will show.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Oh, god. I can't watch.<\/dialogue>\n    <scene_description>The Operator fills up the ride, then yells out:<\/scene_description>\n    <character>OPERATOR<\/character>\n    <dialogue>Last call for the ferris wheel!<\/dialogue>\n    <scene_description>The Operator goes to close the rope and start the ride, when-<\/scene_description>\n    <character>GUY'S VOICE (O.S.)<\/character>\n    <dialogue>Wait!<\/dialogue>\n    <scene_description>Simon looks up to see BRAM GREENFIELD standing at his ferris wheel car. He looks terrified.<\/scene_description>\n    <character>BRAM<\/character>\n    <dialogue>Can I sit here?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Uh, I'm kind of waiting for someone.<\/dialogue>\n    <scene_description>Bram sits next to Simon. The Creekwood Students watching hold their breaths.<\/scene_description>\n    <character>BRAM<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>Simon is confused. He stares at Bram. Then:<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>It's ... you?<\/dialogue>\n    <character>BRAM<\/character>\n    <dialogue>It's me.<\/dialogue>\n    <scene_description>The Operator starts up the ride,<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>But at your party you were--<\/dialogue>\n    <character>BRAM<\/character>\n    <parenthetical>(wincing)<\/parenthetical>\n    <dialogue>Sorry about that. I was drunk and confused. It ended like a minute after you saw us-<\/dialogue>\n    <character>SIMON<\/character>\n    <parenthetical>(gently)<\/parenthetical>\n    <dialogue>It's fine.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I didn't think you'd come.<\/dialogue>\n    <character>BRAM<\/character>\n    <dialogue>Me neither. Until I was walking towards you I didn't think I had it in me,<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But you're right. I do deserve a great love story.<\/dialogue>\n    <parenthetical>(then, suddenly vulnerable)<\/parenthetical>\n    <dialogue>Are you .\u2022\u2022 disappointed? That it's me?<\/dialogue>\n    <scene_description>Simon stares at Bram. Then, he leans over and KISSES him, Bram is shocked. But he gives into it and kisses back. Their moment is interrupted by WHISTLING and CATCALLS. They look below and realize the Creekwood students are enthusiastically cheering for them. They both blush and cover their faces, overcome with a mix of embarrassment and utter joy. Little Secrets, the song from our opening, taking us to ..\u2022 INT, SIMON'S ROOM- MORNING Simon pulls on his favorite hoodie, checks his reflection in the mirror, grabs an essay off the printer. INT, SIMON'S KITCHEN - MORNING Simon says goodbye to his family, grabs a handful of delicious, homemade granola Nora is setting out, tosses a few clusters to Bieber.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT,\/ EXT. SIMON'S CAR\/ SHADYCREEK STREETS - MORNING<\/stage_direction>\n    <scene_description>Simon pulls up to Nick's house. HONKS. Nick comes out and gets in front just as Leah crosses the street and gets in the back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \/ EXT. SIMON'S CAR\/ WAFFLE HOUSE DRIVE THRU - MORNING<\/stage_direction>\n    <scene_description>Waffle Guy Employee hands Simon FIVE ICED COFFEES. Simon hands two to Nick. We know one is for Abby.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \/ EXT. SIMON'S CAR\/ SHADY CREEK STREETS - MORNING<\/stage_direction>\n    <scene_description>Simon, Nick, and Leah pull up in front of a PRETTY RANCH HOUSE. A new part of their morning routine. Nick automatically gets out of the car and into the backseat with Leah, just as ... Bram comes out of the house and gets into the front seat. Simon hands Bram his iced coffee and gets a GOODMORNINGKISS in return. Nick blows his straw wrapper at them. Simon grins, And we .\u2022. CUT TO BLACK.:<\/scene_description>\n    <character>THE END<\/character>\n  <\/scene>\n<\/script>","summary":"Simon Spier is a closeted gay teenager living in a suburb of Atlanta, Georgia. He has a close and loving family\u2014parents Emily and Jack, and sister Nora\u2014as well as three best friends: Nick and Leah, whom he has known most of his life, and newcomer Abby. Leah informs Simon about an online confession of a closeted gay student at their high school, known only by the pseudonym \"Blue\". Simon begins communicating with Blue via email using the pseudonym \"Jacques\". The two confide personal details and form a connection. Their emails are accidentally discovered by another student, Martin, who is infatuated with Abby. After learning his secret, Martin threatens to make Simon's emails public unless he helps Martin win over Abby. Simon begins trying to figure out which of his classmates is actually Blue. At a Halloween party, Simon suspects his classmate Bram might be Blue and attempts to connect with him, but later walks in on Bram making out with a female student. Nick confides in Simon that he has feelings for Abby. Simon lies to Nick, telling him that Abby has a boyfriend in college. Leah walks an inebriated Simon home, where she speaks vaguely about how she feels that she is fated to love one person very intensely; Simon believes she is referring to Nick. Simon meets up with Abby and Martin at a Waffle House after he convinces them to practice lines together for an upcoming school musical. Simon bonds with their server, a classmate named Lyle, and now suspects that Lyle may be Blue. That night, Simon comes out to Abby and is relieved when she reacts positively. At a school football game, Simon crosses paths with Lyle; before he can summon the courage to ask if Lyle is Blue, he finds out Lyle is actually interested in Abby. An upset Simon tells a pestering Martin to either \"go big or go home\" when courting Abby. Martin interrupts the national anthem and publicly declares his feelings for Abby. When Abby admits she does not share those feelings, Martin is humiliated and becomes the subject of ridicule. On Christmas Eve, to distract people from his own humiliation, Martin outs Simon by posting his emails on the school's gossip site. Simon's sister, Nora, tries to comfort Simon but he shuts her out and does not return his friends' texts and calls. Simon comes out to his parents on Christmas morning, to their surprise and acceptance. After the holidays, Nick and Abby, now a couple, confront Simon about the lies he told and learn that he tried to keep them apart due to Martin's blackmail. Leah confesses to Simon that she was in love with him, not Nick, and is upset he came out to Abby first. After his friends break off from him, Simon receives a final email from Blue, who is upset that their emails have been leaked. Blue tells Simon that they should stop speaking and deletes his email account. In the cafeteria, Simon and an openly gay student, Ethan, are mocked by classmates. Ethan and Simon bond over the difficulties they have faced coming out. After his mother reaches out and comforts him, Simon apologizes to Leah and tells her he is in love with Blue. Simon posts a confession on the gossip site apologizing to his friends, seeking out Blue and asking him to meet at the school carnival. After the school musical, Leah, Nick and Abby make amends with Simon and invite him to go to the carnival with them. Waiting for Blue at the carnival, Simon rides the Ferris wheel, drawing a large crowd of peers. When Simon runs out of tickets, Martin buys him one more ride. Just before the ride begins, Bram sits next to Simon, revealing himself as Blue after all; the kiss Simon saw with the female student was a drunken misunderstanding. They ride the Ferris wheel together and kiss as their friends cheer them on. Simon's life gradually returns to normal and he begins a relationship with Bram. While picking up his friends and boyfriend for school, Simon suggests that they forgo their usual morning routine and instead go \"on a little adventure\"."}
{"movie_name":"Raya and the Last Dragon_2021","imdb_id":"tt5109280","script":"<script>\n  <scene>\n    <character>RAYA AND THE LAST DRAGON<\/character>\n    <dialogue>Screenplay By:<\/dialogue>\n    <scene_description>Qui Nguyen and Adele Lim Property of Walt Disney Animation Studios ACT 1 SEQ. 100 - PRELOGUE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DYSTOPIC KUMANDRA - DAY<\/stage_direction>\n    <scene_description>A LONE RIDER on a LARGE WHEEL tears through a harsh-looking landscape. She passes by stone statues and ruins, overgrown with vines and plants. Whatever this place is, it's not okay.<\/scene_description>\n    <character>RAYA (V.O.)<\/character>\n    <dialogue>I know what you're thinking. A lone rider, a dystopian world, a land that's gone to waste - how did this world get so broken? Well, that all began 500 years ago.<\/dialogue>\n    <scene_description>The camera pulls high into the air, showing an aerial shot of Kumandra. SEQ. 110 - PROLOGUE MONTAGE. Stylistically, the following sequence is performed using Southeast Asian-inspired puppetry. It begins with shots of the land, its people, and the lush river that connects them all.<\/scene_description>\n    <character>RAYA (V.O.)<\/character>\n    <dialogue>Kumandra. This is what we used to be, when our land was whole and we lived harmoniously alongside dragons - magical creatures who brought us water and rain and peace.<\/dialogue>\n    <scene_description>DRAGONS leap out of the river like dolphins.<\/scene_description>\n    <character>RAYA (V.O.)<\/character>\n    <dialogue>It was paradise.<\/dialogue>\n    <scene_description>A beautiful shot of Kumandran people and dragons living harmoniously.<\/scene_description>\n    <character>RAYA (V.O.)<\/character>\n    <dialogue>But then, the druun came - a mindless plague that spread like wildfire - multiplying as they consumed life and turned everyone they touched into stone.<\/dialogue>\n    <scene_description>The smoke-like DRUUN turns someone into stone by floating over them. As it does, the Druun multiplies into two. A war between the Druun and the Dragons ensue.<\/scene_description>\n    <character>RAYA (V.O.)<\/character>\n    <dialogue>The dragons fought for us the best they could, but it wasn't enough.<\/dialogue>\n    <scene_description>Druun turn dragons and people into stone by the dozens. Amid the chaos, we find SISU, a majestic blue Dragon who climbs to the highest point in Kumandra.<\/scene_description>\n    <character>RAYA (V.O.)<\/character>\n    <dialogue>That's when the mighty Sisudatu, the last dragon, concentrated all her magic into a gem and...<\/dialogue>\n    <scene_description>She centers all her magic and -<\/scene_description>\n    <character>RAYA (V.O.)<\/character>\n    <dialogue>... blasted the druun away.<\/dialogue>\n    <scene_description>A MAGICAL EXPLOSION WIPES AWAY THE DRUUN and returns everyone back to normal.<\/scene_description>\n    <character>RAYA (V.O.)<\/character>\n    <dialogue>Everyone that was turned to stone came back... except the dragons.<\/dialogue>\n    <scene_description>We see a stone dragon graveyard.<\/scene_description>\n    <character>RAYA (V.O.)<\/character>\n    <dialogue>All that was left of Sisu was her gem.<\/dialogue>\n    <scene_description>Where Sisu stood, there's now a glowing Dragon Gem.<\/scene_description>\n    <character>RAYA (V.O.)<\/character>\n    <dialogue>It should have been this big inspirational moment where humanity united over her sacrifice... but instead - people being people - they all fought to possess the last remnant of dragon magic.<\/dialogue>\n    <scene_description>We see the map of Kumandra split up.<\/scene_description>\n    <character>RAYA (V.O.)<\/character>\n    <dialogue>Borders were drawn. Kumandra divided. We all became enemies. And the gem had to be hidden.<\/dialogue>\n    <scene_description>We see a palace erected around the gem.<\/scene_description>\n    <character>RAYA (V.O.)<\/character>\n    <dialogue>But that's not how the world broke. That didn't truly happen until 500 years later when I came into the story...<\/dialogue>\n    <scene_description>SEQ. 120 - YOUNG RAYA<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARK ROOM - NIGHT<\/stage_direction>\n    <scene_description>DRIVING DRUM MUSIC takes us through QUICK FLASHES of: - a WEAPONS closet being opened. - gloved hands reaching for fighting sticks. - a mask being tied on. REVEAL: A young warrior headed out into the night. But then is stopped when she passes a METAL CUFF. Is it a weapon? A piece of armor? Nope, it's a cute HAIR TIE. LIGHTNING FLASHES casting light on our warrior, revealing it's YOUNG RAYA. TITLE CARD: RAYA AND THE LAST DRAGON<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HEART PALACE GROUNDS - CONTINUOUS<\/stage_direction>\n    <scene_description>Raya runs over the rooftops, leaping from one building to the next. She does it with stealth, athleticism, and most importantly, STYLE...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRAGON TEMPLE - CONTINUOUS<\/stage_direction>\n    <scene_description>She sneaks into the tunnel hallways of the ancient Dragon Temple. Her hands glide over ornate wall carvings of Dragons, then abruptly pauses. Something's not right. There's a strange GROOVE in it. Raya discovers a loose stone on the pathway, she compresses it - suddenly, a NET swoops down - but Raya avoids it with ease.<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <parenthetical>(humored)<\/parenthetical>\n    <dialogue>Looks like someone's trying to be clever.<\/dialogue>\n    <scene_description>She reaches into her satchel and pulls out what looks like a SMALL ARMORED BALL. She taps on it. The ball opens, revealing THE CUTEST FURRY FACE YOU HAVE EVER SEEN. This is TUK-TUK, half pill-bug, half puppy.<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>Alright, Tuk-Tuk, let's show 'em what clever really looks like.<\/dialogue>\n    <scene_description>TUK-TUK turns back into a ball and rolls down the chamber hallway, triggering BOOBY TRAPS: swinging nets spring up, designed to trap intruders. But Tuk-Tuk rolls under the nets unscathed. Tuk-Tuk unfurls and walks down the hallway, but gets distracted by a passing BUG.<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>Tuk-Tuk! Come on. Focus.<\/dialogue>\n    <scene_description>Tuk-Tuk obliges and stays on task.<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Raya crawls safely under the nets behind Tuk-Tuk.<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>Hey, bud. That was awesome. Gimme some shell.<\/dialogue>\n    <scene_description>Tuk-Tuk tries to high-five her, but ends up rolling over onto his back.<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <parenthetical>(flips Tuk-Tuk back over)<\/parenthetical>\n    <dialogue>I gotcha.<\/dialogue>\n    <scene_description>Raya comes to a large circular door and unlocks it. SEQ 123 - RITE OF PASSAGE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHAMBER OF THE DRAGON GEM - CONTINUOUS<\/stage_direction>\n    <scene_description>Raya takes off her shoes and leaves them at the doorway as she steps into the inner chamber of the temple. GLOWING FLOWERS light the way as, underfoot, a stream of water flows AGAINST GRAVITY up some steps. Raya looks around, sensing the MAGIC of the place. She steps into the open room to see: THE DRAGON GEM It floats above a small pond in the middle of the room. It's a multi-faceted glowing orb, emanating a MAGIC ENERGY that's reflected in the glowing flowers and otherworldly light around it. Stepping stones lead across the pond towards the Gem. Young Raya heads for the Gem, then pauses -<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <parenthetical>(realizes)<\/parenthetical>\n    <dialogue>Wait a second... this feels too easy...<\/dialogue>\n    <scene_description>She turns to see A GOLDEN MASKED WARRIOR standing between her and the Gem.<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <parenthetical>(humored)<\/parenthetical>\n    <dialogue>Chief Benja. Look, I know it's your job to try and stop me, but you won't.<\/dialogue>\n    <character>BENJA<\/character>\n    <dialogue>Don't mistake spirit for skill, young one. I promise you will not set foot on the Dragon Gem's inner circle. Not even a toe.<\/dialogue>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>You might want to take out that blade. You're gonna need it.<\/dialogue>\n    <character>BENJA<\/character>\n    <dialogue>Not today.<\/dialogue>\n    <scene_description>The Masked Warrior detaches his sword from his belt, but doesn't remove it from its sheathe. Raya attacks. THEY FIGHT - it's fun, athletic. They're both highly skilled, but Benja is clearly the superior fighter. He disarms her Raya and puts her on point. With the tip of his sheathed sword inches away from her face, he then...<\/scene_description>\n    <character>BENJA<\/character>\n    <dialogue>BOOP.<\/dialogue>\n    <scene_description>... \"boops\" her on the nose with it. He removes his mask, revealing BENJA, Raya's father.<\/scene_description>\n    <character>BENJA<\/character>\n    <dialogue>Like I said, not one foot on the inner circle. You lost, Raya.<\/dialogue>\n    <character>YOUNG RAYA<\/character>\n    <parenthetical>(smug)<\/parenthetical>\n    <dialogue>Did I?<\/dialogue>\n    <scene_description>The Masked Warrior looks down to see that Raya has her toe touching the Gem's inner circle platform.<\/scene_description>\n    <character>BENJA<\/character>\n    <parenthetical>(with seeming pride)<\/parenthetical>\n    <dialogue>Raya...<\/dialogue>\n    <parenthetical>(but in reality)<\/parenthetical>\n    <dialogue>... I probably should have said two feet.<\/dialogue>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>Hey. Don't beat yourself up too much, Chief Benja. You gave it your best.<\/dialogue>\n    <character>BENJA<\/character>\n    <dialogue>I won't. And it's either father or ba to you.<\/dialogue>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>You did good, dewdrop.<\/dialogue>\n    <parenthetical>(with great affection)<\/parenthetical>\n    <dialogue>You passed the test.<\/dialogue>\n    <scene_description>He gestures for her to step onto the Gem's circle. Raya takes a breath and does - it's a moment she's been working towards her whole life. Raya is transfixed by the Gem's brilliance. Her cockiness falls away as she's caught up in its magic.<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>Wow. The spirit of Sisu.<\/dialogue>\n    <scene_description>Benja smiles - he's been waiting for this moment his whole life too. He approaches the Gem and kneels, Raya follows suit. She looks, entranced, at the GLOWING WATER DROPLETS spiraling around and above the Gem.<\/scene_description>\n    <character>BENJA<\/character>\n    <dialogue>For generations, our family has sworn to protect the gem. Today, you will join that legacy.<\/dialogue>\n    <scene_description>Raya's bows as Benja scoops up water with his hands and pours it on her. It's a sacred, intimate ceremony. As the water trickles down her face, to Raya's amazement the droplets start to GLOW and float all around her, joining the droplets encircling the Gem.<\/scene_description>\n    <character>BENJA<\/character>\n    <dialogue>Raya, Princess of Heart, my daughter. You are now a Guardian of the Dragon Gem.<\/dialogue>\n    <scene_description>Benja looks at his daughter with pride, as Raya accepts this new responsibility. He puts an arm around her as she leans her head on his shoulder. This is everything she's ever wanted. SEQ 126 - DAD'S WISDOM<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HEART PALACE - DAY<\/stage_direction>\n    <scene_description>A MONTAGE of life in Heart. Cranes elegantly glide above Heart's temple. Small fantastical critters scurry across branches. A hand delicately places flowers into a spirit house. Life here is peaceful and good.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE HALLWAY - DAY<\/stage_direction>\n    <scene_description>Benja and Raya walk down the palace hallways. Raya walks a few steps ahead of him, throwing strikes and kicks, swept up in an imaginary fight.<\/scene_description>\n    <character>BENJA<\/character>\n    <dialogue>Well, someone's excited.<\/dialogue>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>Anyone hoping to steal the dragon gem now has to face the fury of the TWO baddest blades in all the lands.<\/dialogue>\n    <character>BENJA<\/character>\n    <parenthetical>(confidentially)<\/parenthetical>\n    <dialogue>I'm glad you feel prepared, dewdrop, because I have something important to tell you - the other lands... they're on their way here as we speak.<\/dialogue>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>They are?<\/dialogue>\n    <scene_description>Benja nods.<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>Okay, OKAY, we can do this. I'm ready. I know exactly how we'll stop them.<\/dialogue>\n    <character>BENJA<\/character>\n    <parenthetical>(unconvinced)<\/parenthetical>\n    <dialogue>Really? Tell me what you know about the other lands.<\/dialogue>\n    <scene_description>IMAGES SLAM ONTO SCREEN. Zoom into the desert region of Kumandra and a TAIL MERCENARY sharpening a sharp blade...<\/scene_description>\n    <character>YOUNG RAYA (V.O.)<\/character>\n    <dialogue>First: Tail. A sweltering desert with sneaky mercenaries who fight dirty.<\/dialogue>\n    <scene_description>The Tail Mercenary slashes at camera. Zoom into the port-city of Kumandra and a Talon Merchant juggling fruit.<\/scene_description>\n    <character>YOUNG RAYA (V.O.)<\/character>\n    <dialogue>Second: Talon. A floating market famous for fast deals and fighters with even faster hands.<\/dialogue>\n    <scene_description>A TALON MERCHANT tosses the fruit and slices them in the air with a pair of knives. On the snow-covered mountains of Spine, we see an army of LARGE BARBARIANS.<\/scene_description>\n    <character>YOUNG RAYA (V.O.)<\/character>\n    <dialogue>Third: Spine. A frigid, bamboo forest guarded by exceptionally large warriors and their giant axes.<\/dialogue>\n    <scene_description>A shot of the WARRIORS OF FANG.<\/scene_description>\n    <character>YOUNG RAYA (V.O.)<\/character>\n    <dialogue>Fourth: Fang, our fiercest enemy. A nation protected by angry assassins... and their even angrier cats.<\/dialogue>\n    <scene_description>Reveal the angry cat in one of their arms.<\/scene_description>\n    <character>CATS (VOICED BY RAYA)<\/character>\n    <dialogue>Hisss!<\/dialogue>\n    <scene_description>The cat swipes at camera as...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - DAY.<\/stage_direction>\n    <scene_description>Back to reality, Tuk-Tuk hisses like the cat to compliment Raya's story as... Raya and Benja enter the kitchen.<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>Okay, so we're gonna need crossbows. And catapults. Ooo, what about flaming catapults?<\/dialogue>\n    <scene_description>Benja walks over to a soup pot...<\/scene_description>\n    <character>BENJA<\/character>\n    <parenthetical>(adds ingredients)<\/parenthetical>\n    <dialogue>Or... how about - Shrimp paste from Tail, lemongrass from Talon, Bamboo shoots from Spine, chilis from Fang, and palm sugar from Heart.<\/dialogue>\n    <character>YOUNG RAYA<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>We'll poison them?<\/dialogue>\n    <character>BENJA<\/character>\n    <dialogue>No, we're not going poison them and we're not going to fight them. We're going to share a meal with them.<\/dialogue>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>Wait, what?<\/dialogue>\n    <character>BENJA<\/character>\n    <dialogue>I invited them.<\/dialogue>\n    <scene_description>Benja hands her a bowl of soup.<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>But they're our enemies.<\/dialogue>\n    <character>BENJA<\/character>\n    <dialogue>They're only our enemies because they think the dragon gem magically brings us prosperity.<\/dialogue>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>That's ridiculous. It doesn't do that.<\/dialogue>\n    <character>BENJA<\/character>\n    <dialogue>They assume it does just like we assume things about them.<\/dialogue>\n    <parenthetical>(offers a bowl of soup)<\/parenthetical>\n    <dialogue>Raya, there's a reason why each land is named after a part of the dragon. We were once unified harmoniously as one. Kumandra.<\/dialogue>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>That's ancient history, ba.<\/dialogue>\n    <character>BENJA<\/character>\n    <dialogue>But it doesn't have to be. Listen, if we don't stop and learn to trust one another again, it's only a matter of time before we tear each other apart. This isn't the world I want you to live in.<\/dialogue>\n    <scene_description>Raya nods.<\/scene_description>\n    <character>BENJA<\/character>\n    <dialogue>I believe that we can be Kumandra again. But someone has to take the first step. Trust me.<\/dialogue>\n    <scene_description>SEQ. 130 - BUILDING BRIDGES<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRIDGE - NEW DAY<\/stage_direction>\n    <scene_description>Raya and Benja stare at an armada of different clans. We see the flags and unamused faces of the five different nations.<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>Thing's look a little tense, ba.<\/dialogue>\n    <character>BENJA<\/character>\n    <dialogue>Don't worry. I'm gonna open with a joke.<\/dialogue>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>Please, don't.<\/dialogue>\n    <character>BENJA<\/character>\n    <dialogue>I'm kidding, I'm kidding.<\/dialogue>\n    <scene_description>Benja steps forward.<\/scene_description>\n    <character>BENJA<\/character>\n    <dialogue>People of Tail, Talon, Spine, and Fang, welcome to Heart. For far too long we have been enemies. But today is a new day. Today, we can be Kumandra once more.<\/dialogue>\n    <scene_description>Benja gestures, inviting them to cross the bridge, but no one moves.<\/scene_description>\n    <character>TAIL CHIEF<\/character>\n    <parenthetical>(extra-paranoid)<\/parenthetical>\n    <dialogue>Nice speech, Chief Benja, but why'd you really bring us here? Are you gonna rob us?<\/dialogue>\n    <character>DANG HAI (CHIEF OF TALON)<\/character>\n    <parenthetical>(slightly drunk)<\/parenthetical>\n    <dialogue>Why would he need to rob us? The land of Heart already has everything.<\/dialogue>\n    <character>SPINE CHIEF<\/character>\n    <dialogue>It's easy to pontificate on Kumandra when you hold the mightiest weapon in all the lands.<\/dialogue>\n    <character>BENJA<\/character>\n    <dialogue>The gem's not a weapon, it's a sacred relic.<\/dialogue>\n    <scene_description>Raya looks around and sees all the angry voices shouting from the crowds. Her eyes catch NAMAARI's (also 12, the only other kid in this army of angry adults). They share a smile as all the adults argue away. Raya makes a decision and steps forward, gives a respectful bow before speaking.<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>I have something to say...<\/dialogue>\n    <scene_description>The crowds hushes...<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>Who's hungry?<\/dialogue>\n    <scene_description>No one in the crowd responds... except for one hand raises, a LANKY SPINE WARRIOR from the congregation of Spine. His fellow warriors eye-shame him into lowering it. Namaari giggles at him. She looks up at her mother, VIRANA (Queen of Fang), asking for permission to approach.<\/scene_description>\n    <character>VIRANA<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>Go ahead. It's alright.<\/dialogue>\n    <scene_description>Namaari walks to Raya.<\/scene_description>\n    <character>YOUNG NAMAARI<\/character>\n    <dialogue>I'm Namaari. Of Fang.<\/dialogue>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>Hi Namaari, I'm Raya.<\/dialogue>\n    <scene_description>Raya notices Namaari's necklace.<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>Is that Sisu?!<\/dialogue>\n    <parenthetical>(embarrassed)<\/parenthetical>\n    <dialogue>Sorry. I might be a little bit of a dragon nerd.<\/dialogue>\n    <character>YOUNG NAMAARI<\/character>\n    <dialogue>Hey. I'm the one wearing the Sisu fan-necklace.<\/dialogue>\n    <scene_description>The girls are clearly cut from the same cloth. Raya invites Namaari into the palace.<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>Come on. Have you eaten yet?<\/dialogue>\n    <scene_description>The two girls follow each other over the bridge into the palace as Benja smiles, proud of his daughter. The sight of these two girls connecting lowers everyone's defenses, and the rest of the clans, too, cross the bridge. SEQ. 132 - DRAGON NERDS<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE - NIGHT<\/stage_direction>\n    <scene_description>The interior of the palace. It's crowded. No one's talking. Everyone's giving each other some major side-eye. Focus shifts to Young Raya and Namaari who are hanging out at the edge of the room. Tuk Tuk reaches to nibble at a skewer of food just as Raya picks it up.<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <parenthetical>(mid-laugh)<\/parenthetical>\n    <dialogue>Seriously? Your mom actually said that? Awkward.<\/dialogue>\n    <scene_description>Namaari laughs in acknowledgment.<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>Okay, next question - hand-to-hand or swords?<\/dialogue>\n    <character>YOUNG NAMAARI<\/character>\n    <parenthetical>(duh)<\/parenthetical>\n    <dialogue>Blades all day.<\/dialogue>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>Right?<\/dialogue>\n    <scene_description>Kumandran fist-bump.<\/scene_description>\n    <character>YOUNG NAMAARI<\/character>\n    <dialogue>Okay... dressy or casual?<\/dialogue>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>Only a monster would choose to wear this outfit on the regular.<\/dialogue>\n    <scene_description>Raya looks around for inspiration for her next question, she sees their food.<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>Rice or stew?<\/dialogue>\n    <scene_description>Namaari however goes silent.<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>I didn't think that'd stump you.<\/dialogue>\n    <character>YOUNG NAMAARI<\/character>\n    <dialogue>This is actually one of the first times I've had rice in a while.<\/dialogue>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>YOUNG NAMAARI<\/character>\n    <dialogue>Fang may look nice on the outside, but we have some pretty big holes on the inside.<\/dialogue>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>YOUNG NAMAARI<\/character>\n    <dialogue>Sorry, didn't mean to bring it down. So where were we? We both have single parents who are terrible at telling jokes, we're both warrior-women who despise uncomfortable formal wear -<\/dialogue>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>- AND we're both Sisu super fans.<\/dialogue>\n    <character>YOUNG NAMAARI<\/character>\n    <parenthetical>(hushed)<\/parenthetical>\n    <dialogue>You know, Fang legend says she's still out there.<\/dialogue>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>Sisu? You're kidding, right?<\/dialogue>\n    <character>YOUNG NAMAARI<\/character>\n    <dialogue>Wanna see something?<\/dialogue>\n    <scene_description>Young Namaari looks around. No one is paying attention to them. She pulls out a scroll. She handles it gently with reverence.<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <parenthetical>(in awe)<\/parenthetical>\n    <dialogue>Are you supposed to have that?<\/dialogue>\n    <character>YOUNG NAMAARI<\/character>\n    <parenthetical>(duh)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Namaari opens the scroll, revealing an intricate design of Sisu and the Druun.<\/scene_description>\n    <character>YOUNG NAMAARI<\/character>\n    <dialogue>According to this, after the Mighty Sisu blasted away all the druun, she fell into the water and floated downstream. Legends say she's now sleeping at the river's end.<\/dialogue>\n    <scene_description>Tuk Tuk crawls onto the scroll and looks at the design with the girls.<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>But which river? There's like hundreds.<\/dialogue>\n    <character>YOUNG NAMAARI<\/character>\n    <dialogue>I don't know. But if we could find it, could you imagine? A dragon back in the world? Things could be so much better.<\/dialogue>\n    <character>YOUNG RAYA<\/character>\n    <parenthetical>(looks at her dad)<\/parenthetical>\n    <dialogue>Yeah, maybe we really could be Kumandra again.<\/dialogue>\n    <scene_description>Namaari makes a decision. She takes off her necklace and hands it to Raya.<\/scene_description>\n    <character>YOUNG NAMAARI<\/character>\n    <dialogue>Here.<\/dialogue>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>Whoa. Really?<\/dialogue>\n    <character>YOUNG NAMAARI<\/character>\n    <dialogue>From one dragon nerd to another.<\/dialogue>\n    <scene_description>Raya looks at the pendant and back at Namaari, gets an idea.<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>Hey. Come with me, dep la. I wanna show you something.<\/dialogue>\n    <scene_description>The girls stand to leave. Tuk-Tuk takes a bite of food, then follows Raya. SEQ. 150 - BETRAYED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRAGON TEMPLE - NIGHT<\/stage_direction>\n    <scene_description>Young Raya and Namaari enter the inner chamber. Tuk-Tuk waits by the entrance, watching them.<\/scene_description>\n    <character>YOUNG NAMAARI<\/character>\n    <parenthetical>(sees the gem, in awe)<\/parenthetical>\n    <dialogue>The spirit of Sisu. I can feel it.<\/dialogue>\n    <scene_description>Raya smiles, happy she has a pal to share this with.<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>It's the last bit of dragon magic left in the whole world.<\/dialogue>\n    <character>YOUNG NAMAARI<\/character>\n    <dialogue>I see why Heart guards it so closely. Thank you, dep la. You've been very helpful.<\/dialogue>\n    <scene_description>Namaari suddenly strikes Raya, sending her to the ground. She looks on in shock at Namaari.<\/scene_description>\n    <character>YOUNG NAMAARI<\/character>\n    <dialogue>In a different world, maybe we coulda been friends. But I have to do what's right for Fang.<\/dialogue>\n    <scene_description>Namaari goes for the Gem, but Raya leaps in front of her. They start fighting. Seeing that Raya's in trouble, Tuk-Tuk rolls in to help. He bumps into Namaari's ankle, but she scoots him away. Tuk- Tuk shakes it off, angry. This distracts Namaari just long enough for Raya to strike, knocking her to the ground. However, Namaari isn't worried at all. Instead she smiles and shoots a firework up through the temple opening.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE - DAY<\/stage_direction>\n    <scene_description>Benja is speaking to VIRANA, the Fang Queen.<\/scene_description>\n    <character>BENJA<\/character>\n    <dialogue>Chief Virana, I'm so glad Fang accepted our invitation.<\/dialogue>\n    <scene_description>The firework explodes in the night sky. Everyone looks up. The congregation of Fang immediately begins moving out towards the Gem temple. Benja looks back to the Fang Queen to discover... she's gone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRAGON TEMPLE - NIGHT<\/stage_direction>\n    <scene_description>As Namaari and Raya continue to fight...<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>There is no way you're taking Sisu's Gem.<\/dialogue>\n    <scene_description>Namaari steps away from Raya towards the chamber doors.<\/scene_description>\n    <character>YOUNG NAMAARI<\/character>\n    <dialogue>Sorry. It's Fang's now.<\/dialogue>\n    <scene_description>Suddenly, the room fills up with Fang soldiers. Raya steps back, she's the only thing between Fang and the gem. Tuk-Tuk climbs up on Raya's shoulder, frightened. Raya bravely squares up against the Fang forces, until - SWOOSH!!! Benja repels into the room from above and quickly dispatches a dozen different adversaries. His sword turns into a cool grappling whip which he uses to drive everyone back.<\/scene_description>\n    <character>BENJA<\/character>\n    <dialogue>You will not set foot on the Dragon Gem's inner circle.<\/dialogue>\n    <scene_description>A giant smile crosses Raya's face. Her dad is indeed the baddest blade in all of Kumandra. But then...<\/scene_description>\n    <character>FEMALE SPINE WARRIOR (O.S)<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <character>SPINE CHIEF (O.S.)<\/character>\n    <dialogue>What is this?<\/dialogue>\n    <scene_description>The other armies from Tail, Talon, and Spine begin to shuffle into the room. Suddenly they all stop and see the gem for the first time. They're in awe.<\/scene_description>\n    <character>FEMALE SPINE WARRIOR<\/character>\n    <dialogue>Fang's making a play for the Gem!<\/dialogue>\n    <character>SPINE CHIEF<\/character>\n    <dialogue>No! Spine should have the gem!<\/dialogue>\n    <character>TAIL CHIEF<\/character>\n    <dialogue>Not if we get to it first!<\/dialogue>\n    <scene_description>Everyone pulls out their weapons. This is going to be a blood bath. Benja sees Raya in the reflection of his sword as she raises her fists to help defend the Gem. He makes a decision.<\/scene_description>\n    <character>BENJA<\/character>\n    <dialogue>Listen to me!<\/dialogue>\n    <scene_description>Everyone has their weapons raised -<\/scene_description>\n    <character>BENJA<\/character>\n    <dialogue>We have a choice. We can tear each other apart, or we can come together and build a better world. It's not too late. I still believe we can be Kumandra again...<\/dialogue>\n    <scene_description>Benja sheathes his sword. Did it work? Suddenly, an arrow strikes Benja in the leg. As he sinks, everyone rushes in.<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>Ba!<\/dialogue>\n    <scene_description>Raya runs to Benja's side as... Hands grabs onto the gem, it gets tossed around until - KRSHH! The Gem crashes to the ground, breaking into five pieces. But before anyone can react - BOOM! The ground shakes, the water in the chamber recedes, the floor opens up. From the broken Earth, A DRUUN emerges.<\/scene_description>\n    <character>BENJA<\/character>\n    <dialogue>Druun...<\/dialogue>\n    <scene_description>The ARCHER shoots an arrow at the creature, but it goes right through the Druun, leaving him unscathed. The Druun immediately turns the archer to stone, then duplicates. The Druun turns toward Benja and Raya. Benja quickly rushes to grab one of the gem pieces and holds it up... repelling the Druun back momentarily. There's a mad scramble as the other four gem pieces get snatched up.<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>Raya grabs her father, pulling him out of the fray.<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <parenthetical>(runs up)<\/parenthetical>\n    <dialogue>Ba! Come on! We have to go!<\/dialogue>\n    <scene_description>A Druun pursues after them, but touches water and recoils!<\/scene_description>\n    <character>BENJA<\/character>\n    <parenthetical>(realizing)<\/parenthetical>\n    <dialogue>They're repelled by water.<\/dialogue>\n    <parenthetical>(to everyone)<\/parenthetical>\n    <dialogue>Hurry! Get to the river!<\/dialogue>\n    <scene_description>SEQ. 160 - BROKEN HEART<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HEART BRIDGE - DAY<\/stage_direction>\n    <scene_description>Heart is plunged into chaos with people fleeing. Raya escapes with Benja and Tuk-Tuk over the bridge. But it's slow going -- Benja is badly hurt and they're constantly shoved aside by others trying to save themselves. Benja's leg gives out from under him and he falls.<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>Ba! Get up! Come on. Please, we have to keep moving. Get up.<\/dialogue>\n    <scene_description>He looks ahead, the distance is too far for him to go. The bridge SHAKES again. Benja sees a Druun approaching.<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>Please, ba! We don't have time. Look. Stand up! I'll help you.<\/dialogue>\n    <character>BENJA<\/character>\n    <dialogue>Raya, you have to listen. You are the Guardian of the Dragon Gem.<\/dialogue>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>Ba, why are you saying this?<\/dialogue>\n    <scene_description>Benja pulls out the broken gem shard.<\/scene_description>\n    <character>BENJA<\/character>\n    <dialogue>There's still light in this. There's still hope.<\/dialogue>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>No, we can make it together. You're okay...<\/dialogue>\n    <character>BENJA<\/character>\n    <parenthetical>(hands her the gem)<\/parenthetical>\n    <dialogue>Raya, don't give up on them.<\/dialogue>\n    <scene_description>Benja hands Raya the gem. He pulls her in close, then kisses her on the forehead.<\/scene_description>\n    <character>BENJA<\/character>\n    <dialogue>I love you, my dewdrop.<\/dialogue>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>Ba?<\/dialogue>\n    <scene_description>Benja pushes Raya off the bridge into the water just as...<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>NO!<\/dialogue>\n    <scene_description>... a druun passes through her father, turning him to stone.. As the current carries her away, Raya watches her father's unmoving silhouette on the bridge.<\/scene_description>\n    <character>YOUNG RAYA<\/character>\n    <dialogue>...Ba!<\/dialogue>\n    <scene_description>ACT 2A SEQ. 180 - SEARCH FOR THE LAST DRAGON Chyron: TAIL - SIX YEARS LATER<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TAIL DESERT - DAY<\/stage_direction>\n    <scene_description>A LONE RIDER on a LARGE WHEEL tears across the desert. On her saddlebag is BENJA'S SWORD. Suddenly she spots something on the smokey horizon, the silhouette of three different people. She draws her sword. As they near, she discovers... It's only a few people who've been turned to stone. She relaxes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TAIL OUTSKIRTS - DAY<\/stage_direction>\n    <scene_description>The lone rider comes to a stop. She pulls her mask down - it's Raya. She looks down, knocks on Tuk-Tuk's shell - He unfurls as... Raya takes out the ANCIENT SCROLL, comparing what she's sees to what's on it. Raya lowers the scroll, revealing the canyon below. The river she's been following is now a trickle leading into a shipwreck.<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>(sigh)<\/parenthetical>\n    <dialogue>Please let this be it.<\/dialogue>\n    <scene_description>She begins to drift out of frame.<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>(knocks on the ball)<\/parenthetical>\n    <dialogue>Whoa, what are you doing you big, fur bug? Hey buddy - focus. Eyes forward, Tuk-Tuk.<\/dialogue>\n    <scene_description>Tuk-Tuk turns back to the cliffside.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Good boy! You're so easily distracted.<\/dialogue>\n    <scene_description>Just then, a DRUUN attacks! Raya and Tuk-Tuk fall back. Raya scrambles for her satchel. Just as the Druun closes in, Raya pulls out her gem shard and holds it up, scaring the Druun off. She turns around to find Tuk-Tuk immobile on his back, looking at her helplessly.<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>(flipping him back over)<\/parenthetical>\n    <dialogue>You're getting a little too big for this, bud.<\/dialogue>\n    <scene_description>SEQ. 215 - AROUND THE RIVERBEND<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DRIED UP OCEAN BASIN - DAY<\/stage_direction>\n    <scene_description>Raya and Tuk-Tuk follow the river, which has now gone down to a small trickle. It flows into an old wrecked ship, surrounded by old whale bones, trash, etc.<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>(to Tuk-Tuk)<\/parenthetical>\n    <dialogue>Six years of searching and we end up at a literal shipwreck. That's not a bad sign, is it?<\/dialogue>\n    <scene_description>Raya approaches the wreck and enters it. Tuk-Tuk tries to follow but can't fit into the opening.<\/scene_description>\n    <character>TUK-TUK<\/character>\n    <dialogue>Hrmph.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHIP WRECKAGE - DAY<\/stage_direction>\n    <scene_description>Raya enters the derelict ship. She follows the tiny trickle on the ground. The trickle leads her to a sheer wall of loose rock and debris where the water-stream disappears into a hole underneath it. SEQ. 217 - ENTER THE DRAGON There's no way for Raya to get to the other side. Raya rummages around her satchel, pulls out a bowl. She places it on the ground and fills it with rice. She holds the dragon pendant in her hands.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Sisudatu... I don't know if you're listening. I've searched every river to find you. And now I'm here at the very last one. Look, there's not a lot of us left and we really... we really need your help. If I can be honest, I really need your help. I made a mistake. I trusted someone I shouldn't have. And now the world's broken.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>Sisudatu, I just really... really want my ba back. Please.<\/dialogue>\n    <scene_description>She takes a deep breath.<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>(deep breath)<\/parenthetical>\n    <dialogue>Okay. Here goes everything.<\/dialogue>\n    <scene_description>Raya raises a vial of water to her head and bows. She pours the water over the pendant in the bowl...<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>(chants with reverence)<\/parenthetical>\n    <dialogue>Suva de dra sim Mandra de dra lim Bavaa de dra Tomben.<\/dialogue>\n    <scene_description>She pours the last of the water from the bottle, and raises the bottle to her head again. Raya sits in anticipated silence, but nothing seems to happen. However, unbeknownst to her, the stream behind her begins to flow backwards. Water droplets rise out of the stream and swirl in the air. Tuk-Tuk sees this from the outside entrance, as he drinks from a puddle. Tuk-Tuk starts \"barking\" to get Raya's attention.<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>(to Tuk Tuk)<\/parenthetical>\n    <dialogue>I know, buddy, I haven't forgot -<\/dialogue>\n    <scene_description>Raya now sees the floating water droplets which now are coming together to magically form... SISU!<\/scene_description>\n    <character>SISU<\/character>\n    <parenthetical>(inside a dust cloud)<\/parenthetical>\n    <dialogue>Where am I? Pengu? Amba? Pranee? Are ya here?<\/dialogue>\n    <scene_description>Seeing Sisu's silhouette, Raya bows.<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>(bowing)<\/parenthetical>\n    <dialogue>Oh Mighty Sisu -<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>Who said that?<\/dialogue>\n    <scene_description>Sisu turns, her mighty tail swings out and clobbers the bowing Raya. Sisu steps out of the dust-cloud. We finally see her in her mighty glory.<\/scene_description>\n    <character>SISU<\/character>\n    <dialogue>Hello? Hello?<\/dialogue>\n    <character>RAYA (O.S.)<\/character>\n    <parenthetical>(muffled)<\/parenthetical>\n    <dialogue>Mmf-mph!!<\/dialogue>\n    <scene_description>Sisu looks down and finds Raya awkwardly collapsed in a heap under her, perhaps tangled up in her own cape.<\/scene_description>\n    <character>SISU<\/character>\n    <dialogue>Ooo, I'm sorry, I didn't see ya there.<\/dialogue>\n    <parenthetical>(picks Raya up)<\/parenthetical>\n    <dialogue>Not too bad. Just a little dusty. Let me get that for you.<\/dialogue>\n    <scene_description>Raya and Sisu finally make eye-contact.<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>(eyes widen)<\/parenthetical>\n    <dialogue>Sisu. You are... Sisu!<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>And you're... people. What's your name?<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Raya. I'm Raya.<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>And you're NOT made of stone, which means...<\/dialogue>\n    <scene_description>Both women squeal in celebration!<\/scene_description>\n    <character>SISU<\/character>\n    <dialogue>It worked!<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>It worked!<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>We did it! Ya hear that, Pengu? It worked! I didn't mess it up!<\/dialogue>\n    <parenthetical>(notices Raya's bag)<\/parenthetical>\n    <dialogue>Is that food?<\/dialogue>\n    <parenthetical>(drops Raya)<\/parenthetical>\n    <dialogue>I was so focused on saving the world, I forgot to have breakfast today.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Today? When exactly do you think \"today\" is?<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>Tuesday.<\/dialogue>\n    <parenthetical>(takes bite of food)<\/parenthetical>\n    <dialogue>Ugh! I mean... Mmm. What is this delightful culinary treat?<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>It's jackfruit jerky. I dried it myself.<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>Well, compliments to the chef.<\/dialogue>\n    <parenthetical>(offers jerky to Tuk-Tuk)<\/parenthetical>\n    <dialogue>Wanna finish this, skippy?<\/dialogue>\n    <scene_description>Sisu offers the jerky to Tuk-Tuk, but he refuses to eat it.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Uh, Sisu, there are a few things I need to catch you up on...<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>Oh yeah?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE BOAT - CONTINUOUS<\/stage_direction>\n    <scene_description>Sisu reaction.<\/scene_description>\n    <character>SISU (O.S.)<\/character>\n    <dialogue>You broke it!?!<\/dialogue>\n    <scene_description>Birds fly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE BOAT - CONTINUOUS<\/stage_direction>\n    <character>SISU<\/character>\n    <dialogue>Oh, oh, oh my. Oh, this is bad. This is bad. I've been asleep for 500 years, you brought back the druun, and none of my brothers and sisters came back? Why didn't they come back?<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>I... don't know.<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>Also you broke the gem...<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>I still have a big chunk of it though.<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>Is that supposed to make me feel better? If you lost a puppy and I said \"Well we still have a big chunk of it,\" would that make you feel better?<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Can't you just make another one?<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>No, I can't just make another one.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>But you're a dragon.<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>I'm gonna be real with you, alright? I'm not like the best dragon. You know?<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>But you saved the world.<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>I did do that. That's true. But... have you ever done like a group project, but there's like that one kid who didn't pitch in as much but still ended up with the same grade? Yeah... I wasn't the one who actually made the gem, I just... turned it in.<\/dialogue>\n    <scene_description>Sisu picks up the gem shard and immediately starts glowing.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Whoa, you're glowing.<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>Oh, thank you, I use aloe and river slime to maintain my--<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>No, no-- look.<\/dialogue>\n    <scene_description>Sisu looks at herself.<\/scene_description>\n    <character>SISU<\/character>\n    <dialogue>This was my little sister Amba's magic. I got the glow!<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Your little sister's magic?<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>Yeah, every dragon has an unique magic.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Okay, what's yours?<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>I'm a really strong swimmer!<\/dialogue>\n    <character>RAYA<\/character>\n    <parenthetical>(processing)<\/parenthetical>\n    <dialogue>Wait wait, you touched this gem piece and it gave you powers. You know what this means, right?<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>I no longer need a nightlight?<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>What? No, you're still connected to the gem's magic. And that means you can still use it to save the world. If we get all the other gem pieces,<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>You can reassemble it and -<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>I can reassemble it and -<\/dialogue>\n    <scene_description>Sisu looks at the scroll, sees herself looking awesome.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>(leading)<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>(catches on)<\/dialogue>\n    <scene_description>Boom the druun away! Boom the druun away!<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>And bring my ba back?<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>And bring ALL of Kumandra back.<\/dialogue>\n    <scene_description>SEQ. 219 - NAMAARI ON THE HUNT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TAIL DESERT - DAY<\/stage_direction>\n    <scene_description>An army of Serlots (oversized battle cats) charge through with soldiers from Fang riding them. Once the dust settles, a single Serlot returns into frame. A hand reaches down to pick up a shiny object in the sand - Raya's hairpin. REVEAL: Teenage NAMAARI (taller, stronger, angrier). She is with four other Fang Soldiers.<\/scene_description>\n    <character>WAHN<\/character>\n    <dialogue>Princess Namaari, the Tail-lands are infested with Druun. Benja's daughter is as good as stone out here. Retrieving some useless dragon scroll isn't worth the risk.<\/dialogue>\n    <scene_description>Namaari drops Wahn with a leg sweep.<\/scene_description>\n    <character>NAMAARI<\/character>\n    <dialogue>Anyone else want to question why we're out here?<\/dialogue>\n    <scene_description>Assembled group is speechless. The Serlot army charges forward, following Tuk-Tuk's tracks to the wrecked ship. It looks like Raya is gonna get caught, however... In the background, the silhouette of Raya and Sisu ride away on Tuk-Tuk in the distance. SEQ. 222 - TAIL RUINS<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TAIL RUINS - DAY<\/stage_direction>\n    <character>RAYA<\/character>\n    <dialogue>Okay, so here's the sitch -<\/dialogue>\n    <scene_description>THE KUMANDRAN MAP SLAMS ONTO SCREEN.<\/scene_description>\n    <character>RAYA (V.O.)<\/character>\n    <dialogue>After the gem broke, each piece was taken by one of the chiefs of the five lands. Fang -<\/dialogue>\n    <scene_description>A SPLITSCREEN SHOWING THE FANG CHIEF HOLDING A GEM SHARD (Namaari stands next to her) slams onto the far-left of the screen.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Heart -<\/dialogue>\n    <scene_description>ANOTHER SPLITSCREEN SHOWING RAYA HOLDING A SHARD NEXT TO TUK TUK slams in next.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Spine -<\/dialogue>\n    <scene_description>ANOTHER SPLITSCREEN SHOWING TONG WITH A GEM PIECE<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Talon -<\/dialogue>\n    <scene_description>A SPLITSCREEN SHOWING DANG HAI WITH A GEM SHARD<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>- and Tail...<\/dialogue>\n    <scene_description>A FINAL SPITSCREEN SHOWING THE TAIL CHIEF WITH A GEM SHARD BACK TO REALITY.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>... where we are now.<\/dialogue>\n    <scene_description>Raya's stands in front of an impressive structure that's now the Tail Chief's home. CU on Sisu's face.<\/scene_description>\n    <character>SISU<\/character>\n    <dialogue>Wow, so many questions. First one - Why am I wearing this?<\/dialogue>\n    <scene_description>Pull back to reveal Sisu dressed exactly like Raya.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Well, we don't want to attract attention.<\/dialogue>\n    <scene_description>Raya and Sisu look up at the old Tail Ruins.<\/scene_description>\n    <character>SISU<\/character>\n    <parenthetical>(looks at the hat)<\/parenthetical>\n    <dialogue>Oh, you definitely chose the right hat for that.<\/dialogue>\n    <parenthetical>(walks forward)<\/parenthetical>\n    <dialogue>So what makes you think the Tail Chief's here?<\/dialogue>\n    <scene_description>Sisu hits a trip wire, a spiky tree-trunk falls in her direction. Raya dives, pushes Sisu out of the way as the tree trunk crashes down where she once stood.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Because this place didn't just boobytrap itself.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE TAIL DRAGON TEMPLE - DAY<\/stage_direction>\n    <scene_description>Raya and Sisu carefully work their way through the temple.<\/scene_description>\n    <character>SISU<\/character>\n    <dialogue>This doesn't make sense. None of this would stop a druun.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>It's not to stop druun. It's to stop people.<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>Hm...<\/dialogue>\n    <scene_description>They look down hallway and see an intricate array of trip- lines. Raya carefully works her way through it. She looks back at Sisu who quickly and smoothly flies through the obstacle course without any problem. Sisu shoots Raya a smile. Raya's blown away by what she's just seen.<\/scene_description>\n    <character>SISU<\/character>\n    <dialogue>What? Why are you looking at me like that?<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Uh... nothing. Just not used to seeing dragons.<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>Impressed, huh? Wait till you see my backstroke. I'm wicked when I hit that liquid. I got water-skills that kill. I slaughter when I hit the water. I'm like... really good at swimming. Through rhyme. I was trying to make... that I was a really good swimmer... I'm a good swimmer... Is basically what I'm saying...<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Okay, we need to keep going.<\/dialogue>\n    <scene_description>Raya and Sisu round another dark corner.<\/scene_description>\n    <character>SISU<\/character>\n    <parenthetical>(loudly, scaring Raya)<\/parenthetical>\n    <dialogue>Oh no!<\/dialogue>\n    <character>RAYA<\/character>\n    <parenthetical>(concerned)<\/parenthetical>\n    <dialogue>What? What is it?<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>We forgot to bring a gift for the Tail Chief.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>I'm sorry, a gift?<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>Yeah. A gift says \"you can trust me, can I trust you?\"<\/dialogue>\n    <scene_description>A bug falls on Sisu's nose.<\/scene_description>\n    <character>SISU<\/character>\n    <dialogue>Aw, hey there little fella! Oh, this beetle's got a booty!<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Careful! It's a Toot N Boom!<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>Why is it called a--<\/dialogue>\n    <scene_description>Bug farts... Raya tackles Sisu, as it explodes.<\/scene_description>\n    <character>SISU<\/character>\n    <dialogue>Got it. Noted. Makes sense.<\/dialogue>\n    <scene_description>Raya looks up and sees a hallway full of bugs.<\/scene_description>\n    <character>SISU<\/character>\n    <dialogue>You have to admit though, these bug booties are kinda cute.<\/dialogue>\n    <scene_description>They inch their way through.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAIL RUINS INMOST CHAMBER - MOMENTS LATER<\/stage_direction>\n    <scene_description>Raya and Sisu enter a chamber. There, they find a floating platform with a hollowed out tree at the center. Inside it is a skeleton holding a gem shard.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>I'd say we found the Tail Chief.<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>What happened to her?<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>From the looks of it, she was hoarding the gem and became a victim of her own traps.<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>Well, you got to admire her commitment.<\/dialogue>\n    <scene_description>They look at the missing bridge.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Okay, hold on.<\/dialogue>\n    <scene_description>Sisu grabs Raya's shoulders. Raya uses her sword to swing them over to the other side, but suddenly they stop mid-swing. They both look back and they see that's Sisu's hind-legs haven't left the ledge.<\/scene_description>\n    <character>SISU<\/character>\n    <dialogue>Oh, we were doing a jumpy thing. So sorry. My bad. I get it now. I'm with it.<\/dialogue>\n    <scene_description>Sisu jumps and propels them to the other side. They land on the other side. Sisu reaches for the gem.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Sisu? Don't.<\/dialogue>\n    <scene_description>Raya points out the trip wire that runs from the skeleton to several pit-doors on the ceiling. Raya examines the booby-trap and does an \"Indiana Jones\" style switch off to get the gem without triggering the traps. It's tense.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Phew.<\/dialogue>\n    <parenthetical>(hands Sisu the gem)<\/parenthetical>\n    <dialogue>Two down, three to go.<\/dialogue>\n    <scene_description>The gem lands in Sisu's hand and suddenly - poof - she's a person.<\/scene_description>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>I just shape-changed! Into people!<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Dragons can do that?<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>This was my sister Pranee's thing!<\/dialogue>\n    <scene_description>Sisu marches around weirdly.<\/scene_description>\n    <character>SISU-HUMAN<\/character>\n    <parenthetical>(plays around)<\/parenthetical>\n    <dialogue>Look at my people arms and my people face! Look at how close my butt is to my head. Now that you don't have to hide me, getting the rest of the gems is gonna be a breeze!<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Yeah well this one was easy, but the rest of them are being held by a bunch of no-good binturis.<\/dialogue>\n    <character>NAMAARI (O.S.)<\/character>\n    <dialogue>Binturi? That's not a very nice way to describe an old friend.<\/dialogue>\n    <scene_description>Raya looks over to the entrance way and finds Namaari and her soldiers standing there.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Namaari.<\/dialogue>\n    <character>NAMAARI<\/character>\n    <dialogue>What's dripping, dep la? Oh, I see you finally made a new friend. And here I was worried you were gonna end up becoming a cat lady. Like me.<\/dialogue>\n    <scene_description>Namaari's Serlots (Felines of Unusual Size) stroll into the chamber.<\/scene_description>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Something tells me you're not besties?<\/dialogue>\n    <character>NAMAARI<\/character>\n    <dialogue>Stealing dragon gem pieces, are we? Why?<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>What can I say? Bling is my thing.<\/dialogue>\n    <character>NAMAARI<\/character>\n    <dialogue>I gotta admit, Raya - until a few months ago I thought you were stone, but then someone stole Fang's dragon scroll -<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Oh, is that why you're chasing me? And here I thought it was because you missed me.<\/dialogue>\n    <scene_description>Raya throws back Namaari her dragon scroll. Namaari catches it, face still looks severe.<\/scene_description>\n    <character>NAMAARI<\/character>\n    <parenthetical>(picks it up)<\/parenthetical>\n    <dialogue>Are you really looking for Sisu? What are you? Twelve?<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>I actually was looking for Sisu. Ooh, and guess what? I found her.<\/dialogue>\n    <scene_description>Sisu looks at Raya, are you serious? Namaari can't hide the fact that she's moved. Really?<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Say hi, Sisu!<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>HI! It's very nice to meet you. And I love your hair - and your cats'... hair.<\/dialogue>\n    <character>NAMAARI<\/character>\n    <parenthetical>(unamused)<\/parenthetical>\n    <dialogue>Take them.<\/dialogue>\n    <scene_description>Namaari's people raise their crossbows. Raya quickly reacts, kicks the trip wire. Traps go off. The room begins to fill with sand. A ton of it dumps directly on Namaari and her feline army. Raya scoops up Sisu and swings her over to the other side.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Run!<\/dialogue>\n    <scene_description>Sisu tries to run, but with four legs.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Not like that. Two legs!<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Right!<\/dialogue>\n    <scene_description>Raya and Sisu run past Namaari and her people. Namaari and her people unbury themselves and start chasing them. Raya looks forward, sees the Toot N Boom alley and begins agitating them to make them explode.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TAIL RUINS - CONTINUOUS<\/stage_direction>\n    <scene_description>Raya and Sisu burst out of the ruins and leap onto Tuk-Tuk.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Tuk Tuk, roll!<\/dialogue>\n    <scene_description>SEQ. 224 - ESCAPE ON TUK-TUK<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SLOT CANYONS - DAY<\/stage_direction>\n    <scene_description>Raya and Sisu blaze outta there on Tuk-Tuk's back through the slot canyons towards town. They quickly barrel toward a low hanging rock.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Jump!<\/dialogue>\n    <scene_description>They both jump off of Tuk Tuk, narrowly dodge the rock, and land back on Tuk Tuk.<\/scene_description>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Who was that girl?<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>That's Namaari. She's the backstabbing binturi that broke the world<\/dialogue>\n    <scene_description>Sisu looks back.<\/scene_description>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Wow, those cats are really fast, huh?<\/dialogue>\n    <scene_description>Raya looks back and sees that Namaari and her soldiers are all now chasing them with their Serlots. Raya looks ahead and notices a boat docked in a port. An idea crosses her mind.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>What do cats and Druun have in common?<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <parenthetical>(guessing)<\/parenthetical>\n    <dialogue>Um... they have no... souls!<\/dialogue>\n    <character>RAYA<\/character>\n    <parenthetical>(correction)<\/parenthetical>\n    <dialogue>AND they both hate water.<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Oh...<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Hold on!<\/dialogue>\n    <scene_description>They leap into the water. Frustrated at being outmaneuvered. Namaari reroutes her soldiers in pursuit. SEQ. 225 - BOUN'S SHRIMP BOAT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHRIMP BOAT - DAY<\/stage_direction>\n    <scene_description>Raya, Tuk-Tuk, and Sisu leap onto the shrimp ship.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Hello?! Is anybody here?<\/dialogue>\n    <scene_description>BOUN (10) suddenly pops up behind Raya and Sisu, shoves chairs under them, throws a pop-up table in front of them, and slides up with a napkin over his fore-arm.<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>Welcome to the world famous Shrimp- orium. My name is Boun, I'll be your server today. Would you like to hear our daily specials?<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Yes please!<\/dialogue>\n    <character>BOUN<\/character>\n    <dialogue>We got shrimp. We got congee. We got a shrimp congee that won't quit.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>The captain! Where is the captain?<\/dialogue>\n    <character>BOUN<\/character>\n    <dialogue>Lemme go get him!<\/dialogue>\n    <parenthetical>(he walks to the other side of the table)<\/parenthetical>\n    <dialogue>What's up, my new customers, I'm Captain Boun, the owner, chef, and Chief Financial Officer of the Shrimp-orium. How can I help you?<\/dialogue>\n    <scene_description>Boun starts dancing.<\/scene_description>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Well, I'm Sisu and -<\/dialogue>\n    <scene_description>Raya looks over the side of the ship, sees Serlots nearing.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>And we need to get to Talon. NOW.<\/dialogue>\n    <character>BOUN<\/character>\n    <dialogue>I'm sorry, the Shrimp-orium is not a water-taxi.<\/dialogue>\n    <scene_description>Raya holds out blocks of jade in front of Boun, who nods.<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>Toi! That's alotta jade!<\/dialogue>\n    <scene_description>Raya pushes half of it his way.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Half now, half when we arrive in Talon. Deal?<\/dialogue>\n    <scene_description>He grabs the jade.<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>Clasp onto your congee, today's special is--<\/dialogue>\n    <parenthetical>(smug)<\/parenthetical>\n    <dialogue>To-go.<\/dialogue>\n    <scene_description>Tuk-Tuk is about to take a bite when his food is yanked away. With a great flourish, Boun pushes the boat away with a long pole. But it floats at a snail's pace. Raya sees Namaari and her Serlots in the distance, approaching fast.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Uh... Captain Boun? Does this thing go any faster?<\/dialogue>\n    <character>BOUN<\/character>\n    <dialogue>Whoa, you didn't tell me Fang was after you! This is gonna cost you extra!<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Don't worry, I got it!<\/dialogue>\n    <scene_description>Sisu leaps into the water, and transforms back into a dragon.<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>What is she doing?<\/dialogue>\n    <scene_description>SISU grabs the bottom of the boat and starts kicking her legs. As she does, the shrimp-ship starts moving down the river at a steady speed.<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>What is happening?<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>My friend's a really strong swimmer?<\/dialogue>\n    <scene_description>Namaari and her Serlots reach the riverbank. They watch as the boat motors away.<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>(mockingly)<\/parenthetical>\n    <dialogue>Bye bye, binturi!<\/dialogue>\n    <scene_description>Namaari seethes.<\/scene_description>\n    <character>FANG OFFICER<\/character>\n    <dialogue>Princess Namaari. If they're after gem pieces, their next stop would be Talon.<\/dialogue>\n    <character>NAMAARI<\/character>\n    <dialogue>We're not following them to Talon. We're going back to Fang. I need to speak with Chief Virana.<\/dialogue>\n    <scene_description>SEQ. 227 - GETTING TO KNOW YOU<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KUMANDRAN RIVER - ESTABLISHING - DAY<\/stage_direction>\n    <scene_description>The shrimp boat steadily floats down the murky waters of the Kumandran river. Sisu meanwhile enjoys swimming alongside the ship. She dives deep into the water and effortlessly glides through the fish and vegetation in the riverbed, taking in what she's missed out on for the past few centuries.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOUN'S SHRIMP BOAT - DAY<\/stage_direction>\n    <scene_description>Raya leans over the side of the boat, panicking that Sisu has disappeared below the water's surface.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Sisu? Sisu??<\/dialogue>\n    <scene_description>Sisu resurfaces.<\/scene_description>\n    <character>SISU<\/character>\n    <dialogue>Ah...<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Please! Get out of there!<\/dialogue>\n    <character>SISU<\/character>\n    <parenthetical>(continues to swim)<\/parenthetical>\n    <dialogue>I'm a water dragon. This is water. It's sorta my thing. You wanna come in?<\/dialogue>\n    <character>RAYA<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>Someone could see you.<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>Oh. Do you mean \"Captain Pop and Lock\" over there? What, are you scared he's gonna challenge me to a dance battle?<\/dialogue>\n    <scene_description>Boun bangs on the pots and pans to make a beat. Raya awkwardly dances to cover her talking to Sisu off the side of the ship.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Sisu, I saw people lose their minds over a dragon gem. Can you imagine what they'd do over an actual dragon? Look, we need you to make this all work.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Until we have all the gems, you have to stay human. Please.<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>Wow. You've really got some trust issues.<\/dialogue>\n    <character>RAYA<\/character>\n    <parenthetical>(sidebar response)<\/parenthetical>\n    <dialogue>Look, my father blindly trusted people and now he's stone.<\/dialogue>\n    <scene_description>Sisu jumps onto the boat as a human.<\/scene_description>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Hey. We'll get your ba back. I got you, girl. Come on. Who's your dragon? I mean human. Because I'm gonna be human until - yeah, you get it.<\/dialogue>\n    <scene_description>Bowls suddenly fall onto a table.<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>Okay, who's hungry?<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Ooo, I am!<\/dialogue>\n    <scene_description>Boun ladles congee into each bowl.<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>Two house specials!<\/dialogue>\n    <parenthetical>(spins a bottle of hot sauce in his hand)<\/parenthetical>\n    <dialogue>How spicy would you like it? Hot, hotter, or Boun-goes-the-dynamite?<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Bring on the heat!<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Yeah, no, no... I don't think so.<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>RAYA<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>We don't know him. It could be poisoned.<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <parenthetical>(loudly)<\/parenthetical>\n    <dialogue>Why would he poison us?<\/dialogue>\n    <character>BOUN<\/character>\n    <parenthetical>(offended)<\/parenthetical>\n    <dialogue>Yeah, why would I poison you??<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>First, to get my jade purse. Second, to steal my sword. And third - I don't know - to kidnap my Tuk-Tuk.<\/dialogue>\n    <character>BOUN<\/character>\n    <dialogue>All good points, but if this is poison...<\/dialogue>\n    <parenthetical>(slurps congee)<\/parenthetical>\n    <dialogue>You're gonna die happy.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Yeah, thanks but, we've got our own eats.<\/dialogue>\n    <scene_description>Raya takes out her own jackfruit jerky and rips a piece off with her teeth. It's hard, leathery, not very good. Raya hands some to Sisu but finds her gulping down the congee.<\/scene_description>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>This is delicious!<\/dialogue>\n    <parenthetical>(points at the food)<\/parenthetical>\n    <dialogue>By the way. Not. Poison.<\/dialogue>\n    <parenthetical>(heat hits her)<\/parenthetical>\n    <dialogue>But... It's hot - IT'S REALLY HOT! Water! Boun? Captain Boun? We need water on deck!<\/dialogue>\n    <scene_description>SEQ. 229 - NAMAARI IN DRAGON GRAVEYARD<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DRAGON GRAVEYARD - DAY<\/stage_direction>\n    <scene_description>Namaari and her soldiers ride through a field full of stone dragon. We clock Namaari's face. This moment has more meaning to her than the rest. Namaari stops and bows. SEQ. 229.5 - WHAT ARE DRUUN?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE RIVER - EARLY EVENING<\/stage_direction>\n    <scene_description>CU on Raya as she stares at the purple glow and movement of druun ominously sweep through the trees on the shoreline. Tuk-Tuk's visibly shaking from seeing them, Raya pets his head to calm him down.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>I know buddy.<\/dialogue>\n    <character>BOUN<\/character>\n    <dialogue>You know, during the day, you can almost forget they're here, but at night...<\/dialogue>\n    <parenthetical>(clearly unnerved)<\/parenthetical>\n    <dialogue>This is why I never leave the boat.<\/dialogue>\n    <scene_description>Raya clocks Boun's words. He might be verbose, but he's just a kid.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>You're a smart kid.<\/dialogue>\n    <character>BOUN<\/character>\n    <dialogue>What are druun anyways?<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>A plague born from human discord, they've always been here - waiting for a moment of weakness to attack. They're like the opposite of dragons, instead of bringing water and life to the world, they're like a relentless fire that consumes everything in its wake until there's nothing left except ash and stone.<\/dialogue>\n    <character>BOUN<\/character>\n    <dialogue>They took my family.<\/dialogue>\n    <scene_description>Sisu takes flowers, walks to the edge of the boat, and drops petals into the river.<\/scene_description>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>They took mine too.<\/dialogue>\n    <scene_description>Boun joins Sisu, takes some flowers and does the same. Raya clocks Boun's sadness. She walks over, joins and casts one single flower into the river for her dad. It's a solemn yet unifying moment. The lights from Talon catches Boun's attention.<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>Looks like we're here! So where are you guys headed after Talon? I might be headed there too.<\/dialogue>\n    <scene_description>SEQ. 230 - TALON PORT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY OF TALON - ESTABLISHING - NIGHT<\/stage_direction>\n    <scene_description>Chyron: TALON<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>I mean, for a fee, of course.<\/dialogue>\n    <character>RAYA (O.S.)<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>Talon, a bustling port city built almost entirely on the water. Protected from Druun by a WALL on one end, and water on the other - Talon is one of the very few towns left in the land. It has the looks of a Southeast Asian Night Market and the energy of New York's night life... if Manhattan existed on sampan boats, that is.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHRIMP BOAT - NIGHT<\/stage_direction>\n    <scene_description>Sisu admires the bright lights.<\/scene_description>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Wow. What a smart way to druun- proof your house - build right on the water. People of Talon are geniuses.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Yeah, Talon may look nice... but it's a hotspot for pickpockets and con-artists.<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Lucky for me, empty pockets!<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Okay, so here's the good news. I know where the gem piece is. The bad news...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GANGSTER'S LAIR - FANTASY<\/stage_direction>\n    <scene_description>The camera zooms through Talon to the largest and most imposing building in the city. It zips by different groups of shady characters and up to a balcony.<\/scene_description>\n    <character>RAYA (V.O.)<\/character>\n    <dialogue>- it's being held by the notorious Chief of Talon, Dang Hai.<\/dialogue>\n    <scene_description>The camera lands on DANG HAI, an extra-large kingpin with a Cthulu-shaped beard.<\/scene_description>\n    <character>RAYA (V.O.)<\/character>\n    <dialogue>What Dang Hai lacks in style, he makes up in mean.<\/dialogue>\n    <scene_description>BACK TO REALITY.<\/scene_description>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Gotcha. Now we're just gonna have to turn up the charm. Let's go get him a gift!<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Sisu, I think maybe it's safer for you to stay here on the boat.<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Without you we can't put the gem back together.<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>But I want to help.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>I know, and you will. By staying safe.<\/dialogue>\n    <scene_description>Sisu reacts.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>I'll be back before you know it.<\/dialogue>\n    <scene_description>Raya leaves. Off Sisu, frustrated.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TALON DOCK - CONTINUOUS<\/stage_direction>\n    <scene_description>Boun ties off the boat. Raya and Tuk-Tuk on the dock.<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>If you see any hungry faces, send 'em my way.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>You got it, Captain.<\/dialogue>\n    <scene_description>Raya peers towards the city. SEQ. 240 - CON-ARTISTS<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TALON STREET - NIGHT<\/stage_direction>\n    <scene_description>Various shots of the lively night market: Endless varieties of delicious food being cooked, money exchanging hands, bright signs advertising wares, and lanterns being strung up across the market. Three ONGIS pop up from behind a merchant stand and watch Raya and Tuk-Tuk pass by. They deviously smile at one another - out of towners...<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Alright, there's Dang Hai's house. No detours until we score that dragon gem.<\/dialogue>\n    <scene_description>Raya's eyes are focused on the top of the Talon Chief's home. Her ears however hear a BABY CRY. Raya turns and finds...<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Whoa. What in the -<\/dialogue>\n    <scene_description>... a lone baby sobbing in the middle of an alleyway. Raya looks up at the temple, she's tempted to keep going, but her human decency gets the best of her. She approaches the toddler.<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>(struggles with decision)<\/parenthetical>\n    <dialogue>Uh...okay...<\/dialogue>\n    <scene_description>Raya picks up the crying baby.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Hey... baby, toddler, thing, whatever you're called. It's really late, what are you doing out here? Where are your parents?<\/dialogue>\n    <scene_description>As Raya tries to console the baby, she turns to find...<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>(calls out)<\/parenthetical>\n    <dialogue>Hey. Whose baby -<\/dialogue>\n    <scene_description>... the Ongis on top of Tuk-Tuk, pick-pocketing the gems. They have the gem shards in their hands.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>What? Ongis! Drop em!<\/dialogue>\n    <scene_description>Caught, the baby HISSES, attacks Raya, and runs off with the Ongis.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Really? A con-baby!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHRIMP BOAT - CONTINUOUS<\/stage_direction>\n    <scene_description>Sisu is still perched on the side of Boun's boat, thinking.<\/scene_description>\n    <character>SISU-HUMAN<\/character>\n    <parenthetical>(shakes head)<\/parenthetical>\n    <dialogue>This is giving me bad feels. Chief Dang Hai does not sound like someone you can smooth talk. Raya didn't even bring a gift.<\/dialogue>\n    <parenthetical>(makes a decision)<\/parenthetical>\n    <dialogue>That's it. I'm going shopping!<\/dialogue>\n    <scene_description>Sisu starts marching off, then stops.<\/scene_description>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Oh wait... I don't have any money.<\/dialogue>\n    <character>BOUN<\/character>\n    <dialogue>You're an adult. You could just put it on credit.<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Ooo, what's credit?<\/dialogue>\n    <character>BOUN<\/character>\n    <dialogue>It's kinda like a promise. You take what you want now and you promise you'll pay it back later.<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Pay it back later... What an amazing concept! Thanks, Captain Boun!<\/dialogue>\n    <scene_description>A MUSICAL BEAT drops as... SEQ. 250 - CHASE THROUGH TALON<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TALON MARKET - NIGHT<\/stage_direction>\n    <scene_description>MONTAGE. To some fun \"Saturday Night Fever'esque\" beat, Sisu skips through town, sees all the shops. Sisu OOHs and AHHs as she helps herself to food and clothes...<\/scene_description>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>I'll be buying this with credit. Ooo, Dang Hai's gonna love this. Credit, please. Oh, I like that. Uh, yeah. I'll be using credit. Yes. I love credit!<\/dialogue>\n    <scene_description>Sisu's having a great time until -<\/scene_description>\n    <character>MALE MERCHANT 1<\/character>\n    <parenthetical>(points at her)<\/parenthetical>\n    <scene_description>HEY! YOU!:<\/scene_description>\n    <character>MALE MERCHANT 2<\/character>\n    <dialogue>Are you going to pay for any of that?<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Oh right, right. No, this is on credit. Yeah, I'm gonna pay you back later.<\/dialogue>\n    <character>MALE MERCHANT 2<\/character>\n    <dialogue>Pay us back later? We don't know you!<\/dialogue>\n    <character>FEMALE MERCHANT<\/character>\n    <dialogue>You have no credit here! Pay us right now!<\/dialogue>\n    <scene_description>The different Vendors circle around her.<\/scene_description>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Now? I don't have anything, but... if I could find my girl Raya, she has a sword. Dried eats. Two Dragon Gem pieces.<\/dialogue>\n    <parenthetical>(realizes)<\/parenthetical>\n    <dialogue>No we don't. Whaaat? Who said that?<\/dialogue>\n    <character>MALE MERCHANT 2<\/character>\n    <dialogue>You better pay up, binturi!<\/dialogue>\n    <character>FEMALE MERCHANT<\/character>\n    <dialogue>This isn't a charity!<\/dialogue>\n    <character>MALE MERCHANT 2<\/character>\n    <dialogue>Who do you think you're stealing from?<\/dialogue>\n    <scene_description>As the angry vendors close in on a beleaguered Sisu, a SWEET OLD WOMAN notices and comes to Sisu's rescue.<\/scene_description>\n    <character>DANG HU<\/character>\n    <parenthetical>(slapping the Vendors' hands away)<\/parenthetical>\n    <dialogue>Nee, nee! Get away from her! Can't you see she's new in town?<\/dialogue>\n    <scene_description>The merchants back off, seemingly chastised. Sisu looks at the Old Lady, grateful. This is DANG HU.<\/scene_description>\n    <character>DANG HU<\/character>\n    <parenthetical>(to Sisu)<\/parenthetical>\n    <dialogue>Come, dear. Don't be afraid. It's okay.<\/dialogue>\n    <scene_description>As Sisu walks off with Dang Hu.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TALON STREET - NIGHT<\/stage_direction>\n    <scene_description>Raya continues her chase through the streets of Talon... Tuk-Tuk tries to keep up, but stops at a narrow bridge that he's too big to cross. He changes direction. Raya chases after the Ongis and Noi, leaping over a man asleep in a boat. Noi throws her diaper at Raya.<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>(dodges)<\/parenthetical>\n    <dialogue>Ah! Diaper!<\/dialogue>\n    <scene_description>... and finally Tuk Tuk corners the Ongis and the Con-Baby. Having no escape, the little \"Con-Baby\" snaps her fingers and the Ongis hand Raya back her gem.<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>(to Baby)<\/parenthetical>\n    <dialogue>Thanks.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>So, it's none of my business, but using your baby charm to rip people off is super sketchy.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Alright, where's your family?<\/dialogue>\n    <scene_description>Noi scoffs at Raya and walks away with the two largest Ongis. The LITTLEST ONGI however hangs back and \"poses as a stone statue\" to tell Raya what's happened to Noi's parents.<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>(realizes)<\/parenthetical>\n    <dialogue>Oh. Right.<\/dialogue>\n    <scene_description>Raya looks over at Noi and the Ongis as they split a piece of food. She looks up at Dang Hai's house and gets an idea.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Hey. How would you like to earn some honest loot?<\/dialogue>\n    <scene_description>SEQ. 260 - THE HEIST<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TALON CHIEF HOME - NIGHT<\/stage_direction>\n    <scene_description>Noi and the Ongis nod to Raya, hiding nearby - it's showtime. Several scary BODYGUARDS stand at the ready in front of the Talon Chief's fancy home. Noi cutely waddles in front of them and falls down. She stands and coos, being adorable. The Ongis join in. All eyes go to Noi and the Ongis as... Raya sneaks into Dang Hai's palace. She sneaks up the steps to a BIG GUY on the balcony. Raya immediately points her sword at his back.<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>(cool and threatening)<\/parenthetical>\n    <dialogue>Alright, Dang Hai, I'll take that dragon gem piece.<\/dialogue>\n    <scene_description>He turns to reveal -<\/scene_description>\n    <character>CHAI THE FLOWER GUY<\/character>\n    <dialogue>Whoa! I'm not Dang Hai! I'm Chai, the flower guy.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Where is Dang Hai?<\/dialogue>\n    <character>CHAI THE FLOWER GUY<\/character>\n    <dialogue>He's right over there.<\/dialogue>\n    <scene_description>The Big Bodyguard points to a decorated statue... it's a stoned Dang Hai.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>What? Who has his gem piece?<\/dialogue>\n    <character>CHAI THE FLOWER GUY<\/character>\n    <dialogue>The most vicious Chief Talon has ever seen.<\/dialogue>\n    <scene_description>CUT TO: SEQ. 270 - MOB BOSS<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TALON GATES - NIGHT<\/stage_direction>\n    <scene_description>Dang-Hu walks with Sisu through the market towards the city's edge.<\/scene_description>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Those folks were like crazy mad. I just wanted to bring some gifts to the Talon Chief, Dang Hai.<\/dialogue>\n    <character>DANG HU<\/character>\n    <dialogue>Is that who you're looking for dear? I know exactly where he is.<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>You do?<\/dialogue>\n    <character>DANG HU<\/character>\n    <dialogue>Mm-hmm. I'll take you there.<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>SEE! That's what I've been trying to tell my girl Raya. But she's all like - \"You can't trust people. Don't talk to anyone. I only eat terrible foods I dried myself.\"<\/dialogue>\n    <scene_description>Two large HENCHMEN join Sisu and Dang-Hu as they walk. She gives them big smiles, but they don't react to her at all. From the looks exchanged between Dang Hu and her \"sons\" we sense that she's more Mob Boss than Sweet Old Mother. The Henchmen nod and lower a draw-bridge for Sisu and Dang Hu to cross. They cross the bridge and...<\/scene_description>\n    <character>DANG HU<\/character>\n    <dialogue>Come, dear. Chief Dang Hai is just outside the city, beyond the gates.<\/dialogue>\n    <scene_description>... they continue on through some gates.<\/scene_description>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Away from the water, huh? Wow. He really likes living on the edge.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TALON JUNGLE - NIGHT<\/stage_direction>\n    <scene_description>Dang Hu leads Sisu out of the gates into the jungle. It's creepy, quiet. Sisu is relieved to see someone else out there -<\/scene_description>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Hi there, Dang Hai. I'm Sisu and I've come here to offer you some -<\/dialogue>\n    <scene_description>- but is shocked to see it's a Stone Person. The rattle of druun.... Sisu looks and finds a Druun emerge from the woods, it approaches Sisu - but a \"glow\" pushes it away. Dang Hu stands by the doors with her two large bodyguards...<\/scene_description>\n    <character>DANG HU<\/character>\n    <dialogue>Now, you're going to tell me where I can find those other dragon gem pieces. Or...<\/dialogue>\n    <scene_description>Dang Hu reveals she's hold a dragon gem piece of her own.<\/scene_description>\n    <character>DANG HU<\/character>\n    <dialogue>I'll have to leave you outside with that... thing. Take your pick.<\/dialogue>\n    <scene_description>The Druun paces back and forth, looking for a way past Dang Hu. Dang Hu steps backward into the city walls, not giving Sisu a moment to react.<\/scene_description>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>But I trusted you.<\/dialogue>\n    <character>DANG HU<\/character>\n    <dialogue>Big mistake.<\/dialogue>\n    <scene_description>Dang Hu steps behind the gates.<\/scene_description>\n    <character>DANG HU<\/character>\n    <dialogue>You better talk fast. It looks hungry.<\/dialogue>\n    <scene_description>More druun begin to emerge from the woods.<\/scene_description>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>No, no, no.<\/dialogue>\n    <scene_description>Mob Boss lowers the gem and the Druun rushes towards Sisu as - Raya and Tuk-Tuk blast through the city gates and grab-up Sisu -<\/scene_description>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>RAYA!<\/dialogue>\n    <character>DANG HU<\/character>\n    <dialogue>Stop her!<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Sisu, I told you to stay on the boat!<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Sorry!<\/dialogue>\n    <scene_description>As they sweep past Dang Hu, Raya swipes the gem from Dang Hu hands and gives it to Sisu.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Hold onto this for me, will ya?<\/dialogue>\n    <scene_description>Raya barrels towards them. A giant blast of FOG covers the area, scaring away the druun. Raya clears out. Door closes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOCKYARDS - NIGHT<\/stage_direction>\n    <scene_description>Raya and Sisu ride on Tuk-Tuk, away from the Talon gates.<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>(celebrating)<\/parenthetical>\n    <dialogue>Fog?!<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Yeah, that was my brother Jagan's magic.<\/dialogue>\n    <scene_description>SEQ. 280 - WHERE'S THE BOAT?<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Okay, three down, two to go!<\/dialogue>\n    <scene_description>They hop on board.<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>(yells out)<\/parenthetical>\n    <dialogue>Alright, Captain Boun. Next stop -<\/dialogue>\n    <parenthetical>(ducks a bowl thrown at her)<\/parenthetical>\n    <dialogue>Spine!<\/dialogue>\n    <scene_description>Reveal: Boun standing there with Noi and the Ongis chugging down congee like frat boys at a keg party.<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>Thanks for the new customers!<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Yeah, I sorta promised to buy them all the congee they could eat.<\/dialogue>\n    <character>BOUN<\/character>\n    <dialogue>Well, we're stuck with them for awhile. Cause Ongis have nine stomachs.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Oh, toi.<\/dialogue>\n    <scene_description>Raya and Sisu walk over to the table.<\/scene_description>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>I can't believe it. That old lady was really going to hurt me.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Well, I'm sorry, Sisu, that's what the world is now. You can't trust anyone.<\/dialogue>\n    <scene_description>As Sisu sits, Noi approaches her. She super adorable.<\/scene_description>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Does that include babies?<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Uh, well...<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>She's so cute. I mean looks at those cheeks!<\/dialogue>\n    <scene_description>Noi grabs Sisu by the cheeks.<\/scene_description>\n    <character>SISU-HUMAN<\/character>\n    <parenthetical>(muffled)<\/parenthetical>\n    <dialogue>Hi, I'm Sisu.<\/dialogue>\n    <character>NOI<\/character>\n    <dialogue>Soo-soo.<\/dialogue>\n    <scene_description>Noi leaps on her face.<\/scene_description>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Aw, she loves my face.<\/dialogue>\n    <character>RAYA<\/character>\n    <parenthetical>(bemused)<\/parenthetical>\n    <dialogue>Watch out she doesn't steal your teeth. Here, lemme help you.<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Oh, that's so sweet... okay, too much sweetness, too much sweetness! It's too much!<\/dialogue>\n    <scene_description>SEQ. 290 - ISLAND OF FANG<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FANG THRONE ROOM - DAY<\/stage_direction>\n    <scene_description>Virana speaks to FANG OFFICERS, over a map of Kumandra.<\/scene_description>\n    <character>GENERAL ATIT\u0100YA<\/character>\n    <dialogue>Chief Virana, we're running out of room. We need to expand to the mainland.<\/dialogue>\n    <character>VIRANA<\/character>\n    <dialogue>And how do you propose we handle the druun, General Atit\u0101ya? Without proper protection, it would be a death sentence for our people.<\/dialogue>\n    <scene_description>Namaari enters the palace.<\/scene_description>\n    <character>NAMAARI<\/character>\n    <dialogue>I might have a solution for that, mother.<\/dialogue>\n    <character>VIRANA<\/character>\n    <parenthetical>(genuinely happy)<\/parenthetical>\n    <dialogue>My little morning mist, it's good to see you home.<\/dialogue>\n    <character>NAMAARI<\/character>\n    <dialogue>I located Raya. She's out stealing gem pieces.<\/dialogue>\n    <character>VIRANA<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Virana reacts, looks at her gem on a staff.<\/scene_description>\n    <character>NAMAARI<\/character>\n    <dialogue>I'd like to take the royal army and intercept her in Spine.<\/dialogue>\n    <character>VIRANA<\/character>\n    <dialogue>Well, if she's going into Spine, I doubt there will be much left of her to intercept.<\/dialogue>\n    <character>NAMAARI<\/character>\n    <dialogue>She's more capable than you realize. We have to stop her.<\/dialogue>\n    <scene_description>Virana hears the anger in her daughter.<\/scene_description>\n    <character>VIRANA<\/character>\n    <dialogue>Walk with me.<\/dialogue>\n    <scene_description>Virana leads Namaari to the balcony.<\/scene_description>\n    <character>VIRANA<\/character>\n    <dialogue>Look around.<\/dialogue>\n    <parenthetical>(points to Fang)<\/parenthetical>\n    <dialogue>We made all this by making smart decisions, not emotional ones. We are safe. Our canal protects us from those monsters. I don't think it's wise to risk yourself when you don't have to.<\/dialogue>\n    <character>NAMAARI<\/character>\n    <dialogue>But you heard the General - we're running out of space, we need to expand. If we had all the gem pieces, we could do that safely. You're right.<\/dialogue>\n    <character>NAMAARI<\/character>\n    <dialogue>This isn't an emotional decision, it's the only decision we can make to secure Fang's future.<\/dialogue>\n    <scene_description>Virana thinks it over.<\/scene_description>\n    <character>VIRANA<\/character>\n    <dialogue>Namaari, you're truly growing into the leader I raised you to be.<\/dialogue>\n    <parenthetical>(to the General)<\/parenthetical>\n    <dialogue>General Atit\u0101ya, ready the royal army for my daughter's command.<\/dialogue>\n    <character>NAMAARI<\/character>\n    <dialogue>Thank you, Mother. I won't let you down.<\/dialogue>\n    <scene_description>SEQ. 295 - BRAT PACK<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KUMANDRAN RIVER - ESTABLISHING - DAY<\/stage_direction>\n    <scene_description>Boun's shrimp boat floats towards snow covered hills.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHRIMP BOAT - DAY<\/stage_direction>\n    <scene_description>Noi and the Ongis shove as much congee and condiments into their mouths as they can. Boun chases them off!<\/scene_description>\n    <character>BOUN<\/character>\n    <parenthetical>(to Ongis)<\/parenthetical>\n    <dialogue>Hey! Stop eating!<\/dialogue>\n    <scene_description>The Ongis knock hot sauce into Tuk-Tuk's plate. He eats and immediately knocks Raya over to get to the side of the ship.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Sorry, Buddy. I got this.<\/dialogue>\n    <scene_description>Raya walks over to Boun, Noi, and the Ongis fighting with each other.<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>Did you just throw a shrimp at me? That's not even edible! Don't look at me like that, you fuzzy garbage can.<\/dialogue>\n    <character>RAYA<\/character>\n    <parenthetical>(big smile)<\/parenthetical>\n    <dialogue>Hey, guys. Do you want to play hide and seek?<\/dialogue>\n    <scene_description>Tuk-Tuk, Noi and the Ongis nod yes.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Alright, ready? One, two...<\/dialogue>\n    <scene_description>They run away and hide. (Tuk-Tuk is terrible at it.) Raya stops counting and walks away.<\/scene_description>\n    <character>BOUN<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>Thanks.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Two and a half... Three...<\/dialogue>\n    <parenthetical>(to Sisu)<\/parenthetical>\n    <dialogue>Remind me to never have kids.<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Being people is hard.<\/dialogue>\n    <character>RAYA<\/character>\n    <parenthetical>(to Sisu)<\/parenthetical>\n    <dialogue>Yep.<\/dialogue>\n    <parenthetical>(over her shoulder)<\/parenthetical>\n    <dialogue>Six...Seven...<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>You have small heads, no tails, you lie to get what you want. Like the Talon Chief back there.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Yeah well, the world's broken, you can't trust anyone.<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Or maybe the world's broken BECAUSE you don't trust anyone.<\/dialogue>\n    <character>RAYA<\/character>\n    <parenthetical>(wistful)<\/parenthetical>\n    <dialogue>You sound just like my ba.<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Well, he sounds like a smart man.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Yeah. He was. I really wanted to believe him. I really wanted to believe that we could be Kumandra again.<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>And we can.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Literally thousands of people turned to stone would argue otherwise.<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>That doesn't mean you shouldn't try.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>And I did. And you know what happened? I got kicked in the back by someone who gave me a \"gift\" - Look around. We're a world of orphans because people couldn't stop fighting over a gem. Wanna know why other dragons didn't come back? Because people don't deserve them.<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>But you can change that.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>I am done trying. Kumandra is a fairy tale. The only thing important to me now is bringing my ba back.<\/dialogue>\n    <scene_description>The ship comes to a stop.<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>Um... I think we're in Spine.<\/dialogue>\n    <scene_description>Clouds part, revealing the imposing structure of Spine. Suddenly - Splash - Sisu pops out of the ship, storms up the beach-side. In her arms, she carries a large pot of Boun's soup.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Sisu!!!<\/dialogue>\n    <character>BOUN<\/character>\n    <dialogue>Hey! My congee!<\/dialogue>\n    <character>RAYA<\/character>\n    <parenthetical>(to Boun)<\/parenthetical>\n    <dialogue>Don't go anywhere. I'll be right back.<\/dialogue>\n    <scene_description>Raya leaps off the ship with her gem satchel and sword. Chyron: SPINE SEQ. 300 - SHORES OF SPINE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPINE VILLAGE - NIGHT<\/stage_direction>\n    <scene_description>Sisu carries a pot of food up the hill...<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Sisu! Come back! Please. What are you doing?<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>I'm going to show you that you're wrong!<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>How? By getting squashed by a bunch of Spine rage-heads?<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>No. By proving to you that if you want to get someone's trust, you have to give a little trust first.<\/dialogue>\n    <scene_description>Sisu walks right up to the Spine village doors and starts knocking.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Sisu, don't!<\/dialogue>\n    <scene_description>Suddenly, a burlap sack swoops from above and traps Raya and Sisu inside.<\/scene_description>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>In hindsight, maybe I was a little hasty. But... who's hungry? No? I'll leave you alone.<\/dialogue>\n    <scene_description>SEQ. 310 - MEET TONG<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TONG'S CABIN - NIGHT<\/stage_direction>\n    <scene_description>Raya and Sisu are alone, tied up, dangling from a wooly mammoth tusk. From Raya's POV, we see her sword nearby.<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>(to herself)<\/parenthetical>\n    <dialogue>Okay... Where are we?<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>Interesting choice of digs.<\/dialogue>\n    <scene_description>Suddenly the doors of the cabin open. The silhouette of a large barbarian (TONG) stands there, axe in hand. Tong slams his axe into the wall.<\/scene_description>\n    <character>TONG<\/character>\n    <dialogue>You two must be dung of brain to think you could steal Spine's dragon gem.<\/dialogue>\n    <scene_description>He slams his axe into some wood.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Gem? Who said anything about gems? We have no interest in gems.<\/dialogue>\n    <scene_description>Tong drops Raya's satchel full of gems in it.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Okay, yeah. I can see how that makes me look like a liar.<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Actually, I think it was the lying that made you look like a liar.<\/dialogue>\n    <scene_description>Tong starts maniacally laughing.<\/scene_description>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>I'm not sure what's funny.<\/dialogue>\n    <character>TONG<\/character>\n    <dialogue>Your fear is like a delectable nectar feeding the tum tum of my soul. It's good. It tastes like... mango.<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Ooo, I love mango.<\/dialogue>\n    <character>TONG<\/character>\n    <parenthetical>(gets in Sisu's face)<\/parenthetical>\n    <dialogue>OF COURSE YOU LOVE MANGO! Only a tongue-less cretin wouldn't.<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Oh toi.<\/dialogue>\n    <character>TONG<\/character>\n    <dialogue>It's been such a long time since I've last peered into the eyes of a trembling enemy.<\/dialogue>\n    <character>TONG<\/character>\n    <parenthetical>(contemplates the time)<\/parenthetical>\n    <dialogue>Where has the time gone? It's been so long...<\/dialogue>\n    <scene_description>Tong slumps.<\/scene_description>\n    <character>SISU-HUMAN<\/character>\n    <parenthetical>(to Raya)<\/parenthetical>\n    <dialogue>He seems lonely.<\/dialogue>\n    <character>TONG<\/character>\n    <dialogue>NO! I'm not lonely. I'm a Spine warrior, I was born and bred to do only one thing - to invoke fear and to crush the skulls of my enemies.<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>That's actually two things.<\/dialogue>\n    <character>TONG<\/character>\n    <dialogue>RWAR!!!<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Ah!<\/dialogue>\n    <character>TONG<\/character>\n    <dialogue>Hehe. Look at your face.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Hey. What do you plan on doing with us?<\/dialogue>\n    <character>TONG<\/character>\n    <dialogue>Oh, it's going to be bad. Horrifying. It'll take me two weeks to clean up.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>You have no idea, do you?<\/dialogue>\n    <character>TONG<\/character>\n    <dialogue>Yes I do! I'm formulating this gruesome plan in my head of... It makes me sick just thinking about it. You just wait. Until then...<\/dialogue>\n    <parenthetical>(looks at them dangling)<\/parenthetical>\n    <dialogue>... why don't you just hang around? Good one, huh? Hehe.<\/dialogue>\n    <scene_description>Suddenly Tuk Tuk smashes through the front door as - Boun, Noi, and the Ongis leap off of him onto Tong. Tong is immediately subdued, gets tied up. Noi hisses.<\/scene_description>\n    <character>TONG<\/character>\n    <dialogue>A little one?<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>Alright!<\/dialogue>\n    <scene_description>Boun cuts Raya and Sisu free.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Good work, Captain Boun.<\/dialogue>\n    <scene_description>Boun however is concerned about something else.<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>Fang's here.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>NAMAARI (O.S.)<\/character>\n    <dialogue>People of Spine -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPINE VILLAGE - CONTINUOUS<\/stage_direction>\n    <scene_description>Hundreds of Fang soldiers are on the outside gates of Spine.<\/scene_description>\n    <character>NAMAARI<\/character>\n    <dialogue>We are hunting for Raya, a fugitive from Heart. Send her out or we're coming in!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TONG'S CABIN - CONTINUOUS<\/stage_direction>\n    <scene_description>Raya looks out the window and sees stone Spine people all around. She looks into Tong's cabin and spots... an empty crib. She looks over at Tong.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>You're the only one here?<\/dialogue>\n    <character>TONG<\/character>\n    <dialogue>My people battled the druun with much valor... but lost.<\/dialogue>\n    <scene_description>Raya looks at Sisu and the bag of gem pieces. She realizes what's at stake, makes a decision.<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>(thinks)<\/parenthetical>\n    <dialogue>Okay, the Fang gang's here for me, not for you. So if I can distract them, you guys can get out of here.<\/dialogue>\n    <character>SISU-HUMAN<\/character>\n    <dialogue>You're gonna fight an entire army?<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>No, I'm just gonna stall them. Look, I know how to push Namaari's buttons. Once you guys are clear, I'm out of there.<\/dialogue>\n    <parenthetical>(to Tong)<\/parenthetical>\n    <dialogue>What's your name?<\/dialogue>\n    <character>TONG<\/character>\n    <dialogue>The moniker given to me is Tong.<\/dialogue>\n    <character>RAYA<\/character>\n    <parenthetical>(to Tong)<\/parenthetical>\n    <dialogue>Okay, Tong, look, you don't know me, I don't know you. But I'm sure that you know a back door or way outta here and it's really important that my friends stay safe. Okay? So, I am sincerely asking you, will you help us? Please.<\/dialogue>\n    <scene_description>He nods. SEQ. 320 - INJURY AND ALLIES<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPINE GATES<\/stage_direction>\n    <scene_description>Raya takes a deep breath.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Okay. Note to self: don't die.<\/dialogue>\n    <scene_description>Raya puts on her hat. ON THE OTHERSIDE OF THE GATE. Namaari is still waiting for a response.<\/scene_description>\n    <character>NAMAARI<\/character>\n    <parenthetical>(commands)<\/parenthetical>\n    <dialogue>Burn them out.<\/dialogue>\n    <scene_description>The soldiers aim their flaming cross-bows. However... The giant gates of Spine open. All the Fang Soldiers lower their arrows as... Raya, alone, armed with only her sword, walks out.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Hey there, princess undercut, fancy meeting you here.<\/dialogue>\n    <character>NAMAARI<\/character>\n    <dialogue>You and those dragon gem pieces are coming with me.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>My sword here says we're not.<\/dialogue>\n    <scene_description>All the Fang soldiers raise their weapons.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Yeah, I knew you couldn't handle rolling solo. You're nothing without your band.<\/dialogue>\n    <scene_description>They start to advance. Did Raya's bluff not work? Namaari's hand finally signals her men to stop.<\/scene_description>\n    <character>NAMAARI<\/character>\n    <dialogue>Stand down. This shouldn't take long.<\/dialogue>\n    <scene_description>Raya smiles. She got she wanted. The two women go at it. It's a martial arts fantasia, as our Luke Skywalker battles with our movie's Darth Vader. With everyone watching the fight, Raya is able to clock Tong, Sisu, and the kids start to escape. Raya goes back to the fight and disarms Namaari.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Didja need that, dep la?<\/dialogue>\n    <scene_description>Namaari kicks Raya's sword out of her hands.<\/scene_description>\n    <character>NAMAARI<\/character>\n    <dialogue>Nah.<\/dialogue>\n    <scene_description>This is an evenly matched fight.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Looks like somebody's been taking classes.<\/dialogue>\n    <scene_description>Raya charges and throws her signature move (a 540 kick). ... but Namaari catches it in mid-air. Namaari smirks and lets loose a flurry of blows. She finally lands a hit.<\/scene_description>\n    <character>NAMAARI<\/character>\n    <dialogue>Why are you stealing gem pieces?<\/dialogue>\n    <scene_description>Raya clocks Tong and the gang escaping from the cabin.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Oh, I'm just trying to get a matching set.<\/dialogue>\n    <scene_description>Namaari knocks Raya down again...<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>(through gritted teeth)<\/parenthetical>\n    <dialogue>You didn't happen to bring Fang's gem, did you?<\/dialogue>\n    <scene_description>Smack! Raya goes down again. Tong and company escape during the fight, but Sisu stops and looks back. She sees Raya on the ground, losing the fight.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>No? Never mind, I'll just swing by and grab it later.<\/dialogue>\n    <scene_description>That's enough - Namaari reels back for the final blow.<\/scene_description>\n    <character>NAMAARI<\/character>\n    <dialogue>Oh, I'm going to enjoy this...<\/dialogue>\n    <scene_description>But she is interrupted by a blast of FOG. Sisu - in dragon form - scares away the other Fang soldiers. She gets in Namaari's face and roars! Tong, Boun, the Baby and Ongis run up and also see the dragon. It stops them in their tracks, in awe. Raya gets up and runs to them.<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>(approaches the team)<\/parenthetical>\n    <dialogue>Yep. She's a dragon. Let's go. Come on!<\/dialogue>\n    <scene_description>Raya ushers them along, as they continue to look back in shock. All of the Fang soldiers are reeling... But Namaari doesn't flinch, staring in wonder at Sisu. Sisu locks eyes with Namaari, it rattles her. But then, just as fast as she arrived, Sisu turns and disappears into the safety of the forest. Off Namaari, heightened, emotional, in disbelief of what she just saw. ACT 2B SEQ. 330 - ONBOARD<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVER - ESTABLISHING - NIGHT<\/stage_direction>\n    <scene_description>The boat zooms down the river, being pushed by Sisu.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOUN'S SHIP - LATER- NIGHT<\/stage_direction>\n    <scene_description>As Raya looks at Spine fades in the background, a shrimp tail smacks her in the face.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Did you just hit me with a shrimp tail??<\/dialogue>\n    <scene_description>An angry Boun with Noi at his side chomping on shrimp.<\/scene_description>\n    <character>BOUN<\/character>\n    <parenthetical>(agitated)<\/parenthetical>\n    <dialogue>When were you going to tell us she was Sisu?<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Technically, you always knew she was Sisu.<\/dialogue>\n    <scene_description>Another shrimp tail hits Raya.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Seriously?<\/dialogue>\n    <scene_description>Sisu climbs onboard. Tong steps forward.<\/scene_description>\n    <character>TONG<\/character>\n    <dialogue>Why are you here, divine water dragon?<\/dialogue>\n    <character>SISU<\/character>\n    <parenthetical>(shaking water out of her ears)<\/parenthetical>\n    <dialogue>Isn't that obvious, big guy? My girl Raya and I are gonna fix the world - bring everyone back.<\/dialogue>\n    <character>BOUN<\/character>\n    <dialogue>You're gonna bring everyone back? I want to help.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>I'm sorry, I can't let you do that. It's too dangerous.<\/dialogue>\n    <character>BOUN<\/character>\n    <dialogue>You're not the only one who lost family to the Druun.<\/dialogue>\n    <parenthetical>(kneels)<\/parenthetical>\n    <dialogue>Please let me help you.<\/dialogue>\n    <scene_description>Noi and the Ongis kneel as well. Tong kneels and presents the Spine Dragon gem.<\/scene_description>\n    <character>TONG<\/character>\n    <dialogue>I too wish to join this fellowship of druun butt-kickery.<\/dialogue>\n    <scene_description>Raya takes the gem and looks at Sisu. Sisu reaches out and touches the gem, her eyes brighten. Above them, water begins to fall.<\/scene_description>\n    <character>SISU<\/character>\n    <dialogue>My big brother Pengu's magic...<\/dialogue>\n    <scene_description>The team takes in the moment when... SEQ. 335 - RUNNING ON RAINDROPS Sisu begins to run. Her feet bound onto rain-drops and she begins climbing into the heavens. We see her swoop around in circles, do loops, and dives. It's magnificent. Sisu climbs higher and higher into the rain, the clouds part and the sun beams down on her. Tuk-Tuk catches raindrops on his tongue, Noi giggles, Tong laughs - it's magical. Sisu flies back down from the clouds and dives into the water. Everyone takes cover from the giant splash behind Tong. He gets soaked. Sisu resurfaces and smiles at Raya, who warmly smiles back.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Alright, Captain Boun. To Fang!<\/dialogue>\n    <character>BOUN<\/character>\n    <dialogue>You got it!<\/dialogue>\n    <scene_description>MONTAGE: The boat gently drifts through the different landscapes of Kumandra - from temple ruins to marshlands. SEQ. 340 - THE PLAN<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KUMANDRAN RIVER - DAY<\/stage_direction>\n    <scene_description>A map wipes screen and slams down onto a table.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Alright, everyone. Here's the plan.<\/dialogue>\n    <scene_description>Spy music...<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>The last gem piece is in Fang -<\/dialogue>\n    <parenthetical>(Noi and the Ongi hiss)<\/parenthetical>\n    <dialogue>- the most heavily guarded of the five lands.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. FANG CITY &amp; PALACE - NIGHT<\/stage_direction>\n    <scene_description>An aerial shot of the city of Fang.<\/scene_description>\n    <character>RAYA (V.O.)<\/character>\n    <dialogue>Now, they're protected by an artificial canal that separates them from the rest of the world. The only way in or out is by water.<\/dialogue>\n    <scene_description>The camera zooms into one of the ports and we see...<\/scene_description>\n    <character>RAYA (V.O.)<\/character>\n    <dialogue>Luckily for us, we have a magic water-dragon.<\/dialogue>\n    <scene_description>... Raya, Tong, Boun, Noi the Ongis, and Sisu-Human emerge from the water - all dressed as Fang citizens. The team strolls into the city, undetected. They approach the palace.<\/scene_description>\n    <character>RAYA (V.O.)<\/character>\n    <dialogue>Now, the palace will be swarming with Fang soldiers.<\/dialogue>\n    <scene_description>Zoom into a group of Fang Soldiers, staring ruthlessly directly at the camera. (No more voiceover. Now Raya and the gang interact in the fantasy normally.)<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>To sneak past them, we'll need to--<\/dialogue>\n    <scene_description>Boun steps forward.<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>I got this, guys.<\/dialogue>\n    <scene_description>The dozens of Fang soldiers all turn to Boun.<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>I'll take care of the first wave.<\/dialogue>\n    <scene_description>Boun takes out guards with an impressive array of martial arts.<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>Tong will follow up with his GIANT AXE OF BAD-AXERY!<\/dialogue>\n    <scene_description>Tong slams his axe down in a fiery rage!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FANG PALACE - CONTINUOUS<\/stage_direction>\n    <scene_description>The team runs into the palace...<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>And then come the Ongis and that crazy con-baby...<\/dialogue>\n    <scene_description>They lunge at Virana, taking the gem.<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>... who will toss the gem to THE MIGHTY SISUDATU... RAWWWRRR...and then...<\/dialogue>\n    <scene_description>Noi and the Ongis throw the last gem to Sisu.<\/scene_description>\n    <character>SISU (VOICED BY BOUN)<\/character>\n    <dialogue>Bye, bye, binturis -<\/dialogue>\n    <scene_description>A bright light bursts out of the gem, making the screen go white.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOUN'S BOAT - DAY<\/stage_direction>\n    <character>BOUN<\/character>\n    <parenthetical>(smiles big at Raya)<\/parenthetical>\n    <dialogue>Super flow plan, am I right?<\/dialogue>\n    <character>RAYA<\/character>\n    <parenthetical>(unamused)<\/parenthetical>\n    <dialogue>Uh, no. Yeah, that's not flow. That's a clog.<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>I agree. Here's my plan!<\/dialogue>\n    <scene_description>FANTASY. Reveal: a super BUFF Sisu.<\/scene_description>\n    <character>SISU (V.O.)<\/character>\n    <dialogue>We infiltrate Fang, confront Namaari...<\/dialogue>\n    <scene_description>Buff Sisu walks up to Namaari...<\/scene_description>\n    <character>SISU (V.O.)<\/character>\n    <parenthetical>(presents something nice)<\/parenthetical>\n    <dialogue>... and offer her something nice and go...<\/dialogue>\n    <scene_description>... and gives her a present.<\/scene_description>\n    <character>SISU<\/character>\n    <dialogue>Hey. Want to help us save the world? Because all it takes is one gem piece!<\/dialogue>\n    <character>NAMAARI (VOICED BY SISU)<\/character>\n    <dialogue>YES!!! I've been waiting for someone to ask me!<\/dialogue>\n    <parenthetical>(hands the gem over)<\/parenthetical>\n    <dialogue>Here ya go!<\/dialogue>\n    <scene_description>Sisu and Namaari skip off into the sunset.<\/scene_description>\n    <character>NAMAARI (VOICED BY SISU)<\/character>\n    <dialogue>Best friends forever!<\/dialogue>\n    <scene_description>BACK TO REALITY. They all blankly stare at Sisu.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Yeah, I think I'd rather go with Boun's plan.<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>BOUN<\/character>\n    <dialogue>YES!<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>RAYA<\/character>\n    <parenthetical>(duh)<\/parenthetical>\n    <dialogue>Because it's Fang.<\/dialogue>\n    <character>TONG<\/character>\n    <dialogue>Their blades are specially designed for the stabbing of backs.<\/dialogue>\n    <character>BOUN<\/character>\n    <dialogue>If it weren't for them, none of this would have happened. They're the worst.<\/dialogue>\n    <scene_description>Noi hisses.<\/scene_description>\n    <character>SISU<\/character>\n    <dialogue>If we're just honest with her, deep down, I got a feeling she wants to fix the world as much as we do.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>You weren't there when Namaari betrayed me. We're sticking with my plan.<\/dialogue>\n    <scene_description>Sisu scowls. More rain starts falling hard.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Whoa! Uh, what's with the downpour?<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>Come on. I need to show you something.<\/dialogue>\n    <scene_description>Sisu grabs Raya and leaps off the boat into the water and runs on rain into the heavens. Boun, Tong, and Noi watch them fly away.<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>So... what do we do now?<\/dialogue>\n    <scene_description>Tong shrugs. SEQ. 360 - BROTHERS AND SISTERS<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKY (OVER HEART) - DAY<\/stage_direction>\n    <scene_description>Sisu carries Raya through the air. Raya hugs onto Sisu for dear life.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Where are you taking me?<\/dialogue>\n    <scene_description>The cloud parts to see where Sisu is headed: Heart. Raya's eyes lock onto the Heart bridge. Sisu flies them into the top of the temple opening. Chyron: Heart<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHAMBER OF THE DRAGON GEM - CONTINUOUS<\/stage_direction>\n    <scene_description>The interior of the gem chamber has crumbled, huge shafts of light now peek into it.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Sisu, why did you bring me here?<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>This is where it all happened.<\/dialogue>\n    <character>RAYA<\/character>\n    <parenthetical>(remembering)<\/parenthetical>\n    <dialogue>Yeah, I know. I was there.<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>No, this is where it all happened 500 years ago.<\/dialogue>\n    <scene_description>Sisu pulls down some foliage to reveal the dragon statues.<\/scene_description>\n    <character>SISU<\/character>\n    <dialogue>I want you to meet my brothers and sisters. The real mighty ones. I miss them.<\/dialogue>\n    <scene_description>Raya looks at the statues.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>I never knew they were here.<\/dialogue>\n    <character>SISU<\/character>\n    <parenthetical>(points)<\/parenthetical>\n    <dialogue>See that classy looking one over there? That's Amba - I get my glow from her. And that's Pranee - she's the shapeshifter. Jagan - fog. And Pengu... he's our big brother. He brings the rain.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>We were the last dragons.<\/dialogue>\n    <scene_description>FLASHBACK Years ago. The four dragons and Sisu (who's much smaller than the others) are gathered right there - in the spot that will one day become the dragon gem chamber. They've been cornered. Druun are all swirling around them.<\/scene_description>\n    <character>SISU (V.O.)<\/character>\n    <dialogue>All the other dragons had been turned to stone. We were drowning in a sea of Druun.<\/dialogue>\n    <scene_description>Sisu sees an opening. CU on Pengu.<\/scene_description>\n    <character>SISU (V.O.)<\/character>\n    <dialogue>But my oldest brother, Pengu, refused to accept defeat. This is where we'd make our last stand, united.<\/dialogue>\n    <scene_description>Pengudatu uses his powers to conjure a sphere of water.<\/scene_description>\n    <character>SISU (V.O.)<\/character>\n    <dialogue>So, one by one, they combined all their magic, creating the dragon gem.<\/dialogue>\n    <scene_description>Each of the dragons concentrate and place their magic into the gem, making it stronger. With the last power added, the water-sphere solidifies into a gem. The four dragons, with their hands on the gem, turn and look at Sisu.<\/scene_description>\n    <character>SISU (V.O.)<\/character>\n    <dialogue>I don't know why they chose me. It could have been any of us. All I know is I trusted them and they trusted me. And so...<\/dialogue>\n    <scene_description>The four dragons hand Sisu the gem. They immediately get turned to stone by druun. Sisu stares at the gem, takes a calming breath. And on an exhale... Boom. BACK TO THE PRESENT.<\/scene_description>\n    <character>SISU<\/character>\n    <dialogue>When they put their faith in me, it empowered me beyond anything I could imagine. The same can happen with Namaari.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>I really wish I could believe that. I once thought that we could be friends.<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>After all this, maybe you can be.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Even if she wanted to help us, how could I possibly trust her?<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>But if somehow you could, you wouldn't just bring your ba back - you'd also bring back his dream. Kumandra.<\/dialogue>\n    <scene_description>Raya looks at the bridge through a crack in the wall. She plucks a flower. Off the flower, match-cut to...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HEART BRIDGE - DAY<\/stage_direction>\n    <scene_description>The flower being placed in the small pool of rain water that has gathered in Benja's stone hands.<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>(touches his hands)<\/parenthetical>\n    <dialogue>Do you think he would even recognize me? So much has changed.<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>Of course he will.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>You remind me of him.<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>Oh yeah? Strong, good-looking, with impeccable hair.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Hopeful.<\/dialogue>\n    <scene_description>Raya touches her father's hand.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>How would I even approach Namaari after all that's happened?<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>It may feel impossible. But sometimes you just have to take the first step even before you're ready. Trust me.<\/dialogue>\n    <scene_description>Raya nods.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Okay. We'll go with your plan.<\/dialogue>\n    <character>SISU<\/character>\n    <parenthetical>(surprised)<\/parenthetical>\n    <dialogue>What? My plan? You're gonna go with my plan?<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>ALRIGHT! You're not gonna regret this. But we're gonna need a really good gift. What do you think she's into? Cats? Knives? Cats with knives? Knives with little cats on them?<\/dialogue>\n    <scene_description>An idea hits Raya.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Actually, I know exactly what to give her.<\/dialogue>\n    <scene_description>Raya pulls out the dragon pendant. SEQ. 380 - NAMAARI'S BURDEN<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FANG COURTYARD OR FIELD - DAY<\/stage_direction>\n    <scene_description>Chyron: Fang Virana narrates a shadow puppet show.<\/scene_description>\n    <character>VIRANA<\/character>\n    <dialogue>... and that is how the land of Fang rose in spite of all the monsters that wanted to destroy us. Because we're smart, resilient, and we take care of one another.<\/dialogue>\n    <scene_description>Namaari storms in.<\/scene_description>\n    <character>NAMAARI<\/character>\n    <dialogue>Mother, we need to talk.<\/dialogue>\n    <character>KID<\/character>\n    <dialogue>It's Princess Namaari!<\/dialogue>\n    <scene_description>All the kids cheer. Namaari smiles at the children. They melt for her.<\/scene_description>\n    <character>VIRANA<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>Alright, alright. Now run along, kittens. I have to speak with the princess.<\/dialogue>\n    <scene_description>The children are ushered away by their parents. As soon as the children are out of Virana's presence, her face turns serious.<\/scene_description>\n    <character>NAMAARI<\/character>\n    <dialogue>Mother, you won't believe what I saw -<\/dialogue>\n    <character>VIRANA<\/character>\n    <dialogue>You saw a dragon.<\/dialogue>\n    <scene_description>Namaari's taken aback.<\/scene_description>\n    <character>VIRANA<\/character>\n    <dialogue>General Atit\u0101ya informed me that you'd be returning home without the gem pieces.<\/dialogue>\n    <character>NAMAARI<\/character>\n    <dialogue>It was Sisu. She can fix what we broke. She can bring everyone back.<\/dialogue>\n    <scene_description>Virana overlooks the fang children playing in a nearby courtyard.<\/scene_description>\n    <character>VIRANA<\/character>\n    <dialogue>And that's what scares me. When everyone comes back, who do you think they'll come for? You forget, the other lands blame us for what's happened.<\/dialogue>\n    <character>NAMAARI<\/character>\n    <dialogue>But we never meant for anyone to get hurt.<\/dialogue>\n    <character>VIRANA<\/character>\n    <dialogue>Yes, but if we had the dragon and the gem pieces, we would be forgiven. We could save the world. But more importantly, our people would remain safe.<\/dialogue>\n    <character>NAMAARI<\/character>\n    <dialogue>Raya isn't just going to give Sisu to us.<\/dialogue>\n    <character>VIRANA<\/character>\n    <dialogue>We're not going to give her a choice.<\/dialogue>\n    <character>NAMAARI<\/character>\n    <dialogue>What are you going to do?<\/dialogue>\n    <character>VIRANA<\/character>\n    <dialogue>That's no longer your concern, my love. You've done enough.<\/dialogue>\n    <scene_description>Virana leaves with her General. Off Namaari, heartbroken. SEQ. 385 - ONGI DELIVERY<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FANG OUTSKIRTS - DAY<\/stage_direction>\n    <scene_description>Raya, Sisu, and the rest of the team stand a beachside. Their eyes locked onto the skyline of Fang.<\/scene_description>\n    <character>TONG<\/character>\n    <dialogue>If she refuses to help, we've just flushed our tactical advantage into the dung pot.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>BOUN<\/character>\n    <dialogue>Yeah. She really has no reason to help us.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>SISU<\/character>\n    <parenthetical>(tries eating jerky)<\/parenthetical>\n    <dialogue>This jerky is terrible.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>I KNOW!<\/dialogue>\n    <character>TONG<\/character>\n    <dialogue>Are you sure those four miniature menaces will be successful?<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>I... don't know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. FANG PALACE - NIGHT<\/stage_direction>\n    <scene_description>A Fang Guard keeps watch as... From behind a wall, the eyes of Noi and the Ongis appear. They give each other a look. Ready? Let's go! One Ongi ties up the Guard's legs as another silently climbs onto his shoulder and - THWAP - judo-chops him on the neck, dropping him. They infiltrate the palace and shuffle down the dark hallways in military-like fashion. Suddenly, Noi holds up her little fist - stop! She clocks a plate of food in the palace kitchen and signals to it. The Ongis quietly retrieve the food. They continue onward, shoving the food in their mouths along the way.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NAMAARI'S CHAMBERS - NIGHT<\/stage_direction>\n    <scene_description>Namaari sits at the edge of her bed, the dragon scroll open in her lap. Namaari hears Ongi chitters coming from outside. She turns to the window.<\/scene_description>\n    <character>NAMAARI<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <scene_description>The Ongis throw her a small tied up bundle and disappear. Namaari opens the bundle to find a note and... the dragon pendant. SEQ. 390 - CAMPFIRE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHRIMP BOAT - NIGHT<\/stage_direction>\n    <scene_description>The boat floats in an little alcove on the river, with Fang on the horizon. Raya sits at the end of the boat, looking up at the palace, deep in thought. Tong and Boun argue over a simmering pot which gets Raya's attention.<\/scene_description>\n    <character>TONG<\/character>\n    <dialogue>There's too much spice.<\/dialogue>\n    <character>BOUN<\/character>\n    <dialogue>Uh, no, there's too much bamboo.<\/dialogue>\n    <character>TONG<\/character>\n    <dialogue>What do you know? You have the tastebuds of a tall baby.<\/dialogue>\n    <character>BOUN<\/character>\n    <dialogue>Well, you dress like a tall baby.<\/dialogue>\n    <character>TONG<\/character>\n    <dialogue>Give me the spoon! I'm taking over!<\/dialogue>\n    <character>BOUN<\/character>\n    <dialogue>Back off tidal wave, I'm the professional here.<\/dialogue>\n    <scene_description>Raya approaches, pulls some palm sugar from her pouch.<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>(sprinkles in the sugar)<\/parenthetical>\n    <dialogue>May I?<\/dialogue>\n    <scene_description>Boun tastes the broth. It's delicious.<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>Whoa. That's good!<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>It's just a little something my ba showed me.<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>Aw. Did he also show you how to make that delicious jerky?<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>No, that was all me. It'll be nice to share a meal with him again.<\/dialogue>\n    <scene_description>Boun gives Raya a bowl of soup.<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>I know what you mean. I have this really obnoxious sister who always tussles my hair. I can't wait to see her the most.<\/dialogue>\n    <scene_description>He hands Tong a bowl.<\/scene_description>\n    <character>TONG<\/character>\n    <dialogue>After we win the day, I look forward to filling my eyeball with the joy-tastic image of my village full again.<\/dialogue>\n    <scene_description>Noi, on Tong's shoulder, babbles - touches his face.<\/scene_description>\n    <character>TONG<\/character>\n    <dialogue>And you will be reunited with your family, Noi.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Um, what did you just call her?<\/dialogue>\n    <character>TONG<\/character>\n    <dialogue>Noi. It's her name. It's written on her collar. Have none of you ever checked?<\/dialogue>\n    <scene_description>Everyone is guilty.<\/scene_description>\n    <character>TONG<\/character>\n    <dialogue>And they think of me as the ruffian.<\/dialogue>\n    <scene_description>A firework goes off in the distance and breaks the moment.<\/scene_description>\n    <character>SISU<\/character>\n    <dialogue>What's that mean?<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>It means we're on.<\/dialogue>\n    <parenthetical>(to Sisu)<\/parenthetical>\n    <dialogue>Sisu, until we get that gem and confirm Namaari's actually on our side, promise me you'll stay hidden.<\/dialogue>\n    <scene_description>Sisu nods. SEQ. 420 - SHOT THROUGH THE HEART<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FANG CLIFFSIDE - NIGHT<\/stage_direction>\n    <scene_description>Namaari stands alone, in her hands she holds the dragon pendant. Raya emerges out of the woods, alone.<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>(referring to the pendent)<\/parenthetical>\n    <dialogue>I see you got my gift.<\/dialogue>\n    <character>NAMAARI<\/character>\n    <parenthetical>(staring at the pendent)<\/parenthetical>\n    <dialogue>I never thought I'd see this again.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Well, I tried to take good care of it.<\/dialogue>\n    <scene_description>Namaari looks up at Raya. They share a smile.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>You're not the only dragon nerd here.<\/dialogue>\n    <scene_description>Namaari unfolds the cloth to reveal the Fang gem piece, places it on the ground, then steps back. Raya's taken aback. It's really here. Sisu-Dragon emerges from the woods, her eyes locked on Namaari. Raya opens her satchel, showing that she has the rest of the gems. We clock on Namaari's eyes, noticing them.<\/scene_description>\n    <character>SISU<\/character>\n    <parenthetical>(to Raya)<\/parenthetical>\n    <dialogue>The final piece.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Time to bring everyone back.<\/dialogue>\n    <scene_description>SOUND FX: The click of a weapon being armed.<\/scene_description>\n    <character>NAMAARI<\/character>\n    <dialogue>Sisu and the gem pieces are coming with me.<\/dialogue>\n    <scene_description>The rest of the gang emerge from the woods when they see Sisu in danger.<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>Sisu!<\/dialogue>\n    <character>NAMAARI<\/character>\n    <dialogue>Stay back!<\/dialogue>\n    <character>TONG<\/character>\n    <dialogue>It was foolish to trust someone from Fang.<\/dialogue>\n    <character>NAMAARI<\/character>\n    <parenthetical>(to the gang)<\/parenthetical>\n    <dialogue>Don't come any closer!<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Namaari, it doesn't have to be like this.<\/dialogue>\n    <character>NAMAARI<\/character>\n    <dialogue>I don't have any other choice.<\/dialogue>\n    <scene_description>Raya puts her hand on her sword, on guard.<\/scene_description>\n    <character>SISU<\/character>\n    <parenthetical>(to Raya)<\/parenthetical>\n    <dialogue>Hey. I got this.<\/dialogue>\n    <scene_description>Sisu steps forward. Namaari reactively points the crossbow at Sisu.<\/scene_description>\n    <character>SISU<\/character>\n    <dialogue>I know you don't want to hurt anybody.<\/dialogue>\n    <character>NAMAARI<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>You just want a better world. Like we all do.<\/dialogue>\n    <character>NAMAARI<\/character>\n    <dialogue>Sisu...<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>I trust you, Namaari.<\/dialogue>\n    <scene_description>Raya sees her opening. She pulls her sword and tries to disarm Namaari. The crossbow goes off. An arrow cuts through the air, striking Sisu in the heart. She falls into the canal, DISSIPATING INTO THE WATER.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>Namaari, shocked, drops her crossbow and leaves with the gem piece. Raya runs towards the water.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>SISU!!!!<\/dialogue>\n    <scene_description>Raya goes to leap into the water, but Tong stops her.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>No...<\/dialogue>\n    <scene_description>The river begins to roil and then... Rapidly, magically, the water disappears all around them as Raya backs away from everyone...<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>What's happening?<\/dialogue>\n    <character>TONG<\/character>\n    <dialogue>I don't know. It appears that with the last dragon gone so too goes the water. Now there is nothing to stop the druun. Nothing.<\/dialogue>\n    <scene_description>Across the now empty riverbed, crowds of druun begin to emerge.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FANG CITY - THRONE ROOM<\/stage_direction>\n    <scene_description>From the balcony, Virana watches in horror as druun overtake her city.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FANG CLIFFSIDE - NIGHT<\/stage_direction>\n    <scene_description>Boun pulls his eyes away from the vanishing water.<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>Raya...<\/dialogue>\n    <parenthetical>(realizes Raya is gone)<\/parenthetical>\n    <dialogue>Where's Raya?<\/dialogue>\n    <scene_description>Pan down to Raya's empty sword sheathe and three gem pieces lying on the ground. ACT 3 SEQ. 430 - THE GUNSLINGER<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FANG OUTSKIRTS - ESTABLISHING - DAY<\/stage_direction>\n    <scene_description>A heavy, emotionally-filled hip-hop beat thumps away, as Raya walks towards the Nation of Fang. CU on her glistening sword blade in one hand. In the other... Her shard glows\/protects her as Druun run amok all around. For the first time in this film, she truly is \"The Gunslinger.\" Raya continues on and walks through the open gates of Fang as people flee from inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FANG CITY - CONTINUOUS<\/stage_direction>\n    <scene_description>As she marches in, citizens rush past her as druun are now attacking everyone. But from Raya's POV, they're all a blur. She's focused on only one thing: Namaari. SEQ. 440 - SHOWDOWN<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FANG THRONE ROOM - DAY<\/stage_direction>\n    <scene_description>Raya finds Namaari in the throne room, her eyes locked on her mother Virana who's now been turned to Stone.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Namaari!<\/dialogue>\n    <scene_description>Namaari turns and sees Raya.<\/scene_description>\n    <character>NAMAARI<\/character>\n    <parenthetical>(resolute)<\/parenthetical>\n    <dialogue>Let's finish this, binturi.<\/dialogue>\n    <scene_description>Namaari raises her weapon. Its steel catches the light. The two women rush at each other. Their blades clash. SEQ. 450 - AVENGERS ASSEMBLE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FANG CITY ENTRANCE - CONTINUOUS<\/stage_direction>\n    <scene_description>Boun, Tong, Noi, the Ongis, and Tuk-Tuk enter Fang. Each using their gem shards to repel the Druun. It's complete chaos. The Druun have amassed and are swooping around the city like an unrelenting whirlwind. The glow of the team's shards barely breaks through the swirling dark clouds of demon spirits. Boun spots Raya.<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>Raya!<\/dialogue>\n    <scene_description>Raya doesn't hear him, as she is completely engulfed in her battle with Namaari.<\/scene_description>\n    <character>TONG<\/character>\n    <dialogue>She cannot see us. Raya's blinded by her own rage.<\/dialogue>\n    <scene_description>Boun sees people trying to escape the city, but it's chaos.<\/scene_description>\n    <character>BOUN<\/character>\n    <parenthetical>(looks at his gem piece)<\/parenthetical>\n    <dialogue>The gem's powers are fading. All these people are druun-food if we don't get them out.<\/dialogue>\n    <scene_description>They all nod. It's time to be the heroes they never asked to be. Boun and Tuk-Tuk help a pair of kids hiding behind debris.<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>Come on. Trust me, it's gonna be okay.<\/dialogue>\n    <scene_description>The kids climb onto Tuk-Tuk and Boun races them out of there.<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>Stupid Druun! Outta my way! Go go go!<\/dialogue>\n    <scene_description>As he does, Tong scoops up as many people as possible to get them out of the city.<\/scene_description>\n    <character>TONG<\/character>\n    <parenthetical>(to elderly lady)<\/parenthetical>\n    <dialogue>Up we go.<\/dialogue>\n    <scene_description>Druun start to close in on a scared civilian couple. With the help of the Ongis, Noi uses a gem shard to ward it away.<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>Get to the water! Keep going! Keep going!<\/dialogue>\n    <scene_description>SEQ. 460 - RAYA VS. NAMAARI<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FANG CITY - THRONE ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Raya and Namaari continue to clash. It's an epic sword-fight. (Think the best fights in Star Wars... but with steel.) Like their last fight, Namaari once again gets the upper hand. But this time... instead of backing down... Raya smacks Namaari's swords out of her hands. Raya kicks her to the ground. As Namaari falls, the dragon pendant slides out. Namaari scrambles to grab it. She holds onto it. Raya raises her blade...<\/scene_description>\n    <character>NAMAARI<\/character>\n    <dialogue>I never meant for any of this to happen.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Liar!<\/dialogue>\n    <character>NAMAARI<\/character>\n    <dialogue>I don't care if you believe me. Sisu did. But you didn't trust her. That's why we're here.<\/dialogue>\n    <scene_description>Raya hesitates.<\/scene_description>\n    <character>NAMAARI<\/character>\n    <dialogue>Do whatever you want, but you're as much to blame for Sisu's death as I am.<\/dialogue>\n    <scene_description>Raya looks at the reflection of her eyes in her raised blade. Namaari closes her eyes. Raya looks back at her own reflection in her sword and notices the rage in her eyes. Her ears catch the sound of her friends helping people amid the destruction. She looks outside and sees...<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>Tong, there's still people back there! Hurry, we're running out of time.<\/dialogue>\n    <character>TONG<\/character>\n    <dialogue>Got it! Everyone out! Come with me!<\/dialogue>\n    <scene_description>Focus on Namaari. She looks over to where Raya once stood and discovers... Raya's gone. SEQ. 465 - TEAMWORK<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FANG CITY - MOMENTS LATER<\/stage_direction>\n    <scene_description>The camera swoops around Raya, as she joins Boun, Tong, Noi, and the Ongis in their efforts to help people evacuate the city. It's a heroic sight of epic proportions (Think Marvel Studios' Avengers). Tuk-Tuk rolls by with a bunch of kids on his back.<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>(commands, to Tuk-Tuk)<\/parenthetical>\n    <dialogue>Okay, Tuk. These are the last of them. Go! We're right behind you.<\/dialogue>\n    <scene_description>Suddenly... A druun steps in between Tuk-Tuk and the exit.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Tuk-Tuk!<\/dialogue>\n    <scene_description>The kids and Tuk-Tuk are in jeopardy until... Namaari leaps in front of the Druun and scares it away with her own dragon gem shard.<\/scene_description>\n    <character>NAMAARI<\/character>\n    <parenthetical>(to Tuk Tuk)<\/parenthetical>\n    <dialogue>What are you waiting for? Go!<\/dialogue>\n    <scene_description>Tuk-Tuk rolls away. Namaari and Raya share a look. But then - Another earthquake hits. Stones fall and crash. All exits are blocked.<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>Raya!<\/dialogue>\n    <character>TONG<\/character>\n    <parenthetical>(sees Namaari, rage-filled eyes)<\/parenthetical>\n    <dialogue>It's the one who slayed Sisu!<\/dialogue>\n    <scene_description>Another quake. The team falls into rubble. SEQ. 470 - WE ARE KUMANDRA The light in the dragon gem piece begins to fade even more. As Raya comes to...<\/scene_description>\n    <character>BOUN (O.S.)<\/character>\n    <parenthetical>(faint, far away)<\/parenthetical>\n    <dialogue>Raya! Raya!<\/dialogue>\n    <scene_description>Raya sees her team, they're completely engulfed by druun. Their gems are holding them off, but the druun continue to advance as the gem's powers fade.<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>The gem's magic is almost gone!<\/dialogue>\n    <character>TONG<\/character>\n    <dialogue>They aren't backing off!<\/dialogue>\n    <character>BOUN<\/character>\n    <dialogue>They're everywhere!<\/dialogue>\n    <scene_description>Raya's eyes catch something shiny on the ground, it's... the dragon pendent. She picks it up, triggering a memory. FLASHBACK. She's momentarily transported back to the Heart temple where the druun once swirled around Sisu and her siblings. She hears Sisu's faint voice from the past...<\/scene_description>\n    <character>SISU (V.O.)<\/character>\n    <dialogue>I don't know why they chose me. It could have been any one of us. All I know is I trusted them and they trusted me. And so...<\/dialogue>\n    <scene_description>BACK TO REALITY. That's it!<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Everyone, give me your gems! We can still put it together, it can still work!<\/dialogue>\n    <character>BOUN<\/character>\n    <dialogue>Sisu's gone, Raya. We don't have her magic.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>It's not about her magic. It's about trust.<\/dialogue>\n    <scene_description>WHAT?:<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>That's why it worked. That's why we can do it too. By doing the one thing Sisu wanted us to do - what my Ba wanted us to do - to finally trust each other and fix this. But we have to come together. Please.<\/dialogue>\n    <scene_description>Raya looks to her friends -<\/scene_description>\n    <character>TONG<\/character>\n    <dialogue>After what she's done -<\/dialogue>\n    <character>BOUN<\/character>\n    <dialogue>We'll never trust her!<\/dialogue>\n    <scene_description>Noi hisses! Raya looks at her divided team and understands what she must do.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Then let me take the first step.<\/dialogue>\n    <scene_description>Raya hands Namaari her gem piece.<\/scene_description>\n    <character>BOUN<\/character>\n    <dialogue>Raya, no!<\/dialogue>\n    <scene_description>Raya steps away and is immediately turned to stone. The group is in shock. Did that just really happen? Namaari stares at the gem piece in her hands. She looks up and sees Boun, his eyes locked onto Raya and his friends. Moved by what he just saw, he knows what he has to do. He hands his gem to Namaari as well... and then goes to Raya, taking her hand, and being turned to stone as well. Namaari's shook. But to add to her confusion, Noi and Tong follow suit. They give up their gem pieces to her and moments later, they too are turned to stone along with the Ongis. Pan over to Namaari. She has all the gems. She's in shock... She looks up and sees... an exit. She has a choice... Namaari starts to flee, but stops and looks at Raya's stone face... It's too much, she can't keep going. Namaari returns and hurriedly assembles the gem pieces as the pulsing light within them continues to DIM... They stick together, but the pulsing light within is growing FAINTER... Namaari places her hand on Raya's stone shoulder, as a Druun washes over her, turning her into stone. On the GEM: THE LIGHT GOES OUT... Was Namaari too late? SEQ. 480 - REBIRTH For a moment, it looks like the Druun have completely won the day. They multiply, wreak havoc... Then... something happens. INSIDE THE GEM - a TINY PULSE OF LIGHT RETURNS. The light gets bigger and bigger until... BOOM! A blast of light suddenly explodes (just like in the prologue), destroying all the Druun. The light pulses out through the lands. The land is finally free of the monsters... but all the statues remain, until that is - Clouds roll in, illuminated by gentle thunder. And then... a droplet of glowing rain falls. And then another. And another. Droplets hit the statues of Raya, Boun, Tong, Noi, the Ongis, and Namaari. As they do, the stone coating on their skin melts away. THEY COME BACK TO LIFE.<\/scene_description>\n    <character>BOUN<\/character>\n    <parenthetical>(in disbelief)<\/parenthetical>\n    <dialogue>It worked! It worked! It --<\/dialogue>\n    <scene_description>Boun trips, looks at his feet which are still turning back to normal. Noi and the Ongis jump happily on Tong. Finally... Raya looks over to find Namaari's hand touching her shoulder. Raya's trust in her indeed transformed her. Raya touches Namaari's hand, they acknowledge something new has been born between them. SEQ. 490 - RETURN OF SISU<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KUMANDRA (VARIOUS LOCATIONS) - DAY<\/stage_direction>\n    <scene_description>We see the rebirth of the Spine, Talon, Tail, and finally Fang...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FANG CITY - THRONE ROOM STEPS - CONTINUOUS<\/stage_direction>\n    <scene_description>Virana, back to life, exits her throne room and takes in this new world around her as...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FANG COURTYARD - CONTINUOUS<\/stage_direction>\n    <scene_description>Our gang climbs out of the rubble where Raya finds Tuk-Tuk searching for her.<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Tuk-Tuk!<\/dialogue>\n    <scene_description>The two friends reunite as... Water once again flows abundantly all around them - the dragon river has returned.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVER - NIGHT<\/stage_direction>\n    <scene_description>But then... Over the horizon, right above newly returned waterfalls, an amazing sight emerges - All of the DRAGONS gallop through the air towards them. Raya and gang stand in awe as the dragons swirl over Kumandran River. As they do, droplets start to rise. Under the surface of the water... a glow. It gets brighter... and brighter... until - SPLASH! SISU rockets up into the air... She reacts with joy and surprise as she sees the other dragons now there.<\/scene_description>\n    <character>SISU<\/character>\n    <parenthetical>(sees her siblings)<\/parenthetical>\n    <dialogue>Pranee! Amba! Jagan! Pengu!<\/dialogue>\n    <scene_description>Sisu runs on the raindrops alongside her siblings, then lowers down to the ground. Raya runs to her friend as Sisu playfully splashes her.<\/scene_description>\n    <character>SISU<\/character>\n    <dialogue>Raya!<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>Sisu.<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>I. Am. So hungry.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>I got some jerky.<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>Not that hungry.<\/dialogue>\n    <scene_description>They smile and hug. Tong shoves Noi in Sisu's face.<\/scene_description>\n    <character>NOI<\/character>\n    <dialogue>Soo-soo!<\/dialogue>\n    <character>TONG<\/character>\n    <parenthetical>(Big inhale)<\/parenthetical>\n    <dialogue>Ah! It is good to breathe in your glorious dragon stench again.<\/dialogue>\n    <character>SISU<\/character>\n    <dialogue>Okay, I take that as a compliment.<\/dialogue>\n    <scene_description>Namaari stands apart, chastened. She remorsefully bows to Sisu who... ... reaches out and pulls Namaari into the group. She hugs them all. SEQ. 500 - THE NEW WORLD MONTAGE. GATES OF SPINE. Tong returns home where he sees his people all alive again. TALON MARKETS. The Ongis bring Noi back to her worried mother. TAIL DOCKS. Boun sails back home where he finds his family looking for him the dock.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HEART BRIDGE - DAY<\/stage_direction>\n    <scene_description>Raya rides back to Heart on Tuk-Tuk. She nears the bridge her father was once frozen on and stops. She dismounts Tuk-Tuk and walks onto it where she sees...<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Ba.<\/dialogue>\n    <scene_description>... her father standing there, cleaning up debris. He turns to catch her eyes.<\/scene_description>\n    <character>BENJA<\/character>\n    <dialogue>Dewdrop?<\/dialogue>\n    <scene_description>Raya breaks into a run and they hug tightly, tears running down her face. Benja gives his daughter a kiss on the cheek and then sees above him... SISU standing on the bridge before him. Benja is gobsmacked. He bows in respect to the dragon.<\/scene_description>\n    <character>BENJA<\/character>\n    <dialogue>Is that... really her?<\/dialogue>\n    <scene_description>Sisu smiles.<\/scene_description>\n    <character>SISU<\/character>\n    <dialogue>Chief Benja, your daughter did you proud. Hope you don't mind. She brought some friends.<\/dialogue>\n    <scene_description>Sisu steps aside to reveal Boun, Tong, Noi, the Ongis, and Namaari standing side-by-side. Behind them, hundreds of citizens from all over Kumandra are lined up. Benja is overwhelmed, he can't believe his eyes.<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>(to Benja)<\/parenthetical>\n    <dialogue>Ba, welcome to... Kumandra.<\/dialogue>\n    <scene_description>As the crowd moves in to cross the bridge, Benja looks at Raya - this is more than anything he could have dreamed of. As Benja and Raya walk into Heart with the crowd, he puts an arm around her and she leans her head on his shoulder. Sisu flies through the air one last time past Raya, who smiles at her from below. (End on Sisu.) TITLE CARD: RAYA AND THE LAST DRAGON THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Long ago, Kumandra, a prosperous land where humans lived alongside dragons, was ravaged by the Druun, mindless spirits that turn every living thing in their path to stone. Sisu, the last surviving dragon, concentrated her magic into a gem and blasted away the Druun, reviving Kumandra's people but not its dragons. A power struggle for the gem divided Kumandra's people into five chiefdoms called Fang, Heart, Spine, Talon, and Tail, corresponding to their placement along a gigantic dragon-shaped river. 500 years later, Chief Benja of the Heart tribe retains possession of the gem and trains his young daughter Raya, a warrior princess, to protect it. Benja, believing Kumandra can be reunited, holds a feast for all five tribes. During the feast, Raya befriends Namaari, princess of the Fang tribe, who gives Raya a dragon pendant. Raya trusts Namaari and shows her the gem's chamber but Namaari betrays her as part of a plot to help Fang steal the gem. After being alerted to the attack, Benja and the other tribes arrive and start fighting over the gem, breaking it into five pieces. The gem's destruction creates a fissure that releases the Druun, who quickly take over the Land of Heart. The tribe leaders each steal a piece of the gem and flee. Benja notices water repels the Druun and saves Raya's life by throwing her into the river before being turned to stone. Six years later, Raya treks across Kumandra to find Sisu, have her create another gem, and banish the Druun. In Tail, Raya summons Sisu, who says she did not create the gem but wielded it on behalf of her four siblings, all of whom contributed their magic to the gem. Raya and Sisu resolve to reclaim the four pieces of the gem, reassemble it, and use it to banish the Druun and restore those who were turned to stone. Raya and Sisu travel across the realm, reclaiming pieces of the gem and making new friends; including Boun, a young restaurateur from Tail; Little Noi, a baby con artist from Talon; and Tong, a warrior from Spine; all of whom have lost loved ones to the Druun. Namaari, hoping to gain the gem shards for the Fang tribe, pursues Raya. Each gem shard Raya and Sisu acquire blesses Sisu with one of her siblings' magical powers. Raya, who does not fully trust their new companions, insists Sisu remain disguised as a human but in Spine, Sisu reveals herself to save Raya from Namaari. In Fang, Sisu persuades Raya to propose an alliance with Namaari rather than steal the final shard. As a gesture of trust, Raya returns the pendant Namaari gave her years before. Namaari, torn between her responsibility to Fang and her wish to help defeat the Druun, threatens the party with a crossbow. Sisu tries to calm Namaari but Raya attacks with her whip sword after seeing Namaari's finger on the trigger, causing the crossbow to fire and kill Sisu. Sisu's death drains away all of the water, allowing the Drunn to overrun the realm. Raya, angered by Namaari\u2019s actions, pursues her and finds her grieving the petrification of her mother. Namaari and Raya fight while Raya's companions use the gem pieces to evacuate the people of Fang. Raya angrily prepares to kill Namaari but stops when Namaari reminds Raya her that her inability to trust others led to Sisu\u2019s death, and they go to aid the others. As the Druun gain on her group, Raya remembers how trust allowed Sisu to save the world. She urges the others to unite and reassemble the gem, showing her faith in Namaari by handing over her gem piece and allowing the Druun to turn her into stone. Boun, Tong, Noi, and the ongis follow suit, and Namaari reassembles the gem before also being petrified. This unleashes a shockwave that spreads throughout Kumandra, vanquishing the Druun and conjuring up a magical rainstorm that revives everyone, including the dragons, who later revive Sisu. After the group reunites with their loved ones, the tribes and dragons gather at Heart to unite as Kumandra once again."}
{"movie_name":"How to Train Your Dragon: The Hidden World_2019","imdb_id":"tt2386490","script":"<script>\n  <scene>\n    <scene_description>HOW TO TRAIN YOUR DRAGON:<\/scene_description>\n    <character>THE HIDDEN WORLD<\/character>\n    <dialogue>Written by<\/dialogue>\n    <scene_description>Dean DeBlois Inspired by the novels by Cressida Cowell Final Draft December 5, 2018 \u00a9 Dreamworks Animation 1000 Flower St. Glendale, CA 91201 (818) 695-5000 FADE IN:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OPEN SEA - BARGE - NIGHT<\/stage_direction>\n    <scene_description>SQ.101 - RESCUE MISSION A creaking ship in heavy fog. A deck crammed with large cages. Silhouettes of muzzled dragons stir within them. A TRAPPER (IVAR THE WITLESS) walks the deck. A captive dragon whines through its muzzle. Ivar hits the cage with his spear, shutting it up.<\/scene_description>\n    <character>IVAR THE WITLESS<\/character>\n    <dialogue>Quiet!<\/dialogue>\n    <scene_description>A \"CLICK\" at the end of the corridor stirs Ivar's attention. A sword ignites, revealing an arresting figure in black, glistening dragon armor. A helmet and visor hide his face.<\/scene_description>\n    <character>IVAR THE WITLESS<\/character>\n    <dialogue>What are you?<\/dialogue>\n    <scene_description>The DRAGON WARRIOR (HICCUP) raises a finger to his visor.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Shhh.<\/dialogue>\n    <scene_description>Behind Ivar, TOOTHLESS creeps down from the top of a cage, with glowing blue nostrils and dorsal plates, SNARLING. Panicked, Ivar rushes toward Hiccup, trying to get past him. Ivar jabs his spear. Hiccup hooks it in his flaming sword and deftly disarms him, sending the spear clattering to the deck. Ivar grabs a hanging lantern and hurls it at Hiccup. It bounces off of his armor and hits the deck, its oil bursting into flame. Undaunted, Hiccup steps through it, fire licking off of his fireproof suit.<\/scene_description>\n    <character>IVAR THE WITLESS<\/character>\n    <dialogue>Aaaagh! You're a demon!<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Shhh! No, no, I'm not a demon, I'm not a demon.<\/dialogue>\n    <scene_description>He raises his visor.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>See? Just a guy! Just a guy here to rescue these dragons. So --<\/dialogue>\n    <scene_description>--BUT YOU WALKED THROUGH FIRE!<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Dragon scales! Dragons shed a lot.<\/dialogue>\n    <character>IVAR THE WITLESS<\/character>\n    <dialogue>No, I know a demon when I see one! No human legs are that skinny!<\/dialogue>\n    <character>SNOTLOUT (O.S.)<\/character>\n    <dialogue>Think that's a good entrance?<\/dialogue>\n    <scene_description>An explosion of flame hits the deck as a HIDEOUS ZIPPLEBACK (HOOKFANG) lands, engulfed in fire. At it center, SNOTLOUT stands in his saddle, dressed in ridiculous Nightmare-themed dragon armor, his arms raised in victory.<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Get a load of me!<\/dialogue>\n    <parenthetical>(then, noticing his suit has caught fire)<\/parenthetical>\n    <dialogue>Ahh! AGGH!<\/dialogue>\n    <character>IVAR THE WITLESS<\/character>\n    <dialogue>I knew it! MORE DEMONS!<\/dialogue>\n    <scene_description>Snotlout rushes past, SCREAMING, with his rear aflame.<\/scene_description>\n    <character>HICCUP<\/character>\n    <parenthetical>(exasperated)<\/parenthetical>\n    <dialogue>No, really just a nitwit who forgot to fireproof his butt.<\/dialogue>\n    <character>SNOTLOUT<\/character>\n    <dialogue>AGGHH! Hot-hot-hot!<\/dialogue>\n    <scene_description>Snotlout dives to the deck, rolling to extinguish his smoldering posterior, right into a seeping cloud of green gas, spreading between the cages like dry ice.<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <parenthetical>(realizing)<\/parenthetical>\n    <dialogue>Guys, NO! Not yet!<\/dialogue>\n    <scene_description>CLICK. The gas erupts into a fire ball! The dissipating smoke reveals RUFFNUT and TUFFNUT, striking dramatic poses akin to stage magicians, sloppily dressed in Zippleback-themed armor. BARF &amp; BELCH, their twin-headed HIDEOUS ZIPPLEBACK, emerges behind them.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>Behold your worst nightmare.<\/dialogue>\n    <character>RUFFNUT<\/character>\n    <dialogue>Behold--<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>--Along with his sister, who insisted on coming.<\/dialogue>\n    <character>RUFFNUT<\/character>\n    <dialogue>That's my intro?<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Guys, too soon! You always come in too soo--.<\/dialogue>\n    <scene_description>--AGGHH! FISHLEGS crashes down between them with flared, scarab-like wings. He rolls across the deck in heavy Gronckle-themed dragon armor.<\/scene_description>\n    <character>FISHLEGS<\/character>\n    <dialogue>Sorry! Still getting the hang of my wings!<\/dialogue>\n    <scene_description>He rocks on his back like a helpless sea turtle. A baby GRONCKLE (FISHMEAT) pops its head up from Fishlegs' belly pouch, GURGLING happily.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Fishlegs? Again with the baby? This is a raid.<\/dialogue>\n    <character>FISHLEGS<\/character>\n    <dialogue>I couldn't find a sitter!<\/dialogue>\n    <scene_description>Ivar seizes his moment and scrambles for the alarm bell.<\/scene_description>\n    <character>TRAPPER<\/character>\n    <dialogue>Demons everywhere!! IT'S THE END OF THE WORL--<\/dialogue>\n    <scene_description>--CLANG! ASTRID lays him out with a flying side-kick, landing in Nadder-themed dragon armor. STORMFLY, her DEADLY NADDER, lands protectively by her side. Hiccup rounds the corner.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Astrid. I had him right where I wanted him.<\/dialogue>\n    <scene_description>She flips up her visor, flashing a cheeky grin.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>And now he's right where I wanted him. Let's get to work.<\/dialogue>\n    <scene_description>They spread out toward the dragon-filled cages.<\/scene_description>\n    <character>HICCUP<\/character>\n    <parenthetical>(hushed)<\/parenthetical>\n    <dialogue>Okay, we screwed that up. But at least nobody else knows we're here.<\/dialogue>\n    <scene_description>AN AERIAL VIEW of the deck shows TENS OF TRAPPERS stealthily closing in. The rescue team sets about opening cages and approaching the spooked dragons within. Hiccup removes the muzzle from a nervous dragon. He calms it, offering his open hand.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Easy, girl. It's okay. We're gonna get you out of here.<\/dialogue>\n    <scene_description>Fishlegs approaches a massive, antlered dragon in a cage and squeals with glee.<\/scene_description>\n    <character>FISHLEGS<\/character>\n    <dialogue>A Crimson Goregutter?!<\/dialogue>\n    <scene_description>FISHMEAT and the Goregutter eye each other curiously. The baby GURGLES excitedly, causing the giant dragon to crack a hint of a smile. Ruffnut rushes up to a cage, containing a tiny, round beach ball of a dragon (a HOBGOBBLER). It watches her, nonplussed.<\/scene_description>\n    <character>RUFFNUT<\/character>\n    <dialogue>Hah! Look at this weirdo. Bet it's super dumb.<\/dialogue>\n    <scene_description>She tugs at the latch like an idiot, then slaps the bars.<\/scene_description>\n    <character>RUFFNUT<\/character>\n    <dialogue>Ugh! Why can't I get this cage open?!<\/dialogue>\n    <scene_description>Astrid rushes by, lifting the pin. The cage door swings open.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>It slides.<\/dialogue>\n    <character>RUFFNUT<\/character>\n    <dialogue>Psh. Obviously.<\/dialogue>\n    <scene_description>Suddenly, TRAPPERS rush toward the rescuers, closing in on all sides.<\/scene_description>\n    <character>TRAPPER #1<\/character>\n    <dialogue>Attack!<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Get the rescues out of here!<\/dialogue>\n    <character>TRAPPER #2<\/character>\n    <dialogue>Get that Night Fury!<\/dialogue>\n    <scene_description>The trappers attack. Hiccup swipes his flaming blade, parrying a blow. Toothless bounds over Hiccup and takes on several trappers at once, deflecting blows with his wings and swiping them off of their feet with his tail. Ruffnut and Tuffnut disarm a trapper in a bumbling one-two and send him crashing into the bars of a cage.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>No running on the deck! It's slippery. You could fall.<\/dialogue>\n    <scene_description>Snotlout charges past them, swinging his mace wildly.<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Step aside! Let me handle the tough guy stuff!<\/dialogue>\n    <scene_description>His helmet gets spins on his head, masking his sight as two trappers close in, about to strike his down... ... as Hookfang cranes over and blasts fire at them, sending them fleeing, covered in flames. Snotlout turns his helmet around to see them fleeing.<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Yeah! That's two for me!<\/dialogue>\n    <scene_description>A pair of trappers rush toward Fishlegs just as he ducks to pick up Fishmeat. One trapper swings right over his head, clocking the other trapper square in the jaw.<\/scene_description>\n    <character>TRAPPER<\/character>\n    <dialogue>Sorry!<\/dialogue>\n    <scene_description>Before he can react, the Crimson Goregutter's tail sweeps through, sending him flying. BACK TO HICCUP, as he's rushed by several trappers in succession. He uses a cage door to deflect a blow, then yanks it back to disarm his attacker. Toothless uses his tail to send the trapper into the cage door, knocking him out cold.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Thank you. Now go get the rest, Bud!<\/dialogue>\n    <scene_description>ASTRID is dodging blows from a spear-wielding trapper, handily defeating them.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>I thought this was supposed to be a stealth mission!<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>They always start that way.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Look out!<\/dialogue>\n    <scene_description>She pushes Hiccup out of the way as a trapper thrusts a spear at her. She cleaves off the head of the spear with her battle axe. Stormfly drops in and plucks the trapper out of the fray, dropping him overboard with a SPLASH.<\/scene_description>\n    <character>ASTRID (O.S.)<\/character>\n    <dialogue>Thanks, Stormfly!<\/dialogue>\n    <scene_description>FROM THE MAST ABOVE, VALKA watches in her warrior armor. Her dragon, Cloudjumper, sits perched beside her. As they take in the mayhem unfolding below, Cloudjumper turns to Valka, GRUMBLING.<\/scene_description>\n    <character>VALKA<\/character>\n    <dialogue>Oh, stop worrying. They'll get it.<\/dialogue>\n    <scene_description>BACK ON DECK SNOTLOUT leaps from the top of a cage with a WAR CRY, but snags his cape on the corner, leaving him dangling helplessly as trappers close in. FROM THE MAST ABOVE, Valka shakes her head.<\/scene_description>\n    <character>VALKA<\/character>\n    <dialogue>Eventually.<\/dialogue>\n    <scene_description>BACK ON DECK HICCUP raises his visor.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Rescue team! Move out! We got 'em all!<\/dialogue>\n    <scene_description>Ruffnut and Tuffnut are encircled by trappers, all brandishing weapons. The Twins raise their hands in surrender. Barf and Belch suddenly pluck them out of the fray, airlifting them to safety.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>I'm gonna headlock every last one of you! I might even leg-lock you.<\/dialogue>\n    <scene_description>HOOKFANG swoops in and grabs Snotlout from where he dangles, flying him out of the battle.<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Amateurs! I was just getting started!<\/dialogue>\n    <scene_description>ASTRID runs to the railing, yelling to the remaining rescuers.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Clear out, guys! Go! Go!<\/dialogue>\n    <scene_description>FISHLEGS flees from pursuing trappers and dives over the railing of the boat, seemingly into the water below. He reappears, riding his GRONCKLE backwards.<\/scene_description>\n    <character>FISHLEGS<\/character>\n    <dialogue>Woohoo!<\/dialogue>\n    <scene_description>ON TOOTHLESS, rushing down a row of cages, checking for stragglers. He senses something stirring in a locked cage. He peers inside, curious and sniffing, but sees nothing.<\/scene_description>\n    <character>HICCUP (O.S.)<\/character>\n    <dialogue>Toothless! Time to go!<\/dialogue>\n    <scene_description>Toothless rushes off. Inside the cage, a piercing pair of blue eyes open on an otherwise invisible dragon. ON HICCUP, awaiting Toothless by the railing. He turns to find the remaining trappers angrily surrounding him. He is painfully outnumbered.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Oh... hey guys.<\/dialogue>\n    <scene_description>Suddenly, from behind them, trappers start flying into the air. Toothless barrels through them like bowling pins, rushing toward Hiccup. He scoops Hiccup onto his saddle and takes wing, escaping into the fog...<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Ha! You always have my back, bud.<\/dialogue>\n    <scene_description>... And leaving the battered, smoldering ship behind, relieved of its cargo. Ivar wearily watches them escape. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OPEN SKY\/BERK - DAY<\/stage_direction>\n    <scene_description>SQ.201 - \"Berk Overcrowded, Part 1\" PULLING through a flurry of wings -- a curtain of swirling color... ... Unveiling Hiccup and the RESCUE TEAM returning from the raid, leading the group of freed dragons. Hiccup turns in the saddle, revealing bustling Berk in the background -- a hive of activity. Literally hundreds of dragons in movement.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>This... is Berk! Your new home away from home. A stunning one-stop, all- expense-paid dream destination!<\/dialogue>\n    <scene_description>They fly into the clustered, overbuilt village skyline. Dragons are perched on every available rooftop, greeting the arriving newbies with excitement. They take flight, following the returning rescue party in a parade of color.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>So settle in and let your worries melt away! The service here soars, the cuisine's fiery...<\/dialogue>\n    <scene_description>A dragon roasts a rack of meat for a Viking cook. The whole hut catches fire. A Scauldron flies by and douses it with a blast of water. Gothi cuts across their path, wilding riding her staff like a witch's broom carried by terrible terrors.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>... and the locals are as colorful as you get!<\/dialogue>\n    <scene_description>The ground is crawling with dragons of every kind. So many that no actual ground is visible. Vikings travel to and fro by hopping from dragon to dragon, like a giant game of Frogger.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Any run-of-the-mill paradise boasts beaches and sunshine. Well, not us. We've got something no one else can touch. We, my friend, have dragons! Lots and LOTS of dragons!<\/dialogue>\n    <scene_description>They land on the dragon elevator in the center of the upper plaza. The crowd of Vikings scatter, moving out of the way of the new dragon arrivals. Two sheep dressed as dragons continue grazing as the shadow of the gigantic new dragons comes across them. They panic and run off, leaving their dragon costumes behind. Toothless and Hiccup hop off of the elevator and onto the crowded plaza.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Gang, meet our latest Berkians!<\/dialogue>\n    <scene_description>\"OOHS\" and \"AHHS\" sound from the crowd. The CRIMSON GOREGUTTER surveys his new surroundings as Berkians put their hands out to greet it.<\/scene_description>\n    <character>VIKING<\/character>\n    <dialogue>Welcome to paradise, mate!<\/dialogue>\n    <scene_description>The Rescue Team lands, followed by the overwhelmed newbies. Berkians and dragons alike surround the new dragons, giving them a heroes' welcome.<\/scene_description>\n    <character>PHLEGMA<\/character>\n    <dialogue>Aren't you a beauty!<\/dialogue>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Oh, you're welcome. You're welcome. I took on, like a hundred trappers, a thousand trappers.<\/dialogue>\n    <character>RUFFNUT<\/character>\n    <dialogue>All with burning undies.<\/dialogue>\n    <scene_description>She SNICKERS. Tuffnut pops off his helmet. Surrounding Vikings and dragons recoil from the stench.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>My thick, full beard almost caught on fire.<\/dialogue>\n    <scene_description>He strokes his \"beard,\" which is actually his hair, braided around his face.<\/scene_description>\n    <character>RUFFNUT<\/character>\n    <dialogue>Ugh. Just... just stop.<\/dialogue>\n    <scene_description>Snotlout saunters up to Valka, puffing his chest out.<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <dialogue>So, Hiccup's Mom, any notes on my bone-crushing assault, or was it pretty much perfect?<\/dialogue>\n    <character>VALKA<\/character>\n    <dialogue>Oh, it was... indescribable. And please, call me Valka. It has been a year.<\/dialogue>\n    <scene_description>She walks off to inspect the newly freed dragons, leaving Snotlout grinning from ear to ear.<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <parenthetical>(amazed, under his breath)<\/parenthetical>\n    <dialogue>First name basis.<\/dialogue>\n    <scene_description>Hiccup mashes Toothless' cheeks.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>I think the real hero of the day was Toothless. Isn't that right, Bud? What would we do without you, oh King of Dragons? What would we do?<\/dialogue>\n    <scene_description>Astrid hops out of Stormfly's saddle, rolling her neck.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Well, we could train a lot harder, for one. That was pretty sloppy.<\/dialogue>\n    <scene_description>Valka looks over smiling.<\/scene_description>\n    <character>VALKA<\/character>\n    <parenthetical>(phrasing it delicately)<\/parenthetical>\n    <dialogue>Astrid does have a point. Perhaps you all rely a little bit too much on your dragons... and not enough on one another.<\/dialogue>\n    <character>SNOTLOUT<\/character>\n    <dialogue>See, that's exactly what I was saying! Just listen up, guys.<\/dialogue>\n    <scene_description>Astrid rolls her eyes. Snotlout saunters up to Hiccup.<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Yep, your Mom's super impressed with me. I'm like the son she always wanted.<\/dialogue>\n    <scene_description>Fishmeat hops out of Fishlegs' pouch and scurries over to the giant Crimson Goregutter.<\/scene_description>\n    <character>FISHLEGS<\/character>\n    <dialogue>Fishmeat! You found a new friend!<\/dialogue>\n    <scene_description>Fishmeat dances at the Goregutter's feet. In response, the Goregutter pounces playfully, clumsily slamming into the towering totem.<\/scene_description>\n    <character>VIKINGS<\/character>\n    <dialogue>Mind your heads!<\/dialogue>\n    <scene_description>It cracks, teeters, and collapses. Vikings HOLLER and dive for cover. Dragons take to the air. The totem smashes into a \"bird house\" structure, creating a chain effect of collapsing buildings. The last to topple goes over the cliff. Hiccup and Toothless cringe, as Gobber pushes through the crowd, looking more disheveled than ever.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>What good is having the King of Dragons around if he can't keep the order?<\/dialogue>\n    <scene_description>Hiccup turns to Toothless.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Hey, bud? You wanna... do something here, or...?<\/dialogue>\n    <scene_description>Toothless calls the Goregutter into line with a roar. He bows respectfully. The baby Gronckle scurries off, intimidated.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>And where do you suppose we put these ones?!<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Oh, we'll make room.<\/dialogue>\n    <scene_description>He turns to see the beachball-sized Hobgobbler staring blankly at him. He GASPS.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Ah! You brought back a Hobgobbler?! They're a bad omen. We're cursed!<\/dialogue>\n    <scene_description>Valka scoops up the Hobgobbler, looking it over affectionately.<\/scene_description>\n    <character>VALKA<\/character>\n    <dialogue>Nonsense. What harm could he do?<\/dialogue>\n    <scene_description>It never takes its eyes off of Gobber.<\/scene_description>\n    <character>VALKA<\/character>\n    <dialogue>No injuries. They're all a little shaken but otherwise healthy.<\/dialogue>\n    <parenthetical>(to the rescues)<\/parenthetical>\n    <dialogue>Now, who's hungry?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERK - GREAT HALL - MOMENTS LATER<\/stage_direction>\n    <scene_description>Seq.211 - Berk Overcrowded Pt 2 THE GREAT HALL The Berk equivalent to a crowded cafeteria. Dragons and Vikings crammed in together, filling every space, sprawled out on tables, hanging off of chandeliers. Hiccup and Toothless enter last, with Gobber hobbling alongside, exasperated.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Point is, you can't keep bringing dragons back here.<\/dialogue>\n    <scene_description>As Gobber and Hiccup make their way through the crowd of dragons and people, SNOTLOUT runs by with his dragon.<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Come on, boy!<\/dialogue>\n    <scene_description>Hiccup and Gobber wait for them to pass, then continue walking.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>You're just asking for trouble.<\/dialogue>\n    <scene_description>Hiccup throws a hand in front of Gobber, stopping him from stepping forward. A mischievous dragon scampers past, with a burly viking in close pursuit.<\/scene_description>\n    <character>VIKING<\/character>\n    <dialogue>No you don't, you little thief!<\/dialogue>\n    <scene_description>Hiccup and Gobber wait for them to pass, then resume.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Those trappers are getting closer by the day.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>We can handle them. We have the Alpha. Isn't that right, Bud?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Would you look at how happy they are?<\/dialogue>\n    <scene_description>Gobber grumbles as they navigate the chaotic hall, dodging Gothi as she flies by, carried by dragons. Valka is arm wrestling the brawny Spitelout. She wins. RACK FOCUS to reveal Snotlout watching in slack- jawed awe.<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <dialogue>She's... awesome.<\/dialogue>\n    <scene_description>Hiccup throws an arm around Gobber as they join the lunch- line. Stew is ladled into heaping bowls and handed off to the hungry arrivals.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Gobber! Relax, we did it. The world's first dragon-Viking utopia. We made the dream a reality!<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Your dream, maybe. Mine's less crowded and more -- AGHH!<\/dialogue>\n    <scene_description>The Hobgobbler bobs up, basking in the steaming cauldron of stew.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Sanitary.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Gobber! You're not fooling anybody. I know you love them.<\/dialogue>\n    <scene_description>Toothless calls the young dragon out of the stew pot with a low growl. The newbie crawls out and slinks off, sheepishly. Hiccup and Gobber carry their filled bowls to the head table and squeeze in between Astrid and Valka, crushing them.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>You're supposed to be the generation that leads us into the future.<\/dialogue>\n    <scene_description>He looks around at the Gang. Tuffnut picks his teeth while Belch steals his food. Snotlout starts a food fight with Hookfang.<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Ha! Food fight!<\/dialogue>\n    <scene_description>Ruffnut vapidly gazes at her reflection in a tankard...<\/scene_description>\n    <character>RUFFNUT<\/character>\n    <dialogue>Gor-ge-ous.<\/dialogue>\n    <scene_description>... then gets hit with a turkey leg. She joins the food fight.<\/scene_description>\n    <character>RUFFNUT<\/character>\n    <dialogue>Watch the hair!<\/dialogue>\n    <scene_description>All the while, Fishlegs feeds Fishmeat in a highchair, making dragon sounds as he flies in a spoonful of stew to its open mouth.<\/scene_description>\n    <character>FISHLEGS<\/character>\n    <dialogue>Good Fishmeat! On-nom-nom-nom.<\/dialogue>\n    <scene_description>Gobber gets hit with a lump of food. He wipes it off, glowering.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Ugh. Thor help us.<\/dialogue>\n    <scene_description>He grabs Astrid and Hiccup, pulling them together in a headlock.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Time to stop worrying about problems out there and start sorting out the ones right here.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Gobber...<\/dialogue>\n    <character>HICCUP<\/character>\n    <parenthetical>(squeezed under his arm)<\/parenthetical>\n    <dialogue>Okay, okay, I'll think about it.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Hang up those saddles and get married.<\/dialogue>\n    <scene_description>A pregnant pause. The GANG gawk at the mention of marriage.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>The \"M\" word.<\/dialogue>\n    <character>RUFFNUT<\/character>\n    <dialogue>Gross.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Unless it's me.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Start ruling like a proper royal couple.<\/dialogue>\n    <scene_description>Hiccup grimaces, his face pressed into Gobber's armpit. Gobber whispers into Astrid's ear.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Marry him, please. You're the only one with any sense around here. With you wearing the pants, there's still hope.<\/dialogue>\n    <scene_description>Astrid peels away, awkwardly recoiling at the proposition.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Wow! Not awkward at all. Thanks for that, Gobber!<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Astrid... don't be like that!<\/dialogue>\n    <scene_description>Hiccup pops his head out of Gobber's armpit, GASPING for air. Tuffnut comes up behind Hiccup.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>Whoa. That is a definitive no. Look, if you need a beard to cry on, just lean on my shoulder and you can cry into my full, thick beard.<\/dialogue>\n    <scene_description>He pulls Hiccup's face into his filthy \"beard.\"<\/scene_description>\n    <character>HICCUP<\/character>\n    <parenthetical>(muffled)<\/parenthetical>\n    <dialogue>Oh, thank you, Tuffnut. Thank you... so much.<\/dialogue>\n    <scene_description>Eret approaches and coughs awkwardly as Tuffnut clutches Hiccup in his beard.<\/scene_description>\n    <character>HICCUP<\/character>\n    <parenthetical>(muffled)<\/parenthetical>\n    <dialogue>Eret, son of Eret! What's the report?<\/dialogue>\n    <character>ERET<\/character>\n    <dialogue>Two more trapper barges spotted in the strait.<\/dialogue>\n    <character>HICCUP<\/character>\n    <parenthetical>(optimistic)<\/parenthetical>\n    <dialogue>So we go after them!<\/dialogue>\n    <scene_description>Hiccup turns to Gobber, leering back, judgmentally.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>One day, you're going to pick a fight you can't win.<\/dialogue>\n    <scene_description>Hiccup grimaces back. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MILITARY BASE - DAY<\/stage_direction>\n    <scene_description>SQ.221 - Grimmel's Deal A FLYING P.O.V<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>.. soars over a congested harbor, cluttered with warships. A reflection in the passing water below reveals the source -- a bizarre, quad-armed airship, flown by four red-bellied dragons.<\/stage_direction>\n    <scene_description>A pair of dragon scouts lead the way, speeding over sprawling network of wooden docks toward a bustling military base. Smoke hangs in the air, billowing from blacksmith chimneys. Store houses and barracks weave toward a hilltop arena, built within the ruins of a Stonehenge-like druidic circle. The airship hovers to a landing atop the hill, scattering slack-jawed soldiers. The dragons HISS, commanding a wide berth. These DEATHGRIPPERS are monstrous brutes, bulging with armored back plates and blood-red underbellies. In place of front legs, they scuttle on bulky, serrated pincers. GRIMMEL, 55, descends from the cockpit, tall, slender, and dressed head to toe in black, scaly leather. Grimmel enters a stone archway, flanked by his pair of Deathgripper scouts. Soldiers watch him keenly, hands gripping their sword hilts. Archers above follow his every move, bows drawn, as they whisper a warning to each other.<\/scene_description>\n    <character>ARCHER<\/character>\n    <dialogue>Deathgrippers.<\/dialogue>\n    <scene_description>Grimmel and his pair of Deathgrippers disappear into the tunnel leading us into... AN ENORMOUS ARENA<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>.. The size of the Colosseum. Sooty stone walls rise imposingly from a scorched dirt floor. A spider web-like dome of steel forms an impenetrable ceiling.<\/stage_direction>\n    <scene_description>Along its walls, a small collection of dragons lay stuffed into undersized cages, while at the center of the arena, an enormous dragon is tethered in place. SOLDIERS brandishing shields and spears poke at the unruly beast. It ROARS through muzzled jaws and thrashes its club tail in retaliation, swiping soldiers off of their feet. The pair of Deathgrippers emerge from the tunnel into the arena. They HISS, eyeing the captive dragons. Tusks extend from their heavy jaws. The training ring mayhem turns eerily quiet. The captive dragons shiver and shrink to backs of their cages as the Deathgrippers pass. The unruly large dragon at the center grows still, averting its eyes from the stalking predators. ON A NEARBY DAIS A trio of WARLORDS (two males, one female) in unblemished, decorative armor, hover over a map. Ivar The Witless (from the opening scene) positions a small ship upon the table.<\/scene_description>\n    <character>IVAR<\/character>\n    <dialogue>The dragon riders attacked us here, off the Eastern Strait.<\/dialogue>\n    <scene_description>RAGNAR THE ROCK drives another boat piece into it, mouthing a CRASH. The others glare at him.<\/scene_description>\n    <character>CHAGHATAI KHAN<\/character>\n    <dialogue>Ragnar.<\/dialogue>\n    <scene_description>He stifles his amusement.<\/scene_description>\n    <character>RAGNAR THE ROCK<\/character>\n    <dialogue>Uh. Sorry.<\/dialogue>\n    <character>GRIMMEL (O.S.)<\/character>\n    <dialogue>My dear warlords.<\/dialogue>\n    <scene_description>They part to reveal Grimmel behind them, grinning as he peels back his hood, exposing a shock of white hair.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>How go your plans to conquer the world?<\/dialogue>\n    <scene_description>Ragnar goes to embrace him with open arms.<\/scene_description>\n    <character>RAGNAR<\/character>\n    <dialogue>Ha! Grimmel! My old friend! Thank you for coming--<\/dialogue>\n    <scene_description>A Deathgripper pins him to ground. He YELPS. Grimmel looks around, nonchalantly.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>A year since Drago's defeat and no further along with your dragon army, I see.<\/dialogue>\n    <scene_description>Griselda The Grevious glares, sourly.<\/scene_description>\n    <character>GRISELDA THE GREVIOUS<\/character>\n    <dialogue>You can thank the young chief of Berk for that.<\/dialogue>\n    <character>GRIMMEL<\/character>\n    <dialogue>Stoick's boy?<\/dialogue>\n    <scene_description>Ragnar peeks out, still pinned under the Deathgripper.<\/scene_description>\n    <character>RAGNAR<\/character>\n    <parenthetical>(straining under the weight of the dragon)<\/parenthetical>\n    <dialogue>He and his peace-loving dragon riders continue to raid our ships and steal our dragons.<\/dialogue>\n    <character>GRIMMEL<\/character>\n    <dialogue>Hmph. That does sound like a nuisance. But I'm in the business of killing dragons, not retrieving them.<\/dialogue>\n    <scene_description>He turns to leave, signaling the Deathgripper to follow. Ragnar sits up, catching his breath.<\/scene_description>\n    <character>RAGNAR<\/character>\n    <dialogue>But, Grimmel...<\/dialogue>\n    <character>GRIMMEL<\/character>\n    <dialogue>The idiot boy has done all of the work for you, gathering the dragons in one place. Why bother me?<\/dialogue>\n    <character>CHAGHATAI<\/character>\n    <dialogue>Because the flock is protected by a Night Fury.<\/dialogue>\n    <scene_description>Grimmel stop in his tracks.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>Not possible.<\/dialogue>\n    <character>CHAGHATAI<\/character>\n    <dialogue>It seems one slipped through your fingers.<\/dialogue>\n    <scene_description>He glares, but Ragnar gets between them, forcing a smile.<\/scene_description>\n    <character>RAGNAR<\/character>\n    <dialogue>Look, Berk's dragons will follow their alpha, so we'll pay you to capture him and bring the flock to us.<\/dialogue>\n    <scene_description>Grimmel considers the proposition. In the background, his Deathgrippers antagonize the retrained Rumblehorn, nipping at it while it thrashes against its chains.<\/scene_description>\n    <character>RAGNAR<\/character>\n    <parenthetical>(sweetening the deal)<\/parenthetical>\n    <dialogue>We even have your favorite bait.<\/dialogue>\n    <character>CHAGHATAI<\/character>\n    <dialogue>The only dragon they left us from last night's raid.<\/dialogue>\n    <scene_description>They gesture to a nearby cage. A white dragon lies curled up by the back bars. Grimmel approaches.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>A female? Hmmm.<\/dialogue>\n    <character>RAGNAR<\/character>\n    <dialogue>So do we have a deal? Old friend?<\/dialogue>\n    <scene_description>Suddenly, the Rumblehorn breaks free and charges for the exit, directly in the path of Grimmel and the warlords. They scatter, but Grimmel stands his ground, effortlessly firing his crossbow and bringing it down.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>When all is said and done, this young chief will bring me the Night Fury.<\/dialogue>\n    <scene_description>In the resulting dust cloud, Grimmel pulls his foot from under its snoring snout. Grimmel turns with a smile.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>They don't have a leader. Just a boy.<\/dialogue>\n    <scene_description>He walks off. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERK - LOOKOUT - SUNSET<\/stage_direction>\n    <scene_description>SQ.251 - FLASHBACK #1 - \"Our Home\" CLOSE ON A wide-eyed boy, 5, with rosy cheeks and a scar on his chin. He stares ahead, wind buffeting his hair.<\/scene_description>\n    <character>STOICK (O.S.)<\/character>\n    <dialogue>Hiccup. This is Berk, son. It's our home.<\/dialogue>\n    <scene_description>PULL BACK to reveal YOUNG HICCUP in STOICK'S arms. They're standing on a high lookout, taking in the village with its defense towers and catapults.<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>It was the home of your grandparents, and their grandparents before them. It's my job as chief to protect us, Hiccup. And one day, when you're all grown up, that job will be passed onto you.<\/dialogue>\n    <character>HICCUP<\/character>\n    <parenthetical>(awed whisper)<\/parenthetical>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Stoick points to the setting sun on the open sea.<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>It's very important, son, because... out there, beyond the sunset, lies the home of the dragons.<\/dialogue>\n    <scene_description>Hiccup looks up at Stoick in awe.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Aye. Legends tell of ships that sailed too close to it, only to drop off the edge of the world, never to be seen again.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But those sailors who turned back told tales of a great waterfall and dragons guarding the entrance to a Hidden World.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Whoa.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Not just a nest, Hiccup, but a land from which all dragons come.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Even... Night Furies?<\/dialogue>\n    <scene_description>Stoick smiles.<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>Especially Night Furies.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Those are scary.<\/dialogue>\n    <scene_description>Hiccup turns back to the sunset, gawking in amazement.<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>Don't you worry. One day, I'll find the Hidden World and seal it up, so that people and dragons will fight no more.<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERK - CLIFFTOP - SUNSET<\/stage_direction>\n    <scene_description>Sequence 0351 - \"Our Home, Part 2\" CLOSE ON Hiccup, staring into the sunset, brow furrowed, his hair buffeted in the wind. Toothless shuffles up, WHIMPERING.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Toothless responds with a cute, pleading stare.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Oh, all right.<\/dialogue>\n    <scene_description>He reaches down and unbuckles his prothetic leg.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>You do know, it's not a chew toy, don't you?<\/dialogue>\n    <scene_description>Toothless gets into a dog-like play position -- crouched down on his forelegs with his rear in the air. He dances around excitedly. Hiccup holds up the leg, waving it tauntingly.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Is this what you want? Oh, do you want this leg? Do you want my leg?<\/dialogue>\n    <scene_description>He tosses it over the cliff.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Go get it!<\/dialogue>\n    <scene_description>Toothless bounds after it, leaping off of the cliff, and gliding wobbly after the leg as it plummets. He nabs it in his jaws and throws open his wings, rising again. Hiccup smiles, then removes his map, unfolding it as he bends to his knees. He studies the archipelago, biting his lip. Suddenly, his prosthetic leg drops onto the map, bouncing and splattering slobber over the parchment. He glances up to Toothless, riding the updraft with a locked, flared mechanical tail.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Getting pretty good at gliding on your own, Bud.<\/dialogue>\n    <scene_description>Toothless lands, panting happily. He nudges the prosthetic leg closer, as Hiccup tries to concentrate. Suddenly, Stormfly bursts into view, blotting out Hiccup's view of the sunset. She hovers above Hiccup, grinning.<\/scene_description>\n    <character>ASTRID<\/character>\n    <parenthetical>(projected)<\/parenthetical>\n    <dialogue>Oh, so this is where you come to get away from Gobber?<\/dialogue>\n    <scene_description>Hiccup CHUCKLES.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>I have no idea what you're talking about.<\/dialogue>\n    <scene_description>She hops off of Stormfly, smiling knowingly. Toothless rushes to her with the slobbery prosthetic leg.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Ewww.<\/dialogue>\n    <scene_description>She takes it and lobs it over the cliff. Toothless bounds after it. Astrid wipes her hands on Hiccup's shoulder in passing and plops down at the edge of the cliff, dangling her legs off of it.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Well, he's right, you know.<\/dialogue>\n    <scene_description>Hiccup lights up, a goofy smile on his face.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Really? You think you and I should...<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Oh, gods no. We're nowhere near ready for that.<\/dialogue>\n    <scene_description>Hiccup grimaces, hiding his hurt.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>No, that-that's crazy...<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>I mean he's right about all of this.<\/dialogue>\n    <scene_description>She gestures to the village below. Hiccup SIGHS.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>It does seem like the whole world knows about us now.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Yup. And the more dragons we bring back here, the bigger of a target we become.<\/dialogue>\n    <scene_description>Toothless drops the prosthetic leg on her lap. She tosses it again and he dives after it, happily.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>I just wish there was some way to make them leave us alone.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>There might be.<\/dialogue>\n    <scene_description>She twists around, meeting his eyes, quizzically.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Dad used to talk about an old mariners' myth, of a secret land at the edge of the world where dragons live totally out of reach.<\/dialogue>\n    <scene_description>Astrid CHUCKLES, dismissive.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Well, sailors are known for tall tales.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>True. But what if it's real? It could be the answer to all of our problems.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>How? By moving the dragons there?<\/dialogue>\n    <scene_description>Hiccup shakes his head.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Uh uh. All of us.<\/dialogue>\n    <scene_description>She stares, incredulous.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Seriously. And abandon our home of seven generations? The home your father left you to protect?<\/dialogue>\n    <scene_description>Pregnant pause. Hiccup shrugs and stammers.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Yeah, I think we need a real solution, Hiccup.<\/dialogue>\n    <scene_description>Toothless lands and begins gnawing on the leg. Stormfly hovers, eyeing it, jealous.<\/scene_description>\n    <character>HICCUP<\/character>\n    <parenthetical>(lightening the mood)<\/parenthetical>\n    <dialogue>Well, we could just take Gobber's advice and tie the knot. That should fix everything.<\/dialogue>\n    <scene_description>She rolls her eyes at him.<\/scene_description>\n    <character>HICCUP<\/character>\n    <parenthetical>(playfully)<\/parenthetical>\n    <dialogue>But hey... if you're having doubts about yours truly, I'm pretty sure Snotlout's available.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>He only has eyes for your Mom.<\/dialogue>\n    <scene_description>Hiccup GASPS in mock insult and pulls her into a bearhug.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Oh, you're playing dirty now, huh?<\/dialogue>\n    <character>ASTRID<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>You asked for it! Looks like there might be a wedding after all!<\/dialogue>\n    <character>HICCUP<\/character>\n    <parenthetical>(struggling)<\/parenthetical>\n    <dialogue>How dare you! That is a low blow. No, no, you're not getting away...<\/dialogue>\n    <scene_description>She grabs his arm and twists it behind his back.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Aghh! Okay, okay! You win! You win! You always win.<\/dialogue>\n    <scene_description>She GIGGLES and settles into an embrace.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>You knew what you were getting into.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Uh huh. Right.<\/dialogue>\n    <scene_description>IN THE BACKGROUND, Toothless' ear plates perk up. He drops the prosthetic leg and raises his head, twitching his ears. He gets to his feet and shuffles to the edge of the cliff, staring off into the forest below. Hiccup turns toward him.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Uh, Bud?<\/dialogue>\n    <scene_description>Toothless suddenly bounds off of the cliff, gliding and bounding into the distance. Hiccup gets up and hops to the edge of the cliff.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Yeah, sure, don't bother to wait for us!<\/dialogue>\n    <scene_description>Toothless continues into the distance, without looking back. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - NIGHT<\/stage_direction>\n    <scene_description>SQ. 401 - LOVE AT FIRST SIGHT Toothless weaves between trunks, following a distant MOANING. Drips from the past rainstorm patter all around. Mist blankets the forest floor. Twigs snap under his weight. Suddenly, the mournful call ceases. Toothless sniffs the air and pushes his snout through the underbrush. His glistening eyes widen in amazement. Ahead, in a small clearing, a shape shifts in the dappled moonlight. Its body shimmers in beads of rainwater, plunged back into mystery as shadows consume it. Toothless GURGLES. The groggy dragon (the Light Fury) slowly raises its head. Details reveal themselves slowly -- a sleek and smooth creature, with long folded wings, feline features, and -- even in the dark -- iridescent scales of pure white. Toothless watches, mesmerized as... FROM TOOTHLESS' P.O.V.: In SLOW MOTION, the white dragon slowly turns to face him, giving us our first real look at her. Piercing blue eyes lock upon him. Her head is smooth and elegant -- strikingly similar to a Night Fury, but lacking Toothless' crown. Two stubby ear plates lay folded back. ON TOOTHLESS, awestruck, babbling in SLOW MOTION. He takes a cautious step forward. She recoils and yowls back: \"Get out of here. It's a trap.\" She snarls at the ground between them. Toothless stops in his tracks, looks down at the area, and steps around it, giving it a wide berth. He comes within a couple of feet of her. His lips crackle apart into a big, reassuring smile. He coos: \"It's okay.\" Toothless inches closer. Her grogginess fades, her guardedness subsides. They hold the stare. For a moment, there is only the sound of their purrs, falling into sync. SNAP. A twig breaks. She stirs from the stare and jolts her head to the right, spotting Hiccup and then Astrid pushing through the brush. She jumps back, alarmed. ON HICCUP AND ASTRID, gaping in amazement.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Oh my gods.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Hiccup!<\/dialogue>\n    <scene_description>The white dragon blasts! Hiccup and Astrid dive out of the way. The violet fireball hits the tree trunk between them, shattering it and bringing down the top in a thunderous crash. Toothless balks: \"Stop!\" She turns to him, confused, and swallows the blast. She balks back: \"But they're humans!\" Hiccup and Astrid raise their heads from the underbrush, covered in splinters and looking startled.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Yeah, yeah we're friends! No need to kill us!<\/dialogue>\n    <scene_description>Spooked, the white dragon lunges into the air, crashing through the tree tops in a rainfall of branches and pine needles. Toothless cries out: \"No! Come back!\" He bounds up a tree trunk to the top in pursuit. But it's no use. She looks back one last time, then blasts a fireball and flies through it, pulling a comet trail of flame. When it tapers to nothing, the dragon is gone, vanishing into thin air. Hiccup and Astrid gape, astounded.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Another Night Fury.<\/dialogue>\n    <scene_description>Astrid smiles, thoroughly amazed.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>No, not quite. It's more like a...<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Bright... Fury.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Light Fury.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Yeah. Yours is better, probably.<\/dialogue>\n    <scene_description>BACK TO TOOTHLESS, scanning the empty sky from the treetop, crestfallen. MATCH DISSOLVE: TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERK - STABLES - DAY<\/stage_direction>\n    <scene_description>SQ.501 - Tale of the Light Fury TOOTHLESS, eyeing the sky, lovesick, from the entrance of Berk's cavern stables. The cave is a flurry of activity. Astrid and the Gang are busy at work, feeding dragons, cleaning stalls. Ruffnut watches Toothless, who is still staring dumbstruck into the distance.<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <dialogue>What do you mean, \"gone?\"<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Vanished, into thin air.<\/dialogue>\n    <scene_description>Hiccup is seated at a stool, carefully removing a splinter from a Gronckle's foot. Fishlegs bounces over with the baby Gronckle in his backpack, showing Hiccup a new dragon card he's been working on.<\/scene_description>\n    <character>FISHLEGS<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Uh-uh. Stubbier ears. No dorsal plates.<\/dialogue>\n    <character>FISHLEGS<\/character>\n    <dialogue>Okay, got it.<\/dialogue>\n    <scene_description>Fishlegs nods and makes a few adjustments as Eret walks past, hauling a bundle of fresh hay into a clean stall.<\/scene_description>\n    <character>ERET<\/character>\n    <dialogue>What a night!<\/dialogue>\n    <scene_description>Toothless nudges Hiccup, growing ever more impatient.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Bud, what's gotten into you? What is all this slobbering and panting?<\/dialogue>\n    <scene_description>Astrid rubs Toothless' muzzle playfully.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Isn't it obvious? He's in love!<\/dialogue>\n    <character>HICCUP<\/character>\n    <parenthetical>(privately, to Toothless)<\/parenthetical>\n    <dialogue>Trust me. Relationships are nothing but pain and misery.<\/dialogue>\n    <scene_description>Astrid punches him. He recoils and gestures at Astrid, saying to Toothless:<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>What did I just say?<\/dialogue>\n    <scene_description>Toothless resumes prancing around, unfazed.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Am I not enough?<\/dialogue>\n    <scene_description>Toothless stares blankly, frothing and panting, then bolts away.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>I think that's a no.<\/dialogue>\n    <scene_description>Toothless spots a pair of Nadders enacting a courtship display. He wanders over, curious, as Fishlegs appears at Hiccup's side with the revised card. It's a mess of smudged pencil lines.<\/scene_description>\n    <character>FISHLEGS<\/character>\n    <dialogue>Something like this?<\/dialogue>\n    <character>HICCUP<\/character>\n    <parenthetical>(exasperated)<\/parenthetical>\n    <dialogue>You know what? Just trace your Toothless card and make her white.<\/dialogue>\n    <character>FISHLEGS<\/character>\n    <dialogue>You could've led with that.<\/dialogue>\n    <scene_description>Fishlegs nods, hobbling away.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Can you believe it? Toothless has a girlfriend!<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>I never took you for a romantic. Like, ever.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>But it's so sweet. I mean... look.<\/dialogue>\n    <scene_description>She gestures to Toothless, now privately practicing the Nadders' courtship display with his own shadow. He extends his wings and throws his head back, CLUCKING awkwardly.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>Okay. That's just sad. And weird.<\/dialogue>\n    <character>RUFFNUT<\/character>\n    <dialogue>Yeah, you better do something.<\/dialogue>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Seriously. I'd rather shovel poop all day than watch that.<\/dialogue>\n    <scene_description>Hiccup SIGHS. Pulls the splinter form the dragon's foot and set it down.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>All right, let's head back to the woods and see if we can find her.<\/dialogue>\n    <scene_description>Toothless bounds over excitedly, smothering Hiccup in licks. Tuffnut sets down his broom and joins.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>Ah, good idea. A little privacy.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Uh...<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>Shhh.<\/dialogue>\n    <parenthetical>(to the others)<\/parenthetical>\n    <dialogue>It's boy talk.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>C'mon. Let's go work this out.<\/dialogue>\n    <scene_description>He grins and ushers Hiccup out of the stall. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERK - WOODS - DAY<\/stage_direction>\n    <scene_description>SQ.751 - \"Someone's Here, Part 1\"<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>So, you want to get married.<\/dialogue>\n    <scene_description>Tuffnut and Hiccup shuffle through the woods on the way back to the clearing. Toothless sniffs the ground ahead of them, focused.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Uh, no, actually.<\/dialogue>\n    <scene_description>Tuffnut swings a stick at the underbrush.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>Good news -- I've been to two weddings, crashed both. But none as high profile as this one. Lots of pressure. Judgement. And not just by me.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Look we talked about it. We're not getting married.<\/dialogue>\n    <scene_description>Tuffnut CHUCKLES, knowingly.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>Cold feet. I've seen it before. But don't worry, Little Hiccy...<\/dialogue>\n    <scene_description>He puts his hand on Hiccup's shoulder. Locks eyes in a sympathetic stare.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>I'm here.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Wait, Hiccy...?<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>Now I've seen the way Astrid looks at you. Everyone has. That doubt. That not-so-subtle disappointment. That longing for something more. Than you. You need to focus on being worthy.<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>I mean, she's a warrior queen, for Thor's sake, and you are... neither. But with me as your best man, your spirit guide if you will, you'll learn to embrace your inner Viking. Show these naysayers, of which there are many, that you're more than just a malnourished runt with bad hair, strange teeth, and a twig for a neck.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>You're really bad at pep talks.<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>Stop letting these insecurities get the best of you! Everyone's watching. I mean, everyone. You need to man up. Do as I do.<\/dialogue>\n    <scene_description>They enter the clearing. No sign of the Light Fury. Toothless SIGHS, disappointed.<\/scene_description>\n    <character>TUFFNUT (O.S.)<\/character>\n    <dialogue>It'll be hard, but you have my word. And until I break that word, I won't give up.<\/dialogue>\n    <scene_description>Hiccup spots something glimmering in the brush at the far end of the clearing. He approaches, curious.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>Hey. Hey! What, am I wasting my time here?! You see some shiny thing in the woods -- ooh, what is that?<\/dialogue>\n    <scene_description>Hiccup reaches down and retrieves a discarded dart containing a glass vial. Hiccup furrows his brow, studying it. A single drop of green fluid drips from the end of the barb. He whips around to see Toothless sniffing leaves and pine needles near the center of the clearing.<\/scene_description>\n    <character>HICCUP<\/character>\n    <parenthetical>(panicked)<\/parenthetical>\n    <dialogue>Toothless!<\/dialogue>\n    <scene_description>Toothless recoils in response, eyeing Hiccup, confused. Hiccup holds up a hand.<\/scene_description>\n    <character>HICCUP<\/character>\n    <parenthetical>(tense)<\/parenthetical>\n    <dialogue>Don't move a muscle.<\/dialogue>\n    <scene_description>Hiccup glances around the clearing, spotting an undisturbed area at the center of it. He reaches for Tuffnut's walking stick and hurls it like a spear into the center.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>It sticks its landing, then... CLANG! In an EXPLOSION of debris, two giant iron jaws SNAP SHUT in the air like a giant bear trap, obliterating the stick that triggered it. Hiccup leaps backward as the trap rings out into the forest. Toothless ROARS, startled. Hiccup looks left and right, scanning the forest with flared, paranoid eyes. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERK - BLACKSMITH'S STALL - LATER<\/stage_direction>\n    <scene_description>SQ.851 - \"Someone's here, Part 2\" Hiccup sets the dart down on a barrel.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Someone's here.<\/dialogue>\n    <scene_description>Hiccup and Tuffnut stand facing Astrid, Eret, and Gobber, at work in the stall.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Eh?<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>He managed to slip past our scouts and lay a trap in the woods.<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>It ruined boy talk!<\/dialogue>\n    <scene_description>Tuffnut tosses the dart, nearly stabbing Eret.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Let me at him!<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Slow down, Gobber. Let's get a search team on the ground and scouts in the air. Toothless and I will fly the coastline.<\/dialogue>\n    <scene_description>Eret inspects the dart closely, turning it over.<\/scene_description>\n    <character>ERET<\/character>\n    <dialogue>Yeah, I wouldn't advise taking Toothless anywhere, Chief. I know this handiwork. Grimmel the Grisly. Famous back where I'm from. Smartest dragon hunter I ever met -- well, next to me, of course.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Can't be that smart. He left his trap unmanned.<\/dialogue>\n    <character>ERET<\/character>\n    <dialogue>Nothing's accidental when it comes to Old Grimmel. He lives for the hunt. To get inside the mind of his prey, to control its every choice. It's all a game to him.<\/dialogue>\n    <scene_description>Hiccup glances at Toothless, eyeing the sky, lovesick.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Well, he doesn't know who he's playing with.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Yeah, and we've dealt with his kind before.<\/dialogue>\n    <character>ERET<\/character>\n    <dialogue>Don't underestimate him, Hiccup. Mark my words. He'll be back.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Then we'll be waiting for him.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HICCUP'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>SQ.951 - Grimmel Pays A Visit CLOSE ON A tattered, leather-bound book on a shelf, flanked by several others. Hiccup pulls it out and blows off the dust. He takes it to the fireplace, where several old maps are spread out on the floor. He sits cross-legged and opens the book, leafing through the scribbled notes. He mumbles the words and glances at the old maps, showing detailed explorations of the seas west of Berk.<\/scene_description>\n    <character>HICCUP<\/character>\n    <parenthetical>(murmuring to himself)<\/parenthetical>\n    <dialogue>Alright, come on, give me a clue here. Give me a clue, Dad.<\/dialogue>\n    <scene_description>He looks up -- Toothless is snoring in a shadowy corner of the room. He hears a creak. Turns to the door. Nothing. He watches it for a moment, then return his gaze to the book on his lap. He hears a gurgle -- water pouring from a jug into a cup. Hiccup jumps to his feet, alarmed. The sound of SLURPING follows.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>Oh, I hope you don't mind if I help myself? Mmm. This is quite good.<\/dialogue>\n    <scene_description>Hiccup extends and lights his Dragon Blade, illuminating a figure standing in the shadows of his kitchen -- tall and lean, covered head to toe in black leather. Grimmel sips calmly.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>That is impressive. But let me finish my drink.<\/dialogue>\n    <scene_description>Toothless stirs. In a flash, Grimmel immediately fires a dart from his crossbow, putting him out with a YELP.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Toothless!<\/dialogue>\n    <scene_description>Hiccup rushes over to Toothless as Grimmel tosses his cup on the floor and reloads his crossbow, aiming it at Hiccup where he stands.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>What did you do to him?<\/dialogue>\n    <character>GRIMMEL<\/character>\n    <dialogue>Ehh. Nothing that he won't sleep off.<\/dialogue>\n    <scene_description>He crosses the room, crossbow in hand, and sits in Stoick's chair by the fire. He strokes the wooden armrest.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>Ah. May I?<\/dialogue>\n    <scene_description>He peels off his hood.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>Chief Hiccup? Do I say Chief Hiccup?<\/dialogue>\n    <parenthetical>(hiccuping)<\/parenthetical>\n    <dialogue>Or do I call you Hiccup? What do you prefer?<\/dialogue>\n    <scene_description>A pregnant pause. Hiccup stares.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>You have no idea who I am, do you?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Well, your father knew of me. Now there was a chief! One of the greatest dragon hunters to have ever lived.<\/dialogue>\n    <parenthetical>(cringing)<\/parenthetical>\n    <dialogue>What would he think of you?<\/dialogue>\n    <scene_description>Grimmel CHUCKLES.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>He had it right, you know, making it his mission to destroy the beasts so that you could grow up in a better world.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>He changed his mind.<\/dialogue>\n    <character>GRIMMEL<\/character>\n    <dialogue>And look where that got him.<\/dialogue>\n    <scene_description>Hiccup glares at the spiteful jab.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>So, let's get to the point. I am the Night Fury killer. I've hunted every last one but yours. You are going to give me that dragon, or -<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>I will never give him up.<\/dialogue>\n    <scene_description>Grimmel rises from his chair, laughing as he pushes Hiccup's Dragon Blade aside. He struts past Hiccup, toward Toothless.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>You wish dragons to live free, among us, like equals? A toxic notion, my boy. History has shown that we are the superior species. What if word of your misguided ideas were to spread?<\/dialogue>\n    <scene_description>He nears Toothless, growing suspicious...<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>It would be the undoing of civilization as... we... know... it. Hmmm...<\/dialogue>\n    <scene_description>... and kicks him. Toothless stirs, his \"head\" falling off, revealing Fishlegs in disguise.<\/scene_description>\n    <character>FISHLEGS<\/character>\n    <parenthetical>(groggy)<\/parenthetical>\n    <dialogue>Did we get him?<\/dialogue>\n    <scene_description>Hiccup hooks Grimmel's crossbow with the tip of his Dragon Blade and casts it aside.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Now!<\/dialogue>\n    <scene_description>Suddenly, Valka, Astrid, and Gobber rush out of hiding, leaping from the loft above and bursting through the door.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Sorry to barge in!<\/dialogue>\n    <scene_description>Grimmel looks around, surrounded.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>You think you can come into my home, sit in my father's chair, and threaten my dragon?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>This is Berk. And we have defended our way of life from far worse than you.<\/dialogue>\n    <scene_description>Grimmel smiles.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>Ooh, a fighting spirit! I love it. Only, I'm afraid you're mistaken. You've never seen anything like me.<\/dialogue>\n    <scene_description>He whistles, summoning his Deathgrippers. In response, serrated pincers puncture and tear through the roof, knocking Astrid off the balcony.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Astrid, look out!<\/dialogue>\n    <scene_description>The Deathgripper lunges forward, aiming its poisonous stinger straight at them.<\/scene_description>\n    <character>VALKA<\/character>\n    <dialogue>Look out! Son! Get clear!<\/dialogue>\n    <scene_description>Glops of flaming acid rain down, dissolving everything on contact as several Deathgrippers drop to the floor. Grimmel calmly retrieves his crossbow.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Run!<\/dialogue>\n    <scene_description>Gobber pulls Fishlegs out of harm's way as flaming ceiling timbers collapse, nearly crushing them. Everyone dives for cover in the inferno.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>Have my dragon ready when I return... or I will destroy everything you love.<\/dialogue>\n    <scene_description>Hiccup looks around through the swirling smoke and embers, seeing shapes take flight through the open ceiling. Our heroes rush out after the, but Grimmel is gone. Hiccup and Valka exchange shaken glances against the backdrop of burning buildings. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. BERK - GREAT HALL - NIGHT<\/stage_direction>\n    <scene_description>SQ.1001 - HICCUP'S PLAN OUTSIDE, a dark and stormy night. A loud, fussy crowd sounds from inside the Great Hall. INSIDE, All of Berk's Vikings are gathered. Hiccup stands before them at the head table, with Toothless safely by his side.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Alright, alright everybody! Settle down, please!<\/dialogue>\n    <parenthetical>(turning to Fishlegs)<\/parenthetical>\n    <dialogue>Fishlegs, have you ever seen that species of dragon before?<\/dialogue>\n    <scene_description>Fishlegs is slumped at a table. He sits up, raises his finger in the air to speak, then falls over, passing out again.<\/scene_description>\n    <character>SPITELOUT<\/character>\n    <dialogue>Let me at him!<\/dialogue>\n    <character>HOARK<\/character>\n    <dialogue>I'll give him a piece of my mind! And by mind, I mean fists.<\/dialogue>\n    <scene_description>He PUNCHES OUT the Viking next to him. The crowd ROARS in agreement.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Did you miss the part where we almost died? Have you seen my house?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>This is a new kind of enemy. And I underestimated him. Now that's on me. But I will not do that again.<\/dialogue>\n    <character>SNOTLOUT<\/character>\n    <dialogue>We're Vikings! We don't run from a fight. At least I don't.<\/dialogue>\n    <parenthetical>(accusingly, to Eret)<\/parenthetical>\n    <dialogue>You might.<\/dialogue>\n    <scene_description>Eret throws him a baffled glare.<\/scene_description>\n    <character>ERET<\/character>\n    <dialogue>I agree with Hiccup. We haven't seen the last of Grimmel. He's a predator. Single minded and patient. He won't stop until he gets what he wants.<\/dialogue>\n    <character>VALKA<\/character>\n    <dialogue>I'm with Eret. We have to take this threat seriously.<\/dialogue>\n    <scene_description>She nods to Eret. RACK FOCUS to Snotlout, fuming.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Grimmel is just a sign of the times. Our enemies are getting smarter, more determined. We're not just overcrowded, we're exposed and vulnerable.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Short of full blown war and risking everyone we love, I don't... I don't see a way of staying here any longer.<\/dialogue>\n    <scene_description>Indignant PROTESTS sound out from the agitated crowd. Astrid sinks her axe into the table, silencing them.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Hey! Hear him out.<\/dialogue>\n    <scene_description>She gives Hiccup an encouraging nod. He grins, appreciative of the support.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>If we want to live in peace, with our dragons, we need a better plan.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>So, what are you saying, Chief?<\/dialogue>\n    <scene_description>Hiccup looks out over his people, taking a BREATH.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>I'm saying we have to disappear, off the map. Take the dragons to a place where no one will find them.<\/dialogue>\n    <character>HOARK<\/character>\n    <dialogue>And where might that be?<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>He's talking about a quest for Hidden World.<\/dialogue>\n    <character>PHLEGMA<\/character>\n    <dialogue>The hidden what?<\/dialogue>\n    <scene_description>Ruffnut cackles.<\/scene_description>\n    <character>RUFFNUT<\/character>\n    <dialogue>Out to lunch.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>My father was obsessed with it when I was a boy. He made notes and maps in search of the ancestral home of all dragons, tucked away somewhere beyond the edge of the world. It may be the solution we need.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>We're dragon people. It's where we belong.<\/dialogue>\n    <scene_description>Fussy MURMUR builds anew. Hiccup takes in the glum, disapproving faces.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Look, I know this is our home. My father left me to protect it.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But Berk is more than this place.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>We are Berk. The people, the dragons. I say Berk is wherever we go.<\/dialogue>\n    <scene_description>Silence. Suddenly, Tuffnut throws up his fists.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>I'm with him! Who else?!<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OPEN SKIES - DAY<\/stage_direction>\n    <scene_description>SQ. 1091 - The Quest Gone West The entire Berkian flock of dragons cruises through a glorious cloudscape of towering cumulous skyscrapers, hauling their riders and everything they can carry -- including an entire Viking ship loaded with supplies, and one loaded with sheep, dressed in dragon costumes. One of them exchanges a nervous look with a passing Monstrous Nightmare. Hiccup is at the head of the pack. A flurry of dragons and riders follow him into the distance, over miles of endless sea, toward a late, setting sun. The horizon is gleaming and bright, filled with promise. The crowd of dragons and their riders are parted by Fishlegs, who uncomfortably makes his way through the crowd with the screaming baby Gronckle on his back.<\/scene_description>\n    <character>FISHLEGS<\/character>\n    <dialogue>Ah, excuse me, coming through...let me just get right through here. Fishmeat look! Eat your rocks, eat your rocks!<\/dialogue>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Gods! People who fly with babies are the worst!<\/dialogue>\n    <scene_description>Fishmeat burps up a slug of molten lava, barely missing Snotlout's head, Gobber pushes through the front line of the formation, past Valka and Astrid, toward Hiccup. He eyes the horizon, then turns to Hiccup.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>I feel like I'm always asking you this question but -<\/dialogue>\n    <scene_description>Suddenly, he starts to dip below frame.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>WHOA! Wake up, Grump! Wake up! Is there an actual plan or--<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>-- just keep flying until we reach the end of the world.<\/dialogue>\n    <scene_description>Gobber eyes the horizon again, grimacing.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Ah. Seems... sensible.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERK - DAY<\/stage_direction>\n    <scene_description>A massive armada is gathered offshore. Berk is lies completely deserted. Sign of a hasty departure everywhere. Grimmel sits at the base of the Stoick statue, munching an apple skewered from the tip of his dagger. A map is spread out at his feet. He ponders it, casually chewing. His Deathgrippers HISS and gather as the warlords approach, mounting the steps as they take in the abandoned village. Below, their soldiers spread out, searching the buildings.<\/scene_description>\n    <character>CHAGHATAI KHAN<\/character>\n    <dialogue>So? Where are they?<\/dialogue>\n    <scene_description>Grimmel holds up his hands, gesturing to the surroundings.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>Gone, obviously.<\/dialogue>\n    <character>GRISELDA THE GREVIOUS<\/character>\n    <dialogue>The Night Fury escaped you? Again?<\/dialogue>\n    <scene_description>Grimmel smiles. Takes another bite from the apple.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>I encouraged it! They've abandoned their only defensible position.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OPEN SKIES - DAY<\/stage_direction>\n    <scene_description>The flock of dragons continue flying toward the horizon as we hear GRIMMEL'S VOICEOVER.<\/scene_description>\n    <character>GRIMMEL (V.O.)<\/character>\n    <dialogue>Running scared, with what little they can carry.<\/dialogue>\n    <scene_description>Snotlout pulls up on the other side of them, stretched out on Hookfang like he's riding a Harley.<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Ugh! It just keeps going.<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>That's 'cause the world is actually round.<\/dialogue>\n    <scene_description>Hiccup SIGHS, exasperated. Astrid and Valka giggle.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>The Sun's round. The Moon's round. Stars are round. Even though they're small and stupid.<\/dialogue>\n    <scene_description>Ruffnut SNICKERS.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>Right? Stars.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERK - DAY<\/stage_direction>\n    <scene_description>Grimmel continues to pace, placating the restless warlords.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>Don't fret. They won't get far. The Night Fury is distracted. I introduced him to your female.<\/dialogue>\n    <scene_description>He sticks his apple core on one of the Deathgripper's tusks. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OPEN SKIES - DAY<\/stage_direction>\n    <scene_description>Suddenly, Toothless' ear plates perk up.<\/scene_description>\n    <character>GRIMMEL (V.O.)<\/character>\n    <dialogue>Furies mate for life, you see.<\/dialogue>\n    <scene_description>He looks around, curious, tilting his plates like antennae.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Whatcha picking up on, Bud?<\/dialogue>\n    <scene_description>Toothless BABBLES back, perplexed, looking to the clouds above, narrowing his eyes. Hiccup and the Gang follow his stare. Above in the distance, a shape pierces a cloud, pulling a wispy trail in its wake. A gleaming, warbling, mirror-like form darts between the rounded formations, reflecting the golden cloudscape. As it cruises through the sky, an iridescent white dragon materializes out of thin air. Toothless EXCLAIMS, excitedly.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>The Light Fury!<\/dialogue>\n    <character>VALKA<\/character>\n    <dialogue>She's following us!<\/dialogue>\n    <scene_description>The Light Fury blasts a fireball ahead of her and flies through it, pulling a comet trail of flame and smoke. When it dissipates, she's gone, having vanished anew. The crowd \"OOHs\" and \"AWWs,\" slack-jawed faces grinning in amazement.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Would you look at that?<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>Where'd she go? Is she made of sky?<\/dialogue>\n    <scene_description>Elated, Toothless jackknifes upward, giving chase and CALLING out to her.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Whoa! Hold up, Toothless!<\/dialogue>\n    <scene_description>The Light Fury's warbling shape proves hard to track as her cloaking ability renders her nearly invisible. Toothless zigzags through the air, leaving the flock far below, determined not to lose her again. She punctures a towering cumulous and explodes out of the top, corkscrewing through the air and pulling wisps. She re- materializes at the top of her arc, suspended weightless in the air. Toothless GURGLES, enamored.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Well, look who it is!<\/dialogue>\n    <scene_description>She SNARLS and suddenly dive-bombs them. Hiccup's smile fades as she closes in. She swoops in and attacks Hiccup!<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Uhh-- AGGH!<\/dialogue>\n    <scene_description>BAM! He's snatched out of the air. She flaps off with Hiccup flailing in her clutches...<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Oh hey, it's really nice to finally -- AAGHH!<\/dialogue>\n    <scene_description>... and in one dismissive gesture, she hurls him out like the trash. Hiccup tumbles head over feet, plunging toward the sea. The Light Fury turns back to Toothless, GURGLING with a gaping, self-satisfied smile: \"There! You're free.\" Toothless looks toward Hiccup, now a plummeting speck. He turns back to the Light Fury, offers a forced smile: \"Thanks, but, uh...\" and dives to Hiccup's rescue, his locked tail encumbering his normal grace. The Light Fury watches, confused and a little insulted. Hiccup plunges past the flock, grimacing in humiliation.<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <dialogue>This is perfect. So great.<\/dialogue>\n    <scene_description>Toothless dives after him, collecting him back in the saddle. He preempts their snarky comments.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Not a word.<\/dialogue>\n    <scene_description>The group snickers. They arc back into the sky, rejoining the flock, as Toothless searches for any sign of the Light Fury. Alas, she's gone. Toothless MOANS, crestfallen. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERK - DAY<\/stage_direction>\n    <scene_description>One of the warlords interjects impatiently.<\/scene_description>\n    <character>RAGNAR THE ROCK<\/character>\n    <dialogue>Yes, yes, but where did they go?<\/dialogue>\n    <scene_description>He picks up a charred stick from a brazier next to him and begins marking the map at his feet with sooty strokes.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <parenthetical>(muttered)<\/parenthetical>\n    <dialogue>Must I explain this?<\/dialogue>\n    <parenthetical>(aloud, condescending)<\/parenthetical>\n    <dialogue>Night Furies can't survive in the cold, so they haven't gone north.<\/dialogue>\n    <scene_description>He crosses out the lands to the north of Berk. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OPEN SKIES - DAY<\/stage_direction>\n    <scene_description>The flock of dragons continues flying steadily toward the horizon as Grimmel essentially predicts their every move.<\/scene_description>\n    <character>GRIMMEL (V.O.)<\/character>\n    <dialogue>They are trying to put distance between themselves and enemies to the East and South.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERK - DAY<\/stage_direction>\n    <scene_description>On the map, Grimmel crosses out the lands to the East and South. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OPEN SKIES - DAY<\/stage_direction>\n    <scene_description>Hiccup sees a shape emerging between parting clouds ahead.<\/scene_description>\n    <character>GRIMMEL (V.O.)<\/character>\n    <dialogue>And Night Furies cannot fly long distances without rest.<\/dialogue>\n    <scene_description>A massive monolith of an island rises impressively from the sea, its thousand foot sheared cliffs pushing through a ring of clouds. The crowd is silenced. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERK - DAY<\/stage_direction>\n    <scene_description>He indicates a hopscotch-like path across islands toward the West.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>Their flight path must include stops.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OPEN SKIES - DAY<\/stage_direction>\n    <scene_description>Fishlegs breaks to the front of the crowd. POTTY BREAK! The convoy ascends the vertical granite cliffs of the towering island, piercing the ring of clouds that surround it. As they rise above, the spired battlements of sun-kissed stone give way to a jaw-dropping valley within.<\/scene_description>\n    <character>GRIMMEL (V.O.)<\/character>\n    <dialogue>Therefore they've gone... they can only have gone...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Does anyone want to take a guess?<\/dialogue>\n    <scene_description>A glimmering lake extends across the plateau, surrounded by verdant pastures and lush forests. Sparkling waterfalls cascade from the snowy peaks. And at the far end of the lake, a majestic terraced island sits perfectly poised to look out over the golden sunset. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERK - DAY<\/stage_direction>\n    <character>GRIMMEL<\/character>\n    <dialogue>Anyone?<\/dialogue>\n    <parenthetical>(sounding it out)<\/parenthetical>\n    <dialogue>Whu-whu-whu...<\/dialogue>\n    <scene_description>Ragnar places his ship piece on the eastern portion of the map.<\/scene_description>\n    <character>RAGNAR<\/character>\n    <dialogue>East!<\/dialogue>\n    <scene_description>Grimmel glares and moves it to the west.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>West! Simple! You see? Oh, isn't this fun? Yes? No. Yes!<\/dialogue>\n    <scene_description>The warlords leave, disgusted.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>Yes. Where's your love of the hunt? I thought you were conquerors! You'll have your prize in time. Just allow me a few more days to enjoy this.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I have dearly missed it.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MONOLITHIC ISLAND - DAY<\/stage_direction>\n    <scene_description>Sequence 1101 - New Berk Hiccup dismounts on the terraced new island, surveying the idyllic landscape, as Toothless paces, searching the sky for the Light Fury.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Alright. Looks like we're camping here for tonight.<\/dialogue>\n    <character>GOBBER (O.S.)<\/character>\n    <dialogue>Well, thank Thor for that!<\/dialogue>\n    <scene_description>Tuffnut drops to his knees, hands raised to the sky.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>Yes! My own place. I plan to build a hut, only for the bearded. Ruffnut, you gotta stay out. Chin whiskers don't count.<\/dialogue>\n    <scene_description>Snotlout pushes through them, framing the treetops with his hands.<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <dialogue>I see a tower of manliness in the shape of me.<\/dialogue>\n    <scene_description>He glares at Eret, unpacking Skullcrusher with flexed and shining biceps.<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <dialogue>It's gonna be taller that Eret. With bigger muscles.<\/dialogue>\n    <character>ERET<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Get outta my house!<\/dialogue>\n    <character>ERET<\/character>\n    <dialogue>Hey, is there a problem here?<\/dialogue>\n    <scene_description>Snotlout puffs himself up, pressing chest to waist against Eret.<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Yeah, there's a problem. Ever since you showed up you've been trying to upstage me! You're just so jealous! It's delusional.<\/dialogue>\n    <character>ERET<\/character>\n    <dialogue>Yeah, delusion's a good word for it.<\/dialogue>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Listen, son of Eret! When Hiccup blows it as chief, I'm next in line. Number 2, because I'm clearly Valka's favorite. So, you better start showing me some respect!<\/dialogue>\n    <scene_description>Snotlout stomps off.<\/scene_description>\n    <character>ERET<\/character>\n    <dialogue>Huh. Strange little man.<\/dialogue>\n    <scene_description>Gobber gives Eret a sympathetic pat.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Don't mind him. It's not your fault that you have the body of a Norse god.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I myself have the same problem.<\/dialogue>\n    <scene_description>He cracks his back and shrieks out in pain. He takes a pick- axe from Grump's saddlebag and plants it in the dirt.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Blacksmith stall goes right here.<\/dialogue>\n    <scene_description>He recoils in horror when he suddenly finds himself face to face with a gaggle of Hobgobblers. He starts counting them, confused that they've somehow multiplied.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Gah! 1, 2... 3, 4, 5...<\/dialogue>\n    <scene_description>Viking immediately start calling out, staking their claims: \"This one's mine!\" \"I spotted it first\" \"Bah! I'll fight ya for it!\" Etc.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Okay. Hold on, Gang. I said make camp...<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Did you see them?!<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>...Not build a new village.<\/dialogue>\n    <scene_description>FUSSY PROTESTS issue from the travel-weary crowd. \"Come on.\" \"Are you serious?\" Etc.<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Who died and made you chief?<\/dialogue>\n    <scene_description>Groans fill the air in unison. Eyes roll. Gothi flies by in a basket carried by Terrible Terrors. She cracks him on the head with her staff.<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <dialogue>What? Ow!<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Granted, this place is very nice, but it's not the Hidden World.<\/dialogue>\n    <character>HOARK<\/character>\n    <dialogue>We don't even know if this Hidden World exists.<\/dialogue>\n    <character>ACK<\/character>\n    <dialogue>Yeah, this place is real.<\/dialogue>\n    <scene_description>The crowd SOUNDS OUT in agreement. Valka chuckles, approaching.<\/scene_description>\n    <character>VALKA<\/character>\n    <dialogue>There's nothing more stubborn than a mob of tired, hungry Vikings.<\/dialogue>\n    <scene_description>Hiccup SIGHS.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Yeah, well, I guess this can work as a base in the meantime. Defensible. Hidden...<\/dialogue>\n    <parenthetical>(aloud, to the group)<\/parenthetical>\n    <dialogue>All right. You can stay.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Say hello to New Berk! Let's get building, lads!<\/dialogue>\n    <scene_description>The crowd CHEERS, tossing helmets.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Until Toothless and I find the Hidden World.<\/dialogue>\n    <scene_description>BOOS sounds out. Tuffnut pulls him aside.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>Now about that voice. Can we lose the whole honking goose thing? It's hard to imagine wedded bliss with that going off every minute.<\/dialogue>\n    <scene_description>Hiccup grimaces and walks off with Valka.<\/scene_description>\n    <character>VALKA<\/character>\n    <dialogue>If you're going to continue West, I should head back to make sure we weren't followed.<\/dialogue>\n    <scene_description>Snotlout appears, grinning.<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Great idea. I'll go with you. For protection.<\/dialogue>\n    <character>VALKA<\/character>\n    <parenthetical>(horrified)<\/parenthetical>\n    <scene_description>NO! (then, covering) Y-you're far too important here.<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>He saunters off, chest puffed out.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Just... be careful.<\/dialogue>\n    <scene_description>He can see that she is holding back.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Valka considers her words, carefully.<\/scene_description>\n    <character>VALKA<\/character>\n    <dialogue>This plan to hide us from the rest of the world... though I wish it were possible, I fear it can't last, Hiccup.<\/dialogue>\n    <character>VALKA<\/character>\n    <dialogue>You know I tried to do the same for years, but greedy humans always find a way. I just... I only ask that you think about it.<\/dialogue>\n    <scene_description>She walks off, leaving Hiccup to consider her advice. He turns to Astrid as she strokes Stormfly affectionately and sets about unpacking her saddle.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Do you still think I'm crazy, or...?<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Let's just say this whole idea is very... you.<\/dialogue>\n    <scene_description>Hiccup smiles.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Well, thanks for supporting me last night. It meant a lot.<\/dialogue>\n    <scene_description>She pulls Stoick's notebook from a crate and hands it to Hiccup.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Don't thank me yet. I just hope you're right about this.<\/dialogue>\n    <scene_description>She walks off, leaving him to contemplate the book. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW BERK - CAMP - HICCUP'S TENT - NIGHT<\/stage_direction>\n    <scene_description>SQ. 1501 - LURED AWAY Hiccup has fallen asleep, book on his chest. Toothless slumbers beside him, gnawing the prosthetic leg. Suddenly, Toothless awakens, stirred by some unheard sound, and knocks Hiccup off the bed.<\/scene_description>\n    <character>HICCUP<\/character>\n    <parenthetical>(still half-asleep)<\/parenthetical>\n    <dialogue>Toothless, no, it's too early...<\/dialogue>\n    <scene_description>Toothless raises his head and twitches his ear plates, following the sound of soft, stealthy patters of feet moving through the camp. The sound of sniffing grows closer. A moonlit shadow appears on the canvas tent wall, cutting the silhouette of the Light Fury. Toothless' eyes flare excitedly and he quickly slips out of the tent flaps... only to find no one there. Between a pair of tents, a dragon outline warbles in the moonlight like a fun-house mirror in movement. It stops, aware of Toothless' presence. The mirror effect dissipates as the Light Fury's scales cool down, leaving the two dragons staring face to face. Toothless rushes toward her, excited, but she utters a snarl, stopping him in his tracks with a \"Hush, you'll wake them.\" He holds his pose. She slips off between the tents, disappearing from view and he follows. He trots after her, between the tents and palettes of supplies. She lures him away, disappearing, then reappearing. As she weaves through the camp, their movements fall in sync, like a kind of dance. She leads him into the pasture beyond the camp. The moonlight plays upon her sleek body, glimmering over her rolling shoulders as she slinks through the grass like a lioness. Toothless follows, mesmerized.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW BERK - WOODS - MOMENTS LATER<\/stage_direction>\n    <scene_description>SQ. 1601 - FIRST DATE Toothless zigzags through the woods, determined not to lose the Light Fury again. Finally, he spots her coming to a landing on...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW BERK - BEACH - MOMENTS LATER<\/stage_direction>\n    <scene_description>... a sparkling lake-side beach flanked by tall, grassy bluffs. The Light Fury shakes out her wings and folds them, rolling her neck in the dim twilight of dawn. Toothless stands at the top of the bluff, looking down at her. She turns, waiting to see what he will do. Toothless tries to look regal and composed and prepares to descend the bluff, but he immediately loses his footing on the loosely packed sand. He tumbles down the steep incline, coming to a messy landing. He pops up to his feet, shaking off the embarrassing spill. The Light Fury watches him, confused, and sits down facing him. Meanwhile, Hiccup settles in to the bluff above where Toothless was, lying on his stomach to watch while remaining undetected. The Light Fury reattempts the invitation to the courtship dance. She settles, awaiting his move. Toothless stares, uncertain of what to do. He glances back toward Hiccup, hidden in the grass. Hiccup mimes, flapping his arms and throwing his head back. Toothless takes the cue and flaps his wings excitedly, beaming a gleeful smile. The Light Fury is unimpressed, and grooms herself disinterestedly. Toothless looks back up at Hiccup for support. Hiccup starts to mime another wing-flapping behavior, but he steps on a twig and dives back into the grass, afraid of detection. The Light Fury looks up toward the sound, but does not see Hiccup. She turns back to Toothless, now looking somewhat wary and suspicious. Toothless smiles awkwardly and begins to hover toward the Light Fury as she eyes him, confused. He gets a little too close and kicks up a spray of sand all over her. Toothless glances back to Hiccup: \"What now?\" Hiccup tucks his thumbs in his armpits and paces, jutting his head in and out like a chicken. Toothless imitates Hiccup, clucking around the beach awkwardly. The Light Fury watches, confused by the strange display. Seeing that it isn't working, Toothless tries a desperate medley of mating displays, each one more ridiculous than the last. Hiccup covers his eyes with his hands, cringing at Toothless' disastrous display. As Toothless nears her, she swats at his face like a cat and flaps off to a nearby tree, hanging herself inverted from its limbs. She snaps her wings closed, covering her face. Toothless approaches the tree and creeps out onto the limb. Hiccup waves his hands, miming that it will break under his weight. Toothless misinterprets the signal and begins bouncing on the branch. The Light Fury opens her wings, annoyed, as Toothless bounces her up and down. The limb snaps, sending Toothless crashing head-first into the sand. He shakes off the dizzying thump as the Light Fury peeks through a wing, then snaps it shut. Toothless shakes his head, frustrated. He eyes the broken branch at his feet and gets an idea. He picks it up and begins to draw in the sand. The Light Fury opens an eye, and then the other, squinting in curiosity. Toothless works feverishly, going over his lines repeatedly, brushing sand over them with his tail when he makes a mistake. Curious, the Light Fury drops from her perch and slowly approaches, tilting her head, taking it in, amused. As he finishes, Toothless steps back to reveal a childish portrait of the Light Fury etched in the shimmering sand. Toothless adds a smile, completing the portrait. Hiccup is baffled by the display.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Oh, now you can draw?<\/dialogue>\n    <scene_description>She steps on one of Toothless' lines in the sand. He snarls reactively -- but she snarls back, sharply. He recoils apologetically. She crosses over the drawing toward Toothless... and touches his nose with hers. Toothless beams a dopey grin. The Light Fury turns and flaps off, attempting to lead him away. Toothless tries to follow, but crashes down into the sand and rocks repeatedly due to his unmanned tail. The Light Fury circles, waiting for him to take wing, confused. Toothless tries desperately to join her, but cannot. The Light Fury spots Hiccup, spying from the bushes, and flies off with a snort, as Toothless dives after her, distraught. He lands in the water and looks mournfully after her, half submerged. He glares at his useless tail, and slaps it down into the water. He hangs his head. Hiccup watches from above, looking guilt-ridden. He gets an idea. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW BERK - DAY<\/stage_direction>\n    <scene_description>Sequence 1801 - Automatic Tail Astrid walks up, eyeing schematic drawings of a new prosthetic tail, pinned up on a wall. She studies them curiously.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Oh, someone hasn't slept.<\/dialogue>\n    <scene_description>Hiccup grabs a handful of black Toothless scales and drops them into a mortar. He mashes them up with a pestle.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Well, that Light Fury won't let me within a mile of her. And neither of us will be getting any sleep or finding the Hidden World until Toothless takes over.<\/dialogue>\n    <scene_description>Hiccup is toiling away at a makeshift workbench as Toothless hovers over him, panting. As Hiccup peers through a magnifying glass, Toothless pushes his face aside to look, steaming up the glass.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Hey! What do you think of that? Yeah!<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>You tried this once before. He didn't want it.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Until now, he didn't have a reason to. Right, bud?<\/dialogue>\n    <scene_description>Hiccup holds up the mortar to Toothless. On cue, Toothless SPITS into it, adding slobber to the mixture. Astrid smiles. Hiccup grabs a paintbrush and meets her eyes.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>No, nothing. I'm impressed. I mean, look at you, embracing change. I'm proud of you.<\/dialogue>\n    <scene_description>Hiccup shrugs, painting the tail.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Well, he's my best bud. I want him to be happy.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Besides, it's just until he brings her back.<\/dialogue>\n    <scene_description>Astrid rolls her eyes. Hiccup finishes coating the tail in paint. He lifts and splays it in front of Toothless. Toothless GURGLES in awe.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Alright. Fire when ready!<\/dialogue>\n    <scene_description>Toothless produces a small fireball. It washes over the paint, drying it instantly. He then holds it up for Toothless, who blasts it with fire. He folds the tail, revealing Gobber, covered in soot and glowing embers.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Well. I guess you know the tail is fireproof.<\/dialogue>\n    <scene_description>Hiccup cringes as Toothless runs around, frantically.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Okay, Toothless! Okay, yes I know, I know -- shh shh shh. Okay, I know.<\/dialogue>\n    <scene_description>He attempts to fit the new prosthetic as Toothless wags his tail excitedly.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Please. This is not helping.<\/dialogue>\n    <scene_description>Eret walks up, carrying an armload of construction logs.<\/scene_description>\n    <character>ERET<\/character>\n    <dialogue>Well, well, well! Someone's excited.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Fresh off of his first date. Now, he's love-crazed.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Only WE'RE the ones going crazy. The sooner he brings back that Light Fury, the better!<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Yeah but to do that, he'll need to fly without me. So time to give this new-and-improved baby a shot.<\/dialogue>\n    <scene_description>Toothless dances in place, excitedly. Hiccup straddles his tail, bracing it between his legs, and attaches the prosthetic, affixing the matching brace to Toothless' natural half-tail.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Attaboy! Lookin' sharp, Toothless! So, what do you think, bud?<\/dialogue>\n    <scene_description>Toothless flares, tilts, and collapses his half-tail. The automatic prosthetic mirrors every movement with geared precision.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Bring her home.<\/dialogue>\n    <parenthetical>(aping Stoick)<\/parenthetical>\n    <dialogue>By sundown at the latest.<\/dialogue>\n    <scene_description>Toothless smiles, gurgling excitedly. He wipes a slobbery tongue across his face.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Pfft! Save it for your girlfriend! Go on, get out of here!<\/dialogue>\n    <scene_description>Toothless bounds off -- then pauses, suddenly aware of the magnitude of his newly gifted independence. He turns back to Hiccup, looking uncertain.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>It's okay.<\/dialogue>\n    <scene_description>Toothless smiles, and with an eager down-flap, he takes wing, racing off into the sky -- awkwardly at first. After a few wobbly maneuvers, he gets the hang of it and flaps off with grace. Toothless vanishes into the distance. Hiccup's smile fades, leaving him stirring awkwardly. He limps off as Gobber and Eret avert their eyes. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OPEN SKY - DAY<\/stage_direction>\n    <scene_description>Sequence 1871 - Spy Mission Valka and Cloudjumper cruise over a cloudy sky. Below, fog covers the open sea like a blanket. A break in the fog reveals a lone ship below. Valka steers Cloudjumper toward it. As they descend toward it, the thinning fog reveals a vast armada at sea. Valka takes it in, concerned. Her gaze moves up to see a strange FLOATING AIRSHIP hovering menacingly. Suddenly, a Deathgripper explodes of the fog, tackling Cloudjumper, mid-air! Valka is knocked from her standing position. She hooks her staff to Cloudjumper's crown of spikes and swings to a rough landing on his flank. A second Deathgripper attacks from the other side, its exposed tusks gashing Cloudjumper's side and barely missing Valka. It raises its scorpion-like tail, exposing the glistening barb.<\/scene_description>\n    <character>VALKA<\/character>\n    <dialogue>Watch out!<\/dialogue>\n    <scene_description>It strikes! Valka parries, knocking the barb shy of its target. One of the Deathgrippers clamps down onto Cloudjumper's wing with its serrated pincers. Cloudjumper grabs it in its massive talons and rips it free, tearing a gash in his own wing.<\/scene_description>\n    <character>VALKA<\/character>\n    <dialogue>Go, Cloudjumper!<\/dialogue>\n    <scene_description>Cloudjumper flaps off in retreat. The Deathgrippers CACKLE and give chase, but suddenly halt as a distant, piercing whistle sounds out. They obediently retreat as Cloudjumper flees. ON GRIMMEL, watching as Cloudjumper and Valka recede into the fog. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OPEN SKIES - SUNSET<\/stage_direction>\n    <scene_description>SQ. 2001 - ROMANTIC FLIGHT As a band of yellow glows on the horizon, Toothless thunders through the sky, searching high and low. He spots a shadow, dimly cast against passing clouds, and doubles back, only to realize that it's his own. He BLASTS A FIREBALL, frustrated, and flaps along listlessly, tired and discouraged. At length, he banks and turns around, defeated. Head hung low, he glides through a blanket of cloud. His ear plates twitch at the sound of a distant explosion. He twists his head around and lights up, hopeful. He looks around, twitching his plates, desperate for any sign of the Light Fury. Detecting something, he turns to his side. The Light Fury materializes, head to tail, out of thin air -- her mirror-like scales cooling in the wind. Toothless exclaims, ecstatic, showing off his new tail. She peels off, coyly. Toothless gives chase, determined not to lose her again. She looks at him before blasting a ball of fire and flying through it, as if to say, \"Watch! I'll teach you\". Toothless chases her into the fiery funnel, close on her tail. When he emerges from it, she's gone -- once again disappeared. Toothless looks every which way, then spots her far above, heaving her wings into a storm cloud. Toothless jackknifes skyward and pours on the speed, catching up in the flashing thunderhead. As lightning crackles all around, Toothless tries to replicate the Light Fury's cloaking ability. He blasts a fireball and flies through it. He looks at himself as he emerges -- nothing's changed. She shows him again, firing another blast and diving through it, disappearing with grace. She reappears moments later by his side, chortling: \"Try harder. You can do it.\" Brow furrowed in determination, Toothless inhales deeply and blasts a larger fireball. He dives through it, but once again emerges unchanged. Toothless is embarrassed; he so clearly wants to impress her. He 'blushes' glowing blue and ROARS in frustration. Suddenly, his rage draws the surrounding electricity of the thunderhead. Lightning bolts strike him from every direction, producing a blinding flash. As it dissipates, he's gone. The Light Fury looks around, concerned. She calls out. Nothing. Then, as her panic sets in, Toothless reappears in the distance, his own scales cooling off. He spirals, dizzy and dazed. The Light Fury races to him, elated, exclaiming, \"You did it!\" She bolsters him as he smiles, groggy but proud, clearly sapped by the jolting experience. Together, they pierce the top of the thunderhead, rotating around one another, face to face. They reach their apex and cease flapping, slowing to a halt against a crescent moon. Toothless leans in, nuzzling her, nose to nose, while they hang momentarily. He steals a kiss -- a quick lick. Her eyes flare, surprised by his cheekiness, as she falls backward into an inverted swan-dive, wings outstretched. Toothless mirrors her. Their silhouettes peel apart against the pale moon as they spiral into a free fall, sounding out in glee. As layers of cloud pass them by, the Light Fury gracefully arcs over the water. Toothless glides beside her, beaming a dopey, gummy smile. She extends her wing tip to touch his own. They glide, side by side, hand in hand. He coos, reveling in the moment. She steers Toothless toward a distant column of mist, rising into the night. They climb, higher and higher as the curious sight takes on definition. Through the column of mist, Toothless spies what appears to be a gargantuan hole in the sea (created by an undersea volcano meeting the surface). Immense waterfalls form a near- perfect circle, roaring thunderously into a chasm of epic proportion. It appears to be a mile wide, maybe more. As Toothless squints, perplexed, the Light Fury turns to him, uttering softly: \"My home.\" He stares at her, nodding in understanding. He gurgles back: \"Take me there.\" She grabs hold of his talons, surprising Toothless. Together they tumble through the air like fighting eagles, dizzily plunging into the mist of the vast hole... and disappearing into its mysterious depths. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW BERK - DAY<\/stage_direction>\n    <scene_description>SQ. 2151 - Recon Report CLOSE ON A pair of tankards smash together. Frothy mead spills everywhere.<\/scene_description>\n    <character>HOARK<\/character>\n    <dialogue>TO THE CHIEF!<\/dialogue>\n    <scene_description>Roaring WHOOPS fill the air. Hiccup is jostled on the shoulders of merry Vikings, carried through the toasting crowd. They toss him up in the air in celebration, sending him higher with each throw.<\/scene_description>\n    <character>ACK<\/character>\n    <dialogue>To the chief!<\/dialogue>\n    <character>PHLEGMA<\/character>\n    <dialogue>Oh, a chip off the old block!<\/dialogue>\n    <character>SPITELOUT<\/character>\n    <dialogue>Stoick would be proud!<\/dialogue>\n    <scene_description>As sun sets on New Berk, a feast rages in full swing. A bonfire roars in the center of the plaza. Buildings stand in mid-construction as the raucous Berkians celebrate the day's work in true Viking fashion. Dragons join in on the fun.<\/scene_description>\n    <character>HICCUP<\/character>\n    <parenthetical>(mid-air)<\/parenthetical>\n    <dialogue>Okay guys, now I'm just getting sick.<\/dialogue>\n    <scene_description>They set Hiccup down. He laughs halfheartedly and stumbles, stifling some vomit. Gobber scoops him close, throwing his prosthetic mug attachment around Hiccup, spilling mead all over him.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Gotta say, I thought you were well off yer rocker, but this spot ain't half bad.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>This was supposed to be a temporary solution.<\/dialogue>\n    <scene_description>Eret walks up, taking in the merriment with a smile.<\/scene_description>\n    <character>ERET<\/character>\n    <dialogue>It's unanimous, everyone agrees we've definitely traded up. Well done, Chief.<\/dialogue>\n    <scene_description>Hiccup laughs nervously, but continues eyeing the sky, antsy, his mind elsewhere.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>What if the tail broke? What if Grimmel found him? What if he needs me?<\/dialogue>\n    <scene_description>Gobber swipes a tankard of mead from a passing Viking and shoves it in Hiccup's hands.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Would you relax? He's probably having the time of his life.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>How would I know? She never comes around. And when she does, she's always rushing off.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm saying, how do we know if she's right for us?<\/dialogue>\n    <scene_description>Gobber raises an eyebrow.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Us?<\/dialogue>\n    <scene_description>Hiccup shrugs off Gobber's arm and hands the tankard to another passing Viking. He takes it happily, swilling as he staggers off.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>You know what I mean. She's so wild and skittish. I'm just gonna say it -- I don't trust her.<\/dialogue>\n    <scene_description>Gobber laughs heartily.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Can't tame 'em all, Hiccup. One day, you'll have to snip those apron strings and let Toothless stretch his wings. Reminds me of a talk I had with Stoick about you.<\/dialogue>\n    <scene_description>The advice sits poorly with Hiccup. Gobber notices a pack of Hobgobblers, eyeing him from the bushes, their blank eyes glimmering in the light of the bonfire.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Gah! Where do they keep coming from?!<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Who?<\/dialogue>\n    <scene_description>Hiccup glances at the underbrush. They're gone.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Those bloody Hobgobblers! I swear they're popping up faster than rabbits.<\/dialogue>\n    <scene_description>Hiccup grins, shaking his head.<\/scene_description>\n    <character>GOBBER<\/character>\n    <parenthetical>(whispered)<\/parenthetical>\n    <dialogue>I think they want to eat me. Evidence would suggest I'm tasty.<\/dialogue>\n    <scene_description>He wiggles his prosthetic arm and wooden leg as proof. Tuffnut pops in from out of nowhere, startling them.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>Hiccy. A moment? Listen, I've been watching you walk. Lose the limp. No one's gonna marry that.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>I have a prosthetic leg.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>So have I!<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>And I have a parasitic twin, but you don't see me limping around about it. C'mon.<\/dialogue>\n    <scene_description>They continue to walk back toward the village. Gobber trails behind, still looking around anxiously. He glances back over his shoulder and suddenly, the pathway is full of Hobgobblers again. He yelps and runs off.<\/scene_description>\n    <character>TUFFNUT (O.S.)<\/character>\n    <dialogue>Chin up, Hiccy. Puff out that chest. Move that butt to the left a little bit.<\/dialogue>\n    <scene_description>Suddenly, Cloudjumper flaps past them. He comes to a landing in the center of the plaza, clearly injured. Valka dismounts, looking disheveled. Hiccup heads over, concerned.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Mom! Are you hurt? What happened out there?<\/dialogue>\n    <scene_description>Astrid joins, looking alarmed.<\/scene_description>\n    <character>VALKA<\/character>\n    <dialogue>I don't know how, but Grimmel is tracking us.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Gah! This is all because of the Hobgobblers!<\/dialogue>\n    <character>VALKA<\/character>\n    <dialogue>He has a hundred ships - maybe more. With enough cages for all of our dragons.<\/dialogue>\n    <scene_description>Hiccup's brow furrows as he tries to come up with a plan.<\/scene_description>\n    <character>HICCUP<\/character>\n    <parenthetical>(takes a deep breath)<\/parenthetical>\n    <dialogue>If Grimmel is leading them here, we have to take him out of the mix.<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>Uh, and how would we do that?<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>By going there to capture him.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Capture him?<\/dialogue>\n    <scene_description>The group goes silent, grimacing at the dubious plan.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAVEN POINT TRAPPERS' FORT - NIGHT<\/stage_direction>\n    <scene_description>Sequence 2181 - Trap! CLOSE ON A jar -- with a patch of leather stretched over the mouth of it. A thin, sharp spike pierces the taut skin. Venom drips from it into the container. RACK to reveal Grimmel, watching through the warbled glass. He grins. PULL BACK to reveal a Deathgripper, obediently retracting its scorpion-like tail and glistening, exposed stinger. Grimmel carries the jar to a broken down bench in the ruins of a forgotten old fort. He removes the leather seal and carefully pours the venom into several dismantled darts. He WHISTLES, calmly reassembling them in the glow of an oil lamp. OUTSIDE Shapes blur past. In the distance, dragon silhouettes fly low to the water, coasting silently, then arcing up as they reach the rocks. Hiccup sits behind Astrid on Stormfly. Astrid turns to Hiccup, and he nods. Hiccup dives from Stormfly, throwing open his wing-suit to glide and break his fall. ON THE GROUND Hiccup touches down with a quiet thud, then rises, quickly stowing his wings. He looks around, counting his team as they stand, each dressed in dragon armor, stowing their own wing flaps. He gestures to split up. Astrid nods, then scurries up the rocks toward the glowing window. INSIDE Grimmel lifts his hand and gestures toward the door, and his Deathgrippers rise and scuttle out of the room, sniffing the air and hissing, entering... THE FOYER, a large open beamed room, though most of its beams have caved in forming a crisscrossed, disheveled maze. Wreckage litters the floor. Moonlight spills in from demolished walls. The Deathgrippers HISS in unison, tusks extending from their heavy jaws. They spilt up, searching the area, keenly aware of the intruders and determined to hunt them down.<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <parenthetical>(whispered)<\/parenthetical>\n    <dialogue>Okay, split up. We'll be harder to catch.<\/dialogue>\n    <scene_description>The group completely ignores Snotlout.<\/scene_description>\n    <character>ERET<\/character>\n    <parenthetical>(whispered)<\/parenthetical>\n    <dialogue>I was thinking we should split up. Just because.<\/dialogue>\n    <character>VALKA<\/character>\n    <parenthetical>(whispered)<\/parenthetical>\n    <dialogue>I like your instincts.<\/dialogue>\n    <scene_description>They rush off together, leaving Snotlout behind.<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <dialogue>What is this?!<\/dialogue>\n    <scene_description>Hiccup and his team dart between lumps of wreckage, climbing and slipping out of view each time a Deathgripper rounds a corner, narrowly evading detection. Hiccup points to the lit doorway, indicating the target. Above, Hiccup carefully creeps up the crumbling stairway that leads to the lamp-lit room. He retrieves his dragon blade and rushes up the steps... finding it empty. CLOSE ON A slender hand, pulling a rope. Suddenly, nets drops from the turret, cascading down in every direction. In one fell swoop, Hiccup and his team are trapped inside with the Deathgrippers. Hiccup looks around, panicked. Fishmeat wakes and starts to WAIL. Hiccup glares at Fishlegs, shaking his head.<\/scene_description>\n    <character>FISHLEGS<\/character>\n    <parenthetical>(flustered)<\/parenthetical>\n    <dialogue>Shhh! Shhhh! Quiet!<\/dialogue>\n    <scene_description>A match strikes, lighting a lantern. Grimmel steps into view on the other side of the nets.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>Where's your dragon when you need him, hmm, Chief? Must have forgotten all about you.<\/dialogue>\n    <scene_description>Hiccup and the others rise from hiding, carefully eyeing the HISSING Deathgrippers, looking for an escape route.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>First rule of the hunt! Separate the prey from its pack. You've just removed yourselves from the equation!<\/dialogue>\n    <scene_description>The Deathgrippers close in on the prisoners awaiting Grimmel's signal.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Why are you doing this?<\/dialogue>\n    <character>GRIMMEL<\/character>\n    <dialogue>Really? I didn't think you cared.<\/dialogue>\n    <parenthetical>(with contempt)<\/parenthetical>\n    <dialogue>Well, unlike you, when I was a boy and I came upon a Night Fury, I killed it where it slept. That simple act of courage made me a hero in my village.<\/dialogue>\n    <parenthetical>(proudly)<\/parenthetical>\n    <character>GRIMMEL<\/character>\n    <dialogue>So I decided to kill every last one, bringing real peace to the people of this world.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Until you came along, preaching that dragons are something other than thieves and murderers. Pffft. That nonsense dies now. Starting with you.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>But you have dragons of your own.<\/dialogue>\n    <scene_description>Grimmel LAUGHS.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>These? They're dragon killers, drugged into obedience with their own venom. Not even your precious alpha could control them. They serve me and only me.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Allow me to demonstrate.<\/dialogue>\n    <scene_description>He WHISTLES. The Deathgrippers OPEN FIRE, blasting flaming acid in every direction.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Take cover!<\/dialogue>\n    <scene_description>The wreckage is instantly set aflame. Beams sizzle and snap, dissolved by the acid.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Split up!<\/dialogue>\n    <scene_description>Valka leaps out of the way of a blast, climbing a fallen beam toward the netted rooftop. She whirls her staff, creating an urgent, high-pitched whistle.<\/scene_description>\n    <character>VALKA<\/character>\n    <dialogue>Up here!<\/dialogue>\n    <scene_description>In response, Cloudjumper dives from the night sky, grabbing talon-fulls of netting and hoisting the ropes into the air with her four powerful wings. Valka slashes the taut ropes with her serrated, hooked staff, ripping a hole in the net.<\/scene_description>\n    <character>VALKA<\/character>\n    <dialogue>Hurry!<\/dialogue>\n    <scene_description>The team scrambles upward, climbing out of reach of the licking flames, as Stormfly, Meatlug, Skullcrusher, Hookfang, and Barf &amp; Belch close in.<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Go, go, go, go, go!<\/dialogue>\n    <scene_description>The Deathgrippers lunge after them, clawing their way up the wreckage with their heavy pincers, snapping ferociously at their heels. As Valka stretches the hole wide, the team dives through, plummeting in mid air. Each is grabbed by their passing dragons.<\/scene_description>\n    <character>VALKA<\/character>\n    <dialogue>Hiccup!<\/dialogue>\n    <scene_description>Lastly, Hiccup rushes through, glancing back at the inferno beneath. A Deathgripper explodes from the flames like a breaching Great White. He leaps out of the way as it chomps into the net, falling away, entangled. Valka hooks her staff onto Cloudjumper's talons and grabs Hiccup by the hand.<\/scene_description>\n    <character>VALKA<\/character>\n    <dialogue>Gotcha. Go, Cloudjumper!<\/dialogue>\n    <scene_description>Cloudjumper drops the net, allowing it to collapse upon the flaming wreckage, trapping the struggling the Deathgrippers as they writhe and ROAR in fury. The team escapes into the night sky as the GOREGUTTER flies in, following Fishlegs' commands.<\/scene_description>\n    <character>FISHLEGS<\/character>\n    <dialogue>Yeah! Our hero!<\/dialogue>\n    <scene_description>He lowers his head and uses his massive antlers to smash into the top of the tower, causing the top to collapse down onto the Deathgrippers. ON HICCUP, dangling, looking back. Sooty, eyes glazed, and rattled. ON GRIMMEL, watching them escape, seething. Ruffnut appears by his shoulder, brushing off ashes.<\/scene_description>\n    <character>RUFFNUT<\/character>\n    <dialogue>Ugh. He takes that stupid baby everywhere.<\/dialogue>\n    <scene_description>He grimaces, unnerved. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW BERK - PLAZA - DAY<\/stage_direction>\n    <scene_description>Sequence 2191 - We Need Him Stormfly touches down in the center plaza, carrying Astrid and Hiccup, as Gobber approaches, grimacing.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Thor almighty! Guess we won't be needing this then, huh?<\/dialogue>\n    <scene_description>He gestures toward a handmade cage behind him. The returning rescue team follows sheepishly, looking battered, sooty, and disheveled on the heels of the botched mission.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>I led us right into his trap.<\/dialogue>\n    <scene_description>Hiccup shakes his head, frustrated. Tuffnut SNICKERS.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>Yeah, nice work, Chief. Right, Ruff?<\/dialogue>\n    <scene_description>Silence. He looks over to see Barf's empty saddle.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Wait. Where is Ruffnut?<\/dialogue>\n    <scene_description>Tuffnut stares at the empty saddle, straining in thought.<\/scene_description>\n    <character>FISHLEGS<\/character>\n    <parenthetical>(panicked)<\/parenthetical>\n    <dialogue>We left her behind?<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>How could you not notice she was missing? You ride a two-headed dragon.<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>Oh yeah.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I feel like how Ruffnut is every day. Dumb.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Odin be spanked! This just gets better and better.<\/dialogue>\n    <scene_description>Hiccup tries to calm the upset, VOCAL crowd.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>I try to avoid looking at her. It gives me acid reflux.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Okay, guys, just keep your helmets on. Toothless and I will fly--<\/dialogue>\n    <character>HOARK<\/character>\n    <dialogue>Toothless has the Light Fury now. He's probably not even coming back.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>You gave him his freedom, Hiccup. What were you expecting?<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>I never thought he'd stay away for good.<\/dialogue>\n    <scene_description>He SIGHS, crestfallen. I..I... (beat) Look, I - I'll figure it out. I just need more time. He shuffles off, defeated. Astrid watches Hiccup and SIGHS. Valka approaches.<\/scene_description>\n    <character>VALKA<\/character>\n    <dialogue>He thinks he has to lead alone, because his father had to. He doesn't realize the strength you have together.<\/dialogue>\n    <scene_description>Astrid turns to her.<\/scene_description>\n    <character>VALKA<\/character>\n    <dialogue>Do you still believe in him?<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Of course. I wish he did. But he thinks he's nothing without Toothless.<\/dialogue>\n    <character>VALKA<\/character>\n    <dialogue>Then help him realize the truth.<\/dialogue>\n    <scene_description>BACK TO HICCUP, walking away from the crowd, rubbing his brow. He looks up to see Stormfly bounding up to him cheerily, with Astrid in the saddle. Stormfly SQWAKS, enthusiastically.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Get on. We're going to find him.<\/dialogue>\n    <scene_description>Hiccup lights up, relieved.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Really?<\/dialogue>\n    <scene_description>He climbs onto the saddle, calling back to the weary crowd.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Everybody stay put. We will get Ruffnut back. Don't worry.<\/dialogue>\n    <scene_description>He joins Astrid in the saddle as Stormfly takes to the air.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>Puh. Worry? If they're stuck with Ruffnut, I'm more worried about them.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAVEN POINT TRAPPERS' FORT - DAY<\/stage_direction>\n    <scene_description>Sequence 2195 - Ruffnut Freed Grimmel is looking down at his map, trying to concentrate.<\/scene_description>\n    <character>RUFFNUT (O.S.)<\/character>\n    <dialogue>Why the long face?<\/dialogue>\n    <scene_description>She SNICKERS.<\/scene_description>\n    <character>RUFFNUT<\/character>\n    <dialogue>I mean, mine's long, but yours is really long. All face and no brain. Like you got stretched at birth. Do you have a twin too? Tuffnut took up all the room in Mom's belly. Otherwise I'd have a rounder head and more brains. That's science.<\/dialogue>\n    <scene_description>Grimmel sneers, trying to ignore her. The silent Warlords exchange glares of exhaustion. Ruffnut toys with her braids, weaving them around like snakes.<\/scene_description>\n    <character>RUFFNUT<\/character>\n    <dialogue>My braids are like little Zipplebacks, see? Rawr rawr! Even the mold spots look like eyes. So cute. They even have little horns and everything, just like Barf and Belch, except me and Barf can't stand Belch, so they're really just Barfs. It's warm in here.<\/dialogue>\n    <scene_description>Grimmel shakes his head, unable to concentrate.<\/scene_description>\n    <character>RUFFNUT<\/character>\n    <dialogue>I know what you're thinking. You've never had a prisoner this hot. All the boys love me. Except Eret, who totally lost his chance. That ship has sailed, boy. Sorry! And Hiccup is practically married to that round head, Astrid. But Snotlout and Fishlegs, they're basically my harem.<\/dialogue>\n    <scene_description>Grimmel breaks his pencil and groans.<\/scene_description>\n    <character>RUFFNUT<\/character>\n    <dialogue>I just can't choose. Snotlout's a beefcake, but almost too pretty, you know? Sometimes I think he's more in love with himself than me. There's only room for one beauty in this relationship. Fishlegs would keep me alive longer if I had to eat one of them, stranded on some glacier somewhere, but he never shuts up about dragons. Don't you hate when people never stop talking?<\/dialogue>\n    <character>GRIMMEL<\/character>\n    <dialogue>Yes. I do.<\/dialogue>\n    <scene_description>Grimmel's captured dragon backs away from Ruffnut slowly, uncomfortable and slightly afraid.<\/scene_description>\n    <character>RUFFNUT<\/character>\n    <dialogue>They just keep going and going BLAH, BLAH, BLAH. It's so boring.<\/dialogue>\n    <character>GRISELDA THE GREVIOUS<\/character>\n    <dialogue>Can't we just feed her to your dragons?<\/dialogue>\n    <character>RUFFNUT<\/character>\n    <dialogue>Hey, what do you have to eat around here? I'm allergic to fish. You should know that. That's all they have at that stupid new island.<\/dialogue>\n    <scene_description>Grimmel raises his head from his hands, an idea suddenly dawning.<\/scene_description>\n    <character>RUFFNUT<\/character>\n    <dialogue>Do you have any clams? They're like little mouths with slimy food inside that's already chewed like the way Mom used to do it --<\/dialogue>\n    <scene_description>-- ENOUGH! Grimmel SWIPES the maps off of the table! The Warlords jump back. The compass sinks its spike into a mast, narrowly missing one of the Deathgrippers. Grimmel stomps over to the cage.<\/scene_description>\n    <character>RUFFNUT<\/character>\n    <dialogue>Until I turned twelve, and she was like, \"chew your own food!\" And I was like, \"No, I kinda like it!\"<\/dialogue>\n    <character>GRIMMEL<\/character>\n    <parenthetical>(grumbling)<\/parenthetical>\n    <dialogue>Most annoying creature ever to cross my path.<\/dialogue>\n    <character>RUFFNUT<\/character>\n    <parenthetical>(flattered)<\/parenthetical>\n    <dialogue>Aww.<\/dialogue>\n    <scene_description>He throws open the latch and swings the cage door wide. Ruffnut snaps at him with her dragon-headed braids.<\/scene_description>\n    <character>RUFFNUT<\/character>\n    <dialogue>Oops, you let the dragons out. I'm gonna get ya, I'm gonna get ya. No this one's gonna get ya!<\/dialogue>\n    <scene_description>He opens the adjacent cage. A timid dragon peeks his head out. The Deathgrippers scuttle over hungrily.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>Take him and go. Please. I beg you.<\/dialogue>\n    <parenthetical>(re: the dragon)<\/parenthetical>\n    <dialogue>The Deathgrippers will have to forgo dinner.<\/dialogue>\n    <scene_description>Ruffnut saunters out, sizing up the dragon.<\/scene_description>\n    <character>RUFFNUT<\/character>\n    <dialogue>Eww. You feed your dragons... dragons?<\/dialogue>\n    <scene_description>GO!<\/scene_description>\n    <character>RUFFNUT<\/character>\n    <dialogue>Where's your bathroom? I gotta...<\/dialogue>\n    <scene_description>He glares daggers.<\/scene_description>\n    <character>RUFFNUT<\/character>\n    <dialogue>OKAY! Gods. No wonder you have gray hair.<\/dialogue>\n    <scene_description>She climbs onto its back as the dragon looks around, confused.<\/scene_description>\n    <character>RUFFNUT<\/character>\n    <dialogue>Stress is not good for you.<\/dialogue>\n    <scene_description>Ruffnut LAUGHS victoriously as they flap off.<\/scene_description>\n    <character>RUFFNUT<\/character>\n    <dialogue>So long, losers!<\/dialogue>\n    <scene_description>Grimmel watches them go. His sneer becomes a grin. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OPEN SKIES - DAY<\/stage_direction>\n    <scene_description>SQ. 2201 - STORMFLY TRACKS Stormfly flies over the open water, following her nose and shifting course every few seconds as she carries Astrid and Hiccup. There's nothing but open sky and ocean as far as the eye can see.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Where is she heading?<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>She's tracking something, aren't you, Girl?<\/dialogue>\n    <scene_description>She pats Stormfly, who SQWAKS back, focused, sniffing the air. Hiccup SIGHS.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>There's nothing but miles and miles of...<\/dialogue>\n    <scene_description>Hiccup looks into the distance, suddenly silent. Astrid turns to see what he's looking at. They hurtle over crashing whitecaps toward what seems like nothing but a column of mist. A ROAR builds. Hiccup peers over Astrid's shoulder, baffled. They exchange looks. Stormfly suddenly pulls up, revealing a vast hole in the sea with thunderous waterfalls cascading inward. Hiccup and Astrid gawk, astounded, as Stormfly circles the epic, otherworldly sight -- a great volcanic caldera meeting the surface of the sea. The remains of shipwrecks litter the lower tier, wedged in the fang-like rocks of the chasm.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>A great waterfall...<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>At the end of the world.<\/dialogue>\n    <scene_description>Astrid meets his eyes. Suddenly, without warning, Stormfly dives into the caldera. AGGHH!<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Stormfly!<\/dialogue>\n    <scene_description>Hiccup wraps his arms around Astrid as they plummet, uncontrolled. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIDDEN WORLD - KING ISLAND - DAY<\/stage_direction>\n    <scene_description>SQ. 2301 - THE HIDDEN WORLD (PART 2) They emerge through a curtain of falling water... and into a vast, steamy chamber beneath the ocean floor. Terraced basins of collected seawater spill into a seemingly bottomless chasm, aglow with magma veins. Hiccup and Astrid gawk, bewildered, as Stormfly SNIFFS the air and switches direction. She flies them beneath a low overhang and into a tunnel. The darkness gives way to an otherworldly glow as the phosphorescent river beneath throws patterns up the tunnel walls.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Look!<\/dialogue>\n    <scene_description>Hiccup points out the shape of a bioluminescent SEA SHOCKER dragon, swimming in the currents below them. Stormfly follows the river to its end, dropping off of a cliff and into a massive gallery of columns, covered in bioluminescent fungi. Clusters of dragon eggs glow as Stormfly soars past. She too displays a bioluminescent pattern, as though flying under black lights. Astrid and Hiccup are astounded. The starry ceiling above suddenly shifts and undulates, as thousands of tiny FIREWORM dragons descend from the cavern ceiling and playfully chase Stormfly. Finally, the \"Mushroom Forest\" gives way to a third chamber -- vast and glowing with warm light carried from deep magma veins via great pillars of crystal. Gargantuan coral structures fan out in dramatic displays, growing mid-air in the damp, salty atmosphere. Here, THOUSANDS OF DRAGONS have gathered in an excitable hive of activity. Astrid and Hiccup tuck low in the saddle as Stormfly flies them closer to the epicenter of activity -- \"King Island.\" To avoid detection, Astrid steers Stormfly toward a smaller formation at the shore of Kind Island, landing in the cover of a canopy of goliath mushrooms. Hiccup and Astrid hop off and follow Stormfly as she sniffs the air and scampers up the steep, moist terrain.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>It really does exist.<\/dialogue>\n    <scene_description>Stormfly reaches a cliff and straightens, pointing her head like a hunting dog. Hiccup and Astrid crawl to the edge and GASP in unison. Rising from the gathered throngs of dragons, a great monument of crystal rises like a tower. From above, Toothless and the Light Fury lead a procession of dragons through the air, zigging, zagging, and looping in a kind of arial dance.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Toothless!<\/dialogue>\n    <scene_description>Astrid yanks him back.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Shhh. You'll spook them!<\/dialogue>\n    <scene_description>Toothless and the Light Fury land majestically upon the peak of the crystal mountain. Dragons ROAR and flap their wings in adulation. In the crowd, even Drago's former BEWILDERBEAST pays his respects to the alpha. Toothless spreads his wings and lets out a mighty roar.<\/scene_description>\n    <character>ASTRID<\/character>\n    <parenthetical>(whispered)<\/parenthetical>\n    <dialogue>Now that's a king.<\/dialogue>\n    <scene_description>No longer the clumsy amateur, Toothless throws his head back, clucking and mirroring the Light Fury in a strange yet beautiful ritual. He settles and nuzzles her gently, then looks out upon his constituents, noble as a lion with his pride. Below them, thousands of dragons lower their heads and bow. All the while, Hiccup watches quietly, visibly unsettled by the sight of Toothless so at home in this foreign world. Astrid notices. Her smiles fades, replaced by a look of sympathy. She reaches out to comfort him.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>We should go.<\/dialogue>\n    <scene_description>But before they can slip away, they hear a RUMBLING behind them. They turn, apprehensively, only to find themselves FACE TO FACE with a snarling RUMBLEHORN.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Oh no.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Oh no.<\/dialogue>\n    <scene_description>Hiccup raises his hand to try to calm the Rumblehorn, but Astrid grabs it and leaps from the cliff, taking Hiccup with her.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>STORMFLY!<\/dialogue>\n    <scene_description>The Rumblehorn ROARS, sending up a piercing alert.A thousand dragon heads turn at once. Toothless is shocked to spot Hiccup and Astrid in the distance, fleeing for their lives. Toothless scrambles to the air in a panic, leaving the Light Fury confused. He ROARS at the pursuing dragons heading toward the intruders, with bared teeth and glowing mouths. Some heed his command and fall back. Others are far ahead of Toothless and closing in. Hiccup and Astrid scramble over the ever-changing terrain, trying to outrun them.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Go, go!<\/dialogue>\n    <scene_description>Toothless races through the throng of aggressive dragons, COMMANDING them to back down. He swoops in and plucks Hiccup and Astrid out of the onrush, carrying them up toward the cavern ceiling.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>I'm sorry, Bud! I-I just...<\/dialogue>\n    <scene_description>Toothless BARKS back sharply and carries them into the distance, far from the agitated crowd. Stormfly follows, reuniting with Astrid. CLOSE ON Hiccup's face, remorseful and pensive, as Toothless flies him away from the Hidden World... DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLD BERK - STOICK'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>FLASHBACK Seq 2341- \"With Love Comes Loss\" Hiccup, age 6, descends the staircase from his bedroom loft to find Stoick seated by the fire. The stair creaks and Stoick turns with a start, quickly wiping glistening tears from his face.<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>Son. You should be asleep.<\/dialogue>\n    <scene_description>Hiccup sits on the steps guiltily, aware that he's witnessed something he shouldn't have.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>I was thirsty.<\/dialogue>\n    <scene_description>Stoick softens and beckons Hiccup over with a sweep of his hand.<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>Yeah. Come here.<\/dialogue>\n    <scene_description>Hiccup descends the last few steps and climbs into his father's lap by the warmth of the hearth.<\/scene_description>\n    <character>HICCUP<\/character>\n    <parenthetical>(carefully)<\/parenthetical>\n    <dialogue>Dad? Are you gonna get us a new mom?<\/dialogue>\n    <scene_description>Stoick stares at him, taken aback. He hugs Hiccup tightly, then raises Hiccup's chin to meet his eyes.<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>I don't want another. Your mum was the only woman for me. She was the love of my life.<\/dialogue>\n    <scene_description>Hiccup turns to the flickering flames, considering his words.<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>But with love comes loss, son. It's part of the deal. Sometimes it hurts, but in the end, it's all worth it.<\/dialogue>\n    <scene_description>Stoick smiles warmly.<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>There's no greater gift than love.<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW BERK - PLAZA - DAY<\/stage_direction>\n    <scene_description>Sequence 2371 - Momentary Hesitation CLOSE ON Hiccup's face as he rides on Toothless, still lost in thought. He glances at Astrid as they descend toward New Berk to land. She eyes him sympathetically. They touch down on an open pasture by the shear cliffs, some distance from the halted construction. Hiccup dismounts and considers the village, then turns toward Toothless, who stirs, eyes downcast. Hiccup throws a glance toward Astrid, who nods in encouragement. He takes a DEEP BREATH and rounds Toothless to face him.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>It's okay, Bud. You belong there. With her. We don't.<\/dialogue>\n    <scene_description>Toothless cocks his head, seeming to understand. He COOS, clearly conflicted.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>And that's alright. We'll find a way to mana--<\/dialogue>\n    <scene_description>Suddenly, Toothless' ear plates twitch. He looks back toward the open pasture. The wind rustles through the long grass. He raises his head, curious. At first, he sees nothing... then a gust parts the grass blades, revealing the Light Fury crouched like a stalking lioness.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Hey! She followed us back!<\/dialogue>\n    <scene_description>Toothless hops to his feet, elated. He bounds toward her, tongue flapping in a fit of joy. He leaps into the air and tackles her into the grass. They tumble down the bluff, head over tail, GURGLING with glee. Hiccup watches, beaming. He turns to Astrid, relieved.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>We might not have to say goodbye after all!<\/dialogue>\n    <scene_description>Toothless stands and gently leads the Light Fury toward Hiccup and Astrid. \"My Home,\" he COOS. She cautiously follows, uncertain.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>That's it...<\/dialogue>\n    <character>RUFFNUT (O.S.)<\/character>\n    <dialogue>Woo-hoo! Yeah!<\/dialogue>\n    <scene_description>Suddenly, Ruffnut appears, landing on the dragon Grimmel gifted her.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Ruffnut?<\/dialogue>\n    <scene_description>She hops off, beaming and twirling triumphantly.<\/scene_description>\n    <character>RUFFNUT<\/character>\n    <dialogue>Miss me?<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>How'd you escape?!<\/dialogue>\n    <character>RUFFNUT<\/character>\n    <dialogue>I annoyed them 'til they let me go! Heh, heh. So dumb.<\/dialogue>\n    <scene_description>Ruffnut tosses her braids. Hiccup and Astrid exchange a look of concern,<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Wait. Grimmel let you go?<\/dialogue>\n    <scene_description>She throws them a knowing wink.<\/scene_description>\n    <character>RUFFNUT<\/character>\n    <dialogue>They couldn't handle me.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>See, everyone thinks that Tuffnut's more annoying, but --<\/dialogue>\n    <scene_description>Hiccup's eyes flare, alarmed.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>-- Wait, hold on.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Ruffnut. Focus. Were you followed?<\/dialogue>\n    <scene_description>She gawks at him, blankly, then smirks.<\/scene_description>\n    <character>RUFFNUT<\/character>\n    <dialogue>I never look back, Hiccup.<\/dialogue>\n    <scene_description>Panic floods Hiccup's face. He spins around toward Toothless and the Light Fury.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Toothless.<\/dialogue>\n    <scene_description>Hiccup takes off toward him... ... as Toothless leads the Light Fury closer. TOOTHLESS! Suddenly, a rustle in the grass spins the Light Fury around. She SNIFFS the air. Alarmed, she SHRIEKS and takes flight! But it's too late: a DART whizzes through the air and HITS her in the neck! She tumbles to the ground, nearly sliding off the cliff. Toothless bellows furiously, rushing toward her...<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Toothless, come back!<\/dialogue>\n    <scene_description>... Only to discover Grimmel rising from the tall grass ahead of him. Before Toothless can blast, Grimmel FIRES a dart into his neck. Toothless ROARS, but immediately succumbs to the tranquilizer. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW BERK - CAMP - CONTINUOUS<\/stage_direction>\n    <scene_description>SQ.2801 \"Grimmel's Surprise\" ON HICCUP, running through the tall grass, panicked.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>Grimmel clips a ring to a long length of chain. In the background, his AIRSHIP rises into view. He grabs hold of the chain as it grows taut, lifting him into the air from the chassis of the airship, standing atop his dangling, freshly captured Furies, like a prize hunter with his kill. Hiccup slows, horrified as the airship rises above him. Several Berkians race to his side. Behind them, their dragons fly to the scene, ROARING aggressively. Grimmel climbs onto an outstretched arm of the airship and leers back.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>And now our little game must come to an end.<\/dialogue>\n    <scene_description>The Berkian dragons close in and open their mouths to blast. In response, Grimmel aims a mounted canon at the Light Fury. Toothless groggily looks up to see the barbed harpoon fixed squarely on his unconscious mate.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>Call them off, Alpha. No reason for her to die too.<\/dialogue>\n    <scene_description>Toothless looks at the arriving flock, throats aglow, awaiting his command. He ROARS a command: \"Stand Down!\" The dragons immediately swallow their fire, peeling back.<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <dialogue>What are they doing? They can totally take him!<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Not with her life is on the line!<\/dialogue>\n    <scene_description>The Deathgripper scouts circle the airship, nipping at Toothless and the Light Fury. Toothless BARKS at them, trying to force them into line.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>Save your breath! The only alpha they respond to is me.<\/dialogue>\n    <scene_description>Toothless turns to Hiccup, pleading and helpless. Hiccup can only stare back, guilt-ridden.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>Oh, don't feel too badly. You tried your best. But you are nothing without your dragon.<\/dialogue>\n    <scene_description>Hiccup glowers in the sting of Grimmel's words. The airship recedes. Toothless commands the dragon flock to follow, as the Deathgrippers circle like sheepdogs. Hiccup chases after them, halted by the edge of the cliff. TOOTHLESS! CLOSE ON HICCUP, winded, overwhelmed, defeated. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW BERK - SUNSET<\/stage_direction>\n    <scene_description>Sequence 2951 - Astrid Activates Hiccup Hiccup paces at the cliff's edge, eyeing the disappearing flock. The Gang watches from a distance, equally at a loss.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>Oh, that is just great! Now what?<\/dialogue>\n    <scene_description>Snotlout steps forward, puffing out his chest.<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <dialogue>I think it's time for number two... to become number one.<\/dialogue>\n    <scene_description>Valka holds back the others with a gesture. She turns to Astrid.<\/scene_description>\n    <character>VALKA<\/character>\n    <dialogue>He'll listen to you.<\/dialogue>\n    <scene_description>Astrid nods and heads off toward Hiccup. She stops short, facing the open sky, as Hiccup continues to pace, worked up.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Don't say it.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>I wasn't going to.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>I shouldn't have dragged you out there. He wouldn't have flown me back. She wouldn't have followed.<\/dialogue>\n    <scene_description>Astrid nods, staring ahead.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Yep.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Ugh! I feel like the same screw-up I was before I met Toothless.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>I can see that.<\/dialogue>\n    <scene_description>He turns to face her, exasperated.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Are you just going to stand there and agree with everything?<\/dialogue>\n    <scene_description>She shrugs.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Well, you're right. You're back to where you started. But I was the first to believe in you. And I've watched you doubt whether you're worthy ever since.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But you know what? I'm the person I am today because of you. I never told you that, but it's true. You're the bravest, most stubborn, most determined knucklehead I know.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <character>ASTRID<\/character>\n    <dialogue>Toothless didn't give you that, Hiccup. He just made it...<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>... easier.<\/dialogue>\n    <scene_description>He meets her eyes, bolstered by her stoic resolve.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>And now it's going to be a lot harder.<\/dialogue>\n    <scene_description>Hiccup considers her words.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>So. What are you going to do about it?<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Probably something stupid.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>That's the Hiccup I know.<\/dialogue>\n    <scene_description>She smiles and gives her a peck of thanks the cheek. They trudge back up the hill toward the group.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Suit up, Gang. We're going to get them back!<\/dialogue>\n    <character>FISHLEGS<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RUFFNUT<\/character>\n    <dialogue>He's lost his mind.<\/dialogue>\n    <scene_description>Tuffnut grabs Hiccup by the shoulders.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>Now that's marriage material!<\/dialogue>\n    <scene_description>He beams proudly.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>At last, faithful pupil. You are ready.<\/dialogue>\n    <scene_description>Hiccup writhes.<\/scene_description>\n    <character>FISHLEGS<\/character>\n    <dialogue>Um... How are we gonna get our dragons back... without dragons?<\/dialogue>\n    <scene_description>Hiccup turns to him and grins, knowingly.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Trust me.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OPEN SKY\/OPEN WATER - DAY<\/stage_direction>\n    <scene_description>SQ. 3051 - THE DRAGON ARMY OFF THE COAST OF NEW BERK Grimmel's airship hovers over the sprawling armada, flanked by the swirling cloud of dragons. Below, dragons are being loaded into cages. Cloudjumper, Skullcrusher, and Grump are among them. Agitated, they SNARL at the prodding soldiers.<\/scene_description>\n    <character>SOLDIER<\/character>\n    <dialogue>Watch yourselves!<\/dialogue>\n    <scene_description>A Solider jabs Cloudjumper with a spear.<\/scene_description>\n    <character>SOLDIER<\/character>\n    <dialogue>Move it!<\/dialogue>\n    <scene_description>Cloudjumper GROWLS, threatening to attack. Above him, Toothless sees this and ROARS at him. With the Light Fury still in Grimmel's harpoon sights, Toothless GROWLS a command: \"Just do as they say.\"<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>That's right, Alpha. No surprises.<\/dialogue>\n    <scene_description>Cloudjumper begrudgingly complies, but SWATS the soldier with his tail as he resigns himself to the cage. More dragons land and are forced into cages.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW BERK - SUNSET<\/stage_direction>\n    <scene_description>Dressed in dragon armor, the Gang peers over the edge of the cliff at the armada far, far below. Their wing-suit flaps are unfurled. Ruffnut gestures to hers, incredulous.<\/scene_description>\n    <character>RUFFNUT<\/character>\n    <dialogue>So... jump off the cliff? In these? That's the best you got?!<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>No. You guys are the best I've got.<\/dialogue>\n    <character>RUFFNUT<\/character>\n    <dialogue>Aw.<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>I'M WI--<\/dialogue>\n    <character>RUFFNUT<\/character>\n    <dialogue>I'M WITH HIM! WHO ELSE?!<\/dialogue>\n    <scene_description>Tuffnut glares at her, indignant.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>Ruffnut! That was my line.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Let's go!<\/dialogue>\n    <scene_description>Hiccup lowers his helmet and takes a running leap off of the edge. Astrid follows.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Try to keep up!<\/dialogue>\n    <scene_description>The rest of the gang leap in turn, spreading their wings and gliding through the air.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>Yeah! I'm doing it!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OPEN SKY\/OPEN WATER - CONTINUOUS<\/stage_direction>\n    <scene_description>Grimmel throws a lever, lowering Toothless to the deck below. He struggles in the net, YOWLING back at the Light Fury. The soldiers prepare to receive Toothless as he thrashes with increasing intensity. Toothless ROARS at the soldiers that surround him. They jump back, nervously brandishing spears. Grimmel CHUCKLES.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>Aw, you didn't think I'd actually hand you the Night Fury, did you?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>He's mine to kill.<\/dialogue>\n    <character>GRISELDA<\/character>\n    <dialogue>That snake.<\/dialogue>\n    <character>GRIMMEL<\/character>\n    <dialogue>I intend to finish what I started. Best of luck controlling them without an alpha.<\/dialogue>\n    <character>HICCUP (O.S.)<\/character>\n    <parenthetical>(shouting)<\/parenthetical>\n    <scene_description>HOLD ON, TOOTHLESS! Toothless's head suddenly turns, looking hopeful. Grimmel turns, alarmed. Through the clouds that encircle New Berk, he spots a distant speck, hurtling toward him. Five others appear, further still. PUNCH IN on Hiccup, gliding from the heights of the towering island, wings extended. Astrid and the Gang follow, SCREAMING BATTLE CRIES. The Twins collide sloppily. Tuffnut clings desperately to Ruffnut as she kicks him.<\/scene_description>\n    <character>RUFFNUT<\/character>\n    <dialogue>Let go!<\/dialogue>\n    <scene_description>Snotlout weaves, wildly out on control.<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Could've used some practice!<\/dialogue>\n    <scene_description>Fishlegs flaps his undersized wing-suit flaps, trying to stay aloft with the extra weight of Fishmeat in his backpack.<\/scene_description>\n    <character>FISHLEGS<\/character>\n    <dialogue>I should've skipped breakfast!<\/dialogue>\n    <scene_description>Grimmel whirls the mounted harpoon cannon, taking aim at the squadron. But before he can line up the shot, Hiccup careens into him, knocking Grimmel from his position on the airship arm, sending him flying as the cannon spins on its gimbal. Grimmel tumbles, mid-air, and grabs a rigging line, grasping desperately as it breaks his fall, leaving him swinging.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Toothless!<\/dialogue>\n    <scene_description>Toothless lights up, elated. He ROARS to dragons: \"NOW!\" The dragons break away from the soldiers below, taking to the air. On his COMMAND, Cloudjumper, Skullcrusher, and Grump race back toward the island. Hiccup collides with a billowing sail, cushioning his impact. He sinks his dagger into the canvas. It tears as his own weight pulls him down toward the deck below. Astrid and the Gang stick polished landings alongside him.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Perfect timing!<\/dialogue>\n    <scene_description>A hoard of soldiers rush toward the group as they stand in formation behind Hiccup. Except for Snotlout, who is dangling from the rafters by his cape again.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Game faces!<\/dialogue>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Yeah! What are you waiting for? Get in there!<\/dialogue>\n    <scene_description>The gang draw weapons and charge into the fray, meeting the soldiers head-on. Above them, Toothless struggles against the net that holds him, ripping his muzzle apart with a ROAR. GRIMMEL looks down, suddenly concerned, as Toothless takes aim. Grimmel leaps out of the way as Toothless' blast destroys one of the airship arms, sending it spiraling. Grimmel clings to the falling airship and WHISTLES a command to his Deathgrippers. Below, ASTRID battles a soldier on a gangway. He parries her blow and corners her, raising his sword for the kill, when...<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Heads up!<\/dialogue>\n    <scene_description>... Hiccup cuts a nearby rigging line, releasing a sail boom that sweeps through and sends the soldier flying off of the gangway. Astrid beams at Hiccup.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <parenthetical>(alarmed)<\/parenthetical>\n    <dialogue>Look out!<\/dialogue>\n    <scene_description>Astrid throws her axe toward Hiccup, who dodges as it whizzes past and takes out a soldier who was about to stab Hiccup. Relieved, Hiccup smiles back at Astrid.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>In a ROMANTIC MOMENT, they approach one another in SLOW MOTION. Astrid grabs a canister from Hiccup's belt, bites off the wax seal, and tosses the gas-spewing canister like a grenade to the deck below. Hiccup lights his Dragon Blade and hurls it into the gas cloud. Soldiers panic and flee as... ... KABOOM! A fireball erupts, framing our enamored couple. Astrid WHISTLES for Stormfly and points to Hiccup, then to the sky. Stormfly swoops in and plucks Hiccup, carrying him toward... THE AIRSHIP, engulfed in flames, dropping steadily as the Deathgrippers struggle to keep it aloft. A freed Deathgripper RAMS Stormfly, knocking Hiccup out of her grasp. Hiccup rolls and dives through the airship's inferno to get to Toothless...<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>I'm coming, Toothless!<\/dialogue>\n    <scene_description>... As Grimmel shimmies down the chain to the Light Fury. He twists a vial of venom into the Light Fury's bridal, subduing her into obedience.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <parenthetical>(to Hiccup)<\/parenthetical>\n    <dialogue>You still think he cares about you?! Let's just see who he follows.<\/dialogue>\n    <scene_description>He releases a latch, springing the Light Fury from her restraint. She flies off, groggy and obedient, carrying Grimmel on her back. Toothless watches, raging and struggling against his ties. Hiccup races to free him.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>I'm sorry, bud! For everything!<\/dialogue>\n    <scene_description>Just as the flaming airship CRASHES into the sea, Hiccup PULLS the release latch, freeing Toothless. They EXPLODE from the epic splash, pulling a comet trail of smoke. The attached Deathgrippers are dragged undersea with the airship as Hiccup and Toothless tear off in pursuit of Grimmel and the Light Fury.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Now let's go get her!<\/dialogue>\n    <scene_description>The remaining Deathgrippers head after them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OPEN SEA - SHIP DECK - CONTINUOUS<\/stage_direction>\n    <scene_description>A soldier yells a BATTLE CRY and CHARGES the Gang. Tuffnut clocks him from behind, then hurls his war hammer to... ... Snotlout, who takes out another soldier, then...<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Number two, coming through!<\/dialogue>\n    <scene_description>... tosses his hammer back to Tuffnut, who effortlessly uses it to knock out yet another.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>Surprise! Sorry about that!<\/dialogue>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Come on!<\/dialogue>\n    <scene_description>Snotlout rolls over the tussle and grabs the hammer, bringing it down heavily to smash the lock off of a cage, freeing the GOREGUTTER within.<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Yeah! One more freed, four to go! Try to keep up!<\/dialogue>\n    <scene_description>The Goregutter ROARS and takes to the air, passing Fishlegs engaged in combat on an upper deck.<\/scene_description>\n    <character>FISHLEGS<\/character>\n    <dialogue>I got your backs!<\/dialogue>\n    <scene_description>He pushes his adversary off of the deck then, seeing his friends about to be attacked by a horde of soldiers below, grabs a line and hook, and swings down to their rescue, knocking over soldiers like a wrecking ball. He lands and eyes the damage, impressed.<\/scene_description>\n    <character>FISHLEGS<\/character>\n    <dialogue>Yeah! It's almost like we're a team!<\/dialogue>\n    <scene_description>The line and heavy hook swing back, knocking Fishlegs to the deck and sending Fishmeat tumbling from his pouch. Ivar the Witless raises his sword to the baby.<\/scene_description>\n    <character>IVAR THE WITLESS<\/character>\n    <dialogue>Aw. You brought a baby to a battle?<\/dialogue>\n    <character>FISHLEGS<\/character>\n    <dialogue>Un-uh. I wouldn't do that if I were you.<\/dialogue>\n    <scene_description>They look up to reveal the Goregutter, roaring with rage as he flies in to protect Fishmeat. He crashes through the masts, bringing a storm of wreckage down upon the fleeing soldiers.<\/scene_description>\n    <character>IVAR THE WITLESS<\/character>\n    <dialogue>Look out!<\/dialogue>\n    <scene_description>Fishlegs beams, placing Fishmeat back into his pouch.<\/scene_description>\n    <character>FISHLEGS<\/character>\n    <dialogue>God, I love that dragon.<\/dialogue>\n    <scene_description>The Warlords look on in shock, then turn to find themselves confronted by ERET, GOBBER, and VALKA, who have now arrived on their respective dragons. They brandish their weapons in invitation.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Sorry we're late for the party.<\/dialogue>\n    <scene_description>The warlords unsheathe theirs, fuming.<\/scene_description>\n    <character>CHAGHATAI KHAN<\/character>\n    <dialogue>You're right on time.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OPEN SKIES - CONTINUOUS<\/stage_direction>\n    <scene_description>Grimmel steers the Light Fury past billowing clouds, with Hiccup and Toothless in hot pursuit. He looks back and grins.<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>That's it, that's it!<\/dialogue>\n    <scene_description>He passes a bank of storm clouds, spotting the rocky spires of New Berk in the distance. He veers off toward them. Toothless fires at Grimmel, but he rolls the Light Fury, forcing her to take the heavy impact of the blast against her side. She YELPS, dropping in altitude. Toothless CALLS OUT, distraught.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>How are we going to get him off her back without hurting her?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OPEN SEA - SHIP DECK - CONTINUOUS<\/stage_direction>\n    <scene_description>BACK ON THE SHIP Tuffnut surprises a soldier, dropping to the deck in front of him, sword raised.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>Fear the facial hair!<\/dialogue>\n    <scene_description>The soldier swipes impulsively, slicing through Tuffnut's \"beard.\" It drops away from his chin in two halves, exposing Tuffnut's baby-smooth face. He GASPS, horrified... ... then goes full Berserker -- SCREAMING and CHASING the terrified soldier across the deck... ... Where Gobber and Ragnar are trading blows.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Oh, I have missed this!<\/dialogue>\n    <character>RAGNAR THE ROCK<\/character>\n    <dialogue>Me too!<\/dialogue>\n    <scene_description>Ragnar KNOCKS Gobber to the deck, then pauses to notice a lone Hobgobbler staring eerily from the railing. Gobber smiles.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>See that there?<\/dialogue>\n    <character>RAGNAR THE ROCK<\/character>\n    <dialogue>Aw. Cute.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>That's a bad omen. You're cursed!<\/dialogue>\n    <scene_description>Suddenly, the Hobgobbler SHRIEKS, signaling a horde of Hobgobblers to pour over the railing and chew apart the deck like hungry piranha. Ragnar SCREAMS and flees for his life as Gobber LAUGHS.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Yes! Good on ye!<\/dialogue>\n    <scene_description>He notices a Hobgobbler gnawing on his wooden peg-leg.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Eh, I guess you're not so bad after all.<\/dialogue>\n    <scene_description>Astrid silently appears behind the HELMSMAN and deftly KNOCKS HIM OUT. She then SPINS the ship's wheel and SINKS her axe into the deck, bracing the wheel into a sharp turn. The decks leans heavily to port as the flagship collides with the battleship to her left, beginning a chain reaction.<\/scene_description>\n    <character>TRAPPER<\/character>\n    <dialogue>Abandon ship!<\/dialogue>\n    <scene_description>Dragon cages slide across the pitched deck, colliding and furthering the chaos. Griselda and Chaghatai become trapped in one of them. Freed dragons take to the air. The Rescue Team has succeeded. The battle is won. Astrid leads a CHEER.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Yeah!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OPEN SKIES - CONTINUOUS<\/stage_direction>\n    <scene_description>SQ. 3101 - HICCUP'S SACRIFICE Grimmel leads the chase through the tall, craggy rocks of New Berk. Toothless and Hiccup zigzag behind, closing in. Suddenly, the four remaining Deathgrippers appear from behind a rocky spire, bombarding Hiccup and Toothless!<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Uh, we've got problems.<\/dialogue>\n    <scene_description>The Deathgrippers fire volleys of acid. Hiccup and Toothless struggle to dodge. Toothless grabs a Deathgripper and hurls it into a passing column. He then blasts a passing rocky arch, burying another Deathgripper in an explosion of boulders. But it does little to stop them -- they're relentless!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW BERK - PLAZA - CONTINUOUS<\/stage_direction>\n    <scene_description>On the ground below, the Berkians watch the pursuit with rapt intensity.<\/scene_description>\n    <character>VIKINGS<\/character>\n    <dialogue>Take him down, Hiccup!<\/dialogue>\n    <scene_description>The crowd cheers for their Chief.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OPEN SKIES - CONTINUOUS<\/stage_direction>\n    <scene_description>The Deathgrippers clamp onto Toothless, piling on and stabbing with their stingers. Hiccup recoils on Toothless' back.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>We need a better plan! And quick!<\/dialogue>\n    <scene_description>Desperate, Toothless comes up with an idea. He narrows his eyes, concentrating. His dorsal plates split apart. Static begins to crackle between them.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Uh, what...what are you doing?<\/dialogue>\n    <scene_description>Amazed, Hiccup sees patches of Toothless' scaly skin begin to turn mirror-like, including the Toothless scales on his own dragon armor. It suddenly dawns upon him what Toothless is attempting.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Okay... okay!<\/dialogue>\n    <scene_description>He throws down his visor and tucks in. Toothless focuses and ROARS, commanding lightning to arc from the stormy sky and strike them as they drop from the sky. In a flash, they disappear. The attacking Deathgrippers are ELECTROCUTED.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW BERK - PLAZA - CONTINUOUS<\/stage_direction>\n    <scene_description>The Vikings GASP in awe as they watch the lightning blast illuminate the sky, followed by a complete disappearance of Hiccup and Toothless.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OPEN SKIES - CONTINUOUS<\/stage_direction>\n    <scene_description>Grimmel looks back, baffled to see his lifeless Deathgrippers dropping from the sky. He looks around frantically. Suddenly, Hiccup and Toothless re-materialize in front of him at close range. AAGGH! Hiccup leaps toward Grimmel, throwing open his wings. Grimmel fires a dart from his crossbow. Hiccup twists in the air, avoiding it. The dart punctures his wing just as he crashes into Grimmel, knocking him off of the Light Fury's back. Hiccup looks back to see that the dart has hit Toothless! He's going down!<\/scene_description>\n    <character>GRIMMEL<\/character>\n    <dialogue>You'll kill both of us! Fighting over a dragon... that's your plan?!<\/dialogue>\n    <scene_description>With Grimmel clinging to him, and Toothless falling from the sky, Hiccup makes a desperate choice.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>This is.<\/dialogue>\n    <scene_description>He rips off the Light Fury's bridle (with its vial of venom- tranquilizer). She shakes off the grogginess, regaining full awareness. She turns to Hiccup.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Save him.<\/dialogue>\n    <scene_description>He lets go, plummeting with Grimmel. Distressed, the Light Fury watches him, then turns to Toothless, falling unconscious. Impulsively, she races off to rescue her mate. As Hiccup falls, Grimmel clings to him in vain. But Hiccup is only focused on Toothless, watching as the Light Fury rescues him from his fall and hauls him safely to a cliff-top. Hiccup smiles, relieved. Grimmel grabs him and begins tearing apart his leather wings. Hiccup tries to kick him away, but Grimmel clings to his prosthetic leg. Then Hiccup hears an impossible sound -- Toothless' signature DIVE-BOMB WHISTLE, growing closer! He looks up to see the Light Fury racing toward him. He thinks fast and detaches his prosthetic leg, freeing himself from Grimmel... NOOOOOOO! ... as the Light Fury swoops in and grabs Hiccup at the last second. She arcs over the water as Grimmel CRASHES into the sea with an explosive SPLASH. Hiccup looks up, stunned. The Light Fury cranes her head under her belly to meet his eyes. She COOS.<\/scene_description>\n    <character>HICCUP<\/character>\n    <parenthetical>(shaken)<\/parenthetical>\n    <dialogue>See? I knew you'd come around.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW BERK - MOMENTS LATER<\/stage_direction>\n    <scene_description>SQ. 3201 - FREEDOM The Light Fury carries Hiccup to the cliffs and drops him by Toothless... ... as the Berkians and their dragons rush over. The RESCUE TEAM arrives in tow, WHOOPING and CHEERING. Hiccup hops, one-legged, toward Toothless, then falls to his knees and caresses him.<\/scene_description>\n    <character>HICCUP<\/character>\n    <parenthetical>(softly)<\/parenthetical>\n    <dialogue>Hey, good morning, Bud. There you go.<\/dialogue>\n    <scene_description>Toothless comes to, opening his eyes groggily and licking Hiccup.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Boy, you're full of surprises.<\/dialogue>\n    <scene_description>Hiccup looks to the Light Fury, skittish and stirring in the center of the crowd, but, for once, making no attempt to flee. He gently waves her over, moving away from Toothless.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>He's all yours.<\/dialogue>\n    <scene_description>He smiles and hops back into Astrid's arms, giving them room. The Light Fury approaches Toothless, sniffing and nuzzling him. He coos, licking her face. Hiccup and Astrid watch, smiling. He pulls Astrid into a hug. Valka smiles proudly, then turns to Snotlout.<\/scene_description>\n    <character>VALKA<\/character>\n    <dialogue>You know, Eret may be blessed with brawn... but just between us, you have the brains.<\/dialogue>\n    <scene_description>He beams, finally validated.<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Number one.<\/dialogue>\n    <scene_description>Hiccup glances over at Toothless, entwined with the Light Fury. Their eyes meet. Toothless looks to the open horizon, then back to Hiccup, a silent question in his gaze: \"Is it time?\" Hiccup understands... and nods. Toothless pauses, considering the weight of the decision, then nods back. Hiccup peels away from Astrid, taking a deep breath. He hops over to Toothless, steadying himself against him.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>You're right, bud. It's time.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I was so busy fighting for a world that I wanted... I didn't think about what you needed.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You've looked after us for long enough. Time to look after yourselves.<\/dialogue>\n    <scene_description>He smiles at the Light Fury. Astrid turns to Valka. She in turn looks to Gobber. They nod. Astrid nods and walks to Stormfly, tears in her eyes. She lays her forehead on Stormfly's horn.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Oh Stormfly, my good girl.<\/dialogue>\n    <scene_description>Biting her lip with resolve, she removes Stormfly's saddle, dropping it on the ground. Gobber gives Grump a pat, holding back tears. He unbuckles Grump's saddle and slides it off.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Alright, Grumpy. Off you go.<\/dialogue>\n    <scene_description>Eret nods and follows suit, removing Skullcrusher's saddle.<\/scene_description>\n    <character>ERET<\/character>\n    <dialogue>So long you big, ugly beast. I'll miss you.<\/dialogue>\n    <scene_description>In solidarity, the other Vikings remove the saddles from their dragons, each taking a moment to say goodbye, tears in their eyes. Their dragons seem confused. Valka caresses Cloudjumper's muzzle, whispering to him lovingly.<\/scene_description>\n    <character>VALKA<\/character>\n    <dialogue>Oh, Cloudjumper. Aw.<\/dialogue>\n    <scene_description>Tuffnut nudges Ruffnut as they exchange heartbroken looks. Hiccup and Toothless watch as the remaining Vikings remove their dragons' saddles and say their goodbyes. He smiles, tears in his eyes. He turns to Toothless and gently takes him by the muzzle.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Go on, Bud. Lead them to the Hidden World. You'll be safe there. Safer than you could ever be with me.<\/dialogue>\n    <scene_description>Toothless looks to the Light Fury, then back to Hiccup, hesitant, conflicted. He COOS, his eyes glistening.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>It's okay. I love you too. And I want you to be free.<\/dialogue>\n    <scene_description>Toothless cocks his head, eyeing him closely.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Our world doesn't deserve you. Yet.<\/dialogue>\n    <scene_description>Toothless reaches out and pulls Hiccup into an embrace. Hiccup hugs him tightly.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Go, Toothless.<\/dialogue>\n    <scene_description>Hiccup lets go, and in a REVERSE MOMENT TO WHEN THEY FIRST TOUCHED, he slowly pulls his hand away from Toothless' muzzle.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Go.<\/dialogue>\n    <scene_description>Toothless stares at Hiccup in understanding. Hiccup smiles, tears in his eyes. With a deep breath, Toothless ROARS, commanding an exodus. The dragons break away from their Vikings' embraces and join him as he commands them to leave. The Light Fury takes flight, leading the pack. The rest of the Gang watch their dragons go, wiping away tears. The last dragons take flight, revealing that Toothless has remained, standing at the edge of the cliff. He looks back to Hiccup one last time. Hiccup nods. Toothless returns a solemn nod, then leaps from the cliff and flies off to join the flock. The Vikings gather together as the dragons recede into the distance. CLOSE ON Hiccup, watching them go. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW BERK - PLAZA - DAY (MONTHS LATER)<\/stage_direction>\n    <scene_description>SQ. 3401 - WEDDING In a MONTAGE, we see: New Berk, snow-covered and now completed, far surpassing Old Berk's former glory. A human paradise to match the dragons' Hidden World, and a monument to the bygone age of dragons. Colorful houses gleam radiant in the sunlight. A giant stone statue of Stoick stands in the main plaza. The entire population of New Berk is gathered. Beneath the statue, Hiccup and Astrid stand facing one another, dressed in fine clothing, as Gothi wraps their clasped hands in a ceremonial cloth. Gobber and Valka stand by, smiling proudly. Gothi touches the cloth with her staff and nods. The wedded couple kiss.<\/scene_description>\n    <character>SPITELOUT<\/character>\n    <dialogue>To the Chief and Chieftess!<\/dialogue>\n    <scene_description>Gobber throws up his arms in a CHEER. His wooden wedding bouquet-hand flies into the crowd... and straight into Eret's hands. Eret looks up in surprise and smiles. Snotlout SNIFFLES, trying to hide his emotion. Tuffnut pulls him into his new and improved \"facial hair.\"<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>Come. Cry into my full, thick beard.<\/dialogue>\n    <scene_description>Fishlegs BURSTS INTO TEARS.<\/scene_description>\n    <character>FISHLEGS<\/character>\n    <dialogue>Oh, it's so beautiful!<\/dialogue>\n    <scene_description>He throws himself into Ruffnut's arms.<\/scene_description>\n    <character>RUFFNUT<\/character>\n    <dialogue>Gross.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Okay, you win. I like sensitive guys.<\/dialogue>\n    <scene_description>Crowd CHEERS and celebration fill the plaza. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW BERK - BLUFFS - SUNSET<\/stage_direction>\n    <scene_description>Hiccup and Astrid walk hand in hand to the wind-buffeted cliffs of New Berk. They gaze out toward a horizon no longer teeming with dragons. Astrid rests her head on Hiccup's shoulder. Valka, Gobber, Eret and the Gang gather beside them on the bluff, surrounding the Chief and Chieftess with pride. CLOSE ON Hiccup's face.<\/scene_description>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>There were dragons when I was a boy.<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OPEN SEA - DAY (YEARS LATER)<\/stage_direction>\n    <scene_description>SQ. 3501 - EPILOGUE CLOSE ON YOUNG HICCUP, 5, eyes filled with wonder. As we PULL BACK, we realize that the boy is actually Hiccup's SON, 3, nestled in his grown father's arms. OLDER HICCUP, 30, stands on a Viking ship, his eyes keenly focused ahead as the prow rises and falls in the sea spray.<\/scene_description>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>Oh, there were great, grim sky dragons that nested on the cliff tops like gigantic scary birds. Little brown scuttly dragons that hunted down the mice and rats in well-organized packs. Preposterously huge sea dragons that were twenty times as big as the big blue whale.<\/dialogue>\n    <scene_description>OLDER ASTRID, 30, abandons the rudder at the stern and approaches the bow, leading their DAUGHTER, 5, by the hand. She has large braided pigtails and skulls sewn into her fur clothing -- a miniature Astrid. Together, they peer through the mist that lies ahead. The roar of a massive waterfall grows deafening.<\/scene_description>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>Some say they crawled back into the sea, leaving not a bone nor a fang for men to remember them by.<\/dialogue>\n    <scene_description>Hiccup drops the anchor, just as the faint view of the great hole in the sea looms into view.<\/scene_description>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>Others say they were nothing but folk tales to begin with.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm okay with that.<\/dialogue>\n    <scene_description>Silhouetted on a lone rock by the waterfall's edge, Toothless lays stretched out like a proud lion standing guard. His ear plates perk up. He turns toward the ship. A moment later, the Light Fury sits up, followed by three black &amp; white babies (NIGHT-LIGHTS), all watching the ship with curiosity. Toothless gets to his feet and crouches aggressively, rolling his shoulders like a panther about to pounce. His back plates split and glow blue. He takes to the air, flapping toward the ship. Hiccup cringes. KABOOM! Toothless lands on the prow, rocking the ship heavily. Hiccup braces himself, shielding his family. The kids scamper into Astrid's arms, frightened. She holds them close, uncertain if Toothless will recognize them. Hiccup offers an open palm.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Hey, hey there Bud. Remember me?<\/dialogue>\n    <scene_description>Toothless rears up on his hind legs, glaring menacingly. Behind them, Astrid postures herself to protect her cowering children.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>It's okay.<\/dialogue>\n    <scene_description>Hiccup looks back at his family, then returns to face Toothless with his hand up in surrender. Toothless SNIFFS it, and suddenly a rush of recognition washes over his face. He throws his front claws around Hiccup, toppling him over and covering him in slobbery licks. Hiccup bursts into LAUGHTER.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>I am glad to see you too, bud!<\/dialogue>\n    <scene_description>The kids squeal and bury their faces into Astrid. She LAUGHS, relieved, as Hiccup and Toothless roll around on the deck.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>He's not going to eat your father.<\/dialogue>\n    <scene_description>Hiccup wriggles from under Toothless, looking him over.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>How's the tail holding up? Probably could use some oil and a little fine tuning.<\/dialogue>\n    <scene_description>Astrid tries to calm the rattled kids.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Look, it's okay! They're friends!<\/dialogue>\n    <scene_description>Hiccup looks back at them and waves them over.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Here.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Go on, it's alright.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Come. He won't hurt you.<\/dialogue>\n    <scene_description>Astrid urges the kids forward. They cling to one another as they cautiously shuffle toward Hiccup. Toothless cocks his head, gaping with a broad, gummy smile. Hiccup takes their hands and positions them, open palmed toward Toothless.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Hold your hands out. Like this...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>That's it. Let him come to you.<\/dialogue>\n    <scene_description>Toothless sniffs and slowly approaches, touching their open palms with his snout. The kids' utter soft GASPS of amazement. Wide-eyed smiles flood their faces. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OPEN SKIES - MOMENTS LATER<\/stage_direction>\n    <scene_description>Toothless and Hiccup rocket through the sky, spinning, tumbling, and falling through the clouds. Hiccup's son is tucked in front of him, loving every second. The Light Fury weaves around them. Their youngsters try to keep up, following their mother like eager ducklings. The Night Lights fly right up to Toothless and Hiccup, one of them peering curiously at Hiccup's son. The boy reaches out and in response, the little dragon SQUEAKS in delight and playfully paws at his hands. Suddenly, Stormfly explodes across Toothless' path, giving them a fright. They look up to see Astrid and their daughter, laughing on her back. The young girl HOOTS and HOLLERS, pleased that they bested her dad and brother.<\/scene_description>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>Legend says that when the ground quakes, or lava spews from the earth, it's the dragons... letting us know they're still here...<\/dialogue>\n    <scene_description>Hiccup and his son exchange a mischievous grin. They crouch low to the saddle and pat Toothless. He HEAVES after them.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>... waiting for us to figure out how to get along.<\/dialogue>\n    <scene_description>Hiccup spins over Stormfly to drop his son on Astrid's shoulders, then circles around and extends a hand to his daughter. She grabs it and leaps onto Toothless' back. They playfully chase one another into the clouds.<\/scene_description>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>Yes, the world believes the dragons are gone, if they ever existed at all.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But we Berkians know otherwise. And we'll guard the secret until the time comes... when dragons can return in peace.<\/dialogue>\n    <scene_description>In a last burst of dazzling color, the dragons corkscrew into the blinding sun. FADE TO WHITE.:<\/scene_description>\n  <\/scene>\n<\/script>","summary":"A year after becoming chieftain, Hiccup, his Night Fury Toothless, and their fellow dragon-riders continue to rescue captured dragons to bring them to Berk; however, the island is becoming overpopulated with dragons. In response, Hiccup desires to find the \"Hidden World\", a safe haven for dragons once spoken of by his late father, Stoick. Meanwhile, a white female \"Light Fury\" dragon, held captive by warlords, is given to an infamous dragon hunter Grimmel the Grisly as bait for him to capture Toothless for the warlords' use as an alpha. Toothless discovers the white Fury in the woods, and the two become enchanted with each other until the Light Fury, sensing Hiccup's and Astrid's nearby presence, flees. Hiccup and Tuffnut later discover Grimmel's dragon traps in the area. Grimmel visits Hiccup that night, demanding he hand over Toothless while revealing he single-handedly killed every Night Fury species to near extinction, but Hiccup has prepared an ambush for him. Grimmel escapes while his Deathgripper dragons burn down Hiccup's house and Berk. Hiccup then rallies the citizens and dragons to leave Berk on a quest to find the Hidden World and safety from dragon hunters. Mid-journey, the Berkians discover an island on which they initially plan to rest, but soon begin to settle there, dubbing it \"New Berk\". Seeing Toothless' inability to fly solo hindering his growing relationship with the Light Fury, Hiccup rebuilds an automatic tailfin for him. Upon receiving it, Toothless flies off, meeting up with the Light Fury and flying with her to an unknown land. On a scouting patrol, Valka notices Grimmel's approaching army and reports back to Hiccup. Hiccup and the dragon riders head to capture Grimmel but fall into his trap and barely escape. Ruffnut is captured, although she irritates Grimmel until he lets her go. Hiccup, Astrid, and her dragon Stormfly search for Toothless, finds the Hidden World, and see Toothless and the Light Fury leading the dragons as a happily mated couple. When the two humans are soon discovered, the inhabitant dragons attack them, but Toothless rescues them and returns them to the Berkians, with Hiccup realizing that humans would be intruders and unsafe in the Hidden World. Ruffnut returns, but unbeknownst to her, Grimmel had secretly followed her to New Berk. Grimmel appears and captures Toothless and the Light Fury, who had followed them to New Berk. Toothless' alpha status allows Grimmel to capture the rest of Berk's dragons. With Astrid's encouragement, Hiccup sets out with the dragon riders to stop Grimmel and his army. Gliding on wingsuits, they catch Grimmel's army off-guard, igniting a battle, and freeing the dragons while fending off Grimmel's men. With help from Stormfly, Hiccup frees Toothless while Grimmel drugs the Light Fury into obeying him. Hiccup and Toothless give chase and defeat Grimmel's Deathgrippers, but Grimmel tranquilizes Toothless midair, causing the dragon to fall. Hiccup, realizing he cannot rescue Toothless alone, frees the Light Fury and implores her to save Toothless, unfastening his prosthetic leg and causing both him and Grimmel to fall. Grimmel plummets to his death, while the Light Fury returns to save Hiccup. Back on the island, Toothless and Hiccup realize that dragons will never be safe in the human world and humans will never be allowed in the Hidden World. Hiccup bids farewell to Toothless as the Berkians set their dragons free to live in the Hidden World, with the Light Fury leading the dragons away and Toothless following them. Three months later, Hiccup and Astrid marry and become the chieftains of New Berk. Nine years later, Toothless and the Light Fury have mated and hatched three hybrid dragon fledglings, Night Lights. Hiccup, Astrid, and their two children sail across the sea to visit them at the edge of the Hidden World. After introducing his son and daughter to his old friend, Hiccup and Astrid take their children flying on Toothless and Stormfly, accompanied by the Light Fury and their offspring. Hiccup vows that until humankind is ready to co-exist peacefully with one another, the dragons will stay hidden while the Berkians guard their secret."}
{"movie_name":"Mission to Mars_2000","imdb_id":"tt0183523","script":"<script>\n  <scene>\n    <stage_direction>EXT. LATE AFTERNOON SKY<\/stage_direction>\n    <scene_description>Blue sky , a few puffs of cloud , pierced by slanting rays of sunlight . Late afternoon on a perfect day . SUPER TITLE : `` HOUSTON , TEXAS . JULY 4 , 2020 . '' As we hear , after a few more beats , an ASTRONAUT 'S VOICE .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>T minus ten, nine, eight, start ignition sequence, five, four, three, two, one, ignition. Liftoff!<\/dialogue>\n    <scene_description>A tiny red streak zips into the sky , then bursts with a faint , ludicrous POP . A bottle rocket . We hear CHILDREN 'S LAUGHTER , excited SHOUTS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAWN PARTY. LUKE GRAHAM'S HOUSE. LATE AFTERNOON<\/stage_direction>\n    <scene_description>DESCENDING , we see PHIL OHLMYER , late 20 's , kneeling , with a gaggle of eager CHILDREN around him . Phil , an astronaut , has got an impressive array of fireworks lined up , and is using an empty longneck as his launching tube .<\/scene_description>\n    <character>CHILDREN<\/character>\n    <parenthetical>( all at once . )<\/parenthetical>\n    <dialogue>My turn! My turn! No, I was next! No, me! Uncle Phil, Uncle Phil, can I do one? I want to do one!<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>Guys, guys, please! This is risky stuff here. And I'm a highly trained professional.<\/dialogue>\n    <scene_description>Derisive GROANS from the kids , more SHOUTS . Phil grins . There 's little danger NASA will ever use him on a recruiting poster : he 's messy , very hyper . Phil waves his hands for silence .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Okay, okay! Uncle Phil will launch another booster.<\/dialogue>\n    <scene_description>Another astronaut , RENEE COTE , a tall , very fit French woman , is walking by with a fresh six - pack . She tosses a beer and Phil catches it .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>just as soon as he completes his fuel intake.<\/dialogue>\n    <scene_description>ANGLE FOLLOWS COTE Who grins , walking away from Phil and the kids , as we begin to get a better sense of the scope of this party . We are in the big back yard of a middle - class home in a Houston suburb . DOZENS OF PEOPLE - astronauts , NASA personnel , and their families - are gathered around picnic tables or spread - out blankets . Lots of red , white and blue bunting , lots of balloons . We hear snatches of MUSIC , mostly country - flavored , from dueling boomboxes . Futuristic Frisbees are being tossed about . A banner , strung between trees , reads `` BON VOYAGE , MARS ONE ! ''<\/scene_description>\n    <character>WILLIS<\/character>\n    <dialogue>It'll take us six months just to get to Mars. Another year on the surface, then six months back. That's two years.<\/dialogue>\n    <scene_description>Passing the banner , Cote lobs a beer to another astronaut , NICHOLAS WILLIS , who snags it neatly . He 's got his other arm around the waist of a PRETTY GIRL . As Cote moves OUT OF FRAME , ANGLE LINGERS on these two . Willis , a very young astronaut , early 20s , is recruiting poster material , and knows it all too well .<\/scene_description>\n    <character>WILLIS<\/character>\n    <dialogue>I guess what I'm trying to say is, since this is my last night on Earth, it's gon na be a very precious memory to me. Y' know?<\/dialogue>\n    <character>PRETTY GIRL<\/character>\n    <dialogue>Nice try, Nick.<\/dialogue>\n    <scene_description>As the Pretty Girl slips out of his grasp , laughing , and walks away , Willis shrugs philosophically . He pops open his beer , swigs it . ANGLE FOLLOWS THE PRETTY GIRL As she swerves around an open - pit barbecue , where other ASTRONAUTS are gathered . Cote has paused here , too , distributing the last of her beers . SERGEI KIROV , a Russian cosmonaut , is watching some kids nearby as they play a game of wiffle ball . He turns , grinning beerily at the chef .<\/scene_description>\n    <character>KIROV<\/character>\n    <dialogue>Hey, Woody, our Mars One crew wo n't be heading back to Earth till ten days after you guys land at our base camp with Mars Two. That's a pretty good long rendezvous.<\/dialogue>\n    <scene_description>WOODY BLAKE , late 30s , is a big , rangy guy in a cowboy hat over a Hawaiian shirt and a `` KISS THE CHEF '' apron . An entire pig is turning on a spit over the flames , and Woody is basting this as he smiles at Malik .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>What are you suggesting, Sergei?<\/dialogue>\n    <character>KIROV<\/character>\n    <dialogue>Maybe you should bring a baseball bat. Yes? American baseball? Our two crews could have ourselves a little Solar System Series.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Please. Half you guys are foreigners. We'd crush you.<\/dialogue>\n    <character>KIROV<\/character>\n    <dialogue>No, no, we have equal crews. Three men, one woman. Same handicap.<\/dialogue>\n    <scene_description>He grins teasingly at Cote , who makes a face at him .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Easy now, you're talking about my wife.<\/dialogue>\n    <parenthetical>( seeing her approach . )<\/parenthetical>\n    <dialogue>And Terri just happens to be one helluva shortstop.<\/dialogue>\n    <scene_description>DR. TERRI FISHER , early 30s , passes by with a platter of corn - on - the - cob . Short , sturdy body , a face made attractive by its alert , questing intelligence . She pauses to kiss Woody 's cheek ; there 's a wonderful , sexy spark between them . Then she glances at Kirov , all business now .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>Fast pitch, no steals, batter calls his own strikes. Thousand bucks make it interesting?<\/dialogue>\n    <scene_description>He 's a bit rattled by her cockiness , and looks at Cote , who smiles , nods her cool agreement .<\/scene_description>\n    <character>COTE<\/character>\n    <dialogue>Eh bien. Winner take all.<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>Good.<\/dialogue>\n    <parenthetical>( smiles sweetly at Kirov . )<\/parenthetical>\n    <dialogue>Bring some balls.<\/dialogue>\n    <scene_description>The other men ooooh at this , busting on Kirov and Cote , as Terri moves on . Woody , watching her go , has a thousand - watt grin .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>You wan na know the sad part? Technically I outrank her. But if we want any peace at all on Mars Two, I'm gon na be saying a lot of `` Yes, dears.''<\/dialogue>\n    <scene_description>The others laugh . ANGLE FOLLOWS TERRI as she dodges a PACK OF KIDS - they run by her , shrieking happily - before she finally reaches a picnic table , where ASTRONAUTS ' WIVES are opening containers of baked beans , coleslaw , and potato salad .<\/scene_description>\n    <character>1ST WIFE<\/character>\n    <dialogue>just not sure how I feel about NASA allowing couples to go on this type of mission together.<\/dialogue>\n    <scene_description>One of the other women raises a warning eyebrow , and the 1st Wife turns , sees Terri setting down her platter .<\/scene_description>\n    <character>1ST WIFE<\/character>\n    <parenthetical>( embarrassed . )<\/parenthetical>\n    <dialogue>Nothing personal, Terri. It's just that, well, it's kind of a funny feeling for those of us staying behind.<\/dialogue>\n    <character>TERRI<\/character>\n    <parenthetical>( carefully neutral . )<\/parenthetical>\n    <dialogue>All the research shows that marriage will provide stability on these long duration trips.<\/dialogue>\n    <character>2ND WIFE<\/character>\n    <dialogue>Then they have n't studied some of the couples I've known.<\/dialogue>\n    <scene_description>Laughter at this . Terri smiles politely - she does n't really have much in common with these women - before moving on . ANGLE LINGERS on the wives , who watch her go with a slight tinge of jealousy . One of them is looking around .<\/scene_description>\n    <character>3RD WIFE<\/character>\n    <dialogue>Anybody seen Jim McConnell?<\/dialogue>\n    <character>4TH WIFE<\/character>\n    <dialogue>I do n't think he's coming.<\/dialogue>\n    <character>1ST WIFE<\/character>\n    <dialogue>God, that poor man. How's he doing?<\/dialogue>\n    <character>2ND WIFE<\/character>\n    <dialogue>Totally losing it, from what I hear. Ca n't sleep, ca n't eat. Visits her grave almost every day.<\/dialogue>\n    <parenthetical>( lowers her voice . )<\/parenthetical>\n    <dialogue>They say he could lose mission status.<\/dialogue>\n    <character>3RD WIFE<\/character>\n    <dialogue>Oh, that's so sad. That is just so tragic. You go to a routine physical one day, and wham.<\/dialogue>\n    <character>4TH WIFE<\/character>\n    <dialogue>After all those years of training, too. It was their whole dream.<\/dialogue>\n    <character>1ST WIFE<\/character>\n    <dialogue>Must be a pretty funny feeling for Luke Graham. Y' know? Now he's gon na be in the history books. First man on Mars.<\/dialogue>\n    <scene_description>She shakes her head , awed by the thought . The others nod in agreement , following her glance . In the distance , a lone MALE FIGURE stands by the garage , his back to them , facing the parked cars , vans , and SUVs which stretch down the driveway and along the street . Another figure , a WOMAN , can be seen approaching him . CLOSER ANGLE FOLLOWS the moving woman - DEBRA GRAHAM , early 30s , very attractive - until she reaches her husband . LUKE GRAHAM , mid 30s , has the lean , fit body of an astronaut , the restless intellect of a scientist . He 's unaware of her approach until she touches his shoulder . He looks at her with an apologetic smile .<\/scene_description>\n    <character>DEBRA<\/character>\n    <dialogue>He's not coming, Luke.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Jim deserves this, too. All his friends are here. And it's my last night.<\/dialogue>\n    <character>DEBRA<\/character>\n    <parenthetical>( gently . )<\/parenthetical>\n    <dialogue>Your last night with us, too.<\/dialogue>\n    <scene_description>He looks at her , moved . She summons a smile . He slides his arms around her waist , kisses her forehead .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>I love you, Deb.<\/dialogue>\n    <character>DEBRA<\/character>\n    <dialogue>I love you too, baby. But maybe you should spend some time with Bobby.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Yeah. I will. Where is he?<\/dialogue>\n    <character>DEBRA<\/character>\n    <dialogue>Up in his fort.<\/dialogue>\n    <scene_description>He kisses her again , then goes . Debra 's eyes follow him , with a mixture of pride and sadness . ANGLE FOLLOWS Luke away from the garage , into<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE BACK YARD. LATE AFTERNOON<\/stage_direction>\n    <scene_description>Luke moves through the crowd . Phil and the kids are still shooting off rockets . Red streaks arc high overhead . In the back corner of the yard , where it 's quieter , he passes Willis , who 's sitting on a blanket , murmuring soulfully to PRETTY GIRL # 2 .<\/scene_description>\n    <character>WILLIS<\/character>\n    <dialogue>Deep space is so lonesome. So cold. But I guess I'll have my memories to keep me warm.<\/dialogue>\n    <scene_description>Luke shakes his head . Willis is incorrigible . Finally he reaches a tall redwood playset . He looks up the ladder . A SMALL BOY sits on the platform of the tower , arms around his knees , staring up at the stars . A telescope rests nearby on a tripod . He looks lonely . Luke climbs up , sits down on the wooden deck next to him . BOBBY , 7 , glances over at his dad , his idol , then back at the sky .<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Who's gon na read to me now, at bedtime?<\/dialogue>\n    <scene_description>Luke is surprised by the question . A pause .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Mommy will.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I like when you do it. Now we're never gon na finish our book.<\/dialogue>\n    <scene_description>His voice is unexpectedly fierce . He 's fighting back tears . Luke is moved . Another brief silence .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Well, I'll tell you what. I've been thinking about that. And what I thought was - how ` bout if I bring along my own copy?<\/dialogue>\n    <parenthetical>( Bobby looks at him . )<\/parenthetical>\n    <dialogue>Then every night, wherever I am, I'll read a little bit more of it. And I'll know that you and Mommy, wherever you are, you're reading it too. That way, it'll feel like we're still reading it together.'Cause I do n't know about you, but I'm pretty anxious to find out how ` ol Ben Gunn got marooned on that island. What d'you say?<\/dialogue>\n    <scene_description>Bobby manages a smile . He nods , feeling a little better . Luke is proud of his son 's courage .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Good deal. Can I have a hug?<\/dialogue>\n    <scene_description>Bobby 's arms go around his father 's neck . He hugs Luke fiercely , and Luke hugs him back . His eyes , over the thin young shoulders , are brimming with love and impending absence . Then , from the distance , the sound of an APPROACHING CAR . They both turn . An open Jeep is coming down the street . Its DRIVER is alone . Luke 's expression changes . Recognition , then happiness .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LUKE'S STREET. LATE AFTERNOON<\/stage_direction>\n    <scene_description>The Jeep stops , its electric engine WHIRRING down . The Driver climbs out wearily , reaching into the back seat , and comes out with a champagne bottle , hastily decorated with ribbon . The PARTY SOUNDS are drifting this way , and he hesitates a moment , seeming to gather himself . He starts gamely towards the party , then pauses again . Debra Graham stands nearby on the front lawn , waiting . She smiles tentatively . JIM MCCONNELL , early 40s , manages a smile in return . He has dark circles under his eyes , and his clothes look slept in . Yet we sense , even through his sadness , a kind of quiet competence in this man , an unforced authority ; he 's a natural leader . Debra hurries forward , into his arms , and he hugs her . They separate , looking at each other . Her eyes are shining .<\/scene_description>\n    <character>DEBRA<\/character>\n    <dialogue>We were afraid you would n't come.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>I caught a whiff of your barbecue. After that I was helpless.<\/dialogue>\n    <character>DEBRA<\/character>\n    <dialogue>All the way out in Galveston?<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Something like that.<\/dialogue>\n    <parenthetical>( she smiles . )<\/parenthetical>\n    <dialogue>It's his night, Deb. I did n't want to spoil it.<\/dialogue>\n    <character>DEBRA<\/character>\n    <dialogue>Spoil it? He's been going crazy looking for you.<\/dialogue>\n    <scene_description>Over her shoulder he sees Luke approaching , his arm around Bobby . The two men look at each other , the bond between them so strong it needs no words . Finally Luke smiles .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>C'mon. A whole lot of folks here are gon na be mighty glad to see you.<\/dialogue>\n    <scene_description>McConnell comes towards him , accompanied by Debra , and together the four of them move OUT OF FRAME , heading towards the party . ANGLE HOLDS on the parking area , as we .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAME VIEW. NIGHT (HOURS LATER)<\/stage_direction>\n    <scene_description>All the parked cars and vans are gone now , except for two : McConnell 's Jeep and Woody 's classic ` Vette . Willis , one of the last to go , is just departing on his motorcycle . Perched behind him , arms around his waist , is PRETTY GIRL # 3 . They zoom away , through the darkened neighborhood .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK YARD. NIGHT<\/stage_direction>\n    <scene_description>The yard is nearly deserted . The `` Bon Voyage '' banner has torn loose at one end and flutters limply . Here and there a napkin blows across the ground . In the distance , THREE FIGURES sit on the ground , by the waning fire of the barbecue pit , sipping beers . CLOSER ON THIS TRIO As Woody shoves another piece of wood into the flames . For a moment he , McConnell , and Luke are silent , staring at the sparks as they rise towards the stars - red and gold dots mingling with the silver ones .<\/scene_description>\n    <character>WOODY<\/character>\n    <parenthetical>( abruptly . )<\/parenthetical>\n    <dialogue>I wish we were all going. Together.<\/dialogue>\n    <scene_description>The intensity in his voice surprises the others , and even Woody himself . Luke glances at McConnell . An awkward beat .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Then you've got a short memory. Think back to how we were by the second week of lunar training.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Oh, you're not gon na bring that up again -<\/dialogue>\n    <character>LUKE<\/character>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>I'm trying to remember, let's see, which one of us scored the lowest ranking up there?<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>You just ca n't let that go -<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Oh, man, three commanders, on the same ship? If they sent us off to Mars together, there would n't be enough fuel to lift all those egos.<\/dialogue>\n    <character>WOODY<\/character>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>Bullshit, we would've made a great crew.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>That was never gon na happen. I was always teamed with Maggie, and we were mostly chalkboard jockies. You know? Systems. Payloads.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Listen to him. Mr. Cover - of - Time Magazine!<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Yeah, who landed the crippled Block II Shuttle?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Yeah, and who scored highest on the lunar rankings?<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Let it go, Luke.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Sure, I made a little noise. But putting the first footprints on Mars? Nah. That's for guys who.<\/dialogue>\n    <parenthetical>( looks at Luke . )<\/parenthetical>\n    <dialogue>. wrote their Ph.D. thesis on how to colonize the place. And guys who.<\/dialogue>\n    <parenthetical>( looks at Woody . )<\/parenthetical>\n    <dialogue>. read too much science fiction as a kid and still wear little Flash Gordon rocketships around their necks.<\/dialogue>\n    <scene_description>He grabs playfully at Woody 's neck . Woody smacks his hand away , laughing .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>You read the same damn science fiction books that I did! You're just not man enough to wear jewelry!<\/dialogue>\n    <scene_description>He pulls from his shirt a little Flash Gordon rocketship emblem hanging on a chain , and waggles this tauntingly at McConnell , as Luke and McConnell laugh .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>You want Flash. You know you want him. Well you'll have to come through me!<\/dialogue>\n    <scene_description>Luke grabs Woody 's arm to give McConnell a better shot at the emblem , but Woody cuffs his hands away , laughing . McConnell , watching their horseplay , shakes his head .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>God, she would've loved to see you two clowns. Just one more time.<\/dialogue>\n    <scene_description>He tries to smile , but his face reddens . Then all at once his chest is heaving as he struggles to control his emotions . Woody sees this , reaches out a reassuring hand , but McConnell shakes him off , rises abruptly . He turns his back on them , walking away a few steps . Woody and Luke exchange a worried glance .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LUKE'S STREET. LATER THAT NIGHT<\/stage_direction>\n    <scene_description>McConnell and Luke watch as Woody starts up his Corvette . McConnell has regained his composure .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Hey, Woodrow, is n't it about time you donated this thing to a museum?<\/dialogue>\n    <scene_description>Woody revs the engine , which ROARS lustily . He grins .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Internal combustion, boys. Accept no substitutes.<\/dialogue>\n    <scene_description>Luke laughs . Woody looks at McConnell .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Jim, if there's ever. if there's anything Terri and I can do -<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>I'm okay. Really. Thanks.<\/dialogue>\n    <scene_description>Woody reaches out to shake Luke 's hand .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>See you when I get to Mars, Luke. Do n't solve all the mysteries of the universe, okay? Leave a little something for the next guys.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>I'll see what I can do. Just make sure you bring some fresh beer.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>You got it.<\/dialogue>\n    <scene_description>With a final glance at McConnell , Woody slips the car into gear . McConnell and Luke watch as he drives away . A silence . Luke glances at his old friend , growing more serious . We sense he 's been waiting all night for a chance to say this .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Should've been your mission, Jim. Yours and Maggie's.<\/dialogue>\n    <scene_description>McConnell , looking after Woody 's car , becomes very still .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>None of us ever wanted Mars the way you two did. Not even Woody. Twelve years of hoping for this assignment, training for it -<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>That's all over now.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>If Maggie had n't gotten sick - if you had n't pulled yourself out of the rotation to take care of her -<\/dialogue>\n    <scene_description>McConnell turns to him , his eyes flashing danger . He will not tolerate pity . Luke sees this but presses on .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>No, I'm gon na say this. I have to say it.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>I wanted Mars One. Hell, I battled you for it every step of the way. Never wanted to beat anybody so bad in my life. But not like this. Jim, I'd give this all up in a second, if it would bring Maggie back to us.<\/dialogue>\n    <scene_description>McConnell is deeply moved , and for a moment does n't trust his own voice .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>I know that, Luke. You do n't have to say it. Mars is yours now. Go get it.<\/dialogue>\n    <character>LUKE<\/character>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Take care of yourself.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Yeah. You too.<\/dialogue>\n    <scene_description>Luke nods . They grab hands for a second , then let go . Luke walks back towards his house . McConnell watches him for a moment , then turns , walks over to his Jeep . He opens his door , then pauses . He turns . Looks up at -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NIGHT SKY<\/stage_direction>\n    <scene_description>A tiny reddish dot hovers there , glowing steadily . Mars itself , a tantalizing prize . But for him now , more distant than ever . For him , perhaps , never to be attained . CLOSE ON MCCONNELL 'S FACE As we see these thoughts going through him . After a moment he looks down at HIS SHOES And the sandy verge of the front yard . MCCONNELL 'S EYES Are a map of complex emotions : regret , injured pride , infinite yearning . Gently , a bit self - consciously , HE LIFTS ONE SHOE And sets it down again , making a careful , deliberate footprint in the sandy soil .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS. CHRYSE PLANITIA. DAY<\/stage_direction>\n    <scene_description>Instantly we 're hurled into an immense , stunning LANDSCAPE , mysterious and vivid as a fever dream . Dazzling sunlight . A vast plain of rust - orange soil . Countless craters . Boulders the size of houses , tossed about by the hands of gods . Twin moons hanging in a salmon - pink sky . On the horizon , towering , craggy peaks . And , at center - the only sign of life - a small , mysterious , moving puff of dust .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS. DAY<\/stage_direction>\n    <scene_description>CLOSER ANGLE as a small , Sojourner - like , multi - wheeled robotic vehicle ambles INTO FRAME , jouncing along the orange Martian soil , pausing to snuffle its sensors towards the occasionally interesting rock . Lettering on its side reads `` ARES - 8 . '' SUPER TITLE : `` MARS . PLAINS OF CYDONIA . EIGHT MONTHS LATER . '' Suddenly Ares - 8 pauses . Its video lens WHIRRS out , fine - tuning focus , as it becomes intrigued by something OFFSCREEN - a higher , more distant target . The little fellow almost quivers with excitement .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS. TIU VALLIS. DAY<\/stage_direction>\n    <scene_description>A one - man ATV ROVER waits in the background , in a dry streambed , as Luke , in an EVA spacesuit , swings a clawed rock hammer against a multi - layered , sedimentary rock face . Reddish dust coats his bulky white suit . Despite that bulk , he moves easily in the light Martian gravity -LRB- 1\/3 Earth 's -RRB- . A hunk of rock breaks off , and Luke examines it more closely , holding it up to his clear faceplate . He 's very happy , absorbed in this work , when his RADIO CRACKLES .<\/scene_description>\n    <character>COTE<\/character>\n    <dialogue>Luke, you read me?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Yeah, Renee.<\/dialogue>\n    <character>COTE<\/character>\n    <dialogue>Luke, I just got ARES - 8 on line and. Well, we think you're gon na wan na see this for yourself.<\/dialogue>\n    <scene_description>Luke , though reluctant to break off work , is intrigued .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Copy that.<\/dialogue>\n    <scene_description>As Luke turns away , headed for the rover WE PULL WIDE To REVEAL a STAGGERING PROSPECT , seen for the first time : Valles Marineris , that planet - creasing slash . So wide , so deep , it boggles the mind : on earth it would reach from New York to L.A.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARS ONE HAB. DAY<\/stage_direction>\n    <scene_description>The crew of Mars One - Kirov , Willis , and Cote - have joined Luke , gathered around some display monitors . They 're in NASA jumpsuits ; the Hab has artificial atmosphere , enhanced gravity , and heat . All are captivated by what they see . ON A VIDEO SCREEN We see a low - angle image of an elongated , rubble and dirt - covered MOUNTAIN . Hard to tell scale , but it looks huge . What 's most striking , however , is a WHITE PEAK barely protruding through the rubble two - thirds of the way along the mountain 's ridgeline . Its whiteness is in clear contrast to the typical rust - orange of the surrounding rubble ; what 's more , this strange little peak also displays an oddly - smooth , multi - planed symmetry .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>What the hell is that?<\/dialogue>\n    <character>COTE<\/character>\n    <dialogue>No idea, boss.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Where is it?<\/dialogue>\n    <scene_description>Cote glances at the others . They 're all smirking , as if they share some secret joke Luke 's not yet in on .<\/scene_description>\n    <character>WILLIS<\/character>\n    <dialogue>You do n't wan na know.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>C'mon, what's so funny? Gim me the coordinates.<\/dialogue>\n    <scene_description>He leans over to read a digital gauge , but Cote covers it with her hand , enjoying the tease .<\/scene_description>\n    <character>COTE<\/character>\n    <dialogue>Latitude 41 degrees north, longitude 9 degrees west.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>The Plains of Cydonia. So?<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Oh no. You're not telling me -<\/dialogue>\n    <scene_description>They all laugh as the other shoe drops . Luke 's expression is incredulous , exasperated .<\/scene_description>\n    <character>COTE<\/character>\n    <dialogue>Oui. Exactement! It's Kirov's fault, he picked today's sector.<\/dialogue>\n    <character>KIROV<\/character>\n    <dialogue>Hey, c'mon! We've got a scientific duty to check that thing out.<\/dialogue>\n    <scene_description>Luke sits , taking over the Ares remote control from Cote . They all watch as he fine tunes the image , trying without success to coax more resolution .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Great. That's great. The first anomaly we hit, and it's got ta be in the one place guaranteed to make NASA look ridiculous. You know how many books have been written about that damned mountain?<\/dialogue>\n    <character>COTE<\/character>\n    <dialogue>The Egyptians put it there.<\/dialogue>\n    <character>KIROV<\/character>\n    <dialogue>No, the Amazons.<\/dialogue>\n    <character>WILLIS<\/character>\n    <dialogue>No, it was little green men!<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>And all because a couple of lousy impact craters happen to look like eye sockets. If this gets out, we'll have every UFO kook on Earth spouting off on the six o'clock news. C'mon, people, gim me a read here. Is that a cinder cone?<\/dialogue>\n    <character>KIROV<\/character>\n    <dialogue>Nah, too smooth. Too angular. Volcanic upwelling?<\/dialogue>\n    <character>COTE<\/character>\n    <dialogue>No fissures. No caldera.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>It's an upwelling, for sure. But maybe not volcanic.<\/dialogue>\n    <scene_description>The others look at him , puzzled . Luke leans in closer , with growing excitement . He points to the screen .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Look at the color. And see how shiny it is? I could swear that's ice.<\/dialogue>\n    <character>COTE<\/character>\n    <dialogue>This far south?<\/dialogue>\n    <character>WILLIS<\/character>\n    <dialogue>Impossible. You ca n't have ice at this latitude. Not unless.<\/dialogue>\n    <scene_description>They look at each other , Luke 's excitement now leaping from one to another of them . They 're almost trembling .<\/scene_description>\n    <character>WILLIS<\/character>\n    <dialogue>Oh my God.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>How far away is it?<\/dialogue>\n    <character>KIROV<\/character>\n    <dialogue>Sixteen kilometers northeast. Take us twenty minutes to get there.<\/dialogue>\n    <character>LUKE<\/character>\n    <parenthetical>( considers a moment . )<\/parenthetical>\n    <dialogue>Let's send a packet to Micker. Then we'll go check it out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS ONE BASE CAMP. DAY<\/stage_direction>\n    <scene_description>AIRLOCK DOORS Slide back , REVEALING the crew in EVA suits , carrying gear . They walk over to . THE FOUR - MAN ROVER The astronauts climb in through the hatch . The last one in pulls it shut behind him and locks the latches . We see Cote and Luke check their screens and press some buttons . Luke puts the rover in drive . WIDER ANGLE , PULLING UP AND AWAY As the rover moves off across the rocky surface , dust kicking up from the wheels , we get our first exterior glimpse of the Mars One Base Camp . The main HAB UNIT looks like a huge tuna can with a conical top section ; it connects to a separate , inflated - bubble GREENHOUSE . There 's also an OXYGEN STILL , PROPELLANT PLANT , and , on the other side , a couple hundred meters distant , the massive ERV -LRB- Earth Return Vehicle -RRB- , which arrived as a separate , unmanned flight . Rows of SOLAR PANELS , arrayed on the ground , and an AMERICAN FLAG on a thin pole , about man - height , complete the scene .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INTERNATIONAL SPACE STATION (ISP). EARTH ORBIT. DAY<\/stage_direction>\n    <scene_description>A vast , impressive , MULTI - SECTIONED SPACECRAFT is drifting majestically above Earth . The main hull displays both NASA and U.N. flag decals . SUPER TITLE : `` INTERNATIONAL SPACE STATION . MARS MISSION CONTROL ROOM -LRB- MMCR -RRB- . 20 MINUTE TIME LAG . '' We MOVE IN towards another of the station 's segments , which is dedicated entirely -LRB- as we see from more labels and insignias -RRB- to the Mars Program : Control Room , Training and Living Quarters , and a Vehicle Docking and Launch Area , where Mars Two is already positioned for its eventual flight . We hear LUKE 'S EXCITED VOICE , over speakers .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>This is a truly anomalous formation. Looks like nothing we've seen so far. The structure appears to be crystalline, at least from the angle displayed by ARES - 8.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MMCR. DAY<\/stage_direction>\n    <scene_description>On a large CENTER DISPLAY SCREEN , we see Luke and the Mars One crew , sitting around their kitchen table in the Hab , finishing lunch while taping this VIDEO MESSAGE .<\/scene_description>\n    <character>LUKE<\/character>\n    <parenthetical>( grins . )<\/parenthetical>\n    <dialogue>We're all trying not to go too nuts up here, but - we think there's a good chance this could be an extrusion from some subsurface, geothermal column of water. And if we're right.<\/dialogue>\n    <scene_description>He looks at his crew . They beam like cats who ate canaries .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>then we've found the key to permanent human colonization.<\/dialogue>\n    <scene_description>IN THE MMCR There 's an EXCITED BUZZ among the assembled TECHNICIANS , FLIGHT ENGINEERS , and SCIENTISTS . This would be a fantastic , epochal discovery . MCCONNELL Sits at the center console , wearing a headset . He 's now the Mars One CAPCOM -LRB- Capsule Communicator -RRB- , and his manner is brisk , efficient , all - business . A TECHNICIAN leans in for instructions .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Tell geology and hydrology we need to scramble on this. Full - court press.<\/dialogue>\n    <scene_description>The technician nods , hurries away . McConnell , sharing the intense excitement of those around him , stares up at THE SCREEN Where Luke and his crew are still smiling , well knowing the excitement their bombshell will create .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Anyway, we'are going out to take a closer look at it, try to get an idea of its composition.<\/dialogue>\n    <parenthetical>( checks his watch . )<\/parenthetical>\n    <dialogue>By the time you receive this, we should be just about on - site.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY<\/stage_direction>\n    <scene_description>The rover is a hundred meters away and moving fast TOWARDS CAMERA . We BOOM DOWN to REVEAL Ares - 8 , still faithfully holding its point , like an Irish Setter , with its video snout WHIRRING OUT . The rover drives up and slows to a stop nearby . The hatch door cracks open and some dust vents out . The door opens all the way and the astronauts climb out . They all look up in awe . We hear their voices ON RADIOS .<\/scene_description>\n    <character>KIROV<\/character>\n    <dialogue>Jesus Christ.<\/dialogue>\n    <scene_description>THE MYSTERIOUS PEAK Gleams in the sun , dazzling white , its facets as planed and smooth as if an architect had drawn them . It pierces through the topmost rubble at the near end of the big mountain - an isolated , butte - like giant , stretching two miles from left to right in front of them . THE ASTRONAUTS Walk towards the mountain . There 's a very deep , very low , staccato tone intruding over their headsets .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Anyone else hear that?<\/dialogue>\n    <character>COTE<\/character>\n    <dialogue>Yeah. What is it?<\/dialogue>\n    <character>WILLIS<\/character>\n    <dialogue>Sounds like our antenna's out of phase.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Can you fix it?<\/dialogue>\n    <character>WILLIS<\/character>\n    <dialogue>Hey, skip, I can fix anything.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Big talker. Renee, Sergei, let's break out the radar, see what this thing's made of.<\/dialogue>\n    <scene_description>As they go to their jobs , the deep , barely audible rumbling tone continues .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPACE STATION. CORRIDOR OUTSIDE MMCR. DAY<\/stage_direction>\n    <scene_description>MULTINATIONAL CREWMEMBERS walk by , in the artificial gravity of the busy station , as RAY BECK , mid - 50s , approaches from the opposite direction . Beck is the tough , crewcut , PR - savvy head of the NASA Mars Program -LRB- ID 'd by his name tag -RRB- , and just now he 's leading a covey of U.N. AMBASSADORS on a tour . The ambassadors , of both sexes , many nations , and all races , look as excited as schoolkids .<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>and this is the Mars Mission Control Room, nicknamed `` Micker.'' I understand a comm packet is incoming from Mars One Base Camp, so you may find this interesting.<\/dialogue>\n    <scene_description>He opens the doors , ushering his flock inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MMCR. DAY<\/stage_direction>\n    <scene_description>The ambassadors enter , oohing and ahhing over the impressive array of gadgetry and personnel , and especially over the big screen . Some of them start taking souvenir snaphots . The NIGERIAN AMBASSADOR turns to Beck , whispering curiously .<\/scene_description>\n    <character>AMBASSADOR<\/character>\n    <dialogue>That man over there. He's in charge?<\/dialogue>\n    <scene_description>BECK FOLLOWS HIS GLANCE TO MCCONNELL Who is surrounded by a KNOT OF TECHNICIANS , to whom he is giving quiet , precise instructions . They hover , then depart , like so many eager bees . BECK Smiles indulgently at the ambassador 's misunderstanding .<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>No, actually, that's Jim McConnell, the CAPCOM. Our voice link to the astronauts? Jim's been with the manned Mars program since its inception. One of our real pioneers.<\/dialogue>\n    <character>AMBASSADOR<\/character>\n    <dialogue>Will he be going to Mars, too?<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>Ah, no. This is as close as he gets.<\/dialogue>\n    <scene_description>ON THE SCREEN Luke and his crew have finished eating , and are clearing away their dishes and leftovers .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>anyway, that's about it. We'll send another packet when we get back.<\/dialogue>\n    <scene_description>Cote clears her throat , gives Luke a look . The others can barely conceal their grins .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Oh, right. One more thing. Today is a very special day for a good friend of ours, and I know he's there right now.<\/dialogue>\n    <scene_description>McConnell looks at the screen , worried . What 's Luke up to ?<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Now, he hates it when any fuss is made, so I wo n't mention his name.<\/dialogue>\n    <scene_description>A look of relief comes over McConnell .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>because the last thing in the world I'd ever want to do is embarrass someone like Jim McConnell.<\/dialogue>\n    <scene_description>McConnell winces - Dear God , no - as , on the screen , Kirov appears from OFF CAMERA holding a cupcake with a burning candle stuck in it , and the Mars One crew starts SINGING `` Happy Birthday '' to him . Loudly . And very off - key .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>C'mon, you Micker weasels, sing!<\/dialogue>\n    <scene_description>Soon most everyone in MMCR is singing along - even some of the jolly ambassadors - with the noticeable exception of Beck , who stiffens unhappily . McConnell is mortified .<\/scene_description>\n    <character>LUKE<\/character>\n    <parenthetical>( sings a line , then , to CAMERA : . )<\/parenthetical>\n    <dialogue>Hey, Ray! Take a look at him! Is he all red with one of those fake `` I'm - a - good - sport'' grins?<\/dialogue>\n    <scene_description>Beck looks over at McConnell , who indeed is red in the face with a fake `` I 'm - a - good - sport '' grin .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>And hey, you guys, check out Ray! Does he have on one of his `` This - was n't - in - my - mission - plan'' faces?<\/dialogue>\n    <scene_description>Indeed , Beck 's smile is thin , sour , disapproving .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Nothing you can do about it, Ray! We're a hundred million miles away!<\/dialogue>\n    <scene_description>Luke and the crew finish singing the song . Luke raises the cupcake in a toast .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Happy Birthday, Jimbo! Make a wish!<\/dialogue>\n    <scene_description>He and his crew lean in , blow out the candle . They laugh and applaud , then wave goodbye .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Catch you again soon. Take care, buddy. End of transmission.<\/dialogue>\n    <scene_description>Luke reaches out , turns OFF the CAMERA , and the display screen GOES BLACK . Beck turns , his gaze locking with McConnell 's . He 's annoyed , as if this violation of protocol were somehow McConnell 's fault . McConnell returns his stare coolly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY<\/stage_direction>\n    <scene_description>Cote stands by a display screen mounted on the rover . Kirov has a big radar gun on a tripod , pointing at the mountain . Luke turns to Cote .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Well? What's under there?<\/dialogue>\n    <character>COTE<\/character>\n    <parenthetical>( puzzled . )<\/parenthetical>\n    <dialogue>Je ne sais pas. I. I think there's something wrong with the equipment.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>COTE<\/character>\n    <dialogue>I mean, it ca n't be right. It says. it says there's metal under there.<\/dialogue>\n    <scene_description>Luke does n't understand . He walks up to look at the display screen .<\/scene_description>\n    <character>COTE<\/character>\n    <parenthetical>( points . )<\/parenthetical>\n    <dialogue>There's ten, twelve meters of rubble and sand, and then. solid metal.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>That does n't make any sense. You're reading a vein of ore.<\/dialogue>\n    <character>COTE<\/character>\n    <parenthetical>( shakes her head . )<\/parenthetical>\n    <dialogue>No. It's under the whole mountain.<\/dialogue>\n    <scene_description>The deep pulsing tone continues . Luke frowns .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Nick, could the problem with the antenna be interfering?<\/dialogue>\n    <character>WILLIS<\/character>\n    <dialogue>Could be.<\/dialogue>\n    <character>LUKE<\/character>\n    <parenthetical>( to Cote and Kirov . )<\/parenthetical>\n    <dialogue>Try it closer and up the power. I'll watch the screen.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MMCR. DAY<\/stage_direction>\n    <scene_description>McConnell is taping an audio message to be sent to Mars as the rest of MMCR looks on . Beck is gone . So are the U. N. ambassadors .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Ah, we're all pretty stoked about that formation you spotted, Mars One. The folks in the geology and hydrology back rooms are going over your images and comparing them to every photomap they've got.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY<\/stage_direction>\n    <scene_description>Cote and Kirov are close to the foot of the mountain , resetting the radar gun on its tripod . The deep vibrating tone continues . Luke is some distance away , by the rover . He looks at Willis , who 's still working on the rover 's antenna .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Nick, how we coming on that antenna?<\/dialogue>\n    <character>WILLIS<\/character>\n    <dialogue>Goin' as fast as I can, boss.<\/dialogue>\n    <scene_description>Cote and Kirov are having some trouble with the switches on the radar gun . They turn towards Luke and Willis .<\/scene_description>\n    <character>KIROV<\/character>\n    <dialogue>Hey, Nick. Come show me how stupid I am. I ca n't get this to work.<\/dialogue>\n    <scene_description>Willis looks at Luke . Luke nods - Go help them . Willis starts towards the radar gun .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MMCR. DAY<\/stage_direction>\n    <scene_description>McConnell is handed a slip of paper , glances at it .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Medical wants me to remind you that you're three days late on your blood tests. I know they're a bore, but you've got to get them done, or else. or else I do n't know what. Just do them, okay?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY<\/stage_direction>\n    <scene_description>Willis , Cote , and Kirov get the radar gun up and running .<\/scene_description>\n    <character>KIROV<\/character>\n    <dialogue>All set here, chief.<\/dialogue>\n    <scene_description>Luke sidles over to the display screen on the rover .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Okay. Crank up the juice and let's see what's in this sucker.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MMCR. DAY<\/stage_direction>\n    <scene_description>McConnell checks over his clipboard list of updates .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>I think that's about it for business. But on a personal note, be advised that, ah, none of you can sing worth a damn.<\/dialogue>\n    <scene_description>LAUGHTER in the MMCR .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY<\/stage_direction>\n    <scene_description>Luke watches the screen on the rover , as , by the mound . KIROV Flips a switch on the radar gun , then swivels its muzzle slowly across the near slope of the mountain . We hear and feel the radar signal . The immediate result is that the pulsing tone we 've been hearing suddenly stops . LUKE Looks up from the display screen . A puzzled expression .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Why did that stop?<\/dialogue>\n    <scene_description>A split - second later , he gets his answer . We hear a WHOOSH , a mighty rushing of wind , as A GIGANTIC , TRANSLUCENT CYLINDER Starts to swirl and rise , straight up from the top or the mountain , at its center . As it swirls , the cylinder picks up debris - pebbles , sand - from the sediment - encrusted surface of the slopes . THE FOUR ASTRONAUTS Stare up at this spectacle , awed . A cyclone ? Some kind of energy wave ? They have no idea . At the moment they 're too fascinated to even be scared . TILTING UP - FROM THEIR POV We see the whirling cylinder rise , higher and higher , perfectly straight , until in just moments it 's as tall as a skyscraper . As it rises , it gains speed and power , narrowing at its top into a conical vortex . It 's sucking up so much dirt , so many rocks - even small boulders now - that the accumulating debris begins to darken its swirling , translucent outer `` skin '' . THE ASTRONAUTS Exchange amazed glances . Ca n't believe their eyes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MMCR. DAY<\/stage_direction>\n    <scene_description>McConnell still hovers by the microphone .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Honestly, Luke, if you guys do n't have anything better to do with your time, I can make some suggestions to mission medical. There are worse things than blood tests.<\/dialogue>\n    <scene_description>LAUGHTER and GROANS from the staff in MMCR .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY<\/stage_direction>\n    <scene_description>Luke , still staring in fascination , becomes aware of sand and pebbles flashing past his helmet . From behind . He turns . SAND PATTERS AGAINST HIS FACEPLATE As the nearby landscape BLURS . The vacuuming effect is becoming more general across the area . More violent . LUKE IS ALARMED And the spell is broken . He keys his throat mike , his lips moving , but no sound can be heard over the ROARING WIND . He waves his arms , motioning for the others to back away , towards the rover . Wind whips at their EVA suits as they obey him , retreating . Luke , backing away himself , is afraid to take his eyes off the cylinder . Then he sees that one man - Willis - has n't moved . In fact he 's busily snapping photographs of the cylinder . Luke hurries over to him , tugs his sleeve . WILLIS LOWERS HIS CAMERA But still stares up , transfixed , like a man face to face with a cobra . Luke follows the young astronaut 's frightened gaze , and his own eyes widen as he sees THE TOP OF THE VORTEX Beginning to tilt down , then coil sideways . Suddenly they 're looking into the huge open `` mouth '' of it , as sand and rocks fly into the swirling darkness . The monstrous , gaping maw slithers down over the rim of the mountain , turning this way , then that . Seeking them . And then , with horrifying precision , it locks in on the little group of astronauts . And lunges towards them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY<\/stage_direction>\n    <scene_description>Luke and Willis turn , running as hard as they can towards the rover . But the suction is so great , it 's as if they 're held back by wires . The ground itself is SHAKING , RUMBLING , as earthquakes begin to open fissures across the plain . The ROAR of the vortex , the GROANING of the earth , are like an onrushing freight train . AHEAD OF THEM In the maelstrom of flying debris , they can barely make out Cote and Kirov , still retreating , leaning back with all their strength against the suction , while staring up , aghast . Suddenly a hurtling rock , the size of a basketball , smashes into Cote 's helmet from behind , crushing it and killing her instantly . Blood sprays into the wind , immediately crystallizing , in the sub - zero atmosphere , into red pellets . LUKE , HORRIFIED , FLINGS HIS ARM UP As bloody hail patters against his faceplate and forearm . An instant later he sees KIROV Snatched up by the wind , then swept past him , in a terrifying blur , arms and legs flailing , mouth open in a silent scream as he vanishes . THE GROUND AT LUKE 'S FEET Abruptly opens , and he slides into a fissure . Scrabbling frantically with his gloved hands , he manages to momentarily arrest his fall , gripping the edge of the fault line , with his helmet and one elbow thrust over its lip . The air is almost solidly choked with debris , deadly boulders bound over him , and torrents of cascading sand are burying him alive . CLOSE ON LUKE Barely conscious , as he watches , for a horrifying final instant , as . HIS LAST CREWMAN , WILLIS Is sucked bodily into the black maw of the vortex , spinning and tumbling like a rag doll . CLOSE ON WILLIS 'S FACE His features grotesquely distorted by the forces tearing at him , before suddenly his faceplate is sprayed with blood , and . DISTANT ANGLE - LUKE 'S POV Willis 's spacesuit explodes , his entire body disintegrating into a million bits , which instantly disappear into the hellish maelstrom . And then that maelstrom itself , just as abruptly . STOPS . Vanishes . There is an instant , ringing SILENCE , as awesome in its own way as the roaring storm itself had been . WIDE ANGLE On the plain , as the last pebbles , released from suction , pitter down , bouncing . Swirls of dust and sand drift away , settling gently . The harsh orange landscape is once again calm , peaceful . And then , from the direction of the nearby mountain , we hear another sound : the deep bass pulsing rumble returns .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MMCR. DAY<\/stage_direction>\n    <scene_description>As McConnell finishes his message to Luke .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Oh, and I talked to Debra. She and Bobby are doing fine. Said to tell you, they're, ah, they're on their `` third time through the book, page -.<\/dialogue>\n    <parenthetical>( glances at a note . )<\/parenthetical>\n    <dialogue>- page 125.'' They send their love and say take care of yourself. Same from us here, buddy. Till next time, then. End of transmission.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY<\/stage_direction>\n    <scene_description>MOVING ANGLE , the CAMERA EXPLORING ground zero , as the bass , pulsing rumble continues . WE PASS the Rover , canted sideways into a little crater , with its canopy missing , one axle fractured , but miraculously still with all four wheels . WE PASS faithful little ARES - 8 , lying on its side , partially crushed under a boulder . It gives a final , pitiful WHINE , its video snout slowly extending , then dies . And finally we come to the area where the fissure had been , and see THE FISSURE HAS BEEN FILLED IN Leaving only a slender crease of umber sand . No sign of Luke . The pulsing rumble continues , over , as we see<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AERIAL VIEW. DAY<\/stage_direction>\n    <scene_description>An extraordinary sight , seen from high in the air , looking back down . Staring up at us from the bottom of a shallow crater , scoured clean of its aeons of accumulated silt and rubble , is a structure resembling a vast humanoid Face . The surface is gleaming white , apparently metallic . The features are suggested by intricately interlocking planes , slopes , ramps . The `` eyes '' - hatches of some kind ? - are closed , and the overall expression is eerily calm , but terrible in its power , like some ancient tribal mask . We see the Face clearly for only a few beats before thick , scudding clouds OBSCURE it , but the deep , pulsing rumble continues , low and insistent .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARS TWO (DOCKED). COCKPIT. DAY<\/stage_direction>\n    <scene_description>We 're inside the Mars Two spacecraft , which is still in its docked position alongside the Space Station . Woody Blake , wearing a NASA jumpsuit , floats up into the cockpit in Zero - G , studying a thick manual .<\/scene_description>\n    <character>WOODY<\/character>\n    <parenthetical>( reads . )<\/parenthetical>\n    <dialogue>`` Problem : Hatch door malfunction, backup power fail, manual override fail. Solution : Replace circuit breaker 907B.''<\/dialogue>\n    <scene_description>He straps into the pilot 's seat , staring at an electrical junction box at one end of the console .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Okay. Piece of cake.<\/dialogue>\n    <scene_description>He swings open the housing , revealing a bewildering tangle of fuses and wires . He sighs heavily , as Terri drifts up beside him , also in a jumpsuit , and straps into the co - pilot 's seat .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>God, who dreams up these nightmares?<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>Do n't try to change the subject.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>I'm not! We're talking about your sister's wedding, right?<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>Very funny. We're talking about dancing lessons. Before my sister's wedding.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Honey, do you mind? I've got a catastrophic power failure here.<\/dialogue>\n    <scene_description>He peers into the housing with exaggerated concern . But Terri 's not so easily sidetracked .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>Woody, we're a married couple. Would it kill you to invite me out on the floor once in awhile?<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>I danced with you at our wedding.<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>I'm not talking about shuffling your feet around while you grab my butt. I mean real dancing. Cha - cha, rhumba, jitterbug -<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Face it, honey, some couples dance, some go to Mars. That's life.<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>I'm serious. We've got two more months in this training rotation, but just as soon as we get home, we're starting lessons. If we never dance, people will think there's something wrong.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>If they see me dance, they'll know there's something wrong.<\/dialogue>\n    <scene_description>Reaching past him , she pulls out the required breaker . As he reacts , surprised , she smiles , despite her exasperation .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>You are such a lug.<\/dialogue>\n    <scene_description>Overhead , an intercom CRACKLES . We hear PHIL .<\/scene_description>\n    <character>PHIL'S VOICE<\/character>\n    <dialogue>Cockpit, this is Control.<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>Control, this is Cockpit.<\/dialogue>\n    <character>PHIL'S VOICE<\/character>\n    <dialogue>Uh, Terri, they want us all back in the Station. Report to Micker.<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>Who says report to Micker?<\/dialogue>\n    <character>PHIL'S VOICE<\/character>\n    <dialogue>The little men who live in my head.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Phil, c'mon! We just started this drill.<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>Woody, it was Ray Beck. He told me to round up the team. Now.<\/dialogue>\n    <scene_description>Woody and Terri exchange a worried look . What 's wrong ?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPACE STATION. MMCR. DAY<\/stage_direction>\n    <scene_description>A crisis atmosphere prevails . The big room is more crowded than we 've ever seen it , with ENGINEERS and MANAGERS hurrying by , huddling in tense , conferring knots , or muttering feverishly into microphones . On the center screen , a giant image of Mars . A frantic flow of green numbers crawls above and below this , and the site of the Mars One Base Camp is marked in blinking red . WOODY AND HIS CREW Are staring up at this screen , appalled . McConnell and Beck stand nearby , briefing them .<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>Then, at 1417, the X - band continuous data stream from Mars went silent. All data - med, environmental, everything - suddenly stopped. While we were trying to figure out what the hell went wrong, we got a signal from the folks at the Large Array at Soccoro.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>At the same moment we lost the data stream, they picked up an intense burst of energy from Mars.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>What do you mean, `` intense''?<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <parenthetical>( hesitates . )<\/parenthetical>\n    <dialogue>Catastrophic.<\/dialogue>\n    <scene_description>Looks are exchanged among the Mars Two crew .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>What about the crew?<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>The level of energy in the pulse. did n't seem survivable.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>What about the REMO? It went into Mars orbit last week. Maybe that could give us some clue.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Good thinking, Woody. That's just what we tried next.<\/dialogue>\n    <scene_description>He leans over , punches buttons on a keyboard . ON THE CENTER SCREEN An orange dot can be seen in its orbital ellipse around Mars , leaving a glowing electronic trail . This dot gets isolated in a viewing box , then enlarged and rotated into the computer - animated image of a small , ugly , industrial - looking unmanned cargo craft , labelled `` REMO . ''<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>The Resupply Module checked out fine. No instrument failures, no change in status. Orbit holding steady. But there was something else. The REMO'S computer contained an uplink message - a very faint, highly distorted transmission from Mars One Base Camp.<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>Someone's alive.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>How?<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>The message is almost indecipherable. Two teams are still working on it. You better see for yourselves.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MMCR. DAY<\/stage_direction>\n    <scene_description>FINGERS press buttons on a console . McConnell , Woody , Terri , and Phil are crowded around a monitor with Beck and two weary TECHNICIANS .<\/scene_description>\n    <character>TECHNICIAN<\/character>\n    <dialogue>Still concentrating on the audio. We managed to bring out a couple more words, but we've got a long way to go.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Show us whatever you've got.<\/dialogue>\n    <scene_description>The technician nods , then gestures to his assistant who hits a play button . CLOSE ON A MONITOR Black for a moment , then static . Out of this static comes a faint image of Luke , sitting alone at the Hab kitchen table . He looks awful - dried blood on his face , bloodshot eyes . The image is blurry , heavily streaked , and most of what he says is lost in waves of static .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>make this quick. may be only ch -.<\/dialogue>\n    <parenthetical>( long section of static . )<\/parenthetical>\n    <dialogue>. to the site, when we. hit us just as we. - thers are all dead.<\/dialogue>\n    <scene_description>Woody , Terri and Phil look at each other - Oh , God .<\/scene_description>\n    <character>LUKE<\/character>\n    <parenthetical>( following more static . )<\/parenthetical>\n    <dialogue>. low sound that we could n't understand. Then all of a sudden there was this terrib.<\/dialogue>\n    <parenthetical>( another long burst of static . )<\/parenthetical>\n    <dialogue>. - stems are holding up for now, but I do n't know how long I can.<\/dialogue>\n    <scene_description>The monitor screen GOES BLACK .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MMCR. DAY<\/stage_direction>\n    <character>TECHNICIAN<\/character>\n    <dialogue>That's it.<\/dialogue>\n    <scene_description>Woody and his crew stare at the screen , stunned . This is a catastrophe almost too huge to grasp .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPACE STATION. DAY<\/stage_direction>\n    <scene_description>As Beck leads McConnell and the other shaken astronauts down a corridor , Phil pauses , seeing . A SOBBING TECHNICIAN At her desk . TWO CO - WORKERS are trying to comfort her . One of these women looks up , and her reddened eyes meet . PHIL 'S EYES He looks back at her , haunted .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>What did Luke mean by a `` low sound?''<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPACE STATION. DAY<\/stage_direction>\n    <scene_description>In an otherwise empty lounge , the astronauts clutch Styrofoam coffee cups . Beck stands nearby . Through a large viewport behind them , stars glitter against the inky blackness .<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>If this was a earthquake, as we're now assuming, there's usually an auditory component.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>But that energy pulse they picked up in New Mexico.<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>Electromagnetic emission. Not uncommon with large - scale geophysical phenomena.<\/dialogue>\n    <character>WOODY<\/character>\n    <parenthetical>( incredulous . )<\/parenthetical>\n    <dialogue>Causing this kind of damage? I do n't buy it. We're missing something here.<\/dialogue>\n    <scene_description>McConnell and Woody exchange a glance . Woody 's right .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>Luke must be in pretty bad shape if he has n't blasted out of there in the Earth Return Vehicle. That thing's designed so even one crew member could fly it back to Earth.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Even if Luke was in great shape, he could n't get home. That energy pulse would've fried the ERV'S computers.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Other than the computers, how do we think the ERV fared?<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>Well, so far our modelling says it should be in pretty good shape.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Which means it's gon na be up to us to get new motherboards, drives, and software to Mars. As fast as we can.<\/dialogue>\n    <scene_description>McConnell looks at him , nods . They 're on the same wavelength . But Beck is more cautious .<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>Whoa, slow down. It's gon na take us weeks just to analyze this data.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Right, but meanwhile, we've got ta be working up a mission plan.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Luke needs us now.<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>Luke may already be dead. And even if he's not, it's doubtful he's going to be able to transmit again. So we would n't know whether it's safe to land until you were almost there.<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>What about SIMA?<\/dialogue>\n    <scene_description>Terri looks at Phil - SIMA ?<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>The Saturn Imaging Probe. It's going to slingshot around Mars on its way through the solar system. It could be retasked to take pictures, read radiation levels at Mars One Base Camp.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Good idea Phil. If SIMA tells us Luke has n't survived and it's not safe to land, we swing around Mars and come right back home.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Yes. We can design the mission to have a free return capability. It's a long trip, but if you do n't land it's the best option.<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>We're getting ahead of ourselves. You're forgetting the bigger problem.<\/dialogue>\n    <parenthetical>( they look at him . )<\/parenthetical>\n    <dialogue>The orbits are all wrong. Our first decent launch window is almost eight months from now.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>But we can go earlier and get there faster if we reconfigure the payload for extra fuel. We've modelled that, Ray. I've modelled it.<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>On paper, yeah. But those stresses have never been tested in space.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>The ship can take it.<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>I was n't thinking of just the ship.<\/dialogue>\n    <scene_description>A tense beat . Again we sense the test of wills between these two tough - minded men , once good friends .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>I know the protocols for a Mars Recovery Mission better than anybody, because I helped design them. And I'm saying these guys can do it.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>He's right, Ray. We've got a real shot.<\/dialogue>\n    <scene_description>A pause with beck weighing the odds . He looks at Woody .<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>Give me an updated mission plan by 0800 tomorrow. Then I'll put it in the works.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>You'll have it by 0600.<\/dialogue>\n    <scene_description>He looks at Woody , Phil and Terri , who are just as eager .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Let's get to work.<\/dialogue>\n    <scene_description>McConnell exits followed by Terri and Phil , but as Beck starts out , too , Woody stops him .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Chief, could I have a word?<\/dialogue>\n    <scene_description>Beck looks at him a moment , nods .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPACE STATION. MMCR. DAY<\/stage_direction>\n    <scene_description>In a quiet corner , Woody and Beck are alone .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>I've no longer got the right crew.<\/dialogue>\n    <character>BECK<\/character>\n    <parenthetical>( surprised . )<\/parenthetical>\n    <dialogue>What do you mean? Bjornstrom can be up here on the next shuttle.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Bjornstrom is a geologist. He's good, but not for this. My people just lost eight months of training. This is a different mission, with a different objective.<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>I have n't been given authorization for a mission yet.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>But when you are, it ought to be given the best chance for success. I want McConnell to fly right seat.<\/dialogue>\n    <scene_description>Beck 's expression hardens .<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>He's no longer on mission status.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Yeah. Because you washed him out.<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>He washed himself out. He only had to pass a few more psych evaluations, but he refused to take them.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Ray, he's the best pilot I ever saw, and you've got him benched at a desk.<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>Everybody has to pass the psych prelims. No exceptions. Jim knew that.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Maggie was his wife. He did n't want to lie on a couch and share her with strangers.<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>That was his call. But I had to make one too. It was tough as hell, but I'd do it again.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>His wife wasted away in front of his eyes. What was he supposed to do? Suck it up? Get with the program? What was his crime? That he was upset? That he cried?<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>I could n't trust him!<\/dialogue>\n    <scene_description>Beck and Woody stare at each other . A long tense beat .<\/scene_description>\n    <character>BECK<\/character>\n    <parenthetical>( his voice softer . )<\/parenthetical>\n    <dialogue>Not in a crisis. I'm sorry Woody, but Jim lost his edge. Are you gon na stand there and tell me Jim McConnell is the same man he was two years ago? You want me to bet four more lives on that?<\/dialogue>\n    <scene_description>This stops Woody , just for a beat . Then makes him press on harder , with even greater intensity .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>When Maggie died, yeah, it knocked the shit out of him. It knocked the hell out of all of us. But you know and I know that he's still the best we've got. He and Maggie wrote the book on Mars. He's got more hours in the sims than the rest of us put together. Ray, we can do this. Give me McConnell as co - pilot, and we will bring Luke home. And that's a promise.<\/dialogue>\n    <scene_description>Beck looks back at him , his features taunt .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPACE STATION. MMCR. DAY<\/stage_direction>\n    <scene_description>Woody , Terri , and Phil stand at the edge of the big control room , waiting and watching , in a tense silence , as IN THE DISTANCE , FROM THEIR POV Beck and McConnell are huddled together at the CAPCOM 's console . Other personnel have moved away , giving them room . Both men are seated , leaning forward , with McConnell listening intently , while Beck does most of the talking , very quietly . After a moment McConnell looks up in surprise . His eyes search the room till they find WOODY 'S FACE Woody looks back at him , nods : C'mon , man . Take it . MCCONNELL 'S OWN FACE Is a study in conflicting emotions . But after a moment he masters his feelings , turns back toward Beck . A few more quiet words are exchanged , then Beck offers his hand . McConnell hesitates , then shakes it . Both men rise , and McConnell turns again to look towards WOODY , TERRI , AND PHIL Who react with relief , glad that he 's now a part of their crew . Woody grins , giving him a thumb 's up . CLOSE ON MCCONNELL 'S FACE As he smiles . Then he starts towards them , with a new energy in his step , a new sense of confidence and purpose . And as he WALKS TOWARDS US , PASSING OUT OF FRAME .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEEP SPACE. MARS RECOVERY. DAY<\/stage_direction>\n    <scene_description>An infinite canopy of stars . After a moment , some of them begin to be BLOTTED OUT as A SPACESHIP Glides INTO VIEW . `` MARS RECOVERY '' -LRB- formerly Mars Two -RRB- looks much like its sister craft on Mars : a conical cockpit mounted above a `` tuna can '' crew Hab module . SUPER TITLE : `` MARS RECOVERY . MISSION DAY 172 . '' The entire lower deck forms a segmented section of the hull that rotates on bearings to provide artificial gravity ; we see window ports spinning past , then an American flag emblem . Behind this lower deck , in an extending network of struts , like the abdomen of a dragonfly , are the three huge round PROPELLANT TANKS . Then vast , delicate - looking rectangular SOLAR PANELS , which sweep out to either side of the ship ; these also bear the dish of the earth - pointing HI - GAIN ANTENNA . And finally comes the great mass of the ENGINE BELLS , housed within a curving AEROSHELL ; three hatches in the aeroshell can open to allow the main thrusters to fire through for a mid - course burn . CAMERA DRIFTS CLOSER To the forward section of the ship , APPROACHING a viewport in the EVA airlock chamber . Inside , we can see Phil leaning forward , concentrating on some task .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EVA AIRLOCK. DAY. A BUNCH OF M&amp;MS<\/stage_direction>\n    <scene_description>Are floating in mid - air , forming an intricate 3D pattern . In the EVA airlock , it 's zero G. Phil , strapped into a chair by a galley counter , is just completing this weightless puzzle by placing a final blue M&amp;M . He looks bored , sluggish . In the b.g. , Terri is hunched over a microscope . McConnell emerges from the core tunnel , behind them , coming up from the lower Hab , then pushes off from the ladder , floating towards Phil . He grins , admiring Phil 's obsessive handiwork .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>That. is the exact chemical composition of my ideal woman.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Used to be.<\/dialogue>\n    <scene_description>He plucks out a couple of the M&amp;M s as he drifts by .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>McConnell grins , snacking on the M&amp;M s.<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Now what is it?<\/dialogue>\n    <scene_description>Phil looks sadly at his floating model .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>A frog.<\/dialogue>\n    <scene_description>McConnell and Terri laugh as Phil starts scarfing down the rest of the M&amp;M s. Swooping at them with both hands .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>I guess now we have our answer to the effects of long - term interplanetary travel on the human mind. The answer is Phil.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>I'm gon na get an update on SIMA. It should be just about close enough to start capturing some surface images.<\/dialogue>\n    <scene_description>He 's drifted to another short ladder , and now grabs it , starts up to the cockpit , atop the Hab .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COCKPIT. DAY<\/stage_direction>\n    <scene_description>As McConnell appears in the cockpit , he sees Woody by the forward instrumentation panel , looking at a monitor . The cockpit is also zero G.<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Hey, Skip.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Take a look.<\/dialogue>\n    <scene_description>McConnell pulls himself forward . ANGLE ON MONITOR MARS completely fills the screen . Surface details are clearly visible . Something is moving down there , an amorphous brown swirl .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COCKPIT. DAY<\/stage_direction>\n    <character>WOODY<\/character>\n    <dialogue>What do you make of that?<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Dust storm. Southern hemisphere, coming from the east. Big fella, too.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Headed for Chryse Planitia.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Yup. Could get a little hairy just about landing time.<\/dialogue>\n    <scene_description>McConnell pulls back from the screen , looks at Woody .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>We'll have to be ready to move fast. Maybe even advance our ETA. Those things can cover the whole planet, and last up to a year.<\/dialogue>\n    <scene_description>A beat . They both hope he 's wrong .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>When does SIMA do her fly - by?<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Tomorrow morning, about 0600. That's when we find out whether we came all this way for nothing.<\/dialogue>\n    <scene_description>They exchange a glance . Woody 's right , but the thought is too terrible to dwell on . McConnell looks back at Mars .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>My money's on Luke.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARS RECOVERY. EVA AIRLOCK. NEXT MORNING<\/stage_direction>\n    <scene_description>CLOSE ON A DIGITAL CLOCK Just turning over to read `` 0545 . '' TERRI Pulls her gaze away from these numbers . Judging from her redrimmed eyes , it 's been a long , anxious night . Restlessly , looking to distract herself , she reaches for a test tube of blood , straps it into a centrifuge , sets it spinning . Nearby is her electron microscope . MCCONNELL -LRB- LOWER HAB -RRB- Lies on his cot in his own cubicle , with the door closed . The lower hab has artificial gravity -LRB- AG -RRB- and McConnell can move normally . Hands behind his head , he stares at his bureau . PHOTO OF A WOMAN Rests there , in its leather travel frame . Beautiful , smiling , dark - haired : MAGGIE MCCONNELL . Her face glows with intelligence and energy . MCCONNELL Shifts his eyes . The clock on his bulkhead reads `` 0546 . '' PHIL -LRB- LOWER HAB -RRB- Stands in the communal bathroom , still in his pajamas , a towel around his shoulders , brushing his teeth . He glances at another digital clock , which reads `` 0547 . '' Shakes his head impatiently . He looks back into the mirror , then is surprised to hear MUSIC lilting incongruously over the loudspeakers : Elvis Presley 's `` Blue Moon . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EVA AIRLOCK. DAY<\/stage_direction>\n    <scene_description>Phil floats in through the connecting tunnel , then stops himself at a handhold . He grins , charmed by the sight of WOODY AND TERRI DANCING Like a weightless Fred and Ginger . Woody is surprisingly good at this . Enthusiastic , unselfconscious . He sweeps Terri gallantly about the little cabin , pushing off from every handy surface , even guiding her into some passable twirls and dips . She laughs , shaking her head .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>What brought this on?<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Zero - G. My last chance to be graceful. Once we're in Mars gravity, it's back to shuffling my feet and grabbing her butt.<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>I'll take what I can get.<\/dialogue>\n    <scene_description>She grins , kisses his ear , as Phil turns , sees MCCONNELL Who has now arrived , is also watching the dancing couple . A twinge of sadness crosses his features . But when his eyes meet Phil 's , he shakes off the feeling and manages a smile : Are n't they something ? Over the music , they hear a CHIRP from the SHIP 'S COMPUTER , then an announcement .<\/scene_description>\n    <character>COMPUTER<\/character>\n    <dialogue>Attention. Incoming packet.<\/dialogue>\n    <scene_description>They all look at each other . This is it ! Woody spins over to a console , shuts off the music .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>It's SIMA.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COCKPIT. DAY. MINUTES LATER<\/stage_direction>\n    <scene_description>The crew is gathered around a display screen . The lights are dim , reflecting up off their faces . By their expressions , we can tell the news is not good . CLOSE ON THE SCREEN It 's a color , high - resolution satellite image of the Mars One Base Camp . Ghostly , dust - covered . No signs of life .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Looks deserted.<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>It's still standing, though. So is the ERV. And look, there's the greenhouse.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>We know Luke survived for at least a few hours. Question is, are there any signs of recent activity?<\/dialogue>\n    <scene_description>They all scan the screen . Phil spots something .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>There.<\/dialogue>\n    <scene_description>He grabs a stylus and touches the screen . They all look . CLOSE ON THE SCREEN Using where the stylus touches the screen as the focal point , the image enlarges . THREE LONGISH DIRT PILES appear , some fifty meters from the hab .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>What the hell are those?<\/dialogue>\n    <scene_description>McConnell gets it first .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Graves.<\/dialogue>\n    <scene_description>They all realize he 's right . They sit back , stunned . But then Phil has another thought .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Hold on. There's only three. That means -<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>Phil -<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>It means Luke must still be -<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>No. It just means there was nobody left to bury him.<\/dialogue>\n    <scene_description>This quiets everyone for a long moment .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Check the radiation levels.<\/dialogue>\n    <scene_description>Phil keys in some commands and data pops up onscreen .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Normal.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Go to the disaster site.<\/dialogue>\n    <scene_description>Phil uses the stylus to bring MORE IMAGES into view . The frame moves over the terrain in the direction of the Face , first in SWIFT BLURS , then slowing . Scattered rock debris come into view . The IMAGE ARRIVES where the mountain was , and they see . Debris in every direction , NEAT SPIRALS of it now , dropped uncannily into place , like some massive earth sculpture . As if - but this makes no sense - it had been swirled towards a LARGE CRATER . The crater itself is a perfect circle . They FOCUS on the CENTER OF THE CRATER , but the image gets distorted by STATIC .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>What's wrong?<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>I do n't know. Magnetic interference?<\/dialogue>\n    <scene_description>Phil tweaks the stylus , but the image wo n't clear up .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Go to infrared.<\/dialogue>\n    <scene_description>Phil works the keyboard . THE SCREEN Goes to INFRARED , reading heat , The middle of the IMAGE , where the Face is , is still distorted , refusing focus . THE ASTRONAUTS Sit back , exasperated .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Must be a problem with SIMA. I do n't see how an earthquake, six months ago, could give us this kind of distortion.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>That was no quake.<\/dialogue>\n    <scene_description>He leans closer , staring intently .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Then what the hell was it?<\/dialogue>\n    <scene_description>McConnell shakes his head . But his every sense is engaged ; he 's like a predator just sighting his prey for the first time . We see in his eyes an utter determination to unlock this secret .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE. DAY<\/stage_direction>\n    <scene_description>Mars Recovery is speeding ever closer to Mars , which now looms large , a dusty red mysterious sphere .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARS RECOVERY. LOWER HAB. DAY<\/stage_direction>\n    <scene_description>McConnell and crew are eating dinner while they watch a taped message from MMCR . CLOSE ON MONITOR SCREEN As Ray Beck addresses them . Other NASA STAFFERS , twenty or more , have crowded in behind him , and we sense their great hopefulness and high spirits ; the whole team 's triumph is tantalizingly close now .<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>We're going to continue analyzing this data and try to determine what the problem is with those images. Frankly, we're just as stumped as you guys, but we'll keep on it.<\/dialogue>\n    <parenthetical>( glancing around . )<\/parenthetical>\n    <dialogue>We agree that the evidence of the graves is inconclusive and that a ground search is advisable. Be aware there are little sand storms kicking up near Mars One Base, but the big one you spotted is turning south. It should n't be a factor.<\/dialogue>\n    <scene_description>Beck takes a breath , smiles .<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>We're all pretty excited here and we're sure you must be feeling the same. Enjoy your meal and get a good night's sleep. We anticipate that tomorrow morning you will be Go for Mars Orbital Insertion.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARS RECOVERY. LOWER HAB. DAY<\/stage_direction>\n    <scene_description>WHOOPS OF JOY from McConnell 's crew . Woody and Terri high five each other .<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>God bless you and goodnight. End of transmission.<\/dialogue>\n    <scene_description>The monitor screen GOES BLACK .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARS RECOVERY. LOWER HAB. NIGHT<\/stage_direction>\n    <scene_description>The lighting is subdued for a sleep period , but everyone 's too restless . There 's a low HUM of equipment .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EVA AIRLOCK. NIGHT<\/stage_direction>\n    <scene_description>Terri and Phil are playing computer Monopoly under a single light . Terri is using touch - screen technology to move her piece . She glances at Phil . He has spread some M&amp;M s out , letting them drift in mid - air as he performs his ritual weeding out of the red ones . She shakes her head .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>What if you opened up your meal packs and found that, instead of putting in everything but red ones, they'd made a mistake and put in only red ones?<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>Hey, that's a funny notion. And what if in your meal packs, instead of brown rice, there were spring - loaded spikes that shot into your eyes?<\/dialogue>\n    <character>TERRI<\/character>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>How did you ever pass the psych evaluation?<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>When you're schizophrenic, they take the higher score.<\/dialogue>\n    <scene_description>He touches the screen to roll the dice .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARS RECOVERY. LOWER HAB. NIGHT<\/stage_direction>\n    <scene_description>McConnell , in his cubicle , looks away from the photo of Maggie . Haunted by memories . He rises , flips through the CDs in a storage case , pulls one out . He holds this carefully , hesitating , then feeds it into his computer . Immediately his screen saver vanishes and we see HOME VIDEO OF A PARTY An impromptu celebration , a bunch of friends gathered in a semi - darkened living room . The footage is HANDHELD , a bit jerky . People have paper plates of food , beers in hand , everyone is a little tipsy . Debra is there , Terri , Phil , Cote , Kirov , others . They 're watching a STILL PHOTO SEQUENCE , shown on a large screen TV , with commentary by Luke and Woody . THE FIRST PHOTO Is of a small boy -LRB- YOUNG MCCONNELL -RRB- in his pajamas , kneeling in front of a Christmas tree . He 's grinning ecstatically as he holds up a brand new model rocket .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Jim's first ship was seriously underpowered.<\/dialogue>\n    <scene_description>LAUGHTER at this . Some AD LIB CRACKS about the painfully bad haircut and the pajamas . THE SECOND PHOTO Is of a gawky - looking teenage girl -LRB- YOUNG MAGGIE -RRB- , standing on a porch at night , posing a bit self - consciously by a telescope on its tripod .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Maggie was always starstruck.<\/dialogue>\n    <scene_description>More LAUGHTER , plus some digs about the nerdy eyeglasses and braces . VIDEOCAMERA swings around the room , REVEALING the adult JIM and MAGGIE . They sit side by side on the hearth , leaning into each other , looking very happy .<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>I'll get you guys for this.<\/dialogue>\n    <scene_description>More LAUGHTER . Everyone 's having a great time . The VIDEOCAMERA swings back towards the TV screen as THIRD PHOTO APPEARS Jim and Maggie , young adults , standing on the wing of a fighter jet . Both in Air Force flight suits , helmets in hand . Suntanned , cocky , flashing radiant smiles .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>When they met at the Air Force Academy, it was `` love at first flight.''<\/dialogue>\n    <scene_description>GROANS and LAUGHTER from the offscreen watchers .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>After that, NASA training was tough. All Jim could think about was exploring a heavenly body. More ribald LAUGHTER, as<\/dialogue>\n    <scene_description>FOURTH PHOTO APPEARS Maggie and Jim , tethered together , floating weightlessly in space suits .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>But Maggie, as you can see, kept him on a short leash. Until.<\/dialogue>\n    <scene_description>A FIFTH PHOTO Shows McConnell , in a dress uniform , leaning in to kiss Maggie , who wears a white bridal gown .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Mission accomplished!<\/dialogue>\n    <scene_description>ANGLE ON MCCONNELL , IN THE PRESENT As he smiles at this , hearing the renewed LAUGHTER and CHEERS , the AD - LIBBED DIGS from the video . He becomes aware he 's not alone . He looks up . WOODY Stands in the doorway of his cubicle . Their eyes meet . They both smile , turning back to the video . Remembering . IN THE VIDEO Luke and Woody have stepped forward , INTO SHOT , standing at the sides of the TV , where the last photo lingers . Luke waves his hands , hushing everybody .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Today we celebrate a new chapter in their story. And guys, it's a pretty historic one.<\/dialogue>\n    <scene_description>Both men raise champagne flutes .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Let's hear it for the newly - announced Captain and Co - Captain of Mars One. To Jim and Maggie!<\/dialogue>\n    <scene_description>CHEERS at this , repeats of `` Jim and Maggie ! '' Luke grins , giving a little signal , and we see A FINAL PHOTO Of Maggie in Jim 's arms , both of them in goofy tropical vacation wear , smiling . Evidently a photo taken in the surf somewhere , but here it 's been crudely superimposed onto a Martian landscape . Laughter greets this unlikely image .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>When you guys land, it'll prove once and for all there's no intelligent life on Mars.<\/dialogue>\n    <scene_description>More hoots of LAUGHTER , CATCALLS , but Maggie jumps in to protest , as the VIDEOCAMERA SWINGS TO HER AND JIM . Terri sits nearby .<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>Hey, c'mon, what if I'm right?<\/dialogue>\n    <character>ASSORTED VOICES<\/character>\n    <dialogue>Oh no, here we go! Do n't get her started! Somebody put on some music!<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>It's our sister planet!<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>Oh brother!<\/dialogue>\n    <scene_description>LAUGHTER at this , and Maggie joins in . She 's a good sport .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>Maggie, why does this have to be about us? Mars is a great opportunity for pure science.<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>We'll do the science. And we'll do it very well. That's what we've trained for. But what if there's more? In all our myths, in every human culture, Mars has always held a special attraction. What if that means something? Only we do n't understand it yet.<\/dialogue>\n    <scene_description>The mood of the party is changing , as everyone is caught up in Maggie 's spell . She has a radiant simplicity . The VIDEO CAMERA DRIFTS IN ON HER ; we are caught up , too .<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>The universe is not chaos. It's connection. Life reaches out for life.<\/dialogue>\n    <scene_description>She looks at McConnell , smiles . He takes her hand .<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>This is what we were born for, is n't it? To stand on a new world, and look beyond it to the next one. It's who we are.<\/dialogue>\n    <scene_description>A silence ; the guests are enchanted by the purity of her passion . She smiles , suddenly self - conscious . She had n't meant to get so carried away . IN THE PRESENT - MCCONNELL Reaches out , gently taps the keyboard , FREEZING the screen . He and Woody , their eyes shining , stare at her image . A beat .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Yeah. I'm good to go.<\/dialogue>\n    <scene_description>Woody glances at him . It 's true . Rather than being saddened , McConnell seems to have taken on new strength . A renewed sense of wonder .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>After all these years. Can you believe it? Tomorrow we'll be standing on Mars.<\/dialogue>\n    <scene_description>Woody nods , smiles .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>You know what? She may have been right.<\/dialogue>\n    <scene_description>McConnell looks at him .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>If that was n't a quake down there, then something else caused it. Or planned it. You're thinking the same thing.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>It's never been out of my mind.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Jesus. You realize what this means?<\/dialogue>\n    <scene_description>McConnell nods . Looks again at Maggie 's face on the screen .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>She knew, Woody. She was the only one of us that ever thought there might be something down there.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Yeah, and we're not leaving until we find out. Deal?<\/dialogue>\n    <scene_description>McConnell nods . They clasp hands briefly . Deal . Then Woody turns . Before leaving , he hesitates just a moment , turning back . One last thought , and he does n't know he 's going to say it until it comes out .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Maggie was the best of us.<\/dialogue>\n    <scene_description>McConnell looks at him , silent but grateful . Woody goes . McConnell turns back , looking at her smiling face , frozen on the screen .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COCKPIT. NIGHT<\/stage_direction>\n    <scene_description>MARS LOOMS AHEAD OF US . As seen through the cockpit windows . Huge , beautiful , MUCH CLOSER now . We can make out swirling pink clouds , large surface features . It 's just before Martian dawn , the next morning .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Range 6783 and closing. 35 minutes till Mars Orbital Capture.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Okay, people let's look sharp. If we overshoot, there's no coming back.<\/dialogue>\n    <character>PHIL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Yeah, and drifting through eternity will ruin your whole day.<\/dialogue>\n    <scene_description>In the cockpit , Woody and McConnell are in the pilot and co - pilot 's wearing space suits but not yet helmets . AS CAMERA PULLS BACK AND AWAY , we see them making instrument adjustments in preparation for MOI .<\/scene_description>\n    <character>TERRI<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Delta V systems initialized.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Charge primary APU.<\/dialogue>\n    <character>TERRI<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Engaged. Charged.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Select HPU fuel cells for run.<\/dialogue>\n    <character>TERRI<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Engaged.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Tie main bus to systems.<\/dialogue>\n    <character>PHIL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Power ready.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Select H2\/O2 HPU and fuel cells for open.<\/dialogue>\n    <character>PHIL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>H2\/O2 control valves open.<\/dialogue>\n    <scene_description>CAMERA TURNS , PUSHING DOWN INTO .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EVA AIRLOCK. NIGHT<\/stage_direction>\n    <scene_description>Where Phil and Terri sit side by side at a pair of computers , relaying cockpit commands to the systems .<\/scene_description>\n    <character>WOODY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Charge flow.<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>Charged and on - line<\/dialogue>\n    <character>WOODY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Reset PW.<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>Set<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Transfer protocol data from EVA station.<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>Transferred. Awaiting track confirmation.<\/dialogue>\n    <scene_description>There 's a sudden LOUD , BRITTLE POP from somewhere overhead , and Phil 's gloved hand , hovering over a computer screen , is punctured through and through . The screen itself is holed and spiderwebbed with a loud CRACK !<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Uhhh!<\/dialogue>\n    <scene_description>PHIL HOLDS UP HIS HAND As he and Terri stare at it , dumbfounded . Thick droplets of blood leak out and begin to swirl away , sucked up towards the venting puncture in the hull over head . The astronauts ' helmets dangle up there , awaiting use .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>What in God's -<\/dialogue>\n    <scene_description>Suddenly we hear HIGH PITCHED ALARMS SOUNDING , then the PINGING OF MORE TINY MISSILES , slashing across the ship 's outer skin . WOODY AND MCCONNELL Are staring back from the cockpit , reacting in astonishment to Phil 's drifting blood and to the alarms . Then Woody suddenly understands .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Micrometeoroids<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <parenthetical>( scanning sensors . )<\/parenthetical>\n    <dialogue>Breach hits in the hull!<\/dialogue>\n    <scene_description>ANGLES ON TERRI AND PHIL As she seizes his wounded hand , tries to stop the bleeding . He 's staring at a gauge .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Outgassing! Losing pressure!<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>Woody, seal the breech!<\/dialogue>\n    <scene_description>ANGLE ON WOODY As he unbuckles , dives from the cockpit back down into the EVA , and floats quickly over to a storage hatch . He yanks this open pulling out a PATCH GUN Then spins around in zero - G , as his eyes track THE RISING DROPLETS OF BLOOD Which give a telltale hint of the puncture 's location , somewhere up among the dangling helmets on the `` ceiling . '' WOODY PUSHES OFF Rising to this area , and shoves aside a helmet with a shattered faceplate - its label reads `` MCCONNELL '' - to REVEAL A BREECH IN THE HULL . Jagged metal edges , dangling insulation . The blood droplets are whirling out through here , going into the vacuum of space . Quickly Woody stuffs the muzzle of the patch gun into the puncture , firing a thick grey sealant . We hear MORE PINGS , ECHOING LOUDLY , but after a few seconds they DIMINISH , then abruptly STOP . The KLAXONS continue to wail .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Kill those alarms!<\/dialogue>\n    <scene_description>McConnell punches buttons , MUTING THE ALARMS , and they all strain to listen , faces tense and sweating . A long beat . But the meteor shower has passed by , as abruptly as it appeared . The astronauts turn , becoming aware of a strange phenomenon . PHIL 'S BLOOD DROPLETS Have stopped in place , wobbling eerily as perfect spheres in the zero - G . Then suddenly they start moving again , faster and faster , in a new direction . Down through the open core tunnel that leads to the lower Hab . MCCONNELL Stares at a gauge that confirms what 's happening .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Still outgassing in the lower Hab! There must be another hole down there, even bigger.<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>Losing pressure fast! We're gon na decompress!<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Computer, how long until zero atmosphere?<\/dialogue>\n    <character>COMPUTER<\/character>\n    <parenthetical>( after a beat . )<\/parenthetical>\n    <dialogue>Four minutes, nine seconds.<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>If we get below 20 % atmosphere, the power will shut down!<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>Are you sure?<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>Positive! A vacuum inside the ship would cause a total electrical failure. The nav computers will fry!<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <parenthetical>( to Woody . )<\/parenthetical>\n    <dialogue>We'll lose all control. We wo n't be able to fire the engines to capture Mars orbit.<\/dialogue>\n    <scene_description>Just then a computer screen flickers , freezes . Phil punches keys with his good hand . What he sees shocks him .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>It's already starting. The primary L - 1 hub has been smashed. The systems are crashing.<\/dialogue>\n    <scene_description>Woody looks back at his crew , struggling to project more calm than he really feels .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Everybody switch to suit oxygen. We beat this in the simulator, we can do it here. Jim, you've got the ship. I'm going EVA.<\/dialogue>\n    <scene_description>They stare at him , stunned by their immense task .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>C'mon, people, let's go! Let's work the problem!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EVA AIRLOCK. MOMENTS LATER<\/stage_direction>\n    <scene_description>Terri , now helmeted , is putting Woody 's helmet on him , but something 's in the way , chafing his neck . He reaches into his suit , pulls out . THE CHAIN From around his neck , with his little Flash Gordon rocketship dangling . WOODY HANDS THIS TO TERRI As they share a brief , loving glance , but there 's no time for words . She tightens his helmet ring , and he brushes his gloved fingertips on her faceplate . Then he hurries towards the inner hatch door , where McConnell is throwing airlock switches . Woody and McConnell exchange a look . At the EVA computer panel , Phil is shutting down non - essential power drains , trying to get the main computer system back on line . His wounded hand makes this difficult and painful .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Jesus, it's still bleeding.<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>Keep the pressure on!<\/dialogue>\n    <character>COMPUTER<\/character>\n    <dialogue>Eighty percent atmosphere.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. AIRLOCK. NIGHT<\/stage_direction>\n    <scene_description>The outer airlock door is now open , revealing stars , as Woody drifts through it into space . He 's now wearing the MMU , an oversized jet pack like the ones used by the shuttle astronauts .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EVA ROOM. NIGHT<\/stage_direction>\n    <scene_description>MCCONNELL 'S HELMET . With its shattered faceplate - now useless - drifts past Terri as she is wrapping med tape around gauze pads on Phil 's glove . MCCONNELL Floats up to them , checking on Phil 's work at the computer .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>Jim, you've got ta get your spare helmet from storage.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>No time. Phil, can you keep the nav computers on - line?<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>I ca n't get this damn machine to re - initialize! And the automated systems just went down. We ca n't shut down the hab rotation from here.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>I'll do it from below.<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>We're losing pressure. You could embolize.<\/dialogue>\n    <character>COMPUTER<\/character>\n    <dialogue>Seventy percent atmosphere.<\/dialogue>\n    <scene_description>McConnell looks at her , knows she 's right . But he starts off anyway . Phil reaches out his good hand .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Jim, I've got an idea. If you guys can save enough atmosphere, I'll disconnect the power in the main computer bay, then jump start the systems. I'll do a hard boot.<\/dialogue>\n    <scene_description>This is a radical , incredibly risky notion . McConnell stares hard at Phil . So does Terri .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Has that ever been tested?<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>Are you kidding? These machines are much too valuable.<\/dialogue>\n    <scene_description>McConnell looks from Terri to Phil . It 's life and death .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Do it.<\/dialogue>\n    <scene_description>Then he turns , and the CAMERA FOLLOWS MCCONNELL as he pushes away from the console and dives down into the core tunnel , heading towards the<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOWER HAB<\/stage_direction>\n    <scene_description>where he emerges from the core into the rotating Hab deck , and pushes himself down a ladder toward the floor . He accelerates as he gets closer to the floor , then rights himself with a twist and lands on his feet - now in gravity .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS RECOVERY. NIGHT<\/stage_direction>\n    <scene_description>Woody , in the MMU , is hovering over the lower segment of the Hab hull , and right away we see his problem . He ca n't reach the damaged spot because it 's spinning past him , spewing vapor .<\/scene_description>\n    <character>WOODY<\/character>\n    <parenthetical>( over radio . )<\/parenthetical>\n    <dialogue>Jim, how we doin' on the AG?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOWER HAB. NIGHT<\/stage_direction>\n    <scene_description>McConnell runs to a computer terminal and starts clicking with the mouse .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Just one goddamn second. Come on, c'mon.<\/dialogue>\n    <character>COMPUTER<\/character>\n    <dialogue>Voice print identification.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>McConnell!<\/dialogue>\n    <character>COMPUTER<\/character>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>Accepted. Shutting down artificial gravitational rotation.<\/dialogue>\n    <scene_description>McConnell hears a sound up at the core tunnel . He turns , it 's Terri . She holds an small 0 - 2 cannister , marked with a red cross .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Hang on!<\/dialogue>\n    <scene_description>McConnell grabs onto a counter edge as .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE. NIGHT<\/stage_direction>\n    <scene_description>Attitude control thrusters on the hull begin firing in pulses . The rotation of the lower Hab deck immediately starts to slow down . The great red ball of Mars drifts by .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORE TUNNEL. NIGHT<\/stage_direction>\n    <scene_description>Terri , lurching , grabs a ladder strut , and watches from the tunnel as . MCCONNELL Is also jarred by the firing of the thrusters . The rotation slows until the Hab is still . Zero - G. McConnell floats . He and Terri can hear the terrifying sound of air whistling out into space through the breach hole .<\/scene_description>\n    <character>COMPUTER<\/character>\n    <dialogue>Sixty per cent atmosphere.<\/dialogue>\n    <character>WOODY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Get some light on the hole so I can locate it.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>I've got a better idea.<\/dialogue>\n    <parenthetical>( shouts to Terri . )<\/parenthetical>\n    <dialogue>Stay there!<\/dialogue>\n    <scene_description>He starts rooting through Phil 's storage area - bags of M&amp;M s , comic books - looking for what he needs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COCKPIT. NIGHT<\/stage_direction>\n    <scene_description>Phil is now strapped into the pilot 's seat . He 's scared , sweating hard , but concentrating fiercely as his one good hand works a battery - powered screwdriver . He 's removing the panel of the main computer bay . Over the intercom , he can hear the merciless struggle going on elsewhere .<\/scene_description>\n    <character>WOODY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I'm topside, Jim, do you know which sector?<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I'm workin' on it!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE. NIGHT<\/stage_direction>\n    <scene_description>The lower Hab deck is no longer revolving . Woody pops his thrusters and drifts over the metallic skin . But there 's such a vast area to search !<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Jesus, uh, OK, this is gon na be like searching for a needle in a haystack.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOWER HAB NIGHT<\/stage_direction>\n    <scene_description>McConnell locates a can of Dr. Pepper , shakes this violently , then tosses it up to Terri , who 's still in the tunnel mouth . She catches the drifting can , confused . When McConnell speaks again , he 's gasping for air .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Shake out the liquid.<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>Jim, I do n't -<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Shake it out near the hull!<\/dialogue>\n    <scene_description>Terri shakes out soda from the open can . She and McConnell watch the brown stream of fluid swirl up into the air , caught by escaping oxygen . It rises towards the `` ceiling '' of the outer hull , like a miniature tornado .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE. NIGHT<\/stage_direction>\n    <scene_description>Woody still drifts over the hull , searching intently as his frustration builds .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>C'mon, c'mon, where are you?<\/dialogue>\n    <character>COMPUTER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Fifty per cent atmosphere.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOWER HAB. NIGHT<\/stage_direction>\n    <scene_description>Terri , staring at the ceiling , sees something remarkable . THE SODA STREAM Swirling ever tighter , has formed a whirlpool that 's now being sucked out through the breach hole in the hull . She can now see the ugly puncture for the first time .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <parenthetical>( gasping . )<\/parenthetical>\n    <dialogue>Woody, the breech is in sector four! Sector four, copy that?<\/dialogue>\n    <character>WOODY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Copy, I' heading there now.<\/dialogue>\n    <scene_description>Terri turns , excited by McConnell 's triumph ; she 's just in time to see him collapse to the floor below her , as he starts to lose consciousness . He 's deathly pale .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE. NIGHT<\/stage_direction>\n    <scene_description>Woody spots a tiny geyser of brownish ice crystals spouting out of the hull of the lower Hab . It 's some distance away from him , but clearly visible .<\/scene_description>\n    <character>WOODY<\/character>\n    <parenthetical>( to himself , marveling . )<\/parenthetical>\n    <dialogue>Sonofabitch. You never did that in the simulator.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOWER HAB. NIGHT<\/stage_direction>\n    <scene_description>Terri pushes off from the ladder , drifting weightlessly down to McConnell . She opens the valve of the oxygen cannister , pushing the plastic mask over McConnell 's face . He sucks in air , color returning to his skin as he revives .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COCKPIT. NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON THE COMPUTER 'S GUTS . An incredible tangle of tubes , wires , chips , as Phil 's gloved fingers - both hands now - probe desperately through them .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Where are you, you little bastard, where are you?<\/dialogue>\n    <scene_description>PHIL WINCES WITH PAIN . As he moves his hands and forearms deep inside the computer bay . Around him , several of the smaller screens and gauges are starting to malfunction , the data streams breaking apart , streaking into electronic snow . He shoots a tense glance at THE NAVIGATIONAL MONITOR Which is flickering crazily . It shows the ship moving much closer to its critical MOI point , indicated by a flashing red triangle aimed down at the Martian surface .<\/scene_description>\n    <character>COMPUTER<\/character>\n    <dialogue>Forty percent atmosphere.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE. NIGHT<\/stage_direction>\n    <scene_description>Woody , popping his thrusters , moves as fast as he can towards the protruding finger of crystal , but he 's not there yet . All of a sudden Woody 's thrusters cut out . The ship is moving by , a meter beneath him . Woody punches his arm controls . Nothing . Then just as the outer edge of the hab starts to pass him , the thrusters kick back in . Woody grabs the edge , starts to move to the hole . Woody lets out a breath .<\/scene_description>\n    <character>WOODY<\/character>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>Whoa.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOWER HAB. NIGHT<\/stage_direction>\n    <scene_description>McConnell , holding his breath , grabs a patch gun from a storage locker . Terri 's still got the 0 - 2 cannister . He nods to her , and together they push off from the floor , leaping weightlessly up to the other side of the Hab , the `` ceiling . '' They reach the gaping puncture , which they now see has been only partially dammed by the soda ice .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COCKPIT. NIGHT<\/stage_direction>\n    <scene_description>VERY CLOSE ON THE COMPUTER 'S INTERIOR As Phil 's gloved fingers finally locate the plug he 's been searching for . He hopes . And grip it firmly .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Gotcha!<\/dialogue>\n    <scene_description>PHIL TAKES A DEEP BREATH . Says a silent prayer . Then he yanks the plug . SHRILL WHINES , ELECTRONIC CRACKLES from all around him , as the systems are abruptly shut down , in a way they were never meant to be mishandled . Terrifyingly , a couple of the monitors arc to each other as they die . Dodging sparks , Phil stares at THE NAVIGATIONAL MONITOR As it also flickers and dies . Now they 're flying blind .<\/scene_description>\n    <character>COMPUTER<\/character>\n    <dialogue>Thirty percent atmosphere.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE. NIGHT<\/stage_direction>\n    <scene_description>Woody arrives at the ice finger , knocks away the big crystal , then pulls his patch equipment from a pouch .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOWER HAB. NIGHT<\/stage_direction>\n    <scene_description>In the Hab , Terri uses the base of the 0 - 2 cannister to smash away the interior ice chunk , then McConnell , who 's getting wobbly again , blasts the hole with the epoxy gun . As he works , Terri gives him another hit of air .<\/scene_description>\n    <character>COMPUTER<\/character>\n    <dialogue>Twenty percent atmosphere.<\/dialogue>\n    <scene_description>The lights flicker out in the Hab .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE. NIGHT<\/stage_direction>\n    <scene_description>Outside , Woody slaps a big square patch over the hole , rips off the backing . CLOSE ON THE PATCH As it changes color and shrinks , drawing itself down into the metal of the hull .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COCKPIT. NIGHT<\/stage_direction>\n    <scene_description>VERY CLOSE ON THE COMPUTER 'S INTERIOR . As Phil 's fingers re - connect the same plug . PHIL PULLS HIS HAND OUT From inside the computer bay . He 's trembling , sweat - streaked inside his faceplate . Blood has soaked through his gauze pads . His good hand hovers over the red main power switch . The moment of truth .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>OK. OK now.<\/dialogue>\n    <scene_description>With a dramatic click , he throws the switch , hard - booting the computer system back on . He stares at the screens . Nothing happens !<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Come on. Come on!<\/dialogue>\n    <scene_description>Frightened , furious , Phil bangs on the switch with his cordless screwdriver . When all else fails , hit something .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOWER HAB. NIGHT<\/stage_direction>\n    <scene_description>Feeble starlight from the viewports . McConnell and Terri , drifting side by side , stare at one another , expecting to die within seconds . It feels like an agonizing eternity .<\/scene_description>\n    <character>COMPUTER<\/character>\n    <dialogue>Twenty percent atmosphere.<\/dialogue>\n    <scene_description>McConnell 's eyes widen , as he realizes this is the same as the last reading .<\/scene_description>\n    <character>COMPUTER<\/character>\n    <dialogue>Pressure stabilizing. Atmosphere level increasing.<\/dialogue>\n    <scene_description>Terri and McConnell look at each other . Tears of relief in her eyes . He is exhausted , nearly spent , but manages a grin . She holds the 0 - 2 mask up to his face , and as he grips it , breathing deeply , they hug one another .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COCKPIT. NIGHT<\/stage_direction>\n    <scene_description>The lights and computer screens are flickering back on . All of them ! The cockpit lights up like a Christmas tree . Phil bounces up and down like a madman , babbling in triumph .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Yes! Awriiiight! Had it all the way. Yes!<\/dialogue>\n    <scene_description>Forgetting his injury , he pounds his gloved fist on the console in triumph .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Shit!<\/dialogue>\n    <scene_description>He wrings his injured hand , then his gaze is caught by THE NAVIGATIONAL MONITOR Which pops back on , showing the ship and the MOI point coming perilously close together . PHIL 'S EYES WIDEN IN FEAR As he keys his mike urgently .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Get back in here, guys!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE. NIGHT<\/stage_direction>\n    <scene_description>Woody floats above the repaired hole , scanning the nearby surface of the hull .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Jim, there's a lot of scarring. I'd better check for other punctures while I'm out here.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Negative, negative. Woody, get back inside. We've got ta start the checklist for orbital insertion.<\/dialogue>\n    <character>WOODY<\/character>\n    <parenthetical>( a beat ; reluctantly . )<\/parenthetical>\n    <dialogue>Copy, I'm heading there now.<\/dialogue>\n    <scene_description>Woody jets back towards the open EVA hatch . But as he reaches this , about to re - enter the ship , he 's captured momentarily by a breathtakingly beautiful sight below him . SUNRISE OVER MARS As the huge planet is REVEALED in all its red , unearthly glory . It 's so close now that individual features can be seen with the naked eye - the vast chasm of Valles Marineris , and then Olympus Mons , poking all the way up through the Martian atmosphere . A stunning , alluring spectacle . WOODY Stares down at Mars , enthralled , as sunlight floods the side of the spaceship , sparkles off his visor . Dawn , after a very long night indeed . He whispers lovingly , under his breath .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Hey, Beautiful.<\/dialogue>\n    <scene_description>Then he stirs himself out of his reverie and hurries through the EVA hatch . CAMERA DRIFTS QUICKLY BACK and down along the hull as stark sunlight flares off the big propellant tanks , three in a row , and the thick silver tubes that join them . There 's a good deal of scarring and denting from the meteor shower . Then , as the ship begins to MOVE OUT OF FRAME . WE MOVE IN CLOSER On one of these tubes , a feeder line to the engine bells , we see a scatter of tiny , undetected holes , about the size of the eraser at the end of a pencil . So small , so apparently harmless .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EVA AIRLOCK. DAY<\/stage_direction>\n    <scene_description>As Woody enters , stripped from the MMU , dripping with sweat , McConnell is waiting for him . For a moment the two men just look at each other , then they surge forward into a fierce hug .<\/scene_description>\n    <character>WOODY<\/character>\n    <parenthetical>( whispers . )<\/parenthetical>\n    <dialogue>Know what? You've got enough left.<\/dialogue>\n    <scene_description>McConnell looks at him , understands . Terri sits nearby , where she has just finished stitching up Phil 's hand . As Woody goes to her , she rises from her seat and looks at him tears of relief and pride in her eyes .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>Piece of cake?<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Well. Easier than the cha - cha.<\/dialogue>\n    <scene_description>He scoops her into his arms ; they kiss passionately . Phil is blinking ; something seems to be getting into his own eyes . His voice catches for a moment .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>I do n't know what you're getting so cocky about. We scored better times in the sim at least twice.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <parenthetical>( grins . )<\/parenthetical>\n    <dialogue>How's his hand?<\/dialogue>\n    <scene_description>Terri separates from Woody , looks down at Phil .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>Seems OK. Couple of the tendons are going to be a little tight for awhile. Try to close your fingers, Phil, nice and slowly.<\/dialogue>\n    <scene_description>Phil starts curling up his fingers . The middle digit remains extended in the universal gesture . They all consider this for a moment . Then Phil looks up cheerfully .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Well, at least I'll still be able to drive.<\/dialogue>\n    <scene_description>After a split - second they get it , and the whole crew roars with LAUGHTER , which builds and builds ; they 're almost giddy with the relief of the tension .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEEP SPACE. DAY<\/stage_direction>\n    <scene_description>MARS RECOVERY Sails INTO VIEW , with small attitude thrusters firing as the great ship maneuvers into position for its orbital - capture burn . Mars looks very large , blood - red . The entire spectacle is majestic , awe - inspiring .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>OK, we're ready to light this candle. Go\/No Go for braking burn and MOI. Engines?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COCKPIT. DAY<\/stage_direction>\n    <scene_description>All four astronauts are strapped in , fully suited and helmeted . Mars looms through the cockpit windows . The atmosphere is electric with excitement .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Go.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Systems.<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>Go.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Nav.<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>Go.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>We are Go for the burn. I'm fueling the engines.<\/dialogue>\n    <scene_description>He flips three switches , in rapid sequence , and .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS RECOVERY. DAY<\/stage_direction>\n    <scene_description>As we MOVE IN on the damaged fuel line , we see a tiny but steady spray of fuel venting from the hole caused by the meterorite . This freezes into eerie streamers and chunks , which slowly drift away from the ship . They 're quite beautiful .<\/scene_description>\n    <character>PHIL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Optimum angle of entry minus seven degrees. Six. Five.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COCKPIT. DAY<\/stage_direction>\n    <scene_description>Woody looks at the others for moment - everyone is set , looking good - then reaches for a last switch .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Four. Three.<\/dialogue>\n    <scene_description>Woody hesitates , then glances at McConnell .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Jim?<\/dialogue>\n    <scene_description>McConnell , moved by this honor , nods . He reaches out to throw the switch himself .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Let's go to Mars.<\/dialogue>\n    <scene_description>As the countdown indicator reaches `` 0000.00.00 '' , a final signal PINGS , and he flips the switch .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS RECOVERY. DAY<\/stage_direction>\n    <scene_description>In total silence , the engines ignite . The second they do , the streamers of frozen fuel explode in a white flash .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COCKPIT. DAY<\/stage_direction>\n    <scene_description>With alarms sounding , the four astronauts are slammed violently forward , against their restraints .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>What the -<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Shut down engines!<\/dialogue>\n    <scene_description>He and Woody both reach out , straining against the incredible G - forces , and manage to grab a red emergency lever , yanking it down hard .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS RECOVERY. DAY<\/stage_direction>\n    <scene_description>Too late ! IN SLOW MOTION , we see a terrifyingly violent chain reaction . The fuel tanks themselves explode , one after another . The supporting metal struts are vaporized . The solar panels are snapped off . Two of the huge engine bells are smashed sideways , out of alignment , while the third , trailing pieces of the cowling , goes hurtling off , PAST CAMERA , like a flaming cannon ball . The entire aft section of the ship , including much of the lower Hab , instantly becomes a shredded , charred tangle of metal , and even worse , the explosion causes what 's left of the ship - mainly the EVA chamber and cockpit - to tumble end over end , cartwheeling down towards Mars .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COCKPIT. DAY<\/stage_direction>\n    <scene_description>In the windows , Mars goes crazily in and out of view . The astronauts , flung this way , then that , are all fighting against unconsciousness .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Engines negative! No response! I've got no attitude control!<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Manual separation! Blow the bolts!<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Negative! The CM does n't have enough thrust to correct this rotation!<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>We're too steep! Falling into the atmosphere!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS RECOVERY. DAY<\/stage_direction>\n    <scene_description>From further away , the charred remainder of the ship can be seen spinning down towards Mars , which now fills the screen , looming as large as Earth , when seen from the space shuttle . The ship 's motion is mercifully slowing as it hits the outer atmosphere , but just as clearly this steep , unplanned angle of entry dooms it .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Christ, at this angle we'll burn up!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COCKPIT. DAY<\/stage_direction>\n    <scene_description>ON A COMPUTER . Their ANGLE OF ENTRY is shown - much too direct - with an indicated swerve into blinking red disaster . Warnings flash : CRITICAL ENTRY ! PULL OUT !<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>How much time've we got?<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>I do n't know! Three minutes? I do n't know!<\/dialogue>\n    <scene_description>McConnell 's mind is racing furiously , desperately .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Where's the REMO?<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>The Resupply Module? Why? That's not -<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Where is it?!<\/dialogue>\n    <scene_description>Phil punches buttons . ON THE SCREEN a second ellipse appears : a blinking orange dot labelled `` REMO . '' It appears to be soon intersecting with their own trajectory .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Uh, it's close.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Damn it, how close?!<\/dialogue>\n    <character>PHIL<\/character>\n    <parenthetical>( shaken . )<\/parenthetical>\n    <dialogue>I - I do n't know. It'll take time.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>We do n't have time! Figure it out! Now!<\/dialogue>\n    <scene_description>Phil frantically types in commands on the computer .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Jim, we're dead stick, there's no way to maneuver this ship into a link - up!<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Not the ship. Just us. We have to go EVA.<\/dialogue>\n    <scene_description>They look at him , stunned . Leave the ship ?<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>You want us to transfer in suits?<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>Jesus, Jim - if we do n't make it - if we miss the REMO.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>There's no other choice! Phil, how close?!<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>One kilometer, that's the best I can do!<\/dialogue>\n    <scene_description>They stare at Woody . We feel the full , terrible weight of his responsibility . Four lives hang on his call .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Prepare to abandon ship.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE. DAY<\/stage_direction>\n    <scene_description>The astronauts are outside the ship , tethered to each other with long shock cords . Other cords , clipped to their suits , trail gear bags . Phil clutches a silver metallic case - his precious computer repair kit . Woody is in the MMU . They 're all rotating at the same speed as the ship behind them .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>On my mark, seven percent left thruster. Three, two, one, fire.<\/dialogue>\n    <scene_description>All four astronauts fire a brief , simultaneous burst from the tiny attitude control thrusters in their suits . This stops their rotation , bringing their travel under control . The ship continues spinning in the background . Woody takes a final look at the charred , doomed Mars Recovery . The only home they 've known for six months . He exchanges a silent glance with the others . They all expect to be dead in the next few minutes . Woody takes a breath , nods .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Okay. Let's go.<\/dialogue>\n    <scene_description>He pops the big thrusters on the MMU and starts heading away from the ship . The cord between Woody and the others pulls taut and they start to follow . WIDE SHOT Of Woody leading them away from the crippled spaceship , against the magnificent backdrop of the blood - red planet below . Four tiny figures , all alone in space . ANGLE ON MCCONNELL AND THE OTHERS As Phil looks back , his eyes searching the stars .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>What're you looking for?<\/dialogue>\n    <character>PHIL<\/character>\n    <parenthetical>( softly , sadly . )<\/parenthetical>\n    <dialogue>Earth.<\/dialogue>\n    <character>TERRI<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Hey. When we get back? We really will have to try this in the sim.<\/dialogue>\n    <scene_description>He tries to smile . So does she .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>How we doin' on fuel, Woody?<\/dialogue>\n    <scene_description>Woody eyes a small display screen on his forearm .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>I'm at fifty percent.<\/dialogue>\n    <parenthetical>( looking down . )<\/parenthetical>\n    <dialogue>But I do n't see the REMO.<\/dialogue>\n    <scene_description>THEIR POV Everyone is looking back at the curve of Mars against black space , expecting to see the REMO coming up behind them . TERRI Happens to glance directly below .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>There she is!<\/dialogue>\n    <scene_description>THEIR POV The black outline of the little cargo craft drifts against the red of Mars .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Jesus. She's not where I thought she'd be.<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>We're going to miss her.<\/dialogue>\n    <scene_description>WOODY Looks again at his display screen , frustrated .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>We ca n't catch it. Not like this.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <parenthetical>( thinking quickly . )<\/parenthetical>\n    <dialogue>Use the tether.<\/dialogue>\n    <scene_description>From a compartment on the side of the MMU , Woody pulls out . THE TETHER GUN About the size of a large flare gun . There 's a carabiner - like hook five inches in diameter on the front of the gun .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>We'll only have one, maybe two shots before she's out of reach.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>It'll be better if I leave you the gun while I run out to the REMO. I've got enough fuel left for that.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>You'll be going too fast.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>I'll aim to overshoot, then brake like hell ; arc it in.<\/dialogue>\n    <scene_description>McConnell looks at him . They both know how risky this is , and they also know it 's their only chance . Woody flips a switch on the gun and pulls on the hook . Off it comes , trailing wire . Woody clips the hook to the MMU , then hands McConnell the gun .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Seeya in a few.<\/dialogue>\n    <scene_description>McConnell nods . Woody and Terri exchange a look - tender , loving - then Woody turns around and fires the MMU jets at full throttle . As Woody pulls away , line unspools from the tether gun . WOODY AND THE REMO Woody is chasing the REMO from above . It 's as if he were in an airplane , trying to land on a car racing along a freeway . Woody is picking up speed quickly . Maybe too quickly . He checks his armpad display screen .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Okay. I'm on path to overshoot. I'm gon na take the edge off.<\/dialogue>\n    <scene_description>Woody starts braking with the MMU thrusters as hard as he can . CLOSE ON THE THRUSTERS Glowing with orange flame . They suddenly cut off . WOODY 'S EYES Show alarm . He checks his display .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>I'm out. Coming in hot. Still long.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Abandoning the unit. I'll brake with suit jets.<\/dialogue>\n    <scene_description>Woody hits some buttons and the MMU 's latches snap open . He grabs the hook connected to the tether line , then pushes himself free of the MMU , starts firing his small suit jets . WOODY 'S POV He 's still going very quickly . WITH MCCONNELL , TERRI AND PHIL Floating close together . The tether line is still unspooling from the gun . They watch Woody , below and ahead of them , as he races towards the REMO . Terri 's heart is in her throat .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>Oh Jesus. Jesus.<\/dialogue>\n    <scene_description>McConnell reaches a glove out , touching her arm . BACK ON WOODY Still speeding towards the REMO . His suit jets cut out .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Suit jets gone. But I'm gon na make contact.<\/dialogue>\n    <scene_description>MCCONNELL , TERRI AND PHIL Stare at Woody 's distant figure . INTERCUT -<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>At what velocity?<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Impact's gon na be a little rough.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>At what velocity?<\/dialogue>\n    <character>WOODY<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Thirty - two.<\/dialogue>\n    <scene_description>A look between McConnell and Terri ; her face is stricken .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>I'm gon na use the gun to slow you.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>No! You slow me and I'll fall short.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>It's too fast, Woody.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>No choice. I'll be okay. Here we go.<\/dialogue>\n    <scene_description>WOODY AND THE REMO Woody 's coming down on the module at over thirty kilometers an hour . He holds the hook out in front of him with one hand while grabbing the tether line with the other , and WHAM ! - he crashes into the REMO . WOODY 'S HAND Slams the hook against a receiver on the hull of the REMO . IT CONNECTS - WOODY Tries to hold onto the tether line but his momentum is too much . HIS GLOVED HANDS Are ripped from the line . WOODY Slides over the hull of the REMO . HIS HANDS Grasp in vain for something to grab onto . They drag and bump and then finally his fingers close on . empty space . WOODY Is past the REMO , freefalling toward Mars . BACK ON MCCONNELL , TERRI AND PHIL As Terri screams .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>Woody!<\/dialogue>\n    <scene_description>McConnell hits a button on the tether gun and starts to reel them quickly in towards the REMO . WOODY Tries his suit jets again - they 're empty . HIS POV Falling away from the REMO . MCCONNELL AND THE OTHERS Are being reeled towards the REMO by the tether line . Another couple hundred meters to go .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Woody, what's your status?<\/dialogue>\n    <scene_description>INTERCUTTING -<\/scene_description>\n    <character>WOODY<\/character>\n    <parenthetical>( after a beat . )<\/parenthetical>\n    <dialogue>Uh, well, no suit jets and I'm still carrying a good deal of velocity.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>As soon as we get hooked up, I'll come get you.<\/dialogue>\n    <character>WOODY<\/character>\n    <parenthetical>( after a beat . )<\/parenthetical>\n    <dialogue>Uh, I'd have to say negative on that, Jim.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Negative on the transmission?<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>No, I heard you. Negative on the maneuver. I am not retrievable.<\/dialogue>\n    <scene_description>McConnell and Terri share a quick , anguished look .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>Woody, that's not possible. You're not going that fast.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>It comes down to the amount of fuel, honey. The suit jets were designed for attitude control, not travel. Retrieval just wo n't work.<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>It has to work!<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Hey, believe me, I do n't like it any more than you do.<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>Woody -<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Run the numbers, Jim.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>I am.<\/dialogue>\n    <scene_description>McConnell finishes looking over the numbers on his display pad . Terri is staring at him . When McConnell 's eyes meet hers , they are red - rimmed . Haunted .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Woody, you hang tight. We'll get into the REMO, fire her up, drop her into a lower orbit and come scoop you up.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Sounds good, Jim.<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>It's gon na take half an hour to get the REMO reoriented! Woody'll be. He'll be in the atmosphere by then!<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Then we'll have to get her moving faster.<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>We do n't have time!<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>You listen to Jim, honey. It's a good plan.<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>No! We are going to -<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>Oh Jesus, look! The ship!<\/dialogue>\n    <scene_description>Phil points . McConnell and Terri look . THE MARS RECOVERY COCKPIT Is now several kilometers below and behind them . It 's glowing red . then orange . then white . Then it erupts into a giant fireball , devoured by friction with Mars ' atmosphere . MCCONNELL , TERRI AND PHIL IN DEEP SPACE Are all staring at this , awed , when McConnell happens to look up again . He sees something alarming .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Look out!<\/dialogue>\n    <scene_description>THEIR POV They are drifting quickly into the REMO .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Brakes!<\/dialogue>\n    <scene_description>ALL THREE Fire their suit jets , slowing themselves down . They bang into the REMO at about one - tenth the speed Woody did . They find handholds and grab on . McConnell hits a button on the tether gun . THE HOOK Releases from the REMO 's hull . McConnell hits another button and it is reeled all the way into the gun . Phil is already scrabbling at a latch on the REMO 's outer airlock door .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Okay, let's get inside! Phil, start dumping the cargo, or there wo n't be room for us.<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>But we need those supplies for -<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Dump the cargo. Hang on, Woody!<\/dialogue>\n    <scene_description>WOODY Is looking back at the REMO . Smiles with relief to see that Terri has reached it safely .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Will do, Jim.<\/dialogue>\n    <scene_description>He turns to look at . MARS Right below him , filling his field of view . A long beat .<\/scene_description>\n    <character>WOODY<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Hey, Beautiful.<\/dialogue>\n    <scene_description>BACK AT THE REMO Terri makes a snap decision . She grabs the tether gun from McConnell 's surprised hands , then pushes off from the REMO . McConnell lunges after her , his gloved hand straining .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Terri, no!<\/dialogue>\n    <scene_description>But it 's too late . She 's already out of reach , and now fires her suit jets , pulling quickly away from the REMO . MCCONNELL Is reaching to activate his own jets , when PHIL 'S HAND Grabs at his wrist , restraining this suicidal courage . They stare at each other . McConnell wrenches his hand free , half - maddened , agonized , staring after Terri .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Goddammit, Terri, it wo n't work!<\/dialogue>\n    <scene_description>But Terri keeps on going . WOODY Looks back at the REMO , as he continues to fall towards Mars . Sees the small figure of his wife heading towards him .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Terri, what are you doing?<\/dialogue>\n    <scene_description>INTERCUT -<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>I'll tell you what I'm not doing, Woody. I'm not going to watch you die.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Terri -<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>You'd do the same for me.<\/dialogue>\n    <scene_description>AT THE REMO Phil is watching as Terri drops towards the distant twinkle of Woody 's suit lights . The airlock door hangs open . Phil looks at McConnell , anguished .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Get inside. Dump the cargo, then start the systems.<\/dialogue>\n    <parenthetical>( Phil hesitates . )<\/parenthetical>\n    <dialogue>Now.<\/dialogue>\n    <scene_description>INTERCUTTING BETWEEN WOODY AND TERRI As Woody keys his mike . Tries to steady his voice .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>No. I would n't come for you. Not if it just was n't possible.<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>I can do it!<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>No, Terri, you ca n't! You do n't have enough fuel to get me, stop us both, and get us back. Hell, you come any farther and you wo n't have enough to get back yourself.<\/dialogue>\n    <scene_description>No response from Terri .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Listen to me, goddammit! You have to stop! You have to stop now!<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>He's right, Terri. It's no use.<\/dialogue>\n    <scene_description>Terri looks at her armpad display . CLOSE ON DISPLAY SCREEN As her fuel indicator drops from 50 percent to 49 to . TERRI Releases her thumb from the toggle control . HER SUIT JETS Stop firing . TERRI Drifts , staring towards Woody . TERRI AND WOODY Are on the same trajectory , going the same speed , and only about a hundred meters apart . But it might as well be infinity .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Okay, honey? You got ta go back now.<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>The hell I do.<\/dialogue>\n    <scene_description>Terri raises up the tether gun and pulls the trigger . THE HOOK Comes shooting out of the gun , wire spooling out behind it . WOODY Watches as it comes shooting down toward him . PLATE POV - MOVING - AS Woody gets larger and larger , the hook gets closer and closer , and then SNAP ! - the hook stops . ANGLE ON THE TETHER GUN The wire has run all the way out . WOODY Looks at the drifting hook , ten agonizing meters away from him . His only life preserver . TERRI Hits the button and the wire starts winching fast back into the gun .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>I'm gon na jet a little closer and try again.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>Terri, you spend any fuel getting closer, you wo n't get back, and if anyone tries to get you, they'll die too.<\/dialogue>\n    <scene_description>No response from Terri . THE HOOK Is whipping back toward Terri and the gun . Woody 's voice cracks ; he 's very close to tears . Pleading now .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>Honey, please go back. Go back and help everyone get down to the surface.<\/dialogue>\n    <scene_description>The hook slams back against the muzzle of the gun . Terri resets the gun quickly , in an anguished fury .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>I am not losing you.<\/dialogue>\n    <character>WOODY<\/character>\n    <dialogue>I ca n't let you do it. I ca n't. I'm sorry.<\/dialogue>\n    <scene_description>TERRI Looks at Woody , two hundred meters away , sensing something different in his voice now , a terrible resolve .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>Woody?<\/dialogue>\n    <scene_description>WOODY Raises his hands to his helmet ring . His eyes shining .<\/scene_description>\n    <character>WOODY<\/character>\n    <dialogue>I love you, Terri. God how I love you.<\/dialogue>\n    <scene_description>He unscrews the ring , pops the seal . The outrush of air pushes his helmet all the way off . Woody shuts his eyes and opens his mouth .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>Woody, nooooooo!!<\/dialogue>\n    <scene_description>Ice crystals bloom with Woody 's last breath . There 's nothing to suck in . He does n't fight it . He lets death come . ANGLE ON TERRI Tears streaming , chest heaving , frantic .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>Woody, oh Woody, please God, no!<\/dialogue>\n    <scene_description>HER THUMB Hovers over her suit jet toggle control . McConnell 's voice , from the distance , sounds very tired . Like he 's aged fifty years in the blink of an eye .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Come back, Terri.<\/dialogue>\n    <scene_description>Terri 's thumb is still poised . Death would be better . ANGLE ON MCCONNELL Outside the REMO . The hatch is still open . We see Phil inside , staring out anxiously towards Terri .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <parenthetical>( quietly , simply . )<\/parenthetical>\n    <dialogue>He's gone.<\/dialogue>\n    <scene_description>He sees no movement from the distant , small figure of Terri .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Please, Terri.<\/dialogue>\n    <parenthetical>( long beat . )<\/parenthetical>\n    <dialogue>We need you.<\/dialogue>\n    <scene_description>TERRI 'S THUMB Pushes the toggle control . to one side , not forward . TERRI 'S FACE Inside her helmet , is streaming with tears . She turns herself around , reluctantly . Heads slowly back towards the REMO .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INTERNATIONAL SPACE STATION. MMCR. DAY<\/stage_direction>\n    <scene_description>On the big screen at MMCR , a glowing green icon labelled `` MARS RECOVERY '' is shown in orbit , as a stream of computer figures crawls beside it . SUPER TITLE : `` SPACE STATION . MMCR . 20 MINUTE TIME LAG '' Beck stands by the NEW CAPCOM , as the latter repeats headset data .<\/scene_description>\n    <character>NEW CAPCOM<\/character>\n    <dialogue>Okay, they're Go for the burn and MOI. Should be initiating the burn just about. now.<\/dialogue>\n    <scene_description>Suddenly the data stream goes crazy . It shivers , streaks , breaks up . then stops . The blinking green icon representing Mars Recovery glows brighter . then vanishes . A moment of stunned silence in the big room . Then a rising babble of scared , confused voices . RAY BECK Takes a step forward , staring helplessly at the screen . His face goes pale , stricken . His worst nightmare is taking place , right before his eyes - and for the second mission in a row .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. REMO. MARS ORBIT. NIGHT<\/stage_direction>\n    <scene_description>The REMO is now on the night side of Mars . Cargo boxes , packing cases and assorted equipment containers float outside . The hatch is sealed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REMO. MARS ORBIT. NIGHT<\/stage_direction>\n    <scene_description>McConnell hovers by a bulkhead . He 's anguished , haunted by the image of Woody 's death . We see him struggling to overcome his grief and shock , trying to force himself to concentrate on the critical tasks at hand . In front of him , a panel has been opened ; he 's facing SMALL UTILITY MONITOR Already glowing , surrounded by coded switches , indicator lights , com ports . MCCONNELL Stares at these , thinking hard , remembering . He 's holding a palm - sized computer , already wired into this panel . He begins tapping the keys , but then stops himself . Reconsiders . He turns , looking back at TERRI AND PHIL Hunched on what would be the floor if the REMO were on land . They grip stowage straps to keep from drifting . Clearly this tiny , rude cargo craft was never designed for manned operation . It 's claustrophobic , bitterly cold . PHIL 'S FACE Is a map of torment . He is shivering , both from cold and fear , barely holding himself together . He hugs his computer supply case like a scared child would hug a teddy bear . TERRI Is worse . A thousand - yard stare . She 's in shock . MCCONNELL Knows he has to occupy them . Speaks softly .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Phil?<\/dialogue>\n    <parenthetical>( no response . )<\/parenthetical>\n    <dialogue>Hey, Phil?<\/dialogue>\n    <scene_description>Phil looks up at him dully .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>We're going in blind. We'll deploy the chutes by laptop. I need to get on the data bus, put in a software patch, and try to soften this tin can's landing. I could use your help with the patch.<\/dialogue>\n    <scene_description>After a moment Phil releases his strap , pushes towards McConnell . He stares numbly at the monitor for a few beats , then takes the little computer from McConnell . He begins to tap the keys , slowly at first , but then with more confidence .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>That's great. Good job.<\/dialogue>\n    <parenthetical>( turning to Terri . )<\/parenthetical>\n    <dialogue>Hey, Terri, I was wondering. Think maybe we could rig some kind of seatbelts out of those cargo straps?<\/dialogue>\n    <scene_description>Terri hesitates a moment , then looks at the strap in her hand , as if she 's never seen it before . Dully she reaches for another one , begins looping them together . MCCONNELL Studies both of their faces intently . Knows that he ca n't push them too hard , too fast . They 're moving like robots , but at least they 're moving .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. REMO. MARS ORBIT. NIGHT. (MINUTES LATER)<\/stage_direction>\n    <scene_description>Small thrusters are firing , getting the REMO into position for entry into the atmosphere . Then all the jets fire in unison , braking the REMO , as it falls away from us , towards Mars at night .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REMO. HIGH ATMOSPHERE. NIGHT<\/stage_direction>\n    <scene_description>The astronauts , restrained on the floor by Terri 's jury - rigged strap system , hold on for dear life . The buffeting through the atmosphere is shaking them violently . BEHIND THEIR FACEPLATES We see the effect of the incredible g - forces : faces distorted , unable to focus their eyes . Each of them thinking , once again : Now I 'm going to die .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS ONE BASE CAMP. NIGHT<\/stage_direction>\n    <scene_description>The Mars One Base Camp looms in the foreground , like some desolate , otherwordly ghost town . And then , in the night sky beyond it , we see an eerie and beautiful sight : a bright streak of red as the REMO slashes down into the Martian atmosphere , like a shooting star , finally disappearing behind distant mountains . Then all is stillness again , deathly stillness and silence .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INTERNATIONAL SPACE STATION. VIEWPORT. DAY<\/stage_direction>\n    <scene_description>Beck stands by a viewport , staring out into space . He 's just lost four good friends , and also knows he is seeing , in this disaster , the probable end of the Mars Program , and the certain end of his own career . He does n't , at first , even hear the nearby VOICE .<\/scene_description>\n    <character>NEW CAPCOM<\/character>\n    <dialogue>Ray? We've got some new data, just coming in.<\/dialogue>\n    <scene_description>Beck looks up , his eyes red - rimmed . The CapCom shifts uneasily . He 's holding a computer printout .<\/scene_description>\n    <character>NEW CAPCOM<\/character>\n    <dialogue>We just - it does n't make any sense. We're not sure how to read this.<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>Data?<\/dialogue>\n    <character>NEW CAPCOM<\/character>\n    <dialogue>Yes sir. Telemetry reports the REMO has left its orbit and reached the Martian surface.<\/dialogue>\n    <character>BECK<\/character>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Crashed?<\/dialogue>\n    <character>NEW CAPCOM<\/character>\n    <dialogue>No sir. Under power.<\/dialogue>\n    <scene_description>Beck snatches the paper , staring at it . For the first time we see some life coming back into him .<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>When?<\/dialogue>\n    <character>NEW CAPCOM<\/character>\n    <dialogue>Sixty - three minutes after Mars Recovery went off - line. Sir, the graph reads like a controlled descent. But that does n't make any -<\/dialogue>\n    <scene_description>Beck suddenly understands . And it 's a joy to see his face , the tears of happiness that spring into his eyes .<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>They used the REMO as a lander.<\/dialogue>\n    <scene_description>The CapCom stares back at him , feeling the same surge of hope .<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>It's McConnell, it's got to be! Nobody else could have pulled this off. Son of a bitch! They're alive.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARTIAN SURFACE. MARS ONE BASE CAMP. DAY<\/stage_direction>\n    <scene_description>POV ANGLE - WIDE As we see the Mars One Base Camp : silent , very still . In the distance , the massive ERV still looms , perched for takeoff , the bottom rungs of its ladder buried . PANNING We see that sand has drifted high against the Hab , as well as the sides of the partially - deflated tunnel and greenhouse , and the four - man rover . The oxygen still and propellant plant are almost buried . Solar panels , some of them punctured by micrometeors , FLAP and CREAK eerily in the slight breeze . And finally , CLOSER TO CAMERA We see the camp 's American flag , still on its toppled pole , but nearly obliterated by sand . ANGLE ON MCCONNELL , TERRI , AND PHIL Who are spooked by this desolation . They 've paused at the edge of the camp . They have dragged along with them from their landing site a crude sledge , improvised from the REMO 's hatch cover and some cargo straps . On this , their meager supplies . McConnell , glancing at the others , knows he 's got to keep their spirits up . He kneels , digs out the flag pole . Brushing off the sand , he rights this and re - plants it firmly in the ground , packing the sand down with his boot . He stands for a moment looking at the flag , his eyes moist . Despite the cost , they have made it to Mars . When he turns , Terri and Phil are looking at him , moved .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Better?<\/dialogue>\n    <character>PHIL<\/character>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Damn right.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Terri, let's see if that oxygen still is operational. Phil, you better check out the ERV. I'll take the Hab. If you find Luke's -<\/dialogue>\n    <scene_description>He catches himself . Phil and Terri look at him .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Just keep in touch.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ERV. DAY<\/stage_direction>\n    <scene_description>Phil steps from the umber sand onto the ERV 's ladder , begins to climb . The four - man rover is nearby , sand drifted high against its tires .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OXYGEN STILL. DAY<\/stage_direction>\n    <scene_description>Terri kneels by the oxygen still , begins to scoop away sand with her gloved hands . She still looks numb .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAB. DAY<\/stage_direction>\n    <character>MCCONNELL<\/character>\n    <parenthetical>( on radio . )<\/parenthetical>\n    <dialogue>I'm at the main airlock door.<\/dialogue>\n    <scene_description>He unlatches a panel , grips the emergency lever inside , tugs it . After a seeming eternity , the door groans and creaks open . Little puffs of dust and sand swirl about , settle .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Entering Hab.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ERV. DAY<\/stage_direction>\n    <scene_description>Perched atop the ERV 's ladder , Phil , using a battery - powered drill , is just removing the final screw from the hatch cover . He lifts off the heavy cover , lets it tumble to the sand .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>I've got ERV access. I'm going in. Terri, you okay?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OXYGEN STILL. DAY<\/stage_direction>\n    <scene_description>Terri is still scooping sand . She 's just cleared the first row of gauges .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>Yeah. This is gon na take awhile to get back to 100 % capacity.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARS ONE HAB. DAY<\/stage_direction>\n    <scene_description>McConnell walks through the kitchen , which we recognize . He pauses to look at the table from which Luke and his crew taped their final , fateful message . HIS BIRTHDAY CUPCAKE Still sits there , eerily , with its stub of burned - out candle . Half - finished , frozen cups of coffee . Suddenly , out of the corner of his eye , he catches a flash of white . He spins , startled , and sees HIS OWN REFLECTION . In his white pressure suit , staring back at him from the screen of a video monitor . Above this is perched the camera the Mars One astronauts used for their comm packets . MCCONNELL SHIVERS This place is filled with ghosts .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ERV COCKPIT. DAY<\/stage_direction>\n    <scene_description>Phil , in the pilot 's seat of the ERV , pushes a computer 's power button . The screen flickers weakly to life , startling him a bit , but all he sees on it are white streaks , crazy static .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>ERV appears structurally intact. Computers are fried, just as we thought.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OXYGEN STILL. DAY<\/stage_direction>\n    <scene_description>Terri has cleared more gauges , valves . She sits back on her heels , studying the tangle of pipes .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>Copy that. I've got busted filters here, clogged intakes. Helluva cleanup job, but so far no major damage.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GREENHOUSE. DAY<\/stage_direction>\n    <scene_description>AN INNER AIRLOCK DOOR WHOOSHES OPEN , AND MCCONNELL ENTERS . THEN STOPS , ASTONISHED . HIS POV On a fantastic , almost jungle - like atmosphere . The plants have been allowed - encouraged ? - to grow wildly . Some are even pushing against the inflated roof . Water condenses on the leaves and the roof , then is captured and routed through pipes of every shape and size , dripping into a clever assortment of collection jars . Liquid water . MCCONNELL Reaches into a bucket , touches the water . His glove comes up before his wondering eyes , dripping . Grasping the implication , he looks down at his forearm instrument pad . Blinking red letters read `` 25 deg . C. '' And something else - the puffy white material of his suit is starting to slightly deflate , revealing his arm 's shape . There 's air pressure in here ! MCCONNELL Punches in more numbers , and gets the readout : `` Nitr . 78 % \/ 02 20 % \/ C02 1 % \/ Trace gasses 1 % . '' MCCONNELL Slowly reaches up , unsealing the neck ring of his helmet . He hesitates , then lifts it off . Takes a deep , quenching lungful of pure air . Holds it in . Lets it slowly out . For a moment he does n't trust his own voice . Then speaks softly towards his helmet .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>I'm in the greenhouse. You better. you better come see this for yourselves.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ERV. DAY<\/stage_direction>\n    <scene_description>Phil , still sitting at the cockpit controls , turns . Through a side viewport he can just make out the greenhouse .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <scene_description>There 's no answer . He rises .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OXYGEN STILL. DAY<\/stage_direction>\n    <scene_description>Terri rises , concerned , and turns . Through the distant , translucent wall of the greenhouse , McConnell 's shadowy figure can be seen , moving slowly .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>Jim?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GREENHOUSE. DAY<\/stage_direction>\n    <scene_description>McConnell sets down his helmet , starts exploring , pushing through fronds as he makes his way down an aisle . The dripping foliage is so dense it almost chokes his path . Everywhere he looks , he has the sense of a scrounged - together , recycled , jury - rigged environment , where a great deal of ingenuity has come into play . He pauses , looking up . Overhead , a bellows , stitched together from pieces of plastic tarp , slowly inhales and exhales , pumping air into a vent in the upper deck of the Hab . Its power comes from a crude water wheel , a buckets - and - strut assemblage , tidily sutured with duct tape , like some giant Erector set . As McConnell turns away from this , still marvelling , a ragged figure leaps through the foliage ! It smashes into him , with a HARSH SCREECH , knocking him to the ground . McConnell , on his back , straddled by his attacker , fights back as best he can . A blur of flailing arms and fists , as he tries to push the creature away . Staring up , he catches a glimpse of the almost unrecognizable LUKE GRAHAM Whose frightened eyes glare back at him through a swaying curtain of dreadlocks . His skin is creased , weathered , above a scraggly beard . His clothes are tattered , patched together . In one fist he grips a rock hammer , which he swings high overhead , about to drive the claw through McConnell 's skull . McConnell grabs his arm desperately , trying to fend him off .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Luke, it's me! Jim McConnell!<\/dialogue>\n    <scene_description>We see a flash of uncertainty in Luke 's eyes . Then he yanks his arm free , and his hammer arcs up even higher , trembles in the air .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>You're not here!<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Luke, it's Jim!<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>No, no, you're not. you ca n't be here.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Your wife is Debra! Your son is Bobby! You were reading Treasure Island with him!<\/dialogue>\n    <scene_description>As he stares down at McConnell , Luke 's eyes finally light up with recognition . but before he can move , he is seized from behind and flung backwards to the ground , the hammer ripped from his grasp , as Terri and Phil pinion his arms . McConnell scrambles to his feet .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Do n't hurt him!<\/dialogue>\n    <scene_description>McConnell kneels beside Luke , signalling to Terri and Phil that it 's okay to let him go . They stand back , pulling off their helmets . Everyone is panting , out of breath . Luke sits up , slowly studying their features , one after another , as if still not quite certain whether they might vanish . His voice is hoarse , rusty from disuse .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Phil. Terri.<\/dialogue>\n    <scene_description>Luke looks with incomprehension at McConnell .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Jim. I do n't understand. You're not supposed to be here. Why are you here? Where's Woody?<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>He did n't make it Luke.<\/dialogue>\n    <scene_description>Luke stares at McConnell , trying to absorb everything . He looks to Terri , who looks down .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Oh no.<\/dialogue>\n    <scene_description>Luke shakes his head in dismay . He seems to shrink in on himself . It 's all too much for him to take in . McConnell kneels and puts his arm around Luke , comforting him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELSEWHERE IN THE GREENHOUSE. DAY (MINUTES LATER)<\/stage_direction>\n    <scene_description>Luke sits on the side of his cot , in the little tented sleeping area he 's created in one corner of the greenhouse . Nearby , his hotplate , pots , and some freshly harvested vegetables and greens . The others crouch around him .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Luke, what happened here?<\/dialogue>\n    <scene_description>A flash of fear in Luke 's eyes .<\/scene_description>\n    <character>LUKE<\/character>\n    <parenthetical>( whispers . )<\/parenthetical>\n    <dialogue>We fired the radar. It came. They all died.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>What came?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>They all died, but I was spared. Why? Had to be for a reason. Then, all of a sudden, I knew why I was spared.<\/dialogue>\n    <scene_description>His voice drops to a conspiratorial whisper .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>So somebody would be left to figure out the secret.<\/dialogue>\n    <scene_description>He taps his forehead , significantly , then nods once or twice . The others exchange an uneasy glance .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Luke, we still do n't understand.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Come. Comecomecome.<\/dialogue>\n    <scene_description>He rises quickly and scuttles off , waving an impatient hand , without waiting to see if they 'll follow . McConnell , Terri and Phil stare after him for a long moment . Phil breaks the silence .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Is it just me? Or is he about two mealpacks short of a picnic?<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>Long term exposure to low gravity can have an adverse impact on the brain. He could be suffering from a form of asphyxia.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Or maybe his whole crew died and he's been marooned alone on Mars. Let's give him time to adjust.<\/dialogue>\n    <scene_description>McConnell and Terri follow in the direction Luke went . Phil , trailing , mutters to himself .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Greatgreatgreat.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS ONE BASE CAMP. DAY<\/stage_direction>\n    <scene_description>Luke , now in a patched - up pressure suit and grubby - looking helmet , stands peering down unhappily at the improvised sledge , with its meager supplies . McConnell , Terri , and Phil walk up behind him , wearing their helmets again . They hear Luke over his RADIO .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>So. let me be sure I understand this. Your ship blew up, with all its supplies. Then you emptied the cargo out of the REMO, and it was totalled on landing. You've got no food, no water, no spare oxygen, nothing but what I see here?<\/dialogue>\n    <scene_description>McConnell and the others are silent , embarrassed . Then McConnell nods . Luke looks at him , a cracked grin .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>What kinda rescue mission is this?<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>That kind.<\/dialogue>\n    <scene_description>He points to the computer repair case , as Phil lifts it off a sledge . Luke turns , looks at the case , then Phil .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Check it out. New nav boards for the ERV. I got four round - trip tickets, baby, right in here.<\/dialogue>\n    <character>LUKE<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Four.<\/dialogue>\n    <scene_description>In some mysterious way , this reminder of Woody 's death seems to bring him fully back into himself . He takes Terri by the shoulders , deeply saddened . She meets his gaze .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Terri. I'm so sorry. He was a good man.<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>Thanks, Luke.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>When there's time, we'll talk.<\/dialogue>\n    <scene_description>She nods , grateful . A beat . He looks at the others .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>This way.<\/dialogue>\n    <scene_description>He starts off across the sand , and they follow .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRAVE SITE. DAY<\/stage_direction>\n    <scene_description>They stand looking down at the three long mounds of dirt , as Luke completes his account of the disaster .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>When I came to and dug myself out of the sand, my faceplate was cracked. Leaking badly. I barely made it back to Base. It was weeks before I could work up the nerve to go back out there and look for their.<\/dialogue>\n    <scene_description>He has to pause , collect himself .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Renee was the only one I could find. But it did n't seem right, somehow, to dig just one grave.<\/dialogue>\n    <scene_description>There is an emotional silence . Luke turns , takes a few steps . He stares into the distance , observing the swirling dust around them . McConnell hesitates , notices Luke 's gaze .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Has it been blowing like this for a while?<\/dialogue>\n    <parenthetical>( Luke nods . )<\/parenthetical>\n    <dialogue>We saw a big storm from space. But Micker said it was turning south.<\/dialogue>\n    <scene_description>Luke looks off into the distance , studies something only he seems to see .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>If it holds course.<\/dialogue>\n    <scene_description>McConnell pulls his gaze away from the horizon , looks at Luke .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>This - whatever it was - this force. You say it came directly out of the top of the mountain?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>You do n't believe me. That's okay. But I'm not crazy, Jim.<\/dialogue>\n    <scene_description>McConnell is n't quite sure how to reply to this .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>What did you mean by its `` secret?'' What secret?<\/dialogue>\n    <character>LUKE<\/character>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>You better see for yourselves.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARS ONE HAB. DAY<\/stage_direction>\n    <scene_description>McConnell , Terri , and Phil follow Luke into the Science Lab area of the Hab , then stop in their tracks . Their helmets are off . It 's very cold in here ; their breath is frosty . THEIR POV - The Lab is crammed with rock and sand samples from many locations , all tagged and labelled . There are drawings and diagrams covering the walls : Martian landscapes , annotated maps , and over and over , obsessively repeated , drawings of the vortex that destroyed the Mars One crew .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>See, where they made their mistake was, they must've planned for it to be visible from Earth.<\/dialogue>\n    <scene_description>The others turn , looking at him . Luke is aiming an electric space heater at his computer . As the coils glow red , he rubs his hands together , poised over the keyboard .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Who's `` they''?<\/dialogue>\n    <scene_description>Luke reacts to their blank stares . He has a kind of jittery feverish intensity , a secret excitement .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Do n't you understand? Hundreds of millions of years have gone by. You've got erosion, sand storms, lava flows, meteor impacts - hell, in that much time, the whole surface would've changed. So no wonder we never saw it before. Well, I mean, we saw it, but not like they meant us too. Too much dirt on it.<\/dialogue>\n    <scene_description>The others exchange worried glances . Is he totally nuts ?<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>Saw what?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>This.<\/dialogue>\n    <scene_description>On the computer screen they 're looking at . CLOSE ON THE MONITOR Pictures of the Face after the disaster , seen from ground - level , in telephoto views . Rising out of a ring of rock and dirt rubble is the shiny - white profile of a gigantic face . The white is smooth , impenetrable . It has the scale of a mountain , but the planes and angles are clearly unnatural . MCCONNELL , PHIL AND TERRI -LRB- INT . MARS ONE HAB . -RRB- They are stunned . Can hardly believe their eyes .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Jesus.<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>What is that?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>I do n't know. But whatever it is, somebody built it. And not us.<\/dialogue>\n    <scene_description>A few moments of silence while they try to absorb this .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>What about the sound? That signal you heard before the explosion?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Good, Jim, good. That's the key.<\/dialogue>\n    <scene_description>A click of the mouse and they all HEAR , over speakers , the DEEP PULSING BASS TONE .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Hear the pauses? That's what made me realize it's a pattern - a repeating pattern.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Mathematical?<\/dialogue>\n    <scene_description>Luke is trembling with excitement . His words tumble out very quickly . He 's been waiting so long to share this .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>That's what I thought. There are distinct blocks in the pattern, and within each block the tones come in groups of three. Threethreethree. For months I struggled to analyze it, trying different constructs. Then I thought about dimensions.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>X - Y - Z coordinates.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Right! Three groups equals three dimensions. So I tried assigning different graphic values to each block, group and tone. And finally I got. this.<\/dialogue>\n    <scene_description>He types another command . They all look at the monitor , the glow reflecting on their faces . They are amazed again . CLOSE ON THE MONITOR Where we see the beautiful interlocking chain , the universally familiar double helix , of a DNA molecule - the elegant blueprint of life . BACK TO SCENE -LRB- INT . MARS ONE HAB . -RRB-<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>My God. Is that what I think it is?<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>DNA. that's a model of DNA!<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>You see it, too. Thank God. I was afraid I was just suffering from a form of asphyxia.<\/dialogue>\n    <scene_description>She glances at him , surprised that he overheard her earlier diagnosis . But he smiles , not offended .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>So, okay, so - somebody left this thing here, somebody - other than human. But what the hell is it?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>My guess is, it's a signature. A self - portrait of whatever species created the Face.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>But that DNA looks human.<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>No way. It's missing the last pair of chromosomes. See?<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Yeah, but it's close. Damn close.<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>The difference between a man and an ape is less than three percent of genetic material. But that three percent gives you Mozart. Einstein.<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>Or Jack the Ripper.<\/dialogue>\n    <scene_description>They look at him . Then all four turn , stare again at the slowly rotating DNA , pondering its awesome mystery . MCCONNELL When he finally speaks , never takes his eyes off the screen . We can read in them the almost overwhelming grip this mystery has on his imagination .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>It's been a long day. Let's get a couple hours sleep, then tackle this thing when we're fresher. Phil, your first priority will be to get the motherboards over to the ERV. Concentrate on getting communications up first.<\/dialogue>\n    <parenthetical>( Phil nods . )<\/parenthetical>\n    <dialogue>Soon as we've got the juice, we'll send a packet to Micker, tell them Luke's OK, and that. everything else that's happened. The rest of us will take an inventory of supplies, see where we stand. Okay?<\/dialogue>\n    <scene_description>The others nod in weary agreement . As they start out , towards the relative warmth of the greenhouse , Terri looks at Luke , at his scraggly beard and his long , lank hair . She smiles , brushing some locks off his forehead .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>C'mon. There's a pair of scissors in my medkit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARS ONE HAB. ANOTHER SECTION. NEXT MORNING<\/stage_direction>\n    <scene_description>As in the Science Area , this space has enough thin oxygen for the astronauts to remain unhelmeted . McConnell and Luke are still going through what few supplies were salvaged from the REMO . Luke pauses , rubbing the unfamiliar smoothness of his cheek . His beard is gone , his hair neatly trimmed . McConnell enjoys Luke 's own wonder at his transformation .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>How do you feel?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Like I just got back my other three percent.<\/dialogue>\n    <scene_description>McConnell smiles . Terri enters through the hatch , removing her helmet .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>The backup generator is salvageable, and two of the solar panels. I'm pretty sure I can get the oxygen still back into production, too. So we're not in such bad shape, considering.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Good work, Terri.<\/dialogue>\n    <scene_description>McConnell , rummaging through Phil 's backpack , drops an already - opened bag of M&amp;M s . The CANDIES scatter and bounce all over the floor .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Look at that. Phil's idea of absolute essentials.<\/dialogue>\n    <scene_description>Luke and Terri smile . McConnell scoops up the fallen M&amp;M s . He slows down as he does it , looking at the scatter of little round CANDIES . Something tugging at the back of his mind .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARS RECOVERY. EVA AIRLOCK. DAY<\/stage_direction>\n    <scene_description>Phil 's intricately designed M&amp;M model of his `` ideal woman '' , floating weightlessly , as McConnell drifts past it , plucking away a couple pieces of the candy . Phil reacting , in good - natured annoyance . The gap in the design left by McConnell 's theft .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARS ONE HAB. ANOTHER SECTION. DAY<\/stage_direction>\n    <scene_description>CLOSE ON MCCONNELL As he trembles with excitement . With sudden comprehension .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>It's not a signature.<\/dialogue>\n    <character>LUKE<\/character>\n    <parenthetical>( puzzled . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>That noise from the Face. It's not a signature. It's a test.<\/dialogue>\n    <scene_description>Luke and Terri stare at him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARS ONE HAB. MOMENTS LATER<\/stage_direction>\n    <scene_description>McConnell sits in front of the computer back in the science lab area , staring once again at the mysterious DNA model . Luke and Terri stand behind him . McConnell 's energy , his new certainty , is almost electrifying .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>It's asking us for the right answer. It wants us to put in the missing pair of chromosomes.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>But why?<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>To prove that we're human.<\/dialogue>\n    <scene_description>Terri and Luke look at each other , starting to understand .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>We fired radar into that thing. Concentrated sound waves.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Which it interpreted as a wrong answer. Yes! It's like a, a security alarm. When it gets an incorrect response, it defends itself.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ERV COCKPIT. DAY<\/stage_direction>\n    <scene_description>Phil is listening in on radio . He 's got panels open , wires dangling , as he works his ongoing repair . He keys his mike , uneasily .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>So what happens when it gets the right answer?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARS ONE HAB. DAY<\/stage_direction>\n    <scene_description>As McConnell looks at Luke and Terri .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <parenthetical>( hesitates . )<\/parenthetical>\n    <dialogue>I do n't know. But we've got to find out.<\/dialogue>\n    <parenthetical>( to Luke , pointing . )<\/parenthetical>\n    <dialogue>Can you work this the other way? Figure out which tones would be equivalent to the missing chromosomes? Then dub them into your recording of the signal?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>I think so, yes.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>What about the radar gun? Will it accept that input? Can we transmit a completed signal back to the Face?<\/dialogue>\n    <scene_description>Luke stares at him , startled by what he 's implying .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ERV COCKPIT. DAY<\/stage_direction>\n    <scene_description>Phil is also growing increasingly nervous .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Whoa, whoa, hold on, Jim. What if you're wrong? Whoever goes out there. I mean, what if you're wrong? Three people have already died over that thing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARS ONE HAB. DAY<\/stage_direction>\n    <scene_description>As Luke and Terri look tensely at McConnell .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>Four.<\/dialogue>\n    <scene_description>McConnell looks at her .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Terri, if we leave here without getting some answers, they all died in vain.<\/dialogue>\n    <scene_description>Terri shakes her head .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>We just do n't know enough about that - that thing out there to take any more chances.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>What are we here for, if not to take chances?<\/dialogue>\n    <scene_description>His passion startles them ; they 've never seen him so emotional . He points at the computer screen .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>This means we're not alone. It means we're on the brink of the greatest discovery in mankind's history. But we've still got to prove it. Who knows when someone else will get back here? Or if they ever will? You know what Congress is like. They'll say it's too dangerous, too much loss of life, let's go back to unmanned flights. We could be the last explorers to come here for decades. We're it, guys.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>We're it.<\/dialogue>\n    <character>LUKE<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>We do n't have to go out there. There's a better way.<\/dialogue>\n    <scene_description>They look at him , surprised .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS. THE FACE. PLAINS OF CYDONIA. DAY<\/stage_direction>\n    <scene_description>The familiar , plucky little figure of ARES - 8 wheels across ocher sand , with the radar gun jury - rigged onto its back . Ares ' video snout WHIRRS out , extending . The familiar bass rumble of the Face is very loud from here .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Checking video feed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARS ONE HAB. LATE DAY<\/stage_direction>\n    <scene_description>McConnell , Terri , and Phil have gathered around Luke as he pushes buttons , and a monitor CRACKLES to life . White streaks , then a blurry image , which he tries to enhance . Finally the image starts to sharpen .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>There!<\/dialogue>\n    <scene_description>ON THE MONITOR They see the familiar stark white profile of the FACE , shot from ground level , in a SLOWLY APPROACHING ANGLE . THE FOUR ASTRONAUTS Stare at the ominous sight . They 're all more nervous than they want to show . Luke 's fingers delicately work a joystick as he maneuvers the remote surveyor .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>How close do we need to get?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>I'm not sure. Maybe we better stop by that boulder.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS. THE FACE. LATE DAY<\/stage_direction>\n    <scene_description>Ares - 8 whines to a stop by a large boulder , which partially shields it from the Face , looming beyond . The radar gun swivels , locating its target . Then stops , ready to fire .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARS ONE HAB. LATE DAY<\/stage_direction>\n    <scene_description>Luke looks at Terri , Phil , and McConnell . Phil shuts the lid of the box holding the new nav boards , snaps it protectively down . He nods . Terri takes a deep breath , then she nods . Luke 's hand hovers over the red firing button ; a moment of awesome uncertainty and danger . He looks at McConnell , who finally gives a nod of command . Then Luke hits the button .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS. THE FACE. LATE DAY<\/stage_direction>\n    <scene_description>From the radar gun on Ares - 8 's back , a sharp , high - pitched electronic burst is emitted , pulsating like a tuning fork as it 's fired towards the Face . After a few seconds it stops . For a moment nothing happens . Then the deep bass rumbling stops as well . The only remaining sound is of WIND , stirring up dust on the Martian plains . ANGLE ON THE FACE As suddenly a huge , curved segment of the white surface begins to rise from the earth , like a gigantic hangar door , sliding out of sight into an upper sheath of some kind . The movement is measured , stately , utterly silent . As the segment rises , it reveals a blinding white light : the interior of the Face . No inside details can be seen .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARS ONE HAB. DAY<\/stage_direction>\n    <scene_description>McConnell , Luke , Terri and Phil stare at this phenomenon , awed . They 're barely breathing .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Oh my God.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>It worked. It worked!<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Check for radiation.<\/dialogue>\n    <scene_description>Luke punches buttons , waits anxiously for a readout .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Normal. Seismic. normal. Anemometer steady. No sign of the vortex.<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>I do n't know what we did, but guys - does that look to you like a hostile gesture?<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>No. More like an invitation.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Or another test.<\/dialogue>\n    <scene_description>McConnell is staring at the mysterious opening . On his face , a growing look of determination .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Luke, the four - man rover. Does it still work?<\/dialogue>\n    <scene_description>The others look at him , their expressions changing as they realize what he 's implying .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS ONE BASE CAMP. LATE DAY<\/stage_direction>\n    <scene_description>McConnell , once again helmeted , emerges from the Hab airlock . Luke , Terri and Phil are coming out behind him . The wind has picked up , and fine dust is blowing . They stop , staring off in astonishment towards A FRIGHTENING SIGHT The entire sky has darkened from its customary salmon into purplish - black at the horizon , with bloody streaks above . The DUST STORM has turned their way ; it 's now sixty kilometers away and closing . The main body of it reaches two thousand meters above the surface and stretches out along a thousand - kilometer front . THE ASTRONAUTS Stare at this unholy juggernaut , alarmed . McConnell turns to Luke , whose expression is grim .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>How long before it hits?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>An hour? Maybe less.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>How bad?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>A storm like that? It could go planetary. And last a year.<\/dialogue>\n    <scene_description>McConnell stares at him .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>It'll sock us in, Jim. We wo n't be able to take off. If that happens, with what few supplies we've got left? We'll starve to death.<\/dialogue>\n    <scene_description>McConnell turns , staring off towards the killer storm . The others look at him with questioning gazes . He turns again . There 's the four - man rover , ready to go . Waiting .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Phil, how much longer to prep the ERV?<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>Maybe forty - five minutes. It'll be tight, but we can make it.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Then there's still time for us to get out there and back.<\/dialogue>\n    <scene_description>He looks a question at Luke and Terri , one after the other . Their eyes , tense but excited , signal agreement .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Stay here. Continue the repair. If something goes wrong, you get out of here before that storm hits.<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>Go back. alone?<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>If we're not back in forty - five minutes, I want you to prep and launch.<\/dialogue>\n    <parenthetical>( looks at his armpad display . )<\/parenthetical>\n    <dialogue>That's 1950 hours.<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>Jim -<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>It's not a suggestion, it's an order. You understand?<\/dialogue>\n    <character>PHIL<\/character>\n    <parenthetical>( reluctantly . )<\/parenthetical>\n    <dialogue>I understand. But -<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>You understand what?<\/dialogue>\n    <character>PHIL<\/character>\n    <dialogue>If you're not back by 1950, I prep and launch.<\/dialogue>\n    <scene_description>McConnell nods , satisfied . Looks at Terri and Luke .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Let's go.<\/dialogue>\n    <scene_description>They start towards the four - man rover . Dust is swirling more thickly through the air , and the WIND IS LOUDER NOW . Phil stands watching them go , a lone , rather forlorn figure .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAINS OF CYDONIA. DUSK<\/stage_direction>\n    <scene_description>In a WIDE SHOT , we see the rover approaching the Face , across the plains . The sky beyond the Face is almost black , as the storm approaches from that direction . It 's marching relentlessly across the planet , with flashes of lightning now rippling up and down its face , and even small tornadoes spinning off near its purple - black base .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ERV COCKPIT. DUSK<\/stage_direction>\n    <scene_description>Phil has panels off . He 's reaching into the guts of the main computer , working feverishly . His repair kit is beside him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS. THE FACE. DUSK<\/stage_direction>\n    <scene_description>In a HIGH SHOT , we look down across the side of the Face and its vast , open doorway , out of which the bright white light is streaming . Into this corridor of light , we see the rover arrive , slewing to a stop , throwing sand from its wheels . GROUND LEVEL SHOT Looking at the cavernous vertical gap in the side of the Face . The opening towers to a dizzying height above us ; the white light strains our eyes . The three astronauts ENTER FRAME as we see them , from behind , staring up . ON THE ASTRONAUTS ' AWED FACES As they are stunned by the immensity of the scene , the cosmic mystery before them . Luke and Terri look at McConnell . Another moment of critical decision . He keys his mike .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Phil, do you read me?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ERV COCKPIT. DUSK<\/stage_direction>\n    <scene_description>Phil keys his own mike .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Yeah, Jim. Your signal's breaking up a little in the storm, but I read you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE FACE. DUSK<\/stage_direction>\n    <scene_description>McConnell stares into the bright opening . Bathed in its light .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>We're at the Face. We're gon na need a few minutes here. Same deadline, launch at 1950. With or without us. Do you copy?<\/dialogue>\n    <character>PHIL<\/character>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Copy that.<\/dialogue>\n    <scene_description>Terri and Luke exchange a tense glance .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>Jim, are you sure you want to do this?<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>I'm not sure of anything anymore. But I did n't come a hundred million miles just to turn back in the last ten feet.<\/dialogue>\n    <scene_description>Luke smiles . The three of them stare into the portal . McConnell , between the others , reaches out and grips each of them by a gloved hand . They take a sort of collective breath . Then they walk forward together , into the light .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE FACE. DUSK<\/stage_direction>\n    <scene_description>The astronauts continue forward , each of them extending a free hand . The light is too dazzling for them to gauge distances , textures , colors - anything at all . They ca n't see walls , ceiling , even a floor .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>Surface seems firm and level.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Roger that. Texture is smooth.<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>I've got good footing and no obstructions. Let's check our -<\/dialogue>\n    <scene_description>Behind them , there is an abrupt WHOOOSH , like a giant airlock sealing shut . They turn , startled and nervous . Letting go of each other 's hands , Luke and Terri run back the way they came , but almost immediately are stopped by a wall of some sort . The vast hangar - type door has closed behind them .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>It's solid again! We're trapped.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Do n't move! Keep this orientation.<\/dialogue>\n    <scene_description>The three scared , helmeted faces seem to float in the brightness , some twenty feet apart .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <parenthetical>( keys his mike . )<\/parenthetical>\n    <dialogue>Phil? Phil, can you still hear me?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ERV COCKPIT. DUSK<\/stage_direction>\n    <scene_description>Phil , saying a silent prayer , reaches over and turns on the main computer . It works ! He 's immensely relieved .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Computers are online! Ready to load software. But guys - we're losing visibility here.<\/dialogue>\n    <scene_description>He glances out the cockpit window at the blowing dust . Then realizes that he 's hearing only silence over his radio .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Guys? Jim? Luke? Terri? Is anyone there?<\/dialogue>\n    <scene_description>No answer . Phil stares at his radio in dread .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Do n't leave me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FACE. DUSK<\/stage_direction>\n    <scene_description>McConnell is staring at his spacesuit 's sleeve . He can see that the suit material is starting to deflate , revealing the shape of his arm , just as it did in Luke 's greenhouse . He hesitates , then begins to unscrew the sealing ring on his right glove . Terri and Luke see this .<\/scene_description>\n    <character>TERRI<\/character>\n    <parenthetical>( alarmed . )<\/parenthetical>\n    <dialogue>Jim, what're you doing? You'll depressurize!<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>I do n't think so.<\/dialogue>\n    <scene_description>McConnell makes the final twist on his glove and there 's the hiss of rushing air .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Jim, seal it!<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>No. That was air going into my suit, not out. Look at your own suits - they're not rigid anymore. We've got pressure in here.<\/dialogue>\n    <scene_description>Luke looks at his sleeve . McConnell 's right .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>Above Mars atmospheric? That's impossible.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>We're millions of miles from Earth and we're inside a gigantic white face. What's impossible?<\/dialogue>\n    <scene_description>Terri types on her arm keypad . She 's amazed .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>There's six psi in here.<\/dialogue>\n    <parenthetical>( taps more keys . )<\/parenthetical>\n    <dialogue>Nitrogen and oxygen.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Otherwise known as air?<\/dialogue>\n    <scene_description>Terri nods . McConnell starts unscrewing his helmet ring . Luke follows suit .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>Hey, there may be some lethal trace gasses I have n't picked up yet, or. or. oh, the hell with it.<\/dialogue>\n    <scene_description>Terri starts taking off her helmet . In a few moments , all three helmets are off . They hold them , glowing softly , against their chests , as they breathe deeply and gratefully . Air . And then , at this very moment , as if they have just passed another kind of test . HIGH , STRIATED WALL Appears through the glare , soaring up before their startled eyes . White , metallic , composed of complexly - linked bands , plates , ramps . It 's part of a STRUCTURE whose overall height and breadth keep us from understanding its purpose . But the hatch opening slowly in its side , at the top of an approach ramp , is unmistakable . Radiant white light streams out from within , forming a glowing tunnel , down towards the astronauts . THE ASTRONAUTS BLINK Raising their gloves against the dazzling glow . At the end of this tunnel of light , inside the hatch frame A SHAPE MATERIALIZES And slowly resolves itself into a glowing humanoid form , which we somehow sense is female . She appears benign , wondrous . This glowing MARTIAN - a holograph - regards the astronauts for a few moments , then beckons to them , as if to say `` Enter . '' All her motions are both calm and calming - precise , unhurried , gracious . MCCONNELL , LUKE AND TERRI Look at each other . They 're awed into silence , and still tense , but now more out of excitement and anticipation than fear . Their eyes agree : Let 's go . They walk forward slowly , carrying their helmets , up the ramp and into the tunnel of light , following the Martian , who retreats before them . They go through the hatch and disappear inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARTIAN STRUCTURE. DUSK<\/stage_direction>\n    <scene_description>Following the Martian , they find themselves in a round , open space , defined by light , with a smooth matte - metallic floor , but without apparent walls . The Martian stops , turns , facing them . The astronauts stop , too , uncertain what they 're meant to do . Then the Martian gestures again . A cylindrical holographic column appears , rising from the floor in front of the astronauts . Inside it , a swirl of eerie lights , millions of them , like cosmic fireflies . MCCONNELL , LUKE , AND TERRI Set down their helmets , then cautiously converge around this column , forming a loose triangle . As they stare into it , the myriad lights are reflected off their own eyes and their spacesuits . IN THE HOLOGRAPHIC COLUMN The whirling lights resolve into images , which relate to them the story of ancient Mars : A BLUE PLANET we do not recognize . All is peaceful , beautiful . INTERCUT<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Is that what I think it is?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Yeah. It's Mars.<\/dialogue>\n    <scene_description>SUDDENLY A HUGE ASTEROID Tumbles through space towards the planet .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>Oh my God.<\/dialogue>\n    <scene_description>ON THE PLANET - CLOSER VIEW As thousands of small rocketships lift away from the surface , heading in a stream out of the solar system . THE ASTEROID IMPACTS And a wall of fire and debris scours the planet . Oceans boil and vaporize . Two gigantic hunks are blasted out of the planet , spinning in flames . MCCONNELL , LUKE , AND TERRI Involuntarily flinch , bathed in the fiery images . THE PLANET IS NOW DEAD As dust storms roil across its cold , lifeless surface . The flaming hunks of molten rock cool into twin moons . THE ASTRONAUTS Stare at this devastation , deeply moved . IN DEEP SPACE The stream of Martian ships grows smaller and smaller as it continues on its epic voyage towards a new solar system . Then we zero in on ONE PARTICULAR ROCKETSHIP As it peels off and goes in another direction . Graphics show a model of what the ship contains : the familiar double helix of DNA . The ship heads towards another blue planet in our solar system . EARTH As it was then . More clouds than now , more ocean , and the landforms all wedged together . TERRI Her voice is soft .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>Earth, when it was still Pangaea. Before the continents separated.<\/dialogue>\n    <scene_description>THE LONE MARTIAN SHIP Makes a fiery streak through Earth 's atmosphere and plunges into the ocean . Instantly the image of the DNA double helix grows , filling the entire holographic column , then it begins to spin and pulse , disintegrating into a phantasmagoric whirl of new images . MCCONNELL , LUKE , AND TERRI Cry out , stunned by the strobelike power of the display as LIVING FORMS Flash into the holographic column , swimming , growing , crawling , leaping , flying : one - celled microscopic organisms , plankton , plants of all kinds , insects , then fish , dinosaurs , birds , small mammals , larger mammals - the entire stunning panorama of evolution , distilled into a single explosive sequence , as the images wash over the dazzled , awestruck FACES OF THE ASTRONAUTS Until finally the images whirl away , the holographic column dissolves , leaving only a circle of glowing , concentric , colored rings on the floor . The astronauts are left staring at each other across the open space where the column had been . THE MARTIAN Now comes forward with outstretched arms and completes their circle , taking the fourth position . McConnell is opposite her glowing form , and Terri and Luke are at either side . The Martian reaches her arms out , inviting them to link hands . As they do so , the Martian seems to be staring directly into McConnell 's eyes . MCCONNELL Is in wondrous awe , his whole face radiant with joy . It 's the first time we 've ever seen him utterly without sadness or reserve . Staring at the Martian , he understands .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>They're us. We're them.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>We're Martians?<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>That's what she means.<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>Oh my God. The Cambrian explosion.<\/dialogue>\n    <scene_description>McConnell and Luke look at her .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>Almost six hundred million years ago, there was a sudden expansion of life on Earth. The first multi - celled plants and animals appeared. No one has ever understood why.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>They seeded Earth.<\/dialogue>\n    <scene_description>We hear a BELL - LIKE TONE , a single lingering high note , and simultaneously the outermost ring of the circle on the floor begins to glow brightly . It is an intense chromium yellow . THE ASTRONAUTS Step back , startled , unlinking their hands , and look at the circle of colored rings . These shade from yellow , on the outer rim , to a deeper yellow , then orange , then finally reds . Inside the final , deep red ring is a circle of indigo blue , about a meter across . Small points of light glitter here , like stars against a midnight sky . THE MARTIAN Steps closer to McConnell . She has picked him out in particular . Now she beckons for him to move inside the circle of colored rings , to stand on the indigo core . MCCONNELL Looks back at her , nods his understanding . For the first time she seems to smile . Benevolence , reassurance . Then as abruptly as she first appeared , she fades away . Vanishes . Luke and Terri look at McConnell , confused . There is a sudden , static - filled CRACKLE from their helmets , nearby on the floor .<\/scene_description>\n    <character>PHIL<\/character>\n    <parenthetical>( over radio . )<\/parenthetical>\n    <dialogue>. in, please. Can you. me?<\/dialogue>\n    <scene_description>Terri picks up her helmet , leans into its mike .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>Phil, we're here! We read you.<\/dialogue>\n    <scene_description>Even through the scratchy interference , they can hear the relief in Phil 's voice . And then the desperation .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Thank God! Listen, this storm is really -.<\/dialogue>\n    <parenthetical>( loud static . )<\/parenthetical>\n    <dialogue>- few more minutes, I ca n't -.<\/dialogue>\n    <parenthetical>( more static . )<\/parenthetical>\n    <dialogue>You've got ta get back to the ship!<\/dialogue>\n    <scene_description>And then they hear only STATIC . His signal is lost .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>Phil? Phil?<\/dialogue>\n    <scene_description>Suddenly the BELL - LIKE TONE REPEATS , at a lower register , with a more sustained note , and simultaneously , the last of the yellow circles of light begins to fade , as THE FIRST ORANGE BAND Begins to glow brighter . McConnell turns , looking at this new color , then looks back at Luke and Terri .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>We are in a ship. This is a ship. And the countdown has already started.<\/dialogue>\n    <scene_description>Terri looks at Luke , alarmed .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>He's right.<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>Then let's get the hell out of here!<\/dialogue>\n    <scene_description>She scoops up Luke 's helmet , tosses it to him . As he catches it , she 's already starting back out , in the direction they came from , and Luke follows her . Until they both become aware that McConnell is n't with them . They turn back . He 's still rooted to the spot , his gaze locked on the indigo core of the colored rings .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Jim.<\/dialogue>\n    <scene_description>McConnell does n't turn .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Jim, we got ta go.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>I'm not coming with you.<\/dialogue>\n    <character>TERRI<\/character>\n    <parenthetical>( stunned . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Coming back , she sees how calm he is . How certain .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>What are you talking about? We've got to get home.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>That's where I'm going. Do n't you see? That's what all this is for.<\/dialogue>\n    <parenthetical>( McConnell gestures at the ship around them . )<\/parenthetical>\n    <dialogue>You were right Terri. This is an invitation. To follow them. To follow them home.<\/dialogue>\n    <scene_description>He looks into their faces . Terri is trying to grasp this idea , still incredulous . Luke has the beginning of a half smile .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>I have to go. This is the mission now. To find out who we are. Is n't that why we came here? Like Maggie said, `` To stand on a new world and look beyond it to the next one.''<\/dialogue>\n    <scene_description>Luke nods at the memory of Maggie 's words . Terri remembers too . McConnell 's passionate conviction is affecting them both .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>You know, when you think about it - I was n't even supposed to be here - all the accidents, everything that got us to this point, it's just. it's just. I just know it's right.<\/dialogue>\n    <scene_description>Terri looks at Luke . Luke is smiling . He understands .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>I'm okay. I know what I'm doing. But you're running out of time. You've got ta get back to the ERV and get off this planet. Now please go.<\/dialogue>\n    <scene_description>Luke steps closer , looking at his old friend .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>I once felt like I was taking your turn. But now I think maybe you're taking mine. Guess I'm a little jealous.<\/dialogue>\n    <scene_description>They clasp hands for a moment . But in this moment is a lifetime of camaraderie , an eternity of farewell .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Thanks for saving my life.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>My pleasure.<\/dialogue>\n    <scene_description>Luke nods , deeply moved . He turns away , picking up his helmet , as Terri comes closer , looking at McConnell , a long unspoken beat . Her eyes are glistening .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>I wish Woody were here to see this. He would've wanted to go too, Jim.<\/dialogue>\n    <scene_description>Terri smiles . She is starting on the road to recovery . She 's going to be okay .<\/scene_description>\n    <character>MCCONNELL<\/character>\n    <dialogue>He's here, Terri. We would n't have made it without him.<\/dialogue>\n    <scene_description>Terri nods . She digs into one of her suit 's pockets , pulls something out . She hands it to McConnell , and his fist closes around it .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>Take care, Jim.<\/dialogue>\n    <scene_description>McConnell smiles . Terri smiles back at him . Then she turns , picks up her helmet , and crosses to where Luke has paused , looking back .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Hey, Jim?<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Have a great ride.<\/dialogue>\n    <character>MCCONNELL<\/character>\n    <dialogue>Always do.<\/dialogue>\n    <scene_description>Luke and Terri exchange a final silent farewell with him , then hurry away , into the darkness . MCCONNELL Looks down at what Terri gave him . IT 'S WOODY 'S NECK CHAIN With the little Flash Gordon rocketship . MCCONNELL Grips this tightly as he looks up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS. THE FACE. PLAINS OF CYDONIA. NIGHT<\/stage_direction>\n    <scene_description>The hanger - like hatch has reopened , and Luke and Terri , helmeted again , emerge from the Face . The leading edge of the dust storm is upon them . They ca n't see much more than a few meters . As they reach the rover , they hear , even in this chaos , that the deep pulsing tone of the Face has started again . They look at each other , uncertain what this means . But McConnell is now beyond their help . Luke keys his mike .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Phil? Phil, do you read?<\/dialogue>\n    <parenthetical>( to Terri . )<\/parenthetical>\n    <dialogue>He's not reading.<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>I can barely read you. Let's get the hell out of here!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ERV COCKPIT. NIGHT<\/stage_direction>\n    <character>PHIL<\/character>\n    <dialogue>Is anyone there? Can anyone read me?<\/dialogue>\n    <scene_description>Phil gets no response . He is shaking , almost crying . He hesitates , then starts hitting some keys . CLOSE ON HIS COMPUTER DISPLAY Which reads : `` PRE - LAUNCH CHECKLIST . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARTIAN SPACESHIP. NIGHT<\/stage_direction>\n    <scene_description>McConnell has shed his backpack , with its unneeded oxygen tank . He steps cautiously onto the colored rings . Nothing seems to happen . Moving further , he takes his place on the indigo circle at their core . He looks at THE GLOWING TAKE - OFF COUNTDOWN INDICATOR As it dips from orange into red ; the BELL TONES are continuous now , very deep and rapid .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAINS OF CYDONIA. NIGHT<\/stage_direction>\n    <scene_description>The rover , with Luke and Terri inside , races away towards the safety of the ERV , as the maelstrom boils over the Face behind them . The sky is purplish black , thick with flying debris and eerie lightning flashes . Towering billows of dust chase them over the plain , nearly enveloping them as they speed towards us , passing OUT OF FRAME .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARTIAN SPACESHIP. NIGHT<\/stage_direction>\n    <scene_description>McConnell reacts , surprised , as suddenly A TRANSPARENT , GLASS - LIKE CYLINDER Begins to rise around him , swiftly and smoothly , coming up from the circumference of the indigo circle . Then a second , identical cylinder - the top half - drops down from somewhere overhead . The two sections meet and fuse in a flash of light , containing McConnell inside them , as neatly as if he were in a giant , transparent mailing tube . MCCONNELL Fights against a stab of claustrophobia . Is he being imprisoned ? Or somehow protected ? Either way , he 's virtually immobilized . In this tight space in his bulky suit , he ca n't even move his arms . Only his head and neck can still shift .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ERV COCKPIT. NIGHT<\/stage_direction>\n    <scene_description>Phil is going over his final pre - launch checklist , flipping switches and pressing buttons . He looks at his DIGITAL CLOCK Which reads `` 1350 . '' PHIL IS STRICKEN , TORMENTED His finger hovers over a `` Fire '' button . He licks his lips nervously , squeezes his eyes shut , and hits the button . CLOSE ON COMPUTER DISPLAY And the words : `` IGNITION SEQUENCE INITIATED ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARTIAN SPACESHIP. NIGHT<\/stage_direction>\n    <scene_description>McConnell is straining inside the cylinder that surrounds him , when something catches his attention . He arches his neck , looking down . A COBALT - BLUE TRANSPARENT LIQUID Is beginning to fill the cylinder ! It swirls in , from some unknown source , rising rapidly ; already his lower boots are covered . MCCONNELL 'S EYES Widen in alarm . He strains against the sides of the cylinder but HIS GLOVED HANDS Slide helplessly across the smooth surface . MCCONNELL Looks down again . THE COBALT LIQUID Is up to his knees . Now his thighs . MCCONNELL Cranes his neck , staring up . Can he wedge himself higher , can he somehow climb to safety ? ABOVE HIM The entire `` ceiling '' of the Face is becoming translucent . He can see the dust storm , boiling overhead . And now , rising into this , are fiery coils of energy from the Face itself . These swirl and twist in every direction , like angry water snakes ; battered by the fierce winds . Two vast forces on a collision course .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROVER. NIGHT<\/stage_direction>\n    <scene_description>Luke drives the rover through the blinding storm , as Terri stares at a dashboard computer screen . They have to shout to be heard over the ROARING WIND .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>I've lost the Base Camp beacon!<\/dialogue>\n    <scene_description>Luke looks over alarmed . CLOSE ON A DIAL As the needle spins freely , giving no direction whatsoever .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>No good! We're driving blind.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>I'll try to keep on a straight line! It's our only chance.<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>Do n't worry! I've worked with Phil for four years! I know Jim gave him a direct order, but he wo n't leave without us.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAINS OF CYDONIA. NIGHT<\/stage_direction>\n    <scene_description>The Rover races towards us , the front of the storm chasing it from behind , then completely overtaking the Rover . It disappears from view !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ERV COCKPIT. NIGHT<\/stage_direction>\n    <scene_description>Phil sits in the pilot 's seat . He is looking at a computer graphic that shows the engines readying to launch . With resignation , he keys his mike .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>This is ERV, do you read? ERV to Rover, do you read?<\/dialogue>\n    <scene_description>Phil waits a second , then reaches slowly for a blinking red switch that reads `` LAUNCH . '' He hesitates , then actually has his fingers on it , about to flip it , when he hears a crackle of static on the radio . Phil keys his mike .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>This is ERV, do you read?<\/dialogue>\n    <character>LUKE<\/character>\n    <parenthetical>( very faint . )<\/parenthetical>\n    <dialogue>Save the fuel, Phil. We're coming in.<\/dialogue>\n    <scene_description>And Phil chokes back a sob . Blinking back the tears , he tries to compose himself , then keys his mike .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Uh, Phil's not here right now. He left for Earth five minutes ago. Please leave your message at the beep.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE FACE. NIGHT<\/stage_direction>\n    <scene_description>FROM GROUND LEVEL we see that the coils of energy are rising from the forehead of the Face , from its `` third eye , '' spinning and looping faster and faster , starting to form a vortex . But unlike the wind vortex that killed the Mars One crew , this is a vortex of fire . As we watch , more fiery streaks begin to emerge from the sides of the Face , from the chin , cheeks and temples . These all rush upwards , like lava flowing uphill , gathering in intensity as they leap free of the Face itself and spiral into the atmosphere . The peak of the forming vortex is already piercing the lowest layer of storm clouds , causing a dark counter - swirl .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS ONE BASE CAMP. NIGHT<\/stage_direction>\n    <scene_description>Phil stands at the bottom of the ERV 's ladder , gripping it to steady himself , staring into the swirling dust . THE ROVER appears out of the dust and sand , the immense storm seeming to chase it from behind . Luke and Terri climb out , struggle towards him through the wind . Phil grips their hands , helping them over to the ladder . He looks back , confused .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Where's Jim?<\/dialogue>\n    <character>TERRI<\/character>\n    <dialogue>He got another ride.<\/dialogue>\n    <scene_description>Phil stares at her , bewildered .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Tell you on the way. Let's go!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARTIAN SHIP. NIGHT<\/stage_direction>\n    <scene_description>LOOKING DOWN INTO THE CYLINDER , we see that the cobalt - blue fluid has risen to McConnell 's upper chest . Now it 's at his shoulders ! It pours into his suit through his neck ring . He strains on tiptoes , craning his head back , trying to keep his unhelmeted face above the rising liquid . He sucks in deep desperate gulps of air , his head thrashing from side to side . Then suddenly the fluid is over his mouth , his nose , his forehead . His whole body is submerged ! The level of fluid continues to rise towards the unseen top of the cylinder . MCCONNELL Squeezes his eyes shut , holding his breath . Not so much fighting this anymore as simply floating in place , waiting for his inevitable death .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAINS OF CYDONIA. NIGHT<\/stage_direction>\n    <scene_description>WIDEVIEW FROM ABOVE , as the energy vortex bends from side to side , pushing back the swirling storm that surrounds the Face . As the vortex coalesces its energy into a cylindrical shape , we see through its center to a rising form - the Martian ship . It is a flattened convex circle whose matte - metallic angles replicate the `` Face '' imagery .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAINS OF CYDONIA. NIGHT. SIDEVIEW FROM INSIDE THE FACE<\/stage_direction>\n    <scene_description>As the Face burns away around us , the Martian ship begins to rise and spin .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAINS OF CYDONIA. NIGHT<\/stage_direction>\n    <scene_description>The vortex is now a tight , rapidly spinning cylinder . As it draws more and more power from the disintegrating Face , the Martian ship in its center spins faster and faster .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARTIAN SHIP. NIGHT<\/stage_direction>\n    <scene_description>MCCONNELL 'S FACE Is spinning and shaking too , more and more violently , as the huge buildup of G - forces tears at his body . We 're reminded of Nick Willis just before the vortex exploded him ; is the same thing about to happen to McConnell ? His eyes remain tightly shut , bubbles are streaming from his lips . His last breath is nearly exhausted , it 's being shaken from his lungs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARTIAN SPACESHIP. NIGHT<\/stage_direction>\n    <scene_description>As we MOVE IN CLOSER ON HIS FACE , we suddenly see , with him , a SERIES of rapid - fire , almost subliminal IMAGES FROM THE PAST . We recognize each one . Previously , though , we saw them as still photos ; now they have movement , life , and we view them from new and slightly different angles . These images INTERCUT with glimpses of McConnell 's pale , shaking , near - death face in the present . THE YOUNG MCCONNELL Under the Christmas tree , lifts his new model rocket from its box . He turns to us , smiling joyfully . A blinding white flash , and he disappears . THE TEENAGED MAGGIE Is on her porch , under a night sky , bending down to the eyepiece of a TELESCOPE . She looks up at us with a shy , proud smile . A blinding white flash and she 's gone . MAGGIE AND MCCONNELL In flight suits , holding their helmets , stand on the wing of a fighter jet . The radiant young couple turn to each other , kissing . A blinding white flash and they vanish . MAGGIE MCCONNELL In an astronaut 's pressure suit , drifts rapidly towards us , reeling in along a tether . A man 's gloved hand is outstretched , reaching for her . As she grips the hand , we see her triumphant expression through her faceplate . A blinding flash ; she 's gone . MCCONNELL 'S FACE - IN THE PRESENT Is shaking savagely ; he is very near death . And then , all at once , the SHAKING STOPS . Time itself seems to stop . McConnell opens his eyes , staring STRAIGHT AT US . And then , fully accepting his fate , he throws his head back , opens his mouth and takes in a deep lungful of the fluid . He can breathe it . His eyes widen in surprise and understanding . He can breathe it ! This fluid will keep him alive ! His whole body relaxes , the tension draining from his head and shoulders , as he fully trusts this launch for the first time . And then , with his eyes wide open , he sees , from memory , one final image . BRIDAL VEIL IS LIFTED And REVEALS , in CLOSEUP , the beautiful face , the shining eyes of MAGGIE McCONNELL . Beatific , eternal . She gazes directly INTO CAMERA , then smiles . MCCONNELL Smiles back .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAINS OF CYDONIA. NIGHT<\/stage_direction>\n    <scene_description>WIDE VIEW , FROM ABOVE , as the energy vortex changes from red - orange to blue - white . It ROARS with terrifying power as its top starts to bend , angling like a telescope towards a specific point in the stars . Then the Martian ship - a rounded darker form , little more than a blip within the vast , blue - white column of energy - shoots away from the surface , leaving only a blacked crater where the Face had been .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS. HIGH ATMOSPHERE. NIGHT<\/stage_direction>\n    <scene_description>ANGLE FROM DEEP SPACE , LOOKING DOWN , as the Martian ship , riding its blue - white column of energy , streaks up into the vast blackness , like a narrowly focused spotlight piercing the night . Down below , we can see the dust storm in all its vastness still boiling orange and brown across the planet 's surface , which it now completely covers . As the Martian ship flashes by us , it passes another ship , much smaller and slower , rising through the storm clouds on a different trajectory . We recognize the familiar , comfortable sight of the ERV . PUSHING IN QUICKLY ON THIS . We see three figures in the cockpit .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ERV COCKPIT. NIGHT<\/stage_direction>\n    <scene_description>Luke , Terri and Phil are strapped in , with their acceleration just starting to level off , when suddenly their cockpit interior is starkly bathed in white light . They wince at the unearthly radiance , shielding their faceplates with gloved hands .<\/scene_description>\n    <character>TERRI<\/character>\n    <dialogue>Dear God. Look at that.<\/dialogue>\n    <scene_description>Through their cockpit window , they watch the Martian ship hurtle by them at a hundred times their speed .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Is that him?<\/dialogue>\n    <scene_description>Luke nods . Their eyes are glistening . Luke 's voice is a whisper , both of prayer and farewell .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Godspeed Jim McConnell.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE<\/stage_direction>\n    <scene_description>Looking through the cockpit window we see the Martian ship receding into the infinite distance of space - a long blue - white scratch that in moments begins to fade . Finally it is a tiny point of light , taking its place amongst the limitless expanse of the star - filled heavens . THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In 2020, the Mars I mission launches for planet Mars, commanded by Luke Graham (Don Cheadle). Upon arrival, the team discovers a bright white formation in the Cydonia region, which they suspect is an extrusion from a subsurface geothermal column of water, useful to future human colonization. After reporting this to the Earth-orbiting World Space Station, they go to investigate the formation and hear a low sound on their communications system. Radar initially reports that the formation is metal, but when they increase power to the radar, a large vortex appears and kills everyone except Luke. After the vortex subsides, the formation is revealed to be part of a large humanoid face. The space station observes an electromagnetic pulse from Mars and receives a distress message from Luke. Realizing that the pulse would've damaged the ERV (\"Earth Return Vehicle\") computers, they repurpose the Mars II mission into a rescue. Months later, Mars Rescue, consisting of Commander Woody Blake (Tim Robbins), his wife Terri Fisher (Connie Nielsen), recent widower Jim McConnell (Gary Sinise), and technician Phil Ohlmyer (Jerry O'Connell), enters Mars orbit. They discover that all satellite imagery of the formation is covered with static. Micrometeoroids breach the hull, and the crew are forced to abandon ship and take refuge in the REMO (\"Resupply Module\") orbiting Mars. Woody launches himself at the module and manages to attach a tether to it, but is knocked off into space. Terri tries to rescue Woody, but knowing that she would run out of fuel before reaching him, Woody removes his helmet, killing himself to save her. The survivors arrive on the surface of Mars, and begin repairing the ERV. They find Luke living in a greenhouse, who shows them pictures of the fac, and reveals that the pulses in the low sound they heard represented a 3D model of human-like DNA, but missing a pair of chromosomes. Jim determines they must complete the sequence to pass a test, and they send a rover to broadcast the completed signal via radar. Following the transmission, an opening appears in the side of the structure. With a massive dust storm approaching Jim, Terri, and Luke head to the formation, while Phil stays to repair the ERV. Phil is ordered to launch, with or without them, before the storm hits. The three astronauts enter the opening, which seals behind them. A three-dimensional projection of the solar system depicts the planet Mars, covered with water, being struck by a large asteroid and rendered uninhabitable. A projected humanoid alient reveals that the natives of Mars evacuated in spaceships, one in which was sent to seed Earth with DNA in the hopes that it would create lifeforms who could one day land on Mars and be recognized as descendants. An invitation is offered for one astronaut to follow the Martians to their new home. Jim accepts the invitation, bidding farewell to Terri and Luke, and is sealed inside a small capsule. Terri and Luke race back to the ERV arrive just as Phil is about to take off. They barely escape the dust storm into space as Jim's capsule is launched from the crumbling formation and past them toward the Martians' home."}
{"movie_name":"Frankenweenie_2012","imdb_id":"tt1142977","script":"<script>\n  <scene>\n    <character>FRANKENWEENIE<\/character>\n    <dialogue>screenplay by<\/dialogue>\n    <scene_description>John August (This version is conformed as per the animatic on 18th Jan 2012\\_v2) WHIRS and HUMS. The screen flickers. Splices pop through the gate. And then, today's feature film: MONSTERS FROM BEYOND! The title card is made from cut cardboard, and very blurry.<\/scene_description>\n    <character>MOM (O.S.)<\/character>\n    <dialogue>Victor, I don't know that it's...<\/dialogue>\n    <character>VICTOR (O.S.)<\/character>\n    <dialogue>Mom, you have to wear the glasses.<\/dialogue>\n    <character>MOM (O.S.)<\/character>\n    <dialogue>Oh! Yes of course.<\/dialogue>\n    <scene_description>Thick frames slide past. Now we're looking at the title card in real 3D. It's very homemade, but charmingly done. The next card: STARRING SPARKY<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>In 3D honey.<\/dialogue>\n    <scene_description>Reveal that we are...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Victor's MOM and DAD share the couch with SPARKY THE DOG, 30-odd pounds of canine goodness. They're watching the homemade movie through vintage 3D glasses. Behind them run two projectors, manned by the filmmaker himself, VICTOR. He's more mad scientist than film auteur -- he built this twin projector system himself.<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>So that's where my candlestick went.<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>Oh, isn't that your grandmother's table cloth.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>That looks great!<\/dialogue>\n    <scene_description>January 2012 BACK TO THE SCREEN The pterodactyl swoops across town. People run in fear and panic. The monster attacks!<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>Oh that is so...Woah! I just felt I was attacked.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>Oh. That's scary.<\/dialogue>\n    <scene_description>Troops and tanks spring into action.<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>Send in the marines!<\/dialogue>\n    <character>ARMY FIGURE<\/character>\n    <dialogue>Over here men. This way.<\/dialogue>\n    <scene_description>To no avail.<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Oh! Watch out!<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>Whoah!<\/dialogue>\n    <scene_description>ENTER SPARKYSAURUS<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Sparky!<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>Sparky that's you!<\/dialogue>\n    <scene_description>Sparky barks as he sees himself in the movie.<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Oh!<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>You tell em' Sparky.<\/dialogue>\n    <scene_description>Sparky defeats the monster and the troops and townsfolk rejoice.<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>Bravo!<\/dialogue>\n    <scene_description>Suddenly, one of the projectors JAMS on a splice. The film melts, then the tail WHIPS AROUND, getting snared in the second projector's reel. The two machines SMASH TOGETHER in a shower of sparks.<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Oh! Oh!<\/dialogue>\n    <scene_description>January 2012<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>Um. Maybe just unplug it.<\/dialogue>\n    <scene_description>Sparky YANKS the power cord from the wall. The bulb dims. The spinning stops. Darkness for a moment, then Victor flicks on the light switch.<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Well it certainly was exciting!<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>Yeah, it was a big finish. Well done son.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>I can fix this. C'mon boy!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE \/ STAIRWELL - DAY<\/stage_direction>\n    <scene_description>Victor lugs the two projector upstairs. Sparky follows behind.<\/scene_description>\n    <character>DAD (O.S.)<\/character>\n    <dialogue>All that time he spends up there. A boy his age needs to be outside with his friends.<\/dialogue>\n    <character>MOM (O.S.)<\/character>\n    <dialogue>I don't know that Victor has friends, dear. Other than Sparky.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM HALLWAY - DAY<\/stage_direction>\n    <scene_description>Victor walks up the stairs into the attic. Sparky is right behind.<\/scene_description>\n    <character>DAD (O.S.)<\/character>\n    <dialogue>That's my point! I don't want him to turn out, y'know, weird.<\/dialogue>\n    <character>MOM (O.S)<\/character>\n    <dialogue>There's nothing wrong with Victor. He's just in his own world.<\/dialogue>\n    <scene_description>MUSIC RISES as we finally enter... January 2012<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC WORKSHOP - DAY<\/stage_direction>\n    <scene_description>MAIN TITLES begin, as Victor carries the projector up into his attic workshop. Sparky follows at his feet and they pass various inventions and movie set pieces that cram every corner of this sloped-roof wonderland. Victor disassembles the projectors, nimbly swapping pieces in and out. Sparky happily trots on a little treadmill Victor designed. He stops to scratch himself and slides out of frame. He bounds back a second later and tries to get Victor to play with him by licking his face. Victor Easy boy. Victor finishes his tinkering and splices the broken film. Satisfied, he snaps the reel back on the projector and starts to roll it again. On the reel of the projector we - DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN - MORNING<\/stage_direction>\n    <scene_description>Tight on the wheel of the paper boy's bicycle we pull out to reveal the suburban paradise of New Holland. It's a sea of cookie-cutter houses on cul-de-sac'd streets named after trees. The town comes complete with its own ersatz Dutch windmill, which lazily turns on the hillside above. A BIKE-RIDING PAPERBOY delivers the morning news.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VICTOR'S HOUSE \/ STREET - MORNING<\/stage_direction>\n    <scene_description>Sparky runs out the front door and grabs the newspaper for Dad. Dad kisses Mom goodbye.<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>See you later, sweetie.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>Have a good day!<\/dialogue>\n    <scene_description>Dad heads to his car. Sparky picks up the newspaper in his mouth, then trots back to the house, where Victor is waiting. January 2012<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Victor! Come on honey your going to be late. Go put Sparky in the backyard.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Come on Sparky!<\/dialogue>\n    <scene_description>Victor takes Sparky around to the side of the house. He throws a ball for Sparky which lands on the edge of his neighbours meticulous garden lawn.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Good morning, Mr. Burgemeister!<\/dialogue>\n    <scene_description>Next-door neighbor BURGEMEISTER is trimming his box hedge. The Mayor of New Holland, Burgemeister is slightly OCD and largely insufferable.<\/scene_description>\n    <character>BURGEMEISTER<\/character>\n    <dialogue>Your dog has been sniffing around my Dutch Dazzlers. The other day I caught him peeing on my flamingo.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>I'll keep an eye on him.<\/dialogue>\n    <character>BURGEMEISTER<\/character>\n    <dialogue>You better.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <scene_description>Victor continues to walk to the backyard.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Go on Sparky. That's right. Good boy.<\/dialogue>\n    <scene_description>Sparky trots after Victor. Victor puts him in the back yard and waves good bye.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>See you later!<\/dialogue>\n    <scene_description>Burgemeister picks up his own newspaper and unfolds it to read the front page. INSERT NEWSPAPER: The headline reads \"MAYOR BURGERMEISTER TO KICK OFF DUTCH DAYS.\" A photo shows Mayor Burgemeister complete with sash and hat. Burgemeister is pleased with the photo. WIDER: A girl Victor's age tries to sneak out of the house behind Burgemeister. January 2012 This is ELSA VAN HELSING. She's a raven-haired fourth- grader with the soul of a poet. With eyes in the back of his head...<\/scene_description>\n    <character>BURGEMEISTER<\/character>\n    <dialogue>Where do you think you're going?<\/dialogue>\n    <scene_description>She freezes.<\/scene_description>\n    <character>ELSA<\/character>\n    <dialogue>School.<\/dialogue>\n    <scene_description>He turns to face her.<\/scene_description>\n    <character>BURGEMEISTER<\/character>\n    <dialogue>Is that so. What about that dog of yours?<\/dialogue>\n    <character>ELSA<\/character>\n    <dialogue>She's not in the house and she's away from your tulips.<\/dialogue>\n    <character>BURGEMEISTER<\/character>\n    <dialogue>I want you to remember something, while your parents are away I am in charge here.<\/dialogue>\n    <character>ELSA<\/character>\n    <dialogue>Yes, Uncle Bob.<\/dialogue>\n    <character>BURGEMEISTER<\/character>\n    <dialogue>Dutch Day is coming up and I don't need any trouble. How's your song coming?<\/dialogue>\n    <character>ELSA<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>BURGEMEISTER<\/character>\n    <dialogue>Keep at it. Dutch day is a big day for me.<\/dialogue>\n    <character>ELSA<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <scene_description>He's finished. Has nothing more to say. Elsa walks away, happy to be out of that conversation. Burgemeister goes back to admiring his photo in the newspaper. January 2012<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLASSROOM - DAY<\/stage_direction>\n    <scene_description>MR. RZYKRUSKI stands at the blackboard, where he's written his name. He has a thick, impossible-to-place accent, somewhere between a Russian spy and Dracula.<\/scene_description>\n    <character>MR. RZYKRUSKI<\/character>\n    <dialogue>Good morning children. I am Mr. Rzykruski. I will be your new science teacher. Apparently, Mr. Holcum had an incident.<\/dialogue>\n    <scene_description>Edgar interjects:<\/scene_description>\n    <character>E<\/character>\n    <dialogue>He got hit by lightning.<\/dialogue>\n    <scene_description>This is news to Mr. Rzykruski. The rest of the class, including Victor and every child we've met so far, already knew.<\/scene_description>\n    <character>MR. RZYKRUSKI<\/character>\n    <dialogue>Well. That is bad. But he did not get \"hit by\" lightning. Lightning does not hit a person, the way one is hit by a baseball or a cabbage.<\/dialogue>\n    <scene_description>On the blackboard, he draws a diagram to illustrate his point, starting with a big cloud.<\/scene_description>\n    <character>MR. RZYKRUSKI<\/character>\n    <dialogue>Lightning is simply electricity. The cloud is angry, yes, making storm. All the electrons are saying, \"I am leaving you. I go to land of opportunity.\"<\/dialogue>\n    <scene_description>He draws the ground beneath it.<\/scene_description>\n    <character>MR. RZYKRUSKI<\/character>\n    <dialogue>The ground says, \"Yes, we need electrons trained in science just like you. Come! Come! Welcome!\" So both sides start to build a ladder.<\/dialogue>\n    <parenthetical>(drawing stick figure)<\/parenthetical>\n    <dialogue>This man, he comes out to look at the storm. He does not see the invisible ladders. When the two ladders meet, BOOM! The circuit is complete and all of the electrons rush to the land of opportunity. This man is in the way. Yiii!<\/dialogue>\n    <scene_description>January 2012 He draws \"shock lines\" all around the stick figure. It's pretty violent. All of the students are watching in wide-eyed wonder. Realizing that he may have gone overboard...<\/scene_description>\n    <character>MR. RZYKRUSKI<\/character>\n    <dialogue>But is very rare to have such incident.<\/dialogue>\n    <scene_description>Victor raises his hand.<\/scene_description>\n    <character>TOSHIAKI<\/character>\n    <dialogue>But it's not rare. Lightning happens to people all the time here. There's a thunderstorm almost every night.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>My dad got hit twice.<\/dialogue>\n    <character>WEIRD GIRL<\/character>\n    <dialogue>They built New Holland on an abandoned gold mine...<\/dialogue>\n    <character>TOSHIAKI<\/character>\n    <dialogue>I heard it was a cemetery.<\/dialogue>\n    <character>WEIRD GIRL<\/character>\n    <dialogue>That's where they buried the miners.<\/dialogue>\n    <character>NASSOR<\/character>\n    <dialogue>It's the windmill that does it.<\/dialogue>\n    <scene_description>REVEAL a view of the windmill through the classroom window. We PUSH IN on Nassor, the intense look in his eyes.<\/scene_description>\n    <character>NASSOR<\/character>\n    <dialogue>Turning, turning the air until the sky itself rages against the night.<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>WEIRD GIRL<\/character>\n    <dialogue>No. Cemetery. Definitely.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK YARD - DAY<\/stage_direction>\n    <scene_description>Sparky amusing himself while Victor is at school by playing with a tennis ball. January 2012 But \"catch\" doesn't work too well without Victor and the ball rolls through a broken plank in the bottom of Mr Burgemeister's fence. Assuming it is lost forever, Sparky sits dejectedly looking at the fence until he is startled to see the ball suddenly roll back towards him. He BARKS and goes to investigate. Another dog BARKS BACK. Surprised, Sparky backs off. There's not usually a dog next door. He BARKS. An ANSWERING BARK. He SNIFFS the fence thoroughly. As he reaches the broken plank, his nose touches ANOTHER DOG'S NOSE. He jumps back. Lies low in the grass to peer through. On the other side of the fence is a similarly-sized poodle named PERSEPHONE -- Elsa's dog. She's beautiful. She drops the ball on the grass, staring back. Sparky suddenly rolls over on his back, completely submissive. Persephone grabs the ball and runs away. Sparky pops up, looking after her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLASS - DAY<\/stage_direction>\n    <scene_description>The bell RINGS. Students head for the door.<\/scene_description>\n    <character>MR. RZYKRUSKI<\/character>\n    <dialogue>Students on your way out, take a permission slip for the Science Fair.<\/dialogue>\n    <scene_description>Nassor takes a form. Reads it. They are intrigued but don't understand.<\/scene_description>\n    <character>BOB<\/character>\n    <parenthetical>(per the form)<\/parenthetical>\n    <dialogue>First prize is a huge trophy!<\/dialogue>\n    <scene_description>January 2012<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL \/ BIKE RACKS - DAY<\/stage_direction>\n    <scene_description>CLOSE ON Victor, kneeling as he locks his bike to the rack. A SHADOW falls across him. He looks up to see WEIRD GIRL standing over him. She has a fluffy white CAT in her arms, which she strokes idly like a James Bond villain.<\/scene_description>\n    <character>WEIRD GIRL<\/character>\n    <dialogue>Hello, Victor.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>WEIRD GIRL<\/character>\n    <dialogue>Mr. Whiskers had a dream about you last night.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>How do you know?<\/dialogue>\n    <character>WEIRD GIRL<\/character>\n    <dialogue>Because this morning, he made this.<\/dialogue>\n    <scene_description>She holds out what looks to be a small rope of dried clay, bent in shape of a V.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Did you get that out of the litter box?<\/dialogue>\n    <character>WEIRD GIRL<\/character>\n    <dialogue>It's an omen.<\/dialogue>\n    <scene_description>FLASH CUT:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VARIOUS LOCATIONS - DAY \\[PAST\\]<\/stage_direction>\n    <character>WEIRD GIRL (V.O.)<\/character>\n    <dialogue>Last month he dreamed about Bob.<\/dialogue>\n    <scene_description>She shows BOB, a chubby classmate, a cat-poop 'B.' In a STYLIZED, OVERLAPPING SPLIT-SCREEN, we see Bob walking down a sidewalk, eating an ice-cream cone.<\/scene_description>\n    <character>WEIRD GIRL (V.O.)<\/character>\n    <dialogue>He fell in a manhole.<\/dialogue>\n    <scene_description>Bob suddenly drops out of frame. TILT DOWN to see the open manhole. January 2012<\/scene_description>\n    <character>WEIRD GIRL (V.O.)<\/character>\n    <dialogue>He dreamed about Toshiaki the day he pitched a perfect game.<\/dialogue>\n    <scene_description>Weird Girl shows classmate TOSHIAKI a cat-poop 'T.' Wearing a baseball cap, Toshiaki stares intently, ready to make his pitch.<\/scene_description>\n    <character>WEIRD GIRL (V.O.)<\/character>\n    <dialogue>...and Nassor the day he got knocked unconscious.<\/dialogue>\n    <scene_description>Nassor, an intense boy with sinister eyes, pulls down a catcher's mask. A slit of light on his eyes. Toshiaki throws. The ball hits Nassor square on the mask, knocking him down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL \/ BIKE RACKS - DAY<\/stage_direction>\n    <character>WEIRD GIRL<\/character>\n    <dialogue>If Mr. Whiskers dreams about you, it means something big is going to happen.<\/dialogue>\n    <scene_description>She offers him the \"V.\"<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>You can keep it.<\/dialogue>\n    <scene_description>The class bell RINGS. Side-stepping around her, Victor heads in to class. She holds the cat to her face.<\/scene_description>\n    <character>WEIRD GIRL<\/character>\n    <dialogue>One day you'll dream about me, won't you kitty?<\/dialogue>\n    <scene_description>Mr. Whiskers offers nothing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN - DAY<\/stage_direction>\n    <scene_description>Victor hops off his bike and goes into the backyard where Sparky has been waiting for him to come home.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Hey boy. How you doing?<\/dialogue>\n    <scene_description>Suddenly the backyard gate bursts open.<\/scene_description>\n    <character>E<\/character>\n    <dialogue>You'll be my partner, right, Victor?<\/dialogue>\n    <scene_description>January 2012<\/scene_description>\n    <character>E<\/character>\n    <dialogue>Because you have to have a partner for the science fair and whoever's your partner is going to win. You know the most about science. So pick me as a partner. I have lots of ideas. We could make a death ray!<\/dialogue>\n    <scene_description>Victor holds up a permission slip, which lists all the prohibited projects, including explosives, lasers, nuclear devices and death rays.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>It says no death rays. See?<\/dialogue>\n    <character>E<\/character>\n    <dialogue>Ah, man. I still want to do it.<\/dialogue>\n    <parenthetical>(and yet...)<\/parenthetical>\n    <dialogue>C'mon. Who else would be your partner? You don't have friends and neither do I.<\/dialogue>\n    <scene_description>He has a point. Victor gives in.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>I'm sorry Edgar. I just don't need a partner. I like to work alone.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM - DAY<\/stage_direction>\n    <scene_description>Dad is examining the permission slip. Mom is bringing food in from the kitchen -- they're having fondue.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Will you sign my permission slip?<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>Dinner's ready.<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>Victor, have I ever talked to you about what I do for a living?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>You're a travel agent.<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>I sell dreams. I tell people, you can sail to Italy. You can do the hula in Hawaii.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Will you sign my form?<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>I'm getting to that.<\/dialogue>\n    <scene_description>January 2012<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Dad picks up two long fondue forks, using them to illustrate his point.<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>In my job, sometimes you have people who don't want quite the same thing, right. Say the husband wants to play golf in Scotland, but the wife wants to paddle down the Amazon. Alright you've got two conflicting ideas here.<\/dialogue>\n    <parenthetical>(holding forks apart)<\/parenthetical>\n    <dialogue>And it's my job, Victor, to help them meet halfway. Say, Scottsdale, Arizona. He gets to golf, she gets Indians.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>But there's no river. And no jungle.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Nobody gets what they want.<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>Exactly. And wrong. They both get what they want because they compromise.<\/dialogue>\n    <scene_description>Dad skewers meat on his forks, continuing his metaphor. Victor is shrimp; Dad is beef.<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>You'd like to do this science fair. And that's great. I'd like you to try a sport. Say, I don't know, baseball. Science fair, baseball. Science fair, baseball. How do you choose? Guess what? You don't have to. No reason you can't do both. You meet in the middle.<\/dialogue>\n    <parenthetical>(bringing forks together)<\/parenthetical>\n    <dialogue>Everyone's happy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BASEBALL FIELD - DAY<\/stage_direction>\n    <scene_description>Victor is stood on the side of the baseball field with his Dad who is head coach. Sparky is there aswell to support Victor. Toshiaki is pitching. Nassor is catching. January 2012<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>Look at what Toshiaki's doing. Keeping his eye on the target. Never losing his concentration.<\/dialogue>\n    <scene_description>Toshiaki pitches and the batter misses. Nassor catches the ball.<\/scene_description>\n    <character>GYM TEACHER<\/character>\n    <dialogue>Strike three! Next Batter!<\/dialogue>\n    <scene_description>Camera PANS to find Mr. Rzykruski -- who is simply in Victor's imagination.<\/scene_description>\n    <character>MR. RZYKRUSKI<\/character>\n    <dialogue>I want you to concentrate on your project for the science fair.<\/dialogue>\n    <scene_description>We continue to pan past Mr Ryzkruski and come back onto Victor trying in vain to keep focused on the game. Toshiaki winds up for the pitch.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BASEBALL FIELD - DAY<\/stage_direction>\n    <scene_description>Victor's Mom is in the stands for the big game -- along with all the kids we've met so far, and many of the adults. Sparky is completely taken by the ball and his eyes follow it around the field.<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Come on honey!<\/dialogue>\n    <scene_description>Toshiaki pitches again and as Victor swings to hit the ball Sparky leaps up catching the ball mid jump. The other kids snigger.<\/scene_description>\n    <character>TOSHIAKI<\/character>\n    <dialogue>Nice catch Sparky.<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>Come on Victor, please. Tie Sparky up and get your head into the game.<\/dialogue>\n    <character>GYM TEACHER<\/character>\n    <dialogue>Time out!<\/dialogue>\n    <scene_description>Victor takes Sparky to the bleachers and ties him up.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Sorry boy.<\/dialogue>\n    <scene_description>He walks back onto the field. Elsa arrives at the bleachers with Persephone. January 2012<\/scene_description>\n    <character>ELSA<\/character>\n    <dialogue>Hey Sparky.<\/dialogue>\n    <scene_description>She sits on the bleachers with Persephone to watch the game. Sparky looks over admiringly at Persephone.<\/scene_description>\n    <character>GYM TEACHER<\/character>\n    <dialogue>Play ball.<\/dialogue>\n    <scene_description>Victor swings for the ball again. And misses.<\/scene_description>\n    <character>GYM TEACHER<\/character>\n    <dialogue>Strike One.<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>Nice try son.<\/dialogue>\n    <scene_description>Once again Victor remembers wise words of Mr Ryzkruski.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLASSROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Mr. Rzykruski stands in front of the classroom black board.<\/scene_description>\n    <character>MR. RZYKRUSKI<\/character>\n    <dialogue>When conducting an experiment, trying is the important thing. It is OK to fail as long as you keep trying.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BASEBALL FIELD - DAY<\/stage_direction>\n    <scene_description>Back on the field at the bleachers Weird Girl arrives with Mr Whiskers. She sits by Elsa and Peresphone. They exchange a glance.<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Come on Victor- you can do it!<\/dialogue>\n    <scene_description>Toshiaki pitches again and again Victor misses.<\/scene_description>\n    <character>GYM TEACHER<\/character>\n    <dialogue>Strike two!<\/dialogue>\n    <character>TOSHIAKI<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>Come on honey!<\/dialogue>\n    <scene_description>Elsa, Weird Girl and Mr Whiskers will Victor on. This time when Victor swings - He hits! January 2012 He almost forgets to run until Sparky BARKS at him.<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>Victor run!<\/dialogue>\n    <scene_description>Sparky pulls on his lead and it works loose. The ball rolls out of the park. Sparky goes after it, his stubby legs bounding.<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Oh Sparky!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>The ball rolls into the street and Sparky manages to grab it in his mouth. Proud of himself, Sparky turns to look back at Victor. Just then... A CAR SCREECHES up at him. Sparky reacts. We CUT AWAY as the car hits.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BASEBALL FIELD - DAY<\/stage_direction>\n    <scene_description>Every player, every kid, every parent is stunned. Horrified. We end CLOSE ON Victor.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Sparky! Noooooo!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PET CEMETERY - EVENING<\/stage_direction>\n    <scene_description>Dad buries a wooden box. Victor watches at the grave side, devastated. His Mom and Dad give him a quiet moment to grieve.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACKYARD - EVENING<\/stage_direction>\n    <scene_description>Persephone nudges the tennis ball through the gap in the fence. She's waiting for Sparky. Disappointed, she leaves the ball and slowly walks away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - EVENING<\/stage_direction>\n    <scene_description>Victor lies in bed, staring up at the ceiling. Mom and Dad sit on the edge of the bed, trying to comfort him. January 2012<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>He was a great dog. A great friend.<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>The best dog a kid could have.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>When you lose someone you love, they never really leave you. They just move into a special place in your heart. He'll always be there, Victor.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>I don't want him in my heart. I want him here, with me.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>I know. If we could bring him back, we would.<\/dialogue>\n    <scene_description>Mom kisses Victor goodnight and turns to leave.<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Try and get some sleep sweet heart- things will seem better in the morning.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC WORKSHOP - EVENING<\/stage_direction>\n    <scene_description>In his attic workshop, Victor is finishing work on his projector. He threads the film and starts it playing. Sparky-saurus is attacking the Pterodactyl. Victor smiles for a moment, then the sadness returns. DISSOLVE TO: Victor's sadness remains as we travel through a changing scene around him- in his bedroom, at breakfast, in the car on the way to school and finally in the classroom. MATCH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLASS - DAY<\/stage_direction>\n    <scene_description>Back at school Victor is despondent. Unable to concentrate, he doodles pictures of Sparky in his notebook and barely listens to the lecture.<\/scene_description>\n    <character>MR. RZYKRUSKI<\/character>\n    <dialogue>Just like lightning, the nervous system is electricity.<\/dialogue>\n    <scene_description>January 2012<\/scene_description>\n    <character>MR. RZYKRUSKI<\/character>\n    <dialogue>We are wires and springs and cables to send the messages. \"Foot! Move! You are standing in the fire!\"<\/dialogue>\n    <scene_description>Mr. Ryzkruski lifts up a plate with a cloth on. He reveals a dead frog.<\/scene_description>\n    <character>CHILDREN<\/character>\n    <dialogue>Eww!<\/dialogue>\n    <character>MR. RZYKRUSKI<\/character>\n    <dialogue>Even after death, the wiring remains. Watch as the muscles respond to the electricity.<\/dialogue>\n    <scene_description>Mr Ryzkruski places the frog onto his desk and begins to hook an electrode to its leg. The wiring is attached to a small box that can generate an electric charge. Mr Ryzkruski now attaches the electrode to the frog's leg and, with a flip of a switch, turns on the electricity - The frog leg jumps up as if alive! And so does Victor. He looks back and forth between Mr. Ryzkruski's demonstration and his doodle of Sparky. An idea. Victor bursts out of the school doors and starts to run home.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEIGHBORHOOD - DAY<\/stage_direction>\n    <scene_description>Victor runs through the street on his way home.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VICTOR'S HOUSE - DAY<\/stage_direction>\n    <scene_description>He runs into the garage and grabs a whole lot of tools, gear and equipment.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VICTOR'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Victor raids the kitchen for some household appliances. Mom sits on the couch reading and only barely registers what he is up to.<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Hi Victor, how was school?<\/dialogue>\n    <scene_description>January 2012<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Ok.<\/dialogue>\n    <scene_description>Victor heads upstairs with a box of the appliances he has just collected.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PET CEMETERY - NIGHT<\/stage_direction>\n    <scene_description>A full moon. HOOTING owls. Over the top of the fence, we see a shovel blade moving past. The shovel digs into the soft earth. Again. And again. Victor is digging up Sparky's grave. It's tough work, especially because he's trying to be quiet. A black cat perches on a nearby gravestone. SCREECHES. Spooked, Victor waves him off. He's uncovered the box. He opens it and gingerly loads the wrapped bundle into shoulder.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Victor's parents are sitting on the couch watching a movie. Though the movie isn't really scary, Mom looks for any excuse to snuggle closer to her husband. He playfully encourages it and puts his arm around her to pull her closer. As Victor sneaks behind them, carrying the wrapped corpse, he inadvertently knocks into a lamp causing it to flicker. Dad turns and sees what's back there but can't see Victor who is hiding, frozen, just out of sight. Dad turns back to the TV. Relieved, Victor tiptoes past them, heading for the stairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC LABORATORY - NIGHT<\/stage_direction>\n    <scene_description>EXTREMELY CLOSE ON the eye of a needle. Thread pushes through. Victor is making repairs to Sparky's corpse. We don't see any of it directly, just shadows on the wall. He rummages through a bucket of nuts and screws, picking two oversized bolts. January 2012 He places Sparky onto Mom's ironing board and pushes it directly under the skylight. The storm is just reaching a fever pitch. As HOPEFUL MUSIC rises, Victor climbs a ladder out the window where we see that he has attached his metal swing set to the roof. Victor checks the wind direction and lets fly two balloons attached to the umbrella and fastens the ends to the swing set. This will serve as the conductor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BURGEMEISTER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Burgemeister is drawing his drapes shut when he sees the movement on the Frankenstein roof. He can't make out Victor, but it's enough to make him suspicious.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC LABORATORY - NIGHT<\/stage_direction>\n    <scene_description>Victor climbs down and checks his notes and his equipment. We see a whole host of household items that Victor has re- purposed to become part of his elaborate apparatus. - A series of Mom's colanders and pans and appliances, - an old fish tank, - some bobbing Christmas reindeer all serve as unlikely components of his grand experiment. He has also erected a series of pulleys so that he can hoist Sparky up through the sky light. Victor can hear the storm raging and knows that it is now or never. He pets Sparky's lifeless form one last time for courage. He turns to an old Schwinn bicycle mounted on a stand and starts the wheels spinning. One by one the appliances start to whir and come alive. Victor then begins to hoist Sparky up through the sky light. The rain is beating down and the lightning is getting more intense. The metal table finally reaches his resting spot under the swing set. Now all he can do is wait. He watches the storm intently, silently urging Zeus' thunderbolts to strike. And then... January 2012 CRACK! A jagged finger of light touches the top of the balloons, racing down the cord and into the attic - Zapping Sparky with a thousand volts. Victor removes his goggles, and springs right to action cranking down the metal table, eager to see if it worked. All of the appliances power down and grind to a halt. The room goes silent. He swings the table over to the workbench. Wearing a stethoscope, he listens for a heartbeat. Hearing nothing, he keeps checking. But he eventually realizes it has all been for naught. He lays his head down on the workbench, letting out exhausted, sniffly tears.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>I'm sorry, boy.<\/dialogue>\n    <scene_description>A beat. As a single tear drips onto Sparky's lifeless form, we hear a final spark and then... His TAIL starts to move and - His TONGUE licks Victor face. Victor sits up, bewildered. It's Sparky, still half- wrapped in the blanket.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>You're alive! You're alive! Sparky! You're Alive! I can't believe it you're alive!<\/dialogue>\n    <scene_description>Sparky can't control how happy he is and knocks Victor to the group. He enthusiastically licks his face and wags his tail so excitedly that it flies clear across the room. For a moment, he looks worried but Victor just laughs.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>I can fix that.<\/dialogue>\n    <scene_description>Victor and Sparky play on the attic floor excited to be back together.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>It worked. It really worked.<\/dialogue>\n    <scene_description>January 2012<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC WORKSHOP - DAY<\/stage_direction>\n    <scene_description>Victor is sleeping on the floor, sharing a blanket with Sparky.<\/scene_description>\n    <character>MOM (O.S.)<\/character>\n    <dialogue>Victor!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - DAY<\/stage_direction>\n    <scene_description>Victor's Mom opens the door to find Victor's bed empty. Pretty sure where he must be...<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Victor! Breakfast!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC WORKSHOP - DAY<\/stage_direction>\n    <scene_description>Sparky licks Victor's face waking him up. He sits up, rubbing his eyes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC STAIRS- DAY<\/stage_direction>\n    <scene_description>Mom is walking up the stairs to the attic looking for Victor.<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Victor? Are you up here?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC WORKSHOP - DAY<\/stage_direction>\n    <scene_description>Victor hears his Mom climbing the steps and panics.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Ssssh! Quiet down boy! Ssssh!<\/dialogue>\n    <character>MOM (O.S.)<\/character>\n    <dialogue>Victor?<\/dialogue>\n    <scene_description>Victor picks up Sparky and carries him around a curtain to the back of the attic.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Sparky! Sssh! Quiet.<\/dialogue>\n    <scene_description>Mom enters but can't see Victor and Sparky behind the curtain.<\/scene_description>\n    <character>MOM (O.S.)<\/character>\n    <dialogue>Victor?<\/dialogue>\n    <scene_description>Looking around for somewhere to hide Sparky, Victor finally grabs a big tin bucket and puts it over Sparky just as - January 2012 Mom pulls the curtain back.<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>French toast or waffles?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Waffles.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>Then I'll need my waffle iron back, Mr. Director.<\/dialogue>\n    <scene_description>Spotting her waffle iron amid the leftover set decoration, she heads right for Sparky. The bucket suddenly moves, shifting away. She looks at Victor. Thinking quick:<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>It's my science project. It's a robot.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>A robotic bucket?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>For mopping, I suppose.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>Then maybe when you're finished, you'll let me use it.<\/dialogue>\n    <scene_description>She takes her waffle iron and heads back downstairs. Victor closes the curtain, then lifts the bucket off Sparky.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Sorry, boy, but I can't let anyone know about you. They may not understand. So you need to stay here today.<\/dialogue>\n    <scene_description>Victor kisses Sparky and heads out of the attic. Sparky rests his head on his paws, dejected. January 2012<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - DAY<\/stage_direction>\n    <scene_description>Victor walks down the sidewalk to school. He looks up at the open attic window, nervous to be leaving Sparky alone.<\/scene_description>\n    <character>BURGEMEISTER<\/character>\n    <dialogue>Watch it, there!<\/dialogue>\n    <scene_description>Victor stops, realizing he's stepped off the sidewalk, and has almost nudged the edge of one of Burgemeister's tulips.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>I'm sorry. I'm really sorry.<\/dialogue>\n    <scene_description>Burgemeister glares at him suspiciously. He doesn't trust this kid and suspects that something weird is going on.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - DAY \\[LATER\\]<\/stage_direction>\n    <scene_description>Mom is vacuuming while reading a book. She's quite practiced at it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC WORKSHOP - DAY<\/stage_direction>\n    <scene_description>Sparky is drinking from his water bowl. As he does, water leaks from his seams. He hears a LONG MEOW. It's Mr. Whiskers, Weird Girl's Cat and it's perched in the open attic window. Sparky BARKS at it. Mom switches off the vacuum. Did she hear barking?<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>No. Couldn't be.<\/dialogue>\n    <scene_description>She starts up the vacuum again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC WORKSHOP - DAY<\/stage_direction>\n    <scene_description>Sparky jumps up on a chair, then onto the workbench. Lunges for the cat --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE \/ ROOF - DAY<\/stage_direction>\n    <scene_description>-- and goes right through the window. He lands on the steeply-sloped roof and slides down the shingles, falling... January 2012<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>...right past the picture window. Fortunately, Mom is so engrossed in her book that she doesn't see him and she continues her vacuuming.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - DAY<\/stage_direction>\n    <scene_description>Sparky lands in the driveway and Mr Whiskers watches him from on top of the car. When he moves to make a run for it, Sparky is in hot pursuit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BURGEMEISTER'S YARD - DAY<\/stage_direction>\n    <scene_description>Sparky chases the cat through the tulips, smashing them. Mr Whiskers bounds on top of one of Mr. Burgemeister's flamingos and thinks he is safely out of Sparky's reach. He smugly starts to groom himself, but the single standing leg starts to buckle. The flamingo collapses into a heap, spilling the cat onto the perfectly manicured flowers, destroying everything. The cat and Sparky run past the house and into the neighbor's backyard just as Mr Burgemeister looks out the window to see his destroyed garden. EXT BOB'S HOUSE - CONTINUOUS Mr Whiskers leaps onto a garbage can, and clambers up onto the roof to safety. Sparky unable to follow is distracted by a fly buzzing around the knocked over garbage can. He gulps it down and then suddenly stops. He feels a funny tickle in his throat, neck and tummy before the fly emerges from the stitches on his side. Sparky continues to chase the fly into Bob's yard where Bob's Mom is hanging out the laundry. As she turns, she sees Sparky's shadow cast on a bed sheet. The shadow is double his size and his teeth look huge. Bob's Mom thinks it's a hideous monster and runs screaming into the house.<\/scene_description>\n    <character>BOB'S MOTHER<\/character>\n    <dialogue>What! \\*screams\\*<\/dialogue>\n    <scene_description>Sparky can't understand why she is so upset but he just heads out on his way. January 2012<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN STREET \/ SIDEWALK - DAY<\/stage_direction>\n    <scene_description>Two MOMS sit on a park bench talking, while their toddlers nap in their strollers.<\/scene_description>\n    <character>FIRST WOMAN<\/character>\n    <dialogue>I know, and Helen said she thought he was putting up some kind of tv antenna on top of the roof!<\/dialogue>\n    <character>SECOND WOMAN<\/character>\n    <dialogue>In the middle of a thunderstorm?<\/dialogue>\n    <character>FIRST WOMAN<\/character>\n    <dialogue>That's what she said!<\/dialogue>\n    <scene_description>Neither mother notices as Sparky trots up. One of the babies starts to fall asleep and drops his pacifier on the floor.<\/scene_description>\n    <character>SECOND MOTHER<\/character>\n    <dialogue>And did you get that big power surge in the night? Jack thought it was a fuse box but apparently it effected the whole neighbourhood.<\/dialogue>\n    <scene_description>The baby looks round and sees Sparky guilelessly sucking on the pacifier.<\/scene_description>\n    <character>SECOND MOTHER (O.S.)<\/character>\n    <dialogue>Sometimes I wonder just what goes on in that house. I just don't feel safe walking by there.<\/dialogue>\n    <scene_description>Seeing Sparky up close, the baby is horrified. It SCREAMS.<\/scene_description>\n    <character>FIRST WOMAN<\/character>\n    <dialogue>Sweetie are you ok? Here you go.<\/dialogue>\n    <scene_description>Sparky hides under the bench out of sight as the first woman tries to calm her little one and pops the pacifier back in the babies mouth.<\/scene_description>\n    <character>SECOND MOTHER<\/character>\n    <dialogue>So anyway Jack loves it here but if the schools weren't so great sometimes I wonder if we would be better of...<\/dialogue>\n    <scene_description>Both Mommies get up and start to walk away they don't notice Sparky cowering under the bench. January 2012<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEAR THE SCHOOL - DAY<\/stage_direction>\n    <scene_description>Sparky trots past the front of the school as the school bell rings. Sparky heads for the garbage cans around the back. On his way home, E walks behind the cafeteria and sees Sparky sniffing around the garbage cans. He can't believe his eyes.<\/scene_description>\n    <character>E<\/character>\n    <dialogue>Sparky?<\/dialogue>\n    <scene_description>Sparky stops short and looks right at E before running off home. E's eyes narrow. Isn't Sparky supposed to be dead? We end on a shot of E, hatching a plan.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACKYARD - DAY<\/stage_direction>\n    <scene_description>Sparky arrives home and heads straight to the backyard fence to see if Persephone is around. Seeing that she is, he peeks his head through the broken slates. Persephone is overjoyed but she seems to know that there's something different about him. Sparky is so excited to see her he pushes his head through the hole and gets his bolts stuck on the fence. Persephone comes over to get a closer look and sniffs at him cautiously. He smells a little funny but he seems to be the same old Sparky until she focuses on the bolts sticking out of his neck. Cautiously, she licks one, and gets ZAPPED! The force of the spark sends Sparky back through the fence and into his own yard. Persephone is thrown clear across her garden. As she woozily gets back up, she turns and we see that she now has a Bride of Frankenstein stripe in her hair!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - DAY<\/stage_direction>\n    <scene_description>Victor cycles home after school. He throws his bike on the lawn and heads straight inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Mom is lying on the couch, reading one of her books. January 2012<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Hi Victor. How was school?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>GoodGottaGo.<\/dialogue>\n    <scene_description>He's heads up the stairs just as Sparky walks through the front door, following a few steps behind.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC WORKSHOP - DAY<\/stage_direction>\n    <scene_description>Victor enters the attic, looking for...<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Sparky?<\/dialogue>\n    <scene_description>Hearing no answer, he walks in further. He checks behind the curtain.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Sparky?<\/dialogue>\n    <scene_description>Slight panic creeps into Victor's voice before Sparky sneaks in behind him and nudges his leg.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>There you are. Good boy!<\/dialogue>\n    <scene_description>Relieved, Victor kneels down and pets him lovingly.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Sorry you had to stay here alone all day.<\/dialogue>\n    <scene_description>Sparky just keeps panting, not revealing a thing. He starts to slow down coming to a rest at Victor feet.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>What's the matter boy? Are you ok? Hmmm. You're a little low. Are you hungry, boy?<\/dialogue>\n    <scene_description>Sparky sighs.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Alright, here lets top you up.<\/dialogue>\n    <scene_description>Victor runs an extension cord from the wall and clips them to Sparky's bolts. As he switches the plug on, Sparky's eyes glow a bit. Sparky brightens up and barks.<\/scene_description>\n    <character>MOM (O.S.)<\/character>\n    <dialogue>Victor! Could you come down here please?<\/dialogue>\n    <scene_description>Victor switches the plug off and heads downstairs. January 2012<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN- DAY<\/stage_direction>\n    <scene_description>Victor is taken by surprise as enters the kitchen to find Edgar sitting at the counter. Edgar looks particularly smug as Mom is busies herself in the kitchen.<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Victor your friend is here.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Edgar?<\/dialogue>\n    <character>E<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Edgar. What are you doing here?<\/dialogue>\n    <character>E<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>E<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Know what?<\/dialogue>\n    <character>E<\/character>\n    <dialogue>You know.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>E<\/character>\n    <dialogue>I think I know what you know I know.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Look, I don't know what you think I know, but I don't know it.<\/dialogue>\n    <scene_description>Mom exits the kitchen and Edgar leans in, barely able to hide his excitement.<\/scene_description>\n    <character>E<\/character>\n    <dialogue>Your dog is alive.<\/dialogue>\n    <scene_description>Victor looks shocked and checks to see if Mom has gone.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>That's impossible.<\/dialogue>\n    <character>E<\/character>\n    <dialogue>I know. I know it is so impossible but you did it. You did it.<\/dialogue>\n    <scene_description>January 2012 Victor stalls, trying to think of an explanation.<\/scene_description>\n    <character>E<\/character>\n    <dialogue>So show me how, or I'll tell everyone. Oh Mrs Frankenstein...<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Ssssh!<\/dialogue>\n    <scene_description>Mom comes back into the kitchen.<\/scene_description>\n    <character>E<\/character>\n    <dialogue>.. May I have a cookie please?<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>Oh- yes. Of course.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Alright. Come on.<\/dialogue>\n    <scene_description>Victor reluctantly agrees and beckons Edgar to follow him up to the attic.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC WORKSHOP - DAY<\/stage_direction>\n    <scene_description>Sparky and E watch as Victor draws his findings on the chalkboard for E. It's a mess of symbols and variables, all connected by arrows.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>I think the wind and the lightning are part of the same thing, some kind of strange force. But the wind isn't strong enough to bring an animal back from the dead. For that, you need lightning.<\/dialogue>\n    <character>E<\/character>\n    <dialogue>So when can I do it?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>You can't. This isn't an experiment. It's my dog.<\/dialogue>\n    <character>E<\/character>\n    <dialogue>Show and tell Victor: you show me and I won't tell.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PET STORE - DAY<\/stage_direction>\n    <scene_description>E stares into a tank of swimming goldfish, the PET STORE OWNER appears next to him.<\/scene_description>\n    <character>PET STORE OWNER<\/character>\n    <dialogue>Can I help you young man?<\/dialogue>\n    <scene_description>January 2012<\/scene_description>\n    <character>E<\/character>\n    <dialogue>I'd like to buy a fish.<\/dialogue>\n    <character>PET STORE OWNER<\/character>\n    <dialogue>Certainly. Which one?<\/dialogue>\n    <character>E<\/character>\n    <dialogue>This one.<\/dialogue>\n    <scene_description>He points to one floating belly-up at the top of the tank.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC WORKSHOP - NIGHT<\/stage_direction>\n    <scene_description>E plops the dead fish into a small jar of water, already attached to electrodes and the metal table. Victor and E crank the gears, opening the roof to the stormy night sky. The table rises into position as the lightning rod telescopes out.<\/scene_description>\n    <character>E<\/character>\n    <dialogue>What do we do now?<\/dialogue>\n    <scene_description>Victor grabs E and throws him to the floor. Sparky finds cover behind a mirror. CRACK! BOOM! The table cranks back down into the attic. The roof doors fold shut. Victor and E race over to the jar. CLOSE ON E as he looks into the little jar. The fish is gone.<\/scene_description>\n    <character>E<\/character>\n    <dialogue>What happened to it? What did you do?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>I don't know. It should have worked.<\/dialogue>\n    <scene_description>Victor leans in to look close. Suddenly, the water ripples. A PLOP. Then the jar RATTLES AROUND on its rim, knocked about from within. Victor finds a steampunk-ish flashlight with different lenses that spin in front of the bulb. As he holds it close to the jar, we see what appears to be a transperant fish skeleton swimming around. January 2012<\/scene_description>\n    <character>VICTOR<\/character>\n    <parenthetical>(in wonderment)<\/parenthetical>\n    <dialogue>It's invisible. It's an invisible goldfish.<\/dialogue>\n    <character>E<\/character>\n    <dialogue>Why is it invisible?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>I have no idea.<\/dialogue>\n    <scene_description>Sparky growls at the jar.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRONT DOOR - NIGHT<\/stage_direction>\n    <scene_description>The nightly storm has ended. It's now just a bit of distant RUMBLING. E is carrying the jar with the invisible goldfish.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>You can't tell anyone. You understand that, right? Not until we figure out how it works.<\/dialogue>\n    <character>E<\/character>\n    <dialogue>Okay! Okay!<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Promise.<\/dialogue>\n    <character>E<\/character>\n    <dialogue>Promise.<\/dialogue>\n    <scene_description>We see E crossing his fingers behind his back. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOB'S GARAGE - NIGHT<\/stage_direction>\n    <scene_description>Toshiaki and Bob stand in the door way of the garage examining E's jar with healthy skepticism.<\/scene_description>\n    <character>TOSHIAKI<\/character>\n    <dialogue>How are we supposed to see an invisible goldfish?<\/dialogue>\n    <character>E<\/character>\n    <dialogue>Put your finger in. You can feel it.<\/dialogue>\n    <scene_description>Toshiaki and Bob trade a look -- this feels like a prank. But with a shrug, Bob does. Nothing. He swirls his finger around. January 2012 And then...<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>Aaah!<\/dialogue>\n    <scene_description>He yanks his finger out.<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>It bit me.<\/dialogue>\n    <character>TOSHIAKI<\/character>\n    <dialogue>Let me see it.<\/dialogue>\n    <scene_description>Toshiaki takes the jar from E. He walks over to a table and places the jar down. He shines a table lamp through the jar. The invisible goldfish casts a shadow on the wall. In the shadow, you can see it actually has Jurassic-sized teeth. It's pretty scary.<\/scene_description>\n    <character>TOSHIAKI\/BOB<\/character>\n    <dialogue>\\*GASP\\*<\/dialogue>\n    <scene_description>Toshiaki turns off the lamp and takes a closer look at the jar. E takes the jar back. Screws on the lid.<\/scene_description>\n    <character>E<\/character>\n    <dialogue>It's my science project and it's top secret.<\/dialogue>\n    <scene_description>Toshiaki looks over to Bob and gives him a flick of the head. Bob takes the hint and starts to push E out of the garage.<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>Yeah, well, our science fair project is even cooler.<\/dialogue>\n    <character>E<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>TOSHIAKI<\/character>\n    <dialogue>Double top secret.<\/dialogue>\n    <scene_description>Toshiaki pulls the garage door shut in Edgar's face. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOSHIAKI'S GARAGE - NIGHT<\/stage_direction>\n    <scene_description>Toshiaki and Bob take a critical look at their science fair project: SEA MONKEYS - THE TRUTH REVEALED! January 2012<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>Sea monkeys. We gotta come up with something better. Bigger.<\/dialogue>\n    <character>TOSHIAKI<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>The science fair is in two days!<\/dialogue>\n    <character>TOSHIAKI<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>You're the smart one.<\/dialogue>\n    <character>TOSHIAKI<\/character>\n    <dialogue>I know!<\/dialogue>\n    <scene_description>A long beat. Toshiaki's eyes narrow. He stares at Bob and his gaze then moves to the poster above Bob's head, it's a Rocket Poster. Toshiaki has an idea. TRANSITION TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC WORKSHOP - DAY<\/stage_direction>\n    <scene_description>Sparky is desperate to play with Victor in the attic. Victor tries to quieten him down.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Ok, ok, sit still. Ssssh! Sparky. No! Sssh. No! Sssh.<\/dialogue>\n    <scene_description>Victor ties up Sparky.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Sorry, boy. But we can't risk anyone seeing you again.<\/dialogue>\n    <scene_description>Victor starts to leave, he turns at the curtain as Sparky barks.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Ssssh!<\/dialogue>\n    <scene_description>Sparky lies down, head on his paws, sad and lonely.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL - DAY \\[AFTERNOON\\]<\/stage_direction>\n    <scene_description>The school bell rings. E is leaving school with the other kids. He nearly bumps into Nassor who is waiting for him. January 2012<\/scene_description>\n    <character>NASSOR<\/character>\n    <dialogue>Toshiaki says you have an invisible fish.<\/dialogue>\n    <character>E<\/character>\n    <dialogue>No he doesn't.<\/dialogue>\n    <character>NASSOR<\/character>\n    <dialogue>So you don't?<\/dialogue>\n    <character>E<\/character>\n    <dialogue>I didn't say that. Who said I did?<\/dialogue>\n    <character>NASSOR<\/character>\n    <dialogue>Toshiaki says it's your science fair project.<\/dialogue>\n    <character>E<\/character>\n    <dialogue>If it was, I couldn't tell you.<\/dialogue>\n    <character>NASSOR<\/character>\n    <dialogue>So it isn't? Or it is?<\/dialogue>\n    <character>E<\/character>\n    <dialogue>No. Yes. I'm confused.<\/dialogue>\n    <character>NASSOR<\/character>\n    <dialogue>Do you have an invisible fish?<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>E<\/character>\n    <dialogue>Okay. But you have to keep it a secret.<\/dialogue>\n    <scene_description>He unzips his school bag, pulling out the jar of water. Unscrews the lid.<\/scene_description>\n    <character>E<\/character>\n    <dialogue>Swish your finger around. You can feel it.<\/dialogue>\n    <scene_description>Nassor dips his finger in the water, swirling it around.<\/scene_description>\n    <character>NASSOR<\/character>\n    <dialogue>It's just water. There's nothing there.<\/dialogue>\n    <character>E<\/character>\n    <dialogue>No, it's invisible?<\/dialogue>\n    <scene_description>E dips his own finger in, feeling for his toothy goldfish. He's puzzled when he can't find it.<\/scene_description>\n    <character>E<\/character>\n    <dialogue>Huh.<\/dialogue>\n    <scene_description>January 2012 PUSHING IN ominously...<\/scene_description>\n    <character>NASSOR<\/character>\n    <dialogue>I don't know what kind of game you and Victor are playing. But that trophy will be mine!<\/dialogue>\n    <character>E<\/character>\n    <dialogue>\\*Gasp\\*<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>E runs as fast as he can with his jar outstretched in front of him, catching up to Victor. It's just the two of them.<\/scene_description>\n    <character>E<\/character>\n    <dialogue>Victor! Something's wrong with my fish.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>E<\/character>\n    <dialogue>It's not there anymore.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Maybe it just hopped out. Did you have the lid on?<\/dialogue>\n    <character>E<\/character>\n    <dialogue>Yes! Ever since...since I left your house. I mean, it was there when I went to bed.<\/dialogue>\n    <scene_description>Victor ponders the possibilities.<\/scene_description>\n    <character>E<\/character>\n    <dialogue>I'm thinking, maybe they don't last. They're only there for a little bit and then they're gone.<\/dialogue>\n    <scene_description>Suddenly panicked, Victor runs back to his house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - DAY<\/stage_direction>\n    <scene_description>Victor runs up the stairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC WORKSHOP - DAY<\/stage_direction>\n    <scene_description>Victor runs through the attic. He pulls the curtain back his eyes go right to where he left Sparky tied up. January 2012 The rope is still there. But his dog is gone.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>\\*Gasp\\* No! Sparky! \\*Gasp\\*<\/dialogue>\n    <scene_description>A BARK. Victor turns to find Sparky drinking out of his bowl. He scratches his ear and it falls off.<\/scene_description>\n    <character>VICTOR (O.S.)<\/character>\n    <dialogue>Sparky!<\/dialogue>\n    <scene_description>Victor rushes over to him. Sparky's not sure what all the drama is about but does seem slightly concerned with his lost ear.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Oh! Don't worry. I can fix that too.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Victor is in bed. He reaches under the bed to pat Sparky's head...<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Good night, boy.<\/dialogue>\n    <scene_description>...then switches off the light. TRANSITION TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOB'S HOUSE<\/stage_direction>\n    <scene_description>Bob's Mom is having a drink in the garden. She slurps the last few drops before she heaves herself up to go inside for a refill.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOF OF TOSHIAKI'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Bob is nervous. Looking back over his shoulder...<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>Are you sure this is going to work?<\/dialogue>\n    <scene_description>Toshiaki is shaking a soda bottle.<\/scene_description>\n    <character>TOSHIAKI<\/character>\n    <dialogue>No. That's why it's called an experiment. We have to collect data.<\/dialogue>\n    <scene_description>January 2012<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>Do we have to collect it on me?<\/dialogue>\n    <scene_description>WIDER, we see that Bob is wearing a modified backpack. Lashed to it are nine two-liter container of soda, caps pointing down, each with a pull-string. Toshiaki attaches the tenth and final bottle.<\/scene_description>\n    <character>TOSHIAKI<\/character>\n    <dialogue>Ready?<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>TOSHIAKI<\/character>\n    <dialogue>Ten. Nine. Eight.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>We could use a test dummy or something.<\/dialogue>\n    <character>TOSHIAKI<\/character>\n    <dialogue>Seven. Six. Five.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>Computer simulation.<\/dialogue>\n    <character>TOSHIAKI<\/character>\n    <dialogue>Four. Three. Two.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>I have to pee.<\/dialogue>\n    <character>TOSHIAKI<\/character>\n    <dialogue>One.<\/dialogue>\n    <scene_description>Toshiaki yanks the cord. The soda BLASTS out the bottom of the jet-pack. Toshiaki grabs his video camera to document their success.<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>Whoah, woah, w-w-w-woah woah, whoah, woah, woah, woah.<\/dialogue>\n    <scene_description>Bob finds himself hovering in fits and starts and actually gets a bit airborne.<\/scene_description>\n    <character>BOB<\/character>\n    <parenthetical>(incredulous)<\/parenthetical>\n    <dialogue>It's working. It's working!<\/dialogue>\n    <scene_description>Through the lens we see Bob hover in the air for a long moment before he drops like a stone out of frame. January 2012<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>\\*Painful murmurs\\*<\/dialogue>\n    <scene_description>Toshiaki, still filming looks down to find Bob sprawled on the grass. His arm is bent at an impossible angle. Bob's Mom comes outside hearing the commotion.<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>\\*Scream\\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - DAY<\/stage_direction>\n    <scene_description>A half-dozen NEIGHBORS and classmates have gathered to watch as Bob is loaded into an ambulance. His arm is already in a sling. BOB'S MOTHER is apoplectic:<\/scene_description>\n    <character>BOB'S MOTHER<\/character>\n    <dialogue>What were you boys doing on the roof!?<\/dialogue>\n    <scene_description>Bob and Toshiaki exchange a glance.<\/scene_description>\n    <character>BOB AND TOSHIAKI<\/character>\n    <dialogue>Science.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL ASSEMBLY ROOM - NIGHT<\/stage_direction>\n    <scene_description>Mom and Dad arrive at the meeting as Mr Burgemeister starts to speak at the podium.<\/scene_description>\n    <character>BURGEMEISTER<\/character>\n    <dialogue>As mayor of New Holland, you have entrusted me with your safety. So I can't sit idly by while a teacher endangers our children.<\/dialogue>\n    <scene_description>Bob's Mother is also on the stage with Bob whose arm is still in a sling.<\/scene_description>\n    <character>BOB'S MOTHER<\/character>\n    <dialogue>The man is a menace!<\/dialogue>\n    <scene_description>A lot of agreement from the PARENTS in attendance. Another father stands up in the crowd.<\/scene_description>\n    <character>ANOTHER FATHER<\/character>\n    <dialogue>Have you looked through this \"science\" book they're using? Apparently, Pluto isn't good enough to be a planet anymore.<\/dialogue>\n    <scene_description>January 2012<\/scene_description>\n    <character>ANOTHER FATHER<\/character>\n    <dialogue>When I was a kid, Pluto was a great planet. This guy comes along and rewrites the rules.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>In fairness, he didn't write the textbook.<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>Mr Mayor, Edward Frankenstein, your neighbour of course. I would just like to say that our son Victor is just crazy about the new teacher. Thinks he's great.<\/dialogue>\n    <character>ANOTHER MOTHER<\/character>\n    <dialogue>My Cynthia has been asking all sorts of strange questions. About things I've never even heard of!<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>Shouldn't we at least give the man the chance to explain himself?<\/dialogue>\n    <character>BURGEMEISTER<\/character>\n    <dialogue>Yes. Please come up. Mr...Menace.<\/dialogue>\n    <scene_description>He points to Mr. Rzykruski, who has been lingering at the back of the assembly room. He comes up front to the microphone. He clears his throat.<\/scene_description>\n    <character>MR. RZYKRUSKI<\/character>\n    <dialogue>Ladies, Gentlemen. I think the confusion here is that you are all very ignorant.<\/dialogue>\n    <scene_description>A sea of stony faces.<\/scene_description>\n    <character>MR. RZYKRUSKI<\/character>\n    <dialogue>Is this right word, \"ignorant?\" I mean simple. Primitive. Unenlightened.<\/dialogue>\n    <scene_description>Not winning them over.<\/scene_description>\n    <character>MR. RZYKRUSKI<\/character>\n    <dialogue>You do not understand science, so you are afraid of it. Like a dog is afraid of thunder, or balloons. To you, science is magic and witchcraft because you have such small minds.<\/dialogue>\n    <scene_description>January 2012<\/scene_description>\n    <character>MR. RZYKRUSKI<\/character>\n    <dialogue>I cannot make your heads bigger, but your children's heads -- I can take them and crack them open. This is what I try to do. To get at their brains.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>Oh my!<\/dialogue>\n    <scene_description>Mr. Rzykruski somehow convinced he did a good job...<\/scene_description>\n    <character>MR. RZYKRUSKI<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Mr Rzykruski leaves the stage.<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>Oh, geeze.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ELSA'S BACKYARD - NIGHT<\/stage_direction>\n    <scene_description>Elsa PRACTICE-HUMS her Dutch Day song while Persephone does her business, sniffing around the bushes. Forgetting a lyric, Elsa checks a sheet she was holding behind her back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VICTOR'S HOUSE \/ BACKYARD - NIGHT<\/stage_direction>\n    <scene_description>Meanwhile, Victor has Sparky outside in his backyard.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Be quick, boy. They'll be home any minute.<\/dialogue>\n    <scene_description>Sparky smells Persephone. He sniffs along the fence. INTERCUT BOTH SIDES Persephone sniffs along the fence as well. She BARKS. Sparky BARKS back.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>No no no no! Ssssh!<\/dialogue>\n    <scene_description>He covers over Sparky's mouth. Elsa approaches the fence and stands on tippe toe so that she can just barely see over the top.<\/scene_description>\n    <character>ELSA<\/character>\n    <dialogue>Victor?<\/dialogue>\n    <scene_description>January 2012 Victor crouches low so that she can't see him and struggles to keep Sparky from barking again.<\/scene_description>\n    <character>ELSA<\/character>\n    <dialogue>Victor?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Hi, Elsa. What are you doing?<\/dialogue>\n    <character>ELSA<\/character>\n    <dialogue>Practicing my song for Dutch Day.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>It's nice.<\/dialogue>\n    <character>ELSA<\/character>\n    <dialogue>Did you get a new dog?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ELSA<\/character>\n    <dialogue>I heard a bark.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Yeah that was me.<\/dialogue>\n    <character>ELSA<\/character>\n    <dialogue>You were barking.<\/dialogue>\n    <scene_description>Sparky manages to get free for a moment and lets out a howl. Victor quickly grabs his mouth shut and then tries to mimic his bark.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>\\*Victor pretends to bark and howl\\*<\/dialogue>\n    <scene_description>Elsa steps back from the fence.<\/scene_description>\n    <character>ELSA<\/character>\n    <dialogue>You must really miss Sparky.<\/dialogue>\n    <scene_description>HEADLIGHTS sweep across the fence. Victor's parents are back.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>I got to go. Bye.<\/dialogue>\n    <character>ELSA<\/character>\n    <dialogue>Bye.<\/dialogue>\n    <scene_description>Elsa kneels down and pets Persephone lovingly.<\/scene_description>\n    <character>ELSA<\/character>\n    <dialogue>I feel so sad for him, Persephone. He really misses his dog.<\/dialogue>\n    <scene_description>January 2012 She tenderly kisses Persephone on the head and holds her a little closer.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL<\/stage_direction>\n    <scene_description>Mr Rzykruski walks out of the school doors carrying a cardboard box full of all his school things.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLASSROOM - DAY<\/stage_direction>\n    <scene_description>The Gym Teacher, who is serving as substitute teacher scrubs the board clear of Mr Rzykruski's name.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Where's Mr. Rzykruski?<\/dialogue>\n    <character>GYM TEACHER<\/character>\n    <dialogue>All I know is, I'll be teaching the class for the rest of the semester.<\/dialogue>\n    <scene_description>She begins erasing the messy blackboard.<\/scene_description>\n    <character>ELSA<\/character>\n    <dialogue>Do you know anything about science?<\/dialogue>\n    <character>GYM TEACHER<\/character>\n    <dialogue>I know more than you do.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>Mr. Rzykruski knew a lot.<\/dialogue>\n    <character>GYM TEACHER<\/character>\n    <dialogue>Well, sometimes knowing too much is the problem.<\/dialogue>\n    <scene_description>Victor looks out the window as Mr Rzykruski is packing up the trunk of his car.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>What about the science fair?<\/dialogue>\n    <character>GYM TEACHER<\/character>\n    <dialogue>Oh, it's still on. But it will be judged by someone who is not insane -- Me!<\/dialogue>\n    <scene_description>The class look skeptical.<\/scene_description>\n    <character>GYM TEACHER<\/character>\n    <dialogue>Now get cracking and may the best person win.<\/dialogue>\n    <scene_description>January 2012<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL PARKING LOT - DAY<\/stage_direction>\n    <scene_description>Mr. Rzykruski is packing his strange little car with all his things from the classroom. Victor races up to him in the car park.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>I can't believe they let the gym teacher be the judge. She's not even interested in science.<\/dialogue>\n    <scene_description>Mr. Rzykruski turns back to see his favorite student.<\/scene_description>\n    <character>MR. RZYKRUSKI<\/character>\n    <dialogue>Back home, everyone is scientist. Even my plumber wins Nobel Prize. Your country does not make enough scientists. Always needs more. You should be a scientist, Victor.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Nobody likes scientists.<\/dialogue>\n    <character>MR. RZYKRUSKI<\/character>\n    <dialogue>They like what science gives them, but not the questions, no, not the questions that science asks.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Actually I have a question.<\/dialogue>\n    <character>MR. RZYKRUSKI<\/character>\n    <dialogue>That is why you are scientist.<\/dialogue>\n    <scene_description>Victor smiles, a little.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>I was doing my experiment, my project, and the first time it worked great. But the next time it didn't. I mean, it sort of worked, but then it didn't. And I don't know why.<\/dialogue>\n    <character>MR. RZYKRUSKI<\/character>\n    <dialogue>Then maybe you never really understood it the first time.<\/dialogue>\n    <scene_description>Victor is puzzled, but intrigued.<\/scene_description>\n    <character>MR. RZYKRUSKI<\/character>\n    <dialogue>People think science is here...<\/dialogue>\n    <parenthetical>(points to his head)<\/parenthetical>\n    <dialogue>...but it is also here.<\/dialogue>\n    <scene_description>January 2012<\/scene_description>\n    <character>MR. RZYKRUSKI<\/character>\n    <dialogue>(points to his heart). The first time, did you love your experiment?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC WORKSHOP - NIGHT \\[FLASHBACK\\]<\/stage_direction>\n    <scene_description>Victor, defeated, hangs his head in his hands. Suddenly, Sparky licks him. He's returned from the dead.<\/scene_description>\n    <character>VICTOR (V.O.)<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>MR. RZYKRUSKI (V.O.)<\/character>\n    <dialogue>And the second time?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC WORKSHOP - NIGHT \\[FLASHBACK\\]<\/stage_direction>\n    <scene_description>Victor watches as the bolt of lightning charges the jar of water with the dead goldfish.<\/scene_description>\n    <character>VICTOR (V.O.)<\/character>\n    <dialogue>No. I just wanted it over.<\/dialogue>\n    <scene_description>BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL PARKING LOT - DAY<\/stage_direction>\n    <character>MR. RZYKRUSKI<\/character>\n    <dialogue>Then you changed the variables.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>I was doing it for the wrong reason.<\/dialogue>\n    <character>MR. RZYKRUSKI<\/character>\n    <dialogue>Science is not good or bad, Victor. But it can be used both ways. That is why you must always be careful.<\/dialogue>\n    <scene_description>With that, he offers his hand. They shake. Victor watches as Mr. Rzykruski drives off. Bob and Toshiaki are still fuming about the science fair. Nassor is preparing for Baseball practice.<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>I can't believe I broke my arm for nothing. None of us are going to win. E has an invisible fish.<\/dialogue>\n    <scene_description>January 2012<\/scene_description>\n    <character>NASSOR<\/character>\n    <dialogue>No he doesn't. You fell for a parlor trick.<\/dialogue>\n    <character>TOSHIAKI<\/character>\n    <dialogue>You're saying he faked it?<\/dialogue>\n    <scene_description>Just then we hear a crash as E trips over a stack of bats. He has been eavesdropping. \\*GASP\\*<\/scene_description>\n    <character>TOSHIAKI<\/character>\n    <dialogue>That fish you showed us, was it real?<\/dialogue>\n    <character>E<\/character>\n    <dialogue>It was! And it was dead, too.<\/dialogue>\n    <character>NASSOR<\/character>\n    <dialogue>You brought an animal back from the dead?<\/dialogue>\n    <scene_description>The boys move in, circling him. He panics, but can't get away.<\/scene_description>\n    <character>E<\/character>\n    <dialogue>No, Victor did. With lightning and BOOM! and SSS...<\/dialogue>\n    <character>TOSHIAKI<\/character>\n    <dialogue>Impossible.<\/dialogue>\n    <character>E<\/character>\n    <dialogue>I swear! I mean, he already brought back his dog.<\/dialogue>\n    <scene_description>He tries to swallow his words but the boys lean in closer.<\/scene_description>\n    <character>TOSHIAKI<\/character>\n    <dialogue>He brought back Sparky?<\/dialogue>\n    <scene_description>E nods and the boys exchange a look.<\/scene_description>\n    <character>TOSHIAKI<\/character>\n    <dialogue>Hmmmm.<\/dialogue>\n    <character>NASSOR<\/character>\n    <dialogue>Victor will win the science fair. Unless we can do better. Bigger.<\/dialogue>\n    <scene_description>Toshiaki turns his steely gaze towards Edgar and a sly smile spreads across his face. January 2012<\/scene_description>\n    <character>TOSHIAKI<\/character>\n    <dialogue>You say you know Victor's secret. Now is your chance to prove it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - DAY<\/stage_direction>\n    <scene_description>Mom's recipe book is opened to a page that reads - - DOUBLE DUTCH CHERRY MUFFINS<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Now, where is my muffin tin?<\/dialogue>\n    <scene_description>She checks inside the oven but no muffin tin.<\/scene_description>\n    <character>MOM<\/character>\n    <parenthetical>(realizing)<\/parenthetical>\n    <dialogue>Victor.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC WORKSHOP - DAY<\/stage_direction>\n    <scene_description>VICTOR'S MOM goes up into the attic to find... Nothing out of the ordinary. She enters, taking a look around for her missing muffin tin. She walks over to Victor's chalk board and sees his diagrams for bringing Sparky back to life.<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Sparky?<\/dialogue>\n    <scene_description>Sparky walks around the curtain and stands panting next to Mom. She turns, startled and sees - Sparky. His NECK BOLTS. His STITCHES. Mom falls backwards and onto the floor and - SCREAMS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Dad enters the house to hear Mom screaming in the attic.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC WORKSHOP - CONTINUOUS<\/stage_direction>\n    <scene_description>Dad runs in and see's Sparky desperately trying to get closer to Mom. January 2012<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Sparky? ... Sparky's alive!<\/dialogue>\n    <scene_description>Sparky doesn't understand why she is screaming.<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>Sparky! Hey. Come on.<\/dialogue>\n    <scene_description>Sparky is petrified, he bolts away and runs into the mirror which splinters from the impact. He looks up and sees his reflection - grotesque and broken. Victor enters around the curtain and is horrified to see what is happening.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Mom! Dad! What's going on?<\/dialogue>\n    <scene_description>Sparky runs towards the window, desperate and frightened.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Sparky! Nooooo! Sparky!<\/dialogue>\n    <scene_description>Victor and his Dad run to catch Sparky but he shoots past them through the open window.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Sparky! No! Sparky come back! Sparky!<\/dialogue>\n    <scene_description>Victor tries to go after him but Dad holds him back.<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>Hey! Hey! Just a minute.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>No I have to go and find Sparky.<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>Victor what have you done?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>You said yourself: If you could bring back Sparky, you would.<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>Yes, but that was different, because we couldn't! It's easy to promise the impossible. What you did was a very serious thing. Crossing the boundary between life and death -- reanimating a corpse -- it's very...upsetting.<\/dialogue>\n    <scene_description>January 2012<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>I just wanted my dog back.<\/dialogue>\n    <scene_description>Tears well up in Victor's eyes. His anguish is palpable. Mom looks to Dad for a plan.<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Oh sweetheart, we'll help you look for Sparky but when we get back I think we need to have a little talk. Understood.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Mom and Dad share a look.<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>Now lets go find your dog.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN SQUARE - NIGHT<\/stage_direction>\n    <scene_description>Sparky runs through town where the dutch day festivities have officially begun. The town square has been transformed into a European fun fair with rides and food stalls set up all the way down main street. People in costume are converging on hot dog vendors and beer gardens. Sparky is petrified but the townsfolk are completely oblivious. Sparky tries to stay out of sight, but everywhere he goes, he's scared off by some new terror.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VICTOR'S HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Victor looks in the backyard and shines his flashlight into the empty dog house.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Sparky? Are you in there!<\/dialogue>\n    <scene_description>Victor's parents head out the front door and Victor hurries past them on his bike.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Mom! Dad! I'm going to check out the school and the park, you guys do the town square, ok?<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>Got it.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>Sparky!<\/dialogue>\n    <scene_description>January 2012<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>Sparky!<\/dialogue>\n    <scene_description>As they go in their respective directions we see Toshiaki, Edgar, Nassor and Weird Girl skulking in the bushes. Toshiaki nudges Edgar forward and motions to the front door which has been left ajar in their haste.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC WORKSHOP - NIGHT<\/stage_direction>\n    <scene_description>We see the shadows of all five of them slowly climb the attic stairs. E pulls the curtain back to reveal Victor's sanctum sanctorum. The apparatus glistens in the moonlight.<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>Cool.<\/dialogue>\n    <scene_description>Nassor and Weird Girl check out the equipment - pushing and pulling on the wires with clumsy curiosity. Edgar tries to confer with Toshiaki who turns his back dismissively. Its clear there are no more partnerships. Its every man for himself. Toshiaki examines the formulas and theorems on the blackboard.<\/scene_description>\n    <character>TOSHIAKI<\/character>\n    <dialogue>Interesting.<\/dialogue>\n    <character>E<\/character>\n    <dialogue>It has something to do with the lightning. I don't really understand it.<\/dialogue>\n    <character>TOSHIAKI<\/character>\n    <dialogue>Ah-but I do.<\/dialogue>\n    <scene_description>PUSHING IN on his eyes...<\/scene_description>\n    <character>NASSOR<\/character>\n    <dialogue>Tonight, we shall bring the dead to life.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEAR THE SCHOOL - CONTINUOUS<\/stage_direction>\n    <scene_description>Victor runs around the baseball field shining the flashlight under the bleachers and into the dug out.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Sparky! Where are you? Sparky!<\/dialogue>\n    <scene_description>January 2012<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PET CEMETERY - NIGHT<\/stage_direction>\n    <scene_description>Sparky narrowly avoids some kids running towards the town center by backing into an open gate. As the revelers pass he looks around at where he is and sees that he is surrounded by ominous looking headstones. An eerie Cat A giant turtle A flock of bats fly out from behind a tombstone and force him up the hillside where he finds himself at the foot of his own grave. He can't read, but he seems to recognize what it is. What it means. He lays down, looking up at the moon.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN SQUARE - NIGHT<\/stage_direction>\n    <scene_description>Back in town we see Victor's parents searching under the stage as the crowd starts to assemble for Dutch day.<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Sparky? Sparky?<\/dialogue>\n    <scene_description>The crowd applauds as Mr. Burgemeister steps up to the microphone.<\/scene_description>\n    <character>BURGEMEISTER<\/character>\n    <dialogue>Thank you, thank you so much. And now, it's my pleasure to introduce this year's Little Dutch Girl, my niece, Elsa Van Helsing.<\/dialogue>\n    <scene_description>Elsa walks out to meet Burgemeister on stage. She is completely transformed with wooden shoes and blond braids. In addition to her costume, she is wearing a wide crown of candles. She tries to walk very steadily to keep wax from dripping on her.<\/scene_description>\n    <character>ELSA<\/character>\n    <dialogue>I don't think this is safe.<\/dialogue>\n    <character>BURGEMEISTER<\/character>\n    <dialogue>Nonsense. We have the fire chief over here.<\/dialogue>\n    <scene_description>We see a decrepit, 90 year old man dressed like a fireman. He doesn't inspire confidence.<\/scene_description>\n    <character>BURGEMEISTER<\/character>\n    <dialogue>You know, a lot of girls would kill to be in your place.<\/dialogue>\n    <scene_description>January 2012<\/scene_description>\n    <character>ELSA<\/character>\n    <dialogue>I'd welcome death.<\/dialogue>\n    <scene_description>Burgemeister walks away from Elsa leaving her alone at the microphone. Nervous, she looks out over the crowd. Elsa starts to sing.<\/scene_description>\n    <character>ELSA<\/character>\n    <parenthetical>(singing)<\/parenthetical>\n    <dialogue>Praise be New Holland, Streets so wide and sidewalks clean, Modest homes at modest prices, Everyone's urban dream, Praise be New Holland, Happy children free from tears, Free from all the worlds dangers, Free from crime and free from strangers,<\/dialogue>\n    <scene_description>The crowd is so rapt that no one notices the big THUNDERSTORM brewing overhead. SONG CONTINUES UNDER:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PET CEMETERY - NIGHT<\/stage_direction>\n    <scene_description>Cowering behind his tombstone, Sparky watches as Nassor and Toshiaki enter the graveyard, each carrying a shovel.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN SQUARE \/ STAGE<\/stage_direction>\n    <character>ELSA<\/character>\n    <parenthetical>(singing)<\/parenthetical>\n    <dialogue>In our houses tight and safe, We have nothing to fear,<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PET CEMETERY - NIGHT<\/stage_direction>\n    <scene_description>Nassor heads up the hill towards a gothic mausoleum.<\/scene_description>\n    <character>NASSOR<\/character>\n    <dialogue>Ah. The tomb of Collosus soon you shall be awakened and we shall be reunited once again.<\/dialogue>\n    <scene_description>Toshiaki stops in front of a tomb shaped like the shell of a turtle. The inscription reads simply - Shelley. He digs up a small bundle, he picks it up and smiles wryly. January 2012<\/scene_description>\n    <character>TOSHIAKI<\/character>\n    <dialogue>Shelley.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL - CONTINUOUS<\/stage_direction>\n    <scene_description>E rummages in the school garbage cans and triumphantly pulls out a dead rat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLASSROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>E climbs through the window of the classroom and places his dead rat on Mr. Ryzkruski's desk. He attaches the electrode clips to the rats paws.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACKYARD POOL - CONTINUOUS<\/stage_direction>\n    <scene_description>Bob feeds a metal leaf skimmer into his pool and then rips open the container of sea monkeys and dumps them in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PET CEMETERY - CONTINUOUS<\/stage_direction>\n    <scene_description>Nassor enters the mausoleum and attaches two clips onto the grave of Collosus. He exits the mausoleum and sends four Mylar balloons off into the sky.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOSHIAKI'S BACKYARD - CONTINUOUS<\/stage_direction>\n    <scene_description>Toshiaki exits the gardening shed and walks over to his bundle. He attaches two clips and hooks these up to a kite by using a series of extension cords.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEIRD GIRL'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>We pull back through a skylight to see Mr Whiskers delivering a dead bat to Weird Girl who sits on her bed combing her doll's hair. Weird Girl's room is impossibly girly with pink fluffy flowers all around. She untwists metal coat hangers and attaches them to each other, making a long lightning rod. She lays the bat on her bed and attaches two clips to its wings. She then grabs a large butterfly wall hanging from above her bed. She attaches the butterfly to the coat hanger pole and solemnly feeds it out of the window into the night sky. The balloons, butterfly and kite can be seen floating over New Holland in the storm. January 2012 While she stares out the window at the approaching storm, Mr Whiskers sniffs curiously at the bat and starts to take a bite.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN SQUARE - NIGHT<\/stage_direction>\n    <scene_description>Elsa finishes her song:<\/scene_description>\n    <character>ELSA<\/character>\n    <parenthetical>(singing)<\/parenthetical>\n    <dialogue>Praise be New Holland, May your windmill spin forever more.<\/dialogue>\n    <scene_description>The crowd APPLAUDS.<\/scene_description>\n    <character>MR. BURGEMEISTER<\/character>\n    <dialogue>Isn't she adorable.<\/dialogue>\n    <scene_description>Motioning with his hands, Burgemeister signals for bigger applause but a big clap of THUNDER gets everyone's attention - And then lightning strikes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEIRD GIRL'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>The lightning hits the butterfly and flies down the coat hanger rod. It hits the bat which is still in Mr Whisker's mouth. The bed explodes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACKYARD POOL - NIGHT<\/stage_direction>\n    <scene_description>Lightning hits the propped-up pool skimmer, then CRACKLES across the surface of the pool. Bob leaps back blinded by the light.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLASSROOM - NIGHT<\/stage_direction>\n    <scene_description>The lightning strikes the school building, SURGING through the power line to the electrodes on the rat. We see the flattened sections start to balloon out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKY ABOVE THE CEMETERY - NIGHT<\/stage_direction>\n    <scene_description>The Mylar balloons are FRIED by lightning. The balloons burst, sending the surge hurtling down towards the mausoleum. January 2012<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOSHIAKI'S YARD - NIGHT<\/stage_direction>\n    <scene_description>Lightning surges down from the heavens, striking the disinterred bundle. The turtle bundle explodes. Toshiaki ducks for cover into the garden shed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEIRD GIRL'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Weird Girl looks up she sees Mr. Whiskers. His fur is smoking but he just seems a little dazed.<\/scene_description>\n    <character>WEIRD GIRL<\/character>\n    <dialogue>Mr Whiskers?<\/dialogue>\n    <scene_description>He starts licking his paws when suddenly -- GIANT BAT WINGS unfurl from his back. He looks up at the Weird Girl and HISSES, his mouth featuring two giant fangs. He arches his back and we see his vertebrae multiply and stretch. His paws extend into gnarled and pointy claws. His color changes from white to grey to a muddy, cloudy black. It forms a perfect vampire's peak on his head - Mr Whiskers has transformed into a VAMPIRE CAT.<\/scene_description>\n    <character>WEIRD GIRL<\/character>\n    <dialogue>Mr Whiskers?<\/dialogue>\n    <scene_description>The VAMPIRE CAT starts to fly around the room manically knocking into things on shelves and on the walls. He ends up on the sky light.<\/scene_description>\n    <character>WEIRD GIRL<\/character>\n    <dialogue>Mr Whiskers.<\/dialogue>\n    <scene_description>With one flap of its wings, he flies out the window and up into the stormy night sky.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>E races out of the classroom into the corridor screaming. Hearing the commotion the gym teacher opens a different classroom door.<\/scene_description>\n    <character>GYM TEACHER<\/character>\n    <dialogue>Hello? Is someone there?<\/dialogue>\n    <scene_description>The gym teacher tentatively makes her way down the corridor to the classroom E has just run from. She opens the door. A beat. January 2012 A giant WERERAT leaps in front of the doorway with it's fangs revealed. The gym teacher screams.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PET CEMETERY - NIGHT<\/stage_direction>\n    <scene_description>The earth around the mausoleum rumbles.<\/scene_description>\n    <character>NASSOR<\/character>\n    <dialogue>Rise, colossus. Rise from your tomb!<\/dialogue>\n    <scene_description>As Nassor continues his incantation, we see a MUMMY HAMSTER emerge from the mausoleum. His shadow is huge. Nassor watches with his mouth open his gaze moves down to the ground. It might be frightening if the Mummy Hamster weren't just a few inches tall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOSHIAKI'S YARD - NIGHT<\/stage_direction>\n    <scene_description>A bottle of Miracle-Gro lies empty on the grass. Toshiaki steps out of the garden shed and walks over to the scorched patch of grass. He looks around the garden.<\/scene_description>\n    <character>TOSHIAKI<\/character>\n    <dialogue>Shelley?<\/dialogue>\n    <scene_description>Suddenly, a massive turtle foot SMASHES down, crushing the shed. A GIANT TURTLE MONSTER -- bigger than a bus -- SHRIEKS to the heavens. Toshiaki scrambles to get away, alternately impressed and terrified. The turtle opens its mouth, and lets out a blood curdling roar. Distracted by the Dutch Day lights the Turtle monster heads to town.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACKYARD POOL - NIGHT<\/stage_direction>\n    <scene_description>An almost-translucent hand grabs the side of the pool, pulling itself out. And it's not alone. Dozens of SEA MONKEYS emerge: simian warriors with shrimp-like features, some carrying bone tridents. Bob SCREAMS and runs out of the garden followed by the sea monkeys. January 2012<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PET CEMETERY - NIGHT<\/stage_direction>\n    <scene_description>Victor stops his bike at the pet cemetery gates -<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Sparky? Sparky?<\/dialogue>\n    <scene_description>Victor pushes open the gate. His flashlight casts long, scary shadows. He is drawn towards Sparky's grave and as his flashlight sweeps across the tombstone, he sees Sparky's frightened face peeking out from behind. Could it be...<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Sparky?<\/dialogue>\n    <scene_description>Sparky peers around the edge of the tombstone and realizes that it's Victor and hangs his head in shame.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Sparky!<\/dialogue>\n    <scene_description>Sparky is nervous and confused but slowly rests his head in Victor's arms.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Sparky it's OK boy, it's just me. I thought that you were gone. I never want to lose you. Promise you'll never go running off. Okay?<\/dialogue>\n    <scene_description>Victor hold him tightly and Sparky licks him happily.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Come on boy.<\/dialogue>\n    <scene_description>Victor leads Sparky away through the cemetery when he sees the open grave of Shelley and the Colossus mausoleum door ajar.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Was someone else here?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETERY - CONTINUOUS<\/stage_direction>\n    <scene_description>Bob runs past the pet cemetery and hides behind a mail box to avoid the phalanx of sea monkeys who charge past like supernatural hooligans, craving mayhem and destructive mischief. Panting with relief, Bob turns to see Victor in the cemetery. January 2012<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>Victor! I need your help.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Did you see those things? They were like....<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>Sea Monkeys. You know how on the package, they're like in a happy kingdom and everyone's smiling?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>They're not like that at all.<\/dialogue>\n    <scene_description>Toshiaki runs up, yelling from the sidewalk.<\/scene_description>\n    <character>TOSHIAKI<\/character>\n    <dialogue>Victor! I need your help!<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>I asked him first!<\/dialogue>\n    <character>TOSHIAKI<\/character>\n    <dialogue>My problem's bigger!<\/dialogue>\n    <scene_description>Toshiaki points to the distance - a towering, giant Turtle is walking past. Its a suburban Gamera. Sparky barks defensively. Bob has to admit --<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>Yeah. He's right.<\/dialogue>\n    <scene_description>A beat. Victor has to think fast. This is all his fault. He looks down at Sparky and gets an idea.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Ok let's go!<\/dialogue>\n    <scene_description>Victor, Sparky and Bob rush off. Toshiaki starts to laugh and reveals his video recorder. He is secretly quite pleased with his science project.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN SQUARE - NIGHT<\/stage_direction>\n    <scene_description>Burgemeister and Elsa are still on stage as the crowd look on applauding. January 2012<\/scene_description>\n    <character>BURGEMEISTER<\/character>\n    <dialogue>And now for our next act we have something really big.<\/dialogue>\n    <scene_description>Suddenly, SCREAMS in the crowd. The audience turns and sees THE GIANT TURTLE - marching through town, crushing everything in its path.<\/scene_description>\n    <character>BURGEMEISTER<\/character>\n    <parenthetical>(panicked gasp)<\/parenthetical>\n    <dialogue>Burgemeister flees, leaving Elsa to her own devices. He rushes through to the back of the stage.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACKSTAGE - NIGHT<\/stage_direction>\n    <scene_description>Running franticly, Burgemeister tries to save himself. He nearly crashes into the Gym Teacher, busy fleeing the Wererat.<\/scene_description>\n    <character>BURGEMEISTER<\/character>\n    <dialogue>\\*Gasp\\*<\/dialogue>\n    <character>GYM TEACHER<\/character>\n    <dialogue>\\*Screams\\* No get away.<\/dialogue>\n    <scene_description>Desperate for a place to hide, Burgemeister spots a porta- potty and quickly ducks inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PUBLIC RESTROOM - NIGHT<\/stage_direction>\n    <scene_description>Burgemeister can hear the pandemonium escalating but, feeling safe for the moment, sits on the toilet and breathes a sigh of relief. Strangely he feels something sharp poke him in the butt. When he jumps up he sees a host of sea monkeys, jumping out of the toilet! The door to the porta-potty bursts open and Mr Burgemeister is trampled, as the sea monkeys head towards the center of town.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN SQUARE - NIGHT<\/stage_direction>\n    <scene_description>The gym teacher races past some destructed stalls being chased by a Wererat. She swiftly climbs up a pole were the Wererat can not follow her. The sea monkeys are everywhere. They even emerge from a man hole and chase Bob's Mom through the stalls. Victor's Mom and Dad try to battle off the approaching sea monkeys but there are too many of them. Mom grabs Dad by the arm and pulls him into a nearby phone booth. January 2012<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>This way! In here.<\/dialogue>\n    <scene_description>They slam the door just as a sea monkey flies into it and slides down the glass.<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>Whoa!<\/dialogue>\n    <scene_description>Suddenly another sea monkey smashes into the glass followed by another and then another. Mom and Dad are surrounded. Just as it appears they are going to be overwhelmed - THE TURTLE MONSTER arrives. His huge hand bears down on the phone box ripping it from the ground. Mom and Dad make their move and run to find safety as the turtle monster chomps down on the phone box and the sea monkeys scurry off. EDGE OF THE SQUARE Victor, Toshiaki and Bob arrive at the town square. They see the turtle monster in the centre of town. There are Sea Monkeys everywhere. WIPE TO: Nassor, drunk with power, commands the Mummy Hamster to take on the turtle monster and show him who is mightier.<\/scene_description>\n    <character>NASSOR<\/character>\n    <dialogue>Go Colossus! Kill! Kill! Kill! Kill!<\/dialogue>\n    <scene_description>The Mummy Hamster gets ready to attack, when, in one large step, the Turtle Monster's giant foot lands directly on the Mummy Hamster and squashes him flat.<\/scene_description>\n    <character>NASSOR<\/character>\n    <dialogue>Collosus?<\/dialogue>\n    <scene_description>The angry turtle roars in Nassor's face knocking him clear across the square. Nassor flies with such velocity that he gets tangled up in the banners and bunting that festoon the street and he lands in an upright display of Russian nesting dolls. As he smashes into the case we see that now he too is wrapped up like a mummy. His scowling eyes are all that is visible as the lid closes like a sarcophagus and collapses to the ground. January 2012<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN SQUARE<\/stage_direction>\n    <scene_description>E flees the sea monkeys and runs straight into the Wererat who is still howling at the foot of the gym teacher's pole.<\/scene_description>\n    <character>E<\/character>\n    <dialogue>Ah! Get away from me! Get away from me! Ah!<\/dialogue>\n    <scene_description>The Wererat immediately turns his attentions to E and chases him past a beer stall were the sea monkeys continue to cause havoc at a beer stall, spilling beer everywhere. One of the sea monkeys grabs a carton of pop corn and devours it in one bite. No sooner has he swallowed, when he begins to fizz and expand and suddenly explodes - splattering goop everywhere. Victor and Bob are watching from behind a stall and Victor gets an idea.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Your sea monkeys, were they freshwater or saltwater?<\/dialogue>\n    <scene_description>Bob knows this --<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>Freshwater!<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Freshwater animals can't tolerate salt.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN SQUARE - POPCORN TENT - NIGHT<\/stage_direction>\n    <scene_description>Victor empties a sack of pop corn kernels into a pop corn machine in the pop corn tent. Bob adds the salt. Victor turns the machine on. The boys try and lure the sea monkeys into the tent by waving popcorn.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Hey over here!<\/dialogue>\n    <scene_description>The sea monkeys follow them and start to gorge themselves on the freshly made popcorn. Victor, Bob and Sparky zip up the tent and stand by the beer stall to see what happens. January 2012 The sea monkeys greedily consume the popcorn with feverish abandon and the boys watch in amazement as the tent stretches and grows. The canvas sides stretch and strain from the pressure. Victor and Sparky duck behind a nearby keg just as tent suddenly explodes splashing pop corn (and sea monkey parts) all over the street.<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>Cool!<\/dialogue>\n    <scene_description>Bob haughtily celebrates a little too quickly and gets completely drenched in pop corn goop<\/scene_description>\n    <character>E (O.S.)<\/character>\n    <dialogue>\\*screams\\*<\/dialogue>\n    <scene_description>Victor and Sparky look over to see that ... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN \/ VARIOUS<\/stage_direction>\n    <scene_description>Elsa, Persephone and E are being attacked by the Wererat.<\/scene_description>\n    <character>ELSA<\/character>\n    <dialogue>Help!<\/dialogue>\n    <scene_description>Elsa is using a stick to fight him off but the stick breaks in half and the Wererat seems ready to pounce. E is no help at all and takes this moment to for his life leaving Elsa and Persephone completely helpless.<\/scene_description>\n    <character>ELSA<\/character>\n    <dialogue>Get back! Stay away from us!<\/dialogue>\n    <scene_description>Victor and Sparky come running to the rescue. Sparky leaps in front of Elsa and takes on the Wererat himself. They battle ferociously, Sparky can holding his own against the much bigger Wererat. Then in the scuffle, the Wererat bites down on Sparky's neck but instead of landing a fatal blow, he bites into the bolts on Sparky's neck and gets a ZAP of electricity. The Wererat instantly collapses down to a normal size rat and lands in the street.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Sparky!<\/dialogue>\n    <scene_description>Victor races over to make sure Sparky is not hurt and suddenly they hear an almighty roar - January 2012<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE FERRIS WHEEL - CONTINUOUS<\/stage_direction>\n    <scene_description>The turtle monster is drawn to the lights on the ferris wheel. The broken beer barrels continue to flow and the square beneath his massive feet is almost flooded. Toshiaki has climbed into one of the ferris wheel carriages and has been filming the chaos from high above the square. He laughs maniacally at the power of his creation when he suddenly finds himself face to face with the monster himself. The Turtle roars with anger and Toshiaki starts to panic. He tries to climb out of the carriage and avoid the Turtle's sharp teeth but it is too late.<\/scene_description>\n    <character>TOSHIAKI<\/character>\n    <dialogue>Aaaaah!<\/dialogue>\n    <scene_description>The turtle monster grabs Toshiaki by the pants and lifts him up into the air.<\/scene_description>\n    <character>TOSHIAKI<\/character>\n    <dialogue>No, no, no! Stop you put me down- I gave you life!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE FERRIS WHEEL<\/stage_direction>\n    <scene_description>Toshiaki dangles from the monster's jaws as the turtle steps back smashing an electrical fuse box with his tail. Sparks fly everywhere.<\/scene_description>\n    <character>TOSHIAKI<\/character>\n    <dialogue>Victor! Victor I need help please.<\/dialogue>\n    <scene_description>Victor sees the wires from the fuse box hissing and sparking near the puddle of beer and gets an idea. He remembers from his science class that water conducts electricity and the turtle monster is still standing in the center of the flooded square. Victor grabs the wire and throws it into the puddle sending sparks and current up the Turtle's leg. The impact of the jolt causes the turtle monster to drop Toshiaki who smashes into a tulip stall. Undeterred, Toshiaki continues to try and film the proceedings but he is too late. Just as he puts the camera to his eye, the turtle explodes and all that is left is reduced to a tiny shell which falls to the ground at Toshiaki's feet.<\/scene_description>\n    <character>TOSHIAKI<\/character>\n    <parenthetical>(solemnly)<\/parenthetical>\n    <dialogue>Shelley.<\/dialogue>\n    <scene_description>January 2012<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN \/ VARIOUS<\/stage_direction>\n    <scene_description>Elsa comforts Persephone after their ordeal with the Wererat.<\/scene_description>\n    <character>ELSA<\/character>\n    <dialogue>Persephone, are you ok?<\/dialogue>\n    <scene_description>Sparky runs over to join them and make sure that Persephone is ok when they hear the Weird Girl calling out for her cat. She stands at the base of a souvenir stall beckoning to the Vampire cat who completely ignores her.<\/scene_description>\n    <character>WEIRD GIRL<\/character>\n    <dialogue>Here Mr Whiskers! Here kitty kitty Mr Whiskers.<\/dialogue>\n    <scene_description>THE VAMPIRE CAT swoops right past her. With a blood curdling screech, he grabs Persephone and flies off towards the windmill.<\/scene_description>\n    <character>ELSA<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>Elsa races after her dog, dropping her hat and wig in her haste.<\/scene_description>\n    <character>ELSA<\/character>\n    <dialogue>Peresphone! Help! Bring her back.<\/dialogue>\n    <scene_description>Victor hears Elsa's screams and goes after her. The Weird Girl is still dazed and confused, still calling for her kitty.<\/scene_description>\n    <character>WEIRD GIRL<\/character>\n    <dialogue>Mr Whiskers?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>I'm coming Elsa!<\/dialogue>\n    <scene_description>Sparky tries to keep up, but his legs are too stubby. PANTING, he grabs Elsa's wig and turns back in the other direction.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN SQUARE - NIGHT<\/stage_direction>\n    <scene_description>Now that the mayhem seems to have ended, the townsfolk start to assemble to review the damage. Since the power lines went out, they carry lit torches Burgemeister pulls himself out of the wreckage and dusts himself off. All around him are remnants of his beloved dutch day; broken tulips and decimated wooden shoes.<\/scene_description>\n    <character>BURGEMEISTER<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <scene_description>January 2012 He can't take much more devastation when - Sparky runs past with Elsa's wig in his mouth. Sparky sees Mom and Dad and drops Elsa's wig at their feet.<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>Sparky! There you are!<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>Are you alright?<\/dialogue>\n    <scene_description>Sparky barks at Mom and Dad. Doing his best Lassie, he tries to explain what has happened.<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>What you got there boy?<\/dialogue>\n    <character>BURGEMEISTER (O.S.)<\/character>\n    <dialogue>Let me through!<\/dialogue>\n    <scene_description>Burgemeister pushes his way through the crowd that has gathered around Sparky.<\/scene_description>\n    <character>BURGEMEISTER<\/character>\n    <dialogue>I knew it! It's the boys dead dog!<\/dialogue>\n    <scene_description>Sparky steps back to show Burgemeister Elsa's wig.<\/scene_description>\n    <character>BURGEMEISTER<\/character>\n    <dialogue>That's Elsa's wig! Where's my niece!<\/dialogue>\n    <character>BOB'S MOTHER<\/character>\n    <dialogue>He's killed the little girl!<\/dialogue>\n    <scene_description>The crowd has clearly misunderstood. Desperate, Sparky runs, hoping they will follow. Burgemeister leads the crowd in a chase up to the windmill. Still wearing their costumes from Dutch day and carrying torches, they look like a mob of medieval villagers.<\/scene_description>\n    <character>BURGEMEISTER<\/character>\n    <dialogue>After him kill the monster!<\/dialogue>\n    <scene_description>Mom and Dad follow close behind.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WINDMILL - NIGHT<\/stage_direction>\n    <scene_description>Victor arrives at the windmill and rushes inside. January 2012<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WINDMILL - CONTINUOUS<\/stage_direction>\n    <scene_description>He can hear Elsa's scream coming from the rafters and he looks up at the winding, rickety stair that leads to the crows nest. The vampire cat is creeping towards Elsa pushing her further and further up the windmill.<\/scene_description>\n    <character>ELSA<\/character>\n    <dialogue>Help! Stay away from us.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD UP THE HILL - DAY<\/stage_direction>\n    <scene_description>Sparky leads the way towards the windmill with the angry mob trailing close behind.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WINDMILL - NIGHT<\/stage_direction>\n    <scene_description>Sparky arrives at the base of the windmill and tries to make them understand that Elsa and Victor are inside.<\/scene_description>\n    <character>BURGEMEISTER<\/character>\n    <dialogue>Get him!<\/dialogue>\n    <scene_description>Burgemeister signals to one of the villagers to throw a rope around Sparky's neck.<\/scene_description>\n    <character>BURGEMEISTER<\/character>\n    <dialogue>Where's my niece?<\/dialogue>\n    <scene_description>In his hysterical zeal Burgemeister waves his torch around and inadvertently sets the windmill overhang on fire. The sails are quickly engulfed in flames but the blades keep turning. The crowd gasps in horror.<\/scene_description>\n    <character>TOWNSFOLK 1<\/character>\n    <dialogue>Look out it's on fire!<\/dialogue>\n    <scene_description>Sparky continues to bark and pull on the leash, trying desperately to make them understand. Bob's Mom sees something at the top of the windmill and points to Elsa who has climbed out onto the hub.<\/scene_description>\n    <character>BOB'S MOM<\/character>\n    <dialogue>It's Elsa!<\/dialogue>\n    <character>ELSA<\/character>\n    <dialogue>Help!<\/dialogue>\n    <scene_description>January 2012<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WINDMILL - NIGHT<\/stage_direction>\n    <scene_description>Victor continues to climb the stairs trying to get to Elsa as quickly as he can.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WINDMILL - NIGHT<\/stage_direction>\n    <scene_description>Elsa and Persephone have now backed all the way to the edge of the hub and when the vampire cat swoops past them, they lose their balance. Elsa grasps onto a sail but she can barely hang on.<\/scene_description>\n    <character>BURGEMEISTER<\/character>\n    <dialogue>Elsa!<\/dialogue>\n    <scene_description>The crowd recoils in horror and Sparky breaks free and runs into the burning windmill.<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Sparky!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WINDMILL - NIGHT<\/stage_direction>\n    <scene_description>Victor arrives at the top level of the windmill. Smoke and flames are rising.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WINDMILL - NIGHT<\/stage_direction>\n    <scene_description>He climbs out the window towards Elsa.<\/scene_description>\n    <character>ELSA<\/character>\n    <dialogue>Victor! Help!<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Hang on don't let go<\/dialogue>\n    <scene_description>Victor holds his hand out trying to get hold of Elsa.<\/scene_description>\n    <character>ELSA<\/character>\n    <dialogue>I can't reach.<\/dialogue>\n    <scene_description>The vampire cat lunges towards Victor and is about to finish him off when Sparky appears through the window and launches an attack. He chases the Vampire cat up the sails leaving Victor to reach again for Elsa and Persephone.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Hang on!<\/dialogue>\n    <character>ELSA<\/character>\n    <dialogue>I can't hold on much longer!<\/dialogue>\n    <scene_description>January 2012 Victor turns to look around and grabs a rope and throws it over the side just as Elsa loses her grip. Just in the nick of time, she catches the rope and swings to safety. Burgemeister breaks her fall.<\/scene_description>\n    <character>ELSA<\/character>\n    <dialogue>Aaaaah! Whoah!!!<\/dialogue>\n    <scene_description>Seeing that Elsa has landed safely, Victor looks up to see the Vampire Cat and Sparky fighting on the end of the sail.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Sparky!<\/dialogue>\n    <scene_description>The Cat tries to knock him off but Sparky scampers out of the way and slides safely down the sail into Victor arms. The Vampire Cat is undeterred and he makes one final lunge towards them, knocking Victor off the side. The crowd gasps in horror as Victor and the Vampire cat plummet through the floor boards and disappear into the bowels of the burning windmill. Mom and Dad try to run forward but are held back by a fireman. The flames are too high.<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Victor!<\/dialogue>\n    <character>FIREFIGHTER<\/character>\n    <dialogue>Stay back it's too dangerous!<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>That's my son in there!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WINDMILL - NIGHT<\/stage_direction>\n    <scene_description>Sparky battles the flames and races to the bottom on the windmill to find the Vampire Cat and Victor lying unconscious on the floor. Grabbing Victor by the collar, Sparky uses all his strength to drag Victor out of the Windmill to safety.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WINDMILL - NIGHT<\/stage_direction>\n    <scene_description>Mom and Dad see Sparky and Victor appearing out of the smoke.<\/scene_description>\n    <character>DAD AND MOM<\/character>\n    <dialogue>Victor?<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>Victor!<\/dialogue>\n    <scene_description>January 2012<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Honey are you alright?<\/dialogue>\n    <scene_description>The crowd cheers and Victor and his parents share a relieved embrace. Sparky barks with joy and is about to run to join Victor and his parents when the vampire cat rears up from out of the flames and drags Sparky back into the collapsing windmill.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Sparky!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WINDMILL - NIGHT<\/stage_direction>\n    <scene_description>Back inside, The vampire cat and Sparky fight to the death. The flames have almost completely enveloped the windmill and shards of burning debris falls all around them. The vampire cat knocks Sparky backwards and corners him against the wall. He bares his fangs and moves in for the kill. Sparky steels himself for the worst as a flaming shard of wood breaks off the rafters and plummets to the ground, impaling the cat through the heart. Sparky is saved and tries to run for the door when -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WINDMILL - NIGHT<\/stage_direction>\n    <scene_description>The windmill finally collapses. A CLOUD of SPARKS and CINDERS. The crowd jumps back to safety and through the smoke, Victor shouts...<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Noooo!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WINDMILL - TWILIGHT<\/stage_direction>\n    <scene_description>The sun hasn't quite risen. Thanks to the FIREMEN, the blaze is out. Victor wipes away tears, smudged with soot. His Mom hugs his shoulders. A FIREFIGHTER emerges from the debris carrying Sparky's body. The little dog is singed, but still in one piece. The firefighter lays him on the dirt. January 2012 Victor kneels over the lifeless body of his amazing dog. In the crowd... Dad kneels beside his son.<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>Victor? Is there anything we can do for you?<\/dialogue>\n    <scene_description>Victor looks up at his Dad.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>You said that I need to let him go...<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>Sometimes adults don't know what they're talking about.<\/dialogue>\n    <scene_description>Victor smiles. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAR PARK - TWILIGHT<\/stage_direction>\n    <scene_description>All the cars are in a circle around Sparky, their headlights blazing. As we CIRCLE, townsfolk lift the hoods of the cars and attach jumper cables, which all feed in to two main lines. Victor attaches cables to Sparky.<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>Start your engines.<\/dialogue>\n    <scene_description>The townspeople rev their engines but it doesn't seem to be working.<\/scene_description>\n    <character>BOB'S MOTHER<\/character>\n    <dialogue>Give it more juice!<\/dialogue>\n    <scene_description>Sparky's body sparks with electricity and Victor looks hopeful.<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>Turn off your engines!<\/dialogue>\n    <scene_description>Dad waves for everyone to cut their engines. Now it's just headlights. Victor approaches his dog but Sparky still isn't moving. He kneels down and places his hand on his back. He looks at his tail but all is still. He quietly leans in and - January 2012 Almost in a WHISPER...<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>It's okay, boy. You don't have to come back. You'll always be in my heart.<\/dialogue>\n    <scene_description>Victor takes the clips off Sparky and walks away back to his Mom and Dad. They hold him for a long beat, when we notice Sparky's tail THUMP THUMP THUMPING. Sparky opens an eye. Then sits up like he's woken from a good long sleep. Victor turns as Sparky gets up and runs towards him.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Sparky!<\/dialogue>\n    <scene_description>The crowd CHEERS and APPLAUDS. Victor hugs his dog, so happy to be reunited. Victor's Mom and Dad make their way over to him. Sparky does a few tricks for the crowd, then notices someone pushing through the crowd. Persephone, white streaked hair glistening in the moonlight, comes bounding out to see him and they share a playful moment before - The two dogs share a sniff. And a jolt. CUT TO BLACK.: THE END \\*<\/scene_description>\n    <character>\\*<\/character>\n    <dialogue>January 2012<\/dialogue>\n  <\/scene>\n<\/script>","summary":"In 1957, Victor Frankenstein, a young scientist and amateur filmmaker, lives with his parents and his beloved bull terrier dog, Sparky, in the quiet town of New Holland, Pennsylvania. He does not interact much with his classmates, who include his somber next-door neighbor Elsa Van Helsing, the mischievous Edgar \"E\" Gore, the obese Bob, the overconfident Toshiaki, the creepy Nassor, and an eccentric girl nicknamed \"Weird Girl\". Concerned with his son's isolation, Victor's father encourages the boy to take up baseball. When Victor hits a home run at his first game, Sparky chases the ball and is struck and killed by a car, leaving Victor despondent. Inspired by his new science teacher Mr. Rzykruski's demonstration of the effect of electricity on dead frogs, Victor digs up Sparky, brings the dog to a makeshift laboratory in his attic, and reanimates it with a bolt of lightning. While Victor is at school the next day, Sparky escapes from the attic to chase Weird Girl's cat, Mr. Whiskers, and explore the neighborhood. He is recognized by Edgar, who blackmails Victor into teaching him how to raise the dead. Together, the two resurrect a dead goldfish, which turns invisible due to an error with the experiment. Edgar brags about the fish to his classmates. However, when he tries to show it to a skeptical Nassor, it is gone, leading him to speculate that the revived creatures only last for a short time. Fearful of losing the upcoming science fair, Toshiaki and Bob make a rocket out of soda bottles. When they test it, Bob breaks his arm. Mr. Rzykruski is blamed for the accident and fired by Mayor Burgermeister (Elsa's uncle) and the adults (except for Victor's parents, Susan and Edward). The gym teacher replaces him. Before leaving the school, Mr. Rzykruski manages to talk with Victor and advises him to use science wisely. Edgar accidentally reveals to Toshiaki, Nassor, and Bob that he and Victor had brought the fish back from the dead, and that Victor had done the same with Sparky. This inspires them to try reanimation themselves. Victor's parents discover Sparky in the attic and are frightened, causing the dog to flee. His father starts to talk to him about the seriousness of what he has done. However, when Victor tearfully tells his parents he just wanted his dog back, they decide to help him find Sparky. When the family leaves, Victor's classmates invade the lab and discover the reanimation instructions. When they perform their experiments separately, each of their dead animals turns into a monster: Mr. Whiskers holds a dead bat while he is electrocuted, resulting in both animals being fused into a vampiric feline; a dead rat Edgar found in the garbage turns into a wererat; Nassor's mummified hamster Colossus comes back to life; Toshiaki's turtle Shelley is covered in Miracle Gro and becomes a huge Gamera-like monster; and Bob's Sea-Monkeys grow into amphibious humanoids. The monsters converge on the town fair and wreak havoc. After Victor finds Sparky at the town's pet cemetery, Bob and Toshiaki find him and ask for his help. They go to the fair, where the Sea-Monkeys explode after eating salted popcorn, Colossus is stepped on by Shelley, and the wererat and Shelley both return to their original, deceased forms after getting electrocuted. During the chaos, Persephone, Elsa's pet poodle, is grabbed by Mr. Whiskers and carried to the town windmill, with Elsa and Victor giving pursuit. The townsfolk blame Sparky for Elsa's disappearance and chase him to the windmill, which Elsa's uncle accidentally ignites with his torch. Victor and Sparky enter the burning windmill and rescue Elsa and Persephone. However, Victor ends up being trapped inside. Sparky rescues Victor, only to be dragged back inside by Mr. Whiskers, who is fatally impaled by a flaming piece of wood just before the windmill collapses, killing Sparky again. To reward him for his bravery, the townsfolk gather and revive Sparky with their car batteries. Persephone runs to Sparky and they touch noses, producing a spark."}
{"movie_name":"Philadelphia_1993","imdb_id":"tt0107818","script":"<script>\n  <scene>\n    <stage_direction>EXT. DAY - VARIOUS SHOTS OF PHILADELPHIA EXTERIORS...<\/stage_direction>\n    <scene_description>which may include the Liberty Bell , the Italian Market , scenes along the Delaware and Schuylkill Rivers , Independence Square , the Russian Orthodox neighborhood , the ghettos of North Philly . MAIN TITLES PLAY OVER THIS SEQUENCE which culminates in a SHOT OF .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAY - PHILADELPHIA'S GLORIOUSLY ORNATE CITY HALL...<\/stage_direction>\n    <scene_description>TITLE : `` Philadelphia City Hall . '' CITY EMPLOYEES , JUDGES , COPS , LAWYERS , CRIMINALS , TOURISTS pour into City Hall , into .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - DAY - TWO STORY HIGH CORRIDORS THAT REEK OF HISTORY.<\/stage_direction>\n    <scene_description>Young lawyer JAMEY COLLINS darts through the crowd , carrying an accordion file under his arm like a football . Jamey elbows his way through a JAPANESE TOUR GROUP . Jamey trots up a marble staircase , two steps at a time JAMEY RUNS LIKE HELL DOWN A THIRD FLOOR CORRIDOR , FOOTSTEPS making a racket . Jamey rushes toward a door marked `` JUDGE TATE . '' RAISED VOICES from inside Judge Tate 's chambers :<\/scene_description>\n    <character>JOSEPH MILLER<\/character>\n    <parenthetical>( OS . )<\/parenthetical>\n    <dialogue>This construction site is causing mortal and irreparable harm to an unsuspecting public!<\/dialogue>\n    <character>ANDREW BECKETT<\/character>\n    <parenthetical>( OS . )<\/parenthetical>\n    <dialogue>My client has one of the finest and most respected safety records in the business, Your Honor!<\/dialogue>\n    <scene_description>Jamey shoves open the door , REVEALING TWO LAWYERS -LRB- BACKS TO CAMERA -RRB- STANDING BEFORE JUDGE EUNICE TATE : ANDREW BECKETT -LRB- in conservative gray -RRB- and JOSEPH MILLER -LRB- in pinstripes -RRB- .<\/scene_description>\n    <character>JUDGE TATE<\/character>\n    <dialogue>One at a time. Mr. Miller?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Your Honor, since Rockwell Corp. began construction, the surrounding residential neighborhood has been enshrouded in a cloud of foul - smelling, germ - carrying, pestilent dust. My client is being forced to breathe known carcinogens daily! Other residents are coming forth on a daily basis to add their voices of outrage!<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Your Honor, I submit there were no complaints until Counselor began knocking on doors, drumming up business. And the dust, which Counselor refers to, has appeared on only three occasions. Each time it has been examined and the results.<\/dialogue>\n    <scene_description>Behind his back , Andrew wiggles his fingers . Jamey stuffs a document into Andrew 's hand .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Limestone. Messy, but innocuous.<\/dialogue>\n    <scene_description>Andrew submits the report to the Judge .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Innocuous?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Defined by Webster's as harmless.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I know what it means. Your Honor, imagine how the children in this neighborhood have been made to feel. The pounding of construction ringing in their ears as this skyscraper, a tribute to mankind's greed, grows daily, casting an ominous shadow over their lives, filling them with dread even as they are surrounded in a black, toxic fog, blocking out the sun while poisoning their lungs! And Counselor calls it harmless?!<\/dialogue>\n    <scene_description>His back turned momentarily to the JUDGE , Andrew mouths to Jamey : `` Not bad . '' But he whips around , serious again :<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Your Honor, Counselor is attempting to portray my client as a hideous manifestation of evil and corruption. But nothing could be further from the truth. Rockwell has generously contributed ten thousand dollars to this neighborhood's schools, clinics and youth centers! Granting a restraining order on the construction site will throw hundreds of Philadelphians out of work, and will lend validation to this contemptible and groundless nuisance suit, which speaks directly to the kind of greed and treachery that today is threatening the very fabric of our society.<\/dialogue>\n    <scene_description>Judge Tate looks skeptically at both lawyers .<\/scene_description>\n    <character>JUDGE TATE<\/character>\n    <dialogue>Let's not go off the deep end, gentlemen. I thought we were talking about some dust.<\/dialogue>\n    <scene_description>A MAN ON CRUTCHES HOBBLES INTO A COURTHOUSE ELEVATOR AND IS<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - joined by Andrew and Joe, crowding inside...<\/stage_direction>\n    <scene_description>As soon as the doors close , Andrew whips out a micro - cassette recorder , making notes , and Joe , in the opposite corner of the elevator , does exactly the same thing .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>plaintiff seeks to restrain defendants from continued improper use of trade name without.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>whereas decedent had pre - existing asthmatic condition and ride on Ultra Loop caused sub - sequent death.<\/dialogue>\n    <scene_description>Andrew and Joe stop at the same time , look at each other . And turn toward the corner , seeking privacy .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>plaintiff's permission or authorization.<\/dialogue>\n    <character>JOE<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>complainant seeks relief.<\/dialogue>\n    <scene_description>There 's a PERSISTENT BEEPING , Andrew and Joe pull out their portable telephones at the same time . They look at each other : which phone is ringing ?<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>You.<\/dialogue>\n    <scene_description>Andrew resumes his telephone conversation .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Right.<\/dialogue>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Miller.<\/dialogue>\n    <scene_description>The ELEVATOR OPENS : Andrew breezes past the MAN ON CRUTCHES , saying to Joe :<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Client of yours?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Funny.<\/dialogue>\n    <scene_description>Andrew hurries down the corridor . Joe waits a moment . then pursues the MAN ON CRUTCHES .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Excuse me? Sir? Yo!<\/dialogue>\n    <scene_description>ANDREW EKERGES FROM CITY HALL , ONTO DILWORTH PLAZA BUSTLING with<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAY - PEDESTRIANS...<\/stage_direction>\n    <scene_description>DARTS into the street , hailing a cab . THE CAB PULLS UP TO A BROWNSTONE ON A RESIDENTIAL STREET , Andrew hopping out , stuffing papers into his briefcase<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAY -...<\/stage_direction>\n    <scene_description>RUSHING to the door marked `` Dr. Roberta Gillman , Internal Medicine . '' Coming out is a YOUNG ASIAN MAN with a cotton ball taped to the inside of his elbow .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - CLASSICAL MUSIC... AS CAMERA PANS PATIENTS<\/stage_direction>\n    <scene_description>-LRB- MOSTLY YOUNG MEN -RRB- in a cheerful room . some , like a UPS DELIVERY MAN , are attached to IV 's , some sit with arms extended , waiting to be hooked to an IV by TYRONE , a BLACK PHYSICIAN 'S AID . CAMERA FINDS ANDREW sitting quietly , with an IV drip running into his arm . Andrew is wearing a Walkman , the source of the CLASSICAL MUSIC , and he 's reading a legal brief . Most of the people in the room look SICKER than Andrew . DIALOGUE CAN BE HEARD under the CLASSICAL MUSIC -LRB- although MUSIC dominates the SOUNDTRACK -RRB- .<\/scene_description>\n    <character>TYRONE<\/character>\n    <parenthetical>( slapping a thin PATIENT 'S wrist . )<\/parenthetical>\n    <dialogue>Gon na have to start looking for veins in your feet, sweetheart.<\/dialogue>\n    <scene_description>DR. ROBERTA GILLMAN , passes through , speaking to Andrew :<\/scene_description>\n    <character>DR. GILLMAN<\/character>\n    <dialogue>Andy. Can you stop at my office on your way out?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>Andrew is distracted by A HISPANIC MAN across the room , rolling up his sleeve for an IV - his bare arms , hands , face and neck are marked with PURPLE BLOTCHES . Andrew closes his eyes , concentrating for a moment on the CLASSICAL MUSIC . then goes back to work . ANDREW HURRIES OUT OF THE DOCTOR 'S OFFICE , HAILING A CAB<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAY -...<\/stage_direction>\n    <scene_description>ANDREW HOPS OUT OF THE CAB , IN FRONT OF AN IMPRESSIVE skyscraper in downtown Philly , at the end of the work day<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAY -...<\/stage_direction>\n    <scene_description>Andrew pushes through glass doors into the plush `` Wheeler Building , '' pressing through the tide of WORKERS headed home . A BLACK PARALEGAL , ANTHEA BURTON , LEADS A YOUNG , BLACK LAW CLERK -LRB- in suit and tie -RRB- to the elevators , at the sedate , expensively appointed offices of Wyant Wheeler Hellerman<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - Tetlow and Brown...<\/stage_direction>\n    <character>ANTHEA<\/character>\n    <dialogue>up to Tax, on fourteen, and get right back, I need you.<\/dialogue>\n    <scene_description>Andrew BLASTS out of the elevator , flashing Anthea a four - star smile . They stride down the corridor together .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Just the dazzling paralegal I wanted to see.<\/dialogue>\n    <character>ANTHEA<\/character>\n    <parenthetical>( friendly . )<\/parenthetical>\n    <dialogue>I know what that means, and the answer is no. I have a class tonight. Exploit someone else. And since you've asked.<\/dialogue>\n    <scene_description>They pass a silver - haired partner , KENNETH KILLCOYNE .<\/scene_description>\n    <character>KILLCOYNE<\/character>\n    <dialogue>Solid work on the Rockwell situation, Andy. Top - notch.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Thanks, Kenneth.<\/dialogue>\n    <parenthetical>( to Anthea . )<\/parenthetical>\n    <dialogue>Your exam!<\/dialogue>\n    <character>ANTHEA<\/character>\n    <dialogue>Thank you. 98. I got ta go.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Ninety - eight?! Ninety - eight!<\/dialogue>\n    <scene_description>Andrew reaches the secretaries ' station . A cheerful secretary , SHELBY , shoves documents at him .<\/scene_description>\n    <character>SHELBY<\/character>\n    <dialogue>Conference call's up. They just started the roll call. Here's the settlement agreement, the red - lined copy's on your desk. Need me in there?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>No. Great. Thanks, Shelby.<\/dialogue>\n    <parenthetical>( checking his watch . )<\/parenthetical>\n    <dialogue>It's 6:30, go home.<\/dialogue>\n    <scene_description>Andrew passes a colleague on her way out , RACHEL SMILOW :<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Rach.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I'm late, I have to pick up Amy from her afterschool but I want to talk to you about that Hansen thing.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Catch me later, I'll be here. And tell Amy, I love her painting, it's on my wall.<\/dialogue>\n    <scene_description>Andrew SAILS toward his office .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - ANDREW ENTERS HIS OFFICE, KICKING THE DOOR SHUT.<\/stage_direction>\n    <scene_description>DROPPING the documents on his desk , SCANNING them . ADMIRING a child 's painting taped to the wall . PUNCHING into the speaker phone on his desk . The SCREEN SPLITS , REVEALING A TELECONFERENCE OPERATOR :<\/scene_description>\n    <character>OPERATOR<\/character>\n    <dialogue>Karen Hargreave, representing Lloyd Management Corporation?<\/dialogue>\n    <scene_description>The SCREEN SPLITS INTO THIRDS : Andrew , the OPERATOR , and HARGREAVE -LRB- a sharp , California lawyer . -RRB-<\/scene_description>\n    <character>HARGREAVE<\/character>\n    <dialogue>Present.<\/dialogue>\n    <scene_description>As the OPERATOR continues the roll call , the SCREEN CONTINUES TO SPLIT and HARGREAVE is replaced by a SERIES OF LAWYERS in offices around the country , -LRB- MOSTLY WHITE MALES -RRB- saying `` Present '' while in Andrew 's section of the screen . Andrew dials a number on another telephone line ,<\/scene_description>\n    <character>OPERATOR<\/character>\n    <dialogue>Andrew Beckett, representing Saunders International?<\/dialogue>\n    <scene_description>Andrew punches into the conference call<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Present.<\/dialogue>\n    <scene_description>The MULTI - IMAGE SCREEN is now joined by SARAH BECKETT , a suburban , 60ish American MOM , in her backyard garden , answering a portable phone .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Hi, Mom. It's me.<\/dialogue>\n    <scene_description>The LAWYERS are into the conference , in their portions of the screen , -LRB- their VOICES HEARD underneath Andrew 's conversation with his mother -RRB- .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Andy! This is a nice surprise. How are you, hon?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>I'm fine.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>What's Dr. Gillman say?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Hold on, Mom.<\/dialogue>\n    <parenthetical>( punching into the conference call . )<\/parenthetical>\n    <dialogue>There's no way my client will go along with that.<\/dialogue>\n    <character>HARGREAVE<\/character>\n    <dialogue>Who's this?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Andrew Beckett. Hi, Karen. I'm sorry I interrupted.<\/dialogue>\n    <scene_description>He punches out of the conference , back to his Mom -LRB- glancing over his shoulder to make sure the door is shut -RRB- .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Gillman says I'm fine. My blood work is excellent. T - cells are up. Just a sec.<\/dialogue>\n    <parenthetical>( conference call . )<\/parenthetical>\n    <dialogue>Yes, I think that would alleviate most of our concerns.<\/dialogue>\n    <parenthetical>( back to Mom . )<\/parenthetical>\n    <dialogue>My platelets look good too.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Are you on one of those conference calls? I hate when you put me on hold.<\/dialogue>\n    <character>CUT ON ANDREW'S LAUGHTER TO:<\/character>\n    <dialogue \/>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  - THE MOON ABOVE THE WHEELER BUILDING LATE AT NIGHT<\/stage_direction>\n    <scene_description>TITLE : `` One - thirty a.m. ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT - ANDREW AT WORK IN THE FIRM'S LIBRARY...<\/stage_direction>\n    <scene_description>Andrew 's fingers FLY across the keys of a notebook computer . Needing a reference , he shoves his rolling chair away from the computer . opens a reference book . grabs a carton of Chinese food . -LRB- NOTE : The library may be equipped with a computer terminal which Andrew uses for reference , rather than a book . -RRB- Andrew eats sauteed string beans with chopsticks , finding a relevant citation :<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Ah hah! Yes!<\/dialogue>\n    <parenthetical>( chewing a string bean . )<\/parenthetical>\n    <dialogue>Rentworth v. Pennsylvania. court of appeals affirms jury award of punitive damages for wrongful interference with prospective economic relations.<\/dialogue>\n    <scene_description>A SHADOW falls across Andrew . He IGNORES IT . ANGLE : TWO MEN IN SILHOUETTE . WALTER KENTON says :<\/scene_description>\n    <character>KENTON<\/character>\n    <dialogue>Look at this fucking guy. He's an animal.<\/dialogue>\n    <scene_description>Andrew 's hands DO NOT LEAVE the keyboard .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Walter.<\/dialogue>\n    <scene_description>The SECOND MAN steps forward , a silhouette becoming visible This is BOB SEIDMAN . He and Kenton wear tuxedos .<\/scene_description>\n    <character>SEIDMAN<\/character>\n    <dialogue>Are we interrupting, Andy?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>In a word, Bob.<\/dialogue>\n    <character>SEIDMAN<\/character>\n    <dialogue>Charles is right behind me.<\/dialogue>\n    <scene_description>ANOTHER SILHOUETTED FIGURE APPEARS . This image has a horror - film feeling to it . Andrew WHIPS AROUND to face them .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>I was just about to take a break. Good evening, Charles.<\/dialogue>\n    <scene_description>CHARLES WHEELER , also in tuxedo , remains in shadow .<\/scene_description>\n    <character>WHEELER<\/character>\n    <dialogue>Andy? Could you step into my office for a sec?<\/dialogue>\n    <parenthetical>( deadpan . )<\/parenthetical>\n    <dialogue>I feel like firing someone tonight.<\/dialogue>\n    <scene_description>Andrew throws an arm over Seidman 's shoulder .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>We're gon na miss you around here, Bob.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT - THE RECEPTION AREA : A DOMINO'S PIZZA DELIVERY<\/stage_direction>\n    <scene_description>MAN , waiting for clearance from a SECURITY GUARD , on Andrew 's dim and quiet floor , WATCHES AS . Seidman , Kenton and Andrew follow Charles Wheeler up a wide , carpeted staircase . Wheeler finishes a story and everyone LAUGHS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT - A BOX OF CIGARS BEING HANDED AROUND...<\/stage_direction>\n    <character>SEIDMAN<\/character>\n    <dialogue>Andy's expressed a keen interest in the Kronos Inc. situation, Charles. Is that correct, Andy?<\/dialogue>\n    <scene_description>The lawyers have gathered in Wheeler 's spacious office , with its floor - to - ceiling view of the Philadelphia skyline .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>The fate of the participants interests me, yes sir.<\/dialogue>\n    <scene_description>Wheeler , Kenton and Seidman proceed with the male ritual of preparing cigars to be smoked : snipping the ends with a brass clip , rolling them over their tongues to wet them , sliding the cigars in and out of their rounded mouths . Andrew , holding a cigar but NOT preparing to light it , watches with a not completely concealed twinkle in his eye . Wheeler leans back in his chair , swirling a brandy snifter . He exhales cigar smoke with a great deal of pleasure .<\/scene_description>\n    <character>KENTON<\/character>\n    <dialogue>It's good to be King, hey Charles?<\/dialogue>\n    <character>WHEELER<\/character>\n    <dialogue>Kings are out of fashion. I'd rather be thought of as a benevolent tyrant.<\/dialogue>\n    <parenthetical>( prompting Andrew . )<\/parenthetical>\n    <dialogue>It's an anti - trust action.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>It is, and it is n't, Charles. Macrosystem's new software copies all the best - known elements of Kronos' spreadsheet program. If they're allowed to sell it, Kronos will get undersold right out of business. For me, the legal principle, involved is copyright infringement.<\/dialogue>\n    <character>WHEELER<\/character>\n    <dialogue>Bearing in mind that Bill Wright, the chairman of MacroSystems, is a close, personal friend of mine. which side of this mess would you desire to be on, Andy? And do n't allow my very tight, personal relationship with Bill to influence your answer in any way.<\/dialogue>\n    <scene_description>Andrew knows this is a test . And he loves it .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Sorry, Charles, but.<\/dialogue>\n    <scene_description>Andrew is distracted - BY A LIGHT FALLING ACROSS HIS FACE .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>I'd like to see Kronos win.<\/dialogue>\n    <scene_description>Walter Kenton has shifted a lamp , so that its LIGHT FALLS ACROSS ANDREW 'S FACE , REVEALING : a faint purple blotch about the size of a quarter , much like the blotches we saw on the HISPANIC PATIENT in Andrew 's doctor 's office .<\/scene_description>\n    <character>KENTON<\/character>\n    <dialogue>Why, Beckett?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Because they deserve to, Walter.<\/dialogue>\n    <scene_description>Andrew lifts his hand , finding that his hair has been pushed back , revealing the blotch . He stands , nonchalantly running a hand through his hair to cover the blotch .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>If MacroSystems wins, an energetic, young company will be destroyed, five thousand Americans will be out of work. Moreover, the laws of copyright and anti - trust were enacted to prevent exactly the kind of bullshit Macrosystems is trying to pull.<\/dialogue>\n    <character>SEIDMAN<\/character>\n    <dialogue>Andy, do you know who reps Kronos Inc?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Bailey, Brackman.<\/dialogue>\n    <character>WHEELER<\/character>\n    <dialogue>Get with the program, Andy. As of this evening, about 8:05 this evening, right after the soup course. Kronos Incorporated is represented by Wyant Wheeler Hellerman Tetlow and Brown. Or, more specifically, senior associate Andrew Beckett.<\/dialogue>\n    <scene_description>A moment before it sinks in , then : Andrew clenches his fist in a victory salute .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <character>SEIDMAN<\/character>\n    <dialogue>You'll have to get right on it, Andy, we're up against the statute of limitations.<\/dialogue>\n    <scene_description>An ASSOCIATE LAWYER in shirtsleeves taps on the office door .<\/scene_description>\n    <character>ASSOCIATE LAWYER<\/character>\n    <dialogue>Tokyo on four, Bob.<\/dialogue>\n    <character>SEIDMAN<\/character>\n    <dialogue>Great. Excuse me, fellas.<\/dialogue>\n    <parenthetical>( picking up a phone , speaking Japanese . )<\/parenthetical>\n    <dialogue>Connichiwa. Itsumo osewa ni nari mashita. Arigato gozaimasu.<\/dialogue>\n    <scene_description>Andrew offers his hand to Walter Kenton .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Thanks, Walter.<\/dialogue>\n    <character>KENTON<\/character>\n    <dialogue>What's that on your forehead, pal?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Whacked with a racquetball.<\/dialogue>\n    <parenthetical>( taking Wheeler 's hand . )<\/parenthetical>\n    <dialogue>I appreciate your faith in my abilities.<\/dialogue>\n    <character>WHEELER<\/character>\n    <dialogue>Faith, Andy, is the belief in something for which we have no evidence. It does n't apply to this situation.<\/dialogue>\n    <parenthetical>( slapping his shoulder . )<\/parenthetical>\n    <dialogue>Go home. I mean, get back to work.<\/dialogue>\n    <scene_description>Andrew and Wheeler are eye - to - eye , an intimate moment .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( warmly , softly . )<\/parenthetical>\n    <dialogue>Thanks, Charles.<\/dialogue>\n    <character>WHEELER<\/character>\n    <parenthetical>( with a father 's affection . )<\/parenthetical>\n    <dialogue>No sweat, buddy.<\/dialogue>\n    <scene_description>Smiling , Andrew exits the office . CLOSE ON WALTER KENTON , THINKING . ANDREW STEPPING INTO THE EMPTY CORRIDOR , TAKING A FEW STEPS<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT - away from Wheeler's office, then...<\/stage_direction>\n    <scene_description>DOING a JOYFUL END ZONE DANCE , running in place the way football players do when then score a touch down , saying `` Yes ! Yes ! Yes ! '' to himself , soundlessly . The SOUND OF CLANGING METAL interrupts Andrew : HELENA , a maintenance worker is emptying a trash can . She 's seen his little dance and starts to laugh . Smiling , Andrew puts the unlit cigar into his mouth , WINKS at Helena and says :<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( in a funny , kind of medieval way . )<\/parenthetical>\n    <dialogue>It's good to be King.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  DAY - ESTABLISHING: ANDREW'S LOFT BUILDING<\/stage_direction>\n    <scene_description>TITLE : `` Ten days later . '' CLOSE ON ANDREW 'S FACE MARKED WITH FOUR BLOTCHES -LRB- WE 'RE IN Andrew 's loft - INT . \/ DAY -RRB- It 's a mirror image . The BLOTCHES vary from the size of a dime , to the size of a half - dollar . He looks awful . A YOUNG , BLACK WOMAN 'S FINGER applies makeup to Andrew 's face , trying to cover the blotches . This is his friend CHANDRA .<\/scene_description>\n    <character>CHANDRA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>You want to apply the foundation as evenly as you can, Andy. You do n't want to look like you've thrown it on with a spoon.<\/dialogue>\n    <character>ANDREW<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Uh huh.<\/dialogue>\n    <scene_description>CAMERA PULLS BACK REVEALING Andrew sitting at a table in his loft , a towel around his neck , protecting his shirt from makeup . Chandra applies the makeup gently , supervised by another friend named ALAN . -LRB- Andrew 's loft has been turned into a lawyer 's command post : stacks of books , documents , etc. -RRB- . A third friend , BRUNO , sits in the corner , flipping through channels on the TV .<\/scene_description>\n    <character>CHANDRA<\/character>\n    <dialogue>Okay. You try.<\/dialogue>\n    <scene_description>Andrew tries applying makeup to his face .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Chandra? Do n't you think this color's a little. orange for me?<\/dialogue>\n    <character>CHANDRA<\/character>\n    <dialogue>Tahitian Bronze works best on lesions.<\/dialogue>\n    <character>ALAN<\/character>\n    <dialogue>Think of it as the `` I just back from Aruba'' look.<\/dialogue>\n    <scene_description>IN THE BACKGROUND : Andrew 's fax machine receives a fax in Andrew 's `` work area '' : desk , personal computer , etc. -RRB- .<\/scene_description>\n    <character>BRUNO<\/character>\n    <dialogue>I got it.<\/dialogue>\n    <scene_description>Bruno removes the fax from the machine , walking it over to Andrew , handing Andrew the fax , while munching an apple .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( giving the fax a quick scan . )<\/parenthetical>\n    <dialogue>Thanks, Bruno.<\/dialogue>\n    <parenthetical>( to Alan and Chandra . )<\/parenthetical>\n    <dialogue>I've been out of the office four days. I do n't want them to think I've been to the beach.<\/dialogue>\n    <parenthetical>( searching for something . )<\/parenthetical>\n    <dialogue>Okay. Check this out.<\/dialogue>\n    <scene_description>Andrew puts on a pair of big glasses with tortoise shell frames , meant to help conceal the blotches .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Hides everything, right? What do you think?<\/dialogue>\n    <character>CHANDRA<\/character>\n    <dialogue>You know who you look like, Andy? That actor, in that movie. Not the one where he was autistic, the one where he dressed up like a lady on a soap opera.<\/dialogue>\n    <character>ALAN<\/character>\n    <dialogue>Dustin Hoffman.<\/dialogue>\n    <character>ANDREW<\/character>\n    <parenthetical>( horrified . )<\/parenthetical>\n    <dialogue>Tootsie!<\/dialogue>\n    <character>BRUNO<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>CHANDRA<\/character>\n    <dialogue>You want to try Light Egyptian?<\/dialogue>\n    <scene_description>Suddenly , Andrew winces , gripping his gut .<\/scene_description>\n    <character>CHANDRA<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>ANDREW<\/character>\n    <parenthetical>( clearly in pain . )<\/parenthetical>\n    <dialogue>Excuse me a sec.<\/dialogue>\n    <scene_description>Andrew starts out of the room - suddenly HAVING TO RUN .<\/scene_description>\n    <character>CHANDRA<\/character>\n    <dialogue>Just like my cousin Fredo.<\/dialogue>\n    <scene_description>CAMERA HOLDS ON Chandra , Alan and Bruno . SOUND OF BATHROOM DOOR slamming shut . Bruno saunters across the room and knocks on the bathroom door .<\/scene_description>\n    <character>BRUNO<\/character>\n    <dialogue>You okay, Andy?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - TIGHT SHOT ON ANDREW, FACE TWISTED IN PAIN...<\/stage_direction>\n    <scene_description>Andrew rests his head against the wall , sweat covering his face . A storm of fire has passed through him , and he 's hoping it 's over for now .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>I think I need to go to the hospital.<\/dialogue>\n    <scene_description>MIGUEL ALVAREZ RUNS URGENTLY DOWN SPRUCE STREET , DODGING traffic as he crosses Eleventh Street , toward Jefferson<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAY - Hospital. He hustles up the ramp toward the<\/stage_direction>\n    <scene_description>Emergency Entrance . MIGUEL SHOVES THROUGH GLASS DOORS , INTO THE BUSTLING<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - Emergency Room, FINDING<\/stage_direction>\n    <scene_description>ANDREW sitting on a gurney , holding a cotton ball against his arm , where blood has been drawn , wearing a blanket over his shoulders , fighting chills . Chandra and Bruno are waiting with Andrew . They exchange quick hugs with Miguel and Andrew , ad libbing greetings and goodbyes .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Thanks, you guys.<\/dialogue>\n    <character>MIGUEL<\/character>\n    <dialogue>Yeah. Thanks, guys.<\/dialogue>\n    <scene_description>Miguel puts his arms around Andrew .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Gillman's out of her office today. I told her to take a day off, and she did, can you believe it? Did you get someone to cover your class?<\/dialogue>\n    <scene_description>Miguel touches Andrew 's face , checking for fever .<\/scene_description>\n    <character>MIGUEL<\/character>\n    <dialogue>Do n't worry about it. They took blood? A specimen?<\/dialogue>\n    <scene_description>Andrew holds an empty specimen cup .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Are n't you giving an exam?<\/dialogue>\n    <character>MIGUEL<\/character>\n    <dialogue>I said, do n't worry about it.<\/dialogue>\n    <scene_description>Miguel places a gentle kiss on Andrew 's sweaty forehead .<\/scene_description>\n    <character>MIGUEL<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>You got a fever, baby.<\/dialogue>\n    <scene_description>Suddenly , the facade cracks and TEARS STING Andrew 's eyes .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>I almost did n't make it to the bathroom, Miguel. I almost lost control right in front of everybody.<\/dialogue>\n    <character>MIGUEL<\/character>\n    <parenthetical>( holding him . )<\/parenthetical>\n    <dialogue>So what? It's nothing to be ashamed of. You have nothing to be ashamed of, okay?<\/dialogue>\n    <scene_description>Andrew pulls himself together , brushing aside tears , in control of his emotions once more .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Wait, here's my guy. Hey!<\/dialogue>\n    <scene_description>Andrew catches the attention of a harried INTERN , whose surgeon 's greens are covered with blood .<\/scene_description>\n    <character>INTERN<\/character>\n    <dialogue>Mr. Beckett, I'm sorry.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>About my blood work?<\/dialogue>\n    <character>INTERN<\/character>\n    <dialogue>We're waiting.<\/dialogue>\n    <scene_description>Miguel opens a small notebook , making notes .<\/scene_description>\n    <character>INTERN<\/character>\n    <dialogue>meanwhile, I'd like to prepare you for a colonoscopy, so we can take a look inside.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Sounds delightful.<\/dialogue>\n    <character>MIGUEL<\/character>\n    <dialogue>Why do you need to do this?<\/dialogue>\n    <character>INTERN<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>MIGUEL<\/character>\n    <dialogue>Who are you? Doctor?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>This is my partner. We keep records of hospital visits. Nothing personal.<\/dialogue>\n    <character>INTERN<\/character>\n    <dialogue>Dr. Klenstein.<\/dialogue>\n    <parenthetical>( to Andrew . )<\/parenthetical>\n    <dialogue>It's not a pleasant procedure, but if the KS is causing the diarrhea, we ought to know right away.<\/dialogue>\n    <character>MIGUEL<\/character>\n    <dialogue>It could be parasites, an infection.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>A reaction to AZT.<\/dialogue>\n    <character>KLENSTEIN<\/character>\n    <dialogue>That's possible, but.<\/dialogue>\n    <character>MIGUEL<\/character>\n    <dialogue>He's not going through some painful procedure until we've cancelled out everything else.<\/dialogue>\n    <character>INTERN<\/character>\n    <dialogue>I'm trying to help your `` partner.'' You're not a member of his immediate family, I could have you removed from the ER.<\/dialogue>\n    <character>ANDREW<\/character>\n    <parenthetical>( to the Intern . )<\/parenthetical>\n    <dialogue>He's upset, he's sorry.<\/dialogue>\n    <character>MIGUEL<\/character>\n    <dialogue>Do n't apologize for me.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>He's not sorry, okay, fine.<\/dialogue>\n    <parenthetical>( the diplomat . )<\/parenthetical>\n    <dialogue>Why do n't we see what we find out from the blood work? I'll work on getting a specimen, I'm sure hospital food could help in that direction. Maybe, by then, we'll hear from my doctor, and we'll go from there. Okay? Everybody happy?<\/dialogue>\n    <character>INTERN<\/character>\n    <dialogue>Allright. I'll get on the lab about the blood work.<\/dialogue>\n    <character>MIGUEL<\/character>\n    <parenthetical>( to the Intern . )<\/parenthetical>\n    <dialogue>I'm sorry.<\/dialogue>\n    <scene_description>The INTERN walks away . Andrew 's BEEPER BEEPS .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>That's the third time. I better call the office.<\/dialogue>\n    <parenthetical>( smiling at Niguel . )<\/parenthetical>\n    <dialogue>Would you relax, please?<\/dialogue>\n    <character>MIGUEL<\/character>\n    <dialogue>I am relaxed.<\/dialogue>\n    <scene_description>Andrew HOBBLES toward a pay phone , outside a VISITOR LOUNGE , where weary relatives are watching TV . Andrew drops a quarter into the phone .<\/scene_description>\n    <character>JOE MILLER'S VOICE<\/character>\n    <dialogue>`` If you or someone you know.''<\/dialogue>\n    <scene_description>ANDREW 'S POV ON TELEVISION : Joe Miller on the screen , with the words `` Negligence . Malpractice . Auto accidents '' . and in the background , PHOTOS of MAIMED , BURNED , INJURED CLIENTS .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( CONT . ) ''<\/parenthetical>\n    <dialogue>. has been injured through the fault of others, you may be entitled to legal remedy.<\/dialogue>\n    <scene_description>Andrew LAUGHS . Then , his call is answered :<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Shelby? It's me. Jamey's been beeping me, I. Okay, okay, calm down. Put Jamey on.<\/dialogue>\n    <scene_description>FIRST YEAR ASSOCIATE JAMEY COLLINS , SITTING AT ANDREW 'S DESK<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/ DAY -, GRABS THE PHONE when Andrew's intercom BUZZES...<\/stage_direction>\n    <character>JAMEY<\/character>\n    <parenthetical>( frantic . )<\/parenthetical>\n    <dialogue>Andy?! This is a disaster! We ca n't find your revisions on the Kronos complaint!<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Slow down, Jamey, for Christ's sake!<\/dialogue>\n    <character>JAMEY<\/character>\n    <dialogue>I went down to Word Processing to pick up the corrected copy, but they said you have n't delivered the corrections. I told them you've been working on it at home, and.<\/dialogue>\n    <scene_description>Andrew forgets his physical pain , this is more important .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>I brought it in last night, around midnight. It's in my computer.<\/dialogue>\n    <character>JAMEY<\/character>\n    <dialogue>What did you file it under?<\/dialogue>\n    <scene_description>Jamey puts his hands on Andrew 's computer keyboard .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>K - R - O - one.<\/dialogue>\n    <scene_description>Jamey types the file name .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Jamey, I do n't have to mention, do I, that we're up against a statute of limitations on this complaint which runs out in.<\/dialogue>\n    <parenthetical>( checks his watch . )<\/parenthetical>\n    <dialogue>Seventy - five minutes.<\/dialogue>\n    <scene_description>Jamey stares dumbfounded at the computer monitor .<\/scene_description>\n    <character>JAMEY<\/character>\n    <dialogue>It's not here, Andy.<\/dialogue>\n    <scene_description>Andrew closes his eyes . He ca n't believe this .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>You go down to Word Processing and tell those motherfuckers they better come up with that complaint, now! Or they are fucking dead! You tell them that comes from me!<\/dialogue>\n    <scene_description>Andrew SLAMS the phone into its cradle . He pauses , takes a deep breath , and says to himself :<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Every problem has a solution. Every problem. has. a. solution.<\/dialogue>\n    <scene_description>Calmer , Andrew returns to the gurney , putting on his shirt .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Every problem has a solution.<\/dialogue>\n    <scene_description>Miguel approaches with tea purchased at the canteen .<\/scene_description>\n    <character>MIGUEL<\/character>\n    <dialogue>Why are you getting dressed?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>You're not going to like this. Please try to smile.<\/dialogue>\n    <scene_description>Andrew puts his arms around Miguel .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Thanks for leaving school, and coming here, and.<\/dialogue>\n    <parenthetical>( pulling back , putting on his jacket . )<\/parenthetical>\n    <dialogue>I will be back. An hour, tops.<\/dialogue>\n    <character>MIGUEL<\/character>\n    <dialogue>You're going to the office?!<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>You're not smiling.<\/dialogue>\n    <scene_description>Andrew rushes toward the exit doors .<\/scene_description>\n    <character>MIGUEL<\/character>\n    <dialogue>You're leaving the hospital? You're going into the office looking like that? Are you insane?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>One hour!<\/dialogue>\n    <character>MIGUEL<\/character>\n    <dialogue>Drew!<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>I promise!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAY - ANDREW RUSHES TO THE STREET, HAILING A CAB...<\/stage_direction>\n    <scene_description>ANDREW STEPS OUT OF THE TAXI IN FRONT OF THE WHEELER<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAY - Building, heading for the entrance...<\/stage_direction>\n    <scene_description>But he changes his mind , darting to the corner of the block . Andrew stops to buy a baseball cap from a VENDOR . He trots down an alley , past bags of garbage , entering the building through a garage door . FROM A HIGH FLOOR , ANDREW CAN BE SEEN CLIMBING THE STEPS OF<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - an emergency stairwell...<\/stage_direction>\n    <scene_description>Andrew passes CAMERA , out of breath . He 's wearing the ball cap PULLED TO HIS EYEBROWS to hide blotches on his forehead . ANDREW OPENS THE FIRE DOOR ON HIS FLOOR AT WYANT WHEELER , removing<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - the ball cap, baring the purple blotches.<\/stage_direction>\n    <scene_description>He walks quickly down the hall . Passing a COLLEAGUE , Andrew pretends to scratch his face , attempting to hide the blotches as nonchalantly as possible . He dashes past an office , ignoring Anthea .<\/scene_description>\n    <character>ANTHEA<\/character>\n    <dialogue>Did n't expect to see you?<\/dialogue>\n    <scene_description>He ducks into his office . SECRETARY SHELBY AT ANDREW 'S DESK , FRANTICALLY SEARCHING<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - through papers...<\/stage_direction>\n    <scene_description>Startled when he sees Shelby , Andrew spins toward the wall .<\/scene_description>\n    <character>SHELBY<\/character>\n    <dialogue>I'm looking through the files but.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Call the messenger service, have someone standing by.<\/dialogue>\n    <parenthetical>( she reaches for the phone . )<\/parenthetical>\n    <dialogue>Your phone.<\/dialogue>\n    <character>SHELBY<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>Andrew keeps his face averted , until she 's out of the room . He goes to his computer , the monitor already glowing .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Think. You brought the discs in, you transferred.<\/dialogue>\n    <scene_description>Rachel comes into his office .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I thought I was supposed to be covering for you.<\/dialogue>\n    <parenthetical>( blurts out . )<\/parenthetical>\n    <dialogue>God, Andy, you look awful.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Fucking Word Processing lost my Kronos complaint. Which must be filed by fucking five o'clock! If it's late, there's no case.<\/dialogue>\n    <parenthetical>( the mantra . )<\/parenthetical>\n    <dialogue>Every problem has a solution.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>What can I do?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Get down to Word Processing. Help Jamey look.<\/dialogue>\n    <scene_description>She rushes out . Andrew begins shoving floppy discs into the slots on his computer , bringing up each disc 's directory .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <scene_description>He throws the disc to the floor . Shoves in another . Shoves in another , bending it in half .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>No, goddammit!<\/dialogue>\n    <scene_description>He pulls open a file drawer , dumping legal briefs onto the floor , frantically spreading them around with his foot . Andrew THROWS a document across the room , takes a breath . He picks up the telephone .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Bob? Something's come up. With Kronos. I do n't want to upset Charles, but.<\/dialogue>\n    <parenthetical>( letting down his guard . )<\/parenthetical>\n    <dialogue>Oh, shit, Bob, the complaint's due in forty minutes and I ca n't find it.<\/dialogue>\n    <parenthetical>( suddenly . )<\/parenthetical>\n    <dialogue>No, you do n't have to come.<\/dialogue>\n    <parenthetical>( hanging up the phone . )<\/parenthetical>\n    <dialogue>Great. Fucking great.<\/dialogue>\n    <scene_description>Andrew rubs his eyes , this is a nightmare . He switches off the overhead light . He slants the window blinds , filling the room with shadow Bob Seidman comes into the office , typically cheerful .<\/scene_description>\n    <character>SEIDMAN<\/character>\n    <dialogue>C'mon, Andy, you did n't lose anything.<\/dialogue>\n    <scene_description>Seidman is struck by the mess in the office , and Andrew 's disheveled appearance .<\/scene_description>\n    <character>SEIDMAN<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Jesus.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>I do n't know what to do, Bob.<\/dialogue>\n    <character>SEIDMAN<\/character>\n    <dialogue>You'll never find it in the dark.<\/dialogue>\n    <scene_description>Seidman FLIPS ON the overhead light . Andrew flinches . Seidman approaches . Andrew gives up trying to hide the purple blotches , facing his mentor straight on .<\/scene_description>\n    <character>SEIDMAN<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>What in God's name?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Bob.<\/dialogue>\n    <character>SEIDMAN<\/character>\n    <dialogue>What's wrong with your face?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>What's wrong with my face? You want to know what's wrong with my face? I've got a skin condition. Next question, Bob? No more questions? Fine. Now can you help me find the complaint?<\/dialogue>\n    <character>SEIDMAN<\/character>\n    <dialogue>Allright. Calm down.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <scene_description>Seidman sits in front of Andy 's computer .<\/scene_description>\n    <character>SEIDMAN<\/character>\n    <dialogue>What was the file name?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>K - R - O - one.<\/dialogue>\n    <character>SEIDMAN<\/character>\n    <dialogue>Maybe you mistyped the name when you were saving it. We'll try combinations of those letters.<\/dialogue>\n    <scene_description>Seidman goes to work . Andrew leans over his shoulder .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>You're right, I probably just misfiled.<\/dialogue>\n    <character>KENTON<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Andy?<\/dialogue>\n    <scene_description>Walter Kenton is standing at Andrew 's door . His demeanor is casual . So casual it seems a little forced .<\/scene_description>\n    <character>KENTON<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Some sort of problem?<\/dialogue>\n    <scene_description>Andrew has kept his face averted . But now he TURNS DIRECTLY TOWARD CAMERA , showing his face to Kenton .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Yeah, Walter. Yeah. Some sort of major problem.<\/dialogue>\n    <scene_description>HOLD ON THIS CLOSE UP OF ANDREW .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - A NEWBORN BEING LIFTED INTO A DOCTOR'S HANDS...<\/stage_direction>\n    <character>DOCTOR<\/character>\n    <dialogue>There she is, okay. You can relax now, Lisa.<\/dialogue>\n    <scene_description>LISA MILLER has just given birth to a baby girl . She collapses on her pillow , gasping for breath , moaning in pain , quietly crying a little . TITLE : `` One month later . '' The NURSES and the -LRB- FEMALE -RRB- DOCTOR move professionally around the bed , doing their jobs . At Lisa 's side , Joe fumbles with a camera while darting amazed looks back and forth between Lisa and the baby .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Oh my god. a girl. oh my god. Lisa. oh my god.<\/dialogue>\n    <scene_description>He 's frantic .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>You load the film? No, on this side. or this side? Do n't move the baby!<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Give me the camera, Joe.<\/dialogue>\n    <scene_description>Lisa pops the film into the camera , hands it back .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Thanks, hon. Oh my god.<\/dialogue>\n    <scene_description>With wildly trembling hands , Joe begins SNAPPING PHOTOS .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Oh my god. oh my god, look at her. oh my god.<\/dialogue>\n    <scene_description>JOE , WALKING THE HOSPITAL CORRIDOR , STILL WEARING SURGEON 'S<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - greens, SPEAKING INTO HIS PORTABLE PHONE...<\/stage_direction>\n    <character>JOE<\/character>\n    <dialogue>Go to Famous Fourth Street and buy a pound of Nova. No! She likes Scotch salmon better. Ah heck, get a pound of both! Get a dozen onion rolls. Get some bagels. Get a dozen. Get a bottle of champagne. Dom Peringon. A hundred bucks a bottle?! Better get a good California.<\/dialogue>\n    <scene_description>Passing a PATIENT IN TRACTION , ROLLING BY ON A GURNEY , Joe drops a business card into the PATIENT 'S broken hand .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <parenthetical>( to the PATIENT . )<\/parenthetical>\n    <dialogue>Give me a call.<\/dialogue>\n    <parenthetical>( into the phone . )<\/parenthetical>\n    <dialogue>Get everything over here as soon as you can, she's starved. No, not the baby! Lisa! Iris, listen : any calls I should know about? Uh huh. Uh huh. Beckett? Who's Andrew Beckett?<\/dialogue>\n    <scene_description>Turning a corner , Joe comes face to face with HIS RELATIVES , who charge at him joyfully :<\/scene_description>\n    <character>JOE'S MOTHER\/AUNTS\/UNCLES, ETC.<\/character>\n    <dialogue>Congratulations! How is Lisa?! When can we see the baby?!<\/dialogue>\n    <scene_description>QUIET . JOE , LISA AND THEIR BABY CUDDLED TOGETHER IN Lisa 's hospital bed , surrounded by debris from a party ,<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT - paper plates, empty champagne bottle...<\/stage_direction>\n    <scene_description>The relatives have gone . It 's late at night . Lisa holds the baby . Joe holds them both . AN INTERSECTION IN THE HEART OF OLD , DOWNTOWN PHILLY : A movie palace -LRB- now a six - plex -RRB- across the street from the Peter Pan Coffee Shop , PHILADELPHIA WORKERS going about the<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAY - business of the day...<\/stage_direction>\n    <scene_description>TITLE : `` One week later . '' Above the Peter Pan Coffee Shop is a string of large windows , each of which is painted with a question : HEART ATTACK ? ACCIDENT ? MEDICAL MALPRACTICE ? DOG BITE ? In bigger letters , across several windows : D I A L 1 8 0 0 A - L A W Y E R We hear JOE MILLER 'S VOICE - OVER :<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( OS . )<\/parenthetical>\n    <dialogue>How big was this hole you fell into?<\/dialogue>\n    <scene_description>A HALLWAY BULLETIN BOARD ANNOUNCING THE VARIOUS DEPARTMENTS of<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - \"Macready and Shilts Legal Services\", including<\/stage_direction>\n    <scene_description>`` Auto\/DUI\/Collisions with Deer . Product liability . Medical malpractice . Pet bites . '' The bulletin board stands at the entrance to a warehouse of lawyers ' cubicles formed by office dividers and plastic ferns . PHONES JANGLING . INJURED CLIENTS LIMPING ABOUT .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( OS ; CONT . )<\/parenthetical>\n    <dialogue>And this hole was right in the middle of the street?<\/dialogue>\n    <scene_description>JOE IS IN HIS OFFICE , A BOX OF CIGARS ON THE DESK WITH PINK<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - bands announcing \"It's a girl!\". On the walls are<\/stage_direction>\n    <scene_description>photos of INJURED CLIENTS -LRB- the same photos we saw in the background of Joe 's TV commercial -RRB- . A FEMALE CLIENT -LRB- MRS. FINLEY -RRB- faces Joe , her arm in a sling .<\/scene_description>\n    <character>MRS. FINLEY<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Why did n't you cross at the crosswalk?<\/dialogue>\n    <character>MRS. FINLEY<\/character>\n    <dialogue>Why should I?<\/dialogue>\n    <scene_description>ANDREW IS SEEN FROM BEHIND , SITTING ON A SOFA IN THE WAITING area . Very little hair shows beneath a Phillies ballcap . A MAN WEARING A NECKBRACE , sitting next to Andrew , RISES , MOVING to a seat opposite Andrew . From this new position the MAN WITH THE NECKBRACE STARES at Andrew . MAN WITH NECKBRACE 'S POV : The PURPLE BLOTCHES on Andrew 's face are beginning , to recede , not as angry looking as before , thanks to chemo therapy . Andrew is dressed casually , in jeans and a softball jacket -LRB- from the Wyant Wheeler team -RRB- with `` Andy '' embroidered over the heart . Joe 's assistant , IRIS , approaches .<\/scene_description>\n    <character>IRIS<\/character>\n    <dialogue>Mr. Beckett?<\/dialogue>\n    <scene_description>Andrew rises , following Iris past office dividers , HARRIED SECRETARIES and overflowing file cabinets . Iris can not look at Andrew as she walks beside him . -LRB- Outside Joe 's door is a sign : `` Beware Mad Dog '' with `` Mad '' written by hand . -RRB-<\/scene_description>\n    <character>IRIS<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>In here.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Thank you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - ANDREW STEPS INTO JOE'S OFFICE. ANDREW GLANCES<\/stage_direction>\n    <scene_description>at the photos while Joe wraps up .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( to the FEMALE CLIENT . )<\/parenthetical>\n    <dialogue>Explain this to me like I'm a six year old, okay? The entire street is clear except for one small area under construction, with a huge hole that is clearly marked and blocked off, and you decide you must cross the street at this spot. You fall into the hole and you want to sue the city for negligence?<\/dialogue>\n    <character>MRS. FINLEY<\/character>\n    <dialogue>Yeah. Do I have a case?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Of course you have a case! Now, I want you to go with my assistant, Iris, and fill out some forms. She'll tell you about our fee arrangement.<\/dialogue>\n    <parenthetical>( as they 're leaving . )<\/parenthetical>\n    <dialogue>Mrs. Finley? Any back pain since the accident? Dizziness? Nightmares?<\/dialogue>\n    <character>MRS. FINLEY<\/character>\n    <dialogue>Now that you mention it.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Tell Iris all about it.<\/dialogue>\n    <parenthetical>( leading her out . )<\/parenthetical>\n    <dialogue>Take good care of Mrs. Finley, Iris.<\/dialogue>\n    <parenthetical>( to Andrew . )<\/parenthetical>\n    <dialogue>Beckett, come in.<\/dialogue>\n    <scene_description>Joe offers his hand , getting a look at Andrew 's face .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Jesus Christ, what happened to you?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>I have AIDS.<\/dialogue>\n    <scene_description>Joe WITHDRAWS his hand , before it touches Andrew 's .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Whoa - oh!<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Sorry, I.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>It's okay. Can I sit down?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Uh, yeah.<\/dialogue>\n    <scene_description>Andrew hesitates . Joe does n't sound sure .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Go ahead.<\/dialogue>\n    <scene_description>Andrew sits , Joe returns to his desk . -LRB- Joe finds himself acutely aware of where Andrew places his hands . -RRB-<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( the cigars . )<\/parenthetical>\n    <dialogue>New baby?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>One week old.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Congratulations.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Little baby girl.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Kids are great.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Thanks, Beckett. I'm real excited about it.<\/dialogue>\n    <parenthetical>( glances at his watch . )<\/parenthetical>\n    <dialogue>What can I do for you?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>I was fired by Wyant Wheeler. I plan to bring a wrongful termination suit against Charles Wheeler and his partners.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>You want to sue Wyant Wheeler Hellerman Tetlow and Brown?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Correct. I'm seeking representation.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Continue.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>I misplaced an important complaint. That's their story. Want to hear mine?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>How many lawyers did you go to, before you called me?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Nine.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Continue.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>I was diagnosed with AIDS eight months ago. During a bout of pneumonia. I recovered quickly and was back at work in ten days. Since I was doing so well on the AZT, we decided against telling anyone about it.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>We?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>My lover and I.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Your. lover?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Miguel Alvarez. We've lived together for nine years.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Continue.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>I dove back into work, everything was fine. Until the lesions started.<\/dialogue>\n    <character>SUDDENLY PICTURE CUTS TO:<\/character>\n    <dialogue \/>\n    <scene_description>TIGHT ON ANDREW WAUKING THROUGH THE LOBBY OF THE WHEELER<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - Building. He's wearing MAKEUP, which sort of<\/stage_direction>\n    <scene_description>covers the blotches . -LRB- NOTE : PICTURE and ANDREW 'S VOICE OVER do NOT match up . This is no ordinary flashback -RRB- .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( VO ; CONT . )<\/parenthetical>\n    <dialogue>First on my leg. Then my forearm, my back. Then. my face. For a short period, I avoided the office during the day, waiting for the chemo therapy to clear up the lesions.<\/dialogue>\n    <scene_description>IMAGE : ANDREW RIDING THE CROWDED ELEVATOR ON A WORKDAY .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( VO ; CONT . )<\/parenthetical>\n    <dialogue>But I never let anything slide. I made all my calls from home. I worked sixteen hour days on a complaint for a 350 million dollar copyright infringement suit.<\/dialogue>\n    <scene_description>IMAGE : JOE IN HIS OFFICE , ABSORBED IN ANDREW 'S STORY .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( OS ; CONT . )<\/parenthetical>\n    <dialogue>But the day the complaint was due, it disappeared. Erased from my computer. I thought I was losing it, mentally.<\/dialogue>\n    <scene_description>IMAGE : ELEVATOR DOORS OPENING , ANDREW STEPPING INTO WYANT WHEELER OFFICES . NOW HE SPEAKS DIRECTLY TO CAMERA :<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>That can happen, it's called AIDS dementia when it gets into your brain. But miraculously, a copy of the complaint was located at the last minute, and we got it to court on time.<\/dialogue>\n    <scene_description>IMAGE : ANDREW 'S POV OF COLLEAGUES , STAFF IN THE OFFICES , GIVING HIM LOOKS , WHISPERING . ANTHEA BURTON NODS HELLO .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( OS ; CONT . )<\/parenthetical>\n    <dialogue>The next morning, I was called to the office for a meeting with the managing partners. Walking down that corridor was strange. Felt like everyone was staring.<\/dialogue>\n    <scene_description>REVERSE ANGLE ON ANDREW AND JOE WALKING AT ANDREW 'S SIDE .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Hell, they are staring. What's that shit on your face?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Makeup.<\/dialogue>\n    <scene_description>ANDREW 'S POV : RACHEL OUTSIDE HER OFFICE , SAYS `` GOOD LUCK . ''<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>The partners were waiting for me in the main conference room.<\/dialogue>\n    <scene_description>CAMERA TRACKS INTO THE CONFERENCE ROOM , GIVING US ANDREW 'S POV as he enters the room where Wheeler , Kenton , Killcoyne ,<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - Bob Seidman are waiting...<\/stage_direction>\n    <character>WHEELER<\/character>\n    <dialogue>Sit down, Andy.<\/dialogue>\n    <scene_description>Wheeler 's secretary , LYDIA , takes notes .<\/scene_description>\n    <character>WHEELER<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Thanks for coming in.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>Bob Seidman CAN NOT look directly at Andrew .<\/scene_description>\n    <character>WHEELER<\/character>\n    <dialogue>Andy. Before we begin, I'd just like to say : everyone in this room is your friend.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>You're in trouble.<\/dialogue>\n    <scene_description>-LRB- NOTE : Joe IS SEEN IN HIS OFFICE , or LEANING AGAINST A WINDOW IN THE CONFERENCE ROOM whenever he speaks . -RRB-<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>I know that, Charles.<\/dialogue>\n    <character>WHEELER<\/character>\n    <dialogue>More than your friend. Family.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Big trouble.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Charles, I must apologize again, for the Kronos mishap.<\/dialogue>\n    <parenthetical>( smiling . )<\/parenthetical>\n    <dialogue>It was a scary few minutes around here. Wow. But thank God, the complaint was found. And no damage was done.<\/dialogue>\n    <character>KENTON<\/character>\n    <dialogue>This time. What about next time?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>There wo n't be a next time, I guarantee it.<\/dialogue>\n    <character>WHEELER<\/character>\n    <dialogue>Andy. It seems that something has come over you, lately : A kind of. stupor, a fogginess, a lack of focus. Earth to Andy. Anybody home?<\/dialogue>\n    <character>KENTON<\/character>\n    <dialogue>Helloooo.<\/dialogue>\n    <character>KILLCOYNE<\/character>\n    <dialogue>That's right, Andy. The last four, five months you've seemed really out of it.<\/dialogue>\n    <character>SEIDMAN<\/character>\n    <dialogue>At least. different, somehow.<\/dialogue>\n    <character>ANDREW<\/character>\n    <parenthetical>( keeping it positive . )<\/parenthetical>\n    <dialogue>Perhaps. you're right. I've certainly been busy. With the Kronos complaint, a preliminary injunction hearing and the Saunders trial all falling at the same time.<\/dialogue>\n    <character>KENTON<\/character>\n    <dialogue>Some people think you have an attitude problem, Beckett.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Really? Who thinks that, sir?<\/dialogue>\n    <character>WHEELER<\/character>\n    <dialogue>I do.<\/dialogue>\n    <scene_description>Wheeler seems very grave .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>I had no idea there was a concern in that area. Hey :.<\/dialogue>\n    <parenthetical>( a smile . )<\/parenthetical>\n    <dialogue>I'll get to work on it right away.<\/dialogue>\n    <scene_description>NO ONE else smiles .<\/scene_description>\n    <character>WHEELER<\/character>\n    <dialogue>We've been talking it over, Andy. Your future that is. We feel that, because we respect you so much, we have to be honest with you.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Honesty is always best.<\/dialogue>\n    <character>SEIDMAN<\/character>\n    <dialogue>Do you really think so, Andy?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Yes, Bob, I do.<\/dialogue>\n    <parenthetical>( to the group . )<\/parenthetical>\n    <dialogue>Excuse me? Am I being fired?<\/dialogue>\n    <character>WHEELER<\/character>\n    <dialogue>Let's put it this way, Andy : your place in the future of this firm is no longer secure.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>In a word, yes.<\/dialogue>\n    <character>WHEELER<\/character>\n    <dialogue>We do n't think it's fair to keep you here, where your future is limited. But we wish you luck, Andy, all the luck in the world.<\/dialogue>\n    <scene_description>Wheeler rises , wearing a friendly smile .<\/scene_description>\n    <character>WHEELER<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>And I hate to rush you out of here, but.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>But he's got lots of other people's lives to ruin.<\/dialogue>\n    <character>WHEELER<\/character>\n    <dialogue>we've got a committee meeting.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Excuse me, Charles. With all due respect. this is. preposterous! It does n't make any sense, it sounds as if we're talking about someone else. Pardon the lack of humility, but I've had the distinct impression I was kind of. one of the rising stars around here. And I feel that was n't just my imagination. And I also think I deserve to know what's really going on here, Charles.<\/dialogue>\n    <character>KENTON<\/character>\n    <dialogue>Oh, you're right, Beckett, you do n't have an attitude problem.<\/dialogue>\n    <character>WHEELER<\/character>\n    <dialogue>Take it easy, Walter.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>If you'd lost confidence in me, why did you give me the Kronos suit?<\/dialogue>\n    <character>WHEELER<\/character>\n    <dialogue>I hoped the challenge would improve your performance. You could say it was a carrot.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>A carrot?!<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I buy that.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>As in, the vegetable?<\/dialogue>\n    <character>SEIDMAN<\/character>\n    <parenthetical>( suddenly emotional . )<\/parenthetical>\n    <dialogue>Andy, you nearly blew the case, for God's sake! That alone is inexcusable. It would have been catastrophic for us. Put yourself in our shoes, Andy. There's no coming back from an error like that, regardless of who you are!<\/dialogue>\n    <parenthetical>( softer . )<\/parenthetical>\n    <dialogue>I'm sorry, Andy.<\/dialogue>\n    <scene_description>Andrew FREEZES - the full nature of this situation hitting home . He looks each of the PARTNERS in the eye .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Uh huh. Okay. I see.<\/dialogue>\n    <scene_description>at last LOOKING DIRECTLY AT Wheeler 's secretary Lydia , whose pen is poised above her notebook , waiting for someone to say something . Wheeler breaks the silence .<\/scene_description>\n    <character>WHEELER<\/character>\n    <dialogue>Good luck, Andy.<\/dialogue>\n    <scene_description>Wheeler , Kenton , Killcoyne , Seidman and Lydia file out . Andrew does n't move . A SECURITY GUARD enters the room .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>SECURITY GUARD<\/character>\n    <dialogue>I'm here to escort you to your office so you can organize your belongings.<\/dialogue>\n    <scene_description>CAMERA PULLS BACK FROM ANDREW , WE 'RE IN JOE 'S OFFICE -LRB- DAY -RRB- .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Okay. Explain to me like I'm a two year old, because there's an element to this I ca n't get through my thick head : Did n't you have an obligation to inform your employer you had this dreaded, deadly, infectious disease?<\/dialogue>\n    <scene_description>Andrew removes his ballcap - his hair is cut short , to disguise the effects of chemo .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>The law says people with disabilities can not be terminated, so long as they can perform the duties required by their position.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Okay, okay. They discover you have this horrible, disgusting, terminal illness, and they panic, for any number of perfectly valid reasons. They're frightened for themselves, their families. Maybe it's the homo angle. Maybe they do n't want to rub elbows with someone who's just popped out of the closet with a terminal case of acne. And how do they explain your status to the client for Chrissake?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Joe, from the day I arrived to the day they fired me, I performed consistently, thoroughly and with absolute excellence. And if they had n't fired me, that's what I'd be doing today.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Okay. They want you out. It's against the law to fire you for having AIDS, so they make you look like a fuck up. Which leads us to the mysterious, lost file.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>They sabotaged me.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I knew you were going to say that. I do n't buy it, and I do n't see a case.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Look. I know I have a case. If you do n't want to take it for personal reasons.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Correct. I do n't.<\/dialogue>\n    <scene_description>Andrew rises , thoroughly business - like .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Thanks for your time.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Beckett? I'm sorry about. what's happened to you. It's a fucking kick in the head.<\/dialogue>\n    <character>ANDREW<\/character>\n    <parenthetical>( a smile . )<\/parenthetical>\n    <dialogue>Do n't send flowers, Joe. I'm not dead yet.<\/dialogue>\n    <scene_description>Andrew exits . ANDREW LEAVES JOE 'S OFFICE , MOVING DOWN THE CORRIDOR -LRB- DAY -RRB- .<\/scene_description>\n    <character>IRIS<\/character>\n    <parenthetical>( still uncomfortable , as Andrew 's leaving . )<\/parenthetical>\n    <dialogue>Have a nice day.<\/dialogue>\n    <scene_description>Andrew nods , passing one of Joe 's colleagues , a hustler named FILKO , who STARES SHAMELESSLY . Joe approaches Iris 's desk .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Find out if Armbruster can see me this afternoon.<\/dialogue>\n    <character>FILKO<\/character>\n    <parenthetical>( still staring . )<\/parenthetical>\n    <dialogue>What the hell's wrong with him?<\/dialogue>\n    <scene_description>THE STREET : ANDREW EMERGES FROM THE LAWYER 'S BUILDING<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAY -. CLOSE ON ANDREW, standing there as an endless flow of<\/stage_direction>\n    <scene_description>people passes by . He watches them go , thinking . A SUBURBAN DOCTOR 'S OFFICE IN A MIDDLE - CLASS NEIGHBORHOOD<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAY -...<\/stage_direction>\n    <character>DR. ARMBRUSTER<\/character>\n    <parenthetical>( OS . )<\/parenthetical>\n    <dialogue>You had contact with someone who has AIDS, and you're worried.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - A DOCTOR UNRAVELLING A BLOOD PRESSURE GAUGE<\/stage_direction>\n    <character>JOE<\/character>\n    <dialogue>I'm not worried. What are you doing?<\/dialogue>\n    <scene_description>Joe sits in his shirtsleeves on the examining table .<\/scene_description>\n    <character>DR. ARMBRUSTER<\/character>\n    <dialogue>Checking your blood pressure, relax.<\/dialogue>\n    <scene_description>The DOCTOR wraps the blood pressure unit around Joe 's arm .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>I did n't have contact. What do you consider `` contact?'' We were sitting in the same room, three, four feet. What if you shake hands? Wait. I know the answer. Only sex, or sharing needles. I know that. We did n't shake hands, anyway.<\/dialogue>\n    <scene_description>Dr. Armbruster squeezes the blood pressure pump ,<\/scene_description>\n    <character>DR. ARMBRUSTER<\/character>\n    <dialogue>The HIV virus can only be transmitted through the exchange of bodily fluids, namely blood and semen.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Right.<\/dialogue>\n    <scene_description>Joe begins rolling down his sleeve .<\/scene_description>\n    <character>DR. ARMBRUSTER<\/character>\n    <dialogue>Leave that.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Yeah, but Doc, is n't it true they keep finding out new things about this disease? So you tell me, today, there's no danger, and I go home, and I hold my baby, and six months from now I hear on the news : `` whoops! We were wrong.' You can carry it on your clothes, your skin, and now I've got to worry about my kid. What are you doing?<\/dialogue>\n    <scene_description>Dr. Armbruster has been preparing a syringe .<\/scene_description>\n    <character>DR. ARMBRUSTER<\/character>\n    <dialogue>We're going to draw blood.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Why are we going to do that?<\/dialogue>\n    <character>DR. ARMBRUSTER<\/character>\n    <dialogue>Joe. I do n't care a whit about your private life.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>You want to give me an AIDS test?!<\/dialogue>\n    <scene_description>Joe HOPS off the table .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>The guy sat in my office! You ca n't get AIDS that way, right?<\/dialogue>\n    <character>DR. ARMBRUSTER<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>It does n't travel through the air, by breathing, or touching, right?<\/dialogue>\n    <character>DR. ARMBRUSTER<\/character>\n    <dialogue>Not by touching, or shaking hands, or hugging, using the same toilet. Even kissing someone with AIDS is safe. But it there's something in your past you're worried about.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Thanks, Doc, but I do n't need an AIDS test. Are you crazy? But thanks for the information. Really.<\/dialogue>\n    <scene_description>Joe throws on his jacket , opens the door . then TURNS BACK :<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>In my past?<\/dialogue>\n    <character>ARMBRUSTER<\/character>\n    <dialogue>IV drug use.<\/dialogue>\n    <scene_description>Joe shakes his head .<\/scene_description>\n    <character>DR. ARMBRUSTER<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>A homosexual encounter.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Get real.<\/dialogue>\n    <character>DR. ARMBRUSTER<\/character>\n    <dialogue>Unprotected sex with a prostitute.<\/dialogue>\n    <character>JOE<\/character>\n    <parenthetical>( thinking it over . )<\/parenthetical>\n    <dialogue>Uh. No. Not really.<\/dialogue>\n    <character>DR. ARMBRUSTER<\/character>\n    <dialogue>Or unprotected sex with someone you did n't know very well, any time during the last twelve years.<\/dialogue>\n    <scene_description>A MOMENT . Joe returns to the examining table , and rolls up his sleeve .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NIGHT - ESTABLISHING: JOE'S HOUSE IN THE SUBURBS...<\/stage_direction>\n    <character>LISA<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>You have a problem with gays, Joe.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT - JOB CRADLES HIS BABY AGAINST HIS CHEST...<\/stage_direction>\n    <character>JOE<\/character>\n    <dialogue>Not especially.<\/dialogue>\n    <scene_description>Lisa eats standing up , at the stove , while Joe walks the BABY in their modern kitchen .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>How many gays do you know?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>How many do you know?<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Lots.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Karen Berman. Aunt Teresa. My cousin Tommy who lives in Rochester. Eddie Meyers from the office. Joe Cantwell, he's one of the partners. His lover, Greg. Stanley, the guy who's putting in our kitchen cabinets.<\/dialogue>\n    <scene_description>For a moment , Joe is struck dumb . Then he says :<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Your Aunt Teresa is gay? That beautiful, sensuous woman is a. lesbian?<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Duh.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Since when?<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Probably since she was born.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Allright. I admit it : I'm prejudiced. I do n't want to work with a homosexual. You got me.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Okay, Joe.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I mean, two guys, doing the horizontal thing? I do n't get it. Do n't they get confused? `` Is that mine? I thought it was yours.'' Hey, call me old fashioned, call me conservative. I think maybe you have to be a man to get just how nauseating the whole basic idea really is.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Fine, Joe.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>And the way they work out, pumping up, so they can be macho and faggot at the same time. I ca n't stand that shit. Now I'm being totally honest with you.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>That's perfectly clear.<\/dialogue>\n    <scene_description>CLOSE ON JOE , LOOKING DIRECTLY INTO CAMERA :<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Would you take a client if you were constantly thinking : `` I hope this guy does n't touch me. I do n't even want him to breathe on me?''<\/dialogue>\n    <scene_description>THE STREETS OF PHILLY ARE DUSTED WITH SNOW , STORE WINDOWS decorated for Christmas . Joe steps out of the Famous 4th<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAY - St. Deli, with a package...<\/stage_direction>\n    <scene_description>TITLE : `` Two weeks later . '' JOE SITS AT A TABLE IN THE PUBLIC LAW LIBRARY , SURROUNDED BY books and legal pads , hard at work . He 's eating a pastrami sandwich which he hides behind a reference book when a LIBRARIAN<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - saunters by...<\/stage_direction>\n    <scene_description>A CHAIR SQUEAKS and Joe LOOKS UP TO SEE : Andrew taking a seat across the room -LRB- the blotches have been reduced by chemo , but he 's struggling with a cold -RRB- . Andrew removes notepads and pens from his briefcase . He takes out a package of tissues , blowing his nose .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( under his breath . )<\/parenthetical>\n    <dialogue>Shit.<\/dialogue>\n    <scene_description>Joe slides to the far end of his table , stacking seven or eight HUGE REFERENCE BOOKS in front of him . JOE 'S POV , PEERING THROUGH THE REFERENCE BOOKS : Andrew opens a book , taking notes . Rubs his eyes . Writes something . Sneezes . A LIBRARIAN delivers a book to Andrew .<\/scene_description>\n    <character>LIBRARIAN<\/character>\n    <dialogue>This is the supplement. You're right, there is a section on.<\/dialogue>\n    <parenthetical>( lowers her voice . )<\/parenthetical>\n    <dialogue>. HIV related discrimination.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Andrew takes the book from her - but she remains .<\/scene_description>\n    <character>LIBRARIAN<\/character>\n    <dialogue>We have a private research room available.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>I'm fine, thanks.<\/dialogue>\n    <scene_description>Andrew BLOWS HIS NOSE . Now other PATRONS are watching .<\/scene_description>\n    <character>LIBRARIAN<\/character>\n    <dialogue>Would n't you be more comfortable in a research room?<\/dialogue>\n    <character>ANDREW<\/character>\n    <parenthetical>( pleasantly . )<\/parenthetical>\n    <dialogue>No. But would it make you more comfortable?<\/dialogue>\n    <character>LIBRARIAN<\/character>\n    <dialogue>Whatever, sir.<\/dialogue>\n    <scene_description>The LIBRARIAN turns away , shrugging to a PATRON , indicating she 's done all she can do . As Joe continues to watch : one of Andrew 's NEIGHBORS picks up his books and moves away . Joe rises , gliding down an aisle of books , keeping one eye on Andrew , who concentrates on his work . Joe approaches , nonchalantly , as if he just happens to be sauntering by . Suddenly he `` notices '' Andrew .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Oh, Beckett. How's it goin'?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <scene_description>Andrew goes back to his work .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Who'd you get?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Find a lawyer?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>I'm a lawyer. How's your baby?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Huh? Oh. Great. She's great.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>What's her name?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Rayisha.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Rayisha. Very nice.<\/dialogue>\n    <scene_description>Andrew focuses on his work . Joe steps away . Joe comes back .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>How did they find out?<\/dialogue>\n    <character>ANDREW<\/character>\n    <parenthetical>( a second , then : . )<\/parenthetical>\n    <dialogue>One of the partners spotted a lesion on my forehead.<\/dialogue>\n    <scene_description>Nearby , a CHINESE PROFESSOR looks up , startled , when she hears the word `` lesion . ''<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Uh huh.<\/dialogue>\n    <scene_description>Andrew concentrates on his work once more .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>How do you get from one lawyer spotting a lesion, which could have been a bruise, to the partners deducing you had AIDS and basing a decision to terminate you on that conclusion?<\/dialogue>\n    <scene_description>The CHINESE PROFESSOR moves away .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Good point.<\/dialogue>\n    <scene_description>Andrew removes a legal pad with `` KENTON '' written in big letters across the top , and lots of notes underneath .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>The partner who spotted the lesion, Walter Kenton, used to work for Benton, Myers, in D.C. There's a paralegal there, Maria Torres. She's had lesions on and off for three years. She says it was common knowledge around the office that her lesions were caused by AIDS.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>They did n't fire her?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>No. They did n't fire her.<\/dialogue>\n    <scene_description>Andrew goes back to his work . Joe stands there .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>So Kenton connected the. lesion, and whatever suspicions he had about your personal life. to this woman, Maria. and blew the whistle on you. Suddenly you're losing files, and it's time to let you go. But, up to this point, you've been their Golden Boy, their rising star. Their behavior is. inconsistent.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Andrew goes back to work .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>There is no relevant precedent.<\/dialogue>\n    <character>ANDREW<\/character>\n    <parenthetical>( not looking up . )<\/parenthetical>\n    <dialogue>Arline decision. Supreme Court.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Arline?<\/dialogue>\n    <scene_description>Andrew SHOVES the legal book toward Joe . CLOSE ON ANDREW 'S HANDS -LRB- with one blotch -RRB- on the book 's white pages . The book is still facing Andrew . If Joe wants to read it , he 'll have to turn it around . Joe looks at Andrew 's hands . A MOMENT . Joe turns the book around , begins to read :<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>`` The Federal Vocational Rehabilitation Act of 1973 prohibits discrimination.''<\/dialogue>\n    <scene_description>CAMERA CRANES UP , TOWARD THE CEILING . JOE CONTINUES<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( VO ; CONT . ) ''<\/parenthetical>\n    <dialogue>. against otherwise qualified handicapped persons who are able to perform the duties required by their employment.''<\/dialogue>\n    <scene_description>CAMERA GOES HIGHER , LOOKING DOWN ON THE ROWS OF BOOKS AND THE LONG TABLES DOTTED WITH PEOPLE .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( VO ; CONT . )<\/parenthetical>\n    <dialogue>`` Although the ruling did not address the specific issue of HIV and AIDS discrimination.''<\/dialogue>\n    <scene_description>DISSOLVE TO SAME ANGLE AN HOUR LATER : Andrew and Joe face each other at their table , but NO ONE ELSE remains at that table , or at the table next to it .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>`` Subsequent decisions have held that AIDS is protected as a handicap under law, not only because of the physical limitations it imposes.''<\/dialogue>\n    <scene_description>DISSOLVE TO A SAME ANGLE AN HOUR LATER -LRB- DAY IS TURNING INTO NIGHT -RRB- : Joe pacing , Andrew reading . Their section of the library is COMPLETELY EMPTY but for Andrew and Joe .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( VO ; CONT . )<\/parenthetical>\n    <dialogue>`` But because the prejudice surrounding AIDS exacts a social death which precedes the actual, physical one.''<\/dialogue>\n    <scene_description>DISSOLVE TO SAME ANGLE , LATER : Andrew and Joe sit on the same side of the table , reading the same book .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>`` This is the essence of discrimination : formulating opinions about others not based on their individual merits but, rather, on their membership in a group with assumed characteristics.<\/dialogue>\n    <scene_description>The library is QUIET . Andrew SNEEZES . Joe scoots his chair away from Andrew by eight inches . DISCO MUSIC RISES ACCOMPANIED BY THE SOUNDS OF GRUNTING , HEAVY BREATHING AND SLAPPING FLESH AS WE . MUSCULAR , SWEATY MALE BODIES SLAMMING INTO EACH OTHER , sounds of<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT - GRUNTS, skin SLAPPING against skin...<\/stage_direction>\n    <scene_description>Hand SLAPPING a butt under satin shorts . Sweaty armpits . the ROAR OF A CROWD . BASKETBALL PLAYERS embracing , twirling each other around , high fiving . WIDE ANGLE REVEALS : A basketball game in progress , Sixers versus the Celtics in Philly 's Spectrum Arena . ON CLOSED CIRCUIT TV : ROBERT PARISH going for a lay - up .<\/scene_description>\n    <character>WHEELER\/KENTON\/OTHERS<\/character>\n    <dialogue>Watch this guy! Nail him! Ouch!<\/dialogue>\n    <scene_description>Charles Wheeler , Walter Kenton , Kenneth Killcoyne , Bob Seidman and SEVERAL LAWYERS and SPOUSES watch the game from a plush , private box , complete with TV , bar , snack table . The lawyers wear Ralph Lauren polos , chinos and ball caps . The place reeks of cigar smoke . Walter Kenton has a twentyfive year old WIFE . Charles Wheeler 's nine year old GRANDSON sits nearby . Wheeler turns the GRANDSON 'S ballcap around , smiling lovingly at the boy . JUST BEYOND WHEELER : The door to the box is opened by a SECURITY GUARD and a well - dressed , charismatic MAN looks in .<\/scene_description>\n    <character>WHEELER<\/character>\n    <parenthetical>( spotting him . )<\/parenthetical>\n    <dialogue>Julius!<\/dialogue>\n    <character>KENTON<\/character>\n    <dialogue>Dr. J!<\/dialogue>\n    <character>DR. J.<\/character>\n    <dialogue>Gentlemen. Ladies.<\/dialogue>\n    <scene_description>JULIUS ERVING enters , greeted by the LAWYERS .<\/scene_description>\n    <character>LAWYERS<\/character>\n    <dialogue>How's it goin', Doctor? \/ This is an honor! \/ etc.<\/dialogue>\n    <scene_description>The door is opened again , by the SECURITY GUARD , REVEALING Joe Miller -LRB- in jeans and basketball jacket -RRB- and a MARSHALL .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Excuse me. Charles Wheeler?<\/dialogue>\n    <scene_description>Wheeler turns . Joe SLAPS a document into Wheeler 's hand .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Summons. For you.<\/dialogue>\n    <scene_description>NOW the box is QUIET .<\/scene_description>\n    <character>DR. J.<\/character>\n    <dialogue>Say. What's up, Chuck?<\/dialogue>\n    <scene_description>THE BRIGHTLY LIT , RESTRICTED , INNER CORRIDOR OF SPECTRUM<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT - Stadium  where Wheeler walks beside Bob Seidman,<\/stage_direction>\n    <scene_description>with Walter Kenton and Kenneth Killcoyne just behind . SOUNDS OF THE GAME STILL IN PROGRESS can be heard , but FAR AWAY . Occasionally the lawyers are passed by FOOD SERVICE or LAUNDRY SERVICE EMPLOYEES .<\/scene_description>\n    <character>WHEELER<\/character>\n    <dialogue>interview every employee, support staff, associates, partners. Did any of them know Andy was sick? How did they know? Did he tell them? Did they notice something was wrong with his appearance? None of this information got to the managing partners. We know that. Make sure everyone else does too. And Beckett : I want to know everything about his personal life. Did he frequent those pathetic bars on Camac Street?<\/dialogue>\n    <character>SEIDMAN<\/character>\n    <dialogue>Jesus.<\/dialogue>\n    <character>WHEELER<\/character>\n    <parenthetical>( ignoring Seidman . )<\/parenthetical>\n    <dialogue>What about other homosexual facilities, whatever they are?<\/dialogue>\n    <character>SEIDMAN<\/character>\n    <dialogue>Charles.<\/dialogue>\n    <character>WHEELER<\/character>\n    <dialogue>What deviant groups or organizations did he secretly belong to?<\/dialogue>\n    <parenthetical>( with irritation . )<\/parenthetical>\n    <dialogue>What is it, Bob?!<\/dialogue>\n    <character>SEIDMAN<\/character>\n    <dialogue>Let's settle with Andy and put this whole tragic mess behind us.<\/dialogue>\n    <scene_description>They arrive at a quiet , semi - private cul de sac .<\/scene_description>\n    <character>WHEELER<\/character>\n    <dialogue>Andrew brought AIDS into our offices, into our men's room. He brought AIDS to our annual goddamn family picnic.<\/dialogue>\n    <character>KENTON<\/character>\n    <dialogue>We ought to be suing him.<\/dialogue>\n    <character>SEIDMAN<\/character>\n    <dialogue>For Christ's sake, where's your compassion?<\/dialogue>\n    <character>KENTON<\/character>\n    <dialogue>Compassion? Andy sucks cocks, Bob. He takes it up the ass. He's a pervert.<\/dialogue>\n    <scene_description>Only Seidman shows any kind of REACTION .<\/scene_description>\n    <character>SEIDMAN<\/character>\n    <dialogue>That's kind of. extreme, Walt. Andy's private life is none of our business.<\/dialogue>\n    <character>WHEELER<\/character>\n    <dialogue>Bob. You're trying my patience. Andrew Beckett is making his private life our business. We gave him Kronos. Did he say, `` I'm sick. I might not be able to see this through?''<\/dialogue>\n    <character>SEIDMAN<\/character>\n    <dialogue>He was doing a great job.<\/dialogue>\n    <character>WHEELER<\/character>\n    <dialogue>Bob. I must ask you to shut the fuck up. Did Andrew Beckett say `` I might not be able to serve our clients to the best of my ability?'' He said nothing. And now, Andrew Beckett proposes to haul me into a court of law, to sling accusations at me, in full view of the entire, Philadelphia, judicial establishment. My God.<\/dialogue>\n    <character>KILLCOYNE<\/character>\n    <dialogue>Beckett does n't want to go to court, he's hoping for a quick tasty settlement.<\/dialogue>\n    <character>SEIDMAN<\/character>\n    <dialogue>A jury might decide that Andy has a case.<\/dialogue>\n    <character>WHEELER<\/character>\n    <dialogue>Wait a minute. The man was fired for incompetence, not because he has AIDS. You did n't know he was sick, did you, Bob?<\/dialogue>\n    <character>KENTON<\/character>\n    <dialogue>Holy Shit. Did you, Bob?<\/dialogue>\n    <character>SEIDMAN<\/character>\n    <parenthetical>( after a moment . )<\/parenthetical>\n    <dialogue>No. Not really.<\/dialogue>\n    <scene_description>Wheeler walks away , followed by Kenton and Killcoyne . Bob Seidman stands alone in this dark place . CITY SOUNDS ON A WORK DAY AS WE CUT TO : EXTERIOR , JOE 'S OFFICE BUILDING , ON A THURSDAY MORNING . JOB 'S COLLEAGUE , FILKO , LOOKING DIRECTLY INTO CAMERA -LRB- in Joe 's offices , INT . \/ DAY -RRB- :<\/scene_description>\n    <character>FILKO<\/character>\n    <dialogue>Charles Fucking Wyant Wheeler?!<\/dialogue>\n    <scene_description>Joe sweeps by , just arriving for work .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Morning, Filko.<\/dialogue>\n    <scene_description>Filko keeps pace with Joe down the corridor . ANOTHER COLLEAGUE calls out from an office as Joe passes :<\/scene_description>\n    <character>COLLEAGUE<\/character>\n    <dialogue>Hey, it's the local chapter of the ACLU!<\/dialogue>\n    <character>FILKO<\/character>\n    <dialogue>You're a Republican, Joe! You belong to the NRA!<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>How many toilet stalls are there in the women's restroom on this floor, Filko?<\/dialogue>\n    <character>FILKO<\/character>\n    <dialogue>How many. what?!<\/dialogue>\n    <scene_description>Filko follows Joe into Joe 's office .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Two. How many toilet stalls are there in the men's room? Two, plus four urinals. How many wheelchair accessible toilets in either of those restrooms? Zero. In this entire building? Zero. Get the picture, Filko? Discrimination! You find yourself a female, paraplegic, legal assistant who is qualified to work here, except she ca n't take a leak. and you've got yourself a sex discrimination suit and a handicapped discrimination suit. Not handicapped. What do you call someone who ca n't use a normal restroom? `` Gastro - intestinally challenged!''<\/dialogue>\n    <scene_description>Behind Joe , out a large window : PAINTERS on a scaffold . Iris comes into the office and says :<\/scene_description>\n    <character>IRIS<\/character>\n    <dialogue>Wyant Wheeler's asking for a postponement on the prelim, Joe.<\/dialogue>\n    <scene_description>Joe is dialing the phone .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Low - life, sleazy scumbags. Of course they want a postponement, I've got a client with a terminal disease. They're going to drag their heels every step of the way, the rotten bastards.<\/dialogue>\n    <parenthetical>( tapping on the window , to the PAINTERS . )<\/parenthetical>\n    <dialogue>Is that spelled right?<\/dialogue>\n    <scene_description>EXTERIOR , JOE 'S OFFICE BUILDING , WHERE PAINTERS ARE ADDING A new question to the line of windows -LRB- DAY -RRB- : D I S C R I M I N A T E D A G A I N S T ?<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>Hey, Beckett. This is Miller.<\/dialogue>\n    <scene_description>JOE 'S VOICE COMES THROUGH , ON THE ANSWERING MACHINE IN<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - Andrew and Miguel's loft<\/stage_direction>\n    <character>JOE<\/character>\n    <parenthetical>( VO ; CONT . )<\/parenthetical>\n    <dialogue>I just wanted to tell you.<\/dialogue>\n    <scene_description>CAMERA DRIFTS THROUGH the loft , finding Andrew in the rooftop solarium , sitting crosslegged in front of a candle .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( VO ; CONT . )<\/parenthetical>\n    <dialogue>we're trying to set a date for the prelim. Hang in there.<\/dialogue>\n    <scene_description>Andrew 's eyes are closed . Next to him rests a tape player . A WOMAN 'S VOICE IS HEARD , accompanied by NEW AGE MUSIC :<\/scene_description>\n    <character>WOMAN'S VOICE<\/character>\n    <dialogue>I can heal myself.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>I can heal myself.<\/dialogue>\n    <character>WOMAN'S VOICE<\/character>\n    <dialogue>I can heal myself.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>I can heal myself.<\/dialogue>\n    <scene_description>ANDREW AND MIGUEL IN THEIR BEDROOM AT NIGHT , LYING CLOSE TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT - each other in bed...<\/stage_direction>\n    <character>MIGUEL<\/character>\n    <dialogue>I was coming out of the gym today, and I ran into Jimmy. Do you know what he asked me? `` What's it like knowing your boyfriend's going to die?''<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Jerk. What did you say?<\/dialogue>\n    <character>MIGUEL<\/character>\n    <dialogue>I said, `` Everyone's going to die, Jimmy. But Drew's not going to die of AIDS. There's a cure around the corner, and he plans to be around to take advantage of it.''<\/dialogue>\n    <scene_description>Miguel strokes Andrew 's hair .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>You got that right, Mikey.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You still believe that, do n't you?<\/dialogue>\n    <character>MIGUEL<\/character>\n    <dialogue>Yes. I think it will be a simple solution. They'll put it in a syringe, inject it into your bloodstream. It'll neutralize the virus. It'll revitalize the immune system, and people with AIDS will become healthy again.<\/dialogue>\n    <scene_description>HOLD ON MIGUEL AND ANDREW , ON THIS QUIET MOMENT . FADE OUT . FADE IN : ESTABLISHING , EXT. . PHILADELPHIA COURT HOUSE -LRB- DAY -RRB- . TITLE : `` Three months later . '' A LONG CORRIDOR IN A CITY COURT BUILDING - FAR DOWN THE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - corridor TWO FIGURES WALK TOWARD CAMERA...<\/stage_direction>\n    <scene_description>The figures APPROACHING CAMERA are Andrew and Joe , stepping into and out of sunlight falling through tall windows . TITLE : `` Pre - trial settlement conference . '' A PHALANX OF LAWYERS - at least ten - APPROACHING CAMERA , a bulwark of white shirts and dark ties . Andrew 's hair is short , but growing back , the blotches have receded , his weight is up . He 's in a stage of recovery . Charles Wheeler -LRB- seeming ironic -RRB- and Walter Kenton -LRB- he 's pissed -RRB- lead the battalion . Behind them , walk young lawyers BELINDA CONINE and JEROME GREEN . Belinda is white , Jerome is black .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - HUSHED VOICES...<\/stage_direction>\n    <scene_description>A JUDGE 'S CHAMBERS , with couches , soft chairs scattered in a loose circle , like a casual living room . Joe and Andrew whisper to each other . The Wyant Wheeler team takes up several chairs . Belinda Conine and Jerome Green sit next to Wheeler and Kenton . Some of their ASSISTANTS stand . Wheeler is looking across the room at . Andrew , who catches Wheeler 's stare .<\/scene_description>\n    <character>WHEELER<\/character>\n    <dialogue>You're looking better, Andy. How do you feel?<\/dialogue>\n    <scene_description>SILENCE . Everyone watches Andrew for his reaction .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Fine, thanks, Charles.<\/dialogue>\n    <scene_description>JUDGE LUCAS GARNETT enters his chambers -LRB- not wearing a Judge 's robe -RRB- . He shakes hands with Wheeler and Kenton .<\/scene_description>\n    <character>JUDGE GARNETT<\/character>\n    <dialogue>Charles, Walter.<\/dialogue>\n    <character>WHEELER<\/character>\n    <dialogue>Congratulations on the new grandson.<\/dialogue>\n    <character>JUDGE GARNETT<\/character>\n    <dialogue>Thank you. We're very happy.<\/dialogue>\n    <scene_description>The Judge brushes by Joe and Andrew without a word . The room becomes SILENT as the Judge takes a seat .<\/scene_description>\n    <character>JUDGE GARNETT<\/character>\n    <dialogue>Attorney for the plaintiff?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Joseph Miller, Your Honor. Macready and Shilts Legal Services.<\/dialogue>\n    <character>JUDGE GARNETT<\/character>\n    <dialogue>I've seen your television commercials. `` If you or anyone you know has been injured through the fault of others. It should say, `` through the negligence of others.''<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I'll take that under consideration, Your Honor.<\/dialogue>\n    <character>JUDGE GARNETT<\/character>\n    <dialogue>On behalf of the defendants?<\/dialogue>\n    <character>BELINDA CONINE<\/character>\n    <dialogue>Belinda Conine. Of Petersen, Lehigh, Monroe and Smith.<\/dialogue>\n    <character>JEROME GREEN<\/character>\n    <dialogue>And Jerome Green.<\/dialogue>\n    <scene_description>And a WASPISH lawyer wearing round glasses :<\/scene_description>\n    <character>DEXTER SMITH<\/character>\n    <dialogue>Dexter Smith.<\/dialogue>\n    <scene_description>A white - haired lawyer next to Belinda :<\/scene_description>\n    <character>RALPH PETERSEN<\/character>\n    <dialogue>Ralph Petersen.<\/dialogue>\n    <character>JUDGE GARNETT<\/character>\n    <parenthetical>( to Joe . )<\/parenthetical>\n    <dialogue>You're outnumbered four to one.<\/dialogue>\n    <parenthetical>( to the others . )<\/parenthetical>\n    <dialogue>Whom do I address? I ca n't talk to four lawyers at once.<\/dialogue>\n    <character>BELINDA<\/character>\n    <dialogue>I'm chief litigator, Your Honor.<\/dialogue>\n    <character>JUDGE GARNETT<\/character>\n    <dialogue>Fine. I've asked the litigants to be present for this conference, in the hope we can settle this matter today, among ourselves. There is nothing I hate more, than to see lawyers suing each other. If you look at the opinion polls, when Mr. John Q. Citizen is asked to rank professions according to the respect he holds for them. Where are the lawyers? Somewhere below personal fitness trainers and only slightly above child pornographers. If we keep suing each other, if we fail to settle the smallest difference among ourselves with mutual respect, if we continue to scrap like bucks in heat, we'll fall lower on that list. And when people lose respect for lawyers, they lose respect for the law. And when this society loses all respect for the law, we'll be murdered in our beds, my friends, our cherished institutions will be burned to the ground and our children and our grandchildren will live like savages.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>If it please Your Honor, we hope to settle this matter.<\/dialogue>\n    <character>JUDGE GARNETT<\/character>\n    <dialogue>By God you will settle it! If you force this case to trial, young man, you'll regret it for the rest of your natural - born days. Now, Joseph. What would you require to settle this matter today?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Reinstatement at full salary. Back pay covering the period of unemployment and.<\/dialogue>\n    <character>JUDGE GARNETT<\/character>\n    <dialogue>Hold it, Joe.<\/dialogue>\n    <parenthetical>( to Wheeler . )<\/parenthetical>\n    <dialogue>He wants to come back to work, Chuck.<\/dialogue>\n    <character>WHEELER<\/character>\n    <dialogue>That's impossible, Your Honor.<\/dialogue>\n    <character>JUDGE GARNETT<\/character>\n    <dialogue>That's impossible, Joe.<\/dialogue>\n    <character>BELINDA CONINE<\/character>\n    <dialogue>If it please Your Honor, we're prepared to offer a cash settlement of twenty - five thousand dollars.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Your generosity overwhelms me, Belinda, considering my client was earning over a hundred thou when he was terminated almost six months ago.<\/dialogue>\n    <character>JUDGE GARNETT<\/character>\n    <dialogue>Give me a break, Joe. Let's cut through these false attitudes. Give them a figure. How much do you want?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>I want to go back to work, Your Honor.<\/dialogue>\n    <character>JUDGE GARNETT<\/character>\n    <dialogue>You're here at my indulgence, young man. I'm waiting for a figure, Joe.<\/dialogue>\n    <scene_description>Andrew and Joe confer with each other .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Based on what my client would have earned over the next three years, including benefits and projected raises, and the extraordinary cost of medical care for someone with Acquired Immune Deficiency Syndrome. We would settle today for the very fair amount of one million five hundred thousand dollars.<\/dialogue>\n    <character>JUDGE GARNETT<\/character>\n    <dialogue>Very good, Joe. Now, Belinda, I've got a figure over here, of one million, five. I.<\/dialogue>\n    <scene_description>Andrew WHISPERS to Joe , who interrupts the Judge :<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>One more thing, Your Honor.<\/dialogue>\n    <character>ANDREW<\/character>\n    <parenthetical>( jumping in . )<\/parenthetical>\n    <dialogue>Any settlement agreement must include, and this is critical, a letter of exoneration, making clear my termination had nothing to do with the quality of my work.<\/dialogue>\n    <scene_description>Charles Wheeler WHISPERS to Belinda Conine .<\/scene_description>\n    <character>BELINDA CONINE<\/character>\n    <dialogue>Your Honor, Mr. Beckett's incompetence nearly sabotaged a 350 million dollar suit.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>I was the one who was sabotaged.<\/dialogue>\n    <character>BELINDA CONINE<\/character>\n    <dialogue>We have complaints about Mr. Beckett's lack of preparation, his disorganization, his arrogant, defensive attitude. The list goes on.<\/dialogue>\n    <character>JEROME GREEN<\/character>\n    <dialogue>We have letters.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Why have n't you produced these letters?<\/dialogue>\n    <character>JUDGE GARNETT<\/character>\n    <dialogue>Take it easy.<\/dialogue>\n    <parenthetical>( to Wheeler . )<\/parenthetical>\n    <dialogue>What's the big deal, Chuck? The boy wants a letter, to show to his mother, for her to keep after he's gone. Why are you being hard - assed about this?<\/dialogue>\n    <character>WHEELER<\/character>\n    <dialogue>I wish I could exonerate you, Andy. But I'd have to lie to do it.<\/dialogue>\n    <character>ANDREW<\/character>\n    <parenthetical>( very calm . )<\/parenthetical>\n    <dialogue>You can save it for the jury, Charles. I want to hear you say, under oath, in front of a judge and a jury, I'm a bad lawyer.<\/dialogue>\n    <parenthetical>( rises . )<\/parenthetical>\n    <dialogue>Gentlemen.<\/dialogue>\n    <parenthetical>( to Belinda . )<\/parenthetical>\n    <dialogue>Counselor.<\/dialogue>\n    <character>WHEELER<\/character>\n    <dialogue>Do n't do this, Andy.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Whoa, whoa.<\/dialogue>\n    <parenthetical>( to Andrew . )<\/parenthetical>\n    <dialogue>What do you expect them to say, you're Alan Dershowitz?<\/dialogue>\n    <character>KENTON<\/character>\n    <dialogue>A trial takes time, Beckett. Do you know what I'm saying?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>I think I catch your subtle drift, Walter.<\/dialogue>\n    <scene_description>Andrew saunters out .<\/scene_description>\n    <character>KENTON<\/character>\n    <dialogue>You'll be sorry, Beckett.<\/dialogue>\n    <character>WHEELER<\/character>\n    <dialogue>Andy, you do n't want this.<\/dialogue>\n    <scene_description>Joe scans the room , all eyes are on him . His frown turns into a grin . He faces the Judge .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>With all due respect, Your Honor, my client chooses to pursue his constitutionally guaranteed right to a trial.<\/dialogue>\n    <scene_description>Joe exits . HAND HELD CAMERA SHOT OF : THE FRONT YARD OF A TWO - STORY<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAY - Colonial house in Downington, Pennsylvania...<\/stage_direction>\n    <scene_description>Andrew walks toward the house , TALKING DIRECTLY TO CAMERA .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>This is the house where I grew up. In Downington, Pennsylvania.<\/dialogue>\n    <parenthetical>( pointing to the ground . )<\/parenthetical>\n    <dialogue>See this?<\/dialogue>\n    <scene_description>The CAMERA POINTS to SEVERAL PAIRS OF CHILD 'S HAND PRINTS in the sidewalk , then , BACK TO ANDREW IN CLOSE UP , SMILING .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Those are my cute little hand prints. And my brother's and my sister's.<\/dialogue>\n    <character>MIGUEL'S VOICE<\/character>\n    <parenthetical>( BEHIND CAMERA . )<\/parenthetical>\n    <dialogue>And today is?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Today is my parents' fortieth wedding anniversary.<\/dialogue>\n    <scene_description>Andrew goes inside , speaking to the CAMERA :<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>This is the front door. I caught a finger in this door, once.<\/dialogue>\n    <parenthetical>( holds it up . )<\/parenthetical>\n    <dialogue>This one. Broke it.<\/dialogue>\n    <parenthetical>( stepping inside . )<\/parenthetical>\n    <dialogue>This is the hallway, my mother calls it a foyer.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - INSIDE THE HOUSE :<\/stage_direction>\n    <scene_description>CHILDREN are running through the house , while WOMEN sporting corsages confer in the kitchen . A SIX YEAR OLD GIRL jumps into Andrew 's arms .<\/scene_description>\n    <character>ALEXIS<\/character>\n    <dialogue>Uncle Andrew!<\/dialogue>\n    <character>ANDREW<\/character>\n    <parenthetical>( to CAMERA . )<\/parenthetical>\n    <dialogue>This is my niece, Alexis. Say hello, Alexis.<\/dialogue>\n    <character>ALEXIS<\/character>\n    <dialogue>Mommy's pregnant again.<\/dialogue>\n    <character>ANDREW<\/character>\n    <parenthetical>( doing Walter Cronkite . )<\/parenthetical>\n    <dialogue>You heard it here first, folks. News as it happens.<\/dialogue>\n    <scene_description>Andrew 's older and very down to earth sister JILL , puts her arms around Andrew , squeezing tight .<\/scene_description>\n    <character>JILL<\/character>\n    <dialogue>Hello, darlin'.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>This is my sister, Jill, the most fertile woman on the planet. She's married to Reverend Jim.<\/dialogue>\n    <character>JILL<\/character>\n    <dialogue>You feel thin.<\/dialogue>\n    <parenthetical>( over Andrew 's shoulder . )<\/parenthetical>\n    <dialogue>Hello, Miguel.<\/dialogue>\n    <scene_description>As Jill leaves Andrew 's arms , the CAMERA IS TRADED OFF TO ANDREW , who SHOOTS JILL GIVING MIGUEL A HUG .<\/scene_description>\n    <character>MIGUEL<\/character>\n    <dialogue>Hey, Jill. Nice to see you, sweetheart.<\/dialogue>\n    <character>JILL<\/character>\n    <parenthetical>( hugging Miguel . )<\/parenthetical>\n    <dialogue>Handsome devil.<\/dialogue>\n    <parenthetical>( referring to Andrew . )<\/parenthetical>\n    <dialogue>Is he eating?<\/dialogue>\n    <character>MIGUEL<\/character>\n    <dialogue>We do n't discuss his weight.<\/dialogue>\n    <parenthetical>( to Andrew , behind CAMERA . )<\/parenthetical>\n    <dialogue>Do we?<\/dialogue>\n    <scene_description>CAMERA MOVES DOWN THE CORRIDOR .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( OS . )<\/parenthetical>\n    <dialogue>And what will we find in. da duh da duh da duh. the KITCHEN!<\/dialogue>\n    <scene_description>A GROUP OF LADIES SCREAM when CAMERA ENTERS KITCHEN .<\/scene_description>\n    <character>LADIES<\/character>\n    <dialogue>There he is! Hi, Andrew! Do n't point that thing at me! etc.<\/dialogue>\n    <scene_description>Andrew 's mother Sarah wears an unpretentious flowery dress .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Hi, Mom. How do you feel on your fortieth anniversary?<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Ancient. How do you think I feel? Put that thing down and give me a hug.<\/dialogue>\n    <parenthetical>( he keeps it pointed at her . )<\/parenthetical>\n    <dialogue>Andrew, stop! He still does n't listen.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Where's Dad?<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>He's out in his shed showing your uncle his new riding mower.<\/dialogue>\n    <scene_description>One of Andrew 's YOUNG NEPHEWS SHOVES HIS FACE into the CAMERA , UNTIL SCREEN GOES BLACK .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - QUIET...<\/stage_direction>\n    <scene_description>Andrew and his immediate family are gathered in the den , sitting quietly , facing each other . Andrew 's father , BUD , with an American flag pin in his lapel , sits next to Sarah . Jill holds the hand of her husband , REVEREND JIM . Two of Andrew 's brothers , MATT and RANDY , -LRB- big , athletic guys with mustaches -RRB- are there . Andrew sits next to Miguel .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Things might be said, at the trial, that. are not going to be easy for you to hear. Things about me, about my private life. And I want to make sure it's okay with everybody.<\/dialogue>\n    <character>MATT<\/character>\n    <dialogue>I appreciate you asking, Andy, but really, it's your call.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>What do you think, Jill?<\/dialogue>\n    <character>JILL<\/character>\n    <dialogue>To be honest, I'm worried about Mommy and Daddy. They've had to go through so much already. And, we all know.<\/dialogue>\n    <parenthetical>( very difficult to say . )<\/parenthetical>\n    <dialogue>There's going to be even worse things to deal with, eventually. I wonder if it's fair to put them through this.<\/dialogue>\n    <scene_description>Andrew 's father STARES at his folded hands .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Mom?<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>All I know is, you got through your diagnosis fine, like a trooper. But when they fired you. you were so devastated, Andy. I do n't expect any of my kids to sit in the back of the bus. Fight for your rights.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Thanks, Mom. Dad?<\/dialogue>\n    <scene_description>There 's a pause before Bud Beckett speaks .<\/scene_description>\n    <character>BUD<\/character>\n    <dialogue>Supposedly, the Lord does n't give you more trouble than you can handle. But I'm having a hard time believing that these days.<\/dialogue>\n    <scene_description>Andrew 's construction worker brother , RANDY , wipes tears from his eyes . Clearly their father is in alot of pain .<\/scene_description>\n    <character>BUD<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Andy, the way you've faced this whole thing, you and Miguel, with so much courage. your mother and I have been so very impressed.<\/dialogue>\n    <scene_description>Andrew gazes at his father with incredible love . Miguel puts an arm around Andrew .<\/scene_description>\n    <character>BUD<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>I ca n't imagine there is anything, that anyone could say, that would make us feel less proud of you.<\/dialogue>\n    <character>ANDREW<\/character>\n    <parenthetical>( full of emotion . )<\/parenthetical>\n    <dialogue>Thanks, Dad. I love you guys. How about you, Randy?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Hey. You're my kid brother, Andy. That's the bottom line. I mean, what are those bastards going to say? You're gay? Shit, I knew that when you were five years old.<\/dialogue>\n    <scene_description>Everyone LAUGHS . Andrew and Randy high five .<\/scene_description>\n    <character>MIGUEL<\/character>\n    <dialogue>Wait a minute.<\/dialogue>\n    <parenthetical>( to Andrew . )<\/parenthetical>\n    <dialogue>You're gay?<\/dialogue>\n    <scene_description>More laughter . But Jill speaks seriously :<\/scene_description>\n    <character>JILL<\/character>\n    <dialogue>What about you, Andy? You're not a militant type. You've always been so private.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>I guess. I do n't have time for that any more.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Jim? Will you lead us in a prayer?<\/dialogue>\n    <scene_description>Everyone bows heads , holding hands in a circle .<\/scene_description>\n    <character>REVEREND JIM<\/character>\n    <dialogue>Dear Lord. Sometimes it is difficult to remember to be grateful.<\/dialogue>\n    <scene_description>CAMERA PANS THE CIRCLE , THE PRAYING FACES .<\/scene_description>\n    <character>REVEREND JIM<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>To remember, in our times of sorrow and confusion, that we have You to turn to, and each other. Bless and keep Andrew and Miguel, dear Lord, deepen and strengthen their love as they face the struggles that lay ahead. Bless and watch over all of us, fill us with Your love, Your light, and Your peace, which passeth all understanding. In Jesus' name, we pray.<\/dialogue>\n    <character>EVERYONE<\/character>\n    <dialogue>Amen.<\/dialogue>\n    <scene_description>BECKETTS ' LIVINGROOM , SEEN THROUGH THE VIDEO CAMERA -LRB- DAY -RRB- . A local entertainer -LRB- GUIDO PAONESSA -RRB- launches into a standard , accompanied by a single guitar player , and Bud and Sarah begin to dance , surrounded by family and friends .<\/scene_description>\n    <character>GUIDO<\/character>\n    <dialogue>`` After all the days of Spring have flown.''<\/dialogue>\n    <scene_description>VIDEO CAMERA PANS : RELATIVES eating cake , KIDS chasing each other , a GRANDMOTHER in a wheelchair holding a NEWBORN , watching silent , video home movies . CAMERA FINDS Andrew and Niguel eating anniversary cake -LRB- Andrew barely touches his -RRB- . Playing for the camera , Miguel dips his finger into icing and smears it onto Andrew 's nose . Andrew tries to reach the icing with his tongue . CAMERA PANS WITH ANDREW as he comes forward to dance with his mother , while Jill dances with their father . CAMERA RETURNS TO MIGUEL . MATT -LRB- behind the camera -RRB- says :<\/scene_description>\n    <character>MATT<\/character>\n    <parenthetical>( OS . )<\/parenthetical>\n    <dialogue>Hey, Miguel, can you imagine any two people being together for forty years?<\/dialogue>\n    <scene_description>ZOOM IN CLOSE ON NIGUEL -LRB- who 's watching Andrew -RRB- :<\/scene_description>\n    <character>MIGUEL<\/character>\n    <dialogue>Yes. I can.<\/dialogue>\n    <scene_description>VIDEO CAMERA PANS to Andrew dancing with his Mom , lingering on this IMAGE .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>Forget everything you've seen on TV, and in the movies.<\/dialogue>\n    <scene_description>HELICOPTER SHOT , REVEALING ALL OF PHILADELPHIA -LRB- DAY -RRB- . TITLE : `` Eight months later . ''<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( OS ; CONT . )<\/parenthetical>\n    <dialogue>There wo n't be any last minute, surprise witnesses.<\/dialogue>\n    <scene_description>A MAN LOOKING INTO CAMERA : HE 'S YOUNG , CONFIDENT , ALL<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - American, a Marine...<\/stage_direction>\n    <scene_description>TITLE : `` Opening statements . '' The MARINE is a JUROR . CAMERA PANS others : a BLACK LADY SCHOOLTEACHER , a POSTAL WORKER , an ASIAN COLLEGE STUDENT .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( OS ; CONT . )<\/parenthetical>\n    <dialogue>No one will break down on the stand with a tearful confession.<\/dialogue>\n    <scene_description>REVERSE ON JOE , ADDRESSING THE JURY .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>You are presented with a simple fact : Andrew Beckett was fired. You will hear two explanations for why he was fired. Ours. And theirs.<\/dialogue>\n    <scene_description>Joe crosses the courtroom , coming to stand in front of . ANDREW , whose appearance has changed : thinner , paler than we 've ever seen him , some blisters on his lips . But the most disturbing thing about his appearance is the way he moves , slowly , like a much older man . He 's taking notes -LRB- which he will do relentlessly throughout the trial . -RRB- And he has a cane at his side , which he 'll use throughout the trial .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>It's up to you, to sift through layer and layer of truth, and determine for yourselves the version that sounds the most true.<\/dialogue>\n    <scene_description>Charles Wheeler , Walter Kenton , Bob Seidman , Kenneth Killcoyne sit BEHIND their lawyers , Belinda Conine and Jerome Green , and SEVERAL ASSISTANTS at the defense table . JUDGE GARNETT presides from his bench . Among the spectators , Miguel sits next to Sarah , and Andrew 's sister Jill . AIDS ACTIVISTS in the background .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>There are certain points in our version, that I must prove to you. Point number one : Andrew Beckett was. is a brilliant lawyer. A great lawyer. Point number two. Andrew Beckett, afflicted with a debilitating disease, made the legal, understandable, personal choice to keep the fact of his illness to himself. Point number three : His employers discovered his illness. And ladies and gentlemen, the illness I'm referring to, is AIDS.<\/dialogue>\n    <scene_description>Joe pauses , letting that sink in .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Point number four. They panicked. And, in their panic, they did what most of us would like to do with AIDS. Get it, and the people who have it, as far away from us as possible.<\/dialogue>\n    <scene_description>Joe walks away from Andrew .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>The behavior of Andrew Beckett's employers may seem reasonable to you. It does to me. After all, AIDS is a deadly, incurable, disease.<\/dialogue>\n    <scene_description>CLOSE ON MEMBERS OF THE JURY .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>But however you come to judge the behavior of Charles Wheeler and his partners in moral, ethical, human terms. When they fired Andrew Beckett because he had AIDS, they broke the law.<\/dialogue>\n    <scene_description>With a swift , direct glance at the Judge , Joe speaks with considerable power and emotion :<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>And, when lawyers break the law, when this society loses respect for the law, when that day comes, our cherished institutions will be burned to the ground, and our children and grandchildren will live like savages.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - BELINDA CONINE ADDRESSING THE JURY...<\/stage_direction>\n    <character>BELINDA<\/character>\n    <dialogue>Fact. Andrew Beckett performed at a consistently mediocre level. Fact. He made a grievous error on a multi - million dollar lawsuit. Fact. He claims he is the victim of lies and deceit. Fact. Andrew Beckett lied to his employers, going to great efforts to conceal his disease from them. Fact. He was successful in his duplicity. The partners at Wyant Wheeler did not know Andrew Beckett had AIDS when they fired him.<\/dialogue>\n    <scene_description>Belinda pauses in front of the plaintiff 's table<\/scene_description>\n    <character>BELINDA<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Fact. AIDS is a tragedy.<\/dialogue>\n    <scene_description>Andrew looks directly at Belinda .<\/scene_description>\n    <character>BELINDA<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Fact. Andrew Beckett is dying.<\/dialogue>\n    <scene_description>Joe watches Andrew for his reaction .<\/scene_description>\n    <character>BELINDA<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Fact. Andrew Beckett is angry. Because his `` lifestyle,'' his reckless behavior, has cut short his life. And in his anger, his rage, he's lashing out. And he wants someone to pay.<\/dialogue>\n    <scene_description>ON THE WITNESS STAND : A SOLIDLY BUILT EXECUTIVE FROM A<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - large insurance company, MR. LAIRD...<\/stage_direction>\n    <character>JOE<\/character>\n    <dialogue>Andrew Beckett represented your company in a lawsuit in 1990, is that correct?<\/dialogue>\n    <character>LAIRD<\/character>\n    <dialogue>Wyant Wheeler represented us.<\/dialogue>\n    <scene_description>Andrew glances toward the jury box : the MARINE JUROR writes in a tiny notebook .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>But, Andrew Beckett was in charge of litigation for the suit.<\/dialogue>\n    <character>LAIRD<\/character>\n    <dialogue>That's correct.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Were you pleased with his work?<\/dialogue>\n    <character>LAIRD<\/character>\n    <dialogue>We were satisfied.<\/dialogue>\n    <scene_description>Joe and Andrew exchange a LOOK - Laird 's response surprises and disappoints them .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Were you satisfied, or were you pleased?<\/dialogue>\n    <scene_description>Laird glances toward Charles Wheeler before answering .<\/scene_description>\n    <character>LAIRD<\/character>\n    <dialogue>We were satisfied.<\/dialogue>\n    <scene_description>Joe refers to legal documents .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Mr. Laird, when I approached you about being a witness at this trial, and you agreed, you gave sworn testimony in a deposition. Is that correct?<\/dialogue>\n    <character>LAIRD<\/character>\n    <dialogue>That's correct.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>According to the deposition, you said you were `` thrilled, impressed, overwhelmed'' by the quality of Andrew Beckett's work. Do you remember saying that?<\/dialogue>\n    <character>LAIRD<\/character>\n    <dialogue>I may have said something like that. But that's not how I feel at this moment.<\/dialogue>\n    <scene_description>Joe takes on a street - tough tone :<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Okay, Mr. Laird. Explain this to me like I'm a four year old : Did Andrew Beckett win your lawsuit for you or not?<\/dialogue>\n    <character>LAIRD<\/character>\n    <dialogue>We won.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Did that thrill, impress and overwhelm you?<\/dialogue>\n    <character>LAIRD<\/character>\n    <dialogue>It satisfied me.<\/dialogue>\n    <scene_description>Joe STARES at the guy .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>It's a long way between being overwhelmed and being satisfied. A cheeseburger may be satisfying whereas caviar and champagne and roast duck and baked Alaska for dessert might be considered overwhelming. Do you agree?<\/dialogue>\n    <character>LAIRD<\/character>\n    <dialogue>I might.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Five months ago you characterized Andrew Beckett as caviar and now you're calling him a cheeseburger. Your standards have shifted a great deal, and I'd like to know why you've changed your mind.<\/dialogue>\n    <character>LAIRD<\/character>\n    <dialogue>Since that time I've devoted more thought to the subject, and that's how I feel now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - JEROME GREEN CROSS-EXAMINING LAIRD.<\/stage_direction>\n    <character>JEROME GREEN<\/character>\n    <dialogue>Partner Robert Seidman was the supervising attorney for your lawsuit?<\/dialogue>\n    <character>MR. LAIRD<\/character>\n    <dialogue>That's right.<\/dialogue>\n    <character>JEROME GREEN<\/character>\n    <dialogue>Does the supervising attorney guide the litigating attorney during the trial?<\/dialogue>\n    <character>MR. LAIRD<\/character>\n    <dialogue>Often, he does.<\/dialogue>\n    <character>JEROME GREEN<\/character>\n    <dialogue>As far as you know, in the handling of your lawsuit, Andrew Beckett was simply following orders.<\/dialogue>\n    <character>LAIRD<\/character>\n    <dialogue>That's a fair assessment of the situation.<\/dialogue>\n    <scene_description>Andrew glances over his shoulder : at Robert Seidman , who meets his gaze . SPECTATORS STREAM OUT OF CITY HALL INTO THE HUBBUB OF TWO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/ DAY - DISTINCT GROUPS SHOUTING AT EACH OTHER : GAY RIGHTS<\/stage_direction>\n    <scene_description>ACTIVISTS in T - shirts with pink triangles , denouncing discrimination ; BORN AGAIN ACTIVISTS waving placards citing AIDS as God 's punishment for homosexuality ; POLICEMEN keeping them apart ; A MEDIA CIRCUS getting it on videotape . Joe and Miguel FLANK Andrew , who walks weakly . with a cane . Sarah and Jill follow close behind , running the gauntlet of ACTIVISTS and REPORTERS . Andrew 's POV on a placard : `` We Die - They Do Nothing ! '' Jill 's POV on a placard : `` AIDS Cures Homosexuality ! '' A TV CREW shines HOT LIGHTS on Andrew .<\/scene_description>\n    <character>TV REPORTER<\/character>\n    <parenthetical>( ANGELA MEDINA . )<\/parenthetical>\n    <dialogue>Do you see this as a gay rights issue?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>I'm not political. I just want compensation for being fired.<\/dialogue>\n    <character>REPORTER MEDINA<\/character>\n    <dialogue>But you are gay, are n't you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT - IMAGE: ANDREW SEEN ON A TV SCREEN :<\/stage_direction>\n    <character>ANDREW<\/character>\n    <dialogue>`` I do n't see how that's any of your business.<\/dialogue>\n    <parenthetical>( a smile . )<\/parenthetical>\n    <dialogue>But yes, I am.''<\/dialogue>\n    <scene_description>WIDE ANGLE : WE 'RE IN A SPORTS BAR WHERE JOE WATCHES THE SIX<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT - O'CLOCK NEWS WITH FILKO, A LOCAL COP, OTHERS...<\/stage_direction>\n    <scene_description>ON THE TV SCREEN : A microphone is shoved at Joe .<\/scene_description>\n    <character>REPORTER MEDINA<\/character>\n    <dialogue>`` Do you believe that homosexuals deserve special treatment?''<\/dialogue>\n    <character>FILKO<\/character>\n    <dialogue>Hell, no!<\/dialogue>\n    <character>JOE<\/character>\n    <parenthetical>( on TV . )<\/parenthetical>\n    <dialogue>`` Angela, we're standing in Philadelphia, the City of Brotherly Love, the birthplace of freedom, where our Founding Fathers authored the Declaration of Independence. And I do n't remember that glorious document saying `` All straight men are created equal.'' I could have sworn it says, `` All men are created equal.''<\/dialogue>\n    <character>CHARLIE THE COP<\/character>\n    <dialogue>Give me a goddamn break!<\/dialogue>\n    <scene_description>ON THE TV SCREEN : The REPORTER wraps up her story .<\/scene_description>\n    <character>REPORTER MEDINA<\/character>\n    <dialogue>`` This case is sending a cold chill through the legal community. One of Wyant Wheeler's key clients, the Grace Foster Foundation, which supports several AIDS charities, has taken its business to another firm until this matter is resolved.''<\/dialogue>\n    <scene_description>As the TV DRONES ON , CHARLIE THE COP , OTHERS GLARE at Joe .<\/scene_description>\n    <character>FILKO<\/character>\n    <parenthetical>( chuckles . )<\/parenthetical>\n    <dialogue>Hey, Joe.<\/dialogue>\n    <parenthetical>( a wink to the COP . )<\/parenthetical>\n    <dialogue>You're not starting to get a little. light on your feet here on us, are you?<\/dialogue>\n    <scene_description>Joe does not laugh .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Yeah, Filko. I am.<\/dialogue>\n    <parenthetical>( stepping toward Filko . )<\/parenthetical>\n    <dialogue>I'm on the prowl, Filko. I need a man. Not just any man. I need a hunk. A hunk like you. How about it, Filko? Want to play sailor? This time, I'll be first mate and you can be Columbus.<\/dialogue>\n    <character>FILKO<\/character>\n    <dialogue>Chill out, Joe.<\/dialogue>\n    <character>JOE<\/character>\n    <parenthetical>( angry . )<\/parenthetical>\n    <dialogue>Those people make me sick, Filko! But a law's been broken, okay? The law. Remember the law?<\/dialogue>\n    <scene_description>CHARLIE THE COP has relaxed a bit .<\/scene_description>\n    <character>CHARLIE THE COP<\/character>\n    <dialogue>At least we agree on one thing, Joe. They make me sick too.<\/dialogue>\n    <scene_description>HOLD ON JOE , but WE HEAR THE TV REPORTER in the BACKGROUND :<\/scene_description>\n    <character>TV REPORTER MEDINA<\/character>\n    <dialogue>. now the public knows that your son has AIDS and he's gay. How does that make you feel?''<\/dialogue>\n    <scene_description>All eyes turn to the TV : SARAH BECKETT IN CLOSE UP .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>`` This is a world full of war, famine, poverty, homelessness. and people make a fuss because two men or two women want to live together, or make love. Seems kind of silly, does n't it?''<\/dialogue>\n    <scene_description>The bar ERUPTS with a CHORUS OF BOOS AND CATCALLS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - JOE ADDRESSING A WITNESS IN COURT...<\/stage_direction>\n    <character>JOE<\/character>\n    <dialogue>And Walter Kenton knew the lesions on your face and arms were caused by AIDS?<\/dialogue>\n    <scene_description>The witness : MARIA TORRES , Hispanic , 35 , healthy - looking .<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>Definitely. People were going around, whispering things. I figured I did n't have anything to lose, so I told all the partners.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>How did Walter Kenton treat you, after you told him you had AIDS?<\/dialogue>\n    <scene_description>CLOSE ON KENTON , looking confident .<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>Every time he came into contact with me, he'd get this look on his face. I called it, the `` Oh God'' expression. As in `` Oh God, here comes that woman with AIDS.''<\/dialogue>\n    <scene_description>Andrew LAUGHS .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Ms. Torres? Have your employers fired you for having AIDS?<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>No. When I need time off, for medical reasons, we work it out.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Thank you. No more questions.<\/dialogue>\n    <scene_description>Jerome Green rises .<\/scene_description>\n    <character>JEROME GREEN<\/character>\n    <dialogue>Miss Torres. How did you contract the AIDS virus?<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>During a transfusion. I lost a lot of blood giving birth to my second child.<\/dialogue>\n    <character>JEROME GREEN<\/character>\n    <dialogue>In other words, in your case you happen to be an innocent victim of the AIDS tragedy.<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>Look. I'm no different from everyone else who has this disease : I'm not guilty, I'm not innocent. I'm just trying to survive.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - JOE, APPROACHING A WITNESS...<\/stage_direction>\n    <character>JOE<\/character>\n    <dialogue>Beyond noticing the marks on his face, were there other things about his appearance that made you suspect he had AIDS?<\/dialogue>\n    <scene_description>THE WITNESS : Paralegal Anthea Burton .<\/scene_description>\n    <character>ANTHEA<\/character>\n    <dialogue>He was losing weight. He looked kind of tired sometimes. But he was working so hard. Still, I felt something was wrong.<\/dialogue>\n    <parenthetical>( looking at Wheeler . )<\/parenthetical>\n    <dialogue>And I ca n't believe they're saying they did n't notice anything.<\/dialogue>\n    <character>BELINDA<\/character>\n    <dialogue>Objection.<\/dialogue>\n    <character>JUDGE GARNETT<\/character>\n    <dialogue>Just answer the question.<\/dialogue>\n    <character>ANTHEA<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Ms. Burton. You're black.<\/dialogue>\n    <character>ANTHEA<\/character>\n    <dialogue>Is that a question?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>No. Have you ever felt discriminated against, at Wyant Wheeler?<\/dialogue>\n    <character>ANTHEA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Wheeler shakes his head , disgusted . Kenton fumes , outraged . Seidman looks surprised .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>In what way?<\/dialogue>\n    <character>ANTHEA<\/character>\n    <dialogue>Well. One time, Mr. Wheeler's secretary, Lydia, told me Mr. Wheeler had a problem with my earrings.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Your earrings?<\/dialogue>\n    <scene_description>Anthea is wearing large , dangling African - style earrings .<\/scene_description>\n    <character>ANTHEA<\/character>\n    <dialogue>Apparently, Mr. Wheeler felt they were too. `` ethnic'' is the word she used. She said he would like it if I wore something smaller, less garish, and. more `` American.''<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>What did you say?<\/dialogue>\n    <character>ANTHEA<\/character>\n    <dialogue>I said my earrings are American. They're African - American.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Thank you. No more questions.<\/dialogue>\n    <scene_description>Belinda Conine approaches Anthea .<\/scene_description>\n    <character>BELINDA<\/character>\n    <dialogue>Miss Burton? Do you still work at Wyant Wheeler?<\/dialogue>\n    <character>ANTHEA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>BELINDA<\/character>\n    <dialogue>Were you recently promoted?<\/dialogue>\n    <character>ANTHEA<\/character>\n    <dialogue>Yes. I'm now in charge of the paralegal department.<\/dialogue>\n    <character>BELINDA<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>A PHILADELPHIA EXTERIOR , A FALL AFTERNOON -LRB- LATE DAY -RRB- . JOE COMES DOWN AN AISLE OF A DRUG STORE , EXAMINING THE BABY<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - cold medicines, carrying a box of Pampers...<\/stage_direction>\n    <scene_description>A YOUNG MAN in grass - stained sweats , carrying a football under one arm , buying a tube of toothpaste , speaks to Joe :<\/scene_description>\n    <character>YOUNG MAN<\/character>\n    <dialogue>How's the trial going? It's a great case.<\/dialogue>\n    <scene_description>Joe looks up surprised . The YOUNG MAN smiles .<\/scene_description>\n    <character>YOUNG MAN<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>I saw you on television. I'm a law student. At Penn..<\/dialogue>\n    <scene_description>Joe is flattered by the YOUNG MAN 'S interest .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Good school. What year?<\/dialogue>\n    <character>YOUNG MAN<\/character>\n    <dialogue>Second.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Great.<\/dialogue>\n    <character>YOUNG MAN<\/character>\n    <dialogue>Would you like to have a drink with me? I just finished a game, I could use a beer.<\/dialogue>\n    <parenthetical>( a smile . )<\/parenthetical>\n    <dialogue>I do n't pick up people in drug stores every day.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Whoa, whoa, whoa, whoa. do you think? You think I'm.<\/dialogue>\n    <parenthetical>( low . )<\/parenthetical>\n    <dialogue>. gay?<\/dialogue>\n    <character>YOUNG MAN<\/character>\n    <dialogue>Are n't you?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>What's the matter with you? Do I look gay to you?<\/dialogue>\n    <character>YOUNG MAN<\/character>\n    <dialogue>Do I look gay to you? Relax.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Relax? I ought to kick your faggoty little ass for you!<\/dialogue>\n    <character>YOUNG MAN<\/character>\n    <dialogue>Take it as a compliment. Geesh.<\/dialogue>\n    <scene_description>But Joe is really upset . People are watching .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Do n't you know this is exactly the kind of bullshit that makes people hate you guys?<\/dialogue>\n    <character>YOUNG MAN<\/character>\n    <dialogue>Fuck you! You want to kick my ass? You want to try?<\/dialogue>\n    <parenthetical>( walking away . )<\/parenthetical>\n    <dialogue>Asshole.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>You're the asshole, buddy.<\/dialogue>\n    <character>YOUNG MAN<\/character>\n    <parenthetical>( going out . )<\/parenthetical>\n    <dialogue>Get a life.<\/dialogue>\n    <scene_description>Joe stands there , holding the Pampers , people STARING . LISA 'S WORKING ON HER COMPUTER , AT HOME , WHILE JOE PACES around her desk , really upset -LRB- One year - old Rayisha sits on<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT - the desk playing with wooden salad spoons.)...<\/stage_direction>\n    <character>JOE<\/character>\n    <dialogue>But what was it?! What was this guy thinking?!<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Do n't know, Joe.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Is there some kind of expression I've picked up from Beckett?! Some kind of fairy attitude I've unconsciously adopted?! Am I walking different?! Some kind of vocal thing?! Have I picked up some kind of homo vibe?!<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Have you changed your aftershave?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Very funny. I had a box of Pampers under my arm for Chrissake!<\/dialogue>\n    <scene_description>LISA AND JOE 'S DARKENED BEDROON , WHERE THEY LIE IN BED ,<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT - almost completely obscured by shadow...<\/stage_direction>\n    <scene_description>They speak softly , careful not to wake the baby .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Joe?<\/dialogue>\n    <character>JOE<\/character>\n    <parenthetical>( sleepy . )<\/parenthetical>\n    <dialogue>Yeah?<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Two men making love? Now tell me again. why is that disgusting?<\/dialogue>\n    <character>JOE<\/character>\n    <parenthetical>( a tired sigh . )<\/parenthetical>\n    <dialogue>Lisa, c'mon. One guy sticking his dick in another guy's mouth? It's disgusting.<\/dialogue>\n    <scene_description>They lie in silence for a moment . Then :<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Okay, so. help me with this one, Joe. Is it disgusting for someone to put his dick into someone's mouth? Or, is it disgusting for someone to take a dick into their mouth?<\/dialogue>\n    <character>JOE<\/character>\n    <parenthetical>( after a beat . )<\/parenthetical>\n    <dialogue>Great, Lisa. Thank you.<\/dialogue>\n    <scene_description>EXTERIOR : CITY HALL , AN AUTUMN DAY .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>`` But, ultimately, the complaint was found, was n't it?<\/dialogue>\n    <scene_description>WIDE ANGLE ON COURTROOM : JAMEY COLLINS ON THE STAND -LRB- DAY -RRB- .<\/scene_description>\n    <character>JAMEY<\/character>\n    <dialogue>Yes. We found a copy. It been incorrectly filed.<\/dialogue>\n    <scene_description>TITLE : `` Plaintiff 's case , day ten . ''<\/scene_description>\n    <character>JAMEY<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>We got it to court on time.<\/dialogue>\n    <scene_description>ANGLE ON THE JURY : Several JURORS write in notebooks like the Marine 's ; he 's been handing them out . Joe seems ill at ease today , a little off his game . When he glances at Andrew , it 's with irritation .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Has a file ever disappeared like that before? Vanished into thin air, all of a sudden, only to reappear in the nick of time?<\/dialogue>\n    <scene_description>Jamey answers nervously :<\/scene_description>\n    <character>JAMEY<\/character>\n    <dialogue>I've never known that to happen before. No.<\/dialogue>\n    <character>JOE<\/character>\n    <parenthetical>( fires this question . )<\/parenthetical>\n    <dialogue>Did you have something to do with this file being lost accidentally - on - purpose?<\/dialogue>\n    <character>BELINDA<\/character>\n    <dialogue>Objection!<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I'll rephrase.<\/dialogue>\n    <parenthetical>( to Jamey . )<\/parenthetical>\n    <dialogue>Did you have anything to do with this file being. misplaced?<\/dialogue>\n    <character>JAMEY<\/character>\n    <dialogue>Absolutely not.<\/dialogue>\n    <scene_description>Joe stands , staring at Jamey . Too long . Jamey squirms .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Are you a homosexual?<\/dialogue>\n    <character>JAMEY<\/character>\n    <dialogue>What?!<\/dialogue>\n    <scene_description>Joe pressing forward , toward Jamey .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>C'mon, Mr. Collins. Are you homosexual? You know, gay?<\/dialogue>\n    <scene_description>The COURTROOM ERUPTS : ACTIVISTS booing Joe , Wheeler 's crowd expressing OUTRAGE , JURORS looking confused . Andrew takes in the commotion , as the JUDGE BANGS HIS GAVEL .<\/scene_description>\n    <character>JUDGE GARNETT<\/character>\n    <dialogue>Hold it, hold it!<\/dialogue>\n    <scene_description>Andrew trains his attention on Joe .<\/scene_description>\n    <character>BELINDA<\/character>\n    <dialogue>Objection! Where has this come from?! Suddenly Counsel is attacking his own witness. Mr. Collins' sexual orientation has absolutely no relevance to this case.<\/dialogue>\n    <character>JUDGE GARNETT<\/character>\n    <dialogue>I said, HOLD IT!<\/dialogue>\n    <parenthetical>( the courtroom QUIETS . )<\/parenthetical>\n    <dialogue>Mr. Miller. Could you kindly share with me exactly what's going on in your brain, because I do n't have a clue at the moment.<\/dialogue>\n    <scene_description>Joe faces Andrew , also curious to know what Joe 's up to .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Your Honor, everyone in this courtroom is thinking about sexual preference, sexual orientation, whatever you want to call it. They're looking at me, and wondering about it.<\/dialogue>\n    <parenthetical>( looking at Andrew . )<\/parenthetical>\n    <dialogue>They're looking at Mr. Beckett, and wondering about it. They're looking at Mr. Wheeler and wondering about it. They might even be looking at you and wondering about it. So, let's get it out in the open. Let's talk about what this case is really about : the general public's hatred. our loathing, our fear of homosexuals.<\/dialogue>\n    <scene_description>DEAD SILENCE while the Judge thinks it over . CLOSE ON ANDREW .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>Very good.<\/dialogue>\n    <scene_description>CLOSE ON BELINDA CONINE . CLOSE ON CHARLES WHEELER . CLOSE ON MIGUEL . CLOSE ON WALTER KENTON . CLOSE ON BOB SEIDMAN . CLOSE ON THE MARINE JUROR . CLOSE ON JAMEY COLLINS , sweating bullets on the stand .<\/scene_description>\n    <character>JUDGE GARNETT<\/character>\n    <dialogue>In this courtroom, Mr. Miller, justice is blind. To matters of race, creed, color, religion. And sexual orientation.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>With all due respect, Your Honor. We do n't live in this courtroom, do we?<\/dialogue>\n    <character>JUDGE GARNETT<\/character>\n    <dialogue>No. We do n't. However, as regards this witness, I'm going to sustain the defense's objection.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - COURTHOUSE MEN'S ROOM, FIVE URINALS, THREE SINKS.<\/stage_direction>\n    <scene_description>The MARINE JUROR , the RETIRED POSTAL WORKER JUROR , and AN UPTIGHT BUSINESSMAN JUROR stand at the urinals , with an empty urinal between each of them . The MARINE JUROR whistles while he pees -LRB- a classic rock tune , like `` Radar Love . '' -RRB- The BUSINESSMAN sighs , `` Ahhhhhh . '' The RETIRED POSTAL WORKER JUROR jingles change . The ROCK MUSICIAN JUROR enters , stepping up to the urinal between the BUSINESSMAN and the MARINE . He unzips , and it seems to take him an incredibly long time to extricate his urinary organ . This does not escape the MARINE 'S notice .<\/scene_description>\n    <character>ROCK MUSICIAN JUROR<\/character>\n    <parenthetical>( innocently , to Marine . )<\/parenthetical>\n    <dialogue>I have some gay friends. What's the biggie?<\/dialogue>\n    <scene_description>The MARINE says nothing .<\/scene_description>\n    <character>ROCK MUSICIAN JUROR<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Everybody has a couple of gay friends. Do n't you?<\/dialogue>\n    <character>MARINE<\/character>\n    <dialogue>No, sir. I do not.<\/dialogue>\n    <scene_description>The MARINE moves closer to the urinal , so that no one can see his private parts .<\/scene_description>\n    <character>ROCK MUSICIAN JUROR<\/character>\n    <dialogue>You might have them, and just not know they're gay.<\/dialogue>\n    <scene_description>The MARINE shakes , zips , flushes , turns away . He pauses to look directly at the ROCK MUSICIAN JUROR .<\/scene_description>\n    <character>MARINE<\/character>\n    <dialogue>I know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - WALTER KENTON ON THE WITNESS STAND...<\/stage_direction>\n    <character>JOE<\/character>\n    <dialogue>And how many weeks at a time would you be out to sea, without stopping at port?<\/dialogue>\n    <character>KENTON<\/character>\n    <dialogue>Anywhere from two weeks, to several months.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Any women on board?<\/dialogue>\n    <scene_description>Kenton glances at the MARINE JUROR .<\/scene_description>\n    <character>KENTON<\/character>\n    <dialogue>Not when I was in the Navy.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>So during those long voyages, months at a time, out to sea, no women in sight, a hundred, hardworking, robust, young men, in the prime of their life, at the peak of their natural appetites, desires, their god - given, hormonal instincts. Anything going on?<\/dialogue>\n    <character>KENTON<\/character>\n    <dialogue>Going on. like?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Like. two sailors playing hide the salami.<\/dialogue>\n    <scene_description>Andrew covers his face with his hands .<\/scene_description>\n    <character>BELINDA<\/character>\n    <dialogue>Objection!<\/dialogue>\n    <character>JUDGE GARNETT<\/character>\n    <dialogue>Mr. Miller!<\/dialogue>\n    <character>KENTON<\/character>\n    <parenthetical>( ca n't resist . )<\/parenthetical>\n    <dialogue>We had one guy like that.<\/dialogue>\n    <character>BELINDA<\/character>\n    <dialogue>You have n't ruled on my objection, Your Honor.<\/dialogue>\n    <scene_description>Kenton seems eager to tell his story . Joe stands with crossed arms , waiting .<\/scene_description>\n    <character>JUDGE GARNETT<\/character>\n    <dialogue>Let's continue.<\/dialogue>\n    <character>JOE<\/character>\n    <parenthetical>( to Kenton . )<\/parenthetical>\n    <dialogue>You had one guy `` like that?''<\/dialogue>\n    <character>KENTON<\/character>\n    <dialogue>Yeah. But we took care of him.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>How did you do that?<\/dialogue>\n    <character>KENTON<\/character>\n    <dialogue>We stuck his head in the latrine, after ten of us had used it.<\/dialogue>\n    <scene_description>LAUGHTER and SOME APPLAUSE from some SPECTATORS , and some JURORS . ACTIVISTS BOO and HISS . The JUDGE POUNDS HIS GAVEL .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>You taught him a lesson.<\/dialogue>\n    <character>KENTON<\/character>\n    <dialogue>Yes, we did.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Like firing Andrew Beckett taught him a lesson?<\/dialogue>\n    <character>BELINDA<\/character>\n    <dialogue>Objection!<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I'll withdraw.<\/dialogue>\n    <parenthetical>( moving on quickly . )<\/parenthetical>\n    <dialogue>You were aware, when you worked with Maria Torres, that she had AIDS, correct?<\/dialogue>\n    <character>KENTON<\/character>\n    <dialogue>She did n't try to conceal it.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>So you are aware of the difference between a lesion and a bruise, is that correct?<\/dialogue>\n    <character>KENTON<\/character>\n    <dialogue>I know the difference. That does n't mean I'm always able to recognize the difference.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>But did n't you avoid contact with Ms. Torres, after you found out she had AIDS? She says you acted repulsed by her and you avoided her, is that correct?<\/dialogue>\n    <character>KENTON<\/character>\n    <dialogue>I felt, and still feel, nothing but the deepest sympathy and compassion for people like Maria, who have contracted this terrible disease through no fault of their own.<\/dialogue>\n    <character>CUT TO LOUD CLASSICAL MUSIC:<\/character>\n    <dialogue \/>\n    <scene_description>IN THE KITCHEN OF THEIR APARTMENT , MIGUEL POURS MEDICINE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT - into an IV drip unit...<\/stage_direction>\n    <scene_description>LOUD CLASSICAL MUSIC IN THE BACKGROUND . Miguel glances at a chart on the wall , in which a day is broken into hours , with medical instructions for each hour<\/scene_description>\n    <character>MIGUEL<\/character>\n    <parenthetical>( shouting over MUSIC . )<\/parenthetical>\n    <dialogue>Drew! Are you ready? If we start at eight, we'll be done by twelve.<\/dialogue>\n    <scene_description>Miguel taps the IV bag , getting the drip started . A cat jumps onto the counter . Miguel holds it . ANDREW SITS AT THE DININGROOM TABLE , MAKING NOTES ON A LEGAL<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT - pad, holding out his left arm. A catheter is<\/stage_direction>\n    <scene_description>imbedded into Andrew 's arm , and Miguel is trying to get the IV drip started through the catheter . The MUSIC is lower .<\/scene_description>\n    <character>MIGUEL<\/character>\n    <dialogue>It's not going through.<\/dialogue>\n    <character>ANDREW<\/character>\n    <parenthetical>( focused on his work . )<\/parenthetical>\n    <dialogue>We'll have to flush it again.<\/dialogue>\n    <scene_description>Andrew reaches for a law book .<\/scene_description>\n    <character>MIGUEL<\/character>\n    <dialogue>Hold still. Shit.<\/dialogue>\n    <parenthetical>( trying again . )<\/parenthetical>\n    <dialogue>The goddamn vein's clotted. We have to go the goddamn hospital, so they can change the goddamn catheter.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>I have too much work to do. Skip the treatment.<\/dialogue>\n    <character>MIGUEL<\/character>\n    <dialogue>We're not skipping this treatment.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>I said, skip it, Michael. It's my treatment.<\/dialogue>\n    <character>MIGUEL<\/character>\n    <dialogue>Fuck you.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Fuck you. This shit's probably not doing me any good anyway.<\/dialogue>\n    <character>MIGUEL<\/character>\n    <dialogue>That shit's saving your life, you asshole!<\/dialogue>\n    <scene_description>Miguel shoves away from the table .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>What's wrong with you?<\/dialogue>\n    <character>MIGUEL<\/character>\n    <dialogue>Close the law book.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>I'm not going to close the -<\/dialogue>\n    <character>MIGUEL<\/character>\n    <dialogue>CLOSE THE FUCKING LAW BOOK!<\/dialogue>\n    <scene_description>Andrew slams it SHUT .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>ALLRIGHT IT'S CLOSED!<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Jesus!<\/dialogue>\n    <character>MIGUEL<\/character>\n    <dialogue>The least you can do is look at me, while I'm sticking this shit into your arm. Forget the fucking case, one hour a day, and give me a little of your time.<\/dialogue>\n    <character>ANDREW<\/character>\n    <parenthetical>( very quiet . )<\/parenthetical>\n    <dialogue>You do n't think there's much time left, do you?<\/dialogue>\n    <character>MIGUEL<\/character>\n    <dialogue>That's not what I said.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>You're scared. You think we're near the end.<\/dialogue>\n    <character>MIGUEL<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Maybe I should start making plans, is that what you think? Start planning my memorial service? `` Begin to prepare for the inevitable.''<\/dialogue>\n    <character>MIGUEL<\/character>\n    <parenthetical>( low . )<\/parenthetical>\n    <dialogue>Maybe you should think about it.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>What's that mean?!<\/dialogue>\n    <character>MIGUEL<\/character>\n    <parenthetical>( very difficult . )<\/parenthetical>\n    <dialogue>Maybe you should think about it.<\/dialogue>\n    <scene_description>A MOMENT .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>I'm not going to die.<\/dialogue>\n    <character>MIGUEL<\/character>\n    <dialogue>That's right. We're on the Positive Plan. You do n't have a Fatal Disease, you have Manageable Illness.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>You want me to give up? Let this thing turn us into victims?<\/dialogue>\n    <character>MIGUEL<\/character>\n    <dialogue>Then, what are we, Drew?! The winners? `` Ladies and gentlemen, the first prize of AIDS goes to Andrew Beckett and his lover Miguel.'' Excuse me, I'm not your lover. I'm your Care Partner. FUCK!<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>I'm not ready to die.<\/dialogue>\n    <character>MIGUEL<\/character>\n    <dialogue>Do you think I'm ready for it?! I hate this shit. I'm not a fucking martyr! I hate every goddamn part of it!<\/dialogue>\n    <scene_description>Miguel slides down the wall , sitting in a heap . Andrew goes to him . They hug . Miguel holds him tight .<\/scene_description>\n    <character>MIGUEL<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Please do n't leave me. I love you so much. Do n't die, do n't leave me, please.<\/dialogue>\n    <scene_description>Miguel rocks in Andrew 's arms . Andrew kisses the top of his head , holding tight .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>I am so scared. I am so fucking, incredibly, fucking scared.<\/dialogue>\n    <scene_description>A MOMENT . Andrew stroking Miguel 's hair , as he calms down .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>You know, there's only one thing to do.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>We have to have a party.<\/dialogue>\n    <scene_description>JOE AND LISA STAND OUTSIDE ANDREW 'S APARTMENT - IN COSTUME .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT - DANCE MUSIC is playing inside...<\/stage_direction>\n    <scene_description>Lisa is dressed as a giant sandwich . Joe 's costume looks quickly thrown together : he 's wearing a suit , but has pages from a legal document stapled all over the suit .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Did I ever tell you, I hate costume parties?<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>My lettuce is wilting.<\/dialogue>\n    <scene_description>The DOOR IS OPENED - by the LEAD SINGER OF WHITE SNAKE : big hair , leather , guitar .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( AS ROCKER . )<\/parenthetical>\n    <dialogue>PARRTYY!<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>We're friends of Beckett's.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>It's me, you dork.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>I'm Lisa Miller.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Glad to finally meet you. Come on in.<\/dialogue>\n    <scene_description>JOE AND LISA FOLLOW ANDREW INTO THE APARTMENT -LRB- HE LIMPS , relying on his cane , but he 's got A LOT OF ENERGY -RRB- . The room is filled with two Madonnas , an M.C. Hammer , three nuns , a can of soup<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT -...<\/stage_direction>\n    <character>ANDREW<\/character>\n    <parenthetical>( to Lisa . )<\/parenthetical>\n    <dialogue>I have to introduce you to the can of soup. You can enter the costume contest together as a lunch special.<\/dialogue>\n    <scene_description>Miguel approaches , dressed as a MEMBER OF MEGA - DEATH or ANTHRAX . He strikes a pose , contorts his face and hits an air guitar riff . Andrew crosses guitars with Miguel . Then :<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>This is Lisa Miller. Miguel Alvarez.<\/dialogue>\n    <scene_description>Miguel 's sister MARIA is passing by with a GROUP OF FRIENDS . Everyone ad libs greetings .<\/scene_description>\n    <character>MIGUEL<\/character>\n    <dialogue>My sister, Maria.<\/dialogue>\n    <parenthetical>( to Lisa . )<\/parenthetical>\n    <dialogue>Pastrami on rye?<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Corned beef.<\/dialogue>\n    <character>MIGUEL<\/character>\n    <dialogue>Want to dance?<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Sure!<\/dialogue>\n    <scene_description>Miguel leads Lisa away . Joe is reluctant to give her up .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Beckett. You seem. better. Energized, more alive.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>I had a blood transfusion today. I feel great.<\/dialogue>\n    <scene_description>Andrew studies Joe , trying to figure out the costume .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>I'm a law suit.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Not bad.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Get it?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Let's find you a drink.<\/dialogue>\n    <scene_description>Andrew leads Joe through the crowd , greeting Rachel , skin painted blue -LRB- SMURFETTE -RRB- her daughter AMY -LRB- BART SIMPSON -RRB- , Anthea , TYRONE from Dr. Gillman 's office -LRB- A COWBOY -RRB- , and TYRONE 'S LOVER -LRB- A HORSE -RRB- . Some of Dr. Gillman 's PATIENTS are here too , including the YOUNG ASIAN MAN who is now in a wheelchair . And , one or two of ANDREW 'S SIBLINGS may be present as well . And Alan , Bruno and Chandra , and some arty friends and neighbors .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>What do you want?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Beer.<\/dialogue>\n    <parenthetical>( patting his briefcase . )<\/parenthetical>\n    <dialogue>We need to go over your Q and A.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Excuse me, I'm having a goddamn party, is that allright with you?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Sure. It's fine.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>No, we have to do it. But later, allright?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>A MAN dressed as LA TOYA JACKSON -LRB- with fake snake -RRB- squeezes past Joe , reaching for a beer .<\/scene_description>\n    <character>LA TOYA<\/character>\n    <dialogue>` Scuse me, darling.<\/dialogue>\n    <scene_description>Andrew is SMILING at Joe .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>You think I'm uncomfortable.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Correct.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>You're right.<\/dialogue>\n    <scene_description>Joe spills beer down his shirt .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>- Andrew and Miguel ROCKING to HEAVY METAL MUSIC , playing a battle of the guitars . At one point , Andrew has to sit down , but he does n't stop `` playing , '' while Miguel jumps all around him . - Joe talking to a MAN DRESSED AS MARIE ANTOINETTE :<\/scene_description>\n    <character>MARIE ANTOINETTE<\/character>\n    <dialogue>I'm an accountant. What do you do?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I'm a lawyer.<\/dialogue>\n    <parenthetical>( points to Lisa . )<\/parenthetical>\n    <dialogue>That's my wife!<\/dialogue>\n    <scene_description>- Andrew 's mother Sarah , as Marge Simpson , delivers a tray of hors d'oeuvres to Joe -LRB- standing next to a POLICEMAN -RRB- :<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Have a cocktail wienie.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Thanks, Sarah.<\/dialogue>\n    <parenthetical>( to the POLICEMAN . )<\/parenthetical>\n    <dialogue>Nice costume.<\/dialogue>\n    <character>POLICEMAN<\/character>\n    <dialogue>It's not a costume, I just got off work. You're cute.<\/dialogue>\n    <character>JOE<\/character>\n    <parenthetical>( pointing to Lisa . )<\/parenthetical>\n    <dialogue>That's my wife. Want to see a picture of my baby?<\/dialogue>\n    <character>POLICEMAN<\/character>\n    <parenthetical>( reaching for his wallet . )<\/parenthetical>\n    <dialogue>Absolutely. Want to see a picture of my baby?<\/dialogue>\n    <scene_description>- Everyone SLOW DANCES to the Talking Heads tune `` Heaven '' -LRB- Simply Red cover version -RRB- : Joe and Lisa , Andrew and Miguel , Rachel with a sleepy Amy in her arms , the POLICEMAN and TYRONE , Sarah Beckett and MARIE ANTOINETTE , LA TOYA and her snake .<\/scene_description>\n    <character>\"HEAVEN\" CONTINUES OVER:<\/character>\n    <dialogue \/>\n    <scene_description>A CAB IDLING IN THE STREET , LISA KISSING JOE -LRB- NIGHT -RRB- .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>I'll see you in an hour, max.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Night, honey.<\/dialogue>\n    <scene_description>Lisa climbs into the cab which she is sharing with the NUN and MARIE ANTOINETTE and LA TOYA .<\/scene_description>\n    <character>NUN\/MARIE ANTOINETTE\/LA TOYA<\/character>\n    <dialogue>Night, Joe!<\/dialogue>\n    <character>\"HEAVEN\" CONTINUES OVER:<\/character>\n    <dialogue \/>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/ NIGHT - QUIET IN ANDREW'S CONDO, THE PARTY LONG OVER.<\/stage_direction>\n    <scene_description>Joe opens his briefcase , removing a legal pad with notes .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Congratulations, Miller.<\/dialogue>\n    <scene_description>Andrew clears away party debris from the table , making space for his legal work . He is attached to an IV line , which is connected to a drip bag on a rolling stand , that can move with him . He is no longer in costume .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>You survived your first gay party intact.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Let me tell you something, okay? When you're brought up, like the rest of us, in a place like where I was brought up, there's not a whole lot of discussion about. homosexuals. As a kid, you're taught right away that queers are weird, queers are funny, they're a danger to kids, they're afraid to fight, and they all want to cop your joint. And that pretty much sums up the general thinking out there, if you want to know the truth.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Thank you for sharing that with me, Joe.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Let's review these notes for your testimony. We have a big day on Monday.<\/dialogue>\n    <scene_description>Joe begins ticking off a list of courtroom reminders :<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>When you refer to Wheeler, call him Charles, to show how you'd been admitted to the inner circle, you were considered one of them.<\/dialogue>\n    <character>ANDREW<\/character>\n    <parenthetical>( distracted . )<\/parenthetical>\n    <dialogue>Uh huh.<\/dialogue>\n    <character>JOE<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Beckett?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Charles. Okay. Miller?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Do you. pray?<\/dialogue>\n    <scene_description>Joe hesitates . They 're having a personal conversation ?<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Yeah. Sure.<\/dialogue>\n    <scene_description>Joe goes back to the notes :<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Then we establish how Wheeler's boys recruited you after law school.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>What have you prayed for?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>For a healthy baby. For Lisa to make it through the delivery. For the Phillies to get into the playoffs.<\/dialogue>\n    <character>ANDREW<\/character>\n    <parenthetical>( no self - pity . )<\/parenthetical>\n    <dialogue>There's a possibility I wo n't be around for the end of this trial.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I've considered that.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>What happens?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>We proceed, representing your estate.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>I've made provisions in my will for some charities. Miguel will need a lawyer. I know it's not your area.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I know a good probate lawyer.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>Do you like opera?<\/dialogue>\n    <scene_description>Andrew moves to the stereo , pulling the IV line with him .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Opera?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Want to hear my favorite aria?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Opera?<\/dialogue>\n    <scene_description>SUDDENLY , AN ARIA BY MARIA CALLAS FILLS THE ROOM - startling Joe with its VOLUME .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( over the MUSIC . )<\/parenthetical>\n    <dialogue>Andrea Chenier, by Giordano. This is Madeleine. She's telling how, during the French revolution, a mob set fire to her house. Her mother died, saving her. `` I look. The place that cradled me was burning!'' Do you hear the heartache in her voice? Then, here come the strings. Everything changes. The music fills with hope. Madeleine says.<\/dialogue>\n    <scene_description>Andrew sways through the room to the music , pulling the IV at his side . He seems truly free and relaxed .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>`` It was during that sorrow that love came to me! A voice filled with harmony That said. Live still, I am Life!'' `` I am the god that descends From the heavens to the earth To make of the earth A heaven!''<\/dialogue>\n    <scene_description>ANGLE ON JOE : Shifting , uncomfortable .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>`` I am Oblivion! I am Glory! I am Love, Love, Love!''<\/dialogue>\n    <scene_description>The MUSIC ENDS . Joe sits there , fidgeting . He reaches for his briefcase organizing his notes .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>I think I'll. I told Lisa.<\/dialogue>\n    <scene_description>Andrew collects himself , as Joe rises from his chair .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Right.<\/dialogue>\n    <scene_description>Andrew follows Joe to the door .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <parenthetical>( businesslike . )<\/parenthetical>\n    <dialogue>I'll look over the Q and A.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>You're ready, do n't worry.<\/dialogue>\n    <scene_description>An awkward moment , both men standing with their hands at their sides - will one of them initiate a handshake ? Joe gives a little `` salute , '' then leaves . JOE COMES DOWN THE HALLWAY OF THE MODERN CONDO BUILDING<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT -...<\/stage_direction>\n    <character>JOE<\/character>\n    <dialogue>Jesus.<\/dialogue>\n    <scene_description>Suddenly , Joe HEARS : OPERA MUSIC PLAYING AGAIN . He pauses , listening . ANDREW MOVES THROUGH THE ROOM , DRINKING IN THE BEAUTIFUL ,<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT - passionate MUSIC...<\/stage_direction>\n    <scene_description>The IV stand catches against the sofa , tugging the line . Andrew pulls the line out of his arm . He moves , freer now . JOE STANDS OUTSIDE ANDREW 'S DOOR , OPERA MUSIC PLAYING<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT -...<\/stage_direction>\n    <scene_description>Joe lifts his hand to KNOCK . He changes his mind .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Fucking guy.<\/dialogue>\n    <scene_description>Joe moves down the corridor , rings for the elevator . ANDREW MOVING THROUGH SHADOWS , IN THE APARTMENT , LETTING THE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT - MUSIC pull him along...<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT - JOE STEPPING INTO THE ELEVATOR.<\/stage_direction>\n    <scene_description>The doors closing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <scene_description>EXTERIOR : JOE 'S SUBURBAN HOUSE LATE AT NIGHT . Joe crosses the yard to his dark house . MUSIC DISTANT , CROSSES THE CUT TO :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT - JOE'S BABY LIES SLEEPING IN HER CRIB.<\/stage_direction>\n    <scene_description>Joe looks down on the baby , adjusting the blanket .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT - LISA FACES CAMERA, ASLEEP IN THE DARK BEDROOM.<\/stage_direction>\n    <scene_description>Joe doffs his jacket , sinking quietly onto the edge of the bed , careful not to disturb Lisa . With his BACK TO CAMERA , Joe puts his head into his hands . And begins to weep . FADE OUT . FADE IN : PANORAMIC SHOT OF PHILADELPHIA EXTERIORS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - HIGH, WIDE ANGLE ON THE COURTROOM, IN SILENCE...<\/stage_direction>\n    <scene_description>Andrew moves very slowly with his cane across the courtroom , toward the witness stand . - JUDGE GARNETT crosses his arms , waiting . - JOE glances at some notes . - MIGUEL and SARAH BECKETT look on anxiously . - WHEELER and the others observe in silence . CAMERA HOLDS ON BIBLE BEING CARRIED IN GLOVED HANDS , ACROSS THE COURTROOM . OVER THIS SHOT IS A . TITLE : `` Plaintiff 's case . day fourteen . '' The BAILIFF places the Bible in front of Andrew -LRB- a purple blotch is showing in front of Andrew 's ear . -RRB-<\/scene_description>\n    <character>BAILIFF<\/character>\n    <dialogue>Place your left hand on the Bible and raise your right hand.<\/dialogue>\n    <scene_description>Andrew places his hand on the Bible .<\/scene_description>\n    <character>BAILIFF<\/character>\n    <dialogue>`` Do you swear to tell the truth. DIALOGUE OVERLAP AND DISSOLVE TO :<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - ANDREW ANSWERING A QUESTION AN HOUR OR SO LATER.<\/stage_direction>\n    <character>ANDREW<\/character>\n    <dialogue>Wyant Wheeler had aggressively recruited me. They were the most prestigious firm in Philadelphia, full of opportunity. And I was impressed by the partners.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Including Charles Wheeler?<\/dialogue>\n    <scene_description>-LRB- Andrew frequently wipes sweat from his forehead with a handkerchief . His voice is hoarse , raspy . -RRB-<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Particularly, Charles.<\/dialogue>\n    <scene_description>ANGLE ON WHEELER .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>What impressed you about him?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>He was. the kind of person I thought I wanted to be.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>What kind of person is that?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Possessed of an encyclopedic knowledge of the law. A razor sharp litigator, a genuine leader, gifted at bringing out the very best in others. An awesome ability to illuminate the most complex of legal concepts to colleagues, courtrooms, the person on the street.<\/dialogue>\n    <parenthetical>( a smile . )<\/parenthetical>\n    <dialogue>The kind of person who plays three sets of tennis but does n't sweat. But underneath the elegant surface, was an adventurous spirit.<\/dialogue>\n    <scene_description>Belinda Conine MAKES A NOTE ABOUT THAT .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Obviously, at this time, you were n't sick.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>It's possible I was infected with the HIV virus at that time, but I was n't diagnosed until several years later.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>You did n't look then, the way you look now?<\/dialogue>\n    <scene_description>REVERSE - ON ANDREW IN THE WITNESS STAND , BUT NOW HE LOOKS COMPLETELY DIFFERENT -LRB- The healthy . pre - AIDS Andrew . -RRB-<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>No. I was thirty pounds heavier. I was athletic.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>A regular all - American guy?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>I suppose you could say that.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Except. you were gay?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>I still am.<\/dialogue>\n    <scene_description>SPECTATORS CHUCKLE .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>In the years you worked at Wyant Wheeler, did you ever tell Charles Wheeler you were gay?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>No. I did n't.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Can you explain why you did n't?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>You do n't bring your personal life into a law firm. You're not supposed to have a personal life, really. Anyway, I did plan to tell Charles, eventually. But then, this thing happened at the tennis club.<\/dialogue>\n    <scene_description>IMAGE : WHEELER . ANDREW . SEIDMAN . OTHERS IN A LOCKER ROOM OF<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - A TENNIS CLUB, WEARING TOWELS, ENTERING A SAUNA.<\/stage_direction>\n    <character>WHEELER<\/character>\n    <dialogue>Longstreet's interested in the Harrisburg deal.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>I'm seeing him this afternoon.<\/dialogue>\n    <scene_description>INSIDE THE SAUNA : CAMERA PANS SEVERAL MEN .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>`` Somebody started telling jokes.''<\/dialogue>\n    <character>FIRST MAN<\/character>\n    <dialogue>What do you call a woman who has PMS and ESP at the same time?<\/dialogue>\n    <character>SECOND MAN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>FIRST MAN<\/character>\n    <dialogue>A bitch who knows everything.<\/dialogue>\n    <scene_description>LAUGHTER . Andrew keeps his eyes closed , leaning against the wall of the sauna , next to Wheeler , relaxing .<\/scene_description>\n    <character>CHARLES WHEELER<\/character>\n    <dialogue>How does a faggot fake an orgasm?<\/dialogue>\n    <scene_description>Andrew opens one eye .<\/scene_description>\n    <character>CHARLES WHEELER<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>He spits on your back.<\/dialogue>\n    <character>SEIDMAN<\/character>\n    <dialogue>Charles, that's revolting!<\/dialogue>\n    <scene_description>All the men LAUGH , and Wheeler LAUGHS THE HARDEST .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>How did that make you feel?<\/dialogue>\n    <scene_description>IMAGE : BACK TO THE COURTROOM . ANDREW IN THE WITNESS STAND -LRB- And it 's the sick , thin Andrew with AIDS -RRB- .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Relieved. That I'd never told him I was gay. Very relieved.<\/dialogue>\n    <scene_description>ANGLE ON CHARLES WHEELER : shakes his head , a denial .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Are you a good lawyer?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>I'm an excellent lawyer.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>What makes you an excellent lawyer?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>I love the law. I know the law. I excel at practicing it. It's the only thing I've ever wanted to do.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>What do you love about it?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Well. many things. But I think the thing I love the most, is that every once in a while, not that often, but occasionally. you get to be part of justice being done. It's really quite a thrill when that happens.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - BELINDA CONINE STANDS BEFORE ANDREW.<\/stage_direction>\n    <character>BELINDA<\/character>\n    <dialogue>You said earlier you aspired to be the kind of person who had `` an adventurous spirit.'' Is that correct?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Something like that.<\/dialogue>\n    <character>BELINDA<\/character>\n    <dialogue>Do you take risks?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>In my work? Yes. Calculated risks. You have to.<\/dialogue>\n    <character>BELINDA<\/character>\n    <dialogue>In general. Do you take risks in other areas of your life?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Not unnecessary ones.<\/dialogue>\n    <character>BELINDA<\/character>\n    <dialogue>Have you ever been to the Apollo Cinema on Sansom Street?<\/dialogue>\n    <scene_description>Joe cringes a little with discomfort .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( looking Belinda right in the eye . )<\/parenthetical>\n    <dialogue>A few times.<\/dialogue>\n    <scene_description>IMAGE : FLASHING LIGHTS AT THE `` APOLLO '' THEATER ENTRANCE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NIGHT -.<\/stage_direction>\n    <character>BELINDA<\/character>\n    <parenthetical>( OS . )<\/parenthetical>\n    <dialogue>What kind of movies do they show there?<\/dialogue>\n    <character>ANDREW<\/character>\n    <parenthetical>( OS . )<\/parenthetical>\n    <dialogue>Gay movies.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - BACK IN COURT :<\/stage_direction>\n    <character>BELINDA<\/character>\n    <dialogue>Gay pornographic movies?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>BELINDA<\/character>\n    <dialogue>Do men have sex with each other in that theater?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>IMAGE : MOVING POV SHOT PAST ROWS OF GAY PORN MAGAZINES<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT -.<\/stage_direction>\n    <character>BELINDA<\/character>\n    <parenthetical>( OS . )<\/parenthetical>\n    <dialogue>How about you, Mr. Beckett?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - IMAGE: MOVING POV SHOT PAST FACES OF THE JURORS<\/stage_direction>\n    <character>BELINDA<\/character>\n    <parenthetical>( OS ; CONT . )<\/parenthetical>\n    <dialogue>Have you ever had sex with someone in that theater?<\/dialogue>\n    <scene_description>IMAGE : MOVING POV SHOT PAST A GLASS COUNTER HOLDING SEXUAL<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT - DEVICES, LUBRICANTS, CONDOMS.<\/stage_direction>\n    <character>ANDREW<\/character>\n    <parenthetical>( OS . )<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>BACK IN COURT , ON ANDREW :<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Once.<\/dialogue>\n    <scene_description>IMAGE : MEN LURKING OUTSIDE PRIVATE SCREENING BOOTHS -LRB- THEY VARY IN AGE . TYPE . ETC. . - MOST LOOK PRETTY DAMN NORMAL -RRB-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT -.<\/stage_direction>\n    <scene_description>IMAGE : ANDREW -LRB- PRE - AIDS -RRB- SMILES AT A FRIENDLY YUPPIE , STANDING<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT - INSIDE A PRIVATE BOOTH.<\/stage_direction>\n    <character>YUPPIE<\/character>\n    <dialogue>I'm Robert.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Andrew.<\/dialogue>\n    <scene_description>Andrew steps into the booth .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Now what do we do?<\/dialogue>\n    <scene_description>Robert laughs , closing the door of the booth .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>I think we'll figure it out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - BACK TO THE COURTROOM :<\/stage_direction>\n    <scene_description>Joe sits with a stone - sober expression : this is n't easy .<\/scene_description>\n    <character>BELINDA<\/character>\n    <dialogue>When? Approximately what year did this event take place?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>I guess it was 1984, 85.<\/dialogue>\n    <character>BELINDA<\/character>\n    <dialogue>Were you aware in 1984 or 1985 that there was a fatal disease out there, called AIDS, and that you could contract it through sexual activity?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>It's impossible to know exactly when or how I was infected with HIV.<\/dialogue>\n    <character>BELINDA<\/character>\n    <dialogue>But you were having anonymous sex in porno theaters in 1984 and 1985?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>That happened once. People were n't talking about AIDS then, the way we are now. Or safe sex.<\/dialogue>\n    <character>BELINDA<\/character>\n    <dialogue>You'd heard of AIDS in 1984, 85?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>I'd heard of something. The gay plague, gay cancer, but. we did n't know how you could get it, or that it could kill you.<\/dialogue>\n    <scene_description>CLOSE SHOT ON ANDREW - losing strength .<\/scene_description>\n    <character>BELINDA<\/character>\n    <parenthetical>( OS . )<\/parenthetical>\n    <parenthetical>( sounds far away . )<\/parenthetical>\n    <dialogue>Do you need a break?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>BELINDA<\/character>\n    <dialogue>While you were employed at Wyant Wheeler, you did everything you could to make sure no one knew you were an active homosexual, correct?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>That is not correct. I never lied about it.<\/dialogue>\n    <character>BELINDA<\/character>\n    <dialogue>Did you keep a picture of your lover on your desk?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>BELINDA<\/character>\n    <dialogue>Do other lawyers at the firm keep pictures of their spouses or fiances on their desks?<\/dialogue>\n    <scene_description>IMAGE : ANDREW IN BOB SEIDMAN 'S OFFICE , WORKING , SPOTTING A<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - PHOTO ON THE WALL OF BOB'S WIFE AND CHILDREN.<\/stage_direction>\n    <character>ANDREW<\/character>\n    <dialogue>Some do. I did n't.<\/dialogue>\n    <character>BELINDA<\/character>\n    <dialogue>As a homosexual, one is often forced to conceal one's sexuality, is that right?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>In some situations.<\/dialogue>\n    <character>BELINDA<\/character>\n    <dialogue>Is n't it true you have spent your life pretending to be something you're not, so much so that the art of concealment and dishonesty has become second nature to you?!<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Objection!<\/dialogue>\n    <character>BELINDA<\/character>\n    <dialogue>I'll withdraw it. Mr. Beckett? Were you living with Miguel Alvarez in 1984 or 1985 when you had your anonymous sexual encounter in the porn theater?<\/dialogue>\n    <scene_description>ANGLE ON MIGUEL , sitting next to Sarah .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>BELINDA<\/character>\n    <dialogue>You could have infected him, is n't that right?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Miguel has not been infected. As I said, we were n't aware of AIDS, then, or how it is spread.<\/dialogue>\n    <character>BELINDA<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Andrew wipes sweat from his forehead .<\/scene_description>\n    <character>BELINDA<\/character>\n    <dialogue>You've testified the lesions on your face were visible to the people you worked with, correct?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>That's right.<\/dialogue>\n    <character>BELINDA<\/character>\n    <dialogue>And it's your contention, that when the partners were made aware of the lesions, they jumped to the conclusion you had AIDS and fired you.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Absolutely.<\/dialogue>\n    <character>BELINDA<\/character>\n    <dialogue>Do you have any lesions on your face at this time?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>One. Here, in front of my ear.<\/dialogue>\n    <scene_description>An ASSISTANT hands Conine a shaving mirror . She holds it before Andrew .<\/scene_description>\n    <character>BELINDA<\/character>\n    <dialogue>Remembering you are under oath, answering truthfully, can you see the lesion on your face, in this mirror, three feet away? Answering truthfully.<\/dialogue>\n    <scene_description>Andrew looks in the mirror : the lesion is NOT very visible .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>By the time I was fired, there were four lesions on my face, much bigger.<\/dialogue>\n    <character>BELINDA<\/character>\n    <dialogue>Answer the question, please.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>No. I ca n't really see it.<\/dialogue>\n    <character>BELINDA<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Andrew rubs his eyes .<\/scene_description>\n    <character>JUDGE GARNETT<\/character>\n    <parenthetical>( OS . )<\/parenthetical>\n    <parenthetical>( far away . )<\/parenthetical>\n    <dialogue>This would be a good time to break for the day.<\/dialogue>\n    <character>JOE<\/character>\n    <parenthetical>( OS . )<\/parenthetical>\n    <parenthetical>( far away . )<\/parenthetical>\n    <dialogue>Your Honor? May I have ten minutes in re - direct?<\/dialogue>\n    <character>JUDGE GARNETT<\/character>\n    <parenthetical>( OS . )<\/parenthetical>\n    <parenthetical>( far away . )<\/parenthetical>\n    <dialogue>Beckett?<\/dialogue>\n    <scene_description>Andrew finds the Judge looking at him .<\/scene_description>\n    <character>JUDGE GARNETT<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Can you go on for ten minutes?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <scene_description>Joe JUMPS UP from the plaintiff 's table .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>I only need five!<\/dialogue>\n    <parenthetical>( to Belinda , reaching for the mirror . )<\/parenthetical>\n    <dialogue>May I?<\/dialogue>\n    <scene_description>Joe approaches Andrew , with the mirror .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Do you have any lesions on any part of your body, at this time, that resemble the lesions that were on your face at the time you were fired?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Yes. On my torso.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>If it please the court, I'd like to ask Mr. Beckett to remove his shirt, so that the jury can have an accurate idea of what we're talking about.<\/dialogue>\n    <character>BELINDA<\/character>\n    <dialogue>We object, Your Honor. It would unfairly influence the jury.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Your Honor, if Mr. Beckett was forced by his illness to use a wheelchair, would the defense ask him to park it outside? We're talking about AIDS, we're talking about lesions. Let's see what we're talking about.<\/dialogue>\n    <scene_description>ANGLE ON MEMBERS OF THE JURY - LOOKING APPREHENSIVE .<\/scene_description>\n    <character>JUDGE GARNETT<\/character>\n    <parenthetical>( a moment , then . )<\/parenthetical>\n    <dialogue>I'll allow it. Would you mind removing your shirt, Mr. Beckett?<\/dialogue>\n    <scene_description>ANGLE ON MIGUEL - TENSE .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Allright.<\/dialogue>\n    <scene_description>The COURTROOM TURNS SILENT . Andrew removes his suit jacket . He 's weak , so the smallest gesture requires effort . ANGLE ON BOB SEIDMAN - WATCHING . Andrew undoes his tie . ANGLE ON THE MARINE JUROR - WATCHING . Andrew unbuttons his collar buttons , working his way down . ANGLE ON SARAH BECKETT - WATCHING . Andrew stands , pulling his shirttails out of his trousers . ANGLE ON CHARLES WHEELER - WATCHING . Andrew removes his shirt - THERE ARE PURPLE BLOTCHES SPLAYED ACROSS HIS CHEST AND ABDOMEN AND ARMS . The SCHOOLTEACHER JUROR GASPS . Sarah Beckett is silently crying . The LESBIAN JUROR closes her eyes .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Can you see the lesions on your chest in this mirror?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>CAMERA MOVES IN ON CHARLES WHEELER .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - COURTHOUSE CORRIDOR, ACTIVITY...<\/stage_direction>\n    <scene_description>Charles Wheeler strides down the corridor , flanked by Kenton , Killcoyne and Belinda , discussing strategy . Bob Seidman steps to Wheeler 's side , keeping pace .<\/scene_description>\n    <character>SEIDMAN<\/character>\n    <dialogue>I've discovered something interesting, Charles.<\/dialogue>\n    <character>WHEELER<\/character>\n    <parenthetical>( to Belinda . )<\/parenthetical>\n    <dialogue>. keep them from that area, on grounds of relevancy.<\/dialogue>\n    <parenthetical>( to Seidman . )<\/parenthetical>\n    <dialogue>What, Bob?<\/dialogue>\n    <character>SEIDMAN<\/character>\n    <dialogue>No matter how hard I try, I ca n't lose a file in my computer.<\/dialogue>\n    <scene_description>NOW he 's got EVERYONE 'S attention .<\/scene_description>\n    <character>SEIDMAN<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>The system automatically makes a backup.<\/dialogue>\n    <scene_description>Belinda holds up both hands , interrupting with :<\/scene_description>\n    <character>BELINDA<\/character>\n    <dialogue>I do n't think I should hear this.<\/dialogue>\n    <scene_description>She walks away , giving a glance over her shoulder as :<\/scene_description>\n    <character>SEIDMAN<\/character>\n    <dialogue>You can erase the backup.<\/dialogue>\n    <parenthetical>( a challenge to Wheeler . )<\/parenthetical>\n    <dialogue>But why would you?<\/dialogue>\n    <character>KENTON<\/character>\n    <parenthetical>( venomous . )<\/parenthetical>\n    <dialogue>What's the point, Bob?<\/dialogue>\n    <character>WHEELER<\/character>\n    <parenthetical>( calm . )<\/parenthetical>\n    <dialogue>Very interesting, Bob. Let's make a note of that. Andy did n't lose the complaint in his computer. He never put it in. He lied about that, too.<\/dialogue>\n    <character>SEIDMAN<\/character>\n    <parenthetical>( weary . )<\/parenthetical>\n    <dialogue>Charles.<\/dialogue>\n    <character>WHEELER<\/character>\n    <dialogue>If you feel differently, Bob, you should say so, when you're called to the stand. After all, this is n't a conspiracy.<\/dialogue>\n    <scene_description>Wheeler and the gang moves on , leaving Seidman alone in the high - ceilinged corridor . Belinda hesitates , before re - grouping with Wheeler and the rest , casting a curious glance toward Bob Seidman . CAMERA PULLS BACK FROM CHARLES WHEELER - ON THE STAND .<\/scene_description>\n    <character>BELINDA<\/character>\n    <dialogue>Why did you recruit Andrew Beckett to your firm?<\/dialogue>\n    <scene_description>Andrew uses all his strength to concentrate . Charles Wheeler speaks with great sincerity .<\/scene_description>\n    <character>WHEELER<\/character>\n    <dialogue>If you're the owner of a major league ball club, you recruit the hot rookie. And Andy was tremendously promising as a young attorney. That's why we went after him, that's why we hired him, and that's why we stuck with him, year after year. waiting for the promise to be fulfilled. But it never was.<\/dialogue>\n    <character>BELINDA<\/character>\n    <dialogue>You kept giving him another chance?<\/dialogue>\n    <character>WHEELER<\/character>\n    <dialogue>Of course we did. When you've groomed someone they way we groomed Andy, nurturing him, lavishing all kinds of special treatment on him. you've made quite an investment. We were waiting for his promise to kick in, and deliver. But, ultimately, we could no longer ignore the gap between the promise and the reality. This is one of the saddest times in my life. To sit in this court, testifying to Andy's ultimate failure to make the grade. To discover that he is one of those people who wants to benefit by the system, but does n't want to play by the system's rules. To think you know someone, only to find out. you do n't know them at all. It's heartbreaking.<\/dialogue>\n    <character>BELINDA<\/character>\n    <dialogue>Thank you. That's all for now, Your Honor.<\/dialogue>\n    <character>JUDGE GARNETT<\/character>\n    <dialogue>Mr. Miller?<\/dialogue>\n    <scene_description>Joe rises . Adjusts his jacket . Wheeler waits .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( very gentle . )<\/parenthetical>\n    <dialogue>Explain to me, if you can, Mr. Wheeler, explain this to me like I'm a ten year - old. This trial is not about a disease, is that what you're saying? Not about your understandable, if unfounded, fear of catching AIDS through casual contact with someone who has it? You're saying, this trial is about Andrew Beckett's character. Am I getting this right?<\/dialogue>\n    <character>WHEELER<\/character>\n    <dialogue>Yes, character. To the extent that it affects a person's ability to do a great job.<\/dialogue>\n    <scene_description>Andrew looks away - face shiny with sweat , breathing difficult . He takes in the rest of the court , while Wheeler 's words THROB THROUGH THE AIR .<\/scene_description>\n    <character>WHEELER<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Andy worked when he wanted to work, telling us what he thought we needed to know about his lifestyle.<\/dialogue>\n    <scene_description>ANDREW 'S POV - ON RACHEL , sitting among the spectators . Rachel begins speaking , her WORDS OVERLAPPING Wheeler 's -LRB- we should get the feeling she 's giving her testimony -RRB- .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I did n't mind covering for Andy, but I did wonder. when was he planning to deal with his problem?<\/dialogue>\n    <scene_description>Andrew blinks . what 's going on ? Looking back to the court : Joe presses in on Wheeler . Everything seems normal .<\/scene_description>\n    <character>WHEELER<\/character>\n    <dialogue>Sometimes it seems like society is run by these kinds of people.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>What kind of people?<\/dialogue>\n    <character>WHEELER<\/character>\n    <dialogue>People who want to bend the rules.<\/dialogue>\n    <scene_description>ANDREW 'S POV - KENNETH KILLCOYNE at the defense table :<\/scene_description>\n    <character>KILLCOYNE<\/character>\n    <dialogue>If you want to be a leader in this society, you have to make certain sacrifices.<\/dialogue>\n    <scene_description>Wheeler keeps speaking :<\/scene_description>\n    <character>WHEELER<\/character>\n    <dialogue>to suit their personal desires, and the rest of us have to live with it.<\/dialogue>\n    <scene_description>ANDREW 'S POV - WALTER KENTON :<\/scene_description>\n    <character>KENTON<\/character>\n    <dialogue>You have to make a decision : is this guy partner material?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Who makes the rules, Mr. Wheeler? You?<\/dialogue>\n    <scene_description>ANDREW 'S POV - BOB SEIDMAN :<\/scene_description>\n    <character>SEIDMAN<\/character>\n    <dialogue>Yes, I did see the lesions. I suspected he was sick.<\/dialogue>\n    <scene_description>CLOSE ON ANDREW : closing his eyes . THE VOICES GET LOUDER , FIGHTING WITH EACH OTHER :<\/scene_description>\n    <character>WHEELER<\/character>\n    <dialogue>The everyday, common person with decent values.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>It seems like he was n't willing to face the reality of his situation.<\/dialogue>\n    <scene_description>Andrew slowly rises , the VOICES GETTING LOUDER :<\/scene_description>\n    <character>SEIDMAN<\/character>\n    <dialogue>I did n't tell the others, I was afraid to.<\/dialogue>\n    <character>WHEELER<\/character>\n    <dialogue>But now, we're standing up for ourselves.<\/dialogue>\n    <character>SEIDMAN<\/character>\n    <dialogue>But we should n't have fired him.<\/dialogue>\n    <character>WHEELER<\/character>\n    <dialogue>It's time to get this society back on track!<\/dialogue>\n    <scene_description>Andrew OPENS HIS EYES . WE SWITCH TO HIS POV : The Judge , the Jury - everyone silent , looking concerned . ANDREW 'S POV of the courtroom floor . Andrew falls into his own POV SHOT . In slow motion . He lies on the floor , looking up . ANDREW 'S POV - Joe steps over him .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>Could you call an ambulance, please?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - A CRISIS IN A HOSPITAL ROOM... MEDICAL STAFF<\/stage_direction>\n    <scene_description>working frenetically , trying to intubate Andrew , who IS HAVING SERIOUS TROUBLE BREATHING , his body HEAVING . The tube they 're trying to put in place seems to be making matters worse . Miguel stands to the side , furious :<\/scene_description>\n    <character>MIGUEL<\/character>\n    <dialogue>It's making it worse. Take it out. Take it out!<\/dialogue>\n    <scene_description>Dr. Gillman RUSHES into the room , in street clothes , obviously having answered an emergency call . She tries assessing the situation , just as the tube is removed and Andrew GASPS for breath . A NURSE places an oxygen mask over Andrew 's face and he drinks in the air . His eyes are wide open with fear , sweat covering his face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAY - PHILADELPHIA CITY HALL, A BUSINESS DAY.<\/stage_direction>\n    <scene_description>TITLE : `` Two weeks later . ''<\/scene_description>\n    <character>LESBIAN JUROR<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>If he was `` mediocre,'' why did they gave him this major assignment three weeks before they fired him?<\/dialogue>\n    <character>POSTAL WORKER JUROR<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>They were testing him.<\/dialogue>\n    <scene_description>JURORS SITTING AROUND A LONG TABLE IN A ROOM WITH TALL ,<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - grimy windows...<\/stage_direction>\n    <scene_description>TITLE : `` Jury deliberations . ''<\/scene_description>\n    <character>WAITRESS JUROR<\/character>\n    <dialogue>They wanted to see if he'd rise to the challenge.<\/dialogue>\n    <scene_description>An American flag hangs on the wall .<\/scene_description>\n    <character>SCHOOLTEACHER JUROR<\/character>\n    <dialogue>They wanted to give him a final chance.<\/dialogue>\n    <character>POSTAL WORKER JUROR<\/character>\n    <dialogue>Makes sense.<\/dialogue>\n    <character>BUSINESSMAN JUROR<\/character>\n    <dialogue>I'd still love to know what happened to that missing file.<\/dialogue>\n    <character>HOMEMAKER JUROR<\/character>\n    <dialogue>Would n't we all?<\/dialogue>\n    <character>POSTAL WORKER JUROR<\/character>\n    <dialogue>Ask the computer.<\/dialogue>\n    <character>COLLEGE STUDENT JUROR<\/character>\n    <dialogue>They say he was n't competent. But, you heard him on the stand.<\/dialogue>\n    <character>ROCK MUSICIAN JUROR<\/character>\n    <dialogue>He sounded pretty smart to me.<\/dialogue>\n    <character>BUSINESSMAN JUROR<\/character>\n    <dialogue>Why would they fire him? Why not a medical leave, or.<\/dialogue>\n    <character>COLLEGE STUDENT JUROR<\/character>\n    <dialogue>They freaked out over the AIDS.<\/dialogue>\n    <character>SCHOOLTEACHER JUROR<\/character>\n    <dialogue>They hate homosexuals.<\/dialogue>\n    <character>BUSINESSMAN JUROR<\/character>\n    <dialogue>It's not against the law to disapprove of homosexuals.<\/dialogue>\n    <character>LESBIAN JUROR<\/character>\n    <dialogue>It is against the law to fire someone for having AIDS. That's why we're here.<\/dialogue>\n    <character>BUSINESSMAN JUROR<\/character>\n    <dialogue>You're the foreman. You have n't said anything. What do you think?<\/dialogue>\n    <scene_description>ANGLE ON - THE MARINE , sitting at the head of the table .<\/scene_description>\n    <character>MARINE JUROR<\/character>\n    <dialogue>They're saying he was n't a good lawyer. He was mediocre. And the fact that they gave him the most important lawsuit they'd ever had, for one of their most important clients. they say that does n't prove anything, because that was just a test. What did they call it? A carrot. To see if he'd rise to the occasion. Okay. Say I've got to send a pilot into enemy territory, and he's gon na be flying a plane that cost 350 million dollars. Who am I going to put into that plane? A rookie who ca n't cut the grade, because I want to see if he'll rise to the challenge? Or am I going to give that assignment to my best pilot, my most experienced, my sharpest, my top gun. The very best I've got?<\/dialogue>\n    <character>MARINE JUROR<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Could somebody please explain that to me. like I'm a six year old?<\/dialogue>\n    <scene_description>HOLD ON THE MARINE , AS THE JUDGE 'S VOICE FADES IN :<\/scene_description>\n    <character>JUDGE GARNETT<\/character>\n    <parenthetical>( VO . )<\/parenthetical>\n    <dialogue>Members of the jury, have you reached a verdict?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - THE COURTROOM -- NO ONE STIRRING.<\/stage_direction>\n    <scene_description>Joe is utterly cool . Sitting beside Andrew 's empty chair . Among the spectators , Andrew 's siblings , Jill , Matt , Randy , and his parents , Bud and Sarah . Rachel , Anthea and Miguel 's sister Maria . The Marine rises to his feet .<\/scene_description>\n    <character>MARINE<\/character>\n    <dialogue>We have, Your Honor.<\/dialogue>\n    <scene_description>Charles Wheeler looks the Marine in the eye .<\/scene_description>\n    <character>MARINE<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>We find for the plaintiff, Andrew Beckett.<\/dialogue>\n    <scene_description>Joe smiles , just barely , remaining calm . Charles Wheeler whispers to Belinda Conine .<\/scene_description>\n    <character>JUDGE GARNETT<\/character>\n    <dialogue>Have you awarded any damages?<\/dialogue>\n    <character>MARINE<\/character>\n    <dialogue>Yes, we have, Your Honor.<\/dialogue>\n    <parenthetical>( referring to a list . )<\/parenthetical>\n    <dialogue>For back pay and loss of benefits. one hundred fortythree thousand dollars.<\/dialogue>\n    <scene_description>Joe shakes his head , disappointed , writing down the amount . Wheeler and his crew SMILE - THIS IS THEIR VICTORY .<\/scene_description>\n    <character>MARINE JUROR<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>For damages related to mental anguish and humiliation. we give no award.<\/dialogue>\n    <scene_description>Joe is extremely disappointed .<\/scene_description>\n    <character>MARINE JUROR<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>And punitive damages we award. Four million, eight hundred and eighty two thousand dollars.<\/dialogue>\n    <scene_description>Joe throws his pen over his shoulder . COURTROOM BURSTS INTO AN UPROAR . Andrew 's supporters , Joe 's colleagues from his office rush forward , pounding him on the back . Andrew 's family members hug each other . CAMERA CRANES AWAY FROM THIS GROUP , RISING TOWARD THE CEILING AS THE SOUNDS OF THE CROWD FADE . OPERA MUSIC FADES IN , TAKING US TO . ELEVATOR DOORS OPENING . JOE STEPPING INTO THE CORRIDOR OF<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT - a hospital, carrying two shopping bags from the<\/stage_direction>\n    <scene_description>Famous 4th Street deli . Joe moves down the corridor , looking for a particular room . Dr. Gillman stands outside a hospital room , talking in a low voice to Bud and Sarah Beckett . As Joe passes them , entering Andrew 's room , he hears :<\/scene_description>\n    <character>DR. GILLMAN<\/character>\n    <dialogue>if he comes out of the hospital this time, you must n't expect him to be like he was before.<\/dialogue>\n    <scene_description>Joe steps into .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT - ANDREW'S HOSPITAL ROOM...<\/stage_direction>\n    <scene_description>A hand - painted banner is strung over Andrew 's bed : `` Victory . '' OPERA MUSIC plays on a portable CD player . ANDREW lies in a hospital bed , with a pressurized oxygen mask on his face . JILL sits on the edge of Andrew 's bed , holding his hand , smiling , speaking to Andrew in low tones . With his free hand , Andrew gently strokes Jill 's forearm . -LRB- Andrew has an amazing assortment of tubes and IVs running into various parts of his body . -RRB- Andrew 's brothers MATT and RANDY are sipping beers with REV. JIM , MIGUEL , Miguel 's sister MARIA , Bruno and Chandra , while Matt does a dramatic re - creation of the Marine Juror rendering the judgment . Matt 's audience is loving it . As Joe comes into the room , Jill rises to take the shopping bags from him . Joe exchanges nods and greetings with the others . People KEEP THEIR VOICES LOW , but there 's a certain energy , and happiness evident in the room . ON ANDREW : Watching his friends and relatives with sparkling eyes and a weak , but grateful and peaceful smile . ON JOE : Glancing across the room , catching Andrew 's look . Andrew smiles at Joe and pats his hospital bed , indicating he wants Joe to sit there . Joe crosses the room , sits on the edge of the bed . With some difficulty , Andrew removes his oxygen mask . His voice is raspy , weak :<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>What do you call a thousand lawyers chained together at the bottom of the ocean?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>A good start.<\/dialogue>\n    <scene_description>Joe smiles .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Excellent work, Joe. I thank you.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>It was good working with you, Andrew. You're welcome.<\/dialogue>\n    <parenthetical>( sees the oxygen mask . )<\/parenthetical>\n    <dialogue>Hey. Should n't you put that thing back on?<\/dialogue>\n    <scene_description>Andrew begins fitting the mask back in place , but his hands are weak . Joe helps adjust the straps behind Andrew 's ears .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>I better get home. Lisa and I are having some friends over.<\/dialogue>\n    <character>ANDREW<\/character>\n    <parenthetical>( muffled by the mask . )<\/parenthetical>\n    <dialogue>Sure thing.<\/dialogue>\n    <scene_description>Joe stands .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>I'll see you, Beckett.<\/dialogue>\n    <scene_description>Andrew nods , weakly . But he 's still smiling and his eyes are dancing .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( through mask . )<\/parenthetical>\n    <dialogue>Thanks for coming by.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>You bet. We'll see you later.<\/dialogue>\n    <scene_description>Joe heads for the door , meeting Miguel there .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( to Miguel . )<\/parenthetical>\n    <dialogue>He's looking good. I would n't be surprised if he gets out of here soon.<\/dialogue>\n    <character>MIGUEL<\/character>\n    <dialogue>We just want to get him home. Thanks for stopping by, Joe.<\/dialogue>\n    <scene_description>Miguel puts his arms around Joe and hugs him . Joe slaps Miguel 's back .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Night.<\/dialogue>\n    <scene_description>Joe leaves . Miguel begins circulating among the `` guests , '' saying :<\/scene_description>\n    <character>MIGUEL<\/character>\n    <dialogue>He's tired. He ought to sleep.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT - JOE STEPPING INTO THE HOSPITAL ELEVATOR, AND<\/stage_direction>\n    <scene_description>saying to a GROUP OF DOCTORS and NURSES :<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>What do you call a thousand lawyers chained together at the bottom of the ocean?<\/dialogue>\n    <scene_description>The elevator doors close . ANDREW 'S HOSPITAL ROOM . Matt gives Andrew 's hand a squeeze , before leaving .<\/scene_description>\n    <character>MATT<\/character>\n    <dialogue>Night, Andy. See you tomorrow, buddy.<\/dialogue>\n    <scene_description>Rev. Jim pats Andrew 's shoulder .<\/scene_description>\n    <character>REV. JIM<\/character>\n    <dialogue>God bless you, Andy.<\/dialogue>\n    <scene_description>Bud Beckett kisses Andrew on the cheek .<\/scene_description>\n    <character>BUD<\/character>\n    <dialogue>Goodnight, son. Get some rest, okay?<\/dialogue>\n    <scene_description>Sarah Beckett is strong , kissing Andrew on the forehead .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Goodnight angel, my sweet boy.<\/dialogue>\n    <scene_description>Randy Beckett loses control of his emotions as he bends to hug his brother . He begins to sob .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Andy.<\/dialogue>\n    <scene_description>Andrew puts his weak arms , with the IV lines connected , around his brother Randy , to comfort him .<\/scene_description>\n    <character>ANDREW<\/character>\n    <parenthetical>( through mask . )<\/parenthetical>\n    <dialogue>I'm okay, bro. I'll see you tomorrow.<\/dialogue>\n    <scene_description>Jill hugs Andrew , giving Miguel a kiss as she leaves the room . Maria waves goodnight from the doorway , closing the door . Miguel sits on the edge of the bed , kicking off his shoes . Miguel stretches onto the bed next to Andrew , picks up the remote control , and TURNS ON THE TV . Andrew pulls aside the oxygen mask , to say :<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>I'm ready.<\/dialogue>\n    <character>MIGUEL<\/character>\n    <dialogue>Ready for what, baby?<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Whatever.<\/dialogue>\n    <character>MIGUEL<\/character>\n    <dialogue>I hope you're ready for `` Studs,'' because that's what's on.<\/dialogue>\n    <scene_description>Andrew replaces the oxygen mask . They lie next to each other , watching television . FADE OUT\/FADE IN : EXTERIOR : JOE 'S HOUSE AT NIGHT , ESTABLISHING . From inside the house : the phone rings .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT - JOE AND LISA'S DARK BEDROOM, QUIET...<\/stage_direction>\n    <scene_description>Lisa is sitting up in bed , having answered the phone . Joe is just waking up .<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>( to Joe . )<\/parenthetical>\n    <dialogue>It's Miguel.<\/dialogue>\n    <scene_description>Joe sits bolt upright .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Miguel?<\/dialogue>\n    <scene_description>EXTERIOR : ANDREW AND MIGUEL 'S LOFT BUILDING , DAY . A TAXI ARRIVES and an elegant , well - dressed older COUPLE step out . RACHEL OPENS THE DOOR OF THE LOFT , FINDING MIGUEL 'S FAMILY on the other side : very dignified , handsome people who have just arrived from Spain . They enter the apartment , where . A wake is in progress . Lots of food . People sharing stories about Andrew . Some people laughing . one or two softly crying as they hug each other . Someone has set up a `` memento '' table , with pictures of Andrew at various stages of his life , and things that meant something to him , like programs from the opera , a ballcap , photos of his favorite cat , etc. . THEME MUSIC PLAYS , but we hear BITS OF DIALOGUE under the music -LRB- `` You 're Miguel 's parents ? '' `` Do you remember when Andy . '' `` I went to college with Andy . '' etc. -RRB- Bud Beckett sits alone , very quiet . Miguel leads his parents over to Bud . Bud looks up , rises , extending his hand to MIGUEL 'S DAD . Miguel 's father shakes his head in sadness , reaches for Bud and pulls him into his arms for an embrace . CAMERA MOVES THROUGH THE CROWD , SEEMING TO SEARCH FOR SOMETHING . CAMERA ZEROS IN ON THE TV SET , across the room , where BLACK AND WHITE IMAGES ARE FLICKERING , ignored by everyone . AS CAMERA GETS CLOSER TO THE TV , it becomes apparent that the images are BLACK AND WHITE HOME MOVIES , converted to video . THE HOME MOVIES FEATURE a bright - eyed LITTLE BOY . Andrew . Riding a bike with training wheels . Swinging wildly at a wiffle ball . AS CAMERA TRACKS INTO THE TV , PARTY SOUNDS AND THEME MUSIC FADES . People are still talking , still laughing , still crying , but we CA N'T HEAR THEM ANY LONGER . Instead . We hear only the SOUNDTRACK from the HOME MOVIES . Andrew SHOUTING GLEEFULLY as he chases a new puppy . Andrew SQUEALING as he jumps into a tiny swimming pool . Andrew on a swing , going higher and higher . And laughing . FADE TO BLACK . ROLL END CREDITS . May we never find space so vast , planets so cold , heart and mind so empty that we can not fill them with love and warmth .<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Andrew Beckett is a senior associate at the largest corporate law firm in Philadelphia. He hides his homosexuality and his status as an AIDS patient from the other members of the firm. A partner in the firm notices a lesion on Beckett's forehead. Although Beckett attributes the lesion to a racquetball injury, it indicates Kaposi's sarcoma, an AIDS-defining condition. Shortly thereafter, Beckett stays home from work for several days to try to find a way to hide his lesions. While at home, he finishes the paperwork for a case he has been assigned and then brings it to his office, leaving instructions for his assistants to file the paperwork the following day, which marks the end of the statute of limitations for the case. Later that morning, he receives a call asking for the paperwork, as the paper copy cannot be found and there are no copies on the computer's hard drive. The paperwork is finally discovered in an alternate location and is filed with the court at the last possible moment. The following day, Beckett is dismissed by the firm's partners. Beckett believes that someone deliberately hid his paperwork to give the firm an excuse to fire him, and that the dismissal is actually as a result of his diagnosis with AIDS as well as his sexuality. He asks several attorneys to take his case, including African-American personal injury lawyer Joe Miller. The homophobic Miller appears to be worried that he could contract Beckett's illness. After declining to take the case, Miller immediately visits his doctor to find out if he could have contracted the disease. The doctor explains that the routes of HIV infection do not include casual contact. Unable to find a lawyer willing to represent him, Beckett is compelled to act as his own attorney. While researching a case at a law library, Miller sees Beckett at a nearby table. A librarian approaches Beckett and announces that he has found a book on AIDS discrimination for him. As others in the library begin to first stare uneasily, the librarian suggests Beckett to go to a private room. Feeling discouraged by the other people's behavior and seeing the parallels in how he himself has faced discrimination due to his race, Miller approaches Beckett, reviews the material he has gathered, and takes the case. As the case goes before the court, the partners of the firm take the stand, each claiming that Beckett was incompetent and that he had deliberately tried to hide his condition. The defense repeatedly suggests that Beckett brought AIDS upon himself by having gay sex, and is therefore not a victim. In the course of testimony, it is revealed that the partner who had noticed Beckett's lesion, Walter Kenton, had previously worked with a woman who had contracted AIDS after a blood transfusion and so should have recognized the lesion as relating to AIDS.  According to Kenton, the woman was an innocent victim, unlike Beckett, and further testified that he did not recognize Beckett's lesions. To prove that the lesions would have been visible, Miller asks Beckett to unbutton his shirt while on the witness stand, revealing that his lesions are indeed visible and recognizable as such. Over the course of the trial, Miller's homophobia slowly disappears as he and Beckett bond from working together. Beckett eventually collapses during the trial and is hospitalized. After this, another partner, Bob Seidman, who noticed Andy's lesions confesses that he suspected Andy had AIDS but never told anyone and never gave him the opportunity to explain himself, which he regrets very much. During his hospitalization, the jury votes in Beckett's favor, awarding him back pay, damages for pain and suffering and punitive damages, totaling over $5 million. Miller visits the visibly failing Beckett in the hospital after the verdict and overcomes his fear enough to touch Beckett's face. After the family leaves the room, Beckett tells his partner Miguel Alvarez that he is ready. At the Miller home later that night, Miller and his wife are awakened by a phone call from Alvarez, who tells them that Beckett has died peacefully. A memorial is held at Beckett's family home following the funeral, where many mourners, including Miller and his family, view home movies of Beckett as a happy child."}
{"movie_name":"Batman Begins_2005","imdb_id":"tt0372784","script":"<script>\n  <scene>\n    <stage_direction>BATMAN BEGINS<\/stage_direction>\n    <scene_description>BLACK . A low KEENING which becomes SCREECHING that BUILDS and BUILDS until - RED flickers through black as the screen BURSTS into life : Clouds of REELING BATS silhouetted against a blood red sky , bolting away from camera , MASSING in the sky . FORMING a density the shape of an enormous BAT - LIKE SYMBOL . More BATS mass , swamping the symbol , DARKENING the screen to - BLACK . Distant children 's LAUGHTER which comes closer as - SUNLIGHT flickers through black . Sunlight through trees running through a SUMMER GARDEN . A BOY . Chasing a GIRL . The Boy reaches a Victorian GREENHOUSE . Stands in the doorway catching his breath . This is Bruce Wayne , aged 8 , and we are -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GARDENS, WAYNE MANOR -- DAY<\/stage_direction>\n    <scene_description>YOUNG BRUCE peers down rows of plants on long trestle tables .<\/scene_description>\n    <character>YOUNG BRUCE<\/character>\n    <dialogue>Rachel?<\/dialogue>\n    <scene_description>No response . Sunlight streams through wrought iron and glass . Young Bruce advances , cautious . He is GRABBED from behind and pulled under a table by a young girl , aged 10 . This is RACHEL . She puts her hand over Young Bruce 's mouth .<\/scene_description>\n    <character>FEMALE VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Rachel?! Master Bruce?!<\/dialogue>\n    <scene_description>A woman STRIDES past the windows : MRS.DODSON , Rachel 's mother , housekeeper of Wayne Manor .<\/scene_description>\n    <character>YOUNG BRUCE<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>What're you doing?!<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( matter - of - fact . )<\/parenthetical>\n    <dialogue>Kidnapping you. They'' pay a lot for precious Brucie.<\/dialogue>\n    <scene_description>Young Bruce stares , wide - eyed . She SMILES . He relaxes . Young Bruce BOLTS out from under the trestle table - SPRINTS for the back door . Rachel TEARS after him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DISUSED KITCHEN GARDEN, WAYNE MANOR -- CONTINUOUS<\/stage_direction>\n    <scene_description>Young Bruce crouches in the mouth of a DISUSED WELL , peering over the stone wall at Rachel , who searches for him .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Bruce, I can see you.<\/dialogue>\n    <scene_description>Young Bruce suppresses a giggle - the BOARDS beneath him GIVE WAY and he PLUMMETS into .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLD WELL -- CONTINUOUS<\/stage_direction>\n    <scene_description>Young Bruce DROPS thirty feet - LANDS painfully on the rubble strewn bottom of the shaft .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KITCHEN GARDEN, WAYNE MANOR -- CONTINUOUS<\/stage_direction>\n    <scene_description>Rachel , hearing , RUNS to the well .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>BRUCE?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLD WELL -- CONTINUOUS<\/stage_direction>\n    <scene_description>Young Bruce lifts his head from damp dirt and rocks , groaning .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KITCHEN GARDEN, WAYNE MANOR -- CONTINUOUS<\/stage_direction>\n    <scene_description>Rachel SPRINTS towards the house .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>MOM! MISTER ALFRED!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLD WELL -- CONTINUOUS<\/stage_direction>\n    <scene_description>Young Bruce , in shock , groans . He hears SQUEALING - freezes , PEERING into the DARKNESS of an OPENING between rocks . BATS EXPLODE from the darkness , filling the air . HE SCREAMS - CURLS against their flapping , squawking , fluttering BLACKNESS . A JOLT : OLDER GREEN EYES FLICK OPEN , WAKING . in DARKNESS . Filthy , sweating darkness . and we are in -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BHUTANESE JAIL -- MORNING<\/stage_direction>\n    <scene_description>The yes belong to a bearded , weathered , young man 's face . BRUCE WAYNE aged 28 . An OLD ASIAN MAN sits staring at him .<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>A dream?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>A nightmare.<\/dialogue>\n    <character>OLD MAN<\/character>\n    <dialogue>Worse than this?<\/dialogue>\n    <scene_description>Their cell is a tin box . Light seeps through gaps in the roof . Shouts ECHO . Wayne shrugs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRISON COURTYARD -- LATER<\/stage_direction>\n    <scene_description>Wayne and the Old Man line up for gruel . PRISONERS are scattered in small groups . All eyes on Wayne .<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>They are going to fight you.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>I fought them yesterday.<\/dialogue>\n    <character>OLD MAN<\/character>\n    <dialogue>They will fight you every day. Until they kill you.<\/dialogue>\n    <scene_description>Wayne holds out his plate . Watches gruel dribbled onto it .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Ca n't they kill me before breakfast?<\/dialogue>\n    <scene_description>Wayne turns from the table . His path is blocked by an ENORMOUS MAN , backed by six aggressive prisoners . The Enormous Man SMASHES his plate away .<\/scene_description>\n    <character>ENORMOUS MAN<\/character>\n    <parenthetical>( broken English . )<\/parenthetical>\n    <dialogue>You are in hell, little man.<\/dialogue>\n    <scene_description>He PUNCHES Wayne - Wayne goes down hard .<\/scene_description>\n    <character>ENORMOUS MAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>and I am the devil.<\/dialogue>\n    <scene_description>Wayne picks himself up . Dust himself off .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>You're not the devil.<\/dialogue>\n    <scene_description>The Enormous Man SWINGS again - Wayne CATCHES his fist , KICKS the big man 's knee out an , as he goes down , BOOTS his face .<\/scene_description>\n    <character>WAYNE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>you're practice.<\/dialogue>\n    <scene_description>Six Prisoners RUSH Wayne all at once . Wayne fights skillfully and hard , FLIPPING one prisoner into another , KICKING as his arms are held . several Prisoners hit the deck before - GUNFIRE - two GUARDS break it up , shooting into the air . they GRAB Wayne .<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>Solitary!<\/dialogue>\n    <character>WAYNE<\/character>\n    <parenthetical>( indignant . )<\/parenthetical>\n    <dialogue>Why?<\/dialogue>\n    <character>GUARD<\/character>\n    <dialogue>For protection.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>I do n't need protection.<\/dialogue>\n    <scene_description>The Guard points angrily at the unconscious prisoners .<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>Protection for them.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOLITARY, BHUTANESE JAIL -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Wayne is tossed into the dank cell . The door SLAMS .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I often wonder at the riches to be found in dark places.<\/dialogue>\n    <scene_description>The voice is mellifluous . European . It comes from the shadows of a deep corner of the cell .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>I thought the point of solitary confinement was the solitary part.<\/dialogue>\n    <scene_description>Wayne can make out the profile of a MAN seated in the corner .<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>These men have mistaken you for a criminal, Mr.Wayne.<\/dialogue>\n    <scene_description>Wayne reacts to his name . The Man steps into the light : powerfully - built , distinguished , in a well - cut SUIT AND TIE .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>My name is merely Ducard. But I speak for Ra's Al Ghul. Have you heard the name?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>I've heard the legends. master warrior, international mercenary, feared by the all the underworld. some even swear he's immortal.<\/dialogue>\n    <character>DUCARD<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Ra's Al Ghul uses theatricality and deception as powerful weapons.<\/dialogue>\n    <scene_description>Ducard approaches Wayne . Looks deep into his eyes .<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You have not escaped his notice - a man like you is here by choice. or because he is truly lost.<\/dialogue>\n    <scene_description>Wayne 's eyes flick away from Ducard 's penetrating gaze .<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Ra's Al Ghul and his League of Shadows offer a path to those that are capable of upholding our code.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Code? Are n't you criminals?<\/dialogue>\n    <character>DUCARD<\/character>\n    <dialogue>A criminal is simply a man that someone else thinks.<\/dialogue>\n    <parenthetical>( gestures around them . )<\/parenthetical>\n    <dialogue>. should be put in jail.<\/dialogue>\n    <scene_description>Wayne nods , conceding the point .<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>This world is run by tyrants and corrupt bureaucrats. Our code respects only the natural order of things - we're not bound by their hypocrisy. Are you?<\/dialogue>\n    <scene_description>Ducard moves to the door . Knocks . It is opened by a guard .<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>There is a rare flower - a blue double - bloomed poppy - that grows on the Eastern slopes. Tomorrow you will be released. Pick one of the flowers. If you can carry it to the top of the mountain, you may find what you are looking for.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>And what am I looking for?<\/dialogue>\n    <scene_description>Ducard looks at Wayne with a glint in his eye .<\/scene_description>\n    <character>DUCARD<\/character>\n    <dialogue>Purpose.<\/dialogue>\n    <scene_description>The door slams shut leaving Wayne in DARKNESS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOTTOM OF THE OLD WELL -- DAY (WAYNE'S MEMORY)<\/stage_direction>\n    <scene_description>Silence . Young Bruce lies there , exhausted , weeping softly .<\/scene_description>\n    <character>MALE VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Bruce?<\/dialogue>\n    <scene_description>Young Bruce looks up : a FIGURE , long coat billowing , is lowered down the shaft . THOMAS WAYNE , Young Bruce 's father .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GARDENS, WAYNE MANOR -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Thomas carries his son towards the house . At his side , a 50 - year - old man in a somber suit calmly coils a rope : ALFRED .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>Will we be needing an ambulance, Master Wayne?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>We have everything I need to set the bone. I'll take him for x - rays later.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Very good, sir.<\/dialogue>\n    <scene_description>They pass a tearful Rachel standing with her mother .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALL, WAYNE MANOR -- CONTINUOUS<\/stage_direction>\n    <scene_description>Thomas carries Bruce up the main stairs . The house is vast and grand , but full of flowers and life . Bruce 's Mother -LRB- MARTHA -RRB- appears at the landing , distraught .<\/scene_description>\n    <character>THOMAS<\/character>\n    <parenthetical>( reassuring . )<\/parenthetical>\n    <dialogue>He'll be fine.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRUCE'S BEDROOM, WAYNE MANOR -- LATER<\/stage_direction>\n    <scene_description>Alfred moves to the bedside . Looks down at Young Bruce .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>Took quite a fall, did n't we?<\/dialogue>\n    <scene_description>Young Bruce looks up at Alfred . Manages a slight smile .<\/scene_description>\n    <character>ALFRED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And why do we fall, Master Bruce?<\/dialogue>\n    <scene_description>Alfred reaches up to the curtains . Young Bruce says nothing .<\/scene_description>\n    <character>ALFRED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So that we might better learn to pick ourselves up.<\/dialogue>\n    <scene_description>Alfred smiles gently . PULLS the curtains shut , and we - An exquisite double - bloomed BLUE POPPY . and we are -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIMALAYAN FOOTHILLS -- DAY<\/stage_direction>\n    <scene_description>A field of the blue poppies . Wayne approaches . Picks one . Studies its brilliant blue in the cold sunshine .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TINY HAMLET, HIMALAYAS -- DAY<\/stage_direction>\n    <scene_description>Wayne , exhausted , freezing , hungry , wanders up the street . As locals see him they head inside . DOORS SLAMMED , BOLTED .<\/scene_description>\n    <character>CHILD<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>No one will help you.<\/dialogue>\n    <scene_description>Wayne turns to find a YOUNG CHILD STARING at him . The Child POINTS at the blue flower pinned to Wayne 's chest . An OLD MAN appears at the Child 's side .<\/scene_description>\n    <character>WAYNE<\/character>\n    <parenthetical>( weak . )<\/parenthetical>\n    <dialogue>I need food.<\/dialogue>\n    <character>OLD MAN<\/character>\n    <dialogue>Then turn back.<\/dialogue>\n    <scene_description>Wayne looks at the Old Man . Then carries on up the mountain .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUNTAIN -- DAY<\/stage_direction>\n    <scene_description>Wayne , struggles through DRIVING SNOW up an ICY RIDGE . He clears the ridge , FLOPS down into the snow , Painfully raises his scarf - wrapped face to the cutting wind to see a MONASTERY perched on jagged rock .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIMALAYAN FORTIFIED MONASTERY -- DAY<\/stage_direction>\n    <scene_description>Wayne climbs up the steps to the VAST DOORS of the monastery . Unwraps a severely FROSTBITTEN FIST . POUNDS against the ice - covered wood , knocks ECHOING deep within . Nothing . Wayne lowers his forehead to the door , shoulders wracked by SOBS , pounding accelerating to a FRENZY . A GRINDING noise from within . Wayne STOPS , straightens . The doors SWING OPEN to DARKNESS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GREAT HALL, MONASTERY -- CONTINUOUS<\/stage_direction>\n    <scene_description>Wayne shuffles forward into a low - ceilinged wooden hall lit by flickering lamps . Hands trembling , Wayne pulls at brittle scarves . He STARTS as the doors THUD shut behind him . At the far end , on a raised platform , sits a dark robbed figure ; RA 'S AL GHUL . Wayne moves unsteadily towards him .<\/scene_description>\n    <character>WAYNE<\/character>\n    <parenthetical>( hoarse . )<\/parenthetical>\n    <dialogue>Ra's Al Ghul?<\/dialogue>\n    <scene_description>ARMED WARRIORS of various races emerge from the SHADOWS : BOWS taut , SWORDS drawn . NINJAS . Wayne freezes .<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Wait.<\/dialogue>\n    <scene_description>The Warriors hold . Wayne looks at the source of the command : Ducard leans against a nearby pillar . Wayne reaches into his layers of clothing . Pulls out the DOUBLE - BLOOMED BLUE POPPY . Holds it out , shaking . Ra 's Al Ghul starts to speak in Urdu . Ducard TRANSLATES .<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Fear has been your guide. But now you must advance or fear will keep you on your knees. We will help you conquer your fear. In exchange you will renounce the cities of man. You will live in solitude. You will be a member of the Leagues of Shadows. And you will be without fear.<\/dialogue>\n    <scene_description>Ducard takes the flower . Considers its delicate blue petals .<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Are you ready to begin?<\/dialogue>\n    <scene_description>Ducard threads the flower through the buttonhole of his lapel . Wayne looks at Ducard , shaking with hunger and fatigue .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Ready? I. I can barely -<\/dialogue>\n    <scene_description>Ducard KICKS him - Wayne Crashes to the floor .<\/scene_description>\n    <character>DUCARD<\/character>\n    <dialogue>Death does not wait for you to be ready.<\/dialogue>\n    <scene_description>Wayne crawls , gasping . Ducard STRIKES him in the ribs .<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Death is not considerate, or fair. And make no mistake - today, death is your opponent.<\/dialogue>\n    <scene_description>Ducard turns - WHIPS his leg in a fearsome roundhouse KICK aimed straight at Wayne 's NECK - but Wayne BLOCKS the kick with a lateral movement of his forearm . He stares at Ducard , eyes BLAZING . Ducard SMILES . Wayne RISES . Assumes a martial STANCE . Ducard STRIKES - Wayne BLOCKS and PARRIES , driving his body through pain into a series of FLUID , SKILLED moves .<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Tiger Crane. Ju Jitsu.<\/dialogue>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Skilled. But this is not a dance -<\/dialogue>\n    <scene_description>Ducard GRAPPLES Wayne , BRAWLING , BITING , ENERGIZED , MESSY .<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Facing death you learn the truth.<\/dialogue>\n    <scene_description>Ducard 's head smashes Wayne 's cheek - Wayne FALTERS -<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You are weak.<\/dialogue>\n    <scene_description>Ducard SMASHES him in the groin .<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You are alone.<\/dialogue>\n    <scene_description>Ducard SLAMS Wayne 's chin , sends him DOWN HARD .<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And you are afraid.<\/dialogue>\n    <scene_description>Ducard crouches at Wayne 's side . Looks into his glazed eyes .<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( curious . )<\/parenthetical>\n    <dialogue>But not of me.<\/dialogue>\n    <scene_description>Ducard pulls the flower from his lapel . Leans in close to replace it on Wayne 's chest , his lips at Wayne 's ear .<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Tell us, Wayne.<\/dialogue>\n    <scene_description>VIOLENT FLAPPING , SCREECHING BLACK RATS - swarming , chittering -<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <parenthetical>( whispers . )<\/parenthetical>\n    <dialogue>What do you fear?<\/dialogue>\n    <scene_description>Young Bruce 's eyes OPEN , and we are -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRUCE'S BEDROOM, WAYNE MANOR -- DAWN (WAYNE'S MEMORY)<\/stage_direction>\n    <scene_description>Young Bruce , breathing hard . Light cuts across the bedclothes . He looks to the door . Thomas is there .<\/scene_description>\n    <character>THOMAS<\/character>\n    <parenthetical>( gentle . )<\/parenthetical>\n    <dialogue>The bats again?<\/dialogue>\n    <scene_description>Young Bruce nods . Thomas approaches . Sits on the bed .<\/scene_description>\n    <character>THOMAS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You know why they attacked you?<\/dialogue>\n    <parenthetical>( off look . )<\/parenthetical>\n    <dialogue>They were afraid of you.<\/dialogue>\n    <character>YOUNG BRUCE<\/character>\n    <dialogue>Afraid of me?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>You're a lot bigger than a bat, are n't you? All creatures feel fear.<\/dialogue>\n    <character>YOUNG BRUCE<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Even the scary ones?<\/dialogue>\n    <scene_description>Thomas smiles back , reaches into his dressing gown pocket .<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Especially the scary ones.<\/dialogue>\n    <parenthetical>( thinks . )<\/parenthetical>\n    <dialogue>Here, let me show you something -.<\/dialogue>\n    <parenthetical>( freeze . )<\/parenthetical>\n    <dialogue>But you ca n't tell anyone, right?<\/dialogue>\n    <scene_description>Young Bruce nods , eager . Thomas pulls out a long jewel case . He opens it : PEARLS glow in the half - light .<\/scene_description>\n    <character>THOMAS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>For your mother.<\/dialogue>\n    <scene_description>Young Bruce GRINS . Thomas winks at him , SNAPS the case shut .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATED TRAIN (MONORAIL) -- EVENING<\/stage_direction>\n    <scene_description>Young Bruce watches the glory of Gotham glide past . His parents beside him , dressed up - Martha idly stroking her pearls . She smiles at Thomas .<\/scene_description>\n    <character>YOUNG BRUCE<\/character>\n    <dialogue>Did you build this train, Dad?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Your great - grandfather built the first trains in Gotham. The city's been good to our family - it was time to give something back.<\/dialogue>\n    <scene_description>Thomas draws a CIRCLE in the CONDENSATION on the window .<\/scene_description>\n    <character>THOMAS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>A new public transportation system for the whole city.<\/dialogue>\n    <scene_description>Thomas draws SPOKES through the circle , creating a WHEEL . Thomas TAPS his diagram at the central HUB of the wheel , then points through the glass to a tall 1930 's SKYSCRAPER .<\/scene_description>\n    <character>THOMAS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>and at the cent. Wayne Tower.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOTHAM -- CONTINUOUS<\/stage_direction>\n    <scene_description>The monorail train TURNS INWARDS on a `` SPOKE '' . SHOOTING towards the central station at the base of Wayne Tower .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONCOURSE, WAYNE STATION -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Young Bruce STARES at the MAGNIFICENT STATION . He looks up through the vaulted glass ceiling . WAYNE TOWER rises above . Rich ORCHESTRAL STRINGS rise , and we are -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOTHAM OPERA HOUSE -- LATER<\/stage_direction>\n    <scene_description>A gilded house packed to the rafters for Boito 's Mefistofle . Young Bruce seated between his parents , On stage : WITCH - LIKE CREATURES cavort . DARK BIRDS on wires descend , FLAPPING . Young Bruce STARES , uneasy , at their VIOLENT motions . INSERT CUT : BATS EXPLODE FROM A DARK CREVICE . Young Bruce starts breathing faster , STARES fixedly . SCREECHING , FLAPPING BLACK BATS SWARM ALL AROUND . Young Bruce , gulping PANIC breaths , looks around for an exit - they 're in the middle of a row . He GRABS his Dad 's arm .<\/scene_description>\n    <character>YOUNG BRUCE<\/character>\n    <parenthetical>( desperate whisper . )<\/parenthetical>\n    <dialogue>Can we go?!<\/dialogue>\n    <scene_description>Thomas stares at his son , confused . Martha looks over . Young Bruce looks at his father , PLEADING . Thomas nods . They make their way along the row , Thomas nodding apologies .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIDE ALLEY, GOTHAM OPERA HOUSE -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Waynes emerge from a side exit . Martha crouches before Bruce , tries to meet his eyes . He stares down , ashamed .<\/scene_description>\n    <character>MARTHA<\/character>\n    <dialogue>Bruce, what's wrong?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>He's fine.<\/dialogue>\n    <scene_description>Martha looks up . Thomas gives her a conspiratorial look .<\/scene_description>\n    <character>THOMAS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I just needed a bit of air. Bit of opera goes a long way, right, Bruce?<\/dialogue>\n    <scene_description>Young Bruce looks up at his Dad , who winks . Young Bruce smiles gratefully .<\/scene_description>\n    <character>THOMAS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Come one.<\/dialogue>\n    <scene_description>Thomas , coat over his arm , ushers his family down the dark alley , heading for the WELCOMING GLOW of the main boulevard . A FIGURE emerges from the shadows in front of them . A MAN . With a GUN . Shifting uneasily .<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>Wallet, jewelry! Fast!<\/dialogue>\n    <character>THOMAS<\/character>\n    <parenthetical>( calm tone . )<\/parenthetical>\n    <dialogue>That's fine, just take it easy.<\/dialogue>\n    <scene_description>Thomas hands Young Bruce his coat , then reaches for his wallet . The Man JERKS the gun at Thomas , eyes DARTING . Young Bruce stares up at the gun TREMBLING in the Man 's hand .<\/scene_description>\n    <character>THOMAS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Here you go.<\/dialogue>\n    <scene_description>The man GRABS at the wallet but FUMBLES it . It FALLS . The Man glances down at the wallet then back to Thomas , scared .<\/scene_description>\n    <character>THOMAS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( reassuring tone . )<\/parenthetical>\n    <dialogue>It's fine, it's fine.<\/dialogue>\n    <scene_description>The Man crouches for the wallet , eyes on Thomas .<\/scene_description>\n    <character>THOMAS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>just take it and go.<\/dialogue>\n    <scene_description>The Man feels for the wallet , looks at Martha . Her pearls .<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>I said jewelry!<\/dialogue>\n    <scene_description>She starts pulling off her rings . The Man JERKS the gun at her neck . Thomas STEPS protectively in front of his wife .<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Hey, just -<\/dialogue>\n    <scene_description>BOOM . Young Bruce FLINCHES . Thomas looks down at his bleeding chest . Then back to the Man , saddened . Thomas CRUMPLES . Martha SCREAMS . The Man REACHES for Martha 's pearls - but she SCREAMS desperately for Thomas .<\/scene_description>\n    <character>MARTHA<\/character>\n    <dialogue>THOMAS! THOMAS!<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>Gim me the damn.<\/dialogue>\n    <scene_description>But Martha FLAILS , trying to grab her fallen husband . The Man SHOOTS her . Then YANKS at her necklace , which BREAKS . Spilling PEARLS all over the asphalt . The Man stands . Turns to Young Bruce . Who STARES at him . Uncomprehending . The Man can not bear the boy 's gaze . And then he RUNS . Young Bruce looks at the bodies of his parents . DROPS to his knees , head down : PEARLS dot the asphalt beneath him . Some of them are bloody . Young Bruce starts to SHIVER .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION -- NIGHT<\/stage_direction>\n    <scene_description>CHAOS : REPORTERS and COPS vying for a piece of the crime of the decade . In the Captain 's office , Young Bruce . Bewildered , forgotten . Still clutching his father 's overcoat .<\/scene_description>\n    <character>MALE VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Is that your father's?<\/dialogue>\n    <scene_description>Young Bruce looks up : a young beat cop stands over him - JIM GORDON -LRB- 29 -RRB- . Gordon crouches , reaches for the coat . Young Bruce huddles over it , protective .<\/scene_description>\n    <character>GORDON<\/character>\n    <parenthetical>( reassuring . )<\/parenthetical>\n    <dialogue>It's okay.<\/dialogue>\n    <scene_description>Gordon 's tone prompts Young Bruce to trust him . Gordon takes the coat , DRAPES it gently across Young Bruce 's shoulders .<\/scene_description>\n    <character>MALE VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>GORDON! You got ta stick your nose into everything!<\/dialogue>\n    <scene_description>Gordon turns to CAPTAIN LOEB , who glares at him .<\/scene_description>\n    <character>CAPTAIN LOEB<\/character>\n    <dialogue>Outta my sight.<\/dialogue>\n    <scene_description>Gordon NODS at Young Bruce , whose eyes wish Gordon would stay . Gordon leaves . Loeb turns to Young Bruce .<\/scene_description>\n    <character>CAPTAIN LOEB<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Good news. we got him, son.<\/dialogue>\n    <scene_description>Young Bruce looks up at him dazed . Uncertain .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GROUNDS, WAYNE MANOR -- DAY<\/stage_direction>\n    <scene_description>Snow falls over two open graves . MOURNERS disperse , guided by SECURITY GUARDS . Alfred stands with Young Bruce . A man approaches , EARLE -LRB- 47 -RRB- . He nods at Alfred , crouching .<\/scene_description>\n    <character>EARLE<\/character>\n    <parenthetical>( indicates Alfred . )<\/parenthetical>\n    <dialogue>You're in excellent hands, Bruce. And we're minding the empire. When you're all grown up, it'll be waiting.<\/dialogue>\n    <scene_description>Young Bruce looks blankly at Earle .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WAYNE MANOR -- LATER<\/stage_direction>\n    <scene_description>Mourners file towards the gates . Rachel walks with her mother . Looks up at Bruce 's high window . Sees him watching . Waves . Young Bruce pauses , then returns the wave .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRUCE'S BEDROOM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Alfred enters . Looks tenderly at Young Bruce 's back .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>I thought I'd prepare a little supper.<\/dialogue>\n    <scene_description>No response . Alfred turns .<\/scene_description>\n    <character>ALFRED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Very well.<\/dialogue>\n    <character>YOUNG BRUCE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Alfred?<\/dialogue>\n    <scene_description>Alfred turns back . Young Bruce is looking at him with TEARS POURING down his cheeks . Alfred tilts his head .<\/scene_description>\n    <character>ALFRED<\/character>\n    <parenthetical>( voice catching . )<\/parenthetical>\n    <dialogue>Master Bruce?<\/dialogue>\n    <character>YOUNG BRUCE<\/character>\n    <dialogue>It was my fault, Alfred.<\/dialogue>\n    <scene_description>Alfred 's mouth opens .<\/scene_description>\n    <character>YOUNG BRUCE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I made them leave the theater -<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Oh, no, no, no -<\/dialogue>\n    <scene_description>Alfred moves to Young Bruce , taking the boy in his arms .<\/scene_description>\n    <character>YOUNG BRUCE<\/character>\n    <dialogue>If I had n't got scared -<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>No, no, Master Bruce. Nothing you did. Nothing anyone ever did can excuse that man.<\/dialogue>\n    <scene_description>Alfred holds Young Bruce away to look directly into his eyes .<\/scene_description>\n    <character>ALFRED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It's his, and his alone. Do you understand?<\/dialogue>\n    <scene_description>Young Bruce nods . Then BURIES his face in Alfred 's chest , sobbing .<\/scene_description>\n    <character>YOUNG BRUCE<\/character>\n    <dialogue>I miss them, Alfred. I miss them so much.<\/dialogue>\n    <character>ALFRED<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>So do I, Master Bruce. So do I.<\/dialogue>\n    <scene_description>Tears well in Alfred 's eyes as he HOLDS the boy , watching snowflakes swirl past the window .<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And do you still feel responsible?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PASSAGEWAY, MONASTERY -- DAY<\/stage_direction>\n    <scene_description>Ducard leads Wayne along a screened passage overlooking extraordinary mountains .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>My anger outweighs my guilt.<\/dialogue>\n    <scene_description>Ducard opens a door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOJO, MONASTERY -- DAY<\/stage_direction>\n    <scene_description>Leads Wayne onto a MEZZANINE LEVEL stacked with boxes and bottles . NINJAS pour powders into packets , mixing compounds . Ducard takes a pinch of a powder - throws it down - BANG ! Wayne FLINCHES - Ducard SMILES good - naturedly .<\/scene_description>\n    <character>DUCARD<\/character>\n    <dialogue>Advanced techniques of Ninjitsu employ explosive powders.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>As weapons?<\/dialogue>\n    <character>DUCARD<\/character>\n    <dialogue>Or distractions. Theatricality and deception are powerful agents.<\/dialogue>\n    <scene_description>Ducard hands Wayne a pinch of the powder .<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>To be a great warrior is not enough. Flesh and blood, however skilled, can be destroyed. you must be more than just a man in the minds of your opponents.<\/dialogue>\n    <scene_description>Wayne listens to this . Tosses the powder - BANG !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FROZEN LAKE, HIMALAYAS -- DAY<\/stage_direction>\n    <scene_description>Wayne and Ducard CIRCLE each other on the ICE , SWORDS poised to strike . Dark figures in the white and blue landscape . Ducard STRIKES at Wayne , who DEFLECTS the blow using a SILVER GAUNTLET with THREE SCALLOPS -LRB- thick , hook - like projections -RRB- . Ducard SKIDS left , breath STEAMING , feinting with his sword . Wayne steps sideways on the ice , his foot landing on a thin patch which CREAKS , water BUBBLING underneath .<\/scene_description>\n    <character>DUCARD<\/character>\n    <dialogue>Mind your surrounding. Always.<\/dialogue>\n    <scene_description>Wayne STRIKES - Ducard BLOCKS with his own BRONZE GAUNTLET . Wayne SLIPS right and FLIES IN with a short THRUST - Ducard 's arm flips down in a backhand move - Ducard CATCHES Wayne 's sword in one of his SCALLOPS .<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Your parent's death was not your fault.<\/dialogue>\n    <scene_description>Ducard ROTATES his arm , WRENCHING Wayne 's sword from his grasp - it SKIDS along the ice .<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>it was your father's.<\/dialogue>\n    <scene_description>Wayne , ENRAGES , dives at Ducard , SWINGING at him with the scallops , FURIOUS , RECKLESS . Ducard parries with his sword , they LOCK - noses inches apart , Wayne BREATHING . ANGRY .<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Anger does not change the fact that your father failed to act.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>The man had a gun!<\/dialogue>\n    <character>DUCARD<\/character>\n    <dialogue>Would that stop you?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>I've had training -<\/dialogue>\n    <character>DUCARD<\/character>\n    <dialogue>The training is nothing. The will to take control is everything. Your father trusted his city, its logic. he thought he understood the attacker and could simply give him what he wanted.<\/dialogue>\n    <scene_description>Wayne considers this . breathing slowing . CALMER . they separate .<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( gently . )<\/parenthetical>\n    <dialogue>Your father did not understand the forces of decay - cities like Gotham are in their death throes - chaotic, grotesque. Beyond saving.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Beyond saving? You believe that?<\/dialogue>\n    <scene_description>Ducard regards the harshly beautiful landscape .<\/scene_description>\n    <character>DUCARD<\/character>\n    <dialogue>It is not right that one must come so far to see the world as it is meant to be. Purity. Serenity. Solitude. These are the qualities we hold dear. But the important thing is whether you believe it.<\/dialogue>\n    <scene_description>Wayne stares at Ducard .<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Can Gotham can be saved, or is she an ailing ancestor whose time has run?<\/dialogue>\n    <scene_description>Ducard STRIKES DOWN at Wayne with his sword . Wayne BLOCKS the strike with FOREARMS CROSSED , SLIDES BETWEEN DUCARD 'S LEGS across the ice to where his sword lies . GRASPING his sword he SPINS , SWEEPING at Ducard 's feet . Ducard LEAPS - Wayne CATCHES his foot , brings him down onto the ice . Wayne THRUSTS his sword at Ducard 's throat - STOPS INCHES from Ducard 's bare neck . Ducard freezes , arms at his sides . Wayne looks down at Ducard , SMILING in triumph .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Yield.<\/dialogue>\n    <scene_description>Ducard smiles . Shakes his head .<\/scene_description>\n    <character>DUCARD<\/character>\n    <dialogue>You have n't beaten me. You've sacrificed sure footing for a killing stroke.<\/dialogue>\n    <scene_description>Ducard TAPS the ice beneath Wayne 's feet with his sword - the ice gives way , PLUNGING Wayne through the surface .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHORE, FROZEN LAKE -- EVENING<\/stage_direction>\n    <scene_description>Ducard feeds a small FIRE . Wayne RUBS his arms , SHIVERING violently against hypothermia . Ducard looks at him .<\/scene_description>\n    <character>DUCARD<\/character>\n    <dialogue>Do n't rub your arms, rub your chest. Your arms'll take care of themselves.<\/dialogue>\n    <scene_description>Wayne rubs his torso , NODS at Ducard . Ducard feeds the fire .<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You have strength born of years of grief and anger, Wayne. The strength of a man denied revenge.<\/dialogue>\n    <scene_description>Even in his shivering , Wayne REACTS to this .<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Why, Wayne?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAYNE STATION PLATFORM -- DAY (WAYNE'S MEMORY)<\/stage_direction>\n    <scene_description>A monorail pulls into the platform . Disgorges passengers .<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Why could you not avenge your parents?<\/dialogue>\n    <scene_description>Amongst them , Bruce , AGED 20 , holding a bag . He sees Alfred , now 62 , craning his neck , SEARCHING . He waves .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>You did n't have to pick me up -<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Well, sir, the red line. well, it's closed. Apparently Mr.Earle thought it was n't making enough money.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONCOURSE, WAYNE STATION -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Bruce looks sadly at the DECAY to his father 's station : glass CRACKED , marble chipped , HOMELESS bundled in shuttered storefronts . He looks up through the sparing glass : WAYNE TOWER looms overhead , gold lettering catching the sun .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>How is Mr.Earle?<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Oh. successful.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROLLS ROYCE -- LATER<\/stage_direction>\n    <scene_description>Alfred glances at Bruce in the rear - view mirror .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>Will you be heading back to Princeton tomorrow or could I persuade you to spend an extra night or two?<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>I'm not heading back at all.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>You do n't like it there?<\/dialogue>\n    <scene_description>Bruce smiles , sardonic . Looks out at the trees flashing by .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>I like it fine. they just do n't feel the same way.<\/dialogue>\n    <scene_description>Alfred purses his lips , IRRITATED .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WAYNE MANOR -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Bruce STARES up at house . Alfred pulls the bag out of the car and , to Bruce 's surprise , DROPS it at Bruce 's feet .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAYNE MANOR -- CONTINUOUS<\/stage_direction>\n    <scene_description>Alfred leads Bruce up the main staircase . The house is now dark and empty . Dust - cloths cover much of the furniture .<\/scene_description>\n    <character>ALFRED<\/character>\n    <parenthetical>( tense . )<\/parenthetical>\n    <dialogue>I've prepared the master bedroom.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>My old room will be fine.<\/dialogue>\n    <character>ALFRED<\/character>\n    <parenthetical>( stern . )<\/parenthetical>\n    <dialogue>With all due respect, sir, your father is dead. Wayne Manor is your house.<\/dialogue>\n    <character>BRUCE<\/character>\n    <parenthetical>( irritated . )<\/parenthetical>\n    <dialogue>No, alfred, his is n't my house.<\/dialogue>\n    <parenthetical>( gestures . )<\/parenthetical>\n    <dialogue>It's a mausoleum. A reminder of everything I lost. And when I have my way I'll pull the damn thing down brick by brick -<\/dialogue>\n    <scene_description>Alfred turns on Bruce , angry .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>This house, Master Wayne, has sheltered six generations of the Wayne family, and stood patiently by while you've cavorted in and out of a dozen private schools and colleges. As have I.<\/dialogue>\n    <scene_description>Bruce stares at Alfred . Eyes burning . Chastened .<\/scene_description>\n    <character>ALFRED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( softer . )<\/parenthetical>\n    <dialogue>The Wayne family legacy is not so easily shrugged off.<\/dialogue>\n    <character>BRUCE<\/character>\n    <parenthetical>( sadly . )<\/parenthetical>\n    <dialogue>Nor borne, old friend. I'm sorry to have disappointed you.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Master Wayne. I was at your father's side when you were born. And at your side when he was laid to rest.<\/dialogue>\n    <character>BRUCE<\/character>\n    <parenthetical>( voice catching . )<\/parenthetical>\n    <dialogue>I know.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Your father was a great man. But I have every confidence that you will exceed his greatness.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Have n't given up on me, yet?<\/dialogue>\n    <character>ALFRED<\/character>\n    <parenthetical>( conviction . )<\/parenthetical>\n    <dialogue>Never.<\/dialogue>\n    <scene_description>Bruce sags under the burden of Alfred 's faith . He opens the door to his bedroom , then turns back to Alfred .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>I may not get another chance to thank you for all you've done for me.<\/dialogue>\n    <scene_description>Alfred looks at him , curious .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>Are you going away after the hearing?<\/dialogue>\n    <scene_description>Bruce shrugs , hard to read . Then enters his old bedroom .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRUCE'S BEDROOM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Bruce puts his bag on the bed . Looks around the room . At the mantel , Bruce stares at a framed photograph : Young Bruce on his Dad 's shoulders , arms raised in triumph . Bruce wipes dust from the photograph . Smiles at it . INSERT CUT : Young bruce on Thomas 's shoulders - thomas TIPS back , threatening to drop Young bruce who LAUGHS and LAUGHS . Bruce moves to the bed . Opens his case . Inside it is a GUN .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GATES, WAYNE MANOR -- MORNING<\/stage_direction>\n    <scene_description>Rachel , now 23 , stands by her car looking up at the house . She can see Bruce in the window . She gives a small wave .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRUCE'S BEDROOM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Bruce returns Rachel 's wave . Then FINISHES LOADING HIS GUN .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GATES, WAYNE MANOR -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Bruce walks down the drive to Rachel . He smiles gently .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>You look well. `` Assistant District Attorney'', right?<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( nods , smiles . )<\/parenthetical>\n    <dialogue>You still trying to get kicked out of the entire ivy league?<\/dialogue>\n    <character>BRUCE<\/character>\n    <parenthetical>( shakes head , smiling . )<\/parenthetical>\n    <dialogue>Turns out you do n't actually need a degree to do the international playboy thing.<\/dialogue>\n    <scene_description>Rachel smiles . Looks down at her shoes . Then back to Bruce .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Bruce, I do n't suppose there's any way I can convince you not to come -<\/dialogue>\n    <character>BRUCE<\/character>\n    <parenthetical>( cold . )<\/parenthetical>\n    <dialogue>Someone at this proceeding should stand for my parents.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Bruce, we all loved your parents. What Chill did is unforgivable -<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Then why is your boss letting him go?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Because in prison he shared a cell with carmine Falcone. He learned things and he'll testify in exchange for early parole.<\/dialogue>\n    <scene_description>Bruce shakes his head , opens the car door . Rachel sighs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. RACHEL'S CAR ON FREEWAY, GOTHAM -- MORNING<\/stage_direction>\n    <scene_description>Rachel 's car heads towards the golden spires of Gotham . Bruce stares out the window in silence .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RACHEL'S CAR -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Rachel pulls into the PARKING LOT of the COURTHOUSE . Parks . Bruce looks at her through the strained silence .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>Rachel, this man killed my parents. I can not let that pass.<\/dialogue>\n    <scene_description>Rachel almost says something . Then SHRUGS .<\/scene_description>\n    <character>BRUCE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Rachel, I need you to understand.<\/dialogue>\n    <scene_description>Rachel looks at Bruce . Considering . Gently NODS . Bruce nods back . Rachel opens her door and starts getting out . Bruce slips out his GUN , placing it on the ground behind the front wheel of Rachel 's car as he gets out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTHOUSE -- DAY<\/stage_direction>\n    <scene_description>A small bureaucratic proceeding . A five person PANEL . Bruce sits amongst the OBSERVERS . Watching the back of Chili 's head . Rachel 's boss , FINCH , addresses the panel .<\/scene_description>\n    <character>FINCH<\/character>\n    <dialogue>Given the exemplary prison record of Mr.Chill, the 14 years already served And his extraordinary level of cooperation with one of this office's most important investigations. we strongly endorse Mr.Chill's petition for early release.<\/dialogue>\n    <scene_description>The CHAIRMAN nods , consults his paperwork .<\/scene_description>\n    <character>CHAIRMAN<\/character>\n    <dialogue>I gather a member of the Wayne family is here today.<\/dialogue>\n    <scene_description>Chill REACTS , TURNING . Bruce STUDIES his weathered face .<\/scene_description>\n    <character>CHAIRMAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>does he have anything to say?<\/dialogue>\n    <scene_description>Chill notices Wayne 's cold eyes . Has to look away . Bruce RISES , walks out , all eyes on him . Including Rachel 's .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT, COURTHOUSE -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Bruce MOVES to Rachel 's car . Picks up his GUN , stuffs it up the sleeve of his overcoat . Waits . The side exit opens and two COPS come out . A shout goes up from the pressmen around the front of the courthouse .<\/scene_description>\n    <character>REPORTERS<\/character>\n    <dialogue>They're taking him out the side!<\/dialogue>\n    <scene_description>REPORTERS swarm around the building as Chill emerges .<\/scene_description>\n    <character>REPORTER1<\/character>\n    <dialogue>Chill, any words for the Wayne family?!<\/dialogue>\n    <scene_description>Chill , head down , presses on . Bruce straightens . Breathes . Starts WALKING towards Chill . A Reporter SPOTS him .<\/scene_description>\n    <character>REPORTER2<\/character>\n    <dialogue>It's Bruce Wayne!<\/dialogue>\n    <scene_description>The Reporters clear a path , eager for a confrontation .<\/scene_description>\n    <character>BLONDE FEMALE REPORTER<\/character>\n    <dialogue>Joe! Hey Joe!<\/dialogue>\n    <scene_description>This one catches Chill 's eye - blonde , local t.v. type . Bruce 's hand DROPS to his side as he MOVES . he 's BREATHING HARD . THINKING . DECIDING .<\/scene_description>\n    <character>BLONDE FEMALE REPORTER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Falcone says hi!<\/dialogue>\n    <scene_description>She THRUSTS a gun at Chill 's chest and FIRES . Chill DROPS - Bruce STOPS in his tracks . Reporters DIVE for cover - COPS jump on the Blonde Reporter , pinning her . Bruce . Fifteen feet away . Loaded gun up his sleeve . Face as uncomprehending as the night Chill killed his parents . Rachel moves to Bruce , pulling him away from the chaos .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Come one, Bruce. Come on, we do n't need to see this.<\/dialogue>\n    <scene_description>Bruce yanks his arm away .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>I do.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RACHEL'S CAR -- EVENING<\/stage_direction>\n    <scene_description>Rachel drives . Bruce sits there , hands in his lap . Staring . Rachel glances over at him . Then pulls over . Turns to him .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( gentle . )<\/parenthetical>\n    <dialogue>Are you okay?<\/dialogue>\n    <character>BRUCE<\/character>\n    <parenthetical>( distant . )<\/parenthetical>\n    <dialogue>All these years I wanted to kill him. Now he's gone. Now I ca n't.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You do n't mean that.<\/dialogue>\n    <character>BRUCE<\/character>\n    <parenthetical>( bitter . )<\/parenthetical>\n    <dialogue>What if I do, Rachel? Chill killed my parents. They deserved justice.<\/dialogue>\n    <scene_description>Rachel looks at him , appalled .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You're not talking about justice, you're talking about revenge.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Sometimes they're the same.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>They're never the same, Bruce. Justice is about harmony. revenge is about you making yourself feel better. That's why we have an impartial system -<\/dialogue>\n    <scene_description>Rachel pulls out into the street .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>Well, your system of justice is broken -<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Do n't you tell me the system's broken, Bruce! I'm out here every day trying to fix it while you mope around using your grief as an excuse to do nothing. You care about justice?<\/dialogue>\n    <scene_description>Rachel YANKS the wheel -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FREEWAY, GOTHAM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Rachel 's car SCREECHES across two lanes , onto an EXIT RAMP .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. RACHEL'S CAR ON SURFACE STREETS -- CONTINUOUS<\/stage_direction>\n    <scene_description>The streets below are DARK , crowded and THREATENING -<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Look beyond your own pain, Bruce.<\/dialogue>\n    <scene_description>Rachel gestures at the filthy streets . Down dark alleys - shadowy figures conduct business .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>This city is rotting. Chill is not the cause, he's the effect. Corruption is killing Gotham and Chill being dead does n't help that - it makes it worse because Falcone walks. He carries on flooding our city with crime and drugs. creating new Joe Chills. Falcone may not have killed your parents, Bruce, but he's destroying everything they stood for.<\/dialogue>\n    <scene_description>They pull up in front of a BASEMENT CLUB .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>They all know where to find Falcone.<\/dialogue>\n    <parenthetical>( gestures at club . )<\/parenthetical>\n    <dialogue>But no one will touch him because he keeps the bad people rich and the good people scared.<\/dialogue>\n    <scene_description>Rachel turns on Bruce .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( quiet . )<\/parenthetical>\n    <dialogue>And what chance does Gotham have when the good people do nothing?<\/dialogue>\n    <scene_description>She pokes him in the chest . Bruce looks down at her finger .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>I'm not one of your `` good people'', Rachel. Chill took that from me.<\/dialogue>\n    <scene_description>Rachel looks at Bruce strangely .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <scene_description>Bruce pulls up his sleeve . Turns his hand over . Rachel stares at the GUN in his hand , SHOCKED .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>I was going to kill him myself.<\/dialogue>\n    <scene_description>She looks at Bruce . Then SLAPS him . Bruce does nothing . Rachel SLAPS him again and again . Nothing . She stops . Tears flowing .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You're no better than the rest.<\/dialogue>\n    <scene_description>Rachel points at the gun . Looks into Bruce 's eyes .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Your father would be ashamed of you.<\/dialogue>\n    <scene_description>Bruce stares at Rachel . Opens his door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOCK AREA, GOTHAM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Bruce watches Rachel 's car disappear . Turns to look at the line of SHIPS in the harbor . He makes his way to the water . Takes out his gun . Turns it , STUDIES the light off its metal - INSERT CUT : the TREMBLING BARREL of Chill 's gun , inches from Thomas Wayne 's chest . Bruce , with contempt , FLINGS his gun into the black water .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BASEMENT CLUB, FACING DOCKS -- LATER<\/stage_direction>\n    <scene_description>Bruce walks towards the entrance . A BOUNCER steps out , looking at him with contempt .<\/scene_description>\n    <character>BOUNCER<\/character>\n    <dialogue>Get lost, kid.<\/dialogue>\n    <scene_description>Bruce pulls a massive wad of cash from his pocket . Splits it in two . Offers one half .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>The other half when you give me the nod that Falcone's leaving. Unawares.<\/dialogue>\n    <scene_description>The Bouncer looks at Bruce . Takes the money .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BASEMENT CLUB, FACING DOCKS -- LATER<\/stage_direction>\n    <scene_description>Bruce watches the entrance from the shadows . Two THUGS escort a thickset man out of a club . The Bouncer waves -<\/scene_description>\n    <character>BOUNCER<\/character>\n    <dialogue>` Night, Mr.Falcone.<\/dialogue>\n    <scene_description>The three men move towards a waiting limo - WHAM - one Thug takes a kick to the head , goes down - Bruce steps from the shadows - the Second Thug goes for his gun - Bruce GRABS his arm - CHOPS his throat - JUDO FLIPS the thug . Bruce turns to Falcone who looks at him , curious .<\/scene_description>\n    <character>FALCONE<\/character>\n    <dialogue>The little rich kid. No gun? I'm insulted.<\/dialogue>\n    <scene_description>The First Thug lunges at Bruce with a KNIFE - Bruce puts him down with a graceful SWEEP -<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>I do n't need a gun.<\/dialogue>\n    <character>FALCONE<\/character>\n    <dialogue>Yes, you do.<\/dialogue>\n    <scene_description>CLICK . A gun is at bruce 's head . Held by the Bouncer<\/scene_description>\n    <character>FALCONE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Money is n't power down here - fear is.<\/dialogue>\n    <scene_description>The Bouncer pistol whips him once , hard . Bruce goes down . The Bouncer drops Bruce 's money onto him .<\/scene_description>\n    <character>FALCONE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You shoulda just sent me a thank - you note.<\/dialogue>\n    <scene_description>Bruce looks up at Falcone . Spits blood .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>I did n't come here to thank - you. I came to show you that nit everyone in Gotham is afraid of you.<\/dialogue>\n    <character>FALCONE<\/character>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>Just those that know me. You got balls, kid.<\/dialogue>\n    <parenthetical>( cold . )<\/parenthetical>\n    <dialogue>But you do n't belong down here with us. We do n't play fair. Now go back to your big house, wrap yourself in your silk sheets and I'll send you a shoulder to cry on.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>You do n't dress well enough to be a pimp.<\/dialogue>\n    <scene_description>Falcone lights a cigar . Stares down at bruce . Ice .<\/scene_description>\n    <character>FALCONE<\/character>\n    <dialogue>You miss your Mommy and Daddy? Come down here again, I send you to them.<\/dialogue>\n    <scene_description>Falcone turns . His thugs get into the limo with him . Bruce watches it slide into the night . Struggles to his feet . Bruce walks the docks , wiping blood from his mouth . SHADOWS in doorways mark his progress . Three YOUTHS approach . Bruce stiffens , but they cross the street to avoid him .<\/scene_description>\n    <character>MALE VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>No one'll mess with ya.<\/dialogue>\n    <scene_description>Bruce turns . A HOMELESS MAN warming at a flaming oil drum . One of many HOMELESS clustered around the docks .<\/scene_description>\n    <character>HOMELESS MAN<\/character>\n    <dialogue>Wander ` round here dressed like that, means you got something to prove. Man with something to prove is dangerous.<\/dialogue>\n    <scene_description>Bruce STARES at the man . Thinking . Takes out his wallet . Removes the money . Hands it to the Homeless Man .<\/scene_description>\n    <character>HOMELESS MAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>For what?<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Your jacket.<\/dialogue>\n    <scene_description>Bruce DROPS his wallet into the fire . The Homeless Man LAUGHS . Bruce pulls off his tie , throws it into the fire . He pulls off his overcoat , bundles it up ready to -<\/scene_description>\n    <character>HOMELESS MAN<\/character>\n    <dialogue>Lem me have it, that's a good coat.<\/dialogue>\n    <scene_description>Bruce looks at the Homeless Man , who has removed his own . They EXCHANGE clothing .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>Be careful who sees you with that.<\/dialogue>\n    <parenthetical>( off look . )<\/parenthetical>\n    <dialogue>They're gon na come looking for me.<\/dialogue>\n    <character>HOMELESS MAN<\/character>\n    <dialogue>Who?<\/dialogue>\n    <scene_description>Bruce smiles .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>Everyone.<\/dialogue>\n    <scene_description>Bruce , less incongruous in his `` new '' coat , moves down towards the stacks of containers . Bruce wanders the stacks . A HORN sounds . Bruce 's eyes lock onto the ship preparing to leave . Bruce runs towards it trough the shadows .<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>And when you left Gotham.<\/dialogue>\n    <scene_description>And we are -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIMALAYAN MONASTERY -- DAY<\/stage_direction>\n    <character>DUCARD<\/character>\n    <dialogue>what were you seeking?<\/dialogue>\n    <scene_description>Ducard LEAPS up onto a STONE WALL . GRABBING ON using pikes on his palms and on his feet . Wayne watches .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>To lose myself. I could n't do anything as Bruce Wayne. I felt useless.<\/dialogue>\n    <scene_description>Ducard gestures up to the top of the 50 - ft wall .<\/scene_description>\n    <character>DUCARD<\/character>\n    <dialogue>Perhaps you can beat my record.<\/dialogue>\n    <scene_description>Bruce JUMPS up onto the wall , HIGHER than Ducard . Confident .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>How long?<\/dialogue>\n    <character>DUCARD<\/character>\n    <dialogue>Two days.<\/dialogue>\n    <parenthetical>( off look . )<\/parenthetical>\n    <dialogue>The test is not to see how quickly you can climb, but how slowly. The Ninja is thought invisible, but invisibility is largely a matter of patience.<\/dialogue>\n    <scene_description>Ducard reaches up for another handhold . Slowly .<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>On your journey. you sought knowledge of the criminal world?<\/dialogue>\n    <character>WAYNE<\/character>\n    <parenthetical>( nods . )<\/parenthetical>\n    <dialogue>I needed to understand the thoughts and feelings of those who stand in the shadows.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CROWDED MARKET, AFRICAN PORT TOWN -- EVENING (MEMORY)<\/stage_direction>\n    <character>WAYNE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The first time you're forced to steal not to starve.<\/dialogue>\n    <scene_description>Bruce picks up a mango from a stack to examine it . As he does so he uses his lower hand to slip a PLUM into his pocket .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY, AFRICAN PORT TOWN -- LATER<\/stage_direction>\n    <scene_description>Bruce squats in a doorway . Bites hungrily into his plum . He looks up . A CHILD in rags sits in the next doorway , STARING . Bruce stares back , juice dripping .<\/scene_description>\n    <character>WAYNE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>you lose many assumptions about the simple nature of right and wrong.<\/dialogue>\n    <scene_description>Bruce hands the Child the plum . Licks his fingers . Hard .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN STATION, LONDON -- DAY<\/stage_direction>\n    <scene_description>Bruce -LRB- bearded , filthy -RRB- in a crowd , with an ELDERLY MAN .<\/scene_description>\n    <character>WAYNE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I needed to feel the fear before a crime.<\/dialogue>\n    <scene_description>The Elderly Man SPOTS a BUSINESSMAN hurrying along - STEPS into his path , engineering a COLLISION , tumbling to the pavement . The Businessman and Bruce both CROUCH to help .<\/scene_description>\n    <character>WAYNE<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>And the thrill of success.<\/dialogue>\n    <scene_description>Bruce SLIPS the Businessman 's wallet out of his pocket . The Businessman moves off . Bruce shows the Elderly Man the wallet for APPROVAL . Then HURRIES after the Businessman .<\/scene_description>\n    <character>WAYNE<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>without becoming one of them.<\/dialogue>\n    <scene_description>Bruce CATCHES the Businessman , gives him the wallet . The Businessman thanks Bruce - noticing his destitution , he HANDS Bruce a banknote . Bruce nods thanks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAREHOUSE, UNDER THE ARCHES, EASTERN EUROPE -- NIGHT<\/stage_direction>\n    <scene_description>Bruce tries to crack a safe under the supervision of a YOUNG TOUGH . The Young Tough shakes his head , spins the dial and whips open the safe . Showing Wayne the action .<\/scene_description>\n    <character>WAYNE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I thought I would find something.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMOKE-FILLED BACKROOM, SHANGHAI -- NIGHT<\/stage_direction>\n    <scene_description>At a table with a CHINESE BOSS and SEVEN CRIMINALS drinking , laughing , showing each other their spoils -LRB- watches , phones -RRB- .<\/scene_description>\n    <character>WAYNE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I thought I would learn what I needed to do with my skills and my anger.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAREHOUSE, SHANGHAI -- DAY<\/stage_direction>\n    <scene_description>A TRUCK races through the door . Two Criminals yank the doors shut after . Bruce and the Boss jumps down from the cab .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>But the harder I looked the less I saw. The less I knew.<\/dialogue>\n    <scene_description>Bruce turns to the Boss wary .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>Where's this friend of yours?<\/dialogue>\n    <character>BOSS<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>Not friend. Friend of friend.<\/dialogue>\n    <scene_description>Bruce rolls his eyes . Looks at the Boss with contempt .<\/scene_description>\n    <character>WAYNE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Until I was n't even sure what I'd been looking for in the first place.<\/dialogue>\n    <scene_description>The doors EXPLODE COPS burst in , shouting in Mandarin .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAME -- LATER<\/stage_direction>\n    <scene_description>The back of the truck is opened . Cops inventory piles of BOXES pulled out of the back .<\/scene_description>\n    <character>WAYNE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And I was lost.<\/dialogue>\n    <scene_description>Bruce sits in a line of criminals , bands cuffed behind back . A Cop YANKS him to his feet , hauling him over to an OFFICER .<\/scene_description>\n    <character>COP<\/character>\n    <parenthetical>( in Mandarin . )<\/parenthetical>\n    <dialogue>He refuses to give his name.<\/dialogue>\n    <scene_description>The Officer smiles solicitously at Bruce .<\/scene_description>\n    <character>OFFICER<\/character>\n    <parenthetical>( in Mandarin . )<\/parenthetical>\n    <dialogue>Fool - this is china, you're a criminal, what the hell do I care what your name is?<\/dialogue>\n    <character>BRUCE<\/character>\n    <parenthetical>( in fluent Mandarin . )<\/parenthetical>\n    <dialogue>I'm not a criminal.<\/dialogue>\n    <scene_description>The Officer , surprised , waves Bruce away . Looks at the truck .<\/scene_description>\n    <character>OFFICER<\/character>\n    <parenthetical>( in accented English . )<\/parenthetical>\n    <dialogue>Tell that to the guys who owned these!<\/dialogue>\n    <scene_description>He KICKS a BOX : CLOSE ON the WAYNE INDUSTRIES logo .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WALL, HIMALAYAN MONASTERY -- DAWN<\/stage_direction>\n    <scene_description>Wayne and Ducard cling to the wall just short of the roof , eyes LOCKED . Both are in AGONY , sweat - drenched , STRAINING . Ducard BLINKS . REACHES for the roof and pulls himself up . Wayne closes his eyes in relief . Ducard pulls Wayne up onto the roof . They lie there in the half - light . Ducard turns to Wayne . Puts a hand on his shoulder . Proud .<\/scene_description>\n    <character>DUCARD<\/character>\n    <dialogue>You are ready.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THRONE ROOM -- NIGHT<\/stage_direction>\n    <scene_description>Close on Wayne 's BLUE POPPY - now SHRIVELED DRY - on the altar . Wayne , clad in black ninja uniform watches as Ducard , also in black , picks it up , takes a pestle and mortar , drops in the dried flower , and grinds it to dust . Ducard pours the dust into a small brazier . Lights it . Motions to Wayne , who approaches the smoking altar .<\/scene_description>\n    <character>DUCARD<\/character>\n    <dialogue>Drink in your fears. Face them.<\/dialogue>\n    <scene_description>Wayne breathes the smoke . He shakes his head , REACTING to the effects of the smoke . his mind is plagued by IMAGES : Chill 's trembling gun - Young Bruce FALLING - Thomas STAGGERING - Ducard puts on his ninja mask . Motions Wayne to do the same . Wayne STRUGGLES to think through the effects of the smoke .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Why The masks?<\/dialogue>\n    <scene_description>As if in reply , DOZENS of NINJAS step forward from the shadows : the hall is filled with identical Ninjas . Ducard has melted into the crowd . Wayne raises his guard .<\/scene_description>\n    <character>DUCARD<\/character>\n    <dialogue>To conquer fear, you must become fear. you must bask in the fear of other men. and men fear most what they can not see -<\/dialogue>\n    <scene_description>Ducard STRIKES at Wayne - Wayne SPINS , PARRIES - but Ducard has gone . The Ninjas movie in unison , forming WALLS .<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It is not enough to be a man. you have to become an idea. a terrible thought. a wraith -<\/dialogue>\n    <scene_description>The Ninja nearest Wayne TURNS and SLASHES - it is Ducard . Wayne LEAPS sideways , ROLLING through the wall of Ninjas . He looks at his arm - it has been slashed , the uniform torn a dead giveaway . Wayne looks around , crouched , READY . One wall of Ninjas PARTS , revealing a WOODEN BOX . Wayne stares at it , MIND SPINNING from the smoke .<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( O.S. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Face your fear.<\/dialogue>\n    <scene_description>Wayne cautiously approaches the box . Carefully lifts the lid . PEERS inside . BATS EXPLODE from the box , FILLING the air - Wayne dives away from the box , STARING up at the squawking bats - flinching . Ducard LEAPS at Wayne , who ROLLS sideways , blocking - Wayne turns to face Ducard , but he is lost in the Ninjas , bats filling the air , Wayne FLINCHING with their attacks . Wayne stays low , SLASHES the arm of the Ninja nearest him - the man does not move . Wayne turns . Fighting to THINK . A Ninja paces softly through the crowd , as he speaks , we can tell this is Ducard .<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Become one with the darkness.<\/dialogue>\n    <scene_description>Ducard falls in behinds a Ninja with a SLASHED SLEEVE . He KNOCKS him to his knees , sword against throat -<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You can not leave any sign.<\/dialogue>\n    <scene_description>Ducard pulls off his own mask . Disappointed .<\/scene_description>\n    <character>WAYNE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I have n't.<\/dialogue>\n    <scene_description>A SWORD IS AT DUCARD 'S NECK - Wayne is behind him , pulling off his mask . Ducard looks around . several of the Ninjas around them have slashed sleeves . Ducard smiles . The Ninjas TURN , in unison , and sit . Ra 's Al Ghul is seated on a small stage at the head of the room . Ducard leads Wayne to sit down in front of Ra 's . A Ninja places a tray between them : a bottle and a burning candle . Ducard places the candle in front of Wayne and hands him a small glass . Ra 's Al Ghul begins speaking in Urdu .<\/scene_description>\n    <character>DUCARD<\/character>\n    <dialogue>We have purged your fear. You are ready to lead these men. You are ready to become a member of the League of Shadows. Drink.<\/dialogue>\n    <scene_description>Wayne tips back the glass . Strong stuff .<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>By blowing out this candle you renounce your mortal life. You renounce forever the cities of man. You dedicate your life to solitude.<\/dialogue>\n    <scene_description>Wayne leans forward to blow out the candle . PAUSES . Looks at the rows of seated Ninjas .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Where will I be leading these men?<\/dialogue>\n    <character>DUCARD<\/character>\n    <dialogue>You will need them in Gotham.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>You want me to go back to Gotham?<\/dialogue>\n    <scene_description>Ra 's stares at Wayne . Starts speaking .<\/scene_description>\n    <character>DUCARD<\/character>\n    <dialogue>You yourself are a victim of Gotham's decay. That is why you came here, and that is why you must go back. You will assume the mantle of your birthright. As Gotham's favored son you will be ideally placed.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>For what?<\/dialogue>\n    <character>DUCARD<\/character>\n    <dialogue>To help us destroy the city.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>What?!<\/dialogue>\n    <character>DUCARD<\/character>\n    <dialogue>When Gotham falls, the other cities will follow in short order. Nature's balance will be restored and Man will finally return to solitude.<\/dialogue>\n    <scene_description>Wayne turns to Ducard .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>You ca n't believe in this.<\/dialogue>\n    <scene_description>Ducard looks at Wayne , troubled .<\/scene_description>\n    <character>DUCARD<\/character>\n    <dialogue>Ra's Al Ghul has rescued you from the darkest corner of your own heart. what he asks in return is obedience. And the courage to do what is necessary.<\/dialogue>\n    <scene_description>Wayne stares down at the flickering candle . At the bottle . Wayne FLICKS his sword out , SMASHING the bottle , TIPPING the candle - FLAMES spread across the wooden floor -<\/scene_description>\n    <character>DUCARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( reaching to extinguish flames . )<\/parenthetical>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>What's necessary.<\/dialogue>\n    <scene_description>Wayne STRIKES Ducard in the head with the butt of his sword , DOUSES his mask in the liquid fire and TOSSES it back into the mezzanine where the explosive powders are stored . Ra 's LEAPS from his throne , STRIKING at Wayne with his sword - Wayne parries - EXPLOSIONS roar from the balcony , shooting flame across the ceiling - Ra 's and Wayne fight as EXPLOSIONS surround them . Wayne LEAPS clear as FLAMING DEBRIS collapses onto Ra 's , CRUSHING him . the flames are rising , Ninja bodies are strewn around , fresh explosions rip across the hall as Ninjas flee and Wayne spots Ducard lying unconscious . Wayne PICKS UP Ducard , hauls him out of the Throne room , into a passage , SMASHING THROUGH an ornate screen .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUNTAINS -- CONTINUOUS<\/stage_direction>\n    <scene_description>Wayne and Ducard CRASH down onto a steep slope of ice and rock , the monastery exploding above them . Wayne rolls over , GRABS a rock , looks across to see - Ducard UNCONSCIOUS , SLIDING down the icy slope . His limp form ROTATES , spinning as his body gathers MOMENTUM , rushing towards the EDGE of the CLIFF . Wayne DIVES AFTER HIM , SLIDING HEAD - FIRST down the ice . the cliff closer and closer as Wayne RACES after Ducard . MERE FEET FROM THE CLIFF EDGE , Wayne GRABS Ducard - raises his free GAUNTLET - CLAD ARM , and SMASHES AT THE ICE , DIGGING IN with the BRONZE SCALLOPS . STOPPING on the edge - Ducard HANGS LIMPLY over a tremendous drop - Wayne STRUGGLES with the dead weight . Wayne PULLS Ducard up onto the ice . BREATHING .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TINY HAMLET, HIMALAYAS -- DAY<\/stage_direction>\n    <scene_description>Wayne CARRIES Ducard down the road .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHERPA'S HUT -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Wayne KICKS the door open . The Old Man he saw on his way up the mountain stares back at him . Then motions Wayne to put Ducard down onto some mats . The Old Man wipes blood from Ducard 's temple . Looks at Wayne , who is moving to the door .<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>I will tell him you saved his life.<\/dialogue>\n    <scene_description>Wayne stops . Turns . Looks back at Ducard .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Tell him. I have an ailing ancestor who needs me.<\/dialogue>\n    <scene_description>Wayne puts his hands together in formal salute . Bows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLIMBER'S BAR, BHUTAN -- DAY<\/stage_direction>\n    <scene_description>A smoky inn , full of SHERPAS and CLIMBERS . Wayne enters , FILTHY , RAGGED . Conversation CEASES . Everyone STARES .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAME -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Wayne uses a phone at the bar , waiting for an answer -<\/scene_description>\n    <character>ALFRED<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Wayne residence.<\/dialogue>\n    <scene_description>Wayne SMILES at Alfred 's familiar voice .<\/scene_description>\n    <character>WAYNE<\/character>\n    <parenthetical>( hoarse . )<\/parenthetical>\n    <dialogue>Alfred.<\/dialogue>\n    <character>ALFRED<\/character>\n    <parenthetical>( unflappable . )<\/parenthetical>\n    <dialogue>Master Wayne. It's been some time.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Yes. Yes it has. I need a ride.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>And where are we, sir?<\/dialogue>\n    <scene_description>Wayne glances around .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Bhutan, I think.<\/dialogue>\n    <scene_description>A curious Sherpa nearby NODS at Wayne .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>Am I to assume that you're without money and passport?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>I'm traveling a bit light, yes.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>I believe there's an airstrip at Khatmandu long enough for a G5. Make your way there, I'll have the jet down in fifteen hours.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Very good. Oh, and Alfred?<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Yes, sir?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Bring some painkillers.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRIVATE JET -- DAWN<\/stage_direction>\n    <scene_description>Wayne steps out of the washroom , clean - shaven , fresh tailored clothes . The jet breaks cloud , revealing GOTHAM bathed in glorious SUNRISE . Wayne looks out at the city . Alfred , sleeping opposite , opens an eye .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Have you told anyone I'm coming home?<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>I thought you might like to surprise a few people.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>No one can know I'm back. Not until I'm ready. I'll need everything on the company - shareholders' reports, holdings. Everything.<\/dialogue>\n    <scene_description>Alfred SMILES to himself . Closes his eyes again .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>You sound like a man with purpose.<\/dialogue>\n    <scene_description>Wayne stares at the vast city beneath them as the jet BANKS .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Gotham needs me, Alfred. Gotham needs. a symbol.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>What symbol, sir?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>I'm not sure. Something for the good to rally behind.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOTHAM -- SUNRISE<\/stage_direction>\n    <scene_description>MOVING over SPIRES of the city catching GOLD of first light .<\/scene_description>\n    <character>WAYNE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>and the criminals to fear.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIBRARY, WAYNE MANOR -- NIGHT<\/stage_direction>\n    <scene_description>Wayne , cross - legged on the floor , STUDIES a thick report . Circles something , closes it . Draws another from a STACK .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN, WAYNE MANOR -- EVENING<\/stage_direction>\n    <scene_description>Alfred makes tea . A television plays : business news .<\/scene_description>\n    <character>INTERVIEWER<\/character>\n    <parenthetical>( over television . )<\/parenthetical>\n    <dialogue>Lot of interest in new directions Wayne Industries has been taking.<\/dialogue>\n    <scene_description>Alfred looks up : Earle is being interviewed .<\/scene_description>\n    <character>INTERVIEWER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>couple big defense contracts in the bag. as well as rumors that the board is petitioning to have Bruce Wayne, missing for seven years now, declared officially dead.<\/dialogue>\n    <character>EARLE<\/character>\n    <parenthetical>( smiles thinly . )<\/parenthetical>\n    <dialogue>Our operating assumption is always the hopeful one that Bruce'll resurface sometime soon.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIBRARY, WAYNE MANOR -- CONTINUOUS<\/stage_direction>\n    <scene_description>Wayne HEARS a CHITTERING . He rises , moving out into the main hall .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAIN HALL, WAYNE MANOR -- CONTINUOUS<\/stage_direction>\n    <scene_description>Wayne STARES : a small shadow SPUTTERS around the ceiling .<\/scene_description>\n    <character>ALFRED<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>A blessed bat gain, sir.<\/dialogue>\n    <scene_description>Wayne turns to find Alfred standing there with a tea service .<\/scene_description>\n    <character>ALFRED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>They nest somewhere on the grounds.<\/dialogue>\n    <scene_description>Wayne watches the dark shape FLICKER around the ceiling .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GROUNDS, WAYNE MANOR -- DAY<\/stage_direction>\n    <scene_description>Wayne walks across the gardens to the greenhouse . He wears a long overcoat , a coil of rope over one arm .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GREENHOUSE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Now derelict . Glass cracked or missing , paint peeled from wrought iron . Wayne stands in the entrance , remembering - INSERT CUT : Rachel , LAUGHING , SPRINTING between the tables .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DISUSED WELL SHAFT -- MOMENTS LATER<\/stage_direction>\n    <scene_description>DARKNESS , punctured by LIGHT as BOARDS are YANKED , splintering from the mouth of the well , high above . Wayne LOWERS himself down the shaft , overcoat billowing . He undoes his rope at the bottom . TURNS , finding - The DARK CREVICE between the rocks . Wayne CROUCHES , pushing into the BLACKNESS , crawling through into -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAVERNS -- CONTINUOUS<\/stage_direction>\n    <scene_description>Wayne climbs down a jagged rock crevice . Air blows in his face . The crevice WIDENS into a low - ceilinged chamber . Wayne hears the RUSH of WATER . He crouches , advances through the low chamber . It turns DOWNWARDS , steeper - Wayne carefully slides on his back , LOWERING HIMSELF into . LIMITLESS BLACK . Wayne stands . A ROAR of water now . He REACHES into his coat , pulls out a CHEMICAL TORCH . CRACKS it , throwing LIGHT into . A VAST CAVERN . An underground RIVER , a JAGGED ceiling , far above , which , as Wayne PEERS , starts to MOVE - BATS EXPLODE from the ceiling . THOUSANDS DESCEND , SCREECHING , attracted to the light - Wayne instinctively CROUCHES . But as they SWARM around him terrifyingly . Wayne RISES to his feet amidst a CYCLONE of bats , watching the fluttering blackness with a profound CALM . And he knows the symbol he must use .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. ROLLS ROYCE ON GOTHAM STREETS -- MORNING<\/stage_direction>\n    <scene_description>Wayne stares at the DECAY . Sadness gives way to anger .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WAYNE PLAZA -- LATER<\/stage_direction>\n    <scene_description>The Rolls pulls up onto the Plaza in front of Wayne Station . The station is deserted . Derelict . Wayne gets out , staring .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Is it closed?<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>They still run a token service out of respect for your father.<\/dialogue>\n    <character>WAYNE<\/character>\n    <parenthetical>( low . )<\/parenthetical>\n    <dialogue>Respect?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOARD ROOM, WAYNE TOWER -- CONTINUOUS<\/stage_direction>\n    <scene_description>A board meeting in full swing . Earle presiding . He is addressing a portly , distinguished man at the other end . This is JUDGE PHELAN .<\/scene_description>\n    <character>EARLE<\/character>\n    <dialogue>Clearly, Judge Phelan, moving to have Bruce declared dead is not something that any of us here relishes. but as responsible managers it falls to us to act on behalf of Wayne Industries.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OUTER OFFICE, WAYNE TOWER -- CONTINUOUS<\/stage_direction>\n    <scene_description>Wayne walks past the young , beautiful ASSISTANT sat her desk .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Morning.<\/dialogue>\n    <scene_description>The Assistant gets to her feet .<\/scene_description>\n    <character>ASSISTANT<\/character>\n    <dialogue>Sir, you ca n't go in there!<\/dialogue>\n    <scene_description>Wayne turns to her . Smiles .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Yes, I can.<\/dialogue>\n    <scene_description>The Assistant RECOGNIZES him , stands there , SHOCKED .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOARD ROOM, WAYNE TOWER -- CONTINUOUS<\/stage_direction>\n    <scene_description>As the door OPENS , Earle looks over , annoyed .<\/scene_description>\n    <character>EARLE<\/character>\n    <dialogue>I'm sorry, can I?<\/dialogue>\n    <scene_description>Earle STARES . Dumbstruck . All heads TURN - Wayne smiles .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Sorry to barge in, but I was in the areas.<\/dialogue>\n    <scene_description>SILENCE . Earle gets to his feet , approaching Wayne , STARING . He SHAKES Wayne 's hand , claps the other on his shoulder .<\/scene_description>\n    <character>EARLE<\/character>\n    <dialogue>My boy! We thought you were gone for good.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>What can I say? `` Reports of my death have been greatly exaggerated''.<\/dialogue>\n    <scene_description>Nervous chuckles . Judge Phelan stares at Wayne , incredulous .<\/scene_description>\n    <character>EARLE<\/character>\n    <dialogue>Can I ask where you've been?<\/dialogue>\n    <character>WAYNE<\/character>\n    <parenthetical>( mischievous . )<\/parenthetical>\n    <dialogue>You can ask.<\/dialogue>\n    <character>EARLE<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Well, perhaps you'll tell us your plans. Are you back to finish college?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Actually, I thought I'd get to grips with what we actually do around here. From the ground up - one division at a time.<\/dialogue>\n    <scene_description>Earle takes this in , nodding .<\/scene_description>\n    <character>EARLE<\/character>\n    <dialogue>Any idea where you'd like to start?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Applied sciences caught my eye.<\/dialogue>\n    <character>EARLE<\/character>\n    <dialogue>Mr.Fox's department. I'll make a call. You can start today.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Actually, I've got a one o'clock tee - off, and it took me all morning to convince the club to honor my old membership.<\/dialogue>\n    <parenthetical>( grins at Earle . )<\/parenthetical>\n    <dialogue>Apparently they do n't have to meet the same high standards as you when it comes to declaring someone dead.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRCASE, DISTRICT ATTORNEY'S OFFICE -- DAY<\/stage_direction>\n    <scene_description>Rachel HURRIES down marble stairs to catch Finch .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Mr.Finch<\/dialogue>\n    <character>FINCH<\/character>\n    <parenthetical>( weary . )<\/parenthetical>\n    <dialogue>Yes, Miss Dodson?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Mr.Finch, on the Falcone matter -<\/dialogue>\n    <character>FINCH<\/character>\n    <parenthetical>( here we go again . )<\/parenthetical>\n    <dialogue>The case against Falcone died with Chill. We had our shot.<\/dialogue>\n    <scene_description>They walk out into the parking lot .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT, COURTHOUSE -- CONTINUOUS<\/stage_direction>\n    <character>RACHEL<\/character>\n    <dialogue>That was then - but now he's importing drugs, everybody knows it, let's take it to Harvey Dent and -<\/dialogue>\n    <character>FINCH<\/character>\n    <parenthetical>( looking around . )<\/parenthetical>\n    <dialogue>Keep your voice down.<\/dialogue>\n    <parenthetical>( quite , sympathetic . )<\/parenthetical>\n    <dialogue>Look, Rachel, Falcone's got Judge Phelan and half of City Hall bought And paid for. So you got burned on Falcone - let it go, we've got bigger fish to fry.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>That would make a lot more sense if we were doing any frying.<\/dialogue>\n    <scene_description>Finch , uncomfortable , TURNS . Rachel WATCHES him exit .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROLLS ROYCE -- CONTINUOUS<\/stage_direction>\n    <scene_description>In The back seat , Wayne WATCHES Rachel standing there .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>Shall I park, sir?<\/dialogue>\n    <scene_description>Wayne wrestles for a moment .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>No, let's go.<\/dialogue>\n    <scene_description>Alfred pulls out with a touch of disappointment .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APPLIED SCIENCES DIVISION -- DAY<\/stage_direction>\n    <scene_description>A massive WAREHOUSE , stacked with crates , odd - shaped under dust covers , lab equipment . LUCIUS FOX , aged 52 , leads Wayne through the stacks , speaking in calm , knowledgeable tones .<\/scene_description>\n    <character>FOX<\/character>\n    <dialogue>Environmental applications, defense projects, consumer products. all prototypes, none if production at any level whatsoever.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>None?<\/dialogue>\n    <scene_description>Fox pauses , turns to Wayne , a wicked gleam in his eye .<\/scene_description>\n    <character>FOX<\/character>\n    <dialogue>What did they tell you this place was?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>They did n't tell me anything.<\/dialogue>\n    <character>FOX<\/character>\n    <dialogue>Told me exactly what it was when they sent me here. a dead end where I could n't cause any more trouble for the rest of the board.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>You were on the board?<\/dialogue>\n    <character>FOX<\/character>\n    <dialogue>Back when your father ran things.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>You knew my father?<\/dialogue>\n    <character>FOX<\/character>\n    <dialogue>Sure. Helped him build his train. Beautiful project - routed right into Wayne Tower, along with the water and power utilities. Made Wayne Tower the unofficial heart of Gotham.<\/dialogue>\n    <scene_description>Fox stops at a tall CRATE . Checks paperwork . Opens the crate : a BODYSUIT - clear silicone over jointed armor .<\/scene_description>\n    <character>FOX<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Here it is : the nomex survival suit for advanced infantry. Kevlar bi - weave, reinforced joints.<\/dialogue>\n    <scene_description>Wayne feels the fabric of the suit .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Bullet - proof?<\/dialogue>\n    <character>FOX<\/character>\n    <dialogue>Anything but a straight shot.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Tear - resistant?<\/dialogue>\n    <scene_description>Fox HACKS at the suit with his pen - it does n't even mark .<\/scene_description>\n    <character>FOX<\/character>\n    <dialogue>This sucker'll stop a knife.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Why did n't they put it into production?<\/dialogue>\n    <character>FOX<\/character>\n    <dialogue>The bean counters figured a soldier's life was n't worth the 300 grand.<\/dialogue>\n    <scene_description>Fox looks at Wayne . Suspicious .<\/scene_description>\n    <character>FOX<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What do you want with it, Mr.Wayne?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>I want to borrow it. For spelunking.<\/dialogue>\n    <parenthetical>( off look . )<\/parenthetical>\n    <dialogue>You know, cave - diving.<\/dialogue>\n    <scene_description>Fox shrugs . Puts the lid back on the crate .<\/scene_description>\n    <character>FOX<\/character>\n    <dialogue>You get a lot of gunfire down in those caves?<\/dialogue>\n    <character>WAYNE<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Listen, I'd rather Mr.Earle did n't know about me borrowing -<\/dialogue>\n    <character>FOX<\/character>\n    <dialogue>Mr.Wayne, the way I see it.<\/dialogue>\n    <scene_description>Fox waves his arm , taking in the enormous facility .<\/scene_description>\n    <character>FOX<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>All this stuff is yours, anyway.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAVERNS BENEATH WAYNE MANOR -- DAY<\/stage_direction>\n    <scene_description>Wayne , high on the cavern wall , in climbing harness , HAMMERS a bracket into the rock securing a line of industrial LAMPS .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Okay! Give it a try.<\/dialogue>\n    <scene_description>Alfred throws a switch on a portable GENERATOR : the lamps flicker on , dimly lighting the length of one wall . Alfred peers at the DAMP , DINGY surroundings .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>Oh, charming.<\/dialogue>\n    <scene_description>Alfred sees the BATS covering the entire ceiling .<\/scene_description>\n    <character>ALFRED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>At least you'll have company.<\/dialogue>\n    <scene_description>Wayne RAPPELS to the cave floor , looks up to a HIGH corner : CRUMBLING BRICKWORK . Alfred follows his gaze .<\/scene_description>\n    <character>ALFRED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Must be the lowest foundations of the Southeast wing.<\/dialogue>\n    <scene_description>Wayne CLIMBS up : poking through the rock ceiling : the bottom of a wrought - iron SPIRAL STAIRCASE . In the center of the spiral : a dumb - waiter lift , fallen off its track . Wayne grabs the chains of the lift , RATTLES them - sending a wave ECHOING up into the darkness .<\/scene_description>\n    <character>ALFRED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>During the civil war your great - grandfather was involved with the underground railroad. Secretly transporting freed slaves to the North. I suspect these caverns came in handy.<\/dialogue>\n    <scene_description>Wayne jumps down . Moves to the small river . Follows it where it disappears under rocks . Steps over . Alfred waits . The ROAR of WATER gets louder and the light gets BRIGHTER . Wayne follows the tunnel around a dog leg , emerging . BEHIND THE FACE OF A WATERFALL . Wayne grins , HOPS along slick rocks right up to the beautiful CURTAIN of water .<\/scene_description>\n    <character>WAYNE<\/character>\n    <parenthetical>( awe . )<\/parenthetical>\n    <dialogue>Alfred, come up here.<\/dialogue>\n    <scene_description>Alfred is twenty feet behind on the dry rocks .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>I can see it very well from here, thank - you, sir.<\/dialogue>\n    <scene_description>Wayne , mesmerized , reaches for water that is liquid light .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNMARKED POLICE SEDAN -- EVENING<\/stage_direction>\n    <scene_description>Gordon , now 46 and a Detective , in the passenger seat . Worn eyes watching his partner , FLASS , 42 , glad - hand the owner of the liquor store they are parked outside . Flass squeezes into the driving seat holding a wad of CASH .<\/scene_description>\n    <character>FLASS<\/character>\n    <dialogue>Do n't s ` pose you want a taste?<\/dialogue>\n    <scene_description>Gordon looks at Flass , cold . Flass shrugs . Counts his money .<\/scene_description>\n    <character>FLASS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I keep offering'cause who knows, maybe one day you'll get wise.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>Nothing wise in what you do, Flass.<\/dialogue>\n    <character>FLASS<\/character>\n    <dialogue>Yeah? Well, Jimbo, you do n't take your taste - makes us guys nervous you might decide to roll over -<\/dialogue>\n    <character>GORDON<\/character>\n    <parenthetical>( irritated . )<\/parenthetical>\n    <dialogue>I'm no rat, Flass.<\/dialogue>\n    <parenthetical>( calmer . )<\/parenthetical>\n    <dialogue>In a town this bent, who's there to rat to, anyway?<\/dialogue>\n    <scene_description>Flass LAUGHS at this , hits the gas .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOPS, GOTHAM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Moving in on a rooftop balustrade to discover Wayne , wearing the bodysuit , crouched , watching the police station across The street . He pulls on a black balaclava . CLIMBS through the SHADOWS using Ninja SPIRES on his hands and feet .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE STATION -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Gordon slams the car door . Watches Flass pull away . Weary .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GORDON'S OFFICE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Gordon SLUMPS into his chair , back to the window . Reaches for the phone - notices a BOOK sitting on his desk : an old , worn copy of : `` PHYLUM PERACOPDA : THE TWILIGHT WORLD OF BATS '' . Gordon frowns at the book , CONFUSED . The light goes OUT .<\/scene_description>\n    <character>WAYNE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Do n't turn around.<\/dialogue>\n    <scene_description>Gordon FREEZES - Wayne is behind his , pressing a stapler between Gordon 's shoulder blades as if it were a gun .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>I've been watching. You're a good cop. One of the few. What would it take to get Falcone?<\/dialogue>\n    <scene_description>Gordon narrows his eyes , puzzled .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>Carmine Falcone?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>He brings in shipments of drugs every week, nobody takes him down. Why?<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>He's paid up with the right people.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>What would it take?<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>Leverage on Judge Phelan. And a D.A. brave enough to prosecute.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Rachel Dodson in the D.A.'s office.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Watch for a sign.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>You're just one man?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Now we are two.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>We?<\/dialogue>\n    <scene_description>No response . Gordon turns around . No one . He JUMPS to the window - looks down , looks up : a SHADOW slips onto the roof -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BULLPEN -- CONTINUOUS<\/stage_direction>\n    <scene_description>Gordon RACES across the bullpen , drawing his gun , hits the stairwell - two UNIFORMS see him go , run after him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOP -- CONTINUOUS<\/stage_direction>\n    <scene_description>Wayne moves to the edge of the roof - the gap is TOO BIG - he TURNS BACK - the DOOR SMASHES open : Gordon GUN RAISED .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>FREEZE!<\/dialogue>\n    <scene_description>Wayne RACES for the GAP - LEAPS . DROPS FAST . misses THE TOP STORY - GRABS the balcony below . it BREAKS AWAY - DROPS him onto the one below . Winded , Wayne CLIMBS onto the wall . From the other roof , Gordon watches Wayne melt into the shadows . The Uniforms arrive either side .<\/scene_description>\n    <character>UNIFORM 1<\/character>\n    <dialogue>The hell was that? 1<\/dialogue>\n    <character>GORDON<\/character>\n    <parenthetical>( dismissive . )<\/parenthetical>\n    <dialogue>Some nut.<\/dialogue>\n    <scene_description>But Gordon 's expression is less certain .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EARLE'S OFFICE, WAYNE TOWER -- DAY<\/stage_direction>\n    <scene_description>Earle sits at his desk conferring with two board members .<\/scene_description>\n    <character>BOARD MEMBER<\/character>\n    <dialogue>Is he taking over?<\/dialogue>\n    <character>EARLE<\/character>\n    <dialogue>Not yet. I checked th trust, and bruce ca n't assume control until his thirtieth birthday.<\/dialogue>\n    <parenthetical>( presses intercom . )<\/parenthetical>\n    <dialogue>Jessica, where's that coffee?<\/dialogue>\n    <character>BOARD MEMBER<\/character>\n    <dialogue>But that's in three months.<\/dialogue>\n    <character>EARLE<\/character>\n    <dialogue>We'll have to move fast.<\/dialogue>\n    <character>BOARD MEMBER 2<\/character>\n    <dialogue>To do what?<\/dialogue>\n    <character>EARLE<\/character>\n    <dialogue>An IPO. There's nothing in Bruce's trust to stop us taking the company public. we'll have an offering.<\/dialogue>\n    <character>BOARD MEMBER<\/character>\n    <parenthetical>( getting it . )<\/parenthetical>\n    <dialogue>And Bruce will become just another board member.<\/dialogue>\n    <character>EARLE<\/character>\n    <dialogue>Precisely. We ca n't have some clown prince running things.<\/dialogue>\n    <parenthetical>( presses intercom . )<\/parenthetical>\n    <dialogue>Jessica?<\/dialogue>\n    <scene_description>No answer . Earle steps to the door and opens it . His assistant is GONE . So is the receptionist .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOP, WAYNE TOWER -- MOMENTS LATER<\/stage_direction>\n    <scene_description>The SWISH - CLICK of a Titleist rocketing off the roof and out towards Gotham River . Wayne stands behind the Beautiful Assistant , hand on her hip , adjusting her grip on a gold club . Another YOUNG WOMAN watches , leaning on a driver .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Keep your elbows in.<\/dialogue>\n    <character>EARLE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Ladies?<\/dialogue>\n    <scene_description>They turn . Earle is standing there .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Sorry, Mr.Earle, Mr.Wayne insisted that all junior executives need to know how to play golf.<\/dialogue>\n    <character>EARLE<\/character>\n    <dialogue>Junior Executive? Who's answering the phones?<\/dialogue>\n    <scene_description>Wayne smiles pleasantly at Earle .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>This is Wayne Industries, Mr.Earle - I'm sure they'll call back.<\/dialogue>\n    <scene_description>Wayne unwraps himself from Jessica and approaches Earle .<\/scene_description>\n    <character>WAYNE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( conspiratorial . )<\/parenthetical>\n    <dialogue>I thought a few promotions might be good karma forgetting my new job.<\/dialogue>\n    <scene_description>Earle smiles patiently .<\/scene_description>\n    <character>EARLE<\/character>\n    <dialogue>Of course, you're not actually starting just yet, Bruce. Not until your birthday.<\/dialogue>\n    <character>WAYNE<\/character>\n    <parenthetical>( grins . )<\/parenthetical>\n    <dialogue>Three month's time - I'm having a huge blowout and I expect everyone to be there.<\/dialogue>\n    <character>EARLE<\/character>\n    <dialogue>With bells on. How are things down at Applied Sciences?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Great - there's some cool stuff down there. Although that Mr.Fox goes on a bit once you gte him talking.<\/dialogue>\n    <scene_description>Earle takes Wayne by the elbow , walking him away .<\/scene_description>\n    <character>EARLE<\/character>\n    <dialogue>Since you're here, there is a business matter that I wanted to make you aware of.<\/dialogue>\n    <scene_description>Wayne assumes a pose of seriousness .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Business. sure.<\/dialogue>\n    <character>EARLE<\/character>\n    <dialogue>We've been thinking for some time about offering shares. I think the time is right.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Offering shares?<\/dialogue>\n    <character>EARLE<\/character>\n    <dialogue>It's just a way of raising capital for growth. it's important to me that the company be in great shape when you take over. Consider it my legacy.<\/dialogue>\n    <scene_description>Wayne nods .<\/scene_description>\n    <character>EARLE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Well, I guess I'd better go hire a new secretary and receptionist.<\/dialogue>\n    <scene_description>Earle head to the door . Wayne smiles , turns back to Jessica .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Right, who's turn is it?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FALCONE'S BASEMENT CLUB, DOCK AREA -- NIGHT<\/stage_direction>\n    <scene_description>Judge Phelan exits the club , a GIRL on his arm .<\/scene_description>\n    <character>BOUNCER<\/character>\n    <dialogue>Night, Judge Phelan.<\/dialogue>\n    <scene_description>Phelan turns , giddy with drink , puts his finger to his lips .<\/scene_description>\n    <character>PHELAN<\/character>\n    <dialogue>Shhhhh.<\/dialogue>\n    <scene_description>The Girl giggles . Phelan guides her into a waiting limo . A STREET PERSON comes over to the rear windows of the car , knocking . The DRIVER gets out .<\/scene_description>\n    <character>DRIVER<\/character>\n    <dialogue>Get lost!<\/dialogue>\n    <scene_description>The Driver KICKS the Street Person away from the limo . A Homeless Man warming by a fire starts shouting . It is the Homeless Man that bruce gave his coat to years before . The coat is worn but recognizable .<\/scene_description>\n    <character>HOMELESS MAN<\/character>\n    <dialogue>Leave him alone! Let him be!<\/dialogue>\n    <scene_description>The limo moves off . Close on the Street Person watching it leave . IT IS BRUCE . He glances down at a tiny CAMERA in his lap . Smiles at the screen : Phelan and the Girl .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAT CAVE -- DAY<\/stage_direction>\n    <scene_description>Wayne places two BRONZE GAUNTLETS on a trestle table . FIRES up a paint sprayer . Starts coating them matte BLACK .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAME -- LATER<\/stage_direction>\n    <scene_description>Wayne is showing Alfred DIAGRAMS . We catch only GLIMPSES .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>If we order the main part of this.<\/dialogue>\n    <parenthetical>( points . )<\/parenthetical>\n    <dialogue>. cowl from Singapore -<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Via a shell corporation.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Indeed. Then quite separately, place an order through a Chinese manufacturer for these -<\/dialogue>\n    <scene_description>Alfred points at a diagram which looks like a pair of HORNS .<\/scene_description>\n    <character>WAYNE<\/character>\n    <parenthetical>( nods . )<\/parenthetical>\n    <dialogue>Put it together ourselves.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Precisely. Of course, they'll have to be large orders to avoid suspicion.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>How large?<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Say, ten thousand.<\/dialogue>\n    <character>WAYNE<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Least we'll have spares.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APPLIED SCIENCES DIVISION -- MORNING<\/stage_direction>\n    <scene_description>Fox , at his desk , watches Wayne approaching .<\/scene_description>\n    <character>FOX<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>What's it today? More `` spelunking''?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Sper - lunking. And no, today it's base - jumping.<\/dialogue>\n    <character>FOX<\/character>\n    <dialogue>Base - jumping? What, like parachuting?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>I need some kind of lightweight grappling hook.<\/dialogue>\n    <character>FOX<\/character>\n    <dialogue>For what?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Base jumping's illegal - you ca n't just take the elevator.<\/dialogue>\n    <scene_description>Fox shakes his head at Wayne . Gets to his feet . They sit .<\/scene_description>\n    <character>FOX<\/character>\n    <dialogue>We've got suction pads, grapples.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Any good?<\/dialogue>\n    <character>FOX<\/character>\n    <dialogue>Nope. But this thing's pretty neat.<\/dialogue>\n    <scene_description>Fox pulls out a box . Inside : a bronze GRAPPLING GUN and HARNESS .<\/scene_description>\n    <character>FOX<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Pneumatic. Magnetic grapple. Monofilament tested to 350 pounds.<\/dialogue>\n    <scene_description>Wayne feels the weight . It is light . Strong . He picks up the HARNESS that goes with it . Shoulder straps with a wide , hi - tech BELT . Wayne shoves the back end of the gun into the belt buckle - it CLICKS into place .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Too expensive for the army?<\/dialogue>\n    <scene_description>Fox takes it back from Wayne . Sardonic .<\/scene_description>\n    <character>FOX<\/character>\n    <dialogue>Guess they never thought about marketing to the billionaire base - jumping, spelunking market.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Look, Mr.Fox, if you're uncomfortable -<\/dialogue>\n    <character>FOX<\/character>\n    <dialogue>Mr.Wayne, if you do n't tell me what you're really doing, then when I get asked. I do n't have to lie. But do n't treat me like an idiot.<\/dialogue>\n    <character>WAYNE<\/character>\n    <parenthetical>( nods . )<\/parenthetical>\n    <dialogue>Fair enough.<\/dialogue>\n    <scene_description>Fox looks at Wayne . Thinking .<\/scene_description>\n    <character>FOX<\/character>\n    <dialogue>Come on, I'll show you something.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOADING DOCK, APPLIED SCIENCES DIVISION -- LATER<\/stage_direction>\n    <scene_description>Fox hands Wayne a sheet of black fabric .<\/scene_description>\n    <character>FOX<\/character>\n    <dialogue>Notice anything?<\/dialogue>\n    <scene_description>Wayne examines it , shrugs . Fox puts on a GLOVE .<\/scene_description>\n    <character>FOX<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Memory fabric - dual layer polymers with variable alignment molecules. Flexible ordinarily, but put a current through it.<\/dialogue>\n    <scene_description>Fox GRABS the fabric - which instantly POPS into the RIGID shape of a small one - man TENT . Wayne raises his eyebrows .<\/scene_description>\n    <character>FOX<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>the molecules align and become rigid.<\/dialogue>\n    <scene_description>Wayne pushes on the tent , feeling its strength , fascinated .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>What kind of shapes can you make?<\/dialogue>\n    <scene_description>Fox releases the tent , which instantly COLLAPSES .<\/scene_description>\n    <character>FOX<\/character>\n    <dialogue>It could be tailored to any structure based on a rigid skeleton.<\/dialogue>\n    <scene_description>Wayne lifts the black fabric , FLICKING it in a WHIPPING motion . Thinking . Then he sees something . Some kind of vehicle , covered by a tarp . HUGE TIRES visible .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <scene_description>Fox , a twinkle in his eye , rolls up the memory fabric .<\/scene_description>\n    <character>FOX<\/character>\n    <dialogue>The Tumbler? Oh, you would n't be interested in that.<\/dialogue>\n    <scene_description>Wayne shoots Fox a look , and we P.O.V. : RACING ALONG , INCHES ABOVE A TEST TRACK -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TUMBLER ON TEST TRACK -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Wayne pilots using aircraft - like control sticks . Fox , in the passenger seat , hangs on as Wayne PUSHES the vehicle . The Tumbler SHOOTS PAST : LOW and WIDE , a cross between a Lamborghini Countach and a Humvee . Sandy camouflage , stealth - angled panelling and variable - angle flaps across the back . Fox SHOUTS over the noise of the engine .<\/scene_description>\n    <character>FOX<\/character>\n    <dialogue>She was built as a bridging vehicle You hit that button -.<\/dialogue>\n    <parenthetical>( Wayne reaches . )<\/parenthetical>\n    <dialogue>NO, NOT NOW!<\/dialogue>\n    <parenthetical>( Wayne recoils . )<\/parenthetical>\n    <dialogue>It boosts her into a rampless jump! In combat, two of them jump a river towing cables, then you run a bailey bridge across! Damn bridge never worked - but this baby works fine!<\/dialogue>\n    <scene_description>Wayne inspects the cockpit : a forward - slung `` gunner 's '' driving position between their legs , video screens , electronic controls , windows with HEADS - UP DISPLAY . Wayne ACCELERATES . The Tumbler TEARS down the straightaway , SKIDS to a HALT .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TUMBLER -- CONTINUOUS<\/stage_direction>\n    <scene_description>Fox JOLTS with the stop . Turns to Wayne , a little green .<\/scene_description>\n    <character>FOX<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <scene_description>Wayne turns to Fox with a slight smile .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Does it come in black?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAT CAVE -- DAY<\/stage_direction>\n    <scene_description>Wayne takes the hi - tech harness for the grapple and CUTS OFF the shoulder straps , leaving a BELT WITH SLIDING ATTACHMENTS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAME -- LATER<\/stage_direction>\n    <scene_description>Wayne lifts a GLOVED hand , metal contacts on the fingertips . With his other hand , he picks up a FABRIC GLOVE , RIBBONS dangling from each finger . He thrusts the gloved hand into the fabric glove - the ribbons SHOOT OUT - RIGID FINGER EXTENSIONS like the SKELETON of a BAT 'S WING . Wayne FANS the PROJECTIONS , testing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAT CAVE -- LATER<\/stage_direction>\n    <scene_description>Close on : the COWL . Black , with a slight GRAPHITE sheen . Dramatic , ICONIC even without its ears . A BASEBALL BAT SMASHES into the crown , CRACKING it in two . Alfred picks the pieces off the table , FROWNING .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>Problems with the graphite mixture, apparently. The next ten thousand will be up to specifications.<\/dialogue>\n    <scene_description>Wayne looks up from adjusting a servo - mounted microphone .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>At least they gave us a discount.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Quite. In the meantime, might I suggest, sir, that you try to avoid landing on your head?<\/dialogue>\n    <scene_description>Wayne shoots Alfred a look . Then fits the microphone into the horn - shaped `` ear '' from the cowl .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAME -- LATER<\/stage_direction>\n    <scene_description>Wayne GRINDS METAL at a lathe . Alfred approaches with a thermos . Wayne stops grinding , BLOWS on his handiwork .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>Why the design, Master Wayne?<\/dialogue>\n    <scene_description>Alfred indicates the steel carved into a BAT 'S WING .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>A man, however strong, however skilled, is just flesh and blood. I need to be more than a man. I need to be a symbol.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>And why the symbol of the bat?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Bats frighten me.<\/dialogue>\n    <parenthetical>( slight smile . )<\/parenthetical>\n    <dialogue>And it's time my enemies shared my dread.<\/dialogue>\n    <scene_description>Wayne tilts the crude BATARANG , watching light dance across the brushed steel . He THROWS it WHISTLING into darkness .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FALCONE'S CLUB, DOCK AREA -- NIGHT<\/stage_direction>\n    <scene_description>Judge Phelan sits sandwiched between two GIRLS , drink and cigar in hand . He looks up .<\/scene_description>\n    <character>PHELAN<\/character>\n    <dialogue>Carmine! Where are you going?<\/dialogue>\n    <scene_description>Falcone is putting his coat on .<\/scene_description>\n    <character>FALCONE<\/character>\n    <dialogue>Duty calls. You have yourself a good time, Judge.<\/dialogue>\n    <scene_description>Falcone turns to the CLUB MANAGER . Leans in .<\/scene_description>\n    <character>FALCONE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>If he's too cheap to get a hotel, at least make him take his car around to the alley.<\/dialogue>\n    <parenthetical>( shakes his head . )<\/parenthetical>\n    <dialogue>No class.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOCKS -- CONTINUOUS<\/stage_direction>\n    <scene_description>Down in the stacks , THUGS unload BOXES an open container . HEADLIGHTS light them up - everyone FREEZES . A sedan pulls up . FLASS emerges . Approaches one of the thugs holding a box . OPENS it , YANKS out a STUFFED TOY .<\/scene_description>\n    <character>FLASS<\/character>\n    <dialogue>Cute.<\/dialogue>\n    <scene_description>Flass RIPS open the toy , pulls a plastic PACKAGE from inside .<\/scene_description>\n    <character>FLASS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( mock surprise . )<\/parenthetical>\n    <dialogue>Oh? What have we here?<\/dialogue>\n    <scene_description>Nobody reacts . Flass hands the toy back to the Thug .<\/scene_description>\n    <character>FLASS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Carry on, gents.<\/dialogue>\n    <scene_description>Flass heads inside a massive warehouse to a set of offices .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE, DOCKS -- CONTINUOUS<\/stage_direction>\n    <scene_description>Flass enters . Falcone sits at the desk .<\/scene_description>\n    <character>FALCONE<\/character>\n    <dialogue>You believe this hump, Flass?<\/dialogue>\n    <scene_description>He indicates a thin man opposite . Flass sits .<\/scene_description>\n    <character>FLASS<\/character>\n    <dialogue>Problem?<\/dialogue>\n    <character>FALCONE<\/character>\n    <dialogue>Crane here's making insinuations.<\/dialogue>\n    <scene_description>The thin man , CRANE , leans forward . A cold presence .<\/scene_description>\n    <character>CRANE<\/character>\n    <dialogue>Insinuations? Well, let me be clearer - you stepped on the last shipment before you delivered it to me. You cut it with baby powder, and rendered it useless for my purposes.<\/dialogue>\n    <scene_description>Falcone stares at the slight man , incredulous .<\/scene_description>\n    <character>FALCONE<\/character>\n    <parenthetical>( furious . )<\/parenthetical>\n    <dialogue>Flass, tell this guy what happens to people who talk to me this way.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FALCONE'S CLUB, DOCK AREA -- CONTINUOUS<\/stage_direction>\n    <scene_description>Judge Phelan stumbles out of the club with the GIRLS . They pile into the waiting limo . The Club Manager gestures to the Driver to pull around into the alley .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY, DOCK AREA -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Limo idles in the alley .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMO -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Driver picks his ear . The partition is closed . The Driver examines his finger . WHAM ! A BLACK SHAPE LANDS ON THE HOOD - the Driver 's eyes go wide as - SMASH ! - a BLACK - GLOVED FIST SHATTERS THE WINDSCREEN and GRABS the Driver 's neck . IN THE BACK : Phelan sits BOLT UPRIGHT . The girls look around , ALARMED . THE PARTITION SLOWLY LOWERS , REVEALING : BATMAN . Crouched like a dark animal on the hood - the Girls SCREAM .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Homeless Man looks up from his brazier , curious . He sees a dark shape on the hood of a limo , a LONG BLACK CLOAK BILLOWING out behind it . screams echo through the alley .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMO -- CONTINUOUS<\/stage_direction>\n    <scene_description>Phelan scrambles back in his seat , whimpering .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>You have eaten well. As Gotham has starved.<\/dialogue>\n    <scene_description>Batman 's eyes stare out of the black cowl at Phelan .<\/scene_description>\n    <character>BATMAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>This changes tonight.<\/dialogue>\n    <scene_description>Batman SHOOTS UP OFF the hood , banging onto the roof -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Homeless Man STARES OPEN - MOUTHED at Batman standing , ICONIC , on the roof of the limo , cloak billowing . Batman turns his head towards the Homeless Man -<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Nice coat.<\/dialogue>\n    <scene_description>- and FLIES UP from the limo , DISAPPEARING into the shadows high above . The Homeless Man looks down at his coat , then back up to the shadows .<\/scene_description>\n    <character>HOMELESS MAN<\/character>\n    <parenthetical>( small . )<\/parenthetical>\n    <dialogue>Thanks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE, DOCKS -- CONTINUOUS<\/stage_direction>\n    <scene_description>Crane looks at Falcone , matter - of - fact .<\/scene_description>\n    <character>CRANE<\/character>\n    <dialogue>I'm aware that you're not intimidated by me, Mr.Falcone. But you know who we're working for. and when he gets here I do n't think he's going to want to hear that you've been endangering our operation just to filch a few dollars from your dealers.<\/dialogue>\n    <character>FALCONE<\/character>\n    <dialogue>He's coming to Gotham?<\/dialogue>\n    <character>CRANE<\/character>\n    <dialogue>Soon. This is our last shipment.<\/dialogue>\n    <scene_description>Falcone shifts , SUDDENLY UNEASY .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE STACKS -- CONTINUOUS<\/stage_direction>\n    <scene_description>A THUG hands a box to a SECOND THUG , who walks away along the corridor of containers . The first Thug turns back to the darkness of the open container , reaches in - HE IS YANKED INTO THE DARKNESS WITH AN ECHOING CRY - Second Thug TURNS , stares uneasily down the deserved corridor to the BLACK MOUTH of the open container .<\/scene_description>\n    <character>SECOND THUG<\/character>\n    <dialogue>Steiss?<\/dialogue>\n    <scene_description>No reply . He puts down his box . Draws his gun . A THIRD THUG comes around the corner .<\/scene_description>\n    <character>THIRD THUG<\/character>\n    <dialogue>Come on, we got ta -<\/dialogue>\n    <scene_description>He sees the Second Thug 's gun . Draws his own . They move cautiously towards the open container .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE STACKS -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Thugs peer into the blackness of the open container - Behind them , a LAMP hanging above the corridor SHATTERS , the Thugs turn , startled , to see another lamp shatter and go dark - them another and another , DARKNESS ADVANCING TOWARDS THEM .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE, DOCKS -- CONTINUOUS<\/stage_direction>\n    <scene_description>Falcone lifts his hands in a gesture of peace .<\/scene_description>\n    <character>FALCONE<\/character>\n    <dialogue>There's no need to argue - you can just test the stuff here and now.<\/dialogue>\n    <character>CRANE<\/character>\n    <dialogue>That's why I came.<\/dialogue>\n    <scene_description>Flass tosses the package onto the desk .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE STACKS -- CONTINUOUS<\/stage_direction>\n    <scene_description>As the closest lamp SHATTERS , a GLINT of metal DROPS to the ground . the Second Thug bends , picks it up , STARING ; A BAT - SHAPED brushed steel plate . The Second Thug looks up , confused , but the Third Thug is STARING above him .<\/scene_description>\n    <character>SECOND THUG<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>The Second Thug looks up himself : a DARK SHAPE HANGING from a CRANE directly above him . A GIANT BAT , WINGS FOLDED , head pointed towards the ground .<\/scene_description>\n    <character>SECOND THUG<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What the hell -<\/dialogue>\n    <scene_description>The Bat DROPS - wings WHIP OUT , RIGID - CATCH the air - FLIPPING the shape downwards - ENVELOPING THE SECOND THUG IN DARKNESS - the Third Thug BOLTS , RACING between containers , arms PUMPING - He SPRINTS headlong down the narrow corridor , SKIDS around a corner , RACES towards - BLACKNESS SIDESWIPES THE THIRD THUG , SPINNING HIM OFF HIS FEET , WHIPPING HIM INTO DARKNESS WITH A PIERCING SCREAM .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRUCK OUTSIDE THE STACKS -- CONTINUOUS<\/stage_direction>\n    <scene_description>Other Thugs REACT to the SCREAM .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE, DOCKS -- CONTINUOUS<\/stage_direction>\n    <scene_description>Falcone and Crane hear the scream . Flass JUMPS up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE STACKS -- CONTINUOUS<\/stage_direction>\n    <scene_description>Thugs , guns drawn , advance into the stacks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE STACKS -- CONTINUOUS<\/stage_direction>\n    <scene_description>A Fourth Thug WHIPS around a corner to see a JUMPY THUG covering the other end of the corridor . The Fourth Thug nods , steps backwards . MOVEMENT in the shadow behind him . BATMAN IS ALREADY IN FRAME - his arm FLASHES forward with his CLOAK , WRAPS the Thug 's neck , YANKS him backwards into the shadows . Jumpy Thug sees the other Thug DISAPPEAR . he OPENS FIRE , STROBING the stacks , revealing INDISTINCT GLIMPSES of MOVEMENT . ELSEWHERE IN THE STACKS : Thugs REACT to the gunfire . Flass stands outside the stacks , gun drawn , listening . He moves back into the office .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE, DOCKS -- CONTINUOUS<\/stage_direction>\n    <character>FALCONE<\/character>\n    <dialogue>What the hell's going on?!<\/dialogue>\n    <scene_description>Flass looks at Falcone .<\/scene_description>\n    <character>FLASS<\/character>\n    <dialogue>You've got a problem out there.<\/dialogue>\n    <scene_description>Falcone reaches behind the desk , PULLS out a SHOTGUN .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE STACKS -- CONTINUOUS<\/stage_direction>\n    <scene_description>Jumpy Thug FIRES blindly at STROBING SHADOWS - GLIMPSES of a DARK CLOAKED FIGURE moving from SHADOW TO SHADOW . Jumpy Thug empties the clip . FUMBLES for another as he looks out into the darkness .<\/scene_description>\n    <character>JUMPY THUG<\/character>\n    <dialogue>WHERE ARE YOU?!<\/dialogue>\n    <scene_description>A whispered word at his ear :<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Here.<\/dialogue>\n    <scene_description>BATMAN 'S FACE , UPSIDE DOWN , at the Thug 's shoulder - Jumpy Thug SCREAMS as he is ENGULFED by DARKNESS -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTSIDE THE STACKS -- CONTINUOUS<\/stage_direction>\n    <scene_description>Flass scuttles over to his car . Crane pauses , listening to the shouts and gunfire . Then moves off into the night .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE STACKS -- CONTINUOUS<\/stage_direction>\n    <scene_description>Falcone advances through the stacks , shotgun in hand . He rounds a corner to find FIVE THUGS , various weapons in hand , in a loose defensive ring , peering out into the darkness . A SHADOW DROPS into the center of their ring - Thugs TURN , SHOUTING , one SWINGS a CHAIN , another a KNIFE - Batman DUCKS the chain - SWEEP - KICKS the knife - wielder to the ground . Chain SWINGS again . Batman JUMPS up , one leg LOW to let the CHAIN WRAP around his ANKLE - Batman KICKS his leg sideways RIPPING the chain from its owner , then HEAD BUTTING him down - Batman SPINS his CHAIN - WRAPPED LEG in a ROUNDHOUSE KICK , WHIPPING THREE THUGS behind him in the fade with the CHAIN . All three go DOWN . The rest are unconscious or gone . Batman STANDS there , long cape BILLOWING out to one side . The chain SLIDES from his leg . Falcone is behind him , SHOTGUN aimed dead at Batman 's head .<\/scene_description>\n    <character>FALCONE<\/character>\n    <dialogue>What in God's name are you?<\/dialogue>\n    <scene_description>Batman opens his hand , revealing TWO SHOTGUN CARTRIDGES . Then TURNS , billowing cape WRAPPING around him .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>I'm Batman.<\/dialogue>\n    <scene_description>Falcone pulls the trigger . CLICK .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM, RACHEL'S APARTMENT -- LATER<\/stage_direction>\n    <scene_description>Rachel TOSSES , trying to sleep , eyes shut .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Rachel Dodson.<\/dialogue>\n    <scene_description>Rachel bolts upright , GRASPING at her bedside table .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Who's there?!<\/dialogue>\n    <scene_description>She pulls out a TASER - PEERS into the shadows : Silhouetted by the window - a dark , cloaked figure . Batman .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Take one step, I drop you!<\/dialogue>\n    <scene_description>Batman moves his arm - something DROPS onto Rachel 's bed : a FILE , spilling PHOTOS . She FLINCHES . GLANCES DOWN : photos of Phelan and the girl in the limo .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What the hell is this?<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>Leverage.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>What do I need leverage for?<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>To get things moving.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>Someone like you. Someone who'll stand against the corruption.<\/dialogue>\n    <scene_description>Rachel reaches for the lamp , her eyes off the window for the INSTANT it takes to ILLUMINATE the room , revealing - No one .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOCKS -- CONTINUOUS<\/stage_direction>\n    <scene_description>Gordon approaches , coffee in hand : TIED - UP THUGS sit against the container full of DRUGS . UNIFORMS hold back a line of PRESS , who snap away at the surreal scene . Gordon crouches to look at the Thugs , curious .<\/scene_description>\n    <character>UNIFORMED COP<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Falcone's men?<\/dialogue>\n    <character>GORDON<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>Does it matter? We'll never tie him to it, anyway.<\/dialogue>\n    <character>UNIFORMED COP<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I would n't be too sure of that.<\/dialogue>\n    <scene_description>Gordon looks up . The uniformed Cop is POINTING . At a HARBOR LIGHT trained on the heavens . Gordon RISES , walks towards it . Two Cops stand there , STARING : Falcone is STRAPPED to the LIGHT , UNCONSCIOUS , arms spread . Coat RIPPED , hanging from his arms in a STRANGE PATTERN .<\/scene_description>\n    <character>COP 1<\/character>\n    <dialogue>Th hell is that? Looks like.<\/dialogue>\n    <scene_description>Gordon follows their gaze up to where the BEAM of light CATS FALCONE 'S SHADOW onto the CLOUDS .<\/scene_description>\n    <character>COP 2<\/character>\n    <dialogue>Like a bat.<\/dialogue>\n    <scene_description>Gordon stares at the projection . It is a BAT SYMBOL .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>Cut him down.<\/dialogue>\n    <scene_description>Gordon moves away , THINKING . Something catches his eye : a block away . Halfway up a building . A BLACK FLAG blowing in the wind . Not a flag . a DARK FIGURE , wearing a CAPE , sitting on a LEDGE . BATMAN . WATCHING .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FINCH'S OFFICE -- MORNING<\/stage_direction>\n    <scene_description>Rachel TOSSES a newspaper onto Finch 's desk , BEAMING . The front page : a huge photo of Falcone strapped to the light .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>No way to bury it now.<\/dialogue>\n    <character>FINCH<\/character>\n    <dialogue>Maybe so, but there's Judge Phelan -<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I've got Phelan covered.<\/dialogue>\n    <character>FINCH<\/character>\n    <dialogue>And this `` bat'' they're babbling about.<\/dialogue>\n    <scene_description>Rachel breaks eye contact for an instant , UNCOMFORTABLE .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Even if these guys'll swear in court to being thrashed by a giant bat. we have Falcone at the scene - drugs, prints, cargo manifest - everything.<\/dialogue>\n    <scene_description>Finch considers . Grins .<\/scene_description>\n    <character>FINCH<\/character>\n    <dialogue>Damn right. Let's get frying.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BULLPEN, POLICE HEADQUARTERS -- MORNING<\/stage_direction>\n    <scene_description>Loeb addresses CAPTAINS , SERGEANTS , LIEUTENANTS . Gordon at the back . Loeb HOLDS up the PAPER , SMACKS the front page .<\/scene_description>\n    <character>LOEB<\/character>\n    <dialogue>Unacceptable. I do n't care if it's rival gangs, Guardian Angels or the goddamn Salvation Army - get them off the street, and off the front page.<\/dialogue>\n    <character>CAPTAIN SIMPSON<\/character>\n    <dialogue>They say it was one guy. or thing.<\/dialogue>\n    <character>LOEB<\/character>\n    <dialogue>Dipping into their own supply - it was some asshole in a costume.<\/dialogue>\n    <parenthetical>( the room chuckles . )<\/parenthetical>\n    <dialogue>If it's one guy, that'll make it a lot easier for you, wo n't it?<\/dialogue>\n    <scene_description>Gordon RAISES his hand . Loeb NODS , cautious .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>This guy did deliver us one of the city's biggest crime lords.<\/dialogue>\n    <character>LOEB<\/character>\n    <parenthetical>( glares . )<\/parenthetical>\n    <dialogue>No one takes the law into their own hands in my city, understand?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASTER BEDROOM, WAYNE MANOR -- DAY<\/stage_direction>\n    <scene_description>Alfred opens the curtains . Wayne WAKES , squinting .<\/scene_description>\n    <character>WAYNE<\/character>\n    <parenthetical>( groggy . )<\/parenthetical>\n    <dialogue>Bats are nocturnal.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Bats, maybe. but even for billionaire playboys, 3 o'clock is pushing it. The price of leading a double life, I fear.<\/dialogue>\n    <scene_description>Alfred PUTS down a tray : water , fruit , newspaper .<\/scene_description>\n    <character>ALFRED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Your theatrics made an impression.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Theatricality and deception are powerful weapons, Alfred. It's a start.<\/dialogue>\n    <scene_description>Wayne glances at the paper . Gets out of bed , bare - chested . Alfred sees BRUISES across his torso and arms .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>If those are to be the first of many injuries. it would be wise to find a suitable excuse. Polo, for instance.<\/dialogue>\n    <scene_description>Wayne throws Alfred a look .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>I'm not learning polo, Alfred.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Strange injuries, a nonexistent social life. these things beg the question of what, exactly, Bruce Wayne does with his time. And his money.<\/dialogue>\n    <scene_description>Wayne considers this .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>What does someone like me do?<\/dialogue>\n    <character>ALFRED<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>Drive sports cars, date movie stars. Buy things that are n't for sale.<\/dialogue>\n    <scene_description>Wayne looks at Alfred . Nods . DOWNS the water , stands straight , feet together - FALLS FORWARD to the floor - into his dizzyingly fast push - ups . Alfred watches . Concerned .<\/scene_description>\n    <character>ALFRED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Who knows, Master Wayne - if you start pretending to have fun, you might even have a little by accident.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COUNTY JAIL, RECEIVING -- DAY<\/stage_direction>\n    <scene_description>Crane , briefcase in hand , is BUZZED through thick steel and glass doors and met inside by a PRISON OFFICIAL . They walk .<\/scene_description>\n    <character>PRISON OFFICIAL<\/character>\n    <dialogue>Dr.Crane, thanks for coming down.<\/dialogue>\n    <character>CRANE<\/character>\n    <dialogue>Not at all. So he cut his wrists?<\/dialogue>\n    <character>PRISON OFFICIAL<\/character>\n    <dialogue>Probably looking for an insanity plea, but if anything happened.<\/dialogue>\n    <character>CRANE<\/character>\n    <dialogue>Of course, better safe than sorry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INTERVIEW ROOM, COUNTY JAIL -- CONTINUOUS<\/stage_direction>\n    <scene_description>Crane enters . Falcone sits at a table , wrist bandaged . Crane places his briefcase on the table . Falcone smiles .<\/scene_description>\n    <character>FALCONE<\/character>\n    <dialogue>Doctor Crane, it's all too much, the walls are closing in, blah, blah, blah. Couple more days of this food, it'll be true.<\/dialogue>\n    <character>CRANE<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>FALCONE<\/character>\n    <dialogue>We got a lot to talk about.<\/dialogue>\n    <character>CRANE<\/character>\n    <dialogue>Such as?<\/dialogue>\n    <character>FALCONE<\/character>\n    <dialogue>Such as, how you're gon na convince me to keep my mouth shut.<\/dialogue>\n    <character>CRANE<\/character>\n    <dialogue>About what? You do n't know anything.<\/dialogue>\n    <character>FALCONE<\/character>\n    <dialogue>I know you would n't want the cops taking a closer look at the drugs they seized.<\/dialogue>\n    <scene_description>Crane REACTS to this . Falcone SMILES , enjoying the reaction .<\/scene_description>\n    <character>FALCONE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I know about your experiments on the inmates at your nuthouse.<\/dialogue>\n    <parenthetical>( off look . )<\/parenthetical>\n    <dialogue>I do n't get into business with someone without finding out their dirty secrets. Those goons you hired. I own the muscle in this town.<\/dialogue>\n    <scene_description>Falcone leans forward . Looks Crane in the eye .<\/scene_description>\n    <character>FALCONE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So what have I been bringing in for you hidden in my drugs, Crane?<\/dialogue>\n    <character>CRANE<\/character>\n    <dialogue>If he wanted you to know he'd have told you himself.<\/dialogue>\n    <scene_description>Falcone shifts slightly .<\/scene_description>\n    <character>FALCONE<\/character>\n    <dialogue>I've been smuggling your stuff in for months, so whatever he's got planned, it's big. And I want it.<\/dialogue>\n    <scene_description>Crane studies Falcone . Considering . Sighs .<\/scene_description>\n    <character>CRANE<\/character>\n    <dialogue>I already know what he'll say. that we should kill you.<\/dialogue>\n    <scene_description>Falcone leans forward , glaring at Crane with contempt .<\/scene_description>\n    <character>FALCONE<\/character>\n    <dialogue>Even he ca n't touch me in here. Not in my town.<\/dialogue>\n    <scene_description>Crane SHRUGS . Leans forward . Pops the locks on his briefcase . Smiles at Falcone . Crane reaches into his briefcase . Inside is a BREATHING APPARATUS attached to a small BURLAP SACK MASK .<\/scene_description>\n    <character>CRANE<\/character>\n    <dialogue>Would you like to see my mask?<\/dialogue>\n    <scene_description>He pulls the mask out of the case . Holds it up .<\/scene_description>\n    <character>CRANE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I use it in my experiments. Probably not very frightening to a guy like you. But those crazies.<\/dialogue>\n    <scene_description>Falcone stares at crane , uneasy . Crane puts on the mask . It is a sack with eye holes and twine stitching for a mouth .<\/scene_description>\n    <character>CRANE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>they ca n't stand it.<\/dialogue>\n    <character>FALCONE<\/character>\n    <dialogue>When did the nut take over the asylum -<\/dialogue>\n    <scene_description>WHUMP - a cloud of white SMOKE shoots out of Crane 's briefcase . Falcone pushes his chair back , COUGHING , surprised .<\/scene_description>\n    <character>CRANE<\/character>\n    <dialogue>They scream and cry.<\/dialogue>\n    <scene_description>Falcone looks up at Crane in his mask - Through Falcone 's eyes : tiny LIZARD TONGUES FLICK out of the holes in Crane 's mask .<\/scene_description>\n    <character>CRANE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>much as you're doing now.<\/dialogue>\n    <scene_description>Crane TOWERS over Falcone , FLAMING EYES and FLAMING MOUTH . Falcone SCREAMS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR OUTSIDE INTERVIEW ROOM -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Crane emerges with his briefcase . The Prison Official hovers outside . SCREAMS ECHO from inside the room .<\/scene_description>\n    <character>CRANE<\/character>\n    <dialogue>Oh, he's not faking. Not that one.<\/dialogue>\n    <scene_description>The Prison Official nods gravely . Crane leans in .<\/scene_description>\n    <character>CRANE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'll talk to the Judge, see if I can get him moved to the secure wing at Arkham. I ca n't treat him here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARCTIC OCEAN -- DAY<\/stage_direction>\n    <scene_description>A COAST GUARD HELICOPTER touches down on the back of a heavily damaged DESERTED CARGO SHIP . Two COAST GUARDSMEN with FLASHLIGHTS jump onto the deck of the ship to take a look around . BAFFLED . The deck is lined with HOLES . The Coast Guardsman shines his light into a MASSIVE HOLE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EARLE'S OFFICE, WAYNE INDUSTRIES -- AFTERNOON<\/stage_direction>\n    <scene_description>Earle is at his desk . A EXECUTIVE walks in , TROUBLED .<\/scene_description>\n    <character>EXECUTIVE<\/character>\n    <dialogue>We have a situation.<\/dialogue>\n    <character>EARLE<\/character>\n    <dialogue>What kind of situation?<\/dialogue>\n    <character>EXECUTIVE<\/character>\n    <dialogue>Coast guard picked up one of our cargo ships last night. Heavily damaged. Crew missing, probably dead.<\/dialogue>\n    <character>EARLE<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>EXECUTIVE<\/character>\n    <dialogue>Ship was carrying a prototype weapon. A microwave emitter.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIRBASE -- MORNING (FLASHBACK)<\/stage_direction>\n    <scene_description>ARMY BRASS and SCIENTISTS waiting for a demonstration . an industrial MACHINE the size of a small van sits on the ground a hundred feet from a WATER TOWER .<\/scene_description>\n    <character>EXECUTIVE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It's designed for desert warfare - it uses focused microwaves to vaporize the enemy's water supply.<\/dialogue>\n    <scene_description>The Scientists and Brass don goggles . Fire up the machine . the water tower starts SHAKING . then EXPLODES in a CLOUD OF STEAM that drifts towards the observers like FOG .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EARLE'S OFFICE, WAYNE INDUSTRIES -- CONTINUOUS<\/stage_direction>\n    <character>EXECUTIVE<\/character>\n    <dialogue>It looks like someone fired it up at sea - judging from the damage to the ship and cargo.<\/dialogue>\n    <character>EARLE<\/character>\n    <dialogue>What about the weapon?<\/dialogue>\n    <scene_description>The Executive shifts , uneasy .<\/scene_description>\n    <character>EXECUTIVE<\/character>\n    <dialogue>It's missing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL RESTAURANT, DOWNTOWN GOTHAM -- EVENING<\/stage_direction>\n    <scene_description>A BUGATI VEYRON -LRB- looks , and costs , a million -RRB- pulls up to the valet station . Wayne emerges , impeccably tailored , from the driver side . The VALETS scramble to the passenger side . Open the door to find TWO BLONDES , one on the other 's lap .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL RESTAURANT -- CONTINUOUS<\/stage_direction>\n    <scene_description>Tables around an decorative infinity pool . Earle and his GUESTS at a table . Earle sees Wayne enter with the Blondes . He sighs . Then waves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAME -- LATER<\/stage_direction>\n    <scene_description>The table is littered with bottles and empty plates .<\/scene_description>\n    <character>FEMALE GUEST<\/character>\n    <dialogue>At least he's getting something done.<\/dialogue>\n    <character>MALE GUEST<\/character>\n    <dialogue>Bruce, help me out here.<\/dialogue>\n    <scene_description>Wayne turns from the Blondes . They stand up and walk over to the pool . Wayne smiles , turns to the Female Guest .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>A guy who dresses up like a bat clearly has issues.<\/dialogue>\n    <character>FEMALE GUEST<\/character>\n    <dialogue>But he put Falcone behind bars -<\/dialogue>\n    <character>MALE GUEST<\/character>\n    <dialogue>And now the cops are trying to bring him in, so what does that tell you?<\/dialogue>\n    <character>FEMALE GUEST<\/character>\n    <dialogue>They're jealous?<\/dialogue>\n    <scene_description>Wayne watches as , behind them , one of the Blondes slips off her dress and lowers herself into the pool . the other one . Giggling , follows her lead .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>If he's so benevolent why does he hide his face?<\/dialogue>\n    <character>FEMALE GUEST<\/character>\n    <dialogue>Maybe he's protecting the people he cares about from reprisals.<\/dialogue>\n    <scene_description>Wayne nods , considering . The MAITRE D' slides up , annoyed .<\/scene_description>\n    <character>MAITRE' D<\/character>\n    <dialogue>Sir, the pool is for decoration, and your friends do not have swim wear.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Well, they're European.<\/dialogue>\n    <character>MAITRE' D<\/character>\n    <dialogue>I'm going to have to ask you to leave.<\/dialogue>\n    <character>WAYNE<\/character>\n    <parenthetical>( turns to Earle . )<\/parenthetical>\n    <dialogue>Mr.Earle, I'm buying this hotel. Will you please broker a deal?<\/dialogue>\n    <scene_description>Earle nods . Patiently .<\/scene_description>\n    <character>WAYNE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( turns to Maitre D' . )<\/parenthetical>\n    <dialogue>I think we should make some new rules for the pool area, do n't you?<\/dialogue>\n    <scene_description>The Maitre D' stares at Wayne . Dumbstruck .<\/scene_description>\n    <character>BLONDES<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Bruce!<\/dialogue>\n    <scene_description>The Blondes beckon Wayne . He comes to the edge of the pool .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Ladies?<\/dialogue>\n    <scene_description>They SPLASH him . Earle turns away , shaking his head . Behind him , out of focus , Wayne is PULLED into the pool .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL -- LATER<\/stage_direction>\n    <scene_description>Wayne and the Blondes , wet hair , in white HOTEL ROBES , waiting . The Valet pulls up in the Bugati .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Bruce?<\/dialogue>\n    <scene_description>Wayne turns . Rachel is standing there , dressed for dinner . Stunning .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Rachel.<\/dialogue>\n    <character>BLONDES<\/character>\n    <parenthetical>( from car . )<\/parenthetical>\n    <dialogue>Come on, Bruce. We have some more hotels we want you to buy.<\/dialogue>\n    <scene_description>Rachel glances at the Blondes . Then back to Wayne .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I'd heard you were back.<\/dialogue>\n    <parenthetical>( Wayne nods . )<\/parenthetical>\n    <dialogue>Where were you?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Oh, kind of all over, you know.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( tense . )<\/parenthetical>\n    <dialogue>No, Bruce, I do n't. And neither did a lot of people. People who thought you were probably dead.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>You did n't?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I never quite gave up on you.<\/dialogue>\n    <scene_description>Wayne looks at her . Thinking . Gestures towards the Bugati .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Rachel, all that. that's not me, inside I'm. different. I'm -<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>The same great little kid you used to be? Bruce, deep down, your friends out there are great, too. It's not who you are underneath.<\/dialogue>\n    <parenthetical>( pokes his chest . )<\/parenthetical>\n    <dialogue>But what you do that defines you.<\/dialogue>\n    <scene_description>Rachel moves past him . Wayne stands there , eyes burning .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GORDON'S APARTMENT -- EVENING<\/stage_direction>\n    <scene_description>Gordon 's pregnant wife , BARBARA tries to get their TWO - YEAR OLD to eat . Gordon KISSES her , picks up the trash .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK ALLEY, GORDON'S APARTMENT -- CONTINUOUS<\/stage_direction>\n    <scene_description>Gordon sticks the lid on the trash can . THUNDER rolls around .<\/scene_description>\n    <character>FLASS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Gon na rain, huh?<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>What do you want, Flass?<\/dialogue>\n    <scene_description>Flass , leaning on his car , feigns offence . Pulls a pint bottle from his pocket .<\/scene_description>\n    <character>FLASS<\/character>\n    <dialogue>How's Barbara? The kid?<\/dialogue>\n    <scene_description>Gordon takes a drag , eyeing Flass coldly .<\/scene_description>\n    <character>FLASS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Another one on the way, right? Big responsibility. And when you're on a big case like Falcone. lot of time away from here.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>Cut to it, Flass.<\/dialogue>\n    <character>FLASS<\/character>\n    <dialogue>Just saying it's good the case is clear cut - you'll wrap it up easy.<\/dialogue>\n    <scene_description>Flass finishes his bottle . Throws it at the trash cans .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>You come around here making threats, pretending to be liquored up. tells me you're scared.<\/dialogue>\n    <character>FLASS<\/character>\n    <parenthetical>( cold . )<\/parenthetical>\n    <dialogue>Take care of yourself, pal.<\/dialogue>\n    <scene_description>Gordon watches him head back to his car .<\/scene_description>\n    <character>BATMAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Trouble?<\/dialogue>\n    <scene_description>Gordon looks up : Batman is crouched in the fire escape .<\/scene_description>\n    <character>GORDON<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>The scum's getting jumpy because you stood up to Falcone.<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>It's a start. Your partner was at the docks with Falcone.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>He moonlights as a low - level enforcer.<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>There was another man. Testing the drugs.<\/dialogue>\n    <character>GORDON<\/character>\n    <parenthetical>( surprised . )<\/parenthetical>\n    <dialogue>It was n't a buy - why risk opening a package on the docks?<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>Flass knows.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>He wo n't talk.<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>He'll talk to me.<\/dialogue>\n    <scene_description>Gordon looks up . Close on Batman , in the shadows .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>Commissioner Loeb set up a massive task force to catch you. He thinks you're dangerous.<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <scene_description>Gordon gets to his feet , dusts off his pants .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>I think you're trying to help.<\/dialogue>\n    <scene_description>Gordon looks up . But Batman is gone .<\/scene_description>\n    <character>GORDON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>but I've been wrong before.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARGO SHIP, DOCKS -- NIGHT<\/stage_direction>\n    <scene_description>Three MEN walk through the canyons of shipping containers , checking the tags with a flashlight . They stop at one .<\/scene_description>\n    <character>CUSTOMS AGENT<\/character>\n    <dialogue>This is the one I'm talking about.<\/dialogue>\n    <character>DOCK EMPLOYEE 1<\/character>\n    <dialogue>What's your problem with it?<\/dialogue>\n    <character>CUSTOMS AGENT<\/character>\n    <dialogue>It should n't exist. This ship left Singapore with 246 containers and arrived with 247. Probably dead illegals. You got a strong stomach?<\/dialogue>\n    <scene_description>They HAUL the doors open . The Customs Agent looks inside : an industrial machine the size of a small van . His torch picks out the WAYNE INDUSTRIES logo on the side .<\/scene_description>\n    <character>CUSTOMS AGENT<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What the hell is this thing?<\/dialogue>\n    <scene_description>BEHIND HIM : Dock Employee 1 raises a SILENCED GUN . FIRES . Dock Employee 2 helps DRAG the body into the container .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FALAFEL STAND, SURFACE STREET -- NIGHT<\/stage_direction>\n    <scene_description>Raining . Flass stuffs falafel into his mouth . Grabs a banknote from the VENDOR . Flass walks down a dark street . YANKED from the pavement , he 's PULLED up between buildings , falafel falling , UP and UP until face - to - face with . The Batman . Rain pouring off his cowl . Holding Flass by his ankle . Flass is SCREAMING .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Who was with Falcone at the docks?<\/dialogue>\n    <character>FLASS<\/character>\n    <dialogue>I do n't know, I swear to God -<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>Swear to ME.<\/dialogue>\n    <scene_description>Batman DROPS Flass three flights down on the wire . PULLS TAUT - WHIPS him back up .<\/scene_description>\n    <character>FLASS<\/character>\n    <parenthetical>( terrified whispers . )<\/parenthetical>\n    <dialogue>I never knew his name. never. Sometimes shipments went to this guy before they went to the dealers -<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>FLASS<\/character>\n    <dialogue>There was something else in the drugs, something hidden -<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>FLASS<\/character>\n    <dialogue>I do n't know - something! I never went to the drop - off - it's in the Narrows - cops ca n't go into the Narrows except in force.<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>Batman can.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE NARROWS -- NIGHT<\/stage_direction>\n    <scene_description>AN ISLAND IN GOTHAM RIVER : a ramshackle LABYRINTH of crumbling public housing , makeshift additions GROWING LIKE FUNGUS AROUND AN INSANE ASYLUM . A walled city . Slick with rain . Batman LANDS , CROUCHING , looking at the windows of a WAREHOUSE built around the supports of the MONORAIL tracks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WAREHOUSE, SHANGHAI -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Batman slips through a louver , drops SILENTLY to the floor amidst . By the freight elevator is a massive shipping crate . Batman leaps up onto its lid - pries it open . Inside : the industrial machine the size of a small van . Batman sees the WAYNE INDUSTRIES logo and a number : M - EMIT .42 B NOISES . Batman melts into the shadows . THREE MEN enter . Two are the Dock Employees . The third is Crane .<\/scene_description>\n    <character>DOCK EMPLOYEE 1<\/character>\n    <dialogue>The boss wants you to keep it in the asylum until the time comes.<\/dialogue>\n    <character>CRANE<\/character>\n    <dialogue>Fine, leave the body. Torch the place. No traces.<\/dialogue>\n    <scene_description>The Thugs pull the Customs Agent 's body out then push the crate onto the elevator . Crane notices RAIN spattering off the open louver . He steps towards it . Thug 2 turns from the elevator holding a Molotov cocktail . LIGHTS it - A cord WRAPS around the BOTTLE - YANKS it into the shadows . Its fuse is EXTINGUISHED . The Thugs STARE at the darkness . Batman RIPS from the shadows - Thug 1 pulls a gun - Batman SMASHES his arm to the ground . Thug 2 moves in from the side - is DROPPED by a fast elbow to the neck . Batman turns to Crane - now wearing his MASK . Carne 's hand FLASHES towards Batman , who DODGES a small puff of SMOKE . Batman moves for Crane - COUGHS , CHOKES - losing BALANCE - GASPING . Batman looks at Crane , sees a monster : FLAMING EYES , ELONGATED LIMBS , SPINNING like a DERVISH . Batmen REELS , in the throws of a hallucination . Crane SMASHES the BOTTLE over him , soaking him with GASOLINE . Batman LURCHES for the windows , IMAGES ASSAULTING his mind : INSERT CUT : BATS EXPLODE from the DARK CREVICE - Batman TURNS to Crane . Who holds a FLAMING LIGHTER .<\/scene_description>\n    <character>CRANE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Need a light?<\/dialogue>\n    <scene_description>Crane TOSSES the lighter at Batman . who BURSTS into FLAMES . INSERT CUT : Ra 's Al Ghul OPENS his BOX - BATS BURST FORTH - Batman , IN FLAMES , SPINS - LEAPS desperately at the windows -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WAREHOUSE, THE NARROWS -- CONTINUOUS<\/stage_direction>\n    <scene_description>Batman SMASHES through the window , CLOAK ABLAZE . FALLING . tries to ACTIVATE his CLOAK - but only gets one side to POP OPEN . the deployed wing causes him to SPIRAL - INSERT CUT : Young Bruce FALLING , FALLING in the well shaft - Batman PLUMMETS , trailing flame , UNOPENED WING FLUTTERING with the violent FLAPPING of - BATS : SCREECHING , FLAPPING , FLUTTERING DARKNESS . Batman 's STIFF WING HOOKS a RAILING - SLOWS him with a JOLT - RIPS - DROPPING him to the ground with a CRASH . Young Bruce HITS the dirt at the bottom of the SHAFT - . and a SIZZLE , as wet pavement DAMPS the flames , GROANING , Batman ROLLS his burning batsuit along the asphalt . Batman , smoldering , LURCHES into an alley , raises his grapnel gun , FIRES up at the enclosed roof - RIDES up - PUNCHES his way through wire and metal , CRAWLS onto his back , STARING up at the skyscrapers of Gotham . Rain blurring his vision . Insert cut : Young Bruce watches his Father CRUMPLE - Batman FUMBLES at his belt . Pulls out a tiny phone .<\/scene_description>\n    <character>BATMAN<\/character>\n    <parenthetical>( hoarse . )<\/parenthetical>\n    <dialogue>Alfred?! Alfred?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROLLS -- LATER<\/stage_direction>\n    <scene_description>Alfred DRIVES , looks through the rear - view mirror at Batman , who lies in the back , FLINCHING at invisible antagonists .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>BLOOD! Alfred?! Blood! A sample - take a sa - sample - poisoned.<\/dialogue>\n    <scene_description>To Batman - the car is FILLED WITH BATS . Mefistofle rises . Young Bruce in the throws of his PANIC ATTACK GULPS AIR - turns to his Father , LOOKS him in the eye and CONDEMNS HIM -<\/scene_description>\n    <character>YOUNG BRUCE<\/character>\n    <parenthetical>( shouting . )<\/parenthetical>\n    <dialogue>We HAVE to go NOW, Dad!<\/dialogue>\n    <scene_description>Young Bruce DRAGS his parents from their seats .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASTER BEDROOM, WAYNE MANOR -- MORNING<\/stage_direction>\n    <scene_description>Wayne awakes . Shivering . Red - eyed from crying . Alfred sits at his bedside , watching over him .<\/scene_description>\n    <character>WAYNE<\/character>\n    <parenthetical>( hoarse . )<\/parenthetical>\n    <dialogue>How long did I sleep?<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Two days. It's your birthday.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>It was some kind of gas. I only breathed the slightest amount.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>I dread to think, sir, what would've happened if you'd had a lungful.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>I've felt those effects before. but this was much more potent.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>I took a blood sample and sent it to a laboratory known discreet both discreet.<\/dialogue>\n    <parenthetical>( hands Wayne paper . )<\/parenthetical>\n    <dialogue>. and prompt bloodwork.<\/dialogue>\n    <character>BRUCE<\/character>\n    <parenthetical>( reading . )<\/parenthetical>\n    <dialogue>Protein - based compounds. might be possible to work up an antidote.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Shall I contact Wayne Pharmaceutical?<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>I've got a better idea.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APPLIED SCIENCES DIVISION -- DAY<\/stage_direction>\n    <scene_description>Fox looks over the toxicology report . Looks up at Wayne .<\/scene_description>\n    <character>FOX<\/character>\n    <dialogue>This was in your blood?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>It's some kind of weaponized hallucinogen. Administered in aerosol form.<\/dialogue>\n    <character>FOX<\/character>\n    <dialogue>Mr.Wayne, you are definitely hanging out at the wrong clubs.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Could you synthesize an antidote?<\/dialogue>\n    <character>FOX<\/character>\n    <dialogue>Well, the hallucinatory compounds can be balanced. but this receptor's a compound I've never seen before.<\/dialogue>\n    <character>WAYNE<\/character>\n    <parenthetical>( reaches for paper . )<\/parenthetical>\n    <dialogue>So you ca n't.<\/dialogue>\n    <character>FOX<\/character>\n    <parenthetical>( snatches it away . )<\/parenthetical>\n    <dialogue>Did I say that? I just want you to know how hard it's gon na be.<\/dialogue>\n    <scene_description>Fox puts the report on his desk .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Do you know what a Wayne Industries M - Emit42B is?<\/dialogue>\n    <character>FOX<\/character>\n    <dialogue>No. But she will.<\/dialogue>\n    <scene_description>Fox starts typing on his computer<\/scene_description>\n    <character>FOX<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oh.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>FOX<\/character>\n    <dialogue>It wo n't tell us.<\/dialogue>\n    <parenthetical>( turns to Wayne . )<\/parenthetical>\n    <dialogue>It must be a defense prototype.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Could you find out?<\/dialogue>\n    <character>FOX<\/character>\n    <dialogue>I'll make a couple calls. I still have a couple friends in defense.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.A.'S OFFICE -- AFTERNOON<\/stage_direction>\n    <scene_description>Gordon finds it . Knocks . Rachel looks up from her desk .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Sergeant Gordon?<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>Councilor. Thanks for seeing me.<\/dialogue>\n    <scene_description>Gordon enters , shuts the door behind himself .<\/scene_description>\n    <character>GORDON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( they shake hands . )<\/parenthetical>\n    <dialogue>Will Finch go the distance on Falcone?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>He'll have to because of the press.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>What about Judge Phelan?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Someone gave me leverage.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I'd rather not say.<\/dialogue>\n    <character>GORDON<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>There's a loose thread on the Falcone case - I want to see what unravels higher up. I'm told you can be trusted.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Who told you that?<\/dialogue>\n    <character>GORDON<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>I'd rather not say.<\/dialogue>\n    <scene_description>Rachel looks at Gordon , sizing him up .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Gordon, we're working for a masked vigilante. Maybe from a rival gang.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>My gut says he's okay. And he's getting things moving in this town.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>And when he gets bolder with success? Goes too far?<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>Councilor, this guy took down a dozen of Gotham's most vicious wiseguys single - handed and without killing one of them - he's plenty bold already.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>If he takes a life. it's on us.<\/dialogue>\n    <scene_description>Gordon looks at her . Nods . A KNOCK at the door . Wayne puts his head around the door . Rachel stares at him .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>I'm sorry, I'll come back.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>I was just leaving, Mr.Wayne.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>I'm sorry, have we?<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>Gordon. Sergeant. No, I just recognized you. From your pictures.<\/dialogue>\n    <scene_description>Wayne nods . Gordon looks at Rachel , nods goodbye .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( cold . )<\/parenthetical>\n    <dialogue>What do you want, Bruce?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>I wanted to invite you a party -<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>A party. Great. Just what I need.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Today's my birthday. And I wanted to apologize.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You do n't owe an apology, Bruce. You are who you are. It' simple. I do n't have the right to expect anything more.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>I thought you could never quite give up on me.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Is the party at the house? I miss it.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>I hate the place. I'd tear it down if I could.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( appalled . )<\/parenthetical>\n    <dialogue>Bruce, do n't say that.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>The place is nothing without the people who made it what it was. Now there's only Alfred.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>And you.<\/dialogue>\n    <scene_description>Rachel looks at him . An ASSISTANT sticks her head in .<\/scene_description>\n    <character>ASSISTANT<\/character>\n    <dialogue>It's Falcone. They moved him to Arkham Asylum on suicide watch.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Who authorized that?!<\/dialogue>\n    <character>ASSISTANT<\/character>\n    <dialogue>Judge Bentley, on the advice of the head psychiatrist, Dr.Jonathan Crane.<\/dialogue>\n    <scene_description>Rachel starts getting her things together .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Get Crane there right now - do n't take no for an answer. and call Dr.Lehmann, we'll need our own assessment on the Judge's desk by morning.<\/dialogue>\n    <scene_description>The Assistant nods , leaves . Rachel heads for the door .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Guess I wo n't make your party.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>You're going to Arkham now? It's in the Narrows, Rachel.<\/dialogue>\n    <scene_description>Rachel gives him a look .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You have yourself a great time - some of us have work to do.<\/dialogue>\n    <scene_description>She hurries past him . Stops . Turns . Looks at him , softer .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Happy Birthday, Bruce.<\/dialogue>\n    <scene_description>She races down the steps . Wayne watches her go , thinking .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAIN HALL, WAYNE MANOR -- LATER<\/stage_direction>\n    <scene_description>Wayne hurries through the hall . Alfred in pursuit . Tables of food and decoration fill the hall .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>But Master Wayne, the guests will be arriving.<\/dialogue>\n    <scene_description>Wayne turns .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Keep them happy until I arrive. Tell them that joke you know.<\/dialogue>\n    <scene_description>Wayne hurries off . Alfred watches him go , exasperated .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STUDY -- CONTINUOUS<\/stage_direction>\n    <scene_description>Wayne steps to the piano , hits 4 notes - the bookcase SWINGS - OPEN . Wayne steps through .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STONE STAIRCASE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Wayne descends . Arrives at the top of a wrought iron SPIRAL STAIRCASE , steps onto the dumb waiter at its center . Wayne pulls a lever , RELEASING the lift which PLUMMETS VERTIGINOUSLY DOWN the CENTER of the SPIRALING stair .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATCAVE -- CONTINUOUS<\/stage_direction>\n    <scene_description>The lift hits the bottom with a great RATTLE of crimes . Wayne moves to a PADLOCKED BOX . Opens it : the BAT SUIT hangs there - a PHANTOM , black eyes STARING back at him . He reaches for it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARKHAM ASYLUM, THE NARROWS -- EVENING<\/stage_direction>\n    <scene_description>Rachel 's car crosses the bridge to the Narrows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CRANE'S OFFICE, ARKHAM ASYLUM -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Rachel sits in front of Crane at his desk .<\/scene_description>\n    <character>CRANE<\/character>\n    <dialogue>Ms.Dodson, there's nothing to add to the report I filed with the judge.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Well, I have questions about your report.<\/dialogue>\n    <parenthetical>( off look . )<\/parenthetical>\n    <dialogue \/>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Such as, is it unusual for a 58 - year old man with no history of mental illness to have a complete psychotic break?<\/dialogue>\n    <character>CRANE<\/character>\n    <dialogue>Yes. But this is a mental asylum for the criminally insane. The unusual is usual here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>The GLOWING WINDOW of Crane 's office . Batman , crouched on the fence , adjusts mikes in the ears of his cowl .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CRANE'S OFFICE -- CONTINUOUS<\/stage_direction>\n    <character>RACHEL<\/character>\n    <dialogue>But is n't it convenient for Falcone to suddenly develop these symptoms when he's about to be indicted?<\/dialogue>\n    <character>CRANE<\/character>\n    <dialogue>There's nothing convenient about his symptoms, Miss Dodson.<\/dialogue>\n    <parenthetical>( smiles , sympathetic . )<\/parenthetical>\n    <dialogue>Look, I doubt we're even supposed to be having this conversation, but off the record.<\/dialogue>\n    <scene_description>Crane RISES , motioning .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR, ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>An ORDERLY talking to a NURSE . Crane leads Rachel past .<\/scene_description>\n    <character>CRANE<\/character>\n    <dialogue>We're not talking about a few easily - manufactured eccentricities.<\/dialogue>\n    <scene_description>Crane stops at a door . Motions Rachel to look : Falcone STRAPPED to the bed . He STARES at the door , mumbling .<\/scene_description>\n    <character>FALCONE<\/character>\n    <dialogue>Scarecrow. s - scarecrow. s - s.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>What's `` scarecrow''?<\/dialogue>\n    <character>CRANE<\/character>\n    <dialogue>Patients suffering delusional episodes often focus their paranoia onto an external tormentor, usually one conforming to the Jungian archetypes.<\/dialogue>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>In this case, a scarecrow.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Batman , upside down , CLINGS to the wall above the window at the end of the corridor . He RACKS AUDIO FOCUS THROUGH the Orderly 's conversation , SETTLING on Crane 's voice .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR, ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Rachel looks at Falcone , mumbling , delusional .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>He's drugged.<\/dialogue>\n    <character>CRANE<\/character>\n    <parenthetical>( nods . )<\/parenthetical>\n    <dialogue>Psychopharmacology is my primary field - I'm a strong advocate.<\/dialogue>\n    <scene_description>Crane turns to Falcone . Staring .<\/scene_description>\n    <character>CRANE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Outside, he was a giant. In here, only the mind can grant you power.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You enjoy the reversal.<\/dialogue>\n    <character>CRANE<\/character>\n    <parenthetical>( shrugs , smiles . )<\/parenthetical>\n    <dialogue>I respect the mind's power over the body. It's why I do what I do.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( hard . )<\/parenthetical>\n    <dialogue>And I do what I do to put scum like Falcone behind bars, not in therapy. I want my own psychiatric consultant to have full access to Falcone, including bloodwork to find out exactly what you have him on.<\/dialogue>\n    <scene_description>Crane stares at her . Shrugs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR -- CONTINUOUS<\/stage_direction>\n    <scene_description>Crane steps in , Rachel follows . He puts a key into the panel .<\/scene_description>\n    <character>CRANE<\/character>\n    <dialogue>First thing tomorrow, then.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Tonight. I've already paged Dr.Lehmann over at County General.<\/dialogue>\n    <scene_description>Crane turns the key .<\/scene_description>\n    <character>CRANE<\/character>\n    <dialogue>As you wish.<\/dialogue>\n    <scene_description>The elevator descends . The doors open onto :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DESERTED WING, SUB-LEVEL ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>A long , decrepit corridor . Water dripping , clearly disused . Crane steps off the elevator . Rachel follows , perturbed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABANDONED REFECTORY -- CONTINUOUS<\/stage_direction>\n    <scene_description>Rachel follows Crane into a vast room : Tables stretch off into the room , covered in bags of powder , scales , aluminum barrels and DOZENS OF INMATES working the powder , refining it . Armed THUGS look up , curious . Crane surveys the room .<\/scene_description>\n    <character>CRANE<\/character>\n    <dialogue>This is where we make the medicine. Perhaps you should have some. Clear your head.<\/dialogue>\n    <scene_description>He turns , but Rachel is gone . Crane smiles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DERELICT CORRIDOR, DISUSED WING -- CONTINUOUS<\/stage_direction>\n    <scene_description>Rachel RACES into the elevator .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR -- CONTINUOUS<\/stage_direction>\n    <scene_description>Rachel HITS the 2nd floor button . Nothing . She HITS all the buttons , floors the alarm . all dead without the key . The door opens to Crane 's MASKED FACE . He reaches out -<\/scene_description>\n    <character>CRANE<\/character>\n    <dialogue>Boo.<\/dialogue>\n    <scene_description>A small puff of GAS sprays from his sleeve . Rachel RECOILS , coughing , choking . She looks up at Crane : The eyeholes of the burlap mask are FLAMING . Rachel SCREAMS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABANDONED REFECTORY, ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Thugs DRAG Rachel into the room . The inmates stare blankly , clearly drugged . Crane turns Rachel 's reluctant face to look up at his mask . She GULPS PANIC BREATHS -<\/scene_description>\n    <character>CRANE<\/character>\n    <dialogue>Who knows you're here?<\/dialogue>\n    <scene_description>Rachel SHAKES her head .<\/scene_description>\n    <character>CRANE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>WHO KNOWS?!<\/dialogue>\n    <scene_description>Rachel PULLS away , BURYING her head in her arms . THE LIGHTS GO OUT . The Thugs look around , unnerved . Crane PULLS OFF his mask .<\/scene_description>\n    <character>CRANE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( fascinated . )<\/parenthetical>\n    <dialogue>He's here.<\/dialogue>\n    <character>FIRST THUG<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>CRANE<\/character>\n    <dialogue>The batman.<\/dialogue>\n    <scene_description>The Thugs exchange nervous glances .<\/scene_description>\n    <character>FIRST THUG<\/character>\n    <dialogue>What do we do?<\/dialogue>\n    <character>CRANE<\/character>\n    <dialogue>What anyone does when a prowler comes around.<\/dialogue>\n    <parenthetical>( off look . )<\/parenthetical>\n    <dialogue>Call the police.<\/dialogue>\n    <scene_description>The First Thug looks at crane .<\/scene_description>\n    <character>SECOND TECHNICIAN<\/character>\n    <dialogue>You want the cops here?<\/dialogue>\n    <character>CRANE<\/character>\n    <dialogue>At this point, they're irrelevant. But the batman. he has a talent for disruption. Let the cops wrangle him.<\/dialogue>\n    <character>CRANE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Force him outside, the police will take him down.<\/dialogue>\n    <parenthetical>( indicates inmates . )<\/parenthetical>\n    <dialogue>Get them out of here.<\/dialogue>\n    <character>FIRST THUG<\/character>\n    <parenthetical>( indicates Rachel . )<\/parenthetical>\n    <dialogue>What about her?<\/dialogue>\n    <character>CRANE<\/character>\n    <dialogue>She's gone. I gave her a concentrated dose. The mind can only take so much.<\/dialogue>\n    <character>SECOND THUG<\/character>\n    <dialogue>The things they say about him. Can he really fly?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Batman 's cape FLUTTERS as he SWINGS down two stories , LANDING at the high windows of the derelict corridor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABANDONED REFECTORY -- CONTINUOUS<\/stage_direction>\n    <character>THIRD THUG<\/character>\n    <dialogue>I heard he can disappear -<\/dialogue>\n    <scene_description>Crane backs into the shadows , smiling at the Third Thug .<\/scene_description>\n    <character>CRANE<\/character>\n    <dialogue>We'll find out, wo n't we?<\/dialogue>\n    <scene_description>The Thugs move either side of the door . GLASS SMASHES , across the room - a Shadow drops from a high window . Rachel SCREAMS . The two thugs advance through the darkness . Second thug is GRABBED from above - PULLED UP , SCREAMING , into the blackness of the rafters . The First Thug peers up into the darkness , gun aimed . A SHADOW DESCENDS , SHOUTING - First Thug FIRES - the Shadow CRUMPLES onto him . It is the Second Thug - First Thug ROLLS the body off , SCRAMBLES to his feet - Batman STRIKES him from behind , KNOCKING him unconscious . SIRENS outside , close . Batman looks at Rachel - Crane BURSTS from the shadows , arm high , aimed at Batman 's face - Batman grabs his arm , DUCKING away from the puff of GAS from Crane 's sleeve . Batman SPINS Crane , RIPPING off his mask , WRENCHES his arm around to his own face , RIPS . Crane 's jacket open and pulls out the BLADDER full of toxin .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Taste of your own medicine, doctor?<\/dialogue>\n    <scene_description>Crane 's eyes go wide as Batman SQUEEZES the bladder and a choking cloud of dust sprays into Crane 's face . Crane falls to the ground , CHOKING . Batman turns him over , pulls his face up to meet his .<\/scene_description>\n    <character>BATMAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Who are you working for?!<\/dialogue>\n    <scene_description>Crane 's eyes are wide with TERROR . Batman is a DEATH 'S HEAD - black eyes , fangs .<\/scene_description>\n    <character>CRANE<\/character>\n    <dialogue>Ra's. Ra's. Al Ghul.<\/dialogue>\n    <scene_description>Batman reacts , pulls Crane tighter .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Ra's Al Ghul is dead, Crane! Who are you really working for? CRANE!<\/dialogue>\n    <scene_description>But Crane just STARES at him , EYES GLAZING - MIND FLYING - IMAGES CASCADING THROUGH HIS FEVERED BRAIN . Crane smiles .<\/scene_description>\n    <character>CRANE<\/character>\n    <dialogue>Dr. Crane is n't here right now, but if you'd like to make an appointment -<\/dialogue>\n    <scene_description>Sirens outside . Batman TURNS to Rachel . Through her eyes : Batman is a towering HORNED , WINGED DEMON . Rachel LASHES OUT at the demon with all her might . Batman applies a GRIP to her neck that renders her unconscious .<\/scene_description>\n    <character>COP<\/character>\n    <parenthetical>( over bullhorn . )<\/parenthetical>\n    <dialogue>BATMAN. PUT DOWN YOUR WEAPONS AND SURRENDER. YOU ARE SURROUNDED.<\/dialogue>\n    <scene_description>Batman RISES , carrying Rachel .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>POLICE CARS surround the building . COPS have guns drawn , WAITING . STAFF emerge , blinking , from the darkened asylum . Flass and Gordon arrive . Flass shouts at the Uniforms :<\/scene_description>\n    <character>FLASS<\/character>\n    <dialogue>What're you waiting for?!<\/dialogue>\n    <character>UNIFORMED COP<\/character>\n    <dialogue>Backup.<\/dialogue>\n    <character>FLASS<\/character>\n    <dialogue>Backup?!<\/dialogue>\n    <scene_description>Flass gestures at the DOZEN police cars outside the building .<\/scene_description>\n    <character>UNIFORMED COP<\/character>\n    <dialogue>The batman's in there. SWAT's on the way, but if you want to go now.<\/dialogue>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>I'm right behind you, sir.<\/dialogue>\n    <scene_description>Flass turns to Gordon . Shrugs .<\/scene_description>\n    <character>FLASS<\/character>\n    <dialogue>SWAT's on the way.<\/dialogue>\n    <scene_description>Gordon shakes his head . Approaches the front doors .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DERELICT CORRIDOR, DISUSED WING -- CONTINUOUS<\/stage_direction>\n    <scene_description>Batman carries Rachel , cloak BILLOWING in his wake .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY, ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Gordon moves through the dark , gun drawn , eyes FLICKING to terrified NURSES who make their way to the front door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>SWAT OFFICERS pour out of vans , RACE up the front steps .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR, ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Gordon tries the elevator - it is dead . He enters the STAIRS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY, ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>The SWAT team BURSTS in - FLASHLIGHTS on RIFLES SCAN the darkness .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRWELL, ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Gordon locks down the stairwell - the way down to the disused wing is fenced off . He heads up - and is GRABBED and SWUNG OUT into the stairwell . Batman holds him as they ROCKET UPWARDS .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>What -!<\/dialogue>\n    <scene_description>Batman covers Gordon 's mouth - down below : the door SMASHES OPEN - SWAT team lights CROSS the darkened stairwell . Batman PULLS Gordon into the rafters . Gordon turns , FURIOUS - sees : Rachel . Lying in a storage space\/open attic . Twitching :<\/scene_description>\n    <character>GORDON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>What's happened to her?<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>Crane poisoned her with his toxin. He was the third man at the docks.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>Let me take her down to the medics -<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>They ca n't help her. But I can.<\/dialogue>\n    <scene_description>THE LIGHTS COME ON - bleaching the stairwell - Batman , Rachel and Gordon are in the shadow of the attic . Batman reaches down to his boot . Presses a SWITCH in the heel , producing a barely audible HIGH - FREQUENCY WHINE .<\/scene_description>\n    <character>BATMAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( indicates Rachel . )<\/parenthetical>\n    <dialogue>I need to get her the antidote before the damage becomes permanent.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>How long does she have?<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>Not long.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>A strange SQUEALING SOUND rises . Flass looks around , curious . A dark CLOUD crosses the moon . not a regular cloud .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRWELL, ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <character>BATMAN<\/character>\n    <dialogue>Get her downstairs, meet me in the alley on the Narrows side.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>How will you get out?<\/dialogue>\n    <character>BATMAN<\/character>\n    <parenthetical>( indicates his boot . )<\/parenthetical>\n    <dialogue>I called for backup. Crane's been refining his toxin, stockpiling it.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>What was he planning?<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>I do n't know, but he's been working for someone else.<\/dialogue>\n    <scene_description>Gordon frowns at the loud SQUEALING noise .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>What is that?<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>Backup.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Flass SCREAMS - Cops DIVE for cover as BATS - thousands upon thousands - DESCEND on the Asylum , HEADING for the windows -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR, ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Windows SHATTER INWARDS as bats POUR into the building -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Gordon covers Rachel as he carries her down the steps .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Bats FLOOD into the bright stairwell , SOARING UP past the cowering SWATS , a BLACK MAS RISING , DARKENING the stairwell . Batman amidst the bats . Calm . Pulls the sounder out of his heel , leans over the stairwell and DROPS it . Bats CYCLONE down the stairwell , FOLLOWING the signal . Batman JUMPS into the center of the black cyclone - HIDDEN FALLING .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR, ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Batman OPENS his cloak with a JOLT - lands HARD . He moves calmly through the bats , slipping past COWERING SWATS , moving past cell doors . Inmates STARE , wide - eyed out their windows as he passes . Batman turns to a cell door , pulls a small package out of his utility belt .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CELL -- CONTINUOUS<\/stage_direction>\n    <scene_description>Two inmates FLINCH as the door lock BLASTS open and the door is KICKED In - Batman STRIDES across the cell between them .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Excuse me -<\/dialogue>\n    <scene_description>And BLASTS the window of their cell . He SLIDES out . one Inmate turns to the other .<\/scene_description>\n    <character>LUNATIC<\/character>\n    <dialogue>What'd I tell ya?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIDE STREET -- CONTINUOUS<\/stage_direction>\n    <scene_description>Gordon lowers Rachel to the asphalt . She STIRS .<\/scene_description>\n    <character>BATMAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>How is she?<\/dialogue>\n    <scene_description>Gordon looks up to see Batman standing there . A SEARCHLIGHT from a chopper blasts them . Batman GRABS Rachel . Gordon points back to the street .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>Take my car.<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>I bought mine.<\/dialogue>\n    <scene_description>Batman has disappeared into the dark end of the alley .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>Yours?<\/dialogue>\n    <scene_description>BLINDING HEADLIGHTS FLARE . A MASSIVE ENGINE ROARS - Gordon DIVES out of the way as - The BATMOBILE comes flying out of the darkness . the matte - black , muscularity of the stealth - finished `` car '' BLOWS by . Gordon 's jaw drops .<\/scene_description>\n    <character>GORDON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I got ta get me one of those.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATMOBILE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Batman DRIVES . Rachel , COMING TO , hangs on , TERRIFIED . A COP CAR pulls across the alley - Batman hits the accelerator .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Batmobile SPEEDS towards the cop car -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COP CAR -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Cops GAWP at the Batmobile , BRACING -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Batmobile SMASHES into the cop car , huge front tires CRUSHING the bonnet , BOUNCING the Batmobile right over the cop car in a messy display of brute force .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SURFACE STREETS, GOTHAM -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Batmobile TEARS left , and ACCELERATES down the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CRUSHED COP CAR -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Cops are scrunched down . One of them GRABS the radio .<\/scene_description>\n    <character>COP 1<\/character>\n    <dialogue>He's in a vehicle!<\/dialogue>\n    <character>DISPATCHER<\/character>\n    <parenthetical>( over radio . )<\/parenthetical>\n    <dialogue>Make and color?<\/dialogue>\n    <character>COP 1<\/character>\n    <dialogue>It's a black.<\/dialogue>\n    <parenthetical>( turns to partner .<\/parenthetical>\n    <parenthetical>who shrugs . )<\/parenthetical>\n    <dialogue>. tank.<\/dialogue>\n    <character>DISPATCHER<\/character>\n    <parenthetical>( over radio . )<\/parenthetical>\n    <dialogue>Tank?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SURFACE STREETS, GOTHAM -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Batmobile WEAVES around traffic , DODGING freeway supports .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATMOBILE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Rachel BRACES against the dash , BREATHING FAST , staring at the road ahead . through her eyes : SPEED : pure , visceral SENSATION - lights STREAKING , columns FLASHING past at unthinkable velocity -<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>You've been poisoned. Stay calm.<\/dialogue>\n    <scene_description>He looks at an intricate GPS display , then at the road ahead .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SURFACE STREETS, GOTHAM -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Batmobile RACES along - JUMPS lights , nimbly DODGING through the cross - traffic . Two Cop Cars join the pursuit from the cross streets , lights BLAZING , sirens BLARING .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATMOBILE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Batman spots the Cops on a rear - view monitor , FLIPS a switch .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SURFACE STREETS, GOTHAM -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Batmobile DROPS SPIKE STRIPS onto the road . the Cop Cars hit them - tires EXPLODE - rims light SPARKS as they GRIND , skidding SIDEWAYS , one laying into the other . Up ahead : the Batmobile SLALOMS outside of the freeway supports , ROLLS over the sidewalk , NIPS back into the roadway .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CRUISER -- CONTINUOUS<\/stage_direction>\n    <scene_description>An IMPATIENT COP is on the radio .<\/scene_description>\n    <character>COP 3<\/character>\n    <dialogue>At least tell me what it looks like.<\/dialogue>\n    <scene_description>His eyes WIDEN : the Batmobile ROARS past . A shadowy MONSTER .<\/scene_description>\n    <character>COP 3<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Never mind.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SURFACE STREETS, GOTHAM<\/stage_direction>\n    <scene_description>The Batmobile comes out from under the elevated freeway and is hit by a SPOTLIGHT from a CHOPPER .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATMOBILE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Batman glances at a row of BUTTONS - each one a tiny SCREEN showing different views . Batman PUSHES one - that view flicks onto the main display . Rachel is HYPERVENTILATING .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Breath slowly. Close your eyes.<\/dialogue>\n    <scene_description>She does so . For an instant .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>That's worse!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS, GOTHAM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Three Cop Cars pull across the intersection in a ROADBLOCK .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATMOBILE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Batman SPOTS the ROADBLOCK in front . Touches the GPS screen - the map becomes THREE - DIMENSIONAL -LRB- heights of building , levels of streets -RRB- . Batman SKIDS into a turn -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SURFACE STREETS, GOTHAM -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Batmobile SKIDS through the entrance to a multi - level PARKING GARAGE - TAKING OUT the ticket machine and barrier .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PARKING GARAGE -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Batmobile RACES upwards through the structure , the car 's enormous width TAKING OUT PILLARS at every turn .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATMOBILE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Rachel FLINCHES AWAY from the pillars -<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>What're you doing?!<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>Shortcut.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PARKING GARAGE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Cop Cars SMASH into DOWNED PILLARS in the Batmobile 's wake .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOF, PARKING GARAGE -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Batmobile ROARS out onto the top level , and is LIT UP by the CHOPPER . The Batmobile REVERSES into a spot marked `` COMPACT '' , CRUSHING the cars either side , then RACES forward . Cop Cars emerge onto the roof , BLOCKING THE ONLY WAY DOWN . The Batmobile SCREECHES to a HALT -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATMOBILE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Batman glances at his 3 - d GPS . Then looks at Rachel .<\/scene_description>\n    <character>COP 3<\/character>\n    <parenthetical>( over loudspeaker . )<\/parenthetical>\n    <dialogue>TURN OFF YOUR ENGINE!<\/dialogue>\n    <scene_description>She recoils , TERRIFIED by his mask , clawing at her harness . Batman puts his gloved hand on her frantic arms .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Trust me.<\/dialogue>\n    <scene_description>Batman SLIDES into the FRONT DRIVING POSITION , body PRONE as if riding a motorcycle , head in a glass POD between the front wheels . He HITS a button .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOF, PARKING GARAGE -- CONTINUOUS<\/stage_direction>\n    <scene_description>CANNONS emerge from the nose of the Batmobile - BLASTING the far wall . the massive JET ENGINE at the back IGNITES , its mouth ADJUSTING . FLAPS on the front and REAR of the car , FLARE OUT like a PYTHON spreading its neck . The Cops STARE . The Batmobile ROCKETS FORWARD . heading for the GAP in the far wall . accelerating .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATMOBILE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Rachel SCREAMS - Batman HITS another button -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOF, PARKING GARAGE -- CONTINUOUS<\/stage_direction>\n    <scene_description>An INVERTED SPOILER JAMS INTO THE AIRSTREAM at the front of the car , BUMPING it just off the ground , a RAMPLESS JUMP -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOPS -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Batmobile JUMPS OFF the parking garage , soaring over a thirty - foot gap to LAND HEAVILY on a neighboring FLAT ROOF . The Cops STARE at one another , open - mouthed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATMOBILE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Batman YANKS the steering left , hits the BOOST -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOPS -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Batmobile TURNS - ROCKETS for the edge of the roof . SHOOTS over the gap to the next roof , CHOPPER IN PURSUIT .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATMOBILE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Batman checks his 3 - D GPS , ROCKETS forward , aiming at the next roof , a PITCHED CHATEAU - STYLE TILE ROOF .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS BELOW -- CONTINUOUS<\/stage_direction>\n    <scene_description>Corp Cars SHOOT along , paralleling the rooftop chase . FROM BELOW : the Chopper SWOOPS LOW over the buildings . A GLIMPSE of the Batmobile as it LEAPS across to the next building .<\/scene_description>\n    <character>COP 4<\/character>\n    <parenthetical>( over radio . )<\/parenthetical>\n    <dialogue>We're on him, we're on him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOPS -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Batmobile lands on the PITCHED ROOF , racing along at a PRECARIOUS ANGLE , TILES SLIDING off the roof in its wake .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATMOBILE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Batman 's forward - slung position is GYROSCOPICALLY BALANCED - he is the only vertical element in the angled car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOPS -- CONTINUOUS<\/stage_direction>\n    <scene_description>Chased by the LOW - FLYING chopper , the Batmobile SWERVES up over the GABLES , roof CRUMBLING in its wake , RACING for the end of the roof which PARALLELS an ELEVATED FREEWAY . The Batmobile rockets forward - JUMPS THE LAST GABLE . DROPS onto the elevated FREEWAY , TRAFFIC SWERVING to avoid it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SURFACE STREETS -- CONTINUOUS<\/stage_direction>\n    <scene_description>Cop Cars see the Batmobile disappear onto the freeway above .<\/scene_description>\n    <character>COP 4<\/character>\n    <dialogue>Dammit!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATMOBILE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Batman 's display shows a RADAR SWEEP and PLOTS a course through the differing speeds of the lanes . He pilots , LEANING left and right like a motorcyclist .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FREEWAY -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Batmobile SWERVES - the Chopper 's light stays trained . TRAFFIC gets heavier . Cop Cars are CLOSING IN from behind .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATMOBILE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Batman lifts himself back into the REAR DRIVING POSITION - THROTTLES BACK - KILLS all the lights , and the ENGINE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FREEWAY -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Batmobile DROPS BACK , DARK . the Chopper LOSES IT . The Batmobile CRUISES across the lanes , a WRAITH .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATMOBILE -- CONTINUOUS<\/stage_direction>\n    <scene_description>SILENCE , but for the steady WHINE of the ELECTRIC MOTOR . Rachel BREATHES in the sudden quiet . Eyes flickering .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FREEWAY HEADING OUT OF GOTHAM -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Batmobile SLICES across lanes , a SHADOW only visible BREAKING the GLARE of other cars ' HEADLIGHTS . The Cop Cars pull forward , driving parallel , an empty lane between them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATMOBILE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Rachel stares at Batman in the intimate quiet . Her eyes are glaring . Her breathing is shallow .<\/scene_description>\n    <character>BATMAN<\/character>\n    <parenthetical>( quiet . )<\/parenthetical>\n    <dialogue>Stay with me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COP CAR -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Cop turns left to look at the other Cop Car .<\/scene_description>\n    <character>COP 3<\/character>\n    <dialogue>Where'd he -?<\/dialogue>\n    <scene_description>He sees , between his car and the next , a BLACK SHAPE .<\/scene_description>\n    <character>COP 3<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>THERE HE IS!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATMOBILE -- CONTINUOUS<\/stage_direction>\n    <scene_description>The SPOTLIGHT hits the car - Batman HITS a button - the main engine ROARS to life - Batman SLIPS into the prone position - Hits the BOOST .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FREEWAY -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Batmobile SHOOTS forward from between the two Cop Cars .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COP CAR -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Batmobile 's JET WASH BLASTS the windscreen , SHATTERING it , the Cop throws his hands in front of his face -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FREEWAY -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Cop Car SPINS out of its lane , SLAMMING into the guard rail as the Batmobile RACES ahead , weaving through traffic . The Batmobile slides onto a TIGHTLY - CURVING EXIT RAMP . FLIES off the ramp , JUMPING DOWN onto the frontage road below .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATMOBILE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Batman KILLS the lights , running on NIGHT VISION . Rachel 's eyes flicker at the EERIE green view of ghostly trees , her breathing FASTER and still more SHALLOW .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Hold on. Just hold on.<\/dialogue>\n    <scene_description>Batman YANKS A LEVER -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SMALL TURNOFF -- CONTINUOUS<\/stage_direction>\n    <scene_description>A ground ANCHOR DIGS into the road , WHIPPING the Batmobile RIGHT in a HARD TURN , down a small turnoff . the Chopper LOSES the Batmobile , pursuing Cop Cars BLAZE PAST the turnoff .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATMOBILE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Rachel , crying , looks at the monstrous shapes of the trees : FLICKERING , jagged tree shapes SPIN past DIZZYINGLY .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Rachel? Rachel?!<\/dialogue>\n    <scene_description>No reply . Up ahead : a LOOKOUT over a river gorge . Batman PUSHES the Batmobile , SPEEDING towards the lookout . Rachel 's glazes eyes REGISTER the danger - she TWISTS , PANICKED .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODED PATH -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Batmobile ROCKETS off the edge of the lookout , over the gorge , FLYING STRAIGHT AT THE FACE OF A WATERFALL .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATMOBILE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Rachel SCREAMS as they SPLASH INTO THE FACE OF THE WATERFALL -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAVERNS -- CONTINUOUS<\/stage_direction>\n    <scene_description>- AND EMERGE THROUGH THE CURTAIN OF WATER into the BATCAVE . The Batmobile 's ground ANCHORS hook a steel CABLE , spinning an INERTIA REEL bolted to the cave wall , YANKING the car to a halt like a jet landing on an aircraft carrier .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATMOBILE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Rachel BOUNCES in her seat . PASSED OUT .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATCAVE -- CONTINUOUS<\/stage_direction>\n    <scene_description>The canopy of the Batmobile hisses open in three complex sections , like insect wings IMPLODING . Batman LIFTS Rachel from the cockpit , steps down onto wet shale . CARRIES her into the damp blackness of the caverns . Cloak BILLOWING in his wake , he heads for the GLOW of his work table . Gently lays Rachel on the table . RACKS up the scaffold to his computer station . A CONTAINER sits there with paperwork from Fox . Batman opens it , removes a VIAL . He plugs it into a pneumatic SYRINGE , puts the syringe between his teeth - GLIDES off the scaffold , LANDING beside Rachel . He INJECTS her in the biceps . Batman steps back , watching Rachel 's breathing SLOW .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABANDONED REFECTORY, ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Gordon surveys the scene : COPS and SWATS dig through the mess , interviewing Inmates and sifting rubble . A DETECTIVE sits in a cell doorway examining Crane 's mask . Crane is huddled in the corner , STARING .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>Is he cooperating?<\/dialogue>\n    <character>DETECTIVE<\/character>\n    <dialogue>If by cooperating you mean chewing his way through three sets of restraints, then yes, he's cooperating. Did we catch the batman?<\/dialogue>\n    <scene_description>Gordon tries not to smile .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <scene_description>A cop hurries over .<\/scene_description>\n    <character>COP<\/character>\n    <dialogue>Sir, there's something you should take a look at.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DERELICT BATH HOUSE, ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Tiled baths and hydrotherapy equipment . A POOL in the center . The Cop leads Gordon to the edge . A massive HOLE has been dug through the bottom . Dozens of ALUMINUM BARRELS sit alongside . Gordon climbs down , PEERS into the hole . A TORRENT of water runs at the bottom .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>Looks like they tapped the mains.<\/dialogue>\n    <scene_description>Gordon looks at the dozens of aluminum barrels . Realizing .<\/scene_description>\n    <character>GORDON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Get me somebody at the water board!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATCAVE -- LATER<\/stage_direction>\n    <scene_description>Rachel 's eyes flicker open to the cavernous damp darkness . She sees BATS banging high above . CLOSES her eyes again .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( under her breath . )<\/parenthetical>\n    <dialogue>Oh. My. God.<\/dialogue>\n    <character>BATMAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>How do you feel?<\/dialogue>\n    <scene_description>His voice ECHOES as if spoken from al shadows at once .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( hoarse . )<\/parenthetical>\n    <dialogue>Where are we?<\/dialogue>\n    <scene_description>Nothing .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Why did you bring me here?<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>If I had n't. your mind would now be lost. You were poisoned.<\/dialogue>\n    <scene_description>Rachel thinks , concentrating , remembering .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I remember. nightmares. This. face, this. mask.<\/dialogue>\n    <parenthetical>( realizes . )<\/parenthetical>\n    <dialogue>Crane. It was Crane -<\/dialogue>\n    <scene_description>Rachel STRUGGLES off the table , trying to stand .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I have to tell the police - we've got -<\/dialogue>\n    <scene_description>She SLIPS - Batman is there , CATCHING her .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Rest. Gordon has Crane.<\/dialogue>\n    <scene_description>In his arms she looks up at him - he lays her gently back onto the table . Retreats into shadow .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Is Sergeant Gordon your friend?<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>I do n't have the luxury of friends.<\/dialogue>\n    <scene_description>Rachel watches this dark shadow hover just outside the light .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Why did you save my life?<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>Gotham needs you.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>And you serve Gotham?<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>I serve justice.<\/dialogue>\n    <scene_description>Rachel STARES at the solitary shadow . Fascinated . Pitying .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Perhaps you do.<\/dialogue>\n    <scene_description>Batman steps into the light . Holding a pneumatic syringe and two vials . Rachel stares at him .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>I'm going to give you a sedative. You'll wake up back at home.<\/dialogue>\n    <scene_description>Batman holds up the two vials .<\/scene_description>\n    <character>BATMAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And when you do, get these to Gordon, and Gordon alone. Trust no one.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>What are they?<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>The antidote. One for Gordon to inoculate himself, the other to start mass - production.<\/dialogue>\n    <scene_description>Batman hands Rachel the vials . She looks at him , curious .<\/scene_description>\n    <character>BATMAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Crane was just a pawn. He was working for someone else.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( remembering . )<\/parenthetical>\n    <dialogue>Ghul. something Al Ghul.<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>Ra's Al Ghul. It's not him. He's dead.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>How do you know?<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>I watched him die.<\/dialogue>\n    <scene_description>Batman approaches with the syringe . Rachel offers her arm . Batman injects her . Her eyes close . Batman removes his cowl . Wayne stands above the sleeping Rachel . Stares at her for an inexpressibly lonely moment .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATH HOUSE, ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Gordon is on the phone -<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>Someone's been dumping a dangerous contaminant into the supply from this location for days, maybe weeks -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONTROL ROOM, WATER BOARD -- CONTINUOUS<\/stage_direction>\n    <scene_description>Two TECHNICIANS sit there , one on the phone to Gordon . A large screen in front of them maps the water supply of Gotham .<\/scene_description>\n    <character>TECHNICIAN<\/character>\n    <dialogue>If that's true then it's already spread through the whole system. But no one's reported any effects.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATH HOUSE, ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Gordon looks around , thinking , frustrated .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>It must be like chlorine or fluoride - harmless to drink, but when you breathe it it's deadly. look, wake up your boss, see if there's a way to flush out the system.<\/dialogue>\n    <scene_description>Gordon hangs up . Frustrated . Notices something . A large SHIPPING CRATE . He turns to the Cop .<\/scene_description>\n    <character>GORDON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Open that up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STUDY, WAYNE MANOR -- EVENING<\/stage_direction>\n    <scene_description>Wayne emerges from the bookcase . The noise of a PARTY outside the door . Alfred is there waiting , dinner jacket over his arm . Wayne grabs the shirt - dressing hastily .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Rachel's sedated. You can take her home.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Very good, sir.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Is Fox still here?<\/dialogue>\n    <parenthetical>( Alfred nods . )<\/parenthetical>\n    <dialogue>Tell you staff to stop serving drinks and move everybody on after the cake.<\/dialogue>\n    <scene_description>Alfred nods . Wayne moves to the door . Alfred STOPS him . Hands him a towel , gesturing at his face : Wayne is still wearing BLACK MAKEUP around his eyes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAIN HALL, WAYNE MANOR -- CONTINUOUS<\/stage_direction>\n    <scene_description>Hundreds of GUESTS . Music . Tables groaning with food<\/scene_description>\n    <character>FEMALE GUEST<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>There he is!<\/dialogue>\n    <scene_description>Guests look up - Wayne WADES INTO the throng , GRINNING and GLAD - HANDING . The band strikes up with `` Happy Birthday '' , Wayne spots Fox at the buffet .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIDE ENTRANCE, WAYNE MANOR -- CONTINUOUS<\/stage_direction>\n    <scene_description>As sounds from the party drift over , Alfred gently arranges the unconscious Rachel on the rear seat of the car . He frowns as Rachel 's legs get stuck . He looks up to see a PARTY GUEST , cigarette in hand , staring , curious .<\/scene_description>\n    <character>ALFRED<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>A little the worse for wear, I'm afraid.<\/dialogue>\n    <scene_description>Alfred YANKS Wayne 's gold clubs to one side , rachel settles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAIN HALL, WAYNE MANOR -- CONTINUOUS<\/stage_direction>\n    <scene_description>Guests are leaving . Wayne works the room , charming , but distracted . heading to Fox .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Any word on that. item.<\/dialogue>\n    <scene_description>Fox nods , glances around . Leans in , conspiratorial .<\/scene_description>\n    <character>FOX<\/character>\n    <dialogue>A contact in heavy weapons tipped me off - it's a microwave emitter. It vaporizes water.<\/dialogue>\n    <scene_description>Wayne thinks .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Could you sue it to put a biological agent into the air?<\/dialogue>\n    <character>FOX<\/character>\n    <dialogue>Sure, if the water supply were poisoned before you vaporized it.<\/dialogue>\n    <scene_description>Wayne takes this in . Grave . Nods at Fox .<\/scene_description>\n    <character>EARLE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Happy Birthday, Bruce.<\/dialogue>\n    <scene_description>Wayne turns to Earle .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Mr.Earle, good of you to come.<\/dialogue>\n    <character>EARLE<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Not everybody thought you'd make it this far.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Sorry to disappoint. How did the stock offering go?<\/dialogue>\n    <character>EARLE<\/character>\n    <dialogue>Very well - the price soared.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Who was buying?<\/dialogue>\n    <character>EARLE<\/character>\n    <dialogue>A variety of funds and brokerages. it's all a bit technical - the key thing is, our company's future is secure.<\/dialogue>\n    <scene_description>Wayne nods . Gestures to fox .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Have you met Lucius Fox?<\/dialogue>\n    <character>EARLE<\/character>\n    <dialogue>Of course, Lucius, how are you?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Fox is showing me the ropes down at Applied Sciences. he's a great untapped resource at our company, are n't you, Mr.Fox?<\/dialogue>\n    <scene_description>Fox shoots Wayne a look , but Wayne WINKS and moves off .<\/scene_description>\n    <character>FOX<\/character>\n    <dialogue>He's a good kid.<\/dialogue>\n    <character>EARLE<\/character>\n    <parenthetical>( cold . )<\/parenthetical>\n    <dialogue>Fox, forget about kissing Wayne's ass to get back in - I'm merging Applied Sciences with central archiving and you're top of the early retirement list.<\/dialogue>\n    <parenthetical>( smiles at reaction . )<\/parenthetical>\n    <dialogue>Did n't you get the memo?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATH HOUSE, ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Gordon and the other Cops STARE at the MICROWAVE EMITTER .<\/scene_description>\n    <character>COP<\/character>\n    <dialogue>What the hell is it?<\/dialogue>\n    <scene_description>Gordon turns to the SWAT team members .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>I do n't know, but nobody gets near it, understand? We're closing the bridges, locking down the whole island.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM, RACHEL'S APARTMENT -- CONTINUOUS<\/stage_direction>\n    <scene_description>Rachel STIRS . On her bed fully clothed . Trying to remember a strange dream . She sees the two vials of antidote sitting on her bedside table . HURRIES to her feet .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAIN HALL, WAYNE MANOR -- CONTINUOUS<\/stage_direction>\n    <scene_description>Wayne moves across the party , heading for the study . An ELDERLY SOCIETY DAME grabs him -<\/scene_description>\n    <character>SOCIETY DAME<\/character>\n    <dialogue>Bruce, there's somebody here you simply must meet.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Mrs Delane, I ca n't just now.<\/dialogue>\n    <scene_description>She TURNS Wayne to face an ASIAN MAN in his fifties .<\/scene_description>\n    <character>SOCIETY DAME<\/character>\n    <dialogue>Now, am I pronouncing it right?<\/dialogue>\n    <scene_description>In the Asian Man 's buttonhole is a DOUBLE - BLOOMED BLUE POPPY .<\/scene_description>\n    <character>SOCIETY DAME<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Mr.Al Ghul?<\/dialogue>\n    <scene_description>The Asian Man nods . Wayne STARES at him .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>You're not Ra's Al Ghul. He's dead.<\/dialogue>\n    <scene_description>The Society Dame laughs nervously , confused .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>But is Ra's Al Ghul immortal?<\/dialogue>\n    <scene_description>Wayne TURNS . Standing there . Smiling . Ducard .<\/scene_description>\n    <character>DUCARD<\/character>\n    <dialogue>Are his methods supernatural?<\/dialogue>\n    <character>WAYNE<\/character>\n    <parenthetical>( understanding . )<\/parenthetical>\n    <dialogue>Or cheap parlor tricks to conceal your true identity, Ra's?<\/dialogue>\n    <scene_description>Ducard -LRB- THE REAL RA 'S AL GHUL -RRB- smiles acknowledgment .<\/scene_description>\n    <character>DUCARD\/RA'S AL GHUL<\/character>\n    <dialogue>Surely you do n't begrudge me dual identities?<\/dialogue>\n    <scene_description>Ra 's Al Ghul walks Wayne through the dwindling party .<\/scene_description>\n    <character>RA'S AL GHUL<\/character>\n    <dialogue>I've been admiring your work, even as it's interfered with my plans.<\/dialogue>\n    <scene_description>Ra 's Al Ghul looks at Wayne with a tinge of sadness .<\/scene_description>\n    <character>RA'S AL GHUL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You were my greatest student. until you betrayed me.<\/dialogue>\n    <scene_description>Wayne notices CERTAIN GUESTS staring at him : members of the League of Shadows . Wayne looks at the departing Guests .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Your quarrel is with me. Let these people go.<\/dialogue>\n    <character>RA'S AL GHUL<\/character>\n    <dialogue>As you wish. But they do n't have long to live - your antics at the Asylum have forced my hand.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Crane was working for you.<\/dialogue>\n    <character>RA'S AL GHUL<\/character>\n    <dialogue>His toxin is derived from the organic compound in our blue poppies. Crane was able weaponize the compound. A brilliant scientist, but no visionary. He just wanted money and power -.<\/dialogue>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>I told him the plan was to hold the city to ransom. but, in fact -<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>You're going to unleash Crane's poison on the entire city.<\/dialogue>\n    <character>RA'S AL GHUL<\/character>\n    <parenthetical>( nods , serious . )<\/parenthetical>\n    <dialogue>Then watch Gotham tear itself apart through fear.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRIDGE TO THE NARROWS\/ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>COP CARS BLOCK the bridge . Police in RIOT GEAR , some on HORSEBACK . Rachel argues with a POLICE OFFICER .<\/scene_description>\n    <character>POLICE OFFICER<\/character>\n    <dialogue>Orders are, no one crosses -<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Officer, I'm a Gotham City District Attorney with information relevant to this situation - so let me pass.<\/dialogue>\n    <scene_description>Rachel brushes past him . He follows , shaking his head .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIBRARY, WAYNE MANOR -- CONTINUOUS<\/stage_direction>\n    <scene_description>Wayne and Ra 's enter . The library is empty of guest .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>You're going to destroy millions of lives.<\/dialogue>\n    <character>RA'S AL GHUL<\/character>\n    <dialogue>No. Billions of lives. Gotham is just the beginning. The world will watch in terror as the greatest city falls. Anarchy and chaos will spread. mankind will ravage itself, the species will be culled and the balance of nature restored. The planet will be saved for all species.<\/dialogue>\n    <scene_description>Wayne stares at Ra 's appalled .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>You're inhuman.<\/dialogue>\n    <character>RA'S AL GHUL<\/character>\n    <dialogue>Do n't question my humanity, Bruce - when I found you in that fetid hole you were lost. I saved you - I showed you a path and took away your fear - I made you what you are.<\/dialogue>\n    <parenthetical>( stares at Wayne . )<\/parenthetical>\n    <dialogue>And in return. you attacked me and burned my home.<\/dialogue>\n    <scene_description>Ra 's looks up at his MEN in the gallery . Nods . The Men start SETTING FIRE TO THE DRAPES .<\/scene_description>\n    <character>RA'S AL GHUL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Since then, you've used my skills and techniques to interfere with my plans, plans in which you were supposed to play a part.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>What part was that, Ra's? To put my company at your disposal? To obtain your microwave emitter and plant it somewhere in Gotham?<\/dialogue>\n    <character>RA'S AL GHUL<\/character>\n    <parenthetical>( smiles , nods . )<\/parenthetical>\n    <dialogue>You were supposed to be Gotham's destroyer. instead you became her only protector.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>You underestimate Gotham.<\/dialogue>\n    <character>RA'S AL GHUL<\/character>\n    <dialogue>You underestimate Gotham's corruption - we've infiltrated every aspect of the city's infrastructure.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATH HOUSE, ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Four SWATS are guarding the Emitter . One of them checks his watch . Gives a signal to the SECOND SWAT who nods and starts priming the machine . The Third SWAT turns -<\/scene_description>\n    <character>THIRD SWAT<\/character>\n    <dialogue>Hey! What the hell are you -<\/dialogue>\n    <scene_description>PHUUUT . The Fourth SWAT has shot him with a silenced pistol . Moving with military precision , the three Ninja\/SWATS don gas masks place explosive charges along the wall .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MONORAIL STATION -- CONTINUOUS<\/stage_direction>\n    <scene_description>The TRAIN DRIVER checks his watch . Hits the INTERCOM .<\/scene_description>\n    <character>TRAIN DRIVER<\/character>\n    <parenthetical>( over loudspeaker . )<\/parenthetical>\n    <dialogue>This train is no longer in service.<\/dialogue>\n    <scene_description>PASSENGERS groan , get to their feet .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIBRARY, WAYNE MANOR -- CONTINUOUS<\/stage_direction>\n    <scene_description>The FLAMES ARE RISING . SMOKE GATHERING at the ceiling .<\/scene_description>\n    <character>RA'S AL GHUL<\/character>\n    <dialogue>Gotham is helpless without you. That's why I'm here.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>To kill me?<\/dialogue>\n    <scene_description>Ra 's Al Ghul looks at Wayne . Emotional .<\/scene_description>\n    <character>RA'S AL GHUL<\/character>\n    <dialogue>To bring you back to us, Bruce. The world will need great men like you -<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>To take power.<\/dialogue>\n    <character>RA'S AL GHUL<\/character>\n    <dialogue>This is not about power. this is about saving the planet before man destroys it with his greed, with his pollution, with his weaponry.<\/dialogue>\n    <scene_description>Ra 's holds out his hand . A Ninja THROWS him a SWORD . He HANDS it to Wayne , placing the point at his own throat .<\/scene_description>\n    <character>RA'S AL GHUL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You still doubt me? Apply a few pounds of pressure. buy your precious city a reprieve.<\/dialogue>\n    <scene_description>Ra 's looks into Wayne 's eyes with absolute conviction .<\/scene_description>\n    <character>RA'S AL GHUL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Kill me. Then you'll understand how simple it is to do what's necessary.<\/dialogue>\n    <scene_description>Wayne holds the sword at Ra 's throat . Thinking . Ra 's stares at Wayne with absolute conviction .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>I will not take life. I will not be a part of this.<\/dialogue>\n    <character>RA'S AL GHUL<\/character>\n    <dialogue>But you already are. You've given Gotham a potent symbol of fear.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>I frighten criminals.<\/dialogue>\n    <character>RA'S AL GHUL<\/character>\n    <dialogue>You frighten everybody. A giant vengeful bat? What better apocalyptic symbol to haunt Gothams' dreams as panic takes hold?<\/dialogue>\n    <scene_description>Wayne stares at Ra 's Al Ghul . Pulls the sword away from his throat . Ra 's Al Ghul looks at him , contemptuous . Pulls at the handle of his cane , producing a SWORD .<\/scene_description>\n    <character>RA'S AL GHUL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Then die with Gotham -<\/dialogue>\n    <scene_description>Ra 's STRIKES Wayne 's sword from his throat - lays into him , sword in one hand , CANE\/SHEATH in the other -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Gordon turns . Rachel is there . He nods .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>How are you?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Better. Thank you.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>Thank the Batman.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I already did.<\/dialogue>\n    <parenthetical>( reaches into pocket . )<\/parenthetical>\n    <dialogue>He sent me with doses of the antidote for you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATH HOUSE, ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Ninja\/SWATS crouch away from the back wall . One of them HITS a DETONATOR . A controlled EXPLOSION BLASTS a large hole in the back wall -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Cops react to the EXPLOSION - Gordon RACES into the building .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Gordon, wait!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATH HOUSE, ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Gordon and his men appear at the door to the room - the Ninja\/SWATS are moving the Emitter through the hole in the wall - Gordon OPENS FIRE - the First Ninja\/Swat turns to the second , SIGNALS . The Second Ninja\/Swat ACTIVATES the Emitter - A PULSE OF ENERGY RIPPLES FROM THE MACHINE . PIPES\/TAPS\/DRAINS EXPLODE with pressurized STEAM - Gordon DIVES for cover -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Manhole covers EXPLODE , RELEASING GEYSERS of STEAM . FIRE HYDRANTS EXPLODE , HISSING with steam - Cops hit the deck .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WATER BOARD CONTROL ROOM -- CONTINUOUS<\/stage_direction>\n    <scene_description>An ALARM SOUNDS - the Technician points at a DOT on the map .<\/scene_description>\n    <character>TECHNICIAN<\/character>\n    <dialogue>What's that?!<\/dialogue>\n    <character>SECOND TECHNICIAN<\/character>\n    <dialogue>Some kind of pressure under the Narrows. like the water's.<\/dialogue>\n    <parenthetical>( confused . )<\/parenthetical>\n    <dialogue>. boiling.<\/dialogue>\n    <character>TECHNICIAN<\/character>\n    <dialogue>Did the valves hold?<\/dialogue>\n    <character>SECOND TECHNICIAN<\/character>\n    <dialogue>Yeah, it's contained. For now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRIDGE TO ARKHAM\/NARROWS -- CONTINUOUS<\/stage_direction>\n    <scene_description>Cops STARE at the cloud of FOG rising from the island .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIBRARY, WAYNE MANOR -- CONTINUOUS<\/stage_direction>\n    <scene_description>Ra 's throws himself at Wayne with FEROCITY and SKILL - Wayne PARRIES , THRUSTS . WAVES of flame ROLL across the high ceiling as the great room approaches flashover point . Wayne PRESSES Ra 's back under the gallery . Ra 's THRUSTS , OFF BALANCE - Wayne dodges - Ra 's goes DOWN - Wayne holds his sword at Ra 's throat .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Perhaps you taught me too well.<\/dialogue>\n    <scene_description>Ra 's looks up at Wayne with a sly smile .<\/scene_description>\n    <character>RA'S AL GHUL<\/character>\n    <dialogue>Or perhaps you'll never learn -<\/dialogue>\n    <scene_description>A section of the BURNING GALLERY DROPS onto Wayne .<\/scene_description>\n    <character>RA'S AL GHUL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>- to mind your surroundings as well as your opponent.<\/dialogue>\n    <scene_description>Ra 's RISES . Looks down at Wayne , unconscious , PINNED under BURNING TIMBERS . Firelight flickers on Ra 's ' face as he sheathes his sword\/cane .<\/scene_description>\n    <character>RA'S AL GHUL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Rest easy, friend.<\/dialogue>\n    <scene_description>Ra 's turns , walks out of the flaming library .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRONT DOOR, WAYNE MANOR -- CONTINUOUS<\/stage_direction>\n    <scene_description>Ra 's walks out of the burning building . Motions to a Ninja .<\/scene_description>\n    <character>RA'S AL GHUL<\/character>\n    <dialogue>No one comes out. Make sure.<\/dialogue>\n    <scene_description>He walks towards a waiting HELICOPTER . Another Ninja follows .<\/scene_description>\n    <character>RA'S AL GHUL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Is everything ready?<\/dialogue>\n    <character>NINJA 2<\/character>\n    <dialogue>They created a smokescreen in the Narrows - and they're moving the emitter into place for your run.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MONORAIL TRACK ABOVE FOGBOUND NARROWS -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Train Driver looks down at Arkham as he pulls overhead with his empty train . He STOPS the train above the Narrows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATH HOUSE, ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Thick clouds of WHITE FOG fill the room . Gordon is CHOKING . RACHEL GRABS HIS ARM -<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Gordon, it's me! It's Rachel! I have the antidote! Gordon -<\/dialogue>\n    <scene_description>Gordon RIPS his arm away - COUGHING , SPLUTTERING . he STARES into the BLINDING WHITE . TERRIFIED , adrenaline kicking in - Rachel SHAKES Gordon , FUMBLING with the pneumatic syringe .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Stay calm. I can help you.<\/dialogue>\n    <scene_description>Gordon looks at the needle , panicked . Then at her face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIBRARY, WAYNE MANOR -- CONTINUOUS<\/stage_direction>\n    <scene_description>Wayne , unconscious , PINNED by burning timbers , FLAMES RISING .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIDE DOOR, WAYNE MANOR -- CONTINUOUS<\/stage_direction>\n    <scene_description>A Ninja guards the side door , STARING into the flames . WHACK ! He goes down . ALFRED is standing there , nine iron in hand . He looks down at the Ninja .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>I sincerely hope you're not from the fire department.<\/dialogue>\n    <scene_description>Alfred rushes in to the burning house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIBRARY, WAYNE MANOR -- CONTINUOUS<\/stage_direction>\n    <scene_description>Alfred moves to Wayne , tries in vain to shift the BURNING WOOD from Wayne 's chest . He moves to Wayne 's face . SLAPS IT , HARD .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>Master Wayne! Master Wayne!<\/dialogue>\n    <scene_description>Wayne 's eyes flicker open . He PUSHES , but ca n't move .<\/scene_description>\n    <character>ALFRED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( exasperated . )<\/parenthetical>\n    <dialogue>Sir, whatever is the point of all those push - ups if you ca n't even -<\/dialogue>\n    <scene_description>Wayne GLARES at Alfred , FORCES the weight from his chest .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STUDY -- CONTINUOUS<\/stage_direction>\n    <scene_description>Wayne and Alfred push through the burning room . Wayne JABS at the flaming piano keys .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WROUGHT IRON SPIRAL STAIRCASE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Alfred and Wayne CRAWL onto the lift .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WAYNE MANOR -- CONTINUOUS<\/stage_direction>\n    <scene_description>The burning house COLLAPSES .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WROUGHT IRON SPIRAL STAIRCASE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Smoke and flame EXPLODES through the passage - Alfred YANKS the lever DROPPING them out of the heat - they SPEED DOWN .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATCAVE -- CONTINUOUS<\/stage_direction>\n    <scene_description>LANDING HARD . Smoldering . Wayne STARES up the SPIRAL : high above , SPARKS and firelight . The CRASH of collapsing TIMBERS echoes down as WAYNE MANOR DIES . Tears form in Wayne 's eyes .<\/scene_description>\n    <character>WAYNE<\/character>\n    <parenthetical>( whispers . )<\/parenthetical>\n    <dialogue>What have I done, Alfred? Everything my family. everything my Father and his father built.<\/dialogue>\n    <scene_description>Alfred struggles to pull himself to a standing position .<\/scene_description>\n    <character>ALFRED<\/character>\n    <parenthetical>( hoarse . )<\/parenthetical>\n    <dialogue>The Wayne legacy is more than bricks and mortar, sir.<\/dialogue>\n    <scene_description>Wayne stares up at the glowing shaft . Lost in his despair .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>I thought I could. help Gotham. but I've failed.<\/dialogue>\n    <scene_description>Alfred makes a futile show of dusting down his jacket .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>And why do we fall, sir?<\/dialogue>\n    <scene_description>Wayne looks at Alfred 's bruised , smudged , yet dignified face .<\/scene_description>\n    <character>ALFRED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So that we might better learn to pick ourselves up.<\/dialogue>\n    <scene_description>Wayne looks up at his old friend .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Still have n't given up on me?<\/dialogue>\n    <scene_description>Alfred offers him a trembling hand .<\/scene_description>\n    <character>ALFRED<\/character>\n    <parenthetical>( conviction . )<\/parenthetical>\n    <dialogue>Never.<\/dialogue>\n    <scene_description>Wayne takes Alfred 's hand . Gets up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE FOGBOUND NARROWS -- CONTINUOUS<\/stage_direction>\n    <scene_description>Ninjas in gas masks move the Emitter into position UNDER THE MONORAIL TRAIN . The bind it into a HOIST .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE NARROWS -- CONTINUOUS<\/stage_direction>\n    <scene_description>Rachel injects Gordon . He stares into her eyes , questioning .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Breathe. Just breathe.<\/dialogue>\n    <scene_description>NOISES draw Gordon 's frightened eyes to shape of COPS choking on the fog , SHOUTING . FIGHTING . Rachel pulls Gordon to his feet - heads for the hole in the wall .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Come on.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRIDE TO ARKHAM\/NARROWS -- CONTINUOUS<\/stage_direction>\n    <scene_description>Loeb and a LIEUTENANT get out of a car at the blockade . Starring across : FOG HANGS OVER THE ISLAND .<\/scene_description>\n    <character>LOEB<\/character>\n    <dialogue>What in God's name is going on in there?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE NARROWS -- CONTINUOUS<\/stage_direction>\n    <scene_description>As Rioters FLIT past through the fog either side , Rachel DRAGS Gordon into a doorway . She looks up into the fog . Sees the Ninjas hoisting the emitter up to the monorail .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOGBOUND ARKHAM ASYLUM -- EVENING<\/stage_direction>\n    <scene_description>An INMATE at the window of his cell . A CLUNK - he turns - his cell door is OPEN . He looks out into the corridors .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIST-FILLED CORRIDOR, ARKHAM ASYLUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Crane , in ScareCrow mask , RINGS down the corridor , LAUGHING , unlocked each door in turn .<\/scene_description>\n    <character>INMATE<\/character>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>Scarecrow.<\/dialogue>\n    <scene_description>Inmates emerge from their cells , confused .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE BATCAVE -- CONTINUOUS<\/stage_direction>\n    <scene_description>CLOSE ON : black scalloped GAUNTLETS thrust onto purposeful hands . A dark CLOAK whipped around strong shoulders . A graphite COWL placed over an implacable face . A DARK FIGURE swallowed by the gloom . BATS flutter as an ENGINE ROARS to life .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WATERFALL -- CONTINUOUS<\/stage_direction>\n    <scene_description>MOVING IN on water tumbling hypnotically . The Batmobile EXPLODES through the water , ROCKETING onto the opposite bank .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELICOPTER ABOVE FOGBOUND NARROWS -- CONTINUOUS<\/stage_direction>\n    <scene_description>Ra 's Al Ghul puts on a gas mask as the helicopter descends .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOGBOUND NARROWS -- NIGHT<\/stage_direction>\n    <scene_description>Rachel sits up from Gordon . Hears something : a DRAGGING NOISE behind her . She turns , stepping away from Gordon . A HORSE emerges from the fog . Crane is riding ; in Scarecrow mask . DRAGGING along behind , boot caught in the stirrup , a dead MOUNTED POLICEMAN . CRANE TURNS TO RACHEL .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Crane!<\/dialogue>\n    <scene_description>Crane shakes his head .<\/scene_description>\n    <character>CRANE<\/character>\n    <parenthetical>( hisses . )<\/parenthetical>\n    <dialogue>Scarecrow.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRIDGE TO ARKHAM\/NARROWS -- CONTINUOUS<\/stage_direction>\n    <scene_description>Loeb with a LIEUTENANT , watching the fog hang over the island . They head a massive ENGINE , turn , BLINDED by headlights . the Batmobile RACES at the cordon , SHOOTS over the cars , clipping the roofs , Cops DIVING out of the way .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY, FOGBOUND NARROWS -- CONTINUOUS<\/stage_direction>\n    <scene_description>The too - wide Batmobile RIPS metal sheets and drywall from both sides of the tiny alley - RIOTING INHABITANTS run SCREAMING - the Batmobile is heading for a dead end .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTYARD, FOGBOUND NARROWS -- CONTINUOUS<\/stage_direction>\n    <scene_description>Crane GALLOPS towards Rachel and Gordon and STOPS . Rioters emerge behind them . he REARS UP to STAMP RACHEL AND GORDON - Rachel fires her taser , plugging Crane in the face - he JERKS , SPASM - the HORSE BOLTS , THROWING him , DRAGGING HIM OFF INTO THE FOG . Rachel watches him disappear . Then sees the Lunatics closing in on all sides . The Batmobile SMASHES THROUGH THE WALL - Lunatics closing in on all sides . The Batmobile opens - Batman emerges - runs to Rachel . A BRICK smashes into Batman 's head . He TURNS to the Rioters STARING at him , TERRIFIED . Batman RISES in the mist . to their eyes : Batman is a twelve - foot shadowy devil with WINGS . They fling bricks , bottles , fighting off the demon . Batman GRABS Rachel , FIRES his grappling gun up into the fog . it finds purchase - they SHOOT UP FROM THE MOB -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOP -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Batman sets Rachel down , looks out at Gotham : the Narrows below steaming , burning , screaming . The rest of Gotham WAITS .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>They're going to unleash the toxin on the entire city. I have to find the microwave emitter.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>They were lifting a machine up to the tracks.<\/dialogue>\n    <scene_description>Batman TURNS to face Rachel , realizing -<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Of course - the monorail. The track runs directly over the water mains.<\/dialogue>\n    <scene_description>Batman turns to the city , stares at the wide sweep of the monorail tracks . The `` spoke '' that lead in to Wayne Tower .<\/scene_description>\n    <character>BATMAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>He's going to drive that thing straight into Wayne Tower and blow the main hub, creating enough toxin to blanket the entire city.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MONORAIL TRAIN -- CONTINUOUS<\/stage_direction>\n    <scene_description>Ra 's Al Ghul climbs onto the train with three MASKED NINJAS . The narrow - band emitter fills the front car . Pulsing with energy . Ra 's moves to the driver 's position .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE NARROWS -- CONTINUOUS<\/stage_direction>\n    <scene_description>Gordon looks up - the train moves overhead . as it passes , manhole covers EXPLODE in its wake , sending up fresh GEYSERS of STEAM . Gordon watches the train go . starts RUNNING .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONTROL ROOM, WATER BOARD -- CONTINUOUS<\/stage_direction>\n    <scene_description>ALARMS sound - the Technician looks at the map - lights FLASH .<\/scene_description>\n    <character>SECOND TECHNICIAN<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>TECHNICIAN<\/character>\n    <dialogue>The pressure's increasing. and it's. Moving.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOP -- CONTINUOUS<\/stage_direction>\n    <scene_description>Batman stands at the edge - looks at the IMPOSSIBLE DROP to the moving monorail train .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Wait!<\/dialogue>\n    <scene_description>Batman TURNS . Rachel stares at his eyes in the black cowl , reaches up to his face .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You could die. At least tell me your name.<\/dialogue>\n    <scene_description>Batman turns . Looks back at her .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>It's not who I am underneath.<\/dialogue>\n    <parenthetical>( touches his chest . )<\/parenthetical>\n    <dialogue>But what I do that defines me.<\/dialogue>\n    <scene_description>Rachel steps forward , recognizing her own words , REALIZING -<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Bruce -<\/dialogue>\n    <scene_description>But he is already FALLING .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OVER GOTHAM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Batman FREE FALLS , cloak flapping , sliding his gloves into the activating pockets . The cloak goes RIGID - SMASHING THE WIND LIKE A PARACHUTE . Batman 's arms CONTROL his cloak , not simply arresting his fall , but GLIDING GRACEFULLY like a hand glider . He eyes the moving train and NOSES DOWN , ACCELERATING -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MONORAIL TRAIN -- CONTINUOUS<\/stage_direction>\n    <scene_description>Ra 's pulls off his mask , watching the city speed around him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEDAN ON THE BRIDGE TO THE NARROWS -- CONTINUOUS<\/stage_direction>\n    <scene_description>Flass is in the driver 's seat , eating . Gordon opens the door GRABS him -<\/scene_description>\n    <character>FLASS<\/character>\n    <dialogue>What the -?<\/dialogue>\n    <scene_description>- FLINGS him out onto the asphalt - PEELS OUT .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOTHAM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Batman STREAKS DOWN , CUTTING through the STEAM GEYSERS shooting up in the train 's wake . the train SPEEDS through a station - Batman BANKS SHARPLY around the building .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONTROL ROOM, WATER BOARD -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Technician stares at the map : BLINKING LIGHTS reach CLOSER AND CLOSER to Wayne Tower .<\/scene_description>\n    <character>SECOND TECHNICIAN<\/character>\n    <dialogue>Pressure's building at the hub -<\/dialogue>\n    <character>TECHNICIAN<\/character>\n    <dialogue>Open all the run - off valves!<\/dialogue>\n    <character>SECOND TECHNICIAN<\/character>\n    <dialogue>They're already blown!<\/dialogue>\n    <scene_description>The Technician , worried , looks at a PRESSURE GAUGE : the NEEDLE is moving steadily HIGHER , towards the RED ZONE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MONORAIL TRAIN -- CONTINUOUS<\/stage_direction>\n    <scene_description>The track ahead passes into an office building - Batman noses down - trying to get down onto the train before it reaches the building . Batman gets OVER the back of the train - it 's at the mouth of the tunnel - he COLLAPSES his cloak - DROPS onto the train just as it BLASTS into the building -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN -- CONTINUOUS<\/stage_direction>\n    <scene_description>Ra 's hears a THUMP . He nods at his Ninjas . They move into the rear car , COCKING machine guns .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAIN -- CONTINUOUS<\/stage_direction>\n    <scene_description>Batman lies on the roof - the train SPEEDS through the CANYONS of downtown Gotham . BULLETS tear through the roof , several HIT BATMAN - JOLTING him loose , spinning his SIDEWAYS -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN -- CONTINUOUS<\/stage_direction>\n    <scene_description>The ninjas see a SHADOW FALL FROM THE ROOF . One of them sticks his head up to check : nothing but fresh bullet holes . At the Ninjas ' feet , UNNOTICED , a GRAPPLING HOOK sticks through the FLOOR of the train -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SURFACE STREETS BELOW THE MONORAIL -- CONTINUOUS<\/stage_direction>\n    <scene_description>A small CROWD outside a store watch news on stacked T.V. 's . The train STREAKS overhead . People look up , SHOCKED to see - Batman HANGING FROM THE TRAIN BY HIS GRAPPLING CABLE , FLYING ALONG , 15 feet in the air , dodging STOPLIGHTS and AWNINGS . The Train crosses over a busy intersection - Batman FLIES over CARS , between tall TRUCKS . behind him , in the train 's wake , manhole covers EXPLODE , fire hydrants BURST . Batman STRUGGLES to fasten his grappling gun into his utility belt , but he 's being TOSSED too violently . Up ahead : more of Ra 's Al Ghul 's Ninjas ride in a truck , preceding the train , guarding the monorail supports .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET BELOW THE MONORAIL -- CONTINUOUS<\/stage_direction>\n    <scene_description>In the truck , a Ninja puts a rocket - propelled grenade launcher on his shoulder , sighting Batman - the others aim their guns . A CURVE in the truck sends Batman SWINGING UP into the glass facade of a building , SMASHING ALONG THROUGH forty feet of plate glass . he clears the glass , looks ahead - sees the truck in his path , WEAPONS TRAINED ON HIM . The machine guns open up - the TRIGGER of the RPG is SQUEEZED - BLAM - with a SHUDDER the truck is KNOCKED SIDEWAYS by a SPEEDING unmarked sedan - the grenade MISFIRES into the cab . GORDON is at the wheel of the unmarked sedan - he DUCKS DOWN - the truck EXPLODES . Batman FLIES THROUGH THE FLAMES . On the other side , the track DEAD ENDS at another tunnel . Gordon looks up in time to see Batman LATCH the grappling gun into his belt - SHOOT UP , SKIRTING the lip of the tunnel .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN -- CONTINUOUS<\/stage_direction>\n    <scene_description>Batman JUMPS into the rear car - FIRES his grappling gun at a Ninja 's leg , YANKS him DOWN . Ra 's glances back from the front car , but ca n't see clearly . Batman DOWNS a Ninja with an ELBOW to the head . LEAPS for the door between cars - a Ninja in the front car LOCKS it - SMASH - Ra 's TURNS to see Batman at the rear door , glass falling from the window , hands around the Ninja 's THROAT .<\/scene_description>\n    <character>RA'S AL GHUL<\/character>\n    <dialogue>You!<\/dialogue>\n    <scene_description>Batman DROPS the Ninja . LEADS UP out of sight .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONTROL ROOM, WATER BOARD -- CONTINUOUS<\/stage_direction>\n    <scene_description>ALARMS : The technician watches the blinking lights move CLOSE to the HUB . the pressure gauge needle tips into the RED -<\/scene_description>\n    <character>FIRST TECHNICIAN<\/character>\n    <dialogue>Everybody out! Out of the building!<\/dialogue>\n    <character>SECOND TECHNICIAN<\/character>\n    <dialogue>But -<\/dialogue>\n    <character>FIRST TECHNICIAN<\/character>\n    <dialogue>We're sitting on the hub - she's gon na blow and blow big, understand?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MONORAIL TRAIN -- CONTINUOUS<\/stage_direction>\n    <scene_description>Batman moves forward along the roof , cloak FLAPPING madly behind . Wayne Tower visible up ahead , the train STREAKING DIZZYINGLY through the tight CANYONS of Gotham . Ra 's Al Ghul climbs up onto the roof at the front of the train . Standing tall before Gotham , long coat blowing around his legs . He marvels at Batman .<\/scene_description>\n    <character>RA'S AL GHUL<\/character>\n    <dialogue>You took my advice about theatricality a bit literally, do n't you think?<\/dialogue>\n    <scene_description>He draws his sword from his cane . Batman LUNGES at Ra 's , who SWINGS his sword at him - Batman PARRIES with his gauntlet , SPARKS striking off the metal scallops . The train SHOOTS through a building , the airflow WHUMPING down on the duelists . Ra 's SWINGS his cane - Batman TRAPS it in his scallop - TWISTS his arm - sends the cane SPINNING away .<\/scene_description>\n    <character>RA'S AL GHUL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Familiar.<\/dialogue>\n    <scene_description>Ra 's THRUSTS his sword at Batman 's chest , Batman DODGES left , dangerously close to the EDGE . He DUCKS at Ra 's , who KNEES him sideways , SWINGING him at the FRONT EDGE of the train . Batman REGAINS FOOTING - Ra 's STRIKES DOWN at his head . Batman CROSSES HIS ARMS , CATCHING THE SWORD in the scallops of BOTH gauntlets , HOLDING FAST .<\/scene_description>\n    <character>RA'S AL GHUL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Do n't you have anything new?<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>How about this?<\/dialogue>\n    <scene_description>Batman YANKS his ARMS in OPPOSITE directions , BREAKING RA 'S AL GHUL 'S SWORD IN TWO . Ra 's STUMBLES back , loses footing , SLIPS onto the roof , SLIDING back toward the rear . Batman looks ahead to Wayne Tower approaching .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONTROL ROOM, WATER BOARD, WAYNE TOWER -- CONTINUOUS<\/stage_direction>\n    <scene_description>The first technician watches the pressure gauge needle slide up through the red . He CLOSES HIS EYES .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAIN -- CONTINUOUS<\/stage_direction>\n    <scene_description>Batman leans over the front of train - FIRES his GRAPPLING GUN into the front GUIDE WHEELS - which JAM , SPARKING , GRINDING . cable SPOOLS out of the grappling gun . the train SHUDDERS .<\/scene_description>\n    <character>RA'S AL GHUL<\/character>\n    <parenthetical>( climbing to his feet . )<\/parenthetical>\n    <dialogue>What're you doing?!<\/dialogue>\n    <scene_description>Batman THROWS the grappling gun at the SPARKING guide wheel .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>What's necessary.<\/dialogue>\n    <scene_description>The guide wheel HITS the grappling gun - BUMPS OFF ITS TRACK . Ra 's DIVES onto Batman - SMASHES him against the roof - the train LURCHES , SCRAPING against the concrete guiderails . Batman ROLLS Ra 's onto the bottom - but Ra 's is CHOKING Batman , THUMBS PUSHED DEEP INTO THE FLESH ABOVE BATMAN 'S NECKPIECE . Batman STRUGGLES uselessly against Ra 's Al Ghul IRON GRIP .<\/scene_description>\n    <character>RA'S AL GHUL<\/character>\n    <dialogue>Are you afraid?!<\/dialogue>\n    <scene_description>Ra 's looks up at Batman 's DYING eyes . Batman 's hands STOP PUSHING against Ra 's .<\/scene_description>\n    <character>BATMAN<\/character>\n    <parenthetical>( choked . )<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>and slip down his cloak to the activating pockets -<\/scene_description>\n    <character>BATMAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>but not of you.<\/dialogue>\n    <scene_description>The cloak goes RIGID - CATCHES THE WIND - like pulling a rip cord - Batman YANKED from Ra 's Al Ghul 's hands , INTO THE AIR . Ra 's SCREAMS as he rides the train OFF THE MONORAIL . CRASHING DOWN INTO WAYNE PLAZA - DIGGING THROUGH THE CONCRETE - METAL SHREDDING , MARBLE SHATTERING , DUST CLOUDS FLYING , PARKED CARS EXPLODING . The Train has disintegrated into burning rubble just short of the entrance to Wayne Station .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONTROL ROOM, WATER BOARD, WAYNE TOWER -- CONTINUOUS<\/stage_direction>\n    <scene_description>The Technician opens one eye . Then the other . And starts breathing again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WAYNE PLAZA -- CONTINUOUS<\/stage_direction>\n    <scene_description>Massive fiery destruction . And above it all - Batman SOARS in a high bank , riding the thermals , staring down at Ra 's Al Ghul 's funeral pyre . And we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WAYNE PLAZA -- MORNING, DAYS LATER<\/stage_direction>\n    <scene_description>Construction CREWS clear the RUBBLE , Lucius Fox , in hard hat , supervises . Earle approaches , livid . Fox spots him .<\/scene_description>\n    <character>FOX<\/character>\n    <dialogue>This is a hard hat area.<\/dialogue>\n    <character>EARLE<\/character>\n    <dialogue>What are you doing here, Fox? I seem to remember firing you.<\/dialogue>\n    <character>FOX<\/character>\n    <dialogue>Might be something to do with my new job as head of Wayne Industries.<\/dialogue>\n    <parenthetical>( off look . )<\/parenthetical>\n    <dialogue>Did n't you get the memo?<\/dialogue>\n    <scene_description>Earle stares at Fox , hard .<\/scene_description>\n    <character>EARLE<\/character>\n    <dialogue>Whose authority?<\/dialogue>\n    <scene_description>Fox points at Wayne 's Rolls Royce idling nearby . Earle strides towards it . Fox quietly smiles , turns to his work .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROLLS -- CONTINUOUS<\/stage_direction>\n    <scene_description>Earle is BANGING on the window . Wayne rolls it down .<\/scene_description>\n    <character>EARLE<\/character>\n    <dialogue>You think you have authority to decide who runs this company, Bruce?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>It is my company.<\/dialogue>\n    <character>EARLE<\/character>\n    <dialogue>Not anymore. Wayne Industries went public a week ago -<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>And I bought most of the shares. A controlling interest, in fact.<\/dialogue>\n    <parenthetical>( off look . )<\/parenthetical>\n    <dialogue>Through various charitable foundations, trusts and so forth.<\/dialogue>\n    <scene_description>Alfred is smiling in the front seat .<\/scene_description>\n    <character>WAYNE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Look, it's all a bit technical, but the important thing is. my company's future is secure.<\/dialogue>\n    <scene_description>Earle is speechless . Wayne smiles . The Rolls pulls away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GROUNDS, SMOKING RUINS OF WAYNE MANOR -- DAY<\/stage_direction>\n    <scene_description>WORKERS sift through the smoking ruins , supervised by Alfred .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ORANGERY -- CONTINUOUS<\/stage_direction>\n    <scene_description>Soot - stained glass crunches underfoot as Rachel picks her way through the smoking remnants of the greenhouse .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DISUSED KITCHEN GARDEN -- CONTINUOUS<\/stage_direction>\n    <scene_description>Rachel finds Wayne hammering a board across the disused well . He looks up at her . She approaches . He turns to the well .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Do you remember the day I fell?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>Wayne looks down at the black gap yet to be covered .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>As I lay there, I knew. I could sense it.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>That things would never be the same.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>What did you find down there?<\/dialogue>\n    <scene_description>Wayne picks up another board .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Childhood's end.<\/dialogue>\n    <scene_description>Wayne places the board over over the gap . Closing the well .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SMOKING RUINS OF WAYNE MANOR -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Wayne walks Rachel past the ruins .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>The day you left Gotham. the day Chill was murdered. I said terrible things.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>True things. You made me see that justice is about more than my own pain and anger.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Well, you proved me wrong.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>About what?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Your father would be proud of you. Just as I am.<\/dialogue>\n    <scene_description>Wayne looks at her , emotion rising . He takes Rachel in his arms and they kiss , passionately . desperately . They break , Wayne looks into Rachel 's eyes , hopeful . But she gently shakes her head .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( soft . )<\/parenthetical>\n    <dialogue>Between Batman and Bruce Wayne, there's no room for me.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Rachel, this life I chose. I can give it up.<\/dialogue>\n    <scene_description>Rachel reaches up to his face with her hand .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You did n't choose the life, Bruce. It was thrust upon you, the way greatness often is. You've given this city hope - now she's depending on you. We all are.<\/dialogue>\n    <scene_description>Wayne looks at her . Aching . He nods .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Good - bye, Bruce.<\/dialogue>\n    <scene_description>She walks away . Stops . Turns . Points at the ruins .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What will you do?<\/dialogue>\n    <scene_description>Wayne looks at her . Glorious purpose in his eyes .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>I'm going to rebuild it just the way it was. Brick for brick.<\/dialogue>\n    <scene_description>Rachel nods . Walks off . Wayne stares after her . Alone . But Alfred is at Wayne 's shoulder . Watching his gaze .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>Just the way it was, sir?<\/dialogue>\n    <scene_description>Wayne turns to Alfred .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Yes, why?<\/dialogue>\n    <scene_description>They stroll , side by side , towards the smoking ruins .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>I thought we might take the opportunity of making some improvements to the foundation.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>In the south east corner?<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Precisely, sir.<\/dialogue>\n    <scene_description>The irregular SHADOW of a BAT SYMBOL cast up onto turbulent clouds . and we are -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOF, POLICE STATION -- NIGHT<\/stage_direction>\n    <scene_description>Gordon sips coffee from a styrofoam cup . Beside him - an upturned spotlight with a METAL STENCIL bolted to it . A dark FLUTTERING , and Batman is standing the other side of the spotlight . He reaches out , taps the stencil .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Nice.<\/dialogue>\n    <character>GORDON<\/character>\n    <parenthetical>( crushing his cup . )<\/parenthetical>\n    <dialogue>Could n't find any mob bosses to strap to the light.<\/dialogue>\n    <scene_description>Gordon kills the searchlight . The two men stand opposite each other in the dark .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Well, Sergeant?<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>It's Lieutenant, now. Commissioner Loeb had to promote me. And he had to disband the task force hunting you. Amazing what saving a city can do for your image.<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>Then things are better.<\/dialogue>\n    <character>GORDON<\/character>\n    <parenthetical>( nods . )<\/parenthetical>\n    <dialogue>You've started something - bent cops running scared, hope on the streets.<\/dialogue>\n    <scene_description>Gordon leaves his sentence hanging between them .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>But?<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>But there's a lot of weirdness out there right now. the Narrows is lost. we still have n't picked up Crane or half the inmates of Arkham that he freed.<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>We will. Gotham will return to normal.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>Will it? What about escalation?<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>Escalation?<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>We start carrying semiautomatics, they buy automatics. we start wearing kevlar, they buy armor - piercing rounds.<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>And?<\/dialogue>\n    <scene_description>Gordon leans closer to Batman . Points at him .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>And. you're wearing a mask and jumping off rooftops.<\/dialogue>\n    <scene_description>Gordon fishes in his pocket .<\/scene_description>\n    <character>GORDON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Take this guy.<\/dialogue>\n    <scene_description>He pulls out a clear plastic evidence bag .<\/scene_description>\n    <character>GORDON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>armed robbery, double homicide.<\/dialogue>\n    <scene_description>Inside the clear plastic bag is a PLAYING CARD .<\/scene_description>\n    <character>GORDON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Got a taste for theatrics, like you.<\/dialogue>\n    <scene_description>Gordon hands Batman the bag .<\/scene_description>\n    <character>GORDON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Leaves a calling card.<\/dialogue>\n    <scene_description>Batman turns the card over . It is a JOKER .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>I'll look into it.<\/dialogue>\n    <scene_description>He steps up onto the balustrade . Gordon looks at him .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>I never said thank you.<\/dialogue>\n    <scene_description>Batman looks out at the lights of Gotham . Cloak billowing around him .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>And you'll never have to.<\/dialogue>\n    <scene_description>Batman DROPS from the rooftop , GLIDING on the night wind . Gordon smiles . He ca n't help it . FADE OUT . CREDITS . END .<\/scene_description>\n  <\/scene>\n<\/script>","summary":"As a child in Gotham City, Bruce Wayne falls down a dry well and is attacked by a swarm of bats, developing a fear of bats. Attending the opera with his parents, Thomas and Martha, Bruce becomes frightened by performers masquerading as bats and asks to leave. Outside, mugger Joe Chill murders Bruce's parents in front of him, and the orphaned Bruce is raised by the family butler, Alfred Pennyworth. Fourteen years later, Chill is paroled after testifying against mafia boss Carmine Falcone. Bruce intends to murder Chill, but one of Falcone's assassins does so first. Bruce's childhood friend Rachel Dawes berates him for acting outside the justice system, saying that his father would be ashamed. After confronting Falcone, who tells him that real power comes from being feared, Bruce spends the next seven years traveling the world training in combat and immersing himself in the criminal underworld. In a Bhutan prison, he meets Henri Ducard, who recruits him to the League of Shadows led by Ra's al Ghul. After completing his training in ninja methods and purging his fears, Bruce learns the League intends to destroy Gotham, believing the city beyond saving. Bruce rejects the League and its edict that killing is necessary, burning down their temple during his escape. Ra's is killed by falling debris, while Bruce saves the unconscious Ducard. Returning to Gotham intent on fighting crime, Bruce takes an interest in his family's company, Wayne Enterprises, which is being taken public by the unscrupulous William Earle. Company archivist Lucius Fox, a friend of Bruce's father, allows Bruce access to prototype defense technologies, including a protective bodysuit and a heavily armored vehicle, the Tumbler. Bruce poses publicly as a shallow playboy, while setting up a base in the caves beneath Wayne Manor and taking up the vigilante identity of \"Batman\", inspired by his childhood fear. Intercepting a drug shipment, Batman provides Rachel with evidence against Falcone and enlists Sergeant James Gordon, one of Gotham's few honest cops, to arrest him. In prison, Falcone meets Dr. Jonathan Crane, a corrupt psychologist whom he has helped smuggle drugs into Gotham. Donning a scarecrow mask, Crane sprays Falcone with a fear-inducing hallucinogen and has him transferred to Arkham Asylum. While investigating \"the Scarecrow\", Batman is incapacitated by the hallucinogen, but is saved by Alfred and given an antidote developed by Fox. When Rachel, now the city's assistant district attorney, accuses Crane of corruption, he reveals he has introduced his drug into Gotham's water supply. He drugs Rachel, but Batman subdues and interrogates Crane, who claims to work for Ra's al Ghul. Batman evades the police to get Rachel to safety, administering her the antidote and giving her a vial of it for Gordon and another for mass production. At Bruce's birthday party, Ducard reappears and reveals himself to be the true Ra's al Ghul. Having stolen a powerful microwave emitter from Wayne Enterprises, he plans to vaporize Gotham's water supply, rendering Crane's drug airborne and causing mass hysteria that will destroy the city. He sets Wayne Manor aflame and leaves Bruce to die, but Alfred rescues him. Ra's loads the microwave emitter onto Gotham's monorail system to release the drug at the city's central water source. Batman rescues Rachel from a drugged mob and indirectly reveals his identity to her. Confronting Ra's on the monorail, as Gordon uses the Tumbler's cannons to destroy a section of the track, Batman refuses to kill Ra's but chooses not to save him, gliding from the train as it crashes, killing Ra's. Bruce gains Rachel's respect and love, but she decides she cannot be with him now, telling him if Gotham should no longer need Batman, they can be together. Batman becomes a public hero and Bruce reveals he has purchased a controlling stake in Wayne Enterprises, firing Earle and replacing him with Fox. Sergeant Gordon is promoted to Lieutenant and shows Batman the Bat-Signal, mentioning a criminal who leaves behind Joker playing cards."}
{"movie_name":"Capernaum_2018","imdb_id":"tt8267604","script":"<script>\n  <scene>\n    <scene_description>CAPERNAUM<\/scene_description>\n    <character>(CHAOS)<\/character>\n    <dialogue>Screenplay by<\/dialogue>\n    <dialogue>Nadine Labaki<\/dialogue>\n    <scene_description>Jihad Hojeily Michelle Keserwani<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - UNSANITARY POLICE DETENTION CENTER<\/stage_direction>\n    <scene_description>In a small unsanitary office, used as a police station, stands Zain, a skinny 12-year-old boy, slightly hunchbacked, wearing only his dirty underwear and looking lost. The boy stands there with his mouth wide open while a 40-year-old doctor examines his teeth like one examines a lab rat.<\/scene_description>\n    <character>DOCTOR (TALKING TO ZAIN)<\/character>\n    <dialogue>Tilt your head up.<\/dialogue>\n    <character>DOCTOR (TALKING TO ANOTHER MAN OFF<\/character>\n    <dialogue>CAMERA)<\/dialogue>\n    <scene_description>He's lost his baby teeth. I'd say he's at least 12 years old, maybe 13.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY- POLICE STATION<\/stage_direction>\n    <scene_description>Several arrested migrant workers from Sri Lanka, Ethiopia, and Africa standing and looking defeated.<\/scene_description>\n    <character>OFFICER (TALKING TO THE WOMEN)<\/character>\n    <dialogue>Michelle, the Philippina? Michelle? What's your last name? Family name?<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>Sedad.<\/dialogue>\n    <character>OFFICER<\/character>\n    <dialogue>Sedad. Do you have a passport? Residence permit?<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>At my Madame's house.<\/dialogue>\n    <character>OFFICER<\/character>\n    <dialogue>Lama Bekoum. Who's Lama? Lama, are you pregnant?<\/dialogue>\n    <character>LAMA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>OFFICER<\/character>\n    <dialogue>How many months?<\/dialogue>\n    <character>LAMA<\/character>\n    <dialogue>Seven months.<\/dialogue>\n    <character>OFFICER<\/character>\n    <dialogue>Okay, CARITAS will see you now.<\/dialogue>\n    <scene_description>Among the women, a young Ethiopian girl - Tigest (Rahil) - with short hair seems in shock more than others, but she tries to control herself. She has a dripping black mark on her cheek.<\/scene_description>\n    <character>OFFICER<\/character>\n    <dialogue>Who's Tigest Ailo? The Ethiopian, Tigest Ailo?<\/dialogue>\n    <character>OFFICER (TALKING TO TIGEST)<\/character>\n    <dialogue>Are you Tigest?<\/dialogue>\n    <character>TIGEST<\/character>\n    <dialogue>Yes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>3. A. INT.DAY- PRISON FOR MINORS 3.<\/stage_direction>\n    <scene_description>Escorted and handcuffed by a guard, Zain is walking down the hallway. A chaotic atmosphere fills the hall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>B. INT. DAY - COURTHOUSE CORRIDOR.<\/stage_direction>\n    <scene_description>A handcuffed man escorted by two guards is going downstairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY - DETENTION CELL FOR UNDOCUMENTED FOREIGNERS.<\/stage_direction>\n    <scene_description>Several detained women from different nationalities are waiting. Among them, is Rahil; she stands up and follows a guard who handcuffs her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY- PUBLIC TRANSPORTATION BUS<\/stage_direction>\n    <scene_description>Few young children asleep in the bus. A middle- aged couple, poorly dressed is sitting in the bus among other passengers. They are both lost in their thoughts, silent and worried.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAY-IN FRONT OF THE COURTHOUSE<\/stage_direction>\n    <scene_description>A few journalists from the local press are busy adjusting their cameras and reporting in front of the stairs of the ministry of justice.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-HALLWAY IN THE BACK OF THE COURT<\/stage_direction>\n    <scene_description>Each escorted by a guard, Rahil and Zain are waiting in front of the back entrance of the courthouse. Zain keeps his head down while trying to avoid Rahil's heavy gaze.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-COURTROOM<\/stage_direction>\n    <scene_description>A chaotic atmosphere fills the room. Zain follows Nadine, his lawyer. Nadine is dressed in her attorney attire and holds a bag. She sits next to him. Nadine stares at Zain's parents, while Rahil looks sad and lost in her thoughts.<\/scene_description>\n    <character>THE JUDGE (ADDRESSES THE PEOPLE IN THE<\/character>\n    <dialogue>ROOM)<\/dialogue>\n    <scene_description>Court's in session.<\/scene_description>\n    <character>THE JUDGE (ADDRESSING ZAIN)<\/character>\n    <dialogue>Zain El Hajj.<\/dialogue>\n    <character>THE JUDGE (ADDRESSING THE GUARD)<\/character>\n    <dialogue>Uncuff him and let him approach the bench.<\/dialogue>\n    <scene_description>Zain stands up to get closer to the bars. The guard uncuffs him.<\/scene_description>\n    <character>THE JUDGE<\/character>\n    <dialogue>Souad and Selim Al Hajj.<\/dialogue>\n    <character>SOUAD<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Souad and Selim stand up and get closer.<\/scene_description>\n    <character>THE JUDGE<\/character>\n    <dialogue>The plaintiff is in custody. He is present and uncuffed. Show me your hands. Also present... His attorney, Nadine Al Aalam. Also present, the defendants... Selim and Souad Al Hajj, and their attorney, Saiid Tamer. Do you know why you are here, Souad?<\/dialogue>\n    <character>SOUAD<\/character>\n    <dialogue>I know why I'm here, your Honor.<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>SOUAD<\/character>\n    <dialogue>I know that my son is serving time in prison, but not why he's dragging us back here.<\/dialogue>\n    <character>SELIM<\/character>\n    <dialogue>We're floor mats, anyone can sue us!<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>You were a witness in Zain's previous trial, right?<\/dialogue>\n    <character>SELIM<\/character>\n    <dialogue>Yes<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>Did you testify?<\/dialogue>\n    <character>SELIM<\/character>\n    <dialogue>Yes<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>And now you are the accused. Do you know what Zain was convicted of?<\/dialogue>\n    <character>SOUAD<\/character>\n    <dialogue>Zain did something childish and was put in jail for it.<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>Childish? He was sentenced to five years! He committed a crime. Childish? Anyway... How old are you, Zain?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>I don't know? Ask them.<\/dialogue>\n    <scene_description>Souad puts her head down and avoids looking at the lawyer. Nadine steps closer to the judge and presents the forensic doctor's medical certificate.<\/scene_description>\n    <character>NADINE (PRESENTS THE REPORT)<\/character>\n    <dialogue>Your Honor, Zain has no birth certificate, and has never been registered with the state. And his parents apparently don't know his exact date of birth... Here's the medical examiner's report that states that Zain was approximately 12 years old at the time of the incident.<\/dialogue>\n    <character>THE JUDGE (WHILE LOOKING AT THE REPORT)<\/character>\n    <dialogue>So he's 12 years old?<\/dialogue>\n    <character>NADINE<\/character>\n    <dialogue>Correct.<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>Where do you live, Zain?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Roumieh Prison for Juveniles.<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>Arrested on June 15, you're serving your sentence. Do you know why?<\/dialogue>\n    <character>ZAIN (WITH BITTERNESS)<\/character>\n    <dialogue>Because I stabbed a sonofabitch.<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>You stabbed someone?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Yes, a sonofabitch.<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>Really? You're insisting?<\/dialogue>\n    <scene_description>People in the courtroom start laughing.<\/scene_description>\n    <character>THE JUDGE<\/character>\n    <dialogue>No laughing in court! What's all this fuss you've caused? On TV and the media, your phone call from prison? Know why you're here?<\/dialogue>\n    <character>ZAIN (WITH BITTERNESS)<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>I want to sue my parents.<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>Why do you want to sue your parents?<\/dialogue>\n    <character>ZAIN (WITH SAD LOOK IN HIS EYES)<\/character>\n    <dialogue>Because I was born.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-PHARMACY<\/stage_direction>\n    <scene_description>Zain goes to the neighborhood pharmacy.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>PHARMACIST<\/character>\n    <dialogue>Good morning.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>I want two packs of Tramadol.<\/dialogue>\n    <character>PHARMACIST<\/character>\n    <dialogue>You need a prescription.<\/dialogue>\n    <scene_description>Zain gives the pharmacist the wrinkled prescription<\/scene_description>\n    <character>PHARMACIST<\/character>\n    <dialogue>Who's this medicine for?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>My mother<\/dialogue>\n    <character>PHARMACIST<\/character>\n    <dialogue>Why didn't she come herself?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>She had a stomach operation.<\/dialogue>\n    <scene_description>Zain runs to another pharmacy and asks for Tramal while giving another excuse.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>She broke her back.<\/dialogue>\n    <character>SECOND PHARMACIST<\/character>\n    <dialogue>Her doctor wrote this?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>SECOND PHARMACIST<\/character>\n    <dialogue>Couldn't your father come instead?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>He's paralyzed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-ZAIN'S HOME<\/stage_direction>\n    <scene_description>Zain's little sister, a one year old girl has her leg chained. Meanwhile, Zain and his other sister empty the boxes of Tramal drugs in a basin full of water. His mother Souad minces the Tramal. Sahar stirs the water. Zain puts soaks clothes in the basin. Close by, the toddler starts to play with the empty boxes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-BALCONY<\/stage_direction>\n    <scene_description>Laundry hanging, drying in the wind.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-ZAIN'S HOME<\/stage_direction>\n    <scene_description>Souad puts make up and gets ready to leave the house. A crying child is heard in the background. While Souad and Zain are packing things up, she hits him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-PUBLIC TRANSPORTATION BUS<\/stage_direction>\n    <scene_description>Souad poorly dressed, sits in the back of a crowded bus and smokes a cigarette. Her one year old little girl is sitting on her lap, while Zain is standing next to them and looking at his mother.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY- PRISON ENTRANCE<\/stage_direction>\n    <scene_description>Zain and Souad, short of breath, are walking, among several other women, carrying heavy bags and heading to the prison entrance. Zain looks exhausted.<\/scene_description>\n    <character>OFFICER<\/character>\n    <dialogue>Who are you here to see?<\/dialogue>\n    <character>SOUAD<\/character>\n    <dialogue>My son.<\/dialogue>\n    <character>OFFICER<\/character>\n    <dialogue>His name?<\/dialogue>\n    <character>SOUAD<\/character>\n    <dialogue>Ibrahim El Hajj.<\/dialogue>\n    <character>OFFICER<\/character>\n    <dialogue>Ibrahim El Hajj?<\/dialogue>\n    <character>SOUAD<\/character>\n    <dialogue>Yes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY- PRISON COURTYARD<\/stage_direction>\n    <scene_description>We see laundry hanging through the steel bars of several windows. They are hanging on a cracked fa\u00e7ade of an old building. A man calls Souad from one of the prison windows. Souad looks up to spot the guy. She is holding her daughter in a hand and bags in another. Zain looks up and smiles at his cousin.<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>Aunt Souad? Over here!<\/dialogue>\n    <character>SOUAD<\/character>\n    <dialogue>Who's that? Massoud? How are you?<\/dialogue>\n    <character>MASSOUD<\/character>\n    <dialogue>How are you, my darling?<\/dialogue>\n    <character>SOUAD<\/character>\n    <dialogue>Isn't my son Ibrahim with you?<\/dialogue>\n    <character>MASSOUD<\/character>\n    <dialogue>No, they took him to another cell!<\/dialogue>\n    <scene_description>The one year old makes babbling sound.<\/scene_description>\n    <character>SOUAD<\/character>\n    <dialogue>She's trying to talk to you! Wave him goodbye. Wave. Zain, wave to your cousin.<\/dialogue>\n    <scene_description>Zain waves at his cousin, who waves back at him.<\/scene_description>\n    <character>SOUAD<\/character>\n    <dialogue>Are all your brothers with you?<\/dialogue>\n    <character>MASSOUD<\/character>\n    <dialogue>Yes, everyone!<\/dialogue>\n    <character>SOUAD (WITH A SMILE)<\/character>\n    <dialogue>God bless you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-PRISON SECURITY CHECK<\/stage_direction>\n    <scene_description>The officer empties the bags and carefully checks the clothes. Souad looks worried. Another officer is checking whether Zain is hiding anything illegal.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-PRISON PARLOR<\/stage_direction>\n    <scene_description>Souad and Zain pass by a long line of visitors, talking on the phones. Their combined voices create a loud noise in the corridor. Souad lays down her baby girl and smokes a cigarette, while Zain is standing next to her. On the other side of the glass windows where the inmates sit, a young man holds the telephone and speaks to Souad.<\/scene_description>\n    <character>IBRAHIM (OVER THE TELEPHONE)<\/character>\n    <dialogue>Mom, we raised the price to $15 a shot now. Our hands are messed up from wringing out the clothes.<\/dialogue>\n    <character>SOUAD (SPEAKING ON THE PHONE TO HER<\/character>\n    <dialogue>SON)<\/dialogue>\n    <scene_description>So now our special juice is worth more than a kilo of meat!<\/scene_description>\n    <character>SOUAD (WITH PRIDE)<\/character>\n    <dialogue>Good for you!<\/dialogue>\n    <scene_description>Chaos fills the hall. The mother is still talking to her son but we can't hear the conversation anymore. The little girl is playing with a toy, while Zain, who seems sad, is lost in his thoughts.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-IN FRONT OF ASSAD'S MARKET<\/stage_direction>\n    <scene_description>In the mid-day heat, Zain is struggling to unload heavy gallons from a little truck. A young man in his twenties, Assad appears behind him.<\/scene_description>\n    <character>ASSAD<\/character>\n    <dialogue>Hurry up! Let's go.<\/dialogue>\n    <scene_description>While Zain carries boxes, a small van passes by. The kids' backpacks are tied outside of the van onto the bumper and the side mirrors. The van stops, not far from Zain. A young lady gets down making way for the children to exit. The lady gets in the van again while looking disappointed at Zain.<\/scene_description>\n    <character>STUDENT<\/character>\n    <dialogue>Do we have a test tomorrow?<\/dialogue>\n    <character>THE YOUNG LADY<\/character>\n    <dialogue>Check your notebook.<\/dialogue>\n    <scene_description>Zain puts two gallons of water in an old stroller. He is getting ready to leave the market when Assad hands him two cartons of cigarettes.<\/scene_description>\n    <character>ASSAD<\/character>\n    <dialogue>These are for your mother... And these are for my beautiful Sahar. I miss her.<\/dialogue>\n    <scene_description>In another bag, Assad puts ramen noodles and liquorice.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>ASSAD<\/character>\n    <dialogue>Take care.<\/dialogue>\n    <scene_description>Zain leaves carrying all the bags.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.AFTERNOON-THE NEIGHBORHOOD<\/stage_direction>\n    <scene_description>On his way, he angrily throws the bag of snacks in a carton box on the street and heads home. A confused man is seen checking what Zain threw. Zain crosses a crammed street in his poor neighborhood, filled with old buildings and lower-class people.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.AFTERNOON-ZAIN'S DECREPIT BUILDING<\/stage_direction>\n    <scene_description>Zain gets inside the building, while a young girl was standing outside. Zain climbs the dark and dirty stairs of an old building with cracked walls. Dirty water is dripping down the steps, and he can hear a child's loud screams as he walks up the stairway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.AFTERNOON-ZAIN'S HOME<\/stage_direction>\n    <scene_description>Souad is cursing and mopping the floor filled with water.<\/scene_description>\n    <character>SOUAD<\/character>\n    <dialogue>Assaad's father, that asshole. Every time he fills the water tank, we drown because of his rotten pipes! That bastard thinks we owe him for letting us live here for free.<\/dialogue>\n    <scene_description>A young girl is holding a broom, while two older ones are helping their mother get rid of the water filling up the house. The door is open. Zain knocks on a door using his head. He is holding the grocery bags with his hands.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Sahar!<\/dialogue>\n    <character>SOUAD (ANGRILY)<\/character>\n    <dialogue>This isn't a house, it's a pigsty! To hell with you all.<\/dialogue>\n    <scene_description>Sahar opens the door and helps her brother with the water gallons.<\/scene_description>\n    <character>SOUAD (SHOUTING AT HER DAUGHTERS)<\/character>\n    <dialogue>Get out of here. You'll all be electrocuted! Out! This house is a curse!<\/dialogue>\n    <scene_description>In the corner of the room, Selim, Zain's father is sitting on a chair while his wife is cursing and two of their daughters are sitting on a wretched and dirty couch.<\/scene_description>\n    <character>SELIM (REPLYING TO SOUAD)<\/character>\n    <dialogue>So go live on the street, there's plenty of room!<\/dialogue>\n    <scene_description>Zain's little sister is loudly crying. Her foot is chained.<\/scene_description>\n    <character>SOUAD (SHOUTING AT ZAIN)<\/character>\n    <dialogue>Zain, why are the vegetables rotten? Did you upset Assaad?<\/dialogue>\n    <scene_description>Zain stands up and unties his little sister's foot. He holds her and takes her to another room. She stops crying.<\/scene_description>\n    <character>SAHAR<\/character>\n    <dialogue>Zain, did he give you liquorice and ramen for me?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.NIGHT- NEIGHBORHOOD TOP VIEW<\/stage_direction>\n    <scene_description>Top view showing old, poor, unorganized neighborhood and cracked buildings.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.NIGHT-ZAIN'S HOME<\/stage_direction>\n    <scene_description>A curtainless window is covered with a bed sheet. An old teddy bear is on a chair in a dark room. Behind the curtains we hear the parents having sex. Zain and his little sister are still awake with their eyes wide open. Zain switches to the other side and signals his sister not to speak.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY- ZAIN'S HOME<\/stage_direction>\n    <scene_description>In the other room, Zain's six sisters and brothers are helping their mother squeeze the juice.<\/scene_description>\n    <character>LITTLE SISTER<\/character>\n    <dialogue>Wake up, Zain!<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>It's dawn.<\/dialogue>\n    <dialogue>Leave me the fuck alone!<\/dialogue>\n    <character>LITTLE SISTER<\/character>\n    <dialogue>Wake up, you donkey!<\/dialogue>\n    <scene_description>When he wakes up, Zain discovers a bloodstain on the mattress next to him. He smells it then checks whether he injured his arm. He becomes worried and lost in thought.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-STREET<\/stage_direction>\n    <scene_description>Zain and his sisters are heading to the sidewalk holding pails and buckets. He is also holding a rectangular piece of wood.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-SIDEWALK<\/stage_direction>\n    <scene_description>In a crowded street of this neighborhood, Zain squeezes lemon in the cups filled with carrots vegetables lined up in front of him, while his little sister eats a mankoushe. He sits on the sidewalk next to one of his sisters, while another one is heard crying.<\/scene_description>\n    <character>ZAIN (SINGING TO PROMOTE THE JUICE)<\/character>\n    <dialogue>Juice of all juices, for multiple uses!<\/dialogue>\n    <scene_description>A boy buys one cup. Sahar is holding her youngest sister. The two other sisters, are selling cups of juice, while Zain is sitting and lost in his thoughts.<\/scene_description>\n    <character>ZAIN (TO SAHAR)<\/character>\n    <dialogue>Come here, Sahar. What's this blood on your shorts?<\/dialogue>\n    <character>SAHAR (LOOKING AT HER SHORTS)<\/character>\n    <dialogue>What blood?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-STREET<\/stage_direction>\n    <scene_description>Zain drags his sister Sahar to a public restroom.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Hurry up.<\/dialogue>\n    <dialogue>Someone might see us.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-PUBLIC RESTROOMS<\/stage_direction>\n    <scene_description>In the dirty, broken down public restrooms, Zain is scrubbing his sister's underwear over the sink. Sahar is sitting on the toilet seat.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Remember what happened to your friend, Alia? Her mother locked her in the house until some pig came and took her away. If Mom finds out, she'll get rid of you. She'll give you to Assad.<\/dialogue>\n    <character>SAHAR<\/character>\n    <dialogue>But Assaad's really nice.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>He's a fart!<\/dialogue>\n    <character>SAHAR (NA\u00cfVE)<\/character>\n    <dialogue>But he gives me ramen and liquorice for free.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>He'll give you shit to eat! They'll give you to Assaad to get rid of you. We'll never see you again. He'll lock you up in a room full of rats, and cover the windows. You'll never go outside. Every three days, he'll give you a drop of water and expired ramen. Didn't you see his ear? A sewer rat bit him.<\/dialogue>\n    <scene_description>Sahar looks scared. Zain tries drying his sister's underwear.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Here, put this on.<\/dialogue>\n    <scene_description>He takes off his t-shirt, folds it and puts it in his sister's panties.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Are you done?<\/dialogue>\n    <character>SAHAR<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Here.<\/dialogue>\n    <character>SAHAR<\/character>\n    <dialogue>What do I do with this?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Put it here, in your panties.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-ASSAD'S MARKET<\/stage_direction>\n    <scene_description>Assad is working in his store. In the back of the grocery store, Zain hides a box of sanitary napkins under his t-shirt and pants while his sister is outside talking to Assad.<\/scene_description>\n    <character>ASSAD (OFF CAMERA)<\/character>\n    <dialogue>Your hair's so beautiful! Who did it? Hamada? Can I see? You done, chief?<\/dialogue>\n    <scene_description>Sahar is eating ramen noodles in front of Assad's market. Assad is standing in front of her smoking a cigarette.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Still have to stack the Pepsis. Mom's waiting for Sahar.<\/dialogue>\n    <character>ASSAD<\/character>\n    <dialogue>Stay a bit. I'm enjoying your sister.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>I'll bring her back.<\/dialogue>\n    <character>ASSAD<\/character>\n    <dialogue>I'll talk to your mom. Bye.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY- ROOFTOP<\/stage_direction>\n    <scene_description>Zain and Sahar are sitting next to each other's. Zain is drumming on an old trash bin. His sister is holding him tight and resting her head on her brother's shoulder. They start singing. A flock of birds passes. Sahar's short is drying under the sunlight. Buildings and balconies around them are in a very poor state. On a rooftop we see a young girl carrying a gallon. On a balcony, a group of children playing with papers. Zain and Sahar are holding a conversation. They stand up and stare into space.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-THE STREET<\/stage_direction>\n    <scene_description>Sahar and Zain are walking together. Sahar is eating Ramen Noodles.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Careful. Don't just throw the pads anywhere, I'll show you where to hide them. I'll show you? Got it?<\/dialogue>\n    <character>SAHAR<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>We see Zain and Sahar going down the street. Sahar is walking uncomfortably. She is scratching her backside because her short is still wet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.EVENING-SIDEWALK<\/stage_direction>\n    <scene_description>In a crowded street of this neighborhood, several plastic cups are filled with a vegetable juice colored like beets and lined up in front of Zain who sings funny Arabic rhymes promoting the juices that they are selling. Next to him, his little sister is selling juice to people walking by as well.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Beetroot juice, better than booze! Tomato juice, makes you loose! That's 250.<\/dialogue>\n    <character>THE LITTLE SISTER (SMILING AT CUSTOMER)<\/character>\n    <dialogue>Thank you, bye!<\/dialogue>\n    <scene_description>Next to them, Sahar is selling gum to the cars.<\/scene_description>\n    <character>SAHAR<\/character>\n    <dialogue>Here you go. God bless you.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Here, take two.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.NIGHT-SIDEWALK<\/stage_direction>\n    <scene_description>It is getting darker. Zain and his sisters are still sitting on the sidewalk. Sahar, who seems scared, is sitting alone in a corner. A man approaches her. With a sad look in his eyes, Zain is sitting on a rope and watching his sister.<\/scene_description>\n    <character>SAHAR (ADDRESSING THE MAN)<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>I wanna show you something.<\/dialogue>\n    <character>SAHAR<\/character>\n    <dialogue>Leave me alone.<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>Come on, just for a bit!<\/dialogue>\n    <character>SAHAR<\/character>\n    <dialogue>Get out of my face, creep.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.NIGHT-STREET<\/stage_direction>\n    <scene_description>Zain hits an older teenager in the street. His sister is behind him eating ramen noodles. Little kids are watching the scene.<\/scene_description>\n    <character>MAN (BACKGROUND)<\/character>\n    <dialogue>Drop it, Zain.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Don't fuck with me, asshole!<\/dialogue>\n    <scene_description>Zain grabs Sahar's arm and heads home.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.NIGHT-ZAIN'S HOME<\/stage_direction>\n    <scene_description>Zain's family is having dinner. They are eating a little meal by candlelight. Sahar is eating bread. Souad brings food to the table.<\/scene_description>\n    <character>SELIM<\/character>\n    <dialogue>What do you want to go to school for? Forget it. Keep working at Assaad's.<\/dialogue>\n    <character>SOUAD<\/character>\n    <dialogue>Why are you complicating things? Let him go and learn a word or two. Go sit next to your sister, but don't wake her up. Let him go to school. They'll give us some food and clothes.<\/dialogue>\n    <character>SELIM<\/character>\n    <dialogue>And what do we tell Assad?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Assaad? I'll talk to him. I'll go to school in the morning, and work for him in the afternoon.<\/dialogue>\n    <character>SOUAD<\/character>\n    <dialogue>Haven't you seen Zahra's son, Farid? He comes back from school loaded with stuff. We'll get mattresses, clothes for the kids...<\/dialogue>\n    <character>SELIM<\/character>\n    <dialogue>Shut up!<\/dialogue>\n    <character>SOUAD<\/character>\n    <dialogue>At least he'll eat there and bring food for his sisters. Leftovers from the fanciest hotels and weddings. It'll be good for all of us! Why are you being so stubborn?<\/dialogue>\n    <character>SELIM<\/character>\n    <dialogue>God willing, we'll see on Monday.<\/dialogue>\n    <character>SOUAD<\/character>\n    <dialogue>God willing?<\/dialogue>\n    <character>SELIM<\/character>\n    <dialogue>Want me to swear on the bread? I said ok. What if Assaad gets upset and kicks us out?<\/dialogue>\n    <character>SOUAD<\/character>\n    <dialogue>Don't worry, he's not gonna get upset. Zain can still go work for Assaad after school.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAWN-AERIAL VIEW NEIGHBORHOOD<\/stage_direction>\n    <scene_description>Sun is rising, cracked and old buildings are seen.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RESTROOM<\/stage_direction>\n    <scene_description>In the small broken down bathroom Zain, topless, is holding a small water bucket and washing up. Soap gets in his eyes while washing his face.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>God damn soap!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-IN FRONT OF ASSAD'S MARKET<\/stage_direction>\n    <scene_description>Assad smokes a cigarette and looks at Zain, who sits on the sidewalk and eats nuts. He seems in a bad mood.<\/scene_description>\n    <character>ASSAD (TO ZAIN IN AN ANNOYED TONE)<\/character>\n    <dialogue>What's your problem? Chill. Take a gas tank over to Emm Habib down the street.<\/dialogue>\n    <scene_description>Zain is mocking Assad behind his back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-STREET<\/stage_direction>\n    <scene_description>Zain takes a gas tank and struggles to drag it down the street. He makes way for the same school van to pass. Streets are full of graffiti and people.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.NIGHT-STREET<\/stage_direction>\n    <scene_description>Zain delivers another gas tank and struggles to drag it down the street. Noise can be heard loud and clear. The street looks busy.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.NIGHT-BAHIA'S SMALL SNACK<\/stage_direction>\n    <scene_description>Zain struggles to take the gas tank inside the small snack. He fixes it. Bahia is a veiled woman.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Mrs. Bahia, I'm done.<\/dialogue>\n    <character>BAHIA<\/character>\n    <dialogue>How much?<\/dialogue>\n    <character>ZAIN<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.RAINY DAY-STREET<\/stage_direction>\n    <scene_description>Zain is walking with a stroller filled with grocery bags to deliver under heavy rain. He is only wearing a t-shirt and red pants. He is thirsty. He opens his mouth to drink the rain water. He reaches an old building and gets inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY- OLD BUILDING<\/stage_direction>\n    <scene_description>In front of an old house door, stands a veiled woman who rushes to help Zain with the heavy grocery bags. The hall seems chaotic, with clothes and chairs hanging around.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY- ANOTHER OLD BUILDING<\/stage_direction>\n    <scene_description>Zain is delivering more grocery bags. This time, to a man in his 20s, who is smoking a cigarette. The man looks high. He tries to invite Zain over and holds his head to try to kiss him. Zain removes the man's head off him.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Get your fucking hands off me!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.EVENING-STREET<\/stage_direction>\n    <scene_description>Zain is holding bags and looking around him. Many people are walking around. We can hear motorcycle noises.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY-STAIRS OF ZAIN'S BUILDING<\/stage_direction>\n    <scene_description>The stairway is very chaotic and dirty. There are chickens clucking. He continues to go up till he sees one of his little sisters holding one chicken.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Where did these chickens come from? Who brought them?<\/dialogue>\n    <character>LITTLE SISTER<\/character>\n    <dialogue>Assaad. He's upstairs.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Assaad's upstairs?<\/dialogue>\n    <character>LITTLE SISTER<\/character>\n    <dialogue>Yes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-ZAIN'S HOME<\/stage_direction>\n    <scene_description>When he arrives to his doorway, he sees his other brothers and sisters playing with the chickens. He rushes and goes up and gets in a dark room. He looks through the half-open door to see Assad and Abou Assad (Assad's father) sitting on the couch. One of his young sisters is sitting on Selim's knees. He opens the door slightly more to see his sister Sahar, who's wearing a sequin dress and vulgar makeup, sitting next to Assad, who's wearing a shirt.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-KITCHEN<\/stage_direction>\n    <scene_description>Angry Zain enters the kitchen to see his mother preparing juice.<\/scene_description>\n    <character>ZAIN (ANGRILY)<\/character>\n    <dialogue>What's Assaad doing here?<\/dialogue>\n    <character>SOUAD (WHISPERING)<\/character>\n    <dialogue>Calm down. He's discussing the rent with your father.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>I'd bet my arm you're trading these chickens for Sahar.<\/dialogue>\n    <character>SOUAD<\/character>\n    <dialogue>Listen to me, wait...<\/dialogue>\n    <character>ZAIN (TALKING ABOUT ASSAD)<\/character>\n    <dialogue>Tell that sonofabitch he has no business here.<\/dialogue>\n    <character>SOUAD (GRABS ZAIN'S ARM)<\/character>\n    <dialogue>Understand what I'm saying?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Go tell him or I will.<\/dialogue>\n    <character>SOUAD<\/character>\n    <dialogue>Keep your voice down. I swear on your sisters, I swear to God... It's nothing, it's all in your head.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>So why's Sahar wearing makeup?<\/dialogue>\n    <character>SOUAD<\/character>\n    <dialogue>She's imitating me for fun.<\/dialogue>\n    <scene_description>One of his sisters is listening to the conversation from behind.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>When they finish their juice, I'm kicking them out.<\/dialogue>\n    <character>SOUAD (HOLDS HIS FACE)<\/character>\n    <dialogue>Listen, don't make me crazy, got it?<\/dialogue>\n    <character>ZAIN (WHILE HIS MOTHER KICKS HIM)<\/character>\n    <dialogue>Go tell him it's not happening. Tell him or else I will.<\/dialogue>\n    <character>SOUAD (KICKS ZAIN TO THE SLEEPING SPACE)<\/character>\n    <dialogue>I don't want to hear a word. Want them to kick us out? Shut up!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-LIVING ROOM<\/stage_direction>\n    <scene_description>Souad is holding the juice cups and comes inside to serve Assad and his father. Zain quickly runs and tries to eavesdrop to hear the discussion.<\/scene_description>\n    <character>SOUAD<\/character>\n    <dialogue>Welcome, dear neighbors! Abou Assad, please serve yourself.<\/dialogue>\n    <character>ABOU ASSAD<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>SOUAD (TO ASSAD)<\/character>\n    <dialogue>Here you go, Assaad.<\/dialogue>\n    <character>SOUAD (TO SAHAR)<\/character>\n    <dialogue>Take your sister and go inside, dear.<\/dialogue>\n    <scene_description>Sahar carries her little sister and leaves the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-BEHIND THE CURTAINS, SLEEPING SPACE<\/stage_direction>\n    <scene_description>Sahar comes in with her little sister. Zain looks at her angrily and removes the lipstick off her face with his hand.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Take that disgusting lipstick off your face. You look like a witch in that dress.<\/dialogue>\n    <scene_description>Sahar looks at her brother with a sad look in her eyes. Through a thin gap in the curtains, Zain tries to hear the rest of the discussion. He looks very sad.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-LIVING ROOM<\/stage_direction>\n    <scene_description>Souad is listening to the conversation and nodding while she is lost in her thoughts.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-LIVING ROOM<\/stage_direction>\n    <scene_description>The visitors left the house. Souad is smoking a cigarette. She is resting her head on her hand. She looks very sad and worried. Selim is looking down. Silence is prevailing. They are clearly thinking what they have done. A sequence of city shots<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-SLEEPING SPACE<\/stage_direction>\n    <scene_description>Zain is lying down in bed. He is thoughtful and sad.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.EVENING-BUILDINGS VIEW<\/stage_direction>\n    <scene_description>An evening shot of a few buildings showing the misery and poor environment. All the timeworn buildings have several water tanks on top of them. The walls look cracked.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.NIGHT-SLEEPING SPACE<\/stage_direction>\n    <scene_description>Lying down next to Sahar and between his brothers and sisters, Zain is unable to sleep, and is deeply pensive.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.NIGHT-RANDOM HOUSE<\/stage_direction>\n    <scene_description>Veiled woman hanging laundry on the balcony.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.NIGHT-OTHER RANDOM HOUSE<\/stage_direction>\n    <scene_description>Man sitting on an old terrace with a goofy young girl with a yellow dress dancing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAWN-STREET<\/stage_direction>\n    <scene_description>An upper shot of an empty street showing cars and a hanging cross.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MORNING-BUILDINGS<\/stage_direction>\n    <scene_description>Another shot, of a few buildings showing the misery and poor environment. All the timeworn buildings have several cable dishes on top of them. The walls look cracked. The sun is shining.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-BUILDINGS<\/stage_direction>\n    <scene_description>A shot of buildings, an electricity column, and a tower. Birds are hanging on the electricity column.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-ZAIN'S HOME<\/stage_direction>\n    <scene_description>Zain sitting on the ground with tears filling his eyes. He is deeply thinking.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-SLEEPING SPACE<\/stage_direction>\n    <scene_description>Old dirty slippers and shoes are scattered on the ground next to the sleeping mattress, where one of Zain's sisters is sleeping. Another two are sleeping and hugging each other's.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-LIVING ROOM<\/stage_direction>\n    <scene_description>Selim asleep on a couch with a whiskey glass and a burning cigarette are left on the table by his side.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-SLEEPING SPACE<\/stage_direction>\n    <scene_description>A little girl is eating powder milk directly from the box with a spoon. Around her lie more scattered shoes. Zain gets closer to her and signals her to stay quiet and not to make any noise so that no one wakes up. He holds a garbage bag. He removes his slippers. All his other sisters are crammed and asleep. He climbs carefully so he doesn't wake them up, and opens a drawer and takes some of Sahar's old underwears and puts them in the bag. He goes to another drawer and takes clothes. He finds a white dress between them. He keeps it inside. Zain comes closer to Sahar.<\/scene_description>\n    <character>ZAIN (WHISPERING IN SAHAR'S EAR)<\/character>\n    <dialogue>Sahar... Sahar! Wake up, we're going somewhere.<\/dialogue>\n    <character>SAHAR (TRYING TO WAKE UP)<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>I'll tell you later. Be ready when I come back. Don't tell anyone.<\/dialogue>\n    <scene_description>He picks the pile of clothes and puts the in the blue garbage bag. He takes a glimpse at her then goes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-LIVING ROOM<\/stage_direction>\n    <scene_description>He takes a few thousands liras from his father's wallet and takes the bag and leaves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-MARKET<\/stage_direction>\n    <scene_description>In the back of the market, Zain discreetly picks up some canned food, little bit of bread, sanitary napkins, and puts them in the same garbage bag. On his way out, he drops the actual garbage bags and keeps the one that contains clothes and food with him and leaves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-BUS STATION 83.<\/stage_direction>\n    <scene_description>In the noontime heat, carrying his bag, Zain runs to one of the parked busses at a bus station.<\/scene_description>\n    <character>ZAIN (TO THE DRIVER)<\/character>\n    <dialogue>How much to get to Cola Area?<\/dialogue>\n    <character>DRIVER<\/character>\n    <dialogue>1,000.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>If I put my sister in my lap, can you take us for 1,000?<\/dialogue>\n    <character>DRIVER<\/character>\n    <dialogue>Where's your sister?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>At home, I'll go get her now.<\/dialogue>\n    <character>DRIVER<\/character>\n    <dialogue>No problem, go and get her.<\/dialogue>\n    <scene_description>Zain runs back home.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-STAIRS OF ZAIN'S BUILDING<\/stage_direction>\n    <scene_description>Zain runs up the stairs quickly. He hears screaming and shouting.<\/scene_description>\n    <character>SAHAR (BEGGING AND CRYING)<\/character>\n    <dialogue>Please, don't make me go! I don't want to, I beg you! Please don't make me go!<\/dialogue>\n    <character>SOUAD (SCREAMING AT HER)<\/character>\n    <dialogue>If you come back, I'll beat the crap out of you.<\/dialogue>\n    <scene_description>Zain runs into Souad who is hurrying down the stairs pushing Sahar and carrying her girl's belongings by one hand, and in the other hand holding one of her toddlers.<\/scene_description>\n    <character>ZAIN (SHOUTING AT HIS MOTHER)<\/character>\n    <dialogue>Where are you taking her, you bastards? You're sending her to be that asshole's maid?<\/dialogue>\n    <character>SAHAR (SHE RUNS AND HIDES BEHIND HIM)<\/character>\n    <dialogue>I want to stay with my brother.<\/dialogue>\n    <character>SOUAD<\/character>\n    <dialogue>It's none of your business.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>She's just a kid, Mom!<\/dialogue>\n    <character>SOUAD (WHILE HITTING ZAIN)<\/character>\n    <dialogue>Mind your own business. Get out of the way! Butt out. Go down! One more move and I'll kill you. I know what you've been hiding. You were about to get us into deep shit.<\/dialogue>\n    <scene_description>Souad rushes down and hits Zain again. Zain then follows them back down and holds his sister's hand. They are fighting on the stairway.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>You want her to wipe that pig's ass!<\/dialogue>\n    <character>SOUAD<\/character>\n    <dialogue>Fuck off! Get out of my face! Go down! Let go of her!<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>She's not going to Assaad!<\/dialogue>\n    <scene_description>Zain takes Sahar and runs back to the house and closes the door. His mother follows them, opens the door, and drags Sahar by her hand.<\/scene_description>\n    <character>SOUAD<\/character>\n    <dialogue>You little bastard! Open the door, you little shit!<\/dialogue>\n    <character>SAHAR<\/character>\n    <dialogue>I don't want to go, Mom! I don't want to go! Leave me alone! I'm begging you, Mom! Don't make me go!<\/dialogue>\n    <scene_description>Souad puts her toddler down, hits Zain and shouts at him.<\/scene_description>\n    <character>SOUAD<\/character>\n    <dialogue>Sahar, come right now! Enough! Stop it, get the hell down!<\/dialogue>\n    <character>SAHAR<\/character>\n    <dialogue>I want to stay, I beg you.<\/dialogue>\n    <character>SOUAD<\/character>\n    <dialogue>Get downstairs! Downstairs! Get downstairs!<\/dialogue>\n    <character>SAHAR<\/character>\n    <dialogue>Mom, I beg you, please!<\/dialogue>\n    <character>SOUAD<\/character>\n    <dialogue>Little bastard.<\/dialogue>\n    <scene_description>Zain, on the ground, is in pain. He stands up and keeps on trying to stop his mother from sending her to Assad. Selim shows up and starts cursing and shouting.<\/scene_description>\n    <character>SELIM<\/character>\n    <dialogue>Damn you all!<\/dialogue>\n    <scene_description>He grabs Sahar and carries her on his back.<\/scene_description>\n    <character>SAHAR (CRYING)<\/character>\n    <dialogue>I don't want to go, Mom!<\/dialogue>\n    <character>SELIM<\/character>\n    <dialogue>Enough! Enough of this hell!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY- IN FRONT OF ZAIN'S BUILDING<\/stage_direction>\n    <scene_description>Selim grabs his daughter and gets on his moped. Souad puts Sahar and her belongings behind him while he gets ready to leave. Kids around them are crying.<\/scene_description>\n    <character>SELIM<\/character>\n    <dialogue>Put her on! One more word and I'll cut your tongue out!<\/dialogue>\n    <scene_description>Zain tries to stop the moped, while his mother is hitting him and shouting.<\/scene_description>\n    <character>SAHAR (HITTING HER FATHER)<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>Zain runs after them, while his mother is standing and looking at them from behind.<\/scene_description>\n    <character>ZAIN (SCREAMING)<\/character>\n    <dialogue>Sahar! Sahar!<\/dialogue>\n    <character>SOUAD<\/character>\n    <dialogue>Let her go!<\/dialogue>\n    <scene_description>Zain has tears in his eyes and a lump in his throat. A few neighbors step out to observe the scene from afar without reaction.<\/scene_description>\n    <character>ZAIN (WITH TEARS IN HIS EYES)<\/character>\n    <dialogue>Are you happy now?<\/dialogue>\n    <scene_description>Zain tries to break a wooden door. His mother starts shouting at him and hitting him.<\/scene_description>\n    <character>SOUAD<\/character>\n    <dialogue>Acting like a man now? I'll show you, you little piece of crap!<\/dialogue>\n    <scene_description>He runs away so she starts to follow him and shout. She grabs a slipper and throws it at him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-ON THE STREETS<\/stage_direction>\n    <scene_description>Zain is running on the street enraged, with tears in his eyes. BACK TO THE COURT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-COURTROOM<\/stage_direction>\n    <character>SELIM (WITH TEARS IN HIS EYES)<\/character>\n    <dialogue>To get her out of her misery. She's dead with us, your Honor. She barely has a bed to sleep in. She hardly eats or drinks, barely showers... Never watches TV. I thought, \"Marry her off. At least she'll have a bed.\" A real bed. With a blanket. She'll eat.<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>You didn't expect it would lead to this?<\/dialogue>\n    <character>SELIM (CRYING; ZAIN LOOKS AT HIM, SAD)<\/character>\n    <dialogue>No, never! I never meant for this to happen. Think I'm happy my son stabbed someone? Ever think that maybe all this is not our fault? I was born and raised this way. Why blame me? If I had the choice, I'd be a better man than all of you!<\/dialogue>\n    <character>DEFENSE LAWYER<\/character>\n    <dialogue>You can't speak this way.<\/dialogue>\n    <character>SELIM<\/character>\n    <dialogue>If you please... When I walk outside, I'll be covered with spit. People think I'm an animal. I never intended any of this. I was told: \"Without children, you're not a man.\" \"Your children will be your backbone.\" But they broke my back, broke my heart and humiliated me. I curse the day I got married. Why did I get myself into this?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-BUS<\/stage_direction>\n    <scene_description>Shots of the sky and clouds taken from inside. Lost in his thoughts, Zain sits in the bus with a sad look in his eyes. The bus stops and we can see an old man wearing a fake spider-man costume. The man (Harout), holds a cigarette in his hands and sits by Zain's side. Zain looks at him. He's surprised to see him there. Zain looks at him for a long time.<\/scene_description>\n    <character>HAROUT<\/character>\n    <dialogue>I'm not him, dear. I just look like him.<\/dialogue>\n    <character>ZAIN (STILL SURPRISED)<\/character>\n    <dialogue>Yeah, but there should be a spider there, not a cockroach. Right?<\/dialogue>\n    <character>HAROUT (SMOKING)<\/character>\n    <dialogue>I don't need a spider. I'm Cockroach-Man. What would I need a spider for? That's right. I'm Cockroach-Man.<\/dialogue>\n    <character>ZAIN (LOOKING OUTSIDE THE WINDOW)<\/character>\n    <dialogue>So how are you related to Spiderman?<\/dialogue>\n    <character>HAROUT<\/character>\n    <dialogue>How are we related? I'm his cousin.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>So you're his cousin?<\/dialogue>\n    <character>HAROUT<\/character>\n    <dialogue>That's right, I'm his cousin. What's your name?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Zain.<\/dialogue>\n    <character>HAROUT<\/character>\n    <dialogue>Hussein?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Zain!<\/dialogue>\n    <character>HAROUT<\/character>\n    <dialogue>Zain! Where are you going, Zain?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>To my grandma's.<\/dialogue>\n    <character>HAROUT<\/character>\n    <dialogue>Speak up.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>To my grandma's!<\/dialogue>\n    <character>HAROUT<\/character>\n    <dialogue>To your grandma's? She's lucky to have you. Nobody really cares about me. My life is...<\/dialogue>\n    <character>BUS DRIVER (TO HAROUT)<\/character>\n    <dialogue>Please, sir, your cigarette!<\/dialogue>\n    <character>HAROUT (TO THE DRIVER)<\/character>\n    <dialogue>Please. Slow down, sir. I'd like to get off here, please.<\/dialogue>\n    <scene_description>Zain sneaks on Harout's destination. He sees him entering an amusement park.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Wait, wait. Stop, sir. I'd like to get off here, too.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-IN FRONT OF AN OLD AMUSEMENT PARK<\/stage_direction>\n    <scene_description>A woman (Daad) is selling corn on her stand and shouting phrases to promote her corns and attract clients.<\/scene_description>\n    <character>DAAD<\/character>\n    <dialogue>Corn on the cob, God's favorite crop!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-AN OLD AMUSEMENT PARK<\/stage_direction>\n    <scene_description>Zain is searching for Harout around the park. Music is playing in the background.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Mr. Cockroach-Man?<\/dialogue>\n    <scene_description>Zain is still looking around; he is observing the amusement park rides while dragging his plastic bag behind him. He stops by one of the rides.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY- ON A FERRIS WHEEL RIDE<\/stage_direction>\n    <scene_description>Zain is sitting on a seat of the ferris wheel ride that rises above the floor. His eyes are filled with tears. We see shots of the sunrise taken from above. On the ground, Harout is smoking a cigarette and looking up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.NIGHT-FERRIS WHEEL<\/stage_direction>\n    <scene_description>We see a shot of a ferris wheel at night with colorful lights going on and off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-FERRIS WHEEL<\/stage_direction>\n    <scene_description>We see a shot of the ferris wheel in the morning.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-AMUSEMENT PARK<\/stage_direction>\n    <scene_description>Zain is sleeping on a plastic bag on the floor under one of the rides' seats, with ramen noodles pack in his hand. When awake, he eats the remains of the noodles, and then throws the empty packet on the ground. Then, he lies in one of the rides' seats, barefoot, facing a huge woman statue decorating and attached in the middle of the game.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-AMUSEMENT PARK<\/stage_direction>\n    <scene_description>Zain unbuttons the woman's shirt (the statue) and exposes her breasts, and then steps back to observe it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RESTAURANT WINDOW<\/stage_direction>\n    <scene_description>Rahil watches Zain from the window she is cleaning, and starts laughing. She has a hairnet and cleaning gloves on.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RESTAURANT<\/stage_direction>\n    <scene_description>Zain, who is holding his plastic bag, gets inside. He sees Rahil, who is sweeping the floor.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Is the owner here?<\/dialogue>\n    <character>RAHIL<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Is the owner here?<\/dialogue>\n    <character>RAHIL (SMILING)<\/character>\n    <dialogue>What do you want from him?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RESTAURANT TABLE<\/stage_direction>\n    <scene_description>Zain is eating a sandwich and drinking tea. In front of him sits Rahil, who gave him the food.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>I want to ask him for a job.<\/dialogue>\n    <character>RAHIL (WORRIED)<\/character>\n    <dialogue>What kind of job?<\/dialogue>\n    <character>ZAIN (SAD)<\/character>\n    <dialogue>Anything, really. I just need work.<\/dialogue>\n    <character>RAHIL<\/character>\n    <dialogue>What's your name?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Zain.<\/dialogue>\n    <character>RAHIL<\/character>\n    <dialogue>Zain?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>What's yours?<\/dialogue>\n    <character>RAHIL<\/character>\n    <dialogue>I'm Tigest.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-IN FRONT OF BAKERY<\/stage_direction>\n    <character>ZAIN (USING HANDS TO EXPLAIN)<\/character>\n    <dialogue>I could mop the floor, do the dishes...<\/dialogue>\n    <character>BAKER<\/character>\n    <dialogue>I really don't know...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-IN FRONT OF SNACK<\/stage_direction>\n    <scene_description>Desperate Zain is dragging his plastic bag and roaming the streets looking for a job. He stops by a snack. The employee offers him food but Zain refuses.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Do you have any work for me?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-ON THE STREET<\/stage_direction>\n    <character>ZAIN (TO A FISHERMAN)<\/character>\n    <dialogue>Do you need someone to help you hold your fishing rod?<\/dialogue>\n    <character>FISHERMAN<\/character>\n    <dialogue>Where are your parents? Your parents?<\/dialogue>\n    <scene_description>Zain doesn't reply. He looks the other way.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.EVENNING-IN FRONT OF A SNACK<\/stage_direction>\n    <scene_description>Several customers are standing and waiting for their orders.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Sir, do you have a juice or something for 250? Something for<\/dialogue>\n    <character>250?<\/character>\n    <dialogue>WORKER<\/dialogue>\n    <scene_description>Juice costs 1,000.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Have anything cheaper?<\/dialogue>\n    <character>WORKER<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Zain stands there and stares at the food.<\/scene_description>\n    <character>CUSTOMER (OFFERINGI ZAIN A SANDWICH)<\/character>\n    <dialogue>Take it... Take it. Go ahead, come on, just take it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.EVENING- AMUSEMENT PARK<\/stage_direction>\n    <scene_description>Zain heads back to the amusement park. He stares at the naked statue swinging around, with seats full of screaming kids. His eyes are bloodshot from fatigue and lack of sleep. Rahil is looking at him from above, while sweeping the floor. Then they exchange looks.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.NIGHT-AMUSEMENT PARK'S RESTROOMS<\/stage_direction>\n    <scene_description>Rahil works as a women's bathroom maid, She sits next to the sink. When a woman enters the bathroom, she stands up.<\/scene_description>\n    <character>RAHIL<\/character>\n    <dialogue>It's occupied, ma'am.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>It's occupied?<\/dialogue>\n    <character>RAHIL<\/character>\n    <dialogue>Yes, and this one's out of service.<\/dialogue>\n    <scene_description>Rahil is waiting for the woman to wash her hands. She holds tissues. We can see a box for tips, and a basket filled with candy. A loud noise comes out of one of the rides outside. We hear babbling coming from the stall that she said was not working. She climbs on the chair to check behind the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.NIGHT-BATHROOM STALL<\/stage_direction>\n    <scene_description>On top of the toilet seat, inside a basket used as a little bed, enclosed with two chairs, Yonas, Rahil's child is sleeping.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.NIGHT-AMUSEMENT PARK WOMEN WC<\/stage_direction>\n    <scene_description>Rahil closes the WC door and disappears inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.NIGHT- AMUSEMENT PARK'S RESTROOMS<\/stage_direction>\n    <scene_description>Rahil makes sure the door is closed so that no one can get inside by fixing it with a floor mop.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.NIGHT-BATHROOM STALL<\/stage_direction>\n    <scene_description>She breastfeeds her son. When Yonas looks at her and smiles, she kisses him on his cheek.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.NIGHT- AMUSEMENT PARK'S RESTROOMS<\/stage_direction>\n    <scene_description>Rahil is seen leaving the stall while her son is covered. She puts him in a trolley and struggles to cover it with her son's movements, then leaves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.NIGHT- AMUSEMENT PARK STAIRWAY<\/stage_direction>\n    <scene_description>She carries the trolley and goes upstairs to leave the park.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.NIGHT-SIDEWALK<\/stage_direction>\n    <scene_description>Looking anxious, Rahil walks down the sidewalk and drags a trolley behind her while carrying plastic bags. Zain follows her. She hears Zain's voice from behind.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Tigest? Tigest? Do you have any food? Please.<\/dialogue>\n    <scene_description>Rahil looks at Zain from head to toe. Then she thinks whether she should take him home with her or not.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RAHIL'S BATHROOM<\/stage_direction>\n    <scene_description>On an old bathroom floor, Rahil gives Yonas and Zain a shower. After shower, Zain is covered in a towel, while she dries her son with another one. Zain is scanning the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.NIGHT-RAHIL'S HOME<\/stage_direction>\n    <scene_description>Zain is wearing a jacket having dinner quietly. Rahil sits in front of him while Yonas sits on her knees. He babbles.<\/scene_description>\n    <character>RAHIL<\/character>\n    <dialogue>Zain.<\/dialogue>\n    <scene_description>Rahil kisses Yonas, who puts his hand inside her t-shirt because he is used to her breastfeeding him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.NIGHT-RAHIL'S HOME<\/stage_direction>\n    <scene_description>In the dark, Rahil takes out some cash from one of the copper bars of her bed. She counts the money using her cell phone's light. She seems thoughtful. Further down the room, with his eyes half open, Zain observes her without her knowing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-STREET<\/stage_direction>\n    <scene_description>A shot of an old man is sipping coffee on a table in a small, unorganized store.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-POOR NEIGHBORHOOD<\/stage_direction>\n    <scene_description>A shot of two veiled women carrying heavy objects on their back and walking in an extremely poor neighborhood. The houses are made of plastic, aluminum, and wooden pieces, with no basis. They seem in a very bad condition. Two kids are playing around.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RAHIL'S BATHROOM<\/stage_direction>\n    <scene_description>On top of the sink, there is a bottle full of milk. We see Rahil with her back turned and breast pumping a second bottle of milk.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RAHIL'S HOME<\/stage_direction>\n    <scene_description>Annoyed Zain is sitting on the couch, while Yonas is heard babbling and playing in an inflatable pool. Zain turns one of the toys that emit sound and lights on to distract Yonas who directly starts moving his hands and dancing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RAHIL'S BATHROOM<\/stage_direction>\n    <scene_description>Rahil pretends to be getting ready. She observes Zain from the corner of her eye through the gap of the bathroom door that she kept slightly open. Zain seems to be very comfortable with Yonas. She grabs the bottles and leaves the bathroom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RAHIL'S HOME<\/stage_direction>\n    <character>RAHIL (WHILE CARRYING YONAS)<\/character>\n    <dialogue>Zain, the milk's here. Give him the first bottle at 11(she shows him number eleven on the clock), and the other one at 2 (shows him the number two)... I'll be back at 3.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-BATHROOM<\/stage_direction>\n    <scene_description>Rahil is getting ready in front of the mirror. Using her black kohl, she draws a beauty mark on her cheek. Next to her is an ID with the picture of a woman with the same visible beauty mark on her face.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RAHIL'S HOME<\/stage_direction>\n    <scene_description>She burns some incense, takes her son from Zain's arms, kisses him and places him in the inflatable pool. She whispers some tender words in Ethiopian asking him to be a good boy and not to give Zain a hard time.<\/scene_description>\n    <character>RAHIL (CARRIES YONAS AND CLOSES WINDOW)<\/character>\n    <dialogue>Don't leave the house, ok? Please don't let Yonas cry a lot. Our<\/dialogue>\n    <scene_description>neighbor's a pain.<\/scene_description>\n    <character>RAHIL (SPEAKING ETHIOPIAN TO HER CRYING<\/character>\n    <dialogue>SON)<\/dialogue>\n    <scene_description>Stay with your friend. I'll be back, Yoni. This is your new friend now, okay? Zain is your new friend.<\/scene_description>\n    <character>RAHIL (SWINGING YONAS IN HER ARMS)<\/character>\n    <dialogue>Are you sleepy?<\/dialogue>\n    <scene_description>She breastfeeds her son one last time before she leaves. Zain looks the other way. We hear her neighbor's loud shouting outside. Rahil observes Zain without his knowing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RAHIL'S HOME<\/stage_direction>\n    <scene_description>Yonas is sobbing. Zain grabs some biscuits and puts them in a plastic plate for Yonas and keeps some for himself. Then, he opens the window and looks outside, while Yonas eats the biscuits. Later on, Zain feeds Yonas the milk.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RESTAURANT KITCHEN<\/stage_direction>\n    <scene_description>Rahil is energetically cleaning the plates. She chats with her Ethiopian colleague about her working permit.<\/scene_description>\n    <character>COLLEAGUE (SPEAKING ETHIOPIAN)<\/character>\n    <dialogue>Tell him you don't have that kind of money.<\/dialogue>\n    <character>RAHIL (SPEAKING ETHIOPIAN)<\/character>\n    <dialogue>I did, but he said no less than $1,500. I have to get a new one soon, mine is about to expire.<\/dialogue>\n    <character>COLLEAGUE (SPEAKING ETHIOPIAN)<\/character>\n    <dialogue>Do it right away, you'll be in real trouble without a permit. A lot of girls are getting arrested now, sometimes in the middle of the night.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.NIGHT-RAHIL'S HOME<\/stage_direction>\n    <scene_description>Zain, wearing dishwashing gloves tries to change Yonas's diapers with a disgusted look on his face. Yonas is not sitting still; he is moving around and standing up.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>You smell like shit, you little shit. Stop! Sit down. Sit down!<\/dialogue>\n    <scene_description>Yonas is sobbing, so Zain turns the toy on. The child starts dancing.<\/scene_description>\n    <character>ZAIN (BECAUSE YONAS IS MOVING AROUND)<\/character>\n    <dialogue>It slipped. (Referring to the diaper)<\/dialogue>\n    <scene_description>Zain is drumming on the back of a cooker to entertain Yonas, who starts imitating him.<\/scene_description>\n    <character>ZAIN (SINGING TO YONAS AND SWINGING HIM)<\/character>\n    <dialogue>Go to sleep, go to sleep... Come on, sleep.<\/dialogue>\n    <scene_description>Zain falls asleep inside the inflatable pool, while Yonas stays up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RESTAURANT KITCHEN<\/stage_direction>\n    <scene_description>At the end of her shift, Rahil finishes washing the last dish. She looks around to see if someone was looking at her. She takes a box of a cake, and hides it in an empty garbage bag. 111. IN FRONT OF AMUSEMENT PARK 111. Rahil passes in front of the entrance of the amusement park. When Rahil waves Daad goodbye, she invites her over corn.<\/scene_description>\n    <character>DAAD<\/character>\n    <dialogue>Have some corn, darling!<\/dialogue>\n    <scene_description>Harout is being animated as usual. He has a cigarette hanging out of his mouth. He tries to attract people passing by.<\/scene_description>\n    <character>RAHIL<\/character>\n    <dialogue>Bye, Harout.<\/dialogue>\n    <character>HAROUT<\/character>\n    <dialogue>Come on in, everybody! Welcome!<\/dialogue>\n    <character>DAAD<\/character>\n    <dialogue>It's sizzling hot! Sizzling!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.AFTERNOON-BUS<\/stage_direction>\n    <scene_description>Rahil is sitting at the back of the bus with the cake on her lap. She takes out a tissue from her pocket where she had saved a used candle. She sticks it on top of the cake while smiling.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.LATE AFTERNOON-STREET<\/stage_direction>\n    <scene_description>Rahil is walking home in a dirty and busy street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.LATE AFTERNOON-NEIGHBORHOOD<\/stage_direction>\n    <scene_description>Rahil is walking through a narrow poor neighborhood.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.LATE AFTERNOON-RAHIL'S HOME<\/stage_direction>\n    <scene_description>She arrives home to find her son and Zain both asleep in the inflatable pool.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.LATE AFTERNOON-RAHIL'S HOME<\/stage_direction>\n    <scene_description>In the dark, Rahil is sitting in front of the cake with the burning candles that light up Zain's face, who's showing neither a happy, nor sad expression.<\/scene_description>\n    <character>RAHIL (ADDRESSING YONAS)<\/character>\n    <dialogue>Blow, blow.<\/dialogue>\n    <character>RAHIL (ADDRESSING ZAIN)<\/character>\n    <dialogue>Blow it out, Zain.<\/dialogue>\n    <scene_description>Rahil claps her hands for Zain, who smiles at her. Yonas imitates Rahil and claps with her, so they both smile and she kisses her son. His face is glowing the candlelight. Zain eats a piece of cake.<\/scene_description>\n    <character>RAHIL (YONAS SLEEPING ON HER CHEST)<\/character>\n    <dialogue>How old are you, Zain?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>I don't know, maybe 12.<\/dialogue>\n    <character>RAHIL<\/character>\n    <dialogue>How many brothers and sisters do you have?<\/dialogue>\n    <character>ZAIN (SARCASTIC)<\/character>\n    <dialogue>A lot.<\/dialogue>\n    <character>RAHIL<\/character>\n    <dialogue>Don't you miss them?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>I do. I miss my sister Sahar the most.<\/dialogue>\n    <character>RAHIL<\/character>\n    <dialogue>Where's your sister now?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>With her husband.<\/dialogue>\n    <character>RAHIL<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>We brought a drum and tambourine, and had a big wedding on the street. They threw rice and roses from balconies.<\/dialogue>\n    <character>RAHIL<\/character>\n    <dialogue>Sounds great.<\/dialogue>\n    <scene_description>BACK TO THE COURT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-COURTROOM<\/stage_direction>\n    <character>RAHIL<\/character>\n    <dialogue>Rahil Eresa.<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>Your family name?<\/dialogue>\n    <character>RAHIL<\/character>\n    <dialogue>Shifaraw.<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>Do you know why you're in custody? Why you're handcuffed?<\/dialogue>\n    <character>RAHIL<\/character>\n    <dialogue>Because I don't have a permit.<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>You don't have a residency permit? Where were you working?<\/dialogue>\n    <character>RAHIL<\/character>\n    <dialogue>I worked for a madame for six years.<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>And then you left? Wasn't she good to you? Did she hit you?<\/dialogue>\n    <character>RAHIL<\/character>\n    <dialogue>No, she was good to me, but I fell in love with someone... I was expecting, so I left...<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>You were what?<\/dialogue>\n    <character>RAHIL<\/character>\n    <dialogue>I was expecting a baby, so I left.<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>Expecting? You speak Arabic well. Understand everything I'm saying?<\/dialogue>\n    <character>RAHIL<\/character>\n    <dialogue>Yes, I understand.<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>So no need for a translator?<\/dialogue>\n    <character>RAHIL<\/character>\n    <dialogue>No need.<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>You left so she wouldn't find out?<\/dialogue>\n    <character>RAHIL<\/character>\n    <dialogue>I was afraid the police would take my son away and deport me. That's why I didn't tell anyone.<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>So you'd leave Yonas with Zain when you went to work. Was he taking good care of your baby? Never thought he might harm him?<\/dialogue>\n    <character>RAHIL<\/character>\n    <dialogue>I was a little scared the first couple of days, but then I started to really trust him.<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>You never expected Zain could do what he did?<\/dialogue>\n    <character>RAHIL<\/character>\n    <dialogue>Never. They were like brothers. But I don't blame Zain, because I know what Aspro is like.<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>Who is this Aspro?<\/dialogue>\n    <character>RAHIL<\/character>\n    <dialogue>The man who forged my permit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-SUNDAY FLEA MARKET<\/stage_direction>\n    <scene_description>Rahil is walking through the narrow alleys of the souks where several kiosks are selling a little bit of everything\u2026 counterfeit merchandise, electronics, watches, and cheap kinky underwear. The people attending this market are the lower class foreign workers including poorly dressed immigrant construction workers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-IN FRONT OF A CELL PHONE ACCESSORIES STORE<\/stage_direction>\n    <scene_description>Rahil approaches a kiosk that sells accessories and gadgets. Behind the counter Aspro, a forty-year-old man, who has one blue eye and one brown eye, and the look of a crook. When he sees Rahil he speaks sarcastically. Rahil seems scared and weak.<\/scene_description>\n    <character>ASPRO<\/character>\n    <dialogue>Didn't I say I'd only give you till today?<\/dialogue>\n    <character>RAHIL (WITH TEARS IN HER EYES)<\/character>\n    <dialogue>But I talked to my friend, and she only paid $900 for her permit.<\/dialogue>\n    <character>ASPRO<\/character>\n    <dialogue>Let your friend get you a permit.<\/dialogue>\n    <character>RAHIL<\/character>\n    <dialogue>No, I'm just wondering why it's so much more expensive?<\/dialogue>\n    <character>ASPRO<\/character>\n    <dialogue>Wait, wait, wait. Don't try to fasttalk me. Let me get a word in. I'm trying to help you. Who changed your name to Tigest? I did. Run over to your friend who says she can get it for $900. Don't act smart.<\/dialogue>\n    <character>RAHIL<\/character>\n    <dialogue>Please understand, I couldn't get $1,500.<\/dialogue>\n    <character>ASPRO (SHOWS RAHIL A PERMIT)<\/character>\n    <dialogue>Look at this? Does this look fake? No one will bother you with this. The woman who this belonged to... BOOM! Blew up in a million pieces. She had no one, no family. Nobody claimed the body. You wouldn't have to fake your beauty mark anymore.<\/dialogue>\n    <character>RAHIL<\/character>\n    <dialogue>Ok, but give me more time.<\/dialogue>\n    <character>ASPRO<\/character>\n    <dialogue>Sweetheart, I've already told you I can save you the $1,500. Just give me Yonas and your permit's free.<\/dialogue>\n    <character>RAHIL (ANGRY)<\/character>\n    <dialogue>Don't ever mention Yonas again, that will never happen. Never!<\/dialogue>\n    <character>ASPRO<\/character>\n    <dialogue>That boy lives like a fugitive here on this soil. If they ever find out about him, you'll both get expelled. You keep him underground like a rat. The boy never sees the sun, he'll never go to school. I want him to have a father and a mother. He'd still be your son. You could see him...<\/dialogue>\n    <character>RAHIL<\/character>\n    <dialogue>I know what's best for my son, how to hide him, I know how to<\/dialogue>\n    <scene_description>feed and care for him.<\/scene_description>\n    <character>ASPRO<\/character>\n    <dialogue>I'm telling you your boy is dead before he's even born! He doesn't exist. Even a ketchup bottle has a name. It has a production and expiration date.<\/dialogue>\n    <character>RAHIL<\/character>\n    <dialogue>I can't hear this anymore.<\/dialogue>\n    <character>ASPRO<\/character>\n    <dialogue>How much more money do you need?<\/dialogue>\n    <character>RAHIL<\/character>\n    <dialogue>500 dollars.<\/dialogue>\n    <character>ASPRO<\/character>\n    <dialogue>You still need $500? I can buy a human being with $500. So you don't say that Aspro ripped you off, I'm gonna reduce the price by $200. I'm giving you seven days. You either bring me the money, or your son. Or I don't want to see your pretty little face here again. Understand? So go ahead, take your time. As much fucking time as you want.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-STREET<\/stage_direction>\n    <scene_description>A shot of a dirty narrow street filled with puddles and small primitive rooms. We can see stray dogs roaming around.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-STREET<\/stage_direction>\n    <scene_description>Successive descriptive shots of Rahil's neighborhood.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RAHIL'S HOME<\/stage_direction>\n    <scene_description>Yonas is sobbing. Zain is looking outside the window. He sees the neighbor's TV through their open window and an animated series is playing. He adjusts the window so Yonas can watch the show through the reflection on the glass. Yonas starts watching and calms down a bit. Zain sits next to him and starts making dialogue with funny voices and creating a funny scenario inspired by his poor daily street life. Zain's fabricated scenario from the series includes a dialogue between two characters.<\/scene_description>\n    <character>ZAIN (ADDRESSING YONAS)<\/character>\n    <dialogue>Look.<\/dialogue>\n    <character>FUNNY VOICE<\/character>\n    <dialogue>\"Hello honeybunny.\" \"How are you, buddy?\"<\/dialogue>\n    <character>HEAVY VOICE<\/character>\n    <dialogue>\"How you doin', bro?\"<\/dialogue>\n    <character>FUNNY VOICE<\/character>\n    <dialogue>\"I saw you get wasted on that joint.\"<\/dialogue>\n    <character>HEAVY VOICE<\/character>\n    <dialogue>\"Me?\" \"Your mother's turning tricks.\" \"What a pothead!\"<\/dialogue>\n    <character>FUNNY VOICE<\/character>\n    <dialogue>\"You cocksucker!\" \"Cut the crap, dickhead.\"<\/dialogue>\n    <character>HEAVY VOICE (YONAS IS LAUGHING)<\/character>\n    <dialogue>\"You're the only asshole here!\"<\/dialogue>\n    <character>FUNNY VOICE<\/character>\n    <dialogue>\"Damn, your mother's ugly.\"<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RAHIL'S HOME<\/stage_direction>\n    <scene_description>Zain is drumming on the back of the cooker, while Yonas is dancing. We hear the neighbor from outside shouting and cursing at Rahil.<\/scene_description>\n    <character>NEIGHBOR<\/character>\n    <dialogue>Close your damn window! I'm sick of smelling your food.<\/dialogue>\n    <character>ZAIN (RAHIL GIGGLES)<\/character>\n    <dialogue>I'll fill her mouth with shit if she keeps harassing you Shall I open fire?<\/dialogue>\n    <scene_description>Rahil signals Zain to keep quiet.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>What a piece of shit, that bitch... Slut, whore, filthy...<\/dialogue>\n    <character>ZAIN (SHOUTS AT NEIGHBOR)<\/character>\n    <dialogue>Are you going to\u2026?<\/dialogue>\n    <scene_description>Rahil closes Zain's mouth before he gets them in troubles with the crazy neighbor. Both of them are giggling.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-BUS<\/stage_direction>\n    <character>RAHIL (SPEAKS ETHIOPIAN ON PHONE)<\/character>\n    <dialogue>Enough, just get me my salary! You said you knew the guy. You found me that job.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-STREET<\/stage_direction>\n    <scene_description>Rahil is walking down the street heading to a clothing store.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-CLOTHING STORE<\/stage_direction>\n    <character>ETHIOPIAN SALESWOMAN (SPEAKS ETHIOPIAN<\/character>\n    <dialogue>TO RAHIL)<\/dialogue>\n    <scene_description>I'm not the boss; I can't give you the money. If it was up to me, I would.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-BAKERY<\/stage_direction>\n    <character>RAHIL<\/character>\n    <dialogue>I'm Tigest, do you recognize me? Do you recognize me?<\/dialogue>\n    <character>BAKER (WITH SARCASM)<\/character>\n    <dialogue>Come back this afternoon, the manager will be here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-SNACK<\/stage_direction>\n    <scene_description>Seen through the window is Rahil, desperately trying to negotiate with the owner of the shop. She is then seen leaving the place with tears in her eyes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-BAKERY<\/stage_direction>\n    <scene_description>Rahil is cying. She asks a bakery manager for money but he refuses.<\/scene_description>\n    <character>MANAGER<\/character>\n    <dialogue>I don't give out advances and it's only the start of the month. You're illegal. I'm already risking a lot.<\/dialogue>\n    <character>RAHIL<\/character>\n    <dialogue>Please, I'll do anything you want.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RAHIL'S HOME<\/stage_direction>\n    <scene_description>Rahil burns some incense while Zain and Yonas are asleep in the inflatable pool.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.NIGHT-STREETS<\/stage_direction>\n    <scene_description>Rahil is walking down narrow and poor streets.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-IN FRONT OF THE MAIN ENTRANCE TO AN UPPER MIDDLE<\/stage_direction>\n    <scene_description>CLASS BLDG. 132. Rahil is waiting for somebody next to the garbage bin. A young concierge, steps out of the building holding several garbage bags and a crumbled envelope. While he pretends to throw out the garbage bags, he approaches Rahil.<\/scene_description>\n    <character>CONCIERGE<\/character>\n    <dialogue>I can't do anything for you, Rahil. You're going to ruin everything. Know what happens if they find out about us? They'll deport both you and the boy. Please leave, I'm only a doorman. They can replace me in a second.<\/dialogue>\n    <character>RAHIL<\/character>\n    <dialogue>Want to even see a picture of him?<\/dialogue>\n    <character>CONCIERGE<\/character>\n    <dialogue>No, I can't. I'm sorry, please go now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.NIGHT-RAHIL'S HOME<\/stage_direction>\n    <scene_description>Zain and Rahil are at home having dinner. Zain sings a funny song about hashish. Yonas, who's sitting on Rahil's knees, claps and babbles. Rahil seems worried.<\/scene_description>\n    <character>ZAIN (SINGING)<\/character>\n    <dialogue>Yes, I am the King of Hashish...<\/dialogue>\n    <scene_description>Unable to fall sleep, Rahil, who is deeply thinking, lies in bed with Yonas by her side.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-NEIHBORHOOD<\/stage_direction>\n    <scene_description>Rahil walks through a narrow neighborhood, where laundry is hanging outside, and a stray dog is looking at her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY- HAIR SALON<\/stage_direction>\n    <scene_description>Seen from behind, Rahil is sitting on a chair. We see the hairdresser cutting her hair off with scissors at the level of the clips.. Rahil's eyes fill up with tears. The hairdresser weighs the hair. On her way out of the salon, Rahil collects 300$ from the cashier.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-STREET<\/stage_direction>\n    <scene_description>On the street, Rahil heads home while touching and feeling her new short hair.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.NIGHT-RAHIL'S HOME<\/stage_direction>\n    <scene_description>On the mattress, Yonas is holding onto Rahil's neck playing with her short hair. Zain is lying down on the bed next to them.<\/scene_description>\n    <character>RAHIL<\/character>\n    <dialogue>What's the matter? Do I look different?<\/dialogue>\n    <scene_description>Rahil and Yonas giggle, while Zain is staring at the window, with tears in his eyes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RAHIL'S HOME<\/stage_direction>\n    <scene_description>While lying in bed at Rahil's house, Zain remembers a moment with his sister Sahar. They are looking outside the window, laughing, and chatting.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.NIGHT-RAHIL'S HOME<\/stage_direction>\n    <scene_description>Zain wipes his tears away. The laughs of Rahil and Yonas are heard in the background.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.NIGHT-RAHIL'S HOME<\/stage_direction>\n    <scene_description>After staring in the void, Rahil goes to count the money she was hiding, while making sure Zain doesn't see her. She hides them again in the same place.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RAHIL'S HOME<\/stage_direction>\n    <scene_description>While listening to Ethiopian music in her bathroom, Rahil gets ready to go. She brushes her hair and makes braids. In the other room, Zain makes funny faces while eating and sitting at the table to entertain Yonas, who is sitting in the inflatable pool. All dressed up, Rahil puts a scarf on, draws her beauty mark on her cheek, and carries Yonas to kiss him goodbye. She then put him back, so he starts sobbing.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Where are you going?<\/dialogue>\n    <character>RAHIL<\/character>\n    <dialogue>I'm going to call my mom, and then I need to go to Souk al Ahad.<\/dialogue>\n    <character>RAHIL (SPEAKING EHTIOPIAN WITH YONAS)<\/character>\n    <dialogue>You're not alone, Zain is here. You can play with him. Bye. (Yonas waves back)<\/dialogue>\n    <character>RAHIL<\/character>\n    <dialogue>Bye, Zain.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Bye.<\/dialogue>\n    <scene_description>After she leaves, Zain quickly gets up and goes to check inside the bar of her bed. He doesn't find the money, so he angrily goes back and sits on the chair.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-INTERNET CAF\u00c9<\/stage_direction>\n    <scene_description>In a cyber caf\u00e9 where foreign workers meet up, we can hear a mix of different languages loudly filling up the room. Rahil's face is glowing from the computer screen. She is wearing headphones and her eyes are filled with tears.<\/scene_description>\n    <character>RAHIL (CRYING, SPEAKING ETHIOPIAN)<\/character>\n    <dialogue>I can't send you any money this month. Because I'm taking English lessons, so I really can't. I'm so sorry, Mom. I can't ask Madame for money. She's been so good to me, I'm ashamed to ask. I love you so much, Mom.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.LATE AT NIGHT-RAHIL'S HOME<\/stage_direction>\n    <scene_description>Zain wakes up, takes a look around him, and is surprised to see that very late and Rahil hasn't come home yet. Yonas is sleeping next to him.<\/scene_description>\n    <character>ZAIN (LOOKING AROUND)<\/character>\n    <dialogue>Rahil? Rahil? Rahil?<\/dialogue>\n    <scene_description>He goes back to bed and covers Yonas with the blanket. He starts thinking.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RAHIL'S HOME<\/stage_direction>\n    <scene_description>Zain sits on the couch and angrily breaks a cassette.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RAHIL'S HOME<\/stage_direction>\n    <scene_description>Zain wakes Yonas up and dresses him up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-STREET<\/stage_direction>\n    <scene_description>Holding Yonas in his arms, Zain has difficulty walking in the street looking for Rahil. They get in a bus and go to Rahil's workplace.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>To Manara?<\/dialogue>\n    <character>BUS DRIVER<\/character>\n    <dialogue>Yes, get in.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-BUS<\/stage_direction>\n    <scene_description>When they get in, a black woman sitting in the bus looks at them shocked. Zain takes a seat, and puts Yonas on his knees.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RESTAURANT, RAHIL'S WORKPLACE<\/stage_direction>\n    <scene_description>Zain asks Rahil's colleague, an Egyptian employee at the restaurant about her.<\/scene_description>\n    <character>EGYPTIAN EMPLOYEE<\/character>\n    <dialogue>Haven't seen her since yesterday morning. I figured she's sick or something.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>She said she was going to Souk al Ahad, but hasn't come back.<\/dialogue>\n    <character>EGYPTIAN EMPLOYEE (YONAS ON HIS LAP)<\/character>\n    <dialogue>Maybe she went to Aspro?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Aspro? I don't know him.<\/dialogue>\n    <character>EGYPTIAN EMPLOYEE<\/character>\n    <dialogue>He has a stand in Souk al Ahad.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-HIGHWAY<\/stage_direction>\n    <scene_description>With Yonas in his arms, Zain walks on the side of the highway, and heads to Souk Al Ahad.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-FLEA MARKET TOP VIEW<\/stage_direction>\n    <scene_description>A top shot showing the flea market and the highway from above.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-FLEA MARKET<\/stage_direction>\n    <scene_description>Zain enters the flea market, still holding Yonas in his arms. He walks through various kiosks selling cheap clothing, grocery, etc.<\/scene_description>\n    <character>VENDOR (SHOUTING)<\/character>\n    <dialogue>Any sweater on the table for 2,000!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-FLEA MARKET STAND<\/stage_direction>\n    <scene_description>Zain approaches a stand that sells CDs, and asks the vendor about Aspro's location.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Sir, where's Aspro's stand?<\/dialogue>\n    <character>VENDOR<\/character>\n    <dialogue>Aspro's? It's over there.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Is that Aspro, Aspro?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-IN FRONT OF ASPRO'S STAND<\/stage_direction>\n    <scene_description>Zain reaches the stand. He is seen talking to Aspro.<\/scene_description>\n    <character>ASPRO (SURPRISED)<\/character>\n    <dialogue>Rahil? How are you related to Rahil?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>We're family.<\/dialogue>\n    <character>ASPRO (SARCASTIC)<\/character>\n    <dialogue>Family? Let's see. Obviously. On her mother's or father's side?<\/dialogue>\n    <character>ASPRO (TALKING ABOUT YONAS)<\/character>\n    <dialogue>Isn't this her son, Yonas? Right? What's Yonas doing with you?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Rahil left the house yesterday, and hasn't come back yet.<\/dialogue>\n    <character>ASPRO<\/character>\n    <dialogue>Give me Yonas, let me see him.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>No, no...<\/dialogue>\n    <character>ASPRO<\/character>\n    <dialogue>You scared? I know everything about my little Yonas. He's a badass, just like his mother. (Aspro takes Yonas and carries him) Yasser! Two falafels for these two rabbits over here!<\/dialogue>\n    <character>ASPRO (ADDRESSING YONAS)<\/character>\n    <dialogue>You hungry?<\/dialogue>\n    <character>ASPRO<\/character>\n    <dialogue>You didn't try to call her?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>I don't have a phone.<\/dialogue>\n    <character>ASPRO (TRIES TO CALL RAHIL)<\/character>\n    <dialogue>Her phone's off. Thank you, Yasser. (Zain looks more worried)<\/dialogue>\n    <character>ASPRO<\/character>\n    <dialogue>Come and eat inside.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>No thank you.<\/dialogue>\n    <character>ASPRO<\/character>\n    <dialogue>What do I tell her if she comes by?<\/dialogue>\n    <character>ZAIN (TAKES YONAS BACK)<\/character>\n    <dialogue>That we were looking for her and went home.<\/dialogue>\n    <character>ASPRO<\/character>\n    <dialogue>Stay here.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>No, no.<\/dialogue>\n    <character>ASPRO<\/character>\n    <dialogue>Wait for her here, in case she comes by.<\/dialogue>\n    <scene_description>Zain leaves without replying.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAY- IN FRONT OF FLEA MARKET<\/stage_direction>\n    <scene_description>Holding Yonas and the falafel sandwiches, Zain leaves the flea market and sits on the sidewalk in front of it. He puts Yonas down next to him. While eating their sandwiches, Zain calls a girl and hands her his Pepsi bottle.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Hey girl! Where can I open this? (Talking about the Pepsi bottle)<\/dialogue>\n    <character>MAYSOUN<\/character>\n    <dialogue>Keep an eye on these. (She hands him her tissue boxes and goes)<\/dialogue>\n    <character>MAYSOUN (SHE COMES BACK)<\/character>\n    <dialogue>Here you go.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>MAYSOUN<\/character>\n    <dialogue>You're welcome. (Sits next to Yonas, who stares at her)<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Are you hungry?<\/dialogue>\n    <character>MAYSOUN<\/character>\n    <dialogue>No. Enjoy. What's your name?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Ibrahim.<\/dialogue>\n    <character>MAYSOUN (TALKING ABOUT YONAS)<\/character>\n    <dialogue>And this one?<\/dialogue>\n    <character>ZAIN (CREATING A FAKE NAME)<\/character>\n    <dialogue>He's... His name's Asaad. And you?<\/dialogue>\n    <character>MAYSOUN<\/character>\n    <dialogue>Maysoun.<\/dialogue>\n    <character>MAYSOUN (ABOUT YONAS)<\/character>\n    <dialogue>Did you steal him, or are you using him to beg?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>He's my brother.<\/dialogue>\n    <character>MAYSOUN<\/character>\n    <dialogue>Doesn't look like you.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>We were all born black like him, and then... we brightened up with time. How much do you sell these boxes for?<\/dialogue>\n    <character>MAYSOUN<\/character>\n    <dialogue>It depends on the car. Let's say a woman passes... You look at her hand, if she's wearing a ring, you say: \"God bless and protect you and your husband.\" If she's not wearing a ring, you say: \"May God send you a worthy husband.\"<\/dialogue>\n    <character>ZAIN (TALKING TO YONAS)<\/character>\n    <dialogue>Stop licking your hands! They're dirty from the floor.<\/dialogue>\n    <scene_description>Yonas lies in Zain's arms, sarts babbling, and puts his hand inside his shirt.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.NIGHT-FLEA MARKET TOP VIEW<\/stage_direction>\n    <scene_description>A top shot showing the flea market from above and the highway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.NIGHT-FLEA MARKET<\/stage_direction>\n    <scene_description>With the end of the day, shops closed the stores at the flea market. Zain and Yonas, are still there. He stands in front of a sweets stand and stares at the food.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.NIGHT-STREET NEXT TO FLEA MARKET<\/stage_direction>\n    <scene_description>On a stairway, Zain sleeps on the floor while sitting down, while Yonas lies between his legs. The two of them look exhausted.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-IN FRONT OF CYBER CAF\u00c9<\/stage_direction>\n    <scene_description>Rahil, crying, stands in front of the cyber caf\u00e9. She is arrested by police officers along with other migrant workers. The officer handcuffs them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-POLICE TRANSPORTATION BUS<\/stage_direction>\n    <scene_description>A group of arrested migrant workers are sitting in the bus heading to the detention center. Rahil's fake beauty mark fades away due to her tears.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-DETENTION CENTER<\/stage_direction>\n    <scene_description>The women line up next to each other's.<\/scene_description>\n    <character>POLICE OFFICER<\/character>\n    <dialogue>In line, Ethiopian...<\/dialogue>\n    <character>POLICE OFFICER (ASKS ONE OF THEM)<\/character>\n    <dialogue>Are you pregnant?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY DETENTION CELL FOR UNDOCUMENTED FOREIGNERS<\/stage_direction>\n    <scene_description>In the detention cell, Rahil is crying. Around her stand the other detained migrant workers. They advise her not to tell the police about her son otherwise they would deport her. Her fake beauty mark totally disappeared.<\/scene_description>\n    <character>ETHIOPIAN WOMAN (SPEAKING ETHIOPIAN)<\/character>\n    <dialogue>You can't tell them anything! They'll take the boy away from you.<\/dialogue>\n    <scene_description>Rahil lies down next to the other women. They are seen chatting, while Rahil is silently crying. The cell is crammed with people.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY DETENTION CELL BATHROOM<\/stage_direction>\n    <scene_description>Rahil bends over the bathroom sink and empties the milk from her breasts while crying. A police officer voice is heard in the background from the speakers, asking one of the detained to come to his office.<\/scene_description>\n    <character>RAHIL (SPEAKING ETHIOPIAN)<\/character>\n    <dialogue>Forgive me, my baby. Please God, forgive me!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAWN-PUBLIC TRANSPORTATION,BUS<\/stage_direction>\n    <scene_description>Yonas is sitting on Zain's lap and loudly crying. Zain looks very tired.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAWN-RAHIL'S NEIGHBORHOOD<\/stage_direction>\n    <scene_description>Zain is carrying Yonas in his arms, while the child is still sobbing. They are heading home.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAWN-RAHIL'S HOME<\/stage_direction>\n    <scene_description>Exhausted, Zain enters Rahil's home. The child is loudly crying. Out of breath, Zain puts him in the inflatable pool, sits down, thinks deeply, then gets up and leaves the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-NEIGHBORHOOD<\/stage_direction>\n    <scene_description>Zain is walking.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-IN FRONT OF KIOSK<\/stage_direction>\n    <scene_description>Zain reaches a small food kiosk.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Do you have food a baby can eat?<\/dialogue>\n    <character>VENDOR<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>How much?<\/dialogue>\n    <character>VENDOR<\/character>\n    <dialogue>There's something for 250, something for 1,000.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>I'll take the one for 250.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-NEIGHBORHOOD<\/stage_direction>\n    <scene_description>On his way back, Zain notices a three year old little girl sitting alone on an old couch outside, sleeping, and holding a bottle of milk. A sound of crying babies is heard in the background. Zain stares at her, and then we see him walking away quickly, hiding the bottle of milk that he stole from the child in his jacket, while the baby cries.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RAHIL'S HOME<\/stage_direction>\n    <scene_description>Zain goes inside Rahil's home holding the little girl's bottle. Yonas is still crying. Zain tries to give him the bottle, but he rejects it many times as he is only used to his mother's milk. The annoying neighbor is heard shouting and cursing again.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Try it. Just this once. Seriously... Isn't this better than a shawarma sandwich? Don't swallow it whole, you'll get sick! Hey! You swallowed it?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.EVENING-RAHIL'S HOME<\/stage_direction>\n    <scene_description>Sleepy Zain is watching TV through the window reflection, while Yonas is lying on his laps and touching his face.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RAHIL'S HOME<\/stage_direction>\n    <scene_description>Zain looks inside the old dirty refrigerator for food. He finds moldy food in tupperwares and cookers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RAHIL'S HOME<\/stage_direction>\n    <scene_description>In the inflatable pool, Yonas is sitting and eating dirt from the floor. Zain opens the freezer, takes out an ice cube tray and empties it in a plate. He sprinkles sugar on top of the ice cubes, and they eat them.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Seriously, isn't this better than a shawarma sandwich? Don't swallow it whole, you'll get sick! Hey! You swallowed it?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-AROUND THE HOUSE<\/stage_direction>\n    <scene_description>Zain is roaming around the house while carrying Yonas. He then puts him down to let him walk and holds his hand. Zain tries to catch a chicken.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.EVENING-AROUND THE HOUSE<\/stage_direction>\n    <scene_description>Zain is holding Yonas and observing cats eating a dead animal's meat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.EVENING-RAHIL'S HOME<\/stage_direction>\n    <scene_description>Mentally and physically exhausted Zain is sitting, with his hands covering his face. Yonas is moving around the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-IN FRONT OF FISH KIOSK<\/stage_direction>\n    <scene_description>Zain, carries Yonas and stands in front of a fish vendor's kiosk. He keeps staring at the fish.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-IN FRONT OF RAHIL'S HOME<\/stage_direction>\n    <scene_description>On an old metal box, Zain is grilling the fish. Yonas is happily sitting next to him in an old cooker.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RAHIL'S HOME<\/stage_direction>\n    <scene_description>With Yonas on his laps, Zain happily eats and gives him the grilled fish. After tasting it, Yonas likes it.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Is it good? Dig in, Mister!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RAHIL'S HOME<\/stage_direction>\n    <scene_description>Zain goes to the sink and opens the faucet. Muddy water comes out of the facet, then slows down and drips, then the water stops.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-IN FRONT OF RAHIL'S HOME<\/stage_direction>\n    <scene_description>With a blanket covering him, Zain goes out to check the water tank.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>No water? Seriously? Great!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RAHIL'S HOME<\/stage_direction>\n    <scene_description>Zain is holding the measuring tape and talking to himself about Rahil, while her son is sitting in the inflatable pool eating dirt from the carpet.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>She doesn't care about her son? Is he all right? Is he sick? Your mother is even worse than mine!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-AROUND RAHIL'S HOME<\/stage_direction>\n    <scene_description>Exhausted, Zain is holding Yonas and walking around Rahil's home. He turns back to see the same little girl we previously saw sitting on a worn out skateboard with her brother standing by her side.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-AROUND RAHIL'S HOME<\/stage_direction>\n    <scene_description>Zain steals the skateboard from them. The boy starts screaming, so Zain runs away while holding the skateboard.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-IN FRONT OF RAHIL'S HOME<\/stage_direction>\n    <scene_description>Zain tries to open the door, but Yonas pushes him to get in first.<\/scene_description>\n    <character>ZAIN (IRRITATED)<\/character>\n    <dialogue>After you, Sir Yonas. Go inside.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-HIGHWAY<\/stage_direction>\n    <scene_description>With a rope, Zain drags the skateboard with the basin on top that Yonas is sitting in. Yonas is surrounded by several kitchen utensils; pots, pans, and lids.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-FLEA MARKET<\/stage_direction>\n    <scene_description>Zain enters Souk Al Ahad, still dragging the skateboard. He hears the voice of Maysoun from behind, calling him, so he turns around. Maysoun is trying to sell a funeral wreath at Souk Al Ahad.<\/scene_description>\n    <character>MAYSOUN<\/character>\n    <dialogue>Ibrahim! Ibrahim! Ibrahim! What are you doing here?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>I'm selling pots.<\/dialogue>\n    <character>MAYSOUN<\/character>\n    <dialogue>Those crappy pots?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>They're better than that flower thing on your back.<\/dialogue>\n    <character>MAYSOUN<\/character>\n    <dialogue>It's for cemeteries, idiot! Well, I can sell this in two seconds. They'll buy the whole thing.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Want to bet?<\/dialogue>\n    <character>MAYSOUN<\/character>\n    <dialogue>Let's bet on a plate of food.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>I want meat rolls and Shish Barak. What about you?<\/dialogue>\n    <character>MAYSOUN<\/character>\n    <dialogue>I want meat rolls and Shish Barak... My God... I'd be sitting and eating, but not just any plate, a huge one...<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>From where do you bring the food aid? Didn't you talk to me about food aid last time?<\/dialogue>\n    <character>MAYSOUN<\/character>\n    <dialogue>You mean the food dispensary?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Can I go with you?<\/dialogue>\n    <character>MAYSOUN<\/character>\n    <dialogue>No, you're Lebanese, not a Syrian refugee like me.<\/dialogue>\n    <character>MAN (WITH A HAT ON, TALKING ABOUT<\/character>\n    <dialogue>YONAS)<\/dialogue>\n    <scene_description>Where did you get this bunny from?<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Mind your own shit! Look at this stupid goat.<\/dialogue>\n    <character>MAYSOUN<\/character>\n    <dialogue>Let's go.<\/dialogue>\n    <character>ZAIN (ANGRILY)<\/character>\n    <dialogue>Can you fuck off? Wanna eat my fist?<\/dialogue>\n    <character>MAYSOUN<\/character>\n    <dialogue>Come Ibrahim, let's go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-OUTSIDE FLEA MARKET<\/stage_direction>\n    <scene_description>Zain and Maysoun are sitting outside Souk Al Ahad, in a corner, with Yonas still sitting in the basin.<\/scene_description>\n    <character>MAYSOUN<\/character>\n    <dialogue>You can keep this country all to yourself, I'm leaving.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Where to?<\/dialogue>\n    <character>MAYSOUN<\/character>\n    <dialogue>I'm leaving you the business and everything. It can be all yours.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Where are you going?<\/dialogue>\n    <character>MAYSOUN<\/character>\n    <dialogue>To Sweden. There's a neighborhood full of Syrians there. No one asks what are you doing here. No one messes with you. I'll have my own room, no one comes in without knocking. I choose who can come in and who can't. Kids there, they die only from natural causes.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>I want to go with you.<\/dialogue>\n    <character>MAYSOUN<\/character>\n    <dialogue>Sure, but you need money.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>How much?<\/dialogue>\n    <character>MAYSOUN<\/character>\n    <dialogue>About $300, not more.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>$300 is a lot.<\/dialogue>\n    <character>MAYSOUN<\/character>\n    <dialogue>Do you know Os... Ospar?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Aspro?<\/dialogue>\n    <character>MAYSOUN<\/character>\n    <dialogue>Yes, in Souk Al Ahad.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Yes, what about him?<\/dialogue>\n    <character>MAYSOUN<\/character>\n    <dialogue>This is his number.<\/dialogue>\n    <character>MAYSOUN (SHOWS HIM A PIECE OF PAPER)<\/character>\n    <dialogue>He organizes the trip. He gave me this piece of paper. I drew a ship next to his number. The ship has the most beautiful lights... and amazing food.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Can I take my brother Assaad with me?<\/dialogue>\n    <character>MAYSOUN<\/character>\n    <dialogue>Does he know how to swim?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>I'll teach him.<\/dialogue>\n    <character>MAYSOUN<\/character>\n    <dialogue>I don't know, you'd have to ask Ospro.<\/dialogue>\n    <character>ZAIN (MOCKING HER)<\/character>\n    <dialogue>Aspro, not Ospro.<\/dialogue>\n    <character>MAYSOUN<\/character>\n    <dialogue>Aspro.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RAHIL'S HOME<\/stage_direction>\n    <scene_description>Yonas is heard crying in the background, while Zain is standing in front of the mirror, practicing the Syrian accent so he can get the food dispensary that Maysoun was talking about. He holds a conversation with himself as if they are talking to him, to train himself.<\/scene_description>\n    <character>ZAIN (ASKING HIMSELF, LEBANESE ACCENT)<\/character>\n    <dialogue>Where are you from?<\/dialogue>\n    <character>ZAIN (CORRECTING SYRIAN ACCENT)<\/character>\n    <dialogue>Where are you from?<\/dialogue>\n    <character>ZAIN (SYRIAN ACCENT)<\/character>\n    <dialogue>Me? From Syria.<\/dialogue>\n    <character>ZAIN (ASKING HIMSELF)<\/character>\n    <dialogue>Where in Syria?<\/dialogue>\n    <character>ZAIN (REPLYING)<\/character>\n    <dialogue>From Aleppo.<\/dialogue>\n    <character>ZAIN (ASKING HIMSELF)<\/character>\n    <dialogue>Is this your brother?<\/dialogue>\n    <character>ZAIN (REPLYING, LEBANESE ACCENT)<\/character>\n    <dialogue>Yes, this is my brother.<\/dialogue>\n    <character>ZAIN (CORRECTING SYRIAN ACCENT)<\/character>\n    <dialogue>I mean, this is my brother.<\/dialogue>\n    <character>ZAIN (ASKING HIMSELF)<\/character>\n    <dialogue>What's his name?<\/dialogue>\n    <character>ZAIN (REPLYING, SAD VOICE)<\/character>\n    <dialogue>Nawras. And he hasn't eaten for two days, or drunk anything.<\/dialogue>\n    <character>ZAIN (ASKING HIMSELF)<\/character>\n    <dialogue>And why is he so black?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-U.N. CAMP<\/stage_direction>\n    <scene_description>Zain is carrying Yonas with difficulty, in a crowded place where UN is giving out food dispensary for Syrian refugees. We still hear Zain's voice.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>My mom drank a lot of coffee when she was pregnant. She used to drink a whole pot every day.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-U.N. CAMP<\/stage_direction>\n    <scene_description>Zain and Yonas are standing in front of plenty of refugees waiting for their turn. Shots of volunteers handing the refugees grocery bags.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Where's your ration card? I lost it. I was walking next to the Dog River...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-U.N. CAMP<\/stage_direction>\n    <scene_description>Zain is talking to a volunteer sitting on a desk. He is surrounded by veiled women waiting for their turns. Yonas is lying on the desk in front of him.<\/scene_description>\n    <character>VOLUNTEER<\/character>\n    <dialogue>So you were strolling by the river?<\/dialogue>\n    <character>ZAIN (UNCERTAIN)<\/character>\n    <dialogue>Yeah, I slipped and dropped my card. I jumped in the river, but couldn't find it.<\/dialogue>\n    <character>VOLUNTEER<\/character>\n    <dialogue>And how did you get here?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>We were at home in Syria, and our next door neighbor ratted us out, maybe... I really shouldn't jump to conclusions but I suspect it was him. A bomb hit our house... We started to crawl like Rambo. You know, the one who crawls?<\/dialogue>\n    <character>VOLUNTEER<\/character>\n    <dialogue>You started crawling?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Yeah, like him, in the trenches.<\/dialogue>\n    <character>VOLUNTEER<\/character>\n    <dialogue>Okay, and what exactly do you want?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Whatever you have, but most important is milk and diapers.<\/dialogue>\n    <character>VOLUNTEER<\/character>\n    <dialogue>Milk and diapers?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>And if you have any ramen, vinegar chips, stuff like that...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-STREET<\/stage_direction>\n    <scene_description>Zain is dragging the skateboard behind him. There is a grocery bag inside the basin. In the other hand, he is dragging Yonas, who looks weak and exhausted due to hunger. Yonas is unable to stand up or move.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Get up. What are you looking at? Get up!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-SIDE OF THE STREET<\/stage_direction>\n    <scene_description>Zain and Yonas are sitting on the side of a street. Zain is feeding him powder milk, like his little sister used to eat. We see women behind them, and a little girl walking on the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RAHIL'S HOME<\/stage_direction>\n    <scene_description>Zain is unscrewing the top of the hot water tank with a wrench.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-FLEA MARKET<\/stage_direction>\n    <scene_description>Zain is trying to drag the hot water tank placed behind the basin of the skateboard with a rope. Yonas is sitting in the basin. They reach Aspro's kiosk.<\/scene_description>\n    <character>ASPRO (SARCASTIC)<\/character>\n    <dialogue>Nice Lamborghini! Come here, let me see, kid. Rahil still hasn't shown up?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>No... I mean yeah, Rahil? She's been back for a while.<\/dialogue>\n    <character>ASPRO (SARCASTIC)<\/character>\n    <dialogue>Yeah, right. What are you dragging around? A nuclear bomb or a rocket?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>A brand new, top-of-the-line water tank.<\/dialogue>\n    <character>ASPRO (SARCASTIC)<\/character>\n    <dialogue>How much for this brand new, top-of-the-line water tank?<\/dialogue>\n    <scene_description>20,000.:<\/scene_description>\n    <character>ASPRO (SARCASTIC)<\/character>\n    <dialogue>20,000? Yasser! Give me 30,000 for this 20,000 guy.<\/dialogue>\n    <character>ASPRO (HOLDS YONAS'S HAND)<\/character>\n    <dialogue>Yonas... Why's Yonas looking so thin? Aren't you guys eating? He seems sick. My god, you both smell like dogs?<\/dialogue>\n    <character>ASPRO (LOWERS HIS VOICE AND ADDRESSES<\/character>\n    <dialogue>ZAIN)<\/dialogue>\n    <scene_description>I already talked to Rahil. There's a good family that can take Yonas in, take care of him, dress him... And you could line your pockets with $500. Deal? So? (Yonas innocently looks at them)<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>I heard you can help people travel to Turkey.<\/dialogue>\n    <character>ASPRO<\/character>\n    <dialogue>You want to travel?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>I wish I could.<\/dialogue>\n    <character>ASPRO<\/character>\n    <dialogue>Where do you want to go?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>To Turkey. I mean Sweden.<\/dialogue>\n    <character>ASPRO<\/character>\n    <dialogue>Sweden, Turkey, whichever you like.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Which one's prettier?<\/dialogue>\n    <character>ASPRO<\/character>\n    <dialogue>You choose. I'll even send you to the moon. All you have to do is convince her about the boy. Deal, kiddo?<\/dialogue>\n    <character>YASSER<\/character>\n    <dialogue>Here you go, boss.<\/dialogue>\n    <character>ASPRO (GIVES ZAIN THE MONEY)<\/character>\n    <dialogue>Take this and tell Rahil that Aspro sends his regards. All right?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>I'll ask Rahil.<\/dialogue>\n    <character>ASPRO<\/character>\n    <dialogue>Ask Rahil.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-GAS STATION<\/stage_direction>\n    <scene_description>Zain drags Yonas behind him and speaks to two workers at the gas station.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-GAS STATION<\/stage_direction>\n    <scene_description>At the back of a gas station, Zain and Yonas use a hose from the carwash to shower. He scrubs Yonas's hair with a bar of soap. He rinses Yonas's hair from the cold water hose. Zain is washing his dirty laundry by walking on top it. The worker adds soap on the laundry, and scrubs Zain's hair. Zain enjoys splashing water on his face. Zain laughs loudly. The worker also scrubs Yonas's hair, and then dries him with a towel. Zain dresses Yonas up, then squeezes the wet clothes, while the same worker distracts Yonas.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-IN FRONT OF RAHIL'S HOME<\/stage_direction>\n    <scene_description>Zain stands on an old wooden chair and hangs the laundry in front of the house. Yonas sits in the basin and helps him by handing him the clothespin.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Yonas, hand me a clothespin.<\/dialogue>\n    <scene_description>He blows in his hands to warm them up, so Yonas does the same.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Go like this to warm your hands.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RAHIL'S HOME<\/stage_direction>\n    <scene_description>Zain accidently finds a wrinkled paper in his pants. He unfolds it: it is the medical prescription of TRAMAL that we saw at the pharmacy in the beginning of the movie.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-IN FRONT OF A PHARMACY<\/stage_direction>\n    <scene_description>The basin\/skateboard in which Yonas is sitting is parked on the sidewalk attached by a chain to a pole.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-INSIDE PHARMACY<\/stage_direction>\n    <scene_description>The pharmacist is holding in his hand the medical prescription. It is wrinkled and the ink has bled through it.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>My little sister washed the clothes because my mom's sick.<\/dialogue>\n    <character>PHARMACIST<\/character>\n    <dialogue>She washed the prescription with the clothes?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-INSIDE ANOTHER PHARMACY<\/stage_direction>\n    <character>PHARMACIST<\/character>\n    <dialogue>I'll give you one packet... And when you come back with the 3,000, I'll give you the rest.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>One packet? Can you give me two?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-PORT<\/stage_direction>\n    <scene_description>Zain walks at the port. He fills two gallons with sea water.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-RAHIL'S NEIGHBORHOOD<\/stage_direction>\n    <scene_description>Out of breath, Zain is heading home with difficulty. He is dragging two gallons of water.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RAHIL'S HOME<\/stage_direction>\n    <scene_description>On an old newspaper, Zain is crushing the TRAMAL pills, like he used to do before at his house. Yonas is sitting on the ground. He grabs a pill to eat it, but Zain shouts at him and put him back in the inflatable pool.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>Zain crushes the pills, but Yonas curiously comes closer to see what Zain is doing.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Go away! Don't think I can't see you, I'm not blind!<\/dialogue>\n    <scene_description>Zain empties the TRAMAL powder into a pot full of water. He stirs them with a big wooden spoon. Yonas's leg is tied with a rope to the bed. Yonas cries and Zain fills the juice in water bottles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.EVENING-STREET<\/stage_direction>\n    <scene_description>Zain is holding the basin with Yonas inside it, surrounded by a water bottle and coffee cups. He meets teenagers hanging out in front of a garage.<\/scene_description>\n    <character>ZAIN (CALLS THEM)<\/character>\n    <dialogue>Hey guys! Can one of you give me a hand?<\/dialogue>\n    <scene_description>A guy comes and bends down to help him, so Zain whispers to him.<\/scene_description>\n    <character>ZAIN (WHISPERING)<\/character>\n    <dialogue>I have Tramadol shots. You interested? 1,000 a shot.<\/dialogue>\n    <scene_description>The teenager goes back to his friends to ask them and leave Zain waiting a bit.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Hey, help me lift it. Come and help! Brother, for you I can make a deal.<\/dialogue>\n    <character>THE TEENAGER<\/character>\n    <dialogue>Come on, hurry up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.NIGHT-STREET<\/stage_direction>\n    <scene_description>Zain goes to a different group of teenagers. They are all smoking cigarettes and look wasted.<\/scene_description>\n    <character>TEENAGER<\/character>\n    <dialogue>Guys, he has Tramadol.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>I got Tramadol by the shot, interested?<\/dialogue>\n    <character>ANOTHER TEENAGER<\/character>\n    <dialogue>Have any Viagra? Or Rivo?<\/dialogue>\n    <character>ANOTHER TEENAGER<\/character>\n    <dialogue>Got any Rivo?<\/dialogue>\n    <character>ANOTHER TEENAGER<\/character>\n    <dialogue>Farawla? Tradamol?<\/dialogue>\n    <character>ANOTHER TEENAGER<\/character>\n    <dialogue>Free base?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>I'm in the juice business.<\/dialogue>\n    <character>ZAIN (SHOWS THEM THE TRAMAL BOTTLE)<\/character>\n    <dialogue>This is like Rivo, but juice-style.<\/dialogue>\n    <scene_description>Yonas is still sitting in the basin holding a coffee cup and babbling. A second tramal and water bottle is by his side. Zain shakes the bottle.<\/scene_description>\n    <character>TEENAGER (AFTER TASTING IT)<\/character>\n    <dialogue>You're selling me saltwater, big man?<\/dialogue>\n    <character>ZAIN (JOKINGLY)<\/character>\n    <dialogue>What's better than seawater, man?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-STREET<\/stage_direction>\n    <scene_description>Zain stops by three old men on the street.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>I've got Tramadol by the sip, interested?<\/dialogue>\n    <scene_description>After tasting it, one of the men spits it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-STREET<\/stage_direction>\n    <scene_description>Different shots of Zain selling Tramal shots to several people. Yonas is still with him in the basin. Zain hands them the coffee cups as shots.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.NIGHT-STREET<\/stage_direction>\n    <character>ZAIN<\/character>\n    <dialogue>1,000 a shot.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RAHIL'S HOME<\/stage_direction>\n    <scene_description>Zain counts his money and hides it in the metal bar of the bed like Rahil used to do.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RAHIL'S HOME<\/stage_direction>\n    <scene_description>Zain and Yonas are lying in bed next to each other, looking at the paper that Maysoun gave him and smiling.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Here, choose. Which country do you want to go to? Let's go to Sweden! It's the prettiest. We'll go with that idiot Maysoun.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-RAHIL'S HOME<\/stage_direction>\n    <scene_description>Zain is sitting on the ground, smoking a cigarette and talking to himself. Yonas is moving around the house and babbling.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>When you're In Sweden, there are no assholes who get in your face. You can even piss from the balcony, no one will give you shit for it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.NIGHT-STREET<\/stage_direction>\n    <scene_description>In the basin, Yonas puts the cup on his mouth. Teenagers give Zain looks. He stares back and keeps walking. One of the teenagers in a group takes the tramal bottle from him and hides it, so another guy hits him and gives it back to Zain.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Give him the money, bitch! Take your midget and leave!<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>I'm leaving, chill.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.NIGHT-STREET<\/stage_direction>\n    <character>ZAIN (SHOUTS AT SOME GUY)<\/character>\n    <dialogue>Shove it up your ass and cook it!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.NIGHT-STREET<\/stage_direction>\n    <scene_description>A teenager we previously saw is blowing cigarette smoke in Zain's face.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.NIGHT-STREET<\/stage_direction>\n    <scene_description>Teenagers are standing around Yonas. One of them kicks his basin.<\/scene_description>\n    <character>ZAIN (ANGRILY THROWS A STONE AT HIM)<\/character>\n    <dialogue>Don't go near the kid, asshole!<\/dialogue>\n    <character>TEENAGER (HITS ZAIN)<\/character>\n    <dialogue>Fuck off, you little prick! Fuck off before I trash your face! Get the fuck out of here!<\/dialogue>\n    <scene_description>Zain leaves with Yonas. His eyes are red and filled with tears.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-NARROW STREET<\/stage_direction>\n    <scene_description>Zain is walking through the narrow poor streets and dragging Yonas behind him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-TOP VIEW NEIGHBORHOOD<\/stage_direction>\n    <scene_description>Top shot of the poor neighborhood. We see plenty of tires on the roofs of all the worn out buildings.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-AROUND RAHIL'S HOME<\/stage_direction>\n    <scene_description>Zain is dragging Yonas behind him, who is babbling, clapping the two coffee cups, and surrounded by empty water bottles in the basin. Suddenly Zain gets flustered when he sees Yonas's belongings thrown in front of Rahil's home. When he gets to the door, he notices a padlock and tries to break in. He gets angry and starts kicking the door with no success of breaking it down. He grabs a rock and tries to break the lock. Alarmed, the neighbor comes and starts shouting at him while holding her baby.<\/scene_description>\n    <character>NEIGHBOR (SHOUTING)<\/character>\n    <dialogue>Why are you breaking the door down?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>What sonofabitch changed the lock and threw my shit out?<\/dialogue>\n    <character>NEIGHBOR<\/character>\n    <dialogue>What shit? It's all here! And who the hell are you?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>I still have stuff inside.<\/dialogue>\n    <character>NEIGHBOR<\/character>\n    <dialogue>What stuff? Maybe the landlord has it.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Where does the shitlord live?<\/dialogue>\n    <character>NEIGHBOR<\/character>\n    <dialogue>Why don't you find your dirty slut? Keep bashing that door and I'll call the warden.<\/dialogue>\n    <character>ZAIN (WITH SARCASM)<\/character>\n    <dialogue>Go ahead, tell him I said, \"Hi.\"<\/dialogue>\n    <character>NEIGHBOR<\/character>\n    <dialogue>What's your relation to that bitch again?<\/dialogue>\n    <character>ZAIN (HOLDS A PIECE OF WOOD)<\/character>\n    <dialogue>I'm her brother.<\/dialogue>\n    <character>NEIGHBOR<\/character>\n    <dialogue>Which gutter did she drag you out of?<\/dialogue>\n    <character>ZAIN (TRIES TO BREAK THE LOCK)<\/character>\n    <dialogue>Get out of my face before I lose it!<\/dialogue>\n    <character>NEIGHBOR<\/character>\n    <dialogue>I'm calling the warden now! You'll see.<\/dialogue>\n    <character>ZAIN (RUNS TO HER HOUSE AND STARTS<\/character>\n    <dialogue>BREAKING THINGS)<\/dialogue>\n    <scene_description>I'll break your house down! Where's the fucking landlord?<\/scene_description>\n    <character>NEIGHBOR<\/character>\n    <dialogue>Get out of here before I break your skull!<\/dialogue>\n    <character>ZAIN (COMES BACK AND TRIES TO BREAK THE<\/character>\n    <dialogue>LOCK AGAIN)<\/dialogue>\n    <scene_description>Shut up! Shut your mouth!<\/scene_description>\n    <character>NEIGHBOR<\/character>\n    <dialogue>Get out of here!<\/dialogue>\n    <character>ZAIN (WHILE TRYING TO BREAK IN)<\/character>\n    <dialogue>I. Want. My. Fucking. Money!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-STREETS<\/stage_direction>\n    <scene_description>Shots of the busy streets packed with honking cars.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-STREET<\/stage_direction>\n    <scene_description>Under the hot sun, Zain and Yonas are sitting in the street next to a stand that sells second-hand, old shoes. Their clothes, hands, and faces are very dirty. Zain looks disappointed. Yonas is loudly crying, so Zain holds him to calm him down. Zain's eyes are red from fatigue, hunger, and lack of sleep. He gets up and puts Yonas down, then empties the plastic bag in the basin. Yonas innocently looks at him.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Stay here, don't move.<\/dialogue>\n    <scene_description>Zain quietly leaves and disappears at the corner of the street. He takes a few steps and then looks back. Yonas is behind him following him with baby steps with an innocent look.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Go back there! Go over there.<\/dialogue>\n    <scene_description>Yonas is moving around, smiling at Zain, and waving at him. Zain comes back and tries to sit Yonas down so he doesn't move.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>There... There!<\/dialogue>\n    <scene_description>Zain turns his back and walks away. He turns around to see Yonas running towards the cars, so he quickly follows him and catches his hand. We hear the cars honking loudly.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Go over there.<\/dialogue>\n    <scene_description>Yonas falls down. Zain feels bad for him, so he picks him up and grabs his hand. He drags him down and ties his leg with a rope to the wall. Zain walks away again while holding his plastic bag and taking a glimpse at Yonas. Yonas tries to move but he can't. Zain sits on the sidewalk across the street and looks at Yonas with a miserable look in his eyes. He sees him sobbing. He wipes his tears, gets up, quickly comes closer to him, unties his leg, and opens a bag of chips for him to eat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-BUS<\/stage_direction>\n    <scene_description>Zain is sitting in the bus, with Yonas on his laps. Zain looks at Yonas. He seems helpless. Yonas innocently caresses Zain's face.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-FLEA MARKET<\/stage_direction>\n    <scene_description>Zain is heading towards Aspro's kiosk, and dragging Yonas behind him. Zain looks defeated, depressed and exhausted. His eyes are filled with tears.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-SUNDAY FLEA MARKET<\/stage_direction>\n    <scene_description>From afar, we see Zain speaking to Aspro. Zain cries and wipes his tears. Aspro touches his dirty hair.<\/scene_description>\n    <character>ASPRO (TALKING ON PHONE)<\/character>\n    <dialogue>Yes, my friend. Listen... I'm sending you a little kid. Looks like a dog, we need to make him look human. Can you do that? I have to get him out of the country. Ok.<\/dialogue>\n    <character>ASPRO (TALKING TO ZAIN)<\/character>\n    <dialogue>Why the sad face?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <character>ASPRO<\/character>\n    <dialogue>We agreed on this. Do you have papers? Any ID, a birth certificate?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>I don't know, maybe at home.<\/dialogue>\n    <character>ASPRO<\/character>\n    <dialogue>I need proof you're a human being. ID card, registration, even a newspaper with your picture, anything... So I can get you out<\/dialogue>\n    <scene_description>through the port of Beirut, ok? Can you do that? (Zain nods)<\/scene_description>\n    <character>ASPRO<\/character>\n    <dialogue>Don't worry about Yonas. I love him. I'll put him with a good family.<\/dialogue>\n    <character>ASPRO<\/character>\n    <dialogue>The people you're traveling with will take good care of you. Remember Yasser who works for me? Go see him. He'll send you to a barber. Then you go home and bring back what? Your papers.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>My papers.<\/dialogue>\n    <character>ASPRO (COUNTS THE MONEY)<\/character>\n    <dialogue>Got it? Here... One, two, three, four. Take it.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>You promised me $500.<\/dialogue>\n    <character>ASPRO (HITS ZAIN, THEN WHISPERS)<\/character>\n    <dialogue>You expect to eat and drink for free? $100 pays for your food, got it? Give me a kiss. Take care of yourself, ok? Go on.<\/dialogue>\n    <scene_description>Aspro picks Yonas up from the basin and puts him on his desk. Zain gets close to him, hugs him and kisses him.<\/scene_description>\n    <character>ASPRO<\/character>\n    <dialogue>That's enough, you should go. I told you I'll take good care of him, ok?<\/dialogue>\n    <scene_description>Zain looks at him one last time, then walks away into an alley within the market dragging the empty basin\/skateboard behind him. Yonas is sitting on Aspro's desk. With a na\u00efve look, he watches Zain walking away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-PUBLIC TRANSPORTATION BUS<\/stage_direction>\n    <scene_description>Sitting in the bus, Zain is sadly looking at Yonas's pacifier. His nails are filled with dirt.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-BARBER<\/stage_direction>\n    <scene_description>The hairdresser is cutting is Zain's hair, while he is looking at himself in the mirror and wiping his tears.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-PUBLIC TRANSPORTATION BUS<\/stage_direction>\n    <scene_description>Zain gets off the bus. He throws away the basin in the garbage as if he is getting rid of a chapter in his life, and keeps his plastic bag.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-STREET<\/stage_direction>\n    <scene_description>Zain walks down the street and heads home.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-STAIRS OF ZAIN'S BUILDING<\/stage_direction>\n    <scene_description>Zain goes up the stairs of his building and with a new eye rediscovering the misery he left behind- a dripping sewerage pipe, moldy walls, two kids alone on the stairs. At the doorway of his old apartment, he finds the door half open. He slowly pushes it in and enters.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-ZAIN'S APPARTMENT<\/stage_direction>\n    <scene_description>The apartment is calm. Zain's father is sleeping on the couch, a half smoked cigarette in the ashtray on the table where lies a half cut apple, a pack of cigarettes, a lighter, bread, a plate, and a whiskey glass. Zain turns off the cigarette then stares at his sleeping father. Zain heads to the bedroom, opens the drawer, and looks for his papers. Zain is still searching in the drawers, when he hears his sisters' voices, a baby crying and his mother's voice from behind. Zain turns around and sees his mother dressed in black.<\/scene_description>\n    <character>ZAIN'S SISTER<\/character>\n    <dialogue>Zain!<\/dialogue>\n    <character>SOUAD (SURPRISED)<\/character>\n    <dialogue>When did you come back?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>None of your business.<\/dialogue>\n    <character>SOUAD (HITS AND SHOUTS AT HIM)<\/character>\n    <dialogue>Where the hell have you been? Where have you been all this<\/dialogue>\n    <scene_description>time? Where? Where? Where? Damn you!<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Anyway I'm not here to see you or that asshole over there. I need my papers.<\/dialogue>\n    <character>SOUAD (WITH SARCASM)<\/character>\n    <dialogue>Oh! Of course, my sweetheart! Selim, wake up, your son needs his papers!<\/dialogue>\n    <scene_description>Salim wakes up.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Where are my papers?<\/dialogue>\n    <character>SELIM<\/character>\n    <dialogue>Where the hell have you been?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>None of your business, just give me my papers.<\/dialogue>\n    <character>SELIM<\/character>\n    <dialogue>None of my business? What do you need papers for? Want to become a trash collector?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>My papers, my ID, anything!<\/dialogue>\n    <character>SELIM<\/character>\n    <dialogue>Who gives a shit about you or me or any of us?<\/dialogue>\n    <scene_description>Zain angrily throws something on the ground.<\/scene_description>\n    <character>SELIM (KICKS THE TABLE)<\/character>\n    <dialogue>Don't play the big man with me, you little shit!<\/dialogue>\n    <character>SELIM (STANDS UP AND DRAGS ZAIN)<\/character>\n    <dialogue>Come take your papers? Come! I've got a lot of papers. (He opens a small box and takes the papers out). Which ones do you want? (Selim sits on a chair). I've got papers that can send me to jail. I've got an eviction notice... (Souad is carefully looking at them) And here's the most important paper of all. (Zain, annoyed, walks away) Come back here, you should see this one! (Selim grabs his arm) This one's from a hospital. It could break any man's heart. We're insects, my friend. Don't<\/dialogue>\n    <scene_description>you get it? We're parasites. You either accept life without papers, or you might as well jump out the window. Got it? Get the hell out of here before I kill you! (Selim kicks him out of the room)<\/scene_description>\n    <character>SOUAD<\/character>\n    <dialogue>Stop Selim!<\/dialogue>\n    <character>SELIM (SHOUTS AND DRAGS ZAIN)<\/character>\n    <dialogue>Tell whoever the hell sent you: \"My father never gave a shit! He never got us any papers.\" Go back where you came from, you animal! Damn you and your mother and whoever brought you to this world.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Who went to the hospital?<\/dialogue>\n    <character>SOUAD<\/character>\n    <dialogue>Not a word, Selim. Don't say another word!<\/dialogue>\n    <character>ZAIN (ASKS HIS SISTERS)<\/character>\n    <dialogue>Who went to the hospital? Who went to the hospital? Who's in the hospital? (Everyone keeps quiet)<\/dialogue>\n    <character>SELIM (SHOUTING)<\/character>\n    <dialogue>Get him out of my sight before I tear him to pieces! I curse your father's seed!<\/dialogue>\n    <character>ZAIN (CRYING)<\/character>\n    <dialogue>Who went to the hospital?<\/dialogue>\n    <character>ZAIN (GRABS HIS MOTHER'S ARM)<\/character>\n    <dialogue>Who went to the hospital?<\/dialogue>\n    <character>SELIM (CSTARTS CRYING)<\/character>\n    <dialogue>Little shit!<\/dialogue>\n    <character>ZAIN (TO HIS MOTHER)<\/character>\n    <dialogue>Tell me!<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Who went to the hospital?<\/dialogue>\n    <character>ZAIN (WIPES HIS TEARS)<\/character>\n    <dialogue>What did that motherfucker do to her?<\/dialogue>\n    <character>ZAIN (HITS HIS FATHER)<\/character>\n    <dialogue>What did he do to her? What did he do to her?<\/dialogue>\n    <character>SELIM (LOOKING DEFEATED)<\/character>\n    <dialogue>Sahar is gone, it's over.<\/dialogue>\n    <character>ZAIN (GOES TO THE ROOM AND GRABS A KNIFE<\/character>\n    <dialogue>FROM THE DRAWER)<\/dialogue>\n    <scene_description>She's gone? She's gone? I'll show you who's gone.<\/scene_description>\n    <character>ZAIN (RUNS AWAY WITH THE KNIFE)<\/character>\n    <dialogue>I'll show you who's who, who'll be gone...<\/dialogue>\n    <character>SOUAD (SCREAMS)<\/character>\n    <dialogue>He's got a knife!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY- BUILDING STAIRWAY<\/stage_direction>\n    <scene_description>Zain goes down the stairs four steps at a time full of rage. His parents are following him.<\/scene_description>\n    <character>SELIM<\/character>\n    <dialogue>I'll bury you alive! Come back, you son of a bitch! I'll kill you with my bare hands!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-STREET<\/stage_direction>\n    <scene_description>Determined Zain runs towards Assad's market holding the knife steady in his hand. His father, followed by his mother, is running after him. Zain reaches the market. We see several people, most of them little kids, standing in shock and staring.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-POLICE STATION<\/stage_direction>\n    <scene_description>A police officer takes handcuffed Zain inside the office. We can see blood stains on Zain's face and hands.<\/scene_description>\n    <character>POLICE OFFICER<\/character>\n    <dialogue>Uncuff him.<\/dialogue>\n    <scene_description>He is standing, his face is towards the wall, and his hands are on the wall. Zain is taking off his clothes. An officer checks his mouth and teeh to determine his age.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-DETENTION CENTER FOR UNDOCUMENTED PEOPLE<\/stage_direction>\n    <scene_description>(One of the first scenes of the movie but taken through another angle, through a window this time) Zain is standing in his underwear. The forensic doctor that we saw at the beginning of the movie is checking Zain's mouth.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-DETENTION CORRIDOR<\/stage_direction>\n    <scene_description>Different drawers where we see files classified by nationality.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-IMMIGRANT DETENTION CELLS<\/stage_direction>\n    <scene_description>Different prison cells with the foreign prisoners grouped according to nationality. Their faces are expressionless and looking half dead. We see several ventilators in the hallway. Plastic water bottles are stuck between the bars.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY- DETENTION CELL<\/stage_direction>\n    <scene_description>Seen from behind, a guard opens the prison cell and let Zain go inside. BACK TO COURT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-COURTROOM<\/stage_direction>\n    <scene_description>Abou Assad is pushing his son Assad's wheelchair in front of the judge.<\/scene_description>\n    <character>THE JUDGE<\/character>\n    <dialogue>You are the husband of...? What was her name again?<\/dialogue>\n    <character>ASSAD<\/character>\n    <dialogue>Sahar.<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>Sahar. How old was Sahar when you married her?<\/dialogue>\n    <character>ASSAD<\/character>\n    <dialogue>Eleven.<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>11 years old. Do you think an 11-year-old girl is suitable for marriage? Does she know what it means?<\/dialogue>\n    <character>ASSAD<\/character>\n    <dialogue>From what I know... Yes, she is... She blossomed, she reached that time...<\/dialogue>\n    <character>ZAIN (ANGRILY)<\/character>\n    <dialogue>Really? I didn't know she was a potato or a tomato plant that blossoms!<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>Zain, calm down!<\/dialogue>\n    <character>ZAIN (ANGILY)<\/character>\n    <dialogue>I didn't know she could die from it. Many girls in the neighborhood get married at that age. Even my mother in law was married at that age... And here she is, alive and well.<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>How long were you married before she got pregnant?<\/dialogue>\n    <character>ASSAD<\/character>\n    <dialogue>Two or three months.<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>Ok, was the pregnancy normal?<\/dialogue>\n    <character>ASSAD<\/character>\n    <dialogue>At first I didn't notice anything wrong. But then she started bleeding. She bled a lot.<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>Then what happened?<\/dialogue>\n    <character>ASSAD<\/character>\n    <dialogue>I took her to the hospital with her parents. And she died at the hospital door. The hospital wouldn't let her in.<\/dialogue>\n    <character>NADINE<\/character>\n    <dialogue>Can I ask why the hospital refused to admit her?<\/dialogue>\n    <character>SOUAD (STARTS TO CRY)<\/character>\n    <dialogue>Because she doesn't have any papers.<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>Counselor, I think that's enough.<\/dialogue>\n    <character>SOUAD (CRYING)<\/character>\n    <dialogue>I live and work like a dog for you to stand here and judge me? How dare you judge me? Have you ever been in my shoes? Lived my life? You never have, and you never will! Not in your worst nightmare. If you did, you'd hang yourself! Imagine having to feed your kids water and sugar because you have nothing else to give them. I'm ready to commit 100 crimes to keep my children alive! They're mine, the treasures of my life! No one has the right to judge me, I am my own judge. They're my own flesh and blood. Do you understand?<\/dialogue>\n    <scene_description>Selim wipes his tears.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY- DETENTION CENTER HALLWAY<\/stage_direction>\n    <scene_description>A shot of the prison hallway is showing a man walking around.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY- DETENTION CENTER ROOM<\/stage_direction>\n    <scene_description>Two prison workers are pouring food from a large basin.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-POLICE OFFICE IN DETENTION CENTER<\/stage_direction>\n    <scene_description>A bunch of prisoners are lined up. Three officers are standing in an office; one of them is holding a paper and reading names out loud. We hear through the speaker an officer calling prisoners' names out.<\/scene_description>\n    <character>OFFICER (HEARD FROM THE SPEAKER)<\/character>\n    <dialogue>The Syrian, Hussein... The Egyptian, Mohammad\u2026<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY- DETENTION CELL<\/stage_direction>\n    <scene_description>A shot of male's prison cell, they are lying down waiting.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY- DETENTION CENTER HALLWAY<\/stage_direction>\n    <scene_description>A foreign woman is dancing and smiling. A convoy of musicians are playing guitar for free. They are guided by a nun and pass through the prison hallway singing. Speechless Zain is sitting in his cell, looking outside, and eating an apple.<\/scene_description>\n    <character>THE NUN<\/character>\n    <dialogue>Excuse me, can you lend us an ear? The priest and I came here to meet you and get to know you a little bit. And maybe cheer you up a little bit. Come on, let's sing a song.<\/dialogue>\n    <scene_description>The convoy continues to a neighboring cell where several women from different nationalities are over packed together (Sri Lankan, Ethiopian, etc.) we see Rahil. She is sitting in a corner deep in thought. Her face is bruised. She is insensitive to the musical show, which is amusing some of the other girls. The convoy stops in front of different prison cells to entertain the foreign detainees crammed inside the cells together. Zain is speechless at the absurd spectacle.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY- MALES' DETENTION CELL<\/stage_direction>\n    <scene_description>A group of male prisoners are praying together. Zain is sitting and staring at them indifferently.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY- FEMALES' DETENTION CELL<\/stage_direction>\n    <scene_description>A group of female prisoners (Sri Lankan, Ethiopian, etc.) are praying together in a crammed cell. All of them are wearing white veils.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY- MALES' DETENTION CELL<\/stage_direction>\n    <scene_description>A shot of Zain asleep on a mattress in the cell.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY- FEMALES' DETENTION CELL<\/stage_direction>\n    <scene_description>A shot of the foreign females' prison cell. The cell is overcrowded. They are seen trying to fall asleep on the few mattresses in the middle of the heat. Rahil is lying down thinking deeply.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY- MALES' DETENTION CELL<\/stage_direction>\n    <scene_description>Zain is lying down on the mattress staring in the void, with a sad look in his eyes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY- FEMALES' DETENTION CELL<\/stage_direction>\n    <scene_description>A shot of a Sri Lankan woman eating a sandwich. From the speakers, we hear an officer calling Zain.<\/scene_description>\n    <character>OFFICER<\/character>\n    <dialogue>Zain Al Hajj, gather your things, prepare for transfer.<\/dialogue>\n    <scene_description>Rahil, confused, hears Zain's name on the speaker.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-PRISON HALLWAY<\/stage_direction>\n    <scene_description>An officer is taking Zain out of his cell. Rahil quickly gets up and stands behind the bar to check whether it is Zain. Handcuffed Zain is following the officer when he passes in front of Rahil's cell, she looks at him in despair.<\/scene_description>\n    <character>RAHIL<\/character>\n    <dialogue>Zain? Zain? Zain ? Zain! Zain! What are you doing here? Zain, where's Yonas? Zain! Zain, where's Yonas? Zain! Where's my son? Where's Yonas? Where! Who did you leave him with? My son is alone at home.<\/dialogue>\n    <scene_description>Several other prisoners inside Rahil's cell are shocked. Zain looks back. Rahil frantically starts screaming more and more, rattling the bars. Her prison-mates try to calm her. She fumbles over her words while she tries to catch her breath. She starts speaking to herself.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-PRISON OFFICE<\/stage_direction>\n    <scene_description>Zain and Rahil are sitting in front of an officer's desk.<\/scene_description>\n    <character>ZAIN (DESCRIBING ASPRO'S EYE COLOR)<\/character>\n    <dialogue>This eye... Here... is blue, blue, blue.<\/dialogue>\n    <character>OFFICER (CONFUSED)<\/character>\n    <dialogue>Both his eyes are blue?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>No. This eye is brown, and this eye is blue.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-ROUMIEH PRISON FOR JUVENILES<\/stage_direction>\n    <scene_description>Behind the bars, Zain is looking outside with a miserable look on his face.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-ROUMIEH PRISON FOR JUVENILES<\/stage_direction>\n    <scene_description>We see a shot of the prison building. The roof is equipped with razor wire.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-PRISON FIELD<\/stage_direction>\n    <scene_description>Zain is quietly sitting on the ground with his back on the wall. Several children are playing football.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-ROUMIEH PRISON<\/stage_direction>\n    <scene_description>A quick shot of Zain's cell from outside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.EVENING-PRISON CELL<\/stage_direction>\n    <scene_description>Zain is sitting near the bars and staring outside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.EVENING-PRISON CELL<\/stage_direction>\n    <scene_description>The prisoners are watching a popular talk show about scandals and various short stories. They are smoking cigarettes. Zain is sitting and quietly watching the show.<\/scene_description>\n    <character>PRESENTER (ON TV)<\/character>\n    <dialogue>You're live on Wind Of Freedom. Please turn your TV down.<\/dialogue>\n    <character>A PERSON TALKING ON PHONE WITH THE<\/character>\n    <dialogue>PRESENTER<\/dialogue>\n    <scene_description>I've been following your show for a while... and I know you always talk about social issues...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-PRISON<\/stage_direction>\n    <scene_description>Escorted by a guard, Zain heading to the prison's visitor area.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-PRISON CAFETERIA<\/stage_direction>\n    <scene_description>In a colorful dress, Souad is smoking a cigarette. Zain sees her from the cafeteria entrance and stares at her. She gets up and kisses him. They sit down to talk.<\/scene_description>\n    <character>SOUAD<\/character>\n    <dialogue>How are you? Do you have a cold? Are you sick?<\/dialogue>\n    <character>ZAIN (WITH DISGUST)<\/character>\n    <dialogue>Congratulations, you're no longer in mourning? You're not wearing black anymore?<\/dialogue>\n    <character>SOUAD<\/character>\n    <dialogue>I brought you some candy to nibble on. Eat them, Zain. Why are you so angry with me? There was nothing I could have done. She was my daughter, I lost her too.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>What did you come here for?<\/dialogue>\n    <character>SOUAD<\/character>\n    <dialogue>When God takes something away from you, He blesses you in return.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>What did God bless you with?<\/dialogue>\n    <character>SOUAD<\/character>\n    <dialogue>I'm pregnant. You're going to have a little brother or sister.<\/dialogue>\n    <character>ZAIN (DISGUSTED)<\/character>\n    <dialogue>My heart aches.<\/dialogue>\n    <character>SOUAD<\/character>\n    <dialogue>I hope it's a girl. We'll name her Sahar.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>Your words are stabbing me in the heart.<\/dialogue>\n    <character>SOUAD<\/character>\n    <dialogue>God willing, when you get out, she'll be walking and playing....<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>I don't want to see your face in here again. You have no heart.<\/dialogue>\n    <scene_description>Zain takes the bags and throws them in the garbage with anger in front of his mother.<\/scene_description>\n    <character>ZAIN (TO THE GUARD, WHILE LEAVING THE<\/character>\n    <dialogue>VISITOR AREA)<\/dialogue>\n    <scene_description>Let go of me! I want to go outside!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.EVENING-PRISON<\/stage_direction>\n    <scene_description>A sunset shot taken from the prison.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.EVENING-PRISON CELL<\/stage_direction>\n    <scene_description>A few young prisoners are watching the same show they were watching last time.<\/scene_description>\n    <character>CHILD SPEAKING ON TV<\/character>\n    <dialogue>Ever since my dad died, I haven't smiled...<\/dialogue>\n    <character>PRESENTER (ON TV)<\/character>\n    <dialogue>This week's special reports on child abuse have had a great impact on our audience...<\/dialogue>\n    <scene_description>Zain is listening to the show while lying in bed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-PRISON HALLWAY<\/stage_direction>\n    <scene_description>A shot of the empty prison hallway.<\/scene_description>\n    <character>PRESENTER (ON TV)<\/character>\n    <dialogue>For your comments, call us at... 09658856<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-PRISON CELL<\/stage_direction>\n    <scene_description>Zain is sitting near the window and staring outside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.NIGHT-PRISON HALLWAY<\/stage_direction>\n    <scene_description>Zain is at the phone booths, holding a phone to his ear.<\/scene_description>\n    <character>PRESENTER<\/character>\n    <dialogue>Is there an adult in the room with you, Zain?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>A police officer.<\/dialogue>\n    <character>PRESENTER (SHOCKED)<\/character>\n    <dialogue>A police officer? Where are you calling us from, Zain?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>From jail.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.NIGHT-PRISON CELLS<\/stage_direction>\n    <scene_description>The other prisoners are watching the show on TV, when one of them notices Zain's voice.<\/scene_description>\n    <character>PRISONER<\/character>\n    <dialogue>That's Zain talking!<\/dialogue>\n    <scene_description>They get shocked and excited and start telling each other.<\/scene_description>\n    <character>PRESENTER (ON TV)<\/character>\n    <dialogue>From jail? Which jail?<\/dialogue>\n    <character>ANOTHER PRISONER<\/character>\n    <dialogue>Yes, it's Zain's voice.<\/dialogue>\n    <character>ZAIN (HIS VOICE IS HEARD ON TV)<\/character>\n    <dialogue>Roumieh Prison for Juveniles.<\/dialogue>\n    <character>PRESENTER<\/character>\n    <dialogue>Zain, why are you calling our show? How can we help you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.TALK SHOW STUDIO (T.V. SEQUENCE)<\/stage_direction>\n    <scene_description>The presenter of the same show we saw previously is talking in front of the camera.<\/scene_description>\n    <character>ZAIN (HEARD IN THE STUDIO)<\/character>\n    <dialogue>I want to sue my parents.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.NIGHT-PRISON CELLS<\/stage_direction>\n    <scene_description>The other prisoners are shouting and knocking on the doors so the other prisoners can know.<\/scene_description>\n    <character>PRISONER (SHOUTING)<\/character>\n    <dialogue>Hey guys!<\/dialogue>\n    <character>ANOTHER PRISONER (SHOUTING)<\/character>\n    <dialogue>Zain's on TV!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.NIGHT-PRISON WINDOWS<\/stage_direction>\n    <scene_description>Most of the kids and teenagers are waving clothes outside the windows and shouting.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.NIGHT-PRISON HALLWAY<\/stage_direction>\n    <scene_description>Others are knocking on the cells doors.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.NIGHT-PRISON CELL<\/stage_direction>\n    <character>PRESENTER (ON TV)<\/character>\n    <dialogue>You're live on the air. What do you want to say?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.DAY-PRISON<\/stage_direction>\n    <scene_description>We still hear Zain's voice but we see Zain walking with a guard and heading towards the prison's visitor area.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>I want grown-ups to hear what I have to say. I'm sick of those who can't take care of their kids. What will I take from all this? All the insults, all the beatings, all the kickings? The chain, the hose, or the belt? The nicest word I hear is: Fuck off, you sonofabitch!\" \"Piss off, you fucker!\"<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY- PRISON'S VISITOR AREA<\/stage_direction>\n    <scene_description>Zain comes up to her. Nadine stands up and extends her hand out to greet him. We still hear his speech from the phone call.<\/scene_description>\n    <character>ZAIN (ON PHONE WITH TV PRESENTER)<\/character>\n    <dialogue>Life is dog shit. Filthier than the shoes on my feet! I'm living in hell. Getting roasted, like the chicken I'm dying to eat.<\/dialogue>\n    <character>NADINE (WITH A SMILE)<\/character>\n    <dialogue>How are you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-TRANSPORTATION VAN FOR PRISONERS<\/stage_direction>\n    <scene_description>We still hear his speech. But we see him leaving a transportation van for prisoners. He is handcuffed and escorted by an officer.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>Life is a bitch! I was expecting to be a good man, respected and loved. But God doesn't want that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-COURTHOUSE HALLWAY<\/stage_direction>\n    <scene_description>Zain is walking down the hallway heading to the court that we previously saw many times. We hear his voice in the background from the phone call.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>He wants us to be floor mats, to be stepped on.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-COURTROOM<\/stage_direction>\n    <scene_description>With a miserable look on his face, tired looking eyes, Zain addresses his mother.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>That kid in your belly will be just like me.<\/dialogue>\n    <scene_description>Souad silently looks at him and doesn't say a word. She bends her head down.<\/scene_description>\n    <character>THE JUDGE<\/character>\n    <dialogue>What do you want from your parents?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>I want them to stop having children.<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>Speak up!<\/dialogue>\n    <character>ZAIN (SPEAKS LOUDER)<\/character>\n    <dialogue>I want them to stop having children!<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>You want them to stop having children?<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>That's right.<\/dialogue>\n    <character>THE JUDGE<\/character>\n    <dialogue>I don't think they're going to have any more children.<\/dialogue>\n    <character>ZAIN<\/character>\n    <dialogue>And what about that one? He's going to be born, no?<\/dialogue>\n    <scene_description>The judge and his parents silently look at him and don't say a word.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-COURTHOUSE FILES ROOM<\/stage_direction>\n    <scene_description>The clerk goes into an archive room and puts a file between a pile of files. The room is filled with columns of files.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.NIGHT-WAREHOUSE<\/stage_direction>\n    <scene_description>A group of police officers raid a dark warehouse.<\/scene_description>\n    <character>OFFICER (SPEAKING ON THE PHONE WITH TV<\/character>\n    <dialogue>PRESENTER)<\/dialogue>\n    <scene_description>We raided a warehouse where people were trapped...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.NIGHT-ASPRO'S HOUSE<\/stage_direction>\n    <scene_description>The police officers raid Aspro's house. He is sitting with a group of other people smoking cigarettes. He looks shocked.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.NIGHT-WAREHOUSE<\/stage_direction>\n    <scene_description>A police officer is holding Aspro and pushing him on the wall. Another person is also standing by his side and held by the officers. The officers are looking through the openings while holding flashlights and searching for the trapped people. They break in and find people from different nationalities in miserable conditions sitting in the dark. They also find Yonas, crying loudly. One of the police officers gets in and picks him up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY- BEIRUT AIRPORT<\/stage_direction>\n    <scene_description>Rahil and several other colored women are waiting at the airport surrounded by officers. Rahil is looking left and right. Suddenly she notices a social worker heading her way with Yonas in her arms, both of them smiling. Rahil runs like crazy towards her son. She grabs him into her arms. She covers him with kisses and tears of happiness.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-PRISON HALLWAY<\/stage_direction>\n    <scene_description>Walking down the empty hallway, Zain is escorted by a guard and handcuffed behind his back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.DAY-IN FRONT OF A GRAY WALL<\/stage_direction>\n    <scene_description>Zain is standing still. Off camera, he is looking into a camera lens with a neutral expression.<\/scene_description>\n    <character>VOICE OF MAN<\/character>\n    <dialogue>Stand on the line, Zain. Go a bit to the right. No, to the left. Too much, back to the right.<\/dialogue>\n    <scene_description>Zain follows the instructions of the photographer.<\/scene_description>\n    <character>ZAIN<\/character>\n    <dialogue>No, this is my right. This is my left.<\/dialogue>\n    <character>VOICE OF MAN<\/character>\n    <dialogue>Tilt your head up a bit. Look straight ahead. Smile.<\/dialogue>\n    <scene_description>Zain doesn't smile. He looks sad.<\/scene_description>\n    <character>VOICE OF MAN<\/character>\n    <dialogue>Smile, Zain. This is for you ID card, not your death certificate.<\/dialogue>\n    <scene_description>Zain finally shows a little smile on his face.<\/scene_description>\n    <character>THE END.<\/character>\n  <\/scene>\n<\/script>","summary":"Zain El Hajj, a 12-year-old from the slums of Beirut, is serving a five-year prison sentence in Roumieh Prison for stabbing someone whom he refers to as a \"son of a bitch\". Neither Zain nor his parents know his exact date of birth as they never applied\/received an official birth certificate. Zain is brought before a court, having decided to take civil action against his parents, his mother, Souad, and his father, Selim. When asked by the judge why he wants to sue his parents, Zain answers \"Because I was born\" (or, more precisely, \"because you had me\"). Meanwhile, Lebanese authorities process a group of migrant workers, including a young Ethiopian woman named Rahil. The story then flashes back several months to before Zain was arrested. Zain lives with his parents and takes care of at least seven younger siblings who make money in various schemes instead of going to school. He uses forged prescriptions to purchase tramadol pills from multiple pharmacies, which they crush into powder and soak them into clothes, which his brother sells to drug addicts in prison. Zain also works as a delivery boy for Assad, the family's landlord, and the owner of a local market stall. One morning, Zain helps his 11-year-old sister Sahar to hide the evidence of her first period, fearing she will be married to Assad if her parents discover that she can now become pregnant. Zain makes plans to escape with Sahar and begin a new life. However, his suspicions are proven correct as her parents marry off Sahar to Assad in exchange for two chickens. Furious at his parents, Zain runs away and catches a bus, where he meets an elderly man dressed in a knock-off Spider-Man costume who calls himself \"Cockroach Man\". Cockroach Man gets off the bus at the Luna Park in Ras Beirut and Zain follows him, spending the rest of the day at the park. While on the Ferris wheel, Zain sees a beautiful sunset and begins to cry. Later, Zain meets Rahil, an Ethiopian migrant worker who is working as a cleaner at the park. She takes pity on Zain and agrees to let him live with her at her tin shack in exchange for Zain babysitting her undocumented infant son Yonas when she is at work. Rahil's forged migrant documents are due to expire soon, and she does not have enough money to pay her forger Aspro for new documents. Aspro offers to forge the documents for free if she gives Yonas to him so that Yonas can be adopted. Rahil refuses, despite Aspro's claims that Yonas' undocumented status will mean he can never receive an education or be employed. Rahil's documents expire and she is arrested by Lebanese authorities. After she does not return to the shack, Zain panics. Several days pass, and Zain begins looking after Yonas on his own, claiming that they are brothers, and begins selling tramadol again to earn money. One day, while at Souk Al Ahad, where Aspro is based, Zain meets a young girl named Maysoun. Maysoun is a Syrian refugee and claims that Aspro has agreed to send her to Sweden. Zain demands that Aspro send him to Sweden as well, which Aspro agrees to do if Zain gives him Yonas. Zain reluctantly agrees, and Aspro tells him that he will need some form of identification to become a refugee. Zain returns to his parents and demands they give him his identification, to which they laughingly tell him he doesn't have any. Having disowned him for leaving, they kick him out of their house, but not before revealing that Sahar had recently died due to difficulties with her pregnancy. Furious, Zain takes a large knife, runs out the house and stabs Assad. Zain is arrested and sentenced to five years at Roumieh Prison. While in prison, during a visit from his mother, Zain learns that Souad is pregnant yet again and plans to name the child Sahar. Disgusted by his mother's lack of remorse for her daughter's death, he tells her not to visit again, calling her \"heartless\". During a TV show requesting call-in commentary on child abuse, Zain contacts the media and says that he is tired of parents neglecting their children and plans to sue his parents for continuing to have children when they cannot take care of them. When the judge asks him what he wants from his parents, he says \"I want them to stop having children\", as he does not want them to suffer the neglect he has. Zain also alleges that Aspro is adopting children illegally and mistreating them. Aspro's house is raided and the children and parents are reunited, including Yonas and Rahil. Zain's photo is taken for his ID card. The photographer cracks a joke at Zain's sour disposition\u2014\"It's your ID card, not your death certificate\"\u2014and Zain manages a smile."}
{"movie_name":"Kids_1995","imdb_id":"tt0113540","script":"<script>\n  <scene>\n    <stage_direction>Kids<\/stage_direction>\n    <scene_description>BLACK SCREEN The very loud sound of people having sex . The sounds of deep moaning and sexual huffs and puffs . After a few seconds the sound grows even louder . It should sound as if the two people are fucking into a microphone . The sounds should be painful and raw .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Oh yes, oh yes, oh yes, oh yes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - DAY<\/stage_direction>\n    <scene_description>The face of a very pretty young girl with long blond hair . Her face is inches from the CAMERA , the CAMERA is above her , looking down , almost like the POV of the person she 's having sex with . She id breathing extremely heavily ; her face is red - hot and sweaty . Every time she moves , she makes a deep moaning noise . She looks likes she 's on the verge of pain and ecstasy .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>Oh yes, Telly it hurts, oh yes, oh yes, please Telly, Telly.<\/dialogue>\n    <scene_description>The CAMERA backs up to reveal Telly having sex with the girl . Telly is seventeen years old . He is short , dirty , slightly muscular , he has an interesting face , he is a street - smart punk , He is biting his bottom lip , the two of them are sweating like mad , the sound of the bed post smashing against the wall combines with the rhythmical moaning of the two . RAPID FADE TO BLACK BACK IN TIME - BEFORE THEY HAD SEX Telly is in bed with the girl . The two of them are sitting up in the big bed that is raised high of the ground . Telly is naked except for a tight pair of white underwater . He is sitting above the blankets with his legs spread apart . The girl is partially covered , she is wearing a black bra , one of her nipples is poking through . The two of them are very sweaty , they both have messed up hair , there is a great feeling of heat and wetness . The windows to her room are open , the sound of outside of outside traffic is circulating . There is a small fan on her dresser that is blowing from side to side . Socks , shirts , and pants are lying on her hard wood floor . The room is neat except for the clothing . A large poster of the Beastie Boys hangs on the wall . She has many stuffed animals on her bed and dresser drawer , she also has a small dollhouse in the corner . Telly and the girl are looking at each other . The girl speaks slowly and softly , she has a very innocent beauty about her .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>You know what I want to do?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>What do I want to do?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>You want to fuck me. But you ca n't fuck me.<\/dialogue>\n    <character>TELLY<\/character>\n    <parenthetical>( smiling . )<\/parenthetical>\n    <dialogue>Why?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Because, you know why. You know.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Because your a virgin?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Because I'm a virgin and I do n't want no baby.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>You think I want a baby? When you're with me, you do n't have to worry about that kinda stuff.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Why is that?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Because I like you. I think you're beautiful. I think if we fucked you would love it. You would n't even believe it.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>I would n't believe it?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>I do n't know. I just think that you would love it.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>But, I do n't know. I'm just scared that things would change. Between us.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>What things? I'm telling you, nothing's going to change.<\/dialogue>\n    <parenthetical>( he begins to caress her cheek and hair . )<\/parenthetical>\n    <dialogue>I want to make you happy. That's all.<\/dialogue>\n    <scene_description>Telly scoots up to the girl and starts to kiss her . He sticks his tongue in her mouth . They kiss .<\/scene_description>\n    <character>TELLY<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>You know it wo n't hurt. I'll be gentle. I promise.<\/dialogue>\n    <character>GIRL<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>Do you care about me?<\/dialogue>\n    <character>TELLY<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>Of course I do.<\/dialogue>\n    <scene_description>RAPID CUT TO BLACK AN EXTREME CLOSEUP OF THE GIRL 'S FACE As she screams in total agony . Telly and the girl are on the bed having sex . All the lights are on . This scene should look very white and bleached out , very electric and shocking . Everything should be exposed as Telly takes advantage of the virgin girl .<\/scene_description>\n    <character>TELLY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( slowly . )<\/parenthetical>\n    <dialogue>Virgins. I love'em. No diseases, no loose as a goose pussy, no skank. No nothin. Just pure pleasure.<\/dialogue>\n    <scene_description>CUT TO BLACK THE CREDITS ROLL IN As soon as the scene ends , so does the sound of the two having sex . Very fast , very hard - paced music accompanies the credits . The music should be strong enough to maintain the intensity of the scene , Hard - core , Punk . CREDITS STOP<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPPER EAST SIDE APARTMENT BUILDING - STAIRCASE - DAY<\/stage_direction>\n    <scene_description>Telly gently shuts the door . He has a huge smile on his face . He looks down the center of the staircase and spits . He watches his spit fall down till it smacks against the floor . He runs down three flights of stairs as quickly as possible . He jumps down the last four steps and bumps into the side of the wall . He is very happy . He runs down the skinny hallway and smacks the metal mailboxes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UPPER EAST SIDE - SIDEWALK - DAY<\/stage_direction>\n    <scene_description>Telly exits the building . CASPER is sitting on a middle step . He is reading a comic book and drinking a 40oz . Bottle of malt liquor . The bottle is wrapped in a brown paper sack . As he sips his drink he laughs at his comic book . Casper is Telly 's second half . The two have been best friends since grade school . Casper is small and funny , everyone likes him , he has a quick temper , and he is n't scared to fight someone twice his size . Telly provides Casper with a sense of adolescent wisdom . Casper makes Telly happy ; he 's a smart ass , he has a strong New York accent , an assortment of tattoos , and crooked teeth . Telly and Casper are always together , They help each other to survive . Telly smacks Casper on the back of his head . Casper is startled and spills a little bit of his beer onto his shoes .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <character>TELLY<\/character>\n    <parenthetical>( smiling . )<\/parenthetical>\n    <dialogue>Was up bitch?<\/dialogue>\n    <scene_description>Casper looks at Telly smiling .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Oh shit what happened?<\/dialogue>\n    <scene_description>Casper is very excited . He stands up and pulls Telly 's arm .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>You fucked it?<\/dialogue>\n    <scene_description>Telly laughs and Casper jumps up and down .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>I knew you fucked it! I sat out her for like two hours! That girl was like twelve, and you hit it up!<\/dialogue>\n    <character>TELLY<\/character>\n    <parenthetical>( pounding his chest . )<\/parenthetical>\n    <dialogue>Who am I? Who am I? The mothafuckin' virgin surgeon.<\/dialogue>\n    <scene_description>They both start to laugh . They move off the stairs and start walking down the sidewalk . The two of them are walking down the street , obvious to everything but themselves talking .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Well, how was it?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Oh my god, so good. That girl can fuck.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>She can fuck?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Hell yeah. That bitch was bleeding. When I first put it in she screamed real loud. I saw her bite down on the pillow.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Oh shit. How long did it take?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Did what take?<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>How long did you fuck her?<\/dialogue>\n    <scene_description>They cross the street , paying no attention to speeding cars . Casper is listening to every word that Telly says . Casper seems much happier than Telly . Telly is laid - back . Casper is hyper as he jumps up and down and claws Telly 's arm .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>Well it took me longer than I thought it would take. It took like 15 minutes to talk her into it. But once it was on, we fucked for a good half an hour. I had to keep taking it out and putting it back in. It hurts the first time.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>But then when she got into it. She really got into it. It was good.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>How did she smell? Did her puss stink?<\/dialogue>\n    <scene_description>Telly puts his four fingers together and then puts his hand in front of Caper 's nose .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>Take a whiff.<\/dialogue>\n    <scene_description>Casper takes a huge whiff , the snot in his nose makes a loud sound as he smells Telly 's fingers .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Oh man, it smells like butterscotch.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Hell's yeah. She was so clean.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Oh man, that's the best.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>You could tell she took care of herself. She had all these powders and creams in her bathroom.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Let me smell it again.<\/dialogue>\n    <scene_description>Telly lifts his fingers once again , as Casper breathes in the odor .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>That's why virgins are the best. I love that smell.<\/dialogue>\n    <scene_description>As they walk down the street , joggers , men in business suits with briefcases , ambulances , and women with baby carriages all pass by .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>You know what else?<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>I can tell that she had just entered puberty.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>How?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Well, I was flipping through a picture book of her and her family, right.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>And there was this picture of her painting Easter eggs or something. And I said, you were cut when you were little.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>And she goes, yeah that picture was taken less than a year ago. I look younger without my makeup.<\/dialogue>\n    <scene_description>Casper starts to crack up .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>And I looked at her, and thought to myself Oh my god, this girl is a baby.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>And for a second I felt a little bit guilty. You know, because she's young and all. And then I was like, oh shit, that turns me on. I wan na fuck this little baby girl.<\/dialogue>\n    <scene_description>They both laugh .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Fuckin perverted bastard.<\/dialogue>\n    <scene_description>They continue to laugh and walk .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>I'm telling you Casper. I think I'm getting addicted to that shit.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>To what? Virgins?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Yeah. It's like all I think about now. Not just that, it's like lately during sex, I start dreaming about these complex fantasies.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>I mean I'm dreaming about going all out, crazy shit.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>You mean like fucking two virgins at once.<\/dialogue>\n    <character>TELLY<\/character>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>That would be good. But I mean more like. I do n't know. Like when I was having sex with her, I kept thinking how much I would like to put it in her ass. Just to see what would happen.<\/dialogue>\n    <character>CASPER<\/character>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>She's probably smash you in the fucking face.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>I do n't know about that. She was pretty into it. But I was n't gon na try. The whole thing is, you just got ta take it slow. Show'em some respect.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Did you tell her that you loved her?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Like. Like. Never love. Love is for low - level virgin seduction guys.<\/dialogue>\n    <scene_description>They stop walking . Casper takes the last sip of his beer , then throws it toward an orange trash can . He misses the can and the bottle smashes in the middle of a busy street .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Get another forty.<\/dialogue>\n    <parenthetical>( burps . )<\/parenthetical>\n    <dialogue>Smoke a blunt.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Are you hungry?<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Hell yeah. Fuckin starvin. Wait up a sec.<\/dialogue>\n    <scene_description>Casper takes two steps away and starts urinating in someone 's bushes . People walk by and stare .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>You wan na go to Paul's house?<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>What for? That guys a dick.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>I'm sue he's got food. He's always got those microwave burrito things in his freezer.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>You think he's got any herb?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>I do n't know, he quit dealin but I'll bet he'll smoke us out.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>You think?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Probably.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>He lives on 76th?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>78th.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Den less go Joe.<\/dialogue>\n    <scene_description>He zips up his pants . They start walking again . Casper is carrying a folded up comic book in his hand .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Telly.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Did she suck your dick?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>A little bit. But I did n't really want her to.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>I do n't know. That's too easy. I mean getting a virgin to suck your dick. That's so easy.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>It is right.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>I want to knock her guard down. I mean there's a whole philosophy behind it. Having a virgin suck your dick, that's basic because there's nothing lost.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>It's no big deal, right?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Right. But when you deflower a girl, that's it. You did it. You were the one. No one else can ever do it.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Yeah. The way I see it. My outlook on the this situation is.<\/dialogue>\n    <parenthetical>( they both start laughing . )<\/parenthetical>\n    <dialogue>It's like getting fame, you know what I'm saying. It's like, if you died tomorrow, and fifty years from now all the virgins you fucked are gon na remember you because you were their first.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Yep.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>They're gon na tell their grand kids.<\/dialogue>\n    <parenthetical>( mimicking an old lady . )<\/parenthetical>\n    <dialogue>That Telly. He sure was good in the sack!<\/dialogue>\n    <scene_description>The two of them are laughing , their conversation has gotten them very excited . They walk in front of a Korean grocery . The grocery has a small outdoor produce section , juice , fruit , sodas , etc. . A KOREAN GUY with flip - flops and headphones is sitting on a tall wooden stool .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>You thirsty?<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Yeah, I feel dehydrated.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>You got any money?<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Three pennies and a ball of lint.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>You down with the boost?<\/dialogue>\n    <character>CASPER<\/character>\n    <parenthetical>( whispers . )<\/parenthetical>\n    <dialogue>Unzip my pack, yo.<\/dialogue>\n    <scene_description>He turns around and Telly quickly unzips his backpack .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KOREAN GROCERY - DAY<\/stage_direction>\n    <scene_description>The grocery is your basic traditional market with a lunch buffet . Behind the cash register is a middle - aged KOREAN MAN . He is watching a small black and white television set . The two boys enter . Casper walks straight to the back where they keep the beer . Telly circles the buffet and then walks up to the cash register .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>Uh, let's see here, would you happen to have diss digg?<\/dialogue>\n    <character>KOREAN STORE OWNER<\/character>\n    <dialogue>Whah?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Diss digg. I'm curious if you have it?<\/dialogue>\n    <character>KOREAN STORE OWNER<\/character>\n    <dialogue>Whah is dissdee?<\/dialogue>\n    <scene_description>Casper is going through the beer section . He pulls out two 40oz . bottles of and puts them on the floor .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>Diss digg, diss digg, diss digg.<\/dialogue>\n    <character>KOREAN STORE OWNER<\/character>\n    <dialogue>I no understand you. Maybe crazy.<\/dialogue>\n    <scene_description>A round mirror is reflecting Casper putting the bottles into his backpack .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>I'll ask you one last time. Do you have diss digg?<\/dialogue>\n    <character>KOREAN STORE OWNER<\/character>\n    <dialogue>Whah you say? Dissdee?<\/dialogue>\n    <scene_description>Casper runs up to the counter and grabs his crotch .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>He said This Dick, mutha fucka! Ca n't you understand English?<\/dialogue>\n    <scene_description>The two of them both run out the door . Telly taps the Korean man who is sitting outside . The man looks in the opposite direction while Casper grabs two peaches and puts them into his pocket . The two boys run off . The Korean man gets off his stool . He pulls his headphones off his ears .<\/scene_description>\n    <character>KOREAN MAN<\/character>\n    <dialogue>Stupy fucky boys! Fucky!<\/dialogue>\n    <scene_description>He looks at his fruit stand and puts a peach in the spot that Casper previously stole from .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UPPER EAST SIDE - APARTMENT - DAY<\/stage_direction>\n    <scene_description>Casper and Telly are walking down the street . Casper is eating a peach and drinking his 40oz . beer . Telly is also drinking .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>You know like in `` The Wonder Twins'' they share everything.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>The cartoon?<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Yeah. `` The Wonder Twins''. You know.<\/dialogue>\n    <parenthetical>( mimics the cartoon . )<\/parenthetical>\n    <dialogue>Activate in the form of, a glass of water.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Well, those guys share everything, right?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>And once I saw this episode where they pretended they were each other. Where they lived the other's life for a day. You know those guys share everything, right?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>And it got me thinkin. How fun it would be to share each other's girl.<\/dialogue>\n    <character>TELLY<\/character>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>Yeah, that would be fun but I do n't like any of the girls you go out with. Like that one girl with two teeth and a clit ring.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>No, I'm serious man. I'm dead ass. Do you wan na try? We could be like the fuckin X - rated `` Wonder Twins''! The two of them start laughing and jumping on each other. Telly spits out a mouthful of beer.<\/dialogue>\n    <character>CASPER<\/character>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>Can you do it man?<\/dialogue>\n    <character>TELLY<\/character>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>Can I do it? I just brooke her cherry. I imagine I can make her do anything. Bark like a dog, jump through a ring of fire.<\/dialogue>\n    <scene_description>Casper is jumping up and down on Telly 's shoulder .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Oh man. I fucking love this guy.<\/dialogue>\n    <scene_description>The two of them walk off laughing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PAUL'S APARTMENT BUILDING - DAY<\/stage_direction>\n    <scene_description>A medium sized apartment building on the Upper East Side . Cars are speeding by the front of the building . Cabs drive by and beep their horns . Telly and Casper are sitting on the front steps . Telly rings one of the buttons . The bottom switchboard is plastered with skateboarding stickers and `` Legalize Marijuana '' stickers . A Vespa scooter is parked on the outside in front of the building , it also has stickers on it . Telly rings it again . It is a very hot day , both boys are wiping sweat from their bodies .<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>( from box . )<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>It's me. Telly.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( from box . )<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <character>TELLY<\/character>\n    <parenthetical>( loudly . )<\/parenthetical>\n    <dialogue>Paul it's Telly. Open up.<\/dialogue>\n    <scene_description>A buzz is heard . There is a little girl sitting on the bottom step , playing with a doll . Casper runs down and gives her a peach . Then he runs back up . Telly and Casper enter the building . The little girl tosses the peach to the ground .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAUL'S APARTMENT BUILDING - DAY<\/stage_direction>\n    <scene_description>There are about ten guys in the apartment . There is almost no furniture , just two white couches and a few plants in the corner . There is a big TV in the center of the floor . A Nintendo with several wires is hooked up to it . There are various games spread out . A couple of boys are huddled around the game , as they watch the guy play , they breathe in the wip - it 's . The boys are all young and spread out . There are people lying on the couch , on the floor , on the phone , in the kitchen smoking pot and doing wip - its . They are all colors and sizes . Casper and Telly go to each person and greet them with a handshake . Some people they hug . They say `` Was up , '' to everyone . They both sit down on the floor and continue to drink their beers . Paul sits down besides them .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>What are you guys doing?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Nothing. We just wanted to come by and see what you were up to.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You want a wip - it?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Nah.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Paul puts his hand on his big pocket and gives Casper a cartridge . Casper breathes in the wip - it and then smiles really big .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>I love these shits.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>They're good for you. Vitamin C for the new generation.<\/dialogue>\n    <scene_description>Paul hands Casper another cartridge .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>That's why I like'em. They wake my brain up.<\/dialogue>\n    <scene_description>Casper does the wip - it . STANLEY , a tall black kid with dreads , walks out of the kitchen . He has a cordless phone in his hand . Casper continues to do wip - it 's . One after another .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>So, how many people live here now?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I do n't know, eight or nine.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Where does everyone sleep?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Everywhere. Fuckin flophouse. We're still short on the rent. If you want, you and Casper can move in. You guys can share the bathtub.<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>Yo Telly. Jennie says what's up.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Jennie who?<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>Jennie. You know.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>That girl you boned last year. Remember?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Man I have n't seen her in forever. What the fuck's she up to?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RUBY'S ROOM - DAY<\/stage_direction>\n    <scene_description>Five girls are sitting in a small room . They are smoking . They 're all in a circle laughing . The girls are all good friends . A few of them have rings in their lips and eyebrows . A big dirty fish tank is on one of the bookshelves . Ruby is a nice looking girl , age 17 . She is Spanish , her hair is slicked back , she chain - smokes . Jennie is a 15 year old high school sophomore . She is white . She is very pretty , with an uncommon touch of innocence about her . The next episode is going to jump - cut back and forth between Paul 's apartment and Rubby 's room . These scenes should be handheld . Ruby hangs up the phone .<\/scene_description>\n    <character>RUBY<\/character>\n    <dialogue>Telly says was up.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>I knew he would n't want to speak to me. That dick.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>You still mad at him?<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>Of course. How am I gon na forgive him after what he did?!<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>What did he do?<\/dialogue>\n    <scene_description>Ruby cuts of Jennie .<\/scene_description>\n    <character>RUBY<\/character>\n    <dialogue>He stole her virginity. He took it away and now it's gone forever.<\/dialogue>\n    <scene_description>Laughter .<\/scene_description>\n    <character>JENNIE<\/character>\n    <dialogue>Yeah. But it's not even the fact that he devirginized me. It's the fact that after it was done he never spoke to me again. He talked all this bullshit and then just broke out.<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>That's the kinda shit he's into. Telly is known for that stuff. He fucked Amber the same way.<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>And Susan too.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>But he was all like, Oh Jennie I like you so much. Trust me you'll love it, I'm not gon na use you. I promise. He was poppin mad jazz.<\/dialogue>\n    <scene_description>More laughter from the group . They all speak very quickly , almost to the point where you ca n't understand them .<\/scene_description>\n    <character>SUSAN<\/character>\n    <dialogue>First times are always wacked. Just be glad you did n't lose your virginity in the backseat of a rental car.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>That shit is nothin. I remember, I had just turned 14. With this fuckin asshole who was like 18. I do n't even remember his name. I think it was John or Jake or something. I remember he had a brother named Lentil because I would always joke and call him Lentil Bean. This was away at like sleep away camp with your friends and shit.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>Oh yeah.<\/dialogue>\n    <scene_description>Laughter .<\/scene_description>\n    <character>RUBY<\/character>\n    <dialogue>And we did it in the bush. Like outside around midnight. I got fucking mosquito bits all over my ass. And we thought everyone was sleeping, but they obviously were n't because everybody knew. And it was out on the grass somewhere. And it hurt like a motha, oh my god the pain!<\/dialogue>\n    <scene_description>Laughter .<\/scene_description>\n    <character>LINDA<\/character>\n    <parenthetical>( cracking up . )<\/parenthetical>\n    <dialogue>That's the shit! That's the shit!<\/dialogue>\n    <scene_description>Linda slaps hands with Ruby .<\/scene_description>\n    <character>RUBY<\/character>\n    <dialogue>The pain. The fucking pain!<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>And you feel like you're being ripped open inside.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>You are being ripped open.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>Did you bleed?<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>I did n't bleed.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>You did n't?<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>No, I did n't bleed.<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>I bled. I fucking bled all over the sheets.<\/dialogue>\n    <character>DIANE<\/character>\n    <dialogue>Me too.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>I bled. I bled like on the condom, there was blood everywhere. And you know what he started singing? He started singing `` Sunday Bloody Sunday.'' That stupid fucking song.<\/dialogue>\n    <scene_description>Everyone is cracking up .<\/scene_description>\n    <character>RUBY<\/character>\n    <dialogue>I was like. I was like. No. They sang that the whole sleep away. My reputation!<\/dialogue>\n    <character>DIANE<\/character>\n    <dialogue>It does n't even matter though. It's such bullshit. The reputation is bullshit.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>DIANE<\/character>\n    <dialogue>You know.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>Yep.<\/dialogue>\n    <character>DIANE<\/character>\n    <dialogue>I do n't give a fuck. I have sex and I like fucking.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>Hell yeah. I love. I love sex.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>Foreplay. Foreplay.<\/dialogue>\n    <character>LINDA<\/character>\n    <parenthetical>( smacks hands together . )<\/parenthetical>\n    <dialogue>Yep. That's the best way. It's that boom boom boom.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>Right. You know it's not like. You know there's a difference between sex, making love, and fucking!<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>Yep.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>Making love is like.<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>Sweet.<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>Slow.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>It's grandmother style.<\/dialogue>\n    <scene_description>Jennie is cracking up and pounding Ruby 's back .<\/scene_description>\n    <character>LINDA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>It's like.<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>You know what it's like. It's like when you really love someone, it's like awww.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>Its like. But it gets boring. It's boring.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>It's really slow. It's slow boring.<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>It's very monotonous.<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>Yeah. And sex is just like, yeah let's have sex,<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>It's like yeah whatever. But when you fuck. You wan na fuck that person. You're like ripping each other's hair out. Ooooh.<\/dialogue>\n    <scene_description>She pulls her hair , everyone laughs .<\/scene_description>\n    <character>RUBY<\/character>\n    <dialogue>Right. You're like it's just this instinct. It's like this animal instinct is taking over you. It's like.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>Passion.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>Boom! Boom!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAUL'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Some of the guys are sitting in front of the couch doing wip - its . Casper is chewing on a microwave burrito and watching the guy next to him play Nintendo . He is blowing into the burrito . They are in the midst of a conversation .<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>Yeah, yeah, yeah!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>That's the one thing. They expect you to be so gentle, so kind.<\/dialogue>\n    <character>ZACK<\/character>\n    <dialogue>When most of time you just wan na be all. Pounding on that shit.<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>That would be the best if you could just be. Excuse me can I borrow your hole Miss? It'll only take a little while. I'll give it right back.<\/dialogue>\n    <scene_description>Laughter .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>But that's the thing. Girl's like it slow. They like romance. They like things to be sweet and romantic.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Yep.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>I mean I've been with a lot of girls I know.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Yeah me too nigga.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT RUBY'S ROOM - DAY<\/stage_direction>\n    <scene_description>In the midst of their conversation .<\/scene_description>\n    <character>SUSAN<\/character>\n    <dialogue>You know. You know a lot of times sex gets in the way. Has that ever happened to you?<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>Yep.<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>You know. Because sometimes the foreplay is just so good. And then when it actually comes time for sex. It's like the worst letdown.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>Yep, yep. But he has to know what he's doing and where he's going. Because they can like touch you for hours and they wo n't ever know.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>Hell yeah, they do n't know.<\/dialogue>\n    <scene_description>They all start laughing and clapping hands and snapping fingers .<\/scene_description>\n    <character>JENNIE<\/character>\n    <dialogue>Like where are your erogenous zones?<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>Mine?<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>Mine are like my neck and my chest.<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>Yeah. Mine are my toes. Oh my God if someone sucks my toes I'll come in like ten seconds!<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>Yeah. It depends. Cause like this one time with Eric, when we got blasted at his house. And Smash J and DJ Flipper was there.<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>Oh shit.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>And we were blasted, and he must have been dumb horney. And he just pulled me over to the bed. And they were in the room, like getting dressed, like getting ready to go to go to Disco<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>And we were like underneath the sheets. We were going at it like crazy. Oh my God that shit was so good! It was like hard.<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>He was like sucking my tits. He was fucking fingering me. But that shit was nice and hard.<\/dialogue>\n    <scene_description>She starts pounding her fists .<\/scene_description>\n    <character>RUBY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I was like ripping his hair out. And we kissed like so hard that our lips were busted. And that shit was so good. It was crazy.<\/dialogue>\n    <scene_description>They slap hands and laugh .<\/scene_description>\n    <character>RUBY<\/character>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>He was like ripping my hair. I was like oh yeah.<\/dialogue>\n    <parenthetical>( moving her hips back and forth . )<\/parenthetical>\n    <dialogue>Work it.<\/dialogue>\n    <scene_description>They all crack up .<\/scene_description>\n    <character>SUSAN<\/character>\n    <dialogue>You know why I decided to go out with Alex.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>SUSAN<\/character>\n    <parenthetical>( starts laughing . )<\/parenthetical>\n    <dialogue>He has the best fucking fingers I've ever had.<\/dialogue>\n    <scene_description>She holds up her middle two fingers and starts shaking them back and forth . Everyone is cracking up .<\/scene_description>\n    <character>SUSAN<\/character>\n    <parenthetical>( still laughing . )<\/parenthetical>\n    <dialogue>I was like yes! I'm going out with him!<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>That's right. That's why foreplay is better than sex.<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>Yep.<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>Because he can like climax you up to that.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>Point.<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>Yep. Where just one more move and you would be like crazy.<\/dialogue>\n    <scene_description>She snaps her fingers .<\/scene_description>\n    <character>RUBY<\/character>\n    <dialogue>Yep.<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>But then the sex gets into the way and you're like : What happened! What the hell happened?!<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>Yeah it's the biggest disappointment!<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>Yeah. And it takes them either too long or too short to come. Have you ever had someone that took forever<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>To come?<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>Yeah. I had sex with Jake, and it took him like an hour and a half.<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>Yeah. The shit gets wacked. Fifteen minutes.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>Yeah. Fifteen minutes to a half an hour. Hard and deep.<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>Me. I can only take it up to fifteen minutes. Cause I get bored.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>Yeah I get bored.<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>I start thinking about what I'm gon na eat afterwards.<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>Yeah, eat. I got real thirsty too.<\/dialogue>\n    <scene_description>Laughter .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAUL'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Continued talking . Casper is playing the video game . He is playing with a great deal of intensity .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>You know what I notice?<\/dialogue>\n    <character>ZACK<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>I notice that girls love to give head. It's like a secret pastime hobby for them. Or somethin'.<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>Some girls.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>All girls. They love it. I know.<\/dialogue>\n    <scene_description>Casper 's game finishes .<\/scene_description>\n    <character>CASPER<\/character>\n    <parenthetical>( under his breath . )<\/parenthetical>\n    <dialogue>I hate this game.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>No. Casper's right. Girls love it. They just act like they do n't in front of their friends.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Yeah. But when it's just you and them. That's like the first thing they go for.<\/dialogue>\n    <scene_description>Casper starts a new game .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>I know. They love it. That's why girls live longer than guys.'Cause sperm has vitamin C.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RUBY'S ROOM - DAY<\/stage_direction>\n    <scene_description>In the midst of their conversation .<\/scene_description>\n    <character>JENNIE<\/character>\n    <dialogue>I hate sucking dick!<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>Yeah.'Cause they fucking shoot you in the eye, the face, the ear.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>And sometimes it takes a long time, and you're fucking gagging.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>Yeah. And then it hits that little thing.<\/dialogue>\n    <parenthetical>( pointing to the back of her throat . )<\/parenthetical>\n    <dialogue>That little punch bag. What is it? The tonsils. The esophagus, whatever.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>Yeah. And you're not getting anything out of it.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>And it's like. How much more can I bob here? You know.<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>And you do n't get shit out of it.<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>Have you ever swallowed it before?<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>Me neither.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>I have.<\/dialogue>\n    <scene_description>They all laugh .<\/scene_description>\n    <character>RUBY<\/character>\n    <dialogue>It was. it was.<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>It's like sweet and sour, and salty butter.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>No, no, no. You ca n't get that taste out of your mouth. Until you eat something.<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>You can drink like there's no tomorrow but you still ca n't get that sperm between the teeth out. It's so disgusting.<\/dialogue>\n    <scene_description>Laughter .<\/scene_description>\n    <character>RUBY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>The only way you can get it out is like if you eat like a real meal.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAUL'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Continuing the conversation . Telly is looking straight into the CAMERA .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>All I know is that condoms suck. They do n't work. They break. They slip off. It's impossible to feel anything. They make your dick shrink. But I still use'em. Or at least I did once.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RUBY'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Laughter accompanies their conversation .<\/scene_description>\n    <character>JENNIE<\/character>\n    <dialogue>I mean. Telly is the only guy I've ever had sex with. You knew that.<\/dialogue>\n    <character>DIANE<\/character>\n    <dialogue>No. I did n't know that. I thought you got with A.J. too.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>No, we just messed around.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAUL'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Continued talking .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>That's the whole thing. You know if you look at it. I mean all you hear about is disease this and disease that. And everyone's dying. And you better wear a condom or else. But the truth is. I do n't know any kids with AIDS. No one I know has ever died from that shit. It's like some weird make - believe story that the whole world believes.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Yep.<\/dialogue>\n    <scene_description>Playing the video game .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Yeah. It's a great big fraud.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RUBY'S ROOM - DAY<\/stage_direction>\n    <scene_description>Continued talking .<\/scene_description>\n    <character>RUBY<\/character>\n    <dialogue>I've known the past of all the people I've fucked without a condom. Like I know one of the people got tested and was negative.<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>And I know that one of them fucked like two other girls, who were both virgins, so I knew he was safe.<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>And the other person I just fucked, which was a mistake. But I went to the clinic last week with Jennie.<\/dialogue>\n    <scene_description>Jennie looks embarrassed .<\/scene_description>\n    <character>RUBY<\/character>\n    <dialogue>I made her get tested with me because I did n't want to go alone.<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>Did they ask you a lot of questions?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TESTING CLINIC - DAY<\/stage_direction>\n    <scene_description>Ruby is sitting across from a BLACK NURSE . The nurse has a clipboard in her hand . She is sitting at a small desk that is cluttered with papers and pictures of her kids . The room is decorated on shades of bright yellow . There are pictures of clowns on the wall . There is a large paper diagram on the wall that traces , step by step , the process of inserting a condom . Ruby is chewing gum and tapping her feet . She scratches her elbow . The black nurse is very overweight ; she talks with a strong New York accent . She sips a coffee mug that reads `` I love Mom . ''<\/scene_description>\n    <character>BLACK NURSE<\/character>\n    <dialogue>How old you?<\/dialogue>\n    <scene_description>RUBY 17 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TESTING CLINIC - DAY<\/stage_direction>\n    <scene_description>Jennie is sitting across from a very skinny WHITE NURSE . The nurse has a clip board in her head . Spanish rock music is sleeping through the walls . A small desk fan is rotating back and forth . The room is dirty . Jennie is sitting in a chair . She looks very pretty and child - like . She is facing downward and her hair is falling into her face . Jennie speaks in a low voice .<\/scene_description>\n    <character>WHITE NURSE<\/character>\n    <dialogue>How old are you?<\/dialogue>\n    <scene_description>JENNIE 15 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TESTING CLINIC - DAY<\/stage_direction>\n    <scene_description>The black nurse scratches her scalp and it makes a noise .<\/scene_description>\n    <character>BLACK NURSE<\/character>\n    <dialogue>How many people have you had vaginal intercourse with?<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>Umm. Altogether?<\/dialogue>\n    <character>BLACK NURSE<\/character>\n    <dialogue>Yes. Altogether.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>Hmm. I'd say eight, maybe nine.<\/dialogue>\n    <character>BLACK NURSE<\/character>\n    <dialogue>How many times have you gone unprotected?<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>With four of them, I did n't use any kind of protection. Wait, maybe it was three.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TESTING CLINIC - DAY<\/stage_direction>\n    <scene_description>The white nurse scribbles something down .<\/scene_description>\n    <character>WHITE NURSE<\/character>\n    <dialogue>How many people have you had vaginal intercourse with?<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>One.<\/dialogue>\n    <character>WHITE NURSE<\/character>\n    <dialogue>Were you protected?<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>JENNIE<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>An EXTREME CLOSEUP shot of a pencil checking the NO box .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TESTING CLINIC - DAY<\/stage_direction>\n    <scene_description>The black nurse takes a long sip from her mug .<\/scene_description>\n    <character>BLACK NURSE<\/character>\n    <dialogue>Have you ever had anal intercourse?<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>BLACK NURSE<\/character>\n    <dialogue>With how many people?<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>Umm. Three I believe. But I'm not sure.<\/dialogue>\n    <character>BLACK NURSE<\/character>\n    <dialogue>Were they wearing condoms?<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>Uh. Yes. Twice they were n't. Two times they did n't.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TESTING CLINIC - DAY<\/stage_direction>\n    <scene_description>The white nurse sticks her head a few inches from the fan and lets the wind blow her sweaty face .<\/scene_description>\n    <character>WHITE NURSE<\/character>\n    <dialogue>Have you ever had anal intercourse?<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>No.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TESTING CLINIC - DAY<\/stage_direction>\n    <scene_description>The black nurse has a big smile on her face .<\/scene_description>\n    <character>BLACK NURSE<\/character>\n    <dialogue>Okee dokey. You should come back in seven days and we should have your results.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TESTING CLINIC - DAY<\/stage_direction>\n    <scene_description>A CLOSEUP of Jennie 's face .<\/scene_description>\n    <character>JENNIE<\/character>\n    <parenthetical>( timidly . )<\/parenthetical>\n    <dialogue>Thanks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ENTRANCE OF AN UPTOWN TRAIN STATION - DAY<\/stage_direction>\n    <scene_description>Casper and Telly run down the stairwell . People enter and exit .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN STATION - DAY<\/stage_direction>\n    <scene_description>Casper and Telly run down the stairs . They look around to see if there is any transit security . They simultaneously walk up to the turnstile and pull back the revolving metal guard . Then they slip through very nonchalantly . A short BLING GUY is playing the accordion . He is standing up and tapping his feet . He 's playing `` Danny Boy '' . In front of his feet is a large leather briefcase with dollar bills and scattered change . Casper and Telly walk up to the Blind Guy . They watch him for a second , then Casper starts to clap with his beer in his hand . He starts to smile really big . Telly sees Casper smiling and then he begins to smile .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Man, this guy is really good.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>He looks like my uncle.<\/dialogue>\n    <scene_description>Casper looks at the money collection .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>I bet he makes hella money.<\/dialogue>\n    <scene_description>A train comes speeding by . Casper walks next to the Blind Guy and starts dancing really funny . Telly starts to laugh . Some guy in a business suit walks by and throws some change in the collection .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TESTING CLINIC - WAITING ROOM - DAY<\/stage_direction>\n    <scene_description>Typical waiting room . Big sofas and chairs . A table is in the middle of the floor , magazines and pocketbooks . A water jug is in the corner . A ceiling fan is circling fast up above . An assortment of men and women of different races and colors . They look mainly middle class . Jennie and Ruby are the youngest people in the room . A man in a three - piece suit slowly walks by . Jennie tries to see his face but he is turned the wrong way . Ruby continues to talk . The same fat black nurse walks out with a clipboard . She begins to cough tremendously .<\/scene_description>\n    <character>RUBY<\/character>\n    <dialogue>I do n't know, I think he's mad at me, but who cares.<\/dialogue>\n    <scene_description>Ruby and Jennie stop talking and look at the black nurse . She is coughing uncontrollably . She looks like a large shaking figure . A skinny nurse walks by , pounds her on the back , and she stops coughing . The black nurse has a smile on her face , her eyes watery . She turns and looks at Ruby .<\/scene_description>\n    <character>BLACK NURSE<\/character>\n    <dialogue>Woowee! It must have been something I ate!<\/dialogue>\n    <parenthetical>( coughs then smiles . )<\/parenthetical>\n    <dialogue>Ruby, follow me.<\/dialogue>\n    <scene_description>Ruby stands up and looks at Jennie . Ruby crosses both her fingers and raises them in the air .<\/scene_description>\n    <character>RUBY<\/character>\n    <dialogue>Wish me luck.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>Good luck.<\/dialogue>\n    <scene_description>Ruby follows the black nurse . This should be one long shot , as Ruby follows the nurse through the hectic testing clinic . The two of them enter the same room as before .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAITING ROOM - DAY<\/stage_direction>\n    <scene_description>The skinny white nurse picks up a folder with Jennie 's name on it . She opens the door to the waiting room and looks at Jennie sitting down with her eyes closed .<\/scene_description>\n    <character>WHITE NURSE<\/character>\n    <dialogue>Jennie.<\/dialogue>\n    <scene_description>Jennie stands up and smiles . She walks towards the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TESTING CLINIC - DAY<\/stage_direction>\n    <scene_description>Ruby is sitting down in a chair . The black nurse picks up a file from the back of the door . She opens it and smiles .<\/scene_description>\n    <character>BLACK NURSE<\/character>\n    <parenthetical>( cough , pause . )<\/parenthetical>\n    <dialogue>Well, girl. You tested negative for all sexually transmitted diseases and infections.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <character>BLACK NURSE<\/character>\n    <dialogue>You're clean.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>Oh my God. I ca n't tell you how nervous I've been. I could n't sleep last night.<\/dialogue>\n    <character>BLACK NURSE<\/character>\n    <dialogue>Now you got ta be careful.<\/dialogue>\n    <scene_description>The black nurse pulls out a bunch of pamphlets .<\/scene_description>\n    <character>BLACK NURSE<\/character>\n    <dialogue>Here take these pamphlets home and read them.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TESTING CLINIC - DAY<\/stage_direction>\n    <scene_description>Jennie is standing up . She is hugging herself . The white nurse is sitting down at her desk . The nurse looks real closely at the folder and then shuts it .<\/scene_description>\n    <character>WHITE NURSE<\/character>\n    <dialogue>Jennie. You've tested positive for the HIV infection.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>WHITE NURSE<\/character>\n    <dialogue>The test is n't one hundred percent accurate. You should.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>I tested positive?<\/dialogue>\n    <character>WHITE NURSE<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>But I only had sex with Telly.<\/dialogue>\n    <scene_description>The nurse is quiet .<\/scene_description>\n    <character>JENNIE<\/character>\n    <dialogue>I just got tested to keep Ruby company.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY CAR - DAY<\/stage_direction>\n    <scene_description>Telly and Casper are sitting side by side . Casper is holding a 40oz . bottle of beer . The train is semi - crowded ; all seats are taken and there are a few people standing up . The train shakes . They are headed downtown . Casper and Telly are looking at the couple directly across from them . They are two unattractive lower - class Spanish people , they are holding hands and kissing .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>I wan na fuck Darcy.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Darcy. Benny's little sister.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Oh. You like her?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Yeah. I like her. I've wanted to get with her for a while now.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Darcy?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Yeah. She's so little, so pretty, and innocent.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Yeah. She's only 13.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>It's funny. Last weekend at that block party. Remember?<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>She was handing out those watermelon slices. And I sat down over on the other side, And I watched her.<\/dialogue>\n    <character>CASPER<\/character>\n    <parenthetical>( excited . )<\/parenthetical>\n    <dialogue>Yeah.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>I watched her eat the watermelon. And all this juice started running down her chin and onto her shirt.<\/dialogue>\n    <character>CASPER<\/character>\n    <parenthetical>( smiling . )<\/parenthetical>\n    <dialogue>Yeah.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>And after about two seconds, I got the biggest hard - on.<\/dialogue>\n    <scene_description>Casper starts laughing .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>I'm not joking. I wanted to take my dick out and start jacking right there. At that point and moment, Darcy was like a vision of perfection.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>I know what you mean.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>At that moment, at that block party, she represented everything holy about a virgin.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>She hangs out at Nasa. She promotes for them.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>I'm gon na fuck her tonight. I swear to God I'm gon na fuck her.<\/dialogue>\n    <character>CASPER<\/character>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>How are you gon na fuck two virgins in a day? That shits got ta be against the law.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>I do n't care motha fucka. I'll bet you money she fucks me.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Bet.<\/dialogue>\n    <scene_description>The two of them shake hands .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>You wan na run by the park and see what everybody's doing? Get zooted?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>I guess so. I got ta stop off home too.<\/dialogue>\n    <scene_description>At this point the sound of the subway door is heard . A black man with no legs pushes himself through with his hands . He has a large container filled with change . As he enters , his cup of change is heard smashing back and forth . His face is even with people 's knees . A random few stuff change and dollar bills into his cup . He sings as he pushes his way through the cat . He has an afro pick sticking out the back of his head . He is wearing a shirt that says `` KISS ME I 'M POLISH '' .<\/scene_description>\n    <character>LEGLESS MAN<\/character>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>I have no legs. I have no legs. I have no legs. I have no legs.<\/dialogue>\n    <scene_description>As he pushes his way closer , Casper starts checking his all his pockets . When he gets about three feet away , Casper stands up and throws some pennies into his cup . He sits back down next to Telly . The legless man stops and smiles at Casper .<\/scene_description>\n    <character>LEGLESS MAN<\/character>\n    <dialogue>Thank you. God bless you.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Yeah. Bless you back.<\/dialogue>\n    <scene_description>The legless man makes his way into the next car .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>I do n't understand why you do that.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Why I do what?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>That.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Why I give pennies?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Yeah. Why you give money.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Did you look at that guy? What the fuck. He had no legs.<\/dialogue>\n    <parenthetical>( motions to his waist . )<\/parenthetical>\n    <dialogue>He had no half his lower body. He's got ta shit out of his ribcage.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>That's just it. It's elitist. It's reverse elitism. Because you give money to whoever is the most fucked up. I notice what you do.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Whenever you see someone who's really messed up, especially amputees and retards. You give them money. But if it's just a regular bum, you pass them by.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>So.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>So. These people live on the same streets. It's just that you reserve your money for those people who are massively fucked up. The regular bums are n't poor enough for you, you got ta give it to the bottom of the barrel scum fucks.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>So. You never know when you can end up like that.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>I'll tell you why. Because when I was little, I had a fat cousin, cousin Luke. And he used to make fun of the handicapped. And one day he had a bad stomachache. So he drank a bottle of Pepto and his ass blew off.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Shut up.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>I'm telling you the truth. And after that, I've always givin' my money to retards. Because that's the reverse of what he did.<\/dialogue>\n    <scene_description>Telly is laughing .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>So really, it's good luck.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Good luck?<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Yeah, good luck. I mean what the fuck. The guy had no legs.<\/dialogue>\n    <scene_description>They both laugh .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TELEPHONE BOOTH - DAY<\/stage_direction>\n    <scene_description>Ruby and Jennie are squeezed into a telephone booth . They are on a busy street . People are walking by the cars are in a standstill gridlock . It is very loud outside . Everyone is beeping their horns and screaming out windows . Ruby looks very dazed and confused . Jennie is nervous and shaky . Jennie picks up the phone and puts it to her ear . She searches her pockets for a quarter and comes up empty . She begins shaking her hands back and forth .<\/scene_description>\n    <character>JENNIE<\/character>\n    <dialogue>Ruby. Do you have a quarter?<\/dialogue>\n    <scene_description>Ruby hands her a quarter . Jennie dials her house .<\/scene_description>\n    <character>JENNIE<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Peter, is Mom there? No, I need to speak to Mommy. Peter where's Mommy? No, I ca n't talk to you right now. Yeah. I hear it. look just tell her. No never mind. Go watch television.<\/dialogue>\n    <scene_description>She hangs up the phone and starts to cry . Ruby puts her arm around Jennie .<\/scene_description>\n    <character>RUBY<\/character>\n    <dialogue>Shh. Come on, it's gon na be OK.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>That's it. I'm gon na have to tell my little brother, I'm gon na die. I ca n't make him his lunches anymore.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>Come on. Do n't cry. We'll work it out.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>I only did it once and.<\/dialogue>\n    <scene_description>A man with a beeper walks up and taps on the phone booth .<\/scene_description>\n    <character>PHONE BOOTH MAN<\/character>\n    <dialogue>You usin the phone?<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>Get the fuck outta here man!<\/dialogue>\n    <character>PHONE BOOTH MAN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RUBY<\/character>\n    <parenthetical>( screaming inside the booth . )<\/parenthetical>\n    <dialogue>I said get the fuck outta here before I smash your fucking face in mothafucka!<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>I got ta go. I got ta find Telly.<\/dialogue>\n    <character>RUBY<\/character>\n    <dialogue>Do n't go anywhere. Stay with me.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>I got ta find him.<\/dialogue>\n    <scene_description>Jennie squeezes by Ruby and pushes open the door to the booth .<\/scene_description>\n    <character>RUBY<\/character>\n    <dialogue>I'm coming.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>No. I just got ta go find him.<\/dialogue>\n    <scene_description>Ruby grabs Jennie 's arm and Jennie pulls away . Jennie starts walking and wiping the tears out of her eyes .<\/scene_description>\n    <character>RUBY<\/character>\n    <dialogue>Jen!<\/dialogue>\n    <scene_description>Jennie looks back at Ruby and then starts running down the street .<\/scene_description>\n    <character>RUBY<\/character>\n    <parenthetical>( screaming . )<\/parenthetical>\n    <dialogue>Jennie!<\/dialogue>\n    <scene_description>Jennie is running down the street full speed . She is passing all the people on the sidewalk . Then she darts across the street and through the traffic . Some people stare . She continues to run as the CAMERA follows her for a full block . She bumps into people and pushes them away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TELLY'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Telly and Casper walk up to the house . Telly lives in a flat on St. Marks ; downtown . Two Spanish hoodlums are sitting on the front steps . Telly and Casper walk up and slap their hands . Casper looks for some place to hide his beer . One of the hoodlums puts his hand out and Casper gives it to him . Telly opens the door with his key and Casper follows close behind . They walk straight to the end of the hallway and enter . Telly 's house is cluttered . The house is nice but organized . The kitchen has pots and pans hanging from the ceiling . There is a Matisse poster hanging in a frame . Large bookshelves filled to the gills with books . Big plush couches in the living room , a rocking chair in the corner . A small wooden piano . A scattered game of Monopoly is on the dinning room table , a few cats roam the house . On the wall are pictures of Telly as a young boy , and large family portraits . Telly and Casper walk into the living room , then enter the kitchen . Telly 's mom is in the kitchen breast - feeding a small baby . She has her hair pulled back and her breast out . There is a small television set on the kitchen counter that she is watching .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>Hi mom.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>Hi Telly. Where you been?<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>Hi Casper.<\/dialogue>\n    <scene_description>Telly goes to the refrigerator and takes out a big jug of Kool - Aid . Casper gets the glasses down from the cabinet .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>We were out trying to find a job.<\/dialogue>\n    <scene_description>Pouring the Kool - Aid .<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Any luck?<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>No none.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>So, what are you gon na do for money this summer?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>I do n't know. Find a job.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Hey can I borrow some money?<\/dialogue>\n    <scene_description>Casper is staring at Telly 's mom as she breast - feeds .<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Sorry. Dad made me promise not to give you any money until you find a job.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>But then I wo n't need your money.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>That's right.<\/dialogue>\n    <scene_description>Casper is staring at Telly 's mom 's breast .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Man, Telly, your little brother is getting big.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Telly walks out of the kitchen and up the stairs , Casper slowly staggers behind . As they walk up the stairs , Telly pulls his shirt off and wipes his underarms and chest . Casper pulls Telly 's arm .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Holy shit man, your mom's got good titties.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Shut the fuck up.<\/dialogue>\n    <scene_description>The two of them enter Telly 's parents room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TELLY'S PARENT'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>The bedroom is messy . There are clothes lying on the bed and floor . There is an exercise bike in the corner . Museum posters are on the wall . Tampons on the dresser . Casper follows Telly into the bedroom . Telly sticks his head out the door to make sure his mother is n't coming . Casper picks up a tampon and starts playing with it . Telly opens his mother 's shoe closet . All her shoes hand from a big wooden door . He goes directly to a pair of black dress pumps . He pulls out the shoes and puts them under his arm , then he puts his hand in the shot slot and pulls out a pair of shoulder pads with a rubber band rapped around them . He pulls off the rubber brand , and in between the shoulder pads is a small wad of cash . He takes out the cash and sits on the bed counting it . Casper is pushing the tampon back and forth inside the plastic shell .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>How do these things work?<\/dialogue>\n    <scene_description>Telly is counting the cash .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>Twent, twenty - five, thirty - five, forty - five, fifty.<\/dialogue>\n    <scene_description>Casper is looking at himself in the mirror .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>How much you gon na take?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>I do n't know. How much do you want?<\/dialogue>\n    <scene_description>Casper is looking at teeth in the mirror .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>About ten. Fifteen is good.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Fifteen for me.<\/dialogue>\n    <scene_description>He puts fifteen dollars in his back pocket .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>Ten for you.<\/dialogue>\n    <scene_description>Casper is scrapping his teeth with the tampon while looking in the mirror . Telly stands up and hands Casper the ten dollars . Caper puts the money in his back pocket . Telly picks up his mother 's shoulder pads and puts the remaining cash between them . He stuffs the shoulder pads into the shoe slot . He picks up his mother 's black pumps and puts them into the slot . He shuts the door . Telly picks up his shirt and walks out of the room . Casper throws the tampon into the trash and follows Telly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TELLY'S ROOM - DAY<\/stage_direction>\n    <scene_description>His room is a total mess , worse than imaginable . His clothes , the furniture , piles of porno magazines and science books , are all covered with candy wrappers and potato chip bags . His television is on a scrambled station . He has one big poster of Albert Einstein on his wall . He has a water bed . He has a few small plants next to his windowsill . There is a cat sleeping next to his bed .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>Get the fuck out of here cat!<\/dialogue>\n    <scene_description>Telly kicks the cat out his door . Casper shuts the door .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>You think Darcy is gon na be at Nasa tonight?<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Yeah probably.<\/dialogue>\n    <scene_description>Telly picks up the small spray bottle used for watering plants , he begins to spray his face and chest .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Yo, you got any weed around here?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Naw. But we should run by the park and get a dime. Maybe Darcy will be at the park.<\/dialogue>\n    <scene_description>Casper is sitting on the water bed , he is pumping one of Telly 's small ten pound dumbbells .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Yo. I'm gon na get buff dude.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>You are?<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Yeah. The other day, some sort of Chinese bitch told me I'd look good with muscles.<\/dialogue>\n    <scene_description>Casper is pumping and making faces .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>I'm gon na get mad diesel. I'm gon na fuck any nigga that tries to step to me.<\/dialogue>\n    <scene_description>Telly is wiping his body off with a towel from the floor . He sniffs his arms and then picks up a stick of deodorant and applies it .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>You want some?<\/dialogue>\n    <scene_description>Casper is still pumping .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Nah.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Why not? You stink.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>That shit gives me a rash all under my arms and around my stomach. I like my odor. It's fuckin natural.<\/dialogue>\n    <scene_description>The CAMERA stays on Casper while he continues to pump his dumbbell and look at his arm .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TELLY'S KITCHEN - DAY<\/stage_direction>\n    <scene_description>Mom is watching a soap opera on television . The baby is in a small rocker on the counter . She is rocking it back and forth with one hand while smoking a cigarette .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>Mom.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>Shh.<\/dialogue>\n    <character>TELLY<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>I'm gon na go out for a little while.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>When are you gon na be back?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Not too late.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>Four - thirty in the morning?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Not too late.<\/dialogue>\n    <scene_description>Casper and Telly walk to the door .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>Hey Mom. Are you sure I ca n't get any money? Just a few bucks.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>If I had it, maybe. But right now I do n't have a penny to my name.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>All right.<\/dialogue>\n    <scene_description>Casper waves good - bye .<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Bye.<\/dialogue>\n    <scene_description>Casper and Telly leave . Telly slams the door behind him . The baby wakes up and starts to cry .<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Shit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PAUL'S APARTMENT BUILDING - DAY<\/stage_direction>\n    <scene_description>Jennie walks up the stairs to Paul 's apartment . She takes her finger down the list of names . She rings his bell . Paul sounds really messed up .<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>( from the speaker , laughter and noise . )<\/parenthetical>\n    <dialogue>Hello.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>Hello Paul. Is Telly inside?<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>Is Telly there?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>This is Paul. Who is this?<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>It's Jennie. Just tell me if Telly is there.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( drunkenly , laughter . )<\/parenthetical>\n    <dialogue>Oh hi Jennie. Do you want to come make out with me?<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>I'm fucking serious. Where's Telly?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Telly's not here right now. I believe he went downtown. Casper too.<\/dialogue>\n    <scene_description>Jennie walks down the stairs . A little white girl is sitting on the bottom stair , playing with a black doll . The doll has no hair and it 's dress is ripped . She looks up at Jennie .<\/scene_description>\n    <character>LITTLE GIRL<\/character>\n    <dialogue>My dolly is black. Lucy.<\/dialogue>\n    <scene_description>The girl sticks her doll out so Jennie can hold it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WASHINGTON SQUARE PARK - DAY<\/stage_direction>\n    <scene_description>Casper and Telly are standing by the chess tables . The park is very busy . Every chess table is being used . People are riding bikes and roller - blading . Strong men are doing pull - ups on the monkey bars while guys walk by with ghetto blasters . A state of public frenzy . A Rastafarian drug dealer with a big dread cap is standing a little bit away from Telly and Casper . He is approaching everyone as they walk by him .<\/scene_description>\n    <character>DRUG DEALER<\/character>\n    <parenthetical>( fast and slurred . )<\/parenthetical>\n    <dialogue>. Sess. Smoke, hash, shrooms, valium, coke. Sessamila.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Yo, was up Ras!<\/dialogue>\n    <character>RAS<\/character>\n    <dialogue>Ah Caspa! Was up little blood clot?<\/dialogue>\n    <scene_description>Casper and Telly walk up and shake his hand .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Nuffin. You gots?<\/dialogue>\n    <character>RAS<\/character>\n    <dialogue>Shoot yeah boy. Fuckin best herb. Uptown shit boy.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>None of that twigs and pebbles shit.<\/dialogue>\n    <scene_description>Another guy trying to sell drugs walks up , but Ras just pushes him away . Telly pulls the money out of his back pocket . Ras pulls out a dime bag and pushes it open . He looks around and then puts it in Casper 's face .<\/scene_description>\n    <character>RAS<\/character>\n    <dialogue>Fucking good skunk.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Smells delicious.<\/dialogue>\n    <scene_description>Casper starts to laugh . Telly goes to hand the drug dealer the money . Ras looks around to make sure it 's safe .<\/scene_description>\n    <character>RAS<\/character>\n    <dialogue>Throw it down.<\/dialogue>\n    <scene_description>He points to the floor ; then throws the weed on the ground . Telly drops two five dollar bills .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Thanks Ras.<\/dialogue>\n    <character>RAS<\/character>\n    <dialogue>Caspa!<\/dialogue>\n    <scene_description>Ras laughs . The two of them slap hands . Ras slaps Telly 's hand and walks away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNDER THE ARCH - WASHINGTON SQUARE PARK - DAY<\/stage_direction>\n    <scene_description>The park is extremely crowded . The kids hang out in front of the arch by the fountain and around the sides . There are about ten kids skateboarding . The fountain is on and the mist is spraying the kids . Girls in hip - hop fashion are lined up all around . A few kids are drawing graffiti in little black books . There are maybe twenty kids hanging out around the fountain , in front of the arch . Casper and Telly walk up to the center of the action . They greet their friends sitting on the edge of the fountain . Skateboarders ride up and slap their hands . As they greet their friends , they kiss the girls on the cheek and a few of them on the lips , they slap hands with the guys and embrace some with a hug . Telly and Casper go down the line , greeting everyone . This process takes a while , as they interact with everyone down the line . HAROLD is a skinny black skateboarder with a funny face . He rides up to Casper and hugs him .<\/scene_description>\n    <character>HAROLD<\/character>\n    <dialogue>Casper! Was up kid?<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Nothen B.<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>Where you at?<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Right here.<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>Where you goin tonight?<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Maybe Nasa. I do n't know.<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>You goin?<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>I'm goin. You on the list?<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Probably. Fuck that, I'll sneak in. I need some female vagina tonight.<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>I had a female vagina last night.<\/dialogue>\n    <scene_description>HAMILTON , a short black guy with a Gilligan hat , walks up .<\/scene_description>\n    <character>HAMILTON<\/character>\n    <dialogue>Yo Cass, you got any boom?<\/dialogue>\n    <scene_description>Telly is sitting on the cement benches talking to MISHA , a pretty young girl with a belly button pierce .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Yep. You got a Phillie?<\/dialogue>\n    <character>HAMILTON<\/character>\n    <dialogue>Presto.<\/dialogue>\n    <scene_description>Hamilton pulls out a long Phillie cigar . Then he squeezes in between Casper and another guy . Casper pulls out his dime bag and sniffs it . The he puts it in front of Hamilton 's nose .<\/scene_description>\n    <character>HAMILTON<\/character>\n    <dialogue>You got that here in the park?<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Yep.<\/dialogue>\n    <character>HAMILTON<\/character>\n    <dialogue>Break that shit up.<\/dialogue>\n    <scene_description>Casper is smushing the pot up . Hamilton is taking the plastic of the cigar . In this shot they go through the complete process of rolling a blunt . The next sequence should be done with fast edits .<\/scene_description>\n    <character>HAMILTON<\/character>\n    <dialogue>Cut it.<\/dialogue>\n    <scene_description>Hamilton cuts the cigar down the center with his long thumbnail .<\/scene_description>\n    <character>HAMILTON<\/character>\n    <dialogue>Scrape it.<\/dialogue>\n    <scene_description>He then scrapes all the tobacco out of the center and onto the ground .<\/scene_description>\n    <character>HAMILTON<\/character>\n    <dialogue>Lick it.<\/dialogue>\n    <scene_description>He then licks the outer paper till it gets very damp .<\/scene_description>\n    <character>HAMILTON<\/character>\n    <dialogue>Dump it.<\/dialogue>\n    <scene_description>Casper starts putting the weed inside , Hamilton licks it , then pulls out a lighter and dries it .<\/scene_description>\n    <character>HAMILTON<\/character>\n    <dialogue>And smoke it.<\/dialogue>\n    <scene_description>Hamilton puts it in his mouth .<\/scene_description>\n    <character>HAMILTON<\/character>\n    <dialogue>You wan na start off?<\/dialogue>\n    <scene_description>Hamilton looks at Casper and puts the blunt in his face .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Naw, you got it Ham.<\/dialogue>\n    <scene_description>Hamilton smiles .<\/scene_description>\n    <character>HAMILTON<\/character>\n    <dialogue>All right.<\/dialogue>\n    <scene_description>He puts the blunt in his mouth and lights it . A big flame shoots up as it catches the end of the Phillie . Hamilton takes a few big puffs and then blows the smoke away .<\/scene_description>\n    <character>HAMILTON<\/character>\n    <dialogue>Take two pulls and pass.<\/dialogue>\n    <scene_description>Hamilton passes the blunt to Casper . A bunch of kids start huddling around Casper as he puffs . STEVEN , a skinny Spanish kid with gold front teeth , walks up .<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Yo can I fuck wit dat?<\/dialogue>\n    <scene_description>Casper smiles and blows smoke in his face .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Yeah boy!<\/dialogue>\n    <scene_description>Casper hits it again and then hands it to Steve , who takes immense hits . Two male homosexuals in short shorts walk by holding hands . Steven turns his head and notices them . He exhales the smoke out of his nose .<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Look at that.<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>That shit is sick. Fuckin faggots.<\/dialogue>\n    <character>CASPER<\/character>\n    <parenthetical>( screaming at the top of his lungs . )<\/parenthetical>\n    <dialogue>Fuckin faggots!<\/dialogue>\n    <scene_description>Everyone starts laughing .<\/scene_description>\n    <character>CASPER<\/character>\n    <parenthetical>( as loud as possible . )<\/parenthetical>\n    <dialogue>Faggots!<\/dialogue>\n    <scene_description>Casper rubs his throat . People continue to laugh .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>My throat.<\/dialogue>\n    <scene_description>Telly is sitting away on the cement benches under the tree . He is talking to Misha .<\/scene_description>\n    <character>MISHA<\/character>\n    <dialogue>How can you hang out with Casper? He's such a jerk.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>You think so?<\/dialogue>\n    <character>MISHA<\/character>\n    <dialogue>Yeah. I've always hated that kid. He used to eat glue in like seventh grade.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>He still does.<\/dialogue>\n    <character>MISHA<\/character>\n    <dialogue>I hate'em.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>It's not his fault. He had a hard life.<\/dialogue>\n    <character>MISHA<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>You've heard the stories right?<\/dialogue>\n    <character>MISHA<\/character>\n    <dialogue>No.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK SIDEWALK - DAY<\/stage_direction>\n    <scene_description>Back in time . Casper is a little boy , age 11 . He is walking down the sidewalk with a lunch box and a `` Casper the Friendly Ghost '' T - shirt . He is wearing his hat on backwards . Music accompanies this entire episode .<\/scene_description>\n    <character>TELLY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Well, one day Casper had a stomachache and he got permission from his teacher to leave school early and go home.<\/dialogue>\n    <scene_description>Casper walks up to a nice middle - class home , it could be in Queens or Brooklyn , it does n't matter . He pulls out a key and opens the door . He enters his home .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CASPER'S HOUSE - DAY<\/stage_direction>\n    <scene_description>The house is dark . Plastic on all the furniture . A velvet picture of Christ is hanging on the wall in the hallway . Very simple and plain , a generic adobe . Casper enters his house and flips on a lightswitch .<\/scene_description>\n    <character>TELLY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>So he walks into his house and hears some strange noises.<\/dialogue>\n    <scene_description>The sounds of his mother screaming from upstairs .<\/scene_description>\n    <character>CASPER'S MOM<\/character>\n    <parenthetical>( screaming from upstairs . )<\/parenthetical>\n    <dialogue>Get away! Get away! Help! You monster! Please help!<\/dialogue>\n    <scene_description>Casper puts his lunch box down and walks to the first stair to listen to his mother 's screams .<\/scene_description>\n    <character>TELLY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The noises were coming from upstairs. In his parents room.<\/dialogue>\n    <scene_description>Casper 's mom continues to scream from upstairs .<\/scene_description>\n    <character>TELLY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>So, this freaked the hell out of Casper. He was just a little kid and he was n't sure what to do.<\/dialogue>\n    <scene_description>Casper moves off the step and runs into the kitchen .<\/scene_description>\n    <character>TELLY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>So he ran and got a big knife. The same knife his pops used to cut the turkey on Thanksgiving with.<\/dialogue>\n    <scene_description>He opens a drawer full of silverware and pulls out a humongous glistening knife . He picks it up , and it shines on his face . As his mother screams he looks up at the ceiling with the knife in his hand .<\/scene_description>\n    <character>CASPER'S MOM<\/character>\n    <parenthetical>( screaming from upstairs . )<\/parenthetical>\n    <dialogue>Stop! Please stop! Oooh help!<\/dialogue>\n    <scene_description>Casper runs up the stairs , he is holding the knife straight out .<\/scene_description>\n    <character>TELLY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>So he heard his mom's screams, and knew that she was in trouble. It sounded like she was getting ready to be killed. Like someone was kicking her in the head.<\/dialogue>\n    <scene_description>Casper runs down the hall and opens the door to his parents room . What he sees is very shocking . His face becomes extremely animated . Casper 's mom is on the bed . She is completely naked except for a pair of bright red high heel shoes . In between her legs is a man wearing all black , including a black ski mask and motorcycle boots . He is having sex with Casper 's mom . He has her arms pinned down on the bed . He is grunting like a pig . Casper watches for a moment in awe .<\/scene_description>\n    <character>MAN IN BLACK<\/character>\n    <dialogue>Bitch. You fuckin bitch. Fuckin bitch. Slutty whore.<\/dialogue>\n    <scene_description>The man in black slaps Casper 's mom hard on her naked ass .<\/scene_description>\n    <character>CASPER'S MOM<\/character>\n    <parenthetical>( screaming . )<\/parenthetical>\n    <dialogue>No! Stop! Get off me!<\/dialogue>\n    <scene_description>She is struggling to get loose .<\/scene_description>\n    <character>TELLY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>So Casper opened the door and he saw some big guy with a ski mask fucking his mother. What a sight for an 11 year old kid.<\/dialogue>\n    <scene_description>Casper runs up to the bed . He climbs on top of the bed with the big knife in the air , all the while the man in black is having sex with his mother . And they do n't even notice Casper at first .<\/scene_description>\n    <character>TELLY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And he goes and jumps on his parent's bed. And for a second he just looks and watches.<\/dialogue>\n    <scene_description>Casper takes his knife and starts stabbing the guy in black , over and over . His mother is kicking and trying to stop him . All the while , she is screaming outrageously and blood is pouring out .<\/scene_description>\n    <character>TELLY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And you know. Casper loved his mom, he did n't want anything to happen to her. So he started stabbing this guy, over and over. But it was a mistake.<\/dialogue>\n    <scene_description>Casper 's mom is kicking Casper as he stabs the man . Casper is biting his tongue as he stabs the man . The man falls off the bed and onto the floor . Casper 's mom is going totally nuts . She is completely naked , with blood all over her body . There is blood all over the sheets . His mom is clawing her face in complete hysterics .<\/scene_description>\n    <character>CASPER'S MOM<\/character>\n    <dialogue>You fuck! It's your father! We were playing a game you fuck! That's your father! We were just playing!<\/dialogue>\n    <scene_description>Casper looks very confused as he looks at his naked mother . He has the knife in his hand , and a little blood on his T - shirt and cheek . Casper 's mom continues to yell at him .<\/scene_description>\n    <character>CASPER'S MOM<\/character>\n    <dialogue>Casper, you fucker! Oh, my god! Help me God!<\/dialogue>\n    <scene_description>Casper looks at his mother , then he looks at the dead guy on the floor . He bends down and takes off the mask . It 's his father .<\/scene_description>\n    <character>CASPER<\/character>\n    <parenthetical>( calmly . )<\/parenthetical>\n    <dialogue>That's my dad.<\/dialogue>\n    <character>CASPER'S MOM<\/character>\n    <parenthetical>( crying . )<\/parenthetical>\n    <dialogue>You fuck. You killed your father!<\/dialogue>\n    <character>TELLY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>So Casper killed his father. He came home with a stomachache and ended up murdering his pops. It was a very embarrassing thing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WASHINGTON SQUARE PARK - ON A CEMENT BENCH - DAY<\/stage_direction>\n    <scene_description>Telly is in the same spot talking to Misha .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>So that's why Casper is how he is.<\/dialogue>\n    <character>MISHA<\/character>\n    <dialogue>Oh god. That's horrible.<\/dialogue>\n    <scene_description>A quick shot of Casper smoking a blunt and laughing with his friends .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>Yep.<\/dialogue>\n    <character>MISHA<\/character>\n    <dialogue>Holy shi. That's all true?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>No. I was just kidding.<\/dialogue>\n    <character>MISHA<\/character>\n    <parenthetical>( outraged . )<\/parenthetical>\n    <dialogue>What?!<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>I lied. His dad is still alive. He works for the post office.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WASHINGTON SQUARE PARK - ON THE FOUNTAIN - DAY<\/stage_direction>\n    <scene_description>Casper and all his friends are passing around the blunt , which by now is almost gone . All that is left is a roach and Casper is sucking on it really hard . Casper breathes out the smoke and then passes the roach to Hamilton .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Yo, that weed is mad good.<\/dialogue>\n    <scene_description>Hamilton gets ready to puff .<\/scene_description>\n    <character>HAMILTON<\/character>\n    <dialogue>Hells yeah. Gimmie a taste of the mothafuckin chronic.<\/dialogue>\n    <scene_description>Casper rubs his eyes . Hamilton puffs on the little roach . Casper grabs somebody 's skateboard and stands on it . He starts rolling around slowly and doing some tricks . The other kids continue to smoke . They watch Casper and laugh . Casper is slowly trying to do tricks , but he 's so stoned that he just falls off . As he skates in front of is friends he does n't pay any attention to where he 's going . A tall HOODLUM with gold front teeth is walking by . He is wearing all Polo and a thick white Fila headband . He is biting down on a chew stick . The hoodlum walks by . He has a certain ominous strut . He is looking at the ground as he walks . He takes the chew stick out of his mouth and looks at some girl 's ass as she walks by . He makes a little noise with his mouth . As the hoodlum walks by , Casper is rolling backward , not paying attention . He rolls into the hoodlum 's heels . Casper falls down and laughs . Everyone watching laughs , including Telly who is still sitting with Misha . Casper jumps up and grabs his skateboard . The hoodlum is turned around . Casper walks up to him with a smile .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Yo, sorry money.<\/dialogue>\n    <scene_description>The hoodlum is a good seven inches taller than Casper . He puts his arms out like he 's upset .<\/scene_description>\n    <character>HOODLUM<\/character>\n    <dialogue>Yeah watch the fuck where you skate. You know what I'm saying?<\/dialogue>\n    <character>CASPER<\/character>\n    <parenthetical>( smiling . )<\/parenthetical>\n    <dialogue>Yeah, watch where you walk dukes.<\/dialogue>\n    <character>HOODLUM<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Nuffin G. Just forget it.<\/dialogue>\n    <character>HOODLUM<\/character>\n    <dialogue>What the fuck yo? You wan na catch a beat down?<\/dialogue>\n    <scene_description>Casper throws his skateboard down . He quickly turns around and pulls his pants up . He runs right up to the hoodlum and he looks up at him .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Sup then? Sup?<\/dialogue>\n    <character>HOODLUM<\/character>\n    <dialogue>Come on bitch. Throw your fists up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE CEMENT BENCHES - DAY<\/stage_direction>\n    <scene_description>Telly and Misha are watching . Telly stands up .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>Uh oh. Casper's in the mix.<\/dialogue>\n    <scene_description>He quickly walks up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE FOUNTAIN - DAY<\/stage_direction>\n    <scene_description>All the guys jump up and start screaming .<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Oh shit. Throw down.<\/dialogue>\n    <scene_description>Steven and all the guys run up and surround the hoodlum . They all start screaming taunts . `` Fuck 'em up Casper ! '' Casper is inches from the hoodlum . They are both in a fighting stance . Casper keeps pulling his pants up . Casper has a huge smile on his face , like this is his favorite thing in the whole world .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Sup. Sup.<\/dialogue>\n    <character>HOODLUM<\/character>\n    <dialogue>Come on nigga. Sup, sup then? Stop faking moves.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>I'm gon na fuck you up bitch.<\/dialogue>\n    <scene_description>They are both right about to swing . Everyone in the whole park has turned their attention to the scuffle . All of a sudden , out of nowhere , Harold runs up behind the Hoodlum and with the truck of his skateboard , smashes the guy in the back of the head . A huge thud is heard and the hoodlum just kinda falls forward on his knees . Casper , with a big smile , steps back and kicks the guy in the face as hard as he can . Everyone gets in a big circle around the fallen hoodlum . They 're all screaming . Even the girls are screaming . `` Fuck 'em up ! '' Harold continues hitting the hoodlum with his skateboard . Hitting him on the legs and stomach . Casper is jumping up and down on the hoodlum 's head .<\/scene_description>\n    <character>CASPER<\/character>\n    <parenthetical>( everytime he kicks the guy he says this . )<\/parenthetical>\n    <dialogue>Suck my dick! Suck my dick! Suck my dick!<\/dialogue>\n    <scene_description>All of a sudden , all the skateboarders in the park , including Hamilton and Steven , take their boards and start smashing this guy , over and over . The hoodlum is on the ground holding his head , as everyone frantically tries to kill him . The focus should be on the face of the skateboarders . How much they are enjoying this . They continue to pound him , over and over , like animals in on the prey . This should look very scary , as twenty guys try to kill the fallen hoodlum . Even little kids are in the middle , beating the guy . Telly looks up to the sky . He makes a loud noise as he clears his throat , like he 's gathering mucus . Then he puts his arms down and stops some of the kids from hitting the hoodlum . His face is completely cracked and bloody . Telly steps over him and spits a huge phlegm wad onto his face . Casper , still smiling , kicks the guy in the face .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Suck my dick, Suck my dick. Suck my dick.<\/dialogue>\n    <scene_description>Everyone stops kicking the guy and they all get kinda silent and look at him . He looks completely twisted , bloody , and dead . Casper bends over , right in his face .<\/scene_description>\n    <character>CASPER<\/character>\n    <parenthetical>( smiling . )<\/parenthetical>\n    <dialogue>Now get in my way! Bitch.<\/dialogue>\n    <scene_description>CUT TO BLACK<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \/ EXT. TAXICAB - GOING DOWNTOWN - EVENING<\/stage_direction>\n    <scene_description>Jennie is in the back of a speeding cab . She is looking out the window . Her face looks sad . The TAXI DRIVER is a funny looking old man . He 's wearing a jockey hat and a Hawaiian shirt . He has air fresheners hanging from the mirror . He is chewing on a big wet cigar . He has a half shaved beard . He looks like a dirty old man . Jennie looks dazed . As the taxi driver drives , he looks in his mirror at Jennie . He pulls his cigar out of his mouth and then puts it back in . Jazz is playing on the radio .<\/scene_description>\n    <character>TAXI DRIVER<\/character>\n    <dialogue>Excuse me. Can I ask you a question?<\/dialogue>\n    <scene_description>Jennie just shrugs .<\/scene_description>\n    <character>TAXI DRIVER<\/character>\n    <dialogue>Can I ask you a question? I'm sorry. I do n't mean to be a pest.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>TAXI DRIVER<\/character>\n    <dialogue>Well, I do n't mean to be a pest. It was just that I was looking at you. And you look upset. I liked looking at you, but your face looks upset. And I was wondering if I could be of any assistance? Maybe I could cheer you up or somethin. Help make you happy. Who knows? Somethin maybe.<\/dialogue>\n    <scene_description>As the taxi driver talks , he looks in the mirror , and then looks at the road . He is driving fast and clumsy . He pulls out his cigar and then puts it back in his mouth .<\/scene_description>\n    <character>JENNIE<\/character>\n    <dialogue>No. I'm OK. Thanks.<\/dialogue>\n    <character>TAXI DRIVER<\/character>\n    <dialogue>You're OK?<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>TAXI DRIVER<\/character>\n    <dialogue>Because gee, you do n't look OK. I mean your a very beautiful young lady. It's just that you look troubled that's all.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>Yeah well, it's been a bad day.<\/dialogue>\n    <character>TAXI DRIVER<\/character>\n    <dialogue>A bad day! You wan na hear a bad day? Yesterday my son was smashed over by a car and when my wife found out she collapsed on the floor. She had a minor heart attack. Partial paralysis. But I do n't let myself get sad. No way. Not me. It's not good for the soul.<\/dialogue>\n    <scene_description>The taxi driver begins to laugh a really squeaky laugh .<\/scene_description>\n    <character>JENNIE<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <character>TAXI DRIVER<\/character>\n    <dialogue>Oh it's OK. That's life. Maybe tomorrow I'll win lotto. Who knows? You do n't. No one does.<\/dialogue>\n    <scene_description>Jennie continues to look glumly out the window .<\/scene_description>\n    <character>TAXI DRIVER<\/character>\n    <dialogue>You know. I could tell you were sad by the way your eyes drooped. Like an adopted kid. That's the way an adopted kid's eyes look. All sad like that. All droopy and sweet. Like the honey that I lick off my finger.<\/dialogue>\n    <scene_description>He starts to laugh . Jennie continues to look sadly out the window .<\/scene_description>\n    <character>TAXI DRIVER<\/character>\n    <dialogue>Would I be prying if I asked you what was wrong?<\/dialogue>\n    <scene_description>Jennie is silent .<\/scene_description>\n    <character>TAXI DRIVER<\/character>\n    <dialogue>Miss, would I be prying?<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>Everything is wrong.<\/dialogue>\n    <character>TAXI DRIVER<\/character>\n    <dialogue>No, not everything? The sun is still shinning. It's a beautiful day out. Some things are OK. Right?<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>Yeah, I guess so.<\/dialogue>\n    <character>TAXI DRIVER<\/character>\n    <dialogue>Did you and your boyfriend just break up?<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>TAXI DRIVER<\/character>\n    <dialogue>Are you in trouble with the law?<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>TAXI DRIVER<\/character>\n    <dialogue>Am I getting warm?<\/dialogue>\n    <scene_description>Jennie smiles . The taxi driver looks in the mirror and sees Jennie smiling .<\/scene_description>\n    <character>TAXI DRIVER<\/character>\n    <dialogue>Now that's it. A smile. You look like a prom queen when you smile. Like a glamour girl.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>TAXI DRIVER<\/character>\n    <dialogue>Oh yeah, sure. When I was a kid I had a crush on the prom queen. Darlene Louis. She had a big black mole in the center of her face that used to get me so excited. Darlene Louis. You know you look a little bit like her.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>TAXI DRIVER<\/character>\n    <dialogue>Yeah. Right around the cheeks and chin. Boy did I have a crush on her. She was the first girl I ever put my tongue in her mouth.<\/dialogue>\n    <scene_description>He stops at a red light and turns around to look at her .<\/scene_description>\n    <character>TAXI DRIVER<\/character>\n    <dialogue>Hey look. Whatever it is. Just forget about it. Life's too short. Make yourself happy. I'll give you an example. When my golden retriever passed away. God rest his soul.<\/dialogue>\n    <parenthetical>( he punches the roof of the cab . )<\/parenthetical>\n    <dialogue>I was lonesome. I missed him. So I got a tattoo.<\/dialogue>\n    <scene_description>He pulls up his shirt and reveals a tattoo of a dog on his forearm . It says `` Bruno '' in big letters .<\/scene_description>\n    <character>TAXI DRIVER<\/character>\n    <dialogue>Now how do you like that? Now he's with me forever.<\/dialogue>\n    <scene_description>The light turns and he starts driving .<\/scene_description>\n    <character>TAXI DRIVER<\/character>\n    <dialogue>I swear to God. Sometimes he barks. I can hear him straight off my arm. Ruff, ruff, he goes.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>TAXI DRIVER<\/character>\n    <dialogue>Yeah. I'm not saying you should get a tattoo. But you should make yourself happy.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>What if you ca n't make yourself happy? What if everything falls apart?<\/dialogue>\n    <character>TAXI DRIVER<\/character>\n    <dialogue>Well then, I do n't know. You know what you do then? You forget. Block it out. I remember when I was a little boy. My grandmother told me to be happy. She said. She said, `` Leon, my darling little grandson. If you want to be happy do n't think. Do n't bump into any walls. If you stutter. Do n't talk'' And I took her advice. And look at me now. Could n't be happier.<\/dialogue>\n    <scene_description>He starts to laugh . A quick shot of his identification badge . He has a really goofy smile and he 's wearing the same Hawaiian shirt .<\/scene_description>\n    <character>TAXI DRIVER<\/character>\n    <dialogue>That's life.<\/dialogue>\n    <scene_description>Jennie is smiling .<\/scene_description>\n    <character>JENNIE<\/character>\n    <dialogue>Your a real philosopher.<\/dialogue>\n    <character>TAXI DRIVER<\/character>\n    <dialogue>Yeah. I was gon na write a book but I ca n't spell.<\/dialogue>\n    <scene_description>He pulls up on Washington Square Park . He slams on the brakes and turns around in his seat .<\/scene_description>\n    <character>TAXI DRIVER<\/character>\n    <dialogue>Well here we are, Miss..<\/dialogue>\n    <scene_description>Jennie pulls some money out .<\/scene_description>\n    <character>TAXI DRIVER<\/character>\n    <dialogue>Aw, do n't worry ` bout it. The rides on me.<\/dialogue>\n    <scene_description>Jennie has the money up to the glass .<\/scene_description>\n    <character>TAXI DRIVER<\/character>\n    <dialogue>All right, all right, I'll take it. But forget about the tip.<\/dialogue>\n    <scene_description>He takes her money .<\/scene_description>\n    <character>JENNIE<\/character>\n    <dialogue>Thanks. Bye.<\/dialogue>\n    <scene_description>The taxi driver sticks his head out the window .<\/scene_description>\n    <character>TAXI DRIVER<\/character>\n    <dialogue>Oh yeah. Oh Miss.. Miss.. When you smile, God notices. That's why the sun is shining.<\/dialogue>\n    <scene_description>He points up to the sky before pulling away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOWER EAST SIDE - APARTMENT BUILDING - EVENING<\/stage_direction>\n    <scene_description>Telly is standing in the road in front of Darcy 's apartment building . Casper , Harold , Steven , and two other girls named KIM and JOY are all leaning against and sitting on a parked car . Casper and Steven both have a quart of malt liquor in their hands . Telly is looking straight up . He puts his hands together and raises them to his mouth .<\/scene_description>\n    <character>TELLY<\/character>\n    <parenthetical>( screaming . )<\/parenthetical>\n    <dialogue>Darcy!<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Darcy!<\/dialogue>\n    <scene_description>Bennie , a skinny 18 year old , sticks his chest out the window . He 's chewing on an apple and not wearing a shirt . He looks down at Telly<\/scene_description>\n    <character>TELLY<\/character>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>Hey Bennie. What's up?<\/dialogue>\n    <scene_description>Bennie is munching on his apple .<\/scene_description>\n    <character>BENNIE<\/character>\n    <dialogue>Nuffin. What do you want?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Is your sister home?<\/dialogue>\n    <character>BENNIE<\/character>\n    <dialogue>You want Darcy?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>BENNIE<\/character>\n    <dialogue>Hold on. Let me see if she's here.<\/dialogue>\n    <scene_description>He sticks his head inside and screams .<\/scene_description>\n    <character>BENNIE<\/character>\n    <parenthetical>( his voice from upstairs . )<\/parenthetical>\n    <dialogue>Darcy!<\/dialogue>\n    <scene_description>Casper is sitting on the car , he has his arm wrapped around Kim .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Hurry up man. Let's be out. I wan na go swimmin.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Hold up man.<\/dialogue>\n    <scene_description>Darcy sticks her head out the window . She is very pretty , very young , clean , and innocent .<\/scene_description>\n    <character>DARCY<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Hey. What are you doin right now?<\/dialogue>\n    <character>DARCY<\/character>\n    <dialogue>I was just getting ready to take a bath.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Do n't take a bath. Come swimmin with us!<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>Hi Darcy.<\/dialogue>\n    <character>DARCY<\/character>\n    <parenthetical>( smiles , waves . )<\/parenthetical>\n    <dialogue>Hi Kim. Hi Joy.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Come on. Come swimmin with us.<\/dialogue>\n    <character>DARCY<\/character>\n    <dialogue>Right now?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Yeah. Come on.<\/dialogue>\n    <character>DARCY<\/character>\n    <parenthetical>( looks inside . )<\/parenthetical>\n    <dialogue>Hold on.<\/dialogue>\n    <scene_description>Telly walks over to the other guys .<\/scene_description>\n    <character>JOY<\/character>\n    <dialogue>So this is your new girl, huh?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>I hope so. For now.<\/dialogue>\n    <character>JOY<\/character>\n    <dialogue>You like'em kinda young right. Babies?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>I like'em new. Not like you.<\/dialogue>\n    <character>JOY<\/character>\n    <dialogue>Fuck you.<\/dialogue>\n    <scene_description>Everyone starts laughing . Telly pulls the beer our of Casper 's hand and starts chugging it .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Damn bitch. Do n't kill it.<\/dialogue>\n    <scene_description>Telly hands the bottle back to Casper .<\/scene_description>\n    <character>HAROLD<\/character>\n    <dialogue>Yo, you think we killed that guy?<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Na.<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>You sure?<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>I do n't know. But all I know is that I kicked him so many times my fuckin' toe feels broken.<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>Yo, we might have killed him. You think?<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>I do n't think we killed him. Because after it was through, I saw him twitch.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Yeah, he was crawling around and shit.<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>Man we fucked him up.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Hell ya. We broke that mothafucka.<\/dialogue>\n    <character>JOY<\/character>\n    <dialogue>You guys are fucking sick. You know that?<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>That's OK. Cause that's how I'm livin.<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>Yep.<\/dialogue>\n    <scene_description>Casper slaps hands with Harold . Darcy walks out of her apartment building . She is wearing a bikini top with baggy denim jean shorts . Her hair is pushed back and she has a backpack on . As she walks out of the building , Telly 's eyes light up .<\/scene_description>\n    <character>DARCY<\/character>\n    <dialogue>Ready.<\/dialogue>\n    <scene_description>Telly walks up to Darcy and kisses her on the cheek .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>You look nice.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WASHINGTON SQUARE PARK - EVENING<\/stage_direction>\n    <scene_description>Jennie is standing under the arch . She is looking for Telly . Misha is sitting on the fountain talking to some guy . Jennie walks up to Misha .<\/scene_description>\n    <character>MISHA<\/character>\n    <dialogue>Hey girl was up?<\/dialogue>\n    <scene_description>Jennie kisses Misha on the cheek .<\/scene_description>\n    <character>JENNIE<\/character>\n    <dialogue>Just a lot of crazy shit.<\/dialogue>\n    <character>MISHA<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>Yeah. Have you seen Telly around?<\/dialogue>\n    <character>MISHA<\/character>\n    <dialogue>Yeah. Speaking of stupid shit. Him and his ape ass of a friend Casper, they all just almost killed some kid.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>MISHA<\/character>\n    <dialogue>I do n't know. Just some messy little scrap. You know that bullshit.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>Do you know where he went?<\/dialogue>\n    <character>MISHA<\/character>\n    <dialogue>I'm not sure. He said something about meeting Darcy. I think he likes her now.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>Who, Benny's little sister?<\/dialogue>\n    <character>MISHA<\/character>\n    <dialogue>Yeah. She should be at Nasa tonight. Why you lookin for him? You like him now or sometin?<\/dialogue>\n    <scene_description>Jennie just looks at Misha .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PUBLIC SWIMMING POOL - NIGHT<\/stage_direction>\n    <scene_description>The pool is closed . Large black gates surround the premises . All the kids are climbing up the gates . Casper is the first one to the top and just jumps over . Eventually everyone follows . They all walk up to the pool and start taking their clothes off . Casper pulls his shirt and pants off . He looks over at Kim , who is wearing G - string underwear .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Geez Kim. Your body looks fuckin good.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>It's funny how sometimes you ca n't tell if a girl has a nice body until you see her without her clothes.<\/dialogue>\n    <scene_description>Kim smiles . Harold starts imitating a strong man . He starts flexing his muscles . He 's wearing a pair of baggy boxer shorts . Then he turns to Joy .<\/scene_description>\n    <character>HAROLD<\/character>\n    <dialogue>Hey Joy. You ever see a black man's lasso?<\/dialogue>\n    <character>JOY<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Harold pulls out his penis and starts twirling it around . JOY HAROLD ! She starts jumping up and down . Everyone is cracking up . Harold has his dick in his hand .<\/scene_description>\n    <character>HAROLD<\/character>\n    <dialogue>Hi ho Silver and away!<\/dialogue>\n    <scene_description>Harold jumps in . Steven pushes Casper in and Casper takes Steven with him . Joy and Kim jump in together .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Oh shit it's fuckin cold.<\/dialogue>\n    <scene_description>They start splashing each other . Darcy and Telly walk over to the other side and sit down on the edge of the pool with their feet in the water . Telly starts smiling at Darcy . He cups a little bit of water in his hands and pours it on her thigh . Everyone else is in the water making noise and splashing around .<\/scene_description>\n    <character>DARCY<\/character>\n    <dialogue>Ooh. You're gon na give me goose bumps.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Is it cold?<\/dialogue>\n    <scene_description>Darcy puts some water in her hand and does the same thing .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>You know I've been thinking about you lately.<\/dialogue>\n    <character>DARCY<\/character>\n    <parenthetical>( surprised . )<\/parenthetical>\n    <dialogue>You have?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Yeah. After I saw you last week.<\/dialogue>\n    <character>DARCY<\/character>\n    <dialogue>At the block party?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Darcy smiles . She looks a little bit embarrassed .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>I was lookin for you all day today.<\/dialogue>\n    <character>DARCY<\/character>\n    <dialogue>You were?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Sure. I even thought about you when I woke up.<\/dialogue>\n    <scene_description>A quick three second flashback of him having sex earlier that day with the young virgin girl . It 's very loud as she screams .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>I was like. I got ta find Darcy. Where is she at? I was lookin all over.<\/dialogue>\n    <scene_description>Darcy smiles . Joy and Kim are sitting next to each other on the steps in the shallow end of the pool . Steven , Harold , and Casper are in the water in front of the girls . Joy and Kim are both wearing bras .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>I'll give you a dollar if you let me suck on your tit.<\/dialogue>\n    <scene_description>Kim kicks water in his face .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>No I'm serious. Can I suck your tit? Either of you guys. I do n't care.<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>Yeah me too.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>Casper, why do you think I would let you suck on my boobs?<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>I do n't know. Your just sitting there. And your tits look clean to me. It makes me want to suck on'em.<\/dialogue>\n    <scene_description>Telly is sitting in the same spot , talking to Darcy .<\/scene_description>\n    <character>DARCY<\/character>\n    <dialogue>I thought you had a girlfriend.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Naw. I'm not seeing anybody. What about you?<\/dialogue>\n    <character>DARCY<\/character>\n    <dialogue>No. I ca n't. My mom wo n't let me have boyfriends.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>She wo n't? Why not?<\/dialogue>\n    <character>DARCY<\/character>\n    <dialogue>I do n't know. I guess it's cause my sister Nicki had a baby when she was like 15. She was really young so my mom is like very protective over me.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Yeah. I can understand that.<\/dialogue>\n    <scene_description>Back to the shallow end with Casper , Steven , Harold , Kim , and Joy .<\/scene_description>\n    <character>HAROLD<\/character>\n    <dialogue>I truth or dare you guys to kiss each other.<\/dialogue>\n    <character>JOY<\/character>\n    <dialogue>Sure. We kiss all the time.<\/dialogue>\n    <scene_description>They both smile at each other and kiss softly on the lips . As they part , they smile .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>You guys are dykes right?<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>JOY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Then how can you kiss each other like that?<\/dialogue>\n    <scene_description>Harold makes a strange face .<\/scene_description>\n    <character>HAROLD<\/character>\n    <dialogue>Yeah. How can you do that shit?<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>It does n't matter. It just feels good. That's all.<\/dialogue>\n    <character>JOY<\/character>\n    <dialogue>Yeah. It's not like we're gay. It's just kissing another person, a friend.<\/dialogue>\n    <scene_description>Joy grabs Kim 's hand .<\/scene_description>\n    <character>KIM<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>JOY<\/character>\n    <dialogue>It's no big deal.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>I do n't know. I just never seen girls that did that shit before. But I think it looks nice.<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>Yeah. Do it again.<\/dialogue>\n    <scene_description>Telly and Darcy .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>You should come back with me to Steven's house.<\/dialogue>\n    <character>DARCY<\/character>\n    <dialogue>Tonight?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Yeah. His parents are away. It's gon na be a bug out.<\/dialogue>\n    <character>DARCY<\/character>\n    <dialogue>I do n't know. I'm supposed to go to Nasa tonight.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Come on. You can rave on another night.<\/dialogue>\n    <scene_description>She looks at him .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>Come on. It'll be fun. We'll just bug out. There should be a bunch of people. It'll be fun I promise.<\/dialogue>\n    <character>DARCY<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Yeah. It'll be nice. It'll be a change of pace. That club shit gets boring.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTSIDE NASA - RAVE - NIGHT<\/stage_direction>\n    <scene_description>This is the line to Nasa . People are lined up and down the block waiting to get inside . All the kids are wearing rave clothing which resembles clown suits with stack shoes and huge colorful hats . It looks like a hip - hop circus . Jennie is walking quickly past everyone on line . She comes to the front . SID , a short gay Chinese boy with orange hair , is carrying a clipboard guest list under his arm and has a Sesame Street purse in his other hand . When he sees Jennie , he walks up and unclips the rope .<\/scene_description>\n    <character>SID<\/character>\n    <dialogue>Jennie! Was up girl?<\/dialogue>\n    <scene_description>Sid bends over and gives Jennie a kiss .<\/scene_description>\n    <character>JENNIE<\/character>\n    <dialogue>Hi Sid.<\/dialogue>\n    <scene_description>After Jennie walks in , Sid reclips the rope . Jennie walks up the stairs and past the security guards and metal detectors .<\/scene_description>\n    <character>SECURITY GUARD<\/character>\n    <dialogue>Hi Jennie.<\/dialogue>\n    <scene_description>Jennie smiles and walks by . Nasa is like a giant warehouse . It has hallways and rooms . Kids invade every inch of the club . As Jennie walks in , the Techno music grows very loud . The music should sound as if you were stuck in a fast - paced video game . Kids are running around everywhere . The CAMERA follows Jennie through the club as if it is seeing everything Jennie sees . The dance floor is packed with kids holding flashlights and sucking on pacifiers . As she walks through the darkened hallways , people are against the walls making out . As she gets to the end of the hallway , there is a big crowd of people . She jumps to see what everyone is looking at . FIDGET , a short white guy who is very hyper and speaks very quickly , runs up to Jennie and grabs her wrist .<\/scene_description>\n    <character>FIDGET<\/character>\n    <dialogue>Jennie, Jennie. How do you feel?<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>Fine Fidget. What's all this?<\/dialogue>\n    <character>FIDGET<\/character>\n    <dialogue>Oh man. You got ta see this. It's a spectacle. A real spectacle.<\/dialogue>\n    <scene_description>Fidget pulls Jennie through the crowd .<\/scene_description>\n    <character>FIDGET<\/character>\n    <dialogue>Now look at that. Amazing sexual exploration.<\/dialogue>\n    <scene_description>There are three girls and one boy making out against the back wall . The boy is wearing an afro wig . They all have their clothes on , but they are all going at it like crazy . Two of the girls are making out with each other while they rub the boy . The other girl is kissing the boy while he is feeling on her body . Jennie looks surprised . The other kids are laughing and yelling at them . One of the girls making out looks at the crowd and sticks her tongue out .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>You do n't have to look at us. It's not a free show.<\/dialogue>\n    <scene_description>She continues making out . Everyone laughs . The music is loud and adds to the intensity of the scene .<\/scene_description>\n    <character>JENNIE<\/character>\n    <dialogue>Who are they?<\/dialogue>\n    <character>FIDGET<\/character>\n    <dialogue>I do n't know. I've never seen any of them before. Cornballs from Jersey on X. Feelin the effex.<\/dialogue>\n    <scene_description>Fidget looks at Jennie , she looks depressed .<\/scene_description>\n    <character>FIDGET<\/character>\n    <dialogue>Come on Jennie. Jen.<\/dialogue>\n    <scene_description>He pulls her by the wrist . He takes her into the bathroom . In the bathroom there are kids in big circles smoking pot and buying pills .<\/scene_description>\n    <character>FIDGET<\/character>\n    <dialogue>I got a present for you.<\/dialogue>\n    <scene_description>He digs in his pocket .<\/scene_description>\n    <character>JENNIE<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>FIDGET<\/character>\n    <dialogue>Bang up stuff.<\/dialogue>\n    <scene_description>He pulls out a pill .<\/scene_description>\n    <character>FIDGET<\/character>\n    <dialogue>This makes Special K look weak. It's a euphoric blockbuster.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>No, Fidget, I.<\/dialogue>\n    <character>FIDGET<\/character>\n    <dialogue>Come on Jennie. You look sad. Just take it.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>FIDGET<\/character>\n    <dialogue>Here. Swallow.<\/dialogue>\n    <scene_description>He puts the pill in her mouth , and she reluctantly takes it .<\/scene_description>\n    <character>FIDGET<\/character>\n    <dialogue>Now you'll be floatin up in Techno heaven. Do n't worry, tricks are for kids.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Steven 's house . It 's a big mess . Almost no furniture except for a ratty couch and a television set . Hip - hop music is playing . There are about 15 kids in total , mainly boys . Everyone is running around and drinking . Some kid is throwing water balloons out the window . Another kid is jumping off the couch and trying to put footprints on the ceiling . Another boy is urinating into a plant in the corner of the kitchen . There are a bunch of boys and girls on the ground lying on top of each other laughing . Everyone is smoking and drinking . A chubby girl with braces is talking to Casper . She is drunk .<\/scene_description>\n    <character>CHUBBY GIRL<\/character>\n    <dialogue>Hey Casper. Why do they call you Casper?<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>'Cause Casper is my name.<\/dialogue>\n    <character>CHUBBY GIRL<\/character>\n    <dialogue>But that's not your real name. No one's name is Casper.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Damn bitch. That's my name. Why do you always ask me the same shit? Why do n't you go lose some fucking weight?<\/dialogue>\n    <scene_description>Harold is in the corner with one shoe off . He is sitting next to a pretty oriental girl . He is holding a beer in his hand .<\/scene_description>\n    <character>HAROLD<\/character>\n    <dialogue>Come on. Let me kiss you.<\/dialogue>\n    <scene_description>She turns her head .<\/scene_description>\n    <character>HAROLD<\/character>\n    <dialogue>Just let me kiss you. Lem me kiss your neck. You look pretty.<\/dialogue>\n    <scene_description>He starts pulling her head , she is resisting .<\/scene_description>\n    <character>HAROLD<\/character>\n    <dialogue>Come on. Just one kiss.<\/dialogue>\n    <scene_description>Steven is lying in the middle of the floor with Kim . The two of them are making out . Steven is rubbing in between her legs , she is wearing baggy jeans and her hips are moving with his hand , from side to side . Joy is on the couch watching , looks excited . Hamilton is in the bathroom throwing up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NASA - NIGHT<\/stage_direction>\n    <scene_description>Jennie is sitting on a platform next to a huge speaker . The noise is extremely loud . She looks very dazed , Her head is propped up against the speaker . She is watching all the kids dance . TAMARA , one of her friends , walks up and tugs on her leg .<\/scene_description>\n    <character>TAMARA<\/character>\n    <dialogue>Dance!<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>TAMARA<\/character>\n    <dialogue>Come dance.<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>I do n't feel so well. Have you seen Telly anywhere?<\/dialogue>\n    <character>TAMARA<\/character>\n    <dialogue>Telly is at Steven's. There's a bunch of people over there. Come on dance.<\/dialogue>\n    <scene_description>She pulls Jennie 's leg . Jennie jumps down .<\/scene_description>\n    <character>JENNIE<\/character>\n    <dialogue>Telly is at Steven's?<\/dialogue>\n    <character>TAMARA<\/character>\n    <dialogue>I guess so.<\/dialogue>\n    <scene_description>Jennie puts her hand on her forehead . She looks dizzy .<\/scene_description>\n    <character>JENNIE<\/character>\n    <dialogue>Oh my God. What's going on?<\/dialogue>\n    <scene_description>Tamara hands Jennie a drink .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. IN FRONT OF STEVEN'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Telly and Darcy are kissing each other in front of the apartment building .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>Do you like kissing me?<\/dialogue>\n    <character>DARCY<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>He kisses her again .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>Do you like me?<\/dialogue>\n    <scene_description>Darcy nods .<\/scene_description>\n    <character>DARCY<\/character>\n    <dialogue>Uh huh.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>I think you're like the best girl I've ever kissed.<\/dialogue>\n    <scene_description>Darcy kisses Telly . She begins to suck his bottom lip .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>I do n't even want to talk, but I got ta tell you that when I first saw you last week, I, I could n't stop thinking about you. You've been stuck in my head.<\/dialogue>\n    <character>DARCY<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>No. No, I'm serious. I'm not joking. I just like you. That's all.<\/dialogue>\n    <character>DARCY<\/character>\n    <dialogue>I like you too.<\/dialogue>\n    <scene_description>He starts kissing her neck and chin .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \/ EXT. TAXI - NIGHT<\/stage_direction>\n    <scene_description>The car is very dark . Jennie is in the backseat , scooted all the way in the corner . It is silent except for the sound of the bumpy ride . Everything is silent for a while as Jennie looks more and more upset . She has a quart in her hand .<\/scene_description>\n    <character>JENNIE<\/character>\n    <parenthetical>( silently as she looks out the window . )<\/parenthetical>\n    <dialogue>I'm not gon na die.<\/dialogue>\n    <scene_description>Jennie sheds a few tears and then wipes them off with the hand she is holding the beer with .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>The lights are all almost out in Steven 's apartment . Music is still playing . Everyone is either making out or passed out . The chubby girl is watching television and eating potato chips . Steven has Kim propped up against the couch . Hr shirt is off and the two of them are passionately kissing . She is making loud moaning noises . Telly walks up to him and taps him on the head .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>Hey Steven. Yo Steven.<\/dialogue>\n    <scene_description>Steven continues to make out .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>Come on man. Steven.<\/dialogue>\n    <scene_description>Steve turns his head , he looks sweaty and red .<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>What man? What is it?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Yo, let me get in your parent's room man. Just fir a litte while.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I ca n't man.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Come on Steven hook me up. Do me this solid.<\/dialogue>\n    <parenthetical>( he whispers . )<\/parenthetical>\n    <dialogue>Come on man. I got ta get Darcy alone. She's gon na let me fuck her man. Please.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Shit. All right. But do n't fuck with anything OK?<\/dialogue>\n    <scene_description>TELLY OK . Steven puts his tongue back in Kim 's mouth .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \/ EXT. TAXI - NIGHT<\/stage_direction>\n    <scene_description>Jennie is drinking a beer in the backseat of the taxi . She looks upset .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S PARENT'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>The bedroom is very neat and orderly . Telly walks in and immediately turns off all the lights . He turns on the small light by the bed . It casts a dim glow . He turns around and pushes her against the door . He starts kissing her really hard . She is responding but a bit slow and shy .<\/scene_description>\n    <character>DARCY<\/character>\n    <dialogue>I'm nervous.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Trust me. Do n't be nervous.<\/dialogue>\n    <scene_description>He starts feeling her up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S APARTMENT STAIRWELL - NIGHT<\/stage_direction>\n    <scene_description>Jennie is slowly walking up a staircase . She looks drunk and sick . Music is heard from Steven 's house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Everybody is making out ; the house is really quiet except for the stereo . People are all over the floor , some of them are passed out . Harold is asleep on top of the Chinese girl , in the corner .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>Casper is sitting in the bathtub with the legs hanging out . He is smoking a joint . Hamilton is sitting with his head on the toilet . Casper moves to give Hamilton a hit off his joint . Hamilton puts his hand up and nods .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Pussy.<\/dialogue>\n    <scene_description>Casper takes another hit .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT STEVEN'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>The door is open . Jennie stumbles in . She looks for the lightswitch but ca n't find . She starts walking around the room , looking at everyone making out , trying to distinguish if it 's Telly or not . As she walks she trips on Steven 's leg . Jennie looks down .<\/scene_description>\n    <character>JENNIE<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <scene_description>Steven does n't notice .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S PARENT'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Telly and Darcy are in bed . Darcy is mostly under the covers . Telly is on top of the bed . He is naked except for his underwear . Darcy is wearing a bra . Telly is brushing her hair back with his fingers . This scene should resemble the first scene .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>I like you so much. I think you're beautiful. I think if we fucked you would love it. You would n't believe it.<\/dialogue>\n    <character>DARCY<\/character>\n    <dialogue>How do you know?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>I just know. I know you'll love it.<\/dialogue>\n    <character>DARCY<\/character>\n    <dialogue>But I'm scared Telly.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>I'm telling you. There's nothing in the world to worry about.<\/dialogue>\n    <character>DARCY<\/character>\n    <dialogue>Nothing?<\/dialogue>\n    <scene_description>Telly scoots up and kisses her .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>Nothing. I'm telling you I just want to make you happy. That's all. Just trust me.<\/dialogue>\n    <character>DARCY<\/character>\n    <dialogue>I do n't want you to hurt me.<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>I do n't want you to hurt you. I'll be gentle.<\/dialogue>\n    <character>DARCY<\/character>\n    <dialogue>Do you care about me?<\/dialogue>\n    <character>TELLY<\/character>\n    <dialogue>Of course I do.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>Casper is in the bathroom kicking his legs up and down against the tub . Hamilton is passed out . His head resting on the toilet seat . Casper is singing loudly .<\/scene_description>\n    <character>CASPER<\/character>\n    <parenthetical>( singing to himself . )<\/parenthetical>\n    <dialogue>I'm Casper the friendly ghost. I'm Casper the friendly ghost. Gee you know I'm the most. The girls love me because I'm Casper. The dopest ghost in town. Fuck yeah. Yee haw. Fuckin.<\/dialogue>\n    <scene_description>Jennie walks into the bathroom .<\/scene_description>\n    <character>JENNIE<\/character>\n    <dialogue>Casper.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Hey Jennie. Long time no see. What are you doing here?<\/dialogue>\n    <character>JENNIE<\/character>\n    <dialogue>Casper, where's Telly.<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>What do ya want with Telly? That guy has enough bitches.<\/dialogue>\n    <character>JENNIE<\/character>\n    <parenthetical>( almost in tears . )<\/parenthetical>\n    <dialogue>Casper, where is he?<\/dialogue>\n    <character>CASPER<\/character>\n    <dialogue>Do n't look for him. He's doing fine. He's got ta girl. He's fuckin her right now in Steven's parents' room. So do ya know Joe.<\/dialogue>\n    <scene_description>Jennie runs out of the bathroom .<\/scene_description>\n    <character>CASPER<\/character>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>What are you worried about for him?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S PARENT'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>All the blankets are off the bed . The room is lit only by the lamp next to the bed . Darcy and Telly are under the covers having sex . Darcy looks like she 's in a considerable amount of pain . The two of them are breathing loudly in unison . The door next to the bed creaks open . Jennie looks through the crack .<\/scene_description>\n  <\/scene>\n  <scene \/>\n  <scene>\n    <stage_direction>INT. BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>The headboard is smacking back and forth . Darcy is moaning .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>That's it. You're doin fine. Come on Darcy. That's it.<\/dialogue>\n    <scene_description>He looks up at the door and notices someone is watching .<\/scene_description>\n    <character>TELLY<\/character>\n    <dialogue>Shut the fucking door!<\/dialogue>\n    <scene_description>Jennie slams the door shut . Telly continues having sex with Darcy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY IN FRONT OF DOOR - NIGHT<\/stage_direction>\n    <scene_description>Jennie is weak and crying . She runs to the empty couch and continues to cry . She puts her feet against her chest like a little baby . She continues to cry . Everyone else is asleep . The CAMERA watches her crying on the couch . The sound of her crying mixes with the scream of Telly having an orgasm . FADE TO BLACK When it fades back in , everybody is asleep . It is completely quiet . The television is on fuzz . People are sleeping on top of each other . Jennie is asleep on the couch . Even Steven 's cat is asleep in front of a small fan on the kitchen table . The house is completely quiet .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>Casper is awake . He climbs out of the tub and steps over Hamilton 's legs . He looks at Hamilton asleep on the toilet . Then Casper bends over and flushes it . It makes a loud noise but Hamilton does n't budge .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Casper stumbles out of the bathroom . He walks into the living room and looks around at everyone . Casper walks into the kitchen . There are a bunch of empty quart bottles lying on the butcher block . He picks one up and twirls it around , but it 's empty . Then he picks up another one and drinks the remaining fuzz . A little bit of fuzz runs down his cheeks . Casper walks back into the living room . He walks over to where Harold is asleep and just looks at him for a second . Then Casper walks down the hallway to the door in front of Steven 's parent 's bedroom . He opens the door wide and looks at the two , both naked and asleep in each other 's arm .<\/scene_description>\n    <character>CASPER<\/character>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>Lucky fuckin bastard.<\/dialogue>\n    <scene_description>Casper shuts the door . He walks back through the hallway and into the living room . When he gets in the living room , he looks around , then he flops down beside Jennie on the couch . He puts his hands down his pants and starts itching . Casper looks beside his feet and sees Steven sleeping with his head on top of Kim 's stomach . Casper continues to scratch his balls . Then he looks over beside him at Jennie scrunched up asleep . Casper looks around to see if anyone is awake in the room . Everybody is asleep . He scoots up close to Jennie and looks at her . Casper nudges her shoulder .<\/scene_description>\n    <character>CASPER<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>Jennie. Jennie.<\/dialogue>\n    <scene_description>Jennie does not respond . As Casper takes his hand off her shoulder , he gently rubs her breasts . He moves his hand down her stomach and gently between her thighs . He caresses her . She does not feel anything . Casper bends over and puts his face by her ear .<\/scene_description>\n    <character>CASPER<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>Jennie. Please wake up. It's me Casper. Jennie.<\/dialogue>\n    <scene_description>She does not respond . Casper starts kissing Jennie 's ear . She swats her shoulder . Casper gets up and looks at her . He stares at her stomach and crotch . He puts his hands on her jeans and then he undoes her belt . He is very careful not to make any abrupt movements . As he unclips her jeans he watches her face to see if there is any kind of response .<\/scene_description>\n    <character>CASPER<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>Jennie. Do n't worry. It's me Casper.<\/dialogue>\n    <scene_description>He slowly pulls her pants down . She is wearing teddy bear underwear . Casper throws her pants to the ground and then he looks at her legs . With his fingertips he starts caressing her soft skin . Then he gets off the couch and onto his knees . He puts one leg on his shoulder and the other on the couch . He looks at her and then pulls her panties off . Casper quickly undoes his pants and gets in betwen her legs . He puts her hands around his shoulders . Jennie is sort of coming to but she has no energy . She makes some noise but she is passed out and powerless . Her eyes are closed the whole time . She is not aware of what is happening .<\/scene_description>\n    <character>JENNIE<\/character>\n    <parenthetical>( slurred and unconscious . )<\/parenthetical>\n    <dialogue>Do n't. Please do n't. No. No.<\/dialogue>\n    <scene_description>Casper starts situating himself . She is totally limp .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Shh. Do n't worry Jennie. It's me Casper.<\/dialogue>\n    <scene_description>Casper has his knees on the floor as he takes advantage of Jennie . Jennie moves her arms a little bit . Casper is breathing fast and heavy . CUT TO BLACK As the scene ends in blackness , the sound of Casper 's heavy breathing persists . Then it slowly fades out and everything is silent .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTSIDE MANHATTAN - DAY<\/stage_direction>\n    <scene_description>The birds are chirping . People are going to work . Stores are opening . Homeless people are just waking up from doorway slumber . Morning in Manhattan . As Telly does his V.O. , the CAMERA will show everyone asleep in the apartment . It will go all around the room as daylight enters through the windows . The CAMERA also watches Telly and Darcy asleep in each other 's arm 's .<\/scene_description>\n    <character>TELLY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>When you're young. Not much matters. When you find something that you care about, then that's all you got. When your young. A lot of the time fucking is all you have, hen you go to sleep at night, you dream of pussy. When you wake up, it's the same thing. It's in your face, in your dreams, you ca n't escape it. Sometimes when you're young, the only place to go is inside. That's just it. Fucking is what I love. Take that away from me, and I really got nothin.<\/dialogue>\n    <scene_description>The CAMERA focuses on Casper . He is sitting up awake on the couch . All his clothes are off . He looks straight into the CAMERA .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Jesus Christ. What happened?<\/dialogue>\n    <scene_description>RAPID CUT TO BLACK ROLL FINAL CREDITS THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"The film begins when a boy named Telly and an unnamed 12-year-old girl are making out on a bed. With no adults around, Telly, who is a few years older, persuades the girl, who is a virgin, to have sex with him. Afterwards, he meets his best friend, Casper, and they talk about his sexual experience. Telly has taken to only having sex with virgins. They go inside a local store, where Casper shoplifts a 40 oz. bottle of malt liquor as Telly distracts the cashier. Looking for drugs, food, and a place to hang out, they head to their friend Paul's apartment, though they express dislike of him on the way there. They arrive at Paul's house, join the other boys in boasting about their sexual prowess (as well as their nonchalant attitudes to both unprotected sex and diseases), and smoke marijuana while watching a skating video. Casper inhales nitrous oxide out of balloons, which Telly considers dangerous. Across the city, a group of girls, among them Ruby and Jennie, are talking about sex, with their attitudes contradicting the boys on many topics, particularly oral sex and the significance of the boys to whom they lost their virginities. Ruby and Jennie mention that they were recently tested for STDs at Ruby's request, though Jennie only got tested to keep Ruby company. Ruby's test is negative, though she has had multiple sexual encounters, many of them unprotected sex. Jennie tests positive for HIV. She says she has had sex only once, with Telly. Jennie spends the rest of the day trying to find Telly, to prevent him from passing it on. Telly and Casper walk to Telly's house and steal money from Telly's mother, who is preoccupied with taking care of her new baby. They go to Washington Square Park and buy a dime bag of marijuana from a Rastafari. They then meet up with a few friends to talk and smoke, one of whom gives a blunt-rolling tutorial. As they do, Casper and many others taunt a homosexual couple passing through the park. On the side, Telly briefly talks to Misha, a girl who strongly dislikes Casper, calling him a jerk. As Casper rides on a skateboard, he carelessly bumps into a man, who furiously threatens him. He pushes Casper, but is struck in the back of the head with a skateboard by Harold, causing him to collapse. A number of other skaters join in, beating, stomping, and hitting the man with their skateboards until he is rendered unconscious by a final blow to the head by Casper. While discussing whether or not they killed the man at the park, Telly and some of the group pick up a 13-year-old girl named Darcy, the virginal younger sister of an acquaintance, whom Telly wants to have sex with. He convinces her to go with them to a pool. The other girls engage in kissing and flirtation, but Darcy is restrained. Telly and the group go to an unsupervised party at the house of another friend, Steven. Meanwhile, Jennie makes her way to Washington Square Park. Here, she talks to Misha, who tells her about Telly's possible whereabouts. Jennie goes to a rave club called \"NASA\" trying to find Telly. She runs into Fidget, a raver boy, who shoves a pill into her mouth, which he says is supposed to make \"Special K look weak\". It turns out to be a depressant. The pill kicks in and Jennie eventually finds out that Telly is at the party at Steven's house. Jennie arrives at the party only to learn she is too late, as she discovers Telly having sex with Darcy. Emotionally drained and the drug still affecting her, Jennie cries and passes out on a couch among the other sleeping partygoers. Casper rapes Jennie as she sleeps, inadvertently exposing himself to HIV. As morning turns to day, a voice-over by Telly explains how sex is the only worthwhile thing in his life. The next morning, Casper wakes up and says \"Jesus Christ, what happened?\""}
{"movie_name":"Carrie_2013","imdb_id":"tt1939659","script":"<script>\n  <scene>\n    <character>CARRIE<\/character>\n    <dialogue>Written by<\/dialogue>\n    <scene_description>Roberto Aguirre-Sacasa Based on the novel by Stephen King WRITER'S REVISED DRAFT October 31, 2011 FADE UP ON:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>PROLOGUE: INT\/EXT. MARGARET WHITE'S HOUSE - THE PAST<\/stage_direction>\n    <scene_description>A balmy August day in Maine. A white, wooden house at the end of a country lane. Ancient, New England trees in the yard. Wind in the trees' leaves. The branches swaying. A sense of the Natural World. The Eternal. We hear VOICES SINGING.<\/scene_description>\n    <character>VOICES<\/character>\n    <dialogue>\"Blessed be the tie that binds\/ Our hearts in Christian love\/ The fellowship of kindred minds\/ Is like that to that above...\"<\/dialogue>\n    <scene_description>The camera pans across the house. Through its windows, we see MEMBERS OF A FUNDAMENTALIST SECT, gathered to worship, singing a hymn. An imposing woman, MARGARET WHITE, stands in front of a makeshift altar, leading them.<\/scene_description>\n    <character>WORSHIPERS<\/character>\n    <dialogue>\"Before our Father's throne\/ We pour our ardent prayers\/ Our fears, our hopes, our aims are one\/ Our comforts and our cares...\"<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARGARET WHITE'S HOUSE - BACKYARD - DAY (FLASHBACK)<\/stage_direction>\n    <scene_description>The camera finds Margaret's five-year-old, shy daughter, CARRIE, creeping towards the fence that separates the White property from the next-door neighbor's yard. On the other side of the fence, a ripe, 18-year-old girl, ESTELLE HORAN, sunbathes on a towel, in a white bikini, dozing...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE COMMISSION CONFERENCE ROOM - PRESENT DAY<\/stage_direction>\n    <scene_description>Bikini girl is now a conservative woman of 30, sitting at a conference table, in front of a microphone. Being interviewed by someone off-camera. Across the bottom of the screen, the words: \"WHITE COMMISSION - ESTELLE HORAN (NEIGHBOR).\"<\/scene_description>\n    <character>ESTELLE HORAN<\/character>\n    <dialogue>I lived next door to the Whites until I was twenty. The \"incident\" happened when I was eighteen, and Carrie was...four or five?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE BACKYARDS - DAY<\/stage_direction>\n    <scene_description>Estelle starts awake. Little Carrie is staring at her.<\/scene_description>\n    <character>YOUNG ESTELLE<\/character>\n    <dialogue>Carrie...you scared me. Hi.<\/dialogue>\n    <character>YOUNG CARRIE<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <parenthetical>(pointing at Estelle)<\/parenthetical>\n    <dialogue>You have dirty pillows.<\/dialogue>\n    <character>YOUNG ESTELLE<\/character>\n    <dialogue>What? You mean...my breasts?<\/dialogue>\n    <character>YOUNG CARRIE<\/character>\n    <dialogue>I wish I had some.<\/dialogue>\n    <character>YOUNG ESTELLE<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>You will. When you're older.<\/dialogue>\n    <character>YOUNG CARRIE<\/character>\n    <dialogue>No, I won't. My Momma says only bad girls have dirty pillows.<\/dialogue>\n    <character>YOUNG ESTELLE<\/character>\n    <dialogue>We-ell, I'm a good girl. And doesn't your mom have breasts?<\/dialogue>\n    <character>YOUNG CARRIE<\/character>\n    <dialogue>My Momma was wicked when she made me with my daddy, she says, and that's how come she has them.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE COMMISSION CONFERENCE ROOM - DAY<\/stage_direction>\n    <scene_description>Estelle shakes her head at the memory.<\/scene_description>\n    <character>ESTELLE HORAN<\/character>\n    <dialogue>I was in shock. I wanted to grab that little girl up in my arms and just run away with her. Get her away from--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE BACKYARDS - DAY<\/stage_direction>\n    <scene_description>Like a banshee, Margaret White is at her backdoor, shrieking:<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>CAAARRIETTAAAAAA!<\/dialogue>\n    <scene_description>The little girl freezes, caught. Estelle instinctively tries to cover herself. Margaret lumbers towards them--<\/scene_description>\n    <character>YOUNG ESTELLE<\/character>\n    <dialogue>Mrs. White--<\/dialogue>\n    <character>MARGARET<\/character>\n    <parenthetical>(to Estelle)<\/parenthetical>\n    <dialogue>Whore. Strumpet.<\/dialogue>\n    <character>YOUNG ESTELLE<\/character>\n    <dialogue>We were just talking--<\/dialogue>\n    <scene_description>Behind Margaret, some members of the sect have gathered in the doorway, at the windows. Margaret grabs Carrie's arm and YANKS her away from Estelle, towards their house.<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>And you! I told you, Carrie, didn't I? I warned you about her!<\/dialogue>\n    <character>YOUNG CARRIE<\/character>\n    <dialogue>I'm sorry, Momma, I, I forgot--<\/dialogue>\n    <character>MARGARET<\/character>\n    <parenthetical>(shaking the girl)<\/parenthetical>\n    <dialogue>She's the Whore of Babylon, Carrie, and it's a sin! It's a sin to consort with her!<\/dialogue>\n    <character>YOUNG CARRIE<\/character>\n    <dialogue>Momma, please, I'm so sorry--<\/dialogue>\n    <scene_description>More worshipers have come out of Margaret's house. Estelle's MOTHER comes out of their house, afraid someone's being murdered.<\/scene_description>\n    <character>ESTELLE'S MOTHER<\/character>\n    <dialogue>Estelle? What's happening?<\/dialogue>\n    <character>MARGARET<\/character>\n    <parenthetical>(accusing Estelle's Mom)<\/parenthetical>\n    <dialogue>Your daughter is a slut, and you revel in it!<\/dialogue>\n    <character>ESTELLE'S MOTHER<\/character>\n    <parenthetical>(WTF?)<\/parenthetical>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>Exposing herself to the world! Showing her flesh! And you allow it!<\/dialogue>\n    <character>YOUNG ESTELLE<\/character>\n    <parenthetical>(genuinely worried)<\/parenthetical>\n    <dialogue>Mom, she's hurting Carrie--<\/dialogue>\n    <character>ESTELLE'S MOTHER<\/character>\n    <dialogue>Let that girl go, Margaret, or I'll call the police--<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>You see, Carrie? You see how they are? How they threaten?<\/dialogue>\n    <character>YOUNG CARRIE<\/character>\n    <parenthetical>(sobbing)<\/parenthetical>\n    <dialogue>Mo-momma...<\/dialogue>\n    <scene_description>THE CACOPHONY BUILDS, with Margaret, Estelle, and Estelle's mother all yelling; the worshippers staring; Carrie WAILING as Margaret drags her back towards the house--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE COMMISSION CONFERENCE ROOM - DAY<\/stage_direction>\n    <character>ESTELLE HORAN<\/character>\n    <parenthetical>(matter-of-factly)<\/parenthetical>\n    <dialogue>That's when they started to fall. Out of the sky.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE BACKYARDS - DAY<\/stage_direction>\n    <scene_description>Something--A PEBBLE--falls from the sky and hits the White roof, bouncing off it. Then another one. Margaret stops shaking Carrie, looks up. A third rock hits the back steps.<\/scene_description>\n    <character>ESTELLE'S MOTHER<\/character>\n    <parenthetical>(with dread)<\/parenthetical>\n    <dialogue>Estelle, get over here--now.<\/dialogue>\n    <scene_description>Estelle races to her mother as more stones--like big pieces of hail--continue to fall, all over the White backyard. One member of the sect CROSSES himself. Margaret kneels in front of her sobbing, hysterical daughter:<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>Stop it, girl! You stop it right now!<\/dialogue>\n    <scene_description>But Carrie can't. More stones. Estelle and her mother cower under their back porch for cover, but...the stones are only falling on the White property. In a panic, Margaret takes the girl up in her arms, but their house is too far away to get to safely. So, to shield Carrie from the falling stones, Margaret HUDDLES against one of the oak trees in the backyard, as the storm of stones continues. One smashes through the roof; another hits and dislodges the drainpipe. The members of the sect are terrified; this is a true sign of the devil. Margaret strokes her daughter's hair, trying to calm and comfort her.<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>It's all right, it's all right, Carrie. Shhh-shhh... He forgives you, Jesus forgives you, shhh- shhhh...<\/dialogue>\n    <scene_description>But it's no use. This is an Act of God now...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE COMMISSION CONFERENCE ROOM - DAY<\/stage_direction>\n    <scene_description>Estelle's interview continues:<\/scene_description>\n    <character>ESTELLE HORAN<\/character>\n    <dialogue>Two things happened after that day. The first is, I never sunbathed in the backyard again. And two, those church people stopped coming over to pray and sing and...whatever. It was just Margaret and Carrie, then, in their house, doing their thing.<\/dialogue>\n    <scene_description>The interviewer asks Estelle a question.<\/scene_description>\n    <character>ESTELLE HORAN<\/character>\n    <dialogue>Sure I've wondered, over the years. About what had happened to Carrie White and her crazy mother. Now, I suppose, the whole world knows...<\/dialogue>\n    <scene_description>CREDITS: SNAPSHOTS of Chamberlain, Maine, float across the screen. EWEN HIGH...THE CAVALIER PUB...THE GAS STATION...THE FIREHOUSE...THE BOWLING ALLEY, et cetera. This place--this town--is real. It exists. These images give way to PICTURES from Ewen High's latest yearbook. Sports teams, extra-curricular clubs, class portraits, and solo shots, including: Baseball star TOMMY ROSS, with the caption \"All American\" underneath his picture. A clique of attractive, popular girls, including CHRIS HARGENSON and SUE SNELL, posed in front of their lockers. The caption beneath them reads: \"Ewen High's Fempire.\" The last picture we see is of Ewen High's CHOIR. In the back row, a plain, homely girl. CARRIE WHITE, a teenager now, staring straight ahead. The camera pushes in on Carrie's dark, haunted eyes...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUE'S BEDROOM - VIDEO DIARY - THE PRESENT, LOOKING BACK<\/stage_direction>\n    <scene_description>SUE SNELL, pretty, 17, sits in front of her computer. Wrestling with what she lived through.<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>There's one thing no one seems to understand about what happened. Not the reporters, not the people on the Commission, who are trying to tell their own version of this story, not even my mom and dad...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EWEN HIGH - BLACK TOP - DAY<\/stage_direction>\n    <scene_description>The camera pans from BLUE SKY to...SENIOR P.E. CLASS. A chain- link fence separates THE GUYS from THE GIRLS.<\/scene_description>\n    <character>SUE (V.O.)<\/character>\n    <dialogue>We were kids in high school, okay? Carrie was, Chris was, Tommy...<\/dialogue>\n    <parenthetical>(a hitch in her voice)<\/parenthetical>\n    <dialogue>...Tommy was...<\/dialogue>\n    <scene_description>The camera finds: Sue and her boyfriend, athletic, handsome TOMMY ROSS, chatting intimately at the fence. We hear a WHISTLE. The girls' gym teacher, MISS DESJARDIN, ending a time-out, calling to:<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>What are you waiting for, Sue, doomsday? Back to the game. Goodbye, Mr. Ross.<\/dialogue>\n    <scene_description>Smiling, Tommy trots back to the BOYS. Sue rejoins the girls' volleyball game. She, CHRIS (a haughty hottie), and CARRIE (a duck amongst swans), are on the GOLD team against BLUE.<\/scene_description>\n    <character>CHRIS<\/character>\n    <parenthetical>(to Sue)<\/parenthetical>\n    <dialogue>Did Tightass finally ask you?<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>Not yet.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Pathetic. Come with me and Billy.<\/dialogue>\n    <scene_description>Carrie looks on, excluded, as the game resumes...<\/scene_description>\n    <character>SUE (V.O.)<\/character>\n    <dialogue>Try to remember that, if you can: That we were in high school, and that some of us--we made bad decisions. We overreacted. Or underestimated. But mostly, we were trying to do our best. We didn't know...<\/dialogue>\n    <scene_description>Under Sue's V-O: Team Blue serves the ball; the two teams keep it in play; finally, a girl on the other team (TINA) hits the ball towards Carrie. Chris, fearing the worst, races to cover Carrie, who goes after the ball, as well--<\/scene_description>\n    <character>SUE (V.O.)<\/character>\n    <dialogue>...that what would end in blood on Prom Night began in blood, that day, in the locker-room, after that stupid, stupid volleyball game...<\/dialogue>\n    <scene_description>Disaster; Chris and Carrie COLLIDE-- They miss the return; Desjardin blows her whistle--<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>Game point! Blue wins!<\/dialogue>\n    <scene_description>The Gold Team GROANS; typical Carrie--<\/scene_description>\n    <character>SUE (V.O.)<\/character>\n    <dialogue>Of course, none of us realized it at the time. To us, that day was just a crueler variation on the same old story: Carrie White getting kicked in the teeth yet again...<\/dialogue>\n    <scene_description>Focus on: Chris, enraged, looking at Carrie, a deer staring down a rifle's barrel.<\/scene_description>\n    <character>CHRIS<\/character>\n    <parenthetical>(cobra-like)<\/parenthetical>\n    <dialogue>You. Eat. Shit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE COMMISSION - DEAN MCDUFFY - DAY<\/stage_direction>\n    <scene_description>A physicist, in his fifties, sits at the table. A copy of the book he's written in front of him. He's identified across the bottom of the screen: \"WHITE COMMISSION - DR. DEAN L. McDUFFY (AUTHOR, TELEKINESIS: A SCIENTIFIC BASIS).\"<\/scene_description>\n    <character>MCDUFFY<\/character>\n    <dialogue>Apart from the stones, there is no other recorded instance of TK in Carrie White's childhood... Of course, since Carrie was an only child, the best witness to such manifestations would have been her mother, Margaret White...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GIRLS' LOCKER ROOM - DAY<\/stage_direction>\n    <scene_description>Amidst a sea of bodies, naked and half-clad girls, Sue and two of her girlfriends, NICKI and HEATHER, are in towels, post- showering, combing out their hair.<\/scene_description>\n    <character>MCDUFFY (V.O.)<\/character>\n    <dialogue>Moreover, it is entirely possible that Carrie's talent was latent, awakened by the trauma and stress she experienced last May...<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>...finally, I was like, \"Either we're going, Brian, or I'm asking the Beak. Because I am not missing my prom because you can't get your shit together.\" And Brian was like, \"Fine, Heather, buy the tickets.\" And I was like, \"Thank you, I will, why was that so friggin' hard?\"<\/dialogue>\n    <character>NICKI<\/character>\n    <parenthetical>(to Sue)<\/parenthetical>\n    <dialogue>What about you guys?<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>Tommy hasn't asked me yet--<\/dialogue>\n    <character>NICKI<\/character>\n    <dialogue>He better.<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>Why does everyone care so much? It's just a dance.<\/dialogue>\n    <scene_description>Nicki and Heather look at each other.<\/scene_description>\n    <character>NICKI<\/character>\n    <dialogue>A) It's prom--<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>--and B) You care more than anyone, Sue. Why don't you just ask him?<\/dialogue>\n    <scene_description>Suddenly: A BLOOD-CURDLING SCREAM from the other side of the lockers.<\/scene_description>\n    <character>SOMEONE (O.S.)<\/character>\n    <dialogue>Help! Help meeeee!<\/dialogue>\n    <character>NICKI<\/character>\n    <dialogue>Holy shit--<\/dialogue>\n    <scene_description>Sue, Nicki, and Heather dash around the lockers to discover a group of girls clumped in front of the communal shower room. Unseen, at the front of the group, we hear Chris's voice:<\/scene_description>\n    <character>CHRIS (O.S.)<\/character>\n    <dialogue>Peer-iod! Peer-iod!<\/dialogue>\n    <scene_description>The chant is taken up by the other girls, \"Peer-iod, peer- iod,\" over and over, as Sue grabs another classmate, EMMA.<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>What's going on, Emma?<\/dialogue>\n    <character>EMMA<\/character>\n    <parenthetical>(shrugging)<\/parenthetical>\n    <dialogue>It's Carrie.<\/dialogue>\n    <scene_description>Angle on: Chris, leading the charge:<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Plug it up! Plug it up! Plug it up!<\/dialogue>\n    <scene_description>Sue pushes her way through the girls; they've all joined Chris; it's like something out of Lord of the Flies.<\/scene_description>\n    <character>GIRLS<\/character>\n    <dialogue>Plug it up! Plug it up! Plug it up!<\/dialogue>\n    <scene_description>Sue gets to the front of the group, but right before she can see what's happening, WE CUT TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRY CLEANERS - DAY (SIMULTANEOUS)<\/stage_direction>\n    <scene_description>A modest storefront at the end of Chamberlain's main drag. Behind the counter, Margaret White sits at a sewing machine, doing alterations, humming a hymn, when--she stops suddenly, looks up... Something's wrong. A beat. The feeling passes, Margaret resumes sewing, but she NICKS her finger. Looks down at the drop of blood...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GIRLS' LOCKER ROOM - DAY<\/stage_direction>\n    <scene_description>Looking at: Carrie, howling, hysterical; more animal than human. Traumatized. Her legs and the white tiles beneath her are streaked with menstrual blood. The girls are throwing tampons and underwear at Carrie, laughing, taunting, chanting:<\/scene_description>\n    <character>GIRLS<\/character>\n    <dialogue>Plug it up! Plug it up! Plug it up!<\/dialogue>\n    <scene_description>Sue at the front of the group. Another girl, TINA, puts a stack of tampons in Sue's hands.<\/scene_description>\n    <character>GIRLS<\/character>\n    <dialogue>Plug it up! Plug it up! Plug it up!<\/dialogue>\n    <scene_description>Sue looks at the tampons, then at Carrie. Briefly, the two girls lock eyes. Then Chris catches Sue's attention; a malicious shine in Chris's smile. A moment of decision...then Sue, too, starts chanting--<\/scene_description>\n    <character>SUE\/GIRLS<\/character>\n    <dialogue>Plug it up! Plug it up! Plug it up!<\/dialogue>\n    <scene_description>Sue starts throwing tampons at Carrie; Chris snap a picture of Carrie with her cell phone; the chanting continues--<\/scene_description>\n    <character>GIRLS<\/character>\n    <dialogue>Plug it up! Plug it up! Plug it up!<\/dialogue>\n    <scene_description>Ms. Desjardin, hearing the commotion, comes into the locker room from her office...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE COMMISSION - RITA DESJARDIN - DAY<\/stage_direction>\n    <scene_description>Now Rita Desjardin sits at that conference table, being interviewed. Across the bottom of the screen, the words: \"WHITE COMMISSION - RITA DESJARDIN (PHYS. ED. TEACHER).\"<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <parenthetical>(doesn't mince words)<\/parenthetical>\n    <dialogue>These girls, they'll do anything to be part of the pack. Chris Hargensen was the ringleader, no shock there. But they were all doing it. Tina, Rachel, Heather, Donna. Even Sue Snell...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GIRLS' LOCKER ROOM - DAY<\/stage_direction>\n    <scene_description>As the chanting continues:<\/scene_description>\n    <character>NICKI<\/character>\n    <parenthetical>(to Heather)<\/parenthetical>\n    <dialogue>God, you'd think she'd never had her period before.<\/dialogue>\n    <scene_description>Hearing this, the penny drops for Sue. She looks at the terror-stricken girl. At the blood flowing down Carrie's legs. Thick and dark. Sue grabs Chris's arm.<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>Wait, Chris, I think this may be the first time she's--<\/dialogue>\n    <scene_description>As Desjardin forces her way through the gaggle of girls--<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>What the hell is going on here?<\/dialogue>\n    <scene_description>Desjardin stops cold when she sees Carrie--<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>Carrie? What's wrong?<\/dialogue>\n    <character>CARRIE<\/character>\n    <parenthetical>(shrieks)<\/parenthetical>\n    <dialogue>I'm bleeding to death!<\/dialogue>\n    <scene_description>In a corner of the locker room, a rack of baseball bats topples over-- Sue gasps, turns back to Desjardin and Carrie--<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>What? Clean yourself up. Come on.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>H...help me, Miss Desjardin, I'm dying--<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <parenthetical>(approaching Carrie)<\/parenthetical>\n    <dialogue>What are you talking about? Stand up.<\/dialogue>\n    <scene_description>Carrie clutches for Desjardin desperately, leaving A BLOODY HANDPRINT on the teacher's shorts--<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Please, I'm dying! I'm dying! I'm dying--<\/dialogue>\n    <scene_description>Desjardin SLAPS Carrie--and a LIGHTBULB overhead explodes, making everyone JUMP--<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>I'm bleeding to death and I can't make it stop!<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>What has gotten into you?<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>I don't think she knows it's her period.<\/dialogue>\n    <scene_description>Dumbstruck by this, Desjardin turns to the traumatized girl:<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>Carrie? Is that true?<\/dialogue>\n    <character>CARRIE<\/character>\n    <parenthetical>(totally unraveled)<\/parenthetical>\n    <dialogue>Help me... Please...<\/dialogue>\n    <scene_description>Desjardin orders the girls:<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>Get the hell out of here. Now. GO!<\/dialogue>\n    <scene_description>She kneels down, next to Carrie, stroking her hair, her face.<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>It's just your period, do you know that? Do you know what a period is?<\/dialogue>\n    <character>CARRIE<\/character>\n    <parenthetical>(panting, still terrified)<\/parenthetical>\n    <dialogue>P...period?<\/dialogue>\n    <scene_description>Most of the girls have started to drift away. Sue lingers.<\/scene_description>\n    <character>SUE<\/character>\n    <parenthetical>(wanting to help)<\/parenthetical>\n    <dialogue>Ms. Desjardin--<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <parenthetical>(lashing out at her)<\/parenthetical>\n    <dialogue>You, too, Snell! Out of my sight!<\/dialogue>\n    <scene_description>Sue goes; Desjardin turns her attention back to Carrie.<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>It's okay, Carrie. They're gone now. Here, I'll help you...<\/dialogue>\n    <scene_description>Focus on: Chris and her friend Tina, slipping out a side door. Chris stops Tina.<\/scene_description>\n    <character>CHRIS<\/character>\n    <parenthetical>(going to check her phone)<\/parenthetical>\n    <dialogue>Wait, I wanna make sure--<\/dialogue>\n    <character>TINA<\/character>\n    <dialogue>Did you get it?<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>Oh, I got it. Perfect, love it...<\/dialogue>\n    <scene_description>They leave, as Desjardin helps Carrie from the shower room, towards the lockers...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE COMMISSION - RITA DESJARDIN - DAY<\/stage_direction>\n    <scene_description>Desjardin at the table.<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>The question I'm asked, over and over: \"How could Carrie not have known about her period?\" To which I answer: \"If you'd ever met Margaret White...\" You have to understand. This is a woman who lived in a house with no television, no computer, no internet, nothing. Who forbade her daughter from having friends...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAITING ROOM OUTSIDE THE PRINCIPAL'S OFFICE - DAY<\/stage_direction>\n    <scene_description>PRINCIPAL MORTON's secretary, MISS FINCH, sits behind her desk. Carrie, clutching her books to her chest like a shield, looks down at her feet. Two delinquents, GREG DeLOIS and HARRY TRENNANT, sit nearby, waiting for their turn to be sentenced by Morton. Greg whispers to:<\/scene_description>\n    <character>GREG<\/character>\n    <dialogue>Carrie. Hey, Carrie. Look at me. Come on, pleeease? Look at me. Just for a second. Car-rie. Pleeeaase...<\/dialogue>\n    <scene_description>Finally, Carrie looks his way. Greg mimes her giving him a blowjob. Harry SNIGGERS. Carrie, who isn't even sure what the gesture means, quickly looks away--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRINCIPAL'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Inside the office, PRINCIPAL MORTON is getting a cup of water for Desjardin (as they debrief) from A WATER COOLER'S HALF- FULL GLASS TANK.<\/scene_description>\n    <character>MORTON<\/character>\n    <dialogue>Isn't she a bit old for...?<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>Her first period? Or the fact that she didn't even know such a thing existed until half an hour ago?<\/dialogue>\n    <scene_description>Morton goes to offer her the cup, finds himself staring at the BLOODY HANDPRINT Carrie left on Desjardin's shorts.<\/scene_description>\n    <character>MORTON<\/character>\n    <dialogue>Well. We can't interfere with people's beliefs, but that mother...<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>I called to tell her what happened. She barely said two words to me. Blames me, I'm sure, and the truth is...I handled it badly, Henry.<\/dialogue>\n    <character>MORTON<\/character>\n    <dialogue>My last run-in with Margaret White was when she told Mrs. Bicente that the Lord was reserving a special place in hell for her.<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>For Janice? Why?<\/dialogue>\n    <character>MORTON<\/character>\n    <dialogue>She'd given Cassie an article about Charles Darwin.<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>It's Carrie. We should send her home.<\/dialogue>\n    <character>MORTON<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <parenthetical>(buzzing his secretary)<\/parenthetical>\n    <dialogue>Miss Finch, would you send her in?<\/dialogue>\n    <parenthetical>(to DESJARDIN)<\/parenthetical>\n    <dialogue>What about the other girls? Do you have their names?<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>It was all of them, Henry.<\/dialogue>\n    <character>MORTON<\/character>\n    <dialogue>These kids. After twenty years, their faces blur into one and all your remember is how awful they are...<\/dialogue>\n    <parenthetical>(looking at her)<\/parenthetical>\n    <dialogue>Come in, Cassie.<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <parenthetical>(whispering to him)<\/parenthetical>\n    <dialogue>Carrie.<\/dialogue>\n    <scene_description>Carrie creeps into the office. Miss Finch is in the doorway.<\/scene_description>\n    <character>MORTON<\/character>\n    <dialogue>Would you prepare a dismissal slip, Miss Fish? Cassie White.<\/dialogue>\n    <scene_description>Carrie flinches at this a bit--and a SPIDER-CRACK appears in the water cooler.<\/scene_description>\n    <character>MORTON<\/character>\n    <dialogue>Ms. Desjardin and I think it best that you go home and...take care of yourself.<\/dialogue>\n    <scene_description>Carrie nods.<\/scene_description>\n    <character>MORTON<\/character>\n    <dialogue>Unless you'd like to go to the infirmary?<\/dialogue>\n    <scene_description>Carrie shakes her head.<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>She should go home. And Carrie, you're excused from P.E. for the rest of the week. Just take study hall instead. The library, okay?<\/dialogue>\n    <scene_description>Carrie nods.<\/scene_description>\n    <character>MORTON<\/character>\n    <dialogue>Would you like us to call you a cab, Cassie?<\/dialogue>\n    <scene_description>Another CRACK in the cooler.<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>Carrie can walk home--<\/dialogue>\n    <scene_description>It's just to Carlin Street. Miss Finch returns with a dismissal slip. Carrie takes it.<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>(barely audible)<\/parenthetical>\n    <dialogue>They threw things at me.<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>It won't happen again.<\/dialogue>\n    <character>CARRIE<\/character>\n    <parenthetical>(finally looking up)<\/parenthetical>\n    <dialogue>They laughed at me. Why do they always laugh at me?<\/dialogue>\n    <character>MORTON<\/character>\n    <dialogue>We're so sorry about this, Cassie.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>That's not my name!<\/dialogue>\n    <scene_description>The water cooler SHATTERS, spilling water all over the floor; Carrie grabs the slip from Finch and bolts from the office--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE COMMISSION - RITA DESJARDIN - DAY<\/stage_direction>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>There were signs we dismissed. The way things were always breaking around Carrie. Or going wrong. As if bad luck followed her around...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EWEN HIGH - DAY<\/stage_direction>\n    <scene_description>Eyes downcast, Carrie clops away from the school's main building. Sue, who had been waiting for Carrie, sees her walking along the school's chain-link fence (but on the other side of it). She runs up to Carrie.<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>Carrie? Carrie, can I talk to you?<\/dialogue>\n    <scene_description>Ignoring her, Carrie crosses to the other side of the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHAMBERLAIN STREETS - DAY<\/stage_direction>\n    <scene_description>Carrie's walking home. A creepy ten-year-old kid, JERRY ERBTER, is biking along, on the other side of the street. iPod buds in his ears. He sees Carrie, brightens, and cuts across the street, so that now he's behind Carrie, coming up on her fast. As he passes her:<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Crazy Carrie, Crazy Carrie, Crazy Carrie--<\/dialogue>\n    <scene_description>Close-up on Carrie. Anger flashes across her face; her brow furrows, she flexes--and Jerry WIPES OUT, a tangle of arms and legs and still-spinning bicycle wheels. The boy SCREAMS as Carrie hurries along, a smile blossoming on her face... She goes around the block, stops. Realizes what she's done; the smile fades. She looks at the trees above her, branches swaying, as if pushed by God's hand...<\/scene_description>\n    <character>SUE (V.O.)<\/character>\n    <dialogue>I never set foot inside Carrie's house. None of us did, not even when we were kids...<\/dialogue>\n    <scene_description>Carrie resumes her walk...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUE'S BEDROOM - VIDEO DIARY - THE PRESENT, LOOKING BACK<\/stage_direction>\n    <scene_description>Sue, continuing her story, into her computer's camera:<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>The only time we'd go to Carlin Street was on Halloween night. For pranks and stuff...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARLIN STREET - CARRIE'S HOUSE - DAY<\/stage_direction>\n    <scene_description>As Carrie walks up her street, towards her house, Sue's V-O continues:<\/scene_description>\n    <character>SUE (V.O.)<\/character>\n    <dialogue>It was like some fairy tale. The lonely girl trapped in the tower, with only her evil step-mother to keep her company...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARRIE'S HOUSE - FRONT HALL - DAY<\/stage_direction>\n    <scene_description>Carrie enters her severe, masculine home. (It is part church, part house of horrors.) Decorated with RELIGIOUS ART AND ARTIFACTS, all accentuating the suffering of the White's very private faith. The first thing you see upon entering: A GIANT, WOODEN CRUCIFIX. Then, statues of lanced and pierced saints, many topped with crowns of thorns, portraits showcasing the anguish of Mary, etc. A tapestry depicting Abraham about to sacrifice his son Isaac. The camera follows Carrie as she walks passed the vaulted doorway that leads from the entrance hall to the White living\/dining room. Empty. Carrie hangs her sweater in the closet, walks passed the doorway again--only Margaret White is there now, having entered from the kitchen.<\/scene_description>\n    <character>MARGARET<\/character>\n    <parenthetical>(stoney)<\/parenthetical>\n    <dialogue>So you're a woman now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARRIE'S HOUSE - LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Timidly, Carrie approaches Margaret.<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Did...did the school call you, Momma?<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>They did. And can you imagine my shame?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Oh, Momma, why didn't you tell me? I was so scared, I thought I was dying. And the other girls, they laughed at me, and threw things at me--<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>Why were you showering with them, Carrie?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Momma, it was after gym class, everyone showers--<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>Not you. It's forbidden and a sin, Carrie. You're--<\/dialogue>\n    <parenthetical>(the dirty truth)<\/parenthetical>\n    <dialogue>--full of sin now.<\/dialogue>\n    <scene_description>Margaret turns from Carrie, takes a BIBLE up off the dining room table. Opens to a passage, reads:<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>\"And God made Eve from the rib of Adam and--\" Say it, Carrie.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Momma, talk to me. Please--just talk to me.<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>\"And God made Eve from the rib of Adam and\"--what, Carrie? Say it!<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Momma, please--<\/dialogue>\n    <scene_description>Margaret lashes out, STRIKES Carrie across the face with the bible. The girl crumbles to her knees.<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>\"--and Eve was weak,\" say it, Woman! Say it!<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>I won't!<\/dialogue>\n    <scene_description>Margaret hits Carrie again. Fine, so Margaret will say it:<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>\"And Eve was weak and loosed the Raven on the world, and the Raven was called Sin, and the first Sin was Intercourse--\"<\/dialogue>\n    <character>CARRIE<\/character>\n    <parenthetical>(pleading)<\/parenthetical>\n    <dialogue>I didn't do anything--<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>\"And the Lord visited Eve with a Curse, and the Curse was the Curse of Blood--\"<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>It wasn't my fault--<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>It was, Carrie, it was--<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>\"And Adam and Eve were driven out of the Garden and into the World, and Eve found that her belly had grown big with child\"--and that, Carrie, that is the second Curse, the Curse of Childbearing--<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Momma, you should have told me. I don't know anything, because of you!<\/dialogue>\n    <scene_description>Margaret drops to her knees and clutches her daughter--<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>Oh, Lord, help this sinning woman see the sin of her ways. Show her that if she'd remained sinless the Curse of Blood would not have come upon her as it did Eve.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>I'm not Eve, Momma, I didn't sin--<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>You showered with the other girls. You have lust-filled thoughts, I know you do. You have been tempted by the Anti-Christ, Carrie, the world is wicked, and this is the Lord's kind, vengeful hand at work--<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Let go of me, Momma.<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>You stink of sin, Carrie, I can smell it on you--<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>I mean it, Momma, let me go--<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>Eve never repented so on her the Crafty Serpent built a Kingdom of Whores and Pestilences. But you'll repent. You'll go to your closet--<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>No--<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>You'll pray--we'll pray together-- to Jesus to save our sinning souls--<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Let me go, Momma, or I'll make the stones come again--<\/dialogue>\n    <scene_description>Margaret freezes. The first time Carrie's invoked the stones.<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>I didn't sin, Momma. You sinned. You didn't tell me and, and they laughed.<\/dialogue>\n    <scene_description>For a moment, Margaret pauses; she almost hears this. But then, very quickly, her righteous rage returns.<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>Daughter of the devil--<\/dialogue>\n    <scene_description>Margaret starts dragging a kicking and screaming Carrie into the kitchen, towards a closet--<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>MOMMA, NO! NO!!<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>PRAY! PRAY IN SHAME! PRAY FOR<\/dialogue>\n    <character>FORGIVENESS! THOU SHALT HONOR THY<\/character>\n    <dialogue>MOTHER AND FATHER!!<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>MOMMA, WHY? WHY?<\/dialogue>\n    <scene_description>Margaret throws open the closet door; Carrie is fighting for her life--<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Momma!!!!<\/dialogue>\n    <scene_description>Margaret drags Carrie into the closet--<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>Sin! Oh, Sin!<\/dialogue>\n    <scene_description>Margaret emerges from the closet, SLAMS the door shut behind her, trapping Carrie, just as Carrie shrieks--<\/scene_description>\n    <character>CARRIE (O.C.)<\/character>\n    <dialogue>MOMMA, YOU SUCK!<\/dialogue>\n    <scene_description>A GIANT CRACK APPEARS DOWN THE MIDDLE OF THE DOOR, as if it has just been hit by an enormous battering ram. This stops everything. Shocks both women. Margaret covers her mouth with her hand, backs away from the closet door--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARRIE'S HOUSE - THE CLOSET - CONTINUOUS<\/stage_direction>\n    <scene_description>Carrie stares at the crack, more freaked than Margaret. She kneels down, crosses herself, starts to pray. Stops, lights a candle, illuminating THE SCARY PAINTING that looms over her: God, the Vengeful Father, sits in a throne, above the Earth, with sinners falling into Hell, where a goat- like Devil rules over the burning pits. Shadowy demons dragging the sinners down. Carrie takes comfort in the Lord's prayer:<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>\"Our Father, who art in Heaven, hallowed be Thy name, Thy kingdom come, Thy will be done, on Earth, as it is in...in...\"<\/dialogue>\n    <scene_description>Carrie is crying now. This can't be her life. A moment of utter heart-break and vulnerability.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOWLING ALLEY - THAT FRIDAY NIGHT<\/stage_direction>\n    <scene_description>Packed. With FAMILIES, SENIOR CITIZENS, even some TEENAGERS, including Sue and Tommy. Having a perfunctory date. Tommy bowls a spare and then saunters back to a distracted Sue.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Your turn, babe.<\/dialogue>\n    <scene_description>She focuses on him. He looks so...perfect. Like a prince. Sue grabs Tommy's hand.<\/scene_description>\n    <character>SUE<\/character>\n    <parenthetical>(suddenly, intensely)<\/parenthetical>\n    <dialogue>Hey, can we go?<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Sure. Where?<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>Anywhere. For a drive.<\/dialogue>\n    <scene_description>Tommy smiles. He knows what that means.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Absolutely.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE PARKING LOT OF THE CAVALIER BAR - NIGHT<\/stage_direction>\n    <scene_description>We're looking at a car, parked in the lot behind a seedy bar. THE SOUND OF TWO PEOPLE GETTING HOT behind the car's steamed- up windows...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE STEAMED UP CAR - NIGHT<\/stage_direction>\n    <scene_description>Inside the car: It's not Sue and Tommy, but Chris, going at it with BILLY NOLAN, a teen thug. He's practically tearing Chris's clothes off.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Slow down, Billy, Jesus.<\/dialogue>\n    <scene_description>If anything, he gets more aggressive with her.<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>This is how you rich bitches like it.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>What's scary is, you believe that.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>Isn't it?<\/dialogue>\n    <scene_description>He is pulling her pants off without unbuttoning them. He rips them; Chris pushes him off--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Stop mauling me, Billy!<\/dialogue>\n    <scene_description>He doesn't; she SLAPS him.<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>The HELL, Chris!<\/dialogue>\n    <scene_description>He slaps her back--not super-violently, but still.<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>What is your problem?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I don't particularly like screwing in people's cars, okay?<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>As soon as Kenny comes out, we'll go up.<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(disgust)<\/parenthetical>\n    <dialogue>Classy.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>Seriously, WHAT is the stick up your ass?<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I told you. That thing with Carrie White.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>What, you feel guilty? Worried you hurt her feelings?<\/dialogue>\n    <parenthetical>(Chris doesn't answer)<\/parenthetical>\n    <dialogue>She's used to it, right?<\/dialogue>\n    <parenthetical>(Chris says nothing)<\/parenthetical>\n    <dialogue>Apologize, then.<\/dialogue>\n    <scene_description>A beat. Chris does feel guilty, but apologizing to Carrie?<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Like hell I will--<\/dialogue>\n    <scene_description>She POUNCES on Billy, blotting that thought (any thought) from her mind--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A FIELD AT THE EDGE OF TOWN - NIGHT<\/stage_direction>\n    <scene_description>Underneath a set of elevated train tracks on the outskirts of town. A different car (Tommy's car) parked beneath the tracks; a TRAIN passing above it... Tommy, half-dressed, shirtless, is rolling up a blanket. He and Sue have just had sex. She's getting dressed behind the car, slipping on some jeans. Still horny, Tommy trots over to her...<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>That was nice, huh?<\/dialogue>\n    <scene_description>Sue turns to him; she's tearing up.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Hey. Hey, you okay? I didn't...?<\/dialogue>\n    <scene_description>Sue shakes her head.<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>It's not you, it's... I did...a not- very-good thing today, Tommy.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>What? That thing with Carrie?<\/dialogue>\n    <character>SUE<\/character>\n    <parenthetical>(surprised)<\/parenthetical>\n    <dialogue>You know about that? And you didn't say anything?<\/dialogue>\n    <character>TOMMY<\/character>\n    <parenthetical>(putting on his shirt)<\/parenthetical>\n    <dialogue>I thought it a Chris Hargenson special.<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>It was. But--<\/dialogue>\n    <parenthetical>(ashamed)<\/parenthetical>\n    <dialogue>--it was me, too.<\/dialogue>\n    <character>TOMMY<\/character>\n    <parenthetical>(can't believe it)<\/parenthetical>\n    <dialogue>You threw tampons at Carrie White?<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>Tommy...<\/dialogue>\n    <scene_description>Disgusted with herself, Sue walks away from him, sits down on the car's hood. Tommy tries to help:<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>I kicked a kid in the ribs once. While he was knocked out. Danny Patrick. He used to beat the crap out of me in the sixth grade.<\/dialogue>\n    <character>SUE<\/character>\n    <parenthetical>(incredulous)<\/parenthetical>\n    <dialogue>Someone picked on you?<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>I was skinny in the sixth grade. But yeah, pretty much every day. Except for the day Danny Patrick picks on this other kid, Pete Tauber. Who is small, but ripped, right? And who beats the living shit out of Danny Patrick.<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Kennedy Junior High's playground. At the end of the fight, Danny Patrick hits his head on the concrete and is knocked-out. Like, utterly. To the point where we thought he might be dead. So everyone runs off. Me, too, but not before I...<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>Kicked him in the ribs.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Just once, but I felt like crap afterwards.<\/dialogue>\n    <parenthetical>(amazed at the memory)<\/parenthetical>\n    <dialogue>God. Danny Patrick. I wonder what happened with him...<\/dialogue>\n    <scene_description>Overhead, ANOTHER TRAIN rushes by. Both Sue and Tommy stare at it, wondering where the people aboard it are going.<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>Tommy, do you ever hate being so...popular?<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>What, like...?<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>Like varsity baseball and student council and...being friends with everybody.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>It's not important enough to hate. It's just high school.<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>Right. \"Just.\"<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>What happens now...doesn't matter much. Probably I'll end up working construction, at my dad's company.<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>You're going to college on a baseball scholarship.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>So did my brother, and he works construction for my dad.<\/dialogue>\n    <parenthetical>(he continues)<\/parenthetical>\n    <dialogue>I'll spend my Friday nights down at the Cavalier getting hammered with George Dawson, talking about the game I got that fat pitch from Saunders and we upset Dorchester, remember?<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>Great game.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>It doesn't mean anything, Sue. Being popular? Who cares, right?<\/dialogue>\n    <character>SUE<\/character>\n    <parenthetical>(suddenly)<\/parenthetical>\n    <dialogue>I have to do something, Tommy. To make this right. What I did to Carrie, it's not like when you kicked Danny Patrick. Carrie's never done anything bad to me, and I...hurt her.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Apologize.<\/dialogue>\n    <character>SUE<\/character>\n    <parenthetical>(shaking her head)<\/parenthetical>\n    <dialogue>Not enough.<\/dialogue>\n    <scene_description>He kisses her. He's nuts about her.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Hey. You're incredible. And way too hard on yourself. And I assume it's assumed, but...Sue Snell, will you go to prom with me?<\/dialogue>\n    <scene_description>Sue's been waiting for this...so how come it feels so wrong?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARRIE'S HOUSE - THE CLOSET - NIGHT<\/stage_direction>\n    <scene_description>Carrie in the dark gloom, dozing. The candle has burned low. Margaret unlocks the door and opens it.<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>Did you finish your prayers?<\/dialogue>\n    <scene_description>Carrie blinks.<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Yes, Momma.<\/dialogue>\n    <character>MARGARET<\/character>\n    <parenthetical>(not a question)<\/parenthetical>\n    <dialogue>Help me sew.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARRIE'S HOUSE - LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Margaret goes to the corner of the living room that she's turned into a work area for herself. A SEWING DUMMY, A SEWING MACHINE, ALL OF THE RELATED PARAPHERNALIA. Rows of threads, bunches of cloth, rulers, scissors, etc. Dutifully, Carrie walks to a second sewing machine, opposite Margaret's, sits down. Quietly, before she starts working:<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>I love you, Momma.<\/dialogue>\n    <scene_description>Pleased, Margaret nods, starts sewing. So does Carrie. Then:<\/scene_description>\n    <character>MARGARET<\/character>\n    <parenthetical>(singing softly)<\/parenthetical>\n    <dialogue>\"Blessed be the ties that binds...\"<\/dialogue>\n    <character>CARRIE<\/character>\n    <parenthetical>(after a beat:)<\/parenthetical>\n    <dialogue>\"Our hearts in Christian love...\"<\/dialogue>\n    <character>MARGARET AND CARRIE<\/character>\n    <parenthetical>(together)<\/parenthetical>\n    <dialogue>\"The fellowship of kindred minds\/ Is like that to that above...\"<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARRIE'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Dark except for the YELLOW LIGHT from the living room windows while, inside, the White women work.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EWEN HIGH - MORNING (MONDAY MORNING)<\/stage_direction>\n    <scene_description>Establishing: The start of another school week. STUDENTS, TEACHERS, STAFF streaming into the building.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH - HALLWAY - MORNING<\/stage_direction>\n    <scene_description>Following: Carrie, walking down the school's locker-lined main hall, miserably uncomfortable. If she felt like an outsider before, she does triply so now... The other kids stop as she passes them. Some whisper, some giggle, but they are all waiting to see what happens when she gets to her locker. As she approaches it, Carrie sees a CUSTODIAN frantically scrubbing off some MESSAGE that's been scrawled across her locker: CARRIE WHITE EATS SHIT, magic-markered. Carrie slows down enough to be sucker-punched by this latest humiliation, but keeps walking, eyes on the ground... She passes the set of double doors that lead to the gym as the First Period bell RINGS...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH - GYMNASIUM - MORNING<\/stage_direction>\n    <scene_description>Inside, the girls (including Sue, Chris, Emma, LIZZY, Nicki, Heather, and Tina) stand in a loose cluster, dressed in their PE shorts and tees, waiting for the boom to fall. Ms. Desjardin approaches from her office. A lecture's coming, but first:<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>Twenty-five laps.<\/dialogue>\n    <scene_description>The girls look at each other, dumbly, not moving.<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <parenthetical>(snapping)<\/parenthetical>\n    <dialogue>Now.<\/dialogue>\n    <scene_description>They immediately start jogging around the gym's perimeter.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH - LIBRARY - DAY<\/stage_direction>\n    <scene_description>A stack of books at her elbow, Carrie sits in front of a research computer. A LIBRARIAN shows Carrie how to, well, google something.<\/scene_description>\n    <character>LIBRARIAN<\/character>\n    <dialogue>Whatever you're looking for, you type it in here, then click on this. Do you want me to do it for you?<\/dialogue>\n    <parenthetical>(carefully, kindly)<\/parenthetical>\n    <dialogue>You're not on these much, Carrie, are you?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Thank you, Mrs. Walsh, I'm okay.<\/dialogue>\n    <character>LIBRARIAN<\/character>\n    <dialogue>If it's an article you need for a class and it costs something, let me know and we'll have the school pay for it.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Mrs. Walsh goes. Carrie does a quick check; no one's nearby. She looks down at the keyboard, flexes, and the letters M-I-R- A-C-L-E-S are pressed, seemingly by an invisible hand. Then \"ENTER.\" 66 million results. Almost gasping:<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Oh, sugar.<\/dialogue>\n    <scene_description>Carrie starts scrolling through them...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH - GYMNASIUM - DAY<\/stage_direction>\n    <scene_description>Post-laps. The girls are sweaty, panting.<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>Warmed up? Good. Two lines.<\/dialogue>\n    <scene_description>They fall into two lines. Here it comes, they think, the lecture. But not yet.<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>Squats. A hundred.<\/dialogue>\n    <scene_description>Audible GROAN; Chris mutters under her breath:<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Bitch.<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>A hundred and fifty. You want to go for two hundred, Hargensen? Try me.<\/dialogue>\n    <scene_description>Chris and Desjardin face-off. Chris keeps her mouth shut.<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>Squats.<\/dialogue>\n    <scene_description>The girls begin the painful exercise...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH - LIBRARY - DAY<\/stage_direction>\n    <scene_description>Carrie's search leads her from \"Miracles\" to \"Miracles of the Mind.\" Which leads to \"Secrets of the Mind.\" \"Mind Over Matter.\" Listings about clairvoyance, hypnosis, psychic phenomenon, telepathy, and...<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Tele...ki...nesis...<\/dialogue>\n    <scene_description>She clicks on \"Telekinesis: Fact or Fantasy?\" And reads: \"THE ABILITY TO MOVE OR TO CAUSE TO MOVE OBJECTS WITH THE POWER OF ONE'S MIND.\" Carrie scrolls through further listings\/articles like: \"Telekinesis, and the Quantum Field,\" \"Telekinesis, A Wild Talent Revealed,\" et cetera. She skims the entries; some are testimonials, first-person accounts...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH - GYMNASIUM - DAY<\/stage_direction>\n    <scene_description>Post-squats. The girls are in pain. Desjardin regards them. Now that they've been tenderized, she's ready.<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>Big week coming up. Big month. The biggest of your lives. Prom, then graduation. You must be excited--<\/dialogue>\n    <parenthetical>(catching her by surprise)<\/parenthetical>\n    <dialogue>--are you, Sue?<\/dialogue>\n    <character>SUE<\/character>\n    <parenthetical>(huh?)<\/parenthetical>\n    <dialogue>Ms. Desjardin?<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>You excited for Prom? Going with...Tommy Ross, I bet?<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>I...<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <parenthetical>(moving on)<\/parenthetical>\n    <dialogue>What about you, Chris? Who'd you pick to escort you? Or do you not have a date?<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(sullen)<\/parenthetical>\n    <dialogue>Billy Nolan.<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <parenthetical>(mock impressed)<\/parenthetical>\n    <dialogue>Are you getting him a boutonniere? Or will you just pin a bloody tampon to his lapel?<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(turning to go)<\/parenthetical>\n    <dialogue>I so don't need to hear this--<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>STAY PUT!<\/dialogue>\n    <scene_description>Chris stays put. Desjardin addresses the entire group:<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>You all did a shitty thing on Friday. A really shitty thing.<\/dialogue>\n    <scene_description>Nervously, one of the girls, Heather, giggles.<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>Did any of you stop and think Carrie White has feelings? Do any of you ever stop to think about her?<\/dialogue>\n    <parenthetical>(no response)<\/parenthetical>\n    <dialogue>Maybe you do. Maybe you think: \"She's ugly.\" \"No one likes her.\" \"Thank God that's not me.\" Well, guess what? You're the ugly ones. And cruel. All of you. Bullies.<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(mumbling, to Tina)<\/parenthetical>\n    <dialogue>This is such bullshit.<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <parenthetical>(calmly)<\/parenthetical>\n    <dialogue>I'm not one of the girls you terrorize, Chris. One more mumbled remark, and you'll see how not terrorized by you I am.<\/dialogue>\n    <scene_description>Chris doesn't say anything.<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>Now my recommendation to Mr. Morton for this little stunt of yours was three days' suspension and no prom.<\/dialogue>\n    <scene_description>A collective GASP from the girls.<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>That would've hit you were it hurts. And you would've deserved it, too. However, because the Disciplinary Committee is made-up almost entirely of men, and they, of course, have no idea how truly nasty what you did is, their punishment is one week's detention.<\/dialogue>\n    <scene_description>The girls, Sue included, sigh in relief. Chris smiles, tries to catch Sue's eye; Sue looks away.<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>Ah, but it's to be my detention. You just got a taste. Every day this week, for an hour and a half.<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(mumbles)<\/parenthetical>\n    <dialogue>I'm not coming.<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>That's up to you, Chris. That's up to each of you. But skipping detention gets you three days' suspension and no prom.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>My father's a lawyer. Take away my prom and he'll sue you, bitch.<\/dialogue>\n    <scene_description>The girls are shocked; not even Chris has ever talked to a teacher like that. Desjardin strides up to the girl. A scary moment: Is Desjardin going to hit Chris? But then:<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>You're done. You're out of my class, Hargensen, and out of the prom.<\/dialogue>\n    <scene_description>Desjardin turns from Chris, starts towards her office.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>You, you can't decide that.<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>Goodbye. Get out of here. The rest of you--laps, the rest of the period, then see you on the field at 3:15.<\/dialogue>\n    <scene_description>Chris calls after her:<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>You threatened me!<\/dialogue>\n    <scene_description>But Desjardin is in her office now. And some of the girls have already resumed their laps. Chris implores them:<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>You heard her threaten me! If we stick together, we can get her fired! Nicki?<\/dialogue>\n    <parenthetical>(nothing from Nicki)<\/parenthetical>\n    <dialogue>Heather?<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(nothing from Heather)<\/parenthetical>\n    <dialogue>Sue?<\/dialogue>\n    <scene_description>Sue shakes her head.<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>Let it go, Chris, just--let it go.<\/dialogue>\n    <scene_description>Leaving Chris high-and-dry, Sue joins the other, already- jogging girls... Chris can't believe what's just happened.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUE'S BEDROOM - VIDEO DIARY<\/stage_direction>\n    <scene_description>Back to Sue:<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>They, uhm. They checked some of the library computers, and found one Carrie must've been on that week, before prom. No one was surprised by what she'd been researching...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH - LIBRARY - DAY<\/stage_direction>\n    <scene_description>At the computer, Carrie's search leads her to a Youtube video entitled \"Melia's Magic.\" Carrie clicks on the link...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A COUNTRY YARD - DAY (THE VIDEO CARRIE'S WATCHING)<\/stage_direction>\n    <scene_description>A grainy, shaky home video. Day-time. We're looking at an OVERWEIGHT WOMAN IN GLASSES, who is waving an unseen cameraman over to a patch of dirt under a tree, beneath a tire-swing. The heavy woman directs our attention to a bright- eyed LITTLE GIRL (3-years-old), sitting on the ground, in front of a dozen marbles. This is MELIA.<\/scene_description>\n    <character>OVERWEIGHT WOMAN<\/character>\n    <dialogue>Now watch, just watch, it'll happen...<\/dialogue>\n    <scene_description>Focusing on the little girl. Nothing's happening.<\/scene_description>\n    <character>OVERWEIGHT WOMAN<\/character>\n    <dialogue>Give it a minute now, hang on...<\/dialogue>\n    <scene_description>After a moment or two...some of the marbles RISE into the air and begin, seemingly, to dance... Close-up on Carrie's eyes. Widening at what she's watching.<\/scene_description>\n    <character>OVERWEIGHT WOMAN<\/character>\n    <dialogue>Lookit, Shawnee, what did I tell you? Ain't that something? Just like Gramma, 'member? With her rocker? How she could make it go, even when she wasn't in it?<\/dialogue>\n    <scene_description>The little girl smiles and claps. Delighted.<\/scene_description>\n    <character>OVERWEIGHT WOMAN<\/character>\n    <dialogue>It's no trick, Melia just does it. I was scared at first, but...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH - LIBRARY - DAY<\/stage_direction>\n    <scene_description>Scared but exhilarated, Carrie's transfixed by the video. The marbles, floating in the air like soap bubbles...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE COMMISSION - DEAN MCDUFFY - DAY<\/stage_direction>\n    <scene_description>Back to McDuffy, shaking his head.<\/scene_description>\n    <character>MCDUFFY<\/character>\n    <dialogue>A telekinesis--TK--gene has been isolated. Like hemophilia, it follows a dominant\/recessive pattern. Recessive in women, but also dominant in women. (And only in women.) In other words, this is not the stuff of Quija boards and poltergeists, though I understand the skepticism...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARRIE'S HOUSE - CARRIE'S ATTIC ROOM - DAY<\/stage_direction>\n    <scene_description>Carrie sits at her desk, in her Anne Frank-like attic, a lone school pennant (EWEN HIGH) amongst the religious paraphernalia on the walls. She reads a copy of McDuffy's book.<\/scene_description>\n    <character>MCDUFFY (V.O.)<\/character>\n    <dialogue>...because if Carrie White is the Truth, then what happens to the order of the Natural World? What are we left with? The Divine? The Satanic?<\/dialogue>\n    <scene_description>On Carrie's desk: Other books about psychic phenomena from the library. She closes McDuffy's tome. Stares down at it. Concentrates, flexes, hard--and the book's cover moves just a little. SNAPS open. From downstairs, we hear: The front door opening, Margaret calling:<\/scene_description>\n    <character>MARGARET (O.C.)<\/character>\n    <dialogue>Carrie?<\/dialogue>\n    <scene_description>Carrie SLAMS her hands down on the cover, shutting the book tight as if it were a piece of smut.<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>(calling back down)<\/parenthetical>\n    <dialogue>Yes, Momma?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARRIE'S HOUSE - FRONT HALL - DAY<\/stage_direction>\n    <scene_description>Margaret, taking off her coat, feels...STATIC ELECTRICITY, making the hair on the back of her arms stand on end.<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>What are you doing up there?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARRIE'S HOUSE - CARRIE'S ATTIC ROOM - DAY<\/stage_direction>\n    <scene_description>Carrie frantically gathers up the psychic phenomenon books, stuffs them into a desk drawer. (Where she also keeps her \"dirty\" movie magazines.)<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Homework, Momma.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARRIE'S HOUSE - FRONT HALL - DAY<\/stage_direction>\n    <scene_description>At the foot of the stairs, Margaret is rubbing her arms...<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>Come help me with dinner.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH - CLASSROOM - THE NEXT DAY<\/stage_direction>\n    <scene_description>Carrie's English class. Tommy, Sue, and the gang (including meanies Nicki, Tina, and Lizzy, but not Chris), at their desks. Their English teacher, an officious little prick named EDWIN ULMANN, at the front of the room. Carrie in the row closest to the window, looking at the FLAGPOLE in the quad. The American flag SLACK in the breeze-less air. A close-up on Carrie. A tiny flex...and the flag starts to flap, ever so slightly. Is it a breeze or--?<\/scene_description>\n    <character>ULMANN<\/character>\n    <dialogue>Carrie?<\/dialogue>\n    <scene_description>Startled, she turns to him.<\/scene_description>\n    <character>ULMANN<\/character>\n    <dialogue>Your poem? Do you have it?<\/dialogue>\n    <scene_description>Almost imperceptibly, she nods.<\/scene_description>\n    <character>ULMANN<\/character>\n    <dialogue>Well, can we hear it?<\/dialogue>\n    <scene_description>Insta-nervous, Carrie pulls out a sheet of paper and starts reading from it, inaudibly.<\/scene_description>\n    <character>ULMANN<\/character>\n    <dialogue>Carrie, why don't you come to the front of the class? So we can all hear it?<\/dialogue>\n    <scene_description>Nicki and Lizzy trade a look, snicker; this is gonna be good. Sue and Tommy trade a look. Ugh, this is gonna be miserable.<\/scene_description>\n    <character>SUE<\/character>\n    <parenthetical>(volunteering)<\/parenthetical>\n    <dialogue>I'll read my poem, Mr. Ulmann.<\/dialogue>\n    <character>ULMANN<\/character>\n    <dialogue>Thank you, Sue, right now, I want to hear Carrie's.<\/dialogue>\n    <parenthetical>(to Carrie)<\/parenthetical>\n    <dialogue>Ms. White?<\/dialogue>\n    <scene_description>Carrie starts up the aisle, feeling every set of eyes on her. In front of the chalkboard, a wreck, she begins to mumble--<\/scene_description>\n    <character>ULMANN<\/character>\n    <dialogue>Louder, Carrie.<\/dialogue>\n    <scene_description>Carrie turns to Ulmann, anguished, then resumes, louder, eyes glued to her page.<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>\"Jesus watches from the wall, But his face is cold as stone, And if he loves me, As she tells me, Why do I feel so all alone?\"<\/dialogue>\n    <scene_description>Though some of the kids GIGGLE at the Jesus reference, the camera pushes in on Sue, who actually hears the pain and isolation in Carrie's brief words.<\/scene_description>\n    <character>ULMANN<\/character>\n    <dialogue>Is that...all, Carrie?<\/dialogue>\n    <scene_description>Nothing from the girl.<\/scene_description>\n    <character>ULMANN<\/character>\n    <dialogue>Who is the 'he' that loves you in the poem? Jesus?<\/dialogue>\n    <scene_description>A beat, Carrie nods.<\/scene_description>\n    <character>ULMANN<\/character>\n    <dialogue>You want Jesus to love you?<\/dialogue>\n    <scene_description>Carrie nods; the kids, delighting in their classmate's roasting. Ulmann, fueled by their giggles:<\/scene_description>\n    <character>ULMANN<\/character>\n    <dialogue>You want Jesus to take you to the prom?<\/dialogue>\n    <scene_description>Carrie shakes her head. She's mortified.<\/scene_description>\n    <character>TOMMY<\/character>\n    <parenthetical>(under his breath)<\/parenthetical>\n    <dialogue>Asshole.<\/dialogue>\n    <scene_description>The kids who heard that giggle some more.<\/scene_description>\n    <character>ULMANN<\/character>\n    <parenthetical>(half-heard the dig)<\/parenthetical>\n    <dialogue>Tommy? Did you say something?<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>That you're being an asshole. Sir.<\/dialogue>\n    <scene_description>Carrie looks up at her defender. Sue also looks to Tommy, surprised.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Carrie's is the best poem we've heard.<\/dialogue>\n    <scene_description>The students brace themselves--<\/scene_description>\n    <character>ULMANN<\/character>\n    <dialogue>Detention, Mr. Ross.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>I have baseball practice, sir. And my coach would have a strong opinion about me missing it, especially if I told him why.<\/dialogue>\n    <scene_description>Rather than push this conflict further, Ulmann lets it go.<\/scene_description>\n    <character>ULMANN<\/character>\n    <dialogue>Take your seat, Carrie.<\/dialogue>\n    <scene_description>As she does, she passes Tommy, who gives Carrie a tiny, quick WINK. Sue is still looking at Tommy, impressed, when:<\/scene_description>\n    <character>ULMANN<\/character>\n    <dialogue>All right, Ms. Snell, let's hear yours...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRINCIPAL'S OFFICE - DAY<\/stage_direction>\n    <scene_description>A tense meeting. Principal Morton (fiddling with a series of paperclips)and Ms. Desjardin are facing off against Chris's father, the lawyer JOHN HARGENSEN.<\/scene_description>\n    <character>JOHN HARGENSEN<\/character>\n    <dialogue>My daughter's at home right now. I'll keep her there through...let's say Thursday. That's a three-day suspension. Long enough.<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <parenthetical>(incredulous)<\/parenthetical>\n    <dialogue>For what Chris did to Carrie? And how she literally disrespects everyone?<\/dialogue>\n    <character>JOHN HARGENSEN<\/character>\n    <parenthetical>(ignoring Desjardin)<\/parenthetical>\n    <dialogue>Once she's completed her suspension, I want my daughter's prom privileges re-instated. A girl's prom is extremely important to her, and Chris is very distressed to be missing hers.<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>She had every opportunity to--<\/dialogue>\n    <character>JOHN HARGENSEN<\/character>\n    <dialogue>--prom is what I want for my daughter, Mr. Morton. What I want for me is--<\/dialogue>\n    <parenthetical>(he turns to Desjardin)<\/parenthetical>\n    <dialogue>--her dismissal.<\/dialogue>\n    <character>MORTON<\/character>\n    <dialogue>On what grounds?<\/dialogue>\n    <character>JOHN HARGENSEN<\/character>\n    <dialogue>She threatened my daughter with physical abuse and used profanity in front of her. That's verbal abuse.<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>Oh, that's such--<\/dialogue>\n    <character>MORTON<\/character>\n    <dialogue>--Ms. Desjardin has been reprimanded, but Mr. Hargensen, you are aware of what your daughter did to her classmate Carrie White?<\/dialogue>\n    <character>JOHN HARGENSEN<\/character>\n    <dialogue>Not even remotely relevant.<\/dialogue>\n    <character>MORTON<\/character>\n    <dialogue>It's absolutely relevant, sir, because your daughter and her posse threw sanitary napkins at Carrie White. And chanted \"Plug it up!\" That's verbal abuse, too. And made obscene gestures towards the girl-- who, incidentally, believed she was bleeding to death.<\/dialogue>\n    <character>JOHN HARGENSEN<\/character>\n    <dialogue>If you'd rather we continue this conversation in court, Mr. Morton--<\/dialogue>\n    <character>MORTON<\/character>\n    <dialogue>We absolutely can, Mr. Hargensen--<\/dialogue>\n    <scene_description>Morton opens a thick file sitting on his desk--<\/scene_description>\n    <character>MORTON<\/character>\n    <dialogue>--but first, may I show you something, sir?<\/dialogue>\n    <character>JOHN HARGENSEN<\/character>\n    <dialogue>Chris's file?<\/dialogue>\n    <character>MORTON<\/character>\n    <parenthetical>(nodding)<\/parenthetical>\n    <dialogue>In her four years here, she's earned...72 detentions. 48 of those are for the systematic abuse and harassing of misfit pupils.<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <parenthetical>(sneaking it in)<\/parenthetical>\n    <dialogue>Eileen Swope.<\/dialogue>\n    <character>JOHN HARGENSEN<\/character>\n    <parenthetical>(finally talking to her)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>MORTON<\/character>\n    <dialogue>I believe Ms. Desjardin is referring to the girl your daughter systematically tormented for two years-- Sending her threatening e- mails, posting humiliating photos--<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>Because Eileen was voted Treasurer over Chris--<\/dialogue>\n    <character>MORTON<\/character>\n    <dialogue>--Eileen tried to kill herself, you might recall. That case almost went to court, but you settled with her family, I believe? Is that right?<\/dialogue>\n    <character>JOHN HARGENSEN<\/character>\n    <dialogue>Your teacher crossed a line, Morton; if you don't make it right, I will take you to court, and when I'm through with you, you won't be fit to get a job as a custodian.<\/dialogue>\n    <character>MORTON<\/character>\n    <parenthetical>(pleasantly)<\/parenthetical>\n    <dialogue>Ewen High has zero tolerance for this behavior, Mr. Hargensen. Therefore, the sanctions against your daughter stand. If you wish to pursue the matter further, that is your right. But if sued, we will counter-sue, on behalf of Carrie White, on the grounds of physical, verbal, and mental abuse. Now: I believe you know the way out, sir?<\/dialogue>\n    <scene_description>Hargensen stands, leaves without uttering another word.<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>Now we know where she gets it.<\/dialogue>\n    <character>MORTON<\/character>\n    <parenthetical>(he holds up a destroyed paperclip)<\/parenthetical>\n    <dialogue>Eighteen paperclips. A record.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH - CHOIR ROOM - DAY<\/stage_direction>\n    <scene_description>Choir class. Thirty students, boys and girls, four rows deep, arranged by height, being led through their paces (that is, their scales) by a CHOIR TEACHER. The camera finds Carrie, on the furthest edge of the group. As she (and the other kids) SING, the camera follows her gaze to...Tommy, in the middle of the group. He, too, is singing. He catches Carrie staring at him; she quickly looks away. Then the camera slides over to...Sue, on the other side of the group. She is looking at Tommy...then she looks towards Carrie, thinking, thinking...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CAVALIER PUB - DAY<\/stage_direction>\n    <scene_description>Close-up on Chris:<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>How was detention with Dyke Desjardin?<\/dialogue>\n    <scene_description>The Cavalier's the local dive pub. Burgers, beer, darts, a jukebox, pool tables. A mix of students and townies. Billy is playing pool with some of his goons, including: KENNY GARSON, STEVE DEIGHAN, and JACKIE TALBOT. Sue is sliding into the booth opposite Chris...<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>She kicked our asses.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Good. That's what you get.<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>Come on, Chris.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Why didn't you back me up?<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>I thought...we deserved it.<\/dialogue>\n    <parenthetical>(amending)<\/parenthetical>\n    <dialogue>I thought I deserved it.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Well, I'm not going to prom now. You think I deserve that?<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>I think...Desjardin was right. I think we did a horrible thing for no reason. (At least I didn't have a reason.)<\/dialogue>\n    <scene_description>The CRACK of billiard balls--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Fine, but guess what? I'm still going. I'll crash, I don't care.<\/dialogue>\n    <parenthetical>(turning to him:)<\/parenthetical>\n    <dialogue>Right, Billy? We're crashing prom?<\/dialogue>\n    <scene_description>Billy's eyes flicker over to Chris for half-a-second, then away; he continues his game of pool.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Carrie was begging for it, Sue. How long have we known her for?<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>Since--<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(over-riding her)<\/parenthetical>\n    <dialogue>Since the first-grade, and she's been begging for it, since the first-grade.<\/dialogue>\n    <parenthetical>(moreover)<\/parenthetical>\n    <dialogue>You were throwing crap, too. Calling her--<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>I stopped. I tried to stop it.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Oh, you \"stopped.\" You \"tried\" to stop it. You are...<\/dialogue>\n    <parenthetical>(she shakes her head)<\/parenthetical>\n    <dialogue>--God, you are such a hypocrite, Sue. Don't forget, I've known you since the first-grade, too, and I know exactly why you caved with Desjardin, and it's not because you felt bad for the freak.<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>I'll talk to you later, Chris--<\/dialogue>\n    <scene_description>She starts from the booth, Chris hot on her tail--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Wait--<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>You've been dreaming about senior year, and the perfect prom, and the perfect boyfriend, and the perfect life, since we were twelve, Sue-- That's why you had your change of heart-- And everyone knows it, bitch--<\/dialogue>\n    <scene_description>Wow. Sue is stung. She has no comeback, because, well...Chris isn't 100% wrong.<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>Can I go now?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Just remember: Two more days of this suspension and then I'm back. And there's one more month left of school. And then, what I did to Carrie--no, what we did to her? I can do to you.<\/dialogue>\n    <scene_description>A beat. On unsteady legs, Sue pushes out the Cavalier's door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE CAVALIER PUB - AFTERNOON<\/stage_direction>\n    <scene_description>Shaken, Sue walks to her car, the camera tight on her face. She didn't want Chris to see her cry, but now, outside, the tears start to flow...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTSIDE THE EWEN FIELDHOUSE - DAY (LATER)<\/stage_direction>\n    <scene_description>Ewen High's VARSITY BASEBALL TEAM (including Tommy) has just finished practice; the guys are trotting off the field. Tommy sees Sue sitting on a bench, by the fieldhouse. He peels away from his teammates and goes to her. Sue's eyes are red, wet.<\/scene_description>\n    <character>TOMMY<\/character>\n    <parenthetical>(alarmed)<\/parenthetical>\n    <dialogue>What's wrong?<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>Can we talk?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEHIND THE BLEACHERS - DAY<\/stage_direction>\n    <scene_description>Sue and Tommy are walking slowly...<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>If I asked you to do something for me, Tommy...would you?<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Of course. Anything.<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>Tommy...I want you to take Carrie to prom.<\/dialogue>\n    <scene_description>Tommy LAUGHS--then realizes she's not kidding.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Carrie White? Oh, babe...<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>Just-- It's what's right, Tommy. It's what I want to do. What I need to do.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Baby, you're being crazy...<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>I'm trying to fix what I did.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>I get that, but this is--<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>It's just--<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Sue, it's nuts!<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>To begin with, what makes you think she'd say yes?<\/dialogue>\n    <character>SUE<\/character>\n    <parenthetical>(oh, please)<\/parenthetical>\n    <dialogue>She'd say yes.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>We've barely spoken two words--<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>Doesn't matter; do you know what you look like? If you asked her, she'd say yes.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>And we go, and...what? How would that fix anything?<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>It would maybe make her...feel more a part of things.<\/dialogue>\n    <character>TOMMY<\/character>\n    <parenthetical>(dubious)<\/parenthetical>\n    <dialogue>For one night?<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>Why'd you defend her poem?<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Honestly? For you. And because Ulmann was being a dick. And because...it was a good poem.<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>I can't just say \"I'm sorry,\" I need to be sorry in a way that counts. That means something. To Carrie.<\/dialogue>\n    <character>TOMMY<\/character>\n    <parenthetical>(agreeing suddenly)<\/parenthetical>\n    <dialogue>Okay, I'll do it.<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>You will?<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>It's important to you, so--I mean-- I'll try.<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>Tommy--<\/dialogue>\n    <scene_description>Sue hugs him. In the embrace:<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>--thank you.<\/dialogue>\n    <scene_description>Close-up on Tommy, hugging Sue back. His LIPS are close to her EAR. He whispers something; we don't hear what.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUE'S BEDROOM - VIDEO DIARY<\/stage_direction>\n    <scene_description>Sue's story, continued:<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>People hear this story, they aren't surprised I asked Tommy to ask Carrie to the prom. What they are surprised about is that Tommy said yes, but it's like this...<\/dialogue>\n    <parenthetical>(getting choked up)<\/parenthetical>\n    <dialogue>It was what I wanted, and...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEHIND THE BLEACHERS - DAY (FLASHBACK)<\/stage_direction>\n    <scene_description>Close-up on Tommy's lips, whispering into Sue's ear: \"I love you.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUE'S BEDROOM - VIDEO DIARY<\/stage_direction>\n    <scene_description>Wiping her eyes:<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>He did it because he loved me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH CAFETERIA - DAY (WEDNESDAY)<\/stage_direction>\n    <scene_description>Lunch-time. The camera weaves among the JOCKS, the NERDS, the CHEERLEADERS, the COOL KIDS, the MEAN GIRLS, the FREAKS, the GEEKS, etc. We land on: Tommy, unsure, standing in the middle of this jungle, holding a tray. Sue, moral-supporting him from afar, sits at a table, catches his eye, nods: \"Go ahead, you can do this.\" Tommy GULPS, then walks to the far corner of the cafeteria, where Carrie sits, nose buried in a book, eating alone. After the longest walk of Tommy's life:<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Carrie?<\/dialogue>\n    <scene_description>Startled, she looks up--and the books sitting by her elbow fall off the table.<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Oh! Sorry!<\/dialogue>\n    <scene_description>Grateful for the distraction, Tommy kneels to pick them up.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>No, it's okay, I'll just-- Here--<\/dialogue>\n    <scene_description>Tommy is now holding his tray of food in one hand, Carrie's books in the other. An awkward moment, then:<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Can I sit down?<\/dialogue>\n    <scene_description>Carrie looks around. Is she being punked? No one seems to be staring at her, so...she nods. Tommy sits, smiles.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>So, uhm. I was wondering. The prom's next week, and I was wondering, if you don't have a date yet, if maybe we--<\/dialogue>\n    <scene_description>Carrie snatches her books up and FLEES, rabbit-like. Tommy makes eye-contact with Sue, gesturing, \"Go after her.\"<\/scene_description>\n    <character>TOMMY<\/character>\n    <parenthetical>(resigned, following her)<\/parenthetical>\n    <dialogue>Carrie? Carrie, wait up--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH HALLWAY - DAY<\/stage_direction>\n    <scene_description>Tommy catches up to Carrie; not many students around them.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Kind of left me hanging back there...<\/dialogue>\n    <parenthetical>(nothing from Carrie)<\/parenthetical>\n    <dialogue>Will you go to prom with me? It's short notice, but I'm hoping--<\/dialogue>\n    <character>CARRIE<\/character>\n    <parenthetical>(dark eyes flashing)<\/parenthetical>\n    <dialogue>Stop--<\/dialogue>\n    <parenthetical>(then softer)<\/parenthetical>\n    <dialogue>Stop doing this. Stop trying to trick me.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>No. It's no trick. I want to go to prom with you.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>...so we can have fun. It would be fun, don't you think?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>You're dating Sue Snell.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Sue--knows I'm asking you.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Why aren't you taking her?<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>She has...family stuff. Plus, she hates dancing. Weird, huh?<\/dialogue>\n    <scene_description>Carrie studies him for a moment; her eyes narrow--<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>You're lying. You all--you think you can keep tricking me.<\/dialogue>\n    <scene_description>She starts walking again; Tommy gets in front of her--<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>No, listen, Sue knows, she wants me to ask you. She suggested it, and I, I thought it was a great idea.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>So this is for Sue?<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>No-- No, it's for me. I'm asking you to go because I want to go to prom with you.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>I'm not a charity case.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Hey, hey-- You think I would do anything I don't want to do?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>I can't go with you.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Sure you can. Don't you want to?<\/dialogue>\n    <scene_description>The bell RINGS; students start pouring out of classrooms; some of them stare at Tommy and Carrie.<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>I have class.<\/dialogue>\n    <parenthetical>(then adds:)<\/parenthetical>\n    <dialogue>I'd love to, but...<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Today's the last day to get tickets, so you need to say yes right now.<\/dialogue>\n    <scene_description>Chris's friend TINA passes them in the hallway, gawking. Carrie feels like she's under a microscope. Tommy gently touches her hand.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>I'll pick you at 7:30. We'll have fun, I promise.<\/dialogue>\n    <character>CARRIE<\/character>\n    <parenthetical>(shaking her head)<\/parenthetical>\n    <dialogue>It would be a nightmare.<\/dialogue>\n    <parenthetical>(no way)<\/parenthetical>\n    <dialogue>I just-- I can't.<\/dialogue>\n    <scene_description>More and more students. Tommy smiles, crosses his arms.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>I'm gonna keep asking you till you say yes.<\/dialogue>\n    <character>CARRIE<\/character>\n    <parenthetical>(vulnerable)<\/parenthetical>\n    <dialogue>Why are you doing this really?<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Because...I liked your poem, and I want to friends with the girl who wrote that poem.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm serious. I'll get on the loudspeaker and ask you. I'll go to your house and ask you--<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>No--<\/dialogue>\n    <parenthetical>(then, a decision)<\/parenthetical>\n    <dialogue>All right, yes.<\/dialogue>\n    <character>TOMMY<\/character>\n    <parenthetical>(confirming)<\/parenthetical>\n    <dialogue>Yes, you'll--?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Yes, I'll go to prom with you.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You knew I would.<\/dialogue>\n    <scene_description>Tommy smiles again.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>I didn't, but I'm glad. Okay, so I'll pick you up at--<\/dialogue>\n    <scene_description>But Carrie's rushing off again. A few feet away from Tommy, she turns back, looks to the ground for:<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>(mumbles)<\/parenthetical>\n    <dialogue>Thank you, Tommy.<\/dialogue>\n    <scene_description>Carrie goes on her way. Mission accomplished, Tommy turns. Sue's in the hallway. She smiles, goes to him; he puts his arm around her, they walk off, passing Tina, lurking around the corner, observing all this...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH - GIRLS' BATHROOM - AFTERNOON<\/stage_direction>\n    <scene_description>Carrie in a stall, leaning against one of its metal walls, having a private moment--of joy. The most handsome boy at school just asked her, Carrie White, to prom...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE COMMISSION - SHERIFF OTIS DOYLE<\/stage_direction>\n    <scene_description>The head of Chamberlain's police force, identified as: \"OTIS DOYLE (CHAMBERLAIN POLICE DEPARTMENT).\" Small-town, hard- working, no-nonsense. Not brilliant, but thorough. Referring to a file.<\/scene_description>\n    <character>SHERIFF DOYLE<\/character>\n    <dialogue>That afternoon, Thomas Ross purchased two tickets to Ewen High's Senior Prom; he paid seventy- five dollars for them, using a credit card. Additionally, Carrie White purchased seven yards of silk chiffon from Gifford's Fabrics; the material cost one hundred and twelve dollars, and she paid cash.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BILLY'S ROOM (ABOVE THE CAVALIER) - AFTERNOON<\/stage_direction>\n    <scene_description>Wearing a bra and panties, Chris sits on Billy's rumpled bed in his low-rent, beer-reeking room, painting her toenails. WITH BLOOD RED GLOSS. From the bathroom, we hear THE SOUND OF A SHOWER CUTTING OFF. Chris smiles, gets ready. Sits up on her knees, faces the bathroom door... Billy appears in the doorway, dripping wet, wearing a towel. With a raging hard-on.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>All clean?<\/dialogue>\n    <scene_description>He holds out his arms to show her. Pivots left and right, swinging his dick left and right (off-camera), naughty as hell. Delighted, Chris nods.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Good. Now you can fuck me.<\/dialogue>\n    <scene_description>Strutting, Billy moves towards her--just as Chris's CELL PHONE (on Billy's night-table) BUZZES--<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Don't--<\/dialogue>\n    <scene_description>But Chris does; she flips on to her stomach and reaches for her cell--<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Chris--<\/dialogue>\n    <scene_description>She reads the text--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Unbelievable.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>That bitch Carrie White's going to prom. With Tommy Ross.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>You're a stupid shit, you know that?<\/dialogue>\n    <scene_description>Pissed now, Billy pounces on to the bed, roughly flips Chris on to her back. He pins her; her elbows under his knees.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Ow-- Fuck, Billy--<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>I told you: Don't call me stupid.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Then stop being--<\/dialogue>\n    <parenthetical>(he puts more weight on her arms)<\/parenthetical>\n    <dialogue>Ow! Billy--<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>You don't want to go.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>It's prom, asshole, of course I want to go.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Get off me!<\/dialogue>\n    <scene_description>Billy slips off her; Chris sits up, grabs her elbows--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Christ, you almost broke my--<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>You want to go--<\/dialogue>\n    <parenthetical>(she looks at him)<\/parenthetical>\n    <dialogue>--we'll go.<\/dialogue>\n    <scene_description>OFF CHRIS, the wheels starting to turn in earnest.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARRIE'S BATHROOM - DUSK<\/stage_direction>\n    <scene_description>Carrie, in a white, woolly bathrobe. Sitting on the lip of the old-fashioned, clawed bathtub. Filling it with STEAMING WATER. Once that's done, Carrie strips and slips into the hot tub. She dunks her head, gets comfortable, settles in... Close-up on Carrie's face. Her closed eyes. She is dozing, day-dreaming... A FLASH OF TOMMY ROSS, in his baseball uniform, on the field warming up, twisting at the waist, holding his bat... Carrie smiles; her hands slip off the rim of the tub and into the soapy water... A FLASH OF TOMMY WALKING CARRIE DOWN EWEN'S MAIN HALLWAY, a protective arm around the girl's shoulders... Close-up on Carrie's face, eyes still closed, but she's starting to smile. We can barely see Carrie's hands disappear, between her legs... A FLASH OF TOMMY KISSING CARRIE, sitting on the edge of the girl's virgin bed, his hand moving up her leg... Carrie doesn't even know she's doing it, but she's touching herself (and loving it)... This, too, is a first for her. And as she's touching herself...THE WATER IN THE TUB STARTS TO DANCE INTO THE AIR... A column, a suspended tentacle. Carrie releases into her fantasy more--Tommy's shirtless now, on top of her, AS A SECOND TENTACLE OF WATER CURLS INTO THE AIR. It's eerie. Beautiful. These two tentacles dancing... Carrie's about to orgasm, then: A SHARP RAP AT THE DOOR.<\/scene_description>\n    <character>MARGARET (O.S.)<\/character>\n    <dialogue>Carrie? What's taking you, girl?<\/dialogue>\n    <scene_description>Carrie's daydream shatters; the water tendrils unravel and splash back into the tub.<\/scene_description>\n    <character>MARGARET (O.S.)<\/character>\n    <dialogue>Supper's ready.<\/dialogue>\n    <scene_description>As Carrie guiltily unplugs the tub--<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Coming, Momma.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARRIE'S BEDROOM - EVENING<\/stage_direction>\n    <scene_description>Carrie is getting dressed, pulling hair back. She stands in front of a mirror, bolstering herself for what's coming next.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARRIE'S HOUSE - THE DINING ROOM - NIGHT<\/stage_direction>\n    <scene_description>A painting of \"The Last Supper\" looms over our version of the Last Supper: Margaret and Carrie, at opposite ends of the table. Carrie picks at her dessert with dread. Reading silently from her bible, Margaret eats heartily, drinks a big cup of tea. Without looking up:<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>I baked mother's love into that pie, Carrie.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>It gives me pimples, Momma.<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>Pimples are the Lord's way of keeping you chaste. Eat your pie.<\/dialogue>\n    <scene_description>Carrie takes a bite, puts down her fork. She can't eat.<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>(diving in)<\/parenthetical>\n    <dialogue>MommaI'vebeenaskedtotheprombyTommy RossandIwantIreallyreallywannago.<\/dialogue>\n    <scene_description>Margaret looks up from her bible.<\/scene_description>\n    <character>MARGARET<\/character>\n    <parenthetical>(like ice)<\/parenthetical>\n    <dialogue>Tommy Ross?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>He, he's a nice boy, Momma. He says he'll come meet you before.<\/dialogue>\n    <character>MARGARET<\/character>\n    <parenthetical>(like death)<\/parenthetical>\n    <dialogue>Before prom?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>He, he promised to have me home by eleven.<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>No. It's a sin, Carrie.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Not everything is a sin, Momma, and I--I already accepted.<\/dialogue>\n    <parenthetical>(Margaret's stunned)<\/parenthetical>\n    <dialogue>We have to start trying. Or I do, at least. I have to--<\/dialogue>\n    <scene_description>Margaret flings her tea across the table, into Carrie's face. THE TABLE RATTLES; Carrie grips its edges and it settles. Tea dripping off her face, the girl continues:<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>...I have to be my own person. I have to have my own life that's different from yours. I know that scares you. Me going. It scares me, too, but I have to--<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>He'll hurt you.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>No. There are bad people, but not Tommy. He's good.<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>Your closet-- You'll go to your closet and pray for forgiveness--<\/dialogue>\n    <character>CARRIE<\/character>\n    <parenthetical>(not kidding)<\/parenthetical>\n    <dialogue>No. Never again, Momma.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>The dance is Saturday night. Tommy will come in and you'll meet him.<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>And afterwards?<\/dialogue>\n    <character>CARRIE<\/character>\n    <parenthetical>(huh?)<\/parenthetical>\n    <dialogue>Afterwards...he'll bring me right back home.<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>Afterwards, he'll take you, Carrie!<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Oh, Momma, please.<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>That's what they do, Carrie. First comes the blood, then come the boys, sniffing the blood, grinning and slobbering like, like dogs--<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Stop it, Momma, stop being so--<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>He'll paw you 'til he's found where that BLOOD smell comes from--<\/dialogue>\n    <character>CARRIE<\/character>\n    <parenthetical>(she snaps:)<\/parenthetical>\n    <dialogue>Stop being so damn crazy!<\/dialogue>\n    <scene_description>THE PIE PAN FLIPS and smacks against the wall. Cherry pie filling STREAKS down \"The Last Supper\"...<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>Witch.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>I'm not.<\/dialogue>\n    <scene_description>A beat. Then Margaret LEAPS to her feet, accusing Carrie--<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>Devil's spawn, devil's child--<\/dialogue>\n    <scene_description>Carrie flexes, FORCING Margaret back down into her chair-- pinning her into it--<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Sit down, Momma. We're going to talk about this. Finally.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>There are no witches--<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>Read your bible--<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>--but there are other people like me. Who can do what I can do. Think hard enough and make things move.<\/dialogue>\n    <character>MARGARET<\/character>\n    <parenthetical>(hushed, terrified)<\/parenthetical>\n    <dialogue>It's from the Devil, Carrie.<\/dialogue>\n    <scene_description>Carrie presses down on Margaret, harder--<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>It's not. Listen to me. I've read about it. It's inherited. Passed down. It's something that came from you--<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>No--<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Or Daddy--<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>YOU SHUT YOUR FILTHY WHORE MOUTH<\/dialogue>\n    <character>ABOUT HIM!<\/character>\n    <dialogue>Losing control, CARRIE FLEXES AND FLIPS EVERYTHING ON THE TABLE. Then she lifts the table up--and lift's Margaret's chair up--<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>Carrie--<\/dialogue>\n    <scene_description>--THEN SLAMS IT ALL DOWN WITH A CRASH! A beat, a settling. Margaret's terrified, but doesn't relent.<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>The Devil's got you now. Same as your father, carried off by Satan.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Daddy ran off with another woman, not Satan. And I don't want to fight you, but you need understand this, Momma. I'm not like you, and I am never going to be like you. And things...things are going to change around here.<\/dialogue>\n    <scene_description>Margaret retreats into the Exorcism Prayer from Deuteronomy.<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>\"I adjure you, ancient serpent, by the judge of the living and the dead, by your Creator, by the Creator of the whole universe...\"<\/dialogue>\n    <scene_description>Exhausted, heart-broken (but ever the dutiful daughter), Carrie stands and starts cleaning the mess she just made.<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Pray all you want, Momma, but I'm going, and nothing's gonna stop me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH - LIBRARY - MORNING (THE NEXT DAY, THURSDAY)<\/stage_direction>\n    <scene_description>Study hall. Kids doing homework. Sue and Tommy sit at a table, side-by-side, intense whispering.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Why didn't you tell me before?<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>I wasn't sure. I'm still not. It's only been two days.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>But you told me, so something must've--<\/dialogue>\n    <character>SUE<\/character>\n    <parenthetical>(admitting)<\/parenthetical>\n    <dialogue>Usually I'm like clockwork.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>But--not always?<\/dialogue>\n    <scene_description>Sue bites her lip. She can't lie. She always is. Tommy runs his hand through his hair. Fuck. FuckfuckfuckfuckFUCK.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Well, God, Sue...<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>Please don't worry yet.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Well, of course I'm worried. It was stupid, we should've--<\/dialogue>\n    <parenthetical>(actually)<\/parenthetical>\n    <dialogue>I should've--<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>We give it two more days, just till after prom. If it hasn't come by then, I'll go see a doctor.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Do you want...? I mean, should we get you a test?<\/dialogue>\n    <scene_description>Before Sue can protest, a meek voice interrupts:<\/scene_description>\n    <character>CARRIE (O.S.)<\/character>\n    <dialogue>Tommy?<\/dialogue>\n    <scene_description>It's Carrie, standing there.<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Hi. My Momma lives alone, so...I need to be home by 10:30.<\/dialogue>\n    <character>TOMMY<\/character>\n    <parenthetical>(this is random, but:)<\/parenthetical>\n    <dialogue>10:30? S-sure.<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>That still gives you enough time to go to Sugar's, too.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Sugar's?<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>For a burger if you want.<\/dialogue>\n    <character>CARRIE<\/character>\n    <parenthetical>(hesitating)<\/parenthetical>\n    <dialogue>You mean--before?<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>Afterwards. You go to Sugar's--<\/dialogue>\n    <parenthetical>(realizing Carrie would have no idea)<\/parenthetical>\n    <dialogue>--you go to Sugar's after the dance. Right, Tommy? 10:30 still gives you enough time?<\/dialogue>\n    <scene_description>A beat. Tommy's still processing what Sue just told him.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Bu-best burger in Maine...<\/dialogue>\n    <scene_description>Carrie nods, but to be clear:<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>As long as I'm home by 10:30. I don't want to make Momma worry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN GYM - DAY<\/stage_direction>\n    <scene_description>Close-up on: A RED SLASH OF PAINT across brown butcher paper. Another one. Angry, violent. Reveal: A GROUP OF HIGH SCHOOL KIDS, the Art Club, painting a mural of Venice, Italy, against one of the gym's walls. The gym is a HIVE OF ACTIVITY, with kids setting up for prom. Building a stage, hanging lights, streamers, on ladders, hooking up electrical equipment, etc. Sue is mixing a batch of paint with her friend Heather, mid- gossip session.<\/scene_description>\n    <character>HEATHER<\/character>\n    <dialogue>...but you guys didn't break-up?<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>'Cause that's what people think.<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>We did not break-up, Heather. (For the hundredth time...)<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>And yet he's taking Carrie to the prom?<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>I told you: Because I asked him to.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Because you think you owe it to her? Because of the shower thing?<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>I'm not trying to be some martyr, I'm just trying to...balance things.<\/dialogue>\n    <scene_description>Sue and Heather start walking their buckets of paint over to the mural.<\/scene_description>\n    <character>HEATHER<\/character>\n    <dialogue>Where does that put the rest of us?<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>People have to make their own peace with it, I guess.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Does everyone hate me?<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Not everyone...<\/dialogue>\n    <scene_description>Sue stops. She sees, across the way--through the window of an office off the gym (Prom Headquarters)--Chris chatting conspiratorially with Tina Blake. Tina's laptop open in front of them.<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>I thought she was still suspended?<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Tina snuck her in.<\/dialogue>\n    <scene_description>In the office: Chris looks up from Tina's laptop, meets Sue's eyes. A big, fake smile as Chris waves, \"Hi, friend!\" Sue, helpless, waves back.<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>She's pretty mad at me, I guess?<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Sue, she hates you now.<\/dialogue>\n    <character>SUE<\/character>\n    <parenthetical>(wincing)<\/parenthetical>\n    <dialogue>She's not gonna do something to me, is she?<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>You know Chris...<\/dialogue>\n    <scene_description>Push in on Sue's face, looking at Chris and Tina, pow-wowing.<\/scene_description>\n    <character>SUE (V.O.)<\/character>\n    <dialogue>I can guess most of what happened while the rest of us were getting ready for prom. Who did what, and why...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUE'S BEDROOM - VIDEO DIARY<\/stage_direction>\n    <scene_description>Sue's confession, continued:<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>Besides me, Tina Blake was Chris's best friend and Prom Committee Chair, so...she must've helped. And Billy Nolan.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY ROAD - NIGHT<\/stage_direction>\n    <scene_description>From a distance, we're looking at: BILLY'S CAR, AS IT CRUISES ALONG A LONELY DIRT ROAD. Headlights and starlight; everything else is black sky and night.<\/scene_description>\n    <character>SUE (V.O.)<\/character>\n    <dialogue>If you wonder why someone like Chris Hargensen was with someone like Billy Nolan, it was 'cause she could control him. Beneath all the trash-talk, Billy did whatever Chris wanted...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BILLY'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Now we're inside the car. Radio blaring. Billy drives; Chris sits shotgun. Billy's three goon friends crammed in the backseat: KENNY GARSON, STEVE DEIGHAN, and JACKIE TALBOT, drinking beers. Chris, miserable with these goons. Kenny, skinny, the youngest, sitting in the middle, leans forward:<\/scene_description>\n    <character>KENNY<\/character>\n    <dialogue>Hey, Billy, you sure Henty's gone? I don't wanna get arrested for some lame-ass joke.<\/dialogue>\n    <scene_description>Billy's eyes in the rear-view mirror.<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>It's not a lame-ass joke, Kenny, it's a great joke. You wanna back out, I'll pull over right here. But yeah, Henty's at a funeral. Right, babe?<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(get me through this)<\/parenthetical>\n    <dialogue>Yes. I told you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. BILLY'S CAR - THE HENTY FARM - NIGHT<\/stage_direction>\n    <scene_description>Billy pulls up to a run-down, ramshackle farmhouse. He parks, turns off the radio. Everything goes deadly quiet. The reality of what they're doing sinks in. Billy turns to Chris.<\/scene_description>\n    <character>BILLY<\/character>\n    <parenthetical>(quiet)<\/parenthetical>\n    <dialogue>Soo--<\/dialogue>\n    <parenthetical>(loud squeal)<\/parenthetical>\n    <character>--EEE!<\/character>\n    <dialogue>That breaks the mood. Chris JUMPS; the goons start guffawing.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Jesus, you shit!<\/dialogue>\n    <scene_description>Chris smacks Billy; the goons crack up some more--<\/scene_description>\n    <character>STEVE<\/character>\n    <parenthetical>(snorting)<\/parenthetical>\n    <dialogue>Hey, hey--who died, anyway? Whose funeral?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE COMMISSION - IRWIN HENTY - DAY<\/stage_direction>\n    <scene_description>Straight out of \"American Gothic,\" the farmer IRWIN HENTY sits at the conference table.<\/scene_description>\n    <character>IRWIN HENTY<\/character>\n    <dialogue>My wife had passed away the Tuesday before--cancer--so I took her up to Bangor for burial, where the rest of her people are...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HENTY'S FARM - THE PIGPEN - NIGHT<\/stage_direction>\n    <scene_description>Chris, Billy, and the three trogs are climbing over the fence that encloses Henty's muddy pig-pen, holding TWO GENTLE, LOLLING SOWS. Jackie carries a sledge-hammer; Steve a butcher knife; Kenny a metal bucket. Chris illuminates the way with a flashlight.<\/scene_description>\n    <character>HENTY (V.O.)<\/character>\n    <dialogue>My son had been after me to install some kind of security system for years, but having seen my place... Why would anyone in their right mind want to break into my farm?<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>That Henty bastard is gonna shit himself when he gets home.<\/dialogue>\n    <character>BILLY<\/character>\n    <parenthetical>(almost a chant)<\/parenthetical>\n    <dialogue>Here, piggie, piggie, piggie, piggie... Here, piggie, piggie, piggie...<\/dialogue>\n    <scene_description>When the group reaches the dumb, motionless pigs:<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Pick one, Chris.<\/dialogue>\n    <scene_description>She shines her flashlight on one of the sows. It turns to them, snorts curiously.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>That one. Looks like her.<\/dialogue>\n    <scene_description>Steve makes eye-contact with Billy. Harsh bitch.<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>The goal is to do it in one swing, Jackie--right?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Yeah. Okay...<\/dialogue>\n    <scene_description>Jackie lifts the sledge into the air, Kenny looks away, Chris's eyes dance in the moonlight...but Jackie can't do it. He looks sick, lowers the sledge.<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>S-sorry, Billy...<\/dialogue>\n    <scene_description>Kenny looks back, relieved.<\/scene_description>\n    <character>CHRIS<\/character>\n    <parenthetical>(meaning, \"fix this\")<\/parenthetical>\n    <dialogue>Billy--<\/dialogue>\n    <scene_description>Billy takes the sledge from Jackie--<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Pussy--<\/dialogue>\n    <scene_description>Armed with the sledge, Billy starts stroking one of the pigs, almost tenderly. Cooing to it.<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Don't worry, little piggy, Uncle Billy's gonna take gooooood care of you... Yes, li'l piggy, you're not gonna feel a thing--<\/dialogue>\n    <scene_description>Lightning-fast, BILLY BRINGS THE SLEDGE DOWN ON THE SOW'S HEAD, killing the pig instantly, though it TWITCHES in its death spasms. The second pig scampers away, squealing. The guys are frozen, in shock.<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Its throat, Stevie, like I showed you--<\/dialogue>\n    <parenthetical>(no one moves)<\/parenthetical>\n    <dialogue>Steve--<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>I...<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>Hurry up--<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Bu-Billy...<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>Oh, Jesus H. Christ--<\/dialogue>\n    <scene_description>Billy goes to take the knife from Steve, but then, the flashlight's beam hits him in the face--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>I'll do it.<\/dialogue>\n    <scene_description>A beat, then Billy nods, \"Okay.\" Chris trades flashlight for knife. Billy pulls BACK the dead sow's head, so its neck is nice and stretched-out...<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>The bucket, Kenny--or are you gonna pussy-out, too?<\/dialogue>\n    <scene_description>Scared as shit, Kenny positions the tin bucket under the pig's exposed neck; Chris puts the knife up against its throat--<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>You got this. One quick--<\/dialogue>\n    <scene_description>CHRIS SLICES, AND WE HARD-CUT TO: BILLY'S CAR, looking into its open trunk, lined with plastic garbage bags, filled with ice. A BUCKET OF BLOOD packed into it. REVERSE THE SHOT: So we're looking UP at Billy and Chris, who are staring DOWN at the trunk. (The goons behind them, ashen- faced, keep their distance.) Both Chris and Billy are smeared with the red stuff.<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Pig's blood for a pig.<\/dialogue>\n    <scene_description>A beat. Then, Billy reaches up and SLAMS the trunk closed--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GIRLS' LOCKER ROOM - MORNING (THE NEXT DAY, FRIDAY)<\/stage_direction>\n    <scene_description>Desjardin is picking up equipment, discarded clothes. Then she hears...someone crying? She rounds a set of lockers, discovers--Carrie, on a bench, distraught.<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>Carrie?<\/dialogue>\n    <scene_description>Carrie turns from Desjardin, who sits down next to her.<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>What's wrong? Was it one of the girls?<\/dialogue>\n    <parenthetical>(no answer)<\/parenthetical>\n    <dialogue>Carrie? Did one of the girls do something?<\/dialogue>\n    <scene_description>Carrie shakes her head \"no.\"<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>What, then?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>I...got invited to prom.<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <parenthetical>(breaking into a smile)<\/parenthetical>\n    <dialogue>But that's great news! Who asked you?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Tommy Ross.<\/dialogue>\n    <scene_description>Desjardin tenses, for the tiniest beat, then covers.<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>He's the cutest, don't you think?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Y-yes, but...<\/dialogue>\n    <scene_description>Desjardin brushes the hair off of Carrie's face.<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <scene_description>The girl finally looks up, cheeks wet with tears.<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Ms. Desjardin, I don't know how to dance!<\/dialogue>\n    <scene_description>Desjardin's heart goes out to the girl; she hugs her.<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>Oh, Carrie, that's nothing to worry about; I didn't, either. That's the least of it, you'll see. It's easy. I'll show you--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRINCIPAL'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Desjardin and Morton sit with Sue and Tommy, dragged into the Principal's office. Desjardin in the middle of grilling Sue, defensively defending herself.<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>--what is the big deal?<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>It is a very big deal to Carrie White, and you know that, Sue.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And you're what, going by yourself?<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>No. I'm not going.<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>You're just staying at home? Missing your senior prom?<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>Is that so hard to believe?<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>I'm not stupid, Sue, and neither is Carrie.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Ms. Desjardin, I have class--<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>You're best friends with Chris. If the two of you--<\/dialogue>\n    <parenthetical>(taking Tommy in)<\/parenthetical>\n    <dialogue>--the three of you are planning something--<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>This has nothing to do with Chris.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Or you, Ms. Desjardin. This is something Tommy and I decided.<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>But why?<\/dialogue>\n    <scene_description>Sue and Tommy are a wall of silence. Desjardin looks at Principal Morton. Help, please.<\/scene_description>\n    <character>MORTON<\/character>\n    <dialogue>Tommy, what happens when the University of Maine hears about this?<\/dialogue>\n    <scene_description>Tommy looks at Sue. Was that a question or a threat?<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Why would the University of Maine care who I take to prom?<\/dialogue>\n    <character>MORTON<\/character>\n    <dialogue>You're willing to risk a baseball scholarship just to...to...<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <parenthetical>(impassioned)<\/parenthetical>\n    <dialogue>To pull a prank on a poor, lonely girl whose only sin is that she's different from you?<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Due respect, Ms. Desjardin, Mr. Morton...like Sue said, this is between Sue and I, a private thing--<\/dialogue>\n    <scene_description>Desjardin interrupts the boy:<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>Tommy. When you show up to prom, with Carrie White on your arm, don't you think you're going to look the tiniest bit ridiculous?<\/dialogue>\n    <scene_description>Tommy doesn't have a response. Sue takes his hand.<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>Tommy doesn't care how he looks--do you?<\/dialogue>\n    <character>TOMMY<\/character>\n    <parenthetical>(a micro-beat)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH GYM - THE NIGHT BEFORE PROM<\/stage_direction>\n    <scene_description>Two flashlights cut the darkness. One high, one low. Chris on the ground, shining her flashlight up at Billy, on a ladder, above the stage, in the rafters, positioning the tin bucket. A FAT DROP OF RED FALLS, landing on Chris's cheek. It takes a second for her to realize what it is...then she starts to freak-the-shit-OUT. She tries to wipe the blood off, only succeeds in smearing it--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Oh, my God... Oh, my God, Billy--<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>Hold the damn light still--<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>You're dripping all over me, it's disgusting--<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>Calm your ass down.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Hurry up! I wanna go home!<\/dialogue>\n    <scene_description>Billy threads a length of rope through a pulley...<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Keep your tits on, and when the time comes, I'll let you pull the rope.<\/dialogue>\n    <scene_description>This mollifies Chris, a little. As they continue to work, the camera slides from them to one of the gym's far corners. Up in the darkness, we see A TINY RED LIGHT BLINKING, indicating a SURVEILLANCE CAMERA, seeing--and recording--everything... MONTAGE - THE MORNING OF PROM NIGHT SNAPSHOTS OF CHAMBERLAIN, echoing the Opening Credits. A shot of Ewen High, in dawn's light, morning mist. Then: A shot of TOWN HALL. A shot of THE CAVALIER BAR AND GRILL. The GAS STATION. A shot of Chamberlain's VOLUNTEER FIREHOUSE. The EMERGENCY SIREN atop it. Everyone, everything, still asleep. The streets are empty; the day is full of potential...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRUG STORE - DAY<\/stage_direction>\n    <scene_description>Sue at the counter; she's just bought something. Mortified, she takes the white paper bag from a PERVY MALE CASHIER, crumples it up, stuffs it into her shoulder bag.<\/scene_description>\n    <character>CASHIER<\/character>\n    <dialogue>Have a good one.<\/dialogue>\n    <scene_description>Dying inside, Sue turns, starts down the aisle, glances to the cosmetics section, sees...Carrie, hopeless in front of the millions of lipsticks. Tentatively, Sue approaches her.<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>Hi...<\/dialogue>\n    <scene_description>Carrie looks scared for a moment, then settles.<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>SUE<\/character>\n    <parenthetical>(meaning the lipsticks)<\/parenthetical>\n    <dialogue>Looking for something for tonight?<\/dialogue>\n    <character>CARRIE<\/character>\n    <parenthetical>(nods, but:)<\/parenthetical>\n    <dialogue>I'm not sure what to get.<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>I can help.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>It's no problem.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>For everything. Thank you...for everything.<\/dialogue>\n    <scene_description>A moment of understanding between the two girls, then:<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>What color's your dress?<\/dialogue>\n    <scene_description>PULL BACK ON THE GIRLS as they start going through possible lipsticks. Looking at them from a distance, they could be best friends...<\/scene_description>\n    <character>SUE (V.O.)<\/character>\n    <dialogue>People are gonna believe whatever they want to believe about Carrie, but I can tell you who she really was: The girl who agonized over what lipstick to buy so she would look pretty for her first date...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUE'S BEDROOM - VIDEO DIARY<\/stage_direction>\n    <scene_description>Sue's confession, con't:<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>The girl who wanted to be brought home early so her mother wouldn't worry...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARRIE'S BEDROOM - EVENING (PROM NIGHT)<\/stage_direction>\n    <scene_description>Carrie, admiring herself in her mirror. Her hair is done up, she's got a little make-up on, she's wearing her PINK PROM DRESS, and she looks...stunning. A different person, in fact.<\/scene_description>\n    <character>SUE (V.O.)<\/character>\n    <dialogue>She wasn't some...monster, she was just a girl...who hurt. In ways most of us (if we were lucky) could never imagine, she hurt...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUE'S BEDROOM - VIDEO DIARY<\/stage_direction>\n    <scene_description>Sue, right to us, to the camera. Somehow, to Carrie, too:<\/scene_description>\n    <character>SUE<\/character>\n    <parenthetical>(after a moment)<\/parenthetical>\n    <dialogue>So, if you can hear this, Carrie, I'm sorry... And I hope that prom night was good for you. Until it turned into what it turned into, I hope it was good, and wonderful, and magic...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARRIE'S BEDROOM - EVENING<\/stage_direction>\n    <scene_description>Carrie picks up a corsage from her dresser and goes to pin it on herself; when she looks back into the mirror, Margaret is there, in the doorway. A deep moment between mother and daughter, separated by...so much. Carrie turns to Margaret, holds out the corsage, an olive branch.<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Tommy dropped it off earlier. Will you pin it on me, Momma?<\/dialogue>\n    <scene_description>For a moment, it seems as if Margaret's wavering--as if she might help Carrie--but then...the stone wall goes up again.<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>Red. I might've known it would be red.<\/dialogue>\n    <scene_description>Carrie's face crumples; her dress is pink. Carrie starts to pin the corsage on herself.<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>And I can see your dirty pillows. Everyone will.<\/dialogue>\n    <scene_description>Carrie is struggling with the corsage, the pin.<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>They're called breasts, Momma, you have them, every woman has them.<\/dialogue>\n    <scene_description>Carrie pricks herself on the pin--<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>(sucks her finger)<\/parenthetical>\n    <dialogue>Shoot.<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>\"And the dogs came and licked up the blood.\" Burn that whore's dress and pray for absolution.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Momma, it's modest. If you knew.<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>Oh, I know--<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Call him. Call that boy and say you changed your mind. Or say you're sick.<\/dialogue>\n    <scene_description>Carrie is applying lipstick now--<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>You mean lie, Momma?<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>Lying for the Lord, Carrie. I can do it.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Or you could be happy for me.<\/dialogue>\n    <scene_description>Unraveling, terrified for her daughter, Margaret PULLS at her hair, CLAWS at her face, PUNCHES herself in the mouth. Disturbing, but Carrie's seen this before--<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Stop hurting yourself, Momma, it's not gonna make me stay home.<\/dialogue>\n    <scene_description>A CAR HONKS out front; Carrie goes to the window; it's just two cars passing each other. Carrie's brow creases; Margaret sees an opening:<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>He's not going to come. It's a put- on. A trick, same as always!<\/dialogue>\n    <scene_description>Carrie shakes her head, but she's suddenly unsure.<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>He's coming.<\/dialogue>\n    <scene_description>Margaret grabs her arm:<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>Then he'll trick you there!<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Momma, stop it, I'm nervous enough as it is.<\/dialogue>\n    <scene_description>They hear another car outside. Carrie goes to the window; this one is stopping in front of their house.<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>It's him.<\/dialogue>\n    <parenthetical>(turning to Margaret)<\/parenthetical>\n    <dialogue>You see? It's all gonna be okay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARRIE'S HOUSE - STAIRWELL - CONTINUOUS<\/stage_direction>\n    <scene_description>Looking down on: Carrie, as she hurries from her room, along the hall, down the stairs, Margaret hot on her tail.<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>Your sin will find you out, Carrie! Repent!<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>It's not too late to repent and atone! We'll pray together! Remember your commandments!<\/dialogue>\n    <scene_description>Carrie looks up at Margaret, imploring her:<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Please don't ruin this for me, Momma. I'll be home early--<\/dialogue>\n    <scene_description>Margaret pursues her daughter:<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>As Jezebel fell from the tower, so you, too, will fall!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARRIE'S HOUSE - LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Carrie is pulling on a shawl, but Margaret's not letting up:<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>I knew it! When you were growing inside me, I knew! I should have killed myself!<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Momma, that's AWFUL--<\/dialogue>\n    <scene_description>Carrie looks out the front window, sees--Tommy. Opening his car door, climbing out...<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>I'll tell that boy the truth, Carrie! That your father took me, and that it was a sin, and that from that original sin was born another sin! The worst sin!<\/dialogue>\n    <scene_description>Panicking, Carrie flexes...and the closet--her closet--door SPRINGS OPEN--<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>The devil's hand!<\/dialogue>\n    <scene_description>Carrie flexes again...and Margaret--as if invisible hands were pushing her--starts to SLIDE towards Carrie's closet...<\/scene_description>\n    <character>MARGARET<\/character>\n    <parenthetical>(terrified)<\/parenthetical>\n    <dialogue>Whatareyoudoing? Carrie! Stop that!<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>You're gonna be quiet, Momma. You're not going to say a word, until I'm gone.<\/dialogue>\n    <scene_description>Carrie flex-pushes her mother into the closet, flex-slams the door shut on her--<\/scene_description>\n    <character>MARGARET (O.C.)<\/character>\n    <dialogue>Carrietta!<\/dialogue>\n    <scene_description>A close-up on the lock as Carrie FLEX-LOCKS the door. Margaret starts HAMMERING from within as we hear KNOCKING at the front door--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARRIE'S CLOSET - CONTINUOUS<\/stage_direction>\n    <scene_description>Margaret, POUNDING--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARRIE'S HOUSE - LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Carrie, warning her mom through the door--<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Be still, Momma, or I will bring this whole house down on you, and I can do it, too--<\/dialogue>\n    <parenthetical>(Margarert pounding away)<\/parenthetical>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARRIE'S CLOSET - CONTINUOUS<\/stage_direction>\n    <scene_description>Margaret stops, offers one last admonishment:<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>There will be a judgment, Carrie, a terrible burning...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARRIE'S HOUSE - LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>KNOCKING at the front door again. Echoing. It's like \"The Monkey's Paw\" when the dead son comes home. Carrie is torn for a moment, between the devil she knows and the devil she doesn't. She goes to the closet, whispers:<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>I'm sorry, Momma, I'll be home early.<\/dialogue>\n    <scene_description>Then moves to answer the door...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARRIE'S HOUSE - FRONT PORCH - EVENING<\/stage_direction>\n    <scene_description>Tommy stands there, in a white jacket and black tuxedo pants. In his way, as nervous as Carrie. The door starts to open--<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Sorry I'm a little--<\/dialogue>\n    <scene_description>Then they're facing each other, Carrie and Tommy, and both of them...take each other's breath away.<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Do I look okay?<\/dialogue>\n    <character>TOMMY<\/character>\n    <parenthetical>(half-stunned)<\/parenthetical>\n    <dialogue>You're beautiful.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUE'S HOUSE - SUE'S BEDROOM - EVENING<\/stage_direction>\n    <scene_description>Sue, at her desk, on her computer, surfing. It's gonna be a looooong night. A gentle knock at the door. It's SUE'S MOM. Put-together and pretty, like her daughter.<\/scene_description>\n    <character>SUE'S MOM<\/character>\n    <dialogue>You sure you don't want to come with?<\/dialogue>\n    <character>SUE<\/character>\n    <parenthetical>(shaking her head)<\/parenthetical>\n    <dialogue>I'm just gonna stay home.<\/dialogue>\n    <scene_description>Sue's mom (who has some idea of what's happening) comes into the room a bit.<\/scene_description>\n    <character>SUE'S MOM<\/character>\n    <dialogue>A little weird not to be going?<\/dialogue>\n    <character>SUE<\/character>\n    <parenthetical>(yes)<\/parenthetical>\n    <dialogue>I'm okay.<\/dialogue>\n    <character>SUE'S MOM<\/character>\n    <parenthetical>(proud of her daughter)<\/parenthetical>\n    <dialogue>We won't be too late.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EWEN HIGH - PARKING LOT - PROM NIGHT<\/stage_direction>\n    <scene_description>Panning across: THE SCHOOL, LIT UP LIKE TIMES SQUARE. The gym THROBBING with music and colored lights. Kids in tuxes and prom dresses, coming and going, clustered in front of the gym's doors, by their cars. We find...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. TOMMY'S CAR - CONTINUOUS<\/stage_direction>\n    <scene_description>Tommy and Carrie, in the front seat of Tommy's car. Carrie's taking this Cinderella moment in...<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Can we wait a minute?<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>As long as you want.<\/dialogue>\n    <scene_description>Outside the car, students move around them... They looks so handsome and beautiful, and for the first time in her life, Carrie's one of them.<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>(whispers in awe)<\/parenthetical>\n    <dialogue>What am I doing here...?<\/dialogue>\n    <character>TOMMY<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>Making me look good. Ready?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>I'm so nervous. I want them to like me.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>They will.<\/dialogue>\n    <scene_description>Carrie is looking at Tommy, melting--then a sharp rap on Tommy's car window! A threatening face appears on the other side of the glass. Keyed-up, Carrie GASPS, tenses, but--<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Dawson--<\/dialogue>\n    <scene_description>Tommy's lowers his window, greets his pal, GEORGE DAWSON (also on the baseball team)--<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Ross--<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Carrie, this is my best friend, George Dawson. George, this is--<\/dialogue>\n    <scene_description>George's delightful date, ERIKA, pops her head in the window--<\/scene_description>\n    <character>ERIKA<\/character>\n    <dialogue>Hi, Tommy!<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Carrie! Hi!<\/dialogue>\n    <scene_description>A deer-in-headlights (but in a good way), Carrie waves back.<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Hi.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOMMY'S CAR - EVENING<\/stage_direction>\n    <scene_description>Tommy goes around to Carrie's side of the car, opens the door for her, helps her out.<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Thank you. You didn't have to.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>First-class for you tonight.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL HALLWAY - LEADING TO THE GYM - EVENING<\/stage_direction>\n    <scene_description>Tommy and Carrie walk with George and Erika, towards the lights, the music. Though many students (including some girls we recognize from the locker room) gape at Tommy and Carrie, Erika's doing everything to put Carrie at ease.<\/scene_description>\n    <character>ERIKA<\/character>\n    <dialogue>I love your dress. Where'd you get it?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>I made it.<\/dialogue>\n    <character>ERIKA<\/character>\n    <dialogue>No kidding, really? That's amazing.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>It's an easy pattern, I could--<\/dialogue>\n    <parenthetical>(she stops herself, then:)<\/parenthetical>\n    <dialogue>...I could show you.<\/dialogue>\n    <character>ERIKA<\/character>\n    <dialogue>I'd love that!<\/dialogue>\n    <scene_description>As they reach the double-doors that lead into the gymnasium proper, Tommy takes Carrie's arm and sweeps her into...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH'S GYM - NIGHT<\/stage_direction>\n    <scene_description>From Carrie's POV: The gym has been completely transformed. In a cheesy (but great) way, it does look like 18th-century Venice. The streamers, the colored lights, the mural, the decorations, the table-clothes, the dresses, the tuxedoes, everything...it's all magical. A true fairy-tale. NOTE: Two BIG SCREENS on either side of the stage display a sort of VIDEO YEARBOOK, a slideshow of photographs from the entire school year. Students, clubs, memories--appearing for a moment, then dissolving into the next slide. THE BAND is playing, a few students are dancing. Everyone's having a blast. The camera sweeps across the gym, then back to find...Carrie and Tommy, still at those double-doors, drinking it all in...<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>The decorations look nice. The mural and all...<\/dialogue>\n    <scene_description>Carrie stares at Tommy, realizes:<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>You have no idea...<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>About what?<\/dialogue>\n    <scene_description>Chris's lackey, Tina, swoops down on them, raptor-like<\/scene_description>\n    <character>TINA<\/character>\n    <dialogue>Carrie! That dress is INCREDIBLE! WherEVER did you get it?<\/dialogue>\n    <character>ERIKA<\/character>\n    <dialogue>She made it, Tina.<\/dialogue>\n    <character>TINA<\/character>\n    <dialogue>Well--I can't get over how DIFFERENT you look, you're positively GLOWING, what's your secret?<\/dialogue>\n    <character>CARRIE<\/character>\n    <parenthetical>(not missing a beat)<\/parenthetical>\n    <dialogue>I can do magic.<\/dialogue>\n    <scene_description>Tina frowns, focuses her attention on Tommy:<\/scene_description>\n    <character>TINA<\/character>\n    <dialogue>Isn't it EXCITING? Too bad SUE couldn't be--<\/dialogue>\n    <character>TOMMY<\/character>\n    <parenthetical>(interrupting her)<\/parenthetical>\n    <dialogue>Yeah, I'm SO excited, Tina, RIVERS of cold sweat are RACING down my thighs, now if you'll excuse us, I have to show my date off--<\/dialogue>\n    <scene_description>Tina puckers her face and leaves; Tommy leads Carrie to their table... The camera finds: Emma, standing there, one of the few survivors of \"Black Prom,\" observing...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE COMMISSION - EMMA GOGAN - DAY<\/stage_direction>\n    <scene_description>Emma sits at the table, eyes red, being interviewed. She's identified: \"WHITE COMMISSION: EMMA GOGAN (AUTHOR, \"BLACK PROM.\")\"<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>Surreal is the only word. There were Tommy and Carrie, and she looked so happy and...normal, you had to wonder: \"Is that all she needed? One night? To fix everything?\"<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH'S GYM - NIGHT<\/stage_direction>\n    <scene_description>Back to: THE PROM, IN FULL SWING. George leads Erika from the table where they were sitting with Tommy and Carrie...<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Want to dance?<\/dialogue>\n    <scene_description>Carrie looks at the kids, rocking out to a fast-paced song.<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Uhhhhm...<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Or we can wait for a slow song.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Okay, but--<\/dialogue>\n    <parenthetical>(suddenly noticing)<\/parenthetical>\n    <dialogue>Hey, look--<\/dialogue>\n    <scene_description>Tommy's pointing to the stage, where TWO THRONES, for King and Queen of the Prom are being positioned, under Tina's supervision--<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>We're nominated, you know.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>You're nominated. I'm just...with you.<\/dialogue>\n    <character>CARRIE<\/character>\n    <parenthetical>(entranced by the thrones)<\/parenthetical>\n    <dialogue>They look beautiful, though. Like from a...<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CARRIE<\/character>\n    <parenthetical>(shakes her head, smiles)<\/parenthetical>\n    <dialogue>No. I don't want to say.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Want some punch?<\/dialogue>\n    <parenthetical>(goofy joke)<\/parenthetical>\n    <dialogue>I'm sure it's awesome.<\/dialogue>\n    <scene_description>Carrie nods; he goes, just as Ms. Desjardin (dressed-up, a chaperon) approaches Carrie, whose eyes brighten...<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Ms. Desjardin! You look so pretty!<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <parenthetical>(joining her at the table)<\/parenthetical>\n    <dialogue>You're beautiful, Carrie.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Thank you. I know it's not true, not really, but thank you for saying it.<\/dialogue>\n    <scene_description>Desjardin reaches across the table, puts her hand on one of Carrie's. Deeply heartfelt:<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>Carrie...anything that happened before tonight...well, I hope you can forget it.<\/dialogue>\n    <scene_description>Carrie looks the teacher right in the eyes--<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>I can't.<\/dialogue>\n    <scene_description>Desjardin sees a flicker of coldness there--<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>But it's over with now. Tonight, it's over and done with.<\/dialogue>\n    <scene_description>Desjardin nods; she gets it. Both teacher and student turn to gaze out at the students dancing... Angle on: Tommy, at the punch table, slipping his cell phone back into his pocket...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUE'S HOUSE - SUE'S BEDROOM - EVENING<\/stage_direction>\n    <scene_description>Sue, still at her desk, killing time. Her phone buzzes. It's a text from Tommy: allswell. shes great,actu. miss you. Sue smiles, but there's an undercurrent, too. Close-up on: shes great,actu. Sue frowns, the tiniest bit unsettled...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH'S GYM - NIGHT<\/stage_direction>\n    <scene_description>Back at the dance, Desjardin and Carrie:<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>...went with a basketball player, who was, oh, a foot taller than me, so I wore these heels, and we were driving to the dance, and of course his car broke down...<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Oh, no...<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>We had to walk two miles--me in those heels--so by the time we got to the school, I couldn't stand, let alone dance, but still...it was magic.<\/dialogue>\n    <parenthetical>(she gets lost in the memory, then:)<\/parenthetical>\n    <dialogue>I've never had a night like it since. Is that what it's feeling like to you?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>It's...very nice.<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>Is that all?<\/dialogue>\n    <scene_description>Carrie looks down at her lap.<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>No, there's more, but I don't think you would understand. I don't think anyone would.<\/dialogue>\n    <scene_description>Desjardin squeezes Carrie's hand--<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>Enjoy yourself tonight, okay? You'll never forget it.<\/dialogue>\n    <scene_description>The teacher moves on, to the chaperones' table, as Tommy returns, with two cups of punch. As he sits back down--<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>What did she want?<\/dialogue>\n    <scene_description>Carrie looks across at Desjardin, sitting by Principal Morton.<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>(realizing)<\/parenthetical>\n    <dialogue>I think she wanted to say she was sorry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BILLY'S ROOM (ABOVE THE CAVALIER) - NIGHT<\/stage_direction>\n    <scene_description>Chris and Billy, in bed. The window's open, letting in the spring night. Billy's sitting up, drinking a beer. Chris's head is on his chest; she traces her hand up and down his body.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Maybe it's a bad idea. Maybe we should just stay here tonight.<\/dialogue>\n    <scene_description>Billy looks at her; what's going on in her head, now?<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>It's too late for that.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>You fixed it, right?<\/dialogue>\n    <parenthetical>(silence, then:)<\/parenthetical>\n    <dialogue>Chris? You fixed it?<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(did she?)<\/parenthetical>\n    <dialogue>Yeah. It's all set.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN'S HIGH GYM - NIGHT<\/stage_direction>\n    <scene_description>A slow song like Chris Isaak's \"Wicked Game\" starts to play. Tommy and Carrie sit at their table. While Carrie gazes out at the dance-floor, Tommy notices A PICTURE OF HIM AND SUE on the video screens flanking the stage. To keep Carrie from seeing it (and feeling weird), he grabs her hand--<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Slow song.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Tommy, I can't.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>You can. One dance, no regrets tonight.<\/dialogue>\n    <scene_description>Tommy leads Carrie, nervously, to the middle of the gym. There, under a galaxy of cut-out stars, they dance, Tommy's arms around her protectively.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Easy, right?<\/dialogue>\n    <scene_description>Carrie can't help herself, she leans up and KISSES Tommy, on the lips. A peck, but she did it! They're both surprised, Carrie immediately retreats--<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>I'm so sorry. I didn't mean--<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Hey, hey...<\/dialogue>\n    <scene_description>And he leans down and kisses her, longer this time.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>It's okay. You're fine. It's prom night.<\/dialogue>\n    <scene_description>Carrie clutches him happily--<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>I don't want this to ever end.<\/dialogue>\n    <scene_description>She puts her head against his shoulder. Remembering what this is all supposed to be about (helping Carrie), Tommy asks:<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Carrie...what are you gonna do after graduation?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>...work, I guess.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Here in Chamberlain?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>I don't want to. I want to go somewhere.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>You mean college?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>I didn't apply. That's sad, isn't it?<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>It's too late for the fall, but maybe you could apply for winter term.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>I'd go anywhere.<\/dialogue>\n    <parenthetical>(gazing at the mural)<\/parenthetical>\n    <dialogue>Italy....<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Do you have any...family who could help?<\/dialogue>\n    <character>CARRIE<\/character>\n    <parenthetical>(expression clouding)<\/parenthetical>\n    <dialogue>Just my momma.<\/dialogue>\n    <scene_description>Tommy feels her shrink a bit; he pulls her closer.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>You know...I really like being here with you.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>You do?<\/dialogue>\n    <character>TOMMY<\/character>\n    <parenthetical>(smiles, nods)<\/parenthetical>\n    <dialogue>So maybe we'll dance a little bit longer, see which poor fools they crown king and queen, and then go to Sugar's? And I'll have you home by 10:30? Does that sound good to you?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Or...maybe 11's okay?<\/dialogue>\n    <character>TOMMY<\/character>\n    <parenthetical>(bigger smile)<\/parenthetical>\n    <dialogue>Whatever you want...<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Carrie closes her eyes, fairly dissolves into Tommy, wishing that tonight would, indeed, go on forever...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARRIE'S CLOSET - CONTINUOUS<\/stage_direction>\n    <scene_description>Looking at: That frightening painting of God, from Margaret's POV. A FLICKERING CANDLE casts gruesome shadows across her face. Hands clasped, Margaret is praying a mile-a-minute--for guidance, deliverance, clarity. Tight on her face, eyes closed, as she remembers...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARRIE'S ROOM - DAY - FLASHBACK<\/stage_direction>\n    <scene_description>Looking at: Margaret, seventeen years younger (and softer). She has just come into the room and stopped dead in her tracks. Holding a glass baby's bottle of milk, which she lets fall from grip, in shock. The milk bottle SHATTERS; Margaret covers her mouth to keep from screaming. The camera reveals...her baby daughter's crib. Above it, a mobile of little pink plastic animals, DANCING IN THE AIR, off their strings! While underneath them, Baby Carrie coos in delight...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARRIE'S CLOSET - CONTINUOUS<\/stage_direction>\n    <scene_description>Margaret, in torment. Face hidden behind clasped hands.<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>First the blood, then the power...<\/dialogue>\n    <scene_description>She lowers her hands, looks up at the painted image of God:<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>If thine Eye offends you, cut it out! Did You not ask Abraham to take his son Isaac up to the mountain? Only blood expiates blood! Expiation, Lord...<\/dialogue>\n    <scene_description>Margaret crosses herself.<\/scene_description>\n    <character>MARGARET<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Sacrifice.<\/dialogue>\n    <scene_description>Margaret stands, sets about working on the closet's lock with her fingers...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH GYM - NIGHT<\/stage_direction>\n    <scene_description>Tina on the stage, at a microphone, in front of the thrones.<\/scene_description>\n    <character>TINA<\/character>\n    <dialogue>...everyone, take your seats, it's time to vote for YOUR King and Queen! Ballots on the tables, but FIRST, I want to thank a few people for helping me make this year's prom a night we'll NEVER forget. Especially my BEST friend Nicki Watson--<\/dialogue>\n    <scene_description>Tina gestures to Nicki, standing behind a table, off to the side. Nicki's working a laptop. At the shout-out, she waves to Tina, who continues her speech...<\/scene_description>\n    <character>TINA<\/character>\n    <dialogue>...Nicki put together the AMAZING slide-show of memories we've been enjoying all night long, thank you, Nicki, we're OBSESSED with you!!<\/dialogue>\n    <scene_description>The kids--including Tommy and Carrie--APPLAUD. Tina resumes her speech, giving instructions on the voting, but we stay with Nicki, who slips away from her table, creeps along the gym's wall until she's-- BEHIND THE STAGE\/SCREENS: Nicki opens a set of double-doors, so that Chris and Billy can slip into the gym, unseen, and take their place underneath the built-up stage. As they disappear, we CUT BACK TO: Tommy and Carrie, contemplating the ballot.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Do you want to decline?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Do you?<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>If we win, the only thing that happens is they make us sit up there on the thrones, wave a scepter around during the school song, then dance and get our picture taken for the yearbook...<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>This year's yearbook?<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>They're saving a blank page in the back.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Who should we vote for? They're more your crowd than mine.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>For ourselves, right? To hell with false modesty.<\/dialogue>\n    <scene_description>Carrie laughs; is this all really happening? She takes a golf pencil stamped EWEN, scans the list of names, CHECKS THE BOX next to hers and Tommy's.<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>To hell with false modesty...<\/dialogue>\n    <scene_description>As Carrie checks their ballot, A QUICK MONTAGE OF OTHER KIDS VOTING. Some checking boxes without thinking; others debating something, then checking their ballots. THEN, WE'RE LOOKING AT TOMMY AND CARRIE THROUGH A HAND-HELD, SHAKY VIDEO-CAMERA. Reveal: One of the AV kids, Freddy \"the Beak\" Holt, playing videographer.<\/scene_description>\n    <character>THE BEAK<\/character>\n    <dialogue>Tommy, Carrie-- Look this way.<\/dialogue>\n    <scene_description>They do. THROUGH THE HAND-HELD:<\/scene_description>\n    <character>THE BEAK<\/character>\n    <dialogue>This is for a DVD we're giving out at graduation-- Any last words, Ross?<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Yeah, special shout-out to...the Senior Class, all of it. To my boy George Dawson, to the Fearsome Four, Mike Hitchcock, Matt Hodgson, Brian Maxwell, and Brad Cohen, I'm gonna miss you guys--well, not George, we're rooming together next year...<\/dialogue>\n    <character>THE BEAK<\/character>\n    <dialogue>Anyone else?<\/dialogue>\n    <scene_description>Tommy hesitates; Carrie touches his elbow.<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>It's okay. You can.<\/dialogue>\n    <character>TOMMY<\/character>\n    <parenthetical>(back to the Beak's camera)<\/parenthetical>\n    <character>TOMMY<\/character>\n    <dialogue>...a big thank you to Sue Snell. For everything. I love you, Sue.<\/dialogue>\n    <character>THE BEAK<\/character>\n    <parenthetical>(turning to)<\/parenthetical>\n    <dialogue>Annnd Carrie? Anyone you want to thank?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Uhm...Ms. Desjardin, I guess, and...<\/dialogue>\n    <parenthetical>(how could she not?)<\/parenthetical>\n    <dialogue>Tommy Ross and Sue Snell. For including me.<\/dialogue>\n    <scene_description>At which point, Tina SWOOPS down on Carrie and Tommy; the Beak's still filming--<\/scene_description>\n    <character>TINA<\/character>\n    <dialogue>All set?<\/dialogue>\n    <scene_description>Throughout the gym, Tina's worker-bees are collecting ballots. Tommy hands theirs to Tina.<\/scene_description>\n    <character>TINA<\/character>\n    <dialogue>Good LUCK, kids.<\/dialogue>\n    <parenthetical>(hand on Carrie's shoulder)<\/parenthetical>\n    <dialogue>You've got MY vote.<\/dialogue>\n    <scene_description>Tina wafts off, grabbing some more ballots as she goes. Carrie's eyes follow Tina as she walks the stack of ballots over to the chaperones' table for counting... THE IMAGE (BEING TAKEN WITH THE BEAK'S CAMERA) FREEZES ON CARRIE AND TOMMY--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE COMMISSION - SHERIFF OTIS DOYLE<\/stage_direction>\n    <scene_description>The return of Sheriff Doyle. A TV has been set-up on the table next to him. On its screen: The image of Carrie and Tommy we just landed on, PAUSED.<\/scene_description>\n    <character>SHERIFF DOYLE<\/character>\n    <dialogue>No one wants to use the word conspiracy because kids are involved, but there was forethought here. There was malice. How deep the conspiracy ran...we don't know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH GYM - UNDER THE STAGE - NIGHT<\/stage_direction>\n    <scene_description>Chris, peering out at the kids through crepe streamers. Billy checking the piece of rope that runs along the length of the stage, just above their heads--<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>When you pull the rope, pull it hard. As soon as the bucket goes, we run. We don't stick around for the laughs or the screams or anything.<\/dialogue>\n    <scene_description>Chris's POV, looking at Carrie and Tommy at their table.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>What if she doesn't win?<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>You said you fixed it.<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(turning to him)<\/parenthetical>\n    <dialogue>I called in some favors, yeah, but if Carrie doesn't win, we can come back later, after prom, and--<\/dialogue>\n    <parenthetical>(off his look)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>BILLY<\/character>\n    <parenthetical>(can't believe this)<\/parenthetical>\n    <dialogue>Chris...whoever the fuck wins, you're pulling that goddamn rope.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Not if it's not Carrie. If she doesn't win, it doesn't matter--<\/dialogue>\n    <scene_description>Billy grabs her by the shoulders and SLAMS her against one of the stage's wooden beams--<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>You crazy bitch. You think this is a joke? You are fucking pulling that rope, and when that bucket goes, we're running--<\/dialogue>\n    <scene_description>From above the stage, we hear TINA, GETTING EVERYONE'S ATTENTION, ASKING THEM TO TAKE THEIR SEATS--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Will you shut up so we can hear--<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>When I get to my car, I'm driving away. If you're there, great. If not, I'll leave you--<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(trying to wiggle free)<\/parenthetical>\n    <dialogue>Billy--<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>If you get caught, and say anything about what we did, I will kill you, I swear to God I'll kill you. This isn't what you bitches did in the showers, this is criminal assault. This is jail time, if we're caught--<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(glaring hatred)<\/parenthetical>\n    <dialogue>I get it--<\/dialogue>\n    <scene_description>Satisfied, Billy releases her--<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Okay. This is gonna be good.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH GYM - NIGHT<\/stage_direction>\n    <scene_description>All the kids at their respective tables, waiting for the big announcement. Tommy whispers to Carrie:<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Whatever happens tonight, you're Queen, okay?<\/dialogue>\n    <scene_description>Carrie smiles at him, but quickly focuses on Tina, at the mike. She wants to win now.<\/scene_description>\n    <character>TINA<\/character>\n    <dialogue>Everyone, everyone... The results are in, and it was very, VERY close...<\/dialogue>\n    <scene_description>Carrie grips one of Tommy's hands. Hard.<\/scene_description>\n    <character>TOMMY<\/character>\n    <parenthetical>(a joke, but not really)<\/parenthetical>\n    <dialogue>Ouch.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH - UNDER THE STAGE - NIGHT<\/stage_direction>\n    <scene_description>A close-up on Chris--does she want Carrie to win? Or lose? We can't tell, and, in fact, maybe even she doesn't know--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH GYM - NIGHT<\/stage_direction>\n    <scene_description>Tina, relishing the tension before she announces:<\/scene_description>\n    <character>TINA<\/character>\n    <dialogue>...by ONE VOTE, our winners are Tommy Ross and CARRIE WHITE!<\/dialogue>\n    <scene_description>EVERYTHING STOPS. The camera is on Carrie's shocked face. Did she mishear...? A moment of frozen time that stretches out like taffy...then, CLINKK! The glass candle sitting on the table in front of Carrie CRACKS; Tommy frowns for a split- second as time re-starts...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH - UNDER THE GYM - NIGHT<\/stage_direction>\n    <scene_description>Panic flashes across Chris's face, and we see the truth: That she doesn't want to do this--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH - GYMNASIUM - NIGHT<\/stage_direction>\n    <scene_description>All around the golden couple, kids are jumping to their feet, WHISTLING AND APPLAUDING. Baffling Carrie.<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>(whispering to Tommy)<\/parenthetical>\n    <dialogue>Who are they applauding for?<\/dialogue>\n    <scene_description>He takes her hand, grins--<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>For you.<\/dialogue>\n    <scene_description>Then he's up and waving, and she's up and waving-- Tina NODS to Nicki, who nods back, hits a key on her laptop, starts THE SCHOOL SONG PLAYING; KIDS TAKE UP THE SONG...<\/scene_description>\n    <character>KIDS<\/character>\n    <dialogue>\"All rise up for Thomas Ewen Hiiiigh...\"<\/dialogue>\n    <scene_description>As Tommy leads Carrie to the stage, her eyes sweep the crowd; there's the Beak, filming, and George, and Erika, everyone truly, genuinely happy for her--<\/scene_description>\n    <character>TOMMY<\/character>\n    <parenthetical>(sotto, to Carrie)<\/parenthetical>\n    <dialogue>Aren't you glad you voted for us?<\/dialogue>\n    <scene_description>--at which point, for one terrible moment, CARRIES SEES HER MOTHER, STANDING IN THE CROWD, SCOWLING--<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>Pride. The sin of pride--<\/dialogue>\n    <scene_description>--but then, of course, it's not Margaret, it's Ms. Desjardin, overjoyed, like everyone else. (Though Carrie pulls her shawl tight around her shoulders, suddenly feeling horribly exposed.) As our couple climbs the stairs up to the stage, we catch A GLIMPSE OF CHRIS peering through the slats--even as Carrie clocks that the screens (they're huge!) on either side of the thrones, display A PICTURE OF HER (THE OLD CARRIE) AND TOMMY, SPLICED TOGETHER.<\/scene_description>\n    <character>KIDS<\/character>\n    <dialogue>\"We'll raise your banner to the skyyyyy...\"<\/dialogue>\n    <scene_description>Carrie and Tommy are standing in front of their thrones; one of Tina's HELPERS crowns them, then hands Tommy a SCEPTER and Carrie some ROSES. They look ridiculously wonderful. Tina, who has moved the mike off to the side of the stage, is applauding. Makes quick eye-contact with Nicki, who nods back, \"Ready when you are.\" Tina nods back, announces, loud and proud:<\/scene_description>\n    <character>TINA<\/character>\n    <dialogue>Ewen High, I give you your newly crowned King and Queen of the Prom, Tommy Ross and Carrie White--<\/dialogue>\n    <scene_description>Both of them grinning and waving and just radiating. CLOSE-UP ON CARRIE'S FEET; she is standing on a circled star, exactly where she needs to be...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH GYM - UNDER THE STAGE - NIGHT<\/stage_direction>\n    <scene_description>Stricken, Chris holds the rope, not pulling it.<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>That was it, right? That was the signal? Chris?<\/dialogue>\n    <scene_description>Chris is trembling; she's paralyzed.<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Pull it. I won't pull it for you, it has to be you.<\/dialogue>\n    <scene_description>Chris tightens her grip, but still there's no yank.<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>That bucket will sit up there until hell freezes--<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>SHUT UP, BILLEEEEEEE--<\/dialogue>\n    <scene_description>QUICK CUT TO: Sue, on her couch, in the living room, legs curled beneath her, absently watching TV-- QUICK CUT TO: Carrie's house; the closet door yawns open like a gate to hell; Margaret, in the kitchen, at the sink, washing the blood off her raw fingers-- QUICK CUT TO: Carrie and Tommy, taking Carrie's hand-- And then we're back with Billy and Chris--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>--BILLEEEEEEEEEEEE--<\/dialogue>\n    <scene_description>Finally, after an eternity, CHRIS PULLS THE ROPE. Close-up on: The bucket, looking down into AN IMPOSSIBLY RED VAT OF BLOOD; the rope tied to the bucket's handle goes TAUT; the bucket starts to tip forward-- From the edge the stage, Tina gives one last signal to Nicki, who hits a key on her computer's keyboard-- Back to: A smiling, waving Tommy and Carrie, as...a SHEET OF RED BLOOD FALLS, mostly on Carrie, but SPLATTERING Tommy, as well. It seems to take FOREVER. A range of emotions contort Carrie's face. Shock. Incomprehension. Fear. Carrie's POV: The kids, the chaperons, the collective crowd, slowing down with the applause, the cheers, as they take in what's just happened. First Desjardin stops, then Erika, then Emma, all of them in shock...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EWEN HIGH - THE BACK OF THE SCHOOL - NIGHT<\/stage_direction>\n    <scene_description>On an adrenalin high, laughing and gasping for breath, Chris and Billy are screaming down the hill, towards Billy's car. True to their oath, they didn't stick around for anything...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH - GYM - NIGHT<\/stage_direction>\n    <scene_description>DARKNESS. Carrie's eyes are closed. She opens them to see first her blood-soaked hands, then...the crowd, stunned into silence.<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>Oh, my God, that's blood!<\/dialogue>\n    <scene_description>Indeed, Carrie looks like something out of Roman Polanski's \"Macbeth.\" Violent and violated; bloody and blood-curdling.<\/scene_description>\n    <character>TOMMY<\/character>\n    <parenthetical>(confused, outraged)<\/parenthetical>\n    <dialogue>What the hell--?<\/dialogue>\n    <scene_description>Another girl, SARAH, gasps and points to the screen on Carrie's RIGHT. Heather points to the one on Carrie's LEFT. Carrie turns to see--a projected photo of herself naked, cowering in the shower room, menstrual blood running down her legs. Underwear and tampons strewn about her. The picture Chris Hargensen snapped, revealed. The final coup de grace. Focus on: The STEEL BUCKET, swinging above Carrie and Tommy... Then: One of the kids in the audience starts to LAUGH. Carrie finds him in the crowd, that creepy GREG from outside Morton's office. Then she spots the Beak, still video- taping... Carrie's mind races to put it all together.<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>(to Tommy)<\/parenthetical>\n    <dialogue>You tricked me.<\/dialogue>\n    <scene_description>THE STEEL BUCKET IS FALLING, ROPE TRAILING BEHIND IT--<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>What? No, Carrie, this is--<\/dialogue>\n    <scene_description>Through the POV of the Beak's camera, we see: The bucket hitting Tommy in the head, in exactly the wrong way, knocking him unconscious--<\/scene_description>\n    <character>THE BEAK (O.C.)<\/character>\n    <dialogue>Oh, shit--<\/dialogue>\n    <scene_description>Tommy crumples to a heap, at Carrie's feet, clawing at her dress as he goes down--<\/scene_description>\n    <character>THE BEAK (O.C.)<\/character>\n    <dialogue>OH, SHIT--<\/dialogue>\n    <scene_description>NO LONGER THROUGH THE BEAK'S CAMERA, we see--Carrie, reeling, turn back to the crowd. More kids laughing. Tina. Nicki. Some of it's nervous laughter, some malicious-- Close-up on Carrie's blood-face. Hearing, in her mind, the girls' chants: \"Plug it up! Plug it up! Plug it up!\" And her mother's shrieks: \"The first curse is the curse of blood!\" The Beak, collecting himself, resumes filming. THROUGH HIS CAMERA, we see: Carrie, covering her ears, trying to blot out the laughter and jeering-- She SHAMBLES off stage, looking for the doors, for escape-- Ms. Desjardin tries to get to Carrie, to comfort her--<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>Oh, Carrie, let me help you, I'm--<\/dialogue>\n    <scene_description>Carrie doesn't break her stride-- But the traumatized girl seems to glance at Desjardin-- AND THEN THE GYM TEACHER GOES FLYING, into the blob-like crowd--<\/scene_description>\n    <character>THE BEAK (O.C.)<\/character>\n    <parenthetical>(recording this)<\/parenthetical>\n    <dialogue>Holy fuck-- What the hell--? WHAT THE HELL JUST HAPPENED?! Did you see that??<\/dialogue>\n    <scene_description>NO LONGER FROM THE BEAK'S POV: The kids are backing away from Carrie, but then someone (Lizzy) sticks out a foot, and Carrie, careening, trips over it and wipes out, leaving a bloody smear beneath her-- (The Beak resumes filming--) More laughter; more confusion. Carrie scrambles to her feet and barrels through the same double doors she and Tommy had entered, not even two hours ago...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE WHITE COMMISSION - EMMA GOGAN<\/stage_direction>\n    <character>EMMA<\/character>\n    <dialogue>The blood smell. That's what I can't get out of my head. Like a slaughter-house in the middle of summer. Also her face. The way she looked--<\/dialogue>\n    <scene_description>A QUICK CUT\/FLASH back to Carrie. Close on her blood-covered face, everything red except for her raccoon eyes. Her face fills the screen, and, just as Emma described, it looks like it has been cleaved in two--<\/scene_description>\n    <character>EMMA (V.O.)<\/character>\n    <dialogue>Like something had broken inside her. Like her soul had been...<\/dialogue>\n    <scene_description>Back in the conference room, Emma clarifies:<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>It all happened so fast, no one really registered what was happening. So if some of us were laughing, it wasn't because we thought it was funny, it was because we didn't know how to react. I mean, again, it was all so surreal...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH GYM - NIGHT<\/stage_direction>\n    <scene_description>After Carrie's fled. Students milling around, processing. Dread and unease fill the gym. Some girls are crying, being comforted by their boyfriends. THROUGH THE BEAK'S CAMERA, WE SEE: George and Erika, on the stage, kneeling besides Tommy's inert body; Desjardin pushing through the crowd, calling to Principal Morton--<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>Henry! Somebody! Call a doctor--<\/dialogue>\n    <scene_description>Erika is on her cell phone--<\/scene_description>\n    <character>ERIKA<\/character>\n    <dialogue>They're sending someone--<\/dialogue>\n    <character>GEORGE<\/character>\n    <parenthetical>(yelling)<\/parenthetical>\n    <dialogue>Beak, turn that fucking camera off--<\/dialogue>\n    <scene_description>The Beak lowers his camera just as the gym lights FLICKER, something disrupting them... Sarah rushes up to Emma, in the middle of all this--<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Hey, look, Carrie's back.<\/dialogue>\n    <scene_description>The Beak, hearing this, flips open his camera and turns to the gym's double doors-- THROUGH THE BEAK'S SHAKY, JITTERING CAMERA, WE SEE: Carrie, a terrifying vision, still drenched in blood, like some biblical avenging angel, stride back into the gym. The heavy steel doors slamming shut behind her-- THE VIDEO IMAGE CUTS OUT ABRUPTLY, REPLACED BY STATIC--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE WHITE COMMISSION - EMMA GOGAN<\/stage_direction>\n    <character>EMMA<\/character>\n    <dialogue>And I said to Sarah, \"Of course she's back, she's not finished yet,\" because that's what it felt like. That Carrie had something to finish.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I wondered how far she'd gotten before she changed her mind.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH - HALLWAY - NIGHT (FLASHBACK)<\/stage_direction>\n    <scene_description>From Carrie's POV, racing from the gym, humiliated, hyper- ventilating. Students recoiling as if she were a plague victim-- Carrie reaches the doors to the outside world; they BLAST OPEN, forced by Carrie's TK like a battering ram--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EWEN HIGH - NIGHT (FLASHBACK)<\/stage_direction>\n    <scene_description>Carrie STREAKS across the school's lawn, loses one prom shoe, then the other. The grass is wet with spring dew; she slips and falls, face-first-- A beat. Everything's still. All we hear is Carrie, panting, then crying. She rolls on to her back, looks up at sky. Against the black velvet--lots of stars up there--Carrie sees the branches of an oak tree, limbs full of green leaves. Motionless in the still night. Looking down on Carrie, weeping, shaking her head--<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>No. NonononononononononoNO--<\/dialogue>\n    <scene_description>Carrie wipes at her tears, streaking her face. She looks up at the tree again, flexes...and the oak's limbs start to SWAY. Calmer now, she sits up, feels the power surging through her. Slowly, Carrie turns to face the gym. A moment passes, a second. Then she rises to her bare feet, starts towards the gym...<\/scene_description>\n    <character>MCDUFFY (V.O.)<\/character>\n    <dialogue>TK is about control. And Carrie White had been--traumatized. Had had, I believe, a psychic break.<\/dialogue>\n    <character>MCDUFFY (V.O.)<\/character>\n    <dialogue>So that what walked back into the gym that night...<\/dialogue>\n    <scene_description>Carrie disappears, swallowed by the gym--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE COMMISSION - DEAN MCDUFFY<\/stage_direction>\n    <scene_description>Back to our telekinesis scholar\/writer, Dean McDuffy.<\/scene_description>\n    <character>MCDUFFY<\/character>\n    <dialogue>That wasn't a girl controlling her power. That was a girl at the mercy of her power...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH GYM - NIGHT<\/stage_direction>\n    <scene_description>Back in the gym, Sarah standing next to Emma.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Hey, look, Carrie's back.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Of course she's back--<\/dialogue>\n    <scene_description>They see: Carrie, striding back into the gym, steel doors SLAMMING shut behind her--<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>--she's not finished yet.<\/dialogue>\n    <scene_description>Most of the students aren't even aware that Carrie is now stalking the perimeter of the gym, looking up at the lights, hung all along the gym's ceiling.<\/scene_description>\n    <character>EMMA<\/character>\n    <parenthetical>(eyes glued to Carrie)<\/parenthetical>\n    <dialogue>We need to go, Sarah. We need to go, right--now.<\/dialogue>\n    <scene_description>Emma starts to pulls Sarah towards one of the gym's doors-- Carrie flexes--and, one by one, A SERIES OF GIANT SPOTLIGHTS SHATTER AND EXPLODE-- (It sounds like a gun being fired--) Shards of glass rain down on the STUDENTS, sending some of them (but not all, not yet) towards the gym's various doors-- The gym is now ALL RED AND PURPLE (lit by the few remaining, intact spots). Carrie's studying the grid of water pipes bolted to the ceiling. She flexes--the sprinklers activate-- IT BEGINS TO RAIN IN THE GYM... Angle on: Greg and his equally creepy cohort Harry, looking up at the sprinklers--<\/scene_description>\n    <character>GREG<\/character>\n    <dialogue>The hell? Now the basketball court's ruined--<\/dialogue>\n    <scene_description>The kids, freaking-out more and more, with each second that passes, are now RUSHING the doors, pushing people aside to escape. This catches Carrie's attention... ...so she flexes, and all four sets of gym doors START SLAMMING shut, handles snapping off in the process. SLAM! SLAM! SLAM! On the fourth set of doors, Carrie's a little late. One BOY is pulling at the door's edge, holding it open for people (including Emma and Sarah) to slip through. So Carrie flexes again, banging it shut, too, CUTTING OFF TWO OF THE BOY'S FINGERS-- He starts to SHRIEK--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE COMMISSION - SHERIFF OTIS DOYLE<\/stage_direction>\n    <scene_description>With the television next to him. Frozen on an image. Doyle's explaining:<\/scene_description>\n    <character>SHERIFF DOYLE<\/character>\n    <dialogue>After that big fight broke out 'bout five, six years ago--when Ewen's basketball team lost against Fairfax--the school had a security camera installed in the gym. Basic, but it gives you an idea...<\/dialogue>\n    <scene_description>He plays BLACK-AND-WHITE FOOTAGE on the TV screen, and we see: Masses of kids crowding the exits, trapped, pushing against each other, panic rising--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH - GYMNASIUM - NIGHT<\/stage_direction>\n    <scene_description>Adding to the chaos, Carrie flexes, knocking over a metal tree of spotlights, on to a group of students--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE COMMISSION - SHERIFF OTIS DOYLE<\/stage_direction>\n    <scene_description>ON THE TV SCREEN: We hear more SCREAMS-- And see another stand of lamps topple over like a chopped-down tree, smashing against the gym floor--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH - GYMNASIUM - NIGHT<\/stage_direction>\n    <scene_description>Another flex as Carrie, moving like an automaton now, rips the gym's electronic scoreboard down; more sparks; streamers of crepe paper catch fire and immediately start to burn... Meanwhile, Desjardin and three students are cradling Tommy's body, carrying him across the gym floor-- Carrie flexes, knocks them down, like bowling pins--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE COMMISSION - SHERIFF OTIS DOYLE<\/stage_direction>\n    <scene_description>ON THE TV SCREEN: Craziness. Tables seemingly FLIPPING INTO THE AIR; chairs ZIPPING THROUGH THE AIR-- ONE CHAIR STREAKS RIGHT AT THE CAMERA, LIKE A MISSILE-- IT SMASHES INTO THE CAMERA, CRACKING IT-- --and the TV screen goes to STATIC.<\/scene_description>\n    <character>SHERIFF DOYLE<\/character>\n    <dialogue>That's the last of what we saw from inside the gym.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EWEN HIGH - GYMNASIUM - NIGHT<\/stage_direction>\n    <scene_description>Through all this insanity and destruction, Carrie's eyes land on--Tina, who is looking right back at her.<\/scene_description>\n    <character>TINA<\/character>\n    <dialogue>...you're doing this?<\/dialogue>\n    <scene_description>Carrie flexes--and SMACKS Tina in the face with blows of TK, over and over, forcing the girl to back into the ever- spreading blaze. TINA'S DRESS CATCHES FIRE; she starts spinning like a top, trying to beat out the flames, to no avail... Angle on: Those assholes Greg and Harry, along with Nicki and Lizzy, scrambling up a set of open bleachers, towards the gym's upper windows. Carrie focuses on them, flexes...and the bleachers start to collapse--to flatten and shut--with Greg, Harry, Nicki and Lizzy still on them-- Meanwhile: The painted backdrop of Venice is burning; smoke is filling the gym as the fire spreads, up one entire side of the gym, across the ceiling, over the sprinklers-- Lighting instruments and flaming decorations are FALLING from the ceiling-- Carrie's attention turns back to the stage. Principal MORTON and English Teacher ULMANN are at the microphone, stupidly fighting for control of it. Carrie looks at them-- Hears, in her memory, Ulmann mocking her: \"You want Jesus to take you to the prom?\" Hears Morton, in her mind: \"We're all so sorry about this, Cassie--\" Carrie focuses on the place where the microphone's electrical cord plugs into its base...and flexes. The cord RIPS free, sparking, sending a current of electricity into the pool of water both men are standing in, and--ZZZITTTT! Their electrocution is gruesome, horrific...and it gives Carrie an idea. She looks up, into the rafters. At the thick electrical cords bunched-up and affixed to the rigging, the trusses. She flexes...and one by one, like octopus tentacles, they whip free (sending down showers of sparks) and start snaking their way towards the gym floor, under an inch of water...<\/scene_description>\n    <character>VOICE (O.S.)<\/character>\n    <dialogue>Carrie, no! Don't!<\/dialogue>\n    <scene_description>Carrie turns to--Miss Desjardin, standing across from her. The shot reverses, so that we're looking at Carrie from Desjardin's POV. Behind the girl, the flames are spreading; the gym's turning into an inferno; and those live wires are almost touching the inundated floor...<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>Please--<\/dialogue>\n    <scene_description>Carrie (feeling mercy?) flexes--and Desjardin is LIFTED into the air, and HURLED across the gym, through a set of double doors that spring open for a moment, then slam shut again-- That done, Carrie turns back to the live wires. She DROPS them into the water covering the entire gym floor-- And suddenly all the students are doing that horrible danse macabre, but very quickly we're on Carrie's face, surveying everything she has wrought... Enough, she thinks. (More than enough, actually; the gym now looks like that image of hell from the painting in Carrie closet.) Pull back to reveal: Carrie, in silhouette against the terrible burning, walking off the gym floor, wading OVER this apocalypse, like something out of a nightmarish opera, levitating herself towards a set of doors, flexing them open, and passing from the gym, out into the waiting night...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUE'S HOUSE - KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Sue at the kitchen table, staring at the crumpled bag from the drugstore, waiting for a tea kettle on the stove to start boiling. An anxious beat, she sends Tommy a text: WHERED U GO? She puts down her phone, opens the bag, pulls out...A PREGNANCY STICK. The kettle starts to WHISTLE. Sue goes to the stove, takes it off the burner, but, strangely...she still hears the whistling. QUICK SHOT OF: Chamberlain's EMERGENCY SIREN, atop the firehouse, blaring at an ear-splitting decibel-- Back with Sue as she turns towards the kitchen's big picture window. In the distance, A SMOKY, ORANGE GLOW. A fire? Coming from the direction of the school? Sue CLICKS on the TV set in the kitchen. An EMERGENCY NEWS REPORT flashes on the screen for a split-second (whatwasthat?), before it goes to STATIC-- Sue's brow furrows. Then: The lights in her house FLICKER off, then back on. A brownout? Just as Sue realizes what the whistling is, the first explosion of the night (coming from the direction of that glow) ROCKS Chamberlain awake--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE COMMISSION - SHERIFF OTIS DOYLE<\/stage_direction>\n    <scene_description>Sheriff Doyle, explaining to the Commission:<\/scene_description>\n    <character>SHERIFF DOYLE<\/character>\n    <dialogue>It was the school's oil tanks, in the boiler-room behind the gymnasium, exploding. Once they went up at--<\/dialogue>\n    <parenthetical>(He checks his notebook--)<\/parenthetical>\n    <dialogue>--10:25 p.m., it was impossible to contain the fire, especially since there was no water-pressure by the time the fire trucks got to the school--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRASS PLAZA - NIGHT<\/stage_direction>\n    <scene_description>Close-up on: An old, weathered, rusty FIRE HYDRANT. As if an invisible wrench were doing it, the hydrant's three lug nuts are UNSCREWING.<\/scene_description>\n    <character>SHERIFF DOYLE (V.O.)<\/character>\n    <dialogue>--owing to the fact that the all of the hydrants in the vicinity of the high school had been vandalized...<\/dialogue>\n    <scene_description>Reveal: Bloody Carrie, standing in front of the hydrant, staring down at it, flexing...<\/scene_description>\n    <character>SHERIFF DOYLE (V.O.)<\/character>\n    <dialogue>No idea why or by whom.<\/dialogue>\n    <scene_description>Suddenly, the lugs FLY OFF, letting loose a TORRENT of water, shooting into the air, forming a sort of...T-CROSS OF WATER. Carrie stands there, enjoying the geyser. She opens her arms, lets the water baptize her. Behind Carrie, in the BG, Ewen High continues to burn. A symphony of fire and water in this shot. After a few moments, Carrie continues her slow, steady march...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. SUE'S MOM'S CAR\/THE STREETS OF CHAMBERLAIN - NIGHT<\/stage_direction>\n    <scene_description>Fighting panic, Sue DRIVES HELTER-SKELTER through the streets of Chamberlain. On her cell phone--<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>Tommy? Tommy, what the HELL is going on? Call me, call me back--<\/dialogue>\n    <scene_description>Sue's car CLIPS a mailbox post, shredding it--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUGAR'S DINER - NIGHT<\/stage_direction>\n    <scene_description>We're in a well-lit, 1950s-style diner. A skinny kid, MARTIN QUINLAN, dressed in waiter whites, pours coffee for AN ELDERLY COUPLE. (NOTE: From the angle the kid's being shot, we don't get a really good look at him.)<\/scene_description>\n    <character>MARTIN QUINLAN (V.O.)<\/character>\n    <dialogue>I was working the night-shift at Sugar's, that's how come I didn't go to prom. Also, I couldn't get a date, 'cause of my...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE COMMISSION - MARTIN QUINLAN<\/stage_direction>\n    <scene_description>Quinlan at the conference table. We see now: He has terrible acne. He gestures to his complexion:<\/scene_description>\n    <character>MARTIN QUINLAN<\/character>\n    <dialogue>I never thought I'd be grateful to have a pizza face, but in a way, it saved my life. Anyway...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUGAR'S DINER - NIGHT<\/stage_direction>\n    <scene_description>Quinlan's V-O continued:<\/scene_description>\n    <character>MARTIN QUINLAN (V.O.)<\/character>\n    <dialogue>I heard the explosion and came out to see what had, well--exploded...<\/dialogue>\n    <scene_description>Quinlan comes out of Sugar's and sees another fire hydrant across the intersection, SPEWING water into the air. Behind him, the diner's lights FLICKER on and off, as if something were short-circuiting them. Quinlan's POV: A glimpse of a red, SCARECROW-LIKE FIGURE seemingly gliding from the hydrant towards the pumps of an Amoco Station (with five gas pumps), also across the street. Only a quick glimpse, however, because then a fire engine ZOOMS PAST, sirens blaring, lights flashing, obscuring Quinlan's (and our) view--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE COMMISSION - MARTIN QUINLAN<\/stage_direction>\n    <scene_description>Quinlan's testimony, continued:<\/scene_description>\n    <character>MARTIN QUINLAN<\/character>\n    <dialogue>I only saw her for a second, but it was definitely Carrie White. And it's crazy, but I swear--I swear-- it looked like she was floating...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BILL HAPSCOMB'S AMOCO STATION - NIGHT<\/stage_direction>\n    <scene_description>UNFOCUSED, GRAINY, SECURITY CAMERA FOOTAGE: Looking DOWN on the gas station's pumps. Wraith-like, Carrie enters the frame, advancing towards the pumps. A few yards from them, she stops, begins to stare...THEN, AGAIN, SUDDENLY, THE FOOTAGE CUTS OUT, GOES TO SNOW--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE COMMISSION - SHERIFF OTIS DOYLE<\/stage_direction>\n    <scene_description>Doyle, next to the TV set-up on the table, PLAYING SNOW ON ITS SCREEN.<\/scene_description>\n    <character>SHERIFF DOYLE<\/character>\n    <dialogue>Apart from the footage Freddie Holt recorded at the event, and what we got from the security camera in the gym, that's the only tape we have of Carrie White from Prom Night...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUGAR'S DINER - NIGHT<\/stage_direction>\n    <character>SHERIFF DOYLE (V.O.)<\/character>\n    <dialogue>Cameras all over Chamberlain, so you'd think we'd have lots, but-- only glimpses.<\/dialogue>\n    <scene_description>The fire engine finishes its shriek through the intersection. Quinlan looks for the mysterious figure in red (Carrie), but she's nowhere to be seen. More bizarrely, all of the gas station's nozzles are off their pumps, spewing gas across the Amoco's tarmac...<\/scene_description>\n    <character>MARTIN QUINLAN<\/character>\n    <dialogue>Oh, shit.<\/dialogue>\n    <scene_description>Quinlan's eyes follow the pooling gas as it spreads towards...a live wire (somehow pulled down from an electricity pole) that is SPARKING, next to the gas station...<\/scene_description>\n    <character>MARTIN QUINLAN<\/character>\n    <dialogue>Oh, sh--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EWEN HIGH - NIGHT<\/stage_direction>\n    <scene_description>Driving like a lunatic, Sue pulls into the parking lot across from the burning school-- SLAMS HER MOM'S CAR INTO A LAMP POST-- Sue stumbles from the car, totally losing it--<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>Oh, my God, Tommy--<\/dialogue>\n    <parenthetical>(starts screaming)<\/parenthetical>\n    <character>TOMMY? TOMMY?!<\/character>\n    <dialogue>WOMAN'S VOICE (O.C.)<\/dialogue>\n    <scene_description>Sue... It's Desjardin, hobbling towards Sue, shell-shocked, with a broken arm.<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>Miss Desjardin?! Oh, my God, Miss Desjardin, what happened?<\/dialogue>\n    <scene_description>Sue is fumbling her cell phone out of her pocket--<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>Carrie... They dumped blood on her and Tommy...<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>On Tommy--?!<\/dialogue>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Hello, yes, this is Sue Snell-- I'm at Ewen High-- And there's a fire, and, and-- We need an ambulance! Please--<\/dialogue>\n    <character>MS. DESJARDIN<\/character>\n    <parenthetical>(reeling from the truth)<\/parenthetical>\n    <dialogue>She spared me, but everyone else...<\/dialogue>\n    <scene_description>A beat as Sue realizes what Desjardin can't finish saying: \"Everyone else is dead.\"<\/scene_description>\n    <character>SUE<\/character>\n    <parenthetical>(forgetting her call)<\/parenthetical>\n    <dialogue>...Tommy? Was Tommy inside when-- when--<\/dialogue>\n    <scene_description>Behind Sue, from the center of town, a second explosion sends fire into the sky. The Amoco Station on Grass Plaza...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE COMMISSION - REVEREND GEORGE WHITFIELD<\/stage_direction>\n    <scene_description>A grim, humorless man. In black. Identified as: \"George Whitfield, Pastor of Chamberlain Methodist Church.\"<\/scene_description>\n    <character>REVERND WHITFIELD<\/character>\n    <dialogue>It was biblical, what happened to our town. It was the Lord's Angel of Vengeance, delivering-- retribution. The sins of the children visited upon the place that made them...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUGAR'S DINER - NIGHT<\/stage_direction>\n    <scene_description>Riot-like. The Amoco station is burning; FIREMEN are struggling to keep the inferno from spreading (and not having much luck). POLICE CARS, AMBULANCES, GAWKERS. Sheriff Doyle is interviewing Martin Quinlan, trying to get the story straight--<\/scene_description>\n    <character>MARTIN QUINLAN<\/character>\n    <parenthetical>(freaking-out)<\/parenthetical>\n    <dialogue>--no, I didn't see her do it, but it was her, it was the girl, she was covered in blood--<\/dialogue>\n    <character>SHERIFF DOYLE<\/character>\n    <dialogue>What girl?<\/dialogue>\n    <character>VOICE (O.C.)<\/character>\n    <dialogue>Tommy's dead. They're all dead--<\/dialogue>\n    <scene_description>--says Sue, who has stumbled into town from the high school. Like Desjardin, she's in shock.<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>The ambulance came for Miss Desjardin, I walked...<\/dialogue>\n    <character>SHERIFF DOYLE<\/character>\n    <dialogue>From the high school? You were at the dance?<\/dialogue>\n    <character>SUE<\/character>\n    <parenthetical>(shakes head \"no\")<\/parenthetical>\n    <dialogue>Have you caught Carrie yet?<\/dialogue>\n    <character>SHERIFF DOYLE<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>MARTIN QUINLAN<\/character>\n    <dialogue>I was trying to tell you! It was Carrie! Carrie White did this!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE COMMISSION - SHERIFF OTIS DOYLE<\/stage_direction>\n    <scene_description>Doyle has a map of Chamberlain he's marked-up.<\/scene_description>\n    <character>DOYLE<\/character>\n    <dialogue>The school is here...<\/dialogue>\n    <parenthetical>(he points)<\/parenthetical>\n    <dialogue>And here's the gas station...<\/dialogue>\n    <parenthetical>(he points)<\/parenthetical>\n    <dialogue>And here's where she ended up. A straight line, except for this detour here...<\/dialogue>\n    <parenthetical>(he points)<\/parenthetical>\n    <dialogue>Now folks knew Hargensen had shacked-up with Nolan. (The kids did, at least.) And they knew Nolan lived over the Cavalier, so...<\/dialogue>\n    <scene_description>Pre-lap: Heavy, insistent KNOCKING--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BILLY'S ROOM (ABOVE THE CAVALIER) - NIGHT<\/stage_direction>\n    <scene_description>Billy, shirtless, opens the door, revealing Jackie, one of his goons, freaking out:<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Thewholetown'sburningandthey're sayingit'sCarrieWhitedoingit!<\/dialogue>\n    <character>BILLY<\/character>\n    <parenthetical>(groggy, was he asleep?)<\/parenthetical>\n    <dialogue>Jackie...what time is it?<\/dialogue>\n    <scene_description>Jackie forces his way into the room. Chris is on the bed, in her underwear.<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>They're saying it all started at prom!<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Bil-lee, get rid of him--<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>First the school exploded, then the Amoco, now the fire's spreading, and it's all Carrie! People saw her, Billy, covered in blood!<\/dialogue>\n    <character>BILLY<\/character>\n    <parenthetical>(a beat, uh-oh)<\/parenthetical>\n    <dialogue>Who saw her?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Is it that pig's blood? Is that why you made us go to Henty's?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>What do you mean, \"the school exploded\"?<\/dialogue>\n    <character>BILLY<\/character>\n    <parenthetical>(turning to her)<\/parenthetical>\n    <dialogue>Shut up and let me think--<\/dialogue>\n    <parenthetical>(then to Jackie: )<\/parenthetical>\n    <dialogue>Go home. Don't talk to anyone, I'll take care of everything.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>I'm on probation, Billy, I can't go to jail again over some bullshit grudge your psycho girlfriend has with Carrie-goddamn-White--<\/dialogue>\n    <character>BILLY<\/character>\n    <parenthetical>(dead serious)<\/parenthetical>\n    <dialogue>Get out, Jackie, or I will break your fucking arm.<\/dialogue>\n    <scene_description>Jackie backs out the door, into the hallway--then RUNS. Billy shuts the door, rubs his hands through his hair. Whatnowwhatnowwhatnow? Chris is stunned.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>What should we do, Billy?<\/dialogue>\n    <character>BILLY<\/character>\n    <parenthetical>(a beat; he decides)<\/parenthetical>\n    <dialogue>Get dressed. We're gonna go look at the fires.<\/dialogue>\n    <scene_description>Chris starts pulling her clothes on--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>And then?<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>We leave and never come back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE CAVALIER - NIGHT<\/stage_direction>\n    <scene_description>There is ORANGE LIGHT in the night sky. The sound of SIRENS in the distance. Chris and Billy, carrying a duffle-bag, racing down the stairs that lead from the second floor of the Cavalier to the parking lot. Climbing into Billy's car:<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Chamberlain sucks, anyway.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. BILLY'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Once behind the wheel, Billy starts the car, flicks on the lights--and there's Carrie! At the far end of the parking lot, looking right at them. Straight out of a horror movie. Her grasping arms extended towards them. Billy JUMPS, Chris SCREAMS, starts to panic--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Billleee! OHMYGOD, BILLY-- BILLY! BILLYBILLYBILLEEEEEE--<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>SHUTTHEFUCKUP!!!<\/dialogue>\n    <scene_description>Billy floors it; they're speeding towards Carrie; she's swelling in the windshield; Carrie flexes-- --and Billy's car is no longer racing towards Carrie, but HOVERING A FOOT OFF THE GROUND, tires spinning uselessly... Carrie looks at Billy for a quick second, flexes, and BILLY'S HEAD TWISTS AROUND, HIS NECK SNAPPING LIKE A TWIG-- Then it's just Carrie and Chris, the two girls staring into each others' faces, echoing that moment on the blacktop, when they crashed into each other during the volleyball game-- Chris opens the car door, tries to jump out, but Carrie flexes--and the door slams shut, trapping Chris-- Carrie flexes again, and the seatbelt SLAPS across Chris's chest, CLICKING into place-- Carrie flexes some more--and the seatbelt TIGHTENS, crushing Chris, until we hear the sickening sound of her clavicle bone SNAP--<\/scene_description>\n    <character>CHRIS<\/character>\n    <parenthetical>(crying out)<\/parenthetical>\n    <character>YOU--AARRRGGHHH--<\/character>\n    <parenthetical>(bravado)<\/parenthetical>\n    <dialogue>--you still eat shit.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>You're still the whore of Babylon.<\/dialogue>\n    <scene_description>Carrie flexes; Billy's car hovers suspended in mid-air a moment longer, then SLAMS into the brick side of the Cavalier, so that the car's top CRUMPLES like tinfoil. Chris SCREAMS (she's still not dead)-- Carrie flexes again, swings the car out towards the left, then (like a wrecking ball) SLAMS it back into the Cavalier, brutally crushing it (and Chris) completely this time, smashing through the brick wall, demolishing the bar-- Her last tormentor dead, Carrie resumes her march, ever homewards... We CROSSFADE to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARRIE'S STREET - NIGHT<\/stage_direction>\n    <scene_description>Carrie White finally turns on to the tree-lined lane that leads to her Momma's house... CROSSFADE to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARRIE'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Carrie walks up the path towards her house, numbly...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARRIE'S HOUSE - ENTRANCE HALL\/LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Carrie enters her house, is greeted by that giant, wooden crucifix. Facing it, she implores Jesus:<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Why did you make me like this?<\/dialogue>\n    <scene_description>A close-up on the crucified Jesus's silent, anguished face.<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Am I Yours or his?<\/dialogue>\n    <scene_description>No answer, of course, so Carrie continues on, into the living room, where she discovers--her closet's door clawed open. Blood on the door's jamb. BLOODY FINGERPRINTS. Uh-oh.<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Momma?<\/dialogue>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Momma?<\/dialogue>\n    <scene_description>Unseen by Carrie, Margaret appears in the kitchen's doorway. One look at her daughter, a bloody wreck, and Margaret GASPS.<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>Carrietta?<\/dialogue>\n    <scene_description>Carrie holds out her arms, plaintive.<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Help me, Momma... Please, please--<\/dialogue>\n    <scene_description>Margaret rushes to Carrie, HUGS HER FEROCIOUSLY. While in the tight embrace:<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>(crying)<\/parenthetical>\n    <dialogue>You were right, Momma... It was...all a trick...<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>Shhh-shhhhh... And did you...?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Oh, Momma... I couldn't stop... I...couldn't...sto-op...<\/dialogue>\n    <scene_description>Utter anguish on Margaret's face; she must do this now.<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>I'm sorry, Momma. I'm so, so...<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>Shhh-shhhh. Go upstairs, Carrie.<\/dialogue>\n    <parenthetical>(she releases the girl)<\/parenthetical>\n    <dialogue>And wash yourself.<\/dialogue>\n    <parenthetical>(Carrie nods)<\/parenthetical>\n    <character>MARGARET<\/character>\n    <dialogue>And afterwards, we'll pray together, for forgiveness.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Y-yes, Momma.<\/dialogue>\n    <scene_description>Carrie goes upstairs, but we stay on Margaret, churning...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARRIE'S BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>Behind the shower curtain, using a bar of plain soap, Carrie washes the blood out of her hair, off her face. During this, Margaret comes into the bathroom...and leaves a simple cotton nightgown on the sink.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Margaret in her chair, reading her bible. Carrie, in the nightgown, looking more like a little girl than we've ever seen her, comes into the room. Margaret puts the bible aside.<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>All clean?<\/dialogue>\n    <scene_description>Carrie nods, kneels by her mother's feet. Margaret touches her daughter's face.<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>We'll pray, now.<\/dialogue>\n    <character>CARRIE<\/character>\n    <parenthetical>(grateful, relieved)<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Together, they begin the recitation:<\/scene_description>\n    <character>MARGARET\/CARRIE<\/character>\n    <dialogue>\"Our Father, who art in heaven, hallowed be Thy name. Thy kingdom come, Thy will be done...\"<\/dialogue>\n    <scene_description>As they pray, Carrie's head bowed, Margaret takes a butcher knife hidden behind her back--<\/scene_description>\n    <character>MARGARET\/CARRIE<\/character>\n    <dialogue>\"...on earth as it is in heaven. Give us this day, our daily bread...\"<\/dialogue>\n    <scene_description>She lifts it high over Carrie's head, and brings it down, STABBING CARRIE IN THE BACK. The girl's eyes go wide; she immediately, instinctually, pushes away from--<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Momma--<\/dialogue>\n    <scene_description>Reeling from the shock and pain, Carrie tries to grasp the knife handle sticking in her back--<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Momma, WHY--?<\/dialogue>\n    <scene_description>The girl is crawling\/scrambling away from her mother, who follows her, step by agonizing, bleeding step.<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>Oh, Carrie, I have wrestled with devil over your soul, the way Jacob wrestled the Angel of the Lord... Since the stones...since before the stones...I've tried to fill you with goodness, I've tried to fill you with grace...<\/dialogue>\n    <scene_description>As Carrie and then Margaret pass the doorway to the kitchen, Margaret picks up ANOTHER KNIFE--<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>But I lost, Carrie, time and again, I lost, and I knew, I knew what I had to do, but I was weak and, and backsliding, but not tonight--<\/dialogue>\n    <scene_description>Margaret has Carrie cornered. The girl is weakened, bleeding profusely. Margaret looms over her daughter.<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>Tonight, the devil has come home, and I will not be weak--<\/dialogue>\n    <scene_description>Margaret start to bring the second knife down on her cowering daughter, but Carrie flexes--and STOPS Margaret's arm in mid- swing. Mother and daughter lock eyes.<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>It's better this way. They'll come for you, after what you did. They'll hurt you--<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Momma, I'm sorry... And I forgive you...<\/dialogue>\n    <scene_description>Margaret's eyes go wide at that--as the camera pulls back to reveal: Behind Margaret, hovering in mid-air, the tools of Margaret's sewing trade: SCISSORS, SHEARS, KNITTING NEEDLES, ET CETERA. Waiting instruction from Carrie, who finishes their prayer.<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>\"...and forgive us our trespasses, now and at the hour of our death.\"<\/dialogue>\n    <character>MARGARET<\/character>\n    <parenthetical>(pleading with her eyes)<\/parenthetical>\n    <dialogue>Carrie...<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Amen.<\/dialogue>\n    <scene_description>With that, Carrie flexes, IMPALING MARGARET WITH THE SCISSORS AND SHEARS, THE NEEDLES, THE RAZOR-SHARP STEEL RULER, ET AL. So that Margaret DIES, feeling pain, yes, but also a mad kind of ecstasy, because at long last she's going to the Lord...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARRIE'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Stricken, bleeding, knife sticking out her back, Carrie emerges from her tomb-like house, staggers down the steps, hears--<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Carrie?<\/dialogue>\n    <scene_description>--Sue, terror-struck, moving up the walk.<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>(barely conscious)<\/parenthetical>\n    <dialogue>Wh-who...?<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>It's me. S-sue Snell.<\/dialogue>\n    <scene_description>Seeing the knife, the blood, the condition Carrie's in, Sue reaches for her--<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>Carrie. Let me help--<\/dialogue>\n    <scene_description>Carrie flinches backwards--<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>(mumbles)<\/parenthetical>\n    <dialogue>T-tricked me.<\/dialogue>\n    <character>SUE<\/character>\n    <parenthetical>(shaking her head)<\/parenthetical>\n    <dialogue>No, Carrie, I have no idea what happened... What happened to you tonight? After the prom, why did you--?<\/dialogue>\n    <scene_description>Carrie lifts a hand, flexes, and Sue's throat tightens--<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Show you. Show you all...what I can do...<\/dialogue>\n    <scene_description>Carrie is CHOKING the life out of Sue--<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Dirty trick. Always a dirty trick...<\/dialogue>\n    <scene_description>Carrie flexes harder, lifts Sue into the air. Sue barely manages:<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>N-no, Carrie... I'm sorry... I'm sorry... I'm sorry... I'm sorry...<\/dialogue>\n    <scene_description>Sue is begging for forgiveness, for her complicity...and somehow, Carrie, in her final moments, sees that...and releases Sue, who gasps, drawing deep breaths into her lungs.<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>Oh, God-- Oh...God...<\/dialogue>\n    <scene_description>Carrie sways on her feet for a moment--<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>I'm...sor--<\/dialogue>\n    <scene_description>--then COLLAPSES into a heap. Sue rushes to the dying girl.<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>(crying)<\/parenthetical>\n    <dialogue>Momma. I want my Momma...<\/dialogue>\n    <scene_description>Sue holds Carrie in her arms-- --as something hits the roof of the White house. Then a second something. Then a third, landing on the front steps. A STORM OF STONES, Sue sees, falling from the smoky night sky.<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>Carrie, are you doing this?<\/dialogue>\n    <scene_description>Another stone falls, just missing them. Sue, mustering all her strength, takes Carrie up in her arms and moves them so they're underneath the tree in Carrie's front yard, as the stones keep falling from the sky, smashing Carrie's house, its roof, its porch, its windows. Sue's looking into Carrie's face, watching the power within the girl flicker, determined to comfort Carrie in her last moments--<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>It's all right. It's all right, Carrie, I've got you... I'm holding you...<\/dialogue>\n    <scene_description>Close-up on Carrie as, finally, the power within her goes out completely. The stones stop falling, though the White house is wrecked by this point. Sue is weeping, for Carrie, for herself, for all her friends, as we...FADE TO BLACK. Against the blackness, the following words appear: Carrie White, b. November 15, 1995, d. May 23, 2012 Those words FADE, are replaced with: Thomas Ross, b. April 25, 1995, d. May 23, 2012 Then those words FADE, are replaced by the DOZENS AND DOZENS OF NAMES (and dates) of the people who died on Prom Night. Most of them teenagers, kids we got to know, even a little. A sobering sight. A cautionary tale of what happened and what might happen again...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE WHITE COMMISSION - SHERIFF OTIS DOYLE<\/stage_direction>\n    <scene_description>The end of Doyle's testimony:<\/scene_description>\n    <character>SHERIFF DOYLE<\/character>\n    <dialogue>We had a memorial service for everyone, on June third, in Bennett Park, to...heal, I suppose, but something like that takes the guts right out of a town. Especially when it's so many of your own children you're burying...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE WHITE COMMISSION - SUE SNELL<\/stage_direction>\n    <scene_description>Sue sits at that conference table, a rather hostile witness:<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>You don't want to believe. You're looking for a scapegoat--me, if I let you--to hide from the truth: That it was Carrie White. We all pushed her to it--me, included--but it was Carrie White who dreamed of blood and fire...and then made it happen...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE WHITE COMMISSION - RITA DESJARDIN<\/stage_direction>\n    <scene_description>The end of Rita Desjardin's testimony:<\/scene_description>\n    <character>MS. DESJARDIN<\/character>\n    <dialogue>Go back to teaching? No. Never. I couldn't stand in front of another group of kids, knowing that there was one I couldn't reach, one I couldn't...<\/dialogue>\n    <parenthetical>(breaks down, starts crying)<\/parenthetical>\n    <dialogue>...I don't sleep anymore. Late at night, all I can think is, \"If only...if only...\"<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE COMMISSION - DEAN MCDUFFY - DAY<\/stage_direction>\n    <scene_description>McDuffy, our TK scholar, finishing his testimony:<\/scene_description>\n    <character>MCDUFFY<\/character>\n    <dialogue>TK exists. Carrie White was not an isolated phenomenon. Do not put her in a box; do not dismiss it as a hoax. If we are not vigilant, it will happen again. In all likelihood, it already is happening again. There is another Carrie, somewhere, unlocking her power...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUE'S BEDROOM - VIDEO DIARY<\/stage_direction>\n    <scene_description>Sue, finishing her diary.<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>It's been four months. We're leaving now. No one wants to live in Chamberlain, anymore. Not in the town where all the children died. We just have one stop to make, to say goodbye...<\/dialogue>\n    <scene_description>Sue looks down for a beat, resumes:<\/scene_description>\n    <character>SUE<\/character>\n    <dialogue>I'm sending this...confession, whatever it is, out there, so that people never forget Carrie White, and what she did to us, and more importantly, what we did to her. Maybe, hopefully, people can learn something from it... I hope so.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHAMBERLAIN'S CEMETERY - DAY<\/stage_direction>\n    <scene_description>Sue, dressed in a fall coat, kneels in front of a headstone, sets a bouquet of flowers down on Tommy's grave. Her eyes are tear-filled. She stands, revealing that she is, in fact, FOUR MONTHS PREGNANT. Which means...Tommy lives on, in some way, at least. Sue starts walking towards her parents' car, waiting in the cemetery's driveway. The trees surrounding Sue are ablaze with YELLOW AND RED LEAVES, leaves the color of fire, swaying in the breeze, gently rocked by the invisible hand of God. MOVEMENT on the fringes of the cemetery catches Sue's attention. THREE PUNKISH TEENAGE BOYS loiter around a pair of matching, simple headstones. MARGARET AND CARRIE WHITE'S GRAVES. Sue stops. One of the boys has a spray can; they're vandalizing the gravestones. Sue's about to say something, warn them, but then she hears (and turns to)-- Her MOM, standing next to the car, waving to her. Sue half- smiles, waves, then turns back to the boys, only...they're lying on the ground now, unmoving. Confusion gives way to horror. Heart thumping, Sue turns to head back to her mom's car-- --AND COMES FACE-TO-FACE WITH CARRIE WHITE! Still in her prom dress. Still covered in dried blood, but now, also, mud and filth. Like she's pushed herself out of a grave.<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>(rasps)<\/parenthetical>\n    <dialogue>Sue-ue--<\/dialogue>\n    <scene_description>--JOLTS AWAKE. In the passenger seat of her parents' car, packed full with boxes. Sue had been dreaming. Her father's driving them away, out of Chamberlain. Her mother turns around, to look at her.<\/scene_description>\n    <character>SUE'S MOM<\/character>\n    <parenthetical>(worried)<\/parenthetical>\n    <dialogue>Sue? Bad dream?<\/dialogue>\n    <scene_description>Instinctively, Sue touches her stomach-- A close-up on her haunted face--<\/scene_description>\n    <character>END \\*<\/character>\n  <\/scene>\n<\/script>","summary":"Carrie White is a shy, unpopular girl from Ewen High School in Maine. While showering after gym class, Carrie unexpectedly experiences her first menstrual period. Believing she is bleeding to death, she runs out yelling for help, but the other girls ridicule her by throwing tampons and pads at her. Bully Christine \"Chris\" Hargensen records everything on her cell phone and uploads it to YouTube. The school's physical education teacher Miss Rita Desjardin, comforts Carrie and sends her home with her disturbed, religious fanatic mother Margaret White, who believes menstruation is a sin. Margaret demands that Carrie abstain from showering with the others. When Carrie refuses, Margaret hits her in the forehead with a Bible and locks her in her \"prayer closet\". As Carrie screams to be let out, a crack appears on the door, and the crucifix in the closet begins to bleed. Carrie begins to experience more telekinetic abilities and researches her abilities, learning to harness them. Miss Desjardin threatens the girls who teased Carrie with an ultimatum: either endure detention for their behavior or be suspended from school, prohibiting them from attending prom; Chris is the only one who refuses to take part in detention and is suspended. Sue Snell regrets her part in the incident. To make amends, she asks her boyfriend, Tommy Ross, to take Carrie to the prom. Carrie accepts Tommy's invitation and makes a prom dress at home. Carrie asks her mother to let her go to prom, and Carrie manifests her telekinesis. Margaret believes this power comes from the Devil and is proof that Carrie has been corrupted by sin. On prom night, Margaret tries to prevent Carrie from going, but Carrie uses her powers to lock her mother in the closet. At prom, as part of Chris and her boyfriend Billy's plan, Chris's friend, Tina Blake, discreetly slips fake ballots into the voting box, which names Carrie and Tommy as prom queen and king. At home, Sue receives a text from Chris, taunting her about her scheme to humiliate Carrie. Sue drives to the prom, arriving just as Carrie and Tommy are about to be crowned. Sue sees the bucket of blood dangling above Carrie and attempts to warn someone, but Desjardin locks her out of the gym, suspecting that Sue plans to hurt Carrie. Chris dumps the blood onto Carrie and Tommy, and Nicki plays the \"shower video\" of Carrie on the large screens, inciting laughter from the audience. Carrie pushes Miss Desjardin with her powers when Desjardin attempts to help her. The bucket falls onto Tommy's head, killing him. Enraged, Carrie uses her telekinesis to kill every student and staff but spares Desjardin. An electrical wire merges with leaking water, and a fire breaks out. As the school burns to the ground, Carrie walks away. Chris and Billy attempt to drive away, but Carrie crashes the car, killing Billy. Chris attempts to run Carrie over, but Carrie lifts the car and throws it at a gas station, killing her. Carrie arrives home, takes a bath, and changes. Carrie tearfully tells Margaret about the prank, and  Margaret recounts Carrie's conception, revealing that Carrie's father raped her, and Carrie's birth made her believe that Carrie is a sin she must pay for. Margaret stabs Carrie with a knife, believing that she must kill Carrie in order to prevent the Devil from possessing her again, and attacks Carrie, but Carrie kills her with many sharp tools. She becomes hysterical and makes stones rain from the sky to crush the house. When Sue arrives, a furious Carrie lifts her with her powers but senses that Sue is pregnant. Carrie protects Sue and throws her out of the house to safety as the house collapses and sinks, apparently killing Carrie as well. After giving her testimony in court regarding the prom incident, Sue visits Carrie and Margaret's grave and places white roses by the headstone. As she leaves, the gravestone begins to break, and an enraged scream is heard, alluding that Carrie may have somehow survived."}
{"movie_name":"What We Do in the Shadows_2014","imdb_id":"tt3416742","script":"<script>\n  <scene>\n    <character>WHAT WE DO IN THE SHADOWS<\/character>\n    <dialogue>Written by<\/dialogue>\n    <scene_description>Jemaine Clement &amp; Taika Waititi Final Script Defender Films Ltd. ABBREVIATIONS USED: V\/O Voice over OFF Off Camera ON On Camera WS Wide shot LS Long shot MWS Medium wide shot M2S Medium two shot MS Medium shot MCU Medium close up CU Close up ECU Extreme close up O\/S Over shoulder H\/A High Angle L\/A Low Angle FG Foreground BG Background BLACK.: OPENING TITLES ANIMATED LOGO: UNISON BLACK.: ANIMATED LOGO: THE NEW ZEALAND DOCUMENTARY BOARD BLACK.: FADE IN TITLE: Every few years a secret society in New Zealand gathers for a special event: THE UNHOLY MASQUERADE BLACK.: FADE IN TITLE: In the months leading up to the ball, a documentary crew was granted full access to a small group of this society. BLACK.: CU DIGITAL DISPLAY ON CLOCK: 5:59. IT FLICKS TO 6:00.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIAGO'S BEDROOM\/ENTRANCE HALL - NIGHT. VIAGO WAKES UP<\/stage_direction>\n    <scene_description>WS VIAGO'S COFFIN IN BEDROOM. CLOCK ON TABLE. COFFIN OPENS AND VIAGO'S HAND REACHES OUT AND TURNS OFF CLOCK. BLACK.: FADE IN TITLE: Each crew member wore a crucifix and was granted protection by the subjects of the film. BLACK.: WS VIAGO IN COFFIN. PAN AND TILT UP AS HE RISES UP OUT OF COFFIN TO MS. ZOOM IN TO MCU. FADE IN TITLE \\[SUPERED\\]: Viago FADE IN TITLE \\[SUPERED\\]: 379 years old MWS VIAGO \\[BACK TO CAMERA\\] TURNING ON LAMP. MS VIAGO. TRACK BACK AS HE WALKS TO CURTAIN. VIAGO \\[V\/O\\]: So, it's PM in the night-time, which is when I wake up. VIAGO: This is always a really scary part for me. MS VIAGO. HE PEERS THROUGH CURTAIN. MS VIAGO PEERING THROUGH CURTAIN. HE TURNS TO CAMERA. VIAGO: Yes! Night-time. MCU VIAGO. PAN AND TRACK IN TO WS AS VIAGO WALKS THROUGH DOORWAY INTO ENTRANCE HALL. TILT UP AS HE CLIMBS STAIRS.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>So, now I'm going to wake up my flatmates.<\/dialogue>\n    <character>VIAGO \\[V\/O\\]:<\/character>\n    <dialogue>I really love living in a flatting situation.<\/dialogue>\n    <scene_description>VIAGO: Wake up! Wake up everyone! VIAGO \\[V\/O\\]: I like to hang out with other vampires. I like the company... VIAGO: Awaken! Awakey wakey!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. DEACON'S CLOSET - NIGHT. VIAGO WAKES DEACON<\/stage_direction>\n    <scene_description>MS VIAGO \\[BACK TO CAMERA\\] KNOCKING ON DOOR. HE OPENS DOOR TO REVEAL DEACON HANGING UPSIDE DOWN. VIAGO \\[V\/O\\]: I just really like having a good time with my friends. VIAGO: Deacon... hi. Hey Deacon.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>\\[Hisses\\].<\/dialogue>\n    <scene_description>VIAGO: How was your night last night? MCU DEACON HANGING UPSIDE DOWN. VIAGO IN LEFT EDGE OF FRAME. ZOOM OUT TO O\/S DEACON \\[UPSIDE DOWN\\], VIAGO IN LEFT FG. DEACON: I transformed into a dog and had sex. VIAGO: Cool. We're gonna have a little flat meeting in the kitchen in about fifteen minutes, okay? O\/S DEACON \\[UPSIDE DOWN\\], VIAGO IN LEFT FG. ZOOM IN TO MCU DEACON HANGING UPSIDE DOWN.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>VIAGO: Okay. Shall I close this?<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>Yes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. VLADISLAV'S BEDROOM - NIGHT. VIAGO WAKES VLADISLAV<\/stage_direction>\n    <scene_description>MCU VIAGO. PAN AS HE WALKS TO DOOR. HE OPENS IT TO REVEAL VLADISLAV ON BED WITH TWO WOMEN. VIAGO QUICKLY CLOSES DOOR AND TURNS TO CU. VLADISLAV OPENS DOOR TO O\/S VLADISLAV, VIAGO IN LEFT FG.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>Vladislav!<\/dialogue>\n    <scene_description>WOMEN: (OFF) \\[Moan, hiss et cetera\\].<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>VLADISLAV:<\/character>\n    <parenthetical>(Hiss)<\/parenthetical>\n    <scene_description>VIAGO: Sorry. Sorry.<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>VIAGO:<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>VLADISLAV: What time is it? O\/S VLADISLAV, VIAGO IN LEFT FG, AT DOOR. VLADISLAV CLOSES DOOR. PAN AS VIAGO WALKS \\[AWAY FROM CAMERA\\]. HE TURNS TO CAMERA, THEN STARTS TO EXIT RIGHT OF FRAME.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>Um, we're going to have a flat meeting in about ten minutes.<\/dialogue>\n    <character>VLADISLAV:<\/character>\n    <dialogue>Twenty.<\/dialogue>\n    <character>VIAGO:<\/character>\n    <dialogue>Okay. Is there...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. PETYR'S BEDROOM - NIGHT. VIAGO WAKES PETYR<\/stage_direction>\n    <scene_description>H\/A MS VIAGO PUTTING CHICKEN IN SACK. H\/A MS VIAGO OPENING HATCH DOOR. H\/A MWS VIAGO DESCENDING STAIRS TO PETYR'S BEDROOM.<\/scene_description>\n    <character>VIAGO \\[V\/O, ON\\]:<\/character>\n    <dialogue>So um, we're in Petyr's room. I'm just going to wake him up.<\/dialogue>\n    <scene_description>MCU VIAGO. MS VIAGO \\[BACK TO CAMERA\\] OPENING PETYR'S COFFIN TO REVEAL PETYR ASLEEP STANDING UP.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>\\[Grunts\\].<\/dialogue>\n    <scene_description>O\/S PETYR ASLEEP STANDING UP, VIAGO IN LEFT FG.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>Petyr...<\/dialogue>\n    <character>VIAGO:<\/character>\n    <dialogue>Petyr...<\/dialogue>\n    <scene_description>O\/S PETYR ASLEEP STANDING UP, VIAGO IN LEFT FG. PETYR WAKES. TRACK BACK. VIAGO: Petyr, wake up.<\/scene_description>\n    <character>PETYR:<\/character>\n    <dialogue>\\[Gasps\\].<\/dialogue>\n    <character>VIAGO:<\/character>\n    <dialogue>\\[Gasps\\].<\/dialogue>\n    <scene_description>VIAGO: Hey listen, we're just having a flat meeting upstairs in about ten minutes. You don't have to come, but I thought I'd extend an invitation to you just in case. Um, there's a lot of stuff on the floor down here, Petyr. And - like this - it seems - I don't - oh, it's a spinal column. Yuk. M2S VIAGO AND PETYR \\[IN COFFIN\\]. MS VIAGO LOOKING AT FLOOR. TILT DOWN TO CU SKELETON ON FLOOR. VIAGO: And I was thinking maybe I should just bring a broom down here for you, if you wanted to sweep up some of the skeletons. I don't know, you know, maybe... M2S VIAGO AND PETYR \\[IN COFFIN\\]. TRACK BACK.<\/scene_description>\n    <character>PETYR:<\/character>\n    <dialogue>\\[Hisses\\].<\/dialogue>\n    <character>VIAGO:<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>MS VIAGO PICKING UP SACK. TILT UP. VIAGO: \\[Grunts\\]. Okay, I got you this chicken. MS VIAGO \\[HEAD OUT OF FRAME\\] PASSING SACK INTO PETYR \\[HEAD OUT OF FRAME\\] IN COFFIN. PAN AND TILT TO MS VIAGO CLOSING COFFIN.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>\\[Grunts\\].<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT. FLAT MEETING<\/stage_direction>\n    <scene_description>MWS VLADISLAV AND DEACON SEATED AT TABLE. VIAGO ENTERS RIGHT OF FRAME AND SITS.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>\\[Sighs\\].<\/dialogue>\n    <scene_description>VLADISLAV: Is Petyr coming? Should we wait? ZOOM IN TO M2S VLADISLAV AND DEACON SEATED AT TABLE. PAN TO M2S DEACON AND VIAGO. VIAGO \\[OFF\/ON\\]: Petyr is eight thousand years old. We're not going to have Petyr at the meeting. Okay, so, I wanted to have a quick chat about flat responsibilities, because, ah, guys I think that we're not all pulling our weight here. We're not just pointing the finger at you, Deacon. You are a cool guy, but you're not pulling your weight in the flat. CU PAPERS IN VIAGO'S HANDS. MCU VLADISLAV. MCU DEACON. ZOOM OUT YO M2S DEACON AND VIAGO SEATED AT TABLE. MWS VLADISLAV, DEACON AND VIAGO SEATED AT TABLE. M2S DEACON AND VIAGO SEATED AT TABLE. MWS VLADISLAV, DEACON AND VIAGO SEATED AT TABLE. ZOOM IN TO M2S VLADISLAV AND DEACON. DEACON: Oh, I'm glad to hear that I'm cool \\[laughs\\]. VLADISLAV: No, that's not the point though. You missed it. VIAGO \\[OFF\\]: Yeah. DEACON: No, I know. I know. VIAGO \\[OFF\\]: It's not a flat meeting about how cool you are, it's... DEACON: I do my flat chores. MCU VIAGO. PAN TO M2S VLADISLAV AND DEACON. VLADISLAV \\[OFF\\]: No, you don't. VIAGO \\[OFF\\]: No, you don't. This is why we're having this flat meeting.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>Yes, I do.<\/dialogue>\n    <scene_description>MWS VLADISLAV, DEACON AND VIAGO SEATED AT TABLE. ZOOM IN TO M2S VLADISLAV AND DEACON. VLADISLAV: The point is, Deacon, that you have not done the dishes for five years. M2S VLADISLAV AND DEACON. ZOOM OUT TO MWS VLADISLAV, DEACON AND VIAGO SEATED AT TABLE. VIAGO \\[OFF\/ON\\]: Vladislav is right. It's unacceptable to have so many bloody dishes all over this bench like that. CU BLOODY DISHES ON BENCH PAN.<\/scene_description>\n    <character>VLADISLAV \\[OFF\/ON\\]:<\/character>\n    <dialogue>I'm so embarrassed when people come over here.<\/dialogue>\n    <scene_description>MWS VLADISLAV, DEACON AND VIAGO SEATED AT TABLE. M2S DEACON AND VIAGO. VLADISLAV IN LEFT EDGE OF FRAME. DEACON: What does it matter? You bring them over, you kill them. VIAGO: He's right. MCU VLADISLAV.<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>DEACON \\[OFF\/ON\\]: Vampires don't do dishes. M2S VLADISLAV AND DEACON. VIAGO \\[V\/O\\]: Deacon is like the rebellious young vampire. He's always doing crazy things, saying crazy things. He's just like the young bad boy of the group.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WELLINGTON CITY - NIGHT. DEACON BEING REBELLIOUS<\/stage_direction>\n    <scene_description>WS DEACON JUMPING OVER BOLLARDS. VIAGO AND VLADISLAV WATCH. OTHERS IN BG.<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>\\[Laughs\\].<\/dialogue>\n    <scene_description>PEOPLE ON STREET: \\[General chatter, laughter\\]. WS DEACON RUBBING HIMSELF AGAINST PHOTOGRAPH OF WOMAN IN SHOP WINDOW. VLADISLAV AND VIAGO WALKS \\[AWAY FROM CAMERA\\] TOWARDS DEACON. OTHERS IN BG. PAN. WS DEACON KISSING PHOTOGRAPH OF WOMAN IN SHOP WINDOW. VLADISLAV AND VIAGO IN FG. DEACON TURNS TO CU. VLADISLAV AND VIAGO IN BG.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>\\[Sniffs\\].<\/dialogue>\n    <scene_description>DEACON INTERVIEW MS DEACON. FADE IN TITLE \\[SUPERED\\]: Deacon FADE IN TITLE \\[SUPERED\\]: 183 years old<\/scene_description>\n    <character>DEACON \\[ON, V\/O\\]:<\/character>\n    <dialogue>Okay so... one day I was... selling my wares, and I walked past this old creepy castle, and I look at it and think...<\/dialogue>\n    <scene_description>CU BLACK AND WHITE PHOTOGRAPH OF DEACON CARRYING BOXES ON HIS BACK. ZOOM OUT. CU BLACK AND WHITE PAINTING OF CASTLE. ZOOM IN. MS DEACON.<\/scene_description>\n    <character>DEACON \\[ON, V\/O\\]:<\/character>\n    <dialogue>...very old and creepy. And then this creature flies at me. It dragged me back to this dark dungeon... and bit into my neck.<\/dialogue>\n    <scene_description>CU PAINTING OF CASTLE. ZOOM IN. CU BLACK AND WHITE DRAWING OF BATS. TILT UP. CU BLACK AND WHITE DRAWING OF MAN AND VAMPIRE. ZOOM IN. CU BLACK AND WHITE DRAWING OF MAN MANACLED IN DUNGEON. ZOOM IN. CU BLACK AND WHITE DRAWING OF MAN. ZOOM OUT. DEACON \\[V\/O, ON\\]: And just at the point of death, this creature forced me to suck its foul blood. And then, it opened its wings like this, and hovered above me screeching \\[screeches and laughs\\]. \"Now you are vampire.\" CU PAINTING OF MAN SUCKING BLOOD. ZOOM IN. MCU DEACON. DEACON: And it was Petyr. MWS DEACON AND PETYR SEATED. DEACON: And we're still friends today. VIAGO \\[V\/O, ON\\]: Vlad, you were great. You put out the recycling, which was really cool.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT. FLAT MEETING - CONTINUED<\/stage_direction>\n    <scene_description>MCU VIAGO. PAN TO M2S VLADISLAV AND DEACON. VLADISLAV \\[OFF\/ON\\]: And the other day I dragged a man's body down the hallway, and noticed that there was no dust. Ah... VLADISLAV \\[OFF\/ON\\]: like, I kind of - I kind of swept the hallway. VIAGO \\[V\/O\\]: Vladislav is just like this older vampire who grew up in the mediaeval times and, you know, to be living this long, and to have seen the things that he's seen... and still like, kind of, have it together...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - NIGHT. VLADISLAV HITS VIAGO WITH ARROW<\/stage_direction>\n    <scene_description>WS VLADISLAV WITH BOW AND ARROW. ZOOM IN AND PAN AROUND TO LS VIAGO HOLDING DART BOARD, VLADISLAV \\[BACK TO CAMERA\\] IN FG. VLADISLAV FIRES ARROW, IT HIS VIAGO. ZOOM IN AS VIAGO FALLS. VIAGO: \\[Screams\\]. LS VIAGO ON FLOOR WITH ARROW IN HIS LEG. VIAGO \\[V\/O\\]: ...I mean, hats off to him. VIAGO: Bloody hell! VLADISLAV \\[OFF\\]: Sorry. VIAGO \\[V\/O\\]: He's a really great guy, a bit of a pervert. He has some pretty old ideas about things. LS VIAGO ON FLOOR WITH ARROW IN HIS LEG. PAN AROUND TO MCU VLADISLAV. CU VLADISLAV. HE AIMS ARROW.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT. FLAT MEETING - CONTINUED<\/stage_direction>\n    <scene_description>MCU VIAGO. PAN AND ZOOM OUT TO M2S VLADISLAV AND DEACON. PAN TO M2S DEACON AND VIAGO. VIAGO: We need to do the... VLADISLAV: But we should get some slaves. DEACON: Yes. Let's get some slaves. VLADISLAV \\[V\/O, ON\\]: When I first became a vampire, I was quite tyrannical. I was known for, ah, torturing a lot of people. VLADISLAV INTERVIEW CU VLADISLAV. FADE IN TITLE SUPERED\\]: Vladislav FADE IN TITLE \\[SUPERED\\]: 862 years old PAN TO CU PAINTING OF VLADISLAV. WS VLADISLAV IN TORTURE CHAMBER. VLADISLAV: This is my torture chamber.<\/scene_description>\n    <character>VLADISLAV \\[V\/O, ON\\]:<\/character>\n    <dialogue>I don't come in here often anymore. I tended to torture when I was in a bad place.<\/dialogue>\n    <scene_description>CU HOOKS IN TORTURE CHAMBER. CU CHAIR IN TORTURE CHAMBER. MCU VLADISLAV IN TORTURE CHAMBER. VLADISLAV \\[V\/O\\]: My thing was I would poke someone with implements. CU BLACK AND WHITE DRAWING OF VAMPIRE, WOMAN AND CHILDREN. PAN AND TILT. DISSOLVE. CU PAINTING OF VAMPIRE ON HORSE. ZOOM IN. MCU VLADISLAV VLADISLAV: I was known as Vladislav the Poker.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT. FLAT MEETING - CONTINUED<\/stage_direction>\n    <scene_description>MS VIAGO \\[BACK TO CAMERA\\] AT CHORE CHART. VIAGO: It's been like this the whole time, okay? So, let's start with vacuuming and dusting. You did that. DEACON \\[V\/O\\]: Viago is a little... pedantic. MS VIAGO \\[BACK TO CAMERA\\] AT CHORE CHART.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>The washing and the rubbish, I did that. Deacon, on dishes, and it still hasn't moved in five years.<\/dialogue>\n    <scene_description>VLADISLAV INTERVIEW MS VLADISLAV.<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>He was an 18th Century dandy. So he can be very fussy.<\/dialogue>\n    <scene_description>CU PAINTING OF VIAGO AS DANDY. ZOOM IN. DEACON INTERVIEW MS DEACON.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>He nags and nags.<\/dialogue>\n    <character>VIAGO \\[V\/O, ON\\]:<\/character>\n    <dialogue>...went in the lounge the other<\/dialogue>\n    <scene_description>day, and there was blood all over my nice antique couch.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT. FLAT MEETING - CONTINUED<\/stage_direction>\n    <scene_description>PROFILE CU VIAGO. DEACON \\[HEAD OUT OF FRAME\\] IN BG. MWS VLADISLAV, DEACON AND VIAGO SEATED AT TABLE.<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>Which one, the red one?<\/dialogue>\n    <character>VIAGO:<\/character>\n    <dialogue>Well, it's red now, yeah.<\/dialogue>\n    <scene_description>MCU VLADISLAV. VIAGO \\[V\/O, ON\\]: If you're going to eat a victim on my nice clean couch, put down some newspaper on the floor, and some towels. It's not hard to do. M2S VLADISLAV AND DEACON. PAN TO M2S DEACON AND VIAGO. VLADISLAV \\[OFF\/ON\\]: We are vampires, we don't put down towels. MS VIAGO. PAN AND ZOOM OUT TO M2S VLADISLAV AND DEACON. PAN TO M2S DEACON AND VIAGO. PAN TO M2S VLADISLAV AND DEACON. VIAGO \\[OFF\/ON\\]: Some vampires do. VLADISLAV: Well, not serious ones. MWS VLADISLAV, DEACON AND VIAGO SEATED AT TABLE. VLADISLAV \\[V\/O\\]: When you get four vampires in a flat, obviously there's going to be a lot of tension. O\/S DEACON, VIAGO IN RIGHT FG. VLADISLAV INTERVIEW MCU VLADISLAV. VLADISLAV: There's tension in any, any flatting situation. VIAGO \\[V\/O, ON\\]: It's settled then. We'll all do our jobs. Starting with a certain Deacon on...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT. FLAT MEETING - CONTINUED<\/stage_direction>\n    <scene_description>MWS VLADISLAV, DEACON AND VIAGO SEATED AT TABLE. ZOOM IN AND TILT UP AS DEACON AND VIAGO FLY UP TO CEILING. DEACON: I will do my dishes! \\[Hisses\\]. VIAGO: Good. Then do them \\[hisses\\]. MCU DEACON. VIAGO IN RIGHT EDGE OF FRAME. MWS DEACON AND VIAGO IN MID-AIR. VLADISLAV IN BOTTOM OF FRAME. TILT DOWN AS DEACON AND VIAGO LAND ON GROUND. PAN TO M2S AS DEACON SITS AT TABLE. VIAGO EXITS RIGHT OF FRAME. PAN TO M2S VLADISLAV AND DEACON SEATED AT TABLE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT. DEACON DOING THE DISHES<\/stage_direction>\n    <scene_description>CU DEACON \\[HEAD OUT OF FRAME\\] DOING DISHES. MCU DEACON. DEACON: This is bullshit. MWS DEACON \\[BACK TO CAMERA\\] DOING DISHES. OPENING TITLE MONTAGE SEQUENCE TITLE: Unison Films Presents CU BLACK AND WHITE DRAWING OF BATS. CU BLACK AND WHITE DRAWING OF BAT. CU BLACK AND WHITE DRAWING OF BAT. CU BLACK AND WHITE DRAWING OF BAT. CU BLACK AND WHITE DRAWING OF BAT. CU BLACK AND WHITE DRAWING OF BAT. TITLE: a Defender films Production WS VLADISLAV'S LEGS IN MID-AIR VACUUMING. WS VLADISLAV IN MID-AIR VACUUMING. TITLE: In association with Park Road Post Production CU BLACK AND WHITE DRAWING OF TOOTH. CU BLACK AND WHITE DRAWING OF TEETH. CU BLACK AND WHITE DRAWING OF TEETH. CU BLACK AND WHITE DRAWING OF COFFINS. CU BLACK AND WHITE DRAWING OF COFFIN. CU BLACK AND WHITE DRAWING OF VAMPIRE. CU BLACK AND WHITE DRAWING OF SKELETON AND MEN. M2S VIAGO BRUSHING PETYR'S TEETH. TITLE: And The New Zealand Documentary Board CU BLACK AND WHITE PHOTOGRAPH OF PETYR SEATED IN FRONT OF ORGAN. ZOOM IN. CU BLACK AND WHITE PHOTOGRAPH OF DEACON AND COSSACKS. ZOOM IN. CU BLACK AND WHITE PHOTOGRAPH OF VIAGO AND MUSICIANS. ZOOM IN. CU PHOTOGRAPH OF VLADISLAV. ZOOM IN. CU PHOTOGRAPH OF PETYR. ZOOM IN. CU BLACK AND WHITE DRAWING OF VIAGO. ZOOM IN. CU PAINTING OF DEACON. ZOOM IN. CU PAINTING OF VLADISLAV. TEXT: FIG II. VLADISLAV THE POKER VLADISLAV INTERVIEW MCU VLADISLAV HOLDING STICK. ZOOM OUT. VLADISLAV \\[V\/O, ON\\]: I, ah, became a vampire when I was sixteen, and that is why I always look sixteen. WS VLADISLAV SEATED BESIDE COFFIN. MCU VLADISLAV. ZOOM IN. VLADISLAV: In those days, of course, life was tough for a sixteen-year-old. CU PAINTING OF VLADISLAV. TILT UP AND ZOOM IN. CU BLACK AND WHITE DRAWING OF VLADISLAV POKING MAN. OTHERS IN BG. ZOOM IN. PAN TO MAN BEING POKED. CU BLACK AND WHITE DRAWING OF VLADISLAV AND PAULINE. ZOOM IN. CU BLACK AND WHITE DRAWING OF MEN WITH SPEARS. PAN. CU BLACK AND WHITE DRAWING OF VAMPIRE AND PEOPLE. CU PAINTING OF BATTLE ON SHIP. TILT DOWN. VIAGO INTERVIEW ECU PAINTING OF VIAGO. VIAGO \\[V\/O\\]: Vampires have had a pretty bad rap. CU VIAGO'S FOOT ON POTTERY WHEEL. WS VIAGO SEATED ON POTTERY WHEEL. VIAGO: We're not these mopey old creatures who live in castles, and - well some - most of us are - a lot are. But there are also those of us who like to flat together in really small countries like New Zealand. CU VIAGO'S HANDS MAKING POT ON POTTERY WHEEL. WS VIAGO SEATED ON POTTERY WHEEL. CU BLACK AND WHITE DRAWING OF VIAGO. ZOOM OUT. TEXT: KAISER VIAGO CU PHOTOGRAPH OF VIAGO. ZOOM IN. WS PETYR. ZOOM IN. CU PAINTING OF PETYR BITING WOMAN. TILT DOWN. CU PAINTING OF PETYR. ZOOM OUT TO REVEAL JAPANESE MAN. CU PAINTING OF MEN ON HORSEBACK WITH BOWS AND ARROWS. TILT DOWN. CU BLACK AND WHITE DRAWING OF VILLAGES. PAN. WS \\[BLACK AND WHITE\\] DEACON DANCING. CU \\[BLACK AND WHITE\\] DEACON. MCU \\[BLACK AND WHITE\\] DEACON. MCU \\[BLACK AND WHITE\\] DEACON. DEACON \\[V\/O, ON\\]: I was a Nazi... vampire. DEACON INTERVIEW MWS DEACON SEATED. CU BLACK AND WHITE PHOTOGRAPH OF DEACON AND NAZI VAMPIRES. ZOOM IN. ADOLF HITLER \\[V\/O\\]: \\[In German\\]: ...and with my secret Vampire Army, we will conquer the world! WS \\[BLACK AND WHITE\\] DEACON HOVERING OVER CHILD ON BED. DOCTORS, NAZI AND CHILDREN IN BG. MCU NAZI VAMPIRE. PAN. TITLE \\[SUPERED\\]: ...and with my secret Vampire Army... L\/A MCU ADOLF HITLER. TITLE \\[SUPERED\\]: ...we will conquer the world! WS NAZI PARLIAMENT. NAZIS: \\[Cheer et cetera\\]. DEACON \\[V\/O, ON\\]: After the war, which the Nazis lost... MWS DEACON SEATED. DEACON: I don't know if you know that the Nazis lost that war. If you were a Nazi after the war... H\/A MS \\[BLACK AND WHITE\\] DEACON ON GROUND. SOLDIER \\[HEAD OUT OF FRAME\\] WITH CRUCIFIX IN FG. DEACON \\[V\/O\\]: ...and if you were a vampire... MWS DEACON SEATED. DEACON: ...and if you were a Nazi vampire... no way. CU DEACON'S PASSPORT. TEXT: PASSPORT DEACON \\[V\/O\\]: I Was out of there. CU PHOTOGRAPH OF SHIP. TRANSITION TO CU PHOTOGRAPH OF BOAT. ZOOM OUT TO WS CUSTOM HOUSE QUAY. TEXT: CUSTOM HOUSE QUAY, WELLINGTON NZ. CU PHOTOGRAPH OF PETYR ON SHIP. ZOOM IN. MONTAGE SEQUENCE WS HOUSE. ZOOM OUT. CU NEWSPAPER. ZOOM IN. TEXT: YOUNG MAN DISAPPEARS. WELLINGTON, JULY 19. CU NEWSPAPER ARTICLE. TEXT: CORPSE CU PAN NEWSPAPER ARTICLE. CU NEWSPAPER ARTICLE. TEXT: UNBURIED CU INVITATION. ZOOM IN. TEXT: THE UNDEAD SOCIETY OF WELLINGTON BIDES YOU TO ATTEND THE UNHOLY MASQUERADE FROM FRIDAY EVENING AUGUST 13th 1897. TILT DOWN TO CU PHOTOGRAPH OF DANCERS. TILT UP TO UNHOLY MASQUERADE INVITATION. ZOOM IN. TEXT: DECEMBER 31, 1920 CU \\[BLACK AND WHITE PHOTOGRAPH OF VIAGO, DEACON, VLADISLAV AND PETYR HOLDING NUMBERS 1946. CU PHOTOGRAPH OF PETYR, DEACON AND VIAGO, AND PHOTOGRAPH OF PETYR IN COSTUME. CU BLACK AND WHITE PHOTOGRAPH OF VLADISLAV AND OTHERS DANCING. ZOOM IN. ZOOM OUT TO CU BLACK AND WHITE PHOTOGRAPH OF VLADISLAV, DEACON AND VIAGO UNDER HAPPY 320th BIRTHDAY\" BANNER. ZOOM OUT TO CU CU BLACK AND WHITE PHOTOGRAPH OF VLADISLAV AND DEACON BESIDE CAR. CU PHOTOGRAPH OF VLADISLAV, PETYR, DEACON AND VIAGO HOLDING ZOOM OUT TO CU PHOTOGRAPH OF VIAGO \\[IN MID-AIR\\] AND DEACON BESIDE POOL TABLE. CU PHOTOGRAPH OF BAT. TEXT: DEACON 1978 ZOOM OUT TO CU PHOTOGRAPH OF DEACON, VIAGO AND VLADISLAV. ZOOM OUT TO CU PHOTOGRAPH OF VIAGO USING SODA STREAM. DEACON \\[HEAD OUT OF FRAME\\] AND VLADISLAV IN BG. TRANSITION TO PHOTOGRAPH OF VIAGO AND DEACON WITH SODA STREAM BOTTLES. VLADISLAV \\[HEAD OUT OF FRAME\\] IN BG. ZOOM IN. TRANSITION TO CU PHOTOGRAPH OF VLADISLAV BESIDE HIS PORTRAIT. CU PHOTOGRAPH OF PETYR AND BALLOONS. PAN AND TILT TO CU PHOTOGRAPH OF VLADISLAV, PETYR IN BG. PAN AND TILT TO CU PHOTOGRAPH OF PETYR. CU PHOTOGRAPH OF PETYR AND DEACON PLAYING CHESS. ZOOM OUT TO CU PHOTOGRAPH OF DEACON WEARING 2002 GLASSES. CU PHOTOGRAPH OF DEACON AND VIAGO. ZOOM IN. BLACK.: FADE IN CU PHOTOGRAPH OF VLADISLAV, DEACON, PETYR AND VIAGO. FADE TO BLACK.: BLACK.: GRAPHIC: WHAT WE DO IN THE SHADOWS BLACK.: VIAGO INTERVIEW MWS VIAGO SEATED AT DESK.<\/scene_description>\n    <character>VIAGO \\[ON, V\/O\\]:<\/character>\n    <dialogue>Ja, I came to this country for love. Ah, there was a girl, human girl, and I thought she was fantastic. She was absolutely amazing. I was smitten. Her family emigrated to New Zealand, and I thought, you know what? To hell with it. I'm going to go. I'm going to chase her and tell her how I feel. I told my servant, Phillip, send me to New Zealand. He put the wrong postage on my coffin, so the whole journey took about 18 months.<\/dialogue>\n    <scene_description>CU PHOTOGRAPH OF YOUNG KATHERINE. MCU VIAGO. WS VIAGO SEATED AT DESK. CU PHOTOGRAPH OF SHIP. CU MAP OF THE WORLD. PAN AND TILT AND ZOOM IN TO NEW ZEALAND. WS VIAGO SEATED AT DESK.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>And when I got here she had found someone else.<\/dialogue>\n    <scene_description>MCU VIAGO.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>She had fallen in love. And... she was married.<\/dialogue>\n    <scene_description>WS VIAGO SEATED AT DESK. HE PUTS CLOTH ON TABLE. MWS VIAGO PUTTING ON GLOVES. WS VIAGO SEATED AT DESK. HE OPENS CLOTH. CU VIAGO'S HANDS OPENING HANDKERCHIEF TO REVEAL SILVER LOCKET.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>She gave me this before she left.<\/dialogue>\n    <scene_description>MWS VIAGO HOLDING UP SILVER LOCKET. CU PHOTOGRAPHS OF YOUNG KATHERINE AND VIAGO IN LOCKET, IN VIAGO'S HANDS.<\/scene_description>\n    <character>VIAGO \\[OFF\\]:<\/character>\n    <dialogue>There she is. That's me - I put myself in there too. She told me it was pure silver.<\/dialogue>\n    <scene_description>MWS VIAGO LOOKING AT LOCKET.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>Unfortunately we vampires cannot wear silver.<\/dialogue>\n    <scene_description>MCU VIAGO WEARING SILVER LOCKET. HIS CHEST STARTS TO SMOKE. VIAGO: \\[Breathes heavily, blows.\\] Yeah. MCU VIAGO TAKING OFF SILVER LOCKET. MWS VIAGO BLOWING ON HIS CHEST. VIAGO: That's about as long as I can wear that \\[breathes heavily\\].<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTRANCE HALL - NIGHT. PLAYING MUSIC<\/stage_direction>\n    <scene_description>WS VIAGO, DEACON AND VLADISLAV PLAYING MUSIC. MS VIAGO PLAYING TRUMPET AND DEACON PLAYING DOUBLE BASS. CU STUFFED DEER. WS VIAGO, DEACON AND VLADISLAV PLAYING MUSIC.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTRANCE HALL - NIGHT. GETTING READY TO GO OUT<\/stage_direction>\n    <scene_description>MS VLADISLAV. PAN TO MWS VIAGO AND DEACON \\[SKETCHING\\]. ZOOM IN AS DEACON HOLDS UP SKETCH. VLADISLAV: Tonight we are going out into Wellington central. It is important that we look good. VIAGO: Yeah, it's really good, yeah. Like it?<\/scene_description>\n    <character>VIAGO \\[V\/O, ON\\]:<\/character>\n    <dialogue>One of the unfortunate things about not having a reflection is that you... don't know exactly what you look like.<\/dialogue>\n    <scene_description>MS VIAGO DOING UP BUTTONS. VIAGO \\[V\/O, ON\\]: \\[Makes ghost noise\\] Look, a ghost cup... floating all by itself. CU MIRROR. CUP STARTS TO FLOAT IN MID-AIR. ZOOM OUT TO MCU VIAGO BESIDE MIRROR HOLDING CUP. M2S VLADISLAV \\[HOLDING UP SKETCH\\] AND VIAGO. VLADISLAV \\[V\/O\\]: We can give each other feedback and help each other out, until we're looking great. CU PILE OF SKETCHES. CU SKETCH OF DEACON. MWS VLADISLAV \\[WEARING BLOODY SHIRT\\] AND DEACON. VIAGO \\[V\/O\\]: Yeah, some of our clothes are from victims.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>Here.<\/dialogue>\n    <scene_description>VIAGO INTERVIEW MS VIAGO SEATED. VIAGO: You might bite someone and then, you think, ooh, those are some nice pants.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTRANCE HALL - NIGHT. GETTING READY TO GO OUT -<\/stage_direction>\n    <scene_description>CONTINUED MWS VIAGO IN CAMOUFLAGE PANTS. DEACON AND VLADISLAV IN FG. VIAGO: I should wears these. VLADISLAV: No. Change it.<\/scene_description>\n    <character>DEACON \\[V\/O\\]:<\/character>\n    <dialogue>When you're a vampire you become very sexy.<\/dialogue>\n    <scene_description>DEACON INTERVIEW MWS DEACON SEATED. VLADISLAV \\[V\/O\\]: We are trying to attract victims to us.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTRANCE HALL - NIGHT. GETTING READY TO GO OUT -<\/stage_direction>\n    <scene_description>CONTINUED MWS DEACON AND VIAGO WALKING CLOTHES DOWN HALLWAY. WS DEACON AND VIAGO SHOWING CLOTHES TO VLADISLAV. VLADISLAV: Not sure about the waistcoat. VLADISLAV \\[V\/O, ON\\]: I go for a look which I call dead but delicious. MWS VLADISLAV. VLADISLAV \\[V\/O\\]: We are the bait, but we are also the trap. WS DEACON AND VIAGO SHOWING CLOTHES TO VLADISLAV. M2S DEACON AND VLADISLAV. PAN TO MS VIAGO. VIAGO: Hello ladies \\[laughs\\]. MS DEACON IN FUR COAT. WS DEACON WEARING SKULL ON BELT. MS VLADISLAV IN BLOODY SHIRT. MS DEACON IN FUR COAT. MS VLADISLAV IN TOP HAT. MS VIAGO POSING. WS VIAGO IN COAT. WS VIAGO IN LONG COAT. WS VIAGO IN ANIMAL PRINT COAT. WS VIAGO POSING. WS DEACON IN SKI SUIT. WS VLADISLAV POSING. MS DEACON IN SKI SUIT. MS VLADISLAV PUTTING ON TOP HAT. MS VIAGO WITH LARGE BOW TIE. MWS VIAGO, DEACON AND VLADISLAV. MWS VIAGO, DEACON AND VLADISLAV. VIAGO: And voila, we are ready to go into town and party... WS VIAGO, DEACON AND VLADISLAV. VLADISLAV AND DEACON: Vampire style. VIAGO: Vampire style.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS - NIGHT. TRAVELLING TO TOWN<\/stage_direction>\n    <scene_description>WS VIAGO, DEACON AND VLADISLAV ON BUS. PASSENGERS IN FG.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WELLINGTON CITY - NIGHT. OUT ON THE TOWN<\/stage_direction>\n    <scene_description>WS VIAGO, DEACON AND VLADISLAV WALKING DOWN STREET. TRAFFIC IN FG. DEACON \\[V\/O\\]: When we go into town, we must try to blend in. WS VLADISLAV, DEACON AND VIAGO WALKING. OTHERS IN FG. PAN. MWS VIAGO, DEACON AND VLADISLAV WALKING \\[AWAY FROM CAMERA\\] TRACK IN. DEACON: Just walking the streets. MWS DEACON, VIAGO AND VLADISLAV WALKING DOWN STREET. TRACK BACK. PAN TO YOUTH. PAN BACK TO DEACON, VIAGO AND VLADISLAV. VIAGO: Coming into town, um, is really cool, because just for one brief moment, I feel... YOUTH \\[OFF\\]: Homos! MS VLADISLAV, DEACON AND VIAGO WALKING. PAN AND TRACK IN. WS VLADISLAV, DEACON AND VIAGO WALKING \\[AWAY FROM CAMERA\\] DOWN STREET. VLADISLAV \\[V\/O, ON\\]: The trouble with being a vampire is you have to be invited in - to go in. MWS VIAGO, DEACON AND VLADISLAV WALKING \\[AWAY FROM CAMERA\\]. TRACK IN AND PAN TO MS VLADISLAV. WS VIAGO, VLADISLAV, DEACON AND BOUNCERS. OTHERS IN BG AND FG. DEACON: We'd like to come into the bar, please. WS VIAGO, VLADISLAV, DEACON AND BOUNCER. DEACON: Can you invite us into the bar, please? BOUNCER: Five dollars, you can walk in. VLADISLAV: Will you invite us in? DEACON: Could you just... MWS VIAGO, DEACON AND VLADISLAV WALKING \\[AWAY FROM CAMERA\\]. TRACK IN. VLADISLAV \\[V\/O\\]: If the humans found out what we were, they would destroy us. CAR CLEARS FG TO MWS VIAGO, DEACON AND VLADISLAV CROSSING ROAD \\[AWAY FROM CAMERA\\]. OTHERS IN BG. VIAGO \\[V\/O\\]: There are between sixty and seventy vampires in the Greater Wellington region. MWS VIAGO AND VLADISLAV \\[HEADS OUT OF FRAME\\] WALK PAST VAMPIRE AND MAN SEATED ON BENCH. PAN. MWS VLADISLAV, DEACON AND VIAGO WALKING \\[AWAY FROM CAMERA\\]. PAN TO VAMPIRE IN PHONE BOX. VLADISLAV: Obvious vampire.<\/scene_description>\n    <character>VIAGO \\[OFF\\]:<\/character>\n    <dialogue>Julie...<\/dialogue>\n    <character>MORANA \\[OFF\\]:<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <scene_description>M2S VICTIM AND MORANA. TRACK BACK AS SHE TURNS \\[AWAY FROM CAMERA\\] TO REVEAL VIAGO IN LEFT FG. MORANA: How embarrassing.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>\\[Laughs\\].<\/dialogue>\n    <character>MORANA \\[V\/O, ON\\]:<\/character>\n    <dialogue>He's, um, a guy I used to work with when I was human...<\/dialogue>\n    <scene_description>MWS VIAGO, VICTIM, MORANA, VLADISLAV AND DEACON. DEACON EXITS RIGHT OF FRAME.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>He looks gone.<\/dialogue>\n    <character>MORANA:<\/character>\n    <dialogue>...before when I was human. Yeah, he's gone. I've been draining him all night \\[laughs\\]. I've been a very thirsty girl \\[laughs\\].<\/dialogue>\n    <scene_description>WS VLADISLAV AND CHILD VAMPIRES ON STREET. DEACON \\[BACK TO CAMERA\\] IN FG. OTHERS IN BG.<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>Hey guys.<\/dialogue>\n    <character>VIAGO \\[V\/O, ON\\]:<\/character>\n    <dialogue>Being bitten as a little boy or a little girl, you're always going to look the same age.<\/dialogue>\n    <scene_description>MWS DEACON, VLADISLAV AND CHILD VAMPIRES. MCU VIAGO.<\/scene_description>\n    <character>VLADISLAV \\[OFF\\]:<\/character>\n    <dialogue>What are you doing tonight? Are you going to kill some perverts?<\/dialogue>\n    <scene_description>M2S CHILD VAMPIRES. PAN TO MCU VLADISLAV. DEACON IN LEFT EDGE OF FRAME.<\/scene_description>\n    <character>CHILD VAMPIRE \\[OFF\\]:<\/character>\n    <dialogue>Yeah, we're meeting a pedophile.<\/dialogue>\n    <character>VLADISLAV:<\/character>\n    <dialogue>Cool.<\/dialogue>\n    <character>CHILD VAMPIRE \\[OFF\\]:<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>WS VIAGO, DEACON, VLADISLAV AND BOUNCER. VIAGO, DEACON AND VLADISLAV START TO CROSS ROAD. VIAGO: Okay. Let's just go to Big Kumara. BOUNCER: Have a good night, guys. VIAGO: Yeah. You too. Bye. DEACON: You have a good night.<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>You too.<\/dialogue>\n    <scene_description>VLADISLAV \\[V\/O, ON\\]: Big Kumara is vampire owned and operated. And so we can always get in. MCU VLADISLAV. PAN TO M2S VLADISLAV AND DEACON. VIAGO ENTER RIGHT FG IN BG. WS \"THE BIG KUMARA\" SIGN ON BUILDING. ZOOM IN. VIAGO \\[OFF\/ON\\]: It's the hottest nightspot for vampires in Wellington. MWS VLADISLAV, VIAGO AND DEACON.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE BIG KUMARA - NIGHT. ARRIVING AT BIG KUMARA<\/stage_direction>\n    <scene_description>MWS BOUNCER. DEACON, VLADISLAV AND VIAGO CROSS FG AND STARTS TO CLIMB STAIRS. BIG KUMARA BOUNCER: Come on in, guys. Come on in. VIAGO: Thank you. Thanks.<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>WS VLADISLAV, DEACON AND VIAGO DANCING IN BAR. OTHERS AT TABLE IN BG.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE BIG KUMARA - NIGHT. DEACON INSTRUCTS JACKIE TO BRING<\/stage_direction>\n    <scene_description>HIM SOME VIRGINS WS JACKIE IN THROUGH BAR. ZOOM IN TO MWS. DEACON \\[V\/O, ON\\]: Perhaps you could bring some people to the house. MCU DEACON SEATED. PAN TO MCU JACKIE.<\/scene_description>\n    <character>JACKIE:<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>DEACON \\[OFF\\]: Perhaps some virgins. MCU DEACON. JACKIE IN LEFT FG. TILT DOWN AS SHE WRITES. JACKIE \\[ON\/OFF\\]: Virgins. Yep, okay. Any kind of preference, in terms of gender or... O\/S DEACON, JACKIE IN RIGHT FG. ZOOM OUT. DEACON: Maybe some ladies. JACKIE \\[OFF\\]: Yep, ladies. DEACON: Perhaps a guy. JACKIE: One of each? DEACON: One of each would be cool. M2S JACKIE AND DEACON SEATED AT TABLE. JACKIE \\[V\/O\\]: My relationship with Deacon is... JACKIE INTERVIEW MCU JACKIE DRIVING. FADE IN TITLE \\[SUPERED\\]: Jackie FADE IN TITLE \\[SUPERED\\]: Human JACKIE: ...well, I'm his familiar. He's my master. WS JACKIE MOWING LAWN. JACKIE: He tells me what to do; I do it. WS JACKIE STARTING LEAF BLOWER. JACKIE \\[V\/O\\]: We have that kind of master\/servant relationship, which works nicely actually. WS JACKIE WITH LEAF BLOWER.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRY CLEANER'S - DAY. JACKIE DROPS OFF DEACON'S LAUNDRY<\/stage_direction>\n    <scene_description>MS JACKIE \\[HEAD OUT OF FRAME\\] CARRYING BAG OF LAUNDRY. IT AS SHE WALKS TOWARDS COUNTER. DRY CLEANER IN BG.<\/scene_description>\n    <character>JACKIE:<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>DRY CLEANER \\[OFF\\]:<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <scene_description>JACKIE \\[V\/O, ON\\]: Oh, it's a little bit of blood. Um, my husband, he's - he's a hemophiliac. O\/S JACKIE \\[HEAD OUT OF FRAME\\] HOLDING BLOODY SHIRT. DRY CLEANER IN RIGHT FG.<\/scene_description>\n    <character>DRY CLEANER:<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>O\/S JACKIE, DRY CLEANER IN RIGHT FG.<\/scene_description>\n    <character>DRY CLEANER:<\/character>\n    <dialogue>Oh, okay.<\/dialogue>\n    <scene_description>JACKIE: You know, someone that bleeds a lot.<\/scene_description>\n    <character>DRY CLEANER:<\/character>\n    <dialogue>Yeah.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE BIG KUMARA - NIGHT. DEACON INSTRUCTS JACKIE -<\/stage_direction>\n    <scene_description>CONTINUED CU JACKIE'S NOTE PAD. TEXT: \"...VIRGINS, LADIES, 1 X GUY, 1 X LADY\" JACKIE \\[OFF\\]: Any kind of age range?<\/scene_description>\n    <character>DEACON \\[OFF\\]:<\/character>\n    <dialogue>Young.<\/dialogue>\n    <scene_description>O\/S DEACON, JACKIE IN RIGHT FG. ZOOM IN. JACKIE \\[OFF\\]: But not - not kids?<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>Not kids.<\/dialogue>\n    <scene_description>JACKIE \\[OFF\/ON\\]: Eighteen to thirty? M2S JACKIE AND DEACON. PAN. DEACON: Definitely younger than yourself. JACKIE: Okay. So, eighteen to thirty. So it's a dinner party. M2S JACKIE AND DEACON. ZOOM IN TO MCU JACKIE. DEACON: Great. JACKIE: I'll be there. You'll be there. DEACON: Yes, dinner party. JACKIE: The guys will be there. We'll all be there. DEACON: Yes, we will dress up. JACKIE: Okay. Great. DEACON: ...and then... eat them. JACKIE: Okay. DEACON: Should be fun. JACKIE: Great. M2S JACKIE AND DEACON. JACKIE: I was just wondering if we could talk about the, um... O\/S DEACON, JACKIE IN RIGHT FG. DEACON: Do you know of a night dentist? Because I have this thing here. PROFILE CU JACKIE. PAN TO MCU DEACON. JACKIE \\[OFF\/ON\\]: I was just wondering if we could talk about the - the - the deal? PROFILE CU JACKIE. PAN TO MCU DEACON.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>Hmm?<\/dialogue>\n    <character>JACKIE \\[OFF\\]:<\/character>\n    <dialogue>The deal?<\/dialogue>\n    <scene_description>DEACON: The dishes? JACKIE: Ah, no. The, you know, the deal. JACKIE \\[V\/O, ON\\]: The deal is that he is going to give me eternal life, um, which is... very exciting. JACKIE INTERVIEW CU JACKIE DRIVING.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE BIG KUMARA - NIGHT. DEACON INSTRUCTS JACKIE -<\/stage_direction>\n    <scene_description>CONTINUED PROFILE CU JACKIE. DEACON IN RIGHT EDGE OF FRAME. JACKIE \\[ON\/OFF\\]: Well, I just feel like I've, kind of, reached my potential. And I wouldn't want to, kind of, get any older before, kind of... I just feel I'm the best version of myself that I can be. It's just that it's been four and a half years, and I just - I just... But it's doing your - your... I'm doing your pot plants, I'm doing your dry cleaning, I'm now doing your - your dishes, and I'm doing... You know, I'm just wondering... O\/S DEACON, JACKIE IN RIGHT FG. DEACON: Yes. CU JACKIE. DEACON IN RIGHT EDGE OF FRAME. O\/S DEACON, JACKIE IN RIGHT FG. DEACON: Yeah. CU JACKIE. PAN TO MCU DEACON. ZOOM IN TO CU DEACON. DEACON: Ah... and the dentist. JACKIE \\[OFF\\]: And the dentist - and it's just taking an awful long time. So I was just wondering if I... DEACON: The dentist. O\/S DEACON, JACKIE IN RIGHT FG. JACKIE EXITS RIGHT OF FRAME.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>Be gone.<\/dialogue>\n    <character>JACKIE:<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>DEACON \\[OFF\\]: See you later. MWS JACKIE WALKING \\[AWAY FROM CAMERA\\] THROUGH BAR. ZOOM IN.<\/scene_description>\n    <character>JACKIE:<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>MWS DEACON SEATED. ZOOM IN TO CU.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEYWAY - NIGHT. CHILD VAMPIRES ATTACK PEDOPHILE<\/stage_direction>\n    <scene_description>WS PEDOPHILE WALKING. CHILD VAMPIRE #2 WITH ROPE HIDING. CHILD VAMPIRE #1 WALKING TO PEDOPHILE. MWS CHILD VAMPIRE #1 AND PEDOPHILE. CHILD VAMPIRE #2 STRANGLES MAN WITH ROPE. THEY BITE HIM. VIAGO: One of the most unfortunate things about being a vampire is that... you have to drink human blood.<\/scene_description>\n    <character>PAEDOPHILIA<\/character>\n    <dialogue>\\[Screams\\].<\/dialogue>\n    <scene_description>WS CHILD VAMPIRES FEEDING ON DEAD PEDOPHILE IN ALLEYWAY.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOUNGE - NIGHT. VIAGO BITES VICTIM<\/stage_direction>\n    <scene_description>MS \\[THROUGH WINDOW\\] VIAGO'S VICTIM. PAN TO MWS VIAGO'S VICTIM AND VIAGO \\[BACK TO CAMERA\\] WITH ROSE. VIAGO: I like to make a real evening of it. VIAGO'S VICTIM: It's lovely. VIAGO \\[V\/O\\]: Play some music, maybe give them some nice wine. It's their last moment alive. So why not make it a nice experience? MS \\[THROUGH WINDOW\\] VIAGO PLACING CLOTH OVER LIGHT. ZOOM OUT AND PAN TO MWS VIAGO'S VICTIM SEATED ON COUCH.<\/scene_description>\n    <character>VIAGO'S VICTIM:<\/character>\n    <dialogue>\\[Laughs\\].<\/dialogue>\n    <scene_description>M2S \\[THROUGH WINDOW\\] VIAGO \\[PLAYING MANDOLIN\\] AND VIAGO'S VICTIM. MWS \\[THROUGH WINDOW\\] VIAGO AND VIAGO'S VICTIM. HE PLACES TOWELS ON COUCH. ZOOM IN TO CU TOWELS. VIAGO: So... tell me what you do. What do you...? MWS \\[THROUGH WINDOW\\] VIAGO AND VIAGO'S VICTIM. HE PLACES DOWN NEWSPAPER. TILT DOWN. VIAGO'S VICTIM: I'm thinking about going to uni actually. VIAGO: Oh, you are? Put that under there.<\/scene_description>\n    <character>VIAGO'S VICTIM:<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>VIAGO: Oh, university, ja? MWS \\[THROUGH WINDOW\\] VIAGO AND VIAGO'S VICTIM SEATED ON COUCH. ZOOM IN TO M2S. VIAGO'S VICTIM: Mmm. Yeah, but after that I'm going to travel. Yeah, really wanted to go overseas for ages. So I'm saving up, and I'm going to go to Spain, and Italy, London and \\[sighs\\]. Yeah. MWS \\[THROUGH WINDOW\\] VIAGO AND VIAGO'S VICTIM SEATED ON COUCH. VIAGO: Okay. Excuse me. Just put that there.<\/scene_description>\n    <character>VIAGO'S VICTIM:<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>MWS \\[THROUGH WINDOW\\] VIAGO AND VIAGO'S VICTIM SEATED ON COUCH. VIAGO: Here we go. MWS \\[THROUGH WINDOW\\] VIAGO AND VIAGO'S VICTIM. HE BITES HER NECK. BLOOD SPURTS FROM HER NECK.<\/scene_description>\n    <character>VIAGO'S VICTIM:<\/character>\n    <dialogue>\\[Laughs\\]. \\[Gasps\\].<\/dialogue>\n    <scene_description>VIAGO: Shit! Shit! MS \\[THROUGH WINDOW\\] VIAGO \\[HEAD OUT OF FRAME\\] AND VIAGO'S VICTIM. ZOOM OUT. BLOOD SPURTS FROM HER NECK. ZOOM IN AS HE TRIES TO DRINK BLOOD. VIAGO: \\[Splutters, gargles, drinks\\]. WS \\[THROUGH WINDOW\\] VIAGO SEATED. VIAGO'S VICTIM'S BODY ON FLOOR AT HIS FEET. ZOOM IN. VIAGO \\[V\/O\\]: Well, that didn't go so great. Um, I hit the main artery. MCU VIAGO COVERED IN BLOOD. VIAGO: So, yeah. It's a real mess in there. Um... on the upside, I think she had a really good time. MWS VIAGO COVERED IN BLOOD.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WELLINGTON CITY - NIGHT. VLADISLAV LOOKS FOR VICTIM<\/stage_direction>\n    <scene_description>WS CITY AT NIGHT. WS WOMAN SEATED \\[BACK TO CAMERA\\] ON COUCH. VLADISLAV IN RIGHT FG. PULL FOCUS TO CU VLADISLAV. PULL FOCUS TO WOMAN AS VLADISLAV TURNS TO HER. VLADISLAV: Ah, so it's quite late, and, ah, I've managed to find a woman up watching television. And, ah, she seems like she'd be a good victim. I'm just going to use hypnosis on her. See me... See me... WS WOMAN SEATED \\[BACK TO CAMERA\\] ON COUCH. VLADISLAV IN RIGHT FG. PULL FOCUS AS VLADISLAV TURNS TO CAMERA. HE TURNS BACK. VLADISLAV: She can't - she can't see me from that angle.<\/scene_description>\n    <character>VIAGO \\[V\/O\\]:<\/character>\n    <dialogue>Vladislav used to be extremely<\/dialogue>\n    <scene_description>powerful. He could hypnotise crowds of people. DEACON and VIAGO INTERVIEW ECU PAINTING OF VLADISLAV. TILT UP TO HIS EYES. WS \\[BLACK AND WHITE\\] CROWD OF PEOPLE. DEACON \\[V\/O\\]: Great orgies. Twenty, thirty women. CU PAINTING OF ORGY. CU PAINTING OF ORGY. VIAGO \\[V\/O\\]: He could turn into all sorts of animals. But now he never gets the faces right. CU PICTURE OF CREATURE IN BOOK. ZOOM IN. CU BLACK AND WHITE DRAWING OF SNAKE WITH HEAD OF A MAN. CU PAINTING OF MEN BEING KILLED. DEACON \\[V\/O, ON\\]: He would kill anybody - men, women, children. Burning everything. It was totally great. CU BLACK AND WHITE DRAWING OF VAMPIRE WITH WOMAN ON HORSE. ZOOM OUT. MS MAN EATING BABY. ZOOM IN. MCU DEACON. MS VIAGO SEATED.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>But he suffered a humiliating defeat at the hands of his arch nemesis... The Beast.<\/dialogue>\n    <scene_description>CU VIAGO. CU BLACK AND WHITE DRAWING OF CREATURE. CU BLACK AND WHITE DRAWING OF MAN RIDING CREATURE. CU BLACK AND WHITE DRAWING OF CREATURE. CU VIAGO.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>And he's never been the same.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WELLINGTON CITY - NIGHT. VLADISLAV LOOKS FOR VICTIM<\/stage_direction>\n    <scene_description>MS VLADISLAV LOOKING THROUGH WINDOW.<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>See me...<\/dialogue>\n    <scene_description>MS \\[THROUGH WINDOW\\] MAN SEATED ON COUCH. PAN TO MS VLADISLAV.<\/scene_description>\n    <character>VLADISLAV \\[OFF\\]:<\/character>\n    <dialogue>See me...<\/dialogue>\n    <dialogue>See me...<\/dialogue>\n    <dialogue>See me...<\/dialogue>\n    <scene_description>MS \\[THROUGH WINDOW\\] MAN SEATED ON COUCH. MCU MAN OPENING DOOR. PAN AND TILT TO MCU VLADISLAV. MAN: Would you like to come inside? VLADISLAV: Mmm. Mmm... ECU BLACK AND WHITE PHOTOGRAPH OF CREATURE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - NIGHT. ESTABLISHING SHOT<\/stage_direction>\n    <scene_description>L\/A MS GATES. TILT DOWN TO WS HOUSE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - NIGHT. DINNER PARTY<\/stage_direction>\n    <scene_description>MWS WINDOW. PETYR CROSSES FRAME LEFT TO RIGHT. CU DEACON'S HAND OPENING DOOR. TILT UP TO MS JACKIE. DEACON IN LEFT EDGE OF FRAME. NICK AND JOSEPHINE IN BG. JACKIE GOES TO KISS DEACON, THEN EXITS LEFT OF FRAME. TRACK BACK AS NICK AND JOSEPHINE ENTER HOUSE. PAN TO M2S NICK AND JOSEPHINE. JACKIE AND DEACON IN BG. DEACON: Ah, Jackie. Welcome. JACKIE: \\[Laughs\\]. Hello.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>Come in.<\/dialogue>\n    <character>JACKIE:<\/character>\n    <dialogue>\\[Laughs\\].<\/dialogue>\n    <scene_description>JACKIE \\[OFF\\]: This is Nick, ex - ex boyfriend. And Josephine. NICK: Nice house. JACKIE \\[ON\/OFF\\]: And this is Deacon. My overseas friend from Europe. JACKIE \\[V\/O\\]: Deacon and his friends need victims. MS VIAGO AND VLADISLAV PEERING AROUND DOORWAY. PAN AS THEY TURN \\[AWAY FROM CAMERA\\] TO LS AS DEACON, JACKIE AND NICK WALK DOWN HALLWAY. MWS DEACON, JACKIE, NICK AND JOSEPHINE WALKING INTO ROOM. VIAGO IN BG. VIAGO: Hi. Please come in. Welcome. JACKIE INTERVIEW MCU JACKIE DRIVING. JACKIE: They can't be people that... I actually invest in or like, because of course, they will become victims.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GARDEN CENTRE - DAY. JACKIE ON PHONE<\/stage_direction>\n    <scene_description>MS JACKIE DIALLING PHONE. JACKIE \\[V\/O\\]: Hi, Josephine? MWS JACKIE ON PHONE, PUSHING TROLLEY. TRACK BACK. JACKIE: No. I sat next to you in English. Remember? Um, ah, you used to call me the Jaxocist. MWS JACKIE ON PHONE, PUSHING TROLLEY. TRACK BACK. JACKIE: No, you did. No, you did. Yeah. No, you started that... Ah, you were the one that started calling me that, and then everyone - then it, kind of, caught on... yeah. MWS JACKIE ON PHONE, PUSHING TROLLEY. TRACK BACK. JACKIE: \\[Laughs\\] Okay, bye then \\[laughs\\]. Bye. She's in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM - NIGHT. DINNER PARTY - CONTINUED<\/stage_direction>\n    <scene_description>MS JOSEPHINE SEATED AT TABLE. MS NICK. VIAGO IN BG. ZOOM IN TO WS VLADISLAV \\[BACK TO CAMERA\\], NICK, JOSEPHINE, JACKIE AND DEACON \\[BACK TO CAMERA\\] SEATED AT TABLE. VIAGO IN BG. VIAGO: Do you like that, Nick? NICK: Yep. It's choice. WS NICK, JOSEPHINE, JACKIE, DEACON AND VLADISLAV SEATED AT TABLE. VIAGO STANDING IN BG. VIAGO STARTS TO WALK. VIAGO: I will go and prepare dinner.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>Please.<\/dialogue>\n    <scene_description>VLADISLAV: Nick, are you a virgin at all? MWS JACKIE, DEACON AND VLADISLAV SEATED AT TABLE. MWS NICK, JOSEPHINE AND JACKIE SEATED AT TABLE. VLADISLAV AND DEACON IN EDGES OF FRAME IN FG.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>Ah, what?<\/dialogue>\n    <scene_description>VLADISLAV: He doesn't seem like - are you - are you a virgin? WS JOSEPHINE, JACKIE, DEACON AND VLADISLAV SEATED AT TABLE.<\/scene_description>\n    <character>JACKIE:<\/character>\n    <dialogue>Ah, yes.<\/dialogue>\n    <character>NICK \\[OFF\/ON\\]:<\/character>\n    <dialogue>Um, no.<\/dialogue>\n    <scene_description>MS NICK, VLADISLAV \\[BACK TO CAMERA\\] IN BOTTOM OF FRAME.<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>I knew it.<\/dialogue>\n    <scene_description>WS JOSEPHINE, JACKIE, DEACON AND VLADISLAV SEATED AT TABLE. JACKIE: You were a virgin when we were seeing each other. MS NICK, VLADISLAV \\[BACK TO CAMERA\\] IN BOTTOM OF FRAME. NICK: Yeah, I was 12. DEACON \\[OFF\\]: You said he was a virgin. DEACON INTERVIEW MS DEACON SEATED. DEACON: I think we drink virgin blood because... it sounds cool.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM - NIGHT. DINNER PARTY - CONTINUED<\/stage_direction>\n    <scene_description>MS DEACON AND VLADISLAV SEATED AT TABLE. PAN TO MS JOSEPHINE. JACKIE IN RIGHT EDGE OF FRAME. VLADISLAV \\[V\/O, ON\\]: I think of it like this... if you're going to eat a sandwich... you will just enjoy it more if you knew no one had fucked it. VLADISLAV INTERVIEW MCU VLADISLAV. DEACON \\[V\/O, ON\\]: Let's concentrate on Josephine then. Are you a virgin?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM - NIGHT. DINNER PARTY - CONTINUED<\/stage_direction>\n    <scene_description>WS NICK, JOSEPHINE, JACKIE, DEACON AND VLADISLAV SEATED AT TABLE. JOSEPHINE: \\[Clears throat\\] I'm not, no. M2S JOSEPHINE AND JACKIE. JACKIE \\[ON\/OFF\\]: Okay, I'm really sorry. Because I totally... pinned her as a virgin. MS DEACON AND VLADISLAV SEATED AT TABLE. JACKIE \\[OFF\/ON\\]: She looks like a virgin, she talks like a virgin... I mean... who would have sex with her? I wouldn't. WS NICK, JOSEPHINE, JACKIE, DEACON AND VLADISLAV SEATED AT TABLE.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>I would.<\/dialogue>\n    <character>JACKIE:<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>MCU VIAGO WALKING DOWN CORRIDOR WITH TWO CANS OF SPAGHETTI. TRACK BACK. MS JOSEPHINE. VIAGO \\[HEAD OUT OF FRAME\\] POURS TINNED SPAGHETTI ONTO PLATES. NICK IN LEFT EDGE OF FRAME. ZOOM OUT TO MWS NICK, VIAGO AND JOSEPHINE.<\/scene_description>\n    <character>JOSEPHINE:<\/character>\n    <dialogue>Mmm...<\/dialogue>\n    <scene_description>VIAGO: Two dinners. Two dinners. Yum. DEACON \\[OFF\\]: Nick... WS NICK, JOSEPHINE, JACKIE, DEACON AND VLADISLAV SEATED AT TABLE. DEACON: Do you like biz-ghetti? NICK \\[ON\/OFF\\]: Ah, yep. Usually like it. But... be better if it was warm. MS DEACON AND VLADISLAV SEATED AT TABLE. MWS NICK, JOSEPHINE AND JACKIE SEATED AT TABLE. VLADISLAV IN LEFT EDGE OF FRAME, AND DEACON IN RIGHT EDGE OF FRAME IN FG. DEACON \\[V\/O\\]: So this is my favourite trick... DEACON INTERVIEW MCU DEACON. DEACON: We present our guest with a plate of biz-ghetti. And then I will say, \"Why don't you eat some biz- ghetti?\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM - NIGHT. DINNER PARTY - CONTINUED<\/stage_direction>\n    <scene_description>WS NICK, JOSEPHINE, JACKIE, DEACON AND VLADISLAV SEATED AT TABLE. DEACON: Please Nick... eat some biz-ghetti. MS NICK EATING SPAGHETTI. VIAGO, JOSEPHINE AND JACKIE IN BG. DEACON \\[OFF\/ON\\]: I didn't realize you enjoyed eating worms... Nick. MWS JOSEPHINE, JACKIE AND DEACON SEATED AT TABLE. PAN TO MWS JOSEPHINE, JACKIE, DEACON AND VLADISLAV SEATED AT TABLE. O\/S NICK, VLADISLAV IN LEFT FG. PAN AND TILT TO MS, AS NICK STANDS.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>No. No.<\/dialogue>\n    <scene_description>DEACON \\[OFF\\]: They are worms. MWS JACKIE, DEACON AND VLADISLAV SEATED AT TABLE.<\/scene_description>\n    <character>VIAGO \\[OFF\\]:<\/character>\n    <dialogue>\\[Laughs\\].<\/dialogue>\n    <scene_description>M2S NICK AND VIAGO. NICK: There's worms wriggling around on my plate. VLADISLAV \\[OFF\\]: It is wormlike, but not actually worms. H\/A WS VIAGO, JOSEPHINE AND JACKIE AT TABLE. ZOOM IN. VIAGO: This is merely biz-ghetti. DEACON \\[V\/O\\]: We stole that idea from The Lost Boys. DEACON INTERVIEW MS DEACON SEATED. DEACON: But I put a nice twist on it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM - NIGHT. DINNER PARTY - CONTINUED<\/stage_direction>\n    <scene_description>MWS NICK AND VIAGO. VLADISLAV, JOSEPHINE AND JACKIE SEATED AT TABLE IN FG. DEACON STANDS IN FG. DEACON: Nick... how does it feel to have a snake for a penis? MWS JACKIE, DEACON AND VLADISLAV. ZOOM OUT AND PAN TO MCU NICK. VIAGO IN BG. PAN AS NICK MOVES.<\/scene_description>\n    <character>VIAGO \\[OFF\\]:<\/character>\n    <dialogue>\\[Laughs\\].<\/dialogue>\n    <scene_description>NICK: Jackie... my penis has disappeared. There's a cobra snake. MWS VLADISLAV, NICK, VIAGO, JOSEPHINE AND DEACON \\[BACK TO CAMERA\\]. DEACON: Penis trick. MS NICK. VIAGO, JOSEPHINE AND JACKIE IN BG. JACKIE: No one is going to mistake your penis for a cobra, Nick. Okay? Believe you me.<\/scene_description>\n    <character>DEACON \\[OFF\\]:<\/character>\n    <dialogue>\\[Laughs\\].<\/dialogue>\n    <scene_description>NICK: What did you put in my spaghetti? You guys are magicians, aren't you? MWS VLADISLAV, NICK, VIAGO, JOSEPHINE AND DEACON \\[BACK TO CAMERA\\]. DEACON STARTS TO SIT. DEACON: No, it is just a normal penis. MCU NICK, VIAGO IN BG. NICK: I'm out. I'm out. MS JOSEPHINE SEATED AT TABLE. VIAGO \\[HEAD OUT OF FRAME\\] IN BG. DEACON \\[OFF\/ON\\]: Josephine... MWS VIAGO, JOSEPHINE, JACKIE, DEACON AND VLADISLAV \\[BACK TO CAMERA\\] AT TABLE. PAN AROUND.<\/scene_description>\n    <character>JOSEPHINE:<\/character>\n    <dialogue>Mmm.<\/dialogue>\n    <scene_description>DEACON \\[OFF\/ON\\]: ...do you like biz-ghetti? MWS VLADISLAV, VIAGO, JOSEPHINE, JACKIE AND DEACON AT TABLE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - NIGHT. NICK TRIES TO LEAVE<\/stage_direction>\n    <scene_description>MCU NICK. HE TURNS AND WALKS \\[AWAY FROM CAMERA\\]. TRACK IN. NICK: Look, ah, these freaks... ah, spike my spaghetti, make my cock turn into a snake. This is not cool. Not cool. MS NICK WALKING TRACK BACK. MS NICK TRYING TO OPEN DOOR. PAN AS HE WALKS TO ANOTHER DOOR. NICK: You don't think this is weird? MS NICK WALKING \\[AWAY FROM CAMERA\\] TRACK IN. PAN AS HE WALKS TO DOOR. NICK: For fuck's sakes. CU NICK WALKING INTO ROOM. PAN AND TRACK IN AS HE WALKS TO WINDOW. NICK: Jackie! MS NICK \\[HEAD OUT OF FRAME\\] AT WINDOW. ZOOM IN AND PULL FOCUS TO H\/A WS \\[THROUGH WINDOW\\] JACKIE BESIDE CAR. ZOOM OUT AS SHE GETS INTO CAR. VLADISLAV ENTERS FROM BOTTOM OF FRAME IN FG. PAN AS NICK RUNS. NICK: Jackie! JACKIE: Sorry Nick. NICK \\[OFF\\]: What are you doing? Jackie! \\[Gasps\\]. MCU NICK RUNNING \\[AWAY FROM CAMERA\\] TRACK IN AND PAN. HE OPENS DOOR TO REVEAL JOSEPHINE LYING DEAD ON TABLE AND VIAGO TRYING TO DRINK HER BLOOD. NICK TURNS AND EXITS RIGHT OF FRAME. ZOOM IN TO VIAGO DRINKING JOSEPHINE'S BLOOD. PAN. NICK: Shit! Shit! \\[Gargles\\]. MS BAT ATTACKING NICK \\[BACK TO CAMERA\\]. NICK RUNS \\[AWAY FROM CAMERA\\]. MCU NICK LOOKING OVER HIS SHOULDER. HE TURNS AND WALKS \\[AWAY FROM CAMERA\\] TRACK IN. PAN AND TILT TO CU VLADISLAV AS CAT. PAN AND TILT TO MCU NICK. VLADISLAV \\[AS CAT\\]: \\[Meows, hisses\\]. NICK: What the fuck? Nah. Nah. MWS NICK RUNNING \\[AWAY FROM CAMERA\\]. HE TURNS AND RUNS BACK, VIAGO ENTER LEFT OF FRAME AND CHASES NICK. TRACK BACK AND PAN AS NICK RUNS. VIAGO ENTERS FRAME THROUGH DOORWAY IN BG. NICK TURNS AND RUNS TO DOOR. PAN AROUND AS HE RUNS INTO ROOM AND CLOSES DOOR.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>\\[Hisses\\].<\/dialogue>\n    <scene_description>VIAGO \\[OFF\\]: \\[Growls, hisses\\]. MS NICK AT DOOR.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>Fuck off.<\/dialogue>\n    <scene_description>MCU NICK AT DOOR. PAN AROUND ROOM. PAN TO MCU NICK. DEACON'S HAND ENTERS FRAME FROM BEHIND NICK AND GRABS HIM. NICK: Where am I? \\[Breathes heavily\\]. MS DEACON AND NICK STRUGGLING. TILT DOWN AS NICK PUSHES DEACON. PAN AS EH AND THROWS DEACON ACROSS ROOM. PAN TO MS NICK. TRACK IN AS HE RUNS OUT OF ROOM INTO VIAGO, DEACON AND VLADISLAV FLYING DOWN HALL WAY. TRACK BACK AS NICK IS CHASED BY VAMPIRES. NICK EXITS RIGHT OF FRAME. PAN.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>\\[Hisses\\].<\/dialogue>\n    <character>NICK:<\/character>\n    <dialogue>\\[Grunts\\].<\/dialogue>\n    <character>DEACON:<\/character>\n    <dialogue>\\[Growls\\].<\/dialogue>\n    <scene_description>VIAGO, VLADISLAV AND DEACON: \\[Hiss, laugh\\]. PAN TO MS NICK RUNNING \\[AWAY FROM CAMERA\\]. TRACK IN. TILT DOWN AS HE FALLS DOWN STAIRS. NICK RUNS TO DOOR. PAN TO WS DEACON AND VLADISLAV IN MID-AIR. PAN TO MS NICK RUNNING THROUGH DOOR. TILT UP TO MS VIAGO. PAN TO MS NICK RUNNING \\[AWAY FROM CAMERA\\]. PETYR APPEARS OUT OF THE DARKNESS AND GRABS NICK. HE PULLS HIM OUT RIGHT OF FRAME. NICK: \\[Grunts\\]. Fuck! \\[Grunts\\].<\/scene_description>\n    <character>DEACON AND VLADISLAV:<\/character>\n    <dialogue>\\[Hiss\\].<\/dialogue>\n    <character>VIAGO:<\/character>\n    <dialogue>\\[Laughs\\].<\/dialogue>\n    <character>NICK:<\/character>\n    <dialogue>Freaks!<\/dialogue>\n    <character>PETYR:<\/character>\n    <dialogue>\\[Hisses\\].<\/dialogue>\n    <scene_description>CU GRASS. PAN \\[NICK'S POINT OF VIEW\\].<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>\\[Grunts\\].<\/dialogue>\n    <scene_description>PAN TO MS VIAGO. DEACON AND VLADISLAV IN BG. VIAGO TURNS AND WALKS \\[AWAY FROM CAMERA\\]. FADE TO BLACK. VIAGO \\[OFF\/ON\\]: Oh no. Petyr got him.<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>Poor guy.<\/dialogue>\n    <scene_description>DEACON: Who let Petyr out? BLACK.: FADE IN MWS JACKIE \\[HEAD OUT OF FRAME\\] HOSING OFF BLOOD ON DRIVEWAY. TILT UP TO WS JACKIE. TILT DOWN TO CU BLOOD. FADE TO BLACK. BLACK.: FADE IN TITLE: Two months later BLACK.:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - NIGHT. DEACON DANCES. NICK THE VAMPIRE VISITS<\/stage_direction>\n    <scene_description>WS DEACON DANCING. MS DEACON \\[BACK TO CAMERA\\] DANCING. VLADISLAV IN BG. PAN TO MWS VIAGO AND VLADISLAV SEATED ON FLOOR. DEACON DANCING IN RIGHT EDGE OF FRAME. WS DEACON DANCING. MWS VIAGO AND VLADISLAV SEATED ON FLOOR. NICK'S FEET ENTER LEFT OF FRAME. PAN AND TILT UP.<\/scene_description>\n    <character>NICK \\[OFF\\]:<\/character>\n    <dialogue>Hey guys!<\/dialogue>\n    <scene_description>MWS NICK HOVERING OUTSIDE WINDOW. ZOOM IN TO MS. NICK: Hey, what are you guys doing? MS DEACON. PAN AS HE TAKES NEEDLE OF GRAMOPHONE. VLADISLAV \\[OFF\\]: What are you doing, Nick? DEACON: Come in to the house. MS NICK HOVERING OUTSIDE WINDOW. PAN TO MWS DEACON. ZOOM IN TO MS. MS NICK HOVERING OUTSIDE WINDOW. HE STARTS TO CLIMB THROUGH WINDOW. NICK \\[V\/O, ON\\]: Hi, my name is Nick. NICK: Hey guys. What are you up to? NICK \\[V\/O\\]: I've been a vampire for two months. NICK INTERVIEW MCU NICK. MWS NICK CLIMBING THROUGH WINDOW. VIAGO AND VLADISLAV \\[BACKS TO CAMERA\\] IN FG.<\/scene_description>\n    <character>NICK \\[V\/O, ON\\]:<\/character>\n    <dialogue>Probably, I reckon, the best thing about being a vampire is flying. Like I've always wanted to - I think everyone has always wanted to fly. And now I can do it.<\/dialogue>\n    <scene_description>MS NICK. TITLE \\[SUPERED\\]: Nick TITLE \\[SUPERED\\]: Recent Vampire<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - NIGHT. NICK THE VAMPIRE VISITS - CONTINUED<\/stage_direction>\n    <scene_description>MS NICK CLIMBING THROUGH WINDOW. VIAGO \\[BACK TO CAMERA\\] IN FG. MWS NICK CLIMBING THROUGH WINDOW. VIAGO AND VLADISLAV IN FG. ZOOM IN.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>\\[Grunts\\].<\/dialogue>\n    <scene_description>WS NICK CLIMBING THROUGH WINDOW. VIAGO, VLADISLAV AND DEACON IN FG.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>\\[Breathes heavily\\].<\/dialogue>\n    <character>DEACON:<\/character>\n    <dialogue>Nick, why don't you use the front door?<\/dialogue>\n    <character>NICK:<\/character>\n    <dialogue>\\[Scoffs\\] Why would I? I'm flying.<\/dialogue>\n    <scene_description>MS NICK.<\/scene_description>\n    <character>NICK \\[V\/O\\]:<\/character>\n    <dialogue>Petyr bit me... sucked all my blood out. I woke up in his basement, and he offered me some blood.<\/dialogue>\n    <scene_description>NICK INTERVIEW MCU PETYR. TILT DOWN TO CU PETYR'S HANDS. MS NICK.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>I just thought it was something - some German thing that these guys do.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. ACCIDENT AND URGENT MEDICAL CENTRE - NIGHT<\/stage_direction>\n    <scene_description>MS NICK WALKING PAN AS HE WALKS. TILT UP TO SIGN: \"ACCIDENT AND URGENT MEDICAL CENTRE. URGENT PHARMACY.\"<\/scene_description>\n    <character>NICK \\[V\/O\\]:<\/character>\n    <dialogue>The transition into becoming a vampire was pretty hard. I looked like shit to start off with. Like, I had a massive gash in my neck. Like, you could see the inside of my neck. I had blood all over my top. And then I came home, and I was sweating. I was either really hot or really cold.<\/dialogue>\n    <scene_description>NICK \\[V\/O\\]: It was like a hangover times ten, I reckon. It was really bad. M2S MEDICAL CENTRE RECEPTIONIST AND NICK AT COUNTER. WS NICK IN WAITING ROOM. MS NICK BEING EXAMINED BY DOCTOR. ZOOM IN. MS NICK BEING EXAMINED BY DOCTOR. DOCTOR EXITS RIGHT OF FRAME TO MCU NICK. PAN TO MCU DOCTOR.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NICK'S HOUSE - NIGHT. NICK TRANSITIONS<\/stage_direction>\n    <scene_description>MWS NICK ON BED. NICK: \\[Breathes heavily\\]. MS NICK LOOKING AT REFLECTION IN MIRROR. REFLECTION FADES. NICK \\[V\/O\\]: It was quite similar to having the flu... H\/A MS NICK IN BED. HIS HEAD MOVING VERY FAST. NICK: ...except the only difference would probably be... that my eyes bled heaps. WS NICK DOING BACKBEND ON BED. MCU NICK WITH BLEEDING EYES. ZOOM IN. L\/A MCU NICK.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>Are you guys not cold?<\/dialogue>\n    <character>NICK \\[V\/O\\]:<\/character>\n    <dialogue>I don't know, I can't explain it. Like, it was just - yeah, just real hot and cold, and like, bloody eyes and flying and stuff.<\/dialogue>\n    <scene_description>L\/A MWS NICK HOVERING IN CORNER OF CEILING. ZOOM IN.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - NIGHT. NICK THE VAMPIRE VISITS - CONTINUED<\/stage_direction>\n    <scene_description>MS NICK. PAN TO MS DEACON.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>The neighbours can see you flying around the house. You want to draw attention to this house, mmm?<\/dialogue>\n    <scene_description>MS NICK.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>You've got a whole documentary crew following you around.<\/dialogue>\n    <scene_description>MS DEACON.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>I'm doing an erotic dance for my friends, and you ruined it. I was in the zone. My friends were loving it.<\/dialogue>\n    <scene_description>MWS NICK AND DEACON. VIAGO AND VLADISLAV IN FG.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>I love - ah, I saw the end of it. It looked great.<\/dialogue>\n    <character>NICK \\[V\/O, ON\\]:<\/character>\n    <dialogue>I don't - I don't know if I'm, ah,<\/dialogue>\n    <scene_description>being - if I'm accepted yet. But I don't know, I think it's getting there. I know they're old and stuff, but they're quite na\u00efve when it comes to the real world.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>MS NICK. ZOOM IN TO MCU. H\/A MS VIAGO. NICK \\[HEAD OUT OF FRAME\\] IN BG. PAN TO MS VLADISLAV. NICK \\[HEAD OUT OF FRAME\\] IN BG. NICK INTERVIEW MS NICK.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>So... I don't know, it'd be cool to just hang out with them. They can teach me some stuff. I can probably teach them a few things.<\/dialogue>\n    <scene_description>WS NICK SCRATCHING ON GRAMOPHONE. VLADISLAV, VIAGO AND DEACON IN BG. WS NICK, PETYR AND VIAGO WATCHING BAD RECEPTION ON TELEVISION. DEACON ENTERS LEFT OF FRAME IN FG.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>At the start it was like, \"Oh no, like, I'm dead.\" It's, kind of, affected my friendship with normal people, my family and stuff. But I've - the way I see it, I've got a whole new family.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WELLINGTON - NIGHT. NEW FRIEND NICK<\/stage_direction>\n    <scene_description>WS NICK FLYING. DEACON, VLADISLAV AND VIAGO ENTER LEFT OF FRAME FLYING.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>\\[Cheers\\].<\/dialogue>\n    <scene_description>WS VLADISLAV, NICK, DEACON AND VIAGO ON BICYCLES. TRACK BACK. NICK \\[V\/O\\]: They accept me for who I am, and I accept them for who they are. MS NICK AND VIAGO WITH ORANGE AND HANDKERCHIEF. VIAGO: \\[Makes computer game noise\\]. NICK: \\[Makes computer game noise\\]. CU REFLECTION IN MIRROR OF HANDKERCHIEF AND ORANGE. NICK \\[V\/O\\]: Even though one of them killed me.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WELLINGTON - NIGHT. OUT ON THE TOWN WITH NICK AND STU<\/stage_direction>\n    <scene_description>MWS VLADISLAV, DEACON, VIAGO AND NICK WALKING DOWN STREET. PAN. VLADISLAV: Where shall we go tonight? MS NICK, DEACON, VLADISLAV AND VIAGO WALKING DOWN STREET. TRACK BACK. DEACON: Let's go to The Big Kumara. MS VLADISLAV, VIAGO AND NICK WALKING. PAN TO MS VLADISLAV, NICK AND DEACON WALKING. THEY STOP. NICK: Why don't we go to Boogie Wonderland? VLADISLAV: We never get into Boogie Wonderland. NICK: No. My friend Richard is the bouncer. He can get us in. VIAGO: What? Really? I... MWS DEACON, VLADISLAV, DEACON AND NICK. ON STREET. NICK: He'll invite us in. MWS DEACON, VLADISLAV, STUFF, VIAGO AND NICK. ZOOM IN TO M2S STU AND VIAGO. NICK: Stu is keen. Stu loves it. VIAGO: Who? Is that Stu? NICK \\[V\/O, ON\\]: Um, this is my friend Stu. NICK AND STU INTERVIEW M2S STU AND NICK. STU: Hey. NICK: Hey. CU STU. NICK \\[OFF\\]: He works in computers and stuff. M2S STU AND NICK. NICK \\[ON\/OFF\\]: Originally he went out with my sister. And then they broke up. I didn't really get into it. Like, it's got nothing to do with me. And, um... you can't hear me. CU NICK. PAN TO CU STU. CU NICK. PAN TO CU STU. ZOOM OUT TO M2S STU AND NICK. NICK: All right. So basically... Stu doesn't know that I'm a vampire, and he doesn't know that my friends are vampires. CU NICK. ZOOM OUT TO NICK, DEACON, VIAGO AND VLADISLAV WALKING DOWN STREET. TRACK BACK. NICK \\[V\/O\\]: He just thinks that I've just... met some colourful friends. VIAGO \\[OFF\/ON\\]: That's a rose. And that's - this is jasmine.<\/scene_description>\n    <character>NICK \\[V\/O\\]:<\/character>\n    <dialogue>I - I bought him round to the house, and they all thought I'd bought, like, a meal for everyone. It just, like, it really, really sucks that I can't eat him.<\/dialogue>\n    <scene_description>MWS DEACON, VLADISLAV, STU, VIAGO AND NICK. ZOOM IN TO MS STU. VLADISLAV AND VIAGO IN EDGES OF FRAME. CU NICK. M2S STU AND NICK.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>I just want to, like... ahhh...<\/dialogue>\n    <scene_description>CU NICK. PAN TO CU STU.<\/scene_description>\n    <character>NICK \\[OFF\\]:<\/character>\n    <dialogue>Look at it. He's the reddest guy I know.<\/dialogue>\n    <scene_description>M2S STU AND NICK.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>But... you can hear me.<\/dialogue>\n    <character>NICK:<\/character>\n    <dialogue>Yeah, like computer-based stuff, eh? Mainly.<\/dialogue>\n    <character>STU:<\/character>\n    <dialogue>Yeah, yeah. Like, yeah. Geo databases. Yeah.<\/dialogue>\n    <character>NICK:<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>NICK:<\/character>\n    <dialogue>Yeah. Like, computers mainly.<\/dialogue>\n    <scene_description>DEACON \\[V\/O, ON\\]: Let's have a vote. For Boogie Wonderland or The Big Kumara.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WELLINGTON - NIGHT. OUT ON THE TOWN WITH NICK AND STU -<\/stage_direction>\n    <scene_description>CONTINUED MCU DEACON. NICK IN LEFT EDGE OF FRAME. ZOOM OUT TO MWS NICK, DEACON, STU, VLADISLAV AND VIAGO. DEACON: Big Kumara. MWS NICK, DEACON, STU, VLADISLAV AND VIAGO. ZOOM IN TO MCU DEACON. NICK, VIAGO, STU AND VLADISLAV CROSS FRAME FG AND BG. NICK: Right. DEACON: Great. NICK \\[OFF\\]: Careful, Stu. Hurry up. DEACON \\[V\/O\\]: I don't think Nick should have been turned into a vampire. DEACON INTERVIEW MCU DEACON. DEACON: He's such a dick.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOOGIE WONDERLAND - NIGHT. BOOGIE WONDERLAND<\/stage_direction>\n    <scene_description>WS NICK WALKING TO BOUNCER. OTHERS IN FG.<\/scene_description>\n    <character>BAR PATRONS \\[OFF\/ON\\]:<\/character>\n    <dialogue>\\[General chatter\\].<\/dialogue>\n    <character>BOUNCER:<\/character>\n    <dialogue>How are you, brother? Looking great, man.<\/dialogue>\n    <character>BOUNCER \\[V\/O, ON\\]:<\/character>\n    <dialogue>Gentlemen. You are most welcome \\[laughs\\].<\/dialogue>\n    <scene_description>MS STU, VIAGO AND DEACON. BOUNCER AND NICK IN EDGES OF FRAME IN FG. MWS NICK, BOUNCER AND VLADISLAV. MS VIAGO WALKING. PAN TO CU DEACON. OTHERS IN BG. MWS VLADISLAV, DEACON AND VIAGO WALKING THROUGH CROWD. TRACK IN. CU MIRROR BALLS. MS DEACON. OTHERS IN BG. PAN TO M2S DEACON AND VIAGO.<\/scene_description>\n    <character>VIAGO \\[OFF\/ON\\]:<\/character>\n    <dialogue>We're in Boogie Wonderland.<\/dialogue>\n    <scene_description>M2S VIAGO AND NICK. OTHERS IN BG. NICK EXITS RIGHT OF FRAME. VIAGO STARTS TO FOLLOW.<\/scene_description>\n    <character>VIAGO \\[V\/O, ON\\]:<\/character>\n    <dialogue>So here we are at Boogie Wonderland. And it is so much fun. They have an electric floor.<\/dialogue>\n    <scene_description>MCU VIAGO. MCU VIAGO. MWS DEACON AND VIAGO. OTHERS IN BG. TILT DOWN AS VIAGO POINTS AT LIGHTS ON DANCE FLOOR. VIAGO: This is amazing. VIAGO \\[V\/O\\]: I'm just so happy to be here. MS VLADISLAV WALKING TO WOMAN. OTHERS IN BG. PAN AS WOMAN STARTS TO WALK TOWARDS VLADISLAV. DEACON \\[V\/O, ON\\]: This place is pretty cheesy. M2S VIAGO AND DEACON. OTHERS IN BG. DEACON: Also did you see the jacket he wore? He's wearing the same jacket as me. VIAGO: Not exactly the same. It's... DEACON: It's pretty close. MS NICK DANCING. OTHERS IN FG. MWS VIAGO LINING UP TO BITE WOMAN. OTHERS IN FG AND BG. M2S VIAGO AND WOMAN \\[BACK TO CAMERA\\]. OTHERS IN BG. NICK \\[V\/O, ON\\]: What? Of course not. I'm just loving being a vampire at the moment. CU NICK WITH BLOODY MOUTH. M2S VLADISLAV AND WOMAN DANCING. OTHERS IN BG. M2S VLADISLAV AND OTHERS DANCING. PAN. CU VLADISLAV. VIAGO, NICK AND OTHERS IN BG.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>\\[Screams\\].<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WELLINGTON WATERFRONT - NIGHT. THE VAMPIRES MEET THE<\/stage_direction>\n    <scene_description>WEREWOLVES WS VIAGO, VLADISLAV, NICK, DEACON AND STU WALKING \\[AWAY FROM CAMERA\\]. NICK: I went there. It's a bit - the Fat Ladies Arms, ah, on Wednesdays they do, like, a Fear Factor competition. You can win, like, T- shirts and, um, hats, and spot prizes. It's like... MS NICK. VLADISLAV AND VIAGO IN BG. PAN TO MCU DEACON. VLADISLAV IN BG. MWS DEACON, VLADISLAV, NICK AND VIAGO WALKING. TRACK. DEACON: \\[sniffs\\].<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>Oh yeah.<\/dialogue>\n    <scene_description>DEACON: I can smell werewolves. PAN TO WS WEREWOLVES WALKING. NICK \\[OFF\\]: What real ones?<\/scene_description>\n    <character>DEACON \\[OFF\\]:<\/character>\n    <dialogue>Keep cool.<\/dialogue>\n    <scene_description>VLADISLAV \\[OFF\/ON\\]: We're just about to walk past some werewolves, so some shit might go down. MS DEACON AND VLADISLAV WALKING. TRACK. MS DEACON AND VLADISLAV WALKING. PAN TO NICK AND DEACON WALKING \\[AWAY FROM CAMERA\\] ANTON AND OTHER WEREWOLVES IN BG. PAN AS WEREWOLVES WALK. STU AND VIAGO IN FG. DEACON: Look out, guys. Don't catch fleas. ANTON: What's that mate?<\/scene_description>\n    <character>VIAGO \\[OFF\\]:<\/character>\n    <dialogue>Deacon...<\/dialogue>\n    <scene_description>MS DEACON. WEREWOLVES WALKING \\[AWAY FROM CAMERA\\] IN BG. PAN TO MWS DEACON, VLADISLAV AND VIAGO WALKING. WEREWOLVES IN BG. DEACON: Sorry, what? VLADISLAV: Keep going. Keep walking. Keep walking. ANTON: What? We heard that, mate. We've got sensitive hearing.<\/scene_description>\n    <character>DEACON \\[OFF\\]:<\/character>\n    <dialogue>Have you?<\/dialogue>\n    <character>ANTON \\[OFF\\]:<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>MS ANTON. DECLAN AND NATHAN IN BG. ANTON: What are you filming? Is it a music video, is it? CLIFTON \\[OFF\\]: Come on, guys. Just leave it. Come on. VLADISLAV \\[OFF\/ON\\]: We don't want any trouble. MS VLADISLAV, DEACON, VIAGO AND STU. PAN AS DEACON STEPS FORWARD. PAN AROUND TO WS ANTON AND OTHER WEREWOLVES. DEACON \\[BACK TO CAMERA\\] IN LEFT FG. CLIFTON \\[OFF\\]: Well then why did you - why did you start it then? DEACON: I do. Have I got your heckles up, huh? Why don't you smell your own crotches, huh? MWS DEACON AND ANTON. VIAGO, NICK, VLADISLAV IN BG. DION IN FG. VIAGO: Oh, come on Deacon. Stop it. DION: What are you talking about? We don't smell our own crotches, we smell each other's crotches. And it's a form of... greeting. WS CLIFTON, ANTON, DION AND OTHER WEREWOLVES. M2S DEACON AND VIAGO. MWS CLIFTON, ANTON AND DION AND OTHER WEREWOLVES. DEACON AND VLADISLAV IN LEFT EDGE OF FRAME. PAN TO MWS CLIFTON, ANTON AND DION. ANTON: You're on camera, mate. Don't - don't do it.<\/scene_description>\n    <character>CLIFTON:<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>DION:<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>CLIFTON: It's okay, because I know this guy. It's Count Fagula.<\/scene_description>\n    <character>WEREWOLVES:<\/character>\n    <dialogue>\\[Laugh\\].<\/dialogue>\n    <scene_description>M2S DEACON AND VIAGO. PAN TO M2S VLADISLAV AND NICK. ANTON \\[OFF\\]: Hey, hey, hey. Don't swear. MS CLIFTON, ANTON AND DION. VLADISLAV IN LEFT FG. PAN TO MWS CLIFTON, ANTON AND DION. OTHER WEREWOLVES IN BG. CLIFTON: Sorry. They - they - I'm very... ANTON: Yeah, we're werewolves. CLIFTON: Not swear-wolves. ANTON: What are we? WEREWOLVES: Werewolves not swear-wolves. MWS NICK, DEACON, VLADISLAV, VIAGO AND STU. NICK: Faggot is not a swear word. ANTON \\[OFF\\]: No. VLADISLAV: That's a very offensive word to call people. WEREWOLF \\[OFF\\]: Listen to Anton. CLIFTON \\[OFF\/ON\\]: It's offensive, but is it a swear word? WS DION, ANTON, CLIFTON AND OTHER WEREWOLVES. ANTON: Well, unless you're talking about a bundle of sticks. CLIFTON: Or is it... MWS NICK, DEACON, VLADISLAV, VIAGO AND STU. DEACON STEPS FORWARD AND PRETENDS TO THROW STICKS. DEACON: Chase this bundle of sticks... werewolves. WS DION, ANTON, CLIFTON AND OTHER WEREWOLVES. DEACON EXITS LEFT OF FRAME IN FG. PAN TO WS NATHAN AS HE RUNS. CLIFTON \\[OFF\\]: No, no, no. No, no. It's not real. It's just... ANTON: Don't get it. Nathan, it's not real. MS VIAGO AND CLIFTON. DECLAN IN BG. VIAGO SLAPS CLIFTON WITH GLOVE. CLIFTON: He's just going to take off his gloves. DECLAN: He's taking his glove off, all right. CLIFTON: Ah! Shit man. What the fuck did you do that for? WEREWOLVES: Oh \\[laugh et cetera.\\]. PROFILE MCU CLIFTON. PAN TO MCU VIAGO. ANTON \\[OFF\\]: Hey! CLIFTON \\[OFF\\]: That was... MS VLADISLAV, VIAGO AND CLIFTON. ANTON AND OTHER WEREWOLVES IN BG. PAN TO MWS CLIFTON, ANTON, DION AND OTHER WEREWOLVES. ANTON: Don't swear. We're gonna lose it. We're gonna lose it. CLIFTON: But he slapped me. MS VLADISLAV. NICK AND STU IN BG. PAN TO M2S VIAGO AND VLADISLAV. NICK IN BG.<\/scene_description>\n    <character>DION \\[OFF\\]:<\/character>\n    <dialogue>\\[Snarls\\].<\/dialogue>\n    <scene_description>ANTON: Whoa whoa whoa. Hey calm down. Calm down. Dion. Dion. MS ANTON AND DION. OTHER WEREWOLVES IN BG. DION STARTS TO TRANSFORM. DION: \\[Snarls\\] Oh shit. I've still got my glasses \\[snarls\\]. M2S VIAGO AND VLADISLAV. PAN TO MWS VLADISLAV, VIAGO, NICK AND STU. VLADISLAV: Oh, oh, oh, oh, oh.<\/scene_description>\n    <character>WEREWOLVES:<\/character>\n    <dialogue>\\[Snarl\\].<\/dialogue>\n    <scene_description>ANTON \\[OFF\\]: Hey, hey. Whoa, whoa. MWS CLIFTON, WEREWOLF, ANTON AND DION. PAN TO M2S DION AND NATHAN AS NATHAN STARTS TO TRANSFORM. PAN. ANTON: Who. Hey, hey, hey, hey. Do the breathing. Do the breathing. MWS ANTON HOLDING TRANSFORMING NATHAN. OTHER WEREWOLVES IN BG. WEREWOLVES \\[OFF\\]: Okay. Do the breathing. Hold it \\[et cetera\\]. WEREWOLF: \\[Breathes heavily\\]. ANTON: Count to ten, mate. That's all right. Come on. CLIFTON \\[OFF\\]: Count to ten, human again. Count to ten, human again. Count to ten, human again. M2S ANTON HOLDING TRANSFORMING NATHAN. OTHER WEREWOLVES IN BG. PAN TO CLIFTON, OTHER WEREWOLVES AND ANTON. ANTON: It's all right. It's not a full moon. MWS NICK, DEACON, VLADISLAV, VIAGO AND STU. ANTON \\[OFF\/ON\\]: Thanks a lot, guys. Enjoy your night. Yeah. MWS CLIFTON, ANTON AND DION. OTHER WEREWOLVES IN BG. CLIFTON: Should be ashamed of yourselves, man. ANTON: Great. We didn't want this to happen.<\/scene_description>\n    <character>VIAGO, VLADISLAV AND DEACON \\[OFF\/ON\\]:<\/character>\n    <dialogue>\\[Hiss\\].<\/dialogue>\n    <scene_description>MWS VIAGO HISSING. NICK AND STU IN BG. PAN TO MWS DEACON, VLADISLAV, AND VIAGO HISSING. NICK IN BG.<\/scene_description>\n    <character>ANTON AND WEREWOLVES:<\/character>\n    <dialogue>\\[Howl\\].<\/dialogue>\n    <scene_description>MS ANTON. CLIFTON AND OTHER WEREWOLVES IN BG. THEY HOWL. MWS VIAGO, NICK AND VLADISLAV. DEACON ENTERS LEFT OF FRAME. ANTON \\[OFF\\]: Come on, guys. CLIFTON \\[OFF\\]: Hey. Say it, don't spray it, bitch.<\/scene_description>\n    <character>ANTON \\[OFF\\]:<\/character>\n    <dialogue>Clifton!<\/dialogue>\n    <scene_description>WS ANTON, CLIFTON, DION AND OTHER WEREWOLVES WALKING \\[AWAY FROM CAMERA\\].<\/scene_description>\n    <character>ANTON:<\/character>\n    <dialogue>Why are you swearing all the time?<\/dialogue>\n    <character>CLIFTON:<\/character>\n    <dialogue>Well, he riled me up.<\/dialogue>\n    <character>ANTON AND WEREWOLVES:<\/character>\n    <dialogue>\\[General chatter\\].<\/dialogue>\n    <scene_description>MS NICK. STU AND DEACON IN BG. TRACK BACK AS THEY WALK.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>Were they actually werewolves?<\/dialogue>\n    <character>VIAGO:<\/character>\n    <dialogue>Ja.<\/dialogue>\n    <scene_description>MCU VIAGO WALKING. DEACON AND VLADISLAV IN LEFT EDGE OF FRAME.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>Are you okay, Stu?<\/dialogue>\n    <scene_description>MS STU. HE STARTS TO WALK. PAN TO WS DEACON, VLADISLAV, NICK, VIAGO AND STU WALKING \\[AWAY FROM CAMERA\\].<\/scene_description>\n    <character>VAMPIRES:<\/character>\n    <dialogue>\\[General chatter\\].<\/dialogue>\n    <character>NICK \\[V\/O\\]:<\/character>\n    <dialogue>I just don't really know how to approach this, because I've never done it before.<\/dialogue>\n    <scene_description>NICK INTERVIEW MCU NICK.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>Um, and he is a good friend, and I don't want to...<\/dialogue>\n    <scene_description>NICK: I don't want to break that friendship. But... then again, ah, what do you do when someone tells you that they're a vampire?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - NIGHT. NICK TELLS STU HE'S A VAMPIRE<\/stage_direction>\n    <scene_description>PAN TO MS NICK WALKING \\[AWAY FROM CAMERA\\]. PAN AROUND AS NICK WALKS TO STU TILT DOWN AS HE SITS TO MWS STU AND NICK SEATED AT TABLE. NICK \\[V\/O\\]: I'm expecting him to be angry. He might be scared. I'm expecting a lot of things to - to bubble to the surface. MWS STU AND NICK SEATED AT TABLE. NICK: You probably notice there's been... I've been through... a few changes lately. STU: Yeah. NICK: Yeah? STU: Yeah. NICK: Like, I don't show up for lunch anymore. STU: Yeah.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>And how I've... changed all our - all our tennis games to night-time tennis games.<\/dialogue>\n    <scene_description>MCU NICK. CU STU.<\/scene_description>\n    <character>STU:<\/character>\n    <dialogue>Right...<\/dialogue>\n    <character>NICK \\[OFF\/ON\\]:<\/character>\n    <dialogue>And how you went from beating me every time, and now how I - I've won the last three?<\/dialogue>\n    <scene_description>PAN TO MWS STU AND NICK SEATED AT TABLE. CU NICK'S HANDS ON TABLE.<\/scene_description>\n    <character>STU \\[OFF\\]:<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>MCU STU.<\/scene_description>\n    <character>NICK \\[OFF\/ON\\]:<\/character>\n    <dialogue>So... the reason I bought you here...<\/dialogue>\n    <scene_description>MWS STU AND NICK SEATED AT TABLE.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>...is to tell you that... I'm a vampire.<\/dialogue>\n    <character>NICK \\[V\/O\\]:<\/character>\n    <dialogue>Stu took it pretty well. He's definitely my best mate, and I'm not going to eat him.<\/dialogue>\n    <scene_description>MCU STU.<\/scene_description>\n    <character>NICK \\[V\/O, ON\\]:<\/character>\n    <dialogue>If they ever offer you spaghetti, um... you shouldn't eat it.<\/dialogue>\n    <scene_description>MWS STU AND NICK SEATED AT TABLE.<\/scene_description>\n    <character>STU:<\/character>\n    <dialogue>I think they offered me biscotti.<\/dialogue>\n    <character>NICK \\[V\/O, ON\\]:<\/character>\n    <dialogue>Vampire mates don't eat human mates.<\/dialogue>\n    <scene_description>CU NICK. L\/A M2S STU AND NICK SEATED ON STAIRS.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>And no matter how much I wanted to eat him, I'll never eat him, because he's my mate. Eh, Stu?<\/dialogue>\n    <character>STU:<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>NICK:<\/character>\n    <dialogue>Yeah.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - NIGHT. FUN WITH STU<\/stage_direction>\n    <scene_description>WS STU WALKING WITH TELEVISION. TRACK BACK.<\/scene_description>\n    <character>VIAGO \\[V\/O\\]:<\/character>\n    <dialogue>Stu is great.<\/dialogue>\n    <scene_description>WS VIAGO, DEACON AND VLADISLAV SEATED ON COUCH. VIAGO: We really like him. MWS VIAGO, DEACON AND VLADISLAV SEATED ON COUCH. VLADISLAV: At first I wanted to kill him. But now I'm glad I spent the time to get to know him. H\/A MS STU WITH TELEVISION. VIAGO \\[OFF\/ON\\]: Ja, of course he looks delicious, with his big red cheeks. But we've all got an agreement that we're not going to eat Stu, right? MWS VIAGO, DEACON AND VLADISLAV SEATED ON COUCH.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>Right.<\/dialogue>\n    <scene_description>M2S PETYR AND NICK. NICK: The guys upstairs they're - they're - they're loving him. They - at the - at the start they were a bit, oh who is this human you're bringing into the house? But it took them literally two minutes and - they like him more than they like me, I reckon. MCU DEACON KNITTING. DEACON: I am knitting a scarf for Stu. MWS DEACON SEATED AT TABLE KNITTING. STU \\[V\/O\\]: Try and attack. WS VIAGO AND STU IN TAE KWON DO UNIFORMS. STU: Use your legs.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>WS VIAGO AND STU IN TAE KWON DO UNIFORMS. PAN AS VIAGO FLIES THROUGH AIR.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>\\[Grunts\\].<\/dialogue>\n    <character>STU:<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <scene_description>STU \\[V\/O, ON\\]: Step back, and block, ha! WS VIAGO AND STU DOING TAE KWON DO.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>WS VIAGO AND STU DOING TAE KWON DO. STU: And punching high. Yep.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>STU:<\/character>\n    <dialogue>Yep.<\/dialogue>\n    <scene_description>M2S PETYR AND NICK.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>I'm just - what I'm trying to say is... because I know that you - you turned me into a vampire. Maybe don't do that to him.<\/dialogue>\n    <scene_description>CU PETYR.<\/scene_description>\n    <character>NICK \\[OFF\\]:<\/character>\n    <dialogue>He's a vegetarian. The last thing he'd want to do is eat a live being, or eat blood or eat meat.<\/dialogue>\n    <character>PETYR:<\/character>\n    <dialogue>Mmmm.<\/dialogue>\n    <scene_description>CU STU, VIAGO AND DEACON \\[HEADS OUT OF FRAME\\] AROUND COMPUTER. ZOOM OUT.<\/scene_description>\n    <character>VIAGO \\[OFF\\]:<\/character>\n    <dialogue>I am controlling this.<\/dialogue>\n    <character>STU:<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>DEACON:<\/character>\n    <dialogue>Get it. Get it.<\/dialogue>\n    <character>VIAGO \\[V\/O\\]:<\/character>\n    <dialogue>It's quite amazing to see how far technology can go forward if you're not paying attention.<\/dialogue>\n    <scene_description>MCU VIAGO TEXTING ON CELL PHONE. STU IN LEFT EDGE OF FRAME. PAN AND TILT TO MCU VIAGO. MCU VIAGO WITH CELL PHONE. PAN TO MCU DEACON WITH CELL PHONE. STU IN RIGHT EDGE OF FRAME. MWS DEACON \\[WITH CELL PHONE\\], STU AND VIAGO. DEACON: One message received. Oh! CU CELL PHONE IN DEACON'S HAND. TEXT MESSAGE: VIAGO. THER IZ A CRUCIFX BEHIND YOU. DEACON \\[off\/on\\]: \"There is a crucifix behind you.\" MWS DEACON \\[WITH CELL PHONE\\], STU AND VIAGO.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>\\[Laughs\\].<\/dialogue>\n    <scene_description>STU \\[V\/O, ON\\]: So, down on that one, like, halfway down will focus it. Maybe smile. M2S VLADISLAV AND STU WITH PHONE. CU VLADISLAV TAKING SELFIE. CU PHOTOGRAPH OF VLADISLAV. CU PHOTOGRAPH OF VLADISLAV AND VIAGO. CU PHOTOGRAPH OF VIAGO, VLADISLAV AND STU. CU PHOTOGRAPH OF VLADISLAV. CU PHOTOGRAPH OF CLOWN AND VLADISLAV. CU PHOTOGRAPH OF VLADISLAV. CU PHOTOGRAPH OF VLADISLAV WITH DEER SKULL. CU PHOTOGRAPH OF VLADISLAV. ZOOM IN. VLADISLAV \\[V\/O, ON\\]: Anything you want to find, you... MS STU. VLADISLAV IN RIGHT FG. VIAGO AND DEACON \\[HEADS OUT OF FRAME\\] IN BG. STU: Yeah. You can type in... VLADISLAV: ...you write - you write it into this. VIAGO \\[OFF\/ON\\]: I lost a really nice silk scarf in about 1912. MS STU, VIAGO AND DEACON AT COMPUTER. ZOOM IN. CU STU HEAD IN HANDS. VIAGO AND DEACON \\[HEADS OUT OF FRAME\\] IN BG.<\/scene_description>\n    <character>STU:<\/character>\n    <dialogue>\\[Laughs\\].<\/dialogue>\n    <scene_description>M2S VIAGO AND DEACON. STU IN BOTTOM OF FRAME. DEACON: Yes, now Google it.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>And...<\/dialogue>\n    <scene_description>VLADISLAV \\[V\/O\\]: Stu is the first human friend that I've had for a long time. MWS DEACON, STU AND VIAGO AT POTTERY WHEEL. CU VLADISLAV. VLADISLAV: With humans there is a tendency to die. MWS VIAGO, DEACON AND VLADISLAV SEATED ON COUCH.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>CU STU'S HAND ON COMPUTER. VLADISLAV'S HANDS IN BG. STU \\[OFF\\]: We can look at her photos. H\/A M2S VLADISLAV AND STU AT COMPUTER. VLADISLAV: Ah, oh yes. STU: Or we could poke her.<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>MWS DEACON, STU AND VIAGO AT COMPUTER. DEACON: Can we see a movie of a sunrise? MWS NICK, DEACON, STU, VLADISLAV AND VIAGO \\[BACKS TO CAMERA\\] AT COMPUTER. THEY START TO WATCH VIDEO OF SUNRISE.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>Oh shit.<\/dialogue>\n    <character>VLADISLAV:<\/character>\n    <dialogue>Oh. Nice.<\/dialogue>\n    <scene_description>H\/A MS STU. VLADISLAV IN RIGHT FG. VIAGO AND DEACON \\[HEAD OUT OF FRAME\\] IN BG. TILT UP. STU: If we push \"Images,\" then we can see pictures of virgins. MWS VIAGO, DEACON, STU AND VLADISLAV AT COMPUTER.<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>Oh yeah.<\/dialogue>\n    <scene_description>VIAGO: Ja, ja, ja, ja, ja. DEACON: Yes. WS VLADISLAV, STU, VIAGO AND DEACON AT COMPUTER.<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>Oh yeah.<\/dialogue>\n    <character>STU:<\/character>\n    <dialogue>Whoops<\/dialogue>\n    <scene_description>VIAGO: No, go back. Go back. VLADISLAV: I don't think she's a virgin if she's doing that. CU RECORD ON GRAMOPHONE. MS DEACON AT GRAMOPHONE. HE STARTS TO SCRATCH. ZOOM IN.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - NIGHT. VIAGO SKYPES PHILLIP<\/stage_direction>\n    <scene_description>CU COMPUTER. VIAGO \\[BACK TO CAMERA\\] IN RIGHT EDGE OF FRAME. STU'S HAND USES KEYBOARD. VIAGO: There he is, yeah. This is my old servant, Phillip.<\/scene_description>\n    <character>STU \\[OFF\\]:<\/character>\n    <dialogue>Oh, okay.<\/dialogue>\n    <scene_description>MWS STU AND VIAGO AT COMPUTER. STU: So we're gonna call him.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>Ja.<\/dialogue>\n    <scene_description>STU: And maximise the screen. CU COMPUTER. ON SCREEN: IMAGE OF VIAGO AND STU. IMAGE OF PHILLIP APPEARS ON SCREEN. VIAGO \\[BACK TO CAMERA\\] IN RIGHT EDGE OF FRAME. VIAGO: \\[GASPS\\]. My God, that's him. That's him, that him. That's Phillip. That's Phillip. He looks so old \\[laughs\\].<\/scene_description>\n    <character>PHILLIP \\[V\/O\\]:<\/character>\n    <dialogue>Master...<\/dialogue>\n    <scene_description>MWS STU AND VIAGO AT COMPUTER. ZOOM IN. TITLE \\[SUPERED\\]: Master... PHILLIP \\[V\/O, ON, IN GERMAN\\]: ...Master Viago. CU PHILLIP ON COMPUTER. IMAGE OF VIAGO AND STU. VIAGO \\[BACK TO CAMERA\\] IN RIGHT EDGE OF FRAME. TITLE \\[SUPERED\\]: It has been so long, you look the same.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>\\[Laughs\\].<\/dialogue>\n    <character>PHILLIP \\[ON\/OFF, IN GERMAN\\]:<\/character>\n    <dialogue>It has been so long, you look the same. Tell me, did you find Katherine?<\/dialogue>\n    <scene_description>MCU VIAGO AT COMPUTER, STU IN BG. CU PHILLIP ON COMPUTER. IMAGE OF VIAGO AND STU. VIAGO \\[BACK TO CAMERA\\] IN RIGHT EDGE OF FRAME. TITLE \\[SUPERED\\]: Tell me, did you find Katherine? MCU VIAGO AT COMPUTER, STU IN BG. TITLE \\[SUPERED\\]: Ahm, there's no hurry y'know, love is patient. VIAGO \\[ON\/OFF, IN GERMAN\\]: Um, there's no hurry, you know, love is patient. Listen, Phillip. You paid the wrong fare on the box. CU PHILLIP ON COMPUTER. IMAGE OF VIAGO AND STU. VIAGO \\[BACK TO CAMERA\\] IN RIGHT EDGE OF FRAME. TITLE \\[SUPERED\\]: Listen, Phillip. You paid the wrong fare on the box. MCU VIAGO AT COMPUTER, STU IN BG. CU PHILLIP ON COMPUTER. IMAGE OF VIAGO AND STU. VIAGO \\[BACK TO CAMERA\\] IN RIGHT EDGE OF FRAME. TITLE \\[SUPERED\\]: What? TITLE \\[SUPERED\\]: For the coffin. You paid the wrong fare and it took me ages to get here.<\/scene_description>\n    <character>PHILLIP \\[IN GERMAN\\]:<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>VIAGO \\[IN GERMAN\\]: Yes. For the coffin. You paid the wrong fare and it took me ages to get here. MWS STU AND VIAGO AT COMPUTER. TITLE \\[SUPERED\\]: Master... PHILLIP \\[OFF\/ON, IN GERMAN\\]: Master, you promised you would turn me into a vampire. I am 90 years old. CU PHILLIP ON COMPUTER. IMAGE OF VIAGO AND STU. VIAGO \\[BACK TO CAMERA\\] IN RIGHT EDGE OF FRAME. TITLE \\[SUPERED\\]: Master, you promised you would turn me into a vampire. MCU VIAGO AT COMPUTER, STU IN BG. TITLE \\[SUPERED\\]: I am 90 years old. VIAGO: Oh. PHILLIP \\[OFF\/ON, IN GERMAN\\]: You promised, and now I am so old. CU PHILLIP ON COMPUTER. IMAGE OF VIAGO AND STU. VIAGO \\[BACK TO CAMERA\\] IN RIGHT EDGE OF FRAME. TITLE \\[SUPERED\\]: You promised, and now I am so old. VIAGO \\[IN GERMAN\\]: Yes. Well, it was great you, Phillip. Goodbye Phillip. MCU VIAGO AT COMPUTER, STU IN BG. TITLE \\[SUPERED\\]: Well it was great seeing you, Phillip. CU PHILLIP ON COMPUTER. IMAGE OF VIAGO AND STU. VIAGO \\[BACK TO CAMERA\\] IN RIGHT EDGE OF FRAME. MCU VIAGO AT COMPUTER, STU IN BG. TITLE \\[SUPERED\\]: I never did anything with my life<\/scene_description>\n    <character>PHILLIP \\[OFF\/ON, IN GERMAN\\]:<\/character>\n    <dialogue>I never did anything with my life. I've been waiting.<\/dialogue>\n    <scene_description>CU PHILLIP ON COMPUTER. IMAGE OF VIAGO AND STU. VIAGO \\[BACK TO CAMERA\\] IN RIGHT EDGE OF FRAME. STU'S FINGER POINTS. VIAGO'S FINGER CLICKS BUTTON. TITLE \\[SUPERED\\]: I've been waiting...<\/scene_description>\n    <character>STU \\[OFF\\]:<\/character>\n    <dialogue>Ah, just - just click that. Yeah, that one.<\/dialogue>\n    <scene_description>CU VIAGO. STU IN LEFT EDGE OF FRAME. ZOOM IN.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RITA ANGUS RETIREMENT VILLAGE - NIGHT. VIAGO WATCHES<\/stage_direction>\n    <scene_description>KATHERINE WS STREET. WS RITA ANGUS RETIREMENT VILLAGE. TITLE \\[SUPERED\\]: Rita Angus Retirement Village WS VIAGO ON STREET. PAN AND TILT UP TO WINDOW. KATHERINE ENTERS FRAME THROUGH WINDOW. ZOOM IN. PAN TO WS VIAGO ON STREET. FADE TO BLACK. BLACK.:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTENAY PLACE - NIGHT. OUT ON THE TOWN AGAIN<\/stage_direction>\n    <scene_description>WS COURTENAY PLACE. WS TRAFFIC ON COURTENAY PLACE. WS VLADISLAV, DEACON, STU, NICK AND VIAGO CROSSING ROAD.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAR - NIGHT. NICK TELLS EVERYONE HE'S A VAMPIRE<\/stage_direction>\n    <scene_description>MWS WOMAN AND VLADISLAV DANCING. OTHERS IN FG. ZOOM IN. BAR PATRONS: \\[General chatter\\]. WS WOMAN AND STU SEATED AT TABLE. NICK AND WOMAN IN BG. OTHERS IN FG. PAN TO M2S WOMAN AND STU. STU: ...data about where things are. WOMAN: Oh, like, Google Map stuff? STU: Yeah, kind of like Google Maps. But, like, more - more layers of information. NICK \\[V\/O, ON\\]: The movie Twilight. Have you seen it? MS NICK AND PEOPLE IN BAR. ZOOM IN TO MCU NICK. BAR PATRON IN LEFT FG.<\/scene_description>\n    <character>BAR PATRON \\[OFF\\]:<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>NICK \\[ON\/OFF\\]: Okay, I am the main guy Twilight. You know the main guy? Twilight? That's me. There's cameras following me around, they could've chosen anyone. CU DEACON. TILT DOWN AS HE CLUTCHES HIS FOREHEAD. VLADISLAV \\[OFF\/ON\\]: How many people have you told you're a vampire? MS NICK. VLADISLAV AND VIAGO IN FG.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>Not many.<\/dialogue>\n    <scene_description>VLADISLAV: I heard that girl talking about it. She said you're a vampire. NICK: Yeah, I told her.<\/scene_description>\n    <character>VIAGO \\[OFF\\]:<\/character>\n    <dialogue>Who else?<\/dialogue>\n    <scene_description>VLADISLAV: Who did you tell? NICK: Ah, I told her hot friend. VLADISLAV: You can't tell everyone that you're \\[whispers\\]: a vampire. MS NICK. VLADISLAV AND VIAGO IN FG. PAN AND TILT TO PEOPLE SEATED AT TABLE. VIAGO: Who is that guy? MS NICK. VLADISLAV AND VIAGO IN FG. NICK: I don't know. But I trust him. VIAGO: Oh \\[sighs\\]. Keep it under your hat. MS NICK. VLADISLAV AND VIAGO IN FG. VLADISLAV: You can't tell everyone. NICK: Okay. All right. I won't.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WELLINGTON STREET - NIGHT. NICK TELLS MORE PEOPLE HE'S A<\/stage_direction>\n    <scene_description>VAMPIRE WS NICK WALKING TO GROUP OF PEOPLE. NICK: I'm a vampire! \\[Laughs\\]. CROWD: \\[Cheer et cetera\\]. WS NICK WALKING PAST MEN ON STREET.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>Vampire!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FIX CONVENIENCE STORE - NIGHT. NICK FREAKS OUT THE<\/stage_direction>\n    <scene_description>ATTENDANT MWS FIX ATTENDANT, NICK AND DEACON AT COUNTER. STU IN BG. NICK: Yeah, got a bit of a eye condition. FIX ATTENDANT: What's wrong with them? NICK: Ah, vampire eyes. Can't go into the sun. MS DEACON. STU IN BG. WOMAN \\[V\/O, ON\\]: Oh my God. Are they your fangs?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAR. NIGHT. NICK SHOWS HIS FANGS<\/stage_direction>\n    <scene_description>WS NICK AND WOMAN \\[BACK TO CAMERA\\] IN BAR.<\/scene_description>\n    <character>WOMAN:<\/character>\n    <dialogue>For real?<\/dialogue>\n    <scene_description>NICK: For real real. It's too real real. NICK \\[V\/O, ON\\]: I'm a vampire, bro.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAR - NIGHT. NICK TALKS TO VAMPIRE HUNTER<\/stage_direction>\n    <scene_description>WS MAN, VAMPIRE HUNTER AND NICK AT BAR. OTHERS IN FG AND BG. NICK STARTS TO WALK \\[AWAY FROM CAMERA\\]. VAMPIRE HUNTER: You're a vampire?<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>VAMPIRE HUNTER: I'm a vampire hunter, man. NICK: \\[Laughs\\]. No, you're not. VAMPIRE HUNTER: I am. NICK: Fuck you, piece of shit. I'll Skype you.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FIX CONVENIENCE STORE - NIGHT. NICK SHOWS OFF<\/stage_direction>\n    <scene_description>M2S NICK AND DEACON. STU IN BG. NICK: I can float, I can transform into stuff. MWS FIX ATTENDANT, NICK AND DEACON AT COUNTER. STU IN BG. ZOOM IN. NICK PULLS FACE. ZOOM IN. PAN TO MCU FIX ATTENDANT. PAN TO MS NICK. DEACON AND STU IN BG. ZOOM OUT AS NICK EXITS RIGHT OF FRAME. DEACON STARTS TO WALK. FIX ATTENDANT: Same. NICK: No, you can't. FIX ATTENDANT: Yeah. I'll show you \\[makes transforming noise\\]. You show me. Show me some of your vampire stuff.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>Um.<\/dialogue>\n    <scene_description>NICK: Ah, what have I got, um \\[hisses\\]. NICK \\[OFF\/ON\\]: Don't lie about transforming into shit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WELLINGTON - NIGHT. BAT FIGHT<\/stage_direction>\n    <scene_description>MS NICK WALKING. DEACON AND VLADISLAV IN BG. DEACON WALKS TO NICK TO M2S. TRACK BACK AS THEY WALK. THEY STOP AND START TO PUSH EACH OTHER. STU, VIAGO AND VLADISLAV IN BG.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>Twilight!<\/dialogue>\n    <scene_description>DEACON: Shut up Nick! DEACON: You're not Twilight. NICK: What's your problem? DEACON: You - you are my problem. Telling the world that we are vampires. NICK: And I'll tell the whole world that you're an arsehole, now as well.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>Shut up!<\/dialogue>\n    <scene_description>NICK: You shut up!<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>Guys...<\/dialogue>\n    <scene_description>DEACON: You shut up! NICK: No, you shut up! DEACON: No, you shut up! NICK: You shut up! MS NICK. PAN TO WS AS NICK PUSHES DEACON. STU, VIAGO AND VLADISLAV IN BG. NICK: I'm Dracula, man! MWS DEACON AND NICK FIGHTING. STU, VIAGO AND VLADISLAV IN BG. DEACON: You're not Dracula. NICK: I'm Dracula, man! DEACON: You don't even know who Dracula is, you ignorant... MS DEACON PUSHING NICK. STU, VIAGO AND VLADISLAV IN BG. PAN AS NICK RUNS, JUMPS, TRANSFORMS INTO A BAT AND FLIES AWAY \\[FX SHOT\\]. PAN AND TILT TO MS DEACON. HE JUMPS, TRANSFORMS INTO A BAT AND FLIES AWAY \\[FX SHOT\\] AFTER NICK BAT. VLADISLAV \\[Off\\]: Whoa! WS VIAGO, STU AND VLADISLAV. VLADISLAV: Oh. Bat fight! VIAGO \\[ON\/OFF\\]: Bat fight! Oh! \\[Laughs\\]. L\/A WS BATS FIGHTING IN SKY. PAN. WS VIAGO, STU AND VLADISLAV. BATS FIGHTING IN TOP OF FRAME.<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>\\[Laughs\\].<\/dialogue>\n    <scene_description>MS BATS FLYING. BAT TRANSFORMS BACK TO DEACON. HE LANDS, GRABS BAT AND THROWS IT. PAN AS BAT HITS DOOR, TRANSFORMS INTO NICK AND FALLS TO GROUND. VLADISLAV ENTERS RIGHT OF FRAME. PAN TO WS VLADISLAV, STU AND DEACON.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>\\[Grunts\\].<\/dialogue>\n    <character>DEACON:<\/character>\n    <dialogue>\\[Grunts\\].<\/dialogue>\n    <scene_description>VLADISLAV \\[OFF\\]: Oh, Deacon. VLADISLAV \\[OFF\\]: That wasn't fair, man. NICK: My fuckin' jacket, man. DEACON \\[OFF\\]: I don't care about your stupid jacket. WS STU, DEACON AND VIAGO. DEACON RUNS \\[AWAY FROM CAMERA\\] JUMPS, TRANSFORMS INTO BAT AND FLIES AWAY. TILT UP.<\/scene_description>\n    <character>VIAGO \\[OFF\\]:<\/character>\n    <dialogue>Deacon...<\/dialogue>\n    <scene_description>STU \\[OFF\\]: Are you okay, mate? MWS NICK, VLADISLAV AND STU. NICK EXITS RIGHT OF FRAME.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. TAKEAWAY BAR. NICK EATS CHIP<\/stage_direction>\n    <scene_description>WS STREET. ZOOM IN TO WS VIAGO, NICK, STU \\[BACK TO CAMERA\\] AND VLADISLAV \\[BACK TO CAMERA\\] SEATED AT TABLE. M2S VIAGO AND NICK. WS VIAGO, NICK, VLADISLAV AND STU SEATED AT TABLE.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>Hey Stu...<\/dialogue>\n    <character>STU:<\/character>\n    <dialogue>Mmm hmm?<\/dialogue>\n    <scene_description>NICK: How's your worms? M2S VIAGO AND NICK. PAN AND TILT TO PLATE OF CHIPS. WS VIAGO, NICK, VLADISLAV AND STU SEATED AT TABLE. ZOOM IN.<\/scene_description>\n    <character>STU:<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>NICK: You're eating worms. NICK: Can you... do that shit where you turn it into worms? VIAGO: Ah, no. It... VLADISLAV: It doesn't work on chips. Only works on things that already look like worms. M2S VIAGO AND NICK. VLADISLAV \\[OFF\\]: Maybe noodles. Do you want some noodles?<\/scene_description>\n    <character>STU \\[OFF\\]:<\/character>\n    <dialogue>Great.<\/dialogue>\n    <scene_description>NICK: Because he knows now. WS VIAGO, NICK, VLADISLAV AND STU SEATED AT TABLE. NICK EATS CHIP. VLADISLAV: Oh no. I wouldn't eat that.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>Why?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT. NICK VOMITS CHIP<\/stage_direction>\n    <scene_description>WS NICK VOMITING. ZOOM OUT TO REVEAL VIAGO WATCHING.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>\\[Vomits\\].<\/dialogue>\n    <scene_description>MS NICK VOMITING. ZOOM OUT TO REVEAL VLADISLAV, VIAGO AND STU WATCHING.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>\\[Vomits\\].<\/dialogue>\n    <scene_description>VLADISLAV \\[OFF\\]: Are you okay, Nick? WS NICK VOMITING. VLADISLAV AND VIAGO WATCHING.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>\\[Grunts\\].<\/dialogue>\n    <character>VIAGO \\[OFF\\]:<\/character>\n    <dialogue>All right?<\/dialogue>\n    <scene_description>MS NICK VOMITING. VIAGO \\[BACK TO CAMERA\\] IN FG.<\/scene_description>\n    <character>NICK \\[ON\/OFF\\]:<\/character>\n    <dialogue>\\[Vomits\\].<\/dialogue>\n    <scene_description>MS VIAGO. VLADISLAV IN BG. MS NICK VOMITING. VIAGO \\[BACK TO CAMERA\\] IN FG. PAN AND TILT TO MCU VIAGO. VIAGO: He ate a chip. MS NICK WALKING. TRACK IN AS HE WALKS \\[AWAY FROM CAMERA\\]. NICK: I can't eat solids now. Great. What, I can't sunbathe, I can't watch daytime TV. I can if I - oh, yeah, I guess I could. MS NICK WALKING \\[AWAY FROM CAMERA\\]. HE TURNS BACK, THEN WALKS \\[AWAY FROM CAMERA\\]. MS NICK WALKING \\[AWAY FROM CAMERA\\]. HE TURNS BACK, THEN WALKS \\[AWAY FROM CAMERA\\]. NICK: More - more than anything it's just the chips. It's my favourite food. I can't eat chips. NICK: This is - I don't - it's just I hate - I'll say it - I'm over being a vampire. It's shit. So don't - don't believe the hype.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JACKIE'S HOUSE - NIGHT. DEACON VISITS JACKIE<\/stage_direction>\n    <scene_description>WS SKY. TILT DOWN AS BAT ENTERS TOP OF FRAME. IT HITS POWER LINE AND LANDS ON CAR. ZOOM IN TO WS DEACON ON GROUND BEHIND CAR. HE STANDS. DEACON: \\[Sniffs, grunts\\]. DEACON \\[V\/O\\]: Jackie! MWS \\[THROUGH WINDOW\\] JACKIE'S CHILDREN WALKING \\[AWAY FROM CAMERA\\]. JACKIE AND DEACON \\[HEADS OUT OF FRAME\\] IN FG. DEACON: Jackie, can I come in please? JACKIE: Okay, off to bed guys. DEACON: Hello children. MS \\[THROUGH WINDOW\\] JACKIE'S HUSBAND AND BABY. JACKIE AND DEACON \\[HEAD OUT OF FRAME\\] IN FG. TILT DOWN TO MS CHILDREN. JACKIE AND DEACON \\[HEAD OUT OF FRAME\\] IN FG. JACKIE: Don't look at the man. Honey, just don't look. Natasha, don't look at the man. DEACON: Hey, little children. M2S JACKIE AND DEACON \\[BACKS TO CAMERA\\]. TILT DOWN TO MS JACKIE'S CHILDREN \\[THROUGH WINDOW\\]. JACKIE \\[HEAD OUT OF FRAME\\] IN FG. M2S JACKIE AND DEACON. DEACON: I was going to bite you tonight. JACKIE: Really? DEACON: But now I can't, because there's this Nick being a vampire. O\/S DEACON, JACKIE IN LEFT FG. PAN. JACKIE: So - sorry, I thought, ah, you killed him two months ago, didn't you? DEACON: No. I didn't. No, he's a vampire. JACKIE: What do you mean? DEACON: He jumped in front of your place. M2S JACKIE AND DEACON. O\/S JACKIE, DEACON IN RIGHT FG. JACKIE INTERVIEW CU JACKIE'S HAND IRONING SHIRT. TILT UP TO MCU JACKIE. JACKIE: All I'm saying is that, um... you know if I had a penis I would've been - I would've been bitten years ago.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JACKIE'S HOUSE - NIGHT. DEACON VISITS JACKIE - CONTINUED<\/stage_direction>\n    <scene_description>O\/S JACKIE, DEACON IN RIGHT FG. ZOOM OUT. DEACON: I may have to penalise you. DEACON: Perhaps another couple of years. Perhaps ten years. Mmm. JACKIE \\[V\/O, ON\\]: Like, one big circle just biting each other's dicks. JACKIE INTERVIEW MCU JACKIE. JACKIE: You know, they don't even wear shirts, they wear blouses. It's just this big homoerotic dick biting club, and I'm stuck here ironing their fuckin' frills. CU BLOUSE IN JACKIE'S HAND. H\/A MWS JACKIE IRONING SHIRT.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JACKIE'S HOUSE - NIGHT. DEACON VISITS JACKIE - CONTINUED<\/stage_direction>\n    <scene_description>O\/S JACKIE, DEACON IN RIGHT FG. DEACON: Also clean the bathroom please. There's blood everywhere. It is gruesome. M2S JACKIE AND DEACON. JACKIE: \\[Breathes heavily\\]. O\/S JACKIE, DEACON IN RIGHT FG. DEACON EXITS LEFT OF FRAME TO CU JACKIE. PAN AS SHE STARTS TO WALK. DEACON: Okay \\[clears throat\\]. See you tomorrow. MS JACKIE WALKING \\[AWAY FROM CAMERA\\] THROUGH DOORWAY. CHILDREN IN BG. JACKIE: Off to bed please.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RITA ANGUS RETIREMENT VILLAGE - NIGHT. VIAGO WATCHES<\/stage_direction>\n    <scene_description>KATHERINE - CONTINUED WS STREET. L\/A WS KATHERINE \\[BACK TO CAMERA\\] IN WINDOW. ZOOM OUT TO WS VIAGO FLYING TOWARDS WINDOW.<\/scene_description>\n    <character>VIAGO \\[V\/O\\]:<\/character>\n    <dialogue>Katherine... she was so charming and nice. She was everything I wanted. Unfortunately, ja, she was married.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - VIAGO SCANS KATHERINE'S PHOTOGRAPH<\/stage_direction>\n    <scene_description>MCU VIAGO TAKING PHOTOGRAPH OUT OF LOCKET. MS VIAGO \\[HEAD OUT OF FRAME\\] PUTTING PHOTOGRAPH ON SCANNER. MS VIAGO \\[HEAD OUT OF FRAME\\] CLOSING LID OF SCANNER. TILT UP TO CU VIAGO. CU BLACK AND WHITE PHOTOGRAPH OF KATHERINE, HUSBAND AND OTHERS ON WEDDING DAY. ZOOM IN.<\/scene_description>\n    <character>VIAGO \\[V\/O\\]:<\/character>\n    <dialogue>Sure I wanted to kill the guy. I thought about chopping his head off, draining him of every drop of blood that he had. Who wouldn't?<\/dialogue>\n    <character>VIAGO \\[V\/O\\]:<\/character>\n    <dialogue>But then I also saw how happy she was...<\/dialogue>\n    <scene_description>MS VIAGO \\[BACK TO CAMERA\\] WATCHING PHOTOGRAPH BEING PRINTED.<\/scene_description>\n    <character>VIAGO \\[V\/O\\]:<\/character>\n    <dialogue>...and that made me, kind of, happy.<\/dialogue>\n    <scene_description>H\/A CU VIAGO \\[BACK TO CAMERA\\] LOOKING AT PHOTOGRAPH OF KATHERINE. VIAGO \\[V\/O\\]: And I didn't want to ruin it for her. So I did the honourable thing, and I just stepped back, and let her live her life. MS VIAGO AT DESK. TILT UP AND PAN AS HE STANDS AND WALKS. MS VIAGO CLOSING CURTAINS. MWS VIAGO IN COFFIN WITH PHOTOGRAPH OF KATHERINE. HE CLOSES LID. LID BOUNCES. BLACK.:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - DAY. ESTABLISHING SHOT<\/stage_direction>\n    <scene_description>WS SUNRISE. CU HOUSE. TIME LAPSE OF DAY PASSING.<\/scene_description>\n    <character>PETYR \\[OFF\\]:<\/character>\n    <dialogue>\\[Screams\\].<\/dialogue>\n    <scene_description>VIAGO \\[OFF\\]: ...coming from Petyr's room. Run. BLACK.:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - DAY. PETYR IS KILLED<\/stage_direction>\n    <scene_description>MCU DEACON \\[BACK TO CAMERA\\]. HE OPENS DOOR. TRACK IN AND PAN TO MWS VIAGO AND DEACON WALKING \\[AWAY FROM CAMERA\\]. TRACK IN AS THEY RUN DOWN HALL. PAN TO BLACK.<\/scene_description>\n    <character>PETYR \\[OFF\\]:<\/character>\n    <dialogue>\\[Screams\\].<\/dialogue>\n    <scene_description>VIAGO: Petyr! Petyr!<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>Petyr!<\/dialogue>\n    <scene_description>VIAGO \\[OFF\\]: Oh, where is it? Petyr!<\/scene_description>\n    <character>PETYR \\[OFF\\]:<\/character>\n    <dialogue>\\[Screams\\].<\/dialogue>\n    <scene_description>BLACK.:<\/scene_description>\n    <character>DEACON \\[OFF\\]:<\/character>\n    <dialogue>Petyr!<\/dialogue>\n    <scene_description>FADE IN MCU VIAGO \\[BACK TO CAMERA\\] TILT DOWN AS HE OPEN HATCH TO H\/A WS PETYR ON FIRE. VIAGO \\[BACK TO CAMERA\\] IN FG. TILT UP AND PAN PAST DEACON TO MCU VLADISLAV. HE TURNS AND RUNS \\[AWAY FROM CAMERA\\].<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>Petyr!<\/dialogue>\n    <character>PETYR:<\/character>\n    <dialogue>\\[Screams\\].<\/dialogue>\n    <scene_description>VIAGO: Oh! Petyr! Get water! Petyr, get out of the sunlight. Water! Get water! Get water! Petyr, get away from the sunlight. VIAGO: Get in the shadows. Petyr, get out of the sunlight.<\/scene_description>\n    <character>PETYR \\[OFF\/ON\\]:<\/character>\n    <dialogue>\\[Screams\\].<\/dialogue>\n    <scene_description>MS DEACON. PAN TO MS VIAGO \\[BACK TO CAMERA\\]. HE EXITS LEFT OF FRAME TO H\/A WS PETYR ON FIRE. TILT UP AND PAN PAST DEACON TO MS VLADISLAV RUNNING. PAN AS HE RUNS. TILT DOWN TO H\/A WS PETYR ON FIRE. VLADISLAV \\[BACK TO CAMERA\\] IN LEFT FG. VLADISLAV SPRAYS WATER. VLADISLAV \\[OFF\/ON\\]: \\[Screams\\]. Get out of my way!<\/scene_description>\n    <character>PETYR \\[OFF\/ON\\]:<\/character>\n    <dialogue>\\[Screams\\].<\/dialogue>\n    <scene_description>DEACON \\[OFF\\]: I'm going in.<\/scene_description>\n    <character>VIAGO \\[OFF\\]:<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>M2S VIAGO RESTRAINING DEACON. TILT DOWN AS THEY FALL TO GROUND. DEACON: I'm coming, Petyr. VIAGO: \\[Grunts\\]. Deacon, no. It's sunlight. DEACON: I'm coming for you. VIAGO \\[ON\/OFF\\]: It's sunlight down there. It's sunlight. It's sunlight. MS VLADISLAV \\[BACK TO CAMERA\\] LOWERING HATCH. TILT UP AS HE STANDS AND TURNS TO MS. PAN AND TILT DOWN TO H\/A MS DEACON AND VIAGO ON FLOOR. VLADISLAV: \\[Breathes heavily\\]. I was too late \\[breathes heavily\\]. VIAGO \\[OFF\/ON\\]: \\[Breathes heavily\\]. WS VLADISLAV. VIAGO AND DEACON ON FLOOR. TRACK BACK. VIAGO: \\[Sobs\\]. VLADISLAV \\[V\/O\\]: Turn that thing off. WS VLADISLAV WALKING PAST VIAGO AND DEACON ON FLOOR. TRACK BACK AS VLADISLAV WALKS TO MCU. HE PLACES HAND OVER CAMERA. VLADISLAV: Our friend has just been killed in a fatal sunlight accident. BLACK.:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WELLINGTON - DAY TO NIGHT. ESTABLISHING SHOT<\/stage_direction>\n    <scene_description>FADE IN WS WELLINGTON CITY. TIME LAPSE DAY TURNING TO NIGHT.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETYR'S ROOM - NIGHT. DEACON AND VLADISLAV INVESTIGATE<\/stage_direction>\n    <scene_description>PETYR'S DEATH CU STAKE IN DEAD VAMPIRE HUNTER'S HAND. TILT UP TO MS DEACON. TILT UP TO WINDOW AND DOWN TO CHARRED REMAINS OF PETYR ON FLOOR, AS DEACON STEPS OVER HIM. TILT UP TO MS DEACON. VLADISLAV \\[HEADS OUT OF FRAME\\] IN BG. PAN TO MS VLADISLAV. TILT DOWN AS VLADISLAV'S HAND MOVES VAMPIRE HUNTER'S JACKET. TILT UP TO M2S VLADISLAV AND DEACON. DEACON \\[OFF\/ON\\]: So this is what I think happened. The Vampire Hunter has broken through the window here... has impacted the table, breaking the table leg. Then he has come this way... towards the tomb \\[gag\\]. Crucifix \\[gags\\] Cover the crucifix \\[gags\\]. VLADISLAV: \\[Gags\\]. DEACON: And then... Petyr has burst from the tomb, pushed the tomb lid onto the Vampire Hunter, and then the sunlight has come through there, and burnt Petyr alive. MWS STAIRCASE. PAN TO CU PETYR'S TOMB. TILT DOWN TO CU TOMB LID. DEACON \\[HEAD OUT OF FRAME\\] IN BG. TILT DOWN TO H\/A MS DEAD VAMPIRE HUNTER ON FLOOR. H\/A MS DEAD VAMPIRE HUNTER ON FLOOR. VLADISLAV \\[HEAD OUT OF FRAME\\] STEPPING OVER HIM. PAN AND TILT TO MWS DEACON. TILT DOWN AND ZOOM IN TO CHARRED REMAINS OF PETYR. VLADISLAV \\[OFF\/ON\\]: I think this is just a table leg, which is... sanded down. Do you think he hand sanded that or...? H\/A MS DEAD VAMPIRE HUNTER ON FLOOR. VLADISLAV \\[HEAD OUT OF FRAME\\] PICKS TO STAKE. DEACON \\[HEAD OUT OF FRAME\\] IN RIGHT OF FRAME. MCU VLADISLAV HOLDING STAKE. MS DEACON. ZOOM OUT TO M2S VLADISLAV AND DEACON LOOKING AT STAKES. DEACON: Yes. Imagine that stuck in your... VLADISLAV: It's a leg. VLADISLAV: Oh. L\/A MS NICK \\[BACK TO CAMERA\\] WALKING DOWN STEPS. VIAGO \\[OFF\/ON\\]: It's quite shocking down here, Nick. Look, here's our sweet Petyr... burnt to a sizzle. MS VIAGO. NICK \\[HEAD OUT OF FRAME\\] IN LEFT OF FRAME. TILT DOWN TO H\/A MS CHARRED REMAINS OF PETYR. VIAGO AND DEACON \\[HEADS OUT OF FRAME\\] IN BG. PAN AND TILT UP M2S NICK AND VIAGO. ZOOM OUT AND TILT DOWN TO MWS VLADISLAV AND VIAGO BESIDE DEAD VAMPIRE HUNTER ON FLOOR. ZOOM IN TO CU DEAD VAMPIRE HUNTER AS VLADISLAV TWISTS HIS HEAD. ZOOM IN TO ECU HAND. NICK \\[OFF\\]: Oh, fuck. Yeah. VLADISLAV: I can't figure out this. Is - is this his front or his back? VIAGO: This is the Vampire Hunter. NICK: Oh, who is this guy?<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>Look at his bloody head on back-to- front. Twist it the other way, the other way.<\/dialogue>\n    <scene_description>VLADISLAV: You don't... VLADISLAV: Oh, this way. VIAGO: See who this guy is here.<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>\\[Grunts\\].<\/dialogue>\n    <scene_description>ECU VLADISLAV'S HAND. ZOOM OUT TO H\/A CU DEAD VAMPIRE HUNTER. VLADISLAV AND VIAGO'S HANDS ON HIS HEAD. VLADISLAV: Mmm. Typical macho type.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>Yuk.<\/dialogue>\n    <character>VLADISLAV:<\/character>\n    <dialogue>Hideous.<\/dialogue>\n    <character>NICK \\[OFF\\]:<\/character>\n    <dialogue>Oh shit.<\/dialogue>\n    <scene_description>PAN AND TILT UP TO MCU NICK. ZOOM OUT. NICK: I know that guy actually. VLADISLAV \\[OFF\\]: You know him?<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>VIAGO \\[OFF\\]:<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>MCU VIAGO. PAN TO MCU NICK. PAN TO MCU VLADISLAV. PAN TO MCU NICK. PAN TO MS VIAGO \\[BACK TO CAMERA\\]. DEACON ENTERS RIGHT OF FRAME. PAN AND TILT AS HE STARTS TO CLIMB STAIRS. NICK'S LEGS EXIT LEFT OF FRAME. NICK: I saw him the other night in town... told him I was a vampire.<\/scene_description>\n    <character>VIAGO \\[OFF\\]:<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>NICK: I thought he was joking, he said he was a vampire hunter. VLADISLAV \\[OFF\\]: You let a vampire hunter into our house? NICK: I didn't let him in. I just gave him my e-mail. He didn't...<\/scene_description>\n    <character>VIAGO \\[OFF\\]:<\/character>\n    <dialogue>Nick!<\/dialogue>\n    <scene_description>DEACON: I will tear out your tongue and shove it down your arse.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>Deacon...<\/dialogue>\n    <character>DEACON:<\/character>\n    <dialogue>\\[Snarls\\].<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - NIGHT. DEACON ATTACKS NICK<\/stage_direction>\n    <scene_description>NICK CLEARS RIGHT OF FRAME TO MS DEACON RUNNING. PAN TO MS DEACON RUNNING \\[AWAY FROM CAMERA\\]. DEACON: \\[Snarls\\] I'm going to kill you. MCU DEACON RUNNING \\[AWAY FROM CAMERA\\]. PAN AND TILT UP TO L\/A WS NICK CLIMBING STAIRS. TILT DOWN TO MS DEACON CLIMBING STAIRS. TRACK IN AND PAN. MS DEACON. HE EXITS LEFT OF FRAME. PAN AROUND CORNER AND TILT DOWN TO H\/A MS NICK AND DEACON ON FLOOR. THEY START TO FIGHT AND CLIMB WALLS.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>\\[Grunts\\].<\/dialogue>\n    <scene_description>DEACON: Tear out your tongue. WS NICK AND DEACON FIGHTING ON CEILING. ZOOM IN. DEACON: Kill Petyr with your big mouth.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>\\[Grunts\\].<\/dialogue>\n    <scene_description>WS NICK AND DEACON FIGHTING ON CEILING. WS NICK AND DEACON ON CEILING. NICK: It was a mistake.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>Get up.<\/dialogue>\n    <scene_description>NICK: Take a breath. DEACON: Get up and stand on the ceiling like a man. WS NICK AND DEACON FIGHTING ON CEILING.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>\\[Growls\\].<\/dialogue>\n    <scene_description>WS NICK AND DEACON FIGHTING ON WALL. NICK STARTS TO EXIT FRAME THROUGH DOORWAY.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT. THERE IS A KNOCK AT THE DOOR<\/stage_direction>\n    <scene_description>WS VIAGO AND VLADISLAV RESTRAINING DEACON. STU IN BG. DEACON: \\[Hisses, growl\\]. MWS VIAGO AND VLADISLAV RESTRAINING DEACON. PAN TO L\/A WS NICK IN CORNER OF CEILING. NICK: We can talk about this, okay? We can talk about it. MWS VIAGO AND VLADISLAV RESTRAINING DEACON. PAN TO L\/A WS NICK IN CORNER OF CEILING. DEACON: I'm going to kill you \\[growls, hisses\\]. NICK: I'm already dead. H\/A MS VIAGO ON TABLE. DEACON \\[HEAD OUT OF FRAME\\] IN MID-AIR. VLADISLAV HOLDING HIS LEG. STU \\[HEAD OUT OF FRAME\\] IN BG.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>MS DEACON. NICK IN BG. NICK: Stu stay back. MS DEACON IN MID-AIR. PAN AND ZOOM IN TO MS STU, DEACON \\[HEAD OUT OF FRAME\\] IN RIGHT FG.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>\\[Growls\\].<\/dialogue>\n    <scene_description>MS NICK IN CORNER OF CEILING. VLADISLAV \\[OFF\\]: Shh. Shh. Shh. Shh. MWS VIAGO AND VLADISLAV RESTRAINING DEACON \\[IN MID-AIR\\]. STU IN BG. VIAGO: There's someone at the door. VIAGO: I'll go. I'll go. CU VIAGO. DEACON AND VLADISLAV IN BG. PAN AS VIAGO WALK. HE EXITS LEFT OF FRAME THROUGH DOORWAY. H\/A MS VLADISLAV HOLDING DEACON'S LEGS. TILT DOWN.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>\\[Hisses\\].<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTRANCE HALL - NIGHT. VISIT FROM THE POLICE<\/stage_direction>\n    <scene_description>H\/A WS VIAGO RUNNING TO DOOR. ZOOM IN. VIAGO OPENS DOOR TO MWS POLICEWOMAN AND POLICEMAN, VIAGO \\[BACK TO CAMERA\\] IN FG. ZOOM IN.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>Oh shit.<\/dialogue>\n    <scene_description>POLICEWOMAN: Yeah, good evening, sir. VIAGO: Hello Police. POLICEWOMAN: Hi, um, I'm Constable O'Leary. This is Constable Minogue. We're just responding to reports of a, um, a possible forced entry, and also a rather large amount of shrieking. Just, um, wondering if maybe we could come in. Just have a wee look around. MWS POLICEWOMAN AND POLICEMAN WALKING THROUGH DOORWAY, VIAGO \\[BACK TO CAMERA\\] IN FG. PAN TO M2S POLICEMAN AND POLICEWOMAN.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>POLICEWOMAN: What's with the - hello - what's with the, um, camera. POLICEWOMAN \\[V\/O, ON\\]: Yeah, obviously we're just here, because, um, there was a phone call from the - a member of the public, um, about a bit of a disturbance. POLICEWOMAN \\[V\/O, ON\\]: Um, some loud noises, possibly a forced entry, wasn't there? MCU POLICEWOMAN. ZOOM OUT TO M2S POLICEMAN AND POLICEWOMAN.<\/scene_description>\n    <character>POLICEMAN:<\/character>\n    <dialogue>Mmm.<\/dialogue>\n    <scene_description>POLICEWOMAN: And, um, and also maybe a bit of smoke coming out. So we're just checking over the scene, making sure everything is, um, you know, above board, so to speak. And, ah, making sure no one is in danger. That kind of thing. MWS VIAGO, POLICEMAN AND POLICEWOMAN. VIAGO EXITS RIGHT OF FRAME. PAN AS POLICEWOMAN AND POLICEMAN WALK. PAN AROUND TO MWS POLICEMAN, POLICEWOMAN AND VIAGO ON STAIRS. POLICEWOMAN: We might go and have a wee look up there, if that's all right with you. Just, you know, part of the job. POLICEMAN: Come on mate. You lead the way.<\/scene_description>\n    <character>POLICEWOMAN:<\/character>\n    <dialogue>Yep.<\/dialogue>\n    <character>VIAGO:<\/character>\n    <dialogue>\\[Laughs\\]. Okay.<\/dialogue>\n    <scene_description>POLICEMAN: Smells a bit weird in here too, mate.<\/scene_description>\n    <character>POLICEWOMAN:<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>POLICEMAN: What do you call that?<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>Barbecue.<\/dialogue>\n    <scene_description>L\/A MWS POLICEMAN, POLICEWOMAN AND VIAGO CLIMBING STAIRS. VIAGO TURNS. VIAGO: You will not notice anything out of the ordinary.<\/scene_description>\n    <character>DEACON \\[OFF\\]:<\/character>\n    <dialogue>\\[Growls\\].<\/dialogue>\n    <scene_description>POLICEWOMAN: No, we - we certainly hope not. Let's just - let's just keep going.<\/scene_description>\n    <character>DEACON \\[OFF\\]:<\/character>\n    <dialogue>\\[Growls\\].<\/dialogue>\n    <scene_description>POLICEWOMAN \\[V\/O, ON\\]: Yeah, hi there, guys.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT. POLICE HAVE A LOOK AROUND<\/stage_direction>\n    <scene_description>TILT UP AS POLICEWOMAN WALKS INTO KITCHEN TO MWS VIAGO AND DEACON \\[IN MID-AIR\\]. POLICEMAN ENTERS RIGHT OF FRAME. PAN AND TILT UP TO L\/A MWS DEACON \\[IN MID-AIR\\] AND NICK \\[IN CORNER OF CEILING\\]<\/scene_description>\n    <character>STU:<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <scene_description>POLICEWOMAN: How are you?<\/scene_description>\n    <character>STU:<\/character>\n    <dialogue>Good.<\/dialogue>\n    <character>POLICEMAN:<\/character>\n    <dialogue>Hey fellas.<\/dialogue>\n    <character>VLADISLAV \\[OFF\\]:<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>POLICEWOMAN \\[OFF\\]:<\/character>\n    <dialogue>Um, is this the, ah, the room we've heard all the shouting coming from?<\/dialogue>\n    <scene_description>CU VIAGO.<\/scene_description>\n    <character>DEACON \\[OFF\/ON\\]:<\/character>\n    <dialogue>That was me.<\/dialogue>\n    <scene_description>MS POLICEWOMAN. PAN AND TILT DOWN TO MS VLADISLAV ON FLOOR, HOLDING DEACON'S LEGS. PAN AND TILT UP TO PROFILE CU POLICEMAN.<\/scene_description>\n    <character>POLICEWOMAN:<\/character>\n    <dialogue>Yeah, okay. We've had a couple of reports, okay. There's a couple of people not that happy about the level of noise here.<\/dialogue>\n    <character>VLADISLAV:<\/character>\n    <dialogue>Okay. The neighbours?<\/dialogue>\n    <character>POLICEMAN \\[OFF\\]:<\/character>\n    <dialogue>You can't keep screaming when<\/dialogue>\n    <scene_description>there's this many people around, mate. You've got neighbours on either side. CU VIAGO.<\/scene_description>\n    <character>VIAGO \\[ON\/OFF, WHISPERS\\]:<\/character>\n    <dialogue>Really nervous. I've hypnotised those cops. I'm not a great hypnotizer, so it could wear off any second.<\/dialogue>\n    <character>VIAGO \\[ON\/OFF, WHISPERS\\]:<\/character>\n    <dialogue>I really hope that those guys don't kill those police, because it will mean more police will come, possibly even Christians, which is totally the last thing we need in this house.<\/dialogue>\n    <character>DEACON \\[OFF\\]:<\/character>\n    <dialogue>Which neighbours complained?<\/dialogue>\n    <character>POLICEMAN \\[OFF\\]:<\/character>\n    <dialogue>Yeah, all right.<\/dialogue>\n    <character>DEACON \\[OFF\\]:<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>MS DEACON \\[IN MID-AIR\\] POLICEMAN AND POLICEWOMAN \\[BACKS TO CAMERA\\] IN FG.<\/scene_description>\n    <character>POLICEWOMAN:<\/character>\n    <dialogue>Just try and keep the noise down, okay? All right.<\/dialogue>\n    <scene_description>CU VIAGO.<\/scene_description>\n    <character>POLICE OFFICER \\[OFF\\]:<\/character>\n    <dialogue>\\[Indistinct\\].<\/dialogue>\n    <character>POLICEWOMAN \\[OFF\/ON\\]:<\/character>\n    <dialogue>I can see you're having a good<\/dialogue>\n    <scene_description>time. End of the day, we've got to keep the, ah, the peace, okay? M2S POLICEMAN AND POLICEWOMAN. ZOOM IN TO MCU POLICEMAN. PAN AROUND TO L\/A MWS NICK IN CORNER OF CEILING. DEACON IN BOTTOM OF FRAME.<\/scene_description>\n    <character>POLICEMAN:<\/character>\n    <dialogue>Whoa whoa whoa.<\/dialogue>\n    <character>POLICEMAN:<\/character>\n    <dialogue>See what I'm seeing?<\/dialogue>\n    <scene_description>POLICEWOMAN \\[OFF\\]: What's that, Minogue? POLICEWOMAN \\[OFF\\]: You're joking. MS VIAGO. DEACON \\[BACK TO CAMERA\\] IN BG. POLICEWOMAN \\[OFF\\]: Not a smoke alarm in sight. L\/A MWS NICK IN CORNER OF CEILING. DEACON IN BOTTOM OF FRAME. POLICEMAN \\[BACK TO CAMERA\\] IN LEFT FG. TILT DOWN TO MS VLADISLAV ON FLOOR, HOLDING DEACON'S LEGS. POLICEMAN: No smoke detectors, mate. Rule Number One, smoke detectors. VLADISLAV: Okay. POLICEWOMAN \\[OFF\/ON\\]: Rule Number Two, maybe not so many barbecues inside. M2S POLICEMAN AND POLICEWOMAN. L\/A MWS NICK IN CORNER OF CEILING. DEACON IN BOTTOM OF FRAME. POLICEMAN \\[BACK TO CAMERA\\] IN LEFT FG. TILT DOWN AS POLICEMAN EXITS RIGHT OF FRAME TO MS VLADISLAV ON FLOOR, HOLDING DEACON'S LEGS. POLICEWOMAN ENTERS RIGHT OF FRAME. POLICEMAN: Sort it out, fellas. DEACON: Okay. POLICEMAN \\[V\/O, ON\\]: Barbette smells really strong down here, doesn't it? POLICEMAN \\[V\/O, ON\\]: What kind of marinade - what kind of marinade did you use?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETYR'S ROOM - NIGHT. POLICE LOOK AROUND PETYR'S ROOM<\/stage_direction>\n    <scene_description>H\/A MS POLICEMAN AND VIAGO. POLICEWOMAN ENTERS BOTTOM OF FRAME \\[BACK TO CAMERA\\]. VIAGO: Yeah. No, this is... POLICEWOMAN \\[OFF\\]: Who is this guy? MWS VLADISLAV, VIAGO, DEACON, POLICEWOMAN AND POLICEMAN. POLICEWOMAN STARTS TO EXIT BOTTOM OF FRAME. VIAGO: Oh. VLADISLAV \\[ON\/OFF\\]: Um, that's a friend who came to our party. H\/A MWS POLICEWOMAN BESIDE DEAD VAMPIRE HUNTER. POLICEWOMAN: Mate, are you right? VIAGO \\[OFF\/ON\\]: He's drunk. MWS VLADISLAV, VIAGO, DEACON AND POLICEMAN. POLICEWOMAN IN BOTTOM OF FRAME. ZOOM IN. POLICEMAN: That's what I thought. He's - yeah... VLADISLAV: Drunk guy. POLICEWOMAN \\[OFF\/ON\\]: Look, you can't just leave him here like that. Okay? This guy is not having a good time. He's going to feel terrible tomorrow morning. MCU POLICEWOMAN. POLICEMAN IN BG. M2S VIAGO AND DEACON. MS VIAGO, DEACON, POLICEMAN AND POLICEWOMAN. PAN. VIAGO: Mmm. DEACON \\[OFF\/ON\\]: Well, his soul is in hell. So don't worry. MWS VLADISLAV, VIAGO, DEACON, POLICEMAN AND POLICEWOMAN. POLICEWOMAN: Well, I don't know where his soul is, but all I'm saying is, where is his blanket? Okay, just check on him in the morning. H\/A MCU DEAD VAMPIRE HUNTER. POLICEMAN \\[OFF\/ON\\]: There's a big slab of concrete on him. MWS VLADISLAV, VIAGO, DEACON, POLICEMAN AND POLICEWOMAN. VIAGO: Yeah. TILT DOWN TO CU TOMB DOOR ON DEAD VAMPIRE HUNTER.<\/scene_description>\n    <character>POLICEMAN \\[OFF\\]:<\/character>\n    <dialogue>Could move that.<\/dialogue>\n    <character>POLICEWOMAN \\[OFF\\]:<\/character>\n    <dialogue>Well, I mean, that - that's not definitely not going to be comfortable. Anything else in here, Minogue?<\/dialogue>\n    <character>VIAGO \\[OFF\\]:<\/character>\n    <dialogue>He likes it.<\/dialogue>\n    <scene_description>M2S POLICEMAN AND POLICEWOMAN.<\/scene_description>\n    <character>POLICEMAN:<\/character>\n    <dialogue>No, I think I've seen enough.<\/dialogue>\n    <character>POLICEWOMAN:<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>POLICEMAN:<\/character>\n    <dialogue>Hang on a minute.<\/dialogue>\n    <scene_description>MCU VIAGO.<\/scene_description>\n    <character>POLICEMAN \\[OFF\\]:<\/character>\n    <dialogue>What have we got here?<\/dialogue>\n    <scene_description>MCU DEACON. H\/A MS CHARRED REMAINS OF PETYR ON FLOOR. VIAGO, DEACON, POLICEMAN AND POLICEWOMAN \\[HEADS OUT OF FRAME\\]. TILT UP TO MWS VLADISLAV, VIAGO, DEACON, POLICEMAN AND POLICEWOMAN.<\/scene_description>\n    <character>POLICEWOMAN \\[OFF\\]:<\/character>\n    <dialogue>Yeah, what is that?<\/dialogue>\n    <character>VIAGO \\[OFF\\]:<\/character>\n    <dialogue>This?<\/dialogue>\n    <character>POLICEMAN:<\/character>\n    <dialogue>This.<\/dialogue>\n    <character>VIAGO:<\/character>\n    <dialogue>Oh this.<\/dialogue>\n    <scene_description>POLICEMAN \\[ON\/OFF\\]: You can see it as clearly as I can. Adhesive, mate. That's a flammable. H\/A MS BUCKETS BESIDE CHARRED REMAINS OF PETYR ON FLOOR. VIAGO, DEACON, POLICEMAN AND POLICEWOMAN \\[HEADS OUT OF FRAME\\]. POLICEMAN'S HAND POINTS TO BUCKETS. TILT UP TO MS VLADISLAV, VIAGO AND DEACON. POLICEMAN'S HAND POINTING TO POWER SOURCE.<\/scene_description>\n    <character>POLICEWOMAN \\[OFF\\]:<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>POLICEMAN \\[OFF\\]: Then you've got a lamp on top of that, directly underneath a power source.<\/scene_description>\n    <character>POLICEWOMAN \\[OFF\\]:<\/character>\n    <dialogue>Gee.<\/dialogue>\n    <scene_description>VIAGO: Oh. That is quite bad, guys. MWS VLADISLAV, VIAGO, DEACON, POLICEMAN AND POLICEWOMAN. POLICEMAN: It's very bad. POLICEWOMAN: It's a very bad combination. POLICEMAN: And no smoke detectors again, are there? VIAGO: No. POLICEWOMAN: No. VLADISLAV: Yes, there are. DEACON: Yes. POLICEMAN: Yes, there are. I see them, yeah. That's good. POLICEWOMAN: Okay, there are. MS DEACON, POLICEMAN AND POLICEWOMAN. PAN. VIAGO \\[OFF\\]: Lots to think about, guys. POLICEWOMAN: Okay. Yeah, lots to think about. Well, shall we carry on? VIAGO \\[OFF\\]: Next flat meeting. Ja? MWS VLADISLAV, VIAGO, DEACON, POLICEMAN AND POLICEWOMAN. POLICEMAN AND POLICEWOMAN STARTS TO CLIMB STAIRS. TILT DOWN TO CU DEAD VAMPIRE HUNTER ON GROUND. POLICEWOMAN: Yeah, good - yeah, good thinking. That's the thing. POLICEWOMAN: Just have a bit of dialogue about it. DEACON: Yes. VIAGO: Okay. VIAGO \\[OFF\/ON\\]: Okay. They've got a really good point. MS VLADISLAV, VIAGO AND DEACON. ZOOM IN TO MCU DEACON. VIAGO IN LEFT EDGE OF FRAME. TILT UP AS HE STARTS TO CLIMB STAIRS. DEACON: Wait. Let's kill them. VIAGO: No. VLADISLAV: Well, let's just see just see what other safety points they have, and then maybe we'll kill them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - NIGHT. THE TRIAL OF NICK OF WELLINGTON<\/stage_direction>\n    <scene_description>MWS NICK. PAINTINGS OF VLADISLAV, DEACON AND VIAGO ON WALL IN BG. MWS VLADISLAV, DEACON AND VIAGO. MWS NICK. PAINTINGS OF VLADISLAV, DEACON AND VIAGO ON WALL IN BG. DEACON \\[OFF\/ON\\]: I call into session this trial of Nick of Wellington. MS VLADISLAV, DEACON AND VIAGO. WS NICK, STU, VLADISLAV, DEACON AND VIAGO. VIAGO SITS. DEACON WALKS AROUND HIM. VIAGO: \\[Clears throat\\]. WS NICK SEATED IN CHAIR. STU SEATED IN BG. ZOOM IN TO MS NICK. VLADISLAV \\[OFF\\]: Read the charges. MS VIAGO SEATED AT TABLE. VLADISLAV AND DEACON \\[HEADS OUT OF FRAME\\] IN BG. VIAGO \\[ON\/OFF\\]: Problems we have with Nick... Number One... you brought a human into our house, which is a big no- no in the vampire world. MWS STU. NICK IN BOTTOM OF FRAME. PAN TO MS VLADISLAV AND VIAGO \\[SEATED\\], DEACON IN RIGHT EDGE OF FRAME. ZOOM OUT TO MWS VLADISLAV, VIAGO \\[SEATED\\] AND DEACON. VLADISLAV \\[OFF\/ON\\]: Stu - Stu is okay, though.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>Yeah. So Stu is fine. So we'll - I guess we'll just cross that one out. Ah...<\/dialogue>\n    <scene_description>PAN TO MS STU HOLDING OUT PEN. TILT DOWN AS VIAGO TAKES PEN. TILT UP TO MCU VLADISLAV. DEACON IN RIGHT FG. VIAGO \\[OFF\\]: Thank you, Stu.<\/scene_description>\n    <character>VLADISLAV \\[OFF\\]:<\/character>\n    <dialogue>Thank you, Stu.<\/dialogue>\n    <character>VIAGO \\[OFF\/ON\\]:<\/character>\n    <dialogue>So... the new Number One, Nick has been telling people he's a vampire. That in turn resulted in... an unwanted visit from a Vampire Hunter. Crime Number Two - this is quite a biggie, Nick. The Vampire Hunter who killed Petyr.<\/dialogue>\n    <scene_description>WS NICK, STU, VLADISLAV, DEACON AND VIAGO. MS STU. DEACON IN RIGHT EDGE OF FRAME. WS NICK, STU, VLADISLAV, DEACON AND VIAGO. MS NICK. MWS VLADISLAV, VIAGO \\[SEATED\\] AND DEACON. MS NICK. STU IN BG.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>Um...<\/dialogue>\n    <character>VIAGO \\[OFF\/ON\\]:<\/character>\n    <dialogue>That's a - that actually should've<\/dialogue>\n    <scene_description>- that should've been Crime Number One. But we wanted to build up to that. MWS VLADISLAV, VIAGO \\[SEATED\\] AND DEACON. MS NICK. STU IN BG.<\/scene_description>\n    <character>VIAGO \\[OFF\/ON\\]:<\/character>\n    <dialogue>Number Three, Deacon doesn't like that you wear the same jackets as him, and he would like you to find your own original style.<\/dialogue>\n    <scene_description>MWS VLADISLAV, VIAGO \\[SEATED\\] AND DEACON. MS NICK. ZOOM OUT.<\/scene_description>\n    <character>VLADISLAV \\[OFF\/ON\\]:<\/character>\n    <dialogue>For these crimes of which, we the Vampire Council find you guilty, you should be banished from our flat indefinitely.<\/dialogue>\n    <scene_description>MWS VLADISLAV, VIAGO \\[SEATED\\] AND DEACON. MCU NICK. WS NICK, STU, VLADISLAV, DEACON AND VIAGO.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>Indefinitely.<\/dialogue>\n    <character>DEACON:<\/character>\n    <dialogue>Indefinitely.<\/dialogue>\n    <scene_description>WS NICK AND STU. DEACON IN RIGHT EDGE OF FRAME. ZOOM IN TO MCU NICK.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>So I can come back... one day.<\/dialogue>\n    <character>DEACON \\[OFF\/ON\\]:<\/character>\n    <dialogue>No, no. Indefinitely means there is no end.<\/dialogue>\n    <scene_description>MWS VLADISLAV, VIAGO \\[SEATED\\] AND DEACON.<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>I thought it was like...<\/dialogue>\n    <character>VIAGO \\[ON\/OFF\\]:<\/character>\n    <dialogue>I just think it... No, indefinite means that's it not a definite thing, it can be changed.<\/dialogue>\n    <scene_description>MS NICK.<\/scene_description>\n    <character>DEACON \\[OFF\\]:<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>MWS VLADISLAV, VIAGO \\[SEATED\\] AND DEACON.<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>Does it though?<\/dialogue>\n    <character>DEACON:<\/character>\n    <dialogue>Yes, but it's long.<\/dialogue>\n    <scene_description>MS NICK.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>It could be tomorrow, it could be six months.<\/dialogue>\n    <character>DEACON \\[OFF\/ON\\]:<\/character>\n    <dialogue>No, it is not tomorrow.<\/dialogue>\n    <character>VLADISLAV \\[OFF\/ON\\]:<\/character>\n    <dialogue>No, it won't be tomorrow.<\/dialogue>\n    <character>VIAGO \\[OFF\/ON\\]:<\/character>\n    <dialogue>No. No.<\/dialogue>\n    <scene_description>WS NICK, STU, VLADISLAV, DEACON AND VIAGO.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>Forget about it. You're banished.<\/dialogue>\n    <character>DEACON:<\/character>\n    <dialogue>It's at least six months.<\/dialogue>\n    <scene_description>VLADISLAV: You're banished. But Stu, you can visit if you like.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>That's it.<\/dialogue>\n    <scene_description>MS STU NICK IN LEFT FG. PAN AND TILT UP AS NICK LEANS FORWARD. PAN AND TILT AS NICK LEANS BACK.<\/scene_description>\n    <character>STU:<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>DEACON \\[OFF\\]: For your crimes... you will be made to suffer... the Procession of Shame. PROFILE CU DEACON. VLADISLAV IN BG. MWS VLADISLAV, DEACON AND VIAGO. VIAGO: I asked them, Nick. I asked them not to pass that sentence. PROFILE CU DEACON. VLADISLAV IN BG. DEACON: We should do this immediately, in my opinion. VLADISLAV: You didn't ask. You didn't ask. You were saying, yes. MWS VLADISLAV, DEACON AND VIAGO. ZOOM OUT. VIAGO: \\[Breathes heavily\\]. VIAGO: I didn't. Well I - I still think it's quite extreme. DEACON: Well, this is what's going to happen... PROFILE CU DEACON. VLADISLAV IN BG. DEACON: Let us do the Procession of Shame... now. WS NICK SEATED IN CHAIR. VLADISLAV \\[V\/O\\]: Shame! DEACON \\[V\/O, ON\\]: Shame! Shame! Shame!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - NIGHT. THE PROCESSION OF SHAME<\/stage_direction>\n    <scene_description>WS DEACON, VIAGO AND VLADISLAV WALKING AROUND NICK. STU IN BG. VIAGO: Shame! Shame! Shame! VLADISLAV: Shame! MS VIAGO AND VLADISLAV WALKING AROUND NICK. DEACON ENTERS RIGHT OF FRAME IN BG. VLADISLAV: Shame! VIAGO: Bad Vampire! WS NICK, VIAGO, DEACON AND VLADISLAV. STU IN BG. PAN AS NICK AND STU WALK. DEACON: Shame! NICK: Shall we go, Stu? VIAGO \\[Whispers\\]: Bye Stu. MWS VIAGO, DEACON AND VLADISLAV. ZOOM IN TO MCU VIAGO. WS NICK AND STU AT GATE. ZOOM IN TO MS NICK. STU EXITS FRAME IN BG. M2S VIAGO, DEACON AND VLADISLAV. PAN AS THEY WALK. WS VIAGO, DEACON AND VLADISLAV WALKING \\[AWAY FROM CAMERA\\] THROUGH GATE. VLADISLAV: That was a shame.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - NIGHT. JACKIE CLEANS THE BATHROOM<\/stage_direction>\n    <scene_description>CU JACKIE'S GLOVED HANDS WIPING BLOOD FROM FLOOR. H\/A WS JACKIE WIPING BLOOD FROM FLOOR. SHE SITS AND LOOKS AROUND. FADE TO BLACK. JACKIE: \\[Sighs\\] BLACK.: TITLE: Several Months Later BLACK.: DEACON \\[V\/O, ON\\]: So today we have the invitation... to the big event of the year.<\/scene_description>\n    <character>VIAGO \\[V\/O\\]:<\/character>\n    <dialogue>\\[Sighs\\].<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - NIGHT. ESTABLISHING SHOT<\/stage_direction>\n    <scene_description>FADE IN MS HOUSE. VIAGO \\[V\/O\\]: ...to the... VIAGO \\[V\/O\\]: Breaking it open.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - NIGHT. UNHOLY MASQUERADE INVITATION<\/stage_direction>\n    <scene_description>CU VIAGO'S HANDS OPENING ENVELOPE. TILT UP AS HE LIFTS ENVELOPE UP. DEACON \\[OFF\\]: They have burnt the edges. VIAGO \\[OFF\\]: Like a treasure map or something. CU VIAGO'S HANDS TAKING INVITATION OUT OF ENVELOPE. VLADISLAV \\[OFF\\]: It looks very authentic, doesn't it? MWS VIAGO AND DEACON SEATED AT TABLE. VLADISLAV IN BG. VIAGO: \"Dearly departed...\" That's us \\[laughs\\]. \"The Wellington Vampire Association in conjunction with the Lower Hutt Vampire Witch Club and the Karori Zombie Society invites you to attend the Unholy Masquerade on the night of the 6th of June. Starting at six PM.\" CU INVITATION IN VIAGO'S HANDS. TILT DOWN. MWS VIAGO AND DEACON SEATED AT TABLE. VLADISLAV IN BG. VIAGO: Six six six.<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>Oh yeah.<\/dialogue>\n    <scene_description>DEACON: There's only two sixes. VLADISLAV \\[V\/O, ON\\]: The Unholy Masquerade, of course, is a great time for the undead community of Wellington. There's zombies there, vampires, banshees, all having a dance together. It's always a big deal for me. VLADISLAV INTERVIEW MCU VLADISLAV. CU PHOTOGRAPH OF PETYR HOLDING MASK. PAN TO CU PAINTING OF WOMAN. CU PHOTOGRAPH OF DEACON \\[IN MID-AIR\\] VLADISLAV IN FG. OTHERS IN BG. CU PHOTOGRAPH OF DEACON, VLADISLAV AND VIAGO. ZOOM OUT. MS VLADISLAV.<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>Love it.<\/dialogue>\n    <character>VIAGO \\[V\/O, ON\\]:<\/character>\n    <dialogue>One year I went to the Unholy Masquerade dressed as Whoopi Goldberg from, ah, Sister Act I and Sister Act II Back in the Habit. It didn't go down so well because she was a nun \\[laughs\\]. We - vampires don't like nuns.<\/dialogue>\n    <scene_description>DEACON and VIAGO INTERVIEW MWS DEACON AND VIAGO. MCU VIAGO. CU PHOTOGRAPH OF VIAGO DRESSED AS NUN. MWS DEACON AND VIAGO. VLADISLAV INTERVIEW MCU VLADISLAV HOLDING UP MASK.<\/scene_description>\n    <character>VLADISLAV \\[V\/O, ON\\]:<\/character>\n    <dialogue>Of course the big deal of the Unholy Masquerade is every year they announce a Guest of Honour, and, um, I don't know if I should be saying this, but... I heard a little rumour that the Guest of Honour this year... might be me.<\/dialogue>\n    <scene_description>MS VLADISLAV WEARING MASK. MS VLADISLAV WEARING MASK. MS VLADISLAV WEARING MASK.<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>\\[Growls\\].<\/dialogue>\n    <scene_description>MCU VLADISLAV.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT. UNHOLY MASQUERADE INVITATION -<\/stage_direction>\n    <scene_description>CONTINUED CU VIAGO. ZOOM OUT TO M2S VIAGO AND DEACON. DEACON: The location... VLADISLAV \\[OFF\\]: Oh where - yeah, where is it? VIAGO: Oh the, um... DEACON: Oh the, um, the - the Cathedral of Despair. VIAGO: Oh, the location... CU VIAGO. DEACON IN RIGHT EDGE OF FRAME. VIAGO: And the Guest of Honour will be... MWS VIAGO AND DEACON SEATED AT TABLE. VLADISLAV IN BG. VIAGO HANDS INVITATION TO VLADISLAV.<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>Who is it? Show me.<\/dialogue>\n    <scene_description>CU VLADISLAV READING INVITATION.<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>\\[Breathes heavily\\]. Mmm.<\/dialogue>\n    <scene_description>MWS VIAGO AND DEACON SEATED AT TABLE. VLADISLAV IN BG. VLADISLAV EXITS LEFT OF FRAME. TILT DOWN AND ZOOM IN TO H\/A M2S VIAGO AND DEACON.<\/scene_description>\n    <character>VLADISLAV \\[OFF\/ON\\]:<\/character>\n    <dialogue>\\[Breathes heavily\\]. Okay. Okay. Okay. Okay, that's fine. That's fine.<\/dialogue>\n    <character>VIAGO:<\/character>\n    <dialogue>Okay?<\/dialogue>\n    <character>VLADISLAV \\[OFF\\]:<\/character>\n    <dialogue>I can't believe it!<\/dialogue>\n    <scene_description>H\/A M2S VIAGO AND DEACON.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>Ah, Vladislav has... just had a reaction to the information that the Guest of Honour will be, um, The Beast.<\/dialogue>\n    <character>VLADISLAV \\[OFF\\]:<\/character>\n    <dialogue>No! \\[Screams, shouts et cetera\\]<\/dialogue>\n    <scene_description>CU VIAGO. CU PHOTOGRAPH OF CREATURE. VLADISLAV INTERVIEW H\/A MCU VLADISLAV IN COFFIN. VLADISLAV: The darkest part of my mind is reserved for The Beast. DEACON and VIAGO INTERVIEW MWS DEACON AND VIAGO. VIAGO: We could tell you a thing or two about The Beast. M2S VLADISLAV AND STU SEATED AT TABLE. VLADISLAV: You should pray that you never have to see The Beast. MS VLADISLAV WITH DRAWING OF BEAST. VLADISLAV: This one is called The Beast. VLADISLAV \\[V\/O, ON\\]: And I said, \"Get your hands off my balls, Beast!\" M2S WOMAN AND VLADISLAV. MWS DEACON AND VIAGO. DEACON: He may have told you some stories about his great battle with The Beast. VIAGO \\[ON\/OFF\\]: Yeah. \"Oh, I fought The Beast on a cliff.\" \"Oh, I fought The Beast in a swamp.\" MCU DEACON. PAN TO MCU VIAGO.<\/scene_description>\n    <character>DEACON \\[OFF\/ON\\]:<\/character>\n    <dialogue>Mmm. Or he...<\/dialogue>\n    <character>VIAGO:<\/character>\n    <dialogue>\"And then one time I fought The Beast in the toilets of a nightclub.\"<\/dialogue>\n    <scene_description>MWS DEACON AND VIAGO. MS DEACON. VIAGO IN RIGHT EDGE OF FRAME.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>Difficult battle.<\/dialogue>\n    <scene_description>VLADISLAV INTERVIEW H\/A MWS VLADISLAV IN COFFIN.<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>I hope you never see The Beast.<\/dialogue>\n    <scene_description>H\/A MCU VLADISLAV IN COFFIN.<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>The Beast...<\/dialogue>\n    <scene_description>CU DRAWING OF CREATURE. ECU DRAWING OF CREATURE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - NIGHT. ESTABLISHING SHOT<\/stage_direction>\n    <scene_description>WS HOUSE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - NIGHT. GETTING READY FOR THE UNHOLY MASQUERADE<\/stage_direction>\n    <scene_description>MS VIAGO IN COSTUME. DEACON IN LEFT EDGE OF FRAME. VLADISLAV \\[BACK TO CAMERA\\] IN BG. ZOOM OUT. DEACON: You can't go to the ball as Blade. He's a vampire hunter. O\/S DEACON, VIAGO IN RIGHT FG. VIAGO \\[OFF\\]: Yeah, but vampires love Wesley Snipes, so it's... DEACON \\[ON\/OFF\\]: No, it's inappropriate. Okay Vlad, the green jodhpurs, or the black leather with the dragon belt? I'm having a male crisis here. O\/S VIAGO, DEACON IN LEFT FG. PAN TO MS VIAGO. TILT DOWN. MS DEACON \\[HEAD OUT OF FRAME\\] HOLDING TROUSERS. TILT UP TO MS DEACON. M2S DEACON AND VIAGO WITH TROUSERS. VLADISLAV \\[BACK TO CAMERA\\] IN BG. VLADISLAV: Just wear the pants you're going to wear - which wants do you want to wear? VIAGO: Just look at the pants, Vlad. Turn around and look at them. DEACON: Look at the pants. Look at the pants. VLADISLAV: They're just pants.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>Shit, man!<\/dialogue>\n    <character>DEACON:<\/character>\n    <dialogue>Holy shit!<\/dialogue>\n    <scene_description>M2S DEACON AND VIAGO WITH TROUSERS. VLADISLAV \\[BACK TO CAMERA\\] IN BG. ZOOM OUT TO MS VLADISLAV \\[AGED\\]. PAN TO MCU VLADISLAV \\[AGED\\]. VIAGO \\[OFF\\]: Oh, you look terrible. VLADISLAV: The black pants. WS VLADISLAV \\[AGED\\] DEACON AND VIAGO IN FG. DEACON: Thank you. Get dressed. VLADISLAV: I don't know if I feel up to it really. O\/S VLADISLAV \\[AGED\\], DEACON IN LEFT FG. VIAGO \\[OFF\\]: You don't look that great, but if you eat someone on the way, and rejuvenate a little bit... MWS DEACON, VLADISLAV \\[AGED\\] AND VIAGO. VLADISLAV: I'm fine. I just... O\/S VLADISLAV \\[AGED\\], VIAGO IN RIGHT FG. PAN AND TILT TO CU DEACON.<\/scene_description>\n    <character>DEACON \\[OFF\\]:<\/character>\n    <dialogue>You could probably wear a mask or something.<\/dialogue>\n    <scene_description>VLADISLAV \\[OFF\/ON\\]: You leave me to do my dark bidding on the Internet. CU VLADISLAV \\[AGED\\]. MWS DEACON, VLADISLAV \\[AGED\\] AND VIAGO. VIAGO: What are you bidding on? VLADISLAV: I'm bidding on a table. MWS DEACON, VLADISLAV \\[AGED\\] AND VIAGO. VIAGO: Are you coming or not?<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>Not.<\/dialogue>\n    <scene_description>VIAGO: All right. I'm gonna go change. We're leaving in ten minutes. MWS DEACON AND VLADISLAV \\[BACK TO CAMERA\\]. DEACON EXITS LEFT OF FRAME.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>\\[Sighs\\].<\/dialogue>\n    <scene_description>VLADISLAV: Have a good time.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. THE CATHEDRAL OF DESPAIR - NIGHT. THE UNHOLY<\/stage_direction>\n    <scene_description>MASQUERADE WS BALL ATTENDEES WALKING \\[AWAY FROM CAMERA\\] TOWARDS VENUE. FADE IN TITLE \\[SUPERED\\]: The Cathedral of Despair BALL ATTENDEES \\[OFF\/ON\\]: \\[General chatter\\]. MS VIAGO AND DEACON WALKING. TRACK IN AS THEY WALK INTO VENUE TO WS BALL ATTENDEES. MWS VAMPIRE WITCH, DEACON AND VIAGO. BALL ATTENDEES IN BG. VAMPIRE WITCH: Hello \\[laughs\\]. DEACON: Great! M2S CHILD VAMPIRES. BALL ATTENDEES IN BG. CU ZOMBIE. OTHER ZOMBIE IN BG. WS MORANA \\[IN MID-AIR\\] AND BALL ATTENDEES DANCING. M2S ZOMBIE AND VIAGO. BALL ATTENDEES IN BG. ZOOM IN TO MCU ZOMBIE. ZOMBIE: We - we tend to often, you know, without getting into that, kind of \\[makes zombie noise\\] stuff, which I'm really sick of that. But, you know, it - it's just - it's harder for us to actually chase people down. ZOMBIE: Can I - can I introduce, um, ah, Gary - Gary and Alicia? They're - they're, um... BALL ATTENDEES CLEARS LEFT FG TO O\/S VIAGO, ZOMBIE IN LEFT FG.<\/scene_description>\n    <character>ZOMBIE GARY \\[OFF\\]:<\/character>\n    <dialogue>\\[Grunts\\].<\/dialogue>\n    <scene_description>MWS ZOMBIES AND VIAGO. BALL ATTENDEES IN BG. VIAGO: Hi. How are you? ZOMBIE: They're - hi, there \\[stutters\\]. Less groaning. Less groaning guys.<\/scene_description>\n    <character>ZOMBIE GARY:<\/character>\n    <dialogue>\\[Groans\\]<\/dialogue>\n    <scene_description>VIAGO: Hi, how it going? Yeah. CU BANNER \"WVS AND LHVWC WELCOMES YOU TO THE UNHOLY MASQUERADE\". TILT DOWN TO WS BALL ATTENDEES. DEACON \\[OFF\/ON\\]: So we're at the Unholy Masquerade. It's great. This is my mask... CU DEACON. JACKIE IN BG. DEACON TURNS TO O\/S JACKIE, DEACON IN LEFT FG. BALL ATTENDEES IN BG. DEACON: ...which I made for the occasion. JACKIE: Ah! \\[Laughs\\]. Yeah \\[laughs\\]. DEACON: Hey... Jackie. DEACON: This undead party. JACKIE: \\[Laughs\\]. Yeah, I'm a vampire. DEACON: You'll have your... JACKIE: I'm a vampire. M2S DEACON AND JACKIE. BALL ATTENDEES IN BG.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>Now...<\/dialogue>\n    <scene_description>JACKIE: I'm a vampire \\[laughs\\]. Yeah, yeah.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>Great.<\/dialogue>\n    <scene_description>M2S DEACON AND JACKIE. BALL ATTENDEES IN BG. DEACON: So, um, who bit you?<\/scene_description>\n    <character>JACKIE:<\/character>\n    <dialogue>Oh, Nick.<\/dialogue>\n    <character>DEACON:<\/character>\n    <dialogue>Oh great.<\/dialogue>\n    <character>JACKIE:<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>DEACON \\[ON\/OFF\\]: Right, okay. PAN TO MWS NICK AND VIAGO. BALL ATTENDEES IN FG AND BG.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>Deacon!<\/dialogue>\n    <scene_description>MS DEACON, VIAGO AND NICK. BALL ATTENDEES IN BG. DEACON: It's pretty rude because she was my servant. MCU VIAGO. NICK IN RIGHT FG. PAN TO CU DEACON. VIAGO IN BG. BALL ATTENDEES IN BG. VIAGO: She was a pretty useless servant. I wouldn't worry about it. DEACON \\[OFF\/ON\\]: Yes, but, ah, still. I would've been - appreciated if you had asked... unlike some of these people. MS DEACON AND VIAGO. NICK IN RIGHT EDGE OF FRAME. BALL ATTENDEES IN BG.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>How's Stu?<\/dialogue>\n    <scene_description>MS DEACON, VIAGO AND NICK. BALL ATTENDEES IN BG. PAN AND PULL FOCUS TO WS STU. DEACON AND VIAGO IN FG. NICK: Stu's good. He's there. VIAGO: Oh, he's here.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>Stu!<\/dialogue>\n    <character>NICK:<\/character>\n    <dialogue>Stu!<\/dialogue>\n    <scene_description>VIAGO \\[V\/O, ON\\]: Hi! How are you? DEACON \\[V\/O, ON\\]: Hey \\[laughs\\]. Hey \\[laughs\\]. MWS STU, VIAGO AND DEACON. THEY EMBRACE. BALL ATTENDEES IN BG. STU: Nice to see you. \\[Laughs\\]. Group hug \\[laughs\\].<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>Oh! Yes.<\/dialogue>\n    <scene_description>BALL ATTENDEES CLEARS LEFT OF FRAME TO MS NICK, DEACON AND VIAGO. BALL ATTENDEES IN BG. PAN TO M2S VIAGO AND STU. DEACON: Has anyone looked at you like they want to eat you at all?<\/scene_description>\n    <character>STU \\[OFF\\]:<\/character>\n    <dialogue>Ah, no.<\/dialogue>\n    <scene_description>MS VIAGO, STU AND DEACON. BALL ATTENDEES IN BG. VAMPIRE WITCH \\[OFF\\]: Can you hear me at the back? WS BALL ATTENDEES. VAMPIRE WITCH \\[OFF\/ON\\]: On behalf of the Wellington Vampire Society, ah, the Lower Hutt Vampire and Witch Club, and the Karori Zombie Society, ah, we welcome you here tonight. We're raffling a live meat pack this year. Ah, you can inspect the prize over here to my left. It's a wonderful prize. Tickets are only $10 each, or $45 for a book of five. WS VAMPIRE WITCH AT MICROPHONE. VIAGO \\[BACK TO CAMERA\\] IN FG. MS BALL ATTENDEES. MS BALL ATTENDEE. OTHERS IN BG. WS VAMPIRE WITCH AT MICROPHONE. VIAGO \\[BACK TO CAMERA\\] IN FG. ZOOM IN. M2S ZOMBIES. PAN TO M2S ZOMBIES. M2S PAULINE AND JULIAN. BALL ATTENDEES IN FG AND BG. MCU VAMPIRE WITCH AT MICROPHONE. JULIAN AND BALL ATTENDEES IN BG. PAN. MS MAN IN CAGE. BALL ATTENDEES IN FG.<\/scene_description>\n    <character>BALL ATTENDEES:<\/character>\n    <dialogue>\\[Murmur\\].<\/dialogue>\n    <character>MAN IN CAGE:<\/character>\n    <dialogue>No...<\/dialogue>\n    <scene_description>MWS MAN IN CAGE. BALL ATTENDEES IN FG. VAMPIRE WITCH \\[OFF\/ON\\]: Now without further ado, it's my very great pleasure to introduce to you this year's Guest of Honour... Pauline Ivanovich. MS VAMPIRE WITCH AT MICROPHONE. BALL ATTENDEES IN FG. MS BALL ATTENDEES. NICK IN FG. MS JACKIE, MORANA AND BALL ATTENDEES. WS VAMPIRE WITCH AT MICROPHONE. VIAGO AND DEACON \\[BACKS TO CAMERA\\] IN FG. MS VAMPIRE WITCH AT MICROPHONE. BALL ATTENDEES IN FG. VAMPIRE WITCH EXITS RIGHT OF FRAME, AS PAULINE ENTERS RIGHT OF FRAME. JULIAN ENTER RIGHT OF FRAME IN BG. BALL ATTENDEES: \\[Cheer, et cetera\\].<\/scene_description>\n    <character>PAULINE:<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>PAULINE: Thank you. Thank you. Thank you. WS PAULINE AND JULIAN ON STAGE. VIAGO AND DEACON IN FG. VIAGO: That's The Beast. VLADISLAV INTERVIEW MS VLADISLAV \\[AGED\\]. VLADISLAV: The Beast is, ah, the name I give to my ex-girlfriend, Pauline. She prefers Pauline. We had a very intense relationship. We were very sexually explosive. MCU VLADISLAV \\[AGED\\]. CU BLACK AND WHITE DRAWING OF WOMAN SEATED ON MAN'S BACK. ZOOM IN. VLADISLAV \\[V\/O, ON\\]: Last time I saw her she impaled me, and called me an arsehole. She said... all kinds of things that really hurt me, and all this while I was impaled on a lamppost. CU BLACK AND WHITE PHOTOGRAPH OF VLADISLAV AND PAULINE. ZOOM IN. MCU VLADISLAV. MS VLADISLAV. PAULINE \\[V\/O\\]: Well everyone, I will be mingling around, and I really hope that I will meet... all of you.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CATHEDRAL OF DESPAIR - NIGHT. THE UNHOLY MASQUERADE -<\/stage_direction>\n    <scene_description>CONTINUED M2S PAULINE AND JULIAN AT MICROPHONE. WS PAULINE AND JULIAN ON STAGE. VIAGO IN FG. BALL ATTENDEES: \\[Laugh, general chatter\\]. CU FOOD TABLE. MS BALL ATTENDEE, VIAGO AND NICK. CU BALL ATTENDEE. WS STU, VIAGO AND BALL ATTENDEES DANCING. WS STU, NICK AND BALL ATTENDEES DANCING. PAN TO WS MIRROR. IN REFLECTION ZOMBIE AND STU DANCING. MS PAULINE AND BALL ATTENDEES. PAN AS SHE WALKS.<\/scene_description>\n    <character>PAULINE:<\/character>\n    <dialogue>Hello...<\/dialogue>\n    <scene_description>VIAGO \\[OFF\\]: That's her new guy. Do you know what - what kind of vampire he is - if he is a vampire? MS JULIAN AND PAULINE. JACKIE AND BALL ATTENDEES IN BG. BALL ATTENDEE CLEARS RIGHT FG TO MCU JULIAN. DEACON \\[OFF\\]: Did you see his face? MS PAULINE, MORANA AND JACKIE. BALL ATTENDEES IN BG.<\/scene_description>\n    <character>PAULINE:<\/character>\n    <dialogue>Hello. Oh.<\/dialogue>\n    <scene_description>MCU STU DANCING, PAULINE IN BG. PAN AS PAULINE WALKS TO MS PAULINE. DEACON AND VIAGO IN RIGHT EDGE OF FRAME. BALL ATTENDEES IN BG. PAULINE: Oh, oh. Hello. VIAGO: Hi. How are you? MWS PAULINE, JULIAN, DEACON AND VIAGO. BALL ATTENDEES IN BG. VIAGO: This is Deacon. M2S PAULINE AND JULIAN. PAN TO MS PAULINE, JULIAN, DEACON AND VIAGO. BALL ATTENDEES IN BG. PAULINE: Hello Deacon. MWS STU, PAULINE, JULIAN, DEACON AND VIAGO. BALL ATTENDEES IN BG. ZOOM IN TO MS STU, PAULINE AND JULIAN. VIAGO: This is Stu, our friend.<\/scene_description>\n    <character>PAULINE:<\/character>\n    <dialogue>Stu?<\/dialogue>\n    <character>STU:<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>JULIAN: G'day, Stu. How are you, mate? PAULINE: \\[Gasps\\]. Whoa.<\/scene_description>\n    <character>STU:<\/character>\n    <dialogue>Good, hi.<\/dialogue>\n    <character>JULIAN:<\/character>\n    <dialogue>Julian.<\/dialogue>\n    <scene_description>STU: Stu. Julian, hello. PAULINE: You've got really warm hands, Stu.<\/scene_description>\n    <character>JULIAN:<\/character>\n    <dialogue>Good.<\/dialogue>\n    <scene_description>MWS STU, PAULINE, JULIAN, DEACON AND VIAGO. BALL ATTENDEES IN BG. PAULINE: Are you - you a demon? VIAGO: No, he's not a demon \\[laughs\\]. STU: No, no. I'm a software analyst. I... M2S STU AND PAULINE. BALL ATTENDEES IN BG. MWS STU, PAULINE, JULIAN, DEACON AND VIAGO. BALL ATTENDEES IN BG. VIAGO: Hey, Stu... Stu... JULIAN: A male witch? You're a male witch. STU: It's, kind of, a technical... VIAGO: Stu... you should go dance, um, with anyone. MS STU AND VIAGO. PAULINE, DEACON AND JULIAN IN BG. PAN. STU EXITS RIGHT OF FRAME. PAN TO MS PAULINE, JULIAN AND VIAGO. STU: Sure. VIAGO: Okay. Take your time. PAULINE: I like Stu. He's not vampire. So he - what - he's a zombie or... MS PAULINE, JULIAN, DEACON AND VIAGO. BALL ATTENDEES IN BG. JULIAN: Male witch? M2S PAULINE AND JULIAN. DEACON IN RIGHT EDGE OF FRAME. VIAGO: He's not - he's not a - he's neither. He's, ah, he's more of a human. MS JACKIE AND MORANA \\[BACKS TO CAMERA\\]. VIAGO CROSSES BG RIGHT TO LEFT. BALL ATTENDEES IN FG AND BG. VIAGO: Excuse me. Excuse me. Hi. Nick. Hey. Um, Nick... PAN TO MS VIAGO \\[BACK TO CAMERA\\]. NICK IN BG. DEACON AND BALL ATTENDEE IN FG. O\/S DEACON AND NICK, VIAGO IN RIGHT FG. BALL ATTENDEES IN BG. DEACON: Do you mind if Stu is killed? MS NICK, DEACON AND VIAGO. BALL ATTENDEES IN BG. NICK: Ah... I don't feel that good about it. M2S STU AND ZOMBIE. ZOMBIE: Can - can I just ask you a, ah, a, you know, like a - a personal question? Are you - are you, um... STU: Sure. ZOMBIE: \\[Sniffs\\] are you - are you - are you pre-deceased? MCU ZOMBIE. PAN TO MCU STU. STU: Ah... NICK \\[V\/O, ON\\]: If anyone is going to eat him, it's going to be us. But we're not - we - we - we're past that. They can just go fuck themselves. MS VIAGO, NICK AND DEACON. BALL ATTENDEES IN BG. BALL ATTENDEES CLEARS RIGHT FG TO MS DEACON, NICK AND VIAGO. O\/S DEACON AND NICK, VIAGO IN RIGHT FG. BALL ATTENDEES IN BG. DEACON: Nick, it is your fault, okay? You brought a human into this den of vampiressness. MS VIAGO, NICK AND DEACON. BALL ATTENDEES IN BG. NICK: What a plus one. VIAGO: That's not - not helping. Yes, you did. NICK: My plus one. M2S STU AND ZOMBIE. TILT UP AS STU STANDS. HE STARTS TO EXIT RIGHT OF FRAME. STU: Lovely talking to you. I've got to shoot off now. See you later on. ZOMBIE: \\[Sniffs, groans\\]. MS ZOMBIE. TILT UP AS HE STANDS. ZOOM OUT. VIAGO \\[OFF\\]: As soon as one vampire takes a bite, it's a... blood frenzy. O\/S DEACON AND NICK, VIAGO IN RIGHT FG. BALL ATTENDEES IN FG AND BG.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>A frenzy.<\/dialogue>\n    <scene_description>MS VIAGO, NICK AND DEACON. NICK: Okay, we've got to get him out. O\/S DEACON AND NICK, VIAGO IN RIGHT FG. BALL ATTENDEES IN BG. VIAGO TURNS. VIAGO: Okay, let's - okay, let's go... DEACON: Follow me. Follow me. MS DEACON, VIAGO AND NICK. BALL ATTENDEES IN BG. TRACK BACK AS DEACON WALKS. VIAGO AND NICK FOLLOW. VIAGO: Excuse me. Sorry, guys. M2S JULIAN AND PAULINE. BALL ATTENDEES IN FG AND BG. VIAGO \\[OFF\/ON\\]: Okay, Stu. Put that over you bloody red face. MS VIAGO, NICK \\[BACK TO CAMERA\\] AND DEACON. PAN TO MS STU AND VIAGO. NICK \\[BACK TO CAMERA\\] IN RIGHT FG. BALL ATTENDEES IN BG. DEACON \\[OFF\\]: And pretend you're a vampire. MS STU, DEACON AND VIAGO. BALL ATTENDEES IN FG AND BG. TRACK AS NICK, STU, DEACON AND VIAGO WALK PAST BALL ATTENDEES DEACON IS STOPPED BY ZOMBIES. DEACON: Just going out. NICK: Going outside for a cigarette.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>Oh, hey.<\/dialogue>\n    <scene_description>WS NICK, VIAGO, STU AND DEACON \\[BACKS TO CAMERA\\]. BALL ATTENDEES IN BG. THEY TURN. VIAGO: Okay, not that way. Not that way.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>Um.<\/dialogue>\n    <scene_description>DEACON: This way. This way.<\/scene_description>\n    <character>PAULINE \\[OFF\\]:<\/character>\n    <dialogue>\\[Laughs\\].<\/dialogue>\n    <scene_description>MWS STU, VIAGO, DEACON AND \\[BACKS TO CAMERA\\]. ZOMBIE IN FG. PAN AS THEY TURN. VIAGO: Is there another way? Oh. DEACON: Not - not this way. MS VIAGO, STU AND DEACON. ZOMBIE IN FG. PAN TO MWS NICK, VIAGO, STU AND DEACON. ZOMBIE WALKS \\[AWAY FROM CAMERA\\] TOWARDS THEM. DEACON: Back away from the vampires.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>Guys...<\/dialogue>\n    <scene_description>PAULINE \\[OFF\/ON\\]: Excuse me everyone. Can I have your attention please? PAN TO M2S JULIAN AND PAULINE. BALL ATTENDEES IN FG AND BG.<\/scene_description>\n    <character>JULIAN:<\/character>\n    <dialogue>Shh.<\/dialogue>\n    <scene_description>WS NICK, DEACON, STU AND VIAGO IN CIRCLE OF BALL ATTENDEES. PAULINE WALKS \\[AWAY FROM CAMERA\\] TOWARDS THEM. PAULINE: Some of the vampires forget Unholy Masquerade rules. They brought a human. MS PAULINE. BALL ATTENDEES IN FG AND BG. PAN AS SHE WALKS. MWS DEACON, NICK, STU AND VIAGO. BALL ATTENDEES IN BG. PAULINE ENTERS RIGHT OF FRAME. ZOOM OUT. MS PAULINE WALKING. PAN AS SHE WALKS TO NICK, STU, DEACON AND VIAGO. BALL ATTENDEES IN BG. PAN TO MS PAULINE. JULIAN AND BALL ATTENDEES IN BG. BALL ATTENDEES \\[OFF\/ON\\]: \\[Murmur, hiss\\] PAULINE: And they don't let us to feast on him \\[laughs\\]. MWS NICK, DEACON, STU AND VIAGO. VAMPIRE WITCH, MORANA, JACKIE AND BALL ATTENDEES IN BG. ZOOM IN AND PAN. VIAGO: This is a total misunderstanding. There was - on the invitation - and this actually pertains to you. The invitation - it said, plus one. But it did not specify it could be a human, or if it could be a werewolf... MS VIAGO. STU AND DEACON \\[BACKS TO CAMERA\\] IN FG. BALL ATTENDEES IN BG.<\/scene_description>\n    <character>NICK \\[OFF\\]:<\/character>\n    <dialogue>Plus one.<\/dialogue>\n    <scene_description>M2S JULIAN AND PAULINE. BALL ATTENDEES IN BG. PAULINE: Hey mate. Look... PAN TO M2S VIAGO AND NICK. DEACON \\[BACK TO CAMERA\\] IN FG. BALL ATTENDEES IN BG. NICK: Your admin sucks.<\/scene_description>\n    <character>JULIAN \\[OFF\/ON\\]:<\/character>\n    <dialogue>Yeah, but you could be a vampire hunter for all we'd know. He could be texting his mates saying, \"I've got them all in the one place. Come on over and we'll have a vampire barbecue.\"<\/dialogue>\n    <scene_description>M2S JULIAN AND PAULINE. BALL ATTENDEES IN FG AND BG. MWS DEACON, NICK AND VIAGO. VAMPIRE WITCH AND BALL ATTENDEES IN BG. M2S JULIAN AND PAULINE. BALL ATTENDEES IN FG AND BG. MS DEACON, VIAGO AND STU. MORANA, JACKIE AND BALL ATTENDEES IN BG. BALL ATTENDEES: \\[Laugh, murmur\\]. DEACON: Well, he's not. He's not doing that. JULIAN \\[OFF\/ON\\]: Well, we don't know that, do we? How do we know that? M2S JULIAN AND PAULINE. BALL ATTENDEES IN FG AND BG. MS DEACON, VIAGO AND STU. PAULINE IN RIGHT EDGE OF FRAME. MORANA, JACKIE AND BALL ATTENDEES IN BG. DEACON: He's wearing a bowtie, look at him. VIAGO: Stu, tell them what you do. MS VIAGO, STU, DEACON AND NICK. BALL ATTENDEES IN BG. PAULINE \\[OFF\\]: Come on, Stu. Tell us what you do. Come on, Stu. MS PAULINE. JULIAN AND BALL ATTENDEES IN BG. VIAGO \\[OFF\/ON\\]: Tell them what you do, Stu. MWS DEACON, VIAGO, STU AND NICK. PAULINE \\[BACK TO CAMERA\\] IN FG. MORANA, JACKIE AND BALL ATTENDEES IN BG. STU: Ah, hi my name is Stu. Ah, I'm a... NICK: Don't fuck it up. PAULINE: I can't hear, Stu. DEACON: Ah, louder, louder. MS VIAGO, DEACON, STU AND NICK. BALL ATTENDEES IN FG AND BG. STU: Ah, hi my name is Stu. Um, I work in IT. MWS JULIAN AND PAULINE. BALL ATTENDEES IN FG AND BG. PAULINE: I can't hear. I can't hear. MWS NICK, STU, DEACON AND VIAGO. VAMPIRE WITCH AND BALL ATTENDEES IN BG. ZOOM IN TO MS STU. NICK, DEACON, VIAGO AND BALL ATTENDEES IN BG. DEACON: Louder. VIAGO: Speak up, Stu. They can't hear you. They cannot hear you. STU: Hi, my name is Stu. I'm a software analyst. I work for a geographic information systems company. Ah, I work... MS DEACON AND STU. BALL ATTENDEES IN FG AND BG. PAN TO MS DEACON, STU, VIAGO AND NICK. PAN TO MWS JULIAN AND PAULINE. BALL ATTENDEES IN FG AND BG. PAULINE \\[OFF\\]: Sorry? What is it? STU: I work for a company that does, um, basically we take, like, business requirements from organizations and we, um, analyze those requirements, and then we build software to fit those requirements. MWS VIAGO, STU, NICK AND DEACON. BALL ATTENDEES IN BG. M2S JULIAN AND PAULINE. BALL ATTENDEES IN FG AND BG. PAULINE: He is a virgin. He is a virgin.<\/scene_description>\n    <character>BALL ATTENDEES \\[OFF\/ON\\]:<\/character>\n    <dialogue>\\[Hiss\\].<\/dialogue>\n    <scene_description>VAMPIRE WITCH \\[OFF\/ON\\]: I can smell a virgin at a thousand paces. MWS STU, NICK AND DEACON. VAMPIRE WITCH AND BALL ATTENDEES IN BG. ZOOM IN. DEACON: Go on then. Go a thousand paces away and smell yourself. MS VAMPIRE WITCH. MORANA AND BALL ATTENDEES IN BG. PAN TO MS DEACON AND VIAGO. STU IN RIGHT EDGE OF FRAME. BALL ATTENDEES IN BG. MS NICK, STU, DEACON AND VIAGO \\[BACKS TO CAMERA\\]. VAMPIRE WITCH AND BALL ATTENDEES IN BG.<\/scene_description>\n    <character>VAMPIRE WITCH:<\/character>\n    <dialogue>\\[Hisses\\].<\/dialogue>\n    <character>BALL ATTENDEES \\[OFF\/ON\\]:<\/character>\n    <dialogue>\\[Hiss\\].<\/dialogue>\n    <scene_description>MS BALL ATTENDEES IN BG. PAULINE \\[OFF\\]: I can't wait anymore. MWS JULIAN, PAULINE AND BALL ATTENDEES. MS DEACON, STU AND VIAGO. BALL ATTENDEES IN FG AND BG. ZOOM IN. WS BALL ATTENDEES. ZOOM IN. M2S NICK AND VIAGO. VAMPIRE WITCH, MORANA AND BALL ATTENDEES IN BG.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>\\[Hisses\\].<\/dialogue>\n    <scene_description>MS JULIAN AND PAULINE. BALL ATTENDEES IN BG. PAN TO MS VLADISLAV IN MASK.<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>VLADISLAV:<\/character>\n    <dialogue>\\[Hisses\\].<\/dialogue>\n    <scene_description>MCU PAULINE. BALL ATTENDEES IN FG AND BG. ZOOM IN. WS BALL ATTENDEES. MS DEACON, NICK, VIAGO AND STU \\[BACKS TO CAMERA\\]. BALL ATTENDEES IN FG AND BG. PAN AS VLADISLAV \\[IN MASK\\] WALKS FORWARD. VLADISLAV: There shall be no eating of the human. MS VIAGO AND VLADISLAV \\[IN MASK\\]. BALL ATTENDEES IN BG. PAN AS VLADISLAV WALKS. PAULINE \\[OFF\/ON\\]: Who are you all of a sudden? MS VLADISLAV \\[IN MASK\\]. PAN TO M2S JULIAN AND PAULINE. BALL ATTENDEES IN BG. VLADISLAV \\[OFF\\]: You have forgotten your former lover so quickly. MCU VLADISLAV \\[IN MASK\\]. STU AND VIAGO IN BG. BALL ATTENDEES IN BG. PAN TO MWS JULIAN AND PAULINE. BALL ATTENDEES IN FG AND BG. PAULINE: Ah, Georgie? M2S VLADISLAV \\[IN MASK\\] AND DEACON. BALL ATTENDEES IN BG. VLADISLAV: No, not Georgie. Like, five years after \\[sighs\\]. CU PAULINE. JULIAN IN LEFT EDGE OF FRAME. BALL ATTENDEES IN BG. MWS VLADISLAV \\[IN MASK\\]. DEACON, STU, AND VIAGO IN BG. PAULINE IN FG. BALL ATTENDEES IN FG AND BG. VLADISLAV TAKES OFF MASK. ZOOM IN. VLADISLAV: Wait a minute. Just one moment.<\/scene_description>\n    <character>DEACON \\[WHISPERS\\]:<\/character>\n    <dialogue>Viago...<\/dialogue>\n    <scene_description>VLADISLAV: Oh \\[grunts\\]. No, I've got it. That's got it. Takes away from... VIAGO: He's got it. M2S JULIAN AND PAULINE. BALL ATTENDEES IN FG AND BG. ZOOM IN AND PAN.<\/scene_description>\n    <character>PAULINE:<\/character>\n    <dialogue>\\[Gasps\\].<\/dialogue>\n    <scene_description>MS VLADISLAV. PAULINE IN RIGHT EDGE OF FRAME IN FG. STU, VIAGO AND BALL ATTENDEES IN BG. VLADISLAV: Hello, Beast. MCU PAULINE. BALL ATTENDEES IN BG. PAN. PAULINE: Hello, arsehole. VLADISLAV: Hey. Ah, don't call me arsehole. PAULINE: Oh, ah, don't call me Beast. MS VLADISLAV. PAULINE \\[BACK TO CAMERA\\] IN FG. DEACON, STU, VAMPIRE WITCH AND BALL ATTENDEES IN BG. PAULINE: This is Vladislav. This is my ex- boyfriend. Do you know the one that fucked that witch? VLADISLAV: Just, ah, absolutely the same. O\/S JULIAN AND PAULINE, VLADISLAV IN LEFT FG. BALL ATTENDEES IN BG.<\/scene_description>\n    <character>VLADISLAV \\[OFF\\]:<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>WS VLADISLAV, DEACON, STU, NICK AND VIAGO. PAULINE IN RIGHT EDGE OF FRAME. BALL ATTENDEES IN FG AND BG.<\/scene_description>\n    <character>JULIAN \\[OFF\\]:<\/character>\n    <dialogue>Oh right.<\/dialogue>\n    <scene_description>VLADISLAV: All right. That's old business. That's personal business. PAULINE \\[OFF\\]: Yeah. O\/S JULIAN AND PAULINE, VLADISLAV IN LEFT FG. BALL ATTENDEES IN BG. JULIAN: Nice to meet you, arsehole. PAULINE: This is my lover. VLADISLAV: You will not feast on the blood on the human known as Stu. No one! M2S VLADISLAV AND PAULINE. VIAGO, NICK JACKIE, JULIAN AND BALL ATTENDEES IN BG. PAULINE: Listen, arsehole. This - this is human, and this is rules. And what is cameras doing here? One, then, another one. What is this? O\/S JULIAN AND PAULINE, VLADISLAV IN LEFT FG. BALL ATTENDEES IN BG. M2S VLADISLAV AND PAULINE. VIAGO, NICK AND BALL ATTENDEES IN BG. O\/S JULIAN AND PAULINE, VLADISLAV IN LEFT FG. BALL ATTENDEES IN BG. ZOOM OUT AS VLADISLAV TURNS TO MWS VLADISLAV, JULIAN AND PAULINE. BALL ATTENDEES IN BG. VLADISLAV: Yes. VLADISLAV: We're making a documentary on... JULIAN: You'd be the - you'd be the sort of guy... this is a private secret society, mate. You don't go bringing your bloody cameras into everything. WS DEACON, STU, VIAGO, VLADISLAV, NICK, PAULINE \\[BACK TO CAMERA\\] AND JULIAN. BALL ATTENDEES IN BG.<\/scene_description>\n    <character>PAULINE:<\/character>\n    <dialogue>Exactly.<\/dialogue>\n    <scene_description>MS VLADISLAV AND PAULINE \\[BACK TO CAMERA\\]. VIAGO, NICK, MORANA, JACKIE AND BALL ATTENDEES IN BG. VLADISLAV: You will not eat Stu, and you will not eat the camera guy. Maybe one camera guy.<\/scene_description>\n    <character>JULIAN:<\/character>\n    <dialogue>Mate...<\/dialogue>\n    <scene_description>MS VLADISLAV AND JULIAN. BALL ATTENDEES IN BG. PAN TO MS VLADISLAV, JULIAN AND PAULINE. BALL ATTENDEES IN BG. JULIAN: I'm up to about bloody here with you at the moment. And all your mates behind there, whoever the hell they are. We're going to eat the human being, and there's nothing you can do about it, all right. Now back off, and let my missus get her way. MS VLADISLAV, JULIAN AND PAULINE. BALL ATTENDEES IN BG. MWS DEACON, STU, VIAGO AND VLADISLAV. BALL ATTENDEES IN BG. ZOOM IN TO MCU STU. DEACON AND VIAGO IN EDGES OF FRAME. BALL ATTENDEES IN BG. PAULINE \\[OFF\\]: Yeah, just rip his... MS VLADISLAV AND PAULINE \\[BACK TO CAMERA\\]. NICK AND BALL ATTENDEES IN BG. PAN TO O\/S JULIAN AND PAULINE, VLADISLAV IN LEFT FG. BALL ATTENDEES IN BG. VLADISLAV: Oh, there's nothing I can do about it? MWS STU, VIAGO, VLADISLAV, NICK, PAULINE \\[BACK TO CAMERA\\] AND JULIAN. BALL ATTENDEES IN BG. VLADISLAV AND JULIAN STARTS TO FIGHT. JULIAN: That's right, mate. PAULINE: Okay, you - no, no no. You guys! VLADISLAV: Well, what about this? \\[Grunts\\]. PAN AS VLADISLAV AND JULIAN FIGHT. PAULINE \\[BACK TO CAMERA\\] IN FG. VIAGO, NICK AND BALL ATTENDEES IN BG. JULIAN: \\[Grunts\\]. Look, he's won. PAULINE: Rip his head off. WS BALL ATTENDEES. BALL ATTENDEES: \\[Cheer, et cetera\\] MS JULIAN AND VLADISLAV FIGHTING. BALL ATTENDEES IN BG. MS JULIAN AND VLADISLAV FIGHTING. BALL ATTENDEES IN FG AND BG. MS VLADISLAV MOVING. VIAGO, NICK IN BG. AND BALL ATTENDEES IN FG AND BG.<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>Ooh!<\/dialogue>\n    <scene_description>VIAGO \\[OFF\\]: Vampire style. MS JULIAN AND VLADISLAV FIGHTING. BALL ATTENDEES IN BG. PAN. PAULINE \\[BACK TO CAMERA\\] IN FG. MS BALL ATTENDEES. VIAGO \\[OFF\\]: Get him, Vladislav. MWS JULIAN AND VLADISLAV FIGHTING. VIAGO AND NICK IN BG. BALL ATTENDEES IN FG AND BG. MS VLADISLAV. BALL ATTENDEES IN BG. TILT UP AS VLADISLAV FLIES UP.<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>\\[Hisses\\].<\/dialogue>\n    <scene_description>WS VLADISLAV \\[IN MID-AIR\\] JULIAN AND BALL ATTENDEES IN BG. JULIAN FLIES UP TO VLADISLAV. THEY START TO FIGHT. M2S VLADISLAV AND JULIAN FIGHTING IN MID-AIR.<\/scene_description>\n    <character>VLADISLAV AND JULIAN:<\/character>\n    <dialogue>\\[Scream\\].<\/dialogue>\n    <scene_description>WS VLADISLAV AND JULIAN FIGHTING IN MID-AIR. BALL ATTENDEES IN BG. WS VLADISLAV AND JULIAN FIGHTING. BALL ATTENDEES IN BG. MWS JACKIE AND BALL ATTENDEES.<\/scene_description>\n    <character>VLADISLAV AND JULIAN \\[OFF\/ON\\]:<\/character>\n    <dialogue>\\[Scream\\].<\/dialogue>\n    <scene_description>WS VLADISLAV AND JULIAN FIGHTING. BALL ATTENDEES IN FG AND BG. MS VLADISLAV AND JULIAN FIGHTING. PAN.<\/scene_description>\n    <character>JULIAN:<\/character>\n    <dialogue>\\[Grunts\\].<\/dialogue>\n    <character>VLADISLAV:<\/character>\n    <dialogue>\\[Screams\\].<\/dialogue>\n    <scene_description>MS PAN AS VLADISLAV LANDS ON TABLE. BALL ATTENDEES IN BG. MS VLADISLAV ON GROUND. BALL ATTENDEES IN BG. JULIAN ENTERS RIGHT OF FRAME. JULIAN: \\[Screams, grunts\\]. VLADISLAV: \\[Screams, grunts\\]. MS JULIAN FLYING. BALL ATTENDEES IN BG. PAULINE \\[OFF\\]: Rip his head off. WS VLADISLAV AND JULIAN FIGHTING. BALL ATTENDEES IN BG. ZOOM IN. VIAGO \\[OFF\\]: He's killing him. He's killing him. CU VLADISLAV ON GROUND. JULIAN \\[HEAD OUT OF FRAME\\] ON TOP OF HIM. MS VLADISLAV ON GROUND. JULIAN \\[HEAD OUT OF FRAME\\] ON TOP OF HIM. CU JULIAN. BALL ATTENDEES IN BG. BALL ATTENDEES ENTERS RIGHT OF FRAME IN FG. CU VLADISLAV ON GROUND. JULIAN \\[HEAD OUT OF FRAME\\] ON TOP OF HIM. LIFE FORCE IS SUCKED OUT OF VLADISLAV. TILT UP. VLADISLAV: It is forbidden for vampires \\[grunts\\] to kill vampires. JULIAN: \\[Groans, grunts\\]. TILT UP TO MCU JULIAN WITH STAKE THROUGH HIS CHEST. BALL ATTENDEES IN BG. ZOOM OUT AND PAN TO WS STU HOLDING END OF STAKE PIERCING JULIAN. PAULINE ENTERS RIGHT OF FRAME. BALL ATTENDEES IN BG. JULIAN: \\[Grunts\\]. What the... fuck!<\/scene_description>\n    <character>PAULINE \\[OFF\\]:<\/character>\n    <dialogue>Vlad!!<\/dialogue>\n    <scene_description>PAULINE: Bloody hell. What - what...<\/scene_description>\n    <character>JULIAN:<\/character>\n    <dialogue>\\[Grunts\\].<\/dialogue>\n    <scene_description>MS JULIAN, STU AND PAULINE. BALL ATTENDEES IN BG. ZOOM IN TO CU STU. PAULINE: Are you okay, love? CU JULIAN. TILT DOWN AS HE FALLS TO GROUND.<\/scene_description>\n    <character>JULIAN:<\/character>\n    <dialogue>\\[Grunts\\].<\/dialogue>\n    <character>PAULINE \\[OFF\\]:<\/character>\n    <dialogue>Get out!<\/dialogue>\n    <scene_description>H\/A MS JULIAN WITH STAKE ON GROUND. VLADISLAV AND STU \\[HEAD OUT OF FRAME\\] IN BG. TILT UP TO MWS VLADISLAV AND STU. JULIAN IN BOTTOM OF FRAME. BALL ATTENDEES IN BG. VLADISLAV: We should probably go, Stu.<\/scene_description>\n    <character>JULIAN:<\/character>\n    <dialogue>\\[Grunts\\].<\/dialogue>\n    <scene_description>MS VLADISLAV. STU IN BG. ZOOM OUT TO WS VLADISLAV, STU AND PAULINE. BALL ATTENDEES IN BG. JULIAN IN BOTTOM OF FRAME. VLADISLAV: It was great to see you, Pauline.<\/scene_description>\n    <character>JULIAN \\[OFF\\]:<\/character>\n    <dialogue>\\[Grunts\\].<\/dialogue>\n    <character>PAULINE:<\/character>\n    <dialogue>Arsehole.<\/dialogue>\n    <scene_description>MS VLADISLAV RUNNING \\[AWAY FROM CAMERA\\] TOWARDS DOOR. VIAGO IN BG.<\/scene_description>\n    <character>PAULINE \\[OFF\\]:<\/character>\n    <dialogue>Bastards!<\/dialogue>\n    <character>VIAGO \\[OFF\\]:<\/character>\n    <dialogue>Yeah, Stu.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN BELT - NIGHT. VAMPIRES MEET THE WEREWOLVES ON<\/stage_direction>\n    <scene_description>TRANSFORMATION NIGHT MWS NICK, VIAGO, STU, VLADISLAV AND DEACON WALKING. TRACK BACK. VIAGO: He's a murderer \\[laughs\\]. VLADISLAV: That was great... how we both - we both together equally destroyed that guy \\[laughs\\].<\/scene_description>\n    <character>STU:<\/character>\n    <dialogue>Yep, yeah.<\/dialogue>\n    <scene_description>DEACON: Yeah, yeah. But it was more Stu with the giant stick.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>STU \\[V\/O, ON\\]: I hope this doesn't make it awkward for you and The Beast. MS DEACON, STU AND NICK. PAN TO MS VLADISLAV, DEACON, STU AND NICK. ZOOM IN AND PAN TO MCU VLADISLAV. DEACON AND STU IN BG. PAN TO MS DEACON, STU, NICK AND VIAGO. VLADISLAV: No, I think it's opened up new possibilities.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>Oh no.<\/dialogue>\n    <scene_description>NICK: \\[Laughs\\]. Here we go again. VIAGO: \\[Sighs\\]. Here we go again. WS STU, VIAGO \\[BACK TO CAMERA\\], DEACON, VLADISLAV AND NICK. VIAGO, VLADISLAV, DEACON AND NICK: Stu! Stu! Stu! Stu! Stu! Stu! Stu! Stu! Stu! Stu! Stu! Stu! Stu! WS DEACON, NICK, VIAGO, STU AND VLADISLAV WALKING. TRACK BACK. MS VLADISLAV. STU IN BG. PAN TO CU DEACON. STU IN BG. DEACON: Wait! Wait! Wait! Wait! Stop! Stop! Listen! Listen! \\[Sniffs\\]. Do you smell that? MS VIAGO \\[BACK TO CAMERA\\]. PAN TO M2S DEACON AND NICK. DEACON: \\[Sniffs\\]. This way. MCU DEACON. NICK AND VLADISLAV IN BG. PAN AS DEACON WALKS \\[AWAY FROM CAMERA\\] MS VIAGO, NICK, VIAGO AND VLADISLAV WALKING \\[AWAY FROM CAMERA\\]. DEACON IN BG. TRACK IN. DEACON \\[OFF\\]: Werewolves \\[sniffs\\]. WEREWOLVES \\[OFF\\]: \\[General chatter\\]. WS ANTON, CLIFTON AND OTHER WEREWOLVES. DEACON WALKING \\[AWAY FROM CAMERA\\] TOWARDS THEM. TRACK IN. PAN TO WS WEREWOLVES. ANTON: Oh no. DEACON: Looked what the cat dragged in, huh.<\/scene_description>\n    <character>ANTON:<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>CLIFTON:<\/character>\n    <dialogue>Piss off.<\/dialogue>\n    <scene_description>ANTON: Keep walking. Don't hassle us tonight. WS STU, VLADISLAV, DEACON, VIAGO, NICK AND ANTON. PAN TO WS ANTON AND OTHER WEREWOLVES. PAN TO MWS VIAGO, VLADISLAV, DEACON AND NICK. VLADISLAV: There has been no hassle here. ANTON: Well, let it stay that way. Keep chaining yourselves up. Guys, where's your tracksuit pants? CLIFTON \\[OFF\\]: It was, um, washing night. My missus couldn't wash them because there was too much blood in them. So... MWS CLIFTON. WEREWOLF IN BG. ZOOM IN TO MS CLIFTON. TILT DOWN TO CU CLIFTON'S LEGS. OTHER WEREWOLVES IN BG. ANTON \\[OFF\/ON\\]: When your legs expand they grow into the tracksuit. MS ANTON. TILT DOWN TO CU ANTON'S LEG'S. TILT UP TO MS ANTON. PAN TO MWS WEREWOLVES. TILT DOWN TO LEGS. CLIFTON \\[OFF\\]: Oh. ANTON \\[ON\/OFF\\]: Those jeans are gonna rip completely. You've lost all those trousers, guys. WEREWOLVES: Oh. ANTON: Declan, that tree is far too thin. Look at it, it's like a branch. You know how big you get when you transform. That's the wrong tree for you. MS ANTON. STU, DEACON AND VIAGO IN FG. OTHER WEREWOLVES IN BG. WS DECLAN BESIDE TREE. PAN AS HE WALKS. WEREWOLF \\[OFF\/ON\\]: Anton, I've... M2S ANTON AND NATHAN. WEREWOLF CROSSES FG LEFT TO RIGHT. ANTON: Oh no. You've forgotten the combination. NATHAN: \\[Breathes heavily\\]. ANTON: Why did you get a combination lock? NATHAN: I lost my key last time. M2S ANTON AND NATHAN \\[HEADS OUT OF FRAME\\]. ANTON: Okay. Well it's probably four zeros. That's the factory setting, is it? Fuck off to a tree. MS ANTON. NATHAN EXITS RIGHT OF FRAME. CLIFTON \\[OFF\/ON\\]: Hey. Werewolves not... swear- wolves. Werewolves not swear- wolves. But you... PAN TO MS CLIFTON. PAN TO MS ANTON. ANTON \\[OFF\\]: Yeah, I know. But, on transformation night it's all right. All right? I'm getting stressed out. CLIFTON \\[OFF\\]: I was just reminding you that you... PAN TO MS CLIFTON. PAN. ANTON \\[OFF\\]: Stop talking and chain yourself up, you dickhead! Honestly, we're transforming. MWS ANTON AND OTHER WEREWOLVES. DEACON \\[BACK TO CAMERA\\] IN FG. PAN TO MS VLADISLAV \\[BACK TO CAMERA\\]. VLADISLAV: All right, we'll keep walking. ANTON: Yeah, keep walking. WS ANTON AND OTHER WEREWOLVES. VLADISLAV IN LEFT EDGE OF FRAME. VLADISLAV: Well, we're walking. ANTON: By the way, I find that offensive. PAN TO M2S DION AND WEREWOLF. DION: Is that fur? PAN TO CU VLADISLAV. VIAGO AND NICK IN BG. ANTON \\[OFF\\]: Oh for crying out loud. Don't look at the fur everyone. Get back to your trees, okay?<\/scene_description>\n    <character>WEREWOLVES \\[OFF\\]:<\/character>\n    <dialogue>\\[Murmur\\].<\/dialogue>\n    <scene_description>WS ANTON. VLADISLAV, NICK AND DEACON IN LEFT OF FRAME. CLIFTON \\[OFF\/ON\\]: That's disgusting, man. DECLAN: Anton! Anton! MWS CLIFTON AND OTHER WEREWOLVES. PAN TO MWS ANTON. WEREWOLF IN BG. VLADISLAV, AND DEACON IN LEFT OF FRAME. VLADISLAV: You're wearing fur.<\/scene_description>\n    <character>DION:<\/character>\n    <dialogue>\\[Growls\\].<\/dialogue>\n    <character>ANTON \\[OFF\\]:<\/character>\n    <dialogue>Declan!<\/dialogue>\n    <character>DECLAN:<\/character>\n    <dialogue>Anton!<\/dialogue>\n    <scene_description>CLIFTON: Yeah, but that's - it's not real fur.<\/scene_description>\n    <character>ANTON:<\/character>\n    <dialogue>Oh shit!<\/dialogue>\n    <scene_description>MS VIAGO, VLADISLAV AND DEACON. PAN. WEREWOLVES: \\[Growl, breathe heavily et cetera\\].<\/scene_description>\n    <character>ANTON:<\/character>\n    <dialogue>Right.<\/dialogue>\n    <scene_description>PAN TO CU MOON APPEARING FROM BEHIND CLOUD. ANTON \\[OFF\/ON\\]: Honestly get out of here. Take your humans, that guy in the bowtie. He's gonna go first. Camera crew, get out of here. Quick! Take all your clothes off that you want to keep, everyone! Get that Army Surplus jacket off. You've only just bought that, Nathan. MS ANTON. WEREWOLF IN BG. STU AND VLADISLAV \\[BACKS TO CAMERA\\] IN FG. MS STU, NICK AND VLADISLAV. PAN. NICK: I'd better take Stu home. MS NICK. PAN TO M2S NICK AND STU. PAN TO MS OTHER WEREWOLVES STARTING TO TRANSFORM. PAN TO MS ANTON. WEREWOLVES IN BG. MS CLIFTON AND OTHER WEREWOLVES STARTING TO TRANSFORM. PAN, TILT DOWN AND ZOOM IN TO WEREWOLF ON GROUND.<\/scene_description>\n    <character>WEREWOLVES \\[OFF\/ON\\]:<\/character>\n    <dialogue>\\[Growl\\].<\/dialogue>\n    <scene_description>PAN TO WS VLADISLAV, VIAGO, NICK AND DEACON. WEREWOLF \\[OFF\\]: Get that camera out of my face! MS WEREWOLF STARTING TO TRANSFORM. VIAGO ENTERS RIGHT OF FRAME TO CU. HE EXITS RIGHT OF FRAME TO CU WEREWOLF LUNGING FOR CAMERA. VIAGO \\[OFF\/ON\\]: Guys, guys, guys. Let's go. Let's go. Come on!<\/scene_description>\n    <character>WEREWOLF:<\/character>\n    <dialogue>\\[Growls\\].<\/dialogue>\n    <scene_description>MS ANTON TRANSFORMING. VAMPIRES \\[OUT OF FOCUS\\] CROSS FG RIGHT TO LEFT.<\/scene_description>\n    <character>WEREWOLVES:<\/character>\n    <dialogue>\\[Growl\\].<\/dialogue>\n    <scene_description>VIAGO \\[OFF\\]: Run, Stu! Run! No! PAN TO MS VIAGO RUNNING \\[AWAY FROM CAMERA\\]. NICK AND DEACON RUNNING \\[AWAY FROM CAMERA\\] IN BG. PAN. MS WEREWOLF TRANSFORMING. VLADISLAV CROSSES BG RIGHT TO LEFT. WS STU, VIAGO, NICK AND DEACON RUNNING \\[AWAY FROM CAMERA\\]. TRACK IN AND PAN. STU STARTS TO FALL. MS PAN VLADISLAV RUNNING. TREES IN FG.<\/scene_description>\n    <character>WEREWOLVES \\[OFF\/ON\\]:<\/character>\n    <dialogue>\\[Growl\\].<\/dialogue>\n    <scene_description>MS WEREWOLVES. PAN. H\/A CU VLADISLAV \\[HEAD OUT OF FRAME\\] RUNNING.<\/scene_description>\n    <character>VIAGO \\[OFF\\]:<\/character>\n    <dialogue>Shit!<\/dialogue>\n    <scene_description>WS WEREWOLF ENTERS FRAME FROM BEHIND TREE. PAN TO WS VIAGO RUNNING. WEREWOLF LUNGES FOR VIAGO.<\/scene_description>\n    <character>WEREWOLVES:<\/character>\n    <dialogue>\\[Growl\\].<\/dialogue>\n    <scene_description>WS DEACON FIGHTING WEREWOLF. DEACON: I got one! \\[Grunts\\]. H\/A MS VLADISLAV FIGHTING WEREWOLF.<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>\\[Grunts\\].<\/dialogue>\n    <scene_description>MS WEREWOLF BITING VIAGO'S ARM. ZOOM IN. CU GROUND. TRACK IN AS \\[CAMERAMAN\\] RUNS.<\/scene_description>\n    <character>VIAGO \\[OFF\\]:<\/character>\n    <dialogue>\\[Grunts\\].<\/dialogue>\n    <scene_description>CAMERAMAN \\[OFF\\]: \\[Breathes heavily, grunts\\].<\/scene_description>\n    <character>WEREWOLVES \\[OFF\\]:<\/character>\n    <dialogue>\\[Howl\\].<\/dialogue>\n    <scene_description>WEREWOLF EMERGES FROM DARKNESS TO CU.<\/scene_description>\n    <character>WEREWOLF:<\/character>\n    <dialogue>\\[Growls\\].<\/dialogue>\n    <scene_description>CU GROUND. CAMERA IS DROPPED. CU CAMERAMAN ON GROUND. HE IS DRAGGED OUT RIGHT OF FRAME. DEAD CAMERA MAN FALLS ONTO GROUND TO CU. CAMERAMAN: \\[Screams\\]. My - my - My leg! My leg!<\/scene_description>\n    <character>WEREWOLF:<\/character>\n    <dialogue>\\[Growls\\].<\/dialogue>\n    <scene_description>CU GROUND. PAN. WS NICK RUNNING \\[AWAY FROM CAMERA\\]. PAN TO WS WEREWOLF.<\/scene_description>\n    <character>WEREWOLF:<\/character>\n    <dialogue>\\[Growls\\].<\/dialogue>\n    <scene_description>PAN TO MS NICK RUNNING. PAN.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>Stu! Stu!<\/dialogue>\n    <scene_description>WS TREES. PAN. TILT DOWN.<\/scene_description>\n    <character>STU \\[OFF\\]:<\/character>\n    <dialogue>\\[Screams\\].<\/dialogue>\n    <character>NICK \\[OFF\\]:<\/character>\n    <dialogue>Stu!<\/dialogue>\n    <character>WEREWOLVES:<\/character>\n    <dialogue>\\[Growl\\].<\/dialogue>\n    <scene_description>WS WEREWOLF. STU FLIES THROUGH THE AIR AND LANDS ON GROUND. ZOOM IN AS WEREWOLVES ATTACK STU. PAN AND TILT UP TO MWS NICK IN MID-AIR. ZOOM OUT TO WS NICK \\[IN MID-AIR\\] AND WEREWOLVES WITH STU. PAN AS STU IS THROWN THROUGH AIR. TILT DOWN AND ZOOM IN AS STU LANDS OUT BOTTOM OF FRAME BESIDE WEREWOLF. PAN TO WS NICK IN MID-AIR, WEREWOLF HOLDING HIS LEG. PAN AND ZOOM IN TO MCU WEREWOLF. TILT DOWN TO STU CRAWLING ON GROUND. WEREWOLVES IN BG. STU: \\[Screams, grunts\\]. Ah ah! Get away from me! Ah! \\[Screams, breathes heavily\\]<\/scene_description>\n    <character>NICK \\[OFF\\]:<\/character>\n    <dialogue>Stu!<\/dialogue>\n    <character>NICK \\[OFF\\]:<\/character>\n    <dialogue>Oi!<\/dialogue>\n    <scene_description>NICK: Stu, are you all right? NICK: Whoa! Whoa! Whoa! Whoa! Stu!<\/scene_description>\n    <character>NICK \\[OFF\\]:<\/character>\n    <dialogue>Stu!<\/dialogue>\n    <scene_description>STU \\[OFF\\]: \\[Breathes heavily\\]. NICK: Fuck off, arsehole! \\[Spits\\].<\/scene_description>\n    <character>NICK \\[OFF\\]:<\/character>\n    <dialogue>Fuck off!<\/dialogue>\n    <character>WEREWOLF:<\/character>\n    <dialogue>\\[Growls\\].<\/dialogue>\n    <scene_description>STU \\[OFF\/ON\\]: \\[Breathes heavily\\]. NICK \\[OFF\/ON\\]: Fuck off! Get off, dick! WS NICK IN MID-AIR, WEREWOLF HOLDING HIS LEG. WEREWOLVES: \\[Growl, howl\\].<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>Oi!!<\/dialogue>\n    <scene_description>WS NICK IN MID-AIR, WEREWOLVES HOLDING HIS LEGS.<\/scene_description>\n    <character>STU \\[OFF\\]:<\/character>\n    <dialogue>\\[Screams\\].<\/dialogue>\n    <scene_description>NICK: \\[Grunts\\]. Arseholes. MWS WEREWOLVES ATTACKING STU. MWS WEREWOLVES ATTACKING STU. ZOOM IN TO MS STU ON GROUND. PAN TO WS NICK IN MID-AIR, WEREWOLVES HOLDING HIS LEGS. DEACON FLIES IN LEFT OF FRAME AND ATTACKS WEREWOLVES. THEY FALL OUT BOTTOM OF FRAME. ZOOM IN TO M2S DEACON AND NICK IN MID-AIR. PAN AND TILT DOWN TO MWS WEREWOLVES ATTACKING STU. ZOOM IN TO MS STU ON GROUND. NICK \\[OFF\\]: No, no, no, no. Whoa, whoa, whoa, whoa. DEACON \\[OFF\/ON\\]: \\[Growls\\]. Stupid werewolves. Look away, Nick. Don't look at the blood. WEREWOLVES: \\[Growl, howl FADES OUT\\]. NICK: No, Stu! Stu! NICK \\[OFF\\]: He was - oh. He was a really good dude! Leave him alone! DEACON \\[OFF\\]: It's too late for him. Don't look at the blood, Nick. NICK \\[OFF\\]: Stu! MS WEREWOLVES. FADE TO BLACK. BLACK.:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN BELT - NIGHT. DEACON CONSOLES NICK<\/stage_direction>\n    <scene_description>WS TREES. PAN AND TILT TO MS DEACON \\[BACK TO CAMERA\\]. MCU DEACON. DEACON: There he is. DEACON: He's probably still a little upset, having seen his best friend disembowelled by werewolves. MWS DEACON WALKING \\[AWAY FROM CAMERA\\] TOWARDS NICK IN BG.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>Nick... I found you.<\/dialogue>\n    <scene_description>MWS DEACON SITTING BESIDE NICK ON GROUND. ZOOM IN.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>Whoa \\[sniffs\\].<\/dialogue>\n    <character>DEACON:<\/character>\n    <dialogue>That was pretty full on, eh? \\[Sighs\\].<\/dialogue>\n    <scene_description>CU DEACON.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>But this is what happens when you're a vampire. You have to watch everyone die.<\/dialogue>\n    <scene_description>CU NICK.<\/scene_description>\n    <character>DEACON \\[OFF\/ON\\]:<\/character>\n    <dialogue>Your mother and father... all your friends. Sometimes brutal.<\/dialogue>\n    <scene_description>M2S NICK AND DEACON.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>Like slipping and falling onto a giant spike, or falling asleep in autumn pile of leaves, and having some of them block your windpipe.<\/dialogue>\n    <character>NICK:<\/character>\n    <dialogue>\\[Sniffs\\].<\/dialogue>\n    <scene_description>CU DEACON.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>\\[Breathes heavily, sniffs\\].<\/dialogue>\n    <scene_description>CU NICK.<\/scene_description>\n    <character>DEACON \\[OFF\/ON\\]:<\/character>\n    <dialogue>Or making the simple mistake of fashioning a mask out of crackers, and being attacked by ducks, geese... swans. Or simply dying of old age.<\/dialogue>\n    <scene_description>CU DEACON.<\/scene_description>\n    <character>NICK \\[OFF\\]:<\/character>\n    <dialogue>\\[Sniffs\\].<\/dialogue>\n    <scene_description>CU NICK. CU DEACON. PAN TO M2S NICK AND DEACON.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>But even old age is brutal.<\/dialogue>\n    <scene_description>CU NICK.<\/scene_description>\n    <character>NICK \\[OFF\/ON\\]:<\/character>\n    <dialogue>Watching your friends grew old. They can't piss. And they say stupid things, and their brains go, and they can't remember anything.<\/dialogue>\n    <scene_description>CU DEACON.<\/scene_description>\n    <character>NICK \\[OFF\\]:<\/character>\n    <dialogue>\\[Sniffs\\].<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RITA ANGUS RETIREMENT VILLAGE - NIGHT. VIAGO WATCHES<\/stage_direction>\n    <scene_description>KATHERINE AGAIN L\/A WS KATHERINE IN WINDOW. DEACON \\[V\/O\\]: And then one day, they can't even remember who you are. WS VIAGO ON STREET. MWS KATHERINE IN WINDOW. DEACON \\[V\/O\\]: And you wish they were dead.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN BELT - NIGHT. DEACON CONSOLES NICK - CONTINUED<\/stage_direction>\n    <scene_description>CU DEACON. PAN TO CU NICK. DEACON: And then they do die. NICK: \\[Breathes heavily\\].<\/scene_description>\n    <character>DEACON \\[OFF\\]:<\/character>\n    <dialogue>No...<\/dialogue>\n    <scene_description>M2S NICK AND DEACON. ZOOM IN TO CU DEACON. DEACON: If I know Stu... this was probably the way he wanted to go. Disembowelled by werewolves. Blood and guts splayed onto the trees. His face torn to shreds. M2S NICK AND DEACON. CU DEACON.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>\\[Sighs\\].<\/dialogue>\n    <scene_description>CU NICK. WS NICK AND DEACON SEATED ON GRASS. ZOOM IN.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>I hope I made you feel better.<\/dialogue>\n    <scene_description>BLACK.:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN BELT - NIGHT. POLICE AND AMBULANCE ATTEND TO STU<\/stage_direction>\n    <scene_description>CU AMBULANCE. TILT DOWN AS AMBULANCE OFFICER \\[BACK TO CAMERA\\] OPENS DOOR.<\/scene_description>\n    <character>POLICEWOMAN \\[OFF\\]:<\/character>\n    <dialogue>Ah, well from what we can see, and what we can gather, ah, it looks like there's been a bit of a dog attack. That's really what happens when you get, you know, dangerous dogs out on the streets, not being looked after.<\/dialogue>\n    <scene_description>MS AMBULANCE OFFICER \\[HEAD OUT OF FRAME\\] PULLING STRETCHER FROM AMBULANCE. TILT DOWN. MWS AMBULANCE OFFICER, POLICEWOMAN AND POLICEMAN WALKING. WS AMBULANCE OFFICER, POLICEWOMAN AND POLICEMAN WALKING \\[AWAY FROM CAMERA\\]. TRACK IN AS THEY WALK TO STU LYING ON GRASS.<\/scene_description>\n    <character>POLICEMAN:<\/character>\n    <dialogue>This is not...<\/dialogue>\n    <scene_description>POLICEWOMAN: This is not good. POLICEWOMAN \\[ON\/OFF\\]: No, not good at all. No certainly not. MWS POLICEWOMAN, POLICEMAN AND AMBULANCE OFFICERS BESIDE STU LYING ON GROUND. ZOOM IN TO H\/A MS STU ON GROUND. POLICEMAN \\[V\/O\\]: There's nicer ways to go than being torn about by, ah, by what looks like a pack of dogs. More than - more than just one. M2S POLICEWOMAN AND POLICEMAN. H\/A MS AMBULANCE OFFICER \\[HEAD OUT OF FRAME\\] STARTING TO PUT STU ON STRETCHER. POLICEWOMAN \\[OFF\\]: That's, ah - yeah, I'd say so. POLICEWOMAN \\[V\/O\\]: These attacks are becoming more and more frequent. They're happening on a monthly basis, and it's just - it's no good for anybody, okay? Especially not the dogs, certainly not the community. MCU POLICEWOMAN. AMBULANCE IN BG. POLICEMAN \\[OFF\/ON\\]: Yeah, O'Leary. I got the bastard. One of them here, eh? MS POLICEWOMAN. AMBULANCE OFFICERS WITH STRETCHER IN BG. POLICEMAN ENTERS RIGHT OF FRAME WITH DOG. ZOOM OUT TO MWS. POLICEWOMAN: Okay. Oh. Geez. And that's what I'm talking about. Look at it. End of the day this dog is going to be - have to be put down. What a shame. MS DOG AND POLICEMAN. PAN AND TILT UP TO MS POLICEWOMAN. CU DOG. POLICEMAN \\[HEAD OUT OF FRAME\\] IN BG. WS POLICEMAN AND DOG BESIDE STU ON STRETCHER. FADE TO BLACK.: POLICEMAN: Look what you did. Eh? Now, he's got the scent again, hasn't he? He wants to go again. He's not finished. POLICEWOMAN \\[OFF\\]: No, you - yeah, yeah. BLACK.:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - NIGHT. SAD ABOUT STU<\/stage_direction>\n    <scene_description>CU SUNRISE ON COMPUTER SCREEN. MWS DEACON SEATED ON COUCH LOOKING AT COMPUTER. ZOOM IN.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAR - NIGHT. SAD ABOUT STU<\/stage_direction>\n    <scene_description>WS NICK SEATED AT BAR. BARMAN IN BG.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - NIGHT. SAD ABOUT STU<\/stage_direction>\n    <scene_description>PAN TO MS \\[THROUGH DOORWAY\\] VLADISLAV IN TORTURE CHAMBER. PAN TO WEREWOLF \\[CHAINED\\]. CU DISHES.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH - NIGHT. FAREWELL STU<\/stage_direction>\n    <scene_description>WS VIAGO, NICK, DEACON AND VLADISLAV. PAN AS NICK THROWS SCARF INTO WATER.<\/scene_description>\n    <character>VIAGO \\[V\/O\\]:<\/character>\n    <dialogue>They say that vampires' hearts are cold and dead. Definitely dead...<\/dialogue>\n    <character>VIAGO \\[OFF\\]:<\/character>\n    <dialogue>Bye Stu.<\/dialogue>\n    <character>VLADISLAV \\[OFF\\]:<\/character>\n    <dialogue>He would've loved this scarf.<\/dialogue>\n    <character>DEACON \\[OFF\\]:<\/character>\n    <dialogue>It's a lovely loose knit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - NIGHT. VIAGO SAVES DEACON FROM BEING SIZZLED TO<\/stage_direction>\n    <scene_description>A CRISP MWS VIAGO WALKING. PAN.<\/scene_description>\n    <character>VIAGO \\[V\/O\\]:<\/character>\n    <dialogue>...but, I don't know, I think I still feel things inside it.<\/dialogue>\n    <scene_description>WS VIAGO WALKING \\[AWAY FROM CAMERA\\] DOWN HALLWAY. TRACK IN. WS VIAGO CLOSING CURTAINS. PAN AS HE RUNS TO DEACON ASLEEP AT COMPUTER TO MWS.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>Deacon...<\/dialogue>\n    <scene_description>VIAGO: Deacon... Deacon, wakey wakey. Hey...<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>Viago...<\/dialogue>\n    <scene_description>VIAGO: You were asleep in here with the curtains open. It's nearly morning. You want to get sizzled to a crisp?<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>MWS VIAGO HELPING DEACON INTO HIS ROOM. VIAGO CLOSES DOOR TO MCU. VIAGO EXITS RIGHT OF FRAME.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>VIAGO: You know you've got to think a little bit about these things. DEACON: Okay. Sorry Viago. VIAGO: No, it's okay. DEACON: Night, night. DEACON: Night, night. Okay. BLACK.: FADE IN CU PHOTOGRAPH OF VLADISLAV, VIAGO, DEACON, PAULINE, NICK AND STU. ZOOM IN. FADE TO BLACK. BLACK.: FADE IN: TITLE Hey Guys, it's Nick the Vampire here. FADE IN: TITLE Just a heads-up, I've got quite a big surprise... FADE IN: TITLE It's gonna blow everyone's mind, I think. ANSWERPHONE: ...received at 4:20 AM. NICK \\[V\/O\\]: Hey guys, it's, ah, it's Nick the Vampire here. Um, ah, just a heads- up, I've got, um, quite a big surprise. Ah, yeah. It's - it's gonna blow everyone's mind, I think.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - NIGHT. STU THE WEREWOLF VISITS<\/stage_direction>\n    <scene_description>MCU DEACON WALKING \\[AWAY FROM CAMERA\\]. TRACK IN AS HE WALKS TO DOOR. HE OPENS IT TO O\/S STU AND NICK, DEACON IN LEFT FG. NICK: Ah!<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>Stu!<\/dialogue>\n    <scene_description>STU: Hey Deacon.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>Stu!<\/dialogue>\n    <character>STU:<\/character>\n    <dialogue>How's it?<\/dialogue>\n    <scene_description>O\/S STU AND NICK, DEACON IN LEFT FG. DEACON EMBRACES STU.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>\\[Laughs\\].<\/dialogue>\n    <scene_description>STU: Good to see you. MWS DEACON, STU AND NICK IN DOORWAY. STU AND NICK WALK THROUGH DOORWAY. ZOOM IN TO M2S NICK AND STU. DEACON ENTERS RIGHT OF FRAME. ZOOM OUT. NICK: Look at his face. DEACON: I saw them tear you to shreds. NICK: Look, he looks like Seal. STU: Ah, they didn't kill me. DEACON: That looks cool. STU: Thank you. Thank you.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>\\[Laughs\\].<\/dialogue>\n    <scene_description>MWS DEACON, NICK AND STU. ANTON, CLIFTON AND WEREWOLVES ENTER FRAME \\[THROUGH DOORWAY\\]. ZOOM IN TO MS DEACON AND ANTON. CLIFTON AND WEREWOLF IN BG.<\/scene_description>\n    <character>NICK:<\/character>\n    <dialogue>Meet some of our friends.<\/dialogue>\n    <character>STU:<\/character>\n    <dialogue>You've, sort of...<\/dialogue>\n    <character>NICK:<\/character>\n    <dialogue>Anton...<\/dialogue>\n    <character>ANTON:<\/character>\n    <dialogue>Deacon. Hi, Anton.<\/dialogue>\n    <character>DEACON:<\/character>\n    <dialogue>Anton.<\/dialogue>\n    <scene_description>MS ANTON, CLIFTON AND WEREWOLVES. DEACON IN LEFT FG. PAN TO MS STU. WEREWOLVES IN BG.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>\\[Sniffs\\].<\/dialogue>\n    <character>STU \\[V\/O, ON\\]:<\/character>\n    <dialogue>I must've blacked out. Um, and then, I remember an ambulance.<\/dialogue>\n    <scene_description>STU INTERVIEW MCU STU.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN BELT - NIGHT. POLICE AND AMBULANCE ATTEND TO STU -<\/stage_direction>\n    <scene_description>CONTINUED WS STU CONVULSING ON STRETCHER. POLICEMAN AND AMBULANCE OFFICER BESIDE HIM. POLICEWOMAN RUNNING \\[AWAY FROM CAMERA\\] IN FG. TRACK IN TO MS STU CONVULSING ON STRETCHER. STU CLIMBS OFF STRETCHER. POLICEMAN: He's going into shock, O'Leary! POLICEWOMAN: Yeah, yeah. I'm on it. STU: \\[Growls et cetera\\].<\/scene_description>\n    <character>POLICEMAN:<\/character>\n    <dialogue>O'Leary!<\/dialogue>\n    <scene_description>POLICEWOMAN: Yeah, coming. POLICEWOMAN \\[OFF\\]: Okay. Just calm down, mate. POLICEMAN: Calm down. Grab his legs! POLICEWOMAN \\[off\\]: Yeah, yeah. Just hang on a sec. MS POLICEWOMAN AND POLICEMAN BESIDE AMBULANCE, STU IN RIGHT EDGE OF FRAME. PAN AS STU RUNS WS STU RUNNING \\[AWAY FROM CAMERA\\]. ZOOM IN. POLICEMAN \\[OFF\\]: Looks like rabies, doesn't it? WS STU RUNNING \\[AWAY FROM CAMERA\\]. TRACK IN. STU \\[V\/O, ON\\]: And I don't know how long after that it was, but I, like, woke up and it was daytime. MCU STU. WHITE FLASH. REENACTMENT FADE IN L\/A WS TREES. PAN AROUND. DISSOLVE. FADE IN CU STU'S FEET. TRACK IN TO H\/A CU STU LYING ON GROUND \\[BLACK AND WHITE\\]. TITLE \\[SUPERED\\]: Re-enactment<\/scene_description>\n    <character>STU \\[V\/O\\]:<\/character>\n    <dialogue>And I couldn't find my clothes.<\/dialogue>\n    <scene_description>WS STU ON GROUND. TRACK TO CU WEREWOLF IN LEFT EDGE OF FRAME IN FG. \\[BLACK AND WHITE\\].<\/scene_description>\n    <character>STU \\[V\/O\\]:<\/character>\n    <dialogue>Those werewolf guys, um, eventually found me. And they had some - they, like, lent me some pants.<\/dialogue>\n    <scene_description>L\/A MWS ANTON, CLIFTON AND WEREWOLVES. ANTON HOLDS OUT PANTS. \\[BLACK AND WHITE\\]. MS STU. ZOOM IN. \\[BLACK AND WHITE\\]. FADE TO WHITE.<\/scene_description>\n    <character>STU \\[V\/O\\]:<\/character>\n    <dialogue>So, yeah, those guys have been supporting me, ah, because I was - was quite confused.<\/dialogue>\n    <scene_description>WHITE.:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - NIGHT. THE VAMPIRES BOND WITH THE WEREWOLVES<\/stage_direction>\n    <scene_description>MCU DEACON. STU \\[OFF\/ON\\]: Yeah, these are the guys who, um, turned me into a werewolf.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>\\[Sniffs\\].<\/dialogue>\n    <scene_description>MWS DEACON AND STU. CLIFTON \\[OFF\\]: Did you knit your own jersey? MWS CLIFTON AND WEREWOLVES. PAN TO MWS WEREWOLF, DEACON AND STU.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>CLIFTON \\[OFF\\]:<\/character>\n    <dialogue>Oh yeah.<\/dialogue>\n    <character>DEACON:<\/character>\n    <dialogue>I knit.<\/dialogue>\n    <scene_description>ANTON \\[OFF\/ON\\]: It's, ah, is that the moon or...? PAN TO MWS DEACON, STU AND ANTON.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>ANTON: Hopefully we won't, you know \\[growls, laughs\\]. MS DEACON. STU IN RIGHT EDGE OF FRAME. PAN TO M2S STU AND ANTON. PAN TO MWS WEREWOLVES.<\/scene_description>\n    <character>WEREWOLVES \\[OFF\/ON\\]:<\/character>\n    <dialogue>\\[Laugh\\].<\/dialogue>\n    <character>DEACON \\[OFF\\]:<\/character>\n    <dialogue>\\[Laughs\\].<\/dialogue>\n    <scene_description>MWS ANTON, WEREWOLVES, DEACON, STU, AND NICK WALKING. PAN AROUND AS THEY WALK THROUGH DOORWAY.<\/scene_description>\n    <character>WEREWOLF:<\/character>\n    <dialogue>Oh, this is a nice place.<\/dialogue>\n    <character>DEACON:<\/character>\n    <dialogue>Please don't, ah, don't lick anything, or pee on anything.<\/dialogue>\n    <character>WEREWOLVES:<\/character>\n    <dialogue>\\[Laugh\\] Yes et cetera.<\/dialogue>\n    <character>VIAGO \\[V\/O, ON\\]:<\/character>\n    <dialogue>We were worried at first, you know. We thought, oh, they're just going to urinate on everything. But, ah, they're actually really polite, and pretty clean. There was obviously the werewolf smell, which permeated the entire house for the first half an hour. But we opened some windows, and got rid of that.<\/dialogue>\n    <scene_description>VIAGO INTERVIEW MCU VIAGO. MS DEACON, STU AND CLIFTON. WEREWOLVES IN FG. PAN.<\/scene_description>\n    <character>DEACON AND WEREWOLVES:<\/character>\n    <dialogue>\\[Toast, cheer\\].<\/dialogue>\n    <scene_description>MCU VIAGO. MWS VLADISLAV AND VIAGO. CLIFTON AND WEREWOLF SEATED ON COUCH. MCU STU. VLADISLAV HANGING OUT WINDOW. MCU VIAGO.<\/scene_description>\n    <character>ANTON \\[V\/O\\]:<\/character>\n    <dialogue>When Stu first suggested the idea, I thought, no way, you know, walking into the vampire's den. That's ludicrous.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - NIGHT. THE VAMPIRES BOND WITH THE WEREWOLVES -<\/stage_direction>\n    <scene_description>CONTINUED M2S VIAGO AND VLADISLAV. STU \\[BACK TO CAMERA\\] IN FG. ZOOM OUT TO MWS VIAGO AND ANTON SHAKING HANDS. VLADISLAV, AND NICK IN BG. STU \\[BACK TO CAMERA\\] IN FG. WS VIAGO, ANTON, DEACON AND WEREWOLVES. PAN AS ANTON AND VLADISLAV SHAKE HANDS. MCU ANTON. WEREWOLVES IN FG. PAN TO MS CLIFTON AND STU. WEREWOLF IN FG.<\/scene_description>\n    <character>WEREWOLF:<\/character>\n    <dialogue>That's my hand.<\/dialogue>\n    <scene_description>TILT UP TO MWS DEACON, STU, CLIFTON, NICK AND WEREWOLVES.<\/scene_description>\n    <character>DEACON AND WEREWOLVES:<\/character>\n    <dialogue>\\[Cheer, et cetera\\].<\/dialogue>\n    <character>ANTON \\[V\/O, ON\\]:<\/character>\n    <dialogue>But I thought, well we'll give it a shot, you know. I'm the alpha male, so I made the call.<\/dialogue>\n    <scene_description>ANTON INTERVIEW M2S ANTON AND STU.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - NIGHT. THE VAMPIRES BOND WITH THE WEREWOLVES -<\/stage_direction>\n    <scene_description>CONTINUED MWS DEACON AND ANTON. ZOOM IN TO M2S. ANTON: I'm the alpha male.<\/scene_description>\n    <character>DEACON:<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ANTON:<\/character>\n    <dialogue>So, generally all the other guys follow me.<\/dialogue>\n    <scene_description>WS VIAGO, ANTON, DEACON, CLIFTON AND WEREWOLVES. PAN TO MWS STU, VLADISLAV AND WEREWOLVES.<\/scene_description>\n    <character>VLADISLAV \\[OFF\\]:<\/character>\n    <dialogue>To Stu!<\/dialogue>\n    <character>ALL:<\/character>\n    <dialogue>To Stu!<\/dialogue>\n    <scene_description>STU: Thanks, guys. MCU STU. PAN TO MCU KATHERINE. KATHERINE \\[OFF\/ON\\]: What have you done to your face?<\/scene_description>\n    <character>STU \\[OFF\/ON\\]:<\/character>\n    <dialogue>I got attacked by some werewolves.<\/dialogue>\n    <scene_description>MCU STU.<\/scene_description>\n    <character>KATHERINE \\[OFF\/ON\\]:<\/character>\n    <dialogue>Ooh. I met a werewolf. Seemed a very nice person.<\/dialogue>\n    <scene_description>MCU KATHERINE. VIAGO and KATHERINE INTERVIEW MWS KATHERINE AND VIAGO SEATED.<\/scene_description>\n    <character>VIAGO:<\/character>\n    <dialogue>So Katherine is a vampire now.<\/dialogue>\n    <character>KATHERINE:<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>VIAGO:<\/character>\n    <dialogue>Yeah, we decided to get together.<\/dialogue>\n    <character>VIAGO \\[V\/O\\]:<\/character>\n    <dialogue>We just thought, to hell with it, you know. What have we got to lose?<\/dialogue>\n    <scene_description>MCU VIAGO. HE EXITS LEFT OF FRAME. PAN TO L\/A WS VIAGO AND KATHERINE THROUGH WINDOWS. VIAGO WALKS TO KATHERINE.<\/scene_description>\n    <character>KATHERINE \\[V\/O, ON\\]:<\/character>\n    <dialogue>I was just sitting doing nothing. And he came floating in, and over to me, and I recognized him. It was wonderful \\[laughs\\]. Yeah, oh yeah \\[laughs\\]. That's right \\[laughs\\].<\/dialogue>\n    <character>VIAGO \\[V\/O, ON\\]:<\/character>\n    <dialogue>That's right. I bit you on the neck \\[laughs\\]. Yeah.<\/dialogue>\n    <scene_description>MWS KATHERINE AND VIAGO SEATED. L\/A WS \\[THROUGH WINDOW\\] VIAGO BITING KATHERINE'S NECK. KATHERINE \\[V\/O, ON\\]: And I don't mind being a vampire. I'm enjoying it. MWS KATHERINE AND VIAGO SEATED. M2S VIAGO AND KATHERINE SEATED AT TABLE. CU VIAGO'S AND KATHERINE'S FEET DANCING. VIAGO \\[V\/O, ON\\]: Some people freak out a bit about the age difference. Ah, they think, what's this 96-year-old lady doing with a guy four times her age? And, you know, I don't care. They could... MWS VIAGO AND KATHERINE DANCING. WEREWOLF IN RIGHT FG. MWS KATHERINE AND VIAGO SEATED. KATHERINE: It doesn't make any difference. VIAGO \\[ON\/OFF\\]: No. They can call me 'cradle- snatcher'. Who cares? I decided to bite her, and we're gonna be together forever. MCU KATHERINE. MCU VIAGO. PAN TO MCU KATHERINE.<\/scene_description>\n    <character>KATHERINE \\[OFF\\]:<\/character>\n    <dialogue>Wonderful.<\/dialogue>\n    <character>VIAGO:<\/character>\n    <dialogue>Ja.<\/dialogue>\n    <scene_description>MWS KATHERINE AND VIAGO SEATED. BLACK.: FADE IN CU PAINTING OF VLADISLAV. ZOOM IN. CU SHOE IN HALLWAY. VLADISLAV \\[V\/O, ON\\]: Pauline and I are tentatively back together. But it's not long before you remember why it was you broke up in the first place. MS PAULINE AND VLADISLAV \\[HEAD OUT OF FRAME\\] FIGHTING ON WALL. MS PAULINE AND VLADISLAV FIGHTING ON WALL. VLADISLAV AND PAULINE: \\[Shout, grunt et cetera\\]. MS VLADISLAV. MS PAULINE AND VLADISLAV FIGHTING ON WALL. PAN TO CU WALL. TILT DOWN TO CU SHOE. FADE TO BLACK. TITLE: Beast! TITLE: Arsehole!<\/scene_description>\n    <character>VLADISLAV:<\/character>\n    <dialogue>\\[Grunts\\]. \\[In made up language\\]: Beast \\[grunts\\].<\/dialogue>\n    <character>PAULINE:<\/character>\n    <dialogue>\\[Grunts\\]. \\[In made up language\\]: Arsehole \\[grunts\\].<\/dialogue>\n    <scene_description>BLACK.: FADE IN CU JACKIE'S HUSBAND WRITING IN NOTEBOOK. TILT UP TO CU JACKIE'S HUSBAND.<\/scene_description>\n    <character>JACKIE \\[OFF\/ON\\]:<\/character>\n    <dialogue>Start in our bedroom. I need that<\/dialogue>\n    <scene_description>totally boarded up or blacked out somehow. M2S JACKIE AND JACKIE'S HUSBAND SEATED AT TABLE.<\/scene_description>\n    <character>JACKIE'S HUSBAND:<\/character>\n    <dialogue>\\[Sniffs\\].<\/dialogue>\n    <scene_description>MS JACKIE.<\/scene_description>\n    <character>JACKIE:<\/character>\n    <dialogue>My husband is my familiar. So there's been a dynamic shift there.<\/dialogue>\n    <scene_description>M2S JACKIE AND JACKIE'S HUSBAND SEATED AT TABLE.<\/scene_description>\n    <character>JACKIE:<\/character>\n    <dialogue>You could buy a bedazzler. So write that down.<\/dialogue>\n    <character>JACKIE:<\/character>\n    <dialogue>Because - that's b-e-d...<\/dialogue>\n    <character>JACKIE'S HUSBAND:<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>JACKIE \\[V\/O, ON\\]:<\/character>\n    <dialogue>I feel like I'm who I'm really meant to be now \\[laughs\\].<\/dialogue>\n    <scene_description>MS JACKIE.<\/scene_description>\n    <character>JACKIE \\[V\/O\\]:<\/character>\n    <dialogue>I love you.<\/dialogue>\n    <scene_description>CU JACKIE'S HUSBAND. PAN TO CU JACKIE.<\/scene_description>\n    <character>JACKIE'S HUSBAND:<\/character>\n    <dialogue>Mmm. I love you too.<\/dialogue>\n    <character>JACKIE \\[OFF\\]:<\/character>\n    <dialogue>Great.<\/dialogue>\n    <character>JACKIE:<\/character>\n    <dialogue>But I am your master, okay?<\/dialogue>\n    <scene_description>M2S JACKIE AND JACKIE'S HUSBAND SEATED AT TABLE.<\/scene_description>\n    <character>JACKIE'S HUSBAND:<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>BLACK.:<\/scene_description>\n    <character>ANTON: (V.O.)<\/character>\n    <dialogue>Yeah, these guys have to laugh at my jokes. Right, guys?<\/dialogue>\n    <scene_description>FADE IN WS ANTON, STU, CLIFTON AND WEREWOLVES. PAN. WEREWOLVES: Yeah \\[laugh et cetera\\]. NATHAN: \\[Laughs\\]. That is a good one, man. ANTON: I always - I always look round and make sure they're all laughing. Like, if I see one of them is not quite laughing, I'll go, \"Hey. Are you laughing?\" And then often I'll test you, eh? What were you laughing at? Clifton? CLIFTON: Yes \\[laughs\\]. Yeah \\[laughs\\]. Yeah.<\/scene_description>\n    <character>CLIFTON:<\/character>\n    <dialogue>Eh?<\/dialogue>\n    <scene_description>ANTON: What are you laughing at now?<\/scene_description>\n    <character>CLIFTON:<\/character>\n    <dialogue>Just then?<\/dialogue>\n    <scene_description>ANTON: Yeah, but what?<\/scene_description>\n    <character>DECLAN:<\/character>\n    <dialogue>\\[Laughs\\].<\/dialogue>\n    <scene_description>CLIFTON: I don't know, because you - you... ANTON: Oh, test failed \\[laughs\\]. Test failed. Yeah, eh, eh? WEREWOLVES: \\[Laugh\\]. CLIFTON: \\[Laughs\\]. ANTON: Laughing now. What are you laughing at now though? What are you laughing at now though? CLIFTON: Yeah I \\[laughs\\]. I don't know because I - I felt uncom... ANTON: Oh, another failure \\[laughs\\]. CLIFTON: \\[Laughs\\]. WEREWOLVES: \\[Laugh\\]. ANTON: What are you laughing at, Stu? STU: Oh, I was laughing with the group. ANTON: Yep. That's good. That's good. Yeah, he's in - see. Yeah. Just pay attention. Pay attention. WEREWOLVES: Yeah \\[general agreeing\\]. CLIFTON: (OFF) Yeah. Really? I saw him... STU: (Laugh with the group.) CLIFTON: (Laugh with the group.) BLACK.: FADE IN CU DEACON. VLADISLAV AND VIAGO \\[OUT OF FOCUS\\] IN BG. DEACON: You will not remember the last hour and a half of what you have just see. You will forget the contents of this movie.<\/scene_description>\n  <\/scene>\n<\/script>","summary":"A documentary crew follows four vampire housemates\u2014Viago, Vladislav, Deacon, and Petyr\u2014who share a flat in the Wellington suburb of Te Aro. All of the vampires possess supernatural powers, including levitation and the ability to transform into animals. Viago is a 379-year-old dandy who originally traveled to New Zealand in the 1910s in search of Katherine, the love of his life; Vladislav is an 862-year-old known as \"Vladislav the Poker\", who is haunted by memories of his nemesis \"the Beast\"; and Deacon is a 183-year-old former peddler and the \"young rebel\" of the group who was turned into a vampire by Petyr\u2014a reclusive, 8,000-year-old vampire who behaves like a feral animal and resembles Count Orlok. Each night, Viago, Vladislav, and Deacon take the bus into town and prowl the streets of Wellington for people to kill. Deacon's human familiar, Jackie, runs errands for the vampires and cleans up the gore left behind by their feeding. A married mother, Jackie hopes to attain immortality, but is frustrated that Deacon will not turn her into a vampire as promised. Deacon requests that Jackie bring virgins to the flat so that the vampires can feed on them. She lures a woman who insulted her in primary school and her ex-boyfriend Nick to the flat. Though neither are actually virgins, the woman is killed, and Nick is chased throughout the flat and manages to get outside, only to be caught by Petyr, who turns him into a vampire. Two months later, the vampires accept Nick into their group and bond with his human friend Stu, a computer analyst who introduces them to modern technology. Viago uses the Internet to find Katherine, who is now a 96-year-old widow living in a rest home in Wellington, and also briefly reconnects with his old servant Philip. Despite being able to get his new friends into popular bars and clubs, Nick struggles to adapt to life as a vampire. Nick is also held in contempt by Deacon, who resents Nick's newfound popularity and his careless revealing of his vampirism to strangers he meets. One of these strangers, a vampire hunter, breaks into the flat basement during the day and kills Petyr by exposing him to sunlight. The vampires are furious when they discover Nick has indirectly caused Petyr's death, and Deacon tries to kill Nick before being interrupted by a police welfare check, but Viago hypnotizes them into not noticing anything out of the ordinary. Once the police leave, Nick is banished from the flat by the remaining vampires, though Stu is permitted to come as he pleases. Several months later, the vampires receive an invitation to the annual Unholy Masquerade, hosted for the local undead population of vampires, zombies, and witches. Vladislav refuses to attend after learning that \"the Beast\" will be the guest of honor. When Viago and Deacon arrive at the ball, they find in attendance Nick, Stu and Jackie, the latter of whom has been turned into a vampire by Nick. \"The Beast\" is revealed to be Vladislav's ex-girlfriend Pauline, and when Stu and the camera crew are discovered to be living humans, the party guests threaten to kill and feed on them. Vladislav arrives and fights with Pauline's new boyfriend Julian. Stu impales Julian on a flagpole, and the vampires and camera crew escape the ball with him, only to encounter a rival pack of werewolves who transform under the full moon. Stu and one of the cameramen are mauled. Believing Stu to be dead, the vampires run away and grieve for him. After an indeterminate amount of time, Nick returns to the flat with Stu, who reveals he has survived the attack and transformed into a werewolf. With Stu's urging, the pack visits the vampires along with Stu, and Nick's banishment is rescinded as well. Though momentarily apprehensive, Deacon invites the werewolf pack inside. Viago also reconnects and rekindles his romance with Katherine, whom he turns into a vampire. Scenes during the credits reveal that Vladislav has gotten back together with Pauline, repeating his cycle of self-inflicted torture over his relationship with her; and Jackie's husband is now serving as her familiar. A post-credits scene shows Deacon attempting to hypnotize the audience to forget the events of the film."}
{"movie_name":"Hustle & Flow_2005","imdb_id":"tt0410097","script":"<script>\n  <scene>\n    <scene_description>AN ORIGINAL SCREENPLAY<\/scene_description>\n    <character>BY<\/character>\n    <dialogue>CRAIG BREWER<\/dialogue>\n    <scene_description>Original White Shooting Script Revised: 6\/24\/04 (White)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.JAY'S CHEVY - DAY<\/stage_direction>\n    <scene_description>IN DARKNESS, we hear the sound of a struggling air conditioner. Three circles glow red - the reverse side of an old Chevy Capri cigarette lighter as it burns to life. A subtle 808 pounding is heard: BOOM ... BOOM \u2022.\u2022 BOOM ...<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>See, man ain't like a dog.<\/dialogue>\n    <scene_description>Pop! The pounding stops. The lighter ejects. D.Jay lights a cigarette and speaks to someone sitting shotgun in his parked car. D.Jay is an intense looking, black man in his thirties.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>I'm talkin' about man.kind, not man like men, cuz men ... well, we a lot like a dog. You know we .\u2022. piss on things. Sniff a bitch when we can, get a pink hard-on like they do. And we territorial. You know, we protect our own.<\/dialogue>\n    <scene_description>{a quick drag) But, man ... he know about death. He got religion. Got a sense of history. Dogs don't know shit about birthdays or Christmas or that one day God gonna come callin'. So they walkin' through life, you know, carefree. But people like you and me, we always guessin'. Always wantin' to know \"what if\", naw what I mean? D.Jay scans the street quickly and turns back.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>So when you say to me, hey, I don't think we should be doin' this. I gotta say, uh- huh. I don't think we should be doin' this neither. But we ain't gonna get a move on in this world layin' in the sun, lickin' our ass all day. We men. I mean, you a woman, but we man.<\/dialogue>\n    <parenthetical>(D.Jay leans back, confident)<\/parenthetical>\n    <dialogue>That said ... you tell me. What'chu wanna do with your life?<\/dialogue>\n    <scene_description>Although she is white, NOLA opts to wear long blond mini- braids like most of the black topless dancers at the local clubs. She is, to her best recollection, 20 years old. rr.ON1'TNUF.fl \\ Nola thinks. Struggles. Shrugs. Thinks some more. An idea.<\/scene_description>\n    <character>NOLA<\/character>\n    <dialogue>I don't know. I guess I could ...<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Hold up.<\/dialogue>\n    <scene_description>A car pulls alongside of D.Jay's Chevy. A beady-eyed, bearded man with pasty white skin examines Nola.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>How it go, Cuz? Like what ya see?<\/dialogue>\n    <parenthetical>(He continues to stare)<\/parenthetical>\n    <dialogue>It break down to 20 in the front. 40 in the back.<\/dialogue>\n    <parenthetical>(no answer)<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <parenthetical>(D.Jay turns to Nola)<\/parenthetical>\n    <dialogue>Hey. Go'on over and explain it to this mother-fucker.<\/dialogue>\n    <scene_description>Nola steps out of the Chevy wearing yellow hot pants and platform high heels. She marches towards the trick's car and climbs in. D.Jay watches the car drive off as he takes another drag. It's a slow, hot day in Memphis. CUT TO: OPENING CREDITS CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.JAY'S CHEVY - DAY 3 \\*<\/stage_direction>\n    <scene_description>D.Jay and Nola are driving downtown in the Chevy. Nola is daydreaming while D.Jay tries to find a good tune on the old, push button, radio. Nothing sounds good - commercials.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Nothin' but jive and junk.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARNEL'S CLUB - DAY 4 \\*<\/stage_direction>\n    <scene_description>D.Jay's beat-up Chevy rolls on shiny rims as it turns into the parking lot of ARNEL'S CLUB - an urban Juke joint. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARNEL'S CLUB - DAY 5 \\*<\/stage_direction>\n    <scene_description>Nola and D.Jay enter through the front door just as ARNEL \\* tosses a babbling DRUNK at them. \\*<\/scene_description>\n    <character>D.JAY \\*<\/character>\n    <dialogue>Goddamn! \\*<\/dialogue>\n    <scene_description>Arne! is short and small like a black bulldog, but he's full \\* of spit for a man in his fifties. He shouts at the drunk. \\*<\/scene_description>\n    <character>ARNEL \\*<\/character>\n    <dialogue>Pull that shit again, nigga, and I'll \\* black boot ya to hell. You heard me! \\*<\/dialogue>\n    <scene_description>The drunk tries to shout back, but D.Jay grabs him by the \\* hair and tosses his ass out. \\*<\/scene_description>\n    <character>D.JAY \\*<\/character>\n    <dialogue>Get on, now! \\*<\/dialogue>\n    <character>ARNEL \\*<\/character>\n    <dialogue>Thanks, D. \\*<\/dialogue>\n    <scene_description>Nola watches with wide eyes as Arnel examines the blood soaked face of the assaulted patron.<\/scene_description>\n    <character>ARNEL<\/character>\n    <dialogue>Take an angry drunk over a crazy one. Angry drunk, you see somethin' like this comin'. But them crazies ...<\/dialogue>\n    <parenthetical>(puts bar towel on the man's nose)<\/parenthetical>\n    <dialogue>Just hold that towel on it. We'll get'cha stitched.<\/dialogue>\n    <scene_description>{crosses to D.Jay) I think that sun out there is bakin' peoples brains. D.Jay leans on the bar. Nola climbs onto the stool and spins around like she is a five year old.<\/scene_description>\n    <character>NOLA<\/character>\n    <dialogue>D.Jay, he keep the air on, and all, but it don't do nothin' but blow more hot air in my face. So I just stay sticky all day long \u2022..<\/dialogue>\n    <character>D.JAY<\/character>\n    <parenthetical>(frustrated)<\/parenthetical>\n    <dialogue>Just say it's hot.<\/dialogue>\n    <scene_description>I CON'l' TNUF. Ol CONTINUED:<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Always gotta walk around the block with yo trap smackin' just to get a yes or no. It's hot. Period. Boom.<\/dialogue>\n    <scene_description>Arne! hands Nola an orange pop and D.Jay a beer. I r'.ON'I'TNTJF:Dl<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>5<\/dialogue>\n    <character>ARNEL<\/character>\n    <dialogue>Wanna see my kitchen?<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>I'll take a peek.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARNEL'S KITCHEN - LATER - DAY 6 \\*<\/stage_direction>\n    <scene_description>Arnel and D.Jay huddle in the back storage room of the kitchen - Arnel already has his wallet out.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>You lookin' for a half or a full \"0?\"<\/dialogue>\n    <character>ARNEL<\/character>\n    <dialogue>Ounce'll be good. Fourth comin' up and all.<\/dialogue>\n    <scene_description>D.Jay reaches into his back pocket and removes an ounce of pot in a clear sandwich bag.<\/scene_description>\n    <character>ARNEL<\/character>\n    <dialogue>Hey. You remember that sticky herb you brung up to my brother's house for Play- offs?<\/dialogue>\n    <character>D.JAY<\/character>\n    <parenthetical>(holds up the bag)<\/parenthetical>\n    <dialogue>That ain't this, now. That's a whole 'nether zip-lock bag. Fuckin' prime product you talkin'. I use them \"yellow- and-blue-make-green\" bags on that shit.<\/dialogue>\n    <character>ARNEL<\/character>\n    <dialogue>How much notice you need?<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Little Italian dude from Nawlin's bring me up an elbow every couple a weeks. What? You need a bag?<\/dialogue>\n    <character>ARNEL<\/character>\n    <dialogue>We got some big company come up in here for the fourth. Thought you may wanna get you some money.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Big company?<\/dialogue>\n    <character>ARNEL<\/character>\n    <dialogue>You remember Skinny? Skinny Black.<\/dialogue>\n    <scene_description>r r.ON'PTN1W,n l<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Shit. I know who Skinny is. We go back in the day. Boy was hustlin' his underground tapes down at the drive-in out the back of his Cutlass.<\/dialogue>\n    <character>ARNEL<\/character>\n    <dialogue>Not no more, he ain't. You know that last one he put out went platinum.<\/dialogue>\n    <character>D.JAY<\/character>\n    <parenthetical>(thinks on that)<\/parenthetical>\n    <dialogue>Eh, now Platinum, that's more special than gold, huh?<\/dialogue>\n    <scene_description>Arnel shoves the bag into his pocket and then pulls out a modest roll of cash.<\/scene_description>\n    <character>ARNEL<\/character>\n    <dialogue>He big time now ... but he still Memphis, you know. He and his brother Tigga hook up with they friends every July. I shut the place down, make it all private for them and they buy up my stock. No shit. They clean me out.<\/dialogue>\n    <scene_description>D.Jay is suddenly preoccupied. His expression turns serious, sullen.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Yeah. I know Skinny. He may not .\u2022. I mean, you know we went to different schools and all .\u2022. but \u2022.. yeah, I know Skinny.<\/dialogue>\n    <character>ARNEL<\/character>\n    <dialogue>You wanna make a dollar, best get up here with that good shit. Those boys ain't gonna want none a'this dirt weed.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>You tryin' to hurt my feelings?<\/dialogue>\n    <character>ARNEL<\/character>\n    <dialogue>Just helpin' out a friend.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KING OF CLUBS - NIGHT<\/stage_direction>\n    <scene_description>A clap of thunder as the bottom falls out of the sky. The KING OF CLUBS sign glows bright red through the rain. Rap pounds the walls from the inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KING OF CLUBS - NIGHT<\/stage_direction>\n    <scene_description>D.Jay enters, holding his over-shirt above his head to stay dry. MICKEY is barely audible as he chatters into the microphone from his DJ booth.<\/scene_description>\n    <character>MICKEY<\/character>\n    <parenthetical>(into the mic)<\/parenthetical>\n    <dialogue>We gotta two for one goin' on through the next two songs, folks. Any of these lovely ladies will be giving two dances, two dances, fellas, for the price of one.<\/dialogue>\n    <scene_description>We got Luscious. We got Phoebe. We got Lexus comin' up on satellite one. (notices D.Jay) 'Sup, D. Comin' down, huh? D.Jay nods and crosses to the main stage. Dancers are writhing around the various buckets and pans on the stage collecting rain dripping through the roof.<\/scene_description>\n    <character>D.JAY<\/character>\n    <parenthetical>(to a dancer)<\/parenthetical>\n    <dialogue>Where Lexus at? \\*<\/dialogue>\n    <scene_description>The Dancer points. D.Jay turns and finally locates LEXUS. She \\* is straddling a trucker in a chair. Her bikini top glows bright orange across her ebony skin, her hair is braided, stretching down her arching back. D.Jay motions her over. Lexus keeps hustling with a smile, surreptitiously flipping off D.Jay. He then grabs Lexus by the arm and pulls her off the customer.<\/scene_description>\n    <character>LEXUS<\/character>\n    <dialogue>Excuse me! You see me workin'?<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Where you at?<\/dialogue>\n    <character>LEXUS<\/character>\n    <dialogue>I ain't at nothin'. Done three dances all day.<\/dialogue>\n    <scene_description>((;ON'rTNURDl CONTINUED: 8 D.JAY LEXUS Don't tell me that. They some You think I can come in here, homely, ugly-assed, toothless snap my fingers, make these hos in here pullin' in green punk asses throw they money and you say in' .... at me every night. It just don't happen some days. Shit, D. I ain't even gonna make pay out.<\/scene_description>\n    <character>MICKEY<\/character>\n    <parenthetical>(over the mic)<\/parenthetical>\n    <dialogue>Alright, guys, let's put your hands together for the lovely Lexus.'<\/dialogue>\n    <scene_description>Lexus starts walking toward the stage.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>It's like I say, you can't be picky on a Wednesday. You gotta take what they slangin'.<\/dialogue>\n    <character>LEXUS<\/character>\n    <dialogue>Every bitch in here got some playa, tellin' 'em how they can hustle they tricks better than we hustlin'. Bunch'a<\/dialogue>\n    <scene_description>side-seat drivin', mother- fuckers. I'll make my dollar just let me do my thang. Shit, I'm old school! D.Jay waves her off and walks away. Lexus pulls herself up on the pole and hangs upsidedown. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KING OF CLUBS - DRESSING ROOM - NIGHT<\/stage_direction>\n    <scene_description>The conversations are loud and full of laughter as D.Jay sells a quarter ounce bag to a dancer in the dressing room. Lexus is getting dressed at a leisurely pace. D.Jay grabs her head as she sits to put on her shoes and puts it up to his stomach.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>You hear that? That's my empty gut sayin' hurry the fuck up.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KING OF CLUBS - D.JAY'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Nola awakes from the back seat, sitting up slowly as Lexus and D.Jay hop in the front seat. I C:ON'l'TNTJF,n\\ CONTINUED:<\/scene_description>\n    <character>LEXUS<\/character>\n    <dialogue>I ain't doin' day shift no mo, I don't care if I gotta get a cab to drop my ass off. I ain't workin' with them skank- assed trucker-bait hos no more.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>You gonna work day shift if I say. Ain't no reason .\u2022.<\/dialogue>\n    <character>NOLA<\/character>\n    <dialogue>(to D.Jay)<\/dialogue>\n    <character>LEXUS<\/character>\n    <dialogue>(to D.Jay)<\/dialogue>\n    <scene_description>You said, you was just You know Trudy ain't work runnin' in. I known y'all's day's no more. It just don't gonna take your sweet fuckin' make sense. Tellin' me she time ... I'd a come in. made five hundred dollars ... You heard me? Five hundred last night off some guy .who makes cotton ...<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>She ain't made five hundred dollars. Who? Trudy? Bitch gotta birth mark on her face look like a map a Texas. She trickin'.<\/dialogue>\n    <character>LEXUS<\/character>\n    <dialogue>She ain't trickin' .... all she did was dance for him.<\/dialogue>\n    <scene_description>Suddenly there is a loud pound on the window. Lexus screams. D.Jay looks out to see HAROLD - a skinny, pale-skinned, junkie, wearing a few layers of thrift store wind-breakers.<\/scene_description>\n    <character>LEXUS<\/character>\n    <dialogue>What the hell-fuck?!<\/dialogue>\n    <character>HAROLD<\/character>\n    <parenthetical>(from outside the window)<\/parenthetical>\n    <dialogue>Hey, D.Jay. It's Harold, man. It's me.<\/dialogue>\n    <scene_description>D.Jay jumps out of the car slamming the door behind him. He pushes Harold back away from the car.<\/scene_description>\n    <character>HAROLD<\/character>\n    <dialogue>Whoa, man ... it's me ... it's me, D.Jay ... It's Harold!<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>It's a damn good thing what I usually got under my belt is under my mother-fuckin' seat. Sneak up on me like that again, you gonna be grinnin 1 out the back 'a yo' head.<\/dialogue>\n    <scene_description>\/ r.ON'l'TNlJP,n I CONTINUED: (2)<\/scene_description>\n    <character>HAROLD<\/character>\n    <dialogue>Hey, D \u2022\u2022. um .\u2022\u2022<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>D.Jay.<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>D.Jay ...<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Yeah, we ain't friendly. Call me by my name. D.Jay.<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>Well, listen, you got some crank, any of<\/dialogue>\n    <scene_description>that rock shit?<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>You know I'm strictly gateway. I don't deal with that.<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>Yeah? Well ..\u2022 what could I get for this?<\/dialogue>\n    <scene_description>Harold removes a small electronic KEYBOARD from a sack.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Do I look like a pawn shop?<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>Like an ounce? What?<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Shit. I wouldn't give you a toke. Where you get this at?<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>You know \u2022\u2022\u2022 just \u2022\u2022.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>If you tell me this belonged to one of yo' kids I'm just gonna bust.<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>No, no ..\u2022 no way, man. I used to play on it. You know, all the time.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>So it work?<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>Yeah, man. Like a pro.<\/dialogue>\n    <scene_description>rr,oN~TNlJ1'DI CONTINUED : ( 3 I<\/scene_description>\n    <character>D.JAY<\/character>\n    <parenthetical>(regarding the keyboard)<\/parenthetical>\n    <dialogue>Yeah. I had one of these back in the day. Not as big though.<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>Bigger is better, D. D.Jay. D.~.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Shut up.<\/dialogue>\n    <parenthetical>(thinks)<\/parenthetical>\n    <dialogue>I ' l l give you a quarter.<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>A quarter? You mean a half ..\u2022 and then some. Pawnshop'll get me more than that.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Why don't you give 'em your thumb print. See how much you get.<\/dialogue>\n    <character>HAROLD<\/character>\n    <parenthetical>(relents)<\/parenthetical>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>D.Jay reaches into his coat pocket and slaps a bag into Harold's hand.<\/scene_description>\n    <character>HAROLD<\/character>\n    <parenthetical>(handing over the keyboard)<\/parenthetical>\n    <dialogue>I don't think that's really a fair trade but I \u2022\u2022. I understand you've got to keep an eye on your interests and all.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>You pushin' me. Do you know you pushin'?<\/dialogue>\n    <scene_description>And Harold is off into the night. D.Jay regards the keyboard. His fingers touch the keys as a subtle 808 beat pounds in his ears: BOOM ... BOOM ... BOOM.<\/scene_description>\n    <character>LEXUS<\/character>\n    <dialogue>Hey! Stevie Wonder!<\/dialogue>\n    <parenthetical>(the beat stops)<\/parenthetical>\n    <dialogue>We hungry.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>IA EXT. MEMPHIS STREET - NIGHT 10A \\*<\/stage_direction>\n    <scene_description>Establishing shots. D.Jay's Chevy rolls through Memphis. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. D.JAY'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>D.Jay and his girls live in one of many shotgun houses along a crowded street. Kids run past them as they step out of the car. D.Jay calls out to an old woman on her porch.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Miss Cole! That runt bitch of yours got in my trash again. I know it won't your fault but get one yo kids to clean it up.<\/dialogue>\n    <character>SHUG<\/character>\n    <dialogue>(v .o. I Y'all got tacos? D.JAY (v .o.) Naw, we got cheeseburgers. CUT TO:<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.JAY'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>SHUG (short for SUGAR) is a pretty, twenty year old, black girl who is about four weeks short of giving birth - swollen beyond belief for her tiny frame. She is soft spoken, sweet. Shug bites into a burger as they all watch the TV - a local rap video program.<\/scene_description>\n    <character>SHUG<\/character>\n    <dialogue>I called the power comp'ny 'bout gettin' \\* an extension on the light bill. They say I gotta come down and stand in line to get an application.<\/dialogue>\n    <parenthetical>(takes a bite)<\/parenthetical>\n    <dialogue>But I can't be standin' all day how they do down there. Not if I got Roger with me. You know, D.? You know? \\*<\/dialogue>\n    <scene_description>A video concludes - another begins. It is a SKINNY BLACK CD.<\/scene_description>\n    <character>D.JAY<\/character>\n    <parenthetical>(shouting)<\/parenthetical>\n    <dialogue>Oh! There go Skinny! Eh, Lex! LEX!<\/dialogue>\n    <character>SHUG<\/character>\n    <dialogue>So what do you wanna do, D?<\/dialogue>\n    <character>LEXUS<\/character>\n    <parenthetical>(approaching, pissed)<\/parenthetical>\n    <dialogue>Huh!<\/dialogue>\n    <parenthetical>( r,oN'T' TNtJF:D)<\/parenthetical>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>D.JAY<\/character>\n    <parenthetical>(pointing to the set)<\/parenthetical>\n    <dialogue>Me and Skinny Black gonna be kickin' up at Arnel's on the fourth of July, Baby. Ain't that some shit?<\/dialogue>\n    <character>LEXUS<\/character>\n    <dialogue>Who? You?<\/dialogue>\n    <scene_description>The video is standard in aesthetics, gleaming BMW's, booty girls shaking into the lens. Skinny Black is wearing a pristine black and white camouflage suit.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Me and Skinny .\u2022. do some catch up. You know, he used to live up on Looney and Third. Where they spray down the trolleys at.<\/dialogue>\n    <character>LEXUS<\/character>\n    <dialogue>Arn I supposed to piss myself?<\/dialogue>\n    <character>D.JAY<\/character>\n    <parenthetical>(speaking to Lex as she walks away)<\/parenthetical>\n    <dialogue>Yeah, okay ... okay \u2022.. you tell me. Who is it you know that's somebody, huh? Who?<\/dialogue>\n    <character>LEXUS<\/character>\n    <dialogue>Nobody in this crib.<\/dialogue>\n    <scene_description>{speaking in a whiny baby voice) Where's my baby? Roger?<\/scene_description>\n    <character>SHUG<\/character>\n    <dialogue>Lex. Don't. I just got him to sleep.<\/dialogue>\n    <scene_description>Lexus goes into the back room to retrieve her baby. D.Jay continues to watch the video as Shug complains to the back of his head.<\/scene_description>\n    <character>SHUG<\/character>\n    <dialogue>D, I know it's my part in it all to baby- sit while she at work. But she always gotta wake him up just when I get him down. I gotta have some chill time too.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>You know, Skinny used to DJ over at Booker T. Just like I did at Westwood. Ain't like he the only nigga spit some flow in this town. I's doin' the same thing just a t ~ school. Ask anyone.<\/dialogue>\n    <scene_description>\/C:ON1'TNU~DI: CONTINUED: (2)<\/scene_description>\n    <character>D.JAY<\/character>\n    <parenthetical>(he has to prove himself)<\/parenthetical>\n    <dialogue>I'm serious. Go ask Carlos up on the \\* corner. He's in my grade. Ask him.<\/dialogue>\n    <character>SHUG<\/character>\n    <parenthetical>(with a mouth full of burger)<\/parenthetical>\n    <dialogue>Gotta get that extension.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.JAY'S WORK ROOM - NIGHT<\/stage_direction>\n    <scene_description>D.Jay is still holding the small keyboard as he bites into his burger. He opens the door to his private workroom. He turns on a single bulb from above by yanking on a chain. There is a simple scale on the table, a few boxes of sandwich bags.<\/scene_description>\n    <character>D.JAY<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>shit \u2022.. talk to me about platinum<\/dialogue>\n    <scene_description>better than gold. In the day, I's like ... triple platinum. Ask anyone ..\u2022 Lexus enters holding her baby boy, ROGER, in her arms.<\/scene_description>\n    <character>LEXUS<\/character>\n    <dialogue>I gotta shower.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Uh-huh.<\/dialogue>\n    <character>LEXUS<\/character>\n    <dialogue>You gotta watch Rog.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Go give him to Shug.<\/dialogue>\n    <character>LEXUS<\/character>\n    <dialogue>She say it's her chill time.<\/dialogue>\n    <character>D.JAY<\/character>\n    <parenthetical>(taking the baby)<\/parenthetical>\n    <dialogue>When's my chill time at?<\/dialogue>\n    <scene_description>Lexus is gone. D.Jay slams the door. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.JAY'S WORK ROOM - LATER - NIGHT<\/stage_direction>\n    <scene_description>D.Jay pushes the POWER BUTTON on the keyboard and then pushes the POWER BUTTON on the mini fan on his table. \/(:ClN'l'TNTJRDI 1 4 CONTINUED: 14 With Roger tucked under one arm, D.Jay begins pressing the different keys, listening to the various sounds, changing between the different menus. Roger is drooling, mesmerized with sounds just like D.Jay - two little boys with a new toy.<\/scene_description>\n    <character>D.JAY<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>Yeah, that buck ain't it.<\/dialogue>\n    <scene_description>We CUT IN AND OUT of moments as D.Jay acclimates himself with his new keyboard. He takes Roger's hands and taps them on the keys - each key makes a different beat. They actually manage to peck out a simple beat. D.Jay laughs. The beat is interrupted by Lexus stonning into the room wearing a towel around her hips and head.<\/scene_description>\n    <character>LEXUS<\/character>\n    <dialogue>The fuck are you doin' wit my son?<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Just playin'.<\/dialogue>\n    <character>LEXUS<\/character>\n    <parenthetical>(pulls Roger away)<\/parenthetical>\n    <dialogue>Give me my baby.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Every time he get settled you gotta come and fuck with him. Gonna give that boy a twitch.<\/dialogue>\n    <scene_description>The door slams. D.Jay lights a blunt and closes his eyes. \\* The 808 beat can be heard softly - the pounding in his head. \\* He opens his eyes and pulls the keyboard closer. Pressing the \\* loop button, he matches the keyboard beat to the beat in his \\* head. It fits perfectly: Pip. Tack, tack, pip, tack. \\* D.Jay looks on the back of the keyboard. A single headphone \\* jack is on the back. \\* An idea hits as the loop continues. \\* JUMP CUTS as he opens a drawer next to his massive stereo and \\* removes a long cable. He pushes it into the inputs behind his \\* huge stereo. \\* \".4 CONTINUED: (2) 14 He picks up the remote. The treble goes to 0. Bass goes to 10. Bass boost activated. The volume dial spins to the loudest possible volume. D.Jay takes the other end of the cable and plugs it into the \\* headphone jack on the keyboard. \\* BOON! !Z'ACK, 2'ACK\", BOOM, TACK! BOCW! TACK, TACK, B&lt;XM, !Z'ACX! \\* The room is vibrating with his beat, as the loop sounds from his towering speakers. D.Jay stands silent, allowing the beats to pound through his body. \/ C:ON'l\" TNTJF;Dl CONTINUED: I 3)<\/scene_description>\n    <character>INT. D.JAY'S LIVINGROOM - NIGHT<\/character>\n    <dialogue>Shug awakes on the couch and stares oddly at the door to<\/dialogue>\n    <character>19<\/character>\n    <dialogue>D.Jay's work room. The TV distorts with the beat.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.JAY'S WORK ROOM - NIGHT<\/stage_direction>\n    <scene_description>D.Jay circles his table, punching at the air with each beat. The pot scales vibrate. D.Jay bounces his upper body up and down furiously - a man alone with his own invention. He turns off the keyboard with the push of a button. He is panting - suddenly aware of his own heart pounding. Silence.<\/scene_description>\n    <character>CUT<\/character>\n    <dialogue>21<\/dialogue>\n    <character>TO:<\/character>\n    <dialogue>INT. D.JAY'S<\/dialogue>\n    <scene_description>Nola snorts up some crank off a small swatch of shiny paper. D.Jay and Nola are parked by an old auto shop - hisses and pops sound from inside as D.Jay eyes a car driving up slowly.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Go easy, gal. Can't be no open candy store. We tight this whole week.<\/dialogue>\n    <scene_description>ID.Jay nudges Nola) Put yo shine on. Here this one come. Nola wipes away sweat as the driver approaches, she attempts to put on a sexy scowl for the passing trick.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Come on, Cuz. We ain't gonna bite.<\/dialogue>\n    <scene_description>The driver tries to get a good look at Nola but then speeds past. D.Jay shakes his head in frustration.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Goddamn! You go to IHOP to .aat. pancakes not stare at 'em. Half the lunch croWd just be window-shoppin'.<\/dialogue>\n    <character>NOLA<\/character>\n    <dialogue>Why can't we work the motels no more? Least they got air.<\/dialogue>\n    <scene_description>t C:ON'T' TNTJF.D)<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Least they take a cut, is what they do. Thirty dollars a room for one hour on top of what we already chargin'. And that's what ... for a five minute nut. I mean, that just don't make no sense. That's money outta my pocket, to keep your country cool.<\/dialogue>\n    <character>NOLA<\/character>\n    <dialogue>All I do is ask about gettin' cool and you gotta be ugly.<\/dialogue>\n    <character>D.JAY<\/character>\n    <parenthetical>(D.Jay notices the car approaching)<\/parenthetical>\n    <dialogue>Hold up. He corn.in' back. You need to put on a show for this trick. Do that thing with your tongue like you do.<\/dialogue>\n    <character>NOLA<\/character>\n    <dialogue>Lex get to work inside all day at the club. I don't see why I can't.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Cuz we been over this, Nola. Ain't I told you? You got what they call a bad equilibrium. My uncle Hector had it. You knock into shit. We put you in them heels up on that stage ... tricks gonna be screamin' \"timber.\" Here he come.<\/dialogue>\n    <character>NOLA<\/character>\n    <dialogue>I'm in heels out here, D! You don't see \\* me fallin' down.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Cuz you sittin', Nola. Ain't that much of a fall to the floor. Just ..\u2022 look it \u2022.. let me do the thinkin' for ya. Ah-ight? Just stick to what you do. And let me do what I do.<\/dialogue>\n    <character>NOLA<\/character>\n    <dialogue>One day you're gonna have to tell me about that.<\/dialogue>\n    <scene_description>The trick's car stops alongside of their car.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>About what?<\/dialogue>\n    <scene_description>( r.ON'l' T NfJF:D \\ 21 CONTINUED: (2) 21 NOLA What the fuck it is you do. The car stops. D.Jay has turned his cold attention to Nola. Knowing she has wounded D.Jay, Nola gains a modicum of confidence. She leans across D.Jay as if he was not even there.<\/scene_description>\n    <character>NOLA<\/character>\n    <parenthetical>(to the trick)<\/parenthetical>\n    <dialogue>Hey, Honey. You wanna see me walk in these heels all the way over to your lap?<\/dialogue>\n    <scene_description>The trick nods nervously. Nola smiles and crawls back inside.<\/scene_description>\n    <character>NOLA<\/character>\n    <parenthetical>(bitter)<\/parenthetical>\n    <dialogue>Look like he got air in his car. Must work as hard as you.<\/dialogue>\n    <scene_description>Nola slams the door behind her. She parades her high-heeled saunter in front of D.Jay, and hops in the trick's car. D.Jay fumes as the car drives off. CUT TO:<\/scene_description>\n    <character>INT. CORNER GROCERY STORE -<\/character>\n    <dialogue>D.Jay's shirt is wet from sweat as he enters the CORNER<\/dialogue>\n    <character>DAY<\/character>\n    <dialogue>GROCERY STORE - a small, unassuming establishment. Nola trails behind and immediately goes for the ice cream \\* freezers. \\* ELROY, mid thirties, sits behind the counter. D.Jay reaches past Elroy to a pack of cigarettes in a display. Elroy glares as D.Jay cracks open the pack and lights up.<\/dialogue>\n    <character>ELROY<\/character>\n    <dialogue>You wanna do my job? I got a mop for ya.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Elroy. I'm havin' a day that just won't quit. So ... shine a little light on me, huh?<\/dialogue>\n    <character>ELROY<\/character>\n    <dialogue>You got something for me?<\/dialogue>\n    <scene_description>D.Jay reaches into his pocket and pulls out a leather tobacco bag and a small NOTEPAD. D.Jay wipes a handful of sweat away from his brow and places the bag before Elroy. I CONTTNll~Tl I CONTINUED:<\/scene_description>\n    <character>D.JAY<\/character>\n    <parenthetical>(referencing his notepad)<\/parenthetical>\n    <dialogue>Gotta grocery list, too. Gonna need a brick of that Big Easy bud for this VIP comin' in ...<\/dialogue>\n    <scene_description>Elroy looks inside the bag and notices his hand is wet from D.Jay's sweat.<\/scene_description>\n    <character>ELROY<\/character>\n    <parenthetical>(showing D.Jay his hand)<\/parenthetical>\n    <dialogue>Shit, D. I don't want yer stank on me. Look at this shit. I don't even like my own sweat on me. Sure as hell don't want yers ...<\/dialogue>\n    <scene_description>A surge of anger hits D.Jay. He snatches the wad of cash from Elroy's hand and shoves it deep down the front of his pants into his crotch.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Tell you what. Let's get some of my sweet Juice on it. See how you like that.<\/dialogue>\n    <scene_description>(pulls out the cash and slams it on the counter) \\* Go on. Tell me you ain't gonna pick that up. Elroy glares at D.Jay but chooses not to antagonize him today. He picks up the wad of cash.<\/scene_description>\n    <character>ELROY<\/character>\n    <dialogue>Let's get you on your way, D.<\/dialogue>\n    <scene_description>Elroy disappears into the back of the store. D.Jay looks over \\* at Nola, eating an ice cream sandwich. \\*<\/scene_description>\n    <character>D.JAY \\*<\/character>\n    <dialogue>(spiteful) \\*<\/dialogue>\n    <scene_description>You cool now? \\* Positioned directly in front of his gaze is a spinning cassette display case - a face-out cassette of SKINNY BLACK'S latest release stares back at D.Jay.<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>You still into that shit?<\/dialogue>\n    <scene_description>D.Jay turns to see KEY. Key is a simple looking, chubby black male in his mid-thirties. He is wearing glasses and a blue button-down shirt with tan Dockers. He is cradling a dozen packs of 9 volt batteries. ?2 CONTINUED: (2) 22<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <scene_description>rr.ON'T'TNUP.D\\ CONTINUED: (3)<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>I remember coach Rosallis lettin' you spit some flow over the intercom in gym class. Back when we was all beat-boxing like the Fat Boys.<\/dialogue>\n    <scene_description>D.Jay studies his face unable to come up with his name.<\/scene_description>\n    <character>KEY<\/character>\n    <parenthetical>(offering his hand)<\/parenthetical>\n    <dialogue>Key Dunn. We went to East Middle.<\/dialogue>\n    <character>D.JAY<\/character>\n    <parenthetical>(remembering)<\/parenthetical>\n    <dialogue>You did the after school dances. Had you spinnin' records. Huh?<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>Nothing fancy. Not like I was scratchin'. Just making sure Purple Rain got played for the ladies.<\/dialogue>\n    <scene_description>D.Jay laughs - some welcomed nostalgia. Elroy returns with a \\* healthy pound wrapped in a .brown paper bag. He stops, eyeing \\* Key suspiciously. \\*<\/scene_description>\n    <character>D.JAY \\*<\/character>\n    <dialogue>Naw, he cool, Elroy. Give over. \\*<\/dialogue>\n    <scene_description>(back to Key) \\* East Middle. Them was some days, huh? \\* Key looks over at Nola sucking her ice cream covered fingers. \\* He grins. \\*<\/scene_description>\n    <character>KEY \\*<\/character>\n    <dialogue>I see you still doin' the same. \\*<\/dialogue>\n    <scene_description>Elroy starts ringing up Key for the batteries. \\*<\/scene_description>\n    <character>D.JAY \\*<\/character>\n    <dialogue>We like the Post Office. You know, \\* through rain or sleet or snow. \\*<\/dialogue>\n    <scene_description>(Key smiles) \\* So, what? You got a dildo or sornethin'? \\*<\/scene_description>\n    <character>KEY \\*<\/character>\n    <dialogue>Do what? \\*<\/dialogue>\n    <character>D.JAY \\*<\/character>\n    <dialogue>What'chu buyin' all these batteries for? \\*<\/dialogue>\n    <character>KEY \\*<\/character>\n    <dialogue>Well, it ain't for a dildo. \\*<\/dialogue>\n    <scene_description>\/ C:ON~ T NfJF. f) l CONTINUED: ( 4)<\/scene_description>\n    <character>D.JAY \\*<\/character>\n    <dialogue>(grinning) \\*<\/dialogue>\n    <scene_description>I'm just playin'. Shit. \\*<\/scene_description>\n    <character>KEY \\*<\/character>\n    <dialogue>They're for my microphones. \\*<\/dialogue>\n    <character>D.JAY \\*<\/character>\n    <dialogue>Microphones? \\*<\/dialogue>\n    <character>KEY \\*<\/character>\n    <dialogue>Mm-hin. \\*<\/dialogue>\n    <scene_description>D.Jay studies Key's face, cautious and curious. \\*<\/scene_description>\n    <character>D.JAY \\*<\/character>\n    <dialogue>Microphones. \\*<\/dialogue>\n    <scene_description>(nods) \\* So. What is it you do? \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLEVUE BAPTIST CHURCH - DAY 24 \\*<\/stage_direction>\n    <scene_description>A modest-sized gospel choir takes a deep breath and breaks into the Spiritual '~Keep Your Lamps Trimmed and Burning.\" We follow a gray cord from a hanging microphone to a collection of cables. Key is recording the choir from the pews of the church. D.Jay is seated in the center of the church - Nola sits in the back eating an ice cream sandwich. The choir crescendos with chilling intensity. D.Jay is unable to move as the song continues. He slowly grips the pew in front of him, his chest rising with deep breaths through his flaring nostrils. The music is working on him. The choir concludes abruptly, building into an accented climax. Key holds one hand up in the air, indicating for everyone to remain silent. Ir.ON~ TNU1'DI<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>24<\/dialogue>\n    <scene_description>D.Jay exhales. Key presses STOP. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.JAY'S WORK ROOM - NIGHT<\/stage_direction>\n    <scene_description>D.Jay is smoking a blunt, holding in the smoke and gently blowing it back out. His keyboard holds a steady beat. D.Jay sighs and closes his eyes. Suddenly a wave of fear and paranoia hits. Something or someone just charged at him. He scrambles to his feet, looking around the room. What was that? He holds his chest and tries to control his rapid panting. He is alone in the room. He looks at the blunt and then quickly taps it out into the bowl. He turns the keyboard OFF. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.JAY'S LIVINGRODM - LATER - NIGHT<\/stage_direction>\n    <scene_description>It is unusually quiet in the room. Nola sleeps on one couch as Shug sleeps on the adjacent one. D.Jay is gently shaking Shug awake.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Hey, Shug ... you up?<\/dialogue>\n    <scene_description>Shug opens her eyes and sits up, cradling her stomach with one hand.<\/scene_description>\n    <character>SHUG<\/character>\n    <parenthetical>(waking up)<\/parenthetical>\n    <dialogue>I gotta watch the baby?<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Naw. Everyone asleep.<\/dialogue>\n    <scene_description>{looks at her stomach) So. He kickin' tonight?<\/scene_description>\n    <character>SHUG<\/character>\n    <dialogue>Usually after I eat. He really active durin' the day, though. Must be like his daddy, cuz he don't get that from me.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Yeah. Whoever that is.<\/dialogue>\n    <scene_description>(C:ON'l'TNtJF'.DI 26 CONTINUED: 26 Shug is slightly wounded by the comment. D.JAY (with difficulty) Shug. We got history. You know, you been trickin' for me goin' on a few now. So ... there's that. (Shug nods) Me not pimpin' you 'cause of, you know .\u2022. (referring to her stomach) It kind'a \u2022.\u2022 puts us in a different place.<\/scene_description>\n    <character>SHUG<\/character>\n    <dialogue>You wantin' me to leave?<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Naw. That ain't ..\u2022 Naw.<\/dialogue>\n    <scene_description>D.Jay moves closer. He looks over at Nola again. His chest feels tight. Anxiety pushes in on him.<\/scene_description>\n    <character>D.JAY (CONT'D) \\*<\/character>\n    <parenthetical>(rubs his -hands together)<\/parenthetical>\n    <dialogue>I think I may be gettin' one of them mid- life crisis.<\/dialogue>\n    <scene_description>(Shug listens) \\* You know my Daddy's heart gave out when \\* I's just twelve years old. He was a young man. I mean ..\u2022 I mean he's my age. (thinks on that) That's been fuckin' with my head. Like this is it for me. It's fuckin' with my Mode on the track, can't concentrate, can't smoke weed without feelin' l.ike I'm gettin' a heart attack and ... and I don't \\* know what I'm supposed to do. \\*<\/scene_description>\n    <character>SHUG<\/character>\n    <dialogue>I get bad dreams. Dreams like me givin' birth to dead dogs, sometimes I'm breast feedin' a big ole ugly catfish.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>For real?<\/dialogue>\n    <character>SHUG<\/character>\n    <dialogue>But that's just my mind touchin' in on somethin' that I ain't said out loud.<\/dialogue>\n    <scene_description>I C:ON'l' TNfTP,fll<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>26<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>SHUG<\/character>\n    <dialogue>I'm scared.<\/dialogue>\n    <scene_description>{rubs her stomach) I get so scared, D. D.Jay doesn't like how that sourided to him - too truthful. He \\* stands and crosses to his work room. He looks back at Shug. \\*<\/scene_description>\n    <character>D.JAY<\/character>\n    <parenthetical>(lying)<\/parenthetical>\n    <dialogue>I ain't scared. \\*<\/dialogue>\n    <scene_description>Shuts the door. \\* 26aA INT. D.JAY'S WORK ROOM - NIGHT 26aA \\* D.Jay sits at his table. He touches his chest - fearful of \\* another attack. His Mode begins to sound in his ears. Anger \\* grips him. \\* BOOM! BOOM! BOOM! BOOM! BOOM! BOOM! BOOM! BOOM! \\* D.Jay pulls his pad out of his pocket. He flips to a clear \\* page. He begins to write flow. \\* CUT TO BLACK: \\*:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>26A EXT. MEMPHIS - DAY 26A \\*<\/stage_direction>\n    <scene_description>Various morning establishing shots. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLASS ROOM - DAY 27 \u0080\ufffd<\/stage_direction>\n    <scene_description>A little boy is playing the violin. He is earnest in his \\* efforts but terrible in his execution. \\* We PAN to a microphone on a stand. We follow the cord to \\* Key's recording station. \\* Key is turned to the side, holding one end of a headphone to \\* his ear. He winces with each awful note. \\* The song concludes. Key presses stop and puts on a \\* supportive, phony smile to the BOY'S MOTHER. \\*<\/scene_description>\n    <character>KEY \\*<\/character>\n    <dialogue>That was beautiful. \\*<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KEY'S HOUSE - DINING ROOM - NIGHT 29 \\*<\/stage_direction>\n    <scene_description>Key has fallen asleep with his mouth open, laying on the couch. The TV is on - a weather man talking about the heat index.<\/scene_description>\n    <character>YEVETTE<\/character>\n    <dialogue>Clyde? Clyde, dinner is on.<\/dialogue>\n    <scene_description>A meatloaf is placed on the small dining room table, by YEVETTE, Key's wife. Yevette is roughly the same shape and size of Key. She works at a clothing retail store. She is confident, strong and no nonsense. She walks over and gently taps his cheek.<\/scene_description>\n    <character>YEVETTE<\/character>\n    <dialogue>Baby? Baby?<\/dialogue>\n    <parenthetical>(a finn voice and a finner slap)<\/parenthetical>\n    <dialogue>Clyde.<\/dialogue>\n    <scene_description>Key snorts awake. He looks around as if he doesn't know where he is.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KEY'S HOUSE - DINING ROOM - LATER - NIGHT<\/stage_direction>\n    <scene_description>Both Yevette and Key have their heads bowed and their eyes closed.<\/scene_description>\n    <character>KEY<\/character>\n    <parenthetical>(mumbling the prayer)<\/parenthetical>\n    <dialogue>Most-gracious-and-heavenly-father-we-ask- you-bless-this-food-and-this-house-in-the- name-of-Jesus-we-pray-Amen.<\/dialogue>\n    <character>YEVETTE<\/character>\n    <dialogue>Amen.<\/dialogue>\n    <scene_description>Yevette jumps into a tale from work as Key prepares to eat.<\/scene_description>\n    <character>YEVETTE<\/character>\n    <dialogue>So, Beth Ann tells me the reason I didn't get moved up into Sales Supervisor is because I have issues enforcing company policy with my co-workers. Who she referred to as my friends, not co-workers but friends. I said, just because I am pleasant and supportive does not mean I cannot ...<\/dialogue>\n    <parenthetical>( a new mouthful)<\/parenthetical>\n    <dialogue>Crack a whip. Cuz I can crack a whip. I mean, you've seen me crack a whip.<\/dialogue>\n    <character>KEY<\/character>\n    <parenthetical>(chewing his meatloaf)<\/parenthetical>\n    <dialogue>Mm-hm.<\/dialogue>\n    <character>YEVETTE<\/character>\n    <dialogue>I mean what are we talking about here? We're talking about folding sweaters and making sure the fitting rooms are kept clean. Sales Supervisors don't even handle the safe.<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>I know. I know.<\/dialogue>\n    <character>YEVETTE<\/character>\n    <dialogue>So I go in and I talk to Leonard. He always say, come in and air your grievances, so I did.<\/dialogue>\n    <scene_description>Key is struggling to stay interested as he devotes his attention to pouring gravy on his mashed potatoes. I C.ON'rTNHF;I)}<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>30<\/dialogue>\n    <character>YEVETTE<\/character>\n    <dialogue>And you know what he said? He said that I would be incapable of writing someone up. Cuz I'm so friendly. I said, give me a pen, Leonard. I know everything that everybody is doing wrong. Beth Ann take way too long on her lunch break. Allen, that little shit back in receiving came to work high. Not to mention yesterday Sally was wearing a skirt from our discontinued line. And I know she didn't pay for it. Now, do you think I'm gonna turn a blind eye to these violations if I was Sales Supervisor, just cuz I'm nice?<\/dialogue>\n    <scene_description>Key isn't aware that Yevette is waiting for an answer. He eats his dinner with his head bowed over his plate.<\/scene_description>\n    <character>YEVETTE<\/character>\n    <dialogue>Clyde?<\/dialogue>\n    <scene_description>Key looks up at Yevette. The doorbell rings. The two look at the front door and then back at each other. CUT TO: l INT. KEY'S HOUSE - LIVING ROOM - NIGHT 31 Key opens the door to see D.Jay standing there holding a big paper sack in his hands. Nola and Lexus stand behind him.<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>D.Jay. What are you ...<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>I know you prob'ly sick of me, but ... if I could just ...<\/dialogue>\n    <character>YEVETTE<\/character>\n    <parenthetical>(from behind Key)<\/parenthetical>\n    <dialogue>Clyde? Who is it?<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>Just a \u2022\u2022\u2022<\/dialogue>\n    <character>D.JAY<\/character>\n    <parenthetical>(finishing Key's sentence)<\/parenthetical>\n    <dialogue>Just an old school buddy. Ain't that right. . . Clyde?<\/dialogue>\n    <scene_description>Key looks at the sweaty, scantily dressed Nola and Lexus. Nola smiles as Lexus glares behind her braids. \/C:ON'T'TNtJP.Dl<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>Yeah, come on in.<\/dialogue>\n    <scene_description>Yevette stands cautiously in the entrance way to the living room, her hands clasped together. D.Jay enters followed by Nola in her short jeans mini skirt, and Lexus in tight spandex and over accentuated eye-liner. Key feels pressure to explain.<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>Uh, Yevette, this uh \u2022\u2022\u2022 this D.Jay. We went to East Middle together.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>How you doin' ?<\/dialogue>\n    <character>YEVETTE<\/character>\n    <parenthetical>(polite but skeptical)<\/parenthetical>\n    <dialogue>We were just having dinner.<\/dialogue>\n    <scene_description>Yevette's eyes move to Nola and Lexus. Key stumbles his words to introduce them.<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>And this here is Nola and \u2022..<\/dialogue>\n    <parenthetical>(not knowing Lexus)<\/parenthetical>\n    <dialogue>And .\u2022\u2022 uh ...<\/dialogue>\n    <character>LEXUS<\/character>\n    <parenthetical>(mumbled)<\/parenthetical>\n    <dialogue>Lex.<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>Legs?<\/dialogue>\n    <character>LEXUS<\/character>\n    <dialogue>Lex. Like Lexus. Like you get in and drive a fuckin' LEX-US.<\/dialogue>\n    <character>KEY<\/character>\n    <parenthetical>(with a big phony smile)<\/parenthetical>\n    <dialogue>And \u2022\u2022\u2022 LEXUS.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>I'd a left 'em in the car but Nola saw y'all got a window cooler. She sniffs out window units like a bloodhound bitch, I'm tellin' you.<\/dialogue>\n    <scene_description>(turns to Yevette} I meant that as a complement. rC:ON'l'TNlJRfl l 11 CONTINUED: (2) 31<\/scene_description>\n    <character>YEVETTE<\/character>\n    <dialogue>Would you all ... like to sit down. Can I ... get you all anything?<\/dialogue>\n    <character>NOLA<\/character>\n    <dialogue>No, ma'am.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>I'm ah-ight. Thank you.<\/dialogue>\n    <parenthetical>(to Key)<\/parenthetical>\n    <dialogue>Somewhere we can talk, you and me?<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>Come on back in the kitchen.<\/dialogue>\n    <scene_description>Yevette is now left alone with two hookers sitting on her couch. She sits, leaning forward, trying to be polite.<\/scene_description>\n    <character>YEVETTE<\/character>\n    <dialogue>So. Where do you all work?<\/dialogue>\n    <scene_description>Lexus releases a gruff chuckle. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KEY'S HOUSE - KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>D.Jay is brimming with enthusiasm. Key keeps his voice soft. \\*<\/scene_description>\n    <character>KEY \\*<\/character>\n    <dialogue>Opportunity? \\*<\/dialogue>\n    <character>D.JAY \\*<\/character>\n    <dialogue>Yeah. \\*<\/dialogue>\n    <character>KEY \\*<\/character>\n    <dialogue>For who? \\*<\/dialogue>\n    <character>D.JAY \\*<\/character>\n    <dialogue>For us. You and me. You got the gear. I \\* got the styles. \\*<\/dialogue>\n    <character>KEY \\*<\/character>\n    <dialogue>One thing don't lead to another just cuz \\* you want it. You may got some bacon, \\* lettuce and tomato. But that don't mean \\* I'm givin' you my toast. \\*<\/dialogue>\n    <character>D.JAY \\*<\/character>\n    <dialogue>The fuck you talkin' about? \\*<\/dialogue>\n    <scene_description>( r.ONT TNT JR DI CONTINUED: 32 KEY \\* Look, D. I know you learned a whole mess \\* of shit, hustlin' on the streets, like \\* you say ... but let me tell you what I \\* learned workin' my job. \\* {cracks a beer open for \\* D.Jay and himself) \\* There's two kinds a people. There's those \\* who talk the talk and there's those who \\* walk the walk. People who walk the walk, \\* they sometimes talk the talk but most of \\* the times they don't need to talk cuz \\* they walkin'. \\* (D.Jay tries to follow) \\* Now folks who talk the talk, when it come \\* time to walk, you know what they do? They \\* talk somebody like me into doin' the \\* walkin' for 'em. \\* D.Jay removes his pad and flips to a page of flow. \\*<\/scene_description>\n    <character>D.JAY \\*<\/character>\n    <dialogue>Okay \u2022.. But just look it what I got here, \\* mane. \\*<\/dialogue>\n    <character>KEY \\*<\/character>\n    <dialogue>D... were you listenin' to what ... \\*<\/dialogue>\n    <character>D.JAY \\*<\/character>\n    <dialogue>(through clenched teeth) \\*<\/dialogue>\n    <scene_description>I ain 1 t a man to beg. But I will, nigga. \\* Is that what you want? You think this \\* easy ... come over all hat-in-hand and \\* shit? \\* (he has Key's attention) \\* Listen to what I got. You think this \\* shit 1 s whack. \\* (snaps) \\* I'm out'cha ya life. And that 1 s my word. \\* Key takes a breath. He nods, ready to listen. D.Jay takes his \\* time preparing. \\*<\/scene_description>\n    <character>KEY \\*<\/character>\n    <dialogue>I'm listening. \\*<\/dialogue>\n    <character>D.JAY \\*<\/character>\n    <dialogue>I'm goin' . Just ... \\*<\/dialogue>\n    <scene_description>(takes a breath) \\* Waitin' on my Mode to kick in. \\*<\/scene_description>\n    <character>KEY \\*<\/character>\n    <dialogue>Y'what? \\*<\/dialogue>\n    <scene_description>I C:ON'T'TNUP.D l CONTINUED: (2)<\/scene_description>\n    <character>D.JAY \\*<\/character>\n    <dialogue>Nothin'. Okay. \\*<\/dialogue>\n    <scene_description>D.Jay presses the loop button on the small Casio keyboard. A \\* simplistic beat sounds. \\*<\/scene_description>\n    <character>D.JAY {CONT'D) \\*<\/character>\n    <dialogue>It's called Pop It. It go ... \\*<\/dialogue>\n    <scene_description>(reading) \\* These bitches pop it for some paper. Pop \\* that ass for some cash flow ... \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KEY'S HOUSE - LIVING ROOM - NIGHT 33 \\*<\/stage_direction>\n    <scene_description>Yevette is wringing her hands together. She nervously smiles at Lexus and Nola, trying to come up with something to say. Nola beats her to it.<\/scene_description>\n    <character>NOLA<\/character>\n    <dialogue>I like your hair. Kind'a got that chocolate color in it.<\/dialogue>\n    <character>YEVETTE<\/character>\n    <dialogue>Well, thank you. I have a great guy who does it over in Germantown. The coloring, I mean.<\/dialogue>\n    <character>NOLA<\/character>\n    <dialogue>I try to do somethin.t different with my hair every couple of months. Keep the tricks guessin', you know.<\/dialogue>\n    <character>YEVETTE<\/character>\n    <dialogue>Keep the what?<\/dialogue>\n    <scene_description>Another gruff chuckle from Lex.<\/scene_description>\n    <character>NOLA<\/character>\n    <parenthetical>(pulling on her braids)<\/parenthetical>\n    <dialogue>These gotta be re-done a lot, if I wanna<\/dialogue>\n    <scene_description>keep 'em lookin' real. Cuz these ain't my real braids. They just extensions.<\/scene_description>\n    <character>LEXUS<\/character>\n    <dialogue>Nola, shut the fuck up.<\/dialogue>\n    <character>NOLA<\/character>\n    <dialogue>No one's talkin' to you, bitch. You shut the fuck up.<\/dialogue>\n    <scene_description>There is a loud pounding from the kitchen.<\/scene_description>\n    <character>LEXUS<\/character>\n    <dialogue>She don't want to know nothin' 'bout yo kitchen do.<\/dialogue>\n    <character>YEVETTE<\/character>\n    <parenthetical>(trying)<\/parenthetical>\n    <dialogue>Well, I think \u2022\u2022\u2022 they look very nice.<\/dialogue>\n    <character>LEXUS<\/character>\n    <parenthetical>(to Yevette)<\/parenthetical>\n    <dialogue>You don't gotta be nice to her just cuz she sitting on your couch.<\/dialogue>\n    <scene_description>\/f:ON'l'TNUROI :n CONTINUED: 33<\/scene_description>\n    <character>LEXUS<\/character>\n    <dialogue>If you think her head look like a dust mop, just say so.<\/dialogue>\n    <character>YEVETTE<\/character>\n    <dialogue>But I didn't. I mean, I don't ...<\/dialogue>\n    <scene_description>Yevette can hear the pounding now, she turns to the kitchen, confused.<\/scene_description>\n    <character>YEVETTE<\/character>\n    <dialogue>What in ... God's ... ?<\/dialogue>\n    <character>NOLA<\/character>\n    <dialogue>I don't know why you gotta be so ugly. People say my hair looks sexy.<\/dialogue>\n    <character>LEXUS<\/character>\n    <dialogue>Yeah. And then they nut.<\/dialogue>\n    <scene_description>Yevette stands and moves toward the kitchen door.<\/scene_description>\n    <character>YEVETTE<\/character>\n    <dialogue>Clyde?<\/dialogue>\n    <character>LEXUS<\/character>\n    <dialogue>Ugly as a swamp duck ho, is what you look like ...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KEY'S HOUSE - KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Yevette opens the door to the kitchen. What she sees confuses her. D.Jay is caught up in his flow. It is biting, profane and \\* bursting with energy. Key is slamming his beer bottle on the \\* kitchen table to the beat, his eyes are closed, his head bobs to the flow. \\*<\/scene_description>\n    <character>D.JAY \\*<\/character>\n    <dialogue>(rapping) \\*<\/dialogue>\n    <scene_description>Pop it for some, pop it for some paper. \\* Pop it for some paper. Pop it. \\*<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>(in a chant) \\*<\/dialogue>\n    <scene_description>Now put your hands on your knees. \\* Shake it, shake it, real fast. Shake it, \\* shake it, real fast. Shake it, shake it, \\* real fast. \\* (Key giggles) \\* That's the shit right there. \\* I r.ON'T'TNlJRDl 14 CONTINUED: 34<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>Just needed some shake, naw what I mean? \\* Needed some ass shakin' ... \\*<\/dialogue>\n    <scene_description>D.Jay turns around and stops, noticing Yevette and Nola. Key \\* opens his eyes, a fat grin on his face. { r.ON'l'TN1J1'D\\<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>34<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>You run out a spit, nigga?<\/dialogue>\n    <character>YEVETTE<\/character>\n    <dialogue>Clyde?<\/dialogue>\n    <scene_description>The smile on Key's face disappears. He sits upright.<\/scene_description>\n    <character>YEVETTE<\/character>\n    <dialogue>Clyde, what are you doin'?<\/dialogue>\n    <scene_description>Key takes a deep breath and looks at a smiling D.Jay. With confidence and a touch of abandon, Key responds:<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>Walkin'. \\*<\/dialogue>\n    <character>CUT<\/character>\n    <dialogue>35<\/dialogue>\n    <character>TO:<\/character>\n    <dialogue>CLOSE UP OF D.JAY'S TURNTABLE - DAY<\/dialogue>\n    <scene_description>D.Jay puts on a record and speeds up the rhythm. Music continues. \\* INT. D.JAY'S WORK ROOM - DAY 36 EXTREME CWSE UPS of outputs plugged into inputs, shelving added to the table, drilling screws into the wall. Key saws off the light from a desk lamp with an extendable arm. He then fastens the mic to the end of.it with duct tape.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAWN SHOP - DAY<\/stage_direction>\n    <scene_description>The beat continues as Key and D.Jay shop for keyboards and samplers at various pawn shops.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KING OF CLUBS - NIGHT<\/stage_direction>\n    <scene_description>Lexus dances, hangs from a pole, unfolds a wad around her middle finger and hands it over to D.Jay. Mickey unplugs a smaller mixer from his console in the DJ booth and hands it over to D.Jay. D.Jay hustles nickel bags to a few dancers in the back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.JAY'S WORK ROOM - DAY<\/stage_direction>\n    <scene_description>D.Jay sucks the last out of a roach and tosses the rest into a bowl. Key sets up his four track recorder - plugging in the ear phones. D.Jay hooks up Dr. Rhythm and puts beat to song. \\* rr.ON'T'TNIJP.D) ,9 CONTINUED: 39 A large keyboard is plugged in. A label is taped to it: ELBOW. The melody is heard in the beat as D.Jay fingers the keys. Key nods, clear signal. Thumbs up.<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>Elbow on two.<\/dialogue>\n    <character>D.JAY<\/character>\n    <parenthetical>(holds up the small keyboard)<\/parenthetical>\n    <dialogue>Quarter 0?<\/dialogue>\n    <character>KEY<\/character>\n    <parenthetical>(switching channels)<\/parenthetical>\n    <dialogue>Quarter O on One.<\/dialogue>\n    <scene_description>The music cross fades to the simple beat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. D.JAY'S STREET - DAY<\/stage_direction>\n    <scene_description>D.Jay's Mode is heard - an 808 beat: BOOM ... BOOM ... BOOM. Key is huffing as he carries the window air unit as D.Jay talks at him.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>All my days I been listenin' to this beat in my head. Like a pounding. Sometime it sounds raw like an BBall joint. Sometime it go smooth like Otis Redding, ya naw what I'm sayin'. That beat. That song. That feeling in my gut. It's what I been callin' my Mode.<\/dialogue>\n    <parenthetical>(Key struggles and huffs)<\/parenthetical>\n    <dialogue>If my Mode is crackin', I can't be stopped. Like it's showtirne and I'm like Mike. Cuz out here on the track ... I \\* gotta keep my game. It's hard out here \\* for a pimp. Now, hold up ..\u2022 that sounded \\* tight.<\/dialogue>\n    <scene_description>(D.Jay scribbles in his notebook) \\* It's hard out here for a pimp ... \\* Key puts the air unit down to catch his breath.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>What? You tired?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.JAY'S WORK ROOM - DAY 41 \\*<\/stage_direction>\n    <scene_description>Music returns to the simple beat as Key hammers plywood over the windows. D.Jay plugs in Christmas lights that he has hung around the walls. Another lamp is plugged into the cluttered power pack. D.Jay squeezes in another plug for the turntable. He spins a record and lets it roll, blending with the beat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. D.JAY'S CHEVY - THE TRACK - DAY<\/stage_direction>\n    <scene_description>Nola has mastered a pair of white platform boots. She prances alongside the Chevy, along the track, as D.Jay scribbles in his notepad seated in the driver's seat. A trick's car drives up. Nola leans inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BY THE TRAIN TRACK - DAY<\/stage_direction>\n    <scene_description>The trick's car pulls behind a brick wall, a train passes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.JAY'S WORK ROOM - NIGHT<\/stage_direction>\n    <scene_description>Key and D.Jay push the small air unit into the window space. Key plugs it in and pinches the power dial.<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>We cool now.<\/dialogue>\n    <scene_description>Key twists the power switch and yelps as sparks fly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.JAY'S LIVINGROOM - NIGHT<\/stage_direction>\n    <scene_description>Shug's TV along with all the lights blink out. The beat is cut short as we:<\/scene_description>\n    <character>CUT<\/character>\n    <dialogue>46<\/dialogue>\n    <character>TO:<\/character>\n    <dialogue>INT. D.JAY'S CHEVY\/ TRICK'S<\/dialogue>\n    <scene_description>CROSS CUTS of: D.Jay switching stations on his push button radio - Nola taking two wrinkled 20's from the trick. Another commercial on another station - Nola rips open a condom and tosses it in her mouth. The radio dial jumps back and forth - Nola turns her face away as sweat showers her off the trick's chubby face.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Goddamn \u2022\u2022\u2022<\/dialogue>\n    <scene_description>I C:ON'l'TNTJF,D I<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>46<\/dialogue>\n    <scene_description>D.Jay turns off the noise and flips open his notepad. 7 INT, D.JAY'S CHEVY - SAME DAY 47 Nola climbs in the car covered in another man's sweat. She holds out two wrinkled 20's, but D.Jay is too busy writing flow in his note pad to notice. \\* Defeated and ignored, Nola places the two 20's on the seat. In silence, she carefully peeks over at his notes. D.Jay takes notice.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>I'm tellin' you ..\u2022 this is hard work. To take what's in your mind \u2022.\u2022 and put it into words that fit together like a puzzle ...<\/dialogue>\n    <scene_description>D.Jay returns to writing. Nola curiously watches.<\/scene_description>\n    <character>NOLA<\/character>\n    <dialogue>I wish there was somethin'. You know, somethin' I could ...<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Shit, baby, you're my operation. You what they call my primary investor. Making all this shit happen one trick at a time.<\/dialogue>\n    <scene_description>Nola looks out the window, discouraged. D.Jay notices. He turns her face toward him. He gently touches her face.<\/scene_description>\n    <character>D. JAY<\/character>\n    <dialogue>Think about how I found you at the truck stop. You the smallest lot lizard I ever seen, trickin' them truckers for change.<\/dialogue>\n    <scene_description>{serious) I love you, Nola. Not like a man loves a woman. But like a brother. Like you my own blood. Cuz I know, girl. I know what it is to be lost. Wantin' to be a part of somethin'. And I'm tellin' you. You a part of this. D.Jay takes her tiny hands and places them on the steering wheel. He wraps his hands around hers.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>You know what this means?<\/dialogue>\n    <scene_description>{she shakes her head) Means we got our hands on the wheel. We in charge, you and me. None of these tricks out here. We in charge. I r.ON'l'TN{JRDl CONTINUED:<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>I wanna hear you say it, so I can believe in you like you do me. Go'on.<\/dialogue>\n    <scene_description>Nola feels D.Jay's wannth spread through her chest. His words are working on her.<\/scene_description>\n    <character>NOLA<\/character>\n    <dialogue>We're in charge.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KEY'S HOUSE - DINNING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Yevette made fried chicken tonight with mashed potatoes and purple peas. She sits stoned faced on her end of the table as Key fixes his paper plate to go.<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>You said you was okay with this.<\/dialogue>\n    <character>YEVETTE<\/character>\n    <dialogue>Yeah, that's what I said.<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>But that ain't what you meant?<\/dialogue>\n    <character>YEVETTE<\/character>\n    <dialogue>It's what you wanna hear. So let's just drop it. \\*<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>I wanna hear what you really think.<\/dialogue>\n    <character>YEVETTE<\/character>\n    <dialogue>No you don't.<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>Yes, I do.<\/dialogue>\n    <character>YEVETTE<\/character>\n    <dialogue>You say that .\u2022. but I know you just wanna hear what you want. So that's what I say.<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>I'm gettin' so sick of people tellin' me what I'm thinkin'. Like I don't know my own Goddamn mind.<\/dialogue>\n    <scene_description>( \\,ON'T'TNUF',D l 48 CONTINUED: 48 YEVETTE KEY Don't you dare take that tone We already talked about this, with me! I have supported you so we wouldn't go round and in every ... round when time came ... \\*<\/scene_description>\n    <character>YEVETTE<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>I'm thrilled, Clyde! What woman wouldn't want their husband spending all their time in a house full of hos?<\/dialogue>\n    <scene_description>Silence.<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>Yevette. This may turn out to be a big nothing. But if I sink my ass into that couch one more night ... I swear to Jesus \u2022..<\/dialogue>\n    <scene_description>{looks at his watch) I'm late. Key walks over to Yevette and kisses her on the cheek. Yevette is motionless, even after Key walks out the door. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.JAY'S WORK ROOM - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Key is stapling card-board drink holders to the walls. D.Jay is eating a leg of chicken from Key's plate.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>What is that shit?<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>Drink holders. Poor man's sound proofing.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Yeah, you ain't so dumb, huh?<\/dialogue>\n    <scene_description>A knock. Shug pops her head in.<\/scene_description>\n    <character>SHUG<\/character>\n    <dialogue>D, they's someone at the door for you.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>You know my rates, baby.<\/dialogue>\n    <character>SHUG<\/character>\n    <dialogue>I don't think this guy wants no weed.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Go wake up Nola, then.<\/dialogue>\n    <scene_description>( &lt;cON'T' TN\\[)RT)\\ CONTINUED:<\/scene_description>\n    <character>SHUG<\/character>\n    <dialogue>I don't think he want that either.<\/dialogue>\n    <scene_description>\/ C-:ON'l'TNTJ~D \\<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>49<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Shit. We gotta start making some rules round this crib.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.JAY'S LIVINGROOM - NIGHT<\/stage_direction>\n    <scene_description>D.Jay admonishes Shug as he makes his way to the front door.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Gotta get one 'a them red light bulbs, put on the wall. Light it up when we workin'. You know, \"recording in session\" and shit ..\u2022 D.Jay opens the door with a jerk.<\/dialogue>\n    <character>SHUG<\/character>\n    <dialogue>You tell me not to answer the door that'd be just fine with me. Gotta get up off the couch every time ....<\/dialogue>\n    <scene_description>Standing on the porch is SHELBY, an optimistic looking white boy - age 25. He is wearing a white button-down shirt and a black tie.<\/scene_description>\n    <character>SHELBY<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Shit, you Mormons are some brave mother- fuckers.<\/dialogue>\n    <character>SHELBY<\/character>\n    <dialogue>No. I'm Shelby.<\/dialogue>\n    <scene_description>D.Jay notices he is holding a large duffle bag.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Okay, you Shelby.<\/dialogue>\n    <character>KEY<\/character>\n    <parenthetical>(from the work room)<\/parenthetical>\n    <dialogue>Come on back, Shel.<\/dialogue>\n    <scene_description>Shelby smiles at D.Jay as he passes. D.Jay is confused and unable to protest. He looks at Shug. She shrugs. D.Jay creeps through his own livingroom listening to Shelby and Key talk with casual familiarity.<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>Turntable's up. The mixer D. got has four inputs, so we should be good with both your boards.<\/dialogue>\n    <character>SHELBY<\/character>\n    <dialogue>Got a power strip?<\/dialogue>\n    <scene_description>( OON'l' T NlJRD\\ oO CONTINUED: 50 KEY We tight. How many outlets you need?<\/scene_description>\n    <character>SHELBY<\/character>\n    <dialogue>Three. I brought my MPC.<\/dialogue>\n    <scene_description>Shelby's MPC 3000 is slammed down on the table. D.Jay and Shug watch as Shelby removes two electronic keyboards and a drum machine from his duffle bag.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Hey, Key. Let me uh ... let me holla at cha for a few.<\/dialogue>\n    <scene_description>Key leaves the work room behind. D.Jay leads him by the arm out of earshot of Shelby.<\/scene_description>\n    <character>D.JAY {<\/character>\n    <dialogue>Who's that?<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>That's Shelby. He plays piano at my \\* church. Thought he'd come in and help us \\* develop our sound. \\*<\/dialogue>\n    <scene_description>D.Jay looks over at Shelby rolling up his shirt sleeves.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>You know he white, don't you?<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>He's just light skinned.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.JAY'S WORK ROOM - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Nola, shy and curious, places a glass of Kool-aid in front of Shelby. He smiles.<\/scene_description>\n    <character>SHELBY<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>NOLA<\/character>\n    <dialogue>I just woke up. I ain't put any make-up on or nothin' .<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>{cold)<\/dialogue>\n    <scene_description>Get on, Nola. \\* Nola takes the hint and disappears. I r.ON'l'TNH~D \\ D.Jay studies Shelby from across the table. Shelby is aware of D.Jay's intense stare.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>You just come back from a funeral?<\/dialogue>\n    <character>SHELBY<\/character>\n    <parenthetical>(taking off his tie)<\/parenthetical>\n    <dialogue>Oh. I had to renew my driver's license today. I just decided, fuck it. I'm dressing up for this one. Shouldn't have gone with the white shirt, though. It bleeds in with the background. My head looks like it's floating in a tub of milk.<\/dialogue>\n    <scene_description>(shows D.Jay his license) \\* See?<\/scene_description>\n    <character>D.JAY<\/character>\n    <parenthetical>(not even looking at it)<\/parenthetical>\n    <dialogue>Look it. I don't know who you are but I fly the fuckin' plane around here. This is my shit. My music. KEY D.JAY<\/dialogue>\n    <scene_description>D \u2022\u2022\u2022 You understand me? \\*<\/scene_description>\n    <character>SHELBY<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>My crib. My way.<\/dialogue>\n    <character>SHELBY<\/character>\n    <dialogue>Word.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>And if I decide ...<\/dialogue>\n    <parenthetical>(catching on)<\/parenthetical>\n    <dialogue>WORD? Motherfucker, did you just say \"word?\"<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>That's just the way he ... he .\u2022. it just sound funny comin' from a white boy ..\u2022 but ..\u2022<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Sounded like a dig to me.<\/dialogue>\n    <scene_description>I r.ON'l' TNtlRDl CONTINUED: (2) 51<\/scene_description>\n    <character>SHELBY<\/character>\n    <dialogue>A dig?<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Like I'm being made to look like a chump in my own house.<\/dialogue>\n    <character>SHELBY<\/character>\n    <dialogue>I was told you wanted to make music. And it just so happens that I'm a musician. So that's why I'm here. I can be like ...<\/dialogue>\n    <scene_description>Shelby burst into Flight of the Bumble Bee on his keyboard. He is quite impressive, D.Jay is silenced.<\/scene_description>\n    <character>SHELBY<\/character>\n    <dialogue>Or I can be like \u2022..<\/dialogue>\n    <scene_description>Shelby shifts into a funky soul riff, switching the piano to an organ with a push of a button. Key smiles as Shelby tears up the keys. D.Jay sits down, humbled and curious. Nola and Shug peek around the corner. Shelby lays down a wicked melody as the keyboard pounds out the percussion. And then Shelby stops. He stares at D.Jay.<\/scene_description>\n    <character>SHELBY<\/character>\n    <dialogue>This could go on and on.<\/dialogue>\n    <parenthetical>(Shelby folds his arms)<\/parenthetical>\n    <dialogue>But ... you fly the plane, Mr. D.Jay.<\/dialogue>\n    <scene_description>D.Jay looks over at Key and back at Shelby. Suddenly he is very intimidated. \\*<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>You seen what he can do. Now show him \\* what you got .<\/dialogue>\n    <scene_description>D.Jay nervously flips through the pages of his note pad. \\* Shelby sips his Kool-aid waiting for D.Jay to say something. \\*<\/scene_description>\n    <character>D.JAY<\/character>\n    <parenthetical>(concealing his fear)<\/parenthetical>\n    <dialogue>I keep this pad on me. Jot down some \u2022..<\/dialogue>\n    <scene_description>\/COITT\"TN1TF'.Dl CONTINUED: (3) 51<\/scene_description>\n    <character>D. JAY (CONT' DJ<\/character>\n    <parenthetical>(nervous, changes subject)<\/parenthetical>\n    <dialogue>Y'all wanna burn one first?<\/dialogue>\n    <character>SHELBY<\/character>\n    <dialogue>Naw, we can toke up later. Let's hear what you got.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>(flips through note pad) \\*<\/dialogue>\n    <scene_description>I just got, like a ... a few things like ... \\* (reading without passion) \\* I bet you won't beat that bitch. \\* Whoop that bitch. \\* Got us actin buck in this. \\* Hoes tellin me to calm down but I'm like fuck that shit. \\* I'm already on that hypnotic and that Grey Goose. \\* A couple of shots of Hen that just gave \\* me another boost. \\* I'm feelin' ... \\* D.Jay looks up at Key who has a concerned, sour face. \\*<\/scene_description>\n    <character>D.JAY (CONT'D) \\*<\/character>\n    <dialogue>What? \\*<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>Well, D... I mean that sounds good but ...<\/dialogue>\n    <character>\\*<\/character>\n    <dialogue>\\*<\/dialogue>\n    <scene_description>thing is ... we want some radio play, \\* right? And if you got a song called ... \\* Beat that bitch ... some might say it's ..\u2022 \\* degrading. \\*<\/scene_description>\n    <character>SHELBY \\*<\/character>\n    <dialogue>(in D.Jay's defense) \\*<\/dialogue>\n    <scene_description>That's if bitch is a woman. This sounds \\* like a tear-da-club-up song. \\*<\/scene_description>\n    <character>D.JAY \\*<\/character>\n    <dialogue>No. I ain't callin' no ho a bitch. \\*<\/dialogue>\n    <character>SHELBY \\*<\/character>\n    <dialogue>I'm tellin' you, Key. All the bitches I \\* know are guys. \\*<\/dialogue>\n    <character>KEY \\*<\/character>\n    <dialogue>Y'all are preachin' to the choir. My .\\* brother in law ... borrows money off me \\* all the time ... biggest bitch this side \\* of the Mississippi \u2022.. But \u2022.. \\*<\/dialogue>\n    <scene_description>I r.ON'l'TNrJF;D I CONTINUED: ( 4) 51<\/scene_description>\n    <character>SHELBY \\*<\/character>\n    <dialogue>Alright ... D.Jay. If you had to say \\* somethin' different ... other than beat \\* that bitch ... what would you say? \\*<\/dialogue>\n    <character>D.JAY \\*<\/character>\n    <dialogue>(thinks) \\*<\/dialogue>\n    <scene_description>Whoop that trick. \\* Silence. Heads nod. Everybody likes it. \\*<\/scene_description>\n    <character>D.JAY (CONT'D) \\*<\/character>\n    <dialogue>I think I like that better than beat that \\* bitch. Like a chant. You know like ... \\*<\/dialogue>\n    <scene_description>(a soft chant) \\* Whoop that trick ... Get 'em. \\* Whoop that trick .\u2022\u2022 Get 'em. \\* Key joins in. The chant get louder. \\*<\/scene_description>\n    <character>SHELBY<\/character>\n    <dialogue>Head sets, y'all ...<\/dialogue>\n    <character>D.JAY &amp; KEY<\/character>\n    <dialogue>Whoop that trick ... Get 'em. Whoop that trick ... Get 'em.<\/dialogue>\n    <scene_description>Everyone puts on their headsets. Shelby fires up the Key board and lays down a wicked theme. \\*<\/scene_description>\n    <character>SHELBY<\/character>\n    <dialogue>Got some dark flow there. You just need the right ... ghetto bottom to it. Some of that Dirty South, 808 bottom. Like .\u2022.<\/dialogue>\n    <character>D.JAY &amp; KEY<\/character>\n    <dialogue>Whoop Whoop Whoop Whoop<\/dialogue>\n    <scene_description>Shelby adds a beat from the MPC 3000. Boom, Boom-Boom, Boom. \\* The beat rumbles through the house. Nola and Shug can't stay \\* away. They move into the doorway from the hall. \\*<\/scene_description>\n    <character>SHELBY \\*<\/character>\n    <dialogue>(to Key) \\*<\/dialogue>\n    <scene_description>Bring up his mic if you're rolling. \\*<\/scene_description>\n    <character>D.JAY &amp; KEY \\*<\/character>\n    <dialogue>Whoop that trick ... Get 'em. \\* Whoop that trick \u2022\u2022. Get 'em. \\* Whoop that trick ... Get 'em. \\* Whoop that trick ... Get 'em. \\* Whoop that trick \u2022.. Get 'em. \\* Whoop that trick \u2022.. Get 'em. \\* Whoop that trick ... Get 'em. \\* Whoop that trick \u2022.. Get 'em. \\*<\/dialogue>\n    <character>( C:ON'T' T NUP.D)<\/character>\n    <dialogue>Sl CONTINUED: (5) 51<\/dialogue>\n    <scene_description>D.Jay flips to a different page in his pad and puts his mouth \\* to the mic. He is getting more heated, angrier. Directing his \\* flow to Shelby. Proving himself. \\*<\/scene_description>\n    <character>D.JAY \\*<\/character>\n    <dialogue>(rapping) \\*<\/dialogue>\n    <scene_description>I'm gonna make you suckers recognize I \\* ain't playin' ho. \\* If you violatin' off the top, trick, you \\* gotta go. \\* I done held in a lot of shit and I'm bout \\* to flip. \\* Now I think it's time to show you bitches \\* who you fuckin' wit. \\* D.Jay, that's the name. \\* And I came to bring the pain. \\* Ana in my chest got me bustin' at you \\* lemon lanes. \\* Y'ain't know, you fuckin' with a street \\* nigga. \\* From the gutter, pimp-type, slash, drug \\* dealer. \\* Shelby notices Shug and Nola grinning from ear to ear. He \\* waves them in. They cautiously flank D.Jay To hear. \\*<\/scene_description>\n    <character>D.JAY (CONT'D) \\*<\/character>\n    <dialogue>(rapping) \\*<\/dialogue>\n    <scene_description>Born and raised in the M, Memphis \\* Tennessee. \\* Before it's said and done you bitches \\* gonna remember me. \\* This only the beginning. \\* I gotta a lot to say. \\* It's been a long time and you got hell to \\* pay. \\* Ain't no love ho. \\* Just bring it to the door. \\* I bar none let my nuts hang to the floor. \\* So if you want some, this is your death \\* wish. \\* Better come corrected cuz I'm gonna break \\* you off trick. \\* It sounds so good! Everyone gets into it. Shelby, Shug, Nola, \\* and Key chant with D.Jay. \\*<\/scene_description>\n    <character>EVERYONE \\*<\/character>\n    <dialogue>Whoop that trick ... Get 'em. \\* Whoop that trick ... Get 'em. \\* Whoop that trick. Get 'em. \\* Whoop that trick.\\_. Get 'em. \\* Whoop that trick \u2022\u2022. Get 'em. \\*<\/dialogue>\n    <scene_description>lr.ON'l'TNU~DI Sl CONTINUED: I 6) 51<\/scene_description>\n    <character>EVERYONE {<\/character>\n    <dialogue>Whoop that trick \u2022.. Get 'em. \\* Whoop that trick ... Get 'em. \\* Whoop that trick ... Get 'em. \\*<\/dialogue>\n    <scene_description>The whole crew is tossing their arms up and down to the \\* chant. \\*<\/scene_description>\n    <character>EVERYONE {CONT'D) \\*<\/character>\n    <dialogue>Whoop that trick ... Get 'em. \\* Whoop that trick ..\u2022 Get 'em. \\* Whoop that trick ... Get 'em. \\* Whoop that trick ... Get 'em. \\* Whoop that trick ..\u2022 Get 'em. \\* Whoop that trick ... Get 'em. \\* Whoop that trick \u2022.. Get 'em. \\* Whoop that trick ..\u2022 Get 'em. \\*<\/dialogue>\n    <scene_description>Shelby hits his keys, making a dark explosion that ends the \\* song. \\* Silence. Everyone is panting. Overwhelmed. Inspired. \\* r C:ON'T'TNTJF',n)<\/scene_description>\n    <character>CONTINUED: ( 7)<\/character>\n    <dialogue>51<\/dialogue>\n    <scene_description>D.Jay, Key and Shelby all exchange looks. \\*<\/scene_description>\n    <character>SHELBY \\*<\/character>\n    <dialogue>Well, let's smoke some weed. \\*<\/dialogue>\n    <character>CUT<\/character>\n    <dialogue>54<\/dialogue>\n    <character>TO:<\/character>\n    <dialogue>INT. KITCHEN - NIGHT<\/dialogue>\n    <scene_description>Shug is washing dishes with Roger is on her hip chewing on a pacifier. She is singing a song with the beat as she works. Nola enters and fills Shelby's glass with more Kool-aid.<\/scene_description>\n    <character>NOLA<\/character>\n    <dialogue>It's nice havin' company.<\/dialogue>\n    <character>SHUG<\/character>\n    <dialogue>Mn-hm.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. D.JAY'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>The three men are sitting on the top step of D.Jay's front porch. They are passing a joint. Shelby is high and babbling.<\/scene_description>\n    <character>SHELBY<\/character>\n    <dialogue>{finishing up a healthy<\/dialogue>\n    <scene_description>toke) Thing is ... and I believe this. (exhales) Rap is com.in' back home to the south. Key moans in agreement as Nola hands Shelby his Kool-aid and sits next to him<\/scene_description>\n    <character>SHELBY<\/character>\n    <dialogue>Cuz here is where it all started. Heavy percussion. Repetitive hook. Sexually suggestive lyrics. It's all blues. Back Door Man to Back That Ass Up. It's all about pain, and pussy and ...<\/dialogue>\n    <parenthetical>(quickly to Nola)<\/parenthetical>\n    <dialogue>Oh. Sorry, honey.<\/dialogue>\n    <scene_description>I C:ON'l'TN{J1'D\\ o5 CONTINUED: 55<\/scene_description>\n    <character>NOLA<\/character>\n    <dialogue>(laughing awkwardly)<\/dialogue>\n    <character>SHELBY<\/character>\n    <dialogue>(back to it)<\/dialogue>\n    <scene_description>That's okay. And. \u2022 . and. . . making music with simple tools. By any means necessary.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>By any and all means necessary.<\/dialogue>\n    <character>SHELBY<\/character>\n    <dialogue>Whether it's Son House slappin' his guitar or Public Enemy samplin' Isaac Hayes. You get what you gotta say .Qlll.. Cuz you got to. Every man, you know, has the right ... the Goddamn right ... to ...<\/dialogue>\n    <parenthetical>(everyone waits, while Shelby tries to remember)<\/parenthetical>\n    <dialogue>contribute a verse.<\/dialogue>\n    <scene_description>QUICK CUTS of another round of toking. We jump to later.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>You know ... I may pimp. I may hustle. I may got to roll in circles that folks might find ... you know, objectionable. But let me tell you ... I roll with God.<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>You got to. You got to!<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Cuz for me ... God is peace of mind.<\/dialogue>\n    <parenthetical>(Key hums his approval)<\/parenthetical>\n    <dialogue>God is a standard that man should set for his'self. God ... to me ... is like .\u2022. a distribution deal.<\/dialogue>\n    <scene_description>Another set of tokes. Jumping to later.<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>With a whole album, ten or twelve is okay. But you make a demo that just gives a little bit of a taste, like what kind'a style we got. What makes us ... us.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Then we just gotta get it in the right hands. You know. Get us some tour dates ...<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>Tour dates? We get five tracks, I'll be grinning.<\/dialogue>\n    <scene_description>I r.ON'l' TNU1'D I CONTINUED : (2 I 55<\/scene_description>\n    <character>D.JAY<\/character>\n    <parenthetical>(refers to his notepad)<\/parenthetical>\n    <dialogue>Naw. I got this shit all mapped out. This my agenda, see? Look it. Three years from now we gotta win a Grarmny.<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>{laughing, holding in smoke)<\/dialogue>\n    <scene_description>The fuck? We ain't gonna win no Grarmny!<\/scene_description>\n    <character>SHELBY<\/character>\n    <dialogue>Well, you know, it's an honor just to be nominated.<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>See this is what I'm talking about, D. You get to thinkin' too b-ig, you lose sight of the task at hand.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Then our first \"task at handn is get our shit together by the Fourth of July. Cuz I got somebody I gotta slip this shit to.<\/dialogue>\n    <character>SHELBY<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Ya'll know Skinny Black?<\/dialogue>\n    <scene_description>Silence. Key and Shelby exchange looks.<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>You mean, Skinny Black, Skinny Black?<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Only one I know of.<\/dialogue>\n    <character>SHELBY<\/character>\n    <dialogue>I got all his early underground stuff. Back when he was good.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Nigga's paid ... I say that's pretty good.<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>So ... you really know him? You ain't just sayin' you know of him.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>We went to different schools and all, but ... Yeah. I know Skinny.<\/dialogue>\n    <scene_description>CONTINUED: ( 3)<\/scene_description>\n    <character>D.JAY<\/character>\n    <parenthetical>(to Shelby)<\/parenthetical>\n    <dialogue>Nigga just went platinum.<\/dialogue>\n    <character>SHELBY<\/character>\n    <dialogue>Never won a Grammy.<\/dialogue>\n    <character>D.JAY<\/character>\n    <parenthetical>(points to his pad)<\/parenthetical>\n    <dialogue>Well, he don't got an agenda like we do,<\/dialogue>\n    <character>CUT<\/character>\n    <dialogue>56<\/dialogue>\n    <character>TO:<\/character>\n    <dialogue>EXT. MEMPHIS STREET - NIGHT<\/dialogue>\n    <scene_description>A new beat blares over D.Jay's radio as his Chevy Capri rolls through downtown. I r.owr TNURD \\<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>56<\/dialogue>\n    <scene_description>\\*:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CRYSTAL PALACE SKATING RING - NIGHT<\/stage_direction>\n    <scene_description>This is the South Memphis scene. Blacks, Mexicans and bold white rednecks roam the parkinglot in packs, scanning the fresh parade of young ladies. Music, fights, flirting. D.Jay and Key sit in the front seat of the parked car. Shelby and Nola are outside, leaning against the back of the Chevy. D.Jay has two Styrofoam cups. He produces a bottle of Crown Royal and begins making their drinks.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Way you been takin' care of me and mine ... you get as fucked up as you want. I got your back tonight.<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>Ain't been lit like this in long time ... I don't know if I should be ... is that Crown? Oooo. Breakin' out the good shit. Pass that on over.<\/dialogue>\n    <scene_description>Outside, Nola and Shelby watch the cars roll by slowly - the nightly mating ritual.<\/scene_description>\n    <character>NOLA<\/character>\n    <dialogue>Do you got a regular job, like during the day?<\/dialogue>\n    <character>SHELBY<\/character>\n    <dialogue>You mean that which pays my bills but does not feed my soul?<\/dialogue>\n    <character>NOLA<\/character>\n    <dialogue>I guess.<\/dialogue>\n    <scene_description>\/ r.ON1'TN1JRD\\ CONTINUED:<\/scene_description>\n    <character>SHELBY<\/character>\n    <dialogue>I restock vending machines. You know, soda. Candy. Microwave popcorn. All that shit. I gotta get up at the crack and hit all these truck stops off the interstate before I head over to the high schools. I'm alone all day and I smell like Skittles and sticky buns.<\/dialogue>\n    <character>NOLA<\/character>\n    <dialogue>I thought my job sucked.<\/dialogue>\n    <character>SHELBY<\/character>\n    <dialogue>Well, what I lack in benefits ... I make up for in Moon Pies.<\/dialogue>\n    <scene_description>Inside the car, Key kills the last of his drink. D.Jay gives him another refill.<\/scene_description>\n    <character>KEY \\*<\/character>\n    <dialogue>So this shit about Skinny ... That's real? \\* Cuz even if he listens to what we got, we \\* don't know what he's gonna do with it. \\* It's a one in million shot, D. One in a \\* million ... \\*<\/dialogue>\n    <character>D.JAY \\*<\/character>\n    <dialogue>If I can pimp 20 dollar tricks out the \\* back of a Chevy ..\u2022 I can pimp Skinny. \\*<\/dialogue>\n    <character>KEY \\*<\/character>\n    <dialogue>I know it's the only plan we got but \u2022.. \\* Still sounds like winnin' the lottery. \\*<\/dialogue>\n    <character>D.JAY<\/character>\n    <parenthetical>(lights a cigarette)<\/parenthetical>\n    <dialogue>Just get me there, Key, and I'll do what I got to do.<\/dialogue>\n    <parenthetical>(points to himself)<\/parenthetical>\n    <dialogue>This dog, you know, he got some tricks. \\*<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>You mean \"old 11 dog?<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Didn't say that.<\/dialogue>\n    <scene_description>Key thinks. Takes a drink. \\*<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>My wife ... She a good woman. Feeds me. \\* Loves me. Gets freaky on my birthday. \\*<\/dialogue>\n    <scene_description>{they both laugh) \\*<\/scene_description>\n    <character>{MORE)<\/character>\n    <dialogue>I r.ON'rTNTJF.Dl<\/dialogue>\n    <scene_description>CONTINUED: (2 )<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>But I .\u2022. I can't help but feel ..\u2022 \\*<\/dialogue>\n    <scene_description>(sadness hits) \\* You know I talked a big game to her when \\* I was young. My own studio. My own label. \\* Now I'm just payin' the rent. She don't \\* mind but for me ... Just whole lot of the \\* same. \\* (tears hit Key by \\* surprise) \\* I ain't talked to nobody about this. \\*<\/scene_description>\n    <character>D.JAY \\*<\/character>\n    <dialogue>Go' on, Key. \\*<\/dialogue>\n    <character>KEY \\*<\/character>\n    <dialogue>(overcome) \\*<\/dialogue>\n    <scene_description>I just been feelin' myself shut down. \\* Like I missed an exit, you know, on a \\* freeway, and I just can~t ... turn this \\* mother-fucker around. (takes another drink) \\* I wanna give you my all, D. IC:ON'l'TN!Tf'DI<\/scene_description>\n    <character>CONTINUED: ( 3)<\/character>\n    <dialogue>KEY<\/dialogue>\n    <character>58<\/character>\n    <dialogue>Cuz it ain't over for me. Naw what I mean? It ain't over. \\*<\/dialogue>\n    <parenthetical>(wipes away tears)<\/parenthetical>\n    <dialogue>Damn weed and Crown got me cryin'.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. D.JAY'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>D.Jay shuts the passenger side door of Shelby's car where Key has passed out. Shelby sits in the driver's seat.<\/scene_description>\n    <character>SHELBY<\/character>\n    <dialogue>Well, I better roll my ass back to Cordova. Been a night to remember.<\/dialogue>\n    <scene_description>Shelby's car takes off. D.Jay and Nola stand side by side at the curb. Both feel exhilarated and inspired.<\/scene_description>\n    <character>NOLA<\/character>\n    <dialogue>I's thinkin' about callin' my parents.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>What fer?<\/dialogue>\n    <character>NOLA<\/character>\n    <dialogue>What we're doin' now. It just feels \u2022.\u2022 important.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>It is important. It's got to be. If it don't get important ... I'm gonna shoot myself in the head.<\/dialogue>\n    <scene_description>Nola giggles .and smiles.<\/scene_description>\n    <character>NOLA<\/character>\n    <dialogue>Thank you for letting me come tonight.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Hey. No problem.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.JAY'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Upon opening his front door, D.Jay and Nola have walked right into the middle of a serious argument. Shug and Lexus are in each other's face. Lexus is holding Roger as he screams and cries.<\/scene_description>\n    <character>LEXUS<\/character>\n    <dialogue>You don't tell me what to do with my son, bitch! I'll do whatever the hell fuck I wanna do \u2022\u2022\u2022<\/dialogue>\n    <scene_description>\/ CON1'TN1JTCDI: CONTINUED:<\/scene_description>\n    <character>SHUG<\/character>\n    <dialogue>You can't be screamin' like that, Lex!<\/dialogue>\n    <character>LEXUS<\/character>\n    <dialogue>I pay for all this shit. This fuckin' house should be mine.<\/dialogue>\n    <parenthetical>(upon seeing D.Jay)<\/parenthetical>\n    <dialogue>Well, check this. Look who \\* showed up.<\/dialogue>\n    <scene_description>Nola dashes past Lexus and clutches the door frame to the kitchen. She is fearful and a little paranoid.<\/scene_description>\n    <character>LEXUS (CONT'D) \\*<\/character>\n    <dialogue>You supposed to pick me up three hours ago, D. I been standin' outside all night all by myself. Had to take a taxi all the way back, ate up all my little monies. So you ain't gettin' shit from me tonight.<\/dialogue>\n    <scene_description>D.Jay tries to ignore Lexus. He walks past her towards his workroom.<\/scene_description>\n    <character>LEXUS (CONT'D) \\*<\/character>\n    <dialogue>You ain't gonna never be more than what you is, D. A fuckin' chauffeur. Yeah, that's right. Come to think of it, I wanna go make some money, I wanna go shake some ass, go suck some dick .\u2022\u2022<\/dialogue>\n    <parenthetical>(snapping her fingers)<\/parenthetical>\n    <dialogue>D.Jay go get the car, boy. I'm ready to make me some money. Go on, now. Run along, bitch.<\/dialogue>\n    <scene_description>D.Jay crosses to Lexus, fists clinched at his side. Shug, fearful for Roger's safety, intercepts - holding D.Jay back.<\/scene_description>\n    <character>\/ CON~ TNURD\\<\/character>\n    <dialogue>f,Q CONTINUED: (2) 60<\/dialogue>\n    <character>SHUG<\/character>\n    <dialogue>She holdin' Roger, D. She got the baby!<\/dialogue>\n    <character>LEXUS<\/character>\n    <dialogue>Yeah, here it come. Come on pimp, keep this bitch in line. Go on, do your shit, nigga.<\/dialogue>\n    <character>D.JAY<\/character>\n    <parenthetical>(with restrained fury)<\/parenthetical>\n    <dialogue>You and me. We done, gal. \\*<\/dialogue>\n    <scene_description>D.Jay turns, passing Nola, and disappears into the back of the house while Lexus continues to scream after him.<\/scene_description>\n    <character>LEXUS<\/character>\n    <dialogue>Yeah, we done. Go on, play with your toys. Ya sorry-assed punk.<\/dialogue>\n    <character>SHUG<\/character>\n    <dialogue>Lex, I'm tellin' you, you gotta back off ...<\/dialogue>\n    <scene_description>D.Jay comes out of the back of the house with two dresser drawers filled with assorted clothes hanging out of them.<\/scene_description>\n    <character>LEXUS<\/character>\n    <dialogue>What now .\u2022\u2022<\/dialogue>\n    <scene_description>Lexus calls after D.Jay as he opens the front door and tosses the dresser drawers out onto the cement steps.<\/scene_description>\n    <character>LEXUS<\/character>\n    <dialogue>The hell are you doing?!<\/dialogue>\n    <scene_description>Roger is screaming now. D.Jay abruptly turns into Lexus' face.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>You think your shit don't stink? You think that ass gonna be your meal ticket for the rest of your life, then you get on? See how you do without this mother-fuckin' chauffeur. D.Jay rushes back to the back room.<\/dialogue>\n    <character>LEXUS<\/character>\n    <dialogue>I ain't pickin' any of that shit up, D. You want me to leave, I'll pick up. But you can't expect me .\u2022. you can't do this ..\u2022 not right now!<\/dialogue>\n    <scene_description>He pulls the baby crib out of the back room, ripping it against the wall as Lexus shouts. I r.ON'l' TNlJRI)\\] CONTINUED: (3)<\/scene_description>\n    <character>LEXUS<\/character>\n    <dialogue>Don't you fuckin' touch my shit. I'll get it. I'll get it! Just GET OUTTA MY SHIT, D!<\/dialogue>\n    <scene_description>Shug tries to reason with D.Jay as he tosses the baby crib out the door. ( C:ON1' TNUF:n) so CONTINUED : I 4 ) 60<\/scene_description>\n    <character>SHUG<\/character>\n    <dialogue>D, don't. She got the baby with her ...<\/dialogue>\n    <scene_description>In the back room, Lexus starts stuffing her possessions in a bag, fearing she won't be able to take them with her. She is trying to juggle packing and holding on to Roger at the same time.<\/scene_description>\n    <character>LEXUS<\/character>\n    <dialogue>(cursing to herself} Think I can't do on my own \u2022.. like I need you ..\u2022 (screaming out loud) I can't do this now, D! D.Jay bursts into the room, scaring Lexus, as he grabs her by<\/dialogue>\n    <scene_description>the arm.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Out!<\/dialogue>\n    <character>LEXUS<\/character>\n    <dialogue>Don't touch me! Get'cha hands off me, D!<\/dialogue>\n    <scene_description>D.Jay pulls Lexus forcefully out of the room. Roger screams as Lexus pleads with D.Jay.<\/scene_description>\n    <character>LEXUS<\/character>\n    <dialogue>Where you expect me to go? HUH?<\/dialogue>\n    <scene_description>D.Jay pushes her out the front door.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>You can go to hell, all I give a fuck.<\/dialogue>\n    <scene_description>D.Jay slams the door in her face. Hearing Roger scream outside, he turns to find both Shug and Nola starring at him.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>GET'CHA GODDAMN EYES OFF ME!<\/dialogue>\n    <scene_description>Shug keeps her distance as D.Jay passes. He slams the door to his workroom behind him. A muffled beat can be heard. Nola rushes to the bathroom and slams the door behind her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>Nola removes the small bag of blow from her pocket. She snorts it up using her pinky fingernail. She then crawls into the bathtub and looks above her at the bare bulb. The blow takes effect as the muffled sounds grow louder and closer. A moth flutters around the bulb, burning its wings. i (;ON'l' TNTJ~Tl I<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>61<\/dialogue>\n    <scene_description>The beat stops. CUT TO BLACK:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNDER THE OLD BRIDGE - DAY 62 \\*<\/stage_direction>\n    <scene_description>D.Jay leans against his car and smokes a cigarette. The cars roll by on the bridge above as D.Jay stares at the Mississippi and ponders his troubles. He pulls out his pad and stares at a blank page. Closing his eyes, D.Jay begins waving his hand up and down to a beat in his head. We begin to hear the beat as we: CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.JAY'S WORK ROOM - DAY<\/stage_direction>\n    <scene_description>The beat continues as we MOVE to later that day. Shelby and D.Jay are huddled over the drum machine tapping out a new beat with their fingers.<\/scene_description>\n    <character>SHELBY<\/character>\n    <dialogue>Okay ... wait ... check this?<\/dialogue>\n    <scene_description>Shelby tries a new beat. Key adjusts the input level on his mixer, one side of his headset to his ear.<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>That's workin'. Kick that 8, man.<\/dialogue>\n    <scene_description>Key's beeper goes off - a frown comes to his face followed by a stressful breath.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Y'all keep talkin' on this 8.<\/dialogue>\n    <character>SHELBY<\/character>\n    <dialogue>Short for 800 megahertz. It's one of the lowest audible bass beats you can make. I'm talkin' serious, hoopty shakin' shit. It's that ...<\/dialogue>\n    <scene_description>He demonstrates, tapping a square that creates a low \"Boom\" that shakes the walls.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Shit. Crack a tooth on that.<\/dialogue>\n    <scene_description>Key steps out of the room as Shelby starts laying down a tune to the beat on the keyboard - a wicked anthem. r r.oN~ TN\\[TF:T) l<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>63<\/dialogue>\n    <scene_description>The two suddenly realize that Key is having an argument on the phone. They stop and listen.<\/scene_description>\n    <character>KEY<\/character>\n    <parenthetical>(into the phone)<\/parenthetical>\n    <dialogue>Like I said ... when I finish up ...<\/dialogue>\n    <parenthetical>(listens)<\/parenthetical>\n    <dialogue>I'm not gonna put a time on it. I'll get it done when I get it done. If I start telling you a certain ...<\/dialogue>\n    <parenthetical>(listens)<\/parenthetical>\n    <dialogue>If I tell you a certain time, then you gonna hold me to it and I'll probably be late and I. ..<\/dialogue>\n    <parenthetical>(listens, gets angry)<\/parenthetical>\n    <dialogue>We're not gonna do this now ... I said we' re not ...<\/dialogue>\n    <scene_description>Key notices D.Jay is watching him from the next room.<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>We'll talk about this later, Yevette.<\/dialogue>\n    <parenthetical>(listens)<\/parenthetical>\n    <dialogue>Later, Yevette! Like I said ...<\/dialogue>\n    <scene_description>Key looks at the phone. Yevette hung up on him. Key is about to slam the phone down on the receiver but manages to keep his cool. He hangs up the phone and walks back towards D.Jay.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>We gonna get to work?<\/dialogue>\n    <scene_description>Key ignores D.Jay as he passes. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.JAY'S WORK ROOM - DAY<\/stage_direction>\n    <scene_description>D.Jay is reciting rap from his pad as Shelby provides the beat loop. \\*<\/scene_description>\n    <character>D.JAY \\*<\/character>\n    <dialogue>(rapping) \\*<\/dialogue>\n    <scene_description>Man it seems like I'm ducking, dodging bullets everyday. \\* Niggas hatin' on me cause I got hoes on \\* the track. \\* But I gotta stay paid, I gotta stay above \\* water. \\* Couldn't keep up with my hoes. \\* That's when shit got harder. \\* North Memphis is where I'm from. I'm \\* seventh street bound. \\* IC:ONTTNlJF.D\\ CONTINUED:<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Where niggas all the time end up lost and \\* never found. \\* Man these girls they do group things leave a big headache. \\* I'm hopin every night they don't end up being dead .. \\*<\/dialogue>\n    <scene_description>And then everything stops. Key has turned off the sound of the drum machine and the keyboards. He is visibly frustrated.<\/scene_description>\n    <character>D.JAY (CONT'D) \\*<\/character>\n    <dialogue>What's wrong?<\/dialogue>\n    <scene_description>( r.ON'l' TNTJP.n 1 CONTINUED: (2) 64 KEY I think we got to make a choice whether or not we want to make some free-style, free-for-all or if we gonna actually make a track. You know, one that might get some radio play.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>I thought that's what we was doin'.<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>No. We doin' a whole lot of flow, is what we doin'. It just goes on and on and on.<\/dialogue>\n    <character>SHELBY<\/character>\n    <dialogue>There's no hook.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>So let's get some hook. I mean, you the producer. Fuck. Just say what's gotta be done.<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>We gotta lay something down. Anything. Even if it's shit. Like I been saying, the way to completion is in layers.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>I don't want to lay shit on top of shit.<\/dialogue>\n    <character>KEY<\/character>\n    <parenthetical>(pissed, folding his arms, leaning back)<\/parenthetical>\n    <dialogue>Well that's the wonder of audio tape, D. You can just tape right over the shit.<\/dialogue>\n    <scene_description>There is a silence that hurts. D.Jay stands up.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Do you need some ass? Cuz I got some right outside this door.<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>Man, fuck you, D.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Fuck me? Naw! Fuck Yevette! She the one got you wound like a clock ...<\/dialogue>\n    <character>SHELBY<\/character>\n    <dialogue>Hey, guys. Let's keep it light.<\/dialogue>\n    <scene_description>\/CON'T'TNTJRD): CONTINUED: (3) 64<\/scene_description>\n    <character>KEY<\/character>\n    <parenthetical>(standing, furious)<\/parenthetical>\n    <dialogue>You listen to me, ya dirt-rascal pimp. You keep my wife's name out-cha mouth.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Sound like she the one need to put somethin' in her mouthl Naw what I mean?<\/dialogue>\n    <scene_description>Key lunges at D.Jay. Shelby grabs them both as their faces get so close they could kiss.<\/scene_description>\n    <character>SHELBY<\/character>\n    <dialogue>Whoa! Could we not do this? Could we just .\u2022\u2022 smoke a joint for Christ sake!<\/dialogue>\n    <scene_description>A knock is at the door. Everyone freezes.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Who is it?<\/dialogue>\n    <character>SHUG<\/character>\n    <dialogue>It's me, Shug.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>We workin' now, Gal. What'chu want?<\/dialogue>\n    <character>SHUG<\/character>\n    <dialogue>I got somethin' for you.<\/dialogue>\n    <scene_description>The three men exchange looks and then carefully release each other. They all slowly return to their stations.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Yeah, come on, Shug.<\/dialogue>\n    <scene_description>Shug enters holding a box.<\/scene_description>\n    <character>SHUG<\/character>\n    <dialogue>I'm sorry, y'all. Didn't mean to disturb<\/dialogue>\n    <scene_description>yo recording. She removes a green lava lamp. Everyone looks at it with confusion and curiosity as she sets it up on the table.<\/scene_description>\n    <character>SHUG<\/character>\n    <dialogue>They had this interview with Skinny Black on TV. Look like he got one of these in \\* the studio he use. So I thought I'd go down to the Mall and get you one.<\/dialogue>\n    <scene_description>I r.ON1'TNlJ~Tl I CONTINUED: ( 4) She turns it on. green colors ooze in a hypnotic motion. The men are captivated. Shug smiles at her contribution and leaves. Silence.<\/scene_description>\n    <character>D.JAY<\/character>\n    <parenthetical>(with awe and respect)<\/parenthetical>\n    <dialogue>Now, that's bottom bitch right there. KEY SHELBY<\/dialogue>\n    <scene_description>Good woman. Good good woman. Wow! It's like she was a little angel, just flew in and flew out. D.Jay leans in and looks at the lava lamp.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>All of this. It's bigger just sittin' in this tiny room. We got everything we need and I ain't got shit in my head.<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>It takes time.<\/dialogue>\n    <character>D.JAY<\/character>\n    <parenthetical>(holds his head)<\/parenthetical>\n    <dialogue>I'm tryin' to squeeze a dollar out of a dime. I ain't gotta cent.<\/dialogue>\n    <scene_description>Silence. Shelby stares at the lava lamp.<\/scene_description>\n    <character>SHELBY<\/character>\n    <dialogue>Do you all believe in omens?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.JAY'S WORK ROOM - LATER - DAY 65 \\*<\/stage_direction>\n    <scene_description>Shelby is laying down a simple melody on the keys, no percussion. Shug is listening intently.<\/scene_description>\n    <character>SHELBY<\/character>\n    <dialogue>Okay, I'm going to play with you until you've got the melody down. But don't rush it. We've got time to get it right.<\/dialogue>\n    <scene_description>Nola sits down in the corner of the workroom. She hugs her knees, nervous for Shug. D.Jay looks helpless in the corner= as he watches Shelby coax a performance out of Shug. ( C:ON'T' TNUP.Dl CONTINUED: 65 KEY Shug, I'm gonna need you to move closer to the rnic. (she complies) Can you hear yourself. Say something.<\/scene_description>\n    <character>SHUG<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>Thumbs up from Key.<\/scene_description>\n    <character>SHELBY<\/character>\n    <dialogue>What we need right now is what we call \"hook.\" It's like the chorus of a song.<\/dialogue>\n    <parenthetical>(he hands a sheet of lyrics to Shug)<\/parenthetical>\n    <dialogue>These are the lyrics. Real simple. But we need some soul behind\u00b7it.<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>Kill the fans.<\/dialogue>\n    <scene_description>D.Jay snaps at Nola. She turns off the fans.<\/scene_description>\n    <character>SHELBY<\/character>\n    <dialogue>Okay, I suck. But I'm gonna sing it with you until you got it down. Cover your ears. \\*<\/dialogue>\n    <character>SHELBY<\/character>\n    <parenthetical>(singing and snapping)<\/parenthetical>\n    <dialogue>You know it's hard out here for a pimp. \\* When ya tryin' to get the money for the \\* rent. \\* With the Cadillac and gas money spent. \\* Cause a whole lotta bitches jumpin' ship. \\*<\/dialogue>\n    <parenthetical>(speaking quickly to Shug)<\/parenthetical>\n    <dialogue>Sing with me. And ...<\/dialogue>\n    <scene_description>Shug leans into the rnic. She is timid and soft, occasionally \\* looking at D.Jay for encouragement. \\*<\/scene_description>\n    <character>SHUG &amp; SHELBY<\/character>\n    <dialogue>(singing with Shelby) \\*<\/dialogue>\n    <scene_description>You know it's hard out here for a pimp. \\* When ya tryin' to get the money for the \\* rent. \\* With the Cadillac and gas money spent. \\* Cause a whole lotta bitches jumpin' ship. \\*<\/scene_description>\n    <character>SHELBY<\/character>\n    <dialogue>Come on, Shug. Get behind it.<\/dialogue>\n    <scene_description>ICON'l'TNlJ~Dl CONTINUED: (2) 65 She tackles the verse again, this time much more aggressively. Nola rocks back and forth, she snaps her \\* fingers with Shug. \\*<\/scene_description>\n    <character>SHUG \\*<\/character>\n    <dialogue>(singing) \\*<\/dialogue>\n    <scene_description>You know it's hard out here for a pimp. \\* When ya tryin' to get the money for the \\* rent. \\* D.Jay moves closer to Shug, drawn to her sudden talent. They \\* look at each other as she sings: aggressive, passionate.<\/scene_description>\n    <character>SHUG (CONT'D) \\*<\/character>\n    <dialogue>\\[singing) \\*<\/dialogue>\n    <scene_description>With the Cadillac and gas money spent. \\* Cause a whole lotta bitches jumpin' ship. \\*<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>{firm, commanding)<\/dialogue>\n    <scene_description>Bitch, you better let it out. D.Jay smacks her on the ass. It pushes Shug into a state of control. She sings right at D.Jay who glares and grins with awe and approval. \\*<\/scene_description>\n    <character>SHUG \\*<\/character>\n    <dialogue>(perfect) \\*<\/dialogue>\n    <scene_description>You know it's hard out here for a pimp. \\* When ya tryin' to get the money for the \\* rent. \\* With the Cadillac and gas money spent. \\* Cause a whole lotta bitches jumpin' ship. \\* (again, better) \\* You know it's hard out here for a pimp. \\* When ya tryin' to get the money for the \\* rent. \\* With the Cadillac and gas money spent. \\* Cause a whole lotta bitches jumpin' ship. \\* Shelby barks at Key as D.Jay and Shug remain locked into each others eyes. This is his girl. \\*<\/scene_description>\n    <character>SHELBY<\/character>\n    <dialogue>That's the money take, right there.<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>{rewinding, listening)<\/dialogue>\n    <scene_description>Hold on ...<\/scene_description>\n    <character>NOLA<\/character>\n    <dialogue>Hey, I wanna do one.<\/dialogue>\n    <scene_description>I C:ON'l' TNll~Tl \\ '5 CONTINUED: (3) 65<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Nola, hush up! \\*<\/dialogue>\n    <scene_description>Nola shrinks back into the corner. Shelby barks at Key again.<\/scene_description>\n    <character>SHELBY<\/character>\n    <dialogue>You got that down or don't you?<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>Alright everybody out! We gotta work on this alone. You too, D. Let us work.<\/dialogue>\n    <scene_description>D.Jay is surprised at being kicked out of his own room - but he is quick to obey. They all exit, shutting the door behind him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. O.JAY'S LIVING ROOM - DAY 66 \\*<\/stage_direction>\n    <scene_description>D.Jay remains standing, staring at the closed door as Shug sits down on the couch, Nola beside her. It is as if the three are waiting for a baby to be born. I r.ON'l'TNOF:DI<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>66<\/dialogue>\n    <scene_description>A muffled beat lifts D.Jay and the girl's attention to the \\* door. D.Jay takes a breath, nervous. \\* Through the door they listen to Shelby and Key shout. Then there is silence. \\* Shelby opens the door.<\/scene_description>\n    <character>SHELBY<\/character>\n    <parenthetical>(to D.Jay)<\/parenthetical>\n    <dialogue>You're on, dog.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.JAY'S WORK ROOM - DAY 67 \\*<\/stage_direction>\n    <scene_description>QUICK CUTS: Red dots rise as the FOUR TRACK rewinds. Plug in. Push. Adjust levels. Scans through the-menu of the MPC 3000. Key listens and then: \/ C:ON'l'TNlmn \\<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>67<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>D. We layin' you down now. That means it's a fixed length. Don't do more than what you got down on your pad.<\/dialogue>\n    <scene_description>D.Jay is scared and excited. He rubs the sweat off his palms and removes his notepad from his back pocket. CUTS of rewinding tape - Shug's voice is playing in reverse.<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>Alright, kill the fans.<\/dialogue>\n    <scene_description>The fans are turned off again.<\/scene_description>\n    <character>KEY<\/character>\n    <parenthetical>(hearing something in his headphones)<\/parenthetical>\n    <dialogue>Is the TV on in the ... Shhhhh.<\/dialogue>\n    <scene_description>All is quiet in the room. But outside the neighborhood is still alive. A pounding muffled bass beat can be heard.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Goddamn it!<\/dialogue>\n    <scene_description>D.Jay opens the bottom drawer behind him and removes two quarter ounce bags of bud.<\/scene_description>\n    <character>D.JAY<\/character>\n    <parenthetical>(as he leaves)<\/parenthetical>\n    <dialogue>This day is fuckin' with my Mode.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. R.L.'S HOUSE - DAY<\/stage_direction>\n    <scene_description>D.Jay knocks on the door of the shotgun house next to his. R.L. opens the door - the man is muscular and fierce looking. Behind him are two of his friends - equally as fierce looking - playing on a Playstation. The rap music is deafening. D.Jay puts on a smile as all eyes are on him.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>R.L .... I know we've had some words in the past. Some of 'em wasn't too friendly. But I respect you and your boys right to do whatever it is you want to do in your own house and do it as much as you want to do it. But the thing is ...<\/dialogue>\n    <scene_description>fC:ON'T'TNUF.nl<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>D.JAY<\/dialogue>\n    <character>68<\/character>\n    <dialogue>is I got something going on in my crib that requires some .\u2022. silence \u2022\u2022..<\/dialogue>\n    <scene_description>One of R.L.'s boys stands in the back - all eyes on D.Jay.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>And though I would never demand ... I can only suggest with a gesture of neighborly, you know ..\u2022 friendship ...<\/dialogue>\n    <parenthetical>(holding out the two bags of bud)<\/parenthetical>\n    <dialogue>... to please ... consider the MUTE button for a spell.<\/dialogue>\n    <scene_description>R.L. takes the bags of bud, opens one, sniffs it. He then points the remote in his hand toward the stereo. All goes quiet. R.L. shuts the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. D.JAY'S HOUSE - DAY 69 \\*<\/stage_direction>\n    <scene_description>D.Jay leaps his fence. A few children are running up his sidewalk with squirt guns - screaming and shouting.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Uh-uh. Naw. Y'all take that shit up to your own yards. Go play somewhere's else.<\/dialogue>\n    <scene_description>A brave boy squirts D.Jay in the side of the head and bursts into laughter. D.Jay grips the dying tree in his front yard and rips a switch off.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Oh, you think that's funny?<\/dialogue>\n    <parenthetical>(running after the boy)<\/parenthetical>\n    <dialogue>I know your daddyl I know your daddy!<\/dialogue>\n    <scene_description>The kids scramble in all directions. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.JAY'S WORK ROOM - DAY 70 \\*<\/stage_direction>\n    <scene_description>D.Jay sits in his seat - he is almost out of breath.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>We gonna need to get some more drink holders.<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>Stand by everyone.<\/dialogue>\n    <scene_description>( \\.ON'T' TNUP.D l 70 CONTINUED: 70 SHELBY Standing by.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Yeah, me too. I'm here.<\/dialogue>\n    <scene_description>Key hits it. He spins his finger in the air and mouths the words: Rolling. Shug's voice explodes over the headphones. She sounds \\* incredible. She has to cover her mouth she's so excited. \\*<\/scene_description>\n    <character>D.JAY (CONT'D) \\*<\/character>\n    <dialogue>(rapping) \\*<\/dialogue>\n    <scene_description>With my eyes I done seen some crazy \\* things in these streets. Gotta couple hos working on the changes for me. But I gotta keep my game tight like Kobe on game night. Like takin from a ho don't know no \\* better, I know that ain't right. \\* The same people killed the same people deal. The same people live in poverty with no meals. It's fucked up where I live but this is how it is. It might be new to you but it's been like this for years. It's blood sweat and tears when it comes down to this shit. I'm trying to get rich before I leave up out this bitch. I'm trying to have things but it's hard for a pimp, but I'm praying and I'm hoping to God I don't slip Shug's hook returns. Her and Nola are dancing to it. Key \\* looks concerned. He keeps adjusting levels something is \\* wrong. \\* D.Jay is about to start on the second verse. Suddenly, the \\* tape stops.<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>Cutting.<\/dialogue>\n    <character>SHELBY \\*<\/character>\n    <dialogue>WHAT!<\/dialogue>\n    <scene_description>\/ r.ON1'TN!JF,D I 7Q CONTINUED: (2) 70<\/scene_description>\n    <character>D.JAY \\*<\/character>\n    <dialogue>Nigga, I gotta another verse! \\*<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>D, I gotta talk to you.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. D.JAY'S HOUSE - LATE DAY 71 \\*<\/stage_direction>\n    <scene_description>D.Jay and Key are in a heated debate on the porch.<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>You gotta understand ... I only bring this up cuz things goin' so good. I mean this is gain' a whole lot better than I thought. I just want it to be perfect.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>It sounded perfect to me.<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>It don't matter what sounded good to you, D. It matters what I hear through the current. And I'm tellin' you that microphone ain't shit.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>What's wrong with it?<\/dialogue>\n    <parenthetical>( r.ON'l' TNfJF:Dl CONTINUED: 71 KEY {holding it up)<\/parenthetical>\n    <dialogue>The mies we're using got a wider pattern, \\* D. They're too flat. You start screamin' they distort and pop out.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Just when I get up you gotta fuck with my Mode. I ain't gonna be that live again. I don't care what mic I'm on. Shit was live.<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>It was live, D. It was also distorted.<\/dialogue>\n    <scene_description>D.Jay storms off. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSIC SHOP - DAY<\/stage_direction>\n    <scene_description>The SHOP OWNER is resisting D.Jay's hustle. He is a portly, red-breaded, sweaty guy, with black-rimmed glasses.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>I just don't see why I gotta pay so much more money for that microphone and the one right next to it, look just like it, cost half. If I buy two can I get 'em both for ninety dollars.<\/dialogue>\n    <scene_description>Nola is bored and browsing through the CD collection.<\/scene_description>\n    <character>SHOP OWNER<\/character>\n    <dialogue>These are studio quality. They cost two hundred and fifty dollars. Why would I give you two at ninety apiece.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Cuz the customer always right. Ain't nobody told you that?<\/dialogue>\n    <character>SHOP OWNER<\/character>\n    <dialogue>Not in this case, sir, no. If you want quality, you have to pay for it.<\/dialogue>\n    <scene_description>The shop owner briefly looks over at Nola browsing the portable stereos.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>What was that?<\/dialogue>\n    <scene_description>\/ CON'l'TNTJF,O\\ CONTINUED:<\/scene_description>\n    <character>SHOP OWNER<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>What'chu lookin' at?<\/dialogue>\n    <character>SHOP OWNER<\/character>\n    <dialogue>Nothin' .<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Now, hold up, Sparky. I ain't gonna pop. See the thing is \u2022.\u2022 I got it good with that one over there. She my girl and all but she ain't really my girl.<\/dialogue>\n    <scene_description>The shop owner looks confused. D.Jay peeks over at Nola.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Now, she gonna wanna lock that door and see what kind'a specials you got gain' on in back. And me? I'm the kind'a man that can walk right outside and leave somethin' like her behind - cuz, truth is, she don't .belong to me. Not like that.<\/dialogue>\n    <parenthetical>(D.Jay pauses for effect)<\/parenthetical>\n    <dialogue>And maybe, when she ready to go, she can take somethin' that don't belong to her neither.<\/dialogue>\n    <scene_description>The shop owner looks down at the microphone.<\/scene_description>\n    <character>D.JAY<\/character>\n    <parenthetical>(shrugging)<\/parenthetical>\n    <dialogue>Like you say ... If you want quality ... you gonna have to pay.<\/dialogue>\n    <scene_description>D.Jay pats him on the shoulder as he walks away. He whispers into Nola's ear. She listens and then looks over at the nervous shop owner. She rolls her eyes and furiously whispers into D.Jay's ear. He whispers back - a little louder this time, grabbing her arm. forcefully. She pulls away with a jerk. D.Jay exits with a broad smile.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Y'all be good.<\/dialogue>\n    <scene_description>Nola inhales and exhales deliberately, turning the lock on the door. She turns to the Shop Owner. CONTINUED: (2)<\/scene_description>\n    <character>NOLA<\/character>\n    <parenthetical>(unable to fak~ a smile)<\/parenthetical>\n    <dialogue>Hey.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.JAY'S CHEVY - OUTSIDE THE PAWN SHOP - LATER - DAY<\/stage_direction>\n    <scene_description>Nola opens her door and slams it shut behind her as she plops down beside D.Jay. D.Jay looks at her, expectantly, but she reveals nothing.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>You got somethin' for me?<\/dialogue>\n    <scene_description>Nola explodes at D.Jay, hitting him in the shoulder. It startles him at first.<\/scene_description>\n    <character>NOLA<\/character>\n    <dialogue>Don't you ever do that to me again!<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Now, hold up ...<\/dialogue>\n    <character>NOLA<\/character>\n    <dialogue>I ain't some fuckin' cash machine, where you can get shit for freel I gotta have a say in what -r do. I gotta have a say! I ain't gonna suck dick every time you come up short! Fuck you, D! Fuck you!<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>(pulling out a twenty) Now I was gonna pay you what you make ... weren't in there for more than half a minute. Ain't like you sweatin' bullets in the back of some niggaz car \u2022.. Hey you got somethin' for me? DO YOU GOT<\/dialogue>\n    <character>SOMETHIN' FOR ME?!<\/character>\n    <dialogue>Nola reaches into her bag and throws the microphone at D.Jay.<\/dialogue>\n    <character>NOLA<\/character>\n    <dialogue>Here! Take it! You fuckin' earned it.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Shit, Nola! You can't be throwin' this! This here a dynamic rnic, studio quality. Couple hundred dollars right here!<\/dialogue>\n    <scene_description>D.Jay realizes that Nola is sobbing. He tries to touch her but she pulls away.<\/scene_description>\n    <character>D. JAY<\/character>\n    <dialogue>Now don't get like this. Hey. You heard me?<\/dialogue>\n    <parenthetical>( r.ON'l' TN1l1'D\\ 73 CONTINUED: 73 D.JAY (CONT'D) (it's rare that Nola cries, so D.Jay gets a little nervous)<\/parenthetical>\n    <dialogue>We ... We take care of our shit, Nola. By any means. We do what we gotta do. Ain't that right? Huh?<\/dialogue>\n    <parenthetical>(No answer)<\/parenthetical>\n    <dialogue>Look it. You think I want this? You think I wanna spend the rest of my life pimpin' yo pimpled country ass \u2022\u2022. well, I don't, baby. NOT ME !<\/dialogue>\n    <scene_description>D.Jay grips the wheel attempting to quell his angry.<\/scene_description>\n    <character>NOLA<\/character>\n    <parenthetical>(through her tears)<\/parenthetical>\n    <dialogue>Don't you know, D? Don't you know what I do in them cars.<\/dialogue>\n    <parenthetical>(sorrow over takes her)<\/parenthetical>\n    <dialogue>E'erybody got somethin' to do! And I just want ..\u2022<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>What? Say it!<\/dialogue>\n    <character>NOLA<\/character>\n    <dialogue>Somethin' I can ...<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>WHAT DO YOU WANT TO DO?!<\/dialogue>\n    <character>NOLA<\/character>\n    <dialogue>NOT THIS!<\/dialogue>\n    <scene_description>Nola tries to swallow her tears, looking out the window.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>The way I saw it ... you was on the other side of the table, you know, with me. More like a .\u2022. a executive producer.<\/dialogue>\n    <character>NOLA<\/character>\n    <dialogue>Ain't that just another way to say I gotta eat dick.<\/dialogue>\n    <scene_description>The statement silences D.Jay. Nola wipes the tears from her face and the snot from her nose. D.Jay leans close.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>I think I got you dressed all wrong. Bitch like you need to be in a suit. Get you a mobile with an earphone jack. I'm tellin' you \u2022..<\/dialogue>\n    <scene_description>1C:ON'l' T NUF'.D \\ CONTINUED: (2)<\/scene_description>\n    <character>D. JAY<\/character>\n    <dialogue>once I get you into some different shoes, you gonna feel better .\u2022. You gonna look like you in charge.<\/dialogue>\n    <character>NOLA<\/character>\n    <parenthetical>(looks him dead in the eye)<\/parenthetical>\n    <dialogue>D. I know when you mess with my head to get what you want. And I let you do it. Cuz sometimes I need my head to be messed with. But right now ... just don't do it, okay?<\/dialogue>\n    <scene_description>D.Jay nods respectfully and starts up the car. They drive away.<\/scene_description>\n    <character>CUT<\/character>\n    <dialogue>74<\/dialogue>\n    <character>TO:<\/character>\n    <dialogue>INT. KEY'S HOUSE - KITCHEN - NIGHT<\/dialogue>\n    <scene_description>The oven timer dings. Yevette removes a baked ham from her oven.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>) INT. KEY'S HOUSE - DINNING ROOM\/ INT. D.JAY'S WORK ROOM - 75<\/stage_direction>\n    <character>NIGHT \\*<\/character>\n    <dialogue>Yevette prepares a plate for herself at the empty dinning room table. \\* Key shouts at Shelby over the beat. \\*<\/dialogue>\n    <character>KEY \\*<\/character>\n    <dialogue>High hat! Put some high hat shit on top! \\* Right there with the kick. It should go \\* like, boom, boom, tack \u2022.. ba-TEEK! \\*<\/dialogue>\n    <scene_description>With a deep sigh Yevette looks at Key's empty chair. She then shakes the sorrow away, laces her fingers and bows her head. \\* Shug is laying down in the bathtub covered in blankets. Key \\* is adjusting a mic positioned over her. \\*<\/scene_description>\n    <character>KEY (CONT'D) \\*<\/character>\n    <dialogue>Try it now, baby. \\*<\/dialogue>\n    <character>SHUG \\*<\/character>\n    <dialogue>(singing) \\*<\/dialogue>\n    <scene_description>Keep Hustlin' ... Keep flowin'. \\*<\/scene_description>\n    <character>KEY \\*<\/character>\n    <dialogue>(calling out) \\*<\/dialogue>\n    <scene_description>How was that? \\* ( C:ON'l' TNlTRfll CONTINUED: 75 SHELBY \\* (o.c. I \\* Tell her to put some dick in it! \\*<\/scene_description>\n    <character>KEY \\*<\/character>\n    <dialogue>(gently to Shug) \\*<\/dialogue>\n    <scene_description>He say you need to put more dick in it, \\* baby. \\*<\/scene_description>\n    <character>SHUG \\*<\/character>\n    <dialogue>(sweet as can be) \\*<\/dialogue>\n    <scene_description>Okay. \\* We see Yevette pray. \\*<\/scene_description>\n    <character>YEVETTE \\*<\/character>\n    <dialogue>(praying) \\*<\/dialogue>\n    <scene_description>Most gracious and heavenly father .\u2022\u2022 We \\* ask that you bless this food and bless \u2022.. our home .\u2022\u2022 \/ r.ON'l' TNlJ~Dl<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>75<\/dialogue>\n    <scene_description>Yevette cannot continue. Tears come to her eyes as she covers her mouth. Looking at the empty chair, Yevette calms herself. There is a refreshing sense of clarity in her eyes - the woman has made up her mind. = TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. D.JAY'S HOUSE - NIGHT 76 \\*<\/stage_direction>\n    <scene_description>Yevette is dressed in a conservative brown blouse, holding a covered serving plate. She knocks. Shug opens the door.<\/scene_description>\n    <character>YEVETTE<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <dialogue>Hey.<\/dialogue>\n    <character>YEVETTE<\/character>\n    <dialogue>I'm ... my name is Yevette, I'm Clyde 1 s ... Excuse me ... Key's wife.<\/dialogue>\n    <character>SHUG<\/character>\n    <dialogue>He in back with the rest of the fellas. They fixin' to cut.<\/dialogue>\n    <character>YEVETTE<\/character>\n    <dialogue>Cut?<\/dialogue>\n    <character>SHUG<\/character>\n    <dialogue>Yeah. They recordin' somethin'. It's what they call it. Cut.<\/dialogue>\n    <character>YEVETTE<\/character>\n    <dialogue>Well ... I just wanted to drop this off. It's nothing, really. Just, sandwiches and ... there's dill sauce in the middle to dip if ...<\/dialogue>\n    <scene_description>Yevette hears a loud rhythm\u00b7 from the other room. She tries to fan away the tears welling in her eyes.<\/scene_description>\n    <character>YEVETTE<\/character>\n    <dialogue>I don't want to disturb him or \u2022\u2022\u2022 or cause any fuss ..\u2022 I just ...<\/dialogue>\n    <parenthetical>(distracted by Shug's stomach)<\/parenthetical>\n    <dialogue>Boy are you pregnant.<\/dialogue>\n    <scene_description>Shug takes the dish from Yevette and takes her by the hand. \/ C:ON'T'TNUF',D \\: CONTINUED:<\/scene_description>\n    <character>SHUG<\/character>\n    <dialogue>Come on in. It's okay.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.JAY'S WORK ROOM - NIGHT 77 \\*<\/stage_direction>\n    <scene_description>Shug opens the door to the back room where all the boys are crammed and working. \\* Nola is sitting on the floor by the fan carefully writing D.Jay on the tape labels; Key has his headphones on, testing \\* levels; D.Jay mumbles through some flow scribbled in his notebook; Shelby is huddled by the MPC 3000 going over beats. \\* Shelby is creating really loud beats on the drum machine. He stops temporarily to speak with D.Jay.<\/scene_description>\n    <character>SHELBY<\/character>\n    <dialogue>I think you should throw your best ball. To me that's the second bit.<\/dialogue>\n    <character>SHUG<\/character>\n    <dialogue>Hey fellas?<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>We gonna gab or we gonna roll?<\/dialogue>\n    <scene_description>Key slaps his hands together and turns around toward the table.<\/scene_description>\n    <character>KEY<\/character>\n    <parenthetical>(taking cormnand)<\/parenthetical>\n    <dialogue>Alright, alright. Let's beat this bitch! \\*<\/dialogue>\n    <scene_description>Upon seeing Yevette next to Shug, terror seizes Key as he snatches the headphones off his head and stands.<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>Oh ... shit ...<\/dialogue>\n    <scene_description>Everyone else in the room turns to see Yevette.<\/scene_description>\n    <character>SHUG<\/character>\n    <dialogue>Shelby, Mickey ... this here is Yevette. This is Key's wife.<\/dialogue>\n    <scene_description>( C:ON'l' TNTJF.TI l 77 CONTINUED: 77 Shelby and Mickey stand. Yevette is thankful that Shug is doing all the talking. Key is paralyzed.<\/scene_description>\n    <character>SHUG<\/character>\n    <dialogue>(handing the serving tray to D.JayJ And look, y'all. She brought everybody sandwiches. YEVETTE There's dill sauce. For you to dip, if ...<\/dialogue>\n    <parenthetical>(her eyes meet Key's)<\/parenthetical>\n    <dialogue>you all want ...<\/dialogue>\n    <scene_description>D.Jay stands, facing Yevette.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>You know, Key worked\u00b7 real hard on this last one. You should stay and listen.<\/dialogue>\n    <character>YEVETTE<\/character>\n    <dialogue>I didn't want to interrupt. I thought ..\u2022 it being dinner time .\u2022\u2022<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>We'd like it if you could stay.<\/dialogue>\n    <parenthetical>(to Key)<\/parenthetical>\n    <dialogue>Huh, Key?<\/dialogue>\n    <scene_description>Key remains staring at Yevette who stares back expectant, nervous.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.JAY'S WORK ROOM - NIGHT<\/stage_direction>\n    <scene_description>D.Jay is petting the new studio mic fastened to the desk lamp arm.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>This track here ... It's a piece of my heart. So, before I put my mouth to this mic and do this, I'd like to bless it with a kiss from our primary investor.<\/dialogue>\n    <scene_description>D.Jay slowly spins the new mic to Nola. She is embarrassed but Shelby encourages her.<\/scene_description>\n    <character>SHELBY<\/character>\n    <dialogue>Go on, girl.<\/dialogue>\n    <scene_description>Nola kisses the mic with her eyes closed. The mic spins back toward D.Jay. l r.ON'T'TNUF,D \\ CONTINUED:<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>Well, just like our primary investor, this mic is real hot. So fans off.<\/dialogue>\n    <scene_description>The fans are turned off. A beat is heard as we push in on the blades slowly turning to a stop. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.JAY'S WORK ROOM - LATER - NIGHT 79 \\*<\/stage_direction>\n    <scene_description>D.Jay is concentrating hard. His flow is tight and confident. \\* Tape is rolling. \\*<\/scene_description>\n    <character>D.JAY \\*<\/character>\n    <dialogue>(rapping) \\*<\/dialogue>\n    <scene_description>This is my life and it's a battle \\* within'. I gotta survive even if I'm \\* sinnin' to win. \\* And if I show no remorse I reap the \\* devil's reward. \\* He said he'll give me riches but I'm \\* searchin' for more. \\* When I was young witness my dad standin for right. \\* Black pride in him even though he passin' \\* for white. \\* Took years from my life now I'm rnissin it, mane. \\* Mom on some other shit now I'm missin 1 \\* the plan. \\* So I'm stuck in that fuck the world mold. \\* Adolescence to a teen the world been so cold. \\* Then my pimpin' ass uncle put me up on \\* the game. \\* It really ain't no love it's bout that paper mane. \\* Put me in the position got me out on a mission. \\* Collectin' from the hos turned me about \\* pirnpin'. \\* A nigga from Memphis dealin' with life in \\* the struggle. \\* Missin the gift I was givin so I just stay bout my hustle. \\* Shug is heard in the hook. We cut back to her in the bathtub, \\* recording the hook, singing soulfully into the mic hanging \\* over her. \\* I r.ON1'TNTJ~fl) CONTINUED:<\/scene_description>\n    <character>SHUG \\*<\/character>\n    <dialogue>(singing) \\*<\/dialogue>\n    <scene_description>Keep hustlin' ... \\*<\/scene_description>\n    <character>D.JAY \\*<\/character>\n    <dialogue>(rapping) \\*<\/dialogue>\n    <scene_description>It ain't over for me, no it ain't over \\* for me. \\*<\/scene_description>\n    <character>SHUG \\*<\/character>\n    <dialogue>(singing) \\*<\/dialogue>\n    <scene_description>Keep flowin' ... \\*<\/scene_description>\n    <character>D.JAY \\*<\/character>\n    <dialogue>(rapping) \\*<\/dialogue>\n    <scene_description>I'm'a step my game up and get what's \\* comin to me. \\* Hook repeats. \\* Shug sits in a chair in the corner of the room. She rubs her \\* stomach as her head moves to the beat, mouthing the words. \\*<\/scene_description>\n    <character>D.JAY (CONT'D) \\*<\/character>\n    <dialogue>Now I'm just getting by and it's fuckin with me. \\* See others doin' big things they was \\* nothing to me. \\* I'm seeing what I use to be and it's lookin legit. \\* Got my hands on some music started fuckin with it. Put it down hard then I start bumpin to \\*<\/dialogue>\n    <character>\\*<\/character>\n    <dialogue>this. \\* Let me check my connection cause we go back in the day. \\* They was cookin for dro heard I was hustling hay. \\* Got me connin' my nigga spittin game to \\* my hos. \\* This is my opportunity feel like anything goes. \\* I was never s'pose to see the new millennium mane. \\* And I refuse to let my daddy \"Die in vain\". \\* So I give it my all you feel my struggle \\* and pain. \\* If you ain't feelin what I'm spittin trick you lame to the game. \\* But the closest one to me\\_ know I'm holdin it down. \\*<\/dialogue>\n    <scene_description>I f:ON'l' TN1JJCDI CONTINUED: (2)<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>You gonna feel me one day I'm gonna be \\* hurtin the town. \\*<\/dialogue>\n    <character>SHUG \\*<\/character>\n    <dialogue>(singing) \\*<\/dialogue>\n    <scene_description>Keep hustlin' ... \\*<\/scene_description>\n    <character>D.JAY \\*<\/character>\n    <dialogue>(rapping) \\*<\/dialogue>\n    <scene_description>It ain't over for me no it ain't over for \\* me. \\*<\/scene_description>\n    <character>SHUG \\*<\/character>\n    <dialogue>(singing) \\*<\/dialogue>\n    <scene_description>Keep flowin' ... \\*<\/scene_description>\n    <character>D.JAY \\*<\/character>\n    <dialogue>(rapping) \\*<\/dialogue>\n    <scene_description>I 'rn' a step my game up and get what's \\* comin to me. \\* Hook repeats. \\* As the track concludes we spin around the room, stopping briefly at each of our crew. WE SPIN TO: Shelby on keyboard. SPIN TO: Nola listening. SPIN \\* TO: Mickey grinning. SPIN TO: Shug closing her eyes and grooving. SPIN TO: Yevette looking at her man in awe. SPIN TO: Key winking at Yevette and pressing stop on the four- track. There is silence. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARNEL'S CLUB - NIGHT<\/stage_direction>\n    <character>D.JAY<\/character>\n    <parenthetical>(from inside the club)<\/parenthetical>\n    <dialogue>You a business man, Arne!. Let me ask you somethin'. You ever get ... depressed?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARNEL'S KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Sitting on two crates, both D.Jay and Arnel share a blunt in the storage room. They are playing dominoes. ( C:ON'T' TNHF:n 1 CONTINUED: 81 ARNEL You mean sad?<\/scene_description>\n    <character>D.JAY<\/character>\n    <parenthetical>(thinks)<\/parenthetical>\n    <dialogue>Way I see it. A man who make his own pay- roll. You know, hustlin' his own agenda?<\/dialogue>\n    <parenthetical>(Arnel nods)<\/parenthetical>\n    <dialogue>That's a whole lotta pressure to lay on a man. Not like his troubles stop at the end of the day. The shit stay with you.<\/dialogue>\n    <parenthetical>(sighs)<\/parenthetical>\n    <dialogue>I get down, that's all.<\/dialogue>\n    <character>ARNEL<\/character>\n    <dialogue>That's gonna happen when a man try to take charge of his own destiny. Hard thing to claim - destiny.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>I got that taken care of.<\/dialogue>\n    <character>ARNEL<\/character>\n    <dialogue>You think so, huh?<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Ain't like it's somethin' a man can't get control of. He just gotta do it.<\/dialogue>\n    <character>ARNEL<\/character>\n    <dialogue>Okay, D. Lay it on me. What's your destiny.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>I aim to be a media empire.<\/dialogue>\n    <character>ARNEL<\/character>\n    <dialogue>And how you figure to be that?<\/dialogue>\n    <scene_description>D.Jay removes a zip-lock bag of light brown marijuana. Arnel eyes the bag.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Yellow and blue make green.<\/dialogue>\n    <character>ARNEL<\/character>\n    <dialogue>Is that ... ?<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Uh-huh.<\/dialogue>\n    <scene_description>I C:ON'l' TN1JRD \\ 91 CONTINUED: (2 ) 81<\/scene_description>\n    <character>ARNEL<\/character>\n    <parenthetical>(referring to his joint)<\/parenthetical>\n    <dialogue>Why the fuck we smokin' this?<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>This for Skinny.<\/dialogue>\n    <parenthetical>(D.Jay pauses for effect)<\/parenthetical>\n    <dialogue>When he come in tomorrow, on the Fourth, \\* I'm gonna make a gesture. You know, my own little firecracker finale.<\/dialogue>\n    <character>ARNEL<\/character>\n    <dialogue>You just bein' friendly or you wantin' an autograph?<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Autograph? Shit, I want a contract. I want distribution. Back-end publishing points. Fuckin' standees with my pimpin' mug on da front.<\/dialogue>\n    <character>ARNEL<\/character>\n    <dialogue>What'chu talkin' about \u2022\u2022. Standees?<\/dialogue>\n    <character>D.JAY<\/character>\n    <parenthetical>(removes his pad)<\/parenthetical>\n    <dialogue>In two years, way I figure, Skinny gonna be wantin' my autograph. Cuz that's when I go platinum. Me. D.Jay ... \\*<\/dialogue>\n    <scene_description>D.Jay looks at a Skinny Black CD Release poster on Arnel's \\* wall. \\*<\/scene_description>\n    <character>D.JAY (CONT' DJ \\*<\/character>\n    <dialogue>(glares with confidence) \\*<\/dialogue>\n    <scene_description>That's the name. \\* And I came to bring the pain. \\* We PUSH IN on Skinny's face in the poster. \\*<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Ani in my chest got me bustin' at you lemon lames.<\/dialogue>\n    <scene_description>His Mode starts pounding as we PUSH IN CLOSER: D.JAY'S eyes \\* and SKINNY'S FACE. \\* BOOM! BOOM! BOOM! BOOM! BOOM! BOOM! BOOM! \\*<\/scene_description>\n    <character>CUT TO BLACK: \\*<\/character>\n    <dialogue>lA EXT. D.JAY'S HOUSE - SUNSET 81A \\*<\/dialogue>\n    <scene_description>Establishing shot. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.JAY'S BATHROOM - DAY 84 \\*<\/stage_direction>\n    <scene_description>D.Jay loops his black belt through and buckles it. Shug is sitting on the toilet watching him prepare for the evening. He looks impressive, dressed in black with his long leather coat.<\/scene_description>\n    <character>SHUG<\/character>\n    <dialogue>Ain't you gonna be hot in your coat?<\/dialogue>\n    <scene_description>\/C:ON'T'TNtJP.0) CONTINUED:<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Good leather breathe a bit. Keep you at \\* the ... you know .\u2022.. the temperature you wanna be at.<\/dialogue>\n    <scene_description>Shug smiles. D.Jay picks up a rolled up sock. A simple silver watch rolls out of the sock and into D.Jay's palm.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>This was my Daddy's. Ain't much shine on it but ... you know, in the day, this was the shit. He worked for the school district ... he fixed up all them school buses.<\/dialogue>\n    <character>SHUG<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Yeah. I see them buses today and I be all, \"my daddy worked on them.\"<\/dialogue>\n    <parenthetical>(a brief smile)<\/parenthetical>\n    <dialogue>But, uh ... he been doin' it for like, goin' on 10 years. So the school district gave him this. Thought about burying him with it ... but I thought, you know, maybe I should have, like, a heirloom, you know?<\/dialogue>\n    <scene_description>He snaps it on and positions it just right.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Wear it for luck. Help me get my Mode on.<\/dialogue>\n    <scene_description>Shug stands up, nervous at first, but a deep breath calms her.<\/scene_description>\n    <character>SHUG<\/character>\n    <dialogue>I got you somethin'.<\/dialogue>\n    <parenthetical>(Shug offers a small box)<\/parenthetical>\n    <dialogue>I been watchin' the videos and all, and it be like all the rappers got some chain.<\/dialogue>\n    <scene_description>D.Jay opens it and groans in appreciation and awe.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Oh, shit!<\/dialogue>\n    <scene_description>He removes a gold medallion. It is in the shape of his name: \\* D.JAY. ( C;ON'T' TNtJF!D) CONTINUED: (2)<\/scene_description>\n    <character>SHUG<\/character>\n    <dialogue>Always talkin' about your name bein' real, you know ... thought people could see how you like it spelled out. With the J-A-Y.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>See this is what I'm talkin' about. I gotta have my people think this shit up. Cuz I didn't even think of somethin' like THIS. You know?<\/dialogue>\n    <parenthetical>(admiring it)<\/parenthetical>\n    <dialogue>This shit is perfect.<\/dialogue>\n    <scene_description>Shug takes it from his hands and attaches it around his neck. Their faces are very close.<\/scene_description>\n    <character>SHUG<\/character>\n    <dialogue>D \u2022\u2022\u2022 ?<\/dialogue>\n    <scene_description>D.Jay waits for Shug to continue but soon realizes she is crying.<\/scene_description>\n    <character>SHUG {<\/character>\n    <dialogue>I get like thiS ..\u2022 cuz I 1 m pregnant.<\/dialogue>\n    <parenthetical>(trying to collect herself.)<\/parenthetical>\n    <dialogue>Lettin' me sing. On the demo, like you let me do. I felt ...<\/dialogue>\n    <parenthetical>(she wipes her face and tries to breath)<\/parenthetical>\n    <dialogue>Special. And I know, you gonna be movin' on and movin' up. And y'all gonna get really good people backin' you up.<\/dialogue>\n    <parenthetical>(D.Jay wipes away her tears)<\/parenthetical>\n    <dialogue>But for me ... you need to know, it meant the world to me. It meant the world. And I wanted to thank you.<\/dialogue>\n    <scene_description>D.Jay kisses her on her wet cheek. He lifts the D.JAY medallion and looks at it. CUT TO: \\*:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. D.JAY'S HOUSE - PORCH - DAY 86 \\*<\/stage_direction>\n    <scene_description>D.Jay and Shug cross to the door. They peeks outside to see \\* Shelby, Key, and Nola waiting by the Chevy. \\*<\/scene_description>\n    <character>KEY<\/character>\n    <parenthetical>(from the street)<\/parenthetical>\n    <dialogue>Don 1 t you gotta be there at nine?<\/dialogue>\n    <character>D.JAY<\/character>\n    <parenthetical>(calls out to Key)<\/parenthetical>\n    <dialogue>He gonna be there all night, Key.<\/dialogue>\n    <parenthetical>(to Nola)<\/parenthetical>\n    <dialogue>Go calm that nigga down.<\/dialogue>\n    <scene_description>Nola joins the others. D.Jay checks his pockets. Shug sees he is nervous.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>I ain't scared, you know?<\/dialogue>\n    <character>SHUG<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>Shug gently touches his a.rm. D.Jay nods and closes the door. He crosses to his crew by the car but he is preoccupied with the sensation of Shug's touch.<\/scene_description>\n    <character>SHELBY<\/character>\n    <parenthetical>(looking at the medallion)<\/parenthetical>\n    <dialogue>Oh wow. Check it out! How cool is that?<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>I got extra demos in the car in case he got some label folks around. They cassettes now. He want a CD, he gonna have to hit us back.<\/dialogue>\n    <character>SHELBY<\/character>\n    <parenthetical>(still enamoured with the medallion)<\/parenthetical>\n    <dialogue>I want one of these, man. Do I get one?<\/dialogue>\n    <character>KEY<\/character>\n    <parenthetical>(noticing D.Jay is preoccupied)<\/parenthetical>\n    <dialogue>What's wrong with ya, D?<\/dialogue>\n    <character>SHELBY<\/character>\n    <dialogue>You got your Mode on?<\/dialogue>\n    <scene_description>A thought hits D.Jay. I C:ON'T' TNUF,n l CONTINUED:<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Hold up.<\/dialogue>\n    <scene_description>D.Jay bounds up his steps.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.JAY'S HOUSE - DAY 87 \\*<\/stage_direction>\n    <scene_description>He throws open the front door, startling Shug who has been spying out the front window. D.Jay grabs Shug with controlled force bringing his lips to hers. The girl collapses under his uncharacteristic passion. She moans, clutching his face, as he holds her almost upside down in his embrace. The kiss finally concludes. D.Jay stands Shug upright and burns into her eyes with his. Shug holds the bottom of her stomach and breaths evenly trying not to give birth right then and there. D.Jay nods proudly, certain of one thing in his life if nothing else. He shuts the door behind him.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Yeah, I got my Mode.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARNEL'S CLUB\/ D.JAY'S CAR - LATE DAY 90 \\*<\/stage_direction>\n    <scene_description>D.Jay pulls up in his Chevy into the parking lot. The music stops as he turns off the car. He slides a demo tape from a stack positioned on his dash.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>{looking into the mirror)<\/dialogue>\n    <scene_description>Show time, D. He steps out of his car. His confident swagger ebbs as he sees the tricked out Cadillac Escalades parked out front .. He swings the front door open and slams into YELLOW JACKET, a large looking man dressed in (surprise) a yellow jacket.<\/scene_description>\n    <character>D.JAY (CONT'D) \\*<\/character>\n    <dialogue>What's up, Cuz. Happy. Fourth. \\*<\/dialogue>\n    <character>YELLOW JACKET<\/character>\n    <dialogue>Sorry man, we're closed for tonight.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Arnel know I'm supposed to be here.<\/dialogue>\n    <character>YELLOW JACKET<\/character>\n    <dialogue>It's a private party and I know everyone who supposed to be here. So ...<\/dialogue>\n    <scene_description>Arnel calls from the back.<\/scene_description>\n    <character>ARNEL<\/character>\n    <dialogue>Hey! He good. He good, man. I already told Skinny.<\/dialogue>\n    <character>YELLOW JACKET<\/character>\n    <parenthetical>(chews on a tooth pick)<\/parenthetical>\n    <dialogue>Ah-ight. Show me some love, bra.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>I don't tip the doonnan, '~Bra.\"<\/dialogue>\n    <character>YELLOW JACKET<\/character>\n    <dialogue>Put your arms up.<\/dialogue>\n    <scene_description>D.Jay sighs and complies. Yellow Jacket pats him down.<\/scene_description>\n    <character>((;ON'T'TNHP.D\\<\/character>\n    <dialogue>qo CONTINUED: 90<\/dialogue>\n    <character>YELLOW JACKET<\/character>\n    <dialogue>Welcome to the party.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARNEL'S CLUB - LATE DAY 91 \\*<\/stage_direction>\n    <scene_description>D.Jay enters through the front door of Arnel's. He cautiously scans the place for Skinny Black. Music blares. Twenty or so have collected in front of the large table. Skinny remains hidden. Arne! breaks D.Jay's concentration.<\/scene_description>\n    <character>ARNEL<\/character>\n    <dialogue>They aim to party tonight.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Where's he at?<\/dialogue>\n    <character>ARNEL<\/character>\n    <dialogue>Up yonder at the big table.<\/dialogue>\n    <scene_description>D.Jay looks to the mass of bodies, all with their backs turned toward him. Girls in booty shorts giggle and worm their way through the onlookers.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>I don't see him.<\/dialogue>\n    <character>ARNEL<\/character>\n    <dialogue>I'll take ya on over. You ready?<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Shit, I ain't in no rush. Can I get a drink first?<\/dialogue>\n    <scene_description>Arnel and D.Jay move to the bar. Arne! pours a drink while D.Jay's eyes scan the face of the entourage.<\/scene_description>\n    <character>ARNEL<\/character>\n    <dialogue>It's always strange to see him, you know. Up close. Bein' that I known the man all his life, I still got it in my head that he a hundred feet tall from that music video where he walking through that city like King Kong.<\/dialogue>\n    <scene_description>D.Jay turns to Arnel and drinks. Ir.ON~ TNTTF,D 1 CONTINUED:<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>They do that shit with computers. He ain't that big.<\/dialogue>\n    <character>ARNEL \\*<\/character>\n    <dialogue>(can't hear) \\*<\/dialogue>\n    <scene_description>Huh? \\*<\/scene_description>\n    <character>D.JAY \\*<\/character>\n    <dialogue>I say, he ain't that big! \\*<\/dialogue>\n    <scene_description>A loud, annoying voice sounds over the party.<\/scene_description>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>WHO THE FUCK IS THAT?<\/dialogue>\n    <scene_description>D.Jay and Arnel freeze as the group separates and stares back at them. Sitting at the table wearing black, bottle-rimmed sunglasses, camouflage designer threads, and a mouth full of platinum, is none other than SKINNY BLACK. D.Jay was right - he's not that big.<\/scene_description>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>I can't believe what my own Goddamn eyes is seein' ! I'm gonna have to get me a seeing-eye-nigga just tell me what I'm lookin' at fo'sho!<\/dialogue>\n    <scene_description>D.Jay can barely breathe. He believes Skinny is talking about him.<\/scene_description>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>Is it? Can it be? My one, my only?<\/dialogue>\n    <scene_description>D.Jay is about to answer, but is cut short by a deep, booming voice from behind him.<\/scene_description>\n    <character>SLOBS<\/character>\n    <dialogue>SKINNY, DAT YOU?<\/dialogue>\n    <scene_description>Arnel and D.Jay turn to the door and see SLOBS, an enormously round man dressed in a blue velour jump suit.<\/scene_description>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>SLOBS! l !<\/dialogue>\n    <scene_description>They dog each other a.s they approach. I C:ON'l'TNlJ~T))<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>91<\/dialogue>\n    <character>SLOBS<\/character>\n    <dialogue>Is that my bone assed, buck- toothed, Ethiopian poster- boy, too big for his own pampered britches, mother- fucker?<\/dialogue>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>You corn-fed, belly bustin', ass crack as long as the fuckin' M-I-crooked-letter- crooked-letter--I-P-P on ya own feet cuz you can't see ya own dick when ya take a piss, bitch!<\/dialogue>\n    <scene_description>They are both in each others face. All is quiet. All eyes on them.<\/scene_description>\n    <character>SLOBS<\/character>\n    <parenthetical>(big ass smile)<\/parenthetical>\n    <dialogue>Yeah, that's me, baby.<\/dialogue>\n    <scene_description>They embrace and mumble incoherent love to each other.<\/scene_description>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>Back in the day, nigga ... back in the day ... back ... IN ... THE ... DAY!<\/dialogue>\n    <parenthetical>(leads Slobs to his table)<\/parenthetical>\n    <dialogue>Need to get a drink in ya hand and a pussy in ya fat lap! Com'on! Hey Tigga! Tigga, Slobs from the hood up in this!<\/dialogue>\n    <scene_description>Slobs bumps past D.Jay on his way over. D.Jay keeps his composure, still shell-shocked from earlier.<\/scene_description>\n    <character>ARNEL<\/character>\n    <dialogue>You ready to go over?<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Hold up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARNEL'S CLUB - BATHROOM - NIGHT 92 \\*<\/stage_direction>\n    <scene_description>D.Jay opens the door to the cramped bathroom. A drunk kid in baggy jeans is drying his hands under a air-dryer. D.Jay waits as the dryer stops. The drunk guy pushes the button again to start it up.<\/scene_description>\n    <character>D.JAY<\/character>\n    <parenthetical>(tossing him out)<\/parenthetical>\n    <dialogue>They dry, punk!<\/dialogue>\n    <scene_description>The door slams. He faces himself in the mirror.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Get'cha Mode on, D.<\/dialogue>\n    <scene_description>He is now ready. \/ r.ON'l' TNOP.n I<\/scene_description>\n    <character>ARNEL<\/character>\n    <parenthetical>(v.o.)<\/parenthetical>\n    <dialogue>Skinny. I think you already know my boy D.Jay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARNEL'S CLUB - NIGHT<\/stage_direction>\n    <scene_description>Skinny Black looks at D.Jay with an absent expression. He is surrounded by guys on cell phones and tight dressed honeys. Skinny squints behind his glasses.<\/scene_description>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>Hey ... I don't know who this nigga is.<\/dialogue>\n    <scene_description>D.Jay jumps, in extending his hand.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Good to see you again, Skinny. Been a while since you been back home, ain't it?<\/dialogue>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>Got my people tellin' me I been away too long. Like I'ms cornin' back. Like they's a back to get back to. I said, FUCKl Best place to keep Memphis is in my rear-view, ya-naw-I'm-sayin'? Ya-naw-what-I'm- sayin'? Who-ever-the-fuck-you-is, ya-naw- what-I'm-sayin'?<\/dialogue>\n    <character>ARNEL<\/character>\n    <dialogue>Skinny, this is the man I was telling you<\/dialogue>\n    <scene_description>about.<\/scene_description>\n    <character>SKINNY BLACK<\/character>\n    <parenthetical>(remembering, to Arnel)<\/parenthetical>\n    <dialogue>Oh! Oh! Oh this here the man?<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>That's me. I'm the man.<\/dialogue>\n    <character>ARNEL<\/character>\n    <dialogue>This here, D.Jay.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>We went to different schools but .\u2022.<\/dialogue>\n    <scene_description>Skinny Black flashes a gold grin.<\/scene_description>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>D.J.? D.J. what? Like D.J., like short fo'somethin' D.J.? Or you sayin' like you a<\/dialogue>\n    <scene_description>{motions like he's scratching) Vip, vip, verp kind'a D.J.? I r.ON'l'TN!W,fl I CONTINUED:<\/scene_description>\n    <character>D.JAY<\/character>\n    <parenthetical>(awkward)<\/parenthetical>\n    <dialogue>Just ...<\/dialogue>\n    <parenthetical>(fumbles with medallion)<\/parenthetical>\n    <dialogue>... just D.Jay.<\/dialogue>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>Nigga, you got somethin' for me?<\/dialogue>\n    <scene_description>D.Jay is thrown by Skinny's directness. He holds a demo tape in his hands.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Well, yeah. But before I give over, I just gotta say ...<\/dialogue>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>Every time I come to Memphis, my boys hook me up wit some dirt weed, taste like they grown it out the ass a'some redneck. But my boy Arnel say you slangin' the prime.<\/dialogue>\n    <scene_description>Realizing now, what he is referring to, D.Jay reaches in his pocket and pulls out the prime pot. He hands it over to Skinny Black, but the man in the Yellow Jacket grabs it first.<\/scene_description>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>What do I owe you?<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>It's cool. You know, we old friends, Skinny.<\/dialogue>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>Have a seat my blood brother.<\/dialogue>\n    <parenthetical>( smells the pot)<\/parenthetical>\n    <dialogue>:Mmmm. You ain't fuckin' around with this bag. I just might be in love.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Remember when you was at the drive-in?<\/dialogue>\n    <character>SKINNY BLACK<\/character>\n    <parenthetical>(unable to hear over the music)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>The drive-in. You was sellin' your underground tapes ...<\/dialogue>\n    <parenthetical>( C.ON'T' TNtrRD)<\/parenthetical>\n    <scene_description>CONTINUED : ( 2 ) 93 Tigga pulls a HOT GIRL dressed up in a sexy UNCLE SAM outfit, \\* onto his lap for Skinny to see. Skinny explodes with horny \\* delight. \\*<\/scene_description>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>{checking her out) \\*<\/dialogue>\n    <character>GOD ... BLESS ... AMERICA! GAL THAT I \\*<\/character>\n    <dialogue>LOOOOOOVE! \\*<\/dialogue>\n    <scene_description>Tigga and Skinny's crew begin singing and cutting up. \\*<\/scene_description>\n    <character>SKINNY &amp; CREW \\*<\/character>\n    <dialogue>(loud and obnoxious) \\*<\/dialogue>\n    <character>STAND BESIDE HER! AND GUIDE HER ... \\*<\/character>\n    <dialogue>D.Jay looks down at his demo tape in his hands. He is losing control of the sit. He started off wrong. He rubs the back of his neck and then adjusts the chain and medallion around his neck.<\/dialogue>\n    <dialogue>The sound in the room fades away. D.Jay inhales and glares at Skinny Black. \\* His MODE comes to his aid: BOOM! BOOM! BOOM! BOOM! BOOM! \\* He grins, takes a breath and interrupts Skinny Black and his \\* crew. \\*<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Hey, Skinny? Man, I wanna ask you sornethin'.<\/dialogue>\n    <parenthetical>(Skinny passively looks his way)<\/parenthetical>\n    <dialogue>What the fuck happened to you?<\/dialogue>\n    <scene_description>Skinny Black and Yellow Jacket look at D.Jay, stunned into silence.<\/scene_description>\n    <character>SKINNY BLACK \\*<\/character>\n    <dialogue>Huh? \\*<\/dialogue>\n    <character>YELLOW JACKET<\/character>\n    <dialogue>The fuck did you just say?<\/dialogue>\n    <character>D.JAY<\/character>\n    <parenthetical>(cool as ice)<\/parenthetical>\n    <dialogue>I remember when you started cuttin' that underground shit ... it just flew through Memphis. Like a typhoon. I couldn't walk my ass down half a block without the pavement crumblin' under my feet from some Cacti boomin' with yo tracks out the back.<\/dialogue>\n    <scene_description>\/CON'l'TNlTP.Dl CONTINUED: (3)<\/scene_description>\n    <character>D.JAY<\/character>\n    <parenthetical>(D.Jay looks a little sad, turns away)<\/parenthetical>\n    <dialogue>I just miss ya Skinny, that's all.<\/dialogue>\n    <scene_description>Skinny doesn't know what to say - he struggles with anger and anticipation. He pushes the UNCLE SAM GIRL away. \\*<\/scene_description>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>Miss me? Nigga I don't even .\u2022\u2022<\/dialogue>\n    <parenthetical>(pissed)<\/parenthetical>\n    <dialogue>\/ C.ON'l'TNTJRDl<\/dialogue>\n    <scene_description>CONTINUED : ( 4 ) 93<\/scene_description>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>So. What? You sayin' I can't cut it no mo? Like I ain't the shit?<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>You know one day this all gonna be gone. This club, this city, the whole fuckin' US of A. It all gonna turn to dust, you heard me? But then a whole new civilization of people gonna dig. They gonna find, like, the pyramids in Egypt, they gonna find the fuckin' Empire State. But if they wanna know about my people, my hos, my boys \u2022\u2022. all they gotta do is find your first underground tape \u2022\u2022.<\/dialogue>\n    <scene_description>Skinny Black joins in. Nodding.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>North Third Thugs.<\/dialogue>\n    <character>&amp;<\/character>\n    <dialogue>Skinny is now completely into D.Jay, leaning in over the small table.<\/dialogue>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>You know, I cut that motherfucker myself. In my mommas laundry room, man. It raw as hell but I put everything I had in that. Made my own covers with magic marker. Talkin' real ghetto, D.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>But that's the sign of genius, Skinny. It's not enough to fuckin' climb Mt. Everest ... you gotta do with the least amount of tools.<\/dialogue>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>It's about the man. One man.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>One man and his skills.<\/dialogue>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>Like the samurai say. You know, a sword only as powerful as its master.<\/dialogue>\n    <character>O.JAY<\/character>\n    <dialogue>Ain't the size of the dog in the fight but the ...<\/dialogue>\n    <character>D.JAY &amp; SKINNY BLACK<\/character>\n    <dialogue>... fight in the dog.<\/dialogue>\n    <scene_description>\/CON'l'TNUF.D) CONTINUED: (5) 93<\/scene_description>\n    <character>SKINNY BLACK<\/character>\n    <parenthetical>(slaps hands with D.Jay)<\/parenthetical>\n    <dialogue>My nigga.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Now I know a man gotta do what a man gotta do.<\/dialogue>\n    <scene_description>{glance at Yellow Jacket) Gotta surround himself with people think they gotta say in who Skinny Black is. Them big labels ain't nothin' but a pimp of a different color ...<\/scene_description>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>Oh they pimpin' me. Ain't no lie. I'm a ho on the corner. No doubt. Got me tourin' the chittlin' circuit all through the surmner ... gotta split my paper with them greedy number-crunchin' mother- fuckers. Ain't like it was back in the day.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Skinny \u2022.. you .ain't gotta explain shit. You do what Skinny Black wants to do and Memphis'll be there for you. Like you was here for us back in the day.<\/dialogue>\n    <scene_description>D.Jay removes an old cassette tape and slides it across the table to Skinny Black. Skinny looks down to see his old underground tape. He colored his own name like a graffiti tag. It is over a decade old. Skinny carefully picks it up and, to the wonder of all around, removes his shades.<\/scene_description>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>My underground. Look, Tigga. Slobs, look at what this nigga got.<\/dialogue>\n    <parenthetical>(genuine)<\/parenthetical>\n    <dialogue>I ... can't believe you got one of these, man. I don't got none of these left.<\/dialogue>\n    <character>D.JAY<\/character>\n    <parenthetical>(leans in for effect)<\/parenthetical>\n    <dialogue>Skinny, you got thousands of these in you. Just come back home.<\/dialogue>\n    <scene_description>Everyone is silent. They all look to Skinny Black. r C--:ON'T'TNIJF.n) CONTINUED: (6)<\/scene_description>\n    <character>SKINNY BLACK<\/character>\n    <parenthetical>(to D.Jay, holding up his bag of prime weed)<\/parenthetical>\n    <dialogue>You stand behind yo' product?<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Is a pig's pussy pork?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARNEL'S CLUB - BACK ROOM - LATER - NIGHT<\/stage_direction>\n    <scene_description>Rap music, fuzzy and heavy on bass through Arnel's twenty year old amplifiers. D.Jay's fingers break open a cigar, gutting the tobacco and replacing it with his New Orleans herb. With a roll and a lick, the two are ready to share a smoke - the blunt is passed back and forth between D.Jay's lips and Skinny Black's platinwn grin. They laugh together from a separate room of the club. Skinny's friends continue their party from a distant table. Skinny is now half way through a story that he can barely get out - a mild case of the giggles.<\/scene_description>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>Had me this Mustang. Fuckin' tight ride. hood snout, maple dash ... two-toned metallic monster motherfucker. I go to m'lady's crib over in the Courts.<\/dialogue>\n    <character>D.JAY<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>I had a lady in the Courts, too. Had a few.<\/dialogue>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>I go inside. Get my ugly on. Corne out and my ride is gone. And I nut pretty damn fast ... these fools rnust'a snagged my ride<\/dialogue>\n    <parenthetical>(snapping his fingers)<\/parenthetical>\n    <dialogue>like that.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Gone in sixty seconds.<\/dialogue>\n    <scene_description>I r.ON'l'TNllP,D\\<\/scene_description>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>So I call up my crew. I say, \"pick me up.\" Cuz I knew they only one place these fools go cruisin' in my hot ride.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Millbranch.<\/dialogue>\n    <character>&amp;<\/character>\n    <dialogue>D.JAY<\/dialogue>\n    <scene_description>Nobody cruise Millbranch no more. It all down\u00b7on Riverside now.<\/scene_description>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>So we roll down to Millbranch and we wait. And sho'nuff. Here come my car.<\/dialogue>\n    <scene_description>Ilaughs) We roll up in front. Box them mother- fuckers in. Twenty niggaz come rushin' at 'em. Pullin' these fools out my ride. And I'm screarnin' like a woman, \"Don't touch my car! Don't touch my car! Ain't you seen my two-tone metallic?\" Their laughter dies down. They both take another hit off the blunt. D.Jay eases in for the kill.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Skinny. I ain't a scrap of cheese off yo' table \u2022.. but. ..<\/dialogue>\n    <parenthetical>(holds up the demo tape)<\/parenthetical>\n    <dialogue>My heart beats in this motherfucker. I put my blood in it.<\/dialogue>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>Is that for me? Can I take that?<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>I ain't tryin' to play you. You the only one I want to give this to. Cuz I respect you. Cuz we old friends.<\/dialogue>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>That's the truth man, and I miss you, Jay.<\/dialogue>\n    <character>D.JAY<\/character>\n    <parenthetical>(lifting his medallion)<\/parenthetical>\n    <dialogue>It's D.Jay. Ain't no tag. Just D.Jay.<\/dialogue>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>D.Jay. Okay. My bad, D.Jay.<\/dialogue>\n    <scene_description>I C:ON'l'TNTJRnl g4 CONTINUED: (2) 94<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>If you could just give me a shot. Help get my voice heard ... that .... that would ... I don't have words, Skinny. I don't have words.<\/dialogue>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>Hey man .\u2022\u2022 I got somethin' to tell you.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>It's important. You listenin'?<\/dialogue>\n    <scene_description>D.Jay Nods. Skinny Black is having a hard time focusing. He wobbles on his feet and grabs on to D.Jay.<\/scene_description>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>Everybody gotta have a dream.<\/dialogue>\n    <parenthetical>(again)<\/parenthetical>\n    <dialogue>Everybody ... gotta have a dream.<\/dialogue>\n    <scene_description>D.Jay nods, not knowing what to make of this statement. But he rolls with it.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>I hear you.<\/dialogue>\n    <scene_description>Skinny blinks, steadies himself.<\/scene_description>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>Where da bathroom at?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARNEL'S CLUB - AT THE BAR - LATER - NIGHT<\/stage_direction>\n    <scene_description>D.Jay pulls himself up to the bar. He tries to conceal his glee from Arnel, but a grin escapes.<\/scene_description>\n    <character>ARNEL<\/character>\n    <dialogue>How'd it go?<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>I fuckin' played it like a pro.<\/dialogue>\n    <character>ARNEL<\/character>\n    <parenthetical>(slides D.Jay a drink)<\/parenthetical>\n    <dialogue>Tell it, D.<\/dialogue>\n    <scene_description>lr.ON'l'TNUF,Dl CONTINUED:<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>My Mode is poundin 1 \u2022 Got it deep in my gut. All he gotta do is play it. Gonna be \u2022.\u2022 undeniable. Just you wait.<\/dialogue>\n    <parenthetical>(takes a swig)<\/parenthetical>\n    <dialogue>You gonna need to get yo weed from some other hustler.<\/dialogue>\n    <character>ARNEL<\/character>\n    <dialogue>I'm happy for you, D. You earned it.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>My ladies. My precious \u2022\u2022\u2022 Shug \u2022\u2022\u2022 and Nola. How they came through for me. Let me tell you, Arnel ..\u2022 I just wanna give back to 'em. Ain't gonna feel like a man 'till I give back.<\/dialogue>\n    <character>ARNEL \\*<\/character>\n    <parenthetical>(takes a hold of his arm)<\/parenthetical>\n    <dialogue>You on your way.<\/dialogue>\n    <scene_description>D.Jay takes one last swig of beer and slaps a twenty on the bar as well as a demo tape.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>That's for you, Arne!. Gonna take a piss and roll.<\/dialogue>\n    <character>ARNEL<\/character>\n    <dialogue>See you, D.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARNEL'S CLUB - BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>D.Jay bursts into the bathroom, catching his reflection in the mirror over the two sinks. He focuses his eyes, chasing his buzz away. And then an echoed mumble from somewhere in the bathroom. It sounded like an attempt at language but came out as a garble of slurs and vowels. D.Jay is cautious more than curious as he opens the only stall in the bathroom. He slowly pushes it open. Skinny Black is passed out on the floor in front of the toilet with his pants around his knees. He is mumbling incoherently, occasionally flinching like a dog having a nightmare. rC.ON'l' TNTJF.D l<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Ain't this some shit.<\/dialogue>\n    <scene_description>D.Jay kneels down next to him, almost at eye level with Skinny Black.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Hey? Skinny? You need to piss, let's try it standing up.<\/dialogue>\n    <character>SKINNY BLACK<\/character>\n    <parenthetical>(barely audible)<\/parenthetical>\n    <dialogue>Talk to me .\u2022\u2022 about ..\u2022 shit ..\u2022<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>That's right. I'm talkin' to you. You need some help, dog?<\/dialogue>\n    <scene_description>No clear answer comes from Skinny Black. D.Jay stands Skinny Black up, holding him in place with one hand.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Tell you what? Ain't many in this world put a man's dick away for a brother who can't. Best show me some love for this.<\/dialogue>\n    <scene_description>D.Jay pulls Skinny Black's pants up and buckles his belt. Skinny Black is still mumbling.<\/scene_description>\n    <character>D.JAY {<\/character>\n    <dialogue>You know ... we go on the road one day, I ain't gonna do this. A man could do all kinds of trouble to you right now, you wouldn't even ...<\/dialogue>\n    <scene_description>Something catches D.Jay's eye. He lets go of Skinny Black, letting him fall to the floor - smack. D.Jay is stunned. He cannot swallow, he cannot blink, he cannot look away. He kneels before the toilet looking inside. He slowly reaches into the toilet to retrieve his demo tape. Dripping with piss and God knows what else, D.Jay lifts the tape out of the toilet. The tape from inside the cassette has been pulled out, hanging like a long tangled braid. A rage builds in D.Jay as he lifts Skinny Black up against the wall. The rage turns to unbearable hurt. I C:ON'T' TN1JRD): CONTINUED: ( 2 I 96<\/scene_description>\n    <character>D.JAY<\/character>\n    <parenthetical>(Holding the tape up)<\/parenthetical>\n    <dialogue>Tell me this fell out'cha pocket. TELL ME THIS FELL OUTTA YOUR POCKET!<\/dialogue>\n    <scene_description>Skinny wakes up briefly, slurring, trying to talk.<\/scene_description>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>Hey ...<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Hey, what ... go on, Skinny, speak up.<\/dialogue>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>You ... you could ...<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>What? What can I do?<\/dialogue>\n    <character>SKINNY BLACK<\/character>\n    <dialogue>You can suck my dick, bitch.<\/dialogue>\n    <scene_description>D.Jay nods. His rage is oddly calm.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>You suck on this.<\/dialogue>\n    <scene_description>D.Jay crams the demo from the toilet into Skinny Black's mouth. He pushes it in hard.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>SUCK ON THIS!<\/dialogue>\n    <scene_description>D.Jay's fury overtakes him. He throws Skinny Black to the floor and pounds his face repeatedly. After five hits to his face, Skinny reaches into his coat and removes a silver .45 pistol. With another punch from D.Jay, he drops the gun to the floor. D.Jay grabs it and pushes the muzzle up against Skinny Black's face.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Oh, you want this? YOU WANT THIS! Look at me, Skinny. LOOK AT ME MOTHERFUCKER!<\/dialogue>\n    <scene_description>There is sudden silence save the music pounding from the club outside. D.Jay realizes where his anger has taken him. Reason returns. Fear pervades. \/ r.ON1' TNTJ1'D I CONTINUED: (3 )<\/scene_description>\n    <character>D. JAY<\/character>\n    <parenthetical>(softly)<\/parenthetical>\n    <dialogue>Skinny?<\/dialogue>\n    <scene_description>D.Jay kneels down next to Skinny Black, lightly slapping his bloody cheeks attempting to bring him back to consciousness.<\/scene_description>\n    <character>D. JAY<\/character>\n    <dialogue>You need to wake up, now. Come on ... wake up, Skinny.<\/dialogue>\n    <scene_description>Skinny lets out a groan. D.Jay stands quickly, suddenly spooked.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Shit. Oh, shit. D. What did you do ...<\/dialogue>\n    <scene_description>The noise from outside increases suddenly as the man in the YELLOW JACKET enters the bathroom.<\/scene_description>\n    <character>YELLOW JACKET<\/character>\n    <dialogue>Yo, Skinny! Where \u2022.. ?<\/dialogue>\n    <scene_description>He sees Skinny on the floor and D.Jay standing above him holding the gun.<\/scene_description>\n    <character>YELLOW JACKET<\/character>\n    <dialogue>What the fuck!<\/dialogue>\n    <scene_description>It all happens at once. Yellow Jacket quickly reaches inside his coat pocket. D.Jay simply lifts his hand and fires, hitting Yellow Jacket in the shoulder. Blood splatters against the back wall. Yellow Jacket screams and slips falling to the dirty floor tiles - his fresh wound hitting first. Another howl. D.Jay steps back in fear. He points the gun at Skinny and then back at Yellow Jacket struggling on the floor and then to the door, open wide to the now silent club.<\/scene_description>\n    <character>D.JAY<\/character>\n    <parenthetical>(to Yellow Jacket)<\/parenthetical>\n    <dialogue>Don't you move! You hear me!<\/dialogue>\n    <scene_description>D.Jay notices Yellow Jacket looking out the bathroom door to his friends.<\/scene_description>\n    <character>D. JAY<\/character>\n    <parenthetical>(calling out)<\/parenthetical>\n    <dialogue>Hey! I'm comin' out! I see a gleam of \\* steel, I'm'a shoot. Anybody don't wanna \\* get shot best step back! I'm coming out!<\/dialogue>\n    <scene_description>I C:ON'T' TNUP.D): CONTINUED: I 4 I D.Jay keeps the gun pointed at Yellow Jacket as he creeps to the front door. INT. ARNEL'S CLUB - NIGHT 97 D.Jay appears in the doorway of the bathroom before a silent and captive audience. Yellow Jacket squirms on the floor, clutching his shoulder. He clinches his teeth attempting to contain his pain. Tigga moves forward. D.Jay points the gun right at Tigga.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Not tonight, Tigga.<\/dialogue>\n    <scene_description>(Tigga stops I You wanna test me? Back up! (they aren't fast enough) NIGGA BACK UP! D.Jay's shout scares himself just as much as it scares the crowd. As he backs toward the door, D.Jay notices Arnel behind the bar, looking at D.Jay with confusion and fear. D.Jay attempts to apologize with his eyes but it is already taking too long to get out of the club. With a burst of speed, D.Jay takes off out the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARNEL'S CLUB - NIGHT<\/stage_direction>\n    <scene_description>D.Jay runs to his car, trying to keep Skinny's gun pointed at the front door just in case. He scrambles for his keys. The Chevy roars as D.Jay cranks it to life. Four members of Skinny Black's crew leap out of the club. One aims a pistol at D.Jay's car as he flies out of the parking lot. He fires twice. The back window of the Chevy shatters. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KING OF CLUBS - NIGHT<\/stage_direction>\n    <scene_description>D.Jay enters the club crossing to the DJ booth immediately. Mickey is changing discs.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Mickey.<\/dialogue>\n    <character>MICKEY<\/character>\n    <dialogue>Hey, man. How'd it go?<\/dialogue>\n    <parenthetical>(\\,ON'f'TNURD)<\/parenthetical>\n    <scene_description>CONTINUED: D.Jay moves Mickey away from the booth with urgency.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Mickey, I need some cash and I need it right now. How much can I use from you?<\/dialogue>\n    <character>MICKEY<\/character>\n    <dialogue>I just came on, D. Girls tips me when they pay out and that ain't gonna be for hours.<\/dialogue>\n    <character>LEXUS<\/character>\n    <dialogue>HEY!<\/dialogue>\n    <scene_description>D.Jay turns to see Lexus dressed in a string bikini. She unleashes her furry from the stage.<\/scene_description>\n    <character>LEXUS<\/character>\n    <dialogue>You see me?<\/dialogue>\n    <parenthetical>(grabs one of her tits)<\/parenthetical>\n    <dialogue>You see this? It's all real, baby. Head to toe. I ain't no front-faggot-bitch! You hear me?<\/dialogue>\n    <scene_description>D.Jay is caught in her tirade. He can't even look away.<\/scene_description>\n    <character>LEXUS<\/character>\n    <dialogue>I'll be right here. On ill\u00a5 stage. Dain' ID.\u00a5 thing. Now who the fuck is you? Huh? I wanna hear ya, baby. Come on! Nh.o the. fill:k is. jlQ\\].l?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KING OF CLUBS - NIGHT<\/stage_direction>\n    <scene_description>D.Jay throws the door to the club open gripping the side of the building to steady himself. He takes deep breaths to stave off nausea. Reaching under his leather coat, D.Jay retrieves Skinny's gun. With his free hand, he grips the silver watch on his opposite wrist - the hand holding the gun. A decision has been made.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>100A INT. D.JAY'S CHEVY - NIGHT 100A \\*<\/stage_direction>\n    <scene_description>As D.Jay drives up his street, his view through the \\* windshield glows with blue and red pulsating lights. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. D.JAY HOUSE - NIGHT 101 \\*<\/stage_direction>\n    <scene_description>I C:OITT' HJOF:DI: CONTINUED: The police are there in full force. Arnel is with them, reluctantly, along with the remaining Skinny Black crew, \\* including Tigga. D.Jay pulls to the side of the road and hops out.<\/scene_description>\n    <character>TIGGA \\*<\/character>\n    <dialogue>There he is! There that mutha-fucka go, \\* right there! Shoot his ass! \\*<\/dialogue>\n    <scene_description>D.Jay immediately raises his hands into the air. The police spin around and pull their side arms into position.<\/scene_description>\n    <character>POLICE<\/character>\n    <dialogue>Put down your weapon and step away from the car.<\/dialogue>\n    <character>D.JAY<\/character>\n    <parenthetical>(stepping away form the car)<\/parenthetical>\n    <dialogue>I ain't got nothin' on me, it's in the glove.<\/dialogue>\n    <character>SHUG<\/character>\n    <parenthetical>(running toward D.Jay)<\/parenthetical>\n    <dialogue>D.Jay! D.Jay!<\/dialogue>\n    <scene_description>Nola runs after her trying to stop her. Three police officers hold her back. Key and Shelby rush to the end of the street.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Ease up, Shug, it's ah-ight.<\/dialogue>\n    <character>NOLA<\/character>\n    <dialogue>{screaming at the police}<\/dialogue>\n    <scene_description>Get off her! Get off herl<\/scene_description>\n    <character>TIGGA<\/character>\n    <dialogue>Hey! Shoot him! Shoot the motherfucker!<\/dialogue>\n    <scene_description>The police wrestle Shug to the ground as she screams. BOOM! A firework sounds above. \\*<\/scene_description>\n    <character>SHUG<\/character>\n    <parenthetical>(crying)<\/parenthetical>\n    <dialogue>I just wanna go with him! I wanna go!<\/dialogue>\n    <character>D.JAY<\/character>\n    <parenthetical>(yelling at the cops)<\/parenthetical>\n    <dialogue>Goddanunit, get off her! She's pregnant! \\* Get off! Key get them niggaz off my girl!<\/dialogue>\n    <scene_description>I r.oN~ TNUJCD\\ 1~1 CONTINUED: (2) 101 Key looks shell shocked. Shelby rushes to help Nola with Shug.<\/scene_description>\n    <character>POLICE<\/character>\n    <parenthetical>(calling out to D.Jay)<\/parenthetical>\n    <dialogue>Put your hands on the hood of your car!<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Get 'em off her!<\/dialogue>\n    <character>SHUG<\/character>\n    <dialogue>D.Jay ... D.Jay, please ... !<\/dialogue>\n    <scene_description>The police help Shug up to her feet. Nola and Shelby comes to her side and helps her stand.<\/scene_description>\n    <character>POLICE<\/character>\n    <dialogue>Come to the front of the earl Do it! Now!<\/dialogue>\n    <scene_description>D.Jay slowly moves to the front of the car, hands raised. Shug is on her knees, sobbing into Nola's stomach. D.Jay turns to the front of the car slowly putting his palms down on the hood of his own Chevy. He is slammed from behind by three officers. Shug screams out. Nola has tears running down her face as she holds tightly onto Shug, quivering in her arms.<\/scene_description>\n    <character>KEY<\/character>\n    <parenthetical>(yelling at the officers)<\/parenthetical>\n    <dialogue>He turned himself in! He turned himself in! Don't dog pile him like that!<\/dialogue>\n    <scene_description>Nola can see D.Jay with his face on the hood of the Chevy - he is grunting in pain and humiliation. Tigga has made it closer to D.Jay. He taunts him.<\/scene_description>\n    <character>TIGGA<\/character>\n    <dialogue>That's my brother you fuckin' with! \\* That's my brother! I'm gonna get you \\* stuck! In the joint, Bitch! \\*<\/dialogue>\n    <scene_description>The police empty his pockets. Three demo tapes are sprawled out on the hood of the car followed by his notepad. A sudden panic comes over Nola. She rushes past the police to the side of the Chevy.<\/scene_description>\n    <character>NOLA<\/character>\n    <dialogue>D.Jay? D.Jay?<\/dialogue>\n    <scene_description>\/ C.ON'l'TNTJF,Tl 1 1~1 CONTINUED: (3) 101 D.Jay opens his eyes as another officer tries to move Nola back. She resists.<\/scene_description>\n    <character>NOLA<\/character>\n    <parenthetical>(pleading)<\/parenthetical>\n    <dialogue>Tell me what to do. Please tell me what to do.<\/dialogue>\n    <scene_description>Her plea is exactly what D.Jay needs to hear - his confidence restored.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Pick up my pad.<\/dialogue>\n    <parenthetical>(Nola picks up the pad)<\/parenthetical>\n    <dialogue>Disc Jockeys, baby. Get ya ass off the track and get our shit some play. Put it in their hands, baby. Make 'em play it!<\/dialogue>\n    <scene_description>The cops lift D.Jay up and pull him away.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>I got a stack of demos in the car. Tell Key and Shelby to get that shit on disc. In two weeks I wanna hear my music in the yard at 201. You in charge Nola. Say it.<\/dialogue>\n    <character>POLICE<\/character>\n    <dialogue>You have the right to remain silent, anything you say can and will be held against you in a court of law \u2022..<\/dialogue>\n    <character>NOLA<\/character>\n    <parenthetical>(crying)<\/parenthetical>\n    <character>D \u0080\ufffd\u0080\ufffd\u0080\ufffd<\/character>\n    <dialogue>D.JAY<\/dialogue>\n    <scene_description>Say it, Nola! Nola follows him as they pull him away. Tigga brakes free and \\* punches D.Jay to the ground.<\/scene_description>\n    <character>SHELBY<\/character>\n    <dialogue>HEY!<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>Get the FUCK OFF HIM!<\/dialogue>\n    <scene_description>Nola covers her mouth as police push Tigga back. A fight has now erupted between the members of Skinny's crew and D.Jay's neighbor, R.L .. Shelby and Key are filled with rage, they race at Tigga. \\* Shelby is the first to clock him as the two join the fight. D.Jay is lifted to his feet again, blood leaking from his nose. He is smiling - alive with confidence for Nola's benefit. \/C:ON'l'TNTJF,Dl<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Come on, baby! Who's in charge?<\/dialogue>\n    <character>NOLA<\/character>\n    <parenthetical>(sobbing)<\/parenthetical>\n    <dialogue>I'm in charge.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>There you go. Say it again, partner.<\/dialogue>\n    <character>NOLA<\/character>\n    <dialogue>I'M IN CHARGE!<\/dialogue>\n    <scene_description>D.Jay is shoved in the back seat of a squad car. It has now turned to mayhem: photographers, neighborhood thugs pounding the car. The squad car disappears around the corner, leaving Shug weeping and Nola standing alone in the street, quivering in the pulsating lights. Fireworks crackle in the night sky. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>)2 INT. D.JAY'S JAIL CELL - DAY 102<\/stage_direction>\n    <scene_description>The cell door opens. With a grinding rhythm the b~rs move past D.Jay's unmoving eyes. D.Jay walks through the corridor, his head lowered, his hands in his pockets. A Prison Guard walks behind him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON VISITATION ROOM - DAY<\/stage_direction>\n    <scene_description>D.Jay enters the room divided by protective glass - prisoners on one side, visitors on the other. Sitting with his arms crossed, looking appropriately pensive, is Key. D.Jay picks up the phone. Key waits a moment before picking up his side, choosing to stare at D.Jay instead.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>I tried callin' the house but \u2022.. the phones \u2022.\u2022<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>Yeah. They got turned off. But it's okay. Me and Yevette, we pitching in.<\/dialogue>\n    <scene_description>( C:ON'I' TNTTF.Ol 1 03 CONTINUED: 103 Key removes a picture of a baby girl and places it up against the plexi. I r.ON'rTNn~n)<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>Baby girl, in case you was wonderin'.<\/dialogue>\n    <character>D.JAY<\/character>\n    <parenthetical>(sadness and joy)<\/parenthetical>\n    <dialogue>Awe ... she's precious. Look at that. What she callin' it?<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>Named her Kiesha.<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Kiesha? No shit. That's a good handle. I like that. Kiesha.<\/dialogue>\n    <scene_description>D.Jay suddenly tears up. It surprise him, embarrasses him. Key puts the picture away abruptly.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>With what I got to do .\u2022. with the pe\u00b7ople I got in my life \u2022\u2022\u2022 it feels like an eternity in here. I can't get my Mode back. I don't hear a thing.<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>Whenever you say somethin' serious to me, you always say, \"look me in the eye.'' You know?<\/dialogue>\n    <scene_description>ID.Jay nods) Now I want you to look ma in the eye. (leans in) Did you know Skinny Black \u2022\u2022. before that night? D.Jay sits in silence for a moment.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>This little girl, Keisha .\u2022. she gonna dream large like kids do, you know. One day she gonna ask me if she can grow up and be President.<\/dialogue>\n    <parenthetical>(silence)<\/parenthetical>\n    <dialogue>Now I know this girl got a ho for a momma and some trick for a daddy, ain't nobody know where he at. But I tell you, Key, I'm gonna look that girl right in the eyes \u2022\u2022. and I'm gonna lie. Cuz sometimes you got to.<\/dialogue>\n    <scene_description>Key understands. He takes a breath.<\/scene_description>\n    <character>D. JAY<\/character>\n    <dialogue>So what'chu been doin'?<\/dialogue>\n    <scene_description>I r.ON'l'TN1J1'D l CONTINUED: (3)<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>Back to a whole lot more of the same.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>Key is sweating as he loads his gear into the back of his van.<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>(v .o. I I'm back to recording depositions and school recitals. We CUT AHEAD to him waiting at a stop light. Next to him, a car load of young ~en roll up in a convertible blaring rap music .. Key looks sad and defeated.<\/dialogue>\n    <character>KEY<\/character>\n    <parenthetical>(v.o.)<\/parenthetical>\n    <dialogue>You talk about eternity. Yeah, that's been on my mind, too.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>)5 INT. TRUCK STOP VENDING MACHINES - DAY 105<\/stage_direction>\n    <scene_description>Shelby is pushing a crate of soda cans through the front door of a truck stop. He waves to the woman behind the counter.<\/scene_description>\n    <character>KEY<\/character>\n    <parenthetical>(v.o.)<\/parenthetical>\n    <dialogue>It's been on all our minds.<\/dialogue>\n    <scene_description>Shelby begins stocking the machine with product.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.JAY'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Shug holds her baby in her arms and looks out the window as if she is waiting for D.Jay to come home.<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>I<\/dialogue>\n    <scene_description>(v.o. We was just dead. Locked up just like you. But ain't no sorrow gonna take away Shug's song, let me tell you. She got love for you, D. When you talk on eternity. You think about your woman. She softly hums a song. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON VISITATION ROOM - DAY<\/stage_direction>\n    <scene_description>D.Jay nods. He ponders Shug's sadness and takes a breath.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>What about Nola?<\/dialogue>\n    <character>KEY<\/character>\n    <dialogue>Nola. Well \u2022.. let me say this. That girl got a Mode of her own.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RADIO STATION - DAY<\/stage_direction>\n    <scene_description>High hat beats as we see D.Jay's Chevy roll up and stop. Nola steps out dressed in a tight, mini-skirt suit. In her ear is a mobile phone headset. The cord dangles free because there is no phone. She tucks the slack in her small purse.<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>(v.o. I That girl hit the bricks runnin'. Somehow she got it in her head that she was in charge. 09 INT. RADIO STATION - DAY 109<\/dialogue>\n    <scene_description>We pan across the mix board.<\/scene_description>\n    <character>KEY<\/character>\n    <parenthetical>(v.o.)<\/parenthetical>\n    <dialogue>She hit every shake joint and station Memphis got and then some. Now I don't know how she did it ... but let me say that girl got some skills.<\/dialogue>\n    <scene_description>We see Nola suggestively sitting on a DJ's lap. She passes him a joint and puts on the charm.<\/scene_description>\n    <character>NOLA<\/character>\n    <dialogue>We can't lay around lickin' our ass all day like a dog. I mean, we man. I know I'm a girl and all but ...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RADIO STATION - DAY<\/stage_direction>\n    <scene_description>Nola hops in the Chevy and cranks the engine. She starts pushing the buttons on the old radio. I CON'l'TNlJP,T) l CONTINUED:<\/scene_description>\n    <character>NOLA<\/character>\n    <parenthetical>(v. o.)<\/parenthetical>\n    <dialogue>We mankind.<\/dialogue>\n    <scene_description>The dial hops to different sides and stops on a familiar beat. It is the Whoop That Trick song. \\* The camera spins and stops on our crew hearing the track for the first time. \\*<\/scene_description>\n    <character>HOOK \\*<\/character>\n    <dialogue>Whoop that trick. .. get 'em. \\* Whoop that trick ... get 'em. \\* Whoop that trick ... get 'em. \\* Whoop that trick ... get 'em. \\*<\/dialogue>\n    <scene_description>. SPIN TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRUCK STOP VENDING MACHINES - DAY<\/stage_direction>\n    <scene_description>Shelby drops a case of sodas as he runs over to the front counter. He reaches past the woman and grabs her radio. He cranks up the volume and grins wildly.<\/scene_description>\n    <character>HOOK \\*<\/character>\n    <dialogue>Whoop that trick ... get 'em. \\* Whoop that trick ... get 'em. \\* Whoop that trick ... get 'em. \\* Whoop that trick ... get 'em. \\*<\/dialogue>\n    <scene_description>SPIN TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>The boys in the convertible are bouncing to the track. They flinch as Key starts screaming out his van window.<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>That's D.Jay ... That's D.Jay! THAT'S MY BOY D.JAAAAAAAA'IAi'IAiWWWWWWWWAY!<\/dialogue>\n    <scene_description>SPIN TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KING OF CLUBS - DAY<\/stage_direction>\n    <scene_description>Mickey bobs his head to the track in the booth. We SPIN TO the stage and see Lexus look over her shoulder with a glare. SPIN TO: l4 INT. D.JAY'S HOUSE - KITCHEN - DAY 114 \\* Shug is crying with joy. Her tiny baby is on her lap. She is rapping along with D.Jay bouncing her baby. SPIN TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RADIO STATION - D.JAY'S CHEVY - DAY<\/stage_direction>\n    <scene_description>Nola is on top of the world. Sitting in the driver's seat, she pops a cigarette in her mouth. She pushes in on the cigarette lighter. \/ C:ONTTNTJ~n \\ CONTINUED: It pops out. The music stops as we: CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON VISITATION ROOM<\/stage_direction>\n    <scene_description>D.Jay can't hide his awe. Key reaches into his pocket and pulls out D.Jay's notepad and flips through the pages.<\/scene_description>\n    <character>KEY<\/character>\n    <dialogue>So, if you don't mind \u2022\u2022\u2022 Nola and I got a few points we would like to go over in regards to your agenda.<\/dialogue>\n    <scene_description>{a big smile from D.Jay) If you got a minute to spare.<\/scene_description>\n    <character>D.JAY<\/character>\n    <parenthetical>(returning the grin)<\/parenthetical>\n    <dialogue>I got more than a minute. I got eleven months.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.JAY'S JAIL CELL - DAY<\/stage_direction>\n    <scene_description>The Prison Guard escorts D.Jay back to his cell. The Prison Block Manager rushes up and stops them.<\/scene_description>\n    <character>BLOCK MANAGER<\/character>\n    <dialogue>Albert, hold up.<\/dialogue>\n    <scene_description>The Prison Guard stops D.Jay.<\/scene_description>\n    <character>BLOCK MANAGER<\/character>\n    <parenthetical>(addressing D.Jay)<\/parenthetical>\n    <dialogue>You the man on the radio. That Whoop that \\* trick song. \\*<\/dialogue>\n    <character>PRISON GUARD<\/character>\n    <dialogue>What'chu talkin' about?<\/dialogue>\n    <character>BLOCK MANAGER<\/character>\n    <dialogue>This that guy who stomped on Skinny. You know that song, Whoop that trick .\u2022. get \\* 'em. , . \\*<\/dialogue>\n    <character>PRISON GUARD &amp; BLOCK MANAGER<\/character>\n    <parenthetical>(singing)<\/parenthetical>\n    <dialogue>Whoop that trick .... Get 'em. Whoop that \\* trick ... Get'em. \\*<\/dialogue>\n    <parenthetical>( C:ON'f TNUP.D)<\/parenthetical>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>PRISON GUARD<\/character>\n    <dialogue>Ito D.Jay)<\/dialogue>\n    <scene_description>Oh yeah. Shit. That's you? \/ CcON'l' TNTJF:0 l CONTINUED: (2) D.Jay grins and shrugs. His confidence returning.<\/scene_description>\n    <character>BLOCK MANAGER<\/character>\n    <parenthetical>(looks over his shoulder)<\/parenthetical>\n    <dialogue>You know \u2022\u2022. we in the rap game, too.<\/dialogue>\n    <scene_description>D.Jay turns to the Block Manager who grins proudly.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Naw shit?<\/dialogue>\n    <character>PRISON GUARD<\/character>\n    <dialogue>See, we got it gain' on both sides, being from the streets and now, you know, being officers of the law. Gonna be my tag. Goin' as 5-0. You know, like my stage name. Big 5-0.<\/dialogue>\n    <scene_description>D.Jay can not believe what he is hearing. The Block Manager secretly hands him a demo tape: BIG 5-0 and BLOCK C.<\/scene_description>\n    <character>BLOCK MANAGER<\/character>\n    <dialogue>When you get a chance, in the rec room. Let us know what you think.<\/dialogue>\n    <scene_description>D.Jay takes the tape and smiles.<\/scene_description>\n    <character>D.JAY<\/character>\n    <dialogue>Well ... you know what they say.<\/dialogue>\n    <character>BLOCK MANAGER<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>D.JAY<\/character>\n    <dialogue>Everybody gotta have a dream.<\/dialogue>\n    <scene_description>D.Jay turns away and walks back to his cell with the guard keeping a respectful distance. The 808 pounding returns to his ears and swagger: BOOM \u2022.. BOOM ... BOOM ... BOOM. D.Jay's smile fades as his Mode returns. He looks right at us - hungry, determined. The 808 can't get any louder. BOOM ... BOOM .\u2022. BOOM ... BOOM ... BOOM ... BOOM ... BOOM ... BOOM! CUT TO BLACK:<\/scene_description>\n    <character>THE END<\/character>\n  <\/scene>\n<\/script>","summary":"DJay is a pimp and drug dealer living in Memphis, Tennessee, who is dissatisfied with his life, and is going through a midlife crisis. After reacquainting himself with an old friend and sound technician, Key, DJay decides to make hip hop music. Key and his sound-mixer friend Shelby help DJay put together several songs in which he expresses the frustrations of struggling to survive in the ghetto. DJay proves his talent through rhyming as well as writing lyrics, and his first song appears to have a decent chance of getting local radio play. The group experiences setbacks throughout the creative process. DJay must hustle those around him in order to procure equipment and recording time; in particular, he offers Nola, his top prostitute, to a microphone salesman, and she is outraged afterwards. They argue, but he says he will put her in charge of something one day. Also, Key's relationship with his wife becomes strained. DJay throws out one of his prostitutes, Lexus, along with her infant son, for ridiculing him. Pregnant Shug, another of DJay's girls, joins in the creative process, singing hooks. The group eventually records several tracks, including \"Whoop That Trick\" and \"It's Hard out Here for a Pimp\". After their first recording, DJay gains romantic feelings toward Shug, even sharing a passionate kiss. DJay's friend Arnel informs him that Skinny Black, a successful Memphis rapper, will be returning for a Fourth of July party. DJay gains admittance under the pretext of providing marijuana, with the true intention of giving Black his demo tape. Black is dismissive at first, but DJay successfully persuades him into taking the tape. Before leaving the party, DJay discovers that a drunken Black has destroyed his tape. DJay confronts Black who insults him. In a fit of rage, DJay nearly beats Black to death but attempts to resuscitate him. A member of Black's entourage enters the bathroom and pulls out his gun. DJay shoots the man in his arm with Black's gun and escapes. DJay arrives home to find the police and Black's associates waiting for him. DJay turns himself in and tells Nola to safeguard his writing pad with his lyrics on it, also placing her in charge of sending his songs to radio stations. He then exchanges a glance with a tearful Shug before a brawl breaks out after one of Black's crew sucker punches him. DJay is charged with assault and possession of a firearm and is sentenced to 11 months in prison. While serving his time, DJay is visited by Key and learns that Nola has successfully gotten radio DJs to play his songs, which have become local hits. The pair then prepare to discuss their future business plans. Two correctional officers ask DJay to listen to their demo. Humbled and flattered, DJay accepts."}
{"movie_name":"The Green Mile_1999","imdb_id":"tt0120689","script":"<script>\n  <scene>\n    <stage_direction>THE GREEN MILE<\/stage_direction>\n    <scene_description>A SONG BEGINS , distant as a faded memory on an old Victrola : Once I built a railroad , made it run . Made it race against time . Once I built a railroad , now it 's done . Brother , can you spare a dime . Opening credit sequence plays against footage of the Great Depression , images haunting and sepia - toned , defining an era . The bread lines . the soup kitchens . the dust bowl refugees heading west with their possessions on their backs and no hope in their eyes . the strutting gangster royalty flaunting their bootleg riches . an entire generation of lost youth riding the rials . the U.S. army troops raining truncheon blows on the half - starved and forgotten veterans of World War One as `` Hooverville '' is set afire in the very shadow of the nation 's capitol . All these faces , all these lives , in a world not really so very long ago .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD - DAY(SLOW MOTION)<\/stage_direction>\n    <scene_description>where cattails sway in the sepia - toned heat . A small scrap of fabric is snagged in the nettles , fluttering languidly . COLOR BLEEDS SLOWLY IN as mosquitoes swarm and dragonflies skitter , showing the fabric scrap to be pale yellow . Suddenly , a MAN WITH A SHOTGUN comes crashing through the cattails , wiping through frame and exiting . then ANOTHER MAN . and ANOTHER . armed with rifles , plowing through the brush , exiting frame . and now comes KLAUS DETTERICK , a farmer one step above shirt - tail poor , a double - barrel shotgun in the crook of his arm . He pauses , horrified , seeing the scrap of cloth . He pulls it loose , turns back , screaming something in anguish . and still more men come crashing into view , flooding by us with dreamlike , slow - motion grace . ONE MAN is leading a team of DOGS , trying to untangle the leads . DEPUTY ROB McGEE is shouting for everybody to stay together . and under it all , we hear a sibilant , frightening whisper :<\/scene_description>\n    <character>WHISPERING VOICE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>You love your sister? You make any noise, know what happens?<\/dialogue>\n    <scene_description>And off that horrible voice , we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGIA PINES NURSING HOME - MORNING(PRESENT DAY)<\/stage_direction>\n    <scene_description>A CLOCK RADIO spews the morning weather report , abruptly pulling us into the present with a prediction of rain . PAUL EDGECOMB , late 70 's \/ early 80 's , wakes to another day .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAUL'S ROOM - MORNING<\/stage_direction>\n    <scene_description>Paul stands at his bathroom mirror , meticulously buttoning his shirt . He picks up a hairbrush , starts tidying his hair .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - MORNING<\/stage_direction>\n    <scene_description>THE OLD AND INFIRM haunt these corridors like ghosts . A WOMAN inches along on a walker . A MAN shuffles by with a rolling I.V. stand . The floor is a limey , institutional green . Paul comes into view , spry for his age , murmurs an occasional greeting .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BREAKFAST ROOM - MORNING<\/stage_direction>\n    <scene_description>DOZENS OF RETIREES are having breakfast , sipping weak coffee or tea . Some chat and gossip , other are content to keep their own company , some just stare slackly into space . Paul enters , sees ELAINE CONNELLY sitting with a few other ladies , sipping tea . She 's 80 , refined and elegant , his best friend here . She gives him a good - morning smile . He gives her a rakish wink in return , which makes her smiles all the more . Paul reaches past the people at the counter and sneaks two pieces of cold leftover toast off a serving plate . He tosses Elaine another look - catch ya later - and exits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY PAST KITCHEN - MORNING<\/stage_direction>\n    <scene_description>Paul slips to the back door unnoticed . Identical red plastic rain ponchos line the wall on pegs . He helps himself to one and eases outside , making good his escape .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NURSING HOME - ESTABLISHING - MORNING<\/stage_direction>\n    <scene_description>Nestled in a valley of wooded hills , a drizzly mist rolling over the treetops . Paul appears f.g. , coming up the ridge in his borrowed poncho . He looks back at the valley below , inhales deeply - this is a man who loves his walks . He pulls a piece of toast from his pocket and starts to nibble as he presses up on the ridge . Low angle : nursing home and ridge beyond . and we see Paul from a distance , just a speck trudging up toward the treeline . A PICKUP TRUCK rumbles into frame and parks , a bumper sticker looming large : `` I Have Seen God and His Name Is Newt Gingrich '' . BRAD DOLAN gets out , an orderly in his late 20 's \/ early 30 's , arriving for work in jeans and cheesy plaid shirt . He gazes up toward the ridge , scowling and muttering softly :<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Old fuck.<\/dialogue>\n    <scene_description>He slams the door and heads for the nursing home .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - MORNING<\/stage_direction>\n    <scene_description>as CAMERA BOOMS DOWN through the trees to find Paul wandering a wooded path , munching a tidbit of toast , looking for all the world like Red Riding Hood in his plastic poncho . It 's silent here , like a church . The only sounds we hear are the twittering of the birds and the hammering of the woodpecker . A RUSTLING SOUND makes Paul freeze . He turns , becomes transfixed . Softly :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Oh, my.<\/dialogue>\n    <scene_description>Reverse angle reveals a magnificent BUCK , not twenty feet away , misty breath punching the cold morning air . They watch each other for an endless moment , both standing stock still . and then the animal bounds away , vanishing into the foliage . Paul lets out a breath , shakes his head in wonder . He takes another bite of toast , moves on . and WE PAN WITH HIM to reveal a pair of old wooden storage shacks along the path up ahead .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHACK - MORNING<\/stage_direction>\n    <scene_description>Dark in here , cobwebby and decrepit . We see Paul approaching outside the grimy window . He steps up to the glass and shades his eyes , peering curiously in as we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NURSING HOME - DAY<\/stage_direction>\n    <scene_description>Paul approaches the back door , returning from his walk . He reaches for the knob . and a figure in white lunges from behind the dumpster to grab his wrist . He whirls , gasping in fright - it 's Brad Dolan , wearing his orderly 's uniform .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Out for a little stroll, Paulie?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Let go.<\/dialogue>\n    <scene_description>Paul tries to pull away , but Dolan 's got him tight .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>What's with this poncho you got on, huh? This is n't yours.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I got it off the wall there. There's a whole row of them.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>But not for you, Paulie, that's the thing. Those are for the staff.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I just borrowed it. Do n't see what harm it does.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>It's not about harm, it's about rules. You probably do n't think an old fart like you has to mind rules anymore, but that's just not true.<\/dialogue>\n    <scene_description>Brad 's eyes keep shifting - he obviously does n't mind abusing the elderly as long as he does n't get caught doing it .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>I'm sorry if I broke the rules.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>You got no business up in those woods anyway, especially in the rain. What if you fall and bust a hip, huh? Who you think's gon na have to hoss your sorry old bacon back down here? Me, that's who.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You're hurting me!<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>What do you do up there, anyway? You're too old to go jerk off, so what do you do?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Nothing. I just walk, that's all, I like to walk!<\/dialogue>\n    <scene_description>Brad lashes out and grabs Paul 's other hand , which he 's been holding tightly clenched shut .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Come on. Open up. Let Poppa see.<\/dialogue>\n    <scene_description>Paul uncurls his fingers , revealing the crushed remnants of a bit of toast , his palm slick with a greasy oleo smear .<\/scene_description>\n    <character>ELAINE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Paul?<\/dialogue>\n    <scene_description>They turn . Elaine stands just inside the screen door with a cup of tea . Brad 's eyes become calculated , wondering how much she 's seen . Elaine keeps her tone level , betraying nothing :<\/scene_description>\n    <character>ELAINE<\/character>\n    <dialogue>I saw you coming back, thought you'd like some tea.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Are you coming in?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Mr. Dolan and I were. chatting. About the weather. I think we're through now.<\/dialogue>\n    <scene_description>Brad lets Paul loose , leans close :<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Paulie? You tell anyone I squeezed your po' ol' hand, I'll tell'em you're having senile delusions. Who you think they'll believe?<\/dialogue>\n    <scene_description>Brad walks off . Paul turns , watches him go . The screen door opens and Elaine steps out , her face pale . Paul gives her a strained , though grateful , smile as we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TV ROOM - DAY<\/stage_direction>\n    <scene_description>Jerry Springer 's on the tube , whipping his studio audience into a frenzy . PAN OFF TO REVEAL DOZENS OF OLD FOLKS watching on couches and folding chairs . An old black fellow named PETE is grousing to a GROUP OF ELDERLY LADIES .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Why we always watch this crap?<\/dialogue>\n    <character>ELDERLY LADY #1<\/character>\n    <dialogue>It's interesting.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Interesting? Bunch' a inbred trailer trash, all they ever talk about is fucking.<\/dialogue>\n    <scene_description>and WE CONTINUE PANNING to Paul and Elaine sitting near the back , talking quietly as Paul rubs his bruised hand :<\/scene_description>\n    <character>ELAINE<\/character>\n    <dialogue>We should report him.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>That might just provoke him all the more, make things worse for everybody.<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>It's not everybody he has it in for, Paul. It's you.<\/dialogue>\n    <parenthetical>( off his look . )<\/parenthetical>\n    <dialogue>What did you do to provoke him in the first place? Nothing. He's just an abusive bully, and should be made to stop.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Ellie, please.<\/dialogue>\n    <scene_description>Pete is at the TV , switching channels while :<\/scene_description>\n    <character>ELDERLY LADIES<\/character>\n    <dialogue>no, the Movie Classic channel is further down. past the Home Shopping. keep going.<\/dialogue>\n    <scene_description>He finds the Movie Classic channel , which is playing an old black and white musical - `` Top Hat , '' with Fred Astaire and Ginger Rogers . A delighted reaction :<\/scene_description>\n    <character>ELDERLY LADY #2<\/character>\n    <dialogue>Oh! This is wonderful.<\/dialogue>\n    <scene_description>Paul idly shifts his gaze to the TV . and his expression goes slack with recognition and dismay . Elaine sees the look in his eyes . He glances away . even briefly considers walking out . but in the end , he ca n't help himself . The past just caught up with him with a freight - train wallop , and , for one , he decides to ride the rails . He looks back at the TV . On screen , Fred and Ginger have begun their famous `` Cheek to Cheek '' number , with Astaire singing in that sublime , easy - go - lucky way of his :<\/scene_description>\n    <character>FRED ASTAIRE<\/character>\n    <dialogue>Heaven, I'm in heaven. and my heart beat so that I can hardly speak.<\/dialogue>\n    <scene_description>SLOW PUSH IN on Paul , watching . He 'd like to take his eyes off the screen , but the movie has him in a grip tighter than Brad Dolan 's . Elaine is watching him with puzzled concern :<\/scene_description>\n    <character>ELAINE<\/character>\n    <dialogue>Paul? What is it?<\/dialogue>\n    <scene_description>No response . All he can hear is that music , all he can see are those dancers . The figures on TV are gliding with ghostlike grace in their silvery , phosphor - dot world of long ago . Paul abruptly bursts into tears . The room goes quiet , everything comes to a standstill . All eyes turn , some concerned , others merely curious . Paul just sits sobbing into his hands , shoulders heaving .<\/scene_description>\n    <character>ELAINE<\/character>\n    <dialogue>Paul. my God.<\/dialogue>\n    <character>ORDERLY<\/character>\n    <parenthetical>( rushing over . )<\/parenthetical>\n    <dialogue>What is it? What's wrong?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>It's okay. I'll be okay.<\/dialogue>\n    <scene_description>Another orderly appears - Brad Dolan . He puts his hand on Paul 's shoulder and leans close , feigning concern .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>S'matter, Paulie? Why the boo - hoo - hoo? Something nasty happen?<\/dialogue>\n    <scene_description>Elaine shoves his hand away , eyes flashing with anger .<\/scene_description>\n    <character>ELAINE<\/character>\n    <dialogue>Mr. Edgecomb will be perfectly fine without your help, thank you.<\/dialogue>\n    <scene_description>Brad back off with a `` hey , suit yourself '' gesture . Elaine helps Paul to his feet and leads him out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUN ROOM - DAY<\/stage_direction>\n    <scene_description>Paul is staring out the windows , pensive and drained . It 's raining now , pattering the glass and the lawn beyond . Elaine waits across from him , wishing he would speak . Softly :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>I guess sometimes the past just catches up with you, whether you want it to or not. It's silly.<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>Was it the film?<\/dialogue>\n    <parenthetical>( off his look . )<\/parenthetical>\n    <dialogue>It was, was n't it?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I have n't spoken of these things in a long time, Ellie. Over sixty years.<\/dialogue>\n    <scene_description>She reaches out , gently takes his hand .<\/scene_description>\n    <character>ELAINE<\/character>\n    <dialogue>Paul. I'm your friend.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Yes. Yes you are.<\/dialogue>\n    <scene_description>Paul wonders if he 's even up to talking about it after all this time . and decides that perhaps he is :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>I ever tell you I was a prison guard during the depression?<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>You've mentioned it.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Did I mention I was in charge of death row? That I supervised all the executions?<\/dialogue>\n    <scene_description>This does come as a surprise . She shakes her head .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>They usually call death row the Last Mile, but we called ours the Green Mile, because the floor was the color of faded limes. We had the electric chair then. Old Sparky, we called it.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I've lived a lot of years, Ellie, but 1935 takes the prize. That was the year I had the worst urinary infection of my life. That was also the year of John Coffey, and the two dead girls.<\/dialogue>\n    <scene_description>FADE TO BLACK In blackness , a title card appears : `` The Two Dead Girls '' .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGIA COUNTRYSIDE - DAY (1935)<\/stage_direction>\n    <scene_description>HUNDREDS OF PRISONERS work the fields , pickaxes rising and falling in waves , a prison song being sung in cadence with the work . GUARDS patrol on horseback , rifles aimed at the sky . A late 20 's Ford PRISON TRUCK comes chugging into view along the road , kicking up a long trail of dust in the heat . It seems to be riding unusually low on its rear suspension .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COLD MOUNTAIN PENITENTIARY - ESTABLISHING - DAY<\/stage_direction>\n    <scene_description>A Depression - era prison in the south . The prison truck sways down the rutted dirt road toward the main gate .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. E BLOCK TOILET - DAY<\/stage_direction>\n    <scene_description>while Paul Edgecomb , early 40 's , stands in a cramped toilet in his guard 's uniform , trying to piss . His face is pained , his forehead beaded with sweat .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. E BLOCK (THE GREEN MILE) - DAY<\/stage_direction>\n    <scene_description>BRUTUS HOWELL -LRB- nicknamed `` Brutal '' for his intimidating size , but he 's actually rather thoughtful by nature -RRB- stands at the entry door of the cellblock , peering out through a viewing slot . He sees the prison truck arrive at the main gate . He turns and nods to fellow guard DEAN STANTON sitting at the duty desk , then cross the Green Mile - a wide corridor of faded green linoleum running some sixty paces top to bottom , with four large cells to a side . Brutal steps to the bathroom , listen a moment , knocks softly .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>Paul? Prisoner.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Christ. Gim me a minute.<\/dialogue>\n    <scene_description>Brutal waits patiently , a bit embarrassed . He finally hears a THIN TRICKLE , accompanied by a stifled groan of pain .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>You all right in there?<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>For a man pissing razor blades.<\/dialogue>\n    <scene_description>The door opens , revealing Paul 's pale and sweaty face .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>You should' a took the day off, gone to see the doctor.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>With a new arrival? You know better. Besides, it's not as bad as it was. I think it's clearing up.<\/dialogue>\n    <scene_description>They hear the truck HONKING as it rumbles up outside . Paul gives them a nod to resume their positions . Paul walks down the Mile , passing the cells where two inmates reside - the first is ARLEN BITTERBUCK , a Washita Cherokee ; the second is EDUARD DELACROIX -LRB- `` DEL '' -RRB- , a skinny Cajun .<\/scene_description>\n    <character>DEL<\/character>\n    <dialogue>New boy coming in, boss?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Never you mind, Del, you just keep your nose quietly on your business.<\/dialogue>\n    <scene_description>Paul arrives at the end of the Mile , takes up a position at an empty cell . -LRB- Down at this end , past the cells , is E Block 's version of the `` hole '' - a padded room where violent inmates are sent to cool off . It is n't used very often . in fact , at the moment , it 's doubling as storage space . -RRB- Brutal peers out the viewing slot as the truck stops outside .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>Damn, they're riding on the axle. What'd they do, bust the springs?<\/dialogue>\n    <scene_description>GUARDS PERCY WETMORE AND HARRY TERWILLIGER OF E BLOCK emerge from the back of the truck and step down , turn back . Tighter angle on back of truck We get our first glimpse of the new inmate as a pair of GIGANTIC BLACK FEET step down into the yard . and the rear of the truck bounces back up on its springs where it belongs . Brutal sees what 's coming , eyes widening slightly .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>Paul? You might wan na reconsider getting in the cell with this guy?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Why's that?<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>He's enormous.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Ca n't be bigger than you.<\/dialogue>\n    <scene_description>Brutal tosses him a look - just wait . He swings the door open in a hot flood of daylight , giving us our first good look at : John coffey is a huge black man , nearly 7 feet tall and 300 pounds , his massive head shiny and bald , his skin a tapestry of old scars , his prison overalls -LRB- the biggest size they had -RRB- ending at mid - calf . He looks dull and confused , as if wondering where he is and how he got there . Percy and Harry lead him toward E Block in shackles . Percy 's got his hickory baton out of it custom - made holster , hollering :<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>Dead man walking! Dead man walking here!<\/dialogue>\n    <scene_description>Inside the cellblock Paul ca n't see them approach from where he stands , but he can certainly hear Percy :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Jeezus, pleeze - us, what the hell's he yelling about?<\/dialogue>\n    <scene_description>Up by the door , Brutal just rolls his eyes . Percy is the first one through the door , still hollering .<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>Dead man walking!<\/dialogue>\n    <scene_description>then Coffey enters , ducking low to get through , his shadow blotting out Brutal and Dean as his massive frame fills the door . Everything hangs suspended for a moment , a look of `` hold shit '' written on everybody 's faces . Percy keeps yanking on the big man 's cuffs , leading him along with a cry of :<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>Dead man walking! Dead man -<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Percy, that's enough.<\/dialogue>\n    <scene_description>Percy falls reproachfully silent . Paul does n't dignify it , just motions for them to come on . The procession comes down the Mile , with Brutal and Dean bringing up rear .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>You sure you wan na be in there with him?<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( looks to Coffey . )<\/parenthetical>\n    <dialogue>Am I gon na have trouble with you, big boy?<\/dialogue>\n    <scene_description>Coffey shakes his head slowly . Paul takes the clipboard transfer papers from Harry , turns and enters the cell . Coffey just stands outside the cell and waits , as if he does n't understand the concept . Paul motions him to come on in . Coffey starts to comply , but Percy raps him smartly with the tip of his hickory baton to get him moving faster . Coffey flinches , enters the cell . Paul stares angrily at Percy , who stands slapping his hickory baton against the palm of his hand like a man with a toy he 's itching to use .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Percy. They're moving house over in the infirmary. Why do n't you go see if they could use some help?<\/dialogue>\n    <character>PERCY<\/character>\n    <dialogue>They got all the men they need.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Why do n't you just go make sure?<\/dialogue>\n    <parenthetical>( off his look . )<\/parenthetical>\n    <dialogue>I do n't care where you go, Percy, as long as it's not here at this very moment.<\/dialogue>\n    <scene_description>Percy flushes red , the baton hovering near his palm . He looks like he 's about to say something , but thinks better of it and stalks angrily up the Mile instead . and sees Del at his bars , smiling . Infuriated , Percy swings his baton and smashes Del 's fingers with a LOUD CRACK . Del jerks back , howling in pain :<\/scene_description>\n    <character>DEL<\/character>\n    <dialogue>OWW, GOD, HE BUS' MY FINGERS!<\/dialogue>\n    <character>PERCY<\/character>\n    <dialogue>Wiped that grin off your shitpoke face, did n't I<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Goddamn it, Percy! Get the hell off my block!<\/dialogue>\n    <scene_description>Percy throws Paul a look of disdain - your block , huh ? He swaggers out . Del 's on his knees , weeping from the pain :<\/scene_description>\n    <character>DEL<\/character>\n    <dialogue>Oww, damn, boss, he done bus' my fingers for true.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>We'll get it looked at, Del, now keep yourself quiet like I said!<\/dialogue>\n    <scene_description>Del falls silent , moaning over his hand . Paul turns to Coffey , who looks unsettled by all the commotion .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>If I let Harry take those chains off you, you gon na be nice?<\/dialogue>\n    <scene_description>Coffey nods . Harry enters to remove Coffey 's shackles .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Your name is John Coffey.<\/dialogue>\n    <character>COFFEY<\/character>\n    <parenthetical>( deep and quiet . )<\/parenthetical>\n    <dialogue>Yes, sir, boss, like the drink, only not spelt the same.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>So you can spell, can you?<\/dialogue>\n    <scene_description>Coffey shakes his head . Harry steps out .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>My name is Paul Edgecomb. If I'm not here, you can ask for Mr. Terwilliger, Mr. Howell, or Mr. Stanton. those gentlemen there.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>This is n't like the rest of the prison. It's a quiet place, we like to keep it that way.<\/dialogue>\n    <scene_description>Coffey considers this carefully , puzzled .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>It were n't me making all the noise, boss.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( eyes narrowing . )<\/parenthetical>\n    <dialogue>You having a joke on me, John Coffey?<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>No, sir.<\/dialogue>\n    <scene_description>Paul sees he is n't joking , continues :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Your time here can be easy or hard, depends on you. If you behave, you get to walk in the exercise yard every day. We might even play some music on the radio from time to time. Questions?<\/dialogue>\n    <scene_description>Coffey does n't miss a beat , as if he 's been waiting to ask :<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Do you leave a light on after bedtime?<\/dialogue>\n    <scene_description>Paul blinks . It 's the last thing he expected . Coffey smiles uneasily , as if they might think him foolish for asking .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Because I get a little scared in the dark sometimes. If it's a strange place.<\/dialogue>\n    <scene_description>Paul looks to his men . The guards are trading glances .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>It's pretty bright in here all night long. We keep half the lights burning in the corridor.<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>Cor ` der.<\/dialogue>\n    <scene_description>Coffey looks confused . Paul points to the lights lining the ceiling of the Green Mile in wire mesh cages .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Right out there.<\/dialogue>\n    <scene_description>Coffey nods , relieved . Then he surprises everybody by offering Paul his hand , as if to show proper manners . Paul hesitates , oddly touched , then surprised his men even more by accepting . Coffey 's hand swallows his . Coffey shakes gently , lets go . Paul steps from the cell . Brutal slides the door shut , locks it . Coffey stands a moment as if unsure what to do , then sinks onto the cot with his hands clasped between his knees . He looks up at Paul , his voice soft as a whisper :<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Could n't help it, boss. I tried to take it back, but it was too late.<\/dialogue>\n    <scene_description>Paul turns , leads his men up the Mile . PAUL 'S INNER OFFICE . and they enter a few moments later . Paul is furious , but keeping a lid on his temper :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Dean, run Delacroix up to the infirmary and see if his fingers are broken.<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>Course they're broken, I heard the damn bones crack. Goddamn Percy.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>You hear what he was yelling when we brought the big dummy in?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>How could I miss it, Harry? The whole prison heard.<\/dialogue>\n    <scene_description>This makes Brutal snort , breaking the tension - the others ca n't help smiling .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>You'll probably have to answer for sending him off the Mile. He's gon na cause you trouble over this, you mark me.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I'll chew that food when I have to. Right now I wan na hear about the new inmate. aside from how big he is, okay?<\/dialogue>\n    <character>BRUTAL<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Monstrous big. Damn.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Seems meek enough. Looks like they sent us an imbecile to execute.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Imbecile or not, he deserves to fry for what he done. Here.<\/dialogue>\n    <scene_description>Harry tosses a pair of manila envelopes bound with rubber bands on the desk before Paul - Coffey 's file .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>make your blood curdle.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. E BLOCK PRISON YARD - DAY<\/stage_direction>\n    <scene_description>A small are reserved for inmates of the Mile , fenced - off from the main prison yard . Arlen Bitterbuck walks the perimeter under the watchful eyes of guard BILL DODGE . We find Paul sitting by himself on the bleachers with Coffey 's file on his knees , thoughtfully unwrapping his brown - bagged sandwich . PUSH SLOWLY IN as he begins to read .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DETTERICK FARM - DAWN (FLASHBACK)<\/stage_direction>\n    <scene_description>and we see Klaus Detterick walk from his house to the barn with a milking pail , a solitary figure against a brightening horizon . He disappears into the barn . and we hold for a long moment , the house silent b.g. , chickens clucking and scratching in the front yard . until a WOMAN 'S SCREAM shatters the silence . Klaus reappears , dropping the pail , running toward the house . PAUL ON BLEACHERS . as Paul turns the page , keeps reading .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DETTERICK HOUSE - DAWN (FLASHBACK)<\/stage_direction>\n    <scene_description>and Klaus bursts in to find his wife MARJORIE absolutely frantic with terror :<\/scene_description>\n    <character>KLAUS<\/character>\n    <dialogue>WHAT? GOD SAKES, WHAT?<\/dialogue>\n    <character>MARJORIE<\/character>\n    <dialogue>THE GIRLS! THE GIRLS ARE GONE!<\/dialogue>\n    <scene_description>She drags him through the house to a screened - off porch area where their 12 year old son HOWIE is pointing and shouting -<\/scene_description>\n    <character>HOWIE<\/character>\n    <dialogue>Papa! Papa, look! The blood!<\/dialogue>\n    <scene_description>- and Klaus freezes there , stunned to see blood spattered on the floor and the screen door hanging off its hinges .<\/scene_description>\n    <character>KLAUS<\/character>\n    <dialogue>Oh my God.<\/dialogue>\n    <scene_description>PAUL ON BLEACHERS . as Paul absently takes another bite of his sandwich , not really tasting it , keeps reading .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DETTERICK HOUSE - DAWN (FLASHBACK)<\/stage_direction>\n    <scene_description>plunging us back into the screaming chaos : Klaus grabbing up shotgun shells , Howie loading the .22 rifle he got for Christmas , Marjorie sobbing incoherently .<\/scene_description>\n    <character>KLAUS<\/character>\n    <dialogue>GODDAMN IT, WOMAN, GET ON THE PHONE NOW! YOU TELL'EM WE HEADED WEST! MIND WHAT I'M SAYING! WEST, Y' HEAR?<\/dialogue>\n    <scene_description>and she goes stumbling through the house , grabbing for the phone as her men disappear toward the porch b.g. :<\/scene_description>\n    <character>MARJORIE<\/character>\n    <dialogue>Central! Central, are you on the line? Oh, God, please, somebody took my little girls.<\/dialogue>\n    <scene_description>OUTSIDE THE HOUSE Klaus and his son race from the house , following spatters of blood across the yard . PAUL ON THE BLEACHERS . as Paul lets out a long breath , turns the page .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY ROAD\/FIELD - DAY (FLASHBACK)<\/stage_direction>\n    <scene_description>- and we see CARS AND TRUCKS pulling up , MEN jumping out with rifles , pouring down the incline toward the field where Klaus is hollering and waving his arms . Deputy McGee comes sliding down from the road , taking charge at the top of his lungs -<\/scene_description>\n    <character>McGEE<\/character>\n    <dialogue>I WANT ALL THE WEAPONS UNLOADED, Y' HEAR? TAKE OUT YOUR SHELLS, I WO N'T HAVE A MAN SHOT BY ACCIDENT TODAY! BOBO, WHERE THEM DOGS?<\/dialogue>\n    <scene_description>- and the dogs come bounding out of the back of a truck , howling down the incline to lead the chase . VARIOUS ANGLES . which takes us through the cattails and bulrushes . to the spot where Klaus finds the little scrap of pale yellow fabric , turns and screams .<\/scene_description>\n    <character>KLAUS<\/character>\n    <dialogue>Oh, Lord, this belongs to my Katie.<\/dialogue>\n    <scene_description>and they keep going , stopping abruptly as they find : A blood - drenched area of tramped grass . A little girl 's bloody nightgown hangs in the low branches of a tree . Some of these strong men look like they might throw up or faint at the sight of it . Their blood freezes in their veins as an INHUMAN HOWLING commences up ahead . It 's like nothing they 've ever heard before , raising the hackles of men and dogs alike . PAUL ON BLEACHERS . as Paul quietly turns another page , shaking his head .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Jesus.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD - DAY (FLASHBACK)<\/stage_direction>\n    <scene_description>The men reload their weapons . Everybody 's terrified . McGee starts off , the other following his lead toward - THE RIVER - where they emerge from the treeline , drawing ever closer to the source of that INHUMAN HOWLING . and they stop , gazing in horror : John Coffey sits on the riverbank in bloody overalls , his huge feet splayed out before him . He 's making that inhuman howling sound , face twisted in monstrous grief , pausing occasionally to take in a great hitching breath of air . Curled in his massive arms are the naked bodies of Detterick 's 9 year - old twin girls , their once - blonde hair now matted to their heads with blood . A tableau . The men staring . John Coffey howling . A train puffing smoke across the landscape . Klaus Detterick breaks the moment , lunging down the riverbank in a headlong rush . The others try to grab him , but he shrugs them off and throws himself on Coffey with a scream of inarticulate rage , kicking and punching , fists flying . Coffey barely seems to notice . The others catch up with Klaus , drag him off . He falls to his knees on the riverbank , sobbing into his hands . Howie runs to him , throws himself into his father 's arm . They hug each other tightly , overwhelmed with grief . A semblance of quiet descends , except for Coffey 's heartbroken wailing . A ring of rifle toting men forms around him , though he hardly seems aware of it . McGee steps forward , uncertain :<\/scene_description>\n    <character>McGEE<\/character>\n    <dialogue>Mister.<\/dialogue>\n    <scene_description>Coffey goes quiet at once , eyes still streaming tears .<\/scene_description>\n    <character>McGEE<\/character>\n    <dialogue>Mister? Can you hear me?<\/dialogue>\n    <parenthetical>( Coffey nods . )<\/parenthetical>\n    <dialogue>You have a name?<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>John Coffey. Like the drink, only not spelt the same.<\/dialogue>\n    <scene_description>McGee hunkers carefully down , watching for any sudden moves .<\/scene_description>\n    <character>McGEE<\/character>\n    <dialogue>What happened here, John Coffey? You want to tell me that?<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>I could n't help it. I tried to take it back, but it was too late.<\/dialogue>\n    <character>McGEE<\/character>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Boy, you are under arrest for murder.<\/dialogue>\n    <scene_description>McGee spits in Coffey 's face . PAUL ON BLEACHERS . as Paul looks up with a slight start , jarred from his reading to find WARDEN HAL MOORES standing before him .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>I interrupt?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I'm just about done.<\/dialogue>\n    <scene_description>Paul stows the file as Hal settles onto the bleachers .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>How's that pretty gal of yours?<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Melinda's not so well, Paul. Not so well at all. Got laid up with another headache yesterday. Worst one yet. She's also developed this weakness in her right hand.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Doctor still think it's migraines?<\/dialogue>\n    <scene_description>Hal gives a slight shake of his head .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>I'll be taking her up to Indianola next day or so for some tests. Had X - rays and the like. She is scared to death. Truth to tell, so am I.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>If it's something they can see with an X - ray, maybe it's something they can fix.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Maybe.<\/dialogue>\n    <scene_description>He pulls a letter , hands it to Paul .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>This just came in. D.O.E. on Bitterbuck.<\/dialogue>\n    <scene_description>Paul glances toward Bitterbuck , scans the letter , nods .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You did n't come all the way down here just to hand me a D.O.E.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>No. I had an angry call from the state capital about twenty minutes ago. Is it true you ordered Percy Wetmore off the block.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>It is.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>I'm sure you had reason, but like it or not, the wife of the governor of this state has only one nephew, and his name happens to be Percy Wetmore. I need to tell you how this lays out?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Little Percy called his aunt and squealed like a schoolroom sissy.<\/dialogue>\n    <parenthetical>( Hal nods . )<\/parenthetical>\n    <dialogue>He also mention he assaulted a prisoner this morning out of sheer petulance? Broke three fingers on Eduard Delacroix's left hand.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>I did n't hear that part. I'm sure she did n't either.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>The man is mean, careless, and stupid. Bad combination in a place like this. Sooner or later, he's gon na get somebody hurt. Or worse.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>You and Brutus Howell will make sure that does n't happen.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Easy enough to say. We ca n't watch him every minute, Hal.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Stick with it. May not be much longer. I have it on good authority that Percy has an application in at Briar Ridge.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>The mental hospital?<\/dialogue>\n    <character>HAL<\/character>\n    <parenthetical>( nods . )<\/parenthetical>\n    <dialogue>Administration job. Better pay.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Then why's he still here? He could get that application pushed through. hell, with his connections, he could have any state job he wants.<\/dialogue>\n    <scene_description>Hal has no answer . Paul look off toward Bitterbuck .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Tell you what I think. I think he just wants to see one cook up close.<\/dialogue>\n    <scene_description>Hal follows Paul 's gaze , takes his meaning .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Well, he'll get his chance then, wo n't he? Maybe then he'll be satisfied and move on. In the meantime, you'll keep the peace.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Thank you, Paul.<\/dialogue>\n    <scene_description>Hal rises , slapping yard dust off his trousers .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You give Melinda my love, okay? I bet that X - ray turns out to be nothing at all.<\/dialogue>\n    <scene_description>Hal walks off looking like he 's got the weight of the world on his shoulders . Paul looks at the letter again . TIGHT ON LETTER . which is head : Date Of Execution . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAUL'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Paul is at the kitchen table in the wee hours of the morning , drinking buttermilk and listening to SOFT MUSIC on the radio . JANICE EDGECOMB appears , shuffling sleepily downstairs .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>Paul?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Hey, you. Music too loud?<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>No. There's just this big empty spot in the bed where my husband usually sleeps.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>He said to tell you he's having a little trouble with that tonight.<\/dialogue>\n    <scene_description>She comes into the kitchen , strokes his hair . There 's an easy familiarity and a deep love between these two .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>Worried about Melinda and Hal? Is that what's got you up?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Yeah, that. Things.<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>Things.<\/dialogue>\n    <scene_description>She sits on his lap and gives him a crooked smile - you 're not getting off that easily .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Got a new inmate today. Big, simple - minded fella.<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>Do I want to hear what he did?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>No. One sleepless member of this family's enough.<\/dialogue>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>The things that happen in this world. It's a wonder God allows it.<\/dialogue>\n    <scene_description>She gives him a tiny kiss above his left eyebrow , in that special spot that makes him prickle .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>Why do n't you come to bed? I've got something to help you sleep, and you can have all you want.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Do n't I wish. I've still got something wrong with my waterworks, I do n't want to pass it on.<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>You see Doc Sadler yet?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>No, because he'll want me to take sulfa tablets and I'll spend the rest of the week puking in every corner of my office. It'll run its course all by itself, thank you very much for your concern.<\/dialogue>\n    <scene_description>She kisses that spot above his eyebrow again . He smiles .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>Poor old guy.<\/dialogue>\n    <scene_description>IN TIGHT ANGLES : Copper plugs are cleaned , switches are oiled , circuits are tested .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EXECUTION CHAMBER - NIGHT<\/stage_direction>\n    <scene_description>as maintenance is performed on Old Sparky by JACK VAN HAY and a small crew . Paul is carefully sanding a connector plug . Dean is waxing Old Sparky 's wooden arms to a gleam . Paul and Dean pause , thinking they hear a LAUGH drifting in from E Block . and then Brutal calls softly to them :<\/scene_description>\n    <character>BRUTAL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Paul? Dean?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. E BLOCK - NIGHT<\/stage_direction>\n    <scene_description>Paul and Dean enter to find Brutal trying not to wake the cons in their cells by laughing too loudly . They follows his gaze down the Mile , see nothing , turn to him like he 's crazy .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>I guess the legislature loosened those purse - strings enough to hire on a new guard.<\/dialogue>\n    <parenthetical>( off their looks . )<\/parenthetical>\n    <dialogue>Look again. He's right there.<\/dialogue>\n    <scene_description>Paul and Dean look again and this time they see it : A tiny brown mouse is coming up the Mile . It trots a short distance , peers right and left as if checking the snoring inmates in their cells , then makes another forward spurt .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>He's doing a cell check.<\/dialogue>\n    <scene_description>This gets them all trying not to laugh . The mouse draws ever closer . Dean starts to look worried .<\/scene_description>\n    <character>DEAN<\/character>\n    <dialogue>It ai n't normal for a mouse to come up on people that way. Maybe it's rabid.<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>Oh, my Christ. The big mouse expert. The Mouse Man. You see it foaming at the mouth, Mouse Man?<\/dialogue>\n    <character>DEAN<\/character>\n    <parenthetical>( dubious . )<\/parenthetical>\n    <dialogue>I do n't see its mouth at all.<\/dialogue>\n    <scene_description>That does it - Paul and Brutal burst out laughing . The mouse stops before them and peers up , curling its tail primly around its paws as if to wait . The guards fall silent , fascinated . Bitterbuck stirs in his cell , sits up to watch . Brutal tears off a piece of his half - eaten corned beef sandwich , holds it delicately out with two fingers . The mouse rises up , appraising the morsel with shiny black eyes .<\/scene_description>\n    <character>DEAN<\/character>\n    <dialogue>Aw, Brutal, no! We'll be hip - deep in mice around here.<\/dialogue>\n    <character>BRUTAL<\/character>\n    <parenthetical>( to Paul . )<\/parenthetical>\n    <dialogue>I just wan na see what he'll do. In the interests of science, like.<\/dialogue>\n    <scene_description>Paul shrugs . Brutal drops the scrap . The mouse grabs it and eats , sitting up like a dog doing a trick . The mouse turns and scurries back down the Mile , vanishing under the restraint room door at the far end . Dean throws Paul an `` I told you so '' look .<\/scene_description>\n    <character>DEAN<\/character>\n    <dialogue>He's in the damn restraint room. You know he's gon na be chewing the padding out of walls and making himself a nice little nest.<\/dialogue>\n    <scene_description>Brutal give Paul a sheepish look - well ? Paul sighs .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>All right. Let's get the damn mouse.<\/dialogue>\n    <scene_description>They stride grimly down the Mile to the restraint room door , men on a mission . Coffey 's awake now , peering from his cot .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Saw me a mouse go by.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>It was a dream. Go back to sleep.<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>Were n't no dream. It was a mouse all right.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Ca n't put anything over on you.<\/dialogue>\n    <scene_description>Paul unlocks the door , revealing a padded room filled with storage : cleaning supplies , buckets of paint , mops and ladders , you name it . Brutal shrugs off his jacket . Paul grabs a mop from a steel bucket , hands it to Dean .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Dean, watch the door. He tries to get past you, whack him.<\/dialogue>\n    <character>DEAN<\/character>\n    <dialogue>Brutal or the mouse?<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>Har har, Mouse Man.<\/dialogue>\n    <scene_description>Brutal and Paul start doing the heavy lifting , muscling an unused filing cabinet out the door . and they finally relay the last few heavy buckets of paint onto the Mile . Paul and Brutal catch their breath , scanning the empty restraint room . Their eyes go glaringly to Dean .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You let him get past you.<\/dialogue>\n    <character>DEAN<\/character>\n    <dialogue>No I did n't, I was here all the time!<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>Then where the hell is he?<\/dialogue>\n    <scene_description>They move slowly into the room , peering into every nook and cranny , utterly mystified . Brutal shakes his head .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>Three grown men. Outsmarted by a mouse.<\/dialogue>\n    <character>DEAN<\/character>\n    <dialogue>Well, bright side is, all this commotion probably scared him off for good.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Yeah, that's right. That's the last we'll see of him.<\/dialogue>\n    <scene_description>FADE TO BLACK IN BLACKNESS , A TITLE CARD APPEARS : `` The Mouse on the Mile '' .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. E BLOCK - DAY<\/stage_direction>\n    <scene_description>A low , static shot . Green floor stretching before us . Harry and Bill Dodge are at the desk b.g. , doing paperwork and filing chores . Percy is idling nearby , whistling softly and combing his hair . and into this quiet shot , deep in foreground , creeps the mouse . He starts walking the Mile as before . right toward Percy . COFFEY stares through his bars as the mouse goes by . PERCY keeps combing his hair , unaware . DEL sits quietly picking his nose in his cell . The mouse appears outside the bars , cruising inexorably up the Mile . Del turns slowly , watches the mouse go by . PERCY still grooming himself , still unaware . THE MOUSE keeps coming closer . ANGLE UP to Bitterbuck peering through his bars , watching him go by . PERCY keeps working that comb - and freezes at the sound of a TINY SQUEAK . His head swivels slowly . and there 's the mouse . Staring at him . That moment of eye contact reveals an enmity older than time itself . If mice have a natural enemy , Percy is it .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You little son of a bitch.<\/dialogue>\n    <scene_description>Harry and Bill glance up from their work .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>Well, I'll be damned. There he is, big as Billy - be - frigged. I thought Brutal was pulling my leg.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>That's a goddamn mouse.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Yeah. Brute said he was in here last night begging for food, came right up to the desk.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>My ass. Give him some room, Percy, see what he does.<\/dialogue>\n    <scene_description>Percy takes a few careful steps back , eyes never leaving the mouse . -LRB- Percy 's hand starts easing toward the handle of his baton . -RRB- The mouse comes up to the desk as before .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>Brave little bastard, got ta give him that.<\/dialogue>\n    <scene_description>Harry breaks off a small piece of cracker and drops it . The mouse picks it up , starts to eat . -LRB- Percy 's hand inches ever closer to his baton -RRB- .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Here, lem me try.<\/dialogue>\n    <scene_description>Bill drops a piece of cracker . The mouse ignores it completely , keeping its beady little eyes on Harry . -LRB- Percy 's hand starts easing his baton from its holster . -RRB-<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Maybe he's full.<\/dialogue>\n    <character>HARRY<\/character>\n    <parenthetical>( grins . )<\/parenthetical>\n    <dialogue>Maybe he knows you're just a floater. Got ta be an E Block regular to feed the E Block mouse, don ` cha know.<\/dialogue>\n    <scene_description>Harry drops another piece - and sure enough , the mouse starts to eat . Harry 's smile fades . He and Bill trade a look .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>I was just kidding ab -<\/dialogue>\n    <scene_description>Percy lets rip a BELLOWING WAR CRY -LRB- `` Yaaaahhh ! '' -RRB- and launches his baton like a spear , scaring the crap out of everyone . The mouse ducks -LRB- yes , actually ducks -RRB- and the baton sail over his head close enough to ruffle its fur , bouncing off the floor . Apparently remembering a pressing engagement elsewhere , the mouse takes off in a flash toward the restraint room . Percy roars with frustration and takes off after it , trying to squash it with his heavy work shoes , leaping and stomping with great big galloping strides , missing the mouse by inches . and thus is the Green Mile traversed , with Percy stomping and hollering like a spastic flamenco dancer , the convicts yelling at their bars , the mouse zigging and zagging like Jim Thorpe heading for the endzone . The mouse wins , zipping to safety under the restraint room door . Percy pounds his fist against the door in frustration :<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>FUCK!<\/dialogue>\n    <scene_description>He fumbles with his keys , unlocks the door , yelling all the while :<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>I'M GON NA RIP YOUR DISEASED HEAD OFF, YOU LITTLE PIECE OF SHIT!<\/dialogue>\n    <scene_description>OUTSIDE E BLOCK Paul and Brutal are arriving for work - they pause , hearing PERCY 'S YELLS drifting from the windows . The regular CONS in the yard are drifting curiously to the fence , wondering if a riot 's brewing . Paul and Brutal take off running - INSIDE E BLOCK - and rush in to find :<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>Percy met your mouse.<\/dialogue>\n    <scene_description>Harry points . Percy 's down at the far end , rummaging wildly in the restraint room , tossing shit out onto the Mile .<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>It's in here somewhere! I'm gon na squish the little son of a bitch!<\/dialogue>\n    <scene_description>He starts muscling the filing cabinet out the door , kicking buckets out of his way . Brutal calls out to him :<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>Percy, we already tried that -<\/dialogue>\n    <character>PERCY<\/character>\n    <dialogue>What? Whad ` ja say?<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>I said -<\/dialogue>\n    <scene_description>Paul stops Brutal with a look - do n't you dare stop him .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>- uh, knock yourself out. Hope you nail the bastard.<\/dialogue>\n    <scene_description>Paul crosses his arms and smiles , leans back against the desk to wait . and Percy hauls the last of the stuff out , exhausted . He steps back in and looks around , unable to believe there 's no mouse cowering in the corner . Paul and the men approach , keeping straight faces , navigating the crap in the corridor .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>Gosh. Ai n't in there, huh? Do n't that beat the mousie band?<\/dialogue>\n    <scene_description>Percy keeps scanning the restraint room . The others all look to Paul , waiting for him to speak - you 're the boss .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Percy. You want to think about what you were doing just now.<\/dialogue>\n    <character>PERCY<\/character>\n    <parenthetical>( turns , glaring . )<\/parenthetical>\n    <dialogue>I know what I was doing. Trying to get the mouse. You blind?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>You also scared the living crap out of me and Bill. And them.<\/dialogue>\n    <scene_description>He cocks a thumb at the inmates in their cells .<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>So what? They are n't in cradle - school, case you did n't notice.<\/dialogue>\n    <parenthetical>( directed at Paul . )<\/parenthetical>\n    <dialogue>. although you treat them that way half the time.<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>We do n't scare'em any more than we have to, Percy. They're under enough strain as it is.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Men under strain can snap. Hurt themselves. Hurt others. That's why our job is talking, not yelling. You'll do better to think of this place like an intensive care ward in a hospital -<\/dialogue>\n    <character>PERCY<\/character>\n    <dialogue>I think of it as a bucket of piss to drown rats in. That's all.<\/dialogue>\n    <parenthetical>( scans their faces . )<\/parenthetical>\n    <dialogue>Anybody does n't like it can kiss my ass. How's that sit?<\/dialogue>\n    <scene_description>Brutal steps forward , wanting to slug the little bastard . Percy shies back , but keeps his bravado up :<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>Try it. You'll be on the bread lines before the week is out.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>We all know who your connections are, Percy.<\/dialogue>\n    <parenthetical>( steps close . )<\/parenthetical>\n    <dialogue>. but you ever threaten a man on this block again, we're all gon na have a go. Job be damned.<\/dialogue>\n    <character>PERCY<\/character>\n    <dialogue>Big talk. You done?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Get all this shit back in the restraint room. You're cluttering up my Mile.<\/dialogue>\n    <scene_description>They turn and walk away , leaving Percy as we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. E BLOCK - NIGHT<\/stage_direction>\n    <scene_description>A SLOW TRACKING SHOT OF THE GREEN FLOOR takes us past a tiny scrap of break . and then another . and then past a mousetrap primed with a scrap of bacon . and we keep following a long trail of bread scraps and mousetraps until we come to Percy , alone on the Mile , carefully laying the last mousetrap down . and he scoots back against the desk to wait , crouched and holding his breath , eyes riveted to the restraint room door for any sign of his furry nemesis . and CAMERA BOOMS SLOWLY DOWN off his face , dipping down to floor level . where the mouse is revealed under the desk , peering in the same direction as Percy , wondering what the hell 's so interesting down there . It hops further out to see . ANGLE OF PERCY FROM FLOOR LEVEL . and the mouse enters frame , hopping out a few more steps , mouse and man staring in the same direction . A long beat . Percy turns , looks down at the mouse . The mouse turns , looks up at Percy . and all hell breaks loose again . They race the Mile as before , Percy hollering and stomping all the way , mousetraps snapping and flying up into frame as they go charging wildly past the cells . The mouse wins again . Percy pauses , furious . and sees Coffey staring at him from his cell .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Saw me a mouse go by.<\/dialogue>\n    <scene_description>Percy loses it , kicking and punching the restraint room door in a screaming rage as we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. E BLOCK - DAY<\/stage_direction>\n    <scene_description>Paul appears at Bitterbuck 's bars with a group of guards .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Arlen? Your daughter and her family are here.<\/dialogue>\n    <scene_description>Bitterbuck steps from his cell . Bill Dodge escorts him off the block . The moment they 're gone :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Let's move. I want at least two rehearsals before he gets back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VISITOR'S ROOM - DAY<\/stage_direction>\n    <scene_description>Bitterbuck is led in . His DAUGHTER rises . an awkward hesitation . and she touches his face , kisses him . He takes her hands , kisses them , tries not to cry . The rest of the family is there : SON - IN - LAW , GRANDCHILDREN , COUSINS . They form around him , murmuring hellos , shaking hands .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. E BLOCK - DAY<\/stage_direction>\n    <scene_description>while TOOT - TOOT takes Bitterbuck 's place in the cell . He 's a wiry and toothless old trusty , crazy as a tick . He sits :<\/scene_description>\n    <character>TOOT<\/character>\n    <dialogue>Sittin' down, sittin' down, rehearsing now! Everybody settle!<\/dialogue>\n    <scene_description>He glances to Paul - okay , hit it .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Arlen Bitterbuck, step forward.<\/dialogue>\n    <scene_description>Toot springs to his feet and steps from the cell .<\/scene_description>\n    <character>TOOT<\/character>\n    <dialogue>I'm steppin' forward, I'm steppin' forward, I'm steppin' forward.<\/dialogue>\n    <scene_description>Toot turns , shows the top of his head to Dean .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Is his head properly shaved?<\/dialogue>\n    <character>DEAN<\/character>\n    <dialogue>No, it's dandruffy and it smells.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I'll take that for a yes. All right, Arlen, let's go.<\/dialogue>\n    <scene_description>Toot starts up the corridor , ringed by guards .<\/scene_description>\n    <character>TOOT<\/character>\n    <dialogue>I'm walkin' the Mile, I'm walkin' the Mile, I'm walkin' the Mile.<\/dialogue>\n    <scene_description>PAUL 'S INNER OFFICE Toot throws himself to his knees as soon as they enter :<\/scene_description>\n    <character>TOOT<\/character>\n    <dialogue>I'm prayin', I'm prayin', I'm prayin'. The Lord is my shepherd, so on an' so forth.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Toot, you have to wait till I tell you to pray.<\/dialogue>\n    <parenthetical>( Toot waits . )<\/parenthetical>\n    <dialogue>Okay, pray.<\/dialogue>\n    <character>TOOT<\/character>\n    <dialogue>Still prayin', still prayin'.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Paul, we're not gon na have some Cherokee medicine man in here whoopin' and hollerin' and shaking his dick, are we?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Well, actually -<\/dialogue>\n    <character>TOOT<\/character>\n    <dialogue>Still prayin', prayin', gettin' right with Jesus.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Do it quietly, you old gink!<\/dialogue>\n    <scene_description>Harry slaps Toot upside the head to shut him up .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>As I was saying, I do n't believe they actually shake their dicks, Harry. Be that as it may, Mr. Bitterbuck is a Christian, so we got Reverend Schuster coming in.<\/dialogue>\n    <character>DEAN<\/character>\n    <dialogue>Oh, he's good. Fast, too. Does n't get'em worked up.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>On your feet, Toot. You've prayed enough for one day.<\/dialogue>\n    <character>TOOT<\/character>\n    <dialogue>Gettin' to my feet, walkin' again, walkin' on the Green Mile.<\/dialogue>\n    <scene_description>EXECUTION CHAMBER They enter . Brutal is waiting for them , gun drawn . Percy peers out from behind the partition wall from the switch room .<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>What do I do?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Watch and learn.<\/dialogue>\n    <scene_description>Paul motions Percy behind the wall . Percy sighs , takes his spot next to Jack Van Hay , peers through the wire mesh as Toot plops into Old Sparky , wriggling his skinny ass to get comfy .<\/scene_description>\n    <character>TOOT<\/character>\n    <dialogue>Sittin' down, sittin' down, takin' a seat in Old Sparky's lap.<\/dialogue>\n    <scene_description>Paul and Dean kneel to apply the ankle clamps . Brutal steps in from the side , pressing down on the condemned man 's left arm to keep him in place until the ankle clamps are secure . Harry moves in from the other side , securing the right arm clamp .<\/scene_description>\n    <character>TOOT<\/character>\n    <dialogue>Gettin' clamped, gettin' clamped, gettin' - ow, shit, watch the skin!<\/dialogue>\n    <scene_description>Paul signals `` ankles secure . '' Brutal holsters his pistol , applies the final clamp to the left arm .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>Roll on one.<\/dialogue>\n    <scene_description>BEHIND THE PARTITION Van Hay mimes turning the generator knob up , whispering :<\/scene_description>\n    <character>VAN HAY<\/character>\n    <dialogue>`` Roll on one'' means I turn the generator up full. You'll see the lights go brighter in half the prison.<\/dialogue>\n    <scene_description>RESUME MAIN CHAMBER as Brutal steps before the `` condemned '' and pronounces :<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>Arlen Bitterbuck, you have been condemned to die by a jury of your peers, sentence imposed by a judge in good standing in this state. Do you have anything to say before the sentence is carried out?<\/dialogue>\n    <character>TOOT<\/character>\n    <parenthetical>( gleefully . )<\/parenthetical>\n    <dialogue>Yeah! I want a fried chicken dinner with gravy on the taters, I want to shit in your hat, and I got to have Mae West sit on my face, because I am one horny motherfucker!<\/dialogue>\n    <scene_description>Brutal tries to hold on , but it 's impossible - he cracks up . Everybody falls apart , howling helplessly with laughter . Even Jack Van Hay is guffawing behind his partition . Only Paul is reining it in - he 's a little too pissed to go with it . He waits until the laughing fit starts to pass , then :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Shut up, Brutal. That goes for everybody. I want quiet in here.<\/dialogue>\n    <parenthetical>( turns . )<\/parenthetical>\n    <dialogue>Toot, another remark like that, I'll have Van Hay roll on two for real.<\/dialogue>\n    <character>BRUTAL<\/character>\n    <parenthetical>( beat , gently . )<\/parenthetical>\n    <dialogue>It was pretty funny.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>That's why I do n't like it. Tomorrow night we're doing this for real. I do n't want somebody remembering a stupid joke like that and getting going again.<\/dialogue>\n    <parenthetical>( off their looks . )<\/parenthetical>\n    <dialogue>Ever try not laughing in church once something funny gets stuck in your head. Same goddamn thing.<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>Sorry, Paul. You're right. Let's keep going. Harry.<\/dialogue>\n    <scene_description>Harry takes a black mask and snugs it down over Toot 's head , leaving only the crown of his head exposed . Brutal takes a large sponge , dips it in a steel bucket , mimes soaking it . BEHIND THE PARTITION<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>What's with the sponge?<\/dialogue>\n    <character>VAN HAY<\/character>\n    <dialogue>You soak it in brine, get it good and wet. Conducts the electricity directly to the brain, fast like a bullet. You do n't ever want to throw the switch on a man without that.<\/dialogue>\n    <scene_description>RESUME MAIN CHAMBER as the sponge is placed atop Toot 's head . Harry now lowers the steel cap and Brutal secures the straps .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>Arlen Bitterbuck, electricity shall now be passed through your body until you are dead, in accordance with the state law. God have mercy on your soul.<\/dialogue>\n    <parenthetical>( to Van Hay . )<\/parenthetical>\n    <dialogue>Roll on two.<\/dialogue>\n    <scene_description>BEHIND THE PARTITION Van Hay mimes flipping the switch , looks to Percy :<\/scene_description>\n    <character>VAN HAY<\/character>\n    <dialogue>And that's that.<\/dialogue>\n    <scene_description>RESUME MAIN CHAMBER Toot ca n't resist - he starts bucking and flailing :<\/scene_description>\n    <character>TOOT<\/character>\n    <dialogue>Now I'm fryin'! Fryin'! Geeaaah! Fryin' like a done tom turkey!<\/dialogue>\n    <scene_description>Paul rolls his eyes at Brutal . Brutal shifts his gaze past him and nods - look behind you .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>One of the witnesses showed up a day early.<\/dialogue>\n    <scene_description>Paul turns . Sitting on the door sill , watching them with beady eyes , is the mouse . Paul turns back , addresses the room :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>All right, let's go again and do it right this time! Get that idiot out of the chair.<\/dialogue>\n    <scene_description>HIGH WIDE ANGLE OF EXECUTION CHAMBER Brutal and Harry start undoing Toot 's clamps . Everybody relaxes , drifting from their positions . SAME ANGLE AS ABOVE - NEXT NIGHT . and the room is now quietly filling up with WITNESSES trickling in . People speak in whispers , if at all .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BITTERBUCK'S CELL - NIGHT<\/stage_direction>\n    <scene_description>Bitterbuck , the top of his head now shaved , is speaking quietly as Paul listens :<\/scene_description>\n    <character>BITTERBUCK<\/character>\n    <dialogue>You think if a man sincerely repents on what he done wrong, he might get to go back to the time that was happiest for him and live there forever? Could that be what heaven is like?<\/dialogue>\n    <scene_description>Paul does n't think so - but that 's not what Bitterbuck needs to hear , so the lie comes easy :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>I just about believe that very thing.<\/dialogue>\n    <scene_description>Pause . Bitterbuck smiles .<\/scene_description>\n    <character>BITTERBUCK<\/character>\n    <dialogue>Had me a young wife when I was eighteen. Spent our first summer in the mountains. Made love every night. She'd just lie there after, bare - breasted in the firelight, and we'd talk sometimes till the sun come up.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>That was my best time.<\/dialogue>\n    <scene_description>Brutal appears at the door , checks his pocketwatch , nods to Paul . Bitterbuck takes a deep breath , getting himself ready .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>It'll be fine. You'll do fine.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EXECUTION CHAMBER - NIGHT<\/stage_direction>\n    <scene_description>THE SPONGE is pulled sopping wet from the bucket of brine , dripping a trail of water across the floor . Brutal places it atop Bitterbuck 's head . Water courses down the sides of the condemned man 's mask and neck , pooling on the floor . The cap is lowered , the straps secured . All we hear now is the sound of Bitterbuck 's BREATHING growing louder and faster under the mask . until , softly :<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>Roll on two.<\/dialogue>\n    <scene_description>WHAM ! The switch is thrown . Bitterbuck surges forward against the straps , riding the powerful current . Some witnesses turn away . Paul and Brutal maintain grim eye contact with each other , waiting . Behind the partition , Percy watches through the mesh with gleaming eyes , wishing he could see better . Van Hay kills the current . Bitterbuck goes limp . A DOCTOR steps forward , checks for a heartbeat , shakes his head .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>Again.<\/dialogue>\n    <scene_description>The switch is thrown a second time . Bitterbuck surges forward again , riding the current all the way .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. E BLOCK ACCESS TUNNEL - NIGHT<\/stage_direction>\n    <scene_description>Bitterbuck 's dead face stares up at us from a gurney . A hand reaches down , gives his cheek a squeeze . TILT UP to :<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>Adios, Chief. Drop us a card from hell, let us know if it's hot enough.<\/dialogue>\n    <scene_description>Brutal knocks Percy 's hand away , shoves him aside .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>He's paid what he's owed. He's square with the house again, so keep your goddamn hands off him.<\/dialogue>\n    <scene_description>He draws the sheet over Bitterbuck 's face , wheels the gurney down the tunnel . Percy throws a look to Paul .<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>What's up his ass?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You, Percy. Always you.<\/dialogue>\n    <scene_description>Paul brushes past him , but :<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>You got ta hate the new boy? That the way it is around here?<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( turns back . )<\/parenthetical>\n    <dialogue>Why not just move on? Go to Briar Ridge.<\/dialogue>\n    <parenthetical>( off his look . )<\/parenthetical>\n    <dialogue>Yeah, I know about it. Sounds like a good job.<\/dialogue>\n    <character>PERCY<\/character>\n    <dialogue>I might take it, too. Soon as you put me out front.<\/dialogue>\n    <scene_description>Paul cocks his head - excuse me ?<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>You heard me. I want Brutal's spot for the next execution.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>What's with you? Seeing a man die is n't enough? You got ta be close enough to smell his nuts cook?<\/dialogue>\n    <character>PERCY<\/character>\n    <dialogue>I wan na be out front, is all. Just one time. Then you'll be rid of me.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>If I say no?<\/dialogue>\n    <character>PERCY<\/character>\n    <dialogue>I might just stick around for good, make me a career of this.<\/dialogue>\n    <scene_description>Paul just shakes his head in wonder and walks away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COFFEY'S CELL - DAY<\/stage_direction>\n    <scene_description>Coffey 's lying on his bunk , weeping quiet tears . He stirs at the sound of GIGGLING . He sits up , peers curiously through the bars . Softly :<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Del?<\/dialogue>\n    <scene_description>AT THE GUARD STATION Paul glances up from writing in the daily log . Silence now . He goes back to writing - and the GIGGLING comes again .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Delacroix? That you?<\/dialogue>\n    <scene_description>No answer . Just more giggling . Paul rises , walks down the Mile to Delacroix 's cell - and stops , staring in through the bars . PAUL 'S INNER OFFICE Brutal and Dean are having lunch . Paul pokes his head in .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You are not gon na believe this.<\/dialogue>\n    <scene_description>RESUME E BLOCK The men follow Paul onto the Mile . By now , Del is CACKLING WILDLY in his cell . Brutal shoots Paul a look - has he gone insane ? Paul gestures `` see for yourself . '' They arrive at the bars . and find the mouse sitting on Del 's shoulder . Del looks up , giggling like a kid at Christmas .<\/scene_description>\n    <character>DEL<\/character>\n    <dialogue>Look! I done tame me dat mouse!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>We see that.<\/dialogue>\n    <character>DEL<\/character>\n    <dialogue>Watch dis! Watch what he do!<\/dialogue>\n    <scene_description>He stretches out his left arm . The mouse crawls over the top of his head , scampers along his arm to the wrist , turns around and scampers back . The guards just stand there , staring .<\/scene_description>\n    <character>DEL<\/character>\n    <dialogue>Ai n't he sumpthin now? Ai n't Mr. Jingles smart?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Mr. Jingles?<\/dialogue>\n    <character>DEL<\/character>\n    <dialogue>Dat his name. He whisper it in my ear. Cap'n, can I have a box for my mouse so he can sleep in here wi' me?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I notice your English gets better when you want something.<\/dialogue>\n    <character>DEL<\/character>\n    <dialogue>Wan na see what else he can do? Watch, watch, watch.<\/dialogue>\n    <scene_description>He puts the mouse on the floor , grabs a small wooden spool . The mouse sees it , poises like a man getting ready for a race .<\/scene_description>\n    <character>DEL<\/character>\n    <dialogue>We play fetch, Mr. Jingles? We play fetch?<\/dialogue>\n    <scene_description>He tosses the spool across the floor , bounces it against the wall . The mouse goes after it like a dog after a stick - and proceeds to push it back to the bunk , rolling it with its front paws all the way to Delacroix 's feet . By now , the guard 's jaws are hanging open . Paul 's got a funny little chill running up his spine .<\/scene_description>\n    <character>DEL<\/character>\n    <dialogue>He fetch it ever' time. Smart as hell, ai n't he? We do da trick again, watch, watch, watch.<\/dialogue>\n    <scene_description>Again he throws the spool . Again the mouse goes after it , starts rolling it back . Del howls with laughter , claps his hands like a kid . Brutal murmurs to the others :<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>Who's training who here?<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>That's some smart mouse, Del.. Like he's a circus mouse or something.<\/dialogue>\n    <character>DEL<\/character>\n    <dialogue>A circus mouse! Dat jus' what he is, too! A circus mouse! I get outta here, he make me rich, see if he do n't!<\/dialogue>\n    <scene_description>He picks up the spool again , makes a drumroll sound , tosses it . The mouse does its thing , rolling the spool back . as Percy enters the scene . Del catches sight of him and scoops up his mouse , drawing fearfully back on his bunk . He tries to hide Mr. Jingles in his hands - but the mouse wriggles from his grasp and scampers up on top of his head , where he regards Percy with mistrustful , beady mouse eyes .<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>Well, well. Looks like you found yourself a new friend, Eddie.<\/dialogue>\n    <scene_description>Del tries to offer some defiance - but all he can manage is :<\/scene_description>\n    <character>DEL<\/character>\n    <dialogue>Don' hurt him, ` kay? ` kay?<\/dialogue>\n    <scene_description>Percy shrugs as if to say `` no skin off me '' , looks to Paul .<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>That the one I chased?<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( level . )<\/parenthetical>\n    <dialogue>Yes, that's the one. Only Del says his name is Mr. Jingles.<\/dialogue>\n    <character>PERCY<\/character>\n    <dialogue>Is that so?<\/dialogue>\n    <scene_description>Paul trades a look with the others , everybody wondering just what the hell 's going through Percy 's mind .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Del was just asking for a box. He thinks the mouse will sleep in it, I guess. That he might keep it for a pet. What do you think?<\/dialogue>\n    <character>PERCY<\/character>\n    <dialogue>I think it'll shit up his nose some night and run away, but I guess that's Del's lookout.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>We oughtta find a cigar box. Get some cotton batting from he dispensary to line it with. That should do real nice.<\/dialogue>\n    <scene_description>Percy walks away , leaving them dumbstruck . Paul turns to the others . Of all the things they 've seen in the last few minutes , Percy being nice is the most amazing of all .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Man said get a cigar box.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON ADMINISTRATION BUILDING - DAY<\/stage_direction>\n    <scene_description>Paul comes up the stairs to the warden 's office .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WARDEN MOORES' OFFICE - DAY<\/stage_direction>\n    <scene_description>and enters to find Hal staring out the window .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Hal? You wanted to see me?<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Yeah. Paul. Close the door.<\/dialogue>\n    <scene_description>Hal 's speech is halting , his thoughts disjointed and slow :<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Uh. So you know. You got a new prisoner coming in tomorrow. William Wharton. Young kid. Wild as hell, judging from this.<\/dialogue>\n    <scene_description>He picks up the report , trying to focus his thoughts :<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>been rambling all over the state last few years, causing all kinds of trouble. Finally hit big time. Killed three people in a holdup, including a pregnant woman. Got `` Billy the Kid'' tattooed on his left arm. bad news all around.<\/dialogue>\n    <scene_description>He trails off , no longer able to focus on the words . Paul is shocked to see tears spill silently down his cheeks .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Hal?<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>It's a tumor, Paul. A brain tumor.<\/dialogue>\n    <scene_description>Paul does n't know what to say . Hal looks at him .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>They got X - ray pictures of it. It's the size of a lemon, they said, and way down deep inside where they ca n't operate. They say she'll be dead by Christmas. I have n't told her. I ca n't think how. For the life of me, Paul, I ca n't think how to tell my wife she's going to die.<\/dialogue>\n    <scene_description>Hal Moores , one of the toughest and steadiest men you 'd ever meets , starts to cry . He dissolves into great big gasping sobs , losing all control .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAUL'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Paul lies awake , watching Jan sleep . He looks troubled - not to mention feverish . It occurs to him how badly he has to pee . He sits up , clutching at a queasy stab of pain in his groin . LIVING ROOM STAIRS . and comes hurrying down the steps , clutching himself .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - NIGHT<\/stage_direction>\n    <scene_description>and he 's moving even faster as he exits the kitchen , racing for the outhouse . He realizes he 's not going to make it , stops to piss near the woodpile at the corner of the house . and as he does , he 's hit with the most stunning pain of his life . He buckles to his knees - it 's only his flailing hand against the woodpile that prevents him from going face - first into his own piss . He crams his other hand to his mouth in an enormous effort not to scream and wake his wife . He manages to ride it out until his bladder empties . He falls onto his side , rolls over on the grass , and stares up at the sky with both hands pressed to his groin .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>oh God. oh God.<\/dialogue>\n    <scene_description>FADE TO BLACK IN BLACKNESS , A TITLE CARD APPEARS : `` Coffey 's Hands '' .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAUL'S KITCHEN - MORNING<\/stage_direction>\n    <scene_description>Paul looks feverish and clammy as he buttons up his uniform jacket . Jan is packing his lunch , throwing him looks , knowing how sick he is .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>I'm going.<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>To the doctor. I'm going.<\/dialogue>\n    <parenthetical>( off her look . )<\/parenthetical>\n    <dialogue>Today. Just as soon as we get the new inmate squares away.<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>That bad?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Oh yeah.<\/dialogue>\n    <scene_description>She hands him his brown - bagged lunch , kisses his face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRIAR RIDGE MENTAL HOSPITAL - MORNING<\/stage_direction>\n    <scene_description>We see a tattoo : `` Billy the Kid . '' TILT UP to WILLIAM WHARTON staring out the window , wearing a hospital gown , his face utterly blank . He looks heavily medicated . Harry , Dean , and Percy enter . Billy does n't react , just keeps staring out . Harry waves his fingers in Billy 's face .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>Boy's doped to the gills. Dean, hand me them clothes.<\/dialogue>\n    <scene_description>Dean relays some folded prison clothes to Harry .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>William Wharton! Hey! I'm talking to you! Put these clothes on!<\/dialogue>\n    <scene_description>Billy turns with a vacant look , takes the clothes . He fumbles with the shirt , drops the pants . Harry and Dean sigh . They strip Billy 's hospital gown off and proceed to put the shirt on him , guiding his limp arms through the sleeves .<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>Hellraiser, huh? Looks more like a limp noodle to me. Hey! Hey, you!<\/dialogue>\n    <scene_description>Billy looks up , meets Percy 's eyes .<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>You been declared competent! Know what that means? Mean's you're gon na ride the lightning, son!<\/dialogue>\n    <scene_description>Percy does a quick impression of a man jittering and jerking in the electric chair .<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>Bzzzzzzzzt - zap! Just like that! How's it feel to know you're gon na die with your knees bent?<\/dialogue>\n    <character>DEAN<\/character>\n    <dialogue>C'mon, Percy, give us a hand.<\/dialogue>\n    <scene_description>Laughing , Percy picks up the pants . They proceed to help Billy into them one leg at a time .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. E BLOCK TOILET - DAY<\/stage_direction>\n    <scene_description>Paul is trying to piss . Except for a few drops hitting the bowl , excruciating pain seems to be the only result . He gives up , grabs a towel , wipes the sweat from his feverish face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. E BLOCK - DAY<\/stage_direction>\n    <scene_description>and steps gingerly from the toilet . Del 's watching .<\/scene_description>\n    <character>DEL<\/character>\n    <dialogue>Don' look so good, boss. Look like you runnin' you a fever.<\/dialogue>\n    <scene_description>Paul shoots him a baleful look - no kidding . Another voice calls softly from further down the Mile :<\/scene_description>\n    <character>COFFEY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Boss Edgecomb? Needs ta see you down here, boss.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Got things to tend to just now, John Coffey. You be still in your cell now, y' hear?<\/dialogue>\n    <scene_description>Coffey falls silent . Paul goes to the entrance door and peers through the viewing slot , anxious to have this over with .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COLD MOUNTAIN PENITENTIARY - DAY<\/stage_direction>\n    <scene_description>The prison truck appears , swaying along the rutted road . IN THE TRUCK . while Billy Wharton stares at nothing , drool dripping from his slack mouth in long strings .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. E BLOCK - DAY<\/stage_direction>\n    <scene_description>Paul watches the truck pull in . He draws away from the slot , proceeds toward the empty cell which used to be Bitterbuck 's . ANGLE ON TRUCK The rear doors are swung open . Harry emerges . Dean and Percy are guiding Billy by the arm , helping him down . INSIDE E BLOCK Paul waits at the empty cell . ANGLE PANS TIGHT to Coffey at his bars , eyes widening in a blossoming of some nameless fear or dread . Something bad 's coming . A whisper :<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Careful.<\/dialogue>\n    <scene_description>OUTSIDE E BLOCK Billy is brought to the door . Dean pulls his keys , starts to unlock it . We PUSH IN on Billy 's face , where the tiniest trace of a smile is starting to grow . INSIDE E BLOCK . and Coffey 's unease grows with it . he presses his face to the bars , his whispering becoming more urgent :<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Careful. Careful.<\/dialogue>\n    <scene_description>Paul hears him , glances back with a puzzled look . Coffey 's gaze is directed at the door , which is being unlocked . THE DOOR . and opened . In that moment , the slack look on Billy 's face gives way to a wild grin . A CRAZED SCREECH leaps from his throat , a cross between a rebel yell and a dog being tortured , freezing everybody 's blood in their veins -<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Yeeeeeeehaaaawwwwwwrooooo!<\/dialogue>\n    <scene_description>- and he drops his wrist - chain down over Dean 's head , jerks it tight , begins to strangle him . Dean lurches forward , Billy riding\/propelling him through the door onto the Mile . Percy stands frozen in the doorway , stunned . Harry shoves him aside and jumps on Billy from behind , trying to get him off Dean . Dean is choking , turning purple . Paul rushes from the cell to join the fray . Billy whirls , delivering a stunning kick to Paul 's groin . Paul 's bladder pain goes nuclear - he falls back in agony , clutching himself and sucking air through his teeth , unable even to scream . Billy rams an elbow into Harry 's face , knocks him sprawling on the desk , screaming and laughing and howling all the while :<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>WHOOOEE, BOYS! AI N'T THIS A PARTY, NOW? IS IT, OR WHAT?<\/dialogue>\n    <scene_description>Paul forces himself to his feet , pulls his revolver , draws down on Billy .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>LET HIM GO!<\/dialogue>\n    <scene_description>but Billy jerks Dean around , using him as a shield .<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>G'WAN, SHOOT! SEE WHO YA HIT!<\/dialogue>\n    <scene_description>Dean is choking , dying . Paul is shifting his aim , trying for a clear shot , not getting one . Percy 's still just inside the doorway , pressed against the wall with fear .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>HIT HIM, PERCY! GODDAMN IT, HIT HIM!<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>C'MON, PERCY, HIT ME! HIT ME, YOU LIMP NOODLE, HIT ME! YEEHAWWW!<\/dialogue>\n    <scene_description>and suddenly a hand comes in , grabs the hickory stick out of Percy 's grasp , raises it high - - it 's Brutal coming through the door . He swings the baton and lands an awesome blow to Billy 's head - THUMP ! The force of it spins Billy off his feet and slams him flat on his back . Dean crawls away , gulping ragged breaths of air . Amazingly , Billy 's still conscious - he looks up at Brutal and laughs :<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Big fucker. Snuck up on me. No fair.<\/dialogue>\n    <scene_description>Still laughing , he makes another grab at Dean . Brutal whacks him again , turning his lights out for good . Brutal drops to Dean 's side , helping him hack air back into his lungs :<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>Breathe. breathe. that's it.<\/dialogue>\n    <scene_description>Everybody 's reining in their adrenaline . Paul glares at Harry .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>We thought he was doped.<\/dialogue>\n    <parenthetical>( to Percy . )<\/parenthetical>\n    <dialogue>Did n't we? Did n't we all of us think he was doped?<\/dialogue>\n    <scene_description>Percy nods , still numb . Paul is furious :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You did n't ask? I guess that's not a mistake you'll be need to make again anytime soon, is it?<\/dialogue>\n    <scene_description>Harry shakes his head miserably . Paul grabs Billy by the feet .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Grab his arms! You too, Percy!<\/dialogue>\n    <parenthetical>( off Percy 's hesitation . )<\/parenthetical>\n    <dialogue>Percy, goddamn it, get your feet out of cement and help us out here!<\/dialogue>\n    <scene_description>Percy finally unfreezes . The three of them hoist Billy up in a dead - lift , get him in his cell , toss him on the cot . They step out , slam the door , lock it . Paul looks to Harry and Brutal .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Get Dean looked at right away, make sure he's all right. Percy, you go make a report to the warden for me. Start off by saying the situation is under control - it's not a story, he wo n't appreciate you drawing out the suspense.<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>What about you? You look about ready to collapse.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I've got the Mile till you all get back. Go on now.<\/dialogue>\n    <scene_description>They all exit . As soon as he 's alone , Paul gives in to the pain , holding his crotch and sinking to his knees with a moan . It 's so bad he actually lays down on the Mile , face pressed against the cool linoleum , wishing he were dead . A stretch of silence . and then :<\/scene_description>\n    <character>COFFEY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Boss? Needs ta see ya down here.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>This is not a good time, John Coffey. Not a good time at all.<\/dialogue>\n    <character>COFFEY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>But I needs ta see ya, boss. I needs ta talk t ` ya.<\/dialogue>\n    <scene_description>Paul sighs . Things could n't get much worse than this . He rises with a supreme effort , walks painfully down the Mile . COFFEY 'S CELL . and finds Coffey waiting at his bars .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Closer.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I'm alone here right now, John. Figure this is close enough.<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>Boss, please. I got to whisper in your ear.<\/dialogue>\n    <scene_description>Paul blinks . Maybe it 's the fever clouding his brain , or maybe . hell , is this what being hypnotized is like ? He tries to shake the sensation off , comes a little closer .<\/scene_description>\n    <character>DEL<\/character>\n    <dialogue>Boss? You know you not s ` pose to do dat.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Mind your business, Del.. What do you want, John Coffey?<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>Just to help.<\/dialogue>\n    <scene_description>His hand shoots out , grabs Paul by the collar , jerks him close . Paul makes a panic - grab for his revolver . but Coffey lays his free hand atop Paul 's , eases his grip from the gun - no need for that . Coffey 's hand then drifts slowly down , easing to Paul 's crotch .<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>( stunned , frozen . )<\/parenthetical>\n    <dialogue>What are you. doing?<\/dialogue>\n    <scene_description>and something goes WHUMP through Paul 's body . He arches back with his mouth agape and arms outstretched as a rush of energy seems to pass from Paul through Coffey 's hand . and then it 's over . Paul comes back to the real world , weak against the bars , realizes Del is hollering in his cell :<\/scene_description>\n    <character>DEL<\/character>\n    <dialogue>HELP! JOHN COFFEY'S KILLING BOSS EDGECOMB! HELP!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Del, Chrissake, settle down, I'm fine.<\/dialogue>\n    <scene_description>It dawns on him that he really is fine . Fever 's gone . So is the pain in his groin . John Coffey , though , seems to be having trouble . He sits down on his bunk , bends forward , gagging like a man with a chicken bone caught in his throat .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>John? John, what's wrong?<\/dialogue>\n    <scene_description>Paul fumbles his keys to the lock , unsure if he should open the door , watching the big man 's contortions grow stronger like a cat trying to cough up a hairball . and then comes an unpleasant , gagging\/retching sound as Coffey 's lips draw back from his teeth in a kind of godawful sneer . and he exhales a cloud of what look like tiny black insects . They swirl furiously in front of his face , turn white . and disappear . Paul just stares , stunned . Softly :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>What did you do, big boy? What did you do to me?<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>I helped it. Did n't I help it?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Yes, but. how?<\/dialogue>\n    <scene_description>Coffey shrugs - it 's something that just is .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Just took it back, is all. Awful tired now, boss. Dog tired.<\/dialogue>\n    <scene_description>He rolls onto his bunk , faces the wall . Paul just stares at him , stunned . He turns and walks up the Mile , his stiffness and pain now gone . Del watches him go by , also stunned :<\/scene_description>\n    <character>DEL<\/character>\n    <dialogue>What dat man do to you? He throw some gris - gris on you?<\/dialogue>\n    <parenthetical>( off Paul 's look . )<\/parenthetical>\n    <dialogue>You look diff ` int! Even walk diff ` int. Like y' all better!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You're imagining thing. Lie down, Del.. Get you some rest.<\/dialogue>\n    <scene_description>Paul continues up the Mile . E BLOCK TOILET . and steps back into the toilet . Not trusting this situation for even a moment , Paul opens his fly , takes a deep breath to prepare himself for the pain , starts to pee . and we hear a healthy stream of water hitting the bowl . The look on Paul 's face says it all - blessed relief .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAUL'S HOUSE - DUSK<\/stage_direction>\n    <scene_description>Paul comes home from work , still looking numb about the whole thing . He drifts to the kitchen door . Jan 's at the counter , slicing vegetables for dinner . She glances at him .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>Hi, honey. How are you feeling?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Um. not too bad.<\/dialogue>\n    <scene_description>She turns back . Paul 's eyes drift down to admire her ass .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>What did the doctor say?<\/dialogue>\n    <scene_description>No response . He 's too busy staring . She turns again - he glances hastily up .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Oh, you know doctors. Gobble - de - gook mostly.<\/dialogue>\n    <scene_description>She turns back , keeps working . He crosses the room , eyeing her ass all the way . and surprised her by pressing up against her from behind , running his hands along her hips .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>Paul? What are you doing?<\/dialogue>\n    <scene_description>He starts laying kisses on the back of her neck , giving her pleasant shivers , murmuring :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>What's it feel like?<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>I know what it feels like. it feels great. but. Paul.<\/dialogue>\n    <scene_description>He 's getting her breathless . She turns into his arms and they get into some passionate kissing . It 's not too long before they 're frantically peeling each other 's clothes off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>and we find them having a wild tumble in the sheets , both moaning and groaning , sweating and panting . She pushes him flat on the bed , pauses to catch her breath .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>Those must've been some pills.<\/dialogue>\n    <scene_description>and they keep going , rutting like crazed weasels .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - NIGHT<\/stage_direction>\n    <scene_description>as their moans go drifting into the night . SAME ANGLE AS ABOVE - DAWN . and they 're still moaning up there as the sun creeps up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - MORNING<\/stage_direction>\n    <scene_description>Jan falls back , exhausted after the latest go - round . She catches her breath , looks over at Paul , and finally :<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>Paul? Not that I'm complaining. But we have n't gone four times in one night since we were nineteen.<\/dialogue>\n    <parenthetical>( off his look . )<\/parenthetical>\n    <dialogue>You wan na tell me just what the hell's going on?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Well. thing is. I never actually got to the doctor yesterday.<\/dialogue>\n    <scene_description>She gives him a look - oh ?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - MORNING<\/stage_direction>\n    <scene_description>Paul is on the phone :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Brutal? Listen. I'm thinking of taking the morning off sick. You cover the fort for me?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>That's swell. Thanks. Yeah, I'm sure I'll feel better. Okay.<\/dialogue>\n    <scene_description>He hangs up , turns to Jan. .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>You sure you ought to do this?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I'm not sure what I'm sure of.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD TO TEFTON - DAY<\/stage_direction>\n    <scene_description>Paul 's model T comes putt - putting up the road past a sign : `` Trapingus County Welcomes You . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE IN TEFTON - BACK PORCH - DAY<\/stage_direction>\n    <scene_description>BURT HAMMERSMITH , public defender for Trapingus County , sits with a cold soda and a magazine , watching his TWO CHILDREN playing on a swing at the far end of the backyard . The screen door opens and CYNTHIA HAMMERSMITH ushers Paul out .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>I offer you a cold drink?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Yes, ma'am, a cold drink would be fine. Thank you.<\/dialogue>\n    <scene_description>She goes back inside . Burt rises .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Mr. Hammersmith. Your office said I'd find you at home today. I hope I'm not troubling you.<\/dialogue>\n    <character>BURT<\/character>\n    <dialogue>That depends, Mr. -?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Paul Edgecomb. I'm the E Block superintendant at Cold Mountain.<\/dialogue>\n    <character>BURT<\/character>\n    <dialogue>The Green Mile. I've heard of it. Lost a few clients your way.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>That's why I'm here. I'd like to ask you about one of them.<\/dialogue>\n    <scene_description>Burt settles back down , motions `` please sit '' .<\/scene_description>\n    <character>BURT<\/character>\n    <dialogue>Which client? Now you got my curiosity aroused.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>John Coffey.<\/dialogue>\n    <character>BURT<\/character>\n    <dialogue>Ah, Coffey. He causing you problems?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>No, ca n't say he is. He does n't like the dark. He cries on occasion. Other than that.<\/dialogue>\n    <character>BURT<\/character>\n    <dialogue>Cries, does he? Well, he's got a lot to cry about, I'd say. You know what he did.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( nods . )<\/parenthetical>\n    <dialogue>I read the court transcripts.<\/dialogue>\n    <scene_description>Cynthia reappears , hands Paul a cold root beer .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Thank you, Missus.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>My pleasure. Kids! Lunch is about ready! Y' all come on up!<\/dialogue>\n    <scene_description>She goes back inside , but the kids are n't quite able to tear themselves away from their play .<\/scene_description>\n    <character>BURT<\/character>\n    <dialogue>What exactly are you trying to find out? Satisfy my curiosity, I'll see if I can satisfy yours.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I've wondered if he ever did anything like that before.<\/dialogue>\n    <character>BURT<\/character>\n    <dialogue>Why? Has he said anything?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>No. But a man who does a thing like that has often developed a taste for it over time. Occurred to me it might be easy enough to follow his backtrail and find out. A man his size, and colored to boot, ca n't be that hard to trace.<\/dialogue>\n    <character>BURT<\/character>\n    <dialogue>You'd think so, but you'd be wrong. Believe me, we tried. It's like he dropped out of the sky.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>How do you explain that?<\/dialogue>\n    <character>BURT<\/character>\n    <dialogue>We're in a Depression. A third of the country's out of work. People are drifting by the thousands, looking for work, looking for that greener grass. Even a giant like Coffey would n't get noticed everywhere he goes. not until he kills a couple of little girls.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>He's. strange, I admit. But there does n't seem to be any real violence in him. I know violent men, Mr. Hammersmith. I deal with'em day in and day out.<\/dialogue>\n    <scene_description>Burt smiles , realizing :<\/scene_description>\n    <character>BURT<\/character>\n    <dialogue>You did n't come up here to ask me whether he might have killed before. You came up here to see if I think he did it at all. That's it, is n't it?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Do you?<\/dialogue>\n    <character>BURT<\/character>\n    <dialogue>One seldom sees a less ambiguous case. He was found with the victims in his arms. Blurted out a confession right then and there.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Yet you defended him.<\/dialogue>\n    <character>BURT<\/character>\n    <dialogue>Everyone is entitled to a defense.<\/dialogue>\n    <scene_description>Cynthia hollers from an open window :<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>Kids! Lunch!<\/dialogue>\n    <character>BURT<\/character>\n    <dialogue>Y' all listen to your Momma, now!<\/dialogue>\n    <scene_description>The kids start this way . Burt turns back to Paul .<\/scene_description>\n    <character>BURT<\/character>\n    <dialogue>Tell you something. You listen close, too, because it might be something you need to know.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I'm listening.<\/dialogue>\n    <character>BURT<\/character>\n    <dialogue>We had us a dog. No particular breed, but gentle. Ready to lick your hand or fetch a stick. Just a sweet mongrel, you know the kind.<\/dialogue>\n    <parenthetical>( Paul nods . )<\/parenthetical>\n    <dialogue>In many way, a good mongrel dog is like you negro. You get to know it, and often you get to love it. It is of no particular use, but you keep it around because you think it loves you. If you're lucky, Mr. Edgecomb, you never have to find out any different. My wife and I were not so lucky. Caleb. Come here for a second.<\/dialogue>\n    <scene_description>The little boy comes to him , staring at his feet . Burt tires to raise the boy 's chin . The boy resists for a moment .<\/scene_description>\n    <character>BURT<\/character>\n    <dialogue>Please, son.<\/dialogue>\n    <scene_description>and then his face comes around . He 's horribly scarred on that side , the eye missing .<\/scene_description>\n    <character>BURT<\/character>\n    <dialogue>He has the one eye. I suppose he's lucky not to be blind. We get down on our knees and thank God for that much at least. Right Caleb?<\/dialogue>\n    <parenthetical>( the boy nods shyly . )<\/parenthetical>\n    <dialogue>Okay, go on in now.<\/dialogue>\n    <scene_description>The boy races inside after his sister . Paul follows Burt 's gaze off toward the rear of the property , where an unoccupied doghouse stands weathered and sad in the weeds .<\/scene_description>\n    <character>BURT<\/character>\n    <dialogue>That dog attacked my boy for no reason. Just got it into his mind one day. Same with John Coffey. He was sorry afterwards, of that I have no doubt. but those little girls stayed raped and murdered nonetheless. Maybe he's never done it before - my dog never bit before, but I did n't concern myself with that. I went out there with my rifle and grabbed his collar and blew his brains out.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I'm sorry for your trouble.<\/dialogue>\n    <scene_description>Burt acknowledges the condolence with a gracious nod .<\/scene_description>\n    <character>BURT<\/character>\n    <dialogue>I'm as enlightened as the next man, Mr. Edgecomb. I would not bring back slavery for all the tea in China. I believe we have to be humane and generous in our efforts to solve the race problem. But we have to remember that the negro will bite if he gets the chance, just like a mongrel dog will bite if it crosses its mind to do so.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Is Coffey guilty? Yes, he is. Do n't you doubt it, and do n't you turn your back on him. You might get away with it once or even a hundred times. but in the end.<\/dialogue>\n    <scene_description>He raises his hand , making biting motions with his fingers .<\/scene_description>\n    <character>BURT<\/character>\n    <dialogue>You understand?<\/dialogue>\n    <scene_description>Paul says nothing . Burt gazes out again . Softly :<\/scene_description>\n    <character>BURT<\/character>\n    <dialogue>I'm gon na have to tear that old doghouse down one of these days.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAUL'S MODEL T - DAY<\/stage_direction>\n    <scene_description>Paul drives back to Cold Mountain , his heart conflicted .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. E BLOCK - DAY<\/stage_direction>\n    <scene_description>and he walks onto the Mile with a bundle wrapped in a dish towel . Brutal glances up from the desk , sniffing the air .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>No, it's not for you.<\/dialogue>\n    <scene_description>Paul continues down the Mile . Whatever he 's carrying , the smell of it brings Del to his bars . Even Mr.Jingles comes skittering out of his cigar box , sniffing .<\/scene_description>\n    <character>DEL<\/character>\n    <dialogue>Oh. Oh my.<\/dialogue>\n    <scene_description>Paul arrives at Coffey 's cell . Coffey 's on his bunk facing the wall . His head comes around , drawn by the aroma . He sits up , wipes the tears leaking from his eyes , looks at Paul .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>I'm smelling me some cornbread.<\/dialogue>\n    <scene_description>Paul speaks softly so the others ca n't hear :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>It's from my missus. She wanted to thank you.<\/dialogue>\n    <scene_description>Coffey nods thoughtfully , absorbing this notion . Then :<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Thank me for what?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You know. For helping me.<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>Helping you with what?<\/dialogue>\n    <scene_description>Paul motions discreetly to his crotch .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Ohhh.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Was your missus pleased?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Several times.<\/dialogue>\n    <scene_description>Paul hands him the bundle through the bars . Coffey takes it , uncovers the cornbread reverently , gazes back up .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>This all for me?<\/dialogue>\n    <scene_description>Paul nods . Across the way , Del is pressing his face longingly through the bars while Mr. Jingles crawls on his shoulder .<\/scene_description>\n    <character>DEL<\/character>\n    <dialogue>Oh my. John, I can smell it from here. I surely can.<\/dialogue>\n    <character>COFFEY<\/character>\n    <parenthetical>( looks to Paul . )<\/parenthetical>\n    <dialogue>Can I give some to Del?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>It's yours, John. You do with it as you please.<\/dialogue>\n    <scene_description>John carefully scoops a big chunk of cornbread out with his enormous hand , holds it through the bars to Paul .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Here's for Del and Mr. Jingles then.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>Hey! What about me? I'm' a get some too, ai n't I<\/dialogue>\n    <scene_description>Coffey looks to Paul - do I have to ?<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>It's yours, John. As you please.<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>Well. Fine. I think I'll keep the rest, then.<\/dialogue>\n    <scene_description>He smiles like a big kid , digging in with his fingers . Paul crosses the Mile to Del 's cell , hands him his share .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Courtesy of the gentleman across the way.<\/dialogue>\n    <character>DEL<\/character>\n    <dialogue>Oh, John. So very fine of you. So very kind. Mr. Jingles t ` ank you.<\/dialogue>\n    <character>COFFEY<\/character>\n    <parenthetical>( mouth full . )<\/parenthetical>\n    <dialogue>. wel ` cm.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>Hey! What about me? Do n't you hold out on me, ya big dummy nigger!<\/dialogue>\n    <scene_description>Paul 's temper flares - he steps to Billy 's cell .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You'll keep a civil tongue on my block.<\/dialogue>\n    <scene_description>Beat . Billy spits in Paul 's face and follows it up with a big grin - what are you gon na do about that ? Paul is seething as he wipes the spit off , but keeps his temper where it belongs .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You get that one for free. But that's the last one.<\/dialogue>\n    <scene_description>Paul walks away . Billy laughs , hollering after him :<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>That's it? Just that little bitty one? Guess I'll have to pay out for the rest, huh?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. E BLOCK - DAY<\/stage_direction>\n    <scene_description>Harry is walking the Mile , doing a cell check and jotting on a clipboard . He pauses , making a notation . and a long stream of piss hits his leg . Billy 's at his bars , peeing on him . Harry jumps back , stunned . Billy howls with laughter , hosing his aim wildly from side to side .<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Yeehaaw! Good shot, were n't it? Oh, the look on your face!<\/dialogue>\n    <scene_description>Paul and Brutal come running . Harry 's just flabbergasted :<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>You believe this? Son of a bitch pissed on me!<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>Hey, d'jall like that? I'm currently cooking some turds t ` go with it! Nice soft ones! I'll have'em out t ` yall tomorrow!<\/dialogue>\n    <scene_description>Paul stays calm , turns to Brutal , nods at the restraint room .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>We've been looking to clear that room out anyway.<\/dialogue>\n    <scene_description>A STREAM OF GUARDS comes toting the last of the restraint room stuff past Billy 's cell while he heckles them from the bars .<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Hey! Whassit now, movin' day? Y' all wan na come in and dust a little? Y' can shine my knob for me while yer at it!<\/dialogue>\n    <scene_description>and he pauses as Paul and Brutal step to the bars . Paul has a canvas straitjacket . Brutal pulls his nightstick .<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>You can come in here on your legs, but you'll go out on your backs, Billy the Kid guarantee ya that.<\/dialogue>\n    <parenthetical>( motions to Brutal . )<\/parenthetical>\n    <dialogue>C'mon, fuckstick. No sneakin' up on me this time. We'll go man to man, see who's the better fel -<\/dialogue>\n    <scene_description>Brutal unlocks the cell - and sidesteps , revealing Harry pointing a fire hose . The hose erupts , driving Billy across the cell with bone - jarring force . They batter him half - senseless , then cut the water . Billy collapses in a heap . Paul and Brutal drag him semi - conscious from his cell and get the straitjacket on him . He comes around as they draw the straps tight and pull him to his feet .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>C'mon, Wild Bill. Little walky walky.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>Do n't you call me that! Wild Bill Hickock was n't no range rider! He was just a bushwackin' John Law! Dumb sonovabitch sat with his back to the door and kilt by a drunk!<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>Oh, my suds and body! A history lesson! You just never know what you're gon na get when you come to work everyday on the Green Mile. Thank you, Wild Bill.<\/dialogue>\n    <scene_description>Billy lets out a scream of rage and throws himself at Brutal . Brutal , bored , shoves him back toward Paul , who then propels him down the Mile toward the open restraint room door . Billy sees where they intend to put him , resorts to pleading :<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Oh, not in there! C'mon now, I'll be good! Honest Injun I will! No! No! Ummmmhhhh. urg. ah!<\/dialogue>\n    <scene_description>He suddenly drops to the floor , bucking and jerking wildly , spewing drool . Harry 's eyes go wide .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>Holy Christ, he's pitchin' a fit!<\/dialogue>\n    <scene_description>Paul reaches down and unceremoniously starts dragging Billy kicking and writhing the rest of the way .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>He'll be fine, boys. Trust me on this one.<\/dialogue>\n    <scene_description>Brutal helps Paul toss Billy headlong into the padded room . They slam the door . RESTRAINT ROOM . and Billy staggers to his feet in the straitjacket , inarticulate with rage , starts throwing himself against the door , screaming at the top of his lungs .<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>ALL I WANTED ME WAS A LITTLE CORNBREAD, YOU MUTHERFUCKERS!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. E BLOCK - NEXT DAY<\/stage_direction>\n    <scene_description>Paul and Brutal unlock the restraint room . Billy looks up from the corner , pale and drained . Softly :<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>I learnt my lesson. I'll be good.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. E BLOCK - DAY<\/stage_direction>\n    <scene_description>Billy 's back in his cell , quiet for a change . Toot - Toot is outside the bars , mopping the floor . Billy notices a chocolate Moon Pie in Toot 's shirt pocket .<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Pssss. Hey. Give ` ya nickel for that Moon Pie.<\/dialogue>\n    <scene_description>Toot looks around . Nobody 's watching , and a nickel 's a nickel . He steps to Billy 's bars , swaps the Moon Pie for the money . Toot hurries away . Billy unwraps the Moon Pie , makes sure he 's not being watched . and crams the entire thing into his mouth . and here comes Brutal strolling down the Mile , doing a cell check and jotting on a clipboard . He pauses , seeing : Billy at his bars . Just standing there staring . His cheeks bulging way out . Brutal steps closer , fascinated . what the fuck is that . Billy waits until he 's just a bit closer - - and he slams his fists against his own cheeks , propelling a disgusting spew of liquefied chocolate sludge into Brutal 's face . Billy falls back onto his bunk , shrieking with laughter :<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Li'l Black Sambo, yassuh, boss, yassuh, howdoo you do?<\/dialogue>\n    <character>BRUTAL<\/character>\n    <parenthetical>( beat , calmly . )<\/parenthetical>\n    <dialogue>Hope your bags are packed.<\/dialogue>\n    <scene_description>and once again , Billy gets dragged to the restraint room , kicking and screaming all the way . They toss him in , slam the door . Brutal turns , still wiping traces of sludge off .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>The Moon Pie thing was pretty original. Got ta give him that.<\/dialogue>\n    <scene_description>Brutal nods . They walk away as we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. E BLOCK - DAY<\/stage_direction>\n    <scene_description>Paul and Brutal appear at Del 's bars with Harry and Dean .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Del, grab your things. Big day for you and Mr. Jingles.<\/dialogue>\n    <character>DEL<\/character>\n    <dialogue>Whatchoo talkin' bout?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Important folks heard about your mouse, wan na see him perform. Not just guards, either. One of them's a politician all the way from the state capital, I believe.<\/dialogue>\n    <scene_description>Del swells with pride upon hearing this . He scrounges up Mr. Jingles props , steps from his cell , looks to Harry and Dean .<\/scene_description>\n    <character>DEL<\/character>\n    <dialogue>You fellas comin'?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>We got other fish to fry just now, Del, but you knock'em for a loop.<\/dialogue>\n    <scene_description>Del nods , beaming happily , looks to Coffey in his cell .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>You knock'em for a loop like Mr. Harry says, Del..<\/dialogue>\n    <scene_description>Brutal leads Del up the Mile , Paul and the others at their heels . Percy 's at the duty desk . He smirks and rolls his eyes as Del goes by . The moment Brutal and Del are out the door . Toot emerges from Paul 's office where he 's been hiding .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Let's move along briskly, folks. There's not much time.<\/dialogue>\n    <scene_description>Toot hurries down to take his place in Del 's cell .<\/scene_description>\n    <character>TOOT<\/character>\n    <dialogue>I'm sittin' down, I'm sittin' down, I'm sittin' down.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE\/ADMINISTRATION BUILDING - DAY<\/stage_direction>\n    <scene_description>A HALF DOZEN GUARDS are waiting . We find Bill Dodge fixing the tie of a fat good ol' boy named EARL .<\/scene_description>\n    <character>EARL<\/character>\n    <dialogue>Been sweepin' floors here ten years, never had to wear no damn tie before.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>You're a V.I.P. today, Earl, so just shut up.<\/dialogue>\n    <scene_description>A KNOCK at the door . Everybody takes a seat . Del is ushered in by Brutal . Del faces his audience , puts his hands to his chest in a `` thank you '' gesture worthy of Lillie Langtry before her adoring public , then announces grandly :<\/scene_description>\n    <character>DEL<\/character>\n    <dialogue>Messieurs et mesdames! Bienvenue au cirque de mousie!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EXECUTION CHAMBER - DAY<\/stage_direction>\n    <scene_description>The steel cap is lowered over Toot 's head , the straps tightened . TILT UP to Percy as :<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>Roll on two.<\/dialogue>\n    <scene_description>Behind his partition , Van Hay mimes flipping the switch .<\/scene_description>\n    <character>VAN HAY<\/character>\n    <dialogue>That's that.<\/dialogue>\n    <scene_description>A pause . Percy looks anxiously to Paul , who 's trading glances with the other guards . Finally :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Very good. Very professional.<\/dialogue>\n    <scene_description>Percy smiles . Harry and Dean step up , slapping his back and shaking his hand .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. E BLOCK - DAY<\/stage_direction>\n    <scene_description>and they 're still chatting a short time later , waiting for Del 's return . Percy actually looks happy for a change , feeling genuinely accepted for the first time . Billy is watching from his cell . Just watching . The door opens . Del returns with Mr. Jingles on his shoulder , escorted by Brutal . Brutal is toting the cigar box and spool like a magician 's assistant carrying the boss ' props .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Well?<\/dialogue>\n    <character>DEL<\/character>\n    <dialogue>They love Mr. Jingles! They laugh and cheer and clap they hands!<\/dialogue>\n    <character>PERCY<\/character>\n    <dialogue>Well, that's just aces. Pop back in your cell, old - timer.<\/dialogue>\n    <scene_description>The generosity of Percy 's tone catches Del completely off guard . Del gives him a look of almost comical mistrust . and the old Percy comes back . He bares his teeth in a mock snarl and curls his fingers as if to grab Del. . It 's a joke , but Del does n't know that - he jerks back in fear and trips over Brutal 's big feet . Del goes down hard , hitting the linoleum with the back of his head . Mr. Jingles jumps clear , goes squeaking down the Mile . Del sits up , painfully clutching his head . Brutal helps him up .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>Percy, you shit.<\/dialogue>\n    <scene_description>and moves him toward his cell . Percy is actually moved to apologize - he starts after them with a half - laugh , drifting much too close to Wild Bill 's side of the Mile .<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>Del! Hey, you numb wit, I did n't mean nothin' by it! You all ri -<\/dialogue>\n    <scene_description>and Wild Bill 's arms thrust out , grabbing Percy and slamming him back against the bars with an arm around his throat . Percy squeals like a pig in a slaughter - chute , thinking he 's gon na die . The guards scramble , drawing their clubs - as Billy strokes Percy 's hair and whispers in his ear :<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Ai n't you sweet. Soft. Like a girl. I druther fuck your asshole than your sister's pussy, I think.<\/dialogue>\n    <scene_description>Billy kisses Percy 's ear - and his hand drops down to squeeze Percy 's crotch . Paul pulls his sidearm , taking aim .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Wharton!<\/dialogue>\n    <scene_description>and Billy lets go , stepping back with his hands raised , laughing . Percy darts across the Mile in terror and cringes against the cell opposite , breathing so loud and fast it almost sounds like sobbing .<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>I let ` im go, I ` us just playin' and I let ` im go! Never hurt a hair on his purty head!<\/dialogue>\n    <parenthetical>( grins at Percy . )<\/parenthetical>\n    <dialogue>Your noodle ai n't limp at all, loverboy! I think you sweet on ol' Billy the Kid.<\/dialogue>\n    <parenthetical>( sniffs his fingers . )<\/parenthetical>\n    <dialogue>. oooh, but smell you.<\/dialogue>\n    <scene_description>Down at his cell , Del starts laughing shrilly . Everybody else starts to realize it , including Percy himself . he looks down , sees the huge dark stain spreading at his crotch .<\/scene_description>\n    <character>DEL<\/character>\n    <dialogue>Lookit, he done piss his pants! Look what the big man done! He bus' other people wid ` is stick, mais oui some mauvais homme, but someone touch him, he make water in his pants jus' like a baby!<\/dialogue>\n    <scene_description>Percy just stares . Brutal shoves Delacroix into his cell .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>Shut up, Del..<\/dialogue>\n    <scene_description>Paul steps to Percy , puts a hand on his shoulder . Percy shakes his hand off , looks around at their faces , whispers :<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>You talk about this to anyone, I'll get you all fired. I swear that to God.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>What happens on the Mile, stays on the Mile. Always has.<\/dialogue>\n    <scene_description>The men nod solemnly . Nobody 's going to talk about this . Percy looks at Delacroix still snorting in his cell , points at him .<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>You keep laughing, you French - fried faggot. You just keep laughing.<\/dialogue>\n    <scene_description>Del falls silent . Percy turns and storms away as we FADE TO BLACK IN BLACKNESS , A TITLE CARD APPEARS : `` The Bad Death of Eduard Delacroix '' .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEL'S CELL - DAY<\/stage_direction>\n    <scene_description>Paul is sitting with Delacroix . Brutal is leaning against the bars . Del is throwing the spool . Mr. Jingles is fetching it . The silence is thick . Just the clack - clatter of the spool , and the skitter skitter of tiny mouse paws on concrete . It 's getting on Paul 's nerves in a big way . Softly :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>What about Dean? He's got a little boy would love a pet mouse, I bet.<\/dialogue>\n    <scene_description>Del looks horrified at the thought .<\/scene_description>\n    <character>DEL<\/character>\n    <dialogue>How could a boy be trust wid Mr. Jingles? Maybe forget to feed him. And how he keep up wid his trainin', just a boy, n'est - ce pas?<\/dialogue>\n    <scene_description>Del tosses the spool again - clack - clatter , skitter - skitter .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>All right, I'll take him.<\/dialogue>\n    <character>DEL<\/character>\n    <dialogue>T'ank you kindly, merci beaucoup, but you live out in the woods, and Mr. Jingles, he be scared to live out dans la foret.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>He whisper that in your ear?<\/dialogue>\n    <scene_description>Del nods , tosses the spool again - clack - clatter , skitter skitter . Paul is completely out of ideas . But then :<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>How about Mouseville?<\/dialogue>\n    <character>DEL<\/character>\n    <dialogue>Mouseville?<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>Tourist attraction down in Florida. Tallahassee, I think. Is that right, Paul? Tallahassee?<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( level . )<\/parenthetical>\n    <dialogue>Yeah, that's right. Tallahassee. Just down the road apiece from the dog university.<\/dialogue>\n    <scene_description>Brutal 's mouth twitches , but he manages to keep a straight face . He gives Paul a look - do n't blow this .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>You think they'd take Mr. Jingles? You think he's got the stuff?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Might. He's pretty smart.<\/dialogue>\n    <character>DEL<\/character>\n    <dialogue>Hey! What dis Mouseville?<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>Tourist attraction, I said. They got this big tent you go into -<\/dialogue>\n    <character>DEL<\/character>\n    <dialogue>Like a cirque? You have to pay?<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>You shittin' me? Course you pay. Dime a piece, two cents for the kids. And inside the tent there's this mouse city made out of boxes and toilet paper rolls.<\/dialogue>\n    <scene_description>Percy is drifting up the block , listening too , but nobody 's really paying him much mind .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>plus they got the Mouseville All - Star Circus. There's mice that swing on trapeze, mice that roll barrels, mice that stack coins.<\/dialogue>\n    <character>DEL<\/character>\n    <dialogue>Dat's it! Dat's da place for Mr. Jingles! You gon na be a circus mouse after all! Gon na live in a mouse city down in Florida!<\/dialogue>\n    <scene_description>Del tosses the spool extra hard - it takes a bad bounce off the wall and goes clattering through the bars onto the Mile . The mouse goes after it like a shot , too intent to notice : His old enemy Percy .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>Percy, no!<\/dialogue>\n    <scene_description>Percy stomps the heel of his heavy work shoe down on Mr. Jingles . There 's a SOFT SNAP as the mouse 's back breaks . Del screams in horror and throws himself at the bars , sobbing the mouse 's name . Percy looks to Brutal and Paul , smiles .<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>Knew I'd get him sooner or later. Just a matter of time, really.<\/dialogue>\n    <scene_description>He turns and strolls up the Mile , leaving Mr. Jingles dying in a tiny pool of blood . Up at the duty desk , Dean and Harry get up from a cribbage game , stunned and furious . Percy strolls past , exits to the execution chamber . Del is still screaming , all his pent - up terror and grief pouring out at the dying mouse . And then comes a soft , urgent voice :<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Give'm to me.<\/dialogue>\n    <scene_description>They turn . Coffey 's got his arms out through his bars , one massive hand spread open .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Give'm to me. Might still be time.<\/dialogue>\n    <scene_description>Paul hesitates , scoops the mouse up off the floor , wincing at the feel of it . Splintered bones are poking at the hide .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <scene_description>Paul does n't answer , just lays Mr. Jingles into Coffey 's hand . Coffey pulls the mouse in through his bars and lays his other hand gently over it , cupping the creature . All we see now is the tail hanging out the side , twitching weakly .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>Paul, what the hell -<\/dialogue>\n    <scene_description>Paul motions him quiet . Del is pleading softly at his bars :<\/scene_description>\n    <character>DEL<\/character>\n    <dialogue>Please, John. Oh Johnny, help him, please help him, s ` il vous plait.<\/dialogue>\n    <scene_description>Harry and Dean join the group . Everybody watching now . Coffey puts his mouth to his cupped hands , inhales sharply . The world hangs suspended for a moment . Coffey raises his face , contorting as if desperately ill , starts making those horrendous choking sounds in his throat .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Oh, dear Jesus. The tail. Look at the tail.<\/dialogue>\n    <scene_description>They do . The tail is no longer weak and dying . It 's snapping briskly back and forth , as if ready to play . Coffey makes that retching\/gagging sound . and again exhales a cloud of swirling black `` insects '' from his nose and mouth . The men watch , speechless , as the bugs turn white and disappear . Coffey bends down , opens his hand . Mr. Jingles bounds off his fingers through the bars , racing past the guards ' feet . They turn to see Del gather the mouse up , laughing and crying . Dean turns back to Coffey with a stunned whisper :<\/scene_description>\n    <character>DEAN<\/character>\n    <dialogue>What did you do?<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>I helped Del's mouse. He a circus mouse. Goan live in a mouse city down in. down in.<\/dialogue>\n    <character>BRUTAL<\/character>\n    <parenthetical>( numb . )<\/parenthetical>\n    <dialogue>Florida?<\/dialogue>\n    <scene_description>Coffey nods , remembering .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Boss Percy's bad. He mean. He step on Del's mouse.<\/dialogue>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>I took it back, though.<\/dialogue>\n    <scene_description>And with that , he lies back on his bunk and faces the wall . The others look to Paul , do n't even know what to say .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Brute, come along with me.<\/dialogue>\n    <parenthetical>( to Harry and Dean . )<\/parenthetical>\n    <dialogue>You fellas go on back to you cribbage game.<\/dialogue>\n    <scene_description>Harry nods numbly . Paul leads Brutal up the Mile . EXECUTION CHAMBER . and they enter to find Percy polishing Old Sparky 's arms .<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>Do n't start in on me. It was just a mouse. Never belonged here in the first place.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>The mouse is fine. Just fine. You're no better at mouse - killing than anything else around here.<\/dialogue>\n    <character>PERCY<\/character>\n    <dialogue>You expect me to believe that? I heard the goddamn thing crunch.<\/dialogue>\n    <scene_description>Paul steps closer , angry as we 've ever seen him :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Are n't you glad Mr. Jingles is okay? After all our talks about how we should keep the prisoners calm? Are n't you relieved?<\/dialogue>\n    <character>PERCY<\/character>\n    <dialogue>What kind of game is this?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>No game. See for yourself.<\/dialogue>\n    <scene_description>Beat . Percy stalks past them , heads out onto the Mile . Paul and Brutal just wait , saying nothing . Brutal picks up the rag left by Percy , resumes polishing chores on Old Sparky . Paul stretches , cracks his neck . The silence heavy . until Percy reappears .<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>You switched them! You switched them somehow, you bastards!<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>I always keep a spare mouse in my wallet for occasions such as this.<\/dialogue>\n    <character>PERCY<\/character>\n    <dialogue>You're playing with me, the both of you! Just who the hell do you think you are -<\/dialogue>\n    <scene_description>Brutal grabs him , slams him bodily into the electric chair . Paul bends close , gets right in Percy 's face .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>We're the people you work with, Percy, but not for long. I want your word.<\/dialogue>\n    <character>PERCY<\/character>\n    <dialogue>My word?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I put you out front for Del, you put in your transfer to Briar Ridge the very next day.<\/dialogue>\n    <character>PERCY<\/character>\n    <dialogue>What if I just call up certain people and tell them you're harassing me? Bullying me?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Go ahead. I promise you'll leave your share of blood on the floor.<\/dialogue>\n    <character>PERCY<\/character>\n    <dialogue>Over a mouse? You think anyone's gon na give two shits?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>No. But four men will swear you stood by while Wild Bill tried to strangle Dean to death. About that people will care, Percy. Even your uncle the governor will care.<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>Thing like that goes in your work record. Work record can follow a man around a long, long time.<\/dialogue>\n    <scene_description>Percy looks from one man to another , knowing he 's trapped .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>I put you out front, you put in your transfer. That's the deal.<\/dialogue>\n    <scene_description>Percy thinks it over , nods . He tries to get up , but Paul keep him pinned . and pointedly offer his hand .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You make a promise to a man, you shake his hand.<\/dialogue>\n    <scene_description>Percy hesitates , shakes Paul 's hand . HIGH WIDE ANGLE OF EXECUTION CHAMBER . and Paul pulls him out of the electric chair as we SAME ANGLE AS ABOVE - NEXT NIGHT Witnesses are trickling in , filling the seats . A storm is brewing , sending FLASHES OF LIGHTNING across the floors .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEL'S CELL - NIGHT<\/stage_direction>\n    <scene_description>Del sits with Mr. Jingles in his lap , stroking the mouse between the ears . Paul , Brutal , and Harry appear at the bars .<\/scene_description>\n    <character>DEL<\/character>\n    <dialogue>Hey, boys. Say hi, Mr. Jingles.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Eduard Delacroix, will you step forward?<\/dialogue>\n    <character>DEL<\/character>\n    <dialogue>Boss Edgecomb?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Yes, Del?<\/dialogue>\n    <character>DEL<\/character>\n    <dialogue>Don' let nothin' happen to Mr. Jingles, okay?<\/dialogue>\n    <scene_description>Paul nods - I promise . Del rises , steps to Paul .<\/scene_description>\n    <character>DEL<\/character>\n    <dialogue>Here, take him.<\/dialogue>\n    <scene_description>Del lifts his hand . Mr. Jingles steps off onto Paul 's shoulder with no hesitation . Gently :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Del.. I ca n't have a mouse on my shoulder while. you know.<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>I'll take him, boss. Jus' for now. If Del don' mind.<\/dialogue>\n    <character>DEL<\/character>\n    <dialogue>Yeah, you take ` im, John. Take him til' dis foolishment done - bien!<\/dialogue>\n    <parenthetical>( to Paul and Brutal . )<\/parenthetical>\n    <dialogue>After, you take him down to Florida? To dat Mouseville?<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>We'll do it together, most likely. Maybe take a little vacation time.<\/dialogue>\n    <scene_description>Paul moves to Coffey 's cell . The mouse skitters off Paul 's shoulder onto Coffey 's hand .<\/scene_description>\n    <character>DEL<\/character>\n    <dialogue>People pay a dime apiece to see him. Two cents for the kiddies. Ai n't dat right, Boss Howell?<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>That's right, Del..<\/dialogue>\n    <character>DEL<\/character>\n    <dialogue>You a good man, Boss Howell. You too, Boss Edgecomb. Wish I could' a met you bot' someplace else.<\/dialogue>\n    <scene_description>Del gives Mr. Jingles one last look , starts to cry .<\/scene_description>\n    <character>DEL<\/character>\n    <dialogue>Au revoir, mon ami. Je t ` aime, mon petit.<\/dialogue>\n    <scene_description>And they start to walk the Mile . EXECUTION CHAMBER Sweltering in the damp heat . Rain is pissing down , drumming the tin roof . People glance up uneasily as THUNDER BOOMS . A FAT LADY is staring grimly at the electric chair .<\/scene_description>\n    <character>FAT LADY<\/character>\n    <dialogue>Hope he's good and scared. Hope he knows the fires are stoked, and that Satan's imps are waiting.<\/dialogue>\n    <scene_description>ANGLE ON DOOR Del enters , horrified to see Percy waiting at Old Sparky . Paul gives Del 's arm a reassuring squeeze , leads him forward . The clamps are applied . The straps are drawn tight .<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>Roll on one.<\/dialogue>\n    <scene_description>The lights brighten on a RISING HUM . Witnesses look up . ON THE MILE Coffey looks up as the overheads flare hotter and hotter , whispers to the mouse in his hands :<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>You be still, Mr. Jingles. You be so quiet and so still.<\/dialogue>\n    <scene_description>RESUME EXECUTION CHAMBER<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>Eduard Delacroix, you have been condemned to die by a jury of your peers, sentence imposed by a judge in good standing in this state. You have anything to say before sentence is carried out?<\/dialogue>\n    <scene_description>Del tries to speak . Does n't quite manage the first time . Licks his lips and tries again .<\/scene_description>\n    <character>DEL<\/character>\n    <dialogue>I sorry for what I do. I give anything to take it back, but I ca n't. God have mercy on me.<\/dialogue>\n    <parenthetical>( whispers to Paul . )<\/parenthetical>\n    <dialogue>Don' forget ` bout Mouseville.<\/dialogue>\n    <scene_description>Paul and Brutal nod - and are stunned as :<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>No such place. That's just a fairy tale these guys told you to keep you quiet. Just thought you should know, faggot.<\/dialogue>\n    <scene_description>The stricken look in Del 's eyes tells us a part of him had known all along . Paul and Brutal would both like to deck Percy right about now , and he knows it - he gives them a `` what are you gon na do about it '' smile . Nothing they can do . Paul nods to Harry , who takes the black mask from the back of the chair and rolls it down over Del 's head , leaving the top of his shaved head exposed . PERCY takes the sponge and bends down to the bucket of brine . The other do n't see it , but we do : Percy only pretends to dip the sponge and soak it . It never touches the water . He straightens up and places the sponge atop Delacroix 's head , hiding it with his hands . The cap is lowered . Paul and the others have n't yet realized what 's happened . THUNDER BOOMS and LIGHTNING CRASHES as Percy hides a smile , steps back to address the condemned :<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>Electricity shall now be passed through your body until you are dead, in accordance with state law. God have mercy on your soul.<\/dialogue>\n    <scene_description>TIGHT ON PAUL as realization starts to dawn . He stares at the bucket , then across the floor to Delacroix , coming to terms with the evidence of his eyes - there 's no water on the floor or dripping down the sides of Del 's neck . Paul 's eyes widen . A stunned beat of horror . He starts to open his mouth to scream `` NO ! '' , but Percy beats him to it with :<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>Roll on two.<\/dialogue>\n    <scene_description>Van Hay flicks the switch . WHAM . The electricity hits home and Del rocks forward , riding the current . Then things start to go horribly wrong . The HUMMING loses its steadiness and starts to waver with a CRACKLING SOUND . Tendrils of smoke begin curling from under the cap , a mixture of burning hair and sponge . Brutal shoots Paul a horrified look . Paul responds with a harsh whisper :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>It's dry!<\/dialogue>\n    <scene_description>Delacroix begins twisting and jittering in the chair , his masked face snapping violently from side to side , his legs pistoning up and down in his restraints . There 's a MUFFLED POP from under the cap , like a pine knot exploding in a hot fire . Smoke starts coming through the fabric of the mask , puffing upward . Del is being cooked alive . Paul spins to the partition , hollering -<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>JACK!<\/dialogue>\n    <scene_description>- but Brutal grabs his arm , whispers fiercely :<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>Do n't you tell him to stop. Do n't you do it. It's too late for that.<\/dialogue>\n    <scene_description>Paul turns back , helpless . The other guards are trading wild looks , unable to believe what 's happening . Even Percy looks aghast - he was expecting something , but not this . Del begins SCREAMING - the wild , hysterical sound of an animal being shredded alive in a hay baler . The HUMMING goes uneven and ragged , the lights rising and falling . ON THE MILE . as Del 's screams rise and fall with them , echoing up the corridor . Coffey 's shaking and screaming too , as if feeling Del 's pain . Mr. Jingles squirms out of his grasp and goes squeaking in terror toward the restraint room door .<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>HE'S COOKIN' NOW! THEY COOKIN' HIM GOOD! NEAR ABOUT DONE, I RECKON!<\/dialogue>\n    <scene_description>RESUME EXECUTION CHAMBER Wrong . Del 's nowhere near about done . He 's slamming back and forth in the chair hard enough to shake the platform , twisting hard against the leather restraints . We hear BONES BREAKING . A WOMAN 'S SCREAMS . Witnesses start rising to their feet :<\/scene_description>\n    <character>WITNESSES<\/character>\n    <dialogue>What the hell's happening to him? Are those clamps going to hold? Christ, the smell! Is this normal?<\/dialogue>\n    <scene_description>The mask bursts into flame on Delacroix 's face . Van Hay hollers through the wire mesh , horrified :<\/scene_description>\n    <character>VAN HAY<\/character>\n    <dialogue>SHOULD I KILL THE JUICE?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>NO! ROLL, FOR CHRIST'S SAKE, ROLL!<\/dialogue>\n    <scene_description>Harry scoops up the bucket of water to throw it .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>No water! No water! You crazy?<\/dialogue>\n    <scene_description>Harry backs off with a look of dazed understanding - you do n't throw water on a man getting juiced . Right . He drops the bucket , races to get the chemical fire extinguisher instead . The flaming mask peels away , revealing Del 's charring face . His eyeballs are misshapen globs of burning white jelly blown out of their sockets . The ATTENDING DOCTOR faints dead away . Pandemonium now in the room . People shouting and hurrying to exit , chairs falling over , women screaming :<\/scene_description>\n    <character>FAT LADY<\/character>\n    <dialogue>Stop it, stop it, oh ca n't you see he's had enough?<\/dialogue>\n    <scene_description>Hal grabs Paul by the shoulder , spins him around .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Why do n't you shut it down?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>He's still alive! You want me to shut down while he's still alive?<\/dialogue>\n    <scene_description>Hal is horrified at the thought . Del is jittering and screaming , rocking from side to side , smoke pouring from his nostrils and mouth , his tongue sizzling purple - black . The witnesses are crowding and shoving to get out , but the back door is locked . All they can do is cluster there . Paul sees Percy with his head turned away . He grabs him , forces his head around .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You watch, you son of a bitch!<\/dialogue>\n    <scene_description>Harry steps up , the extinguisher in his hands . Waiting . Del finally slumps over . He still vibrating , but now it 's just the effect of current flowing through his body .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Kill it!<\/dialogue>\n    <scene_description>Van Hay kills the current . The HUMMING DIES . Brutal grabs the extinguisher from Harry , shoves it into Percy 's hands .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>You do it. You're running the show, ai n't you?<\/dialogue>\n    <scene_description>Percy , sick and dazed , aims the extinguisher and hoses the smoking corpse . Hal is near the back , calming the crowd :<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>It's all right, folks, it's all under control. Just a power surge from the storm, that's all, nothing to worry about.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Dean, get doc's stethoscope.<\/dialogue>\n    <scene_description>Dean drops to the doctor 's bag , digs through it , hands up the stethoscope . Paul plugs them into his ears . People are moaning and sobbing at the back of the room :<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>Oh my God! Is it always like this? Why did n't somebody tell me? I never would have come!<\/dialogue>\n    <scene_description>Paul wipes some foam away from Delacroix 's chest , places the stethoscope pad to the raw flesh . He nods to Brutal - it 's over .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ACCESS TUNNEL - NIGHT<\/stage_direction>\n    <scene_description>Paul and the others bring the stretcher down , lay the corpse on the gurney . Percy starts stammering excuses :<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>I did n't know the sponge was supposed to be wet -<\/dialogue>\n    <scene_description>Brutal hauls off and slugs him . A scuffle ensues as the others grab Brutal and pull him off .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Brutal, no!<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>What do you mean, no? How can you say no? You saw what he did!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Delacroix's dead, nothing can change that, and Percy's not worth it!<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>So he just gets away with it? Is that how it works?<\/dialogue>\n    <scene_description>Hal comes lunging down the stairs , furious :<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>What the fuck was that? Jesus Christ, three witnesses puked all over the floor up there! And the smell! I got Van Hay to open both doors, but that smell wo n't come out for five damn years, that's what I'm betting! And that asshole Wharton is singing about it! I can hear him!<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>Can he carry a tune, Hal?<\/dialogue>\n    <scene_description>This pulls the plug on the moment - Hal snorts , triggering laughter among the men , a wild release of tension and fear . Everybody starts feeling a bit saner again as it dies down :<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Okay, boys. Okay. Now what the hell happened?<\/dialogue>\n    <scene_description>All eyes go to Percy . Hal turns , sees Percy 's bloody lip .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Percy? Something to say?<\/dialogue>\n    <character>PERCY<\/character>\n    <dialogue>I did n't know the sponge was supposed to be wet.<\/dialogue>\n    <scene_description>Beat . A look of utter contempt from Hal .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>How many years you spend pissing on the toilet seat before somebody told you to put it up?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Percy fucked up, Hal. Pure and simple.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Is that your official position?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Do n't you think it should be?<\/dialogue>\n    <scene_description>Hal considers it , nods .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>He'll be putting in a transfer request to Briar Ridge tomorrow. Moving on to bigger and better things. Is n't that right, Percy?<\/dialogue>\n    <scene_description>Percy nods . Hal steps close , gives him a tight , icy smile .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>You're a little asshole, and I do n't like you a bit.<\/dialogue>\n    <parenthetical>( off Percy 's look . )<\/parenthetical>\n    <dialogue>Have that transfer request on my desk first thing.<\/dialogue>\n    <scene_description>Hal heads back up the stairs . Brutal shoves Percy aside and wheels Delacroix 's body down the tunnel .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. E BLOCK - NIGHT<\/stage_direction>\n    <scene_description>Paul returns to find Wild Bill making up a song in his cell :<\/scene_description>\n    <character>BILLY<\/character>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>Barbecue! Me and you! Stinky, pinky, phew - phew - phew! Were n't Billy or Jilly or Hilly or Roy - it was a French - fried faggot named Delacroix!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You're about ten seconds away from spending the rest of your life in the padded room.<\/dialogue>\n    <scene_description>Billy falls silent . Paul continues down the Mile to Coffey 's cell . Coffey 's on his bunk , face streaked with tears . He wipes his eyes with the heels of his hands like an exhausted child .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Poor Del.. Poor old Del..<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Yes. Poor old Del.. John, are you okay?<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>I could feel it from here.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>What do you mean? You could hear it? Is that what you mean?<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>He's out of it now, though. He's the lucky one. No matter how it happened, Del's the lucky one.<\/dialogue>\n    <scene_description>Paul realizes he wo n't get a coherent answer .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Where's Mr. Jingles?<\/dialogue>\n    <character>COFFEY<\/character>\n    <parenthetical>( points vaguely . )<\/parenthetical>\n    <dialogue>Ran down there. Do n't think he'll be back.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Awful tired now, boss. Dog tired.<\/dialogue>\n    <scene_description>Coffey lays down , turns to face the wall .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Me too, John. Me too.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAUL'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Paul enters in darkness , hangs his hat . He drifts into the kitchen , clicks on the radio . SOFT MUSIC BEGINS : Gene Austin singing `` Did You Ever See A Dream Walking ? '' He pours a drink at the kitchen table , takes a sip , lays the glass down . Jan sleepily appears from the darkness behind him , entering the kitchen . He realizes she 's there , glances back . She can sense the weight on his soul . She comes to him , folds his head into her arms . They stand that way , he drawing strength and she giving it , as the music plays on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - MORNING<\/stage_direction>\n    <scene_description>CAMERA TRACKS the pews to find Paul and Jan seated together in the congregation , voices raised in hymn .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY ROAD - MORNING<\/stage_direction>\n    <scene_description>Paul 's Model T comes sputtering up the road . He and Jan are taking a drive , still in their Sunday best .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAL'S HOUSE - MORNING<\/stage_direction>\n    <scene_description>Paul and Jan wait at the front door . Jan holds a baking dish .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>I hate this.<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>The door opens . Hal , looking tired , ushers them inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACKYARD - MORNING<\/stage_direction>\n    <scene_description>and they walk outside to find MELINDA MOORES sitting in the sun , frail and wasted , a blanket on her knees . She 'd be beautiful if not for the cancer killing her . Paul is shocked at her appearance , hides it as best as he can . Jan covers this for him - she drops to Melinda 's side with a warm smile and a kiss , takes the woman 's frail hands in hers . Paul catches Jan 's eye . The look he gives her says it all - I do n't know what I 'd do without you . and we find Paul and Hal talking quietly over beers while the women visit b.g. :<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>She's having one of her good days. I thank God for that.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>What a bad day?<\/dialogue>\n    <character>HAL<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Sometimes she's. not herself anymore. She swears.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Swears.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>It just pops out, the most awful language you can imagine. She does n't even know she's doing it. I did n't know she'd ever heard words like that. and to hear her say them in her sweet voice.<\/dialogue>\n    <parenthetical>( gazes off . )<\/parenthetical>\n    <dialogue>I'm glad she's having a good day, Paul. I'm glad for you and Jan..<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAUL'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Paul is wide awake , staring at the dark . Jan can sense him brooding . She rolls over sleepily .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>Honey? If you do n't say what's on your mind, I'm afraid I'll have to smother you with a pillow.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I'm thinking I love you. I'm thinking I do n't know what I'd do if you were gone.<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I'm also thinking I'd like to have the boys over tomorrow.<\/dialogue>\n    <scene_description>Off Jan 's look , we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM- DAY<\/stage_direction>\n    <scene_description>Brutal , Harry , and Dean are seated at the table with Paul and Jan. . Serving plates are being passes , everybody digging in :<\/scene_description>\n    <character>THE MEN<\/character>\n    <parenthetical>( various , ad - lib . )<\/parenthetical>\n    <dialogue>Ma'am, you sure know how to fry up some fine chicken. Brutal, do n't hog the taters now. Try that corn yet? It's something special.<\/dialogue>\n    <scene_description>Paul softly interjects :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You saw what he did with the mouse.<\/dialogue>\n    <scene_description>This stops everybody cold . Dean puts his chicken down , wipes his hands . Looks are traded in the silence .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>I could' a gone the rest of the day without you bringing that up.<\/dialogue>\n    <character>DEAN<\/character>\n    <dialogue>I could' a gone the rest of the year.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>He did it to me too. He put his hands on me and took my bladder infection away.<\/dialogue>\n    <scene_description>The men absorb this . Brutal glances to Jan. .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>When he came home, he was. all better.<\/dialogue>\n    <character>DEAN<\/character>\n    <dialogue>You're talking about an authentic healing. A praise - Jesus miracle.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I am.<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>If you say it, I accept it. But what's it got to do with us?<\/dialogue>\n    <scene_description>Jan looks to Paul , realization starting to dawn :<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>Melinda? Oh, Paul.<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>Melinda? Melinda Moores?<\/dialogue>\n    <scene_description>Paul nods - that 's who we 're talking about .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>You really think you can help her?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>It's not a bladder infection, or even a busted - up mouse. But there might be a chance.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Hold on now. You're talking about our jobs. Sneak a sick woman onto a cellblock?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Hal would never allow that. You know him, he would n't believe something unless it fell on him.<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>So you're talking about taking John Coffey to her. That's more than just our jobs, Paul.<\/dialogue>\n    <character>DEAN<\/character>\n    <dialogue>Damn right. That's prison time if we get caught.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Let's not discuss this like it's even an option. Brutal, help me out here.<\/dialogue>\n    <scene_description>Brutal lets out a deep breath , considering . He looks to Paul .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>I'm sure she's a fine woman.<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>The finest.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>What's happening to her is an offense, Brutal. To the eyes and the ears and the heart.<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>I have no doubt. But we do n't know her like you and Jan do. do we?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>That's why it's a lot to ask.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>It is. Let's not forget Coffey's a murderer. What if he escapes? I'd hate losing my job or going to prison, but I'd hate having a dead child on my conscience even more.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I do n't think that'll happen.<\/dialogue>\n    <parenthetical>( beat , softly . )<\/parenthetical>\n    <dialogue>. in fact, I do n't think he did it at all.<\/dialogue>\n    <scene_description>The men are stunned by this . Off their looks :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>I just ca n't see God putting a gift like that in the hands of a man who would kill a child.<\/dialogue>\n    <character>DEAN<\/character>\n    <dialogue>Well, that's a tender notion, but the man's on death row for the crime. Plus, he's huge. If he tried to get away, it'd take a lot of bullets to stop him.<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>We'd all have shotguns in addition to sidearms. I'd insist on that.<\/dialogue>\n    <parenthetical>( to Paul . )<\/parenthetical>\n    <dialogue>He tried anything, we'd have to take him down. You understand.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I understand.<\/dialogue>\n    <character>BRUTAL<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>So. Tell us what you had in mind.<\/dialogue>\n    <scene_description>FADE TO BLACK IN BLACKNESS , A TITLE CARD APPEARS : `` Night Journey '' .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INFIRMARY BUILDING\/DISPENSARY - NIGHT<\/stage_direction>\n    <scene_description>A FLASHLIGHT BEAM plays across a glass cabinet , scanning the contents . The beam pauses . A hand enters frame , unlocks the cabinet , pulls out a bottle of morphine tablets . and WE ANGLE TO Brutal as he shakes half a dozen pills onto his palm , pockets them , replaces the bottle on the shelf . He turns and slips five bucks to a NIGHTSHIFT ORDERLY .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>I was never here.<\/dialogue>\n    <character>ORDERLY<\/character>\n    <dialogue>Shit, for five bucks, you was never nowhere.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. E BLOCK ACCESS TUNNEL - NIGHT<\/stage_direction>\n    <scene_description>A MORPHINE PILL is being crushed to powder on the stainless steel gurney . TILT UP to Paul crushing the pills . Brutal carefully scrapes the powder onto a small sheet of paper .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAUL'S INNER OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Percy is parked in Paul 's chair with his feet up , reading a book titled : `` CARING FOR MENTAL PATIENTS . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. E BLOCK - NIGHT<\/stage_direction>\n    <scene_description>Harry and Dean are playing cards at the duty desk , tension thick , cards slapping softly as the seconds tick by . Paul and Brutal finally show up toting bottles of RC cola :<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>Fellas thirsty? Fresh out of the icebox.<\/dialogue>\n    <character>DEAN<\/character>\n    <dialogue>Oh, thanks. That's swell.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Yeah, hot in here.<\/dialogue>\n    <scene_description>They begin popping the caps off , swigging cola . The sound of it brings Billy to his bars .<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Hey. Hey, I'm' a get some too.<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>My ass you get some too.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You think you deserve any?<\/dialogue>\n    <character>HARRY<\/character>\n    <parenthetical>( checks a clipboard . )<\/parenthetical>\n    <dialogue>Day report says he's been okay.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>Hell, yes, I been behaved. C'mon, now, do n't be stingy hogs.<\/dialogue>\n    <scene_description>Paul shrugs to Brutal - why not ? Brutal pops the top off a bottle , passes it to Paul . Paul grabs a tin cup , sets it on the desk . and we see it contains the morphine powder . He pours the cola , swirls it around . ANGLE THROUGH COFFEY 'S BARS . as Coffey looks up , sensing something happening . He peers up the Mile as Paul walks to : BILLY 'S CELL Billy reaches for the cup , but Paul keeps it out of reach .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You gon na stay behaved?<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>C'mon, you clunk, gim me that.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You promise me, or I'll drink it myself right here in front of you.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>C'mon now, do n't be that way. I be good.<\/dialogue>\n    <scene_description>Paul lets him take the cup . Billy knocks it back , draining it in three huge swallows . He lets out an awesome belch .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Cup.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>We'll break out the fire hose and take it anyway. And you will have drunk your last R.C. cola. Unless they serve'em down in hell.<\/dialogue>\n    <scene_description>Billy 's smile fades . He hands the cup through the bars . Paul takes it , turns and heads back to - THE DUTY DESK - where Brutal , Harry , and Dean have been watching the entire exchange with their hearts in their throats . and we find Billy staring glassy - eyed at the ceiling . He keels over on his bunk . ANGLE to Paul and Brutal stepping to the bars with Harry and Dean .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Anybody wants to back out, now's the time. After this, there's no turning back.<\/dialogue>\n    <parenthetical>( off their looks . )<\/parenthetical>\n    <dialogue>So? We gon na do this?<\/dialogue>\n    <scene_description>A voice comes softly from down the way :<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Sure. I'd like to take a ride.<\/dialogue>\n    <scene_description>Their heads come slowly around , staring at Coffey in shock .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <parenthetical>( to Paul . )<\/parenthetical>\n    <dialogue>Guess were all in.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAUL'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Percy looks up from his book as the door opens . Paul enters with Brutal and Harry , ominously hemming the desk .<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>What is this?<\/dialogue>\n    <scene_description>Paul pulls the canvas straitjacket from behind his back .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Payback.<\/dialogue>\n    <scene_description>Percy jumps up and tries to the execution chamber , but Harry grabs him , spins him back . A wild scuffle ensues as :<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>Let go of me! Let go!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Settle down, Percy!<\/dialogue>\n    <scene_description>Percy tries to jerk away , crashes into the desk . The book he was reading falls to the floor - - and a `` Tijuana Bible '' is revealed within the pages . It 's a pornographic cartoon book of the type popular in the ' 30 's , featuring crude drawings of famous cartoon characters or movie stars engaged in outlandish sexual acts . This one has Olive Oyl getting it doggy - style from Popeye . The word balloon over his head features his famous laugh : `` Uk - uk - uk - uk ! ''<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>Oooo, Poicy! What would your mother say?<\/dialogue>\n    <character>PERCY<\/character>\n    <dialogue>Let go, you ignoramus! I know people! Big people!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>So you've said. C'mon, stick out your arms like a good boy.<\/dialogue>\n    <character>PERCY<\/character>\n    <dialogue>I wo n't. And you ca n't make me.<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>You're dead wrong about that, you know.<\/dialogue>\n    <scene_description>Brutal grabs Percy by the ears , twisting hard . Percy lets out a shriek - not just of pain , but a dismayed understanding that he 's not going to bluster his way out of this one .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>You gon na put your arms up? I'll rip your ears off. Use'em for tea caddies. You know I will.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>The man's ripping your ears off, Percy. I'd do as he says.<\/dialogue>\n    <scene_description>Percy jerks his arms up before him . They get the straitjacket on him within seconds . Percy turns to Paul on the verge of tears . Softly :<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>Please, Paul. Do n't put me in with Wild Bill. Please.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You would think that.<\/dialogue>\n    <scene_description>Paul gives him a hard , angry shove .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. E BLOCK - NIGHT<\/stage_direction>\n    <scene_description>and they bring him down the Mile to the restraint room door . Brutal takes Percy 's holster and baton .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>You'll get'em back, do n't worry.<\/dialogue>\n    <character>PERCY<\/character>\n    <dialogue>That's more than I can say about your jobs. All your jobs! You ca n't do this to me! You ca n't!<\/dialogue>\n    <scene_description>Paul steps forward with a roll of strapping tape .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Let you in on a little secret. We can and we are.<\/dialogue>\n    <scene_description>He slaps the tape over Percy 's mouth and shoves him back into the restraint room . Percy stands breathing heavily through his nose , making muffled mmmmph - mmmph ! sounds under the tape .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You're going to have a few hours of quiet time now, so you can reflect on what you did to Del..<\/dialogue>\n    <character>BRUTAL<\/character>\n    <parenthetical>( grins . )<\/parenthetical>\n    <dialogue>If you get lonely, think about Olive Oyl.<\/dialogue>\n    <parenthetical>( thrusting his hips . )<\/parenthetical>\n    <dialogue>. uk - uk - uk - uk!<\/dialogue>\n    <scene_description>And they slam the door , shutting Percy into darkness . A WALL - MOUNTED GUN SAFE is unlocked , shotguns pulled out . The men load up , heading down the Mile as :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>One more time - what do you say if somebody comes by?<\/dialogue>\n    <character>DEAN<\/character>\n    <dialogue>Coffey got upset, so we put him in the restraint room. They hear any noise, they'll think it's him.<\/dialogue>\n    <scene_description>They come to Coffey 's cell .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>We goan for the ride now?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>That's right.<\/dialogue>\n    <scene_description>The cell is unlocked . Coffey emerges . Paul motions them along , still grilling Dean :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>What about us?<\/dialogue>\n    <character>DEAN<\/character>\n    <dialogue>You're over in Admin, going over Del's file. Brutal and Harry are in the laundry doing their wash -<\/dialogue>\n    <scene_description>A skinny white arm suddenly shoots out from Wild Bill 's cell and grabs Coffey by the wrist . The men gasp , shocked to see Billy on his feet , grinning and weaving like a punch - drunk . Coffey 's reaction is beyond simple surprise ; he 's actually trembling at Billy 's touch as if some electrical circuit were engaged . His eyes are wide and horrified , as if he 'd just put his hand in a basket full of snakes . He tries to pull away , but Billy has him tight , that mysterious circuit blazing .<\/scene_description>\n    <character>BILLY<\/character>\n    <parenthetical>( slurring wildly . )<\/parenthetical>\n    <dialogue>Where you fink you're goin'?<\/dialogue>\n    <scene_description>Coffey responds softly , with utmost horror :<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>You're a bad man.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>S'right, nigger. Bad as you'd want.<\/dialogue>\n    <scene_description>Paul plucks Billy 's hand off Coffey 's arm - and Coffey flinches back as the circuit is broken .<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Whooeee. Whole room's spinning. Like I'm shit - ass drunk. I have me some shine or what?<\/dialogue>\n    <scene_description>He turns and staggers back to his bunk , muttering all the way :<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Niggers oughtta have they own ` lectric chair. White man ought n't havta sit in no nigger ` lectric chair, nossir.<\/dialogue>\n    <scene_description>He goes face - first onto his bunk . Coffey is still staring .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>He's a bad man.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EXECUTION CHAMBER - NIGHT<\/stage_direction>\n    <scene_description>Coffey is brought in . and freezes in horror at the sight of Old Sparky . A whisper :<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>They're still in there. Pieces of them, still in there. I hear them screaming.<\/dialogue>\n    <scene_description>All eyes go to the electric chair . It sits shrouded in shadow like an ominous throne . Never before has this place felt so haunted to the men . It makes the hairs on the neck stand up .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>John, come along! Right now, y' hear? C'mon! Toward that door!<\/dialogue>\n    <scene_description>Coffey finally responds , pulling away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. E BLOCK ACCESS TUNNEL - NIGHT<\/stage_direction>\n    <scene_description>and they come down the steps . They realize Coffey will have to stoop all the way down the tunnel . Paul pats the gurney .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Lie down on this.<\/dialogue>\n    <parenthetical>( off Coffey 's look . )<\/parenthetical>\n    <dialogue>It'll be easier for you and no harder for us.<\/dialogue>\n    <scene_description>Coffey eases carefully onto the gurney , lying on his back . His knees hang over the edge and his toes touch the ground , but it works . They push him along , traversing the pools of light . Coffey actually starts to smile . He reaches out his arms , fingertips touching the tunnel walls as they go by .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Say. This is fun.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRISON WALL - NIGHT<\/stage_direction>\n    <scene_description>A massive iron door SQUEALS open onto a little - used fenced enclosure . Paul and the others bring Coffey up from the tunnel below , emerging into the night . Coffey 's breath catches as he gazes wondrously up at the stars , pointing :<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Look, boss! It's Cassie, the lady in the rocking chair!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Shhh. John, you have to be quiet now.<\/dialogue>\n    <character>COFFEY<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>You see her? You see the lady?<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>We see her, John.<\/dialogue>\n    <scene_description>Harry goes first , hugging the shadows as he pulls his keys to unlock the gate . WIDE SHOT OF PRISON . while TOWER GUARDS huddle in their enclosure atop the walls . An occasional SPOTLIGHT cuts the darkness . FIREFLIES dance in the fields and trees as far as the eye can see . Four dark figures detach from the shadows , hurrying across the lonely country road into the fields on the far side .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - NIGHT<\/stage_direction>\n    <scene_description>Coffey 's hand scoops up some fallen leaves . TILT UP to his face as he crunches them under his nose , inhaling their smell . He see the guards throwing him anxious looks . He misreads this , holds out his hand so they can smell too . They do it , just to make him happy .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>C'mon, big boy, keep moving.<\/dialogue>\n    <scene_description>A FEW FIREFLIES come winking through frame as the group presses on . ANOTHER AREA\/WOODS The trees are growing sparser , opening onto fields . MORE FIREFLIES are flitting into view , trailing in their wake .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>How far is it?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Just up ahead.<\/dialogue>\n    <scene_description>Harry brings them to a thicket of trees . They start removing branches and boughs , uncovering a battered old FARMALL TRUCK hidden in the brush . The men pause . Even more fireflies are swirling around them , growing in number . It 's getting downright weird . Coffey laughs softly , drawing their attention . A childlike smile has utterly transformed his face . He raises his hand , letting a firefly weave playfully in and out of his fingers .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Hey there, little firefly. Where's Mrs. Firefly this evening?<\/dialogue>\n    <scene_description>Another firefly joins the first , both now dancing and blinking around his fingers . Coffey laughs again .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Oh, there you is. You come out to play too?<\/dialogue>\n    <scene_description>The men stand gaping . The fireflies are flitting to Coffey as if to a beacon . He waves his hands slowly , fireflies blinking and trailing from his fingertips like magic dust . They begin orbiting his shiny bald head like tiny glowing planet orbiting a sun , their light kicking a mellow sheen off his ebony skin . Coffey 's eyes meet Paul 's .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>They seem. drawn to you.<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>I love'em, is why. They do n't think no hurtful thoughts. They's just happy to be. Happy little lightning bugs.<\/dialogue>\n    <scene_description>The men do n't know whether to be enchanted or terrified . Harry gives Paul a look - can we go ? Please ?<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>C'mon, big boy. Upsy - daisy.<\/dialogue>\n    <scene_description>Coffey clambers up on the stakebed . Paul and Brutal join him . Harry gets in behind the wheel , jabs the starter button . ON THE STAKEBED . while Coffey sits with his back to the cab .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>John? Do you know where we're taking you?<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>Help a lady?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>That's right. Help a lady. But how did you know?<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>Dunno. Tell the truth, boss, I do n't know much' a anything. Never have.<\/dialogue>\n    <scene_description>The truck pulls out . Coffey waves as the fireflies get left behind , dwindling away like stars .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Bye, fireflies. Bye.<\/dialogue>\n    <scene_description>WIDE ANGLE OF COUNTRYSIDE The truck rumbles from the fields onto a dirt road , countless fireflies swirling in its wake .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOORES HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Headlights come over the rise . The truck appears , rumbling down toward the house . The world is isolated and still . IN THE TRUCK CAB Harry stops and cuts the engine , leaving the headlights on . Silence now , save for the trilling of crickets . IN THE STAKEBED Paul and Brutal both look terrified now that they 're actually here . An urgent whisper :<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>We can still turn back.<\/dialogue>\n    <scene_description>Paul hesitates , wanting to do just that , but :<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Boss, look. Someone's up.<\/dialogue>\n    <scene_description>Lights are coming on inside the house . Coffey rises and steps down from the truck , pulling Paul along . Brutal follows them .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>This is a mistake. Christ, Paul, what were we thinking?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Too late now. Harry, keep John here until we call you.<\/dialogue>\n    <scene_description>Paul and Brutal walk to the front door as the lights inside the house keep clicking on . The last one finally comes on over the stoop , the front door opens a crack . and the twin barrels of a shotgun poke out into the night .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Who the hell goes there at two - thirty in the goddamn morning?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Hal, it's us! It's Paul and Brutal - it's us!<\/dialogue>\n    <scene_description>The door swings wider , revealing Hal 's face gaunt and haggard in the yellow porch light , stunned to see them :<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Paul, what are you doing here at this hour? Jesus, it's not a lockdown, is it? Or a riot?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Hal, God's sakes, take your finger off the trigger.<\/dialogue>\n    <scene_description>Hal does n't , aiming past them at the truck in the yard .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Are you hostages? Who's out there? Who's by that truck?<\/dialogue>\n    <scene_description>Coffey steps into the glare of headlights with Harry tugging on his arm , trying to hold him back . Hal cocks both hammers .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>John Coffey! Halt! Halt right there or I shoot!<\/dialogue>\n    <scene_description>His aim wavers as a woman 's voice comes from upstairs :<\/scene_description>\n    <character>MELINDA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hal? Who are you talking to, you fucking cocksucker?<\/dialogue>\n    <scene_description>A frozen moment . Hal mortified . Paul gives him a look - is that Melinda ? Hal 's shotgun shifts back to Coffey - but Paul steps in front of the muzzle .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>No one's hurt. We're here to help.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Help what? I do n't understand. Is this a prison break?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I ca n't explain what it is. You just have to trust me.<\/dialogue>\n    <scene_description>Coffey comes up the steps , brushes Paul aside , stops before the warden . Hal blinks , his thoughts suddenly fuzzy - it 's that benign hypnotic effect Coffey has .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>What do you. want?<\/dialogue>\n    <character>MELINDA<\/character>\n    <dialogue>Hal! Make them go away! No salesmen in the middle of the night! No Fuller brushes! No French knickers with come in the crotch! Tell them to take a flying fuck in a rolling d. d.<\/dialogue>\n    <scene_description>We hear the sound of GLASS BREAKING , then she begins to sob .<\/scene_description>\n    <character>COFFEY<\/character>\n    <parenthetical>( a whisper . )<\/parenthetical>\n    <dialogue>Just to help. Just to help, boss, that's all.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>You ca n't. No one can.<\/dialogue>\n    <scene_description>Coffey pulls the shotgun gently from Hal 's grasp , hands it to Paul . Coffey moves past Hal into the house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - NIGHT<\/stage_direction>\n    <scene_description>and comes up the hallway toward the stairs .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Do n't you go up there! Do n't you do it!<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>Boss, you just be quiet now and let me be.<\/dialogue>\n    <scene_description>Coffey mounts the stairs with the others at his heels , heading up toward that quavering voice :<\/scene_description>\n    <character>MELINDA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Stay out of here! Whoever you are, just stay out! I'm not dressed for visitors, you rat's asshole!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Coffey enters , trailed by the others . Paul pauses , horrified . The woman propped in bed barely resembles Melinda Moores anymore - she looks made up like a Halloween witch , her livid skin hanging in a loose trail of wrinkles , one corner of her mouth twisted . Yellowish bile stains her chin and the front of her nightgown . Her hair has gone white and straw - like , her eyes glowering at Coffey with lively , irrational interest :<\/scene_description>\n    <character>MELINDA<\/character>\n    <dialogue>Oh, so big! Pull down your pants! Let's have a look!<\/dialogue>\n    <scene_description>Hal groans with despair . Coffey just stands there for a moment , watching her from a distance , then approaches the bed .<\/scene_description>\n    <character>MELINDA<\/character>\n    <dialogue>Do n't come near me, pigfucker.<\/dialogue>\n    <scene_description>but as he draws closer , a change occurs . Her features soften , her eyes become more sane and aware .<\/scene_description>\n    <character>MELINDA<\/character>\n    <dialogue>Why do you have so many scars? Who hurt you so badly?<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>Do n't hardly remember, ma'am.<\/dialogue>\n    <scene_description>Coffey sits on the edge of the bed . The lights seem to flare hotter and brighter . Tears are forming in Melinda 's eyes .<\/scene_description>\n    <character>MELINDA<\/character>\n    <dialogue>What's your name?<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>John Coffey, ma'am. Like the drink, only not spelt the same.<\/dialogue>\n    <scene_description>She lays back , staring at him with shining fascination . The world seems to be slowing down , growing very still indeed . and he starts bending slowly toward her .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Ma'am?<\/dialogue>\n    <character>MELINDA<\/character>\n    <dialogue>Yes, John Coffey?<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>I see it. I see it.<\/dialogue>\n    <scene_description>He comes closer . closer still .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>You be still now. You be so quiet and so still.<\/dialogue>\n    <scene_description>He brushes her forehead with his lips . the gentlest whisper of a kiss . then moves his mouth down to hers . For a moment we can see one of her eyes staring past him , filling with an expression of surprise . and then her face is lost to view as Coffey puts his lips on hers . We hear a soft whistling sound as he begins inhaling the air deeply from her lungs . Something hot and glowing starts passing between them , drawn on his breath . The men watch . The house seems to shudder in that moment , as if the entire world has shifted an inch to the right . DOWNSTAIRS PARLOR . and the grandfather clock stops ticking , the pendulum stopping dead , the glass face cracking neatly up the center . BEDROOM . and a windowpane cracks . Then another . A picture falls off the wall . A lightbulb bursts , showering glass . Paul smells smoke , realizes the fringed coverlet of the bed has caught fire . Moving like a man in a dream , he reaches for the waterglass on the nightstand , douses the flames . Coffey keeps kissing Melinda in that deep and mysterious way , inhaling and inhaling , her hand held in his like a tiny white bird . For a moment we actually hear something screaming , as if some willful imp were being extracted by force . and then it 's over . Coffey raises his head , revealing : Melinda 's beautiful face . Her mouth no longer droops . Color is coming back to her hair . Her skin is shining with life . Coffey regards her raptly for a moment or two , then starts coughing violently . He turns away and drops to his knees , hacking like a man in the last stages of tuberculosis . Paul and his men are expecting Coffey to spit out the `` bugs '' , but he does n't - he just keeps coughing , deep and hard , barely finding time to snatch in the next breath of air . Hal goes to his wife , beyond stunned , sits at her side . She looks back at him with amazement , her face like a dirty mirror that 's been suddenly wiped clean . John 's coughing grows even worse . Brutal drops to his side and slaps his broad , spasming back .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>John! Sick it up! Cough'em out like you done before!<\/dialogue>\n    <scene_description>Coffey just keeps retching , eyes watering from the strain , spit flying from his mouth .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>He's choking! Whatever he sucked out of her, he's choking on it!<\/dialogue>\n    <scene_description>Paul starts toward them . Coffey crawls away , pressing himself into a corner with his face against the wallpaper . He 's still making gruesome deep hacking sounds , but getting it under control . He weakly waves Paul off - let me be . Paul looks to the bed . Hal sits with Melinda , stroking her brow . Color is blooming in her cheeks even as we watch .<\/scene_description>\n    <character>MELINDA<\/character>\n    <dialogue>How did I get here? We were going to the hospital in Indianola, were n't we? We stopped and you bought me a packet of posies.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Shhh. It does n't matter. It does n't matter anymore.<\/dialogue>\n    <character>MELINDA<\/character>\n    <dialogue>Did I have the X - ray? Did I<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>They both look at him .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>It was clear. There was no tumor.<\/dialogue>\n    <scene_description>Hal bursts into tears . Melinda sits up , comforting him . Her eyes are drawn to the corner .<\/scene_description>\n    <character>MELINDA<\/character>\n    <dialogue>Who is that man?<\/dialogue>\n    <scene_description>Coffey is struggling to rise . Brutal does his best to help .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>John? Can you turn around? Can you turn around and see this lady?<\/dialogue>\n    <scene_description>Coffey turns . His face is ashen gray , seriously ill .<\/scene_description>\n    <character>MELINDA<\/character>\n    <dialogue>What's your name?<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>John Coffey, ma'am.<\/dialogue>\n    <character>MELINDA<\/character>\n    <dialogue>Like the drink, only not spelled the same.<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>No, ma'am. Not spelt the same at all.<\/dialogue>\n    <scene_description>She pushes the covers aside to rise . Hal tries to stop her .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Melly, no.<\/dialogue>\n    <scene_description>but she pushes his hand gently aside . Hal watches in wonder as she stands , takes a first tentative step . and walks to Coffey . She gazes up and touches his face .<\/scene_description>\n    <character>MELINDA<\/character>\n    <dialogue>I dreamed of you. I dreamed you were wandering in the dark, and so was I. We found each other. We found each other in the dark.<\/dialogue>\n    <scene_description>She undoes her necklace , holds it up for him . He hesitates , glances to Paul . Paul nods - it 's all right . Coffey lowers his head . Melinda affixes the delicate chain around his neck .<\/scene_description>\n    <character>MELINDA<\/character>\n    <dialogue>It's St. Christopher. I want you to have it, Mr. Coffey, and wear it. He'll keep you safe. Please wear it for me.<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>Thank you, ma'am.<\/dialogue>\n    <character>MELINDA<\/character>\n    <dialogue>Thank you, John.<\/dialogue>\n    <scene_description>Her arms go around his neck , hugging him tightly as if she might never let go .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOORES HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Paul and the men hustle Coffey out the front door toward the truck , helping him as best they can . He 's weak as a baby , knees threatening to give out at any moment .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>C'mon, John, stay on your feet.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Christ, he goes down, we'll need three mules and a crane to pick him up again.<\/dialogue>\n    <scene_description>They get Coffey to the truck and throw their backs into it , helping him crawl up onto the stakebed . He rolls over on his back . Harry hops up , covers him with an old blanket . Brutal pulls aside , speaking low :<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>He'll never sit in Old Sparky. You know that, do n't you?<\/dialogue>\n    <parenthetical>( off Paul 's look . )<\/parenthetical>\n    <dialogue>He swallowed that stuff for a reason. I give him a few days. One of us'll be doing a cell check and there he'll be. Dead on his bunk.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>If that's his choice, he's earned it.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Let's get him back on the Mile.<\/dialogue>\n    <scene_description>FADE TO BLACK IN BLACKNESS , A TITLE CARD APPEARS : `` Coffey on the Mile '' .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. E BLOCK - NIGHT<\/stage_direction>\n    <scene_description>Dean starts babbling with relief as they return :<\/scene_description>\n    <character>DEAN<\/character>\n    <dialogue>Am I glad to see you! You were gone so long! Wild Bill's making noises like he's gon na wake up.<\/dialogue>\n    <parenthetical>( notices Coffey . )<\/parenthetical>\n    <dialogue>What the hell's wrong with him?<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>He's hurting, Dean. Hurting bad.<\/dialogue>\n    <scene_description>Dean jumps in , helps them steer Coffey into his cell .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>John, we're gon na set you on your bunk now. Ready?<\/dialogue>\n    <scene_description>Coffey nods , sits heavily on the bunk . He lowers his head , breath rasping like a rusted hinge . The guards step out .<\/scene_description>\n    <character>DEAN<\/character>\n    <dialogue>What about Mrs. Moores? Was it like the mouse? Was it a. you know. a miracle?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Yes. Yes it was.<\/dialogue>\n    <scene_description>Paul scans their faces . Smiles are traded . An exultant beat .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>Damn. I think we got away with it.<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>We still got ta convince a certain somebody to keep his trap shut.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Get his stuff.<\/dialogue>\n    <scene_description>Dean hurries off to retrieve Percy 's holster and baton . Brutal unlocks the restraint room door , swings it open . Percy is revealed sitting against the wall , glaring , his mouth still taped . Paul crouches down . Brutal joins him .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>I want to talk, not shout. I take the tape off, you gon na be calm.<\/dialogue>\n    <scene_description>Percy nods . Paul takes hold of the tape , preparing to yank .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>My mother always said if you do it fast, it wo n't hurt so much.<\/dialogue>\n    <scene_description>Paul rips the tape off . Percy 's eyes water with pain .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>I guess she was wrong.<\/dialogue>\n    <character>PERCY<\/character>\n    <dialogue>Get me out of this nut - coat.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>In a minute.<\/dialogue>\n    <character>PERCY<\/character>\n    <dialogue>Now! Now! Right n -<\/dialogue>\n    <scene_description>Paul slaps him hard , knocks him sideways . Percy looks up , blinking in surprise . Paul grabs him , yanks him back up .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You shut up and listen. You deserved to be punished for what you did to Del.. You'll accept it like a man, or we'll make you sorry you were ever born. We'll tell people how you sabotaged Del's execution -<\/dialogue>\n    <character>PERCY<\/character>\n    <dialogue>Sabotaged!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>- and how you pissed yourself like a frightened little girl. Yes, we'll talk, that's a given - but, Percy, mind me now. we'll also see you beaten within an inch of your life.<\/dialogue>\n    <scene_description>Percy blinks , unable to grasp that .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>We know people, too, are you so foolish you do n't realize that? People with friends and loved ones doing time in this prison. People who'd be happy to amputate you nose or your penis just so someone they care about could get an extra three hours in the exercise yard every week.<\/dialogue>\n    <parenthetical>( off Percy 's look . )<\/parenthetical>\n    <dialogue>Let bygones be bygones. Nothing's hurt so far but your pride. and nobody need ever know about that except the people in this room.<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>What happens on the Mile, stays on the Mile. Always has.<\/dialogue>\n    <scene_description>A long pause . Softly :<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>May I be let out of this coat now?<\/dialogue>\n    <scene_description>They pull him to his feet , undo the straps . He shrugs out of the straitjacket and adjusts his clothes , trying to maintain a shred of dignity .<\/scene_description>\n    <character>PERCY<\/character>\n    <dialogue>My things?<\/dialogue>\n    <scene_description>Dean hands them over . Percy smooths his hair and puts his hat on , starts strapping on his holster belt .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Think it over, Percy.<\/dialogue>\n    <character>PERCY<\/character>\n    <dialogue>Oh, I intend to. I intend to think about it very hard. Starting right now.<\/dialogue>\n    <scene_description>Percy exits the restraint room . Brutal whispers to Paul :<\/scene_description>\n    <character>BRUTAL<\/character>\n    <dialogue>He'll talk. Sooner or later.<\/dialogue>\n    <scene_description>Paul nods with weary resignation - yeah , I know . ON THE MILE Percy pauses near Coffey 's cell , careless as always , getting his holster buckled - and a massive black arm grabs him through the bars . His SCREAM brings Paul and the others from the restraint room . Coffey 's face is pressed so tight between his bars it looks like he 's trying to push his head through . He draws his lips back , baring his teeth in an awful sneer . Percy whacks him with his baton . Coffey barely seems to feel it . He curls his free hand around the back of Percy 's head , pulling him ever closer . and Percy 's screams are muffled as their mouths come together . Coffey begins exhaling as if he 'd held his breath for hours . Percy jerks like a fish on a hook , but ca n't get away . The men jump in , try to pry Percy loose , hollering for Coffey to let him go . The black `` insects '' are flowing from Coffey to Percy , swirling into his mouth , up his nose , down his throat . Several lightbulbs explode in their steel cages up and down the Mile . Percy 's baton drops from his nerveless fingers and clatters to the floor , never to be picked up again . And then Coffey steps back , rubbing his mouth as if he 's tasted something bad . The color has returned to his skin . Percy , however , is ashen gray . His expression is blank as a sheet of paper , not a trace of awareness in his eyes . The men are stunned . Paul raises his hand to Percy 's face , snaps his fingers . Nothing . He tries again , clapping loudly . Percy reacts slightly , eyes fluttering , swaying a bit .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Easy, easy. You all right?<\/dialogue>\n    <scene_description>Percy says nothing . He turns and walks slowly up the Mile , his movements vacant and disjointed . He comes to a swaying stop at Wild Bill 's cell . and turns slowly to look in . Wild Bill is coming painfully around , groggily clutching his head . He looks up , see Percy .<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>What' a you looking at, you limp noodle? You wan na kiss my ass or suck my dick?<\/dialogue>\n    <scene_description>Nothing for the longest moment . Percy just staring . and then he pulls his gun and empties it into Wild Bill as fast as he can pull the trigger . BAM ! BAM ! BAM ! BAM ! BAM ! BAM ! Bill takes all six rounds in the chest , reeling back across the cell . He hits the wall and slides down , leaving a smear , his face registering a final look of stunned surprise . Paul and the other tackle Percy and bring him down , wrestling the gun out of his hand . Dean is almost weeping :<\/scene_description>\n    <character>DEAN<\/character>\n    <dialogue>Oh God, oh God, no.<\/dialogue>\n    <scene_description>Percy is flat on his back , staring up at nothing . The black `` bugs '' come drifting out of nose and mouth , swirling in the air over his head . They turn white and disappear . The men are speechless . Paul turns , sees Coffey sitting on the floor at his bars , watching .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Punished them bad men.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Why Wild Bill? Why?<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>I saw in his heart. When he grab my arm, I saw what Wild Billy done. Saw plain as day. Ca n't hide what's in your heart.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>What? Saw what?<\/dialogue>\n    <scene_description>Coffey reaches toward him , straining through the bars .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Take my hand, boss. You see for yourself.<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>Paul, no!<\/dialogue>\n    <scene_description>Paul hesitates , torn between reason and Coffey 's pleading eyes . A whisper :<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>My hand.<\/dialogue>\n    <scene_description>Paul ca n't help it . He has to . Their hands come together . Paul lurches wildly as that circuit starts blazing between them .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>No. please.<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>Gots to, boss. Gots to give you a little bit of myself. A gift, like. A gift of what's in me so you can see.<\/dialogue>\n    <scene_description>and Paul sees : The Detterick twins . Kathe and Cora . Laughing and playing hopscotch in the dust under a later afternoon sun . A dinner table . Family having supper late in the day , basket of biscuits being passed . Twelve year old Howie Detterick taking it , passing it on . An hand with a paint brush slopping bright red paint on the side of a barn . Kathe skipping to the head of the hopscotch squares , turning and starting back , laughing in the sun . The paint brush slopping more paint , dripping like blood . Paul jerks and twists , trying to pull away , trying to break the circuit , but he ca n't , not till all is seen and done : Marjorie Detterick calling from the porch for everybody to come eat , supper 's ready . A hammer pausing . Klaus looking down from atop the barn . The Detterick twins finishing their hopscotch , gathering their jump ropes from the dust , running across the yard . The basket of biscuits being passed to little Cora , who takes a biscuit and passes it on . Klaus coming down the ladder , calling to his daughters . The little girls running past the man with the paint brush , who turns and smile as they go by . it 's Wild Bill . The basket of biscuits is passed one last time . A hand pulls one out , raises it for a bite . It 's Wild Bill , smiling at the little girls as conversation flows around the table . Paul screams , trying to pull away , but : The porch door is kicked off its hinges just before dawn , a figure looming in the doorway . Kathe wakes , her scream cut short as the man 's fist punches her hard in the face . Paul trembles violently as if riding the lightning himself , pleading for it to stop , but there 's one last thing : Wild Bill looms over the terrified little girls like a horrendous boogeyman , whispers to Kathe :<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>You lover your sister? You make any noise, know what happens? I'll kill her instead of you.<\/dialogue>\n    <parenthetical>( to Cora . )<\/parenthetical>\n    <dialogue>And if you make any noise, I'll kill her.<\/dialogue>\n    <scene_description>And he drags them out into the coming dawn . as Coffey lets Paul go . Paul is gasping , back in the real world where his men are staring at him with wide eyes .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>He kill'em with they love. They love for each other. You see how it is?<\/dialogue>\n    <scene_description>Paul nods , numb . Tears are flowing down Coffey 's face . Softly :<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>That's how it is ever' day. That's how it is all over the worl'.<\/dialogue>\n    <scene_description>WILD BILL lies dead , staring with glassy eyes . A FLASHBULB POPS , rimming him with harsh blue light .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. E BLOCK - DAWN<\/stage_direction>\n    <scene_description>as Hal arrives , wearing his pajama top under his overcoat . He sees the POLICE PHOTOGRAPHER taking pictures . The guards are giving statements to GROUPS OF COPS , everybody murmuring :<\/scene_description>\n    <character>DEAN<\/character>\n    <dialogue>well, I dunno, he just snapped, I guess.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>s ` right, one minute he's fine, the next - blammo.<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>bastard grabbed him through the bars a few days back, scared the boy so bad he wet himself.<\/dialogue>\n    <scene_description>Hal turns , sees : PERCY sits handcuffed on the floor of the Mile , eyes glassier than Wild Bill 's . TWO COPS are trying to snap him out of it :<\/scene_description>\n    <character>COP #1<\/character>\n    <dialogue>Son! Son! Can you hear me?<\/dialogue>\n    <character>COP #2<\/character>\n    <dialogue>Speak up if you can hear us! We got ta ask you some questions!<\/dialogue>\n    <scene_description>A MEDIC is raising Percy 's eyelid with his thumb , shining a penlight , getting no reaction .<\/scene_description>\n    <character>MEDIC<\/character>\n    <dialogue>I think this boy's cheese slid off his cracker.<\/dialogue>\n    <scene_description>HAL sees Paul , motions him aside to talk privately :<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>I'll cover you as much as I can, even if it mean my job, but I have to know. Does this have anything to do with what happened at my house? Does it, Paul?<\/dialogue>\n    <scene_description>Paul looks Hal in the eye . As with Bitterbuck , the lie comes easy :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>No.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - DAY<\/stage_direction>\n    <scene_description>TRACKING A PAIR OF FEET shuffling into the room in hospital slippers , escorted by TWO ORDERLIES . The patient is brought to a window . The orderlies turn to leave . and we BOOM UP to reveal Percy , catatonic , staring out the same window where we met Wild Bill .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOSPITAL - DAY<\/stage_direction>\n    <scene_description>and we WIDEN SLOWLY from Percy at the window to reveal his last stop in life . It 's emblazoned on the gate : BRIAR RIDGE MENTAL HOSPITAL . He finally got that transfer .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PAUL'S HOUSE - DUSK<\/stage_direction>\n    <scene_description>TIGHT ON PAUL as softly :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>It makes sense. I read the file. Hal even said it himself. Wharton rambled all over the state last few years, causing trouble. Hell, longer than that. Been at it since he was ten. Vandalism. Petty theft. Setting fires.<\/dialogue>\n    <scene_description>ANGLE SHIFTS to include Jan , Brutal , Harry and Dean . They 're in the brambly patch that borders the woods behind the house . The sun is setting , turning the horizon fiery .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>You saw him. You actually saw this Wild Bill person take those girls.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Their father hired him on for a few days last spring, help repair the barn. Cheap labor, just another drifter.<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>Only not.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Sick bastard came back a month later, just before dawn. Took the girls. did what he did. Coffey found them afterwards and tried to help. It was too late.<\/dialogue>\n    <character>JAN<\/character>\n    <parenthetical>( absorbs this . )<\/parenthetical>\n    <dialogue>Then you can stop it. The execution, I mean. Get Coffey a new trial.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Based on what, honey? Some kind of magical vision I had?<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>Show this farmer - what's his name, Detterick? - show him a picture of Wild Bill.<\/dialogue>\n    <parenthetical>( off their looks . )<\/parenthetical>\n    <dialogue>Why not? If Wharton was there. if the farmer can identify his picture and they know he was there.<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>Him being there in May does n't mean he came back and killed those girls in June. Even if he was committing other crimes.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>They got their killer as far as they're concerned. Hell, Coffey's own lawyer would come throw the switch if we let him.<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>Then lie.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Lie? About what?<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>Tell them Wharton confessed to the crime. Brutus, you can back him up, say you heard it too. You can say that's what set Percy off. He shot Wharton because he could n't stand thinking of what happened to those two little girls, it snapped his mind.<\/dialogue>\n    <parenthetical>( seeing their looks . )<\/parenthetical>\n    <dialogue>. what? What now?<\/dialogue>\n    <character>DEAN<\/character>\n    <dialogue>We never reported anything like that. We would've, too, everybody knows it. It's part of our job.<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>Besides, confessing do n't make it so. Slugs like Wild Bill lie about everything. Crimes they committed, women they had, even the weather.<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>But he was there! He painted their barn! He ate dinner with them!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>All the more reason he might take credit for the crime. He's gon na fry anyway, so why not boast?<\/dialogue>\n    <scene_description>Jan stands thinking for a moment , then :<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>All right. Then you've got to get John Coffey out on your own.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Ma'am?<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>You did it once, did n't you? Only this time, do n't bring him back.<\/dialogue>\n    <scene_description>Dean blinks , stunned by this notion . Gently :<\/scene_description>\n    <character>DEAN<\/character>\n    <dialogue>Ma'am, your son's grown up and moved away. My kids are just starting kindergarten. Will you be the one to explain to them why their daddy's in prison?<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>Work out a plan. Make it look like a real escape.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Better be a plan an imbecile could dream up. Nobody'd believe it otherwise.<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>Even if we did think of something, it would n't do any good.<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>Why not? Just why the hell not?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Because he's a six - foot - eight - inch baldheaded black man with barely enough brains to feed himself. How long you think it'd be before he was recaptured? Two hours? Six?<\/dialogue>\n    <scene_description>Jan swipes a tear away with the heel of her hand . Softly :<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>Do you mean to kill him, you cowards? Do you?<\/dialogue>\n    <scene_description>Paul tries to take her hand . She wrenches away , furious .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>Do n't touch me! Next week this time you'll be a murderer, no better than that man Wharton, so do n't touch me!<\/dialogue>\n    <scene_description>She runs off toward the house , starting to sob as we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT  PAUL'S KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Paul is at the kitchen table in the wee hours , at his regular place , sipping his beer . Irving Berlin 's `` Remember '' PLAYS SOFTLY on the radio . Jan comes down , looking miserable and exhausted .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>I'm so sorry I called you a coward. I feel worse about that than anything I've ever said to you in our whole marriage.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Even that time we went camping and you called me Old Stinky Sam?<\/dialogue>\n    <scene_description>She ca n't help smiling at that . He returns the smile , offers her a sip of beer . She takes it , sits .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>Does Hal know? That Coffey's innocent, I mean?<\/dialogue>\n    <parenthetical>( Paul shakes his head . )<\/parenthetical>\n    <dialogue>Can he help? Does he have the influence to do something about this?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>Then do n't tell him. If he ca n't help, do n't tell him. Ever.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I wo n't.<\/dialogue>\n    <character>JAN<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>There's no way out of this for you, is there?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>No. I've been thinking about it, too, believe me.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Tell you the truth, honey. I've done some things in my life I'm not proud of, but this is the first time I've ever felt in real danger of hell.<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>Hell? Oh Paul.<\/dialogue>\n    <parenthetical>( touches his face . )<\/parenthetical>\n    <dialogue>Talk to him. Talk to John. Find out what he wants.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. E BLOCK - NIGHT<\/stage_direction>\n    <scene_description>Coffey sits quietly in his cell , a solitary firefly flitting in circles around his finger . Paul and the men appear . The firefly flits away , vanishing through Coffey 's tiny window .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Hello, boss.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Hello, John.<\/dialogue>\n    <scene_description>Brutal unlocks his cell . Paul enters .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>I guess you know we're coming down to it now. Another couple of days.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Is there anything special you'd like for dinner that night? We can rustle you up most anything.<\/dialogue>\n    <scene_description>Coffey gives it some careful thought .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Meatloaf be nice. Mashed taters with gravy. Okra, maybe. I's not picky.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>What about a preacher? Someone you could say a little prayer with?<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>Do n't want no preacher. You can say a prayer, if you want. I could get kneebound with you, I guess.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Me?<\/dialogue>\n    <scene_description>Coffey gives him a look - please .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>S'pose I could, if it came to that.<\/dialogue>\n    <scene_description>Paul sits , working himself up to it :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>John, I have to ask you something very important right now.<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>I know what you gon na say. You don' have to say it.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I do. I do have to.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>John, tell me what you want me to do. You want me to take you out of here? Just let you run away? See how far you can get?<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>Why would you do such a foolish thing?<\/dialogue>\n    <scene_description>Paul hesitates , emotions swirling , trying to find the right words .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>On the day of my judgement, when I stand before God, and He asks me why did I kill one of his true miracles, what am I gon na say? That is was my job? My job?<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>You tell God the Father it was a kindness you done.<\/dialogue>\n    <parenthetical>( takes his hand . )<\/parenthetical>\n    <dialogue>I know you hurtin' and worryin', I can feel it on you, but you oughtta quit on it now. Because I want it over and done. I do.<\/dialogue>\n    <scene_description>Coffey hesitates - now he 's the one trying to find the right words , trying to make Paul understand :<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>I'm tired, boss. Tired of bein' on the road, lonely as a sparrow in the rain. Tired of not ever having me a buddy to be with, or tell me where we's coming from or going to, or why. Mostly I'm tired of people being ugly to each other. I'm tired of all the pain I feel and hear in the world ever' day. There's too much of it. It's like pieces of glass in my head all the time. Can you understand?<\/dialogue>\n    <scene_description>By now , Paul is blinking back tears . Softly :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Yes, John. I think I can.<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>There must be something we can do for you, John. There must be something you want.<\/dialogue>\n    <scene_description>Coffey thinks about this long and hard , finally looks up .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>I ai n't never seen me a flicker show.<\/dialogue>\n    <scene_description>TIGHT ON COFFEY 'S FACE gazing with wide - eyed , open - mouthed wonder , the light of a motion picture projector flickering on his skin .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT  PRISON AUDITORIUM - NIGHT<\/stage_direction>\n    <scene_description>while Fred Astaire and Ginger Rogers dance up there on the big screen , images flowing in magical black and silver tone .<\/scene_description>\n    <character>FRED ASTAIRE<\/character>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>Heaven, I'm in heaven. and my heart beats so that I can hardly speak.<\/dialogue>\n    <scene_description>Paul and the men are scattered about in the otherwise empty auditorium , also watching . PROJECTION BOOTH Toot operates the projector , peering through the tiny window into the theater . He yawns , glances at his watch . Late . IN THE AUDITORIUM Fred and Ginger are now in the most passionate and graceful part of the dance . Irving Berlin 's music swells . COFFEY ca n't believe what he 's seeing . He 's so excited his breath is caught in his throat . Softly :<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Why, they's angels. Angels. Just like up in heaven.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. E BLOCK - NIGHT<\/stage_direction>\n    <scene_description>FOUR PAIRS OF FEET come marching up the Green Mile . ANGLE ON COFFEY Paul appears at the bars with Brutal , Harry , and Dean . Nothing is said . Coffey knows why they 're here . He rises as Brutal unlocks the cell , slides the door open . Coffey steps out , looks around at their dazed and sad faces .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>I be all right, fellas. This here's the hard part. I be all right in a little while.<\/dialogue>\n    <scene_description>Paul indicates St. Christopher medal around John 's neck :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>John, I should have that just for now. I'll give it back after.<\/dialogue>\n    <scene_description>John lets him take the necklace . Paul pockets it . They start to walk the Mile as :<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>You know, I fell asleep this afternoon and had me a dream. I dreamed about Del's mouse.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Did you, John?<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>I dreamed he got down to that place Boss Howell talked about, that Mouseville place. I dreamed there was kids, and how they laughed at his tricks! My!<\/dialogue>\n    <scene_description>He laughs at the memory of it , then grows more serious :<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>I dreamed those two little blonde - headed girls were there. They ` us laughing, too. I put my arms around'em and sat'em on my knees, and there ` us no blood comin' outta their hair and they ` us fine. We all watch Mr. Jingles roll that spool, and how we did laugh. Fit to bus', we was.<\/dialogue>\n    <scene_description>Behind them , Dean stifles a sob . PAUL 'S INNER OFFICE Coffey kneels . Paul joins him , self - conscious and uncertain .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>What should we pray for, John?<\/dialogue>\n    <character>COFFEY<\/character>\n    <dialogue>Strength?<\/dialogue>\n    <scene_description>Paul nods - strength it is . Dean surprises Brutal and Harry by also kneeling . Brutal and Harry hesitate . then join them .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>God, please help us finish what we've started, and please welcome this man, John Coffey - like the drink, but not spelled the same - into heaven and give him peace. Please help us to see him off the best we can and let nothing go wrong. Amen.<\/dialogue>\n    <scene_description>Paul starts to rise , but Coffey takes his hand .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>I know a prayer I once heard. Can I say it?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You go right ahead, John. Take all the time you need.<\/dialogue>\n    <scene_description>Coffey closes his eyes , frowning in deep concentration .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Baby Jesus, meek and mild, pray for me.<\/dialogue>\n    <scene_description>And Paul sees : Kathe and Cora Detterick kneeling together in the enclosed porch that night , just before their bedtime :<\/scene_description>\n    <character>KATHE AND CORA<\/character>\n    <dialogue>and every child. Be my strength, be my friend.<\/dialogue>\n    <scene_description>And then the vision is gone as :<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>be with me until the end. Amen.<\/dialogue>\n    <scene_description>Coffey rises , offers Paul his hand , helps him up . EXECUTION CHAMBER Full house tonight . Bill Dodge is waiting at Old Sparky . Silence as Coffey is led in , all eyes on him . Klaus and Marjorie Detterick are in the front row . She mutters :<\/scene_description>\n    <character>MARJORIE<\/character>\n    <dialogue>Die slow, you bastard.<\/dialogue>\n    <scene_description>COFFEY is faltering as Paul and Brutal bring him to the chair .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>They's a lot of folks here hate me. A lot. I can feel it. Like bees stinging me. It hurts.<\/dialogue>\n    <character>BRUTAL<\/character>\n    <dialogue>Feel how we feel, then. We do n't hate you - can you feel that?<\/dialogue>\n    <scene_description>Coffey tries to take comfort in it , but flinches as :<\/scene_description>\n    <character>MARJORIE<\/character>\n    <dialogue>Kill him twice, you boys! You go on and kill that raping baby - killer twice, that'd be fine!<\/dialogue>\n    <scene_description>She dissolves into tears . Klaus pulls her against his shoulder , looking dazed by the whole thing . Paul and Brutal turn John around , sit him down . Paul notices Dean crying again , his back to the witnesses . They kneel to apply the leg clamps , while Brutal and Harry secure the arms .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Wipe you face before you stand up, Dean.<\/dialogue>\n    <scene_description>Dean nods , wiping his face with the sleeve of his coat . They rise , stepping back . This time , Paul 's out front :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Roll on one.<\/dialogue>\n    <scene_description>Van Hay cranks the generator . The lights flare hotter and brighter . It 's just like in Melinda 's bedroom the night Coffey cured her with a kiss . Airless and bright , dreamlike .<\/scene_description>\n    <character>MARJORIE<\/character>\n    <dialogue>Does it hurt yet? I hope it does! I hope it hurts like hell!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>John Coffey. you have been condemned to die in the electric chair by a jury of your peers. sentence imposed by a judge in good standing in this state. Do you have anything to say before sentence is carried out?<\/dialogue>\n    <scene_description>John hesitates , nods .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>I'm sorry for what I am.<\/dialogue>\n    <character>MARJORIE<\/character>\n    <dialogue>You ought to be! Oh, you monster, you damn well ought to be!<\/dialogue>\n    <scene_description>Brutal takes the mask from the hook to draw it over Coffey 's head . Coffey looks to Paul with terrified , pleading eyes .<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>Please, boss, do n't put that thing over my face. Do n't put me in the dark, I's afraid of the dark.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>All right, John.<\/dialogue>\n    <scene_description>Brutal puts the mask back , proceeds with the sponge . IN TIGHT ANGLES The cap is lowered , the straps drawn . Coffey is breathing fast , terrified , muttering under his breath :<\/scene_description>\n    <character>COFFEY<\/character>\n    <dialogue>heaven. I'm in heaven. heaven. heaven. heaven.<\/dialogue>\n    <scene_description>THE WITNESSES sit and wait , barely breathing . JACK VAN HAY is poised at the switch , wondering why the order wo n't come . PAUL is staring at Coffey , unable to say the words .<\/scene_description>\n    <character>BRUTAL<\/character>\n    <parenthetical>( whispers . )<\/parenthetical>\n    <dialogue>Paul. You have to say it. You have to give the order.<\/dialogue>\n    <scene_description>Paul ca n't . He reaches out and touches Coffey 's hand . Their fingers clasp . In that moment , staring into his eyes , Paul hears the last thought that ever goes through Coffey 's head :<\/scene_description>\n    <character>COFFEY<\/character>\n    <parenthetical>( whispered V.O . )<\/parenthetical>\n    <dialogue>He kill'em with they love. That's how it is ever' day. All over the worl'.<\/dialogue>\n    <scene_description>Their fingers disengage . Paul steps back , eyes still locked with Coffey 's , and says the hardest words he 's ever spoken :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Roll on two.<\/dialogue>\n    <scene_description>Van Hay throws the switch . Coffey surges forward , fingers splayed and jittering past Old Sparky 's arms . Lights begin blowing out all over the Mile , raining shattered glass and sparks . Some of the witnesses scream . A thin line of blood comes trickling out of Klaus Detterick 's nose . He reaches up , absently wipes it away . Coffey 's eyes are locked on Paul 's , riding the lightning all the way . He finally slumps . Van Hay kills the current . Coffey 's expression is peaceful , as if sleeping . A final pair of tears drift gently down his cheeks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ACCESS TUNNEL - NIGHT<\/stage_direction>\n    <scene_description>Paul ever so carefully replaces the St. Christopher 's medal around Coffey 's neck . They wheel him down the tunnel .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAUL'S MODEL T - NIGHT<\/stage_direction>\n    <scene_description>Paul drives home , his heart numb .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PAUL'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Paul pulls in , cuts the engine . He sits for a moment , then gets out and heads for the house . The door opens . Jan steps out in her nightgown and robe to meet him on the stairs . She takes him in her arms . Paul ca n't hold it back anymore . He breaks down sobbing against her as we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NURSING HOME SUNROOM - PRESENT DAY<\/stage_direction>\n    <scene_description>It 's late in the day as :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>That was the last execution I ever took part in. Just could n't do it anymore after that. Brutal either. We both transferred out, took jobs with Boys' Correctional.<\/dialogue>\n    <parenthetical>( beat , nods . )<\/parenthetical>\n    <dialogue>That was all right. Catch'em young, that became my motto. Might even have done some good.<\/dialogue>\n    <scene_description>ANGLE SHIFTS TO Elaine listening . Uncertain .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You do n't believe me.<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>I do n't imagine you would lie to me, Paul. It's just that.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>It's quite a story.<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>Yes. Quite a story.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>One thing I do n't understand. You said you and Jan had a grownup son in 1935. Is that right?<\/dialogue>\n    <parenthetical>( Paul nods . )<\/parenthetical>\n    <dialogue>But if that's true.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>The math does n't work, does it?<\/dialogue>\n    <scene_description>She shakes her head . Paul thinks for a moment , comes to a decision .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You feel up to a walk?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGIA PINES - DAY<\/stage_direction>\n    <scene_description>The rain has mostly stopped . Brad Dolan , back in street clothes , gets in his pickup truck and drives away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NURSING HOME - DAY<\/stage_direction>\n    <scene_description>while Paul and Elaine watch from a window .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGIA PINES - DAY<\/stage_direction>\n    <scene_description>This time , we see two red specks trudging slowly up the ridge toward the treeline .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - DAY<\/stage_direction>\n    <scene_description>Paul brings Elaine along the wooded path into view of the storage shacks . They 're both wearing ponchos .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>There. It's in there.<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>Paul? This thing you want to show me. Is it scary?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Scary? No. Not really.<\/dialogue>\n    <scene_description>He gives her a smile , offers his hand . She takes it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHACK - DAY<\/stage_direction>\n    <scene_description>We see Paul approach through the grimy window as before , this time bringing Elaine . ANGLE SHIFTS to the door as they arrive , creaking open on rusty hinges to reveal them . They enter . Elaine looks around at the musty nooks and crannies , wondering what they 're doing here . Paul touchers arm , directs her attention :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>There.<\/dialogue>\n    <scene_description>Elaine moves closer , sees it on the dusty floorboards : An old cigar box . For a moment , she does n't know what to make of it .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Hey. Wake up, old boy. Wake up.<\/dialogue>\n    <scene_description>Elaine 's breath catches in her throat . as a pair of bright oilspot eyes peer over the edge of the cigar box . It 's a mouse . His fur , once brown , is now all gray .<\/scene_description>\n    <character>ELAINE<\/character>\n    <dialogue>Paul? It is n't. it ca n't be.<\/dialogue>\n    <scene_description>Paul gets down on the floor , holds out his hand .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Come over here, boy. Come on over her and see this lady.<\/dialogue>\n    <scene_description>The mouse tries several times to get over the side of the cigar box before he finally makes it . He comes to them , hobbling and crippled with arthritis . Paul pulls a slice of toast from his pocket , breaks off a small piece for the mouse .<\/scene_description>\n    <character>ELAINE<\/character>\n    <dialogue>That ca n't be Mr. Jingles.<\/dialogue>\n    <scene_description>Paul says nothing , just pulls a spool from his pocket . Mr. Jingles might be old , but he 's as obsessed as ever . He gets ready to fetch , eyes riveted to the spool . Softly :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Messieurs et mesdames. Beinvenue au cirque du mousie.<\/dialogue>\n    <scene_description>Paul tosses the spool . The mouse limps painfully after it . He reaches it , goes around . and has to lay down to catch his breath . Elaine starts forward , but Paul holds her back . After a moment , Mr. Jingles finds his feet again . He rises and starts nosing the spool back to Paul .<\/scene_description>\n    <character>ELAINE<\/character>\n    <dialogue>Oh, Paul. Do n't make him do it again. I ca n't bear to watch.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>But he loves it so much.<\/dialogue>\n    <scene_description>He glances around at the shack with a sad smile .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>This is n't exactly the Mouseville we had in mind. but we make do, do n't we, old fella?<\/dialogue>\n    <character>BRAD<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>As I live and breathe!<\/dialogue>\n    <scene_description>They gasp and spin . Brad Dolan stands in the doorway .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Fooled you, did n't I Got yourself a little love nest here, I see.<\/dialogue>\n    <scene_description>He pauses , seeing Mr. Jingles .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>what the fuck? Is that a mouse?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Do n't hurt him, okay? Okay?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>It's a goddamn mouse, y' old fool, they carry all kind' a disease.<\/dialogue>\n    <scene_description>Brad grabs an old garden hoe - the blade 's rusted , but still sharp enough to cut a mouse in two .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>now step aside.<\/dialogue>\n    <scene_description>Paul rushes in front of Brad , fists clenched , yelling :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You leave him alone, Percy! You leave him alone, or by God I'll -<\/dialogue>\n    <scene_description>Brad gives Paul a hard shove , pins him against the wall .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Who you calling Percy? Name's Brad, you senile fucker. And I'm gon na nail that mouse, you can take that to the everfucking bank.<\/dialogue>\n    <scene_description>Elaine is suddenly at Brad 's elbow , seething with fury :<\/scene_description>\n    <character>ELAINE<\/character>\n    <dialogue>How dare you? Get out!<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Piss off, you wrinkeldy old bitch. Me and Paulie are talking.<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>His name is Mr. Edgecomb. If you ever call him Paulie again, your days of employment at Georgia Pines will end.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Who the hell you think you are?<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>I am the grandmother of the man who is currently Speaker of the Georgia House of Representatives. A man who loves his relatives, Mr. Dolan. All it would take is a phone call.<\/dialogue>\n    <scene_description>Brad 's smile falters . Elaine steps closer .<\/scene_description>\n    <character>ELAINE<\/character>\n    <dialogue>At first I thought I'd let you be. I'm old, and that seemed easiest. But when my friends are threatened and abused, I do not let it be.<\/dialogue>\n    <parenthetical>( icy beat . )<\/parenthetical>\n    <dialogue>Now get out, or you wo n't work another day here. Not another hour. I swear it.<\/dialogue>\n    <scene_description>Brad eases his grip on Paul . and backs off .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Do n't know what you're getting so het up about. Just a damn mouse.<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>Get out, you ignorant man. What little mind you have is ugly and misdirected.<\/dialogue>\n    <scene_description>Brad flushes red , heads for the door . He pauses .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Do n't bother coming back here tomorrow. Mr. Edgecomb Gon na be a new lock on this door. This is off - limits to residents, no matter what Mrs. My Shit Do n't Stink has to say about it.<\/dialogue>\n    <scene_description>And off he goes . Paul tries to control the shaking in his hands , looks to Elaine .<\/scene_description>\n    <character>ELAINE<\/character>\n    <dialogue>Little trick I learned from Percy Wetmore.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Is your grandson really Speaker of the House?<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>He is.<\/dialogue>\n    <scene_description>Paul bends down , picks Mr. Jingles up .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You gon na thank the lady? She just saved your old mousie hide.<\/dialogue>\n    <scene_description>The mouse stretches his neck forward , nose twitching , smelling Paul 's breath . Paul looks to Elaine . Softly :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>I think Mr. Jingles happened by accident. I think when we electrocuted Del, and it all went so badly. well, John could feel it, you know. and I think a tiny part of whatever was inside of him just leapt out.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Me, I was no accident. John had to give me a little part of himself. a gift, like. so I could see for myself what Wild Bill had done. When John did that, a part of whatever power worked through him spilled into me.<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>He. what? Infected you with life?<\/dialogue>\n    <scene_description>Paul looks at the mouse , strokes him gently between the ears .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>That's as good a word as any. He infected us both, did n't he, Mr. Jingles. With life.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I'm a hundred and five years old, Elaine. I was forty the year John Coffey walked the Green Mile.<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>oh my God.<\/dialogue>\n    <scene_description>CAMERA PUSHES SLOWLY IN on Paul as :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>I have n't even had a cold since 1935. I've had to watch my friends and loved ones die off through the years. Hal and Melinda. Brutus Howell. my wife. my son.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>. and you, Elaine. You'd die, too, and my curse is knowing I'll be there to see it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FUNERAL HOME - DAY<\/stage_direction>\n    <scene_description>Paul , dressed in a dark suit , comes up the aisle . ANGLE SHIFTS to reveal Elaine Connelly lying in the open casket .<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>that's my punishment, you see? My punishment for letting John Coffey ride the lightning. for killing a miracle of God.<\/dialogue>\n    <scene_description>Paul lays a rose atop the casket .<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>you'll be gone, like all the others, and I'll have to stay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETERY - DAY<\/stage_direction>\n    <scene_description>Paul stands at the graveside as the casket is lowered .<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I'll die eventually, I imagine. I have no illusions of immortality. But I will have wished for death long before death finds me.<\/dialogue>\n    <scene_description>He turns and walks away .<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>In truth, I wish for it already.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. E BLOCK - NIGHT(1935)<\/stage_direction>\n    <scene_description>Empty and silent . Young Paul walks the Mile alone , listening to the quiet . He pauses , seeing something . A whisper :<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Mr. Jingles?<\/dialogue>\n    <scene_description>It is Mr. Jingles . The little mouse is peering from under the restraint room door . He 's come home , looking bedraggled . Paul bends down , gently picks him up .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Where you been, boy? I've been worried about you. You hungry?<\/dialogue>\n    <scene_description>Paul turns and head back up the Green Mile , carrying the mouse cupped in his hands as we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NURSING HOME - DAY<\/stage_direction>\n    <scene_description>Young Paul transforms into Old Paul in the dissolve , the corridor of the Green Mile becoming the corridor of the nursing home . He 's walking along , holding the little mouse the same way he did over sixty years ago .<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I lie in bed most nights, thinking about it. And I wait.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAUL'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Paul lies awake , staring at the moon outside his window .<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I think about all the people I've loved, now long gone. I think about my beautiful Jan, and how I lost her so many years ago. I think about all of us walking our own Green Mile, each in our own time. But one thought, more than any other, keeps me awake most nights.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>. if he could make a mouse live so long, how much longer do I have?<\/dialogue>\n    <scene_description>He looks over at the nightstand .<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>We each owe a death, there are no exceptions, but sometimes, oh God, the Green Mile is so long.<\/dialogue>\n    <scene_description>and WE PAN to reveal Mr. Jingles sleeping fitfully in his cigar box , chasing that spool in his dreams as we FADE OUT .<\/scene_description>\n  <\/scene>\n<\/script>","summary":"At a Louisiana assisted-living facility in 1999, the elderly Paul Edgecomb becomes emotional while watching the film Top Hat. His companion, Elaine, becomes concerned, and Paul tells her that the film reminded him of events in 1935, when he was a prison officer in charge of death row, also referred to as the \"Green Mile\". In 1935, Paul supervises Brutus Howell, Dean Stanton, Harry Terwilliger, and Percy Wetmore at Cold Mountain Penitentiary, where Arlen Bitterbuck and Eduard \"Del\" Delacroix are incarcerated and awaiting execution. While most of the guards work well, both with each other and with the inmates, Percy is a sadistic young man who enjoys demonstrating his power and connections by harassing both prisoners and fellow guards, feeling disgruntled on the job. While suffering from a severe bladder infection, Paul is introduced to John Coffey, a physically imposing but mentally challenged and gentle man who has been sentenced to death after being convicted of raping and murdering two little girls. After Bitterbuck is executed and another prisoner has arrived \u2013 William Wharton, a problematic murderer who is determined to cause as much trouble as he can \u2013 John begins demonstrating supernatural powers by curing Paul's bladder infection. Percy continues his antics, particularly towards Del. Early in his stint, Percy breaks Del's fingers with his nightstick and later crushes Del's pet mouse, Mr. Jingles, although the animal is immediately resurrected by Coffey, without Percy noticing. When the time comes, Percy sabotages Del's electric chair execution by deliberately neglecting to soak the sponge used to conduct electricity to Del's head. This results in Del suffering much longer and a lot more painful death when his body catches fire from the electric currents. As the panicked onlookers attempt to flee the room, the guards realize what has happened and Paul forces a regretful Percy to watch. Del's corpse is charred beyond recognition. Percy is later ambushed by the other guards, forced into a straitjacket, has his mouth taped shut, and locked in isolation to teach him a lesson. Percy is furious that the others locked him up for \"no reason\", but Paul hits Percy hard across the face, telling him to clean up his act or things will get worse for him. Percy reluctantly agrees to stop carrying out future heinous acts against the inmates. Paul requests Coffey to use his powers to treat the prison warden's wife, who is terminally ill with a brain tumor. He arranges to lock Percy in isolation again and sedate Wharton, then takes Coffey to the Warden's house. In the process, Wharton briefly wakes up, reaches through the cell bars, and grabs Coffey's arm as he is being walked past before passing out again. This contact causes Coffey to experience Wharton's memories and learn that he is the actual killer of the two girls. Coffey was arrested as he had been at the scene unsuccessfully attempting to resurrect the victims. Although the Warden is reluctant to allow Coffey to approach his dying wife, he eventually consents and Coffey cures her. Returned to prison, a seriously ill Coffey transfers \"the thing\" he removed from the Warden's wife to Percy's mouth. As a result, Percy suffers a psychotic break, kills Wharton in an act of revenge for previously terrorizing him until he wet himself, and is admitted to the Briar Ridge insane asylum after entering a catatonic state. Ironically, Percy had previously arranged to resign from Cold Mountain and take a new job at the asylum following Del's execution. Coffey explains his actions by saying the two were \"bad men\". Paul discusses with Coffey the possibility of an unlikely long term escape, as he does not wish to destroy what he believes to be a miracle of God. Although distraught over the notion of being executed for a crime of which he isn't guilty, Coffey tells Paul that he has been through enough psychical experience with humanity's cruelty and that he is ready to die. Mentioning that he has never seen a movie before, Coffey watches Top Hat with the guards as a last request. Later that night, when the guards escort Coffey to the execution room, Coffey asks that the customary hood not be placed over his head, as he is afraid of the dark. Paul himself commands the execution, and somberly shakes hands with Coffey before Coffey is executed. The elderly Paul concludes his story by telling Elaine that Coffey's execution was the last one that he and Howell supervised; afterward, they both resigned from the penitentiary and took jobs in the juvenile system. Elaine realizes that Paul must be much older than he looks, as he had a grown son in 1935. Del's pet mouse, Mr. Jingles, is still alive, and is cared for by Paul. Paul explains that Coffey's healing powers (even though Coffey never intended for them to have such a long-term effect) had given him an extraordinary lifespan. Paul believes that his longevity is a punishment from God for executing Coffey, causing him to outlive his family and friends, including Elaine. Later, Paul attends Elaine's funeral and, realizing that Mr. Jingles has lived for six decades now, wonders how far his own life might extend."}
{"movie_name":"The Hummingbird Project_2018","imdb_id":"tt6866224","script":"<script>\n  <scene>\n    <scene_description>Writer\/ Director KIM NGUYEN<\/scene_description>\n    <character>THE HUMMINGBIRD PROJECT<\/character>\n    <dialogue>CREDITS<\/dialogue>\n    <scene_description>W RITER\/ DIRECTOR Kim Nguyen Academy Award nominated- Best Foreign Language Film - WAR W ITCH, Upcoming - EYE ON JULIET PRODUCER Pierre Even - Item 7 Product ions<\/scene_description>\n    <character>WAR W ITCH, BROOKLYN, C.R.A.Z.Y.<\/character>\n    <dialogue>EXECUTIVE PRODUCERS Brian Kavanaugh-Jones - Automat ik<\/dialogue>\n    <character>LOVING, MIDNIGHT SPECIAL, TAKE SHELTER, INSIDIOUS<\/character>\n    <dialogue>Fred Berger - Automat ik Academy Award nominated - LA LA LAND, THE AUTOPSY OF JANE DOE<\/dialogue>\n    <scene_description>DIRECTOR OF Nicolas Bolduc PHOTOGRAPHY Camerimage winner - WAR W ITCH, ENEMY PRODUCTION DESIGNER Emmanuel Fr\u00e9chet te<\/scene_description>\n    <character>WAR W ITCH<\/character>\n    <dialogue>COSTUME DESIGNER Ren\u00e9e April<\/dialogue>\n    <character>BLADE RUNNER 2049, ARRIVAL<\/character>\n    <dialogue>SOUND RECORDIST Pierre Mertens<\/dialogue>\n    <character>THE MAN W HO KILLED DON DON QUIXOTE, THE PIANIST<\/character>\n    <dialogue>CASTING DIRECTOR &amp; Heidi Levit t EXECUTIVE PRODUCER MARY SHELLEY, MEDICINE MAN, THE ARTIST<\/dialogue>\n    <scene_description>Credits non-contractual<\/scene_description>\n    <character>CAST<\/character>\n    <dialogue>Jesse Eisenberg as Anton Academy Award nominated - THE SOCIAL NETWORK,<\/dialogue>\n    <scene_description>BATMAN VS SUPERMAN, NOW YOU SEE ME 1 &amp; 2, CAF\u00c9 SOCIETY Alexander Skarsg\u00e5rd as Vincent THE LEGEND OF TARZAN, BATTLESHIP, TRUE BLOOD \\[TV\\], BIG LITTLE LIES \\[TV\\], Upcoming - MUTE, THE AFTERMATH Salma Hayek as Linda Raulston Academy Award nominated - FRIDA, TALE OF TALES Credits non-contractual<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRAIRIE - DAY<\/stage_direction>\n    <character>IT'S SUMMER.<\/character>\n    <dialogue>A colorful HUMMINGBIRD furiously flaps its wings 4000 times a minute, staring straight at us. Above the bird, over the image, THERE ARE NUMBERS SHOWING MINUTES, SECONDS, THOUSANDTHS OF SECONDS PASSING BY - the passing milliseconds are just a blur on the screen. The timer nears one minute:<\/dialogue>\n    <character>\"00:59.991\"... \"00:59.992\"...<\/character>\n    <dialogue>TIME SLOWS DOWN. A second now lasts 10 seconds... Everything keeps slowing down until the bird's wings become sharper, more visible. Things keep slowing down... NOW, ONE SINGLE MILLISECOND LASTS A SECOND. The hummingbird seems to float in mid air... ONE SECOND (one thousand milliseconds...) has elapsed on the timer (01:00.000) The milliseconds keep moving up, one millisecond now lasts 1 second... (01:00.001, .002, .003) A single, isolated hummingbird's wing flap starts it's movement, almost seized in time. It reaches its folded position at ONE SECOND AND SIXTEEN MILLISECONDS.<\/dialogue>\n    <character>\"01:00.016\"<\/character>\n    <dialogue>TIME FREEZES. So does the timer. WE CREEP IN on those last numbers frozen on the timer, those 16 milliseconds...<\/dialogue>\n    <character>VINCENT (V.O.)<\/character>\n    <dialogue>What's your dream Anton?<\/dialogue>\n    <character>ANTON (V.O.)<\/character>\n    <dialogue>Country home on a hill. Small road. Hummingbirds.<\/dialogue>\n    <character>VINCENT (V.O.)<\/character>\n    <dialogue>Say it again.<\/dialogue>\n    <character>ANTON (V.O.)<\/character>\n    <dialogue>Country home on a hill. Small road. Hummingbirds.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NYC CHINATOWN EATERY - DAY<\/stage_direction>\n    <character>WE'RE IN THE MIDDLE OF WINTER.<\/character>\n    <dialogue>An old, uninspiring chinese noodle shop that also serves beer; poker machines at the end of the room. VINCENT ZALESKI, 35, too slim (who's voice we heard in the previous scene) and ANTON ZALESKI, 38 (who's voice we also heard in the previous scene), are sitting at a table, Anton finishes eating noodles and dumplings, Vincent finishes a noodle bowl while reading the financial section of the NY Times. On the cover of the financial section, the title says:<\/dialogue>\n    <scene_description>\"How Would Obama's Re-Election Impact the Stock Market?\" With a date on the right hand corner of the paper: February 5th, 2012 Around them, on tables and at the counter, FIFTEEN OTHER CLIENTS are having food and beer in the middle of the day. MARK VEGA, mid 30's, African-Latino-American, with a big briefcase, walks in the place, clearly unsure if this is where he's supposed to be. Vincent drops his newspaper, discretely waves at him, Mark walks towards them.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Mark? I'm Vincent.<\/dialogue>\n    <scene_description>They shake hands.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Hi Vincent, sorry, traffic.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>That's okay. Have a seat.<\/dialogue>\n    <scene_description>Mark sits in front of them. Anton doesn't really look at him - as a matter of fact, it feels like Anton usually avoids stares in general.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Are you hungry?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>No thanks...<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Drink?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Huh... No, thanks, I'm fine.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Sure?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>You have the NDA?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>The what?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>The \"Non Disclosure Agreement\", the PDF I sent you. You signed it?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Oh! Yeah, yeah... Here.<\/dialogue>\n    <scene_description>He takes a 30 page contract from his briefcase, hands it to Vincent who flips quickly through every single page, looking at the bottom right corner for Mark's initials, and then for his full signature at the end of the document. On the front page, amongst other things, is written: \"Project: Hummingbird\" \"Non-Disclosure Agreement\"<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>That's a long \"NDA\"... Never had to sign one of those before.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Yeah... I know. Sorry about that. So. I read your resume, I talked to Jimmy and he says you can handle any shit that hits the fan.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Well, I did see a lot of funny stuff out there. What can I do for you?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>We want to dig a four inch fiber tunnel that goes from the BATS Global Stock Exchange in Kansas to the New York Stock Exchange in Manhattan.<\/dialogue>\n    <character>MARK<\/character>\n    <parenthetical>(estimating in his head)<\/parenthetical>\n    <dialogue>Kansas to New York... That's like a...<\/dialogue>\n    <character>VINCENT<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>It's a straight, 1000 mile long, four inch wide fiber tunnel that needs to pierce right through the Appalachians.<\/dialogue>\n    <scene_description>Dumbfounded look on Mark.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>What would be the main purpose of this line?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Lets just say it needs to be fucking fast and it's gonna make all of us very successful.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>How \"straight\"?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Straight-straight. Whatever's in the way, we need to dig through it. It has to be a totally straight line.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Rivers?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Straight.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Mountains?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Straight.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Swamps?<\/dialogue>\n    <character>VINCENT AND MARK<\/character>\n    <dialogue>Straight.<\/dialogue>\n    <scene_description>Long beat.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Did you bring what we talked about?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Yeah...<\/dialogue>\n    <scene_description>He takes out a thick folder, opens it, flips through old maps and contracts.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>So... This is a fiber tunnel line we pulled from San Francisco to L.A., I ran fifteen crews working for about six months on it. Plus six months for securing the real estate and analysing the soils, so that's about a year from start to finish. We delivered two months ahead of our estimates, actually.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Very interesting.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>My cousin Anton here has a little test for you, I was wondering if you'd mind having a look at it?<\/dialogue>\n    <scene_description>Anton's mind is elsewhere...<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Anton. Gimme the test.<\/dialogue>\n    <scene_description>Anton comes back to Earth, reaches for a folded paper tucked in his back pocket, unfolds it, revealing handwritten doodles:<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>Say you want to dig a tunnel from here to here, and you want to run fiber through it. I'd like you to tell me how many amplifiers you'll need to put up on the line, thinking about stuff like refraction and, you know, the kind of things you should worry about.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Okay...<\/dialogue>\n    <scene_description>Mark just stares at Anton's doodle, scratches his head.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Are you all right Mark?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Yyyyeah... I have another question though.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <scene_description>Mark grabs his pen, starts drawing a curved line (the earth's curvature) on Vincent's piece of paper, and then, whatever he says next, he exemplifies on the doodle:<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Do I have to account for the Earth's curvature, or can I be super sci-fi and dig straight, like... straight-straight through the Earth? Or, can I dig straight, reach a hub outside, then dig back straight for a while, get to the next hub, straight, hub, straight, hub, like a... like an octagon or something, you know what I mean?<\/dialogue>\n    <scene_description>Vincent and Anton look at each other... A smile slowly comes across Vincent's face.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>I think that's an excellent question.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NYC CHINATOWN EATERY - NIGHT<\/stage_direction>\n    <scene_description>Mark, Vincent and Anton are outside of the eatery, just about to go their own way.<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>(walk and talk)<\/parenthetical>\n    <dialogue>How involved would you want to be on this project? If you don't have time to travel too much, what I did for the San Francisco- L.A. line is we set up a dropbox online where I would update progress maps, scan contracts as they got in, send updates and all that. The client never came on site, I handled everyth--<\/dialogue>\n    <character>VINCENT<\/character>\n    <parenthetical>(walk and talk, interrupting)<\/parenthetical>\n    <dialogue>-- No no no we're not putting anything online this is a secret project. I'm gonna be on the field every step of the way. On site, interviews, meetings, planning, I wanna be there. No middle men.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>And what about securing the real estate contracts?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>About ninety percent will be taken care of by me and my team. You handle the rest. (beat)<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>You sure you wanna do all that? I mean... You know we're talking forests and mud and dirt, right?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>I'm very aware of that, yes.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>All'right, well I guess that's good.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Thank you Mark, we'll get back to you shortly.<\/dialogue>\n    <scene_description>They shake hands.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>It sure is a strange project you got there...<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Just think of it as David walking on the stock exchange floor and pulling out the biggest slingshot ever, so he can bring Goliath down to the ground.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>David and Goliath... I like that. We're David right?<\/dialogue>\n    <scene_description>Awkward beat.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Yes. We're David. We'll get back to you very soon.<\/dialogue>\n    <scene_description>Mark goes one way, Anton and Vincent head the other way.<\/scene_description>\n    <character>VINCENT<\/character>\n    <parenthetical>(while they walk)<\/parenthetical>\n    <dialogue>So?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>He over-estimated the amplifiers by about eight percent.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Okay but aside from that? Is he the man for the job? Are we in good hands or are we not?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>I'm not sure... I'm really not sure.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>You're a theoretical physics engineer and you can't tell if a man's right for the job?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Humans are much more unpredictable than quantum physics.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Well I think he's gonna pull through.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANNA ZALESKI'S APPARTMENT - DAY<\/stage_direction>\n    <scene_description>We are in an old, two bedroom Manhattan appartment with faded carpets and mid-eighties furniture. The place is far from fancy - we can kind of guess it was purchased a long time ago, when middle- class folks could afford to buy apartments in Manhattan. There's too much stuff on display - silverware, candelabras, antique-like sculptures. ANNA ZALESKI, in her mid 70's, with a formal black dress, prepared an extravagant traditional Russian dinner - blinis and caviar, smoked fish, pickled vegetables, all laid out on the table. Someone knocks at the door, she goes and opens: Anton and LAETITIA, 30, blonde, beautiful but neurotic, are with their two daughters, OLENA, 5 years old, and KATIA, 11. The young family members are conservatively dressed for some kind of formal reunion. A MAN AND A WOMAN IN THEIR SEVENTIES, LEON AND MILENA (Anton's parents), walk to Anton and his family, greet them warmly.<\/scene_description>\n    <character>LEON<\/character>\n    <dialogue>There's my sweethearts...<\/dialogue>\n    <character>OLENA AND KATIA<\/character>\n    <dialogue>Grandpa!<\/dialogue>\n    <scene_description>The girls have a NYC accent.<\/scene_description>\n    <character>ANTON<\/character>\n    <parenthetical>(to Milena)<\/parenthetical>\n    <dialogue>Hi Mom...<\/dialogue>\n    <scene_description>Leon kisses his grandchildren on the cheek lovingly but with just a tad too much pressure. The kids are amused by the grandfather who immediately takes 20 dollar bills out of his pocket and hands them to both kids. Vincent is already there, by the table, eating a salmon roe blini and drinking an ounce of vodka from a very small crystal glass. The alcool burns his stomach... He lets the burn pass. In the corner of the room, the picture of ALBERT ZALESKI (Vincent's deceased Father) stands on a table - this is an informal mourning anniversary. Anton goes to his cousin Vincent, hugs him. CUT TO: Vincent raises his small crystal glass filled with vodka to his departed father's shrine.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>To you Pop. The classiest plumber in all of New York. You were tough on me, and it made me stronger.<\/dialogue>\n    <scene_description>They drink. CUT TO: All the family members are around the table, plates empty, most of the dishes consumed. Vincent is talking loudly with his uncle, Leon, while Anton's wife Laetitia is playing with her older daughter, and the younger daughter is asleep on the couch. Anton is next to Vincent, silent, looking at the table, playing with a spoon.<\/scene_description>\n    <character>VINCENT<\/character>\n    <parenthetical>(to Leon)<\/parenthetical>\n    <dialogue>...what you want to do before you do any kind of tiling is you strip the pipes and you get some 3\/4 inch copper in there.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>Change everything to 3\/4 inch???<\/dialogue>\n    <scene_description>Anton's older daughter Katia comes up to him, points at the half- opened bathroom door, DOWN THE HALL.<\/scene_description>\n    <character>KATIA<\/character>\n    <dialogue>Why is the light inside the bathroom yellow and the light outside blue?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Because the lightwaves from the bathroom light are slower than the lightwaves from the light from the windows... slower lightwaves go from yellow to orange to red, and faster lightwaves are bluer.<\/dialogue>\n    <character>KATIA<\/character>\n    <dialogue>Why is that?...<\/dialogue>\n    <character>CLINK CLINK CLINK<\/character>\n    <dialogue>Clink clink clink! Grandma Milena is hitting her crystal glass with a silver spoon.<\/dialogue>\n    <character>GRANDMA MILENA<\/character>\n    <dialogue>Katia, Katia, I didn't get my song today.<\/dialogue>\n    <scene_description>Katia smiles shyly, leans on her mother's shoulder.<\/scene_description>\n    <character>LAETITIA<\/character>\n    <dialogue>Ohhhhh she's right, you didn't sing Grandma her song...<\/dialogue>\n    <character>KATIA<\/character>\n    <dialogue>Okay... Daddy, go to the piano.<\/dialogue>\n    <scene_description>Anton does as his daughter says, he goes to the piano. Katia goes to her grandma Milena, sits on her lap. And then, ANTON PLAYS A CLASSICAL, HAUNTING MELODY. Truly beautiful and eerie. Young 5 year old Katia starts singing, and the ensemble is truly moving... That mix of ancestry and naive youth is mesmerizing. Anna looks at Anton and his children, moved at first, then sad...<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>(in Russian, to Vincent)<\/parenthetical>\n    <dialogue>When are you going to give me grandchildren? I would be so happy...<\/dialogue>\n    <scene_description>Vincent just nods, feeling inadequate. He serves himself another glass of vodka, looks at Anton, not without envy...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTON'S BROOKLYN APPARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Laetitia opens the door to a basic two bedroom appartment with a view of Brooklyn - they are back from Aunt Zaleski's home. Anton walks inside holding his two sleeping daughters in his arms, goes to their room. IN THE GIRLS BEDROOM, he tucks one in each bed. Katia, still half asleep, affectionately reaches out for her dad's wrist.<\/scene_description>\n    <character>KATIA<\/character>\n    <dialogue>Stay five minutes daddy...<\/dialogue>\n    <scene_description>He happily complies, lies down next to her for five minutes. She rests her head on his chest. LATER, Back in the living room, Anton goes to Laetitia who has her back turned to him, goes towards the beautiful back of her elegant neck. She turns, kisses him passionately.<\/scene_description>\n    <character>LAETITIA<\/character>\n    <parenthetical>(hungry for him)<\/parenthetical>\n    <dialogue>Come to bed.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>I have to work on something...<\/dialogue>\n    <character>LAETITIA<\/character>\n    <dialogue>Work on it later. Come.<\/dialogue>\n    <scene_description>He smiles shyly, she leads him to the bedroom, starts undressing. They start making love in the bedroom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NYC CHINATOWN EATERY - NIGHT<\/stage_direction>\n    <scene_description>Vincent is by himself with headphones at the Chinese eatery, eating noodles, having a beer, facing his laptop on which are on display: an excel sheet, a map of Eastern USA with a line that goes from Kansas to New York, and in the corner of his desktop, there's an episode of Breaking Bad (the tv series) playing. He doesn't look exactly sad, perhaps he's used to being by himself.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTON'S BROOKLYN APPARTMENT - NIGHT<\/stage_direction>\n    <scene_description>LATER, in the middle of the night, Anton is now by himself, in pyjamas, working on some small metal box that currently has its guts out in the open, next to his laptop. (For future reference, we will call this THE SLOW-DOWN BOX) One odd thing: an activated pay-per-usage cell phone is inside the device, with wires soldered to the insides of it. Anton runs the software, picks up his own cell phone (not the one in the box), makes a call. The pay-per-usage phone inside the box lights up. Immediately, numbers appear on Anton's computer: \"Latency: 0.020 seconds\" He smiles. Laetitia walks in her everyday flannel pyjamas.<\/scene_description>\n    <character>LAETITIA<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Just working...<\/dialogue>\n    <character>LAETITIA<\/character>\n    <dialogue>Working on what?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Just work stuff I need to get done before I leave.<\/dialogue>\n    <scene_description>She just stares at him, weary.<\/scene_description>\n    <character>LAETITIA<\/character>\n    <dialogue>Are you sure about this Anton?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>About what?<\/dialogue>\n    <character>LAETITIA<\/character>\n    <dialogue>Your project. I'm worried.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Don't worry... It's gonna work. And then we're gonna be free to do whatever we want.<\/dialogue>\n    <scene_description>She keeps staring, she's still worried...<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>I'll be there in fifteen minutes okay?<\/dialogue>\n    <character>LAETITIA<\/character>\n    <dialogue>Come now... You're gonna wake me up and then I won't be able to go back to sleep.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Okay five minutes.<\/dialogue>\n    <scene_description>She sighs again, annoyed, goes back to bed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAULSTON FLOOR\/HIGH FREQUENCY TRADING ROOM - DAY<\/stage_direction>\n    <scene_description>This is a 10 000 square feet bare bones, concrete floor mishmash of twenty computer stations (each with a six LCD screen array) and, behind these, twenty R&amp;D stations (computers, testing gear, cables and gutted computer parts). Not much sounds are heard except for the loud ventilation system cooling all those machines. 20 YOUNG MALES in pants, pale blue shirts and sleeveless fleece jackets, are staring at their monitors, clicking and entering values every five seconds or so - they're basically monitoring the movement of markets. On the screens: LINES FLUCTUATE LIKE MONITORS IN A HOSPITAL. Some sine waves pulse like a heartbeat, others are much longer sines, waving gently up and down within \"safety thresholds\" that are represented by a yellow area, then a red area. Some ODD SOUNDBYTES - warning beeps - are heard once in a while. Duck sounds, funny human sounds, even burp noises are used as warnings, which reminds us these young men are kids-with-bigger- toys type of adults. Vincent is one of those people monitoring the lifelines of the company's stocks. FURTHER DOWN THE LARGE SPACE, in the -- INT RAULSTON FLOOR\/HF TRADING ROOM\/LAB - DAY TWO MEN are installing circuitry boards on a SERVER HUB. We see through a window the start of what is probably a very big server room. Anton walks by them, and installs his ELECTRONIC METAL BOX (the \"slow-down box\" he was fiddling with at home, the one that has a cell phone hidden inside) next to other similar boxes hooked up to this hub. He does this very casually, not trying to hide what he's doing.<\/scene_description>\n    <character>QUANT 1<\/character>\n    <parenthetical>(casually)<\/parenthetical>\n    <dialogue>Hey Anton. What are you doing?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>'shortened the cabling inside. Less cross- talk.<\/dialogue>\n    <character>QUANT 1<\/character>\n    <dialogue>Cool.<\/dialogue>\n    <scene_description>Anton hooks up two fiber optic cables to the slow-down box, plugs a power source and walks back towards the other end of the room, where there's a \"deep research\" lab with a large bay window: Anton's lab.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAULSTON FLOOR\/HF TRADING ROOM\/ANTON'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Back in the lab, Anton manually writes math code on a notebook. Computer parts are laid out all over his space, with monitors displaying the data speeds of calculations and computer gear. At other tables, other Quantitative Analysts (QUANTS: physics geniuses commonly used to get an edge on the stock market): JENNY (32), SAM (48) and HAJAR (24). ON THE WALLS: \"Post it\" notes with math and physics formulas. THERE IS A SURVEILLANCE CAMERA in the corner of the room. On another worktable, TWO COMPUTERS are connected at each end of an optical fiber roll coiled along a two feet high, one foot wide roll. Written on top of the roll, in black ink:<\/scene_description>\n    <character>\"OPTICAL FIBER<\/character>\n    <dialogue>1320 FEET | 1\/4 MILE<\/dialogue>\n    <character>(REFRACTION COMPENSATED)<\/character>\n    <dialogue>Anton types a command on computer \"A\", clicks \"send\", then moves to computer \"B\" on which numbers appear instantly:<\/dialogue>\n    <scene_description>Processing: 7.126572 milliseconds Fiber: 0.00033625 milliseconds He goes to his main computer, starts writing some indecipherable C++ code, and then suddenly stops, struck by an idea. He grabs a post-it note, writes a couple of math gibberish on it, puts it in his pocket. He goes back to work. His phone rings, he takes the line.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>VOICE FROM PHONE (V.O.)<\/character>\n    <dialogue>MS Raulston would like to see you.<\/dialogue>\n    <scene_description>He freezes for a second.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <parenthetical>(to the others)<\/parenthetical>\n    <dialogue>Meeting!<\/dialogue>\n    <scene_description>They stop what they are doing, walk passed the mishmash of computer stations and lab stations, and walk accross the trading floor where VINCENT'S COMPUTER STATION IS LOCATED. From his desk, Vincent sees Anton and the other Quants heading towards Linda Raulston's office, gets worried. Anton opens a big, fancy wooden door that leads right into --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAULSTON FANCY OFFICE ENTRANCE - DAY<\/stage_direction>\n    <scene_description>It's the total opposite of Anton's workspace and the warehouse he walked across everything is flashy white and clean. A BEAUTIFUL BLONDE RECEPTIONNIST stands at the reception desk made out of 2 inch thick marble. The floor is also made out of marble. Facing the reception desk there is an open-concept waiting room space with expensive leather couches. There are two more big, fancy wooden doors: the entrance door, and the door leading to an executive office.<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <parenthetical>(to the Quants)<\/parenthetical>\n    <dialogue>You can go in.<\/dialogue>\n    <scene_description>Anton walks towards the executive office door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LINDA RAULSTON'S OFFICE - DAY<\/stage_direction>\n    <scene_description>LINDA RAULSTON, 45, sits at her large, empty desk, facing Anton and the other Quants.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>What do you have for me guys?<\/dialogue>\n    <character>HAJAR<\/character>\n    <dialogue>We're still working on microwave towers...<\/dialogue>\n    <character>ANTON<\/character>\n    <parenthetical>(interrupting, annoyed)<\/parenthetical>\n    <dialogue>We're not working on microwaves.<\/dialogue>\n    <character>HAJAR<\/character>\n    <dialogue>You're not. I am.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>It's pointless.<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>Why is it pointless?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Because we're years away from getting the right pulse shaping algorithms, and that means that by the time we get 'em right we're going to get our asses kicked by laser towers.<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>Huh... Okay, Laser Towers. I love it.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Short term I think we should put our efforts on getting an exclusive fiber deal between Harrisburg and Allentown that way we can skip the detour to Philadelphia and save at least half a millisecond...<\/dialogue>\n    <character>HAJAR<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>Linda I completely disagree. We should keep working on the microwave towers. If we get them to work we'll round-trip Kansas-New York in less than fourteen milliseconds.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Microwaves is a waste of time and a waste of money. It's gonna take at least three years to get it going.<\/dialogue>\n    <character>HAJAR<\/character>\n    <dialogue>Well I know one thing that's a waste of time, it's your neutrino messaging project, now that's a major waste of time and money...<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Oh yeah? Really?<\/dialogue>\n    <character>HAJAR<\/character>\n    <dialogue>Yeah, really!<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>What do you know about Neutrino Messaging?<\/dialogue>\n    <character>HAJAR<\/character>\n    <dialogue>I know it's bullshit!<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Yeah? Well fuck you.<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>All'right calm down.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>I'm sorry but I don't have time for this. This guy doesn't know what he's talking about.<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>Lets focus. Please.<\/dialogue>\n    <scene_description>Awkward beat.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Okay I got something. I just heard we should hook into NYSE by the back of their room because a guy I know told me they coil the fiber optic cable for the connections closer to the server and that creates cross-talk issues...<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>What??? They're screwing us...<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>...So I know it's counter intuitive but we need to get in from the furthest point of the room to their servers, that way the cable they give us is not coiled. And I think we should run through our system to double check any coiled cable issues.<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>All right. Jenny you try to find us a dedicated dark fiber line between Harrisburg and Allentown. Hajar, you work on the microwave thing on your own - just in case. Anton you get us that new input into the NYSE, the uncoiled one.<\/dialogue>\n    <parenthetical>(to Anton, Sam and Hajar)<\/parenthetical>\n    <dialogue>Meanwhile I want you guys to give me a ballpark for the laser towers.<\/dialogue>\n    <character>HAJAR<\/character>\n    <dialogue>Its years of research, Linda. Maybe decades.<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>I don't care. Do it. I'm not in it for the money.<\/dialogue>\n    <scene_description>Everybody shuts up, stares at serious Linda, perplexed.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>That was a joke. Get to work.<\/dialogue>\n    <scene_description>They exit the office...<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>Anton I want to talk to you.<\/dialogue>\n    <scene_description>She walks to him. Long awkward beat.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>You're not holding back on me, are you?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>Well, I guess we didn't get a lot of new ideas from you recently, have we? We mostly hear you bitch about Hajar and the cell towers.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>I'm still working on neutrino messaging, it's...<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>Neutrino messaging is the long shot of a long shot. I want more day to day solutions. More day to day results. Okay? Less esoteric. More pragmatic.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RAULSTON OFFICE BUILDING - DAY<\/stage_direction>\n    <scene_description>Vincent and Anton walk out of the office building, revealing MIDTOWN NEW YORK. They walk on the busy street, Vincent is completely panicked.<\/scene_description>\n    <character>VINCENT<\/character>\n    <parenthetical>(as they walk)<\/parenthetical>\n    <dialogue>How did she say it??<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>She just said \" You're not holding back on me, are you?\"<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Fuck! Did it feel like she was suspecting something?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>I don't know...<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>What do you mean \"you don't know\"?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>I mean I don't know!<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Well think Anton, what did she mean!?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>GET OFF MY BACK VINNIE!<\/dialogue>\n    <scene_description>People on the street turn towards them, watchful, INCLUDING THREE SOLDIERS WITH M16s DOING THEIR ROUNDS in the financial district (they are now part of every day life in downtown NYC).<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>All right all right...<\/dialogue>\n    <parenthetical>(he ponders)<\/parenthetical>\n    <dialogue>Lets just stick to the plan, there's nothing we can do anyway, right?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Vinnie... I can't slow them down much longer. They're going forward with the cell tower research. We really gotta hurry. Only three or four hurdles left and they'll be able to do it.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>How long?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Three years tops. Once they figure out the pulse shaping, they're almost there.<\/dialogue>\n    <scene_description>Vincent, weary, sighs.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>We make our money in a year or two, then we get out of it and we get you a country home on a hill. Good?<\/dialogue>\n    <scene_description>Anton nods.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>I'll see you on Monday.<\/dialogue>\n    <scene_description>He tenderly slaps Anton on the cheek - a cousins kind of thing - and stops a yellow cab on the road, gets in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LARGE BUILDING FACING HIGHWAY - NIGHT<\/stage_direction>\n    <scene_description>A big, soulless, windowless aluminium siding building facing a soulless highway. Vincent and Mark are on the other side of the 4 lane highway, equipped with a digital tablet, a GPS and a Total Station Theodolite (TST): a telescope-like tool used by land surveyors to map land coordinates. Next to them is MARK'S PIMPED, ALL-BLACK PICKUP TRUCK - the biggest there is on the market.<\/scene_description>\n    <character>VINCENT<\/character>\n    <parenthetical>(pointing at the building behind them)<\/parenthetical>\n    <dialogue>The BATS Stock Exchange servers are in there...<\/dialogue>\n    <scene_description>Mark slowly walks along the highway, looks at his GPS, moves an extra step, then takes out a can of orange spray paint. He PAINTS A DOT ON THE SIDE OF THE ROAD. Vincent looks around to make sure nobody's looking. Mark places the Total Station Theodolite (TST) on top of the painted dot, looks through the lens, aims towards a field on the other side of the highway...<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>That gas station, at the end of the field.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GAS STATION IN THE MIDDLE OF NOWHERE - DAY<\/stage_direction>\n    <scene_description>Mark and Vincent are in a GREY FORD EXPLORER SUV, Mark parks the car in front of the gas station. Vincent gets out, walks towards a 15 YEAR OLD TEENAGER with the stare of a fearless Marine Corps. Mark stays by the car, looks at some landmarks around the site, takes detailed notes.<\/scene_description>\n    <character>YOUNG TEENAGER<\/character>\n    <dialogue>Can I help you?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Ah yeah... I'd like to speak to the owner?<\/dialogue>\n    <character>YOUNG TEENAGER<\/character>\n    <dialogue>What's this about?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Uhhh... It's about this property.<\/dialogue>\n    <scene_description>Young teenager turns and screams towards the back of the store.<\/scene_description>\n    <character>YOUNG TEENAGER<\/character>\n    <dialogue>DAD! SOME GUY WANTS TO TALK ABOUT OUR<\/dialogue>\n    <character>PROPERTY!<\/character>\n    <dialogue>GAS STATION OWNER<\/dialogue>\n    <character>(O.S.)<\/character>\n    <dialogue>TELL HIM I'M BUSY!<\/dialogue>\n    <character>YOUNG TEENAGER<\/character>\n    <parenthetical>(to Vincent)<\/parenthetical>\n    <dialogue>He's not available.<\/dialogue>\n    <scene_description>Awkward beat... We hear footsteps - A man in his sixties (GAS STATION OWNER) comes from the garage, grey beard tainted with nicotine.<\/scene_description>\n    <character>GAS STATION OWNER<\/character>\n    <parenthetical>(suspicious)<\/parenthetical>\n    <dialogue>What can I do for you?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Yes hi Sir my name is Vincent, I work for Magenta Fiber Tech, we're a networking company and we want to expand our operations to this area. I was wondering if you were the owner of this property?<\/dialogue>\n    <character>GAS STATION OWNER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>That's good. That's amazing.<\/dialogue>\n    <character>GAS STATION OWNER<\/character>\n    <dialogue>How is it \"amazing\"?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Ha ha. What do you mean?<\/dialogue>\n    <character>GAS STATION OWNER<\/character>\n    <dialogue>How is it \"amazing\" that I own this property?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>I don't know... It's just a saying.<\/dialogue>\n    <scene_description>Awkward beat.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Anyway, we're exploring ways to stretch our lines of communication to your area and I'm in charge of checking out who would be interested in selling a stretch of land so we could, you know... huh... Stretch our lines of communication.<\/dialogue>\n    <character>GAS STATION OWNER<\/character>\n    <dialogue>I ain't selling my land.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Oh no, no no no no no of course not. All we're looking for is access to a strip of land to spread our lines. A really thin strip.<\/dialogue>\n    <character>GAS STATION OWNER<\/character>\n    <dialogue>How thin.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Real thin. About...<\/dialogue>\n    <scene_description>He spreads his hands apart by about a foot.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>...This wide. For the length of your property.<\/dialogue>\n    <character>GAS STATION OWNER<\/character>\n    <dialogue>You wanna buy a twelve inch strip off my property?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Yeah. And it's just to bury our line, the line's not even twelve inches, it's four inches actually. In a month you won't even know it's there. 'Could even be like a... ten year lease or something.<\/dialogue>\n    <character>GAS STATION OWNER<\/character>\n    <dialogue>You got all this written down somewhere?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Yeah I do.<\/dialogue>\n    <scene_description>He pulls out a twenty page contract from his briefcase.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>I...<\/dialogue>\n    <parenthetical>(lays the contract on the counter)<\/parenthetical>\n    <dialogue>Do.<\/dialogue>\n    <scene_description>CUT TO: Vincent goes back to the SUV holding a signed contract, Mark is standing by.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VINCENT MOBILE HEADQUARTERS\/NEW JERSEY PARKING LOT - DAY<\/stage_direction>\n    <scene_description>WIDE on a large parking lot, with highways and New York scenery as a backdrop. A YELLOW CAB drives towards a MOBILE OFFICE on wheels, Vincent and Mark get out of the cab, walk towards the office.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VINCENT MOBILE HEADQUARTERS - DAY<\/stage_direction>\n    <scene_description>We are in the MOBILE HEADQUARTERS. Harsh ceiling neons light up the area. THE EXACT SAME CONTRACT held by Vincent's handin the previous scene, on top of four more signed contracts lands on a pile of other contracts resting on the desk of AMY, whiz kid, 22.<\/scene_description>\n    <character>AMY<\/character>\n    <dialogue>What'd you get today?<\/dialogue>\n    <scene_description>She's talking to Vincent:<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Eleven miles. BATS exchange to about...<\/dialogue>\n    <parenthetical>(he points on a map of Kansas area on her desk)<\/parenthetical>\n    <dialogue>Here.<\/dialogue>\n    <character>AMY<\/character>\n    <dialogue>Excellent.<\/dialogue>\n    <scene_description>In the background, Mark hangs white foamcore panels adorning a list of fifty contractors on one of the walls. Some of the contractor names have a green dot, some a yellow dot, some red. TWO OTHER ASSISTANTS, mid-twenties, are working on a large map of North-Eastern USA, with a dotted line stretching from Kansas to New York. Different color-coded pins are laid out along the line. This is the PROGRESS MAP (we will refer to it later in this story). BACK AT AMY'S DESK, GARY, another whiz kid, early thirties, drops a very big pile of contracts on Amy's desk.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>Hey Amy...<\/dialogue>\n    <character>AMY<\/character>\n    <dialogue>What's this???<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>All land owners between Arrowrock and Martinsburg.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>You signed all of them???<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Yeah baby.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Excellent!<\/dialogue>\n    <character>MARK (O.S.)<\/character>\n    <dialogue>Vinnie!<\/dialogue>\n    <scene_description>Vincent turns towards Mark's voice: A CONTRACTOR (ELLIOT, 30) has arrived.<\/scene_description>\n    <character>CUT TO:<\/character>\n    <dialogue>Vincent is in the middle of reading a contract aloud while Mark is right behind, listening.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>...You are not to engage in any discussions with other contractors you could encounter on the line. You are not to discuss any details of your work with any individual outside of the team that has been designated to work with you...<\/dialogue>\n    <scene_description>SMASH CUT TO: Same office, but the light has changed - it's later in the day. THREE CONTRACTORS, new ones, are with Vincent and Anton.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>...You will abstain from making any inquiries that are not directly related to your tasks...<\/dialogue>\n    <scene_description>SMASH CUT TO: Vincent keeps on reading the contract clauses, now facing one single NERVOUS CONTRACTOR in his forties.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>...You recognize that a breach of this non- disclosure agreement could result in your obligation to reimburse in full the sums Magenta Fiber Tech invested for the completion of this project.<\/dialogue>\n    <scene_description>The contractor signs, nervous. CUT TO BLACK TITLE CARD ON BLACK:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LINDA RAULSTON'S OFFICE - DAY<\/stage_direction>\n    <character>IT'S NOW EARLY FALL<\/character>\n    <dialogue>CLOSE on Linda Raulston, in front of a white board with markers. She's making a presentation but we can't see who's attending. On the board: EIGHT CIRCLES OF DIFFERENT SIZES, WITH \"BUYER\/SELLER\" WRITTEN INSIDE OF IT, are disorderly drawn, like floating particles.<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>...What we do, basically, is we position we position ourselves in between the buyer\/seller particles. We explode the old atoms and create a new space for trading. So what we're doing... is we're inventing a market where it didn't exist before, but at the \"sub-particle\" level. From within.<\/dialogue>\n    <scene_description>CLOSE on a MAN IN HIS LATE FIFTIES WHO IS LISTENING. He's sitting next to TWO MALE COLLEAGUES, same age.<\/scene_description>\n    <character>HFT INVESTOR<\/character>\n    <dialogue>Okay. Why do we need you to do that for us? Why can't we, or anybody else do that?<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>'Cause we're the fastest ninety percent of the time. We're obsessed with speed at every level. Our whole R&amp;D is about speed. Speed of the line, speed of the algorithms, speed of the processing. There's no number two for this to work. You gotta be number one. Which we are.<\/dialogue>\n    <character>HFT INVESTOR<\/character>\n    <dialogue>Run it by me one more time please. Like I'm a five year old.<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>Okay...<\/dialogue>\n    <scene_description>She thinks for a second, goes back to the board, starts drawing arrows and other things from one \"buyer\/seller\" bubble to the other, trying to better explain her concepts.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>You got all these purchase orders flying around, this one goes there, this one goes there... Okay? Well. If we read that order from this buyer, and then we can outrun him, we can get to the market next door knowing his price. So we can buy everything cheaper than his price, and by the time he reaches that same market, just a few milliseconds later, we can sell it to him at the price he was asking. Profit at no risk. But, there can only be one. One faster than the others. And right now that's us.<\/dialogue>\n    <scene_description>Dumbfounded look on the man in his late fifties.<\/scene_description>\n    <character>HFT INVESTOR<\/character>\n    <dialogue>Waitwaitwaitwaitwait... You're allowed to do this??<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>It's what our business is about. It's what we do...<\/dialogue>\n    <character>HFT INVESTOR (O.S.)<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>...what you do sounds like what a scalper does...<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <parenthetical>(insulted, interrupting)<\/parenthetical>\n    <dialogue>...What we do is Market Making. We're sub- atomic financial engineers. It's lightyears away from scalping.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And yes, you need us.<\/dialogue>\n    <scene_description>The HFT Investor sighs, perhaps because he realizes she's one step ahead of him. Literally. THROUGH LINDA'S GLASS WALL (we can't hear through the glass), Vincent and Anton hand two letters and a piece of paper to the puzzled receptionnist, then ask her to sign the paper - a confirmation of delivery. She signs, throws a confused look at Linda through her glass wall.<\/scene_description>\n    <character>HFT INVESTOR<\/character>\n    <dialogue>All'right... How do we get into your Market Making shenanigan? What kind of clients are you looking for?<\/dialogue>\n    <scene_description>Linda notices what's happening by the corner of her eye, she loses her concentration.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <parenthetical>(distracted)<\/parenthetical>\n    <dialogue>We're only looking for about ten partners.<\/dialogue>\n    <scene_description>The cousins head out, Anton head low, while Vincent waves goodbye to Linda.<\/scene_description>\n    <character>HFT INVESTOR<\/character>\n    <dialogue>What kind of partners?<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <parenthetical>(more distracted)<\/parenthetical>\n    <dialogue>Partners at one hundred million each.<\/dialogue>\n    <parenthetical>(looking towards the main entrance)<\/parenthetical>\n    <dialogue>I'm sorry, could you excuse-me for just a minute? I'll be right back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAINLESS STEEL ELEVATOR - DAY<\/stage_direction>\n    <scene_description>Vincent is with Anton in a stainless steel elevator, waiting to reach the ground floor.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Deep breaths.<\/dialogue>\n    <scene_description>Anton tries to take deep breaths.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>When the doors open, just walk out, don't look back, no matter what. You're doing the right thing. Just one more year and you're free.<\/dialogue>\n    <scene_description>Ding! Elevator doors open.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Let's do this.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RAULSTON OFFICE BUILDING - DAY<\/stage_direction>\n    <scene_description>Anton and Vincent walk out of the building, they walk and talk.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Tell me your dream Anton.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Country home on a hill. Small road. Hummingbirds.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Again.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Country home on a hill. Small road. Hummingbirds.<\/dialogue>\n    <scene_description>Linda Raulston bursts out of the building holding the two letters handed to the receptionnist, looks for the two cousins, locks eyes on them. She catches up to them cocky, authoritative, like she owns them.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <parenthetical>(to Anton)<\/parenthetical>\n    <dialogue>Hey... HEY! What's this!?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Our resignation.<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>I'm not talking to you, I'm talking to him!<\/dialogue>\n    <scene_description>She stays on Anton's heels, breathing down his neck.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <parenthetical>(to Anton)<\/parenthetical>\n    <dialogue>What are you doing Anton? After all I did for you?? After all the firm has done for you?? How can you do this?<\/dialogue>\n    <character>VINCENT<\/character>\n    <parenthetical>(to Anton, like a conciliare)<\/parenthetical>\n    <dialogue>Don't listen...<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>Anton, I just want you to think for a second about what will happen if you give anybody else our codes... Don't do anything stupid... You could get in serious trouble.<\/dialogue>\n    <character>VINCENT<\/character>\n    <parenthetical>(to Linda)<\/parenthetical>\n    <dialogue>They're his codes, Linda.<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>\"HIS\" CODES?? THERE'S NO \"HIS\"! \"HIS\" IS<\/dialogue>\n    <character>OURS! WHAT'S IN HIS HEAD IS OURS! WE OWN<\/character>\n    <dialogue>HIM!<\/dialogue>\n    <scene_description>They walk away, turn the corner... Linda ponders for a second, while the Receptionnist comes out of the same building and catches up to her.<\/scene_description>\n    <character>RECEPTIONNIST<\/character>\n    <parenthetical>(panicked)<\/parenthetical>\n    <dialogue>Miss Raulston, your clients are about to leave!<\/dialogue>\n    <scene_description>Linda just stares towards where Vincent and Anton turned the corner.<\/scene_description>\n    <character>RECEPTIONNIST<\/character>\n    <dialogue>What do I do???<\/dialogue>\n    <scene_description>Long beat.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>You handle it...<\/dialogue>\n    <scene_description>She runs towards where Anton and Vincent turned the corner.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WILLIAM STREET, NY - DAY<\/stage_direction>\n    <scene_description>Linda Raulston runs, looking for Vincent and Anton, stuck in a crowd that's mostly heading in the opposite direction. She gets a visual of Anton and Vincent who are 100 feet away. She hurries and catches up to them. FURTHER DOWN THE ROAD, Vincent and Anton walk at a quick pace, didn't notice Linda following them. Vincent reassuringly puts his hand on the back of Anton's head as they walk, a cousin thing.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Are you good?<\/dialogue>\n    <scene_description>Anton nods.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>All right.<\/dialogue>\n    <scene_description>Vincent looks around, sees someone walking towards them: it's Linda.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Motherfucker...<\/dialogue>\n    <scene_description>She catches up to them, they stop walking, in the middle of the busy street.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Linda, please. You got the letter, it's done. We're out.<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>I'm not talking to you. You stay quiet or I'll scream and make sure they arrest you for groping me.<\/dialogue>\n    <scene_description>Long beat. She looks at Anton for a long time, silent.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <parenthetical>(to Anton)<\/parenthetical>\n    <dialogue>I'm sorry for what I said. I didn't mean<\/dialogue>\n    <dialogue>it. I got carried away because I care for you. You know that, don't you?<\/dialogue>\n    <scene_description>No answer<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>Have we taken you for granted, Anton? Is that how you feel? 'Cause I would never want for you to feel I've taken you for granted. In a way, you're almost like a son to me...<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Oh please...<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>I even paid for your tuition, Anton. I made you who you are. You owe me. You can't just leave. It's not just your contract, it's your moral obligation.<\/dialogue>\n    <scene_description>Long beat. He slowly turns to her.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>My algorithms paid you back.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Yeah, sorry Linda we're moving on to bigger things.<\/dialogue>\n    <scene_description>Linda's jaw tenses... She points at Vincent while keeping her eyes on Anton.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>Just remember I hired this little fella for you, Anton. We didn't need him. Giving him a job was your bonus. He's disposable.<\/dialogue>\n    <scene_description>Vincent laughs, head shaking.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>This is going to be painful. I promise. You can still change your mind.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>All right that's great, you take care Linda.<\/dialogue>\n    <scene_description>He takes Anton by the arm and pulls him away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NARROW STREET NYC - END OF DAY<\/stage_direction>\n    <scene_description>Vincent and Anton are walking, weary and exhilarated at the same time.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>You all right?<\/dialogue>\n    <scene_description>Anton nods.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>I got an hour to kill, lets get some drinks and go through the game plan.<\/dialogue>\n    <scene_description>Anton feels bad for what he's about to answer.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>I can't... I gotta go home.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Come on, just a drink. Go over a couple of details.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>I really gotta go home, Vince.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>All right...<\/dialogue>\n    <scene_description>He closes up.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>I promised I'd be back for dinner...<\/dialogue>\n    <character>VINCENT<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>Don't worry about it. I'll go through the details, you go to the family.<\/dialogue>\n    <scene_description>He leaves, Anton still feels bad.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VINCENT MOBILE HEADQUARTERS - DAY<\/stage_direction>\n    <scene_description>(New Jersey Parking Lot) A woman in her MID-30's, OPHELIA TROLLER, dressed in clean black jeans and a long-sleeved, white dress shirt, walks towards Vincent's table, uneasy about the meeting. Mark is there with him. The room is now filled with boxes of contracts and maps with red lines and pins are laid out all over the walls. Five assistants are busy typing things, looking at maps, calling people.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Ophelia?<\/dialogue>\n    <character>OPHELIA<\/character>\n    <dialogue>Mr. Zaleski. Hi.<\/dialogue>\n    <scene_description>They shake hands.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Please, call me Vincent.<\/dialogue>\n    <character>OPHELIA<\/character>\n    <dialogue>Vincent.<\/dialogue>\n    <scene_description>Mark puts his hand out.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Mark.<\/dialogue>\n    <scene_description>They shake.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Thanks for flying in.<\/dialogue>\n    <character>OPHELIA<\/character>\n    <dialogue>Yeah. So what's this about?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>We have some digging to do around this area, it's a pretty big project, and I heard you have the type of crew we're looking for.<\/dialogue>\n    <character>OPHELIA<\/character>\n    <dialogue>Okay...<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>So... one of our biggest challenges is to keep this extremely secret from the competition.<\/dialogue>\n    <character>OPHELIA<\/character>\n    <dialogue>Is this thing legal?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Yes, of course! Of course. Nothing illegal. But very secret. I would need for you to sign this Non-Disclosure Agreement. It's just a contract that says you won't talk about our project.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>To anyone.<\/dialogue>\n    <character>OPHELIA<\/character>\n    <dialogue>I don't know... I'm a pretty straight forward kind o' gal...<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>It's just a formality.<\/dialogue>\n    <scene_description>She grabs the thick N.D.A. contract with \"Project: Hummingbird\" on it.<\/scene_description>\n    <character>OPHELIA<\/character>\n    <dialogue>A 30 page \"formality\"?<\/dialogue>\n    <scene_description>She flips through the pages.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>It's a pretty big job. I think you're gonna like it.<\/dialogue>\n    <character>OPHELIA<\/character>\n    <dialogue>I don't know...<\/dialogue>\n    <scene_description>Vincent is a little offended.<\/scene_description>\n    <character>OPHELIA<\/character>\n    <dialogue>I'm sorry, I hope you don't take it the wrong way, I think I'd rather not get involved, I'm not too comfortable with a 30 page contract just to listen to you talking. I'm more like \"okay, lets shake on this and lets go\", you know?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>This project is a little too big for a handshake.<\/dialogue>\n    <character>OPHELIA<\/character>\n    <dialogue>Still, I don't want to lose your time.<\/dialogue>\n    <scene_description>Vincent is offended but he tries to hide it.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>All right, all'right. This is the deal: We're digging a fiber tunnel around this area and we have a long stretch of land that's protected by the parks. We're looking for someone who would be able to go under that area in one single pass. We're talking... About fifteen miles. That's as much as I can tell you for now.<\/dialogue>\n    <scene_description>Dumbfounded look on Ophelia.<\/scene_description>\n    <character>OPHELIA<\/character>\n    <dialogue>Fifteen miles of fiber in one single stretch?? No connection points?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>It's all wild forest. No access roads and absolutely no way to get permission to build one.<\/dialogue>\n    <character>OPHELIA<\/character>\n    <dialogue>You know what kind of machine this would require, right? Like... We're talking ship it from the other side of the planet kind of thing.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>We know.<\/dialogue>\n    <scene_description>Ophelia just stares at them, then laughs. He turns the N.D.A. contract over, grabs his pen.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>I'm gonna write down a couple of figures behind this contract to give you an idea of the kind of job we're talking about.<\/dialogue>\n    <scene_description>Ophelia reluctantly takes the N.D.A. with the figures written at the back of it, reads it, ponders for a second.<\/scene_description>\n    <character>OPHELIA<\/character>\n    <dialogue>Listen, I've been doing this for a while and I've seen my father do this for a while, and these big deals that happen over night, well... They never happen. We always get screwed. So unless you're able to wire a one million dollar deposit up- front, I really don't want to play ball with you.<\/dialogue>\n    <scene_description>Long beat.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Are you serious?<\/dialogue>\n    <character>OPHELIA<\/character>\n    <dialogue>Are you?<\/dialogue>\n    <scene_description>Awkward beat. Vincent just hands her a big file.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>There's no way I'll front you a million dollars, all right? But this is what I'll do: I'll take a leap of faith and give you these documents explaining the project. You just read them and get back to me as<\/dialogue>\n    <scene_description>soon as you can if it sounds interesting, all right? They look at each other for a long time.<\/scene_description>\n    <character>OPHELIA<\/character>\n    <dialogue>Okay, I'll have a look at it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONSTRUCTION SITE\/ACROSS NEW YORK CITY ISLAND - DAY<\/stage_direction>\n    <scene_description>The green shrubs and the falling leaves floating in the air give us a sense that IT'S EARLY AUTUMN. Workers are on a small construction site with a construction helmet, surrounded by a FOUR MEN CONSTRUCTION CREW. An OPERATOR sits atop A TRENCHER\/FIBER LAYING COMBO MACHINE: a very specific type of yellow construction truck equipped with a trenching \"shovel\" and a huge roll of orange optic-fiber tube rolling out cable into the freshly dug trench (the fiber goes in the orange tube). A WINCH ON A TRUCK pulls the trencher\/fiber laying combo machine. Behind the combo machine, the chains of another truck tap the open trench back down. OVER THE LOUD NOISE, Mark and Vincent look at the work, Vincent highly excited. Mark points at the machines and explains the whole process (we don't hear what they are saying, we just see them talking).<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VINCENT MOBILE HEADQUARTERS - DAY<\/stage_direction>\n    <scene_description>Vincent is in A NEW BUSINESS SUIT, around a small conference table where a map and various logistic documents are laid out. Behind him, on other fold-out tables lining the mobile office, five other people are busy planning. THROUGH THE WINDOW of the mobile office, five CREW MEN are busy preparing some kind of road expedition. At the end of the trailer, on another fold-out table, Anton is coding on his laptop. FOUR OLDER EXECUTIVES walk into the mobile headquarters, one in a suit, others in jeans, shirt and vest. One of the executives is BRYAN TAYLOR, 60. Vincent sees them, gets a little nervous.<\/scene_description>\n    <character>VINCENT<\/character>\n    <parenthetical>(from across the trailer)<\/parenthetical>\n    <dialogue>Anton! They're here.<\/dialogue>\n    <scene_description>Anton looks up, walks through the whole trailer to Vincent, they greet the guests.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Bryan how are you?<\/dialogue>\n    <character>BRYAN TAYLOR<\/character>\n    <dialogue>Good. So this is the Batcave...<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Yeah... I guess.<\/dialogue>\n    <scene_description>Bryan looks at all the documents on the table.<\/scene_description>\n    <character>BRYAN TAYLOR<\/character>\n    <dialogue>Lets get down to it. Why don't we take it from the top.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Yeah, I think that's a good idea 'cause so much is going on at the same time right now.<\/dialogue>\n    <scene_description>Vincent unfolds a imap on the table. ON IT, A RED LINE THAT GOES FROM KANSAS CITY TO NEW YORK.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>This is the state of affairs. We signed deals with fifty four crews to build the line and we signed a land deal with 95% of the people we need to sign with. On Monday, work is gonna start on 80% of the line.<\/dialogue>\n    <scene_description>He points to four green dots along the Kansas - NY line.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>We got headquarters here, here, here....<\/dialogue>\n    <scene_description>He points to the final dot, located 40 miles West of the Appalachian mountains.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>And that's where I'll be most of the time. That's where ninety percent of our problems are. We got protected forests with no roads and no construction allowed, we got rivers to cross, we got swamps, you name it.<\/dialogue>\n    <scene_description>Bryan points to a fourty mile area where the red line doesn't go straight, it surrounds a mountainous, green, uninhabited area - a pretty big detour.<\/scene_description>\n    <character>BRYAN TAYLOR<\/character>\n    <dialogue>Why isn't it straight around here?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>That's one of the problems we're working on. The Appalachians. National Park. A big granite mountain to dig through. It's protected. There's no access, no roads, no railway that can take us there.<\/dialogue>\n    <character>BRYAN TAYLOR<\/character>\n    <dialogue>How much are we losing?<\/dialogue>\n    <scene_description>They all turn to Anton who goes towards the map, and starts by pointing at Kansas city. EXTREME CLOSE-UP ON THE FINGER AND THE MAP.<\/scene_description>\n    <character>ANTON (V.O.)<\/character>\n    <parenthetical>(pointing at Kansas)<\/parenthetical>\n    <dialogue>Kansas BATS exchange: system sends the purchase order and heads North of Saint Louis that's 2.3 milliseconds,...<\/dialogue>\n    <scene_description>He moves his finger in a straight line from Kansas towards the Pensylvania Appalachian mountains.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>North Louis to the Appalachians is 2.5, total 4.8.<\/dialogue>\n    <scene_description>His finger reaches the Appalachian Mountains.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>Appalachians to Harrisburg, going around is 2.6., straight through the rocks is 1.5. That's 7.4 going around the mountains, 6.3 going straight.<\/dialogue>\n    <scene_description>He brings his finger to New York City.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>ANTON<\/dialogue>\n    <scene_description>Harrisburg to New York Stock Exchange is 1.7, plus point five milliseconds for processing. So for the round-trip, that's a total of 17 milliseconds if we're totally straight, a total of 19.2 milliseconds if we're going around the mountains. Everybody jumps at Anton saying \"17\", Vincent included.<\/scene_description>\n    <character>BRYAN TAYLOR<\/character>\n    <parenthetical>(upset)<\/parenthetical>\n    <dialogue>What??? \"Nineteen\"?? \"Seventeen\"?? Vincent, we said sixteen. Not seventeen, certainly not nineteen. Seventeen milliseconds is useless, there's probably dozens of market makers that'll do under seventeen in a year or two...<\/dialogue>\n    <character>VINCENT<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>No no no, don't worry, what he means is we're at seventeen with our beta software... Anton don't scare them to death please? We're still stripping the code, that's where the last millisecond will come from... And obviously there's no way we're going around the mountains we're losing to much speed.<\/dialogue>\n    <scene_description>At this, Anton freezes, stares straight at Vincent, getting more and more agitated. The execs are starting to take notice...<\/scene_description>\n    <character>BRYAN TAYLOR<\/character>\n    <dialogue>Shit... Don't scare us like that...<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Sorry about that.<\/dialogue>\n    <character>BRYAN TAYLOR<\/character>\n    <dialogue>How are you getting through those mountains?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Well... two things need to get done. We need government clearance to bring a crew in there, and we need to figure out how to bring our gear.<\/dialogue>\n    <character>BRYAN TAYLOR<\/character>\n    <dialogue>Clearance is easy.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Well if it's easy for you it's great for us, that's the first step. For the rest, we're working on a couple of scenarios. If we can get those special clearances I'll figure it out.<\/dialogue>\n    <character>BRYAN TAYLOR<\/character>\n    <dialogue>I'll get on it. Gimme a couple of days. Good work guys. Awesome work.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Thanks Bryan.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Now if you'll please excuse us, we gotta a tunnel to dig from New York to Kansas.<\/dialogue>\n    <character>BRYAN TAYLOR<\/character>\n    <parenthetical>(to Anton)<\/parenthetical>\n    <dialogue>All right Dorothy, you go to Kansas now.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Excuse-me?<\/dialogue>\n    <character>BRYAN TAYLOR<\/character>\n    <dialogue>Wizard of Oz? Kansas?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Oh. Sorry I didn't understand your reference.<\/dialogue>\n    <character>BRYAN TAYLOR<\/character>\n    <dialogue>That's all right.<\/dialogue>\n    <scene_description>He laughs politely.<\/scene_description>\n    <character>VINCENT<\/character>\n    <parenthetical>(to his crew)<\/parenthetical>\n    <dialogue>All'right lock it down.<\/dialogue>\n    <scene_description>The crew starts to get the mobile office ready for transport: they tie the chairs to rings on the walls, secure boxes with straps, etc.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VINCENT MOBILE HEADQUARTERS\/PARKING LOT - DAY<\/stage_direction>\n    <scene_description>The four executives walk out revealing the mobile office trailer is in the middle of a big PARKING LOT. The execs shake hands with the two cousins, then head to a Cadillac Limo-SUV, while Vincent and Anton head in the opposite direction.<\/scene_description>\n    <character>VINCENT<\/character>\n    <parenthetical>(lower voice)<\/parenthetical>\n    <dialogue>What did I tell you??? Don't tell them seventeen!!<\/dialogue>\n    <character>ANTON<\/character>\n    <parenthetical>(lower voice)<\/parenthetical>\n    <dialogue>Well why did you say sixteen milliseconds??? We're not at sixteen milliseconds, we're at seventeen milliseconds. How are you gonna cut one millisecond off?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>I won't. You will, I told you.<\/dialogue>\n    <scene_description>They walk by two more of those mobile office-trailers hooked up to big pick-up trucks, parked in the parking lot. FURTHER AWAY, outside the parking lot, TASSO CASILIERIS, 45, chiseled face and faint acne marks, is in his Chevrolet Impala, observing the two cousins - surveillance work.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>Oh, I will? How?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>We give them a faster, proprietary software that we bundle with the dark fiber subscription. One that shaves one millisecond off. Seventeen minus one is sixteen.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>That still doesn't answer my question: how? How am I supposed to design a software that's one millisecond faster when we already tore out everything that could be torn off the code?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>I know you can do it. Just give yourself some time.<\/dialogue>\n    <scene_description>Further down the parking lot, Mark is holding a map, talking to TWO DRIVERS.<\/scene_description>\n    <character>VINCENT<\/character>\n    <parenthetical>(to Mark)<\/parenthetical>\n    <dialogue>MARK! Let's go!<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>You're insane! You can't take a whole millisecond off of the software, it can't be done!<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>You need to find us one millisecond or we don't have a purpose, the whole project becomes useless. You don't find a millisecond somewhere, we fail. We lose all of it.<\/dialogue>\n    <scene_description>They reach a Ford Explorer SUV, go inside. Mark catches up to them, heads to the driver's seat. CUT TO: Minutes later, the travelling caravan made of the Ford Explorer and FOUR MOBILE OFFICE TRAILERS are lined up, exit the parking lot.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. SUV AND MOBILE HEADQUARTERS ON THE HIGHWAY - DAY<\/stage_direction>\n    <scene_description>The SUV and the four mobile office trailers ride down the highway, we can see MANHATTAN IN THE BACKGROUND. CUT TO: 27A 27A At an exit leading to some place called \"Allentown\", one of the mobile office trailers exits highway 78, while the rest of the caravan moves on, heading West.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY\/TASSO'S CHEVROLET IMPALA - DAY<\/stage_direction>\n    <character>TASSO, THE PRIVATE INVESTIGATOR, IS DRIVING BEHIND THE REST OF THE<\/character>\n    <dialogue>CARAVAN, TAILING THEM. Next to him is RYAN, 45. They pass by a sign by the side of the road that says:<\/dialogue>\n    <scene_description>\"Pittsburg, 92 miles\" \"Colombus, 212 miles\" \"Kansas, 580 miles\" Another mobile office trailer exits the highway, heading towards a city by the name of \"Altoona\" - the caravan is now a two vehicle affair. Tasso takes his cell phone, speed dials, waits for someone to answer.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAULSTON FLOOR\/HIGH FREQUENCY TRADING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Linda Raulston walks across the shared lab space where quantitative analysts and optical fiber engineers are hunched over computers, trying to accelerate data transfer speeds. Her cell phone rings.<\/scene_description>\n    <character>LINDA<\/character>\n    <parenthetical>(as she walks)<\/parenthetical>\n    <dialogue>Yeah?<\/dialogue>\n    <character>TASSO<\/character>\n    <parenthetical>(from phone)<\/parenthetical>\n    <dialogue>They're heading somewhere between Pittsburg and Kansas.<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>Pittsburg and Kansas??<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Kansas... That's the BATS Global Stock Exchange... Find out where they're staying and get back to me.<\/dialogue>\n    <character>TASSO<\/character>\n    <parenthetical>(from phone)<\/parenthetical>\n    <dialogue>Yep.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NONDESCRIPT ROAD - NIGHT<\/stage_direction>\n    <scene_description>Total darkness except for some eerie light that blast over the face of An OLD BEARDED MAN running toward us, tormented, angry, sad, covered in sweat, short of breath... (this is part of a nightmare, Vincent will refer to it later)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY - DAY<\/stage_direction>\n    <scene_description>Vincent wakes up, still in his new suit, sweating, pale, coming out of a nightmare - it's as if somebody held him underwater right until the edge of death. He looks around: he's in the passenger seat of a rented SUV. Mark is driving, Anton is in the backseat, staring out the window.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Having some nightmares Vinnie?<\/dialogue>\n    <character>VINCENT<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>Where are we?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>On our way to Kansas...<\/dialogue>\n    <scene_description>Anton finishes a line of code.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>So... What kind of challenges do you face in your field of work?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Challenges?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Yeah, what's the worst thing that can happen in your type of business?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Worst-worst?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>\"Worst-worst\", yeah.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>That would have to be positive shit.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>\"Positive shit\"??<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Positivafuckingshit.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I go do this job. Gotta get some pipes running underground for about... Half a mile from municipal to a couple of brand new Mc Mansions, so they can have water, 'right?<\/dialogue>\n    <scene_description>Anton nods.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>So you got all these Mc Mansions. About... thirty of them. They're waaaaay lower than the municipal pipes. So to get them fresh water, no problem, 'cause water comes from the town, and down the hill to their houses, right? Gravity does its job. But after they drink, after they eat, they gotta piss and they gotta shit, right? So you gotta bring all that piss and shit back up to the sewers, against gravity.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>That's an interesting impediment.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>What do you do? You get them a positive- shit-machine: a big pump working 24\/7 to shoot the shit up the pipes, up the hill back to the sewer up there. I'm talking... Tons of piss and shit each day. You followin' so far, Mr Brains?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>I am.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>...So about an hour after we start digging, boom. We hit something. And then, there's a smell from Hell. It's the pressurized, positive shit being pushed into the tubes: busted. It's coming out, but it's non-stop. All over the bourgeois backyards, there's an inch of shit seeping over the green... then two inches, then three inches of pure, unadulterated piss and shit.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Wow, that must have been upsetting.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I know right? And now the shit is rising faster and faster 'cause with all that fluid coming out of the tubes, the central pump feels the pressure coming down so it pumps harder and harder...<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Did you stop the pump??<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>No, 'cause only municipal is authorized to access the water system and it's only seven thirty a.m., nobody's home! So now by the time the boss comes you got a fountain of shit creating a lake of shit on the intricately designed backyards, and I'm like... I don't know what to say... So I tell him: \"I think we have a problem.\"<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>That's all you said??<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Swear to God that's all I said.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>So what did he say?<\/dialogue>\n    <scene_description>Mark tries not to start laughing but he can barely talk.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>He had his arm on his face to cover the smell, he was green... he said... he said... \"Fuck... I feel woozy...\" HA HA HA HA HA HA! \"I feel woozy!\" HA HA HA HA HA!!<\/dialogue>\n    <scene_description>That's it, Vincent can't help but laugh as well.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Positivafuckingshit dude.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Crazy.<\/dialogue>\n    <scene_description>FROM OUTSIDE, from a field, we follow the car driving down the road.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRUCK STOP DINER AND ROAD SIDE MOTEL - NIGHT<\/stage_direction>\n    <scene_description>The rented Ford Explorer and one last construction trailer park by the side of the highway, in front of a diner and roadside motel that hasn't been renovated for the last 30 years. They get out of their vehicles with small suitcases, the construction trailer driver and helper smoke a cigarette outside.<\/scene_description>\n    <character>MARK (O.S.)<\/character>\n    <dialogue>What about you? What's the worst that's happened to you?<\/dialogue>\n    <scene_description>Mark Vincent and Anton get out of the car, the conversation goes on. They walk and talk.<\/scene_description>\n    <character>VINCENT<\/character>\n    <parenthetical>(to Anton)<\/parenthetical>\n    <dialogue>Tell him about our startup.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>You tell him, I suck at stories.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Come on just tell it.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>No you do it.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Okay fine.<\/dialogue>\n    <parenthetical>(to Mark)<\/parenthetical>\n    <dialogue>So about fifteen years ago me and Anton, we're... You know... barely legal, and Anton comes up to me with an idea for some software. He calls it... The... The...<\/dialogue>\n    <character>ANTON<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>\"The Trend Setter XYZ\".<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>\"The Trend Setter XYZ\", yes!<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Terrible name.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>It's a good name. It illustrates the multi- dimensional predictive algorithm.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>We were gonna change it. Anyway, what the software is supposed to do...<\/dialogue>\n    <character>ANTON<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>...If you had given me proper deadlines...<\/dialogue>\n    <character>VINCENT<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>...was to gulp up as much data as it could from what was out there in the newspapers, on the internet, and then process the data, and integrate it into some kind of... like put a random thing to it.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>A \"model-perfecting chaos generator\".<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Ha ha! That's what you called it that's true I forgot!<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>It was a great idea. It's still a great idea. Chaos like a river smoothing the rocks. Defining the flow of things.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Whatever. So what it's supposed to do, is to scan through current newspapers, scan through a number of selected media outputs, and then kind of... feel, suggest what the \"average\" consumer would want to do in the coming years, or what it wants to buy next. \"What's the next big thing\", you know?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Okay... How did it do that?<\/dialogue>\n    <scene_description>Anton jumps in.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>It combined elements of the zeitgeist showing up on media sources, passed through a couple of algorithms, and then the model was perfected through the chaos generator.<\/dialogue>\n    <character>VINCENT<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>But the problem was that fifteen years ago we didn't have sophisticated, fractal based algorithms and shit like that. It was just words picked up randomly, shaken together by the \"chaos generator\", you know, and then voil\u00e0.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Voil\u00e0 what??<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Well... That's how we got the results.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>What results??<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>So we get this huge meeting with startup experts ready to invest a couple of millions in our software. We take out all<\/dialogue>\n    <dialogue>our money, buy suits, save up to pay for this fancy lunch, and the most expensive thing for us at the time was to subscribe to all these online newspapers to get access to the data, you know?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Okay...<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>So. We get to lunch, it's time to make the presentation, right? Anton takes out his laptop, loads the software. He clicks on a couple of options, presses enter. The eyes on the investors, they're big like this you know, they're thinking they're gonna make gazillions off of this \"Trend Setter XYZ Software\" that can read into the future, you know? So Anton's laptop takes like... forever to process. I think it was at least ten real minutes of just watching the idle icon going round and round. And then, the results come. There's only three words, no context, no suggestion, no instructions on how to use them. Trend Setter XYZ brings up: \"Shallots\", \"Trombones\", \"Brazilian waxing\"<\/dialogue>\n    <scene_description>Dumbfounded Mark bursts with laughter.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>What the fuck does that mean??<\/dialogue>\n    <scene_description>Anton jumps in.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>They were three fields or areas of the market in which they should look into for future growth, and as a matter of fact the demand for Brazilian Waxing spiked by three hundred and seventy seven percent since XYZ predicted it would.<\/dialogue>\n    <character>VINCENT<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>It's bullshit is what it is! And so you got these billionaires looking at: \"shallot\", \"trombones\", \"Brazilian waxing\", and then they start looking at Anton who, I swear to God, is super excited by these results because he thinks these guys are going to invest billions by looking at shallots-trombones-Brazilian- waxing, but they're not sure if he's just laughing at them, so these guys stand up and ask Anton if he's fucking with them, and Anton, who immediately turns cocky in these situations, says \"no, I think I want you to Brazilian wax my dick\".<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>SHIIIIIT!<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>And then they fight! Right there in the fancy restaurant they're throwing punches at each other!<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>I have very little tolerance for low IQ's.<\/dialogue>\n    <scene_description>They reach the entrance to the diner. As the door closes behind them:<\/scene_description>\n    <character>VINCENT (O.S.)<\/character>\n    <dialogue>Well all that to say that you are still a genius Anton, it's just the technology that's not ready for your brains.<\/dialogue>\n    <character>ANTON (O.S.)<\/character>\n    <dialogue>Exactly my point.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCK STOP DINER - NIGHT<\/stage_direction>\n    <scene_description>Vincent finishes a fish and chips, Anton and Mark a steak and fries. On the table is a printed map of Eastern USA on which A STRAIGHT, HAND DRAWN RED LINE GOES FROM KANSAS TO NEW YORK. Tasso is already in the diner, sitting at a table with his colleague Ryan. They start showing each other pictures from their smartphones, smiling - it feels out of character.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>I'm working on something for the mountains.<\/dialogue>\n    <scene_description>Vincent looks up.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>I have a friend who owns a couple of choppers. Says we could strap his drilling rig to a Sikorsky 64 helicopter.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Sikorsky helicopter?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>A big fucking chopper. Says it can lift about twenty thousand pounds but we gotta have air traffic authorization to get it at the bottom of those mountains...<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>How much?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>The chopper is eighty thousand dollars per day.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>A day???<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Including fuel and flight time, yeah.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Fuck...<\/dialogue>\n    <scene_description>AT THAT MOMENT, Tasso holds his smartphone up, camera pointed at Ryan, BUT IN FACT ALSO FRAMING VINCENT'S TABLE, BEHIND RYAN, and a glimpse of the red-lined map that Mark is holding up towards him. He takes the picture and quickly lowers his smartphone, shows the picture to Ryan like a tourist who just took a picture of the Eifel tower - still out of character. Vincent didn't notice any of this. BACK AT VINCENT'S TABLE, Mark pushes his finger along the map, looks for the right mountains.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>And we need to find a place to land... Around here somewhere.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Not: \"around here\".<\/dialogue>\n    <scene_description>He points to one very specific point on the red line, over the mountains on the map.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Here. Exactly here. On the line. Not there, there or there. Here. If we zig zag all over, we don't have a purpose. We're nothing. Straight line is our purpose. It's why we're here. It's how we'll be remembered. How we will be recognized. Are we clear on this?<\/dialogue>\n    <scene_description>Awkward beat.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Of course Vince.<\/dialogue>\n    <scene_description>Vincent sighs, overwhelmed by the stress. He gets a sudden pain in the stomach.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Ah fuck...<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>What's wrong with you?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>I think there's something wrong with my fish...<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I'd say it's more like \"something's wrong with your budget\" is what's giving you heartburn...<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>My turn to feel \"woozy\"...<\/dialogue>\n    <scene_description>He waves to the waiter.<\/scene_description>\n    <character>VINCENT<\/character>\n    <parenthetical>(from across the room)<\/parenthetical>\n    <dialogue>Get me another beer will you?<\/dialogue>\n    <scene_description>The waitress complies, goes to the bar.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT: INT. LINDA RAULSTON'S OFFICE AND TASSO'S PARKED CAR<\/stage_direction>\n    <scene_description>-:<\/scene_description>\n    <character>NIGHT<\/character>\n    <dialogue>Linda Raulston (Vincent and Anton's ex-employer\/newly found enemy) is in her breezy office, with large bay windows that face downtown New York, holding her cell phone to her ear while looking at a picture on her computer, on her e-mail browser: IT'S THE PICTURE TAKEN IN THE DINER, with Tasso's colleague in the foreground, out<\/dialogue>\n    <scene_description>of focus, and to the left of the frame, Vincent, Anton and Mark looking at their map with the red line connecting Kansas to New York. Linda zooms-in and zooms-in until things are just pixels... But she makes out the map of the US and the red line connecting Kansas to New York.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <parenthetical>(to his phone)<\/parenthetical>\n    <dialogue>Motherfuckers...<\/dialogue>\n    <character>TASSO<\/character>\n    <parenthetical>(to his phone)<\/parenthetical>\n    <dialogue>What the fuck are they doing?<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>They're building a line. A straight line.<\/dialogue>\n    <character>TASSO<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>They're building a straight fiber optic tunnel from the BATS exchange in Kansas to the fucking New York Stock Exchange. If they get this thing up and running, we're FUCKED!<\/dialogue>\n    <scene_description>She paces back and forth, back and forth, going ballistic.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>I'm gonna hurt them... I don't know how, but I'm gonna grind them to the ground...<\/dialogue>\n    <scene_description>She hangs up, presses on her secretary's speed dial button.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <parenthetical>(to office phone speaker)<\/parenthetical>\n    <dialogue>Get our quants down here...<\/dialogue>\n    <scene_description>CUT TO: Hajar, Jenny and Sam, the quants, walk in.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>I need you to get the microwave towers to work... I don't care how you do it but just get it fucking working. Get me the pulsing thing...<\/dialogue>\n    <character>JENNY<\/character>\n    <parenthetical>(correcting)<\/parenthetical>\n    <dialogue>Pulse shaping?<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>Pulse shaping. Get me the pulse shaping algorithms. NOW.<\/dialogue>\n    <character>HAJAR<\/character>\n    <dialogue>I already told you we can't.<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>I DON'T CARE! HIRE MORE QUANTS! WE NEED TO<\/dialogue>\n    <character>DO ROUND TRIP KANSAS-NEW YORK IN 15<\/character>\n    <dialogue>MILLISECONDS OR LESS, YOU HEAR?!<\/dialogue>\n    <scene_description>Long, awkward beat.<\/scene_description>\n    <character>HAJAR<\/character>\n    <dialogue>Linda, I just don't see how...<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>I think I didn't make myself clear: you give me the pulse shaping or you give me your resignation. Is that clear enough?<\/dialogue>\n    <scene_description>Hajar just shakes his head, out of words.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>Now... Tomorrow I will start building the towers, you get to work on pulse shaping, and we're gonna make everything come together right in time.<\/dialogue>\n    <character>INT. RAULSTON FLOOR\/HIGH FREQUENCY TRADING ROOM - NIGHT<\/character>\n    <dialogue>Hajar, Jenny and Sam walk at a fast pace along the computer stations.<\/dialogue>\n    <character>HAJAR<\/character>\n    <parenthetical>(walking)<\/parenthetical>\n    <dialogue>This is shit...<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>(walking)<\/parenthetical>\n    <dialogue>We're fucked.<\/dialogue>\n    <character>JENNY<\/character>\n    <parenthetical>(walking)<\/parenthetical>\n    <dialogue>Come on lets focus... We need to go through all the research that's going on right now. Anything that's related to data shaping...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY - MORNING<\/stage_direction>\n    <scene_description>Only the SUV and one single mobile office are left of the caravan. A ROAD SIGN announces \"Appalachian Mountains Tuscarora State Forest\"<\/scene_description>\n    <character>EXT. EBENSBURG HOTEL - 30 MILES WEST OF APPALACHIAN CLIFF - DAY<\/character>\n    <dialogue>The scenery gives us a sense that we are in MID-AUTUMN. Mark parks the SUV in front of a generic Hotel facing pines and hills (Hampton Inn type of hotel chain). The three men walk towards the entrance with their large luggage.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTON'S SUITE - DAY<\/stage_direction>\n    <scene_description>Anton and Vincent walk into a large suite accompanied by the hotel clerk who brings in Anton's suitcase and gear case. As the door closes behind them, we catch a glimpse of a brass \"Presidential Suite\" sign hanging on it. Rather than being presidential, the generic cachet of the hotel makes the suite look like a bland condo from the eighties. There's a big desk facing the room's bay window.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Okay... Well, that's the best they had.<\/dialogue>\n    <scene_description>The Hotel Clerk presents the \"presidential\" amenities.<\/scene_description>\n    <character>HOTEL CLERK<\/character>\n    <dialogue>So you have your televisions: bedroom, dining table, bathroom. You have your phones: kitchen, dining table, bedroom, bathroom.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>There's four phones?<\/dialogue>\n    <character>HOTEL CLERK<\/character>\n    <dialogue>That's right Sir. A presidential suite needs a lot'a phones for emergencies. We also have a pillow bar if your pillow isn't quite to your tasting.<\/dialogue>\n    <scene_description>Vincent hands a ten dollar bill to the clerk.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Thank you, I'll be right out, can you give us 5 minutes?<\/dialogue>\n    <character>HOTEL CLERK<\/character>\n    <dialogue>Yes of course Sir.<\/dialogue>\n    <scene_description>He looks out the window where we catch a pretty decent view of the MISSOURI RIVER, 8 floors down below.<\/scene_description>\n    <character>VINCENT<\/character>\n    <parenthetical>(pointing at the desk)<\/parenthetical>\n    <dialogue>You can set your computers here, let the river inspire you while you're coding.<\/dialogue>\n    <scene_description>No answer...<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>I'll see you later tomorrow okay? You keep working on that millisecond.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Vincent exits. The door closes with a loud CLONG. Anton unlocks a large electronic gear case, takes out a big rackmount-type server computer next to which, inside the gear case, is that familiar two feet high, one foot wide roll of optic fibre Anton had in his office. Written on it:<\/scene_description>\n    <character>\"OPTICAL FIBER<\/character>\n    <dialogue>1320 FEET | 1\/4 MILE<\/dialogue>\n    <character>(REFRACTION COMPENSATED)<\/character>\n    <dialogue>He also takes out a smaller device that fits in the palm of his hand - an optical regenerator with a sticker on it:<\/dialogue>\n    <scene_description>\"Optical Regenerator JBT145 SX\" CUT TO: Anton now has the big computer tower running, and next to it, his own laptop. The big computer is looped to the quarter mile-long fiber coil, the other end of the fiber coil is connected to the electronic amplifier, and the amplifier is connected to Anton's laptop by a much shorter optic fibre cable. He runs a data transfer speed test by clicking somewhere, numbers appear on his laptop. He's really stressed by the result... Something catches his attention, from outside his window, down by the river, under a tree: It's a house... Not a big house, a home made BIRD HOUSE that fell from the tree. It sits on the grass, and from Anton's distance it could look like a real-size house, coming straight out of a fairy tale.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VINCENT'S HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Vincent wakes up, panicked, lying in the bed of a normal-sized hotel room, not a presidential suite. He doesn't feel well at all. He goes to the bathroom, splashes water on his face, pale. He chugs down a shot of Pepto Bismol. He gets another sharp pain, curls up on the bathroom floor. He walks out, grabs his cell phone, presses a quick dial number.<\/scene_description>\n    <character>MARK'S VOICE<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Yeah it's me, my stomach is still killing me, I think I need to see a doctor... It's probably something I ate.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>MARK'S VOICE<\/character>\n    <dialogue>All right meet me downstairs.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Mark?<\/dialogue>\n    <character>MARK'S VOICE<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Don't tell Anton.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOCTOR'S OFFICE - DAY<\/stage_direction>\n    <scene_description>VERY CLOSE on a tube that is about to be inserted into Vincent's mouth - it's an endoscopy device (used to take internal organ samples for tests). FADE TO BLACK CUT TO: Vincent, now in A HOODIE AND JEANS, is facing DR BLOOM (37), a woman. She looks at him, worried.<\/scene_description>\n    <character>DR BLOOM<\/character>\n    <dialogue>Mister Vincent, there's no easy way to say this.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>DR BLOOM<\/character>\n    <dialogue>You have stomach cancer. You have to undergo chemotherapy immediately. I'm sorry.<\/dialogue>\n    <scene_description>Long, shocked beat.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Could I get another opinion?<\/dialogue>\n    <character>DR BLOOM<\/character>\n    <dialogue>You could but the X-Rays are pretty clear. I'm really sorry.<\/dialogue>\n    <scene_description>Vincent gets a kind of rapid-eye-movement fit, he's processing... Then his eyes lock in one position: something hits him.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Is it why I'm having these nightmares?<\/dialogue>\n    <character>DR BLOOM<\/character>\n    <dialogue>Nightmares?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>I've been having this nightmare, is it because of the cancer?<\/dialogue>\n    <character>DR BLOOM<\/character>\n    <dialogue>I don't know...<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>I'm in Siberia or something. This old Russian man is chasing me in the cold... He's got a big beard and he's dressed in this formal outfit but he's really fast. And I don't know if he's trying to kill me or save me from something...<\/dialogue>\n    <character>DR BLOOM<\/character>\n    <parenthetical>(interrupting because he doesn't want to go there)<\/parenthetical>\n    <dialogue>I don't think it's related...<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>And I can't turn around to ask him because if he's trying to kill me, he'll be able to catch up to me. So I decide to shout over my shoulder, while I'm running, \"are you trying to kill me or save me from something?\" But I can't remember the Russian word for \"save.\"<\/dialogue>\n    <character>DR BLOOM<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>Mr Zaleski I really don't think it's related.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>And he chases me to the end of the road where it becomes dark, and I realize that Im going to either drown in the sea or get killed by this old man...<\/dialogue>\n    <character>DR BLOOM<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>Mr. Zaleski, please, I'm not a psychiatrist.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>And I'll never know if he was just trying to save me. I won't even get to find out.<\/dialogue>\n    <scene_description>Long beat, as Vincent stares at the floor.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>It's related, isn't it? These visions and the cancer?<\/dialogue>\n    <character>DR BLOOM<\/character>\n    <dialogue>I'm sorry, I really can't help you. I don't have the training. You have to talk to a psychiatrist. All I know is you have stomach cancer.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>How long do I have?<\/dialogue>\n    <character>DR BLOOM<\/character>\n    <dialogue>It's too early to tell. I don't like to give these kinds of deadlines.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Why?<\/dialogue>\n    <scene_description>No answer.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Are they like self-fulfilling prophecies?<\/dialogue>\n    <character>DR BLOOM<\/character>\n    <dialogue>They can be.<\/dialogue>\n    <character>VINCENT<\/character>\n    <parenthetical>(emotional)<\/parenthetical>\n    <dialogue>Don't worry about me. I'm very pragmatic.<\/dialogue>\n    <character>DR BLOOM<\/character>\n    <dialogue>If you don't follow treatment you could live for anywhere between 6 months and 3 years. But with the proper treatment you could also be 100% cured in a couple of years. It's not a death sentence, but it's very serious.<\/dialogue>\n    <scene_description>Vincent ponders for a long time, looks everywhere in the room, as if he wanted to make sure he wasn't in a bad dream.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Can this thing wait a few months? I'm in the middle of something really important. Really really important.<\/dialogue>\n    <character>DR BLOOM<\/character>\n    <parenthetical>(flabbergasted)<\/parenthetical>\n    <dialogue>No, it can't. You would seriously put your life at risk.<\/dialogue>\n    <scene_description>Vincent just looks at the ground, stunned. A SMILE COMES ACROSS HIS FACE... Perhaps he's thinking \"how ironic\".<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PARKING LOT - DAY<\/stage_direction>\n    <scene_description>Vincent sits in Mark's pickup truck. Mark finishes sending a text message to someone.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Hey... Are you okay?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Yeah, it's nothing.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>They kept you for six hours for nothing??? Are they stupid???<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>They needed to run some tests, but I'm good.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Sure? You're still a little pale Vinnie...<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Yeah I'm good, lets go.<\/dialogue>\n    <scene_description>Mark starts his pickup.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVER FACING THE HOTEL - SUNSET<\/stage_direction>\n    <scene_description>Vincent walks along the river, still in shock. He looks to the river, he looks up to the sky, hoping for some kind of answer from above. He leans his forearms on a tree, his head sunk in, taking deep breaths. He goes down in the grass, DEEPLY DISTRAUGHT, completely alone. He keeps on taking deep breaths, slowly puts his distress back in hiding, inside his guts. CROSS FADE:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SMALL ROAD LEADING TO THE APPALACHIANS\/WILD PARKING - DAY<\/stage_direction>\n    <scene_description>Vincent, in his hoodie and jeans, and Mark are riding on a small road, looking up ahead where the majestic APPALACHIAN MOUNTAINS stand above them. Vincent is clearly tormented, probably still processing yesterday's horrible news...<\/scene_description>\n    <character>VINCENT<\/character>\n    <parenthetical>(at the mountains)<\/parenthetical>\n    <dialogue>There they are. The monsters...<\/dialogue>\n    <scene_description>41A 41A Vincent and Mark PARK THEIR TRUCK where the path ends, they get out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. APPALACHIAN RIVER CROSSING TO SITE - DAY<\/stage_direction>\n    <scene_description>Vincent and Mark follow RAY, 48, African-American, probably played football in his college years. He leads the way through a dense forest of tall weeping willows. Ray wears tall rain boots and expedition gear, carries a big plastic bag. Ray stops at the edge of a river. On the other side of the river, above the trees, we catch a glimpse of a HUGE, 500 FEET TALL CLIFF. He empties the contents of his big plastic bag on the floor: there's one RUBBER OVERALLS, and one pair of THIGH-HIGH RUBBER BOOTS.<\/scene_description>\n    <character>RAY<\/character>\n    <parenthetical>(pointing at the swamp)<\/parenthetical>\n    <dialogue>It's further down there... You're sure?<\/dialogue>\n    <scene_description>Vincent goes to the boots, puts them on. Mark does the same with the overalls.<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>All right, let's go...<\/dialogue>\n    <scene_description>He steps into the river, moves forward... They follow. Their feet get sucked into the thick clay.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Fuck...<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>You okay Vinnie?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Yeah...<\/dialogue>\n    <scene_description>Ray can't help smirking at the soiled businessman. They sink deeper and deeper... So does Ray. The thick clay is harder and harder to get out of, it now goes all the way to the middle of their knees.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>How much deeper?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I think that's it.<\/dialogue>\n    <scene_description>But it still goes a little deeper... Now, the mud turns into murky water, which makes it easier to walk across.<\/scene_description>\n    <character>VINCENT<\/character>\n    <parenthetical>(as he walks)<\/parenthetical>\n    <dialogue>You didn't say there was a swamp.<\/dialogue>\n    <character>RAY<\/character>\n    <parenthetical>(as he walks)<\/parenthetical>\n    <dialogue>There wasn't. It rained.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>So why do you need such a straight line? Why can't we go around the mountains?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>\"No questions\": it's on your contract.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Contracts... What's a contract around here? It's just a piece of paper to wipe your ass with.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>That contract is paying you a lot of money...<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>And what's a dollar bill around here? Hun? I'd say it's just about the same damn thing, don't you think? Just a little something to wipe your ass on...<\/dialogue>\n    <scene_description>MUSIC STARTS over the end of the scene, as the men walk in the swamp.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOTTOM OF UNCLEARED APPALACHIAN CLIFF - DAY<\/stage_direction>\n    <character>MUSIC GOES ON...<\/character>\n    <dialogue>IN SLOW MOTION, they reach the other side of the river, keep walking. A rumble that turns into a roar of chainsaws gets closer and closer... SIX MEN WITH HUGE CHAINSAWS are clearing a 100 x 100 feet strip of forest that stands right next to a TALL CLIFF. A couple of trees fall as the group arrives. A CONTRACTOR comes and shakes the trio's hands, starts explaining some technical details (we don't hear the conversation).<\/dialogue>\n    <character>EXT. HOTEL LOBBY SPORTS BAR - END OF DAY<\/character>\n    <dialogue>Anton sits at the bar with his laptop already on. He flips it open, continues to work on his codes at the bar. BARBARA, the barmaid, comes up to him - she's gorgeously voluptuous, wears tightly fitted spandex jeans.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>I'll have a vodka please.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Vodka. All right.<\/dialogue>\n    <scene_description>She punches the order in, comes back with the vodka. Anton looks at it, gulps it down.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>Could I have another?<\/dialogue>\n    <scene_description>She serves him another vodka. This time Anton sips it, looking wearily at the counter. Meanwhile, the barmaid cuts slices of lemon and puts them in a jar for future drinks. Anton types code...<\/scene_description>\n    <character>BARBARA<\/character>\n    <parenthetical>(while cutting)<\/parenthetical>\n    <dialogue>I love the way you talk... I wish I had that kinda talk. 'You from New York?<\/dialogue>\n    <character>ANTON<\/character>\n    <parenthetical>(while typing)<\/parenthetical>\n    <dialogue>Yeah.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>I knew it.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>My grand parents were from Russia.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Do you speak Russian?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>A little.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Say a few words.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>\"Golodnyye zhivoty net ushey\"<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>What does it mean?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>\"Hungry bellies have no ears.\"<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Hungry bellies have no ears??? What does that mean?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>I don't know. Nobody could ever explain it to me. I always thought it was the strangest saying...<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>You sure you got it right? \"Bellies have no ears\"??<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>That's the saying, I swear.<\/dialogue>\n    <scene_description>She laughs.<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>Well for that, I'm having a vodka too.<\/dialogue>\n    <scene_description>She pours herself a shot of vodka, raises her glass to Anton.<\/scene_description>\n    <character>BARBARA<\/character>\n    <parenthetical>(poorly pronounced)<\/parenthetical>\n    <dialogue>Narsdey... rowvia.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Nasdrovia!<\/dialogue>\n    <scene_description>They drink it all in one gulp. He asks the barmaid for another vodka, she serves him one.<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>You like vodka don't you.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Please don't tell my wife...<\/dialogue>\n    <scene_description>And there: in a second, Anton has playfully set his boundaries and Barbara felt it. She gently, furtively adjusts her posture, starts wiping the counter to gain some distance. Anton looks down at his glass, perhaps feeling a little stupid about his last line.<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>You look like you need to confide something in someone .<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Me??<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Yeah, you do. Come on. I'm a total stranger. You're never gonna see me again. Tell me why you're here in the middle of nowhere hitting on that keyboard like your life depended on it.<\/dialogue>\n    <scene_description>He looks at her, gauges her trustworthiness.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>Give me that napkin.<\/dialogue>\n    <scene_description>She reaches for a cocktail napkin.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>You have a pen?<\/dialogue>\n    <scene_description>She hands him her pen.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>Full name please?<\/dialogue>\n    <character>BARMAID<\/character>\n    <dialogue>Barbara Lehman. What about yours?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Anton Zaleski.<\/dialogue>\n    <scene_description>He finishes writing, hands the napkin back.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>If you sign this I will tell you what I'm doing.<\/dialogue>\n    <character>BARMAID<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>\"I, Barbara Lehman, swear not to divulge any information related to Anton Zaleski's professional activities.\"<\/dialogue>\n    <scene_description>She smiles.<\/scene_description>\n    <character>BARMAID<\/character>\n    <dialogue>You know this will never hold in court, don't you?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>It's a moral engagement, not a legal obligation. Sign it and I'll tell you what I do.<\/dialogue>\n    <scene_description>She signs the napkin, hands it to Anton.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>All right. I'm here to make digital information travel in sixteen milliseconds or less between the BATS exchange in Kansas, and the NYSE. Round trip.<\/dialogue>\n    <character>BARMAID<\/character>\n    <dialogue>Say that again?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>I'm here to make digital information travel between the BATS exchange in Kansas, and the New York Stock Exchange, and then back, in less than sixteen milliseconds.<\/dialogue>\n    <character>BARMAID<\/character>\n    <dialogue>Okay, why do you do that?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Say you're an investor in Kansas, and I'm a trader, also in Kansas.<\/dialogue>\n    <character>BARMAID<\/character>\n    <dialogue>I don't even know what a trader exactly is...<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>I'm one of the in-between guys that sells you the shares you want. Now say you want to buy... What do you want to buy?<\/dialogue>\n    <scene_description>The barmaid looks around, sees a tomato laying around, looks at the little sticker on it - it says \"made in South Africa\"...<\/scene_description>\n    <character>BARMAID<\/character>\n    <dialogue>I want to buy... a South African Tomato Company.<\/dialogue>\n    <character>ANTON<\/character>\n    <parenthetical>(correcting her)<\/parenthetical>\n    <dialogue>Good, you want to buy shares from a South African Tomato Company. So lets say you want to buy... One thousand shares, and lets say you want to buy them at a maximum price of one dollar each.<\/dialogue>\n    <character>BARMAID<\/character>\n    <dialogue>Lets do it.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>You send this request in the system, you type \"I would like to buy one thousand shares of South African Tomato Company at a maximum of 1$ a share.\"<\/dialogue>\n    <character>BARMAID<\/character>\n    <dialogue>Okay. Perfect.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>So a chunk of brokers, me included, get this order. But I have something special. I have the fastest line...<\/dialogue>\n    <character>BARMAID<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>By the way I already have a headache.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>...What does it mean? It means my computer can buy stock in New York before everybody else. So I know you want to buy shares at one dollar, I go to the New York Stock Exchange and buy all the stock that sells for sale for less than a dollar. All right?<\/dialogue>\n    <character>BARMAID<\/character>\n    <dialogue>I guess...<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>So I'm ahead of the game, I look at who is selling shares at 99 cents or less, and I buy 1000 of them, when I know you're willing to buy them for a dollar each. I can send my 1$ offer back to Kansas and be the first one in line with 1000 shares of South African Tomato Company, and your computer buys them automatically because that's what you told it to do. This all happened in about... sixteen milliseconds.<\/dialogue>\n    <character>BARMAID<\/character>\n    <dialogue>What's sixteen milliseconds?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>It's one single hummingbird's wing flap.<\/dialogue>\n    <character>BARMAID<\/character>\n    <dialogue>Okay, then what?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>That's it. That's the whole thing. I made 1000 times 1 cent, so I made 10$ without any risk.<\/dialogue>\n    <character>BARMAID<\/character>\n    <dialogue>So you're doing all this for ten dollars?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>No, because I'm doing 200 000 transactions like this a day, every work day, all year. 200 000 times 10$ times 230, that's 460 million dollars a year, with no risk and almost no investment. It's like time travel. It's like seeing the lottery's next winning numbers before they're announced.<\/dialogue>\n    <scene_description>She reflects on all that's been said...<\/scene_description>\n    <character>BARMAID<\/character>\n    <dialogue>Sixteen milliseconds, hun?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>BARMAID<\/character>\n    <dialogue>And the farmers?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>BARMAID<\/character>\n    <dialogue>What do the tomato farmers in South Africa get for this? Do they get a commission?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>The farmers aren't relevant.<\/dialogue>\n    <character>BARMAID<\/character>\n    <dialogue>How can they be irrelevant?? They're the ones growing the tomatoes!<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>They're not an important variable in this system. It's really... Mathematically, for our business plan, they're irrelevant. He's out of the<\/dialogue>\n    <character>BARMAID<\/character>\n    <dialogue>Well... I guess I wouldn't want to be the farmer who's mathematically irrelevant to your business plan.<\/dialogue>\n    <scene_description>Awkward silence. She went too far. Anton suddenly goes autistically distant on her.<\/scene_description>\n    <character>BARMAID<\/character>\n    <dialogue>I'm sorry, I have a really big mouth... I'm gonna shut up now.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>No... It's an interesting question. It raises a lot of epistemological questions. Thank you. Check please.<\/dialogue>\n    <scene_description>He starts coding again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VINCENT MOBILE HEADQUARTERS\/APPALACHIAN BASE - DAY<\/stage_direction>\n    <character>MUSIC GOES ON...<\/character>\n    <dialogue>ON A PROGRESS MAP: ASSISTANT HANDS are working on the Kansas - New York map of the line. On what used to be the dotted line, there are strips of colored tape indicating the progress of the digging. Little bits of the line are covered with green strips, most of the dotted line is in orange strips.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PENSYLVANIAN SUBURBIA - DAY<\/stage_direction>\n    <scene_description>A horizontal drilling machine shoots ten foot tube sections underground, beneath the road. Up ahead, a worker holds his portable scanner, following the line underground moving forward. Marc is on site, checking up on them. Meanwhile, on site, Vincent is with a man from the area, on the road, asking for a signature on a land contract. They shake hands, he walks back towards his car. As he walks, he catches a glimpse of one of those sketchy CHINESE MASSAGE PARLOR places that line the highways and the downtowns of America: \"Chinese Massage and Reflexology\" With a flashing \"open\" neon sign next to it. He gets a SHARP PAIN in the stomach, it doesn't let go, he takes deep breaths... He tries to breathe the stomach pains away. Vincent's cell phone rings.<\/scene_description>\n    <character>VINCENT<\/character>\n    <parenthetical>(aggressive)<\/parenthetical>\n    <dialogue>Yeah?<\/dialogue>\n    <character>OPHELIA<\/character>\n    <parenthetical>(from phone)<\/parenthetical>\n    <dialogue>Huh... this is Ophelia, for the drilling job?<\/dialogue>\n    <scene_description>Vincent tries to remember...<\/scene_description>\n    <character>OPHELIA<\/character>\n    <dialogue>The \"Hummingbird\" project? I didn't want to sign your thirty page \"Non-Disclosure Agreement\", remember?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Oh! Yeah, hi, how are you?<\/dialogue>\n    <character>OPHELIA<\/character>\n    <dialogue>Fine, thanks. I read your proposal.<\/dialogue>\n    <scene_description>For some reason Vincent is a little flushed. They reach the SUV, Mark goes inside, Vincent stays outside to finish the conversation.<\/scene_description>\n    <character>OPHELIA<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Yeah, yeah sorry the connection is bad. So you read it? What'd you think?<\/dialogue>\n    <character>OPHELIA<\/character>\n    <dialogue>You're right, it's a pretty big job.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>OPHELIA<\/character>\n    <dialogue>Like... Probably the biggest thing our company ever handled. Only four inches right?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Yeah, only four inches.<\/dialogue>\n    <character>OPHELIA<\/character>\n    <dialogue>Four inches is good.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Yeah, four inches is good.<\/dialogue>\n    <parenthetical>(realizes the bad connotation)<\/parenthetical>\n    <dialogue>I mean...<\/dialogue>\n    <scene_description>He slaps his forehead, freezes at the awkward qui pro quo...<\/scene_description>\n    <character>OPHELIA<\/character>\n    <dialogue>Going 10 miles under a forest and a river.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>OPHELIA<\/character>\n    <dialogue>I can do it for half your price, in half the time you want it to be done.<\/dialogue>\n    <scene_description>Dumbfounded look on Vincent.<\/scene_description>\n    <character>OPHELIA<\/character>\n    <dialogue>But I need two hundred fifty thousand up- front.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>How are you going to do this twice as fast, for half the money?<\/dialogue>\n    <character>OPHELIA<\/character>\n    <dialogue>I can't tell ya.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Why's that?<\/dialogue>\n    <character>OPHELIA<\/character>\n    <dialogue>'Cause you'd have to sign a non-disclosure agreement.<\/dialogue>\n    <scene_description>Vincent smiles - she nailed him.<\/scene_description>\n    <character>VINCENT<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>Okay I'll sign your N.D.A.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY ROAD\/CONSTRUCTION SITE - DAY<\/stage_direction>\n    <scene_description>Vincent and Mark are now on a back country road, heading towards a construction site. Elliot, the young contractor, is with four other men, THEY ARE ALL PACKING UP THEIR GEAR while construction trucks are being loaded on flat bed trucks... The crew is deserting the construction site.<\/scene_description>\n    <character>VINCENT<\/character>\n    <parenthetical>(in his car)<\/parenthetical>\n    <dialogue>What the fuck!?... What are they doing!?...<\/dialogue>\n    <scene_description>They park on the side of the road, Vincent gets out, mad as hell.<\/scene_description>\n    <character>VINCENT<\/character>\n    <parenthetical>(to Elliot)<\/parenthetical>\n    <character>HEY! WHAT DO YOU THINK YOU'RE DOING?<\/character>\n    <dialogue>Elliot sees Vincent, sighs, keeps packing up.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <parenthetical>(to his crew)<\/parenthetical>\n    <character>KEEP MOVING!<\/character>\n    <parenthetical>(to Vincent, cocky)<\/parenthetical>\n    <dialogue>We're terminating our contract.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>That's a breach of contract, you can't do that.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>Of course we can. It's expensive, but we can. We owe you thirty thousand dollars. You'll get a check by Monday.<\/dialogue>\n    <scene_description>Dumbfounded stare on Vincent.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Why are you doing this?!<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>We got offered a better pay for much less work.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>So you're just leaving!?<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>Look... I got so many bills to pay, I just couldn't say no. It's only business Vincent, nothing personal.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Who gave you the contract? WHO?<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>I signed a Non Disclosure Agreement.<\/dialogue>\n    <scene_description>BAM. Vincent knows who's behind this:<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>It's Linda Raulston, isn't it...<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>I can't tell you.<\/dialogue>\n    <scene_description>Vincent grabs Elliot's arm.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>IT'S LINDA RAULSTON! SAY IT!!<\/dialogue>\n    <scene_description>Elliot shoves Vincent away.<\/scene_description>\n    <character>ELLIOT<\/character>\n    <dialogue>Back off.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>If you told her anything about our project I'm gonna fuck you up.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>Careful what you wish for buddy...<\/dialogue>\n    <scene_description>Mark reaches for Vincent, takes him away.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Come on Vinnie, lets leave these ladies alone.<\/dialogue>\n    <scene_description>Vincent turns his back on them, heads to the car.<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>(to Elliot)<\/parenthetical>\n    <dialogue>Back in the days there use to be something<\/dialogue>\n    <scene_description>called a \"code of honor\". \"Pride\". \"Loyalty\". It's what real men are all about. Guess you rats never heard about that, huh?<\/scene_description>\n    <character>ELLIOT<\/character>\n    <dialogue>Fuck you.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Fuck you too.<\/dialogue>\n    <scene_description>Mark catches up to Vincent who's pacing back and forth in front of their SUV...<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>What do you think they're up to? Building their own line?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>No way... We're too far ahead of the game...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>They're just trying to screw us.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>What do you want me to do?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Give this contract to someone else and see if they stole more of our crews... Double their wages if you have to but keep'em working...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTON'S SUITE - DAY<\/stage_direction>\n    <scene_description>Anton is working hard at trying to strip his software code down, typing C++ code on his laptop, jotting down notes on post-its... His forehead is beading with sweat. A SPAGHETTI OF TANGLED CABLES has \"grown\" out of all his gear. CROSS FADE:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY ROAD\/CONSTRUCTION SITE - DAY<\/stage_direction>\n    <scene_description>Near the road, TREE ROOTS HAVE THE SAME SHAPE AS THE SPAGHETTI CABLES... and next to it, along the road, a TRENCHER machine is digging away a section of the 1000 mile long, four inch wide tunnel. CROSS FADE:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL POOL - DAY<\/stage_direction>\n    <scene_description>Anton is by himself in the hot tub section of the bland neon-lit interior pool, trying to get his head straight. He gets an idea, WRITES DOWN A COUPLE OF LINES OF CODE on a stained notepad from the hotel. A FEMALE HOTEL CLIENT, barefooted but with a skirt and shirt, walks up to the hot tub part of the pool, puts her feet in the water, sits on the tile floor - THIS CLIENT IS... LINDA RAULSTON, HIS OLD BOSS. Anton, taking notes, focused, does not notice who it is at first... But then he feels awkward having this stranger sitting too close to him.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>Anton...<\/dialogue>\n    <scene_description>Anton REALLY jumps at the sight of his old boss, feet in the water, so close.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>Linda... W... W... What are you doing here?<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>I needed to see you.<\/dialogue>\n    <scene_description>Anton looks around, starting to freak out.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>It's not the same since you left... I'm still trying to understand what happened, why you treat me this way. We gave you a scholarship, I got personally involved to make sure you had a future. To make sure that you were safe in this crazy business. I nurtured your talent.<\/dialogue>\n    <scene_description>No answer.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>I feel betrayed... I keep trying to understand why you sabotaged our relationship... Why you want to steal our codes.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>I don't care about these codes. They're archaic.<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>Well, see, that's the thing, Anton. It will be hard for you to prove that you did not develop what you're working on right now while you were working for me. And it will be really hard for you to not use a single line of code that doesn't have similarities with what you did for us in the past.<\/dialogue>\n    <scene_description>Anton processes this...<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>Have you heard of Vladimir Egorov? A fellow Russian? Some kind of math genius?<\/dialogue>\n    <scene_description>No answer.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>He rewrote some code for the McMinster Fund 8 years ago, gave them a 10 or 12 milliseconds edge on the network, made them hundreds of millions. He did the kind of stuff you do, you know? Make the software faster, leaner... One day, he decides to leave the firm. When he leaves, he takes a couple of lines of code with him. Nothing special, just... pretty generic code, you know? So he left the firm, went out there and got hired by a competitor. McMinster didn't like that. So they threw<\/dialogue>\n    <scene_description>the FBI on Egorov. They said he was a \"threat to national security\". They said that he stole codes from them, and now they claimed he could make the whole financial system crash if he wanted to. The feds found the couple of lines Egorov had on his laptop. They didn't have a clue what it was, so... I guess because they didn't want to look stupid, they agreed that it was a huge \"threat to national security\". They locked him up with no bail... (long beat) He's been in jail for the last 8 years. He's still waiting for a Supreme Court ruling, which he will probably win. But... meanwhile, he spent 8 years in jail. And McMinster will get nothing, no punishment, not even a slap on the wrist. Anton tries hard to hide his fear...<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>8 years is a long time. Of course Egorov didn't do anything wrong. But it goes to say how someone can make your life hell if they decide to. How old would your daughters be after eight years?<\/dialogue>\n    <scene_description>That's it: Anton wants to kill her. Literally.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>Do you see where I'm going with this? It doesn't really matter if you're right or wrong, Anton. The Company owns you for the rest of your life. It's how it is. It can really fuck you up if it wants to.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Do you really think I just left you without getting myself some insurance policy, Linda? Do you think I'm that stupid? I have a post-doctorate in Quantum Physics. Everybody knows you're a psychopath.<\/dialogue>\n    <scene_description>She leans in towards him...<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>That's right. And I won't leave you alone until you come back. You can't turn your back on this. 'Cause I won't.<\/dialogue>\n    <scene_description>She steps out of the hot tub, heads out.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>Come back to your family, Anton.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTON'S SUITE - DAY<\/stage_direction>\n    <scene_description>The entrance door slowly opens, Anton walks in, dressed with his bathrobe, freaked out. He looks around for traces of a break in, of someone spying on him. He goes to his computer, looks around, makes sure nothing has been moved. He goes to the window, looks at the river that is faintly lit by distant lights, where four or five humans walk along the river, by the hotel... In Anton's eyes, they are suspicious characters. He pulls on the curtains, darkness ensues. He takes another look around the room, feels he's being watched. And then, he hits the computers, troubled, scared. It's as if he was trying to relieve some of the pressure by coding.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL PARKING - DAY<\/stage_direction>\n    <scene_description>Vincent and Mark drive to the hotel parking lot... Mark is already on the phone, talking to all his contractors. INSIDE THEIR CAR:<\/scene_description>\n    <character>VOICE (FROM HANDSFREE SPEAKER)<\/character>\n    <parenthetical>(to Mark)<\/parenthetical>\n    <dialogue>We're gonna pay the penalties. We're out. That's it. I'm sorry. What else do you want me to say?<\/dialogue>\n    <character>MARK<\/character>\n    <parenthetical>(to his handsfree)<\/parenthetical>\n    <dialogue>I want you to say you're a fucking ungrateful piece of shit! That's what I want you to say you bastard! We fucking offered you the moon on this job and now you back out!?<\/dialogue>\n    <scene_description>A low rumble gets louder - thud thud thud thud thud: the blades from a helicopter. THROUGH THE WINDSHIELD, Vincent sees a small chopper at a distance: IT'S LINDA RAULSTON, her assistant and the pilot<\/scene_description>\n    <character>VINCENT<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>Motherfucker...<\/dialogue>\n    <character>VOICE(FROM HANDSFREE SPEAKER)<\/character>\n    <dialogue>I'm gonna hang up now...<\/dialogue>\n    <scene_description>Vincent bursts out of the car that's still moving, Mark hits the brakes, Vincent runs towards Linda Raulston's chopper as the blades turn faster and faster<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Hey! HEY!!!<\/dialogue>\n    <scene_description>They can't hear him, Vincent catches up to them as the chopper starts to levitate.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>GET OUT YOU BITCH!<\/dialogue>\n    <scene_description>She just looks at Vincent, smiles, and gives him the finger. The chopper flies away...<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>GET OVER HERE YOU PIECE OF SHIT!!!<\/dialogue>\n    <scene_description>The chopper is long gone... Vincent is freaking out. Mark catches up to Vincent.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>What the fuck's she doing here??<\/dialogue>\n    <scene_description>Vincent is really upset...<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>What's the count?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Eighteen crews are ditching us. They're all paying the penalties with a smile. I have no idea how much they're payin' em but it's much more than what we can afford. They're shelving them.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Fuck... FUCK!<\/dialogue>\n    <parenthetical>(he thinks, looks at Mark, suspicious)<\/parenthetical>\n    <dialogue>Are you a mole?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>What? What's a \"mole\"??<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>ARE YOU A MOLE!? ARE YOU WITH LINDA!?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>WHO THE FUCK IS LINDA??<\/dialogue>\n    <scene_description>Vincent sees that Mark is not lying... He calms down.<\/scene_description>\n    <character>MARC<\/character>\n    <dialogue>What the fuck man... You're getting fucking paranoid.<\/dialogue>\n    <scene_description>Vincent paces back and forth, back and forth...<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>All right... See who in our team can handle these jobs and get me replacements for what's left. Fly them in if you have to.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTON'S SUITE - DAY<\/stage_direction>\n    <scene_description>Anton opens his hotel room door, revealing crazy-eyed Vincent, staring straight at his cousin.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>How's it going?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Good. Busy.<\/dialogue>\n    <character>VINCENT<\/character>\n    <parenthetical>(accusing)<\/parenthetical>\n    <dialogue>\"Good?\" You sure?<\/dialogue>\n    <scene_description>Anton feels the eyes stabbing him, looks away.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>Yeah, good.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>You don't have anything to tell me?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>I know, Anton. I know Raulston was here.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Vinnie, I'm sorry...<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Why did you hide it from me?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>I don't know... I... She told me some fucked up shit and I didn't want to get you upset.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Are you sure that's why you didn't tell me?<\/dialogue>\n    <scene_description>Anton processes Vincent's last words... Something switches in his mind.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>What do you mean? What are you saying?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>I don't know Anton, I mean... this bitch buys our crews, comes over and meets you, and then you tell me everything's all right? You lie to me!? What am I supposed to think!? Should I wonder if my own cousin is starting to fuck with me?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Don't worry all'right?!<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Why are you telling me not to worry?! Should I be worried?? Is that what you're saying?!<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>I'M JUST WORKING! I'M FUCKING DOING ALL I<\/dialogue>\n    <character>CAN TO FIND YOU YOUR FUCKING<\/character>\n    <dialogue>MILLISECOND!!!<\/dialogue>\n    <scene_description>Vincent reaches out to put his hand on Anton in a demeaning way.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Talk to me Anton...<\/dialogue>\n    <scene_description>ANTON PUSHES VINCENT'S HAND AWAY, struggles not to just punch him in the face - that's his limit, right there. There's anger and sadness in his eyes. HE SHOVES VINCENT AGAIN, but this time Vincent pushes back.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>AFTER ALL THE SHIT WE'VE BEEN THROUGH, YOU<\/dialogue>\n    <character>THINK I WOULD BETRAY YOU LIKE THAT?<\/character>\n    <dialogue>REALLY? DO YOU REALIZE HOW MUCH THAT HURTS<\/dialogue>\n    <character>VINNIE?!<\/character>\n    <dialogue>You don't have a clue, don't you... You really think I'm doing this for a stupid<\/dialogue>\n    <scene_description>country home on a hill, you think I'm doing this for fucking hummingbirds? I can get hummingbirds if I want, I can buy a stupid country home on a hill if I want to Vinnie... As a matter of fact I could buy ten of those country homes if I wanted to. Vincent just processes Anton's words, feels like shit.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>Now get out of here. Get outta my face.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Anton..<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>GET THE FUCK OUT!<\/dialogue>\n    <scene_description>They look at each other for a long time, deeply distraught. Vincent leaves... Anton goes back to his computers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRAIRIE - DAY<\/stage_direction>\n    <scene_description>There's a sign by the side of the road, right in front of a prairie: \"Jesus is here. Read John 14:6\" There's a loud engine noise that gets louder and louder. Distant. ACROSS THE PRAIRIE, A BIG LONESOME TRENCHER cuts right across the land, splitting the prairie in two. Behind it, men place the iconic orange tube down the trench while a second truck rolls over the trench to tap the earth back in place.<\/scene_description>\n    <character>EXT. EBENSBURG HOTEL - 30 MILES WEST OF APPALACHIAN CLIFF - SUNSET<\/character>\n    <dialogue>Vincent paces back and forth, looking at the trees, looking at the river, troubled, feeling guilty... The sun is setting. MINUTES LATER, Vincent is sitting on a desolate bench, staring at the ground. He looks around, reaches to grab a little branch that fell off a tree, and... HE VERY SLOWLY DRAWS A LONG LINE on the ground, tries to keep it as straight as possible - the way he does it is a little creepy, like he lost his mind.<\/dialogue>\n    <character>BACK IN ANTON'S ROOM,<\/character>\n    <dialogue>Anton is furiously working on his codes, disturbed...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. VINCENT MOBILE HEADQUARTERS\/APPALACHIAN BASE - DAY<\/stage_direction>\n    <scene_description>OUTSIDE, Ophelia walks towards the mobile headquarters, sees Vincent talking with two assistants through the window. She knocks on the door, Vincent comes out instead of letting her in.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Hi... What's this?<\/dialogue>\n    <scene_description>She grabs two small rocks laying around, lies the satellite map down on the ground and holds it flat with those rocks. She squats down over it, he follows her lead.<\/scene_description>\n    <character>OPHELIA<\/character>\n    <dialogue>Okay. So this is a satellite of the area you want dig through. You want the biggest, most expensive digger on the face of the Earth to dig this one long strip along these forests and then under that river here, because you're thinking they'll never let you dig an access road through a National Park, so you assumed it's the only way to do so, right?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>It is.<\/dialogue>\n    <character>OPHELIA<\/character>\n    <dialogue>Well, not exactly. Look here...<\/dialogue>\n    <scene_description>She points to a tree-like network of waterways that fans across the forest - SMALLER RIVERS; ONES YOU CAN BARELY SEE FROM ABOVE.<\/scene_description>\n    <character>OPHELIA<\/character>\n    <dialogue>You got nine little rivers here.<\/dialogue>\n    <scene_description>He's starting to understand...<\/scene_description>\n    <character>OPHELIA<\/character>\n    <dialogue>I can get you four mini-diggers on rafts, rack'em up along your line on those rivers, and get them to work at the same time. So... for half your budget, I can hypothetically finish the work about four times faster.<\/dialogue>\n    <scene_description>Dumbfounded look on Vincent.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>On the phone you said twice as fast, not four.<\/dialogue>\n    <character>OPHELIA<\/character>\n    <dialogue>Murphy's law. I'm a pessimist.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Okay we have a deal. Just one thing.<\/dialogue>\n    <character>OPHELIA<\/character>\n    <dialogue>Tell me.<\/dialogue>\n    <scene_description>Vincent smiles like a five year old:<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>I wanna come on the boat.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAULSTON FLOOR\/LAB - DAY<\/stage_direction>\n    <scene_description>Linda Raulston looks at a thick printed document, standing next to Jenny the quant.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>What's this??<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>It's a thesis. Twenty three year-old kid out of NYU. I think he solved our problem.<\/dialogue>\n    <scene_description>Linda grabs the document - a doctorate thesis, flips through pages and pages of mathematical formulas.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>Go get him.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>He's already here.<\/dialogue>\n    <scene_description>Jenny goes to the door, signals to JIMMY TRAN, 23, Asian, to come in.<\/scene_description>\n    <character>JIMMY TRAN<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <parenthetical>(showing the thesis)<\/parenthetical>\n    <dialogue>You did this?<\/dialogue>\n    <character>JIMMY TRAN<\/character>\n    <dialogue>Huh... I guess, yeah.<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>You can do the pulsing?<\/dialogue>\n    <character>JIMMY TRAN<\/character>\n    <dialogue>...?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>She means Pulse Shaping.<\/dialogue>\n    <character>JIMMY TRAN<\/character>\n    <dialogue>Oh... Yeah... It's theoretical but yeah. I don't see why it wouldn't work.<\/dialogue>\n    <scene_description>Linda smiles at Jimmy.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <parenthetical>(to Jenny)<\/parenthetical>\n    <dialogue>Could you give us a minute?<\/dialogue>\n    <scene_description>The staff exits the room.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>How are you, Jimmy?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>I'm fine, thank you.<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>I can't tell you how happy I am to meet you.<\/dialogue>\n    <scene_description>Awkward smile by Jimmy.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>This family relies on geniuses like you. Without you, we're nothing. If you are interested in being part of this, we will see you as a member of the family. As a partner... We're also here to nurture your talent, to protect you from this crazy world.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Thank you. I mean... This is a beautiful office.<\/dialogue>\n    <scene_description>Jimmy realizes that was a stupid comment.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>...How can I help you, Jimmy? Do you have issues with tuition fees, rent, anything? We're here to help.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>This is really nice of you...<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>No, not at all Jimmy, the way I see it you're a superstar. I'm like your agent. Your super agent. I want to make sure you're given that perfect, fertile soil so you can blossom.<\/dialogue>\n    <scene_description>Awkward beat.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>I would like to offer you two hundred thousand dollars a year so you can work for us and share your ideas.<\/dialogue>\n    <scene_description>Happy, dumbfounded face on Jimmy Tran.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTON'S SUITE - DAY<\/stage_direction>\n    <scene_description>Anton is at his computer, coding unintelligible C++ code, similar to stuff like this: \/\/file name: stockType.h #ifndef H\\_stockType #define H\\_stockType using namespace std; (etc.) Something hurts his concentration... He looks through the narrow opening between the closed drapes, out the window: IT'S THAT BIRD HOUSE THAT FELL FROM A TREE BY THE RIVER, it draws all of Anton's attention. BEEP BEEP BEEP! The phone by the bed rings: Anton freaks. BEEP BEEP BEEP! He goes to the phone, looks at it like it was a monster, answers.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>LAETITIA<\/character>\n    <parenthetical>(upset)<\/parenthetical>\n    <dialogue>Anton why aren't you calling?? It's been a week!<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Huh... I'm sorry... I've been busy.<\/dialogue>\n    <character>CUT BACK AND FORTH BETWEEN LAETITIA IN NYC AND ANTON IN HOTEL ROOM<\/character>\n    <dialogue>At their appartment, Laetitia is back from work, still in high heels, grey skirt whote shirt and a grey vest. The daughters are running around, noisy as kids should be.<\/dialogue>\n    <character>LAETITIA<\/character>\n    <dialogue>Busy??? God do you realize the work I have to do with the kids and my job??<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>I'm sorry... Guess I didn't... I was really busy.<\/dialogue>\n    <scene_description>Long beat.<\/scene_description>\n    <character>LAETITIA<\/character>\n    <dialogue>You sound like a stranger Anton. I'm worried.<\/dialogue>\n    <scene_description>Anton walks back to the window, pulls on one of the curtains, eyes locked on the bird house under the tree...<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>Don't worry. I'm okay.<\/dialogue>\n    <character>LAETITIA<\/character>\n    <dialogue>I'm worried about us.<\/dialogue>\n    <scene_description>Long beat.<\/scene_description>\n    <character>LAETITIA<\/character>\n    <dialogue>These last months You've been talking to me like some annoying stranger...<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>What?? That's not true...<\/dialogue>\n    <character>LAETITIA<\/character>\n    <dialogue>Yes, listen to yourself for a second Anton you really are.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>I'm not.<\/dialogue>\n    <character>LAETITIA<\/character>\n    <dialogue>Yes you are!<\/dialogue>\n    <scene_description>Long beat.<\/scene_description>\n    <character>LAETITIA<\/character>\n    <dialogue>Stop treating me like I'm some dumb bimbo, you have to let me in we're together in this. I also have a job, and I'm taking care of your two kids at the same time, that makes me an investor tooNo answer.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>I'm sorry... I have to get back to work...<\/dialogue>\n    <character>LAETITIA<\/character>\n    <dialogue>How convenient...<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Anyway it's too late to back out. Too many people are depending on me.<\/dialogue>\n    <character>LAETITIA<\/character>\n    <dialogue>Vincent is depending on you that's for sure.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>And I depend on him.<\/dialogue>\n    <character>LAETITIA<\/character>\n    <dialogue>No, you don't.<\/dialogue>\n    <scene_description>Anton gets emotional.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>Vincent is the reason I'm still here. He's the one that got me through high school without killing myself. If it weren't for him I probably would be in a mental institution right now, or worse.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>He's the only friend I have. The only one.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVER FACING THE HOTEL - END OF DAY<\/stage_direction>\n    <scene_description>Anton walks along the river, towards the bird house that fell under the tree. The phone conversation continues over this scene.<\/scene_description>\n    <character>LAETITIA (O.S.)<\/character>\n    <dialogue>I gotta go. You call me tomorrow if you feel like it.<\/dialogue>\n    <character>ANTON (O.S.)<\/character>\n    <dialogue>Babe... Don't hang up this way.<\/dialogue>\n    <character>LAETITIA (O.S.)<\/character>\n    <dialogue>Bye.<\/dialogue>\n    <scene_description>Clic. She hung up. Anton reaches the bird house leaning on its side, bends down, contemplates it, a gentle smile on his face. It is on a patch of grass surrounded by puddles of water. There's an empty kids' swing, swaying to the wind. All we hear now are sounds from the present, next to the river. Anton gently pulls the house up from its side so that it stands again, on the grass, AS IF IT WAS A REAL SIZE HOUSE ON A PRIVATE ISLAND. He smiles... His smile slowly turns to horror: A DEAD BIRD is stuck halfway inside the bird house, partly decomposed. Anton freaks out, very slowly walks backwards as if facing a zombie, then turns and walks away, almost running, deeply disturbed. 61 61 -<\/scene_description>\n    <character>EXT. FROM HELICOPTER IN THE SKY - CLEARED APPALACHIAN MOUNTAINS<\/character>\n    <dialogue>DAY<\/dialogue>\n    <dialogue>Linda Raulston and Scott hover above a construction site at the top of a tall hill. Scott points to a 150 FOOT TALL CELL TOWER SLOWLY BEING RAISED IN ONE SINGLE 150 FOOT SECTION BY A CRANE. It's now standing at a 70 degree angle, two thirds of the way up. We are at an angle, so we don't really see the crew on the ground - they are blocked by the trees at the bottom. Scott points towards the horizon. He screams over the helicopter noise.<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>BATS in Kansas...<\/dialogue>\n    <scene_description>He turns 180 degrees, points in the opposite horizon.<\/scene_description>\n    <character>SCOTT<\/character>\n    <dialogue>...New York Stock Exchange.<\/dialogue>\n    <scene_description>Scott points back towards Kansas.<\/scene_description>\n    <character>SCOTT<\/character>\n    <dialogue>Eighteen towers that way,...<\/dialogue>\n    <scene_description>He turns 180 degrees, points towards New York.<\/scene_description>\n    <character>SCOTT<\/character>\n    <dialogue>Fifteen towers that way.<\/dialogue>\n    <scene_description>Linda just stares at the distant horizon, towards New York.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>Where are they digging?<\/dialogue>\n    <scene_description>Scott hands her binoculars. FAR AWAY, WE CATCH A FAINT GLIMPSE OF VINCENT'S CONSTRUCTION SITE AT THE APPALACHIAN CLIFFS.<\/scene_description>\n    <character>SCOTT<\/character>\n    <dialogue>Right at the bottom of that cliff: that little patch with less trees there in the forest facing the cliff, that's the digging.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTON'S SUITE - JOUR<\/stage_direction>\n    <scene_description>Anton, four day beard, is typing C++ code on his laptop, pale. There's a knock on the door. He keeps coding. Another knock.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>NO HOUSEKEEPING!<\/dialogue>\n    <character>VINCENT<\/character>\n    <parenthetical>(o.s.)<\/parenthetical>\n    <dialogue>It's me!<\/dialogue>\n    <scene_description>Anton finishes typing a line, opens the door and goes back to his laptop. on, that is justified by Vincent who just learned he has cancer. Vincent walks into the room where FOOD AND TRAYS LEFTOVERS FILL THE ROOM.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Hey. Fuck Anton... open your windows for God's sake it smells like a dead corpse in here.<\/dialogue>\n    <scene_description>Vincent opens the window, keeps all the bad news to himself.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>So. Where are we?<\/dialogue>\n    <scene_description>Anton stops typing, turns to Vincent with stabbing eyes. He types a command, presses enter. A result immediately appears on the screen: Processing: 2.3203437 milliseconds Opt. Regenerators: 0.0131554 milliseconds Fiber: 0.0003361 milliseconds Simulation result: 17.220493 milliseconds<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>That's where we are. I only cut one tenth of a millisecond. Why? Because I already told you that I can't shave a whole millisecond off the code. Did I mention that already? Yes, I did.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>All right, well, a tenth of a millisecond is a start.<\/dialogue>\n    <scene_description>He studies some code on the screen - gibberish.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>What's all this?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Code. You have to send your orders in native code. It saves processing time.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Code??? You're serious?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Inputting that way saves point zero zero two milliseconds.<\/dialogue>\n    <scene_description>Vincent paces around, ideas rushing through his head.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>God... it really reeks in here... What'd you do?? Kill a guy??<\/dialogue>\n    <scene_description>Vincent notices something on Anton's desk, in the upper corner: THE ROTTING DEAD BIRD FROM THE FALLEN BIRD CAGE.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>What the fuck is that?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>It's a bird. Dead bird.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Why is it on your desk?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>It's a reminder of what'll happen to me if I fail.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>You feelin' all right man?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>I'm perfect. I'm great.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Come on. Talk to me.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>I don't think you can understand.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Oh I can't? Try me.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Your project doesn't consider the entire variables. It's epistemologically flawed.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Oh is it? What the fuck are you talking about Anton?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>If we take into account the entire financial ecosystem, we're bound to fail. No matter what. The smaller base units will eventually run out and the whole system will implode.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>\"The smaller base units\"??? What are you talking about???<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Smaller units. Farmers. Workers. Our system doesn't create positive feedback, it just sucks their resources until they fail. And then we fail. It can take fifty years, it can take one thousand years, but the result is always the same.<\/dialogue>\n    <scene_description>Nothing is said for a while.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>You know what? You and me are going on a little road trip. Have a look at the line. Get your mind off the coding for a couple of hours. Better: a couple of days. What do you say? It'll help you think.<\/dialogue>\n    <character>ANTON<\/character>\n    <parenthetical>(while coding)<\/parenthetical>\n    <dialogue>I need to work.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Yyyyeah... I don't think I'm asking, cuz. Come with me have a look at the work. Get some fresh air. We'll be back in two or three days.<\/dialogue>\n    <scene_description>Anton keeps coding on his computer.<\/scene_description>\n    <character>VINCENT<\/character>\n    <parenthetical>(with authority)<\/parenthetical>\n    <dialogue>Please Anton. That bird is fucking creepy you need to get out.<\/dialogue>\n    <scene_description>Anton stops, sighs.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>As you wish.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLY ROAD 20 MILES FROM APPALACHIAN CLIFF - DAY<\/stage_direction>\n    <scene_description>Anton and Vincent are in a rented Ford Explorer on a secluded, empty road. Vincent is driving in hoodie and jeans, Anton is coding in C++ on his laptop.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>I thought we said \"no coding\"...<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>I'm just fixing a couple of things.<\/dialogue>\n    <character>KAPOW!<\/character>\n    <dialogue>CLOPACLOPACLOPA...<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Shit... What the fuck was that?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Flat tire.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Are you serious??<\/dialogue>\n    <scene_description>OUTSIDE, THE CAR STOPS TO A HALT, the tire is totally exploded. CUT TO: OUTSIDE, Vincent just finished replacing the tire with a spare. He lets the jack go down, the car slowly leans on the spare tire he just installed, and then... SHHHHHHHHHH! AIR LEAK. Bad spare tire.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Shit! FUCK!<\/dialogue>\n    <scene_description>He kicks the car... CUT TO: Minutes have passed, Vincent is on his phone talking to someone.<\/scene_description>\n    <character>VINCENT<\/character>\n    <parenthetical>(over the phone)<\/parenthetical>\n    <dialogue>Wh... What?? For how long??<\/dialogue>\n    <parenthetical>(he listens)<\/parenthetical>\n    <dialogue>An hour!?<\/dialogue>\n    <parenthetical>(he listens)<\/parenthetical>\n    <dialogue>All right all right just hurry please we got a big thing waiting for us.<\/dialogue>\n    <scene_description>He sighs, stressed out. Anton sees the vast expanse of rolling hills by the road.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <scene_description>He grabs his bag with his laptop, walks towards the side of the road, near a tree. Vincent finds this odd but follows him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLY ROAD 20 MILES FROM APPALACHIAN CLIFF - DAY<\/stage_direction>\n    <scene_description>HALF AN HOUR LATER, Anton is sitting by the road, typing on his laptop. Vincent throws rocks trying to hit a road sign. Anton suddenly stops typing.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>That's it. It's dead.<\/dialogue>\n    <scene_description>He puts his computer away. Vincent still has stomach cramps, tries to hide it, but Anton takes notice.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>You think when this is done I could take your kids out? Like... For ice cream or something?<\/dialogue>\n    <scene_description>We can read it on Anton's face: this is the first time Vincent asks something like this.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>Yeah, yeah, of course. They'd really love it.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>I never did that type of thing, I think I'd like to. If we have the time.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Anytime.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm sorry I doubted you. Really, really sorry.<\/dialogue>\n    <scene_description>CUT TO: AN HOUR HAS PASSED, Anton and Vincent are by the water, trying to catch frogs. Anton gets his hands closer to one... He dives for it, catches it! Good old times. They hear a truck honking, look towards the road: the towing service. They grab their stuff, walk back towards the road, somewhat lighter hearted.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOTTOM OF CLEARED APPALACHIAN CLIFF - DAY<\/stage_direction>\n    <scene_description>Vincent, Anton and A DOZEN CONSTRUCTION WORKERS are looking at the sky. A low rumble gets louder, then gets sharper... UP IN THE AIR, The gigantic SIKORSKY 64 HELICOPTER, 70 feet long, two floors high, appears from the sky, carrying a 25 foot long freight container. Everybody on the ground is blasted by the wind, the cousins have a HUGE smile on their faces. INSIDE THE CHOPPER, Mark, with helmet and integrated headset, has the smile of a five year old.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>YEAH BABY!<\/dialogue>\n    <scene_description>On the ground:<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>That's a big motherfucker...<\/dialogue>\n    <scene_description>The Sikorsky hovers above the site, brings the container over it, while all the crew is blasted by the wind coming from the giant blades. CLONG! The helicopter lands the container, the impact blasts dust away from under it. The cable is released, falls over the container. The chopper now leaves... In the chopper:<\/scene_description>\n    <character>MARK<\/character>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOTTOM OF CLEARED APPALACHIAN CLIFF - SUNSET<\/stage_direction>\n    <scene_description>Anton and Vincent get closer to the container, as A CREW OF 10 PEOPLE carry heavy machinery parts out from it, and assemble them right in front of the tall cliff, inside a freshly cleared hole; it's A BIG HORIZONTAL DRILLING MACHINE. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOTTOM OF CLEARED APPALACHIAN CLIFF - NIGHT<\/stage_direction>\n    <scene_description>The powerful drilling machine starts drilling a four inch hole through the rock at the bottom of the cliff... Ray is hurt by the sound of the drill on the rock as if it was a dentist drilling his teeth.<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Jesus that's hard rock. It's way harder than I thought. Hope you got time...<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>I don't. How long??<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Too early to tell... Shit that's a lot of heat... TOMMY KEEP THE WATER COMING!<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>I AM!<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>IT'S SMOKING LIKE HELL! STOP! STOP IT!<\/dialogue>\n    <scene_description>Another worker presses on the emergency stop button on the big machine.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>What's happening??<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>It's the rock... It broke the drill bit.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>How did this happen?!<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I don't understand... It's way harder than our samples. I gotta have some kind of replacement part but it's gotta be in<\/dialogue>\n    <dialogue>carbide... And I gotta find a way to cool this thing down...<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Find a way. Get through this mountain. And I don't want you telling me it's gonna cost me more, 'cause I have no more.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Wow wow wow take it easy... I couldn't predict this, it's part of the game, it's full of surprises.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Read your contract. The surprises are on your side.<\/dialogue>\n    <scene_description>Ray laughs out the frustration building inside.<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>I think we're off to a really bad start here.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Well I don't know what to say Ray, it's all there on paper. You're responsible.<\/dialogue>\n    <scene_description>Ray looks at a distance, really distraught.<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>I thought I was gonna make a little bit of money on this...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VINCENT MOBILE HEADQUARTERS\/APPALACHIAN BASE - DAY<\/stage_direction>\n    <scene_description>ON THE PROGRESS MAP: ASSISTANT HANDS are working once again the Kansas - New York map of the line - the progress map with hand- taped strips of colored tape indicating the progress of the digging. The line now has a lot more green strips than the last time we saw it... There's progress.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ON THE JUNGLE RIVER - DAY<\/stage_direction>\n    <scene_description>Ophelia, Vincent and a GUIDE are on a small boat with an overboard motor, riding down a narrow river blanketed by overhanging trees - it feels like the jungle. Behind them, another small boat with THREE EMPLOYEES is following them through the eerie setting coming straight out of Heart of Darkness.<\/scene_description>\n    <character>OPHELIA<\/character>\n    <dialogue>So were you born in New York?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Yeah... My parents came here in the sixties, from Russia: \"Smolensk\". My father was twenty two or twenty three when he got here, they stayed in a two bedroom appartment with a couple other Russian families...<\/dialogue>\n    <character>OPHELIA<\/character>\n    <dialogue>Russian immigrant in the sixties... That must have been fun.<\/dialogue>\n    <scene_description>Vincent smiles.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Just two weeks after he got here two policemen came in the appartment and threw him in the back of their car. They were sure he was a spy - which he wasn't. They brought him to some secret place, interrogated him for four weeks. Never saw the light of day.<\/dialogue>\n    <character>OPHELIA<\/character>\n    <dialogue>Wow... That's crazy. I didn't know they did that.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>My Mom told me he really changed after it happened. Like... He was a different person. Angry. I was born a couple 'years later. From that moment up to the time I stood over his death bed, he always told me: \"Whatever you do, make sure you own your freedom.\"... Which I always found weird because it's probably the least communist thing a Russian could say at the time.<\/dialogue>\n    <scene_description>They look at the river...<\/scene_description>\n    <character>OPHELIA<\/character>\n    <dialogue>Doesn't having to own your freedom kind of... defeat the purpose of freedom?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Probably. I also remember he forced me to read Franz Kafka's \"The Trial\" by the time I was eleven.<\/dialogue>\n    <character>OPHELIA<\/character>\n    <dialogue>Oh that's harsh.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>You read it?<\/dialogue>\n    <character>OPHELIA<\/character>\n    <dialogue>I'm absolutely certain I didn't.<\/dialogue>\n    <scene_description>She looks at the horizon...<\/scene_description>\n    <character>OPHELIA<\/character>\n    <dialogue>What a strange project you have...<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Do I?<\/dialogue>\n    <character>OPHELIA<\/character>\n    <dialogue>Yeah, come on. You know that.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>I guess we can't always explain why we do what we do... We just do it.<\/dialogue>\n    <character>OPHELIA<\/character>\n    <dialogue>Is that right? But really, why are you building this?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>All I can say is I need to build the fastest fiber optic line between Kansas and New York City and it'll make us filthy rich.<\/dialogue>\n    <character>OPHELIA<\/character>\n    <dialogue>But... Apart from the money, I'm sure there's something hidden deep down inside that makes you do this. We all do.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Do we?<\/dialogue>\n    <character>OPHELIA<\/character>\n    <dialogue>Of course. I'm in this business 'cause I want to prove my father wrong - I always felt he was kind of disappointed he never had a boy - he thought I couldn't handle the family business.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>That's horrible.<\/dialogue>\n    <character>OPHELIA<\/character>\n    <dialogue>Well, it's honest. He never told me, but I could always feel it.<\/dialogue>\n    <character>OPHELIA<\/character>\n    <dialogue>Come on, your turn.<\/dialogue>\n    <scene_description>Vincent wants to open up but can't... His lips actually tremble for a second.<\/scene_description>\n    <character>OPHELIA<\/character>\n    <dialogue>We're in the middle of the jungle, outside of the world, come on just say it.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Should I lie down on a couch or something?<\/dialogue>\n    <scene_description>She makes a face.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>All right... My father always said I was bony and that I'll crack in two when the shit hits the fan. From the moment I could speak all the way through high school he kept saying it. 'Said I'd never make it in life 'cause I'm too bony. So... There you go. The shit is hitting the fan every day for the last six months, and I will not crack in two until this is done. I promised myself. I'm gonna deliver the fastest fucking fiber optic line from Kansas to New York city. No matter what.<\/dialogue>\n    <character>OPHELIA<\/character>\n    <dialogue>Good, you made it a positive thing.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>I guess...<\/dialogue>\n    <scene_description>Up ahead, as the river turns, a strange figure is walking right in the middle of the river, water up to his waist... IT'S A WORKER WITH A PORTABLE SCANNER, dressed in rubber overpants. He's tracking the drilling head of a horizontal digging machine.<\/scene_description>\n    <character>OPHELIA<\/character>\n    <dialogue>We're here.<\/dialogue>\n    <scene_description>The boat gets closer to a freshly cleared, five hundred square feet area by the side of the river where a MINI HORIZONTAL DIGGER is already in action, digging under the riverbed. Vincent just contemplates the eerie, strange moment. A construction crew in the middle of the jungle...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLEARING FACING THE JUNGLE RIVER - DAY<\/stage_direction>\n    <character>IT'S SUNSET<\/character>\n    <dialogue>The man in rubber overpants is almost across the river, still in the water, tracking the drilling head underneath, exhausted. Vincent looks at the sunset, at the river, at the sky above, exhilarated, then weary.<\/dialogue>\n    <scene_description>CROSS FADE:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHINESE MASSAGE &amp; REFLEXOLOGY PARKING - NIGHT<\/stage_direction>\n    <scene_description>Vincent is in his car, just staring at the Chinese Massage and Reflexology sign, really nervous. (note: in an earlier scene, we witnessed Vincent seeing this place as he passed by it once before, while driving from point A to point B with Mark Vega).<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHINESE MASSAGE &amp; REFLEXOLOGY PARLOR - NIGHT<\/stage_direction>\n    <scene_description>Vincent walks in the massage parlor, a buzzer rings. He looks around, notices some certification diplomas on the wall. A CHINESE WOMAN IN HER MID THIRTIES appears from a room in the back, greets him.<\/scene_description>\n    <character>MASSAGE THERAPIST<\/character>\n    <dialogue>Hello Sir how can I help you?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Yeah huh... I'm sorry I just wanted to know... Are all your services... Legit? Like... Legal?<\/dialogue>\n    <character>MASSAGE THERAPIST<\/character>\n    <dialogue>Yes yes of course. Real massage. Reflexology. Heal. Relax.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>No trouble right? All legal?<\/dialogue>\n    <character>MASSAGE THERAPIST<\/character>\n    <dialogue>Yes. Just therapy massage, relaxation massage, foot massage, reflexology massage. No \"extra\" here. Real massage. No trouble.<\/dialogue>\n    <scene_description>Oddly, Vincent is swept away by a sea of mixed emotions... Relief, desire of letting go are definitely part of that mix.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASSAGE THERAPY ROOM - NIGHT<\/stage_direction>\n    <scene_description>SLOW MOTION on Vincent, eyes closed, letting go of things, as the massage therapist makes long gestures along his frail body. It hurts but it's a good hurt - as if the massage was bringing out a lot of things that he's been holding in. This is the most vulnerable that Vincent has ever been for a long, long time... At last, tears come to his eyes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPLANE - DAY<\/stage_direction>\n    <scene_description>Vincent is in an airplane, in a lower grade business class - worn leather seats, eighties style. He closes his eyes, tries to rest for a few minutes. CACLANG. CACLANG. Turbulence. Vincent jumps up, calms down again. CACLANG CACLANG CACLANG. More turbulence...<\/scene_description>\n    <character>PILOT<\/character>\n    <dialogue>Sorry 'bout that folks, we're going through some nasty turbulence, I'm gonna take the plane down a few hundred feet and I think things should get smoother...<\/dialogue>\n    <scene_description>This makes Vincent smile with overwhelming irony.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRYAN TAYLOR'S NYC OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Vincent, wearing a suit, is in Bryan Taylor's 30th floor office. He is in the middle of a conversation, nervous...<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>There's been a couple of delays. The drilling in the mountains is a pain in the ass. Literally.<\/dialogue>\n    <scene_description>Awkward beat. MR SIMON, part of Bryan Taylor's team, seems concerned.<\/scene_description>\n    <character>MR SIMON<\/character>\n    <parenthetical>(irritated, to Vincent)<\/parenthetical>\n    <dialogue>Does that change our calendar? Will we still be able to take the company public next month?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>I really don't know at the moment.<\/dialogue>\n    <character>BRYAN TAYLOR<\/character>\n    <dialogue>Jesus... Sometimes I wonder... Do you really know what you're doing Vinnie? You tell us we should invest in your crazy project, you tell us it's all taken care of, and then we've had nothing but surprises since the beginning.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>No, that's totally untrue. We knew we were going to have surprises. We budgeted for them...<\/dialogue>\n    <character>BRYAN TAYLOR<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>It sounds like you're in over your head. It sounds like we are in over our heads...<\/dialogue>\n    <character>VINCENT<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>I'm on top of things Bryan. It's just a little harder on that one spot, that's all.<\/dialogue>\n    <scene_description>Long beat. Bryan sighs.<\/scene_description>\n    <character>MR SIMON<\/character>\n    <dialogue>It's a big payment we're about to give you...<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>I know, I know...<\/dialogue>\n    <character>BRYAN TAYLOR<\/character>\n    <dialogue>Are you being one hundred percent honest with us?<\/dialogue>\n    <scene_description>Vincent looks out the window, sighs.<\/scene_description>\n    <character>VINCENT<\/character>\n    <parenthetical>(nervous)<\/parenthetical>\n    <dialogue>All right. I'm not gonna bullshit you. The line might not be one hundred percent operational in a month. But if not, it's gonna be like... ninety nine point nine percent operational. So I think that once 99 percent of the line is done, we'll be able to prove our line is the fastest, at less than sixteen milliseconds, and I think that when we establish that, our stock will skyrocket into the fucking stratosphere in a microsecond. Personally? I want to be in when that happens. But I need the next payment or I can't go forward. I got a drill that costs me 120 000 bucks a day to rent. I... I have a seventy foot long Sikorsky helicopter to pay. I mean...<\/dialogue>\n    <character>BRYAN TAYLOR<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>One question.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>BRYAN TAYLOR<\/character>\n    <dialogue>Are we getting our money's worth, or are you trying to screw us and give yourself a big departure bonus when the shit hits the fan?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Jesus Bry you think we buried five hundred miles of fiber from Kansas to Indianapolis just for fun?? Come on... Gimme some credit here. I mean... We're more than halfway done... This line is gonna be fucking fast and we're gonna get fucking rich. You're getting more than your money's worth. I promise. No asshole bonuses.<\/dialogue>\n    <character>BRYAN TAYLOR<\/character>\n    <dialogue>Don't fuck us Vinnie, I trust you.<\/dialogue>\n    <scene_description>Vincent stares straight at Bryan, doesn't blink.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>I won't. I'm not. I didn't work on this for the last two years just to get up and leave.<\/dialogue>\n    <parenthetical>(long beat)<\/parenthetical>\n    <dialogue>I'm doing this as if it was the last thing I had to do in my life. But to do that, I really need the next payment.<\/dialogue>\n    <scene_description>Everybody stares silently at Vincent.<\/scene_description>\n    <character>BRYAN TAYLOR<\/character>\n    <dialogue>All right Vinnie. All right.<\/dialogue>\n    <scene_description>Bryan takes his smartphone, loads a financial app. He looks at account numbers written on a page on his table, taps on one or two things, taps on \"electronic wire\".<\/scene_description>\n    <character>BRYAN TAYLOR<\/character>\n    <parenthetical>(to Mr Simon)<\/parenthetical>\n    <dialogue>What's the amount?<\/dialogue>\n    <scene_description>Mr Simon looks on a contract, reads an amount:<\/scene_description>\n    <character>MR SIMON<\/character>\n    <dialogue>Fifty three million, five hundred thousand dollars.<\/dialogue>\n    <scene_description>Bryan types the number in. Meanwhile, Vincent takes out his own smartphone, loads the same financial App. Bryan counts the zeroes next to the first numbers, making sure he didn't put one too many -<\/scene_description>\n    <character>\"53 500 000.00$\"<\/character>\n    <dialogue>Yep, all good. He clicks on \"Accept\". The App responds:<\/dialogue>\n    <scene_description>\"Are you sure you want to wire 53 500 000.00$ to account #05341 100 347?\" He taps on \"yes\". There's a five second wait. \"Transfer completed. Your confirmation number is BT76534\"<\/scene_description>\n    <character>BRYAN TAYLOR<\/character>\n    <dialogue>Done. Can you check?<\/dialogue>\n    <scene_description>Vincent refreshes his account balance directly from his app. It goes from \"127 534.23$\" to \"53 627 534.23$\"<\/scene_description>\n    <character>VINCENT<\/character>\n    <parenthetical>(deeply relieved)<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NYC STREET - NIGHT<\/stage_direction>\n    <scene_description>Vincent walks out, nervous and excited. His phone rings.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>MARK (FROM PHONE)<\/character>\n    <dialogue>Vinnie! God, where are you?? I left you like 20 messages.<\/dialogue>\n    <scene_description>He walks out of the waiting room, continues talking --<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>What's happening? Where are you?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I'm in Pensylvania, where are you?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>I'm in New York.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>New York?? Why are you in New York??<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Tell me what's the problem.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>We're digging on the railroad lot but there's a whole bunch of land that turns out doesn't belong to the rail. You gotta get your ass down here.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>What do you mean, it doesn't belong? We have the papers, we cleared it!<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>We thought we had but there's a chunk of land they don't own. Even the railroad guys didn't know they didn't own it.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>That's bullshit. Who said they own it? They're playing with you.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I checked their papers. Its legit Vinnie, they own a piece of the land. And they're not cooperating. At all.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>So what are you saying?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>\"You need to get down here\" is what I'm saying.<\/dialogue>\n    <scene_description>MONTAGE SEQUENCE - DAY AND NIGHT Between Kansas and New York, on various sites (at least three), construction crews are building the fiber optic line. AT NIGHT, in VARIOUS PLACES OF NORTH EASTERN US, workers with LED flashlights on their forehead, holding portable sonars in their hands, walks slowly in the middle of darkness - they are tracking the the end of the drill digging underground, but THEY LOOK LIKE WANDERING ZOMBIES. IN DAYTIME, the warlike trenchers (trucks with what looks like giant, eight foot high, twelve foot long chain saws in front of them) are moving forward, tracing the line one feet below ground.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRADITIONAL AMISH FARM - DAY<\/stage_direction>\n    <scene_description>Vincent drives up to the wooden gate of a TRADITIONAL FARM encircled with an old wooden fence. He steps out of his car, goes to meet Mark who is already at the entrance, next to another SUV.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Hey Vinnie.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>Vincent studies the entrance, thinks for a while...<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Wait for me here.<\/dialogue>\n    <scene_description>He walks through the property gates, crosses paths with a couple of YOUNG AMISH FARMERS working with forks on a huge pile of hay. They are dressed in dark pants, blue or gray long sleeve shirt, and their characteristic long-edged felt hats. THE FARM HAS NO TRUCKS OR POWERED MACHINERY IN SIGHT. They stare suspiciously at Vincent passing by. Further down the path, 4 WOMEN walk side by side, dressed in their typical long dresses and head coverings. Kids of all ages dressed exactly like the adults play volleyball on 3 different volleyball courts laid out on the lawn. Oddly, there are TWO CAMELS on the lot (for milk). The property seems endless, it must be a 500 acre lot (1 mile long by 1 mile deep). An AMISH ELDER in his fifties, that is highly resemblant to the old Amish Man in Vinent's dream, and his SON, late 20's, walk up to Vincent, already in a pissed off mood.<\/scene_description>\n    <character>AMISH ELDER<\/character>\n    <dialogue>Good day Sir. Are you with that man that came yesterday?<\/dialogue>\n    <scene_description>Vincent is extremely confused.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>We know each other, don't we?<\/dialogue>\n    <character>AMISH ELDER<\/character>\n    <dialogue>I don't think so, no.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>I saw you before.<\/dialogue>\n    <character>AMISH ELDER<\/character>\n    <dialogue>I don't remember meeting you, Sir.<\/dialogue>\n    <scene_description>Long awkward beat as Vincent just stares at the Amish Elder.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>You were in my dream. You were in a glass jar.<\/dialogue>\n    <character>AMISH ELDER<\/character>\n    <dialogue>Excuse-me?<\/dialogue>\n    <scene_description>Vincent realizes he's in the middle of a faux-pas, snaps out of it.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>I'm sorry... You look exactly like a man that was in a dream I had.<\/dialogue>\n    <scene_description>Vincent still can't help staring at him, he's identical to the man from his dreams - it's uncanny.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>My name is Vincent Zaleski, I work for Magenta Fiber Tech. I was wondering if you were the owner of this property?<\/dialogue>\n    <character>AMISH ELDER<\/character>\n    <dialogue>We all are. We already talked to your partner.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Well, first of all, I wanted to apologize. I wasn't there, but I think my partner was probably a little rude when he came in and approached you.<\/dialogue>\n    <scene_description>No reply.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>So... We want to expand our operations to this area and bring all sorts of new opportunities to the community. We want to bring in a high speed fibre network, and we'd like to see if we could buy a very narrow strip of land, not more than 1 foot wide, to hide a small tube underground - like, 6 inches wide. We would come in, install it in a week or two, hide it under ground, and leave. It wouldn't leave a trace. We would compensate you for the trouble, of course.<\/dialogue>\n    <character>AMISH ELDER<\/character>\n    <dialogue>We're not interested, thank you. But I'm sure our neighbors will be, you should go and talk to them.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>It could also be a lease. Like a... 10 year lease.<\/dialogue>\n    <scene_description>Awkward beat.<\/scene_description>\n    <character>AMISH ELDER<\/character>\n    <dialogue>Again, I'm sorry.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>We would pay you two hundred thirty thousand dollars for this right of way.<\/dialogue>\n    <scene_description>The son's eyes grow bigger, the Older man doesn't flinch.<\/scene_description>\n    <character>AMISH ELDER<\/character>\n    <dialogue>230 000 is a lot of money. I'm sure our neighbors will be interested.<\/dialogue>\n    <scene_description>Vincent stands there, aghast - this is probably the first time someone refuses his generous proposals without at least making a counter offer.<\/scene_description>\n    <character>AMISH ELDER<\/character>\n    <dialogue>Was that all that you came to talk about?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Hum... I mean... I just wanna make sure you understand: this line is gonna be hidden 6 feet underground. No one will see it. We come in, take 2 weeks to install it and hide it, than leave you with a 230 000$ check. That much money can go a long way towards preserving your heritage. Your traditions.<\/dialogue>\n    <character>AMISH ELDER<\/character>\n    <dialogue>Yes that's exactly what I understood, and I said we are not interested. We live simple lives, at the service of God. High speed is not our priority, and money can be a source of conflict.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Could you do like a... A group vote on this?<\/dialogue>\n    <character>AMISH ELDER<\/character>\n    <dialogue>Please, don't make this difficult.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Look... all I want is help bring prosperity to this area. Make things better.<\/dialogue>\n    <character>AMISH ELDER<\/character>\n    <dialogue>We don't believe that making things faster makes things better. As a matter of fact we believe the contrary. We believe all this new technology makes us more distant and isolated. And that's why we do not want to have your high speed tube under our land.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Well I'm disappointed to hear that. So... what do we do now?<\/dialogue>\n    <character>AMISH ELDER<\/character>\n    <dialogue>I don't understand.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>How can we find a common ground?<\/dialogue>\n    <character>AMISH ELDER<\/character>\n    <dialogue>We don't. This is the Lord's ground. There's nothing \"common\" about it. We're here to take care of it, at his service. I'm sorry Mr. Zaleski. You have a nice day.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Don't be stupid Sir.<\/dialogue>\n    <scene_description>Mark, sensing things are going the wrong way, walks up to Vincent.<\/scene_description>\n    <character>AMISH ELDER<\/character>\n    <dialogue>I think we're done.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>You definitely were in my dream, in that giant jar... You were about to go through a meat grinder.<\/dialogue>\n    <scene_description>The older man turns and walks away.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>What the fuck Vinnie?? Why'd you tell him that creepy shit?!<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>'Cause it's the truth.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. END OF THE FOREST - NIGHT<\/stage_direction>\n    <scene_description>We are at the end of the forest, there is a road ahead of us. A small, FOUR MEN CREW is on standby, in front of a grave-sized trench. Up ahead, Ophelia holds a portable sonar in her hand, looks for a pulse - she's a hands-on kind of a person. She gets a pulse, tries to locate the source, bingo: she's right above it. She takes a couple of steps, while the LCD screen shows the tip of the digger getting closer to the trench. She slows down before falling in the trench - the final destination.<\/scene_description>\n    <character>OPHELIA<\/character>\n    <dialogue>Okay watch your step watch your step...<\/dialogue>\n    <scene_description>VRRRR... On the sidewall of the trench, THE HUGE FOUR INCH DRILLING BIT pops out from the sidewall of the trench, almost horizontal, screwed to a four inch tube section. On the opposing wall of the hole, another tube is already there, idle - came from the opposite direction.<\/scene_description>\n    <character>OPHELIA<\/character>\n    <parenthetical>(she smiles, proud)<\/parenthetical>\n    <dialogue>Ooooookay... That's... One and a half inch off the exact coordinates, YEAH!<\/dialogue>\n    <scene_description>One of the crew members already in the hole unscrews the self- guiding drilling head from the four inch wide tube it is attached to. Ophelia jumps down the hole, takes a measuring tape from her pocket, measures the distance between the two tubes poking from opposite walls (they are to be connected). She grabs her walkie- talkie strapped to her waist.<\/scene_description>\n    <character>OPHELIA<\/character>\n    <parenthetical>(to the talkie)<\/parenthetical>\n    <dialogue>Okay give us thirty three more inches.<\/dialogue>\n    <scene_description>She puts workers gloves on. Very slowly, the tube starts turning again, moves forward, one inch at a time, towards the other tube.<\/scene_description>\n    <character>OPHELIA<\/character>\n    <parenthetical>(to the talkie)<\/parenthetical>\n    <dialogue>Slooooowly... Slower...<\/dialogue>\n    <scene_description>The tube gets closer and closer to the other one...<\/scene_description>\n    <character>OPHELIA<\/character>\n    <parenthetical>(to the talkie)<\/parenthetical>\n    <dialogue>Okay stop for a sec.<\/dialogue>\n    <scene_description>She hands her walkie-talkie to her assistant who holds it to her mouth.<\/scene_description>\n    <character>OPHELIA<\/character>\n    <dialogue>Go.<\/dialogue>\n    <scene_description>The tube moves forward by three more inches AND CONNECTS TO THE OTHER SECTION.<\/scene_description>\n    <character>OPHELIA<\/character>\n    <dialogue>GOT IT.<\/dialogue>\n    <scene_description>The tube stops moving, stops turning. The two sections are perfectly connected. She claps, Vincent claps, the proud team claps.<\/scene_description>\n    <character>OPHELIA<\/character>\n    <dialogue>Good job guys.<\/dialogue>\n    <scene_description>She climbs herself out of the hole, takes off her gloves, goes to Vincent.<\/scene_description>\n    <character>OPHELIA<\/character>\n    <dialogue>How's that for you hun?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>It's amazing.<\/dialogue>\n    <parenthetical>(he looks at her)<\/parenthetical>\n    <dialogue>You're amazing.<\/dialogue>\n    <character>OPHELIA<\/character>\n    <parenthetical>(grinning)<\/parenthetical>\n    <dialogue>You're pretty \"special\" yourself. And that's an understatement.<\/dialogue>\n    <scene_description>She gently puts her hand on his shoulder and walks past him to manage her crew. Mark drives up to the site, gets out with a couple of papers in his hand. He walks right up to Vincent, takes him a little further away.<\/scene_description>\n    <character>VINCENT<\/character>\n    <parenthetical>(speaking over the noise)<\/parenthetical>\n    <dialogue>So?<\/dialogue>\n    <character>MARK<\/character>\n    <parenthetical>(speaking over the noise)<\/parenthetical>\n    <dialogue>The State Legislation allows prospectors to dig at a depth lower than 100 feet as long as these diggings are for... \"the collective well being of the people and the long term prosperity of the State\". So basically, anyone can dig under 100 feet: you, me, anybody! It's intended as a blank check for oil companies, but we can definitely argue that by speeding up data transfers in the area, our line is for \"the collective well being\". But the problem is that our crews don't have a horizontal drill that can cross their entire land without coming up for air. SO...<\/dialogue>\n    <scene_description>Vincent waits.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>I got us the biggest fucking horizontal drill available in the State. It's on its way. Will get there soon.<\/dialogue>\n    <scene_description>Vincent does not have the enthusiastic response Mark was expecting - guilt perhaps.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Awesome, right?? We dig right under their toes and don't come out until we're on the other side!<\/dialogue>\n    <character>VINCENT<\/character>\n    <parenthetical>(unenthusiastically)<\/parenthetical>\n    <dialogue>Yeah... Awesome. Do it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTON'S SUITE - NIGHT<\/stage_direction>\n    <scene_description>Anton is annotating things on the big North Eastern US map, bloodshot eyes, sweaty, still trying to shave an extra millisecond off the line. Something flashes in his mind... He pulls a small electronic device from one of his big technical metal cases (this gizmo fits in the palm of his hand) - this is an OPTICAL REGENERATOR. He ponders, thinks, flips the electronic device over to find the name of the company: \"RegenTech\". Total exhilaration fills his veins. CUT TO: Anton is on the hotel phone, impatient.<\/scene_description>\n    <character>SALES ASSOCIATE (O.S.)<\/character>\n    <dialogue>Yes this is Peter from sales?<\/dialogue>\n    <character>ANTON<\/character>\n    <parenthetical>(bluntly)<\/parenthetical>\n    <dialogue>Huh yeah... I need some information.<\/dialogue>\n    <character>VOICE FROM PHONE<\/character>\n    <dialogue>Okay...<\/dialogue>\n    <character>ANTON<\/character>\n    <parenthetical>(he reads the model number on electronic device)<\/parenthetical>\n    <dialogue>...Regarding Optical Regenerator JBT145 SX.<\/dialogue>\n    <character>VOICE FROM PHONE<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>It says \"rated at one thousand meters\", but what kind of tolerance did you implement in the device?<\/dialogue>\n    <character>VOICE FROM PHONE<\/character>\n    <dialogue>I don't know...<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Ballpark?<\/dialogue>\n    <character>VOICE FROM PHONE<\/character>\n    <dialogue>I think all our regenerators have around 10%, I guess?<\/dialogue>\n    <scene_description>Long, dumbfounded beat.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>Did you say 10%?<\/dialogue>\n    <character>VOICE FROM PHONE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>So... If I had two thousand regenerators on a line, and I could do like... a selection process to keep only the ones that cover the entire 110%, I could space out the regenerators to one thousand one hundred meters instead of one thousand meters?<\/dialogue>\n    <character>VOICE FROM PHONE<\/character>\n    <parenthetical>(hesitant)<\/parenthetical>\n    <dialogue>Yyyyeah... I guess? Risky, expensive, but maybe.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Are you aware that each regenerator makes the line lose 2.5 thousandths of a millisecond? Over two thousand regenerators, round trip, that's a whole millisecond faster.<\/dialogue>\n    <character>VOICE FROM PHONE<\/character>\n    <dialogue>I don't know, is that a fact?<\/dialogue>\n    <character>ANTON<\/character>\n    <parenthetical>(excited)<\/parenthetical>\n    <dialogue>Yes, it is. Thank you.<\/dialogue>\n    <scene_description>He hangs up, stands, RAISES HIS ARM UP IN THE AIR LIKE HE JUST PULLED THE FINAL WINNING TOUCH DOWN AT THE SUPER BOWL, his body rushing with adrenaline. We slowly creep in on him...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>IN SLOW MOTION, Anton walks out of his room and into the hotel corridor, weary, head full of thoughts. He passes by a cleaning person's maintenance cart (with a trash can, replacement sheets, towels, etc.). He turns the corner, takes another corridor leading to the elevator: facing him, further down, are THREE MEN in navy blue suits, among which AGENT SANTANA, 46. No way they're here just for fun. Anton freezes.<\/scene_description>\n    <character>AGENT SANTANA<\/character>\n    <parenthetical>(from across the corridor)<\/parenthetical>\n    <dialogue>Mr. Zaleski?<\/dialogue>\n    <scene_description>Anton slowly turns around and walks away.<\/scene_description>\n    <character>FBI AGENT 2<\/character>\n    <dialogue>Mr. Zaleski! Stop!<\/dialogue>\n    <scene_description>Anton stops. The agents walk towards him.<\/scene_description>\n    <character>AGENT SANTANA<\/character>\n    <dialogue>Anton Zaleski?<\/dialogue>\n    <scene_description>No answer.<\/scene_description>\n    <character>AGENT SANTANA<\/character>\n    <dialogue>Are you Anton Zaleski?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>AGENT SANTANA<\/character>\n    <dialogue>My name is Santana Lopez. FBI. You are under arrest for committing Stock Market Fraud by stealing proprietary code from Raulston &amp; Thatcher Capital. You have the right to...<\/dialogue>\n    <character>ANTON RUNS AWAY! HE'S FAST!<\/character>\n    <dialogue>AGENT SANTANA<\/dialogue>\n    <character>STOP!<\/character>\n    <dialogue>Anton turns the corner and heads towards the cleaning person's maintenance cart, looks for an open door. There: a CLEANING MAN in his forties is cleaning a room, vacuuming around the bed, back turned. ANTON RUNS INSIDE THE ROOM, closes the door, LOCKS HIMSELF IN THE BATHROOM...<\/dialogue>\n    <character>IN THE BATHROOM,<\/character>\n    <dialogue>He pulls out his smartphone from his pocket, tries to dial a number, but he's shaking... Agent Santana furiously bangs on the bathroom door.<\/dialogue>\n    <character>AGENT SANTANA<\/character>\n    <dialogue>OPEN UP! YOU'RE UNDER ARREST!<\/dialogue>\n    <scene_description>CRRRRACK! They knock the door down before he can finally dial, they grab and immobilize him.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>Let me go! Let me go!<\/dialogue>\n    <character>AGENT SANTANA<\/character>\n    <parenthetical>(breathing heavily)<\/parenthetical>\n    <dialogue>As I was saying, you are under arrest for committing Stock Market Fraud by stealing proprietary code from Raulston &amp; Thatcher Capital. You have the right to remain silent when questioned. Anything you say or do may be used against you in a court of law. You have the right to consult an attorney...<\/dialogue>\n    <scene_description>SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRADITIONAL AMISH FARM - DAY<\/stage_direction>\n    <scene_description>A BIG DIGGING CREW is setting up a VERY BIG HORIZONTAL DRILLING MACHINE - the biggest one we have seen so far - on a vacant property just 2000 feet away from the Amish community entrance (almost half a mile) - trucks, shovels, drilling machines: nothing subtle. Vincent's lawyer, THE AMISH CASE LAWYER, is also there, stands by, ready for confrontation, sure of himself. The WHOLE AMISH COMMUNITY comes walking and running, horrified, disgruntled. Younger Amish men and women arrive first, screaming at the digging crew to leave. The Amish Elder catches up, running with a steady foot - he's in very good shape.<\/scene_description>\n    <character>AMISH ELDER<\/character>\n    <dialogue>YOU CAN'T DIG UNDER OUR LAND! THIS IS<\/dialogue>\n    <character>GOD'S LAND! LEAVE OR WE CALL THE POLICE!<\/character>\n    <dialogue>The lawyer walks up to the Elder, grabs a court ruling from the inside pocket of his suit, hands it to the Amish Elder.<\/dialogue>\n    <character>AMISH CASE LAWYER<\/character>\n    <dialogue>Sorry, law says under 100 feet it belongs to everybody. Read it.<\/dialogue>\n    <character>AMISH ELDER<\/character>\n    <dialogue>THIS PLACE DOES NOT BELONG TO YOU! YOU<\/dialogue>\n    <character>CAN'T PUT YOUR THINGS HERE!<\/character>\n    <dialogue>AMISH CASE LAWYER<\/dialogue>\n    <scene_description>Actually it does. We bought this lot, it's ours. We can do whatever we want. So we're digging about 100 feet down, then... phew! across your land, and then back up again. A younger woman walks up to the elder.<\/scene_description>\n    <character>YOUNG AMISH WOMAN<\/character>\n    <dialogue>He can't do this! It's our land!<\/dialogue>\n    <character>AMISH CASE LAWYER<\/character>\n    <dialogue>Sorry Miss, but to the State, as long as there could be oil or gas under there, below 100 feet belongs to everybody.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Welcome to the 21st century Grandpa...<\/dialogue>\n    <scene_description>The lawyer heads to his car, leaving the Amish community angered and in shock.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAULSTON FLOOR\/HIGH FREQUENCY TRADING ROOM - DAY<\/stage_direction>\n    <scene_description>Linda Raulston is next to Jenny, facing one of the many HFT trading computer stations. Some quants are behind them, the whole room is very excited, including Jimmy Tran the new Quant. Jenny finishes typing a couple of lines on the computer, presses enter.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Okay. The line is up. Market opens in... ten seconds.<\/dialogue>\n    <scene_description>Linda looks at the screens, at one specific area where you can read: - The date - \"average return on investment:\" and a percentage (it's at 0%) - A revenue figure. (it's at 0.00$)<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Market... is... opened.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWERS FROM KANSAS TO NEW JERSEY - DAY<\/stage_direction>\n    <character>MONTAGE SEQUENCE:<\/character>\n    <dialogue>ALL ACCROSS THE COUNTRY, in total silence, WE CUT FROM ONE CELL TOWER TO THE NEXT, five towers in all, located mostly amongst hills and valleys: it's Linda's new cell tower line.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAULSTON FLOOR\/HIGH FREQUENCY TRADING ROOM - DAY<\/stage_direction>\n    <character>ON THE COMPUTER STATION SCREEN:<\/character>\n    <dialogue>The numbers at the bottom start moving. In a matter of seconds, \"average return on investment\" rises by the second, from 0% to 5%, 10%, 20%, 50%, 80%, 100%, 120% and still rising!<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>Holy shit it's working. We're the fastest.<\/dialogue>\n    <scene_description>The revenue figure also rises by the second: from 0.00 to 100 000.00 to 500 000.00 in a matter of seconds.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>We just made five hundred thousand dollars in thirty seconds... Five fifty...<\/dialogue>\n    <character>HFT TRADER 1<\/character>\n    <dialogue>It's working... IT'S FUCKING WORKING!!<\/dialogue>\n    <character>HFT TRADER 5<\/character>\n    <dialogue>WE'RE PRINTING MONEY BABY!!!<\/dialogue>\n    <character>MANY TRADERS<\/character>\n    <dialogue>YEAHHHH!!!<\/dialogue>\n    <scene_description>THE WHOLE FLOOR GOES BONKERS, SCREAMING INSANITIES, JUMPING. Linda keeps her cool, eyes on the numbers that keep going up.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>This is insane...<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I know, right?<\/dialogue>\n    <scene_description>Something darker shows up on Linda's eyes... As if \"this is insane\", but not in a good way.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <parenthetical>(dark)<\/parenthetical>\n    <dialogue>It's really insane. Insanity.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Are you all'right Linda?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTON'S SUITE - DAY<\/stage_direction>\n    <scene_description>Anton is sitting at his hotel suite dining table, being interrogated.<\/scene_description>\n    <character>AGENT SANTANA<\/character>\n    <dialogue>I'll ask you again Anton... What was this code doing in your computer?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>It's just some code... Even you could write it. Your daughter could write it.<\/dialogue>\n    <scene_description>Long beat.<\/scene_description>\n    <character>AGENT SANTANA<\/character>\n    <dialogue>How do you know I have a daughter?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>\"Daughter\", \"Son\", I just used it as an example.<\/dialogue>\n    <character>AGENT SANTANA<\/character>\n    <dialogue>Don't use my personal life as an example, all right? 'Makes me edgy. Just stick to the codes. Why were they on your computer?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Any programmer has lines like this in his computer! It's like... A Spanish 101 class. These are the \"Hi, my name is 'x', how do you do? I'm fine thanks, how are you?\" lessons. There's nothing special about them.<\/dialogue>\n    <character>AGENT SANTANA<\/character>\n    <dialogue>It's not what your previous employer says. She says...<\/dialogue>\n    <scene_description>He grabs a file, flips through the papers, reads from a report:<\/scene_description>\n    <character>AGENT SANTANA<\/character>\n    <dialogue>\"...these lines of code shorten the transaction time by 2 microseconds. Giving access to this proprietary code gives an unfair advantage to other parties. Using them outside of the employee's duties is a serious breach of contract that puts this firm in financial jeopardy. Considering the billions of dollars involved, the previous employee,\" - that's you, \"...the previous employee should be persecuted under the criminal code, in as his actions threaten this country's economic stability and therefore should be considered a threat to National Security.\"<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Agent Santana, do you write code? Do you know how to read code?<\/dialogue>\n    <character>AGENT SANTANA<\/character>\n    <dialogue>I can't say I do, no.<\/dialogue>\n    <scene_description>Anton sighs.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>These lines of code are generic, and they do not threaten National Security. These guys just want to make sure I don't go work for somebody else. It's their way of scaring anybody who would think about leaving the firm. They're abusing me, they're abusing you.<\/dialogue>\n    <character>AGENT SANTANA<\/character>\n    <dialogue>As I said, I can't read code.<\/dialogue>\n    <character>ANTON<\/character>\n    <parenthetical>(cocky)<\/parenthetical>\n    <dialogue>So why are you here, interrogating me?<\/dialogue>\n    <scene_description>Ouch. Bad strategy.<\/scene_description>\n    <character>AGENT SANTANA<\/character>\n    <dialogue>It's not about the code, Mister Anton. It's the principle of you carrying important, copyrighted information outside of work, and putting National Security at risk by doing so.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>But basically, this code just says something like \"if A is blue, put it in box B. If A is red, put it in box C.\" That's all!<\/dialogue>\n    <scene_description>As proof, Anton shows the printed excerpt of code to Agent Santana... who doesn't have a clue what this code means.<\/scene_description>\n    <character>AGENT SANTANA<\/character>\n    <dialogue>It's the principle. The principle.<\/dialogue>\n    <character>ANTON<\/character>\n    <parenthetical>(exasperated)<\/parenthetical>\n    <dialogue>I'm sorry Agent Santana, but I don't see any use in talking to you anymore. You do not have the competence to understand the details of this. I hope you're not offended, but I will stop talking.<\/dialogue>\n    <scene_description>Long, dumbfounded beat by Santana.<\/scene_description>\n    <character>AGENT SANTANA<\/character>\n    <dialogue>Oh no Einstein. I'm not offended at all. I'm so not offended, you can't imagine how unoffended I am.<\/dialogue>\n    <parenthetical>(he points at himself)<\/parenthetical>\n    <dialogue>Look at this, look at this. You see this? That's the pure, unadulterated image of unoffendedness. See?<\/dialogue>\n    <scene_description>He shows an unoffended face... Kind of.<\/scene_description>\n    <character>AGENT SANTANA<\/character>\n    <dialogue>\"Unoffended Santana\": That's what you're staring at.<\/dialogue>\n    <character>ANTON<\/character>\n    <parenthetical>(dismissive)<\/parenthetical>\n    <dialogue>Agent Santana, could I get my phone call? I have the right to a phone call right?<\/dialogue>\n    <character>AGENT SANTANA<\/character>\n    <dialogue>Yeah you got a call. As a matter of fact, after they get you settled in I'll give you five minutes to do all the calls you want, Mister Davinci Code.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. VINCENT MOBILE HEADQUARTERS\/APPALACHIAN BASE - DAY<\/stage_direction>\n    <scene_description>AN OLDER MAN in an unusual attire steps out of a van, accompanied by his son: it's the Amish Elder; some good samaritan drove him here (religion prevents them from driving cars). He rushes towards the mobile headquarters. INSIDE, in the office, Vincent is singing some paperwork at the front desk. The Amish Elder barges in, walks towards Vincent, hurt, far away from the Amish community.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>What are you doing here? How did you find me?<\/dialogue>\n    <character>AMISH ELDER<\/character>\n    <parenthetical>(authoritative)<\/parenthetical>\n    <dialogue>We have our ways. We have a community.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>AMISH ELDER<\/character>\n    <dialogue>Please do not pursue what you're doing under our land. It's unholy. If not for us, for your own sake.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>I can't do that.<\/dialogue>\n    <character>AMISH ELDER<\/character>\n    <dialogue>Vincent... Listen to me... That line, in the face of God, it's useless. Follow the line inside of you, the line of your heart... The line inside that tells you what's right and what's wrong. And this is wrong. Your own conscience will punish you for this. It will turn against you.<\/dialogue>\n    <scene_description>Vincent still looks at the wall, unable to look at the elder in the eye.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>I have to finish it. I'm sorry.<\/dialogue>\n    <scene_description>The man leaves, hurt...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON\/PUBLIC PHONE - DAY<\/stage_direction>\n    <scene_description>Anton, now dressed in a prisoner's attire, is on a public phone, looking over his shoulder, distressed, scared... He dials a number...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONSTRUCTION SITE PORTABLE TOILET - DAY<\/stage_direction>\n    <scene_description>Vincent, in his suit, still affected by his meeting with the elder, is at the urinals of the mobile toilet, his stomach is killing him. HIS URINE IS STAINED WITH BLOOD.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Ah Jesus... Not now... Please... Fuck...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VINCENT MOBILE HEADQUARTERS\/APPALACHIAN BASE - DAY<\/stage_direction>\n    <scene_description>Vincent walks out of the blue portable bathroom, heads back towards his mobile office. His phone rings.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>ANTON<\/character>\n    <parenthetical>(o.s.)<\/parenthetical>\n    <dialogue>Vinnie? It's me.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Where are you?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Huh... I'm in jail.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>What???<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON\/PUBLIC PHONE - DAY<\/stage_direction>\n    <character>ANTON<\/character>\n    <dialogue>The FBI threw me on the ground and handcuffed me. They say I could be in here for 10 years.<\/dialogue>\n    <parenthetical>(trembling voice)<\/parenthetical>\n    <dialogue>You said I had nothing to worry about Vinnie... Why did they do this?<\/dialogue>\n    <scene_description>FROM HERE WE CUT BACK AND FORTH BETWEEN VINCENT AND ANTON Anger and concern grows on Vincent's face.<\/scene_description>\n    <character>VINCENT<\/character>\n    <parenthetical>(trembling)<\/parenthetical>\n    <dialogue>These motherfuckers... I'm gonna fucking kill them... Let me talk to the guy in charge...<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>I'm in jail Vinnie...<\/dialogue>\n    <scene_description>Vincent can't say a word, he's too angry.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>I wanna hurt them... I really wanna hurt them Vinnie.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>You don't do anything and you don't say anything, okay? It's my fault, I'm gonna take care of it. You hang in there and I'm gonna get you out, okay? And I swear to you once you're out they're gonna pay for this, I'm really gonna hurt them. You don't tell them anything else until the lawyers get there, you hear me?<\/dialogue>\n    <scene_description>No answer.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>You hear me Anton??<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>I gotta go. I got things to take care of.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Anton... What are you gonna do Anton? Anton!?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON\/PUBLIC PHONE - DAY<\/stage_direction>\n    <scene_description>Clic. Anton hangs up, distraught but determined.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VINCENT MOBILE HEADQUARTERS\/APPALACHIAN BASE - DAY<\/stage_direction>\n    <scene_description>Vincent blasts inside, panicked, mad. His crew is busy, Mark is on the phone, Amy is working on piles of paperwork.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>AMY!<\/dialogue>\n    <scene_description>Amy turns, concerned.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>The FBI's on Anton... He's in jail.<\/dialogue>\n    <character>AMY<\/character>\n    <dialogue>What? In jail? Why???<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>I don't know... I need you to get our lawyers on this NOW! You send them over there right away.<\/dialogue>\n    <scene_description>Mark senses it's not the right moment, but he goes to Vincent...<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Vinnie... We got another problem.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>You handle it I gotta go.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Ray says it's a big one. He says we should get to the cliff. Now.<\/dialogue>\n    <scene_description>Vincent takes a deep breath, overwhelmed by all that's happening.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Okay... Okay... Amy you call the lawyers. I'll be back in about two hours and we're going to get Anton out. Be ready to leave.<\/dialogue>\n    <character>AMY<\/character>\n    <dialogue>Okay...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SMALL ROAD LEADING TO THE APPALACHIANS\/WILD PARKING - DAY<\/stage_direction>\n    <scene_description>Vincent, still in his suit, and Mark are riding alone on the small road leading towards the majestic APPALACHIAN MOUNTAINS, pale, cold sweats beading on his forehead. There is a big arrow pointing towards the top of the mountains, and: \"Look up: tower Round-trip Kansas to New York: 11 milliseconds<\/scene_description>\n    <character>THAT'S FOUR MILLISECONDS FASTER THAN YOU<\/character>\n    <dialogue>Love, Linda\"<\/dialogue>\n    <scene_description>And then, at the very bottom, a lipstick kiss.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>What is this...<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Somebody put it there.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Who??<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I don't know it was already there when I got here.<\/dialogue>\n    <scene_description>Ray hands a pair of small binoculars to Vincent, points toward the top of the mountains.<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>See the little white line?<\/dialogue>\n    <scene_description>Vincent looks up with the binoculars, SEES LINDA'S NEW MICROWAVE TOWER.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>What the fuck...<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Looks like a microwave tower... And it looks like they're four milliseconds faster than us.<\/dialogue>\n    <scene_description>Vincent, pale and hurting, paces around, panicked.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Bring me up there. Now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MUDDY TRAIL UP THE APPALACHIAN MOUNTAINS - DAY<\/stage_direction>\n    <scene_description>Pale Vincent is on the passenger seat of a GMC pickup driven by Mark.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>We gotta get you to a doctor Vinnie, you don't look too good.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>I'm fine. Just bring me to that tower.<\/dialogue>\n    <scene_description>The GMC pickup struggles to go through a muddier passage. Mark is pretty agile with the vehicle, but the wheels are getting deep in it... The pickup stops... Mark steps on it, VRRRRRR... It's not moving, not by an inch.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Fuck...<\/dialogue>\n    <scene_description>He gets out, lands on the mud, his feet sink all the way to the middle of his calves. The wheels are sunken in mud all the way to the axle... Not good.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>FUCK!<\/dialogue>\n    <scene_description>He grabs his cell phone to call for help: no reception. He considers his options...<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>(to Vincent)<\/parenthetical>\n    <dialogue>We gotta go back.<\/dialogue>\n    <scene_description>Vincent jumps off the pickup, dizzy like a drunk - not feeling any better.<\/scene_description>\n    <character>VINCENT<\/character>\n    <parenthetical>(dizzy)<\/parenthetical>\n    <dialogue>No way. Get me. The fuck. Up there.<\/dialogue>\n    <scene_description>101A He starts walking up the trail. Mark sighs, follows him. 101A<\/scene_description>\n    <character>VINCENT<\/character>\n    <parenthetical>(as he walks)<\/parenthetical>\n    <dialogue>Bring your chainsaw.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Why???<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Just bring it.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Vinnie, I don't feel good about this...<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>GO GET YOUR CHAINSAW!!! I'm stuffing your mattress with money so just go and get your chainsaw!!!<\/dialogue>\n    <scene_description>Long beat. Mark's still not sure he should do it.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Please. I'm not gonna hurt anybody, I just want the chainsaw...<\/dialogue>\n    <parenthetical>(pointing at the tower)<\/parenthetical>\n    <dialogue>He's there Mark... Right there...<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Goliath. We have to bring him down Mark... I'm not gonna hurt anybody I swear...<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I can't do that I'm sorry.<\/dialogue>\n    <scene_description>And so Vincent goes in the back of the pickup and grabs a dirty chainsaw. He starts walking up a steep hill in the dense forest, towards the tower.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Come on Vinnie man... Don't do this!<\/dialogue>\n    <scene_description>Vincent struggles to climb the hill, sometimes on hands and knees, pulling the chainsaw with him as best he can. He's pale, breathless, dillusional, talking to himself... Mark follows him, can't believe what's happening.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>I'm gonna tear you the fuck down... I'm gonna tear you.. the fuck... down... I'm gonna tear you.. the fuck...<\/dialogue>\n    <scene_description>We see it clearly through the trees now: the finished tower. Vincent's heart is pumping, the adrenalin in him gives him extra strength.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Oh yeah... I'm gonna...<\/dialogue>\n    <scene_description>BUT THEN, HIS BODY FAILS HIM: HE COLLAPSES IN THE FOREST.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>VINCENT! WAKE UP!<\/dialogue>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>Motherfucker...<\/dialogue>\n    <scene_description>Mark checks if he's now getting some kind of signal on his phone: he is. He makes a call.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Vincent is down, we gotta get him to a hospital...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I... I don't know what's wrong with him. We're at a microwave tower about forty degrees North of our site. Can you figure out a way to locate us?<\/dialogue>\n    <scene_description>Mark struggles to bring Vincent back down to the truck...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRYAN TAYLOR'S NYC OFFICE - DAY<\/stage_direction>\n    <scene_description>Bryan is at his laptop, Mr. Simon barges in, completely distraught.<\/scene_description>\n    <character>MR SIMON<\/character>\n    <dialogue>Bryan!!! They're cancelling their contracts for the line! Or stock is falling we already lost forty percent!<\/dialogue>\n    <character>BRYAN TAYLOR<\/character>\n    <dialogue>WHAT!? WHAT THE FUCK IS HAPPENING??<\/dialogue>\n    <character>MR SIMON<\/character>\n    <dialogue>I don't know! Everybody's cancelling their connection on our line!<\/dialogue>\n    <character>INT. PRISON\/PUBLIC PHONE - DAY<\/character>\n    <dialogue>At the inmate public phones, ANTON DIALS A NUMBER.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAULSTON FLOOR\/HIGH FREQUENCY TRADING ROOM - DAY<\/stage_direction>\n    <scene_description>We are facing the wall of rackmounted servers inside the Linda Raulston lab. We hear a very faint cell phone vibration that is coming from one of the various metal boxes installed all over the rackmounts - THIS SPECIFIC METAL BOX IS ANTON'S SLOW-DOWN BOX, the one he installed by himself a while ago, the one he built in the middle of the night in his appartment. We get closer to the box, and then we go -- INSIDE THE METAL BOX, Where the hidden cell phone lights up, which activates the circuitry board to which it is connected to - THIS IS WHAT ANTON'S CALL FROM PRISON IS ALL ABOUT.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON\/PUBLIC PHONE - DAY<\/stage_direction>\n    <scene_description>Anton hears a beep, he dials \"1\", hopes for the best...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INSIDE THE METAL BOX - DAY<\/stage_direction>\n    <scene_description>The phone is still on, and a little LED light inside the box turns green - THE DEVICE IS NOW ACTIVATED.<\/scene_description>\n    <character>INT. RAULSTON FLOOR\/HIGH FREQUENCY TRADING ROOM - DAY<\/character>\n    <dialogue>In a matter of seconds, all over the computer stations, curves drop dangerously down, get into their yellow warning zones, closer to their red zones. ALL HIGH FREQUENCY TRADERS looking at their screens look up, freak out.<\/dialogue>\n    <character>HF TRADER 1<\/character>\n    <dialogue>Wow wow wow... What the fuck...<\/dialogue>\n    <character>HF TRADER 5<\/character>\n    <dialogue>What's happening???<\/dialogue>\n    <character>HF TRADER 1<\/character>\n    <dialogue>PUT YOUR TRESHOLDS TO SIX POINT TWO!<\/dialogue>\n    <character>HF TRADER 3<\/character>\n    <dialogue>We're losing crazy speeds... Something's wrong.<\/dialogue>\n    <scene_description>Quant 3 studies data off a screen...<\/scene_description>\n    <character>HF TRADER 3<\/character>\n    <dialogue>I'm... Almost twenty milliseconds down!<\/dialogue>\n    <character>HF TRADER 5<\/character>\n    <dialogue>Me too!<\/dialogue>\n    <character>HF TRADER 6<\/character>\n    <dialogue>We're all twenty milliseconds down!<\/dialogue>\n    <character>HF TRADER 5<\/character>\n    <parenthetical>(towards the back of the room)<\/parenthetical>\n    <character>JENNY!! WE'RE DOWN TWENTY MILLISECONDS!<\/character>\n    <dialogue>WE'RE LOSING MILLIONS!<\/dialogue>\n    <scene_description>Jenny rushes out of her secluded lab, freaked out.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>What?? What are you talking about?<\/dialogue>\n    <character>HF TRADER 5<\/character>\n    <dialogue>The whole network is twenty milliseconds down! What's happening???<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I don't know!... What did you do right before it happened??<\/dialogue>\n    <character>HF TRADER 3<\/character>\n    <dialogue>We were just riding our curves and all of a sudden we dropped by twenty!<\/dialogue>\n    <character>HF TRADER 2<\/character>\n    <dialogue>We're losing vicious amounts of money here...<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>EVERYONE PUT YOUR TARGET LEVELS TO ZERO!<\/dialogue>\n    <character>DUMP YOUR STOCKS!<\/character>\n    <dialogue>All the quants go to input lines on their interfaces and hurry to type zero. Jenny goes to one of the computer stations, frantically types and checks statistics from the system.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>What's going on??...<\/dialogue>\n    <character>HF TRADER 1<\/character>\n    <dialogue>IT'S THE FUCKING APOCALYPSE!<\/dialogue>\n    <scene_description>EXTREME SLOW MOTION as we move across panicked High Frequency Traders looking at their screens, on which ALL SINE WAVES are getting closer and closer to the red zones. All these scared faces looking at their screens like at God's anger, It's like a religious Gothic tableau straight out of the 18th century. As panic sets in we get another glimpse of Anton's inconspicuous little metal box hooked up to the servers, his SLOW-DOWN box: the culprit. SMASH CUT TO:<\/scene_description>\n    <character>INT. LINDA RAULSTON'S OFFICE - DAY<\/character>\n    <dialogue>Linda walks in the office. Jenny, one of the quants, has been waiting for her. She's completely panicked.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Linda, we have a problem. Our line is twenty milliseconds slow.<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <parenthetical>(ballistic)<\/parenthetical>\n    <dialogue>What do you mean, it's \"twenty seconds slow\"?? The whole system is congested or...<\/dialogue>\n    <character>JENNY<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>It's a perfect, constant, twenty millisecond delay. It's not arbitrary. It's a sharp chunk.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Somebody rigged our network.<\/dialogue>\n    <scene_description>Linda takes it in, thinks for about three seconds, and then it hits her: she knows who did this. SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMBULANCE - DAY<\/stage_direction>\n    <scene_description>Vincent is in an ambulance with Mark, slowly regaining consciousness. He opens his eyes, confused, and then he discovers he's strapped to a stretcher, unable to move... He freaks out!<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Don't move... we're taking you to the hospital.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>GET THESE STRAPS OFF OF ME! I'M FINE!<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>We're taking you to the hospital, it's all right! Calm down!<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Where's my phone...<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I got your phone, don't worry. Just calm down.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Give it to me.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Now?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Gimme the phone, Mark.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Why??<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Just gimme the phone.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Vinnie you just need to relax, take it easy...<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>GIVE IT TO ME!!! NOW!!!<\/dialogue>\n    <scene_description>Mark, annoyed, looks around for Vincent's phone in his pockets, hands it to Vincent.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Unstrap my arm. Please.<\/dialogue>\n    <scene_description>Mark ponders, then unstraps the arm. Vincent grabs his phone, looks for a phone number in his contacts. He looks and looks...<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Who do you gotta call that's so urgent?<\/dialogue>\n    <scene_description>Vincent finds the right contact, dials.<\/scene_description>\n    <character>DIDIER GERBACH RECEPTIONIST<\/character>\n    <dialogue>Willkommen in der Klapp Gruppe, wie kann ich Ihnen helfen?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Yeah, do you speak English?<\/dialogue>\n    <character>DIDIER GERBACH RECEPTIONIST<\/character>\n    <dialogue>Yes of course, how can I help you?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Could I speak to Didier Gersbach please? My name is Vincent Zalesky, it's urgent.<\/dialogue>\n    <character>DIDIER GERBACH RECEPTIONIST<\/character>\n    <dialogue>Please hold.<\/dialogue>\n    <scene_description>Vincent gets another cramp... He struggles not to make any grunts.<\/scene_description>\n    <character>VOICE ON THE OTHER END<\/character>\n    <dialogue>Mr. Gerbash is in a meeting, he will be available in approximately 5 minutes, do you wish to hold?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Huh... Yeah I'll hold.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Vinnie... Put the phone down.<\/dialogue>\n    <character>VINCENT<\/character>\n    <parenthetical>(to Mark)<\/parenthetical>\n    <dialogue>I'm holding.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. HOSPITAL EMERGENCY ENTRANCE AND CORRIDOR - DAY<\/stage_direction>\n    <scene_description>Two nurses rush to the ambulance, Vincent gets pulled out of the helicopter, still holding his phone, with an I.V. in his arm. They talk as they move the stretcher at a fast pace.<\/scene_description>\n    <character>NURSE<\/character>\n    <dialogue>Sir give me your phone.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>I just need 5 minutes.<\/dialogue>\n    <character>NURSE<\/character>\n    <dialogue>Give us your phone Sir.<\/dialogue>\n    <scene_description>Vincent hands it to Mark.<\/scene_description>\n    <character>VINCENT<\/character>\n    <parenthetical>(to Mark)<\/parenthetical>\n    <dialogue>Put it on speakerphone.<\/dialogue>\n    <scene_description>Mark sighs, grabs the phone and figures out how to put it on speakerphone as Vincent gets pulled inside on a stretcher. The whole mechanics of Vincent on a stretcher pulled by two nurses, and Mark holding the phone next to them, is inefficient and clunky.<\/scene_description>\n    <character>DIDIER GERBASH<\/character>\n    <parenthetical>(from phone)<\/parenthetical>\n    <dialogue>Hello, Mr. Zaleski?<\/dialogue>\n    <scene_description>Vincent grabs the phone and turns off speakerphone mode. The annoyed nurses let him off the hook... Probably not for long. Vincent does everything in his power to act and speak normally...<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Hi Mr. Gerbash, how are you?<\/dialogue>\n    <character>DIDIER GERBASH<\/character>\n    <dialogue>I'm fine Mr. Zaleski, I'm sorry I can't hear you well.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Yeah, I'm sorry I'm on my way to a meeting and I had to call you before I close a deal.<\/dialogue>\n    <character>DIDIER GERBASH<\/character>\n    <dialogue>It's all right, we'll speak loudly then. What can I do for you?<\/dialogue>\n    <scene_description>Vincent is pushed through a door, he's now... INSIDE THE EMERGENCY, still pushed at emergency pace.<\/scene_description>\n    <character>NURSE 1<\/character>\n    <dialogue>Hang up that phone or I'm taking it.<\/dialogue>\n    <scene_description>Vincent ignores him.<\/scene_description>\n    <character>VINCENT<\/character>\n    <parenthetical>(to the phone)<\/parenthetical>\n    <dialogue>Yeah, huh, I'm about to acquire some real estate and I'm thinking of leveraging it with my shares from Magenta Fiber Tech, so... The bank would give me a better rate if the position of my shares was insured, and then Bryan was thinking it was a great idea, so he said we should cover all our stock the same way.<\/dialogue>\n    <character>DIDIER GERBASH<\/character>\n    <dialogue>What kind of insurance are we talking about?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Huh... A one month put for 50% drop of today's price. Or maybe some kind of derivative on our stock? Something like that.<\/dialogue>\n    <scene_description>Long beat.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>NURSE 1<\/character>\n    <dialogue>Sir, you got 10 seconds to hang up.<\/dialogue>\n    <character>DIDIER GERBASH<\/character>\n    <dialogue>What I think I could do is design a custom \"put\" option for you. I don't see how Magenta can go down 1 month from now. I heard you do Kansas-New York-Kansas in 16 milliseconds??<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>DIDIER GERBASH<\/character>\n    <dialogue>That's amazing.<\/dialogue>\n    <scene_description>Vincent is relieved.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Thank you, thank you that's great.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>What will be the rate on an insurance like this?<\/dialogue>\n    <character>DIDIER GERBASH<\/character>\n    <dialogue>Well I still need to have a look at it, but it should be something like 2 or 3 cents on a dollar.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>That's great. Lets \"put\" our entire stock then.<\/dialogue>\n    <character>NURSE 1<\/character>\n    <dialogue>That's enough now.<\/dialogue>\n    <scene_description>The nurse reaches for the phone, Vincent fights back to keep it, they struggle as he talks.<\/scene_description>\n    <character>DIDIER GERBASH<\/character>\n    <dialogue>Mr. Zaleski? Are you there?<\/dialogue>\n    <character>VINCENT<\/character>\n    <parenthetical>(while struggling with nurse)<\/parenthetical>\n    <dialogue>Yeah, yeah I'm here. All right... I have to go to my meeting, I'll call you in two or three hours so we can close the deal. Send the paperwork to my office all right? I'd like to have this done by the end of the day.<\/dialogue>\n    <character>DIDIER GERBASH<\/character>\n    <dialogue>I'll do my best.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Sorry, I'm losing the signal...<\/dialogue>\n    <scene_description>The nurse grabs the phone and closes it.<\/scene_description>\n    <character>NURSE 1<\/character>\n    <dialogue>That's enough. We need to get you to the Gastroenterologist.<\/dialogue>\n    <scene_description>Vincent is relieved on the financial side, but the pains from his stomach come back two fold.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>You know what I just did?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Tell me later Vincent...<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>I just made a deal where if the company goes down, an insurance pays us shitloads of money and we become rich.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>All right, that's good Vinnie. Keep quiet now you need to rest.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>...I invest three cents for a dollar in case our company fails, and when it fails, because I know it will, we make a dollar off of each of those three cents. You know what return that represents?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>A lot?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>It's a two thousand, three hundred percent return. For betting on my own failure. And I know I'm gonna fail. Guaranteed.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>How can you do that?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Easy... It's easy... Everybody does it. The whole stock market is rigged that way.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Good for you Vincent. Not for the rest of us, but good for you.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Lets get you healthy again so you can enjoy it.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>There's something really important you need to do.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>What's that Vinnie?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>You have to go get Anton out of jail. We gotta get him out. I don't care how much it costs...<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Yeah Vinnie. For sure. And I'm gonna finish the line, you don't worry about a thing all right? I'm taking care of it you just get back on your feet.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>You swear?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I swear, yeah.<\/dialogue>\n    <scene_description>A doctor and two nurses arrive running, they hurry to plug things in Vincent's body while he is still being pushed through the corridor, while he's slipping in and out of consciousness...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON VISITING BOOTHS - DAY<\/stage_direction>\n    <scene_description>Anton sits on one side of a reinforced glass window, where his beautiful wife LAETITIA waits for him, on the other side of the glass. Anton is in a bright orange prisoner uniform. He picks up the phone.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>LAETITIA<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I thought it's better if the girls don't see you here.<\/dialogue>\n    <scene_description>He nods.<\/scene_description>\n    <character>LAETITIA<\/character>\n    <dialogue>What did you do Anton?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>I didn't do nothing illegal.<\/dialogue>\n    <character>LAETITIA<\/character>\n    <dialogue>You're saying that and it sounds like you're guilty of something.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>I'm not.<\/dialogue>\n    <scene_description>No reply. Tears come to Laetitia's eyes.<\/scene_description>\n    <character>LAETITIA<\/character>\n    <dialogue>Why are they doing this if you didn't do anything? How can that be?? How long is it gonna last? Are they gonna let you out?<\/dialogue>\n    <character>ANTON<\/character>\n    <parenthetical>(restless)<\/parenthetical>\n    <dialogue>I don't know, I really don't...<\/dialogue>\n    <character>LAETITIA<\/character>\n    <dialogue>This job's hurting you... You need to get out of it. Use your amazing brain for<\/dialogue>\n    <scene_description>something that makes you feel good about yourself.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>I can't let Vinnie down. He's been there for me all my life.<\/dialogue>\n    <character>LAETITIA<\/character>\n    <dialogue>What about us Anton? You have to be there for us too.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>I'm sorry baby... I'm so sorry...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON VISITING BOOTHS - DAY<\/stage_direction>\n    <scene_description>Same booth. Probably a couple of days later. Linda Raulston is facing Anton, separated by the reinforced glass window.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>Hi Anton.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>You're late.<\/dialogue>\n    <scene_description>No answer.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>Twenty milliseconds late.<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>Funny.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>That's a smart move.<\/dialogue>\n    <scene_description>Anton just stares at the table in front of him.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>Could be worse Linda, really worse. Right now all I did is slow your line down by twenty milliseconds. You're probably not making any money, but you're probably close to breaking even.<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>Don't fuck with me Anton. Gimme back my milliseconds.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>...But I can also slow it down by eighty milliseconds.<\/dialogue>\n    <scene_description>Dumbfounded look on Raulston.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>Eighty milliseconds is pretty late in the game. I figure you'll lose about five or ten million dollars a day. It's just a phone call away.<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>What do you want.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>You drop the charges. You sign a release absolving me of any wrong doing past present or future. You stay away from me and Vincent.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And you confess.<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>\"Confess\"??<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Confess.<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>To what? I'm not breaking the law. You are.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>There are other laws. Unwritten laws.<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>You're insane.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>You're a sociopath.<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>Gimme back my twenty milliseconds first.<\/dialogue>\n    <scene_description>Long beat. Linda lets out a weird laugh.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>Tell me, what do you think is the biggest lie humans ever invented?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>God?<\/dialogue>\n    <scene_description>Linda smiles at this...<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>Pretty close. Money. The biggest lie in history. Trillions of little green contracts of indentured servitude. One. Big. Fiction.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>If we're in a big fiction, then what about the farmer growing tomatoes in Guatemala? What's his role?<\/dialogue>\n    <scene_description>She reflects on this...<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>Maybe he's the narrator, the omniscient mind, he's the one watching from outside, telling himself: \"these people, these animals, they really don't have a clue how much their whole life is a fake.\"<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>So... you want to hear my \"confession\". Are you ready for it?<\/dialogue>\n    <scene_description>He nods.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>I guess you could say I am The closest thing to what \"Evil\" is. Or at least... the empirical description of it.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Not this monster on the other side of the wall, no... I'm the Evil that surrenders its sense of decency for comfort and greed. I'm that Evil that slowly lets go of her ideals and lets the numbness of consumerism come in, eat away at my principles. But you're not that far away from me Anton, we're all part of this. You're just one circle away from mine. Happy? Satisfied?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Do you have that release with you?<\/dialogue>\n    <scene_description>Anton takes four pieces of paper out of his pocket, unfolds them.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>I wrote it down. In two copies.<\/dialogue>\n    <scene_description>He hands the very simple identical copies of the contract that fits on two pages. Linda reads it, smiles. She takes a pen from her purse, signs both copies, hands them to Anton who signs as well, and at the bottom of Linda's copy he writes a phone number down. He hands the copy back.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>Dial this number. When you hear a beep, dial three. Not two. Very important. You won't like two.<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>That's it? That's how I get my twenty milliseconds?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>That's it.<\/dialogue>\n    <scene_description>Linda dials the number, waits... We hear a faint \"beep\". She dials \"3\", hangs up, and makes another call.<\/scene_description>\n    <character>JENNY<\/character>\n    <parenthetical>(from phone)<\/parenthetical>\n    <dialogue>Linda?<\/dialogue>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>Yeah... Are we back?<\/dialogue>\n    <scene_description>Long beat.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Yeah, we just got back, like... now. How did you do that?<\/dialogue>\n    <scene_description>She hangs up, looks at Anton.<\/scene_description>\n    <character>LINDA RAULSTON<\/character>\n    <dialogue>I'll tell them to drop the charges. You take care Anton. You could have made billions, you know?<\/dialogue>\n    <scene_description>She exits. NONDESCRIPT HOSPITAL SPACE CLOSE on Vincent's face, as a surgeon brings a surgical camera to his mouth... INSIDE VINCENT The camera reveals his intestine, the camera moves deeper and deeper into the abyss... INSIDE A FOUR INCH TUNNEL A monitoring camera moves forward inside a four inch tunnel, it's as if we were still in Vincent's intestines BUT WE ARE IN THE BARE FIBER TUNNEL going from Kansas to New York.<\/scene_description>\n    <character>OUTSIDE, AT A RELAY MANHOLE, RIGHT IN THE MIDDLE OF A SUBURBAN<\/character>\n    <dialogue>NEIGHBORHOOD<\/dialogue>\n    <dialogue>The four inch drill bit pops out of the side wall of a perfectly grinded manhole. Next to the drill bit: Mark puts his thumb up, whistles as a sign to stop drilling. Mark, big smile on his face, dressed for a special occasion - white shirt, black pants and a tie - is on the walkie-talkie and says to stop drilling. TEN WORKERS ARE THERE, excited. CLOSE ON THE DRILL THAT SLOWLY COMES TO A COMPLETE STOP. He unscrews the drill bit, signals to give the tube a couple more turns. The empty tube starts turning again, gets closer and closer to another tube on the opposite wall of the manhole... Everybody on site is holding its breath... The tube gets closer and MAKES CONTACT. The crew screams and yells.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>ONE THOUSAND AND THIRTY FOUR FUCKING MILES<\/dialogue>\n    <character>BABY!<\/character>\n    <dialogue>Mark POPS A CHAMPAGNE BOTTLE, people applaud. Yes, the line is done.<\/dialogue>\n    <scene_description>CROSS FADE:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL EMERGENCY ENTRANCE AND CORRIDOR - DAY<\/stage_direction>\n    <scene_description>Vincent is walking in the hallway pushing his own IV, in a hospital gown, skinnier, tired, pale. He comes face to face with an unexpected visitor: BRYAN TAYLOR is staring straight at him! Long, dumbfounded beat.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Bryan...<\/dialogue>\n    <character>BRYAN TAYLOR<\/character>\n    <dialogue>You're being punished for what you did.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>I tried to bet against us, I really did, I swear. I had the \"put\" option for 3 cents on a dollar, Gerbash was handling it... They took my phone away and then I passed out. When I woke up it was all too late. I...<\/dialogue>\n    <character>BRYAN TAYLOR<\/character>\n    <dialogue>You screwed us and now the whole company's going down.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>I tried to save us... I really did...<\/dialogue>\n    <character>BRYAN TAYLOR<\/character>\n    <dialogue>YOU FUCKED US!!! YOU FUCKING PIECE OF<\/dialogue>\n    <character>SHIT!!!<\/character>\n    <dialogue>Bam. The whole corridor turns towards them. Bryan calms down.<\/dialogue>\n    <character>BRYAN TAYLOR<\/character>\n    <parenthetical>(to the people around)<\/parenthetical>\n    <dialogue>Sorry. I'm fine. I'm fine.<\/dialogue>\n    <scene_description>The people around go back to doing their thing. Long tensed beat.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>It was gonna go down one day or the other. Was all a question of time. Right?<\/dialogue>\n    <character>BRYAN TAYLOR<\/character>\n    <dialogue>Take care Vincent. I hope you die a quick death.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>This is not a death sentence, actually. It's kind of a fifty\/fifty thing. Sixty\/fourty maybe.<\/dialogue>\n    <character>BRYAN TAYLOR<\/character>\n    <dialogue>Oh. I'm sorry to hear that.<\/dialogue>\n    <scene_description>He leaves. SLOW CROSS FADE:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AERIAL VIEWS OF THE APALACHIANS - DAY<\/stage_direction>\n    <scene_description>FROM THE SKY, We travel across the old Appalachians, get a sense of the wide expanse, of the endless mountains. We don't hear the wind in the trees, we hear weird, undefinable sounds that are perhaps what lightwaves and data flowing through optical fiber would sound like...<\/scene_description>\n    <character>MARK (V.O.)<\/character>\n    <dialogue>Okay Vinnie, are you ready?<\/dialogue>\n    <character>VINCENT (V.O.)<\/character>\n    <dialogue>Yeah... Do it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANNA ZALESKI'S APPARTMENT - NIGHT<\/stage_direction>\n    <scene_description>A HAND holds a smartphone on which we see Mark video-conferencing himself via his own smartphone. He's in some kind of bland office. The hand holding the smartphone is Vinnie's hand - he's lying on his mom's sofa - she's taking care of him.<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>(on smartphone screen)<\/parenthetical>\n    <dialogue>Three... two... one...<\/dialogue>\n    <scene_description>He moves his smartphone away from his face, towards a computer screen. He clicks on an icon with \"TEST SIGNAL\", and instantly, next to that icon, a time duration appears: 0.001573 seconds. He swish-pans his phone cam back to his face.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Fifteen point seven milliseconds! HA HA! You did it Vinnie!<\/dialogue>\n    <scene_description>Vincent smiles - his 1000 mile long fiber optic line works at last!<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Yeah... We did it. We're obsolete, but we did it.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Sometimes it's the road that counts Vinnie, not the final destination.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>I don't see how that relates to our particular project, but I'll take your word for it.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Good. You get better now so you can play with your new videogame, all right?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>The most boring videogame, ever.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Signing out. Take care Vinnie.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Thank you Mark. For everything.<\/dialogue>\n    <scene_description>Connection ends. CUT TO: Vincent is asleep, pale. Anton walks into the living room with both his daughters and his wife Laetitia. Vincent slowly opens his eyes, sees the beautiful young family. He smiles, there's relief in his eyes - despite everything, Anton is okay.<\/scene_description>\n    <character>ANTON<\/character>\n    <parenthetical>(to his daughters)<\/parenthetical>\n    <dialogue>Go say hi to Uncle Vinnie...<\/dialogue>\n    <scene_description>They walk to him, try hard to look unaffected by his condition.<\/scene_description>\n    <character>BOTH DAUGHTERS<\/character>\n    <dialogue>Hi Uncle Vinnie...<\/dialogue>\n    <scene_description>They hug him out of love, but you can feel they are put off by the hospital smells, by pale and hairless Vincent, and by the intravenous plugged in his arm. Laetitia kisses Vincent on the forehead.<\/scene_description>\n    <character>LAETITIA<\/character>\n    <dialogue>Hi Vinnie... How are you?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>I'm good. I'm great.<\/dialogue>\n    <character>LAETITIA<\/character>\n    <parenthetical>(to the girls)<\/parenthetical>\n    <dialogue>Hey girls lets go out and let daddy with his cousin all right?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>When I feel better how about we go for ice cream?<\/dialogue>\n    <scene_description>They smile, suddenly out of Vincent's sickness.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>All'right... Triple scoops. No. Quintuple scoops. The tallest ice cream cones in the world. We'll bring popsicle sticks to hold them together...<\/dialogue>\n    <scene_description>Their eyes light up, excited. They exit the living room, leave Vincent and Anton alone. They stand there, looking at each other. Vincent smiles.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>We lost it all. They won't pay.<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Doesn't matter. It's fake money anyways...<\/dialogue>\n    <scene_description>Anton throws a napkin on Vincent's bed - it's filled with mathematical equations.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Some ideas for Neutrino Messaging.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Neutrino messaging?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>We shoot neutrinos that are set up so they carry information - stock market purchase orders for example - right through the Earth's crust. So we don't lose time going around the globe, we shoot right through it with a particle accelerator. The neutrinos travel through rock, through concrete, through anything, and it's not slowed down by Jack shit. It's the fastest way to get to New York. Something like nine milliseconds.<\/dialogue>\n    <scene_description>Vincent just stares at the mathematical equations, perplexed, stunned.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>We'd kick their ass, big time. New York- London. London-Tokyo. We would own Wall Street.<\/dialogue>\n    <scene_description>Vincent just stares at the futile project, smiles gently.<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>I just thought I'd show it to you... Thought you'd like it.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>So what do we do after we own Wall Street?<\/dialogue>\n    <scene_description>Anton ponders for a while, something switches inside, and then he just lets go and says what he would really want to say:<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>Well, I guess we use these resources to optimize the global financial system. Send more resources back to the base units. To the core.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>You mean the farmers and the workers?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>Yes. The core. They're the most important assets. No core no system.<\/dialogue>\n    <scene_description>Vincent looks at Anton with a question mark on his face.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Come here...<\/dialogue>\n    <scene_description>Anton goes to his cousin, leans over him, lets himself fall in his arms.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMISH FARM - DAY<\/stage_direction>\n    <scene_description>Anton and Vincent walk towards the Amish farm, leaving their car behind. Vincent is pale, skinnier. They walk on the path, head to where the Amish community is in the middle of a good old baseball game. \"Spectators\" are sitting on boxes and on the ground. Vincent and Anton watch the match from afar, curious, somewhat dumbfounded. IN THE SMALL CROWD of TEN AMISH SPECTATORS, there is the Amish Elder. Vincent's eyes catch the Amish Elder's eyes. Anger grows in the man's eyes for the first seconds of seeing Vincent, and then, noticing the missing hair, the sickness, the anger slightly dissipates. Vincent walks towards the \"stands\", basically four wooden benches. The Amish spectators turn towards him, so do both baseball teams who stopped playing.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Could I watch the end of the game?<\/dialogue>\n    <scene_description>One of the Amish spectators, saddened by Vincent's chemo side effects, invites them to sit.<\/scene_description>\n    <character>AMISH SPECTATOR 1<\/character>\n    <dialogue>Please.<\/dialogue>\n    <scene_description>They sit, watch... ON THE FIELD, the pitcher goes back to the game, he throws... the batter bats... CLAC! He runs, the small audience cheers, and then there's a long WHISTLE. Game over. The winning team and the loosing team shake each other's hands, happy, it's not about winning or losing. People leave the stands, except for the Elder, Anton and Vincent who stay on the benches, by themselves. About ten feet separate the Elder and the cousins. They mostly stare at the horizon. The Elder sighs, perhaps trying to breathe the anger out.<\/scene_description>\n    <character>AMISH ELDER<\/character>\n    <dialogue>You have cancer?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Yeah... I got cancer.<\/dialogue>\n    <character>AMISH ELDER<\/character>\n    <dialogue>Why did you come back here?<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>We just wanted to tell you that last week I took out the portion of the tunnel that's under you. So don't worry about the world going faster and faster under your feet, it's outta there.<\/dialogue>\n    <scene_description>They stay there, silent, for a long time. Vincent puts his hand in the dry earth, lets the soil seep through his fingers... He keeps doing that, lost in thought. The Amish man turns towards him.<\/scene_description>\n    <character>AMISH ELDER<\/character>\n    <dialogue>Come with me. Both of you.<\/dialogue>\n    <scene_description>They walk all the way to a nearby field, Anton follows...<\/scene_description>\n    <character>AMISH ELDER<\/character>\n    <dialogue>I think you should help us. Help us with this garden. I feel it's what you need to do.<\/dialogue>\n    <character>VINCENT<\/character>\n    <parenthetical>(surprised)<\/parenthetical>\n    <dialogue>Really?<\/dialogue>\n    <character>AMISH ELDER<\/character>\n    <dialogue>Really.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>All right... How do I help you with this garden?<\/dialogue>\n    <character>AMISH ELDER<\/character>\n    <dialogue>Take off your shoes, it'll make you feel better. You should feel the dirt on your feet. Connect with the things around you.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>All right...<\/dialogue>\n    <scene_description>He takes off his shoes, his socks, walks on the field.<\/scene_description>\n    <character>AMISH ELDER<\/character>\n    <parenthetical>(to Anton)<\/parenthetical>\n    <dialogue>You too. Try it.<\/dialogue>\n    <scene_description>Anton complies. The Elder leads the cousins to two shovels next to the dirt. The Amish Elder grabs two shovels, hands them to the two cousins.<\/scene_description>\n    <character>AMISH ELDER<\/character>\n    <dialogue>You continue digging this trench here, all the way to the other lot, down there. Same width, same depth.<\/dialogue>\n    <scene_description>Vincent stays there, pondering...<\/scene_description>\n    <character>AMISH ELDER<\/character>\n    <dialogue>Trust me.<\/dialogue>\n    <scene_description>Vincent grabs the shovel stares at the earth, starts digging... Anton does the same. MONTAGE SEQUENCE: Vincent digs the trench, sweat beads off his brow, Anton does the same, but he mostly keeps an eye on his recovering cousin. The day passes, it's now the end of the afternoon. END OF SEQUENCE Vincent stops for a second, out of breath, exhausted.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>I think I'm done for today...<\/dialogue>\n    <scene_description>CUT TO: Vincent drinks water from a glass, he pulls his head back until water drips down his cheeks, and in that sweeping motion he decides TO POUR THE WATER on his face and burgeoning hair, like a purification ritual. It feels immensely good. CUT TO: The two cousins are leaning on a fence, resting, absorbed in thought.<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>Sometimes I wonder... if all the time that was given to me was only like... sixteen milliseconds, and I had no past memory, nothing carved in my mind before those sixteen milliseconds, that if all that was left imprinted in my brain were only the images and smells and feelings of those sixteen milliseconds... How do you think I would experience that?<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>I don't know...<\/dialogue>\n    <scene_description>MONTAGE SEQUENCE OVER VINCENT'S VOICE: We travel across all the building sites that Vincent has supervised in the last months, and at every site, we see something eerie and magical that lasts only sixteen small milliseconds. A piece of earth dislodged by a drill and floating in the air. The wings of insects as men cut trees down. The flap of the Sikorsky helicopter blades slowed down to a halt, the explosion in the Appalachian provincial park, and many more magical moments seized in time.<\/scene_description>\n    <character>ANTON<\/character>\n    <parenthetical>(V.O. over the 16 millisecond images)<\/parenthetical>\n    <dialogue>I think... maybe your mind would find a lifetime of experiences in that small amount of time. I think your conscience would somehow decompress all those small grains of time, those tiny moments, and turn them into monumental life changing events... Cascades of energy, and bursts of colors, fountains of emotion... I think maybe your life would feel exactly as long<\/dialogue>\n    <dialogue>as someone who lived for 100 years. But it would have lasted only sixteen milliseconds.<\/dialogue>\n    <scene_description>BACK TO THE AMISH FARM We discover the Amish Elder standing by their side: they didn't notice his arrival.<\/scene_description>\n    <character>AMISH ELDER<\/character>\n    <dialogue>Would you like to do an experiment on the passage of time?<\/dialogue>\n    <scene_description>They turn towards him, curious.<\/scene_description>\n    <character>AMISH ELDER<\/character>\n    <dialogue>Just sit here and watch the sunset.<\/dialogue>\n    <scene_description>He sits on the grass, they watch the sunset... Multitask Vincent feels the seconds go by...<\/scene_description>\n    <character>VINCENT<\/character>\n    <dialogue>So... you're born here?<\/dialogue>\n    <character>AMISH<\/character>\n    <dialogue>Lets not talk until it's completely dark, okay? We just watch the sun go down, and let time go by.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>If the silence makes you nervous, just take a deep breath and listen to the wind.<\/dialogue>\n    <character>VINCENT<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>4000 milliseconds (four seconds) go by. Vincent takes a deep breath... FADE TO BLACK:<\/scene_description>\n    <character>THE END<\/character>\n  <\/scene>\n<\/script>","summary":"Stockbroker Vincent Zaleski pitches Bryan Taylor on investing in a fiberoptic cable from Kansas electronic exchange to the New York Stock Exchange in order to more quickly execute (it likely isn't front running so long as it is public information more quickly) orders in a new high-frequency trading (HFT) operation. Taylor buys into the idea. Meanwhile, Vincent and his cousin Anton Zaleski are still employed by Eva Torres, where Anton programs trading software. Eva is also working on several ideas for HFT. Soon enough, Anton and Vincent quit, infuriating Eva. She insists that any code Anton created for her firm belongs to it, and even the thoughts in his head might be proprietary. Vincent has hired Mark Vega to oversee the building of the fiberoptic cable tunnel. Vincent occasionally helps Mark purchase or lease the rights to land in order to make the cable as straight as possible. Any deviation in the shape of the tunnel will create delays in the trade. Anton is hard at work trying to shave 1 millisecond off the time it takes to transmit orders to NYC. Currently, his software will do it in 17 milliseconds, which is not fast enough to be competitive. It needs to be at most 16 milliseconds to be a viable enterprise for Taylor's firm. Eva finds an NYU student who has written a paper about microwave pulses to effect HFT. She hires him and starts the process of building a series of towers to make trades with microwaves. As Vincent struggles with acquiring land, being diagnosed with cancer, and broken drill bits, Eva manages to finish her microwave towers first, dominating the market. Eva also takes revenge on Anton by having him arrested by the FBI for stock market fraud by using stolen property in the form of the software that he wrote for her company. While Anton is in jail, a software bug that Anton left in Eva's software as an insurance policy is released; this results in a 20 millisecond slowdown in her trading, rendering her microwaves useless. She subsequently drops Anton's charges after reaching a detente with Anton in exchange for learning how to fix the bug. As Vincent undergoes chemotherapy, Anton reveals his next idea for HFT involves neutrino messaging, believing it could cut the time from Kansas City to NYC down to as little as 9 milliseconds."}
{"movie_name":"Ghost_1990","imdb_id":"tt0099653","script":"<script>\n  <scene>\n    <stage_direction>INT. TRIBECA LOFT - DAY<\/stage_direction>\n    <scene_description>The CAMERA TRACKS slowly through clouds of moving dust . Shafts of muted light pierce the dense atmosphere . An eerie netherworld envelops us . Strange ghostly forms appear and disappear in the distance . They seem like apparitions . Broken timbers and dangling cables emerge from the smoky light . We see hints of a huge demolished space . An old white plaster wall FILLS THE SCREEN . Momentary blips of light flash across it . SOUNDS of street traffic are heard dimly in the distance . With startling impact , the SOUND of a sledgehammer explodes out of nowhere . The wall shudders . HAMMER BLOWS assault the audience . They are loud and jarring . The wall buckles . Chunks of plaster CRASH to the floor . The air fills with new swirls of white dust . The SLEDGEHAMMER smashes INTO VIEW . Beams of sunlight cut through the cracks , piercing the atmosphere like searchlights in a fog . A huge section of wall falls toward camera as more plaster billows into the air . We hear voices talking .<\/scene_description>\n    <character>MOLLY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>What a mess!<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I told you!<\/dialogue>\n    <scene_description>Through jagged holes we can make out three dim figures on the other side of the wall , all wielding SLEDGEHAMMERS .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I ca n't breathe.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Use your mask, dummy.<\/dialogue>\n    <scene_description>One of the figures adjusts something over his face . Isolated rays of sunlight dance around him casting long shadows in the air .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>`` Volga boat., man.'' Whoomph!<\/dialogue>\n    <scene_description>His hammer pounds the wall . Molly laughs . ANGLE The CAMERA MOVES IN and for the first time we see them . MOLLY JENSEN , in her late 20 's , has a bandanna around her hair and a workman 's mask over her nose , but we can tell from her eyes and cheekbones that she is beautiful . SAM WHEAT , in his late 30 's , is also hidden behind a mask , but he has a strong forehead and handsome features . Sweat is dripping down his brow , leaving streaks in the dust . CARL BRUNER , early 30 's , removes his mask revealing a good looking young man with a fashionable two - day stubble . Both men have their shirts off . ANGLE BLACKNESS AND A LOUD THUD . Suddenly a shaft of light penetrates the darkness . Another thud and more light . We see a hole . The hook of a crowbar enters it , grappling with something around the edges . Then , with a tug and a loud yank , a huge section of tin ceiling crashes to the floor . Huge clouds of dust fly into the air . Molly looks up , astonished .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Sam, look, there's a whole eight feet up there.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>And about eighty years of dust.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>We have all this height, Sam. We could add a second floor and put our bedroom upstairs. That would leave all this space.<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>( eyeing her curiously . )<\/parenthetical>\n    <dialogue>For what?<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>For space. Just space.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Be great for bumper cars.<\/dialogue>\n    <scene_description>Carl laughs as he looks at Sam . Their bodies , covered with white powder , appear as strange , ghostly figures .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Sam, this may be none of my business, but I'm concerned you're doing too much coke.<\/dialogue>\n    <scene_description>Sam glances down at his white body . They all laugh .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Hey, Sam, turn around.<\/dialogue>\n    <scene_description>Sam obeys . Molly doodles on his chest , drawing a bow tie and the outline of a tuxedo jacket . Her lines are quick , accomplished , and subtly erotic .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( offering his body . )<\/parenthetical>\n    <dialogue>How ` bout me?<\/dialogue>\n    <scene_description>Molly nods . She reaches out and superimposes an armless female torso over his . His stomach jumps sensually as she touches it . Molly pulls back to admire her work . He looks like a Greek statue .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>I'll never wash again.<\/dialogue>\n    <scene_description>Molly laughs . ANGLE Sam , Molly , and Carl are holding their sledgehammers . Molly begins to count .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>All together now. One.<\/dialogue>\n    <parenthetical>( they strike the wall with their hammers .<\/parenthetical>\n    <parenthetical>The wall shakes . )<\/parenthetical>\n    <dialogue>two.<\/dialogue>\n    <parenthetical>( they pound again .<\/parenthetical>\n    <parenthetical>The wall begins to give . )<\/parenthetical>\n    <dialogue>three.<\/dialogue>\n    <scene_description>In unison , they hit it once more . A massive section of plaster and metal topples to the ground . New clouds of dust fill the air . Suddenly , Sam spies an old jar lying on the floor . Something rattles inside it , a penny .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Hey, look what I found. There's a penny inside.<\/dialogue>\n    <parenthetical>( he hands it to Molly . )<\/parenthetical>\n    <dialogue>For luck in our new loft. It's a good omen.<\/dialogue>\n    <character>MOLLY<\/character>\n    <parenthetical>( shaking her head , disagreeing . )<\/parenthetical>\n    <dialogue>You're the good omen.<\/dialogue>\n    <scene_description>She glances at him lovingly . Carl looks at the two of them and grins . As the dust settles we see , for the first time , the outlines of the space they are working in . It is a huge loft over four thousand square feet . Banks of windows run east and west . Molly steps back and admires the room .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>It's gorgeous.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>You guys lucked out. Hell, I bet you could sell it tomorrow and double your investment.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Sell it? Carl, we just bought it.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>What I would n't do for a place like this.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>It's gon na be great.<\/dialogue>\n    <scene_description>OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARKET SECURITY BANK &amp; TRUST - HEADQUARTERS - DAY<\/stage_direction>\n    <scene_description>It is morning rush hour . Sam and Carl , both wearing suits and ties , exit the Wall Street subway station and approach the Headquarters of Market Security Bank &amp; Trust .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Oh, by the way, Sam, I had to move your 3:00 with Bob Kahan to 4:00 so you could squeeze in Gary Alan. He called yesterday and said he has to see you today about the Danway stuff. Three o'clock was the only time he could make it. Also, the board meeting in L.A. has been confirmed for the 12th. I got you on a 9:00 a.m. flight.<\/dialogue>\n    <scene_description>Sam seems preoccupied .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Hey, Sam, relax. This is n't brain surgery you're going into.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I hate pitching to these Japanese guys. They make me nervous. I mean, what am I supposed to say, `` Who do you think'll win that big Sumo championship''?<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Sam, you'll be fine. You're great with people.<\/dialogue>\n    <scene_description>Sam 's jacket flares open . He is wearing yellow suspenders . Carl notices .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Hey, nice. I like those.<\/dialogue>\n    <scene_description>Sam , not completely comfortable wearing them , buttons his jacket .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Molly.<\/dialogue>\n    <scene_description>Carl smiles and then turns to admire a car going by .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Jesus, look at that, a Testerossa. That's the car I'm gon na drive when I'm making two hundred grand.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Better pay off your Mustang first.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANK HEADQUARTERS, ELEVATOR - DAY<\/stage_direction>\n    <scene_description>Sam and Carl are standing on a crowded elevator . It is deadly quiet . Suddenly Carl elbows Sam and winks . There is something he wants him to do . Sam hesitates a moment , annoyed , and then relents . He clears his throat .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>So Carl, what did the doctor say?<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>He said it was contagious. Very contagious. I should n't be going into work today.<\/dialogue>\n    <parenthetical>( he coughs loudly . )<\/parenthetical>\n    <dialogue>But what could I do?<\/dialogue>\n    <scene_description>He sneezes . People on the elevator freeze .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>And what about the rash?<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Not good. It's spreading everywhere.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>On your genitals again?<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Everywhere. He said be sure not to touch anyone.<\/dialogue>\n    <scene_description>We see people trying to inch away . Carl coughs again . They hold their breath . The elevator stops at the next floor . All the passengers get off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANK HEADQUARTERS, EXECUTIVE OFFICES - DAY<\/stage_direction>\n    <scene_description>Sam and Carl , laughing , walk through a large office area bustling with activity . Employees , in various cubicles , are talking on telephones and punching information into computers . Sam heads into his executive office . Carl steps into a cubicle across the aisle . ROSE , Sam 's secretary , approaches him .<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>Morning, Mr. Wheat.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Morning Rose. Listen, when the Kobiashi people arrive, have Elenore take them right to the.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>They're already here.<\/dialogue>\n    <scene_description>She points to a windowed conference room . Sam turns around and sees a large group of JAPANESE MEN standing inside .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>They're early!<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>I know. And Andy Dillon called. He said they need $ 900,000 transferred to Albany by noon.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Noon? Damn!<\/dialogue>\n    <scene_description>He hurries over to Carl 's cubicle . He is on the phone . Carl cups the mouthpiece .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Hold on.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Listen, Dillon needs $ 900,000 in Albany by noon. Can you transfer it to his payroll account?<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Sure. Just let me have your MAC code.<\/dialogue>\n    <scene_description>Sam pulls out his wallet and extracts a small address book . He jots the code numbers on a piece of paper and hands it to Carl .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Discretion, huh?<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>You bet. I'll do it right away.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WELL-APPOINTED EXECUTIVE BOARDROOM - DAY<\/stage_direction>\n    <scene_description>Sam and a group of fifteen somber Japanese businessmen are sitting around a large granite conference table . Sam stands up and speaks a simple greeting to them .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( in Japanese . )<\/parenthetical>\n    <dialogue>Good morning, Gentlemen. On behalf of Market Security Bank &amp; Trust, I welcome you to our city.<\/dialogue>\n    <scene_description>The men smile happily and nod their heads in unison .<\/scene_description>\n    <character>MEN<\/character>\n    <dialogue>Arigato.<\/dialogue>\n    <scene_description>They look to Sam , expecting more . Uncomfortable , he clears his throat .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I'm afraid that's the only Japanese I know. But I realize it's not our language fluency, or lack of it, that brings you to Market Security. Rather, I'm sure, it is our banking expertise, our ability to represent and anticipate all of your banking needs. As you know, we are not the largest banking establishment in New York.<\/dialogue>\n    <parenthetical>( his throat goes dry and he takes a sip of water . )<\/parenthetical>\n    <dialogue>But, with combined assets of over 200 billion dollars, we have a firm commitment to the international marketplace.<\/dialogue>\n    <scene_description>A SECRETARY enters the room and hands Sam a piece of paper . It reads `` MOLLY ON LINE 2 . URGENT . '' She hands him a phone . Sam looks surprised . He nods apologetically to his guests .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Excuse me.<\/dialogue>\n    <parenthetical>( he picks up the receiver . )<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>MOLLY dressed in a long , clay covered smock . She is in a potters studio . SEVERAL OTHER POTTERS are in the background working at their wheels . A five - foot high ceramic vase stands beside Molly . It is still wet . She toys with it as she speaks into the phone .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>A man and a woman are lying in bed when the woman's husband suddenly comes home. Frightened, she tells the man he has to leave instantly through the window. He has no time to dress.<\/dialogue>\n    <scene_description>SAM straight - faced , listening and trying to look as if it is important .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Uh hmm.<\/dialogue>\n    <character>MOLLY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It's raining outside. The man, running naked along the street, sees some joggers approaching.<\/dialogue>\n    <scene_description>The entire contingent of Japanese men is staring at Sam .<\/scene_description>\n    <character>MOLLY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>One of the joggers calls out. `` Hey, do you always go jogging naked?'' And the man says, `` Yes, always.''<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>MOLLY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And then the other jogger says, `` And do you always wear a condom?'' The man looks down, embarrassed, and replies, `` Only when it's raining.''<\/dialogue>\n    <scene_description>Sam squelches a smile .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Well, that's just fine.<\/dialogue>\n    <character>MOLLY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Now just relax and have fun, okay? It's not the end of the world if you lose this account. You've always got me.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Thank you. I'll remember that.<\/dialogue>\n    <character>MOLLY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>See ya.<\/dialogue>\n    <scene_description>He hangs up and stares at the Japanese men . A short smile crosses his face . A CARVED WOODEN ANGEL eight feet tall , ascending into an afternoon sky . As the CAMERA PULLS BACK we see that we are inside a building and that the angel is dangling outside an open doorway high above the street . A group of workmen grab for the angel , but have difficulty bringing it in . Suddenly Molly steps INTO the FRAME .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Where you guys from, the New York City Ballet?<\/dialogue>\n    <scene_description>With a gutsy maneuver , Molly leans out over the sidewalk and tries to grab hold of the ropes . She ca n't reach them . Suddenly a pair of hands grabs her around the waist . She screams .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Saved your life.<\/dialogue>\n    <scene_description>Sam laughs as he pulls her back into the loft . She does not think it is funny .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>You bastard. Do n't do that to me. You scared me half to death.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Better than seeing this gorgeous body splattered all over the street. Here, look out.<\/dialogue>\n    <scene_description>Sam jumps up , grabs hold of the door 's top molding , and swings out over the sidewalk . Molly gasps . Sam 's feet push at the angel and send it swinging away and then back toward the loft . Quickly he jumps back , grabs hold of it , and brings it in . The workmen applaud . Molly eyes him with admiration . Suddenly we hear a voice call out .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Sam? Molly? Anybody home?<\/dialogue>\n    <scene_description>Molly looks to Sam .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Carl? Did you invite him?<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>( under his breath . )<\/parenthetical>\n    <dialogue>I could n't keep him away.<\/dialogue>\n    <scene_description>Carl enters , shakes Molly 's hand , and pats Sam on the back .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Hi, Moll. Hi, Sam. So, how's it goin?<\/dialogue>\n    <scene_description>Before they can answer , a WORKMAN turns to Molly .<\/scene_description>\n    <character>WORKMAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Where do you want this?<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>In the bedroom.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOFT - DAY<\/stage_direction>\n    <scene_description>As the angel pulls away from camera , we see the newly decorated loft for the first time . It is painted now in lovely pastels . The floor , a huge gymnasium - like expanse , is lacquered with polyurethane . Furniture and boxes are piling up along the walls . Dominating the space , with a kind of surreal presence , are a large number of Molly 's sculptures and ceramics . There is also a vintage jukebox . Carl is impressed .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Wow! The place looks great. Really great.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>You like it, huh?<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>`` Like'' is hardly the word. I never imagined it would be this beautiful. This is incredible.<\/dialogue>\n    <scene_description>A mover lugs in a heavy old chair . Molly sees it .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Sam, you kept that chair?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>What do you mean? It's comfortable. For T.V. I love that chair.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>But it does n't go with anything.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>It goes with me.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>It's okay, I'll paint it.<\/dialogue>\n    <scene_description>Sam pinches her ass . Molly smiles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - DAY - LATER<\/stage_direction>\n    <scene_description>Sam , Molly , and Carl are sprawled out on the floor , eating from Cartons of Chinese food . Frank , a gray cat , eats beside them . Unpacked boxes are scattered everywhere .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>It was the middle of December. I was sitting in my old office, the one Charlie's in. Suddenly, I heard this woman screaming. I thought someone'd been shot or something.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>They took away my MasterCard. It was Christmas, for godssake.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>She was four thousand dollars over her limit.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>It was n't four thousand. And I'd already sent in the payment! You're the ones that lost it.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>She's still angry.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>No I'm not.<\/dialogue>\n    <scene_description>The cat begins nibbling Sam 's food .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Get outta here, Frank!<\/dialogue>\n    <parenthetical>( the cat scampers away . )<\/parenthetical>\n    <dialogue>You should have seen her. All pink and flushed. Her skin was gorgeous, like a rose. And she's screaming, demanding to see the president. So Wilton brought her to me.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>You? You were n't even a VP yet.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>She did n't know that.<\/dialogue>\n    <scene_description>Carl smiles .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Can you believe it? And the next thing I know, he's telling me his life story. I could n't believe it. Everything. About his divorce, how he'd just arrived in New York, how he did n't know any women. And all with this Montana accent.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>What's a Montana accent?<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>The one you always slip into it when you get nervous. `` Yes, Ma'am. Thank you, Ma'am. Can I fondle your breasts, Ma'am?''<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>I was n't nervous.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Admit it. You liked me. You were interested.<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>( matter of factly . )<\/parenthetical>\n    <dialogue>I thought you were cute.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Cute?<\/dialogue>\n    <parenthetical>( looking at Carl . )<\/parenthetical>\n    <dialogue>Do you believe this? I should have been Picasso's mistress. I should have been living in Barcelona or Paris. But no, I'm moving in with a New York banker who thinks I'm cute.<\/dialogue>\n    <scene_description>She looks at Sam and grins . Carl is staring at Molly , obviously turned on by her . He is embarrassed when she catches his gaze and quickly looks away . OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOLLY'S STUDIO - NIGHT<\/stage_direction>\n    <scene_description>Molly , dressed only in a T - shirt , is sitting at her potters wheel throwing a series of pots . Sam enters the studio . He is barefoot , shirtless , wearing jeans .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>I felt inspired.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>At 2:00 am?<\/dialogue>\n    <scene_description>She nods and presses her hands into a pot that is forming in front of her . Sam watches the sensual movement of her fingers , molding and forming the clay . She is forceful , assured , gifted . The clay responds to her slightest effort . Slowly , almost unconsciously , Sam reaches for her shoulders and begins kissing them .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>You notice Carl's eyes today? They were all over you.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>What? Are you jealous? Sam, let me tell you something. He's not even looking at me. It's you he idolizes. He does n't see me at all. Anyway, he's not my type.<\/dialogue>\n    <scene_description>Sam reaches over her and gently adds his fingers to the clay . Molly looks up at him .<\/scene_description>\n    <character>MOLLY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I feel inspired.<\/dialogue>\n    <scene_description>His hands dig into the clay . Molly smiles . Their fingers seem to dance together . After a moment , she reaches up to him , her clay - covered fingers streaking his face and curving down to his chest . Sam grins and reaches down to her . SAM 'S FINGER as it presses two buttons on his jukebox . We watch as the mechanical arm selects a record and slowly , sensuously , lowers it to the turntable . The arm hovers over the record and then descends . It begins to play . The song is `` Unchained Melody '' by the Righteous Brothers . SAM AND MOLLY are dancing in the middle of the dark loft . Moonlight pours through the windows and shines off the floor . Wads of packing paper swirl sensuously around their feet . Molly runs her fingers down Sam 's naked back . The moment is sweet and erotic . We watch as Sam slowly draws his fingers down over Molly 's face , gently caressing her forehead , her eyes , her lips . Sam slides his hands under Molly 's T - shirt , slowly moving them toward her breasts . Her breathing slows . They dance silently , her hair swaying in the soft light . We hear the sounds of their bare feet on the highly polished floor . Sensuously , Molly 's shirt lifts above her navel as Sam presses into her . Their stomachs touch and part and touch again . She bites her lip . Sam eyes her moonlit form as she strokes his chest , slowly moving her fingers down his torso , around the curve of his hips , and then digging into the back of his jeans . Sam leans into Molly and nips at her neck . She stops dancing . Her eyes close . She stands absolutely still . Sam 's hands move to her backside . He pulls her closer . LIVINGROOM - NIGHT SAM AND MOLLY , making love on the livingroom carpet . Paper and packing materials crumble beneath them and scatter across the floor . For all their sensuality , it is their hands and eyes that are most expressive , revealing a tenderness that is deeply moving . Their lovemaking is full of love . JUKEBOX The song ends . The jukebox arm retracts and gently slides the record back into its slot . OMITTED BEDROOM - NIGHT Sam and Molly are lying together silently . Molly gazes at him .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>What's the matter?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>The matter?<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>I can tell.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Nothing. really.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>You're worried, are n't you? About moving in together?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>No. Not really.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Then what? The promotion?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I do n't know. A lot of things. I just do n't want the bubble to burst. Whenever something good happens to me I'm just afraid I'm going to lose it.<\/dialogue>\n    <scene_description>Molly gently strokes his head .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>You know what?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>I love you. I really love you.<\/dialogue>\n    <scene_description>He smiles and strokes her cheek .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Ditto.<\/dialogue>\n    <scene_description>Suddenly the T.V. blares into the room . Sam jumps up , grabbing the remote control unit from under his buttocks . Molly laughs as he turns the SOUND DOWN . The news is on and they are showing the remains of an airline disaster . Sam stares at the tube .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Oh Jesus. Another one.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Do n't watch that stuff.<\/dialogue>\n    <scene_description>He motions to wait . Dead bodies litter the screen .<\/scene_description>\n    <character>CORRESPONDENT<\/character>\n    <dialogue>It is estimated that 34 people died in the crash, the second in less than two weeks.<\/dialogue>\n    <scene_description>The T.V. goes OFF . Sam , confused , spins around . Molly is holding the remote control . She nods for him to lie down .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I should cancel my L.A. trip. These things always happen in threes.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Threes? Sam, get serious. Besides, you lead a charmed life.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Yeah. So did they.<\/dialogue>\n    <scene_description>Sam looks at her and then back at the screen .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Amazing, huh?<\/dialogue>\n    <parenthetical>( he snaps his fingers . )<\/parenthetical>\n    <dialogue>Just like that. Blackout.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WALL STREET ESTABLISHING SHOT - DAY<\/stage_direction>\n    <scene_description>OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAM'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Sam is sitting at his computer . His address book with his access codes is sitting open beside him . He seems perplexed by something happening on the screen . After pushing a series of buttons and getting the same response , he whacks the computer on the side . Carl , walking in the door , sees him . Sam looks up sheepishly .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>A glitch. What's up?<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>The Mark Greenberg and Larry White accounts. I ca n't get in. Your MAC code does n't work.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I changed it.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Why? What's up?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Nothing. I just want to nose around a bit. Can you keep your mouth shut?<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Yeah, sure. Tell me, what's going on.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I think I've stumbled onto something. There's too much money in these accounts.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Too much money. That's ridiculous. How could there be too much money?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>That's what I keep asking myself.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>It must be the computer.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I've been checking.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Yeah, Mr. Fixit.<\/dialogue>\n    <parenthetical>( he hits the computer like Sam did and laughs . )<\/parenthetical>\n    <dialogue>Come on, move over. Let me see what I can do.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Not yet. I'm gon na dig around a bit.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Okay, okay. Just call me when you're ready for help.<\/dialogue>\n    <parenthetical>( he heads for the door . )<\/parenthetical>\n    <dialogue>So, what are you and Moll doing tonight?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>We're going to the theatre. She wants to see `` Macbeth'' at the Spring Street Repertory.<\/dialogue>\n    <scene_description>Carl winces . Sam smiles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPRING STREET REPERTORY - NIGHT<\/stage_direction>\n    <scene_description>Sam and Molly are sitting in the fifth row of a crowded auditorium . He is sound asleep . ANGLE STAGE A scene from `` Macbeth '' . Sam begins to snore . Molly grabs his nose . He jerks awake . Molly grins .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPRING STREET REPERTORY - NIGHT<\/stage_direction>\n    <scene_description>Bright marquee lights sparkle overhead as Sam and Molly exit the theatre . It is a beautiful brisk night .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I loved it.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>I could tell.<\/dialogue>\n    <scene_description>She smiles and squeezes his arm . They walk silently down a dark street , heading toward their loft . The pavement is full of shadows .<\/scene_description>\n    <character>MOLLY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Did I tell you what Marcia said?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Six times.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Six? No I did n't. Sam, do n't be so blas\u00e9. I'll have two major pieces in the show. The New York Times reviews her gallery all the time. This could be huge.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Molly, the `` New York Times'' is some frustrated little critic with pimples on his ass who flunked out of art school. Who cares what The New York Times thinks?<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Eight million readers, that's who.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Your work's beautiful. That's a fact, Moll. It does n't matter what anyone thinks.<\/dialogue>\n    <scene_description>We can tell from the expression on Molly 's face that it does . Sam puts his arm around her . She nestles close to him . Then , suddenly , she stops and looks up . There is an unexpected seriousness in her voice .<\/scene_description>\n    <character>MOLLY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>I want to marry you, Sam.<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>( taken aback . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>I've been thinking about it for days. More than thinking. I want to do it. I want to jump in whole hog.<\/dialogue>\n    <parenthetical>( she pauses . )<\/parenthetical>\n    <dialogue>What is that look for?<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>( staring at her . )<\/parenthetical>\n    <dialogue>It's just been so long since. I mean, you never wanted to talk about it.<\/dialogue>\n    <scene_description>There is a long pause .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Do you love me, Sam?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>What do you think, Moll?<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>How come you never say it?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>You say `` ditto''. It's not the same.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>People say `` I love you'' all the time. It does n't mean anything.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Sometimes you need to hear it.<\/dialogue>\n    <scene_description>Sam stops and stares at Molly . He pauses quietly . He is about to speak when A MAN 'S FACE emerges from the shadows behind him . Molly gasps . Sam spins around . AN INTENSE LOOKING MAN is standing in the darkness between two buildings . He stares at the couple for a moment and then steps onto the sidewalk . Sam and Molly stand motionless . The man hesitates and then begins walking the other way . Molly exhales a deep breath . Sam takes Molly 's arm and they continue briskly down the street . Suddenly they hear FOOTSTEPS coming after them .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>What should we do?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Let me handle this.<\/dialogue>\n    <scene_description>Sam stops abruptly and turns around . A gun is staring him in the face . Molly screams .<\/scene_description>\n    <character>WILLIE<\/character>\n    <dialogue>Your wallet!<\/dialogue>\n    <scene_description>Sam waits a beat .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Give it to him!<\/dialogue>\n    <scene_description>Sam reaches for his jacket . The Mugger grabs his wrist and then carefully pulls the wallet out himself .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Take the money. Just leave the wallet and my.<\/dialogue>\n    <scene_description>He swipes Sam across the head . Molly screams . The Mugger whacks her across the face . Sam explodes , plowing into the mugger with all his might .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Sam, No!<\/dialogue>\n    <scene_description>There is a wild , all out brawl . Sam fights like a mad man . Suddenly the GUN goes off . The Mugger panics and takes off running . Sam charges after him .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Sam!<\/dialogue>\n    <scene_description>The two men run down the dark street , but the Mugger is already a full block ahead and disappears into the shadows . Sam gives up . Slowly he turns and begins walking back toward Molly . We can see Molly dimly at the end of the block as Sam approaches . She is screaming for help . Frightened , Sam calls out .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Molly!<\/dialogue>\n    <scene_description>She does n't answer . Sam tenses and starts running toward her . He is just three feet away when suddenly he stops . An expression of pure terror overwhelms his face . CLOSEUP - MOLLY drenched in blood . Her eyes are glazed , on the verge of shock . Panting , she stoops down to the curb as THE CAMERA TRAVELS WITH HER . She grabs hold of something lying in the shadows and pulls it toward her . It is Sam 's dead body she is holding in her arms . Sam 's ghostly form , still solid to all appearances , stands beside Molly . His eyes are awash in horror and confusion . He seems unable to move . THE CAMERA HOLDS on his face as the full impact of his situation dawns in his eyes . Suddenly he lets out a blood - curdling scream .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>He jumps down toward his body and reaches out to grab hold of his motionless form . His hands make a strange SOUND as they pass right though it . It is terrifying . Sam jumps up , crazed , frenzied , and begins circling Molly . It is as though he is trying to undo what has been done .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>This is n't happening. It's not happening.<\/dialogue>\n    <scene_description>He reaches out to Molly for help . His hand cuts through her shoulder . He screams . FOOTSTEPS . People are running down the street . The sound of SIRENS can be heard in the distance . Two MEN run toward Sam . He yells out at them .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Help me!<\/dialogue>\n    <scene_description>They run right through him . He gasps in stunned terror . Sam watches helplessly as they reach his body . Molly looks up and begins screaming hysterically . One of the Men grabs her as the other goes for Sam 's wrist . There is no sign of life . The first Man holds Molly back as his friend stoops down and begins some form of cardio - pulmonary resuscitation . There is no response . Sam bends down , trying desperately to help . It is a futile gesture .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Do it! Do it!<\/dialogue>\n    <scene_description>The Man bangs on Sam 's chest . Blood gushes from the wound . Molly recoils . He bangs again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOFT - NIGHT<\/stage_direction>\n    <scene_description>Sam shoots up in bed , panting . It is dark . He stares around the loft in sudden confusion . With a lurch he flicks on the night light . Molly is lying beside him , her head buried beneath a pillow . Sam seems stunned .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Molly? Molly!<\/dialogue>\n    <scene_description>Tears stream down his face . Molly stirs .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Sam? What's the matter? Is something wrong?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Molly!<\/dialogue>\n    <scene_description>Sam is so relieved to hear her voice that he can hardly breathe .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>What is it, honey?<\/dialogue>\n    <scene_description>Molly , groggy , tries to sit up . Sam reaches out for her . As she turns around , we see A SKELETEL VERSION OF HER HEAD staring at the camera . It speaks .<\/scene_description>\n    <character>MOLLY<\/character>\n    <parenthetical>( mocking him . )<\/parenthetical>\n    <dialogue>What is it, honey?<\/dialogue>\n    <scene_description>Sam bolts upright , screaming . It is a scream so consumed by terror that one fears it will never stop . CLOSE - UP OF SAM asleep in bed . He is thrashing at his pillow and moaning . Suddenly , a hand reaches out and touches his shoulder . Sam jumps straight up in bed and kicks wildly at the sheets . SAM 'S P.O.V. Molly is sitting on the bed looking at him , afraid . Sam stares down at her . He is breathing heavily , not trusting his own senses . His hands clutch at the wall .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>What's happening to me?!<\/dialogue>\n    <scene_description>ANGLE Suddenly , a brilliant white light shoots into the room as a host of glowing forms , radiating an intense inner light , float before us . A blinding tunnel spirals in an infinite vortex behind them . Sam is awed and confused . We sense that the light is enchanting him . The entire room begins to disappear in the light . Molly screams .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Do n't leave me. I need you, Sam.<\/dialogue>\n    <scene_description>ANGLE Sam turns and sees Molly , only she is not in the bed . She is back on the street . To his amazement , he is on the street , too , still bathed in the soothing light . Frightened , he calls out to her .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Molly!<\/dialogue>\n    <scene_description>She does not hear him . He calls again .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Molly.<\/dialogue>\n    <scene_description>There is no response . Sam , deeply troubled , hesitates for a moment . He is torn between Molly and the light . Then , in a painful , but conscious gesture , he turns from the light and walks toward Molly . At that instant , the light behind him disappears with the sound of a pneumatic door closing . There is a sense of terrible finality as the tunnel evaporates into the void . Sam is left on the dark pavement . He stands there a moment , as if in shock , and then begins running toward Molly . An AMBULANCE is rounding the corner . OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK STREETS - NIGHT<\/stage_direction>\n    <scene_description>Swirls of light speed toward the ambulance as car headlights and streetlamps merge in a wild dizzying rush . The SIREN wails into the night .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMBULANCE - NIGHT<\/stage_direction>\n    <scene_description>Sam 's body is lying in the back of the ambulance as a PARAMEDIC applies electric paddles to his chest in an effort to save him . After a moment , he looks up at Molly . We can tell from the expression in his eyes that it is hopeless . Sam yells .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Do n't stop! I'm not dead!<\/dialogue>\n    <scene_description>Molly , kneeling over Sam 's body , grabs him and begins to cry in long terrible sobs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL EMERGENCY ROOM - NIGHT<\/stage_direction>\n    <scene_description>A DOCTOR , comforting Molly , accompanies her from one of the emergency operating rooms and leads her through a pair of swinging doors into a separate waiting area . We see TWO POLICEMEN and TWO DETECTIVES stand up and approach her . Sam does n't want Molly to go and begins to follow her , but then seems torn , afraid to leave his body . He turns back just as his corpse , covered in a green sheet , is wheeled into the corridor and parked alongside the wall . Sam seems stunned and inconsolable as he sits down beside it . A wrinkled OLD MAN approaches Sam and joins him on the bench . He begins talking .<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>So, what happened to you?<\/dialogue>\n    <scene_description>Sam is startled , amazed that the man can see him .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>You're new, huh? I can tell.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Are you talking to me?<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>Relax. It ai n't like before, you know. It's a whole new ball - a - wax.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>I'm waiting for my wife. She's in 4C. Cardiac wing. She's fighting it.<\/dialogue>\n    <scene_description>The man sticks his head into the green sheet covering Sam 's body . His head disappears . Sam is terrified .<\/scene_description>\n    <character>MAN<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Shot, huh? That'll do it every time. Poor bastard. Well, get used to it. You could be here a long time.<\/dialogue>\n    <parenthetical>( leaning in close . )<\/parenthetical>\n    <dialogue>I'll tell you a secret. Doors ai n't as bad as you think. Zip zap. They ai n't nothin' at all. You'll see. You'll catch on.<\/dialogue>\n    <scene_description>Suddenly there is a loud COMMOTION and we see several PHYSICIANS operating furiously on an Old Man lying on the table beside them . It is a life threatening situation and they seem to be failing .<\/scene_description>\n    <character>MAN<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>He ai n't gon na make it. I've seen it a million times. He's a goner. See? Here they come. Lucky bastard. Could have been the other ones. You never know.<\/dialogue>\n    <scene_description>ANGLE Before Sam can understand what is happening the entire room fills with a strange preternatural light . Suddenly he looks up and freezes . The amorphous forms he saw right after he died are floating down through the ceiling and reaching for the body on the operating table . They are emitting a powerful light .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>Hurry, we're losing him.<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>What'd I tell you? Bingo!<\/dialogue>\n    <scene_description>The glowing forms take hold of the man 's spirit and help extract it from his body . His physical form changes instantly from a solid object into an ethereal substance . Sam stares in amazement as the strange beings carry the spirit upward . They evaporate through the ceiling .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>He's gone.<\/dialogue>\n    <scene_description>ANGLE The light in the room grows dull instantly . Nurses cover the dead man with a dark sheet as the doctors step away . Sam turns to the Old Man .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Who are you? What's happening?<\/dialogue>\n    <scene_description>The Man is n't there . An Orderly approaches the gurney with Sam 's body and begins pushing it toward the elevator . Sam jumps in front of him .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>No!<\/dialogue>\n    <scene_description>SAM 'S P.O.V. as the stretcher begins to roll right through him . The penetration of his physical space is horrifying to Sam . He stands , almost paralyzed , as the body of the Orderly intersects with his . It is a stunning moment of extraordinary strangeness as we witness the atoms and molecules of the Orderly 's body passing through his . It is like a glimpse of ultimate chaos , the universe within . Then , in a flash , the Orderly has passed through , but Sam is still shaking . He stares up at the ceiling .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Oh God, help me.<\/dialogue>\n    <scene_description>SAM 'S P.O.V. as the ceiling lights and acoustical tiles begin to blur . The hallway grows dark . It is as though Sam is blacking out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETERY - DAY<\/stage_direction>\n    <scene_description>Slowly , images begin to emerge out of the blackness . It takes a moment to realize that they are scenes from Sam 's funeral . The CAMERA TRACKS along rows of mourners as seen from SAM 'S P.O.V. . He seems to be floating among them . We hear snippets of conversations . It all seems strangely odd and disjointed . Time seems unfixed , malleable . We see a MINISTER standing beside the grave .<\/scene_description>\n    <character>MINISTER<\/character>\n    <dialogue>As we say farewell to our friend Sam Wheat, we are reminded of his kindness, his generosity, his buoyancy of spirit.<\/dialogue>\n    <scene_description>The CAMERA KEEPS MOVING . Sam 's associates from the bank are among the mourners .<\/scene_description>\n    <character>MINISTER<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>All that we treasure, our friends, our loved ones, our body, our mind, are but on loan to us. We must surrender them all. We are all travelers on the same road which leads to the same end.<\/dialogue>\n    <scene_description>Sam notices a WOMAN in a fancy print dress comforting one of the mourners . The woman looks up at him , smiles , and waves . Sam is surprised . He looks behind him , but no one is there . As he turns back , the woman is walking away . She appears just like any normal person until she approaches a large gravestone and passes right through it . Sam is shocked .<\/scene_description>\n    <character>MINISTER<\/character>\n    <dialogue>As our loved one enters eternal life, let us remember that love, too, is eternal, that although we will miss him, our love will light the void and dispel the darkness.<\/dialogue>\n    <scene_description>Suddenly , Molly ENTERS THE FRAME . Sam spots her . The CAMERA STOPS .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Molly.<\/dialogue>\n    <scene_description>She does not respond . RUTH , her sister , leans over to her . Tears form in Molly 's eyes . A hand reaches out to give her a tissue . Molly looks up . It is Carl . She gives him her hand . He squeezes it with affection .<\/scene_description>\n    <character>MINISTER<\/character>\n    <dialogue>and into Your hands we commend his spirit. May he rest in peace. In the name of the Father, the Son, and the Holy Ghost. Amen.<\/dialogue>\n    <scene_description>The casket is lowered into the ground . Molly approaches the grave . She us a little unsteady . Carl takes her elbow . A shovel is placed in her hands . With great emotional effort she lifts a shovelful of dirt and tosses it onto the casket . It lands with a REVERBERATING finality . Sam shudders . LONG SHOT - PEOPLE leaving the cemetery . We hear them talking .<\/scene_description>\n    <character>VOICES<\/character>\n    <dialogue>What time you going back to work? What's the buzz on Digital? It's sad. He was so young. How's your new Honda? Going away this weekend?<\/dialogue>\n    <scene_description>CLOSEUP - SAM desperately alone . Down the hill , people are getting back into their cars . Sam can see Molly being let into a limousine . He stands there staring at his own casket , grieving . Then , after a moment , he turns away . Separating from his body , from his own grave site , he runs after her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOFT - DAY<\/stage_direction>\n    <scene_description>Molly is sitting on the couch in the middle of the loft surrounded by FRIENDS and WELL WISHERS . A young GIRL , her niece , cuddles in her lap . People are eating and milling around . Slowly THE CAMERA BEGINS TO PAN . It ends on Sam , standing alone in a corner . In the midst of all the activity he is lost and alone . ANGLE Raw clay on a potter 's wheel spins hypnotically , sensuously . Molly 's wet hands press in , shaping it , molding it . A bowl begins to appear . The camera pulls back and reveals Sam . He is sitting on the floor behind her , knees pressed to his chest , rocking aimlessly . Molly looks away from the bowl she is forming . It distorts and bends . Angry , she digs her finger into it . The bowl disintegrates . Tears form in her eyes . Frank jumps up on the bench beside her . Molly stares sadly around the room . Quietly , she begins talking to herself , to the air .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Oh God, Sam.<\/dialogue>\n    <scene_description>Sam looks up .<\/scene_description>\n    <character>MOLLY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>I picked up your shirts this morning. I do n't know why. Mr. Reynolds said to tell you hello. I broke into tears. It's so hard.<\/dialogue>\n    <scene_description>Sam walks over to Molly . Desperate for contact , he reaches out to touch her cheek , but then hesitates and pulls back .<\/scene_description>\n    <character>MOLLY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>I think about you every minute. It's like you're still here, like I can feel you, Sam.<\/dialogue>\n    <scene_description>He stares at her , hoping , wondering .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I am here, Moll. I am.<\/dialogue>\n    <scene_description>ANGLE Suddenly , as if hearing Sam 's voice , the cat begins to hiss . Molly spins around . The cat scans the room . Unexpectedly , Sam 's and the cat 's eyes meet . With a wild SCREECH , the cat jumps from the bench and takes off running . Sam recoils . Molly stands up .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Frank, what's wrong? Frank?<\/dialogue>\n    <scene_description>The cat is nowhere to be seen . All of a sudden , Molly freezes . Sam is standing right beside her . It is almost as though she senses his presence .<\/scene_description>\n    <character>MOLLY<\/character>\n    <parenthetical>( continuing ; whispering . )<\/parenthetical>\n    <dialogue>Sam?<\/dialogue>\n    <scene_description>She holds very still for a moment . Sam watches breathlessly , loving her , wanting her . Then quietly , hopefully , he reaches out . It is a useless gesture . In a moment of great poignancy , Molly shakes her head and walks right through him . He remains IN THE FRAME , alone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - DAY<\/stage_direction>\n    <scene_description>Sam , stands in the corner of a large , walk - in closet , watching as Molly goes through his effects . Boxes , scattered underfoot , are filling up with his life 's possessions . Molly reaches for a shirt .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Wait, Moll. Not that one. That's my favorite.<\/dialogue>\n    <scene_description>She tosses it into a box and then takes down a sweater . It is obviously handmade , about four sizes too big . Sam recognizes it . Molly holds the sweater tenderly and presses it to her cheek . After a moment she puts it back . Then , in a surprising outburst , she cries out and begins flailing at the shelves . Everything comes flying off . Sam reaches out to console her .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Molly, do n't.<\/dialogue>\n    <scene_description>Unexpectedly , Carl comes rushing into the room . He takes hold of Molly and sits her on the bed .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Say something. Help her, Carl.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>It's hard. It's very hard.<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>( sarcastic . )<\/parenthetical>\n    <dialogue>Oh good. That's really good.<\/dialogue>\n    <scene_description>OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - DAY<\/stage_direction>\n    <scene_description>Molly and Carl are standing over the kitchen table folding piles of Sam 's clothes and placing them into boxes . As Molly lifts one of Sam 's jackets , something falls from a side pocket . It is his small black leather address book . Sam stares at it with recognition . Carl sees the book fall and stoops to pick it up but Molly gets it first .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Sam's address book.<\/dialogue>\n    <scene_description>She skims through it a moment , but the memories it evokes are too powerful for her . She places it carefully into a box labeled `` Sam 's Things - Valuable '' and continues packing . She finds the old jar with the penny in it . It 's marked `` For Luck '' . She holds it tenderly for a moment and then places it on the nightstand beside the bed . Carl discovers some old ticket stubs in another of Sam 's jackets . He examines them .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Dave Brubeck. Newport' 86. Should I toss'em?<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Molly, we hated that concert.<\/dialogue>\n    <scene_description>She takes the stubs and lovingly puts them in the box . Sam groans . Carl finds a half used package of Rolaids . Molly takes them from his hand and puts them in the box , too .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Oh, you want to save those?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Rolaids? What are you doin' Moll?<\/dialogue>\n    <scene_description>Molly just stares for a moment .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>I miss him, Carl.<\/dialogue>\n    <scene_description>Carl comes over and takes her hand .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>We all do.<\/dialogue>\n    <scene_description>Molly buries her head on his shoulder . Carl strokes her hair . ANGLE Carl lifting a pile of boxes and carrying them to the door . Suddenly Molly yells out .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Wait. Wait. Not that one.<\/dialogue>\n    <scene_description>She hurries over and pulls the `` Valuable '' box from the stack in his arms . He looks at it with surprise .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Oh, shit. I'm sorry. I do n't know how that got in there.<\/dialogue>\n    <scene_description>He turns to the door and then back to Molly .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Hey, Moll. Why do n't you come? It's like summer outside.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Just for a stroll. It'd be good to get out.<\/dialogue>\n    <scene_description>Molly shakes her head and turns away .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>I ca n't do it Carl.<\/dialogue>\n    <scene_description>Carl , annoyed , walks over to her .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Molly. you're not the one who died!<\/dialogue>\n    <scene_description>Molly stops and looks at him . He has struck home . After a moment she nods her head .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Okay. Just a short walk.<\/dialogue>\n    <scene_description>He gently squeezes her shoulders .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Thata girl.<\/dialogue>\n    <scene_description>Before Sam even understands what is happening , they are exiting the loft . Sam jumps up and runs after them .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Hey, Molly! Wait!<\/dialogue>\n    <scene_description>ANGLE The door slams shut . Sam is locked inside . Frightened and desperate , he rushes for the door knob . His hand sinks through it . There is a strange sound , like ELECTRICAL STATIC , as it penetrates the metal and wood . Frightened , he yanks it back . Sam circles the space several times and then returns to the door . Clenching his teeth , he reaches out again . As his hand pushes up against it , we sense that he experiences a subtle resistance . The hairs on the back of his hand vibrate as his ghostly form presses into it . We sense Sam 's fear as his entire arm DISAPPEARS FROM VIEW . The grating ELECTRICAL SOUND shudders up his spine . The sight of his amputated limb is unsettling but Sam does not pull back . Slowly he edges in and presses his face into the molecules of the wood . SAM 'S P.O.V. as atoms and electrons spin past him at frightening speed . There is a sense of a universe in total chaos . Terrifying SOUNDS charge through his body . SAM pulling back from the door . He is trembling .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOFT - AN HOUR LATER<\/stage_direction>\n    <scene_description>THE CAMERA MOVES SLOWLY THROUGH THE LOFT AND GRADUALLY DISCOVERS SAM . He is sitting in a corner singing quietly to himself .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>`` Singing bye bye, Miss American Pie. Drove my Chevy to the levy, but the levy was dry. Them good ol' boys were drinkin' whiskey and rye, and singing this'll be the day that I.''<\/dialogue>\n    <scene_description>He stops , realizing the last word of the song . He sits silently , staring at the wall . Suddenly , there is a SOUND at the door . Sam 's eyes shoot up . The door begins to open . Sam stands up . His face begins to tighten . We know instantly that something is wrong . His eyes fill with a fury we have not seen before . The Mugger , the man who killed Sam , is entering the loft . He has a key in his hand and puts it in his pocket . Sam is stunned . The Mugger locks the door . ANGLE Sam goes wild . He shoots at the man with all his might , attacking him unceasingly , but with no effect . His hands and feet pass right through him .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>You motherfucking bastard! What the hell are you doing here? What are you doing?<\/dialogue>\n    <scene_description>The Mugger , unaware that anything is going on , glances around nervously as he moves through the vast space . ANGLE Entering the bedroom , the Mugger goes to the dresser and quickly examines the drawers . He is very neat , careful to leave no sign that he was there . He seems to be looking for something but can not find it . ANOTHER ANGLE Suddenly we hear a KEY TURNING in the front door . The Mugger seems startled . He dashes from the bedroom and hides quickly behind one of the large sculptures . We hear the door OPEN . Molly is standing there . Sam goes crazy .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Molly, no! Get out!<\/dialogue>\n    <scene_description>Molly closes the door and locks it shut . Sam freezes as she heads for the bedroom . She walks right past the Mugger . To Sam 's horror she stops and turns to look around . There is a curious expression on her face . Seeing nothing she continues through the loft . The Mugger pulls out his gun . Sam looks on in absolute terror . Molly 's purple blouse hits the floor as she begins to remove her clothes . She turns on the radio . Sam does n't know what to do . The Mugger seems excited by Molly 's semi - nudity . He begins skirting the edges of the loft , moving toward the bedroom . Sam is crazed . Suddenly , out of nowhere , Frank appears at the Mugger 's feet . Sam 's eyes light up . He drops to his knees , crawls over to him , glares into his eyes , and screams . ANGLE - THE CAT SCREECHES and jumps straight up . His claws shoot out at the mugger 's face , ripping into the flesh near his eye . Blood appears . The mugger sees it dripping through his fingers . The sight of it upsets him . He grabs the cat angrily by the neck . It SQUEALS . Molly in her bra , peers from the bedroom .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Frank, what's wrong?<\/dialogue>\n    <scene_description>The Mugger holds the cat 's mouth shut . Seeing and hearing nothing , Molly steps back into the bedroom . The Mugger takes the cat and throws it across the floor . Holding his eye , he gets up and rushes for the exit . Sam runs after him , but the door closes before he can get through . He is left inside . ANGLE - SAM stares at the closed door in a wild panic . He does n't know what to do . Then , summoning all of his courage , he takes a blind , running slow motion leap and charges through it . SAM 'S P.O.V. . There is a brief sense of passing through a molecular force field , a miniature universe inside the door . ANGLE - SAM as he emerges from the door and lands on the other side . He seems excited to have survived and is very pleased with himself .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK STREET - DAY<\/stage_direction>\n    <scene_description>The Mugger steps out onto the sidewalk and hurries toward the subway . A patch of sleeve soaks up the blood from his eye . Sam starts after the man but instantly freezes . Hordes of people crowd the sidewalk . The crush of humanity is frightening . Two lovers , holding hands , are coming right at him . Before Sam is able to move , we hear the sound of their arms cutting through his ghostly form . Sam tries instinctively to dodge the crowds but people approach him from all angles . We hear a BABY CARRIAGE roll through Sam 's feet and he nearly falls over trying to avoid it . His instincts will not let go . A barrage of images and SOUNDS assaults Sam . It is more than he can handle . Still , he refuses to give up . He stays close to the Mugger .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK SUBWAY STATION - DAY<\/stage_direction>\n    <scene_description>The Mugger heads down a flight of steps into the IRT .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY TRAIN - DAY<\/stage_direction>\n    <scene_description>The Mugger gets onto a crowded subway car . Sam stands near a corner of the train watching him . Suddenly , Sam notices that something odd is happening . One of the riders at the other end of the car is walking toward him . As he approaches the Mugger , he does not stop , but passes right through him . It takes Sam a moment to realize what is happening , but then it is too late . ANGLE - THE OTHER GHOST With unholy fury the New Ghost charges into Sam . The attack is so unexpected and ferocious that Sam has no sense of how to defend himself . With unexpected power , the Ghost grabs hold of him and slams him into the subway door . Sam 's head plows right through it . ANGLE on Sam 's head sticking outside of the car as the subway tunnel rushes past him . There is a panicked look on his face . The look intensifies as he turns and sees another train barreling down on him . ANGLE on Sam 's body inside the car still struggling with the Ghost as the other train shoots by the window . With a huge gasp , Sam shoots back into the car , and wrests himself free of the Ghost 's hold . The Ghost flies after him , screeching . Sam surges through the door at the end of the train and finds himself on the bridge between the subway cars . The subway Ghost stares at him through the window with a wild , insane look .<\/scene_description>\n    <character>GHOST<\/character>\n    <dialogue>Stay off! This is mine!<\/dialogue>\n    <scene_description>ANGLE FAVORING WINDOW With shocking impact , the Ghost 's fist goes flying into the window . To Sam 's terror and amazement , the window SHATTERS . The Ghost smiles . Passengers scream and Sam dives for cover . Sam stares at the broken glass with fascination and confusion . Suddenly , the train moves from the darkness of the tunnel into broad daylight .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ELEVATED SUBWAY STATION - DAY<\/stage_direction>\n    <scene_description>The train stops at an elevated subway platform in Brooklyn . OMITTED SAM 'S P.O.V. Sam sees the Mugger exiting the train and frantically rushes after him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BROOKLYN STREETS - DAY<\/stage_direction>\n    <scene_description>Sam follows the Mugger down a long covered staircase to the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 321 PROSPECT PLACE - DAY<\/stage_direction>\n    <scene_description>The Mugger heads toward 321 Prospect Place . The streets are lined with old apartment buildings . Many windows are boarded up . TWO MEN , standing on the corner , are slamming a piece of heavy machinery onto the pavement . Sam hears GOSPEL MUSIC coming from a storefront church and notices a sign , `` SISTER ODA MAE BROWN , MEDIUM , SPIRIT READER , ADVISOR . '' He looks up to a third story window and sees a similar sign with day - glo arrows pointing to the entrance on the street . He seems curious , but then realizes that the Mugger is nearly halfway down the block . He turns and rushes after him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 321 PROSPECT PLACE - DAY<\/stage_direction>\n    <scene_description>Sam and the mugger approach a tenement building at 321 Prospect Place .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TENEMENT HALLWAY - DAY<\/stage_direction>\n    <scene_description>Sam follows the Mugger into the building and watches as he opens the mail box for APT . 4D . The name scribbled across it is WILLIE LOPEZ . There 's no mail .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WILLIE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Sam enters Willie 's apartment . It is a squalid affair . Peeled paint chips litter the floor . The bed is unmade . Willie pulls open a drawer in a small nightstand and drops in the keys to Molly 's loft . Sam sees his wallet . His driver 's license , bank ID , and a photo of Molly are there , too . Furious , Sam lunges for Willie but then holds his punch , knowing it will have no effect . He turns instead to a window and , like the Ghost on the subway , smashes it with his fist . Nothing happens .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Damn!<\/dialogue>\n    <scene_description>Willie dials the phone . Someone comes on the line .<\/scene_description>\n    <character>WILLIE<\/character>\n    <dialogue>She came home. I could n't get it. Give me a couple of days. I'll go back.<\/dialogue>\n    <scene_description>He hangs up . Sam stares at him in wild confusion .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Get what? Who the hell are you? What were you doing at Molly's? What the hell's going on?<\/dialogue>\n    <scene_description>Willie grabs a bottle of wine from the nightstand and lies down . After a moment he reaches over and takes Molly 's photo from the drawer . He studies it slowly . Sam stands by the door in a state of motionless rage . There is nothing he can do .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Stay away from her!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BROOKLYN STREETS - DAY<\/stage_direction>\n    <scene_description>Sam storms down the street . His movements seem undirected , utterly aimless . He is seething inside . Suddenly Sam looks up . An old BAG LADY is walking down the street talking loudly to a SHORT WOMAN tagging along beside her . As they approach a street pole , the Bag Lady swerves to the side . The Short Woman , however , walks right through it . Passersby laugh at the Old Lady talking to herself . Sam , unsettled , rushes away . As Sam rounds a corner , a sudden blast of MUSIC explodes out of nowhere . Sam jumps into the street , gasping . A phonograph needle SCRATCHES across a record and the MUSIC STOPS . A woman 's voice booms out :<\/scene_description>\n    <character>WOMAN'S VOICE<\/character>\n    <dialogue>Sorry ` bout that.<\/dialogue>\n    <scene_description>PANNING SHOT to a pair of loudspeakers in a storefront window . The MUSIC blares out once more and SOUNDS of gospel fill the street . Sam looks up . He is back in front of the storefront church with the sign for SISTER ODA MAE BROWN , MEDIUM , SPIRIT READER , ADVISOR , hanging overhead . Below it is another sign . `` Contact the dearly departed . $ 20.00 '' . Sam stares at the sign with curiosity . The MUSIC is compelling . After a moment 's hesitation , he goes in the open door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STOREFRONT - DAY<\/stage_direction>\n    <scene_description>A record player is sitting near the storefront window , a makeshift microphone placed in front of it . Several rows of folding chairs face a raised platform with nothing on it . A number of people are sitting there , mostly women . One gets the sense that this is a cross between a waiting room and a meeting hall . A black WOMAN steps up on the platform and calls out :<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Rosa Santiago.<\/dialogue>\n    <scene_description>MRS. SANTIAGO tucks a Spanish paperback romance into her purse and heads to a door at the rear of the hall . Sam follows after her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEANCE ROOM - DAY<\/stage_direction>\n    <scene_description>Mrs. Santiago enters a dark room with a window and door leading to a side street . A paisley bedspread is tacked over the window . In the center of the room is a round seance table . Two heavyset sisters , CLARA -LRB- 39 -RRB- , and LOUISE -LRB- 36 -RRB- , are standing beside an open closet . It is empty .<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Please be seated.<\/dialogue>\n    <scene_description>Mrs. Santiago sits at the table . She seems apprehensive . Clara steps into the closet and taps on each of the walls as though demonstrating that they are solid .<\/scene_description>\n    <character>CLARA<\/character>\n    <dialogue>My sister will be with us soon.<\/dialogue>\n    <scene_description>She steps back out and closes the door . Louise inserts a tape into a boom box and then steps forward .<\/scene_description>\n    <character>LOUISE<\/character>\n    <dialogue>Sister Oda Mae. Grant us the gift of your all - seeing presence. Appear for us now.<\/dialogue>\n    <scene_description>ANGLE FAVORING CLOSET She turns back to the closet and opens the door . Like magic , ODA MAE BROWN , 41 , appears standing inside . She is a black woman in a white tunic . The whiteness of her garment makes it look as if she is glowing in the dark . Mrs. Santiago is wide - eyed . Sam smiles as Oda Mae steps into the room .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>Mrs. Santiago.<\/dialogue>\n    <character>MRS. SANTIAGO<\/character>\n    <dialogue>Buenos dias.<\/dialogue>\n    <scene_description>She takes a twenty dollar bill from her purse and hands it to Oda Mae . Clara graciously intercepts the money .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>I understand you are hoping to contact your husband.<\/dialogue>\n    <character>MRS. SANTIAGO<\/character>\n    <dialogue>Si. Si.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Well, I believe he's gon na be with us today.<\/dialogue>\n    <character>MRS. SANTIAGO<\/character>\n    <dialogue>Oh, tsank you, tsank you.<\/dialogue>\n    <scene_description>Tears well up in her eyes . She crosses herself several times .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>But there's no telling about the other world. You got ta cast out all doubt. You got ta believe. Do you believe?<\/dialogue>\n    <character>MRS. SANTIAGO<\/character>\n    <parenthetical>( nodding her head vigorously . )<\/parenthetical>\n    <dialogue>Si. Si. I believe. I believe.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>And remember, we do n't make no promises. I can phone up there till I'm blue in the face.<\/dialogue>\n    <parenthetical>( she points to the ceiling . )<\/parenthetical>\n    <dialogue>. but it do n't necessarily mean he's gon na be home. Them folks go shopping, they play bingo. It's just like here. You ca n't always get'em.<\/dialogue>\n    <scene_description>Mrs. Santiago , utterly fascinated , nods understandingly .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Sure lady!<\/dialogue>\n    <scene_description>Oda Mae 's eyes glance up curiously for a second , as though she heard something , and then she continues .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>Okay, let's get ready then.<\/dialogue>\n    <scene_description>Sam steps back as the sisters get up and position themselves behind Oda Mae . The moment feels rehearsed , theatrical . Oda Mae raises her hands into the air and closes her eyes . There is a hush in the room . Her body begins to tremble . Mrs. Santiago clutches her chair . Suddenly Oda Mae breaks out of her trance .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>We got a problem here. I do n't think he's in. Wait. I feel something. Did he know someone who's passed over, someone named Anna. Mary. Consuela. Maria?<\/dialogue>\n    <character>MRS. SANTIAGO<\/character>\n    <dialogue>Si, si! His mama. She's Maria.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Ah! I knew it. He's with his mama.<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>( sarcastic . )<\/parenthetical>\n    <dialogue>Oh my God.<\/dialogue>\n    <scene_description>Oda Mae 's eyes dart uncomfortably around the room .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>I'm afraid this is gon na be too hard. Now I got two souls I got ta contact. I do n't know about that. It's difficult, you know. The pain. The effort.<\/dialogue>\n    <character>MRS. SANTIAGO<\/character>\n    <dialogue>I pay more. How much? How much?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Twenty dollars.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Way to go. Milk her for every penny.<\/dialogue>\n    <scene_description>Oda Mae jumps up and stares at her sisters . They look back at her curiously . They ca n't figure out what 's wrong . Neither can Oda Mae . Mrs. Santiago reaches into her purse . A twenty dollar bill changes hands . Sam watches , amazed at it all . Oda Mae sits down and goes back into her trance . Her eyeballs roll up into their sockets .<\/scene_description>\n    <character>CLARA\/LOUISE<\/character>\n    <dialogue>Praise the Lord. Thank you, Jesus.<\/dialogue>\n    <scene_description>Oda Mae is beginning to shake again . The two women grab her shoulders to keep her from falling out of the chair . Suddenly her whole body stiffens .<\/scene_description>\n    <character>CLARA\/LOUISE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Have mercy! Have mercy!<\/dialogue>\n    <scene_description>Mrs. Santiago stares on in amazement . After a moment Oda Mae 's body collapses in a heap . Then , like a phoenix rising from the ashes , she pulls herself up in her chair and assumes a normal pose . After several seconds to get her bearings , Oda Mae begins to speak . Only now she has an entirely new voice . It sounds deep and hoarse , like an old man 's . For all its put on theatricality , it is strangely convincing .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>Welcome, Rosa Santiago. You are fortunate today. The channel is clear. Many spirits are gathering.<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>( scanning the room . )<\/parenthetical>\n    <dialogue>Yeah? Where?<\/dialogue>\n    <scene_description>Oda Mae jerks . Her eyes dart nervously around the room .<\/scene_description>\n    <character>MRS. SANTIAGO<\/character>\n    <dialogue>My husband?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <parenthetical>( a bit uneasy . )<\/parenthetical>\n    <dialogue>I can feel his vibration. Yes, yes, he is drawing toward us now. I can see him coming.<\/dialogue>\n    <character>MRS. SANTIAGO<\/character>\n    <dialogue>Julio! Julio! How is he? How does he look?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Oh, he is a very handsome man.<\/dialogue>\n    <character>MRS. SANTIAGO<\/character>\n    <parenthetical>( surprised . )<\/parenthetical>\n    <dialogue>Handsome?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>In our Father's Kingdom we are all handsome.<\/dialogue>\n    <character>MRS. SANTIAGO<\/character>\n    <parenthetical>( understanding . )<\/parenthetical>\n    <dialogue>Julio!<\/dialogue>\n    <scene_description>Sam looks on dismayed .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>He is standing before me. He is wearing a black suit.<\/dialogue>\n    <character>MRS. SANTIAGO<\/character>\n    <dialogue>A black suit? Oh yes, yes. He was buried in that.<\/dialogue>\n    <scene_description>Mrs. Santiago begins to cry . Sam looks around the room with growing disgust . Then he leans over to Oda Mae and yells into her ear .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>What a crock of shit!<\/dialogue>\n    <scene_description>Oda Mae nearly falls off her chair . She spins around .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>Who's there?<\/dialogue>\n    <scene_description>Sam is stunned . Clara and Louise look at one another in total confusion . This is obviously not part of the act . Mrs. Santiago seems frightened .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Where are you?<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>( looking around . )<\/parenthetical>\n    <dialogue>Who?<\/dialogue>\n    <scene_description>Oda Mae screams and jumps up thrashing at the air . Her knee kicks the table and sends it toppling . Mrs. Santiago is terrified .<\/scene_description>\n    <character>MRS. SANTIAGO<\/character>\n    <dialogue>Julio! Julio!<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Get out of here! Leave me alone!<\/dialogue>\n    <scene_description>Mrs. Santiago does n't know what to do . She begins to cry .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Who are you talking to?<\/dialogue>\n    <scene_description>Clara runs up to Oda Mae .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>Keep him away!<\/dialogue>\n    <scene_description>Louise looks at the empty room .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Are you talking to me?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Do something. Help me.<\/dialogue>\n    <scene_description>Clara just stares at her sister . Sam is excited and amazed .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I do n't believe this. Hey you. My name is Sam Wheat. Can you hear me? Sam Wheat!<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Stop it!<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Say my name! Sam Wheat! Say it!<\/dialogue>\n    <character>CLARA<\/character>\n    <dialogue>Talk to me, Oda Mae. Say something.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Sam Wheat!<\/dialogue>\n    <scene_description>Sam nearly falls on his face . Clara 's eyes widen . She is more confused than ever .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Jesus!<\/dialogue>\n    <character>CLARA<\/character>\n    <dialogue>Samweet?<\/dialogue>\n    <scene_description>Oda Mae runs into the closet . It has a false panel leading to a hidden chamber on the left side and she barricades herself inside it . Clara and Louise stand outside pulling on the handle . They seem frightened .<\/scene_description>\n    <character>CLARA\/LOUISE<\/character>\n    <dialogue>Oda Mae! Oda Mae!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLOSET - DAY<\/stage_direction>\n    <scene_description>Oda Mae is rocking back and forth on the floor praying . Sam 's feet enter the frame beside her .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>Lord, I swear, no more cheatin'. I promise, Lord. I do n't want to go to hell. I'll do anything. Gim me a penance. Just make him go away.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Go away. Hell no. I'm stayin' right here!<\/dialogue>\n    <scene_description>Oda Mae screams , jumps back into the closet , and bolts up against the door . It tears from its hinges and falls into the seance room , nearly crushing Louise . Mrs. Santiago runs out screaming . Oda Mae takes one look around and collapses in a dead faint . OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ODA MAE'S LIVINGROOM - DAY<\/stage_direction>\n    <scene_description>Beads of sweat collect on Oda Mae 's brow and cheeks . She seems feverish . Clara and Louise are sitting beside her with damp towels nervously soaking up the perspiration . Oda Mae appears to be talking to herself until we PULL BACK and reveal Sam nearby .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>My mama, her mama, may they rest in peace, they had de gift. Mama always said I had it, but I never did. She tol' me all about it, how it felt an' all. But now that it's happenin' I do n't know what to do. You're scarin' me half to death. Please, you got ta go away, you got ta find someone else.<\/dialogue>\n    <scene_description>Clara and Louise look at one another with growing concern .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Someone else? Are you outta your mind?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>I'm gettin' there fast.<\/dialogue>\n    <parenthetical>( she pushes Louise 's hand . )<\/parenthetical>\n    <dialogue>Leave me alone.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Not till you help me.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Where are you?<\/dialogue>\n    <character>LOUISE<\/character>\n    <dialogue>Where? I'm right here.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'm standing right beside you.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <parenthetical>( mimicking his words . )<\/parenthetical>\n    <dialogue>`` I'm standing right beside you.''<\/dialogue>\n    <parenthetical>( she pauses and looks up . )<\/parenthetical>\n    <dialogue>Are you white?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Oh God, I knew it. He's white. Why me?<\/dialogue>\n    <scene_description>Louise looks at her sister and shakes her head .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Listen, damn it. You can help me. There's a woman, Molly Jensen. She's in terrible danger. The man who killed me broke into our apartment. He's going to go back. You've got ta warn her.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Why would she listen to me?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>She has to! This man's a killer! He's got a key.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Forget it, mister. I ca n't.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>It's just a phone call. You're all I've got. Lookit. I'm not leavin' till you help me. I do n't sleep anymore, so I can sit here day and night. I do n't care how long it takes. I can talk forever.<\/dialogue>\n    <scene_description>Oda Mae gulps , a horrified expression on her face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOFT - DAY<\/stage_direction>\n    <scene_description>The telephone rings . Molly , preparing dinner , runs to answer it .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Molly? Is this Molly speaking?<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>My name is Oda Mae. I'm a spiritual reader and adviser.<\/dialogue>\n    <parenthetical>( she hesitates . )<\/parenthetical>\n    <dialogue>I'm calling for a friend of yours. He asked me to call. This is important. You got ta believe me. Do n't be afraid.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Who is this?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I got a message from Sam.<\/dialogue>\n    <character>MOLLY<\/character>\n    <parenthetical>( stunned . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Sam Wheat. He asked me to call.<\/dialogue>\n    <scene_description>Molly slams down the receiver , panting . For several seconds she does n't move . Slowly , she walks to the couch and sits down . She is trembling .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ODA MAE'S KITCHEN - DAY<\/stage_direction>\n    <scene_description>Oda Mae hangs up the phone .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>What'd I tell you.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You got ta go there.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Look, I do n't care what you do to me, I'm not goin' nowhere.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ODA MAE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Sam is sitting on the edge of Oda Mae 's bed , singing . It sounds like he 's been singing for hours . He is very hoarse .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>`` I'm Henery the Eighth I am \/ Henery the Eighth I am, I am \/ I'm gettin' married to the widow next door \/ She's been married seven times before \/ And every one was an Henery \/ Would n't take a Willie or a Sam \/ I'm her eighth old man I'm Henery \/ Henery the Eighth I am, I am \/ Henery the Eighth I am \/ Second verse same as the first \/ I'm Henery the Eighth I am.''<\/dialogue>\n    <scene_description>Oda Mae bolts upright in her bed , her hands over her ears .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>Okay! Okay! I'll go. You just shut your mouth.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK CITY BUS - ESTABLISHING SHOT - DAY<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS - DAY<\/stage_direction>\n    <scene_description>Sam and Oda Mae are sitting at the rear of a crowded bus . She appears to be talking to herself .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>I ca n't believe I'm doin' this. I got ta be a crazy lady goin' into the city with you. I never go there. What the hell you doin' in my life, huh? Why me?<\/dialogue>\n    <scene_description>Several people move away . OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOFT BUILDING - DAY<\/stage_direction>\n    <scene_description>Oda Mae approaches the loft building and buzzes Molly 's apartment . She waits a few moments .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>There's nobody there.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Just wait.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>No, sir. I did what I promised. I said I'd come and I'm here. I did n't say anything ` bout waitin'.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Just one more time. Please. It's a big place.<\/dialogue>\n    <scene_description>Oda Mae turns to leave . Sam , desperate , starts to sing .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>`` Ninety - nine bottles of beer on the wall, ninety nine bottles of beer,''<\/dialogue>\n    <scene_description>Oda Mae stops . She turns back to the buzzer and rings once more . Suddenly Molly answers .<\/scene_description>\n    <character>MOLLY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Hello, who's there?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <parenthetical>( nervous . )<\/parenthetical>\n    <dialogue>Do n't go away. It's Oda Mae Brown. I called you last night. Your friend Sam says you got ta talk to me.<\/dialogue>\n    <scene_description>There is a CLICK as Molly hangs up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOFT - DAY<\/stage_direction>\n    <scene_description>Molly walks away from the intercom , shaken . Suddenly we hear Oda Mae yelling up from the street .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hey you, Molly! You got ta listen to me! this is for real. Sam is here. He needs to talk to you.<\/dialogue>\n    <scene_description>Molly walks over to the window and looks down . Oda Mae is standing in the street looking up . She is calling out at the top of her lungs . Molly pulls back . She is afraid .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>He says remember the starfish at Montego Bay? Remember the picture he took a' you in Reno?<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Remember his green underwear, the pair you wrote your name on? She wrote her name on'em?<\/dialogue>\n    <scene_description>Molly tenses . There is a sign of recognition in her eyes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRIBECA STREET - DAY<\/stage_direction>\n    <scene_description>Oda Mae is standing by the curb and shouting up to Molly 's fifth floor window . Several people stare at her curiously . She turns to them .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>Hey, do you mind? This here's a private conversation.<\/dialogue>\n    <scene_description>The people turn away . She turns back to the window . Sam prompts her .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Ask her about the sweater in the closet, the one she knitted that's too big.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>What about the sweater you knitted that was too big?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Four sizes.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Four sizes.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>She could n't throw it out. I saw. I was there.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>You could n't throw it out. He saw. He was there. This is for real. Hey do you hear me up there?<\/dialogue>\n    <scene_description>A WORKMAN peers out of a second story window .<\/scene_description>\n    <character>WORKMAN<\/character>\n    <dialogue>I hear you.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>I'm not talkin' to you.<\/dialogue>\n    <character>WORKMAN<\/character>\n    <dialogue>Have n't you ever heard of phones?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Kiss my behind!<\/dialogue>\n    <parenthetical>( yelling again . )<\/parenthetical>\n    <dialogue>Listen, I'm not gon na stand here all day.<\/dialogue>\n    <character>WORKMAN<\/character>\n    <dialogue>Thank God.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Forget it. I've had enough of this.<\/dialogue>\n    <scene_description>Oda Mae is about to walk away when the entrance door opens . Molly steps outside . Oda Mae sees her and stops .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Molly?<\/dialogue>\n    <parenthetical>( Molly nods . )<\/parenthetical>\n    <dialogue>I'm Oda Mae Brown.<\/dialogue>\n    <parenthetical>( walking over and shaking her hand . )<\/parenthetical>\n    <dialogue>You can call me Oda.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOHO LUNCHEONETTE - DAY<\/stage_direction>\n    <scene_description>Molly and Oda Mae are sitting in a booth staring at one another .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Why should I believe you? Why should I believe any of this?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Girl, if you think I'd come down here for the fun of it, you got another think comin'. This Sam of yours. I do n't know, lady. I mean, you ever hear a whole night of `` Henry the Eighth I am?''<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>He did that? That's how he got me to go out with him.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>And he cai n't carry a tune.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>I know. Oh God. This is all so crazy. I ca n't believe I'm talking to you like this. I do n't believe in these things. I do n't believe in life after death.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Tell her she's wrong.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>He says you're wrong.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>You're talking to him right now?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>What? You think I'm makin' it up?<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Where is he?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>How should I know? It's not like I can see him. I just hear his voice.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'm holding her hand.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>He says he's holding your hand.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>I'm sorry. I do n't believe you. Why are you doing this to me? I do n't believe a word you're saying. Sam is dead. He's dead.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'm holding her hand.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>He says he's holding your hand.<\/dialogue>\n    <scene_description>Molly 's hand jumps . Oda Mae looks at her . There is a long , poignant moment . Sam chokes up .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>God, I love her. I love her so much.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>He says he loves you. so much.<\/dialogue>\n    <character>MOLLY<\/character>\n    <parenthetical>( shaking her head . )<\/parenthetical>\n    <dialogue>No. He would never say that.<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>( his eyes brightening . )<\/parenthetical>\n    <dialogue>Ditto. Tell her `` ditto''.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Ditto? What's that mean, ditto?<\/dialogue>\n    <scene_description>Molly starts , an expression of true astonishment shining in her eyes .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Sam?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOFT - DAY<\/stage_direction>\n    <scene_description>Molly is pressed up against the edge of the couch listening nervously as Oda Mae speaks . Sam wanders around the room , anxiously .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>To tell the truth, I do n't know how I'm doin' it. In fack, confidentially, nothin' like this never happened to me before. Now, all a sudden, I ca n't turn it off.<\/dialogue>\n    <parenthetical>( she sees a photo of Sam . )<\/parenthetical>\n    <dialogue>Is this you? Is this him?<\/dialogue>\n    <scene_description>They both say `` yes '' at the same time .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <parenthetical>( continuing ; to Sam . )<\/parenthetical>\n    <dialogue>Hazel eyes, huh? You sound like they'd be blue.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>I do n't understand. Why did he come back? Why is he still here?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Cause he's stuck, that's why. He's between worlds. It happens sometimes, when their spirits get out too quick. He thinks he still has stuff t ` do down here.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Come on Oda Mae, stop rambling.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Oh, oh, now he's got an attitude.<\/dialogue>\n    <scene_description>Molly stares at Oda Mae .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I do not have an attitude.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <parenthetical>( to Molly . )<\/parenthetical>\n    <dialogue>We're having a discussion.<\/dialogue>\n    <parenthetical>( back to Sam . )<\/parenthetical>\n    <dialogue>Whataya mean, you're not angry? If you were n't angry you would n't be raisin' your voice like that.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Goddamn it, Oda Mae!<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Ah ah, baby. That does it. I do n't talk to anybody who takes the Lord's name in vain.<\/dialogue>\n    <scene_description>She stands up , as if to leave . Molly watches with growing discomfort as Oda Mae seems to be talking to herself .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Relax, Oda Mae.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>You relax. You're the dead one. You want my help, then you apologize. Nobody talks to me like that, understand?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Jesus Christ!<\/dialogue>\n    <character>ODA MAE<\/character>\n    <parenthetical>( to Molly . )<\/parenthetical>\n    <dialogue>Excuse me, girl. Time for me to go.<\/dialogue>\n    <scene_description>Oda Mae heads for the door . Molly is confused .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>I do n't believe I'm watching this.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Damn it. All right. I apologize.<\/dialogue>\n    <scene_description>Oda Mae stops , pauses a moment , and walks back to the couch . Sam , relieved , paces back and forth . Oda Mae 's eyes follow his voice as Molly watches her curiously .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Please, Oda Mae, I need you to tell Molly what I'm saying. You got ta tell her word for word.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Monsieur has a message for you.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Molly, you're in danger.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>You ca n't tell her like that. And would you stop movin' all over the place? You're makin' me sick.<\/dialogue>\n    <scene_description>Molly looks concerned . Sam leans into Oda Mae .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Say it!<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>He's sayin' you're in danger.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Danger? What do you mean?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I know the man who killed me. Willie Lopez. I know where he lives.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>He says he knows the man who killed him, Willie Lopez. He's Puerto Rican.<\/dialogue>\n    <scene_description>Molly grows pale as she listens . Her forehead tightens .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Write it down.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Write it down.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You do it!<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Now I'm a secretary.<\/dialogue>\n    <scene_description>Oda Mae takes a card from her purse and grabs a pencil .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>321 Prospect Place. Apartment 4D.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>321? Hey, that's my neighborhood.<\/dialogue>\n    <scene_description>Oda Mae seems perplexed as she writes it down and gives it to Molly .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Molly, he's got my wallet and my key. He was in here.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>He's got his wallet and key. He was in here.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>In here?<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>( directly to Molly . )<\/parenthetical>\n    <dialogue>You have to go to the police. The Mugger was n't acting alone. It was a setup, Moll. I was murdered.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>He says he was set up, that he was murdered. He wants you to go to the police.<\/dialogue>\n    <scene_description>Molly stands up , afraid . Oda Mae stands up , too .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>I'm sorry. I do n't want nothin' to do with this.<\/dialogue>\n    <scene_description>Oda Mae heads for the door as Molly watches in a daze .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Where you going?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Do n't follow me! I've done all I'm gon na do.<\/dialogue>\n    <parenthetical>( opening the door . )<\/parenthetical>\n    <dialogue>I'm finished. And I ai n't comin' back. So do n't you come botherin' me again cause it's over. I mean it. This is it. Have a nice life. Have a nice death. I'm goin'.<\/dialogue>\n    <scene_description>She lets herself out . Sam just stands there as the door slams shut . OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - THAT NIGHT<\/stage_direction>\n    <scene_description>Carl is pacing nervously . He seems very upset . After a moment he approaches Molly . Sam is behind her .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Molly, there's no one on earth who'd like it to be true more than me, but you've got to be rational about this. I understand your desire to hold on to him, but this. this is absurd.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>It was real, Carl. She was real.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Listen to her, Carl, goddamn it. She needs some support here.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Molly, you're a grown woman. How can you believe some fortune teller from Brooklyn?<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>She was in touch with him.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>I do n't believe it, Molly. Not for a minute.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Come on, Carl. Open your mind.<\/dialogue>\n    <scene_description>Carl sits down beside her .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Carl, she knew things.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>What kind of things?<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>I told you, the picture in Reno, the starfish,. damn it, Carl.<\/dialogue>\n    <parenthetical>( with great difficulty . )<\/parenthetical>\n    <dialogue>She said Sam knew who killed him. That he was set up. murdered.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Oh boy. This is getting deranged. We're going off the deep end here.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Give him the address, Moll.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>She had a name, an address - Willie Lopez, 321 Prospect Place. She said he had Sam's wallet.<\/dialogue>\n    <scene_description>Sam smiles . Carl stands up . His voice begins to rise .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>This is sick. This is really sick. How can you swallow this crap? Who knows if this guy exists? Maybe she's just setting someone up.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>That's what I have to find out.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Find out? What are you talking about?<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Sam wants me to go to the police.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Sam wants you to go to the police? Molly! Jesus! Are you outta your mind? What are you gon na tell'em? Some storefront psychic's been getting messages from the dead? Do you know how that sounds? You're talkin' ghosts here, for God's sake.<\/dialogue>\n    <scene_description>Molly looks suddenly vulnerable .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>I'm sorry. This stuff just really gets to me.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>You do n't believe me. You do n't believe any of this, do you?<\/dialogue>\n    <character>CARL<\/character>\n    <parenthetical>( half heartedly . )<\/parenthetical>\n    <dialogue>I'm trying to, but. Look, if it'll make you sleep any better, I'll check it out, okay? Now why do n't you go to bed. Try and get some sleep.<\/dialogue>\n    <scene_description>Molly looks at Carl , annoyed . She does n't believe him for a second .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARL'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Carl , in his red Ford Mustang , is speeding up town . Sam is beside him in the front seat .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WILLIE'S BUILDING - NIGHT<\/stage_direction>\n    <scene_description>Carl steps into the lobby of Willie 's building . Sam follows , wide - eyed . He seems both intrigued and astounded by what Carl is doing . When Carl stops to read the apartment number on Willie 's mail box , Sam is thrilled .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Way to go, Carl!<\/dialogue>\n    <scene_description>Carl climbs the stairs two at a time and approaches Willie 's door . He bangs on it , loudly . ANGLE - THE DOOR opens a crack as Willie peers out . Carl pushes it hard and it opens the rest of the way . Willie steps back .<\/scene_description>\n    <character>WILLIE<\/character>\n    <dialogue>Carl, what're you doin' here?<\/dialogue>\n    <scene_description>Sam freezes as Willie addresses Carl by name . He can barely move .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( scared , in over his head . )<\/parenthetical>\n    <dialogue>Who've you been talking to?<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>Talking to? What the hell do you mean? What's going on?<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Some woman knows all about you. The murder, everything. Where's she getting it from, huh?<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>What the hell are you talking about? I have n't said a word.<\/dialogue>\n    <scene_description>Sam is staggered . His body is shaking .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>She knows your name, goddamn it! She knows where you live!<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>A lot of women know where I live.<\/dialogue>\n    <scene_description>Carl is fuming .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>This is n't a joke, man. You find that bitch, whoever she is, and. get rid of her, you hear me? I've got four million dollars stuck in that fucking computer. If I do n't get those codes, if that money's not transferred soon, I'm dead. If I lose Balistrari's money, we're both dead.<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>Tell him you only wash dirty money on the first of the month.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>What is wrong with you? Is everything a joke? You were supposed to steal his wallet. You were n't supposed to kill him. Was that a joke?<\/dialogue>\n    <character>WILLIE<\/character>\n    <parenthetical>( casually . )<\/parenthetical>\n    <dialogue>I did you a favor. Freebee.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Jesus!<\/dialogue>\n    <parenthetical>( sickened . )<\/parenthetical>\n    <dialogue>These are drug dealers, man.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Do n't blow this for me, Willie. I've risked my job here. I could go to jail. A hundred thousand of that money goes to me. Now give me Sam's key. I'll get that address book myself.<\/dialogue>\n    <scene_description>Willie goes to the desk drawer and takes out Sam 's key . Sam , unable to control himself , explodes in a fit of rage . Hauling back , he slugs Carl with all his might . His fist has no impact .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>You killed me, Carl. You had me killed. Look what you've done to me! Look what you've done!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>Carl is on the street heading back to his car . Sam is beside him , yelling right into his face . He is screaming and cursing at the top of his lungs but Carl does n't hear him .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>You fucker! You mother fucker! I had a life, Goddamn you. I had a life!<\/dialogue>\n    <scene_description>From the distance , we see Sam smashing into Carl . It is like hitting the air . For all of his rage and bluster , there is nothing he can do .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOFT BUILDING - DAY<\/stage_direction>\n    <scene_description>Molly , neatly dressed , exits her building and hails a cab . She hops inside . Seconds later she hops out again , yelling .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>You white fascist bigot. Who do you think you are? Bed Stuy's part of New York, you know. This is America.<\/dialogue>\n    <scene_description>The driver speeds off . Molly gives him the finger .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BROOKLYN STREETS - ELEVATED TRAIN - DAY<\/stage_direction>\n    <scene_description>Molly exits a subway station and walks toward 131st Street . She is the only white woman on the block and heads turn as she passes .<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Hey, Snow, you lost or sumpin'?<\/dialogue>\n    <scene_description>Molly pays no attention . Children run up to her , stare , and run away . TRACKING SHOT When Molly turns down 131st Street , the crowds disperse and she is all alone . There is a sense of menace in the air . A group of young men sitting on a stoop watches as she walks by . One of them whistles . Molly keeps walking .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. WILLIE'S BUILDING<\/stage_direction>\n    <scene_description>Molly sees Willie 's building . She walks into the dank lobby . It is dark and full of shadows . Leaning close , she examines the mail boxes . Willie 's name is there . She backs away , afraid .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVINGROOM - DAY<\/stage_direction>\n    <scene_description>A dresser drawer opens and a box labeled `` Sam 's Things - Valuable '' is slowly pulled out . A hand reaches inside it and extracts Sam 's address book . As THE CAMERA PULLS BACK , we see that it is Carl standing in Molly and Sam 's livingroom . Carl opens the book and quickly jots down a series of code numbers he finds in the back . His eyes sparkle with excitement .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - DETECTIVE'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Molly is sitting in a room opposite DETECTIVE SERGEANT THOMAS BEIDERMAN , 48 , and SERGEANT DOROTHY WALLACE , 29 . Both officers are staring at her as she speaks . She seems very uncomfortable .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Look, you've got ta believe me. I do n't even believe this stuff, myself. But this is real. Do you think I'd come here if it was n't real? You told me to come if I had any new information. Well, here I am.<\/dialogue>\n    <scene_description>The officers do n't respond .<\/scene_description>\n    <character>MOLLY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Do n't look at me like that. You guys use psychics all the time.<\/dialogue>\n    <scene_description>There is dead silence .<\/scene_description>\n    <character>MOLLY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Damn it. I know how this sounds. I hear myself saying it and I want to cringe. But this woman knew things she could n't have known, intimate details.<\/dialogue>\n    <character>WALLACE<\/character>\n    <dialogue>How intimate?<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Things Sam only said to me.<\/dialogue>\n    <character>WALLACE<\/character>\n    <parenthetical>( smirking . )<\/parenthetical>\n    <dialogue>Okay, let me get this straight. According to this psychic lady, there are ghosts and spirits all over the place, watching us all the time, huh?<\/dialogue>\n    <parenthetical>( she stands up . )<\/parenthetical>\n    <dialogue>I'm sorry. I've got important things to do.<\/dialogue>\n    <scene_description>She leaves the room . Molly gives her a dirty look and turns to Beiderman .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>I'm telling you. The killer's name is Willie Lopez. I've got his address. You've got to check it out.<\/dialogue>\n    <scene_description>Sgt. Beiderman gets up and looks over to Molly .<\/scene_description>\n    <character>SGT. BEIDERMAN<\/character>\n    <dialogue>Okay. You just wait here. Let me see if this guy's got a record.<\/dialogue>\n    <scene_description>He heads out of the room . Molly sits back with an air of enormous relief and gratitude . Sergeant Wallace comes into the room again and picks up a folder . Molly waits nervously . After a moment Sergeant Beiderman returns with a police file in his hands . Molly looks up at him , and then smiles at Wallace as she sees it . She feels vindicated . He lays the thick folder on the desk and opens it up . She hurries over to him . MUG SHOTS OF ODA MAE and reams of police paperwork . WIDEN as Molly stares at it all in sudden shock .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>What are you doing? Where's your file on Willie Lopez?<\/dialogue>\n    <character>SGT. BEIDERMAN<\/character>\n    <dialogue>There's no file for a Willie Lopez. He was probably some old boyfriend she was trying to get even with. This psychic woman's record goes back a long way. Fraud, numbers rackets, you name it. She's a real pro.<\/dialogue>\n    <scene_description>CUT BACK AND FORTH between the records and Molly 's stunned reaction . We see recent photos of Oda Mae and others going back to her youth . They are fascinating and revealing . We even see photos of her mother and grandmother . In addition , there are pages of arrest records and prison files .<\/scene_description>\n    <character>SGT. BEIDERMAN<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>1967. Shreveport, Louisiana. Forgery, selling false ID. Served one year. 1971. Baton Rouge. Arrested for fraud, numbers racketeering. Served ten months. 1974. Hattiesburg, Mississippi. Fraud, seven months. 1984. Albany, New York. Petty larceny. It goes on and on.<\/dialogue>\n    <scene_description>Molly is overwhelmed by the evidence .<\/scene_description>\n    <character>SGT. BEIDERMAN<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>This woman's a charlatan. You ca n't believe anything she said.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>This is n't possible. There were words, private things. How could she have known all that?<\/dialogue>\n    <character>SGT. BEIDERMAN<\/character>\n    <dialogue>They have ways.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Ways? What ways?<\/dialogue>\n    <character>SGT. BEIDERMAN<\/character>\n    <dialogue>They've got a million cons. A lot of times they read the obits. All she had to do was see the word `` banker''. Hell, they even go through your garbage to find things they can use, letters, old papers. They do n't need much.<\/dialogue>\n    <scene_description>Molly turns away .<\/scene_description>\n    <character>SGT. BEIDERMAN<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>I bet you threw stuff out, huh? It could have been anything. What about that underwear she knew all about?<\/dialogue>\n    <scene_description>Molly 's eyes widen .<\/scene_description>\n    <character>SGT. BEIDERMAN<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Green underwear. I'll bet she zeroed right in on that.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>No! She was real. She said things. She knew about a sweater I knitted, about songs we sang. She knew about this place we went, Montego Bay.<\/dialogue>\n    <scene_description>Molly begins to cry .<\/scene_description>\n    <character>SGT. BEIDERMAN<\/character>\n    <dialogue>I'm sorry. I know this is hard. People want so much to believe. They're grieving, vulnerable. They'd give anything for one last moment. money, insurance policies. Believe me, these people know what they're doing. Look, I know how you must feel. You know, you can press charges.<\/dialogue>\n    <scene_description>Molly shakes her head no . Sgt. Beiderman closes the file . Molly sits for a long time . She is in terrible pain .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Oh God, I wanted it to be Sam.<\/dialogue>\n    <scene_description>Sgt. Beiderman nods his head compassionately and then turns away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - LATE AFTERNOON (THE SAME DAY)<\/stage_direction>\n    <scene_description>Molly is sitting in her bedroom . The glow of the late afternoon sunlight casts long shadows across the bed . She seems deeply depressed and alone . Gradually her gaze falls on a jar sitting on the nightstand . In it is the penny Sam found when they were first working on the loft . A label on the jar says , `` For Luck ! '' In a moment of sudden rage , she picks it up and throws it against the wall . It SHATTERS on the floor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARL'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>The code from Sam 's address book , jotted on a piece of paper , is sitting beside Carl .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( excitedly . )<\/parenthetical>\n    <dialogue>God, let this be it!<\/dialogue>\n    <scene_description>Anxiously , Carl punches the code into a computer and , suddenly , Sam 's old accounts appear on the screen . A look of relief wafts across Carl 's face .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Oh God, yes!<\/dialogue>\n    <scene_description>Carl is staring at the same accounts Sam was examining the afternoon before he was killed , the accounts with too much money in them . Carl picks up the phone and punches a number . Someone answers .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Tony, this is Carl. I'm all set. We're fine. Everything's fine. Just tell me what you want me to do.<\/dialogue>\n    <scene_description>A VOICE on the other end begins to speak .<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>We want you to transfer the money from the 12 separate accounts into a single account under the name `` Rita Miller''. Tomorrow, at five minutes before closing, 3:55 p. m., transfer the full account to First Island Bank of Nassau, registry number 486 - 9580.<\/dialogue>\n    <scene_description>Carl writes it all down .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Call us when it's done.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Tell Mr. Balistrari there wo n't be any problems.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I'll do that.<\/dialogue>\n    <scene_description>Carl hangs up . He seems deeply relieved . REVEAL SAM He is standing in front of Carl , watching . Quickly , Carl begins punching commands into the computer . He is setting up the dummy account . Rita Miller , # 926 - 31043 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOFT - THE SAME NIGHT<\/stage_direction>\n    <scene_description>Molly , in a short terrycloth robe , is sitting in a chair . A magazine is on her lap but she is staring vacantly into the loft . She seems lost in the vast space . Sam is pacing back and forth . There is a melancholy look in his eyes .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Why ca n't you hear me, Molly? I need you.<\/dialogue>\n    <scene_description>Suddenly the BELL rings . Molly jumps . Molly 's finger is on the intercom . She seems unsettled .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Who's there?<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Molly, it's Carl. Can I come up?<\/dialogue>\n    <scene_description>Sam freezes . Molly is surprised . She hesitates a moment and then pushes the buzzer to let him in . We hear Carl bounding up the stairs .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Do n't open it. He's a murderer, Moll!<\/dialogue>\n    <scene_description>There is a KNOCK . Molly opens the door . Carl seems buoyant , almost celebratory . He has a bag of fruit in his hand . He is still in a suit and tie .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Hi. Thanks. I know it's late. I'm sorry to disturb you. I felt bad about last night. This supernatural stuff just makes me so uncomfortable. I do n't even read horoscopes.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Do n't worry. It's okay.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>No it's not. You needed me to hear you and I did n't and that was wrong. I want you to know that I'm your friend, Moll.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You were never our friend.<\/dialogue>\n    <character>CARL<\/character>\n    <parenthetical>( holding out a paper bag . )<\/parenthetical>\n    <dialogue>Hey, I brought you some Japanese apple pears. I know you like them.<\/dialogue>\n    <character>MOLLY<\/character>\n    <parenthetical>( taking the bag . )<\/parenthetical>\n    <dialogue>Oh, that's so sweet.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Listen, can I come in for a minute? I wo n't stay long. I've had one of those days. Maybe a cup of coffee?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>No, Moll. Do n't do it. Do n't let him in!<\/dialogue>\n    <character>MOLLY<\/character>\n    <parenthetical>( hesitating . )<\/parenthetical>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVINGROOM - NIGHT<\/stage_direction>\n    <scene_description>Carl , in shirt sleeves and Molly in her robe , are sitting on the couch drinking coffee . We notice that Carl is wearing yellow suspenders . Sam is beside himself , watching them .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Are you alright? You look nervous, upset.<\/dialogue>\n    <character>CARL<\/character>\n    <parenthetical>( glancing at her thighs . )<\/parenthetical>\n    <dialogue>What can I tell you. It's been tough. Hell, you know. It still hurts so much.<\/dialogue>\n    <parenthetical>( he poses sadly . )<\/parenthetical>\n    <dialogue>Then on top of it all. it's the responsibilities. They've given me my own accounts, but I've had no time to adjust. My mind has been reeling.<\/dialogue>\n    <scene_description>Molly reaches out and pats his arm . There is an awkward pause .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Where were you this morning? I thought you were coming to the bank to sign those papers.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>I did n't have time.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I went to the police, Carl.<\/dialogue>\n    <scene_description>Sam looks at her , amazed . Carl , on the other hand , stiffens . He laughs nervously .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>You're kidding. You really did it? I do n't believe. What did you tell them? What did they say?<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>You were right, you know. I felt like such a fool. They brought out a file on this psychic woman ten inches thick. It was awful.<\/dialogue>\n    <character>CARL<\/character>\n    <parenthetical>( relieved . )<\/parenthetical>\n    <dialogue>A ripoff artist, huh?<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>( shocked . )<\/parenthetical>\n    <dialogue>Molly, no.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>The sad part is that I believed her. I believed her, Carl.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>It was all a sham.<\/dialogue>\n    <character>CARL<\/character>\n    <parenthetical>( relaxing . )<\/parenthetical>\n    <dialogue>Sometimes we need to believe.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Why? I was a fool. I do n't believe anything anymore. Why would people do such things?<\/dialogue>\n    <scene_description>Sam is devastated .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( milking it . )<\/parenthetical>\n    <dialogue>It's hard to face reality, Moll, the hard cold facts of it. What you have to remember is the love you felt. That's what's real. You have to remember how good Sam was. How much he loved you.<\/dialogue>\n    <scene_description>Molly holds back tears . Carl reaches out tenderly and strokes her hair .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>You were everything to him, Molly. You were his life.<\/dialogue>\n    <character>MOLLY<\/character>\n    <parenthetical>( finally crying . )<\/parenthetical>\n    <dialogue>I feel so alone.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>You're not alone. You're young. You've got so much talent. You're fantastically gorgeous.<\/dialogue>\n    <character>MOLLY<\/character>\n    <parenthetical>( appreciating his words . )<\/parenthetical>\n    <dialogue>Oh God, I do n't know what's real anymore. I do n't know what to think.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Just think about Sam. Think about what he meant to you, the years you had together, how wonderful they were.<\/dialogue>\n    <scene_description>Carl glides his hand slowly , lovingly across her cheek .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Let your feelings out.<\/dialogue>\n    <scene_description>Almost imperceptibly , his hand moves down to the nape of her neck . As she moves , her robe opens slightly . Carl notices , glimpsing her nakedness beneath it . Sam notices , too . He freezes .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Life turns on a dime, Moll. People think they have forever, that they'll always have tomorrow. But it's not true. Sam taught us that. We have to live for now, for today.<\/dialogue>\n    <scene_description>Molly can barely contain her tears . Carl moves toward her moist cheeks and kisses them gently . Slowly , he guides his lips to her neck and kisses it , too . It is all hateful and sensual at the same time . Sam turns away . Molly feels Carl 's tenderness , needs it . She does not notice his hand reaching for the cord on her robe and slowly pulling it toward him . With a little tug the cord unravels and the robe falls open . Molly is confused , aroused , not sure what to do . She starts to pull it closed . He holds her hand . For a moment they do nothing . Then his fingers reach for her thigh . Her body quivers . Carl feels her openness and pulls closer , his hand rising gently up her naked body . Molly 's eyes close . She says nothing .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>OMITTED ANGLE Sam charges wildly at the couch and begins flailing uncontrollably at the two of them . Unexpectedly his foot kicks out and hits a framed photograph of him and Molly that 's sitting on an end table . The picture CRASHES to the floor , the glass SHATTERING . Molly jumps up , the mood suddenly broken . She sees the photo and recoils . Carl reaches for her . She backs away . Sam is stunned by what has happened . He jumps up and tries kicking over another picture but nothing moves . His foot goes right through it . Molly looks at Carl , drying her tears .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>I ca n't. I'm sorry. I ca n't. It's too soon. You've been great Carl, but. I need you to leave. Please. I need you to.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Sure. It's okay. I understand. I really do.<\/dialogue>\n    <scene_description>She reaches out and takes his hand .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Look, what if we have dinner tomorrow night? Just talk. Can I interest you in that?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>NO!<\/dialogue>\n    <scene_description>Molly hesitates a moment and then nods her head `` yes '' . Carl smiles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY STATION - NIGHT<\/stage_direction>\n    <scene_description>Sam rushes madly down a flight of stairs into a subway station . A train is just leaving . He jumps on board .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY TRAIN - NIGHT<\/stage_direction>\n    <scene_description>Sam begins quickly casing the aisles , looking for something . It is not there . Another train can be seen speeding past the window . Sam takes a running leap and jumps onto it , passing through the walls . OMITTED ANGLE - SAM disappointed . Suddenly , an express train passes alongside his local . Sam sticks his face inside it . Suddenly , he smiles and rushes onto it . ANGLE Sam does not have to stand there long . Within seconds , the terrifying Ghost he had seen before comes charging at him . We notice him more clearly now . He is wearing a dark blue pea coat . There is a grizzled look about him . He has stained teeth and seems perpetually unshaven .<\/scene_description>\n    <character>GHOST<\/character>\n    <dialogue>Get off my train!<\/dialogue>\n    <scene_description>This time Sam does not back away . He holds his ground . The Ghost lets fire every trick in his arsenal . Posters come flying off the walls . A bag of groceries topples from a woman 's arms , an old man 's cane flies across the aisle , a boy 's Mets cap flips off his head . People on the train move quickly to other cars . Unable to frighten him , the Ghost kicks Sam in the stomach . Sam recoils , feeling it , but gets back up again . He is angry now . He begins raging at the other Ghost . The Ghost is shocked .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Teach me how you do that! I want to learn! I'm not leaving til you teach me!<\/dialogue>\n    <scene_description>The Ghost , exhausted , looks up at him and smiles with appreciation .<\/scene_description>\n    <character>GHOST<\/character>\n    <dialogue>You stubborn asshole.<\/dialogue>\n    <scene_description>Sam nods in agreement . SAM AND THE GHOST sitting in the corner of a deserted subway station . Sam is trying desperately to push a bottle cap with his finger .<\/scene_description>\n    <character>GHOST<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>What are you doing? What are you doing? You ca n't push it with your finger. You're dead.<\/dialogue>\n    <scene_description>The Ghost demonstrates , kicking a garbage pail onto its side . Sam ca n't quite tell how he did it .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I do n't get it.<\/dialogue>\n    <character>GHOST<\/character>\n    <dialogue>It's your mind, you idiot. It's all in the mind. The problem is you think you're still real, that you're standin' on the floor, that you're wearin' those clothes. Bullshit! You do n't even have a body anymore. It's all up here. You wan na move things, you got ta use your mind. You got ta focus! You hear what I'm saying?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>How do you focus?<\/dialogue>\n    <character>GHOST<\/character>\n    <dialogue>I do n't know how you focus! You just focus!<\/dialogue>\n    <scene_description>With surprising energy , the Ghost flicks a bottle cap and sends it shooting across the subway platform .<\/scene_description>\n    <character>GHOST<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>It's all in the anger. You got ta direct it. You got ta channel it.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'm angry all the time. It does n't do a thing.<\/dialogue>\n    <character>GHOST<\/character>\n    <dialogue>Cause you're angry all over. You got ta be angry here, in the pit of your stomach. Bring it down here. Let it explode.<\/dialogue>\n    <parenthetical>( he makes an explosive gesture . )<\/parenthetical>\n    <dialogue>It's like a reactor, you know. Pow!<\/dialogue>\n    <scene_description>He kicks a Coke can toward Sam . Sam tries to kick it back and misses . The Ghost laughs . Sam gets angry . He tries again and falls on his head . The Ghost laughs louder . Now Sam is really angry . We see him forcing the anger down into his stomach . He holds still for a moment and then kicks at the can with all his might . To his shock and amazement , it sails right through the Ghost 's head . The Ghost smiles .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I did it!<\/dialogue>\n    <character>GHOST<\/character>\n    <dialogue>Way to go.<\/dialogue>\n    <scene_description>SAM practicing . He smashes at an abandoned tennis shoe with his fist . Nothing happens .<\/scene_description>\n    <character>GHOST<\/character>\n    <dialogue>From your gut. What do I keep tellin' you?<\/dialogue>\n    <scene_description>Sam 's stomach bulges . He tries again . Nothing .<\/scene_description>\n    <character>GHOST<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Give it time! What else have you got?<\/dialogue>\n    <scene_description>Undaunted , Sam tries once more . This time the tennis shoe moves . The Ghost nods his head approvingly . Sam is thrilled .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>How long have you been here?<\/dialogue>\n    <character>GHOST<\/character>\n    <dialogue>Since they pushed me.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Someone pushed you?<\/dialogue>\n    <character>GHOST<\/character>\n    <dialogue>Yeah, someone pushed me!<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>GHOST<\/character>\n    <dialogue>What? You do n't believe me? You think I fell? You think I jumped? Well, fuck you!<\/dialogue>\n    <parenthetical>( an unexpected rage starts to build . )<\/parenthetical>\n    <dialogue>It was n't my time! I was n't supposed to go! I'm not supposed to be here!<\/dialogue>\n    <scene_description>Venom spews from the Ghost 's mouth . Suddenly he rams a cigarette machine full force with his head . The glass SHATTERS and packs of cigarettes scatter everywhere . He throws himself on top of them with terrible longing .<\/scene_description>\n    <character>GHOST<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>I'd give everything for a drag. Just one drag.<\/dialogue>\n    <scene_description>He rolls and wallows in terrible frustration , tossing the cigarettes in all directions . Suddenly he looks up and sees Sam . He is unable to control his fury .<\/scene_description>\n    <character>GHOST<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Who the hell are you? Why are you hounding me like this? Leave me alone.<\/dialogue>\n    <scene_description>AN EXPRESS TRAIN is shooting through the station . The Ghost throws himself into it and in an instant he is gone . OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY STATION - NIGHT<\/stage_direction>\n    <scene_description>Sam , all alone , walks through the station . Suddenly , he reaches out and pushes a garbage can lid . It swings back and forth . He is delighted . A beer can is sitting on a bench . He pushes it off , watching it roll across the platform with childlike glee . Looking up , Sam sees an advertisement for Market Security Bank and Trust . He stares at it with great interest . `` Special Banking for Special People . We make it easy for you . '' Something registers in Sam 's eyes . He yells and jumps straight up , hitting a subway sign with his finger . With great excitement , he runs for the stairs and rushes from the station . OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEANCE ROOM - NIGHT<\/stage_direction>\n    <scene_description>ORTISHA JONES , a black woman with brassy red hair , is sitting at Oda Mae 's seance table surrounded by several of her relatives . Clara and Louise stand behind Oda Mae helping with the ritual . Oda Mae goes into her trance . ANGLE A GROUP OF GHOSTS is milling behind Oda Mae . Sam comes barging into the room and looks at them in amazement .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>What the hell?<\/dialogue>\n    <scene_description>Oda Mae , startled , jumps up in her chair . Everyone else jumps , too . Clara and Louise look worried .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>Sam?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>What is all this? What's goin' on?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>What'd you do, tell every spook in town about me? I got spooks from out of town here. There's stuff goin' on you would n't believe. I ca n't hardly believe it myself.<\/dialogue>\n    <scene_description>Ortisha and her relatives look up , confused .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Oda Mae. You're doing it. This is for real. How do you like that?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>I do n't.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Come on. Look at this. You're doing great.<\/dialogue>\n    <scene_description>One of the GHOSTS standing in the background butts in .<\/scene_description>\n    <character>GHOST<\/character>\n    <dialogue>Can you hurry this up? My husband's in the waiting room.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I need your help, Oda Mae. There's something we need to do.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Forget it. I'm not doin' anything. You're holdin' on to a life that do n't want you no more. Give it up.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Give it up? I'm already dead.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Dead, yeah, but you ai n't finished dyin'. Give up the ghost.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>And how am I supposed to do that?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>You're asking me?<\/dialogue>\n    <scene_description>Ortisha looks at Oda Mae . She has no idea what 's going on .<\/scene_description>\n    <character>ORTISHA<\/character>\n    <dialogue>Are you speaking to me?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Does it look like I'm speakin' to you?<\/dialogue>\n    <parenthetical>( continuing ; to Sam . )<\/parenthetical>\n    <dialogue>So, are you gon na leave or not? I've got work to do.<\/dialogue>\n    <scene_description>Ortisha is totally confused . Oda Mae turns back to her .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>What's a matter? You're supposed to be concentrating. How do you expect me to do this if you're not concentrating? Okay then. You ready? Let's do it.<\/dialogue>\n    <scene_description>ANGLE Oda Mae and everyone in the room gets very quiet . One of the ghosts draws close . Oda Mae 's eyes roll up into her head . Then , suddenly , an extraordinary thing occurs . We see the spirit pull back and dive right into Oda Mae . Oda Mae gulps . Her nostrils flare . Her eyes bulge .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>Oh, Lord! Stop! Whatcha doin' to me?<\/dialogue>\n    <scene_description>Oda Mae 's body goes into bizarre convulsions as the Ghost tries to move inside her . She looks strangely stuffed and enormously uncomfortable . Sam and the others watch in astonishment as she tries to speak , but nothing comes out . Then suddenly the GHOST speaks through Oda Mae .<\/scene_description>\n    <character>ORLANDO<\/character>\n    <parenthetical>( screaming . )<\/parenthetical>\n    <dialogue>Ortisha?!<\/dialogue>\n    <scene_description>Ortisha and her relatives jump up in amazement .<\/scene_description>\n    <character>ORTISHA<\/character>\n    <parenthetical>( excitedly . )<\/parenthetical>\n    <dialogue>Orlando! Is that you?<\/dialogue>\n    <character>ORLANDO<\/character>\n    <parenthetical>( disoriented . )<\/parenthetical>\n    <dialogue>Ortisha, where are you? I ca n't see too good.<\/dialogue>\n    <character>RELATIVES<\/character>\n    <dialogue>Here! She's here!<\/dialogue>\n    <character>ORTISHA<\/character>\n    <dialogue>In front of you! I'm right here!<\/dialogue>\n    <scene_description>Orlando suddenly zeros in on Ortisha . His eyes widen .<\/scene_description>\n    <character>ORLANDO<\/character>\n    <dialogue>Mother of God, what've you done to your hair!?<\/dialogue>\n    <scene_description>Ortisha smiles excitedly .<\/scene_description>\n    <character>ORTISHA<\/character>\n    <dialogue>Orlando, do you like it? It's Autumn Sunrise.<\/dialogue>\n    <scene_description>Suddenly Oda Mae 's body begins to shake wildly and her voice booms out , screaming with all her might .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>Get out of here, you little shit!<\/dialogue>\n    <scene_description>With frightening speed , she sends the spirit catapulting out of her body . Clara and Louise jump up . Oda Mae is shaking .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Lord oh Lord, do n't you ever do that to me!<\/dialogue>\n    <character>ORTISHA<\/character>\n    <parenthetical>( confused . )<\/parenthetical>\n    <dialogue>Orlando!?<\/dialogue>\n    <scene_description>ANGLE ORLANDO He is lying on the floor , exhausted .<\/scene_description>\n    <character>ORLANDO<\/character>\n    <dialogue>What happened to me? I can barely move.<\/dialogue>\n    <character>GHOST<\/character>\n    <dialogue>You should know better than to try that. It's not worth it. It'll wipe you out for days.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>That was incredible, Oda Mae.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Never again. Never.<\/dialogue>\n    <character>ORTISHA<\/character>\n    <dialogue>Where's Orlando?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>He spoke through you. It was amazing.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>No more, uh uh, no more.<\/dialogue>\n    <character>ORTISHA<\/character>\n    <dialogue>What happened to Orlando? Where'd he leave the insurance policy?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You're great, Oda Mae! You're a real medium. It's what you were born for.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>I want everybody out.<\/dialogue>\n    <character>ORTISHA<\/character>\n    <dialogue>Orlando?<\/dialogue>\n    <scene_description>Ortisha looks around the room , befuddled . Clara and Louise are n't sure what to do .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>Now!<\/dialogue>\n    <scene_description>Ortisha and her relatives scurry out fast . The ghosts , too , begin passing through the wall . Oda Mae lays her head on the table . Suddenly her whole body begins heaving . She is starting to cry . Sam is surprised .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Oda Mae, what's wrong?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Out! I said out! That means you, too!<\/dialogue>\n    <scene_description>Sam hesitates a moment and then respectfully follows the others through the wall . OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEANCE ROOM - NIGHT<\/stage_direction>\n    <scene_description>Clara knocks on the seance room door and peeks in .<\/scene_description>\n    <character>CLARA<\/character>\n    <dialogue>Oda Mae, there's a man here who says he has to see you right away.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>I ai n't seein' nobody.<\/dialogue>\n    <scene_description>Willie pushes his way into the room . Clara is n't sure what to do . Oda Mae looks up . She does not know him .<\/scene_description>\n    <character>WILLIE<\/character>\n    <dialogue>Are you the one that can talk to the dead?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>I beg your pardon! I'm not seeing customers right now.<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>I said I need to know if you're the one.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>I'm the one. But not now.<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>This is important. I have a friend. He died recently. Some say he was mugged. I think he was murdered.<\/dialogue>\n    <scene_description>Oda Mae stares at him curiously .<\/scene_description>\n    <character>WILLIE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>I'm told you can contact people like that. Is that true?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>It's been known to happen. But it's not gon na happen now, so come back later.<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>I ca n't wait til later.<\/dialogue>\n    <scene_description>He sits down across from Oda Mae and shows no signs of leaving . Oda Mae observes him quietly for a moment .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>What's your friend's name?<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>Good question. Why do n't you tell me?<\/dialogue>\n    <scene_description>Oda Mae glares at him .<\/scene_description>\n    <character>WILLIE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>You're the psychic, right?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>This ai n't no guessin' game.<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>Then what is it, lady?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Lookit, I do n't know what your trouble is.<\/dialogue>\n    <parenthetical>( getting nervous . )<\/parenthetical>\n    <dialogue>Who are you?<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>You're the mindreader. I hear you've been tellin' people about me for days. What's my name?<\/dialogue>\n    <scene_description>ANGLE - ODA MAE confused and uncomfortable . Sam comes wandering back into the room . His eyes bulge .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Willie!<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Willie!?<\/dialogue>\n    <scene_description>Willie sits straight up in his chair , amazed .<\/scene_description>\n    <character>WILLIE<\/character>\n    <dialogue>How'd you know that?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Because I'm psychic.<\/dialogue>\n    <scene_description>With a sudden thrust , Oda Mae sends her foot shooting into Willie 's balls . As he recoils she knocks the table into his lap and rushes for the closet . We see her barricade herself in the hidden chamber . Willie , shaking , scrambles to his feet and , before Sam can stop him , BLASTS his gun at the closet door . It is riddled with bullets . Sam screams out . Willie runs to the side door and escapes to the street . Clara and Louise come rushing in . Sam charges into the closet and sees that Oda Mae is safe behind the false door . Then he hurries to the street . OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>Sam rushes to the sidewalk and looks in all directions . Willie is nowhere to be seen . He hurries back to Oda Mae . OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEANCE ROOM - NIGHT<\/stage_direction>\n    <scene_description>The room is a disaster area , full of hysterical women . Oda Mae is being dragged from the closet , unhurt but in a state of shock .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>He tried to kill me! Why? Why?<\/dialogue>\n    <scene_description>No one answers .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Talk to me!<\/dialogue>\n    <scene_description>Her sisters start talking but she shoos them away .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Oda Mae, we're in trouble.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>We're in trouble? Who's we? You're already dead.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I can stop them. But I ca n't do it alone. You've got ta help me.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Help you? It's me they're tryin' to kill.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You're right. And they'll be back. I'm your only chance.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Why do n't you go find a haunted house and rattle some chains.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I need you Oda Mae. I need you to get some fake ID's.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Fake ID's? What for?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Help me now, they'll never bother you again. I promise.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <parenthetical>( stopping , thinking . )<\/parenthetical>\n    <dialogue>Help you? Whataya talking about exactly? What else do I have to do?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK STREET - DAY<\/stage_direction>\n    <scene_description>Oda Mae , dressed to the hilt , is walking with Sam toward the main branch of Market Security Bank &amp; Trust . She seems nervous and upset .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>This is crazy. This ai n't gon na work. I do n't know nothin' ` bout bankin'.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'll teach you. You'll learn fast.<\/dialogue>\n    <scene_description>As they reach the entrance of the bank , they pass a pair of NUNS collecting money to build a shelter for the homeless . One of them holds out a collection box . Oda Mae passes her by , carefully avoiding eye contact .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARKET SECURITY BANK &amp; TRUST - DAY<\/stage_direction>\n    <scene_description>Oda Mae enters Sam 's bank . She seems completely out of place . Sam , walking beside her , directs her every move .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>See where it says `` New Accounts''? That's where you're going.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <parenthetical>( paranoid . )<\/parenthetical>\n    <dialogue>I'm not givin''em any money.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Just do what I say.<\/dialogue>\n    <scene_description>Oda Mae approaches the New Accounts desk . She seems very uptight . A woman OFFICER behind the desk looks up at her .<\/scene_description>\n    <character>OFFICER<\/character>\n    <dialogue>Can I help you?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Tell her you're here to fill out a signature card for a new account.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>I'm here to fill out a signature card for a new account.<\/dialogue>\n    <character>OFFICER<\/character>\n    <dialogue>And do you know your account number?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Yes. 926 - 31043.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Yes. 926 - 31043.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Rita Miller.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>OFFICER<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Tell her Rita Miller.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Rita Miller.<\/dialogue>\n    <character>OFFICER<\/character>\n    <parenthetical>( eyeing her oddly . )<\/parenthetical>\n    <dialogue>Did n't they have you sign a card when you opened the account?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Tell her Carl Bruner opened it for you by phone and asked you to come in today.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Carl Bruner opened it for me. He asked me to come in today.<\/dialogue>\n    <character>OFFICER<\/character>\n    <dialogue>Ah.<\/dialogue>\n    <scene_description>The Officer checks out the name and account number on her computer screen . It all seems to jive . She pulls out a card from her desk and hands it to Oda Mae . Oda Mae stares at it .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Just sign you name at the bottom on the first blank line.<\/dialogue>\n    <scene_description>Oda Mae nods and starts to sign `` Oda Mae '' . Sam stops her .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>No, no, no. Rita Miller.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <parenthetical>( to the officer . )<\/parenthetical>\n    <dialogue>Can I have another one please? I signed the wrong name.<\/dialogue>\n    <scene_description>Sam hits his forehead with his hand . The Officer gives her another card . Oda Mae signs it .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Tell her to see that it goes right up to the third floor file since you have a transaction to make.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>I need you to put that in the third floor file cause I got a transfusion to make.<\/dialogue>\n    <character>OFFICER<\/character>\n    <dialogue>A what?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>You know what I mean.<\/dialogue>\n    <parenthetical>( innocently . )<\/parenthetical>\n    <dialogue>Umm, can I keep the pen?<\/dialogue>\n    <character>OFFICER<\/character>\n    <parenthetical>( surprised , not sure what to say . )<\/parenthetical>\n    <dialogue>. uh, sure.<\/dialogue>\n    <scene_description>Oda Mae , delighted , walks away smiling and gives the officer a wave . She is loving this .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>Thanks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARL'S OFFICE<\/stage_direction>\n    <scene_description>The clock on Carl 's wall says 3:40 . He seems anxious . The phone RINGS . Carl jumps . He pushes down the speaker button .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Hello. Carl Bruner speaking.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Carl?<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Mr. Balsitrari<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Balistrari? Carl, it's me, John. I've got the info on the Bradley portfolio.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Oh yeah, yeah. That's great. I'll pick it up later.<\/dialogue>\n    <scene_description>He hangs up . His hand is shaking .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARKET SECURITY BANK &amp; TRUST - DAY<\/stage_direction>\n    <scene_description>Sam and Oda Mae approach a fancy part of the bank housing administrative personnel . They approach a GUARD who is standing there .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Tell the guard you're here to see Lyle Furgeson.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Lyle Furgeson, please.<\/dialogue>\n    <character>GUARD<\/character>\n    <dialogue>Do you have an appointment?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>No. I'm here for the fun of it.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Do n't say that! Tell him Rita Miller's here.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Tell him Rita Miller's here.<\/dialogue>\n    <character>GUARD<\/character>\n    <dialogue>Just one moment, please.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Do n't embellish.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Yes, Sir.<\/dialogue>\n    <character>GUARD<\/character>\n    <parenthetical>( turning around . )<\/parenthetical>\n    <dialogue>Excuse me?<\/dialogue>\n    <scene_description>She waves him on .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>Now listen, this guy Furgeson's a real jerk.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Why are you whispering?<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>( he does n't know . )<\/parenthetical>\n    <dialogue>Just be quiet and listen. I've known him five years and he still thinks my name's Paul.<\/dialogue>\n    <scene_description>We see the Guard leaning over Mr. Furgeson 's desk . FURGESON looks up and sees Oda Mae . He shrugs his shoulders .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>He's a social moron. You do n't have to worry about anything. Tell the guard Furgeson knows you. You spent time with him and his wife Shirley at the Brewster's Christmas party last year.<\/dialogue>\n    <scene_description>The Guard comes back .<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>What is this regarding?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>What? He does n't remember me? We were together at the Brewster's Christmas party. With his wife Shirley. They had that lovely tree. all those presents. Why, I'll never forget all those beautiful.<\/dialogue>\n    <scene_description>Sam pokes her . She yelps , surprised , and glances around . The Guard gives her an odd look .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Oops. Gas.<\/dialogue>\n    <scene_description>She forces a smile . He smiles back and then goes over to Mr. Furgeson .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>This'll be easy. Furgeson was so drunk at that party, he could have had a conversation with Tina Turner and he would n't remember.<\/dialogue>\n    <scene_description>The Guard whispers in Furgeson 's ear . Furgeson appears totally flummoxed . He looks up at Oda Mae , embarrassed , and waves . The Guard motions her to come back . She walks proudly over to his desk . He sticks out his hand .<\/scene_description>\n    <character>FURGESON<\/character>\n    <dialogue>Hello, hello. Of course, of course. It's been so long.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>A long time.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Ask how Bobby and Snooky are.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>How are Bobby and Snooky doin'?<\/dialogue>\n    <character>FURGESON<\/character>\n    <parenthetical>( perplexed . )<\/parenthetical>\n    <dialogue>Why, they're just fine, thank you. Nice of you to ask. And how is your. family?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Could n't be better.<\/dialogue>\n    <character>FURGESON<\/character>\n    <dialogue>Well, is n't that wonderful.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Tell him you've been wondering how they did on the Gibraltar securities.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>So tell me, Fergie, how did you do on the Gibraltar securities?<\/dialogue>\n    <character>FURGESON<\/character>\n    <parenthetical>( surprised . )<\/parenthetical>\n    <dialogue>The Gibraltar securities! Well, it looks like we topped out, huh?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>`` We sure did!''<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>We sure did.<\/dialogue>\n    <character>FURGESON<\/character>\n    <parenthetical>( impressed . )<\/parenthetical>\n    <dialogue>That was a wonderful tip.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>`` Good old Randy''.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Good old Randy. Got a real head on his shoulders.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>`` Her'' shoulders.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>`` Her'' shoulders.<\/dialogue>\n    <character>FURGESON<\/character>\n    <dialogue>Sure does. Well. well. So what brings you here today?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You're closing an account.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>I'm closing an account.<\/dialogue>\n    <character>FURGESON<\/character>\n    <dialogue>Well. wonderful. Do you have your account number?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>926 - 31043.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>926 - 3143.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>31 - 0 - 43.<\/dialogue>\n    <scene_description>She looks up into the air . Furgeson eyes her strangely .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>Make that 31 - 0 - 43. Numbers. I'm dyslexic.<\/dialogue>\n    <scene_description>He punches Rita Miller 's number into the computer . A figure appears on the screen . He stares at it for a few seconds and then punches it in again .<\/scene_description>\n    <character>FURGESON<\/character>\n    <parenthetical>( trying to be calm . )<\/parenthetical>\n    <dialogue>Well, Rita, you'll be withdrawing four million dollars from us today, is that correct?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Four million dollars?!<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Say `` yes''!<\/dialogue>\n    <character>ODA MAE<\/character>\n    <parenthetical>( gasping . )<\/parenthetical>\n    <dialogue>Yes! Four million. That's right. That's right.<\/dialogue>\n    <character>FURGESON<\/character>\n    <dialogue>And how will you want that?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Tens and twenties?<\/dialogue>\n    <character>FURGESON<\/character>\n    <dialogue>Pardon?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>A cashier's check! Tell him a cashier's check.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>A cashier's check.<\/dialogue>\n    <character>FURGESON<\/character>\n    <dialogue>Fine. Of course, you realize we're required to get some identification from everyone. It's just procedural. You understand.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>Oda Mae reaches into her purse and pulls out a DRIVER 'S LICENSE and a SOCIAL SECURITY CARD . Furgeson gets up and walks away from his desk . He seems unsteady on his feet . An OFFICER at the next desk is using a Brillo pad to clean a stain on her desk . Oda Mae smiles .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>You know, if you put that Brillo pad in the freezer, it'll last twice as long.<\/dialogue>\n    <scene_description>The Officer nods appreciatively .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARD FILE ROOM - DAY<\/stage_direction>\n    <scene_description>Furgeson lays Oda Mae 's ID next to her signature card . The signatures match up . He nods his head in approval .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARL'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Carl looks up at the clock . It is 3:50 . He pushes down a button on the phone . A SECRETARY answers .<\/scene_description>\n    <character>SECRETARY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Yes, Mr. Bruner.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Get me the First Island Bank of Nassau. It's on the rolodex.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARKET SECURITY BANK &amp; TRUST - DAY<\/stage_direction>\n    <scene_description>Mr. Furgeson returns with Rita Miller 's signature card and a cashier 's check for $ 4,000,000 . Oda Mae 's hand shakes as she examines it .<\/scene_description>\n    <character>FURGESON<\/character>\n    <dialogue>I'll just need your signature right here.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Sign Rita Miller.<\/dialogue>\n    <scene_description>Sam looks up and gulps . Molly has just entered the bank and is heading toward them . He jumps up nervously .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>I'll be back in a minute. You're on your own. Do n't say anything foolish.<\/dialogue>\n    <scene_description>Oda Mae signs a form closing the account . Of course the signatures match . Mr. Furgeson examines them both and smiles . He shakes Oda Mae 's hand .<\/scene_description>\n    <character>FURGESON<\/character>\n    <dialogue>Now you be careful with this. It's like carrying cash, you know.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <parenthetical>( positively glowing . )<\/parenthetical>\n    <dialogue>I sure do.<\/dialogue>\n    <scene_description>Sam rushes over to Molly . He is not sure what to do . He notices a stack of deposit forms on the counter she is about to pass . He hurries to it and flicks the entire stack , a hundred sheets , flying up into the air . Molly , confused , thinks she is responsible and stoops to pick them up . Sam , delighted , flicks another stack . Oda Mae is talking a blue streak when Sam returns to her .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Then my mother took all the money from the oil wells and put it in gasoline pumps. Every gas station has'em you know, sometimes six or more. It adds up.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Oda Mae, come on. We got ta get out of here. Say goodbye.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <parenthetical>( abruptly getting up . )<\/parenthetical>\n    <dialogue>Well, I've got to leave. It's been a pleasure doin' business with you. Say `` hi'' to Shirley and Snooky for me.<\/dialogue>\n    <character>FURGESON<\/character>\n    <dialogue>Thank you, Rita. I'll be glad to.<\/dialogue>\n    <scene_description>Oda Mae smiles and leaves . There is a new lilt in her walk . Suddenly Sam looks and sees Molly about to stand up .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Hurry up, Oda Mae.<\/dialogue>\n    <scene_description>At that second , Oda Mae spots a quarter lying on the ground . She stoops down and picks it up .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <parenthetical>( excitedly . )<\/parenthetical>\n    <dialogue>What a day!<\/dialogue>\n    <scene_description>Molly sees her , does a double take , and starts to go after her . Unfortunately , Oda Mae steps onto an elevator before Molly can catch up . The doors close . Molly stops for a moment and then looks back across to the executive area . She sees Lionel Furgeson and hurries over to him .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Lionel?<\/dialogue>\n    <scene_description>He is surprised to see her and grows instantly solicitous .<\/scene_description>\n    <character>FURGESON<\/character>\n    <dialogue>Molly. How are you?<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Lionel, a woman who just left, a black lady, about my height, did you see her?<\/dialogue>\n    <character>FURGESON<\/character>\n    <dialogue>Well, yes. I just took care of her.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>What did she want? Did it have anything to do with me? Did she ask about Sam?<\/dialogue>\n    <character>FURGESON<\/character>\n    <parenthetical>( not understanding . )<\/parenthetical>\n    <dialogue>Sam? No. Why?<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Was her name Oda Mae Brown?<\/dialogue>\n    <character>FURGESON<\/character>\n    <dialogue>No, Rita Miller. She just closed an account.<\/dialogue>\n    <scene_description>Molly stares at Furgeson . She is not sure what to think .<\/scene_description>\n    <character>FURGESON<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Is there a problem?<\/dialogue>\n    <character>MOLLY<\/character>\n    <parenthetical>( hesitating , not sure what to say . )<\/parenthetical>\n    <dialogue>No. I guess not. Thanks.<\/dialogue>\n    <scene_description>She walks away , confused .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARL'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Carl , in front of his computer , is going crazy . He keeps punching buttons on the keyboard but the same response appears over and over on the screen . `` RITA MILLER , # 926 - 31043 . ACCOUNT CLOSED . BALANCE $ 00.00 . '' Panicked , Carl jumps up . He moves quickly , erratically around the office and then back to the computer . He punches the keys over and over . The same answer appears on the screen . The account is closed . HALL OUTSIDE CARL 'S OFFICE Carl runs through the office . He seems crazed . People look at him .<\/scene_description>\n    <character>LEEDEN<\/character>\n    <dialogue>Carl, is something wrong?<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Is someone playing with the computers?<\/dialogue>\n    <character>LEEDEN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Is this a joke? One of my accounts is closed.<\/dialogue>\n    <character>LEEDEN<\/character>\n    <dialogue>Which account? What's wrong?<\/dialogue>\n    <scene_description>Carl freezes . He does n't answer .<\/scene_description>\n    <character>LEEDEN<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>You want me to call someone?<\/dialogue>\n    <character>CARL<\/character>\n    <parenthetical>( changing his demeanor . )<\/parenthetical>\n    <dialogue>No, no. Never mind. It's okay. It's all right. I can do it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARKET SECURITY BANK &amp; TRUST - DAY<\/stage_direction>\n    <scene_description>Sam and Oda Mae are walking down the street in front of the bank . Oda Mae is talking to herself .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>$ 4,000,000. $ 4,000,000. Lord Almighty.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Oda Mae. Take the check out of your purse.<\/dialogue>\n    <scene_description>She stops . There is a nervous look on her face .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>Take it out? Why?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Just do it.<\/dialogue>\n    <scene_description>Oda Mae , worried , removes the check but holds onto it tightly .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Now endorse it. Sign Rita Miller.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <parenthetical>( in shock . )<\/parenthetical>\n    <dialogue>Endorse it? Why?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Do what I say.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>That's blood money, Oda. I was killed for that money. Endorse it now.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>What are you going to do with it?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>We're giving it away.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Away? What do you mean? To who?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Look to your left.<\/dialogue>\n    <scene_description>Oda Mae looks at the nuns collecting money for the homeless . She recoils .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>Are you outta your mind?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Do what I tell you.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>No!<\/dialogue>\n    <parenthetical>( clutching the check . )<\/parenthetical>\n    <dialogue>I ca n't.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Yes, you can. If you do n't do it, they'll track you down. Your only protection is to get rid of it, now.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Sweet Jesus, you're killing me, Sam.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'm saving you, Oda Mae. You'll go to heaven for this.<\/dialogue>\n    <scene_description>Oda Mae growls at him . With great difficulty , she approaches the nuns . The nuns look at her with curiosity and compassion .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Write `` St. Joseph's Shelter''.<\/dialogue>\n    <scene_description>With great hesitation , Oda Mae begins to write . We sense that every word is a torment for her . The nuns politely avert their eyes from the check .<\/scene_description>\n    <character>NUN<\/character>\n    <dialogue>Bless you, child.<\/dialogue>\n    <scene_description>Oda Mae gives her a dirty look and hands the check over .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I'm proud of you.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Do n't you talk to me. I do n't want you comin' round no more. I mean it. Understand?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Come on, we're friends.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Friends? Friends?<\/dialogue>\n    <scene_description>She turns on her high heels and wobbles away . Sam calls after her .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I think you're wonderful, Oda Mae.<\/dialogue>\n    <scene_description>She growls again . In the background we see the nuns secretly peeking at the check . One of them , wide - eyed , faints dead away . The other nun stoops down and fans her face in an attempt to revive her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARL'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>It is after hours . Almost everyone on the floor has gone . Carl , hunched over his computer , is typing furious commands on the keyboard . He looks haggard and worn . Sequence after sequence of coded numbers flash past on the monitor screen . Sam , sitting in a desk chair , watches , smiling .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Search, you bastard! You'll never find it. It's gone.<\/dialogue>\n    <parenthetical>( he smiles . )<\/parenthetical>\n    <dialogue>They'll kill you for this, Carl. You and Willie. They'll wipe you off the face of the earth.<\/dialogue>\n    <scene_description>In a moment of childish delight , he pushes his feet against the wall and the chair shoots across the room . Carl looks up and sees an empty chair moving . He stares at it in confusion , and then goes back to the screen . He seems desperate . Nothing is working . Panicked and frightened , Carl flicks off the machine and storms furiously around the room . Sam approaches the computer , hesitates a moment , and then pushes the power switch . The computer CLICKS back on . Carl spins around . He stares at the computer curiously for a moment and then turns it back off . Sam , enjoying this , reaches for the switch and FLICKS it back on again . Carl stares at it .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>What the?<\/dialogue>\n    <scene_description>Carl watches as the keys seem to depress themselves and letters begin appearing on the screen . He sits down , mesmerized by what is happening . Then his face grows tense . The word `` M - U - R - D - E - R - E - R '' is emerging before him . Carl flies out of his chair , frantically running around to see who else is on the floor . He yells out like a madman .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Who's doing that?<\/dialogue>\n    <scene_description>There is no one there . He hears the computer beginning to type again and hurries back to look at the screen . One word appears . `` S - A - M '' . Carl gasps and smashes the computer with his fist . It crashes to the floor . Electrical sparks go flying as Carl gasps for breath . Sam can not hold himself back any longer . With a horrifying scream , he charges at Carl , jamming his fist hard into his ribs .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>You bastard! You goddamn bastard!<\/dialogue>\n    <scene_description>Carl grabs his side .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Ah!<\/dialogue>\n    <scene_description>He hits Carl again . Carl gasps in inexplicable pain .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>It's dinner time, Carl. Do n't you have a date with Molly, you creepy son - of - a bitch?<\/dialogue>\n    <scene_description>Sam keeps hitting deeper into Carl 's mid - section . Carl doubles over as though he 's going to throw up .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Jesus! Oh God!<\/dialogue>\n    <scene_description>Sam is flushed with excitement . Carl kneels beside his desk . He can not understand what is happening to him . His face goes stark white as the attack continues . Then , unexpectedly , the assault stops . Sam , exhausted , stares hatefully at his old friend cowering on the floor . Slowly and dizzily , Carl gets up . He looks fearfully around the office and then , holding his stomach , hurries from the room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOFT - THE SAME NIGHT<\/stage_direction>\n    <scene_description>Molly , all dressed to go out , is sitting in Sam 's easy chair , asleep . Suddenly Carl arrives knocking at her door . He does not look well . Sam is with him .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Carl? Where were you? I thought we were having?<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>I'm sorry. Things just got so crazy. I completely forgot.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Old Carl had a little trouble at the office.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Forgot? I was worried. Is everything okay? Are you all right?<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>I'm okay. I'm alright. Look, can I talk to you for minute? Can I come in?<\/dialogue>\n    <scene_description>Molly eyes Carl with concern as he enters the loft .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>I need to ask you a question.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>He needs to borrow four million dollars.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Molly, I know what the police said, but when you thought Sam was here, when you thought he spoke to you, what did you feel? What did he say?<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Why? What happened?<\/dialogue>\n    <character>CARL<\/character>\n    <parenthetical>( very tense . )<\/parenthetical>\n    <dialogue>Molly, that psychic woman, I want to know what she told you. I want to know what she said.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Carl, stop this. It was all a hoax. I told you. It was n't real. She's a charlatan.<\/dialogue>\n    <parenthetical>( she hesitates and stares at Carl . )<\/parenthetical>\n    <dialogue>Does this have anything to do with her being at the bank today?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Oh shit!<\/dialogue>\n    <character>CARL<\/character>\n    <parenthetical>( gulping . )<\/parenthetical>\n    <dialogue>At the bank?<\/dialogue>\n    <scene_description>Sam tenses . He holds up his hand as if wanting her to stop .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>I was sure I saw her. Furgeson says she was taking out money. It turns out her name is n't even Oda Mae Brown. It's Rita Miller or something.<\/dialogue>\n    <scene_description>Carl turns white . His eyes bulge . He feels sick .<\/scene_description>\n    <character>MOLLY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>What's wrong?<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Stomach. My stomach. Do you have anything? Pepto Bismol.<\/dialogue>\n    <character>MOLLY<\/character>\n    <parenthetical>( worried . )<\/parenthetical>\n    <dialogue>Sure. Just a second. What's going on?<\/dialogue>\n    <scene_description>Concerned , she hurries from the room . Sam digs his hands into Carl 's back . Carl jerks forward in intense pain and begins flailing at the air .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>What are you doing to me. Get away! Get away!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN<\/stage_direction>\n    <scene_description>Sam does not go away . Freaked , Carl runs into the kitchen and rushes to the stove . Quickly he turns on the gas . He looks crazed . Turning to the air , he begins whispering loudly .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>You touch me again and I'll set her on fire. I mean it. I'll kill her. I'll blow up the whole building if I have to. Stay away!<\/dialogue>\n    <scene_description>Sam jabs at the knob on the stove and begins to turn it off . Carl sees it move . Shocked and frightened , he grabs it and pulls it off , leaving only the tiny stem in place .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Go on, try it again. Let me see you turn it off now.<\/dialogue>\n    <scene_description>Sam , frightened , tries with all his might but he can not twist it . Carl pulls out a cigarette lighter and gloats .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Try and hurt me. I'll kill her if you hurt me.<\/dialogue>\n    <scene_description>Sam rushes at Carl about to jam his full fist into his chest , but then he stops , afraid . He pulls back , shaken . Carl stands there waiting for a blow that does n't come . He begins to gloat .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>What's a matter? You believe me, huh? You better believe me! I want my money. I need that money and I want it tonight - at 11:00. If that psychic lady does n't bring it here, Molly's dead.<\/dialogue>\n    <scene_description>Sam freezes . Molly enters the kitchen . She grabs her nose .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Oh my God. Is that the gas?<\/dialogue>\n    <scene_description>Carl acts as if that 's the reason he came into the kitchen .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>You must have left the stove on.<\/dialogue>\n    <scene_description>He fiddles with the dials and turns it off .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Just glad I smelled it.<\/dialogue>\n    <character>MOLLY<\/character>\n    <parenthetical>( confused . )<\/parenthetical>\n    <dialogue>Me, too.<\/dialogue>\n    <scene_description>She opens a window .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Molly, I'm sorry. I've got to go. Look, there's something going on. I ca n't talk now. Some trouble at the bank.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Trouble? What kind of trouble? Is it that woman, the psychic?<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>I do n't have time to talk now. What if I come back? Around 11:00?<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Carl, what's going on? Let me help you.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>I ca n't. I'm sorry to do this, but it's important. I'll be back.<\/dialogue>\n    <scene_description>Molly is speechless .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Eleven!<\/dialogue>\n    <scene_description>OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ODA MAE'S LIVINGROOM - NIGHT<\/stage_direction>\n    <scene_description>Oda Mae is watching T.V. with Clara and Louise . Suddenly she jumps , aware of Sam 's presence in the room .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>Sam!<\/dialogue>\n    <scene_description>Clara and Louise jump , too .<\/scene_description>\n    <character>CLARA<\/character>\n    <dialogue>Not again!<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>What're you doin' here?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Oda Mae! We're in trouble. They want the check. They're comin' to kill you. We got ta get outta here.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>The check? What do you mean, `` the check''. You said they'd never find out.<\/dialogue>\n    <character>CLARA<\/character>\n    <parenthetical>( afraid . )<\/parenthetical>\n    <dialogue>What's happenin' Oda Mae?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET<\/stage_direction>\n    <scene_description>A red Mustang SCREECHES to a stop on the street below . Sam and Oda Mae run to the window . Carl and Willie are looking up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVINGROOM<\/stage_direction>\n    <character>SAM<\/character>\n    <dialogue>It's them.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>They're comin' to kill me.<\/dialogue>\n    <parenthetical>( to Sam , crazed . )<\/parenthetical>\n    <dialogue>What have you done?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ODA MAE'S APARTMENT BUILDING - NIGHT<\/stage_direction>\n    <scene_description>Willie and Carl jump out of the car . They head for Oda Mae 's building .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ODA MAE'S LIVINGROOM - NIGHT<\/stage_direction>\n    <scene_description>Sam steps back from the window .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>They're heading for the door.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <parenthetical>( terrified . )<\/parenthetical>\n    <dialogue>Jesus have mercy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. APARTMENT BUILDING - NIGHT<\/stage_direction>\n    <scene_description>Willie forces open a back door . They head into the building .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Oda Mae and the others hurry into the hall . They rush down the corridor and knock loudly on a neighbor 's door . A WOMAN opens it a crack .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>Emergency! Let us in!<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Who you kiddin'?<\/dialogue>\n    <scene_description>The Woman slams the door and locks it shut . Oda Mae looks frightened .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT STAIRWAY - NIGHT<\/stage_direction>\n    <scene_description>Carl and Willie climb the stairs two at a time .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Oda Mae and her sisters bang on another apartment door . No one is home . Across the corridor an ELDERLY WOMAN sticks her head out to see what is going on . Before she can say anything they push their way inside .<\/scene_description>\n    <character>ELDERLY WOMAN<\/character>\n    <dialogue>What're you doin'? You ca n't come in here. The cat do n't like visitors. She'll pee all over the couch. You wan na pay for.<\/dialogue>\n    <scene_description>Oda Mae grabs the woman 's mouth .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - FISHEYE LENS VIEW<\/stage_direction>\n    <scene_description>just as Willie and Carl emerge from the stairwell . They head down the hall toward Oda Mae 's door . Willie pulls out a gun , and fires . The lock shoots open . They rush inside . ODA MAE in the elderly woman 's vestibule , peering through the peephole . The old woman is struggling and still trying to talk . Oda Mae 's knees are wobbling .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>They're gon na find us.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>No they wo n't. I'm gon na get'em.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Oh yeah? And how you gon na do that?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Whataya mean? I'm a ghost, are n't I?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ODA MAE'S LIVINGROOM - NIGHT<\/stage_direction>\n    <scene_description>Willie moves quickly through Oda Mae 's apartment , his gun pointed , ready to fire . He seems furious when he realizes no one is there .<\/scene_description>\n    <character>WILLIE<\/character>\n    <dialogue>Looks like someone just left.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>I'll check the building.<\/dialogue>\n    <scene_description>ANGLE He rushes back out and down the stairs . Willie stays in the apartment . Suddenly , the doorbell RINGS . Willie rushes over and opens the door a crack . There is no one there . Confused , he backs away . The doorbell rings again . Completely mystified , he aims his gun and opens the door all the way . The hallway is empty . As Willie stands there , wondering what is happening , Sam steps inside and pushes the door closed . It slams shut . Willie nearly jumps out of his skin .<\/scene_description>\n    <character>WILLIE<\/character>\n    <dialogue>Damn!<\/dialogue>\n    <scene_description>He stares at the door in total bewilderment . At that instant , a collection of picture frames flies off the breakfront and crashes into his legs . He backs away , spooked . Suddenly , the T.V. flicks ON at full volume and then the STEREO and the RADIO . Lights begin flashing on and off . Willie spins around in total dismay . Summoning all of his force , Sam slams into Willie . Willie recoils in unexplainable pain . He seems very disoriented . His gun falls to the floor . He reaches for it and Sam pushes it away . Willie jumps up , afraid . His eyes dart around the room . Sam laughs .<\/scene_description>\n    <character>WILLIE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Who's there? Who's doing that?<\/dialogue>\n    <scene_description>ANGLE A pair of candle holders shoot off the mantle piece and nearly hit Willie in the head . He freaks . Grabbing his gun , Willie runs into the bathroom and locks the door . Suddenly the hot water faucet turns on by itself . Willie is terrified . Steam rises from the sink . Willie tries to get out , but Sam approaches him from behind and appears to dig his hands into his neck . Willie crumples to his knees .<\/scene_description>\n    <character>WILLIE<\/character>\n    <dialogue>Oh God!<\/dialogue>\n    <scene_description>There is a SQUEAKING SOUND and Willie looks up . Letters are appearing in the fogged mirror . He stares in disbelief as the word `` B - O - O ! '' emerges before him . He cries out .<\/scene_description>\n    <character>WILLIE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Let me outta here!<\/dialogue>\n    <scene_description>Shaking uncontrollably , Willie FIRES his gun at the mirror . Glass and tiles EXPLODE . Willie is cut and bleeding . He grabs hold of the door and yanks it open .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY<\/stage_direction>\n    <scene_description>Willie rushes to the hallway , charges for the back stairs and stumbles down the three flights to the street . Carl , running down the corridor , rushes after him . Willie drops his gun . Carl picks it up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BROOKLYN STREET -- NIGHT<\/stage_direction>\n    <scene_description>Willie runs from the building and careens down the sidewalk . People clear a path as he hurls past them like a madman . Carl , confused , runs after him . Sam , too , races after Willie , unwilling to let him get away . Suddenly , a man obstructs his way . Willie goes flying over him and lands face down on the cement . Before he can get up , Sam is all over him and does not let up . People stand back to watch as Willie does battle with himself . Panicked , he calls out to a bystander .<\/scene_description>\n    <character>WILLIE<\/character>\n    <dialogue>Help me!<\/dialogue>\n    <scene_description>People back away . Carl watches in terror . He understands exactly what is happening .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>Willie , blinded by his own hysteria , runs wildly into the street . Cars are bearing down on him from all directions . He does not get out of their way . One driver sees Willie coming and swerves to avoid him . His car skids . Another car brakes to avoid a collision and suddenly both cars crash right into him .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Look out!<\/dialogue>\n    <scene_description>Willie 's body is crushed instantly between the two vehicles as his spirit is catapulted into the air still screaming and writhing . His ghostly form reaches out to people for help as they rush past . No one stops . Willie spins around and sees a mangled body crumpled on the street . Suddenly , he recognizes that it is his own dead body lying there . He begins to scream . A bizarre and frightening CLICKING SOUND fills the air . Sam looks up . A group of strange dark figures has emerged from the shadows . With a loud , terrifying shriek , the dark forms swoop down and grab hold of Willie . Sam freezes . In an instant they are dragging Willie , kicking and screaming , down through the sewer grates into the bowels of the earth . ANGLE Sam backs against a wall in absolute horror . Carl , standing in the crowd , turns and runs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLD LADY'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Oda Mae and her sisters are huddling with the old woman in the entryway to her apartment . They all appear frightened . The door is opened a crack and they can see people gathering in the hall outside . Sam walks up to Oda Mae . She feels his presence .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>Sam? What happened?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>He's dead, Oda Mae.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Dead!<\/dialogue>\n    <parenthetical>( she utters a sigh of relief . )<\/parenthetical>\n    <dialogue>Oh, thank God. It's over.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>No. It's not over, Oda Mae. There's still Carl.<\/dialogue>\n    <scene_description>Oda Mae freezes . She turns to Sam .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>Who's Carl?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI CAB - NIGHT<\/stage_direction>\n    <scene_description>Sam and Oda Mae are in a taxi speeding downtown .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Tell him to hurry!<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Ca n't you hurry up?<\/dialogue>\n    <character>DRIVER<\/character>\n    <dialogue>Listen, lady, I'm going as fast as I can.<\/dialogue>\n    <scene_description>Sam leans forward and pushes at the gas pedal . The cab shoots forward . The driver seems shocked .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>Problems?<\/dialogue>\n    <scene_description>He gives her a dirty look .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOFT - NIGHT<\/stage_direction>\n    <scene_description>There is a KNOCK at the door . Molly goes to it . Fastening the latch , she opens it a crack .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Carl, is that you?<\/dialogue>\n    <scene_description>Oda Mae wedges her foot inside .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>Molly, it's Oda Mae. I know what you think of me, but your life is in danger. You have to listen to me. Sam's here, too. You got ta let us in.<\/dialogue>\n    <scene_description>Molly tries to slam the door but hits Oda Mae 's foot .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Get the hell out of here. I'm calling the police.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Go ahead. We want you to call'em. You're in trouble. Let us in.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Sam's death was no accident. He was murdered, Molly. Carl was laundering money at the bank. Sam found out. He's dangerous. He tried to kill me. He'll kill you, too.<\/dialogue>\n    <character>MOLLY<\/character>\n    <parenthetical>( screaming . )<\/parenthetical>\n    <dialogue>Why are you doing this to me? Get away from me! I know all about you. You're a fake. You're just a fake. Leave me alone!<\/dialogue>\n    <scene_description>We see Sam 's inside the room with Molly . He gazes at her lovingly for a moment and then calls back to Oda Mae .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Tell her she's wearing the blouse I spilled the Margarita on and the earrings I gave her for Christmas.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Sam says you're wearin' the blouse he spilled the Margarita on and the earrings he gave you at Christmas.<\/dialogue>\n    <scene_description>MOLLY grabbing hold of her beads . Her hand is shaking .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>See, I'm no fake.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Go away!<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Gim me a penny quick.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Empty your purse. On the floor. Now.<\/dialogue>\n    <scene_description>Oda Mae obeys . A pile of coins falls on the floor .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Push a penny under the door.<\/dialogue>\n    <scene_description>Oda Mae obeys and a penny slides into the loft . Molly sees it . Sam tips it carefully so it lands upright against the bottom of the door . Pushing gently , he moves the penny up the door until it 's eye level with Molly . She watches it , amazed . Then , to her astonishment , the penny floats away from the door and hovers in the air . There is a look of wonder in Molly 's eyes as it floats toward her .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( continuing ; calling to Oda Mae . )<\/parenthetical>\n    <dialogue>Tell her it's for luck.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Sam says it's for luck.<\/dialogue>\n    <scene_description>Molly stands there dumbfounded . Her face is completely white . After a moment she reaches for the penny . It falls into her hand . There are tears in her eyes . HALLWAY Oda Mae standing in the hallway as the door to the loft begins to open . Slowly Molly steps out onto the landing and stares at her , nervously , uncomprehendingly . She hesitates for a long moment and then invites Oda Mae in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOFT - NIGHT<\/stage_direction>\n    <scene_description>Molly is on the phone . Oda Mae is beside her .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Right. Yes, it's right on the corner. We're a red brick building with the entrance on the left side. Please hurry. Thank you Sergeant. We'll be waiting right here.<\/dialogue>\n    <parenthetical>( she hangs up . )<\/parenthetical>\n    <dialogue>Police are on their way.<\/dialogue>\n    <scene_description>Oda Mae takes her and leads her to the couch .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>What do we do now?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Just wait.<\/dialogue>\n    <scene_description>There is a period of awkward silence .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Is Sam here?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'm sitting beside you.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <parenthetical>( pointing . )<\/parenthetical>\n    <dialogue>Right here.<\/dialogue>\n    <scene_description>Molly reaches out tentatively . Sam meets her hand . She flinches for a second but does not pull back .<\/scene_description>\n    <character>MOLLY<\/character>\n    <parenthetical>( fingering the air . )<\/parenthetical>\n    <dialogue>Can you feel me, Sam?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>With all my heart.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>With all his heart, he says.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'd give anything to be alive again, just to feel you once more.<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>He wishes he could touch you, just one more time.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Oh, Sam.<\/dialogue>\n    <scene_description>Oda Mae looks away uncomfortably . The CAMERA HOLDS on her face . After a moment she turns around and addresses the air .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>Okay, damn it, you can use me if you want.<\/dialogue>\n    <scene_description>Sam looks oddly at Oda Mae .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Come on. Before I change my mind.<\/dialogue>\n    <scene_description>Suddenly he understands what she means . JUKEBOX Sam 's finger presses down two keys . We see a record slide out of its slot and move toward the turntable . We know what it is going to play . ANGLE Oda Mae closes her eyes . `` Unchained Melody '' begins to play . Sam hesitates for a moment and then cautiously , awkwardly slides his ghostly body into her solid form . We sense Oda Mae 's discomfort gradually give way as Sam emerges inside her . After a second her body turns slowly toward Molly . Oda Mae 's hand reaches out and with slow , deliberate gestures , touches Molly 's hand . Molly swallows hard . She closes her eyes . ANGLE Sam . It is as though he alone is there with Molly . His eyes are full of tears . He can barely move . His hand glides slowly down Molly 's cheek . He seems to be in a state of ecstasy and pain . The experience is more than he can bear . He pulls back .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Sam!<\/dialogue>\n    <scene_description>Molly reaches out , takes Sam 's hand , and guides it to her soft lips . Sam can barely breathe . He seems totally absorbed in the experience , the sensation of human flesh . His eyes are absolutely still and full of light . He seems to be glowing . Gently , Molly takes Sam 's arm and guides him to his feet . Effortlessly , she draws him to the center of the huge loft . With great tenderness , she puts her arms around him and before he knows what is happening , they are dancing . It is a strange , touching image , reminiscent of their first night in their new home . Sam reaches out and slowly draws his fingers down over her face , caressing her forehead , her cheeks , her lips . She stands motionless . Her face shines . She knows beyond all doubt that it is him .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>I love you so much.<\/dialogue>\n    <scene_description>ANGLE A LOUD JARRING SOUND . It takes a moment to realize that it is someone KNOCKING at the door . The light slams back into its shadowy substance and Sam comes shooting back into his ghostly form . Oda Mae is standing with Molly in the center of the room . Sam is beside them . He appears shaken and dizzy . There is a another loud POUNDING at the door .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>The police!<\/dialogue>\n    <scene_description>Molly heads for the door . Sam calls out . He can barely speak .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>ODA MAE<\/character>\n    <parenthetical>( to Molly . )<\/parenthetical>\n    <dialogue>Wait!<\/dialogue>\n    <scene_description>Sam tries to go instead . To his amazement and ours he is extremely weak , barely able to move .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>What's happening to me?<\/dialogue>\n    <scene_description>His ghostly functions are diminishing . There is another KNOCK and a voice rings out .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Molly, open up. It's me.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>It's Carl!<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Get out of here! The fire escape.<\/dialogue>\n    <scene_description>Oda Mae grabs Molly .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>Come with me.<\/dialogue>\n    <scene_description>Oda Mae and Molly run for the fire escape window . We hear Carl yelling in the hallway .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Molly. Open up. Are you there?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRWELL - NIGHT<\/stage_direction>\n    <scene_description>Carl is standing on the landing . He is holding a gun . He aims it at the lock and FIRES . The door to the loft flies open .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOFT - NIGHT<\/stage_direction>\n    <scene_description>Carl moves rapidly through the huge space .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Molly!<\/dialogue>\n    <scene_description>It is obvious that no one 's home . ANGLE Sam , with great effort , rushes at Carl and attacks him with his fists . To his great shock , he has no impact . Carl walks right through him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIRE ESCAPE - NIGHT<\/stage_direction>\n    <scene_description>Molly and Oda Mae are climbing the fire escape .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOFT - NIGHT<\/stage_direction>\n    <scene_description>Carl runs to the fire escape window . He looks out just in time to see Oda Mae go into the 7th story window .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW LOFT - NIGHT<\/stage_direction>\n    <scene_description>Molly and Oda Mae run through a new loft that is under construction . It is a maze of tangled wires and broken walls . The fire escape window slams shut and nearly scares them half to death . They rush blindly toward the front door . It wo n't open .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>Back to the fire escape. Head for the roof.<\/dialogue>\n    <scene_description>Oda Mae reaches the fire escape window just as Carl appears on the other side . She screams . Carl tries shoving the window open . It wo n't budge . Molly sees some scaffolding leading to the skylight . There is an opening at the top .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>This way!<\/dialogue>\n    <scene_description>Molly quickly climbs the scaffolding and makes it to the roof . With a huge shove , Carl opens the window and rushes inside . The window slams behind him . Oda Mae rushes back toward Molly , but her foot catches on a loose cable and she falls to the ground .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>Help us, Sam!<\/dialogue>\n    <scene_description>OMITTED ODA MAE A hand falls on Oda Mae 's shoulder . She spins around . Carl is standing behind her . She screams as he knocks her to the floor .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>I want the check. Just give me the check.<\/dialogue>\n    <scene_description>Molly looks down from the scaffolding and begins to scream .<\/scene_description>\n    <character>MOLLY<\/character>\n    <parenthetical>( screaming . )<\/parenthetical>\n    <dialogue>God almighty, Carl! What are you doing? What have you done!?<\/dialogue>\n    <scene_description>She descends quickly and runs toward Carl .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Do n't interfere! She's a thief. It's not her money.<\/dialogue>\n    <scene_description>Carl kicks Oda Mae . Molly rushes at him , attacking him violently . Carl aims his gun at her .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Keep out of this, Molly!<\/dialogue>\n    <scene_description>He grabs Oda Mae by the hair .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Where is it?<\/dialogue>\n    <scene_description>Oda Mae cries out .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>In my purse.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>Over there.<\/dialogue>\n    <scene_description>She points across the room . Carl sees the purse and yanks Oda Mae toward it . Yanking it off the floor , he tears through it like a wild man . There is no check . He grabs Oda Mae .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Where is it, goddamn it? Where is it?<\/dialogue>\n    <character>ODA MAE<\/character>\n    <dialogue>I gave it away.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>You're lying! Do n't lie to me!<\/dialogue>\n    <scene_description>He aims his gun at her eye and is about to FIRE when , suddenly , something shoves him to the floor . Carl screams and jumps back , tripping over Oda Mae . Sam is standing there . In total panic , Carl scrambles to get up . Horrified , he SHOOTS his gun blindly into the air . Molly and Oda Mae dive for cover . The bullets have no impact . Sam musters all his strength and shoves Carl again . White with fear , Carl grabs Molly and aims his gun at her head .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>I'll kill her. You touch me and I'll kill her. I mean it, Sam. Just give me the check.<\/dialogue>\n    <scene_description>The gun is cocked at her temple . No one moves . Slowly the camera dollies toward Carl .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Sam, please. I did n't mean for him to kill you. It's not my fault. Come on, Sam, give me the check. Give it to me and I'll leave her alone.<\/dialogue>\n    <scene_description>Nothing happens . Carl looks nervous . ANGLE<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Sam? Sam?<\/dialogue>\n    <scene_description>In a wild explosive fury , Sam charges at Carl and smashes at his gun . The weapon flies out of Carl 's hand . Empowered by an anger we have not seen before , Sam smashes into Carl with a violent force . Carl 's body careens into walls and floorboards . Wiring snaps . Two - by - fours crack . Carl , crawling desperately to escape , sees his gun on the floor . With a wild rush , he grabs for it and shoots at the door . The lock explodes and the door flies open . Carl tries to run for it , but Sam cuts in front of him . With growing power , Sam sends Carl flying back into the apartment , colliding into a tall scaffold . Bags of plaster topple to the ground as mounds of plaster dust hurl into the air . The apartment looks like a scene from another world . Carl , in a state of total unrelieved panic , breaks away from Sam . The dust obscures his escape . Like a trapped insect , he scrambles furiously to the fire escape window . Sam can not see him . Carl shoves at the window . It is stuck . With a supreme effort , he grabs a ripped bag of plaster and swings it at the glass . Half of its plaster spews across the room before smashing the window . Shards of glass fly in all directions . Sam turns and sees Carl . He surges after him , but knows he can not get to him in time . Carl is halfway out the window when Sam 's fist slams into an electrical box attached to a dangling BX cable . It goes flying toward the window . To his amazement , it hits the frame . A huge pane of glass dislodges and comes crashing down . Carl looks up just in time to see the pointed edge aiming for his chest . Before he can move , it pierces him between the ribs and slices into his heart . His body quivers . Carl 's eyes bulge from their sockets . His body begins to spasm . He ca n't get up . A look of abject terror flashes through his eyes . He tries to scream . There is no sound . He tries to breathe . There is no breath . ANGLE With one last effort , Carl lurches forward . To his amazement , his body stands up and pulls away from the window . He looks down at his chest and is amazed to see that the glass is gone . There is no blood . Excited and confused , he turns around and sees Sam . For a moment , he can not comprehend what is happening .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Sam?<\/dialogue>\n    <scene_description>There is a strange , silent moment between them . Then , seemingly out of nowhere , a terrible CLICKING sound is heard . Frightening black forms are emerging from the darkness . Carl looks behind him and gasps . Past the figures coming toward him , he sees his own dead body . It is pinned to the window sill . Before Carl can cry out , the dark figures swoop down and envelope him . In a flash , his spirit is caught and surges with the dark forces back into the shadows . Far in some invisible distance , we can barely hear him scream . And then it is silent . It is over . ANGLE Molly is crouched in the corner , her back pressed tightly against the wall . She is staring into space . The room is filled with plaster dust . Slowly , emerging from the dust , we see Sam approaching Molly . He gazes at her with terrible longing . Suddenly , a brilliant light glows from behind the ceiling and the skylight floods the room with a golden haze . Sam turns to look at it . His eyes are full of surprise and wonder . The spirits beyond the ceiling are beckoning to him . As he looks down , he notices that his hands are growing transparent . His body is beginning to fade . A faint smile forms on his face . He leans down toward Molly , staring at her for a long , silent moment .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Goodbye, Moll.<\/dialogue>\n    <scene_description>Molly 's head lifts up . She looks around .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Sam? Is that you?<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>( stunned . )<\/parenthetical>\n    <dialogue>Molly?!<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>I hear you, Sam.<\/dialogue>\n    <scene_description>She starts to cry . Gradually , we notice that the dust in the air near Molly is beginning to shimmer with a subtle glow . To her astonishment , Sam 's spirit is reflected in the floating particles .<\/scene_description>\n    <character>MOLLY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Oh God!<\/dialogue>\n    <scene_description>Sam 's luminous form appears before her . Molly is overwhelmed by the sight of him . The two of them gaze at one another without moving . They know it is for the last time . It is a silent exchange , charged with emotion . Slowly , the two bodies reach forward . As their lips touch , the plaster dust swirls sensuously through Sam 's vaporous image and he begins to disappear . Molly pulls back from him as though from a cloud . His voice rises from the mist .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I ca n't stay anymore.<\/dialogue>\n    <scene_description>Tears roll down her cheek . The brilliant light intensifies . It is beautiful , like a sunrise , saturating the room with a warm , comforting glow . Molly looks up and sees it all . Oda Mae sees it , too .<\/scene_description>\n    <character>ODA MAE<\/character>\n    <dialogue>They're waiting for you, Sam.<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>( smiling . )<\/parenthetical>\n    <dialogue>I know. Goodbye, Oda Mae.<\/dialogue>\n    <parenthetical>( with deep felt gratitude . )<\/parenthetical>\n    <dialogue>Thank you. Your mama would be proud.<\/dialogue>\n    <scene_description>Oda Mae smiles warmly . Sam turns to Molly . She is gazing at the last remaining moments of him . Her eyes brim over with tears and love .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I love you, Molly. I've always loved you.<\/dialogue>\n    <scene_description>Molly swallows hard and wipes her eyes .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Ditto.<\/dialogue>\n    <scene_description>The light inside Sam intensifies . A sweet smile emerges on his lips .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>It's so amazing, Moll.<\/dialogue>\n    <scene_description>His face fills with joy .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>The love inside.<\/dialogue>\n    <scene_description>He whispers , almost crying .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>You take it with you.<\/dialogue>\n    <scene_description>They are his last words . His spirit dissolves within its ghostly moorings and begins to evaporate . Molly looks up silently for a moment , her face filled with love .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>See ya.<\/dialogue>\n    <scene_description>We see Sam 's spirit rise from the room . It passes effortlessly through the ceiling and , in seconds , he is gone . The room grows dark . Molly sits quietly on the floor . There is a look of awe and wonder in her eyes . After a moment , Oda Mae reaches down to help her up . Molly looks at her lovingly and then gently takes her hand . Arm in arm , supporting one another , they walk quietly from the room . THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Sam Wheat, a banker, and his girlfriend Molly Jensen, a potter, renovate and move into an apartment in Manhattan with the help of Sam's friend and co-worker Carl Bruner. One afternoon, Sam confides in Carl his discovery of unusually high balances in obscure bank accounts. He decides to investigate the matter himself, declining Carl's offer of assistance. That night, Sam and Molly are attacked by a mugger who shoots and kills Sam in a scuffle before stealing his wallet. Sam sees Molly crying over his body and discovers he is now a ghost, invisible and unable to interact with the mortal world. Molly is distraught in the days after Sam's death, as Sam remains close to her. Carl comes over and suggests Molly take a walk with him and Sam cannot bring himself to follow. Moments later, the mugger enters the apartment in search of something. When Molly returns, Sam scares their cat into attacking the thug, who flees. Sam follows the mugger to his Brooklyn apartment and learns that the man, Willie Lopez, was sent by an unknown party. After leaving Willie's residence, Sam happens upon the parlor of psychic Oda Mae Brown, a charlatan pretending to commune with spirits of the dead who is shocked to discover her true psychic gift when she can hear Sam speaking. Sam persuades her to warn Molly that she is in danger. To allay Molly's skepticism, Oda Mae relays information that only Sam could know. Molly later gives Willie's address to Carl, who volunteers to investigate. She then goes to the police, who have no file for Willie but they show her Oda Mae's lengthy one as a forger and con artist. Meanwhile, Sam follows Carl and is devastated to learn he and Willie are working together. Carl is laundering money for drug dealers and he had Willie rob Sam to get his apartment key, which Carl uses to obtain Sam's book of passwords and transfer the money into a single account under the fictitious \"Rita Miller\". Sam learns from a violent poltergeist haunting the subway system how to manipulate objects with his mind. Sam then persuades Oda Mae to help him thwart Carl. Before Carl can transfer the money for his clients, Oda Mae impersonates Rita Miller, closes the account, and reluctantly gives the $4 million cashier's check to charity. As Carl desperately searches for the money, Sam reveals his presence by typing his name on the computer keyboard. Carl goes to Molly, who reveals she spotted Oda Mae closing an account at the bank. Carl and Willie go to Oda Mae's place but Sam warns her and her sisters to take shelter. When Willie arrives, Sam tosses objects at him, causing him to flee into the street in a fit of panic before being struck and killed by an oncoming car. Shadowy creatures emerge from the darkness to drag Willie's ghost down to Hell. Sam and Oda Mae return to the apartment where\u2014by levitating a penny into Molly's hand\u2014he convinces Molly that Oda Mae is telling the truth about him. Oda Mae allows Sam to possess her body so he and Molly can share a slow dance. Carl breaks into the apartment but Sam is too exhausted from the possession to fight Carl. The women escape onto the fire escape, to a loft under construction, but Carl catches Oda Mae and holds her at gunpoint, demanding the check. Sam recovers and pushes Carl off her, prompting Carl to take Molly hostage and plead with Sam for the check. Sam disarms Carl and attacks him again. Carl tries to escape through a window and tosses a suspended hook at Sam, but the hook swings back, shatters the window and it slides down, fatally impaling Carl with a glass shard. The shadowy creatures return to claim Carl's ghost for Hell. Sam asks if the women are all right. Miraculously, Molly can now hear him. A heavenly light shines in the room, illuminating Sam's presence. Realizing that it is time for him to go with his task now completed, he and Molly share a tearful goodbye and one final kiss, finally having a proper closure between them. Sam thanks Oda Mae for her help and then walks into the light and onward to Heaven."}
{"movie_name":"Final Destination_2000","imdb_id":"tt0195714","script":"<script>\n  <scene>\n    <stage_direction>FINAL DESTINATION<\/stage_direction>\n    <scene_description>Awaiting . each of us ; a cold . dark . lonely place . Deny its finality . Deride its totality . Dread the inescapable inevitability . it will arrive . The BLACK SILENT SCREEN senses this moment before a distant blues harp introduces a contemporary band 's cover of Blood , Sweat , and Tears ' campy , yet haunting , gospel , `` And When I Die . '' As the Introduction closes , RESONATES . A FLASH OF LIGHTING ! A CRACK OF THUNDER !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALEX'S BEDROOM - NIGHT - CLOSE - BED<\/stage_direction>\n    <scene_description>An airline ticket is tossed INTO FRAME beside a suitcase ; `` EURO - AIR . FLIGHT # 180 . New York City -LRB- JFK -RRB- - Paris , Charles de Gaulle -LRB- CDG . -RRB- Departure : Thursday 13May . 16H25 - Arrival : Friday 14May . 05H40 . '' `` And When I Die '' Continues throughout the MAIN TITLES : AN OLD TABLE FAN swivels beside and open window . Outside , a humid spring THUNDER STORM drops warm , ominous rain . The figure of a seventeen year old boy , ALEX BROWNING , packing for a trip , passing the fan . THE BED A Paris guidebook is tossed atop the plane ticket . CAMERA PUSHES IN ON THE BOOK as the fan 's breezes flip through the pages . THE TABLE FAN turns , head swiveling away from the bed . TIGHTER - THE GUIDEBOOK PAGES stop flipping , REVEALING A GULLOTINE from the Reign of Terror . As an American passport is dropped beside the guidebook . THE TABLE FAN swivels , returning towards the guidebook on the bed . THE GUIDEBOOK PAGES FLIP . FLIP . FLIP . Alex 's faint shadow continues moving about the room . The fan head swivels away , allowing the pages to settle . upon a Louvre masterpiece , Francisco de Zurbarans Lying - in - the State of St. Bonaventura . CAMERA CREEPS IN , teasingly on the dark faced corpse . The pages begin to turn once again . TIGHTER , OMINOUS ANGLE - THE DESK FAN There is more of a hint of conincidence as the blades whirl and head swivels . The boy 's figure passes , blocking the breeze . THE GUIDEBOOK PAGES stop dead on . Jim Morrison 's decorated tomb in the Cemetiere du Pere Lachaise . A pilgrim has spray painted `` This is the End . '' Which in fact , it is . of the MAIN TITLE .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>Alex.<\/dialogue>\n    <scene_description>CAMERA ADJUSTS , to fully reveal Alex Browning as he turns toward the bedroom door . Alex is an average kid ; handsome . A high school `` everyman . '' One the wall amongst Yankee and Knicks posters , hangs a pennant ; `` Mt. Abraham High School , New York . The Fighting Colonials ! '' Alex 's mother , BARBARA , 45 , walks in , excited and a bit anxious .<\/scene_description>\n    <character>BARABRA<\/character>\n    <parenthetical>( Cont 'd . )<\/parenthetical>\n    <dialogue>Tod and George's dad just called, he's picking you up at 10 in the morning. Bus leaves the high school for JFK at noon.<\/dialogue>\n    <scene_description>Barbara moves towards the suitcase to help him pack . Alex 's father , KEN BROWNING , 48 appears , leaning against the door threshold , smiling enviously at his son .<\/scene_description>\n    <character>KEN<\/character>\n    <dialogue>My suitcase workin' out for ya?<\/dialogue>\n    <scene_description>Alex nods and buckles it . Barbara reaches in to tear off an airline baggage I.D. ticket attached from the previous flight .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Whoa! Whoa! Mom, you got ta leave that on. It's like. the tag made the last flight without crashin' or anything, right? So, it should stay on, or with, the bag for good luck.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Where would you get a nutball idea like that?<\/dialogue>\n    <scene_description>EXTREMELY CLOSE - THE AIRLINE BAGGAGE MARKER is torn away from the suitcase handle . RETURN As Barbara picks up the suitcase to place it on the floor . a dozen old baggage I.D. tickets spill from the outer compartment . She looks at Ken , as if `` you ? '' The guilty party shrugs .<\/scene_description>\n    <character>KEN<\/character>\n    <dialogue>I'm still here.<\/dialogue>\n    <scene_description>Barbara shakes her head as Alex smiles at his dad .<\/scene_description>\n    <character>KEN<\/character>\n    <parenthetical>( Cont 'd . )<\/parenthetical>\n    <dialogue>Seventeen and on the loose. Ten days in Paris. In the springtime! Live it up, Alex.<\/dialogue>\n    <scene_description>CAMERA INCHES INTO KEN as he winks at his son .<\/scene_description>\n    <character>KEN<\/character>\n    <parenthetical>( Cont 'd . )<\/parenthetical>\n    <dialogue>Got your whole life ahead of you.<\/dialogue>\n    <scene_description>ALEX CAMERA CREEPS IN as , oddly , the words strike him portentously .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALEX'S BEDROOM - LATER<\/stage_direction>\n    <scene_description>The storm has ceased . The room is QUIET . As if itself a presence , CAMERA CREEPS across the dark and motionless room TOWARD Alex , sleeping soundly . CAMERA CRANES DOWN to the level of the bed until Alex is in the f.g. and the room is visible behind him . On the rear wall , the Fighting Colonials pennant begins to flutter slightly , as if affected by the moving breeze . The path of which is continued toward the bed , rustling the sheets , subtly blowing Alex 's hair and continuing OVER CAMERA . Even in his sleep , Alex shivers from the passing cold . His eyes open surprised to be suddenly awakened . He considers for a beat , then looks toward . THE WINDOWS which . are closed . ALEX puzzled , checks . THE TABLE FAN which is off . ALEX perplexed , rolls over toward his digital clock . It 's 1:00 a.m. , however . the middle digit bar in the first zero faintly flickers so this time appears to read . 1:80 .<\/scene_description>\n    <character>AIRPORT P.A.<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( overlapping . )<\/parenthetical>\n    <dialogue>Attention airline travelers.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOHN F. KENNEDY AIRPORT - MORNING - TELEVISION MONITOR<\/stage_direction>\n    <scene_description>FLIGHT 180 departs 4:25 . Gate 39 .<\/scene_description>\n    <character>AIRPORT P.A.<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>This airport does not support solicitors.<\/dialogue>\n    <scene_description>CAMERA ADJUSTS FROM the `` Arrival - Departure Schedule '' to REVEAL forty high school KIDS , four TEACHERS and several PARENTS are gathered inside the International terminal at J.F.K. Several of the students wear Fighting Colonial leterman 's jackets or hats and shirts displaying `` Mt. Abraham High , New York . ''<\/scene_description>\n    <character>AIRPORT P.A.<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>You are not required to give money to solicitors.<\/dialogue>\n    <scene_description>Alex gathers his bags , as does his best friend TOD WAGGNER and his older brother GEORGE WAGGNER , standing before their father , JERRY WAGGNER . For Alex , any psychic tension from the night before seems forgotten in the fun and excitement of the trip .<\/scene_description>\n    <character>MR. WAGGNER<\/character>\n    <dialogue>Alright, you guys got everything?<\/dialogue>\n    <character>TOD<\/character>\n    <dialogue>Yeah, we're all set Dad.<\/dialogue>\n    <scene_description>MR. MURNAU , the French teacher -LRB- any further description necessary ? -RRB- and leader of the class trip waves his arm .<\/scene_description>\n    <character>MR. MURNAU<\/character>\n    <dialogue>Les estudients, allons en France!<\/dialogue>\n    <character>MR. WAGGNER<\/character>\n    <dialogue>Does that mean `` go?''<\/dialogue>\n    <scene_description>Tod shrugs , `` I guess '' as he moves to his father and gives him a warm hug goodbye . Mr. Waggner then gives his older son a hug .<\/scene_description>\n    <character>AIRPORT P.A.<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Atencion senores pasajeros. No es necesario contribuir.<\/dialogue>\n    <character>MR. WAGGNER<\/character>\n    <dialogue>I'll miss you guys.<\/dialogue>\n    <scene_description>Tod and George gives a wave , as does Alex , who is slapped on the back by Mr. Waggner .<\/scene_description>\n    <character>MR. WAGGNER<\/character>\n    <dialogue>Take care of those two, Alex.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>I will. Do n't worry.<\/dialogue>\n    <scene_description>The group begins down the airport toward the check - in counter . In the f.g. , before the boys , strides a girl , CLEAR RIVERS , 17 , reading the TROPIC OF CANCER . The loner in the group , Clear wears dark colors against the insecerity of her sex appeal . She appears aloof and more wordly then the other students . Readying his ticket and documents , Tod flips open his passport , checking out his photo .<\/scene_description>\n    <character>TOD<\/character>\n    <dialogue>I did n't think anything could worse than my yearbook picture.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Now you know how I feel havin' to look at you all the time.<\/dialogue>\n    <character>AIRPORT P.A.<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Avis aux passagers.<\/dialogue>\n    <scene_description>Mr. Murnau stops the group . Excited , he cups an ear with one hand while raising a finger toward the public address system .<\/scene_description>\n    <character>MR. MURNAU<\/character>\n    <dialogue>Entendez classe, qu'est ce que c'est l'announce?<\/dialogue>\n    <scene_description>Everyone begrudgingly stops to listen .<\/scene_description>\n    <character>AIRPORT P.A.<\/character>\n    <parenthetical>( O.S. CONT 'D . )<\/parenthetical>\n    <dialogue>Vous n'etes pas dans l'obligation de contribuer aux demandes des quemandeurs.<\/dialogue>\n    <scene_description>CARTER HORTON is the class dickhead who mix and matches his role models in the most superficial manner . His hand is tucked into his girlfriend , TERRY CHANEY 'S , waistband .<\/scene_description>\n    <character>CARTER<\/character>\n    <parenthetical>( re : MURNAU . )<\/parenthetical>\n    <dialogue>What the fuck's he want?<\/dialogue>\n    <scene_description>Terry , hot now , but with no idea what time will do to her in just five years , smiles obsequiously and mouths `` shh . '' P.A. SYSTEM . -LRB- O.S. , CONT'D. -RRB- cher aeroport n'est responsable pour leurs activities . Mr. Murnau scans the group , his expression looking for an answer . Clear Rivers keeps her head in her book as .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>The airport does n't endorse solicitors.<\/dialogue>\n    <character>MR. MURNAU<\/character>\n    <dialogue>Tres bien, Clear! Tout droit!<\/dialogue>\n    <scene_description>She does n't react . Her expression remains cool as Murnau leads the procession forward . The boys continue . Alex sighs .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Fuh - ck, do we have to put up with that shit the whole time?<\/dialogue>\n    <scene_description>A hand reaches out to gently detain Alex. He looks up to find a HARE KRISHANA , dressed in everyday clothes , but head shaved and a mark on his nose .<\/scene_description>\n    <character>HARE KRISHANA<\/character>\n    <dialogue>Death is not the end.<\/dialogue>\n    <scene_description>CAMARA PUSHES IN ON ALEX . unsettled by the soft spoken , yet ominous , `` Solicitation . '' The Krishana offers a small book , REALITY BEYOND THE MATTER : VAISHNAVA PHILOSOPHY . As he hands the book to Alex , a female form ENTERS FRAME between them . The women is MISS VALERIE LEWTON , 30 , a feisty English teacher whose figure inspires all the boys ' fantasies .<\/scene_description>\n    <character>MS. LEWTON<\/character>\n    <dialogue>It will be for you if you harass my students.<\/dialogue>\n    <scene_description>She places a hand on Alex 's shoulder , herding him to the group .<\/scene_description>\n    <character>HARE KRISHANA<\/character>\n    <parenthetical>( pissy . )<\/parenthetical>\n    <dialogue>Hare Rama.<\/dialogue>\n    <scene_description>Ms. Lewton turns and , while walking backward , flashes a smile .<\/scene_description>\n    <character>MS. LEWTON<\/character>\n    <parenthetical>( mouths . )<\/parenthetical>\n    <dialogue>Fuck off.<\/dialogue>\n    <scene_description>As she turns her back and continues down the terminal .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHECK IN DESK - AIRPORT - DAY<\/stage_direction>\n    <scene_description>Alex 's passport and ticket are set INTO FRAME and picked up by a female TICKET CLERK . Alex waits as she busily types into the computer and checks his passport .<\/scene_description>\n    <character>TICKET CLERK<\/character>\n    <dialogue>I have a few questions to ask you this afternoon.<\/dialogue>\n    <scene_description>O.S. , LOUD , EXAGGERATED plastic tiles rapidly CLICK and CLACK .<\/scene_description>\n    <character>TICKET CLERK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Did you pack these bags yourself?<\/dialogue>\n    <scene_description>The CLACKING CONTINUES , demading Alex 's attention . His eyes turn forward . ALEX 'S POV - THE FLIGHT INFORMATION BOARD Plastic tabs CLACK rapidly , settling on the word . `` CANCELLED . '' ALEX CAMARA CREEPS IN on his dawning paranoia .<\/scene_description>\n    <character>TICKET CLERK<\/character>\n    <parenthetical>( CONT 'D , O.S . )<\/parenthetical>\n    <dialogue>Have your belongings remained in your possession the entire time?<\/dialogue>\n    <scene_description>Alex absently nods . Again , O.S. , CLACK CLACK CLACK . His eyes move to . ALEX 'S POV - -LRB- TIGHTER -RRB- - FLIGHT INFORMATION BOARD The plastic tabs FLIP and CLACK rapidly , stopping on . `` DEPARTED . '' TICKET DESK Alex is still considering the `` messages . ''<\/scene_description>\n    <character>TICKET CLERK<\/character>\n    <dialogue>Have you recieved any packages from persons unknown to you?<\/dialogue>\n    <scene_description>Alex quickly runs the day through his head and flashes her the REALITY BEYOND MATTER book . She smiles , then leans over toward the baggage scales . Alex 's eyes turn toward . CLOSE - -LRB- MOTION SLOWED -RRB- - ALEX 'S LUGGAGE a new airline I.D. marker is attached to his bag . RETURN Alex eyes the new tag hoping it 's `` good luck . '' As the clerk returns his ticket and passport . CLACK , CLACK , CLACK .<\/scene_description>\n    <character>TICKET CLERK<\/character>\n    <dialogue>Same as your birthday.<\/dialogue>\n    <scene_description>Alex is puzzeled by the comment . He shakes his head if , `` pardon me ? '' CAMERA INCHES INTO the ticket clerk gesturing pleasantly to the passport and ticket .<\/scene_description>\n    <character>TICKET CLERK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>April 25th. Four - twenty - five. your birthday is the same as your departure time.<\/dialogue>\n    <scene_description>CLACK . CLACK . CLACK . Alex 's eyes flash toward . ALEX 'S POV - -LRB- FULL FRAME -RRB- - FLIGHT INFORMATION BOARD the title settles upon . `` TERMINAL . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SECURITY AREA - AIRPORT - MONITOR<\/stage_direction>\n    <scene_description>The ghastly green and reds of the X - ray monitors flash as carry on bags flash through the machine . CAMERA MOVES COUNTER to the direction of the conveyor belt . The pace and excitement of the collective group escalates as departure approaches . Carter Horton and his girlfriend , Terry , take cuts in line with smug , bullying expressions . Unseen by the chaperones , no student , has the nerve to protest Carter 's action . Alex , Tod , George and BILLY HITCHCOCK , heavyset with a New York Rangers jersey watches Carter and Terry with disgust .<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>I ca n't believe they let that dickhead on this trip.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>His parents bought a ton of those trip certificates we had to sell, just to get him out of their hair for ten days.<\/dialogue>\n    <scene_description>Excited , Tod speaks in a convert tone over Alex 's shoulder .<\/scene_description>\n    <character>TOD<\/character>\n    <dialogue>Dude, I so worked the ticket clerk so you're sittin' next to Christa and I'm next to Blake.<\/dialogue>\n    <scene_description>Alex looks up ahead of the metal detectors . ALEX 'S POV - TWO GIRLS Attractive and they know it , CHRISTA MARSH and BLAKE DREYER appear clearly out of Alex and Tod 's league .<\/scene_description>\n    <character>TOD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>That's seven hours and most of it is in the dark.<\/dialogue>\n    <scene_description>ALEX AND TOD The boys dump their change in a plastic bowl .<\/scene_description>\n    <character>TOD<\/character>\n    <dialogue>Dude, if we do n't get someone going on this flight, we should just call Dr. Kervorkian and put ourselves out of our fuckn' misery.<\/dialogue>\n    <scene_description>As Alex and Tod pass through the metal detector , their eyes performing reconnaissance on Christa and Blake , the opening drum BLASTS of Boingo 's `` No One Lives Forever '' OVERLAPS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRLINE GATE - AIRPORT - AFTERNOON - CLOSE - GATE 39<\/stage_direction>\n    <scene_description>CAMERA ADJUSTS from the sign indicating GATE 39 . The class is squirrely and excited . Mr. Murnau , Ms. Lewton , and the parent chaperones are allowing kids to burn off steam at the gate , hoping for a calm flight . CAMERA MOVES ALONG the awaiting passengers . Carter and Terry are making out , a step away from heavy petting . Blake and Christa are flipping through Parisian fashion magizines . Billy Hitchcock lays into a Burrito Supreme . CAMERA MOVES to an empty seat . Clear Rivers ENTERS FRAME and sits , struggling with her Walkman , coffee , books , and a cassette box handmarked `` Boingo '' -LRB- a cheat that We hear the song -RRB- As she places her stuff on the unoccupied seat beside her , a Paris guidebook falls on the floor , opened but face down . A passing , unidentified , student reaches down and hands her the book , still open and face down .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>The student continues down toward the observation deck . Clear looks at the opened guidebook . CLEAR 'S POV - GUIDEBOOK Princess Di 's Mercedes is totaled in a Paris tunnel . Besides the photo are two portraits of Diana and Dodi Al Fayed . CLEAR CAMERA INCHES IN as she shakes off a shiver down her spine . She looks up from the book toward the student who handed it to her , the identity of which is fully REVEALED to be Alex Browning . He stands at the gate window , looking out at the plane . ALEX 'S POV - 747 It is raining . In the distance , MUFFLED THUNDER RUMBLES . CAMERA CREEPS AWAY from the plane . huge , seemingly incapable of flight and yet we unquestioningly trust our lives in this machine . Emotionless . Cold . Lifeless , and yet soon full of life . ALEX CAMERA inches in on him .<\/scene_description>\n    <character>TOD<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Dude, let's take a dump.<\/dialogue>\n    <scene_description>Tod MOVES INTO FRAME beside Alex .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Man, that is one George Michael notch from being gay.<\/dialogue>\n    <character>TOD<\/character>\n    <dialogue>Dude, get wisdom. We're about to board a seven hour flight. The toilets in coach are barely ventilated closets. What if your body wants that airplane food out of your system and you have to go torgue a wicked cable and then right after you walks in Christa or Blake? You want them to associate with you with that reflexive gag and the watery sting in their eyes?<\/dialogue>\n    <scene_description>Alex takes a beat to consider .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEN'S ROOM - AIRPORT - OVERHEAD<\/stage_direction>\n    <scene_description>CAMERA LOOKS DOWN on two stalls . Alex sits in one , Tod sits in the other . O.S. , OVER the airports P.A. SYSTEM John Denver 's `` Rocky Mountain High '' begins .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>John Denver.<\/dialogue>\n    <scene_description>Upon the mention , CAMERA CRANES DOWN , TURNING , TWISTING UNTIL FINDING ALEX in a straight on CLOSE - UP . He listens , tense .<\/scene_description>\n    <character>JOHN DENVER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>He was born in the summer of his twenty - seventh year.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>He died in a plane crash.<\/dialogue>\n    <scene_description>A P.A. ANNOUNCMENT breaks into the song . P.A. SYSTEM Ladies and Gentlemen , thank - you for your patience , at this time we would like to begin pre - boarding of Euro - Air Flight 180 to Paris through gate 39 . Really for the first time , Alex appears a bit tentative and pale . It is intensified by the return of the song .<\/scene_description>\n    <character>JOHN DENVER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>It's the Colorado Rocky Mountian High \/ I've seen it rainin' fire in the sky.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOARDING AREA - GATE 39 - CLOSE - ALEX'S BOARDING PASS<\/stage_direction>\n    <scene_description>is torn along the perforated edge and handed back . ALEX looks down the paasenger ramp . ALEX 'S POV - RAMP TUNNEL CAMERA CREEPS toward it . lit to cheat a feeling of no return . O.S. , distant THUNDER RUMBLES . WIDER There is something more emotionally tense about the moment of boarding than take - off . CAMERA PICKS UP Ms. Lewton searching .<\/scene_description>\n    <character>MS. LEWTON<\/character>\n    <dialogue>Anyone seen Billy Hitchcock? How'd we lose him?<\/dialogue>\n    <scene_description>Tod nudges Alex toward the tunnel , the three boys start down the ramp , passing Mr. Murnau who checks his list , counting heads .<\/scene_description>\n    <character>MR. MURNAU<\/character>\n    <dialogue>Vingt huit, vingt neuf.<\/dialogue>\n    <scene_description>PASSENGER RAMP Alex , Tod , and George catch up to Christa and Blake , excited . As always , everyone becomes bottlenecked just at the point of entering the plane . Alex looks out the ramp 's side porthole window toward the back of the plane . ALEX 'S POV - THROUGH PORTHOLE The enormous engine . The expansive wings . Behind the tail , distant , a bolt of lightning FLASHES ! ALEX looks away . Just ahead , in the plane , FLIGHT ATTENDANTS greet the passengers . He is next to enter the plane . CLOSE - FLOOR a slice of opening from where the ramp meets the plane provides a sense of how high up one actually stands . ALEX CAMERA PUSHES INTO HIM as he takes his first step into the plane . CLOSE - AIRLINE CABIN FLOOR Alex 's Nikes land on the carpet .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 747 - FIRST CLASS CABIN - AFTERNOON - CLOSE - BABY<\/stage_direction>\n    <scene_description>SCREAMS ! Its parents desperately comfort the child . CAMERA ADJUSTS , LEADING George , Alex and Tod through the aisles . Alex and Tod wince at the screaming child . George , however feels comforted .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Good sign. Younger the better. It would be a fucked - up God to take down this plane.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ECONOMY CLASS CABIN - 747 - AFTERNOON<\/stage_direction>\n    <scene_description>In the first row slumps a young man with Amyotrophic Lateral Sclerosis . A cannula is set in his nostrils leading to an oxygon tank beside him . The kids sneak sympathetic yet anxious glances at the man while continuing in their seats . George whispers over his shoulder .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>A REALLY fucked - up God.<\/dialogue>\n    <scene_description>Alex 's tension increases as he continues up the aisle . ALEX 'S POV - OVERHEAD COMPARTMENTS CAMERA INCHES IN ON `` Row 25 . Seats H , I , and J. '' ALEX climbs into the row , carrying his backpack . He takes his window seat and reaches up to the air flow valve . CLOSE - AIR FLOW VALVE turns , HISSING , air streaming full blast . CAMERA INCHES IN ON HIM as he takes in deep breaths of the stale air . He presses his face to the window . ALEX 'S POV - THE LEFT WING Rain falls . GEARS WHIR as the ailerons are tested . CLOSE - ALEX CAMERA CREEPS TOWARD HIM , face to the glass ; eyes scanning the plane and outside area .<\/scene_description>\n    <character>CHRISTA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Alex?<\/dialogue>\n    <scene_description>He turns toward the aisle . ALEX 'S POV - CHRISTA AND BLAKE Man , they look great and they 're workin ' the sex appeal .<\/scene_description>\n    <character>CHRISTA<\/character>\n    <dialogue>Could you trade seats with Blake so she and I can sit together? I asked Tod, but he says he's got some medical thing?<\/dialogue>\n    <scene_description>ALEX sneaks a quick check with Tod . ALEX 'S POV - TOD shakes his head . `` NO ! NO ! DO N'T DO IT . '' ALEX AND THE GIRLS He looks to them and knows he is just plain overmatched . Alex shrugs , `` Sure . '' In front of him Tod throws up his arms , disgusted . Alex climbs out of his seats . The girls are touchy - feely thankful , but only know guys dig that .<\/scene_description>\n    <character>CHRISTA AND BLAKE<\/character>\n    <dialogue>You're so sweet. Thanks, Alex.<\/dialogue>\n    <scene_description>Alex crames up into the aisles , making his way to Tod , sitting two rows up in 22 H. Alex climbs over Tod to take the window seat . Clear Rivers sits in the seat directly behind Alex.<\/scene_description>\n    <character>TOD<\/character>\n    <parenthetical>( mouths . )<\/parenthetical>\n    <dialogue>Fag.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>C'mon, man, like you really thought you were gon na tittie fuck'em over Greenland, or something?<\/dialogue>\n    <character>TOD<\/character>\n    <dialogue>Because of you, I got ta sit here and watch fuckin' `` Stepmom.''<\/dialogue>\n    <scene_description>As Alex sits , the tray table falls from its upright position . He lifts the tray back up , but as he turns the latch , it BREAKS OFF in his hand . He briefly tries to jimmie the tray into postition , then gives up . CAMERA FOLLOWS ALEX 'S HAND as it rises . CAMERA SWEEPS IN EXTREAMLY CLOSE to the ATTENDANT CALL BUTTON . As Alex 's finger engages the button , it lights up orange . ALEX The jet lurches . He looks . OUT OF THE WINDOW - ALEX 'S POV The 747 begins rolling out of the gate . ALEX As he looks back , searching for the nearst flight attendant . ALEX 'S POV - THROUGH THE SEATS - CLEAR RIVERS reads her book . Another leans to look out the window . ALEX lifts a bit out of his seat , searching for any flight attendant O.S. , A PING .<\/scene_description>\n    <character>CAPTAIN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Flight Attendants prepare for departure.<\/dialogue>\n    <scene_description>Looking fore in the cabin . ALEX 'S POV - NEAR THE FLIGHT DECK The flight attendants strap themselves in for take - off . ALEX O.S. , the ENGINE VOLUME INCREASES in PITCH and INTENSITY as the jet begins to taxi . Alex sits back as the tray over his lap . He looks out the window . ALEX 'S POV - THE RIGHT WING appears motionless in the f.g. as the tarmac and runway signs roll past the window . THE ENGINE PITCH RISES . ALEX The ENGINES WHIR as the jet gathers SPEED . He checks the window . ALEX 'S POV - THE RUNWAY is a blur . The airport terminals in the b.g. streak past . The wings lift , angled as the jet leaves the ground . ALEX O.S. , his classmates CHEER and `` raise the roof . '' The trip has begun . CAMERA PULLS AWAY FROM ALEX , as if reflecting his easing of annoyance with the tray situation . He finally appears to notice the raucous reaction and settles back in his seat , slightly pushed by mild - g force . The upwarding angle increasing . The cabin buffets , as if passing mild turbulance . Then . The cabin sharply JOLTS ! Everyone tenses , GASPS . CAMERA SWEEPS BACK TO ALEX. And just as he clenches his backpack . the cabin BANGS , ROCKS . THE ENGINES SPOOL TO A STALL . METAL TWISTS under extreme PRESSURE . The cabin dips , angles , sharply to the right . ALEX 'S POV - THE CABIN Passengers SCREAM ! Unrestrained personal belongings fly across the aircraft INTO CAMERA , which BUFFETS and SHAKES . OXYGEN MASKS deploy from the overhead compartments . A prerecorded message , like that recorded by the black box of the crash of JAL # 123 August 12 , 1985 , BLARES over the P.A. , with erie calm .<\/scene_description>\n    <character>MESSAGE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Fasten seat belts. put on oxygen masks.<\/dialogue>\n    <scene_description>ALEX his hand trembles as he reaches for the oxygen mask and places it over his face . The ENGINES resuscitate . SCREAMING . WHINING . Alex checks out his window . ALEX 'S POV - OUT OF WINDOW The plane is on its side , losing altitude . A slow , sick spin . ALEX breaths deep into his oxygen cup . The JET ENGINES GRIND AND WHIR , as if the craft were in the midst of a last - ditch effort to regain stability ; the sounds DEAFENING over the PASSENGERS ' cruelly hopeless SCREAMS . Then . KA - BOOM A DEVASTATING EXPLOSION ERUPTS across the cabin , blasting a five foot hole in the fuseluge . Human limbs and blood spray , craft and passengers torn to shreds . Dead students sit lifeless in their seats . Every unrestrained object on board flies to the hole and through the fire ; paper , books , luggage , pillows . A PARENT and a STUDENT clutch their seat in terror , SCREAMING before they are pulled into the sky . Wind . Screams . Dying engines , a deafening blare . ALEX AND TOD SCREAM , pale , knowing there is no hope , no escape as the ENGINES DIE . The cabin begins to tilt downwards . then straight down . Debris tumbles toward the flight deck as if falling from a cliff . OUTSIDE . the sick familiar SOUND of an aircraft going down . ALEX is strapped to his seat , upper body facing downward toward the water . FIRE , WIND , AND BLOOD WHIP across him . A BUILDING WHINE CRESCENDOES before a second EXPLOSION RIPS ACROSS FRAME . CLOSE - ALEX 'S TERRIFIED EYES dilating rapidly , as the shock of what appears to be happening before him washes over his very psyche .<\/scene_description>\n    <character>CHRISTA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Alex?<\/dialogue>\n    <scene_description>ALEX Drenched with sweat , trembling in his seat , his eyes dart toward Christa and Blake . They look great and they 're workin ' the sex appeal .<\/scene_description>\n    <character>CHRISTA<\/character>\n    <dialogue>Could you trade seats with Blake so she and I can sit together? I asked Tod, but he's got some medical thing.<\/dialogue>\n    <scene_description>Alex turns sickeningly disoriented . His eyes dart about , searching for evidnece of the catastrophe . There are none to be found . Alex blots from his seat , startling the two girls . He scrambles toward Tod , who looks at his friend , concerned .<\/scene_description>\n    <character>TOD<\/character>\n    <dialogue>Dude, what up?<\/dialogue>\n    <scene_description>Frenzied , Alex climbs over his friend , on top of the seat . Alex 's panic has alerted the other students and a MALE FLIGHT ATTENDANT who makes his way to the row . ALEX grabs the tray table latch before the vacent seat . IT BREAKS OFF , JUST AS BEFORE . CAMERA PUSHES INTO ALEX , terrified . He begins to hyperventilate .<\/scene_description>\n    <character>FLIGHT ATTENDANT<\/character>\n    <dialogue>Is there a a problem, sir?<\/dialogue>\n    <scene_description>Alex 's wild eyes and expression convey `` no fucking kidding there 's a problem . '' The flight attendant realizes this passenger is experiencing a serious episode . Directly across the aisle , Carter Horton and Terry look at him with severe expressions .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>What's your fuckin' problem?<\/dialogue>\n    <scene_description>Mr. Murnau and Ms. Lewton unfasten their seat belts and rush toward Alex.<\/scene_description>\n    <character>MR. MURNAU<\/character>\n    <dialogue>Alex? Qu'est - ce se?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Qu'est - ce se?! THE PLANE'S GON NA EXPLODE!<\/dialogue>\n    <scene_description>Obviously , no one ever wants to ever hear that . The students tense . THE FLIGHT ATTENDANT immediately turns to other attendants , signaling for assistance with a quick definite gesture . In the b.g. , attendants hustle toward the economy class cabin . CARTER AND TERRY<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Shut up, Browning!<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>You're not funny.<\/dialogue>\n    <scene_description>ALEX frenzied , begins moving toward the aisle .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>We have to get out!<\/dialogue>\n    <scene_description>This frightens everyone . Not the `` prophecy , '' but his panicky , irrational behavior .<\/scene_description>\n    <character>ALEX<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>We have to get off this plane!<\/dialogue>\n    <scene_description>CLEAR RIVERS CAMERA PUSHES INTO HER , hearing Alex 's declaration .<\/scene_description>\n    <character>ALEX<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Now! NOW!<\/dialogue>\n    <scene_description>RETURN Alex is desperately climbing over Tod , who is trying to calmly restrain his friend . Across the aisle , Carter Horton stands ready to quiet Alex , with force .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Sit! DOWN! Browning!<\/dialogue>\n    <character>TOD<\/character>\n    <dialogue>Alex. Alex! Easy, man. Take it easy<\/dialogue>\n    <character>FLIGHT ATTENDANT<\/character>\n    <dialogue>Sir, if this is a joke, we do n't tolerate such humor.<\/dialogue>\n    <scene_description>The flight attendant restrains Carter with an extended forearm .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>I'm not joking! I'm not joking!<\/dialogue>\n    <scene_description>Ms. Lewton and Mr. Murnau move to the seats . Flight attendants try restraining Alex from reaching the aisle .<\/scene_description>\n    <character>MS. LEWTON<\/character>\n    <dialogue>Alex, Knock it off. It's alright.<\/dialogue>\n    <character>MR. MURNAU<\/character>\n    <dialogue>Settle down, Alex.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Listen to me! This plane will explode on take - off!<\/dialogue>\n    <character>FLIGHT ATTENDANT<\/character>\n    <dialogue>Sir, we will remove you from the aircraft if this continues.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I'll remove him.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Fuck you! I'll remove myself!<\/dialogue>\n    <scene_description>Carter reaches for Alex , who pushes back , trying to get out . Carter responds aggressivly and now the flight attendant , Tod , and the two teachers are in the midst of the melee . The Co - Pilot arrives to secure the situation . He grabs Alex and begins forcibly ushering him up the aisle . A male flight attendant choke holds Carter from the back . Carter struggles but the attendant 's postioning has the advantage . He begins removing Carter from the plane as well .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>He did n't do nothin'!<\/dialogue>\n    <scene_description>She follows the attendant , hitting him to help her boyfriend . Just arriving in the cabin , Billy Hitchcock tries to fight past a STEWARDESS to get to his seat . He is blocked by the mass of combatants as they are escorted out .<\/scene_description>\n    <character>FLIGHT ATTENDANT<\/character>\n    <parenthetical>( he 's had it . )<\/parenthetical>\n    <dialogue>Anybody in the aisle is off the plane!<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>No, wait, I was late. that's my seat right there!<\/dialogue>\n    <scene_description>Under protest , Billy gets pushed back off the plane . Mr. Murnau and Ms. Lewton follow the pack of students and airline personnel as they move toward the exit , calling out to seated teachers and parents while hustling up the aisles .<\/scene_description>\n    <character>MS. LEWTON<\/character>\n    <dialogue>Everybody just stay where you are. Just sit tight.<\/dialogue>\n    <character>MR. MURNAU<\/character>\n    <dialogue>Mr. Carpenter, keep an eye on things for a moment.<\/dialogue>\n    <scene_description>Tod watches , amazed and concerned for his friend . He looks across the cabin to . TOD 'S POV - GEORGE his brother gestures , mouths . `` you should go with him . '' TOD starts off down the aisles . CAMERA COUNTERS . ADJUSTING TO CLEAR RIVERS . Amongst the chaos , she considers for a beat , then grabs her backpack , stands and moves into the aisle to exit the plane .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOARDING AREA\/TUNNEL - GATE 39 - DAY<\/stage_direction>\n    <scene_description>Alex , the co - pilot , Carter , the attendant , Mr. Murnau , Ms , Lewton , Terry , Tod and Billy proceed down the tunnel . Billy is confused by the chaos .<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>I did n't do anything! I have my ticket right here!<\/dialogue>\n    <scene_description>Arriving SECURITY OFFICERS quickly have control of the situation . Alex is taken to a seat at the gate and dropped there by the co - pilot , who , winded , eyes the officers .<\/scene_description>\n    <character>CO-PILOT<\/character>\n    <dialogue>You got this?<\/dialogue>\n    <scene_description>The officers nod . One moves toward Carter as he dropped in a seat away from Alex. Terry sits behind Carter . The co - pilot and attendants start back toward the plane . Ms. Lewton hustles over to them and an airline representitive .<\/scene_description>\n    <character>CO-PILOT<\/character>\n    <dialogue>No one gets back on board. That's my call.<\/dialogue>\n    <character>MS. LEWTON<\/character>\n    <dialogue>PLEASE. I've got forty students going to Paris.<\/dialogue>\n    <scene_description>During these negotiations . CAMERA MOVES PAST Ms. Lewton and the Co - Pilot to the boarding ramp door . Clear Rivers exits and takes a seat away from the others , aware she is unnoticed in the confusion . CAMERA INCHES IN as she looks up toward . ALEX CAMERA MATCHES THE MOVE TO HIM AS TOD and Mr. Murnau attempt to calm him down .<\/scene_description>\n    <character>TOD<\/character>\n    <dialogue>It's alright. It's alright. You're off the plane. You're off the plane.<\/dialogue>\n    <scene_description>Rattled , Alex attempts to compose himself . Ms. Lewton appears , hurriedly pulling aside Mr. Murnau .<\/scene_description>\n    <character>MS. LEWTON<\/character>\n    <dialogue>Airline's not taking this very well. They'll let one of us back on and the rest can grab a six - ten flight. Gets in two hours later at DeGaulle. It's alright. It's not that big of a deal.<\/dialogue>\n    <character>MR. MURNAU<\/character>\n    <dialogue>I'll stay.<\/dialogue>\n    <character>MS. LEWTON<\/character>\n    <dialogue>No, you know the whole French thing. Get on the plane.<\/dialogue>\n    <scene_description>Murnau understands this point and takes off toward the boarding ramp door . Pleading his case , Billy follows Murnau .<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>I was in the bathroom. The lock was stuck. I did n't fight with anyone!<\/dialogue>\n    <scene_description>Hustling toward the door . Mr. Murnau gestures toward Ms. Lewton as if `` talk to her . '' He disappears down the ramp . CAMERA PUSHES IN as airline personnel CLOSE THE DOOR . with an ominous THUD .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GATE 39 - AFTERNOON - CARTER, TERRY &amp; BILLY'S POV<\/stage_direction>\n    <scene_description>Flight 180 pulls out of the gate , taxiing toward the runway .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GATE 39 - OBSERVATION WINDOW - AFTERNOON<\/stage_direction>\n    <scene_description>Carter turns over his shoulder , looking back angrily towards Alex. Terry wraps a calming\/restraining arm around Carter 's shoulder , but he starts towards Alex , seated with Ms. Lewton . MENS ROOM ACROSS FROM GATE 39 Tod races out of the bathroom with a dampened paper towel . CAMERA FOLLOWS as he hands it to Ms. Lewton seated next to Alex. The teacher places it on Alex 's forehead .<\/scene_description>\n    <character>TOD<\/character>\n    <dialogue>I called your mom and dad and they're on their way.<\/dialogue>\n    <character>MS. LEWTON<\/character>\n    <dialogue>Alex, talk to me. What happened?<\/dialogue>\n    <scene_description>Alex looks at Tod , who nods . His friend 's expression is soothing and open . With lowered tense tone , meant for only the two people beside him .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>I. I saw it. like, I do n't know. the plane took off. I saw it leave the runway. I looked down and saw the ground.<\/dialogue>\n    <scene_description>Ms. Lewton and Tod exchange concered glances .<\/scene_description>\n    <character>ALEX<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And then the cabin banged and the left side exploded. The the whole plane. blew up. It was so real. Exactly how everything goes.<\/dialogue>\n    <character>TOD<\/character>\n    <dialogue>Been on many planes that blew up, have you?<\/dialogue>\n    <scene_description>Good point . Alex looks away .<\/scene_description>\n    <character>MS. LEWTON<\/character>\n    <dialogue>You must have fallen asleep.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>We get thrown off the plane and blow a half day in Paris because Browning has a bad dream?<\/dialogue>\n    <parenthetical>( mocking Alex. ) It 's going to explode !<\/parenthetical>\n    <parenthetical>It 's going to explode !<\/parenthetical>\n    <dialogue \/>\n    <character>TOD<\/character>\n    <dialogue>Fuck off, Horton.<\/dialogue>\n    <character>MS. LEWTON<\/character>\n    <dialogue>Tod.<\/dialogue>\n    <scene_description>A raw nerve , Alex stands .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Only trip you're gon na take is to the fuckin' hospital.<\/dialogue>\n    <scene_description>Carter scoffs while moving aggressively toward Alex. Carter makes a quick move and grabs Alex. The two security guards rush in to break it up . Chaos erupts agian as the two boys wrestle in the terminal . OBSERVATION DECK CAMERA PUSHES INTO Billy Hitchcock , depressed as he watches the plane take off .<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>There they go and here we stay.<\/dialogue>\n    <scene_description>AIRPORT TERMINAL One guard restrains Alex ; another Carter . In the b.g. out of the observation deck window . Flight 180 lifts off the runway .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>You're payin' for my trip, Browning!<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>I wish you were on the plane!<\/dialogue>\n    <scene_description>In the b.g. the 747 head and taillights suddenly , violently , ERUPT into a gigantic fireball of flame . It takes a few seconds for the CONCUSSION to hit the terminal , but when it does . BOOM ! A window SHATTERS ! Chairs rock ! People are knocked off their feet . CAMERA SWEEPS INTO ALEX . stunned as he turns to the window . ALEX 'S POV - FLIGHT 180 The unceremonious speed of obliteration of hundreds of lives is cruel as flaming debris plummets from the early evening sky . CLEAR RIVERS CAMERA PUSHES IN ON HER , rattled , afraid , but aware of Alex as she is first to turn her eyes toward him . GATE 39 Billy Hitchcock walks backward from the window , shocked by shocked step . Ms. Lewton drops to her chair as her legs give out . O.S. , ALARMS BEGIN . The two security guards tear off toward more urgent duties . O.S. , OUTSIDE , SIRENS WAIL as emergency vehicles race to the tragedy . CAMERA BEGINS TO MOVE toward ALEX . as Tod 's head turns toward him , then Terry 's . then Carter 's . In the chair , beginning to cry , Ms. Lewton eyes Alex , as if afraid of him . CAMERA CONTINUES . SIRENS PIERCING . The emergency vehicles ' strobing red lights reflect in Alex 's eyes , now in TIGHT as he looks out , frozen with shock . upon the doomed FLIGHT 180 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JFK INTERNATIONAL AIRPORT - PRESS ROOM #10 - NIGHT<\/stage_direction>\n    <scene_description>SILENCE A pair of Airline REPRESENTATIVES sit with the seven survivors , each numb with shock . Everyone is too raw with residual fear to show any emotion . They sit on folding metal chairs in an empty room , too bright from the fluorescent lights . Beneath their obvious trauma resulting from the catastrophe . each feels uneasy by Alex 's presance . The others sit away from Alex and Tod . Alex appears wrought with guilt . He checks the others out of the corner of his eye . ALEX 'S POV - THE ROOM Ms. Lewton , Carter and Billy glare at Alex. Terry averts her eyes from Alex to bury her face in Carter 's shoulder . ALEX frightened as anyone over what has happened , tenses , defensive and scared . With softspoken strength .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>You're lookin' at me as if I caused it. I did not cause this.<\/dialogue>\n    <scene_description>LEWTON , CARTER , TERRY , AND BILLY maintain their uncertain expressions . With strained apprehansion , as if not wanting to `` dabble in the occult , '' but needing an immediate answer .<\/scene_description>\n    <character>MS. LEWTON<\/character>\n    <dialogue>Is everyone dead? Are there any survivors?<\/dialogue>\n    <scene_description>WIDER Alex is taken aback by the question , yet even his best friend looks at him for an answer .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>How would I know? You think I'm some sort of.<\/dialogue>\n    <character>CLEAR<\/character>\n    <dialogue>He's not a witch.<\/dialogue>\n    <scene_description>CAMERA PUSHES IN ON Alex , relieved and thankful , as he turns to her . CLEAR RIVERS - ALEX 'S POV CAMERA MATCHES the move INTO HER as she looks up at Alex , not with fear or repulsion . but with knowledge of an unwanted but irrefutable connection . WIDER Causing a startle , the DOOR OPENS . Everyone 's head whips reflexively toward the entrance . The strange event of the flickering lights is quickly forgotten . A half dozen MEN and WOMEN enter the room , displaying official badges and passes . All but two are dressed in casual clothing , having been called in from home ; the pair being F.B.I. Special Agents WEINE and SCHRECK . HOWARD SEIGEL and DON HAWKS are representatives of the National Transportation Safety Board . EILEEN WHALE and JACK ARNOLD are members of the Euro - Air `` Trauma Team . '' The officials are sympathetic and calm , exuding the confidence and security trauma victims look for at this time .<\/scene_description>\n    <character>SEIGEL<\/character>\n    <dialogue>Hello. I'm Howard Seigel, National Transportation Safety Board vice chairmen. We've notified your families and they are on their way. Does anyone feel they need medical attention or spiritual counseling at this time?<\/dialogue>\n    <scene_description>Although the words are comforting , being in the position of having to hear them macabre . Ms. Lewton reacts , snapping .<\/scene_description>\n    <character>MS. LEWTON<\/character>\n    <dialogue>Have they found any survivors? What's going on?<\/dialogue>\n    <scene_description>Seigel is calm , yet honest . carefully honest .<\/scene_description>\n    <character>SEIGEL<\/character>\n    <dialogue>The cause of the explosion is undetermined. Nassau county authorities are on the scene. Naval search and rescue are en route.<\/dialogue>\n    <scene_description>He gestures . `` and that 's all we know . '' The group slips deeper into despair .<\/scene_description>\n    <character>WEINE<\/character>\n    <dialogue>We understand how you must be feeling at this hour. and although we know it may be difficult, we must ask you some questions. regarding today's events, while it's still fresh in your minds.<\/dialogue>\n    <scene_description>The survivors dread the thought of recounting the horrible experience , yet collectively are ready to co - operate .<\/scene_description>\n    <character>WEINE<\/character>\n    <dialogue>It may be valuable to our rescue attempts, or any potential. criminal investigation.<\/dialogue>\n    <scene_description>The agents , F.B.I. badges displayed in their pockets , turn their eyes , suspicioulsy , toward Alex. ALEX reacts , puzzled , as he realizes the Agents are focused on him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A ROOM - AIRPORT - NIGHT - CLOSE - SCHRECK &amp; WEINE<\/stage_direction>\n    <scene_description>are direct and professional , with no hidden agenda in searching for the truth . Seigel and Hawks from the NTSB are behind them taking notes .<\/scene_description>\n    <character>SCHRECK<\/character>\n    <dialogue>You said.<\/dialogue>\n    <parenthetical>( checks notes . )<\/parenthetical>\n    <dialogue>`` Listen to me! This plane will explode on take - off.''<\/dialogue>\n    <parenthetical>( to Alex. ) How did you know that ?<\/parenthetical>\n    <dialogue \/>\n    <scene_description>ALEX CAMERA PUSHES IN as he looks up , nervous . not about suspicion toward him , but trying to explain what even he does n't understand .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>I got this. feeling. a weird feeling. I ca n't explain it.<\/dialogue>\n    <character>WEINE<\/character>\n    <dialogue>Did you take any seditives before boarding, or on the plane. Sleeping pills?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>No. I saw it. I saw it!<\/dialogue>\n    <scene_description>Tears well as he grows frustrated trying to convey the unique experience . Being trained , veteran officers , Schreck and Weine obsereve ; allow him to talk .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Not like a dream. more than that. I experienced the plane exploding. it was so horrible. I know what they all went through tonight.<\/dialogue>\n    <scene_description>The officers remain quiet , gauging his explanation .<\/scene_description>\n    <character>ALEX<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm not a pyschic. I've never had this happen before.<\/dialogue>\n    <scene_description>The officers study him , unsure yet carefully .<\/scene_description>\n    <character>SCHRECK<\/character>\n    <dialogue>Did this `` weird feeling'' have anything to do with you saying you wished Carter Horton was on the plane. just before it exploded?<\/dialogue>\n    <scene_description>Alex looks up , stunned . He did n't even recall this until now .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>SCHRECK<\/character>\n    <dialogue>Why'd you say it?<\/dialogue>\n    <scene_description>He considers , owing them an explanation . The he realizes .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Because. I. never thought it would really happen.<\/dialogue>\n    <scene_description>Weine leans foward .<\/scene_description>\n    <character>WEINE<\/character>\n    <dialogue>If that's the case, Alex. why did you really get off the plane?<\/dialogue>\n    <scene_description>CAMERA INCHES IN as Alex considers , confused , emotional .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A ROOM - AIRPORT - NIGHT - TOD<\/stage_direction>\n    <scene_description>CAMERA CONTINUES THE MOVE on Tod . as if just realizing .<\/scene_description>\n    <character>TOD<\/character>\n    <dialogue>My brother. told me to keep an eye on Alex. He stayed. and I went to make sure Alex was okay.<\/dialogue>\n    <parenthetical>( a whisper . )<\/parenthetical>\n    <dialogue>He told me to get off the plane.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A SECOND ROOM - AIRPORT - NIGHT - MS. LEWTON<\/stage_direction>\n    <scene_description>displaying a similar sickened expression as Tod .<\/scene_description>\n    <character>MS. LEWTON<\/character>\n    <dialogue>Larry Murnau told me to get back on. but I told him to go.<\/dialogue>\n    <parenthetical>( pause , guiltily . )<\/parenthetical>\n    <dialogue>I sent him back on the plane.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A ROOM - AIRPORT - NIGHT - WEINE<\/stage_direction>\n    <character>WEINE<\/character>\n    <dialogue>No one forced you to get off the plane. You told us you are n't friends with any that did. so, why did you leave the airplane?<\/dialogue>\n    <scene_description>CLEAR RIVERS CAMERA INCHES IN as she looks up . With total resolve .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>Because I saw and I heard Alex. And. I believed him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JFK INTERNATIONAL BUILDING - PRESS ROOM #10 - NIGHT<\/stage_direction>\n    <scene_description>The surviviors have all returned to the room . They may be a group , but they are alone with their thoughts . The door is opened by Ms. Whale . Alex 's Mother and Father lead by a group of parents into the room . Each moves with grief , yet relief , to their child . Barbara Browning grabs hold of Alex and holds him tight . The mother begins to cry . Ken Browning , eyes welling with tears , grabs his son 's hand and squeezes . Alex does not cry . While holding his mother , he watches the others . ALEX 'S POV - CARTER AND TERRY Their parents are concerned , but do not demonstratively show affection . Carter appears as if he wants to hug his MOTHER , but he ca n't bring himself to betray his self - image . ALEX his eyes moves toward . CLEAR RIVERS alone , hurt that no one has come to take her home . ALEX his eyes find . TOD AND HIS FATHER JERRY WAGGNER holds his son , both of them releasing anguished tears . Through his grief , however , Jerry stares at Alex with an expression of anger and accusation . ALEX CAMERA PUSHES IN ON HIM as he holds his mother tightly . OVERLAPPING . A CRACK OF THUNDER !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KEN BROWNING'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Alex sits in the back against the door , looking out the window at the storm . Clear Rivers is pressed against the other door . Everyone is slient . Outside , the STORM angrily rages . Alex is unaware that Clear is watching him , searching for some answer that she will not now find . She looks up .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>Here's good.<\/dialogue>\n    <scene_description>The car pulls over .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>Thank you for the ride.<\/dialogue>\n    <scene_description>She opens the door and flashes one more look at Alex , but he appears unaware . She exits the car and as the door SHUTS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALEX'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>The room is empty , but the CAMERA is SLOWLY MOVING , as if ITSELF a PRESENCE . O.S. , FOOTSTEPS move up the stairs . Alex appears , his parents behind him . He clicks on the light , sending a soft , safe , orange glow across the room . ALEX stands in the threshold of the doorway . His mother places a comforting hand on his shoulder . ALEX 'S POV - PENNANT Mt. Abraham High School Fighting Colonials . ALEX and now , the tears arrive . He begins crying , SOBBING , as his mother and father hold him . O.S. , OUTSIDE . lighting FLASHES . THUNDER RUMBLES .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - BROWNING HOUSE - NIGHT - TV<\/stage_direction>\n    <scene_description>CNN broadcasts video footage of the disaster . Seat cushions and personal belongings float in the harsh floodlights . LIVING ROOM It is late and dark . Only the pale light of the TV spills across the living room . Ken and Barbara have fellen asleep , but their son remains awake . Alex 's red eyes are locked on the screen , mortified . O.S. , a VICIOUS CRACK of LIGHTNING and immediate THUNDER . as if calling Alex to the window . He remains fixed on the TV . ALEX 'S POV - TV An image of Hell as jet fuel burns on the ocean . O.S. , as if furious at the slight , THUNDER BANGS . ALEX He turns , stands . and moves to the picture window , pulling the curtains aside as CAMERA PUSHES IN ON HIM . ALEX 'S POV - THE STORM It is as if Nature is angry . Lightning BOLTS spiderweb across the sky . THUNDER BOOMS . A shard of lightning breaks across the front yard . Oddly , it does not make contact . In the split - second strobe of lightning flash , the bolt abstractly appears as if it were a hand pointing directly at Alex. ALEX horrified , lurches away from the window , considering what he has seen . Just felt on the ROAR OF THUNDER . Over black :<\/scene_description>\n    <character>MINISTER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Thirty - nine days have passed since we've lost our thirty - nine loved ones, friends, and teachers.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MT. ABRAHAM HIGH SCHOOL - DAY - CLOSE - ALEX<\/stage_direction>\n    <scene_description>wearing a dark suit and tie , sits beside his parents on white folded chairs . His head is bowed , guilty and sad .<\/scene_description>\n    <character>MINISTER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>As each day passes without a determining cause for the accident, we ask ourselves, `` Why?''<\/dialogue>\n    <scene_description>Alex raises his eyes and looks across the ceremony . ALEX 'S POV - TOD sits with his mother , LINDA WAGGNER and his father , Jerry . Destraught , Jerry stares off blankly at the minister .<\/scene_description>\n    <character>MINISTER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Ecclesiastes tell us, `` Man no more knows his time than fish taken in the fatal net.<\/dialogue>\n    <scene_description>ALEX guiltily averts his eyes . Ken notes this and wraps a comforting arm around his son .<\/scene_description>\n    <character>MINISTER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>or birds trapped in the snare.<\/dialogue>\n    <scene_description>Alex checks over his shoulder . ALEX 'S POV - OVER HIS SHOULDER - LAST ROW OF SEATS Special agents Schreck and Weine subtly survey the area , taking notes . Although their eyes are beyond sunglasses , the tilt of their head indicates they are watching Alex.<\/scene_description>\n    <character>MINISTER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>like these the children of men.<\/dialogue>\n    <scene_description>ALEX turns away , tense . He looks at the minister .<\/scene_description>\n    <character>MINISTER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>caught when the Time falls suddenly upon them.''<\/dialogue>\n    <scene_description>CAMERA PUSHES INTO ALEX , feeling eyes upon them . He looks up . ALEX 'S POV - CLEAR RIVERS is actually sexy and a bit scandalous in her black dress . Still , she is off by herself , eyes burning at Alex as if challenging him to challenge the words being spoken . ALEX self - consciously turns away , unable to face her , let alone the words being spoken .<\/scene_description>\n    <character>MINISTER<\/character>\n    <parenthetical>( CONT 'D O.S . )<\/parenthetical>\n    <dialogue>And so before we can heal, before we can escape the presence of Death Time, we must mourn and celebrate theirs with this memorial.<\/dialogue>\n    <scene_description>WIDER A student with a guitar and harmonica stands at the microphone . Without introduction , he begins Neil Young 's `` Long May You Run . '' Two other students remove a cloth , unveiling a memorial sculpture etched with the names of the departed . The gathered stand and begin paying their respects to the memorial . MEMORIAL LINE Carter and Terry appear IN FRAME . Terry holds a rose . As they move slowly up toward the memorial , Alex gets in line behind them . Carter knows Alex is there , but will not look at him .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Hope you do n't think, Browning, that because my name ai n't on this wall. that I owe you anything.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>I do n't.<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>( re : victims . )<\/parenthetical>\n    <dialogue>All I owe is these people.<\/dialogue>\n    <parenthetical>( turns to Alex. ) To live my life to the fullest .<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Alex winces from Carter 's breath .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Then maybe you should lay off the J.D.<\/dialogue>\n    <scene_description>Carter has an angry reflexive reaction , grabbing Alex threateningly by the forearm . Terry immediately tries to get Carter to release his hold .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Do n't ever fucking again tell me what to do. I control me. Not you.<\/dialogue>\n    <scene_description>Carter and Alex lock eyes , Alex refraining from showing any pain caused by Carter 's grip . Terry finally gets him to release .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>I'm never gon na die.<\/dialogue>\n    <scene_description>He moves off . Terry , however , holds a beat , eyes Alex and gently rubs the area of his arm , as if this is the only manner she can extend her gratitiude in Carter 's presence . As Alex pats her arm , Terry quickly moves off . Shaken , Alex considers whether to move foward to the memorial . He steps aside to let the others go ahead as Billy Hitchcock , who has finished paying his respects , spots Alex and heads back up the line .<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>I took my driver's test this week at the DMV.<\/dialogue>\n    <scene_description>Alex turns to him , increudlously .<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Got a 70. Lowest score, but I passed. When I was done with the test, the guy who drives with you during the test, he goes, `` Young man, you're going to die at a very young age.''<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>That true?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Not here, not now.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Not EVER!<\/dialogue>\n    <scene_description>Billy sighs , and moves OUT OF FRAME , only to quickly RE - ENTER .<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>If I ask out Cynthia Paster, will she say `` no?''<\/dialogue>\n    <scene_description>Alex flashes Billy an angry glare . He gets the message and moves off , for good . Alex returns in line , moving toward the memorial . Valerie Lewton places a rose at the base of the memorial then studies the engraved names as the students move past behind her . Alex approaches , watching her as she reaches out with a trembling finger , touching the etched names . CLOSE - MEMORIAL Linda Krauss . Thomas Lewis . John McConnell . RETURN Alex stands near her , sympathetically , understanding her pain .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Ms. Lewton.<\/dialogue>\n    <scene_description>Her eyes fill with tears and fear . Alex places a comforting hand on her shoulder , but she reacts quickly , pulling away from him , her eyes piercing at him .<\/scene_description>\n    <character>MS. LEWTON<\/character>\n    <dialogue>Do n't talk to me. You scare the hell out of me.<\/dialogue>\n    <scene_description>Alex is shattered as the teacher moves away . Tod ENTERS and faces the memorial .<\/scene_description>\n    <character>TOD<\/character>\n    <parenthetical>( a greeting . )<\/parenthetical>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>Alex notices Tod is in line behind him . Alex looks around for Tod 's father . He is not in line .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>I do n't want to sound gay, or nothin, but. I miss you.<\/dialogue>\n    <scene_description>Tod subtly nods , reaching out to the memorial . CLOSE - MEMORIAL Tod 's hand moves across his brother 's name . GEORGE WAGGNER . RETURN As Tod longs for his brother , then looks at his friend .<\/scene_description>\n    <character>TOD<\/character>\n    <dialogue>Me, too.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>But my dad does n't understand. When he's better ; you and me, road trip to the City. Catch the Yanks.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>That's a plan.<\/dialogue>\n    <scene_description>Tod nods . The two friends stand uncomfortably foar a beat before Tod gestures to the podium .<\/scene_description>\n    <character>TOD<\/character>\n    <dialogue>I got ta go. This thing Ms. Lewton showed me in her class, they're gon na let me read it. It says what I'm feeling.<\/dialogue>\n    <scene_description>Tod holds his friend 's arm for strength as he passes . Clear Rivers appears in line , holding a rose . She looks at the memorial , before her startling eyes turn to Alex. Even away from these circumstances , Alex would have trouble handling her intense maturity . As he begins to step away , she thrusts the rose to him . He looks up , puzzled .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>Because of you. I'm still alive. Thank you.<\/dialogue>\n    <scene_description>Alex takes the rose and she walks away . CAMERA PUSHES IN ON HIM as he eyes . feels . the red flower .<\/scene_description>\n    <character>TOD<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>We say that the hour of death can not be forecast.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MT ABRAHAM HIGH SCHOOL - DAY - THE PODIUM<\/stage_direction>\n    <scene_description>Tod nervously stands before the assembly , reading aloud with a sad , yet optimistic resolve . CAMERA PUSHES IN , at an ominous ANGLE and rhythm , to the podium .<\/scene_description>\n    <character>TOD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>But when we say this, we imagine that the hour is placed in an obscure and distant future.<\/dialogue>\n    <scene_description>As he speaks , the sunlight suddenly turns to shadow . ALEX looks up at the sky . THE SKY - ALEX 'S POV Within the deep blue , a single black cloud blocks the sun . ALEX CAMERA INCHES IN as , troubled , he looks back to Tod . TOD as he continues to read .<\/scene_description>\n    <character>TOD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It never occurs to us that it has any connection with the day already begun or that death could arrive this same afternoon.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WAGGNER HOUSE - NIGHT - ESTABLISHING<\/stage_direction>\n    <scene_description>Storm clouds devour a waxing crescent moon above a modest home set amongst the edge of the woods .<\/scene_description>\n    <character>TOD<\/character>\n    <parenthetical>( V.O. , CONT 'D . )<\/parenthetical>\n    <dialogue>This afternoon. which is so certain. and which has every hour filled in advance.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - WAGGNER HOUSE - NIGHT<\/stage_direction>\n    <scene_description>A lone light glows . Jerry Waggner has fallen asleep , perhaps passed out , reclined in `` dad 's chair . '' Tod 's mother is asleep on the sofa , balls of tissue on the floor . Tod enters the room and stares sadly at his parents . Tod picks up a glass and swigs the remainder of his father 's scotch before moving off and climbing the stairs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALEX'S BEDROOM - NIGHT - CLOSE - TABLE FAN<\/stage_direction>\n    <scene_description>swivels as it distributes its breeze . ALEX sits at his desk , dark circles beneath his eyes . Swamping the desk are printouts of Internet Web pages and newspaper articles concerning the crash of Flight 180 , forensic engineering textbooks , NTSB reports on past airline disasters and . REALITY BEYOND MATTER : Vaishnava Philosophy . Alex studies his mountain of research , increasingly obsessed . An O.S. paper FLUTTER draws his attention to the newspaper being blown by the fan . He reaches out and grabs it . Headlines and photos report on the memorial service . CAMERA PUSHES IN as he sighs , troubled . ALEX 'S POV - NEWSPHOTO Clear Rivers sits in her seat , legs crossed , alluring and sexy and mysterious . ALEX closes the paper , puzzled by his reaction . He shakes it off and throws the paper on the desk . Alex considers for a beat , then pulls open a lower drawer . Digging through the mess inside , he finds his stash . the April 1997 issue of Penthouse .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - WAGGNER HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Alight CLICKS on REVEALING an old , ' 20 's built bathroom . The toilet is beside the bathtub\/shower , with just enough knee space to the counter cabinets when one lifts the toilet seat . Tod puts the lid down and UNSNAPS his jeans . As he turns , pulls his pants down and sits , CAMERA MOVES to the CURTAINS . still . until a cold soft breeze causes them to billow . CAMERA FOLLOWS the wind as it CONTINUES into the room , rippling across shower curtains . As the breeze passes Tod , he pauses . as if sensing , but not understanding . this is more than a wayward autumn breeze . He moves to close the window , however , CAMERA CONTINUES as the air makes ITS way to the door . The door is softly pushed closed by the breeze . BACK OF THE TOILET TANK Tod sits , back to CAMERA , which CRANES DOWN the tank , STOPPING behind the locking nut and water line pipe . As the toilet FLUSHES O.S. , CAMERA NOW MOVES INTO the locking nut , which begins to slightly rattle . Drips of water stream from the tank onto the floor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALEX'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Alex flips the magazine open to a centerfold . PENTHOUSE PICTORIAL The model 's pose and expression tempt Alex towards the momentary respite form his troubles . The caption beneath the centerfold pictorial reads , `` Tymme Has Come Today ! '' ALEX considers the reports on the Flight 180 crash , then returns his attention to the magazine . He unzips his pants , then pauses . his eyes returning hesitantly to the newspaper photo of Clear .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - WAGGNER HOUSE - NIGHT- CLOSE- RAZOR BLADE<\/stage_direction>\n    <scene_description>waits on the counter . CAMERA PULLS AWAY as Tod picks it up . He looks at his face in the mirror , as if behind him . a black indiscernible form , like a shadow , however , actually a presence incapable of reflecting light . Tod whips around . a puddle forms , creeping toward the heel of Tod 's stocking feet . TOD turns on the faucet and grabs his toothbrush , squeezing paste onto the bristles . CLOSE - FAUCET the f.g. running water is out of FOCUS . In the b.g. sits an unplugged radio . TOD notes the radio . CAMERA FLLOWS HIS HAND as he grabs the plug . THE PUDDLE ON THE FLOOR grows closer to his foot . ELECTRICAL SOCKET the radio plug is inserted . TOD turns on the radio .<\/scene_description>\n    <character>JOHN DENVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And they say that he got crazy once and he tried to touch the sun.<\/dialogue>\n    <scene_description>spooked , quickly turns it off , unplugs it and pushes it aside . THE PUDDLE ON THE FLOOR continues to grow .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALEX'S BEDROOM - NIGHT - NEWSPHOTO - CLEAR RIVERS<\/stage_direction>\n    <scene_description>Odd how one can appear so erotic at a funeral . ALEX studies the photograph , then notices the rose she gave him . Succumbing to guilt , feeling like the freak all teenagers believe they are , Alex sets the paper back on the desk . He grabs the Penthouse and turns , opening the desk drawer in order to return the magazine , however . A LOUD BANG turns Alex 's head to the window ! ALEX 'S POV - WINDOW An OWL has apparently smashed into the window , awkwardly flapping its large wings , then turns its head toward Alex , large yellow eyes shining like an alien creature . WIDER Startled , Alex reflexively throws the Penthouse across the room , pages tearing as it hits the sill . The giant bird flies off . THE TABLE FAN swivels , a page catching in the whirling blades . A PIECE OF PAPER torn form the magazine flits across the room . ALEX CAMERA INCHES IN ON HIM as the piece of paper ENTERS FRAME , floating and flitting until landing on his knee . He picks it up and turns it over . ALEX 'S POV - PIECE OF PAPER is torn in such a manner that the only lettlers remaining from the centerfold 's caption are '' . Tod . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - WAGGNER HOUSE - NIGHT - SHOWER CURTAIN<\/stage_direction>\n    <scene_description>is pulled aside REVEALING two pairs of Linda Waggner 's nylons drying on a retractable clothesline . THE PUDDLE ON THE FLOOR his foot slips . TOD falls foward . THE RETRACTABLE CLOTHESLINE retracts ! WHIPPING wildly ! THE SOAP DISH Tod 's hand tries to grab anything to hold him . His hand slips , knocking over a bottle of shampoo . TOD 'S NECK the thin clothesline coils around his neck . The plastic anchor wraps beneath the cord , essentially creating a noose . PUDDLE ON THE FLOOR He slips again . TOD falls against the back wall of the shower stall , pulled by the retracting wire . He kicks with his feet , desperately trying to gain a footing . SHOWER HEAD - TOD 'S POV quickly , reflected in the chrome . the dark shadow approaches . BATHTUB Tod 's feet slip in the slick shampoo and water . CLOSE - TOD 'S EYES flare . Blood vessels burst . He GROANS , attempting to call out . THE BATHROOM DOOR is closed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - WAGGNER HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Tod 's parents remain asleep . O.S. , a FAINT MUFFLE can be HEARD .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - WAGGNER HOUSE - NIGHT - CLOSE - TOD'S NECK<\/stage_direction>\n    <scene_description>his hands tear at his flesh , desperately trying to pull the cord from his neck . TOD 'S EYES dart desperately toward the counter . ON THE COUNTER a pair of nose - hair scissors . TOD CHOCKING , GASPING , face turning purple , reaches for the counter . ON THE COUNTER Tod 's hand ENTER FRAME . The scissors , sadistically just out of reach . TOD 'S FACE FALLS INTO FRAME , suspended by the cord , propped against the back wall of the shower stall , his bluish purple tongue grotesquely juts from his mouth . TOD 'S POV - DEATH all four edges of FRAME appear to collapse as if by weight of the darkness until forming a myopic center . Then , from within the center . appears Tod 's face . Although the expression is serene the pallor is grayish , until . suddnely , shockingly . Tod 's face decays , as if ten years of rot in the grave is compressed into 72 FRAMES . TOD The moment of realization . HIS FEET kick upon the slippery basin . After a beat . they stop . TOD As his body settles . dies . CAMERA PULLS AWAY fully revealing his lifeless form . Once behind the toilet tank , CAMERA CRANES DOWN to the floor . The water eerily retreats from the floor , slipping back toward the base of the toilet and like a murderer , slips out of the night .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WAGGNER HOUSE - LATER - CLOSE - SIREN LIGHTS<\/stage_direction>\n    <scene_description>whirl and flash INTO CAMERA . CAMERA CRANES DOWN , ADJUSTING to REVEAL a Paramedics vehicle , a Sullivan County , N.Y. Sheriff 's patrol car and unmarked sedan . CAMERA CONTINUES MOVING UNTIL REVEALING Alex Browning racing down the sidewalk . He runs into a CLOSE - UP , sweating , out of breath , expression horrified as he takes in the scene before him . SPECIAL AGENTS SCHRECK AND WEINE stand in the front yard . Schreck subtly redirects Weine 's attention toward . ALEX - SPECIAL AGENT 'S POV The boy franically moves to a paramedic .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>What happened? Is Tod alright?<\/dialogue>\n    <scene_description>SCHRECK AND WEINE hearing this , they turn to one another , with an expression suggesting a deepening suspicion . ALEX sees the officers . Assuming they are sympathetic to his concern , he starts toward them , until .<\/scene_description>\n    <character>CLEAR<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Alex!<\/dialogue>\n    <scene_description>Alex stops , looks around . Behind the tree and in the shadows of the adjacent house , stands Clear Rivers .<\/scene_description>\n    <character>CLEAR<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( a warning . )<\/parenthetical>\n    <dialogue>Get outta here!<\/dialogue>\n    <scene_description>CAMERA PUSHES INTO ALEX , stunned , but before he can ask any further questions , a METALLIC CLACKING draws his attention back toward the house . ALEX 'S POV - A COVERED GURNEY is rolled out of the front door by paramedics and an official with a jacket marked `` CORONER , '' Behind the body follows Tod 's father . He pauses in the doorway as he spots Alex in the front yard . ALEX is pale , nauseous . His eyes follow his friend 's dead body as it is rolled toward the paramedics vehicle . Tod 's father approaches Alex , the agents stand nearby .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>What. what happened?<\/dialogue>\n    <scene_description>Mr. Waggner glares at Alex , accusingly .<\/scene_description>\n    <character>MR. WAGGNER<\/character>\n    <dialogue>Did n't you. `` see'' it?<\/dialogue>\n    <scene_description>Alex is stung , guilty . He averts his eyes . Schreck and Weine note this reaction .<\/scene_description>\n    <character>MR. WAGGNER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Could n't you `` predict'' it? Could n't you read his mind?<\/dialogue>\n    <scene_description>Alex remains silent , hurt .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Mr. Waggner.<\/dialogue>\n    <character>MR. WAGGNER<\/character>\n    <dialogue>You caused Tod so much guilt over George staying on the plane that.<\/dialogue>\n    <parenthetical>( breaking down . )<\/parenthetical>\n    <dialogue>He took his own life.<\/dialogue>\n    <scene_description>Alex is stunned , defensive .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>He would n't do it!<\/dialogue>\n    <scene_description>Mr. Waggner turns toward the paramedics van , as if `` there 's the proof . ''<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>He. he told me we would be friends again after you got better. After you got over George. Why would he make plans for the future if he were planning on killing himself?<\/dialogue>\n    <character>MR. WAGGNER<\/character>\n    <dialogue>All my wife and I will ever know is we would n't have lost our youngest son. if you'd told our oldest to get off the plane.<\/dialogue>\n    <scene_description>Alex is rocked as if having taken a punch to the face . Mr. Waggner begins to walk toward the peramedics vehicle . Alex eyes the F.B.I. agents , who , after studying for a beat , turn and move toward their vehicle . The gathered spectators begin whispering to one another , clearly about Alex , causing him to search for , what appears to be , his only ally , Clear Rivers . ALEX 'S POV - ADJACENT YARD Clear is gone . FRONT YARD everyone has moved away from Alex , leaving him very alone . Alex 's eyes remained locked on the peramedics ' vehicle . As the ambulance doors CLOSE on the body of his best friend .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEIGHBORHOOD - DAY - CLOSE - LEAVES ON TREES<\/stage_direction>\n    <scene_description>A soft summer breeze passes through the leaves on a tree . A yellow leaf drops from the branch and flutters to the ground . CAMERA FOLLOWS until it falls upon an old cracked sidewalk . A pair of worn Nikes ENTER FRAME just as the leaf drops before them . The feet and CAMERA HOLD until CRANING UP to REVEAL Alex , staring at the leaf with an expression reminiscent of the torn paper 's message about '' . Tod . ''<\/scene_description>\n    <character>CLEAR<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Almost Autumn.<\/dialogue>\n    <scene_description>Alex looks off toward a small unkept house , nestled at the edge of the woods . In the open garage stands Clear Rivers amongst cluttered artwork , supplies and tools . Her t - shirt 's sleeves have been cut off and neck - line cut low . Her jeans have a revealing hole at the spot which once was a back pocket . She wears heavy black work shoes . A dog rests nearby on the floor .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>It's only the end of June.<\/dialogue>\n    <character>CLEAR<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>Yeah, but everthing's always in transition. If you focus, even now, one week into summer. you can feel Autumn coming.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Almost like bein' able. to see the future.<\/dialogue>\n    <scene_description>Alex reads her intention loud and clear . She returns to her artwork . The dog GROWLS softly as Alex appraches the garage .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. GARAGE - CLEAR RIVERS' HOUSE - DAY<\/stage_direction>\n    <scene_description>Entering the garage , Alex gets a closer look at her artwork . It 's abstract sculpture and canvas work and pretty bad , at that .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>Know what this is?<\/dialogue>\n    <scene_description>She gestures to him to approach her . He tenses , awkward , but moves closer . Clear lifts a plastic cover off a canvas . Beneath is a mess of green and brown and orange ; teen angst poorly communicated . Glued to the center is a twisted piece of metal .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Like, um. you're mad about something?<\/dialogue>\n    <scene_description>She sighs , `` thanks a lot , '' then proud , but not enough to make her appear foolish over her bad artwork , indicates the metal .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>A piece of debris. from the plane. I went to the shore off the crash site and it washed up on the beach.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>You went there? I've wanted to go there, but I thought it was off limits.<\/dialogue>\n    <character>CLEAR<\/character>\n    <dialogue>It is. But that did n't stop me. Should n't stop you.<\/dialogue>\n    <scene_description>Alex gently touches the piece of the plane , almost expecting to feel something more than cold metal . He looks to Clear .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Why were you there last night?<\/dialogue>\n    <scene_description>While she cleans brushes with a can of turpentine .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>Look, I've seen enough T.V. to know the F.B.I. does n't investigate teen suicides. But they were there last night, that means : one, they still do n't have a clue what caused the crash. Two, they have n't ruled out anything. And the fact that seven people got off the plane is probably weird enough, not to mention, that one of those people had a vision, or whatever, of it exploding minutes before it did explode, is highly suspicious. And it does n't help that the visionaries' friend just committed suicide.<\/dialogue>\n    <scene_description>Alex eyes her for a long beat . She turns away from him , returning the can of turpentine to a shelf .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Why were you there last night?<\/dialogue>\n    <scene_description>Clear turns to Alex. The two could n't appear more different . She moves to a sculpture , an ugly black and green globular sculpture with a white dot in the center .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>Know what this is?<\/dialogue>\n    <scene_description>Alex , cocks his eyebrow probably thinking , `` a mess ? '' but tactfully shakes his head `` no . ''<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>It's you.<\/dialogue>\n    <scene_description>Remaining dry and stoned faced , Alex tenses , uncomfortable .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>Not a likeness. It's how you make me feel, Alex.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>I'm. really sorry.<\/dialogue>\n    <character>CLEAR<\/character>\n    <dialogue>Like you, the sculpture does n't even know what, or why, it is. Reluctant to take form. And, yet, creating an absolute but incomprehansible attraction.<\/dialogue>\n    <scene_description>Uncertain , and yet moved , Alex listens .<\/scene_description>\n    <character>CLEAR<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Before that day, you were just another suburban nothing that would never have anything to do with my life. And I'm sure you thought I was some Marilyn Manson body - pierced freak, or whatever.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>But at that moment. on the plane. I felt what you felt. I did n't know where all those emotions were coming from until you started freaking out.<\/dialogue>\n    <scene_description>Alex sighs , embarrassed .<\/scene_description>\n    <character>CLEAR<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I did n't see what you saw, but I felt it. Okay, I'm not into all that X - Files bullshit. but it was a psychic connection. Why to me? Why to you?<\/dialogue>\n    <scene_description>Jarred , he eyes her , frightened .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>And you can still feel it, ca n't you? Something from that day is still with you. I know, because I can still feel you.<\/dialogue>\n    <scene_description>Alex is increasingly uncomfortable with the subject , but eased by Clear 's apparent , somewhat , understanding . Lowering his tone .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>That's why I was there last night.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>I've never dealt with death before. I was n't alive when my grandparents died. I wish I could know. I mean, all this. could just be in our heads. Now it feels like it's everywhere.<\/dialogue>\n    <character>CLEAR<\/character>\n    <dialogue>`` It?''<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>What if Tod. is just the first. of us?<\/dialogue>\n    <scene_description>The idea sends a shot of apprehension through Clear .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>Is that something you're `` feeling?''<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>I do n't know. I wish I could just see him. one more time, then, maybe. I would know.<\/dialogue>\n    <character>CLEAR<\/character>\n    <dialogue>Then, let's go see him!<\/dialogue>\n    <scene_description>Alex reacts , shocked and yet her impulsiveness is exciting .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FUNERAL HOME - FOYER - NIGHT<\/stage_direction>\n    <scene_description>CAMERA is LOW , moving across the paisley carpet . Dim light , spilling through the stained glass windows , falls upon the creepy decor , appearing as if designed by a morose Laura Ashley , floor model coffins and urns . CAMERA CONTINUES , TILTING UP to the CEILING , REVEALING a stained glass skylight . Outside , on the roof , two silhouettes appear . The skylight hinges CRACK open . Clear leads the way . lifting the frame , then dropping it throught the skylight window . Alex is not as smooth as his socius criminus . Using his knee to slow his descent , he hangs from the sill for a moment before dropping to the carpet . CAMERA MOVES WITH Alex and Clear through the unsettling reception area ; plastic flowers , gold candelabra , plaster cherubs and angels . A bronze plaque identifies : `` MT. ABRAHAM FUNERAL HOME . THE JOURNEY 'S END . WILLIAM BLUDWORTH - INTERMEDIARY . ''<\/scene_description>\n    <character>CLEAR<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>Gives me a rush.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>This place?!<\/dialogue>\n    <character>CLEAR<\/character>\n    <dialogue>Doin' somethin' I'm not supposed to.<\/dialogue>\n    <scene_description>With a hot , mischievous smile , Clear proceeds toward the hallway . Alex anxiously sighs . then follows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWNSTAIRS HALLWAY - FUNERAL HOME - NIGHT<\/stage_direction>\n    <scene_description>An elevator with collapsible metal door lowers INTO FRAME . Pushing the door aside , Alex and Clear proceed into the hallway , lined with morgue green tile . Stainless steel gurneys and porcelain equipment holding yellow surgical tubing and thick foot - long needles sit in the corridor . A faint light spills from beneath a doorway . Clear reaches out to the knob but Alex quickly grabs her hand . From a cart behind them , he pulls a latex glove out of a box and snaps it on .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>Good call. Very `` Quincy.''<\/dialogue>\n    <scene_description>Alex tries the doorknob . Locked . He looks at her , defeated . Clear quickly points to some mortician 's tools on the cart . From it , Alex produces a thin six inch needle . He inserted the tool in the lock and jimmies the doorknob . CLACK !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MORGUE - FUNERAL HOME - NIGHT<\/stage_direction>\n    <scene_description>A lone desk lamp shines . Across the room , laying on a porcelain table , fluid draining tubes attached , lies Tod . A sheet is pulled up to his shoulders . He carries the macabre appearence of a corspe having been made up by a mortician . Hair combed and sprayed , skin tone too orange , blush too rouge and lips too red . As Alex and Clear approach .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>That. him?<\/dialogue>\n    <character>CLEAR<\/character>\n    <dialogue>I think. But why'd they make him up like. Michael Jackson?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>That's him, but. he's not here. That. whatever. that whatever made him Tod is gone.<\/dialogue>\n    <scene_description>Suddenly , Tod jerks ; his hand lifting four inches .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Ahhh! fuck! You fucking asshole. You think this is funny, you fucking dick? Tod, if you're not dead I'm gon na fucking kill you!<\/dialogue>\n    <character>CLEAR<\/character>\n    <dialogue>Ohmygod! OHMYGOD! OHMYGOD! He's not dead?<\/dialogue>\n    <character>MR. BLUDWORTH<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Please do n't yell.<\/dialogue>\n    <scene_description>Both are jolted again with shock , turning toward the voice . MR. BLUDWORTH CAMERA PUSHES , LOW ANGLE , INTO WILLAIM BLUDWORTH , an African - American man , early 50 's , dressed in dark suit and tie .<\/scene_description>\n    <character>MR. BLUDWORTH<\/character>\n    <dialogue>You'll wake the dead.<\/dialogue>\n    <scene_description>He flashes a dry mortician 's smile , pleased by his wan pun . Alex and Clear have n't recovered from the corspe 's actions to calmly address Bludworth .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Why?<\/dialogue>\n    <scene_description>Alex completes his question by raising his hand , ala Tod 's dead body . Bludworth nods , understanding .<\/scene_description>\n    <character>MR. BLUDWORTH<\/character>\n    <dialogue>Chemicals in the vascular flush create cadaveric spasm.<\/dialogue>\n    <scene_description>As the startle of the situation settles , it dawns on Alex that they have been busted . He nervously offers an explanation .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>I'm. a friend of his. His best friend. See, his father.<\/dialogue>\n    <character>MR. BLUDWORTH<\/character>\n    <parenthetical>( ominous . )<\/parenthetical>\n    <dialogue>I know who you are.<\/dialogue>\n    <scene_description>The mortician eyes Alex , understanding . Alex senses this and eases . Clear moves toward Tod 's body , examining the neck area .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>They said he hung himself, but there's no marks.<\/dialogue>\n    <character>MR. BLUDWORTH<\/character>\n    <dialogue>I crafted a reconstruction of the Laryngeal prominence region with Velvetone Surgical Wax and Permaseal.<\/dialogue>\n    <scene_description>Clear moves in for a closer look , then calls Alex over to the body . After a beat of reluctance , Alex looks at Tod 's neck .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>What are all those tiny marks?<\/dialogue>\n    <scene_description>ALEX 'S POV - CLOSE - TOD 'S NECK The wounds have been filled with wax and covered by greasepaint . At this proximity , however , it is apparent tiny cuts line the area above and below the large cut made by the wire .<\/scene_description>\n    <character>MR. BLUDWORTH<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Cuticle lacerations.<\/dialogue>\n    <scene_description>WIDER<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Why would he pull at the wire if he were committing suicide?<\/dialogue>\n    <character>CLEAR<\/character>\n    <dialogue>Why would they say it was a suicide. if it were n't?<\/dialogue>\n    <scene_description>Because of the supernatural `` message '' he recieved , Alex is reluctant to answer . He eyes Mr. Bludworth , who , with a wry half smile , eyes Alex as if aware of the reason behind his hesitation .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>His father's pretty fucked up with denial. Maybe he could n't deal with the thought of an other accident. taking another son.<\/dialogue>\n    <character>MR. BLUDWORTH<\/character>\n    <dialogue>In Death.<\/dialogue>\n    <scene_description>CAMERA INCHES TOWARD the mortician . In this environment , lit with Fritz Lang shadows , Bludworth 's tone , appearance . he could easily be mistaken for personification of the subject .<\/scene_description>\n    <character>MR. BLUDWORTH<\/character>\n    <dialogue>there are no accidents. No coincidencess. No mishaps.<\/dialogue>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>And no. escapes.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>You saying Tod did kill himself?<\/dialogue>\n    <scene_description>Bludworth moves to Tod on the draining table , disconnecting the tubes connecting the body to the embalming chemicals .<\/scene_description>\n    <character>MR. BLUDWORTH<\/character>\n    <dialogue>Suicide. Murder. Plane crash. What does it matter? He was going to end someday. From the minute you're cut loose from the womb. it's a one way ticket on a trip to the tomb.<\/dialogue>\n    <scene_description>Vile liquid oozes out of the body onto the porcelain table .<\/scene_description>\n    <character>MR. BLUDWORTH<\/character>\n    <dialogue>You may not realize it, but we're all just a mouse that a cat has by its tail. Every single move we make, from the mundane to the monumental. the red light we stop at, or run ; the people we have sex with, or wo n't with us ; the airplane we ride, or walk out of. is all a part of Death's sadistic design leading to the grave.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Design?<\/dialogue>\n    <scene_description>The mortician considers as he drains some yellowish green fluid from the table . He shrugs then continues his work .<\/scene_description>\n    <character>MR. BLUDWORTH<\/character>\n    <dialogue>If Life is like a box of chocolates. Death. Death is like a big Milton Bradley game of `` Mouse Trap.'' The day you're born is just the boot, hanging from the streetlamp, kicking the marble to get things rolling. Growing up is only the marble rolling down the curving chute. You feel immortal having survived school, sex, drugs'n' rock'n' roll, but you've really only upset the big hand holding the steel ball that falls into the bathtub. Marriage and kids and career seem to make it all worthwhile until the ball hits the see - saw and flips the diving man into the big barrel. In the old folks home or the hospital you just see the big cage rattling down until it captures. the mouse.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Game over.<\/dialogue>\n    <scene_description>Alex considers as Clear eyes him , conveying `` this guys 's whacked ! '' Alex moves toward Bludworth .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Maybe there's no way to win. but. if you figured out the game. you knew where the `` steel ball was rolling'' could n't you avoid the trap and extend the playing time? Could n't you. cheat Death at Its own game?<\/dialogue>\n    <scene_description>Mr. Bludworth looks directly at Alex. CAMERA MOVES IN ON EACH , INDIVIDUALLY . this between the two of them .<\/scene_description>\n    <character>MR. BLUDWORTH<\/character>\n    <dialogue>You already did that by walking off the plane. Now you got ta out when and how it'll come back at you.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Play your hunch, Alex. If you think you can get away from it.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>But beware the risk of cheating the plan, disrespecting the design. could iniciate a horrifying fury that would terrorize even the Grim Reaper.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>And you do n't even want to fuck with that Mack Daddie.<\/dialogue>\n    <scene_description>Alex 's eyes are locked on Bludworth 's chilling , pleasant smile . The mortician yanks on a tube , REVEALING a foot long needle removed from Tod 's spinal column . The horrific nature of death is vividly demonstrated to Alex.<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>I'm sorry we broke in.<\/dialogue>\n    <character>MR. BLUDWORTH<\/character>\n    <dialogue>No harm. No foul.<\/dialogue>\n    <scene_description>Alex grabs her arm , starting toward the door .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>We did n't find what we were looking for.<\/dialogue>\n    <scene_description>Alex looks at Bludworth .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Yeah, we did.<\/dialogue>\n    <scene_description>MR. BLUDWORTH CAMERA PUSHES INTO the mortician , pleased the message has been recieved .<\/scene_description>\n    <character>MR. BLUDWORTH<\/character>\n    <dialogue>I'll see you soon.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAIN STREET - DAY<\/stage_direction>\n    <scene_description>BRAKING LOUDLY , startlingly , a public bus PULLS INTO CAMERA and stops . The doors HISS open .<\/scene_description>\n    <character>CLEAR<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>The mortician was whacked.<\/dialogue>\n    <scene_description>CAMERA ADJUSTS as Alex and Clear step off the bus and onto the street .<\/scene_description>\n    <character>CLEAR<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>He was trippin' on formaldehyde.<\/dialogue>\n    <scene_description>Clear starts up the street , but Alex grabs her arm and steps back , assuring the bus moves off . safely . He nods , `` it 's safe to go . '' Throughout the following , his eyes are searching for anything potentially deadly .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>He said Death has a design. Even before he said that I had been seeing patterns.<\/dialogue>\n    <character>CLEAR<\/character>\n    <parenthetical>( sarcastic . )<\/parenthetical>\n    <dialogue>As in flannels and plaids?<\/dialogue>\n    <scene_description>Up ahead , scaffolds rise before a building being restored . O.S. , HAMMERING and CONSTRUCTION WORK POUND from above . In the f.g. , tools and metal spikes . After a `` thumbs up '' gesture , the rope is pulled UP AND OUT OF FRAME .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>How many died on Flight 180? From our group?<\/dialogue>\n    <character>CLEAR<\/character>\n    <dialogue>Thirty - nine.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Remember the gate number?<\/dialogue>\n    <scene_description>As Clear takes a moment to consider , Alex steers them well around the scaffolds , eyes skyward during the move .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Thirty - nine.<\/dialogue>\n    <scene_description>This is a creepy fact . Even though past the construction , Alex checks over his shoulder to assure they are out of harm 's way .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Remember the departure time?<\/dialogue>\n    <character>CLEAR<\/character>\n    <dialogue>Like. 4:25.<\/dialogue>\n    <scene_description>Reaching an intersection , Alex pushes the pedestrian traffic light button , then steps well away from the curb . PEDESTRIAN TRAFFIC SIGNAL the halting red hand is lit .<\/scene_description>\n    <character>ALEX<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Do you know when I was born?<\/dialogue>\n    <scene_description>INTERSECTION Clear sighs , growing impatient with Alex.<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>4:25.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Right. April 25th.<\/dialogue>\n    <character>CLEAR<\/character>\n    <dialogue>Wait. I thought you meant the time of your birth. Four\/Twenty - five, as in, month and day. that's a reach.<\/dialogue>\n    <scene_description>PEDESTRIAN TRAFFIC SIGNAL the halting red hand turns to the little white walking man . INTERSECTION Clear takes a step off the sidewalk and onto the street . Alex tugs her back , looking both ways while outraged by her challenge .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>My birthday is the same as of the time I was meant to die! That's a reach!?<\/dialogue>\n    <scene_description>VROOM ! A car indeed makes a right , TEARING through the intersection . Once past , Alex takes Clear by the arm and hustles them across the street .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>You're sounding like those people who, you know. `` Oswald shot Kennedy from a warehouse and hid in a theatre and Booth shot Lincoln in a theatre and hid in a warehouse.''<\/dialogue>\n    <scene_description>CAMERA HOLDS REVEALING an unmarked sedan parked across and down from a Starbucks with outdoor seating . Schreck and Weine sit in the car , eyes coolly locked on Alex and Clear . DOWN THE STREET - HEADING WEST Billy Hitchcock rides toward the Starbucks on his bicycle .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STARBUCKS - DAY<\/stage_direction>\n    <scene_description>sitting outside , Alex hunches over the table , increasingly anxious . Clear listens ; expression skeptical .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>I'm not just layin' down a bunch of math here, with this. I'm talking about indications. omens. that day, that we were meant to die. That, if, we have been aware of. would have saved everyone on the plane.<\/dialogue>\n    <character>CLEAR<\/character>\n    <dialogue>That's total bullshit. You can find death omens anywhere you want to.<\/dialogue>\n    <scene_description>She picks up her paper coffee cup .<\/scene_description>\n    <character>CLEAR<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hey, look! `` Coffee'' starts with a `` C'' and ends with an `` E.'' So does the word `` choke!'' We're going to choke to death! Oh no! Starbuck was a whaler. We're going to be harpooned!<\/dialogue>\n    <scene_description>Alex angrily glares at Clear . Clear drops her tone .<\/scene_description>\n    <character>CLEAR<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You'll go nuts if you start with that shit.<\/dialogue>\n    <scene_description>Ms. Lewton appears from around the corner . She starts toward the entrance , but pauses , tensing when she sees Alex. He cautiously flashes a greeting smile . The teacher , however , averts her eyes and continues into the coffee shop . Alex sighs , guiltily . Clear sympathizes with both of them .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>She's leaving the school. Moving away.<\/dialogue>\n    <scene_description>Alex studies , appealing to her .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Clear, how do we know that by just sitting here, breathing this air or sipping the coffee, having crossed the street. we have n't started in motion the events that will lead to our death? Fifty years from now. Ten years. Tomorrow.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You do n't unless. you're able to open yourself to the signs I'm willing to show you.<\/dialogue>\n    <scene_description>He leans foward , removing a peice of paper from his pocket . CLOSE - ALEX 'S HAND slides across the table . Opening his hand REVEALS the piece of paper reading , '' . Tod . '' Clear 's hand ENTER 'S FRAME to take the paper . CAMERA FOLLOWS AS SHE raises it , her expression obviously puzzled . As she eyes Alex for an explanation , CAMERA CRANES DOWN QUICKLY to the empty paper cups on the table . a slight approaching BREEZE knocks them over . DOWN THE STREET - HEADING WEST A somewhat cherry 70 's muscle car speeds in the direction of the Starbucks . Carter Horton is driving . Terry Chaney rides shotgun . Carter looks out the window . CARTER 'S POV - MOVING - ALEX AND CLEAR She holds the paper as Alex , apparently , explains the story . CARTER 'S CAR CARTER scowls , his anger rising as he slows , staring at the perceived reasons for his problems . ALEX AND CLEAR Her eyes turn from the paper to Alex , concerned about him .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>I do n't understand. did you see Tod die? Did it happen again, like on the plane?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>No, but it might as well be the same thing. This was a message. from someone, or something. hinting. at the design.<\/dialogue>\n    <character>CLEAR<\/character>\n    <dialogue>Alex, on the plane. you must have experienced. some kind of hyper awareness. But here. you're suggesting Tod's death. and maybe our own. will happen because of. an active Presence.<\/dialogue>\n    <scene_description>Alex nods , feeling she 's understanding .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>The mortician said Death has a design. Now. if you, me, Tod, Carter, Terry, Billy, Ms. Lewton messed up that design, because, for whatever reason, I was able to see Death's plan. then we cheated it.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>But what if it was our time, what if we were not meant to get off that plane? What if it is still is our time? If. It. is still not finished with us? We will all still die ; now, not later.<\/dialogue>\n    <scene_description>Troubled and deeply concerned , Clear studies Alex.<\/scene_description>\n    <character>ALEX<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Unless. we find the pattern. And cheat it again.<\/dialogue>\n    <scene_description>Clear sets the paper down , looking sadly at Alex.<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>After hearing you, just now. I do believe.<\/dialogue>\n    <scene_description>Alex leans back and sighs , relieved .<\/scene_description>\n    <character>CLEAR<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>that Tod killed himself.<\/dialogue>\n    <scene_description>Alex is taken aback , hurt and angry .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Then there's no one left who can help me.<\/dialogue>\n    <scene_description>CARTER 'S CAR His eyes having never left Alex , Carter suddenly cranks the wheel hard to the left to make a tight U - Turn . BILLY HITCHCOCK rides his bike . He reacts , startled by . BILLY HITCHCOCK 'S POV - CARTER 'S CAR barreling down towards him . The car cuts in front of the bicycle to complete the U - Turn . WIDER Billy SWERVES to the left , directly in front of an oncoming car . The car SWERVES right , as does Billy , avoiding a certain fatal collision for the cyclist . The oncoming car HONKS ! Carter 's car pulls up to the curb . Oblivious to the accident he almost caused , Carter gets out , strutting toward the tables outside the coffee shop . Inside the car , Terry sighs .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>Baby, come on. not now.<\/dialogue>\n    <scene_description>But her boyfriend continues . She gets out and hustles after him . ALEX AND CLEAR Their attention drawn by the commotion , Clear and Alex watch Carter Horton approach them , followed by Terry , who stops , irked , near the curb at the crosswalk .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>Carter.<\/dialogue>\n    <scene_description>At that moment , Ms. Lewton exits with an ezpresso drink . Sensing trouble , she has no energy or desire to involve herself .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Kind of have a reunion, here.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Let it go!<\/dialogue>\n    <scene_description>Carter steps before Ms. Lewton , blocking her exit .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>When are you moving?<\/dialogue>\n    <character>MS. LEWTON<\/character>\n    <dialogue>A couple of weeks.<\/dialogue>\n    <scene_description>She ca n't wait to leave . While trying to walk around Carter .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>We're losing our favorite teacher.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Look, there's something you should all know.<\/dialogue>\n    <character>CLEAR<\/character>\n    <dialogue>Alex.<\/dialogue>\n    <scene_description>Carter eyes Alex , continuing the taunt . He raises the volume of his words to drown out Alex 's words and incite conflict .<\/scene_description>\n    <character>CARTER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Lived here her whole life.<\/dialogue>\n    <character>ALEX<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>This'll be hard to believe.<\/dialogue>\n    <scene_description>Ms. Lewton 's eyes flash to Alex , afraid of him .<\/scene_description>\n    <character>CARTER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And now she has to move. All because of Browning.<\/dialogue>\n    <character>ALEX<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Listen to me, we may all be in danger.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Shut up! The both of you!<\/dialogue>\n    <scene_description>The two boys stop their heated exchange .<\/scene_description>\n    <character>TERRY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>They died! We lived!<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Get over it! I wo n't let that plane crash be the most important thing in my life. I'm moving on, Carter, and if you're gon na waste your life beating the shit out of Alex everytime you see him, then you can just drop fucking dead!<\/dialogue>\n    <scene_description>Head and shoulders remaining angrily in Carter 's direction , Terry takes a blind step off the curb and into the crosswalk , WITHOUT A CUT . a bus suddenly speeds INTO FRAME and , THUD ! plows directly right into her . ALEX , CLEAR , CARTER AND MS. LEWTON are SPLATTERED with BLOOD before they can even recoil .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROWNING LIVING ROOM - NIGHT - CLOSE - ALKA SELTZER<\/stage_direction>\n    <scene_description>FIZZLES in the glass , while O.S. , a PHONE RINGS . ALEX has crashed , watching CNN . It 's a tense recline . Red circles rim the lids of his eyes . He sips from the glass to settle his stomach . Ken appears from the kitchen , hand over the reciever .<\/scene_description>\n    <character>KEN<\/character>\n    <dialogue>It's that girl. Clear.<\/dialogue>\n    <scene_description>No response from Alex. Ken sighs , then into the phone .<\/scene_description>\n    <character>KEN<\/character>\n    <dialogue>He's in the shower, Clear. Can I have him get back at ya? Sure. bye.<\/dialogue>\n    <scene_description>Ken returns to the living room , concerned about his son . Alex averts his eyes , stressed and ashamed . Ken sits nearby .<\/scene_description>\n    <character>KEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>She's concerned about you.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I'm concerned about you.<\/dialogue>\n    <scene_description>Alex turns his eyes to the glass .<\/scene_description>\n    <character>KEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Why do n't you want to talk to her. or me?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Dad. you and mom have helped me out, so much. But there's. some things I need to understand before I can talk. to anyone about it.<\/dialogue>\n    <scene_description>The father respects this young man 's wishes . Ken nods `` fair enough . '' In the silent moment , O.S. , from the television .<\/scene_description>\n    <character>CNN ANCHOR<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>The National Transportation Safety Board has a new theory tonight on the possible cause of Euro - Air Flight 180.<\/dialogue>\n    <scene_description>Alex quickly grabs the remote and turns up the VOLUME . TELIVISION A computer graphic illustrations the area of the lower fuselage .<\/scene_description>\n    <character>CNN ANCHOR<\/character>\n    <parenthetical>( CONT 'D , V.O . )<\/parenthetical>\n    <dialogue>Deterioration of silicon insulation on an electrical connector to the scavenger pump may have leaked combustible fluids.<\/dialogue>\n    <scene_description>ALEX AND KEN Alex remains riveted to the screen .<\/scene_description>\n    <character>CNN ANCHOR<\/character>\n    <parenthetical>( CONT 'D , V.O . )<\/parenthetical>\n    <dialogue>A spark in the fuel switch.<\/dialogue>\n    <scene_description>TELEVISION The graphic ZOOMS into the area in the rear right side , nearly above Tod 's seat .<\/scene_description>\n    <character>ALEX<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>That's Tod's seat.<\/dialogue>\n    <scene_description>ALEX CAMERA PUSHES IN as he listens .<\/scene_description>\n    <character>CNN ANCHOR<\/character>\n    <parenthetical>( CONT 'D , V.O . )<\/parenthetical>\n    <dialogue>may have ignited the fuel line. And proceeded to the fuel pump.<\/dialogue>\n    <scene_description>TELEVISION The high - tech computer image traces the path of the explosion through the plane . A red line representing the fuel line zigs through the body of the plane , making a sharp turn forward to the fuel pump , which explodes . Jagged lines show the direction of the explosion moving backwards toward the rear of the plane .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALEX'S BEDROOM - DAY - 747 SCHEMATIC<\/stage_direction>\n    <scene_description>drawn in Alex 's hand , and hundreds of steps down from CNN computer image , yet accurate as Alex 's finger traces the path , away from the seats marked `` ME '' and `` CLEAR . '' The path starts over `` TOD , '' then moves to `` TERRY . '' The line moves forward away from `` CARTER '' toward the fuel pump . The corresponding jagged picture of the explosion back is reminiscent of the `` hand of Death , '' seen earlier in the lightning . It is a graphic demonsration of the arbitrary nature of Death . ALEX is amped , intensely more frightened as he believes .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>The path of the explosion.<\/dialogue>\n    <parenthetical>( a whisper . )<\/parenthetical>\n    <dialogue>That's Death's design.<\/dialogue>\n    <scene_description>It instantly , frightfully , occurs to him , he now knows who will be next . CLOSE - SCHEMATIC Alex 's finger quickly moves along the fuel line . After `` TERRY , '' the seat intersecting the path of the fule line , over the fuel pump , is marked `` MS. LEWTON . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VALERIE LEWTON'S HOUSE - NIGHT - VALERIE LEWTON<\/stage_direction>\n    <scene_description>ENTER 'S FRAME , on the phone , wearing a t - shirt and sweats .<\/scene_description>\n    <character>MS. LEWTON<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Some nights I'm woken up by the sound of my own voice, you know, inside my head, goin', `` No, you know the whole French thing. Get on the plane.''<\/dialogue>\n    <scene_description>Moving boxes are stacked in the living room ; organized disarray of relocating . The house is old , been in the family forever . Dust marks the walls where framed photos and artwork were once displayed .<\/scene_description>\n    <character>MS. LEWTON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Everything here reminds me. of sending Mr. Murnau back on the plane. Right, I'm hoping a change will help. I lived here my whole life and wherever I looked were great memories, you know. but now all I can see is Mr. Murnau. those kids. Just looking out my own front yard. makes me feel mothing but fear.<\/dialogue>\n    <scene_description>She peeks out of the front curtains and looks sadly upon her front yard . Her expression alters . alarmed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEWTON'S HOUSE - NIGHT - MS. LEWTON'S POV - FRONT YARD<\/stage_direction>\n    <scene_description>The figure is Alex Browning .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MS. LEWTON'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Ms. Lewton steps away from the curtains .<\/scene_description>\n    <character>MS. LEWTON<\/character>\n    <parenthetical>( quickly . )<\/parenthetical>\n    <dialogue>Laura, I got ta call you back.<\/dialogue>\n    <scene_description>She immediately hangs up and speed dials .<\/scene_description>\n    <character>MS. LEWTON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>This is Valerie Lewton. I need Agent Schreck.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEWTON'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Alex has moved closer to her house , remaining in the shadows . He checks for any passers - by . Being sure there are none , he creeps toward Ms. Lewton 's car . He visually inspects the exterior . As he kicks the tires . an unmarked sedan SCREECHES up . Doors open . Startled , Alex turns to find . Special agents Schreck and Weine standing in the street , backlit in the strong headlights of their car .<\/scene_description>\n    <character>SCHRECK<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <scene_description>ALEX is nervous but determined . He tells the truth .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Checking the air in her tires to make sure they're safe.<\/dialogue>\n    <scene_description>SPECIAL AGENTS SCHRECK AND WEINE after a beat of incredulity .<\/scene_description>\n    <character>SCHRECK<\/character>\n    <dialogue>Get in the car.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MS. LEWTON'S HOUSE - NIGHT - VALERIE LEWTON<\/stage_direction>\n    <scene_description>is watching , peeking out her front curtains . O.S. , CAR DOORS CLOSE . The vehicle ROARS OFF . She releases the curtains and moves back , feeling somewhat better , but still rattled . Then . The curtains billow as if blown by a breeze . Ms. Lewton appears puzzled as she moves the curtains aside to find the windows closed . As CAMERA PUSHES IN ON HER , tensing and uneasy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INTERROGATION ROOM - POLICE STATION - NIGHT<\/stage_direction>\n    <scene_description>Alex sits behind a table in the cinderblock room painted police station green . Sitting across from him , with a good cop tone , is Agent Weine , while Schreck stands with a hard - ass posture .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>I believe that. Ms. Lewton's next.<\/dialogue>\n    <character>WEINE<\/character>\n    <dialogue>`` Next?''<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Yes. see, there's this. pattern. that's occuring.<\/dialogue>\n    <character>WEINE<\/character>\n    <parenthetical>( sarcastic . )<\/parenthetical>\n    <dialogue>Oh, you've noticed it, too?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MS. LEWTON'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Ms. Lewton moves to a closet door , opens it and CLICKS on an overhead light . Kneeling down , she tugs on a heavy box and opens it to check the contents . Her expression warms , as if recalling a far off memory .<\/scene_description>\n    <character>MS. LEWTON<\/character>\n    <dialogue>Oh. mom's favorite.<\/dialogue>\n    <scene_description>She slides a vinyl record album out of the sleeve and moves to the turntable on a shelf , thick with dust . Valerie places the record on the stereo and sets the needle on the album . CAMERA SWEEPS IN CLOSE TO THE TURNTABLE , although spinning around and around . the bold letters of the center label can be read . JOHN DENVER . the opening acoustic guitar of `` Rocky Mountain High '' has never sounded so eerie .<\/scene_description>\n    <character>JOHN DENVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He was born in the summer of his twenty - seventh year.<\/dialogue>\n    <scene_description>Pleased with the feeling of a pleasant memory , Lewton moves off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INTERROGATION ROOM - POLICE STATION - NIGHT<\/stage_direction>\n    <scene_description>Schreck moves closer to Alex.<\/scene_description>\n    <character>SCHRECK<\/character>\n    <dialogue>Where'd you get this `` pattern'' from? You have another `` vision?'' Maybe saw it in some T.V. static?<\/dialogue>\n    <scene_description>Alex is insulted by the condescending tone .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>I did n't ask for what happened to me on the plane. You can make fun of me. You can think I'm a nut. I'm used to it. I saved six lives but the entire school acts like I'm a freak. Fine.<\/dialogue>\n    <scene_description>Alex takes a nervous breath .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>I'm not suffering from Post Traumatic Stress. I have n't developed a narcissistic deity complex. I'm not going Dahmer.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>This just is. There's a pattern in place for you. And you. There's a design for everyone.<\/dialogue>\n    <scene_description>The agents study Alex .<\/scene_description>\n    <character>ALEX<\/character>\n    <parenthetical>( sighs . )<\/parenthetical>\n    <dialogue>And I'm not sure yet how. but I intend to break this one.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MS. LEWTON'S KITCHEN - NIGHT - SET OF CUTLERY KNIVES<\/stage_direction>\n    <scene_description>held in a wooden block , sits atop the kitchen counter . In the b.g. , Valerie removes the chrome teapot from the stove and moves it to the sink . JOHN DENVER CONTINUES in the next room . Ms. Lewton turns on the faucet , pours water into the kettle . Some water spills on the side of the kettle . As she wipes the pot with a blue checked hand towel , a dark shadow appears to cross behind her . Lewton turns . CAMERA FOLLOWS , CIRCLING as she looks about the room only to find she is alone . Unsetteled , she absently tosses the towel on the counter the edge which , catches a knife blade held in the cutery block . STOVE Ms. Lewton turns on the gas , adjusts it , however . the flames blow out . She pauses , nerves on edge . Her eyes cautiously move about the room and find nothing . She grabs a pack of nearby matches and strikes one .<\/scene_description>\n    <character>JOHN DENVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He left yesterday behind him \/ You might say he's born again.<\/dialogue>\n    <scene_description>CAMERA PUSHES INTO the burner as the flames re - ignite and FILL THE FRAME .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INTERROGATION ROOM - POLICE STATION - NIGHT<\/stage_direction>\n    <scene_description>Weine sits across from Alex , symapthetic , but professional .<\/scene_description>\n    <character>WEINE<\/character>\n    <dialogue>Alex, you got our attention, at first, because you were under suspicion in the plane explosion.<\/dialogue>\n    <scene_description>Alex tenses , but Weine shakes his head .<\/scene_description>\n    <character>WEINE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I know you did n't blow up that plane.<\/dialogue>\n    <scene_description>Alex sighs , eases .<\/scene_description>\n    <character>WEINE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I do n't believe you have magical powers. No one has any. control over life and death. unless. that person is taking lives and causing death.<\/dialogue>\n    <scene_description>Weine leans forward toward Alex .<\/scene_description>\n    <character>WEINE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Alex. can you promise me that no one else will die?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>No. I ca n't. As long as I'm in here, it's outta my control.<\/dialogue>\n    <scene_description>The agents are taken aback by his answer ; unnerved by his sincerity . Weine sighs and looks to his partner , who sighs , frustrated and turns away .<\/scene_description>\n    <character>WEINE<\/character>\n    <dialogue>Alright, go on. Get outta here.<\/dialogue>\n    <scene_description>Alex stands and , with no urgency , moves off . He exits the room .<\/scene_description>\n    <character>SCHRECK<\/character>\n    <dialogue>Kid gives me the creeps.<\/dialogue>\n    <character>WEINE<\/character>\n    <dialogue>We got nothing to hold him.<\/dialogue>\n    <character>SCHRECK<\/character>\n    <dialogue>I do n't mean that.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>There's a couple of times, there. I almost believed him.<\/dialogue>\n    <scene_description>Weine considers , yet remains skeptical .<\/scene_description>\n    <character>WEINE<\/character>\n    <dialogue>Sometimes, you give me the creeps.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MS. LEWTON'S HOUSE - NIGHT - CLOSE - TEAPOT<\/stage_direction>\n    <scene_description>Whistles .<\/scene_description>\n    <character>JOHN DENVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>When he first came to the mountains, his life was far away.<\/dialogue>\n    <scene_description>COFFEE MUG - OVERHEAD two tea bags are dropped inside , then the steaming hot water . MS. LEWTON picks up the cup , raising it toward her lips . She pauses , her expression turning tragic . On a reflex , she spins toward the sink and throws the hot contents into the drain . She sits the mug down . A COFFEE MUG ENTERS FRAME . displaying the logo of the Mt. Abraham Fighting Colonials . MS. LEWTON Trembling . She takes a deep breath , getting a hold of herself .<\/scene_description>\n    <character>MS. LEWTON<\/character>\n    <dialogue>You got ta stop this! Stop this! It's just a stupid mug.<\/dialogue>\n    <parenthetical>( composed . )<\/parenthetical>\n    <dialogue>You're outta here. Pretty soon. you'll be gone.<\/dialogue>\n    <scene_description>Opening the refrigerator frezzer , she grabs some ice and a bottle of pure Polish Vodka then deliberately turns back toward the same mug . COFFEE MUG the ice cubes PLUNK . The cold alchohol pours into the hot mug . CAMERA PUSHES INTO THE MUG as . it slightly CRACKS , Vodka dripping out of the base . Lewton 's hand picks up the mug , oblivious to the crack . She moves off toward the living room , leaving a trail of alcohol .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE STATION - NIGHT<\/stage_direction>\n    <scene_description>Alex exits the police station , walking . He checks over his shoulder to see if he is being watched and increases his pace , legs whipping across FRAME .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MS. LEWTON'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Valerie Lewton tears off a piece of plastic bubble wrap . She stands over her desk , placed against the wall . On the desk is her desktop computer monitor .<\/scene_description>\n    <character>JOHN DENVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It's the Colorado Rocky Mountain High.<\/dialogue>\n    <scene_description>She pauses to swig from her cup of vodka . EXTREMELY CLOSE - COFFEE MUG alcohol drips from her mug . EXTREMELY CLOSE - COMPUTER MONITOR VENT . fluid drips inside the circuitry . MS. LEWTON sets the mug out of the way on the back edge of her desk . CLOSE - COFFEE MUG The remaining vodka oozes from the crack , pools , then drips off the edge of the desk .<\/scene_description>\n    <character>JOHN DENVER<\/character>\n    <dialogue>I've seen it rainin' fire from the sky.<\/dialogue>\n    <scene_description>CAMERA CRANES DOWN to REVEAL the moniter cabel inserted into an electrical wall socket . The vodka drip . drip . drips PAST FRAME . Then , Lewton 's hand ENTERS and pulls the monitor plug , creating tiny SPARKS at the connection . ON THE FLOOR the alcohol ignites . MS. LEWTON her back is to the desk , while pouring styrofoam peanuts into the box . In the b.g. , FLAMES , nearly supernaturally , leap up the walland toward the computer monitor . CLOSE - COMPUTER MONITOR - THROUGH THE VENTS the interior catches fire , causing an electrical POP ! MS. LEWTON turns , holding her sheet of bubble wrap , shocked by the flames . THE COMPUTER MONITOR On the screen , the reflection of the approaching shadow passes before the monitor . EXPLODES ! MS. LEWTON a large jagged shard from the monitor flies into her throat . Blood squirts from her neck onto the bubble wrap . Her stunned expression is sickeningly numb from shock .<\/scene_description>\n    <character>JOHN DENVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Rocky Mountain High \/ Colorad - oh.<\/dialogue>\n    <scene_description>She reaches up to reflexively pull the glass from her throat , creating a flood of spurting blood . She drops the glass and quickly stumbles toward the kitchen , blindly banging the turntable as she passes . The needle skips , BUMPS . and settles . umercifully at the start of `` Rocky Mountain High . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEIGHBORHOOD STREET - NIGHT<\/stage_direction>\n    <scene_description>Alex walks quickly up the street . Smoke wafts before him . He turns to see a man burning leaves in the backyard . The breeze intensifies , lifting the burning debris . The smoke swirls around him . CAMERA PUSHES INTO ALEX as he senses the Presence . He looks ahead . ALEX 'S POV - TWO DOZEN LEAVES mystically float past him , each on fire . ALEX senses the taunting message and breaks into a full sprint , passing through many of the burning leaves that break up into the bright orange cinders against the black sky .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - LEWTON'S HOUSE - NIGHT - THE FLAMES<\/stage_direction>\n    <scene_description>reach the coffee mug , igniting the trickling stream leading to , and away from , the crack in the cup . FLOOR Flames ride the small trickle of vodka back toward the kitchen .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - LEWTON'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Valerie Lewton races in , desperately pressing her hand to her throat as she GURGLES and CHOKES on the blood from the wound . She leans over the now red sink . She turns pale from the blood loss . THE STOVE the flaming stream shoots up the stove , lighting the burners . MS. LEWTON behind her , the stove ERUPTS in FLAMES . They jump , leap like a tiger , landing on her shoulders and hair , which catch on fire .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEWTON'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Alex approaches the front of the house . From here , nothing appears to be wrong . As he catches his breath , sweating , visually examining the house . From INSIDE , a hoarse , macabre SCREAM ! CAMERA PUSHES IN ON ALEX , stunned , before he races off toward the house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEWTON'S HOUSE - NIGHT - MS. LEWTON<\/stage_direction>\n    <scene_description>DROPS INTO FRAME ON HER KITCHEN FLOOR , hair and sweatshirt aflame . She desperately rolls on the floor and manages to extinguish the flames . On her back , on the floor , she is badly burned . Her open neck wound continues to bleed . Blood pools on the floor . In shock and moving on pure survial instincts , she reaches up . LEWTON 'S POV - -LRB- LOOKING UP -RRB- - THE HAND TOWEL the lower third of the towel dangles over the edge of the counter top . Her hand grabs it , and pulls . COUNTER TOP the draped edge of the towel pulls over the cutlery block . The knives spill out , entangled with the hand towel .<\/scene_description>\n    <character>ALEX<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Ms. Lewton!<\/dialogue>\n    <scene_description>KITCHEN DOORWAY Alex rushes across the threshold as Ms. Lewton pulls the knives over the counter . MS. LEWTON a half dozen knives , from small , but sharp , cutting blades to large butcher knives , cascade into her body .<\/scene_description>\n    <character>JOHN DENVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>They say that he got crazy once and he tried to touch the sun.<\/dialogue>\n    <scene_description>Her hand trembling , her expression horrified , Lewton grabs the handle of the largest blade , trying to pull it out . Alex quickly kneels next to her . She looks at him , in shock , her eyes pleading . Alex gathers his courage , places his hand on the handle of the largest blade . As he 's about to remove it . THE STOVE a gas line ERUPTS , creating a small EXPLOSION . THE COUNTER TOP the cutlery block is knocked off of the counter . MS. LEWTON the block lands directly on the butcher knife handle , driving the blade further into Ms. Lewton 's body . LEWTON 'S POV - THE SHADOW descends , the FRAME COLLAPSING until her face , eerily peaceful , but lifeless gray , horrifically decays . flesh rotting , worms feeding on muscle until only a skull remains . MS. LEWTON as Death arrives , her eyes are macabrely focused above her . ALEX Even as blood squirts on him from her open wound , he appears to realize she is `` seeing '' the moment of death .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Ms. Lewton!<\/dialogue>\n    <scene_description>Flames leap from the stove to the curtains , which catch fire . Alex grabs the knife and pulls it out . He quickly removes another and another . yet there is no reaction from the woman . Knowing she is dead , Alex pauses with guilt . He looks at the knife in his hand , then realizes how incriminating this could appear . In that moment , another small EXPLOSION from the stove brings Alex quickly to his feet . He drops the knife to the floor and races from the house . CAMERA TILTS DOWN to the shoe prints left in the pool of blood .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEWTON'S STREET - NIGHT<\/stage_direction>\n    <scene_description>Alex runs with all his strength away from Valerie Lewton 's home . Billy Hitchcock is riding his bicycle in Alex 's direction . He stops and gets off his bike .<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Hey, Alex.<\/dialogue>\n    <scene_description>Alex appears unaware as he simply runs past Billy , who curiously turns his head to watch Alex race up the street . O.S. , the CRACKLING OF FIRE . CAMERA MOVES INTO Billy as he turns back , reacting with shock to Ms. Lewton 's house . THE HOUSE from inside , an intense EXPLOSION propels glass from the windows . Flames engulf the entire house . ALEX even down the street , he is knocked to his feet by the blast . In the distance , SIRENS from approaching POLICE AND FIRE trucks are HEARD . He stands , looks to the now suspicious Billy . then opts to run off away from the scene . Escaping into the dark backyards of the neighborhood .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. GARAGE - CLEAR RIVERS' HOUSE - DAY - CLEAR RIVERS<\/stage_direction>\n    <scene_description>Tense , her eyes look left , then right .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>I do n't know where he is. He's not talking to me.<\/dialogue>\n    <scene_description>WIDER Agents Schreck and Weine stand before Clear in her garage .<\/scene_description>\n    <character>WEINE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <scene_description>She studies the men before averting her eyes .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>Because I did n't believe him.<\/dialogue>\n    <scene_description>The agents study her . Weine accepts the explanation . Schreck 's eyes take a walk around the artwork in the garage , pausing on a piece of twisted metal from the crash . Clear tenses , however .<\/scene_description>\n    <character>SCHRECK<\/character>\n    <dialogue>If he should contact you, it would be in the best interest of your own safety to contact us.<\/dialogue>\n    <scene_description>Schreck hands his card . She takes it and nods . Schreck pauses , once again eyeing the painting before moving out of the garage on their way to their car . CAMERA PUSHES IN ON CLEAR as she looks at the business card .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MT. ABRAHAM HIGH SCHOOL - NIGHT<\/stage_direction>\n    <scene_description>CAMERA PUSHES IN ON Flight 180 Memorial , lit for dramatic effect at night , but only achieving an eeriness . Carter Horton and Billy Hitchcock ENTER FRAME , moving toward the monument . Billy is riding his bicycle , wearing a New York Rangers jersey with `` Hitchcock '' across the back of the shoulders . Nearing the shadows , the two boys stop looking at the monument . Carter pulls put a heavy pocket knife and starts attempting to cut into the stone . Clear Rivers appears from the shadows .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Terry's name should be on this wall.<\/dialogue>\n    <scene_description>Clear is touched by the action .<\/scene_description>\n    <character>CARTER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So, why'd you want us to meet you here? Now?<\/dialogue>\n    <character>CLEAR<\/character>\n    <dialogue>They're watching me, see if I go to Alex.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>Are you?<\/dialogue>\n    <character>CLEAR<\/character>\n    <dialogue>They'll follow my car.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>That's why you're taking me.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Why would I want to see him?<\/dialogue>\n    <scene_description>Clear eyes the two of them . With the memorial standing behind them .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>Because he knows which one of us is next.<\/dialogue>\n    <scene_description>As Carter and Billy feel the chill of their inner fears .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY - NIGHT<\/stage_direction>\n    <scene_description>The muscle car ROARS onto U.S. 17 on ramp . A sign near the road indicates : `` Middletown - 25 mi . New York City - 105 mi . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Carter checks the rearview mirror . Clear looks out the front passenger window . She shakes her head , as if `` no one 's following us . '' Billy leans forward from the backseat .<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Um. okay. drive the speed limit, right?<\/dialogue>\n    <scene_description>He sits back , OUT OF FRAME , but quickly darts forward .<\/scene_description>\n    <character>BILLY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And do n't pass on the right.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Billy! I'm gettin' a vision! You're the next one.<\/dialogue>\n    <character>BILLY<\/character>\n    <parenthetical>( nervous . )<\/parenthetical>\n    <dialogue>Hey, man, why'd you say that?!<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>'Cause if you say another word, I'm gon na fuckn' kill ya!<\/dialogue>\n    <scene_description>Billy sits back , gesturing , `` hear ya . Got it . '' Clear pays no attention to their exchange as she stare out into the darkness , her thoughts a million miles away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SEASHORE - JONES BEACH SATE PARK - NIGHT<\/stage_direction>\n    <scene_description>A posted sign indicates `` ACCIDENT SITE . ANY DEBRIS FOUND SHOULD BE REPORTED TO THE NTSB -LRB- 212 -RRB- 555 - NTSB . '' CAMERA FINDS Carter 's car pulling up to a stop . Clear opens the passenger door and pauses in the car a while .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>He could be anywhere from here to a mile down the shore. You guys drive down there, start this way and we'll meet around the middle. It'll take half the time.<\/dialogue>\n    <scene_description>Clear closes the door . Carter and Billy drive off . As she looks to the beach .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH - NIGHT<\/stage_direction>\n    <scene_description>CAMERA , FACING the ocean , moves along the shore revealing a lone image sitting on the beach , looking into the Atlantic . The waves are small bur rhythmic , an enternal metronome . Numb , Alex Browning sits in the sand searching for an answer somewhere in the darkness of the evening sea . Behind him , O.S. , approaching in the sand , SOFT FOOTSTEPS . He listens , notes them . Yet rather than turn around . he looks up into the sky . ALEX 'S POV - THE SKY The shoreline lights cast an orange haze on the stars , breaking through , infinitely above .<\/scene_description>\n    <character>ALEX<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Are they up there?<\/dialogue>\n    <scene_description>WIDER Clear Rivers approaches , barefoot in the sand . He nedd n't turn to know who is behind him .<\/scene_description>\n    <character>ALEX<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Somehow. is 180 still in flight? Somewhere. are they still safe?<\/dialogue>\n    <scene_description>Clear has n't met eyes with Alex , but she sits nearby , looking into the sky .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>When I was a kid, like, six or seven. I used to worry so much about my parents dying. Like lying awake at night. just worrying. I loved them so much. I did n't want them to get hurt. And what would happen to me? What would life be like?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Every night. it seemed.<\/dialogue>\n    <scene_description>She looks out at the stars . He does n't eye her , either .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Most kids do, I guess.<\/dialogue>\n    <character>CLEAR<\/character>\n    <dialogue>Most kids never have it happen.<\/dialogue>\n    <scene_description>Alex hangs his head .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>When I was ten. my dad went into a 7 - 11 for cigerettes. I guess he heard somebody say `` Do n't turn around.'' So on reflex, or thinkin' a friend was jokin'. he did. And the guy blew his head off.<\/dialogue>\n    <scene_description>She has lived this so many times , she is long beyond crying .<\/scene_description>\n    <character>CLEAR<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And, let me tell ya, I had every reason to worry before. because life became shit. I do n't blame her, I guess, but my mom could n't deal with it at all. She married this asshole, who my mom with my real dad would cross the street to avoid this guy. He really did n't want a kid. And so my mom did n't either anymore, I guess.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>If that was the design for my father. and my family. then fuck Death, FUCK IT!<\/dialogue>\n    <scene_description>The waves continue to shore . Clear looks up at the sky .<\/scene_description>\n    <character>CLEAR<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And so, anyway. I've thought of that `` somewhere,'' Alex. It exists, that place.<\/dialogue>\n    <scene_description>He looks at her .<\/scene_description>\n    <character>CLEAR<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Where my dad is still safe. Where he had a full pack of cigerettes and kept driving. A place where me and my dad and my mom. are still together. and have no idea about this second life, here.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>A place where our friends are still in the sky. where everyone gets a second chance.<\/dialogue>\n    <scene_description>She looks at him .<\/scene_description>\n    <character>CLEAR<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>But that place might only exist in my heart. And maybe, now. yours. I have n't experienced too many second chances in my life. I have n't seen any. But because of all of this, I believe. because of you. I will get a second chance. Because of me, you will. With you in my life. that place, right now existing in our hearts, will spring out. and become a real part of this life.<\/dialogue>\n    <scene_description>Alex looks within her , as a soft ocean breeze blows through Clear 's hair .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>And that is the only way we can beat Death. by making something special out of Life.<\/dialogue>\n    <scene_description>His eyes well with tears . Only as she looks at Alex does Clear become emotional . they move closer , and kiss , the desire for each other , to defy the events around them ; darkness ; the isolation . They dive into a deep feverish kiss . Embracing , as if the tighter , the safer . She pulls him back down to the beach and lifts his shirt over his head .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>This wo n't be safe.<\/dialogue>\n    <scene_description>Clear looks down the beach , checking for any sight of Billy and Carter .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>Those guys are probably fifteen minutes away.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>No. I mean, I do n't have anything on me. This wo n't be safe.<\/dialogue>\n    <character>CLEAR<\/character>\n    <parenthetical>( sadly . )<\/parenthetical>\n    <dialogue>Nothing is. anymore.<\/dialogue>\n    <scene_description>Alex looks to Clear , then kisses her with passion that reflects the defiance of death . He pulls open her shirt and falls into her arms . CAMERA CRANES UP as the young man and woman make love in the sand . consciously and defiantly oblivious , to anything around them . including the stars , possibly Flight 180 , up above .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Carter drives . Billy rides shotgun . Alex and Clear are in the back . Everyone anxious , looking for cops .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>I ca n't go home. After Lewton's, they'll be after me.<\/dialogue>\n    <character>CLEAR<\/character>\n    <dialogue>We're takin' you to a cabin in the woods, it's only a couple miles from my house.<\/dialogue>\n    <parenthetical>( to Carter . )<\/parenthetical>\n    <dialogue>Keep off the highways, they'll be lookin' for us.<\/dialogue>\n    <scene_description>Carter , however , continually glances into the rearview mirror , checking Alex. Finally , hotheaded and unable to withhold it any further .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Alright, Browning, you fuckin' warlock. did you know about Ms. Lewton, or what?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Why do you think I was hiding?<\/dialogue>\n    <character>CLEAR<\/character>\n    <dialogue>Billy told the F.B.I. he saw you runnin' away from her house.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>They blame me for everything. Her, Tod, the plane crash.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>Your shoe prints were in the blood. Your fingerprints on the knives.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>I already told you.<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>( interrupting . )<\/parenthetical>\n    <dialogue>I'm not talkin' about if you did it. Or if you knew she was dead.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Did you know she was going to be next. before she was?<\/dialogue>\n    <scene_description>Alex looks at Clear , her expression asking the same question .<\/scene_description>\n    <character>ALEX<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>Yeah.<\/dialogue>\n    <parenthetical>( almost to himself . )<\/parenthetical>\n    <dialogue>When she died. at that moment, I could tell she saw something. horrible.<\/dialogue>\n    <scene_description>The three others turn quiet , considering what it must be .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Out of us. who's next to see it?<\/dialogue>\n    <scene_description>Alex eyes them . hesitant to respond .<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Please tell me I'm gon na get to see the Jets win the Super Bowl.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Me, right? That's why you're not saying.<\/dialogue>\n    <scene_description>Billy looks out the window , despondent .<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Shoulda felt up Tammy in the pool, that time.<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>( to Billy . )<\/parenthetical>\n    <dialogue>Whatta you whinin' about? He said I'm next.<\/dialogue>\n    <character>CLEAR<\/character>\n    <dialogue>He did n't say nothin'. Just drive.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>You have a responsibility to tell me.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Is knowing going to make it easier? It makes it harder.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>You get off havin' control over me. Let me choose how to deal with it.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>It does n't matter who's next. we're all on the same list.<\/dialogue>\n    <scene_description>The three are silent .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Aww, fuck. really?<\/dialogue>\n    <scene_description>Carter 's expression becomes frightened , but he can not have this . He counters with an irrational bravado .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Then why bother? What's the fuckin' point? Terry and me will be back together on the other side, so why wait any longer?<\/dialogue>\n    <scene_description>Carter bares down on the wheel , hits the GAS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AN INTERSECTION - NIGHT<\/stage_direction>\n    <scene_description>The muscle car ROARS past a stop sign .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S CAR - NIGHT<\/stage_direction>\n    <scene_description>The interior bounces as the car clears a dip past the intersection . Alex , Clear , and Billy tenses .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>Knock it off!<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>May as well go out under my own free will, right?<\/dialogue>\n    <character>CLEAR<\/character>\n    <dialogue>Not with us in the fuckin' car!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANOTHER INTERSECTION - NIGHT<\/stage_direction>\n    <scene_description>The car GUNS IT through another stop sign .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Every passenger hangs on as the car BOUNCES from the next dip .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>Stop it!<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>Hey, c'mon, man.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>What's your fuckin' worry? If it's not your time? I could get nailed runnin' this red light and you all would n't get shit! Only me, right?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>CLEAR<\/character>\n    <dialogue>Knock it off!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAFFIC LIGHT INTERSECTION - NIGHT<\/stage_direction>\n    <scene_description>Red light . A car approaches with the greenlighted right of way . Carter 's car TEARS INTO FRAME , just missing being T - boned in the intersection as the other car HITS THE BRAKES , fishtailing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S CAR - NIGHT<\/stage_direction>\n    <character>BILLY<\/character>\n    <dialogue>And I fuckin' HATED FRENCH CLASS!<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Carter, stop it, you fuckin' maniac!<\/dialogue>\n    <character>CLEAR<\/character>\n    <dialogue>Get control of yourself!<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>That's what I'm doin'!<\/dialogue>\n    <character>CLEAR<\/character>\n    <dialogue>I know what you're doing! It's alright to be scared, Carter. You do n't have to prove to us how big your balls are. Not now.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I'm not afraid! I DECIDE WHEN IT'S TIME! I control my life! I control my death!<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>Watch it! Watch it!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A SECOND TRAFFIC LIGHT INTERSECTION - NIGHT<\/stage_direction>\n    <scene_description>Carter barrels through the intersection as a car makes a left turn at the intersection . TURNING CAR DRIVER 'S POV - CARTER 'S CAR flying down the road , appears to be heading straight towards him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Carter takes his hands off the wheel and raises them in the air , like a terrorized child on a roller coaster .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A SECOND TRAFFIC LIGHT INTERSECTION - NIGHT<\/stage_direction>\n    <scene_description>The turning car HONKS , ROARING through the intersection as Carter 's car nearly clips the rear end of the turning car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Cater hooks his elbow on the window and his right arm around the front seat , driving ; no hands .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>Stop the car!<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Let us out!<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>I am. so close to puking, you do n't wan na know.<\/dialogue>\n    <character>CLEAR<\/character>\n    <dialogue>We're afraid, too, Carter, but we're not going to quit. Maybe you are. You act like you're not, but you are!<\/dialogue>\n    <scene_description>Carter eyes Clear in the rearview mirror .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>So, stop what you're doing and STOP THIS CAR! Right fucking now!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACKSTREET - NIGHT<\/stage_direction>\n    <scene_description>In the backseat , Alex and Clear ease . just as a railroad crossing arm drops INTO FRAME in the REAR WINDOW . O.S. , the CLANG CLANG CLANG of a RAILROAD CROSSING ALARM . OUT OF THE FRONT WINDOW The front crossing arm drops INTO FRAME before the car . Carter turns and flashes a `` that 's why I stopped '' smile . INSIDE THE CAR<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>Move it!<\/dialogue>\n    <scene_description>Carter turns off the engine , then sits back into his seat and folds his arms , indicating he has no intention of moving .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Billy, get out!<\/dialogue>\n    <scene_description>Scared to death , Billy fumbles with the car door handle . From the front passenger seat , he looks up and to his left . OUT OF THE DRIVER 'S WINDOW - BILLY 'S POV A locomotive headlight arcs across the trees . approaching . RETURN<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>Ca n't you open the door?!<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Easy, Billy, just open it.<\/dialogue>\n    <scene_description>Billy collects himself . CLOSE - BILLY 'S DOOR HANDLE POPS open !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAIN TRACKS - NIGHT<\/stage_direction>\n    <scene_description>The train appears around the blind bend .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Billy opens the door and pours out . Clear and Alex are quickly behind him . Carter remains in the drivers seat .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAIN TRACKS - NIGHT<\/stage_direction>\n    <scene_description>The train WARNING WHISTLE BLOWS as Alex , Clear and Billy hustle away from the car , on the same side of the tracks . They quickly turn around , desperate to convince .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>Carter, get out!<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Do n't do it! Do n't do it!<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>It's coming! It's coming!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Arms crossed , Carter remains in the front seat . As the interior fills with light from the headlight of the oncoming train , Carter turns and looks at them with a smart ass smile , pleased that he 's shown how brave he truly is . With a beam of cocky definace .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>It ai n't my time.<\/dialogue>\n    <scene_description>He cooly turns back to the ignition , grabs the key and turns it over . only to be met with the DULL CLACK of a dead engine . CAMERA SWEEPS INTO HIM AS his EYES FLARE with tension . CLOSE - IGNITION he turns it , again and again . nothing . CARTER looks up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAIN TRACKS - NIGHT - CARTER'S POV - THE TRAIN<\/stage_direction>\n    <scene_description>is moments away . ALEX , CLEAR AND BILLY assess the situation .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Get out! Get out of the car! Get out of the fuckin' car!<\/dialogue>\n    <character>CLEAR<\/character>\n    <dialogue>Get out! Get out of the car!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S CAR - NIGHT<\/stage_direction>\n    <scene_description>As he turns away from them , Carter sees something in the rearview mirror . CARTER 'S POV - REAR VIEW MIRROR the passing shadow is darker than any surrounding darkness . CARTER as if the image has effected him , he looks to his lap belt and CLACKS the button . He tugs at the restraint , but it will not move . He 's strapped in . He tries to open the door . it wo n't open . He pulls at the door handle . tugs at the seatbelt . panicked . Horrified , he whips towards the others .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>I ca n't get out!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAIN TRACKS - NIGHT<\/stage_direction>\n    <scene_description>Alex , Billy and Clear look at one another , equally frightened .<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Man, he really is next.<\/dialogue>\n    <scene_description>Alex takes off toward . CARTER 'S CAR Alex hustles around the drivers ' side . CAMERA SWEEPS INTO THEM as Alex desperately tries freeing the seatbelt . THE TRAIN the WHISTLES SCREAMS ! CLEAR AND BILLY tense , as the train nears . ALEX AND CARTER Alex grabs Carter by the shoulders and strains with all his might to pull the much more muscular kid out of the driver 's window . CLOSE - CARTER 'S SEAT BELT the shadowy presence is reflected by the chrome buckle , however , after it passes . the seat belt begins to TEAR . ALEX AND CARTER As CAMERA SWEEPS IN to ALEX and he releases a deep GROAN . ACROSS THE TRACKS The train TEARS THROUGH the front end of the muscular car ! GLASS and METAL ERUPT as the locomotive THUNDERS THROUGH FRAME . CLEAR AND BILLY must turn away from the shower of metal and broken glass . ALEX AND CARTER Alex holds Carter by the shirt at the shoulders , dragging him away from the wreckage . The two boys collapse on the road as the trian continues to ROAR PAST . TRAIN TRACKS as the heavy train wheels THUNDER and CLACK , a broken two foot long shard of the car 's debris BOUNCES upon the tracks , kicked about by the train wheels . CLEAR AND BILLY run to the two survivors . CLEAR runs and falls into Alex 's arms , holding him tight . ALEX , CLEAR , CARTER AND BILLY Carter lies on the road , urine stains around his crotch , hyperventilating and near tears .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>Scared now?<\/dialogue>\n    <scene_description>Carter looks at the piece of seatbelt .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>It broke!<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>No one's that strong.<\/dialogue>\n    <character>CLEAR<\/character>\n    <parenthetical>( to Carter . )<\/parenthetical>\n    <dialogue>Bullshit. He saved your life. again!<\/dialogue>\n    <scene_description>CLOSE - TRAIN WHEELS continue to kick around the chunk of twisted metal . RETURN The THUNDERING TRAIN intensifies the situation .<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>THAT'S RIGHT! HE'S RIGHT! YOU ARE NEXT! I'M GETTING THE FUCK AWAY FROM YOU!<\/dialogue>\n    <scene_description>Billy begins backing away from the others .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>SHUT UP, BILLY!<\/dialogue>\n    <character>CLEAR<\/character>\n    <dialogue>WE DO N'T NEED THIS NOW!<\/dialogue>\n    <scene_description>Billy continues backing away , horrified .<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>I DO N'T NEED IT EVER! GET AWAY FROM HIM! HE'S NEXT!<\/dialogue>\n    <scene_description>CLOSE - TRAIN TRACKS the debris rattles beneath the wheels . CARTER AND ALEX still on the ground .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>FUCK YOU, BILLY! I'M NOT DEAD!<\/dialogue>\n    <scene_description>BILLY backing away .<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>YOU WILL BE! YOU'RE DEAD! YOU'RE DEAD!<\/dialogue>\n    <scene_description>TRAIN TRACKS the debris bounces directly on the track . With great power and force , a train wheel runs over the debris , cutting it in half . It catches in the wheel and is spun around until shot out with the force of a missile . BILLY<\/scene_description>\n    <character>BILLY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>AND YOU AI N'T TAKIN' ME WITH YOU!<\/dialogue>\n    <scene_description>FWOOP ! The metal tears ACROSS FRAME , ripping Billy 's head from his shoulders . ALEX , CLEAR AND CARTER The ROAR of the TRAIN seems exaggerated as they are frozen in horrified shock . EXTREMELY WIDE - ACROSS THE TRACKS The train CLEARS FRAME and is gone . REVEALING , across the tracks , Alex , Clear and Carter can do nothing but watch Billy 's decapitated body macabrely wobbling on its two front feet before falling to the ground .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Jesus fucking Christ!<\/dialogue>\n    <scene_description>For a beat , there is SILENCE . until , in the distance , SIRENS can be heard , approaching . As Alex stands and Carter manages to rise on wobbly legs . none of them can remove their eyes from Billy 's body .<\/scene_description>\n    <character>ALEX<\/character>\n    <parenthetical>( to Carter . )<\/parenthetical>\n    <dialogue>You should have been next. After Lewton, you should've been next. That's the only pattern. You should be dead.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>You're the fuckin' devil.<\/dialogue>\n    <character>ALEX<\/character>\n    <parenthetical>( to Clear . )<\/parenthetical>\n    <dialogue>But I saved him. I intervened. Just like the plane. That's the design.<\/dialogue>\n    <character>CLEAR<\/character>\n    <dialogue>Police are coming.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>That's why It skipped Carter and went to the next one in the path of the explosion ; Billy.<\/dialogue>\n    <scene_description>Alex looks at Clear as if expiriencing an intense epiphany .<\/scene_description>\n    <character>ALEX<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>My intervention in the death of 180 surviviors will cheat the design.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>`` Intervention?'' What are you, God now?!<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Of course not! Gods are n't afraid to die! Gods do n't die! We do!<\/dialogue>\n    <character>CLEAR<\/character>\n    <dialogue>You're losin' it. The police will be here. We have to go to the cabin. You can hide there. Get your head together.<\/dialogue>\n    <scene_description>Alex considers , mind racing . then realizes .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>After Billy. it's me. And then you.<\/dialogue>\n    <scene_description>Clear grabs Clear and touches her face .<\/scene_description>\n    <character>ALEX<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( to Clear . )<\/parenthetical>\n    <dialogue>Hey, I wo n't let it happen, okay.<\/dialogue>\n    <scene_description>Carter turns to them ; it 's as far as he will go to admit he believes . or will help .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Then, get out of here.<\/dialogue>\n    <scene_description>As she moves to Alex , Clear nods her acknowledgement and appreciation to Carter . She takes Alex by the hand and the pair begin running away , off into the woods . In the DISTANCE , a TRAIN WHISTLE BLOWS , eerie , as if Death was punctuating the moment .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CABIN - NIGHT<\/stage_direction>\n    <scene_description>The windows are boarded . The front steps are worn and dilapidated . In the early evening moonlight , the dwelling appears eerie and ghostly . CAMERA CREEPS TOWARD the house , a pre - storm breeze swaying branches and blowing leaves . In the distance . LIGHTNING .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CABIN - DAY - A SMALL TABLE<\/stage_direction>\n    <scene_description>A final piece of duct tape is applied to the corner of the table , dulling any sharp edges . Even though it is sunny outside , all the shades are pulled . The room sits in dark shadows broken by occasional bright shafts of light . CAMERA FOLLOWS a hand as it carefully picks up a Coleman lantern and sets it atop an empty can placed in the center and above the water line of a large metal tub ; a fire protection moat . ALEX finds his way to a chair in the center of the room , away from everything except a nearby table holding a fire extinguisher and a first aid kit , both at less than arm 's reach . Unshaven , a week and a half 's growth , and unkept , Alex looks horrible . An anxious zombie , especially in the dim glow of the lantern . Dark circles , from lack of sleep . Thin , from lack of food . Pale , from lack of sunlight . He places workman 's gloves on his hands before picking up a can of Underwood chicken spread . With some degree of difficulty , he works the gloves beneath the tab and pulls . Careful not to cut himself , he reaches out and drops the lid into a small trash can . Alex removes the gloves and , with a plastic spoon , begins to eat . CAMERA PUSHES IN as he begins to chew methodically , chewing and chewing and chewing with concentration until . after steadying himself . prepares to swallow . then , carefully does . Pause . he 's alright . He takes the spoon . Scoops some more . And the process begins again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - CLEAR RIVER'S HOUSE - DAY<\/stage_direction>\n    <scene_description>A pink circle fills THE ENTIRE FRAME . EXTREMELY CLOSE - CLEAR 'S EYES look downward , anxious and full of thought . A HOME PREGNANCY TEST the results are positive , two pink dots , confirming . WIDER Clear sighs , frightened as she tosses the test upon a half dozen other discarded tests . You can never be too sure . Outside , WIND of an approaching storm blows . CAMERA tensely INCHES IN ON Clear .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CABIN - NIGHT - CRACK BENEATH DOOR<\/stage_direction>\n    <scene_description>The resulting THUNDER RUMBLES . A breeze blows beneath the door , carrying some Autumn leaves . CAMERA FOLLOWS the breeze across the floor to Alex 's pant legs which slightly flutter . CAMERA RISES TO ALEX , sitting in his safe chair . Paranoid and obsessively cautious , his eyes move towards the door , anticipating the consequential events . Following the path of the breeze , Alex turns around . ALEX 'S POV - TRASH BAG the brown shopping bag tips over . Amongst the trash spread on the floor , a can rolls out and across the floor . ALEX tenses . He does n't look to where the can has been , but where it is going . ALEX 'S POV - CAN rolls across the floor and gently hits the end of a fishing pole , propped in the corner . The pole teeters and falls over . FISHING HOOK falls , hooking a closet door . The door begins to swing open . ALEX is quickly out of his safe chair , hustling towards . THE DOOR Alex slams the door shut before it can open . Behind the door , a CRASH as something falls . Alex cracks a wicked half smile , cocky he has caught Death before this attempt has brought to fruition . Alex removes the hook from the door and places the pole on the floor . He cautiously opens the door , REVEALING an old fish scaling knife embedded on the back side of the door , unaware . Removing the knife and securing it , his eyes turn towards the floor . CLOSET FLOOR a tackle box has spilled thick , rusted old treble and aberdeen fishing hooks upon the floor . Alex bends down and examines them .<\/scene_description>\n    <character>ALEX<\/character>\n    <parenthetical>( as if to Death . )<\/parenthetical>\n    <dialogue>Rusted. Tetanus. Nice touch.<\/dialogue>\n    <parenthetical>( defiant . )<\/parenthetical>\n    <dialogue>I overlooked it. You tried to capitalize. But I caught you, you fuck. I can beat you. Not forever, but I got this cabin rigged to beat you NOW!<\/dialogue>\n    <scene_description>O.S. , a sound . Like a THUMP near the cabin steps . He freezes , like an animal sensing danger . THUNDER RUMBLES . The light around him begins to flicker and sway . COLEMAN LANTERN a draft creeps beneath the glass enclosure . The flame , dancing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - CLEAR RIVER'S HOUSE - DAY<\/stage_direction>\n    <scene_description>ENTERING FRAME , Clear peeks out the window , careful not to be seen .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLEAR RIVER'S STREET - DAY - CLEAR'S POV<\/stage_direction>\n    <scene_description>The unmarked F.B.I. sedan maintains surveillance . Schreck and Weine sit inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - CLEAR RIVER'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Distant . APPROACHING THUNDER RUMBLES as she steps away . The weight of the world on her shoulders , Clear paces , considering her options . She looks to a bookshelf . CLOSE - AN OLD PHOTOGRAPH A man , early thirties , holds a six year old girl in his arms , waving at the camera . Both appear happy and alive . They are standing before the cabin surrounded by the thick woods . The photograph is turned over . On the back is marked in a young girl 's handwriting , `` me and dad at the cabin . 1986 . '' CLEAR As CAMERA PUSHES INTO HER . considering life . Then , now and what is to come .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNMARKED CAR - NIGHT<\/stage_direction>\n    <scene_description>Weine sits in the passenger seat looking through the pair of binoculars . Schreck is behind the wheel .<\/scene_description>\n    <character>WEINE<\/character>\n    <dialogue>She was up there a minute ago.<\/dialogue>\n    <scene_description>A figure steps into the drivers side window , from the rear . The two agents are startled as Clear Rivers leans into FRAME . She pauses , gauging their trustworthiness , then .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>I'm not turning him in. There's another life that needs him now.<\/dialogue>\n    <scene_description>The two agents remain respectful .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>I go with you.<\/dialogue>\n    <character>WEINE<\/character>\n    <dialogue>You ca n't.<\/dialogue>\n    <scene_description>She considers . and understands .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>Do n't hurt him.<\/dialogue>\n    <character>WEINE<\/character>\n    <dialogue>Tell us where he is. Wait at home, and I promise. we'll bring him back safe, in protective custody.<\/dialogue>\n    <scene_description>As she senses the agents ' sincerity .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CABIN - NIGHT<\/stage_direction>\n    <scene_description>Distant THUNDER ECHOES . Alex kindles a fire in the fireplace , balling up old newspapers . He begins to crumble the local news . then pauses . A headline catches his attention . CAMERA INCHES IN ON HIM , tense , while THUNDER RUMBLES . As he unrolls the paper , his expression is rocked . anxious . he cocks his head to consider . recalling . as CAMERA PUSHES ALL THE WAY INTO . HEADLINE - CRUMPLED NEWSPAPER `` PARENTS TO ESTABLISH MEMORIAL SCHOLARSHIPS . '' Besides the headline are two yearbook photos ; Christa Marsh and Blake Dreyer . ALEX his expression reflects a terrifying revelation .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>I. never moved. Christa asked me to move, but I did n't change seats. I would've moved up. next to Tod. How could I not remember. that. I never moved. Clear's seat was in front of mine.<\/dialogue>\n    <scene_description>CAMERA PUSHES into a TIGHT CLOSE UP .<\/scene_description>\n    <character>ALEX<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>She's next.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLEAR RIVER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Clear paces in her living room . She moves to the curtains and checks out the window . Although it is not raining , LIGHTNING CRACKS across the sky !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLEAR RIVER'S HOUSE - NIGHT - POWER LINE<\/stage_direction>\n    <scene_description>The lightning STRIKES the top of the pole , SNAPPING two power lines , which whip in the wind .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLEAR RIVER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>The power goes out . The room turns dark . Outside , brilliant bluish white arc lights CRACKLE . Clear moves to the window .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLEAR RIVER'S HOUSE - NIGHT - CLEAR'S POV - POWER LINES<\/stage_direction>\n    <scene_description>ARC violently striking the ground and each other . Each line whips unpredictably like an uncontrolled garden hose with the water turned on full . And yet , there 's a mean , angry and taunting personality to the two power lines . As if Death were within them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLEAR RIVER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>She assesses the situation and moves to a pair of candles on the mantle , lightning them with a Bic . O.S. , from the backyard , a DOG BARKS . Clear brings the candle through the small house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - CLEAR RIVER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Clear moves quickly to the kitchen , holding the candle . Outside , BLUE ARC LIGHT CRACKLES . She looks out the backyard .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACKYARD - CLEAR RIVER'S HOUSE - NIGHT - CLEAR'S POV<\/stage_direction>\n    <scene_description>An old circular clothesline turns like a pinwheel in the wind . In the center of the yard is an oblong , tarped above ground pool . In the furthest corner of the yard , her dog is chained to a tree , BARKING AND FREAKED OUT . An old tire swing rocks in the storm . From the manner in which the house is situated and the length of the snapped power lines , one is capable of reaching the backyard . The power line STRIKES the ground , `` closing in on '' the dog .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - CLEAR RIVER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Clear considers the danger of venturing out to get the dog . Although no window is open , and the power outage has shut off any air conditioning . the candle flame whips , then extinguishes . The blue smoke swirls ominously into the room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACKYARD - CLEAR RIVER'S HOUSE - NIGHT - CLOTHESLINE<\/stage_direction>\n    <scene_description>Sharp metal edges spin . Glinting blue arc light .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CABIN - NIGHT<\/stage_direction>\n    <scene_description>Alex charges out the front door , leaping over the steps . O.S. , SEVERAL CARS APPROACH , headlights pan across the trees . Alex stops dead in his tracks and runs off into the woods , just as the F.B.I umarked sedan and three Sheriff 4x4s THUNDER up to the cabin , siren lights swirling .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNMARKED CAR - NIGHT<\/stage_direction>\n    <scene_description>Weine is driving , leading the other vehicles . Schreck points out the passenger window .<\/scene_description>\n    <character>SCHRECK<\/character>\n    <dialogue>There!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CABIN - NIGHT - WEINE'S POV - THROUGH CAR WINDOW<\/stage_direction>\n    <scene_description>Full sprint , Alex disappears into the dark forest . WIDER the cars BRAKE to a stop , SKIDDING in the dirt . Sheriffs leap out of their vehicles . High powered flashlights shoot beams in Alex 's direction . The officers take after the suspect .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACKYARD - CLEAR RIVER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>The backdoor opens . Clear charges out into the backyard . THE DOG Helpless , chain wrapped around the tree . THUNDER RUMBLES . CLEAR continues to run . THE CIRCULAR CLOTHESLINE is whipped by a power line . SPARKS FLY as the base pole snaps in two . CLEAR the metal poles punge into the ground just before and behind her , inches from impaling her . She stumbles , but quickly steps aside and continues toward the tree . THE CIRCULAR CLOTHES - LINE FRAME is rolled by the winds , across the yard toward . ABOVE GROUND POOL the clothesline frame punctures the pool . Water streams from the rupture . CLEAR reaches the tree and begins unfastening the dog 's collar from the chain . THE POWER LINES whipping , strike one another causing an angry FLASH ! THE RIVETS holding the pool frame begin to BREAK and POP . Water floods into the yard .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST - NIGHT<\/stage_direction>\n    <scene_description>CAMERA MOVES WITH Alex , blindly running through the forest , sheriffs ' flashlight beams crossing behind him . in pursuit . Looing back to check the postition of the agents , Alex blindly runs over the lip of a downward slope . GULLY He rolls and tumbles uncontrollably down the hillside . As he nears the base . ALEX stops with a CRUNCHING THUD . his face an inch from being impaled by a sharp , thick protruding branch . No time to catch his breath , he 's up and running .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACKYARD - CLEAR RIVER'S HOUSE - NIGHT - CLEAR'S FEET<\/stage_direction>\n    <scene_description>water floods , pooling the backyard , cascading over Clear 's feet . She looks down , in the reflection of the puddle , the dark shadow passes . Clear whips up , checking the position of . A POWER LINE coils , like a cobra , ready to STRIKE ! TREE Clear drops the chain and hits the dog on its backside .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>Run!<\/dialogue>\n    <scene_description>The dog starts to tear off toward the house . Clear runs toward the hanging tire . Leaps . THE POWER LINE whips , the frayed wires hitting the puddle of water . CLEAR in mid - air , desperately grabs the tire , hanging on , literally for her life . O.S. , the dog YELPS . Clear turns back . CLEAR 'S POV - THE DOG convulses in the small pool of water , burning from the overwhelming amounts of electricity .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST - NIGHT - SMALL CREEK<\/stage_direction>\n    <scene_description>Distant flashlights reflect in a small stream , barely two inches deep . Alex 's foot splashes in the water . THUNDER RUMBLES . ALEX races along the path of the stream . SHERIFFS continue their pursuit through the dark trees . ABOVE Lightning CRACKS a tree branch . SPARKS FLY ! The tree tumbles down the branches . ALEX The thick branch falls from above , landing on top of him . He 's knocked to the ground and pinned . face down in the creek . CAMERA MOVES IN . his nose and mouth , just below the water line , but he can not move . His eyes flash with panic , as he struggles . battles to move and avoid drowning in two inches of water . As he struggles in the f.g. , Weine and a pair of Sheriffs appear ten yards beyond him . They pause , confused , panning their flashlights across the forest . WIENE 'S POV - FOREST the lights actually expose the area where Alex lies . From their postition , however , he is covered by the branch and out of sight . ALEX struggles to raise his head above the water , chest bursting . WEINE AND SHERIFFS believing Alex is not in the area , move ahead into the woods .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACKYARD - CLEAR RIVERS'S HOUSE NIGHT<\/stage_direction>\n    <scene_description>Clear pulls herself up to a tree branch . Lighting and THUNDER CONTINUE amongst the ARCING , CRACKLING POWER LINES . She searches for an escape . CLEAR 'S POV - THE TREE BRANCH extends toward the house . CLEAR straining in the storm , begins moving up the branch .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST - NIGHT - CLOSE - ALEX'S EYES<\/stage_direction>\n    <scene_description>dart open . Taking a tenth of a second to gather all of his strength , all his courage , he arches his back , pushing with his hands , anything to lift his face out of the stream . With a DEEP GASP , he does so . Drinking up the air . It appears to infuse him with another blast of adrenaline as he manages to push with his arms and free himself from the pinning tree branch . He pauses only for a couple gulps of air . and is off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WINDOW - CLEAR RIVER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Clear leaps from the end of the branch to her window , grabbing the sill awkwardly , she dangles outside the house . With a breath , she pulls herself inside , just as the power line bites , ARCING , at her feet .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST - NIGHT<\/stage_direction>\n    <scene_description>Weine RUNS INTO FRAME , looks around , frustrated .<\/scene_description>\n    <character>WEINE<\/character>\n    <parenthetical>( into radio . )<\/parenthetical>\n    <dialogue>Lost him.<\/dialogue>\n    <scene_description>ANOTHER PART OF THE FOREST - SCHRECK deperately scans the area .<\/scene_description>\n    <character>SCHRECK<\/character>\n    <dialogue>From the direction. there's only one place he can heading.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLEAR RIVER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>The power lines strike the rooftop .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLEAR RIVER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Clear River 's stands in her bedroom just as it fills with blinding blue light . Her television screen BLOWS OUT . Sparks jet across the room . Blasts of FLAME erupt from the electrical outlets . She quickly turns , racing toward the hallway .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - CLEAR RIVER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>CAMERA IS LOW , RACING WITH HER as SPARKS EXPLODE FROM the lamps and electrical outlets . She cuts and leaps three steps at a time down the staircase .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EDGE OF THE WOODS\/BACKYARD - NIGHT<\/stage_direction>\n    <scene_description>Alex tears across the fenceless backyards towards Clear 's house . Blue ARC light glowing from the front yard .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>A mid - eighties Corolla is parked amongst Clear 's artwork . A door , adjacent to the kitchen flies open . Clear hustles through , running to the car and entering via the passenger door , for the sake of expediency .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>The power lines WHACK angerily against the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COROLLA - NIGHT<\/stage_direction>\n    <scene_description>Clear scoots into the driver 's seat . She CLICKS the automatic garage door opener . GARAGE DOOR OPENER MOTER connected to a metal arm , attached to the door , remains motionless - there is no power .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COROLLA - NIGHT<\/stage_direction>\n    <scene_description>Realizing the motor is dead , Clear takes a beat , STARTS THE ENGINE and SHIFTS INTO REVERSE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACKYARD - CLEAR RIVER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Alex reaches the backyard . CAMERA PUSHES IN as he quickly tries to deduce the deadly situation . HE RUNS OUT OF FRAME .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Clear guns the small car in reverse . GARAGE DOOR as the rear of the car makes impact with the door . THE GARAGE OPENER trembles , the long metal arm collapses , falls .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>BAM ! In reverse , the Corolla SMASHES through the garage door . THE METAL ARM of the garage door opener RIPS through the windshield , locking upon the windshield wiper grille . The other end remains attached to the garage roof interior , essentially acting as an anchor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COROLLA - NIGHT<\/stage_direction>\n    <scene_description>The car SHUDDERS , wheels spinning uselessly , as the arm `` holds '' onto the car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT - DOOR OPENER MOTER<\/stage_direction>\n    <scene_description>the screws holding the arm to the ceiling begin to pull away . A METAL CAN on a shelf , is rocked as , O.S. , the CAR rattles the garage , trying to break free . The can is marked `` TURPENTINE : EXTREMELY FLAMMABLE . '' The can tumbles over the shelf . GARAGE FLOOR the can SMACKS on the floor , edgewise , REVREALING the can is sealed tight with a cap .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLEAR RIVER'S HOUSE - NIGHT - POWER LINE<\/stage_direction>\n    <scene_description>thick cable ARCS , snapping toward the car INTO FRAME .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COROLLA - NIGHT<\/stage_direction>\n    <scene_description>Foot to the floor , Clear SCREAMS for the car to move .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT - DOOR OPENER MOTOR<\/stage_direction>\n    <scene_description>pulls away from the ceiling .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>The Corolla lurches backward , freed from the grasp of the house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>a chunk of the ceiling collapses upon Clear 's artworks , including the canvas incorporating a jagged piece of debris from Flight 180 . The metal SLAMS to the floor , on top of . THE CAN OF TURPENTINE which causes the flammable liquid to stream out , toward the driveway .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>As the Corolla lurches away from the house down the sloped driveway . THE POWER LINE THUDS upon Clear 's car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COROLLA - NIGHT<\/stage_direction>\n    <scene_description>An ear splitting CRACKLE . SPARKS FLY ! The electrical system of the samll car erupts and the engine dies . The car stops .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>From the rear of the house appears Alex. CAMERA SWEEPS IN ON HIM as he reacts to the situation .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Do n't move!<\/dialogue>\n    <scene_description>WIDER The power line sadistically rests atop the automobile . The exposed end of the cable flutters and whips like a cat 's tail , SPARKING , CRACKLING , as it hits the ground .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COROLLA - NIGHT<\/stage_direction>\n    <scene_description>Clear looks up desperately to Alex.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GARAGE - CLEAR RIVER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Alex extends his hands . O.S. , CARS approach THUNDEROULSY .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>You're grounded in the car. Do n't touch anything. DO N'T MOVE.<\/dialogue>\n    <scene_description>IN THE STREET The unmarked F.B.I. vehicle and two sheriff patrol cars pull up on the street . Schreck and Weine hustle out of the car .<\/scene_description>\n    <character>WEINE<\/character>\n    <dialogue>Alex, get away from there!<\/dialogue>\n    <character>SCHRECK<\/character>\n    <dialogue>Any part of that line touches you, you're dead.<\/dialogue>\n    <scene_description>THE POWER LINE SNAPS in ALEX 'S DIRECTION . ALEX lurches back . THE STREAM OF TURPINTINE is ignited by a single spark fom the power line . It flows toward the car . ALEX backs away , eyes locked with Clear 's , assuring she 's remaining in the car . CLEAR keeps her eyes locked on Alex , watching him . Suddenly , a BURST OF FIRE FLASHES FROM BELOW FRAME . ALEX reacts , shocked . He realizes . WIDER the underbelly of the Corolla has ignited from the stream of combustible fluid . SCHRECK AND WEINE step forward . THE POWER LINE atop the car , whips , ARCS , warning everyone away . IN THE COROLLA Clear can see the flames , her instinct is to grab the handle to get out . CLEAR 'S POV - GARAGE WALL The fire roars angrily in the f.g. , on the garage wall , however , the shadows do not match that of the flames , rather , the approaching form of Death appears . ALEX steps closer .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>NO!<\/dialogue>\n    <scene_description>CAMERA PUSHES IN ON ALEX as he quickly considers , then moves toward the hood of the burning car . SCHRECK AND WEINE<\/scene_description>\n    <character>WEINE<\/character>\n    <dialogue>Get back! You'll both die!<\/dialogue>\n    <scene_description>ALEX AND CLEAR hearing this , Alex 's mind is made up . He looks to Clear .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>You know what to do.<\/dialogue>\n    <character>CLEAR<\/character>\n    <dialogue>No! No! Do n't!<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>When I do this. it'll have skipped you. and it'll all be over.<\/dialogue>\n    <scene_description>At that moment , Clear does n't understand . She looks to him , scared .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>You know what to do. I'll always be with you.<\/dialogue>\n    <scene_description>He reaches out and grabs the power line , falling back to pull it away from the hood of the car . The cable ARCS furiously . COROLLA Clear opens the driver 's side door and runs out , knocked to her feet as behind her the car EXPLODES . ALEX is engulfed in the flames . ALEX 'S POV - THE SHADOWS the edges of the FRAME are collapsing . Alex 's face , gray and emotionless appears , yet , before it can transform into decay . ALEX through the flames , as if sensing the oncoming horror , defying the image .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>NO!<\/dialogue>\n    <scene_description>He looks toward . CLEAR - ALEX 'S POV She . is the last sight he 'll ever see . WIDER The power line ERUPTS ! Alex disapears behind the wall of fire and sparks before falling limp on the driveway . CLEAR Schreck , Weine and PARAMEDICS rush to the girl . Schreck turns back , calling out to a paramedic , helplessly watching by ther burning car .<\/scene_description>\n    <character>SCHRECK<\/character>\n    <dialogue>Is he alive?<\/dialogue>\n    <scene_description>CLEAR 'S EYES flash open , horrified , answering the question . THE SKY a web of LIGHTNING CRACKS across the Heavens , as if Death was making a final angry proclamation . SCHRECK AND WEINE CAMERA EASES IN on the agents , exchanging rattled expressions that convey their unease in the proof that Alex was right . CLEAR - OVERHEAD As a pair of paramedics work on her , a soft breeze blows across the girl , and only the girl . CAMERA MOVES DOWN TO HER FACE , her eyes opened . welling with tears . seeming to realize . to sense , he is gone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DELIVERY ROOM - DAY - CLEAR<\/stage_direction>\n    <scene_description>SCREAMS , as if reacting to Alex 's death , but in actuality it is a reaction to the pain of delivering her child . DOCTORS AND NURSES stand between Clear 's legs in the stirrups .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>A little more. Little more!<\/dialogue>\n    <scene_description>CLEAR breathes , pushes hard . Alex 's parents stand on each side of her , holding her hand , wiping her forehead . THE DOCTOR cuts the umbilical cord .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>He's here. A beautiful boy.<\/dialogue>\n    <scene_description>CLEAR , KEN AND BARBARA smile and fight back the tears . Clear begins to laugh euphorically through the tears .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>I felt him! When the baby was born. I felt Alex pass through me. like the night he died.<\/dialogue>\n    <scene_description>Clear lifts her head up , still battling the pain of labor . CLEAR 'S POV - THE BABY covered in goop , eyes shut . a new life arrives . DOCTOR looks at the clock and reprots to an attending nurse . Another nurse cleans up the baby , wieghs him and places him in a hospital bassinet .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>13th of May. 4:25 p.m.<\/dialogue>\n    <scene_description>CLEAR , KEN AND BARBARA Barabra places a cool wet cloth on Clear 's forehead .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>Exactly a year. to the minute.<\/dialogue>\n    <scene_description>Everyone recognizes the eerie , yet beautiful coincidence . Clear leans her haed back , relieved , euphoric .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>We beat it, Alex.<\/dialogue>\n    <scene_description>Cleaned and wrapped in a swaddling blanket , the baby is placed in the mothers arms . The long retrospective harmonica of Neil Young 's `` Long May You Run '' reprises as Clear looks at the I.D. braclet . WRIST BRACLET `` Alexander Chance Browning II . '' DELIVERY ROOM CAMERA PULLS BACK . The birthing room is quiet ; the people introspective . The doctors . The family . The mother and child . A room of new life , in which , each recalls a life lost . As `` Long May You Run '' OVERLAPS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALEX'S BEDROOM - DAY - FLOWERS<\/stage_direction>\n    <scene_description>A bright , colorful arrangment of flowers is carefully placed into a vase . CAMERA ADJUSTS to REVEAL Alex 's bedroom is now lived in by Clear and the baby . Clear makes the final adjustment in the arrangement , then checks the sleeping baby in the bassinet . Clear moves to her bed with a book . As she settles in , O.S. , a faint RUSTLE . CAMERA INCHES IN ON CLEAR as she looks to . CLEAR 'S POV - THE FLOWERS a soft breeze causes the petals to flutter . CLEAR looks toward . CLEAR 'S POV - THE WINDOWS which are closed . CLEAR 'S POV - THE FAN which . is off . CLEAR looks across the room . CLEAR 'S POV - THE ROOM The breeze moves through the flowers . billows the cutains , posters and photos on the wall . until seemingly settling over the bassinet . The lace trim and blankets rustled by the breeze , it is hovering over the child . CLEAR CAMERA SETTLES , but her expression does not reflect fear . She knows Alex is here . and she smiles , tears welling in her eyes . THE BABY the bassinet trim settles , as if the presence is leaving . Before it fully departs . CLEAR the wind softly and rapidly passes over Clear . He smile remains as the room becomes still and her eyes looks across the room . CLEAR 'S POV - ON THE WALL is a pencil rubbing , like people take away from the Vietnam veteran 's Memorial . The name . `` ALEX BROWNING . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MT. ABRAHAM HIGH SCHOOL - DAY - CLOSE - MONUMENT<\/stage_direction>\n    <scene_description>`` ALEX BROWNING '' is marked in the granite . CAMERA PULLS BACK TO REVEAL the name has been added to the memorial , along with Tod Waggner , Valerie Lewton , Terry Chaney and William Hitchcock . A hand ENTERS FRAME , fingers hover in space before they gently trace over `` Terry Chaney . '' CAMERA ADJUSTS TO REVEAL Carter Horton , staring at the name . Alone , he allows himself the moment to grieve . Carter glances up to find Clear approaching with the baby in the stroller . Carter straightens and nods , then begins to walk away . He hesitates , then turns back to Clear .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Alex was right.<\/dialogue>\n    <scene_description>Clear looks up .<\/scene_description>\n    <character>CARTER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It did skip us.<\/dialogue>\n    <scene_description>Clear smiles . As she takes the baby out of the stroller .<\/scene_description>\n    <character>CLEAR<\/character>\n    <dialogue>I believe. that's what Alex believed. But how do we know. this was n't the design all along?<\/dialogue>\n    <scene_description>Clear holds baby Alex up to the monument , showing her son his father 's name . Carter stands , watching . CAMERA WIDENS to REVEAL the entire monument against the deep blue sky . At the base in readable , but understandable lettering . `` FLIGHT 180 . '' CAMERA HOLDS as `` Long May You Run '' CONTINUES . RETURNING each of us to the awaiting darkness . FADE OUT .<\/scene_description>\n  <\/scene>\n<\/script>","summary":"High school student Alex Browning boards Vol\u00e9e Airlines Boeing 747 Flight 180 with his classmates for their senior trip to Paris Charles de Gaulle Airport from New York John F, Kennedy Airport. Before takeoff, Alex has a premonition that the plane will explode in mid-air, killing everybody on board. When the events from his vision begin to repeat  themselves in reality, he panics and a fight breaks out between Alex and his rival, Carter Horton. As a result, several passengers are removed from the plane, including Alex, Carter, Alex's best friend Tod Waggner, Carter's girlfriend Terry Chaney, teacher Valerie Lewton, and students Billy Hitchcock and Clear Rivers. None of the passengers, except for Clear, believes Alex about his vision until the plane explodes on takeoff, killing the remaining passengers on board. Afterwards, the survivors are interrogated by two FBI agents, who believe that Alex had something to do with the explosion. Thirty-nine days later, the survivors attend a memorial service for the victims. That night, a chain reaction causes Tod to be strangled to death in his bath tub. His death is deemed a suicide, but Alex does not believe that Tod killed himself. He and Clear sneak into the funeral home to see Tod's body, where they meet mortician William Bludworth. He tells them that they have cheated Death's plan and Death is now taking the lives of those who were meant to die on the plane. The next day, Alex and Clear discuss what the mortician said at a caf\u00e9. Although Clear is skeptical, Alex believes that they can cheat Death again if they look out for omens. They encounter the rest of the survivors and, when Carter provokes Alex, Terry breaks up with Carter before storming off in anger and getting run over by a speeding bus. After watching a news report on the cause of explosion, Alex realizes that the survivors are dying in the order they were meant to die on the plane. He deduces that Ms. Lewton is next and rushes to her house to ensure her safety. Thinking Alex is up to no good, Ms. Lewton calls the FBI agents, who bring him in for questioning. Although Alex is unable to convince the agents of what is happening, they decide to let him go. Nonetheless, he is too late to save Ms. Lewton, whose house explodes after she is impaled by a falling kitchen knife. The remaining survivors reunite and discuss what to do while driving through town. During the conversation, Carter learns he is next on Death's list. Frustrated over not having control over his life, Carter stops his car on railroad tracks, wanting to die on his own terms. He changes his mind at the last minute but can not get out when his seatbelt jams. Alex manages to save Carter just before the car is smashed by an oncoming train, and Billy is decapitated by flying shrapnel. Alex deduces that, because he intervened, Death skipped Carter and moved on to Billy, and he realizes he is next on Death's list. Later, while hiding out in a fortified cabin, Alex recalls changing seats with two girls in his premonition, meaning Clear is actually next, and he rushes to save her while being chased by the agents. Meanwhile, Clear is stuck inside her car with a leaking gas tank, surrounded by loose electrical cables. Alex arrives at her house just in time and grabs the cable, allowing her to escape from the car just before it explodes. Six months later, Alex, Clear, and Carter travel to Paris to celebrate their survival. While discussing their ordeal, Alex realizes that Death never skipped him. After seeing more omens, he leaves the table, and a bus almost hits him, but it swerves and crashes into a large neon sign that swings down towards Alex. Carter pushes Alex out of the way at the last second, and Alex says that Death has skipped him. When Carter asks who is next, the sign swings back down towards Carter, and the screen cuts to black followed by a loud smash, leaving Alex and Clear as the last two survivors of flight 180."}
{"movie_name":"Panther_1995","imdb_id":"tt0114084","script":"<script>\n  <scene>\n    <stage_direction>PANTHER<\/stage_direction>\n    <scene_description>BLACKOUT The SCREEN stands BLACK , like a chalkboard . or a grave . A SOUND builds , like a RADIO surfing channels . Snippets of SONGS - Joan Baez ' `` Blowin ' in the Wind , '' James Brown 's `` I Feel Good . '' The music of a different time . FOOTAGE IMAGES hit the screen : ROSA PARKS , Peace Demonstrators stuffing FLOWERS in the barrels of National Guard rifles . Protesters in Birmingham , rallies on the White House Lawn . Mixed in with the MUSIC comes NEWS BITES - quick catchwords of 60 's turmoil - `` More troops to Vietnam , '' `` Bus Boycott , '' `` Sit ins , '' `` Draft Dodgers , '' `` Malcolm X speaking . '' Then a SINGLE PHOTO settles on screen - a ROW of BLACK PANTHERS , fists raised , standing defiantly together . The IMAGE FREEZES .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( over . )<\/parenthetical>\n    <dialogue>The Black Panthers.<\/dialogue>\n    <scene_description>As the PHOTO FADES , LIGHTS APPEAR . A SHAPE takes form . The BAY BRIDGE arcs over silent water , spanning two worlds .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( over . )<\/parenthetical>\n    <dialogue>People still ask me how it all started? How things went so far? And like a lot of questions about the Panthers, there are different answers. Different beginnings.<\/dialogue>\n    <scene_description>Rising behind the voice , the noise of a CROWD can be heard .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( over . )<\/parenthetical>\n    <dialogue>What became the Black Panthers really started with just two guys - Bobby Seale and Huey Newton - saying two words : `` Defend Yourselves.'' Legend has it they met at some coffee house where Bobby was running down a rhyme.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COFFEE SHOP (BLACK\/WHITE) - 1966 - DAY<\/stage_direction>\n    <scene_description>TITLE : MARCH 17 , 1965 BOBBY SEALE - a skinny , kinetic black man sporting an Afro - teeters on a chair in front of a small CROWD . He reads from a crumpled sheaf of papers . At the side of the crowd , HUEY NEWTON - well - built , magnetic - watches , grooving on the rhythm of the words .<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Oh yeah. Yeah it's easy to see right on your black and white TV. Black man. Blue cop. Red blood. Niggers watch other niggers die. That's right Niggers watching niggers die. That's the American way.<\/dialogue>\n    <scene_description>A COMMOTION starts at the rear of the crowd . TWO UNIFORMED COPS roughly make their way to Bobby . They pull him off his chair , cracking his head against the ground . The cop over Bobby raises his NIGHTSTICK . A BLACK HAND grabs the club , stopping its arc . Shocked , the cop turns . It 's HUEY . With honed precision , he DECKS the cop with his free hand .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE CAR (BLACK\/WHITE) - 1966 - DAY<\/stage_direction>\n    <scene_description>Bruised and bloody , Huey and Bobby sit next to each other as the car moves through the streets .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( over . )<\/parenthetical>\n    <dialogue>Pigs threw them in jail. There they starting talking about black folks oughta start standing up. No master plan, no pot to piss in, nothing like that. Just two fed - up brothers. Next thing you know, you got the Black Panther Party for Self Defense.<\/dialogue>\n    <scene_description>BLACKOUT Again , the SCREEN goes BLACK .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( over . )<\/parenthetical>\n    <dialogue>For me, it started different. A lot different. You may as well say The Panthers started in my front yard.<\/dialogue>\n    <scene_description>The black screen DISSOLVES into .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLOSE-UP: SIDEWALK - DAY<\/stage_direction>\n    <scene_description>CONCRETE , cracked and dirty , fills the frame . A BICYCLE whips past , gliding down the pavement .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 55TH AND MARKET STREETS - OAKLAND - 1967 - DAY<\/stage_direction>\n    <scene_description>TITLE : OAKLAND 1967 Teeming with life on a bright day , the Ghetto moves to its own unique cadence . A YOUNG BOY , no older than ten , pedals down the street on his BICYCLE . A gust of wind brushes a SHAPELY WOMAN . She GRABS a HAT and holds tight , ignoring her DRESS rising in the wind . The BOY ogles her juicy thighs .<\/scene_description>\n    <character>SHAPELY WOMAN<\/character>\n    <dialogue>Shucks I see you staring, but I ai n't letting go. Them hips is almost forty years old but the hat is brand new!<\/dialogue>\n    <scene_description>AFRAID , the boy PASSES an OAKLAND POLICE CAR , cruising slowly down Market . A WHITE COP scans the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARKET STREET - DAY<\/stage_direction>\n    <scene_description>Continuing his ride , the BOY passes TYRONE -LRB- 20 's -RRB- - a TOUGH YOUTH - who GLARES at the cop car , LEAFLETS in his HANDS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARKET STREET - DAY<\/stage_direction>\n    <scene_description>BLACK HANDS pour a CAN of LEMON JUICE into a BOTTLE of cheap WHITE PORT . Shaking the mixture , then swigging it , ROSE -LRB- 30 's -RRB- - an aimless drunk - passes it to his FRIENDS .<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>Yes indeed, that Bitter Dog.<\/dialogue>\n    <parenthetical>( to the Boy . )<\/parenthetical>\n    <dialogue>What's up little brother?<\/dialogue>\n    <scene_description>Smiling , the YOUNG BOY waves to the sidewalk drinkers , then moves on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARKET STREET - DAY<\/stage_direction>\n    <scene_description>Eyes downcast , the BOY passes REVEREND SLOCUM -LRB- 50 's -RRB- - a passionate preacher .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARKET STREET - DAY<\/stage_direction>\n    <scene_description>On the street corner , SABU -LRB- 20 's -RRB- - a Superfly young hustler with a fast mouth - trying to sell cigarette lighters to a couple of HARD HATS heading off to work .<\/scene_description>\n    <character>SABU<\/character>\n    <dialogue>I'm telling you, man. The perfect gift for the sophisticated lady in your life. Light up her flame with some solid gold satisfaction and get a second one half price for your wife. Ca n't beat my price with a stick, baby.<\/dialogue>\n    <scene_description>CY , a large man with an eye - patch , walks up and tries , in vain , to get one of Sabu 's bogus lighters to light .<\/scene_description>\n    <character>CY<\/character>\n    <dialogue>Sabu, why're you still tryin' to sell these raggedy ass, non workin' Korean lighters man?<\/dialogue>\n    <scene_description>The HARD HATS drive off laughing as Sabu curses CY out . The boy continues on heading for the corner .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INTERSECTION - 55TH AND MARKET STREETS - DAY<\/stage_direction>\n    <scene_description>Suddenly a HORN blares , BRAKES screech . Brutal , fast , a CAR plows into the child , sending him and the bike bouncing against the windshield and back on the pavement , bleeding . dead .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. APARTMENT HOUSE - 55TH STREET - DAY<\/stage_direction>\n    <scene_description>JUDGE -LRB- 20 's -RRB- - an intense young man wearing a FATIGUE JACKET - STARES numbly at the child in the street . Neighborhood people move toward the scene . A WOMAN , perhaps the boy 's mother , WAILS next to the body . Judge 's Mom , RITA -LRB- 50 's -RRB- - raw boned and sharp eyed - stands , drawn toward the tragedy .<\/scene_description>\n    <character>RITA<\/character>\n    <dialogue>Oh lord. not again.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INTERSECTION - DAY<\/stage_direction>\n    <scene_description>A CROWD - including Reverend Slocum , Cy and the DRINKERS - gathers near the child and the wailing woman . Across from Judge , TYRONE keeps an angry distance from the horror .<\/scene_description>\n    <character>CY<\/character>\n    <dialogue>God damn. Kid never had a chance.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>Mothafuck. Hey! What the hell!<\/dialogue>\n    <scene_description>The CAR backs up , trying to leave the scene . Market street regulars SWARM around the retreating vehicle , hitting it with fists , sticks , bottles . Young and old move together , their faces contorted with RAGE .<\/scene_description>\n    <character>JUDGE<\/character>\n    <parenthetical>( over . )<\/parenthetical>\n    <dialogue>People were pissed off. Neighborhood had been begging for a stoplight since before dirt was invented. Way I saw it then, that boy dying was another shitty thing in a world full of shit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. APARTMENT HOUSE - DAY<\/stage_direction>\n    <scene_description>Eyes locked on the dead child , JUDGE stands , angry and impassive .<\/scene_description>\n    <character>JUDGE<\/character>\n    <parenthetical>( over . )<\/parenthetical>\n    <dialogue>Way I see it now. That day. That intersection. That's where it started for me.<\/dialogue>\n    <parenthetical>( a pause . )<\/parenthetical>\n    <dialogue>Only, I did n't know it then.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLOSE UP: INTERSECTION PAVEMENT - DAY<\/stage_direction>\n    <scene_description>Running red past a SMALL sneakered foot , BLOOD streams toward the gutter .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLOSE UP: BASKETBALL COURT - NIGHT<\/stage_direction>\n    <scene_description>A BASKETBALL bounces off the cement , SNEAKERED FEET scramble past .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BASKETBALL COURT - NIGHT<\/stage_direction>\n    <scene_description>JUDGE drives in for a basket , pursued by CY . It 's a friendly three on three street game . The MARKET STREET DRINKERS - including ROSE - fill out Cy and Judge 's teams . Young neighborhood MEN watch the game and shoot the shit . One of them , JAMAL , sports a beard and a DASHIKI . Somewhere a RADIO plays James Brown 's `` Say it Loud ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BASKETBALL COURT - NIGHT<\/stage_direction>\n    <scene_description>Gliding around Cy , Judge sinks a basket . ROSE retrieves the ball .<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>You supposed to be a wounded vet, Motherfucka. What you do in ` Nam anyway, shoot gooks or shoot hoops?<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>All of the above, man.<\/dialogue>\n    <parenthetical>( a pause . )<\/parenthetical>\n    <dialogue>And then some.<\/dialogue>\n    <scene_description>Shaking off the memory , Judge takes the ball in , PASSING it to a teammate . The BALL arcs through the air .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BASKETBALL GAME - NIGHT<\/stage_direction>\n    <scene_description>HANDS grab the ball before the teammate can . TYRONE 'S hands . The GAME stops dead . Tyrone holds the ball , eyeing the players with contempt . At his side stands LITTLE BOBBY -LRB- 16 -RRB- hyper , childlike .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>Tell me, do n't you fine black men got anything better to do than play games?<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>Sure I do, but your sister's busy. Gim me the damn ball.<\/dialogue>\n    <scene_description>Tyrone passes the ball HARD to Rose .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>Here. Take it. I thought some righteous brothers like you might help us out, but I guess that ai n't you.<\/dialogue>\n    <character>JAMAL<\/character>\n    <parenthetical>( stepping forward . )<\/parenthetical>\n    <dialogue>Help who? With what?<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>Your community! That's who. Maybe you did n't know but a kid died today.<\/dialogue>\n    <character>LITTLE BOBBY<\/character>\n    <dialogue>That's three this year. same spot.<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>Damn straight. And old Reverend Slocum's having a vigil on that corner, trying to get a stoplight put in.<\/dialogue>\n    <character>JUDGE<\/character>\n    <parenthetical>( to Cy . )<\/parenthetical>\n    <dialogue>My Mom's at that.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>Funny you do n't look like church folk to me.<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>Oh I ai n't. But it seems The Man's getting uptight about black folk standing in the street, causing a fuss. What I'm asking for, is some of your able black asses to come down and be `` Observers'' on the cops. Take down badge numbers. They do n't like pulling shit with too many eyes on'em. So that's how you can help, not by praying but by watching.<\/dialogue>\n    <character>DRINKER #1<\/character>\n    <dialogue>Not me. This able black ass ai n't fucking with no cops.<\/dialogue>\n    <scene_description>Others MUMBLE in agreement , moving away from Tyrone .<\/scene_description>\n    <character>JAMAL<\/character>\n    <dialogue>Look, I understand but if some Blacks insist on trying to interact with the white man, that's not our concern. We are African, `` brother.'' Mother Africa is the only.<\/dialogue>\n    <scene_description>Anger FLASHES in Tyrone 's eyes . His voice turn knifelike .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>No, you look, you phony ass boojie nigger. We ai n't in Africa, we're in Oakland. And in Oakland we got police brutality. We got the white man interacting his billy club up against the black man's head. Now if that do n't bother you, then take your skirt wearing ass back to Africa. `` Uncle.''<\/dialogue>\n    <scene_description>Jamal - very angry - takes a step toward Tyrone . Tyrone backs him down with one fearsome look .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>Try it.<\/dialogue>\n    <scene_description>Jamal backs away , joining Rose and the exiting drinkers .<\/scene_description>\n    <character>LITTLE BOBBY<\/character>\n    <parenthetical>( watching them go . )<\/parenthetical>\n    <dialogue>Chickenshit boojie.<\/dialogue>\n    <character>TYRONE<\/character>\n    <parenthetical>( to Judge and Cy . )<\/parenthetical>\n    <dialogue>What about you two? You were there, you saw that kid?<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>I saw. but.<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>But nothing. you do live here do n't you?<\/dialogue>\n    <scene_description>Judge glares evenly back at Tyrone , sizing him up .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Yeah, I do.<\/dialogue>\n    <character>TYRONE<\/character>\n    <parenthetical>( to Judge and Cy . )<\/parenthetical>\n    <dialogue>Well, act like it. Come on.<\/dialogue>\n    <scene_description>Tyrone and Little Bobby leave the court . After a beat , Judge and Cy follow . ROSE calls after them , BAITING .<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>You young niggas crazy. The Man ai n't gon na let us have no say in running shit! Keep it up and he's gon na come down on our ass like a ton of bricks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY STREET - NIGHT<\/stage_direction>\n    <scene_description>Taking confident strides , Tyrone and Little Bobby lead Cy and Judge down the street .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>Do n't let the cops provoke you. We're there to watch and take badge numbers.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>And who is we?<\/dialogue>\n    <character>LITTLE BOBBY<\/character>\n    <dialogue>Brother where you been?<\/dialogue>\n    <parenthetical>( a smile . )<\/parenthetical>\n    <dialogue>We're the Black Panthers.<\/dialogue>\n    <scene_description>Cy and Judge register the name .<\/scene_description>\n    <character>CY<\/character>\n    <dialogue>The Panthers.<\/dialogue>\n    <parenthetical>( to Bobby . )<\/parenthetical>\n    <dialogue>How old are you?<\/dialogue>\n    <character>LITTLE BOBBY<\/character>\n    <dialogue>Sixteen.<\/dialogue>\n    <character>TYRONE<\/character>\n    <parenthetical>( chuckling . )<\/parenthetical>\n    <dialogue>Shit, we made him get his moms to give permission before he could sign up.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Just a kid.<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>Yeah, well, cops kick the shit out of kids too.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 55TH AND MARKET - NIGHT<\/stage_direction>\n    <scene_description>A CIRCLE of church folk hold flickering CANDLES in the middle of the intersection . Slocum 's there as well as RITA . Their faces are silent , passive in the candlelight . POLICE CARS can be seen parked at the curbs . A small CADRE of cops stands watching the congregation . Tyrone , Judge and Cy approach the vigil . Looking around , they spot other YOUNG BLACK MEN staked out at the four corners of the intersection .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>I thought you said all the Panthers were gon na be here.<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>What you see is what you got.<\/dialogue>\n    <parenthetical>( pointing . )<\/parenthetical>\n    <dialogue>That's' Bobby Seale.<\/dialogue>\n    <scene_description>Judge 's eyes pick BOBBY out , skinny , notebook at the ready .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>Carter. buddy of mine from way back. And Gene.<\/dialogue>\n    <scene_description>CARTER - enormous , terrifying - comes into view , then GENE - a wiry street tough .<\/scene_description>\n    <character>LITTLE BOBBY<\/character>\n    <dialogue>And that. that's Huey.<\/dialogue>\n    <scene_description>Judge strains to focus on HUEY NEWTON - who 's just a SILHOUETTE against a streetlight . There 's a BOOK in his right hand and an aura of power surrounding him .<\/scene_description>\n    <character>CY<\/character>\n    <dialogue>Ai n't too many of you is there?<\/dialogue>\n    <character>TYRONE<\/character>\n    <parenthetical>( a slight smile . )<\/parenthetical>\n    <dialogue>Only takes a single grain of sand to move the world.<\/dialogue>\n    <character>LITTLE BOBBY<\/character>\n    <parenthetical>( spotting something . )<\/parenthetical>\n    <dialogue>Heads up!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INTERSECTION - NIGHT<\/stage_direction>\n    <scene_description>A PATROL CAR floats to a quick stop at the curb . White haired , red - faced , SERGEANT SCHRECK bounds from the car .<\/scene_description>\n    <character>SGT. SCHRECK<\/character>\n    <dialogue>What in the Sam Hell is this?<\/dialogue>\n    <character>PATROLMAN<\/character>\n    <dialogue>A vigil for some pickaninny got hit here.<\/dialogue>\n    <character>SGT. SCHRECK<\/character>\n    <dialogue>Vigil my ass.<\/dialogue>\n    <scene_description>Schreck GRABS a BULLHORN from the car .<\/scene_description>\n    <character>SCHRECK<\/character>\n    <parenthetical>( through the bullhorn . )<\/parenthetical>\n    <dialogue>Listen up, you all have 30 seconds to disperse and return to your homes.<\/dialogue>\n    <scene_description>The LINE OF COPS takes a small step toward the black folks .<\/scene_description>\n    <character>SCHRECK<\/character>\n    <dialogue>Failure to do so will result in your immediate arrest.<\/dialogue>\n    <scene_description>The churchgoers flail a bit . Suddenly , with HUEY in the background , SLOCUM steps up and with a look of defiant piety , begins SINGING `` We Shall Not Be Moved . '' With gathering force the CONGREGATION joins in the song . Schreck ROLLS HIS EYES and makes a MOTION with his hand .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INTERSECTION - NIGHT<\/stage_direction>\n    <scene_description>COPS wade into the crowd , herding them away . A patrolman pushes a MIDDLE AGED MAN , with his NIGHTSTICK .<\/scene_description>\n    <character>PATROLMAN<\/character>\n    <dialogue>Go on get your black hide outta here.<\/dialogue>\n    <scene_description>The MAN STUMBLES . By reflex , the cop RAISES his nightstick . TYRONE - on instinct - PUSHES the cop away . CHAOS erupts . BILLY CLUBS snap up . Terrified , the congregation RUNS .<\/scene_description>\n    <character>BULLHORN<\/character>\n    <dialogue>You are resisting arrest!<\/dialogue>\n    <scene_description>Police slap and snatch Black folks right and left . Judge bounces around in the confusion . Bobby Seale can be seen trying to get badge numbers . Judge 's eyes widen as he sees RITA running toward an alley , a COP right on her ass .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Oh shit Mom.<\/dialogue>\n    <scene_description>Judge runs toward her . The cop lifts his BILLY CLUB over Rita . Boom ! Carter PUNCHES the cop straight off his feet . A PAIR OF COPS have thrown Tyrone down on the ground - PISTOLS pressed against his head . Judge moves to Tyrone 's aid . A RIFLE BUTT flashes out , cracking across Judge 's temple , sending him into DARKNESS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOLDING CELL - NIGHT<\/stage_direction>\n    <scene_description>Judge slowly comes to on the filthy floor . Cy , a few nasty bruises on his face , kneels next to him protectively .<\/scene_description>\n    <character>JUDGE<\/character>\n    <parenthetical>( amazed , in pain . )<\/parenthetical>\n    <dialogue>Jesus.<\/dialogue>\n    <scene_description>Disoriented , Judge sees TYRONE and the other PANTHERS . They 're a rag tag little group , battered , locked down . SLOCUM 'S there too . Coming fully awake , Judge realizes SOMEONE is speaking . It 's HUEY , his voice powerful and arresting in its urgency .<\/scene_description>\n    <character>HUEY<\/character>\n    <parenthetical>( over . )<\/parenthetical>\n    <dialogue>The power structure locks the black man up. That's right. We move from chains to bars and locks. Kangaroo courts put brothers in jail. No jury of our peers. No jury of black folks. How do we stop this insanity? It's simple. Organization. That's the key. We must organize. We must maintain discipline.<\/dialogue>\n    <scene_description>Judge peers through the bodies and sees HUEY .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>That's right brother. listen and learn.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>The white power structure wants us to act like savages.<\/dialogue>\n    <parenthetical>( a smile . )<\/parenthetical>\n    <dialogue>But we're a different kind of animal altogether. We're Panthers. And The Black Panther Party for Self Defense is very painfully aware that America has historically reserved its most barbaric treatment for non - white people since the beginning of the country. So we need to organize, we.<\/dialogue>\n    <parenthetical>( a charismatic smile . )<\/parenthetical>\n    <dialogue>keep our shit correct! And effect revolution. We revolve the power into the hands of the people. Where it belongs.<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>Power to the people baby.<\/dialogue>\n    <character>GENE<\/character>\n    <dialogue>Power? Shit, old folks ca n't even sing without getting their asses kicked.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>Well, then like the man said. Maybe it's time we stop singing and start swinging.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Yeah, but they got the guns.<\/dialogue>\n    <scene_description>Something - some inexplicable mixture of mirth , raw intelligence and fierce willpower - crosses Huey 's face .<\/scene_description>\n    <character>HUEY<\/character>\n    <dialogue>We can change that. We got the right to bear arms, so I'd say it's time to exercise that right. Like Comrade Mao says, `` Justice through power, Power through guns.''<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTHOUSE STEPS - DAY<\/stage_direction>\n    <scene_description>Blinking in the sunlight , the Panthers descend wearing a collective grin of relief .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>Chickenshits, just harassing our ass, we were n't breaking any law.<\/dialogue>\n    <character>REV. SLOCUM<\/character>\n    <dialogue>But at least we're free! God has delivered us from the lion's den.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Free? We're back where we started. Shit we still do n't have a stop light.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>Well as the Rev says, God helps those who help themselves.<\/dialogue>\n    <parenthetical>( a smile . )<\/parenthetical>\n    <dialogue>We'll be our own stoplight.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INTERSECTION - DAY<\/stage_direction>\n    <scene_description>Huey marches into the middle of the street . Amid swerving cars and screeching brakes he begins DIRECTING TRAFFIC .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>Judge and Cy split off as the other Panthers march into the intersection , joining Huey 's traffic duty .<\/scene_description>\n    <character>CY<\/character>\n    <parenthetical>( pointing . )<\/parenthetical>\n    <dialogue>Check it out. Great huh? I tell you those guys know what time it is. Man I'm with that.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>I do n't know. Look around man.<\/dialogue>\n    <character>CY<\/character>\n    <dialogue>C'mon Judge we got to start somewhere.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Yeah, and I'm gon na start by getting on my feet. Working on things from inside the system.<\/dialogue>\n    <character>CY<\/character>\n    <dialogue>Inside ai n't in the system.<\/dialogue>\n    <parenthetical>( poking Judge . )<\/parenthetical>\n    <dialogue>It's right there inside you! I'm joining up.<\/dialogue>\n    <scene_description>Judge 's face cracks into a wry SMILE . Suddenly his smile fades when he spots RITA staring at him from her stoop .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>I. I got ta go.<\/dialogue>\n    <scene_description>Judge crosses the street , heading over to his mother .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BROWNSTONE - DAY<\/stage_direction>\n    <scene_description>Concern searing her face , Rita regards her son warily .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>It's okay Mom. I'm allright.<\/dialogue>\n    <character>RITA<\/character>\n    <dialogue>You do n't look alright.<\/dialogue>\n    <character>JUDGE<\/character>\n    <parenthetical>( touching his head . )<\/parenthetical>\n    <dialogue>Yeah. cop hit me.<\/dialogue>\n    <character>RITA<\/character>\n    <dialogue>I saw. I saw that big one.<\/dialogue>\n    <parenthetical>( pointing to Carter . )<\/parenthetical>\n    <dialogue>hit that police man. Saw'em drag you off too.<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>They take you to jail?<\/dialogue>\n    <character>JUDGE<\/character>\n    <parenthetical>( soft . )<\/parenthetical>\n    <dialogue>Yeah.<\/dialogue>\n    <character>RITA<\/character>\n    <dialogue>Lord, never thought I'd live to see my boy in prison.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Mom! It was n't like that. It was bullsh. They were just harassing us. No charges were filed. It's alright.<\/dialogue>\n    <scene_description>Worry in her voice , Rita stares across at the Panthers .<\/scene_description>\n    <character>RITA<\/character>\n    <dialogue>You meet those friends of yours in jail too?<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Yes. No. Mom it's not like you think. They're alright. There out there trying to do something.<\/dialogue>\n    <character>RITA<\/character>\n    <dialogue>I hear them boys, those Black Panthers, they're communists. They do n't even believe in God.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Mom, black folks been praying to God for four hundred years. Maybe it's time we tried something else.<\/dialogue>\n    <character>RITA<\/character>\n    <dialogue>You believe that?<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>I do n't know. I really do n't.<\/dialogue>\n    <scene_description>A moment passes , Rita notes her son 's confusion .<\/scene_description>\n    <character>RITA<\/character>\n    <dialogue>I'll tell you one thing Judge.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INTERSECTION - DAY<\/stage_direction>\n    <scene_description>Following Huey 's lead , the Panthers move traffic through the intersection . CY 'S with them , guiding cars past .<\/scene_description>\n    <character>RITA<\/character>\n    <parenthetical>( over . )<\/parenthetical>\n    <dialogue>Them boys gon na start a bunch of trouble they keep on like that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OAKLAND POLICE HEADQUARTERS- DAY<\/stage_direction>\n    <scene_description>DORSETT , the Chief Duty Officer , shifts behind his desk , popping a TUMS . A VOICE comes from the doorway .<\/scene_description>\n    <character>RODGERS<\/character>\n    <parenthetical>( over . )<\/parenthetical>\n    <dialogue>Those things do n't work.<\/dialogue>\n    <scene_description>Looking up , Dorsett sees RODGERS - a hawk - faced guy with slippery glasses . He 's FBI down to the shine on his shoes .<\/scene_description>\n    <character>DORSETT<\/character>\n    <dialogue>Do n't I know it. Come on in Agent Rodgers. Sit down. Always a. pleasure to see you. How can I be of help?<\/dialogue>\n    <character>RODGERS<\/character>\n    <dialogue>It's a bit more like how can we help you. Bay Area's become quite a hornet's nest in terms of subversive activities. And. well Mr. Hoover wants to reiterate that the FBI will be happy to assist local authorities in any way we can. On a strictly advisory basis. of course.<\/dialogue>\n    <character>DORSETT<\/character>\n    <dialogue>Of course. Well, I appreciate your offer, but we got things pretty well under control. Same bunch of kooks you guys already have under surveillance. They're still doing a lot of yelling and pot - smoking but nothing to worry about.<\/dialogue>\n    <character>RODGERS<\/character>\n    <parenthetical>( cocking an eyebrow . )<\/parenthetical>\n    <dialogue>I see. What about the Black Panther Party for Self - Defense?<\/dialogue>\n    <character>DORSETT<\/character>\n    <dialogue>Heh, bunch of shines running around in dark caps waving their fists about some streetlight. They're loud, but they are n't dangerous,<\/dialogue>\n    <character>RODGERS<\/character>\n    <dialogue>Can you make a deal with them?<\/dialogue>\n    <character>DORSETT<\/character>\n    <dialogue>Naw. They're kids mostly. Idealists. They actually think they're for real.<\/dialogue>\n    <character>RODGERS<\/character>\n    <dialogue>Hmmm. As you know the Bureau - and Mr. Hoover - is particularly `` sensitive'' to anything that might agitate or solidify the coloreds on the left.<\/dialogue>\n    <scene_description>Dorsett pauses for a second , trying to read the angle .<\/scene_description>\n    <character>DORSETT<\/character>\n    <dialogue>You want me to put a man on it?<\/dialogue>\n    <character>RODGERS<\/character>\n    <dialogue>That would be an excellent start.<\/dialogue>\n    <parenthetical>( a pause . )<\/parenthetical>\n    <dialogue>Tell him to keep a low profile.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIFTY FIFTH AND MARKET - DAY<\/stage_direction>\n    <scene_description>Panthers direct traffic at the corner . On the other side of the street a VW BUS with a UC BERKELEY sticker sits . SABU 's talking to a WHITE HIPPIE in the bus .<\/scene_description>\n    <character>SABU<\/character>\n    <dialogue>What do you want? Panama Red? I can get you Panama Red Sinsemilla? Got a line on some chocolate hash. get you high as a motherfucking monkey.<\/dialogue>\n    <character>WHITE HIPPIE<\/character>\n    <dialogue>Uhh. man I was wondering.<\/dialogue>\n    <parenthetical>( dropping his voice . )<\/parenthetical>\n    <dialogue>can you get some Cocaine?<\/dialogue>\n    <character>SABU<\/character>\n    <dialogue>Coke? Shee - it.<\/dialogue>\n    <parenthetical>( dropping his voice . )<\/parenthetical>\n    <dialogue>Yeah, I can get you cocaine. But it's dangerous. Cops everywhere. Gim me twenty dollars and meet me back here in an hour. And do n't fuck around white boy, this is the serious shit.<\/dialogue>\n    <character>WHITE HIPPIE<\/character>\n    <dialogue>Uh okay, alright. You'll be here in an hour?<\/dialogue>\n    <character>SABU<\/character>\n    <dialogue>Yeah I'll be here.<\/dialogue>\n    <scene_description>Sabu grabs a TWENTY from the van . He SMILES as the van pulls away .<\/scene_description>\n    <character>SABU<\/character>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>Now that was one dumb motherfucker.<\/dialogue>\n    <scene_description>Cy , Tyrone at his side , APPEARS .<\/scene_description>\n    <character>CY<\/character>\n    <dialogue>Sabu, what the fuck you doing? Ai n't nobody gon na push on this street.<\/dialogue>\n    <character>SABU<\/character>\n    <dialogue>Shit, I ai n't doing nothing. White bread asks for cocaine, I take his money. Shit. you know. It was just a hustle.<\/dialogue>\n    <character>CY<\/character>\n    <dialogue>Sabu. High white dude's the only thing you could hustle.<\/dialogue>\n    <character>SABU<\/character>\n    <dialogue>Man. fuck you. Why you always bustin' my balls? All that high and mighty militant shit. I ai n't doing nothing.<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>I dig, you just hustling. But you make sure it stays like that brother, or you will have much grief on your sorry ass.<\/dialogue>\n    <scene_description>Cy lets Sabu go . He scrambles down the street .<\/scene_description>\n    <character>SABU<\/character>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>Motherfucking Panthers, worse than the police.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNMARKED CAR - FIFTY FIFTH AND MARKET - DAY<\/stage_direction>\n    <scene_description>Nestled among empty paper COFFEE CUPS , BRIMMER - a once athletic white cop - watches the Panthers at the corner . He stubs yet another CIGARETTE into an overflowing ashtray . Brimmer sees CY taking over traffic duty from CARTER . There 's a NOTEPAD on the seat next to Brimmer . He makes a HASH MARK in it - COUNTING Panther heads .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STAIRS - DAY<\/stage_direction>\n    <scene_description>Bottle of BITTER DOG in hand , Rose sits with the other drinkers , STARING at Brimmer 's car . Taking a swig and smiling at his buddies , Rose walks toward the car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNMARKED CAR - DAY<\/stage_direction>\n    <scene_description>Sauntering up to the car , Rose flashes a wicked grin .<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>What's the matter Casper, you lost or something?<\/dialogue>\n    <scene_description>Brimmer IGNORES him .<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>Hey! I'm talking to you.<\/dialogue>\n    <scene_description>Rolling his eyes , BRIMMER holds up his BADGE . A gold DETECTIVE 'S shield gleams at Rose through the glass .<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>Ohhhh. Looky there.<\/dialogue>\n    <parenthetical>( to the other drinkers . )<\/parenthetical>\n    <dialogue>It's a Cop.<\/dialogue>\n    <scene_description>Behind him the other drinkers RISE , checking Brimmer out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRIMMER'S CAR - DAY<\/stage_direction>\n    <scene_description>Brimmer fumes , so much for keeping a low profile .<\/scene_description>\n    <character>BRIMMER<\/character>\n    <dialogue>Fuck.<\/dialogue>\n    <scene_description>The Detective STARTS his car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIFTY FIFTH AND MARKET - DAY<\/stage_direction>\n    <scene_description>Rose and the others goofing at him , Brimmer PULLS AWAY from the curb .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PANTHER HQ - DAY<\/stage_direction>\n    <scene_description>BRIMMER 'S CAR glides by the storefront .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PANTHER HQ - DAY<\/stage_direction>\n    <scene_description>HUEY talks earnestly with TYRONE and GENE .<\/scene_description>\n    <character>HUEY<\/character>\n    <dialogue>Yeah, it's a perfect next step, let the community know that we're dedicated to Malcolm's ideals.<\/dialogue>\n    <parenthetical>( checking his watch . )<\/parenthetical>\n    <dialogue>Damn where's Bobby Seale?<\/dialogue>\n    <scene_description>BOBBY SEALE , a whirlwind of energy , come careening through the door .<\/scene_description>\n    <character>BOBBY SEALE<\/character>\n    <dialogue>Huey! Man you got ta check this out. You're gon na love.<\/dialogue>\n    <character>HUEY<\/character>\n    <parenthetical>( interrupting . )<\/parenthetical>\n    <dialogue>Hold up a second. We got a decision to make.<\/dialogue>\n    <character>BOBBY SEALE<\/character>\n    <dialogue>What's up?<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>Dig it, you know those brothers over in San Fran. call themselves the Black Panthers too?<\/dialogue>\n    <character>BOBBY SEALE<\/character>\n    <dialogue>Sure, those boojie jokers do n't do anything except print up a lotta paper saying `` Black is Beautiful.''<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>Shit, nothing but Paper Panthers.<\/dialogue>\n    <character>HUEY<\/character>\n    <parenthetical>( a smile . )<\/parenthetical>\n    <dialogue>Yeah. but it seems they're bringing Malcolm's widow Betty Shabazz to town, to speak at a rally, do an interview for Ramparts.<\/dialogue>\n    <parenthetical>( a pause . )<\/parenthetical>\n    <dialogue>And they want us to help with security.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Well if anyone's gon na protect Malcolm's legacy it better be us.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>Damn straight.<\/dialogue>\n    <parenthetical>( rising . )<\/parenthetical>\n    <dialogue>Let's go check out these Paper Panthers.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BLACK PANTHER OFFICE - DAY<\/stage_direction>\n    <scene_description>BOBBY 'S PONTIAC sits in front of a rather upscale house , on a street that would never be mistaken for Oakland .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLACK PANTHER OFFICE - DAY<\/stage_direction>\n    <scene_description>Looking street and very tough , BOBBY , HUEY , TYRONE , LITTLE BOBBY and GENE walk in . Spotting them , ROY - the Paper Panther President - picks his afro and smoothes his DASHIKI vainly . In the background other men in AFRICAN GARB can be seen , along with ALMA - a REGAL BLACK GIRL .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Greetings African brothers. You're here to help us with Sister Shabazz no doubt?<\/dialogue>\n    <character>TYRONE<\/character>\n    <parenthetical>( under his breath . )<\/parenthetical>\n    <dialogue>Fucking boojie.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>That's right. We'd be proud to provide as escort for Malcolm's widow. How many men you got?<\/dialogue>\n    <character>ROY<\/character>\n    <parenthetical>( to Alma . )<\/parenthetical>\n    <dialogue>Get the brothers a beer. Me too while you're at it.<\/dialogue>\n    <parenthetical>( to Huey . )<\/parenthetical>\n    <dialogue>Men? Well we can spare six for security.<\/dialogue>\n    <character>HUEY<\/character>\n    <parenthetical>( to Alma , declining the beer . )<\/parenthetical>\n    <dialogue>No thank you sister.<\/dialogue>\n    <parenthetical>( to Roy . )<\/parenthetical>\n    <dialogue>Six?! That seems a little light. Cops are watching Betty, watching her hard. We need at least twenty men. And that's twenty armed Panthers dig? You do have guns do n't you?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>I assure you that we as the revolutionary vanguard are as serious about this as you are. We'll be prepared.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BLACK PANTHER OFFICE - DAY<\/stage_direction>\n    <scene_description>Disgusted , HUEY stalks to the car with the others .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>They ai n't fit for the name Panthers.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Twenty men? I do n't know if we got that.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>We'll get them. Right now we got to worry about being armed and ready to protect Betty Shabazz. Those phonies sure as hell ca n't. We need guns.<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>We need money first.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>Yeah. Bobby you got ta.<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>( moving . )<\/parenthetical>\n    <dialogue>Got it covered Huey, that's what I was trying to tell you before. Check it out.<\/dialogue>\n    <scene_description>Bobby 's pops the PONTIAC 'S TRUNK . BOXES sit inside it , overflowing with LITTLE RED BOOKS .<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Bought every copy in Chinatown. Got us a discount too, thirty cents a piece.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SATHER GATE - BERKELEY CAMPUS - DAY<\/stage_direction>\n    <scene_description>In the stream of students , Tyrone , Huey and THE PANTHERS hold up Mao 's LITTLE RED BOOK . A RADIO can be heard blaring Gladys Knight 's `` Heard it through the Grapevine . ''<\/scene_description>\n    <character>HUEY<\/character>\n    <dialogue>Here it is Brothers. The Lowdown straight from comrade Mao's mouth.<\/dialogue>\n    <parenthetical>( to Bobby . )<\/parenthetical>\n    <dialogue>If you open the minds, the bodies will follow.<\/dialogue>\n    <scene_description>CARTER moves toward Huey with TWO WHITE STUDENTS<\/scene_description>\n    <character>CARTER<\/character>\n    <parenthetical>( looking confused . )<\/parenthetical>\n    <dialogue>Huey uhhh. these. these guys want to join.<\/dialogue>\n    <scene_description>Huey smiles and shakes his head congenially .<\/scene_description>\n    <character>HUEY<\/character>\n    <dialogue>I'm sorry boys. But right now The Party feels it's important for Black People to do it for themselves. We're not signing up white folk.<\/dialogue>\n    <parenthetical>( the trademark smile . )<\/parenthetical>\n    <dialogue>But, if you are down with what we're doing, organize some righteous white folks. I got a feeling we're gon na need each other.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SATHER GATE - DAY<\/stage_direction>\n    <scene_description>Judge , holding notes and SCHOOLBOOKS spots the Panthers . Cy catches his eye .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Hey, this what they got you doing now?<\/dialogue>\n    <character>CY<\/character>\n    <dialogue>Party needs the bread.<\/dialogue>\n    <parenthetical>( to the students . )<\/parenthetical>\n    <dialogue>Be hip to the struggle, only a dollar!<\/dialogue>\n    <character>STUDENT<\/character>\n    <dialogue>A dollar? Far out! Is it authentic?<\/dialogue>\n    <character>CY<\/character>\n    <dialogue>Comrade, this here's the real deal, straight from Revolution HQ.<\/dialogue>\n    <character>STUDENT<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <parenthetical>( catching on . )<\/parenthetical>\n    <dialogue>Hey, I can dig it man.<\/dialogue>\n    <parenthetical>( buying book . )<\/parenthetical>\n    <dialogue>Thanks! Long live the revolution, brother.<\/dialogue>\n    <character>CY<\/character>\n    <parenthetical>( to Judge , pocketing the bills . )<\/parenthetical>\n    <dialogue>Money's cool, but what the party really needs is brothers like you.<\/dialogue>\n    <parenthetical>( hands Judge a RED BOOK . )<\/parenthetical>\n    <dialogue>Judge I could use someone like you. These books, hell I do n't know half the words. You might.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Have to pass on the revolution today man, I got class. But how about tonight, I was gon na check out `` Cloud Nine.'' Just like old times.<\/dialogue>\n    <character>CY<\/character>\n    <dialogue>Ca n't. they're having a PE meeting at Headquarters tonight, come on down. Check it out.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>PE? What? You guys doing gym class?<\/dialogue>\n    <character>CY<\/character>\n    <dialogue>No man. PE - `` political education.''<\/dialogue>\n    <scene_description>TYRONE moves closer to Cy , checking out Judge<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>You're a smart brother. you should dig what Huey and Bobby got to say.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Maybe.<\/dialogue>\n    <character>TYRONE<\/character>\n    <parenthetical>( a smile . )<\/parenthetical>\n    <dialogue>Fuck maybe. be there.<\/dialogue>\n    <scene_description>Judge grins back at Tyrone , holding ground .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Like I said. maybe.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PANTHER HEADQUARTERS - 56TH AND GROVE - NIGHT<\/stage_direction>\n    <scene_description>Essentially a storefront , the PANTHER HQ 's a rag - tag , hipster shrine . POSTERS hangs in the window - `` BLACK IS BEAUTIFUL , '' the BLACK PANTHER LOGO , an upraised BLACK FIST . CY and JUDGE walk past a couple of loitering street folk . ROSE is there , happily munching on a paper plate of stew .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Rose, what the hell you doing here?<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>Just come for the food, man. Ai n't quite sure what their bag is but.<\/dialogue>\n    <scene_description>Rose POINTS through the doorway to BOBBY SEALE standing at a podium speaking front of a very small GROUP .<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>That one's one hell of a cook.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PANTHER HEADQUARTERS - NIGHT<\/stage_direction>\n    <scene_description>Little Bobby and Tyrone PASS out LEAFLETS labeled with `` What we want '' and What we Believe '' to a SMALL ASSEMBLY . At the podium , Bobby SPEAKS passionately . Judge and Cy make for empty secondhand seat .<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>We. the Black Panther Party are not anarchists. We want a government that serves the people. In the black community we want a government that serves black people. Black cops for Black People. Not the Army we have occupying the community `` Army?'' you ask. `` What army? This is n't Vietnam.'' Well the Army's right out your door folks. They're the cops.<\/dialogue>\n    <scene_description>A chorus of `` Yeahs , '' `` Right Ons and APPLAUSE . ''<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>They're pigs brothers and sisters. And these pigs are soldiers fighting against us. Whether you got an Afro or a process on. Whether a sister's got her hair straightened or whether she's got a natural on. Whether it's a brother in a dashiki or a pimp with a sharp suit on. Whether a sister's prostituting or teaching kids to read. The pig will murder you because you're black. No matter what kind of hair you wear. So we best get ourselves together, organize, learn our history and put the power in the hands of the black community before this army, these pigs wipe this community out.<\/dialogue>\n    <scene_description>Applause rings out . Even JUDGE claps .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PANTHER HQ - NIGHT<\/stage_direction>\n    <scene_description>Political Education over , the small group of Panthers and neighborhood folk , chat as Judge makes his way over to Cy .<\/scene_description>\n    <character>CY<\/character>\n    <dialogue>Glad you came man.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Yeah, only I figure you'd be the one doing the speaking.<\/dialogue>\n    <character>CY<\/character>\n    <dialogue>Not yet, one of these day's maybe. Bobby's party chairman. Political Education's really his bag.<\/dialogue>\n    <scene_description>Huey steps up with TYRONE .<\/scene_description>\n    <character>HUEY<\/character>\n    <dialogue>You're Cy's Vietnam buddy right?<\/dialogue>\n    <parenthetical>( Judge nods . )<\/parenthetical>\n    <dialogue>C'mere I'd like to talk with you.<\/dialogue>\n    <scene_description>Huey pulls Judge toward a BACK ROOM , Tyrone watches them leave , protective , suspicious .<\/scene_description>\n    <character>HUEY<\/character>\n    <dialogue>You were. infantry right?<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>So I guess it's safe to say you know about firepower.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. YANG'S HARDWARE - SAN FRANCISCO - NIGHT<\/stage_direction>\n    <scene_description>CLOSE UP : A nest of WEAPONS - shotguns , M1 's , handguns - sit is on a DESK in the cluttered back room of the store . Judge 's hands run over the guns , checking them out . He sets an AUTOMATIC aside .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Busted firing pin.<\/dialogue>\n    <parenthetical>( checking a revolver . )<\/parenthetical>\n    <dialogue>You want only the legal stuff right?<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>Just the legit shit.<\/dialogue>\n    <scene_description>Judge SETS ASIDE the revolver . MR. YANG - a nervous oriental man - hovers over them .<\/scene_description>\n    <character>MR. YANG<\/character>\n    <dialogue>Nothing wrong with that pistol.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Serial number's been filed. Cop catches you with that he figures you either stole it or killed someone with it.<\/dialogue>\n    <character>MR. YANG<\/character>\n    <dialogue>I do n't want no trouble. No cops coming to me about these guns.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>No trouble here. You got a permit to sell.<\/dialogue>\n    <parenthetical>( handing over cash . )<\/parenthetical>\n    <dialogue>We're buying. All perfectly legal.<\/dialogue>\n    <character>MR. YANG<\/character>\n    <parenthetical>( counting . )<\/parenthetical>\n    <dialogue>These are worth a lot more.<\/dialogue>\n    <character>BOBBY SEALE<\/character>\n    <parenthetical>( pointing to a Mao portrait . )<\/parenthetical>\n    <dialogue>I thought you were a revolutionary. We ca n't afford em if you do n't cut us some slack. But. you treat us right and we'll be doing a lot of business.<\/dialogue>\n    <character>MR. YANG<\/character>\n    <dialogue>Alright.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HARDWARE STORE - NIGHT<\/stage_direction>\n    <scene_description>Cy and Tyrone load the weapons into Cy 's VAN . Bobby , Huey , and Judge talk .<\/scene_description>\n    <character>HUEY<\/character>\n    <dialogue>We appreciate your help with this.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>So what's the deal?<\/dialogue>\n    <character>HUEY<\/character>\n    <parenthetical>( a smile . )<\/parenthetical>\n    <dialogue>Freedom. We're just gon na test some of the words in that law book.<\/dialogue>\n    <scene_description>Truck loaded , the Panthers make to leave . Huey lingers a bit with Judge .<\/scene_description>\n    <character>HUEY<\/character>\n    <dialogue>Judge. we're doing security for Betty Shabazz's visit next week. I'd like to have someone who knows there way around a pistol there. Someone like you.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>You are down for protecting Malcolm's widow are n't you?<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Yeah. let me think about it.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>Okay man I ai n't going to push. But remember the revolution is n't going to wait for anyone. Come on, we'll give you a lift.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>No man. Gon na walk.<\/dialogue>\n    <scene_description>Tyrone watches Judge warily as he turns and walks away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY STREETS - NIGHT<\/stage_direction>\n    <scene_description>Judge , feet moving across pavement , walks alone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLASSROOM - DAY<\/stage_direction>\n    <scene_description>A WHITE PROFESSOR nasally drones about ECONOMICS as Judge stares out the window , watching PANTHERS sell RED BOOKS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GHETTO - DAY<\/stage_direction>\n    <scene_description>Panthers exhorting the community . Chaos slowly turning into organizations , repainting , sickle cell program , and handing out bags of food as BRIMMER watches from his car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY STREETS - DAY<\/stage_direction>\n    <scene_description>A COP CRUISER slowly passes Judge as he walks , shining its SPOTLIGHT on him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JUDGE AND CY'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>It 's late . Judge studies a TEXT BOOK . Next to it sits MAO 'S RED BOOK . He ca n't concentrate . Grabbing his jacket , Judge heads out the DOOR .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOBBY'S PONTIAC NIGHT<\/stage_direction>\n    <scene_description>Huey 's DRIVING . Bobby 's next to him , a RIFLE on his lap . Tyrone and CY sit in back . They 're all in UNIFORM .<\/scene_description>\n    <character>HUEY<\/character>\n    <parenthetical>( to Cy . )<\/parenthetical>\n    <dialogue>This here's a `` Panther Patrol.'' We see a brother getting busted. We check it out, make sure the pig do n't go beating on the man. Brother gets taken downtown, we post bail, hook'em up with a lawyer.<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>We're like policing the police.<\/dialogue>\n    <scene_description>Huey SPOTS something through the windshield a COP CAR .<\/scene_description>\n    <character>HUEY<\/character>\n    <parenthetical>( pulling over . )<\/parenthetical>\n    <dialogue>Damn straight.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GROVE STREET - NIGHT<\/stage_direction>\n    <scene_description>TWO BEEFY COPS have a BLACK MAN up against the wall . Panther 's Pontiac pulls to the curb . The cops TURN . HUEY - holding a RIFLE , backed by the other Panthers - stares solidly at the policeman .<\/scene_description>\n    <character>BEEFY COP #1<\/character>\n    <parenthetical>( into radio . )<\/parenthetical>\n    <dialogue>Get me some back up.<\/dialogue>\n    <scene_description>In the BACKGROUND , the man against the wall SCOOTS AWAY .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>Walking thinking , Judge moves down the street . After a bit , RED LIGHTS can be seen on the wall behind him . Judge MOVES quickly toward the lights , SPOTTING something .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GROVE STREET - NIGHT<\/stage_direction>\n    <scene_description>Near Panther HQ , FIGURES move in silhouette against a SQUAD CAR 's HEADLIGHTS . High tension as HUEY and BOBBY SEALE stand next to the beat up PONTIAC holding a RIFLE . THE BEEFY COP faces him - flashlight in one hand , Huey 's LICENSE in the other . Cy , Tyrone and other Panthers - in full PANTHER UNIFORMS - move through the crowd passing out BLACK PANTHER PARTY TEN POINT PROGRAMS .<\/scene_description>\n    <character>BEEFY COP<\/character>\n    <dialogue>Okay now, er, Huey, so what's your telephone number?<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>I have confirmed to you my address, that's all I'm required to by law to do. We have broken no law.<\/dialogue>\n    <character>BEEFY COP<\/character>\n    <dialogue>What are you doing with the gun?<\/dialogue>\n    <character>HUEY<\/character>\n    <parenthetical>( calm , controlled . )<\/parenthetical>\n    <dialogue>What are doing with yours?<\/dialogue>\n    <scene_description>As JUDGE pushes through the semi - circle of black folks , TWO MORE SQUAD CARS pull up . The cops inside swagger over . One of them a BABY FACED COP , has his NIGHT STICK drawn .<\/scene_description>\n    <character>BABY FACED COP<\/character>\n    <dialogue>These boys giving you trouble?<\/dialogue>\n    <scene_description>Beefy Cop shines his light on the PASSENGER SEAT of the Pontiac . It illuminates a PISTOL .<\/scene_description>\n    <character>BEEFY COP<\/character>\n    <dialogue>Here's another one. That your pistol there?<\/dialogue>\n    <scene_description>Bobby Seale reaches over and PICKS UP the pistol . The Panthers snap to a STRAIGHT LINE behind Huey .<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>No! It is not his weapon. A handgun would be a violation of his probation. It's mine!<\/dialogue>\n    <scene_description>Nearby , THE CLOUD NINE NIGHTCLUB pulses with MUSIC . Purple suited hipsters move onto the sidewalk observing the escalating scene between Panthers and police .<\/scene_description>\n    <character>BEEFY COP<\/character>\n    <parenthetical>( stretching out his hand . )<\/parenthetical>\n    <dialogue>Lem me see that rifle son.<\/dialogue>\n    <character>HUEY<\/character>\n    <parenthetical>( snatching the gun away . )<\/parenthetical>\n    <dialogue>No! This is my private property. According to California law we have a constitutional right to bear arms.<\/dialogue>\n    <character>BLACK VOICE IN CROWD<\/character>\n    <dialogue>Them's some badass niggers.<\/dialogue>\n    <character>COP 2<\/character>\n    <parenthetical>( to the crowd . )<\/parenthetical>\n    <dialogue>Okay. Okay. Move along. Go on about your business.<\/dialogue>\n    <scene_description>Reluctant but docile , the crowd begins to DISPERSE .<\/scene_description>\n    <character>HUEY<\/character>\n    <dialogue>Wait! Brothers! Sisters! You do n't have to go anywhere. This is your business. Stay right here. The law says as long as you keep a reasonable distance, eight to ten feet to be exact, you've got a right to observe the police carrying out their duties. From what I can see, you're standing some 22 feet away from this man here. So brothers ai n't no law being broken.<\/dialogue>\n    <scene_description>Emboldened by Huey 's words , the crowd REGROUPS .<\/scene_description>\n    <character>BLACK VOICE IN CROWD<\/character>\n    <dialogue>Talk that good shit Brother.<\/dialogue>\n    <character>BEEFY COP<\/character>\n    <dialogue>Is that gun loaded BOY?!<\/dialogue>\n    <scene_description>The crowd GASPS , then goes silent as Huey steps right up into the cop 's face .<\/scene_description>\n    <character>HUEY<\/character>\n    <dialogue>Fish and Game laws clearly state that it is unlawful to have a live round of ammunition in the chamber of a shotgun or rifle in a vehicle. PIG!<\/dialogue>\n    <character>BLACK VOICE IN CROWD<\/character>\n    <dialogue>Oh sweet Jesus, I do believe I have died and gone to heaven.<\/dialogue>\n    <character>COP #2<\/character>\n    <dialogue>Refer to him as officer.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Well then do n't refer to him as BOY!<\/dialogue>\n    <character>BEEFY COP<\/character>\n    <parenthetical>( glaring . )<\/parenthetical>\n    <dialogue>Well. is it loaded?<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>I tell you `` officer'', it was n't.<\/dialogue>\n    <scene_description>Huey COCKS A ROUND into the chamber .<\/scene_description>\n    <character>HUEY<\/character>\n    <dialogue>but now IT IS!<\/dialogue>\n    <scene_description>The cops TENSE . The Beefy One blows a gasket .<\/scene_description>\n    <character>BEEFY COP<\/character>\n    <dialogue>For the last time Boy! What do those guns mean?!<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>They mean, Pig!, that the Black Panther Party declares that if you try to brutalize our community or take our weapons.<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>We are going to shoot you!<\/dialogue>\n    <scene_description>The crowd stands FROZEN . Joy spreads out beneath their guarded ghetto masks .<\/scene_description>\n    <character>BLACK VOICE IN CROWD<\/character>\n    <parenthetical>( whirling like a dervish . )<\/parenthetical>\n    <dialogue>Pigs that's just what the hell they are!<\/dialogue>\n    <scene_description>Cops and Panthers stand TOE TO TOE . Deadly moments pass . Cop eyes flash from Panthers to Crowd . Then something TURNS . The cops BACK OFF , climbing into their cars . GROVE STREET - NIGHT Judge moves away , walking down the street . He senses the joy and amazement of the community , picking up on SNATCHES OF CONVERSATION from a dozen different doorways .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( over . )<\/parenthetical>\n    <dialogue>Never thought I'd live to see the day! You know the police ai n't nothing but the KKK with badges.<\/dialogue>\n    <scene_description>A breeze wafts a TEN POINT PROGRAM past Judge . Slowly , thoughtfully he picks the leaflet up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DORSETT'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>CLOSE UP : A TEN POINT PROGRAM sits in Dorsett 's fleshy fingers . It 's after hours as Dorsett , Rodgers and BRIMMER - each holding PAMPHLETS - have a tense `` discussion '' .<\/scene_description>\n    <character>DORSETT<\/character>\n    <dialogue>One : `` We want freedom. We want the power to determine the destiny of our Black Community.'' Two : `` We want full employment for our people.'' Three : `` We want to end the robbery by the white man of our Black Community.'' Christ, they're asking for reparations.<\/dialogue>\n    <character>RODGERS<\/character>\n    <dialogue>They could n't have thought this up for themselves.<\/dialogue>\n    <character>BRIMMER<\/character>\n    <parenthetical>( sarcastic . )<\/parenthetical>\n    <dialogue>Yeah. Sounds like the Constitution to me. With a little of the Bill of Rights thrown in.<\/dialogue>\n    <character>RODGERS<\/character>\n    <dialogue>Inspector Brimmer, this is no joke During your surveillance have you seen any outside agitators? Professorial types? Communists?<\/dialogue>\n    <character>BRIMMER<\/character>\n    <dialogue>No. I've seen Black men handing out bags of food. Having meetings. Patrolling the neighborhood. Having more meetings. They ai n't.<\/dialogue>\n    <character>RODGERS<\/character>\n    <dialogue>They are carrying guns. They are threatening police officers. They are undermining the United States of America. And you Inspector Brimmer are not taking your duties seriously.<\/dialogue>\n    <character>DORSETT<\/character>\n    <dialogue>Now hold on Rodgers.<\/dialogue>\n    <character>RODGERS<\/character>\n    <dialogue>Chief Dorsett, if the Black Panthers are going to remain in your jurisdiction, some fundamental changes in attitude need to be made.<\/dialogue>\n    <character>BRIMMER<\/character>\n    <dialogue>Like?<\/dialogue>\n    <character>RODGERS<\/character>\n    <dialogue>Like, you Inspector Brimmer are not going to be sitting in your car anymore. I think it's time for a more active type of involvement.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE HEADQUARTERS - NIGHT<\/stage_direction>\n    <scene_description>Beat by late hours , DORSETT walks to his car - a brand new CADILLAC , sitting in his ` reserved ' spot . A LIMOUSINE pulls up next to him . Its window rolls down . At first we do n't see the passenger 's face .<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Evening Chief. Another hard day keeping the streets safe?<\/dialogue>\n    <character>DORSETT<\/character>\n    <parenthetical>( forced joviality . )<\/parenthetical>\n    <dialogue>What are you doing out so late?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I like to keep an eye on my `` investments'' so to speak. You know we still need to discuss that business expansion we spoke of.<\/dialogue>\n    <character>DORSETT<\/character>\n    <parenthetical>( ill at ease . )<\/parenthetical>\n    <dialogue>Look, I do n't think.<\/dialogue>\n    <scene_description>LOUIS TRAFFICANTE - all style , all mobster - LEANS out the window . His right hand man , TONY , at the wheel . He points to the Cadillac .<\/scene_description>\n    <character>TRAFFICANTE<\/character>\n    <dialogue>That's a beautiful car. You'd do well to remember who paid for it. Good night, Chief, we'll speak again soon.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JUDGE AND CY'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Dawn pushes pink against the loft windows as Judge , dressed for class , pores over Cy 's copy of `` Wretched of the Earth . ''<\/scene_description>\n    <character>CY<\/character>\n    <parenthetical>( coming out . )<\/parenthetical>\n    <dialogue>Man, did you see Huey down on Grove street? All up on that cop, that was beautiful.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Yeah, it was alright. Hey, can you give me a lift?<\/dialogue>\n    <character>CY<\/character>\n    <dialogue>You got it. Berkeley?<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>No, Panther Headquarters.<\/dialogue>\n    <parenthetical>( a smile . )<\/parenthetical>\n    <dialogue>Least that way we could hang out more like we used to.<\/dialogue>\n    <character>CY<\/character>\n    <dialogue>You joining? My Brother.<\/dialogue>\n    <parenthetical>( hugging Judge . )<\/parenthetical>\n    <dialogue>My brother.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PANTHER HQ - DAY<\/stage_direction>\n    <scene_description>Panther HQ has improved . Bobby Seale stands behind a newly painted display counter , interviewing NEW RECRUITS . BOBBY 'S POV - FACE MONTAGE FACES - all of them BLACK , all of them MEN , most of them ANGRY - flash into the frame , each talking .<\/scene_description>\n    <character>FACE #1<\/character>\n    <dialogue>Sign me up! Just gim me a gun and point out the cops you want me to shoot.<\/dialogue>\n    <character>FACE #2<\/character>\n    <dialogue>Where's the free food at?<\/dialogue>\n    <character>FACE #3<\/character>\n    <dialogue>My momma, she marched with King. Do n't know exactly what kinda change that brought. But man you put that cop on Grove through some serious changes!<\/dialogue>\n    <character>FACE #4<\/character>\n    <dialogue>I hear you Panther boys get the finest pussy.<\/dialogue>\n    <character>FACE #5<\/character>\n    <dialogue>Vietnam man. I go there and then come back to some honky motherfucker telling me what to do, beating my ass if I do n't. Man. fuck that.<\/dialogue>\n    <scene_description>A FINAL FACE comes into view . JUDGE 'S<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PANTHER HQ - DAY<\/stage_direction>\n    <scene_description>CY stands proudly next to Judge in front of Bobby .<\/scene_description>\n    <character>CY<\/character>\n    <dialogue>Judge is gon na join us.<\/dialogue>\n    <scene_description>Tyrone looks less than pleased at the news .<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Welcome Brother, if we stand together we can break the chains.<\/dialogue>\n    <character>TYRONE<\/character>\n    <parenthetical>( miffed , to Judge . )<\/parenthetical>\n    <dialogue>Huey wants to see you.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>He had a feeling you'd be coming by.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACKROOM - DAY<\/stage_direction>\n    <scene_description>Judge moves warily into the dim and musty room . As his eyes acclimate to the gloom he spots HUEY sitting half hidden in the shadows .<\/scene_description>\n    <character>HUEY<\/character>\n    <dialogue>Welcome brother, have you decided to get down with us?<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>I'm down.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>Yeah. You were a lot of help with those guns. Your soldier shit is bad - ass.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>I'd hoped I was finished with all that. But.<\/dialogue>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue \/>\n    <character>HUEY<\/character>\n    <dialogue>You know, you're lucky to be back. Most niggers die on the front lines. Seems like that's what they're there for.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Do n't I know it. Every brother I knew in ` Nam's dead. My company. a land mine. Twenty of my friends dead in less than a second.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>Mind if I ask you something? Why'd you put up with shit like that for someone else's war?<\/dialogue>\n    <scene_description>Judge flashes Huey a look of bare honesty .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Hey, GI bill pays for school. And shit, if I stuck around here, instead of signing up, I'd probably be in jail, or sitting on the stoop drinking Bitter Dog with Rose, you know?<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>Yeah I know. You're smart Judge. You ai n't no bourgeois nigger like those Paper Panthers across the bay. I need every good man to help us with the security on Betty Shabazz, particularly soldiers. You do solid on that I might have something else for you, something real important.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Whatever you need, I'll be there.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>Right on Brother Judge.<\/dialogue>\n    <scene_description>Huey and Judge grip HANDS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OAKLAND AIRPORT - DAY<\/stage_direction>\n    <scene_description>TITLE : FEBRUARY 21 , 1967 With tight precision , HUEY , TYRONE , JUDGE , CY , GENE , BOBBY , CARTER and LITTLE BOBBY form a circle around BETTY SHABAZZ guiding her past AIRPORT POLICE to a waiting car . Led by ROY the PAPER PANTHERS seem useless in their dashikis and fluffed Afros .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAMPARTS OFFICE - DAY<\/stage_direction>\n    <scene_description>In an INNER OFFICE , Betty Shabazz talks with ELDRIDGE , a tall man wearing sunglasses . In the OUTER OFFICE , Huey 's PANTHERS stand by while ROY 'S PAPER PANTHERS do little .<\/scene_description>\n    <character>ELDRIDGE<\/character>\n    <dialogue>What would you tell young brothers and sisters to do in following Brother Malcolm's footsteps?<\/dialogue>\n    <character>BETTY SHABAZZ<\/character>\n    <dialogue>I'd say that Malcolm lives in each of us. We all need to work together for the community.<\/dialogue>\n    <parenthetical>( gesturing outside . )<\/parenthetical>\n    <dialogue>Like those brothers out there are.<\/dialogue>\n    <scene_description>Overhearing , Roy PREENS a bit at Betty 's words . Nearby JUDGE flicks his eyes to the GUN at Roy 's waistband .<\/scene_description>\n    <character>JUDGE<\/character>\n    <parenthetical>( low . )<\/parenthetical>\n    <dialogue>Huey.<\/dialogue>\n    <scene_description>Suddenly ROY spots something outside . POLICE CARS , followed closely by NEWS VANS .<\/scene_description>\n    <character>ROY<\/character>\n    <parenthetical>( nervous . )<\/parenthetical>\n    <dialogue>Oh oh.<\/dialogue>\n    <scene_description>Snapping up his SHOTGUN , Huey nods to the others . Bobby Seale pulls back his jacket revealing a .45 . Solemn , professional , Huey and the Panthers file out the door . ROY 'S PAPER PANTHERS hang behind .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RAMPARTS OFFICE - DAY<\/stage_direction>\n    <scene_description>Led by Huey , the Panthers take up a line between the cops and the office . REPORTERS , expecting another GROVE STREET , push forward .<\/scene_description>\n    <character>COP #1<\/character>\n    <parenthetical>( eyeing Huey 's gun . )<\/parenthetical>\n    <dialogue>What's going on here son?<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>We are breaking no law, you've have no right to detain us.<\/dialogue>\n    <scene_description>A REPORTER spots BETTY SHABAZZ , flanked by JUDGE and TYRONE leaving the building heading toward a car .<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>There she is!<\/dialogue>\n    <scene_description>Surging forward the reporters PUSH CAMERAS toward BETTY SHABAZZ . One of them , CHUCK , tries to push HUEY away . Controlled , Huey holds Chuck in check , watching Betty move toward the car . Chuck PUSHES FORWARD trying to get a PICTURE . Seeing Betty safely inside and the car PULLING AWAY , Huey SHOVES Chuck back . Chuck makes to swing at Huey . Huey SHOVES HIM DOWN .<\/scene_description>\n    <character>HUEY<\/character>\n    <parenthetical>( to Cop # 1 . )<\/parenthetical>\n    <dialogue>Arrest this man!<\/dialogue>\n    <character>COP #1<\/character>\n    <dialogue>If I'm gon na arrest anyone it's going to be you.<\/dialogue>\n    <scene_description>Fast , the PANTHERS take up position behind Huey , their GUNS highly visible . Huey flicks the SAFETY of his shotgun .<\/scene_description>\n    <character>HUEY<\/character>\n    <dialogue>Not today!<\/dialogue>\n    <scene_description>ROY come running out , UNARMED , scared yelling at Huey .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Do n't point that gun!<\/dialogue>\n    <character>COP #1<\/character>\n    <dialogue>That's right be a smart nigger like your friend.<\/dialogue>\n    <scene_description>TENSION ripples through the air as ROY runs back inside . Huey glares at the cop .<\/scene_description>\n    <character>HUEY<\/character>\n    <dialogue>He's not my friend and I promise you pig. Your men draw and this will be a blood bath. It's your call.<\/dialogue>\n    <scene_description>EVERY PANTHER stands facing the cops , weapons at the ready . THROUGH the glass PAPER PANTHERS can be seen HIDING . Slowly the cops begin backing away .<\/scene_description>\n    <character>CHUCK<\/character>\n    <parenthetical>( to the cops . )<\/parenthetical>\n    <dialogue>Are n't you going to do anything.<\/dialogue>\n    <character>COP #1<\/character>\n    <parenthetical>( nervous . )<\/parenthetical>\n    <dialogue>Like he said asshole, they're not breaking any law.<\/dialogue>\n    <scene_description>Screeching their TIRES the police leave .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOBBY'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Packed in the car , Bobby , Little Bobby , Judge , Cy and Tyrone recount the day as HUEY drives .<\/scene_description>\n    <character>LITTLE BOBBY<\/character>\n    <dialogue>You see that on jive dashiki man, hiding under the desk. Shit paper panthers.<\/dialogue>\n    <scene_description>Huey notices JUDGE 'S SILENCE .<\/scene_description>\n    <character>HUEY<\/character>\n    <dialogue>What it be Judge. Nobody got hurt, Sister Betty's safe. This was a good day.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>They were empty.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What was empty?<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>The Paper Panthers' guns, they were n't loaded. I know guns man. Those guns were empty.<\/dialogue>\n    <scene_description>Huey 's KNUCKLES TIGHTEN on the steering wheel .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. YARD - DAY<\/stage_direction>\n    <scene_description>FISH fries on a grill as ROY and the PAPER PANTHERS celebrate . Alma 's looking DISGUSTED with the whole thing .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Like I say Brothers we are the vanguard.<\/dialogue>\n    <parenthetical>( to Alma . )<\/parenthetical>\n    <dialogue>Get me a beer. I tell you once Cleaver's story comes out, we're gon na.<\/dialogue>\n    <scene_description>ROY 'S face DROPS as HUEY AND THE OTHER PANTHERS appear at the edge of the party . Huey marches up , YANKING Roy 's gun from his pants , checking it .<\/scene_description>\n    <character>HUEY<\/character>\n    <dialogue>We put our lives on the line today. Malcolm X's widow was on the line today. And your guns were n't even loaded.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>A gun's a gun man. It do n't need to be loaded.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>Tell that to the pigs. Better yet tell that to Malcolm.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Wait a second there brother.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>No you wait a second. You and your `` Panthers'' got three choices. One you join with us and follow our rules. Two you change your name.<\/dialogue>\n    <parenthetical>( a smile . )<\/parenthetical>\n    <dialogue>Or three you face annihilation.<\/dialogue>\n    <scene_description>PAPER PANTHERS step up , Huey 's men follow suit . Judge standing right at Huey 's .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Pretty boy, you're a long way from Oakland. Fuck you.<\/dialogue>\n    <scene_description>Bam ! Huey hits Roy with a ferocious hook . A BIG PAPER PANTHER moves on Huey , Judge DROPS HIM like a stone . In seconds Huey 's men have kicked the shit out of the Paper Panthers . Huey 's got ROY 'S FACE in the grill .<\/scene_description>\n    <character>HUEY<\/character>\n    <dialogue>You're exactly the kind of brother we do n't need. Kind of brother who gets others killed. Now you gon na change your name.<\/dialogue>\n    <scene_description>Huey pulls Roy up , his SINGED BEARD covered with fish and onions . ROY just glares silently .<\/scene_description>\n    <character>ALMA<\/character>\n    <dialogue>Roy, tell him you'll do it.<\/dialogue>\n    <scene_description>Huey shoves Roy 's face back down toward the grill .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Please! Yes! We'll change the name.<\/dialogue>\n    <scene_description>Throwing ROY away , Huey LOCKS EYES with Alma as the Panthers depart . She watches them every step of the way . Nearby SOMEONE ELSE watches the Panthers also . ELDRIDGE CLEAVER , the reporter from Ramparts .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HUEY'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Unwinding , alone with Judge , Huey hands him a beer .<\/scene_description>\n    <character>HUEY<\/character>\n    <dialogue>You were alright Judge, better than alright. You're what the Party needs. A fighter but also one that's going to school not making the man too nervous.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>I do n't know about that.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>I do. You think you're smart enough to keep playing the game?<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>What, I do n't know how you mean?<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>See, the thing about Panthers. For all their speed and strength. They are not naturally aggressive. They do n't just go out killing, tearing through the jungles murdering. No, the Panther.<\/dialogue>\n    <parenthetical>( makes a fist . )<\/parenthetical>\n    <dialogue>keeps his claws hidden until he is attacked, until he's backed into a corner. Then.<\/dialogue>\n    <parenthetical>( opens his fist . )<\/parenthetical>\n    <dialogue>believe me those claws are fierce.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Huey, you're losing me. What are you talking about?<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>I'm talking about survival. Yours, mine, all of it. Outside and in. You got to do something for me. Staying alive might depend on it. The pigs are gon na try to infiltrate us and we're gon na let'em. But their spy's gon na be our spy too. How about it?<\/dialogue>\n    <scene_description>There 's a pause as Judge chews on the grave proposition .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Me? You've got a whole lot of other folks signing up. Why me?<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>You fit the profile, Brother. You look exactly like the kind of nigger they think they can trust.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOVERNMENT BUILDING - WASH D.C. - DAY<\/stage_direction>\n    <scene_description>A cold harsh building sits like a satisfied giant on the Capitol street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DIRECTOR'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Passing a SIGN on the door : FEDERAL BUREAU OF INVESTIGATION DIRECTOR : J.E. HOOVER . The Uber - cop himself sits at the desk , his large watery eyes scanning a TELETYPE . He presses an INTERCOM .<\/scene_description>\n    <character>HOOVER<\/character>\n    <dialogue>Get me out man in Oakland.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PANTHER HQ - DAY<\/stage_direction>\n    <scene_description>A HUGE LINE of NEW RECRUITS stretches outside the building .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PANTHER HQ - DAY<\/stage_direction>\n    <scene_description>Bobby and Tyrone stand there uncomfortably facing ALMA and a platoon of SISTERS .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>Alma!? I uhh I do n't think.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>What do you mean? We're black ai n't we? And we care about improving the plight of out people do n't we? Or you figure oppression stops at that thing dangling between your legs!<\/dialogue>\n    <character>TYRONE<\/character>\n    <parenthetical>( looking to Bobby . )<\/parenthetical>\n    <dialogue>Uhh. I with it sister but.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>But nothing, we want full fledged membership in the Black Panther Party. and none of this `` Okay sugah as long as you stay in the background washing my socks and rubbing my feet'' bullshit either!<\/dialogue>\n    <scene_description>Bobby GRINS .<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I can dig that! If your down with the Ten - Point - Program, sign up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PANTHER HQ - DAY<\/stage_direction>\n    <scene_description>Panthers place POSTERS of Bobby Seale and Huey in the storefront window as JUDGE , ALMA , CY and TYRONE load LEAFLETS into a VAN .<\/scene_description>\n    <character>BOBBY<\/character>\n    <parenthetical>( over . )<\/parenthetical>\n    <dialogue>There's a lot of work to be done.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL - DAY<\/stage_direction>\n    <scene_description>Little Bobby Hutton lectures a group of school kids<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH BASEMENT - BREAKFAST PROGRAM - DAY<\/stage_direction>\n    <scene_description>Judge 's HAND ladles out porridge to a sea of hungry kids . ALMA smiles across the room at them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JUNKYARD - DAY<\/stage_direction>\n    <scene_description>Tyrone and Cy watch as Judge holds an M1 RIFLE , lecturing NEW RECRUITS . Each recruit has a DISASSEMBLED RIFLE . Judge starts his stopwatch . The RECRUITS fumble with the rifles . Suddenly a sound - the perfect clicking and clacking of metal on metal . ALMA assembles her rifle with lightning speed . Still FUMBLING with their rifles , the other recruits stare amazed at Alma . Judge checks the stopwatch . TWENTY SEVEN SECONDS . Looking up , Judge and TYRONE 'S EYES MEET .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIFTY FIFTH AND MARKET - DAY<\/stage_direction>\n    <scene_description>Judge takes his place DIRECTING TRAFFIC . Turning Judge LOCKS EYES with RITA across the street . She looks worried . END MONTAGE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UC BERKELEY CAMPUS - DAY<\/stage_direction>\n    <scene_description>Judge hawks RED BOOKS to park goers , engaging them in pro panther banter . Black folk move away from him when they spot BRIMMER , an obvious cop , striding toward Judge .<\/scene_description>\n    <character>BRIMMER<\/character>\n    <dialogue>You're Judge right? We need to talk.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>I do n't know you and I got nothing to say to you.<\/dialogue>\n    <character>BRIMMER<\/character>\n    <parenthetical>( flashing his badge . )<\/parenthetical>\n    <dialogue>Yeah you do. It's up to you either here or downtown.<\/dialogue>\n    <scene_description>Giving up , Judge walks with Brimmer listening as the cop talks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH BASEMENT - DAY<\/stage_direction>\n    <scene_description>Huey 's COOKING BREAKFAST for the kids as Alma , Tyrone and Little Bobby serve up bowls of porridge . Passing the munching kids , Judge - obviously excited - moves over to Huey .<\/scene_description>\n    <character>JUDGE<\/character>\n    <parenthetical>( sotto voce . )<\/parenthetical>\n    <dialogue>They tried to recruit me. Just like you figured.<\/dialogue>\n    <scene_description>Tyrone looks over , FROWNING . Huey signals him that everything 's cool .<\/scene_description>\n    <character>HUEY<\/character>\n    <parenthetical>( joking loudly . )<\/parenthetical>\n    <dialogue>You're a little old to be a school boy are n't you brother.<\/dialogue>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>Cool it! You're probably not the only one they've gone after. Stall a little so they believe you're for real. Make them trust you.<\/dialogue>\n    <parenthetical>( raising his voice . )<\/parenthetical>\n    <dialogue>Hey Tyrone, you figure feeding our children is gon na make The Man jumpy?<\/dialogue>\n    <character>TYRONE<\/character>\n    <parenthetical>( bantering back . )<\/parenthetical>\n    <dialogue>Black people getting uppity, feeding their children breakfast, taking their destiny into their own hands. What's this world coming to?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>TITLE : RICHMOND CALIFORNIA , APRIL 1 , 1967 Pursued , a thin Black man - DENZIL DOWELL - LIMPS painfully past . TWO COPS , guns drawn , run after him .<\/scene_description>\n    <character>COP #1<\/character>\n    <dialogue>Hands up, you ai n't going nowhere.<\/dialogue>\n    <scene_description>Faced with a BLIND ALLEY , Dowell RAISES his hands . The cops close in .<\/scene_description>\n    <character>DENZIL<\/character>\n    <dialogue>I was n't going nowhere in the first place. I ai n't done shit.<\/dialogue>\n    <character>COP #2<\/character>\n    <dialogue>`` Done shit, SIR!'' Nigger do n't move.<\/dialogue>\n    <scene_description>Scared , Denzil instinctively BACKS AWAY from the cops .<\/scene_description>\n    <character>DENZIL<\/character>\n    <dialogue>I ai n't done.<\/dialogue>\n    <scene_description>GUNFIRE rips through the alley .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - DOWELL HOME - DAY<\/stage_direction>\n    <scene_description>The room is filled with mourners . Shades are drawn but a little sun brushes the PANTHERS LEATHER JACKETS . Denzil 's brother GEORGE , speaks softly to MOMMA DOWELL .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Momma, these here are the Panthers I asked over from Oakland.<\/dialogue>\n    <character>MOMMA DOWELL<\/character>\n    <dialogue>I thank you all for coming to grieve with us. The police wo n't tell us nothing.<\/dialogue>\n    <character>MOURNER<\/character>\n    <dialogue>They been shooting Black men down around here like they're going out of style.<\/dialogue>\n    <character>MOMMA DOWELL<\/character>\n    <parenthetical>( breaking into tears . )<\/parenthetical>\n    <dialogue>My boy did n't do nothing. He did n't do nothing. Ca n't nobody do something.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>We came to do something.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RICHMOND RALLY - DAY<\/stage_direction>\n    <scene_description>Panthers , carrying GUNS , line both sides of the block . NEW FACES can be seen with Judge , Alma , Cy , Tyrone , Little Bobby and the others . A block or so distant , the SHERIFF 'S OFFICE looms up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RICHMOND RALLY - DAY<\/stage_direction>\n    <scene_description>BOBBY SEALE shuttles back and forth distributing PROGRAMS and LEAFLETS to a forest of outstretched Black hands . HUEY stands on top of a car , his strong voice ringing out over the gathering .<\/scene_description>\n    <character>HUEY<\/character>\n    <dialogue>The police report says he was shot three times but the coroner's report says quite clearly that Denzil Dowell was shot six times. And two of those shots were in his armpits. Brothers and Sisters you know why that is?<\/dialogue>\n    <parenthetical>( raises his arms up . )<\/parenthetical>\n    <dialogue>Because Denzil had his hands up!<\/dialogue>\n    <character>BOBBY SEALE<\/character>\n    <parenthetical>( to crowd . )<\/parenthetical>\n    <dialogue>No more police brutality! WHAT DO WE WANT?<\/dialogue>\n    <character>THE CROWD<\/character>\n    <dialogue>JUSTICE!<\/dialogue>\n    <scene_description>Frenzied hands grab all the PAMPHLETS from Bobby .<\/scene_description>\n    <character>SEALE<\/character>\n    <parenthetical>( to Judge . )<\/parenthetical>\n    <dialogue>More programs man! In the car.<\/dialogue>\n    <scene_description>Judge moves away toward the PONTIAC .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOBBY'S CAR - DAY<\/stage_direction>\n    <scene_description>Judge grabs a pile of LEAFLETS off the seat . Turning back to the rally , Judge comes nose to nose with BRIMMER .<\/scene_description>\n    <character>BRIMMER<\/character>\n    <dialogue>Afternoon asshole. You shoulda told me about this. C'mon.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RALLY - DAY<\/stage_direction>\n    <scene_description>Tyrone SEES Brimmer spin Judge around and cuff him .<\/scene_description>\n    <character>BOBBY SEALE<\/character>\n    <dialogue>WHAT DO WE WANT?<\/dialogue>\n    <character>THE PANTHERS<\/character>\n    <dialogue>JUSTICE!<\/dialogue>\n    <scene_description>Tyrone NUDGES Huey , gesturing to Judge being led to Brimmer 's UNMARKED CAR .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>C'mon let's.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>No! Just harassment. Ca n't let it stop this.<\/dialogue>\n    <parenthetical>( an eye to car , then the crowd . )<\/parenthetical>\n    <dialogue>Brother we got momentum!<\/dialogue>\n    <scene_description>Whipped up , the crowd YELLS as Tyrone looks perplexed .<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>What do we want!?<\/dialogue>\n    <character>THE CROWD<\/character>\n    <dialogue>JUSTICE!<\/dialogue>\n    <scene_description>REVEREND SLOCUM steps out , trying to calm the crowd .<\/scene_description>\n    <character>REVEREND SLOCUM<\/character>\n    <dialogue>Amen! The Lord God Almighty be our witness. Let us bow our heads and pray for.<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>( interrupting , raising his fist . )<\/parenthetical>\n    <dialogue>POWER TO THE PEOPLE!<\/dialogue>\n    <character>CROWD<\/character>\n    <dialogue>POWER TO THE PEOPLE!<\/dialogue>\n    <scene_description>The Panthers move into precise FORMATION . Huey and Bobby at the front , the crowd moves toward the Sheriff 's Office .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHERIFF'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Tense , a DOUBLE LINE of police blocks the entrance . With the crowd screaming for `` JUSTICE ! '' and `` BLACK POWER ! '' behind them , Bobby and Huey step up to the Deputies .<\/scene_description>\n    <character>DEPUTY<\/character>\n    <parenthetical>( shoving Huey . )<\/parenthetical>\n    <dialogue>You're not getting in here with no gun.<\/dialogue>\n    <scene_description>Huey SHOVES the cop back . The line of cops BRISTLES .<\/scene_description>\n    <character>HUEY<\/character>\n    <dialogue>This firearm is being carried in plain view and is therefore perfectly legal according to California statute.<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>Over my dead body.<\/dialogue>\n    <scene_description>Huey steps back and Clack ! , jerks a ROUND into the gun . A HUSH falls over the crowd . The POLICE raise their weapons .<\/scene_description>\n    <character>HUEY<\/character>\n    <dialogue>That's your call pig.<\/dialogue>\n    <scene_description>Rev. Slocum puts a steadying hand on Huey 's arm .<\/scene_description>\n    <character>REV. SLOCUM<\/character>\n    <parenthetical>( to cops . )<\/parenthetical>\n    <dialogue>We come for justice, not bloodshed but do n't be pushing us too far.<\/dialogue>\n    <scene_description>Tense moments pass . Huey looks over at MOMMA DOWELL , reading the concern in her eyes . Then , Huey and Bobby RAISE their weapons up , PASSING THEM to the police . Unarmed , The Panthers enter the building .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHERIFF'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Surrounded by deputies , Bobby and Huey confront the smug SHERIFF .<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Bled to death!?!? The Coroner's report says he was shot to death. We demand a grand jury investigation in the death of Denzil Dowell and the pattern of brutality against the Black citizens of Richmond.<\/dialogue>\n    <character>SHERIFF<\/character>\n    <parenthetical>( icy . )<\/parenthetical>\n    <dialogue>The Police department has conducted its own inquest and concluded that no misconduct occurred. As for a `` pattern of brutality.'' The charge is ridiculous.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>Then what do you call four dead Black men in six months?!<\/dialogue>\n    <character>SHERIFF<\/character>\n    <dialogue>I call it the police doing there duty under the law. You got a problem with that. take it to the legislature but get the hell out of my office.<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>( to Huey . )<\/parenthetical>\n    <dialogue>The pig might just have a point.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ABANDONED WAREHOUSE - DAY<\/stage_direction>\n    <scene_description>Brimmer 's UNMARKED CAR sits in front of the tattered building near the heart of Oakland .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABANDONED WAREHOUSE - DAY<\/stage_direction>\n    <scene_description>JUDGE - handcuffed to a chair in the vast lofty space - looks like he 's been through the wringer . BRIMMER , smoking vehemently , hovers over him .<\/scene_description>\n    <character>BRIMMER<\/character>\n    <dialogue>So. we understand each other Judge?<\/dialogue>\n    <character>JUDGE<\/character>\n    <parenthetical>( sullen . )<\/parenthetical>\n    <dialogue>Yeah.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANOTHER PART OF THE WAREHOUSE - DAY<\/stage_direction>\n    <scene_description>RODGERS watches Judge and Brimmer from the SHADOWS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABANDONED WAREHOUSE - DAY<\/stage_direction>\n    <scene_description>Brimmer UNCUFFS Judge from the chair .<\/scene_description>\n    <character>BRIMMER<\/character>\n    <dialogue>Alright then.<\/dialogue>\n    <scene_description>Judge STANDS a little shakily . Brimmer slides a BUSINESS CARD in his pocket .<\/scene_description>\n    <character>BRIMMER<\/character>\n    <dialogue>I expect to hear from you soon. If Huey Newton takes a crap, I want to know how big it was. Otherwise I'm gon na come looking for you. And I wo n't be as `` friendly'' as today.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>I got you.<\/dialogue>\n    <scene_description>Judge turns to leave . Brimmer stops him<\/scene_description>\n    <character>BRIMMER<\/character>\n    <dialogue>You just remember one thing Judge. You've got a lot at stake. And The Panthers are gon na lose. Question is, are you gon na lose along with them? Your future? Your mother? Think about it.<\/dialogue>\n    <scene_description>Judge leaves . Brimmer takes a long drag of his cigarette , STARING at RODGERS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WAREHOUSE - DAY<\/stage_direction>\n    <scene_description>Half a step out the door , Judge THROWS Brimmer 's CARD away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DE FEMERY PARK - DAY<\/stage_direction>\n    <scene_description>A combination BARBECUE\/AWARENESS RALLY covers the park . Panthers and just plain neighborhood folk eat , drink and talk . Judge - a worried look on his face - walks by . Huey 's on the podium , speaking clearly and passionately .<\/scene_description>\n    <character>HUEY<\/character>\n    <dialogue>As soon as black people exercise their rights to bear arms and defend themselves the pigs want to change the law. We're not going to make it easy for them to have unarmed targets. Now, you all have a good time cause this here's our community and it is a beautiful thing.<\/dialogue>\n    <parenthetical>( raising his fist . )<\/parenthetical>\n    <dialogue>Power to the people.<\/dialogue>\n    <scene_description>Pulsing MUSIC kicks in as Huey steps from the stage .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DE FEMERY PARK - SIDE OF THE STAGE - DAY<\/stage_direction>\n    <scene_description>Huey joins a meeting in progress with Tyrone , Alma and Bobby , who 's particularly edgy .<\/scene_description>\n    <character>HUEY<\/character>\n    <dialogue>This brothers is gon na be a colossal event. We'll shut the mother down right at the capitol, in front of the cameras.<\/dialogue>\n    <parenthetical>( annoyed off Bobby 's pacing . )<\/parenthetical>\n    <dialogue>Will you cool it? What's up man? What it be Bobby?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What it be is, You are n't coming with us.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>What? We're the leadership, you and me. There ai n't enough of us to.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>That's just it Huey. The pigs do n't know how many Panthers there are. Both of us show and they might start putting 2 and 2 together. We're not even two hundred strong yet. but we got'em guessing thousands.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>I hear you. Alright. I'll go, you stay.<\/dialogue>\n    <scene_description>Admiring , Bobby shakes his head .<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Huey. We took a vote. You're still on probation. We ca n't risk you. Things is starting to get hot. Go mow yo momma's lawn like you promised.<\/dialogue>\n    <scene_description>Huey 's TENSES , ready to argue . Then he SPOTS Judge . A LOOK passes between them .<\/scene_description>\n    <character>HUEY<\/character>\n    <dialogue>Alright, I'll stay. Judge, I want to.<\/dialogue>\n    <character>TYRONE<\/character>\n    <parenthetical>( to Judge . )<\/parenthetical>\n    <dialogue>Where you been? I saw the cops rousting you at the rally.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Aw. uh. it's was just harassment. My driver's license expired.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>Chickenshits, they're grabbing at anything.<\/dialogue>\n    <scene_description>Huey leads Judge away , Tyrone WATCHES them closely , very suspicious .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANOTHER PART OF THE PARK - DAY<\/stage_direction>\n    <scene_description>Huey 's charged , talking fast to Judge .<\/scene_description>\n    <character>HUEY<\/character>\n    <dialogue>What's the pig's name?<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Brimmer.<\/dialogue>\n    <character>HUEY<\/character>\n    <parenthetical>( very serious . )<\/parenthetical>\n    <dialogue>You got to keep very cool on this. Icy god damn cool. Cause baby, you just became the strongest weapon we got. Let me guess, he wants you to call him, tell him what we're doing.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>And you're gon na do just that. But I'll tell you what to feed the pig. You alright with this?<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Yeah. I guess. Any of other Panthers know about this?<\/dialogue>\n    <scene_description>Huey just looks at Judge silently .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Man, this shit's pretty thick.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>You got that right. And brother, I got a feeling it's going to get a whole lot thicker.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEGISLATURE BUILDING - DAY<\/stage_direction>\n    <scene_description>TITLE : SACRAMENTO CALIFORNIA MAY 2 , 1967 Governor RONALD REAGAN stands on the Capitol lawn speaking to THE FUTURE LEADERS - a teenage group . Suddenly , THE PANTHERS pull up , stepping out of their cars , ARMED , clad in black leather . CHAOS erupts . Bodyguards whisk Reagan away as a swarm of NEWS CREWS converge on the Panthers . CAMERAS flanked around him , a REPORTER shoves a microphone in Bobby 's face .<\/scene_description>\n    <character>NEWSMAN<\/character>\n    <dialogue>Is this a militant action? Are the Panthers storming the Capitol?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No! Definitely not!<\/dialogue>\n    <parenthetical>( to the news camera . )<\/parenthetical>\n    <dialogue>We are here to send a message. The Black Panther Party for Self Defense calls upon the American people in general and Black people in particular to take careful note of the racist California Legislature now considering the Mulford Act, which is aimed at keeping Black people disarmed and powerless while racist police agencies throughout the country intensify the terror, brutality, murder and repression of Black people.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEGISLATURE - DAY<\/stage_direction>\n    <scene_description>It 's hard to tell who there 's more of - Panthers or reporters - as the chaotic circus enters a LONG CORRIDOR . Seale 's in the lead , with Little Bobby , Alma and Tyrone following . Disoriented , they CLIMB stairs , continuing down another CORRIDOR . A GUARD at a DOORWAY starts to freak .<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>You ca n't come in here!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>We are here to observe the Assembly. You will not stop us.<\/dialogue>\n    <character>GUARD<\/character>\n    <dialogue>This door leads to the Assembly floor, it's closed to the public. You have to go to the Visitor's Gallery, it's.<\/dialogue>\n    <scene_description>The guard TURNS TO POINT , Seale twists to follow his finger . Reporters swing around . A crewman BUMPS into the guard . CHAOS . The entourage PANICS , stumbling through the door . A mass of Panthers and reporters spill into .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ASSEMBLY ROOM FLOOR - DAY<\/stage_direction>\n    <scene_description>Pro Tem Speaker Carlos Bee 's mouth drops as a noisy mass of Panthers and reporters careens into the chambers . Swiftly the rat pack of reporters BACKS AWAY , leaving the Panthers , armed and confused , in the MIDDLE OF THE ROOM . SECURITY GUARDS converge on the Panthers . FOOTAGE Camera pans up from lawnmower to Huey 's face . FADE INTO US and International HEADLINES scream the story . `` New York Times , '' France 's `` Le Figaro , Italy 's `` Il Giornale . '' The Panthers have just become a worldwide phenomenon .<\/scene_description>\n    <character>PROSECUTOR<\/character>\n    <parenthetical>( over . )<\/parenthetical>\n    <dialogue>Tell the court Mr. Seale are you proud to be the co - founder of the Panthers, an anti - white movement.<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>( over . )<\/parenthetical>\n    <dialogue>The Black Panther Party is not anti - white, you can not fight racism with racism.<\/dialogue>\n    <scene_description>APPLAUSE rings out .<\/scene_description>\n    <character>JUDGE<\/character>\n    <parenthetical>( over . )<\/parenthetical>\n    <dialogue>Gentlemen, please approach the bench.<\/dialogue>\n    <scene_description>The Judge 's GAVEL BANGS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - AT THE BENCH - DAY<\/stage_direction>\n    <scene_description>Bobby , Huey , Prosecutors , Defenders and the Judge yell . GAVEL still banging , a rapid - fire PLEA BARGAIN is underway .<\/scene_description>\n    <character>DEFENSE ATTORNEY<\/character>\n    <dialogue>My clients broke no law. It was an accident, a wrong turn. Besides, the guns were not illegal. Dismissal!<\/dialogue>\n    <character>PROSECUTOR<\/character>\n    <dialogue>They will be as soon as the Mulford act passes. Six Months for everyone!<\/dialogue>\n    <scene_description>Huey SHAKES his head at the Defense Attorney .<\/scene_description>\n    <character>PROSECUTOR<\/character>\n    <dialogue>Okay, last offer. Ninety days, no felony charges, just a disturbing the peace.<\/dialogue>\n    <scene_description>Huey NODS .<\/scene_description>\n    <character>DEFENSE ATTORNEY<\/character>\n    <dialogue>Deal!<\/dialogue>\n    <character>PROSECUTOR<\/character>\n    <dialogue>Not so fast. But only if he.<\/dialogue>\n    <parenthetical>( points to Bobby . )<\/parenthetical>\n    <dialogue>and one of his lieutenants agree to six months.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>You got six months to donate to the party, Bobby?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You know it brother.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOOVER'S OFFICE - DAY<\/stage_direction>\n    <scene_description>The TAPE MACHINE rolls as a very agitated FBI director growls into the phone .<\/scene_description>\n    <character>RODGERS<\/character>\n    <parenthetical>( over . )<\/parenthetical>\n    <dialogue>. at least that takes Bobby Seale off the street.<\/dialogue>\n    <character>HOOVER<\/character>\n    <dialogue>Not good enough Rodgers. Not good enough at all. Black terrorists on the floor of a State Capitol. I will not say this again, these Negro Commies are to be stopped and now. You tear them down. Either from the outside or the inside.<\/dialogue>\n    <character>RODGERS<\/character>\n    <parenthetical>( over . )<\/parenthetical>\n    <dialogue>We're working on that.<\/dialogue>\n    <character>HOOVER<\/character>\n    <dialogue>Work harder. And get me some results. Those Black Bastards could be up to anything.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARKET STREET - NIGHT<\/stage_direction>\n    <scene_description>Finished with traffic duty Judge walks home . He passes BRIMMER 'S CAR at the curb .<\/scene_description>\n    <character>BRIMMER<\/character>\n    <dialogue>C'mon we're going for a ride.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAY BRIDGE - NIGHT<\/stage_direction>\n    <scene_description>Brimmer 's car pulls onto the bridge .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRIMMER'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Brimmer lights a cigarette angrily .<\/scene_description>\n    <character>BRIMMER<\/character>\n    <dialogue>Why did n't you tell us about the party you boys were planning at the capitol?<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Shit man. It was. you know spontaneous.<\/dialogue>\n    <character>BRIMMER<\/character>\n    <dialogue>Spontaneous my ass! You told the press and you do n't tell me. Remember you're working for us.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Yeah. whatever you say.<\/dialogue>\n    <character>BRIMMER<\/character>\n    <dialogue>Are you fucking with me? You smartass piece of shit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAY BRIDGE - NIGHT<\/stage_direction>\n    <scene_description>Brimmer 's car SWERVES pulling over in the MIDDLE of the bridge . Playing angry cop to hilt , Brimmer jumps out .<\/scene_description>\n    <character>BRIMMER<\/character>\n    <dialogue>Get out of the car.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>What's with you?<\/dialogue>\n    <character>BRIMMER<\/character>\n    <dialogue>Get out of the fucking car.<\/dialogue>\n    <scene_description>Judge obeys . Brimmer produces HANDCUFFS . He CUFFS Judge .<\/scene_description>\n    <character>BRIMMER<\/character>\n    <dialogue>`` Whatever you say, Inspector Brimmer.'' Fucking a right pal. Time you got your wiry head on straight.<\/dialogue>\n    <scene_description>Brimmer grabs the front of Judge 's shirt , PUSHING him hard against the railing . It 's a hellish drop . Brimmer pushes harder . Judge 's FEET scramble for purchase .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>What are you crazy?<\/dialogue>\n    <character>BRIMMER<\/character>\n    <dialogue>Do you know how easy it would be for you to just disappear. Shit, you would n't even wash up for weeks. Do you fucking understand?<\/dialogue>\n    <parenthetical>( still pushing . )<\/parenthetical>\n    <dialogue>I want you to move your ass outta neutral. I want a bunch of Panthers served up on a fucking plate. I want you to set'em up. armed robbery!<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>I ca n't. they do n't operate that way.<\/dialogue>\n    <character>BRIMMER<\/character>\n    <dialogue>Fuck how they operate. Just do it. like your man says, `` By any means necessary.''<\/dialogue>\n    <scene_description>Brimmer UNCUFFS Judge , stuffing an ENVELOPE OF MONEY in his pocket .<\/scene_description>\n    <character>BRIMMER<\/character>\n    <dialogue>Alright then. Here's a little help on your tuition. Get back in the car.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>In UNIFORM , proud - Tyrone and Cy walk down the street toward Cy and Judge 's APARTMENT .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>Where the hell's Judge anyway?<\/dialogue>\n    <character>CY<\/character>\n    <dialogue>Between school and the Panthers, he's been running raw. I never see. Aw shit.<\/dialogue>\n    <scene_description>Cy catches SOMETHING happening across the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CY'S POV - ACROSS THE STREET - NIGHT<\/stage_direction>\n    <scene_description>SABU makes a furtive EXCHANGE with a young BLACK KID .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JUDGE AND CY'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Tyrone sees what Cy 's looking at .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>You want a hand?<\/dialogue>\n    <character>CY<\/character>\n    <parenthetical>( tossing Tyrone KEYS . )<\/parenthetical>\n    <dialogue>No. go on up. I been kicking his narrow ass since high school.<\/dialogue>\n    <scene_description>Cy trots across the street . A WHITE GIRL walks his way .<\/scene_description>\n    <character>WHITE GIRL<\/character>\n    <dialogue>What you got to sell?<\/dialogue>\n    <character>CY<\/character>\n    <parenthetical>( rolling his eyes . )<\/parenthetical>\n    <dialogue>Lady, every Black man you lay eyes on ai n't a dope dealer.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JUDGE AND CY'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Tyrone waits inside the messy apartment . Suddenly he spots JUDGE 'S CLOTHES hanging over a chair . A moment passes . Then Tyrone , begins RIFLING through a pair PANTS . He checks Judge 's WALLET . Pulling out a DRIVER 'S LICENSE , Tyrone 's finger traces the EXPIRATION DATE : 5\/20\/69 .<\/scene_description>\n    <character>TYRONE<\/character>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>`` My license was expired'' Yeah, right.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>Cy 's got SABU against the wall , hissing into his face .<\/scene_description>\n    <character>CY<\/character>\n    <dialogue>I ai n't gon na tell you no more. No pushing in the neighborhood, especially not on my fucking street. You're killing your own people asshole.<\/dialogue>\n    <character>SABU<\/character>\n    <dialogue>Man, fuck you!<\/dialogue>\n    <character>CY<\/character>\n    <dialogue>No Fuck you!<\/dialogue>\n    <scene_description>Cy SLUGS Sabu hard in the gut , dropping him to the ground .<\/scene_description>\n    <character>CY<\/character>\n    <dialogue>I ai n't playing Sabu. You keep on like this and I'm going to bust you up.<\/dialogue>\n    <scene_description>Shaking his head in disgust , Cy heads toward home .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>Holding his belly , Sabu catches his breath . SHOES appear in front of him , shiny COP SHOES . It 's SGT. SCHRECK .<\/scene_description>\n    <character>SABU<\/character>\n    <dialogue>Aww man.<\/dialogue>\n    <character>SCHRECK<\/character>\n    <dialogue>Those Panthers are turning into real shitheels ai n't they.<\/dialogue>\n    <scene_description>Schreck REACHES DOWN , helping Sabu . Sabu 's amazed at the `` Good Cop '' routine .<\/scene_description>\n    <character>SABU<\/character>\n    <dialogue>Yeah, they're motherfuckers, all high and mighty.<\/dialogue>\n    <character>SCHRECK<\/character>\n    <dialogue>You should n't take that. If I was you.<\/dialogue>\n    <parenthetical>( an edge of violence . )<\/parenthetical>\n    <dialogue>I'd stand up for myself, if you know what I mean.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JUDGE AND CY'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>CY looks around the empty space .<\/scene_description>\n    <character>CY<\/character>\n    <dialogue>Tyrone? Shit, where'd you go?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PANTHER MEETING - NIGHT<\/stage_direction>\n    <scene_description>Room filled with all the PANTHERS and more than a few NEW FACES , Huey stands at the podium , filled with purpose .<\/scene_description>\n    <character>HUEY<\/character>\n    <dialogue>Look around you, brothers and sisters, we're building the numbers. New members coming in almost every day. I'd like to introduce one of them. He's is the author of `` Soul on Ice,'' a respected journalist and I'm proud to say the newly appointed Minister of Information for the Black Panther Party. Brothers and sisters, Eldridge Cleaver.<\/dialogue>\n    <scene_description>Applause rises as the tall , black man from before , still wear SUNGLASSES , strides to the podium .<\/scene_description>\n    <character>ELDRIDGE<\/character>\n    <dialogue>Brothers and Sisters! You are all well aware of the chains that we as a people bear. The chains of slavery, of second class citizenship. But there are other, more invisible chains. The chains of not speaking your mind. The chains of all the words left unsaid out of fear of reprisal by The Man. The silencing of our Black voices. I'm here to tell you that we have a voice.<\/dialogue>\n    <parenthetical>( a smile . )<\/parenthetical>\n    <dialogue>And I'd like to prove to you. All of you, repeat after me.<\/dialogue>\n    <scene_description>SILENCE fills the room , everyone hangs on Eldridge 's words .<\/scene_description>\n    <character>ELDRIDGE<\/character>\n    <dialogue>Fuck Ronald Reagan.<\/dialogue>\n    <scene_description>Smiles hit the assembled faces . Judge chuckles .<\/scene_description>\n    <character>ELDRIDGE<\/character>\n    <dialogue>I'm serious. Repeat after me. Fuck Ronald Reagan.<\/dialogue>\n    <character>ASSEMBLY<\/character>\n    <dialogue>Fuck Ronald Reagan!<\/dialogue>\n    <character>ELDRIDGE<\/character>\n    <dialogue>Feels good do n't it. Amazing how saying your mind can free your soul.<\/dialogue>\n    <character>ASSEMBLY<\/character>\n    <dialogue>Fuck Ronald Reagan!<\/dialogue>\n    <scene_description>Powerful and playful , the CHANT course through the room . Everyone 's SMILING , reveling in the camaraderie .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTSIDE THE MEETING - NIGHT<\/stage_direction>\n    <scene_description>Meeting over , Huey , Judge and Tyrone watch the room clear . Tyrone 's EDGY , trying to get Huey alone .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>Huey man I got to talk with you.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>So talk.<\/dialogue>\n    <character>TYRONE<\/character>\n    <parenthetical>( looking at Judge . )<\/parenthetical>\n    <dialogue>Alone.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>Look. can we deal with this tomorrow. I'm tired.<\/dialogue>\n    <scene_description>Huey walks away , leaving Tyrone glaring at Judge .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAY BRIDGE - DAY<\/stage_direction>\n    <scene_description>Sun streams through the girders , shining its light equally on both sides of the bridge .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HUEY'S VW - DAY<\/stage_direction>\n    <scene_description>Upset and in deeper than he ever expected , Judge smacks the dashboard in frustration .<\/scene_description>\n    <character>HUEY<\/character>\n    <dialogue>Listen Judge, Oakland's Panther International Headquarters. We shut the Pig's infiltration down here, they're gon na think twice about running their games on other chapters.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Huey, man who's gon na straighten out the brothers if they get on my ass?<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>Like the manual says, `` Information is.<\/dialogue>\n    <character>HUEY AND JUDGE<\/character>\n    <parenthetical>( in unison . )<\/parenthetical>\n    <dialogue>disseminated on a need - to - know basis.''<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>Yeah, and what I need to know, is what exactly your gon na do about feeding the pigs a bust?<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>I do n't know man. I do n't know. That reminds me.<\/dialogue>\n    <parenthetical>( passing an ENVELOPE to Huey . )<\/parenthetical>\n    <dialogue>Another little donation from the police.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>If the pigs only knew they were subsidizing The Panthers.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Yeah well, they want a lot for their money. They want a felony, preferably with `` violent intent.'' We've got to give them something. They'll kill me if I do n't. And the Panthers are going to kill me if I do. I'm scared.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>Me too. That's why I fight so hard.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GROVE STREET - DUSK (MAGIC HOUR)<\/stage_direction>\n    <scene_description>Something 's CHANGED in the neighborhood , the Panther presence seems to have given the street focus . Folks gather nearby , hanging enjoying the sunshine . Bo Diddley 's `` Oh Baby '' grooves from a radio . CY - amped on the movement - walks out of the PANTHER HQ . He runs into JUDGE out on the street .<\/scene_description>\n    <character>CY<\/character>\n    <dialogue>Hey, it's the invisible man. Brother where you been?<\/dialogue>\n    <character>JUDGE<\/character>\n    <parenthetical>( gripping Cy 's hand . )<\/parenthetical>\n    <dialogue>Cy. I ai n't even sure.<\/dialogue>\n    <character>CY<\/character>\n    <dialogue>C'mon we'll walk and talk.<\/dialogue>\n    <character>JUDGE<\/character>\n    <parenthetical>( pointing inside . )<\/parenthetical>\n    <dialogue>Naw. I got ta.<\/dialogue>\n    <character>CY<\/character>\n    <dialogue>I hear you. I'll catch you in a bit. Feeling cooped up in there, you know?<\/dialogue>\n    <scene_description>Cy steps out into Grove street . Judge WATCHES him go .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARKET STREET - DUSK<\/stage_direction>\n    <scene_description>Cy cruises the street . People check out the UNIFORM , some even offer up a `` Right on . '' or flash the fist salute . ROSE - staked out on his steps - beckons Cy over .<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>Hey. Cy. what now you a righteous Panther man, you too uppity to drink with us?<\/dialogue>\n    <character>CY<\/character>\n    <dialogue>You know that's bullshit.<\/dialogue>\n    <scene_description>Rose passes him the BOTTLE , Cy takes a small swig . Immediately his FACE PUCKERS .<\/scene_description>\n    <character>CY<\/character>\n    <dialogue>Aaaah, Bitter Motherfucker. I almost forgot how nasty that shit is.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>Well do n't go forgetting your friends.<\/dialogue>\n    <character>CY<\/character>\n    <parenthetical>( leaving . )<\/parenthetical>\n    <dialogue>Ai n't gon na happen, stay cool.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>You know it. Stay Black.<\/dialogue>\n    <character>CY<\/character>\n    <dialogue>Damn straight.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 50TH STREET - NIGHT<\/stage_direction>\n    <scene_description>Rounding a corner Cy spots SABU - yep , he 's still dealing . Rolling his eyes , Cy steps toward him .<\/scene_description>\n    <character>CY<\/character>\n    <dialogue>I swear, you got ta be a card - carrying member of the stupid revolution.<\/dialogue>\n    <scene_description>Sabu 's SCARED , he backs away from Cy . Customers SCATTER .<\/scene_description>\n    <character>SABU<\/character>\n    <dialogue>Motherfucker. you stay away.<\/dialogue>\n    <character>CY<\/character>\n    <dialogue>Look this is bull.<\/dialogue>\n    <scene_description>Dumb , cowardly , SABU comes up with a PISTOL . He FIRES it into Cy , not even aiming , just fear pulling a trigger . Once , Twice , Three times . Cy takes a PAIR of BULLETS straight to the chest . Blood flecks his surprised face .<\/scene_description>\n    <character>CY<\/character>\n    <parenthetical>( amazed . )<\/parenthetical>\n    <dialogue>. shit.<\/dialogue>\n    <scene_description>Cy COLLAPSES onto the pavement as SABU runs away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PANTHER HQ - NIGHT<\/stage_direction>\n    <scene_description>Alone in the main room , Judge works a MIMEOGRAPH MACHINE , running off more Ten Point Programs . TYRONE comes in through the back door , startling Judge .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>C'mere.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY BEHIND PANTHER HQ - NIGHT<\/stage_direction>\n    <scene_description>Carter has an obviously terrified YOUNG PANTHER up against the wall as Judge and Tyrone step into the half light .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>Signed up ` bout a month ago. Says his name's Matty. I call him spy!<\/dialogue>\n    <scene_description>Wham ! Tyrone SLUGS Matty right in the gut .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>Motherfucker gave the pigs the license numbers of every Panther car.<\/dialogue>\n    <scene_description>Tyrone grabs Matty 's INDEX FINGER .<\/scene_description>\n    <character>TYRONE<\/character>\n    <parenthetical>( to Matty . )<\/parenthetical>\n    <dialogue>This the finger you ratted on us with?<\/dialogue>\n    <scene_description>CRACK ! Tyrone jerks Matty 's finger back BREAKING IT . Repulsed , Judge turns back inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PANTHER HQ - NIGHT<\/stage_direction>\n    <scene_description>Tyrone bolts in after Judge .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>What? You do n't like to see a traitor get hurt? I wonder why that is?<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>If you got something to say, say it.<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>Anything happens to Huey it ai n't gon na be a finger. I'll.<\/dialogue>\n    <scene_description>GENE - eyes lit up with anger and fear - bursts in .<\/scene_description>\n    <character>GENE<\/character>\n    <dialogue>It's Cy. he's been shot.<\/dialogue>\n    <scene_description>Bam ! Judge SNAPS pushing Tyrone away and bolting out the door . Tyrone follows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 50TH STREET - NIGHT<\/stage_direction>\n    <scene_description>Cy WRITHES in agony on the pavement , in a pool of blood . Judge kneels down next to him , cradling him . Cy 's COUGHING , trying to talk .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Cy. Cy. Oh shit man. who did this to you. Was it the pigs?<\/dialogue>\n    <character>CY<\/character>\n    <dialogue>N. N. Not. Oh.<\/dialogue>\n    <scene_description>Cy DIES right there in Judge 's arms . Something twists in Judge 's heart , the struggle has just become very personal .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JUDGE AND CY'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>His shirt covered with his dead friend 's blood , Judge sits at the table , destroyed .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Motherfuckers.<\/dialogue>\n    <scene_description>Judge grabs the phone , punching out a number .<\/scene_description>\n    <character>BRIMMER<\/character>\n    <dialogue>Inspector Brimmer<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Yeah, it's me.<\/dialogue>\n    <character>BRIMMER<\/character>\n    <dialogue>Judge, hold on, is your phone safe?<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Who fucking cares? You cops killed Cy. And before you bastards kill anyone else, I'll give you your fucking set up. That make you happy?!<\/dialogue>\n    <character>BRIMMER<\/character>\n    <dialogue>Judge, calm down.<\/dialogue>\n    <scene_description>Judge grits his teeth .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>I'm calm. I'm calm. You just shut the fuck up. And listen.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - DAY<\/stage_direction>\n    <scene_description>The PANTHER VAN heads down the road , sticking out like a sore thumb .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - DAY<\/stage_direction>\n    <scene_description>POV : Through the windshield of a police vehicle . The VAN crosses the screen right to left . Starting forward , the police car following at a safe distance .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PANTHER VAN - DAY<\/stage_direction>\n    <scene_description>TYRONE 'S driving as Judge sits - preoccupied - in the passenger seat . Suspicion hovers between the two . GENE 's in back next to a load of NEWSPAPERS .<\/scene_description>\n    <character>TYRONE<\/character>\n    <parenthetical>( eyeing Judge . )<\/parenthetical>\n    <dialogue>What's up with you?<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>You got something on your mind. `` brother.''<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Yeah, `` brother'' My best friend is stone dead.<\/dialogue>\n    <scene_description>The words cool Tyrone off a bit .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>Sorry man.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>S'alright. I'm sorry too. Shit, I got ta take a leak. Pull over at that gas station.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GAS STATION - DAY<\/stage_direction>\n    <scene_description>The VAN pulls into the TINY station . Judge 's hops out heading inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRIMMER'S CAR - DAY<\/stage_direction>\n    <scene_description>BRIMMER watches the scene through BINOCULARS . He hisses into a WALKIE TALKIE .<\/scene_description>\n    <character>BRIMMER<\/character>\n    <dialogue>It's going down. Right on time.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GAS STATION - DAY<\/stage_direction>\n    <scene_description>An OLDER MAN sits placidly behind the counter as Judge enters , the door ringing a BELL .<\/scene_description>\n    <character>OLDER MAN<\/character>\n    <dialogue>If you want gas my nephew.<\/dialogue>\n    <character>TYRONE<\/character>\n    <parenthetical>( interrupting . )<\/parenthetical>\n    <dialogue>Where's your bathroom.<\/dialogue>\n    <character>OLDER MAN<\/character>\n    <dialogue>Out back.<\/dialogue>\n    <scene_description>Judge stands , stock still , sweating . The Man cocks his head , strangely . Adrenaline raging , Judge PULLS a GUN .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Open the god damn register!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PANTHER VAN - DAY<\/stage_direction>\n    <scene_description>Impatient Tyrone drums his fingers on the dash .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>How long can a piss take?<\/dialogue>\n    <scene_description>Gene SHRUGS .<\/scene_description>\n    <character>GENE<\/character>\n    <dialogue>Hey. I got one for ya. Two brothers are taking a leak off the Bay Bridge. First one says, `` Damn, this water's cold.'' Other one just smiles and goes, `` Yeah and deep too.''<\/dialogue>\n    <scene_description>Tyrone CHUCKLES , suddenly his face DROPS .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>What the fuck?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GAS STATION - DAY<\/stage_direction>\n    <scene_description>SIRENS LIGHTS . Half a dozen POLICE CARS swoop down on the filling station . Fast , like storm troopers , the cops pull TYRONE and GENE from the van , roughing them up .<\/scene_description>\n    <character>BRIMMER<\/character>\n    <parenthetical>( pushing through . )<\/parenthetical>\n    <dialogue>Watch the faces Goddamit! We want them recognizable.<\/dialogue>\n    <scene_description>Tyrone SHOVES a cop away from him . Brimmer DRAWS his .38 , training it calmly between Tyrone 's eyes .<\/scene_description>\n    <character>BRIMMER<\/character>\n    <dialogue>Easy boy. Or I will blow you right away.<\/dialogue>\n    <character>TYRONE<\/character>\n    <parenthetical>( putting up his hands . )<\/parenthetical>\n    <dialogue>We have n't done nothing! Why do n't you fascist pigs stop harassing us?<\/dialogue>\n    <character>BRIMMER<\/character>\n    <dialogue>Harassment my ass, pal. You just stuck up this station. We got a witness.<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>What kind of bullshit.<\/dialogue>\n    <character>ROOKIE COP<\/character>\n    <dialogue>I'll go get the other one.<\/dialogue>\n    <character>BRIMMER<\/character>\n    <dialogue>No! Get the bastards cuffed, I got him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK OF STATION - DAY<\/stage_direction>\n    <scene_description>Brimmer dashes around the corner . He bangs on the BATHROOM DOOR . Nothing . He puts his mouth to the door .<\/scene_description>\n    <character>BRIMMER<\/character>\n    <parenthetical>( hoarse whisper . )<\/parenthetical>\n    <dialogue>It's me Brimmer. Get the fuck out of here.<\/dialogue>\n    <scene_description>Judge BOLTS out of the toilet . Brimmer FIRES over his head . Judge runs fast through the weeds , up the hill . THE ROOKIE COP sprints around the corner , AIMING at Judge . Brimmer BUMPS him . The shot fires wide . Judge DISAPPEARS over the hill .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE STATION - DAY<\/stage_direction>\n    <scene_description>REPORTERS swarm the steps . DORSETT , basking in the camera 's glow , smugly addresses them .<\/scene_description>\n    <character>DORSETT<\/character>\n    <dialogue>Today's arrest exposes the Black Panthers for what they truly are. common criminals. Yes, we have a group of the so called revolutionaries in custody right now. Caught red handed robbing a local business. And as soon as our witness gives us a positive identification, we'll file charges of armed robbery with intent to kill.<\/dialogue>\n    <character>NEWSMAN<\/character>\n    <dialogue>Sir. was anybody hurt?<\/dialogue>\n    <character>DORSETT<\/character>\n    <parenthetical>( turning back inside . )<\/parenthetical>\n    <dialogue>I have no further comment.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DORSETT'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Flushed with victory , Dorsett strides into his office . Pissed , Rodgers looks up from a TELETYPE .<\/scene_description>\n    <character>DORSETT<\/character>\n    <dialogue>I want it duly noted, that this operation was entirely under the auspices of the Oakland Police Department. The FBI does n't have a monopoly on agents infiltrating enemy organizations, my friend. As I've said before, Agent Rodgers, we have things under control in our city.<\/dialogue>\n    <character>RODGERS<\/character>\n    <dialogue>Are you finished?<\/dialogue>\n    <character>DORSETT<\/character>\n    <dialogue>No I'm not. I'd like to say, frankly and off the record, that I resent the Bureau's presence here. `` Advisory Basis'' or not. And, once we get these boys put away and the Panthers permanently discredited, I'd appreciate it if you'd leave us to take care of our own. Now I'm finished.<\/dialogue>\n    <scene_description>Rodgers fixes Dorsett with a stony glare .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SEEDY STREET - NIGHT<\/stage_direction>\n    <scene_description>Fast , head down , JUDGE moves through Oakland 's skid row , heading for an ABANDONED GARAGE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LINE UP ROOM - DAY<\/stage_direction>\n    <scene_description>Actually the line up room is two chambers . Dorsett and Rodgers enter the smaller room . BRIMMER , haggard , smoking , beckons Dorsett to a corner . Rodgers sticks by the door . Brimmer WHISPERS to Dorsett , we ca n't hear the conversation but obviously The Chief does n't like it . In the FOREGROUND , THE MAN from the gas station stands in front of TWO WAY GLASS - A UNIFORM cop at his side . TYRONE AND GENE stand on the line up platform on the opposite side of the two way glass . Dorsett and Brimmer move to the man . We see now that he 's staring blankly at the Panthers .<\/scene_description>\n    <character>DORSETT<\/character>\n    <dialogue>Brimmer, what are you telling me?<\/dialogue>\n    <scene_description>The uniform cop WAVES his hand in front of the man 's face .<\/scene_description>\n    <character>UNIFORMED COP<\/character>\n    <dialogue>He's blind chief. Could n't I.D. his own mother.<\/dialogue>\n    <character>BRIMMER<\/character>\n    <parenthetical>( sheepishly . )<\/parenthetical>\n    <dialogue>He just stands in for his nephew during lunch.<\/dialogue>\n    <scene_description>Dorsett TURNS , locking eyes with Rodgers . Fixing Dorsett with a WITHERING GLARE , Rodgers walks out the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROSE'S GARAGE - DAY<\/stage_direction>\n    <scene_description>Rose 's place - the back of a chop shop - is a forest of BOTTLES and CAR SEATS . An OLD TV blares a NEWSCAST : `` Panthers Freed '' complete with a PHOTO of Tyrone and Gene .<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>This cool the heat off you any?<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <parenthetical>( rising . )<\/parenthetical>\n    <dialogue>But I'm sure I'll find out. Rose, you did me solid.<\/dialogue>\n    <scene_description>Judge PULLS some BILLS from his pocket .<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>Unh. Unh Man. I do n't take no money from friends that need help. Fuck no. What do you think I am a bum?<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Not at all.<\/dialogue>\n    <parenthetical>( gripping Rose 's hand . )<\/parenthetical>\n    <dialogue>I'll catch you later.<\/dialogue>\n    <scene_description>Rose - something big on his mind - STOPS Judge at the door .<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>Judge. I. I shoulda told you this before but. well. fuck.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>It was Sabu killed Cy.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Where is he?<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>Ai n't no one seen him.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Why did n't you tell me?<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>Did n't want folks to think I was a snitch. You know?<\/dialogue>\n    <scene_description>PAIN creases Judge 's face .<\/scene_description>\n    <character>JUDGE<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Yeah man. I know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRINTING PLANT - DAY<\/stage_direction>\n    <scene_description>The Panthers are celebrating . TYRONE and the others release while the paper gets printed . BOB DYLAN 's `` Ballad of a Thin Man '' PLAYS . Huey , wine in one hand , grooves to the music<\/scene_description>\n    <character>HUEY<\/character>\n    <parenthetical>( to Tyrone . )<\/parenthetical>\n    <dialogue>Shit. check this out.<\/dialogue>\n    <character>SONG<\/character>\n    <parenthetical>( over . )<\/parenthetical>\n    <dialogue>. something is happening here.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>But you do n't know what it is Mr. Jones. See Dylan is hip. The part about the geeks getting the worst jobs, that's like us, man. Black folks always get given the lowest shit.<\/dialogue>\n    <character>TYRONE<\/character>\n    <parenthetical>( with purpose . )<\/parenthetical>\n    <dialogue>Yeah man, but where's Judge?<\/dialogue>\n    <character>HUEY<\/character>\n    <parenthetical>( pointedly . )<\/parenthetical>\n    <dialogue>You know I think Brother Judge needs our support right now, not our suspicion.<\/dialogue>\n    <parenthetical>( picking up paper off the press . )<\/parenthetical>\n    <dialogue>This is beautiful man. Folks around here never read the truth like this before.<\/dialogue>\n    <scene_description>TYRONE is just about to speak , when ELDRIDGE who 's been bustling around escorts Huey into a basket chair , replacing his wine glass and paper with a spear and rifle . Tyrone stares after them as ALMA comes over .<\/scene_description>\n    <character>HUEY<\/character>\n    <dialogue>El Rage what's with all the Zulu shit?<\/dialogue>\n    <character>ELRIDGE<\/character>\n    <dialogue>We can no longer let the white media control our image. We got ta let the people know what we are about ourselves.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>That's what our newspaper will do.<\/dialogue>\n    <character>ELDRIDGE<\/character>\n    <dialogue>But lots of our people do n't read, man. They need strong imagery to help them out.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>Yeah. then should n't this be all of us together.<\/dialogue>\n    <character>ELDRIDGE<\/character>\n    <parenthetical>( propping up a shield . )<\/parenthetical>\n    <dialogue>Trust me Huey, this picture will be worth a thousand words. Now have you given any thought to that Peace and Freedom Party thing. They really want to hook up with us. Do a rally together. Hell it'd broaden our base of visibility.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>Yeah, but aligning with white organizations. I'm not sure now's the time.<\/dialogue>\n    <character>ELDRIDGE<\/character>\n    <dialogue>The time, my friend, is what Sartre called, `` the moment the match is being put to the fuse.'' Question is, is the hand holding that match gon na be black or white.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>no full fledge alliance. But I think we should do a rally with them. Show that there's some common ground between Black and White. You all with that?<\/dialogue>\n    <parenthetical>( everyone nods . )<\/parenthetical>\n    <dialogue>All right then Eldridge, set it up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANTI WAR DEMONSTRATION - DAY<\/stage_direction>\n    <scene_description>TITLE : OAKLAND INDUCTION CENTER OCTOBER 20 , 1967 By far this is the largest rally we 've seen . Police stand in RIOT FORMATION as a HUGE CROWD looks up to a podium near the center 's steps .<\/scene_description>\n    <character>CROWD<\/character>\n    <dialogue>Hell No! We wo n't go! Hell No! We wo n't go!<\/dialogue>\n    <scene_description>HUEY , TYRONE , ALMA , ELDRIDGE and a contingent of Panthers hold precise formation at the side of the platform as AVAKIAN , a sandy haired young man finishes his speech .<\/scene_description>\n    <character>AVAKIAN<\/character>\n    <dialogue>Not long ago, we came to these steps to protest. We were four thousand then. Tonight we are ten thousand.<\/dialogue>\n    <scene_description>A HUGE ROAR rises from the crowd .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JUDGE'S PLACE - DAY<\/stage_direction>\n    <scene_description>The ROAR continues over as Judge approaches his DOORWAY , a CAR glides to the curb . BRIMMER - eyes red - rimmed with hate - stares out . JUDGE BOLTS , running fast down an alleyway and turns the corner . Screeching tires , two uniformed cops in a SQUAD CAR blast out of nowhere , sealing the exit , weapons drawn . Brimmer PULLS UP on the curb . In seconds he 's got Judge face down on the hood , CUFFED . Brimmer SMACKS Judge 's head against the car .<\/scene_description>\n    <character>BRIMMER<\/character>\n    <dialogue>Thanks a lot Motherfucker, that blind man was real cute.<\/dialogue>\n    <scene_description>Brimmer drags Judge toward an ALLEY .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANTI WAR DEMONSTRATION - DAY<\/stage_direction>\n    <character>AVAKIAN<\/character>\n    <dialogue>Ten thousand different voices. All unified, saying one thing. That you can not have an imperialistic war abroad and social peace at home. So with that unity, that purpose in mind. Ladies and Gentlemen I give you the Minister of Defense of the Black Panther Party - Huey Newton.<\/dialogue>\n    <scene_description>APPLAUSE .<\/scene_description>\n    <character>HUEY<\/character>\n    <dialogue>Thank you. The Black Panther Party is proud to be here tonight. Here in front of this monument to oppression both at home and abroad. Not far from here, Brother Bobby Seale is locked down.<\/dialogue>\n    <scene_description>Shouts go up , `` Yeah Bobby ! '' `` Set the brother free ! ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY - DAY<\/stage_direction>\n    <scene_description>Brimmer pushes Judge up against the wall .<\/scene_description>\n    <character>HUEY<\/character>\n    <parenthetical>( over . )<\/parenthetical>\n    <dialogue>A victim of the tyranny we feel here at home.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANTI WAR DEMONSTRATION - DAY<\/stage_direction>\n    <character>HUEY<\/character>\n    <dialogue>That same tyranny is at work many miles from here. In Vietnam. Black men are dying there, white men are dying there. Yellow men are dying there. We're told they're dying in the name of freedom.<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>Freedom. Well, now if their blood's keeping us free. How come so many of us - like Bobby - are in jail. If they're dying so we can enjoy our rights, how come the police still kill us in the streets?<\/dialogue>\n    <scene_description>Angry YELLS rise , agreeing with Huey .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY - DAY<\/stage_direction>\n    <scene_description>Brimmer lays into Judge , hitting him in the gut . Defenseless , CUFFED , Judge takes each brutal punch .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANTI-WAR DEMONSTRATION - DAY<\/stage_direction>\n    <character>HUEY<\/character>\n    <dialogue>So, when you think about it. The question we have to ask is. Why should the Black man go fight the Yellow man for the White man? It's that simple. The answer's simple too.<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>We should n't!<\/dialogue>\n    <scene_description>THE CROWD CHEERS<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY - DAY<\/stage_direction>\n    <scene_description>CHEERS ringing out , Brimmer 's hands work for pain .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANTI-WAR DEMONSTRATION - DAY<\/stage_direction>\n    <character>HUEY<\/character>\n    <dialogue>The Black Panther Party is opposed to the war in Vietnam! We know our war is here. Against hard drugs in the community. Against unemployment. Against a system that beats a Black man in his home, then sends him to die in a foreign land. That my brothers and sisters, is our war.<\/dialogue>\n    <scene_description>Ten thousand unite in THUNDEROUS APPLAUSE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY - DAY<\/stage_direction>\n    <scene_description>Crumpled on the ground , Judge 's doubled up in pain . Brimmer UNCUFFS him and WALKS AWAY . Over , the APPLAUSE rises to a deafening pitch .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - DAY<\/stage_direction>\n    <scene_description>Brimmer stalks down the hall , unhappy . FBI guys in suits are EVERYWHERE - pulling teletypes , on the phones . They 're like an occupying army .<\/scene_description>\n    <character>BRIMMER<\/character>\n    <parenthetical>( passing a doorway . )<\/parenthetical>\n    <dialogue>What the fuck?<\/dialogue>\n    <character>RODGERS<\/character>\n    <parenthetical>( over . )<\/parenthetical>\n    <dialogue>Brimmer! Could you come in here please?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE - DAY<\/stage_direction>\n    <scene_description>Rodgers has set himself up in a command center . Across from him DORSETT sits like a whipped dog .<\/scene_description>\n    <character>RODGERS<\/character>\n    <dialogue>Sit down, This concerns you too.<\/dialogue>\n    <parenthetical>( pulls out a Black Panther newspaper . )<\/parenthetical>\n    <dialogue>I do n't need to say that your department's handling of the Black Panthers - particularly Inspector Brimmer's `` undercover operation'' has been a complete travesty.<\/dialogue>\n    <character>BRIMMER<\/character>\n    <dialogue>Just hold on a god damn minute. I.<\/dialogue>\n    <scene_description>Ignoring Brimmer , Rodgers passes the PAPERS to Dorsett .<\/scene_description>\n    <character>RODGERS<\/character>\n    <dialogue>These are memos from the commissioner, the mayor and Hoover himself, putting the Black Panthers and their subversive activities under the full jurisdiction of the Bureau.<\/dialogue>\n    <character>DORSETT<\/character>\n    <parenthetical>( reading . )<\/parenthetical>\n    <dialogue>Jesus.<\/dialogue>\n    <character>RODGERS<\/character>\n    <dialogue>As far as Mr. Hoover is concerned the worst has happened, the Panthers have unified with other organizations - most likely sponsored by communists - to undermine the war in Vietnam.<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>By doing so, they have quite simply guaranteed their own extinction.<\/dialogue>\n    <scene_description>Rodgers studies Dorsett and Brimmer 's incredulous faces .<\/scene_description>\n    <character>RODGERS<\/character>\n    <dialogue>Of course we welcome any cooperation the your department has to `` offer.''<\/dialogue>\n    <scene_description>Jimi Hendrix 's `` Machine Gun '' plays as the cops move in for the kill .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MEETING HALL - NIGHT<\/stage_direction>\n    <scene_description>A BOMB crashes through the window . Yells , Chaos , Then an EXPLOSION .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAN FRANCISCO PANTHER HQ - DAY<\/stage_direction>\n    <scene_description>Cops BATTER down a door , storming the place . They BURN papers , destroy FOOD for the breakfast program . It looks and feels like a modern day version of Kristalnacht .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OAKLAND PANTHER HQ - NIGHT<\/stage_direction>\n    <scene_description>TYRONE and LITTLE BOBBY stand out front . A SQUAD CAR passes . White faces gaze stonily at Black . A cop points his finger like a GUN at the Panthers .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>Cops SLAP NEWSPAPERS from Gene 's hand , pushing him up against the wall .<\/scene_description>\n    <character>COP<\/character>\n    <dialogue>What's your name punk?<\/dialogue>\n    <character>GENE<\/character>\n    <dialogue>Five.<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>What?!?!?<\/dialogue>\n    <character>GENE<\/character>\n    <dialogue>Five!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HUEY'S VW - NIGHT<\/stage_direction>\n    <scene_description>Gene spins out his tale to HUEY . Jimi Hendrix plays in the background<\/scene_description>\n    <character>GENE<\/character>\n    <dialogue>And I keep saying `` Five'' like the fifth amendment you know? And shit this cop is getting pissed. But there ai n't much he can do. So. dig this, he gives me a ticket for littering, on account of the papers he ripped outta my hand.<\/dialogue>\n    <scene_description>Huey notices `` cherry tops '' red glow in the rear view mirror .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>TITLE : OAKLAND SATURDAY OCTOBER 28 , 1967 A SQUAD CAR sits , lights FLASHING , behind HUEY 'S VOLKSWAGEN . The belligerent BABY - FACED COP from the showdown on Grove Street - settles his flashlight beam on HUEY . GENE , sitting next to Huey , looks very nervous .<\/scene_description>\n    <character>BABY FACED COP<\/character>\n    <dialogue>Well, well, well, what do we have here, the great Huey P. Newton.<\/dialogue>\n    <parenthetical>( a smile . )<\/parenthetical>\n    <dialogue>Get out of the car.<\/dialogue>\n    <scene_description>Huey holds up his LAW BOOK .<\/scene_description>\n    <character>HUEY<\/character>\n    <parenthetical>( calmly and carefully . )<\/parenthetical>\n    <dialogue>California law does not require the driver to leave a vehicle, unless he is being placed under arrest.<\/dialogue>\n    <character>BABY FACED COP<\/character>\n    <dialogue>Well, then you're under arrest get out of the car.<\/dialogue>\n    <scene_description>Baby Face pulls his REVOLVER .<\/scene_description>\n    <character>GENE<\/character>\n    <dialogue>Huey.<\/dialogue>\n    <scene_description>Huey moves out of the car very , very slowly - his life depending on it .<\/scene_description>\n    <character>HUEY<\/character>\n    <dialogue>I am not resisting arrest. Nor am I armed. Any use of force on your part is illegal.<\/dialogue>\n    <parenthetical>( holding up BOOK . )<\/parenthetical>\n    <dialogue>according to California.<\/dialogue>\n    <character>BABY FACED COP<\/character>\n    <dialogue>You can take that law book and shove it up your ass nigger.<\/dialogue>\n    <scene_description>ANOTHER SQUAD CAR pulls up . A NERVOUS PATROLMAN gets out . His hand HOVERS over his pistol .<\/scene_description>\n    <character>NERVOUS COP<\/character>\n    <dialogue>Hey. whatcha got.<\/dialogue>\n    <scene_description>Baby Face COCKS his .38 . Huey stiffens . TENSION .<\/scene_description>\n    <character>BABY FACED COP<\/character>\n    <dialogue>Buddy, we just got ourselves a promotion.<\/dialogue>\n    <scene_description>There 's a SOUND , GENE 'S getting out of the car .<\/scene_description>\n    <character>BABY FACED COP<\/character>\n    <dialogue>You! Get the fuck back in.<\/dialogue>\n    <parenthetical>( moves the gun . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>GUNFIRE rings out . Hitting Huey in the gut . BABY FACE , also wounded , drops . The NERVOUS COP has freaked out and is shooting wildly . Bleeding HUEY crawls toward BABY FACE 'S GUN . He grabs it , turning it on the NERVOUS COP . MORE GUNFIRE . Chaos . Screaming . Splattered with BLOOD , THE LAW BOOK lies on the ground , bearing an inscription on the flyleaf : HUEY P. NEWTON .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - HOSPITAL - NIGHT<\/stage_direction>\n    <scene_description>Huey 's HANDCUFFED to a GURNEY , being wheeled fast through the hall . I.V. 's hang . Blood is everywhere . COPS hover malevolently over his spread - eagled form . Cops COVER HUEY 'S FACE with a towel , then start viciously BEATING HUEY . Doctors and Nurses look on impotently .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PANTHER HQ - MORNING<\/stage_direction>\n    <scene_description>Tears streak Alma 's face . TYRONE , JUDGE and the other Panthers sit solemnly . NEWSPAPERS cover every surface blaring : COP SLAIN PANTHER LEADER WOUNDED IN SHOOT - OUT . In the background , Panthers put Huey 's WICKER CHAIR poster in the window . Eldridge 's got his ear glued to a PHONE .<\/scene_description>\n    <character>ELDRIDGE<\/character>\n    <parenthetical>( to the others . )<\/parenthetical>\n    <dialogue>The pigs are going for Murder one.<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>Right with Bobby getting out, they try to put Huey in the gas chamber. Damn.<\/dialogue>\n    <character>LITTLE BOBBY<\/character>\n    <dialogue>Please Huey stay alive<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALAMEDA COUNTY JAIL - DAY<\/stage_direction>\n    <scene_description>In a MOS sequence , JACKSON a Black Trustee leads Bobby Seale - dressed in STREET CLOTHES - down the windy halls . Bobby holds a FILE of RELEASE PAPERS . Seale comes to the doorway of the INFIRMARY . HUEY lies there , beaten and bloody . The two men LOCK EYES , each raising a FIST in salute .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - FREE HUEY MEETING - NIGHT<\/stage_direction>\n    <scene_description>Bobby enters . The auditorium is empty except for Cleaver , Tyrone , and Little Bobby .<\/scene_description>\n    <character>BOBBY SEALE<\/character>\n    <parenthetical>( shocked . )<\/parenthetical>\n    <dialogue>Where's everybody?<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>We had over a hundred people, just on the `` Free Huey'' Defense Committee alone until we chose a lawyer.<\/dialogue>\n    <scene_description>CHARLES GARRY , a white man in a crumpled suit move across the gym floor towards them .<\/scene_description>\n    <character>BOBBY SEALE<\/character>\n    <dialogue>Can he free Huey?<\/dialogue>\n    <character>ELDRIDGE<\/character>\n    <dialogue>If anybody can, he's the man.<\/dialogue>\n    <scene_description>Bobby Seale SHAKES Garry 's hand .<\/scene_description>\n    <character>BOBBY SEALE<\/character>\n    <parenthetical>( to the Panthers . )<\/parenthetical>\n    <dialogue>Brothers the struggle has begun. We need allies and we need'em fast. Eldridge?<\/dialogue>\n    <character>ELDRIDGE<\/character>\n    <dialogue>I'm on it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STEPS - ALAMEDA COUNTY JAIL - DAY<\/stage_direction>\n    <scene_description>TITLE : JANUARY 10 , 1968 Panther FLAGS fly - now bearing the words `` FREE HUEY . '' A nonstop RALLY\/VIGIL of Panthers and Black Folks covers the steps . WHITE FOLKS wear `` HONKIES FOR HUEY . '' buttons . Uniformed COPS stare out from the jail 's GLASS DOORS .<\/scene_description>\n    <character>CROWD<\/character>\n    <dialogue>Black is beautiful\/FREE HUEY! \/ Set our warrior free\/FREE HUEY! \/ Black is beautiful\/FREE HUEY\/Set our warrior free.<\/dialogue>\n    <scene_description>Bobby Seale stands next to Eldridge and other BLACK ACTIVISTS near a microphone . A very intense , wiry man in sunglasses approaches the mike - STOKELY CARMICHAEL . Carmichael 's speaking style is unique , his slow low - key drawl underscoring the incendiary nature of the words .<\/scene_description>\n    <character>CARMICHAEL<\/character>\n    <dialogue>We say that Huey P. Newton is a prisoner of war. Many people say that that's not true. Or that the Party is exaggerating. I think it's clear, it's crystal clear that the United States has declared war on Black people. She did that when she took the first black man from Africa.<\/dialogue>\n    <scene_description>The Crowd ROARS in approval , raising Black FISTS .<\/scene_description>\n    <character>CARMICHAEL<\/character>\n    <dialogue>Now of course, she never came out and said the words, `` I declare war on Black people. She did not do that. Well now, the United States to this day has not declared war on Vietnam, but there is Vietnam. They did not declare war on North Korea but they fought in North Korea. And they did not declare war against the Indians. They just wiped them out.<\/dialogue>\n    <scene_description>MORE applause , even non - Panthers pick up on the message .<\/scene_description>\n    <character>CARMICHAEL<\/character>\n    <dialogue>So we must define our position. We are at war. Huey P. Newton, Minister of Defense, is our leader. He is in jail. He is a prisoner of war. We must get him by any means necessary. If we can not get him, we must, we must retaliate. Period.<\/dialogue>\n    <scene_description>CHEERS , a CALL rises from the crowd - plain in it 's message : `` Free Huey . '' Over and over again . `` Free Huey . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PANTHER HQ - DAY<\/stage_direction>\n    <scene_description>A bee hive of activity , Bobby mans the phone . Tyrone , Alma and Judge open a BOX - containing FREE HUEY BUTTONS .<\/scene_description>\n    <character>ELDRIDGE<\/character>\n    <dialogue>Man, we ca n't make enough of these things. We got movie stars calling up, asking how they can help. I tell you sister it's nation time.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>Yeah I wish we did n't need no pins. Wish Huey was here right now.<\/dialogue>\n    <character>JUDGE<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Me too.<\/dialogue>\n    <scene_description>Tyrone fixes Judge with an INQUISITIVE STARE .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>You sure about that. brother?<\/dialogue>\n    <scene_description>At the door LITTLE BOBBY - amazed - YELLS to the others .<\/scene_description>\n    <character>LITTLE BOBBY<\/character>\n    <dialogue>Brothers! Sisters! Come here. This, you got ta see.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PANTHER OFFICE - DAY<\/stage_direction>\n    <scene_description>A GOOD SIZED NEIGHBORHOOD group caries FOOD inside . OLDER MEN , kids , BOBBY HUTTON 'S MOM . In the front walks RITA . Judge pushes to the front , his jaw drops . He exchanges a probing LOOK with his mom .<\/scene_description>\n    <character>RITA<\/character>\n    <dialogue>You all been working so much. you know. Me and some others thought you might be missing the home cooking.<\/dialogue>\n    <scene_description>MRS. HUTTON taps a finger to his `` Free Huey '' button .<\/scene_description>\n    <character>MRS. HUTTON<\/character>\n    <dialogue>Hey. you got any more of those.<\/dialogue>\n    <scene_description>LAUGHTER rises as the Panthers usher their folks in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RODGERS OFFICE - DAY<\/stage_direction>\n    <scene_description>Rodgers , obviously getting an earful over the phone , splutters excuses and explanations .<\/scene_description>\n    <character>RODGERS<\/character>\n    <dialogue>Granted, the Free Huey thing has become a bit of a rallying cry for the left.<\/dialogue>\n    <character>HOOVER<\/character>\n    <parenthetical>( over . )<\/parenthetical>\n    <dialogue>Rallying cry, it's an insurrection. Seale, that god damned Cleaver, Where the hell do these guys come from?<\/dialogue>\n    <character>RODGERS<\/character>\n    <dialogue>Well. like they say, there's a Panther born every minute in the ghetto. Uh. we seem to have `` underestimated'' the support of the Black community. It's their power base.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOOVER'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Hoover takes a couple moments before saying his next words .<\/scene_description>\n    <character>HOOVER<\/character>\n    <dialogue>Well, then we're going to take that power away from those bastards.<\/dialogue>\n    <character>RODGERS<\/character>\n    <parenthetical>( over . )<\/parenthetical>\n    <dialogue>You mean.<\/dialogue>\n    <character>HOOVER<\/character>\n    <dialogue>Yes, that's exactly what I mean. And Agent Rodgers? This conversation never occurred.<\/dialogue>\n    <scene_description>Hoover HANGS UP .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FISHING BOAT - DAY<\/stage_direction>\n    <scene_description>MEN wander the decks as RODGERS and DORSETT stare off the bow at the Bay . TONY keep an eye on them from a distance .<\/scene_description>\n    <character>DORSETT<\/character>\n    <dialogue>Rodgers. this is no good.<\/dialogue>\n    <character>RODGERS<\/character>\n    <dialogue>Cut the crap, you've been taking the man's money for years. Now it's time you earned it.<\/dialogue>\n    <scene_description>A booming VOICE grabs their attention .<\/scene_description>\n    <character>TRAFFICANTE<\/character>\n    <parenthetical>( over . )<\/parenthetical>\n    <dialogue>Gentlemen! Forgive me for keeping you.<\/dialogue>\n    <scene_description>An immaculately dressed man - LOUIS TRAFFICANTE - steps out . Smooth as silk , his every movement spells Mafia .<\/scene_description>\n    <character>TRAFFICANTE<\/character>\n    <dialogue>Odd is n't it Chief Dorsett? No matter how much we try to deny it, we find ourselves on the same side of the coin. It's almost funny.<\/dialogue>\n    <scene_description>Trafficante settles easily into a deck chair . Dorsett 's looking mildly indignant .<\/scene_description>\n    <character>DORSETT<\/character>\n    <dialogue>To be quite honest it turns my stomach.<\/dialogue>\n    <character>RODGERS<\/character>\n    <dialogue>Neither your stomach or your opinion matters here Dorsett. What matters is that Mr. Trafficante and the Bureau have come up with a solution to our Panther Problem. One might say. The Final Solution.<\/dialogue>\n    <character>TRAFFICANTE<\/character>\n    <dialogue>Well put. As you and Agent Rodgers know, my organization has moved into narcotics. It was decided that this product would be confined to the ghettos. However, you and your police department has made operations in Oakland impossible. I take delivery of shipments and they sit. I - and my associates - lose money. Vast sums of money. Now, you have some very large problems with the Black community.<\/dialogue>\n    <character>RODGERS<\/character>\n    <dialogue>More like a revolution. West Oakland's turning into hostile territory.<\/dialogue>\n    <character>TRAFFICANTE<\/character>\n    <dialogue>I assure you the pacifying properties of Heroin are quite remarkable. See, junkie's politics are different from yours and mine. For them the only Party's the next fix.<\/dialogue>\n    <character>DORSETT<\/character>\n    <dialogue>Dealing dope. And you want the department to turn a blind eye while you turn Oakland into a city of zombies.<\/dialogue>\n    <character>TRAFFICANTE<\/character>\n    <dialogue>Not the entire city, just one troublesome part.<\/dialogue>\n    <character>DORSETT<\/character>\n    <dialogue>And what if it spreads to the rest of the population?<\/dialogue>\n    <character>TRAFFICANTE<\/character>\n    <dialogue>Relax, Chief. That will never happen. I got ta little gypsy in me. Soon the moolies gon na be too busy - we'll sell'em a few guns too - blowing each others brains out over the stuff to be fucking with protests. Now I've got the product. What I need is a center of operation and someone to oversee the movement of the product. Not one of my people but a native, someone inside the community.<\/dialogue>\n    <character>RODGERS<\/character>\n    <dialogue>I do n't think that will be any problem.<\/dialogue>\n    <character>DORSETT<\/character>\n    <dialogue>You talk as if this thing's already been decided.<\/dialogue>\n    <scene_description>Rodgers hits Dorsett with a piercing GLARE .<\/scene_description>\n    <character>RODGERS<\/character>\n    <dialogue>It has.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RITA'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>JUDGE and LITTLE BOBBY sit , finishing dinner as Rita bustles around clearing DISHES , being a mom . In the background , the TV plays , its sound turned down .<\/scene_description>\n    <character>RITA<\/character>\n    <dialogue>Glad to see you boys eat like that. No wonder either you're both looking like scarecrows. Do n't sleep, do n't eat, ai n't no way to live.<\/dialogue>\n    <character>LITTLE BOBBY<\/character>\n    <dialogue>It's good to be skinny, easier to run from fat cops.<\/dialogue>\n    <parenthetical>( his eye catching the TV . )<\/parenthetical>\n    <dialogue>Hey what's that?<\/dialogue>\n    <scene_description>Casually , everyone glances at the television . HORROR hit RITA 'S face .<\/scene_description>\n    <character>RITA<\/character>\n    <dialogue>Oh no. Dr. King.<\/dialogue>\n    <scene_description>CLOSE UP : TELEVISION - KING ASSASSINATION FOOTAGE : The balcony . Abernathy , Young , Jackson POINT to where the shots came from as Dr. King bleeds on the cement .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RITA'S BROWNSTONE - DAY<\/stage_direction>\n    <scene_description>Everyone stares at the television . Rita has dropped a BOWL on the floor . Little Bobby 's face is covered with TEARS .<\/scene_description>\n    <character>RITA<\/character>\n    <dialogue>Oh lord, please god no. No.<\/dialogue>\n    <character>LITTLE BOBBY<\/character>\n    <dialogue>They killed him. He never hurt nobody. They killed him.<\/dialogue>\n    <scene_description>FOOTAGE : America EXPLODES into riot .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARKET STREET - DAY<\/stage_direction>\n    <scene_description>The Panthers trot over to where THREE YOUNG MEN face a SMALL GROCERY . One 's holding a GAS CAN .<\/scene_description>\n    <character>YOUNG MAN<\/character>\n    <dialogue>That's right burn the mother down.<\/dialogue>\n    <scene_description>REVEREND SLOCUM steps from the shadows .<\/scene_description>\n    <character>SLOCUM<\/character>\n    <dialogue>Hold on there, exactly what are you boys doing?<\/dialogue>\n    <character>YOUNG MAN<\/character>\n    <dialogue>Sending a message. They shoot Dr. King. we burn them.<\/dialogue>\n    <character>SLOCUM<\/character>\n    <dialogue>What good's burning our neighborhood down.<\/dialogue>\n    <character>YOUNG MAN #2<\/character>\n    <dialogue>Fuck you.<\/dialogue>\n    <scene_description>It gets TENSE . Then a voice come from a SIDE STREET .<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Brother. you best clean out your head, or we will do it for you.<\/dialogue>\n    <scene_description>Turning , the young man spots a CADRE of Panthers - Tyrone , Alma , and Little Bobby moving toward them .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>Reverend's right, you burn the neighborhood, you're just doing the pig's work for him. And we sure as hell ai n't gon na stand for that. Dig?<\/dialogue>\n    <scene_description>Eyeing the deadly serious Panthers , the men back down .<\/scene_description>\n    <character>YOUNG MAN<\/character>\n    <dialogue>I dig. But how we gon na let'em know we ai n't gon na take this shit.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>You know where Black Panther headquarters is? You come on down there, speak your mind, listen. Organize.<\/dialogue>\n    <character>YOUNG MAN<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>TYRONE<\/character>\n    <parenthetical>( grabbing the can . )<\/parenthetical>\n    <dialogue>Later for that. be there.<\/dialogue>\n    <scene_description>Rev. Slocum gazes at the Panthers with new respect as they head off into the night .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PANTHER HEADQUARTERS - NIGHT<\/stage_direction>\n    <scene_description>Tense , angry , the PANTHERS meets . Flanked by two PANTHER BODYGUARDS , ELDRIDGE speaks pure rage .<\/scene_description>\n    <character>ELDRIDGE<\/character>\n    <dialogue>No more words! No more god damn words! No more sitting, no more praying for the pig to stop killing us. Later for lying down. Later for waiting to get shot like dogs. Nonviolence has died in Memphis, died with Dr. King. We must retaliate. We've got the fucking guns, it's time to use them.<\/dialogue>\n    <character>BODYGUARD<\/character>\n    <dialogue>Off the pig man. Off the god damn pig.<\/dialogue>\n    <scene_description>Bobby Seale - his eyes steely - INTERRUPTS .<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Brother Eldridge. I hear you. But I disagree. And we both know Huey disagrees too. Yeah, we got the guns, but the Pigs got more. The Pig has got the National Guard. I'm not afraid to fight. But we are n't stupid either. We got to be smart, not angry.<\/dialogue>\n    <character>ELDRIDGE<\/character>\n    <dialogue>Later for that.<\/dialogue>\n    <character>TYRONE<\/character>\n    <parenthetical>( pissed . )<\/parenthetical>\n    <dialogue>No man. later for you! What? We gon na forget Huey and his trial? Start killing pigs, start the revolution now. With our leader in jail? We do that and Huey's a dead man. We're all dead. No man, we stay cool.<\/dialogue>\n    <character>ELDRIDGE<\/character>\n    <dialogue>What? You giving me orders now?<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>Just telling you what it is.<\/dialogue>\n    <character>ELDRIDGE<\/character>\n    <dialogue>Fuck that. It's time to intensify the struggle. That is what it is.<\/dialogue>\n    <scene_description>Indignant , Eldridge storms out - his guards follow .<\/scene_description>\n    <character>BOBBY<\/character>\n    <parenthetical>( watching them leave . )<\/parenthetical>\n    <dialogue>Fuck.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VISITING ROOM - DAY<\/stage_direction>\n    <scene_description>Bobby Seale - haggard , concerned - faces HUEY under the watchful eye of a GUARD .<\/scene_description>\n    <character>HUEY<\/character>\n    <dialogue>You got to sit on Eldridge.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Man, El - Rage is El - Rage. You know him.<\/dialogue>\n    <character>HUEY<\/character>\n    <dialogue>Yeah, I do, but he's got ta cool it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - OAKLAND - NIGHT<\/stage_direction>\n    <scene_description>TITLE : OAKLAND CALIFORNIA APRIL 6 , 1968 SMALL HOUSES sit quietly on this tree lined street , as . Car full of cops screeches into frame blasting ELDRIDGE fires back . A couple of other Panthers scatter as Eldridge pulls LITTLE BOBBY towards a house for safety .<\/scene_description>\n    <character>ELDRIDGE<\/character>\n    <dialogue>C'mon.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BASEMENT - NIGHT<\/stage_direction>\n    <scene_description>ELDRIDGE tumbles down STAIRS , LITTLE BOBBY right behind him . They hunker down in the basement , sweating . Eldridge checks his legs - BLOOD soaks his pants .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - NIGHT<\/stage_direction>\n    <scene_description>HALF A DOZEN police cars screech to a stop in front of the house . Cops POP up , armed to the teeth .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT - NIGHT<\/stage_direction>\n    <scene_description>BULLETS tear through the room as Eldridge and Little Bobby hit the deck . It 's a ferocious volley of fire , hundreds of shells pouring through the thin walls .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - NIGHT<\/stage_direction>\n    <scene_description>For a second the GUNFIRE STOPS . A SERGEANT makes a motion to his men . TEAR GAS rifles appear . The COPS fire gas canisters THROUGH the basement walls .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT - NIGHT<\/stage_direction>\n    <scene_description>Smoke chokes the room , as Little Bobby and Eldridge , blinded hacking , crawl along the floor .<\/scene_description>\n    <character>LITTLE BOBBY<\/character>\n    <dialogue>Papa E, we got to get out of here.<\/dialogue>\n    <scene_description>Eldridge THINKS for a second .<\/scene_description>\n    <character>ELDRIDGE<\/character>\n    <dialogue>Take off your clothes.<\/dialogue>\n    <character>LITTLE BOBBY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ELDRIDGE<\/character>\n    <parenthetical>( undressing . )<\/parenthetical>\n    <dialogue>Take'em off. Pigs ai n't gon na shoot an unarmed, naked man. Where they gon na say you hid a gun.<\/dialogue>\n    <character>LITTLE BOBBY<\/character>\n    <dialogue>No man I ca n't.<\/dialogue>\n    <character>ELDRIDGE<\/character>\n    <dialogue>Later for that. Just do it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - NIGHT<\/stage_direction>\n    <scene_description>HANDS UP , Eldridge and Little Bobby emerge from the house . Eldridge 's NAKED , Little Bobby 's fully CLOTHED . Cops descend on them , grabbing them .<\/scene_description>\n    <character>COP#1<\/character>\n    <parenthetical>( pointing to a car . )<\/parenthetical>\n    <dialogue>Go on, get in that car fuckers, and do n't try nothing.<\/dialogue>\n    <scene_description>Moving very slowly , Eldridge heads for the car .<\/scene_description>\n    <character>ELDRIDGE<\/character>\n    <dialogue>I am not resisting arrest!<\/dialogue>\n    <scene_description>Suddenly , a COP SHOVES Little Bobby forward . He stumbles a bit , out in the open , EXPOSED . A VOLLEY of SHOTS rips through Little Bobby . Tearing him up , KILLING him in moments .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE CAR - NIGHT<\/stage_direction>\n    <scene_description>Next to the car , Eldridge stares horrified at Little Bobby 's ruined body . A SERGEANT stands nearby . A COP approaches the Sergeant holding a .22 PISTOL .<\/scene_description>\n    <character>COP<\/character>\n    <dialogue>He was going for this.<\/dialogue>\n    <character>ELDRIDGE<\/character>\n    <parenthetical>( disgusted . )<\/parenthetical>\n    <dialogue>Motherfuckers.<\/dialogue>\n    <scene_description>Wham ! The Sergeant PISTOL WHIPS Eldridge into unconsciousness The SCREEN goes BLACK .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PANTHER HQ - DAY<\/stage_direction>\n    <scene_description>Opposite the HUEY poster , a new IMAGE hangs - LITTLE BOBBY 's picture . A memorial to a Panther 's martyr .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETERY - DAY<\/stage_direction>\n    <scene_description>A SMALL CASKET lowers into the ground . Panthers pay their respects . The CROWD with JUDGE , ALMA , TYRONE , RITA , AND REV. SLOCUM disperses .<\/scene_description>\n    <character>ALMA<\/character>\n    <dialogue>Little Bobby. Just a kid.<\/dialogue>\n    <character>TYRONE<\/character>\n    <parenthetical>( somber . )<\/parenthetical>\n    <dialogue>They're hurting us, baby. Huey locked up. Bobby Seale running all over the country holding things together. Cy dead. Little Bobby. I do n't recognize half the faces at meetings.<\/dialogue>\n    <scene_description>Tyrone 's eyes JUDGE suspiciously .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>` Cept him.<\/dialogue>\n    <scene_description>Strain showing on his face , BOBBY SEALE heads over .<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Look. I got ta get on a plane tonight. Huey's trial's starting. I need you to make sure there's a strong Panther Presence there.<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>What about Cleaver? You got him out on bail, did n't you?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yeah. but well, things are too hot. Eldridge and Kathleen.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY - DAY<\/stage_direction>\n    <scene_description>Tyrone watches from the window of ELDRIDGE 'S PLYMOUTH as Eldridge and Kathleen climb out of the car and into the back of an old pickup truck .<\/scene_description>\n    <character>BOBBY<\/character>\n    <parenthetical>( over . )<\/parenthetical>\n    <dialogue>. they're gon na disappear.<\/dialogue>\n    <scene_description>FOOTAGE : NEWSPAPER JULY 15 , 1968 The headline reads : NEWTON TRIAL BEGINS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PANTHER HQ - DAY<\/stage_direction>\n    <scene_description>An absolute MADHOUSE of activity , Alma , Judge and Tyrone juggle phones , fill boxes with pins . Everywhere the words : FREE HUEY can be seen .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAREHOUSE - NIGHT<\/stage_direction>\n    <scene_description>Rodgers and Dorsett sit facing TWO BLACK MEN , one is named SHORTY , the other we can not see . Dorsett looks ill . He pops a TUMS . BRIMMER 'S there too , looking very unhappy .<\/scene_description>\n    <character>RODGERS<\/character>\n    <dialogue>So you enjoy your little `` vacation?''<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I tell you, Vegas do n't have much flavor. But it was alright. Good to get back to the neighborhood though.<\/dialogue>\n    <character>RODGERS<\/character>\n    <dialogue>That's what we wanted to talk to you about. We have a proposition for you. One that will make you the most powerful man in West Oakland.<\/dialogue>\n    <scene_description>The CAMERA MOVES . We see the man Rodgers is talking to - SABU .<\/scene_description>\n    <character>SABU<\/character>\n    <parenthetical>( smiling . )<\/parenthetical>\n    <dialogue>I'm all ears.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAN FRANCISCO BAY - DUSK<\/stage_direction>\n    <scene_description>SUNSET paints the water peaceful colors a night falls .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JUDGE'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>It 's late as Judge lays on his bed , staring at the ceiling , tortured . BOOM ! Judges door flies off its hinges . BRIMMER storms in - mean , drunk . He 's on Judge in a second - handcuffing him .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Hey. what the hell you doing?<\/dialogue>\n    <character>BRIMMER<\/character>\n    <dialogue>Shut up. Just shut the fuck up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAY BRIDGE - NIGHT<\/stage_direction>\n    <scene_description>BRIMMER 'S CAR pulls onto the bridge .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRIMMER'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Apprehensive , Judge eyes Brimmer from the back seat .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Brimmer what's with you man?<\/dialogue>\n    <scene_description>Stone silent , Brimmer takes a deep swig from a PINT BOTTLE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAY BRIDGE - NIGHT<\/stage_direction>\n    <scene_description>Brimmer 's car approaches the center of the Bridge , then KEEPS GOING .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRIMMER'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Judge stares at Brimmer 's back , relieved , confused .<\/scene_description>\n    <character>BRIMMER<\/character>\n    <parenthetical>( mumbling , loaded . )<\/parenthetical>\n    <dialogue>Twenty years asshole. Twenty years on the force. I've seen some fucked up stuff. Done some fucked up stuff.<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>But nothing like this.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAY BRIDGE - NIGHT<\/stage_direction>\n    <scene_description>Brimmer 's car pulls over on the shoulder past the toll booth . He yanks Judge out of the car . Then UNCUFFS him .<\/scene_description>\n    <character>BRIMMER<\/character>\n    <dialogue>Go! Run! Go on! Get the fuck out of here!<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>What? So you can shoot me? Call it resisting arrest?<\/dialogue>\n    <character>BRIMMER<\/character>\n    <dialogue>I ai n't gon na shoot you Judge. Look. it's over. Just run away. Get out. Stay away from Oakland. Cause it's gone. it's gone.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Brimmer you're fucked up.<\/dialogue>\n    <character>BRIMMER<\/character>\n    <dialogue>Yeah. I'm fucked up. You're fucked up. Government's fucked up. Whole country's fucked up. You got no idea what's going on here. This is bigger than you and me. We're just little tiny soldiers getting moved around on some big asshole's desk. The Panthers. fuck you're history. they killed you and you do n't even know it.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Who's they?<\/dialogue>\n    <character>BRIMMER<\/character>\n    <parenthetical>( rambling on getting into his car . )<\/parenthetical>\n    <dialogue>Drugs Judge, they're gon na flood West Oakland with dope. Jack you up and string you out like a two dollar whore. And while the community's shuffling for a fix, they're gon na snuff every Panther they can find.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Who? I mean besides the FBI?<\/dialogue>\n    <character>BRIMMER<\/character>\n    <dialogue>I do n't know. Except, it's one of you. Maybe not a Panther, but it's someone from the neighborhood. Judge. Look, just go. Get away. It's over. You lost.<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>We all lost.<\/dialogue>\n    <scene_description>Brimmer 's car lumbers away , kicking up gravel . Judge - thinking furiously - stares after it . THE BRIDGE looms up in the background , dwarfing Judge .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Fuck that. Ai n't nothing over.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAY BRIDGE - DAWN<\/stage_direction>\n    <scene_description>Judge WALKS across the bridge heading BACK to Oakland .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JUDGE'S PLACE - DAY<\/stage_direction>\n    <scene_description>Judge , weary approaches his building . He spins , startled , as something moves in the alleyway . A voice calls out .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Judge.<\/dialogue>\n    <scene_description>Judge moves into the alley , eyes adjusting to the darkness .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Rose?<\/dialogue>\n    <character>ROSE<\/character>\n    <parenthetical>( scared .<\/parenthetical>\n    <parenthetical>whispering . )<\/parenthetical>\n    <dialogue>Yeah. Look man, what I got ta say. It's just you, me and the rats, right? Alright. well. Sabu's back.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Motherfuck. well then I got something to do.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>No. wait, there's something else, something weird. I hear he's set up down at that warehouse on fifty deuce. He's talking big and living bigger.<\/dialogue>\n    <scene_description>REALIZATION dawns on Judge .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>God damn it's him. I got ta go.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>Judge man. Watch yourself. Sabu's got juice now.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>You do n't even know it man, but you're a god damn hero.<\/dialogue>\n    <scene_description>Judge bolts out the alley . ROSE stares after him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VISITING ROOM - JAIL - DAY<\/stage_direction>\n    <scene_description>MOS : Judge and HUEY TALK EARNESTLY through a GLASS PARTITION .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STEPS - ALAMEDA COUNTY COURTHOUSE - DAY<\/stage_direction>\n    <scene_description>Alma and Tyrone stand at the front of a huge CROWD standing vigil for HUEY 'S trial .<\/scene_description>\n    <character>CROWD<\/character>\n    <dialogue>No more brothers in jail Off the Pig! The pigs are gon na catch hell Off the Pig! Revolution has come Off the Pig! Time to pick up the gun Off the Pig!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>NEWSMEN cover every available seat , frantically writing notes as THE PROSECUTOR finishes examining THE WOUNDED POLICE OFFICER from the shoot - out . CHARLES GARRY , Huey 's lawyer , a WHITE MAN in a rumpled suit , sits next to Huey , with a STRANGE smile on his face .<\/scene_description>\n    <character>PROSECUTOR<\/character>\n    <dialogue>Now you say that it was Huey Newton that opened fire without any provocation What makes you so sure? It was a dark night, there was a lot of confusion.<\/dialogue>\n    <character>WOUNDED COP<\/character>\n    <dialogue>Well, sir I was there.<\/dialogue>\n    <character>PROSECUTOR<\/character>\n    <dialogue>That's right you were.<\/dialogue>\n    <parenthetical>( to the Jury . )<\/parenthetical>\n    <dialogue>He was there. He saw everything. And he is not on trial. He does not need to lie to save his life.<\/dialogue>\n    <parenthetical>( to Garry . )<\/parenthetical>\n    <dialogue>Your witness.<\/dialogue>\n    <character>GARRY<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <parenthetical>( to the Judge . )<\/parenthetical>\n    <dialogue>If it would please the court, I would like to introduce testimony of a new witness. One who is not on trial for his life and. one who was there also. I call Gene McKinney to the stand.<\/dialogue>\n    <scene_description>A MURMUR ripples through the court as Gene McKinney takes the stand . The Prosecutor goes red with rage .<\/scene_description>\n    <character>PROSECUTOR<\/character>\n    <dialogue>Objection, who is this man?<\/dialogue>\n    <character>GARRY<\/character>\n    <dialogue>This is an eyewitness to the shooting. The passenger in Huey Newton's car.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Overruled Mr. Garry you may examine your witness.<\/dialogue>\n    <character>GARRY<\/character>\n    <dialogue>Mr. McKinney, were you a passenger in the car on the night of October 28, 1967.<\/dialogue>\n    <character>GENE<\/character>\n    <dialogue>Yes sir I was.<\/dialogue>\n    <character>GARRY<\/character>\n    <dialogue>And did you witness the shoot - out?<\/dialogue>\n    <character>GENE<\/character>\n    <dialogue>Yes sir, I did.<\/dialogue>\n    <character>GARRY<\/character>\n    <dialogue>From what you saw, did Huey Newton start the shooting?<\/dialogue>\n    <character>GENE<\/character>\n    <dialogue>No sir he did n't.<\/dialogue>\n    <scene_description>More MURMURING , the Prosecutor looks dumbfounded .<\/scene_description>\n    <character>GARRY<\/character>\n    <dialogue>Huh, well then.<\/dialogue>\n    <parenthetical>( a pause . )<\/parenthetical>\n    <dialogue>did someone else start shooting?<\/dialogue>\n    <character>GENE<\/character>\n    <dialogue>I refuse to answer the question on the grounds it might incriminate me.<\/dialogue>\n    <scene_description>The COURTROOM EXPLODES in shock and amazement .<\/scene_description>\n    <character>GARRY<\/character>\n    <dialogue>Did you shoot the officers in question?<\/dialogue>\n    <character>GENE<\/character>\n    <dialogue>Again I'll take the fifth amendment on that question.<\/dialogue>\n    <scene_description>MAYHEM , the Prosecutor begins yelling . The Judge bangs his gavel , and the jury looks very confused .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PANTHER HQ - DAY<\/stage_direction>\n    <scene_description>Excited , ALMA slams down a PHONE . Every set of Panther eyes is on her .<\/scene_description>\n    <character>ALMA<\/character>\n    <dialogue>That was Garry.<\/dialogue>\n    <parenthetical>( smiling . )<\/parenthetical>\n    <dialogue>He says they're gon na come back with manslaughter.<\/dialogue>\n    <character>YOUNG PANTHER<\/character>\n    <dialogue>What's that mean?<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>It means youngblood, Huey's out in less than two years. He ai n't gon na get the chair. He might not be free yet, but brothers and sisters he is not going to die.<\/dialogue>\n    <scene_description>A CHEER ripples through the room . Alma HUGS Tyrone .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>I got ta call Bobby.<\/dialogue>\n    <scene_description>Tyrone reaches for the PHONE , it RINGS before he can pick it up .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>Black Panther Party.<\/dialogue>\n    <character>RODGERS<\/character>\n    <parenthetical>( over . )<\/parenthetical>\n    <dialogue>Congratulations asshole. Huey got off, but we just got your boy Bobby Seale.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY KIDNAPPING (BLACK\/WHITE) - DAY<\/stage_direction>\n    <scene_description>POLICE CARS on a highway force a PANTHER wedding caravan off the road . Guns drawn , cops rip SEALE from the car , dragging him on his back toward an UNMARKED CAR .<\/scene_description>\n    <character>TYRONE<\/character>\n    <parenthetical>( over . )<\/parenthetical>\n    <dialogue>Who the fuck is this?<\/dialogue>\n    <character>RODGERS<\/character>\n    <parenthetical>( over . )<\/parenthetical>\n    <dialogue>The tooth fairy. And I got a present for you. Guy who helped us get Bobby His name's Judge.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PANTHER H.Q. - DAY<\/stage_direction>\n    <scene_description>Click , the line goes dead . Tyrone smacks the phone into it 's cradle . GRIM - FACED , Tyrone looks to ALMA .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROSE'S - NIGHT<\/stage_direction>\n    <scene_description>Something moves outside , Rose turns dropping his wine . It 's Sabu and Shorty . Sabu fires . killing Rose and his dog .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PANTHER HQ - NIGHT<\/stage_direction>\n    <scene_description>Judge moves into the dark , senses on alert . Something 's wrong . Suddenly he 's attacked . He flips his assailant as the light snap on . Tyrone has Judge in a choke hold , Alma has him at gun point .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Fuck is up?!<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>Mothafucker! You just set Bobby Seale up to be kidnapped. They dragged him off to some bullshit conspiracy trial in Chicago. How much the pigs pay you for this one, Judge?<\/dialogue>\n    <parenthetical>( pulling out his gun and cocking it . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Judge 's HAND flies out , grabbing ahold of Tyrone 's GUN HAND . Neither moving a muscle , Judge STARES at Tyrone .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>You got it wrong.<\/dialogue>\n    <scene_description>Alma , puts her 38 to Judge 's face .<\/scene_description>\n    <character>ALMA<\/character>\n    <dialogue>Let him go. And drop your piece.<\/dialogue>\n    <scene_description>Outgunned , Judge obeys .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GROVE STREET - NIGHT<\/stage_direction>\n    <scene_description>TWO COP CARS move slowly toward Panther HQ .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COP CAR - NIGHT<\/stage_direction>\n    <scene_description>An ANGRY COP lights a cigarette as his partner drives past Panther HQ .<\/scene_description>\n    <character>ANGRY COP<\/character>\n    <dialogue>Ca n't believe that rat bastard ai n't going to the chair. That Newton turd should be taken out and shot.<\/dialogue>\n    <scene_description>Pointing to the WICKER POSTER , the driver SMILES .<\/scene_description>\n    <character>PARTNER<\/character>\n    <dialogue>How about a little target practice?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PANTHER HQ - NIGHT<\/stage_direction>\n    <scene_description>Glaring at Judge , Tyrone 's finger TIGHTENS on the TRIGGER .<\/scene_description>\n    <character>JUDGE<\/character>\n    <parenthetical>( dead serious . )<\/parenthetical>\n    <dialogue>You better just kill me Tyrone. And when Huey gets out, when Oakland's just wall to wall junkies, you tell him you blew away the only chance we all got. I'm sure he'll be real happy about that.<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>What are you saying?<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>The pigs are gon na start flooding us with dope. Huey wants us to stop them.<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>Bullshit.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>Tyrone hold on.<\/dialogue>\n    <scene_description>BLAM ! A shot from outside shatters the window . The trio dives for cover . Another SHOT wings ALMA .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PANTHER HQ - NIGHT<\/stage_direction>\n    <scene_description>Out front , FOUR COPS in two cars , FIRE on the OFFICE . Bullets rip into the POSTERS of HUEY and LITTLE BOBBY .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PANTHER HQ - NIGHT<\/stage_direction>\n    <scene_description>Tyrone , gun still on Judge , huddles on the floor . Screeching tires can be heard outside , the COPS LEAVING .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>Chickenshits? What you bring your buddies with you?<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>No man No! Tyrone listen. we got to move man, they got a warehouse.<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>Shut the fuck up!<\/dialogue>\n    <scene_description>Alma APPEARS her left arm BLOODY .<\/scene_description>\n    <character>ALMA<\/character>\n    <dialogue>Tyrone.<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>Oh shit Alma. you're.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>I'm okay. listen to me.<\/dialogue>\n    <parenthetical>( serious . )<\/parenthetical>\n    <dialogue>Let's go with Judge, check it out.<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>What?!? Do n't tell me you're buying this?<\/dialogue>\n    <scene_description>A tense moment , Alma looks from Judge to Tyrone .<\/scene_description>\n    <character>ALMA<\/character>\n    <dialogue>Yeah, I believe him. And you do too.<\/dialogue>\n    <scene_description>After a moment of thought , Tyrone RISES . Then he picks up JUDGE 's .45 . Alma GRABS her own GUN .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>Alright, but no fucking around.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WAREHOUSE - NIGHT<\/stage_direction>\n    <scene_description>TWO BLACK THUGS stand on opposite sides of the warehouse doors , checking out the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELDRIDGE'S CAR - NIGHT<\/stage_direction>\n    <scene_description>TYRONE - in the passenger seat , a gun on Judge - stares at the warehouse from the car . Alma , her arm ROUGHLY BANDAGED sits in back .<\/scene_description>\n    <character>ALMA<\/character>\n    <dialogue>Those ai n't cops.<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>And they sure ai n't from the neighborhood. Figure Sabu's in there?<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Yeah with a whole load of drugs. So, you trust me now?<\/dialogue>\n    <scene_description>Tyrone takes his .38 off Judge , then COCKS Judge 's .45 and HANDS it to him<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>Brother, I ai n't got a choice.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAREHOUSE OFFICE - NIGHT<\/stage_direction>\n    <scene_description>SABU is talking quietly with TRAFFICANTE 's right hand man , TONY . SHORTY and THREE BURLY BLACK BODYGUARDS stand nearby . Suddenly Sabu hears and sound and pulls his gun .<\/scene_description>\n    <character>SHORTY<\/character>\n    <dialogue>Fuck was that?<\/dialogue>\n    <character>SABU<\/character>\n    <dialogue>Check the back.<\/dialogue>\n    <scene_description>Suddenly gunfire rips out . Tony disappears as Shorty gets taken down . One of the THUGS nails Tyrone in the shoulder , Judge retaliates blasting him backwards .<\/scene_description>\n    <character>JUDGE<\/character>\n    <parenthetical>( helping Tyrone up . )<\/parenthetical>\n    <dialogue>You alright?<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>Not really. Gim me the keys for the trunk.<\/dialogue>\n    <scene_description>ALMA moves shakily from the BACK SEAT .<\/scene_description>\n    <character>TYRONE<\/character>\n    <parenthetical>( to Alma . )<\/parenthetical>\n    <dialogue>Stay here, watch this door. Anybody besides me and Judge steps out kill them.<\/dialogue>\n    <scene_description>Alma - ever the soldier - NODS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAREHOUSE<\/stage_direction>\n    <scene_description>Warily , Judge and Tyrone step in . Tyrone 's BLEEDING heavily . Judge holds a GAS CAN . It 's quiet . Too quiet .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>There it is.<\/dialogue>\n    <scene_description>On a TABLE in the corner of the DARK warehouse sits BOXES , VIALS and a stack of GLASSINE BAGS - filled with POWDER .<\/scene_description>\n    <character>JUDGE<\/character>\n    <parenthetical>( handing the CAN over . )<\/parenthetical>\n    <dialogue>Shut the motherfucker down. I'll find Sabu.<\/dialogue>\n    <scene_description>Tyrone moves to the table . A BULLET hits him in the leg . Another rips into Judge , dropping him to the floor .<\/scene_description>\n    <character>SABU<\/character>\n    <parenthetical>( over . )<\/parenthetical>\n    <dialogue>You just did.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAREHOUSE - NIGHT<\/stage_direction>\n    <scene_description>Tyrone drops , his GAS CAN spilling out over the floor . Judge ROLLS - operating like a soldier - emptying the .45 into the BODYGUARD # 1 . Sabu and the other BODYGUARDS disappear into the SHADOWS . EJECTING the clip from the .45 and slams a fresh one in . He gets to his feet , LIMPING into the DARKNESS . A NOISE sounds , Judge WHIRLS firing , dropping BODYGUARD # 2 . Judge TURNS coming eye to eye with a .45 , held by a very HIGH SABU .<\/scene_description>\n    <character>SABU<\/character>\n    <dialogue>Drop the gun Panther man.<\/dialogue>\n    <scene_description>Pistol pushed against Judge 's skull , Sabu moves around to Judge 's side . Judge DROPS the gun .<\/scene_description>\n    <character>SABU<\/character>\n    <dialogue>All your mighty militant bullshit, man you do n't know what fucking time it is do you? Dig it.<\/dialogue>\n    <parenthetical>( holding up a bag of COCAINE . )<\/parenthetical>\n    <dialogue>this is power baby.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Sabu you sorry motherfucker.<\/dialogue>\n    <character>SABU<\/character>\n    <dialogue>Sorry? Not me not now. This is my time not yours. Black Panthers? Who the fuck are you. Promising everything to everyone. Well fuck that. I got mine. Now y' all get yours. brother.<\/dialogue>\n    <scene_description>Sabu COCKS the gun . Judge SPINS , batting Sabu 's gun hand away .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>You ai n't my fucking brother!<\/dialogue>\n    <scene_description>BULLETS tear through Sabu as TYRONE fires from the ground .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>Damn straight.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAREHOUSE - NIGHT<\/stage_direction>\n    <scene_description>Judge and Tyrone help each other up . From BEHIND a CRATE , the SECOND BODYGUARD bolts toward the DOOR . GUNFIRE blares out , blasting the BODYGUARD across the room . ALMA appears in the doorway .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>Alma I told you to.<\/dialogue>\n    <character>ALMA<\/character>\n    <parenthetical>( icy calm . )<\/parenthetical>\n    <dialogue>Fuck that, we've got company.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WAREHOUSE - NIGHT<\/stage_direction>\n    <scene_description>POLICE CARS pull up in front . Armed to the teeth with RIOT GUNS , half a dozen COPS take up position behind the cars .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAREHOUSE - NIGHT<\/stage_direction>\n    <scene_description>Alma - hidden in the shadows - watches the windows . Behind her . Tyrone - BADLY HURT - leans against the wall next to her . Behind them Judge finishes pouring out the GAS CAN .<\/scene_description>\n    <character>ALMA<\/character>\n    <dialogue>Judge. hurry!<\/dialogue>\n    <scene_description>Throwing that can away , Judge SMILES at Tyrone .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Hey, brother you got a match?<\/dialogue>\n    <scene_description>GUN SHOTS rip through the walls as the cops OPEN FIRE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WAREHOUSE - NIGHT<\/stage_direction>\n    <scene_description>Riot Guns pour lead into the building a la the Fred Hampton massacre . Today , the police are taking no prisoners . Behind the POLICE , RODGERS watches the mayhem , SHAKING his head . Whatever the outcome , the operation 's OVER . Alone , he WALKS back to his car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAREHOUSE - NIGHT<\/stage_direction>\n    <scene_description>Tyrone CRAWLS across the floor , leaving a trail of BLOOD , toward Judge and Alma .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Motherfuckers.<\/dialogue>\n    <character>TYRONE<\/character>\n    <parenthetical>( hurt bad . )<\/parenthetical>\n    <dialogue>Look. You. take her and get the hell out of here. I'll keep'em busy.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>TYRONE<\/character>\n    <parenthetical>( to Judge . )<\/parenthetical>\n    <dialogue>You got ta. You got ta stay alive. You know what they were trying to do here. You got the pigs dead to rights. It's like Huey said, you're more important than any of us.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>We'll all get out of here together.<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>Later for that. I'm done either way.<\/dialogue>\n    <scene_description>Another BARRAGE of bullets rips through the walls . One GRAZES Tyrone 's ARM . His GUN slides across the floor . The PISTOL settles ominously in front of Alma . She looks over it at Tyrone . Their eyes LOCK .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>Go.<\/dialogue>\n    <scene_description>Click ! Clack ! Faster than a thought , Alma checks , clears and COCKS the pistol . She HANDS it to Tyrone . Tragic understanding flows between them . Grabbing the pistol , Tyrone SCOOTS across the floor .<\/scene_description>\n    <character>ALMA<\/character>\n    <dialogue>Tyrone!<\/dialogue>\n    <scene_description>Near the door , Tyrone turns to Judge and raises his fist .<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>Power to the people.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WAREHOUSE - NIGHT<\/stage_direction>\n    <scene_description>FLAMES leaping up behind him , TYRONE , pure defiance , steps out and FACES the cops . The IMAGE FREEZES . GUNFIRE cuts through the air . The moment is frozen , in time , in history , in legend . Slowly , the IMAGE dissolves . Fading into .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PANTHER HEADQUARTERS<\/stage_direction>\n    <scene_description>SUPERIMPOSED over the WAREHOUSE FLAMES , the bullet - riddled posters of HUEY and LITTLE BOBBY stare out , like a legacy . or a warning .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLOSE-UP: SIDEWALK - DAY<\/stage_direction>\n    <scene_description>CONCRETE , cracked and dirty , fills the frame . A SMALL FOOT steps onto the pavement .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 55TH AND MARKET - DAY<\/stage_direction>\n    <scene_description>A STOPLIGHT hangs at the once deadly intersection . SCHOOL KIDS wait at the corner . The light CHANGES and they step safely into the street .<\/scene_description>\n    <character>JUDGE<\/character>\n    <parenthetical>( over . )<\/parenthetical>\n    <dialogue>The community got the streetlight. finally. But the way I see it.<\/dialogue>\n    <scene_description>THE SCREEN GOES BLACK . A TITLE APPEARS IN 1970 THERE WERE 300,000 ADDICTS IN THE U.S. YESTERDAY , THERE WERE 3 MILLION .<\/scene_description>\n    <character>JUDGE<\/character>\n    <parenthetical>( over . )<\/parenthetical>\n    <dialogue>The struggle continues.<\/dialogue>\n    <scene_description>THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"The film focuses on the rise and decline of the Black Panther Party for Self-Defense, known as the Black Panthers, during the era of Black Power and disenchantment with passive resistance as a tool in the civil rights movement. It explores the FBI's COINTELPRO program, which was a farflung effort to track and disrupt African-American political movements. The drama alleges that various Mob networks cooperated directly with U.S. intelligence (FBI\/CIA) agency representatives to \"flood\" inner-city ghettos, which contained majority black populations, with hard drugs such as heroin and cocaine. The ending's structure and concluding voice-over alleges that The Mob (possibly Italian) in the United States agreed to produce and distribute quantities of these types of drugs on an unprecedentedly large scale. Purportedly, only agreed-upon \"problem areas\" of Black Panthers' potential support would be targeted, so as to \"pacify\" those populations. The movies further suggests that the huge quantities of drugs quickly spilled out of the \"problem areas\" and became the drug epidemic in the U.S. of the 1980s and 1990s. The final lines shown in the film's closing note that in the 1970s, there were hundreds of thousands of hard-drug addicts, a number that had increased to the \"3 million\" of \"yesterday\". It is dedicated to the Black Panther Party's main figures, the communities that supported them, and those who might continue the struggle today."}
{"movie_name":"Lost Highway_1997","imdb_id":"tt0116922","script":"<script>\n  <scene>\n    <stage_direction>EXT. TWO-LANE HIGHWAY - NIGHT<\/stage_direction>\n    <scene_description>We see a clean moving POV illuminated by headlights . We 're floating down an old two - lane highway through a desolate , desert landscape . This gliding , eerie POV continues as credits roll . when the credits end , the headlights seem to dim and soon we 're moving through BLACKNESS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE MADISON HOUSE - BEDROOM - DAY<\/stage_direction>\n    <scene_description>in the blackness , a man , FRED , is sitting on a bed smoking a cigarette . we see his back , but with each glow of the cigarette ash , we see his face reflected in a mirror on the wall across from him . In the darkness , there starts the sound of a motor which draws curtains back across a large picture window just off screen . As the curtain moves , hard - edged light begins crawling across the room , and we see everything clearly . Fred is wearing a robe and pajamas , it 's early morning . CLOSE UP ON FRED 'S FACE IN THE MIRROR - Blank expression - face somewhat obscured or distorted by smoke from the cigarette . CLOSE UP 0N FRED 'S ACTUAL FACE - Unshaven , haggard look , eyes seem empty , glazed over . Fred is 32 years old , with dark hair . THE DOORBELL RINGS . Fred looks up , startled by the noise . He looks at the digital clock : 5:30 a.m. FRED STANDS , goes to an INTERCOM on the wall next to the mirror . He pushes a button . A VOICE comes over the intercom .<\/scene_description>\n    <character>VOICE OVER INTERCOM<\/character>\n    <dialogue>Dick Laurent is dead.<\/dialogue>\n    <scene_description>Fred leaves the bedroom and goes through the house . He is on the upstairs level . He looks through a narrow slot window , but ca n't see the front door below . He goes further in the house to a picture window that overlooks the street below . There is NOBODY there .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE MADISON HOUSE - DAY<\/stage_direction>\n    <scene_description>We can see Fred standing at the picture window , looking out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  THE MADISON HOUSE - LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Fred is dressed to go out : Black sport coat and slacks , buttoned up white shirt . He picks up a music case . A woman comes into the room . This is Fred 's wife , RENEE , 30 years old , dark hair , dressed smartly , a drink in her hand .<\/scene_description>\n    <character>RENEE<\/character>\n    <dialogue>You do n't mind that I'm not coming tonight?<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>What are you going to do?<\/dialogue>\n    <character>RENEE<\/character>\n    <dialogue>I thought I'd stay home and read.<\/dialogue>\n    <scene_description>Fred looks her over , she 's sexy without trying .<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>Read? Read what, Renee?<\/dialogue>\n    <scene_description>Renee sits down on a couch and sips her drink . Fred comes over to her , kisses her on the neck , which makes her laugh .<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>It's nice to know I can still make you laugh.<\/dialogue>\n    <character>RENEE<\/character>\n    <dialogue>I like to laugh, Fred.<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>That's why I married you.<\/dialogue>\n    <character>RENEE<\/character>\n    <dialogue>Wake me up when you get home.<\/dialogue>\n    <scene_description>Fred brushes her cheek with his fingers , allowing them to linger for a moment on her face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  CITY STREET - NIGHT<\/stage_direction>\n    <scene_description>A blue neon sign reads : LUNA LOUNGE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  LUNA LOUNGE - NIGHT<\/stage_direction>\n    <scene_description>Fred is on the bandstand . He takes a solo on his saxophone . Fred plays hot , hard , neo - bop . The BAND wails madly behind him . The PATRONS explode onto the dance floor , making it a wild scene . Fred Is a lion now , roaring away on his tenor , driving everyone nuts .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  LUNA LOUNGE - LATER<\/stage_direction>\n    <scene_description>After the band quits to take a break , FEMALE FANS come onto Fred , but he moves away , refusing their attentions .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  LUNA LOUNGE - BACKSTAGE - LATER<\/stage_direction>\n    <scene_description>Fred dials a pay phone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. The MADISON HOUSE - NIGHT<\/stage_direction>\n    <scene_description>We move through the empty living room - empty bedroom , etc. . The ringing telephone goes unanswered .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUNA LOUNGE - BACKSTAGE - NIGHT<\/stage_direction>\n    <scene_description>LOSE UP 0N FPED 'S FACE as he listens to the ringing . Sweat is still rolling off his face . His eyes are blank .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE MADISON HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Fred 's car pulls up in the driveway in front of his house . Fred gets out , and goes into the house carrying his music case .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE MADISON HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Fred puts down his music case , goes to the bedroom , and sees Renee sleeping soundly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE MADISON HOUSE - DOORSTEPS - DAY<\/stage_direction>\n    <scene_description>Renee in a bathrobe , opens the front door to collect the mail . She sees a plain , clean , manila envelope lying on the step . She picks it up . CLOSE UP ON THE ENVELOPE - No stamp , no writing , blank . She takes the mail from the box , and goes back into the house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE MADISON HOUSE - LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Renee opens the manila envelope . She 's noticeably nervous when she sees a videotape inside . She stares at it . Fred enters , also wearing a bathrobe . He sees Renee staring at the videotape - before she hears him enter . When she does hear him , her eyes jerk away from the tape .<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>RENEE<\/character>\n    <dialogue>A videotape.<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Who's it from?<\/dialogue>\n    <character>RENEE<\/character>\n    <dialogue>I do n't know. There's no return address on the envelope. In fact, there's no address on it.<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Does it say anything on the tape?<\/dialogue>\n    <character>RENEE<\/character>\n    <parenthetical>( looking it over . )<\/parenthetical>\n    <dialogue>No, nothing.<\/dialogue>\n    <scene_description>Fred walks over and picks up the tape .<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>Well, let's see what's on it.<\/dialogue>\n    <scene_description>Fred takes the tape to the VCR . He inserts it into the machine , and turns it on . Fred goes toward the couch .<\/scene_description>\n    <character>FRED<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <parenthetical>( to Renee . )<\/parenthetical>\n    <dialogue>Come on.<\/dialogue>\n    <scene_description>They sit on the couch in front of the television . The TV monitor : We begin on the TV , then the videotape fills the entire frame . The videotape shows the front of THE MADISON HOUSE , the camera panning slowly over it . The picture is accompanied by an eerie DRONING SOUND . After the camera pans back to the front door , the tape image turns to snow . Fred and Renee stare at the snow for a few moments . Renee looks relieved .<\/scene_description>\n    <character>RENEE<\/character>\n    <dialogue>It must be from a real estate agent.<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Maybe.<\/dialogue>\n    <scene_description>We see a WIDE SHOT encompassing Fred , Renee , and the snowy image on the TV .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE MADISON HOUSE - DINING ROOM - DAY<\/stage_direction>\n    <scene_description>Renee is seated at the dining room table - coffee cup and grapefruit in front of her . She is wearing glasses , reading a book . Fred enters , and sees Renee , who does not look up or acknowledge him . Fred goes into the kitchen , which is just off the dining room . He comes back into the dining room with a cup of coffee , and sits down with it opposite Renee . He lights up a cigarette , sips his coffee , and looks at her .<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>Good book, huh?<\/dialogue>\n    <character>RENEE<\/character>\n    <parenthetical>( she looks up . )<\/parenthetical>\n    <dialogue>Huh? oh, yeah, it is.<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Same one you were reading the other night?<\/dialogue>\n    <character>RENEE<\/character>\n    <dialogue>What night?<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>When you did n't come to the club.<\/dialogue>\n    <character>RENEE<\/character>\n    <dialogue>Oh. Oh, yeah. No. This is a different one.<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>I called, you know.<\/dialogue>\n    <character>RENEE<\/character>\n    <dialogue>Called? When?<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>From the club. You did n't answer.<\/dialogue>\n    <character>RENEE<\/character>\n    <dialogue>I must have fallen asleep. I was asleep when you got home, was n't I?<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>You were asleep when I got home, yes.<\/dialogue>\n    <scene_description>Renee goes back to her book . Fred sips his coffee and smokes .<\/scene_description>\n    <character>RENEE<\/character>\n    <parenthetical>( without looking up . )<\/parenthetical>\n    <dialogue>I told you you could wake me up if you wanted to.<\/dialogue>\n    <scene_description>Renee looks up at him now , takes off her glasses , and stares at him . CLOSE UP OF FRED 'S FACE - a disturbed expression . Renee seems about to say something more , but stops , puts her glasses back on and resumes reading .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE MADISON HOUSE - BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Fred is in bed waiting for Renee . He hears noises from the bathroom - bottles clinking , drawers opening and closing . Renee comes out wearing a robe , which she sheds just before getting into bed . Naked under the covers , she switches out her bedside lamp . The only light in the room comes from the outside , through the windows . Fred moves closer to Renee , puts his lips to her cheek , a hand on her breast . She does not respond . Fred pulls Renee to him , and kisses her passionately . Renee accedes to his demands , but does not participate willingly . He makes love to her voraciously , but her lack of passion disturbs him . Fred ca n't stop , however , and when he comes she acts consolingly , stroking him maternally while he calms down . He climbs off of her and retreats to his side of the bed . CLOSE UP ON FRED 'S EYES - which express his horror and humiliation . They lie there in the dark silence for a while . Fred turns back toward Renee in the darkness .<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>I had a dream about you last night.<\/dialogue>\n    <character>RENEE<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>You were in the house. calling my name. but I could n't find you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE MADISON HOUSE - NIGHT<\/stage_direction>\n    <scene_description>FRED 'S DREAM Fred is walking slowly across the living room . Fred 's POV : moving - searching . Fred stops and listens .<\/scene_description>\n    <character>RENEE<\/character>\n    <parenthetical>( tentatively - distant and off screen . )<\/parenthetical>\n    <dialogue>Fred? Fred, where are you?<\/dialogue>\n    <scene_description>The camera turns slowly back toward the hallway , and as it drifts it RISES UP following along the hall and turning slowly into the bedroom . Renee is lying below in the bed .<\/scene_description>\n    <character>FRED V.0.<\/character>\n    <dialogue>says. Then there you were. lying in bed. but it was n't you. It looked like you. but it was n't.<\/dialogue>\n    <scene_description>The camera suddenly dives violently at Renee - into a TIGHT CLOSE UP . Her face registers TOTAL FEAR .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  THE MADISON HOUSE - BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Fred is lying in bed with Renee , who is now backlit by her bedside lamp . Fred looks at her shadowed face , but it 's not Renee 's face . It 's a face Fred has never seen before . Fred quickly turns and switches on his bedside lamp , and looks quickly back at Renee , whose face is now her own .<\/scene_description>\n    <character>RENEE<\/character>\n    <dialogue>Fred, are you all right?<\/dialogue>\n    <scene_description>Fred reaches out a hand and tenderly touches her face . Renee covers his hand with her own , and closes her eyes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE MADISON HOUSE - DAY<\/stage_direction>\n    <scene_description>Renee finds another envelope on the doorstep . She opens it , pulls out a videotape . A large dog is BARKING incessantly somewhere in the neighborhood . Renee looks around to see if she can see the dog .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE MADIS0N HOUSE - LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Renee brings the videotape upstairs with the rest of the mail . She is a bit puzzled and unsettled . She puts the tape down on a table . She stares at it . Fred comes in .<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>You're up early.<\/dialogue>\n    <character>RENEE<\/character>\n    <dialogue>That dog woke me. I lay there for a while, then decided to get up.<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Who the hell owns that dog?<\/dialogue>\n    <scene_description>Fred notices the tape and manila envelope on the table .<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>What's that? Another tape?<\/dialogue>\n    <character>RENEE<\/character>\n    <dialogue>Yes, I just found it on the step.<\/dialogue>\n    <scene_description>Fred picks it up .<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>Do n't you want to watch it?<\/dialogue>\n    <character>RENEE<\/character>\n    <dialogue>I guess so.<\/dialogue>\n    <scene_description>Fred goes to the VCR and inserts the tape . He turns the television on . He is about to start the tape - he looks up for Renee . She 's hanging back .<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>Well, do you wan na watch it?<\/dialogue>\n    <scene_description>Again , Renee seems to be nervous about what could be on the tape , but she hides this from Fred and walks toward the couch .<\/scene_description>\n    <character>RENEE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Renee sits on the couch . Fred starts the VCR and joins her . As before , we first see it on the TV , then the videotape fills the frame . This tape shows the front of the house , as before , then shows the INTERIOR of Fred and Renee 's house - AT NIGHT . The eerie DRONING SOUND goes throughout . The camera glides at a very high angle near the ceilings looking down as it travels along a hallway and turns into their bedroom , where we see Fred and Renee sleeping . The tape image then goes to snow . Fred and Renee stare at the snowy TV picture . After a few moments of silence , Renee gets up and switches off the set . She is visibly shaken , trembling . She stares fearfully at Fred who seems less disturbed .<\/scene_description>\n    <character>RENEE<\/character>\n    <dialogue>We've got to call the police.<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>All right.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE MADISON HOUSE - LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Renee is on the telephone . Fred is pacing , smoking , behind her .<\/scene_description>\n    <character>RENEE<\/character>\n    <dialogue>yes, I've been on hold for ten minutes. I ca n't. All right, thanks.<\/dialogue>\n    <scene_description>Renee looks around anxiously . Fred gives her his cigarette , which she puffs on . He lights another and continues pacing .<\/scene_description>\n    <character>RENEE<\/character>\n    <dialogue>Hello, yes. Good. My name is Renee Madison. My husband is Fred Madison, the jazz musician. we live at 442 Hollis Street. Right. 442 Hollis. near the observatory. Someone's been in the house. at night. while we were sleeping. I know because they sent, dropped off a videotape. two videotapes. to show us. That's right. Yes. it. the second one. shows us asleep. Someone broke in and taped us while we slept! Is n't that enough? Okay, sure. We will. 442 Hollis. Yes, we'll be here.<\/dialogue>\n    <scene_description>Renee hangs up .<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>RENEE<\/character>\n    <dialogue>Two detectives are coming out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE MADISON HOUSE - LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Two men in suits - the Detectives , ED and AL , are seated on the couch , watching the last part of the second videotape . The screen goes to snow and stays that way for several moments , until Fred shuts it off .<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>That's it.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Let's have a look at the hallway outside the bedroom.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE MADISON HOUSE - HALLWAY - DAY<\/stage_direction>\n    <scene_description>All four of them go to the hallway , where Ed and Al look around , especially up toward the ceiling .<\/scene_description>\n    <character>AL<\/character>\n    <dialogue>Very strange.<\/dialogue>\n    <character>RENEE<\/character>\n    <dialogue>What is?<\/dialogue>\n    <character>AL<\/character>\n    <dialogue>The angle. The high angle shot on the tape.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>How'd the camera get so high like that?<\/dialogue>\n    <character>AL<\/character>\n    <dialogue>And smooth. Almost no movement - back and forth, I mean.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Like you'd get if it was hand held.<\/dialogue>\n    <character>AL<\/character>\n    <dialogue>Right. This just glided along.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE MADISON HOUSE - BEDROOM - DAY<\/stage_direction>\n    <scene_description>The Detectives enter the bedroom . Fred and Renee follow .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>This is the bedroom.<\/dialogue>\n    <scene_description>The Detectives look around without touching anything .<\/scene_description>\n    <character>AL<\/character>\n    <dialogue>Do you always sleep here? In this room? Both of you?<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>This is our bedroom.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>There's no other bedroom?<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>No. There is, I mean, I use it as a practice room. it's soundproofed.<\/dialogue>\n    <character>AL<\/character>\n    <dialogue>You're a musician?<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Yes, I thought my wife.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>What's your axe?<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Tenor. Tenor saxophone. Do you.<\/dialogue>\n    <character>ED<\/character>\n    <parenthetical>( shakes his head . )<\/parenthetical>\n    <dialogue>Tone deaf.<\/dialogue>\n    <character>AL<\/character>\n    <parenthetical>( to Renee . )<\/parenthetical>\n    <dialogue>Do you own a video camera?<\/dialogue>\n    <character>RENEE<\/character>\n    <dialogue>No. Fred hates them.<\/dialogue>\n    <scene_description>The Detectives both look at Fred .<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>I like to remember things my own way.<\/dialogue>\n    <character>AL<\/character>\n    <dialogue>What do you mean by that?<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>How I remember them. Not necessarily the way they happened.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Do you have an alarm system?<\/dialogue>\n    <character>RENEE<\/character>\n    <dialogue>Yes, actually we do. but we have n't been using it.<\/dialogue>\n    <character>AL<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>It kept going off for some reason. False alarms.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Might be a good time to try using it again.<\/dialogue>\n    <character>AL<\/character>\n    <dialogue>Anybody else have a key to the house.<\/dialogue>\n    <character>RENEE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>AL<\/character>\n    <dialogue>Maid? Relative?<\/dialogue>\n    <character>RENEE<\/character>\n    <dialogue>No, one of us is always here to let the maid in. Nobody else has a key.<\/dialogue>\n    <character>ED<\/character>\n    <parenthetical>( to Al. ) Let 's check the doors and windows .<\/parenthetical>\n    <parenthetical>See if there 's been a break - in .<\/parenthetical>\n    <dialogue \/>\n    <scene_description>They all leave the bedroom .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT THE MADISON HOUSE FRONT DOOR - DAY<\/stage_direction>\n    <scene_description>Ed is checking the door for marks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  THE MADISON HOUSE    LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Fred 's POV : He 's watching Ed and Al with Renee who are outside the house , walking around the property , checking it out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE MADISON HOUSE - DRIVEWAY - DAY<\/stage_direction>\n    <scene_description>Ed and Al are standing by an unmarked police car with Fred and Renee . The Detectives are about to depart .<\/scene_description>\n    <character>AL<\/character>\n    <dialogue>We'll keep a watch on the house.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>As best we can.<\/dialogue>\n    <character>AL<\/character>\n    <dialogue>If anything else happens, you'll call us. Al hands Fred a card. Ed hands Renee a card.<\/dialogue>\n    <character>RENEE<\/character>\n    <dialogue>We will.<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Thanks, guys.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>It's what we do.<\/dialogue>\n    <scene_description>Ed and Al get into the car and drive off . Renee and Fred look at each other , warily , then go back into the house . THE CAMERA SLOWLY PANS OVER THE FRONT OF THE HOUSE AS IN THE VIDEOTAPE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUNA LOUNGE - NIGHT<\/stage_direction>\n    <scene_description>Fred is on the bandstand , sweating , and honking his saxophone . He handles the horn roughly , braying like a beast as the CROWD gathered in front of the stage gyrates as one swept away in the madness of the moment .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  LUNA LOUNGE - SAME<\/stage_direction>\n    <scene_description>At the back , near the side door , Renee can be seen with TWO MEN , only one of whose faces we see . The trio are going out the side door led by one of the men ; we see only the back of his head . Renee glances briefly at the bandstand before she exits with the two men .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUNA LOUNGE - BANDSTAND - SAME<\/stage_direction>\n    <scene_description>CLOSE UP OF FRED as he plays , seemingly oblivious to his surroundings . His eyes open and shut as he clamps down on the horn .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUNA LOUNGE - SAME<\/stage_direction>\n    <scene_description>In the back of the club , the side door slowly closes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  THE MADISON HOUSE - STAIRWELL \/ LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Fred is standing in the living room looking in the direction of the stairwell . We HEAR someone 's steps coming up the stairs . It 's Renee , who eventually comes into view . She is holding another manila envelope . She arrives at the top step . She and Fred lock eyes . Fred takes the envelope , opens it , and pulls out a third videotape . without saying anything , Fred takes the tape to the VCR . He inserts it very carefully , slowly . He hits play , turns on the television and he and Renee sit down on the couch together and begin to watch with great apprehension . Again we begin with a WIDE SHOT and then the TV monitor fills the screen : We see the interior of the house at night . The camera glides looking down from a high angle along the hallway and into the bedroom , where Fred and Renee are sleeping . Again , the DRONING SOUND plays throughout . in the bedroom where Fred and Renee are seen sleeping , SUDDENLY , Fred , on the tape , slowly awakens as the camera holds on him . He rises and turns unnaturally in the bed , as if drawn up by his awareness of some strange presence in the room . He comes to a sitting position , his head straining upwards , looking in the direction of the camera . At this point , the videotape image turns to snow .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE MADISON HOUSE - LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Fred and Renee are on the couch . The TV remains on , showing snow . Renee is very upset , crying .<\/scene_description>\n    <character>RENEE<\/character>\n    <dialogue>What the hell is going on?!<\/dialogue>\n    <character>FRED<\/character>\n    <parenthetical>( equally horrified - frightened . )<\/parenthetical>\n    <dialogue>I wish I knew.<\/dialogue>\n    <scene_description>Fred reaches over and tentatively takes Renee 's hand in his . She trembles , allows him to touch her , but otherwise does not respond . Suddenly , she jumps with fright .<\/scene_description>\n    <character>RENEE<\/character>\n    <dialogue>What was that?!<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RENEE<\/character>\n    <dialogue>On the tape! There was something else on the tape.<\/dialogue>\n    <scene_description>Fred gets up and rewinds it , passing an image .<\/scene_description>\n    <character>RENEE<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>There! Play it!<\/dialogue>\n    <scene_description>Fred runs the tape forward . We see snow - then a half - second long MEDIUM SHOT of Fred on his knees near the bedroom wall on Renee 's side of the bed . He is looking directly at the camera - his face a ghastly grimace , contorted . His eyes are WIDE WITH HORROR . Fred runs it back again and FREEZES the tape there on his tormented image . This image fills the screen . He and Renee stare at it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE MADISON HOUSE - LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>The Detectives , with Fred and Renee are seated on chairs and the couch . The three videotapes in their manila envelopes are stacked on a coffee table in the center .<\/scene_description>\n    <character>AL<\/character>\n    <dialogue>You do n't remember being awakened? It looks like you were aware of someone.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Or something.<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>No, I do n't remember anything. it looks like I. but. I do n't remember.<\/dialogue>\n    <character>RENEE<\/character>\n    <dialogue>Why would anyone do something like this?<\/dialogue>\n    <character>AL<\/character>\n    <dialogue>Has anyone made any threats to either of you recently?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Or not so recently?<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>No, not to me.<\/dialogue>\n    <scene_description>Al , Ed and Fred all look at Renee .<\/scene_description>\n    <character>RENEE<\/character>\n    <dialogue>I. no. No. No threats.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>We'll take the tapes with us, if that's all right with you?<\/dialogue>\n    <scene_description>Ed looks at Fred , then Renee , both of whom nod their agreement .<\/scene_description>\n    <character>AL<\/character>\n    <dialogue>We'll see that the patrol of the house is doubled.<\/dialogue>\n    <character>RENEE<\/character>\n    <dialogue>I do n't know if I want to stay here. I do n't feel safe.<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Where would you feel safe?<\/dialogue>\n    <character>RENEE<\/character>\n    <dialogue>I do n't know. maybe a hotel.<\/dialogue>\n    <scene_description>Ed and Al are watching this exchange between Fred and Renee with keen interest . There is a strained silence between them .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Did you use the alarm system since we were here last?<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>The first night. Not the last two.<\/dialogue>\n    <character>AL<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>FRED<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>I forgot. Anyway, I hate the idea of acting paranoid.<\/dialogue>\n    <character>RENEE<\/character>\n    <dialogue>Acting paranoid?! Someone is in our house while we're sleeping, filming us, and you do n't want to act paranoid?! I thought you set the alarm!<\/dialogue>\n    <scene_description>Fred gets up , lights a cigarette , paces .<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>I'll make sure the alarm is set from now on.<\/dialogue>\n    <character>RENEE<\/character>\n    <dialogue>But that does n't solve the problem. Who is doing this? And why?<\/dialogue>\n    <scene_description>Ed and Al rise from their chairs . Ed picks up the envelopes .<\/scene_description>\n    <character>AL<\/character>\n    <dialogue>We'll find out, Mrs. Madison.<\/dialogue>\n    <scene_description>Renee stands with the Detectives . Fred stands apart - his expression , pained and bewildered .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANDY'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>A swinging party is in progress at Andy 's house - the man whose face we saw at the Luna Lounge with Renee . ANDY , 37 years old , a slick guy , is seen moving through the crowd , making small talk , kissing and being kissed . The PEOPLE here are wannabe players , the men mostly shady , gold - chain - wearing , slightly unsavory types ; the women dressed provocatively , big hair and skin - tight dresses . Through sliding glass doors we see nude and semi - nude people cavorting in a swimming pool . Everyone has a drink in his or her hand . Renee finishes her drinkt and hands the empty glass to Fred who walks away with it . Andy grabs Renee , and dances with her . They laugh and talk . Renee appears to be a bit intoxicated . Fred , who appears less than thrilled with the carryings on , makes his way to the open bar where he orders two drinks . When the drinks arrive he drains one of them completely , then sets the empty glass down on the bar . Then he swallows the other drink , too , and sets down the glass . A MYSTERY MAN , tall , well - dressed and groomed , older than Fred , approaches him .<\/scene_description>\n    <character>MYSTERY MAN<\/character>\n    <dialogue>We've met before, have n't we?<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>I do n't think so. Where was it that you think we've met?<\/dialogue>\n    <character>MYSTERY MAN<\/character>\n    <dialogue>At your house. Do n't you remember?<\/dialogue>\n    <character>FRED<\/character>\n    <parenthetical>( surprised . )<\/parenthetical>\n    <dialogue>No, no I do n't. Are you sure?<\/dialogue>\n    <character>MYSTERY MAN<\/character>\n    <dialogue>Of course. In fact, I'm there right now.<\/dialogue>\n    <character>FRED<\/character>\n    <parenthetical>( incredulous . )<\/parenthetical>\n    <dialogue>What do you mean? You're where right now?<\/dialogue>\n    <character>MYSTERY MAN<\/character>\n    <dialogue>At your house.<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>That's absurd.<\/dialogue>\n    <scene_description>The Mystery Man reaches into his coat pocket , takes out a cellular phone and holds it out to Fred .<\/scene_description>\n    <character>MYSTERY MAN<\/character>\n    <dialogue>Call me.<\/dialogue>\n    <scene_description>Fred snickers , like this is a bad joke . The Mystery Man puts the phone into Fred 's hand .<\/scene_description>\n    <character>MYSTERY MAN<\/character>\n    <parenthetical>( CON - T . )<\/parenthetical>\n    <dialogue>Dial your number.<\/dialogue>\n    <scene_description>Fred hesitates , puzzled .<\/scene_description>\n    <character>MYSTERY MAN<\/character>\n    <parenthetical>( CON - T . )<\/parenthetical>\n    <dialogue>Go ahead.<\/dialogue>\n    <scene_description>Fred shrugs , laughs , dials his number . We HEAR a pick up as we stay on FRED 'S FACE .<\/scene_description>\n    <character>PHONE VOICE OF  MYSTERY MAN<\/character>\n    <dialogue>I told you I was here.<\/dialogue>\n    <scene_description>Fred , still holding the phone , stares at the man standing in front of him .<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>How did you do that?<\/dialogue>\n    <scene_description>The Mystery Man points to the phone .<\/scene_description>\n    <character>MYSTERY MAN<\/character>\n    <dialogue>Ask me.<\/dialogue>\n    <scene_description>Fred , mirthful at first , as if it is a party trick of some kind , suddenly turns serious - it 's obvious he 's thinking now of the videotapes . He speaks into the phone .<\/scene_description>\n    <character>FRED<\/character>\n    <parenthetical>( angrily . )<\/parenthetical>\n    <dialogue>How did you get into my house?<\/dialogue>\n    <character>PHONE VOICE OF MYSTERY MAN<\/character>\n    <dialogue>You invited me. It's not my habit to go where I'm not wanted.<\/dialogue>\n    <scene_description>Fred looks at the man in front of him , but speaks again into the phone .<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <scene_description>The man laughs - identical laughs - both over the phone and in person .<\/scene_description>\n    <character>PHONE VOICE OF MYSTERY MAN<\/character>\n    <dialogue>Give me my phone back.<\/dialogue>\n    <scene_description>The man in front of Fred reaches out his hand for the phone . Fred hears the line go dead , and he slowly passes the phone back to the Mystery Man who takes it , folds it , and puts it in his pocket .<\/scene_description>\n    <character>MYSTERY MAN<\/character>\n    <dialogue>It's been a pleasure talking to you.<\/dialogue>\n    <scene_description>The man walks away from Fred . Renee appears and comes up to Fred .<\/scene_description>\n    <character>RENEE<\/character>\n    <dialogue>I thought you were getting me a drink?<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Just a minute.<\/dialogue>\n    <scene_description>He takes Renee by the arm and goes over to the host of the party , Andy . He grabs Andy and points across the room toward the Mystery Man , who is engaged in conversation with OTHER GUESTS .<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>Andy, who is that guy?<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( looking at the Mystery Man . )<\/parenthetical>\n    <dialogue>I do n't know his name. He's a friend of Dick Laurent's, I think.<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Dick Laurent?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Yes, I believe so.<\/dialogue>\n    <character>FRED<\/character>\n    <parenthetical>( remembering something . )<\/parenthetical>\n    <dialogue>But Dick Laurent is dead, is n't he?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>He is? I did n't think you knew Dick. How do you know he's dead?<\/dialogue>\n    <scene_description>Andy and Renee exchange a worried look , which Fred does not notice .<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>I do n't. I do n't know him.<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( angrily . )<\/parenthetical>\n    <dialogue>Dick ca n't be dead. Who told you he was dead?<\/dialogue>\n    <character>RENEE<\/character>\n    <dialogue>Honey, who? Who's dead?<\/dialogue>\n    <scene_description>Fred takes Renee by the arm away from Andy .<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>Let's go home.<\/dialogue>\n    <character>RENEE<\/character>\n    <dialogue>But.<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Now! We're leaving now! I did n't want to come here in the first place.<\/dialogue>\n    <scene_description>Fred drags the reluctant Renee out of Andy 's house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - NIGHT<\/stage_direction>\n    <scene_description>Fred is driving fast and recklessly . Renee is drunk and is smiling at him .<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>How'd you meet that asshole, Andy, anyway?<\/dialogue>\n    <scene_description>Renee stares out the front window - thinks back .<\/scene_description>\n    <character>RENEE<\/character>\n    <dialogue>It was a long time ago. I met him at this place called Moke's. We. became friends. He told me about a job.<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>What job?<\/dialogue>\n    <character>RENEE<\/character>\n    <dialogue>I do n't remember. Anyway, Andy's okay.<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>He's got some fucked up friends.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE MADISON HOUSE - DRIVEWAY - NIGHT<\/stage_direction>\n    <scene_description>Fred and Renee 's car pulls up in front of their house . Fred jumps out of the car .<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>Stay in the car!<\/dialogue>\n    <scene_description>Fred enters the house , careful to turn off the alarm first .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE MADISON HOUSE - NIGHT<\/stage_direction>\n    <scene_description>There are only a couple of dim lights on , the house is mostly dark . Fred moves slowly and carefully through his house - searching each room for a possible intruder . Fred 's POV - moving creepily room by room through the dark house - past the telephone - down the hall to the bedroom . There is NO ONE there . He goes back outside for Renee .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE MADISON HOUSE - DRIVEWAY - NIGHT<\/stage_direction>\n    <scene_description>Renee is standing next to the car , shivering .<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>I told you to stay in the car!<\/dialogue>\n    <character>RENEE<\/character>\n    <dialogue>Why? what is it? Why did you make me wait out here?<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>I thought there might be somebody inside.<\/dialogue>\n    <character>RENEE<\/character>\n    <dialogue>Was there?<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>No. of course not.<\/dialogue>\n    <scene_description>They enter the house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE MADISON HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Fred switches on more lights .<\/scene_description>\n    <character>RENEE<\/character>\n    <dialogue>It's so odd. Waiting out there, I had the strangest feeling. Like this had happened before. I mean, your telling me to stay outside while you went in like that.<\/dialogue>\n    <scene_description>Fred looks at Renee , then continues to look around the house , disturbed , seriously disquieted . Renee , still tipsy , follows him , moving from room to room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE MADISON HOUSE - BEDROOM, ETC. - NIGHT<\/stage_direction>\n    <scene_description>Fred and Renee are preparing to go to bed . Renee goes into the bathroom off the bedroom . Fred takes another look out into the hallway .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE MADISON HOUSE - HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Fred walks down the hallway .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE MADISON HOUSE - LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Fred looks around the dark living room . Then absentmindedly , he begins to inspect objects . He picks up an ashtray and studies it - lost in thought .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE MADISON HOUSE - BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>Renee is washing her face , standing at the sink in her slip .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE MADISON HOUSE - LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Fred is staring at himself in a mirror .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE MADISON HOUSE - BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Renee comes in . Fred is not there . She goes to the door and peeks down the hallway .<\/scene_description>\n    <character>RENEE<\/character>\n    <parenthetical>( tentatively . )<\/parenthetical>\n    <dialogue>Fred? Fred, where are you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE MADISON HOUSE - LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>No one is in the living room now - but a SHADOW moves slowly across a wall .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE MADISON HOUSE - HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Renee 's POV - down the hallway . There is just darkness at the end of the hall . It is EERIE . After a moment , Fred slowly walks out of the darkness toward Renee . He walks out of the shot and the camera remains on the rectangle of darkness at the end of the hall .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE MADISON HOUSE - LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Footsteps can be heard on the stairs . Fred 's head appears at the top of the stairway . He comes up into the living room carrying a manila envelope , like the ones previously received . His expression is strained . He is alone . Fred pulls a videotape out of the envelope and inserts it in the VCR , turns it on . He sits on the couch and watches . We go from a WIDE SHOT to a FULL FRAME SHOT of the video . On the tape is the same nighttime interior of the house , accompanied by the DRONING SOUND . The camera moves eerily down the hall toward the bedroom , sliding at a high angle . The camera turns slowly into the bedroom - looking down . BLOOD is splattered over the floor , bed , walls . The camera drifts . THE DEAD BODY OF RENEE lies on the floor at the foot of the bed . She is badly mutilated . Fred is hovering over her on the tape , ON HIS KNEES , A HORRIFIED , UNBELIEVING EXPRESSION ON HIS FACE . On the tape , Fred turns away from Renee - his hands raised , dripping blood - her blood . His movements are almost mechanical , constricted , as he strains strangely upwards seemingly against his will , as if feeling some enormous pressure . He looks directly at the camera , his face a ghastly grimace , contorted , just before the taped image goes to snow .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE MADISON HOUSE - LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Fred , sitting in front of the TV , shudders as the tape ends . He sits trembling , attempts to speak , almost chokes , and finally releases a tortured , warbly cry .<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>Renee!<\/dialogue>\n    <scene_description>Fred looks up as if seeing something , he starts to stand , - staggering , partially paralyzed .<\/scene_description>\n    <character>FRED<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <parenthetical>( Shouting . )<\/parenthetical>\n    <dialogue>RENEE!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - INTERROGATION ROOM - NIGHT<\/stage_direction>\n    <scene_description>Fred 's POV : A BIG FIST slams into Fred 's face , knocking him back in a chair . Ed and Al are standing in front of Fred .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Stay put, killer!<\/dialogue>\n    <scene_description>The Detectives ' POV : Fred 's face is a bloody mask . He is crying , whimpering .<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>I did n't kill her! Tell me I did n't kill her!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAIL CELL - DAY<\/stage_direction>\n    <scene_description>Fred , his lips and eyes swollen , sits on a cot , dressed in jail clothes . He studies his hands , which appear crippled . He flexes the fingers , slowly , painfully .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE MADISON HOUSE - DAY<\/stage_direction>\n    <scene_description>We are in back of the house tracking slowly past the bedroom and living room windows . Inside the house , INVESTIGATORS and FORENSIC EXPERTS are moving around , measuring , scraping samples of carpet , searching for fingerprints on furniture .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CITY MORGUE - NIGHT<\/stage_direction>\n    <scene_description>Renee 's CORPSE on a slab is rolled into an examining room by an ATTENDANT . The entrance of the body is shown reflected in a chrome - framed mirror that juts out from a tile wall . The Attendant prepares for the impending autopsy , laying out a rack of instruments , positioning the corpse . As he is doing these things , the MEDICAL EXAMINER enters , accompanied by his GIRLFRIEND . The M.E. is dressed formally , in a tuxedo . The young woman is wearing a slinky dress with a fur wrap , pearls , spike heels . The couple are close ; she has an arm through his , and she laughs , nervously . He is smoking a cigarette .<\/scene_description>\n    <character>ATTENDANT<\/character>\n    <dialogue>Hi, doc. Workin' late tonight, huh?<\/dialogue>\n    <character>M.E.<\/character>\n    <dialogue>Party at the mayor's house, George. This is his daughter, Joyce.<\/dialogue>\n    <character>ATTENDANT<\/character>\n    <dialogue>Howdy, Joyce.<\/dialogue>\n    <character>JOYCE<\/character>\n    <dialogue>Howdy, George.<\/dialogue>\n    <scene_description>The Attendant uncovers the body - individual parts are wrapped like packages from a butcher 's shop , and labeled : L. ARM , HEAD , R. BREST -LRB- misspelled -RRB- .<\/scene_description>\n    <character>M.E.<\/character>\n    <parenthetical>( looking at the packages . )<\/parenthetical>\n    <dialogue>Just like Christmas.<\/dialogue>\n    <scene_description>He begins to unwrap them .<\/scene_description>\n    <character>JOYCE<\/character>\n    <dialogue>I do n't know if I can watch this.<\/dialogue>\n    <scene_description>The M.E. tosses his cigarette down on the floor . The camera goes down on the smoking cigarette butt on the floor drain ; smoldering there among hair and flesh gristle on the drain 's filter screen .<\/scene_description>\n    <character>M.E.<\/character>\n    <parenthetical>( Voice - over . )<\/parenthetical>\n    <dialogue>Leave any time you want, lover. I wo n't take it personally.<\/dialogue>\n    <scene_description>The camera stays on the drain as we HEAR the M.E. unwrapping the packaged body parts . Joyce 's high heels enter the frame around the drain . She is stepping nervously , like a spooked horse . The clatter of her heels is very loud . We hear the M.E. chuckle .<\/scene_description>\n    <character>M.E.<\/character>\n    <parenthetical>( Voice - over . )<\/parenthetical>\n    <dialogue>Easy, girl, easy.<\/dialogue>\n    <character>JOYCE<\/character>\n    <dialogue>You talking to me or. her?<\/dialogue>\n    <character>M.E.<\/character>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>A corpse can tell you plenty, Joyce.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>The camera is behind a female FOREMAN in the jury box . The shot begins on her shoes and travels up her body as she stands . Over her left shoulder we see Fred standing at the defense table . Over her right shoulder the JUDGE is seated .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Have you reached a verdict?<\/dialogue>\n    <character>FOREMAN<\/character>\n    <dialogue>Yes, we have, your honor.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Please hand it to the bailiff.<\/dialogue>\n    <scene_description>The BAILIFF goes to the Foreman , takes the paper from her , then takes it to the Judge . The Judge opens it and reads it to himself , then hands it back to the Bailiff , who returns it to the Foreman .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>And what is your verdict?<\/dialogue>\n    <scene_description>The camera moves to Fred , registering his tension . The camera goes to the Foreman 's face .<\/scene_description>\n    <character>FOREMAN<\/character>\n    <dialogue>We the jury find the defendant guilty of murder in the first degree.<\/dialogue>\n    <scene_description>Fred faints . Fe is lifted up by his ATTORNEY and GUARDS in attendance . Fred revives slightly .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Fred Madison, the jury having found you guilty of murder in the first degree, it is my order that on a date to be determined, you be put to death in the electric chair.<\/dialogue>\n    <scene_description>We see Fred 's eyes roll open as he cranes his neck around and upwards , looking at the video camera high on the wall of the courtroom , pointing down on him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LINGERIE SHOP - DAY<\/stage_direction>\n    <scene_description>MARIAN and RAQUEL , two exquisite young women , are looking over the merchandise .<\/scene_description>\n    <character>RAQUEL<\/character>\n    <dialogue>Did you see that about the guy who chopped up his wife into a million pieces?<\/dialogue>\n    <character>MARIAN<\/character>\n    <dialogue>How could I miss it? The TV wo n't quit with that stuff.<\/dialogue>\n    <character>RAQUEL<\/character>\n    <dialogue>They're gon na cook him.<\/dialogue>\n    <character>MARIAN<\/character>\n    <dialogue>Andy's from Utah. He says there you have a choice. You can die by hanging or by firing squad.<\/dialogue>\n    <character>RAQUEL<\/character>\n    <dialogue>Which would you choose?<\/dialogue>\n    <scene_description>Marian holds up a black teddy to her body .<\/scene_description>\n    <character>MARIAN<\/character>\n    <dialogue>Andy would go for this, do n't you think? Firing squad, definitely.<\/dialogue>\n    <character>RAQUEL<\/character>\n    <dialogue>Do they aim for the head or for the heart?<\/dialogue>\n    <character>MARIAN<\/character>\n    <dialogue>The heart, I guess.<\/dialogue>\n    <character>RAQUEL<\/character>\n    <dialogue>I would n't. The brain would know what's going on. Your heart would be ripped open trying to pump blood, blood pouring into the chest cavity. Savage pain, Marian.<\/dialogue>\n    <scene_description>Raquel takes a red teddy and holds it up to her chest .<\/scene_description>\n    <character>MARIAN<\/character>\n    <dialogue>Oh, that's hot. So you'd rather be hung, huh?<\/dialogue>\n    <scene_description>They both giggle at the obvious joke .<\/scene_description>\n    <character>RAQUEL<\/character>\n    <dialogue>Absolutely. Soon as your neck snaps, you black out. It might take a while for the body to die, but you would n't feel it.<\/dialogue>\n    <scene_description>Marian reaches for a pair of panties with a hole in the crotch .<\/scene_description>\n    <character>MARIAN<\/character>\n    <dialogue>You might be right, Raquel.<\/dialogue>\n    <scene_description>Marian sticks a finger through the hole in the panties and wiggles it . The girls giggle . Raquel sees Andy walking into the store . He is sneaking up behind Marian , and motions with a finger to his lips to Raquel not to say anything . When Andy gets directly behind Marian , he puts his hands over her eyes .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Guess who?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON - DEATH ROW - DAY<\/stage_direction>\n    <scene_description>Fred , in the custody of GUARDS , wearing handcuffs and leg irons , is being escorted to his cell . He appears zombie - like as the guards open the cell door , unlock and remove his shackles , and lock him in .<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>Make yourself to home, fella.<\/dialogue>\n    <scene_description>The guards leave . Fred stands near the cell door , begins to look around at the four walls , the single cot , the wash basin , and the toilet bowl without a seat . He hears the muffled , DISTORTED NOISES - VOICES from the surrounding cells . Lost voices - the voices of death row . Fred realizes where he is now . He walks over to the cot and slowly sinks down and sits on the edge . Fred perched on the cot in his cell resembles a man adrift on a tiny raft in the middle of an ocean .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON - DEATH ROW - DAY<\/stage_direction>\n    <scene_description>A TRUSTEE is pushing a meal cart along the row . At each door , the Trustee stops and takes a tray off the cart . He shoves the meal tray through a slot in the door . We watch him distribute the trays down the long row of cells .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRIS0N - DEATH ROW HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>The hallway is quiet - distant sounds reverberate .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON - FRED'S CELL - DAY<\/stage_direction>\n    <scene_description>Fred sits on the edge of his bed , a tray of prison food sits on the floor - uneaten .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON - FRED'S CELL   NIGHT<\/stage_direction>\n    <scene_description>Fred lies awake on his cot he stares at the ceiling .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON - DEATH ROW HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>The hallway is quiet - distant sounds reverberate .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON - EXERCISE YARD - DAY<\/stage_direction>\n    <scene_description>This is a small narrow yard , not the large exercise yard for population . This yard is for use by death row prisoners only , to exercise in one hour each day , by himself . Fred is released into the area , which is more like a dog run . The Guards watch Fred as he walks slowly up and down the exercise yard .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON - DEATH ROW - NIGHT<\/stage_direction>\n    <scene_description>There is more activity on the row tonight than usual . A COUPLE of MEN in suits walk through with an air of authority . There is a building murmur among the prisoners .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON - FRED'S CELL - NIGHT<\/stage_direction>\n    <scene_description>Fred sits on the edge of his bed , listening as sound of the prisoners builds . He 's shaking .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRIS0N - DEATH ROW - NIGHT<\/stage_direction>\n    <scene_description>TWO GUARDS are standing at the guard station .<\/scene_description>\n    <character>GUARD #1<\/character>\n    <parenthetical>( very quietly - solemnly . )<\/parenthetical>\n    <dialogue>Here he comes.<\/dialogue>\n    <scene_description>Several of the men in suits , along with several GUARDS , and a CLERGYMAN , a PRISONER in the middle of the group , enter the hallway . They proceed past the guard station down the hall . As the procession files by , DEATH ROW INMATES come to their doors and talk to the prisoner .<\/scene_description>\n    <character>INMATE #1<\/character>\n    <dialogue>See you soon, Sammy. Do n't think takin' a jolt is gon na get you outta payin' me back the twenty you owe me.<\/dialogue>\n    <character>INMATE #2<\/character>\n    <dialogue>Do n't take it personal, pal.<\/dialogue>\n    <character>INMATE #3<\/character>\n    <dialogue>Un fuerte abrazo, amigo!<\/dialogue>\n    <scene_description>As the men march down the hallway , they pass Fred 's cell . His window panel is empty . The camera stops on Fred 's cell door , as we HEAR other prisoners talking to the inmate on his way to the ELECTRIC CHAIR .<\/scene_description>\n    <character>INMATE #4<\/character>\n    <dialogue>Hang in there, honey.<\/dialogue>\n    <character>INMATE #5<\/character>\n    <dialogue>Keep an eye out for me, Sammy G.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON - FRED'S CELL - NIGHT<\/stage_direction>\n    <scene_description>Fred sits on his bed , listening fearfully . The camera stays on Fred as we HEAR :<\/scene_description>\n    <character>INMATE #6<\/character>\n    <dialogue>Show'em you got big stones, bro.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON - DEATH CHAMBER - NIGHT<\/stage_direction>\n    <scene_description>The prisoner is strapped into the electric chair . Behind a glass partition WITNESSES are seated . One of the men in suits , the WARDEN , goes to a telephone on the wall and stands with his hand on the receiver . He picks it up .<\/scene_description>\n    <character>WARDEN<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Line check.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>The Warden hangs up the telephone and stays next to it . We see one of the condemned man 's WRISTS being clamped with an electrical device . The other wrist is clamped . A metal halo is placed around the condemned man 's head . A large electrical cable leads off from the halo . Electrically conductive ointment is smeared around the areas where the clamps have been placed . The Clergyman moves close to the condemned man continuing to give the man his last rites . When he is finished , he nods to the Warden . The Warden approaches the condemned man .<\/scene_description>\n    <character>WARDEN<\/character>\n    <dialogue>Any final words, Sam?<\/dialogue>\n    <scene_description>The condemned man shakes his head `` no '' . The Warden and the others clear the room and the doors are locked . The EXECUTIONER steps into place near a huge lever . He looks to the Warden . The Witnesses sit in silent anticipation . The hands of the clock on the wall have moved past midnight . The Warden takes one last look through a window at the condemned man - then nods to the Executioner .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON - FRED'S CELL - NIGHT<\/stage_direction>\n    <scene_description>Fred sits frozen at the edge on his bed . A distant but LOUD ELECTRICAL HUM begins . Fred 's head jerks upward to the light on his ceiling . It has dimmed to almost nothing . Fred sits in the humming darkness .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRIS0N - EXERCISE YARD - DAY<\/stage_direction>\n    <scene_description>The Guards release Fred into the yard for his exercise . At first the sunlight is blinding , and Fred covers his eyes . He moves along the wall , tentative , his fingers feeling the way . Fnally he slumps down on his haunches , back leaned against the wall , eyes closed , letting the sun hit his face . Very soon , however , the sun passes behind a cloud and Fred is bathed in shade . Fred stands up , but is almost immediately hit by a searing pain in his head . Fred holds his head with his hands , sinks down to his knees . The Guard , who has been observing Fred from the doorway , comes over to him .<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>Something wrong?<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>My. My head.<\/dialogue>\n    <character>GUARD<\/character>\n    <dialogue>Headache, huh? Too much sun, I guess. You want to come in? Still got forty - five minutes outside if you want it.<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>No, no. I want to go in.<\/dialogue>\n    <scene_description>The guard assists Fred back inside the building .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON - FRED'S CELL - DAY<\/stage_direction>\n    <scene_description>Fred is on his cot , holding his head . He is obviously in pain . He gets up and staggers to the cell door . Fred pushes a CALL button next to the door to summon a guard . The GUARD comes and speaks to Fred through a double mesh opening .<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>What's botbering you, Madison?<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>The pain is getting worse. I need more aspirin.<\/dialogue>\n    <character>GUARD<\/character>\n    <dialogue>I ca n't give you anymore. I'll talk to the doctor.<\/dialogue>\n    <scene_description>The guard leaves . Fred collapses to the floor of the cell , writhing in pain .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON - INFIRMARY   DAY<\/stage_direction>\n    <scene_description>Fred is brought in wearing handcuffs and leg irons , a GUARD on either arm . He is placed on a chair in the middle of the room . The guards stand one on each side of him . A DOCTOR enters . He is in late - middle age , with serious eyebrows . Fred 's head is hanging down , chin on chest . The Doctor lifts Fred 's head and we see dark circles under Fred 's eyes ; his face is pale , teeth clenched , eyes tearing . The Doctor takes a light utensil from his pocket , and inspects each of Fred 's eyes . He feels Fred 's forehead . After this , he allows Fred 's head to drop down again . The Doctor takes Fred 's pulse . He drops Fred 's wrist . He next takes Fred 's blood pressure .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>You sleeping okay?<\/dialogue>\n    <character>FRED<\/character>\n    <parenthetical>( strained whisper . )<\/parenthetical>\n    <dialogue>I ca n't sleep.<\/dialogue>\n    <scene_description>The Doctor goes over to a cabinet , unlocks a drawer , and removes a large blue pill . He fills a paper cup with water from a dispenser , goes back to Fred and places the pill in Fred 's mouth . The Doctor tilts Fred 's head up and pours the water down his throat , some of it dribbling down the front of Fred 's shirt . The Doctor looks into Fred 's mouth to make sure he swallowed the pill .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>You'll sleep now.<\/dialogue>\n    <parenthetical>( to Guards . )<\/parenthetical>\n    <dialogue>Take him back to his cell.<\/dialogue>\n    <scene_description>The guards lift Fred by his arms , and shuffle march him out of the infirmary .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON - FRED'S CELL - NIGHT<\/stage_direction>\n    <scene_description>Fred awakens on his cot . He turns and sits up in the darkness . A stream of light through the slot window illumines Fred 's head , the forehead of which is swollen and discolored . He staggers up and shuffles over to the call button , which he leans on . A few moments later , a GUARD appears on the other side of the mesh .<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Aspirin. fly head. I got ta have more aspirin.<\/dialogue>\n    <character>GUARD<\/character>\n    <dialogue>The doctor said not to give you anything. You can see him in the morning.<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>But my head.<\/dialogue>\n    <scene_description>The guard looks at Fred through the window , and what he sees disturbs him . The guard makes a strange face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON - DEATH ROW HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>The guard walks away from Fred 's door to the guard station , where another GUARD is sitting at a table , reading a magazine .<\/scene_description>\n    <character>GUARD #1<\/character>\n    <dialogue>Shit, that wife killer's lookin' pretty fucked up.<\/dialogue>\n    <character>GUARD #2<\/character>\n    <parenthetical>( not looking up from his magazine . )<\/parenthetical>\n    <dialogue>Which one?<\/dialogue>\n    <scene_description>They both laugh .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRIS0N - FRED'S CELL - SAME - NIGHT<\/stage_direction>\n    <scene_description>Fred is on the floor lying on back . The camera comes slowly down at him from the ceiling , like a weight pressing on his head . Fred 's pain is demonstrably overwhelming him now . He moans and rolls from side to side in the dimness , making grotesque , otherworldly sounds . As the camera moves into a CLOSE UP , the last image of Fred 's head shows the discolored swelling has increased . Fred looks up , sensing something .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE MADIS0N HOUSE - NIGHT<\/stage_direction>\n    <scene_description>There is a `` For Sale '' sign posted in front . The camera pans slowly as in the videotape across the front of the house . The interior of the house is dark , but fleetingly we are aware of movement , shadows inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANDY'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Marian and Raquel are in the living room , attired in the undergarments they purchased at the lingerie store . HOT MUSIC is BLARING from a stereo . Marian and Raquel are dancing , as sexy and wild as it is possible for them to be . Andy is lying on his back on the rug , dressed only in undershorts and socks , the girls stomping feet stepping furiously around his head and body . His eyes are closed at first , but when he opens them , he sees their feet in a blur . He tries to get up , but he is too strung out , and he collapses again . Marian and Raquel take him by his hands and feet and begin pulling him around the room as they dance . Andy is blitzed , smiling moronically . The girls ' breasts tumble out of their teddies . Raquel drops her end of Andy , turns up the music even louder , and dances into a frenzy . Marian drops to her knees , Andy 's feet on either side of her , shaking her shoulders and whipping her hair around . Andy makes another attempt to sit up - he looks at Marian , reaches for her but falls back , dead to the world . Raquel and Marian do n't quit .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON - FRED'S CELL - NIGHT<\/stage_direction>\n    <scene_description>Fred is still curled on the floor , but spasms begin to rock his body . He goes into convulsions , blood gushes from his nostrils . His head is badly swollen . Fred vomits repeatedly , and drags around in his mess . Fred turns , straining upwards as we 've seen him do before . His face and head are hideously deformed . Fred brings his shaking , tortured hand to his forehead . He pulls his hand down across his face squeezing it as it goes . As his hand passes over his face , Fred 's features are removed leaving a blank , white mass with eye sockets . We move into the eye sockets and beyond .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TWO-LANE HIGHWAY - NIGHT<\/stage_direction>\n    <scene_description>We see a clean moving POV illuminated by headlights . We are floating down an old two - lane highway through a desolate , desert landscape . This gliding , eerie POV continues until the headlights illuminate a figure standing at the side of the road . This figure is a man , PETE DAYTON . Pete turns , unsettled , as he looks directly at us as we move closer to him . The ghost image of a house appears behind Pete . There is a girl , SHEILA , standing on the lawn in front of the house . She is afraid and is trying to communicate with Pete . Pete does n't seem to hear her and continues to stare directly at us . Now Pete seems to move toward us as we move toward him . His head fills the screen .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON - FRED'S CELL - NIGHT<\/stage_direction>\n    <scene_description>Fred 's blank face begins to contort and take on the appearance , feature by feature , of Pete Dayton . Fred Madison is becoming Pete Dayton .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRISON - DAWN<\/stage_direction>\n    <scene_description>We watch the sun rise outside the prison , ascending over the strands of barbed - wire above the wall .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON - DEATH ROW - MORNING<\/stage_direction>\n    <scene_description>A GUARD is making his early morning rounds . He stops at each cell and looks in , making a mark with a pencil on a piece of paper on a clipboard . when he comes to Fred 's cell , he is about to make a check - mark , but looks in again and appears confused . THE MAN INSIDE IS NOT FRED .<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>Who are you? What are you doing in this cell?<\/dialogue>\n    <scene_description>The MAN in the cell sits still on the cot , staring straight ahead . The man is thin , younger than Fred .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON - DEATH ROW HALLWAY - MORNING<\/stage_direction>\n    <scene_description>The guard hurries over to the guard station . He picks up the telephone and dials . He begins to sweat .<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>This is Johnny Mack at station 8. Yeah, look, somethin' crazy's happened. No, I mean, Madison ai n't in his cell. No, there's somebody in there, but it ai n't Madison! Right, right. Okay. Captain Henderson's comin''? Right.<\/dialogue>\n    <scene_description>Johnny Mack hangs up . He sweats . He walks back down the row and looks in again at Fred 's cell .<\/scene_description>\n    <character>JOHNNY MACK<\/character>\n    <dialogue>F - u - u - u - ck me!<\/dialogue>\n    <scene_description>He walks back to the station . A supervisor arrives , CAPTAIN HENDERSON .<\/scene_description>\n    <character>CAPTAIN HENDERSON<\/character>\n    <dialogue>Now, Mack, what's the situation?<\/dialogue>\n    <character>JOHNNY MACK<\/character>\n    <dialogue>I'm not entirely certain, Captain. You'll have to see for yourself.<\/dialogue>\n    <scene_description>Together they walk quickly to Fred 's cell and look in .<\/scene_description>\n    <character>CAPTAIN HENDERSON<\/character>\n    <dialogue>That's not Fred Madison?<\/dialogue>\n    <character>JOHNNY MACK<\/character>\n    <dialogue>No, sir, it's not.<\/dialogue>\n    <character>CAPTAIN HENDERSON<\/character>\n    <dialogue>Who is it?<\/dialogue>\n    <character>JOHNNY MACK<\/character>\n    <dialogue>I could n't say, sir. Captain Henderson?<\/dialogue>\n    <character>CAPTAIN HENDERSON<\/character>\n    <dialogue>Yeah, Mack?<\/dialogue>\n    <character>J0HNNY MACK<\/character>\n    <dialogue>Captain. this is some spooky shit we got here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON - WARDEN'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Captain Henderson is standing in front of a desk , behind which the Warden is seated . A nameplate on the desk reads : WARDEN MARSHALL R. CLEMENTS .<\/scene_description>\n    <character>WARDEN<\/character>\n    <dialogue>Repeat that, Bill.<\/dialogue>\n    <character>CAPTAIN HENDERSON<\/character>\n    <dialogue>Warden, it's not him. It. was not Fred Madison in that cell.<\/dialogue>\n    <character>WARDEN<\/character>\n    <dialogue>Of course, it's Madison! Who else could it be?<\/dialogue>\n    <character>CAPTAIN HENDERSON<\/character>\n    <dialogue>I do n't know. The guards say they've never seen him before.<\/dialogue>\n    <character>WARDEN<\/character>\n    <dialogue>Where is he now?<\/dialogue>\n    <character>CAPTAIN HENDERSON<\/character>\n    <dialogue>He's in the infirmary, being examined.<\/dialogue>\n    <character>WARDEN<\/character>\n    <dialogue>Did you ask him who he is?<\/dialogue>\n    <character>CAPTAIN HENDERSON<\/character>\n    <dialogue>He. He ca n't talk. it appears as if he ca n't talk, anyway.<\/dialogue>\n    <character>WARDEN<\/character>\n    <dialogue>If he's not Madison, then where's Madison?<\/dialogue>\n    <character>CAPTAIN HENDERSON<\/character>\n    <dialogue>I've got men searching the building and the grounds now.<\/dialogue>\n    <scene_description>The Warden stands up and comes around the desk .<\/scene_description>\n    <character>WARDEN<\/character>\n    <dialogue>I want to take a look at this man myself.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON - INFIRMARY - DAY<\/stage_direction>\n    <scene_description>The man from Fred 's cell is just finishing being fingerprinted . The doctor with serious eyebrows - DR. ROGOFF - is inspecting the man 's face . The Warden enters with Captain Henderson . GUARDS are standing by the door and at strategic spots in the room .<\/scene_description>\n    <character>WARDEN<\/character>\n    <dialogue>What is this, Rogoff?<\/dialogue>\n    <character>DR. ROGOFF<\/character>\n    <dialogue>I do n't know yet.<\/dialogue>\n    <scene_description>Dr. Rogoff begins to draw blood from the man 's arm . He takes several vials . The man watches the blood coming out of his arm , but does n't seem to understand where he is or what is happening to him .<\/scene_description>\n    <character>WARDEN<\/character>\n    <dialogue>Who is this man?<\/dialogue>\n    <character>DR. ROGOFF<\/character>\n    <dialogue>He's just been fingerprinted, and I'll run these blood tests right away. We'll find out soon enough.<\/dialogue>\n    <scene_description>Dr. Rogoff opens the man 's mouth and peers in with a pencil light .<\/scene_description>\n    <character>WARDEN<\/character>\n    <dialogue>He's not Madison?<\/dialogue>\n    <character>DR. ROGOFF<\/character>\n    <parenthetical>( slowly , deliberately Not even close .<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Dr. Rogoff stands up , puts the light in his breast pocket .<\/scene_description>\n    <character>DR. ROGOFF<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>I examined Madison last night, Marshall. He had a headache.<\/dialogue>\n    <character>WARDEN<\/character>\n    <dialogue>A headache?<\/dialogue>\n    <character>DR. ROGOFF<\/character>\n    <dialogue>I did a routine once - over, and gave him a sleeping pill. I've never seen this man before. Neither have the guards. I do n't think he's in the system.<\/dialogue>\n    <scene_description>The Warden moves closer to the man - he looks closely at him .<\/scene_description>\n    <character>WARDEN<\/character>\n    <dialogue>Where the hell did you come from, mister?<\/dialogue>\n    <scene_description>CLOSE UP OF THE MAN - he 's staring straight up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON - WARDEN'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Present are the Warden , Captain Henderson and TWO other PRISON OFFICIALS . The Warden is looking at a computer next to his desk .<\/scene_description>\n    <character>WARDEN<\/character>\n    <dialogue>Well, gentlemen, we know who the stranger is. His name is Peter Raymond Dayton. He's twenty - four years old. His birthday is April 21st. He was born and raised right here. He lives with his parents, William and Claire Dayton at 814 Garland Avenue. Pete Dayton was arrested five years ago for auto theft, for which he was put on probation for one year. That was his first and only offense. No record since then.<\/dialogue>\n    <scene_description>Warden Clements looks up , takes a deep breath and stares at the men in front of him .<\/scene_description>\n    <character>WARDEN<\/character>\n    <parenthetical>( CON - T . )<\/parenthetical>\n    <dialogue>How about Madison? Have we had even a hint of his whereabouts?<\/dialogue>\n    <character>CAPTAIN HENDERSON<\/character>\n    <dialogue>Nothing, Marsh. Vanished. There's an APB out on him. His photo's been faxed nationwide.<\/dialogue>\n    <character>PRISON OFFICIAL #1<\/character>\n    <dialogue>I had a call from the governor's office about this.<\/dialogue>\n    <character>WARDEN<\/character>\n    <dialogue>How the hell does she know?<\/dialogue>\n    <character>PRISON OFFICIAL #1<\/character>\n    <dialogue>There's press outside right now.<\/dialogue>\n    <character>WARDEN<\/character>\n    <dialogue>How the hell. 7<\/dialogue>\n    <character>CAPTAIN HENDERSON<\/character>\n    <dialogue>One of the guards must have leaked it.<\/dialogue>\n    <character>WARDEN<\/character>\n    <dialogue>What's the word on the street?<\/dialogue>\n    <character>PRISON OFFICIAL #2<\/character>\n    <dialogue>Only that Madison has apparently escaped. Nothing about the other guy.<\/dialogue>\n    <character>WARDEN<\/character>\n    <dialogue>Good, let's keep it that way. Keep a lid on Dayton. Nothing gets out about him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON - DEATH ROW - DAY<\/stage_direction>\n    <scene_description>Johnny Mack walks down the row and enters Fred 's cell .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON - FRED'S CELL - DAY<\/stage_direction>\n    <scene_description>Johnny Mack looks around , up and down the walls , half peers under the cot , then - checking first to see no other guard is watching him - he looks inside the toilet bowl , then gets down on his knees and really looks under the cot . He gets up and sits down on the bed . He rubs a hand over his face . Johnny Mack is clearly perplexed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON - MEDIA ROOM - DAY<\/stage_direction>\n    <scene_description>A press conference is being held . Present are REPORTERS , TV cameras , et al. . The Warden and Captain Henderson represent the prison .<\/scene_description>\n    <character>WARDEN<\/character>\n    <dialogue>I have a statement to read. Fred Madison, an inmate being held on death row has, apparently. has escaped. An all - points bulletin has been issued to authorities not only statewide, but nationwide. We are confindent that he will be apprehended very soon. No further details are available at this time. Thank you very much.<\/dialogue>\n    <character>REPORTER<\/character>\n    <dialogue>Warden, nobody's ever escaped from death row before. How did he get out?<\/dialogue>\n    <scene_description>The Warden and Captain Henderson leave the room without answering .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON - LONG CORRIDOR - DAY<\/stage_direction>\n    <scene_description>Pete 's parents , BILL and CLAIRE DAYTON , escorted by a PRISON GUARD , are approaching the Warden 's office . It is a long walk along the corridor and the camera examines them in detail as they get closer and closer to the office . The Daytons are a middle - aged , San Fernando Valley couple . Bill Dayton is wearing a sport shirt with the short - sleeves rolled up . His skin is leathery , tanned and his thinning hair is slicked back in a duck - tail . He 's working - class , ex - biker . Claire Dayton was obviously a good looking `` chick '' who 's gone to seed from too much sun , cigarettes and booze . She retains the remnants of a good figure , but it 's going fast . Claire is wearing sunglasses .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON - WARDEN'S OFFICE - DAY<\/stage_direction>\n    <scene_description>The Daytons are ushered in by the guard . The Warden is standing behind his desk . Dr. Rogoff is standing to one side , and next to him is Captain Henderson . The Daytons stand just inside the room for a moment before the Warden extends his right hand .<\/scene_description>\n    <character>WARDEN<\/character>\n    <dialogue>I'm Warden Clements. This is Captain Henderson and Dr. Rogoff. Please, sit down.<\/dialogue>\n    <scene_description>Bill and Claire move to the chairs in front of the desk and sit down . The Warden , Dr. Rogoff and Captain Henderson all sit down .<\/scene_description>\n    <character>WARDEN<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>Mr. and Mrs. Dayton, as you were told over the phone, your son, Peter, is here.<\/dialogue>\n    <scene_description>Claire Dayton removes her sunglasses . She and Bill wait - the warden is searching for words .<\/scene_description>\n    <character>WARDEN<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>He. He was discovered this morning. in a cell on death row.<\/dialogue>\n    <scene_description>Bill and Claire look at each other - bewildered .<\/scene_description>\n    <character>WARDEN<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>A cell that was supposed to be occupied by an inmate named Fred Madison.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>The wife killer?<\/dialogue>\n    <character>WARDEN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>CLAIRE<\/character>\n    <dialogue>How is this possible, Warden?<\/dialogue>\n    <scene_description>The warden shakes his head .<\/scene_description>\n    <character>WARDEN<\/character>\n    <dialogue>Tell me, what was Peter's condition the last time you saw him?<\/dialogue>\n    <scene_description>Bill and Claire look at each other again - briefly .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>His condition? What do you mean?<\/dialogue>\n    <character>WARDEN<\/character>\n    <dialogue>His physical condition.<\/dialogue>\n    <character>BILL<\/character>\n    <parenthetical>( hesitates . )<\/parenthetical>\n    <dialogue>Same as always. Pete takes care of himself.<\/dialogue>\n    <scene_description>Bill and Claire look at each other once again .<\/scene_description>\n    <character>CLAIRE<\/character>\n    <dialogue>I saw him before he went to the garage day before yesterday. He's a mechanic. Look, is he okay? Can we see him?<\/dialogue>\n    <scene_description>The Warden looks at Dr. Rogoff .<\/scene_description>\n    <character>DR. ROGOFF<\/character>\n    <dialogue>He has a hematoma on his forehead and a condition called blepharitis. that's redness and swelling around the eyes.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Was he in a fight?<\/dialogue>\n    <character>DR. ROGOFF<\/character>\n    <dialogue>These conditions do n't indicate a fight.<\/dialogue>\n    <character>CLAIRE<\/character>\n    <dialogue>But what is the cause then? And how did he get in that cell?<\/dialogue>\n    <character>DR. ROGOFF<\/character>\n    <dialogue>He ca n't talk. Or wo n't.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>That does n't sound like Pete.<\/dialogue>\n    <character>DR. ROGOFF<\/character>\n    <dialogue>Your son has experienced some sort of trauma, I'm afraid. We were hoping that the two of you could help explain the cause of the trauma and how he came to be here.<\/dialogue>\n    <character>CAPTAIN HENDERSON<\/character>\n    <dialogue>You do n't know Fred Madison?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>No. Only what was in the news.<\/dialogue>\n    <character>CAPTAIN HENDERSON<\/character>\n    <dialogue>Do you think Pete knows him?<\/dialogue>\n    <character>CLAIRE<\/character>\n    <dialogue>I would n't know how.<\/dialogue>\n    <character>WARDEN<\/character>\n    <parenthetical>( to Claire . )<\/parenthetical>\n    <dialogue>You say you have n't seen your son since the day before yesterday?<\/dialogue>\n    <character>CLAIRE<\/character>\n    <dialogue>When he went to work, right.<\/dialogue>\n    <character>WARDEN<\/character>\n    <dialogue>What about yesterday?<\/dialogue>\n    <character>CLAIRE<\/character>\n    <dialogue>He did n't come home.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Sometimes he stays at a friend's.<\/dialogue>\n    <character>CAPTAIN HENDERSON<\/character>\n    <dialogue>Any particular friends?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>A girl's, a buddy's. I do n't know. He's his own man ; he comes and goes as he pleases.<\/dialogue>\n    <character>CLAIRE<\/character>\n    <dialogue>I want to see him.<\/dialogue>\n    <character>WARDEN<\/character>\n    <dialogue>Yes, and we need to talk to him. if we can.<\/dialogue>\n    <parenthetical>( to Dr. Rogoff . )<\/parenthetical>\n    <dialogue>Mel, let's get Peter in here.<\/dialogue>\n    <scene_description>Dr. Rogoff leaves the room . While he 's gone , nobody talks , increasing the tension . Dr. Rogoff returns with Pete Dayton , dressed in his own clothes : jeans , boots , sport shirt . Pete 's forehead is lumpy and his eyes are red and swollen . He can walk , but unsteadily . Pete looks around the room - sees his parents . Claire jumps up .<\/scene_description>\n    <character>CLAIRE<\/character>\n    <parenthetical>( tenderly . )<\/parenthetical>\n    <dialogue>Pete.<\/dialogue>\n    <scene_description>She and Dr. Rogoff help get Pete settled in a chair . Bill is taken aback at the sight of his son , but says nothing .<\/scene_description>\n    <character>WARDEN<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>Pete, can you tell us now, anything about this?<\/dialogue>\n    <character>CLAIRE<\/character>\n    <dialogue>Pete, what happened to you?<\/dialogue>\n    <scene_description>Pete has a dazed look on his face . He starts to speak , then stops .<\/scene_description>\n    <character>CLAIRE<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>It's okay. Take your time, honey.<\/dialogue>\n    <scene_description>Pete 's gaze drifts from his mother 's face around the room and back to her face .<\/scene_description>\n    <character>PETE<\/character>\n    <parenthetical>( afraid - quiet . )<\/parenthetical>\n    <dialogue>Where. am I?<\/dialogue>\n    <scene_description>The Warden and Captain Henderson look to Dr. Rogoff .<\/scene_description>\n    <character>DR. ROGOFF<\/character>\n    <dialogue>You're in the state penitentiary. You were found in a cell on death row.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>My head hurts.<\/dialogue>\n    <scene_description>Pete rubs his head like it 's about to explode with pain .<\/scene_description>\n    <character>WARDEN<\/character>\n    <dialogue>A man named Fred Madison was occupying that cell. He's missing. we're trying to find out how it is you were in there and not him.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>I. I do n't know.<\/dialogue>\n    <character>CAPTAIN HENDERSON<\/character>\n    <dialogue>Do you know Fred Madison?<\/dialogue>\n    <character>PETE<\/character>\n    <parenthetical>( straining . )<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <scene_description>There is a silence in the room , as Pete massages his throbbing temples .<\/scene_description>\n    <character>CLAIRE<\/character>\n    <parenthetical>( worried . )<\/parenthetical>\n    <dialogue>Warden, can we take him home?<\/dialogue>\n    <scene_description>The Warden looks at Dr. Rogoff .<\/scene_description>\n    <character>DR. ROGOFF<\/character>\n    <parenthetical>( to Warden . )<\/parenthetical>\n    <dialogue>From a medical standpoint, I do n't see why not.<\/dialogue>\n    <character>CAPTAIN HENDERSON<\/character>\n    <dialogue>We need to find out what happened here.<\/dialogue>\n    <character>BILL<\/character>\n    <parenthetical>( standing up . )<\/parenthetical>\n    <dialogue>Have you made any charges against him?<\/dialogue>\n    <character>WARDEN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Then he's coming home with his mother and me.<\/dialogue>\n    <character>WARDEN<\/character>\n    <dialogue>All right. but you see our predicament. Legally we ca n't hold him, but he may be able to help us. perhaps later. For now, he's free to leave.<\/dialogue>\n    <scene_description>Bill and Claire help Pete up and carefully escort him out of the warden 's office . With a nod from the Warden , the guard accompanies them out of the room . The Warden , Captain Henderson and Dr. Rogoff stand but remain in the office .<\/scene_description>\n    <character>CAPTAIN HENDERSON<\/character>\n    <parenthetical>( to warden . )<\/parenthetical>\n    <dialogue>You just gon na let him go?<\/dialogue>\n    <character>WARDEN<\/character>\n    <dialogue>We'll get a tail put on him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAYTON HOUSE - SAN FERNANDO VALLEY - DAY<\/stage_direction>\n    <scene_description>Bill , Claire and Pete pull into the driveway of a bleached out , 60 's ranch - style house on a street lined with many more of the same . Bill and Claire get out of the car first , then help Pete out and up into the house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAYTON HOUSE - DAY<\/stage_direction>\n    <scene_description>Bill and Claire take Pete to his room , which has a bed , desk , two chairs and a sea of disassembled motorcycle parts belonging to a classic Indian motorbike which Pete is rebuilding . Each part is shiny and clean . Pete sits down on his bed and looks up at his parents - shaking his head with confusion and embarrassment .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Just rest easy, Pete. You're gon na be okay.<\/dialogue>\n    <character>CLAIRE<\/character>\n    <dialogue>Are you hungry, honey? I'll fix you something.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>No. I do n't feel so good. I would like some aspirin.<\/dialogue>\n    <character>CLAIRE<\/character>\n    <dialogue>Coming up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAYTON HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Pete sleeps . In the living room , Bill is drinking a beer and watching television . In the kitchen , Claire is finishing the dishes . She goes into the living room and leans down and whispers something in Bill 's ear . Bill nods and Claire walks quietly down the hallway and opens Pete 's door . She looks in on him sleeping .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAYTON HOUSE - DAY<\/stage_direction>\n    <scene_description>An unmarked police car pulls up across the street from the Dayton house . In the front seat are the Detectives , Ed and Al. . Al , who is on the passenger side , is holding two styrofoam cups filled with coffee . Ed removes from his inside jacket pocket a 5 '' x 7 '' photo of Pete Dayton , which he props up on the dashboard so that it is visible for both himself and Al. . Al hands one of the cups to Ed .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Thanks, Al..<\/dialogue>\n    <scene_description>Al studies Pete Dayton 's face in the photo .<\/scene_description>\n    <character>AL<\/character>\n    <dialogue>Now we'll see what this son of a bitch is up to.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Ed and Al sip their coffee and stare at the house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAYTON HOUSE - BACKYARD - DAY<\/stage_direction>\n    <scene_description>Pete Dayton is lying on a chaise lounge . His forehead is still swollen , but his eyes are less red . He stares up into the sky - a hot breeze blows over him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAYTON HOUSE - DAY<\/stage_direction>\n    <scene_description>The camera moves slowly through the interior of the empty house cast with shadows . The refrigerator running is the only sound .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAYTON HOUSE - BACKYARD - DAY<\/stage_direction>\n    <scene_description>Pete slowly moves up to a sitting position , then stands . He stretches and walks around the yard feeling the dry , unwatered lawn on his bare feet . He walks over and leans over the neighbor 's fence . His eyes fall on a plastic toy boat floating in b child 's plastic swimming pool . He watches the boat as the warm breeze blows it lazily in a circle . A small plane drones overhead . In the distance , a WOMAN finishes hanging out some wash and goes in the back door of her house . The slamming of her screen door sounds a thousand miles away . Pete continues to observe these seemingly peaceful surroundings - but something does n't feel right to him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAYTON HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Pete is eating a sandwich - he is looking much better . Claire opens a bag of chips and sets them in front of Pete as Bill comes in the front door .<\/scene_description>\n    <character>CLAIRE<\/character>\n    <dialogue>I'm in the kitchen.<\/dialogue>\n    <scene_description>Bill comes in and pops a beer - looks around .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Where's Pete?<\/dialogue>\n    <character>CLAIRE<\/character>\n    <dialogue>Out in back.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>You talk to him?<\/dialogue>\n    <character>CLAIRE<\/character>\n    <parenthetical>( urgent . )<\/parenthetical>\n    <dialogue>No. Here he comes.<\/dialogue>\n    <scene_description>Their gazes follow a path from the backyard into where Pete has been sitting all the time .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>How're you feelin'?<\/dialogue>\n    <scene_description>Pete looks at his parents - he ca n't figure out what has just happened .<\/scene_description>\n    <character>PETE<\/character>\n    <parenthetical>( unsure - brow furrowed . )<\/parenthetical>\n    <dialogue>Better.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Arnie called this morning while you were sleepin'. They miss you pretty bad down at the garage. I told ` im you still had a `` fever''.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Okay. Thanks.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Nice to know they ca n't seem to get along without ya.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>You really do n't remember the other night, do you?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>What night is that?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>The night before you showed up in the slammer.<\/dialogue>\n    <character>CLAIRE<\/character>\n    <dialogue>Do you remember?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>No. I do n't. Why?<\/dialogue>\n    <scene_description>Bill and Claire just stare at him . Pete shakes his head and takes another bite of his sandwich - but inside the worrisome feeling returns .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAYTON HOUSE - PETE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Pete is stretched out on his bed watching television . He hears the front door bell ring - footsteps , and a moment or two later the door to his bedroom opens and three of his friends , CARL , LANIE and STEVE -LRB- `` V '' -RRB- saunter in .<\/scene_description>\n    <character>\"V\"<\/character>\n    <dialogue>Where the fuck have you been?<\/dialogue>\n    <scene_description>Pete pulls himself up to a sitting position .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>You look like shit.<\/dialogue>\n    <character>LANIE<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Just have n't been feelin' well.<\/dialogue>\n    <character>\"V\"<\/character>\n    <dialogue>You're not contagious are you?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>I do n't think so.<\/dialogue>\n    <character>\"V\"<\/character>\n    <dialogue>Good. You up for a drive?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Where to? Hey, Lanie, I heard you were out of it for a while, too.<\/dialogue>\n    <character>LANIE<\/character>\n    <dialogue>They found a cyst on my god damn ovary. Had to cut it out. You wan na see the scar?<\/dialogue>\n    <scene_description>Lanie pulls up her shirt and pulls down her pants a ways revealing a fresh scar about three inches long .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( winking . )<\/parenthetical>\n    <dialogue>Had n't slowed her down none.<\/dialogue>\n    <character>LANIE<\/character>\n    <parenthetical>( smacking him . )<\/parenthetical>\n    <dialogue>Shut up, bone - head.<\/dialogue>\n    <scene_description>Then Lanie laughs good - naturedly .<\/scene_description>\n    <character>\"V\"<\/character>\n    <dialogue>Just goin' up ` ta `` Tops''. Maybe the `` Ten Pin''.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Sheila'll be at `` Tops''.<\/dialogue>\n    <character>\"V\"<\/character>\n    <dialogue>Sure, what's wrong with that?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Pete hauls himself up off the bed and throws on a black leather jacket . The four of them go through the living room where Bill and Claire are drinking and watching TV .<\/scene_description>\n    <character>PETE<\/character>\n    <parenthetical>( to Bill and Claire . )<\/parenthetical>\n    <dialogue>Goin' out with these clowns for a while.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Do ya good.<\/dialogue>\n    <scene_description>After Pete leaves with his friends , Bill and Claire look at each other .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \"V'S\" CAR - VAN NUYS BOULEVARD - NIGHT<\/stage_direction>\n    <scene_description>`` V '' drives a black , beat - up '66 Grand Prix . Carl and Lanie are in the back seat , and Pete rides shotgun . The four of them. , are cruising down Van Nuys Boulevard along with many other MUSCLE CARS and LOW - RIDERS filled with KIDS looking for action . `` V 's '' car is making a hell of a noise .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>I hate ridin' in this fuckin' car.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Take it easy, Pete, `` V'' loves this rod.<\/dialogue>\n    <character>\"V\"<\/character>\n    <dialogue>Look at that goin' my way.<\/dialogue>\n    <scene_description>`` V '' has seen a couple . of GIRLS in short , tight dresses walking up the boulevard .<\/scene_description>\n    <character>\"V\"<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>Oh my, oh my.<\/dialogue>\n    <character>LANIE<\/character>\n    <dialogue>Keep it in your pants, `` V''.<\/dialogue>\n    <scene_description>Some big cars nearby rev their engines . `` V '' guns his car and it lurches roughly forward . The sound of the rough running engine reverberates in Pete 's brain .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>This rod is a fuckin, embarrassment, Carl. Whatiya burn in this thing, `` V''?<\/dialogue>\n    <character>\"V\"<\/character>\n    <dialogue>Texaco. What's wrong with that?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Listen.<\/dialogue>\n    <character>\"V\"<\/character>\n    <dialogue>You got ta be kiddin'. This is the boulevard. You ca n't hear yourself think.<\/dialogue>\n    <scene_description>Pete shakes his bead with disgust . `` V '' pulls the car off the boulevard into `` Tops '' drive - in . Cars are lined up at the `` to go '' window and all along the side of the building where people are hanging out under a long metal awning . MUSIC is playing LOUD . `` V '' pulls into a parking spot by the awning . The headlights illuminate a group of HIPSTERS - some dancing , some just hanging out . THREE or FOUR GIRLS hanging out together turn toward `` V 's '' car . They see Pete in the front seat , and one of the girls , Sheila , smiles and walks toward him .<\/scene_description>\n    <character>SHEILA<\/character>\n    <dialogue>Hey. Where have you been?<\/dialogue>\n    <scene_description>Pete talks to her through the open window while `` V '' , Carl and Lanie climb out through `` V 's '' door . `` V '' leans back in .<\/scene_description>\n    <character>\"V\"<\/character>\n    <parenthetical>( to Pete . )<\/parenthetical>\n    <dialogue>You want somethin'?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>No, I'm okay.<\/dialogue>\n    <scene_description>`` V '' walks off with the others to the `` take out '' window . Sheila leans in closer to Pete .<\/scene_description>\n    <character>SHEILA<\/character>\n    <dialogue>I missed you.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>SHEILA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Sheila 's girlfriends saunter over and lean on the car around her - looking in at Pete .<\/scene_description>\n    <character>GIRL #1<\/character>\n    <dialogue>What happened to your face?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Nothin'.<\/dialogue>\n    <character>SHEILA<\/character>\n    <dialogue>What are you guys doin'?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Guess we're goin' over to the `` Ten Pin''.<\/dialogue>\n    <character>SHEILA<\/character>\n    <dialogue>You want some company?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>`` V '' , Carl and Lanie return with burgers and drinks . `` V 's '' got a mouthful of burger .<\/scene_description>\n    <character>\"V\"<\/character>\n    <parenthetical>( muffled . )<\/parenthetical>\n    <dialogue>What's happenin'?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>They're comin' with us.<\/dialogue>\n    <character>\"V\"<\/character>\n    <parenthetical>( muffled and spitting . )<\/parenthetical>\n    <dialogue>Pile in.<\/dialogue>\n    <scene_description>Sheila and her girlfriends jump in the car with `` V '' , Carl , Lanie and Pete . `` V '' fires up the rough - running engine and pulls out - leaving behind a cloud of smoke .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TEN PIN BOWLING ALLEY - NIGHT<\/stage_direction>\n    <scene_description>The bowling alley is divided into a game room area , a bar \/ restaurant area and a bowling area . Pete and the group stroll into the bar and take a large booth . MUSIC is playing LOUD . A WAITRESS takes orders for drinks . Bowling pins clatter loudly in the distance . `` V '' takes one of Sheila 's friends and dances with her . Sheila takes Pete by the arm and pulls him up to dance . The music is fast , but they dance slow .<\/scene_description>\n    <character>SHEILA<\/character>\n    <dialogue>Why have n't you called me?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Sorry. I.<\/dialogue>\n    <scene_description>Sheila looks around and moves closer to Pete . She whispers urgently , worried .<\/scene_description>\n    <character>SHEILA<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>What's happening to you? What happened to your face?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>SHEILA<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>What do you mean? You've been acting strange lately. Like the other night.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>What night?<\/dialogue>\n    <character>SHEILA<\/character>\n    <dialogue>Last time I saw you.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>I do n't remember. What happened that night?<\/dialogue>\n    <character>SHEILA<\/character>\n    <dialogue>You sure were n't acting like the Pete Dayton I've always known.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Whatiya mean?<\/dialogue>\n    <character>SHEILA<\/character>\n    <dialogue>You were acting like a different person.<\/dialogue>\n    <scene_description>Pete laughs , but Sheila does n't .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Who else could I be7<\/dialogue>\n    <scene_description>Sheila stares seriously at Pete , but then laughs too .<\/scene_description>\n    <character>SHEILA<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <scene_description>Sheila leans in very close to Pete and whispers in his ear .<\/scene_description>\n    <character>SHEILA<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>You still care about me?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Sure. Sure I do.<\/dialogue>\n    <scene_description>Sheila pushes her mouth on Pete 's and they kiss. , Pete breaks away - looks at Sheila - serious .<\/scene_description>\n    <character>PETE<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>What else about that night? Did anything happen?<\/dialogue>\n    <character>SHEILA<\/character>\n    <dialogue>You really do n't remember?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>No. I told you.<\/dialogue>\n    <character>SHEILA<\/character>\n    <dialogue>It was weird.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Whatiya mean, Sheila?<\/dialogue>\n    <character>SHEILA<\/character>\n    <dialogue>I do n't want to talk about it.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Sheila?!<\/dialogue>\n    <character>SHEILA<\/character>\n    <dialogue>No. I really do n't want to talk about it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TEN PIN BOWLING ALLEY - NIGHT<\/stage_direction>\n    <scene_description>Ed and Al sit in their unmarked police car watching the bowling alley entrance and `` V 's '' car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAYTON HOUSE - MORNING<\/stage_direction>\n    <scene_description>Pete fires up his souped up Camaro and listens happily to the engine purring . He eases the big Camaro out of the driveway and blasts off down the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARNIE'S GARAGE - MORNING<\/stage_direction>\n    <scene_description>Pete cruises into his parking place and cuts the engine . ARNIE comes rushing toward him , sporting a big smile .<\/scene_description>\n    <character>ARNIE<\/character>\n    <dialogue>Wonderful! Wonderful to see you, Pete. How are you?<\/dialogue>\n    <character>PETE<\/character>\n    <parenthetical>( climbing out of the Camaro . )<\/parenthetical>\n    <dialogue>Feeling good, Arnie. Ready to get to work.<\/dialogue>\n    <character>ARNIE<\/character>\n    <dialogue>Wonderful, Pete. Really wonderful. Alotta people Pete. alotta people are gon na be very happy.<\/dialogue>\n    <scene_description>Arnie takes Pete by the arm and they go inside the garage .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARNIE'S GARAGE - MORNING<\/stage_direction>\n    <scene_description>Other MECHANICS give Pete the `` hi '' sign and yell their greetings over the din . Arnie pulls Pete closer and shouts .<\/scene_description>\n    <character>ARNIE<\/character>\n    <dialogue>Mr. Smith has been waiting for you and Mrs. Trueworthy. Can you take care of Mr. Smith now?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>ARNIE<\/character>\n    <dialogue>Mr. Eddy's called every day. Can I call him to come in?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Sure, Arnie. Bring'em on, I'm ready.<\/dialogue>\n    <scene_description>Pete walks over to a Ford Station wagon and pops the hood . A happy MR. SMITH comes out of the office to join Pete at his car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARNIE'S GARAGE - MORNING<\/stage_direction>\n    <scene_description>Ed and Al pull to a stop down the street from the garage . Ed kills the engine and they stare at Arnie 's .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARNIE'S GARAGE - DAY<\/stage_direction>\n    <scene_description>Pete is leaning down into the engine well of a Chevy Caprice working hard for Mrs. Trueworthy . Arnie 's Garage is busy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARNIE'S GARAGE - DAY<\/stage_direction>\n    <scene_description>A large black Mercedes 600 Pullman pulls into the garage .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARNIE'S GARAGE - DAY<\/stage_direction>\n    <scene_description>The Mercedes pulls to a stop and MR. EDDY and TWO of his ASSISTANTS climb out . Arnie waves to Mr. Eddy from the office .<\/scene_description>\n    <character>MR. EDDY<\/character>\n    <dialogue>PETE! WHERE'S PETE?!<\/dialogue>\n    <scene_description>Pete comes up out of the well and turns . When he sees Mr. Eddy , he heads across ihe garage to greet him . Mr. Eddy opens his arms wide and embraces Pete . When he pulls away , he sees Pete 's face .<\/scene_description>\n    <character>MR. EDDY<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>What happened? Somebody givin' you trouble?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>No, it's nothin'. I'm all right.<\/dialogue>\n    <character>MR. EDDY<\/character>\n    <dialogue>Because if anybody's givin' you trouble, Pete, I can take care of the problem. like that.<\/dialogue>\n    <parenthetical>( snaps his finger - loud . )<\/parenthetical>\n    <dialogue \/>\n    <character>PETE<\/character>\n    <dialogue>No, no. It's okay, Mr. Eddy.<\/dialogue>\n    <character>MR. EDDY<\/character>\n    <dialogue>I mean it, Pete. Like THAT!<\/dialogue>\n    <parenthetical>( snaps his finger - loud . )<\/parenthetical>\n    <dialogue \/>\n    <character>PETE<\/character>\n    <dialogue>Thanks, Mr. Eddy. whatiya need? Just the regular tune - up?<\/dialogue>\n    <character>MR. EDDY<\/character>\n    <dialogue>I want you to ride with me. Somethin' does n't sound right.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Okay. Lem me clear it with.<\/dialogue>\n    <character>MR. EDDY<\/character>\n    <dialogue>It's okay with Arnie. Come on, let's go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARNIE'S GARAGE - DAY<\/stage_direction>\n    <scene_description>Ed and Al do n't notice that Pete is in the big black Mercedes , as it cruises past them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MR. EDDY'S 600 PULLMAN - DAY<\/stage_direction>\n    <scene_description>Mr. Eddy drives . Pete is in the passenger seat up front , and the two , stone - faced assistants ride in back .<\/scene_description>\n    <character>MR. EDDY<\/character>\n    <dialogue>Now listen. It only happens when I'm accelerating. I think it's the carburetors.<\/dialogue>\n    <scene_description>Mr. Eddy pulls out after a light turns green and gives the car a stab forward .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>No, it's not the carburetors. Pull over, but keep it runnin'.<\/dialogue>\n    <scene_description>Mr. Eddy smiles as he pulls over .<\/scene_description>\n    <character>MR. EDDY<\/character>\n    <dialogue>Best god damn ears in town.<\/dialogue>\n    <parenthetical>( to the guys in back . )<\/parenthetical>\n    <dialogue>You guys are lookin' at him. The man with the best god damn ears in town.<\/dialogue>\n    <scene_description>When the car stops , Pete gets out , pops the hood and disappears down by the engine . Mr. Eddy sits , smiling at Pete as he works . Pete pops up and gives Mr. Eddy the `` thumbs up '' and gets back into the car .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Give that a try.<\/dialogue>\n    <character>MR. EDDY<\/character>\n    <dialogue>All right!<\/dialogue>\n    <scene_description>Mr. Eddy carefully pulls out into traffic and accelerates when he gets the chance .<\/scene_description>\n    <character>MR. EDDY<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>Beautifull Smooth as shit from a duck's ass. Let's take a ride.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Whatever you say, Mr. Eddy.<\/dialogue>\n    <scene_description>Mr. Eddy hangs a right turn and heads up into the hills .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MULHOLLAND DRIVE - DAY<\/stage_direction>\n    <scene_description>Mr. Eddy takes the big Pullman along the scenic Mulholland Drive - cruising smoothly . A silver - gray Infiniti is moving up fast behind the Mercedes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MR. EDDY'S 600 PULLMAN - DAY<\/stage_direction>\n    <scene_description>Mr. Eddy looks into his rearview mirror .<\/scene_description>\n    <character>MR. EDDY<\/character>\n    <dialogue>Oh, shit. Is that what I think it is?<\/dialogue>\n    <scene_description>Pete turns and looks back . A car is TAILGATING them , the silver - gray Infiniti . The two assistants in the backseat turn nonchalantly to take a look - then they return their look to Mr. Eddy . Mr. Eddy starts to take a slow burn - keeps looking at the Infiniti in the rearview mirror . The assistants look to one another take a deep breath . Mr. Eddy slows slightly and then keeps the Pullman steady at 32 m.p.h. . The Infiniti moves up ten feet behind the Pullman , and blows its horn . Mr. Eddy rolls down his window . The assistants are paying close attention - they buckle their seatbelts . Pete notices a tension in the car . He watches Mr. Eddy 's face . Mr. Eddy pulls slightly to the right of the road , pastes a polite , courteous smile on his face , puts his left arm out the window and waves the Infiniti by . The Infiniti jets forward and swerves around the Pullman . When the cars are side by side , the irate DRIVER in the Infiniti gives Mr. Eddy `` the bird '' and flies past . CLOSE ON MR. EDDY 'S RIGHT FOOT as it slams down on the gas pedal . The Pullman catapults forward toward the Infiniti . Pete is thrown back - he grabs on to the door handle and the seat for support . The Pullman gains on the Infiniti in a flash . The Infiniti tries to go faster , but Mr. Eddy 's Pullman has much more power .<\/scene_description>\n    <character>MR. EDDY<\/character>\n    <parenthetical>( clenched teeth . )<\/parenthetical>\n    <dialogue>This is where power and mechanical excellence pays off.<\/dialogue>\n    <scene_description>Mr. Eddy jams the Pullman into the back of the Infiniti and pushes it faster and faster along Mulholland . The Driver of the Infiniti tries to brake and blue - gray smoke streams out from beneath the Infiniti with a scream of burning rubber . At a turn , Mr. Eddy steers his massive Mercedes and the Infiniti ahead on a gut - wrenching path off the road , up a mountain and into a little glade of trees . Dust and brush fly everywhere . Mr. Eddy and his assistants leap from the Pullman and make for the Driver 's side of the Infiniti . Mr. Eddy throws open the Infiniti 's door and pulls the trembling and screaming Driver out like a rag doll . Mr. Eddy pulls out his .44 Ruger Blackhawk and pistol whips the Driver to the ground . He smashes the butt of his gun across the man 's face , tearing a gash which starts to gush with blood . Mr. Eddy 's assistants each draw .45 's and point them at the Driver . Mr. Eddy , red - faced with anger , leans close to the man .<\/scene_description>\n    <character>MR. EDDY<\/character>\n    <dialogue>DO N'T YOU EVER FUCKIN' TAILGATE.<\/dialogue>\n    <scene_description>Mr. Eddy hits the Driver in the side of the head with his gun .<\/scene_description>\n    <character>MR. EDDY<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>WHAT DID YOU SAY?<\/dialogue>\n    <character>DRIVER<\/character>\n    <parenthetical>( scared shitless . )<\/parenthetical>\n    <dialogue>I. I did n't say anything.<\/dialogue>\n    <character>ASSISTANT #1<\/character>\n    <dialogue>Tell him you wo n't tailgate.<\/dialogue>\n    <character>MR. EDDY<\/character>\n    <dialogue>EVER!<\/dialogue>\n    <character>DRIVER<\/character>\n    <dialogue>I wo n't ever tailgate.<\/dialogue>\n    <character>MR. EDDY<\/character>\n    <dialogue>DO YOU KNOW HOW MANY FUCKIN' CAR LENGTHS IT TAKES TO STOP A CAR AT 35 M.P.H?<\/dialogue>\n    <character>DRIVER<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>MR. EDDY<\/character>\n    <dialogue>SIX FUCKIN' CAR LENGTHS. THAT'S ABOUT A HUNDRED AND SIX FUCKIN' FEET, MISTER! YOU WERE FOLLOWING TEN FEET BEHIND ME. IF I'D HAD TO STOP SUDDENLY, YOU WOULD HAVE HIT ME. I WANT YOU TO GET A DRIVER'S MANUAL, AND I WANT YOU TO STUDY THAT MOTHERFUCKER. AND I WANT YOU TO OBEY THE GOD DAMN RULES. FIFTY FUCKIN' THOUSAND PEOPLE WERE KILLED ON THE ROAD LAST YEAR.<\/dialogue>\n    <parenthetical>( hitting the driver once again - hard . )<\/parenthetical>\n    <dialogue>CAUSE OF FUCKIN' ASSHOLES LIKE YOU. TELL ME YOU'RE GON NA GET A MANUAL.<\/dialogue>\n    <character>DRIVER<\/character>\n    <dialogue>I'll get a manual.<\/dialogue>\n    <parenthetical>( almost a whisper . )<\/parenthetical>\n    <dialogue>and study it.<\/dialogue>\n    <character>MR. EDDY<\/character>\n    <parenthetical>( kicking the man . )<\/parenthetical>\n    <dialogue>FUCKIN' `` A''.<\/dialogue>\n    <scene_description>Mr. Eddy and his assistants return to the Pullman - get in and slam their doors . Mr. Eddy throws the Pullman into reverse and pulls back off the hill onto Mulholland Drive . He eases the car into `` drive '' and leaves the crying and beaten tailgater behind .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MR. EDDY'S 600 PULLMAN - DAY<\/stage_direction>\n    <scene_description>Mr. Eddy rotates his neck - shaking out some adrenaline remnants . Pete is visibly shaken by what he has seen .<\/scene_description>\n    <character>MR. EDDY<\/character>\n    <dialogue>Sorry about that, Pete, but tailgating is one thing I ca n't tolerate.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>I can see that.<\/dialogue>\n    <character>MR. EDDY<\/character>\n    <dialogue>I'll bet you know how many car lengths it takes to stop at. say 45 m.p.h.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Eight, nine car lengths. A hundred and sixty - two feet.<\/dialogue>\n    <character>MR. EDDY<\/character>\n    <dialogue>At sixty?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Fifteen car lengths. About two hundred and seventy feet.<\/dialogue>\n    <character>MR. EDDY<\/character>\n    <parenthetical>( to his companions in the reariew . )<\/parenthetical>\n    <dialogue>What'd I tell ya.<\/dialogue>\n    <scene_description>Mr. Eddy smiles and they continue along their way .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. ARNIE'S GARAGE - DAY<\/stage_direction>\n    <scene_description>The Pullman pulls off the street into Arnie 's . Mr. Eddy and his assistants stay in the car . Pete opens his door .<\/scene_description>\n    <character>MR. EDDY<\/character>\n    <dialogue>Wait a minute.<\/dialogue>\n    <scene_description>Mr. Eddy takes out a couple of one hundred dollar bills and puts them into Pete 's hand .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Thanks, Mr. Eddy.<\/dialogue>\n    <character>MR. EDDY<\/character>\n    <dialogue>No. Thank you! I'll be bringin' the `` Caddy'' by tomorrow.<\/dialogue>\n    <scene_description>Mr. Eddy reaches into the glove compartment and takes out a videotape . He holds it out to Pete .<\/scene_description>\n    <character>MR. EDDY<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>You like pornos?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Pornos?<\/dialogue>\n    <character>MR. EDDY<\/character>\n    <dialogue>Yeah. Give ya a boner.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>No thanks, Mr. Eddy.<\/dialogue>\n    <scene_description>Mr. Eddy tosses the tape back in the glove compartment .<\/scene_description>\n    <character>MR. EDDY<\/character>\n    <dialogue>Suit yourself, champ.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Okay. Well, I'll see ya then.<\/dialogue>\n    <character>MR. EDDY<\/character>\n    <dialogue>You will.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARNIE'S GARAGE - DAY<\/stage_direction>\n    <scene_description>Ed and Al are staring at the Pullman . They see Pete get out . They notice the man driving the Pullman .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>You recognize that guy?<\/dialogue>\n    <character>AL<\/character>\n    <dialogue>Yeah. Laurent.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAYTON HOUSE - MORNING<\/stage_direction>\n    <scene_description>Pete walks out his front door with a lunch box and jumps in the Camaro . He fires up the big engine and heads off for work . Ed and Al follow .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARNIE'S GARAGE - DAY<\/stage_direction>\n    <scene_description>Pete is on a skate - working under a car . The radio is on and a tune comes on that begins to drive Pete crazy - it gives him a headache . The tune is one of Fred Madison 's be - bop saxophone pieces . Pete gets out from under the car and goes to the radio . He changes the station . PHIL , another mechanic working nearby , looks at Pete .<\/scene_description>\n    <character>PHIL<\/character>\n    <dialogue>Why'd you change it? I liked that.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Well, I did n't.<\/dialogue>\n    <scene_description>Pete rubs his throbbing head and when he gets back under the car , he lays on the skate - unable to work . A car horn honks and the sound reverberates inside the garage . Pete looks up - from under the car he sees the wheels of a Cadillac roll up just outside the open garage doors . He sees a car door open and Mr. Eddy 's feet appear and walk in his direction . Pete winces and wheels himself out from under the car . He stands as Mr. Eddy walks up to him , then freezes as he sees - back behind Mr. Eddy , sitting in the passenger seat of the car - a beautiful blonde - haired GIRL , who looks exactly like Renee . CLOSE UP BEAUTIFUL GIRL - she looks exactly like Renee except she is about eight years younger . The girl is staring right into Pete 's eyes . Mr. Eddy steps between Pete and the girl - blocking her from Pete . Mr. Eddy smiles at Pete - not noticing or not letting on that he notices the serious eye contact going on between Pete and the girl .<\/scene_description>\n    <character>MR. EDDY<\/character>\n    <dialogue>I'm leavin' the Caddy, like I told you. Think you'll get a chance to give her a once over today?<\/dialogue>\n    <character>PETE<\/character>\n    <parenthetical>( regaining his composure . )<\/parenthetical>\n    <dialogue>Sure. Sure, Mr. Eddy. You gon na pick it up later, or tomorrow?<\/dialogue>\n    <character>MR. EDDY<\/character>\n    <dialogue>If you think you can finish it, I'll be back later today.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>It'll be ready.<\/dialogue>\n    <character>MR. EDDY<\/character>\n    <dialogue>You're my man, Pete.<\/dialogue>\n    <scene_description>Mr Eddy pinches Pete 's cheek - which Pete does n't like , but aliows . Mr. Eddy gives Pete a big smile then turns , goes back to his car , escorts the beautiful girl outside where the Pullman is waiting . Pete watches her walk and move . He watches her until Mr. Eddy drives her away . She steals one last glance back at Pete before she disappears . When she is gone , Pete replays the scene of seeing this beautiful girl over again in his mind . The scene is accompanied by Lou Reed 's version of `` This Magic Moment '' .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAYTON HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Pete is sitting perched unsteadily on the very edge of his bed . He HEARS a succession of highly - amplified SOUNDS at intervals with eerie stretches of silence : CRICKETS in fractured cadence a distant TELEVISION - a FLY buzzing slowly in the room a MOTH 'S wings beating against light bulbs in the ceiling fixture - the washing of DISHES . Pete 's reaction to these sounds is one of petrified confusion . Underlying these sounds is a kind of unearthly , steady DRONE . Pete gets up off the bed , unsteadily . He moves toward his bedroom door . As he moves the amplified SOUNDS shift . He can hear laughter . The laughter seems to be LOUD , but at the same time coming from people who are trying to contain the laughter - to hide it . Pete opens his door and peers out . Pete 's POV down the hall toward the living room - his mother and father have stopped laughing and are turned with guilty smiles in his direction . They are smoking a joint , passing it back and forth . They are not looking directly at him . They seem to be looking , but not seeing . Pete 's parents POV down the hall toward Pete 's room . There is no one there - just an empty hallway . Pete 's parents continue to stare , but then turn away toward each other - they start to laugh quietly again . Pete 's Pov - the hallway and the living room - there is no one in the living room . It 's empty .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAYTON HOUSE - PETE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Pete turns from the hallway and comes back in his room - unsettled and confused . He can hear laughter coming from the living room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAYTON HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Ed is behind the wheel . Al is in the passenger seat . Ed is looking at the Dayton house . Al 's head is bent , looking down . At first we hear nothing , then the sound of Al 's piss streaming into an empty coffee cup . The camera stays on the top of Al 's head until he has completed the last few spurts of his micturition . Al 's head comes up and he opens the passenger side door and dumps the urine into the street . He closes the door and zips up his trousers .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAYTON HOUSE - PETE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Pete paces the room . Finally he stops himself , throws on his black leather jacket and opens his bedroom door . He looks down the hall . No one is in the living room . He walks out of the house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAYTON HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Ed and Al watch Pete get in his Camaro and drive off . They follow .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS - NIGHT<\/stage_direction>\n    <scene_description>Pete drives through the night - up Ventura Boulevard with the `` Cruisers '' . He looks in the other cars and looks at the GIRLS on the street . He drives past `` Tops '' , but does n't see anyone he knows . He turns off the boulevard and drives through San Fernando valley neighborhood streets . He pulls up in front of Sheila 's house and honks his horn . He lights a cigarette while he waits . In a few minutes Sheila comes out and leans in the passenger side window .<\/scene_description>\n    <character>SHEILA<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Nothin'. You want to go for a drive?<\/dialogue>\n    <character>SHEILA<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Come on. get in.<\/dialogue>\n    <scene_description>Sheila hesitates for a moment , then gets in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS - NIGHT<\/stage_direction>\n    <scene_description>Pete and Sheila drive along dark streets .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Come here.<\/dialogue>\n    <scene_description>Sheila slides across and sits close to Pete . Pete puts his arm around her . She takes a drag from his cigarette and puts her head on his shoulder . Pete pulls over into a dark shadow under a tree and stops the car . He cuts the engine , turns to Sheila and kisses her . She breaks away .<\/scene_description>\n    <character>SHEILA<\/character>\n    <dialogue>Why do n't you like me?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>I do like you, Sheila.<\/dialogue>\n    <scene_description>Sheila puts her lips up ' close to his and whispers .<\/scene_description>\n    <character>SHEILA<\/character>\n    <dialogue>How much?<\/dialogue>\n    <scene_description>Pete kisses her and she kisses him back . They start to feel each other and Sheila takes off her tight sweater . She 's wearing no bra and Pete begins to feel her breasts while she unbuttons his shirt . They continue to kiss hard throughout .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>Ed and Al are stopped a half a block behind Pete and Sheila . They 're watching the couple as they make love in the front seat of Pete 's car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>Pete and Sheila are naked in the front seat . Sheila clings to Pete as they make love . She 's hopelessly in love with him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARNIE'S GARAGE - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Pete and the other MECHANICS are working in the garage . The clock on the wall reads : 4:45 p.m. . Some of the guys are cleaning up - washing their hands - putting tools away . Pete is ragging off some grease from his hands when he notices a CAB pull up to the front of the garage . The beautiful blonde steps out of the cab and comes up to him . Pete 's heart races - she smiles at him .<\/scene_description>\n    <character>BEAUTIFUL BLONDE<\/character>\n    <parenthetical>( ALICE . )<\/parenthetical>\n    <dialogue>Hi. I'm Alice Wyatt.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Pete Dayton.<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>I was here yesterday.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Yeah, I remember.<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>How would you like to take me to dinner?<\/dialogue>\n    <character>PETE<\/character>\n    <parenthetical>( laughs uncomfortably . )<\/parenthetical>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>Okay, then, I'll take you to dinner.<\/dialogue>\n    <scene_description>Pete hesitates - thinks .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Look, I do n't think it's a good idea.<\/dialogue>\n    <scene_description>Alice looks hard at him , then smiles .<\/scene_description>\n    <character>ALICE<\/character>\n    <dialogue>Where's your phone? I have to call another taxi.<\/dialogue>\n    <character>PETE<\/character>\n    <parenthetical>( pointing . )<\/parenthetical>\n    <dialogue>Over there.<\/dialogue>\n    <scene_description>Alice walks to the office inside the garage - picks up the phone and dials information .<\/scene_description>\n    <character>ALICE<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Can you give me the number for United Cab?<\/dialogue>\n    <scene_description>She turns and looks at Pete while she 's speaking , then listening .<\/scene_description>\n    <character>ALICE<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Alice dials the number .<\/scene_description>\n    <character>ALICE<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Yes, I need a taxi at Arnie's Auto Repair, the corner of Fifth and.<\/dialogue>\n    <scene_description>Pete has walked over . He takes the telephone out of her hand .<\/scene_description>\n    <character>PETE<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>We wo n't be needing a cab, thanks anyway.<\/dialogue>\n    <scene_description>He hangs up the phone .<\/scene_description>\n    <character>ALICE<\/character>\n    <dialogue>Why do n't we just skip dinner7<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARTHUR'S HIDEAWAY MOTEL - NIGHT<\/stage_direction>\n    <scene_description>Pete and Alice pull up to the cheap motel in Pete 's Camaro . Pete gets out and leaves Alice in the car . She waits and watches him go into the office .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARTHUR'S HIDEAWAY MOTEL - ACROSS THE STREET - NIGHT<\/stage_direction>\n    <scene_description>Ed and Al are watching Pete and Alice . They watch Pete come out of the office and take Alice into one of the motel rooms .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>` Fucker gets more pussy than a toilet seat.<\/dialogue>\n    <scene_description>Al shakes his head with anger mixed with a lot of envy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARTHUR'S HIDEAWAY MOTEL - A ROOM - NIGHT<\/stage_direction>\n    <scene_description>Pete and Alice enter the room . There is a double bed , a little desk , two bedside tables with lamps , a floor lamp , and a bathroom . They do n't notice any of this . Just inside the room Alice takes Pete 's hand and they turn to each other . Alice puts Pete 's hand between her legs . She moves up close to him and closes her eyes . They kiss tenderly at first - then hotter .<\/scene_description>\n    <character>ALICE<\/character>\n    <parenthetical>( whispers . )<\/parenthetical>\n    <dialogue>Take off my clothes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARTHUR'S HIDEAWAY MOTEL - THE ROOM - NIGHT<\/stage_direction>\n    <scene_description>Pete and Alice are naked on the double bed in just the glow of the motel 's neon lights coming in between the window curtains . They 're up on their knees - right next to each other . They look in each other 's eyes as their hands move and touch . Alice smiles with a wild , dreamy look in her eyes . Pete puts his hand between her legs and Alice kisses him with a frenzy . They fall back on the bed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARTHUR'S HIDEAWAY MOTEL - THE ROOM - NIGHT<\/stage_direction>\n    <scene_description>Pete and Alice make violent love on the bed . Alice is hungry .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARTHUR'S HIDEAWAY MOTEL - THE ROOM - NIGHT<\/stage_direction>\n    <scene_description>Alice and Pete are dressed . Alice is still breathing hard . She moves up close to Pete by the motel room door . Her hand is shaking as she touches his cheek .<\/scene_description>\n    <character>ALICE<\/character>\n    <parenthetical>( whispers . )<\/parenthetical>\n    <dialogue>I want more.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Me, too.<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>Can I call you?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Yeah. Call me at home. I'll give you the number.<\/dialogue>\n    <character>ALICE<\/character>\n    <parenthetical>( kissing him . )<\/parenthetical>\n    <dialogue>Okay, baby.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARTHUR'S HIDEAWAY MOTEL - ACROSS THE STREET - NIGHT<\/stage_direction>\n    <scene_description>Ed and Al watch Pete and Alice leave the motel room , get in the car and drive off . Ed starts his car and he and Al follow them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETE'S CAMARO - NIGHT<\/stage_direction>\n    <scene_description>Pete and Alice are riding side by side - Alice 's head is on his shoulder . Alice looks up at Pete as he drives - she smiles . The light from headlights behind them catch Alice 's attention . Her eyes dart back to a car that could be following them .<\/scene_description>\n    <character>ALICE<\/character>\n    <parenthetical>( fear . )<\/parenthetical>\n    <dialogue>Is that car following us?<\/dialogue>\n    <scene_description>Pete glances in the rearview mirror - sees the headlights . At the last moment he pulls a hard right and accelerates down the street . The car follows - they both see it .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>I'll lose'em at the light.<\/dialogue>\n    <scene_description>Alice steals a look back .<\/scene_description>\n    <character>ALICE<\/character>\n    <dialogue>I do n't recognize the car.<\/dialogue>\n    <scene_description>At a tralfic light , Pete revs up the big Camaro and expertly peels out between on - coming cross traffic . He swerves between two cars going in opposite directions - blasts up a block and hangs a hard right - disappearing from view . Ed and Al go out into the traffic after them , but the swerving , screeching cars braking around them form a barrier and trap them . ANGRY DRIVERS lean on their horns . Pete and Alice have lost them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAYTON HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Establish .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAYTON HOUSE - NIGHT<\/stage_direction>\n    <scene_description>CLOSE UP ON TELEPHONE - it starts to ring .<\/scene_description>\n    <character>PETE<\/character>\n    <parenthetical>( voiceover . )<\/parenthetical>\n    <dialogue>I'll get it!<\/dialogue>\n    <scene_description>Pete enters the kitchen where his mother goes for the ringing phone and gets to it before she does .<\/scene_description>\n    <character>PETE<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Hello.<\/dialogue>\n    <character>ALICE<\/character>\n    <parenthetical>( phone voice . )<\/parenthetical>\n    <dialogue>It's me.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>I ca n't see you tonight.<\/dialogue>\n    <character>PETE<\/character>\n    <parenthetical>( disappointed . )<\/parenthetical>\n    <dialogue>Okay.<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>I have to go somewhere with Mr. Eddy.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>I think he suspects something. We have to be careful. I miss you.<\/dialogue>\n    <scene_description>Pete is silent .<\/scene_description>\n    <character>ALICE<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>Pete?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Me, too.<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>I'll call you again.<\/dialogue>\n    <scene_description>Alice hangs up . Pete throws the phone back down on the cradle . It bounces off and he has to hang it up again . He slams it down .<\/scene_description>\n    <character>CLAIRE<\/character>\n    <dialogue>What's the matter?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Nothin'.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAYTON HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Pete kick - starts his big Harley and roars angrily out of the driveway .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS - NIGHT<\/stage_direction>\n    <scene_description>Pete rides his cycle fast through neighborhoods .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VAN NUYS BOULEVARD - NIGHT<\/stage_direction>\n    <scene_description>Pete rides up the boulevard with the `` Cruisers '' . He spots `` V 's '' car parked at `` Tops '' . He pulls in beside `` V 's '' car and shuts down the engine . The usual crowd is at the drive - in , including Sheila . Pete goes up to `` V '' and Carl and says hello . He lights a cigarette and leans up against a steel pole supporting the awning above . `` V '' and Carl both notice that Pete is in a bad mood . Sheila is over with her girlfriends . She has n't seen Pete arrive . Suddenly Sheila looks over in Pete 's direction . She looks like she 's seeing something , yet not seeing anything . She keeps looking - staring . Sheila 's POV she sees `` V '' , Carl and a lot of PEOPLE , but Pete is not there . Pete looks at Sheila . He 's unsettled and confused by her staring , but not seeming to see him . He watches her turn away and take one of her girlfriend 's hands - leading her out to dance to the LOUD music . Pete watches her dance . Suddenly , he ca n't see her . He thinks maybe she may be dancing on the other side of the building - out of view . He moves to look and his head is struck by a violent pain . He grabs his head with his hand and leans forward . `` V '' grabs his arm .<\/scene_description>\n    <character>\"V\"<\/character>\n    <dialogue>You okay, man?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>\"V\"<\/character>\n    <dialogue>You okay? What's wrong7<\/dialogue>\n    <scene_description>Pete looks up at `` V '' . He does n't seem to recognize him - `` V 's '' head is a featureless blur . Pete shakes his head trying to drive out the pain . He looks over again for Sheila . He sees her there dancing with her girlfriend .<\/scene_description>\n    <character>\"V\"<\/character>\n    <dialogue>Pete. You okay?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Pete stands back up against the post - turns to `` V '' - recognizing him .<\/scene_description>\n    <character>PETE<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>I'm, okay. You okay?<\/dialogue>\n    <character>\"V\"<\/character>\n    <dialogue>Sure, I'm okay.<\/dialogue>\n    <scene_description>Some drunk GUYS move over to Sheila and her girlfriend . They cut in on the girls . The guy with Sheila puts his hand around her waist and pulls her against her will into a grind . She tries to push him away , but he holds on tighter - laughing with his buddy . `` V '' and Carl look at Pete as he pushes off the post . Pete crosses quickly to the man dancing with Sheila . He slams his fist into the man 's nose - almost snapping the man 's neck in the process . The man goes down bleeding . Pete attacks the other man who is turning toward him ready for a fight . He hits the man in the gut - the man 's head goes down and Pete brings his knee up cracking the man 's face . The man 's torso flies up with Pete 's knee - then continues on as the man falls to the floor . Pete picks him up , ready to hit him again , but the crowd pulls him off . Pete stands and turns - pulsating with anger . Sheila is there beside him .<\/scene_description>\n    <character>SHEILA<\/character>\n    <dialogue>Where'd you come from?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>I've been here. You were lookin, right at me.<\/dialogue>\n    <character>SHEILA<\/character>\n    <dialogue>I was?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Sheila sinks into his arms .<\/scene_description>\n    <character>SHEILA<\/character>\n    <dialogue>I did n't know you cared.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <scene_description>Pete takes her to the Harley and they blast off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARTHUR'S HIDEAWAY MOTEL - THE ROOM - NIGHT<\/stage_direction>\n    <scene_description>Pete is making desperate love to Sheila in the same room - the same bed , as with Alice .<\/scene_description>\n    <character>SHEILA<\/character>\n    <parenthetical>( whispered pain . )<\/parenthetical>\n    <dialogue>Pete. Pete.<\/dialogue>\n    <scene_description>Pete keeps on - harder - obsessed . When he comes , he crashes down on Sheila , who wraps her arms around him tight . She does n't know what is going on with him . Her eyes are open wide as she listens to his frantic breathing . She does n't know what to say - or what questions to ask .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARTHUR'S HIDEAWAY MOTEL - NIGHT<\/stage_direction>\n    <scene_description>Ed and Al are staring silently at the motel and the Harley parked out in front .<\/scene_description>\n    <character>AL<\/character>\n    <dialogue>What a fuckin' job.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>His or ours?<\/dialogue>\n    <character>AL<\/character>\n    <dialogue>Ours, Ed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAYTON HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Pete enters through the front door . His parents are sitting as if they have been waiting for him .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Sit down a minute.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>What's up?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Sit down.<\/dialogue>\n    <scene_description>Pete sits in a chair opposite Bill and Claire .<\/scene_description>\n    <character>BILL<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>You do n't look so good.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>I got ta headache. What's goin' on?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>The police called us.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Yeah? what did they want?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>They wanted to know if we'd had a chance to find out what happened to you the other night. They wanted to know if you remembered anything.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>But I do n't remember anything. What did you tell'em?<\/dialogue>\n    <character>CLAIRE<\/character>\n    <parenthetical>( whispers . )<\/parenthetical>\n    <dialogue>We saw you that night, Pete.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>You came home. Your friend Sheila brought you here.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Sheila?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Yes, there was a man with you. She brought you here. She did n't know what else to do.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>What is this? Why did n't you tell me? What? I do n't remember any of this.<\/dialogue>\n    <character>CLAIRE<\/character>\n    <dialogue>We know that.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Who was the man?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Never saw him before in my life.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Did you tell the police this?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>We're not saying anything about that night to the police. We should all forget that night.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>What happened to me?<\/dialogue>\n    <scene_description>Bill and Claire just stare at Pete .<\/scene_description>\n    <character>PETE<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>Please tell me.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>No.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAYTON HOUSE - NIGHT<\/stage_direction>\n    <scene_description>The clock on the wall reads : 1:30 a.m. . The house is completely quiet , except for the refrigerator motor . Pete is on the phone in the kitchen talking quietly .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Why did n't you tell me you brought me here that night?<\/dialogue>\n    <parenthetical>( he listens . )<\/parenthetical>\n    <dialogue>To my house. my parents told me. What are you tryin' to hide?<\/dialogue>\n    <parenthetical>( he listens . )<\/parenthetical>\n    <dialogue>Sheila. Tell me. Who was with me? Who was the man?<\/dialogue>\n    <parenthetical>( he listens . )<\/parenthetical>\n    <dialogue>. When you brought me home!<\/dialogue>\n    <parenthetical>( he listens . )<\/parenthetical>\n    <dialogue>What was he doin' there?<\/dialogue>\n    <parenthetical>( he listens . )<\/parenthetical>\n    <dialogue>What are you cryin' about? Sheila?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARNIE'S GARAGE - DAY<\/stage_direction>\n    <scene_description>Pete is working on a car . The Mercedes Pullman pulls into the shop . Mr. Eddy gets out with his two assistants . They stay by the car while Mr. Eddy walks over to Pete . Mr. Eddy smiles .<\/scene_description>\n    <character>MR. EDDY<\/character>\n    <dialogue>How ya doin', Pete?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>MR. EDDY<\/character>\n    <dialogue>I'm sure you noticed that girl that was with me the other day. Good lookin' blonde? She stayed in the car?<\/dialogue>\n    <scene_description>Pete just stares at Mr. Eddy . His heart begins to race .<\/scene_description>\n    <character>MR. EDDY<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>Her name is Alice. You know I love that girl to death. If I ever found out somebody was makin' out with her, I'd take this.<\/dialogue>\n    <parenthetical>( he opens his coat and pulls out his .44 Ruger Blackhawk and holds it up in front of Pete 's face . )<\/parenthetical>\n    <dialogue>. and shove it so far up his ass it would come out his mouth. Then you know what?<\/dialogue>\n    <character>PETE<\/character>\n    <parenthetical>( very quietly . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>MR. EDDY<\/character>\n    <dialogue>I'd pull the trigger and shoot him right between the eyes.<\/dialogue>\n    <scene_description>Abruptly , Mr. Eddy becomes cool - he holsters his pistol and smiles at Pete .<\/scene_description>\n    <character>MR. EDDY<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>So, Pete, you're lookin, better. What have you been up to?<\/dialogue>\n    <scene_description>CLOSE UP ON PETE 'S FACE - staring at Mr. Eddy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAYTON HOUSE - NIGHT<\/stage_direction>\n    <scene_description>The phone rings in the kitchen .<\/scene_description>\n    <character>PETE<\/character>\n    <parenthetical>( voiceover . )<\/parenthetical>\n    <dialogue>I'll get it.<\/dialogue>\n    <scene_description>Pete moves into the kitchen and picks up the phone .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>Meet me at the Starlight Motel on Sycamore. I'll be there in twenty minutes.<\/dialogue>\n    <character>PETE<\/character>\n    <parenthetical>( hesitates . )<\/parenthetical>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Alice hangs up . Pete stares at the phone for a moment , then hangs it up slowly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STARLIGHT MOTEL - NIGHT<\/stage_direction>\n    <scene_description>Pete pulls his Camaro into the parking lot . When he gets out of the car , he hears a voice and looks.up .<\/scene_description>\n    <character>ALICE<\/character>\n    <dialogue>Up here. Come on.<\/dialogue>\n    <scene_description>Pete takes a stairway past a `` Coke '' machine and meets Alice in front of a second floor room where the door stands open .<\/scene_description>\n    <character>ALICE<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>I already got the room.<\/dialogue>\n    <scene_description>Pete follows Alice into the motel room and she shuts the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STARLIGHT MOTEL - NIGHT<\/stage_direction>\n    <scene_description>Ed and Al are parked across the street - watching .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STARLIGHT MOTEL - ROOM - NIGHT<\/stage_direction>\n    <scene_description>Pete and Alice are sitting on the bed - dressed . A bedside table lamp is on .<\/scene_description>\n    <character>ALICE<\/character>\n    <dialogue>He'll kill us.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Are you positive he knows?<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>I'm not positive. but. he knows.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>So what do we do?<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>We should stop seeing each other.<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>No. no.<\/dialogue>\n    <scene_description>Alice moves closer to Pete and melts into him . She places his hand on her breast and looks in his eyes .<\/scene_description>\n    <character>ALICE<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>I do n't want to live without you.<\/dialogue>\n    <scene_description>She kisses Pete and pulls up her sweater to let him feel her bare breasts . Pete kisses her back - lost in his longing for her . Alice breaks away .<\/scene_description>\n    <character>ALICE<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>We have to get away. We have to get some money.<\/dialogue>\n    <scene_description>Pete just stares at her .<\/scene_description>\n    <character>ALICE<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>I know a guy. He pays girls to party with him. He always has alotta cash.<\/dialogue>\n    <scene_description>Alice puts her band up to Pete 's cbeek and lets it drift around .<\/scene_description>\n    <character>ALICE<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>He'd be easy to rob. Then we'd have the money. and we could get away. We'd be together.<\/dialogue>\n    <scene_description>Alice kisses Pete 's lips over and over - looking in his eyes .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Have you partied with him?<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>I used to.<\/dialogue>\n    <scene_description>Inside , Pete goes crazy with jealousy .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>You like it?<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>No, honey. It was part of the deal.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>What deal?<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>He works for Mr. Eddy.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>What's he do?<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>He makes films for Mr. Eddy.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Pornos.<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>How'd you get in with these fuckin' people?<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>Pete. Do n't.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>How'd it happen, Alice?<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>It was a long time ago. I met someone at this place called Moke's. we became friends. He told me about a job.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>In pornos?<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>No. A job. I did n't know what. He set up an appointment for me to see a man.<\/dialogue>\n    <scene_description>ALICE 'S STORY We see Alice wearing a sexy tight dress in a plain room . It feels like we are inside of a large building - maybe an office building . Alice is waiting nervously . A SLICKSTER in shiny shirt and pants is leaning against a closed door . There is another door off the room which is open onto a room where a MUSCLE MAN in tiny briefs is doing bench presses . No one is saying anything .<\/scene_description>\n    <character>ALICE<\/character>\n    <parenthetical>( voiceover . )<\/parenthetical>\n    <dialogue>I went to this place. They made me wait forever. There was some guy guardin' the door. I started gettin' nervous. In another room I could see some guy liftin' weights. Both these guys gave me the creeps. They never said anything to me. So I just smoked cigarettes and waited.<\/dialogue>\n    <scene_description>We move in on a nervous EXHALE OF SMOKE to a CLOSE UP of Alice waiting . We see a CLOSE UP of the man guarding the door . We see a CLOSE SHOT of the man bench pressing a lot of weight . Suddenly , there are two knocks on the other side of the closed door . The Slickster moves off the door and opens it a crack . He talks quietly to someone Alice ca n't see , then he turns , opens the door and gestures for Alice to go through . Alice puts out her cigarette - her hand is shaking . She walks over past the Slickster and enters a much larger room . There are about FIFTEEN MEN in the room - all leaning comfortably at different points on the walls . There is only one chair in the room - Mr. Eddy is sitting in it . No one says anything to her , but one man nods his head and from this nod , Alice feels she should walk to the center of the room . She does , and she instinctively turns to the man sitting in the chair . They all just stare at her silently . She looks around nervously - her eyes return to Mr. Eddy 's . Suddenly , a man steps quickly up to her - draws a pistol and cocks it against her head . Alice goes weak in the knees . Her eyes fill with fear . The men continue to stare . Mr. Eddy gives Alice a small gesture as if to say `` well ? '' . Somehow she knows what they want , even though they have n't asked for it with words . Alice starts to undress - slowly - in as sexy a way as she knows how . The men just stare without expression . When she is completely naked , Mr. Eddy gestures her over to him . Soon she is on her knees in front of him - making herself available for whatever he wants . Mr. Eddy 's POV - Alice looks in his eyes . She reaches her hand up to stroke his cheek .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STARLIGHT MOTEL - ROOM - NIGHT<\/stage_direction>\n    <scene_description>Alice 's hand reaches up and strokes Pete 's cheek .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Why did n't you just leave?<\/dialogue>\n    <scene_description>Alice does n't say anything . She drops her hand - looks down .<\/scene_description>\n    <character>PETE<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>You liked it.<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>If you want me to go away, I'll go away.<\/dialogue>\n    <scene_description>The feelings shift inside Pete . Alice looks in his eyes .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>I do n't want you to go away.<\/dialogue>\n    <scene_description>Alice smiles a little - leans in and they kiss .<\/scene_description>\n    <character>ALICE<\/character>\n    <parenthetical>( whispers . )<\/parenthetical>\n    <dialogue>I love you, Pete.<\/dialogue>\n    <scene_description>They kiss some more .<\/scene_description>\n    <character>PETE<\/character>\n    <parenthetical>( desperate whisper . )<\/parenthetical>\n    <dialogue>I love you, Alice.<\/dialogue>\n    <scene_description>They start to make love - undressing each other and kissing all the while . Alice stops .<\/scene_description>\n    <character>ALICE<\/character>\n    <dialogue>So, should I call Andy?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Andy?<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>That's his name. Andy. Our ticket out of here.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Yeah. Call him.<\/dialogue>\n    <scene_description>Alice gets serious .<\/scene_description>\n    <character>ALICE<\/character>\n    <dialogue>I'll set it up for tomorrow night. You'll meet me at his place at eleven o'clock. Do n't drive there. Take a bus. Make sure no one follows you. His address is easy to remember. It's 2224 Deep Dell Place. It's a white stucco job on the south side of the street. I'll be upstairs with Andy. The back door will be open. That leads into the kitchen - go through the kitchen to the living room - there's a bar there. At eleven fifteen, I'll ask Andy to fix me a drink. When he does, you can crack him in the head. Okay?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>Lem me call him now. Make sure he's not already busy tomorrow night.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Still entwined with each other , Alice reaches for the phone and dials a number . It starts to ring and she smiles at Pete when she hears it being answered .<\/scene_description>\n    <character>ALICE<\/character>\n    <dialogue>Andy? It's me, Alice. How ya doin?<\/dialogue>\n    <parenthetical>( whispers . )<\/parenthetical>\n    <dialogue>Andy. I can get away tomorrow night. I could come to your house. That sounds good. Around nine. Yeah, me too, Andy. Great. See ya then.<\/dialogue>\n    <scene_description>She hangs up the phone .<\/scene_description>\n    <character>ALICE<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>Set.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Why are ya goin' so early?<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>'Cause that's how long it's gon na take, baby.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>What if Andy tips off Mr. Eddy?<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>Are you kidding? I've got so much on Andy, it is n't funny.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>What about tonight? Whatiya gon na do about Mr. Eddy tonight?<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>I'm not goin' home tonight. I'm goin' somewhere else.<\/dialogue>\n    <parenthetical>( off his look . )<\/parenthetical>\n    <dialogue>To a girlfriend's house.<\/dialogue>\n    <parenthetical>( she smiles . )<\/parenthetical>\n    <dialogue>But, we still have a coupla things to take care of.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Oh, yeah? What else?<\/dialogue>\n    <scene_description>Alice reaches down between their legs . Pete smiles .<\/scene_description>\n    <character>ALICE<\/character>\n    <dialogue>This. and this.<\/dialogue>\n    <scene_description>They start to go at it again - at first slowly and tenderly - then wildly . Alice tears herself away and looks up at Pete .<\/scene_description>\n    <character>ALICE<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>Are you my man?<\/dialogue>\n    <character>PETE<\/character>\n    <parenthetical>( getting hotter . )<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>Are you gon na be a man about this, Pete?<\/dialogue>\n    <scene_description>Pete looks at her - starting to understand what she means .<\/scene_description>\n    <character>ALICE<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>Are you?<\/dialogue>\n    <scene_description>Pete stares at her - then nods .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAYTON HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Pete drives up and parks his Camaro in the driveway . When he gets out of the car , he sees Sheila standing by the front step . She is looking in his direction , but does n't seem to see him . She SUDDENLY turns and looks up the street - she YELLS .<\/scene_description>\n    <character>SHEILA<\/character>\n    <parenthetical>( total horror . )<\/parenthetical>\n    <dialogue>THERE'S SOMEONE WITH HIM!<\/dialogue>\n    <scene_description>As she yells , she starts to look around wildly - then her eyes follow the path the Camaro took into the driveway - then the path Pete took to where he has been standing all this time . Her eyes find Pete and she stands by the front step .<\/scene_description>\n    <character>PETE<\/character>\n    <parenthetical>( frightened . )<\/parenthetical>\n    <dialogue>Sheila?<\/dialogue>\n    <scene_description>She heads toward him .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Sheila, what is it? What are you doin' here?<\/dialogue>\n    <character>SHEILA<\/character>\n    <dialogue>You've been fucking somebody else have n't you?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Sheila.<\/dialogue>\n    <character>SHEILA<\/character>\n    <dialogue>You fuck me whenever you want. You do n't call. Tell me who she is.<\/dialogue>\n    <scene_description>Sheila has come up and is grabbing Pete by the front of his shirt .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Hey. Sheila.<\/dialogue>\n    <character>SHEILA<\/character>\n    <dialogue>What's the BITCH'S name?!<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Look Sheila. I'm sorry.<\/dialogue>\n    <character>SHEILA<\/character>\n    <dialogue>YOU'RE SORRY!<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Go home, Sheila.<\/dialogue>\n    <scene_description>Sheila starts beating him in the face and chest .<\/scene_description>\n    <character>SHEILA<\/character>\n    <dialogue>YOU'RE SORRY! YOU PIECE OF SHIT! YOU'RE SORRY!<\/dialogue>\n    <scene_description>She starts crying and hitting him harder .<\/scene_description>\n    <character>SHEILA<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>FUCK YOU!<\/dialogue>\n    <scene_description>Sheila 's screaming is reverberating around the neighborhood . INSIDE PETE 'S MIND the SOUNDS are even LOUDER . Bill comes out of the house . Claire is behind him waiting on the front porch . Sheila beats Pete and trips him to the ground . She is sobbing as she tears at him .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Sheila. Stop.<\/dialogue>\n    <character>SHEILA<\/character>\n    <dialogue>FUCK YOU! FUCK YOU!<\/dialogue>\n    <scene_description>Bill comes up to Sheila and takes her gently by the shoulders . Sheila jerks around and looks up at Bill .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Why do n't you two come inside and talk things over quietly. Come on. Come on in, Sheila.<\/dialogue>\n    <scene_description>Sheila gets to her feet - crying . She looks down at Pete , who remains lying on the front lawn . For Pete , every word and every sound is LOUD and DISTORTED . The DRONING SOUND returns .<\/scene_description>\n    <character>SHEILA<\/character>\n    <parenthetical>( to Pete . )<\/parenthetical>\n    <dialogue>You are different.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Sheila.<\/dialogue>\n    <character>SHEILA<\/character>\n    <parenthetical>( to Bill . )<\/parenthetical>\n    <dialogue>TELL HIM!<\/dialogue>\n    <scene_description>The phone inside the house starts to ring . Claire turns in the doorway and goes to answer it .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Sheila. Do n't.<\/dialogue>\n    <character>SHEILA<\/character>\n    <dialogue>I do n't care anyway. I'm sorry, Mr. Dayton. I wo n't bother you or any member of your family again.<\/dialogue>\n    <scene_description>Sheila runs off crying . Pete and Bill watch her go . Claire comes to the door .<\/scene_description>\n    <character>CLAIRE<\/character>\n    <dialogue>Pete. There's a man on the phone. He's called a couple of times tonight.<\/dialogue>\n    <scene_description>Pete pulls himself up .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Who is it?<\/dialogue>\n    <character>CLAIRE<\/character>\n    <dialogue>He wo n't give his name.<\/dialogue>\n    <scene_description>Pete walks slowly inside - stares at the phone and picks it up .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>MR. EDDY<\/character>\n    <parenthetical>( phone voice . )<\/parenthetical>\n    <dialogue>Hey, Pete. How ya doin'?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Who is this?<\/dialogue>\n    <character>MR. EDDY<\/character>\n    <dialogue>You know who it is.<\/dialogue>\n    <scene_description>Bill and Claire have stopped in the living room - watching Pete . Pete is going crazy with Mr. Eddy on one end , and his parents staring at him on the other . He waves his parents away , but they leave slowly and reluctantly .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Mr. Eddy?<\/dialogue>\n    <character>MR. EDDY<\/character>\n    <dialogue>Yeah. How ya doin', Pete?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>MR. EDDY<\/character>\n    <dialogue>You're doin, okay? That's good, Pete.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Look. It's late, Mr. Eddy. I.<\/dialogue>\n    <character>MR. EDDY<\/character>\n    <dialogue>I'm really glad you're doin' okay, Pete.<\/dialogue>\n    <scene_description>Pete does n't know what to say .<\/scene_description>\n    <character>MR. EDDY<\/character>\n    <dialogue>You sure you're doin' okay? Everything all right?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>MR. EDDY<\/character>\n    <dialogue>That's good, Pete. Hey. I want you to talk to a friend of mine.<\/dialogue>\n    <scene_description>Pete can hear the phone being handed over to someone . There is a long silence . Pete can hear breathing .<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>We've met before, have n't we?<\/dialogue>\n    <scene_description>Pete freezes . His mind is scrambling .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>I do n't think so. Where was it that you think we've met?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>At your house. Do n't you remember?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>No. No, I do n't.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>We just killed a couple of people.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Pete can hear Mr. Eddy laugh in the background .<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>You heard me. We thought we'd come over and tell you about it.<\/dialogue>\n    <scene_description>Pete is getting pale with fear .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>What's goin' on?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Great question! In the east. the far east. when a person is sentenced to death. they're sent to a place where they ca n't escape. never knowing when an executioner will step up behind them and fire a bullet into the back of their head. it could be days. weeks. or even years after the death sentence has been pronounced. This uncertainty adds an exquisite element of torture to the situation, do n't you think? It's been a pleasure talking to you.<\/dialogue>\n    <scene_description>Pete can hear the phone being passed again .<\/scene_description>\n    <character>MR. EDDY<\/character>\n    <dialogue>Pete. I just wanted to jump on and tell you I'm really glad you're doin' okay.<\/dialogue>\n    <scene_description>The phone goes dead and Pete sits - fearfully pondering his fate . He hears a NOISE and turns . Down at the far end of the hall he sees his parents staring at him . CLOSE UP ON PARENTS staring in the direction of the living room as if sensing something , but not seeing . PARENTS POV - The hall and living room beyond . There is no one there .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - BUS STOP - NIGHT<\/stage_direction>\n    <scene_description>A City Bus pulls up to the stop . The doors open and Pete climbs on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS - NIGHT<\/stage_direction>\n    <scene_description>Pete rides along in the empty bus . He stares at his reflection in the dark window .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - BUS STOP - NIGHT<\/stage_direction>\n    <scene_description>The bus stops and Pete gets out . He starts walking .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEEP DELL PLACE - NIGHT<\/stage_direction>\n    <scene_description>We see a street sign saying `` Deep Dell Place '' . Pete walks up the street looking at numbers . He finds 2224 Deep Dell Place - Andy 's House . He stares at the house from the sidewalk . Lights are on upstairs and down . The hot wind moves big shadows of trees over the front of the house . Pete looks at his watch . It reads : 11:05 p.m. . He walks down the driveway , crosses through some bushes and comes to a fence separating the front yard from the back . He stops and listens . He pulls himself up and over the fence , but crashes on something on the other side . He freezes - listening . He hears the wind blowing through the trees , and distant music from inside - a slow jazz piece . He hears echoing sounds of love making . He makes his way around back - goes up the stairs and tries the back door . It opens .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANDY'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Pete sneaks through the kitchen and comes into the living room . Pete stops short and stares . A movie projector is running in the living room . A porno film is being projected on a huge screen at the far end . Alice is in the porno film . A man is fucking her from behind - with LOUD SLAPPING SOUNDS of flesh banging flesh . Her face is in the foreground . Her eyes look out directly at Pete . She is loving every minute of it . Inside Pete , jealousy starts to rage out of control . He looks around . He sees clothes scattered about . He picks up a girl 's sweater and smells it . He looks up the stairs . Feet appear at the top of the stairs . They start down . Pete runs for the bar . Along the way , he grabs a heavy , bronze figurine of a well - stacked woman off a rectangular glass - topped coffee table , and ducks behind the bar . He can hear Andy approaching . He can hear Andy gather two glasses . He can hear Alice being fucked harder in the porno film . He clenches his teeth with rage . Suddenly , Andy moves right in front of him . They see each other . Andy 's eyes widen - Pete leaps up , and thwacks the bronze figurine down on the top of Andy 's head . Andy falls . The breasts of the figurine have made two bloody holes in his forehead . Pete turns . Alice is coming quickly down the stairway - naked , except for a pair of panties . Lipstick is smeared around her mouth . She is carrying a half - filled pillowcase . Her porno film is playing on the wall behind her . These images jump and spin in Pete 's mind . He moves unsteadily toward her .<\/scene_description>\n    <character>ALICE<\/character>\n    <dialogue>You got him.<\/dialogue>\n    <character>PETE<\/character>\n    <parenthetical>( still holding the figurine . )<\/parenthetical>\n    <dialogue>Alice, I.<\/dialogue>\n    <scene_description>Pete starts to tremble . He drops the figurine . He tries to embrace her . There is a crashing noise behind him . Pete turns and sees Andy staggering , blood streaming from the wound in his head , THEN CHARGING FULL SPEED AT PETE . Andy hits him hard , and Pete goes down . When Pete hits the ground , he pushes Andy up and throws out his arms . This , and Andy 's momentum , catapult Andy into the corner of the rectangular glass - topped coffee table . There is a sound like a hammer going through a bucket of eggs as the glass corner embeds about eight inches into Andy 's forehead . CLOSE UP OF ANDY 'S HEAD - impaled on the sharp corner of the table , his chest area suspended , his legs and stomach touching the floor .<\/scene_description>\n    <character>ALICE<\/character>\n    <parenthetical>( amazement - no feeling . )<\/parenthetical>\n    <dialogue>Wow!<\/dialogue>\n    <scene_description>Pete pulls himself off the floor . Pete moves close to Alice , they drift to the glass coffee table , staring for a few moments at Andy 's dead body . While Pete stares , unbelieving , at Andy - Alice hurriedly picks up her sweater and puts it on . On the sofa next to it lay Andy 's trousers . She goes through the pockets , finds a roll of cash bound by a rubber band . Alice hands the roll to Pete .<\/scene_description>\n    <character>ALICE<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>Put this in your pocket.<\/dialogue>\n    <scene_description>Alice kneels next to Andy 's body and quickly removes his Rolex wristwatch , a couple of rings and the gold chain dangling from his neck . These items she puts inside the empty pillowcase . Alice finds the rest of her clothes scattered about the living room and puts them on . Pete watches her , trembling , unable to say anything . She comes back to Pete , who starts breathing irregularly , hyperventilating .<\/scene_description>\n    <character>ALICE<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>You all right?<\/dialogue>\n    <character>PETE,<\/character>\n    <dialogue>We killed him.<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>You killed him.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Alice?<\/dialogue>\n    <scene_description>Alice slides up close to Pete .<\/scene_description>\n    <character>ALICE<\/character>\n    <dialogue>It was an accident. Accidents happen every day.<\/dialogue>\n    <scene_description>Pete clutches her , eyes squeezed tight , as if he is holding on for dear life .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Alice.<\/dialogue>\n    <character>ALICE<\/character>\n    <parenthetical>( pushing back . )<\/parenthetical>\n    <dialogue>We got ta get the stuff and get out of here.<\/dialogue>\n    <scene_description>Alice starts off across the living room with the pillowcase . Pete opens his eyes , he sees Alice move as a blur . He looks around the room , which spins in and out of focus . His eyes land on , a PHOTOGRAPH in a frame on the wall . This photo troubles him . Pete squints , then points to the photograph .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Is that you? Are both of them you?<\/dialogue>\n    <scene_description>CLOSE UP OF THE PHOTOGRAPH - Four people appear in the frame : Andy , Renee , Alice and Mr. Eddy . Alice stops and comes back . She looks at the photo , walks closer to it , and points at herself .<\/scene_description>\n    <character>ALICE<\/character>\n    <dialogue>That's me.<\/dialogue>\n    <scene_description>She turns to Pete . Pete is staring at the photograph - at Alice and Renee in the photograph . His nose is bleeding profusely .<\/scene_description>\n    <character>ALICE<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>Pete?<\/dialogue>\n    <scene_description>Pete starts to reel - blood from his nose soaking his shirt .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Where's the bathroom?<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>Up the stairs - down the hall.<\/dialogue>\n    <scene_description>Pete runs up the stairs - about to get sicker . Alice watches him go with a nuance of disdain .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANDY'S HOUSE - UPSTAIRS - NIGHT<\/stage_direction>\n    <scene_description>Pete staggers toward the bathroom at the rear right of the hallway . THE HALLWAY SUDDENLY BECOMES HAZY , DIFFERENT AND LONGER THAN IT APPEARED TO BE . Pete wanders down this `` changed '' hall . On his left , he identifies a door with the number 25 on it . He pauses for a moment in front of it , then goes on until , on his right , he comes to a door with the number 26 on it . He enters through this door . Inside is a WOMAN in front of a mirror with a MAN . Her arms are resting on a shelf under the mirror as the man takes her from behind . The man 's face is blank , featureless , and is buried in the woman 's back - we ca n't see it . Pete now sees that the woman is an extremely whorish version of Alice - she 's looking at Pete 's reflection in the mirror . He 's looking at her reflection in the mirror . Pete 's head is pounding .<\/scene_description>\n    <character>WOMAN\/ALICE<\/character>\n    <parenthetical>( to Pete . )<\/parenthetical>\n    <dialogue>Did you want to talk to me?<\/dialogue>\n    <scene_description>Pete rubs his head - the pain is severe .<\/scene_description>\n    <character>WOMAN\/ALICE<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>Did you want to ask me `` why''?<\/dialogue>\n    <scene_description>Pete staggers out of the room . He closes the door . The hallway has `` changed '' back to Andy 's hallway . The doors no longer have numbers . Pete walks , unsteadily , back down the hall - faltering . He starts down the stairs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANDY'S HOUSE - LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Pete comes downstairs to the living room and sees Alice at the desk in the corner , filling the pillowcase with cash and jewelry . She has a PISTOL in her hand . Alice turns when she hears Pete and they study each other 's face as Pete makes his way to her . His head is still throbbing with pain . His focus goes from her face to the gun - which is pointing right at him - back to her . Alice smiles .<\/scene_description>\n    <character>ALICE<\/character>\n    <dialogue>Do n't you trust me, Pete?<\/dialogue>\n    <scene_description>She laughs and hands him the pistol .<\/scene_description>\n    <character>ALICE<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>Stick that in your belt.<\/dialogue>\n    <scene_description>She shows him the pillowcase filled with loot .<\/scene_description>\n    <character>ALICE<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <parenthetical>( going through the loot . )<\/parenthetical>\n    <dialogue>Look at all this shit. I know a fence. he'll give us money and get us passports in exchange for this and the car.<\/dialogue>\n    <parenthetical>( looks up at him . )<\/parenthetical>\n    <dialogue>We can go anywhere.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Alice?<\/dialogue>\n    <scene_description>Alice grabs Pete 's arm and hurries him toward the door .<\/scene_description>\n    <character>ALICE<\/character>\n    <dialogue>Come on, baby.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANDY'S HOUSE - DRIVEWAY - NIGHT<\/stage_direction>\n    <scene_description>Alice takes Pete to Andy 's car and throws him the keys .<\/scene_description>\n    <character>ALICE<\/character>\n    <dialogue>You drive.<\/dialogue>\n    <scene_description>Alice jumps in Andy 's car and tosses the bulging pillowcase in the back . Pete takes the revolver out of his belt . He opens the driver 's side door of Andy 's car and slowly sits inside . He sets the pistol on the seat between them . He looks up at her . She smiles wildly . Pete slalms the door - starts the car and they drive off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RESIDENTIAL STREET - EDGE OF THE DESERT - NIGHT<\/stage_direction>\n    <scene_description>Alice and Pete pull up into the driveway of a house at the end of a street at the edge of a desert . Alice gets out into a hot wind . Pete stays in the car as she goes up to the house . Pete 's POV : He watches Alice ring the doorbell . She waits in front of the door for a few moments , her hair blowing in the wind . A HOUSEBOY opens the door . Alice says something to him - Pete can not bear anything that is said , even though his driver 's side window is down . All he can hear is the hot wind blowing . The Houseboy moves out to where he can see Pete , waiting in the car . The Houseboy and Alice exchange information . The Houseboy points out toward the desert . Alice turns back to the car . The Houseboy watches her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANDY'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Alice gets into the car .<\/scene_description>\n    <character>ALICE<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <scene_description>Pete starts the car and begins backing it out the drive . The Houseboy is still standing - watching them .<\/scene_description>\n    <character>ALICE<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>We have to go to the desert. He's at his cabin.<\/dialogue>\n    <scene_description>Pete and Alice drive off . The Houseboy continues to watch them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT - TWO-LANE HIGHWAY - NIGHT<\/stage_direction>\n    <scene_description>We see the clean moving POV illuminated by headlights . We 're floating down an old two - lane highway through a desolate , desert landscape .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT - NIGHT<\/stage_direction>\n    <scene_description>Pete and Alice pull off the two - lane highway onto a barely discernible dirt road that cuts through the dark desert .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT - NIGHT<\/stage_direction>\n    <scene_description>Pete and Alice drive up to a ONE ROOM CABIN built on stilts next to a dry lakebed . They both get out and go up the stairs to a porch where Alice knocks on the door . There is no answer . Alice opens the door , but there is NOBODY INSIDE .<\/scene_description>\n    <character>ALICE<\/character>\n    <dialogue>We'll have to wait.<\/dialogue>\n    <scene_description>The hot wind continues to blow . Alice and Pete walk back down to the car . The HEADLIGHTS are on and Alice reaches in through the window and switches on the RADIO . She ca n't get anything in but static , with bits and pieces of old tunes fading in and out . She hits the `` seek '' button . The radio starts to search . Pete is standing in the glare of the headlights watching her . Alice walks slowly to him . The camera captures this from a back seat perspective - then drifts toward them .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Why me, Alice? Why choose me?<\/dialogue>\n    <scene_description>The radio sticks on a particular tune - a tune filled with longing . Alice begins to dance . She takes Pete 's hand and pulls him close to her .<\/scene_description>\n    <character>ALICE<\/character>\n    <dialogue>So we can be together. You still want to be with me, do n't you Pete?<\/dialogue>\n    <scene_description>Alice gives Pete that wild smile .<\/scene_description>\n    <character>ALICE<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>More than ever?<\/dialogue>\n    <scene_description>She kisses Pete over and over . He begins to kiss her back . She starts to move him in a dance to the music in the glare of the headlights , the hot wind caressing them . The scene is out of a dream . Alice and Pete help each other undress as they dance in and out of the light , and the wind whips at their bodies . They sink down on the soft ground and start making love . The lights from the headlights combine with the starlight , bathing them in a pristine glow . The music fades and the radio begins to `` seek '' through static for another station . The music it finds now is LOUD and INTENSE . Alice - her hunger appearing , now becomes carnivorous in her approach to love making with Pete . She is the aggressor , highly - charged - she wants more and more - taking , not giving , insatiable . The headlights flare their bodies in blinding light . They become amorphous , glowing shapes burning in the light . Pete is trying desperately to please her - to have her . The driving music fills with cracks of piercing static . The radio strains to hold the station . Pete 's white - hot body clings to Alice . He chokes with emotion .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>I want you. I want you.<\/dialogue>\n    <scene_description>With a burning smile , Alice rolls them out of the beams of light into the darkness . The wind billows a black cloud of dust around them . Alice pulls away from Pete and brings her dark mouth to his ear .<\/scene_description>\n    <character>ALICE<\/character>\n    <dialogue>You'll never have me.<\/dialogue>\n    <scene_description>Alice glides away from Pete and stands up looking down at him from above . She turns and walks , naked , to the cabin where she disappears within it . Pete turns , face down on the ground in the darkness . He 's holding his head and shaking . As he starts to stand - he turns into the glare of the headlights and we see that it is NOT PETE - BUT FRED . As Fred stands up , the car 's LIGHTS DIM and the RADIO FADES . Fred looks at the car . He sees some movement inside . Fred looks closer and sees the figure of a man in the back seat . CLOSE UP OF THE MAN - it 's the Mystery Man from Andy 's party .<\/scene_description>\n    <character>VOICE FROM BEHIND FRED<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <scene_description>Fred turns toward the cabin and sees the Mystery Man now standing in the doorway . Fred turns again to the car , but this time it 's empty . He looks back at the cabin and sees the Mystery Man still in the doorway .<\/scene_description>\n    <character>MYSTERY MAN<\/character>\n    <dialogue>Here I am.<\/dialogue>\n    <scene_description>Fred is dizzy with fear and confusion . He pulls on his trousers and shoes and walks up the steps to the cabin toward the Mystery Man , who goes inside . Fred stops in the doorway . He looks around .<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>Where's Alice?<\/dialogue>\n    <character>MYSTERY MAN<\/character>\n    <dialogue>Alice who?<\/dialogue>\n    <scene_description>Fred looks around again but there is no one there except the Mystery Man - standing in the center of the room . Fred stares at him .<\/scene_description>\n    <character>MYSTERY MAN<\/character>\n    <parenthetical>( CO N'T . )<\/parenthetical>\n    <dialogue>Her name is Renee. If she's told you her name is Alice, she's lying.<\/dialogue>\n    <parenthetical>( filled now with anger . )<\/parenthetical>\n    <dialogue>AND YOUR NAME, WHAT THE FUCK IS YOUR NAME?!<\/dialogue>\n    <scene_description>Fred freaks , scared to death . He bolts down the stairs to the car , stumbling more than once . Fred attempts to start the car which is drained of electrical charge by the use of the headlights and radio . The Mystery Man appears in the doorway of the cabin . He starts toward Fred . The starter motor moans as Fred twists the key frantically . The smiling Mystery Man is almost at the car , The engine catches . Fred revs it - throws the car in reverse and peels out away from the Mystery Man , whose hand is reaching for him . Fred swerves the car around - throws it in drive , and takes off across the dark desert .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT HIGHWAY - NIGHT<\/stage_direction>\n    <scene_description>Fred pulls up onto the two - lane highway . An old , rusted roadsign is posted there . It reads : `` LOST HIGHWAY '' . Fred is driving along the two - lane desert `` lost highway '' . The wind is picking up even stronger than before . A big storm is blowing in . Fred sees a sign glowing just ahead that reads : LOST HIGHWAY HOTEL . The sign is swaying and blinking as the gusts hit it . Fred pulls in and stops under the sign and stares at it . He gets out of the car , tucks the pistol in his belt under his shirt and enters the hotel , which is an old two - story building .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOST HIGHWAY HOTEL - OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Fred walks up to the registration desk , where a CLERK is smiling at him in a half - baked way .<\/scene_description>\n    <character>CLERK<\/character>\n    <dialogue>You just got in before the big storm hits.<\/dialogue>\n    <scene_description>Fred pulls the roll of bills from his pocket .<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>I need a room.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOST HIGHWAY HOTEL - UPSTAIRS HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>The hallway is strangely similar to Pete 's vision upstairs at Andy 's . Fred comes to the door numbered 25 , looks at his key which says `` 25 '' and unlocks the door and enters .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOST HIGHWAY HOTEL - ROOM 25 - NIGHT<\/stage_direction>\n    <scene_description>Fred takes the revolver out of his shirt and puts it under the pillow on the bed . He sits on the edge of the bed . He takes a cigarette from a pack in his shirt pocket and lights it with a match from a book of `` Lost Highway Hotel '' matches . Fred smokes the cigarette , listening to the wind blow . Lightning cracks outside the window . Fred crushes the cigarette out in the ashtray on the bedside table . As the last of the blue smoke drifts away , Fred falls back on the bed . Fred closes his eyes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOST HIGHWAY HOTEL - CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>The camera moves in on the door numbered 26 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOST HIGHWAY HOTEL - ROOM 26 - NIGHT<\/stage_direction>\n    <scene_description>Renee is in bed with Mr. Eddy\/Laurent . He and Renee are feverishly making love as the storm rages outside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANDY'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>A criminal investigation is under way . Ed and Al are present , among a fleet of LAW ENFORCEMENT PERSONNEL who are busy dusting for fingerprints and examining the murder site .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Hey, Al, look at this.<\/dialogue>\n    <scene_description>Al walks over to where Ed is looking at the photo on the wall . Al looks at it .<\/scene_description>\n    <character>AL<\/character>\n    <dialogue>It's her, all right. Fred Madison's wife. with Dick Laurent and Mr. Dent - head over there.<\/dialogue>\n    <scene_description>CLOSE UP ON THE PHOTOGRAPH - that shows RENEE AS THE ONLY WOMAN IN THE PICTURE , standing between Andy and Mr. Eddy \/ Laurent .<\/scene_description>\n    <character>AL<\/character>\n    <dialogue>We've got Pete Dayton's prints all over this place.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>You know what I think?<\/dialogue>\n    <character>AL<\/character>\n    <dialogue>What's that, Ed?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>There's no such thing as a bad coincidence.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOST HIGHWAY HOTEL - ROOM 26 - PRE-DAWN<\/stage_direction>\n    <scene_description>Renee is sitting half dressed on the edge of the bed , pulling on her stockings . Mr. Eddy\/Laurent is asleep next to her . Renee stands up , finishes dressing , then leans down and kisses her lover while he sleeps . Renee leaves the room , closing the door as quietly as possible behind her . As the door CLICKS , Mr. Eddy\/Laurent wakes up . He sits up and gets a pack of cigarettes from the bedside table , shakes one out , lights it with a book of `` Lost Highway Hotel '' matches , and smokes it while seated on the edge of the bed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOST HIGHWAY HOTEL - ROOM 25 - PRE-DAWN<\/stage_direction>\n    <scene_description>Fred , still fully dressed , is waking up , AS IF IN A TRANCE - the same attitude he had on the videotape . He strains upwards and looks eerily around the room . He gets up and crosses slowly to a window . He takes the edge of the window curtain and pulls it back . The view is of the gravel parking lot of the hotel . Fred 's POV : He sees Renee , down below , walk over to a car , get in and drive away . Fred walks back to his bed , picks up his revolver from under the pillow , crosses the room to the door and walks out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOST HIGHWAY HOTEL - CORRIDOR - PRE-DAWN<\/stage_direction>\n    <scene_description>Fred crosses over to Room 26 and knocks softly on the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOST HIGHWAY HOTEL - ROOM 26 - PRE-DAWN<\/stage_direction>\n    <scene_description>Mr. Eddy\/Laurent is standing - almost dressed , when he hears the knock .<\/scene_description>\n    <character>MR. EDDY\/LAURENT<\/character>\n    <dialogue>Renee?<\/dialogue>\n    <scene_description>He goes to the door and opens it a crack . As the door opens , Fred smashes the gun into Mr. Eddy \/ Laurent 's face and pushes his way inside the room . Fred hits Mr. Eddy\/Laurent viciously again with the gun barrel . Mr. Eddy\/Laurent is bleeding profusely from gashes on his forehead and nose .<\/scene_description>\n    <character>MR. EDDY\/LAURENT<\/character>\n    <dialogue>What the fuck? What's going on?<\/dialogue>\n    <character>FRED<\/character>\n    <parenthetical>( pointing the gun at him . )<\/parenthetical>\n    <dialogue>You're coming with me.<\/dialogue>\n    <scene_description>Fred puts the pistol up against Mr. Eddy\/Laurent 's head and marches him out of the room - past the camera 's eye . The camera stays in the room and moves slowly toward the window , through which we see Fred and Mr. Eddy\/Laurent appear down below in the back lot . Still watching out the window , the camera sees Fred knock Mr. Eddy\/Laurent over the head with the gun butt and put him into the trunk of a car . Fred slams the trunk lid and climbs into the driver 's side of what is obviously Mr. Eddy\/Laurent 's car - the Mercedes 600 Pullman . As Fred drives away , a HAND appears in our window foreground . The hand moves the window curtain further to one side . The camera pulls back to reveal it as the hand of the Mystery Man . The Mystery Man leans fully into the frame and watches Fred drive off down the Lost Highway as day breaks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT HIGHWAY - DAYBREAK<\/stage_direction>\n    <scene_description>Fred is driving along the road . Suddenly he pulls the car off the road and drives over the dirt and brush to a deserted spot , stops and gets out . Fred opens the trunk . When he does . Suddenly , Mr. Eddy\/Laurent charges up and attacks Fred - knocking them both to the ground . Mr. Eddy\/Laurent tries to strangle Fred , but Fred 's anger is too great . Fred tears loose and gets Mr. Eddy\/Laurent in a hold bending his head back . Fred 's hand reaches out behind him - feeling , searching . A KNIFE appears . it comes into Fred 's hand from another . Fred slices Mr. Eddy\/Laurent 's throat , and throws him down . Mr. Eddy\/Laurent squirms on the ground - his hand grasped around his throat - trying to hold his neck together . Blood is flowing rapidly through his fingers and over the front of him as be turns and opens his mouth with a gurgling sound . Fred stands , facing him , his pistol out now - pointing right at Mr. Eddy\/Laurent 's forehead . CLOSE UP ON MR. EDDY\/LAURENT - he lifts his head and stares at Fred . Blood is rushing out of him .<\/scene_description>\n    <character>MR. EDDY\/LAURENT<\/character>\n    <parenthetical>( wet and jagged . )<\/parenthetical>\n    <dialogue>What do you guys want?<\/dialogue>\n    <scene_description>The camera pans around to Fred - we see that the Mystery Man is standing beside Fred , and it is the Mystery Man who is holding the gun , not Fred . The Mystery Man reaches into his pocket and pulls out a little watchman TV . He turns it on and hands it over to Mr. Eddy\/Laurent , who manages to take it . Mr. Eddy\/Laurent looks down at the small television screen . Mr. Eddy\/Laurent 's POV : As he watches the TV screen , we move in until the screen fills the frame - as with the former videotapes . The full frame of the TV screen reveals -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANDY'S HOUSE - LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>We see the movie screen on a wall in Andy 's living room . Marian , Raquel and RENEE 'S images are being projected on this screen , simultaneously involved in pornographic acts with two men . Watching this movie in Andy 's living room are several people in shadows behind the light of the projector . Among them we see RENEE and MR. EDDY\/LAURENT standing next to ANDY . Mr. Eddy\/Laurent and Renee are hot - kissing - his hand is up under her skirt . They are watching the porno film . They are watching murky images of sex turning to violence . In a CLOSE UP we see Renee and Mr. Eddy\/Laurent in the shadows looking out at the film , both half - smiling , stoned , aroused . The image on the Watchman changes now .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT - DAYBREAK<\/stage_direction>\n    <scene_description>On the Watchman TV screen Mr. Eddy\/Laurent sees an image of Fred and the Mystery Man staring at him . The Mystery Man 's image speaks .<\/scene_description>\n    <character>MYSTERY MAN<\/character>\n    <parenthetical>( on TV screen . )<\/parenthetical>\n    <dialogue>Now you can hand it back to me.<\/dialogue>\n    <scene_description>Mr. Eddy\/Laurent sees the Mystery Man 's image reach out a hand . Mr. Eddy\/Laurent looks up . The Mystery Man has his arm outstretched just as it was on the video image . Mr. Eddy \/ Laurent hands the Watchman back , and locks eyes with the Mystery Man .<\/scene_description>\n    <character>MR. EDDY\/LAURENT<\/character>\n    <parenthetical>( wet and jagged . )<\/parenthetical>\n    <dialogue>You and me, mister, we can really out - ugly the sumbitches, ca n't we?<\/dialogue>\n    <scene_description>The mystery Man unloads the pistol into Mr. Eddy\/Laurent , who jerks and dies in the dust . The Mystery Man then leans close to Fred and whispers in his ear . The camera moves in , past the Mystery Man to a CLOSE UP OF FRED 'S EYES as he listens . The camera cuts back wide to reveal Fred holding the gun . He is standing alone - there is no Mystery Man . Fred turns to go back to the car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE MADISON HOUSE - DRIVEWAY - EARLY MORNING<\/stage_direction>\n    <scene_description>Fred drives up to his house in Mr. Eddy\/Laurent 's Mercedes 600 Pullman and stops in front . He gets out of the car , goes to the front door and RINGS THE DOORBELL . There is a BEEP sound .<\/scene_description>\n    <character>FRED<\/character>\n    <parenthetical>( into intercom . )<\/parenthetical>\n    <dialogue>Dick Laurent is dead.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE MADISON HOUSE - STREET - EARLY MORNING<\/stage_direction>\n    <scene_description>As Fred finishes this sentence we see the cop car containing Ed and Al pull in to the curb just up the street from Fred and Renee 's house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE MADISON HOUSE - DRIVEWAY - EARLY MORNING<\/stage_direction>\n    <scene_description>Fred turns and sees the cop car . He jumps in his car , fires it up , and peels out . The cops give chase .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT HIGHWAY - DAY<\/stage_direction>\n    <scene_description>Fred is behind the wheel of his car . Behind him are the cops . CLOSE UP ON FRED 'S FACE - through the front windshield . The shot is wide enough to reveal the cop car in hot pursuit . Fred 's face begins to change again , grotesquely contorting as he races into the vortex . His tormented SCREAM blends with the howling SIREN of the police car gaining on him . THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"One day, Fred Madison, a Los Angeles saxophonist, receives a message on the intercom of his house: \"Dick Laurent is dead.\" The next morning, his wife Renee finds a VHS tape on their porch containing a video of their house. After having sex, Fred sees Renee's face as that of a pale old man, then tells her he had a dream about someone resembling her being attacked. As the days pass, more tapes arrive, showing shots of them asleep in their bed. Fred and Renee call the police but the detectives offer no assistance. Fred and Renee attend a party being thrown by her friend Andy. The Mystery Man Fred dreamed about approaches Fred, claiming to have met him before. The man then says he is at Fred's house at that very moment and answers the house phone when Fred calls him. Fred learns from Andy that the man is a friend of Dick Laurent's. Terrified, Fred leaves the party with Renee. The next morning, another tape arrives and Fred watches it alone. To his horror, it shows him hovering over Renee's dismembered body. He is sentenced to death for her murder. While on death row, Fred is plagued by headaches and visions of The Mystery Man and a burning cabin in the desert. During a cell check, the prison guard finds that the man in Fred's cell is now Pete Dayton, a young auto mechanic. Although Pete is released into the care of his parents, he is followed by two detectives who are trying to find out more about him. The next day, Pete returns to work at the garage where gangster Mr. Eddy asks him to fix his car. Mr. Eddy takes Pete for a drive, during which Pete witnesses Mr. Eddy beat down a tailgater. The next day, Mr. Eddy returns to the garage with his mistress, Alice Wakefield, and his Cadillac for Pete to repair. Later, Alice returns to the garage alone and invites Pete out for dinner. When Pete and Alice begin an affair, she fears that Mr. Eddy suspects them, and concocts a scheme to rob her friend Andy and leave town. Alice also reveals to Pete that Mr. Eddy is actually an amateur porn producer named Dick Laurent. Pete gets a phone call from Mr. Eddy and The Mystery Man, which frightens Pete so much that he decides to go along with Alice's plan. Pete ambushes Andy and accidentally kills him, before he notices a photograph showing Alice and Renee together. Later, when the police are at the house investigating Andy's death, Alice is inexplicably missing from the photo. Pete and Alice arrive at an empty cabin in the desert and start having sex outside on the sand, which ends with Alice getting up and disappearing into the cabin. Pete transforms back into Fred. Upon searching the cabin, he meets The Mystery Man, who begins filming and chasing Fred with a video camera. Fred escapes and drives to the Lost Highway Hotel, where he finds Mr. Eddy and Renee having sex. After Renee leaves, Fred kidnaps Mr. Eddy and slits his throat. The Mystery Man shoots Mr. Eddy dead and then whispers something to Fred before he disappears. Fred drives to his old house, buzzes the intercom and says: \"Dick Laurent is dead.\" When the two detectives drive up to the house, Fred runs back to his car and drives off, with the detectives in pursuit. Fred suddenly begins convulsing and screaming as his car speeds down the darkened highway."}
{"movie_name":"2 Guns_2013","imdb_id":"tt1272878","script":"<script>\n  <scene>\n    <character>2 GUNS<\/character>\n    <dialogue>by<\/dialogue>\n    <scene_description>Blake Masters Based on the graphic novel \"2 Guns\" 9\/15\/09<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAULT, TRES CRUCES SAVINGS &amp; LOAN - DAY<\/stage_direction>\n    <scene_description>A wall of identical safe deposit boxes... A black valise crammed with money... A FERRET-NOSED man, JULIO by name, puts the cash-filled valise into a box, flips the lid shut... The box is returned to its slot... A key locks the box door...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRES CRUCES SAVINGS &amp; LOAN - DAY<\/stage_direction>\n    <scene_description>ROBERT \"BOBBY\" TRENCH, aka \"Bobby T,\" aka \"Bobby B,\" aka \"Bobby Beans,\" (Late 30s, taciturn) studies a BULLET HOLE in a Victorian marble column. A scar of long ago violence. Behind Bobby, Ferret Nose emerges from the vault. Bobby hides his face as Ferret Nose crosses behind him and exits. MS. YOUNG (early 20s and perky) approaches.<\/scene_description>\n    <character>MS. YOUNG<\/character>\n    <dialogue>Admiring our bullet hole? Billy the Kid put that there during a robbery in 1880.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>How much did he get away with?<\/dialogue>\n    <character>MS. YOUNG<\/character>\n    <dialogue>The vault was locked for the day. Sheriff did shoot two of Billy's men on the front steps though.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAULT, TRES CRUCES SAVINGS &amp; LOAN - DAY<\/stage_direction>\n    <scene_description>Ms. Young chatters, but Bobby isn't listening. Bobby is staring at the wall of safe deposit boxes.<\/scene_description>\n    <character>MS. YOUNG<\/character>\n    <dialogue>Your box will be available any time from an hour after opening to 30 minutes before close. Also if you open a checking account, we'll give you 5% off the box along with free overdraft protection.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>And here I was hoping for a free toaster.<\/dialogue>\n    <character>MS. YOUNG<\/character>\n    <dialogue>Why would a bank give out toasters?<\/dialogue>\n    <scene_description>Bobby's phone RINGS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINER - SAME<\/stage_direction>\n    <scene_description>MARK \"STIG\" STIGMAN (no aka's, a manic ball of forward leaning energy) sits looking out at the sleepy main drag of Tres Cruces. Specifically at the entrance of the Tres Cruces S &amp; L where Ferret Nose climbs into a car with two other rough characters and drives off. A WAITRESS idles at Stig's table.<\/scene_description>\n    <character>STIG (INTO PHONE)<\/character>\n    <dialogue>I'm ordering you the french toast.<\/dialogue>\n    <character>BOBBY (ON PHONE)<\/character>\n    <dialogue>No, Ma, nothing important.<\/dialogue>\n    <character>STIG (INTO PHONE)<\/character>\n    <dialogue>Our very patient waitress, Maggie -- at least it says Maggie on her name tag -- has poured me four cups of coffee. If I don't order at this point, it's just rude.<\/dialogue>\n    <character>WAITRESS<\/character>\n    <dialogue>I can come back.<\/dialogue>\n    <character>STIG (INTO PHONE)<\/character>\n    <dialogue>I'm making an executive decision. Pancakes.<\/dialogue>\n    <scene_description>OUT THE WINDOW - CAMERA finds Bobby emerging from the bank, striding toward the diner.<\/scene_description>\n    <character>BOBBY (ON PHONE)<\/character>\n    <dialogue>No, no pancakes. I hate pancakes.<\/dialogue>\n    <character>STIG (INTO PHONE)<\/character>\n    <dialogue>What are you a communist?<\/dialogue>\n    <parenthetical>(to the Waitress)<\/parenthetical>\n    <dialogue>I'll have the hash and my friend'll have the pancakes with a fried egg.<\/dialogue>\n    <character>BOBBY (ON PHONE)<\/character>\n    <dialogue>If she brings me eggs and pancakes, I will kick your ass.<\/dialogue>\n    <character>STIG (INTO PHONE)<\/character>\n    <dialogue>You need to eat breakfast. It's the most important meal of the day.<\/dialogue>\n    <scene_description>DOOR CHIMES jingle as Bobby marches in.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Ignore everything he's said. If you'll just bring me an O.J., that'd be great.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Bring him coffee and toast too.<\/dialogue>\n    <scene_description>As the waitress retreats, Stig gives her a big wink.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Why do you have to do that?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Do what?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Wink at the waitress. You hang her up for five minutes then give her a creepy wink like you're gonna ask her to take a ride in your Camaro.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Hey, waitresses like me.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Nobody likes you.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>I'm a likable guy. I'm a good tipper. So. The bank?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>The bank.<\/dialogue>\n    <scene_description>As Bobby talks we flash to IMAGES of:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRES CRUCES SAVINGS &amp; LOAN - M.O.S. - EARLIER<\/stage_direction>\n    <scene_description>Bobby surveys the bank as Ms. Young leads him back to the vault. The bank is old-fashioned in its architecture but modern in its security features. In sync with the V.O. Bobby notes the cameras, position of the guard, alarm buttons, etc.<\/scene_description>\n    <character>BOBBY (V.O. - CONT. FROM PREVIOUS)<\/character>\n    <dialogue>4 tellers, 1 guard. Bulletproof glass, multiple security cameras. The manager's office is between the tellers and the vault so we'll have to hope we catch him on the floor. Beyond that the safe deposit boxes are just sitting there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINER - CONTINUOUS FROM ABOVE<\/stage_direction>\n    <character>STIG<\/character>\n    <dialogue>So it's doable?<\/dialogue>\n    <scene_description>Bobby nods. Stig slaps his hands on the table with glee. DOOR CHIMES. Two SHERIFF'S DEPUTIES enter. Stig and Bobby go silent and tight. Greeting the staff by name, the deputies settle in at the counter and help themselves to the display of jelly donuts. The waitress returns with Bobby's O.J. and coffee for Stig.<\/scene_description>\n    <character>WAITRESS<\/character>\n    <dialogue>I'll be right back with your hash.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Wait. Maggie. Your jelly donuts, are they any good?<\/dialogue>\n    <character>WAITRESS<\/character>\n    <dialogue>Best in three counties.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Put three in a to-go box. Two for me, one for him.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Just two.<\/dialogue>\n    <scene_description>Stig flashes three fingers to the waitress as she retreats. A beat. Without preamble, Stig jumps to his feet.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Gotta shake the weasel.<\/dialogue>\n    <scene_description>As Stig vanishes into the back, one of the cops throws a glance Bobby's way. Bobby gives the cop a flat look back. The waitress returns with Stig's hash and the donuts.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I apologize for my friend. He was kicked in the head as a child.<\/dialogue>\n    <character>WAITRESS<\/character>\n    <dialogue>Oh, he's not that bad.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No. He is.<\/dialogue>\n    <scene_description>Stig returns. Without sitting, he digs out a donut.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Mmm, these are good. We should go.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Your food just got here.<\/dialogue>\n    <scene_description>Stig flicks his eyes at the cops.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You didn't?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>You ever hear the saying \"never rob a bank across from a diner with the best donuts in three counties?\"<\/dialogue>\n    <scene_description>Bobby stands and tosses cash on the table. Behind the counter SMOKE begins to curl out of the kitchen.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>That's all you're gonna leave for a tip?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You are a complete lunatic, you know that?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>You gotta leave at least 30%. The woman's about to be out of a job.<\/dialogue>\n    <scene_description>The tendrils swell becoming flames as the kitchen is engulfed in a roaring grease fire.<\/scene_description>\n    <character>BOBBY<\/character>\n    <parenthetical>(tossing down another $10)<\/parenthetical>\n    <dialogue>This, this is why nobody likes you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DINER - CONTINUOUS<\/stage_direction>\n    <scene_description>Bobby and Stig saunter out the door and back to their car. Behind them smoke billows. Chaos. Shouts. Alarms. Patrons and wait-staff flee. A FIREBALL blows out the windows. FREEZE FRAME: Bobby &amp; Stig in F.G.; the blazing diner in B.G. MAIN TITLE CARD: \"2 GUNS\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRECO RANCH - DAY<\/stage_direction>\n    <scene_description>SUPERTITLE: MEXICO A private kingdom in the Sonora desert. Ancient stone walls. Adobe buildings. Vaqueros on horseback work EXPANSIVE LIVESTOCK PENS. FIND Bobby and Stig speeding along. Past BARNS that house not just cattle but processing areas for cocaine and heroin. Past a DIRT AIRSTRIP where bales of marijuanas are being loaded onto a piper cub. Up to the MAIN HOUSE where a rowdy barbecue is underway. Half a cow on a spit. Narco corridos on the stereo. No bling, no bimbos in mini skirts. Just hard men eating, drinking and slinging dominos. Bobby and Stig are greeted by RUDY (knife-scarred and wily). Rudy shakes hands with Bobby. Stig, he ignores.<\/scene_description>\n    <character>RUDY<\/character>\n    <dialogue>Papi's down in the stables.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Go get something to eat.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>I'm not hungry.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Stig, you and I are here to do business. Diplomatically. If closing this deal involved shooting the wings off a fly while driving on two wheels through a ring of fire, I'd be the one getting something to eat.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>I can be diplomatic.<\/dialogue>\n    <scene_description>A glare from Bobby. Stig goes. Reluctantly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STABLES, GRECO RANCH - DAY<\/stage_direction>\n    <scene_description>Bobby, toting a duffle, is lead inside and down into a network of ancient tunnels that run beneath the ranch.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TUNNELS - CONTINUOUS<\/stage_direction>\n    <scene_description>Rudy pauses at an antechamber and motions for Bobby to wait. Nearby savage LAUGHTER erupts from a group of MEAN CHARACTERS who are taking turns peeking inside a bowling ball bag. MEAN #1 (OSCAR) holds the bag toward Bobby. Wanna see? Bobby shrugs. Oscar comes over. And with great flare snaps the bag open under Bobby's nose. We see nothing more than a wisp of hair, but the half-flinch in Bobby's expression is enough to tell us there's a human head inside. Oscar and the others CACKLE. Returning, Rudy shoos the toughs and waves Bobby on.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAULTED CHAMBER BELOW THE STABLES, GRECO RANCH - DAY<\/stage_direction>\n    <scene_description>Seated on a wooden crate MANUEL \"PAPI\" GRECO (a man of earth and blood) plucks the feathers from a duck carcass. Looming in the corner is Ferret-Nose Julio from the bank.<\/scene_description>\n    <character>PAPI GRECO<\/character>\n    <dialogue>\"I-know-a-guy\" Bobby. Quick: an ostrich, a tank of ether, and a '55 Thunderbird.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Will you take a '56?<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>In El Paso by Wednesday?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I know a guy.<\/dialogue>\n    <scene_description>Papi finds this game a chuckle. He squishes his fingers into the flesh of the duck and digs out three pellets of buckshot.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Not for nothing, but who's the head in the bag?<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>My cousin.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Little Toro?<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>Julio caught him skimming. Not that I blame Little Toro. Everybody skims a little cream, it's human nature. But just 'cuz it's human, don't mean you let it go.<\/dialogue>\n    <scene_description>Papi takes a hatchet - THWACK - chops off the duck's head.<\/scene_description>\n    <character>PAPI GRECO<\/character>\n    <dialogue>That for me?<\/dialogue>\n    <scene_description>Bobby pulls a shiny new CHAINSAW from his duffle.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>The gas-powered MS 270. Throttle trigger interlock, bumper spikes, quickstop chain-brake.<\/dialogue>\n    <scene_description>Setting aside the duck, Papi comes over to examine his new toy. Bobby sets a protective hand on the saw.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Where's my present?<\/dialogue>\n    <scene_description>Papi motions to Ferret-Nosed Julio who tosses Bobby a satchel. Inside are 200 blank passports and 400 blank social security cards. Bobby examines them. His expression sours.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>These are garbage.<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>They're what I got.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>If I take these, I'm telling you I don't know my business, and I know my business.<\/dialogue>\n    <scene_description>A sudden air of menace hangs. Papi's boys glower.<\/scene_description>\n    <character>PAPI GRECO<\/character>\n    <dialogue>You too good for my product?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I'm saying anyone who'd take these is stupid, desperate, or looking to put you in jail. Which one you think I am?<\/dialogue>\n    <scene_description>A beat. Papi looks to his boys. Then shrugs\/smirks.<\/scene_description>\n    <character>PAPI GRECO<\/character>\n    <dialogue>I told you he wouldn't take 'em.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>So, what, is that it? I pass your test?<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>It's not just you. After Little Toro we're running everybody through the blender. If it soothes your ego, I'll give you 39,000 for the '56 Thunderbird. Assuming it's mint.<\/dialogue>\n    <scene_description>THWACK - Papi chops off the duck's feet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEAR THE STABLES, GRECO RANCH - DAY<\/stage_direction>\n    <scene_description>Four ROUGHNECKS shoot at a line of chickens buried up to their necks in the dirt. Bets are traded. A bottle is passed. Stig sits nearby finishing a plate of barbecue.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>That's not very sporting. What chance are you giving the chickens?<\/dialogue>\n    <scene_description>The roughnecks trade scornful remarks in Spanish and return to their game. Stig hurls a leg bone at them. They stop. They glare.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>If I'm gonna kill a defenseless animal, I'm gonna honor its sacrifice by grilling it up into some tasty barbecue. What I'm not gonna do, is torture it just to prove I'm a crappy shot who can't hit anything further away than his own pecker.<\/dialogue>\n    <scene_description>OVER BY THE STABLES - Rudy walks Bobby back out into the harsh Mexican sunlight. They spot Stig jousting with the roughnecks.<\/scene_description>\n    <character>RUDY<\/character>\n    <dialogue>Looks like your junkyard dog's off the chain again.<\/dialogue>\n    <scene_description>Bobby grumbles\/sighs and marches over to Stig.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>They're torturing those chickens.<\/dialogue>\n    <scene_description>A roughneck curses at Stig in Spanish.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Say that in English, monkey boy.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Stig. Look at me. You see that bag on the buffet table?<\/dialogue>\n    <scene_description>Bobby points over at the barbecue\/party where the men with the bowling ball bag have joined the others.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Between the ribs and the potato salad?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>There's a human head inside.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Aw, sonofa... That is uncool; that is not cool.<\/dialogue>\n    <scene_description>The roughnecks mutter Spanish curses. Stig lunges at them. Bobby grabs Stig. Stig calms.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>It's all right. I'm all right.<\/dialogue>\n    <scene_description>Stig and Bobby turn to go. Behind them the roughnecks CHUCKLE. That tears it. In one seamless motion Stig whips around and shoots the heads off all five chickens.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRECO RANCH - DAY<\/stage_direction>\n    <scene_description>Bobby and Stig walk back across the ranch to their car.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>I hate Mexico. I hate the dust, I hate the desert, I hate the beer.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I'm sure it hates you back.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>You don't think Papi suspects?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>If Papi knew we were planning to rip him off, it'd be our heads in that bag by the potato salad.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Nah, our two heads'd never fit in a bag that small.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. U.S.\/MEXICO BORDER - DAY<\/stage_direction>\n    <scene_description>The colossal border jam up. Car and buses and smoke belching trucks await inspection. Lines of day laborers cross on foot, ready to work hard. If they can find work, that is. Bobby and Stig sit in their non-moving car in the non-moving line. Bobby looks into the station wagon beside them. 5 Mexican house painters with sun-creased faces look back.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Papi's guy delivers a briefcase full of money to that bank every two weeks. At that rate he's gotta have, what, two mil stashed there?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Math sounds right.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>What happens if we get caught?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>If we get caught, it'll be your fault and I'll kill you.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Sure, whatever, but say we do? And say Papi Greco mangles my corpse, runs it through a sawmill, something like that, would you come after him?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>You wouldn't kill him? Because if he did that to you I'd kill him.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Then you're an idiot.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>You know why I'd kill him, because you're my people and there's a code.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>First up: there is no code. You do what you have to do. The rest is just stuff that makes you stupid.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>And second?<\/dialogue>\n    <parenthetical>(a look from Bobby)<\/parenthetical>\n    <dialogue>Right. We're not \"people.\" Because you, you don't have people.<\/dialogue>\n    <scene_description>Bingo. Bobby and Stig roll up to the inspection booth.<\/scene_description>\n    <character>BORDER GUARD<\/character>\n    <dialogue>Purpose for you visit to Mexico?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Quail hunting.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>My aunt in Tuba City had a heart attack so we cut our trip short.<\/dialogue>\n    <scene_description>The guard considers Bobby and Stig. Considers their documents. Then retreats inside the shack.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Tuba City?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>It's near Odessa.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Nice place?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Hell hole but she is my favorite aunt.<\/dialogue>\n    <scene_description>A sudden commotion. Boots. Guns. Swarming men in kevlar. Before Bobby and Stig can react their car is surrounded by 15 armed border agents. M-16s leveled, fingers on triggers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARAGE BORDER INSPECTION STATION - DAY<\/stage_direction>\n    <scene_description>A team of border agents tear apart Bobby and Stig's car.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INTERROGATION ROOM - DAY<\/stage_direction>\n    <scene_description>A UNIFORMED BORDER AGENT grills Stig. DEA AGENT DEB REES (driven, but not without a sense of humor) observes.<\/scene_description>\n    <character>UNIFORMED AGENT<\/character>\n    <dialogue>Tell Agent Rees about Papi Greco.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>Papi. Greco.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>He some kind of Mexican Santa Claus?<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>I didn't fall off the turnip truck, Mr. Stigman and my roots aren't blonde so how 'bout you stop playing the stupid card?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>No ma'am. It's my intent to cooperate with whatever you need. As an American, I know you're just doing your job and sometimes innocent folks like me get caught up in the system. It's like with the airlines. They didn't lose your bag on purpose, but everybody takes it so personal. I bet you two see a lot of frowning faces.<\/dialogue>\n    <scene_description>Stig winks at Deb. Deb rolls her eyes and exits.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INTERVIEW ROOM, NUMBER 2 - DAY<\/stage_direction>\n    <scene_description>A similar HARD-CASE BORDER AGENT grills Bobby. DEA SUPERVISING AGENT MARLON JESSUP (decent, dedicated) sits in on this one.<\/scene_description>\n    <character>HARD-CASE<\/character>\n    <dialogue>Tell us about your trip.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Lawyer.<\/dialogue>\n    <character>HARD-CASE<\/character>\n    <dialogue>What's the big deal? You were just down in Sonora?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Lawyer.<\/dialogue>\n    <character>HARD-CASE<\/character>\n    <parenthetical>(re: Jessup)<\/parenthetical>\n    <dialogue>You think Agent Jessup and the DEA don't know about you and Papi Greco? They know you were at his ranch.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Lawyer.<\/dialogue>\n    <scene_description>Hard-Case bristles. Jessup puts a hand on his shoulder and nods for Hard-Case to step out. Hard-Case goes. A beat.<\/scene_description>\n    <character>JESSUP<\/character>\n    <dialogue>Five border agents are ripping apart your car as we speak.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>They're not gonna find anything.<\/dialogue>\n    <character>JESSUP<\/character>\n    <dialogue>Where'd you hide the passports?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>There are no passports.<\/dialogue>\n    <character>JESSUP<\/character>\n    <dialogue>What are you talking about? The deal was in place. A hand to hand buy from Papi Greco for 200 passports.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I turned them down.<\/dialogue>\n    <parenthetical>(off Jessup's disbelief)<\/parenthetical>\n    <dialogue>They were third rate crap.<\/dialogue>\n    <scene_description>Deb enters.<\/scene_description>\n    <character>DEB<\/character>\n    <dialogue>Your pal, Stig's a piece of work.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>He winked at you, didn't he?<\/dialogue>\n    <character>JESSUP<\/character>\n    <dialogue>Bobby rejected the passports.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Papi was testing me. If I'd taken the passports, I'd never have gotten off the ranch alive.<\/dialogue>\n    <character>JESSUP<\/character>\n    <dialogue>You sure about that?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Don't insult me. I've got four years in on this. I have waded through sewage. I had a bag with a human head in it shoved under my nose, okay?<\/dialogue>\n    <character>JESSUP<\/character>\n    <dialogue>I know. I know all you've been through and I know how you've had to give your life over to playing the part of Bobby Beans.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I can get Papi Greco. I have an angle. The only trick is I need you to let me rob the Tres Cruces Savings &amp; Loan.<\/dialogue>\n    <character>JESSUP<\/character>\n    <dialogue>You want to rob a bank?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No. Stig wants to rob the bank. It was his idea, he approached me, no entrapment. What I want is for you to help me stop him, just not until he's accessed the safe deposit boxes.<\/dialogue>\n    <character>JESSUP<\/character>\n    <dialogue>And just why does \"Stig\" want to break into the safe deposit boxes?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Because Papi Greco has two million dollars stashed there, and if we can access the money -- like if it was evidence in a failed robbery -- we can nail him for unreported tax evasion and possibly RICO.<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>What happens to Stig?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>He takes it hard on a class B felony, does 20 years like a good fish. Who cares?<\/dialogue>\n    <character>JESSUP<\/character>\n    <dialogue>I'm not going to like the answer, but why not just get a warrant?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>We can't. I can't prove how I know what I know. At least not in open court.<\/dialogue>\n    <character>JESSUP<\/character>\n    <dialogue>Because how you know it is in violation of the rules of evidence?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Don't ask \/ don't tell.<\/dialogue>\n    <character>JESSUP<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>If it'll get us our man...<\/dialogue>\n    <character>JESSUP<\/character>\n    <dialogue>It's suborning felony robbery.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>It's only felony robbery if I get away with the money.<\/dialogue>\n    <character>JESSUP<\/character>\n    <dialogue>There are rules to what we do, Agent Trench. They stink and they're awkward, but they're the rules we've agreed to play by.<\/dialogue>\n    <scene_description>Bobby scoffs\/burns.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You can't fight an avalanche with a teaspoon.<\/dialogue>\n    <character>JESSUP<\/character>\n    <dialogue>Maybe we can't. But we're sure gonna dig like hell.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BORDER CROSSING \/ HIGHWAY - DAY<\/stage_direction>\n    <scene_description>Bobby and Stig drive away in their reassembled car. Stig jiggles his seat.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>I think my seat's loose. You ever get flagged like that before?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>It's like they thought we'd be holding. Which we woulda been if those passports had been any good.<\/dialogue>\n    <parenthetical>(a look from Bobby)<\/parenthetical>\n    <dialogue>I'm just saying.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Then say it.<\/dialogue>\n    <scene_description>Stig reaches into his belt, pulls out a knife.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Are you playing me? 'Cuz if I hadn't spent the last ten months at your side, I'd think you weren't really I-Know-A-Guy Bobby the man who can get anyone anything. I'd think you were playing me.<\/dialogue>\n    <scene_description>Tension hang for a beat. Then Bobby scoffs and smiles.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Put that pig-sticker away.<\/dialogue>\n    <character>STIG<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>I had you. The corner of your eye, it twitched. Just a little bit. Damn. Let's get some tacos or something.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You gonna wink at the waitress?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Hell yeah.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NO-TELL MOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Bobby sloshes whiskey around in a plastic cup. A figure stirs in bed beside him.<\/scene_description>\n    <character>DEB<\/character>\n    <dialogue>That's five bucks you owe me for thinking about work.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You think Jessup knows about us?<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>What \"us?\" You don't do \"us\" and I am in a relationship.<\/dialogue>\n    <scene_description>Fetching a plastic wrapped cup from the bathroom, Deb pours herself a matching whiskey.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Right, your imaginary boyfriend, Harvey.<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>His name's not Harvey.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Why not? Harvey's got a great ring to it.<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>You don't get to be jealous, Bobby. Not anymore.<\/dialogue>\n    <scene_description>Bobby stifles a twinge but only half-way succeeds. Deb considers Bobby.<\/scene_description>\n    <character>DEB<\/character>\n    <dialogue>You want me to take a run at Jessup, don't you?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>The bank will get us Papi Greco.<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>And in the end that's all that matters to you?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>It's not like I got a bunch of hobbies. The job's what I've got. It's the elephant I carry.<\/dialogue>\n    <character>DEB<\/character>\n    <parenthetical>(resigned\/disappointed)<\/parenthetical>\n    <dialogue>All right, I'll talk to him. But if he still says no...<\/dialogue>\n    <scene_description>Bobby gives her a kiss on the head. Then swills the rest of his cup and starts to dress.<\/scene_description>\n    <character>DEB<\/character>\n    <dialogue>Did you ever really love me?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Of course, I did.<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>Ask a silly question...<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I meant to love you. The room's paid up for another 3 hours.<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>You always take me to the classiest joints.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOBBY'S TOWNHOUSE - NIGHT<\/stage_direction>\n    <scene_description>A bland unit in a bland development. Bobby enters. Silence, lonely and hollow, hangs. Tossing his keys and gun on the table, Bobby goes into the BEDROOM and -- WHAP - a PHONE BOOK smacks Bobby. Bobby thuds to the floor. Papi Greco steps over Bobby. With Papi are Rudy and Ferret- Nose Julio.<\/scene_description>\n    <character>PAPI GRECO<\/character>\n    <dialogue>I miss old fashion phone books. Policeman's best friend, right? But then you'd know. Because you are an undercover agent of the DEA.<\/dialogue>\n    <scene_description>Rudy and Julio hoist Bobby up. Papi slams the phone book into Bobby's gut. Bobby groan\/gasp\/moans.<\/scene_description>\n    <character>PAPI GRECO<\/character>\n    <dialogue>If you feel it's your duty to give me a couple denials, I'll respect that. I'm not gonna believe you and Rudy's just gonna kick you upside the head, but feel free.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No. No, you got me. I'm a cop. And you're all under arrest.<\/dialogue>\n    <scene_description>WHAP - phone book shot to the temple.<\/scene_description>\n    <character>PAPI GRECO<\/character>\n    <dialogue>I should kill you. But killing a federal agent draws a whole rain of crap. So instead, I was thinking: what do you figure might happen if a hundred thousand unexplained dollars materialized in your checking account?<\/dialogue>\n    <scene_description>Bobby sees where Papi's going.<\/scene_description>\n    <character>PAPI GRECO<\/character>\n    <dialogue>The only thing DEA hates more than drug dealers is crooked agents. But then 4 years deep cover, you were bound to go bad.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Who burned me?<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>It was Saint Peter and Virgin Mary. You think I'm gonna tell you? I. Am not. An asshole.<\/dialogue>\n    <scene_description>Papi stomps Bobby's chest. Bobby gasps\/yowls\/moans.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Your mother's a one legged whore.<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>You trying to get me to shoot you? Bobby. It's too much fun watching you squirm. Besides, truth is she was a whore. Two legs though. Enjoy prison. I hear they do entertaining things to dirty cops.<\/dialogue>\n    <scene_description>Papi tosses aside the phone book and exits. Delivering final kicks to the gut, Rudy and Ferret-Nose Julio follow.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 7-11 - NIGHT<\/stage_direction>\n    <scene_description>Bobby scuttles in. Inserts his card into the ATM. His balance flashes \"$108,763.31\" Bobby slams the machine. The kid behind the counter glares.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BULLPEN, EL PASO BRANCH OF THE DEA - DAY<\/stage_direction>\n    <scene_description>Deb works at her desk. Bobby hurries in.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I need you to come with me.<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>I haven't had a chance to brace Jessup.<\/dialogue>\n    <scene_description>ACROSS THE BULLPEN - Jessup calls out from his office.<\/scene_description>\n    <character>JESSUP<\/character>\n    <dialogue>Bobby. If you'll come in my office for a minute.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>One sec.<\/dialogue>\n    <parenthetical>(pulling Deb's arm)<\/parenthetical>\n    <dialogue>Come on, let's go, we gotta get out of here.<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>What's wrong?<\/dialogue>\n    <character>JESSUP<\/character>\n    <dialogue>Now, Bobby. Please.<\/dialogue>\n    <scene_description>A beat. No real option, Bobby reluctantly comes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JESSUP'S OFFICE - CONTINUOUS<\/stage_direction>\n    <character>JESSUP<\/character>\n    <dialogue>Sit down.<\/dialogue>\n    <scene_description>Bobby reads Jessup's face. He notes the bank records laying on Jessup's desk. Jessup knows.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Papi Greco planted the money in my account.<\/dialogue>\n    <character>JESSUP<\/character>\n    <dialogue>Sit down.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>He knows I'm close to nailing him.<\/dialogue>\n    <character>JESSUP<\/character>\n    <dialogue>It doesn't matter.<\/dialogue>\n    <scene_description>Beat. Bobby's screwed.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>This is... I am a lot of things but I am not on the take.<\/dialogue>\n    <character>JESSUP<\/character>\n    <dialogue>Then the truth will bear that out. Pending an investigation, you are as of now on unpaid administrative leave. I'm sorry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT, FEDERAL BUILDING - DAY<\/stage_direction>\n    <character>DEB<\/character>\n    <dialogue>What are you gonna do?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I don't know. I'm... You know I'd never...<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(a beat then)<\/parenthetical>\n    <dialogue>I'll rob the Tres Cruces.<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>Bobby...<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>The bank gives us Papi Greco. When Papi falls, one of his boys'll flip, testify the money was planted in my account.<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>Or we could wait for the investigation to run its course.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>The bosses already think I'm guilty. They'll shuffle papers for six months then wipe their hands.<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>And just when were you thinking of committing this act of lunacy?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What are you doing for lunch?<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>You are completely hamstringing me on this.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I'm protecting you by giving you no other option.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STIG'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>A highly unfinished loft in a rundown building. The space is chopped up by dividers with windows along one whole wall. Stig lounges on a Goodwill sofa eating fistfuls of Fruit Loops and blowing shit up on X-box. O.S. a fist POUNDS at the door. It's Bobby.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Let's hit the bank.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRES CRUCES SAVINGS &amp; LOAN - DAY<\/stage_direction>\n    <scene_description>The ornate wall clock shows 12:55. The customers and tellers go about their business oblivious to the impending storm.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRES CRUCES \/ INT. WORK VAN - DAY<\/stage_direction>\n    <scene_description>Bobby checks his guns. Stig holds up two Halloween masks: evil clown and Frankenstein.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Who you want, clown or Frankie?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Frankie.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>You saying I'm a clown?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I don't care.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>I'm kidding. You can have Frankie.<\/dialogue>\n    <scene_description>Bobby considers Stig. An IMAGE flashes in Bobby's mind: FLASH TO: BOBBY'S IMAGINATION - Bobby and Stig rush out of the bank right into the teeth of a DEA ambush. Stig looks over at Bobby. Realizes Bobby has betrayed him. Stig drops the money, levels his gun at Bobby... Only to be cut down by a hail of DEA bullets. CUT BACK TO:<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>You good?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Not gonna back out on me?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Bobby and Stig pull on their masks and kick open the doors.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRES CRUCES SAVINGS &amp; LOAN - SAME<\/stage_direction>\n    <scene_description>Business continues undisturbed as OUTSIDE THE WINDOW two men in masks climb out of a van...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAIN STREET, TRES CRUCES - SAME<\/stage_direction>\n    <scene_description>Bobby and Stig stride down the street... And right on past the bank...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRES CRUCES POLICE STATION - SAME<\/stage_direction>\n    <scene_description>OFFICER DAVE (the native American desk officer) chats with OFFICER PHIL (paunchy ex-marine).<\/scene_description>\n    <character>OFFICER PHIL<\/character>\n    <dialogue>...So what'd you do with the Remington 22?<\/dialogue>\n    <character>OFFICER DAVE<\/character>\n    <dialogue>I traded it to my cousin for an espresso machine.<\/dialogue>\n    <character>OFFICER PHIL<\/character>\n    <dialogue>You need special beans for that?<\/dialogue>\n    <scene_description>Bobby and Stig blow in, guns levelled.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>If you gentlemen will refrain from reaching for your firearms.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>How many other people in the building?<\/dialogue>\n    <character>OFFICER PHIL<\/character>\n    <dialogue>Just Naomi and the Chief.<\/dialogue>\n    <character>OFFICER DAVE<\/character>\n    <dialogue>Why'd you tell 'em that?<\/dialogue>\n    <scene_description>The CHIEF steps out of the back office nose in a magazine. Stig grabs him, slams him to the floor.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Easy.<\/dialogue>\n    <character>CHIEF<\/character>\n    <dialogue>What the heck is this?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>It's a bank robbery. Only instead of robbing the bank then letting you chase us, we figured we'd come get you first.<\/dialogue>\n    <scene_description>NAOMI (the office assistant) enters. The coffee cup drops from her hand. Shatters.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You must be Naomi.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOLDING CELLS, TRES CRUCES POLICE STATION - DAY<\/stage_direction>\n    <scene_description>Stig and Bobby lock the cops in a cell.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Think we should leave them some water?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Anybody thirsty?<\/dialogue>\n    <parenthetical>(no hands)<\/parenthetical>\n    <dialogue>They're fine.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>They're gonna be in there a while.<\/dialogue>\n    <scene_description>Bobby sighs. Marches out. Then marches back in with a flat of water bottles which he drops by the cell door.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Can we go?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRES CRUCES SAVINGS &amp; LOAN - DAY<\/stage_direction>\n    <scene_description>Bobby and Stig storm the bank. Bobby pins the guard, takes his sidearm. Stig spidermans over the bullet proof glass and corrals the tellers.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Ladies behind the counter, keep your hands visible and off the alarms.<\/dialogue>\n    <character>BANK MANAGER<\/character>\n    <dialogue>It's all right, girls. Just give them the drawer cash.<\/dialogue>\n    <character>STIG<\/character>\n    <parenthetical>(gun to the manager's nose)<\/parenthetical>\n    <dialogue>Did we ask for the drawer cash?<\/dialogue>\n    <scene_description>Stig spots the guard inching a hand toward an ankle holster.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Guard.<\/dialogue>\n    <scene_description>Bobby seamlessly whirls, kicks away the guard's backup piece.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>We are being polite about this. Sit tight. It'll be over soon.<\/dialogue>\n    <scene_description>Bobby tosses his backpack to Stig. Stig grabs the manager, ushers him back to the LOCKED VAULT GATE.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Open the gate.<\/dialogue>\n    <character>BANK MANAGER<\/character>\n    <dialogue>I don't have the key.<\/dialogue>\n    <scene_description>Stig rips open the manager's shirt revealing a key on a lanyard. Dragging the manager by the lanyard, Stig unlocks the gate then deposits the manager on his butt.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Sit fido.<\/dialogue>\n    <scene_description>UP FRONT - Bobby notes a quivering FEMALE CUSTOMER. She is near tears. He leans down and whispers to her.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Just pretend you're not here.<\/dialogue>\n    <scene_description>Bobby's empathy only makes the woman cry harder.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Sing a song. \"Row, row, row your boat\"? Go ahead. Row, row, row your boat...<\/dialogue>\n    <character>SCARED WOMAN<\/character>\n    <dialogue>Row, row, row your boat \/ gently down the stream...<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Everybody.<\/dialogue>\n    <scene_description>\"Encouraged\" by Bobby's gun, the bank patrons join together in a shaky rendition of \"Row, Row, Row Your Boat.\" BACK IN THE VAULT - Stig hangs a net strung with magnetic charges across the wall of safe deposit boxes. Stig arms the detonator. The magnets activate attaching themselves to the doors of the boxes. Stig retreats outside the vault.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Fire in the hole!<\/dialogue>\n    <scene_description>BOOM! Smoke billows. Stig rushes back into the vault. The box doors are all blown off their hinges. Stig pulls out two boxes. Both contain money-stuffed attache cases. Stig opens two more boxes. They also contain money-stuffed cases. As do the next two. And the next two. And the two after that.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Uh, Frankie?<\/dialogue>\n    <scene_description>Bobby edges back toward the vault. Sees Stig surrounded by cash-crammed attache cases.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>They're all filled with money.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I thought Papi only had two safe deposit boxes.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>I got 18 and counting.<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(grabbing the manager)<\/parenthetical>\n    <dialogue>Whose money is this?<\/dialogue>\n    <character>BANK MANAGER<\/character>\n    <dialogue>I, I, I, please--<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Forget it. We take the money. Figure it out later.<\/dialogue>\n    <scene_description>Stig grabs a stack of bank satchels and starts loading. Bobby returns to the MAIN ROOM. Out of Stig's earshot he sidles up to the prostrate Security Guard.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Listen to me. When we leave, there's gonna be police gunfire. When it hits, get everyone behind the counter.<\/dialogue>\n    <scene_description>The guard nods, albeit warily. Stig emerges from the vault, toting five sacks of money.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>There are four more in the vault.<\/dialogue>\n    <scene_description>Bobby hesitates, then goes to the vault, grabs the remaining money. Together he and Stig march toward the front doors... FLASH TO: BOBBY'S IMAGINATION - The image of Stig getting riddled by DEA gunfire plays over and over in Bobby's mind... CUT BACK TO: Bobby slows allowing Stig to drift ahead of him. Stig bangs out the doors and...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRES CRUCES SAVINGS &amp; LOAN - DAY<\/stage_direction>\n    <scene_description>...Nothing. The street is quiet. No ambush. No cops. No DEA. Bobby is stunned to say the least.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <scene_description>Bobby, not knowing what else to do, follows Stig back to the van. They heave the money in back and roar off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY OUT OF TOWN \/ INT. VAN - DAY<\/stage_direction>\n    <scene_description>Stig drives. Bobby reels. He just robbed a bank. Up ahead a two car caravan zooms at them. As the cars pass, Bobby spots Deb in the lead car with 4 WINDBREAKER CLAD DEA AGENTS. Bobby peers into his side mirror. The DEA caravan keeps right on going. Getting smaller and smaller....<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEB'S CAR - SAME<\/stage_direction>\n    <character>DEB<\/character>\n    <dialogue>Is this as fast as you can go? Go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRES CRUCES SAVINGS &amp; LOAN - DAY<\/stage_direction>\n    <scene_description>The DEA cars roll up on the bank. Deb sees the milling crowd, realizes they are too late to stop anything.<\/scene_description>\n    <character>DEB<\/character>\n    <dialogue>Keep going.<\/dialogue>\n    <parenthetical>(when the driver hesitates)<\/parenthetical>\n    <dialogue>You want the world knowing one of our guys just robbed a bank? Go.<\/dialogue>\n    <scene_description>The DEA cars roll past the bank and off down the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCRUBBY MIDDLE OF NOWHERE - DAY<\/stage_direction>\n    <scene_description>Nothing but arroyos and scrub brush. Bobby and Stig peer into the van at the massive pile of money and attache cases. Their expressions are of concern rather than joy.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>We couldn't just be the luckiest chumps on the face of the earth?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You feel lucky?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>How much you think is there?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Packs of hundreds, 60 packets per case. 70, 80 million?<\/dialogue>\n    <scene_description>Stig punches the van. Walks away. Kicks the dirt.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Money like this, someone's gonna come looking for it.<\/dialogue>\n    <scene_description>Bobby braces for what he knows he has to do. On the sly he palms his DEA shield.<\/scene_description>\n    <character>BOBBY<\/character>\n    <parenthetical>(turning)<\/parenthetical>\n    <dialogue>I've got some bad news. I'm afraid you're--<\/dialogue>\n    <scene_description>REVEAL - Stig, gun leveled right at Bobby. Bobby hides his badge before Stig can see it.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>I really like you, you know?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I like you too.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>No, you don't. It's okay. Nobody likes me.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>That's not true. You're a likeable guy. Just put down the gun.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>I can't. I'm sorry. Orders.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Wait--<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>I've gotta shoot you now.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No no no--<\/dialogue>\n    <scene_description>Stig shoots Bobby in the shoulder. Bobby tumbles to the dirt.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Dammit. Hell. I'm sorry, okay?<\/dialogue>\n    <scene_description>Bobby gasps\/moans. Stig feels like crap. He fetches a water bottle from the van, sets it down beside Bobby.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Here you go.<\/dialogue>\n    <scene_description>Stig spots Bobby's shield laying in the dirt. Stig spit polishes it with his thumb.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Sonofa... Damn, Bobby. Damn.<\/dialogue>\n    <scene_description>Stig tosses the badge aside. Gets in the van and roars off. Bobby tries to get to his knees. He collapses. Out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM, HOTEL SUITE - DAY<\/stage_direction>\n    <scene_description>A Naval Academy ring rests on the sink beside the mini- shampoos emblazoned with the name of the hotel: \"Camino Real, El Paso.\" Hands turn off the faucet and put the ring back on. The hands belong to THE ADMIRAL (U.S.N.).<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL SUITE - CONTINUOUS<\/stage_direction>\n    <scene_description>The Admiral returns to the living room where the coffee table is piled with the stolen cash from the Tres Cruses S&amp;L. REVEAL - Stig in the uniform of a Naval Petty Officer. Also present is SEAL MASTER CHIEF QUINCE. Stig snaps to and salutes. Quince pours coffee for the Admiral.<\/scene_description>\n    <character>ADMIRAL<\/character>\n    <dialogue>That is an impressive mound of greenbacks.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Eighty-one million five hundred thirty two thousand.<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <parenthetical>(to Quince)<\/parenthetical>\n    <dialogue>Recount the money, then pack it up. We'll stow it in my safe back in Corpus.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>My impression was we were supposed to come out of the bank with two million at most.<\/dialogue>\n    <scene_description>The Admiral nods\/mmm and sips his coffee.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>You know, sir, it'd be polite if you showed at least a little surprise. Who's money is it?<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>Bad men unworthy of it.<\/dialogue>\n    <scene_description>Stig doesn't like the Admiral's non-answer but he's an Admiral and Stig's not.<\/scene_description>\n    <character>ADMIRAL<\/character>\n    <dialogue>Otherwise all went well?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>4-A, sir.<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>And Mr. Bobby Beans?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Put a bullet in him. Left him in the desert.<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>Dead?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>More than likely.<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>Your orders were to kill him.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>My orders were to shoot him. You never said \"kill.\"<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>Son, the whole point of you partnering with Bobby Beans was to create a cut-out so the robbery couldn't be traced back to us.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>My cover's solid. There's no way it'll trace back.<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>That's a call made above your pay grade. Chief Quince take Petty Officer Stigman back out to the desert, make sure our cut-out's dead.<\/dialogue>\n    <character>QUINCE<\/character>\n    <dialogue>Done and dusted, sir.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Did you know he was a DEA agent?<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>No. I didn't.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>No offense, but you really need to work on your \"surprised\" face.<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>If Bobby Beans was DEA, he helped you rob a bank which makes him dirty and for that I've got no mercy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCRUBBY MIDDLE OF NOWHERE - DAY<\/stage_direction>\n    <scene_description>Bobby rouses. The sun blares down. His breath is labored.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Get up, you stupid sonofabitch.<\/dialogue>\n    <scene_description>Bobby wills himself to his feet. The landscape is empty to the horizon. He staggers forward. TIME BECOMES LIQUID... Bobby's feet shuffling in the dirt... His chest heaving... Blood seeping from his shoulder... Down his arm... Bobby drops to all fours. Blood, his blood, drips to the arid ground and balls up like quicksilver. A shadow appears over Bobby. An a 11 YEAR-OLD MEXICAN BOY on a played-out horse. The boy has a .22 rifle, and it's aimed right at Bobby.<\/scene_description>\n    <character>BOY<\/character>\n    <dialogue>You coyote or drug runner?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I'm... I'm a police officer.<\/dialogue>\n    <character>BOY<\/character>\n    <dialogue>Where's your badge?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I lost it.<\/dialogue>\n    <character>BOY<\/character>\n    <dialogue>Coyotes left 6 people in the desert last week. Promised to get them across the border. Took their money, left them to die.<\/dialogue>\n    <scene_description>Bobby can't believe the absurdity of this.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I'm goddamn bleeding here.<\/dialogue>\n    <character>BOY<\/character>\n    <dialogue>Not my fault.<\/dialogue>\n    <scene_description>Bobby lunges for the boy's rifle. The boy smacks Bobby with the rifle butt and rides off. Bobby chases, but the boy just gallops further and further away until Bobby's legs give out and he tumbles to the pavement -- yes, pavement -- as he has collapsed along a two lane highway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD \/ INT. TRUCK - MOVING - SAME<\/stage_direction>\n    <scene_description>MICKEY GALLAHAD rolls along in his 1995 pick-up with a camper top and an RV trailer in tow. Reaching into a paper bag he pulls out a newly purchased FLESHLIGHT (a flashlight-shaped \"sexual aid\"). Mickey bites open the plastic and unzips.<\/scene_description>\n    <character>MICKEY<\/character>\n    <dialogue>Come to daddy.<\/dialogue>\n    <scene_description>Up ahead Mickey spots a blood-caked man laying in the middle of the road. It's Bobby, of course. Mickey swerves and stomps the brakes. Climbing out, he hustles over.<\/scene_description>\n    <character>MICKEY<\/character>\n    <dialogue>Jesus. Mister, are you okay?<\/dialogue>\n    <scene_description>Bobby looks up at Mickey. At the fleshlight in his hand.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>What the hell is that?<\/dialogue>\n    <character>MICKEY<\/character>\n    <dialogue>This? It's, um... Dang. It's a pocket pussy.<\/dialogue>\n    <scene_description>Bobby considers Mickey. Then simply pulls out his gun. CUT TO: Bobby drives off in Mickey's truck leaving Mickey by the side of the road with his fleshlight and his RV trailer.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SLUM HOUSE, UNKNOWN FOREIGN COUNTRY - DAY<\/stage_direction>\n    <scene_description>EARL FULLMAN (50, slim tie, silver western-style bracelet on his wrist) washes his hands at the grimy sink.<\/scene_description>\n    <character>EARL<\/character>\n    <dialogue>The United States is the greatest country in the world. Because we accept that man at his core is greedy, selfish, and covetous.<\/dialogue>\n    <scene_description>Earl rifles the cabinets. Finds a box of Lucky Charms. Pouring a bowl, he picks out the marshmallows and places them in a tidy stack. In the F.G. sits a FIGURE tied to a chair.<\/scene_description>\n    <character>EARL<\/character>\n    <dialogue>We don't try to ameliorate these qualities, fence them in. We embrace them. We line everybody up, say, you're on your own boys, grab all you can grab. That's why we'll always win. Because we don't fight the ugly truth of human nature.<\/dialogue>\n    <scene_description>A THICK NECKED FELLOW with sunglasses and an ear piece enters toting a satellite phone. Earl takes the handset.<\/scene_description>\n    <character>EARL (INTO PHONE)<\/character>\n    <dialogue>Yeah?... When?... How much did they get?... What was our money doing in a bank in New Mexico?... I'll be on the next transport.<\/dialogue>\n    <scene_description>Earl tosses the phone back to Agent Thick Neck.<\/scene_description>\n    <character>EARL<\/character>\n    <dialogue>Pack it up. We're out of here.<\/dialogue>\n    <character>THICK<\/character>\n    <dialogue>What about...<\/dialogue>\n    <scene_description>Earl looks back at his \"audience.\" The man in the chair is blindfolded and naked with electrodes strapped to his balls.<\/scene_description>\n    <character>EARL<\/character>\n    <dialogue>Leave him as lunch meat for the rats.<\/dialogue>\n    <scene_description>Earl exits. Agent Thick Neck and his LEAN partner follow.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KENNEL, VET OFFICE - DAY<\/stage_direction>\n    <scene_description>PATSY (19, chipper) bops to the latest groove on her iPod as she coos at the dogs and the cats and even the iguana.<\/scene_description>\n    <character>PATSY<\/character>\n    <dialogue>Dinner time my cuties. Chester. Igor. How's my Stumpy?<\/dialogue>\n    <scene_description>Rounding the corner, Patsy comes up short. Propped against the wall, in his blood-soaked shirt, is Bobby.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You must be Dr. Ken's new assistant.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VET OFFICE - LATER<\/stage_direction>\n    <scene_description>Bobby sits on the table as a flustered DR. KEN inspects Bobby's gunshot wound. Patsy loiters in the corner.<\/scene_description>\n    <character>DR. KEN<\/character>\n    <dialogue>Jesus, Bobby, Jesus, what am I supposed to do with this?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Stitch me up, take the bullet out.<\/dialogue>\n    <character>DR. KEN<\/character>\n    <dialogue>I'm a vet not a trauma surgeon. Something like this, Jesus. You gotta go.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Kenny, you remember offering to sell me 500 hits of Ketamine last month?<\/dialogue>\n    <character>DR. KEN<\/character>\n    <dialogue>You said you weren't interested.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I'm a DEA agent, Kenny. And if you don't stitch me up, I'm gonna tell the DA how you like to cruise Tori Amos concerts selling Special K to weepy college girls.<\/dialogue>\n    <character>DR. KEN<\/character>\n    <dialogue>You're not a cop.<\/dialogue>\n    <scene_description>Bobby grabs Dr. Ken, squishes his face against the wall.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You have the right to remain silent. You have the right to have an attorney present during questioning. Do I keep going?<\/dialogue>\n    <character>DR. KEN<\/character>\n    <dialogue>Whatever, okay, I'll do it.<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(to Patsy)<\/parenthetical>\n    <dialogue>Your boss is a real swell guy.<\/dialogue>\n    <character>DR. KEN<\/character>\n    <dialogue>And you're the humanitarian of the year.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCRUBBY MIDDLE OF NOWHERE - DAY<\/stage_direction>\n    <scene_description>Quince picks Bobby's shield up out of the dust. Over by the car, Stig watches Quince huddle with two more SEALs, MINI (who's anything but) and TEEMO (compact, intense).<\/scene_description>\n    <character>TEEMO<\/character>\n    <dialogue>Blood trail heads off South- Southeast. There are a couple of deep washes but no sign of a body.<\/dialogue>\n    <scene_description>Quince shoots a look at Stig then calls the Admiral. Gazing off, Stig spots a coyote. Wild and alone. The coyote gazes back, then suddenly takes off after a small critter. All teeth and snarl.<\/scene_description>\n    <character>QUINCE<\/character>\n    <dialogue>He wants to talk to you.<\/dialogue>\n    <scene_description>Stig takes the phone.<\/scene_description>\n    <character>ADMIRAL (O.S. - ON THE PHONE)<\/character>\n    <dialogue>You've put us in quite a hole.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>I don't see it that way, sir, but you're the man with the stars.<\/dialogue>\n    <character>ADMIRAL (O.S. - ON THE PHONE)<\/character>\n    <dialogue>All the pride I had in you, the way you conducted your mission, you tossed it to the wind.<\/dialogue>\n    <scene_description>Stig is honestly stung by the Admiral's disapproval.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Yes, sir. I'm sorry, sir.<\/dialogue>\n    <scene_description>In the warped reflection of the car windshield, Stig spots Mini coming up behind him, a black hood in hand.... Stig spins as Mini whips the hood over Stig's head. Stig head butts Mini, smacks Mini face first against the car... Teemo and Quince draw their guns. Stig dives over the hood. Bullets spray. Beneath the car Stig sees the feet of the SEALs moving to flank him. Stig sprints for a nearby arroyo. Ricochets chase his heels as he slides\/tumbles into the wash. The fire-fight becomes hide &amp; seek through the scrub pine. Everyone moving fast and low. Quince spots Stig. Charges after him. Breaks through a stand of trees and -- WHAM -- Stig levels Quince with a branch. Quince kicks out and sweeps Stig's legs. The two men grapple. Quince goes for Stig's eyes with his thumbs. Stig bites Quince's fingers. They roll apart. Quince clambers after his fallen pistol. Stig scrambles up out of the wash. Quince fires. Wide. The SEALs chase Stig up out of the wash but at the top there is no sign of him. A darting shadow draws the aim of all three men. The coyote. Quince takes a shot at it in frustration. O.S. They hear the CAR ENGINE rev. Quince and the SEALs race back toward the car. But Stig and the car are gone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL SUITE - NIGHT<\/stage_direction>\n    <scene_description>The phone rings. The Admiral answers. INTERCUT WITH:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PHONE BOOTH ALONG HIGHWAY - SAME<\/stage_direction>\n    <character>STIG<\/character>\n    <dialogue>Whose money is it, sir? Must be somebody pretty scary.<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>Where are you?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>You told me it was drug money. You told me there'd be two million and all of it would go to the families of the men we lost in Kashmir.<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>I told you what you needed to hear to go through with the mission.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>The Navy taught me honor, sir. It taught me to fight the enemy and protect my own.<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>I think you're under a mistaken impression.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>I was.<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>Listen to me. We both love our country--<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Don't. Please. I still believe in the values the Navy taught me, sir. I just don't believe in you.<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>I'm sorry to hear that. I'm even more sorry to hear that you went AWOL 3 months ago and shot an MP.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Did I kill him?<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>I haven't decided yet. You're the egg and I'm the wall, son. And when egg and wall come together, there's only one ending to the story. The Navy's grateful for your service.<\/dialogue>\n    <scene_description>With that the Admiral hangs up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRES CRUCES SAVINGS &amp; LOAN - DAY<\/stage_direction>\n    <scene_description>Police cars blockade the entrance. Earl pulls up with his aides, Thick and Lean.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRES CRUCES SAVINGS &amp; LOAN - CONTINUOUS<\/stage_direction>\n    <scene_description>The bank is abuzz with police and a handful of FBI Agents.<\/scene_description>\n    <character>OFFICER PHIL<\/character>\n    <dialogue>I'm sorry, gentlemen, this is a closed crime scene.<\/dialogue>\n    <character>EARL<\/character>\n    <dialogue>We need to see the bank manager.<\/dialogue>\n    <character>OFFICER PHIL<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>EARL<\/character>\n    <dialogue>I'm nobody. I'm not even here. In fact I don't even exist.<\/dialogue>\n    <scene_description>A man in an FBI windbreaker steps up.<\/scene_description>\n    <character>FBI MAN<\/character>\n    <dialogue>Can I help you?<\/dialogue>\n    <character>OFFICER PHIL<\/character>\n    <dialogue>They want to see the manager.<\/dialogue>\n    <character>EARL<\/character>\n    <dialogue>You the Special Agent in Charge?<\/dialogue>\n    <parenthetical>(hands over a card)<\/parenthetical>\n    <dialogue>Here. Call this number. Tell the man who answers, \"Earl says 'hi.'\"<\/dialogue>\n    <scene_description>On the card is a phone number. Nothing more.<\/scene_description>\n    <character>EARL<\/character>\n    <dialogue>Go on.<\/dialogue>\n    <scene_description>The FBI man steps away to call the number on the card. Out the window, Earl notes the burnt out diner.<\/scene_description>\n    <character>EARL<\/character>\n    <dialogue>Excuse me, when did that diner burn down?<\/dialogue>\n    <character>OFFICER PHIL<\/character>\n    <dialogue>Two, three days ago.<\/dialogue>\n    <character>EARL<\/character>\n    <parenthetical>(to Thick)<\/parenthetical>\n    <dialogue>Get interviews with the wait staff. See if this and that are connected.<\/dialogue>\n    <character>OFFICER PHIL<\/character>\n    <dialogue>It was just a grease fire.<\/dialogue>\n    <character>EARL<\/character>\n    <dialogue>Did I ask you your opinion, Gomer?<\/dialogue>\n    <scene_description>The FBI man returns, highly shaken. Hands back the card.<\/scene_description>\n    <character>FBI MAN<\/character>\n    <dialogue>Give him whatever the hell he wants.<\/dialogue>\n    <character>OFFICER PHIL<\/character>\n    <dialogue>Who is he?<\/dialogue>\n    <character>FBI MAN<\/character>\n    <dialogue>He's nobody.<\/dialogue>\n    <scene_description>The FBI man walks off, wanting as much space between himself and Earl as possible.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FEDERAL BUILDING, EL PASO - DAY<\/stage_direction>\n    <scene_description>Parked up the street in Dr. Ken's Mercedes (licence plate: \"PUSSDOC\"), Bobby watches Deb drive out of the garage.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMINO REAL HOTEL - DAY<\/stage_direction>\n    <scene_description>Bobby watches Deb head inside. He waits a beat then follows.<\/scene_description>\n    <character>DOORMAN<\/character>\n    <dialogue>Welcome to the Camino Real.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY, CAMINO REAL HOTEL - DAY<\/stage_direction>\n    <scene_description>Deb steps onto the elevator. Just as the doors are closing, Bobby jumps in. Pulls the emergency stop.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>A quickie with Harvey at the Camino Real? Now there's a lovely way to spend the afternoon.<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>Jesus Christ, Bobby, what the hell happened?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I robbed a bank. What happened to you?<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>I was there with a squad of six agents at 1:03.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You were late.<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>You were early. For Christ sake, you locked up the entire police department.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I didn't want anyone getting hurt.<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>So why didn't you pull your own badge and stop it?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I did. Just before Stig shot me.<\/dialogue>\n    <scene_description>Bobby flashes Deb the bloody dressing on his shoulder.<\/scene_description>\n    <character>DEB<\/character>\n    <dialogue>Oh my god.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>He set me up. He left me for dead, and I didn't see it coming.<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>You've gotta turn yourself in.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I can't help myself if I'm in jail.<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>It's not you all alone against the world. It never has been.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I know that. Look, if I can find Stig and the money then at least I've got a story to sell. What I need from you is to take a second look at Stig's background. See if there's anything we missed, anything that might help track him.<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I'll owe you.<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>You'll always owe me.<\/dialogue>\n    <scene_description>Bobby restarts the elevator and gets off at the next floor.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Tell Harvey I say \"hi.\"<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VET OFFICE - DAY<\/stage_direction>\n    <scene_description>Mickey Gallahad's pick-up is parked outside. Mr. Lean peers in the driver's side window. The seat is caked in blood.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VET OFFICE - DAY<\/stage_direction>\n    <scene_description>Mr. Thick blockades the door. Dr. Ken fidgets. Patsy chomps her gum, kind of entertained by the excitement.<\/scene_description>\n    <character>DR. KEN<\/character>\n    <dialogue>This is ludicrous. I haven't done anything. I have animals that need care.<\/dialogue>\n    <scene_description>Dr. Ken makes like he's going to march out the door. Thick's stone reaction sends Dr. Ken back to his chair. Earl enters. Whispers with Thick. Thick exits.<\/scene_description>\n    <character>EARL<\/character>\n    <dialogue>So who'd you fix up last night?<\/dialogue>\n    <character>DR. KEN<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>EARL<\/character>\n    <dialogue>There's a stolen car outside with blood all over the driver's seat.<\/dialogue>\n    <character>DR. KEN<\/character>\n    <dialogue>I don't know anything about that.<\/dialogue>\n    <character>EARL<\/character>\n    <dialogue>All right.<\/dialogue>\n    <scene_description>Earl pulls out a revolver, dumps out all six bullets.<\/scene_description>\n    <character>EARL<\/character>\n    <dialogue>You ever play Russian Roulette? Course not, what am I thinking?<\/dialogue>\n    <scene_description>Earl puts one bullet in the chamber, spins it, snaps it shut.<\/scene_description>\n    <character>EARL<\/character>\n    <dialogue>Thing is most people put the gun to the temple, and that's just stupid. What if the bullet's in the first chamber? You blow a guy's head off before he ever has a chance to tell you what you want to know.<\/dialogue>\n    <scene_description>Earl puts the gun to Dr. Ken's knee. Dr. Ken squirms. Earl pulls the trigger. BLAM! Dr. Ken howls.<\/scene_description>\n    <character>EARL<\/character>\n    <dialogue>Case in point.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STIG'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Bobby picks the lock, slips inside. He searches but finds little except for evidence of Stig's poor housekeeping and love of sugar cereal. The phone RINGS. The machine picks up.<\/scene_description>\n    <character>STIG (O.S. - ON THE MACHINE)<\/character>\n    <dialogue>Pick up the phone... Come on, stop eyeballing my cereal and pick up the phone... Fine.<\/dialogue>\n    <scene_description>The machine clicks off. A beat. Bobby's cell RINGS. Bobby checks the caller ID. It's Stig. Bobby answers.<\/scene_description>\n    <character>STIG (O.S. - ON THE PHONE)<\/character>\n    <dialogue>Thank you. First question, are you really DEA?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOP ACROSS THE STREET - SAME<\/stage_direction>\n    <scene_description>Burrowed under a tarp, Stig uses the scope atop a sniper rifle to watch Bobby through the windows of the loft.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Let me put the cuffs on you and you'll find out.<\/dialogue>\n    <scene_description>STIG'S POV - Down on the street below, Quince, Mini, and Teemo approach Stig's building.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Uh-oh. Three very bad men just walked up to the building. If they catch you in my place they're liable to get ugly.<\/dialogue>\n    <scene_description>INTERCUTTING: Bobby races to the windows. Sees the SEALs below. Turning, he hustles for the elevator.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I swear to god, when I find you...<\/dialogue>\n    <scene_description>STIG'S POV - In the lobby Quince and Teemo board the elevator while Mini takes the stairs.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>I wouldn't take the elevator.<\/dialogue>\n    <scene_description>Bobby turns for the stairs.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Wouldn't do the stairs either. There's a goon named Mini on the way up. He won't like you.<\/dialogue>\n    <scene_description>Nowhere to go, Bobby retreats back into the apartment.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>So just how dirty are you?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Go to hell.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>It's just you seem like a decent guy. I mean, you were willing to rob a bank but it's not like you were a weasel about it.<\/dialogue>\n    <scene_description>Bobby digs through the kitchen drawers for weapons. Finds a large knife.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>A knife to a gun fight? Come on, Bobby.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Where are you?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>To your right, look at the toaster.<\/dialogue>\n    <scene_description>Bobby looks. In the chrome reflection, he spots a red laser dot in the middle of his forehead. Bobby dives for cover.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>I'm not gonna kill you. I like you. I just need to figure out if I can trust you.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You? Trust me? You shot me.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Did I kill you? I could've killed you. In fact if I had killed you I wouldn't be in this mess.<\/dialogue>\n    <scene_description>STIG'S POV - Quince and Teemo step off the elevator.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Oh, boy. Three bogies right outside the door. Your best chance is to head for the back bathroom.<\/dialogue>\n    <scene_description>Ignoring Stig, Bobby hides behind the couch.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>What are you doing? That's a stupid place to hide.<\/dialogue>\n    <scene_description>The door kicks open. The SEALs burst in. Bobby holds tight. Quince signals Teemo and Mini to disperse about the loft.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Okay, we'll do this the hard way. On my mark, cut low and left behind the chair.... Go.<\/dialogue>\n    <scene_description>Bobby moves quick and low. Thanks to Stig's timing the SEALs are all looking other directions.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Next stop, around the bookshelf and beneath the bed... Go.<\/dialogue>\n    <scene_description>Per Stig's instruction, Bobby darts around the right side of the bookshelf just as Quince comes the other direction around the left side. Diving under the bed, Bobby just misses getting spotted by Teemo.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Okay. Roll right, crawl into the bathroom, hide in the tub. Now.<\/dialogue>\n    <scene_description>Bobby rolls. Crawls into the BATHROOM. Climbs in the tub.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Who are these guys?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Some people I used to work with. We had a philosophical falling out.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>And now they want you dead?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Pretty much.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I understand the feeling.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>You're just mad 'cuz you thought you were the one playing me. Admit it, I was good.<\/dialogue>\n    <scene_description>Bobby starts to get out of the tub.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Wait, not yet.<\/dialogue>\n    <scene_description>Bobby waits. Quince passes by the open doorway.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Why me?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Why you? You were perfect. You don't trust anyone, you don't like anyone, you don't have people so who's gonna have your back when you fall?<\/dialogue>\n    <scene_description>Another shadow slides past the doorway. Teemo this time.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>All right, time to go. Step up onto the toilet and open the top half of the window.<\/dialogue>\n    <scene_description>Bobby does as instructed.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Now climb out and up onto the roof.<\/dialogue>\n    <scene_description>Jutting out above the window is a stone ledge that Bobby will have to free climb over if he's to make the roof.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>What's option 2?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>It's completely doable. I scoped this as an escape route myself.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You had two good arms. I've got a bullet hole in one of mine.<\/dialogue>\n    <scene_description>Bobby looks at the ledge. No way. He climbs back in.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>No, no, no, Bobby. You gotta go.<\/dialogue>\n    <scene_description>Bobby ducks behind the door. Peeks out.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>I wouldn't do that.<\/dialogue>\n    <scene_description>Bobby makes a break for the bed. Teemo spots him and unloads. Bobby sprawls. Stig opens fire. Windows shatter. Glass rains. Teemo is hit in the leg. Quince and Mini fire at Bobby but with Stig pinning them down they can't get an angle on him. Bobby breaks for the kitchen island. Stig covers him with a sweeping volley. Quince unleashes a volley out the window at Stig. Stig returns fire which allows Bobby to dash out the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRWELL - CONTINUOUS<\/stage_direction>\n    <scene_description>Bobby whips down the stairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOF TOP ACROSS THE STREET - SAME<\/stage_direction>\n    <scene_description>Stig retreats and climbs down the fire escape.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STIG'S BUILDING - SAME<\/stage_direction>\n    <scene_description>Bobby sprints outside. A car squeals up. The passenger door kicks open. It's Stig.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Get in.<\/dialogue>\n    <scene_description>Bobby levels his gun at Stig. Stig stomps the gas and speeds off. Bobby fires at Stig's car blowing out the rear tire. Stig spins out, smacks head on into a parked car. Climbing out, Stig hustles away on foot. Bobby chases him around the corner, only to have Stig seemingly vanish. Bobby looks around. Notes a ROWDY, PACKED BAR....<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROWDY, PACKED BAR - NIGHT<\/stage_direction>\n    <scene_description>Eyes on alert, Stig hunches over a beer near the back of the bar. Out of nowhere a pretty young thing named SUSIE flops into the booth.<\/scene_description>\n    <character>SUSIE<\/character>\n    <dialogue>You wanna have sex?<\/dialogue>\n    <character>STIG<\/character>\n    <parenthetical>(completely flummoxed)<\/parenthetical>\n    <dialogue>I, uh...<\/dialogue>\n    <character>SUSIE<\/character>\n    <dialogue>Knock boots? You know, go back to my place and make sweet, sweet monkey love?<\/dialogue>\n    <scene_description>Stig stammers, topples his glass, mops at the spilled beer.<\/scene_description>\n    <character>SUSIE<\/character>\n    <dialogue>I'm sorry, your friend gave me fifty bucks to do that.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Friend?<\/dialogue>\n    <scene_description>Bobby slides into the booth beside Stig, beer in one hand, gun jabbed into Stig's ribs under the table with the other.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Hi. Thanks, Susie. You can take off.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>No, stay.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Now Bruce, you promised you'd come dancing with me.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Not tonight, honey.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You wanted me to go to the movies with you.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>That was different. The movies don't involve you putting me in handcuffs.<\/dialogue>\n    <character>SUSIE<\/character>\n    <dialogue>I'm gonna let you two work this out.<\/dialogue>\n    <scene_description>Susie leaves Stig and Bobby to their \"lover's spat.\" Bobby jabs Stig with his pistol.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Question one: whose idea was it to plant the 100k in my account, yours or Papi Greco?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>What 100k?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Wrong answer.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Why would I be working with Papi Greco when it was his money we were stealing.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Because it wasn't actually his money.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>True, but I didn't know that.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>So who's money was it?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>I don't know, but the guys in my apartment are willing to kill you and me to keep us from finding out.<\/dialogue>\n    <scene_description>BOBBY &amp; STIG'S POV - Across the bar Susie relates her encounter to her girlfriends. The girls titter and gawk.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>I can't believe you involved a civilian. That is so outside the lines.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What lines?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Rules of engagement.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Rules of... What are you military?<\/dialogue>\n    <parenthetical>(realization)<\/parenthetical>\n    <dialogue>Oh, Jesus. You're military.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>I can't really say. If I could trust you weren't dirty, maybe I could, but I don't, so I can't.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You're part of a military conspiracy to rob a bank, and you're worried that I'm dirty?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>You robbed the bank too.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I wasn't trying to get away with it. My people were supposed to arrest us as soon as we accessed the safe deposit boxes.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>So wait, the robbery, you were just setting me up?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>It had nothing to do with you. I was trying to bust Papi Greco for tax evasion.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Thanks, really. It's good to know, me spending 20 years in jail was a complete afterthought to you.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Hey, just who shot who here? Come on. Let's go.<\/dialogue>\n    <scene_description>Bobby prods Stig. Shifting as if to rise, Stig knocks Bobby's beer into his lap. Bobby flinches the tiniest bit, but it's enough for Stig get his own gun out and jab it into Bobby's ribs. Now they both have guns.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>I can't believe you didn't see that coming. How did you not see that move coming?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I guess I just missed it.<\/dialogue>\n    <scene_description>OVER BY THE FRONT DOOR - Quince enters, scans the bar. Bobby and Stig both see him. Uh-oh. Without warning Stig rears back and decks Bobby. Bobby sprawls.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>You slut. How could you sleep with Ricardo?<\/dialogue>\n    <scene_description>The bouncers instantly descend on Stig while at the same time the tightly packed crowd blockades Quince.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>It's all right, I'm leaving, I'm out.<\/dialogue>\n    <scene_description>Stig hurries out the back. Bobby scrambles to go after him.<\/scene_description>\n    <character>BOUNCER<\/character>\n    <dialogue>Let him go, buddy. There's plenty of fish in the sea.<\/dialogue>\n    <scene_description>Bobby pulls loose. Slams out the back door into -- THE ALLEY BEHIND THE BAR - There is no sign of Stig. Bobby curses. BACK INSIDE - Quince shoulders through the crowd, but by the time he gets -- OUTSIDE - Bobby like Stig before him has vanished.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JESSUP'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>A modest home on a modest street. Jessup, (Bobby's boss at DEA) fixes a whiskey and pepto. O.S. a KNOCK at the door. It's Earl. Without invitation Earl bulls past Jessup inside.<\/scene_description>\n    <character>EARL<\/character>\n    <dialogue>You've got a nice place. Unpretentious.<\/dialogue>\n    <character>JESSUP<\/character>\n    <dialogue>What are you doing? Who are you?<\/dialogue>\n    <character>EARL<\/character>\n    <dialogue>Where's our money?<\/dialogue>\n    <character>JESSUP<\/character>\n    <dialogue>I have no idea what you're talking about.<\/dialogue>\n    <character>EARL<\/character>\n    <dialogue>You think DEA can just waltz into our bank, steal our money, and we're not gonna kick?<\/dialogue>\n    <character>JESSUP<\/character>\n    <dialogue>Get out of my house.<\/dialogue>\n    <scene_description>Jessup goes to grab the pistol in his desk drawer.<\/scene_description>\n    <character>EARL<\/character>\n    <dialogue>Don't do that.<\/dialogue>\n    <scene_description>A GUN COCK freezes Jessup in his tracks. REVEAL - Behind Jessup is Mr. Thick. (Thick snuck in through the patio door while Jessup was at the front door with Earl). Mr. Lean slips in through kitchen door and joins the party.<\/scene_description>\n    <character>EARL<\/character>\n    <dialogue>Close the drawer, please.<\/dialogue>\n    <parenthetical>(Jessup closes the drawer)<\/parenthetical>\n    <dialogue>Your man, Bobby Beans -- Bobby Trench stole 81 million of our dollars. We want them back. Because it's our money; and because it's a blatant act of disrespect; and because it's our money.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOBBY'S TOWNHOUSE - NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON - The phonebook left behind by Papi Greco. A hand reaches in and picks it up. It's Stig. Wandering the townhouse, Stig calls Bobby's cell phone. He gets voicemail.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Hey, Bobby. It's me. I wanted you to know, I broke into your place. Don't worry, there's no busted glass. The lock on your patio door's kinda shot but... Anyway I didn't want you getting paranoid.<\/dialogue>\n    <scene_description>Stig considers the blank slate feel of the townhouse. Basic furniture. Bare walls. Nothing personal anywhere.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>To tell the truth I expected plusher digs from the man who can get anyone anything. But that was just the part you were playing, right?<\/dialogue>\n    <scene_description>Stig checks Bobby's drawers, cabinets, closets.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>I thought for a sec maybe you were going for a whole ascetic statement, but for that you'd have to have like one bad jazz CD you played over and over.<\/dialogue>\n    <scene_description>Beneath the carpeting at the rear of the linen closet, Stig finds a stash hole. Hidden inside are Bobby's only personal effects. His DEA credential, a few photos, a snow globe of the twin towers, a Justice Department commendation medal.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>\"Commendation for exceptional service in the public interest.\"<\/dialogue>\n    <scene_description>Stig considers a PHOTO of a pissed off teenage Bobby standing with his father, a Marine Corps Sergeant.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Why didn't you tell me your dad was a jarhead? It explains everything. The surliness, the cranky attitude.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <character>STIG<\/character>\n    <dialogue>Not to be over the line but you don't look like you had the happiest of childhoods.<\/dialogue>\n    <scene_description>Stig considers a photo of Bobby from his time as a Chicago Police Officer, his bearing all righteousness and rectitude.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Anyway the real question is how deep into your part did you go? Did Papi actually set you up or was the bank the big score that would set you free?<\/dialogue>\n    <scene_description>The phone line BEEPS.<\/scene_description>\n    <character>ELECTRONIC VOICE ON PHONE<\/character>\n    <dialogue>If you are happy with your message, press one. If you would like to erase your message and start over, press two.<\/dialogue>\n    <scene_description>Stig thinks. Then hits 2 and erases his message.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEB'S CUBICAL, DEA - NIGHT<\/stage_direction>\n    <scene_description>Deb broods at her desk. Everyone except the cleaning crew has gone home. Her phone rings. She grabs it.<\/scene_description>\n    <character>DEB<\/character>\n    <dialogue>Tell me it's you.<\/dialogue>\n    <scene_description>INTERCUT WITH:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DR. KEN'S MERCEDES - PARKED - LATE NIGHT<\/stage_direction>\n    <scene_description>Bobby tests his wounded shoulder. Not good. He pops three vidicon, swallows them dry.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You find anything new on Stig?<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>He came up clean in every data base I'm cleared for. To go deeper I'd need clearance from Jessup.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>So no military connection, record of service?<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>No. Why, what are you looking for?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I don't know. Somebody burned me to Papi Greco. Somebody convinced him to put that money in my account to make sure I'd go through with the robbery.<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>Stig.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Stig didn't even know I was DEA. Besides he's got people trying to kill him too.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>It's like I'm drowning in quicksand.<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>What can I do?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Do you think it ever could've worked between us? If we'd really given it a try?<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>I'm not sure what answer you want to hear.<\/dialogue>\n    <scene_description>Neither is Bobby.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>It could've been nice, right?<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>It wouldn't have been you.<\/dialogue>\n    <scene_description>She's right. And it's a truth that hurts.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Look, whatever happens I promise I'll leave you out of it. We never talked, I never called, you don't even know me.<\/dialogue>\n    <scene_description>Bobby hangs up. Deb calls him right back. STAYING WITH BOBBY - Deb's call registers on Bobby's phone. Bobby hits \"ignore\" and climbs out of the car.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>Bobby strides up the street, knocks on the door of a house. The door is opened by Mr. Lean. This is Jessup's house. All at once and with startling swiftness --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JESSUP'S HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Lean reaches for his gun. Bobby lunges at Lean. They tussle. Lean's gun discharges - BLAM. The shot momentarily distracts Earl and Thick allowing Jessup to go for the gun in the desk. Thick pistol whips Jessup. Jessup goes down but gets off a wild shot. Earl whirls and pumps two into Jessup's chest. Lean knees Bobby in the balls. Slams Bobby to the floor. Jessup's eyes meet Bobby's. They are filled with the panic of a man who knows he is dying. Bobby thrashes but Lean keeps Bobby's head pinned to the floor. Earl spits a curse. Marches over to Thick, chops him in the throat, snatches his gun, drops him with an elbow.<\/scene_description>\n    <character>EARL<\/character>\n    <dialogue>That is how you take down a man with a gun.<\/dialogue>\n    <scene_description>With a surprising tenderness, Earl bends over Jessup.<\/scene_description>\n    <character>EARL<\/character>\n    <dialogue>It's all right. There's no turning back. Let it come.<\/dialogue>\n    <scene_description>Jessup gasps. And dies.<\/scene_description>\n    <character>EARL<\/character>\n    <dialogue>Dust to dust.<\/dialogue>\n    <parenthetical>(a beat - to Bobby)<\/parenthetical>\n    <dialogue>You took our money.<\/dialogue>\n    <scene_description>Bobby grits his teeth and refuses to look at Earl.<\/scene_description>\n    <character>EARL<\/character>\n    <dialogue>Look at me, not at him.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>EARL<\/character>\n    <dialogue>Can you imagine the hidden hand of God? Well, I'm God's sonofabitch.<\/dialogue>\n    <scene_description>Earl takes out a pen knife.<\/scene_description>\n    <character>EARL<\/character>\n    <dialogue>Who at DEA authorized you to steal our money?<\/dialogue>\n    <scene_description>Bobby is mum. Earl twists the knife into Bobby's wound. Bobby howls.<\/scene_description>\n    <character>EARL<\/character>\n    <dialogue>You're gonna tell me, so just tell me. Who authorized you to steal our money?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I was freelancing. I was off the reservation.<\/dialogue>\n    <character>EARL<\/character>\n    <dialogue>And you just happened to pick our bank?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I thought it was drug money. I thought it belonged to Papi Greco.<\/dialogue>\n    <character>EARL<\/character>\n    <dialogue>And who gave you that idea?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Stig, Mark Stigman. He set me up then he shot me.<\/dialogue>\n    <character>EARL<\/character>\n    <dialogue>And the money?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>EARL<\/character>\n    <dialogue>So no idea? Nothing at all? Or if pressed, might you suddenly find inspiration as to where to look?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>EARL<\/character>\n    <dialogue>You know what you are? You're a dirty DEA agent who robbed a bank and murdered your boss. You walk into any police station, any federal office, that's the story they're gonna have. Unless... you bring me 81.53 million dollars.<\/dialogue>\n    <scene_description>Earl pulls out a sharpie. Writes 81.53 on Bobby's arm.<\/scene_description>\n    <character>EARL<\/character>\n    <dialogue>81.53 million and he's a suicide. 81.53 and you walk away clean. Have I properly incentivized you? Then get after it. Go on.<\/dialogue>\n    <scene_description>Bobby staggers to his feet. Earl tucks his card in Bobby's pocket. Bobby looks back at Jessup's body.<\/scene_description>\n    <character>EARL<\/character>\n    <dialogue>If you're thinking he deserved better, you're right.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JESSUP'S HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Bobby hustles back to his car. A beat. He punches the steering wheel, the roof, the seats. His rage ebbs. He's still fucked. He throws the car in gear and drives off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UPSCALE DEVELOPMENT - NIGHT<\/stage_direction>\n    <scene_description>A 7-series BMW sits parked in front of an expansive but not gaudy home. Beside the BMW, smoking a cigarette, is Ferret- Nose Julio. A hand taps Julio on the shoulder.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Hola.<\/dialogue>\n    <scene_description>Bobby pistol whips Ferret-Nose Julio. Julio drops like a bag of rocks as his cigarette goes spinning through the air....<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHILD'S ROOM, NICE HOUSE - NIGHT<\/stage_direction>\n    <scene_description>CESAR (age 7) sits in bed cradling a jackknife. His father, Papi Greco, opens the knife and shows him how to hold it.<\/scene_description>\n    <character>PAPI GRECO<\/character>\n    <dialogue>Hold it firm but not tight. A knife is a tool. You treat it with respect.<\/dialogue>\n    <scene_description>Cesar's mother, DAISI (sensuous and lovely) watches from the door. Tucking Cesar in, Papi crosses to her.<\/scene_description>\n    <character>DAISI (IN SPANISH)<\/character>\n    <dialogue>He misses you.<\/dialogue>\n    <character>PAPI GRECO (IN SPANISH)<\/character>\n    <dialogue>And I miss you. But you're safer in El Paso than Juarez where half the police are owned by my enemies.<\/dialogue>\n    <scene_description>Papi gives her a heartfelt kiss and a cash roll.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAISI'S NICE HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Bobby hogties Julio, stows him in the bushes. Climbing behind the wheel of Papi's car, Bobby hunkers low and waits. IN THE REFLECTION IN THE SIDE MIRROR - Bobby watches Rudy and Papi emerge from the house.<\/scene_description>\n    <character>PAPI GRECO<\/character>\n    <dialogue>Let's get moving, Julio. I want to be back across the border by dawn.<\/dialogue>\n    <scene_description>Bobby fingers his pistol as Papi's hand reaches to open the car door... Suddenly out of nowhere. An ENGINE. HEADLIGHTS. Rudy and Papi whirl as a car barrels up on to the lawn. Plows into Rudy. Rudy is tossed into the shrubs. Stig leaps out of the car. Snatches Papi. Smacks his head on the roof. Slings him into the trunk. Bobby jumps from the BMW, levels his gun. Stig whirls--<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Jesus, you scared me.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Kidnapping Papi Greco.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Gimme your keys.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Why, you afraid what he's gonna tell me?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No. It's just I got my own questions for Papi Greco and I got here first.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>You can have him when I'm done.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>The gun says I don't wait in line.<\/dialogue>\n    <scene_description>Stig drops the keys down the front of his pants.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Come and get 'em.<\/dialogue>\n    <scene_description>POP - Bobby socks Stig in the nose with his gun butt. Stig staggers back.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>That was uncalled for.<\/dialogue>\n    <scene_description>Bobby aims his pistol at Stig's crotch.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I'm aiming for the left one, but even at this range I might clip both.<\/dialogue>\n    <scene_description>Stig gives. With a shimmy\/shake his leg he maneuvers the keys down his pantleg onto his shoe top.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>You know, I liked you better when you were I-Know-A-Guy Bobby. That Bobby was a good guy. I trusted that Bobby.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yeah, well, I liked you better when you were a two-bit thief with a chip on your shoulder.<\/dialogue>\n    <scene_description>Stig kicks the keys high in the air and surges at Bobby. BLAM - Bobby fires a shot into the pavement between Stig's legs. Stig freezes.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Saw that move coming?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yup.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>So what now? One of us is gonna have to pick up the keys.<\/dialogue>\n    <scene_description>A beat. O.S. From inside the trunk, Papi Greco thumps and curses. Still neither makes the first move. Across the lawn, Rudy pulls himself up onto one elbow and fires his Uzi. Bullets spray. Stig and Bobby dive. As Bobby returns fire, Stig grabs the keys, jumps in the car, and speeds off. Bobby curses, jumps in the BMW, and chases.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY- NIGHT<\/stage_direction>\n    <scene_description>Bobby speeds down the road, his headlights blaring in Stig's rear view. Sliding up tight, he whacks Stig's bumper. Stig ignores the hit and floors it through traffic. Bobby stays right on him. They bang, they bump, they bash. Bobby pulls alongside Stig and aims his gun out the window at Stig's head. Stig stomps the brakes and swerves\/spins across the median, across oncoming traffic, and off down a dirt access road. Bobby throws the BMW into a power slide, gets clipped by oncoming traffic, but keeps right on after Stig. Gravel sprays as Bobby chases Stig away from the highway, away from the lights, down smaller and smaller roads. Stig flips a U-turn and takes off cross-country through the cottonwood. Bobby tracks after him. Deeper and deeper out into nowhere. Amid the dust all Bobby can see is the red of Stig's tail lights. He is driving blind. Trees flash out of blackness. He swerves and dodges. He will not give up the chase. Stig cuts left around a stand of scrub pine. Bobby cuts right. The cars separate, then pivot and charge at each other. It's a game of chicken. Lights rush at lights. They are about to smash head on when -- Both men veer at the last moment. Stig goes nose first into a ditch. Bobby goes head on into a cactus. The two men tumble from their cars. Bobby throws a haymaker at Stig. Stig slips the punch. Both men tumble to the dirt. A beat. There they sit in the dusty glow of their headlights. Gassed. A beat. Stig laughs.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Come on, that was kinda fun.<\/dialogue>\n    <scene_description>Almost despite himself, Bobby lets a half-smile slip out.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You're insane.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Nah. I'm Naval Intelligence. Or was. The Admiral FUBARed my jacket so I'm listed 3 months AWOL.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You're lucky. They've got me killing my boss.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Did you?<\/dialogue>\n    <scene_description>Bobby chucks a pebble at Stig.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>So we're both innocent? Innocent and completely screwed?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Unless you can prove you were under orders when you robbed the bank.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Nope. You?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Technically I wasn't.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>That's hard core.<\/dialogue>\n    <scene_description>They both chuckle. Bonded by their communal fucked-ness.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>So what'd you want with our boy in the trunk?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>You said he set you up to look dirty. I figured I'd check your story, see if I could really trust you. You?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Somebody tipped him I was DEA. I thought if I could get him to tell me, I could slip the noose, track down the money, escape.<\/dialogue>\n    <scene_description>Stig grabs the keys from his car and flips them to Bobby.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Well, I guess you better ask him.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>When this is over, I'm still gonna shoot you.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Do you really think that's gonna make you feel better?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yeah, I do.<\/dialogue>\n    <scene_description>Bobby pops the trunk. Twisted up inside, Papi Greco is caked with spittle and vomit.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Did he puke? I think he puked.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>It was a bouncy ride.<\/dialogue>\n    <parenthetical>(to Papi)<\/parenthetical>\n    <dialogue>Who told you I was DEA?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Was it the Admiral?<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>Sure, it was the Admiral, fuck you both.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>I don't think it was the Admiral.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>This might take a while.<\/dialogue>\n    <scene_description>Bobby slams the trunk.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARAGE, SUBURBAN HOME - NIGHT<\/stage_direction>\n    <scene_description>Bobby pulls a makeshift blindfold off Papi's head. Papi is bound to a lawn chair with extension cords.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>How do you want to do this?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>We could waterboard him?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Don't we need like equipment?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Just a couple buckets and some plastic wrap.<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>You won't do it. The United States Government doesn't torture.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yeah, well, I'm persona non grata with the government, so I don't feel particularly compelled to follow their rules.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>We should at least give him a chance tell us.<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>I hope you like the taste of balls, 'cuz I'm gonna cut yours off, stuff 'em in your mouths. Or maybe I'll put yours in his and his in yours.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>I'll go find the plastic wrap.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>When you set me up, did you know I'd rob the Tres Cruces?<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>The Tres Cruces? You robbed the Tres Cruces?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>We thought we were robbing you.<\/dialogue>\n    <scene_description>Papi burst out laughing. He howls.<\/scene_description>\n    <character>PAPI GRECO<\/character>\n    <dialogue>Oh, no. No, no, no...<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I didn't know it was so funny.<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>You're dead, you're both dead and I don't even have to kill you.<\/dialogue>\n    <scene_description>Glee was not the reaction Bobby and Stig expected. Bobby slaps Papi. But even that fails to dampen Papi's mood.<\/scene_description>\n    <character>PAPI GRECO<\/character>\n    <dialogue>How much you get?<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(a look to Stig, he lies)<\/parenthetical>\n    <dialogue>Two million.<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>I thought you were sharp. Mr. Bobby Beans. But you, you ripped off the CIA.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Why would you be stashing money in the same bank as the CIA?<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>What money? The only money I ship to that bank are my payments.<\/dialogue>\n    <scene_description>Stig and Bobby trade a confused look.<\/scene_description>\n    <character>PAPI GRECO<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>We're kinda slow. So how 'bout you lay it out piecemeal?<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>You don't know? The CIA, they skim off 7% of my revenue. In return they \"let\" me fly my shit across the border -- not that I was having any problems with that. They take a piece from all the cartels. It's goddamn imperialism.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>He's lying.<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>Okay, I'm lying. I'm a liar. They're still gonna kill you.<\/dialogue>\n    <scene_description>The garage door KA-CLUNKS. Bobby and Stig whirl guns leveled as scrolls upward revealing DEB'S CAR.<\/scene_description>\n    <character>DEB<\/character>\n    <dialogue>Bobby?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEB'S KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Bobby placates Deb while Stig pokes through the fridge.<\/scene_description>\n    <character>DEB<\/character>\n    <dialogue>You kidnap a drug kingpin and tie him up in my garage?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Mind if I swipe a yogurt?<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>What the hell happened to leaving me out of this?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Jessup's dead.<\/dialogue>\n    <scene_description>That hits Deb like a ton of bricks.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>The CIA, it was their money. They came looking for it.<\/dialogue>\n    <character>DEB<\/character>\n    <parenthetical>(sinks into a chair)<\/parenthetical>\n    <dialogue>Oh my god...<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>I'm gonna get some air.<\/dialogue>\n    <scene_description>Stig exits out the patio door.<\/scene_description>\n    <character>DEB<\/character>\n    <dialogue>How did this get so messed up?<\/dialogue>\n    <parenthetical>(swatting Bobby)<\/parenthetical>\n    <dialogue>You bastard.<\/dialogue>\n    <scene_description>Deb swats at Bobby again. Bobby takes it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL BALLROOM - NIGHT<\/stage_direction>\n    <scene_description>The Admiral is at the podium giving a power point presentation to 500 military\/government types.<\/scene_description>\n    <character>ADMIRAL<\/character>\n    <dialogue>Outdated force-projection paradigms must be abandoned if the Navy is to embrace the new reality of asymmetrical combat. We must shake off the rust and refocus on those areas where non-state actors and criminal enterprise intersect: Somali pirates, weapons smugglers, narcotraffickers. Slide.<\/dialogue>\n    <parenthetical>(re: the new slide)<\/parenthetical>\n    <dialogue>A submarine. Under construction in middle of the Columbian jungle...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL, LOADING DOCK - NIGHT<\/stage_direction>\n    <scene_description>The Admiral strides outside. Mini and 4 other SEALs (LUCAS, KELVIN, SANGER, and GOMEZ) wait by an SUV. Laid out in back is Teemo, a field dressing on his leg.<\/scene_description>\n    <character>ADMIRAL<\/character>\n    <dialogue>Has Chief Quince reported in?<\/dialogue>\n    <character>MINI<\/character>\n    <dialogue>Still out hunting.<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>What he hunts, he finds. So be ready. How's Teemo?<\/dialogue>\n    <character>MINI<\/character>\n    <dialogue>Bullet missed the femoral artery but...<\/dialogue>\n    <scene_description>The Admiral checks Teemo's leg. It's not good.<\/scene_description>\n    <character>ADMIRAL<\/character>\n    <dialogue>You hanging in there?<\/dialogue>\n    <character>TEEMO<\/character>\n    <dialogue>I was thinking, sir, maybe Mini could take me to the base hospital, say it was a training accident?<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>You know procedure. The boys would be tied up with questions for days. We have to settle things with Stigman and the cut-out first.<\/dialogue>\n    <character>TEEMO<\/character>\n    <dialogue>Right. Of course. I'm sorry.<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>You need anything more for the pain?<\/dialogue>\n    <character>TEEMO<\/character>\n    <dialogue>No, sir. I'm strong.<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>You have my admiration and my respect.<\/dialogue>\n    <scene_description>Teemo beams. The Admiral's respect is better than morphine. The Admiral's phone RINGS. He steps away to answer it. INTERCUT WITH:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK YARD, DEB'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Stig huddles out of Bobby and Deb's sight.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>It'll take you 6 minutes to trace this call. I'll be off in 3 so don't bother.<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>Wouldn't think of it.<\/dialogue>\n    <scene_description>The Admiral motions to Mini - \"Trace this call.\"<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Was it CIA money?<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <parenthetical>(a beat, then the truth)<\/parenthetical>\n    <dialogue>Off the books money earned from drug dealers.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>What are you going to do with it?<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>Fight the enemies of America.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>As defined by you.<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>Who better?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Do you even care about the families of the men we left behind?<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>Money won't bring back the dead. What it will do is allow us to take the battle to enemy without constraint or remorse.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Or oversight?<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>We are at war.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Not with the CIA.<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>With Muslim extremists. With petro- dictators. With an ignorant Congress that forces the Navy to account for every penny while the CIA finances an off-the-books slush fund with money extorted from Papi Greco and a dozen other druglords.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>So you decided to hijack their off- the-books slush fund and use it to run rogue ops?<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>I am charged with protecting the people of this nation. And what the people want is to lay safe in their beds untroubled by the moral compromises required to achieve that safety. If I thought you understood...<\/dialogue>\n    <scene_description>Bobby appears behind Stig.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Who are you talking to?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>I was just confirming Papi's story.<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(snatching Stig's phone)<\/parenthetical>\n    <dialogue>Give me that.<\/dialogue>\n    <parenthetical>(to the Admiral on phone)<\/parenthetical>\n    <dialogue>Give me one reason I shouldn't go to the CIA, tell them you're behind this whole thing?<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>Because they'll kill you anyway. Whereas I'm going to give you what you really want, a chance to clear your name.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>You work in the field, Agent Trench. You understand the difference between what looks black and white on paper and the reality of getting things done. I know the frustration you carry: the DEA asking you to fight the wolves on their own turf, then making you do it in handcuffs.<\/dialogue>\n    <scene_description>The Admiral's got Bobby down. Not that Bobby would admit it.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You're making me misty.<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>I'll see that Petty Officer Stigman takes the full fall for the robbery, and I'll guarantee you protection from the CIA. All have to do is give me your location. My men will take care of the rest.<\/dialogue>\n    <scene_description>Bobby considers Stig who has no idea of the Admiral offer.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Throw in a million dollars and you've got a deal.<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>Done.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Two million.<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>You said one.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Three.<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>This isn't a game, Agent Trench.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Three's about to become four.<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>Three.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You know what? I'd rather let Stig cut your throat.<\/dialogue>\n    <scene_description>Bobby hangs up, tosses the phone back to Stig.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Go check on Papi.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARAGE - NIGHT<\/stage_direction>\n    <scene_description>Papi Greco is gagged and still tied to the chair. Stig checks that the cords are tight.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Snug as a bug in a rug.<\/dialogue>\n    <scene_description>Stig notes the side door to the garage is ajar. He crosses to investigate. Outside all is clear when -- A LIGATURE flips around Stig's neck from behind. Quince. Stig thrashes. Tries to call out but can't get air.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEB'S KITCHEN - SAME<\/stage_direction>\n    <character>DEB<\/character>\n    <dialogue>How can you possibly trust a thing Stig says to you? He's a lunatic.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I don't. I don't even like the guy. But he's the help I've got.<\/dialogue>\n    <scene_description>CUT BACK TO: Stig kicks his heel into Quince's knee. The two men topple into Papi knocking him over in his chair. CUT BACK TO:<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Stig?<\/dialogue>\n    <scene_description>CUT BACK TO: Quince has his arm across Stig's throat preventing a response. Stig claws at Quince's eyes. They bang against the shelves. Garden tools go clattering. Papi strains to grab a fallen pair of clippers. Stig gouges Quince in the throat. The two men tumble\/crash out the SIDE DOOR. CUT BACK TO:<\/scene_description>\n    <character>BOBBY<\/character>\n    <parenthetical>(marching for the garage)<\/parenthetical>\n    <dialogue>What are you doing in there?<\/dialogue>\n    <scene_description>CUT BACK TO: Papi cuts himself free and dashes out the door just as Bobby enters from the kitchen. Bobby sees the empty garage. Races back through the house to Deb --<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Stig and Papi are gone.<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>Gone where?<\/dialogue>\n    <scene_description>CRASH - Stig's body comes flying through the plate glass patio door. Stig rolls onto his back and empties his pistol out at the yard. A return volley POP-POP-POPS out of the dark. Bobby, Deb, and Stig scramble for cover.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>How many?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Quince, maybe a few others. Papi?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Gone.<\/dialogue>\n    <scene_description>More shots POP-POP-POP. Bobby and Stig return fire.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>You wanna take the left or the right?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>We should split out the other way, go for the car.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Bad guys are out back.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>And this place will surrounded by cops in about two minutes.<\/dialogue>\n    <scene_description>Another volley rains in from the dark. Taking control, Deb dashes for the front door.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Can we go?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>You never want to stay and fight.<\/dialogue>\n    <scene_description>Laying down covering fire, Stig and Bobby follow Deb as ricochets zing around them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEB'S HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Stig, Bobby, and Deb race out of the house.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Get in the car.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Fine, but I'm driving.<\/dialogue>\n    <parenthetical>(when Bobby balks)<\/parenthetical>\n    <dialogue>Hey, you brought us here and see how well that turned out.<\/dialogue>\n    <scene_description>Bobby gives. They pile in, Stig at the wheel, and speed off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAMA MAYBELLE'S DINER - EARLY MORNING<\/stage_direction>\n    <scene_description>An old school dive. Stig pulls into the lot.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>What are we doing here?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Getting breakfast. They make a dynamite omelet, and their pancakes aren't bad either.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAMA MAYBELLE'S DINER - EARLY MORNING<\/stage_direction>\n    <scene_description>Bobby, Deb, and Stig huddle at a back booth. Aside from a few long-haul truckers they have the place to themselves.<\/scene_description>\n    <character>DEB<\/character>\n    <dialogue>You have to turn yourselves in.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>And say what? \"We didn't really rob a bank, it was an off the books CIA slush fund, and we didn't really even mean to get away with robbing it.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>I meant to.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Not helping.<\/dialogue>\n    <scene_description>A pretty, young waitress (SHAUNA by her tag) approaches.<\/scene_description>\n    <character>SHAUNA<\/character>\n    <dialogue>Y'all had a chance to look at your menus?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>We'll take three coffees and a couple of minutes.<\/dialogue>\n    <scene_description>Shauna retreats.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>We need proof. Proof I was set up, proof he was acting under orders.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Having our mitts on the money wouldn't hurt either.<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>You have a plan for all this?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Bobby shoots Stig a glare.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>She asked a question.<\/dialogue>\n    <scene_description>Shauna returns with the coffees. Stig gives her a respectful nod as she retreats once more.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>All right. That's twice she's been here and you haven't winked at her either time.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>So?<\/dialogue>\n    <parenthetical>(caught)<\/parenthetical>\n    <dialogue>She's the cousin of an old friend.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>A Navy friend?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Tim Corrales. His mother owns the place.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Aw, christ, what have you walked us into?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>He's dead. Okay? We served in SEAL Team Six together. He died on a mission that never happened in a country we were never in. His family was told it was a car crash.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>The Admiral lied and said the two million from the Tres Cruces would go to his mother and the families of the other men we lost.<\/dialogue>\n    <scene_description>Bobby sees the emotional burden Stig is carrying.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Guess I'm just a bleeding heart sucker.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yup.<\/dialogue>\n    <scene_description>MAMA MAYBELLE emerges from the kitchen, sees Stig, and burst out in a big opened arm smile.<\/scene_description>\n    <character>MAMA MAYBELLE<\/character>\n    <dialogue>Marcus, how dare you sit down in my restaurant without giving me a hug first?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN, MAMA MAYBELLE'S DINER - LATER<\/stage_direction>\n    <scene_description>Stig flamboyantly works the flattop under Mama's iron fisted supervision. Bobby and Deb watch from stools at the counter.<\/scene_description>\n    <character>DEB<\/character>\n    <dialogue>Look, Bobby, if you come with me, I think -- think I can convince the U.S. Attorney you went along on the robbery because you were trying to stop it. There's the Papi Greco angle, and you did get shot.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What about Stig?<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>He'd have to take his chances with the grand jury.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>So I'd be hanging him out to dry?<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>You'd be putting an end to this madness. And you'd be clearing your name.<\/dialogue>\n    <scene_description>Bobby glances over at Stig. What to do?<\/scene_description>\n    <character>DEB<\/character>\n    <dialogue>You know by all rights I should walk away and let you drown?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>And validate my cynical world view? No chance.<\/dialogue>\n    <scene_description>Bobby wins a smile. He likes that smile.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You know, if I was the suave type, I'd take your hand, tell you to ditch Harvey. Run away with me to a grass hut in the South Seas.<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>His name's not Harvey. And I'd know you were lying.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Maybe I'm not.<\/dialogue>\n    <scene_description>And indeed maybe he isn't. OVER AT THE FLATTOP - Stig watches Bobby and Deb. The way she touches his arm, the way he leans in to her. Deb rises, heads for the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GAS STATION ACROSS THE HIGHWAY - DAY<\/stage_direction>\n    <scene_description>Deb approaches the pay phone. She considers her reflection in the chrome around the keypad. She dials.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAMA MABELLE'S DINER - DAY<\/stage_direction>\n    <character>STIG<\/character>\n    <dialogue>You had us stash a kidnapped drug lord in the garage of your ex- girlfriend? That is messed up.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>She was never my girlfriend.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Did you two...<\/dialogue>\n    <scene_description>Bobby's non-answer gives Stig his answer.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Like I said, \"Messed up.\"<\/dialogue>\n    <scene_description>Mama Maybelle thrusts a breakfast plate at Bobby.<\/scene_description>\n    <character>MAMA MAYBELLE<\/character>\n    <dialogue>Over easy with a side of pancakes.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You tell her how I feel about pancakes?<\/dialogue>\n    <character>MAMA MAYBELLE<\/character>\n    <dialogue>He told me but it's my place and in my place everyone eats a good breakfast.<\/dialogue>\n    <scene_description>How can Bobby say no? Maybelle pats Bobby's head and returns to the kitchen. Bobby considers Stig, decides be square.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Deb's calling the U.S. Attorney. She thinks she can get me off. She isn't sure about you.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>What'd you mean?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>If you turn yourself in, you could get royally screwed.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Worse than I am already?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Depends how you feel about federal prison.<\/dialogue>\n    <character>STIG<\/character>\n    <parenthetical>(stunned\/wounded)<\/parenthetical>\n    <dialogue>You're throwing me to the lions?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I'm giving you a choice. If you want to go, there's the door. If it were me, I'd take my chances with the U.S. Attorney.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>You and I aren't in this together, are we?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>You're just doing what you gotta do, right? The rest is just stuff that makes you stupid.<\/dialogue>\n    <scene_description>Swallowing his hurt, Stig returns to the flattop.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Order up.<\/dialogue>\n    <scene_description>Bobby feels like a heel. Glancing around the restaurant he notes that the place is dead empty.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>I said order up.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Didn't there used to be customers.<\/dialogue>\n    <scene_description>Uh-oh. Stig and Bobby both pull their guns. Shauna emerges from the bathroom. Stig motions for her to stay put as he and Bobby ease over to the front window. OUT IN THE PARKING LOT - are 5 well armed, Mexican toughs.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Papi Greco's?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You want the ones on the left or the right?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Let's see if we can split out the back.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You wanna split out the back? You never want to split out the back.<\/dialogue>\n    <scene_description>Stig nods toward Shauna and Maybelle. Bobby gets it.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Ladies, we need you to go back to the walk-in and lock the door.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>It's all right Mama.<\/dialogue>\n    <scene_description>Mama and Shauna go. Bobby and Stig hustle out the back --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK DOOR, MAYBELLE'S DINER - CONTINUOUS<\/stage_direction>\n    <scene_description>-- only to be confronted by a dozen shotgun barrels wielded Papi Greco and a dozen of his boys.<\/scene_description>\n    <character>PAPI GRECO<\/character>\n    <dialogue>Looks like we flushed a couple of rabbits.<\/dialogue>\n    <scene_description>Papi clubs Bobby with his shotgun. Bobby goes down.<\/scene_description>\n    <character>PAPI GRECO<\/character>\n    <dialogue>Take 'em and skin him.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>80 million dollars.<\/dialogue>\n    <parenthetical>(Papi stops.)<\/parenthetical>\n    <dialogue>81.53 actually. It's what we stole from the CIA. We lied and said two but it's really 81.53. Million.<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>81.53 million?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Yours for the taking.<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>Where is it?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>I don't know. But he does. He took it and hid it somewhere.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No, I didn't.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Sure, you did.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Shut up and agree with me before they decide to kill you and keep me alive.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I hid the money.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Actually, I'm the one who hid it.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You just said I hid it.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Well, one of us did.<\/dialogue>\n    <scene_description>Papi considers Bobby. Then Stig. Then 81.53 million dollars. Papi clubs Stig. Stig joins Bobby on the ground.<\/scene_description>\n    <character>PAPI GRECO<\/character>\n    <dialogue>Take them both.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 24-HOUR COFFEE SHOP - DAY<\/stage_direction>\n    <scene_description>Greco's boys frog-march Bobby and Stig around the diner. Bobby spots Deb hiding across the street. He waves her off with a shake of his head. Deb nods and scuttles away. Bobby and Stig are thrown in a car trunk. The lid slams. BLACK.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAULTED BASEMENT BELOW THE STABLES, GRECO RANCH - NIGHT<\/stage_direction>\n    <scene_description>Bobby's head is shoved into a trough of fetid water. He burbles, thrashes, is yanked back up. He gasps. Papi's fist clocks him. He is shoved back under. Burble\/gurgle\/gasp.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHICKEN COOP, GRECO RANCH - NIGHT<\/stage_direction>\n    <scene_description>Greco's boys toss Bobby inside. He lands with a thud. Stig sits sulking against the wall.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Deb knows where we are. We just have to hold out until she can call in the cavalry.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>We're 300 miles south of the border. By the time she gets through the red tape we'll be dead.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>That's a positive mental attitude.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>You were gonna sell me out to the U.S. Attorney.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>It's kind of a moot point.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>You know what? I'm not talking to you.<\/dialogue>\n    <character>STIG<\/character>\n    <parenthetical>(sulks a beat and then)<\/parenthetical>\n    <dialogue>What did I ever do to you?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Besides shoot me?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Know what you are? You're a misanthrope.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>A what?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>It's from the Greek. It means you don't actually like people.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I know what it means.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Well, in case you didn't.<\/dialogue>\n    <scene_description>Stig lays down with his back to Bobby.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>You're just lucky Papi couldn't resist the lure of 80 million dollars. I'd be dead, but you, he'd be torturing you just for fun.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Lucky me.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>I'm serious. If it was 5 million, he'd be smart. But 80? He's got the fever.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>And when he figures out we don't actually have the money?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>He'll chop our feet off, pluck out our eyeballs and generally kill us.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Well, at least we'll see the sunrise.<\/dialogue>\n    <scene_description>For a beat they lay in silence.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>You ever see the sunrise off an aircraft carrier at sea?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You ever see the sunrise off Miami Beach after you've been up all night?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Drinking mojitos with a beautiful woman who's wearing your jacket and leaning against your shoulder?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Margaritas. No jacket.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You should.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>I'm not good with women.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHICKEN COOP, GRECO RANCH - DAY<\/stage_direction>\n    <scene_description>The doors fling open. Sunlight floods in. Two goons snatch Stig and haul him out. A beat. Two more goons appear.<\/scene_description>\n    <character>GOON<\/character>\n    <dialogue>You too.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAULTED BASEMENT BELOW THE STABLES, GRECO RANCH - DAY<\/stage_direction>\n    <scene_description>Bobby and Stig are on their knees, hands bound in front of them. Papi is over by the corner, pissing on his hands.<\/scene_description>\n    <character>PAPI GRECO<\/character>\n    <dialogue>My grandfather cut cane every day for 30 years, never got a blister. He'd say it smells like hell but it toughens the hands.<\/dialogue>\n    <scene_description>Zipping up, Papi wrenches an ax handle in his powerful grip.<\/scene_description>\n    <character>PAPI GRECO<\/character>\n    <dialogue>You know what's nice about this, Bobby? This time I don't have to worry about leaving marks.<\/dialogue>\n    <scene_description>Papi whacks Bobby across the back.<\/scene_description>\n    <character>PAPI GRECO<\/character>\n    <dialogue>There is an opportunity here for one of you to buy your life back. The longer you wait the less life there's gonna be.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Go jerk yourself off.<\/dialogue>\n    <scene_description>Papi jabs Stig with the ax handle, then chokes him with it. Stig's eyes bulge.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Think about the money, Papi. Revenge is personal. Money's money.<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>What money? You keep talking about this phantom money.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>81 million dollars.<\/dialogue>\n    <scene_description>Papi releases Stig. Stig topples forward.<\/scene_description>\n    <character>PAPI GRECO<\/character>\n    <dialogue>Where is it?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Corpus Christi Naval Air Station.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Improvising.<\/dialogue>\n    <parenthetical>(to Papi)<\/parenthetical>\n    <dialogue>The money's on the base at Corpus. But only for another 2 days max. After that it's gone, and you might as well kill us.<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>If you're telling the truth, I might as well kill you.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>I can get the money. In return you let me live. And you give me 5%.<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>What about him?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>He gets nothing.<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>I'll think about it.<\/dialogue>\n    <parenthetical>(re: Bobby)<\/parenthetical>\n    <dialogue>Strap this one to the table and get my chain saw. I got a nice one.<\/dialogue>\n    <scene_description>The goons go to grab Bobby.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>You can't. I need him. Corpus is a big place, not to mention all the guards with rifles.<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>I'm just supposed to let you walk out of my sight and trust you'll come back with the money.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Where we gonna go? The cops want to arrest us, the CIA wants to kill us. You're our best friend.<\/dialogue>\n    <scene_description>As Papi ponders this, Ferret-Nose Julio enters and whispers in Papi's ear. Whatever he says, it gives Papi real pause.<\/scene_description>\n    <character>PAPI GRECO<\/character>\n    <dialogue>Take them upstairs, get 'em a shower. They smell like chicken shit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAIN HOUSE, GRECO RANCH - DAY<\/stage_direction>\n    <scene_description>A car pulls up. Ferret-Nose Julio steps up to greet the new arrivals. The arrivals are Earl and his two aides.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRECO'S RANCH - DAY<\/stage_direction>\n    <scene_description>Earl and Papi watch the vaqueros herd cattle. Earl scoops some pebbles. Tosses them one by one.<\/scene_description>\n    <character>EARL<\/character>\n    <dialogue>You hear about the Tres Cruces?<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>Saw a TV report.<\/dialogue>\n    <scene_description>Earl hands over photos of Bobby and Stig.<\/scene_description>\n    <character>EARL<\/character>\n    <dialogue>The thieves came from your organization.<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>They're freelancers. Americans. And that one's a cop.<\/dialogue>\n    <character>EARL<\/character>\n    <dialogue>I'm not asking for their resumes. I want you to find my money.<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>There a finders fee on this?<\/dialogue>\n    <character>EARL<\/character>\n    <dialogue>The fee is you get to stay in business with us.<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>You think all us Mexicans we're just dying to mow your lawn? To stand outside Home Depot in the rain? \"Please Mister, give me a job.\"<\/dialogue>\n    <character>EARL<\/character>\n    <dialogue>I think those men in the rain just want the best life possible.<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>You like my country weak and corrupt, so you can have cheap labor. I'm not cheap.<\/dialogue>\n    <character>EARL<\/character>\n    <dialogue>Is this about pride, Manny? Prove you have a big Mexican cock? Your cock is huge. It's massive. A record holder. And I... am in awe. So what? You think we can't just reach across the border, scoop you up like a handful of dust and --<\/dialogue>\n    <scene_description>Earl blows the dirt off his palm. Wipes his hands.<\/scene_description>\n    <character>EARL<\/character>\n    <dialogue>It's a free market, Manny, not a free world.<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>I'll take a look.<\/dialogue>\n    <character>EARL<\/character>\n    <dialogue>Hard. You'll look hard.<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>Under every rock in Mexico.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUEST SUITE, GRECO'S RANCH - NIGHT<\/stage_direction>\n    <scene_description>Bobby stews. Stig is in the bathroom examining the scented guest soaps.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Check this one. I think it's Papaya.<\/dialogue>\n    <parenthetical>(off Bobby)<\/parenthetical>\n    <dialogue>Come on, one of us had to make a play.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You didn't think to tell me about Corpus?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Invading a Navy base is not among your top drawer options.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You knew where the money was.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Like you've always told me everything? I could've let Papi Greco chop you into little pieces. But I didn't. If that's not enough of a good faith gesture I don't know what is.<\/dialogue>\n    <scene_description>Bobby scoffs. The doors suddenly SLAM open. Papi's boys storm in...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PICK-UP TRUCK - MOVING - NIGHT<\/stage_direction>\n    <scene_description>Bobby and Stig jounce along in the bed of a rusty pickup, hoods over their heads. The pickup stops. Bobby and Stig are hoisted out, their hoods removed. They are in the middle of a BARREN MEXICAN NOWHERE. Hands march Bobby and Stig over to a panel truck. Inside 20 Mexicans clutch bundles and backpacks.<\/scene_description>\n    <character>PAPI GRECO<\/character>\n    <dialogue>The truck will take you near the border. From there you go on foot with the coyotes.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>If it's all the same, we'd rather drive.<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>With everybody looking for you, you'd get pulled out of line at the border in two seconds. No, you go over like you force my people.<\/dialogue>\n    <scene_description>Papi's men hoist Bobby and Stig up into the truck.<\/scene_description>\n    <character>PAPI GRECO<\/character>\n    <dialogue>I'm trusting you as men to fulfill your side of the bargain.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Scout's honor.<\/dialogue>\n    <scene_description>Papi WHISTLES. The side door of a van whips open. Inside Ferret-Nose Julio shines a light on the face of a cuffed and gagged woman. IT'S DEB. Her eyes scream to Bobby as -- -- the truck's roll door slams down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARGO BAY, PANEL TRUCK - CONTINUOUS<\/stage_direction>\n    <scene_description>Bobby tries to wrench the door back up but it won't budge. O.S. we hear the CLICK-CLACK of the door being padlocked then the RUMBLE of the engine as the truck sloshes off on its way.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Help me, goddamn it.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>There's nothing to do.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>He's got Deb.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>I saw.<\/dialogue>\n    <scene_description>Stig finds a comfortable spot among the other travellers.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Papi's not gonna hurt her. She's his insurance we come back with the money and not a squadron of helicopter gunships.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>When they drop us at the border, we'll double back.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>If we double back, he'll put a bullet in her just for spite.<\/dialogue>\n    <scene_description>Bobby knows Stig's right. He kicks the wall of the truck.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>We go ahead with the plan, get the money from the Admiral, then at least we have some leverage.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>A plan? You mean there's an actual plan in your head for invading a high security naval base?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>I'm working on it.<\/dialogue>\n    <scene_description>Stig tilts his head back, closes his eyes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARGO BAY, PANEL TRUCK - NIGHT<\/stage_direction>\n    <scene_description>The truck bounces and sways. In the half light, Bobby considers the other passengers. A few know each other, but for the most part they keep to themselves. Bobby sees their fear, their hope, their leap of faith determination. Beside Bobby, Stig starts to snore. Bobby pokes him.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You're snoring.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>And?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Leave it to you to sleep.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>I was tired.<\/dialogue>\n    <scene_description>Stig pulls himself upright. Looks at Bobby.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>You in love with her?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Deb? I don't know. Haven't really been in a position to answer the question.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>'Cuz you kinda act like you're in love with her.<\/dialogue>\n    <scene_description>Bobby chews on that for a beat.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>You really wanna know why I can sleep? Because I know what I'm fighting for. You, you don't even know how you got here.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I'm here because you set me up.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>The Admiral taught me duty, honor, loyalty to the chain of command. He may be a two-faced S.O.B. but the values weren't wrong. I went into that bank because I believed we had a debt to the men we'd left behind. And when we get to Corpus I'm going to kill the Admiral because he violated the trust that comes with oak leaves on your cap.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You're an idiot.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Of course I'm an idiot. To believe in anything you have to forget that for 50,000 years human beings have been chopping each other's heads off and shoving each other into ovens. We're not nice creatures. But at least I sleep at night.<\/dialogue>\n    <scene_description>Stig tilts his head back, shuts his eyes.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You wanna know why I went into that bank? It was the only way to get Papi Greco. And I was going to do whatever it took.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Whatever it takes is a dangerous thing, Bobby. The Admiral's just doing whatever it takes. So are your buddys at the CIA. Me, I'd rather be an idiot.<\/dialogue>\n    <scene_description>Stig shuts his eyes leaving Bobby to ponder this. Brakes SQUEAK as the truck jerks to a halt. The roll door opens.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT NOWHERE - CONTINUOUS<\/stage_direction>\n    <scene_description>Four COYOTES (bandanas over their faces, shotguns on their arms) herd Bobby, Stig, and the others out of the truck and march them off into the desert night.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEEP DESERT NOWHERE - NIGHT<\/stage_direction>\n    <scene_description>Bobby and Stig follow the others through the inky night. The ground is ragged. Stumbles are frequent, but no one complains. No one helps anyone else up either. The coyotes prod one of the laggards on at gun point. Stig takes offense and interposes himself between the laggard and the coyote. The dead-eyed coyote puts his muzzle to Stig's chest. Bobby takes Stig by the arm.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Not our fight.<\/dialogue>\n    <scene_description>Stig isn't happy about it but he backs off and tromps onward.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BLUFF - NIGHT<\/stage_direction>\n    <scene_description>The coyotes lead the pack to a bluff overlooking the Rio Grande. The lead coyote points down to a narrow spit where they should ford.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVER - NIGHT<\/stage_direction>\n    <scene_description>Bobby and Stig follow the others down to the riverside. Wordlessly the immigrants remove their shoes and carry them up over their heads as they enter the water. Stig and Bobby wade in with the others. The water quickly rises to chest height. The swirling current threatens to knock them off their feet. One of the immigrant men slips, then surfaces with a splash of flailing limbs. He can't swim. The other immigrants hustle out of the river and up the bank, afraid the drowning man's noise will get them all caught. Bobby tosses his shoes at Stig and dives after the drowning man. The man grabs at Bobby's face. Bobby bats away the panicked man's arms and takes him around the neck.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Callate. Tranquilo.<\/dialogue>\n    <scene_description>The man calms. Bobby hauls the man over to where he can stand. The man scampers up the bank and disappears. Bobby sloshes ashore. Stig tosses Bobby his shoes.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Not our fight?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>At least he stopped to say thank you.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Because that's why you did it? For the thank you?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>When this is over I'm still gonna shoot you.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Whatever you say, Bobby.<\/dialogue>\n    <scene_description>Stig pats Bobby on the shoulder and heads up the bank. Bobby finishes tying his shoes and follows. Trudging onward, they make their way toward the putrid sodium light glow smudged across the horizon.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MALL PARKING LOT - NIGHT<\/stage_direction>\n    <scene_description>Bobby and Stig emerge into a vast mall parking lot filled with oblivious consumers lugging bags of extraneous, overpriced crap. After the coyotes and the desert and the river, the culture shock is a bit of a mind bender.<\/scene_description>\n    <character>STIG<\/character>\n    <parenthetical>(re: the sea of cars)<\/parenthetical>\n    <dialogue>Got a favorite color?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD \/ INT. MINIVAN - MOVING - NIGHT<\/stage_direction>\n    <scene_description>Bobby and Stig drive East in a stolen blue minivan.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MINIVAN \/ EXT. REST STOP - MORNING<\/stage_direction>\n    <scene_description>Bobby wakes. He is alone in the van. He climbs out. Across the way Bobby spots Stig at a picnic table in deep conversation with Mama Maybelle. Stig and Maybelle hug. Stig returns carrying a hefty duffle bag.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>What was that about?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>I figure she should know how her son died.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Isn't that a violation of government secrecy?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Arrest me.<\/dialogue>\n    <scene_description>Stig hoists the duffle into the minivan, zips it open. The bag is crammed with pistols, rifles, etc.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>My rainy day stash.<\/dialogue>\n    <scene_description>Stig digs out a pack of military I.D. cards. Selects two.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRONT GATE, CORPUS CHRISTI NAVAL AIR STATION - DAY<\/stage_direction>\n    <scene_description>Heavily fortified. Stig and Bobby roll up.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>My people. I do the talking.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What's the plan?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>I'm working on it.<\/dialogue>\n    <scene_description>Stig holds the I.D. cards out to the SHORE PATROL GATE GUARD.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>What's your name, Seaman?<\/dialogue>\n    <character>GATE GUARD<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>This is an improptu security inspection under D.O.D. order 27592, so give me your name before I decide I'm having a bad day.<\/dialogue>\n    <character>GATE GUARD<\/character>\n    <dialogue>Seaman Weisberg, sir.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Write that down.<\/dialogue>\n    <character>GATE GUARD<\/character>\n    <dialogue>No disrespect, Commander, but all uncleared visitors have to be phoned into the security office.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>What part of \"impromptu\" do you not register, Seaman? It means you don't tell anyone you're coming. Did you graduate high school, I know they make you graduate high school, so you had options. You didn't have to burden my Navy with your stupidity. You chose to burden my Navy with your stupidity.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Now wave us through and don't even to think about FUBARing my inspection by alerting the world we're here to check the security status of this base.<\/dialogue>\n    <scene_description>The SP motions to lift the gate and waves them though.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>That was your brilliant plan?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>I can't believe it worked.<\/dialogue>\n    <scene_description>Bobby checks his side mirror. In the reflection he sees the SP picking up the phone.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I wouldn't get too healthy congratulating yourself. The guard's in the shack on the phone.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>No worries. It'll take at least 3 minutes to scramble the Shore Patrol so we've got that for a head start.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You are just a big ball of sunshine.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ADMIRAL'S QUARTERS, CORPUS CHRISTI N.A.S. - DAY<\/stage_direction>\n    <scene_description>A small but pleasant house on base. The Admiral takes the 81 million out of his safe and splits it between three suitcases. Quince enters.<\/scene_description>\n    <character>QUINCE<\/character>\n    <dialogue>It's time, Admiral.<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>Thank you, Chief. If you'll finish splitting the money between the bags. We'll cache the first in Panama, the second in Dubai, the third in Hong Kong.<\/dialogue>\n    <character>QUINCE<\/character>\n    <dialogue>Flight plan's all arranged.<\/dialogue>\n    <scene_description>The Admiral gives Quince a \"well done\" pat and crosses into the LIVING ROOM where Teemo, pale and feverish, is laid out on the sofa.<\/scene_description>\n    <character>ADMIRAL<\/character>\n    <dialogue>I hate to see you like this, son. An officer takes on a mission, he has to constantly balance the desire to protect his men versus the need to complete the mission.<\/dialogue>\n    <character>TEEMO<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>For two days, I've been forced to let you suffer. And you have been magnificent. Because you understand the mission is greater than any one of us. If I could show you my heart, it aches.<\/dialogue>\n    <scene_description>The Admiral stands. Levels a pistol at Teemo.<\/scene_description>\n    <character>TEEMO<\/character>\n    <dialogue>Sir?<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>I take no pleasure in this.<\/dialogue>\n    <scene_description>BLAM.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ADMIRAL'S QUARTERS, CORPUS CHRISTI N.A.S. - DAY<\/stage_direction>\n    <scene_description>SCREECH - Tires smoke as the minivan jerks to a halt outside the Admiral's quarters.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ADMIRAL'S QUARTERS, CORPUS CHRISTI N.A.S. - DAY<\/stage_direction>\n    <scene_description>Stig and Bobby burst in the back door, guns at the ready. In alternating turns they move forward through the house. On the sofa they find Teemo's dead body.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>He's dead.<\/dialogue>\n    <scene_description>Bobby crosses into the study and rifles the Admiral's desk. Stig lingers reverently over the body. In a drawer, Bobby finds a bill from the CAMINO REAL HOTEL. A connection sparks...<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>When you delivered the money to the Admiral in El Paso what hotel was he staying at?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>The Camino Real.<\/dialogue>\n    <scene_description>The information hits Bobby like a shovel.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Sonofa... Come on. I know where to intercept the Admiral.<\/dialogue>\n    <character>STIG<\/character>\n    <parenthetical>(still considering Teemo)<\/parenthetical>\n    <dialogue>I only shot him in the leg.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Well, somebody else must have shot him in the chest.<\/dialogue>\n    <scene_description>Bobby looks at Stig. Stig looks at Bobby. A mutual realization hits.<\/scene_description>\n    <character>MEGAPHONE VOICE (O.S. - FROM OUTSIDE)<\/character>\n    <dialogue>Come outside with your hands raised. We have the house surrounded.<\/dialogue>\n    <scene_description>Bobby and Stig rush to the windows. Outside the house is surrounded by four dozen armed SPs and a dozen vehicles.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Terrific plan you had.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>I didn't figure we'd need an exit strategy.<\/dialogue>\n    <parenthetical>(re: Teemo)<\/parenthetical>\n    <dialogue>You think they'll think we killed him?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No, they're gonna think we broke onto the base to give him an appendectomy.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>There you go with the defensive sarcasm. All right, look, these are innocent sailors. I don't want any of them getting shot.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>And I'm sure their orders are to just put a few warning shots in the backs of our heads.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>I mean it. I want your word.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Good. So what do we do now?<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(thinks)<\/parenthetical>\n    <dialogue>Do you trust me?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Do you trust me?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Not the question.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Yes. I do.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Then go outside and surrender.<\/dialogue>\n    <scene_description>Bobby blows past Stig.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>What? Bobby?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ADMIRAL'S QUARTERS - SAME<\/stage_direction>\n    <scene_description>SPs with itchy trigger fingers surround the house...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ADMIRAL'S QUARTERS - SAME<\/stage_direction>\n    <scene_description>Bobby cranks the bathroom tub on full bore. Then heads for -- THE KITCHEN - Bobby pulls the stove out from the wall. Knifes the gas line. Then grabs a trash bag and goes into -- THE ADMIRAL'S BEDROOM - Bobby swipes a clean uniform. Stuffs it in the trash bag.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ADMIRAL'S QUARTERS - SAME<\/stage_direction>\n    <scene_description>The front door cracks. Stig slides outside, hands raised...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ADMIRAL'S QUARTERS - SAME<\/stage_direction>\n    <scene_description>Bobby tosses a bar tray on the kitchen floor. Smashes the neck off a whiskey bottle. Dumps it over the tray...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ADMIRAL'S QUARTERS - SAME<\/stage_direction>\n    <scene_description>Stig eases away from the house...<\/scene_description>\n    <character>VARIOUS SHORE PATROL<\/character>\n    <dialogue>...On your knees... Hands where I can see 'em... Give me an excuse...<\/dialogue>\n    <scene_description>Stig sinks to his knees...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ADMIRAL'S QUARTERS - SAME<\/stage_direction>\n    <scene_description>Bobby ties off the trash bag, tosses it in the now full tub. Takes a deep breath and... Bobby fires at the metal bar tray... The tray sparks. The booze catches fire... Bobby dives for the tub as... The leaking gas ignites. A FIREBALL shoots through the house... Bobby dives underwater as above him flames fill the bathroom...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ADMIRAL'S QUARTERS - SAME<\/stage_direction>\n    <scene_description>The gas explosion blows out every window in the house. Stig is knocked flat. Splintered wood and glass fly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ADMIRAL'S QUARTERS - SAME<\/stage_direction>\n    <scene_description>The fireball retreats from the bathroom. Bobby pops up out of the water with a gasp.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ADMIRAL'S QUARTERS - 15 MINUTES LATER<\/stage_direction>\n    <scene_description>Firemen storm the house with hoses and axes. There are smoke and flames throughout the house, but the bulk of the fire is contained in the kitchen. Amid the chaos, Bobby, slips out of the bathroom, dressed in the stolen uniform.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Push those flames back.<\/dialogue>\n    <character>FIREFIGHTER<\/character>\n    <parenthetical>(reacting to the uniform)<\/parenthetical>\n    <dialogue>It's not safe yet, sir. You really need to stay outside.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ADMIRAL'S QUARTERS - SAME<\/stage_direction>\n    <scene_description>The SPs have Stig stuffed in a patrol car. In the B.G. we see Bobby exit the house and slip away amid the commotion.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OPEN ROAD - TWILIGHT<\/stage_direction>\n    <scene_description>Bobby drives through the lonely desperate landscape. Foot to the floor. Eyes locked straight ahead.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LONELY GAS STATION - NIGHT<\/stage_direction>\n    <scene_description>Bobby stands at a pay phone. He considers the sharpie scrawl on his arm. In his hand is Earl's card.<\/scene_description>\n    <character>BOBBY (INTO PHONE)<\/character>\n    <dialogue>Give me the office of the D.D.O.... It's about 81.53 million dollars.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INTERROGATION ROOM, BRIG, CORPUS N.A.S. - NIGHT<\/stage_direction>\n    <scene_description>An AGITATED LIEUTENANT leans in tight over Stig.<\/scene_description>\n    <character>AGITATED LIEUTENANT<\/character>\n    <dialogue>Silence is not your friend. You murdered a decorated Navy SEAL.<\/dialogue>\n    <scene_description>Stig stares straight ahead.<\/scene_description>\n    <character>AGITATED LIEUTENANT<\/character>\n    <dialogue>You've betrayed everything the service stands for.<\/dialogue>\n    <scene_description>Stig remains stone. The frustrated Lieutenant whips a coffee mug past Stig's ear. The mug shatters.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>That's a waste of a good mug, sir.<\/dialogue>\n    <scene_description>The door cracks as the Lieutenant is called out of the room. Two beats later he returns.<\/scene_description>\n    <character>AGITATED LIEUTENANT<\/character>\n    <dialogue>Get out of here. You're free to go.<\/dialogue>\n    <scene_description>Stig suspects a trick. He rises. He walks out. No one tries to stop him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRIG, CORPUS N.A.S. - NIGHT<\/stage_direction>\n    <scene_description>Stig steps outside. Waiting there are Earl, Thick, and Lean.<\/scene_description>\n    <character>EARL<\/character>\n    <dialogue>Get in the car.<\/dialogue>\n    <parenthetical>(when Stig hesitates)<\/parenthetical>\n    <dialogue>It's not multiple choice, son.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. C-2A GREYHOUND TRANSPORT - NIGHT<\/stage_direction>\n    <scene_description>A squat turbo prop. The Admiral rests his elbow on the cash- filled suitcases. Along the cargo bay wall sit Quince, Mini and the other SEALs (Lucas, Kelvin, Sanger, and Gomez).<\/scene_description>\n    <character>ADMIRAL<\/character>\n    <dialogue>Make the Navy proud, boys.<\/dialogue>\n    <scene_description>As one the SEALs rise and sprint out the back of the plane... REVEAL - The plane is flying at 10,000 feet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NIGHT SKY - CONTINUOUS<\/stage_direction>\n    <scene_description>Down down down the SEALs plunge. Until finally at an impossibly low altitude - POP - they deploy chutes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, GRECO'S RANCH - NIGHT<\/stage_direction>\n    <scene_description>Papi circles around Deb. Deb holds her expression blank.<\/scene_description>\n    <character>PAPI GRECO<\/character>\n    <dialogue>Your Bobby's a determined fellow. I don't care what his badge says, he was Bobby Beans. And robbing the Tres Cruces only proves it.<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>Maybe he just has his own view of the law.<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>You don't have to defend him.<\/dialogue>\n    <scene_description>Papi reaches into a safe, counts out $400,000.<\/scene_description>\n    <character>PAPI GRECO<\/character>\n    <dialogue>You sure you wouldn't rather take a percentage of the money he and Stig bring back?<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>I don't work on contingency.<\/dialogue>\n    <scene_description>Papi smirks. Hands her the money. Pours them each a drink.<\/scene_description>\n    <character>PAPI GRECO<\/character>\n    <dialogue>When you told me Bobby was DEA, did you know he'd rob the Tres Cruces?<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>Just lucky I guess?<\/dialogue>\n    <scene_description>Papi smiles. Deb smiles back. Neither smile quite genuine.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIRFIELD, GRECO RANCH - NIGHT<\/stage_direction>\n    <scene_description>THREE OF PAPI'S GUARDS patrol. O.S. They hear an approaching engine. WHOOSH - The unlit C-2A skims just over their heads and touches down. The guards snap alert. The lead guard chatters into his radio. Several more guards arrive and surround the plane. The plane taxis to a stop and lowers its tailgate. The guards finger their triggers. Inside the plane a SPOTLIGHT snaps on. On cue -- Bullets ZIP-ZIP-ZIP into the guards from all directions. Those who aren't killed outright spray haphazard volleys at the darkness until - ZIP-ZIP - they too are cut down. The Admiral steps off the plane. Quince and the other SEALs who parachuted from the plane rise up from their hidden fire spots around the airfield.<\/scene_description>\n    <character>ADMIRAL<\/character>\n    <dialogue>Scorched Earth, Chief. Nothing lives.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STABLES, GRECO RANCH - NIGHT<\/stage_direction>\n    <scene_description>Oscar (the guy who had the head in the bag) marches up to two of Papi's TOUGHS. O.S. Sporadic GUNFIRE rips.<\/scene_description>\n    <character>RUDY (IN SPANISH)<\/character>\n    <dialogue>Grab some men, head for the airfield.<\/dialogue>\n    <scene_description>The toughs scurry off. Emerging from the shadows Bobby sneaks up behind Oscar. Oscar spins. Bobby kicks him in the balls. Smacks him with the butt of his pistol. Oscar's nose shatters. He drops.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STABLES, GRECO RANCH - CONTINUOUS<\/stage_direction>\n    <scene_description>Bobby slips down the stairs into the network of tunnels that run beneath the ranch.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CATTLE PENS, GRECO RANCH - NIGHT<\/stage_direction>\n    <scene_description>Jittery vaqueros pan their rifles as predatory shadows surge and dart towards them. Closer. Closer. The vaqueros start popping off bursts of fire. SEAL hands snatch the vaqueros from behind and slash their throats.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, GRECO'S RANCH - NIGHT<\/stage_direction>\n    <scene_description>Papi peers out the window and the black night. O.S. Ripples of intermittent gunfire draw closer. Papi glances over at Deb who is recounting the $400k.<\/scene_description>\n    <character>PAPI GRECO<\/character>\n    <dialogue>You know, I don't usually do business with women.<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>That's short sighted and sexist of you.<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>With a man, you know why he does what he does. With a woman, who knows?<\/dialogue>\n    <scene_description>Crossing to a filigreed chest Papi pulls out a shotgun.<\/scene_description>\n    <character>PAPI GRECO<\/character>\n    <dialogue>Who's out there?<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>How would I know? According to you I'm just supposed to sit here and look cute.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRECO RANCH - NIGHT<\/stage_direction>\n    <scene_description>Sweeping across the ranch, the SEALs FIREBOMB the drug processing barns. EXPLOSIONS rock the night.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TUNNELS BENEATH GRECO RANCH - SAME<\/stage_direction>\n    <scene_description>Bobby scurries along. Up ahead armed toughs herd a clutch of cocaine workers along at gun point. Bobby dives into a side passage and lets them pass.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAIN HOUSE, GRECO RANCH - CONTINUOUS<\/stage_direction>\n    <scene_description>Bobby slips up into the main house through a hidden door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, GRECO'S RANCH - SAME<\/stage_direction>\n    <scene_description>Papi jabs the shotgun at Deb. Deb calmly stows the $400k in her jacket. O.S. more EXPLOSIONS boom.<\/scene_description>\n    <character>PAPI GRECO<\/character>\n    <dialogue>Tell me who they are? CIA? DEA?<\/dialogue>\n    <scene_description>Appearing in the doorway --<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>U.S. Navy. You got in bed with the wrong girl.<\/dialogue>\n    <scene_description>As Papi whirls to level the shotgun at Bobby, Deb pulls a .22 from her belt and just like that everyone starts blasting. Bullets rip the air. Furniture shreds. Papi is hit in the gut. Deb flees. Bobby chases.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY, MAIN HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Deb sprints down a long corridor. Bobby fires two shots past her ear. Dead to rites, she freezes.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You should've told me Harvey was an Admiral. This all would've been so much easier to figure out.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You're the one person I trusted.<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>You never trusted me or anyone. And don't say you meant to. You were always all about you.<\/dialogue>\n    <scene_description>Bobby is stung. Because it's the truth.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You're right. I was a sonofabitch. Now let's go.<\/dialogue>\n    <scene_description>Bobby snatches away Deb's .22 and drags her onward.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAIN HOUSE, GRECO RANCH - SAME<\/stage_direction>\n    <scene_description>The roughnecks guarding the house spray wild gunfire as the murderously efficient SEALs - ZIP-ZIP-ZIP - wipe them out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN, MAIN HOUSE - SAME<\/stage_direction>\n    <scene_description>Bobby hauls Deb toward the back door. A stray volley SHATTERS the windows. Bobby yanks Deb to the floor.<\/scene_description>\n    <character>DEB<\/character>\n    <dialogue>You've got no chance, you know that?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Shh. Wait for it.<\/dialogue>\n    <scene_description>O.S. The faint WHUP-WHUP of a helicopter. Bobby grins.<\/scene_description>\n    <character>BOBBY<\/character>\n    <parenthetical>(calling outside)<\/parenthetical>\n    <dialogue>Hey, Harvey, you out there?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAIN HOUSE, GRECO RANCH - SAME<\/stage_direction>\n    <character>ADMIRAL<\/character>\n    <dialogue>Mr. Bobby Trench. You are a resilient fly in the ointment.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I've got Deb in here, Harvey, and since you two are in love, I thought you might be willing to trade her for the money.<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>No. No deals.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Well, before your boys start blasting, you might want to take a look off to the East.<\/dialogue>\n    <scene_description>On the horizon, two lights approach low and fast. Twin black helicopters armed with mean-ass 20mm gun cannons. The lead helo swoops down and alights while the second helo circles protectively. Earl and his boys climb out dragging Stig with them.<\/scene_description>\n    <character>EARL<\/character>\n    <dialogue>Hail, hail, the gang's all here.<\/dialogue>\n    <scene_description>Mexican standoff time. Literally. The SEALs have their guns on the CIA. The CIA have their guns on the SEALs. Both side have their guns on Bobby as he ushers Deb outside. Cautiously, The Admiral, Bobby, and Earl approach each other, Bobby towing Deb, Earl towing Stig.<\/scene_description>\n    <character>EARL<\/character>\n    <dialogue>What's the deal here, Bob? You promised me 81 million dollars in return for getting this pudknocker out of stir.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I thought the Admiral might trade Deb for the money, but it turns out he's not the romantic type, so I guess you two are gonna have to duke it out.<\/dialogue>\n    <character>EARL<\/character>\n    <dialogue>Is that right?<\/dialogue>\n    <scene_description>A beat. All sides on edge. Who will make the first move? Out of nowhere - BA-BLAM - a shotgun blast rips into Earl's arm. It's PAPI GRECO. Bleeding from the gut, the drug lord lurches out of the house, shotgun blazing. Bobby tosses Stig a pistol as all sides open fire. It's a free-for-all of dust and lead. Bullets fly. Bodies sprawl. Two SEALs drop (Sanger &amp; Kelvin). Bobby and Stig dash for the cover of a nearby barn while the SEALs retreat toward the livestock pens and the helo rains down fire from above.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ADOBE BARN, GRECO RANCH - CONTINUOUS<\/stage_direction>\n    <scene_description>Chased by strafing helo fire, Bobby and Stig dive inside.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Not to crack on your strategy, but this was the best you could come up with?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You'd rather be back in the brig?<\/dialogue>\n    <scene_description>Bobby kicks the straw off a trapdoor. Beneath it is a ladder leading to the tunnels. Ignoring Bobby, Stig takes a rifle off the body of one of Papi's men.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Come on, the tunnels lead all the way to the edge of the ranch.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>And then what?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>And then we get the hell out of here before the Navy or the CIA or both of them shoot the hell out of us.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>No. I'm not letting the Admiral get away with the money.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Jesus-goddamn... I just saved your ass.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>So go. Get out of here. Go tell the world Deb set you up and clear your name. It's not like we're in this together.<\/dialogue>\n    <scene_description>Bobby curses. He kicks wall. He stays.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Where you go, I go.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You're my people.<\/dialogue>\n    <character>STIG<\/character>\n    <parenthetical>(touched)<\/parenthetical>\n    <dialogue>For real?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Can we just do this?<\/dialogue>\n    <scene_description>Stig tosses Bobby an extra clip. Flanking the door, they peek out for the circling helicopters --<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I hate Mexico.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>I'm sure it hates you back.<\/dialogue>\n    <scene_description>-- and race off in pursuit of the Admiral.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAIN HOUSE, GRECO RANCH<\/stage_direction>\n    <scene_description>Cradling his shattered arm, Earl crosses to Papi, who lays dying in the dust.<\/scene_description>\n    <character>EARL<\/character>\n    <dialogue>Why'd you lie to me? We were just doing business.<\/dialogue>\n    <character>PAPI GRECO<\/character>\n    <dialogue>Mow... my... lawn.<\/dialogue>\n    <scene_description>Papi manages a blood choked gurgle\/giggle. Earl raises his pistol and shoots Papi dead.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CATTLE PENS, GRECO RANCH - SAME<\/stage_direction>\n    <scene_description>Bobby and Stig engage the SEALs in a running fire-fight through the narrow alleys between pens. The spooked cattle buck, they bellow, they crash through the fencing and STAMPEDE. Amid the swirl of 2000 pound beasts, Bobby and Stig get separated. Stig is knocked to the dirt. Quince steps out and has the drop on Stig when... A bullet rips through Quince's neck. Quince falls revealing Thick as the shooter.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Without hesitation or remorse Thick pivots his gun on Stig... ...Before Thick can fire, Bobby dives into view and fires at the CIA man forcing him to retreat back out of sight.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>We having fun yet?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIRFIELD, GRECO RANCH - SAME<\/stage_direction>\n    <scene_description>The C-2A pilot fires up his engines as the Admiral and the remaining SEALs descend on the airfield. From above the CIA helo strafes the cockpit killing the pilot. As the pilot falls forward, he jams the right engine throttle causing the plane to taxi in a circle and crash into a metal shed. The propellers shred. Bits of tin spray.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DRUG PROCESSING BARNS, GRECO RANCH - SAME<\/stage_direction>\n    <scene_description>Amid the flames of the drug processing barns, Bobby and Stig trade heavy fire with Thick and Lean. From above the helo strafes. Bullets swiss-cheese the tin roof. Bobby and Stig go sprawling. Bobby spots a huge BULLDOZER. He taps Stig. CUT TO: ABOVE THE BARN - the circling helo pilot spots a puff of diesel smoke as Bobby and Stig come CRASHING through the wall of the barn on the bulldozer. The helo swoops. Bobby raises the front bucket as a shield. The helo's bullets PING. Stig pours fire up at the helo's tail rotor. The rotor sparks, smokes. The helo goes into a flat spin and CRASHES.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIRFIELD, GRECO RANCH - SAME<\/stage_direction>\n    <scene_description>The SEALs retrieve the cash-filled suitcases from the crippled plane and toss them in an SUV when -- -- Bobby and Stig come barreling over the rise on the bulldozer. Gomez and Lucas hose down the dozer, while the Admiral, Deb, and Mini pile in the SUV. Flooring the throttle Bobby runs right over the two SEALs but not before Lucas rolls a GRENADE beneath the treads. Stig and Bobby leap from the bulldozer as - BOOM - the grenade explosion FLIPS THE BULLDOZER onto its side. Bobby and Stig haul themselves up. In the distance the SUV speeds off in a cloud of dust. Bobby and Stig look at each other. Look at the ratty CESSNA parked along the runway. CUT TO: Bobby and Stig take off in the Cessna.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ENDLESS SCRUB DESERT - DAWN<\/stage_direction>\n    <scene_description>The SUV rips across the vast desert nothing, trailing a 50 yard plume of dust. Above, Stig throttles up the Cessna and dives. Swooping down he thumps the Cessna's landing gear on the roof of the SUV. Deb jerks the wheel and speeds off in a different direction. Stig loops around and dives again. This time Mini and the Admiral pour fire out the windows at the plane. Bullets rake the cabin. Stig is forced to pull up.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>We could pull back and track them.<\/dialogue>\n    <scene_description>Bobby taps blinking \"LOW FUEL\" light.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>We don't have the gas.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>That settles it then.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yup.<\/dialogue>\n    <scene_description>Stig banks the plane around and dives so that the plane is in a direct head-on collision course with the SUV. IN THE SUV -<\/scene_description>\n    <character>DEB<\/character>\n    <dialogue>They're coming right at us.<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>They'll pull up.<\/dialogue>\n    <scene_description>IN THE PLANE - Stig drops the Cessna so that its wheels scrape the ground.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>You sure you don't want me to pull up?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Absolutely.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Cool.<\/dialogue>\n    <scene_description>Plane and SUV hurtle at each other. 50 yards... 25... 10... Deb jerks the wheel. The SUV fishtails. The Cessna T-bones the SUV. The SUV barrel rolls. The plane goes ass-over- teakettle. Then silence. The SUV lays on its side, tires still spinning. The plane sits inverted on its back. INSIDE THE PLANE - Bobby and Stig hang upsidedown. Bobby claws at his belt release. Drops with a groan-inducing thud.<\/scene_description>\n    <character>STIG<\/character>\n    <parenthetical>(groggy)<\/parenthetical>\n    <dialogue>Well, that was a hoot.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You all right?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Busted rib, maybe.<\/dialogue>\n    <scene_description>Stig pulls at his belts. Jammed. Bobby looks over at the overturned SUV. The fate of its passengers undetermined.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Go on. I'm cool.<\/dialogue>\n    <scene_description>Bobby shimmies out of the plane. Gun drawn, he side steps toward the SUV. The SUV's engine hisses... The tires spin... Bobby swings around the nose and levels his pistol through the fractured windshield at... Mini's dead body. A pistol jabs against the back of Bobby's neck. It's the Admiral, his face bloody, his right leg dragging awkwardly.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Stig?<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>Drop the pistol.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Stig, I kinda need your help here.<\/dialogue>\n    <scene_description>Stig, who has dragged himself free of the plane, sees the Admiral with a gun to Bobby's neck and snap draws his own. The Admiral pulls Bobby tight in front of him as a shield.<\/scene_description>\n    <character>ADMIRAL<\/character>\n    <dialogue>Don't do it, sailor.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Do it. Shoot him.<\/dialogue>\n    <scene_description>Stig considers the narrow angle he has on the Admiral.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>I don't know. It's tight.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You won't miss.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>I could miss.<\/dialogue>\n    <scene_description>Rising up from a ditch, Deb levels her gun at Stig.<\/scene_description>\n    <character>DEB<\/character>\n    <dialogue>Drop the gun.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Aw, crap.<\/dialogue>\n    <character>DEB<\/character>\n    <dialogue>I'll shoot you where you stand.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Take the shot.<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>She said to lay down the weapon.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>She's kinda got a gun pointed at me.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Fine. I got yours. You got mine.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>If you miss and I get shot...<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>I'm gonna count to three. One.<\/dialogue>\n    <scene_description>BLAM-BLAM - Stig and Bobby both fire. Bobby hits Deb in the chest. Stig puts his through the Admiral's eye. Bobby crosses to Deb who is rapidly bleeding out.<\/scene_description>\n    <character>DEB<\/character>\n    <dialogue>Say something nice.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You always had a beautiful neck.<\/dialogue>\n    <scene_description>Deb dies. Nearby Stig stands over the Admiral's body. Bobby joins him.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Think they'll give him a full honor guard?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Of course they will. There's no way they'll admit the truth.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Well, that sucks.<\/dialogue>\n    <scene_description>The remaining CIA helo, its gun cannon locked on, glides out of the dawn and alights. Earl and the boys climb out. Earl motions to retrieve the money from the overturned SUV.<\/scene_description>\n    <character>EARL<\/character>\n    <dialogue>You won't mind if we take back what was ours all along.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Would it matter if we did?<\/dialogue>\n    <character>THICK<\/character>\n    <parenthetical>(aside to Earl)<\/parenthetical>\n    <dialogue>You're just gonna let them go?<\/dialogue>\n    <character>EARL<\/character>\n    <dialogue>We have the money. The people who conspired to steal it are dead. We've got no further business with these gentlemen.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What about the warrants for our arrest?<\/dialogue>\n    <character>EARL<\/character>\n    <dialogue>A misunderstanding.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Both our names are clear?<\/dialogue>\n    <character>EARL<\/character>\n    <dialogue>I trust you'll find your own way home?<\/dialogue>\n    <scene_description>With that Earl climbs back into the helicopter and flies off.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>What now?<\/dialogue>\n    <scene_description>Bobby cross to Deb's body. Takes the 400k out of her jacket. Tosses it to Stig.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>For Mama Maybelle.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>There is one more thing.<\/dialogue>\n    <scene_description>Bobby gives Stig a look.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Aw, you're not serious?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Leg or arm?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>You're really gonna do this?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Looks like we're gonna have to walk out of here, so I'm thinking arm.<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>You are a petty, vindictive sonofa--<\/dialogue>\n    <scene_description>Bobby shoots Stig in the arm.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>Ow! Motherless-goat-sucking...<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Hurts, don't it?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAMA MABELLE'S DINER - DAY<\/stage_direction>\n    <scene_description>Mama opens a brown wrapped packet. Inside is the $400k and a photo of her son in his dress uniform. On the back of the photo is a note: \"A pitiful token in honor of your loss.\" On Maybelle. Moved.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANK VAULT, 1ST STATE BANK OF CENTERVILLE - DAY<\/stage_direction>\n    <scene_description>A long line of cash crammed safe deposit boxes. How much cash? Say 81.53 million? Earl flips the boxes shut. Slides them into their wall slots. Locks the doors.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 1ST STATE BANK OF CENTERVILLE - DAY<\/stage_direction>\n    <scene_description>Centerville, Iowa is a placid mid-western small town. Exiting the bank Earl gets in a car with Mr. Lean. ACROSS THE TOWN SQUARE - at a window table in the CENTERVILLE DINER are Bobby and Stig.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CENTERVILLE DINER - SAME<\/stage_direction>\n    <scene_description>Stig, his arm in a sling, scans the menu as Bobby watches Earl drive off.<\/scene_description>\n    <character>STIG<\/character>\n    <dialogue>I saw some nice looking blueberry pancakes go by.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>When have I ever ordered pancakes?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>There's always hope.<\/dialogue>\n    <scene_description>The waitress, MARGIE, approaches.<\/scene_description>\n    <character>MARGIE THE WAITRESS<\/character>\n    <dialogue>What can I get you, boys?<\/dialogue>\n    <character>STIG<\/character>\n    <dialogue>Well, Margie, I was looking over the menu here--<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(cutting to the point)<\/parenthetical>\n    <dialogue>How are your jelly donuts?<\/dialogue>\n    <character>MARGIE THE WAITRESS<\/character>\n    <dialogue>To tell the truth, our donuts are kinda lousy.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I can't tell you how happy we are to hear that.<\/dialogue>\n    <character>THE END<\/character>\n  <\/scene>\n<\/script>","summary":"Robert \"Bobby\" Trench and Michael \"Stig\" Stigman are two criminals working together. Unbeknownst to each other, Bobby is an undercover DEA Special Agent  and Stig is an undercover US Navy SEAL and Petty Officer 1st Class with the United States Navy Office of NavaI Intelligence. They meet drug lord Manny \"Papi\" Greco at his farm in Mexico, where Papi gives Bobby a packet of cash instead of the cocaine he requested. Upon their return to the U.S., Bobby reports to his superior, Special Agent Jessup, and fellow agent Deb Rees, that he did not get the cocaine they need to convict Papi. Afterwards, Bobby privately tells Rees, his mistress, that he will help Stig rob $3 million from Papi's bank in Tres Cruces, Texas to prosecute Papi for tax evasion. Stig reports to his commanding officer, Lieutenant Commander Harold Quince, who tells him to kill Bobby so they can use the money to fund covert operations. Bobby and Stig are surprised to find over $43 million in the vault, not $3 million. Stig follows orders to betray Bobby and escape with the money. He shoots Bobby in the upper arm rather than killing him, but is surprised to see Bobby's DEA badge and leaves him in the desert. After bringing in the money, Stig is betrayed by Quince, but escapes. Meanwhile a man named Earl aggressively interrogates people associated with the robbery and follows Bobby's trail. Bobby goes to Stig's to find the money, only to have Stig contact him from a sniper post across the street. A hit squad sent by Quince attacks the apartment but Stig helps Bobby escape. Bobby tries to tell Jessup what happened, but Earl and his men are already there. Earl kills Jessup, frames Bobby, and lets him go, agreeing to clear his name if he recovers the $43 million. Bobby and Stig kidnap Papi and clear the air between them before interrogating Papi in Rees' garage. Papi tells them that Earl is a CIA Agent and that the money they stole was the CIA's cut of drug profits Papi and other cartels pay in exchange for using CIA planes to smuggle drugs across the border. When the house is attacked by Quince's team, Bobby, Stig, and Rees escape, as does Papi. The three are captured by Papi's men and taken to his farm. After a beating, the men are given 24 hours to return the money or Rees will die. Bobby infiltrates Quince's office at the Naval Air Station in Corpus Christi, discovering Quince is Rees' boyfriend, and they had planned to steal the money for themselves. Meanwhile, Stig asks Admiral Tuwey, Quince's boss, for help. Tuwey orders Quince's arrest but disavows Stig to protect the Navy's reputation. Both men escape from US Navy Masters-at-Arms officers, but Papi kills Rees because they were unable to return the money in time. Bobby later realizes the money is in a motel room he and Rees had frequented, while Stig returns to Papi's farm for vengeance. Stig is surrounded by Papi's men when both Quince and Earl intervene. Bobby arrives in a car filled with money and blows it up, scattering bills everywhere and leading to a massive shootout. During a standoff, Earl reveals that the CIA has 20 other secret banks, and the loss of the $43 million is only a minor setback. Signaling Stig with a phrase from an earlier conversation, Bobby shoots Quince and Stig shoots Earl. Finally, they kill Papi and escape, but not before Bobby shoots Stig in the leg as payback for being shot earlier. They plan to continue to take down the CIA's secret banks, and Bobby reveals that he stashed some of the stolen money away."}
{"movie_name":"Sex Drive_2008","imdb_id":"tt1135985","script":"<script>\n  <scene>\n    <scene_description>The Sex Drive Screenplay by Sean Anders<\/scene_description>\n    <character>&amp;<\/character>\n    <dialogue>John Morris<\/dialogue>\n    <character>(FIRST DRAFT)<\/character>\n    <parenthetical>(first revision)<\/parenthetical>\n    <character>7.23.2007<\/character>\n    <dialogue>Based on \"All The Way\"<\/dialogue>\n    <scene_description>By Andy Behrens Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASSIVE RAVE - NIGHT<\/stage_direction>\n    <scene_description>Techno music thumps as we snake through a crowded party. All we see are people and lights. Everyone is either dancing, talking or making out. Arrive behind a petit brunette with a body that has precipitated many a boner. MS. TASTY turns revealing a sweet, stunning twenty-year-old smile.<\/scene_description>\n    <character>MS. TASTY<\/character>\n    <dialogue>Ian! Hey, sweetie! (Strikes a sexy pose) So? What do you think?<\/dialogue>\n    <scene_description>Reverse to show who she's posing for, but IAN is silhouetted, backlit by disco lights. He speaks with smug confidence.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Not bad. I've seen better, but you make it work.<\/dialogue>\n    <scene_description>She's not put off by the back-handed compliment. On the contrary, it seems to make her try harder.<\/scene_description>\n    <character>MS. TASTY<\/character>\n    <dialogue>Jerk. So when do I get to check out your big, sexy bod? L-O-L!<\/dialogue>\n    <scene_description>Her face rotates unnaturally ninety degrees on it's side and winks ;) Pull back hard to reveal thousands, maybe millions of people at this party. The heads become pixels on Ms. Tasty's MySpace page on a computer in:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IAN'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>The real Ian lies in bed with his laptop, wearing a Darth Vader t-shirt, Chicago Cubs pajama bottoms and reading glasses. He's eighteen but could pass for sixteen. He's a sweet kid with the kind of thoughtful, approachable face you might seek when in need of directions. Close on her words on the screen: \"JERK. SO WHEN DO I GET TO CHECK OUT YOUR BIG, SEXY BOD? L-O-L!\" Ian lets out a nervous giggle. He types his reply, \"IT'S NOT REALLY THAT SEXY.\" He stops and deletes that.<\/scene_description>\n    <character>IAN<\/character>\n    <parenthetical>(whispering to himself)<\/parenthetical>\n    <dialogue>God. Don't be a dork. Act cool. Be a dick. Just be a dick.<\/dialogue>\n    <scene_description>He retypes, \"DAMN, UR SO PUSHY. I'LL UPLOAD MY PIC IN A SEC.\" MAIN TITLES OVER: Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library Ian opens a picture of himself in PhotoShop. He borrows some facial hair from a photo of Brad Pitt and places it on his own face. He opens a folder called \"Family Pics,\" then a subfolder titled, \"REX.\" He opens a picture of a cocky tough guy leaning against a shiny orange 1969 GTO Judge. Ian places his own head on the tough guy's body. As he does this work, we get a look at the room, which is divided by a line of electrical tape running down the wall marked, \"DYLAN'S SIDE - IAN KEEP OUT!!!\" Ian's side is neat and sparsely decorated with a few band posters and some Lord of the Rings merch. The other side of the room is cluttered and decorated with extreme sports and bikini girl posters. Several motocross and snowboarding trophies are proudly displayed. Ian's brother DYLAN (14) sleeps in a twin bed. His Tiger Beat face even looks confident while asleep. A clock reads 12:21 a.m. END TITLES Ian clicks \"Upload Pic\" and we return to the:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MYSPACE CYBER RAVE<\/stage_direction>\n    <scene_description>Now some of Ms. Tasty's MySpace bio stats float in the air next to her: \"MsTasty, 5' 5\" \/ Age:20 \/ Home: Knoxville, TN \/ Here For: Friends \/ Occupation: College Student \/ Interests: Cars, Bikes, Music, Horses, Football and Mad Partying!!!\" Ian materializes next to her, now with the cool facial hair and leaning against the car. Before Tasty even turns to see him, LANCE materializes out of thin air, landing between them. Lance is eighteen, good looking, built and dressed cool.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Ian? Dude. What's with this picture!? Holy shit, that's funny!<\/dialogue>\n    <scene_description>Next to Lance, FELICIA materializes. Also eighteen, she's a \\* petit, pretty girl with her own unique, artsy look and a \\* definite edge on her attitude. \\*<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Oh my god, Ian. That's hilarious!<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Yeah. Funny, right? Just a joke. Can't talk right now though.<\/dialogue>\n    <scene_description>Ian is antsy, trying to see past them to Tasty. Tasty remains oblivious to this entire exchange. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>FELICIA \\*<\/character>\n    <dialogue>Wait! Emergency. My evil bitch \\* cousin is staying with us this \\* weekend, doing a bunch of wedding \\* prep crap. \\*<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Your hot cousin?<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>She's the Antichrist, Lance.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>She's still hot.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Well, I NEED to get out.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>We can hang at my house. The whole family is taking Dylan to his moto- cross nationals this weekend.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Sweet! You rock.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Thanks. Now I gotta go.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Dude, you working tom--<\/dialogue>\n    <scene_description>Ian waves a hand at Lance and Felicia. They each disappear with a click. Finally Ian can see Ms. Tasty again.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>So, Tasty. Feast your eyes, sugar biscuit.<\/dialogue>\n    <scene_description>INTERCUT - IAN'S BEDROOM \/ MYSPACE CYBER RAVE Back in reality, Ian slaps his own head.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Sugar biscuit? You idiot.<\/dialogue>\n    <scene_description>Back in cyberspace, Tasty looks over at Ian and his car.<\/scene_description>\n    <character>MS. TASTY<\/character>\n    <dialogue>Nice. O.M.G. Your car is sick!<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Sixty-nine GTO Judge.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>MS. TASTY<\/character>\n    <parenthetical>(dirty smile)<\/parenthetical>\n    <dialogue>Mmmm. I love sixty-nines.<\/dialogue>\n    <scene_description>Back in his bedroom, Ian is stunned. He stands and nervously paces, muttering to himself. He takes off his glasses.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Whoa. Sixty-nines; she likes those. Okay, don't puss out. Be a dick<\/dialogue>\n    <scene_description>Back in cyberspace, Ian continues to act cool.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Whatever. I gotta blow. Coach's got us running two-a-days. Peace.<\/dialogue>\n    <scene_description>Ian disappears - to Tasty's great disappointment.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IAN'S BEDROOM<\/stage_direction>\n    <scene_description>Ian stares at her picture and her last line, \"I LUV 69's.\" He checks that Dylan is sleeping. He grabs a roll of toilet paper from under his bed. He reaches into his pajama pants.<\/scene_description>\n    <character>DYLAN (O.S.)<\/character>\n    <dialogue>Are you spankin' it over there!<\/dialogue>\n    <scene_description>Ian stops.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>No! I was just scratching my leg. It's itchy...this blanket.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IAN'S HOUSE - HALLWAY - MORNING<\/stage_direction>\n    <scene_description>Ian wanders groggily out of his room. He opens the bathroom door but stops cold with the door open only three inches. His eyes go like saucers - he's now wide awake. Ian's POV through the door: A gorgeous, naked woman is bent over and towelling off her hair. Ian watches with nervous curiosity. She turns toward him but the towel covers her face. As she rubs the towel on her head, her boobs jiggle. Ian is in a trance until...<\/scene_description>\n    <character>WOMAN'S VOICE (O.S.)<\/character>\n    <dialogue>Ian!?<\/dialogue>\n    <scene_description>Ian turns to see that his parents are standing at the end of the hall and looking his way. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>IAN'S FATHER<\/character>\n    <dialogue>Were you just peeping on your sister?<\/dialogue>\n    <scene_description>The girl screams and the bathroom door slams shut.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>No! I was just gonna use the...<\/dialogue>\n    <scene_description>His father raises an eyebrow as if to say, \"Well, what about that?\" A wider shot of Ian reveals that he has pitched an unmistakable tent in his pajama pants.<\/scene_description>\n    <character>IAN'S FATHER<\/character>\n    <dialogue>Alright! Family meeting!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IAN'S HOUSE - DINING ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Ian's Father, STEPMOTHER and brother Dylan sit at the table. Also at the table is REX, Ian's older brother from the photo. He's a twenty-four-year-old big lug whose thinning hair is highlighted and spiky. Next to him is JESSICA, the hot girl from the shower. She's about twenty and wearing a pink baby- doll T printed with sorority symbols. She talks on her cell as Ian arrives at the table.<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>(into her phone)<\/parenthetical>\n    <dialogue>No, I gotta go. My new stepbrother was spying on me in the shower and playing with himself or something. ...Yeah, I'll call you after.<\/dialogue>\n    <scene_description>Ian timidly sits. His father sends a stern look his way.<\/scene_description>\n    <character>IAN'S FATHER<\/character>\n    <dialogue>Listen, mister--<\/dialogue>\n    <character>IAN'S STEPMOTHER<\/character>\n    <parenthetical>(interrupting sweetly)<\/parenthetical>\n    <dialogue>Ian. You and your brothers have made me feel so welcome in your family. And now that Jessica is home from Princeton, I hope you'll be able to see her as your sister.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>No. I do. I just--<\/dialogue>\n    <character>REX<\/character>\n    <dialogue>You don't look at your sister and pop a stiffy, Ian. That is NOT normal.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>IAN'S STEPMOTHER<\/character>\n    <dialogue>Rex, please. Let's just all do our best to respect one another's privacy. Okay, honey?<\/dialogue>\n    <character>IAN'S FATHER<\/character>\n    <dialogue>Now apologize to Jessica.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Um....I'm sorry.<\/dialogue>\n    <character>IAN'S FATHER<\/character>\n    <dialogue>For what?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>I'm sorry for...seeing you naked.<\/dialogue>\n    <character>IAN'S FATHER<\/character>\n    <dialogue>And?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Um...and getting a...um...<\/dialogue>\n    <character>IAN'S FATHER<\/character>\n    <dialogue>That's it. You're grounded, bub.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>What!?<\/dialogue>\n    <character>REX<\/character>\n    <dialogue>I gotta go. If you fags want a ride, you better hustle up.<\/dialogue>\n    <scene_description>We track out the window and across the street to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FELICIA'S HOUSE<\/stage_direction>\n    <scene_description>A modest but nice suburban home. Felicia is coming down the stairs. She wears a black t-shirt that reads, \"I'm begging you to shut up.\" She stops when she hears voices. She peers around the corner into the dining room. Her MOTHER sits at the kitchen table with AUNT CAROL. Standing on the other side of the table is TIFFANY, a blonde Brittany Spears type about Felicia's age. Tiffany is arranging some Barbie &amp; Ken dolls in a make-believe wedding ceremony.<\/scene_description>\n    <character>TIFFANY<\/character>\n    <dialogue>I don't know. Maybe just six bridesmaids?<\/dialogue>\n    <scene_description>Tiffany removes a black-haired Barbie from the line-up. From her perch, Felicia enthusiastically nods her agreement. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>AUNT CAROL<\/character>\n    <dialogue>Sweetie, marriage is about family. Felicia's your cousin.<\/dialogue>\n    <character>TIFFANY<\/character>\n    <dialogue>I know. But she never smiles. She'll ruin all the pictures.<\/dialogue>\n    <character>FELICIA<\/character>\n    <parenthetical>(whispering to herself)<\/parenthetical>\n    <dialogue>She's right, I will. Listen to her. She's making some solid points.<\/dialogue>\n    <character>FELICIA'S MOTHER<\/character>\n    <dialogue>Don't worry, dear. I'll speak to Felicia.<\/dialogue>\n    <scene_description>Felicia tip-toes down the steps and sneaks out the front door. She nearly makes it out when her mother spots her.<\/scene_description>\n    <character>FELICIA'S MOTHER<\/character>\n    <dialogue>Hon? Come say hi to your cousin and your Aunt Carol.<\/dialogue>\n    <scene_description>Felicia hangs her head, sighs and goes back inside. We pull away and cross the street again to the home next to Ian's.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LANCE'S HOUSE - KITCHEN<\/stage_direction>\n    <scene_description>We find Lance at the breakfast table working on a bowl of Count Chocula. LANCE'S FATHER enters, talking on his cell phone. He's dressed a little too cool for his age.<\/scene_description>\n    <character>LANCE'S FATHER<\/character>\n    <dialogue>Judy! What do you want from me? The boy's eighteen now. These aren't my problems anymore. Hello?<\/dialogue>\n    <scene_description>He looks at the phone. Obviously she hung up. He grabs a bowl, sits down and pours himself some cereal.<\/scene_description>\n    <character>LANCE'S FATHER<\/character>\n    <dialogue>Your mom's still batshit crazy.<\/dialogue>\n    <scene_description>Lance shakes his head, eating and reading Maxim.<\/scene_description>\n    <character>LANCE'S FATHER<\/character>\n    <dialogue>Oh, what, she never trash talks me?<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Actually, she doesn't. Ever.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>LANCE'S FATHER<\/character>\n    <dialogue>Well, in any case, take my advice, chief, never get married. Just an endless parade of nonsense. And for god's sake always wear a rubber. Jesus H.<\/dialogue>\n    <scene_description>Lance walks out, taking the comment personally.<\/scene_description>\n    <character>LANCE'S FATHER<\/character>\n    <dialogue>Oh, come on, pal, I didn't mean it that way!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN ROAD - MORNING<\/stage_direction>\n    <scene_description>Cue: \"Let's Get it Up\" by AC\/DC. THE JUDGE (the shiny orange 69 Pontiac GTO from Ian's photo) now rumbles aggressively through the Chicago suburbs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE JUDGE<\/stage_direction>\n    <scene_description>Rex drives and sings loudly. Dylan rides shotgun. Ian sits in back; he's now dressed in a purple polo and visor, embroidered with a \"Se\u00f1or Donut\" logo. Rex turns the radio down.<\/scene_description>\n    <character>REX<\/character>\n    <dialogue>Ian - question. And I want a straight answer. You queer?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>REX<\/character>\n    <dialogue>God damn it! I knew it!<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>I didn't say anything!<\/dialogue>\n    <character>REX<\/character>\n    <dialogue>Exactly. When someone asks if you're a pole-smoker, you deny it right off. No pause! No fartin' around! Jesus, Ian!<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Rex, I'm not gay.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>You're eighteen and you ain't even had one girlfriend.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>REX<\/character>\n    <dialogue>That's how people wind up getting gay, ya know.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>I don't think that's really how it happens. But anyway, I'm not gay.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>Well, Dad thinks you're are.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>What!?<\/dialogue>\n    <character>REX<\/character>\n    <dialogue>You're breaking the old man's heart.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Look, there's this girl I've been kinda getting to know on MySpace.<\/dialogue>\n    <character>REX<\/character>\n    <dialogue>MySpace? Oh, for fuck's sake! Don't you watch Dateline? She's probably a guy, Ian! Some fat old dude who wants to pound you up the tailpipe!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MALL PARKING LOT<\/stage_direction>\n    <scene_description>The Judge stops and Ian climbs out.<\/scene_description>\n    <character>REX<\/character>\n    <dialogue>Have fun at work. Try not to come home any gayer than you are now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MALL FOOD COURT - SE\u00d1OR DONUT<\/stage_direction>\n    <scene_description>RON is prepping the donut shop for another day. He's a \\* middle-aged man in a tight button-up manager's shirt that \\* shows off his gut. Ian enters the store. \\*<\/scene_description>\n    <character>RON<\/character>\n    <parenthetical>(sarcastic)<\/parenthetical>\n    <dialogue>Ian! So good of you to bless me with your presence. Gee, I hope I'm not putting you out.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Sorry, Ron. My brother drove and... It's only eight oh-three.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>RON<\/character>\n    <dialogue>Oh-three. Oh-three, huh? Yeah. That's not gonna cut the cheese around here, captain. At Se\u00f1or Donut we plan to be ten minutes early. That way if we miss it by an oh three, we're still early by an oh-six. Comprend\u00e9?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Right. Sorry.<\/dialogue>\n    <scene_description>Ian puts on an apron and begins prepping the counter. Cue \"Got You Where I Want You\" by the Flys as several lovely female mall employees arrive and walk by in slow motion. Ian sneaks longing looks at each of them. Several quick close up shots of hair, smiles, exposed thongs and the impressions of bras and hard nipples through tight shirts. Finally a cute, detached girl about Ian's age shows up wearing the same Se\u00f1or Donut uniform and looking tired. Ian gives her a friendly smile. She doesn't return the favor.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Hey, Becca.<\/dialogue>\n    <character>BECCA<\/character>\n    <dialogue>Hey. Hey, Ron. Sorry I'm late.<\/dialogue>\n    <character>RON<\/character>\n    <dialogue>No worries, girlfriend.<\/dialogue>\n    <scene_description>Ian gives Ron a \"what the fuck?\" look.<\/scene_description>\n    <character>RON<\/character>\n    <parenthetical>(lascivious)<\/parenthetical>\n    <dialogue>Looks like you had a long, nasty night. Ron and Ian want the four- one-uno.<\/dialogue>\n    <character>BECCA<\/character>\n    <dialogue>Whatever. You guys are gross.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>I'm not gross. I didn't say anything.<\/dialogue>\n    <scene_description>Becca rolls her eyes and goes into the back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SE\u00d1OR DONUT - BACK ROOM<\/stage_direction>\n    <scene_description>Becca is taking a huge foam Se\u00f1or Donut mascot costume out of a box. Ian comes in to get a bag of powdered sugar. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>BECCA<\/character>\n    <parenthetical>(holding up the suit)<\/parenthetical>\n    <dialogue>Ian?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>No way, Becca. I did coupon rounds yesterday.<\/dialogue>\n    <character>BECCA<\/character>\n    <parenthetical>(hugging him)<\/parenthetical>\n    <dialogue>Oh, Ian. Come on. You'd so be my hero. I'd love you so, so much.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MALL FOOD COURT - DAY<\/stage_direction>\n    <scene_description>A giant foam donut walks through the food court, handing out coupons. Se\u00f1or Donut wears a small sombrero, black tights and a purple cape. Ian's right arm sticks out of the suit. The left arm is fake as Ian's real left arm is kept inside the suit to operate the mouth. (Like the Big Bird suit.) He tries to hand out coupons but he's a soft, timid sell.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Hi. Would you like a coupon for six free-- No? Okay, cool. Sorry.<\/dialogue>\n    <scene_description>Ian turns to find Ron in his way, arms folded.<\/scene_description>\n    <character>RON<\/character>\n    <dialogue>Hmmm. You don't sound like Se\u00f1or Donut. You sound more like Mr.-I- don't-take-pride-in-my-job-because- I'm-a-spoiled-suburban-kid-who's- had-everything-handed-to-me-Donut.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Ron, come on. I suck at doing the voice. Please?<\/dialogue>\n    <scene_description>Ron gives Ian a stern look and then points to a woman coming their way. Ian turns to her and in a lame Mexican accent...<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Hola. Theees eeez a coupon for seeex free donuts. Es Mui Bueno!<\/dialogue>\n    <scene_description>The woman stares back uncomfortably and then looks to her left. Ian turns to see what she's looking at. A Mexican family is standing nearby and glaring at Ian.<\/scene_description>\n    <character>IAN<\/character>\n    <parenthetical>(normal voice)<\/parenthetical>\n    <dialogue>I'm sorry. I didn't mean any...<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library The family walks away, offended. Ian sighs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MALL DRESS SHOP<\/stage_direction>\n    <scene_description>Felicia steps out of a fitting room, wearing a poofy yellow dress with a huge bow. She looks miserable. Tiffany circles, nodding her approval.<\/scene_description>\n    <character>TIFFANY<\/character>\n    <dialogue>Oh, my, god. That is sooo cute on you. You could be hot if you quit dressing like so... agro. Now that you're eighteen you should totally be thinking about getting those boobs done too. You know?<\/dialogue>\n    <scene_description>Tiff gestures to her own fake boobs, then turns away to flip through a rack of dresses. Felicia mimes plunging a knife into Tiff's back over and over. Tiff turns to look at Felicia, who stops killing her and smiles back innocently.<\/scene_description>\n    <character>TIFFANY<\/character>\n    <dialogue>You know?<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Yeah. Boobs. Good. Made a note.<\/dialogue>\n    <scene_description>Felicia notices Se\u00f1or Donut out in the mall, going up the escalator. He's surrounded by a group of white ten-year-old gang-banger-wannabes. They push Ian and he falls sideways, rolling down to the bottom and out entrance. The kids follow him down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MALL<\/stage_direction>\n    <scene_description>Felicia jogs from the shop, holding her dress off the ground. As she arrives, the kids are stomping Ian like a narc.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Aright, piss off, mallrats.<\/dialogue>\n    <scene_description>They stop. Their leader steps to Felicia with a precocious swagger. He's a foot shorter than she.<\/scene_description>\n    <character>MALLRAT<\/character>\n    <dialogue>Yo, banana-ass-lookin' bitch. Y'all ain't gonna roll up on our shit and start bustin' out to-dos.<\/dialogue>\n    <scene_description>His friends laugh until Felicia grabs him by the ear and twists until he grimaces in pain. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Listen, Trevor or Logan or Cody or whatever the fuck your name is, look at this dress. Do I look like I'm in the mood for your bullshit?<\/dialogue>\n    <character>MALLRAT<\/character>\n    <dialogue>Owie. Owie.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Yeah, that's right, owie.<\/dialogue>\n    <scene_description>She releases him.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>And take the god damn price tag off your hat.<\/dialogue>\n    <scene_description>She rips the price sticker off the bill of his baseball cap.<\/scene_description>\n    <character>MALLRAT<\/character>\n    <dialogue>Damn, shorty!<\/dialogue>\n    <scene_description>He stands down and tries to maintain his strut as he leads his gang away.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>You alright, Ian?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Yeah. Wow. You look pretty.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Oh, god! Shut up.<\/dialogue>\n    <scene_description>Just then, Lance appears next to them.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Damn. Tough day for donut boy.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Not a word about the dress. I swear to fucking god.<\/dialogue>\n    <scene_description>Ian flounders on the floor, unable to stand.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>A little help?<\/dialogue>\n    <scene_description>Felicia and Lance help him up.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>This job sucks so hard.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Ian, why don't you just quit?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>I can't just quit, Felicia. I only got two weeks left to save for college. Tuition's gone up to--<\/dialogue>\n    <scene_description>Lance interrupts, pointing to the donut mouth that Ian is flapping as he speaks.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Ian, why you gotta do that - work the mouth when you talk to us?<\/dialogue>\n    <character>FELICIA<\/character>\n    <parenthetical>(sarcastic)<\/parenthetical>\n    <dialogue>You can't fool us, Ian. We know you're not really a big Mexican donut.<\/dialogue>\n    <character>IAN<\/character>\n    <parenthetical>(not working the mouth)<\/parenthetical>\n    <dialogue>Sorry. Habit. Here, give me a hand with this.<\/dialogue>\n    <scene_description>Ian struggles to get his head out of the back of the suit. He sits on a bench. Lance helps. Ian takes a deep breath.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>So, how's it going with that chick at work?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Becca. Not that great.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Good. She's totally wrong for you, anyway.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>That's what you say about everyone.<\/dialogue>\n    <scene_description>Tiffany waves Felicia back into the store.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>I gotta go. Satan calls.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Looks like Satan got new titties.<\/dialogue>\n    <character>FELICIA \\*<\/character>\n    <dialogue>So, we're still on for tomorrow? \\*<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>IAN \\*<\/character>\n    <dialogue>Got the place to myself, I promise. \\*<\/dialogue>\n    <character>FELICIA \\*<\/character>\n    <dialogue>Awesome. You always come through \\* for me. \\*<\/dialogue>\n    <scene_description>(leaning in) \\* Hey, it won't be weird for you if I \\* stay over Saturday? \\*<\/scene_description>\n    <character>IAN \\*<\/character>\n    <dialogue>Why would it be weird? \\*<\/dialogue>\n    <scene_description>SLAM CUT TO: \\*:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGH SCHOOL BONFIRE PARTY - NIGHT<\/stage_direction>\n    <scene_description>TITLE: \"FIVE MONTHS AGO\" Ian stands alone by the fire. Felicia stumbles over and hugs him. She's a bit drunk.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Ian. Hey, dude. Guess what.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>I have a secret. Girl secret. Can you deal?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Sure. What do you got?<\/dialogue>\n    <scene_description>Felicia is flustered, giggly and uncharacteristically girly.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>I...Duh. This is so lame.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Look at you acting like such a girl. You're creeping me out.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>I know. Okay, okay, okay, okay. Here it is. I have a crush on someone. A boy. A guy.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Really. Wow. Who?<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Oh, I bet you know who. You know me better than anyone. So guess.<\/dialogue>\n    <scene_description>A look of great understanding comes over Ian's face.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>I think I know.<\/dialogue>\n    <scene_description>He nervously leans in for a kiss. Felicia sobers, pulling away. Her face is awash with confusion and pity. Ian has made a terrible mistake. He lamely tries to back-pedal.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Kidding. Got you.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Ian. You're my best friend. I just don't think we--<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>I know. Totally kidding. I mean, \"whatever\" right? Yeah...<\/dialogue>\n    <scene_description>He's not fooling anyone.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>So, who is it? Who's the lucky...<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Oh, nobody. I was kidding too.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Oh. That's funny. I guess.<\/dialogue>\n    <scene_description>Pull back, as they stand together in an awkward silence as several kids party around them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SLAM CUT BACK TO PRESENT: INT. MALL \\*<\/stage_direction>\n    <character>FELICIA \\*<\/character>\n    <dialogue>Okay, see you guys tomorrow. \\*<\/dialogue>\n    <scene_description>Felicia trots back to the dress shop. Ian pushes his head \\* back into the suit. He and Lance walk through the mall \\* together. Ian occasionally hands off a coupon to someone. \\*<\/scene_description>\n    <character>LANCE \\*<\/character>\n    <dialogue>So, this Becca chick - you been \\* doing like I told you? Being a \\* dick? \\*<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Yeah, kinda. Kind of a dick.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>She made you wear the costume again, didn't she? (off Ian's lack of reply) See? Your nice guy thing works for shit. If you'da told her to fuck off, she'd be two knuckles deep, day-dreaming about your bone right now.<\/dialogue>\n    <scene_description>A woman with two little kids, glares at them.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Lance, I'm actually at work. Can we not do this here?<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>I'm just sayin', if you ever want to get laid, you're going to have to quit worrying about what chicks think of you. Look at Andy and Randy over there. Those guys could give a fuck.<\/dialogue>\n    <scene_description>Two awkward, dim-faced, badly dressed teenage boys stand outside an arcade. Oblivious to their own lack of appeal, every girl that passes gets hit on.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Andy and Randy? Those guys are total nards.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>For real. But pay attention.<\/dialogue>\n    <scene_description>A pretty, fresh-faced girl is carrying a box marked, \"Holy Cross Children's Fund.\" She approaches ANDY &amp; RANDY.<\/scene_description>\n    <character>CHRISTIAN GIRL<\/character>\n    <dialogue>Hi. Would you like to help the underprivileged children?<\/dialogue>\n    <scene_description>They converge on her like velociraptors. They both speak in the same, rapid-fire monotone.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Not really.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>You wanna party?<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>CHRISTIAN GIRL<\/character>\n    <dialogue>Um. No. I'm kinda working.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>When are you done?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>What are you doing after?<\/dialogue>\n    <character>CHRISTIAN GIRL<\/character>\n    <dialogue>Um, I have a church thing tonight.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Kick ass. We'll come.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Yeah, where is it?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>There gonna be more hot chicks like you there?<\/dialogue>\n    <scene_description>Lance and Ian look on.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>So, what? They never get anywhere.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>That's because they don't know how to close. But their ability to open is god damned heroic. Absolutely no fear of rejection.<\/dialogue>\n    <scene_description>Andy and Randy keep up the pressure, following her away.<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Do you wear thong underpants?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>You want us to take our shirts off?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SE\u00d1OR DONUT - BACK ROOM - EVENING<\/stage_direction>\n    <scene_description>Ian, still dressed in the donut suit, hassles with his locker. He breaks off his key. Ron appears in the doorway.<\/scene_description>\n    <character>RON<\/character>\n    <dialogue>Oh, Ian. What am I going to do with you, laddie? You can wear it home, but take good care of it. That costume costs more than you make in a year.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MALL - EVENING<\/stage_direction>\n    <scene_description>Rex pulls up to the curb in the Judge. Ian runs up to the car, still in the donut suit and working the mouth.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Rex. It's me!<\/dialogue>\n    <character>REX<\/character>\n    <dialogue>What the fuck is that shit?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>I broke off the key in my locker.<\/dialogue>\n    <character>REX<\/character>\n    <dialogue>Well I ain't gonna be seen driving around with Se\u00f1or Numbnut. Stow that shit in the trunk.<\/dialogue>\n    <scene_description>Ian pops the trunk and bashfully strips off the costume, leaving him just in his t-shirt and tighty-whities. Several passing shoppers glance over. Ian stuffs the costume in the trunk and dashes for the passenger door. Rex slowly pulls ahead, Ian runs along side. Rex laughs way too hard.<\/scene_description>\n    <character>REX<\/character>\n    <dialogue>Come on! Get in, fairy!<\/dialogue>\n    <scene_description>Ian reaches for the door but Rex stays just far enough ahead. Ian runs faster and opens the door. Before he can jump in, Rex slams on the brakes. Ian bounces off the inside of the door and falls flat on his back in the street.<\/scene_description>\n    <character>REX<\/character>\n    <dialogue>Ha!!! You suck, Ian!<\/dialogue>\n    <scene_description>Ian lies there groaning.<\/scene_description>\n    <character>REX<\/character>\n    <dialogue>Don't be such a puss! Seriously, quit dickin' around and get in.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. IAN'S HOUSE - EVENING<\/stage_direction>\n    <scene_description>The Judge pulls into the driveway. Ian gets out. A car pulls in behind him. IT'S BECCA! She climbs out. Ian coyly pulls his shirt down over his grunds. This is awkward.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Becca. Hey. I didn't know you were coming over. I didn't even know you knew where I lived.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>BECCA<\/character>\n    <dialogue>Yeah. I do, so...<\/dialogue>\n    <scene_description>She looks down at his lack of pants.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Oh. Funny story. I broke my key--<\/dialogue>\n    <character>BECCA<\/character>\n    <dialogue>Is Dylan here?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>What? Dylan. My brother Dylan?<\/dialogue>\n    <character>BECCA<\/character>\n    <dialogue>Yeah. Is he here?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>My fourteen-year-old brother Dylan?<\/dialogue>\n    <scene_description>Becca scowls at Ian. Dylan opens the front door and waves to Becca. She sends him a big smile and starts off toward him.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>You know he's fourteen, right?<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>Nice underpants, Ian! He's probably cooking up a big wicked bacon strip in there.<\/dialogue>\n    <scene_description>Becca and Rex laugh.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IAN'S BEDROOM - LATER<\/stage_direction>\n    <scene_description>Ian is putting on a pair of sweatpants. Dylan and Becca come in, making out.<\/scene_description>\n    <character>DYLAN<\/character>\n    <dialogue>Ian. Get out of my room!<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>It's my room too. You guys can go downstairs.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>No way. The couch down there reeks like grandma farts. DAD! Ian's spying on us!<\/dialogue>\n    <character>IAN'S FATHER (O.S.)<\/character>\n    <dialogue>Ian! Quit being a perv and give your brother some privacy!<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IAN'S HOUSE - BASEMENT - MOMENTS LATER<\/stage_direction>\n    <scene_description>The basement is unfinished. The old mismatched furniture clashes with the shag carpet. Rex's weight bench and punching bag are set up in one corner. Ian sits down at a desk, dons his glasses and fires up an old, yellowed computer. A sign taped to the monitor reads, \"Dad's Computer - No Surfing the World Wide Internets!\" A Windows 98 logo comes up. Ian sighs as the dial-up tones sputter and beep. INTERCUT - MYSPACE CYBER RAVE \/ IAN'S BASEMENT Again we move through the crowd until we arrive on Ms. Tasty.<\/scene_description>\n    <character>MS. TASTY<\/character>\n    <dialogue>Ian, baby!<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>What up, Tasty?<\/dialogue>\n    <character>MS. TASTY<\/character>\n    <dialogue>I've been in bed all day, thinking about you.<\/dialogue>\n    <scene_description>Cut to Ian in the real world. He's wide-eyed and freaked.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Really?<\/dialogue>\n    <scene_description>Back to cool, flirty cyber-Ian.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Really.<\/dialogue>\n    <character>MS. TASTY<\/character>\n    <dialogue>I have an idea. You should jump in that tight ride of yours and drive it down to Knoxville this weekend so we can hook up in person.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Yeah, whatever. I don't know. Knoxville's a long way.<\/dialogue>\n    <character>MS. TASTY<\/character>\n    <dialogue>I think I can make it worth the drive.<\/dialogue>\n    <scene_description>Back in reality, Ian's jaw drops. He types the word, \"HOW?\" He takes a deep breath before clicking \"Send.\" Push in on Ian's expectant face as the reply comes in: \"MsTasty: U DRIVE ALL THE WAY HERE 4 ME AND I'll GO ALL THE WAY WITH U.\" Ian stares back at the screen, wide-eyed. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>All the way. She wants to go all the way. With me. (HUGE GRIN) She wants to go all the way with me!<\/dialogue>\n    <scene_description>Cut to a vinyl record dropping on dad's old turntable. After a moment of crackling, cue \"Da Ya Think I'm Sexy\" by Rod Stewart. Ian dances in wild celebration, performing moves that are as sexually suggestive as they are awkward. He sings along. He starts punching Rex's punching bag, then he starts humping it as part of the dance. He freezes when he hears the need scrape off the record. Ian's dad stands at the turntable. Ian lamely tries to morph the dance into acting casual. He's out of breath.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Hey, I was just...exercising.<\/dialogue>\n    <character>IAN'S FATHER<\/character>\n    <dialogue>What'd I tell you about monkeying with my 45s?<\/dialogue>\n    <scene_description>Dad takes the record and moves on. Ian drops his head. A moment later, Dylan enters.<\/scene_description>\n    <character>DYLAN<\/character>\n    <dialogue>Dude. Becca just left.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>You wanna smell my finger?<\/dialogue>\n    <scene_description>Ian glares back, annoyed. After a beat:<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Yeah, okay.<\/dialogue>\n    <scene_description>Ian takes a whiff, then winces.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Ugh. Are you sure you got the right hole?<\/dialogue>\n    <scene_description>Dylan looks slightly alarmed and confused. He sniffs it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRUG STORE - DAY<\/stage_direction>\n    <scene_description>Close on the condom section - several shelves filled with all manner of rubbers. Ian nonchalantly breezes by, reading the boxes as he passes. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library Further down the aisle, he puts a few items in his basket. He breezes by again, tries to stop, too uncomfortable, keeps moving. A moment later he returns. A cart is parked between Ian and the condoms. A soccer mom drifts down the aisle, away from the cart, leaving her cute-as-a-button two-year-old girl perched in the cart seat.<\/scene_description>\n    <character>LITTLE GIRL<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>Ian gives her a strained smile as he reaches over her for a box. He inadvertently triggers an electronic display. A ten- inch condom-man dances, waves it's arms and hollers: CONGRATULATIONS! YOU CHOSE RAMSES FOR MAXIMUM STIMULATION! Ian snaps his hand away, knocking several boxes of condoms into the cart. The child's mother turns to give Ian a suspicious glance. Ian musters a smile back. Mom starts back his way. Ian grabs one box and bolts. When the mom returns, her baby girl presents her with a box of Magnums.<\/scene_description>\n    <character>LITTLE GIRL'S MOM<\/character>\n    <dialogue>Yeah, I wish.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRUG STORE - CASHIER LINE<\/stage_direction>\n    <scene_description>Ian now has a pile of junk in his basket. He gets into the line of a frumpy, middle-aged cashier. Suddenly, another lane is opened by a beautiful, bubbly woman.<\/scene_description>\n    <character>HOT CASHIER<\/character>\n    <dialogue>I can help the next person.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Oh, that's okay. I'll just--<\/dialogue>\n    <character>HOT CASHIER<\/character>\n    <dialogue>Oh, come on now. Let's get you taken care of.<\/dialogue>\n    <scene_description>She comes out and takes Ian's basket, leading him to her aisle. She starts ringing up his items.<\/scene_description>\n    <character>HOT CASHIER<\/character>\n    <dialogue>You don't remember me, do you Ian? Terry? I used to babysit you.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Oh. Sure. Terry. Wow.<\/dialogue>\n    <character>HOT CASHIER<\/character>\n    <dialogue>You've gotten so big. I used to change your poopy diapers.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Oh, yeah. I don't really do that anymore. I just use the ah...<\/dialogue>\n    <scene_description>Ian nervously eyes the condoms. Horror movie suspense music builds as she excavates them, item by item. Finally she reaches for the box, but just then:<\/scene_description>\n    <character>CASHIER BOY (O.S.)<\/character>\n    <dialogue>Terry. Phone call.<\/dialogue>\n    <character>HOT CASHIER<\/character>\n    <dialogue>Oh. Well, it was nice to see you, Ian. Say, \"Hi\" to your mom for me.<\/dialogue>\n    <scene_description>Ian breathes a sigh of relief as she steps away.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Definitely.<\/dialogue>\n    <scene_description>Another employee takes over, a big good-looking skater guy about Ian's age.<\/scene_description>\n    <character>CASHIER BOY<\/character>\n    <dialogue>Dude. Weren't you in my gym class? What is it - Egan?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Ian. Yeah. Hey, Jordan.<\/dialogue>\n    <scene_description>Jordan isn't excited to see Ian. He picks up the box of condoms. He cracks up laughing.<\/scene_description>\n    <character>CASHIER BOY<\/character>\n    <dialogue>Oh, right! Whatever, scrote! You can't get your fist pregnant!<\/dialogue>\n    <scene_description>He raises the box high and calls out to another boy, working thirty feet away.<\/scene_description>\n    <character>CASHIER BOY<\/character>\n    <dialogue>Russ, man! Check it out, yo! Look who's buying jimmies!<\/dialogue>\n    <scene_description>Russ cracks up. Ian looks around. Terry, the little girl, her mom, and three old ladies all stare back at him. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>CASHIER BOY<\/character>\n    <dialogue>You want these gift wrapped?<\/dialogue>\n    <scene_description>Ian snatches the box back. Russ taps him on the shoulder and snaps a picture with his camera phone. Freeze on the awful picture of Ian, looking surprised and holding up the condoms.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DRUG STORE<\/stage_direction>\n    <scene_description>The doors slide open, the laughters escape along with Ian. He steps out to find Andy &amp; Randy sitting on the curb out front. A girl passes them on her way into the store.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Hey, baby, you wanna party?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>You wanna make out with us?<\/dialogue>\n    <scene_description>She ignores them, which doesn't bother them a bit. Something compels Ian to stop, but he's not sure what to say.<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Why don't you take a picture, Ian?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Yeah, and post it on total-fuckin'- awesomeness-dot-com.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Can I ask you guys a question?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>You just did.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Okay. Can I ask you another question?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>You just did! Ha!<\/dialogue>\n    <scene_description>They giggle and high-five. Ian turns to go.<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>No. Dude, what?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Okay. Where do you guys get the confidence to, you know, like hit on every girl you see?<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>'Cause we're the shit.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>You oughts to know that, bitch.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>So, where's Felate-cha?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Felate-cha. You bangin' her?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>We're just friends.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>I thought you took her to prom.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Yeah, but it was a 'just-friends' kind of thing.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I don't get it.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>You should bang her. We would.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Dude, we would bang her so hard.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Tell her we'll bang her.<\/dialogue>\n    <scene_description>Ian walks away.<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Yeah, hard.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. IAN'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Rex, Dylan and Dad are loading luggage and dirtbikes into a trailer, towed by a huge SUV, parked in the street. Ian rides his bike into the garage, carrying his bag from the drug store. Ian's stepmother comes out with a cooler.<\/scene_description>\n    <character>IAN'S STEPMOTHER<\/character>\n    <dialogue>Ian, sweetie. Are you sure you don't want to come along and cheer on your little brother?<\/dialogue>\n    <scene_description>Ian looks over. Dylan gives him the finger. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Yeah. Sounds fun but I gotta work.<\/dialogue>\n    <character>IAN'S STEPMOTHER<\/character>\n    <dialogue>Okay, sweetie. There's a taco casserole in the freezer and I put forty dollars in the cow for fun money. Be safe, okay?<\/dialogue>\n    <scene_description>She kisses him on the cheek. Ian smiles. Ian's dad calls over from the truck.<\/scene_description>\n    <character>IAN'S DAD<\/character>\n    <dialogue>Where's Jessica? We're burning daylight, people!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IAN'S BEDROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Ian puts the box of condoms on the desk, sits down and stares at them. He lifts some Google maps from the printer - the route from Bartlett, IL to Knoxville, TN. Also, a list titled, \"Things to Bring On Trip to Have Sex:\" 1) Maps and directions 2) Condoms 3) New black shirt - cool 4) Phone 5) Phone charger 6) iPod 7) iPod charger 8) Money 9) This list Ian cracks open the box of condoms, removes one from its pouch and starts to unroll it. It rolls out longer and longer until it's about a foot long. Ian stares at it, distressed. After a beat, he looks up. Jessica stands in the hall, holding a duffel bag. She's looking in, disturbed. She walks on. Ian throws the rubber in the waste basket. He considers the box for a second. He throws the whole box away, along with the maps and the list. He gets up and exits his room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IAN'S HOUSE - KITCHEN<\/stage_direction>\n    <scene_description>Lance walks in as Ian is coming downstairs. Lance has his phone to his ear but isn't speaking into it.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Dude! What is going on with you? You bought rubbers!?<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>How'd you know that?<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>It's on Russ Miller's blog.<\/dialogue>\n    <scene_description>QUICK INSERT: A screenshot of a blog called Miller's High Life - decorated with pot leaves. Top story says, \"Ian Lafferty Wastes Money on Jimmies!\" The story features the phone photo of Ian, holding the box of condoms.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Jesus! That was like (checks his watch) eleven minutes ago.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>So, what the F!?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IAN'S BEDROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Close on the photo of Ms. Tasty. Lance's gaping mouth is reflected on the screen next to her picture.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Duuuuude. This chick? For reals?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>She wants me to meet her tonight at the Shakey's in Knoxville.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>So, why isn't your ass on it's way to Tennessee right now?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>I thought about it. That's why I bought the... those. (re: rubbers) But, I can't. I'm grounded.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Grounded? What are you, nine?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>(re: phone) What are you, on hold?<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>No. Robbie Dibbitz called me accidentally. I can hear him talking to somebody. I wanna hear if he shit-talks me.<\/dialogue>\n    <scene_description>Ian gives an incredulous look that has no effect on Lance. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Oh my God, Ian. Do you remember what I said when you blew your chance to rack up some clutch experience with a very shit-faced Lindsay McKay?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>I had to give Felicia a ride home that night. She was sick, remember?<\/dialogue>\n    <scene_description>Ian starts flossing nervously.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>And what did I say?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>That I was a pussy?<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>A raging pussy. And I said, \"What do you want, a written invitation?\" Guess what dipshit - this IS a written invitation! So kick it in the ass, G!<\/dialogue>\n    <scene_description>Lance removes the condoms and maps from the trash.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Lance. She doesn't want me, okay? She wants him...<\/dialogue>\n    <scene_description>Ian clicks a button and brings up the doctored photo of himself.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Ohhhh. That's what that picture was all about.<\/dialogue>\n    <scene_description>Lance lets out a short burst of laughter before catching himself. Ian walks out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IAN'S HOUSE - KITCHEN<\/stage_direction>\n    <scene_description>Ian comes downstairs into the kitchen. Lance follows.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Ian! It's not that bad. You look like that picture...more or less.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Lance. Let it go.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Dude, I've been trying to get you laid every summer since my dad moved here. Now, sack-up, bro.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Seriously, just forget it. Ms. Tasty's probably a guy anyway.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Maybe. But what if she's not?<\/dialogue>\n    <scene_description>Ian cracks a smile.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>She's pretty, eh?<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Pretty? Yeah. Pretty fuckin' hot.<\/dialogue>\n    <scene_description>Lance hears something in the phone he doesn't like.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>That motherfucker. (yelling into his phone) I heard that Robbie, you backstabbin' prick!<\/dialogue>\n    <scene_description>Lance hangs up. After a beat, he's right back on task.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Dude, come on! You already opened. I can help you close. We just need one thing...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IAN'S HOUSE - GARAGE<\/stage_direction>\n    <scene_description>Ian and Lance stare at the Judge. It sparkles and shines.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>You roll up in this fucker and she'll drop an egg right in the Shakey's parking lot.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Rex'll never let me take the Judge.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>You don't know if you don't ask.<\/dialogue>\n    <scene_description>Outside, Ian's dad fires up the SUV. Rex jogs into the garage. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>REX<\/character>\n    <dialogue>Yo. Fuckstick. Heed these words: That car moves so much as a dick- hair, a fly so much as farts on it and you die a brutal death, fag.<\/dialogue>\n    <scene_description>Rex punches Ian in the arm. Ian rubs his arm as Rex stomps off, laughing. Ian gestures toward him as if to tell Lance, \"I told you so.\" Rex points the clicker over his shoulder, closing the garage door with Ian and Lance still inside.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>What a dick. You should take his car just on principle.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>I don't even have a key, Lance.<\/dialogue>\n    <scene_description>Lance turns and begins probing the underside of the car along the edges. Just ahead of the rear wheel, he hits paydirt - a small, black, magnetic box, printed with a Hide-a-Key logo. He slides the box open, producing the car key.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Lance, no. Didn't you hear him?<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Ian. Look at me. Yes. Rex might find out. And he might kick the holy shit out of you. But this is your last chance. You don't step up now, you're a college virgin.<\/dialogue>\n    <scene_description>Ian stares back gravely, thinking it over.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>She's nine short hours away. We head down tonight, you pound that va-jay, and we're back tomorrow, Rex'll never even know it was gone. You lose your virginity tonight, Ian. To-night.<\/dialogue>\n    <scene_description>CLANK!! Ian and Lance startle as the garage door opener kicks in. The door begins to rise, exposing Rex's boots and slowly more of him. They fumble with the key box as the door inches higher. Ian dives to put it back.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>No! It was back here!<\/dialogue>\n    <scene_description>Lance points to where he found it. Ian reaches out, dropping the key box. Lance turns to get it, accidentally kicking it under the car. The door is up to Rex's chest! Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library Ian lunges under the car but it's just out of his reach. He painfully stretches out, his finger tips tickle the key box. Finally he gets it and tosses it back to Lance who puts it in place. Ian scrambles out from under the Judge. Rex's POV as the door clears his eyes. Ian is on his knees as though he might blow Lance. He peeks around Lance at Rex.<\/scene_description>\n    <character>REX<\/character>\n    <dialogue>For god's sake. You two rump rangers couldn't wait five minutes.<\/dialogue>\n    <scene_description>Rex shakes his head as he steps in. He retrieves the key box from under the car. He points a warning finger at Ian and Lance as he walks backwards to the SUV. They drive off.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Shit!<\/dialogue>\n    <scene_description>Cue \"Let's Get It Up\" - balls-out-loud as Ian gives Lance a dubious smiles. Ian holds up the key.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. IAN'S HOUSE - GARAGE - DAY<\/stage_direction>\n    <scene_description>The Judge thunders to life and pulls out over the camera like the Star Destroyer at the top of Star Wars. The car stops as Felicia is now standing in the way. She's holding a bag of groceries and videos. She crosses to Ian's open window.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Ian? Are you on crack? Rex is going to castrate you.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>True that.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>You two better not be bitchin' out on me. You promised.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>We're not.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Okay. So, where we going?<\/dialogue>\n    <scene_description>Lance tries to wave Ian off from telling Felicia.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Um...Knoxville, Tennessee.<\/dialogue>\n    <scene_description>Felicia considers the destination for a moment. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>FELICIA<\/character>\n    <parenthetical>(unfazed)<\/parenthetical>\n    <dialogue>Yeah, okay. Lemmie get my stuff.<\/dialogue>\n    <scene_description>She hands Ian the bag of goodies and then bolts to her house.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Dude. You do not want Felicia along. I know you guys are friends but she's always cock-blocking you.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>No she isn't. She doesn't even have...one.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Fine, twat-blocking you then. You know what I mean.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Yeah. But, her cousin-- I kinda promised. She'll be mad.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>She'll get over it. Be a man.<\/dialogue>\n    <scene_description>Felicia throws her bag in and jumps in the back. \\*<\/scene_description>\n    <character>LANCE (CONT'D) \\*<\/character>\n    <dialogue>I thought you had a wedding this \\* weekend. You sure you can go? \\*<\/dialogue>\n    <character>FELICIA \\*<\/character>\n    <dialogue>The wedding's not 'til next month. \\* So, what's in Tennessee? \\*<\/dialogue>\n    <character>IAN<\/character>\n    <parenthetical>(stammering)<\/parenthetical>\n    <dialogue>Um...Cancer.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Cancer?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Yeah. My grandma's got some cancer.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Nana Lafferty?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>No, my other grandma. I'm going to visit her. It's probably gonna suck. You know, old people stuff. You don't have to go.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Oh my god, Grammy K? Of course I'll go. Is she...<\/dialogue>\n    <scene_description>Felicia's eyes well up with tears. Ian realizes he well overshot the lie.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Oh! No! It's not like fatal. It's just, um...foot cancer.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Foot cancer.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>What's she doing in Tennessee?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Oh, there's this really kick ass cancer center there. It's like famous. If you ever get any cancer (trailing off) you should totally check it out...<\/dialogue>\n    <scene_description>Ian realizes he blew it and he's stuck with her. He shrugs to Lance, who just shakes his head.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE JUDGE - LATER<\/stage_direction>\n    <scene_description>They fly along the highway. Felicia sits in back, leaning against the window. Her iPod earbuds are in. Lance takes the Google maps out of his pocket and flips through them.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>What are we on - 294? So, you want I-80 east. Then 65 south all the way through Indiana.<\/dialogue>\n    <scene_description>Felicia emits an unintended guttural hum along with her music. She sounds like a retarded zombie. Ian and Lance laugh. She pulls an earbud out.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>What? What's so funny?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Nothing. There was just a guy going by going all like...<\/dialogue>\n    <scene_description>She puts the earbud back in. A moment later, she's humming again. Ian checks his watch. He speaks quietly to Lance. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>I'm meeting her at eight thirty. If we only stop for gas, we should be able to make that.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Nice. So? How's it feel?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>I don't know - Breaking some rules? Talkin' some shit? Driving the Judge to get some poon?<\/dialogue>\n    <character>IAN<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>Feels pretty good.<\/dialogue>\n    <scene_description>Cue: \"Steady At The Wheel\" by Shooter Jennings. They pass a \"Welcome to Indiana\" sign. The country flies by. Ian effortlessly blows by a camper. Several drivers take notice of the classic muscle car, some even wave or give a thumbs up. A hot girl in a convertible smiles. They pass through Indianapolis. Ian leans back, feeling like a badass. FADE MUSIC Felicia points to a passing billboard for a new romantic comedy called, \"What Part of No?\" It features a knockout blonde with her arms folded and her back to a fat, nerdy guy who looks as though he's got a plan to seduce her.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Are you guys gonna go see that?<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Pass. That's just another movie where the girl's hot and the guy's a dork but he's persistent. So he comes on with a bunch of cute, zany shit that, in the real world, would get you arrested.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Right. But he wears her down until she falls in love with him over a game of putt-putt or something.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Pure bullshit. Nobody's ever gotten laid off mini-golf.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Yeah, and the girl, who's supposed to be so great, always has some boyfriend who's a total rod.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>That's the only realistic part.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Shut up. It is not.<\/dialogue>\n    <character>IAN \\*<\/character>\n    <dialogue>Oh, really? Your last three \\* boyfriends - All major, supreme \\* dicks. \\*<\/dialogue>\n    <scene_description>Felicia smiles, she can't deny it. \\*<\/scene_description>\n    <character>LANCE \\*<\/character>\n    <dialogue>It's not her fault. People like a \\* challenge. Everybody wants what \\* they can't get. \\*<\/dialogue>\n    <scene_description>This point makes Ian and Felicia uncomfortable. \\*<\/scene_description>\n    <character>FELICIA \\*<\/character>\n    <dialogue>Yeah, well, those guys didn't start \\* off as dicks. They turned into \\* dicks. That's what all you guys \\* are - instant shithead kits - just \\* add love. \\*<\/dialogue>\n    <scene_description>The Judge moves through rural Indiana. Ian tries to pass a \\* pimped out Honda with black windows but the car speeds up. \\*<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Dude wants to race. (Out the window.) Let's go, pussy!<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Lance! Don't start shit. You don't know who's in there.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Bring 'em on!<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Cut it out, man.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>You've never been in a fight, have you Ian?<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>So? Fighting's stupid.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>True. But everybody should get in at least one fight. It's good for you. That includes you, Leesh.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Oh yeah? What if you get the shit kicked out of you?<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>That's even better for you.<\/dialogue>\n    <scene_description>The driver gives Ian the finger out his sunroof.<\/scene_description>\n    <character>FELICIA<\/character>\n    <parenthetical>(sarcastic)<\/parenthetical>\n    <dialogue>Uh, oh. I'm pretty sure that's a direct challenge to your manhood.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Yeah! Come on, bury this jag-off!<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>I'm not racing in my brother's car.<\/dialogue>\n    <scene_description>The Honda swerves toward them. Ian swerves out of the way.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Jesus! What the fuck!?<\/dialogue>\n    <scene_description>Honda boy heaves a huge Hardee's cup out the sunroof. It lands on Ian's side and blankets pink milk-shake across the Judge's entire windshield. Ian, Lance and Felicia scream as they are driving blind. Ian turns on the wipers but they only slosh the shake around. Lance sticks his head out the window, they are about to hit a parked camper.<\/scene_description>\n    <character>WINNEBAGO!<\/character>\n    <dialogue>AHHHHGGG!!<\/dialogue>\n    <scene_description>Ian slams on the brakes, sending Felicia flying over the seat and onto the floor at Lance's feet. The Judge swerves, barely missing the camper. The cars behind them weave chaotically. The Judge finally stops in the grassy median. Everyone catches their breath. Felicia rises up from the floor of the front seat. Lance reaches out and dips his finger into the liquid on the windshield. He tastes it. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Strawberry. You're telling me we couldn't have wasted some dildo who drinks strawberry fuckin' shakes?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRUCKSTOP - DAY<\/stage_direction>\n    <scene_description>Lance is washing the windshield. Ian gives Felicia some cash. He's bouncing on his heels, desperate to pee.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>I really gotta take a whiz. Can you put some gas in?<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>No problemo. Go take that whiz.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCKSTOP<\/stage_direction>\n    <scene_description>Felicia walks in. A pretty, blonde hick cashier in her early twenties stands behind the counter, crying. Her raccoon eyes suggest this has been going on a while. Her name tag says, \"BRANDY.\"<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Um... You okay?<\/dialogue>\n    <character>BRANDY<\/character>\n    <dialogue>Do I look like I'm okay? Fuck.<\/dialogue>\n    <scene_description>She continues crying for a long awkward moment.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>You know what might make you feel better? Putting forty on pump two.<\/dialogue>\n    <scene_description>Brandy snatches Felicia's money and slams it into the drawer. Felicia rolls her eyes and steps out as Lance is coming in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRUCKSTOP<\/stage_direction>\n    <scene_description>Felicia returns to the gas pump. She realizes that the Judge's gas tank is on the other side. She gets in the car.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCKSTOP RESTROOM<\/stage_direction>\n    <scene_description>Ian stands before a urinal. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>IAN<\/character>\n    <parenthetical>(whispering to himself)<\/parenthetical>\n    <dialogue>Come on, come on, come on. Before anyone comes in.<\/dialogue>\n    <scene_description>The door kicks open and a huge TRUCKER walks in. Out of ten urinals, he picks the one right next to Ian.<\/scene_description>\n    <character>TRUCKER<\/character>\n    <dialogue>Woo! My back teeth are snorkeling!<\/dialogue>\n    <scene_description>The trucker immediately starts peeing. After a beat, he notices Ian isn't. He looks over.<\/scene_description>\n    <character>TRUCKER<\/character>\n    <dialogue>You got the shy bladder?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>TRUCKER<\/character>\n    <dialogue>I used to have it something fierce. They call it Paruresis. You see your mind is conditioned to react to certain situations by building a wall of fear all around you. The only way to crumble those bricks of anxiety is to give yourself permission to be vulnerable. (still peeing) Know what I'm saying?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRUCKSTOP<\/stage_direction>\n    <scene_description>Felicia does a U-turn but before she can get back, a shit-box mini-van pulls up to Felicia's pump. A nasty red-haired REDNECK WOMAN in a transparent visor climbs out, followed by several creepy children. She starts pumping Felicia's gas into her van as she lights a cigarette. (She's also wearing a nicotine patch.) Felicia gets out and steps up to her.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Excuse me, ma'am? That was my pump.<\/dialogue>\n    <character>REDNECK WOMAN<\/character>\n    <dialogue>Hey! Tough shit. Move your meat, lose your seat. (to her kid) Don't you eat that, Logan! You'll ruin your appetite!<\/dialogue>\n    <scene_description>Her creepy seven-year-old is scraping a discarded, melted Rolo off the ground. He does eat it. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Listen, Reba, if you value either one of those teeth you got left, shut off the pump.<\/dialogue>\n    <scene_description>Felicia is smaller than the woman but her face is all fire. The woman considers her for a long beat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCKSTOP RESTROOM<\/stage_direction>\n    <scene_description>The trucker is still peeing. Ian still isn't.<\/scene_description>\n    <character>TRUCKER<\/character>\n    <dialogue>...so I said to my daddy, \"That's it. I ain't gonna be bossed around no more. Not by you, not by my wife and sure as hell not by my bladder.\" You know what he said?<\/dialogue>\n    <scene_description>Ian walks out. The trucker looks slighted. Still peeing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRUCKSTOP<\/stage_direction>\n    <scene_description>Ian comes outside. Felicia is finishing up pumping the gas. She smiles like nothing happened. Lance comes out of the truckstop with his arm around Brandy, the counter girl, who's still crying. Ian and Felicia exchange annoyed expressions.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>It's okay, Brandy. Yeah, you let it out, baby. He's a bastard.<\/dialogue>\n    <scene_description>You'd swear Lance's heart was breaking too until he covertly smiles and raises a triumphant thumbs-up to Ian. Lance opens the door of the Judge and escorts her into the back seat.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Don't worry, Lancey's gonna get you home and into a nice hot bath.<\/dialogue>\n    <scene_description>Lance closes her door and walks around to climb in the other side, but Ian stops him halfway and whisper-yells.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Lance, what are you doing?<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Dude, I'm just trying to show another human being some compassion...and my dick.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>No! We're already off the schedule!<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>The whole trip can't just be about you, Ian.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE JUDGE - DAY<\/stage_direction>\n    <scene_description>The Judge drives past endless rows of corn. Ian and Felicia are pissed. In the back, Lance is making out with Brandy.<\/scene_description>\n    <character>BRANDY<\/character>\n    <dialogue>It's just at the end of this cornfield.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>This cornfield? The one that's been going by for the last twenty minutes? Alrighty.<\/dialogue>\n    <scene_description>No reply as Lance and Brandy fall down, out of sight.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EST. BRANDY'S MOBILE HOME - DAY<\/stage_direction>\n    <scene_description>The run-down trailer sits on a patchy yard in a small trailer park. Several toys and car parts litter the ground.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRANDY'S MOBILE HOME - LIVING ROOM<\/stage_direction>\n    <scene_description>The place is nasty. Dark wood panelling, ratty carpet, framed pictures of the Virgin Mary and Brittany Spears. An old obese woman and an older skinny man sit fully reclined in two ratty recliners. They're watching \"Wheel of Fortune\" and drinking some off-brand soda. The old man intermittently and violently scratches his balls. Ian and Felicia sit together uncomfortably on a small, low chest. Lance and Brandy's dirty giggles can be heard through the wall. Felicia whispers in Ian's ear.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>It stinks in here.<\/dialogue>\n    <scene_description>Ian gestures toward a cat that is pissing on the carpet, next to a cat box that has not been cleaned out in a long time.<\/scene_description>\n    <character>FAT LADY<\/character>\n    <dialogue>You kids want to help yourself to a can of purple?<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>FELICIA<\/character>\n    <parenthetical>(standing)<\/parenthetical>\n    <dialogue>That sounds good. I could go for a purple. Ian? Purple?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRANDY'S BEDROOM<\/stage_direction>\n    <scene_description>Brandy's tiny room is not much of an improvement over the living room. Lance and Brandy are rolling around on her faux- brass bed. She pulls out some handcuffs.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>You're a dirty girl, aren't you?<\/dialogue>\n    <character>BRANDY<\/character>\n    <dialogue>Just wait.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRANDY'S MOBILE HOME - KITCHEN<\/stage_direction>\n    <scene_description>Felicia sits down at the kitchen table, looking surly. The kitchen is cluttered and filthy. Ian opens the fridge and removes a can of the generic soda.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Wow. It actually says, \"Purple Soda.\" Where do you buy Purple soda?<\/dialogue>\n    <scene_description>He cracks it open and takes a tentative sip. Yuck. He offers it to Felicia, who waves it off. Ian stands and looks over the items that are stuck to the fridge. A report card is marked with three D's, an F and a C-. Next to the C- is a happy face and the words, \"Nice Werk!\"<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>I think she's got a kid.<\/dialogue>\n    <scene_description>Felicia points to a picture of Brandy with three kids - each varies in ethnicity.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Uh, yeah. I think she's got a few.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRANDY'S BEDROOM<\/stage_direction>\n    <scene_description>Two pairs of handcuffs now lock Lance's hands to the metal bars of the headboard. He's loving it.<\/scene_description>\n    <character>BRANDY<\/character>\n    <dialogue>You ever had a Cincinnati Spitball?<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Sure. Plenty of times. What else is on the menu?<\/dialogue>\n    <character>BRANDY<\/character>\n    <dialogue>Okay, how 'bout a Peppermint Fatty?<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Mmmm. That sounds good. I'll have that.<\/dialogue>\n    <scene_description>She tosses some Altoids in her mouth and goes down.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Oooooh. That is curiously strong.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRANDY'S MOBILE HOME - KITCHEN<\/stage_direction>\n    <scene_description>Felicia and Ian hear the groan. Felicia seethes.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>You like him don't you?<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>What? Who?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Lance. You've got a thing for him don't you?<\/dialogue>\n    <scene_description>Felicia sits up straight like a shot. She couldn't look more guilty but she makes a weak attempt to cover.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Oh my God, Ian. Gross. You guys are like brothers to me. Whatever.<\/dialogue>\n    <scene_description>Ian just stares back for an awkward moment. Suddenly he's distracted by a monster truck pulling up outside.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Uh, oh. I think this might be the guy she was bawling about.<\/dialogue>\n    <scene_description>A moment later, RICK enters through the kitchen screen door. He's a huge burly guy around thirty. He wears a ball cap that reads, \"Fun-Time Midways.\" He carries a single rose wrapped in pink cellophane. He stops short when he sees Ian and Felicia.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>Oh, shit. Howdy.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library Ian and Felicia just stare back, blankly.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Howdy.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Howdy.<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>Where the fuck's Brandy at?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRANDY'S BEDROOM<\/stage_direction>\n    <scene_description>Lance is still cuffed to the bed. Brandy stands over him.<\/scene_description>\n    <character>BRANDY<\/character>\n    <dialogue>You ever had a Rolling Brown Out?<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Oooh, no. Let's have some of that. (then) Wait. Brown? Hold on. Nothing brown.<\/dialogue>\n    <scene_description>Lance starts to squirm violently.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRANDY'S MOBILE HOME<\/stage_direction>\n    <scene_description>Lance screams in horror from the other room. OH, GOD, NOOOOOO!!! Everyone looks over except the old couple who remain oblivious to this entire scene. Rick heads for the bedroom door. Felicia fearlessly jumps into his path.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>I don't know who the hell you are but you best get your skinny ass out of the way!<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Or what!? You gonna hit a girl?<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>No. (beat.) But, I'll pummel his ass real good. (re: Ian)<\/dialogue>\n    <scene_description>Without hesitation, Ian yanks Felicia out of Rick's path.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>There you go. Our bad.<\/dialogue>\n    <scene_description>Rick pulls on Bandy's door. It's locked. He backs up and kicks it open. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library He steps in and is immediately knocked back on his ass by Lance bursting out, butt-naked and carrying the headboard that he is still cuffed to. Lance runs out the front door but the headboard bridges across the door-frame, trapping him on the porch but also blocking Rick. Rick punches at him through the bars but can't reach. Rick grabs the headboard and pulls it back in, Lance with it. Lance turns the headboard sideways, smacking Rick. Lance runs out, raising the headboard over his head. He runs naked past several mobile homes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOBILE HOME #2<\/stage_direction>\n    <scene_description>A little boy watches Lance sprint by. He points out the window and calls to his mother.<\/scene_description>\n    <character>LITTLE BOY<\/character>\n    <dialogue>Weiner!<\/dialogue>\n    <character>LITTLE BOY'S MOTHER<\/character>\n    <dialogue>Oh, hush up. You just had lunch.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CORNFIELD<\/stage_direction>\n    <scene_description>Lance takes cover in the bordering cornfield. He drops to one knee and painfully works his left hand out of its cuff. The right one is too tight. Suddenly he hears rumbling. He stands to see. It's Rick's monster truck coming right for him. Lance hits the deck. The truck rolls over him, leaving him untouched but running over one side of the headboard. When Lance stands, the headboard comes apart and he's able to slip the remaining cuff off of the bar it had clung to. With one set of cuffs dangling from his right wrist, Lance runs down the rows. Extreme close up on a blade of corn stalk, as it slashes Lance's arm like a paper cut. Then another cuts his face.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Ahhhgg! Shit that hurts!<\/dialogue>\n    <scene_description>The truck corners into the frame behind Lance. Lance runs toward us like Indiana Jones running from that huge ball. Just as the truck is about to hit him, he dives out of the way. Rick slams on the brakes, spitting dirt everywhere as he does a reverse donut to turn around. Lance now cuts and dodges through different rows but he's running out of steam. He stops to catch his breath. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library After a beat, he looks up to find Rick, out of his truck and stomping toward him with a baseball bat. Lance lamely backpedals, covering his junk with his hands.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Hey, man. Come on. She's not worth it. You get back with her, and she's just gonna shit all over you. Trust me.<\/dialogue>\n    <scene_description>Rick raises the bat. Just then the Judge pulls up next to Lance. Ian pulls him into the passenger seat. The car showers dirt all over Rick as it peels away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE JUDGE<\/stage_direction>\n    <scene_description>The car races blindly through the field. Hundreds of corn stalks thump over the hood as they plow through. Lance, still naked, rides shotgun. Felicia is in the back seat.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Where the hell's the road!?<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>It feels like left.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CORNFIELD<\/stage_direction>\n    <scene_description>Cut to an aerial shot of the Judge, leaving a trail of trampled corn. The road is just a few rows to its left.<\/scene_description>\n    <character>LANCE (V.O.)<\/character>\n    <dialogue>No! Go right! For sure!<\/dialogue>\n    <scene_description>The car turns right, plunging them further into the field. The shot pulls back to reveal that the Judge and Rick's truck are now on a collision course!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE JUDGE<\/stage_direction>\n    <scene_description>Lance is putting a t-shirt on. He spots something coming their way.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Ian?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>I told you we didn't have time for this! But all you care about is your dick!<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>You leave us out there with her crazy mom and her ball scratcher dad and their weird soda--<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Ian! Whip a shitty!<\/dialogue>\n    <scene_description>The truck appears in front of them. Ian cranks the wheel.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CORNFIELD<\/stage_direction>\n    <scene_description>Back to the aerial view as the Judge and the truck circle. Ian breaks right but the truck soon falls into his path.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE JUDGE<\/stage_direction>\n    <scene_description>Felicia is watching out the back.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>You're not gonna lose him, Ian. He's following our corn wake.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Corn wake?<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Whatever!<\/dialogue>\n    <scene_description>Ian slams on the brakes.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>What are you doing!? Go!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CORNFIELD<\/stage_direction>\n    <scene_description>Ian backs up and turns left down a perpendicular path that they had previously trampled. Rick catches up but ends up lost in a dead end of corn. Ian turns hard right. The Judge bursts out of the corn, up the side of the ditch and jumps, landing back on the road. Lance and Felicia cheer.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Duuuuuude! That's how you do that!<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Awesome driving, Ian! You're amazing!<\/dialogue>\n    <scene_description>She kisses Ian's head, then smacks Lance upside his. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>You suck, Lance!<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>I'm sorry! But Ian, seriously, thanks for coming for, brother.<\/dialogue>\n    <scene_description>Lance puts a hand on Ian's shoulder.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Would you just put some pants on?<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Anyone know where we are?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>No idea. Where's the Google Maps?<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>They're in my pants. Back there.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Great!<\/dialogue>\n    <scene_description>They crest the hill - nothing but farmland and country lanes. A hippy HITCHHIKER (40ish) stands along the road up ahead.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Hey, pick this guy up. Maybe he can get us back to the highway.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Ian! Do NOT pick up a hitchhiker.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Don't worry.<\/dialogue>\n    <scene_description>Suddenly, the car sputters and dies. They roll to a stop right next to the hitchhiker. He runs to Lance's window.<\/scene_description>\n    <character>HITCHHIKER<\/character>\n    <dialogue>Whoa! Thanks! I ain't seen a car in hours. (looks down at Lance) Oh, goin' commando? Right on.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Yeah. Listen, we didn't actually--<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>You know where we can pick up I-65?<\/dialogue>\n    <character>HITCHHIKER<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library Another clunk and steam rolls out from under the hood. Ian gets out, slamming his door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE - MIDDLE OF NOWHERE - MOMENTS LATER<\/stage_direction>\n    <scene_description>The Hitchhiker sits in the back seat. Felicia leans against the car, trying her phone. Lance (now in pants) and Ian stand over the open hood, staring blankly at the engine. Two cows stand just across a fence, watching.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>What do I think? I think we know dick about cars. (re: cows) We might as well ask them. (to cows) What do you think fellas?<\/dialogue>\n    <scene_description>Felicia walks up, holding up her phone.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Nothing. No bars whatsoever.<\/dialogue>\n    <scene_description>She looks at the engine.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>It probably just needs water. Is there any in the trunk?<\/dialogue>\n    <scene_description>Ian shakes his head.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>My brother's car overheated once and he peed in the radiator.<\/dialogue>\n    <scene_description>Ian and Lance shrug to one another. Ian reaches to remove the radiator cap.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>It says not to open it hot. Maybe we should let it cool down a while.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Yeah well, thanks to you, we don't have time for that.<\/dialogue>\n    <scene_description>Ian turns the radiator cap. THOOOP! It explodes out of it's coupling, ricocheting off the underside of the hood and then dinging off Ian's head. He goes down hard.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Aaaahhhhgg! GOD DAMN IT!<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library Ian rolls around holding his forehead.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>There's a lesson learned.<\/dialogue>\n    <scene_description>Lance unzips his pants. Felicia turns away.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>You can watch. I don't care.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Gee. No thanks.<\/dialogue>\n    <scene_description>Lance pees into the radiator. He finishes with way too many extra 'shakes.'<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Ian. You're up.<\/dialogue>\n    <scene_description>Ian struggles to his feet, a red spot is now on his forehead. He stands before the radiator. Lance stands next to him.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Well? Grip it and rip it.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Okay. Go away.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>I can't pee with you standing there.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Seriously?<\/dialogue>\n    <scene_description>Lance shakes his head and steps away to join Felicia around the side of the car. Ian closes his eyes, takes deep breaths and tries to relax.<\/scene_description>\n    <character>IAN<\/character>\n    <parenthetical>(whispering to himself)<\/parenthetical>\n    <dialogue>Come on, come on, come on. Okay, good. Here it comes.<\/dialogue>\n    <character>LANCE (O.S.)<\/character>\n    <dialogue>Yo stagefright, how we doin'?<\/dialogue>\n    <scene_description>Ian looses his start. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Damn it, Lance! Just give me a minute.<\/dialogue>\n    <scene_description>Cut to Lance and Felicia. After a beat, we hear a subtle stream of peeing just beginning when:<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>There it is!<\/dialogue>\n    <scene_description>The pee sound stops again.<\/scene_description>\n    <character>IAN (O.S.)<\/character>\n    <dialogue>Shit! Would you please shut up and let me do this!?<\/dialogue>\n    <scene_description>After a moment, the pee restarts. Lance puts a finger to his lips, indicating to Felicia to keep quiet. When Ian wraps up, Lance looks into the back seat, where the hitchhiker has hunkered down.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Dude. We need you to piss in the radiator.<\/dialogue>\n    <character>HITCHHIKER<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>We just do.<\/dialogue>\n    <character>HITCHHIKER<\/character>\n    <dialogue>I'm real sorry. I just took a leak a few minutes ago. You want me to shit in it?<\/dialogue>\n    <scene_description>Lance just slams the door. He rounds to the front of the car. Felicia's looking into the radiator.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>I don't think that's enough.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Our new friend's got nothing left in the tank.<\/dialogue>\n    <scene_description>Lance and Ian eyeball Felicia.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>What? No way. I don't have the aim you guys have.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Every drop helps.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library She shakes her head, considering it. Suddenly the hitchhiker jumps out of the back seat and calls out to them.<\/scene_description>\n    <character>HITCHHIKER<\/character>\n    <dialogue>Hey! Look what I had in my bag!<\/dialogue>\n    <scene_description>He's holding a half-full bottle of water.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Oh, thank god.<\/dialogue>\n    <scene_description>He starts chugging the water.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Wait!<\/dialogue>\n    <scene_description>He polishes off the water with a refreshed, \"ahhhh.\"<\/scene_description>\n    <character>HITCHHIKER<\/character>\n    <dialogue>Now just give me twenty minutes and I'll be all set.<\/dialogue>\n    <scene_description>Felicia sighs and crosses to the front of the car.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Any of you pervs peek and I swear it'll be your last conscious act.<\/dialogue>\n    <scene_description>Ian, Lance and the hitchhiker lean against the side of the car. Ian excitedly waves to an approaching car. The small, white car slows down. A family of very proper church folks smile as they pull along side.<\/scene_description>\n    <character>CHURCH DAD<\/character>\n    <dialogue>You kids need some help?<\/dialogue>\n    <scene_description>From the family's POV, as they roll to a stop, they see Felicia standing on the bumper, pants down and squatting over the radiator. Their faces drop. They take off. Felicia slams the hood.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Just try it.<\/dialogue>\n    <scene_description>Ian climbs in, takes a deep breath and turns the key. It starts. The temperature gauge creeps up but levels off just shy of the red. They all breathe a sigh of relief. Lance and Felicia climb in. The hitchhiker reaches for the door but Ian reaches back and locks it.<\/scene_description>\n    <character>HITCHHIKER<\/character>\n    <dialogue>What the hell, man?<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Look, I'm sorry. We can't give you a ride.<\/dialogue>\n    <character>HITCHHIKER<\/character>\n    <dialogue>What? You can't just leave me out here in the middle of nowhere.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>You already were out here in the middle of nowhere. Really. I wish I could, but it's my brother's car and I can't take any chances.<\/dialogue>\n    <scene_description>He leans into Ian's open window and gives Ian a crazy look.<\/scene_description>\n    <character>HITCHHIKER<\/character>\n    <dialogue>I'm only gonna say this one time. Unlock that fuckin' door or, god as my witness, I'll chop you up into little tiny pieces.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Go, Ian. Just go!<\/dialogue>\n    <scene_description>Ian throws the car in gear and lays on the gas. The car lurches forward about two feet before stopping hard and stalling out. Ian and Felicia bounce off the dash. The hitchhiker steps back to Ian's window. Ian turns the key. Nothing. After a beat, the hitchhiker cracks up.<\/scene_description>\n    <character>HITCHHIKER<\/character>\n    <dialogue>Ha! That's funny! Serves you little peckers right!<\/dialogue>\n    <scene_description>He walks away, laughing. Ian breathes a sigh of relief but a second later the hitchhiker bursts back into Ian's face.<\/scene_description>\n    <character>HITCHHIKER<\/character>\n    <dialogue>Oh! And here's that piss you ordered!<\/dialogue>\n    <scene_description>He pisses all over the side of the car. Ian frantically rolls up the window. He gives them double fingers as he walks away, down the road.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY ROAD - LATER<\/stage_direction>\n    <scene_description>TITLE: AN HOUR AND A HALF LATER Ian, Felicia and Lance are leaning against the car, sweating in the heat. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>FELICIA \\*<\/character>\n    <dialogue>God, it's hot out here. \\*<\/dialogue>\n    <character>IAN \\*<\/character>\n    <dialogue>How can nobody go down a road for \\* an hour and a half? Why did they \\* even make this road? I can't \\* believe I let you talk me into \\* taking the Judge. Ohhh, what the \\* hell was I thinking? \\*<\/dialogue>\n    <character>LANCE \\*<\/character>\n    <dialogue>Dude, just relax. \\*<\/dialogue>\n    <character>IAN \\*<\/character>\n    <dialogue>Oh, right. Relax. My brother's \\* car has hitchhiker piss all over \\* the door and our piss in the \\* radiator and strawberry shake in \\* the vent! What am I supposed to \\* tell Rex, that I accidental drove \\* it through a cornfield!? You know \\* Rex is insane, right? \\*<\/dialogue>\n    <scene_description>Ian starts walking away.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Where you going?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>I'm going for help. I'm not standing around here all day waiting for the hitchhiker piss to eat away the paint.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Wait up, I'll go with you.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>No, just stay with the car.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Why don't you go with him?<\/dialogue>\n    <scene_description>Felicia watches Ian go, deciding if she should join him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY ROAD - TWO MILES AHEAD - LATER<\/stage_direction>\n    <scene_description>Ian and Felicia walk silently down the road. Ian keeps checking his phone - no bars. Felicia smiles at him. He turns to her. The word HOT is imprinted mirror image in his forehead from the radiator cap. Felicia cracks up. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Oh my god, your head. I'm sorry. Does it hurt?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Yes. Fuckin' Lance.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Yeah. Lance. (beat) Still, that was some pretty badass driving back there, Luke Duke.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Really? Thanks.<\/dialogue>\n    <scene_description>She smiles at him; then she notices something down the road.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Dude. What's that?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Whoa.<\/dialogue>\n    <scene_description>They squint with curiosity and move toward whatever it is.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY ROAD - A FEW MILES BACK<\/stage_direction>\n    <scene_description>A buggy drawn by two horses clops up next to the Judge. EZEKIEL, an Amish man in his late-twenties, steps out of the buggy. Ezekiel doesn't speak with any noticeable accent.<\/scene_description>\n    <character>EZEKIEL<\/character>\n    <dialogue>Need some help?<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Yeah, but... I mean, all due respect there, champ.<\/dialogue>\n    <character>EZEKIEL<\/character>\n    <dialogue>Oh, right. I'm Amish. So I probably wouldn't know anything about your 69 GTO Judge 427 Big Block with Ram Air 6 packs and 4\/10 posi. Well, good luck with your new-fangled horseless carriage there, English.<\/dialogue>\n    <scene_description>The buggy starts to pull away.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>No. Dude, wait!<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY ROAD - MILES AHEAD - LATER<\/stage_direction>\n    <scene_description>Felicia and Ian smile in awe as they arrive at a massive tree alongside the road. It is covered with shoes of every shape, size and color, each dangling by its laces. It's an oddly breathtaking sight in the setting sun.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Wow. Cool.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>It's beautiful. Take my picture.<\/dialogue>\n    <scene_description>Ian snaps a picture of her with his phone, then starts walking again. Felicia remains behind. Ian turns. She takes off her shoes and starts tieing them together.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>No. Bad idea. You don't know how far we have to walk. Seriously, you're going to regret this...<\/dialogue>\n    <scene_description>She flings her shoes into the tree.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>I can't believe you just did that.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Now you.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>No way.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Oh come on, Ian. You never do anything crazy.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Hey, I'm driving halfway across the country just to-- um.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>To visit your grandma? Yeah, you're a madman. Trust me. Do it. It's feel great and you'll always remember this moment.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>I'd rather remember having really good arch support.<\/dialogue>\n    <scene_description>She smiles at him, still encouraging him to do it. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>No. You know what's gonna happen? You're gonna cut your foot open on a broken bottle or something and then I'll have to rush you to the emergency room where you'll get seventeen stitches and a staph infection. Then you're dead. But it was worth it because your shoes are in a tree.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>I'll be fine. I like being barefoot.<\/dialogue>\n    <scene_description>She stubbornly walks on.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUGGY - LATER<\/stage_direction>\n    <scene_description>Ian and Ezekiel ride in the buggy, which is towing the Judge.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>So, he met her on the internet and--<\/dialogue>\n    <character>EZEKIEL<\/character>\n    <dialogue>The internet?<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Oh. You see, the internet is a bunch of computers that are--<\/dialogue>\n    <character>EZEKIEL<\/character>\n    <dialogue>Computers?<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Right. Computers are like big calculators with pictures--<\/dialogue>\n    <character>EZEKIEL<\/character>\n    <dialogue>Hey, I'm kidding. I know what the internet is. You ever heard of Rumspringa?<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Is it anything like a rolling brown out?<\/dialogue>\n    <character>EZEKIEL<\/character>\n    <dialogue>No. It means, \"run wild.\" It's an Amish tradition where, when we turn sixteen, we can go live like you heathens for a while.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>EZEKIEL<\/character>\n    <dialogue>Cars, movies, video games, booze, Scrabble, you name it.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>You guys can't even play Scrabble?<\/dialogue>\n    <character>EZEKIEL<\/character>\n    <dialogue>Nope. Apparently, triple word scores lead to pride. Anyway, you go nuts and party for a few months or years, until your folks start hassling you and then it's back to the stone ages.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>So if you're on Rumspringa, why the buggy?<\/dialogue>\n    <character>EZEKIEL<\/character>\n    <dialogue>I'm not. I was. For five years - a village record. But not anymore. I shouldn't even be talking to you.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Whoa. So what do you miss most?<\/dialogue>\n    <character>EZEKIEL<\/character>\n    <dialogue>Hmm. Lots of things. I miss Sarcasm. It's mostly lost on my people. Gambling. Went to Vegas once... (after a long beat) Oh. Buttfucking. Got some real nice memories there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY ROAD - FURTHER DOWN<\/stage_direction>\n    <scene_description>Ian and Felicia are walking away from the tree. A truck is coming! Ian steps into the road and waves his arms. The truck slows down and stops a hundred feet past them. They run for it.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Hey! Thanks! We were just--<\/dialogue>\n    <scene_description>The hitchhiker leans out the passenger window and gives them double fingers.<\/scene_description>\n    <character>HITCHHIKER<\/character>\n    <dialogue>Have a nice walk, shitbirds!<\/dialogue>\n    <scene_description>The truck peels out, pelting Ian and Felicia with gravel. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Shiiiiiiit!<\/dialogue>\n    <scene_description>As the dust settles, Ian and Felicia hear horses hooves behind them. They turn to see Ezekiel and Lance clopping toward them, towing the judge. As they near, we hear Ezekiel continuing his list of what he misses.<\/scene_description>\n    <character>EZEKIEL<\/character>\n    <dialogue>...Shrooms. Used to do tons of shrooms. Whisky dick. Haven't had that in a while. Loansharking...<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Ian, Felicia! This is my boy Ezekiel.<\/dialogue>\n    <character>EZEKIEL<\/character>\n    <dialogue>What up, English?<\/dialogue>\n    <scene_description>Ian and Felicia just look dumbfounded.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MYSPACE CYBER RAVE<\/stage_direction>\n    <scene_description>Ian appears before Tasty but this time he's fuzzy and crackling - his signal is not so strong.<\/scene_description>\n    <character>MS. TASTY<\/character>\n    <dialogue>Hey! Where are you? I'm so excited to see you.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Yeah. I don't think I'm gonna make it tonight. I'm making a little pit stop to party with some friends I made along the way.<\/dialogue>\n    <character>MS. TASTY<\/character>\n    <dialogue>Ian, you said tonight. I could have gone to Virginia beach with my friends. I stayed behind for you.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Come on, don't hassle it. I'll be there tomorrow. Let's say six - the same Shakey's? Trust me - I'm worth the wait. Now, I gotta go, I'm losing my signal.<\/dialogue>\n    <character>MS. TASTY<\/character>\n    <dialogue>Okay. Tomorrow then. Don't be late!<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Peace.<\/dialogue>\n    <scene_description>Ian crackles and fades out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMISH BARN - EVENING<\/stage_direction>\n    <scene_description>Ian puts his phone back in his pocket and walks over to Lance, Felicia, Ezekiel and the Judge. A bunch of Amish kids are working on a few lesser muscle cars. Some dress like secular kids; some wear traditional Amish clothes. They are all excited to see the Judge. JEREMIAH, a young Rumspringa kid, pulls the oil dipstick out and shows it to Ian.<\/scene_description>\n    <character>JEREMIAH<\/character>\n    <dialogue>You see that creamy stuff? You blew your head-gasket. Not good.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <character>EZEKIEL<\/character>\n    <dialogue>We can fix that.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Really? Oh, man. Thanks!<\/dialogue>\n    <character>EZEKIEL<\/character>\n    <dialogue>No worries. These guys are stoked just to get a look at a sixty-nine Judge. Gonna take a couple hours.<\/dialogue>\n    <character>JEREMIAH<\/character>\n    <dialogue>There's a party coming together next door. You guys are welcome to hang out over there while we work on this.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RUMSPRINGA PARTY - EVENING<\/stage_direction>\n    <scene_description>Ian, Lance and Felicia walk up to the barn.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Something tells me this party is gonna suck.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>I don't know. Ezekiel made it sound like this Rumspringa thing is pretty sick.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Right. I'm sure it's gonna be a one rad quilting bee.<\/dialogue>\n    <scene_description>They round the corner to see a beer truck unloading several kegs. Lance points to a parked tour bus. The door opens and the members of Foo Fighters pile out. Dave Grohl nods to them on his way by.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>No F-ing way.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RUMSPRINGA PARTY - NIGHT<\/stage_direction>\n    <scene_description>Foo Fighters are rocking the shit out of \"All My Life.\" Hundreds of Amish, aged sixteen to nineteen (dressed in degrees from all Amish to all English) are dancing, moshing, drinking, smoking, taking rips off bongs, etc. A wet T-shirt contest is happening in one corner. It's like Entourage in the boondocks.<\/scene_description>\n    <character>DAVE GROHL<\/character>\n    <parenthetical>(scream singing)<\/parenthetical>\n    <scene_description>DONE, DONE AND ON TO THE NEXT ONE! DONE, DONE AND ON TO THE NEXT ONE! Lance, Ian and Felicia are moshing and having a blast.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>This is insane!<\/dialogue>\n    <scene_description>The band slows down and plays the acoustic version of \"Everlong.\" Lance looks around, taking it all in. Suddenly, he's thunderstruck by the sight of the hottest girl ever born Amish. She and her friends enter the barn in slow motion. She's dressed English but she has the kind of natural, make- up-free beauty that would make most women want to punch her in the head. Lance is smitten. Felicia takes discontented notice of this. Ian takes his own discontented notice of Felicia's reaction. Lance crosses to her. Ian and Felicia watch as Lance fearlessly launches his opening line. The girl smiles, says one thing to him and then turns back to the band. Lance timidly makes his way back to Ian and Felicia.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Did you even get her name?<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Not unless her name is \"go fuck yourself.\" I think I'm in love.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>I'm gonna go check on the car.<\/dialogue>\n    <scene_description>Ian walks out.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Hey, Felicia. Dance?<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Forget it. I'm not gonna be your consolation prize.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Come on. Don't be hatin'.<\/dialogue>\n    <scene_description>Lance pulls her arm. She can't hide her smile.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMISH BARN - NIGHT<\/stage_direction>\n    <scene_description>Ian enters. The Judge is now in pieces all over the floor of the barn. Ezekiel, Jeremiah and three other guys sift through the parts. Ian starts to freak out.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Holy shit! Holy shit, you guys! What the hell!? Why are the seats out!? Oh, I'm dead. I'm a dead man. My brother's going to lop my nuts off! Jesus Christ!<\/dialogue>\n    <character>EZEKIEL<\/character>\n    <dialogue>Dude, settle down. We can fix it.<\/dialogue>\n    <character>JEREMIAH<\/character>\n    <dialogue>And we'd appreciate it if you didn't take the Lord's name in vain.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Are you shitting me!?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RUMSPRINGA PARTY - NIGHT<\/stage_direction>\n    <scene_description>Ian stomps in, looking for his friends. He spots them slow dancing together. This bothers him more than he would have guessed. He looks away but can't help but torture himself by watching them dance. Lance says something that makes Felicia laugh. She lays her head on his chest and smiles.<\/scene_description>\n    <character>DAVE GROHL<\/character>\n    <dialogue>If everything could ever feel this real forever...<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library Finally Ian turns and walks out. Felicia has now settled into the dance. She smiles blissfully. The Amish girl looks over.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Check it out. It's working.<\/dialogue>\n    <character>LANCE<\/character>\n    <parenthetical>(re: Amish girl)<\/parenthetical>\n    <dialogue>Look at her. She is IN. You're the best wingman ever. Watch this.<\/dialogue>\n    <scene_description>The song kicks in heavier. Felicia hides her humiliation as she takes a step back. Lance walks away. He passes the Amish girl, she stops him and he kicks-in his game. Felicia walks out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RUMSPRINGA PARTY - NIGHT<\/stage_direction>\n    <scene_description>Ian sits on a hay bail, depressed, alone and nursing his beer. Felicia sits down next to him, looking equally sad.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Is the car ready? Can we go?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>I'm going to be ritually murdered. And I deserve it. You know what? Here's a little tip to take with you. If you ever have car trouble - don't go to the Amish. You want a barn raised, or Foo Fighters to play a show out in the middle of fucking nowhere, apparently the Amish are your hook-up. But car repair - not so much.<\/dialogue>\n    <scene_description>Ian turns to her. She looks possibly more upset than he.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>What? What's wrong with you?<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Nothing. I'm fine.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Lance, right? He's in there with that Amish girl and you're...<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Wrong. But thanks for playing.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library Ian's not in the mood to do his usual sweet boy routine.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Leesh, why don't you just drop the hard ass thing for once. It's okay. You're into Lance.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Right. He's a shallow, pretty-boy, player. I am so not into that.<\/dialogue>\n    <scene_description>She looks at Ian, he can see right through her. Her expression turns sad and vulnerable. She hangs her head.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>You must think I'm such an idiot.<\/dialogue>\n    <character>IAN \\*<\/character>\n    <dialogue>You're not an idiot. People like \\* Lance. I like Lance. \\*<\/dialogue>\n    <scene_description>Ian offers a cautious hug that is at first awkward, but \\* Felicia's guard comes down and she cries on his shoulder. \\*<\/scene_description>\n    <character>FELICIA \\*<\/character>\n    <dialogue>Promise me, you'll never be like \\* Lance. I mean, I know he likes to \\* give you advice but you're the only \\* truly good person I know. Don't \\* let him contaminate you, okay? \\*<\/dialogue>\n    <scene_description>Ian looks a bit ashamed.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Dude, what's wrong with us? There's a kick ass Amish hash bash going on twenty feet away. Come on. Let's go have some fun.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>No. You go ahead.<\/dialogue>\n    <scene_description>Ian speaks in the quiet sing-song way that one might use to cheer up a child with offers of ice cream.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>I bet they have crack in there. Would you like some Amish crack? Would that make you feel better? I'm sure the donkey show is coming up. I bet if you're good, they'll let you have sex with it. Doesn't that sound nice? Donkey love?<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library Finally she laughs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RUMSPRINGA PARTY - LATER<\/stage_direction>\n    <scene_description>Ian and Felicia are dancing and laughing and getting wasted. Montage through the night as they down more and more drinks and get crazy with the Amish. At one point Ian even stage dives and gets body-passed over the crowd. Meanwhile, Lance and MARY, the Amish beauty, dance and hang out together. FADE TO BLACK.:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JUDGE - DAY<\/stage_direction>\n    <scene_description>POV - from the back seat: Ian is driving alone, looking surly as he sails past the other cars on the highway. Ian lifts a messy burger to his face. Ketchup, mustard and mayo drip on to the seats. He takes a huge gulp off his soda and tosses the half-full cup into the back seat. Ian picks his nose and rubs it on the ceiling of the car. He holds up a gay porn mag, letting the centerfold unfurl. He looks at the sexy naked man, unaware that railroad gates are lowering ahead. Ian turns and looks straight into the camera, laughing maniacally. The train starts crossing. At the split second that we're about to hit the train... Rex (in bed) sits up hard, waking from this NIGHTMARE in a...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - NIGHT \\*<\/stage_direction>\n    <scene_description>Rex huffs and puffs and orients himself. He leaps out of \\* bed, digs the key box out of his jeans and opens it. EMPTY! \\*<\/scene_description>\n    <character>IAN!<\/character>\n    <dialogue>GOD DAMN IT!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMISH BARN - MORNING<\/stage_direction>\n    <scene_description>The open field is filled with cars and campers. Kids sleep everywhere - in the vehicles, in the barn and right on the ground. Ian wakes to find that he's lying in the bed of a pick-up truck. Lance is sprawled out in the cab. Ian sits up and rubs his pounding head. Felicia is limping toward him, still barefoot, a pained expression on her face. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Ugh. My head hurts. But my feet feel spectacular. So, cozy. Like they're wrapped in baby bunnies.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Mine too.<\/dialogue>\n    <scene_description>She stubbornly corrects her walk and expression but her feet are a mess - cut, blistered and filthy.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Leesh, you were dancing barefoot for like four hours last night. Look at your feet.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>I'm fine, pussyfoot.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Fine, you're tough but your big toe looks like Yoda's nuts. He's got five, you know.<\/dialogue>\n    <scene_description>Lance sits up in the cab, groggy and rubbing his messy hair. He leans through the open back window.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Hey. So, what's the plan?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>I might as well call Rex so he can get on with killing me.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>What about visiting your grandma?<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Yeah, Ian. You've been putting off 'visiting grandma' for way too long. It's time you 'visit grandma.'<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>I do wanna...you know - 'visit grandma' but Rex is gonna kill me.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>He's going to kill you either way. We're halfway there. I can't stress enough how much you'll enjoy 'visiting grandma.' Trust me. I 'visit my grandma' all the time and it's pretty fucking awesome.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library Felicia is a little confused by Ian and Lance's code talk.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Lance, what am I supposed to do? Our transportation is all over the floor of that barn.<\/dialogue>\n    <scene_description>VROOOOOM!!! They all turn to see the Judge pulling out of the barn. It's more powerful and tuned than ever. The Amish grease monkeys look spent but triumphant. Ezekiel jumps out of the Judge.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Dude. You fixed it?<\/dialogue>\n    <character>EZEKIEL<\/character>\n    <dialogue>We hit a few snags but she's bangin' like a champ now. You should know though, we couldn't get our hands on the right carburetor so Jeremiah whittled one for you.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Really? That's amazing.<\/dialogue>\n    <character>EZEKIEL<\/character>\n    <dialogue>I'm just fucking with you, dude.<\/dialogue>\n    <scene_description>Lance spots Mary walking with two girlfriends. They are all in traditional Amish dresses and bonnets. Mary even looks hot in this. Lance runs over to her.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Hey! Mary! Wait up.<\/dialogue>\n    <scene_description>She breaks ranks with her friends and steps to Lance with a gorgeous smile.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>You look beautiful.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Yeah right. Please. These are unflattering by design.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Still, you make it hot somehow. Seriously. You wearing that, churning some butter. Are you kidding me? (singing) Sexy.<\/dialogue>\n    <scene_description>She laughs. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>So, listen, I had the best time with you last night.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Yeah, me too.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>You're going to call me, right?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Um...No.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>No?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Lance. Rumspringa's over for me.<\/dialogue>\n    <scene_description>Lance looks devastated. Meanwhile, a short distance away, Ian speaks to Ezekiel.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>So you guys were up all night? I don't know what to say. I don't really have a lot of money.<\/dialogue>\n    <character>EZEKIEL<\/character>\n    <dialogue>Ahh, we're good. The opportunity to help a neighbor - that's a gift.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Wow. Thank you.<\/dialogue>\n    <character>EZEKIEL<\/character>\n    <dialogue>Of course, if you felt like you had to reciprocate in some way, there's plenty of chores that need doing.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Ooohh. We're kind of behind schedule, but can we hit you on our way back through?<\/dialogue>\n    <character>EZEKIEL<\/character>\n    <parenthetical>(guilt-tripping)<\/parenthetical>\n    <dialogue>Sure, sure. You probably should get going. I mean, hey, you've got a smooth-running vehicle now...you know - because we fixed it.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>But we're good?<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>EZEKIEL<\/character>\n    <dialogue>Sure, we're good. Technically.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>I mean it. We'll come back. I promise.<\/dialogue>\n    <character>EZEKIEL<\/character>\n    <dialogue>Looking forward to it.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>No, seriously. We will.<\/dialogue>\n    <character>EZEKIEL<\/character>\n    <dialogue>Of course. Should I hold my breath?<\/dialogue>\n    <scene_description>Ian stands there. Not sure how to take the sarcasm.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE JUDGE - DAY<\/stage_direction>\n    <scene_description>Ian drives down the highway. Felicia rides shotgun. Lance sits in back, looking depressed.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>I've never met anyone like her. This sucks full ass.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>I wouldn't worry about it. In fifteen minutes, you probably won't even remember her name.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Don't say that. Do NOT say that. This girl is really special.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Lance. Listen to yourself. People want what they can't get. Remember your little theory? Forbidden fruit - that's all she is.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>No. This is different. Mary and I made some kind of cosmic, spiritual connection. It's real and it's beautiful and it's awesome as fuck.<\/dialogue>\n    <scene_description>Ian's phone starts vibrating.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Cool. I got a signal.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library He squints at the screen. It reads, \"22 NEW MESSAGES.\"<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Oh, shit.<\/dialogue>\n    <scene_description>Ian calls his voice-mail. We hear what he's listening to: IAN!! IF YOU TOOK MY FUCKING CAR YOU ARE FUCKING DEAD!! WHERE THE HELL ARE YOU!? (nice) Call me. Ian erases the message. BEEP! PICK UP THE PHONE, FUCKHEAD! I'M GONNA POP YOUR FUCKIN' BALLS!! Ian erases this message too. BEEP! GOD DAMN IT, IAN! YOU-- BEEP!<\/scene_description>\n    <character>REX (V.O.)<\/character>\n    <dialogue>Okay. If you call me back, I won't kill you. NO! FUCK THAT! YOU'RE A FUCKIN' CORPSE! WHERE THE FUCK ARE YOU!? SHIT!!!<\/dialogue>\n    <scene_description>BEEP!<\/scene_description>\n    <character>RON (V.O.)<\/character>\n    <dialogue>Ian, Ron. I need my Se\u00f1or Donut costume back, pronto. So, get it--<\/dialogue>\n    <scene_description>BEEP! YOU FAGGOT ASS MOTHERF-- BEEP!<\/scene_description>\n    <character>AAAAGGH!!<\/character>\n    <dialogue>SHIT!!!<\/dialogue>\n    <scene_description>Ian hangs up. He looks catatonic.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>What? What is it?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Rex. He knows I took his car.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>So? You're going to visit your Grandma. He'll understand that.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>I don't think so.<\/dialogue>\n    <scene_description>Ian's phone rings.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Don't answer it.<\/dialogue>\n    <scene_description>They sit and listen to it ring.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Oh, shit. I'm so dead.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Not yet. Stay strong, buddy. You know what you need? A Corn dog!<\/dialogue>\n    <scene_description>He points to a small carnival set up in grocery store parking \\* lot off the interstate. \\*<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>We don't have time for corn dogs.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>We got tons of time. You're not meeting her for six hours. Your grandma, I mean. Come on. Corn dogs! Cooooorn Doooogs!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARNIVAL - PICNIC TABLES - DAY<\/stage_direction>\n    <scene_description>Ian and Lance sit at a picnic table. Lance has his head in his hands. A group of hot girls go by.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Can you believe the girls around here?<\/dialogue>\n    <scene_description>Lance doesn't even react.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Lance. You gotta pull it together. I need your help to get this thing done. You're no good to me if you're acting like...me.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Oh, man. I am acting like you, aren't I? Balls.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>(then) But where am I ever gonna find another girl as cool as Mary?<\/dialogue>\n    <scene_description>Ian motions toward Felicia, who's getting the food.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>What about Felicia?<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>What about her?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Dude. She's into you.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Yeah, I know.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>You know? So? What is she - not good enough?<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Felicia's awesome. But you like her.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>What? No. We're just friends.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Dude. (oh, please)<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Seriously. We grew up together. I don't...like, like her.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Again - dude.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Well, she's not into me anyway.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Doesn't matter. I still wouldn't do that to you. (then) But you do know she's not into you, right?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Yeah. Well, I mean, except we have this pledge that if we're both not married when we're thirty...it's actually kind of cute, we just--<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>No. It's not cute. It's bullshit. It's never gonna happen, so don't fuck yourself up waiting for her.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>I know. But sometimes she--<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Ian, I'm only saying this as your friend. Never. Okay? You're her friend. That's like quicksand. There's no digging your way out of friend-sand. She already knows all your bullshit. I bet you've even cried in front of her before, haven't you?<\/dialogue>\n    <scene_description>Ian looks down. Guilty as charged.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Oh, fuck me. Well, there you go. You know what every chick I've ever boned had in common? I wasn't friends with any of them.<\/dialogue>\n    <character>IAN<\/character>\n    <parenthetical>(shaking it off)<\/parenthetical>\n    <dialogue>Yeah. Well, what do I care, right? I got Ms. Tasty to look forward to.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Fuckin' A. Let's keep the focus on your balls in her mouth.<\/dialogue>\n    <scene_description>Felicia returns with the food. She sits down next to Ian. There's an uncomfortable silence.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>What?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARNIVAL - MIDWAY - LATER<\/stage_direction>\n    <scene_description>Ian, Lance and Felicia walk though the midway. Felicia points to a carnival game. It's a short rope ladder at a slight incline. Everyone who tries to scale it, flips the ladder over, landing in a pile of hay.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>You think I can do it?<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>No way. That game is so rigged.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library Ian gives the barker a five and scales the ladder \\* effortlessly. The buzzer goes off, attracting a crowd. The \\* carny begrudgingly hands Ian a massive lollypop. Lance and \\* Felicia cheer and clap. \\*<\/scene_description>\n    <character>FELICIA (CONT'D) \\*<\/character>\n    <dialogue>Wow! That's amazing! \\*<\/dialogue>\n    <character>IAN \\*<\/character>\n    <dialogue>We had one of these at Boy Scout \\* camp. I kinda mastered it. \\*<\/dialogue>\n    <scene_description>Ian hands the lollypop to Felicia. She smiles and glows \\* until a gorgeous teen girl steps up to Ian. MANDY wears a \\* skin tight shirt and a short red skirt. \\*<\/scene_description>\n    <character>MANDY \\*<\/character>\n    <dialogue>Hey. What's your secret? \\*<\/dialogue>\n    <scene_description>She smiles as she hands her money to the carny and mounts the \\* ladder. Felicia looks slightly jealous as all of Ian's \\* attention shifts to Mandy. \\*<\/scene_description>\n    <character>IAN \\*<\/character>\n    <dialogue>Just hold all your weight on your \\* left hand and your right foot. \\*<\/dialogue>\n    <scene_description>She holds her shaky position, her skirt is so short that, as \\* she bends, her thong is exposed. Ian gulps. \\*<\/scene_description>\n    <character>IAN (CONT'D) \\*<\/character>\n    <dialogue>Now shift both at the same time. \\*<\/dialogue>\n    <scene_description>She takes a step, wobbles, flips over and lands on her back. \\* She smiles at Ian, who helps her up. Felicia is annoyed. \\*<\/scene_description>\n    <character>MANDY \\*<\/character>\n    <dialogue>Oh, well. I'm Mandy. \\*<\/dialogue>\n    <character>IAN \\*<\/character>\n    <dialogue>Ian. (big smile) \\*<\/dialogue>\n    <character>MANDY \\*<\/character>\n    <dialogue>You've got great balance, Ian. \\*<\/dialogue>\n    <scene_description>Lance steps in, acting as wingman. \\*<\/scene_description>\n    <character>LANCE \\*<\/character>\n    <dialogue>Well, what do you expect from an \\* Olympic snowboarder? \\*<\/dialogue>\n    <character>MANDY \\*<\/character>\n    <dialogue>No way. \\*<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>LANCE \\*<\/character>\n    <dialogue>Way. \\*<\/dialogue>\n    <scene_description>Lance covertly yanks the lollypop out of Felicia's hand and \\* taps it against Ian's arm, encouraging him to give it to \\* Mandy. Ian does. She smiles as she accepts it. \\*<\/scene_description>\n    <character>MANDY \\*<\/character>\n    <dialogue>Thanks. Wow. I'm sorry, I gotta \\* go. My dance troop is performing \\* at the AIM tent in a few minutes. \\* You should come watch. \\*<\/dialogue>\n    <character>FELICIA \\*<\/character>\n    <dialogue>Well, actually we were just... \\*<\/dialogue>\n    <character>LANCE \\*<\/character>\n    <dialogue>Definitely. He'll be front row \\* center. \\*<\/dialogue>\n    <scene_description>Mandy gives one more cute smile before she bops away. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOW TENT - LATER \\*<\/stage_direction>\n    <scene_description>A stage is set up at one end; hundreds of people sit in \\* folding chairs facing it. Ian, Felicia and Lance take seats \\* (in that order) in the front row. Felicia checks her watch. \\*<\/scene_description>\n    <character>FELICIA \\*<\/character>\n    <dialogue>Do we really have time for this, \\* Ian? \\*<\/dialogue>\n    <scene_description>Lance elbows her and they speak sotto, away from Ian. \\*<\/scene_description>\n    <character>LANCE \\*<\/character>\n    <dialogue>Stop doing that. \\*<\/dialogue>\n    <character>FELICIA \\*<\/character>\n    <dialogue>Doing what? \\*<\/dialogue>\n    <character>LANCE \\*<\/character>\n    <dialogue>Twat blocking Ian. \\*<\/dialogue>\n    <character>FELICIA \\*<\/character>\n    <dialogue>I am not tw...doing that. \\*<\/dialogue>\n    <scene_description>Loud techno music kicks in and the side flaps of the tent \\* drop, making it very dark inside. \\* On stage an elaborate light show illuminates a line of young, \\* beautiful girls who perform a sexy hip-hop dance routine. A \\* huge video screen behind them shows crazy graphics of fun \\* activities and extreme sports over an \"AIM\" logo. \\* Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library The dancers are joined by TAD, a cool Ryan Seacrest type with \\* a microphone. He busts out some dance moves of his own as \\* the routine's finale. \\*<\/scene_description>\n    <character>TAD \\*<\/character>\n    <dialogue>What up, yo!? I am called Tad \\* Jawarski! \\*<\/dialogue>\n    <scene_description>The crowd goes nuts. \\*<\/scene_description>\n    <character>TAD (CONT'D) \\*<\/character>\n    <dialogue>Yo! Where my first victim at? \\*<\/dialogue>\n    <scene_description>The crowd laughs. \\*<\/scene_description>\n    <character>TAD (CONT'D) \\*<\/character>\n    <dialogue>Come on, let's get a volunteer up \\* in here! \\*<\/dialogue>\n    <scene_description>Mandy waves to Ian. He waves back. Tad sees his hand go up. \\*<\/scene_description>\n    <character>TAD (CONT'D) \\*<\/character>\n    <dialogue>Yeah, boy! Get on up here, dog! \\*<\/dialogue>\n    <scene_description>The spotlight hits Ian. Mandy jumps for joy that Ian \\* volunteered. Ian tries to wave them off but Mandy and the \\* dancers come down and pull him to the stage. The crowd \\* cheers. Lance and Felicia cheer the loudest. \\* Ian now stands center stage with Tad. Ian smiles like an \\* idiot, unaware when the video screen behind him changes to a \\* logo that reads, \"AIM - ABSTINENCE IN MOTION!\" Lance and \\* Felicia's jaws drop. They look at one another and crack up. \\* On stage, Ian is oblivious. The dancers dance all around him \\* and he's digging it, even half-dancing along with them. The \\* music finally stops and Tad puts an arm around Ian. \\*<\/scene_description>\n    <character>TAD (CONT'D) \\*<\/character>\n    <dialogue>What's your name, gangsta? \\*<\/dialogue>\n    <character>IAN \\*<\/character>\n    <dialogue>Um, Ian. Ian Lafferty. \\*<\/dialogue>\n    <character>TAD \\*<\/character>\n    <dialogue>Tell me something, Ian. Are you \\* ready to get your pledge on!? \\*<\/dialogue>\n    <scene_description>The music kicks in and Tad dances. Ian is confused. Lance \\* and Felicia can barely watch. \\*<\/scene_description>\n    <character>IAN \\*<\/character>\n    <dialogue>Um... I don't know. What are we-- \\*<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>TAD \\*<\/character>\n    <dialogue>You don't know!? He don't know, \\* y'all! \\*<\/dialogue>\n    <scene_description>The crowd boos playfully. \\*<\/scene_description>\n    <character>TAD (CONT'D) \\*<\/character>\n    <dialogue>Ian, I'd like you to meet my \\* friend, Steve. \\*<\/dialogue>\n    <scene_description>The screen changes to a black and white clinical photo of a \\* man's deformed, pocked genitalia. We see it for just a \\* second as Tad turns Ian around, then his head blocks it. Ian \\* gasps, along with the audience. This is NOT what he \\* expected. \\*<\/scene_description>\n    <character>TAD (CONT'D) \\*<\/character>\n    <dialogue>How 'bout that, dog? \\*<\/dialogue>\n    <character>IAN \\*<\/character>\n    <dialogue>(baffled) \\*<\/dialogue>\n    <scene_description>Uh... I, I don't... Uh... \\*<\/scene_description>\n    <character>TAD \\*<\/character>\n    <dialogue>Now meet some more of my homies. \\*<\/dialogue>\n    <scene_description>Close on Ian's mortified face. The light changes on his \\* face, indicating each new horror. Each image elicits a gasp \\* from the crowd. Tad turns Ian back around, stunned. \\*<\/scene_description>\n    <character>TAD (CONT'D) \\*<\/character>\n    <dialogue>How old are you, bro? \\*<\/dialogue>\n    <character>IAN \\*<\/character>\n    <dialogue>Eighteen. \\*<\/dialogue>\n    <character>TAD \\*<\/character>\n    <dialogue>And you're a virgin? \\*<\/dialogue>\n    <character>IAN \\*<\/character>\n    <dialogue>What? Um... \\*<\/dialogue>\n    <character>TAD \\*<\/character>\n    <dialogue>You don't wanna turn out like my \\* boys from the pictures do you? \\*<\/dialogue>\n    <character>IAN \\*<\/character>\n    <dialogue>No. \\*<\/dialogue>\n    <character>TAD \\*<\/character>\n    <dialogue>Then let's hear you pledge! \\*<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library The girls start dancing around him. Ian's head is spinning. \\* BAM! With a blast of light and sound - silence. A single \\* spotlight hits them. \\*<\/scene_description>\n    <character>IAN \\*<\/character>\n    <dialogue>(sotto to Tad) \\*<\/dialogue>\n    <scene_description>Pledge what? \\* Tad leans in and speaks off the mic. \\*<\/scene_description>\n    <character>TAD \\*<\/character>\n    <dialogue>I got a long day ahead of me. \\* Don't jerk me around, kid. \\*<\/dialogue>\n    <scene_description>He puts the mic back in Ian's face. \\*<\/scene_description>\n    <character>TAD (CONT'D) \\*<\/character>\n    <dialogue>Do - you - pledge? \\*<\/dialogue>\n    <character>IAN \\*<\/character>\n    <dialogue>Um... Okay. I guess I pledge. \\*<\/dialogue>\n    <scene_description>Lance throws up his hands in disgust. The crowd goes wild. \\*<\/scene_description>\n    <character>TAD \\*<\/character>\n    <dialogue>I'm proud of you! Keep a wrinkle \\* in it, dog! \\*<\/dialogue>\n    <scene_description>The dancers lead Ian out the back of the stage. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHOW TENT \\*<\/stage_direction>\n    <scene_description>Ian exits through a flap at the back of the tent, looking \\* shell-shocked. Lance and Felicia sprint around the outside \\* of the tent, laughing. \\*<\/scene_description>\n    <character>LANCE \\*<\/character>\n    <dialogue>I can't believe you just took an \\* abstinence pledge! \\*<\/dialogue>\n    <character>IAN \\*<\/character>\n    <dialogue>I did not! \\*<\/dialogue>\n    <character>FELICIA \\*<\/character>\n    <dialogue>You did too! Right in front of God \\* and everybody! You pledged! \\*<\/dialogue>\n    <character>IAN \\*<\/character>\n    <dialogue>I didn't even know what he was \\* talking about! That doesn't count, \\* does it? \\*<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>LANCE \\*<\/character>\n    <dialogue>That was hilarious! \\*<\/dialogue>\n    <scene_description>Mandy comes around the corner. She trots up and hugs Ian. \\*<\/scene_description>\n    <character>MANDY \\*<\/character>\n    <dialogue>Ian! You did it! Oh my gosh, I am \\* so proud of you. \\*<\/dialogue>\n    <scene_description>Ian squirms out of her grasp. \\*<\/scene_description>\n    <character>IAN \\*<\/character>\n    <dialogue>Jesus! Get away from me! Is this \\* what you do here? Go out and flirt \\* with geeks like me so you can lure \\* them into your little abstinence \\* club? \\*<\/dialogue>\n    <character>MANDY \\*<\/character>\n    <dialogue>Ian. It's not like that. \\*<\/dialogue>\n    <character>IAN \\*<\/character>\n    <dialogue>Just go away. \\*<\/dialogue>\n    <scene_description>Lance steps up and puts a supportive hand on Ian's shoulder. \\* Mandy steps away, then stops and turns to glare at Ian. \\*<\/scene_description>\n    <character>MANDY \\*<\/character>\n    <dialogue>I would have blown you, you know. \\*<\/dialogue>\n    <character>FELICIA \\*<\/character>\n    <dialogue>Wow. \\*<\/dialogue>\n    <character>LANCE \\*<\/character>\n    <dialogue>Ouch. \\*<\/dialogue>\n    <character>MANDY \\*<\/character>\n    <dialogue>And you can keep your stupid \\* flipping lollypop! \\*<\/dialogue>\n    <scene_description>Mandy fires the huge lollypop at Ian but it misses him, \\* cracking Felicia in the teeth, knocking her backward to the \\* ground. Felicia touches her hand to her mouth and sees that \\* it's bleeding. She scrambles to her feet. \\*<\/scene_description>\n    <character>FELICIA \\*<\/character>\n    <dialogue>Oh, you are DEAD, psycho-virgin! \\*<\/dialogue>\n    <scene_description>Felicia goes after Mandy but Lance and Ian hold her back. \\* Mandy runs away. \\* Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE JUDGE - DAY \\*<\/stage_direction>\n    <scene_description>Lance drives. Ian sits with Felicia in the back seat. He \\* holds a cloth to her mouth with one hand and works his phone \\* with the other, looking for a dental listing. \\*<\/scene_description>\n    <character>IAN \\*<\/character>\n    <dialogue>There's a dentist at the next exit. \\*<\/dialogue>\n    <character>LANCE \\*<\/character>\n    <dialogue>You sure you want to get dental \\* work done in Kentucky? \\*<\/dialogue>\n    <character>FELICIA \\*<\/character>\n    <dialogue>My toof id broke! Just get us \\* there. \\*<\/dialogue>\n    <scene_description>Ian checks his watch. \\*<\/scene_description>\n    <character>FELICIA (CONT'D) \\*<\/character>\n    <dialogue>I'm thorry I'm making you late for \\* your grandma. \\*<\/dialogue>\n    <character>IAN \\*<\/character>\n    <dialogue>No. God. This is all my fault. \\*<\/dialogue>\n    <character>FELICIA \\*<\/character>\n    <dialogue>Id's really thweet how you're so \\* worried about her. You're a good \\* guy, Ian. \\*<\/dialogue>\n    <scene_description>Ian and Lance exchange shamed glances in the rear-view. \\*<\/scene_description>\n    <character>IAN \\*<\/character>\n    <dialogue>Yeah, well...try not bleed on the \\* seat. Rex is gonna kill me enough. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. IAN'S STREET - DAY \\*<\/stage_direction>\n    <scene_description>Ian's neighborhood is peaceful and deserted. The chirps of \\* song birds are gradually drowned out by A HIGH PITCHED BUZZ. \\* Rex speeds down the street on a dirtbike. As he nears his \\* house, he locks up the brakes. Before the bike stops, he \\* coolly steps off, letting it ghost ride for a few yards \\* before it lays down, spinning and sparking to a stop. \\* Rex runs up to the garage and pulls it up manually. Before \\* it clears his eyes, he takes a deep, hopeful breath. He \\* opens it the rest of the way. No Judge. \\* MOTHERFUCKIN' BITCH-ASS COCKSUCKER! \\* Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library Rex pitches a tantrum for the ages. He violently shakes the \\* garage door, tearing it off it's rails. It lowers enough for \\* him to start kicking it. He breaks it. He reaches inside \\* and pulls out Ian's bike and starts slamming it against the \\* driveway. Once out of steam, he stomps down the driveway and \\* across the street. \\* As he crosses, he holds up a \"halt\" hand. Offscreen we hear \\* a car go into a shrieking skid. Rex is unfazed as he marches \\* up Felicia's driveway. The car rolls by behind him. \\* Rex arrives on Felicia's porch. He rings the bell and seethes and swears under his breath while he waits. Felicia's mother opens the door. His face instantly transitions to sweet and neighborly. She smiles back.<\/scene_description>\n    <character>FELICIA'S MOTHER<\/character>\n    <dialogue>Why, hello Rex. How are things?<\/dialogue>\n    <character>REX<\/character>\n    <dialogue>Good, good. Listen, Mrs. Alpine, is Felicia here by any chance?<\/dialogue>\n    <character>FELICIA'S MOTHER<\/character>\n    <dialogue>Oh no, hon, she and Ian and that Lance went on a little road trip.<\/dialogue>\n    <character>REX<\/character>\n    <dialogue>Really. A road trip. Super. Any idea where they might be heading?<\/dialogue>\n    <character>FELICIA'S MOTHER<\/character>\n    <dialogue>You know, I wanna say she said something about Knoxville but I can't be sure. Is that helpful?<\/dialogue>\n    <character>REX<\/character>\n    <dialogue>You bet it is. Thanks much, Mrs. A.<\/dialogue>\n    <character>FELICIA'S MOTHER<\/character>\n    <dialogue>Oh, not at all. My pleasure. You have a good day, now.<\/dialogue>\n    <scene_description>The second the door closes, Rex returns to fury. He turns and stomps back toward his house. In the wide shot we see a neighbor watering his yard next door.<\/scene_description>\n    <character>NEIGHBOR<\/character>\n    <dialogue>Hey, Knievel! What's say you get your bike out of the freakin' road!<\/dialogue>\n    <scene_description>Rex doesn't break stride; he just turns hard left, redirecting right at the neighbor. (Think Terminator 2) The man starts to backpedal and then run as Rex closes in. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DENTAL OFFICE PARKING LOT - DAY<\/stage_direction>\n    <scene_description>The Judge pulls into the lot. Ian opens his door, he gets out and pulls the seat up for Felicia. She steps out and starts limping toward the office. Ian picks her up.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Whad are you doing? Pud me down! My feet are fine.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Shut up. You're so stubborn.<\/dialogue>\n    <scene_description>He carries her across the parking lot in slow motion. She relents and settles in. An old woman who is exiting smiles and holds the door for them. Ian carries Felicia in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DENTAL OFFICE WAITING ROOM - DAY<\/stage_direction>\n    <scene_description>This is a po-dunk dental office in rural Kentucky. Several paintings of clowns adorn the walls. A magazine rack features People, Us, Oprah and Guns &amp; Ammo. Felicia sits in a chair, holding her mouth with one hand and toweling off her feet with the other. Ian stands at reception, rattling off a text message while he waits: \"Tasty. Running a little behind. Need a couple more hours. Better make it 8pm. C-U-Soon. - IAN.\" A half-awake receptionist with very bad teeth, returns to hand Ian some forms. She speaks in a thick southern accent.<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>Do y'all know your writin' and your ABC's and such?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Um. Yeah.<\/dialogue>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>Good. Just fill out this, this, this, this, and these. Dr. Jasper will be with y'all present-like.<\/dialogue>\n    <scene_description>Ian returns to Felicia with the clipboard. He sits next to her and hands her the forms.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Okay. Fine. You were righd. My feet are killing me. I shouldn't have tossed my shoes.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>No, come on. I love that you did that. That's premium Felicia.<\/dialogue>\n    <scene_description>She smiles, then tries to fill in her name on a form but her hand shakes. Ian sets his phone down on the coffee table and takes the clipboard. He starts to fill the forms for her.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>You want me to put your dad's address down too?<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Yeah. It's four twenty one--<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>I know. Four twenty one, Twin Oaks, Rockford, six one one oh (thinks for a beat) seven.<\/dialogue>\n    <scene_description>Felicia smiles.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>And you're allergic to amoxicillin but nothing else, right?<\/dialogue>\n    <scene_description>She nods. Push in on Felicia's face as she realizes that this is the one person who truly knows everything about her. Ian is oblivious to the moment she is having.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>I think the only things you would check in the list is Migraine Headaches (she nods) and the Herpes, of course.<\/dialogue>\n    <scene_description>She laughs and slugs him playfully in the arm.<\/scene_description>\n    <character>DR. JASPER (O.S.)<\/character>\n    <dialogue>Felicia Alpine?<\/dialogue>\n    <scene_description>Felicia gathers up some of her things and places them in her purse as she stands to greet the dentist. She's is relieved to see that Dr. Jasper doesn't look like a hayseed. He looks like a kind, ethical doctor in his mid forties.<\/scene_description>\n    <character>DR. JASPER<\/character>\n    <dialogue>Now, what are we doing today?<\/dialogue>\n    <scene_description>Felicia removes her hand from her face and opens up. Doctor Jasper pushes her lower teeth down with the side of his index finger, revealing that his knuckles and hands are ridiculously hairy! Felicia winces as the dentist probes his wolfman fingers around in her mouth. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>DR. JASPER<\/character>\n    <dialogue>Hmmm. Some hot and cold sensitivity? Uh, huh?<\/dialogue>\n    <scene_description>Felicia closes her mouth and tries to spit out a hair. The doctor turns to Ian.<\/scene_description>\n    <character>DR. JASPER<\/character>\n    <dialogue>What'd you do to her?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>DR. JASPER<\/character>\n    <dialogue>You slap her around? She gets out of line and you crack her one? You think that makes you a big man?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>No. I didn't, I--<\/dialogue>\n    <character>DR. JASPER<\/character>\n    <dialogue>Ha! Gotcha! Ha, Ha. You should have seen your face. \"No! I didn't I, I, I!\" Oh, funny.<\/dialogue>\n    <scene_description>He cracks up. Ian and Felicia try to laugh along.<\/scene_description>\n    <character>DR. JASPER<\/character>\n    <dialogue>He didn't though, did he?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DENTAL OFFICE OPERATORY<\/stage_direction>\n    <scene_description>Felicia sits in the dental chair. Ian sits in a chair nearby. Dr. Jasper is just finishing giving her a shot.<\/scene_description>\n    <character>DR. JASPER<\/character>\n    <dialogue>I'll just give you a few minutes to numb up. Be right back.<\/dialogue>\n    <scene_description>He exits. Ian smiles. She smiles back with her half tooth. The novocaine causes her to slur more and more throughout the scene.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Ian. You know last spring at Darren Hume's bonfire?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Hmmm. Um...Was I there?<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Ian, please. You know the only reason... is because I don't ever want to ruin our friendship.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Totally. Friendship is... awesome. Yeah. Friendship. Good call.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>I don't know what I'd do if I ever lost you, Ian.<\/dialogue>\n    <scene_description>She squeezes his hand.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>You won't.<\/dialogue>\n    <character>FELICIA<\/character>\n    <parenthetical>(half-joking)<\/parenthetical>\n    <dialogue>I don't know. Maybe I should have just kissed you back that night.<\/dialogue>\n    <scene_description>They regard one another for a long awkward beat. Ian tries to decide if she's serious. He laughs nervously. A string of drool drops from her numb lip.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Oh. Um. You got a little...loogie.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Oh God!<\/dialogue>\n    <scene_description>She grabs her bib and wipes her face. The doctor returns.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>You know what? I'll just be out there. Yeah. Good. Okay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DENTAL OFFICE PARKING LOT - LATER<\/stage_direction>\n    <scene_description>The office is in a small strip mall next to a gas station convenience store. Ian comes out of the convenience store with a bag of stuff. He crosses to the Judge. The passenger door is open. Lance sits in the passenger seat with his feet on the ground and his head in his hands. Ian arrives with a smile and a spring in his step.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>What's with you?<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>I'm thinking maybe we head back.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Well, Felicia and I were just talking in there and, I don't know, We kinda had a moment.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>A moment? Oh shit, Ian. I knew she was gonna do this. She sees you with that chick and now she's tightening your leash. She's just afraid to lose the undivided attention of the one guy who always listens to her problems.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>No. We were really connecting in there and she...<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Ian, you see the punks she dates. I'm sorry but she doesn't want a guy like you. She wants to take some dark, brooding asshole and turn him into a guy like you.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>What if you're wrong?<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>I'm not wrong. I'm right. And I'm not going to let her fuck this up for you. We're going to Knoxville and you're gonna get your nut.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Whatever, Lance. I'm gonna text Tasty and tell her I'm not coming.<\/dialogue>\n    <scene_description>Ian reaches into his pockets. No phone. Just then, Felicia emerges from the office. She stops to check her fixed tooth in her reflection in the window. She then marches out to the Judge. She tosses Ian his phone.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Oh, good. You had it. Here, I got you something.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library He hands Felicia the bag. She takes it but doesn't bother to look inside.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>A message came in. Your grandma's pretty excited to see you. Wet even. She's thinking about your hands on her body. Sounds 'Tasty.'<\/dialogue>\n    <scene_description>Felicia tosses the bag onto the floor of the front seat and then climbs into the back and sits, looking petulant. Ian wilts. Lance pats Ian on the back before climbing in.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Good deal. Let's go to Knoxville.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY ON-RAMP - EVENING<\/stage_direction>\n    <scene_description>The Judge is pulling onto HWY 75-North.<\/scene_description>\n    <character>FELICIA (V.O.)<\/character>\n    <dialogue>Ian. You're going the wrong way.<\/dialogue>\n    <character>IAN (V.O.)<\/character>\n    <dialogue>We're going home.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE JUDGE<\/stage_direction>\n    <character>FELICIA<\/character>\n    <dialogue>What? No, no, no. Don't turn around because of me. I'm dying to see Ms. Tasty. This is gonna be hilarious. She's probably a guy.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>So you snooped around in my phone. That's a total violation.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>He's violated.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Hey, you're the one telling lies about grandmas and CANCER.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>That was a bit much.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Okay, I'm sorry. I was embarrassed and I knew you'd make fun of me.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Of course. How could I not? You told her you play football at NORTHWESTERN!? I mean, Jesus Ian.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>You told her that? That's bold.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>And those text messages are soooo dickish. I can't believe she even invited you when you come off like such an a-hole.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Hold on - she invited him out because he came off like such an a- hole. Dude got that part right.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>I can't believe you guys.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Look, I said we're going home.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Oh, man. I knew you'd find a way to bitch out on this.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Yeah, Ian. You obviously stole Rex's car and drove halfway across the country. This must be what you want. So go do it, chicken shit.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Fuckin' A, chicken shit.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Fine! You don't think I'll do it!? I'll fuckin' do it! I'll turn this car around and go pork that girl right now! Is that what you want?<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Yeah, Ian. That's what I want.<\/dialogue>\n    <scene_description>Suddenly he cranks the wheel. They drive full speed into the grassy median. They slide sideways onto the other side of the highway and head back south.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Sweet! Now step on it. We can still make it.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library Although she pushed for it, Felicia is not as happy. She lies down in the back seat, looking terribly sad. Cue: \"Teenagers (Scare The Living Shit Out Of Me)\" by My Chemical Romance. The Judge moves down the highway as the sun lowers in the sky. Ian passes several cars. He looks over at the car to his left - the pimped out Honda (that had tossed the milkshake earlier) is back and edging by him. Ian's had enough. He glares back and jumps on the gas. Felicia sits up.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>What are you doing? Don't race him. That's ridiculous.<\/dialogue>\n    <character>IAN<\/character>\n    <parenthetical>(trying to be tough)<\/parenthetical>\n    <dialogue>It's gonna be ridiculous how much I win because I'm driving faster than he is.<\/dialogue>\n    <scene_description>The cars race neck and neck. Ian's speedometer creeps up. Ian must fall back to pass a slower car in the right lane. He tries to pass the Honda but it weaves back and forth, not letting him in. He finally gets an opening and tucks in. They are again neck and neck. Ian starts to pull away.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Yeah, that's right, fucker.<\/dialogue>\n    <scene_description>The Honda slows down, letting Ian blast away.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>He's tagging out! Wooo!<\/dialogue>\n    <scene_description>Ian and Lance five one another.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>IAN! Look out!<\/dialogue>\n    <scene_description>A fox is walking across the highway! Ian slams on the breaks but the car smacks it. All triumph falls from Ian's face, replaced by desperate regret.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Oh, no! Oh, no!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY HIGHWAY - EVENING<\/stage_direction>\n    <scene_description>The Judge screeches to a halt. Ian leaps out and runs back, looking around frantically. Felicia gets out and follows. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library Cars and trucks occasionally woosh by. Ian finds the animal on the shoulder. He drops to his knees, his eyes tearing up.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>God damn it. What were you doing? Oh, shit man. Shit.<\/dialogue>\n    <scene_description>Felicia sits down nearby, watching Ian's emotional response. He's genuinely a wreck over what he has done. Push in on Felicia as her heart goes out to him. She tears up.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Take it easy, bro. It wasn't your fault. The thing ran right out--<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Just shut up, okay!? Of course it's my fault!<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Okay. But, dude, Ms. Tasty - we gotta keep moving.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>He's not dead, Lance! I'm not just gonna leave him out here suffering all by himself.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Okay. You're right.<\/dialogue>\n    <scene_description>Lance goes back to the car and returns with a tire-iron. He walks up next to Ian and raises it over his head. Ian turns to Lance, deadly serious. He pushes Lance away.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Don't fuckin' touch him!<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Jesus Christ, man! I was just gonna put him out of his misery so we can go already.<\/dialogue>\n    <scene_description>Felicia is appalled by Lance's inability to be affected by this.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Fuck you! You don't give a shit about him!<\/dialogue>\n    <scene_description>Ian grabs the tire iron, returns to the animal and kneels \\* before it, raising the tool over his head. His hand shakes. \\* Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>IAN (CONT'D) \\*<\/character>\n    <dialogue>I'm sorry. \\*<\/dialogue>\n    <scene_description>Ian hits it hard, stands, and walks away with his face in his \\* hand. After a beat: \\*<\/scene_description>\n    <character>FELICIA \\*<\/character>\n    <dialogue>Um...Ian? \\*<\/dialogue>\n    <scene_description>Ian turns, exasperated to see the fox is still alive. He \\* returns and swings two more times. Again, he walks away in \\* agony. Felicia clears her throat - still alive. \\*<\/scene_description>\n    <character>IAN \\*<\/character>\n    <dialogue>Jesus! \\*<\/dialogue>\n    <scene_description>Ian drags himself back and swings again. \\*<\/scene_description>\n    <character>LANCE \\*<\/character>\n    <dialogue>Boy, he's really hanging in there. \\*<\/dialogue>\n    <scene_description>Ian loses it, beating it severely. As he does, he's bathed \\* in red and blue flashing light. \\*<\/scene_description>\n    <character>IAN \\*<\/character>\n    <dialogue>God damn it! I'm trying to help \\* you out, here! Why won't you just \\* die, for fucks sake!? \\*<\/dialogue>\n    <scene_description>He raises the tire iron once more but stops as he notices a \\* cop standing in front of him. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - NIGHT \\*<\/stage_direction>\n    <scene_description>Ian and Lance are being led down the hall by the cop. \\*<\/scene_description>\n    <character>IAN \\*<\/character>\n    <dialogue>I swear I didn't know it was an \\* endangered species. \\*<\/dialogue>\n    <character>LANCE \\*<\/character>\n    <dialogue>The vet said there's a good chance \\* it might pull through. \\*<\/dialogue>\n    <character>COP #1 \\*<\/character>\n    <dialogue>You better hope so. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAIL CELL<\/stage_direction>\n    <scene_description>The holding cell is modern and industrial with bright fluorescent lights and a single steel toilet. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library The benches are occupied by six other captives who await bail or arraignment. Ian is scared shitless and it shows.<\/scene_description>\n    <character>LANCE<\/character>\n    <parenthetical>(sotto to Ian)<\/parenthetical>\n    <dialogue>Dude. Man up. They think you're shittin' your pants, they'll fuck with you.<\/dialogue>\n    <scene_description>Ian does a terrible impersonation of a tough guy. After a beat, a man rolls up on Lance, posturing like he means harm.<\/scene_description>\n    <character>PRISONER #1<\/character>\n    <dialogue>Yo, man--<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Whoa! Sit your ass the fuck back down or you and me - we're gonna have a fuckin' problem!<\/dialogue>\n    <scene_description>The guy backs off.<\/scene_description>\n    <character>PRISONER #1<\/character>\n    <dialogue>Shit, man. Chill. Damn.<\/dialogue>\n    <scene_description>He sits. Ian can't believe what he just saw. Lance gives him a look, \"See what I mean?\" A moment later, a man on Ian's side is tapping on his own watch. He notices Ian is wearing a watch. He stands to approach Ian.<\/scene_description>\n    <character>PRISONER #2<\/character>\n    <dialogue>Excuse me. What--<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Yo! Back that shit up, bitch!<\/dialogue>\n    <scene_description>WHAP!!! The guy lays Ian out.<\/scene_description>\n    <character>PRISONER #2<\/character>\n    <dialogue>All I wanted was the goddamn time.<\/dialogue>\n    <character>IAN (O.S.)<\/character>\n    <parenthetical>(from the floor)<\/parenthetical>\n    <dialogue>Ten after six.<\/dialogue>\n    <character>PRISONER #2<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>IAN (O.S.)<\/character>\n    <dialogue>Don't mention it.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION<\/stage_direction>\n    <scene_description>Two bored desk cops play with one of our hero's phones.<\/scene_description>\n    <character>COP #1<\/character>\n    <dialogue>Well, I'll be damned. You can watch yourself a picture show on this here telephone unit.<\/dialogue>\n    <character>COP #2<\/character>\n    <dialogue>Ya probably ought not mess with it.<\/dialogue>\n    <character>COP #1<\/character>\n    <dialogue>Ooohh - Sharky's Machine.<\/dialogue>\n    <character>COP #2<\/character>\n    <dialogue>Well, shit. Fire it up.<\/dialogue>\n    <scene_description>He does. The intro music kicks in. After a moment, the phone rings. They're not sure what to do.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAIL CELL<\/stage_direction>\n    <scene_description>Ian checks his watch.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Well, It's over. No Ms. Tasty, Felicia hates me, got a nice beat down coming from Rex. Good trip.<\/dialogue>\n    <scene_description>Ian sighs hard as he steps over to the toilet. His expression is distant and haggard but also slightly more mature. He starts to pee. Lance looks over, surprised.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Dude.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>You're peeing in front of a bunch of people.<\/dialogue>\n    <scene_description>Ian looks around, appreciating the moment.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Hey, I am. I'm just standing here takin' a whiz. Like it's nothing.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>And that guy's looking straight at your dick.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>PRISONER #1<\/character>\n    <dialogue>Atta boy.<\/dialogue>\n    <scene_description>Ian wraps up and rejoins Lance.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Look at you. You're a new man.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>No I'm not.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Dude. You stole a car, you got \\* arrested, got in a fight, sort of. \\* Hey, you killed an endangered \\* species with your bare hands. \\* That's gotta count for something. \\*<\/dialogue>\n    <scene_description>The prisoner next to them gives Ian a look of approval.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Now you're pissin' like a big dog. There's only one thing left...<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Well, that's out. I was supposed to meet her three hours ago.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Look, when we get out of here, just tell her you got pinched and you've been in the hard yard. She'll think that's badass.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WOMEN'S JAIL CELL<\/stage_direction>\n    <scene_description>Felicia sits among four other prisoners of varied ages and degrees of nasty. They sit on the benches, arranged around Felicia, like The View. Felicia is sad.<\/scene_description>\n    <character>FEMALE PRISONER #1<\/character>\n    <dialogue>Shit! This Ian boy sound to me like he got no balls at all.<\/dialogue>\n    <character>FEMALE PRISONER #2<\/character>\n    <dialogue>Why? 'Cause he got to fussin' some over a sufferin' critter? I think that's real sweet.<\/dialogue>\n    <character>FEMALE PRISONER #3<\/character>\n    <dialogue>Well, I say this Lance sounds like a real hunk of man cake.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>FEMALE PRISONER #3<\/character>\n    <dialogue>Only way to keep his kind around is to get his babies in you, pronto.<\/dialogue>\n    <character>FEMALE PRISONER #2<\/character>\n    <dialogue>But he got no respect for bitches.<\/dialogue>\n    <scene_description>Felicia is uncharacteristically comfortable sharing. She plays along gamely with their vocabulary.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Shathayd's right. No respect for bitches. None whatsoever.<\/dialogue>\n    <character>FEMALE PRISONER #1<\/character>\n    <dialogue>Girl. Oprah says you just got to tell the universe what you want.<\/dialogue>\n    <character>FEMALE PRISONER #3<\/character>\n    <dialogue>Yep. You gotta manifest that shit. Ain't you read The Promise?<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>FEMALE PRISONER #3<\/character>\n    <dialogue>You gotta read The Promise. That's how I got my shit straight.<\/dialogue>\n    <scene_description>Felicia starts to cry.<\/scene_description>\n    <character>FEMALE PRISONER #3<\/character>\n    <dialogue>Oh, baby. Come here.<\/dialogue>\n    <scene_description>#3 holds out her arms to Felicia but Felicia waves her off. #3 is a bit offended. A wider shot reveals that #3 is seated on the steel toilet, pants around her ankles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAIL CELL<\/stage_direction>\n    <scene_description>A cop opens the cell door.<\/scene_description>\n    <character>COP #1<\/character>\n    <dialogue>Ian Lafferty, Lance Nesbitt? Your bail's been posted.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Rex.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library Ian and Lance stand and reluctantly exit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION<\/stage_direction>\n    <scene_description>Felicia is being led out of the women's cell down the hall. They meet in the middle. Felicia and Ian have calmed down and they exchange humbled smiles. They all turn to see MARY signing forms at the desk. She's still dressed Amish. Lance lights up like a kid on Christmas morning.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>No way! Mary!<\/dialogue>\n    <scene_description>He runs to her. They hug. Ian and Felicia join them at the counter. An officer slides over three envelopes.<\/scene_description>\n    <character>COP #2<\/character>\n    <dialogue>Personal effects. Sign here.<\/dialogue>\n    <scene_description>They sign. Ian takes his phone. He turns it on. In the background we hear:<\/scene_description>\n    <character>LANCE (O.S.)<\/character>\n    <dialogue>How'd you know we were here?<\/dialogue>\n    <character>MARY (O.S.)<\/character>\n    <dialogue>I called your phone and someone here answered it.<\/dialogue>\n    <character>COP #1 (O.S.)<\/character>\n    <dialogue>Wasn't me.<\/dialogue>\n    <scene_description>Ian's phone displays, \"New Text Message From: Ms. Tasty.\" He clicks it. It brings up a message, \"Stood out here 4 an hour and a half. UR an ASSHOLE!\" Ian deflates. He steps outside, clicking on-line with his phone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MYSPACE CYBER RAVE<\/stage_direction>\n    <scene_description>Ms. Tasty stands talking to some other guy with a cool car. Ian appears. She turns to glare at him.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>MS. TASTY<\/character>\n    <dialogue>Get lost and leave me alone.<\/dialogue>\n    <scene_description>She waves a hand, he disappears. She turns. He reappears in front of her. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Tasty, just hear me out.<\/dialogue>\n    <scene_description>A suspicious stance but doesn't wave him off.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>I got arrested. I've been on lock- down for the last four hours.<\/dialogue>\n    <character>MS. TASTY<\/character>\n    <dialogue>For what?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Um...Street racing?<\/dialogue>\n    <character>MS. TASTY<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Yeah. No helmet. Open intoxicants - dangerous. But I'm out now.<\/dialogue>\n    <character>MS. TASTY<\/character>\n    <dialogue>I bet you haven't even left Chicago. You know, I've never done this before but I think you're just playin' me.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>I swear, I'm just about an hour away. You want me to turn around?<\/dialogue>\n    <scene_description>She considers this for a moment.<\/scene_description>\n    <character>MS. TASTY<\/character>\n    <dialogue>No. Eleven o'clock at the Shakey's. But, no more excuses. If you're one minute late, I'm gone.<\/dialogue>\n    <scene_description>She disappears.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE STATION - NIGHT<\/stage_direction>\n    <scene_description>Ian leans against the Judge, wrapping up his texting session. Lance, Felicia and Mary are walking toward him.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>So? What's the plan?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>We're going to Knoxville.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <scene_description>Ian gets in the car. Lance excitedly ushers Mary to the car. None of them see Felicia's look disappointment.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE JUDGE - HIGHWAY - NIGHT<\/stage_direction>\n    <scene_description>Ian and Felicia sit in the front, silent and far apart. Lance and Mary are in back, snuggling like the love struck teens they are. They pass a sign that reads, \"Knoxville 17 mi.\" Ian checks his watch. Felicia quietly reaches down for the bag that Ian had given her. She checks that he's not looking. She peeks inside. It's a pair of flip-flops with little daisies on them. Her feet are still bare. She gets glassy-eyed. Ian looks over. Felicia looks away. She is clearly moved by the gift.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EST. HARLAN'S FANTASY INN - NIGHT<\/stage_direction>\n    <scene_description>An old single level motel has been converted into \"fantasy\" rooms. The sign reads, \"22 Romantic Fantasy Theme Rooms to Choose From!\" It's right across the street from the Shakey's. The Judge is parked in front of a room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARLAN'S FANTASY INN - THE \"BLAZE\" ROOM<\/stage_direction>\n    <scene_description>The walls are painted with flames. The room is decorated with firefighter memorabilia including hoses, axes, helmets and a life-size cardboard cut-out of a sexy shirtless fireman. There's a thick brass pole in one corner. The bed looks like a wide fire engine. The clock on the wall reads, ten minutes to eleven. Ian is brushing his teeth and getting ready to go. Felicia sits on the bed, watching TV. She's wearing the flip-flops Ian bought for her. Ian takes one more look in the mirror. He's unsure of himself.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>You look good.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>He puts on his jacket and steps to the door. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Ian... Don't do this, okay? Don't turn into Lance. You're a nice guy.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>That's why I'm still a virgin.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>So what if you're a virgin? It's just sex, Ian.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>It's not about the sex. I'm weird. I'm the only virgin I know. I gotta get this done so everyone can stop freaking out about it. I know you don't approve but I'm sorry, I'm not going home a virgin.<\/dialogue>\n    <scene_description>He turns to exit.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Okay. Then do it with me.<\/dialogue>\n    <scene_description>He turns back, baffled.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Felicia downplays; this is not a sexy offer.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Do it with me, not some total stranger. I mean, we're friends, you know you won't get some nasty disease. Crabs or whatever.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Wow. I'd rather stay a virgin than lose it on pity-sex.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>I'm not talking about pity-sex.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Then what are you talking about?<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>I don't know. Sex. It doesn't have to mean anything. It doesn't have to jeopardize our friendship.<\/dialogue>\n    <scene_description>Ian sighs hard. He can't take hearing that word again. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>You know what, Felicia? Fuck the friendship. I'm sorry, but I can't be the guy you talk to about your boyfriends anymore. I can't be the guy you cry to when they hurt you. And I won't be your back-up plan. Maybe I'm just selfish but it's not enough. Now, I'm gonna go have meaningless sex with some random chick I met on the internet, unless you got something to say to me.<\/dialogue>\n    <scene_description>Felicia gets up and heads out the door. She stops and tries to find the right words. After a beat, she gives up and walks out, slamming the door behind her.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>That's what I thought.<\/dialogue>\n    <scene_description>Ian plops down on the bed, considering what he's done. He looks at the clock. Three minutes to eleven. He takes a deep breath, stands and walks to the door. He takes another beat to decide. He opens the door, revealing REX! He's removing a motorcycle helmet. A dirtbike is on its side, still spinning in the parking lot. Rex pushes Ian back into the room. Ian falls backwards onto the bed. Rex flings his helmet at Ian.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Rex. What are you doing here?<\/dialogue>\n    <character>REX<\/character>\n    <dialogue>You ever heard of Lo-Jack, cheese- dick!? (re: room) What the fuck?<\/dialogue>\n    <scene_description>Rex rushes Ian, grabbing him by the neck, lifting him to his feet, spinning him around and administering a brutal wedgie.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Rex, wait! The girl - the one I told you about. She's right across the street! She wants to do it with me and everything!<\/dialogue>\n    <scene_description>Rex throws Ian into the dresser, shattering a lamp.<\/scene_description>\n    <character>REX<\/character>\n    <dialogue>Like I give shit. Get your stuff, dick-cheese. We're going home!<\/dialogue>\n    <scene_description>Rex picks up Ian's suitcase and throws it at him. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Okay. Fine. It probably wouldn't have stopped all these feelings I've been having anyway.<\/dialogue>\n    <scene_description>Rex stops, curious.<\/scene_description>\n    <character>REX<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>You know - feelings, curiosities...about men.<\/dialogue>\n    <scene_description>Ian motions to the Firefighter cut-out.<\/scene_description>\n    <character>REX<\/character>\n    <dialogue>What!? Ah shit, Ian!<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Just lately, you know? I think you were right, Rex. I think I might be getting gay.<\/dialogue>\n    <scene_description>Rex picks Ian up by the shirt.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>I don't have any luck with girls. Maybe it's a sign.<\/dialogue>\n    <character>REX<\/character>\n    <dialogue>Uh, uh! No way is my brother taking it in the chili ring!<\/dialogue>\n    <scene_description>Rex boils like he might explode.<\/scene_description>\n    <character>REX<\/character>\n    <dialogue>Alright. You take the car and go bang a female woman like the good lord intended. You got one hour.<\/dialogue>\n    <scene_description>He releases Ian and pushes him toward the door.<\/scene_description>\n    <character>REX<\/character>\n    <dialogue>But, Ian...not up the butt!<\/dialogue>\n    <scene_description>Ian runs out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE JUDGE<\/stage_direction>\n    <scene_description>Ian jumps in the car. He checks his watch - 10:59. He starts it up and races across the street. He slowly pulls into the lot, looking all around for Tasty. No sign of her. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library He does spot a CREEPY old fat guy, standing in the parking lot, watching him drive in. The guy waves to Ian.<\/scene_description>\n    <character>CREEPY<\/character>\n    <dialogue>That's a sweet GTO.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>So, you're Ms. Tasty?<\/dialogue>\n    <character>CREEPY<\/character>\n    <dialogue>You give me a ride in that and you can call me whatever you like.<\/dialogue>\n    <scene_description>Ian bangs his head against the steering wheel.<\/scene_description>\n    <character>MS. TASTY (O.S.)<\/character>\n    <dialogue>Ian! Oh my gosh! Hey!<\/dialogue>\n    <scene_description>Ian turns to see the real Ms. Tasty stepping out of vintage Dodge Charger. She's even hotter than her picture and she speaks in a sweet southern accent that we didn't hear in cyberspace. She trots over to the car.<\/scene_description>\n    <character>MS. TASTY<\/character>\n    <dialogue>I was sure you were standing me up.<\/dialogue>\n    <scene_description>She jumps into the passenger side. Ian is terrified.<\/scene_description>\n    <character>MS. TASTY<\/character>\n    <dialogue>But, here you are. Look at you.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Yeah. Look at me.<\/dialogue>\n    <character>MS. TASTY<\/character>\n    <dialogue>You look kinda different than your picture.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Yeah. I, um, lost some weight 'cause I had the runs-- The flu. And I went to get my haircut and--<\/dialogue>\n    <character>MS. TASTY<\/character>\n    <dialogue>Well, you're mighty cute.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Oh. Good. What do you wanna do?<\/dialogue>\n    <character>MS. TASTY<\/character>\n    <dialogue>Hmmm. I LOVE your car. Why don't you take me for a ride.<\/dialogue>\n    <scene_description>Ian pulls out of the lot. Tasty cuddles up to him. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>So, Ms. Tasty. What's your real name?<\/dialogue>\n    <character>MS. TASTY<\/character>\n    <dialogue>I'll tell you after.<\/dialogue>\n    <scene_description>She kisses his neck. Ian smiles through his fear. They drive on. She rubs his chest and nuzzles his ear. Behind them a head slowly peeks up from the back seat - Felicia! She sees Ms. Tasty kiss Ian's cheek. She ditches back down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARLAN'S FANTASY INN - THE \"JUNGLE\" ROOM<\/stage_direction>\n    <scene_description>Lance and Mary's room is thick with fake jungle foliage. Jungle noises play. The headboard of the bed is an exotic fish aquarium. Lance and Mary lie on the bed. She cradles him like a child.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>I've just never felt this way about anyone before. I think I'm falling--<\/dialogue>\n    <scene_description>She kisses him.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Lance, I can't. It doesn't work that way. If I don't go back, I'll be shunned. I'd never see my family again.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>This Amish thing is a real motherfucker.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Tell me about it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY PARK - NIGHT<\/stage_direction>\n    <scene_description>Ian and Tasty lie on the grass, next to the Judge. They look up at the stars, using the foam Donut costume as a pillow.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>I don't get it. Why would a girl like you be meeting people on the internet? I mean, you could have any guy you wanted.<\/dialogue>\n    <character>MS. TASTY<\/character>\n    <dialogue>I've had some mighty bad luck when it comes to guys.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>MS. TASTY<\/character>\n    <dialogue>Dated a lot of greaseballs. I decided I wanted to communicate with someone, before... Well, before this.<\/dialogue>\n    <scene_description>She kisses him. Ian's eyes remain wide open as they kiss. Pan over to the Judge. The windows are rolled down and Felicia is peeking out from the back seat.<\/scene_description>\n    <character>MS. TASTY<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>Ian, why don't you take your clothes off.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Really?<\/dialogue>\n    <scene_description>She sits up and removes her shirt, revealing her terrifyingly perfect breasts. In the car, Felicia glances down at her own flatter chest. Ian sits up, facing Tasty. He maintains hard, deliberate eye- contact. She giggles.<\/scene_description>\n    <character>MS. TASTY<\/character>\n    <dialogue>Ian, you can look if you like.<\/dialogue>\n    <scene_description>Ian looks down. After a beat, he takes his out glasses and puts them on. Now he can't look away. She gently pushes him backward, climbs over him on all fours and tugs at his pants. His phone falls out. He picks it up and the screen lights up with the photo of Felicia by the shoe tree. Ian looks at it, swallows hard and stuffs the phone back in his pocket.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Wait. Listen, I, um...I have to confess something.<\/dialogue>\n    <scene_description>She stops and looks at him.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>I don't play football.<\/dialogue>\n    <scene_description>This makes Felicia smile and Tasty laugh.<\/scene_description>\n    <character>MS. TASTY<\/character>\n    <dialogue>Okay. I appreciate your honesty.<\/dialogue>\n    <scene_description>She continues tugging at his pants.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>No, seriously. I don't even really watch football.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>I got all that stuff from Friday Night Lights. I'm not even in college yet.<\/dialogue>\n    <character>MS. TASTY<\/character>\n    <dialogue>Ian. What do you think? Everything on my profile is the god's honest truth? Now, come on, take your clothes off.<\/dialogue>\n    <scene_description>She tries to take his shirt off. Again, he stops her.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Wait. There's something else. Okay, there's this girl and we--<\/dialogue>\n    <character>MS. TASTY<\/character>\n    <dialogue>Ian. I have a boyfriend. This can be our little secret.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Well, no. The thing is. I think I might be in love with her...<\/dialogue>\n    <scene_description>Tasty sits back down in the grass and releases an annoyed sigh. Felicia is now tearing up through a giddy smile.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>...and I know it's stupid, right? She probably won't ever even--<\/dialogue>\n    <character>MS. TASTY<\/character>\n    <dialogue>Ian. Just shut up and take your god damned clothes off. Jesus.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>DEEP MAN VOICE (O.S.)<\/character>\n    <dialogue>You heard the lady - strip.<\/dialogue>\n    <scene_description>Ian turns to see BOBBY JO, a huge, burly biker type, standing over him with a gun pointed at Ian's head. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY PARK - MOMENTS LATER<\/stage_direction>\n    <scene_description>Bobby Jo climbs behind the wheel of the Judge. Tasty carries Ian's clothes into the passenger side. She slams the door and calls back to Ian, who now stands naked, balls-in-hands. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>MS. TASTY<\/character>\n    <dialogue>You were right, Ian. Sixty Nine Judge - You were worth the wait.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Please, no! It's not even my car!<\/dialogue>\n    <character>MS. TASTY<\/character>\n    <dialogue>Good luck with your ladyfriend!<\/dialogue>\n    <scene_description>They peel away, Ian sees Felicia's terrified face pop up from the back seat.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Felicia! Oh, shit! Oh, shit!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE JUDGE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Bobby Jo drives as Ms. Tasty grinds on him in the front seat.<\/scene_description>\n    <character>MS. TASTY<\/character>\n    <dialogue>Bobby Jo Calhoun, you were so awesome back there! God damn sixty nine Judge. I love you so much, baby. Now listen, I got me another car coming in any minute so drop me back to the Shakey's and get this Goat over to Luis. Remember he's on fifth and Crescent. Don't mess it up this time!<\/dialogue>\n    <scene_description>Meanwhile, Felicia is lying in the back seat, furiously texting on her phone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARLAN'S FANTASY INN - THE \"JUNGLE\" ROOM<\/stage_direction>\n    <scene_description>Lance's phone sits on the night stand, blinking a text message that goes unseen as Lance and Mary are having sex. She's getting crazy on top. Lance is in heaven.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>I'm banging an Amish chick. I mean, what are the odds?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHAKEY'S PARKING LOT - NIGHT<\/stage_direction>\n    <scene_description>The Judge pulls into the lot. Tasty jumps out just in time to greet a car that's pulling in - THE PIMPED OUT HONDA. She trots over to it. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>MS. TASTY<\/character>\n    <dialogue>Hey, boys! You finally made it!<\/dialogue>\n    <scene_description>The window lowers revealing ANDY &amp; RANDY!<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>You Ms. Tasty?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Damn, you're hot as fuck.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>We got beers and rubbers.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>And some lotion for your tits.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE JUDGE<\/stage_direction>\n    <scene_description>Bobby Jo is about to pull away when he hears a beeping sound. He looks around, then rifles through Ian's clothes. He pulls out Ian's phone. A text message is flashing: \"Ian! I'm in the back seat! Help!\" Bobby Jo looks over the seat to see Felicia lying on the floor. She gives him a sheepish wave.<\/scene_description>\n    <character>BOBBY JO<\/character>\n    <dialogue>What the hell?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHAKEY'S PARKING LOT - HONDA<\/stage_direction>\n    <scene_description>Tasty is talking to Andy &amp; Randy, who are now far more timid.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>So, wait. You do wanna party?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>With us?<\/dialogue>\n    <character>MS. TASTY<\/character>\n    <dialogue>Oh, yeah. I want us all to get naked and party.<\/dialogue>\n    <scene_description>Andy &amp; Randy exchange innocent, worried looks. This is not the reply they are used to. Andy looks away and zips up his hoodie as far as it will go. Randy also diverts his eyes as he subtly reaches up to lock the door. Ms. Tasty looks down at the locked door button, confused. CRASH!!! In the background, the Judge is rocked as it is T- boned on the passenger side by a huge, jacked-up pick-up. Tasty spins around, \"What the hell?\" Andy and Randy raise the windows behind her. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARLAN'S FANTASY INN - THE \"BLAZE\" ROOM<\/stage_direction>\n    <scene_description>Rex heard the noise. He looks out the window.<\/scene_description>\n    <character>REX<\/character>\n    <dialogue>Holy fuckballs!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHAKEY'S PARKING LOT<\/stage_direction>\n    <scene_description>A big hillbilly climbs out of the truck - it's Rick! (Brandy's boyfriend from the cornfield.)<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>Get your ass out of the car you motherfuckin'...motherfucker!<\/dialogue>\n    <scene_description>Bobby Jo climbs out of the Judge. Rick takes a step back.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>Whoa. Who the fuck are you, man!?<\/dialogue>\n    <scene_description>Bobby Jo crosses to assess the damage. He speaks in a low, laid back and almost polite southern drawl.<\/scene_description>\n    <character>BOBBY JO<\/character>\n    <dialogue>God damn it.<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>Oh, shit. My bad. I thought you were someone else. Well, I wouldn't worry about it. A little Bondo will take care that.<\/dialogue>\n    <scene_description>Bobby Jo gives Rick's truck the once over.<\/scene_description>\n    <character>BOBBY JO<\/character>\n    <dialogue>Well, you done fouled up my ride, so I guess I'll be taking yours.<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>Fuck that shit.<\/dialogue>\n    <scene_description>Bobby Jo raises his gun to Rick's face. Rick tosses the keys.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>It's three on the tree and the clutch sticks.<\/dialogue>\n    <scene_description>Rex runs into the scene. Bobby Jo points the gun at him but Rex doesn't even notice. He rushes to the Judge and strokes it like an injured child. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>BOBBY JO<\/character>\n    <dialogue>Take a step back, boy.<\/dialogue>\n    <scene_description>Rex turns. No fear. He steps to Bobby Jo.<\/scene_description>\n    <character>REX<\/character>\n    <dialogue>Bite my dick, asswipe.<\/dialogue>\n    <scene_description>CRACK! Bobby Jo pistol whips Rex, who goes down hard.<\/scene_description>\n    <character>REX<\/character>\n    <dialogue>Aahhgg! Jesus Christ! What'd you do that for, man!?<\/dialogue>\n    <scene_description>Lance then rounds the corner, stops cold and goes wide-eyed at the crazy scene.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>That's the sum-bitch I was looking for!<\/dialogue>\n    <character>LANCE<\/character>\n    <parenthetical>(shitting bricks)<\/parenthetical>\n    <dialogue>Rick. Rickster. How'd you find us?<\/dialogue>\n    <scene_description>Rick takes out the Google maps and whips them at Lance. Rex, still on the ground, calls out to Lance.<\/scene_description>\n    <character>REX<\/character>\n    <dialogue>Lance!? What's going on here, faggot!?<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>I have absolutely no idea.<\/dialogue>\n    <scene_description>Ms. Tasty looks on, trying to decide whether she should engage in the situation. Something gets her attention - Felicia is sneaking out of the back seat. Tasty has had enough of this mess.<\/scene_description>\n    <character>MS. TASTY<\/character>\n    <dialogue>Bobby Jo! Who the hell is that!?<\/dialogue>\n    <character>BOBBY JO<\/character>\n    <dialogue>Oh, yeah. That's Felicia. Turns out she was hiding out in the back.<\/dialogue>\n    <character>MS. TASTY<\/character>\n    <dialogue>Well shit, boy! Then she heard everything! Hello!<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>BOBBY JO<\/character>\n    <dialogue>Damn it. You're right. Come here darlin'.<\/dialogue>\n    <scene_description>Felicia tries to bolt but Bobby Jo grabs her by the hair and pulls her back kicking and screaming toward the truck.<\/scene_description>\n    <character>IAN (O.S.)<\/character>\n    <dialogue>Take your hands off her!<\/dialogue>\n    <scene_description>Bobby Jo looks around. Nobody. He turns just in time to see Se\u00f1or Donut diving through the air. Bobby Jo raises his hands. Ian crashes into him. The gun falls, bounces off the pavement and discharges, taking out Andy &amp; Randy's windshield. They bail out. Everyone hits the deck. Bobby Jo looks up to see that the gun is now at Ian's feet. Ian is struggling to bend down for it. Bobby Jo goes after it but Ian beats him to it and levels the gun at Bobby Jo.<\/scene_description>\n    <character>IAN<\/character>\n    <parenthetical>(working the mouth)<\/parenthetical>\n    <dialogue>Everybody get back! Get back, man!<\/dialogue>\n    <scene_description>Bobby Jo stands and backs up.<\/scene_description>\n    <character>IAN<\/character>\n    <parenthetical>(working the mouth)<\/parenthetical>\n    <dialogue>Okay! Good! Everybody just be cool! Tasty! Get over there!<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Ian, you're working the mouth.<\/dialogue>\n    <character>IAN<\/character>\n    <parenthetical>(working the mouth)<\/parenthetical>\n    <dialogue>I don't care! Felicia, are you okay!?<\/dialogue>\n    <scene_description>Felicia nods. A phone rings. Everyone looks around. Bobby Jo's shirt pocket is glowing.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>My phone! Answer it! Now!<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>You best do what he says. That donut ain't fuckin' around.<\/dialogue>\n    <character>BOBBY JO<\/character>\n    <parenthetical>(answering)<\/parenthetical>\n    <dialogue>Hello? Um yes, sir... I believe he's right here...<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>BOBBY JO<\/character>\n    <dialogue>Um, I believe he's wearing it now... Yes, sir, a cruller pert near four foot 'round.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Is that Ron?<\/dialogue>\n    <character>BOBBY JO<\/character>\n    <dialogue>Yes, sir and he sounds mighty ticked. Why don't I just put y'all on speaker.<\/dialogue>\n    <scene_description>Bobby Jo holds up the phone.<\/scene_description>\n    <character>RON (V.O.)<\/character>\n    <dialogue>Ian? Listen chief, I need my costume back, toot-sweet.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Ron, I'll be in on Tuesday.<\/dialogue>\n    <character>RON<\/character>\n    <dialogue>Not gonna cut it, Ian. Bring it back first thing in the morning or you're fired.<\/dialogue>\n    <character>IAN<\/character>\n    <parenthetical>(working the mouth again)<\/parenthetical>\n    <dialogue>I'm fired? I'm the best employee you got! I stay late all the time, I cover for you when you have your D &amp; D tournaments, I'm the only one who knows how to fix the register spool! Fuck you! I dare you to fire me!<\/dialogue>\n    <scene_description>Rex and Lance exchange a glance - they're impressed.<\/scene_description>\n    <character>RON<\/character>\n    <dialogue>Okay. Don't get all testy. I was just horsing around. Just bring 'er in when you can, amigo.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Hang it up! (Bobby Jo does) Okay! Here's what's gonna happen! Rex! You're gonna get the Judge outta here! Rick! You can punch Lance but just once.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>What the fuck, dude?<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>You nailed his girlfriend!<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Not exactly. But okay. Fair enough. Not in the nuts, okay?<\/dialogue>\n    <scene_description>WHAP! Rick punches Lance in the head. Lance goes back but not down. He holds himself up with his hands on his knees.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Holy god. Good punch.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Now get in your truck and get out of here!<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>He's got my keys.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Give him his fuckin' keys!<\/dialogue>\n    <scene_description>Bobby Jo walks toward Ian.<\/scene_description>\n    <character>BOBBY JO<\/character>\n    <dialogue>You ain't gonna kill nobody.<\/dialogue>\n    <character>REX<\/character>\n    <dialogue>Smoke that cocksucker, Ian!<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Stop! I'm serious!<\/dialogue>\n    <character>BOBBY JO<\/character>\n    <dialogue>I bet you don't even know how shoot that thing.<\/dialogue>\n    <scene_description>Ian fires the gun in the air. Bobby Jo stops.<\/scene_description>\n    <character>BOBBY JO<\/character>\n    <dialogue>Okay. But anybody can shoot a gun in the air.<\/dialogue>\n    <scene_description>Bobby Jo keeps coming.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>I'll shoot you in the leg!<\/dialogue>\n    <character>BOBBY JO<\/character>\n    <dialogue>I don't think so.<\/dialogue>\n    <scene_description>BANG! Ian shoots him in the leg. Bobby Jo writhes in pain. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>BOBBY JO<\/character>\n    <parenthetical>(wincing)<\/parenthetical>\n    <dialogue>Okay! Okay! But anybody can shoot someone in the leg.<\/dialogue>\n    <scene_description>Bobby Jo limps toward Ian.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Jesus, man! What do I gotta do?<\/dialogue>\n    <scene_description>Suddenly, a squad car slides sideways into the parking lot. Mary is in the back seat. Another squad car pulls in behind it. Ms. Tasty makes a break for it. She passes Andy &amp; Randy. Andy trips her and she eats shit. A tall, thin cop grabs her and handcuffs her. A fat, dim cop leaps out of the first car, pumps his rifle and aims it over his hood at Ian.<\/scene_description>\n    <character>FAT COP<\/character>\n    <dialogue>Drop the weapon, donut man!<\/dialogue>\n    <scene_description>Ian drops the gun. Everyone flinches but it doesn't go off again.<\/scene_description>\n    <character>FAT COP<\/character>\n    <dialogue>Okay! Hands on your head!<\/dialogue>\n    <scene_description>Ian puts his right hand on Se\u00f1or Donut's head.<\/scene_description>\n    <character>FAT COP<\/character>\n    <dialogue>Both hands, asshole!<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>I can't move the other arm!<\/dialogue>\n    <character>FAT COP<\/character>\n    <dialogue>Who said that!?<\/dialogue>\n    <character>IAN<\/character>\n    <parenthetical>(working the mouth)<\/parenthetical>\n    <dialogue>I can't move the other arm!<\/dialogue>\n    <scene_description>His partner covers everyone else as the fat cop cautiously crosses toward Ian. When he reaches him, he whips out a stun gun and zaps Ian but he's protected by the foam donut.<\/scene_description>\n    <character>IAN<\/character>\n    <parenthetical>(working the mouth)<\/parenthetical>\n    <dialogue>Okay! I'm not resisting!<\/dialogue>\n    <scene_description>The cop zaps him again, then sprays pepper spray into the plastic eyes on top. It splashes back at the cop, who covers his eyes and falls backward. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>FAT COP<\/character>\n    <dialogue>The big Mexican won't go down! Take your shot!<\/dialogue>\n    <scene_description>BLAM! The other cop fires at Ian, blowing off his fake arm. Felicia runs to stand in front of him.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Jesus Christ! He's not the bad guy here! She's the car thief!<\/dialogue>\n    <scene_description>The cop looks at Ms. Tasty.<\/scene_description>\n    <character>THIN COP<\/character>\n    <dialogue>Say Dan. Ain't she the perp from the FBI bulletin? The one who's stealing cars with her computer.<\/dialogue>\n    <scene_description>The fat cop squints up at her.<\/scene_description>\n    <character>FAT COP<\/character>\n    <dialogue>Shit the tub.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHAKEY'S PARKING LOT - LATER<\/stage_direction>\n    <scene_description>A few more squad cars are there. Ms. Tasty and Bobby Jo are being read their rights while a medic bandages up Bobby Jo's leg. Felicia gives an eyewitness report to a cop.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>...and there's some guy named Luis who was waiting for them at Fifth and Crescent...<\/dialogue>\n    <scene_description>Andy and Randy are being interviewed by a hot blonde news reporter.<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>I understand you gentlemen got a good look at the perpetrators.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>We got more than a good look.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Yeah. We were banging that chick in our car.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Totally banging her. Hard.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>Alright! Jesus Christ! Shut it down guys. We got any witnesses who aren't retarded!?<\/dialogue>\n    <character>CAMERMAN<\/character>\n    <dialogue>We're live, Judy.<\/dialogue>\n    <character>RANDY<\/character>\n    <parenthetical>(to cameraman)<\/parenthetical>\n    <dialogue>You bangin' her?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>We'd totally bang her.<\/dialogue>\n    <scene_description>Ian sits on the hood of a squad car, still in the donut suit. Felicia steps up, unzips Ian and helps him get his head out. \\*<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Thanks for coming for me.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>What were you doing in the back seat?<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>You don't know. Jesus. Why can't you just say it?<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>You first.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Fine. You love me.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Okay. Well, you love me too then.<\/dialogue>\n    <scene_description>He kisses her. Then a longer one. Rex walks by.<\/scene_description>\n    <character>REX<\/character>\n    <dialogue>Thank god.<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMISH BARN - DAY<\/stage_direction>\n    <scene_description>Ian, Rex, Lance and Felicia are milking cows. Rex is grossed out. They are all filthy and sweaty. They look like they've been at it a while. Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library VROOOM!! They look over to see the Judge being rolled out of the barn. The side damage is as good as new and now there are flames on the side. Rex stands, very pleased. They all run to the car. Ezekiel climbs out and pulls off some extra masking tape around the moulding.<\/scene_description>\n    <character>REX<\/character>\n    <parenthetical>(to Ian)<\/parenthetical>\n    <dialogue>Okay. I guess you get to live.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMISH BARN - LATER<\/stage_direction>\n    <scene_description>Ian and Felicia are in the Judge. Rex kick starts his dirtbike.<\/scene_description>\n    <character>REX<\/character>\n    <dialogue>Straight home, pussy! And keep your god damn phone on!<\/dialogue>\n    <scene_description>Rex takes off. Lance and Mary are kissing near the barn. Ian honks the horn. Lance runs over.<\/scene_description>\n    <character>IAN<\/character>\n    <dialogue>Dude, we gotta go.<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>You two go ahead. I'm gonna hang here and kick it Amish style.<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>LANCE<\/character>\n    <dialogue>Hard work, fresh air, missionary position - sounds good.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>Lance. Give me a break.<\/dialogue>\n    <scene_description>Ian sees in Lance's eyes that he's serious. Ian gets out and gives Lance a hug.<\/scene_description>\n    <character>LANCE<\/character>\n    <dialogue>Now, you two go 'visit grandma.'<\/dialogue>\n    <scene_description>Lance walks back to Mary. Ian and Felicia drive off into the summer evening. DISSOLVE TO: Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library Close on Ian and Felicia, face to face, nothing but blue sky behind them. She kisses him.<\/scene_description>\n    <character>FELICIA<\/character>\n    <dialogue>Are you sure you're ready to do this?<\/dialogue>\n    <character>IAN<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>A wide shot reveals that we are along a:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY ROAD - SUNSET<\/stage_direction>\n    <scene_description>Ian tosses his shoes into the shoe tree. Felicia cheers. They stand and look for a moment more, then walk to the car barefooted. Felicia is fine but Ian is tip-towing and wincing as his tender feet feel every pebble.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY HIGHWAY - DUSK<\/stage_direction>\n    <scene_description>The Judge rolls down the road. Felicia snuggles up to Ian in the front seat. They look deeply contented.<\/scene_description>\n    <character>IAN (V.O.)<\/character>\n    <dialogue>A few weeks later, I was Felicia's date to Tiffany's wedding. This time it wasn't a just-friends thing.<\/dialogue>\n    <scene_description>Cutaway to Ian and Felicia dancing together at the wedding. He kisses her.<\/scene_description>\n    <character>IAN (V.O.)<\/character>\n    <dialogue>Tiffany was right, Felicia did ruin all the pictures.<\/dialogue>\n    <scene_description>Cutaway to a photo of the wedding party. Zoom in on Felicia. She is smiling but her hand is subtly giving the finger.<\/scene_description>\n    <character>IAN (V.O.)<\/character>\n    <dialogue>That night, Felicia and I finally 'visited grandma.'<\/dialogue>\n    <scene_description>Cutaway to Ian's basement. Felicia's yellow dress is on the floor. They lie together, winded and sweaty, on the old couch. After a beat, she pulls Ian back on top of her.<\/scene_description>\n    <character>IAN (V.O.)<\/character>\n    <dialogue>...Twice.<\/dialogue>\n    <scene_description>Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library Track past them and up the stairs. Rex stands at the top. He lights a pack of firecrackers, tosses them down the stairs and laughs his ass off as they pop off.<\/scene_description>\n    <character>IAN (V.O.)<\/character>\n    <dialogue>Rex did make my life hell for a while. But two years later he finally came out to the family.<\/dialogue>\n    <scene_description>Cutaway to thanksgiving dinner. Rex stands and makes a tearful announcement. His mother cries; his father upends the turkey and storms out.<\/scene_description>\n    <character>IAN (V.O.)<\/character>\n    <dialogue>My parents got used to the idea. And Rex is a actually a pretty great guy these days. Now he only uses the word 'faggot' during sex.<\/dialogue>\n    <scene_description>Cutaway to Christmas dinner. Now Rex happily sits next to a handsome man. Mom and Dad smile and hand them a gift. Rex and his boyfriend delight as they unwrap a juicer.<\/scene_description>\n    <character>IAN (V.O.)<\/character>\n    <dialogue>Let's see. What else. Oh, my dad made Dylan take my old job.<\/dialogue>\n    <scene_description>Cutaway to Dylan, working the counter at Senor Donut. Ron is smelling his finger with great interest.<\/scene_description>\n    <character>IAN (V.O.)<\/character>\n    <dialogue>Andy &amp; Randy finally got a girlfriend.<\/dialogue>\n    <scene_description>Cutaway to Andy and Randy with their arms around a slightly heavy young girl. They are gushing with pride.<\/scene_description>\n    <character>IAN (V.O.)<\/character>\n    <dialogue>...and as for Lance's new simpler life among the Amish...<\/dialogue>\n    <scene_description>We return to where we left off, as Ian and Felicia drive away in the Judge. Ian's phone rings. He answers.<\/scene_description>\n    <character>IAN<\/character>\n    <parenthetical>(into the phone)<\/parenthetical>\n    <dialogue>Hello?... What do you mean it's not working out? You've been Amish for forty five minutes!<\/dialogue>\n    <scene_description>The Judge turns around and drives back the other way. FADE OUT.: Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library THE END Script provided for educational purposes. More scripts can be found here: http:\/\/www.sellingyourscreenplay.com\/library<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Ian Lafferty is an 18-year-old recent high school graduate. He searches for a girl online making it seem as if he is attractive and strong, although he is sweet and unassuming. He soon meets \"Ms. Tasty\" and agrees to meet her in person. She lives in Knoxville, Tennessee, while he lives in Bartlett, Illinois. With his best friends Lance Nesbitt and Felicia Alpine, he goes to Knoxville in a 1969 Pontiac GTO Judge borrowed without permission from Ian's arrogant, homophobic and macho older brother Rex. On the way to Knoxville, they come across a hitchhiker, as the radiator in the Judge overheats. They attempt urinating in the radiator, which only works briefly as they try to leave the hitchhiker in the dust. The hitchhiker, frustrated at Ian's lack of concern for his well-being, leaves, but not before urinating on the car window. As Ian and Felicia wander to find help, Lance is waiting with the car as Ezekiel happens to pass by in his horse-drawn buggy. Ezekiel and his Amish buddies repair the car. At the same time, they join a Rumspringa party where Fall Out Boy are playing a concert, and at which Lance meets an attractive Amish girl named Mary. The three promise to come again on the way back to do some work in return for fixing the car. They go to jail due to Ian throwing a tire iron into a state trooper car, due to his increasing frustration after trying to put a possum he hit out of its misery, and they are released after Mary pays the bail. Upon arriving in Knoxville, they find a hotel that sports a wide variety of role playing rooms. Rex, who has discovered the Judge missing, arrives angrily and insists that they go back and that Ian cannot visit Ms. Tasty. After Ian pretends to be gay, Rex allows him to see Ms. Tasty, hoping this encounter will change Ian's mind. Ian finally meets Ms. Tasty. However, when he tells her about Felicia, her seduction of Ian becomes a threat as her psychotic boyfriend Bobby Jo puts a gun to Ian's head. It becomes apparent that they work at a chop shop and attempt to steal the Judge. Lance and Mary arrive after having sex, as well as a redneck named Rick, whose girlfriend Brandy slept with Lance earlier. Felicia, however, is hiding in the car when Bobby Jo tries to steal it. Soon, a green car that has been continuously drag-racing with the Judge throughout the movie arrives. Ian manages to save Felicia, who then is able to run off and report to the police. Ms. Tasty tries to escape, but is stopped by the green car, whose drivers turn out to be Andy and Randy, two dim-witted self-declared \"womanizers\" from Ian's school, whom Ms. Tasty tried to manipulate into giving her the car. Bobby Jo is treated after being shot by Ian in self-defense. Felicia tells the police about the chop shop location and the couple is arrested. Upon finding out that if Mary leaves the Amish community, she will be shunned, Lance refuses to come back home and stays behind to marry Mary, while Ian and Felicia realize their love for each other. Ian and Felicia drive to a tree where Ian throws his shoes up into the tree. A few weeks later Ian is Felicia's date to her cousin's wedding. At Thanksgiving dinner, Rex tells his family that he is gay. On New Year's Eve, Ian and Felicia have sex, in Ian's basement on the couch under a blanket. In the final frame of the film, a picture is shown of Lance and Mary getting married, accompanied by Ian. Lance is shown sporting a beard exactly like Ezekiel's. During the credits, a short scene shows Ezekiel and Fall Out Boy arguing over the fact that the Amish fixed Fall Out Boy's tour bus for just \"a five song set\" in form for compensation, referring to a running gag throughout the movie."}
{"movie_name":"Where the Crawdads Sing_2022","imdb_id":"tt9411972","script":"<script>\n  <scene>\n    <scene_description>o<\/scene_description>\n    <character>WHERE THE CRAWDADS SING<\/character>\n    <dialogue>Written by<\/dialogue>\n    <dialogue>Lucy Alibar<\/dialogue>\n    <scene_description>Based on the novel by Delia Owens Hello Sunshine\/3000 Pictures (310)244-3000 o EXT. MARSH - WATER - DAY A boat drifts out in the water. Old, gnarled hands open a sketchbook.<\/scene_description>\n    <character>KYA (V.O.)<\/character>\n    <dialogue>The marsh is not a swamp. The marsh is a space of light, where grass grows in water and water flows into the sky.<\/dialogue>\n    <character>AERIAL SHOT:<\/character>\n    <dialogue>THE MARSH<\/dialogue>\n    <scene_description>We wind down through the sky, past gulls surrounding a FIRE TOWER. We continue along the rugged Carolina coast . To the houses on the edge of Barkley Cove . To Jumpin's Bait &amp; Gas ... Down the cove to Point Beach .... Past more coast, over scrappy pines and grass ..<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - DAY (1969 AFTER DEATH)<\/dialogue>\n    <character>HEADING:<\/character>\n    <dialogue>BARKLEY COVE, 1969<\/dialogue>\n    <scene_description>BENJI and STEVEN (both 10), crash through the marsh, pretending to shoot each other. They stumble over a body, whose face we're unable to make out.<\/scene_description>\n    <character>KYA (V.O.)<\/character>\n    <dialogue>A swamp knows about death, and doesn't define it as tragedy. Not as a sin.<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - DAY - LATER<\/dialogue>\n    <scene_description>The burly, confident SHERIFF ED JACKSON (50s) and DEPUTY JOE PERDUE (20s) study the body. Benji and Steven huddle together, trying to hide their fear.<\/scene_description>\n    <character>SHERIFF JACKSON<\/character>\n    <dialogue>How many times I told folks in this town something like this was bound<\/dialogue>\n    <scene_description>o to happen? o DEPUTY PERDUE Thought Chase Andrews would have more common sense. Deputy Perdue shines his light around the mud. Two sets of small footprints.<\/scene_description>\n    <character>DEPUTY PERDUE<\/character>\n    <dialogue>Boys, are these your footprints here?<\/dialogue>\n    <scene_description>The boys nod. And now Sheriff Jackson shines his light towards the fire tower, looming ahead.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIRE TOWER - DAY<\/stage_direction>\n    <scene_description>Sheriff Jackson and Deputy Perdue climb the ladder in the FIRE tower.<\/scene_description>\n    <character>DEPUTY PERDUE<\/character>\n    <dialogue>Some kids just get crazy ideas in their heads. They drink and think they're invincible.<\/dialogue>\n    <scene_description>When they reach the last step, Sheriff Jackson lifts his hands and pushes open an iron grate.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>FIRE TOWER - PLATFORM - DAY<\/dialogue>\n    <scene_description>The men crawl up through the open grate to the platform. There are wooden planks all around the perimeter, but the floor is a series of see-through square grates that can be opened and closed.<\/scene_description>\n    <character>DEPUTY PERDUE<\/character>\n    <dialogue>Hey, look at that.<\/dialogue>\n    <scene_description>He points to the far side of the platform, where one of the grates is wide open. They go to the grate and peer down. The body, misshapen, is below.<\/scene_description>\n    <character>SHERIFF JACKSON<\/character>\n    <dialogue>Did he open that grate himself?<\/dialogue>\n    <scene_description>They stare down at the marsh below.<\/scene_description>\n    <character>DEPUTY PERDUE<\/character>\n    <dialogue>Could have been an accident, all the same.<\/dialogue>\n    <scene_description>o o SHERIFF JACKSON How did Chase Andrews walk down the path, cross this muck to the stairs so he could climb to the top, and not leave any footprints behind? Did the man levitate?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KYA'S HOUSE - DAY (1951)<\/stage_direction>\n    <character>HEADER:<\/character>\n    <dialogue>1951<\/dialogue>\n    <scene_description>A green saltwater lagoon, pristine and seething with life, laps at clusters of oaks and palmettos on the shore. Standing with her bare feet in the lagoon, LITTLE KYA CLARK, 7, holds a sea gull feather up to the sunlight.<\/scene_description>\n    <character>MA (O.S.)<\/character>\n    <dialogue>Kya, you better not get too far out!<\/dialogue>\n    <scene_description>Behind Little Kya is the Clark house: A screened-in shack, hiding behind a cluster of palmettos. MA (20s), Kya's young, pretty mother, smokes mussels over a smoker in a yard. Dogs and chickens run wild. Little Kya's brothers and sisters (MURPH, 17, LITTLE JODIE, 8, MISSY, 14, and MANDY, 10) are coaxing CHANEL, the resident skunk, out from under the house.<\/scene_description>\n    <character>LITTLE JODIE<\/character>\n    <dialogue>Come on, Chanel! There's a pretty girl!<\/dialogue>\n    <scene_description>But Chanel won't budge. Little Kya stares at an overhead flock of seagulls, lost in her own world.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - NIGHT<\/dialogue>\n    <scene_description>The house has dirt floors and bare walls. Ma and the children have taken pride in keeping their home clean and tidy. Ma curls up with a beat-up encyclopedia, \"B\". Little Kya relaxes on her lap. Ma reads aloud as Little Kya traces her fingers over pictures of beaches, trees, flowers. o o MA (reading) \"Bora Bora, surrounded by coral reef, hosts thousands of species of marine and bird life ... \"<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Chanel waddles out from under the house. Little Kya holds a biscuit in front of the skunk's curious nose.<\/scene_description>\n    <character>LITTLE KYA<\/character>\n    <dialogue>Here you go, Chanel.<\/dialogue>\n    <scene_description>Chanel grabs the biscuit from Little Kya's hands and waddles back under the house. Little Kya's siblings squeal with delight.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY - LATER<\/dialogue>\n    <scene_description>Ma paints with a five-and-dime watercolor set. The trees outside, the water. Little Kya is set up with her own paper next to her. Little Kya copies all of her mother's movements, clumsily painting the marsh.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Ma, face bruised, counts out money for Little Kya. She manages a smile for the fearful little girl.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>I'm busy with chores, if anyone asks. \"Yes sir, yes ma'am.\" Don't run in town or they're gonna think you stole something.<\/dialogue>\n    <scene_description>Little Kya takes the money Ma counts out for her.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>THE ROAD TO BARKLEY COVE -<\/dialogue>\n    <scene_description>Little Kya trudges through black mud to town.<\/scene_description>\n    <character>KYA (V. O.)<\/character>\n    <dialogue>It was four miles into town. Barkley Cove used to all be underwater. People like to act like we come a long way, but ... we<\/dialogue>\n    <scene_description>o still pretty much ancient creatures, if you want to know the truth. o But the distance doesn't bother Little Kya. She's absorbed in the salty haze, the gulls and sparrows, the snakes. Little Kya makes her way out of the Everglades ...<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>BARKLEY COVE - PIGGLY WIGGLY - DAY<\/dialogue>\n    <scene_description>And into the single lane highway of Barkley Cove. The town is a shocking contrast to Little Kya's home in the marsh. Everything is clean, orderly, muted. The colors are beige and army green. A swarm of BOYS ON BICYCLES zooms past Little Kya, almost knocking her over. A well-dressed woman, MISS PANSY (20's), yells at them from the pay phone on the side walk.<\/scene_description>\n    <character>MISS PANSY<\/character>\n    <dialogue>Boys! I'm'll tell y'all's maromas about this. Better yet, y'alls papas. What ya got to say for yourself, Chase?<\/dialogue>\n    <scene_description>Tan, dark-haired LITTLE CHASE ANDREWS (8) looks back at Little Kya and smiles. Little Kya sees he's got the nicest bike of any of them.<\/scene_description>\n    <character>LITTLE CHASE<\/character>\n    <dialogue>Just surprised to see that girl there, is all.<\/dialogue>\n    <scene_description>Miss Pansy sees Little Kya for the first time. She sucks her teeth and leans in, speaking low to the boys, but Little Kya hears it all the same.<\/scene_description>\n    <character>MISS PANSY<\/character>\n    <dialogue>Boys, you gotta stay away from girls like that. She's trash from the swamp, you understand? They eat cockroaches.<\/dialogue>\n    <character>BOYS<\/character>\n    <dialogue>Yes, ma'am.<\/dialogue>\n    <scene_description>Little Kya watches this flock of boys laughing together. Little Chase turns around. Steals a look in Little Kya's direction before joining the rest of the boys as they ride off.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>BARKLEY COVE - PIGGLY WIGGLY - DAY<\/dialogue>\n    <scene_description>o Little Kya's eyes are wide as she beholds the food of Piggly Wiggly. She sways, weak with hunger. o She can't read, and relies on the pictures on the boxes to tell her what's what. She arrives at a giant bag of grits. She takes it to the counter. The cashier, MRS. SINGLETARY (50s) looks Little Kya up and down.<\/scene_description>\n    <character>MRS. SINGLETARY<\/character>\n    <dialogue>Where's your mamma at?<\/dialogue>\n    <character>LITTLE KYA<\/character>\n    <dialogue>Busy with chores.<\/dialogue>\n    <scene_description>Kya pulls out all the money from her pocket and puts it down on the counter. Mrs. Singletary softens, then counts out the money.<\/scene_description>\n    <character>MRS. SINGLETARY<\/character>\n    <dialogue>Twenty five, fifty, sixty, seventy, eighty, eighty-five and three pennies.<\/dialogue>\n    <scene_description>She's trying to teach Little Kya to count money, but sees it's not sinking in.<\/scene_description>\n    <character>MRS. SINGLETARY<\/character>\n    <dialogue>Because the grits was twelve cents.<\/dialogue>\n    <scene_description>Little Kya blinks. Mrs. Singletary pushes the rest of the money towards her.<\/scene_description>\n    <character>MRS. SINGLETARY<\/character>\n    <dialogue>You gotta get someone teach you to count. You can't go throwing your money around like that. You hear? You especially, need to be careful.<\/dialogue>\n    <scene_description>Little Kya nods, shaking, and walks carefully out the door with her bag of grits hugged to her stomach.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY (1952)<\/dialogue>\n    <character>HEADING:<\/character>\n    <dialogue>1952<\/dialogue>\n    <scene_description>Little Kya stands on a stool over a basin, where she scrubs a pot crusted in leftover grits. Pa is passed out at the kitchen table, his snoring breaks through the birdsongs and gentle breezes outside. Little Kya stifles a laugh. Suddenly, a door slams. Little Kya jumps. Then carefully, o carefully she returns her pot to the basin. Pa and opens the screen door .... She tiptoes past o EXT. KYA'S HOUSE - DAY Ma, frail and in her own world, walks one foot in front of the other, as if on a tightrope. Ma holds a blue train case so hard her knuckles are white. She has a white scarf wrapped around her head that doesn't do a good job of covering yellow bruises. She's wearing her nicest fake-alligator shoes, and the kitten heel looks wrong in the white dirt. Little Kya stares after her mother, mouth agape. Ma walks unsteadily. Little Kya begins to sprint, faster and faster, but Ma keeps walking. Little Kya finally stops. Stands still. Waits for Ma to turn around. Ma keeps walking down the sandy lane that leads to town, disappearing into the woods. Little Jodie appears behind Little Kya.<\/scene_description>\n    <character>LITTLE JODIE<\/character>\n    <dialogue>Ma'll be back.<\/dialogue>\n    <character>LITTLE KYA<\/character>\n    <dialogue>I dunno. She's wearing her gator shoes. Her goin' out shoes. Carrying her blue case like she's going somewheres big.<\/dialogue>\n    <character>LITTLE JODIE<\/character>\n    <dialogue>A ma don't leave her kids. It ain't in 'em.<\/dialogue>\n    <scene_description>But he stares down the path uncertainly.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - NIGHT<\/dialogue>\n    <scene_description>Mandy has boiled a big pot of beans on the stove. The rest of the children stand on the counter or under the pot with pieces of bread, dipping the bread into the beans and eating silently.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>KYA'S HOUSE - NIGHT<\/dialogue>\n    <scene_description>Little Kya sits on the screen porch, staring at the path. Waiting for Ma. o o EXT. KYA'S HOUSE - DAY Little Kya has fallen asleep on the porch. Little Jodie shakes her awake. He puts his finger to his lips. Pa's drunk snoring saws through the air, thick and dangerous.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - DAY<\/dialogue>\n    <scene_description>Little Jodie and Kya fight with wooden sticks in the marsh.<\/scene_description>\n    <character>LITTLE KYA<\/character>\n    <dialogue>TAKE THAT, SPANIARDS!<\/dialogue>\n    <scene_description>She lunges at Little Jodie, who gracefully sidesteps.<\/scene_description>\n    <character>KYA (V. O.)<\/character>\n    <dialogue>Everybody else was quick to get out, same way.<\/dialogue>\n    <scene_description>In a SERIES OF SHOTS, Little Kya sits by the chickens and watches her brothers and sisters leave. And here comes Little Jodie. He's got a black eye and swollen jaw. He heads straight to Little Kya, who's cradling a chicken in the yard.<\/scene_description>\n    <character>LITTLE JODIE<\/character>\n    <dialogue>Kya.<\/dialogue>\n    <scene_description>Little Kya stares at her chicken, cooing to the bird and ignoring Little Jodie.<\/scene_description>\n    <character>LITTLE JODIE<\/character>\n    <dialogue>Kya. Listen. Even when you think you're gonna cry you still have to look at people.<\/dialogue>\n    <character>LITTLE KYA<\/character>\n    <parenthetical>(through tears)<\/parenthetical>\n    <dialogue>That's a dumbass rule.<\/dialogue>\n    <character>LITTLE JODIE<\/character>\n    <dialogue>I have to go, Kya. Can't live here no longer. You're smart. You know that, don't you?<\/dialogue>\n    <character>LITTLE KYA<\/character>\n    <dialogue>I know. You could take me with you?<\/dialogue>\n    <scene_description>o Little Jodie's downcast eyes say it all. Little Kya is devastated. o LITTLE JODIE Kya, you be careful, hear? If anybody comes, don't go in the house. They can get you there. Run deep in the marsh, way out where the crawdads sing. Like Ma always says. Always cover your tracks; I learned you how, remember? Little Kya nods. He embraces her. She holds him tight. They both hear Pa shouting and throwing furniture, drunk, inside the house. Little Kya pulls away, aged twenty years in a few seconds.<\/scene_description>\n    <character>LITTLE KYA<\/character>\n    <dialogue>Run.<\/dialogue>\n    <scene_description>Little Jodie nods and runs away, leaving Little Kya standing in the dirt as her raging father breaks the whole house.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - WATER - DAY<\/dialogue>\n    <scene_description>Little Kya wades through the water, staring at fish. She's as gentle as the egrets cooling themselves in the water and paying her no mind.<\/scene_description>\n    <character>KYA (V. O.)<\/character>\n    <dialogue>Learned from the minnows to keep out of the way. Don't let anyone see me. Dart from sunspots to shadows.<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>JUMPIN'S SHOP - DAY<\/dialogue>\n    <scene_description>Pa slaps money down on the counter, in front of JUMPIN (50's, black, constantly on his toes) and his wife MABEL (50's, black, kind) .<\/scene_description>\n    <character>JUMPIN<\/character>\n    <dialogue>Hey, Jake! How are you?<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>Well, I woke up on the right side of the dirt. This here's my daughter, Kya Clark.<\/dialogue>\n    <character>JUMPIN<\/character>\n    <dialogue>o<\/dialogue>\n    <scene_description>Hello, Kya. Good to know you. Kya stares at her toes. o PA (nodding to Little Kya) She steered us here herself. How 'bout that?<\/scene_description>\n    <character>JUMPIN<\/character>\n    <dialogue>Good on you!<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>And I tell her, stay away from everybody. Don't be no little girl. Dangerous world, ain't it?<\/dialogue>\n    <character>JUMPIN<\/character>\n    <dialogue>It is, it is.<\/dialogue>\n    <character>MABEL<\/character>\n    <dialogue>You helping out your Pa while your Ma's gone?<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>Yes ma'am. Keeping the house clean for her and everything.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>Let's go.<\/dialogue>\n    <scene_description>Mabel slides a Sugar Daddy candy to Little Kya, with a sly wink. Little Kya smiles.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>JUMPIN'S WHARF - DAY<\/dialogue>\n    <scene_description>Pa and Little Kya walk down the wharf to their lone boat.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>We don't talk about her, hear?<\/dialogue>\n    <scene_description>Little Kya nods.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - WATER - DAY<\/dialogue>\n    <character>KYA (V. O.)<\/character>\n    <dialogue>Pa would drift in and out. Easier when he was out.<\/dialogue>\n    <scene_description>Little Kya drifts along in Pa's boat, past deer, salt grass ... She goes through dark lagoons. This is magical, and she's a o part of it. Little Kya looks up to the darkening sky and carefully turns the motor on. But which way is home? Little Kya looks around. She's lost and the clouds are gathering on the water.<\/scene_description>\n    <character>LITTLE KYA<\/character>\n    <dialogue>Don't be no girl.<\/dialogue>\n    <scene_description>She almost bumps into LITTLE TATE WALKER, 8, thin and dark- haired, fishing from a boat. He smiles at her and touches the brim of his hat. Little Kya, terrified, motors around him without as much as a smile.<\/scene_description>\n    <character>LITTLE TATE<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <scene_description>Little Kya can't answer.<\/scene_description>\n    <character>LITTLE TATE<\/character>\n    <dialogue>You're Jodie Clark's sister.<\/dialogue>\n    <character>LITTLE KYA<\/character>\n    <dialogue>Used to be. He's gone.<\/dialogue>\n    <character>LITTLE TATE<\/character>\n    <dialogue>Well, you're still his ...<\/dialogue>\n    <scene_description>He lets it drop.<\/scene_description>\n    <character>LITTLE TATE<\/character>\n    <dialogue>You don't have nobody looking after you?<\/dialogue>\n    <character>LITTLE KYA<\/character>\n    <dialogue>I don't need nobody.<\/dialogue>\n    <scene_description>Little Tate nods. He can't stop smiling when he looks at Kya. He tries to look away. Lets out a small laugh.<\/scene_description>\n    <character>LITTLE KYA<\/character>\n    <dialogue>What's funny?<\/dialogue>\n    <character>LITTLE TATE<\/character>\n    <dialogue>I just laugh when I'm happy.<\/dialogue>\n    <character>LITTLE KYA<\/character>\n    <dialogue>I never heard of that.<\/dialogue>\n    <character>LITTLE TATE<\/character>\n    <dialogue>You know your way home?<\/dialogue>\n    <scene_description>o Yeah ...<\/scene_description>\n    <character>LITTLE KYA<\/character>\n    <dialogue>o Then, worried her one shot out of here might leave ...<\/dialogue>\n    <character>LITTLE KYA<\/character>\n    <dialogue>Oh, you mean from here?<\/dialogue>\n    <character>LITTLE TATE<\/character>\n    <dialogue>Follow me.<\/dialogue>\n    <scene_description>And Little Tate leads Little Kya back home, through the lagoons, twisting and turning. She studies the way with wide eyes, making sure never to get lost again. They finally arrive in front of Little Kya's house. She leaps out and ties her boat to the waterlogged pine. He watches.<\/scene_description>\n    <character>LITTLE TATE<\/character>\n    <dialogue>Well, storm's coming, I better git. My name's Tate, case ya see me again.<\/dialogue>\n    <scene_description>Little Kya says nothing.<\/scene_description>\n    <character>LITTLE TATE<\/character>\n    <dialogue>Bye, now.<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY (1953)<\/dialogue>\n    <character>HEADER:<\/character>\n    <dialogue>1953<\/dialogue>\n    <scene_description>A truancy officer, MRS. CULPEPPER (30s and no-nonsense) knocks on the door to Little Kya's house.<\/scene_description>\n    <character>MRS. CULPEPPER<\/character>\n    <dialogue>Yoo-hoo, anybody home? Truant officer here. I've come to take Catherine Clark to school.<\/dialogue>\n    <scene_description>No answer.<\/scene_description>\n    <character>MRS. CULPEPPER<\/character>\n    <dialogue>It's the law, hon. You gotta go to school. You get a hot lunch every day for free. I think today they're having chicken pie with crust.<\/dialogue>\n    <scene_description>The door opens and Little Kya peers out. She's wearing Little Jodie's pants tied around with rope. No shoes. o o MRS. CULPEPPER Hello, dear. It's okay to go barefoot, other children do, but because you're a little girl you have to wear a skirt. Do you have a dress or skirt, hon? Little Kya disappears again into the house.<\/scene_description>\n    <character>MRS. CULPEPPER<\/character>\n    <dialogue>Hurry up, hon. You're not just late today, you're a year late, so let's--<\/dialogue>\n    <scene_description>She stops when Little Kya rushes back to the door, breathing hard. She's wearing one of Ma's skirts, pinned tightly around her tiny waist. Mrs. Culpepper manages a smile.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>SCHOOL - DAY<\/dialogue>\n    <scene_description>Little Kya stands in front of the class, ramrod straight in her pinned up skirt and bare feet. Two little girls, TALLSKINNYBLONDE and ALWAYSWEARSPEARLS, snicker at this dirty, skinny little waif. The teacher, MISS ARIEL, (19 and doing her best) tries not to laugh along.<\/scene_description>\n    <character>MISS ARIEL<\/character>\n    <dialogue>Do you want to tell us your name?<\/dialogue>\n    <character>LITTLE KYA<\/character>\n    <parenthetical>(carefully)<\/parenthetical>\n    <dialogue>Catherine Danielle Clark.<\/dialogue>\n    <scene_description>The room bursts out laughing.<\/scene_description>\n    <character>MISS ARIEL<\/character>\n    <dialogue>Now, children, we don't laugh! We never laugh. Miss Catherine Danielle Clark, why don't you spell \"Dog?\"<\/dialogue>\n    <character>LITTLE KYA<\/character>\n    <dialogue>G-0-D.<\/dialogue>\n    <scene_description>The class laughs again.<\/scene_description>\n    <character>ALWAYSWEARPEARLS<\/character>\n    <dialogue>Swamp trash.<\/dialogue>\n    <scene_description>Little Kya looks around desperately. Little Tate and Little o Chase both look down at their desks. not laughing. They're the only ones o MISS ARIEL You can go ahead and sit down, Miss Catherine Danielle Clark. Little Kya makes her way through the sea of contemptuous faces and finds a seat in the back of the room.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>SCHOOL - CAFETERIA - DAY<\/dialogue>\n    <scene_description>Little Kya watches the LUNCH LADIES heap her tray with collard greens, mash potatoes, some kind of meat situation, green beans, and corn bread. A sympathetic LUNCH LADY hands her a tray piled high with food. The other GIRLS in line pull back, disgusted. Little Kya takes her tray to a table in the corner, sits alone, and digs in. The entire cafeteria watches as Kya eats VERY carefully and slowly from her tray. She's starving, and nobody ever taught her how to use utensils, but she's doing her best. Little Kya takes a few bites. Drinks her milk. Then she opens up her milk container and gently forks the rest of her food into the container. She folds it back up. It's comical and just a little heartbreaking. Finally Little Kya looks up from her feast. The children and adults are all looking at her the way you would an elephant or a Komodo dragon. They've never seen anything nearly as strange as Little Kya before. Little Kya looks them all back in the eye, one by one by one. Little Tate can't meet her gaze and looks down. Little Chase stares right back. His expression is unreadable. Little Kya stands up and walks out of the cafeteria with her head held high. As she leaves, she hears the children burst into cruel laughter. The adults do nothing to stop them.<\/scene_description>\n    <character>CHILDREN<\/character>\n    <dialogue>Swamp rat! Swamp Rat! Swamp Rat!<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>SCHOOL - DAY<\/dialogue>\n    <scene_description>Little Kya keeps walking as the voices of the children fade.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>o Mrs. Culpepper knocks on Kya's door again. door. Pa opens the o PA Get the hell out!<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>The voices of Pa and Mrs. Culpepper fighting fade out as Little Kya climbs out the window ....<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - WOODS - DAY<\/dialogue>\n    <scene_description>... and runs deep into the woods. She cornes to the water and stops. Looks longingly at the boats out on the water.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - BACK ROOM - DAY<\/dialogue>\n    <scene_description>Little Kya sleeps on a pallet on the floor. Pa snores in the next room. Kya wakes up to the clanging of pots and pans. She sits straight up.<\/scene_description>\n    <character>LITTLE KYA<\/character>\n    <parenthetical>(delighted whisper)<\/parenthetical>\n    <dialogue>Ma!<\/dialogue>\n    <scene_description>Kya slips out of bed and runs to the kitchen.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - KITCHEN - DAY<\/dialogue>\n    <scene_description>Little Kya runs into the kitchen and stops dead. Her face falls. A CHICKADEE has flown into the house and is trying desperately to escape the cold, empty kitchen. It bangs on pots and pans as it flutters through the air. Little Kya opens the door for the bird and watches it fly off into the marsh.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY (1954)<\/dialogue>\n    <character>HEADER:<\/character>\n    <dialogue>1954<\/dialogue>\n    <scene_description>Little Kya makes breakfast for Pa. Harn, bacon, grits, eggs. She sets the table. Plates the food. Pa wanders in.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>Ah swannee, girl, what's a' this?<\/dialogue>\n    <scene_description>o Looks like ya went and got all growed up. Cooking and all. o LITTLE KYA Yessir. I fixed cornbread too but it didn't come out.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>Well, I thank you. That's a mighty good girl. I'm plumb wore out and hungry as a wallow-hog.<\/dialogue>\n    <scene_description>Little Kya sits with Pa at the table. He eats everything.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>This here's better'n a cold collard sandwich!<\/dialogue>\n    <character>LITTLE KYA<\/character>\n    <dialogue>I wish the cornbread'd come out. Maybe shoulda put more soda in, less eggs. Ma made it so good but I guess I didn't--<\/dialogue>\n    <scene_description>She stops talking when Pa's face clouds over at the mention of Ma.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>Hold up.<\/dialogue>\n    <scene_description>He gets up and goes to the closet. Rummages around and comes back with a World War Two issue knapsack.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>Thought you could use it for your feathers, bird nests, all that other stuff you collect.<\/dialogue>\n    <scene_description>Little Kya smells the knapsack and holds it close.<\/scene_description>\n    <character>LITTLE KYA<\/character>\n    <dialogue>Can I go fishing with you sometime?<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>You're a girl.<\/dialogue>\n    <character>LITTLE KYA<\/character>\n    <dialogue>Yessir. I'm your girl.<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - WATER - DAY<\/dialogue>\n    <scene_description>Little Kya and Pa boat down the river. She reaches into the water and pulls up some feathers. Holds o them up to Pa. o LITTLE KYA Great horned owl, probably. She pockets them.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>My folks wasn't always poor, you know. Had rich land, raised tobacco and cotton and such. Over near Asheville. We lived in a house with a veranda that went all the way around. It was fine, mighty fine. Then it all went wrong together. Depression, cotton weevils. I don't know what all, and it was gone Only thing left was debts.<\/dialogue>\n    <scene_description>They fish in silence.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>I don't want you needing anything from anybody. One day you'll understand, Kya. With the money the Army owes me, you know what I could have done? But I own this land, at least. And one day you will, too.<\/dialogue>\n    <character>LITTLE KYA<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>I want you to stay careful. In this world you can't be no goddamn girl, you understand?<\/dialogue>\n    <scene_description>Little Kya nods.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - WATER - DAY - LATER<\/dialogue>\n    <scene_description>Little Kya casts a line. Little Tate motors by. He waves at Little Kya and Pa. Little Kya waves back, and Pa punches her shoulder. He glares at Little Tate, who motors quickly away.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>You gotta be careful. Woods are full of white trash. Folks tell you they got your best interest at heart. They're all liars.<\/dialogue>\n    <scene_description>Ain't no one out for no one but theyselves. Better just to be alone. They keep fishing as the sun sets on their bare shoulders.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Kya and Pa walk up to the house with a line full of fish. The flag is up in the mailbox, and Kya runs to it. She pulls a letter out of the mailbox. \"CATHERINE DANIELLE CLARK\".<\/scene_description>\n    <character>LITTLE KYA<\/character>\n    <dialogue>That's Ma's handwriting!<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>Give me that.<\/dialogue>\n    <scene_description>He snatches the letter.<\/scene_description>\n    <character>LITTLE KYA<\/character>\n    <dialogue>Ma's alive! Living somewhere else. Why doesn't she come home?<\/dialogue>\n    <scene_description>Pa grabs the letter. Opens it and reads. His face clouds over.<\/scene_description>\n    <character>LITTLE KYA<\/character>\n    <dialogue>What's she say?<\/dialogue>\n    <scene_description>Pa fishes into his pocket for a lighter. He sets the letter on fire.<\/scene_description>\n    <character>LITTLE KYA<\/character>\n    <dialogue>Pa, stop! STOP THAT'S MINE! THAT'S FOR ME!<\/dialogue>\n    <scene_description>But the letter is ash.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>She ain't never coming back.<\/dialogue>\n    <scene_description>Pa drops what's left and walks back inside. Little Kya runs to scoop up the hot ash.<\/scene_description>\n    <character>LITTLE KYA<\/character>\n    <dialogue>AIN'T ISN'T EVEN A REAL WORD!<\/dialogue>\n    <scene_description>o o EXT. KYA'S HOUSE - DAY Little Kya pours her handful of ash into an empty bottle. She cradles it to her chest.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Little Kya has fallen asleep on the floor, holding her bottle. She awakens to Pa tiptoeing around, collecting his things. She sits up. Pa sees her.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>Going to Asheville. Army's holding onto my damn disability pay and hell if government's gonna rob my own daughter the way they robbed me. I'll be a week at most. I ain't leaving 'til they pay me what they owe me. Understand?<\/dialogue>\n    <character>LITTLE KYA<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <scene_description>Pa tries to say something more, but can't. He heads out the door. She stays on the floor, frozen.<\/scene_description>\n    <character>KYA (V.O.)<\/character>\n    <dialogue>Always had a talent for knowing when someone's gonna be gone. Even before they did.<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>SHERIFF'S OFFICE - DAY (1969 AFTER DEATH)<\/dialogue>\n    <scene_description>Deputy Perdue taps on Sheriff Jackson's door.<\/scene_description>\n    <character>DEPUTY PERDUE<\/character>\n    <dialogue>Got the first of the lab reports.<\/dialogue>\n    <scene_description>Sheriff Jackson waves him in. The two men sit, looking through the papers.<\/scene_description>\n    <character>DEPUTY PERDUE<\/character>\n    <dialogue>Time of death, between midnight and 2 AM, just like we thought.<\/dialogue>\n    <scene_description>They keep reading.<\/scene_description>\n    <character>DEPUTY PERDUE<\/character>\n    <dialogue>Damn.<\/dialogue>\n    <scene_description>o o SHERIFF JACKSON Negative data. Ain't a thing here. Except the two boys going up to the third switchback, no fingerprints on the railing, the grates, nothing. None from Chase or anyone else.<\/scene_description>\n    <character>DEPUTY PERDUE<\/character>\n    <dialogue>What does that ...<\/dialogue>\n    <character>SHERIFF JACKSON<\/character>\n    <dialogue>What it COULD mean is, someone wiped them clean.<\/dialogue>\n    <character>DEPUTY PERDUE<\/character>\n    <dialogue>So you thinking no accident?<\/dialogue>\n    <character>SHERIFF JACKSON<\/character>\n    <dialogue>No accident.<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - NIGHT<\/dialogue>\n    <scene_description>Little Kya traces through her mother's encyclopedias, pretending to read to herself.<\/scene_description>\n    <character>LITTLE KYA<\/character>\n    <dialogue>\"Bora Bora is an island, far away, filled with many magical creatures.\"<\/dialogue>\n    <scene_description>She takes a colored pencil and draws a blue heron in the margins of the encyclopedia.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - NIGHT<\/dialogue>\n    <scene_description>Kya tries to sleep on her mattress on the floor. Outside, she hears the lapping of water and the roar of crickets. The music of the marsh. She sits up in bed.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>KYA'S HOUSE - PORCH - NIGHT<\/dialogue>\n    <scene_description>Kya drags her mattress out to the porch. Wraps herself in a blanket and falls asleep, peaceful and calm.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Little Kya picks scuppernongs from the vines around her o mother's overgrown, weeded-out vegetable garden. hungrily. Eats o EXT. MARSH - DAY - LATER Little Kya digs mussels.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Little Kya smokes mussels in the smoker.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Little Kya stands on the counter and watches the scuppernongs boil on the stove. A row of jam jars are lined up on the counter.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>BARKLEY COVE - WATER - DAY<\/dialogue>\n    <scene_description>Little Kya motors out of the marsh with her pack of freshly smoked mussels and bag of scuppernong jelly jars.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>JUMPIN'S SHOP - DAY<\/dialogue>\n    <scene_description>Little Kya makes her way shyly into Jumpin's shop. Jumpin and Mabel peer down at this dirty, barefoot little girl with a giant bag.<\/scene_description>\n    <character>JUMPIN<\/character>\n    <dialogue>Good morning, Kya.<\/dialogue>\n    <character>LITTLE KYA<\/character>\n    <dialogue>Good morning, Mr. Jumpin. Mrs. Mabel.<\/dialogue>\n    <scene_description>She tries to talk but her mouth is dry.<\/scene_description>\n    <character>JUMPIN<\/character>\n    <dialogue>You needing some gas?<\/dialogue>\n    <character>LITTLE KYA<\/character>\n    <dialogue>I hear tell y'all buy mussels? I got some here. And some scuppernong jam.<\/dialogue>\n    <scene_description>Jumpin starts to say something, but Mabel cuts him off.<\/scene_description>\n    <character>MABEL<\/character>\n    <dialogue>Yesiree, we sure do. They fresh?<\/dialogue>\n    <scene_description>o She looks through Kya's bag.<\/scene_description>\n    <character>LITTLE KYA<\/character>\n    <dialogue>I dug 'em before dawn. Just now.<\/dialogue>\n    <character>MAB EL<\/character>\n    <dialogue>Well then, we can give you fifty cents for one bag, a full tank of gas for the other.<\/dialogue>\n    <character>LITTLE KYA<\/character>\n    <dialogue>How many bags y'all need a week?<\/dialogue>\n    <character>JUMPIN<\/character>\n    <dialogue>How about we strike up a business deal? I buy about forty ponds every two-three days. But mind, others bring them in too. If you bring them and I already got sorne, well, you'd be out. It's first corne, first serve. No other way of doing it.<\/dialogue>\n    <character>LITTLE KYA<\/character>\n    <dialogue>That's fine. Thank you. Can I, uh ...<\/dialogue>\n    <scene_description>She grabs a candle, matches, and more grits. She stops her hand above a Sugar Daddy candy. Mabel rings her up.<\/scene_description>\n    <character>MAB EL<\/character>\n    <dialogue>Corne by next time and I'll measure your feet. Sure we can find sorne shoes in our church donation bin for you.<\/dialogue>\n    <character>LITTLE KYA<\/character>\n    <dialogue>I'll be by first thing.<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Little Kya, safe and warm in her house, walks over to the record player. Dusts it off. No one's played it since Jodie left. She puts on a record: Mississippi John Hurt. \"You Got To Walk that Lonesome Valley\" begins to play, and she sways back and forth.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>JUMPIN'S SHOP - DAY<\/dialogue>\n    <scene_description>o Mabel measures Kya's feet by outlining them on butcher paper. A FISHERMAN walks into the door holding a bag of mussels.<\/scene_description>\n    <character>MAB EL<\/character>\n    <dialogue>We're full for the day, but thank you!<\/dialogue>\n    <scene_description>She winks at Little Kya, who beams.<\/scene_description>\n    <character>MAB EL<\/character>\n    <dialogue>If you outwork 'em, you can beat 'em.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JUMPIN'S SHOP - DAY<\/stage_direction>\n    <scene_description>Little Kya leans over the desk and several packs of seeds as Mabel sketches out diagrams of how to plant corn.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Little Kya hoes in her garden under the hot sun.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>BEACH - NIGHT<\/dialogue>\n    <scene_description>Little Kya digs mussels at night.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>JUMPIN'S SHOP - DAY<\/dialogue>\n    <scene_description>Little Kya looks through the box. Dresses ... and a bra. She pulls it out and wrinkles her nose.<\/scene_description>\n    <character>MAB EL<\/character>\n    <dialogue>Come around back. I'll show you.<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>MAR SH - WATER - DAY<\/dialogue>\n    <scene_description>The music continues as Little Kya, now more confident, boats through the marsh, casting a line. Her boat drifts into some weeds \u2022..<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MAR SH - WATER - DAY (1959)<\/dialogue>\n    <character>HEADER:<\/character>\n    <dialogue>1959<\/dialogue>\n    <scene_description>The boat drifts out, five years later. Kya, 14, casts a fishing line with grace and ease. o o EXT. MARSH - CLEARING - DAY Kya walks home with a bucket of fresh mussels. She stops when she sees the tree stump in the middle of the clearing. There's a six inch long, thin black feather sticking straight out of it. Kya picks it up. Kya begins to walk back home, then doubles back. She snatches the feather out of the stump.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Kya's house is neater, clean, from the outside. There's a carefully tended garden, with tornato plants crawling up stakes, red peppers, okra, and melon. And of course, her porch bed, which is surrounded by shells and feathers. Kya's bed has the look of a shrine, or maybe a fortress.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>BARKLEY COVE - DAY<\/dialogue>\n    <scene_description>Kya walks into town. She's wearing the feather of the white tropic bird in her hair.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - CLEARING - DAY<\/dialogue>\n    <scene_description>Kya cornes out of her house to find another tail feather on the stump. She smiles.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Kya opens her mother's drawer and paws through her old make up. Kya paints her face. Finds a pair of scissors and cuts her hair. She finds a bottle of her mother's pink nail polish.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>KYA'S HOUSE - PORCH - FLASHBACK<\/dialogue>\n    <scene_description>Little Kya sits on the porch with her sisters, laughing as Ma paints their nails.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>o Don't move, you'll mess it up! o LITTLE KYA<\/dialogue>\n    <scene_description>It's so PINK!<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>It'll look good on your pretty olive skin.<\/dialogue>\n    <scene_description>END FLASHBACK.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Kya paints her fingernails carefully with Ma's pink nail polish.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - CLEARING - DAY<\/dialogue>\n    <scene_description>Kya finds a small red and white milk carton, and next to it, another feather. She smiles. Picks up the feather first. Then looks inside the milk carton. Packages of seeds (turnips, carrots, green beans). A spark plug for her motor boat engine. At the bottom of the carton is a note. She picks it up and traces her fingers over it. She can't read. No matter. She runs back into her house ...<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>... and grabs the tail feather from a tundra swan off her wall.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - WOODS - DAY<\/dialogue>\n    <scene_description>Kya makes her way through the woods, where she runs smack into Tate. They stare at each other for a moment.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Oh. You.<\/dialogue>\n    <scene_description>Kya pulls the tundra swan feather from her pocket. Hands it to him without a word.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Tundra swan!<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>Who taught you birds?<\/dialogue>\n    <scene_description>o My dad.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>o Oh.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>More awkward silence.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>I can't read your note.<\/dialogue>\n    <scene_description>She pulls the note out of her pocket and hands it back to him.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>All I said was, I saw you a couple of times when I was fishing, and it got me thinking that maybe you could use some seeds and the spark plug. I had extra and thought it might save you a trip to town. I figured you'd like the feathers.<\/dialogue>\n    <scene_description>Awkward pause.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Well, I'd better be going, getting late.<\/dialogue>\n    <scene_description>Kya says nothing. Tate nods. He makes his way out of the woods ... then turns.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>I could teach you to read.<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - SHORE - DAY<\/dialogue>\n    <scene_description>Kya sits on a driftwood log while Tate pulls out a paper and pencil.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>I thought you may as well learn to write at the same time. So we start with \"A\". \"A\". Just draw that shape.<\/dialogue>\n    <scene_description>Kya writes out a letter \"A\" on her paper.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Good! Now I'm gonna show you something kind of neat. Here's \"B\", here's \"C\".<\/dialogue>\n    <scene_description>Kya draws out \"B\" and \"C\". o o TATE Now write \"C, A, B\". Kya does.<\/scene_description>\n    <character>KYA<\/character>\n    <parenthetical>(sounding it out)<\/parenthetical>\n    <dialogue>\"Cuh-ah-buh\".<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Cab! Cab! See, you already can write a word! C-A-B. You can write the word \"cab\"!<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>What's \"cab\"?<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Don't even worry about it! Now \"D\" and you can write \"D-A-D\". \"Dad!\"<\/dialogue>\n    <scene_description>Kya begins to write.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Oh my gosh. Oh gosh. Kya, I'm so sorry.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>\"Dad\" . No big deal. What' s this?<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>\"E\".<\/dialogue>\n    <scene_description>Kya writes out \"E\".<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Rather you say something about it. Everyone else don't talk about it none. Look right through me.<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>KYA'S HOUSE - PORCH - NIGHT<\/dialogue>\n    <scene_description>Kya lays on her porch. In the porch light, she writes \"FINCH\" beneath one of her drawings of a finch.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - WOODS - DAY<\/dialogue>\n    <scene_description>Kya stands in front of an old, windy oak tree and we see that she's sketched it almost identically. She writes \"O\" at the bottom and stops. o o KYA Don't tell me. Kya writes \"OKE\".<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Gettin' there.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>Don't help me.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Sure, I got all day.<\/dialogue>\n    <scene_description>But he's smiling.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Tate sits at the table, finishing a plate of mussels and bread, as Kya leans over him reading from \"Sands County Almanac\"<\/scene_description>\n    <character>KYA<\/character>\n    <parenthetical>(reading from Sands County Almanac)<\/parenthetical>\n    <dialogue>\"There are some who can live without wild things,\" comma, \"and some who can not.\"<\/dialogue>\n    <scene_description>She pulls back.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Oh. Oh.<\/dialogue>\n    <scene_description>Tate jumps out of his chair.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>That's what I'm talking about Kya! Wooo! Now there'll never be a time again when you can't read!<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>All right, all right.<\/dialogue>\n    <scene_description>But she's smiling, too.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>I didn't know words could hold so much. I didn't know a sentence could be so full.<\/dialogue>\n    <scene_description>o TATE Not all words hold that much. o A SERIES OF SHOTS where Tate brings Kya more and more books. Zoology, Biology, Botany. measure. A Strunk and White for good<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - NIGHT<\/dialogue>\n    <scene_description>Kya, with a children's science book, practices diagramming a plant cell.<\/scene_description>\n    <character>KYA (V.O.)<\/character>\n    <dialogue>We went through the whole library, Three times a week, summer into winter.<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - DAY<\/dialogue>\n    <scene_description>Kya and Tate tramp through the marsh, laughing and talking. Tate freezes. He's right in front of an alligator, panting heavily. Kya pulls him away.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Aw, relax. They don't attack unless you're right up on em.<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - WATER - DAY (WINTER 1959)<\/dialogue>\n    <scene_description>It's winter, and Tate motors up with Kya waiting for him. Tate beams upon seeing her. He's carrying a picnic basket.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>There's a makeshift Christmas tree on Kya's table. Tate pulls out Christmas leftovers from the basket and a wrapped book, which he hands to Kya.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>I'm sorry I couldn't invite you over for Christmas. My whole family--<\/dialogue>\n    <scene_description>He stops himself. Kya sees his embarrassment.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Don't worry about it.<\/dialogue>\n    <scene_description>Tate plates the food as she unwraps out a used Webster's Dictionary. She opens it to .... o A Pelican feather under \"P\" o A Mushroom under \"M\" And a bunch of forget-me-not blossoms under \"F\". Kya pushes forward a head tuft from a male cardinal.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Head tuft from a male cardinal! Cool! I don't have one.<\/dialogue>\n    <scene_description>He wants to hug her. She wants to hug him, too. They don't.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Thank you!<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - WATER - DAY (1960)<\/dialogue>\n    <character>HEADER:<\/character>\n    <dialogue>1960<\/dialogue>\n    <scene_description>Kya guns her boat and takes off into the marsh, towards the setting sun.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - WATER - DAY - LATER<\/dialogue>\n    <scene_description>Kya kills the motor and allows the boat to be carried through the gentle current. A flock of seagulls flies around Kya, dipping and calling out for food. She obliges, pulling out old crackers and feeding them from her hands.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>SHERIFF'S OFFICE - DAY (1969 AFTER DEATH)<\/dialogue>\n    <scene_description>Deputy Perdue is holding a plastic bag full of the red fibers up to the light while the Sheriff study's a report.<\/scene_description>\n    <character>SHERIFF JACKSON<\/character>\n    <dialogue>\"Cause of death: sudden impact on occipital and parietal ... \"<\/dialogue>\n    <scene_description>He keeps reading.<\/scene_description>\n    <character>SHERIFF JACKSON<\/character>\n    <dialogue>He fell off the tower. So somebody did destroy all the foot and fingerprints.<\/dialogue>\n    <scene_description>o o And look.<\/scene_description>\n    <character>DEPUTY PERDUE<\/character>\n    <dialogue>He hands the Sheriff the plastic bag.<\/dialogue>\n    <character>DEPUTY PERDUE<\/character>\n    <dialogue>Didn't come from any of his clothes. And they were all over his body. Wool, it says.<\/dialogue>\n    <character>SHERIFF JACKSON<\/character>\n    <dialogue>Could be a shirt, skirt, socks, cape. Hell, it could be anything.<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>TATE'S HOUSE - NIGHT<\/dialogue>\n    <scene_description>Tate's house is filled with pictures of his pretty MOTHER (mid-20s) and sister CARIANNE, 8. SCUPPER (40), a big, boisterous man with red knuckles, is cutting tomatoes while Tate fries burgers for dinner. Miliza Korjus sings from a record player. The house is neat, but there's something still and sad in the air. Scupper sings along to dissolve it.<\/scene_description>\n    <character>SCUPPER<\/character>\n    <dialogue>How's school?<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Good, good. They're letting me sit in on ninth grade biology.<\/dialogue>\n    <scene_description>As he talks, he shapes an extra burger with his hands and puts it in the pan. Scupper pretends not to notice.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>TATE'S HOUSE - TATE'S ROOM - DAY<\/dialogue>\n    <scene_description>Morning light streams through the window as Tate sneaks out of bed \u2022..<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>TATE'S HOUSE - KITCHEN - DAY<\/dialogue>\n    <scene_description>Tate tiptoes to the refrigerator and takes bread, the hamburger patty, and a bottle of ketchup out and puts them in a paper bag. He quietly slips out the front door.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>TATE'S HOUSE - SCUPPER'S ROOM - DAY<\/dialogue>\n    <scene_description>o Through his window, Scupper watches Tate tiptoe towards water with his paper bag of food. Scupper smiles. o EXT. KYA'S HOUSE - DAY Kya leaps up from her porch bed as she hears Tate's motor approaching. She leaps to her feet, beaming as he walks through the trees to her.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>I thought you'd forgotten.<\/dialogue>\n    <scene_description>Tate looks Kya straight in the eye.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>How could I?<\/dialogue>\n    <scene_description>He hands her a carefully made hamburger.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>BARKLEY COVE - DINER - NIGHT (1969 AFTER DEATH)<\/dialogue>\n    <scene_description>Sheriff Jackson parks his car in between the trucks that are squeezed together in front of the very popular Barkley Cove Diner. The diner overlooks the harbor, and mollusk shells litter the sidewalks.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>BARKLEY COVE - DINER - NIGHT<\/dialogue>\n    <scene_description>Deputy Perdue and Sheriff Jackson weave between crowded tables to find a seat at the bar. A drunk MR. LANE (60) is talking to the WAITRESS (20s) behind the counter.<\/scene_description>\n    <character>MR. LANE<\/character>\n    <dialogue>I reckon it was Lamar Sands. He caught his wife doing a number with Chase right on the deck of that fancy ski boat.<\/dialogue>\n    <character>WAITRESS<\/character>\n    <dialogue>That's a motive.<\/dialogue>\n    <character>MR. LANE<\/character>\n    <dialogue>Also Lamar was with that bunch that slit the sheriff's tires.<\/dialogue>\n    <scene_description>The Waitress, recognizing Sheriff Jackson and Deputy Perdue, tries to save it.<\/scene_description>\n    <character>WAITRESS<\/character>\n    <dialogue>They were just kids back then.<\/dialogue>\n    <character>MR. LANE<\/character>\n    <dialogue>There was something else too, I<\/dialogue>\n    <scene_description>o just can't remember. o Miss Pansy Price, picking up a to-go order behind Mr. Lane, pipes up.<\/scene_description>\n    <character>MISS PANSY<\/character>\n    <parenthetical>(to Mr. Lane)<\/parenthetical>\n    <dialogue>It coulda been that woman lives out in the marsh. Crazy enough for the loony bin. I just bet she'd been up to this kind of thing.<\/dialogue>\n    <character>MR. LANE<\/character>\n    <dialogue>That one?<\/dialogue>\n    <character>MISS PANSY<\/character>\n    <dialogue>Well, for a while she got herself involved with--<\/dialogue>\n    <scene_description>She stops when she sees Deputy Perdue and Sheriff Jackson.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - NIGHT (1960)<\/dialogue>\n    <scene_description>Kya, curled up in her cot, sketches a shell that she balances on her knee.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - NIGHT - LATER<\/dialogue>\n    <scene_description>Tate and Kya sit on her bed, holding her tattered family Bible. Ray Charles spins on the record player. Kya has the Bible opened to the family tree page, where she traces her fingers along the names.<\/scene_description>\n    <character>KYA<\/character>\n    <parenthetical>(sounding out the words)<\/parenthetical>\n    <dialogue>\"Miss Catherine Danielle Clark. October 10, 1945.\"<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>All right then, Miss Catherine Danielle Clark.<\/dialogue>\n    <character>KYA<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>\"Master Jeremy Andrew Clark, January 2 ... \" That's Jodie! \"Miss Amanda Margaret Clark. Master Napier Murphy Clark. Miss Mary Helen Clark.\"<\/dialogue>\n    <scene_description>She traces her fingers to the two names above. o<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>This means ... these are my parents. \"Mister Jackson Henry Clark married Miss Julienne Maria Jacques, June 12, 1933.\"<\/dialogue>\n    <scene_description>She chokes back tears and looks out the window.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>This used to be all ours. Pa said, we used to own all this land, generations back. We wasn't always like this.<\/dialogue>\n    <scene_description>She motions to the shack.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Weren't always like this.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>Weren't always like this.<\/dialogue>\n    <scene_description>She tears up.<\/scene_description>\n    <character>TATE<\/character>\n    <parenthetical>(panicking)<\/parenthetical>\n    <dialogue>Oh, no! Oh no. I made you cry. I'm sorry, Kya.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>You didn't make me cry. I miss them.<\/dialogue>\n    <scene_description>She traces her hand over the names on the family tree.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Jodie. Ma. I had forgot how much I feel them not here. But I feel them, not here, right now. I feel them not here all the time. And most of the time I forget that I'm feeling it. I am so damn alone, Tate. I am so damn alone. It's there all the time. This hole in my chest that's them being gone. And I can't fill it up.<\/dialogue>\n    <scene_description>Tate reaches out and puts his hand on Kya's shoulder.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>I just wanted you to hear me. Sometimes I feel so invisible I<\/dialogue>\n    <scene_description>o wonder if I'm here at all.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>You are.<\/dialogue>\n    <scene_description>Kya laughs, then flips a page. A handwritten poem falls out. Kya picks it up.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>This is Ma. She used to write down poems she liked.<\/dialogue>\n    <character>KYA<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>\"I did care ... I did say everything I thought\/In the mildest words I knew. And now\/I have to say I am relieved it is over;\/At the end I could feel only pity\/For that urge toward more life.\"<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>JUMPIN'S WHARF - DAY<\/dialogue>\n    <scene_description>Kya ties her boat up in the dock as Jumpin hurries out to meet her.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Hey, Jumpinl I got the rest of the mussels for ya!<\/dialogue>\n    <character>JUMPIN<\/character>\n    <dialogue>Kya, there were some men poking around here this morning, asking about you.<\/dialogue>\n    <scene_description>It's as if Kya has been struck by lightning. She looks right at Jumpin, suddenly an adult.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Who? What did they want?<\/dialogue>\n    <character>JUMPIN<\/character>\n    <dialogue>Social Services. Asking is your Pa still around, where your ma is, if you're going to school this fall. And when you come here. They especially want to know what times you come here.<\/dialogue>\n    <scene_description>Kya's too afraid to breathe.<\/scene_description>\n    <character>JUMPIN<\/character>\n    <dialogue>So I told them, your Pa's just<\/dialogue>\n    <scene_description>o fine. Out fishing is all. And I never know when your boat is here. o JUMPIN I'll send them on a snipe hunt if they corne again. But, be careful.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Tate motors up to Kya's house as she waits for him on the shore.<\/scene_description>\n    <character>KYA<\/character>\n    <parenthetical>(nervous)<\/parenthetical>\n    <dialogue>Can we meet sornewhere's else, 'sides here?<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>It's besides, not 'sides, and it's polite to greet people before asking a favor.<\/dialogue>\n    <scene_description>She gives an elaborate curtsy.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Good afternoon, Mr. Tate. Can we go somewhere besides here? Please. Jurnpin said the Social services are lookin' for me. They're gonna pull me in like a trout, put me in a foster home.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Well, we better hide way out where the crawdads sing. I pity any foster parents who take you on.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>What do you mean, where the crawdads sing? Ma used to say that.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>I mean, far out in the marsh, where critters are wild. Still act like critters.<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - WATER - DAY<\/dialogue>\n    <scene_description>Kya stands in the boat. They're motoring deeper and deeper into the marsh. As Kya stands up, a hunting knife falls out of her pocket. Tate picks it up. o o TATE You carry this with you?<\/scene_description>\n    <character>KYA<\/character>\n    <parenthetical>(shrugging)<\/parenthetical>\n    <dialogue>It's dangerous for me. You didn't bring any food, did you?<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>I knew I was seeing you, so I always bring food.<\/dialogue>\n    <scene_description>He hands her a sandwich from his jacket.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>I'm not poor, you know.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Didn't say you were. Girls just eat a lot.<\/dialogue>\n    <character>KYA<\/character>\n    <parenthetical>(mouth full of sandwich)<\/parenthetical>\n    <dialogue>Really?<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Have you ever thought of going back to school? It wouldn't kill you.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>They'll grab me and put me in a home.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>What, so you plan to live alone in the marsh forever?<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>Better than going to a foster home.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Might be nice people who like kids.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>You're saying you'd go live with strangers before you'd live in the marsh?<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Well you can't just live like this forever!<\/dialogue>\n    <scene_description>o Why not?<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>o Because!<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>He searches for a reason.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>There are bears out there.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>I ain't afraid of bears.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>I'm not afraid of bears.<\/dialogue>\n    <scene_description>Kya laughs.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>I'm just saying, it's not good for a woman to live alone.<\/dialogue>\n    <scene_description>Kya shrugs.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Watch me.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>All right.<\/dialogue>\n    <scene_description>A moment of unexpected intimacy.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Come on. Hide with me just a few hours.<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - WOODS - DAY<\/dialogue>\n    <scene_description>Kya and Tate sit on a log, with Kya silently sounding out words in a biology book.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>You can go on.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>In a minute.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>Tate? I appreciate you teaching me to read and all the things you gave me. But why do you do it? Don't you have a girlfriend or something like that?<\/dialogue>\n    <scene_description>o<\/scene_description>\n    <character>TATE<\/character>\n    <parenthetical>(posturing)<\/parenthetical>\n    <dialogue>Well, sometimes I do.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>Sometimes?<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>I mean, I had one, but not now.<\/dialogue>\n    <scene_description>Kya laughs. Tate relaxes a little.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>I guess, I like the marsh. I like the way you're so interested in it. Most people don't pay any attention except to fish. They think it's wasteland that should be drained and developed. An d ...<\/dialogue>\n    <scene_description>He can't say the rest. He shrugs.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Where's your ma?<\/dialogue>\n    <scene_description>Tate doesn't answer.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>You don't have to say nothing.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>My mother and little sister died in a car wreck over in Asheville. My sister's name was Carianne.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>Oh, I'm sorry Tate. I'm so sorry. I bet your ma was nice and pretty.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>They both were.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>My ma walked off one day and didn't come back. The mama deer always come back.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Well, at least you can hope she does. I think ...<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>o What? You think what?<\/dialogue>\n    <scene_description>anything to me. You can say o TATE I think they went to Asheville to buy my birthday present. There was this bike I wanted. Western Auto didn't carry it, so I think they went to Asheville to get that bike for me. I don't even remember what kind of bike it was. Kya goes to touch Tate, then pulls back.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>And I been scared ever since, of doing the wrong thing. Stepping in the wrong place. Letting myself want something.<\/dialogue>\n    <scene_description>Kya leans in closer to Tate. And then, the wind picks up, and thousands of yellow sycamore leaves break from their life support and stream across the sky. The leaves hit them both full on in the face, breaking the tension. Suddenly kids again.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>See how many leaves you can catch before they hit the ground!<\/dialogue>\n    <scene_description>They run through the swirling leaves, laughing and catching them. They bump into one another. They freeze. Stop laughing. Tate takes her shoulders and kisses her lips as the leaves rain down. She pulls back. Softens. Now she kisses him. The two of them slowly figure it out. Then break away. Tate pulls a leaf out of her hair.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Am I your girlfriend now?<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Do you want to be?<\/dialogue>\n    <scene_description>Kya kisses him again to answer.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - WOODS - DAY (FALL 1960)<\/dialogue>\n    <scene_description>Kya and Tate race through the colored leaves, shrieking with laughter. o<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - TATE'S BOAT - DAY<\/dialogue>\n    <scene_description>Kya sits in Tate's boat and opens the basket. A Winn-Dixie cake with \"Kya\" written on it, surrounded by wrapped packages. Kya gasps.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Happy birthday, Kya!<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>What? No! How'd you know it was my birthday?<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>It was in your Bible.<\/dialogue>\n    <scene_description>Tate cuts the cake.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Not my name! Don't cut my name!<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Yes ma' am.<\/dialogue>\n    <scene_description>Tate cuts the cake and they drift through the marsh, eating cake and laughing. Kya unwraps her presents. The first is a small magnifying glass.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>So you can see the fine details of insect wings.<\/dialogue>\n    <scene_description>Kya beams and unwraps the second. It's a plastic clasp, painted silver and decorated with a rhinestone sea gull.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>For your hair.<\/dialogue>\n    <scene_description>He pulls some locks behind her ear and clips the barrette in place. Kya smiles. The last present is a larger box, and Kya opens it to find ten jars of oil paint, tins of watercolors, and different sized brushes.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>For your painting.<\/dialogue>\n    <scene_description>Kya picks up each color. Each brush. o<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Tate helps Kya tape up more drawings of her labeled shells and feathers.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MAR SH - WOODS - DAY<\/dialogue>\n    <scene_description>Tate and Kya sit on a blanket on the forest floor, eating biscuits under a shared blanket. She leans into him, giggling. There's a sound of a roar, like cannons.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Here they come.<\/dialogue>\n    <scene_description>An d just like that, hundreds of thousands of white snow geese fly up and through the air, towards them, landing just feet away. The entire world is blanketed in white. Kya and Tate are speechless. Kya watches Tate laugh amidst the geese and sunlight. He and the marsh are suddenly one.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>PETE'S BOAT YARD - DAY<\/dialogue>\n    <scene_description>Scupper and Tate hack barnacles off of Scupper's boat, \"The Cherry Pie.\"<\/scene_description>\n    <character>SCUPPER<\/character>\n    <dialogue>I'm too tired to cook. Let's grab something at the diner on the way home?<\/dialogue>\n    <scene_description>Tate nods and keeps hacking.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>BAR KLEY COVE - DINER - NIGHT<\/dialogue>\n    <scene_description>Scupper and Tate nod to the WAITRESS as they make their way into the crowded diner and find seats at the bar.<\/scene_description>\n    <character>SCUPPER<\/character>\n    <parenthetical>(to the Waitress)<\/parenthetical>\n    <dialogue>Two chicken fried steak specials, please. Extra biscuits for that one.<\/dialogue>\n    <scene_description>He nods to Tate. Tate is watching a FAM ILY OF FOUR say grace in a corner booth.<\/scene_description>\n    <character>SCUPPER<\/character>\n    <dialogue>o We're celebrating tonight. o What?<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>SCUPPER<\/character>\n    <dialogue>Because I'm proud of you.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>I didn't do anything.<\/dialogue>\n    <character>SCUPPER<\/character>\n    <dialogue>All on your own, you studied the marsh life, straight A's, full scholarship to Chapel Hill. I'm not the kind to speak on such things much. But I'm mighty proud of you, son. All right?<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Yeah. All right.<\/dialogue>\n    <character>SCUPPER<\/character>\n    <dialogue>But we'll never talk about it again, how's that?<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Great.<\/dialogue>\n    <character>SCUPPER<\/character>\n    <dialogue>I know there's that big dance at the pavilion corning up. You taking anybody?<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Nah. I may not go. Nobody I want to ask.<\/dialogue>\n    <character>SCUPPER<\/character>\n    <dialogue>Now, son, I don't pay much attention to idle talk. Never have done. But there's a regular riptide of gossip saying you've got something going on with that girl in the marsh?<\/dialogue>\n    <scene_description>Tate throws up his hands.<\/scene_description>\n    <character>SCUPPER<\/character>\n    <dialogue>Now, I'm not saying I believe those stories about her--<\/dialogue>\n    <scene_description>o o TATE I'm teaching her how to read because the people in this town are so mean to her she couldn't even go to school. The Waitress plops down two heaping plates of chicken fried steak, collard greens, biscuits, and mash and gravy. A welcome distraction.<\/scene_description>\n    <character>SCUPPER<\/character>\n    <dialogue>Hey, it's my job to say all the things we don't like to talk about. Don't get huffy about it.<\/dialogue>\n    <scene_description>He butters a biscuit.<\/scene_description>\n    <character>SCUPPER<\/character>\n    <dialogue>So are you gonna get any field work freshman year, or is just books.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>I applied for a couple of internships, but I probably won't get any.<\/dialogue>\n    <character>SCUPPER<\/character>\n    <dialogue>I never underestimate you, Tate.<\/dialogue>\n    <scene_description>Tate laughs. The two continue to chat and eat. INT. KYA Is HOUSE - NIGHT Kya and Tate make out on her bed. She takes his shirt off.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Okay?<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>He kisses her more, then stops.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>We shouldn't.<\/dialogue>\n    <scene_description>Kya doesn't say a word, but she takes Tate's shirt. She buttons his shirt over her own, staring at him the whole time. o o EXT. MARSH - WOODS - DAY Tate strokes Kya's hair as she sketches geese.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Lemme see that notebook.<\/dialogue>\n    <scene_description>Kya hands Tate her notebook. Tate leafs through the pages of Kya's notebook. A scallop shell, labelled with a water color of the beach and insets showing the creature eating smaller creatures of the sea. There are hundreds of pictures. Tate whistles as he traces his fingers over the illustration.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>These are wonderful. Beautifully detailed.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>So I think you're the smartest person I know.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>What do you need to go to college for, then? Stay here. Ask me whatever you wanna know.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>You could publish these, if you want to.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>Naw.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>You could.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>I can't.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>From the Marsh Girl?<\/dialogue>\n    <scene_description>Tate starts to object and she cuts him off. o o KYA It's what I am because it's what they say I am. I can't do anything about it.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Maybe here, where all these narrow- minded people think they're the whole world. They're not. You can introduce yourself to the world. Catherine Danielle Clark isn't a Marsh Girl name. Not to them. Not to me.<\/dialogue>\n    <scene_description>Now Kya kisses Tate. He takes her shirt off. Stares at her breasts. He unbuttons her shorts. She lets him. Now they're naked, vulnerable. Kya turns away in shyness.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Kya, look at me.<\/dialogue>\n    <scene_description>She does. And now she's on him, hands gliding over his chest ... Kissing her, his hands travel up her thighs ... she gasps ... he begins stroking her and she throws her head back ... And then Tate stops.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>God, Kya, I'm sorry. I'm sorry.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>Tate, please. I want to.<\/dialogue>\n    <scene_description>Tate shakes his head, and picks up her clothes. Tenderly dresses her again. Not touching her the way she wants.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Kya, I want you more than anything. I want you forever. But I can't get pregnant. I can't be damaged as easily. I won't do it, Kya, because I love you.<\/dialogue>\n    <scene_description>Kya pulls back at the word \"love\". He wraps himself around her.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>o When, then? When can we?<\/dialogue>\n    <scene_description>o TATE Just not yet.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>How did you know what to do?<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Sarne way you did.<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - WATER - DAY<\/dialogue>\n    <scene_description>Kya boats past a giant machine cutting several oaks at once on the bank. She turns her head away.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>WOODS - DAY<\/dialogue>\n    <scene_description>Kya and Tate stand side by side as she sketches and labels a butterfly resting on a tree trunk. The butterfly finally flies away.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>NEXT!<\/dialogue>\n    <scene_description>She laughs and they walk on into the woods.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>I'm going to Chapel Hill sooner than I thought. I got a job in a biology lab on campus. Starting summer quarter.<\/dialogue>\n    <scene_description>Kya forces a smile and nods. Tate sits up. Pulls an envelope out of his pocket and hands it to her. She opens it.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>It's a list of publishers I went through with my advisor.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>What do I do with this?<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Write them! You can write better than I can. Tell them you have books. They'll pay good money.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>I don't know what to say to these people. Look at me. I'm not a<\/dialogue>\n    <scene_description>o writer. o You are.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>KYA<\/dialogue>\n    <scene_description>You think someone's gonna look at me, give me money, read what I have to say?<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>If they're smart. And there are a lot of smart people in the world. You can teach them what's special about this place. Just like you taught me.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>Do it with me.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Fine. I'll help you when I'm back. But look.<\/dialogue>\n    <scene_description>He motions to Kya.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Look how much you've already done on your own.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>What? What have I done?<\/dialogue>\n    <scene_description>She runs away from Tate.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Kya, wait.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>You're gonna stay gone. There's no jobs here.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>I won't leave you, Kya, I promise. I'll come back to you.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>You won't.<\/dialogue>\n    <scene_description>o o TATE (calling after her) You can't run away from every whipstitch. Sometimes you have to discuss things. Face things. But Kya's already gone.<\/scene_description>\n    <character>TATE<\/character>\n    <parenthetical>(calling)<\/parenthetical>\n    <dialogue>Damn it, Kya! Why are you like this?<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>TATE'S HOUSE - TATE'S ROOM -<\/dialogue>\n    <scene_description>Tate lies in his bed, not able to sleep. Finally sits up. He opens a window and hops out.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>KYA'S HOUSE - PORCH - NIGHT<\/dialogue>\n    <scene_description>Kya, on her bed on the porch, wakes up to the sound of a motor boat. She sits up. It's Tate.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>One more night.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>One more night.<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>KYA'S HOUSE - PORCH - DAY<\/dialogue>\n    <scene_description>Morning light pours over the two lovers. They're fully clothed, sleeping on Kya's porch bed.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - LAGOON - DAY<\/dialogue>\n    <scene_description>Tate stands on the shore with Kya. Morning light pours over them. He hands her the envelope.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>The best bet is probably gonna be University of North Carolina press. They just got a big grant and did a hire from Cornell to run the grad program. And then after that, there's University of the South at Sewanee ... Kya? Are you listening?<\/dialogue>\n    <scene_description>o o KYA (exploding) You're going to forget me, up at Chapel Hill. When you get busy with all that college stuff and see all those pretty girls.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>I could never forget you, Kya. Ever. You take care of the marsh 'til I get back. You hear? And be careful.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>I will.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>I mean it. Watch out for folks. Don't let strangers get near you. I'll come home in about a month, I promise. For Fourth of July. I'll be back before you know it. Kya, write those publishers. Don't let them tell you no. Someone will tell you yes.<\/dialogue>\n    <scene_description>Then he kisses her. She kisses him back. The most passionate and committed we've seen them so far. Tate gets back into his boat and motors away. From the horizon, he waves goodbye to her. She waves goodbye and places her hand on her heart.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>UNC PROTOZOOLOGY LAB - DAY<\/dialogue>\n    <scene_description>Tate puts a bus ticket, CHAPEL HILL to BARKLEY COVE, safe in his chest pocket and hides a smile. He busies himself in the lab, alongside other clean cut SCIENCE STUDENTS. DR. BLUM, 40's and kind, taps Tate on the shoulder.<\/scene_description>\n    <character>DR. BLUM<\/character>\n    <dialogue>How are you settling in so far, kid?<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Just trying hard to not blow it all to hell, Dr. Blum.<\/dialogue>\n    <scene_description>o o DR. BLUM There's a birding expedition this weekend that my colleagues from Duke and Vandy are putting together. I have room for one student, and I thought of you. The nearby students eye Tate jealously. He notices.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Yes! Absolutely. I'll be there.<\/dialogue>\n    <character>DR. BLUM<\/character>\n    <dialogue>Good. Friday morning, get back Sunday afternoon. I've told some of them about you. The boy from the swamps! Ha!<\/dialogue>\n    <scene_description>He claps Tate on the back and leaves. Tate tries to smile at the student next to him, who glares right back.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>UNC BUS STATION - DAY<\/dialogue>\n    <scene_description>Tate stares at the bus station from the passenger seat of the car driven by Dr. Blum. His jaw clenches. His hand goes to the car door ... And he can't. He leans back as the radio plays Roy Orbison.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Distant fireworks go off as Kya puts on a too small chiffon dress as her Roy Orbison's \"Only the Lonely\" plays on the radio.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - DAY<\/dialogue>\n    <scene_description>Kya waits for Tate on the banks of the marsh. And waits. A day passes. The sun sets. Kya walks inside.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - DAY - LATER<\/dialogue>\n    <scene_description>The next day. Kya sits on the marsh, her smile gone, waiting. The sun sets again. o EXT. MARSH - DAY - LATER The next day. o Kya watches the sun rise on the marsh. knees. She sinks to her<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>No, Tate. No, no no no no.<\/dialogue>\n    <scene_description>She heaves in sobs.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Kya lays in bed, glassy eyed. The birds call outside, but she doesn't stir.<\/scene_description>\n    <character>KYA (V.O.)<\/character>\n    <dialogue>For three days after giving up on Tate, I didn't get out of bed.<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - NIGHT<\/dialogue>\n    <scene_description>Kya lays in bed, holding one of Tate's shirts.<\/scene_description>\n    <character>KYA (V.O.)<\/character>\n    <dialogue>Tate and life and love. Those were all the same thing.<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Kya wakes up to a beating sound at the screen door. She sits up. Through the screen door, a raven-sized Cooper's hawk peers in. Kya slowly gets out of bed. The hawk takes flight.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Nol Wait.<\/dialogue>\n    <scene_description>But the hawk is gone. Kya rushes to the pantry and grabs the last of the grits. Gets to work boiling water.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - SHORE - DAY<\/dialogue>\n    <scene_description>Kya carries her huge pot of grits to the birds on the shore, swaying under the bucket's weight. Kya feeds the birds in the marsh. They flutter and land on her arms, eating the grits. Kya closes her eyes and lets the birds envelop her. BIG RED, o a giant red seagull, lands right in front of her, standing watch. Kya laughs, tears running down her cheeks. o INT. JUMPIN'S SHOP - DAY Kya, her face drawn, pays Mabel. Mabel searches Kya's face for signs of her old, lively self. Nothing.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>JUMPIN'S SHOP - DAY<\/dialogue>\n    <scene_description>Kya walks outside with her full oil can. She looks at the FAMILIES around her. The groups of WOMEN leaning into each other, laughing with the familiarity of old girlfriends. The MEN putting their arms around their GIRLFRIENDS and WIVES. She walks back to her boat. Guns the motor and heads back towards the marsh.<\/scene_description>\n    <character>KYA (V.O.)<\/character>\n    <dialogue>Every species has a method of surviving the big ice storm. The meteor that wipes everyone out.<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Kya rolls out the list of publishers on her desk.<\/scene_description>\n    <character>KYA (V.O.)<\/character>\n    <dialogue>Every living creature tries to leave some kind of legacy. So in that way, I'm just one more, aren't I?<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Kya sits at her desk, a stack of manuscripts in manila envelopes piled on her desk.<\/scene_description>\n    <character>KYA (V.O.)<\/character>\n    <dialogue>Dear Publisher, I am following up with more pages, these rare birds of the Carolina marsh that have not been detailed in any publication thus far. In fact, as far as I understand, there has been no in depth publication of the wildlife in our marsh. Shouldn't there be? Yours, Catherine Danielle Clark.<\/dialogue>\n    <scene_description>o o INT. SHERIFF'S OFFICE - DAY (1969 AFTER DEATH) Deputy Perdue pushes open the door to the Sheriff's office with his foot and steps inside. He's holding a big greasy bag of doughnuts in his teeth and two coffees. Sheriff Jackson takes the bag and coffee. Hands Deputy Perdue a doughnut. The two take big bites. Heaven.<\/scene_description>\n    <character>SHERIFF JACKSON AND DEPUTY PERDUE<\/character>\n    <parenthetical>(simultaneously, with full mouths)<\/parenthetical>\n    <dialogue>Well, I got something.<\/dialogue>\n    <scene_description>Deputy Perdue nods to Sheriff Jackson.<\/scene_description>\n    <character>SHERIFF JACKSON<\/character>\n    <dialogue>Mine's probably nothing. Poor Patti Love Andrews called, carrying on about some necklace. I don't understand what she's going on about but she says it's important about the case. She'll be around later on.<\/dialogue>\n    <character>DEPUTY PERDUE<\/character>\n    <dialogue>I got it from several sources that Chase had something going on in the marsh.<\/dialogue>\n    <scene_description>Sheriff Jackson chews thoughtfully.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - WATER - DAY (1960)<\/dialogue>\n    <scene_description>Tate's boat motors through the lagoon, towards Kya. Tate turns the channel. He sees Kya, kneeling on a sandbar, staring at something in the grass. Whispering to it. She doesn't see Tate. Tate turns into some reeds, hidden from view, and kills the motor. Tate watches Kya, gently whispering to some crustaceans. And then, the roar of a motor. Kya hops up, grabs her bag, and hightails it into the tall grass. She's closer to Tate now, and as she crouches in the grass, he sees her wide eyes. Crazed with fear. A KINDLY OLD MAN boats past. When he's gone, Kya creeps out of the grass again. Tears stream down Tate's face. o o TATE (whispering) Kya, I can't. I'm a coward. I'm sorry. As Kya runs back towards her house, Tate motors his boat back towards the ocean.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - DAY<\/dialogue>\n    <scene_description>Kya, Big Red circling over her, smokes mussels on the shore. She watches a backhoe digging channels to dry the marsh. She collects her mussels and turns back to her house ...<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>POINT BEACH - DAY (1964)<\/dialogue>\n    <scene_description>HEADER: 1964 Kya, now 19, sketches sand crabs as they bury themselves beneath the lapping waves. Kya's drawings are spectacular, and here we see how much they've grown in her years apart from Tate. Refined and detailed, with each appendage numbered and colored. Kya hears laughing and looks up. It's Chase Andrews, older, even more strong and handsome, tossing a football back and forth with a group of friends. AlwaysWearsPearls and TallSkinnyBlonde are there, too, rolling their eyes at the boys and giggling. The group is corning closer and closer, laughing and calling. Chase runs towards Kya to gracefully catch the football. Then he turns and looks right at Kya. Smiles. And Kya can't help it, she smiles back. Chase holds her gaze another moment, then runs back to his friends. Kya gathers her sketchbook and tries to collect herself.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Kya walks to her house, carrying a basket of shells, feathers, and leaves. She stops dead. There's a MAN IN A SUIT standing in front of her house, holding a carnera. He's taking pictures of the house from all sides. Light as a feather, Kya slips behind a tree. She presses o herself up against the tree trunk, trying to contain her breath, as the Man in a Suit snaps more photos. o EXT. JUMPIN'S WHARF - DAY Kya motors into Jumpin's wharf and hops off, with arms full of mussels. She struggles under the weight. One of the bags suddenly leaves her hands-- It's Chase Andrews.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>Can I carry this for you?<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>I got it.<\/dialogue>\n    <character>CHASE<\/character>\n    <dialogue>Please.<\/dialogue>\n    <scene_description>He takes the bags out of her arms and follows her into Jumpin's shop.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JUMPIN'S SHOP - DAY<\/stage_direction>\n    <scene_description>Jumpin and Mabel stare as Kya leads in this well-dressed, handsome young man. o KYA Right up here on the counter is fine. Chase deposits the bags on the counter. His shirt is stained with mussel juice. He winks at Kya, tips his hat, and leaves without a word. Kya and Mabel stare after him. Jumpin rolls his eyes.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Hey, I need help. Somebody's been taking pictures of my house.<\/dialogue>\n    <character>MABEL<\/character>\n    <dialogue>They've been all over. Developers. Want to drain the \"murky swamp\" and build hotels.<\/dialogue>\n    <character>JUMPIN<\/character>\n    <dialogue>They'd probably offer you a good amount of money for your land.<\/dialogue>\n    <character>MABEL<\/character>\n    <dialogue>Jumpin!<\/dialogue>\n    <character>JUMPIN<\/character>\n    <dialogue>o Nothing wrong with money. o MABEL<\/dialogue>\n    <scene_description>You do own that land, don't you? Your daddy? You own that house?<\/scene_description>\n    <character>JUMPIN<\/character>\n    <parenthetical>(off Kya's blank look)<\/parenthetical>\n    <dialogue>Family bible, well, anything like that? Might be good to know what you own.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>Me? I don't own anything.<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>JUMPIN'S SHOP - DAY<\/dialogue>\n    <scene_description>Kya comes out of Jumpin's shop, rattling her coins and fixing her hair. She stops dead. Chase is standing on the dock, waiting for her.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Thanks for helping me.<\/dialogue>\n    <character>CHASE<\/character>\n    <dialogue>You're welcome, Kya. They call you Marsh Girl, but I remember your name. Kya. You wanna go for a picnic? In my boat, this Sunday?<\/dialogue>\n    <scene_description>Kya's taken aback. Chase smiles.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>BARKLEY COVE - SHORE - DAY<\/dialogue>\n    <scene_description>Kya sits with Chase, having finished a fried chicken picnic on the beach. Their arms keep almost touching. The space between them is electric. Chase is playing \"Shenandoah\" on his harmonica. Kya tosses a piece of chicken to a pelican, who catches it easily in it's floppy beak. Chase laughs through his harmonica and puts it down.<\/scene_description>\n    <character>KYA<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>Seagulls get the bad rap, but it's pelicans that are greedy.<\/dialogue>\n    <scene_description>Chase picks up a shell. It's creamy with bright splotches of o red and purple. Kya grabs it from him, eager and impulsive.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>You like shells?<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>This is an ornate scallop. Pecten ornatus. Many many of that genus here but this particular species usually inhabits south of this latitude because these waters are too cool for them.<\/dialogue>\n    <scene_description>Chase is staring at her.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CHASE<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>The Marsh Girl, who can't read, knows the Latin name of shells, and where they \"inhabit\", and even why, for Chrissakes. Here, you keep it.<\/dialogue>\n    <scene_description>He hands her the shell. She smiles and pockets it. He kisses her. She kisses him back. Things escalate quickly. She enjoys it ... he reaches for her breast ... And she pushes him away.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>I'm worth more than fried chicken.<\/dialogue>\n    <scene_description>She gets up and heads back towards her house in the marsh.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>Kya! Kya, wait! I'm sorry! You're right!<\/dialogue>\n    <scene_description>She turns.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>Let me make it up to you.<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - DAY<\/dialogue>\n    <scene_description>Chase boats with Kya through the marsh as she points to various landmarks.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>That was where the Creek used to<\/dialogue>\n    <scene_description>o live. This was all theirs. o CHASE Ours now, huh? Hey. He tucks her hair behind her ears.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>There!<\/dialogue>\n    <scene_description>Kya smiles, shy.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Look. See that?<\/dialogue>\n    <scene_description>She points to Big Red, swooping gallantly overhead.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>That's Big Red. He's in my book.<\/dialogue>\n    <character>CHASE<\/character>\n    <dialogue>A lady writer. I'll be damned.<\/dialogue>\n    <scene_description>He laughs. She laughs along.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>It's wonderful, Kya. Truly. Would you show me your book sometime?<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>It's still a mess.<\/dialogue>\n    <character>CHASE<\/character>\n    <dialogue>I like a mess.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>I can't.<\/dialogue>\n    <scene_description>Chase evaluates this strange girl.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>All right. The fire tower?<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>FIRE TOWER - DAY<\/dialogue>\n    <scene_description>Chase leads Kya towards the tower.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>Can't believe you never left the<\/dialogue>\n    <scene_description>o marsh and you never been up the fire tower! It's a great way to see the whole marsh from above. o INT. FIRE TOWER - DAY Chase and Kya climb the ladder to the top of the fire tower.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>I just need to know ... don't you ever get lonely?<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>I'm not alone.<\/dialogue>\n    <character>CHASE<\/character>\n    <dialogue>People lonely?<\/dialogue>\n    <scene_description>Kya doesn't answer. She looks through the windows of the fire tower. The rounded oak forest stretch out as far as the eye can see. She stops dead.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>You can tell me. I won't laugh at you.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>It's like having a friend your whole life but you never saw their full face. And now I see the full face.<\/dialogue>\n    <scene_description>She gestures to the marsh. All the slipstreams, lagoons, creeks and estuaries weave through brilliant green grass to the sea.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <scene_description>They climb to the last step. Chase pushes open the iron grate covering the stairwell. After they climb on to the platform, he eases it down again. Kya's afraid to step on the grate and she taps it with her toes.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>FIRE TOWER - PLATFORM - DAY<\/dialogue>\n    <scene_description>Chase leads her to the railing and they look over the marshland.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>Take me to your house.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>o It's far. o CHASE<\/dialogue>\n    <scene_description>I like far. And I don't care what it's like, if that's what you're worried about. He cornes to her and embraces her from behind. She lets him.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>Let's go.<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Kya and Chase motor up to Kya's lagoon and Chase hops out. Kya ties up the boat, suddenly a mess of nerves. Chase looks around at the overgrown vegetable garden, the overalls and shirts hanging on the clothes line.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>How long you lived out here by yourself?<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>Probably ten years?<\/dialogue>\n    <character>CHASE<\/character>\n    <dialogue>Neat. Living out here with no parents telling you what to do.<\/dialogue>\n    <scene_description>His eyes catch a glimmer of light on the porch and he starts walking towards her porch steps.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>There's nothing to see inside!<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - PORCH - DAY<\/dialogue>\n    <scene_description>Chase steps into the screened porch and picks up the jars of butterflies, leaves, and feathers that line the walls.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>You did all this?<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Chase walks inside the house uninvited, and Kya follows. o o INT. KYA'S HOUSE - DAY Kya watches Chase take in the ratty couch and the kerosene lamps. He cranks the water pump and lets the water pour out onto his hand.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>I wasn't ready for guests.<\/dialogue>\n    <scene_description>Chase looks over and sees the shame burning on her face. He goes to her and wraps his arms around her.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>Kya, there's nobody I know who could live out here alone like this. Most guys would be too scared. You're something else.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>What do you want with me?<\/dialogue>\n    <character>CHASE<\/character>\n    <dialogue>Look, I'm not gonna lie. You're gorgeous, free, wild as a dang gale. I'm sorry I came on like that. I just want to be with you, all right? Get to know each other. I won't do anything unless you want me to, how's that?<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Chase motors towards Kya's lagoon, holding up a picnic basket. Kya smile and waves.<\/scene_description>\n    <character>KYA (V.O.)<\/character>\n    <dialogue>Every day after Chase got done with work at Western Auto, we'd explore the coast.<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>BEACH - DAY<\/dialogue>\n    <scene_description>Kya throws scraps of cornbread to the seagulls and they envelop her. Chase watches, laughing, as Kya disappears into the sea of birds.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - WATER - DAY<\/dialogue>\n    <scene_description>Chase plays the harmonica while Kya lets the boat drift under o low hanging cypress trees. A great horned owl stares at her as she sketches it. o INT. KYA'S HOUSE - DAY Chase watches Kya carefully put up one more watercolor of sea grass.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>WOODS - DAY<\/dialogue>\n    <scene_description>Kya and Chase crouch close to a mother deer and her fawn. Kya sketches the mother. Chase looks bored.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>KYA'S HOUSE - NIGHT<\/dialogue>\n    <scene_description>On her porch bed, Kya weaves a hemp necklace around the shell Chase gave her.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>BEACH - NIGHT<\/dialogue>\n    <scene_description>Kya and Chase sit under the stars on a blanket. A small fire burns in front of them.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>I wonder what makes stars twinkle.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>Disturbance in the atmosphere. You know, like high atmospheric winds.<\/dialogue>\n    <character>CHASE<\/character>\n    <dialogue>Huh.<\/dialogue>\n    <scene_description>They watch the stars.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>Is it okay if I kiss you now?<\/dialogue>\n    <scene_description>Kya nods. Chase leans over and kisses her. Pulls her body towards him. They lay like that, staring up at the stars, without moving.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - WATER - DAY<\/dialogue>\n    <scene_description>The spring sun shines bright on the water as Tate, now older and more filled out, races his boat towards Kya's marsh channel. Kya's boat zooms out of her channel, towards the open water.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>o Kya!<\/dialogue>\n    <scene_description>Tate keeps calling her name and waving his hands, but she doesn't hear him over the roar of the motor.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Kya! KYA!<\/dialogue>\n    <scene_description>Now there's another boat, shiny and new, coming towards her. It's Chase. Tate kills his motor and watches, unseen, as Chase and Kya circle around each other in their boats. Like birds courting in the sky. They both look giddy as they reach their hands out to touch, laughing and jostling in the water. Chase leans in to kiss Kya. Tate is crushed. He turns his motor back on and turns back towards the town harbor.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MAR SH - WATER - DAY<\/dialogue>\n    <scene_description>Chase and Kya drift along in her boat.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Tell me about your friends.<\/dialogue>\n    <character>CHASE<\/character>\n    <dialogue>Oh, I don't really have friends.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>I see you with people all the time.<\/dialogue>\n    <scene_description>Chase waves his hands and looks for a way to change the subject.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>It's hot! Let's go swimming.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>I don't have anything.<\/dialogue>\n    <character>CHASE<\/character>\n    <dialogue>I won't look. Take off your clothes and jump in, and then I will.<\/dialogue>\n    <scene_description>Kya nods. She stands up and takes her shirt off, then her pants. Chase doesn't look away. He reaches out and strokes her breasts. She doesn't stop him. Kya enjoys this, but it's moving so fast ... Chase kneels before her and runs his fingers from her ankle o all the way up her leg. She leans into him. He kisses her stomach, and then slowly begins to pull her panties down . Kya puts her hands over Chase's hands.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>Kya, please. We've waited forever.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>How do I know you won't ...<\/dialogue>\n    <scene_description>But she can't finish.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>Kya, I'm falling in love with you. I want to be with you all the time. What else can I do to show you?<\/dialogue>\n    <scene_description>Kya stares into Chase's eyes for some kind of reassurance.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Soon, okay?<\/dialogue>\n    <scene_description>Chase nods. Tries to laugh it off.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <scene_description>And with that, he strips off his clothes and jumps into the water. Kya follows suit, and the two lovers laugh and splash in the cold water.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Kya, boating home from the marsh, sees a MAIL CARRIER gingerly putting a letter in her mail box. When the mail carrier leaves, she docks her boat and pulls the letter out. Reads the letter. Screams.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>OH!<\/dialogue>\n    <character>DR. FOSTER (V.O.)<\/character>\n    <dialogue>Dear Miss Clark, we were fascinated by your preliminary pages of the various flora and fauna of the Carolina coast. We're intrigued at the idea of a book, but we'd love a focus. Birds? Shells? Plants? Pick one, please, and let's talk further. Would love for you to come to the office. Information is<\/dialogue>\n    <scene_description>o below. o KYA (V. O.) Dear Dr. Foster, how 'bout birds? Yours truly, Catherine Danielle Clark.<\/scene_description>\n    <character>DR. FOSTER (V.O.)<\/character>\n    <dialogue>Dear Miss Clark, birds it is. Thirty thousand word minimum.<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>VARIOUS LOCATIONS IN THE MARSH<\/dialogue>\n    <scene_description>Kya boats through the marsh ... She collects shells, bones, feathers ...<\/scene_description>\n    <character>KYA (V .O.)<\/character>\n    <dialogue>Dear Dr. Foster this will be a lot of work. Maybe years. Do I get money? Thank you, Catherine Danielle Clark.<\/dialogue>\n    <character>DR. FOSTER (V.O.)<\/character>\n    <dialogue>Dear Miss Clark, of course.<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Kya, now more mature, sits at her desk and sketches a feather in a book. Bob Dylan's \"Highway 61 Revisited\" howls from the record player. Kya's walls are lined with more shells, more bones. Charts of the evolution of birds. Pull back to reveal that Kya's house is full of these books. They pile on the table, the counters \u2022..<\/scene_description>\n    <character>KYA (V. O.)<\/character>\n    <dialogue>Dear Dr. Foster, \"Seabirds of the Eastern Seaboard\" is coming along slowly but surely. I'd like six months before I send you what I have.<\/dialogue>\n    <character>DR. FOSTER (V.O.)<\/character>\n    <dialogue>Dear Kya, seeing as lady scientists are a rarity in publishing, and in the world, would you like to meet?<\/dialogue>\n    <character>KYA (V. O. )<\/character>\n    <dialogue>o Dear Dr. Foster, I prefer the marsh<\/dialogue>\n    <scene_description>and my own company. o EXT. MARSH - WATER - DAY Chase motors towards Kya's lagoon. In a nearby boat, Two nearby FISHERMEN watch him zoom past. One Fisherman nudges the other.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KYA'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Kya serves Chase molasses ham and sour-cream biscuits with blackberry jam. She watches, delightedly, as he licks his fingers.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>Unbelievable.<\/dialogue>\n    <scene_description>Kya shrugs.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>I'm gonna build you a two story on the beach with a wraparound veranda, when we get married.<\/dialogue>\n    <scene_description>Kya tries to hide her delight.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>I don't think we should live right in town. That'd be too much of a jump for you. But we could build a place on the outskirts.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>What about your parents? Have you told them about me?<\/dialogue>\n    <scene_description>But Chase barrels on as if he didn't hear.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>I'll build a studio for all your stuff. With big windows so you can see the details of all those dad- burned feathers.<\/dialogue>\n    <scene_description>He laughs into his coffee. Kya is overcome with emotion.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>Oh, by the way, I have to drive over to Asheville in a few days to buy goods for my dad's store. I was thinking, why don't you come with me?<\/dialogue>\n    <scene_description>o KYA There'd be lots of people. o CHASE Look, if we're gonna get married, you gotta start getting out in the world a bit. Spread those long wings of yours.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>All right.<\/dialogue>\n    <character>CHASE<\/character>\n    <dialogue>It's a two day job, so we'll have to stay overnight.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>Oh. I see.<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>HIGHWAY - DAY<\/dialogue>\n    <scene_description>Chase drives as Kya stares at the neat houses lined up alongside the highway. Women hang sheets on clotheslines as children run about.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>There's a lot more world than the marsh, Kya Clark. Beautiful, huh?<\/dialogue>\n    <scene_description>Kya's eyes narrow. The dead grass, the paved roads. Nothing beautiful about this highway.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>HOTEL - DAY<\/dialogue>\n    <scene_description>Chase pulls into the parking lot of a cheap hotel. Kya looks at him.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>Long drive back.<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>HOTEL - NIGHT<\/dialogue>\n    <scene_description>Kya and Chase burst into the hotel room, kissing passionately. He picks her up and tosses her on the bed. She laughs. He climbs on top of her. And then, he undresses her. They start having sex. Quick, no foreplay, and frantic. She grimaces. Chase finishes and rolls off her. Kya sits up. Confused. Was that what all the fuss was about? o o CHASE It'll feel better for you later. The more you do it.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>Chase pulls her in close.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>I never want to lose you.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>CHASE<\/character>\n    <dialogue>I think about it a lot. Sneaking out at night to corne see you. Wrapping up around you.<\/dialogue>\n    <scene_description>Chase starts singing (from \"Long Black Veil\") and playing with Kya's hair.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>\"Nobody knows, nobody sees, nobody knows but me ... \"<\/dialogue>\n    <scene_description>Kya laughs.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>I love you, Kya.<\/dialogue>\n    <scene_description>Kya gasps. Chase plays with her hair.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>CHASE<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>But Kya can't say it back. Something in her won't give.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>I made you something.<\/dialogue>\n    <scene_description>She gets up, nude, and goes to her bag. Fishes out the hemp necklace. She ties it around Chase's neck.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>I'll never take it off.<\/dialogue>\n    <scene_description>o KYA Good. Maybe, this weekend, you want to spend two nights? o CHASE Oh, Kya, Christmas is gonna be so rough. SO rough.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Yeah, I know.<\/dialogue>\n    <character>CHASE<\/character>\n    <dialogue>So much family to pretend for. You don't know how lucky you are.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>Pretend what?<\/dialogue>\n    <character>CHASE<\/character>\n    <dialogue>Oh, Kya. Everything.<\/dialogue>\n    <scene_description>He sits up.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>After Christmas? We can open presents week after?<\/dialogue>\n    <scene_description>Kya nods.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>SHERIFF'S OFFICE - DAY (1969 AFTER DEATH)<\/dialogue>\n    <scene_description>Deputy Perdue hands Chase's exhausted mother, PATTI LOVE ANDREWS (45) a plastic ziplock bag of Chase's possessions. She opens it. Takes out each item one by one. A wallet, keys, lighter. Sheriff Jackson and Deputy Perdue stand, side by side, eyes respectfully downcast.<\/scene_description>\n    <character>PATTI LOVE<\/character>\n    <dialogue>This is it?<\/dialogue>\n    <character>DEPUTY PERDUE<\/character>\n    <dialogue>Yes, ma'am.<\/dialogue>\n    <scene_description>Patti Love takes this in.<\/scene_description>\n    <character>SHERIFF JACKSON<\/character>\n    <dialogue>Once again, you have our deepest condolences, Mrs. Andrews. And we're going through every detail with a fine tooth comb.<\/dialogue>\n    <scene_description>Patti Love puts each item carefully back in the bag, and puts o the bag into the giant purse by her side. o PATTI LOVE Chase would have never just fallen off the tower by himself. You know what an athlete he was. And smart.<\/scene_description>\n    <character>SHERIFF JACKSON<\/character>\n    <dialogue>It's of course an ongoing investigation--<\/dialogue>\n    <character>PATTI LOVE<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>His necklace is missing.<\/dialogue>\n    <character>SHERIFF JACKSON<\/character>\n    <dialogue>I beg your pardon?<\/dialogue>\n    <scene_description>Patti Love is working hard to hold it all together.<\/scene_description>\n    <character>PATTI LOVE<\/character>\n    <dialogue>I think it's important. He had this necklace on when he had dinner with us that night. Pearl couldn't come, it was her bridge night ...<\/dialogue>\n    <scene_description>She's falling apart. Steadies herself and tries again.<\/scene_description>\n    <character>SHERIFF JACKSON<\/character>\n    <dialogue>Keep going.<\/dialogue>\n    <character>PATTI LOVE<\/character>\n    <dialogue>It was a single shell hung on a piece of rawhide that wasn't loose, and it was tied in a knot. I just don't see how it could have flung off. And it was gone. From his body. And what I'm saying is, he never took it off.<\/dialogue>\n    <character>SHERIFF JACKSON<\/character>\n    <dialogue>Why did he wear it all the time?<\/dialogue>\n    <character>PATTI LOVE<\/character>\n    <dialogue>That Marsh Girl, who boats around in that old rattletrap boat. She made it and gave it to him when they were seeing each other for a while.<\/dialogue>\n    <scene_description>Sheriff Jackson and Deputy Perdue exchange glances.<\/scene_description>\n    <character>SHERIFF JACKSON<\/character>\n    <dialogue>o The Clark woman?<\/dialogue>\n    <scene_description>o PATTI LOVE I don't know her name, or if she even has one. But, what I'm saying is ... she's the only one who'd have any interest in taking it.<\/scene_description>\n    <character>SHERIFF JACKSON<\/character>\n    <dialogue>So were these two an item?<\/dialogue>\n    <scene_description>Patti Love reaches into her purse and pulls out a journal, filled with watercolors and sketches. Unmistakably Kya's work. There's a picture of Kya and Chase on the fire tower.<\/scene_description>\n    <character>PATTI LOVE<\/character>\n    <dialogue>I thought I bonded with my son more than any of the other mothers, that's what I told myself. But I found this, in his room.<\/dialogue>\n    <scene_description>Sheriff Jackson and Deputy Perdue study the journal.<\/scene_description>\n    <character>PATTI LOVE<\/character>\n    <dialogue>I'm so embarrassed. It's strange, the things that you feel when ... The night Chase died, he had dinner with us. He didn't leave our house until after eleven, and he was wearing the necklace. When I went to the clinic the next day, to identify him, the necklace was off. It was gone. Do you understand? She climbed that fire tower with Chase at least once. At some point, she gave that ugly necklace to him. And he wore it continuously until the night he died. After which time, it disappeared. So I'm telling you this because I want to know, is there something there? Because I think there's something there.<\/dialogue>\n    <scene_description>Sheriff Jackson doesn't answer. He keeps staring at the painting.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>BARKLEY COVE - NIGHT<\/dialogue>\n    <scene_description>Tate nurses a beer at a wild party in town. He watches Chase laughing ugly with a few FRIENDS. He can only hear pieces of the conversation. o o CHASE Wilder than a minx and worth every bit of the gas money! Out on the porch like animals! His friends laugh. Tate seethes.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - NIGHT<\/dialogue>\n    <scene_description>Kya sits working at her desk. The sound of a motorboat. She leaps up, fixes her hair. Rummages for Ma's lipstick and hastily puts it on.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - SHORE - NIGHT<\/dialogue>\n    <scene_description>Kya runs to the shore, beaming as the boat comes into view. But it's not Chase. It's Tate. Her face falls as he pulls into the lagoon. Then she bends down, picks up a rock, and throws it right at his face.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Shit, Kya! What the hell?<\/dialogue>\n    <scene_description>She picks up another rock.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Wait!<\/dialogue>\n    <scene_description>She hurls another rock.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Please! Can't we talk?<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>Why don't we talk? GET OUT OF MY LAGOON YOU LOW DOWN DIRTY CREEP!<\/dialogue>\n    <scene_description>A rock hits Tate hard on the shoulder.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Kya, please, I just want to--<\/dialogue>\n    <scene_description>Another rock.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>I never want to see you again EVER.<\/dialogue>\n    <scene_description>Another rock. When Tate dodges he falls out of his boat. o o TATE There's things you should know about Chase! He's not good! He's not good enough for you.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>You never came back. You never wrote to explain, or even to say if you were alive or dead. You were not man enough to face me. You disappeared. And now you come floating in here after all these years. You're worse than he is. He's not perfect, but you're worse by a long shot.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>You're right about me, Kya. Everything you say is true. I've been sorry for years. Please.<\/dialogue>\n    <scene_description>Kya exhales, as if she's been holding her breath this entire time.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Look at you. Beautiful. You doing okay? Still selling mussels?<\/dialogue>\n    <scene_description>Kya nods.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>I brought you something.<\/dialogue>\n    <scene_description>He pulls a feather from his pocket. A northern flicker. He hands it to Kya. She almost throws it away ... Then realizes she hasn't seen a Northern flicker feather before. Curious in spite of herself, she pockets the feather.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Leaving you was not only wrong, it was the worst thing I have ever done and will ever do in my life. I will always regret it. I think of you every day. I didn't think you could leave the marsh and live in the other world, so I didn't see how we could stay together. But that was wrong that I didn't come back and talk to you about it. The truth is, I didn't want to see how<\/dialogue>\n    <scene_description>o badly I hurt you. I was not man enough. Just like you said.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>What do you want now, Tate?<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>What I want? If you could, in some way, forgive me?<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>Seems like all the wrong people talk about forgiveness, don't they?<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>You're right. I understand. I'm in graduate school. Zoology. You'd love it. Could I see your collection?<\/dialogue>\n    <scene_description>Kya starts.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>And then I'll be gone. Promise.<\/dialogue>\n    <scene_description>Kya turns and walks towards her house. Tate follows.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>KYA'S HOUSE - PORCH - DAY<\/dialogue>\n    <scene_description>Kya's porch is lined with shells and feathers, which lean on delicate, intricate watercolors of the beaches of origin. There are thousands of them. Tate picks up a shell. Looks at the watercolor next to it. Whistles.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Kya, these are ...<\/dialogue>\n    <scene_description>He looks at her. She's smiling with pride.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>You're incredible.<\/dialogue>\n    <scene_description>Kya laughs.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>You can have one.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>Something to remember me by.<\/dialogue>\n    <scene_description>o o Tate looks across the watercolors, the shells, the feathers ... He finally lifts the painting of a great blue heron feather. It's the first feather he ever gave her. He looks up and catches her eye. There's an undeniable pull. ..<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Kya, I'm so sorry. Can't you forgive me?<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>I don't know how.<\/dialogue>\n    <scene_description>Tate nods.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Thanks for listening. For giving me the chance to apologize.<\/dialogue>\n    <scene_description>He waits, but she says nothing.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Goodbye, Kya.<\/dialogue>\n    <scene_description>She turns away. He walks out the door towards his boat.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Kya watches Tate go, hidden behind her window. She chokes back tears.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>BARKLEY COVE - DAY (1966)<\/dialogue>\n    <scene_description>HEADER: 1966 A few weeks later, early January. The streets of Barkley Cove are lined with discarded Christmas trees. Kya hurries through town, in cutoff denims, holding Tate's thin shirt for warmth around her narrow frame. Ahead of her she sees Chase, with a GOONISH MAN, TallSkinnyBlonde and AlwaysWearsPearls. His arm is around AlwaysWearsPearls. She stops. They see her. There's no getting out of this.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>o Oh, Kya! Hi! o KYA<\/dialogue>\n    <scene_description>Hey, Chase.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>Kya, you remember Brian, and Tina, Pearl.<\/dialogue>\n    <parenthetical>(to his friends)<\/parenthetical>\n    <dialogue>And this is Kya Clark.<\/dialogue>\n    <character>BRIAN<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>TALLSKINNYBLONDE (TINA)<\/character>\n    <dialogue>Hello, Kya.<\/dialogue>\n    <scene_description>Kya smiles awkwardly. Alwayswearspearls (Pearl) nods with a tight smile and turns abruptly away. The rest of Chase's friends follow. Chase and Kya are left alone.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>I don't want to interrupt anything.<\/dialogue>\n    <character>CHASE<\/character>\n    <dialogue>You're not interrupting. I just ran into them. I'll be out on Sunday, like I said.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>I'm making you a birthday dinner.<\/dialogue>\n    <character>CHASE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>For your birthday! In two days. Picnic and I thought I'd make you a caramel cake. Men like caramel cake.<\/dialogue>\n    <scene_description>Chase fingers his necklace.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>They do. I do. Maybe I'll steal away later on today, huh?<\/dialogue>\n    <character>KYA<\/character>\n    <parenthetical>(beaming)<\/parenthetical>\n    <dialogue>That's fine.<\/dialogue>\n    <scene_description>And just like that, Chase is gone, after his friends. Kya continues to walk through town. o<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>PIGGLY WIGGLY - DAY<\/dialogue>\n    <scene_description>She stops when she sees Mrs. Culpepper, a little older, smoking a cigarette in front of the Piggly Wiggly.<\/scene_description>\n    <character>MR S. CULPEPPER<\/character>\n    <dialogue>Don't be scared. Ain't nothing I can do to you now, is there?<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>No, ma' am.<\/dialogue>\n    <scene_description>Mrs. Culpepper nods and keeps right on smoking.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Kya unloads French bread, cheese, butter, sugar, eggs, and a newspaper. She eyes the French bread but goes to the stove to get a piece of day old cornbread and read the newspaper. She eats with one hand and turns pages with the other. Her fingers trace pictures of the new biology lab outside of town . The headline reads ECOLOGY LAB IN SEA OAK S. Kya turns the page to finish reading, and she jumps back out of her chair. Spits out her cornbread. There's a big picture of Chase and Pearl. It's a wedding announcement. \"AN DREWS-STONE\". Kya tries to catch her breath as she hears the roar of a motor outside. She leaves the paper unfolded to the engagement announcement and bolts out the door.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Kya runs out the door, into the woods, away from the lagoon.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - WOODS - DAY<\/dialogue>\n    <scene_description>Kya squats in the palmettos, watching as Chase goes into Kya's shack.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>Kya! Where's my Marsh Girl at?<\/dialogue>\n    <scene_description>He goes inside. From inside, she hears him calling, until quickly he goes silent. Chase bursts out of the house again. o o CHASE Aw, hell, Kya. I can explain. Kya! Kya! He continues to call her name, crazed and angry. Finally he kicks her porch several times, gets into his boat, and motors away.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - WATER - DAY<\/dialogue>\n    <scene_description>Kya motors out in her boat, with the bread and cheese next to her. The sea is churning.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>SUMBITCH!<\/dialogue>\n    <scene_description>The winds are picking up and Kya boats right into the riptides and back currents. It's a game of Russian roulette, a heartbroken woman versus the sea. The sky is black and Kya's boat is pulled into a rip. A wave crashes over her.<\/scene_description>\n    <character>KYA (V.O.)<\/character>\n    <dialogue>Have you ever wanted to feel terrified, just so you can't feel anything else?<\/dialogue>\n    <scene_description>Another wave rocks the boat and Kya is knocked, hard, onto the bottom. She picks herself up. The boat is spinning, out of control. Lightning slices the air.<\/scene_description>\n    <character>KYA (V.O.)<\/character>\n    <dialogue>Because the truth is, some of us are meant to be alone our entire lives. Whether we want it or not.<\/dialogue>\n    <scene_description>Kya is thrown again. Six inches of freezing water flood the boat.<\/scene_description>\n    <character>KYA (V.O.)<\/character>\n    <dialogue>But in spite of everything trying to stomp it out, life persists, doesn't it?<\/dialogue>\n    <scene_description>Kya returns to the wheel of the boat. She's no longer steering against the current. Now she's just moving with it.<\/scene_description>\n    <character>KYA (V.O.)<\/character>\n    <dialogue>I have to do life alone. But I knew this from the beginning. I've<\/dialogue>\n    <scene_description>o known for a long time that everyone leaves you one way or the other. o The waters are calming. Kya sees a sandbar and steers towards it. She jerks the tiller to beach against the shining shells. She climbs out onto the sandbar, holding the soaked French bread. She sinks into the sand. Gulls circle her and she pulls apart pieces of bread to feed them.<\/scene_description>\n    <character>KYA (V.O.)<\/character>\n    <dialogue>I must let go now. Love is too often the answer for staying. Too seldom the reason for going.<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - NIGHT<\/dialogue>\n    <scene_description>Kya lays out illustrated pages of her book and puts note cards next to the illustrations.<\/scene_description>\n    <character>KYA (V.O.)<\/character>\n    <dialogue>And so it was another year, just me and Dr. Foster.<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY (1967)<\/dialogue>\n    <scene_description>HEADER: 1967 Kya opens a package from her mailbox. It's a stunning colored proof of useabirds of the Eastern Seaboard.\" Kya opens the pages and traces her fingers along the illustrations. Her shells, feathers, and leaves are all there, vivid and polished. Kya beams. Reads the letter.<\/scene_description>\n    <character>DR. FOSTER (O.S.)<\/character>\n    <dialogue>Dear Miss Clark, please review the enclosed contract. Five thousand dollars, plus royalties up and down the coasts of your Eastern Seaboard. While you're at it, review this proof at your convenience. I hope you're pleased. Sincerely, Robert Foster.<\/dialogue>\n    <scene_description>Kya traces her fingers on the number 5,000 and chokes.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY (1969 BEFORE DEATH)<\/dialogue>\n    <scene_description>Kya rummages through her family books. Opens the Bible. o Searches through until she finds what she's looking for. o INT. COURTHOUSE - DAY Several maps are spread out over the desk of an elderly COURT CLERK. Kya traces her finger along the coast line. Her family bible, with all the names listed, lays open in front of him. Her only identification in the world.<\/scene_description>\n    <character>CLERK<\/character>\n    <dialogue>Mr. Napier Clark looks like ... yes ma'am. Never been sold, so yessiree bobtail I reckon it belongs to you.<\/dialogue>\n    <scene_description>Kya sags in relief.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Can I get something in writing that says so?<\/dialogue>\n    <character>CLERK<\/character>\n    <dialogue>Well, there's a little problem \u2022\u2022.<\/dialogue>\n    <scene_description>He looks through his papers.<\/scene_description>\n    <character>CLERK<\/character>\n    <dialogue>Looks like you gotta pay some back taxes, you wanna keep it, Miss Clark. In fact, ma'am, the way the law reads, whoever comes along and pays off them back taxes owns the land even if they ain't got no deed.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>How much?<\/dialogue>\n    <scene_description>He fiddles around with a clunky calculator.<\/scene_description>\n    <character>CLERK<\/character>\n    <dialogue>Looks like about eight hundred dollars total. Whoever's first to pay. Put the land free and clear.<\/dialogue>\n    <scene_description>Kya nods and reaches into her bag. Pulls out eight hundred dollar bills and lays them in front of the shocked clerk.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Kya watches a group of FIX IT MEN descend on her house with brand new equipment. A toilet, a sink, a refrigerator. She o can't believe it. They all give Kya's porch bed the side- eye. o KYA (V .O.) Full deed for Catherine Danielle Clark for three hundred ten acres of lagoons, marsh, oak forests, and a long private beach on the North Carolina Coastline. \"Murky Swamp\".<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>The Fix-It Man (JERRY) installs in a giant claw-foot bathtub in the back bedroom. Kya beams.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I could put in a new stove, if you like. Get rid of that wood-burning dinosaur.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>My Ma might corne back and ask where her stove went.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>At least let me put in a real bed. You don't have to sleep in it every night, but when it's cold you're gonna want options.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - NIGHT<\/dialogue>\n    <scene_description>Kya looks around her newly renovated house. She turns off the new electric switch, then turns it on and floods the house with light. Looks at her sofa, chairs, her bed and mattress. She smiles. Then she turns the lights off and walks out onto the porch.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Kya sits near her bed on the porch, sketching an intricate orange and red toadstool. Her porch has even more jars of nests, toadstools, moss. It looks like a fabulous natural history museum.<\/scene_description>\n    <character>KYA (V. O.)<\/character>\n    <dialogue>I finished \"Seabirds\", and was working on a guide to mushrooms.<\/dialogue>\n    <scene_description>o Already had plans for another on butterflies and moths. o A red pickup truck crawls over the sand out of the narrow path in the woods. Kya stands up, panicked. But she stays put. The truck parks. A YOUNG MAN steps out. Tall, dark haired, in an army uniform. He smiles at Kya.<\/scene_description>\n    <character>YOUNG MAN<\/character>\n    <dialogue>Kya.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>Jodie.<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Kya pours Jodie more tea as he stares at all her jars on the wall.<\/scene_description>\n    <character>JODIE<\/character>\n    <dialogue>I had two weeks off every year, I would go through any lead I could. After twelve years, I finally found her in New Orleans. She was sick already. But Kya, she tried to get back to you. Pa told her he'd kill us if she tried to come back, and she saved up for lawyers, for any kind of help, but ... And then she got sick.<\/dialogue>\n    <scene_description>Kya nods and sips her tea.<\/scene_description>\n    <character>JODIE<\/character>\n    <dialogue>I think I signed up for my second tour as a kind of punishment for leaving you alone with that monster.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>You were a kid, yourself. What could you do?<\/dialogue>\n    <character>JODIE<\/character>\n    <dialogue>And then I graduate from Tech, and I see your book in a shop. Catherine Danielle Clark. My heart just broke and leapt for joy all at once. I knew I had to find you, and I was gonna start here, but I didn't think you'd still be here.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>o I'm always here. o JODIE<\/dialogue>\n    <scene_description>Come outside, I wanna show you something.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>KYA'S HOUSE - JODIE'S TRUCK - DAY<\/dialogue>\n    <scene_description>Jodie and Kya sit in the bed of Jodie's truck. A cardboard box is open on the bed of the truck, and Jodie pulls out oil painting after oil painting.<\/scene_description>\n    <character>JODIE<\/character>\n    <dialogue>She kept painting, even after her mind started to go.<\/dialogue>\n    <scene_description>Kya holds up a picture of her and her sisters, standing by the lagoon, reaching up at a swarm of dragon flies. Another of Little Jodie and Murph holding a string of fish. And then ... Kya pulls out a painting of her and Little Tate, standing in the grass. His hand is on her arm, and he's pointing at a butterfly.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Is that ...<\/dialogue>\n    <character>JODIE<\/character>\n    <dialogue>Think it's Tate Walker. He and I would go fishing, remember? I don't know if you remember the time he came by, and Pa smacked you upside the head, and he yelled at Pa he better not touch you again. So Pa smacked him upside the head, and told him he'd shoot him, but Tate made sure you were all right. Picked you up and handed you to Ma. You don't remember that? Musta been too little.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>Guess so.<\/dialogue>\n    <character>JODIE<\/character>\n    <dialogue>I'm stationed at Fort Benning for a while yet, so I can't stay long now, but ... knowing you're ok is all I wanted in my life. And I'd like to see you as much as I can get up here. You don't have to be alone anymore.<\/dialogue>\n    <scene_description>o o Yeah.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>I'd like that. Come<\/dialogue>\n    <scene_description>whenever you want.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>JUMPIN'S SHOP - DAY<\/dialogue>\n    <scene_description>Jumpin displays Kya's book in the window of his store. Proud, like a father. She slips a plain white envelope to Jumpin. TATE is written across the envelope in neat cursive. She shrugs. Jumpin smiles.<\/scene_description>\n    <character>KYA (V.O.)<\/character>\n    <dialogue>Dear Tate. If you're near my place sometime, I;d like to give you a copy of my book.<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - SHORE - DAY<\/dialogue>\n    <scene_description>Tate leafs through Kya's proof on the shore.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Kya.<\/dialogue>\n    <scene_description>He goes to hug her, but she moves away.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Sorry! I'm so happy for you. Nothing like this has ever been published. I'm sure this is just the beginning for you.<\/dialogue>\n    <scene_description>Kya beams.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Hey, you haven't signed it. Can you inscribe it for me?<\/dialogue>\n    <scene_description>He takes a pen from his pocket and hands it to her. Kya writes, \"To the Feather Boy. Thank you. From the Marsh Girl.\" Tate takes his proof back. Reads it. He bursts out into his signature nerdy, joyous laughter. Wipes tears from his eyes.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Thank you, Kya.<\/dialogue>\n    <scene_description>He waits for more, but she says nothing. o o TATE Hey, when you see me out in the marsh, please don't hide in the grass like some spotted fawn. Just call out to me. We can do some exploring together. Okay?<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>All right.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>And thanks for the book.<\/dialogue>\n    <scene_description>He holds it to his chest.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Good bye, Tate.<\/dialogue>\n    <scene_description>Tate gets back into his boat, and she watches him disappear over the horizon.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>BARKLEY COVE - DINER - DAY (1969 AFTER DEATH)<\/dialogue>\n    <scene_description>Tate's hands shake as he tries to drink his coffee. But he meets the Sheriff's eye.<\/scene_description>\n    <character>SHERIFF JACKSON<\/character>\n    <dialogue>I understand you saw Miss Clark the night before Chase's death?<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Yes, sir. I told you already.<\/dialogue>\n    <character>SHERIFF JACKSON<\/character>\n    <dialogue>I need to understand it again.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Is she in trouble?<\/dialogue>\n    <character>SHERIFF JACKSON<\/character>\n    <dialogue>Maybe not. Maybe not. But does seem like that girl is always in trouble, doesn't it?<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - SHORE - DAY (1969 BEFORE DEATH)<\/dialogue>\n    <scene_description>HEADER: 196 9 Kya sits on the banks of the marsh, clutching a knife in her o hand. It's dark, and we can't see her face. o She hears a motorboat approaching. She stands up and brandishes her knife. And Tate steps off his boat. He's wearing a red wool cap.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Hey ...<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>Go away.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>What happened to your face?<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>That's none of your business, either. Stop looking at me.<\/dialogue>\n    <scene_description>Tate laughs, softly.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>How could I stop.<\/dialogue>\n    <scene_description>He tries to comfort her but she holds her hands up. She can't be touched. Kya smiles in spite of herself. Tate looks Kya up and down. His eyes don't miss a single bruise.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Quit looking at me.<\/dialogue>\n    <scene_description>Tate mulls this all over. Then:<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>You met the publisher yet?<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>Don't need to.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Can I suggest something? You should go meet them. This week, if you can. Soon as possible. It'll be good for him to see you. Good for you, too. Go on up. Let them put you at a nice hotel. Eat some hot restaurant food you didn't have to make. Take it easy, Kya. You earned it. Stay a week, if you can.<\/dialogue>\n    <scene_description>o He's looking deep into Kya's eyes now. o TATE I don't think it's good for you to stay here. You should go on up to Greenville.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>All right.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Good. Tomorrow, if you can?<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>I'll see.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Good. Hey, aren't you freezing?<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>I'm fine.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Here, take my hat.<\/dialogue>\n    <scene_description>And he takes off his cap and tosses it to her. She catches it. Tate gives her one last wave and gets back into his boat. Turns on the motor.<\/scene_description>\n    <character>KYA<\/character>\n    <parenthetical>(screaming through sudden tears)<\/parenthetical>\n    <character>I STILL HATE YOU!<\/character>\n    <dialogue>TATE<\/dialogue>\n    <character>I COMPLETELY UNDERSTAND.<\/character>\n    <dialogue>He motors away, and then he's gone from sight, leaving Kya holding the red cap to her face. Breathing him in.<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>BARKLEY COVE - DINER - DAY (1969 AFTER DEATH)<\/dialogue>\n    <scene_description>Sheriff Jackson finishes taking notes.<\/scene_description>\n    <character>SHERIFF JACKSON<\/character>\n    <dialogue>You want some advice? Walk away from all this. And run away from her.<\/dialogue>\n    <scene_description>He gets up, leaving Tate with his coffee. o o EXT. KYA'S HOUSE - DAY Sheriff Jackson knocks on the door. No answer. nods to his deputies. They kick in the door. The Sheriff<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Sheriff Jackson, Deputy Perdue, and the mean-eyed DEPUTY CHAMBLISS search Kya's house. There are piles of papers, shells, and leaves in every nook and cranny. Jars of snake skins and sharks teeth. But everything is organized and clean.<\/scene_description>\n    <character>SHERIFF JACKSON<\/character>\n    <dialogue>First order of business is that necklace Miss Patti talked about. Anything.<\/dialogue>\n    <character>DEPUTY PERDUE<\/character>\n    <dialogue>Ed, look at this stuff!<\/dialogue>\n    <character>DEPUTY CHAMBLISS<\/character>\n    <dialogue>Almost like a shrine in here. Half of roe's impressed, other half's got the heebie-jeebies.<\/dialogue>\n    <character>DEPUTY PERDUE<\/character>\n    <dialogue>Hey! Check this out!<\/dialogue>\n    <scene_description>They turn to look at Deputy Perdue, who's studying one of the manuscripts and holding a giant peacock feather. Sheriff Jackson begins carefully opening drawers and cabinets, lost in his own world.<\/scene_description>\n    <character>DEPUTY PERDUE<\/character>\n    <dialogue>\"Over eons of time, the males' feathers got larger and larger to attract females, until the point that males can barely lift off the ground and can no longer fly.\"<\/dialogue>\n    <scene_description>The other two men stare at him blankly.<\/scene_description>\n    <character>DEPUTY PERDUE<\/character>\n    <dialogue>Well isn't that INTERESTING?<\/dialogue>\n    <character>DEPUTY CHAMBLISS<\/character>\n    <dialogue>Are you finished? We have a job to do.<\/dialogue>\n    <scene_description>o o DEPUTY PERDUE Well, I think it's very interesting. And now Sheriff Jackson picks up a knit red ski cap, nestled in a dresser drawer. He holds it to the light.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - WATER - DAY<\/dialogue>\n    <scene_description>Kya drives her boat through the marsh, towards Jumpin's wharf.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>JUMPIN'S WHARF - DAY<\/dialogue>\n    <scene_description>Kya approaches the wharf. Jumpin sits on the dock, staring past her. Kya waves. Jumpin doesn't move. Kya turns around ... Three large police boats emerge from the fog and corner her. Like an animal. Kya guns her engine and cuts backwards towards the marsh. Sheriff Jackson cuts her off in his boat. She jumps out and begins to swim. She makes it to dry land and begins to run ...<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - DAY<\/dialogue>\n    <scene_description>... through scuppernong vines, circling scrawny pine trees, through a run-off creek .\u2022. She charges into the marsh. She submerges herself up to her neck. There's a boat motoring towards her. Kya looks to the sky, mouths a silent prayer, and submerges herself under the water.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - UNDERWATER - DAY<\/dialogue>\n    <scene_description>Kya expels all her breath underwater. Her heartbeat slows. She kicks down further, determined to drown ... A hand breaks the surface of the water and pulls her up. o EXT. MARSH - WATER - DAY Deputy Perdue throws Kya into his boat, not caring that he outweighs her by a hundred pounds. She tries to leap out and he tackles her.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - SHORE - DAY<\/dialogue>\n    <scene_description>Deputy Perdue tosses Kya over his shoulder and carries her to his truck. She's screaming, clawing, like a wild animal.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>BARKLEY COVE - MORNING<\/dialogue>\n    <scene_description>Deputy Perdue's truck drives slowly through the town of Barkley Cove. It's like all of Barkley Cove is lined up to watch The Marsh Girl taken to jail.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>JAIL - DAY<\/dialogue>\n    <scene_description>Kya is fingerprinted and photographed.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>JAIL - KYA'S CELL - DAY<\/dialogue>\n    <scene_description>Kya stands on her cot, trying to get a glimpse out the tiny window in her cell. A stirring behind her. She turns to see a black cat, SUNDAY JUSTICE. Two unseen INMATES banter back and forth in their own cells.<\/scene_description>\n    <character>INMATE 1<\/character>\n    <dialogue>They ain't given the death penalty in twenty years, and hell if a woman is gonna break that streak.<\/dialogue>\n    <character>INMATE 2<\/character>\n    <parenthetical>(calling to Kya)<\/parenthetical>\n    <dialogue>We're proud of you, Marsh Girl!<\/dialogue>\n    <scene_description>Kya winces. The black cat winds it's way through the halls. He sees Kya and slinks into her cell. Leaps on her lap and begins to purr.<\/scene_description>\n    <character>JACOB (O.S.)<\/character>\n    <dialogue>Sunday Justice, are you bothering people again?<\/dialogue>\n    <scene_description>JACOB, (black, 60's), the longtime jailor of Barkley Cove, pokes his head into the hallway. He sees Sunday Justice cuddled on Kya's lap. She puts her arms around the cat o protectively. o Jacob's face tries to hide his sympathy.<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>He turns away.<\/dialogue>\n    <scene_description>Sunday Justice? Sunday Justice, I don't see you anywhere! Kya sags in relief.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>JAIL - KYA'S CELL - DAY<\/dialogue>\n    <scene_description>Morning light streams through the tiny window. Sunday Justice is sleeping on Kya's stomach. A knock on her cell door. Jacob leads TOM MILTON, 50s, tall in a linen suit, into Kya's cell.<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>You don't need to keep sharing your food with Sunday Justice. He always takes half of mine and it shows. Loves his po'boys.<\/dialogue>\n    <scene_description>He pats Sunday Justice's fat belly. Sunday Justice leaps off of Kya's stomach, indignant, and slinks through the cell bars. Jacob nods to Tom and leaves the two alone.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Good morning, Miss Clark? My name is Tom Milton. Thought you could use some help.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>How much?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Pro bono. That means--<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>I know what that means.<\/dialogue>\n    <scene_description>He pulls a book out of his bag and hands it to her.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>I know you like shells. This probably won't teach you anything you don't already know.<\/dialogue>\n    <scene_description>Kya opens the book: The Rarest Shells of the World. Each page is a life sized oil painting of beautiful shells. Kya becomes engrossed in the pages. o o TOM I used to see you out on the water. You always reminded me of a bird. Everyone else on boats looks like they fall in, they'll drown, but you always seemed like you were just as much a part of the marsh as cypress trees or egrets. But no one could tell me your name. They just called you \"The Marsh Girl.\" Kya winces.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>And I think they deserve to know you better.<\/dialogue>\n    <scene_description>Kya looks at him. Respect and warmth aren't what she was expecting at all.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>I know you've never been in trouble before, so I thought I'd take you through the trial.<\/dialogue>\n    <scene_description>Kya nods, trying to choke back tears.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>So, there's going to be a jury, and here's the bailiff, and the judge ...<\/dialogue>\n    <scene_description>He draws this all out for her on a notepad.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>COURTHOUSE - DAY<\/dialogue>\n    <scene_description>Kya sits with Tom in the courthouse and looks around. A portly JUDGE SIMS (40s) shuffles through a mound of papers. ERIC CHASTAIN, 35, makes notes in his legal pad without once looking at Kya. The JURY--all twelve of them, all white--stare at Kya as if looking at a dangerous animal in a cage. Mr. Andrews and Patti Love sit stone-faced. And then there's Tate, all alone in the very back of the courtroom. He smiles at Kya when she catches his eye. She whips back around and stares at her hands.<\/scene_description>\n    <character>TOM<\/character>\n    <parenthetical>(quietly, to Kya)<\/parenthetical>\n    <dialogue>o Don't look at the jury, trust me.<\/dialogue>\n    <scene_description>o TOM That's Eric Chastain, acting for the state.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Against me.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Against us.<\/dialogue>\n    <character>JUDGE SIMS<\/character>\n    <dialogue>Catherine Danielle Clark of Barkley County, North Carolina, you are charged with the murder in the first degree of Chase Andrews. The State has announced that they will seek the death penalty if you are found guilty.<\/dialogue>\n    <scene_description>Tom reaches out to touch Kya's shoulder in comfort, then thinks better of it.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>COURTROOM - DAY<\/dialogue>\n    <scene_description>Kya watches Sunday Justice as he licks his paws on the window ledge. She seems oblivious to her own trial, a fact that's not lost on Tom. Eric is cross examining an earnest DR. CONE, (50s) on the stand.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>... But when I step forward, my head ends up slightly ahead of my body. The momentum and the weight of my head would pitch me forward. Chase Andrews would have hit his forehead on the beam, not the back of his skull, if he was just stepping forward by accident. So isn't it true, Dr. Cone, that the evidence suggests that Chase was going backwards when he fell?<\/dialogue>\n    <character>DR. CONE<\/character>\n    <dialogue>Yes, the evidence would support that conclusion.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>And is it correct that you found red wool fibers on Chase's jacket, the night he died?<\/dialogue>\n    <character>DR. CONE<\/character>\n    <dialogue>o Yes, that's true.<\/dialogue>\n    <scene_description>o Eric holds up a clear plastic bag with the red wool fibers found by Sheriff Jackson.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>And isn't it true that the red wool fibers found on Chase's jacket match those on this red cap?<\/dialogue>\n    <scene_description>He holds up the cap Sheriff Jackson found in Kya's house.<\/scene_description>\n    <character>DR. CONE<\/character>\n    <dialogue>Yes. These are my labeled samples, and the fibers from the cap and jacket matched exactly.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Where was the cap found?<\/dialogue>\n    <character>DR. CONE<\/character>\n    <dialogue>It was found in Miss Clark's residence.<\/dialogue>\n    <scene_description>Torn nudges Kya and leans in.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>You need to be here. Don't check out. If you're scared, let them see how scared you are.<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>JAIL - DAY<\/dialogue>\n    <scene_description>Tate, cradling books, negotiates with Jacob.<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>She still says no. Try again tomorrow, son. If you're feeling lucky.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Will you see she gets these?<\/dialogue>\n    <scene_description>He hands Jacob the books.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>COURTROOM - DAY<\/dialogue>\n    <scene_description>Kya sketches Sunday Justice on her legal pad as Torn cross examines Dr. Cone. o o TOM Isn't it true that if he stepped backward on his own and fell through the hole by accident, the results of hitting the back of his head would have been exactly the same?<\/scene_description>\n    <character>DR. CONE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Torn continues to cross examine Dr. Cone as Kya buries herself in her drawing. The sketch of Sunday Justice is, like all her sketches, remarkably detailed down to the last whisker. Torn shows the court the plastic bag with the red fibers.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>So you're saying that anytime during the four years the defendant knew Chase Andrews, when they met wearing those items of clothing, it's possible the fibers were transferred from the cap to the jacket.<\/dialogue>\n    <character>DR. CONE<\/character>\n    <dialogue>From what I have seen, yes.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Was there any evidence at all that Miss Clark was in close proximity to Chase Andrews that night? Skin, fingerprints, hair?<\/dialogue>\n    <character>DR. CONE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>JAIL - KYA'S CELL - DAY<\/dialogue>\n    <scene_description>In her cell, Kya stares at a plate of butter beans and meat.<\/scene_description>\n    <character>TOM (O.S.)<\/character>\n    <dialogue>So, in fact, since the red fibers could have been on his jacket as long as four years, there's no evidence whatsoever that Miss Catherine Clark was near Chase Andrews the night of his death?<\/dialogue>\n    <character>DR. CONE (O.S.)<\/character>\n    <dialogue>o No. o Jacob unwraps Tate's parcel and hands it to her. Its<\/dialogue>\n    <scene_description>periodical; Fish of the Indian Ocean. Kya's eyes light up.<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>And from Jumpin and Mabel.<\/dialogue>\n    <scene_description>He hands her some cookies.<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>Just don't feed those to the cat. I've got enough problems.<\/dialogue>\n    <scene_description>He nods, leaving Kya alone. Kya puts her dinner down on the floor and watches with happiness as Sunday Justice eat every last bite.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>COURTROOM - DAY<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>The People call Rodney Horn.<\/dialogue>\n    <scene_description>RODNEY HORN (40s), a bespectacled, eager man, sits on the stand, eager to please. Kya jolts when she sees Rodney, then stares down at her hands.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Rodney, I believe you were fishing near Cypress Cove the morning of August 30, is that correct?<\/dialogue>\n    <character>RODNEY<\/character>\n    <dialogue>That's correct. Been there since dawn.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>All right. I would like you to tell the court what you saw that morning.<\/dialogue>\n    <character>RODNEY<\/character>\n    <dialogue>Well, like I said, been there since dawn, and was about to pull my line and head out ...<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>CYPRESS COVE - DAY<\/dialogue>\n    <scene_description>Kya sits cross legged, drawing a formation of rare toadstools. Her boat is beached on the nearby shore.<\/scene_description>\n    <character>CHASE (O.S.)<\/character>\n    <dialogue>o Well, look who's here.<\/dialogue>\n    <scene_description>Girl. My Marsh o Kya jerks up. Chase stands over her, smiling. the shell necklace Kya gave him. He's wearing<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Please, just go.<\/dialogue>\n    <scene_description>She hides her drawings protectively.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>I'm sorry about how things turned out.<\/dialogue>\n    <scene_description>He leans in. She pulls away. His breath smells like bourbon.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Please.<\/dialogue>\n    <character>CHASE<\/character>\n    <dialogue>You knew we couldn't get married. You never could have lived near town. But, Kya, there'll never be anyone else like you. And I think you love me too. Let's go back to what we had. You can stay here. We can have our life together. Right out here.<\/dialogue>\n    <scene_description>He reaches towards her shoulders and pulls her towards him.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Let go of me! I don't wanna be a secret.<\/dialogue>\n    <character>CHASE<\/character>\n    <dialogue>You don't think I'm a secret? You don't think I have to hide things, who I really am, out there? I keep so much of myself a secret, Kya, they don't even know me out there. You do. It's just the way things are. You think you're poor and all that but you don't know how lucky you are, to have no one to actually please. To have the luxury of hiding away without anyone caring.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>I'm not your secret.<\/dialogue>\n    <scene_description>Chase pulls back, shocked. Then he slaps her. She punches him. He smirks. o o CHASE Wilder than ever. He grabs her shoulders and clips the back of her knees with one of his legs. He pushes her to the ground. Her head bounces hard on the dirt.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>No one knows me out there, Kya. You're the only one who ever loved me for me.<\/dialogue>\n    <scene_description>He pins her down and unzips his jeans. She squirms away, and he punches her in the face. She reels back as he unzips her shorts and rips off her panties. He flips her over on her stomach.<\/scene_description>\n    <character>CHASE<\/character>\n    <dialogue>I'm not letting you go this time. Like it or not, you're mine.<\/dialogue>\n    <scene_description>Kya reaches for a rock and grabs it. Swings around and smashes Chase in the face with the rock. As he pulls back, she pulls up a fist full of dirt and flings it into his eyes.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>COURTROOM - DAY (1970)<\/dialogue>\n    <character>RODNEY<\/character>\n    <dialogue>By the time I got closer, I seen the woman fightin' someone, and she kicked him right in the--<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - DAY (1969 BEFORE DEATH)<\/dialogue>\n    <scene_description>Kya kicks Chase in the balls. Chase moans. She kicks him in the back several times. Kya pulls up her shorts, grabs her knapsack, and runs to her boat. She snaps the motor until it cranks. Turns the tiller sharply and accelerates away from the bank just as Chase gets to his feet.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Leave me alone, you bastard! You bother me again, I'll kill ya!<\/dialogue>\n    <scene_description>o Wild-eyed, she looks out to the sea, and sees Rodney Horne in his fishing boat. Rodney stares. o INT. COURTROOM - DAY<\/scene_description>\n    <character>RODNEY<\/character>\n    <dialogue>Something about, nif you bother be again, I'll kill ya.u<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Do you recognize the woman? Is she in the courtroom today?<\/dialogue>\n    <character>RODNEY<\/character>\n    <dialogue>It's that 'un there, the defendant. The one folks call Marsh Girl.<\/dialogue>\n    <character>JUDGE SIMS<\/character>\n    <dialogue>Mr. Horn, the defendant's name is Miss Clark. Do not refer to her by any other name.<\/dialogue>\n    <scene_description>But the damage has been done. The members of the jury shake their heads. Members of the audience whisper nervously to each other. Tate stares at Kya, but she doesn't turn around.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY (1969 BEFORE DEATH)<\/dialogue>\n    <scene_description>Kya sits on her porch, head bowed. Her face, arms, and legs are smeared with bloody grit. She spits out blood and dirt.<\/scene_description>\n    <character>KYA (V.O.)<\/character>\n    <dialogue>Ma. Finally I understand why you had to leave and never come back. I'm sorry I didn't know. I'm sorry I couldn't help you. I will never live like that. A life wondering when the next fist will fall.<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - WATER - DAY (1969 BEFORE DEATH)<\/dialogue>\n    <scene_description>Kya has her boat docked behind some sea oats. Kya's bruises have gone down enough to show that a few days have passed. She ventures out into the marsh. She hears a screech behind her. She turns ... it's just Big Red. She relaxes and gives him some bread crumbs. And then, Kya hears a motorboat. Through the sea oats, she o spots Chase's ski boat racing towards her channel. She lays flat in the boat, her head to the side so she can watch him. Chase looks angry and determined.<\/scene_description>\n    <character>KYA (V.O.)<\/character>\n    <dialogue>One thing I learned over and over from Pa: These men have to have the last punch. These men, they need to see us taught a lesson.<\/dialogue>\n    <scene_description>Kya lays down in her boat as the sun sinks lower. Finally, Chase motors out of the marsh, spitting in the water. Kya docks on the beach ...<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - WATER - KYA'S BOAT - NIGHT (1969 BEFORE DEATH)<\/dialogue>\n    <scene_description>Kya drifts to sleep in the belly of her boat, curled in a ball.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>MARSH - WATER - DAY (1969 BEFORE DEATH)<\/dialogue>\n    <scene_description>Kya wakes up, surrounded by gulls. Big Red hops onto her legs. She smiles, until she hears the motorboat again. She starts up and dives into the sea oats as she sees Chase, again, motoring towards her shack.<\/scene_description>\n    <character>KYA (V.O.)<\/character>\n    <dialogue>He will never let me go.<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>COURTROOM - DAY<\/dialogue>\n    <scene_description>A SKINNY MAN sits on the stand, avoiding Kya's eyes.<\/scene_description>\n    <character>SKINNY MAN<\/character>\n    <dialogue>Maybe Wednesday, I don't remember, I heard her at Jumpin's asking about the bus schedule. And she looked like she been fighting somebody.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Let the record show that this is going to be Wednesday, September 3, 1969. Three days after Chase Andrews announces his wedding in the paper.<\/dialogue>\n    <scene_description>o<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>JUMPIN'S SHOP - DAY (1969 BEFORE DEATH)<\/dialogue>\n    <scene_description>Kya, covered in bruises and cuts, browses cans of beans in Jumpin's shop as she waits for several CUSTOMERS to leave. The Skinny Man is sneaking a bottle of coke from the cooler behind the chips aisle. Neither Jumpin nor Kya see him. When the other customers have cleared out, Kya approaches Jumpin.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>I need to write down the bus schedule. You have a copy, right?<\/dialogue>\n    <scene_description>Jumpin taps at a battered bus schedule taped to the wall.<\/scene_description>\n    <character>JUMPIN<\/character>\n    <dialogue>You wanna tell me what happened to your eye?<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <character>JUMPIN<\/character>\n    <dialogue>What else he done?<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>If I tell they're gonna drag me into the sheriff's office and make me tell what happened to a bunch of men. And then they're gonna write me up in the papers. Call me a liar. Accuse me of whorin'. You know how it goes.<\/dialogue>\n    <character>JUMPIN<\/character>\n    <dialogue>How do you know he ain't coming after you again? And you're always on your lonesome out there?<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>I always protected myself before.<\/dialogue>\n    <character>JUMPIN<\/character>\n    <dialogue>You let me know when you're going over there and when you get back. You hear? I gotta know if you're out of town. Because, if I don't see you more than a day or so I'm going over to your place myself. Bring along a posse if need be.<\/dialogue>\n    <scene_description>o<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>I will. Thank you, Jumpin. I'm leaving tomorrow.<\/dialogue>\n    <character>JUMPIN<\/character>\n    <dialogue>Good. Good.<\/dialogue>\n    <scene_description>The Skinny Man finishes his stolen coke and chips as he stares after Kya.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JUMPIN'S WHAR F - DAY (1969 BEFORE)<\/stage_direction>\n    <scene_description>Kya eases her boat into Jumpin's wharf. She sees the town speople staring at her. Kya lets them stare. Her hair is comb ed, she's wearing makeup and the nicest assortment of Ma's clothes she could find.<\/scene_description>\n    <character>TOM (O.S.)<\/character>\n    <dialogue>Miss Pansy Price, will you tell me what you and your employees saw the day of Septemb er 4, 1969?<\/dialogue>\n    <scene_description>Kya walks up to Jumpin's store, and sees the line of customers is too long. They all get a good look at her. She turns and walks back ...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAR KLEY COVE - BUS STOP - DAY (1969 BEFORE DEATH)<\/stage_direction>\n    <scene_description>... to the bus stop. Kya waits for the bus. Looks around to see more town speople watching her. The bus pulls into view.<\/scene_description>\n    <character>MISS PAN SY (O.S.)<\/character>\n    <dialogue>I saw the Marsh Girl wearing a yellow dress, hair comb ed, leave on the 2:30 bus.<\/dialogue>\n    <character>TOM (O.S.)<\/character>\n    <dialogue>That's a sharp memory.<\/dialogue>\n    <character>MISS PAN SY (O.S.)<\/character>\n    <dialogue>We all talked about it because we never seen her cleaned up like that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>PAN SY PRICE tremb les on the stand. Her turban hat glistens in the light. Eric takes the floor, holding a bus schedule.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>She was wearing a yellow dress?<\/dialogue>\n    <character>MISS PAN SY<\/character>\n    <dialogue>Bright yellow.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Almost like she wanted you to notice her.<\/dialogue>\n    <character>MISS PAN SY<\/character>\n    <dialogue>I don't think she--<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>She picked the bus stop right in the middle of Main Street even though there's one more closer to the marsh. Why do you think that is?<\/dialogue>\n    <character>MISS PAN SY<\/character>\n    <dialogue>I couldn't--I don't know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS - DAY (1969 BEFORE DEATH)<\/stage_direction>\n    <scene_description>Kya surveys the people on the bus. Picks an empty seat near the back.<\/scene_description>\n    <character>ERIC (O.S.)<\/character>\n    <dialogue>I'm not a terribly clever man, but I do reckon that if someone can bus over to Greenville by day, they can bus back here at night. Bus back to Greenville. Nobody the wiser.<\/dialogue>\n    <scene_description>Kya sits and watches Barkley Cove disappear out the window.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COUR TROOM - DAY<\/stage_direction>\n    <scene_description>Kya is led into the courtroom, hands cuffed in front. As if she's praying. Behind her are Tate, Jumpin, and Mabel. There's a murmer from the crowd. Mr. An drews wrinkles his nose, and Patti Love pretends not to see a thing. Mabel looks around for a place to sit. She's scared of this hostile room.<\/scene_description>\n    <character>JUDGE SIMS<\/character>\n    <dialogue>Anybody of any color or any creed can sit anywhere they want in my courtroom.<\/dialogue>\n    <character>JUDGE SIMS<\/character>\n    <dialogue>Anybody who doesn't like it is free to leave, and in fact I'll make sure you do.<\/dialogue>\n    <scene_description>Mabel, Jumpin, and Tate all file in to sit directly behind Kya. She doesn't turn around, but smiles, and sits up straighter.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>DR. FOSTER, who we see for the first time, is gentle and professorial, smoothes his tie for the fifth time on the stand. It's Tom's turn.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>What was your first impression of Miss Clark, when you sat down with her.<\/dialogue>\n    <character>DR. FOSTER<\/character>\n    <dialogue>My first impression was ... that she is ...<\/dialogue>\n    <scene_description>He thinks.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL - NIGHT (1969 BEFORE DEATH)<\/stage_direction>\n    <scene_description>Kya sits at a table flanked by her publisher, Dr. Foster, and several of his COLLEAGUES. They're pouring over sample pages of Kya's book. Shells, toadstools, minnows, all detailed and labeled, all beautifully colored in vivid reds and yellows.<\/scene_description>\n    <character>DR. FOSTER<\/character>\n    <dialogue>Astounding. Simply astounding. These illustrations are pleasing to the eye and so precisely detailed. The collection is a textbook that's a joy to read. Instructional and you see the beauty of creation, all in the swirl of a shell. There's a real appetite for this, you know, Miss Clark. After all of the exploration under the sea, Oceania, the Himalayas ... people want to know what's right here, under their noses, that they never thought was special or extraordinary.<\/dialogue>\n    <character>COLLEAGUE 1<\/character>\n    <dialogue>And your story! My god!<\/dialogue>\n    <character>DR. FOSTER<\/character>\n    <dialogue>Miss Clark, truly, we are honored.<\/dialogue>\n    <scene_description>They all raise a toast to Kya. She takes it all in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>LAR RY PRICE (60s), the bus driver Barkley Cove to Greenville, peers at Kya from his place on the witness stand.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>So it is possible for someone to take a bus from Greenville to Barkley Cove and back again on the same night?<\/dialogue>\n    <character>LAR RY PRICE<\/character>\n    <dialogue>I suppose it's possible, yes, but--<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Then--<\/dialogue>\n    <scene_description>Larry barrels forward, determined.<\/scene_description>\n    <character>LAR RY PRICE<\/character>\n    <dialogue>But I rememb er that girl getting on my bus to Greenville and there was nobody close to looking like her on the ride back that night. I would have rememb ered.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>You did tell the sheriff during his investigation that there was a skinny passenger on that bus you didn't recognize.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS - NIGHT (1969 BEFORE DEATH)<\/stage_direction>\n    <scene_description>Larry Price, driving the bus, glances in his rearview mirror to see a vague, thin figure sitting all the way in the back. The figure is wearing a bulky, blue cap.<\/scene_description>\n    <character>ERIC (O.S.)<\/character>\n    <dialogue>Could have been a tall woman disguised as a man. Could you please describe that passenger?<\/dialogue>\n    <character>LAR RY PRICE (O.S.)<\/character>\n    <dialogue>Young white man. He wore a big bulky cap, blue. Kept his head down , didn't look at anybody.<\/dialogue>\n    <character>LAR RY PRICE (O.S.)<\/character>\n    <dialogue>Figured he was high on that marijuana.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>Eric turns to Kya. Kya stares right back.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Could Miss Clark please stand?<\/dialogue>\n    <scene_description>Kya looks to Judge Sims, who nods at her. She stands in her seat. A thousand eyes bore into her.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Would you say the young man on the bus was the same height and stature as Miss Clark?<\/dialogue>\n    <character>LAR RY PRICE<\/character>\n    <dialogue>Could have been.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS - NIGHT (1969 BEFORE DEATH)<\/stage_direction>\n    <scene_description>Larry Price watches the figure. The figure is stock still, sitting with his head bowed to conceal his face.<\/scene_description>\n    <character>TOM (O.S.)<\/character>\n    <dialogue>Mr. Price, tell us how you're sure the thin man was on the 11:50 PM bus the night of October 29? Did you take notes, write it down ? Maybe it was the night before or the night after? Are you one hundred percent sure it was October 29?<\/dialogue>\n    <character>LAR RY PRICE (O.S.)<\/character>\n    <dialogue>When the Sheriff was joggin' my memory, it seemed like the man was on that bus but now I reckon I can't be one hundred percent sure.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <character>TOM<\/character>\n    <dialogue>Also, Mr. Price, wasn't the bus very late that night? In fact, it was twenty-five minutes late and didn't arrive in Barkley Cove until 1:40 in the morning. Is that correct?<\/dialogue>\n    <character>LAR RY PRICE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>He looks from Eric to Tom and back again.<\/scene_description>\n    <character>LAR RY PRICE<\/character>\n    <dialogue>Look, I'm just trying to help out here, do the right thing.<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>HOTEL ROOM - NIGHT (1969 BEFORE DEATH)<\/dialogue>\n    <scene_description>Kya lays in bed, staring at the ceiling.<\/scene_description>\n    <character>TOM (O.S.)<\/character>\n    <dialogue>Let the record show that a 1:40AM arrival time would have given the defendant less than an HOUR to track down Chase An drews, lure him to the tower, murder him, hide AL L evidence, and get back onto the 2:30 bus in order to meet her publishers the next morning.<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>HOTEL RESTAURA NT - DAY (1969 AF TER DEATH)<\/dialogue>\n    <scene_description>Kya sits at breakfast with the publishers. She's more relaxed, easy. The men are charmed.<\/scene_description>\n    <character>DR. FOSTER<\/character>\n    <dialogue>I think you have a dozen more in you.<\/dialogue>\n    <character>COLLEAGUE 1<\/character>\n    <dialogue>Would you be open to being sent elsewhere?<\/dialogue>\n    <character>DR. FOSTER<\/character>\n    <dialogue>Or just focusing on the animals. Just focusing on the flowers, something for the ladies. Sorry. Oh, and ... as promised.<\/dialogue>\n    <scene_description>He hands her an envelope. Kya opens it. It's full of crisp, hundred dollar bills.<\/scene_description>\n    <character>DR. FOSTER<\/character>\n    <dialogue>We'll deduct it from the royalties, which we're expecting to be very generous. We can't wait to see what's in store for you, Catherine<\/dialogue>\n    <scene_description>o Danielle Clark.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>COURTROOM - DAY<\/dialogue>\n    <scene_description>Mr. JOHN KING (65), the Greenville to Barkley Cove bus driver, is on the stand.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Mr. John King, you drove the 2:30AM bus from Barkley Cove to Greenville on the morning of October 30?<\/dialogue>\n    <character>JOHN KING<\/character>\n    <dialogue>Yes sir, I did.<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>HOTEL RESTAURA NT - DAY (1969 AF TER DEATH)<\/dialogue>\n    <scene_description>Kya talks with the publishers, growing more confident with every word.<\/scene_description>\n    <character>ERIC (O.S.)<\/character>\n    <dialogue>An d did you see anyone who looked like Miss Clark on that bus?<\/dialogue>\n    <character>JOHN KING (O.S.)<\/character>\n    <dialogue>I don't think so, sir. Except there was this older lady, tall like Miss Clark, had gray hair, short with curls.<\/dialogue>\n    <character>ERIC (O.S.)<\/character>\n    <dialogue>So it's possible that if Miss Clark had disguised herself as an older lady, she would have looked similar to the woman on the bus?<\/dialogue>\n    <character>JOHN KING (O.S.)<\/character>\n    <dialogue>Well, it's hard to picture. Maybe.<\/dialogue>\n    <character>ERIC (O.S.)<\/character>\n    <dialogue>So it's possible.<\/dialogue>\n    <character>JOHN KING (O.S.)<\/character>\n    <dialogue>Maybe.<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>COURTROOM - DAY (1970)<\/dialogue>\n    <scene_description>Eric nods to Tom, who pops right up.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>We cannot accept the word \"maybe\" in a murder trial.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Did you see the defendant, Miss Clark, on the 2:30AM bus from Barkley Cove to Greenville in the early morning of October 30, 1969?<\/dialogue>\n    <character>JOHN KING<\/character>\n    <dialogue>No, I did not.<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>BAR KLEY COVE - BUS STOP - DAY<\/dialogue>\n    <scene_description>Kya steps off the bus. She checks the clock: 1:16 PM. She looks around at the villagers staring at her and tosses her hair. Walks with her head high towards Jumpin's.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>COURTROOM - DAY<\/dialogue>\n    <scene_description>Kya sits in the courtroom, her eyes dead as Sheriff Jackson takes the stand. As Sheriff Jackson is sworn in, there's a quiet shuffling of people standing to make way for one more person in the first row. It's Scupper, in his overalls and yellow marine boots. He sits next to Tate.<\/scene_description>\n    <character>SHERIFF JACKSON<\/character>\n    <dialogue>Well, one of the first things I noticed was there weren't any footprints around Chase's body, not even his own . So I figured somebody had destroyed them to cover up a crime.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Isn't it also true, Sheriff, that there were no fingerprints and no vehicle tracks at the scene?<\/dialogue>\n    <character>SHERIFF JACKSON<\/character>\n    <dialogue>Yeah, that's correct. Not even on the grate which somebody had to open. My deputy and I searched it for vehicle tracks, and there weren't any of those either. All this indicated that someone had destroyed evidence.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>No more questions. Your witness.<\/dialogue>\n    <scene_description>o<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Sheriff, it's a physical characteristic of the marsh that as the tides come in and out, the groundwater goes up and down. In many places, as the water rises it soaks the area, wiping out any marks in the mud, such as footprints. Clean slate. Isn't that true?<\/dialogue>\n    <character>SHERIFF JACKSON<\/character>\n    <dialogue>Well, yeah it can be like that.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>You know who taught me that? Catherine Danielle Clark. Fine scientist herself.<\/dialogue>\n    <scene_description>He pulls out some papers.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>I have here the tide table for the night of September 4 and the morning of September 5, and see, Sheriff Jackson, it shows that low tide was around midnight. So at the time Chase arrived at the tower and walked to the steps, he would have made tracks in the wet mud. Then when the tide came in and the groundwater rose, his tracks were wiped out. Do you agree that this is possible?<\/dialogue>\n    <character>SHERIFF JACKSON<\/character>\n    <dialogue>Well \u2022..<\/dialogue>\n    <scene_description>He doesn't want to say it.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Here we are in court, and you have no proof whatsoever that a person wiped away footprints to cover a crime. And if some friends had been with him, their footprints would have been washed away as well. Under these very likely circumstances, there is no suggestion whatsoever of a crime. Isn't that correct, Sheriff?<\/dialogue>\n    <scene_description>Sheriff Jackson says nothing.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Sheriff?<\/dialogue>\n    <character>SHERIFF JACKSON<\/character>\n    <dialogue>The absence of footprints does not, by itself, prove there was a crime.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Sheriff, isn't it true that those gates on top of the tower were left open quite often by kids playing up there?<\/dialogue>\n    <character>SHERIFF JACKSON<\/character>\n    <dialogue>Yeah, sometimes.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Isn't it true that the grates were left open so often and considered so dangerous that your office submitted a written request to the U.S. Forest Service to remedy the situation?<\/dialogue>\n    <scene_description>Torn hands a document to the Sheriff.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Is this the official request to the Forest Service on July 18 of last year?<\/dialogue>\n    <character>SHERIFF JACKSON<\/character>\n    <dialogue>Yeah. That's it.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Who exactly wrote this request?<\/dialogue>\n    <character>SHERIFF JACKSON<\/character>\n    <dialogue>I did it myself.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>So only three months before Chase Andrews fell to his death through the open grate on the fire tower, you submitted a written request to the Forest Service asking them to close the tower or secure the grates so that no one would be hurt. Is that correct?<\/dialogue>\n    <character>SHERIFF JACKSON<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Sheriff, would you read to the court the last sentence of this document that you wrote to the Forest Service? Just the last sentence, here.<\/dialogue>\n    <character>SHERIFF JACKSON<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>\"I must repeat, these grates are very dangerous and if action is not taken, a serious injury or even death will occur.\"<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>I have no further questions.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAIL - KYA'S CELL - DAY<\/stage_direction>\n    <scene_description>Kya strokes Sunday Justice as Jacob knocks on her cell.<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>Got a visitor, Kya.<\/dialogue>\n    <scene_description>Kya looks up to see Tate standing awkwardly in the doorway. Jacob beelines for his office. He doesn't want to get anywhere near this.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>I want you to know I'm in the back of that courtroom, every day. I'm here. I'm not going anywhere.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>So what?<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>So I messed up in the past, and I'm sorry, but you can lean on me now.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>Leaning on someone leaves you in the ground, doesn't it?<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Tom Milton's very good, Kya. Probably the best lawyer in the state. He'll get you out of here, and we'll get back to exploring lagoons like the old days.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>We're not, because I'm never getting out of here. You have to forget me.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>I have never and will never.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>You know I'm different. I don't fit with other people. I cannot be part of your world. Please, can't you understand?<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>I don't blame you, Kya, but-<\/dialogue>\n    <character>KYA<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>Tate, listen to me. For years I longed to be with people. I really believed that someone would stay with me, that I would actually have friends and a family. Be part of a group. But no one stayed. And I finally learned how to protect myself. I appreciate your coming to see me in here, do. And maybe someday we can be friends, but I can't think about what comes next. Not in here.<\/dialogue>\n    <scene_description>Tate tries again.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>I been feeding your gulls. And yesterday, you won't believe it, but when I was at your place, a male Cooper's hawk landed right at your front steps.<\/dialogue>\n    <scene_description>Kya laughs.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>The Coop! I believe it. Yes.<\/dialogue>\n    <scene_description>Jacob knocks on the door frame, averting his eyes from Kya and Tate.<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>Time's up.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>I'll keep feeding your gulls, Kya. And I'll bring you some books.<\/dialogue>\n    <scene_description>But Kya is down on her cot, playing with Sunday Justice. Tate follows Jacob out of the jail.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>JAIL - KYA'S CELL - NIGHT<\/dialogue>\n    <scene_description>Kya shares her dinner with Sunday Justice as Tom eats a sandwich.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>You need to engage, Kya. You have to look people in the eye.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>If you had to say now how it's going to go for me ... how would you say it's going to go for me?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>This jury, this town, I don't know. People make up their minds pretty quick.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>So what do I do?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>I do want to talk to you about the option of a plea bargain. If you're willing to say, yes, you did go to the tower that night, you met Chase there, you had a disagreement, and in a horrible accident he stepped backward through the grate, you'd probably get ten years and be out in six. I know that sounds bad but it's better than spending life in prison or, the other. Just take some time to think about it.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>I will not go to prison. Please get me out of here. One way or-- the other.<\/dialogue>\n    <scene_description>o<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>Eric is standing before the jury, finishing his closing argument.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>... We know from her lifestyle that she is very capable of boating at night. Of climbing that tower in the dark. The defense wants you to buy a meek, frail young woman who isn't capable of a violent crime. I believe you're smarter than that This woman is a menace, a threat, and has must be behind bars. It all fits together like clockwork. You can and must find the defendant is guilty of first degree murder. Thank you for doing your duty. The state rests.<\/dialogue>\n    <scene_description>Eric sits and Tom stands. Goes to the jury box.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Ladies and gentlemen of the jury, I have lived in Barkley Cove my whole life, and I, like you, heard the tall tales about the Marsh Girl. That she was part wolf. The missing link between ape and man. That her eyes glowed in the dark. Yet, in reality, she was only an abandoned child. A little girl surviving on her own in the swamp. Not one church, not one community group offered her food or clothes. Instead, we labeled and rejected her because she was different. But I wonder, did we exclude Miss Clark because she was different, or was she different because we excluded her? The job of judging this shy, rejected young woman has fallen on your shoulders. But you must base that judgment on the facts presented in this courtroom, not on the rumors of feelings from the past twenty four years. The one physical piece of evidence the state is asking you to weigh, the red hat, could have come into contact with Chase anytime in the past four years.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>I know most of you very well, and I know you can set aside any former prejudices against Miss Clark. Even though she only went to school one day in her life, she educated herself and became a naturalist and author. We called her the Marsh Girl; now scientific institutions recognize her as the Marsh Expert. I believe you can put all the rumors and tall tales aside. I believe you will corne to a judgement based on the facts you heard in this courtroom, not the false rumors you have heard for years. It is time, at last, for us to be fair to the Marsh Girl.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTHOUSE - DAY<\/stage_direction>\n    <scene_description>Break. Kya and Tate sit, side by side, on the bench. Tate starts to say something to Kya. He can't.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY (1970)<\/stage_direction>\n    <scene_description>Like a funeral choir, the jurors file into their boxes.<\/scene_description>\n    <character>BAILIFF<\/character>\n    <dialogue>All rise.<\/dialogue>\n    <scene_description>Everyone rises as Judge Sims enters and takes the bench.<\/scene_description>\n    <character>JUDGE SIMS<\/character>\n    <dialogue>Please be seated. Mr. Foreman, is it correct that the jury has reached a verdict?<\/dialogue>\n    <scene_description>The jury foreman, MR . TOMILSON, (50), rises.<\/scene_description>\n    <character>MR . TOMILSON<\/character>\n    <dialogue>We have, Your Honor.<\/dialogue>\n    <character>JUDGE SIMS<\/character>\n    <dialogue>Will the defendant please rise for the reading of the verdict.<\/dialogue>\n    <scene_description>Torn helps Kya stand. She sways back and forth, about to faint. Mr. Tomilson passes a piece of paper to the Bailiff, who passes it to Judge Sims, who reads it, who passes it to MISS JONES, the recorder. Miss Jones unwraps the paper. She stands and faces Kya.<\/scene_description>\n    <character>MISS JONES<\/character>\n    <parenthetical>(reading from the paper)<\/parenthetical>\n    <dialogue>We the jury find Miss Catherine Danielle Clark not guilty in the first-degree murder of Mr. Chase An drews.<\/dialogue>\n    <scene_description>Kya collapses into her chair. The crowd bursts into angry whispers. \"Did she say NOT guilty?\" \"This ain't right\". Judge Sims hamm ers his gavel.<\/scene_description>\n    <character>JUDGE SIMS<\/character>\n    <dialogue>Silence! Miss Clark, the jury has found you not guilty as charged. You are free to go, and I apologize on behalf of this state that you served two months in jail. Court dismissed.<\/dialogue>\n    <scene_description>A crowd has surrounded Chase's distraught parents. Patti Love is weeping openly. Mr. An drews stares straight at Kya, unflinching. Sarah Singletary breathes in a sigh of relief. Miss Pansy cracks her jaw, finally relaxed. Dr. Foster reaches out his hand to Kya. She shakes it, weak.<\/scene_description>\n    <character>DR. FOSTER<\/character>\n    <dialogue>You just forget about this nonsense and continue your work.<\/dialogue>\n    <scene_description>Kya looks at Torn, at Tate. There is so much to say, and she can't say any of it.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>She catches eyes with Scupper, who squeezes her shoulder. Tate reaches out his hand to Kya. She reaches out ... An d Jodie, completely oblivious, wraps her in an emb race. Tate steps back.<\/scene_description>\n    <character>JODIE<\/character>\n    <dialogue>Oh, Kya. Kya, it's finally over. Can I drive you home?<\/dialogue>\n    <scene_description>Kya nods, and he walks her towards the back of the courtroom. As she passes the windowsill, she reaches out and touches Sunday Justice's tail. Tate and Scupper make their way out of the courtroom. The door opens, and Kya is enveloped by light and sea air.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JODIE'S TRUCK - THE MAR SH ROAD - DAY<\/stage_direction>\n    <scene_description>Kya stares out the window as Jodie drives her through the winding lane and up to her old shack, overgrown with weeds and Spanish moss. A heron stands on one leg in the lagoon, as if waiting for her. Jodie stops and she leaps out of the truck.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KYA'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Kya runs into her house, touching the bed, the table, the stove. Jodie stands in the doorway, holding a paper bag. He shakes it and holds it towards Kya. She grabs the bag and runs right back outside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAR SH - SHORE - DAY<\/stage_direction>\n    <scene_description>Kya stands on the beach, pouring crumbs from the bag into her hand. The birds surround her. Big Red lands and tramps around her.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>Big Red! Hey, Big Red!<\/dialogue>\n    <scene_description>She feeds the birds as Jodie walks up behind her. She doesn't even turn to look at him.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>You can go now.<\/dialogue>\n    <character>JODIE<\/character>\n    <dialogue>I want to stay with you a few days. I could sleep outside. Would that be okay?<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>I don't need you.<\/dialogue>\n    <character>JODIE<\/character>\n    <dialogue>I don't want this to drive you further from people. I know you have every reason in the world to hate people--<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>That's what no one understands about me. I never hated people. They hated me. They laughed at me. They attacked me. They left me. Well, it's true, I learned to live without them. Without you, without anybody.<\/dialogue>\n    <character>JODIE<\/character>\n    <dialogue>You think you're the only one? I been duped, dropped, run over a few times myself, Kya. A lot of times love doesn't work out. But even when it fails, even that connects you to people. And in the end, that's all you have, is the connections. You're so brave in every other thing you've done. Why don't you take a chance?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BARKLEY COVE - DAY<\/stage_direction>\n    <scene_description>The sun shines bright, and the dress of the TOWNSPEOPLE speaks to a hot summer's day. Kya, in a well fitted skirt and combed hair, walks confidently along the streets of Barkley Cove. Townspeople stare and she holds their gaze. She stops in front of the local book store. \"BUTTERFLIES OF THE EASTERN SEABOARD, BY CATHERINE DANIELLE CLARK\", is displayed proudly in the window.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTHOUSE - DAY<\/stage_direction>\n    <scene_description>Kya, clean and better fed, lays out money for Mabel. Cheese, bread, even a Cherry Coke.<\/scene_description>\n    <character>MAB EL<\/character>\n    <dialogue>Thank you, Kya.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>Thank YOU.<\/dialogue>\n    <scene_description>She begins to gather her groceries. Mabel takes her hand.<\/scene_description>\n    <character>MAB EL<\/character>\n    <dialogue>I'm sorry about Scupper.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MABEL<\/character>\n    <dialogue>Oh, you didn't? Heart attack.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BARKLEY COVE - GRAVEYARD - DAY<\/stage_direction>\n    <scene_description>Tate kneels in front of Scupper's grave. Right next to his mother's and sister's. He stands up and makes his way to his truck. And there, on the passenger seat cushion, is a small, brown feather. He picks it up. Looks around. Drives with newfound purpose to the dock.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BARKLEY COVE - DOCK - DAY<\/stage_direction>\n    <scene_description>Tate nods at the few awkward fishermen on the pier offering condolences. Jumps into his boat, guns the motor, and drives to the marsh.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KYA'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Tate turns off his motor and jumps out of his boat. Makes his way to Kya's door.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Kya! Kya!<\/dialogue>\n    <scene_description>Kya opens the door. Tate goes to her and hugs her close. She collapses into him.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>I'm so sorry, Tate.<\/dialogue>\n    <scene_description>Tate pulls away. Looks Kya right in the eye.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>I need to say something to you. I love you, Kya. You know that. I've loved you for a long time.<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>I know. I always knew.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Do you ... do you think you love me, too?<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>I've always loved you. Even ... even in a time I don't remember, I already loved you.<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Look at me.<\/dialogue>\n    <scene_description>She meets his eyes. He cups her face in his hands.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>I need to know that the running and hiding are over. I need to know you can love without being afraid.<\/dialogue>\n    <scene_description>Kya meets Tate's eyes, then takes his hand and leads him into her house.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>She kisses him and leaps on top of him. They rip off each other's clothes. The lovemaking is passionate, fiery, joyful, funny ... everything Kya's been missing up to now.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Kya makes scrambled eggs, biscuits, grits. She and Tate devour it all.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - DAY<\/dialogue>\n    <scene_description>Kya sits at her desk, working on a new book. Tate leafs through the pages. Pictures of leaves, feathers, trees, each more stunning and detailed than the next. Tate bursts out laughing, uncontrollably.<\/scene_description>\n    <character>KYA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>TATE<\/character>\n    <dialogue>Will you ... Sorry.<\/dialogue>\n    <scene_description>o He can't stop laughing.<\/scene_description>\n    <character>TATE<\/character>\n    <dialogue>Will you marry me? I mean, do you want to?<\/dialogue>\n    <character>KYA<\/character>\n    <dialogue>Aren't we already? Like geese.<\/dialogue>\n    <scene_description>Tate can't stop laughing. Kya cracks a smile.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KYA'S HOUSE - A SERIES OF MORNINGS<\/stage_direction>\n    <scene_description>Kya and Tate wake up in each others arms as the years pass. Each morning sweeter, more familiar, more tender than the last.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BARKLEY COVE - VARIOUS LOCATIONS OVER A YEAR -<\/stage_direction>\n    <scene_description>DAY\/NIGHT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JUMPIN'S SHOP - DAY<\/stage_direction>\n    <scene_description>Leaves change color. In Jumpin's shop, he displays Kya's books proudly, on the front counter. Then another, and another, and another.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAR SH - WATER - DAY<\/stage_direction>\n    <scene_description>Kya and Tate, now older, boat through the marsh as she sketches.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KYA'S HOUSE - DAY<\/stage_direction>\n    <scene_description>More mornings pass. The bookshelves that now line the walls are full of Kya's books, shells, feathers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KYA'S HOUSE - DAY - LATER<\/stage_direction>\n    <scene_description>Kya, now old, hands Tate her newest book. With trembling hands, he turns the pages. Fish. He kisses her hand. True love and peace at last.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAR SH - WATER - DAY (1990)<\/stage_direction>\n    <scene_description>Kya, old, boats through the marsh, sketching in her notebook. An expensive looking camera beside her.<\/scene_description>\n    <character>KYA (V.O.)<\/character>\n    <dialogue>I always knew that I would leave quick and easy, without making too much noise. Always been my style.<\/dialogue>\n    <scene_description>Kya looks to the shore, and gasps. There, on the shore, following the path she took so many years ago, is Ma. Or is it a vision of Ma? She's wrapped in her white scarf, but now there are no bruises. She's walking in her alligator shoes up the path, the way she did when she left Kya ... An d now Ma turns. She looks right at Kya. Smiles, and waves. Tears stream down Kya's cheeks.<\/scene_description>\n    <character>KYA (V.O.)<\/character>\n    <dialogue>There was so much love for me, right here, the whole time. Took me my whole life to see it. Took me my whole life to take it.<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>MAR SH - DAY<\/dialogue>\n    <scene_description>Tate looks out to the water to see Kya's boat floating through the water. She's nowhere to be seen. Tate wades into the water, to her boat ..\u2022 Kya lays stretched out in her boat, her notebook in her hand. She's gone. Tate picks the notebook and holds it to his chest. There's a feather sticking out of the notebook.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>KYA'S HOUSE - NIGHT<\/dialogue>\n    <scene_description>Tate sits alone in the bed, staring at the moon through the open window. He opens the notebook.<\/scene_description>\n    <character>KYA (V.O.)<\/character>\n    <dialogue>There is no real death in the marsh ...<\/dialogue>\n    <scene_description>Tate looks through Kya's sketches. Trees. The water. A young Tate, motoring up to Little Kya in her boat. And Chase, falling. Another picture of Chase falling. Chase's angry face, close up and raging. Tate's hands shake. He turns the pages. There's a hollow, o cut into the back pages .... A hollow that holds Chase's shell necklace. Tate pulls out the necklace and holds it to the moonlight.<\/scene_description>\n    <character>KYA (V.O.)<\/character>\n    <dialogue>And now, I can finally admit this: It was the chance of seeing you, the hope of rounding a creek bend and watching you through the reeds, that had pulled me into the marsh every day of my life.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUT ON THE WATER, WHERE THE CRAWDADS SING - DAY<\/stage_direction>\n    <scene_description>Tate stands in his boat. He looks once more through the pages of Kya's book. We see her words, written neatly in the pages.<\/scene_description>\n    <character>KYA (V.O.)<\/character>\n    <dialogue>I knew your favorite lagoons, your paths through quagmires, and I always followed you at a safe distance. Stealing love. Never sharing it. All those years I rejected you, I survived because you were somewhere in the marsh, waiting.<\/dialogue>\n    <scene_description>Tate clutches the book close to him.<\/scene_description>\n    <character>KYA (V.O.)<\/character>\n    <dialogue>Because, my love, you, my marsh, my work, were all one and the same. It was you, Tate. It was always you. Scientists try to separate things so that we can look at them clearly. But I look at how it's all one thing. The sea. The birds. God. It was loving you, and letting you love me, that was my great work.<\/dialogue>\n    <scene_description>Tate pulls out a match and sets the pages aflame. He pushes the boat further out into the marsh.<\/scene_description>\n    <character>KYA (V.O.)<\/character>\n    <dialogue>Keep my secrets deep. And you, my love, can walk back home peaceful. As long as you are here, remembering the best of me, you've never lost me. So you'll walk, past our lagoon, under our canopy.<\/dialogue>\n    <character>KYA (V.O.)<\/character>\n    <dialogue>You'll see hundreds of fireflies beckoning far into the dark reaches of the marsh. And that's how<\/dialogue>\n    <dialogue>you'll know I watch over you still, my love. Way out yonder, where the crawdads sing.<\/dialogue>\n    <character>THE END<\/character>\n  <\/scene>\n<\/script>","summary":"Kya's story begins when she lives in a shack with her poor family in a North Carolina marsh in 1953. As their abusive alcoholic father gambles their money away, and Kya's mother and older siblings flee one by one, leaving Kya alone with him until he too abandons her at the age of seven. She survives by selling mussels at Barkley Cove's general store, owned by Mabel and \"Jumpin\" Madison, who become Kya's good friends. The townspeople know her as the \"Marsh Girl\". Over the years, her slightly older friend Tate Walker lends her books and teaches her to read, write, and count. They share an interest in nature and begin a romantic relationship until Tate leaves for college and breaks his promise to return to her on the 4th of July. In 1968, Kya begins a relationship with popular local quarterback Chase Andrews, who promises her marriage. Chase gives Kya a small shell which she makes into a necklace and gives to him. A year later, Tate returns to Barkley Cove wanting to rekindle their romance, but Kya is unsure. Kya ends her relationship with Chase when she discovers he is already engaged to another girl. Kya has her nature drawings and writings published and the income helps her keep her home. Her older brother Jodie reappears and tells her their mother died before she was able to reunite her children. Jodie promises to visit when he can. Kya rebuffs Chase's persistent attentions and successfully fights off his rape attempt, vowing to kill him if he does not leave her alone. The threat is overheard by a fisherman. Chase returns and vandalizes Kya's home while she hides in the bushes. Days later, Chase is found dead at the bottom of a fire tower from which he had apparently fallen. The muddy bog floods at high tide, destroying any tracks from the killer, and no fingerprints are found in the tower. The shell necklace, which he had been wearing on the evening of his death, is missing from his body. Kya is charged with first-degree murder and prejudged by the suspicious townspeople. Despite knowing Kya had been meeting with a book publisher in Greenville at the time, the police and the prosecutor speculate she could have disguised herself and made an overnight round-trip bus ride to Barkley Cove, lured Chase to the fire tower during the brief layover and killed him. With only the unfounded theory, the missing necklace, and the fisherman's testimony, Kya is found not guilty at her 1969 trial, with the help of a retired attorney. Kya and Tate spend the rest of their lives together. Kya publishes illustrated nature books, and is frequently visited by Jodie and his family. While boating through the swamp in her 70s, she imagines seeing her mother returning to the cabin. Tate finds Kya lying dead in the boat at their dock. Boxing up Kya's things, Tate finds a passage in her journal saying that to protect the prey, sometimes the predator has to be killed. It is accompanied by a drawing of Chase. Tate then finds the missing shell necklace, which he throws into the marsh water."}
{"movie_name":"Thir13en Ghosts_2001","imdb_id":"tt0245674","script":"<script>\n  <scene>\n    <scene_description>THIRTEEN GHOSTS by Neal Marshall Stevens based on the screenplay by Robb White previous revisions by Todd Alcott Todd Alcott and Neal Marshall Stevens Richard D'Ovidio Richard D'Ovidio and James Gunn current revision by Richard D'Ovidio<\/scene_description>\n    <character>REVISED PRODUCTION DRAFT<\/character>\n    <dialogue>November 4, 2000<\/dialogue>\n    <scene_description>can experience is the mysterious.\" - Albert Einstein Then: \"I do believe in spooks. I do believe in spooks. I do, I do, I do believe in spooks.\" - The Cowardly Lion TITLES Abstract images begin to form. They move beneath the titles, brilliant against the darkness, the ghost-like apparitions fighting a current as if caught in the whirlwind of time. Our IMAGE SHARPENS. The apparitions are no longer there. Instead, police tape comes INTO FOCUS, the seemingly miles of it entangled on stacks of derelict cars that fill the void. The tape dances before us, undulating to a macabre rhythm, floating on the nocturnal winds. We PAN. An auto wrecking yard at midnight. Empty, yet occupied. Light slowly INVADES the FRAME, filling in the wrecking yard's cavernous shadows. A distant ROAR announces itself above the SOUNDTRACK, the earth POUNDING CLAMOR AMPLIFYING in with every second. As if searching for its source, CAMERA PIVOTS AROUND. Instantly, we find ourselves caught in the glare of headlights, and we've just enough time to make out the semi truck before it plows through the yard's chain link gate, shattering it like so much glass, the truck heading directly AT CAMERA, running it over as if it weren't there.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AUTO GRAVEYARD - NIGHT<\/stage_direction>\n    <scene_description>BOOMING UP and OVER the fence, the yard is a veritable maze of old, rusted cars, piled up helter skelter, frozen in time. Broken glass, mangled engine parts, garbage and litter... along with hundreds of spent shell casings, are scattered in the dirt. A caravan of UTILITY VEHICLES ROARS in behind the semi, the convoy making a bead for the center of the yard. Picking up the rear is a black Rolls-Royce Phantom II. As they turn the last corner, the first thing we see are \"unearthly\" flares. Dozens of them, bright as hell, lighting up the middle of the graveyard. The CARS come SKIDDING to a stop. Dust swirls. The rear door opens, and CYRUS KRITICOS, 50s, wealthy, immaculately dressed, not a hair out of place, steps out. His hand rests on a shiny, silver-headed cane. He surveys the flares, shakes his head.<\/scene_description>\n    <character>CYRUS<\/character>\n    <dialogue>Their little crusade is wearing thin.<\/dialogue>\n    <character>RAFKIN (O.S.)<\/character>\n    <dialogue>I'll give them this... they are consistent.<\/dialogue>\n    <scene_description>Stepping out next is DENNIS RAFKIN, 20s, unshaven, jittery. He holds his head in his hands, massaging his temples, obviously in pain. (NOTE: Whenever we cut to Rafkin we hear\/sense a piercing tone, underscoring the psychic waves he's receiving.) Cyrus produces a thin, brown designer cigarette from a silver case. Taps it as he speaks.<\/scene_description>\n    <character>CYRUS<\/character>\n    <dialogue>As cancer...<\/dialogue>\n    <parenthetical>(lights his cigarette)<\/parenthetical>\n    <dialogue>Never bet against human nature, Dennis. You'll always lose.<\/dialogue>\n    <scene_description>Behind him, Rafkin suddenly lurches forward, racked by spasms. Cyrus turns, with slight concern --<\/scene_description>\n    <character>CYRUS<\/character>\n    <dialogue>Is it bad tonight?<\/dialogue>\n    <character>RAFKIN<\/character>\n    <parenthetical>(coughing, shaking)<\/parenthetical>\n    <dialogue>Bad is one way of describing it, but somehow...<\/dialogue>\n    <parenthetical>(wiping his sweaty forehead)<\/parenthetical>\n    <dialogue>... insane seems more appropriate.<\/dialogue>\n    <scene_description>Rafkin doubles over in pain. Dry heaves.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <parenthetical>(recovering)<\/parenthetical>\n    <dialogue>It's my professional opinion that we get the hell out of here. Now.<\/dialogue>\n    <scene_description>Two of Cyrus's team, dressed in assault gear, make their way over.<\/scene_description>\n    <character>CYRUS<\/character>\n    <parenthetical>(ignoring Rafkin, re: flares)<\/parenthetical>\n    <dialogue>Noted. Clean this place up, and locate our guests.<\/dialogue>\n    <scene_description>Cyrus snaps his fingers. An ASSISTANT steps forward with a large photo. When Cyrus turns around, he catches Rafkin gulping down prescription drugs. Cyrus strikes the bottle out of Rafkin's hand with his cane. Pink medicine runs down Rafkin's face as he turns with rage.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Come on, Cyrus, I gotta take the edge off.<\/dialogue>\n    <character>CYRUS<\/character>\n    <dialogue>You know the routine. First things first. Now where is he?<\/dialogue>\n    <scene_description>Cyrus holds it in the limo headlights; an aerial photo of the graveyard. Rafkin, closing his eyes, reaches out towards the photo with one hand, then touches the earth with the other. A silent moment.<\/scene_description>\n    <character>CYRUS<\/character>\n    <dialogue>Where?<\/dialogue>\n    <scene_description>Then a huge spark arcs between the psychic and the ground. Rafkin jolts back, as if shocked.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Sweet Jesus, Cyrus, there's got to be over forty victims here! I thought you said this guy killed twenty people.<\/dialogue>\n    <character>CYRUS<\/character>\n    <dialogue>Twenty when he was alive. He's added a few more since then. Now where's the Breaker, Dennis?<\/dialogue>\n    <scene_description>Rafkin ignores the photo, and points at a spot deep inside the auto graveyard. Cyrus grabs a headset from the Assistant.<\/scene_description>\n    <character>CYRUS<\/character>\n    <parenthetical>(into microphone)<\/parenthetical>\n    <dialogue>All teams go to alpha. I repeat!--<\/dialogue>\n    <scene_description>Teams of men pile out of the vehicles. The back of the semi is opened, revealing racks of remote-operated amplifiers. Others unload inch-thick, eight-foot-square sheets of glass, rimmed with aluminum pipe, and inscribed with ancient text. The glass sheets are assembled to form a large cube. Arrays of flood lamps illuminate the canyons of the wrecking yard in stark white. One side of the cube remains open... allowing entry and -- ready to come down in theory, and close the improvised \"mousetrap.\" Rafkin walks up behind Cyrus, still massaging his temples.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Where'd he get a name like the Breaker anyway? He a truck driver?<\/dialogue>\n    <character>CYRUS<\/character>\n    <dialogue>It's simply folklore at work. The local color exorcising its demons...<\/dialogue>\n    <scene_description>Just then, a hideous HOWL ECHOES through the night -- part human, part God-knows-what. Everyone stops. Rafkin swallows hard. Tosses away the empty prescription drugs bottle, then opens an extra-large jar of aspirin, pops a few into his mouth, crunches them like mints.<\/scene_description>\n    <character>CYRUS<\/character>\n    <dialogue>... or maybe it's because he broke his victims into as many pieces as possible.<\/dialogue>\n    <parenthetical>(exhaling smoke)<\/parenthetical>\n    <dialogue>Who's to say...?<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>Cute...<\/dialogue>\n    <scene_description>A shrill cacophony of METAL AND GLASS erupts from the maze of the graveyard. A large, dense object flies out of the darkness and crashes down in front of them in a cloud of dust. It's a crushed car. Cyrus sighs...<\/scene_description>\n    <character>CYRUS<\/character>\n    <dialogue>I hate being rushed.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>Cyrus, this one ain't like the others...<\/dialogue>\n    <parenthetical>(off the teams)<\/parenthetical>\n    <dialogue>Do they know what we're up against?<\/dialogue>\n    <character>CYRUS<\/character>\n    <dialogue>These men are well paid. That's all they need to know.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>But this is suicide...<\/dialogue>\n    <character>CYRUS<\/character>\n    <dialogue>Then I'll match their price... and yours.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>You don't have that kind of money.<\/dialogue>\n    <character>CYRUS<\/character>\n    <dialogue>You'd be surprised... now get to work.<\/dialogue>\n    <scene_description>This takes Rafkin by surprise. He turns, taking a step towards Cyrus. Cyrus backs up, his cane instantly at Rafkin's chest, keeping him distant. Rafkin becomes suspicious.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>What are you hiding, old man?<\/dialogue>\n    <character>CYRUS<\/character>\n    <dialogue>Careful, Dennis, curiosity killed the cat.<\/dialogue>\n    <character>DAMON (O.S.)<\/character>\n    <dialogue>Son-of-a-bitch!<\/dialogue>\n    <scene_description>They both turn to see four team members dragging an attractive man and woman, DAMON QUINTEROS and KALINA ORETZIA, over to Cyrus. Damon's a handsome chap with a righteous fire in his eyes. Kalina, his lover, is equally fiery, late 20s, tough and sexy. She cradles in her arms an ancient book.<\/scene_description>\n    <character>DAMON<\/character>\n    <dialogue>How can you possibly justify what you're doing, Cyrus? It's out and out slavery.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>Aw, jeezus, here we go again.<\/dialogue>\n    <character>CYRUS<\/character>\n    <dialogue>Damon Quinteros and Kalina Oretzia. Every time I hunt must I scrape you off the bottom of my shoes?<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>These aren't animals you're trapping! They're human beings!<\/dialogue>\n    <character>CYRUS<\/character>\n    <dialogue>Why don't you guys go join Greenpeace or throw blood on the old ladies' fur coats, for Christ's sake... we have business.<\/dialogue>\n    <character>KALINA<\/character>\n    <parenthetical>(to Cyrus)<\/parenthetical>\n    <dialogue>Bastard! Who are you to play God?!<\/dialogue>\n    <character>CYRUS<\/character>\n    <dialogue>Playing's for children. I'm going to be God.<\/dialogue>\n    <character>DAMON<\/character>\n    <dialogue>You'll never pull it off! Not without the right spells. That and the thirteenth ghost!<\/dialogue>\n    <scene_description>Rafkin turns, alarmed.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Thirteenth?<\/dialogue>\n    <character>CYRUS<\/character>\n    <dialogue>Get them out of my sight. We've wasted enough time as it is.<\/dialogue>\n    <scene_description>The team straps Damon and Kalina to some car wreckage.<\/scene_description>\n    <character>ASSISTANT (V.O.)<\/character>\n    <parenthetical>(on headphones)<\/parenthetical>\n    <dialogue>All teams in position, Mr. Kriticos.<\/dialogue>\n    <character>CYRUS<\/character>\n    <dialogue>Excellent... set up the transmitters.<\/dialogue>\n    <scene_description>Cyrus turns away from them as he slips on a pair of ghost glasses. The rest of the team around the graveyard do so as well. Cyrus starts to climb a wall of cars for a better view of his battlefield.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <parenthetical>(calling after him)<\/parenthetical>\n    <dialogue>Wait a minute! The Breaker's number twelve! You said we needed twelve!<\/dialogue>\n    <character>CYRUS<\/character>\n    <dialogue>Yes, and then one more. I thought you were psychic.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>You know it doesn't work like that --<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOP OF CAR PILE<\/stage_direction>\n    <character>CYRUS<\/character>\n    <dialogue>We haven't got the time to argue...<\/dialogue>\n    <parenthetical>(into microphone)<\/parenthetical>\n    <dialogue>Now bring in the bait!<\/dialogue>\n    <scene_description>Nearby, a silver tanker rolls into the canyon of cars.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <parenthetical>(into mike)<\/parenthetical>\n    <dialogue>We never needed bait before --<\/dialogue>\n    <scene_description>ON CYRUS<\/scene_description>\n    <character>CYRUS<\/character>\n    <parenthetical>(into mike)<\/parenthetical>\n    <dialogue>Insurance. I can't afford to lose this one.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AUTO GRAVEYARD - NIGHT<\/stage_direction>\n    <scene_description>A TEAM MEMBER opens the truck's valve: Huge streams of blood gush out from both sides, via two nozzles, flooding the area around the cube. Rafkin's jaw drops. ON Cyrus, smiling.<\/scene_description>\n    <character>CYRUS<\/character>\n    <dialogue>Power up the cube!<\/dialogue>\n    <scene_description>Somewhere a switch is thrown and the cube lights up. The symbols etched on its surfaces glow a brilliant green.<\/scene_description>\n    <character>CYRUS<\/character>\n    <parenthetical>(into mike)<\/parenthetical>\n    <dialogue>Base. Start transmitting.<\/dialogue>\n    <character>RAFKIN (V.O.)<\/character>\n    <parenthetical>(over headset)<\/parenthetical>\n    <dialogue>But we haven't recalled the teams yet. They'll be stuck out there with --<\/dialogue>\n    <character>CYRUS<\/character>\n    <parenthetical>(into mike)<\/parenthetical>\n    <dialogue>Just start the transmission!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBURBAN<\/stage_direction>\n    <character>TECH<\/character>\n    <dialogue>You heard the man. Start broadcasting the spells --<\/dialogue>\n    <scene_description>Another tech flips a switch, rolling a reel-to-reel deck. We BOOM OUT the door TO the antenna, and hear a HIGH- FREQUENCY WHINE, mixed with the sound of repetitive CHANTING. Spells being read, over and over in Latin.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTER OF AUTO GRAVEYARD<\/stage_direction>\n    <scene_description>Deep inside, at the sound of the CHANTING, there comes another ungodly HOWL, angrier than before. WITH TEAMS Along the perimeter, placing the amplifiers, shock instantly registers with the teams when they realize the transmission has begun, leaving them exposed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOP OF CAR PILE<\/stage_direction>\n    <scene_description>Somewhere near Cyrus there's an angry HOWL. Cyrus turns and looks out over the auto graveyard, smiling.<\/scene_description>\n    <character>CYRUS<\/character>\n    <parenthetical>(under his breath)<\/parenthetical>\n    <dialogue>Come out, come out, wherever you are...<\/dialogue>\n    <character>TEAM TWO LEADER (V.O.)<\/character>\n    <parenthetical>(on headset)<\/parenthetical>\n    <dialogue>We've got movement, Cyrus, heading south --<\/dialogue>\n    <scene_description>We hear a CRASH of METAL and, on the headset, a confusion of SCREAMS.<\/scene_description>\n    <character>WITH RAFKIN<\/character>\n    <dialogue>The screams of the men fill the air.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>Christ, Cyrus... what have you done?<\/dialogue>\n    <scene_description>Off to the side, Damon and Kalina strain against the ropes.<\/scene_description>\n    <character>DAMON<\/character>\n    <dialogue>Dennis, listen! He's not telling you the whole story! His spells won't work with this one. They're not strong enough. Trust me on this... I know... Trust me.<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>Listen to him, Dennis. He knows what he's talking about.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>Sorry, guys... I'm just here for the paycheck.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANOTHER PART OF AUTO GRAVEYARD<\/stage_direction>\n    <scene_description>We see another team race down an alley. They turn a corner. One of them slips on something wet. He gets up, realizes he's slipped in the unravelled remains of one of Team Two.<\/scene_description>\n    <character>TEAM MEMBER<\/character>\n    <dialogue>Oh, shit...<\/dialogue>\n    <character>TEAM MEMBER #2<\/character>\n    <parenthetical>(looks over partner's shoulder)<\/parenthetical>\n    <dialogue>Mother of...<\/dialogue>\n    <scene_description>His partner turns as a great shape looms... Abruptly, something reaches down and snatches a team member up and OUT OF FRAME. His partner glances back, sees his friend yanked up a wall of cars, then into the wreckage.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOP OF CAR PILE - CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>An explosion of blood spatters from inside the broken windshield. A hand struggles against the glass. A friend dies a horrific death.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ACROSS FROM PILE OF CARS - CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>As HIDEOUS SCREAMS fill the air, the Team Member turns and starts climbing the other side. Rafkin rounds a turn, sees the Team Member climbing up the wall of cars. The Team Member looks back as they approach.<\/scene_description>\n    <character>TEAM MEMBER #3<\/character>\n    <dialogue>Run! It's right behind me --<\/dialogue>\n    <scene_description>Suddenly, a SQUEAL of METAL as something invisible reaches through the grill of the car and grabs the Team Member by the waist. He screams as he is folded over, backwards, and yanked into the grill of the car. Rafkin rushes toward him. We hear BONES BREAK as the Team Member screams. The Breaker, unseen on the far side of the heap of cars, yanks on his victim, over and over, smashing the Team Member's chin against the grill, trying to pull him through. Rafkin does the best he can to pull the man free, but it seems hopeless. The man screams and screams. Abruptly, Rafkin's efforts seem, at last, to work. With a mighty tug, he tumbles back and falls to the ground. Looks down and sees that he holds only the man's foot. The wall of cars begins to move before Rafkin. He leaps just as the wall comes crashing down. Rafkin scrambles and runs full bore back the way he came. He looks back, speaks into his mike:<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Cyrus, the spells aren't working! He's tearing this place apart!<\/dialogue>\n    <character>CYRUS (V.O.)<\/character>\n    <parenthetical>(on headset)<\/parenthetical>\n    <dialogue>Calm down.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>You calm down! The son-of-a-bitch is throwing cars at me!<\/dialogue>\n    <character>CYRUS (V.O.)<\/character>\n    <parenthetical>(on headset)<\/parenthetical>\n    <dialogue>History has no time for cowards, Mr. Rafkin.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>History's all we're gonna be in about two seconds!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AUTO GRAVEYARD - WITH RAFKIN<\/stage_direction>\n    <scene_description>Rafkin turns a corner and runs past two team members heading in the opposite direction.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Hey, goddamnit, you're running the wrong way!<\/dialogue>\n    <scene_description>They don't slow down.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>Amateurs...<\/dialogue>\n    <scene_description>Rafkin turns a corner and realizes why the team members were running this way. A car at the end of this alley is tipped up on its bumper, its undercarriage facing them, and is moving toward them, fast. Rafkin and another team member, deeper in the alley, hear the HOWL of the Breaker behind the floating car.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Jesus H. Christ! Run!!<\/dialogue>\n    <scene_description>Rafkin runs, but the team member doesn't, stunned by the sight, remains frozen. Suddenly the car stops -- and lifts straight up into the air over him.<\/scene_description>\n    <character>TEAM MEMBER'S POV - THROUGH GHOST VISION GLASSES<\/character>\n    <dialogue>The Breaker comes INTO CLEAR VIEW for a fraction of a second. He's huge, seven feet tall, acromegalic, the bones beneath the skin swollen and distorted.<\/dialogue>\n    <scene_description>He stares with burning eyes above a huge distended jaw. He wears, prosaically, a filthy tattered garage uniform, his name stitched above the pocket. His face, chest and arms are pockmarked with bullet holes dating from his untimely death. He takes the car that he holds overhead and slams it down. The team member dodges out of the way, but the Breaker picks up the car again and slams it down again, squashing him. And then, again. And then, for good measure, once again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AUTO GRAVEYARD - WITH RAFKIN<\/stage_direction>\n    <scene_description>Rafkin tears down the alleyway. He turns a corner just as the wall behind him collapses. He's looking down a passage filled with team members, with the cube serving as its plug: a dead end. It seems the Breaker has everyone trapped, instead of vice versa. Everyone runs toward the cube, splashing through pools of blood.<\/scene_description>\n    <character>BREAKER'S POV<\/character>\n    <dialogue>The team members and Rafkin scatter before us.<\/dialogue>\n    <dialogue>Men climb up the walls of wreckage as the invisible Breaker plows through, sending men flying high into the air. Rafkin slams hard against the wall, drops to the ground.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GLASS CUBE<\/stage_direction>\n    <scene_description>A team member runs, looks over his shoulder at the pursuing Breaker. He doesn't see where he's going and runs straight against a blood-splashed glass wall. He's blundered into the glass cube. In an instant, the Breaker's inside with him. His entry trips an unseen switch. The final glass wall slides down, sealing the cube. As it does, the howling, and the team member's screams, drop to silence. Inside the cube, something awful happens, but we can't see through the smears of blood. Rafkin regains his senses, scrambles towards the cube.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>No! Oh, Christ, no --<\/dialogue>\n    <scene_description>Inside the cube, the Breaker turns, realizes he's been trapped, launches himself at the bloody sheet of glass, presses his face to it, howls. Rafkin recoils as the Breaker pounds at the glass. With each ghostly blow, the symbol glows red, but the glass seems to have the power to contain the force: it holds.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Oh, that piss you off, does it? You know what pisses me off? A dead guy throwing Buicks at me!<\/dialogue>\n    <scene_description>Rafkin eyes the horror, then tugs off his glasses. The Breaker disappears. Rafkin collapses in exhaustion.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <parenthetical>(into microphone)<\/parenthetical>\n    <dialogue>I gotta hand it to you, Cyrus, the bait worked. You got your dozen now. Happy?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Cyrus?<\/dialogue>\n    <character>KALINA (O.S.)<\/character>\n    <parenthetical>(screaming, desperate)<\/parenthetical>\n    <dialogue>Help! Somebody, please! Oh God!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AUTO GRAVEYARD - TANKER - MOMENTS LATER<\/stage_direction>\n    <scene_description>Rafkin rounds a pile of cars, and sees... Kalina, on the ground, holding a dying Damon in her arms. His throat has been slit, and Kalina holds her hand over the gash, trying to keep him from dying. But it's no use... he dies. Kalina sobs. Rafkin's in awe, perhaps ashamed. Rafkin turns nervously away. And there, he sees Cyrus's Assistant lying, dead, bloody and broken. And beyond him, lies Cyrus himself. Cyrus's neck has been pierced by a long, metal shard. His eyes stare, cold and dead. Rafkin brings his hands to his head, distraught, almost weepy.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Cyrus... oh, man... look at you... There goes my bonus.<\/dialogue>\n    <scene_description>Suddenly, someone grabs his arm, and spins him around. It's Kalina. She's sobbing and shaking Cyrus's glasses in Rafkin's face.<\/scene_description>\n    <character>KALINA<\/character>\n    <dialogue>Was it worth it? Huh? Playing God! Was it...?<\/dialogue>\n    <scene_description>OFF Rafkin's shell-shocked look, we PAN OVER to see the ghost of one of the techs, ripped apart and bloody, studying the scene.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LARGE BEDROOM - MORNING<\/stage_direction>\n    <scene_description>A bright, sunny day... THROUGH a glass window we see and hear two children out playing in the yard. A Norman Rockwell, picture-perfect setting... A young boy and a teenage girl romp in the grass, then up to the window steps a beautiful woman, fresh from the garden. It's obvious she's the mother of these two. Over the giggling of the kids she smiles at ARTHUR KRITICOS, 50, sitting inside his bedroom, in a very comfortable chair, taking in his family with pride. We PAN TO Arthur as he smiles, content... A sharp KNOCK on the bedroom door breaks the mood, and Arthur turns. Our UNCUT CAMERA CONTINUES TO PAN TO the door. As it does, it SWEEPS ACROSS a desk decorated with family photos, one of which is the woman at the window. CAMERA CONTINUES TO the door, where we notice the wall and door around KATHY, Arthur's 21-year-old daughter, has somehow aged from the pristine room we thought we were in. Kathy sticks her head in. Pretty if she ever had time to fix her hair, clad in a University of Calumny sweatshirt. She stirs a pan of burnt scrambled eggs.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Dad... it's almost eight-thirty... shake a leg. You'll miss your first class. And could you tell Maggie to get the hell out of the bathroom. She had her five minutes twenty minutes ago.<\/dialogue>\n    <scene_description>The door slams shut again. Our UNCUT CAMERA CONTINUES TO PAN AROUND the room. As it does, the walls begin to age drastically, pictures disappearing, books vanishing from their shelves. The room, and all its promise, simply slips away. By the time we GET TO the bed, we notice only one side is occupied. The other lies fallow. Our UNCUT CAMERA RETURNS TO Arthur, who sits, unshaven, in a decrepit chair, staring out at the brick wall lying just outside the window, not ten feet from him. Gone is the world he knew, the beauty of a home, the sounds of a family laughing in the summertime heat. They are replaced by the angry cacophony of the inner city streets, its claustrophobic conditions, its hopeless yoke. Our CAMERA CONTINUES PAST Arthur, RETURNING TO the desk. All are gone save one; the picture of his wife, which sits charred and frameless, propped up against a stack of bills.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - MOMENTS LATER<\/stage_direction>\n    <scene_description>Arthur comes out of the bathroom and beholds, in the kitchenette of his small, cramped three-bedroom apartment... A blur of activity: Kathy cooks at the stove, his son BOBBY, 7, eats a bowl of cereal at the kitchen table, while scanning the obituary section of the newspaper. He records the different, humorous deaths with a microphone and a tape recorder. In the b.g., on the TELEVISION, a black and white horror movie drones on (the original Thirteen Ghosts). The nanny, MAGGIE, 26, just gets in the way... wiping the counter, pouring the OJ, setting the table. It's a very disorganized way of doing things. She's trying, sort of, but we can see from Kathy's body language that she's at her wits' end with the woman.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Today on 'Death in Manhattan This Morning,' we notice a small leap in heart attacks in the city, cancer deaths are down. And we have a special treat for everyone!-- a body was found this morning decapitulated, decapilated, de--<\/dialogue>\n    <scene_description>Maggie cracks up. Kathy turns toward him, nonplussed.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Bobby. Find a healthier hobby.<\/dialogue>\n    <scene_description>Bobby shuts off the tape recorder, angry at the interruption.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Kathy, I'm broadcasting!<\/dialogue>\n    <scene_description>Arthur enters, chipper.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>'Morning, everyone!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Dad, they found a guy without a head in a dumpster behind Dunkin' Donuts.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>That's nice.<\/dialogue>\n    <scene_description>Maggie ruffles Bobby's hair. Arthur pours himself a cup of coffee, sidles up to Kathy.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <parenthetical>(sotto voce)<\/parenthetical>\n    <dialogue>Kathy, why don't you let Maggie make breakfast? That's why I hired her.<\/dialogue>\n    <character>KATHY<\/character>\n    <parenthetical>(also sotto)<\/parenthetical>\n    <dialogue>Have you tasted her cooking?<\/dialogue>\n    <scene_description>Kathy makes a gagging response while scooping eggs onto the first of three places on the counter. He looks at the eggs burned in effigy but continues smiling.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Dad, will you tell Kathy that keeping a record of deaths is healthy because it's in the interest of science?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Kathy, it's healthy.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>She's being a real slut about it.<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>Bobby, don't call your sister a slut.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Thank you, Maggie.<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>A term like 'bitch' would be more appropriate. 'Slut' is a term reserved for those of loose sexual morals, something, to be perfectly frank, Kathy could use a bit more of.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Ha. Ha.<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>Well, it's true, girl. When's the last time you had a date?<\/dialogue>\n    <scene_description>Arthur pretends to not be disturbed by the conversation around him, smiling and nodding.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Why are you smiling?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>I'm pretending you're all perfectly normal. It's working pretty well, too...<\/dialogue>\n    <scene_description>Arthur turns toward the table, and holding a plate of food and his coffee...<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Hey, Edgar Allan Poe, you finish your homework? Mr. Petersen tells me you aren't --<\/dialogue>\n    <scene_description>... trips on Bobby's scooter. The hot coffee spills all over him. He falls back into the counter, knocking the pan of eggs to the floor.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Jesus Christ, that's the third time I tripped on that thing, Bobby. Get it off the floor before it kills someone.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <character>KATHY<\/character>\n    <parenthetical>(to herself)<\/parenthetical>\n    <dialogue>If we had a bigger place we wouldn't have this problem!--<\/dialogue>\n    <character>ARTHUR<\/character>\n    <parenthetical>(overhearing her)<\/parenthetical>\n    <dialogue>Well, we don't have a bigger place, so let's just keep our stuff off the floor. Alright?<\/dialogue>\n    <scene_description>Arthur wipes off his pants, but it's just one big stain. Suddenly, there's a BUZZ at the DOOR. Everyone goes silent... Kathy looks to Arthur, who checks his watch.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Shit... I forgot, the lawyer.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>What lawyer?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I thought our credit was all cleaned up?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>No, no. It's not that.<\/dialogue>\n    <scene_description>Arthur goes to the door, mopping his crotch.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Mr. Kriticos?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Brad Moss?<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>(outstretches his hand)<\/parenthetical>\n    <dialogue>Ben, yes, how do you do?<\/dialogue>\n    <scene_description>Arthur shakes his hand. Ben can't help but notice the stain in Arthur's trousers.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Fine. Come in.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Now a good time?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Couldn't be better.<\/dialogue>\n    <scene_description>Everyone sits at the kitchen table. Bobby is dressed for school, Arthur is changed. Ben sets up a laptop computer.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>As you know, I represent the estate of your Uncle Cyrus Kriticos.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I didn't know you have an Uncle Cyrus.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Had. I met him a couple of times as a kid. My dad always disliked him. Said he squandered the family fortune.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>We have a family fortune?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Well, no. Cyrus squandered it. Didn't I just say that?<\/dialogue>\n    <character>MAGGIE<\/character>\n    <parenthetical>(to Bobby)<\/parenthetical>\n    <dialogue>Isn't this exciting? You have a late uncle!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What's he late for?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>His next birthday.<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(the penny drops)<\/parenthetical>\n    <dialogue>You mean he's dead?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Now we get his attention.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>This message was recorded by Cyrus six months ago. He asked that it be played for you in the event of his death...<\/dialogue>\n    <scene_description>Ben inserts a DVD into the laptop. Cyrus's image appears on the screen, distorted from the angle of the monitor.<\/scene_description>\n    <character>CYRUS (V.O.)<\/character>\n    <parenthetical>(on computer)<\/parenthetical>\n    <dialogue>Arthur. Good to talk to you.<\/dialogue>\n    <scene_description>Ben tilts the screen forward. Cyrus comes clearly into view. He smokes one of his thin brown cigarettes.<\/scene_description>\n    <character>CYRUS (V.O.)<\/character>\n    <parenthetical>(on computer)<\/parenthetical>\n    <dialogue>Sadly, if you're watching me now, that means I am no longer among the living. Happily, that makes you and your family my sole beneficiaries.<\/dialogue>\n    <scene_description>The family members look at one another with anticipation.<\/scene_description>\n    <character>CYRUS (V.O.)<\/character>\n    <parenthetical>(on computer)<\/parenthetical>\n    <dialogue>I've instructed my lawyer, Mr. Moss, to deliver to you the essentials of my last will and testament.<\/dialogue>\n    <scene_description>Ben produces a small box, lays it on the table, opens it. Inside the silk-lined interior is a large, odd-looking key.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>A key?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>A key to what?<\/dialogue>\n    <character>CYRUS (V.O.)<\/character>\n    <parenthetical>(on computer)<\/parenthetical>\n    <dialogue>A key to your new house.<\/dialogue>\n    <scene_description>A series of windows on the computer screen open to reveal a series of photos of an astonishing modernist masterpiece. We see the interiors. Living room, bedrooms, kitchen, bathrooms. Everyone at the table gasps.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Bathrooms. Look, every bedroom has a bathroom!<\/dialogue>\n    <character>CYRUS (V.O.)<\/character>\n    <parenthetical>(on computer)<\/parenthetical>\n    <dialogue>This house is the fruit of my life's work. It's a one-of-a-kind home.<\/dialogue>\n    <character>CYRUS (V.O.)<\/character>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I've led an interesting life, seen many amazing things. The only regret I have is that I never really got to know my nephew Arthur. This house is my attempt to make up for that. Enjoy. Perhaps we will meet again in another life.<\/dialogue>\n    <scene_description>Cyrus smiles. The screen goes blank. Arthur can't believe his eyes. Nor his good fortune.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>When can we see it?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>The house is yours. Whenever you like.<\/dialogue>\n    <character>KATHY<\/character>\n    <parenthetical>(to Arthur)<\/parenthetical>\n    <dialogue>Can we go tonight?<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>(to Arthur)<\/parenthetical>\n    <dialogue>I'm planning on heading out there after work. The directions're a little fuzzy. If you want to, your wife and kids could follow me out --<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>I'm not his wife.<\/dialogue>\n    <scene_description>Kathy rolls her eyes.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>My wife, um, she um --<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Our mom got burnt to death in a fire.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Bobby...<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What? It's true.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Robert. That's enough.<\/dialogue>\n    <parenthetical>(to Ben)<\/parenthetical>\n    <dialogue>So where is this place?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>A couple hours away.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Great, we can stay the night, and come back in the morning.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>We're not staying the night.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Because you have school in the morning, and I have to teach. We'll go look at it, but we're coming home tonight.<\/dialogue>\n    <parenthetical>(to Kathy)<\/parenthetical>\n    <dialogue>Deal?<\/dialogue>\n    <scene_description>A smile creeps across Kathy's face giving her answer...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAMON'S RELIGIOUS ARTIFACTS STORE - DAY<\/stage_direction>\n    <scene_description>PAN AROUND the cluttered closed office at newspaper clippings hanging on the wall. Black and white photos of newly dug up graves. Autopsy pictures of about a dozen deceased individuals, articles underneath each picture describing their deaths. It's a gruesome, graphic, reportage of things we'd rather not think about. The first is a suicide victim, found with her wrists slashed in her bathtub. Another's an archery accident involving a little boy. The list goes on and on, ending with a serial killer, one Frank Mahoney, a.k.a. the Breaker. CONTINUE PANNING past books on the Occult, and Damon's PHd degree in Parapsychology. We LAND ON Kalina herself, stuffing her worn satchel. A lamp illuminates an ancient book in front of her with handwritten notes and drawings inside. She closes the book and stuffs it in her satchel. PULL IN TIGHT ON a short newspaper article, featuring a photo of Cyrus:<\/scene_description>\n    <character>\"NOTED ADVENTURER DIES AT 57\"<\/character>\n    <dialogue>In the article, underlined in red pen, are the words, \"survived by one Arthur Kriticos...\"<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEN'S MERCEDES - NIGHT<\/stage_direction>\n    <scene_description>Ben drives, he checks his rearview mirror for Arthur and family, to see if they're keeping up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARTHUR'S CAR - FOLLOWING<\/stage_direction>\n    <scene_description>Arthur drives with Kathy beside him. Bobby and Maggie are in the back seat, playing hangman. His microphone's lying on the seat beside him.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>C'mon... you're taking too long.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>S... U... F... suffocate! I got it! I win!<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Come on, you guys, we're almost there.<\/dialogue>\n    <scene_description>Arthur can tell his daughter's anxious.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Excited?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Yeah, Mom would've freaked over this.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <parenthetical>(chuckles sadly)<\/parenthetical>\n    <dialogue>You're right...<\/dialogue>\n    <scene_description>Kathy looks out the window. An awkward beat passes between them...<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>So you looking forward to going back to school?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Dad. I've been thinking...<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Maybe I shouldn't, you know, go back. I could skip a year, be with you guys --<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Kathy. C'mon, you can't do that... remember how proud Mom was when that acceptance letter showed up in the mail.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I know, I just don't know what you guys are gonna do without me.<\/dialogue>\n    <scene_description>Kathy's face flushes with emotion.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Baby. Bobby and I will manage. Besides, things look like they just got a little better.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Yeah, but that's not the point. It's just that... every smile you have is --<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Honey --<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>It's... not real, Dad.<\/dialogue>\n    <scene_description>Arthur's affected by her words.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>I loved her too. But sooner or later you've got to stop blaming yourself.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>22A EXT. CAR 22A<\/stage_direction>\n    <scene_description>Arthur pulls up behind Ben's car in the f.g. Bobby looks through the front window, between Kathy and his dad.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Cool!<\/dialogue>\n    <scene_description>Everyone reacts...<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Dad, it's beautiful.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Oh my God.<\/dialogue>\n    <character>EXT. HOUSE<\/character>\n    <dialogue>An enormous and majestic house made of glass nestled amongst pine trees. Stark against the evening sky, the house is awe-inspiring.<\/dialogue>\n    <dialogue>Even for an English teacher, Arthur has a hard time finding the words.<\/dialogue>\n    <dialogue>There's also a Power &amp; Light truck parked in front.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - FRONT PORCH - NIGHT<\/stage_direction>\n    <scene_description>The group approaches the front door. It looks unusual, yes, but it's also an undeniable architectural marvel.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>That's strange.<\/dialogue>\n    <scene_description>A young man appears, waiting in the solitary light of the porch, a clipboard in his hand and a tool belt slung over his shoulder. He's dressed in a Power &amp; Light uniform, and ON CLOSER INSPECTION we see that it's Rafkin, in disguise. He approaches the family.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>'Bout time someone got here. You the owners?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Who're you?<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>The power guy. I don't know if you're aware of it, but this place keeps knocking out the power in the tri-quad area. So if you don't mind, I need to check the breakers inside.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Couldn't you come back tomorrow?<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>Well, I could -- I mean, I could -- but, man, they frown upon that sort of thing, my bosses.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>That's not our problem --<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>Look, I've only been doing this job for, like, three weeks. If you could find it in your hearts --<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>Ben turns to Arthur. After all, it is Arthur's house now.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Thanks...<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Arthur, Arthur Kriticos.<\/dialogue>\n    <scene_description>Rafkin hides his reaction.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Quite a place you got here.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Yeah... we're movin' in.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>One step at a time...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - ENTRYWAY - MOMENTS LATER<\/stage_direction>\n    <scene_description>Outside the main structure is an entryway, with an inner and outer door, almost like an airlock. Arthur produces the odd key and slips it into the keyhole. The locking mechanism, visible within the glass, beckons. Arthur turns the key. As it turns, we hear the MECHANISM CLICK and WHIR. Then, oddly, the key is sucked into the keyhole, and vanishes. Everyone looks at the now-empty keyhole, then at each other, then back at the keyhole.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Huh.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>That's... odd.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Must've, um, slipped into the mechanism. We'll have to get that looked at.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>That didn't look like it slipped to me. I got a cousin who could fix that --<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Dad, you broke it!<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Bobby, go to a station break, will ya?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Give it a rest.<\/dialogue>\n    <scene_description>Bobby reluctantly clicks off the recorder.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLOCKWORK ROOM - CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>In the basement of the house, in a dark space we see a tiny pendulum within a delicate, antique set of gears come to life. AS we PULL AWAY, runes of odd description come INTO VIEW, etched on ivory plates, the plates attached to levers and meters standing poised, waiting... The lights in the room suddenly flicker on. We PULL AWAY FROM the odd bits of machinery, seeing it for what it is: a control panel of some kind. Our RETREATING CAMERA then becomes engulfed by what looks to be a huge set of gears, made of brass and steel, standing by. We PULL OUT the other side of the gears, viewing the machinery's massive size, the gears works nearly fifteen feet high, dominating a room filled with pulleys and steel cable. Lights flicker on from within the house, allowing us to see inside. The most striking thing about it is that the house is entirely transparent. Even the interior walls are made of glass, putting the furniture, fixtures and all the expensive-looking antique decorations on stark display. Everyone stares at the alarming edifice, fascinated.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>How. Weird.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Apparently Cyrus wasn't too keen on privacy.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I hope the bathroom's in the basement.<\/dialogue>\n    <scene_description>Arthur pushes the door open, and they enter...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAIN FLOOR - CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>The group comes into the entryway. Like an airlock, the outer door closes before the inner one will open.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>I did mention I don't do windows, didn't I?<\/dialogue>\n    <scene_description>The walls of the entryway are lined with rare ancient documents in exquisite cases, archeological treasures, recognizably priceless antiques. The group looks around, amazed. With fascination, Arthur studies the text on the walls.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <parenthetical>(under his breath)<\/parenthetical>\n    <dialogue>Latin...<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Dad, this stuff must be worth a fortune.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Yeah. That occurred to me.<\/dialogue>\n    <scene_description>With a huge smile Bobby reaches for an ancient samurai sword on display. Arthur catches him in mid act.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>In your dreams, kiddo.<\/dialogue>\n    <scene_description>They come to a great hall, a soaring open space with a large stained glass ceiling and, strangely, an equally large brass and copper floor. With only one other door at its opposite end, the room is a great glass cube.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <parenthetical>(under his breath)<\/parenthetical>\n    <dialogue>Ohhh, Cyrus. What did you do...<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Okay. First rule. No throwing stones.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>It's marvelous, isn't it? A living work of art.<\/dialogue>\n    <scene_description>A few chuckles. But Rafkin looks troubled. Sweat beads on his forehead. His head is killing him, and he's rubbing incessantly on his temples.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <parenthetical>(to Ben)<\/parenthetical>\n    <dialogue>Excuse me, the sooner you show me where you hid the basement the sooner I'm outta here --<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>I believe it's down the hall, second door on the right.<\/dialogue>\n    <scene_description>Rafkin walks off, holding his head, leaving the others still examining the house. Bobby's eye catches on the design in the floor made of a series of concentric metal rings. There's a brass disk in the center, two feet in diameter, with symbols etched into its surface, spinning slowly. Bobby goes to place his foot on it, when Arthur lifts him up.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Don't touch anything. At least until we got some property insurance.<\/dialogue>\n    <scene_description>He places Bobby down beside Kathy and Maggie.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Arthur, we have some papers to sign in the library. After that, I'll give you a tour of the place.<\/dialogue>\n    <scene_description>Arthur turns to the three of them.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>I don't want you guys to move from this spot. We'll be right back.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Dad --<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What happened to checking out our new digs?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>You can see it all from here.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Dad... you're being paranoid and overprotective.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Yeah... of all this stuff. I know you guys too well.<\/dialogue>\n    <parenthetical>(points to spot)<\/parenthetical>\n    <dialogue>Stay. Right. Here. I mean it.<\/dialogue>\n    <scene_description>The three of them nod, appeasing him. Arthur and Ben walk off. After a beat, Kathy, Maggie and Bobby slip away...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT<\/stage_direction>\n    <scene_description>Rafkin descends the stairs. Downstairs is a maze of narrow glass corridors. Not much else. It's all very clean and sterile. Not a spider web in the joint. In fact, there's nothing alive down here. Rafkin removes a pair of ghost glasses. Slips them on. An AUDIO PIERCING GAINS in VOLUME with every step Rafkin takes.<\/scene_description>\n    <character>THROUGH GHOST GLASSES<\/character>\n    <dialogue>RAFKIN<\/dialogue>\n    <scene_description>Alright, you sick bastard, where'd you put my money? As soon as Rafkin reaches the bottom step, he's assaulted full force by the psychic waves around him.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Aaahh!!<\/dialogue>\n    <scene_description>He keels over and vomits. The assault becomes too much, he collapses against a wall. When he doubles over in pain... we reveal a ghost behind him in the glass. It's a teenager from the '50s, a high- schooler in a letterman's coat, the victim of a horrific auto crash. He holds a baseball bat menacingly over his shoulder. Rafkin, sensing its proximity, turns as the ghost swings the bat with all his might. Instinctively Rafkin leaps back, but the glass holding the ghost holds. With exception of the red symbols that EXPLODE across its surface, the barrier remains intact. But the ghost within is suddenly gone... Rafkin lands with fright a few feet back up the hallway.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Sweet Jesus... not you.<\/dialogue>\n    <scene_description>As he turns about him, another ghost launches out of the darkness at him, only to be stopped by the glass. It's an older, Pilgrimess woman in stocks. Rafkin's jolted by this vision. He's driven to the other side of the hallway. Again, when he turns around, the ghost is gone. He turns to face the Fat Man and the Little Woman ghosts. This sends him flying. Rafkin races back down the corridor in shock. Soon he's lost in the underground maze of glass, confused by all the twists and turns. He finally reaches the foot of the stairs. And bolts up them...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CYRUS'S LIBRARY<\/stage_direction>\n    <scene_description>Ancient weapons are displayed hanging on the walls. Arthur and Ben take them in.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Was Cyrus a hunter?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>You could say that.<\/dialogue>\n    <scene_description>Arthur's attention is now drawn to the rare collection of books piled up against the walls. We PAN, FOLLOWING Arthur, discovering a pair of ghost glasses on a shelf.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>This is incredible, Chaucer, Dickens, Hemingway... these are all first editions.<\/dialogue>\n    <scene_description>Arthur carefully handles the books.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Your uncle was quite a collector. Of many things.<\/dialogue>\n    <scene_description>Ben removes a folder of papers from his briefcase. Lays them across the desk. Hands Arthur a pen. Arthur reluctantly pulls himself away from collection.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I've highlighted where you're supposed to sign.<\/dialogue>\n    <parenthetical>(indicating)<\/parenthetical>\n    <dialogue>First here --<\/dialogue>\n    <scene_description>Arthur takes the pen from him, pauses.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Look, I didn't want to bring this up in front of the kids. This place... it's amazing, and we're extremely grateful, believe me, but I don't know how we can afford it... I'm just a teacher... and the taxes on it must be... well, to be honest...<\/dialogue>\n    <parenthetical>(long beat, almost to himself)<\/parenthetical>\n    <dialogue>... a fire took away everything we had...<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Not to worry, Arthur, your uncle was a genius with finances. He took care of everything. Estate taxes. Inheritance taxes, you name it. You'll never have to worry about money ever again.<\/dialogue>\n    <scene_description>Arthur takes this in. Scans the documents. Finds the highlighted area, and is just about to sign, when...<\/scene_description>\n    <character>RAFKIN (O.S.)<\/character>\n    <dialogue>Arthur!!<\/dialogue>\n    <scene_description>Arthur looks up and sees -- Rafkin standing in the doorway, looking horrible, out of breath, trying like hell to shed the vomit-stained Power &amp; Light jumpsuit he's been wearing.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <parenthetical>(panicked, rambling)<\/parenthetical>\n    <dialogue>We gotta talk.<\/dialogue>\n    <scene_description>Arthur looks with panic at Ben.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>What the hell's wrong with the breakers?<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>My name's Dennis Rafkin, and I --<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Shit, you're Dennis Rafkin?<\/dialogue>\n    <parenthetical>(to Arthur)<\/parenthetical>\n    <dialogue>My office warned me about this guy.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <parenthetical>(an urgency in his voice)<\/parenthetical>\n    <dialogue>You gotta listen to me... this is gonna be hard to swallow... but I used to hunt displaced spiritual energy... with your uncle.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>... P.K. agents, Revenants, Eidolons, Umbras, wraiths... any of this ring a bell?<\/dialogue>\n    <scene_description>Arthur looks back and forth from the lawyer to the vomit- stained psychic, thoroughly confused. Rafkin takes a beat.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Alright, let's do this the easy way. Ghosts, Arthur. I used to hunt ghosts with your uncle Cyrus and --<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Ghosts??<\/dialogue>\n    <scene_description>Ben starts laughing, more loudly than is appropriate.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <parenthetical>(rolling his eyes, stating the obvious)<\/parenthetical>\n    <dialogue>Disgruntled souls trapped on earth because of unfinished business, yes.<\/dialogue>\n    <parenthetical>(to Arthur)<\/parenthetical>\n    <dialogue>Listen, you gotta get your kids and get the hell out of here, now.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>This is one for the books. I never met a real live lunatic before.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>Hey, asshole, I'm not talking to you. You can stay in here as long as you want.<\/dialogue>\n    <parenthetical>(to Arthur)<\/parenthetical>\n    <dialogue>I know it sounds crazy, but this is serious. The basement is filled with containment cubes. If I were you --<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Arthur, this guy's been calling my office since your uncle died. I see it all the time. Some rich guy passes away, and then all the nuts come out. Next thing you know, he'll be claiming Cyrus owed him money.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>You're damn right he did. It's bad enough I had to, um talk your secretary into telling me where you'd be so I could get paid -- oh, by the way, she genuinely thinks you're a real bucket of shit --<\/dialogue>\n    <parenthetical>(to Arthur)<\/parenthetical>\n    <dialogue>But I don't give a damn about that. All I care about is getting my ass outta here. I suggest you do the same.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Look, I don't know what's going on, but --<\/dialogue>\n    <scene_description>Rafkin's headache starts in again, hard.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Shit, either one of you got any aspirin, ibuprofen, acetaminophen, Midol? Anything, I --<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>What's the matter? You alright?<\/dialogue>\n    <scene_description>He finds a bottle of pain relievers in his pocket, tries to get it open, but his fingers are trembling in pain.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Goddamn childproof caps...<\/dialogue>\n    <scene_description>Rafkin fumbles with the bottle. Arthur reaches out to give him a hand. When he makes contact, Rafkin receives a series of flashes: 29A FLASHBACK - ARTHUR'S PREVIOUS DREAM 29A Jean's in front of the sliding glass doors, with the kids outside playing. The images begin to BLUR and pound forward with amazing speed, then --<\/scene_description>\n    <character>END OF FLASHBACK.<\/character>\n    <dialogue>BACK TO LIBRARY<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Hey, buddy. You okay?<\/dialogue>\n    <scene_description>Rafkin looks around, registering where he is. On the floor.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Yeah, shit, my head...<\/dialogue>\n    <scene_description>Arthur reaches out to help him up. Rafkin recoils.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Don't. Touch me.<\/dialogue>\n    <scene_description>Rafkin sits up and looks around, can't see Ben.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Where'd Alley McBeal go? (cover 'where'd the suit go?\")<\/dialogue>\n    <character>CUT TO:<\/character>\n    <dialogue>Ben's heading downstairs, the same way Rafkin just came. When he gets to the bottom of the stairs he takes out a pen light, and flicks it on. Starts to head down the center corridor.<\/dialogue>\n    <dialogue>Now we're thinking to ourselves, what the hell's this guy doing, and where the hell's he going? To make matters worse, he removes a pair of those ghost glasses from his pocket. Slips them on. Now we're even more curious...<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>(shaking his head)<\/parenthetical>\n    <dialogue>Power guy... what an idiot...<\/dialogue>\n    <scene_description>THROUGH GHOST GLASSES He passes by the first room. inside is the 1950s Ritchie Cunningham look-alike. He shoulders his bat, watching Moss's every move through dead eyes.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Hey, Babe Ruth, stop staring...<\/dialogue>\n    <scene_description>As Ben passes, the ghost suddenly disappears. He moves on... Inside the next is a boy, sevenish, holding a tomahawk, dressed in a cowboy outfit with a hunting arrow through his head.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Next time learn to duck...<\/dialogue>\n    <scene_description>He turns a corner, following the path known only to him. It leads the lawyer to a dead end. Ben feels along the edge of the panel. The glass door snaps open, lightning fast. Ben grins, then carefully steps in...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLOCKWORK ROOM - CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>Ben makes his way around the huge gear works, and approaches the control panel. Smiling, the lawyer spots a black briefcase sitting on a scale next to the mechanism.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I gotta hand it to you, Cyrus Kriticos, you're a man of your word.<\/dialogue>\n    <scene_description>Ben picks up the briefcase; as he does, it sets off a trigger beneath it. The house begins to make noises. Behind him, GEARS GRINDING, WHIRRING, CLICKING, CLUNKING. Something has been turned on. Ben hardly notices; he's intent on the briefcase. He opens it. It's filled with bundles of cash. Ben smiles, still nervous. He closes the briefcase, and leaves the room with it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE<\/stage_direction>\n    <scene_description>From outside the house we witness the unbelievable. Rooms shift, walls migrate, the whole of the house reconfigures its architecture to accommodate some hidden agenda within.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STUDY - SAME TIME<\/stage_direction>\n    <scene_description>Rafkin and Arthur also witness a change. From their perspective, they can see from the inside what the outside was doing. It's obvious by their shared looks that maybe it's time to take their argument outside.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Look, I don't know what's going on here, but if you care about that family of yours, get them out of this house.<\/dialogue>\n    <scene_description>Arthur doesn't need convincing.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>I'll take your word for it.<\/dialogue>\n    <scene_description>They quickly rush out of the study, and over to the entryway. But the kids and Maggie are not there...<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Kathy... Maggie... Bobby!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>No one answers Arthur's cries.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>I told them not to leave this spot.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>They're kids, what do you expect?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Alright, fine, you check downstairs, I'll check up.<\/dialogue>\n    <scene_description>Arthur takes off around the corner. Rafkin stares at the basement door.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>There's no way in hell I'm going back down there...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Time for this psychic to leave...<\/dialogue>\n    <scene_description>He takes a few steps towards the front door, as Arthur's VOICE ECHOES through the house, looking for his kids.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <parenthetical>(hesitating)<\/parenthetical>\n    <dialogue>Shit, shit, shit...<\/dialogue>\n    <scene_description>Rafkin watches as a set of glass panels close across the front door, sealing them in. He reaches the top of the stairs leading up to the second level, when he hits glass. The stairs have been sealed off from the shift in the house.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Bobby. Kathy!<\/dialogue>\n    <scene_description>Arthur bangs like a madman on the glass.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <parenthetical>(begins yelling)<\/parenthetical>\n    <dialogue>Bobby!! Kathy!!<\/dialogue>\n    <scene_description>Finally the house relents. The glass barrier slides open. Arthur bolts down the hallway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT - WITH BEN - SAME TIME<\/stage_direction>\n    <scene_description>Ben heads back the way he came, wearing the glasses. He walks past the rooms again. As he approaches one, a naked female suicide victim with dead eyes, her wrists slashed, her bloodstained hands wielding a knife, comes up to the glass. Ben stops to check her out.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>What's the matter? Life got you down?<\/dialogue>\n    <scene_description>The Suicide stares at him now with hatred. Her entire eyes are ink black, her face sallow, sucked in, her runny mascara stains cascading down her bloodless cheeks. She launches herself against the glass, clawing and scratching to get to him. Ben shudders, thinking he might've crossed a line, begins to back away. As the basement around Ben Moss suddenly begins to shift. The lawyer turns about, watching with unrest as the mechanical gears all around him engage... shifting rooms... rearranging walls...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLOCKWORK ROOM - CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>On the control panel, the first lever in the row of symbols suddenly shifts forward.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT - CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>Opening doors... Ben turns to see the door that held the Suicide back slides open.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Hey, I was only kidding...<\/dialogue>\n    <scene_description>The ghost steps into the hallway towards Ben, blocking the route to the stairs. Ben back-pedals in horror. Backing right into an open doorway... As he steps over the threshold, there's a flicker of light in the doorway, and a sharp SNICK. Ben stands in the doorway, surprised, apparently paralyzed. His glasses tumble off his face, stems sliced through. The briefcase in his hand also seems to be sliced. Half of it falls and halves of dollar bills spill out onto the floor. Ben slowly slides to the ground. Or at least his front half does. The glass door has snapped shut like a razor blade. Bisecting him laterally, slicing straight through his body. His front half slides down, revealing, for a second, a cross sectional view of his back half on the far side of the glass. As Ben's remains collapse wetly to the floor, the Suicide smiles and vanishes...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLOCKWORK ROOM - CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>Above the row of levers we see a series of 13 meters at the base of the pendulum. All read. The needle on the first meter suddenly dives deep into the red.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GREAT HALL - CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>On the floor of the great hall, the RING stops spinning with a CLICK. The symbol on the innermost ring (the same as the one in the basement) has lined up with its mate on the disk.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SECOND FLOOR - HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Kathy, Bobby and Maggie are walking around, examining everything... still excited, oblivious to what's going on downstairs. Kathy passes by one of the bedrooms, and breaks off from the other two to check it out.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>I'll be in here.<\/dialogue>\n    <scene_description>Bobby and Maggie continue on. Bobby turns on his microphone.<\/scene_description>\n    <character>BOBBY<\/character>\n    <parenthetical>(recording)<\/parenthetical>\n    <dialogue>We are now upstairs... and there's... more glass.<\/dialogue>\n    <scene_description>Bobby clicks off the microphone. Then removes his scooter from his bag.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Race you to the end of the hall...?<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>I really don't think you should be riding that in --<\/dialogue>\n    <scene_description>And suddenly Maggie breaks out into a sprint. Bobby quickly jumps on his scooter, but he's too far behind to catch up.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Hey, you cheated!<\/dialogue>\n    <scene_description>They reach the end of the hall.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>That wasn't fair, I didn't say start.<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>Gotta be on your toes, kid.<\/dialogue>\n    <scene_description>Maggie walks into one of the rooms. Bobby follows her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOBBY'S BEDROOM<\/stage_direction>\n    <scene_description>The room's filled with all types of cool, macabre, boy stuff. A seven-year-old's dream, if you were a demented seven-year-old.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>This is definitely my room.<\/dialogue>\n    <scene_description>Maggie plops down on a bed made up with skull and crossbones sheets. She finds a pair of ghost glasses lying on the bedside table. Puts them on.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>So, do I look cool?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No, you look like a dork...<\/dialogue>\n    <scene_description>But the nanny isn't listening. She sits there, slack- jawed.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <parenthetical>(looking through glasses)<\/parenthetical>\n    <dialogue>My God... this is... incredible...<\/dialogue>\n    <scene_description>MAGGIE'S POV THROUGH GHOST GLASSES The etched glass symbols on the wall have been added to with flowing red, glowing symbols. Not only do they weave in and about the walls, but they create a path on the floor that leads right out the door. BACK TO SCENE<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>What? Lemme see.<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>One second.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>C'mon...<\/dialogue>\n    <scene_description>Bobby grabs at them. Maggie takes them off.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>Alright, alright... here...<\/dialogue>\n    <scene_description>Bobby puts them on, and reacts.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Cool!<\/dialogue>\n    <scene_description>Bobby grabs his scooter and mike, and takes off down the hall. Maggie gives chase, but it's obvious she's not going to catch him. He zooms in and out of the bedrooms, up and down the halls, following the glowing red path. He takes a couple of turns when he realizes he may have gone too far. The boy has become lost in all the glass. Bobby is alone.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Maggie...?<\/dialogue>\n    <scene_description>Bobby starts scooting again, only this time with a bit more urgency. He passes an open door, which opens into a set of stairs heading down. He stops, backs up, then glances down. At the bottom of the nearest landing, he catches the glimpse of a figure standing. The female figure is in silhouette, and her head is tilted oddly to one side, though from this distance, we can't see why.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Kathy??<\/dialogue>\n    <scene_description>The figure oddly shuffles off.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>C'mon, Kath, stop playing games.<\/dialogue>\n    <scene_description>With his scooter under his arm, Bobby heads downstairs, into the darkness of the house.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I'm gonna tell Dad...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>42A INT. CORRIDOR 42A<\/stage_direction>\n    <scene_description>Maggie looking tired of searching for Bobby. Suddenly something O.S. catches her eye.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>Whoa... what's going on.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHY'S BEDROOM (SECOND FLOOR)<\/stage_direction>\n    <scene_description>Kathy walks in, but not before she notices that, from the hallway, the room appears to be empty. The glass door, we now realize, is \"trick\" glass.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>This place is awesome.<\/dialogue>\n    <scene_description>Kathy walks over to the bed. Plops down, sinking into all the silk. Her half-closed eyes tell us -- puurrfect. Out of the corner of her eye, she spots a door ajar, with the lights on inside.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>No way...<\/dialogue>\n    <scene_description>She slips off the bed, opening the door, revealing her new bathroom. And if ever a room could be carved from a single diamond, this is it.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Now that's what I'm talkin' about!<\/dialogue>\n    <scene_description>It's spectacular. Immaculate. And not only spacious, but appointed. The shelves are stacked with jewel-like bottles of perfume. Kathy's wet dream. As we VIEW her FROM BENEATH the glass shelves, she begins inspecting her own found treasure. Everything seems to be unashamedly brand-new.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>We've struck gold.<\/dialogue>\n    <scene_description>ANOTHER ANGLE What she also doesn't notice is a pair of ghost glasses lying on the sink. The CAMERA ZOOMS IN THROUGH the lenses, so that we're now looking at the scene... THROUGH GHOST GLASSES And a figure passes behind Kathy, jolting us. The figure heads for the tub. The CAMERA TURNS TOWARDS the figure, REVEALING a new level of hell. There's blood spattered everywhere in the bathroom. We PAN. The gore is overwhelming. Still lost in her personal nirvana, Kathy nonchalantly strolls over to the bathtub, drawing back its bloodstained curtain. In a TIGHT SHOT, she runs the water, which is blood-red. On the CUT, she brings it up to her face where it's warm, clear and perfect. When she leans back a bit, we see the naked female suicide ghost lying in the bloody tub, wrists slashed, eyes staring at Kathy, wickedly. Kathy doesn't see her, because she's not wearing the glasses. Two words are written in blood on the glass walls surrounding the tub:<\/scene_description>\n    <character>I'M SORRY<\/character>\n    <dialogue>Kathy's oblivious of the Suicide, lost in the possibilities of her bathroom. Running her hand around the bloody water. She turns the water off... and as soon as she does, a knife pierces the surface of the water.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>It doesn't get any better than this.<\/dialogue>\n    <scene_description>Suddenly, the Suicide rises up with the rest of her knife, reaching for Kathy, when -- There's BANGING on the bathroom door. Kathy bolts upright.<\/scene_description>\n    <character>BACK TO SCENE<\/character>\n    <dialogue>We snap out of the ghost glasses, and the bathroom's back to normal. All clean glass block. An empty tub.<\/dialogue>\n    <dialogue>Kathy opens the locked bathroom door... and Arthur's standing there, pissed. He yanks her out of the bathroom, into the hall.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>What the hell're you doin' up here? Didn't I tell you to stay downstairs?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Yeah, but --<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Where's your brother?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>With Maggie...<\/dialogue>\n    <character>MAGGIE (O.S.)<\/character>\n    <dialogue>He was with me.<\/dialogue>\n    <scene_description>They turn to see Maggie walking up to them.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>But he scooted off. He's around here somewhere.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>You're supposed to watch him, that's what I pay you for!<\/dialogue>\n    <character>MAGGIE<\/character>\n    <parenthetical>(starts yelling)<\/parenthetical>\n    <dialogue>Bobby!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>44A INT. STAIRCASE 44A<\/stage_direction>\n    <scene_description>Arthur's heading downstairs with Kathy and Maggie.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>I'll find him. But I want you both out of here...<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>But --<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>No buts. I want you guys to wait in the car, I'll be out as soon as I find Bobby.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Why are you freaking out?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Kathy, just this once, don't argue.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAIN LEVEL<\/stage_direction>\n    <scene_description>They reach the bottom of the stairs, and head over to the front door. But there's now a glass barrier in front of it, barring anyone from exit.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>What happened to the door?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Son of a bitch.<\/dialogue>\n    <scene_description>Arthur picks up a chair and hurls it at the glass. It bounces off without a dent. He picks it up and starts banging away. Nothing. Over the top of the noise a voice bellows out.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>What a night I'm having!<\/dialogue>\n    <character>RAFKIN (O.S.)<\/character>\n    <dialogue>It's sealed shut.<\/dialogue>\n    <scene_description>They all turn to see Rafkin sitting on the couch.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>What do you mean it's sealed shut?<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>I mean, it's sealed shut. What part of that code are you having trouble cracking?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>There must be another way out.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>I've looked.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Well, we're gonna look again... right after we find my son. Now get up...<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>Thanks, but I'll wait here.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Look, I don't know what the hell's going on and I don't know who the hell you are... but my son's missing. So until those questions are answered, you're not leaving my sight. Now get up.<\/dialogue>\n    <scene_description>Rafkin is startled by Arthur's tone. He reluctantly gets up to help.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Oh. Now you listen to me. Before it was the lawyer...<\/dialogue>\n    <parenthetical>(beat, realizing)<\/parenthetical>\n    <dialogue>... speaking of lawyers. He split?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLOCKWORK ROOM<\/stage_direction>\n    <scene_description>The gears kick in once again, and the house comes to life. It's a quick shift. But we notice that the gears are moving at an accelerated rate.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>46A INT. BASEMENT 46A<\/stage_direction>\n    <scene_description>Two more doors open within the basement.<\/scene_description>\n    <character>CUT TO:<\/character>\n    <dialogue>INT. CLOCKWORK ROOM<\/dialogue>\n    <dialogue>At the base of the clockworks, two more needles from the 13 meters go out. Three ghosts are now loose...<\/dialogue>\n    <character>CUT TO:<\/character>\n    <dialogue>Bobby is zipping down the hallway on his scooter. He takes the corners at high speed, following the spell markings on the floor.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Kathy! Come on.<\/dialogue>\n    <scene_description>As he rounds the next turn too fast, his scooter shoots out from under him, his glasses sail off his head...<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Aahh!<\/dialogue>\n    <scene_description>... and he lands on his ass. Bobby grabs his glasses again, and when he slips them on!-- THROUGH GHOST GLASSES He sees a decapitated head lying on the floor right between his legs, wrapped in plastic. The head's eyes snap open, and it begins to mouth words. Bobby screams... then he hears a DRAGGING sound behind him, like dead skin slapping on glass. Bobby turns and sees a headless, legless human torso, wrapped in sheets of filthy plastic, crab-walking towards him...<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Daaddd!!!!<\/dialogue>\n    <scene_description>Bobby jumps to his feet, turning. He runs down the hall. Looks back, sees nothing, then when he turns back, straight into the bound woman. Pinned against the glass, the bound woman lets out a muffled cry. Strangled by a businessman's tie, which is still cinched tight around her neck, her tongue sticks out like a thick blue thumb. Her hair, skin, and prom dress are clotted with dirt and worms -- the marks of a shallow grave. Her hands and feet are bound by rope, but that's not the worst. Her head sits askew on her shoulders, neck obviously broken, a chunk of bone jutting out just beneath the skin. Panicked, she goes into violent convulsions. It's too much for Bobby. He turns and bolts, racing blindly through the basement's glass hallways. When finally he feels safe, he slows enough to look over his shoulder, and that's when he slams into a wall of glass. The collision knocks his glasses from his head, his mike from his shoulder. He reaches for his glasses when the tiny sound of a SQUEAKING WHEEL issues FROM his MIKE down the hall. Bobby looks at the mike, then fearfully back at the glasses in his hands. Ushering all his courage, Bobby dons the glasses, and with his heart beating like a hummingbird's, he turns around, and sees... Another WOMAN there, walking down the corridor towards him. Dressed in only a hospital gown, she wheels a portable IV stand along the floor. Yards of thin plastic IV tubes tether her to the stand. Her arms, thin, withered from long illness, bear nasty scars from unnumbered operations. Her head is almost completely covered in stained bandages, but a beauty mark decorates that portion of her face we can see. She gropes blindly down the passage, straight towards Bobby. He backs up, trips over his feet, almost falls. The IV Woman stops. So does Bobby. Bobby waits, frozen. He tries to call for help, but can only manage a gasp.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>D-Dad... Daddy...<\/dialogue>\n    <parenthetical>(louder)<\/parenthetical>\n    <dialogue>Dad! Dad!<\/dialogue>\n    <scene_description>The IV Woman seems to respond to the sound of his voice. She cocks her head, as if listening. She moves, calling out, but we hear it THROUGH the tiny amplifier of Bobby's TOY MIKE.<\/scene_description>\n    <character>JEAN (V.O.)<\/character>\n    <parenthetical>(on mike)<\/parenthetical>\n    <dialogue>B-bb-bobby?<\/dialogue>\n    <scene_description>And now he recognizes her voice -- it's his mother, Jean. That's it. Bobby turns and runs like hell. Around the corner, and right into -- Cyrus. Or Cyrus's ghost. Pale white, with eyes rolled back, and a big spike sticking out of his neck. Standing behind a pane of glass. Bobby actually hit glass, and he catches a glimpse of the dead Cyrus just before he's knocked out from the impact. As his glasses and microphone fall to the floor, we...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAIN FLOOR - CORRIDOR<\/stage_direction>\n    <scene_description>Arthur, Kathy, Maggie and Rafkin are searching the house, looking for Bobby.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>Bobby!!<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Come on out, pal!<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Robert!! Stop screwing around!<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>Hey, Glass Family Robinson! You're wasting your breath! This stuff --<\/dialogue>\n    <parenthetical>(taps glass)<\/parenthetical>\n    <dialogue>This is Ectobar Glass, Cyrus invented it. It's shatterproof and soundproof. So your kid might have a hard time hearing you.<\/dialogue>\n    <scene_description>Maggie touches the etchings on the glass.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>What are these?<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>They're containment spells. Ectoplasmic entities can't cross them. The supernatural has laws to obey just like we do. In the case of ghosts, it's spells. Written, spoken, it doesn't matter. They have to obey what the spells tell them.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>So what do these do?<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>At the moment they're keeping us alive<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Just ignore him. Bobby!<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Let's go back for a second to the ecto-thing...<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>You mean the poltergeists.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Poltergeists?<\/dialogue>\n    <character>RAFKIN<\/character>\n    <parenthetical>(sighs)<\/parenthetical>\n    <dialogue>Alright, ghosts. And not Casper the friendly kind either. Cyrus had a thing for hunting the more powerful of the species. Why, I got no idea.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>I thought you didn't want to go through it again.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>You know, you're right. I've wasted enough time on small minds tonight.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>I was talking about your father.<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>Excuse me... did you say hunted?<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>Yup, and his trophies are all locked up in the basement.<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>This basement?<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>What's with you people? Are you slow? Of course this basement. If it was next door I wouldn't give a shit. Here, I'll prove it...<\/dialogue>\n    <scene_description>Rafkin pulls out his glasses.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>You can see them with these. They're spectral viewers.<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>I gave Bobby a pair of those.<\/dialogue>\n    <scene_description>This gets Arthur's attention. Maggie walks over and takes them out of Rafkin's hand. Slips them on.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <parenthetical>(looking around)<\/parenthetical>\n    <dialogue>I don't see any ghosts...<\/dialogue>\n    <character>RAFKIN<\/character>\n    <parenthetical>(rolls his eyes)<\/parenthetical>\n    <dialogue>That's because they're all downstairs.<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>... just more of that crazy Latin shit all over the floor.<\/dialogue>\n    <scene_description>Rafkin takes the glasses back. Looks down. Impressed.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Huh. Hidden barrier spells. Cyrus must've needed more protective zones.<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>Protection? You mean like oregano is to a vampire?<\/dialogue>\n    <character>RAFKIN<\/character>\n    <parenthetical>(sarcastic)<\/parenthetical>\n    <dialogue>Yeah... something like that...<\/dialogue>\n    <character>ARTHUR<\/character>\n    <parenthetical>(had enough)<\/parenthetical>\n    <dialogue>Look, Raf-kin, is it? Do me a favor, spare us the haunted house ravings... at least 'til we get outta here. Okay?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>48A INT. BASEMENT DOOR - TOP OF STAIRS 48A<\/stage_direction>\n    <scene_description>They come to a staircase, leading down into the basement. Arthur starts down it.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Whoa!<\/dialogue>\n    <scene_description>They stop and look at him.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>What did I just say? There's a petting zoo in the basement? No, Arthur, I succinctly said there are ghosts in the basement.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>You also said they were locked up.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>Uh-uh. No way.<\/dialogue>\n    <scene_description>Rafkin won't budge. Arthur knows it.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Listen, I'll make you a deal. I'll pay you whatever Cyrus owed you. Just... help... me... find my son.<\/dialogue>\n    <scene_description>Arthur extends his hand.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Deal?<\/dialogue>\n    <scene_description>Arthur extends his hand. And for the first time Dennis Rafkin isn't afraid of the gesture. Not that he takes it, of course.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Deal.<\/dialogue>\n    <scene_description>Rafkin pulls out a bottle of prescription drugs, swigs it down, swigs it all down, then joins them down the staircase.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT<\/stage_direction>\n    <scene_description>The group comes to the bottom of the stairs, then moves into the glass-lined passage. Rafkin's head is beginning to throb again. Arthur, taking note.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>You going to be okay?<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>Yeah. Just keep an eye on me, okay?<\/dialogue>\n    <scene_description>The four search the empty basement hallways, finding nothing but more glass and shadows. They come to an intersection in the huge labyrinth. Rafkin checks one of the containment cubes, finding its door still locked.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>The place is too big. Kathy and I'll go this way, you two head down there.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>Sure. Ignore the professional... Look, don't go too far. A straight line then turn around. We'll meet back in five -- alright?<\/dialogue>\n    <scene_description>Arthur nods. Takes Kathy by the arm, and they head off in one direction, leaving Maggie and Rafkin to go the other way.<\/scene_description>\n    <character>CUT TO:<\/character>\n    <dialogue>On the hour the huge gears turn again. Faster than before. We MOVE PAST them, IN ON the control panel. Three levers shift, and the sign of the jackal, along with others, slides forward, clicking into place.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. REAR OF HOUSE - CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>FROM the BACK of the house, we see the ARCHITECTURE SHIFTING as if under orders, the huge EDIFICE GROANING with Herculean effort.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>51A INT. BASEMENT GLASS CORRIDORS - VARIOUS SHOTS 51A<\/stage_direction>\n    <scene_description>Behind Kathy and Arthur, and elsewhere near Rafkin and Kalina three more doors slide open, unnoticed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT GLASS CORRIDOR - WITH RAFKIN AND MAGGIE<\/stage_direction>\n    <scene_description>Which is exactly what Rafkin didn't want to hear... especially in the basement. Maggie doesn't look too worried about things. Taking things rather nonchalantly, while Rafkin appears the frightened rabbit.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Look, you don't believe me, do you? See for yourself...<\/dialogue>\n    <scene_description>Rafkin puts the Ghost Glasses on Maggie, and pulls her in front of the first glass cube.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>I thought we've been over this. I can't see any ghosts.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>There.<\/dialogue>\n    <scene_description>Rafkin points into one of the cubes.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>Where?<\/dialogue>\n    <scene_description>Maggie looks around intently, but comes back confused. Rafkin looks at her, wondering. He pulls the glasses off her face and puts them on his own. He's shocked. The first two cubes are empty.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <parenthetical>(panicking)<\/parenthetical>\n    <dialogue>Oh, no...<\/dialogue>\n    <scene_description>Rafkin paces in front of the cubes. He peers worriedly into the next cube. At first he sees nothing, when suddenly, a hammer slams against the glass. Rafkin whoops and jumps backwards. He grabs his heart.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Never fails... they always wait for you to put your face right up near the glass...<\/dialogue>\n    <scene_description>Maggie eyes him warily. Rafkin takes off the glasses and puts them on Maggie. She looks into the cube. And screams. THROUGH GHOST GLASSES A hugely-built middle-aged BLACK MAN appears, dressed in layers of viciously torn leather, with a blacksmith apron covering what remains. In addition, nails and spikes are hammered into his body, from his head down to the sledge- hammer that's been nailed to his handless arm.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>Oh my God... it's a... it's a...<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>That's right, we're surrounded by 'em all the time. Most of 'em can't hurt us. Most of 'em don't want to hurt us... but there are exceptions.<\/dialogue>\n    <scene_description>The apparition glares at Rafkin. He takes hold of a spike embedded deep in his shoulder and pulls. All eight inches of rusting metal comes out. He thrusts it at the glass, and pulls it across the surface in a shower of sparks, as if carving a hello from Hell.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>What's he doing?<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>Just saying hi. I helped put him here.<\/dialogue>\n    <scene_description>The ghost lowers his spike. Into the glass he has etched the phrase \"U MYN.\" Dennis takes a beat, then licks the glass.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <parenthetical>(acting tough to ghost)<\/parenthetical>\n    <dialogue>I love you too.<\/dialogue>\n    <scene_description>Lightning quick, the apparition lifts his hammer and smashes it against the glass. Sparks explode across the corridor. Maggie jumps back into Rafkin's arms.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>Okay, I wanna go now...<\/dialogue>\n    <scene_description>Maggie swallows hard. Rafkin, half smiling, gestures down the corridor, and reluctantly, she follows. At the last moment, Rafkin turns and flips the hammer the bird. But the ghost is gone... OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - BASEMENT - TRAP ROOM<\/stage_direction>\n    <scene_description>Bobby lies on the floor. He rises, shaky, turns -- and realizes that he's trapped in a space perhaps twenty feet wide by ten feet long, surrounded on all four sides by glass walls. Other spaces are dimly visible through the glass. He looks around. No way out. Then, on the other side of the glass wall, he sees Arthur moving down the passage on the other side.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Dad! Dad!<\/dialogue>\n    <scene_description>But Arthur cannot hear or see him. An instant later, Kathy comes INTO VIEW...<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Kathy! Kathy! Dad!<\/dialogue>\n    <scene_description>He bangs on the glass, but his fists hardly make a sound. Arthur hurries forward. Kathy behind him.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Dad, slow down...<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Bobby!!<\/dialogue>\n    <scene_description>Arthur charges forward, searching. Kathy stays close.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>We're gonna get lost...<\/dialogue>\n    <scene_description>And on that note, Arthur turns the corner, and finds Bobby's microphone and glasses lying in the middle of the corridor floor. He stops in his tracks. Kathy notices them too. Both of them fear the worst. They slowly walk over to the items. Arthur picks up Bobby's microphone, while Kathy grabs his glasses. Arthur presses PLAY on the RECORDER -- Bobby's last words bellow out.<\/scene_description>\n    <character>BOBBY (V.O.)<\/character>\n    <parenthetical>(screaming on recorder)<\/parenthetical>\n    <dialogue>Dad! Dad!!<\/dialogue>\n    <scene_description>Arthur quickly clicks the RECORDER OFF. He tries to keep it together, but we can see the pain on his face. Kathy breaks down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAP ROOM - SAME TIME<\/stage_direction>\n    <scene_description>ON Bobby's side of the wall, Bobby pounds on the glass as he sees Arthur comfort Kathy with a hug.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Dad! Kath! Here! I'm in here!<\/dialogue>\n    <scene_description>The wall behind him begins to move -- pushing in. He gasps, and scrambles back as it comes forward, the space in which he's trapped in getting narrower. And to make matters worse, Arthur and Kathy vanish from his sight behind the \"trick\" glass. Bobby's about to lose it...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - WITH ARTHUR AND KATHY<\/stage_direction>\n    <scene_description>Arthur's comforting his daughter.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Don't worry, we'll find him.<\/dialogue>\n    <scene_description>Kathy pulls it together.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OTHER SIDE OF BASEMENT - WITH RAFKIN AND MAGGIE<\/stage_direction>\n    <scene_description>Rafkin and Maggie pass another empty cube. The symbol on the open door gets Rafkin's attention.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Oh shit...<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>The Jackal's loose. We got to get the hell out of here.<\/dialogue>\n    <scene_description>He turns back the way they came. Maggie follows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - WITH ARTHUR AND KATHY - SAME TIME<\/stage_direction>\n    <scene_description>Kathy holds up the glasses to her father.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Dad, Bobby was wearing these. Maybe Rafkin was right. Maybe there really are --<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Kathy, think about what you're saying...<\/dialogue>\n    <scene_description>Kathy raises the glasses to her face...<\/scene_description>\n    <character>ARTHUR (O.S.)<\/character>\n    <dialogue>... there's no such thing as --<\/dialogue>\n    <scene_description>... revealing a face from Hell before her -- the Jackal.<\/scene_description>\n    <character>THROUGH GHOST GLASSES<\/character>\n    <dialogue>With unnaturally long limbs and fingers with long, jagged nails; its sloping head and bulging eyes contained in the cage it wears on his head, the Jackal stands before Kathy in a shredded straitjacket, half torn off, half burned away.<\/dialogue>\n    <scene_description>He supplies a madman's grin, saliva dripping, baring unnaturally large, crooked teeth, and then suddenly, when a heartbeat can seem like an eternity, he leaps at Kathy as if shot out of a shotgun. BACK TO SCENE Kathy screams as she's literally propelled down the hall. ARTHUR'S POV At the end of the corridor, Kathy is seen being dragged invisibly across the floor, pinned to the wall, then dragged up it to the ceiling.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Daddy! Help me!! Oh God!!<\/dialogue>\n    <scene_description>Her clothes are shredded from her body. BACK TO SCENE Arthur, running --<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Kathy!?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Daddy, help me!<\/dialogue>\n    <scene_description>Arthur, without glasses, can't see the Jackal, but he can see the impossible spectacle of an invisible something savagely tearing his daughter apart.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Kathy! What is it? I can't see a thing!<\/dialogue>\n    <scene_description>Arthur grabs Kathy, tries to drag her away. But the Jackal won't let go. Kathy is hoisted in the air between the two, a tug of war that's killing her. Arthur won't let go of her hands and the invisible Jackal won't let go of her feet. Bloody scratches rip open along her legs as her clothes are ripped to shreds.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Make it let go! Make it let go!<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Where is it?! Kathy, tell me where it is --<\/dialogue>\n    <scene_description>Arthur grabs all the material he can and pulls. It tears. Kathy rebounds, almost falling. The Jackal leaps on her like a hellish animal, scratching her with both fingers and toes. She screams over and over. Arthur sees bloody scratches appear on Kathy's skin, deep, red, sharp.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Jesus Christ, get off! Get off!<\/dialogue>\n    <scene_description>Hysterical, Arthur finally pulls Kathy up and drags her down the passage. The Jackal leaps again, yanking her from Arthur's grasp. Arthur barely catches hold of Kathy's arm and pulls. But the Jackal's too strong... and he's losing her... Suddenly, the corridor lights up behind him, and a phosphorous flare is tossed to the floor beside him. The JACKAL SHRIEKS with unearthly horror! A second set of hands grabs hold of Kathy and pulls alongside Arthur. Arthur turns and comes face-to-face with Kalina, knapsack slung over her shoulder, glasses on her face. He does a double-take, then --<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Who the hell're you?<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>Pull!!<\/dialogue>\n    <scene_description>Together, the two pull Kathy down the hall, away from the Jackal. The Jackal regains his wits and attacks. It's a race now.<\/scene_description>\n    <character>KALINA<\/character>\n    <dialogue>Run, goddammit!!!<\/dialogue>\n    <scene_description>Arthur and Kalina drag Kathy down the hall, trying to outrun the Jackal. KATHY'S POV (UPSIDE DOWN GOING BACKWARDS) The thing gives chase, closing the gap in the blink of an eye.<\/scene_description>\n    <character>BACK TO SCENE<\/character>\n    <dialogue>KATHY<\/dialogue>\n    <scene_description>Hurry, Daddy!! At the last possible moment, the Jackal leaps. Kathy screams again. The Jackal suddenly slams into an invisible barrier. Kathy reacts with astonishment as the ghost rips and tears into the barrier like a wild animal trying to get at meat... sparks fly. The trio tries to regain themselves around the corner. Kathy's in Arthur's arms, cut, bruised, crying. He looks up with fire in his eyes at Kalina --<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Just who the hell are you, how the hell did you get in here, and what the hell was that!?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT GLASS CORRIDOR - WITH RAFKIN AND MAGGIE<\/stage_direction>\n    <scene_description>The duo weave their way through the basement's maze of glass trying to locate Arthur and Kathy. Rafkin pulls Maggie along, trying to find the way out, but it's no use. The hallways all look the same. Pulling her around a corner, they find themselves trapped. A glass barrier cuts them off from the rest of the corridor.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Shit!! Gotta go back.<\/dialogue>\n    <scene_description>Rafkin grabs Maggie, turns, suddenly stops. He looks down the hall. Maggie isn't sure why. Rafkin starts backing up.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>What? What!?<\/dialogue>\n    <character>RAFKIN<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Don't talk. Don't move.<\/dialogue>\n    <character>MAGGIE<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Why?<\/dialogue>\n    <character>RAFKIN<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Somehow we got behind enemy lines.<\/dialogue>\n    <scene_description>Hands her the glasses. Maggie can see a tiny boy carrying a hatchet moving towards them in the dark. She turns back towards Rafkin for affirmation. When she looks back --<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>It's gone...<\/dialogue>\n    <scene_description>Rafkin takes the glasses back. Looks --<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>No, it's not. It's hiding.<\/dialogue>\n    <scene_description>OFF Maggie's terrified reaction, we...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT GLASS CORRIDOR - WITH ARTHUR, KATHY AND<\/stage_direction>\n    <character>KALINA<\/character>\n    <dialogue>Kalina is helping Arthur tear up strips of cloth to bind Kathy's wounds.<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>Kalina Oretzia. I'm in the spirit reclamation business.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Spiritua-recla-what?<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>I free trapped souls. Your Uncle --<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Forget my uncle, and trapped souls for a second. What in the world are you doing here?<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>Looks like I'm saving your ass.<\/dialogue>\n    <character>KATHY<\/character>\n    <parenthetical>(nervously)<\/parenthetical>\n    <dialogue>Dad... it's still there...<\/dialogue>\n    <scene_description>Kathy passes the glasses to her father. He holds them for an instant, then puts them on. The Jackal's some three feet away -- scratching insanely at the glowing red spells that block his way.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <parenthetical>(studying the Jackal)<\/parenthetical>\n    <dialogue>Unbelievable...<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>Another one of your uncle's victims.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <parenthetical>(turns to Kalina)<\/parenthetical>\n    <dialogue>Victims?<\/dialogue>\n    <scene_description>When Arthur looks back, the Jackal's gone...<\/scene_description>\n    <character>KALINA<\/character>\n    <dialogue>Yeah, your uncle had a nasty habit of enslaving souls. That's why I'm here. It doesn't matter whether they're dead or not, they're still people.<\/dialogue>\n    <scene_description>Kathy looks up, bloody, trembling, angry, like this woman's crazy.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>How the hell did you get in here?<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>I eased in through an opening when the house shifted.<\/dialogue>\n    <scene_description>Kathy looks to her father with hope.<\/scene_description>\n    <character>KALINA<\/character>\n    <dialogue>Don't get your hopes up. It's closed now, and it's not gonna happen again.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>But if you got in --<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>Here...<\/dialogue>\n    <scene_description>Kalina pulls out a huge ancient book from her satchel.<\/scene_description>\n    <character>KALINA<\/character>\n    <dialogue>The Arcanum. It belonged to my fiance. He and your uncle had the only two known copies in the world.<\/dialogue>\n    <scene_description>Kalina flips through the book.<\/scene_description>\n    <character>KALINA<\/character>\n    <dialogue>It was penned in the fifteenth century by an astrologer named Basileus. In it he describes the building of a certain device. One that can see into the future, As legend has it, it was described to him while under demonic possession.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Needless to say, his book didn't make the Best Seller's List. After reading it, the church burned him at the stake. His writings, however, survived.<\/dialogue>\n    <parenthetical>(looking around)<\/parenthetical>\n    <dialogue>I just can't believe he built it...<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>What're you talking about?<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>Basileus' device. The Eye of Hell.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You're standing in the middle of a machine designed by the Devil...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT GLASS CORRIDOR - WITH RAFKIN AND MAGGIE<\/stage_direction>\n    <scene_description>Rafkin and Maggie continue down the dark corridor. A figure moves in and out of shadows following them. Rafkin notices the lurking ghost with the glasses.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>We got company...<\/dialogue>\n    <scene_description>He hurries Maggie down the corridor. Suddenly, another figure, the Suicide, crosses the corridor in front of them, slipping into the shadows.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Did you see that?<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>See what? I don't have glasses, you moron.<\/dialogue>\n    <scene_description>Rafkin backs down the hall, Maggie behind him. He catches a quick glimpse of the first figure again. This time it's closer. He re-checks the other corridor, and the Suicide is there.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <parenthetical>(nervous)<\/parenthetical>\n    <dialogue>What is it?<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>If it's down here it's not a good thing, trust me.<\/dialogue>\n    <scene_description>Rafkin spins around, and the '50s kid is on top of him. He swings his bat madly at Rafkin, connecting on the last swing. Rafkin, in an explosion of sparks, goes sailing. Maggie quickly scoops Rafkin up and starts hauling him down the corridor with the Suicide in pursuit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT GLASS CORRIDOR - WITH ARTHUR, KATHY AND<\/stage_direction>\n    <character>KALINA<\/character>\n    <dialogue>Arthur addresses Kalina as Kathy looks on.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Look, I don't give a damn about any machine, any devil, anybody named Basileus anything except getting my family the hell out of here. Now if that book showed you how to get in, can it show us how to get out?<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>Possibly --<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Good. Good. Finally. We're on to something here. We're communicating. This is good. All we need is a little cooperation from you and that book, and we can all go home. Correct?<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>Alright, I'll help you get out but you, in turn, have to help me. I came here to free those trapped by your uncle. Tonight. You want out? You have to help me, too.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Do I have a choice?<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>Yeah. I could free us all. Here. Now.<\/dialogue>\n    <scene_description>Kalina opens her bag, exposing sticks of dynamite. Arthur swallows hard. This wasn't the option he had in mind.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Al-right... this is negotiable.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Kathy, can you walk -- ?<\/dialogue>\n    <scene_description>Arthur turns around to see -- Kathy's gone.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Kathy! Kathy!!!<\/dialogue>\n    <scene_description>Arthur searches everywhere, but it appears that Kathy's just vanished.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>No!! This can't be happening!!<\/dialogue>\n    <scene_description>Kalina watches him lose it. She notices something move above her.<\/scene_description>\n    <character>KALINA<\/character>\n    <dialogue>C'mon, we gotta get out of here.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>I'm not going anywhere without my kids!<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>Try telling him that.<\/dialogue>\n    <scene_description>Kalina gestures to a little boy ghost standing on the ceiling. The ghost issues a hateful, unholy hiss. Arthur notices him and quickly changes his mind. They flee down the corridor, until they finally see the stairs coming up. Freedom. One last corner to go, when -- wham -- show's over. A sheet of glass blocks their path to the stairs. What's worse is that when they turn around -- the ghost is gone.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Shit... where'd he go...?<\/dialogue>\n    <scene_description>OFF their panicked looks, we...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLOCKWORK ROOM<\/stage_direction>\n    <scene_description>We MOVE IN ON the huge clockworks. They spin at a tremendous speed now. We pull into the control panel mechanism. The symbols shift, and the 9th meter, the sign of the HAMMER slides forward... and CLICKS into place. And the house begins to move again... releasing the ghost. 64A OMITTED 64A<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT - WITH RAFKIN AND MAGGIE<\/stage_direction>\n    <scene_description>Rafkin and Maggie rush forward. Maggie's on edge, her eyes darting around, checking all the dark corners of the corridors. The HOUSE suddenly begins to MOVE again. At the end of the HALLWAY a door opens, while walls around them start to CLOSE IN and crush them.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Look out! Move!<\/dialogue>\n    <scene_description>Rafkin shoves her out of the crushing hallway, as the wall forces him into the open doorway. The glass WALL SLAMS CLOSED between them, and the house goes silent again. Stops moving. Rafkin and Maggie can see each other through the glass. Rafkin notices the glasses in Maggie's hand.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Great...<\/dialogue>\n    <scene_description>His head begins pounding. Something's not right. Then he turns around, and realizes where he is...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAMMER'S ROOM<\/stage_direction>\n    <character>RAFKIN<\/character>\n    <dialogue>Oh, shit... go around to the door and toss me the glasses.<\/dialogue>\n    <scene_description>Maggie walks around the corner, and sees the Suicide standing there. She quickly backpedals back to where she was before.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>That idea ain't gonna work, you gotta plan B?<\/dialogue>\n    <scene_description>She looks back THROUGH the glass for Rafkin, and spots -- The Hammer is standing right behind him, smiling. Rafkin reacts to Maggie's panicked look.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <parenthetical>(mouthing)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <scene_description>The Hammer raises his weapon, about to swing down on Rafkin. Maggie quickly points to the side away from the Hammer.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>Move!<\/dialogue>\n    <scene_description>Rafkin jumps over as the Hammer swings. The Hammer strikes the floor where Rafkin just was. Sparks fly. Rafkin nervously looks at Maggie.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <parenthetical>(mouthing)<\/parenthetical>\n    <dialogue>The spells? Where... are... the... spells?<\/dialogue>\n    <scene_description>Maggie checks the floor. She notices the glowing spells, but Rafkin's not standing on them. The Hammer's now gone... Maggie pushes both of her hands forward.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>Back!!<\/dialogue>\n    <scene_description>Rafkin hops back, like a little frog, just as the Hammer reappears and swings, missing Rafkin and hitting an invisible wall. More sparks fly. Rafkin's sweating profusely now. He doesn't move. He's standing on the spells. One wrong step and he's dead. He glances around knowing the Hammer's presence is very close by. The exit door is about ten feet away. He'd never be able to make a run for it.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>You have to... lead me... out.<\/dialogue>\n    <scene_description>Maggie looks down at the path of spells on the floor, and it's a jagged path to the door. Then she sees the Hammer standing over Rafkin like an executioner, waiting to bring down his ax. One wrong step, and...<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>Oh, crap.<\/dialogue>\n    <scene_description>Rafkin looks at her hopefully. Maggie nods.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>Okay. Right foot. Step right.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>Right?<\/dialogue>\n    <scene_description>Maggie nods. Rafkin raises his right foot, hovering it over the floor, looking for Maggie to okay the step. She nods again. Rafkin takes the step. Rafkin squints, ready to get hit. But the Hammer's gone.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Whew...<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>Left foot.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>Left foot?<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>Right foot?<\/dialogue>\n    <scene_description>Maggie waves and shakes her head.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>Left foot. Forward.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>It's like playing friggin' Twister here.<\/dialogue>\n    <scene_description>Rafkin sets his left foot forward. Again he's safe. Maggie nods, motioning him straight, onward. Another safe step. He might just make it out of here alive after all. And that's when Maggie sees the Suicide turn the corridor and she's coming right at her. Maggie, scared out of her wits, wants to run, but she still has to deal with Rafkin.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>Another right.<\/dialogue>\n    <scene_description>Rafkin goes to take a step with his right foot, and walk right off the spells. Maggie's not watching, she's more concerned with the Suicide heading in her direction. Maggie turns back just in time and sees the Hammer right in front of Rafkin --<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>Shit! Just jump!<\/dialogue>\n    <scene_description>Rafkin takes a flying leap towards the door. He makes it out safely, and rushes over to Maggie. Gives her a big \"thank you\" kiss on the lips.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>I owe you big time.<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>Fine. Just get me outta here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAIN FLOOR<\/stage_direction>\n    <scene_description>Rafkin, peeking out of the basement stairwell, surveys the main floor with the glasses. Everything looks clear. But it's all the dark areas of the house. Your eyes can easily play tricks on you. Seeing movements that may or may not be there.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>See anything?<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>No... that's what makes me nervous...<\/dialogue>\n    <scene_description>Rafkin and Maggie move slowly through the room. Maggie's clamped onto Rafkin, petrified.<\/scene_description>\n    <character>CUT TO:<\/character>\n    <dialogue>Kathy comes suddenly awake, rubbing her head. Focusing!--<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Wha-what happ -- ?<\/dialogue>\n    <scene_description>She looks around the room. Bobby's sitting beside her. Dried tear streaks run down his face.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Kath...<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Bobby... oh, my God... are you alright? We've been looking all over for you.<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(near tears again)<\/parenthetical>\n    <dialogue>I saw you and Dad before. I yelled but you didn't see me.<\/dialogue>\n    <scene_description>She sits up, puts her arms around him.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>It's gonna be okay.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Mom's here.<\/dialogue>\n    <character>KATHY<\/character>\n    <parenthetical>(looks around)<\/parenthetical>\n    <dialogue>Where are we? What part of the house?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I don't know. Mom's here, Kathy.<\/dialogue>\n    <scene_description>Kathy looks at him.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>What do you mean? Here?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>She's one of them. She's like in the hospital, with all those bandages on her.<\/dialogue>\n    <scene_description>Kathy doesn't know what to say.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Do you believe me?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I'm not sure what to believe...<\/dialogue>\n    <scene_description>Kathy holds her brother close while they wait.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Kath?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I hate this house. I just wanna go home.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I know, kiddo, so do I. We're gonna get out of here soon. I'm sure Dad's on his way right now.<\/dialogue>\n    <scene_description>OFF her hopeful look, we...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT - WITH ARTHUR AND KALINA<\/stage_direction>\n    <scene_description>Arthur and Kalina are in front of the blocked-off staircase. Kalina's flipping through her book, studying the map of the house. Arthur keeps lookout for anything out of the ordinary.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Find anything?<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>Not yet.<\/dialogue>\n    <scene_description>Arthur turns back around... and now, at the end of the hallway is -- the Jackal.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Oh, damn... it's back... hurry up!<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>I'm hurrying.<\/dialogue>\n    <scene_description>But when he looks back, it's gone...<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Shit... I lost it!<\/dialogue>\n    <scene_description>Arthur panics.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Do something for Christ's sake!<\/dialogue>\n    <scene_description>Kalina gets in Arthur's face --<\/scene_description>\n    <character>KALINA<\/character>\n    <dialogue>Show. A little. Backbone. No matter how much I hated your uncle, he always managed some.<\/dialogue>\n    <scene_description>The words sting Arthur, and for the first time he knows it's always been a problem. Kalina's still rifling through her book.<\/scene_description>\n    <character>KALINA<\/character>\n    <dialogue>If I can just pinpoint where things have moved to...<\/dialogue>\n    <scene_description>Arthur peers around the corner, and the Jackal's back. Closer.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>You wanna read a little faster! Our friend's back.<\/dialogue>\n    <scene_description>Kalina drops her knapsack to the floor. Removes a flare from her bag. Hands it to Arthur.<\/scene_description>\n    <character>KALINA<\/character>\n    <dialogue>Light it. It's quicksilver.<\/dialogue>\n    <scene_description>Arthur IGNITES the FLARE.<\/scene_description>\n    <character>KALINA<\/character>\n    <dialogue>The burning metal disrupts its spiritual energy and buys us time.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>How many of these do you have left?<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>Three.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Three? You couldn't have brought a few more?<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>I didn't plan on giving a tour of the place.<\/dialogue>\n    <parenthetical>(finds what she's looking for in book)<\/parenthetical>\n    <dialogue>Here it is...<\/dialogue>\n    <scene_description>The book is opened to one of the layouts. A red square is indicated in one of the \"blocks.\"<\/scene_description>\n    <character>KALINA<\/character>\n    <dialogue>We gotta get to the library. It has spell protection all around it.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Where is it from here?<\/dialogue>\n    <scene_description>Kalina shifts the book around to see where they are.<\/scene_description>\n    <character>KALINA<\/character>\n    <dialogue>Above us, to the right.<\/dialogue>\n    <scene_description>Kalina notices the glass blocks above them in the ceiling. Arthur sees where she's going with this, and we...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAIN FLOOR - CORRIDOR - WITH RAFKIN AND MAGGIE<\/stage_direction>\n    <scene_description>Rafkin and Maggie have backed themselves into a corner. Rafkin's looking at two figures, the Fat Man and the Little Woman, making their way down the corridors to them.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <parenthetical>(panicked)<\/parenthetical>\n    <dialogue>Just tell me when I'm supposed to scream, because I ain't gonna die without screaming my goddamn head off!<\/dialogue>\n    <scene_description>Rafkin's looking at the two ghosts, the Fat Man and Little Woman, through the glasses. They quickly slip back into the darkness. He notices the pilgrims on the other end of the corridor. They're being cornered.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Not yet, but take a deep breath.<\/dialogue>\n    <scene_description>Suddenly, a glass block in the floor behind them pops open, and a flare is tossed through. It lands on the floor, illuminating the corridor. The ghostly figures quickly disperse... A hand appears, and Kalina is shoved through the hole. Maggie screams. Rafkin freaks --<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>What the hell --<\/dialogue>\n    <scene_description>Kalina's legs disappear through the ceiling. Arthur, holding out the flare, scans the basement around him. The figures still remain at bay. That's when the flare burns out. Arthur shakes it once, twice, then, knowing it's out for good, stands alone, helpless in the single patch of light coming from the ceiling. He looks to his left and sees the crab-like creature scurrying down the corridor. From the other direction comes a large silhouette (which is the Hammer).<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Ms. Ortezia...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAIN FLOOR - CORRIDOR - WITH RAFKIN, MAGGIE AND<\/stage_direction>\n    <character>KALINA<\/character>\n    <dialogue>Kalina notices the two of them. Rafkin recognizes her. She recognizes him.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>I should ask you the same question. Heretic.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>Hack.<\/dialogue>\n    <scene_description>They both size each other up.<\/scene_description>\n    <character>ARTHUR (O.S.)<\/character>\n    <parenthetical>(calling up from below)<\/parenthetical>\n    <dialogue>Hey! Remember me?!<\/dialogue>\n    <scene_description>Rafkin and Maggie peer into the hole and see Arthur below.<\/scene_description>\n    <character>KALINA<\/character>\n    <dialogue>Oh, shit! Pull him up! Pull him up!!<\/dialogue>\n    <scene_description>Rafkin reaches his hand into the hole, and Arthur grabs it. They pull him up through the hole... just as the Hammer swings. An EXPLOSION of SPARKS ERUPTS in the basement.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Thank for taking your time. Really.<\/dialogue>\n    <scene_description>Kalina rechecks the book --<\/scene_description>\n    <character>KALINA<\/character>\n    <dialogue>Alright, at the end of the hall, make a right... then another right... then --<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>Where we going?<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>The library. It's the safest place in the house, the walls are surrounded entirely with spells.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <parenthetical>(re: her book)<\/parenthetical>\n    <dialogue>How the hell would you know?<\/dialogue>\n    <scene_description>Kalina holds up the book. Rafkin ain't biting.<\/scene_description>\n    <character>KALINA<\/character>\n    <dialogue>Trust me.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>Arthur?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Trust her.<\/dialogue>\n    <scene_description>Arthur notices the flare going out.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Now could we please just save all our questions for the library?<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>Alright, let's move.<\/dialogue>\n    <scene_description>Kalina IGNITES another FLARE, and guides them down the corridors.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Where'd your daughter go?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>I don't know. She disappeared.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>How can you lose an entire family in a glass house?<\/dialogue>\n    <scene_description>Arthur tosses Rafkin a look just as they turn a corner, and the Jackal leaps out of the shadows and pounces on Arthur's back. The Jackal's tearing into Arthur, dragging him down the hallway. Kalina tosses her flare down the hall at them, and the ghost jumps off Arthur, shrieking. Rafkin quickly grabs Arthur and pulls him into the library.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAIN FLOOR - LIBRARY<\/stage_direction>\n    <scene_description>They stumble in.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>So much for quicksilver...<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>We should be safe in here...<\/dialogue>\n    <scene_description>Arthur lands on the couch, in pain. Maggie's by his side. Rafkin bangs on the glass, pissed.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Shit, you'd think I'd be used to these things by now.<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>They don't seem to like you either...<\/dialogue>\n    <scene_description>Kalina takes a seat at the desk, begins reading through her book.<\/scene_description>\n    <character>KALINA<\/character>\n    <dialogue>... I wonder why.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>Look, you got something to say, spit it out.<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>Alright... let's start with... this is all your fault! If you hadn't caught them, we wouldn't be running from them now, would we?<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>Hey, I didn't build this house. Blame his crazy uncle for that one.<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>But you helped him. How could you help him without knowing what he was up to?<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>I had my reasons.<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>You stole people's souls for money. How depraved is that?<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>Before that I was working for a psychic hotline. Try that for depraved.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Look, Cyrus took me in when no one else would. In case you haven't noticed... I... am... a... FREAK. Dead people give me migraines. I can't touch a single person without suddenly seeing all their problems.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Do you know how lonely that is? No one accepted me except him.<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>He didn't accept you. He used you.<\/dialogue>\n    <scene_description>Rafkin looks away, ashamed.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <parenthetical>(to Kalina)<\/parenthetical>\n    <dialogue>Look, cut me some slack, what difference does it make? These things are all killers anyway, so what do we care?<\/dialogue>\n    <scene_description>A beat passes, Kalina turns to Rafkin --<\/scene_description>\n    <character>KALINA<\/character>\n    <dialogue>You didn't tell him, did you?<\/dialogue>\n    <scene_description>Rafkin lowers his head.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Tell me what?<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>About the fourth ghost?<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>Don't do this.<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>He has a right to know.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <parenthetical>(concerned)<\/parenthetical>\n    <dialogue>What about the fourth ghost?<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>Let me help you out... St. Luke's Hospital, six months ago.<\/dialogue>\n    <scene_description>The realization hits Arthur hard. He turns to Rafkin.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Jean's... here...?<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>I had no idea she was your wife, Arthur, I swear.<\/dialogue>\n    <scene_description>Arthur clocks Rafkin with a roundhouse punch, sending him flying over the couch.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Why? She never hurt anyone...<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>I don't know... Cyrus handpicked every one of 'em. Your wife included. When I realized who you were I tried to help --<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Tried to help?! We're trapped, my kids are missing, my wife, who should be resting in peace, is being held hostage by the house from hell, and you call this HELP?! She's right. This is all your goddamn fault.<\/dialogue>\n    <scene_description>Rafkin takes the scolding. Arthur paces the room.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Son of a bitch!<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>There is a way to save her, Arthur. And your kids, too.<\/dialogue>\n    <scene_description>Arthur stops pacing. Turns to her --<\/scene_description>\n    <character>KALINA<\/character>\n    <dialogue>This house... it isn't a house, it's a machine. It's a complete recreation of Basileus' design.<\/dialogue>\n    <parenthetical>(reading from the book)<\/parenthetical>\n    <dialogue>According to this, there should only be twelve earthbound spirits trapped inside here.<\/dialogue>\n    <scene_description>Arthur walks over and she shows him the book.<\/scene_description>\n    <character>KALINA<\/character>\n    <parenthetical>(re: book)<\/parenthetical>\n    <dialogue>You see these? They're the Black Zodiac. They represent the different ghosts that Cyrus needed to catch.<\/dialogue>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>The Withered Lover, the First Born Son, the Torn Prince. And here... the Bound Lady, the Great Child and the Dire Mother... the Suicide, the Torso, and the Buried Maiden... then there's the three death signs, the sign of Hell's Winter... the Hammer, the Hyena, and the Juggernaut...<\/dialogue>\n    <scene_description>As Kalina counts through the ghosts of Arthur, forever the math teacher, instinctively counts them off on his fingers. Kalina flips through a few more pages.<\/scene_description>\n    <character>KALINA<\/character>\n    <dialogue>According to Basileus, this machine requires the energy of these specific spirits in order to bring it to life. Once engaged, the spirits are freed one by one, each adding its energy to the machine... powering it up.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Powering it up for what?<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>To open the Ocularis Infernum.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>The Ocularis? What's that?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>It's Latin. It means the Eye of Hell.<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>The Eye of Hell?<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>Come on, Arthur. This is bullshit.<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>I saw a man carrying his own head. The Eye of Hell isn't a stretch.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Go on.<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>In Hell, there's an eye that sees the whole world. Past and future, heaven and earth, the blessed and the damned. If knowledge is power, then the man who controls the Ocularis would be the most powerful man on earth. Your uncle was planning to become God.<\/dialogue>\n    <scene_description>A beat passes...<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>So how many ghosts have been set free?<\/dialogue>\n    <scene_description>Kalina checks the book.<\/scene_description>\n    <character>KALINA<\/character>\n    <dialogue>Eleven.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>And it needs twelve ghosts to power it up?<\/dialogue>\n    <scene_description>Rafkin shakes his head.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Uh-uh. Uh-uh. What about this thirteenth ghost? Even Damon mentioned it.<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>It's a fail safe. Yes. In order to stop the process. The house needs a sacrifice of life, instead of death.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>A willing... human... sacrifice. The sacrifice of the Broken Heart.<\/dialogue>\n    <scene_description>All eyes turn on Arthur.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>... the thirteenth ghost...?<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>Exactly. The thirteenth spirit stands before the eye as the final configuration culminates. As the eye opens, the spirit uses the power of life to, essentially, short circuit the system.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Uses the 'power of life'...?<\/dialogue>\n    <scene_description>Kalina swallows hard.<\/scene_description>\n    <character>KALINA<\/character>\n    <dialogue>By leaping into the eye.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Thanks for painting the picture.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <parenthetical>(scoffing)<\/parenthetical>\n    <dialogue>Power of life...<\/dialogue>\n    <parenthetical>(re: her book)<\/parenthetical>\n    <dialogue>Let me see that...<\/dialogue>\n    <scene_description>Rafkin studies the book, looking at it from different angles. It's obvious he doesn't know what he's looking at. A beat passes...<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>Isn't there any other way?<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>We can try it the old-fashioned way... but nobody's going to be able to brag about it later.<\/dialogue>\n    <scene_description>She opens her bag. Shows Maggie and Rafkin the dynamite. A long beat passes...<\/scene_description>\n    <character>KALINA<\/character>\n    <dialogue>Whatever we decide, we have to come up with a game plan soon. Time's running out.<\/dialogue>\n    <scene_description>Rafkin takes a seat next to Arthur on the couch. Kalina's out of earshot, working out their plan. Arthur thinking, while fidgeting with Rafkin's Power and Light tool belt, left there from before.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Hey, I know why you feel you have to do this...<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Get away from me.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>Psychics call it linking... we linked earlier. I know everything. About Jean. About you...<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Shut up.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>Believe me. You did the right thing.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>I'm not gonna listen to this from you.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>But Kalina's talking suicide, Arthur.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Yeah, and if it saves my kids --<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>But how do you know she's right? Think about it for a second. It just doesn't add up.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>And what does? Huh, Dennis? How much of this fucking equation makes sense!? You got a better idea because I'm fresh out of sanity at the moment!?<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>Just think about it for a minute, that's all.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>In case you haven't been counting I'm out of time here. There aren't many options to consider, Mr. Psychic.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>What happend to Kathy and Bobby's options? You gonna give up on those, too?<\/dialogue>\n    <scene_description>Arthur grabs Rafkin by the shirt and pins him to the wall.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>You can go to hell!! You hear me, you son of a bitch!! To hell. All I can think about are my kids. Goddammit, I don't even know if they're alive...<\/dialogue>\n    <scene_description>Arthur is just about to lose it when Rafkin approaches.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Then let's find out, Arthur. For them. While there's still time. So you'll know. So we'll all know.<\/dialogue>\n    <scene_description>After listening to Rafkin, Arthur recollects himself. One last time.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <parenthetical>(to Kalina)<\/parenthetical>\n    <dialogue>No matter what happens to me, to us all, do you think you can stop the machine?<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>I got enough dynamite here to blow this place back to the Fifteenth Century if that's the question?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Okay. How many flares do you have left?<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>One. Why?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>We're going out again.<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>Arthur! That's crazy!! Those things out there will kill you!<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Not if we take that.<\/dialogue>\n    <scene_description>Arthur points at one of the doors in the library. He and Rafkin remove the hinges off the spell-etched glass door, using the tools from the belt. Written inside are the spells. He hands the door to Rafkin.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Alright... we got ourselves a Captain America shield baby.<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>You have about ten minutes before the last ghost is released and the ectoplasmic shit hits the cosmic fan.<\/dialogue>\n    <scene_description>Arthur nods. Maggie and Arthur share a last look, then follow Rafkin out the door of the library.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - WITH ARTHUR AND RAFKIN<\/stage_direction>\n    <scene_description>They're both holding opposite sides of the door. The corridor's empty. Covered with dark patches. They carefully inch their way down the corridor, passing dark areas. They reach a couple of dark patches, and slowly walk past. Prepared for anything... When suddenly, out of the shadows, the '50s Kid swings his bat, and smacks the door -- sparks fly.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Shit -- he's swinging for the fence.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Ram him on three...<\/dialogue>\n    <scene_description>Rafkin and Arthur brace themselves. The '50s Kid continues to whack away at the door.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <parenthetical>(fast count)<\/parenthetical>\n    <dialogue>One-two-three!<\/dialogue>\n    <scene_description>They drive the '50s Kid into the wall. Pressing the door against him. Sparks light up the corridor. The '50s Kid is going crazy. There's a huge burst of ecto-plasmic sparks, then he vanishes.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>That's more like it.<\/dialogue>\n    <scene_description>Arthur spots an opening behind them.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>This way...<\/dialogue>\n    <scene_description>Arthur guides them down another corridor. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>74A INT. HALLWAY - BASEMENT 74A<\/stage_direction>\n    <scene_description>After flashing a flare before them, Kalina and Maggie drop through the ceiling, back into the basement. They make their way through the glass hallway, coming to a door. As Kalina approaches it, she stumbled across Ben's sliced corpse. Maggie gasps at the remains.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>Oh... God... Looks like we found the lawyer.<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>Hold the flare still. I'm almost there.<\/dialogue>\n    <scene_description>Kalina reaches around the doorway, clicks the door open.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT - CLOCKWORKS ROOM<\/stage_direction>\n    <scene_description>The GEARS are spinning and GRINDING at the highest speed. Kalina quickly rushes over to the base of the machine with the Arcanum, trying to figure out how it works. A shadow figures moves past the door outside the clockworks room.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>Hurry up!<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>I'm working on it!<\/dialogue>\n    <scene_description>Kalina's following the manual. She studies the different levers and what each does. Maggie turns and comes face-to-face with Cyrus's ghost. She jumps, then quickly jabs the flare at him. But to her surprise, he doesn't react... Instead, he takes a step towards her. She tries to ward him off again with the flare... but he takes another step.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>Damn... Kalina... you better get over here... this shit ain't workin' anymore!<\/dialogue>\n    <scene_description>Maggie's panicking... and then her flare starts to go out.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>Hurry your ass up!<\/dialogue>\n    <scene_description>Maggie backs up... and she's hit over the head from behind. She lands on the floor and goes out like a light. Cyrus's ghost approaches the body. And so does Kalina... The faint flare illuminates both of them. In Kalina's hand, we see the Arcanum. It's obvious she just struck Maggie with it. Kalina removes her glasses, and looks over at Cyrus's ghost. He's still there, hasn't vanished. They embrace and kiss. And then the flare completely goes out, plunging the room into darkness, and we...<\/scene_description>\n    <character>CUT TO:<\/character>\n    <dialogue>Arthur and Rafkin are still walking the halls, wearing glasses. They're on edge, nervously looking in all directions. At any moment, something could jump out of the shadows at them.<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>'There's no place like home, there's no place like home...'<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Knock it off.<\/dialogue>\n    <scene_description>Rafkin spots the Hammer appear behind Arthur at the end of the hall. The Hammer makes eye contact with Rafkin, and charges.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Oh, shit.<\/dialogue>\n    <scene_description>Before Arthur even has time to turn around, Rafkin heroically shoves Arthur into the corner, pinning him safely behind the shield. Rafkin turns and faces the charging Hammer. He's leaning back on the glass, preventing Arthur from getting out.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <parenthetical>(behind the door)<\/parenthetical>\n    <dialogue>What're you doing?!<\/dialogue>\n    <character>RAFKIN<\/character>\n    <dialogue>Don't worry about it, Arthur... I've been looking for a reason to like myself for a long time now.<\/dialogue>\n    <scene_description>The Hammer approaches, but Rafkin's not running. The Hammer stops right in front of Rafkin. Rafkin gulps.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <parenthetical>(behind glass)<\/parenthetical>\n    <dialogue>Dennis, no! Don't do this!<\/dialogue>\n    <character>RAFKIN<\/character>\n    <parenthetical>(to the Hammer)<\/parenthetical>\n    <dialogue>Hey, big guy, no hard feelings, huh?<\/dialogue>\n    <parenthetical>(stops himself)<\/parenthetical>\n    <dialogue>Who am I kidding... look at you...<\/dialogue>\n    <scene_description>The Hammer prepares to strike, when -- A TERRIFYING HOWL comes from the belly of the house. It gets everyone's attention, even the ghosts...<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>What the hell was that?<\/dialogue>\n    <character>RAFKIN<\/character>\n    <parenthetical>(checks his watch)<\/parenthetical>\n    <dialogue>Christ...<\/dialogue>\n    <parenthetical>(to Arthur)<\/parenthetical>\n    <dialogue>We're out of time...<\/dialogue>\n    <scene_description>Rafkin turns back to the Hammer, who grins an evil grin. Then strikes...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT - CLOCKWORKS ROOM<\/stage_direction>\n    <scene_description>Another HOWL ECHOES through the room. Cyrus and Kalina watch as the 12TH SIGN lines up and CLICKS into place... releasing the Breaker. Kalina turns to him pissed.<\/scene_description>\n    <character>KALINA<\/character>\n    <dialogue>You know, it's one thing for me to have spent all that time with that idiot Damon, kill him, and then steal his spells -- now I gotta babysit your stupid nephew so he doesn't get himself killed before you need him. Enough is enough, Cyrus.<\/dialogue>\n    <character>CYRUS<\/character>\n    <dialogue>But you did bring me Damon's spells, right?<\/dialogue>\n    <scene_description>Kalina removes the book from her bag. She tears the leather covering off the back of the book, and inside is a thin reel of audio tape.<\/scene_description>\n    <character>KALINA<\/character>\n    <dialogue>I got your spells. But a deal's a deal, remember, we share everything... fifty-fifty.<\/dialogue>\n    <scene_description>Cyrus snatches it from her, holds it up to the light, and examines it. Smiles when he realizes they're authentic.<\/scene_description>\n    <character>CYRUS<\/character>\n    <dialogue>Don't you worry, Kalina, you'll get everything you deserve.<\/dialogue>\n    <scene_description>Cyrus places a reel-to-reel machine on the table.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - WITH RAFKIN AND ARTHUR<\/stage_direction>\n    <scene_description>The Hammer swings on Rafkin, who dodges the attack. The strike WHACKS the GLASS, sparks fly, Arthur reacts.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <parenthetical>(getting cocky)<\/parenthetical>\n    <dialogue>That the best you can do? My mother hits harder than that.<\/dialogue>\n    <scene_description>The Hammer's now enraged. He swings again... and again Rafkin dodges the strikes, bobbing and weaving, like Ali in the ring.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>You ain't got no speed, old man. What's the matter, that hammer weighing you down?<\/dialogue>\n    <scene_description>The Hammer's swinging wildly, but Rafkin, surprisingly, has quicker reflexes, and it's pissing the Hammer off. Rafkin evades another attack, and out of the corner of his eye, he spots the Breaker turning the corner... From his massive size, he realizes who it is.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>Mother of Christ...<\/dialogue>\n    <scene_description>Arthur sees the Breaker approaching. He grows larger as he gets closer...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT - CLOCKWORKS ROOM<\/stage_direction>\n    <scene_description>Cyrus is setting up a reel-to-reel machine. Kalina's beside him.<\/scene_description>\n    <character>KALINA<\/character>\n    <dialogue>So, what're you gonna do now? Your nephew believes the sacrifice is gonna stop this thing, but you'll never get him to jump into the eye, not until he finds his kids.<\/dialogue>\n    <character>CYRUS<\/character>\n    <dialogue>Then let's give them to him...<\/dialogue>\n    <parenthetical>(tosses her some rope)<\/parenthetical>\n    <dialogue>Go tie them up.<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>Cyrus, I can't...<\/dialogue>\n    <character>CYRUS<\/character>\n    <dialogue>Why not? You know as well as I do that human lives are the price of human achievement. How many lives went into the construction of the Pyramids? Or the Great Wall of China? Or the space program? It's Darwinism at its finest.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Now step aside... I need to finish setting this up. And you need to do your job...<\/dialogue>\n    <scene_description>Kalina walks out of the room with the rope, and Cyrus finishes threading the reel-to-reel machine with the audio tape. Then he flips a switch...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - WITH RAFKIN AND ARTHUR<\/stage_direction>\n    <scene_description>Arthur watches helplessly, as Rafkin is smacked by the Hammer, right into the Breaker's arms.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>No!!<\/dialogue>\n    <scene_description>Arthur pushes the glass off him to get out, but the Breaker slams Rafkin into the glass, which again pins Arthur behind it. Rafkin tries to crawl away, but the Hammer smashes him over the back with his hammer. Rafkin is bloody and bruised, on his last legs. Arthur once again tries to push the glass off him to get out, but Rafkin slaps his bloody hand on the glass. Makes eye contact with Arthur. Shakes his head, telling Arthur not to come out.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <parenthetical>(slurring)<\/parenthetical>\n    <dialogue>Save your kids...<\/dialogue>\n    <scene_description>The Breaker picks Rafkin up and smashes him against the glass door. His broken body leaves a bloody smear as it slides to the floor.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Dennis!!<\/dialogue>\n    <scene_description>Arthur sinks to his knees, crushed. He looks up and the ghosts are gone. He completely falls apart... Then suddenly, another ghost appears on the other side of the glass. Arthur looks up and sees -- Jean, as we saw her before, standing there, staring at him. Arthur looks at her, dumbstruck.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Jean...?<\/dialogue>\n    <scene_description>She tilts her head in response, sadness and longing in her face. Arthur can't hold it back anymore, a wave of emotion rushes over him and he bursts into tears.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>I'm so sorry... please forgive me...<\/dialogue>\n    <parenthetical>(sobbing)<\/parenthetical>\n    <dialogue>I should've went back in after you... I --<\/dialogue>\n    <scene_description>Jean looks at him, shakes her head, letting him know he did the right thing.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>I miss you so much...<\/dialogue>\n    <scene_description>Arthur reaches out and places his hand against the glass to touch her on the other side, when...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT - CLOCKWORKS ROOM<\/stage_direction>\n    <scene_description>Cyrus finishes setting up the REEL-TO-REEL, then he switches ON the MACHINE. A CHANTING sound (the spells being read over and over), very similar to what was used to lure the Breaker in the opening scene, comes OVER the SPEAKERS in the house, only these are richer in tone and texture. Stronger. Cyrus turns to Kalina --<\/scene_description>\n    <character>CYRUS<\/character>\n    <dialogue>Time to finish this...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - VARIOUS SHOTS OF GHOSTS<\/stage_direction>\n    <scene_description>reacting with revulsion as they're engulfed by the CHANTING. They slowly begin to vanish one by one.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - WITH ARTHUR AND JEAN<\/stage_direction>\n    <scene_description>Arthur has his hand on the glass. Jean's about to put her hand against his, when the CHANTING sound hits her... and her hand slowly fades out of sight. Arthur watches her disappear in front of him... leaving Arthur Kriticos completely alone. A beat passes... then Arthur looks up and sees -- Kathy and Bobby rising out of the center island of the Ocularis in the great hall. Tied back to back they are helpless. OFF Arthur's reaction, we... OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLOCKWORKS ROOM<\/stage_direction>\n    <scene_description>Cyrus steps over Maggie's body, heads to the door.<\/scene_description>\n    <character>CYRUS<\/character>\n    <dialogue>The final configuration's starting... gather your things, let's go...<\/dialogue>\n    <scene_description>Kalina picks up her knapsack. Then abruptly, she hears a HISS, turns -- Cyrus has stepped through an open doorway on the neighboring wall, and that DOOR has just snapped shut.<\/scene_description>\n    <character>KALINA<\/character>\n    <dialogue>Cyrus?<\/dialogue>\n    <scene_description>Cyrus presses a stud. There's another HISS. Kalina turns pale. The door separating her from the fallen Maggie has just slid aside. She turns to Cyrus --<\/scene_description>\n    <character>KALINA<\/character>\n    <dialogue>Cyrus! Stop screwing around! Let me outta here!<\/dialogue>\n    <character>CYRUS<\/character>\n    <dialogue>Good-bye, my dear... thanks for all your help. Maybe we'll see each other again on the other side.<\/dialogue>\n    <scene_description>He smiles, hits another switch. The walls surrounding Kalina begin closing in on her.<\/scene_description>\n    <character>KALINA<\/character>\n    <dialogue>Motherfu --<\/dialogue>\n    <scene_description>She kicks the glass! Tries holding it back, no use. It keeps coming. Panic starts to set in. The glass moves in closer. Finally pinning her.<\/scene_description>\n    <character>KALINA<\/character>\n    <dialogue>Oh, God... no... please...<\/dialogue>\n    <scene_description>Her face is pressed up against the glass, her breasts flattened. Her eyes go wide. She starts to scream and scream... We start to hear the SNAPPING of RIBS. Her arms narrower than her body, claw uselessly at the glass.<\/scene_description>\n    <character>KALINA<\/character>\n    <dialogue>Aaahh...<\/dialogue>\n    <scene_description>Her head, now turned sideways, is being pressed flatter and flatter... abruptly there's a ghastly dull CLUNK as her SKULL SPLITS and blood and brains splatter out. The walls continue to close, crushing her body, flattening, distending it, until there is nothing recognizable. And still the walls keep closing, until the entire inner surface, from wall to wall and floor to ceiling is filled with a microscopically thin red smear that was once Kalina.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GREAT HALL<\/stage_direction>\n    <scene_description>The CHANTING is ECHOING through the house. The Ocularis has begun to spin with Kathy and Bobby still seated in the center. One of the OUTER RINGS is slowly circling around them, when it suddenly LIFTS UP, swirling around them like a blade.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Kathy!<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Don't look!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I don't wanna look!<\/dialogue>\n    <scene_description>Then the SECOND OUTER RING FLAPS UP next, and begins spinning in the opposite direction. Arthur appears in the doorway to the great hall. The kids spot him.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Dad!!<\/dialogue>\n    <scene_description>Arthur sees their predicament. Raises his glasses. Along with them are the ghosts surrounding the kids, each standing next to their symbols along the outermost ring.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Daddy... get us out of here...<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Just don't move.<\/dialogue>\n    <scene_description>Arthur approaches the outer ring, just as a THIRD INNER RING FLAPS UP, spinning in yet another direction, creating the combination of a meat grinder and a mixer. The Ocularis is working its way closer to the kids -- The kids slouch down.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Make it stop, Dad! Make it stop!<\/dialogue>\n    <scene_description>Arthur notices Cyrus's ghost standing at the end of the corridor, a spectator to the deadly game. He's taken aback by the old man's presence, finally recognizing him.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Cyrus...?<\/dialogue>\n    <parenthetical>(losing it)<\/parenthetical>\n    <dialogue>Damn you for building this place!<\/dialogue>\n    <scene_description>Cyrus doesn't respond.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Do something! Help me save the kids!<\/dialogue>\n    <scene_description>The ghost raises his hand, pointing into the Ocularis, motioning for Arthur to jump in... and that will stop everything. A FOURTH INNER RING FLAPS UP, working its way closer to the center. The kids are freaking out. Arthur looks from his kids, to the spinning rings, and back to Cyrus again. He wrestles with what he should do... Then his eyes land on Jean. She looks so sad, staring at her hysterical kids, helpless. Arthur's choice is made. He steps up to the Ocularis, standing in front of the spinning gears. He prepares himself for what he's about to do.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>86B INT. GREAT HALL - CONTINUOUS ACTION 86B<\/stage_direction>\n    <scene_description>Arthur starts forward into the hall, ready to take his place amongst the ghosts.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <parenthetical>(to kids)<\/parenthetical>\n    <dialogue>I want you guys to know... I love you both more than anything.<\/dialogue>\n    <scene_description>The kids realize what he's doing.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Dad! Don't!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Daddy!<\/dialogue>\n    <scene_description>It kills Arthur to see them like this. He can't let them die and make the same mistake he made before. He'd never be able to live with himself. This is his chance to redeem himself for Jean.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>It's the only way. I'm sorry. Take care of each other...<\/dialogue>\n    <scene_description>Arthur takes a long look around at the macabre scene before him. First, to the ghosts that circle the Eye, each still trapped in his or her own hell. Then Arthur focuses on the blades that swirl around him, threatening to dice his family, all that he loves. Then Arthur looks down into the fiery mechanical purgatory that is the Eye of Hell, its gigantic GEARS GRINDING away, the steel bathed in crimson light, driving the house\/machine toward its fantastic culmination. Finally to the symbols on the outer ring that flash by at Arthur's feet. The whole effect does something to Arthur. Especially the mesmerizing symbols flying by. We suddenly INTERCUT WITH: FLASHBACK - PAGES OF ARCANUM flipping by in the library in FLASHBACK, as Kalina was explaining the ghosts.<\/scene_description>\n    <character>KALINA<\/character>\n    <parenthetical>(in FLASHBACK)<\/parenthetical>\n    <dialogue>According to this, there should only be twelve earthbound spirits trapped inside here.<\/dialogue>\n    <scene_description>We -- ARTHUR'S HAND doing something a math teacher does naturally -- counting off with his fingers. The symbols float by in Arthur's gaze in SLOW MOTION. We --<\/scene_description>\n    <character>CUT BACK TO:<\/character>\n    <dialogue>KALINA<\/dialogue>\n    <dialogue>Her explanation.<\/dialogue>\n    <character>KALINA<\/character>\n    <dialogue>The Withered Lover, the First Born Son, the Torn Prince. And here... the Bound Lady, the Great Child and the Dire Mother... the Suicide, the Torso, and the Buried Maiden... then there's the three death signs, the sign of Hell's Winter... the Hammer, the Hyena, and the Juggernaut...<\/dialogue>\n    <scene_description>Arthur takes in each of the ghosts, confirming Kalina's description. We --<\/scene_description>\n    <character>CUT BACK TO:<\/character>\n    <dialogue>ARTHUR'S OTHER HAND<\/dialogue>\n    <dialogue>He's still tallying up the number of ghosts he's counting off in his head. 9-10-11... 12.<\/dialogue>\n    <dialogue>Twelve.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Twelve.<\/dialogue>\n    <scene_description>Arthur flashes back to the library one final time. This time it's Rafkin doing the talking.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <parenthetical>(in FLASHBACK)<\/parenthetical>\n    <dialogue>It just doesn't add up.<\/dialogue>\n    <scene_description>Arthur holds his hands before his eyes. 12. There are twelve ghosts on the ring.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>If I'm the thirteenth...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>86C INT. MAIN FLOOR CORRIDOR - CONTINUOUS ACTION 86C<\/stage_direction>\n    <scene_description>Arthur looks back into the hallway. There still stands Cyrus's ghost. Arthur slowly takes off his glasses. Cyrus is still standing there.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>You... son-of-a-bitch...<\/dialogue>\n    <scene_description>Cyrus realizes he's been made. Arthur runs over and grabs his uncle, throwing him into the wall. Arthur throws a punch, landing a hard right on Cyrus.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Stop the machine!<\/dialogue>\n    <scene_description>Arthur punches Cyrus again. And again. Cyrus stumbles backwards, regains himself, smiles, then goes after Arthur.<\/scene_description>\n    <character>CYRUS<\/character>\n    <dialogue>Well, well... it's nice to see you have some of the family blood in you after all.<\/dialogue>\n    <scene_description>The two men go at it. Arthur's fighting for his life. He's like a wild man, throwing everything he's got, hitting Cyrus everywhere. In the face, the body...<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>You took away everything I loved, you monster. Everything!<\/dialogue>\n    <parenthetical>(with every blow)<\/parenthetical>\n    <dialogue>Now. I. Want. It. Back!<\/dialogue>\n    <scene_description>But Arthur has never been a warrior. Cyrus, spotting his opportunity, retaliates. Cyrus connects with Arthur in the face, knocking him down. Then he kicks Arthur in the gut a few times, making sure he stays down.<\/scene_description>\n    <character>CYRUS<\/character>\n    <dialogue>How dare you stand in the way of history, Arthur! You are nothing, you hear me. Nothing! I dedicated my entire life to this. Every goddamn day. When have you ever shown that kind of dedication? Huh? To anything?!<\/dialogue>\n    <scene_description>He kicks Arthur repeatedly, like a sick mind kicking a dog to death.<\/scene_description>\n    <character>CYRUS<\/character>\n    <dialogue>You make me sick.<\/dialogue>\n    <scene_description>INTERCUT - CLOCKWORKS ROOM Maggie slowly comes to, awakened from the irritating noise of the CHANTING. The huge gear works before her are spinning madly now. She notices Kalina's bloody, squashed remains in the glass beyond.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <parenthetical>(reacting to Kalina)<\/parenthetical>\n    <dialogue>Jesus...<\/dialogue>\n    <parenthetical>(rubbing her head)<\/parenthetical>\n    <dialogue>Man, what is that noise?!<\/dialogue>\n    <scene_description>Then she notices the reel-to-reel machine on the table. Maggie reaches the machine and looks for an off switch. Can't find one. The CHANTING sound is unbearable. She finally shoves the MACHINE off the table, and it goes CRASHING to the floor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GREAT HALL<\/stage_direction>\n    <scene_description>Arthur regains himself... when Cyrus appears over him.<\/scene_description>\n    <character>CYRUS<\/character>\n    <parenthetical>(out of breath)<\/parenthetical>\n    <dialogue>The world hasn't time for small people, Arthur. People like you, or Dennis. Or Kalina. It needs those who are willing to do anything, without question, for what they believe in.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>You sonofabitch!<\/dialogue>\n    <scene_description>Arthur rises to attack, but Cyrus stops him with a steel sword he pulls from his cane. He points the blade beneath Arthur's chin. Arthur's eyes dart around, searching for a last way out. Cyrus spots Arthur thinking...<\/scene_description>\n    <character>CYRUS<\/character>\n    <dialogue>I'm sorry, Arthur. Unlike Jean, you haven't got a choice this time. Now make the sacrifice. Or your. Children. Will. Die.<\/dialogue>\n    <scene_description>The CHANTING sound suddenly ENDS. Silence. Cyrus looks around in shock and confusion. As does Arthur. That's when he sees Bobby's scooter come rolling behind Cyrus from the other side of the corridor. Arthur quickly seizes the moment and kicks Cyrus's legs, throwing him off balance and stumbling backward, right into the path of the scooter. Like a banana peel, Cyrus slips on it and lands on his ass. Arthur scoops up the cane, as Cyrus struggles to get back to his feet. When Cyrus turns back around, Arthur cracks him across the chest with the cane... sending Cyrus sailing down the hall. He lands at the opening of the Great Hall, stunned by what just happened. He glances back at the scooter, then over to where it came. Nothing. He slips on his glasses for a moment, and there standing casually in the corridor is the ghost of Dennis Rafkin.<\/scene_description>\n    <character>RAFKIN<\/character>\n    <dialogue>... never bet against human nature, Arthur. You'll always lose.<\/dialogue>\n    <scene_description>Arthur smiles in thanks.<\/scene_description>\n    <character>CUT TO:<\/character>\n    <dialogue>CYRUS<\/dialogue>\n    <dialogue>just as he comes to on the floor. He looks up and there's nothing there. Arthur puts on his glasses and sees 12 very deadly ghosts standing around Cyrus. The ghosts of the house reach down and grab Cyrus --<\/dialogue>\n    <character>CYRUS<\/character>\n    <dialogue>Get away!! No!!!!<\/dialogue>\n    <scene_description>Arthur watches as the ghosts tear into Cyrus. It's a feeding frenzy. The last one in to tear in is the Breaker. Cyrus suffers a horrible ending.<\/scene_description>\n    <character>CYRUS<\/character>\n    <dialogue>Let me go! Noo!!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>88A INT. GREAT HALL - GHOST POV 88A<\/stage_direction>\n    <scene_description>Cyrus is borne into the hall on the shoulders of the ghosts he enslaved. FROM CHILDREN'S POV He's floating in, kicking and screaming all by himself. BACK TO SCENE The children aren't sure what to think. They only know they too will join their uncle unless something happens. Their father rushes to the door --<\/scene_description>\n    <character>ARTHUR<\/character>\n    <parenthetical>(to his kids)<\/parenthetical>\n    <dialogue>Don't look...<\/dialogue>\n    <scene_description>GHOSTS' POV The ghosts lift Cyrus above their heads, all bloody and broken bones, bleeding and mangled... and throw him into the spinning gears of the Ocularis. Blood and Bones and flesh go flying. This, and the damage Maggie has caused down in the basement causes the Ocularis to go haywire.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>88B INT. CLOCKWORK ROOM - CONTINUOUS ACTION 88B<\/stage_direction>\n    <scene_description>Maggie stands before the mad machine as it whirls out of control.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>Oh, sweet Lord. What did I do?<\/dialogue>\n    <scene_description>Maggie backs toward the door. The clockworks are breaking apart all around her. She tries the handle. It's locked.<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>Mutherfucka...!<\/dialogue>\n    <scene_description>The clockworks begin flying apart. Gears and bits of machinery start bursting through the glass walls of the clockworks room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>88C INT. GREAT HALL - CONTINUOUS ACTION 88C<\/stage_direction>\n    <scene_description>The GREAT GLASS GROANS DEEPLY as the torquing of the clockworks causes sheets of glass to fall from their frames. Two more rings have FLIPPED UP, the blades getting closer to the center of the Ocularis and the kids. GLASS begins to BREAK UP all around Arthur. Shards of glass rain down. He knows he hasn't much time. Kathy holds Bobby close, protecting him.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Daddy!!<\/dialogue>\n    <scene_description>Arthur doesn't know what to do, but he does know that he can't leave them there the same way he did with Jean.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Just hang on! I'm coming!<\/dialogue>\n    <scene_description>Arthur backs up, and takes a running jump through the spinning blades, just barely landing on the center island of the Ocularis, with Kathy and Bobby. He looks for a way off but between the glass and the blades he knows there's no way they're getting out of there. Arthur holds them both tight, covering their eyes.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Don't move! Keep your head down!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>88D INT. CLOCKWORKS ROOM - BASEMENT 88D<\/stage_direction>\n    <scene_description>As Maggie's eyes go wide.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>88E INT. BASEMENT GLASS CORRIDORS - VARIOUS ANGLES - SAME 88E<\/stage_direction>\n    <character>TIME<\/character>\n    <dialogue>Huge bits of the clockworks come flying out the walls of the clockworks room, SHATTERING all the GLASS in the basement.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>88F INT. GREAT HALL 88F<\/stage_direction>\n    <scene_description>The HOUSE starts to BLOW APART. Glass rains down. Arthur holds his kids tight. The HOUSE is CRUMBLING all around them. The only place that's safe is where the three of them are standing. The FURY builds to a CRESCENDO of destruction, and then finally COLLAPSES! Followed by silence... Dust and smoke everywhere, blurring our vision. As it begins to dissipate, three figures slowly come INTO FRAME. Arthur, Kathy and Bobby are standing on the only remaining section of the house left... the center island of the Ocularis. All around them lies what's left of the house. A veritable skeleton of steel. The three of them open their eyes to survey the destruction.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>You guys okay?<\/dialogue>\n    <scene_description>Bobby nods.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>How did you know we'd be safe here?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>I didn't. I just wasn't about to leave you guys.<\/dialogue>\n    <scene_description>Kathy pulls her father into a tight hug, she's teary- eyed.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>I love you, Dad.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>I love you, too.<\/dialogue>\n    <scene_description>As they look up, they notice Jean, standing on the outer ring, circling around them. She's back to looking like her old healthy self, and she's smiling at her family. As she passes around them again... she's gone. Arthur pulls his kids close, and that's when they hear --<\/scene_description>\n    <character>MAGGIE (O.S.)<\/character>\n    <dialogue>That's it!<\/dialogue>\n    <scene_description>They all turn to see Maggie crawling out of the basement stairwell. She's a mess, she turns to Arthur and the kids --<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>I'm through with this nanny shit. This was not in the job description. I'm sorry, you guys, but I quit... I quit.<\/dialogue>\n    <scene_description>This puts a smile on Arthur, Kathy and Bobby's faces, as we... OMITTED<\/scene_description>\n    <character>THE END<\/character>\n  <\/scene>\n<\/script>","summary":"Ghost hunter Cyrus Kriticos and his psychic assistant Dennis Rafkin lead a team on a mission to capture a spirit called the Juggernaut. Several men, including Cyrus, are killed while the team is able to catch the ghost. Cyrus's nephew Arthur, a widower, is informed by Cyrus's estate lawyer, Ben Moss, that he has inherited Cyrus' mansion. Financially insecure, Arthur decides to move there with his two children, Kathy and Bobby, and their nanny, Maggie. Dennis meets the family as they tour the mansion. The residence is made entirely of glass sheets inscribed with Latin phrases, which Dennis recognizes as barrier spells. He discovers that the twelve angry ghosts he and Cyrus captured are imprisoned in the house, held captive by the spells. As he warns Arthur, Moss unwittingly triggers a mechanism that seals the house and releases the ghosts. Moss dies when a set of sliding doors cut him in half. Bobby sees several of the ghosts, including the Withered Lover \u2013 his mother Jean, who had died of injuries sustained in a house fire. He is knocked unconscious and dragged away. Dennis uses a pair of spectral glasses that allow the wearer to see the supernatural realm to avoid the ghosts. The Jackal, one of the most dangerous ghosts, attacks Kathy and Arthur but they are saved by Kalina Oretzia, a spirit liberator who is attempting to free the ghosts. Kathy disappears. The four adults gather in the library where Arthur learns that Jean's ghost is also in the house. Kalina explains that the house is a machine, powered by the captive ghosts, that allows its user to see the past, present, and future. The only way to shut it down is through the creation of a thirteenth ghost from a sacrifice of love. Arthur realizes that he must become that ghost to save his children. Armed with the spectral glasses, Arthur and Dennis enter the basement to find the children. Dennis barricades Arthur behind a glass sheet for his protection. Dennis is then beaten to death by the Hammer and the Juggernaut, two other dangerous ghosts. It is revealed that Cyrus faked his death to lure Arthur to the house; Kalina is his partner and lover, revealed when she knocks Maggie unconscious with a large book and promptly kisses Cyrus upon his arrival. Cyrus has orchestrated the abduction of Kathy and Bobby so that Arthur will become the thirteenth ghost, which will not stop the machine as Kalina had claimed, but trigger its activation. Cyrus kills Kalina, who objected to Cyrus putting the children in danger, and summons the ghosts to activate the machine. In the main hall, Arthur witnesses all twelve ghosts orbiting a clockwork device of rotating metal rings, with his children at the center. He fights Cyrus while Maggie disrupts the machine's controls, releasing the ghosts from its power and causing the machine to go haywire. The ghosts hurl Cyrus into the moving rings, slicing him to pieces. With the encouragement of Dennis' ghost, Arthur jumps through the machine safely to protect his children. The walls of the house shatter as the malfunctioning machine rips itself apart, freeing the ghosts. Jean's ghost tells them she loves them before she disappears. As the family departs from the house, Maggie angrily declares that she is quitting as their nanny."}
{"movie_name":"Human Nature_2001","imdb_id":"tt0219822","script":"<script>\n  <scene>\n    <stage_direction>HUMAN NATURE<\/stage_direction>\n    <scene_description>BLACKNESS . There is a gunshot . A crow screams . A fluttering of wings .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST - DAY<\/stage_direction>\n    <scene_description>Bird 's - eye view . We circle lazily above the forest . Through a break in the trees , we catch an occasional glimpse of a prostrate form on the ground . As the circling camera gets closer we see that the form is a human body . EXTREME CLOSE - UP OF LILA TALKING TO THE CAMERA<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>I'm not sorry.<\/dialogue>\n    <scene_description>A bead of sweat trickles down her cheek . Then : a blinding flash of light obliterates her face . EXTREME CLOSE - UP OF PUFF TALKING TO THE CAMERA<\/scene_description>\n    <character>PUFF<\/character>\n    <dialogue>I am sorry.<\/dialogue>\n    <scene_description>A tear wells in Puff 's eye and runs down his face . Another blinding flash of light . EXTREME CLOSE - UP OF NATHAN TALKING TO THE CAMERA<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>I do n't even know what sorry means anymore.<\/dialogue>\n    <scene_description>As Nathan speaks , a trickle of blood drips down his face from his out - of - frame forehead . Another blinding flash of light .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE STATION - NIGHT<\/stage_direction>\n    <scene_description>It 's a frenetic hand - held shot as Lila is pulled from a police car and dragged into the precinct house . Cameras flash . Reporters shout questions . Lila attempts to shield her face from view , but she is handcuffed and can only manage to hunch her shoulders .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - NIGHT<\/stage_direction>\n    <scene_description>A ratty interrogation room . Institutional green walls . Beat - up file cabinets . Dark . A bit of fluorescent light spills in through the frosted glass door . Lila , thirties , sits at the end of a long table . A reel - to - reel tape recorder whirs in front of her . She is smoking . Three fat , mean - looking cops sit in shadows at the other end of the table . One of the cops eyes her lasciviously . Lila 's hand shakes as she brings the cigarette to her mouth .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>I'm not sorry. So I spend the rest of my life in jail. So what? I've been in jail my whole life anyway. A jail of blood and tissue and coursing hormones.<\/dialogue>\n    <scene_description>One of the cops sighs and massages the bridge of his nose . It 's going to be a long night .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>a jail called the human body.<\/dialogue>\n    <scene_description>The lascivious cop smiles lasciviously at Lila 's reference to `` human body . ''<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>My soul held prisoner in this reeking, stench - ridden bag of bones and entrails. A bag of feces and piss and fibroid cysts in my tits and precancerous moles on my sun - damaged back.<\/dialogue>\n    <scene_description>The lascivious cop gags , then vomits on the floor . Lila drags on her cigarette , calmer now .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>At least now I'll be able to blame the state, not God, for my incarceration.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - DAY<\/stage_direction>\n    <scene_description>Puff , thirties , dirty , scraggly hair and beard but in a crisp business suit , testifies before a congressional committee . The auditorium is filled with reporters and spectators . Puff sits in front of a microphone , counsel at his side . He pours himself a glass of water , drinks , clears his throat , then speaks : stentorian , confident .<\/scene_description>\n    <character>PUFF<\/character>\n    <dialogue>I am sorry, gentlemen, sorry for all of us. Your's is a complicated, sad world.<\/dialogue>\n    <scene_description>This is a revelation to the assembled crowd . People whisper to each other .<\/scene_description>\n    <character>PUFF<\/character>\n    <dialogue>And I never knew that. I was living a life of simplicity, of purity, when I was ripped out of my Eden and immersed in this harshness. Some would argue that the life I was living was not a human life at all. And, gentlemen, I do n't have any clever retort. I am not a philosopher. The only thing I know is that I am sorry, sorry for my expulsion from Eden, sorry for my Lila rotting in her jail cell, and sorry for Nathan. rotting in his grave.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE SPACE - DAY<\/stage_direction>\n    <scene_description>Nathan , thirties , in a white robe , sits alone at a white table . Everything is white except for an oozing bullet wound in Nathan 's temple .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>I do n't even know what sorry means anymore. It's odd. When I was alive I knew - maybe it was all I knew - but here sorry is meaningless. Love is meaningless. Jealousy is meaningless. Ambition is meaningless. Everything that motivated my every breath while I was alive is meaningless now.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I guess that's how I can be sure I'm really dead.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - NIGHT<\/stage_direction>\n    <scene_description>Lila watches the slowly churning tape recorder reels , fixated . The cop who vomited is mopping it up . The other two are sipping coffee . Lila talks .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>My story begins when I was twelve.<\/dialogue>\n    <character>COP<\/character>\n    <parenthetical>( checks watch . )<\/parenthetical>\n    <dialogue>Jesus.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN STREET - DAY<\/stage_direction>\n    <scene_description>It 's got that faded , `` memory '' look . Twelve year old Lila hurries home from school , books clutched to her chest . Other kids walk along the street in pairs or groups , laughing and chatting . Lila walks alone , a worried scowl on her face .<\/scene_description>\n    <character>LILA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Something terrible happened when I was twelve.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LITTLE GIRL'S ROOM - DAY<\/stage_direction>\n    <scene_description>Colors are still muted . It looks to be somewhere in the early 70 's based on the preponderance of Bay City Rollers posters on the wall . Twelve year old Lila enters the room , closes the door , locks it , rattles the doorknob to make sure that the door is really locked . She draws the shades . She pulls some t - shirts from her dresser drawer and stuffs them into the space between the bottom of the door and the floor .<\/scene_description>\n    <character>KID BROTHER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( muffled . )<\/parenthetical>\n    <dialogue>Hey, no fair!<\/dialogue>\n    <character>TWELVE YEAR OLD LILA<\/character>\n    <dialogue>Drop dead, Eric.<\/dialogue>\n    <scene_description>Lila stands nervously in front of the full - length mirror on her closet door . She takes a deep breath and begins to unbutton her shirt , watching herself carefully in the mirror .<\/scene_description>\n    <character>ADULT LILA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Something terrible started to happen to my body when I was twelve. My mother said because of it I would never be able to get a man, so I should get used to the idea of dedicating my life to the pursuit of knowledge, or religion. or whatever.<\/dialogue>\n    <scene_description>Lila 's shirt is now unbuttoned . She pulls it open . She is wearing a training bra over the very beginning of breast buds . On the chest above the bra , and on her stomach below it , is hair . Dark curly hair . She stares at it , touches it cautiously . Then she starts to cry . She crouches into a ball and weeps .<\/scene_description>\n    <character>ADULT LILA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The doctor said.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOCTOR'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Old fashioned office . Twelve year old Lila sits on the examination table , her shirt off . An elderly male doctor touches the hair , fingers it . Her mother looks on .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <parenthetical>( to the mother . )<\/parenthetical>\n    <dialogue>It's hormonal. Nature is a funny and complex thing. It could get worse with time.<\/dialogue>\n    <scene_description>Young Lila turns to the camera .<\/scene_description>\n    <character>TWELVE YEAR OLD LILA<\/character>\n    <dialogue>By the time I was twenty I looked like an ape.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - NIGHT<\/stage_direction>\n    <scene_description>The cop who vomited , gags again . Lila stares at him . Her face is hard , blank . She stubs out her cigarette .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - DAY<\/stage_direction>\n    <scene_description>Puff testifies before the committee .<\/scene_description>\n    <character>PUFF<\/character>\n    <dialogue>I do n't think there's anyone in the world who does n't know by now that I was raised in the wilderness by an ape. Well, to be fair, by a man who thought himself an ape, but it amounts to the same thing gentlemen, does it not?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST CLEARING - DAY.<\/stage_direction>\n    <scene_description>This has a faded , `` memory '' look also . A naked , bearded , dirty middle - aged man and a naked , dirty ten year old Puff walk along like apes , crouched over and dragging their knuckles .<\/scene_description>\n    <character>PUFF<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>My father escaped from a New Jersey mental institution in 1963.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY STREET - NIGHT<\/stage_direction>\n    <scene_description>It 's raining and deserted . Puff 's father , in pajamas , comes tearing around the corner . He runs crazily towards the camera , waving his arms , puffing out his cheeks .<\/scene_description>\n    <character>PUFF<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He had been committed the previous year after applying one too many times at our local zoo for the job of `` apprentice ape.''<\/dialogue>\n    <scene_description>Puff 's father passes a newspaper vending machine , stops , goes back and examines the headline . It reads : President Kennedy Assassinated . Puff 's father looks heavenward and clutches at his temples in despair .<\/scene_description>\n    <character>PUFF<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>My father saw what the human race had come to while he was. in captivity. He felt something had to be done to create a better world.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Puff 's father climbs out a second story window with a small bundle in his arms . He runs off into the night .<\/scene_description>\n    <character>PUFF<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He stole little me from my mother, his ex - wife, and raised me, with love and tenderness and respect, as an ape like himself.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - DAY<\/stage_direction>\n    <scene_description>Puff looks pointedly at the congressman .<\/scene_description>\n    <character>PUFF<\/character>\n    <dialogue>Apes do n't assassinate their presidents, gentlemen.<\/dialogue>\n    <scene_description>The congressmen are shamed : they look down , they take notes , they mumble instructions to the assistants seated behind them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST - DAY<\/stage_direction>\n    <scene_description>An adult Puff and his now older father sit on the forest floor and pick bugs off each other and eat them .<\/scene_description>\n    <character>PUFF<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Until quite recently I believed myself to be an ape, although I did n't know specifically what type. Apes do n't think in terms of type.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - DAY<\/stage_direction>\n    <scene_description>Puff testifies .<\/scene_description>\n    <character>PUFF<\/character>\n    <dialogue>It might be argued, gentlemen, that apes do n't even know that they are apes. In retrospect, however, I'd say that I was a pygmy chimp.<\/dialogue>\n    <scene_description>Puff holds up an illustration of a pygmy chimp . Several reporters run from the room : a scoop !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE SPACE - DAY<\/stage_direction>\n    <scene_description>Nathan talks to nobody in particular .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>I have to say I always hated apes. Of course I do n't any longer. I do n't even know what hate means now. But while alive, I hated apes. I blame my parents. I mean, I do n't blame them. I do n't know what blame is, really, anymore, but I think they influenced me in my ape - hating tendencies.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ZOO - DAY<\/stage_direction>\n    <scene_description>Faded colors . Ten year old Nathan in a bow tie and shortpanted suit walks along with his uptight , British parents . They arrive at the ape pen . Nathan is excited . He jumps up and down . The apes jump up and down also .<\/scene_description>\n    <character>NATHAN AS A BOY<\/character>\n    <dialogue>Monkeys! Look, mama, monkeys!<\/dialogue>\n    <character>MOTHER<\/character>\n    <parenthetical>( clamping down on his shoulder . )<\/parenthetical>\n    <dialogue>Nathan, those are not monkeys. Those are apes. Mountain Gorillas to be precise.<\/dialogue>\n    <scene_description>There is a commotion off screen . Two uniformed attendants drag Puff 's father , straitjacketed and kicking and screaming like an ape , past Nathan and his parents .<\/scene_description>\n    <character>PUFF'S FATHER<\/character>\n    <dialogue>I am not a human being! I am an animal!<\/dialogue>\n    <scene_description>Nathan , his father , and the other zoo patrons look on curiously , a little frightened . Nathan 's mother chooses to ignore it .<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>And furthermore. Tell him, Harold.<\/dialogue>\n    <character>FATHER<\/character>\n    <parenthetical>( distracted . )<\/parenthetical>\n    <dialogue>Uh.<\/dialogue>\n    <parenthetical>( then by rote . )<\/parenthetical>\n    <dialogue>We must never act like apes, son. For you see, The ape is our closest biological relative - specifically the pygmy chimp.<\/dialogue>\n    <parenthetical>( holds up the same illustration of a pygmy chimp that Puff showed the congressional committee . )<\/parenthetical>\n    <dialogue>A single chromosome separates us. But you know what truly separates us from the apes, what makes us better than apes?<\/dialogue>\n    <character>NATHAN AS A BOY<\/character>\n    <dialogue>No, papa. What?<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>Culture. Civilization. Refinement. If we do not have these as humans, then we might as well be living in pens and throwing our feces about, masturbating in public.<\/dialogue>\n    <parenthetical>( beat , a reverie . )<\/parenthetical>\n    <dialogue>. sniffing red swollen female rump.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>Enough, Harold.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - NIGHT<\/stage_direction>\n    <scene_description>Lila lights a new cigarette with her spent one . She drags .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>Oh, I had sexual urges. I had the urge to merge, officers. Inside I was 100 % Grade A female.<\/dialogue>\n    <parenthetical>( laughs derisively . )<\/parenthetical>\n    <dialogue>But what self - loathing I felt! Who would have someone as repulsive, as unladylike as me? I did everything I could to shield the world from this repulsiveness.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLEGE DORM BATHROOM - DAY<\/stage_direction>\n    <scene_description>Stockings hang over the shower curtain rod . The window shade is drawn . Towels are stuffed in the space under the door . A twenty year old naked Lila is covered with shaving cream , face to feet . She is shaving . There is a pounding on the door .<\/scene_description>\n    <character>FEMALE ROOMMATE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Lila, what are you doing in there? I need to get ready for my date.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Nothing! I'll be out in a minute!<\/dialogue>\n    <scene_description>The door opens . Lila freezes .<\/scene_description>\n    <character>FEMALE ROOMMATE<\/character>\n    <dialogue>Look, I'll just.<\/dialogue>\n    <parenthetical>( stops in her tracks when she sees Lila . )<\/parenthetical>\n    <dialogue>What the?<\/dialogue>\n    <scene_description>Lila is mortified .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DORM ROOM - A BIT LATER<\/stage_direction>\n    <scene_description>Lila is sitting in her bathrobe on her bed and staring out the window . There is a bit of shaving cream behind her ear . Her roommate runs back and forth getting ready for her date .<\/scene_description>\n    <character>FEMALE ROOMMATE<\/character>\n    <dialogue>I do n't know why you did n't tell me about this.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>It's embarrassing, okay?<\/dialogue>\n    <character>FEMALE ROOMMATE<\/character>\n    <dialogue>It's not so bad.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>So, it just keeps growing?<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Yeah, Natalie. It's hair. It grows.<\/dialogue>\n    <character>FEMALE ROOMMATE<\/character>\n    <dialogue>Well, do n't jump down my throat. I'm just trying to help.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>How is that helping, Natalie? How exactly?<\/dialogue>\n    <character>FEMALE ROOMMATE<\/character>\n    <dialogue>Look, if you're going to be like that. You should be appreciative that I'm interested.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Why, because I'm a freak and you are beautiful, and you are being nice enough to come down to my freak, nonbeautiful level and act concerned about my repulsive troubles?<\/dialogue>\n    <character>FEMALE ROOMMATE<\/character>\n    <parenthetical>( pegged . )<\/parenthetical>\n    <dialogue>You're fucked up, Lila.<\/dialogue>\n    <parenthetical>( out the door . )<\/parenthetical>\n    <dialogue>Why do n't you fucking try electrolysis or something? Figure it out for chrissake.<\/dialogue>\n    <scene_description>The door slams . Lila hugs her knees to her chest .<\/scene_description>\n    <character>LILA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>At sixty dollars an hour, electrolysis was not a feasible solution. I explored my alternatives.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ART MUSEUM - DAY<\/stage_direction>\n    <scene_description>Twelve year old Lila walks sadly through an art museum . she looks at various old portraits of men . She studies their facial hair . When she turns a corner , she is shocked to see a large Renaissance painting of a naked woman entirely covered with fur . She hurries to it . She looks at the placard next to the painting . It is a painting of Mary Magdalene .<\/scene_description>\n    <character>LILA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I remember once coming across a painting of Mary Magdalene entirely covered with fur. I guess that's where I got the idea that maybe the Catholic Church might be a place that encouraged excessive hair growth in its women.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONVENT - DAY<\/stage_direction>\n    <scene_description>Lila , in a nun 's habit , is on her knees praying .<\/scene_description>\n    <character>LILA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>So I became a nun.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Heavenly Father.<\/dialogue>\n    <parenthetical>( sighs . )<\/parenthetical>\n    <dialogue>. please let this hair go away.<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>But my prayers were always so selfish.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD - NIGHT<\/stage_direction>\n    <scene_description>A bunch of naked women dance and chat around a campfire . Lila is there , pretty hairy . So are many of the other women .<\/scene_description>\n    <character>LILA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I tried being a lesbian separatist.<\/dialogue>\n    <character>LESBIANS<\/character>\n    <parenthetical>( chanting . )<\/parenthetical>\n    <dialogue>A woman without a man \/ Is like a fish without a bicycle.<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>But I guess I just was n't attracted to women, even hostile, man - hating, hairy ones who wore sensible shoes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TENT - DAY<\/stage_direction>\n    <scene_description>Lila , in a full beard , sits on a throne before a crowd of gawking , dumb - looking , mouth - breathing children . Next to her on a separate stage is a sour - looking , middle - aged midget man sitting on a throne , staring blankly into space .<\/scene_description>\n    <character>LILA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>For a while I was a professional circus freak.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TENT - DAY<\/stage_direction>\n    <scene_description>Lila , in a Santa suit , with beard sprayed white , sits on a throne in front of a crowd of gawking , dumb - looking , mouth - breathing children . One of them is on her lap . Next to her sits the sour midget , dressed in an elf suit .<\/scene_description>\n    <character>LILA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>During the holiday season, they made us wear costumes.<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( depressed . )<\/parenthetical>\n    <dialogue>Ho ho ho.<\/dialogue>\n    <character>KID ON HER LAP<\/character>\n    <dialogue>That's not real.<\/dialogue>\n    <scene_description>The kid pulls Lila 's beard .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>Ow! You little fuck.<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Aside from the great dental, this occupation was not pleasant.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY STREET - NIGHT<\/stage_direction>\n    <scene_description>Lila walks home . She 's wrapped in winter clothing , but we can still see a bit of her white beard . It 's snowing . The street is deserted . She spots a lighted window , she peers in . It 's a warm family scene . Large group of chatting , laughing people . Fire in the fireplace . Big turkey on the table .<\/scene_description>\n    <character>LILA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>They say the holidays are difficult for a lot of people.<\/dialogue>\n    <scene_description>Lila looks down the street and sees dozens of lonely - looking people peering forlornly in warmly lit windows . Some on ladders to peer in second - floor windows . Lila sighs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>The room is lit with candles . Lila finishes shaving herself all over . Then she takes the double - edged blade out of the razor and climbs into the a bathtub filled with warm water . She is about to slice her wrists .<\/scene_description>\n    <character>LILA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I decided there was something poetic about killing myself with a razor blade.<\/dialogue>\n    <scene_description>On the shelf next to the tub a little gray mouse watches her intently . At first she is startled , but then she and the creature seem to be communing . His little black beady eyes reflect the light . Lila starts to cry . She puts down the blade .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - NIGHT<\/stage_direction>\n    <scene_description>Lila wipes a tear from her eye .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>The way that mouse looked at me. There was no judgement. It did n't care if I had hair all over my body. I was just what I was. I felt so free. Do you understand what I'm saying?<\/dialogue>\n    <scene_description>The cops look up , on the spot . It seems their minds were elsewhere .<\/scene_description>\n    <character>COP<\/character>\n    <dialogue>Something about a mouse, right?<\/dialogue>\n    <scene_description>Lila sighs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST - EARLY MORNING<\/stage_direction>\n    <scene_description>We see a tent in a clearing . A smoking campfire . There is a rustling inside the tent . Lila steps out naked . She is covered with fur . She pours a cup of coffee , and stands , comfortable in her skin , watching the world around her . Squirrels jump from tree to tree , birds look down at her . She smiles .<\/scene_description>\n    <character>LILA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Birds and squirrels and rocks and trees did n't seem to judge my hair. I felt at peace when there were no humans around. I figured out a way to spend as much time as possible with no people around. I became a nature writer.<\/dialogue>\n    <scene_description>Lila picks up a pad and pen from a rock , sits on the rock and writes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEAUTY PARLOR - DAY<\/stage_direction>\n    <scene_description>A woman under a hair drier reads a book intently . We see the first sentence of the chapter : `` Last night I almost died on this mountain top . '' We hear Lila 's dramatic reading competing with the very loud sound of the hair drier .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>Last night I almost died on this mountain top, and the irony is I had never felt more alive.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST - NIGHT<\/stage_direction>\n    <scene_description>There is a violent , violent storm . The hair drier drone has turned into the explosive noise of rain beating down in sheets and wind howling at fifty miles an hour . Branches crack . Lila 's tent blows over , revealing her huddled there with a sleeping bag wrapped around her like a blanket .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>I knew it was coming when in late afternoon, a thunderhead drifted over, sneaking in like kids through the back door of a movie theater, forced casual. It turned the sky a queer shade of green. A green that said `` watch out, baby, this is gon na hurt like hell.'' I could've hightailed, but that would be cheating. Part of the Nature experience is recognizing its mastery over you, your smallness in the face of it.<\/dialogue>\n    <scene_description>Lightning hits a tree nearby . It falls with a smack practically on top of Lila . She screams , then defiantly stands , throwing off the sleeping bag . The wind and rain whip her hair around her head . She laughs with amazing gusto and raise her arms like a runner winning a marathon .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>As Nietzsche said, what does not kill me makes me stronger, and that goes double if you're a woman.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOOK STORE WINDOW - DAY<\/stage_direction>\n    <scene_description>We see many copies of a book entitled `` Wind in my Hair '' by Lila Jute .<\/scene_description>\n    <character>LILA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I became a successful nature writer.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEAUTY PARLOR - DAY<\/stage_direction>\n    <scene_description>We see a woman under a hair drier reading `` Wind in my Hair '' . We pull back to see that a long row of women under hair driers are reading Lila 's book . They all stand defiantly , proudly , knocking their hair driers up and back as they do . The blowing hair driers whip the women 's wet hair around their heads . The blowing hair drier drone is unbearably loud .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>Then I became a famous nature writer. I said to myself, fuck humanity.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOOKSTORE WINDOW - DAY<\/stage_direction>\n    <scene_description>A big display of the book `` Fuck Humanity '' by Lila Jute . A long line of women with beautifully coiffured hair snakes out of the store .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>and I became a recluse. I had a menagerie of animals at my house. They loved me because I was me. They loved me on the days I shaved. They loved me on the days I did n't. For a while this was enough.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOG HOUSE - DAY<\/stage_direction>\n    <scene_description>Lila lies in bed tapping on a lap top . A dog lies with her and licks her knee . She seems to enjoy it , and gets lost in a reverie . The dog morphs into a handsome man , kissing her knee and working his way up her thigh and under her nightgown . Lila is getting seriously hot and bothered . Her head lolls . But the reverie dissipates and the man turns back into a dog rooting around her crotch with his cold nose . She pushes him away . The dejected dog gets off the bed .<\/scene_description>\n    <character>LILA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>By the time I was thirty I was very, very horny.<\/dialogue>\n    <scene_description>Lila gets out of bed and studies herself in the mirror . She brushes her hands against her hairy body .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>I had to have a man in my. life. At any cost. I would become what I needed to become to achieve this. I would become a hairless lie.<\/dialogue>\n    <scene_description>The mirror image of Lila shimmers and turns into Lila with no body hair . Lila all made - up and with a smart new hairstyle . She assumes a coquettish pose and smiles cutely at herself .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>I was rich enough for electrolysis by this time, so I began the long arduous process of having each inappropriate hair burned out of my body at the root.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - NIGHT<\/stage_direction>\n    <scene_description>Lila talks . One of the cops is doodling . One is picking wax from his ear with a pencil . One is reading a paperback novel under the table .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>This is when everything changed, and this is where my confession really begins.<\/dialogue>\n    <scene_description>The cops look up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELECTROLOGIST'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Lila lies shirtless on a table while Rose , her fifty year old electrologist , works on her back .<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>Progress!<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Ouch. Yeah?<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>Oh yes, honey. Getting to be smooth smooth smooth all over. Smooth as a baby's butt.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>I love it, Rose. I'm getting to be a real girl.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>You still in the market for a real boy?<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Always. Ow.<\/dialogue>\n    <character>ROSE<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Cause there's this guy. My brother knows him. Might be right up your alley.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Tell me. I could use someone up my alley.<\/dialogue>\n    <character>ROSE<\/character>\n    <parenthetical>( playing dumb . )<\/parenthetical>\n    <dialogue>I do n't get that. Is that sexual?<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Shut up and tell me.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>Handsome, thirties, psychologist.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Loves animals? Ouch. Must love animals, Rose.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>Loves animals. Loves you.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>Somehow it came up that you were a friend of mine. Mr. handsome, animal - loving psychologist said he would love to meet you.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Holy shit. Your brother did n't tell him about the nature of our relationship, did he?<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>My brother is discreet.<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( rubbing her hand over her jaw . )<\/parenthetical>\n    <dialogue>Wo n't he be able to tell?<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>My brother says the guy's a thirty - five year old virgin, so maybe he wo n't know how women usually feel. Plus he's got bad eyesight, almost legally blind, which is helpful in this situation. Plus he's got an extremely small penis, of which he is `` mortifyingly ashamed'', so chances are he'll be so grateful for any non - judgmental attention, that he'll be yours forever.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>God, he must be really close to your brother to tell him such personal stuff.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>Yeah, well my brother is his shrink.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>It 's a chi - chi place . Lila sits at a table with Nathan , fastidious in dress and manner . There is an awkward firstdate silence . She sneaks a glance at his crotch . Then :<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Meditations on a Banana Slug was a delightful read.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Thank you so much. I love slugs. All slugs, not just banana slugs.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>As do I.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>They're so even keel. They forge ahead with slow determination. They do n't get distracted or side - tracked. They do n't care what they look like. They do n't care that people look at them and go, `` Ewww. A slug.''<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>They do n't seem to be especially ego driven, this is true.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>You've got to respect that.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>I have to say that I'm not there yet.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Slugdom. Sluggishness. Whatever you'd call it. I'm not there yet. I still have many human characteristics.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>That's not necessarily a bad thing.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Yes. I suppose not. But still. One would like to move along. To move beyond.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>I'm not sure we can escape our natures. Believe me I've tried. I'm not even so sure anymore that we should want to.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>I love that you said that. It makes me feel a bit lighter. I've been rather heavy lately. Thinking about my childhood. Realizing how much a product I am of my upbringing.<\/dialogue>\n    <parenthetical>( beat , cautiously . )<\/parenthetical>\n    <dialogue>I've been seeing someone. A therapist.<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( feigning surprise . )<\/parenthetical>\n    <dialogue>You are a therapist, right?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>No no. I'm a psychologist, but I do research. I'm a behaviorist. I work with animals. Mice at the moment.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>I hope you do n't perform any of those dreadful torture experiments, Nathan.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Heavens no. My work now is. Right now I'm teaching mice. well, table manners, to be candid.<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( beat .<\/parenthetical>\n    <parenthetical>does n't know what to say . )<\/parenthetical>\n    <dialogue>How's it going?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Quite well, really. It's a lot of work. A lot of reinforcement, mostly positive. Right now I've gotten two of my subjects to use napkins. Tiny napkins of course.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Paper or cloth?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>I hope you do n't think me daft. It's important work. It's part of a larger sociological experiment. I'm federally funded.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>What's the larger experiment?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>It's my thesis that if table manners can be taught to mice, they can be taught to humans.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Going out on a limb, are n't you, Nathan?<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( speech . )<\/parenthetical>\n    <dialogue>The truth is most people do n't have table manners today. And when the foundations of civilized society crumble and disappear, civilized society in its entirely follows closely at its heels.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>I'm not sure.<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( stridently . )<\/parenthetical>\n    <dialogue>Courtesy, decorum, manners, are all sadly lacking from our daily intercourse. Rudeness, vulgarity, meanness are the norm.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>We are animals after all.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Ergo if I can teach table manners to mice, I can teach them to humans. If I can teach table manners to humans, I can save the world.<\/dialogue>\n    <scene_description>Nathan blushes . Lila stares at him for a long moment . Her thoughts are unreadable .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELECTROLOGIST'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Lila lies on her back . Rose works on her breasts .<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>I really like him, Rose. He's so.<\/dialogue>\n    <parenthetical>( searching . )<\/parenthetical>\n    <dialogue>. passionate about his work.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>My brother says he likes you, too.<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( pleased . )<\/parenthetical>\n    <dialogue>Really?<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>Yeah. Says he likes you even more than he likes his own mother. And according to my brother Nathan's abormally close with his mother.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE SPACE - DAY<\/stage_direction>\n    <scene_description>Nathan talks .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>I began going to a therapist when I was in my thirties, because I felt that I was n't enjoying life the way my friends were.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>After a time my childhood came up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM - DAY<\/stage_direction>\n    <scene_description>It is another sepia scene . Nathan as a ten year old sits at the table with his parents . There is a bowl of salad in front of each of them . Everyone 's head is bowed in prayer .<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>Lord, we thank you for this bountiful gift we are about to receive.<\/dialogue>\n    <character>ALL<\/character>\n    <dialogue>Amen.<\/dialogue>\n    <scene_description>Eyes open , and young Nathan reaches for a fork to eat the salad . He grabs the wrong fork . Mother 's eyes widen in horror .<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>My God, no! My God!<\/dialogue>\n    <parenthetical>( disappointed . )<\/parenthetical>\n    <dialogue>Oh, Nathan.<\/dialogue>\n    <scene_description>Nathan looks up .<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>That is the wrong fork, young man.<\/dialogue>\n    <parenthetical>( to father . )<\/parenthetical>\n    <dialogue>Harold, tell the boy.<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>That is the wrong fork, young man.<\/dialogue>\n    <character>NATHAN AS A BOY<\/character>\n    <parenthetical>( panicky . )<\/parenthetical>\n    <dialogue>I'll use the right one. I'm sorry. I forgot.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>Harold, tell the boy more.<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>Too late. Go to your room.<\/dialogue>\n    <character>NATHAN AS A BOY<\/character>\n    <dialogue>But.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>Harold! Tell the boy again.<\/dialogue>\n    <character>FATHER<\/character>\n    <parenthetical>( looking at mother . )<\/parenthetical>\n    <dialogue>No `` buts.'' Go to your room now.<\/dialogue>\n    <character>MOTHER<\/character>\n    <parenthetical>( looking at father . )<\/parenthetical>\n    <dialogue>And?<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>And think about what you've done.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THERAPIST'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Adult Nathan sits on the couch , dabbing at his eyes . Wendall , his therapist sits across from him and writes something in his notebook .<\/scene_description>\n    <character>WENDALL<\/character>\n    <dialogue>And do you think maybe this early childhood indoctrination has something to do with your interest in table manners in the present.<\/dialogue>\n    <scene_description>Nathan thinks long and hard about this . He seems to be really straining , squinting his eyes . Finally :<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>I do n't think so. No.<\/dialogue>\n    <scene_description>Wendall nods and scribbles something on his pad .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Why do you ask?<\/dialogue>\n    <scene_description>Wendall looks up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAB - DAY<\/stage_direction>\n    <scene_description>Everything 's white . People in lab coats hustle back and forth . Nathan , also in a lab coat , is hovering over a Lucite encasement . Inside we see two white mice , both attached to electrodes . They sit in little chairs at a little table . In front of each of them is a little plate of salad and three forks of varying size under Lucite domes . Nathan nods to his pretty French assistant , Gabrielle , who presses a button . The Lucite domes over the salads lift . Tentatively both mice reach for a fork . There is a tiny piece of velcro on each mouse 's paw and a tiny piece of velcro on each of the forks . The first mouse picks the correct fork , and stabs it into the salad and eats happily , relieved . The second mouse picks the wrong fork . Nathan presses a button , which sends the mouse flying off his chair with an electric shock . The correct mouse keeps eating , unconcerned . Nathan makes a note in his notebook . Gabrielle watches Nathan as he writes , enchanted .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATHAN'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>The table is elegantly set , candlelit . Lila sits at it while Nathan fusses in the kitchenette . Something classical wafts over from the stereo in the living room . Nathan places a salad in front of Lila and sits across from her with his own salad .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>It looks wonderful.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>You look wonderful. I'm on top of the world tonight, Lila. Work is going splendidly and my personal life is.<\/dialogue>\n    <scene_description>Lila picks up a fork from the inside of her setting , not the outside . Nathan blinks . Lila tastes the salad .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>Um - mmm. Oh Nathan, this salad is delish.<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( clenched teeth . )<\/parenthetical>\n    <dialogue>My God! The fork! The fork!<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>I'm sorry?<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( strangely . )<\/parenthetical>\n    <dialogue>Tell her, Harold.<\/dialogue>\n    <parenthetical>( stops himself . )<\/parenthetical>\n    <dialogue>It's just that. It's nothing. It's just that the outside fork is the salad fork. One goes from the outside in as the dinner progresses.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Oh, I'm sorry.<\/dialogue>\n    <parenthetical>( picks up correct fork . )<\/parenthetical>\n    <dialogue>I'm sorry, Nathan. I never really learned those things.<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( forced casual . )<\/parenthetical>\n    <dialogue>No biggie.<\/dialogue>\n    <scene_description>There is a long silence as they both eat the salad .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>Boy, this is good!<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>I'm sorry that I became so upset.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>No, I'm sorry. I'm really backward in certain areas.<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( beat , blurting . )<\/parenthetical>\n    <dialogue>It's only that I really enjoy your company and.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>You do?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Yes, and.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>You really enjoy my company?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <parenthetical>( beat , blurting . )<\/parenthetical>\n    <dialogue>Please do n't talk with food in your mouth, Lila. Please. You're so pretty and it only mars your. I'm sorry. I'm being critical.<\/dialogue>\n    <scene_description>Nathan pounds his forehead with his fist . Lila waves her hand to indicate that it 's fine . She does n't say anything because she 's chewing .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>It's just that I have some peculiarities, and.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>I like you, too, Nathan.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>You do?<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>But I have some peculiarities also.<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( happily . )<\/parenthetical>\n    <dialogue>I do n't care. I do n't care!<\/dialogue>\n    <parenthetical>( then , concerned . )<\/parenthetical>\n    <dialogue>Like what, for example?<\/dialogue>\n    <scene_description>Lila takes a deep breath , about to go into it , thinks better of it .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>Like nothing.<\/dialogue>\n    <scene_description>Nathan smiles , relieved . Lila smiles back . Nathan recoils slightly , skittishly half - points to his bared teeth . Apparently there 's a piece of food stuck in Lila 's teeth . She closes her mouth , runs her tongue over her teeth , smiles again , mouth closed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELECTROLOGIST'S OFFICE -DAY<\/stage_direction>\n    <scene_description>Rose is doing Lila 's feet .<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>My brother says things are going really well between you and Nathan.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>I can not believe how in love I am with this man.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>He's so cute. I even like his cute little penis. It's like a little pig's penis or something.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Rose, we connect on every level. I've finally found someone I can feel completely safe with.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>Do n't throw that away. I had that once with a guy. But I threw it away for a cheap thrill.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>One night stand?<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>No. I married a midget.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Marrying a midget was a cheap thrill?<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>Well he was n't really a midget. He was on the cusp of midgethood. That's what made it cheap. Had he been an actual midget, there would've been nothing cheap about it, my dear.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>I did n't know you were into that sort of thing.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>Let me tell you, honey, midgets are the best kept secret in male companionship. They're portable. They're controllable. They're eager. And they're exactly the right height for a little covert oral fun on the dance floor.<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( screams with delight , then : . )<\/parenthetical>\n    <dialogue>I have a friend you might like to meet.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>Oh?<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Three foot one.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>Be still my crotch.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Rose, Nathan's no midget, but he's asked me to move in with him.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>Yeah. My brother told me.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>And I think I'm going to.<\/dialogue>\n    <character>ROSE<\/character>\n    <parenthetical>( mulling it over . )<\/parenthetical>\n    <dialogue>Stand on a stepladder sometimes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE SPACE - DAY<\/stage_direction>\n    <scene_description>Nathan talks .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Lila moved in with me. Did I love her? I thought so. But from my new vantage point I realize that love is nothing more than a messy conglomeration of need, desperation, fear of death, insecurity about penis size, and the self - involved, ego driven need to collect other people's hearts. Not that I judge it.<\/dialogue>\n    <parenthetical>( puts head in hands .<\/parenthetical>\n    <parenthetical>beat .<\/parenthetical>\n    <parenthetical>looks up . )<\/parenthetical>\n    <dialogue>Listen, I do n't want to be dead yet. Is there any way to.<\/dialogue>\n    <scene_description>Nathan looks around for some sign of another person . There is nobody .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>No I suppose not.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>No biggie. Anyway, Lila moved in. We had our problems, but we both wanted love so badly, we turned a blind eye.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATHAN'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Nathan , Lila , and Nathan 's parents -LRB- looking very , very old -RRB- sit at the dining room table . Salad is about to be eaten , and everyone glances sideways over at Lila , waiting for her to make her move . She reaches for the wrong fork , corrects herself and picks the salad fork . Nathan breathes a sigh of relief . His mother looks disappointed , clucks . They eat in silence . Finally :<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>It's lovely to finally meet you, Mr. and Mrs. Bronfman. I've heard so much about you and I've seen you in photographs from Nathan's childhood, but it's nice to meet you in the flesh. I must say, you look exactly the same as in the photographs.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>Thank you, dear.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Actually, Mother and Father, you look very, very old. You look terrible.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Nathan!<\/dialogue>\n    <scene_description>His mother and father touch their faces reflexively , then look at each other and laugh .<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>Tell him, Harold.<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>Son, your mother and I are doing a production of The Gin Game at the local community theater. We forgot to take off our make - up.<\/dialogue>\n    <scene_description>The mother and father laugh again . Then they pull at their latex faces . The wrinkles come off . And they look exactly as they did in the flashback scene , albeit a bit pink - faced . There is another pause .<\/scene_description>\n    <character>LILA<\/character>\n    <parenthetical>( awkward . )<\/parenthetical>\n    <dialogue>Goodness, you two look exactly as you did in those old photos.<\/dialogue>\n    <character>MOTHER<\/character>\n    <parenthetical>( cold . )<\/parenthetical>\n    <dialogue>Yes, so you mentioned earlier, dear.<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( changing the subject . )<\/parenthetical>\n    <dialogue>Lila's a nature writer, mother.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>I love nature. As long as it stays in the zoo where it belongs.<\/dialogue>\n    <scene_description>The father and Nathan laugh at mother 's joke . Lila joins in weakly , against her better judgment .<\/scene_description>\n    <character>MOTHER<\/character>\n    <parenthetical>( to Lila . )<\/parenthetical>\n    <dialogue>Do n't you agree, dear?<\/dialogue>\n    <scene_description>Lila hesitates .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Of course she does, mother.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATHAN AND LILA'S BEDROOM - LATER<\/stage_direction>\n    <scene_description>Nathan is in bed , in starched pajamas . He lies on his back under perfect covers and stares straight up at the ceiling .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>What are you doing in there?<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( pissy . )<\/parenthetical>\n    <dialogue>I'll be out in a minute.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>I'm sorry about my parents.<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>You did n't seem sorry when you were laughing at all your mother's stupid, tasteless, cruel animal jokes.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>I was simply attempting to keep the evening light. You know that I feel similarly to you about nature.<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Do you?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I simply love the. naturalness of it all.<\/dialogue>\n    <scene_description>Lila emerges from the bathroom , radiant , hopeful .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>Do you? Oh do you, darling?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Why certainly!<\/dialogue>\n    <scene_description>Lila happily leaps into bed . She smothers Nathan with kisses .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>Oh, darling. I'm so relieved. Let's celebrate with a long hike in the woods tomorrow!<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( oh shit . )<\/parenthetical>\n    <dialogue>That's a great idea.<\/dialogue>\n    <scene_description>Nathan kisses her .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>It'll be wonderful! I'll show you my old stomping grounds!<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Terrific. Ca n't wait!<\/dialogue>\n    <scene_description>Nathan kisses her ear . He looks confused , sticks his finger behind her ear , and pulls it out with a dab of shaving cream on it .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Shaving cream?<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>I do n't think so.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Why?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - MORNING<\/stage_direction>\n    <scene_description>Nathan drives . He 's dressed in spanking new , freshly starched safari clothes , big shiny new hiking boots . Lila sits in the front passenger seat . She is dressed in a costume identical to Nathan 's , but , as opposed to Nathan , she seems awkward in it . She fidgets in it , straightens it , sighs , comes to terms with it , and looks dreamily out the window at the passing trees . She is home . That 's all that matters .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Darling, did you bring the insect repellent lotion?<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Yes, darling.<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Oh, and the sun block?<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>What SPF, sweetie?<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Fifteen.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Perfectomundo! We are ready!<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Say, would n't it be wonderful to have an insect repellent lotion that also worked as a sun block? Think of all the time one would save.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Yes, darling.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>I think I'll get Johannsen in chemistry on that.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Oh! Did you bring the first aid kit?<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Flares?<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Absolutely.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>We could call it `` Quit Bugging Me, Sunny.''<\/dialogue>\n    <parenthetical>( laughs a lot . )<\/parenthetical>\n    <dialogue>Get it? Sunny. S - u - n - n - y.<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( laughs appreciatively . )<\/parenthetical>\n    <dialogue>That's very funny.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>I love you so much.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - DAY<\/stage_direction>\n    <scene_description>Puff testifies .<\/scene_description>\n    <character>PUFF<\/character>\n    <dialogue>Then, gentlemen, one day I saw something I had n't seen since my father died in a freak accident involving a rotted log and four thousand bees stinging his head. I saw other human beings. They chattered away at each other in what appeared to be gibberish. Later I learned it was English. Now I wonder if perhaps my initial assessment had n't been correct.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST - DAY<\/stage_direction>\n    <scene_description>Puff 's POV : Through some brush we watch Nathan and Lila hiking . We hear Puff 's loud heavy breathing and , in the distance , the relentless gibberish chatter of Nathan and Lila . Puff moves . Lila glances over .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - NIGHT<\/stage_direction>\n    <scene_description>Lila talks .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>It was a flash of white. I ruled out deer immediately. Too. upright.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOREST - DAY<\/stage_direction>\n    <scene_description>We 're with Lila and Nathan now . Lila has stopped and is peering into the distance .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>Did you see that?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>I do n't know. Something.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>A deer?<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>No. Too. upright. Might've been a person.<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( nervously . )<\/parenthetical>\n    <dialogue>It might behoove us to turn back at this point.<\/dialogue>\n    <scene_description>Lila walks in the direction of the sighting .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( not budging . )<\/parenthetical>\n    <dialogue>If it's a person, why should we go see it? It's not like it's nature or anything. It's just a person.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Sometimes people who live in the woods do n't want to be seen. They live in the woods because they're anti - social, Lila. We have to respect that.<\/dialogue>\n    <scene_description>Lila trudges through the brush . Nathan follows . Better than being left behind .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>This is the way to get ticks, Lila. This is it. Bingo! Lyme Disease! You've hit the nail on the head here.<\/dialogue>\n    <scene_description>Lila is in her element . Her whole demeanor has changed . She is tracking . She sniffs the breeze , cocks her head , moves stealthily . Then she sheds her clothes , almost shaking them off , like a dog shaking off some cute costume his owner had dressed him in .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Oh for God's sa.<\/dialogue>\n    <scene_description>Lila turns her head and glares at Nathan . There is an animal fierceness in her eye that shuts him up instantly . She turns back to pursue her prey .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - DAY<\/stage_direction>\n    <scene_description>Puff testifies .<\/scene_description>\n    <character>PUFF<\/character>\n    <dialogue>I had never seen anything like it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST - DAY<\/stage_direction>\n    <scene_description>Puff 's POV : We see a naked Lila looking in our general direction , but not seeing us . The sun dapples her body . She moves closer and closer .<\/scene_description>\n    <character>PUFF<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It was an ape as I had never seen before. Like me, yet different in certain essential details. And all at once I felt a heat pass through me. My heart raced. Gentlemen, I wanted to touch her, to caress her, to be one with her. I had urges and desires I could not explain. I felt overwhelmed by the power this strange creature had over me, and so I did what any animal would do when it comes across an animal of superior strength.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - NIGHT<\/stage_direction>\n    <scene_description>The cops are transfixed .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>He bolted.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOREST - DAY<\/stage_direction>\n    <scene_description>We are with Lila . She creeps along , when suddenly a tan , muscular figure tears out from behind a tree and runs , practically on all fours , through the dense underbrush . Lila follows , almost as agile as the forest creature . Nathan just stands there . The chase continues . There is a great deal of heaving and panting . Puff shimmies up a large tree . Lila follows . Puff leaps from branch to branch . Lila follows easily . Puff swings from a vine . So does Lila . Finally they come to the end of the trees , a clearing . There is no nowhere for Puff to leap . Lila is with him in the tree . They are crouched , bloody , heaving , on separate branches , staring at each other . After a long moment , Lila speaks .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <scene_description>Puff cocks his head . The high timbre of her voice surprises him , pleases him , but he does n't understand the words .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>You do n't understand my language, do you?<\/dialogue>\n    <scene_description>Puff looks at his crotch . Apparently there is some activity down there . Lila , following his eyes , glances down there also .<\/scene_description>\n    <character>LILA<\/character>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>I take it back, you do understand my language.<\/dialogue>\n    <scene_description>Puff grabs for his crotch and begins to play with himself distractedly , looking at her all the while . He falls out of the tree . Lila gasps . Branches crack and snap as he passes through them and then there is an unpleasant thud when he hits the forest floor . Lila shimmies down the tree , and kneels by Puff . He is unconscious .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>Oh God.<\/dialogue>\n    <scene_description>Nathan comes limping through the brush . Somehow his safari suit and boots are as clean and pressed as they were in the car . He is carrying Lila 's clothes . Somehow he has had time to neatly fold them .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Oh my God! Is he dead? Please put something on.<\/dialogue>\n    <scene_description>Lila looks up at icily at Nathan .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>You'll catch cold. It's cold.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>What do you suppose he is, a survivalist?<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>I think he's feral.<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( jumping back . )<\/parenthetical>\n    <dialogue>Feral? Do n't touch him! He might be diseased! He might. My God, rabies!<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>He looks perfectly fine.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>I think we should go. Please. Before he wakes up and, I do n't know, eats us, or whatever feral things do.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>I do n't understand you. This is fascinating and you just want to run away. I mean, here we have a human being totally uncontaminated by civilization, totally free, and all you want to do is run back to your.<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( thinking . )<\/parenthetical>\n    <dialogue>Actually, I just had an amusing thought.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( musing . )<\/parenthetical>\n    <dialogue>Feral, huh? Totally uncontaminated?<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Look at him. He does n't understand English. He moves like an animal.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>It's perfect!<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Nathan, what the hell are you talking about?<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( doing a little dance . )<\/parenthetical>\n    <dialogue>Forget mice! Actually forget guinea pigs, cats, monkeys, and chimps also. I'm on to stage five : The human subject.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Oh no. You ca n't take him from his home, Nathan.<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( ranting . )<\/parenthetical>\n    <dialogue>Do n't you see? He's my Tabula Rasa, my Eliza Dolittle. He's my ticket to the top of the Behaviorist food chain. He's going to make me famous.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>I wo n't allow you. It's wrong. He's happy here.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Is he, Lila? Is he happy living filthy and naked alone in this tick infested wilderness? Never to know the love of a good woman, never to revel in the pitter - patter of little feet, never to read Moby Dick, or marvel at a Monet, or just sit back after a day of hard but rewarding work, smoke a pipe, and wonder about the nature of reality.<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( weakening resolve . )<\/parenthetical>\n    <dialogue>You'd be taking away his freedom, Nathan.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Freedom's just another word for nothing left to lose, Lila, to quote Janet Jackson.<\/dialogue>\n    <scene_description>Lila looks off into the distance , her eyes brimming with tears . As Nathan continues his speech , we move closer and closer into Lila 's eyes . Nathan 's voice fades into nothing by the time we dissolve .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Belonging to something, a person or a society, is a basic human craving. We are communal creatures. This poor soul has no one, nothing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLIFF - SUNSET<\/stage_direction>\n    <scene_description>A naked , very hairy Lila sits by herself on the cliff and watches the sunset . There 's a chill in the air and she shivers and hugs herself .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>Oh God, I have no one. Nothing. You give me this beautiful gift, this glorious sunset. But with no one to say `` is n't that a beautiful sunset'' to, it becomes meaningless, just another stupid sunset. They happen everyday. So what?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST - DAY<\/stage_direction>\n    <scene_description>Lila is hovering over the unconscious Puff . Nathan 's voice comes back into focus . He is still speechifying .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>what is it that makes us human, if not the knowledge that we are indeed human? Think of this poor soul's education as the greatest gift we could bestow upon.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>All right.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Great. Grab his feet. We'll throw him in the trunk.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAB - DAY<\/stage_direction>\n    <scene_description>Nathan hovers over the Lucite case with the tiny dinner table in it . His assistant , Gabrielle , presses a button , a door opens , and two white mice scurry in . The male pulls out a chair for the female . The female climbs up on the chair , and the male pushes the chair in , then scurries around to the other side of the table and climbs onto his own chair . The Lucite lid over the silverware and salads lifts and both mice pick up the proper forks and begin eating . Nathan scribbles in his notebook .<\/scene_description>\n    <character>GABRIELLE<\/character>\n    <dialogue>Doctor.<\/dialogue>\n    <scene_description>Nathan looks up . Gabrielle jerks her head in the direction of a very large Lucite case . Inside , Puff , now dressed in a diaper and connected to all sorts of electrodes , is stirring . Nathan and Gabrielle hurry over .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Good morning.<\/dialogue>\n    <scene_description>Puff groggily takes in his surroundings . This is quite a lot to take in . The white room , the strange apes in strange suits , his own clothing , the wires . After surveying the scene for a moment , Puff becomes frightened and agitated . He tries to escape . Not understanding Lucite , he smashes into it , again and again . He tears at his diaper . Nathan gives a nod to Gabrielle , who presses a button on a panel . An electric shock sends Puff flying . He lies on the floor confused and dazed . After a moment , he gets up and again crashes into the Lucite . Nathan gives the signal to Gabrielle and once again she shocks Puff . He once again gets up and crashes against the Lucite . Again he is shocked . He gets up again , and is about to crash against the Lucite , but he thinks better of it , and squats in place , immobilized .<\/scene_description>\n    <character>NATHAN<\/character>\n    <parenthetical>( to Gabrielle . )<\/parenthetical>\n    <dialogue>Only three shocks. A chimp takes fifteen. This is going to be tres simple, no, Gabrielle?<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <parenthetical>( in love with Nathan . )<\/parenthetical>\n    <dialogue>Oui, doctor, oui.<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( to Puff . )<\/parenthetical>\n    <dialogue>Good morning.<\/dialogue>\n    <parenthetical>( to Gabrielle . )<\/parenthetical>\n    <dialogue>We need a name for him, do n't we?<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>Oui.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>You decide. Today is your day.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>Really? My day? Well, I had a sweet little mongrel puppie named Puff when I was a girl. This one reminds me of my dog, all shaggy! So cute!<\/dialogue>\n    <parenthetical>( giggles girlishly . )<\/parenthetical>\n    <dialogue>I loved my doggie very much, monsieur.<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( charmed . )<\/parenthetical>\n    <dialogue>Puff it is then. Puff Bronfman. Is that okay?<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>Oui. Perfect!<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( to Puff . )<\/parenthetical>\n    <dialogue>Good morning, Puff Bronfman. I'm Dr. Bronfman and this is my assistant Gabrielle. We're your mommy and daddy while you are here.<\/dialogue>\n    <scene_description>Gabrielle likes this concept a great deal . She smiles and moves closer to Nathan .<\/scene_description>\n    <character>NATHAN<\/character>\n    <parenthetical>( to Puff . )<\/parenthetical>\n    <dialogue>How about some salad, son?<\/dialogue>\n    <scene_description>Gabrielle poises her finger above the button . She winks at Nathan . He blushes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - EVENING<\/stage_direction>\n    <scene_description>Nathan , carrying a brief case , is walking to his car . Gabrielle hurries to catch up to him . Her high heels click on the pavement .<\/scene_description>\n    <character>GABRIELLE<\/character>\n    <dialogue>Dr. Bronfman! Dr. Bronfman!<\/dialogue>\n    <scene_description>Nathan turns .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Oh, Hi, Gabrielle.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <parenthetical>( out of breath . )<\/parenthetical>\n    <dialogue>Hi. I just wanted to tell you that I very much enjoy working with you.<\/dialogue>\n    <parenthetical>( blushes . )<\/parenthetical>\n    <dialogue>Now I'm embarrassed that I say this.<\/dialogue>\n    <scene_description>They walk along .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>No. Do n't be. I really enjoy hearing that. You're a terrific assistant.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>Merci. I. Do you. would you like to go get a cup of coffee, perhaps?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Well, I do n't know. I'm actually on my way to.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>Now I am truly embarrassed. Forgive me. I should not have asked such a stupid question. I know you are a very important man and.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>No. Do n't be silly. It's just.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>I am a foolish little thing. I am pink in my face, no? It is only that I have been so lonely lately and. I am ashamed. I'll see you tomorrow, okay? Unless. Am I fired now?<\/dialogue>\n    <scene_description>Gabrielle pouts . Nathan is charmed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COFFEE SHOP - EVENING<\/stage_direction>\n    <scene_description>Nathan and Gabrielle sit at a romantic little table in a trendy coffee shop .<\/scene_description>\n    <character>GABRIELLE<\/character>\n    <dialogue>Thank you so much for accompanying me.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Not at all.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>I have had such a difficult time in my personal life and you seem to be such a nice man. but I'm talking too much again, no?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Of course not.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>You're so sweet. Oh, why are there not more men out there like you?<\/dialogue>\n    <scene_description>Gabrielle starts to cry softly . Nathan does n't know what to do . His eyes dart around , then :<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>There there.<\/dialogue>\n    <scene_description>Gabrielle looks up at him appreciatively . She sniffs .<\/scene_description>\n    <character>GABRIELLE<\/character>\n    <dialogue>You know just the right thing to say.<\/dialogue>\n    <scene_description>She reaches across the table and touches his hand lightly for a moment .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Listen, you're the best assistant I've ever had. Gabrielle.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>I like it when you say my name. Is that stupid?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATHAN'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Nathan , in his pajamas , lies in bed reading . He looks up .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>What are you doing in there?<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Nothing. Be right out.<\/dialogue>\n    <scene_description>The phone rings . Nathan picks it up .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <parenthetical>( beat , happily . )<\/parenthetical>\n    <dialogue>Oh, hi. Gabrielle!<\/dialogue>\n    <scene_description>Nathan sits up in bed .<\/scene_description>\n    <character>LILA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Who is it?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Uh - huh. Right, Gabrielle. Right.<\/dialogue>\n    <scene_description>Nathan laughs .<\/scene_description>\n    <character>LILA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Who is it?<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Absolutely, Gabrielle.<\/dialogue>\n    <parenthetical>( covering phone , testily . )<\/parenthetical>\n    <dialogue>Someone from work!<\/dialogue>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Sorry about that, Gabrielle. Uh - huh. Exactly.<\/dialogue>\n    <scene_description>Nathan laughs .<\/scene_description>\n    <character>LILA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Who from work?<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Excuse me one second, would you, Gabrielle?<\/dialogue>\n    <scene_description>Nathan puts down the phone and heads to the bathroom .<\/scene_description>\n    <character>LILA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Who is it, Nathan?<\/dialogue>\n    <scene_description>Nathan opens the bathroom door .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Look, Lila, when I'm on a work.<\/dialogue>\n    <scene_description>Lila turns with a gasp . She has shaving cream all over her chest . Nathan looks stunned . He backs away .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>Nathan, I.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GABRIELLE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>The lights are low . The room is peppered with lit candles . Gabrielle , in a slip , lies on her bed , eating cherries from a bowl , and listening to Nathan and Lila 's conversation on speaker .<\/scene_description>\n    <character>LILA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>It's hormonal, Nathan. I ca n't help it. I'm sorry.<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Your entire body?<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I'm getting electrolysis. It's working, but it takes time. So meanwhile I have to.<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>You have to shave? Like an ape?<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( crying . )<\/parenthetical>\n    <dialogue>Apes do n't shave, you son of a bitch!<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Do n't quibble. You know what I mean.<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I'm sorry. Please do n't be mad at me for this.<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Mad? I'm I'm. disgusted!<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I'm the same person I was before you knew, damn it! Oh God!<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I have to think! I have to think!<\/dialogue>\n    <scene_description>Footsteps and a door slam . Lila is near the phone now and crying in desperate heaves .<\/scene_description>\n    <character>LILA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Oh God, why. do. I. have. to. be. like. Oh, no! Oh, shit!<\/dialogue>\n    <parenthetical>( rustling sound , then into phone . )<\/parenthetical>\n    <dialogue>Hello? Hello? Is anyone there? Who's there?<\/dialogue>\n    <scene_description>Gabrielle calmly pops another cherry in her mouth and hangs up the phone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - NIGHT<\/stage_direction>\n    <scene_description>Nathan , in his pajamas , drives . His face is set in a furious scowl and he drives fast .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANOTHER CAR - NIGHT<\/stage_direction>\n    <scene_description>Gabrielle drives leisurely . She is calm , a slight smile on her face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAB - NIGHT<\/stage_direction>\n    <scene_description>Nathan paces in front of Puff 's Lucite case . Puff watches suspiciously from the corner where he is huddled . The lights are off . But there is a green glow from a couple of exit signs .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>I do n't get it. I do n't get it. I do n't get it. How could I find myself in this mess? This is a mess. This is not a situation I understand. This is a mess. How do I extricate myself from this mess? Is my girlfriend a man? I do n't understand. This is not part of any plan. She deceived me. She has hair.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>But am I being fair? So what if she has hair? Who am I to judge? I have hair.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>But I'm supposed to have hair. I am a man. Men are supposed to have hair.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>But poor Lila. Think of what she's had to go through. The courage she's had to have in the face of this abomination of nature. I should love her all the more. I should love every hair on her body. I mean, she does n't mind that I have a mortifyingly small.<\/dialogue>\n    <scene_description>The lights flick on . Nathan turns with a start . It 's Gabrielle . She 's in an overcoat . She gasps .<\/scene_description>\n    <character>GABRIELLE<\/character>\n    <dialogue>Oh, Doctor. I did not know. I'm sorry to disturb you. I just came for some papers I left.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Gabrielle. No, I'm sorry if I startled you. I came to think.<\/dialogue>\n    <parenthetical>( beat , remembering . )<\/parenthetical>\n    <dialogue>God, Did I hang up on you?<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>Oui. Perhaps I called at a bad time. I am sorry.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>No. I just got distracted. I'm so sorry.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>Is everything fine?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Oui.<\/dialogue>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>Now you've got me talking French.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>I was in my p.j.'s when I remembered I left some papers I need to go over.<\/dialogue>\n    <parenthetical>( opens overcoat to reveal lingerie . )<\/parenthetical>\n    <dialogue>See? I rushed right out of the house. I must look a mess. I'm so embarrassed.<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( taken . )<\/parenthetical>\n    <dialogue>I'm in my p.j.'s, too. Funny, huh?<\/dialogue>\n    <scene_description>Puff is taken also . His eyes are wide .<\/scene_description>\n    <character>GABRIELLE<\/character>\n    <dialogue>Coincidence, yes?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>And how is our son?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Our? Oh!<\/dialogue>\n    <parenthetical>( laughs , out of control . )<\/parenthetical>\n    <dialogue>He seems fine. I guess we woke him. The lights and all.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>I should turn them off.<\/dialogue>\n    <parenthetical>( she does . )<\/parenthetical>\n    <dialogue>Maybe I sing him a lullaby my mama sang to me when I was a little girl.<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( a little giddy . )<\/parenthetical>\n    <dialogue>When you were a little French girl?<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>Oui.<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( back in control . )<\/parenthetical>\n    <dialogue>That would be good.<\/dialogue>\n    <scene_description>Gabrielle kneels by Puff 's case . Puff crawls over , tries to touch her through the Lucite . Gabrielle sings a French lullaby . It 's very sweet . Nathan watches her , looks at her thigh , her hair , the delicate way the tip of her nose moves when she sings . Puff gets drowsy . He curls up on the floor and sleeps .<\/scene_description>\n    <character>GABRIELLE<\/character>\n    <parenthetical>( quietly to Nathan . )<\/parenthetical>\n    <dialogue>There.<\/dialogue>\n    <scene_description>Nathan stares at her , transfixed . She pretends not to notice .<\/scene_description>\n    <character>GABRIELLE<\/character>\n    <dialogue>Shall we close up, then?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Maybe we should just sit for a while. It's very peaceful.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>It's nice, yes. I'm glad I ran into you, both in our silly pajamas. It is two happy coincidences, no?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Yes. Happy happy.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>Yet you look so sad. A great man like you should not be sad.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>I'm fine. Life is funny, that's all.<\/dialogue>\n    <scene_description>Gabrielle stands . She stretches languorously , revealing a lot of leg .<\/scene_description>\n    <character>GABRIELLE<\/character>\n    <dialogue>I am sleepy.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>I should n't say this, but you're pretty, Gabrielle. It's unprofessional, I know.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>Really? I always think myself so ugly. No, not ugly, but plain. A wallflower.<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( buying her line . )<\/parenthetical>\n    <dialogue>Really? No. Not at all. You're a very pretty girl. You should know that. You should be confident.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>Thank you so much. Merci. It's very wonderful to hear a man say such a nice compliment.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>It's true. I would n't lie.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>You are sweet.<\/dialogue>\n    <scene_description>Gabrielle walks slowly by Nathan . He inhales deeply , breathing her in . She smiles to herself . He reaches out touches her leg .<\/scene_description>\n    <character>GABRIELLE<\/character>\n    <parenthetical>( vaguely protesting . )<\/parenthetical>\n    <dialogue>Doctor.<\/dialogue>\n    <scene_description>She moves into Nathan . She presses her thigh against his shoulder . Nathan leans forward , kisses her exposed thigh .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>So soft. So smooth.<\/dialogue>\n    <parenthetical>( back to reality . )<\/parenthetical>\n    <dialogue>I'm sorry. It's just.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <parenthetical>( soothing . )<\/parenthetical>\n    <dialogue>Shh.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>Lila is shaving herself all over . Shaving and weeping . There are nicks all over her body . She has no eyebrows any more . The hair on her head is hacked off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAB - NIGHT<\/stage_direction>\n    <scene_description>Nathan and Gabrielle are lying naked on the floor . Gabrielle rests her head on Nathan 's chest .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Was that okay? I mean, was I able to. satisfy you?<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>You are an animal.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Really? Wow! That's that's terrific to hear from someone so. feminine, so female.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>I love being female because it, how do you say, allows me to be close to men.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>I'm glad you're female.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Do you think our boy witnessed the primal scene?<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>Anyway it's time he grew up. N'est - ce pa?<\/dialogue>\n    <parenthetical>( sighing , running her fingers along his chest . )<\/parenthetical>\n    <dialogue>I love chest hair on a man. I know it is n't fashionable now, hairy men. But to me it is the very sign of masculinity.<\/dialogue>\n    <scene_description>Nathan tenses . Gabrielle looks up innocently at him .<\/scene_description>\n    <character>GABRIELLE<\/character>\n    <dialogue>What is wrong, my darling?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Nothing, my darling. All is right with the world.<\/dialogue>\n    <scene_description>Puff watches from his case . Gabrielle smiles to herself .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - DAY<\/stage_direction>\n    <scene_description>Puff testifies .<\/scene_description>\n    <character>PUFF<\/character>\n    <dialogue>I saw it, gentlemen. I saw the whole sweaty, passionate, ugly, beautiful act, and to use the vernacular, I wanted me some of that.<\/dialogue>\n    <scene_description>The congressmen laugh appreciatively . The laughter is a little too enthusiastic and goes on a little too long . It stops abruptly .<\/scene_description>\n    <character>PUFF<\/character>\n    <dialogue>And I think I understood from that moment, that in order to get some, I would have to do what they said. In order to experience this primal, basic, animal thing, I would first have to become a civilized, prissy, uptight human. I would have to become Nathan.<\/dialogue>\n    <scene_description>The congressmen nod sadly , in recognition of this reality .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAB - DAY<\/stage_direction>\n    <scene_description>Puff , in his Lucite case , sits behind a set dinner table . He seems attentive , calm , interested as Nathan teaches him table manners . Gabrielle stands very close , almost possessively close , to Nathan . She wears a lab coat , but it is unbuttoned , and underneath she is wearing a skin - tight black minidress . She strokes the back of Nathan 's head as he works with Puff .<\/scene_description>\n    <character>NATHAN<\/character>\n    <parenthetical>( slow .<\/parenthetical>\n    <parenthetical>talking to an idiot . )<\/parenthetical>\n    <dialogue>Excellent, Puff. Now, the lady you're with excuses herself to go powder her nose.<\/dialogue>\n    <scene_description>The wheels turn in Puff 's head . He thinks hard . Then he stands . Gabrielle shrieks and claps happily .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Perfect. Perfect, Puff!<\/dialogue>\n    <scene_description>Nathan leans over and kisses Gabrielle . Puff watches . He makes an exaggerated kissy - face , pursing his lips , trying to imitate Nathan . The phone rings . Gabrielle pulls herself away , giggles as Nathan tries to keep her from going , and picks up the phone .<\/scene_description>\n    <character>GABRIELLE<\/character>\n    <parenthetical>( still giggling . )<\/parenthetical>\n    <dialogue>Dr. Bronfman's line. Yes. One moment please.<\/dialogue>\n    <parenthetical>( puts it on hold . )<\/parenthetical>\n    <dialogue>Lila.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <parenthetical>( takes phone . )<\/parenthetical>\n    <dialogue>Hi, honey.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LILA AND NATHAN'S LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Lila sits on the couch . Eyebrows are attractively drawn onto her face . She wears a very femme blonde wing . Lots of make - up .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>So, how's it going today?<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Good. Making progress.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Honey, can we talk tonight? You know, about stuff? Things have been so strained for the past three weeks, since you know, and I just want to talk.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAB - CONTINUOUS<\/stage_direction>\n    <scene_description>Nathan , phone cradled between shoulder and ear , puts his face in his hand . Gabrielle rests a hand on his shoulder .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Everything's fine, honey. We do n't need to talk. Besides I have to work late.<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Please, Nathan. I really need this. You've been working late a lot.<\/dialogue>\n    <scene_description>Nathan looks up helplessly at Gabrielle .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Okay, we'll have dinner tonight.<\/dialogue>\n    <scene_description>Gabrielle gets mad , exhales sharply , pulls her hand away . Nathan gives her a pleading look , grabs for her . She moves away .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Yeah. Okay. Be home around seven. Bye.<\/dialogue>\n    <parenthetical>( hangs up . )<\/parenthetical>\n    <dialogue>What? I'm sorry. What was I supposed to do?<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <parenthetical>( disgusted . )<\/parenthetical>\n    <dialogue>I do n't know, Nathan. What are you supposed to do?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>You do n't abandon somebody because they have a physical problem.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>Funny. I thought that's exactly what you did. You just do n't have the courage to admit it to yourself.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE SPACE - DAY<\/stage_direction>\n    <scene_description>Nathan talks . A tear runs down his face , mingles with the blood .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Funny. I still feel guilt. Even dead. One would've hoped. But alas. You know, I really did love Lila. But with her. problem. and then when Gabrielle revealed her feelings. And Gabrielle was so. conventionally female. And she had an accent. I was lost from that moment on. But Gabrielle was right. I could n't admit it to myself, this shallowness of character, let alone to Lila.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Lila and Nathan eat . Lila is in her new , very feminine make - up , wig , and dress . Her table manners are impeccable , almost robotic . There is an awkward silence<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>Are you seeing somebody else, Nathan? I just have to know.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Of course not.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>It would just be helpful to know.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Because, you know, you seem so distant. And you work late every night. And we hardly ever have sex, and when we do, it's. I do n't know. It feels different.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>I'm just preoccupied.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Do you like my new look?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Yeah. It's nice. It's really good.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>I'm trying, you know.<\/dialogue>\n    <parenthetical>( starting to cry . )<\/parenthetical>\n    <dialogue>I'm trying to be what you want. I want to be what you want, Nathan. All I want is to be what you want.<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( embarrassed . )<\/parenthetical>\n    <dialogue>Shh. It's okay.<\/dialogue>\n    <parenthetical>( takes her hand . )<\/parenthetical>\n    <dialogue>It's okay, Lila. You're what I want. You know that. You're exactly what I want.<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( hopefully , sniffing . )<\/parenthetical>\n    <dialogue>Really?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Sure. Of course.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Because I'm really trying, you know. Rosie says maybe only another two years of the elctrolysis.<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( hard to stomach . )<\/parenthetical>\n    <dialogue>That's great.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>I've signed up for a ballet class. And look at my nails! A real girl!<\/dialogue>\n    <scene_description>Lila holds out her hands . Her finger nails are polished fire engine red .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>That's great. It's a great color for you.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Oh, Nathan, let's have a baby!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NURSERY - DAY<\/stage_direction>\n    <scene_description>Lila holds and rocks a swaddled baby . She passes it to Nathan , who looks at it and sees that it 's a baby monkey . Nathan shudders . Lila looks on lovingly , oblivious .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THERAPIST'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Nathan sits with his head in his hands . Wendall listens attentively .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>So anyway, that's the nightmare I've been having lately.<\/dialogue>\n    <character>WENDALL<\/character>\n    <dialogue>Do you suppose it has anything to do with Lila's unusually hairy body?<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>No, why?<\/dialogue>\n    <character>WENDALL<\/character>\n    <dialogue>Well, it seems that since Lila broached the subject of children, you've been on edge and I know you have an issue with the, uh, body hair.<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( revelation . )<\/parenthetical>\n    <dialogue>Oh, I see. Yes, that's something to think about. That's very good. That's what you get the big bucks, right? Ha ha.<\/dialogue>\n    <character>WENDALL<\/character>\n    <dialogue>I just think it might be important to explore your feelings for Lila.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>I love Lila. I mean, she's a wonderful person. And. she loves me! That's no small potatoes. I mean she really loves me. She's sacrificed so much to be in this relationship with me. And she's a good person. A truly good person. How rare is that in this world, eh? And how could I stop loving somebody because of a little physical imperfection, if it can even be called that. I mean, God knows I'm not perfect! What about my eyesight? It's lousy, that's what! Lila's not going to leave me because of my eyesight. What about my penis?<\/dialogue>\n    <character>WENDALL<\/character>\n    <dialogue>And how do you feel about Gabrielle?<\/dialogue>\n    <scene_description>Nathan puts his head in his hands and sighs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAB - DAY<\/stage_direction>\n    <scene_description>Nathan is holding flash cards up to Puff . Puff tentatively reads aloud from the cards . Gabrielle sits nearby on a stool , fish - netted legs crossed , arms crossed , and an angry expression on her face .<\/scene_description>\n    <character>PUFF<\/character>\n    <dialogue>Good - eve - n - ing - lay - dees - and - gent - elmen.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Bravo, Puff! Bravo!<\/dialogue>\n    <scene_description>Puff smiles happily . Nathan and Puff both look over at Gabrielle for her approval . None is forthcoming .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Is n't Puff doing spectacularly, honey?<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>Hmmmph.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Gabby, what is it?<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>Hmmph. Hmmph.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Nathan, we have to talk, you and I.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>Not in front of the boy.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Very well.<\/dialogue>\n    <scene_description>Gabrielle stands , turns , and stomps across the room . Nathan follows her angry , switching hips with his eyes , as does Puff . She exits into the hall . Nathan looks at Puff and shrugs . Puff returns the shrug . Nathan follows Gabrielle into the hall .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALL - CONTINUOUS<\/stage_direction>\n    <scene_description>Gabrielle stands there waiting , a troubled look on her face , her eyes brimming . Nathan emerges , tries to embrace her .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>My little French.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <parenthetical>( pushing him away . )<\/parenthetical>\n    <dialogue>Stop. Get away.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>You have to choose Nathan. It's like Sophie's choice. Only it is Nathan's choice. Did you ever see that movie, Sophie's Choice? It is like that. Only it is this.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Gabby, you know I'm trying to sort things out.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <parenthetical>( hard . )<\/parenthetical>\n    <dialogue>No! It is now that you must decide.<\/dialogue>\n    <parenthetical>( soft . )<\/parenthetical>\n    <dialogue>I love you, Doctor Nathan.<\/dialogue>\n    <parenthetical>( hard . )<\/parenthetical>\n    <dialogue>. but I will not wait. I will not be your chippy. I will not be your little Mademoiselle Parlez - vous side dish.<\/dialogue>\n    <parenthetical>( soft . )<\/parenthetical>\n    <dialogue>My love. I want to have a sweet tiny baby inside my belly. from you.<\/dialogue>\n    <scene_description>Nathan gets a faraway look in his eyes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH - DAY<\/stage_direction>\n    <scene_description>Nathan and Gabrielle sit on a blanket on this otherwise empty beach . There is a light breeze . Gabrielle has one of her breasts exposed and is nursing an infant . Nathan looks at the baby 's face . It is angelic . He looks up and smiles at Gabrielle . She smiles back . They kiss .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALL - DAY<\/stage_direction>\n    <scene_description>Nathan snaps out of his reverie , looks pleadingly at the waiting Gabrielle .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>I love you so much, Gabrielle.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>But? But? There is a `` but,'' Nathan.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>But I do n't know how to leave Lila.<\/dialogue>\n    <scene_description>Gabrielle tears off her lab coat . Underneath she is wearing practically nothing , a skimpy black dress . She throws the lab coat at Nathan , turns and storms down the hall . Nathan watches until she disappears around the corner .<\/scene_description>\n    <character>NATHAN<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>Now there's a butt, Nathan.<\/dialogue>\n    <scene_description>He brings the lab coat up to his face and breathes in her fragrance .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LILA AND NATHAN'S - NIGHT<\/stage_direction>\n    <scene_description>Lila , all prettied up and civilized and manicured , is setting the table for dinner . She is humming . Nathan walks in the door . Lila does n't hear him . He stands in the doorway for a moment , watching Lila from behind . His face is blank . Lila catches sight of him . She 's startled .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>Oh!<\/dialogue>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>I did n't see you there, sneaky boy!<\/dialogue>\n    <parenthetical>( runs over and kisses him . )<\/parenthetical>\n    <dialogue>You're like a boy sneaking in.<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( so bored . )<\/parenthetical>\n    <dialogue>. the back door of a movie theater. Yes, indeed.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>You remember that from my book? I'm touched!<\/dialogue>\n    <parenthetical>( kisses him again . )<\/parenthetical>\n    <dialogue>What's wrong?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Nothing. Hard day. Gon na have a drink.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>I'll make it.<\/dialogue>\n    <parenthetical>( beats him to the portable bar . )<\/parenthetical>\n    <dialogue>I'm so happy, Nathan! Everything's going to be so great! Scotch on the rocks, right?<\/dialogue>\n    <parenthetical>( giggles . )<\/parenthetical>\n    <dialogue>Just kidding. I know what you drink, mister. I know what you drink.<\/dialogue>\n    <parenthetical>( pours and blends and shakes , etc . )<\/parenthetical>\n    <dialogue>Voila!<\/dialogue>\n    <scene_description>Lila hands Nathan a frothy pink concoction with a pineapple wedge sticking out of it .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Nathan stares contemplatively out the window and sips his drink . Lila watches him , comes up behind him , puts her arms around him . Nathan cringes , but tries to cover it . Lila feels the cringe , but pretends not to have . She keeps her arms around him for a moment longer , then casually removes them .<\/scene_description>\n    <character>LILA<\/character>\n    <parenthetical>( fishing . )<\/parenthetical>\n    <dialogue>How's work?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Cruddy, okay? Are you satisfied?<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( pouty . )<\/parenthetical>\n    <dialogue>No. I do n't want your work to be cruddy.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>My assistant quit today. Okay? He was highly valuable to the project.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Oh, baby. I'm sorry. Ca n't you hire somebody else?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>I guess.<\/dialogue>\n    <scene_description>Lila screws up her face in concentration , trying to come with a viable solution to Nathan 's problem .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>Hey! I could come work for you! I know I have n't been all that supportive of this project, but I've come around.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Have you?<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Oh yes, baby! I think that this is a wonderful project you're doing, taking this poor unfortunate, uncivilized creature and turning him into a human being! What a wonderful wonderful compassionate man you are!<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Yes! And I want to help. You wo n't have to pay me, and I was thinking of giving up that crazy nature writing anyway.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>How come?<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Who needs it? I have you and I have being a woman and I have thinking about womanly things! I love being a woman because.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Such as what womanly things?<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Such as my man and how to please him!<\/dialogue>\n    <parenthetical>( kisses him . )<\/parenthetical>\n    <dialogue>Such as making wonderful dinners for my man!<\/dialogue>\n    <parenthetical>( kisses him again , leads him to the table , sits him down . )<\/parenthetical>\n    <dialogue>Such as looking pretty for my man!<\/dialogue>\n    <parenthetical>( kisses him again . )<\/parenthetical>\n    <dialogue>And I'm writing an article on quilting for the Ladies Home Journal!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - NIGHT<\/stage_direction>\n    <character>LILA<\/character>\n    <dialogue>I had sold my fucking soul.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE SPACE - DAY<\/stage_direction>\n    <character>NATHAN<\/character>\n    <dialogue>I let her sell her soul. I stood by as she did it. It's inexcusable.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>At the time though I thought it might help.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - DAY<\/stage_direction>\n    <character>PUFF<\/character>\n    <dialogue>When she came to work with Nathan, she seemed different, gentlemen, I do n't know, somehow soulless.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAB - DAY<\/stage_direction>\n    <scene_description>Puff is in his case in formal evening wear in a makeshift opera box . There is a mannequin woman sitting next to him and a boom box pumping out Beethoven 's Fidelio . Puff seems attentive , refined , occasionally bringing a pair of opera glasses up to his eyes , pinky extended . Outside the case , Nathan and Lila look on . The opera is over . Puff stands , applauds , yells `` Bravo '' , and tosses a rose in the direction of the imaginary stage . The rose hits the Lucite wall and falls to the floor . Nathan and Lila stand and applaud Puff .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Bravo to you, Puff!<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>That was wonderful!<\/dialogue>\n    <scene_description>Puff smiles and performs a foppish bow , almost a curtsy . He picks up the rose , sniffs it , dramatically savoring its scent .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LILA AND NATHAN'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Nathan and Gabrielle are having sex . They are focused and intent , although Gabrielle keeps chatting .<\/scene_description>\n    <character>GABRIELLE<\/character>\n    <dialogue>You were wonderful today, darling. Such authority with the ape - man boy. It made me so hot for you.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Unnhh.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>The way you are taming him, it sends chills down my girlish spine and. everywhere else, too.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Urgh.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>Take me, darling! Tame your little monkey of love!<\/dialogue>\n    <scene_description>There is a mutual climax . A moment of silence , then a spent Nathan rolls off onto his side of the bed . We see that it is really Lila in bed with him , not Gabrielle .<\/scene_description>\n    <character>LILA<\/character>\n    <parenthetical>( sighing . )<\/parenthetical>\n    <dialogue>Well, I'm tamed, Dr. Bronfman.<\/dialogue>\n    <scene_description>Nathan stares up at the ceiling .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>I'm glad. my assistant.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAB - DAY<\/stage_direction>\n    <scene_description>We see a montage of interactions between Nathan , Puff , and Lila . 1 -RRB- Nathan demonstrates the proper way to taste wine : sniffing the cork , swishing the wine around in the glass , sipping , nodding in the affirmative to the waiter . Puff , inside his case , imitates it perfectly . 2 -RRB- Nathan shows Puff a flashcard which reads : `` I 'll start tonight with the foie gras . '' 3 -RRB- Puff is holding up a small hand mirror and trimming nose hairs . Lila applauds . 4 -RRB- Puff juggles three balls while riding a unicycle . 5 -RRB- Puff , dressed as Peter Pan , stands with legs spread and hands on hips . He is singing `` I Got ta Crow . '' 6 -RRB- Puff , dressed in an apron and chef 's hat , is tossing a salad . There are two types of vinegar to choose from . He hesitates , then chooses the balsamic . Nathan and Lila applaud . 7 -RRB- Puff , in a smoking jacket and smoking a pipe , is sitting in an easy chair , next to a fake fire and a fake sleeping dog , and reading a book of poems by Yeats . Lila and Nathan , outside the case , applaud and embrace .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>I think he's ready.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Oh boy!<\/dialogue>\n    <character>PUFF<\/character>\n    <parenthetical>( jumping up . )<\/parenthetical>\n    <dialogue>Oh boy!<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Now, Puff, we're leaving on the electronic collar. I do n't think we'll need to shock you, but just in case.<\/dialogue>\n    <character>PUFF<\/character>\n    <dialogue>Okay. That's fair.<\/dialogue>\n    <scene_description>Nathan unlocks the case . Puff tentatively steps out into the world . He hugs Nathan . It 's a grateful , obsequious , slightly pathetic hug . Nathan hugs him back , but he 's keeping him at a distance . Puff pulls himself out of the hug , but still rests his hands on Nathan 's shoulders and looks him in the eye , almost like a lover . Then he parts with Nathan and goes over to embrace Lila . She graciously receives him . After a moment in the embrace , Puff starts dry - humping Lila . Lila ca n't get out of his clutches .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>No, Puff! Bad!<\/dialogue>\n    <scene_description>Nathan presses a button , which shocks Puff and sends him flying . Puff appears disoriented , then gets up off the floor , brushes himself off , and turns to Lila with a bow of his head .<\/scene_description>\n    <character>PUFF<\/character>\n    <dialogue>My apologies, madam.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>It's okay, Puff.<\/dialogue>\n    <character>PUFF<\/character>\n    <dialogue>Sha n't happen again.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY STREET - DAY<\/stage_direction>\n    <scene_description>Lila , Nathan , and Puff walk along . Puff is astounded by everything he sees . He looks with wonderment at the tall buildings , the cars , the many different types of people . He looks like an idiot .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FANCY RESTAURANT - DAY<\/stage_direction>\n    <scene_description>Puff , Lila , and Nathan are eating lunch . Everything is very proper . Puff is doing wonderfully .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>This is great, Puff. You're doing fine.<\/dialogue>\n    <character>PUFF<\/character>\n    <dialogue>I'm loving this. It's such a treat to be out and about. What a wonderful invention a city is. The immense buildings of glass and steel glinting in the afternoon sun, the smartly dressed women in their best summer frocks, the colorful street vendors.<\/dialogue>\n    <scene_description>The waitress comes by .<\/scene_description>\n    <character>WAITRESS<\/character>\n    <dialogue>How is everything?<\/dialogue>\n    <character>PUFF<\/character>\n    <dialogue>Just spectacular. Great salmon. Fantastico! You've got to give me the recipe! My compliments to the chef!<\/dialogue>\n    <character>WAITRESS<\/character>\n    <dialogue>I'm glad you.<\/dialogue>\n    <scene_description>Puff stands and grabs her and starts humping her .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Puff, no!<\/dialogue>\n    <scene_description>Nathan presses a button on a small black box . Puff falls to the floor . The waitress looks on , sort of confused .<\/scene_description>\n    <character>WAITRESS<\/character>\n    <dialogue>And will that be all today?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI - DAY<\/stage_direction>\n    <scene_description>Lila , Nathan , and Puff are in the back seat of the moving taxi .<\/scene_description>\n    <character>PUFF<\/character>\n    <dialogue>It sha n't happen again. I swear it. I'm just getting my sea legs, you know.<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( patting Puff on the back . )<\/parenthetical>\n    <dialogue>It's an animal urge, Puff. It's nothing to be ashamed of.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Lila! Tell him.<\/dialogue>\n    <scene_description>Lila looks at Nathan , amends her statement .<\/scene_description>\n    <character>LILA<\/character>\n    <parenthetical>( to Puff . )<\/parenthetical>\n    <dialogue>You just have to control it. We're not apes.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Thank you very much for that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAB - DAY<\/stage_direction>\n    <scene_description>Puff is sitting in a chair and facing a screen . The collar is around his neck . Nathan and Lila stand behind him at a slide projector .<\/scene_description>\n    <character>PUFF<\/character>\n    <dialogue>I do n't think this aversion therapy is really necessary, doctor. I understand the problem.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Humor me, Puff. It's essential that I am able to trust you to function independently in the world.<\/dialogue>\n    <character>PUFF<\/character>\n    <dialogue>I bow to your expertise in these matters.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Lila?<\/dialogue>\n    <scene_description>Lila dims the lights and switches on the projector . An image of a pretty , fully clothed woman appears on the screen . Puff 's eyes widen , but he remains seated .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Good. You're doing fine.<\/dialogue>\n    <scene_description>The slide changes to a naked woman standing in a neutral position , no expression on her face . Puff twitches , but stays seated .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Excellent.<\/dialogue>\n    <scene_description>The slide changes to another photo of the same woman in the same position , but with a seductive smile on her face . Puff clutches the arms of the chairs .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>You're doing very nicely, Puff. I'm pleased.<\/dialogue>\n    <scene_description>The slide changes to another picture of the same woman , this time she is naked , has her back to the camera , is sticking her butt out , and looking over her shoulder at the viewer with shiny , heavily lipsticked , pursed lips . Puff is shaking .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Great.<\/dialogue>\n    <scene_description>Puff leaps out of his chair screaming and lunges for the screen . Nathan grabs the black box and jolts him . Puff goes flying in the air and lands with a crack . He heaves for a while , then leaps up and runs for the screen again . Again Nathan shocks him . Again he lands on the floor . He heaves , stands , lunges for the screen again . Nathan shocks him . This happens seven more times . Smoke is pouring out from the collar . Puff struggles to his feet . Looks at the screen . He shrugs .<\/scene_description>\n    <character>PUFF<\/character>\n    <parenthetical>( unimpressed . )<\/parenthetical>\n    <dialogue>Eh.<\/dialogue>\n    <scene_description>Puff sits down in his chair , and studies his finger nails . Nathan switches off the projector .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Excellent work, Puff. Extra desert tonight.<\/dialogue>\n    <character>PUFF<\/character>\n    <dialogue>Yahoo!<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Tomorrow, the acid test.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RESTAURANT - DAY<\/stage_direction>\n    <scene_description>This is a Hooters - type establishment called `` Chester 's . '' The waitresses are very busty and in Tight t - shirts which are emblazoned with the name of the restaurant . Lila , Nathan , and Puff sit at a table . Puff studies his menu intently , not daring to look up . Lila looks around uncomfortably . A waitress approaches .<\/scene_description>\n    <character>CHESTER'S WAITRESS<\/character>\n    <dialogue>How you all doin' today?<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( cheerily . )<\/parenthetical>\n    <dialogue>Very well.<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( awkwardly . )<\/parenthetical>\n    <dialogue>Very well.<\/dialogue>\n    <character>PUFF<\/character>\n    <parenthetical>( looking down . )<\/parenthetical>\n    <dialogue>Very well.<\/dialogue>\n    <character>CHESTER'S WAITRESS<\/character>\n    <dialogue>Good enough! What can I get for you?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Puff, why do n't you order first?<\/dialogue>\n    <character>PUFF<\/character>\n    <parenthetical>( looking at menu . )<\/parenthetical>\n    <dialogue>Uh, what's a Reuben, please?<\/dialogue>\n    <scene_description>The waitress leans over to study the menu . Her breasts are in Puff 's face .<\/scene_description>\n    <character>CHESTER'S WAITRESS<\/character>\n    <dialogue>The what, honey? Oh, the Reuben? That's a sandwich with corned beef and sauer.<\/dialogue>\n    <character>PUFF<\/character>\n    <dialogue>That's fine. That's what I'll have. Corned beef is a good food.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - DAY<\/stage_direction>\n    <scene_description>Lila , Nathan , and Puff walk along .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Puff, I'm proud of you! You did remarkably well under difficult circumstances.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Absolutely!<\/dialogue>\n    <scene_description>Puff jumps up and down excitedly .<\/scene_description>\n    <character>PUFF<\/character>\n    <dialogue>Did I? I tried so hard! I really concentrated! Oh, I'm so happy!<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>And because you did so well, we have a little surprise for you.<\/dialogue>\n    <character>PUFF<\/character>\n    <parenthetical>( happily . )<\/parenthetical>\n    <dialogue>Extra dessert?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Even better.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAB - DAY<\/stage_direction>\n    <scene_description>Lila , Nathan , and Puff enter . Puff sees his Lucite case . It has been transformed into a bachelor pad . Inside is a king - size bed , a TV , a couch , coffee table , shelves lined with books , a small kitchenette . There is a curtain which can be drawn for privacy . Puff is taken aback .<\/scene_description>\n    <character>NATHAN AND LILA<\/character>\n    <dialogue>Surprise!<\/dialogue>\n    <scene_description>Puff gasps and runs into the room . He is thrilled . Nathan holds up a key .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Free to come and go as you please. There's some `` mad money'' in the night table drawer.<\/dialogue>\n    <character>PUFF<\/character>\n    <parenthetical>( taking the key , hugging Nathan . )<\/parenthetical>\n    <dialogue>It's wonderful! Do you think I'm ready? Do you really?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>I trust that you'll make good, mature decisions. I trust that you'll do the proper thing.<\/dialogue>\n    <character>PUFF<\/character>\n    <dialogue>Oh, I will!<\/dialogue>\n    <parenthetical>( gravely . )<\/parenthetical>\n    <dialogue>Your very trust has instilled an enormous sense of responsibility in me. I do n't want to disappoint you.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Good. Remember, when in doubt : Do n't ever do what you really want to do.<\/dialogue>\n    <character>PUFF<\/character>\n    <parenthetical>( taking it in . )<\/parenthetical>\n    <dialogue>Got it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LILA AND NATHAN'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Lila and Nathan sit as far as possible from each other and read books . Nathan looks at his watch .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PUFF'S CASE - NIGHT<\/stage_direction>\n    <scene_description>Puff , dressed identically to Nathan , reads Moby Dick and smokes a pipe . He distractedly taps his foot , stands and studies a Monet print on the wall . His foot is still nervously tapping . He checks his watch .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LILA AND NATHAN'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Nathan stands .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>I'm going to go down and check on Puff. See how he's holding up.<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( stretching . )<\/parenthetical>\n    <dialogue>Should I come with?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Nah. You just relax. How's the book?<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( lazily , happily . )<\/parenthetical>\n    <dialogue>Ummm. It's good.<\/dialogue>\n    <scene_description>Nathan kisses Lila on the forehead .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>I wo n't be long.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - NIGHT<\/stage_direction>\n    <scene_description>Nathan drives with a determined look on his face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GABRIELLE'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>The apartment is a mess . Every single light is on . Gabrielle is lounging in a stained nightshirt with a dopey cartoon bear on the front . She 's got some sort of pimple medication dabbed on her face . She unconsciously but ferociously bites her nails as she watches TV and talks on the phone . There is no trace of a French accent .<\/scene_description>\n    <character>GABRIELLE<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>You're kidding! Holy shit.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Yeah, no duh! I had a wild hair up my ass over that for a month.<\/dialogue>\n    <scene_description>There 's a knock at the door .<\/scene_description>\n    <character>GABRIELLE<\/character>\n    <dialogue>Yeah? What?<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hi. It's Nathan.<\/dialogue>\n    <scene_description>Gabrielle 's eyes widen . She jumps up from the couch and starts straightening .<\/scene_description>\n    <character>GABRIELLE<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Call you back.<\/dialogue>\n    <parenthetical>( hangs up , assumes French accent . )<\/parenthetical>\n    <dialogue>You bastard! What do you want?<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I just want to talk.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <parenthetical>( ripping off her nightshirt . )<\/parenthetical>\n    <dialogue>We have nothing to say! You are a rotten bastard, that's what!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Nathan stands there leaning against the door .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Please. Just one minute of your time.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Why? You've made your decision, Mister Stinky American! Now I hate you! No, I do n't hate you ; I do n't even think about you!<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>I've got some things to tell you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GABRIELLE'S APARTMENT - CONTINUOUS<\/stage_direction>\n    <scene_description>Gabrielle is standing in front of a mirror , holding different sexy outfits up to herself , trying to decide .<\/scene_description>\n    <character>GABRIELLE<\/character>\n    <dialogue>Like what?<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Well, I think it would be easier if I could talk to you in person.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>What for?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>We hear banging and rustling and arranging coming from inside the apartment .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Well, I think.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>You think too much. I need a man who does n't think so much but acts more than he thinks. is what I need!<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>You heard me! You make me sick when you pretend to not understand what I am saying to you! Go away from here!<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( turning away . )<\/parenthetical>\n    <dialogue>Well, look, I'm sorry to have bothered you.<\/dialogue>\n    <scene_description>He starts to head down the hall .<\/scene_description>\n    <character>GABRIELLE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( beat , then screaming . )<\/parenthetical>\n    <dialogue>All right, already! Come in if you must! The door's open, you son of a bitch!<\/dialogue>\n    <scene_description>Nathan heads back to the apartment , tries the knob . The door 's open . He enters .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GABRIELLE'S APARTMENT - CONTINUOUS<\/stage_direction>\n    <scene_description>The lights are low . The place is neat . Cool jazz plays quietly in the background . Candles are lit . Gabrielle is nowhere to be found . Nathan takes it all in . It 's quite seductive .<\/scene_description>\n    <character>GABRIELLE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>In here, you lousy piece of merde.<\/dialogue>\n    <scene_description>Nathan follows her voice . He exits into the bedroom .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GABRIELLE'S BEDROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Candles in here also . Gabrielle , now made up and in a satin teddy , lounges in bed , eating cherries from a bowl . Nathan just stares . She is slightly out of breath , but trying to conceal it . A film of perspiration glistens on her brow .<\/scene_description>\n    <character>GABRIELLE<\/character>\n    <parenthetical>( testy . )<\/parenthetical>\n    <dialogue>Well?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>God, you're beautiful.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>Please. I look a mess.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>No. You look so beautiful.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>Anyway. Come already to the point.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>I'm. I'm going to leave Lila. I ca n't stop thinking about you.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>I've moved on.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>I've been seeing Johannsen in chemistry.<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( raging . )<\/parenthetical>\n    <dialogue>That goddamn Neanderthal? I'm the one who gave him the idea for the combination bug spray - sun screen! Did you know that?!<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <parenthetical>( calm , dismissive . )<\/parenthetical>\n    <dialogue>That's not how he tells it.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Of course not, that Swedish thief! He's a thief of hearts!<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I love you, Gabrielle.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <parenthetical>( dismissive . )<\/parenthetical>\n    <dialogue>Hunh.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Just give me some time to let Lila down easily. She's a really nice girl and I do n't want to hurt her more than is necessary.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You hurt me, you know, when you made Nathan's Choice. Does that not even matter to you, you pig?<\/dialogue>\n    <scene_description>Gabrielle cries quietly . Nathan moves closer to her . He strokes her hair .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Can you ever forgive me?<\/dialogue>\n    <scene_description>Gabrielle looks up at him . Her expression is noncommittal and pouty , but she grabs his arm and pulls him down on top of her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRIP CLUB - NIGHT<\/stage_direction>\n    <scene_description>Puff , dressed a bit like he 's a Victorian dandy , sits in the front row and watches a naked woman on stage dancing . A topless cocktail waitress comes by with a fresh drink for him . She takes away his empty glass . He is horribly drunk and holding himself with exaggerated rigidity - an amateur drinker 's attempt to look sober .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LILA AND NATHAN'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Nathan enters . Lila sits on the couch still reading . She looks up .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>Nathan kisses her on the forehead .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>You were gone a long time.<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( sits down next to her . )<\/parenthetical>\n    <dialogue>Yeah. Puff and I got into a big, philosophical discussion. He's really quite well read, considering he's only been literate for a month now. He's going to make us famous, Lila.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>So he's doing okay?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Seemed fine. Quiet evening enjoying his new digs.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>That's funny because, you know, I just went and picked him up at some flophouse on the lower eastside. He called here when he ran out of his `` mad'' money after spending an entire evening drinking, watching strippers, and fucking a whore!<\/dialogue>\n    <parenthetical>( then casually . )<\/parenthetical>\n    <dialogue>Oh, and what did you do tonight, honey?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>And what did you do tonight, honey?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>I've fallen in love with somebody else, Lila.<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( pointedly . )<\/parenthetical>\n    <dialogue>And what did you do tonight, honey?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>I fucked her! Okay? I fucked her. I'm sorry. But that's what the hell I did.<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( standing . )<\/parenthetical>\n    <dialogue>Do you know what I gave up to be with you?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>I gave up my soul, my beliefs. I gave up my body hair!<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Yeah, well, I'm sorry. The human heart is a strange thing.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>How the hell would you know anything about the human heart?<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( moving to her . )<\/parenthetical>\n    <dialogue>Lila.<\/dialogue>\n    <scene_description>Lila turns around and slugs him , square on the jaw , hard , knocking him to the floor .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>How's that for ladylike, Nathan.<\/dialogue>\n    <scene_description>Lila opens up the hall closet and pulls out a suitcase .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - NIGHT<\/stage_direction>\n    <scene_description>Lila looks pale and shaken . She smokes .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>For two weeks I holed myself up in a motel room. I did n't even know who I was. My world had crumbled. There is nothing that makes you feel dirtier than finally deciding to sell your soul and finding no buyers.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - DAY<\/stage_direction>\n    <scene_description>Lila lies in bed watching TV . She is a mess . The room is a mess . The wig is off . There 's hair sprouting on her face . The curtains are drawn . There is a knock at the door .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>No maid service! For God's sake, ca n't you read the fucking `` do not disturb'' sign on the fucking doorknob?<\/dialogue>\n    <character>ROSE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Lila, it's Rosie.<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Go the fuck away, Rosie.<\/dialogue>\n    <character>ROSE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Please, honey, let me in.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Rose, please go away.<\/dialogue>\n    <character>ROSE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Lila, I want to help you.<\/dialogue>\n    <scene_description>Lila gets up , drags herself to the door , and opens it . Rose stands there trying not to let it show how lousy Lila looks .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>How'd you know where I was?<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>Nathan told my brother.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Your brother should have his license revoked.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>Yeah, although I'm not going to turn him in. I like hearing the dirt.<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( suddenly crying . )<\/parenthetical>\n    <dialogue>Why did n't your brother tell you that Nathan was having an affair?<\/dialogue>\n    <scene_description>Rose holds Lila , who hangs on her as she weeps .<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>I do n't know, honey. I do n't know. Maybe he just did n't want to get involved.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Oh, Rosie.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>Let's get you out of here. Come stay with me until you get your strength back.<\/dialogue>\n    <parenthetical>( cheerily . )<\/parenthetical>\n    <dialogue>Free electrolysis, if you want it! We'll get that face of yours cleared up in no time.<\/dialogue>\n    <scene_description>Lila mulls it over . She looks back at the hotel room . It 's depressing . She sniffs in her snot .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>Yeah. I got ta get myself together. I want to look good. If I'm gon na fuck with Nathan, and I am, I want him to want to fuck me when I do it.<\/dialogue>\n    <scene_description>MONTAGE SEQUENCE This sequence is Lila getting her strength back , both emotional and physical . It is intercut with scenes of Nathan and Gabrielle taking Puff on the lecture circuit . 1 -RRB- Lila eating a good breakfast . 2 -RRB- Lila struggling to do push - ups . 3 -RRB- Lila getting electrolysis on her face . 4 -RRB- Lila reading Nietzsche . 5 -RRB- Lila jogging .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LECTURE HALL - DAY<\/stage_direction>\n    <scene_description>A bearded psychologist addresses a crowd of bearded psychologists .<\/scene_description>\n    <character>BEARDED PSYCHOLOGIST<\/character>\n    <dialogue>and so without further ado, I give you Dr. Nathan Bronfman and Puff.<\/dialogue>\n    <scene_description>The room bursts into applause as Nathan and Puff walk out onstage , both in tuxes . Nathan stands behind a podium , Puff sits casually , legs crossed , in a chair .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Thank you. Let's get right to it. Here we have Puff the day of his capture.<\/dialogue>\n    <scene_description>A video of Puff naked in his Lucite case , clawing at it , shrieking like a banshee , and neurotically hopping up and down , is projected onto a screen behind Nathan . There is a collective gasp from the audience . Puff watches the video with amused detachment . The video stops .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>And here he is today, a scant three months later.<\/dialogue>\n    <scene_description>Puff stands , bows slightly to the audience . They burst into vigorous applause .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Puff, why do n't you say a few words to the assemblage.<\/dialogue>\n    <character>PUFF<\/character>\n    <dialogue>It would be my pleasure, doctor.<\/dialogue>\n    <parenthetical>( behind podium . )<\/parenthetical>\n    <dialogue>Distinguished gentlemen and ladies of the psychological community, I stand before you today, a living testament to the amazing skill of Dr. Nathan Bronfman. To say that he took me from crayons to perfume would be a vast understatement. Dr. Bronfman took me from playing with my own feces, then to crayons, and then to an appreciation of the complex works of Franz Kline, Joseph Beuys, and Marcel Duchamp. From compulsive masturbation to.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACKSTAGE - A BIT LATER<\/stage_direction>\n    <scene_description>Gabrielle waits in the wings .<\/scene_description>\n    <character>PUFF<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>And, so, goodnight, adieu, until we meet again, au revoir.<\/dialogue>\n    <scene_description>The audience bursts into thunderous applause . Gabrielle joins in . Nathan and Puff hurry off stage . Gabrielle embraces Nathan .<\/scene_description>\n    <character>GABRIELLE<\/character>\n    <dialogue>You were wonderful!<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Was I? I was n't a tad stiff?<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>Do n't be silly!<\/dialogue>\n    <parenthetical>( hugs Puff . )<\/parenthetical>\n    <dialogue>And you were wonderful, too! I loved the way you said'' au revoir.''<\/dialogue>\n    <scene_description>Puff and Gabrielle exchange a look . She discreetly pinches Puff 's butt , smiles , winks . Nathan does n't see this . He puts his arm around Gabrielle .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Come on, you two. Let's go celebrate!<\/dialogue>\n    <scene_description>Nathan and Gabrielle walk on ahead . Puff tags behind , watching Gabrielle 's delightful walk .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - LATER<\/stage_direction>\n    <scene_description>Puff sits up on his bed , looking dejected . He listens to the sounds of Nathan and Gabrielle having sex in the adjoining room . He looks at his watch , gets up , gets dressed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. X RATED BOOKSTORE - LATER<\/stage_direction>\n    <scene_description>A sweaty , sick - looking Puff watches a porno film in a little booth . It ends . He steps out into the fluorescent glare of the store . He walks out past several skulking degenerates .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>Puff exits the bookstore , walks down the street checking out the tawdry hookers . He chooses one . She leads him into a dark alley . MONTAGE 6 -RRB- Lila in a Tai Chi class . 7 -RRB- Lila doing jumping jacks . 8 -RRB- Lila reading The Art of War . 9 -RRB- Lila doing stomach crunches . 10 -RRB- Lila doing chin ups . 11 -RRB- Lila swimming laps . 12 -RRB- Lila getting more electrolysis .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LECTURE HALL - DAY<\/stage_direction>\n    <scene_description>Puff is on stage demonstrating his ballroom dancing technique . He is waltzing with Gabrielle . Nathan stops the music , and picks up a microphone .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Now the tango.<\/dialogue>\n    <scene_description>Nathan puts a tango record on . Gabrielle and Puff perform expertly . The audience applauds .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Gabrielle , Nathan , and Puff are eating dinner .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>I think it went swimmingly today. You two make an excellent team.<\/dialogue>\n    <scene_description>Gabrielle and Puff look at each other . She touches Puff 's knee under the table . Nathan is busy eating .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANOTHER HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Puff paces as he listens to sex noises from the next room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAD NEIGHBORHOOD - NIGHT<\/stage_direction>\n    <scene_description>Puff walks along checking out the prostitutes . He signals to one with a nonchalant jerk of his head . MONTAGE 13 -RRB- Lila doing one - handed push - ups . 14 -RRB- Lila rolling on the ground with a rifle . 15 -RRB- Lila , in boxing gloves , punching a bag . 16 -RRB- Lila reading the Kama Sutra . 17 -RRB- Lila getting electrolysis .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LECTURE HALL - DAY<\/stage_direction>\n    <scene_description>Puff addresses the crowd . Lila and Nathan look on adoringly from the wings .<\/scene_description>\n    <character>PUFF<\/character>\n    <dialogue>To be taken from the depths of ignorance and depravity and raised to heights of culture and refinement! This is the priceless gift bestowed upon me by Dr. Nathan Bronfman.<\/dialogue>\n    <scene_description>Thunderous applause .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALLEY - NIGHT<\/stage_direction>\n    <scene_description>Puff leans against the wall drinking whiskey from a bottle , as a prostitute , down on her knees in front of him , does her business . The look on his face is not one of pleasure or even release . It is a look of decay . MONTAGE 18 -RRB- Lila does chin ups . Her sweaty , muscular arms glisten in the sun . 19 -RRB- Lila wind sprinting . 20 -RRB- Lila getting electrolysis . Rose moves away from her .<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>Done!<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( standing triumphantly . )<\/parenthetical>\n    <dialogue>Ready!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAB - DAY<\/stage_direction>\n    <scene_description>Nathan and Gabrielle , in lab coats , sit chatting with Puff . Puff sneaks glances at Gabrielle 's legs and cleavage . She makes his viewing possible .<\/scene_description>\n    <character>GABRIELLE<\/character>\n    <parenthetical>( off clipboard . )<\/parenthetical>\n    <dialogue>So we've got seventeen new bookings for speaking engagements, my wonderful men.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Terrific. We're all going to be rich and famous.<\/dialogue>\n    <scene_description>Nathan kisses Gabrielle .<\/scene_description>\n    <character>PUFF<\/character>\n    <dialogue>Thanks to you, Nate.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Thanks to you, Buddy. And your diligence and intelligence and perseverance.<\/dialogue>\n    <scene_description>Puff blushes .<\/scene_description>\n    <character>NATHAN<\/character>\n    <parenthetical>( to Gabrielle . )<\/parenthetical>\n    <dialogue>And of course to you, my sweet, for your. moral support.<\/dialogue>\n    <character>PUFF<\/character>\n    <parenthetical>( applauding . )<\/parenthetical>\n    <dialogue>here, here.<\/dialogue>\n    <scene_description>Gabrielle kisses Nathan while glancing at Puff . A midget in a business suit enters . It 's the sour - looking guy from the freak show .<\/scene_description>\n    <character>MIDGET<\/character>\n    <dialogue>Excuse me, are you Dr. Bronfman?<\/dialogue>\n    <character>PUFF<\/character>\n    <dialogue>Is that a little boy?<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( teaching . )<\/parenthetical>\n    <dialogue>No, Puff. This man is a midget. In actuality, they prefer to be called `` Little People.'' Is n't that correct, my good man?<\/dialogue>\n    <character>MIDGET<\/character>\n    <dialogue>Yes sir. Little People.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>This Little Person is actually a fully grown adult man, Puff, believe it or not, who, due to a genetic anomaly, is miniature but perfectly proportioned.<\/dialogue>\n    <parenthetical>( to midget . )<\/parenthetical>\n    <dialogue>Turn, please.<\/dialogue>\n    <scene_description>The midget turns .<\/scene_description>\n    <character>PUFF<\/character>\n    <parenthetical>( jotting in notebook . )<\/parenthetical>\n    <dialogue>Interesting.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Now, my diminutive friend, what can I do for you?<\/dialogue>\n    <scene_description>The midget pulls out a gun .<\/scene_description>\n    <character>MIDGET<\/character>\n    <dialogue>You can get into that goddamn Lucite bachelor pad for starters, Goliath.<\/dialogue>\n    <scene_description>Nathan , Gabrielle , and Puff look frightened . They stand and back into the case .<\/scene_description>\n    <character>MIDGET<\/character>\n    <parenthetical>( to Puff . )<\/parenthetical>\n    <dialogue>Not you, Joyboy.<\/dialogue>\n    <scene_description>Puff stops in his tracks . Nathan and Gabrielle continue to back into the case .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>What is this about? We have no money on these premises. Please if you are from some little person terrorist fringe group.<\/dialogue>\n    <character>MIDGET<\/character>\n    <parenthetical>( loud and scary . )<\/parenthetical>\n    <dialogue>Shut up!<\/dialogue>\n    <scene_description>Nathan and Gabrielle hurry into the case . The midget closes and locks the door behind them . Puff is frozen with fear . Lila enters . She looks different now . Savage . Strong . Kind of sexy . She wears guerilla - like black clothing and a beret over her closely hacked - off hair . She also carries a gun .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Lila?<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>That's Lila?<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Shut up! Yeah, this is Lila, cunt. And do n't let the hirsutism fool you. I know more about being a woman, and more about the black hearts of men than you, in your pretty little powdered, bullshit fantasy world, can ever imagine. I know the darkness and cruelty of nature, sweetie pie.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Lila, you do n't intend to hurt us, do you?<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Eat shit, thumbtack dick!<\/dialogue>\n    <parenthetical>( to Midget . )<\/parenthetical>\n    <dialogue>Thank you, Frank. You're the best.<\/dialogue>\n    <scene_description>Lila kisses the midget on the top of the head .<\/scene_description>\n    <character>MIDGET<\/character>\n    <dialogue>Anything for you, Lila.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>See, Frank and I are kindred spirits. We both know what it's like to be shunned because of our appearance. We both know how easily that turns into self - hatred.<\/dialogue>\n    <character>MIDGET<\/character>\n    <dialogue>Amen. Praise the Lord and pass the ammunition!<\/dialogue>\n    <scene_description>Rose enters hurriedly , carrying rope . She bends over and kisses Frank hard on the mouth for a long moment , then :<\/scene_description>\n    <character>ROSE<\/character>\n    <parenthetical>( to Lila . )<\/parenthetical>\n    <dialogue>Sorry I'm late, parking is a bitch at this place.<\/dialogue>\n    <scene_description>Lila looks over and sees the two trained mice in the Lucite case sitting at a tiny table and very politely eating their lunch . One of the mice makes eye contact with Lila .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>Lila is naked in the bathroom and about to kill herself when she makes eye contact with the mouse on the shelf next to the tub .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAB - DAY<\/stage_direction>\n    <scene_description>Lila brings her focus back to the room . Everyone is watching her , waiting for some direction .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>Uh, tie them up, Rosie. If you will.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>With pleasure.<\/dialogue>\n    <scene_description>Frank keeps the gun on Gabrielle and Nathan . Rose enters the case and begins to tie them up and gag them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - DAY<\/stage_direction>\n    <scene_description>Puff is sitting in the car . The electronic collar is back around his neck . Lila holds the black control box , and the Lucite case with the two mice in it . She stands outside the car with Frank and Rose .<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>I'm going to miss you.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Oh, Rosie.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>And I'm going to miss the lifestyle having you as a client has afforded me.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Shut up, you.<\/dialogue>\n    <scene_description>Lila laughs and hugs her .<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>I like you so much, with or without hair.<\/dialogue>\n    <parenthetical>( confidentially . )<\/parenthetical>\n    <dialogue>But do n't spread that around. Bad for business.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>I'm really glad you two found each other.<\/dialogue>\n    <scene_description>Frank and Rose put their arms around each other . Frank is exactly crotch - high to Rose .<\/scene_description>\n    <character>MIDGET<\/character>\n    <dialogue>We're soul mates.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>Souls have nothing to do with it, babe.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>I'll be in touch.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>No you wo n't. But it's okay. You have stuff you got ta do.<\/dialogue>\n    <scene_description>Lila tears up . So does Rose . They just stand there for a moment , then :<\/scene_description>\n    <character>LILA<\/character>\n    <parenthetical>( choked . )<\/parenthetical>\n    <dialogue>Got ta go.<\/dialogue>\n    <scene_description>Lila hurries around the car , gets in , and drives off . Rose and Frank embrace . Frank nestles . Rose sighs contentedly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY - AFTERNOON<\/stage_direction>\n    <scene_description>Lila 's car drives along . Puff looks nervously out the window .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - EVENING<\/stage_direction>\n    <scene_description>Lila and Puff are driving in silence on a dirt road through the woods . Lila pulls off the road , drives to a place where the car will be camouflaged , and parks .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>Stay.<\/dialogue>\n    <scene_description>Puff stays in the car . Lila gets out , pulls the Lucite mouse case from the back seat .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAR - CONTINUOUS<\/stage_direction>\n    <scene_description>Lila puts the case on the ground and unlatches it . The mice looks confused at first . Then the male mouse pushes the door open and holds it for the female mouse , who exits . The male mouse follows her , and closes the door behind him . He turns to Lila , nods , then extends his arm for the female mouse to hold on to . She does , and they walk off together on their hind legs into the woods . Lila sighs , and turns to Puff .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>Out.<\/dialogue>\n    <scene_description>Puff gets out casually , then makes a mad dash for the road . Lila calmly presses the button on her black box . Puff spasms and falls to the ground .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>Bad.<\/dialogue>\n    <scene_description>Puff stays on the ground , breathing hard .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>Get up.<\/dialogue>\n    <scene_description>Puff does .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>Take off your clothes.<\/dialogue>\n    <scene_description>Puff does . So does Lila . She is covered with hair , except for her face . But whereas Puff is now white and soft - looking , Lila is tan and taut and muscular . This is a reversal of the way both of them were when they first met . Puff seems taken with her body .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>We're going back to nature, you and I. I'm going to retrain you. I'm going to make you free again if I have to kill you doing it.<\/dialogue>\n    <character>PUFF<\/character>\n    <dialogue>But I like being human now.<\/dialogue>\n    <scene_description>Lila shocks Puff . He falls to the ground .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>You what?<\/dialogue>\n    <character>PUFF<\/character>\n    <dialogue>I want to be the way I was before.<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( sweet . )<\/parenthetical>\n    <dialogue>Good. I'll show you how, apey.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - A BIT LATER<\/stage_direction>\n    <scene_description>Puff and Lila have built makeshift shelter out of leaves and twigs . They are sitting around a campfire , naked and dirty , roasting a couple of skinned squirrels on sticks . The black box rests in Lila 's lap . Puff looks at the roasting squirrel , is repulsed .<\/scene_description>\n    <character>PUFF<\/character>\n    <dialogue>Nice night.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Talking is to be kept to a minimum. Eventually, when we are ready, there will be none. Language was invented so that people could lie to each other and to themselves. There is no other reason.<\/dialogue>\n    <scene_description>Puff begins to disagree . Lila 's hand hovers over the button . He stops himself .<\/scene_description>\n    <character>PUFF<\/character>\n    <parenthetical>( confused . )<\/parenthetical>\n    <dialogue>I agree?<\/dialogue>\n    <scene_description>Lila shocks Puff .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>You lose. Any answer is the wrong answer.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAKESHIFT SHELTER - NIGHT<\/stage_direction>\n    <scene_description>Puff and Lila lie seperately under blankets of moss . The breathing is heavy . Both seem to be sleeping . Puff opens his eyes and tries to extricate himself from the moss without making any noise . Lila presses the button and Puff falls in a quivering mess .<\/scene_description>\n    <character>LILA<\/character>\n    <parenthetical>( whisper . )<\/parenthetical>\n    <dialogue>You'll thank me eventually, Puff. Well, you wo n't thank me, because we wo n't be speaking, but you'll sort of thank me with a special look, the look a dog gives you to let you know he loves you.<\/dialogue>\n    <character>PUFF<\/character>\n    <dialogue>What an enchanting picture you paint of our future together.<\/dialogue>\n    <scene_description>Lila shocks Puff once again . As he spasms , we :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - DAY<\/stage_direction>\n    <scene_description>Puff testifies .<\/scene_description>\n    <character>PUFF<\/character>\n    <dialogue>And so commenced my reeducation, gentlemen. Lila taught me so much. She was a stern but fair teacher. And over time, I began to remember the carefree joy of living in a pure state of being. But something else happened as well, something perhaps distinctly human. I began to fall in love with Lila.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - DAY<\/stage_direction>\n    <scene_description>Lila and Puff are naked and collecting mushrooms and berries . Time has passed . Both Lila and Puff are dirtier and hairier . Puff still wears his collar . Lila bends over to pick a mushroom . Puff looks at her from behind .<\/scene_description>\n    <character>PUFF<\/character>\n    <dialogue>Boy, you look so good from this ang.<\/dialogue>\n    <scene_description>Lila turns , puts her finger to her lips in a gentle `` no talking '' reminder , then shocks the hell out of Puff . He spasms and falls on top of her , knocking her to the ground . He regains his composure , finds himself on top of Lila . They look at each other for a moment . Then they kiss . It 's a violent kiss . They grope each other . This is primal sex now . In the dirt . Sweaty . Loud grunting . Lila even presses the shock button at the right moment . Puff seems to like it in this context .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GABRIELLE'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Nathan and Gabrielle are in bed , making love . It is gentle , romantic , in good taste - in direct contrast to the animal , violent sex Puff and Lila are having . They finish . Nathan pulls himself off of Gabrielle and falls onto his back , staring up at the ceiling .<\/scene_description>\n    <character>GABRIELLE<\/character>\n    <dialogue>A penny for your thoughts, mon cheri.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>I do n't know. Something's missing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Gabrielle , Nathan , and Nathan 's parents eat dinner . Nathan 's parents are in clown make - up . There is a long silence . Nathan is still sad . Gabrielle steals glances at Nathan 's parents . Finally Nathan speaks .<\/scene_description>\n    <character>NATHAN<\/character>\n    <parenthetical>( uninterested . )<\/parenthetical>\n    <dialogue>So, Mother and Father, how's Godspell going?<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>How did you know we.<\/dialogue>\n    <scene_description>The parents look at each other burst out laughing .<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>Tell him, Harold.<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>It's going famously, son, famously!<\/dialogue>\n    <character>NATHAN<\/character>\n    <parenthetical>( despondent . )<\/parenthetical>\n    <dialogue>I'm glad.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>Harold, ask Nathan what's wrong.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>Yes, please, somebody ask him what is wrong.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Nathan and Gabrielle are in bed . Nathan stares up at the ceiling . Finally :<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>I want our boy back.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <parenthetical>( sadly . )<\/parenthetical>\n    <dialogue>Oui.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>That bitch. I worked so hard. We worked so hard, you and I. He would've made us famous.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>We still have you and I.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>I know. And that's great. But it would be great in a better way, not a better way but a different way, if I could find him and bring him back.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>Where do we look for little lost Puff?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>I have some thoughts. I think that hairy bitch is somewhere trying to turn him back into an ape.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>That is horrible. Apes are dirty. No?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>You better believe they're dirty! And smelly! And messy! And they do n't know their forks from their assholes!<\/dialogue>\n    <scene_description>Nathan , seemingly in the grips of a sudden horrific migraine , scrunches his face and holds his ears . He relaxes a bit , and gets out of bed . He walks across the room , pulls on some pants , and picks up a container called `` Stop Buggin ' Me , Sunny . ''<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>I'm going alone. This could be dangerous.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <parenthetical>( pulling covers up and turning away from him onto her side . )<\/parenthetical>\n    <dialogue>Okay, my sweet. Good night.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>A little resistance would be nice, damn it.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <parenthetical>( without opening her eyes . )<\/parenthetical>\n    <dialogue>Please let me go with you.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>Okay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - DAY<\/stage_direction>\n    <scene_description>Nathan is driving along a wooded dirt road . He 's in his immaculate safari suit . He looks tired . He stops the car , pulls out a gun , and gets out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - CONTINUOUS<\/stage_direction>\n    <scene_description>Nathan gets out of the car and runs into the woods . We follow .<\/scene_description>\n    <character>NATHAN<\/character>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>Aha!<\/dialogue>\n    <scene_description>He looks around there is no one there . He sighs and walks back to his car , pulls out a map and marks an area with a red X.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL - NIGHT<\/stage_direction>\n    <scene_description>Nathan is in his underwear . He is ironing his safari suit as he talks on the phone .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>No luck yet, my sweet.<\/dialogue>\n    <scene_description>We see an unfolded map on the bed . There are red X 's in almost all the state parks along the east coast .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST - EVENING<\/stage_direction>\n    <scene_description>Lila and puff are having sex again next to a campfire . Now Lila is wearing the collar , and Puff is giving her well timed shocks . They giggle and kiss after they finish . Puff sits up . He holds his stomach and grunts hungrily . Lila grunts back . She stands and retrieves a sack of berries . Puff and Lila greedily , gluttonously stuff their faces . Lila takes some berries and smashes them against Puff 's face . She laughs heartily . He looks annoyed for a second , but then grabs a handful and squishes them against Lila 's face . Pretty soon they are having a berry war and are covered in purple stains . They hug each other , out of breath and laughing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - NIGHT<\/stage_direction>\n    <scene_description>Lila smiles .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>It was paradise.<\/dialogue>\n    <parenthetical>( beat , sadly . )<\/parenthetical>\n    <dialogue>At least for a tiny little while.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST - DAY<\/stage_direction>\n    <scene_description>Lila and Puff lie naked in a tree , lazily soaking up the midday sun . There is a rustling in the bushes . They both look up , alert but calm . Nathan , immaculate in his safari suit , appears in the clearing . He holds a gun .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Aha! Finally. I've covered almost the entire seaboard and parts of eastern Ohio.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Ugnh.<\/dialogue>\n    <character>PUFF<\/character>\n    <dialogue>Ugnh.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Oh please, is that as articulate as you can be after all the time I spent teaching you? We've discussed Wittgenstein, for Christ's sake. Not that you ever had anything very original or challenging to say on the subject.<\/dialogue>\n    <character>PUFF<\/character>\n    <dialogue>Unn.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Down from the tree. Both of you. Keep your hands where I can see them. Do n't want you pulling any weapons out of your fur.<\/dialogue>\n    <scene_description>Nathan laughs heartily , haughtily , at his joke as Lila and Puff climb down from the tree .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Look at you two. You both disgust me.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Oook. Oook.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Shut up!<\/dialogue>\n    <parenthetical>( to Puff . )<\/parenthetical>\n    <dialogue>I gave you. life. I created you in my image, Puff. I took you from this primordial ooze and brought you into the world of culture and art and manners. And this is how you repay me? By heading back to the ooze first chance you get? I should leave you here with Lila the ape woman. It would serve you right, you ungrateful piece of crap. But I'm not going to. You're too valuable to me. Totally selfish of me. You serve my purpose. But if you had any smarts you would realize that I serve your purpose as well. Life is so much more delightful when lived in a silk suit.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Ooka.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Do n't worry, Lila. You can stay. I do n't have any interest in you anymore.<\/dialogue>\n    <parenthetical>( to Puff . )<\/parenthetical>\n    <dialogue>C'mon, monkey boy.<\/dialogue>\n    <scene_description>Puff looks at Lila . Lila shrugs helplessly . Puff reaches out to touch her hand .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Now!<\/dialogue>\n    <scene_description>Puff looks at Lila again . She jerks her head in the direction of Nathan . Puff sighs and moves to Nathan . Nathan prods Puff , and they head off through the trees . Suddenly Puff elbows Nathan . Nathan grunts , doubles over . Puff turns , lunges , and the two wrestle on the ground . Puff pries the gun from Nathan 's hand , and jumps up . Nathan stands also , backing away . Puff has the gun trained on Nathan . Lila runs to Puff , stands behind him .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Puff, put the gun down.<\/dialogue>\n    <character>PUFF<\/character>\n    <dialogue>Ounpoo. Ungh.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Let's be reasonable human beings here. We're all reasonable human beings, are n't we?<\/dialogue>\n    <character>PUFF<\/character>\n    <parenthetical>( jumping up and down like a chimp . )<\/parenthetical>\n    <dialogue>Unka unka unka unka unka.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Look, why do n't you and Lila stay here and have your natural life. I'll just go on my way. You'll never see me again.<\/dialogue>\n    <character>PUFF<\/character>\n    <parenthetical>( to Lila , guiltily . )<\/parenthetical>\n    <dialogue>I have to talk. Is that okay?<\/dialogue>\n    <scene_description>Lila nods .<\/scene_description>\n    <character>PUFF<\/character>\n    <parenthetical>( to Nathan . )<\/parenthetical>\n    <dialogue>You did create me in your image, Nathan. Before you I was a simple, happy, complete being, in harmony with the world around me. After you I became duplicitous, cynical, angry, anal, totally out of touch with my surroundings. In a word, Nathan, I became you. Lila has reintroduced me to myself. And, incidentally, what I'm about to do, kill you, is something that would never have occurred to me to do as a creature of the Earth. Before when I killed, it was for food or in self - defense. Now I will kill for revenge. Revenge is an abstract concept, Nathan. And I learned abstract thinking from you.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Puff, do n't.<\/dialogue>\n    <scene_description>Puff shoots . A crow screams . The fluttering of wings . The bullet hits Nathan in the head . He falls .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - NIGHT<\/stage_direction>\n    <scene_description>Lila sobs .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>Then I shot Nathan.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - DAY<\/stage_direction>\n    <scene_description>Puff dabs his eye .<\/scene_description>\n    <character>PUFF<\/character>\n    <dialogue>Then Lila shot Nathan.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE SPACE - DAY<\/stage_direction>\n    <scene_description>Nathan talks .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Then Puff shot me. Then I died. That's all I know. That's the end of my story. Do I get to go to heaven now?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Or is it. hell?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Or. what?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I just stay here, is it? I just stay here and tell it again? And after that? Again? And after.<\/dialogue>\n    <parenthetical>( sighs . )<\/parenthetical>\n    <dialogue>Yes. Yes, of course.<\/dialogue>\n    <parenthetical>( sighs , clears his throat . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>We move into an extreme close - up .<\/scene_description>\n    <character>NATHAN<\/character>\n    <parenthetical>( beginning again . )<\/parenthetical>\n    <dialogue>I do n't even know what sorry means anymore. It's odd. When I was alive I knew - maybe it was all I knew.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST - DAY<\/stage_direction>\n    <scene_description>Lila runs to Nathan . She kneels beside him .<\/scene_description>\n    <character>LILA<\/character>\n    <dialogue>He's dead.<\/dialogue>\n    <character>PUFF<\/character>\n    <parenthetical>( calmly . )<\/parenthetical>\n    <dialogue>We bury the body. We disappear into the woods. Nobody knows.<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( beat , then quietly . )<\/parenthetical>\n    <dialogue>No. This is the end of the road. There's a dead human being here. For all of his faults, he was a human being, and certainly a victim of his culture as much as anybody.<\/dialogue>\n    <character>PUFF<\/character>\n    <dialogue>Forget him, Lila. We'll disappear. We'll never talk about it again. We'll never talk again period. I love you.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>Puff, what happened to you is as much my fault as Nathan's. Maybe more so, because I knew it was wrong and I went along with it anyway. I'm taking responsibility for the murder. I want you to go back to your old life.<\/dialogue>\n    <character>PUFF<\/character>\n    <dialogue>I wo n't let you do that. I shot the bastard. And I'm glad.<\/dialogue>\n    <character>LILA<\/character>\n    <dialogue>No. Go back to the woods. This is a sacrifice I need to make. In my world we have something called penance. It's another abstraction, but I had the concept drummed into my head during my years in the convent. It does n't exist for you, and it should n't. See, I could never be free again anyway, so I might as well be in jail.<\/dialogue>\n    <character>PUFF<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Then I'll live for both of us, Lila. I'll be the most free, truest animal in the whole forest. For both of us.<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( tearing up . )<\/parenthetical>\n    <dialogue>That's what I'm counting on.<\/dialogue>\n    <character>PUFF<\/character>\n    <parenthetical>( an idea . )<\/parenthetical>\n    <dialogue>But first I'll live among them, just long enough to testify before congress about the waywardness of humankind.<\/dialogue>\n    <character>LILA<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>Okay. If you think it will help.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAIL - DAY<\/stage_direction>\n    <scene_description>Lila , now in prison coveralls , sits in a dayroom with other women convicts . She is watching a TV mounted on the wall . Puff is testifying .<\/scene_description>\n    <character>PUFF<\/character>\n    <dialogue>And so, gentlemen, that is my story. I agreed to testify before this committee because I hoped to convey to the American public that there is indeed a paradise lost. Human beings have become so enamored of their technologies and their intellectual prowess and their fancy gourmet foods, that they've forgotten to look to the Earth as a teacher. This is hubris, my friends. And my story of destruction and betrayal is proof of that. I will keep my promise to Lila. I will shed this suit and go back into the wilderness. I will live out my days naked and free.<\/dialogue>\n    <character>CONGRESSMAN<\/character>\n    <dialogue>Thank you, sir. Your story has touched us all deeply. We will pass some legislation addressing this problem.<\/dialogue>\n    <character>PUFF<\/character>\n    <dialogue>Thank you. That is all I ask.<\/dialogue>\n    <parenthetical>( to camera . )<\/parenthetical>\n    <dialogue>Good - bye, Lila. I take you with me in my untamed heart.<\/dialogue>\n    <scene_description>Puff stands and exits the auditorium . Flashbulbs flash . In the prison common room , Lila wipes a tear from her eye . She seems genuinely happy . She looks out a small barred window and sees a bluebird light there , then fly away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WASHINGTON STREET - DAY<\/stage_direction>\n    <scene_description>Puff walks along , a man on a mission . As he walks he sheds articles of clothing . He is followed by reporters and cameramen and celebrity hounds . Soon he is naked .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN STREET - DAY<\/stage_direction>\n    <scene_description>Puff walks along , naked . People cheer from porches .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RURAL ROAD - DUSK<\/stage_direction>\n    <scene_description>Puff walks along . He is still followed by reporters . Cows watch the parade .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST - EVENING<\/stage_direction>\n    <scene_description>Puff walks along a dirt road . He is about to disappear into the forest . An older woman rushes out from the crowd .<\/scene_description>\n    <character>OLDER WOMAN<\/character>\n    <dialogue>Wait!<\/dialogue>\n    <character>PUFF<\/character>\n    <parenthetical>( turning . )<\/parenthetical>\n    <dialogue>Yes?<\/dialogue>\n    <character>OLDER WOMAN<\/character>\n    <dialogue>I saw you on C - Span. I've been looking for you for thirty years. Then there you were, such a beautiful, beautiful grown man.<\/dialogue>\n    <scene_description>The older woman starts to cry .<\/scene_description>\n    <character>PUFF<\/character>\n    <dialogue>Mother?<\/dialogue>\n    <character>OLDER WOMAN<\/character>\n    <dialogue>Yes. Derek.<\/dialogue>\n    <scene_description>Puff holds out his hand for her to shake . Flashbulbs flash .<\/scene_description>\n    <character>PUFF<\/character>\n    <parenthetical>( formally . )<\/parenthetical>\n    <dialogue>It's a pleasure to meet you, mother. But I'm an ape like dad was.<\/dialogue>\n    <parenthetical>( checks watch . )<\/parenthetical>\n    <dialogue>And I have to go back into the woods now. forever.<\/dialogue>\n    <character>OLDER WOMAN<\/character>\n    <parenthetical>( resigned . )<\/parenthetical>\n    <dialogue>Yes, I suppose so. I suppose I knew that was going to be what you would say. It's good to see you again though.<\/dialogue>\n    <character>PUFF<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>OLDER WOMAN<\/character>\n    <dialogue>I'm in the book, if you ever want to drop me a line or something.<\/dialogue>\n    <character>PUFF<\/character>\n    <dialogue>I'm an ape, mom. I'm an ape. And apes do n't drop lines.<\/dialogue>\n    <scene_description>His mother weeps . Puff gently rests his hand on her shoulder for a moment , then he turns and waves to the reporters . The crowd bursts into applause . Flashbulbs flash . Puff jogs into the woods . There is a collective sigh , and then everyone turns and heads back in the direction from which they came . We hold on the woods for a moment . A car pulls up . Puff hurries out of the woods and jumps in the passenger side of the car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - CONTINUOUS<\/stage_direction>\n    <scene_description>Puff leans over and kisses Gabrielle , who is driving the car .<\/scene_description>\n    <character>GABRIELLE<\/character>\n    <dialogue>Hello, my little boy.<\/dialogue>\n    <character>PUFF<\/character>\n    <dialogue>Hey, ma. Did you bring any clothes? I'm freezing my ass off.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>Oui. Nathan's silk suit, just like you asked.<\/dialogue>\n    <character>PUFF<\/character>\n    <dialogue>Great.<\/dialogue>\n    <parenthetical>( putting on suit . )<\/parenthetical>\n    <dialogue>God, I've wanted you forever.<\/dialogue>\n    <scene_description>Gabrielle giggles . Puff kisses her .<\/scene_description>\n    <character>GABRIELLE<\/character>\n    <dialogue>Say my name.<\/dialogue>\n    <character>PUFF<\/character>\n    <dialogue>Gabrielle.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <parenthetical>( eyes glistening . )<\/parenthetical>\n    <dialogue>You remind me so much of Nathan.<\/dialogue>\n    <character>PUFF<\/character>\n    <dialogue>Like father, like son.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <parenthetical>( stroking his face . )<\/parenthetical>\n    <dialogue>You remind me so much of Nathan plus so much of my little mongrel doggie.<\/dialogue>\n    <character>PUFF<\/character>\n    <dialogue>Woof.<\/dialogue>\n    <scene_description>This turns Gabrielle on . She kisses him passionately . When the kiss runs its course , Puff speaks .<\/scene_description>\n    <character>PUFF<\/character>\n    <dialogue>Arf.<\/dialogue>\n    <scene_description>Gabrielle kisses him again , even more passionately this time<\/scene_description>\n    <character>PUFF<\/character>\n    <dialogue>As much as I loved Nathan, I'm not sorry she killed him, if it means I can have you. Is that a terrible thing to say, my sweet?<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <parenthetical>( putting her finger to his lips . )<\/parenthetical>\n    <dialogue>Hush. No, it is never terrible to be in love. Nathan's memory lives on in our sacred union.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I'm not sorry she killed him either. Nathan was wonderful. He was erudite and sophisticated and charming. You are all that, too. But you have something more. You have a bit of the animal in you.<\/dialogue>\n    <scene_description>They smile flirtatiously at each other . Puff leans over and kisses Gabrielle 's neck .<\/scene_description>\n    <character>PUFF<\/character>\n    <dialogue>Let's go eat, I'm starved.<\/dialogue>\n    <character>GABRIELLE<\/character>\n    <dialogue>French?<\/dialogue>\n    <character>PUFF<\/character>\n    <dialogue>Oui.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DIRT ROAD - NIGHT<\/stage_direction>\n    <scene_description>The car makes a screeching u - turn . It disappears in the direction of the city . When the dust clears , we see the two white mice standing there on the side of the road , shivering and emaciated . The male holds out his the thumb and the female holds a tiny little sign which reads : New York . There is a look of hopelessness in their beady black eyes . FADE OUT . THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Most of the film is told as flashback: Puff (Rhys Ifans) testifies to Congress, Lila Jute (Patricia Arquette) tells her story to the police, while a dead Nathan Bronfman (Tim Robbins) addresses an unseen audience in the netherworld. Lila is a woman with a rare hormonal imbalance which causes thick hair to grow all over her body. During her 20s, Lila decides to leave society and live within nature where she feels free to exist comfortably in her natural state. She writes a successful book about her naked, savage, happy, and free life in the woods embracing nature. Then, at age 30, strong sexual desire causes her to return to civilization and have her hair removed in order to find a partner. The partner she finds is Dr. Nathan Bronfman, a psychologist researching the possibility of teaching table manners to mice. Lila and Nathan go hiking in the woods one day. Lila sights a naked man in the woods who has believed himself to be an ape his entire life. Lila discards her clothes and chases him until he's cornered on a tree branch. The man falls off the branch and fall unconscious as Nathan comes along. Nathan brings this man to his lab where the man is named Puff. This name is after his French research assistant, Gabrielle's (Miranda Otto) childhood dog. We discover later from her phone call to an unknown person that she is actually an American with a fake French accent. First with the help of Gabrielle and later with Lila\u2019s help, Nathan performs extensive manner training on Puff, so that he can speak and go through the motions of appreciating high culture, though he still has difficulty controlling sexual urges. To demonstrate his success, Nathan takes Puff on tour. Puff secretly drinks heavily and patronizes prostitutes. Meanwhile, Nathan and Lila's relationship deteriorates and Nathan has an affair with Gabrielle. Eventually Lila decides to take Puff back into the forest to undo his manner training and return him to his natural state. Lila and Puff live naked in the woods together until Nathan finds them one day and Puff kills Nathan. Lila turns herself in as the murderer and asks Puff to testify on the waywardness of humanity before he returns to his home in the forest. After the reporters and spectators leave, Puff comes back out of the forest and gets into a car with Gabrielle. They both drive off to get food (she still speaks with a French accent). At the end of the film, there is a philosophical passage read while the credits appear. It is an excerpt of William of Ockham from Opera Theologica in which Ockham explains his theory of intuitive cognition. \"Intuitive cognition is such that when some things are cognized, of which one inheres in the other, or one is spatially distant from the other, or exists in some relation to the other, immediately in virtue of that non-propositional cognition of those things, it is known if the thing inheres or does not inhere, if it is spatially distant or not, and the same for other true contingent propositions, unless that cognition is flawed or there is some impediment.\""}
{"movie_name":"Mistress America_2015","imdb_id":"tt2872462","script":"<script>\n  <scene>\n    <character>MISTRESS AMERICA<\/character>\n    <dialogue>Written by<\/dialogue>\n    <scene_description>Noah Baumbach and Greta Gerwig BLACK<\/scene_description>\n    <character>TRACY (V.O.)<\/character>\n    <dialogue>She would say things like: \"Isn't every story a story of betrayal?\" No, that's not true, I thought. But I could never say that, I could only agree with her. It was too much fun to agree with her.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DORM ROOM. DAY<\/stage_direction>\n    <scene_description>A dark room. We hear movement from outside. A key in the lock. The door opens, light from the hallway silhouettes Tracy as she hauls in a bag on wheels. She feels for a light on the wall and hits the switch. The lights come on.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>I was sleeping! Turn that off!<\/dialogue>\n    <scene_description>Tracy shuts the light.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I'm your roommate.<\/dialogue>\n    <character>LAURA (V.O.)<\/character>\n    <dialogue>My name is Laura...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DORM COMMON ROOM. DAY<\/stage_direction>\n    <scene_description>A group of ten freshman sit around in a circle. One girl, Laura, holds a flashlight and says:<\/scene_description>\n    <character>LAURA<\/character>\n    <dialogue>...and I'm going on safari and I'm bringing with me a ROLLING PIN for Ruth, a CAR for Carrie...<\/dialogue>\n    <parenthetical>(everyone laughs)<\/parenthetical>\n    <dialogue>A JAR for Juman and a... a... shit.<\/dialogue>\n    <scene_description>She stares at Tracy, unable to get her name. Tracy pipes up:<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>A TRACKING DEVICE for Tracy...<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>...Right a TRACKING DEVICE for Tracy and a...LIGHTER for me, Laura.<\/dialogue>\n    <scene_description>She passes the flashlight.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DORM ROOM. EARLY EVENING<\/stage_direction>\n    <scene_description>Tracy sits in her new dorm-room with her roommate, a girl with mousy hair and a hoodie. She watches Tracy unpack, from her bed.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Aren't you coming to convocation?<\/dialogue>\n    <character>RUTH<\/character>\n    <dialogue>You're going to that shit?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Yeah... isn't everyone?<\/dialogue>\n    <character>RUTH<\/character>\n    <dialogue>I don't think anyone is going. Except rapists.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>What? Why rapists?<\/dialogue>\n    <character>RUTH<\/character>\n    <dialogue>Or Christians and home-schooled kids. Nobody really goes.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I think it's just a candle lighting ceremony.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>How do you already know all this stuff? School hasn't even started yet.<\/dialogue>\n    <scene_description>Ruth doesn't answer.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COLLEGE CHAPEL. EVENING<\/stage_direction>\n    <scene_description>Tracy lingers outside the building. Kids are going inside. She hesitates then decides to bag it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BROADWAY, UPPER WEST SIDE. NIGHT<\/stage_direction>\n    <scene_description>Tracy walks aimlessly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING HALL. DAY<\/stage_direction>\n    <scene_description>Tracy gets a personal sized pizza and a bowl of cereal. She picks up and inspects different items on the dessert tray, doesn't take any.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLASSROOM. DAY<\/stage_direction>\n    <scene_description>In class. Gets a paper back. She gets a B.<\/scene_description>\n    <character>PROFESSOR<\/character>\n    <dialogue>This is a starting point - this is what college is for, we're going to teach you how to write and think.<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(frowns, to the person next to her.)<\/parenthetical>\n    <dialogue>A \"B.\" That's so annoying.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFETERIA. EVE<\/stage_direction>\n    <scene_description>Tracy eats by herself.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MENTAL HEALTH OFFICE. DAY<\/stage_direction>\n    <scene_description>Tracy sits in front of a counselor.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Um, I have trouble with procrastinating.<\/dialogue>\n    <character>COUNSELOR<\/character>\n    <dialogue>Did you ever think of just getting your work in on time?<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>Yes, I have thought of that. I have trouble doing it.<\/dialogue>\n    <character>COUNSELOR<\/character>\n    <dialogue>Maybe you want to try a little harder?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>OK, thanks. Harder? I'll try that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVERSIDE PARK. DAY<\/stage_direction>\n    <scene_description>Tracy walks alone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLISH CLASS. DAY<\/stage_direction>\n    <character>PROFESSOR (V.O.)<\/character>\n    <dialogue>What comes to mind when you think of the Renaissance?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLASSROOM. DAY<\/stage_direction>\n    <scene_description>Tracy takes notes while a Southern girl talks:<\/scene_description>\n    <character>SOUTHERN GIRL<\/character>\n    <dialogue>I think of the Renaissance as being very plush, like a lot of velvet inlaid with jewels, brocades, that kind of thing.<\/dialogue>\n    <character>PROFESSOR<\/character>\n    <dialogue>Thank you... I was actually asking about literature, but that was very nice.<\/dialogue>\n    <scene_description>Tracy bursts out laughing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DORM HALLWAY. NIGHT<\/stage_direction>\n    <scene_description>Tracy is kind of \"dressed\" for a party. There are a bunch of drunk teenagers around. She sees a Friendly Looking Girl:<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Is the party at the end of the hall?<\/dialogue>\n    <character>FRIENDLY LOOKING GIRL<\/character>\n    <dialogue>Did you get an invitation?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>No...<\/dialogue>\n    <character>FRIENDLY LOOKING GIRL<\/character>\n    <dialogue>Then no.<\/dialogue>\n    <character>OTHER GIRL<\/character>\n    <dialogue>She's being a bitch. Yes, it's down the hall.<\/dialogue>\n    <scene_description>The Friendly Looking Girl hits the Other Girl and they run away, laughing. Tracy leaves the way she came.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMPUS\/INT. JERSEY HOUSE. NIGHT INTERCUT<\/stage_direction>\n    <scene_description>Tracy sits on steps. She's on the phone with her Mom.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>I could be anywhere. It doesn't even feel like New York. And by trying to participate I'm somehow fitting in even less.<\/dialogue>\n    <scene_description>Her Mom moves through the kitchen, cleaning, putting things away.<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Aren't you meeting friends in classes?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Mom, nobody meets friends in classes.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>Oh, okay. I didn't know.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>You know the feeling of being at a party where you don't know anybody? It's like that the whole time.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>That sounds uncomfortable.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>And I can't go to bars.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>Don't go to bars. Oh, did you get my email with the reading - do you like it?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I liked it. I think there is a darker element to what Shakespeare was saying but I liked it.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>Good. Your brother is going to be playing guitar with you while you do it - is that okay?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I like David's guitar playing.<\/dialogue>\n    <character>MOM<\/character>\n    <parenthetical>(happily)<\/parenthetical>\n    <dialogue>He's gotten good, right? I'm so excited! It's Thanksgiving weekend so we'll have a built-in rehearsal dinner on Thursday at the house. It'll be the first time the two families are all in the same room. Randy, Jim's sister --<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>She's going to make a fig and there's a fish...and it's on cracker. That's one thing.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Mmm.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>We're going to move all the furniture out of the living room and we changed the lyrics to Finiculi Finicula. We did the same thing at Izzy's 60th but Izzy won't be there so it'll feel fresh.<\/dialogue>\n    <parenthetical>(exhaling, playful)<\/parenthetical>\n    <dialogue>Oh, Trace...<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(playful back)<\/parenthetical>\n    <dialogue>Oh, Stevie.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>You know, I was very unhappy for a very long time. But I'm so glad your Dad and I stayed together until you and your brother were out of school.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I was NOT out of school. You broke up when I was a junior in high school.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>On your way out of the home...<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I love you Mom, don't be worried.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>I know, honey. So after you do that, Brooke will read a poem she's written. I don't think her brother is doing anything - which hurts my feelings, but I'm trying to be okay with it.<\/dialogue>\n    <parenthetical>(has an idea)<\/parenthetical>\n    <dialogue>You should call Brooke. She's in New York, you know.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I'm so bad at calling people I don't know.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>I hear she's fun.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>She's like thirty living in New York with a life, she doesn't need to hear from an eighteen year old she's tenuously connected to. I'd be like why do I want to hang out with you?<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>She's going to be your sister, that doesn't sound tenuous to me. And you have plenty to talk about - you're both doing readings at our wedding.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Aces.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>You aren't sarcastic don't pretend to be.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Okay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLASSROOM. DAY<\/stage_direction>\n    <scene_description>We hear a student, Nicolette, making a point:<\/scene_description>\n    <character>NICOLETTE<\/character>\n    <dialogue>Nothing is higher than the law. That's the whole point - Antigone thinks she's above the law but she's not - like a celebrity in a car crash or something.<\/dialogue>\n    <scene_description>Tracy is asleep at the seminar table. Her head hangs heavily to one side.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Psst. Hey.<\/dialogue>\n    <scene_description>Tracy's head jerks up and she opens her sleepy eyes. A boy, Tony leans over from two chairs away.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>You were asleep.<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(wiping drool from her chin)<\/parenthetical>\n    <dialogue>Oh...thanks.<\/dialogue>\n    <scene_description>Tracy sits up straighter. She tries to focus on the discussion. Her eyes fall heavy and shut. She's asleep again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY. AFTER CLASS<\/stage_direction>\n    <scene_description>Tony carries a briefcase. Tracy, deciding to make her fate better, walks up to him.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>That was really nice of you... waking me up.<\/dialogue>\n    <character>TONY<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>It takes a lot of moxie to fall asleep in a twelve person class.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Thanks. I like moxie.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>I get it. It's like I'm so grateful to be here, but why are my parents taking out loans for me to listen to that 18-year-old asshole talk?<\/dialogue>\n    <scene_description>Tracy laughs.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Loans everywhere.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>I was going go get frozen yogurt, want to come?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Yes but... well, I have to get somewhere by five.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Um, it's embarrassing.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I'm submitting a story to the Mobius Literary Society. I have to print it.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>They only take hard copies which is a kind of pretension I can get behind.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>GET OUT OF TOWN SISTER! I already gave mine! Do you know how you find out if you're in it?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>They said they'd post a list -<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>No. The only people who check the list are people who didn't get in - they come wake us up at night in our rooms and put pie in our face and then bring us out into the quad and make us sing and stuff.<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(smiling at the thought)<\/parenthetical>\n    <dialogue>Yeah.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOME HALLWAY. DAY<\/stage_direction>\n    <scene_description>Tracy walks down to a door with Mobius on the glass. There's a box outside with Submissions written underneath it. A guy in a sweater vest sitting cross legged on the ground playing jacks stares at her. She fishes into her messenger bag and puts a story in the box. She hurries away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRACY'S DORM ROOM. NIGHT<\/stage_direction>\n    <scene_description>Tracy lies awake in bed. We hear yelling in the hallway outside her door. Footsteps come close to her door. A shadow underneath. She tenses in great anticipation. The footsteps and chatter continue down the hall. Tracy gets up and opens her door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DORM HALLWAY. NIGHT<\/stage_direction>\n    <scene_description>The hall is empty. Bits of pie and crust on the floor. Another door opens at the end of the hall. A Tiny Girl looks out. She and Tracy meet eyes.<\/scene_description>\n    <character>TINY GIRL<\/character>\n    <dialogue>FUCK.<\/dialogue>\n    <scene_description>The Tiny Girl retreats into her room. Tracy does the same.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TONY'S ROOM. DAY<\/stage_direction>\n    <scene_description>Tony sits on his bed and Tracy sits on the floor. They both drink screwdrivers.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>They're self-elected douche bags.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I know, but I wanted to be one of them. I could die then.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Yeah, me too. Both I wanted to be in and I could also then die.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I heard they serve wine and cheese and they all carry breifcases.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>I know, when I had my tour here, the guide was one of them and that's why I wanted to come here.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I heard the pie stuff all night.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>They got the guy next door. He doesn't even look like a writer.<\/dialogue>\n    <scene_description>Tony indicates a breifcase from the floor. Tracy sees this.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>I'm so sorry.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Do you want to trade stories?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>TIME CUT They both silently read each other's stories. They steal glances at one another. TIME CUT<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>I liked it!<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Thanks - I liked yours too.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>So do you want notes?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Oh, are we - sure...<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Okay, I thought the middle part sounded really fake.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>It's just my impression.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I'll work on that.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Do you have any notes for me?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Um... no.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Great.<\/dialogue>\n    <parenthetical>(thinks for a second)<\/parenthetical>\n    <dialogue>I have a car.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR. DUSK<\/stage_direction>\n    <scene_description>Tracy and Tony drive in the car.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Let's go to the beach.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>I don't want to leave Manhattan.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Oh, why are we in your car then?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UPPER MANHATTAN, BY THE HUSDON RIVER. NIGHT<\/stage_direction>\n    <scene_description>Tracy and Tony try to burn his briefcase but it won't catch fire. They chuck it in the water. They smoke a joint and sit on the roof of a car.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>We look like we're in a song.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLASSROOM. DAY<\/stage_direction>\n    <scene_description>Tracy raises her hand.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>I think the way Aristotle writes about ethics and morality is much closer to how most people think about it. Less like math, more like a story.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DORM ROOM. DAY<\/stage_direction>\n    <scene_description>Tracy, feeling better about herself, cleans the room and talks to her roommate.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>I think we should set up a recycling system for our trash. A lot of what we're throwing out can be recycled.<\/dialogue>\n    <scene_description>She trips over something on the floor but recovers quickly.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>And Ruth, I think that fan can go in the closet now, it's 60 degrees out--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STUDY ABROAD OFFICE. DAY<\/stage_direction>\n    <scene_description>Tracy is filing with some exuberance.<\/scene_description>\n    <character>STUDY ABROAD WOMAN<\/character>\n    <dialogue>You seem happy today.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I love filing! It's satisfying.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. QUAD. EVE<\/stage_direction>\n    <scene_description>Tracy is running to get somewhere.<\/scene_description>\n    <character>TONY (O.S.)<\/character>\n    <dialogue>Slow down, T!<\/dialogue>\n    <scene_description>Tracy hits the breaks. It's Tony. She laughs. But he's holding Nicolette's hand (She's the girl from their class).<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>NICOLETTE<\/character>\n    <dialogue>Hey.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JJ'S DINER. NIGHT<\/stage_direction>\n    <scene_description>Tracy sits in a booth by herself eating mozzarella sticks. She looks at her phone. Makes a call. Her mother's voice mail. She hangs up. She scrolls to: BROOKE CARDINAS She quickly presses that name...<\/scene_description>\n    <character>FEMALE VOICE MESSAGE<\/character>\n    <dialogue>You've reached Brooke Cardinas. Leave your name and number and I will get back to you at my earliest convenience.<\/dialogue>\n    <scene_description>Tracy hangs up on the beep. She dips a mozzarella stick in the red sauce and shoves it into her mouth. Her phone rings. She's startled.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Hi, this Brooke Cardinas. I just got a missed call from this number.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Oh...sorry. Hi... this is Tracy Fishko, um, my mom is marrying your dad?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>You're reading the sonnet.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Right! We're doing Thanksgiving and then wedding together... Um, I go to college in the city. My mom said I should call you.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Have you eaten? Do you want to hang out?<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(looks at her near- finished plate)<\/parenthetical>\n    <dialogue>No, I haven't. OK.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Well, do you know where Times Square is?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TIMES SQUARE. NIGHT<\/stage_direction>\n    <scene_description>Tracy crosses the crowded street. Brooke is at the top of the TKTS steps. She attempts to walk elegantly down the steps. It's an entrance.<\/scene_description>\n    <character>BROOKE<\/character>\n    <parenthetical>(awkwardly grand)<\/parenthetical>\n    <dialogue>Welcome to the Great White Way.<\/dialogue>\n    <scene_description>She still hasn't finished walking the steps. It takes a second. Tracy holds a smile. Finally, Brooke is there:<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Times Square is so crazy.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Isn't it?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I don't know anyone who lives here.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Yours truly. I got off the bus from Jersey I thought this was the cool place to live. It's mother fucking Times Square.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI. LATER<\/stage_direction>\n    <scene_description>Brooke lights a cigarette, takes a long drag, passes it to Tracy.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>Why do you live in New York again?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>College - I go to Barnard - it's all women uptown - well, \"historically\" and kind of actually. But there are boys in my classes and stuff. From Columbia.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>You gay?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>No. The Columbia girls do their best to make us feel inferior. Which it's like \"I already do.\"<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>That's stupid. Don't feel inferior.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>You're right, that is stupid.<\/dialogue>\n    <scene_description>It's the best someone has made her feel in a long time or maybe ever.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACKSTAGE AT A MUSIC CLUB. NIGHT<\/stage_direction>\n    <scene_description>Brooke, wearing an orange VIP sticker on her suede jacket, affixes an identical sticker to Tracy's shirt.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>I didn't go to college.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Oh. OK.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I'm an autodidact. Do you know what that means?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>That word is one of the things I self-taught myself.<\/dialogue>\n    <scene_description>CUT TO: Brooke is pulled up onstage to sing, she tries to act like she doesn't want to and then does it. When she dances while she sings it's a person who is pretending to be free.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAR. NIGHT<\/stage_direction>\n    <scene_description>Brooke, Tracy and members of the band enter one of those secret bars, through the back of a pizza shop.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SECRET BAR. NIGHT<\/stage_direction>\n    <scene_description>Tracy drinks a fancy cocktail.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>It has mint!<\/dialogue>\n    <scene_description>CUT TO: Brooke and Tracy dance with the guys.<\/scene_description>\n    <character>BROOKE<\/character>\n    <parenthetical>(dancing)<\/parenthetical>\n    <dialogue>What's going on at college?<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(also dancing)<\/parenthetical>\n    <dialogue>I don't know, everyone's really excited about the frozen yogurt machine in the student center.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I watched my mother die.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I was with my mother while she died.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I don't know any dead people.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>That's cool about the frozen yogurt machine. Everyone I love dies.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WILLIAMSBURG PARTY. NIGHT<\/stage_direction>\n    <scene_description>Brooke and Tracy enter some party in Williamsburg. The hostess hugs Brooke.<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>I heard you're opening a restaurant!? WTF?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WILLIAMSBURG BEDROOM. NIGHT<\/stage_direction>\n    <scene_description>Brooke and Tracy are in a closet - Brooke is going through it while Tracy watches her.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>This bitch stole my favorite pants - they're in here somewhere - she thinks I don't know but I know everything. They're red.<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(vaguely)<\/parenthetical>\n    <dialogue>I'll look here.<\/dialogue>\n    <scene_description>Tracy starts going through the closet.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>People are always taking my shit. My ex-friend and nemesis, Mamie- Claire, stole my ideas AND my fiance.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>She took this T-shirt idea that I had, started a company fucking sold it to J. Crew so there is that. She's one of those people who doesn't have any good ideas for her own life so she just steals all of mine. And then she LITERALLY stole my cats.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>What were the T-shirts?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Just really hard looking flowers.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Oh my God! I bought one of those T- shirts!<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Yeah, flowers with like skulls and shit. Daggers.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>That's a great one.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>My fiance, Dylan, was super sexy. And so rich. But I wasn't going to marry him.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>So...wait, you broke up with Dylan? I thought she stole him?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>And I never looked back. He cried so hard. Like, whiney.<\/dialogue>\n    <scene_description>She does an impression:<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>\"Where are you going?\"<\/dialogue>\n    <parenthetical>(back to herself)<\/parenthetical>\n    <dialogue>I was being real, but Mamie-Claire then goes and marries him. They live in Greenwich, Connecticut in some big gross house. Do you know that place?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Yeah, Greenwich, grossville.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Right? Living off of his riches and my T-shirt idea.<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(instant disciple)<\/parenthetical>\n    <dialogue>I hate them.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I actually pity them. They have no more dreams.<\/dialogue>\n    <scene_description>Tracy holds up a pair of red pants, triumphant.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>These?!<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I want to MARRY you!<\/dialogue>\n    <scene_description>She grabs the pants, stuffs them in her purse and then gets out of the closet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WILLIAMSBURG PARTY. NIGHT<\/stage_direction>\n    <scene_description>Brooke makes out with Nate, the singer. Tracy is trying not to watch. Another band member takes a picture on his iPhone.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>Must we all document ourselves all the time? MUST WE?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VESELKA. LATE NIGHT<\/stage_direction>\n    <scene_description>Tracy and Brooke eat pierogis in the mostly empty diner.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Is he your boyfriend? The bassist?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Nate? No! My beau, Stavros, is in Greece right now. Betting against the country or something gross. Don't tell anyone that.<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(dead serious)<\/parenthetical>\n    <dialogue>I won't. I'm good at keeping secrets. You'll learn that about me.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>He's one of those people I hate except I'm in love with him. I've been to a Greek Orthodox Easter and I could totally see myself getting married in that kind of church.<\/dialogue>\n    <scene_description>She knocks her head for wood.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>You got a honey?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Nah, there's this one guy, we got rejected together...but he's got a girlfriend.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>They all have girlfriends.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Actually I think he met me and then he got a girlfriend.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>This summer, at my job, one guy just sucked on my boobs all night.<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(thinking aloud)<\/parenthetical>\n    <dialogue>My restaurant should do a pierogi. Fusion pierogi. You like yours?<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(nods, stuffing a pierogi in her mouth)<\/parenthetical>\n    <dialogue>This is my second dinner.<\/dialogue>\n    <scene_description>Brooke takes out her phone and types something.<\/scene_description>\n    <character>BROOKE<\/character>\n    <parenthetical>(putting her phone back)<\/parenthetical>\n    <dialogue>Just a quick tweet on Twitter.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I am VERY into social media. You have to market yourself. If you don't know what you're selling, no one will know how to buy it.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>What are you selling?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>So many things. I don't tweet all of it. Like here are two ideas that are not on the internet. If I did a cabaret, it would be called \"High Standards\" and I'd sing all the standards.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Would you sing them in a higher pitch?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>No, it wouldn't be about - it's about principles, those kinds of high standards - like one of those \"string of pearls that's why I'm a single gal\" kind of show.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>That's clever.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>The second idea is a television show, which I've read is the new novel, about a woman who is a government worker by day and a self- invented super hero by night, but like the essence of AMERICA. It'll be it's own mythology. I think maybe it'll be called Mistress America.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>That sounds like she's America's girl on the side.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Hey, I don't know, okay, I'm not positive, these are just some ideas.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Me too! I'm sorry, I don't know anything, I was just throwing something out there. They both laugh.<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(an idea)<\/parenthetical>\n    <dialogue>We need a sleep-over party.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROOKE'S APARTMENT. NIGHT<\/stage_direction>\n    <scene_description>Books piled on the floor. Lots of drawings pinned to the wall. One framed piece of real art.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>This apartment is technically zoned commercial but that's fake.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>It's so stylish.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Fuck, I know, I freelance as an interior decorator. You know the Bowery Hotel?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Oh my God, yeah.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Well, if you walk about a block south. There's a laser hair removal center that's very hip. I did the waiting room.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Cool.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I'm leaving here in January anyway, moving to the East side if you can believe it. That's where Stavros lives. I'm going to redo his place too.<\/dialogue>\n    <scene_description>Brooke flops on her bed. Tracy lies on the couch.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>I want to write short stories.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Oh, me too! Not short stories, though.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>But I got rejected by the Lit Society. I'm so suggestible, like because I got rejected I think I can't be a writer.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Why don't you make your own Lit Society?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I wish. Mobius is a big deal at school.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>You've got other stories.<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>Maybe I'll write something else and resubmit.<\/dialogue>\n    <parenthetical>(falling asleep, eyes closed)<\/parenthetical>\n    <dialogue>That was really funny when we were doctors.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Yeah, I need to cut all the negative people out of my life. I just wasn't brought up that way.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Thank you Brooke.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>You're welcome Baby Tracy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROOKE'S APARTMENT. NEXT MORNING<\/stage_direction>\n    <scene_description>Brooke is on the phone with Stavros:<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>My sweetheart I miss you so much - I can't wait for you to see the chairs I've picked out - we start renovation Monday! It's so exciting. I've been going there just to sit in the mess I love it so much.<\/dialogue>\n    <scene_description>Tracy wakes up a little with the noise.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>Right. Did you see the lease it was 400 pages! I wish you would just come home already so I can suck your dick in our new restaurant!<\/dialogue>\n    <scene_description>She pads into the kitchen.<\/scene_description>\n    <character>BROOKE<\/character>\n    <parenthetical>(to Tracy)<\/parenthetical>\n    <dialogue>Can you start the coffee, please?<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(looking at the coffee maker)<\/parenthetical>\n    <dialogue>I don't know how...<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(a little sharply)<\/parenthetical>\n    <dialogue>Yes, you do. Don't be incompetent. If you spent two seconds with a coffee maker you'd figure it out. You just aren't trying hard enough.<\/dialogue>\n    <scene_description>Brooke retreats into the hall, still talking to her boyfriend.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Um, where are you going.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>DUH COMMUNAL BATHROOM DO YOU WANT<\/dialogue>\n    <character>TO WATCH?<\/character>\n    <parenthetical>(to the phone)<\/parenthetical>\n    <dialogue>Are you still there?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Sorry. Are you... mad at me?<\/dialogue>\n    <character>BROOKE (O.S.)<\/character>\n    <dialogue>NO!<\/dialogue>\n    <scene_description>CUT TO: Tracy and Brooke drink coffee at her table\/desk.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>We have four investors including me. I'm what you call a principal investor. Stavros is putting in my share - but I insisted that it be my assets on the line because I want him to know I have skin in the game. I'll pay him back of course once we start making a profit.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>We never went to restaurants growing up - it wasn't part of our lives.<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(immediately offended)<\/parenthetical>\n    <dialogue>That's a shitty thing to say to me.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I didn't mean - I know people will come to yours.<\/dialogue>\n    <parenthetical>(trying to contextualize)<\/parenthetical>\n    <dialogue>It's so weird to think that every restaurant I see is the result of some person going \"I think I want to start a restaurant.\"<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>That's not weird. That's everything.<\/dialogue>\n    <scene_description>Tracy starts to write something down in a notebook. Brooke is curious:<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I'm actually... it's embarrassing.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I'm writing down what I said.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>You are noting yourself?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Yeah... I guess so.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I've noticed something about myself that would make a good character in a story.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Oh yeah?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>But I'm going to save it in case I want to use it in something I write.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TIMES SQUARE. MORNING<\/stage_direction>\n    <scene_description>The commercial streets have that peculiar weekend morning vibe. Tracy is in her outfit from the night before. Brooke is in full workout clothes.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>High five, sister. That was an AMAZING night.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Yeah, it was...<\/dialogue>\n    <parenthetical>(blurts it out)<\/parenthetical>\n    <dialogue>The best of my life.<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(looking at her phone)<\/parenthetical>\n    <dialogue>I gotta go.<\/dialogue>\n    <scene_description>Brooke abruptly hugs her and leaves. Tracy watches her go for one second and then also turns to go. She's disappointed but she doesn't know why.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRACY'S DORM ROOM. MORNING<\/stage_direction>\n    <scene_description>Tracy enters and goes right to her computer. Tracy is typing very quickly, still in her jacket, her bag still on her shoulder. She hesitates, trying to remember something.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>What did she...say?<\/dialogue>\n    <scene_description>Talking while she types.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Right! \"He's one of those people that I hate except I'm in love with him.\"<\/dialogue>\n    <character>RUTH<\/character>\n    <parenthetical>(still sleeping)<\/parenthetical>\n    <dialogue>Shut up please.<\/dialogue>\n    <scene_description>CUT TO: Brooke Cardinas being typed into a Google search.<\/scene_description>\n    <character>TRACY (V.O.)<\/character>\n    <dialogue>Meadow DeRiggi lived exactly how a young woman should live who wants to spend her youth well.<\/dialogue>\n    <scene_description>CUT TO: Brooke's Twitter page. Random photos of Brooke.<\/scene_description>\n    <character>TRACY (V.O.)<\/character>\n    <dialogue>She did everything and nothing and spent time like I always mean to - purposefully.<\/dialogue>\n    <scene_description>CLOSE on Tracy's short story. CLOSE on a Society page photo. CLOSE on Brooke's Soul Cycle Teacher bio.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. PIZZA PARLOR. NIGHT<\/stage_direction>\n    <scene_description>Tracy tries to go to the secret bar, can't get in.<\/scene_description>\n    <character>TRACY (V.O.)<\/character>\n    <dialogue>Her beauty was that rare kind that made you want to look more like yourself not like her.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. MUSIC CLUB. NIGHT<\/stage_direction>\n    <scene_description>Tracy gets in, but it's not a good band and there aren't a lot of people there.<\/scene_description>\n    <character>TRACY (V.O.)<\/character>\n    <dialogue>She sang with the band and knew everyone and didn't owe anyone anything and couldn't pay up even if she did.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTOWN STREET. NIGHT<\/stage_direction>\n    <scene_description>Tracy sees a blonde in red pants. She brightens. As she gets closer, it's not Brooke.<\/scene_description>\n    <character>TRACY (V.O.)<\/character>\n    <dialogue>Being around Meadow was like being in New York City - it made you want to find life, not hide from it.<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(embarrassed)<\/parenthetical>\n    <dialogue>Sorry.<\/dialogue>\n    <character>WOMAN IN RED PANTS<\/character>\n    <dialogue>That's OK.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLEGE LIBRARY. DAY<\/stage_direction>\n    <scene_description>Tony and Nicolette and Tracy sit at a study table.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>Where were you last night, did you get my texts?<\/dialogue>\n    <character>NICOLETTE<\/character>\n    <dialogue>You text her? You texted her?<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>About work.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I went to check out this downtown band at this downtown bar.<\/dialogue>\n    <scene_description>Two freshmen girls approach.<\/scene_description>\n    <character>GIRL #1<\/character>\n    <dialogue>Do you guys know how long you'll need this table?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>A long time, dude.<\/dialogue>\n    <character>GIRL #2<\/character>\n    <parenthetical>(sighs)<\/parenthetical>\n    <dialogue>Fine.<\/dialogue>\n    <scene_description>They leave.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>Who were you with?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Myself.<\/dialogue>\n    <character>NICOLETTE<\/character>\n    <parenthetical>(to Tony)<\/parenthetical>\n    <dialogue>When you said you were checking the scores, were you texting her? Are you sexting?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>It's a place my sister showed me.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>You don't have a sister.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I do. Or I will. When my mom gets married at Thanksgiving.<\/dialogue>\n    <character>NICOLETTE<\/character>\n    <dialogue>Why don't you just text her a picture of your balls.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Nicolette!<\/dialogue>\n    <scene_description>Tracy smooths over some stapled pages from her bag. We see the title: Mistress America.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>It's a new story I wrote. I'm going to resubmit to the Lit Society.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Wait, you wrote another one already? You printed it on onion skin?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>You can read it if you want. Here--<\/dialogue>\n    <scene_description>She hands him a copy - he looks at it.<\/scene_description>\n    <character>TONY<\/character>\n    <parenthetical>(to Nicolette)<\/parenthetical>\n    <dialogue>Tracy writes about fighter pilots.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I'm past that stuff now. This one is more autobiographical documentary.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>OK. I'd totally give you notes.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>No, I don't want notes -- but I thought about it and I actually do have notes for you.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Oh...sure.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>You write like you are imitating someone who is free and wild and it is so WEIRD because you aren't at all and it made me uncomfortable and I think it would make EVERYONE uncomfortable. And also, stop trying to be funny because you aren't funny so it just adds to the awkwardness. And it could be 30% shorter, easy.<\/dialogue>\n    <character>TONY<\/character>\n    <parenthetical>(unsure)<\/parenthetical>\n    <dialogue>OK. Thanks.<\/dialogue>\n    <scene_description>Tracy gets up and leaves. Passes the freshmen girls.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>It's open, bitches. They don't need it anymore.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOME HALLWAY. DAY<\/stage_direction>\n    <scene_description>Tracy returns to the door with Mobius on the glass. The same guy in a sweater vest is whittling a piece of wood. He blows on it as he whittles. Tracy places her story in the Submissions box. She hurries away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOUL CYCLE STUDIO. DAY<\/stage_direction>\n    <scene_description>Brooke is in the front of the classroom, on a bike with a headphone and a bandana. Tracy enters, wearing jeans and a button down. Brooke smiles.<\/scene_description>\n    <character>BROOKE<\/character>\n    <parenthetical>(too loudly)<\/parenthetical>\n    <dialogue>Hey Baby Tracy!<\/dialogue>\n    <scene_description>Brooke indicates a bike with a nod of her head. Tracy shakes her head emphatically: No. Brooke nods, Yes. CUT TO: Tracy is on a bike sweating an uncomfortable amount.<\/scene_description>\n    <character>BROOKE<\/character>\n    <parenthetical>(to her cycling class)<\/parenthetical>\n    <character>HOW YOU DO ANYTHING IS HOW YOU DO<\/character>\n    <dialogue>EVERYTHING AM I RIGHT?!<\/dialogue>\n    <parenthetical>(and now in a low voice)<\/parenthetical>\n    <dialogue>I know not enough people have told you that you're amazing. I know that that's true.<\/dialogue>\n    <scene_description>Everyone loves her, she's sort of great as a cycling instructor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CYCLING STUDIO. AFTERWARDS<\/stage_direction>\n    <scene_description>Tracy is really sweaty, still.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>You did great!<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I feel like I just went swimming in my clothes.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I'm glad you came.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>You are?!<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Shit, I have to shower and change, I'm late for an appointment.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALON. DAY<\/stage_direction>\n    <scene_description>Brooke gets her hair blown out - Tracy sits beside her and looks at Brooke in the mirror.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>This air conditioning is making me freezing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIDTOWN STREET. DAY<\/stage_direction>\n    <scene_description>Brooke, in a conservative blouse and suit, pearl earrings, heels, holding a briefcase walks with Tracy in her jeans. She towers over her. (Midnight Cowboy shot.)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. MIDTOWN RESTAURANT. DAY<\/stage_direction>\n    <scene_description>They stop outside the restaurant. Brooke is suddenly very nervous. She smooths down her blouse, her hair.<\/scene_description>\n    <character>BROOKE<\/character>\n    <parenthetical>(pulling down the sides of her skirt)<\/parenthetical>\n    <dialogue>God, I'm packed into this pencil skirt. How do I look?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>You look beautiful.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>But do I look professional?<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I get really nervous with the investors. I'm usually fine with wealthy people, it's just when I need something from them.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>No, it's the opposite - they need you and your restaurant.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Stavros usually does this stuff. Maybe I shouldn't do it. I'm not good at it.<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(sincerely)<\/parenthetical>\n    <dialogue>I think you can do anything. Everything.<\/dialogue>\n    <scene_description>Brooke nods.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>Right. Kind and fearless.<\/dialogue>\n    <scene_description>She goes inside. CUT TO: Tracy watches through the window. Brooke sits amongst three men in suits and another powerful looking woman in a suit. She makes them laugh. CUT TO: Brooke meets Tracy outside. Brooke looks relieved.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>It's amazing how much of business is just stating the same things over and over again.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Your body language looked very self- confident.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Thanks. You make me feel really... Smart.<\/dialogue>\n    <scene_description>Tracy beams.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>Wanna see it?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EMPTY RESTAURANT SPACE, BROOKLYN. DAY<\/stage_direction>\n    <scene_description>Brooke shows Tracy the space. During the scene, Brooke is changing out of her \"lawyer outfit\" into her \"tutoring outfit\" - skinny jeans, T-shirt and Converse.<\/scene_description>\n    <character>BROOKE<\/character>\n    <parenthetical>(gesturing)<\/parenthetical>\n    <dialogue>The front part would be like a shop during the day - like a general store or a really nice bodega - candy from Europe - on Monday we start demo and we open in April.<\/dialogue>\n    <scene_description>She knocks her head for \"wood.\" She leads Tracy through the back -<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>We'd also have cooking classes. Maybe cut hair. It would be like a community center and restaurant and store all in one. It would be the place that you would, like, LOVE to be. I wish I had something like this when I was growing up.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Yeah, suburban New Jersey isn't great with this kind of stuff.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Each plate would be different. Let me show you.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Can I be a waitress here?<\/dialogue>\n    <scene_description>Brooke opens a box.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>See! Look at all these plates!<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(taking in the whole thing)<\/parenthetical>\n    <dialogue>Holy shit you have a lot of plates.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I started collecting them so long ago - I didn't know why and now I have a why!<\/dialogue>\n    <scene_description>Tracy's been touching all of them.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>This is going to be a great restaurant.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I know!<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Are you going to cook, too?<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(shakes her head)<\/parenthetical>\n    <dialogue>I'll help create the menu and pitch in when needed. I'm not trained, but I'm an enthusiastic home cook. I always used to cook with my Mom. That's the name of the restaurant. Mom's. Possessive.<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(trying it out)<\/parenthetical>\n    <dialogue>\"Let's go to Mom's for dinner.\" Yeah, it totally works.<\/dialogue>\n    <parenthetical>(tries again)<\/parenthetical>\n    <dialogue>Can I be a waitress here?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I want the whole deal - I want the dead-on-my-feet-wake-up-and-I'm- forty. I've spent my whole life chasing after things and knocking at doors and I'm tired of running towards people. I want to be the place that people COME to. I want to make a home for all the knockers and runners - I'm good at that. I'm happy with that. I keep the hearth. That's a word, right? Hearth?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BROOKLYN APARTMENT. LATER<\/stage_direction>\n    <scene_description>Brooke is going in to tutor. The final thing she does is put on her fake glasses.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>Don't I look like a cute smart graduate student?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Yeah!<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I tutor junior high because I didn't get high enough SAT scores to do SAT tutoring, but you make way more money doing SAT. So, I'm taking the SAT's AGAIN so I can make inroads into that racket.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I've always been a good test taker.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>None of this will be necessary when the restaurant is up and running, but I'm good that way, curating my employment.<\/dialogue>\n    <scene_description>Brooke is rifling through her purse.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>So, um, should I - just wait here or...<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Oh! I thought you had to go back to school.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Right. I should....<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Do you want to stay?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I mean, if you don't mind...<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Yeah, I'd invite you in but Peggy's Mom just got institutionalized for bi-polar disorder and shit's pretty real upstairs. Tutoring is like 60% middle school math and 40% I know too much about them.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>That's okay, then, I'll just go -<\/dialogue>\n    <scene_description>Brooke hands her keys, not listening to her.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>You remember where my apartment is, go there.<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(thrilled)<\/parenthetical>\n    <dialogue>Seriously?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>And pick up some pasta, I'll cook.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>What kind of--<\/dialogue>\n    <scene_description>But Brooke is ringing the bell.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY. DAY<\/stage_direction>\n    <scene_description>Tracy excitedly looks at the keys in her hand, smiles.<\/scene_description>\n    <character>TRACY (V.O.)<\/character>\n    <parenthetical>(into answering machine)<\/parenthetical>\n    <dialogue>Mom - hey - are you there? SHIT.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GROCERY STORE. DAY<\/stage_direction>\n    <scene_description>Tracy stands in the pasta aisle, looking at all the different brands of pastas. She picks one up and then another. She's on the phone.<\/scene_description>\n    <character>TRACY<\/character>\n    <parenthetical>(leaving message)<\/parenthetical>\n    <dialogue>I just wanted to know - what kind of pasta would you buy if you wanted to buy a nice pasta? - Like the brand? If you get this can you call me back right away?<\/dialogue>\n    <scene_description>She hangs ups. CUT TO: Tracy is on the phone with Tony, scanning the brands.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>This one is like bowties? Get that?<\/dialogue>\n    <scene_description>CUT TO: Tony and Nicolette together in his bed. Nicolette is angry.<\/scene_description>\n    <character>TONY<\/character>\n    <parenthetical>(on the phone)<\/parenthetical>\n    <dialogue>Do they have regular spaghetti?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Is that pasta the same way as the others?<\/dialogue>\n    <character>NICOLETTE<\/character>\n    <parenthetical>(to Tony)<\/parenthetical>\n    <dialogue>Is this some sex game?<\/dialogue>\n    <character>TONY<\/character>\n    <parenthetical>(covering the phone)<\/parenthetical>\n    <dialogue>No! We're actually talking about pasta.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>NICOLETTE<\/character>\n    <parenthetical>(sullen)<\/parenthetical>\n    <dialogue>Why don't you just put pasta up her pussy?<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Nicolette! Seriously!<\/dialogue>\n    <scene_description>CUT TO: Tracy still in the store.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>I'll get that and I'll get the bowties. And there's shells--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROOKLYN APARTMENT. SAME TIME<\/stage_direction>\n    <scene_description>Brooke is sitting with a thirteen year old girl, working on a set of pre-algebra problems.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>X can be anything, any number, that is what's CRAZY about X.<\/dialogue>\n    <character>PEGGY<\/character>\n    <dialogue>Then why isn't it just a number.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Because X doesn't roll like that, because X can't be pinned down! It can be ANYTHING and we have to figure out what it is - crazy bastard.<\/dialogue>\n    <scene_description>Peggy giggles and starts writing.<\/scene_description>\n    <character>PEGGY<\/character>\n    <dialogue>Maybe you could spend the night?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Oh, honey, I'm sorry. I'm math only.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROOKE'S APARTMENT. LATE AFTERNOON<\/stage_direction>\n    <scene_description>Tracy unpacks an enormous amount of pasta onto the counter.<\/scene_description>\n    <character>TRACY (V.O.)<\/character>\n    <dialogue>I remembered looking across the river at the unblinking lights of Manhattan apartments, wondering who lived there.<\/dialogue>\n    <scene_description>She touches items, looks at things, takes notes. Takes a tiny airplane and puts it in her pocket. Flips through some SAT prep books.<\/scene_description>\n    <character>TRACY (V.O.)<\/character>\n    <dialogue>I was part of it now, on the fifth floor, in a temporary commercial apartment. There was our castle. Our fortress. Yes! This is how I imagined it would be: college, New York, my whole entire life.<\/dialogue>\n    <scene_description>Brooke cooks while Tracy watches her and hands her things.<\/scene_description>\n    <character>TRACY (V.O.)<\/character>\n    <dialogue>But outside the windows I could hear the hot sound of jackhammers taking the city apart.<\/dialogue>\n    <scene_description>Brooke and Tracy eat spaghetti carbonara.<\/scene_description>\n    <character>TRACY (V.O.)<\/character>\n    <dialogue>In New York neighborhoods change as quickly as the weather. Or maybe it's the other way around.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TIMES SQUARE. NIGHT<\/stage_direction>\n    <scene_description>Tracy and Brooke walk together arm and arm.<\/scene_description>\n    <character>TRACY (V.O.)<\/character>\n    <dialogue>But I couldn't warn Meadow. By the time I noticed it, it was already too late.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAR. NIGHT<\/stage_direction>\n    <scene_description>It's a bar bar, they're there to get drunk. Or at least Brooke is. Brooke looks at something on her phone. Laughs. Holds it out for Tracy.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>Nate dropped a gram on Instagram. That means a picture.<\/dialogue>\n    <scene_description>Tracy smiles but less assuredly.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>It's you guys kissing.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>It's already got eighty likes. All his other recent pictures have like fifty likes. The extra thirty must be because of me.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>It looks like a really stylish breathmint ad.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I know! Bob's a real shutterbug. He made his own app.<\/dialogue>\n    <parenthetical>(to the bartender)<\/parenthetical>\n    <dialogue>Put it on...<\/dialogue>\n    <parenthetical>(very considered)<\/parenthetical>\n    <dialogue>...this card.<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(to the bartender)<\/parenthetical>\n    <dialogue>Did these two drinks earn me another free hot dog?<\/dialogue>\n    <scene_description>The Bartender nods, hands her a hotdog.<\/scene_description>\n    <character>BROOKE<\/character>\n    <parenthetical>(re: the drinks)<\/parenthetical>\n    <dialogue>Drop it in the glass and chug it. I'd love to get into the app business. I think my Dad met your Mom on the internet.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Yeah, on a free dating website. They didn't even pay.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Gross. But also I guess it's pro forma now?<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(Tracy nods)<\/parenthetical>\n    <dialogue>My Dad's so strange. I'm sure he's making her convert to Catholicism, right?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Yeah! What's that about?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>He's real Catholic now. It's so boring, but it happened when my mom got sick. She was never that into it. He's a geologist.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I know. I had never met a geologist before.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>It's weird that someone who studies rocks can be really into Jesus.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>What did your Mom do?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>She was a special education teacher.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>That's so nice.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>She was really good at it. I still don't like retarded jokes. Wanna see a picture of her?<\/dialogue>\n    <scene_description>She hands Tracy her phone. Tracy smiles.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>She doesn't look like you but she has your expression, you know?<\/dialogue>\n    <scene_description>A woman around Brooke's age approaches:<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Hi -<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(looking up)<\/parenthetical>\n    <dialogue>Hello.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Hi, I don't know if you remember me, we went to high school together? Anna Wheeler.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Oh YEAH!<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I was in the chorus of Anything Goes.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Holy SHIT! Yeah! What are you doing in the city? You live here?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>No, I'm in Tenafly. My fiance and I went to go see a show.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Which one?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Other Desert Cities.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Oh, that's a piece of shit. And the girl who replaced the lead is<\/dialogue>\n    <scene_description>AWFUL. (to Tracy) I used to run around with her. Well, she was older, is older.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>We loved it.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Let me buy you guys a drink what are you drinking?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>You know, that's okay -<\/dialogue>\n    <parenthetical>(gathering herself)<\/parenthetical>\n    <dialogue>I just wanted to tell you because I never had the courage to do it when I was actually in high school - you really hurt my feelings.<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>You don't remember?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>No! What did I do?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>That thing: \"yep, bitter\"?<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(still genial)<\/parenthetical>\n    <dialogue>I don't know what the FUCK you're talking about! I always liked you.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>You and your friend Abe -<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>ABE!<\/dialogue>\n    <scene_description>Tracy horks her hot dog.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>You guys used to do this thing where you'd walk up to me and touch my skin and then like taste it and think for a minute and then say \"yep, bitter.\" And then laugh.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Right! We did do that, didn't we? We were weird.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I was standing right there, every single time you did it. It was really mean, and I just wanted to say - fuck you.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Whoa. WHOA.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>The way you treated me really messed me up for a long time.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Everyone is an asshole in high school!<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>You made a lot of people feel bad. Not just me.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I feel sorry for the thirteen year old girl that was you but I'm not sorry for you now.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>We were seventeen.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>If I was thirteen I'd apologize to you but seeing as both of us<\/dialogue>\n    <dialogue>are...in our twenties. I don't see the need.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I just turned thirty.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Happy birthday.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>You're welcome.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>You're a bitch.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Why?! You're the one who hung onto a grudge for this fucking long! Do you know I didn't even recognize you? I don't say that to be mean, that's the way it should be.<\/dialogue>\n    <character>ANNA<\/character>\n    <parenthetical>(tearing up)<\/parenthetical>\n    <dialogue>You are the same. Malevolent.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>You WERE bitter. That's probably why it hurt you so much. Because it was true.<\/dialogue>\n    <character>ANNA<\/character>\n    <parenthetical>(now crying)<\/parenthetical>\n    <dialogue>I wish all bad things on you.<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(calling after)<\/parenthetical>\n    <dialogue>I don't on you because I don't CARE! And neither should you!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THEATER DISTRICT. LATER<\/stage_direction>\n    <scene_description>Brooke and Tracy are wandering home. Tracy looks really drunk. Brooke is still furious at the woman. It has turned cold - in the time they were in the bar their coats suddenly became not enough.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>That's so dramatic! What a drama queen.<\/dialogue>\n    <parenthetical>(scoffs)<\/parenthetical>\n    <dialogue>I can't believe she lives in fucking Tenafly. What is she rich now? How dare she talk to me that way and be rich?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>When I was in junior high, this girl Tara Podwoski used to pull my hair and call me a cunt hunter.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I didn't do what that girl said. I just wasn't brought up that way. I should call Abe and see if he remembers.<\/dialogue>\n    <scene_description>Brooke pulls out her phone.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Maybe do it later?<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(nods, puts the phone away)<\/parenthetical>\n    <dialogue>Yeah. I was so popular in high school but I didn't try AT ALL. People just wanted to be friends with me. I didn't even care about that stuff. When someone told me I was popular I was like \"Really? Weird.\"<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>That's why you were popular. The popular kids never care. I cared too much. Like if you want to know all the popular kids' business, ask an unpopular kid. They always know everything. Because they are the ones who really pay attention.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I'm going to shorten that, punch it up, and turn it into a tweet.<\/dialogue>\n    <scene_description>Tracy throws up. Brooke immediately holds her hair back and comforts her.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>Oh no! Did I feed you too much liquor?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I'll be okay.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>We should get you a cab.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Can I...would it be OK if I slept over again?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT HALLWAY. LATER<\/stage_direction>\n    <scene_description>Tracy leans against the door-jam while Brooke tries to open the apartment door.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>I'm pretty sure college is supposed to be more fun than I'm having.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Damn it...<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I'm kind of attractive.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Argh...<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I might be up for another drink. Is that crazy?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Fuck ME!<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>GOD DAMN IT.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>What's happening?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I FUCKING DON'T BELIEVE THIS SHIT<\/dialogue>\n    <character>MOTHER FUCKING SHIT.<\/character>\n    <dialogue>She kicks the door and screams.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>THE GODDAMN LOCKS ARE CHANGED!<\/dialogue>\n    <scene_description>CUT TO: Brooke and Tracy head down a flight of stairs. CUT TO: Brooke rings a buzzer. A handsome African American answers. Nods hello.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>Hey, Kareem, can we use your fire escape?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIRE ESCAPE. NIGHT<\/stage_direction>\n    <scene_description>Brooke climbs up to her apartment window in bare-feet. Tracy looks up from below, holding Brooke's shoes.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>Shit. I thought I left this window open.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I might have closed it.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Why?!<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I didn't want you to get robbed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KAREEM'S APARTMENT. NIGHT<\/stage_direction>\n    <scene_description>Tracy and Kareem sit on a couch waiting. Outside on the fire escape Brooke is yelling on her phone.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Stavros saw a picture of her kissing a musician.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Stavros is her boyfriend. He told the super that Brooke was living in a commercial space. Is your place zoned commercial?<\/dialogue>\n    <character>KAREEM<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I hope he doesn't rat on you.<\/dialogue>\n    <scene_description>They hear louder shouting from the fire escape. The window opens. Brooke steps inside. Her make up is smeared. She's been crying.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>He's pulling out of the restaurant.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRACY'S DORM ROOM. NIGHT<\/stage_direction>\n    <scene_description>Tracy is on the bed, Brooke is on the floor in a makeshift bed. Tracy's roommate, Ruth, looks annoyed and impressed. It's dark.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>I hope Stavros doesn't rat out Kareem.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>If I don't have this money...my partners will bail, they're in because Stavros was in. And they can go after my savings, everything... Rich people will take any excuse not to spend money - you can just see it in their eyes that they don't really want to share life with you.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Rich people always give out bad Halloween candy.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>The contractors need 20 thousand on Monday. And then there's the key fee, that's fifty - and then there are all these industrial refrigerators coming for another fifteen... I need whatever that equals by Monday. He was in for 200 thousand. Oh my fucking god.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Isn't there someone else you can ask to invest?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I already hit up every rich person I knew the first time around. This was well thought through, Tracy.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I don't know, it's such a good investment. I'd put money in if I had it.<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(suspicious)<\/parenthetical>\n    <dialogue>Do you secretly have money?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>No. My mom never worked and I think my Dad was always kind of mad at her for that... but my parents divorce was way easier than this.<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(viciously)<\/parenthetical>\n    <dialogue>That's because they stopped caring about life just entirely, it's not the same thing. My Mom died so don't even fucking start with me about your pain.<\/dialogue>\n    <scene_description>Ruth pipes up:<\/scene_description>\n    <character>RUTH<\/character>\n    <dialogue>My uncle died.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Shut up, RUTH.<\/dialogue>\n    <scene_description>Brooke sits up.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>I need some answers.<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(immediately)<\/parenthetical>\n    <dialogue>I'm coming.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAITING AREA. NIGHT<\/stage_direction>\n    <scene_description>Brooke and Tracy are waiting on a couch in an apartment.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>I'm going to be worse off now than I was before I started trying to achieve stuff.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I know what it is to want things.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>No, you don't. You can't really know what it is to want things until you're at least thirty. And then with each passing year it gets more because the want is bigger and the possibility is less. Like how each passing year of your life feels faster because it is a smaller portion of your total life. Like that but in reverse. Everything becomes pure want.<\/dialogue>\n    <character>PSYCHIC (O.S.)<\/character>\n    <dialogue>OK, Brooke, I'm ready...<\/dialogue>\n    <scene_description>CUT TO: Brooke sits in front of a man, 40's, in his apartment. Tracy is next to Brooke looking at a chart.<\/scene_description>\n    <character>PSYCHIC<\/character>\n    <dialogue>Spirit says seek out an old friend.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>PSYCHIC<\/character>\n    <dialogue>Someone who hurt you.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Just tell me exactly what to do.<\/dialogue>\n    <character>PSYCHIC<\/character>\n    <dialogue>Spirit says something about fabric.<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(suddenly)<\/parenthetical>\n    <dialogue>It's your friend - Mamie-Claire? The fabric is the T-shirts!<\/dialogue>\n    <scene_description>Brooke shoots Tracy a look.<\/scene_description>\n    <character>PSYCHIC<\/character>\n    <dialogue>And, I see flowers.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Hard looking flowers!<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Please, Tracy.<\/dialogue>\n    <parenthetical>(to the psychic)<\/parenthetical>\n    <dialogue>Mamie-Claire is my enemy.<\/dialogue>\n    <character>PSYCHIC<\/character>\n    <dialogue>Yes, Spirit says you have unfinished business with this woman.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>No, no, it's finished. Tell Spirit it's finished.<\/dialogue>\n    <character>PSYCHIC<\/character>\n    <dialogue>What happened with Mamie-Claire?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>She totally screwed Brooke over. She married her fiance and stole her idea.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>TRACY! Shut up.<\/dialogue>\n    <parenthetical>(to the Psychic)<\/parenthetical>\n    <dialogue>I never looked back.<\/dialogue>\n    <character>PSYCHIC<\/character>\n    <dialogue>I am seeing this, yes. I am seeing... trees...<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>You said she lives in Connecticut! There are trees in Connecticut.<\/dialogue>\n    <scene_description>The Psychic looks at Brooke for affirmation.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>Well, to be fair, there are trees pretty much everywhere.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>You have to listen to Spirit! Mamie-Claire can give you the money! Hi-ho Greenwich!<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(to the Psychic)<\/parenthetical>\n    <dialogue>Really? Can we get confirmation? Is Spirit sure of this?<\/dialogue>\n    <character>PSYCHIC<\/character>\n    <dialogue>The young one is right.<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(re: Tracy)<\/parenthetical>\n    <dialogue>She's not that young. Ten...ten to twelve years younger, we are contemporaries, okay?<\/dialogue>\n    <character>PSYCHIC<\/character>\n    <dialogue>You must seek out Mamie-Claire.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I'm so annoyed with Spirit.<\/dialogue>\n    <character>PSYCHIC<\/character>\n    <dialogue>The path isn't against you it's just the path.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Right. I don't want to be petty... I just wasn't brought up that way. She's my nemesis, but she does owe me.<\/dialogue>\n    <character>PSYCHIC<\/character>\n    <dialogue>This has been a heavy weight on you. Sometimes you have to go back to go front.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Fuck this parade. I'm going to Greenwich.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>We're going.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>You ready for this, squirt? It's going to get ugly.<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>I'm ready.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Great. How are we going to get there?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TONY'S CAR. DAY<\/stage_direction>\n    <scene_description>Brooke sits in the back seat with Nicolette. Tracy looks at her phone and gives directions to Tony in the front.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>I really don't like to leave Manhattan.<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(to Tony)<\/parenthetical>\n    <dialogue>You're going to want to take the Merrit Parkway.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I'll bet Dylan is still in love with me. Marrying Mamie-Claire is like buying a cashmere sweater from Old Navy.<\/dialogue>\n    <scene_description>Tony looks confused.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Even if he's not, this is a great investment. And don't forget she still owes you.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>It's win win. Because I'm sure he still loves me.<\/dialogue>\n    <character>TONY<\/character>\n    <parenthetical>(annoyed)<\/parenthetical>\n    <dialogue>I'm not driving you to Connecticut to break up a marriage. I should be in my room reading Nichomachean Ethics.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Calm down rich boy.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>I'm not rich.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Yes you are you have a car.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>No, I'm not - my dad is a mechanic. He and my uncle have a body shop. I have this car because it was something that he could give me.<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(to Tracy)<\/parenthetical>\n    <dialogue>Sorry, I think I offended your boyfriend.<\/dialogue>\n    <character>NICOLETTE<\/character>\n    <dialogue>He's not her boyfriend, he's mine.`<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(to Nicolette)<\/parenthetical>\n    <dialogue>Why are you here?<\/dialogue>\n    <character>NICOLETTE<\/character>\n    <dialogue>Because Tracy made Tony drive you.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>But why did you come?<\/dialogue>\n    <character>NICOLETTE<\/character>\n    <dialogue>I... I had a bad experience with adultery before. My last boyfriend committed adultery while we were together and I just don't like to let my boyfriends get too far.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>ADULTERY? Why the fuck does it matter? You are all eighteen! Where is this old-person morality coming from? There is no \"cheating\" when you're eighteen. You should all be touching each other all the time.<\/dialogue>\n    <scene_description>CUT TO: Tracy zones out.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Do you ever get that feeling when you are on a car trip that you never want to get where you're going. That you never want it to end.<\/dialogue>\n    <scene_description>Everyone is silent, thinking about it. Nicolette reaches out to playfully touch Tony's hair. Tony freaks.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>Nicolette! You SCARED THE FUCKING SHIT OUT OF ME!<\/dialogue>\n    <scene_description>Nicolette sits back, pissed.<\/scene_description>\n    <character>TONY<\/character>\n    <parenthetical>(trying to make it up)<\/parenthetical>\n    <dialogue>Sweety, it's...nice, it's just I'm driving.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GAS STATION. DAY<\/stage_direction>\n    <scene_description>Tony fills the tank while Nicolette gives him a back rub. Tracy stretches her legs. Brooke comes out of the store eating a Slim Jim.<\/scene_description>\n    <character>BROOKE<\/character>\n    <parenthetical>(passing Tracy)<\/parenthetical>\n    <dialogue>You should be with him, not that goth housewife.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>No, he knew me, he chose her.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Only because you let him. You have to chase down the things you want.<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>I was just going to let it go.<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(considering her)<\/parenthetical>\n    <dialogue>Sometimes I don't know if you are a zen master or a sociopath.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I'm just normal!<\/dialogue>\n    <parenthetical>(taking the bait)<\/parenthetical>\n    <dialogue>I'll give him a back rub he won't soon forget.<\/dialogue>\n    <scene_description>Brooke gives her a half hug\/squeeze, jokingly.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>You don't give shit, do you? I'm so glad you're on my team.<\/dialogue>\n    <scene_description>Brooke wanders from the car and stretches. Tracy watches. Tracy watches Brooke, bent over, brushing out her hair from the bottom, fixing her makeup.<\/scene_description>\n    <character>TRACY (V.O.)<\/character>\n    <dialogue>But the very things that had worked so well for Meadow up until then had started turning and fading. She had no other skills, no other way of dealing with the world. In one instant her behaviors turned from charming to borderline hysteric. People could feel her failure coming. She smelled of something rotten. Her youth had died and she was dragging around the decaying carcass.<\/dialogue>\n    <scene_description>CUT TO: Entering Greenwich, Connecticut. The houses flying by become bigger and bigger. More elegant. This is the wealthy.<\/scene_description>\n    <character>TRACY (V.O.)<\/character>\n    <dialogue>I had somehow become the pallbearer.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I'm trying to find Mamie-Claire's address. Does she have a different last name?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I have a visual memory of it. It's kind of photographic.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Oh you've been here?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Well, I kind of stalked them once. I was so pissed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GREENWICH, CT. DAY<\/stage_direction>\n    <scene_description>They all get out of the car. Brooke squints.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>Yep, this is it.<\/dialogue>\n    <scene_description>She starts to walk up to the house. Everyone follows her.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>Oh we're all going? Okay, we look crazy, but maybe that's good.<\/dialogue>\n    <scene_description>The four of them walk up to the house and ring the doorbell. Wait. A man answers, forties.<\/scene_description>\n    <character>40'S MAN<\/character>\n    <dialogue>Can I help you?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Hi, yes, I was wondering - is Mamie- Claire or Dylan in... I'm an old friend.<\/dialogue>\n    <character>40'S MAN<\/character>\n    <dialogue>Wrong house.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Oh, which is their house? I never come here! I live in New York.<\/dialogue>\n    <character>40'S MAN<\/character>\n    <dialogue>I'll take you there.<\/dialogue>\n    <scene_description>The 40's Man leading the way, the four of them troop over to another house, across the big lawn and through some bushes and trees. He walks up to the door, rings the bell. Brooke, Tracy, Tony and Nicolette stand just behind him, out of sight. A woman opens the door. It's Mamie-Claire.<\/scene_description>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Harold.<\/dialogue>\n    <character>40'S MAN<\/character>\n    <dialogue>What do you think I was doing last night?<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>I don't know Harold, watching kiddie porn?<\/dialogue>\n    <character>40'S MAN<\/character>\n    <dialogue>NO! Listening to you and your husband shouting and not sleeping.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>So sorry we interfered with your kiddie-porn.<\/dialogue>\n    <character>40'S MAN<\/character>\n    <dialogue>I am a PEDIATRICIAN.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Obviously!<\/dialogue>\n    <character>40'S MAN<\/character>\n    <dialogue>Next time I hear decibel levels like I did I'm calling the cops. That is a promise.<\/dialogue>\n    <scene_description>He stalks off.<\/scene_description>\n    <character>40'S MAN<\/character>\n    <parenthetical>(annoyed, to Brooke)<\/parenthetical>\n    <dialogue>This is the house.<\/dialogue>\n    <scene_description>Brooke jumps out.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>Hello!<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>What - what are you doing here? Who are these people?<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(presenting everyone one by one)<\/parenthetical>\n    <dialogue>Tracy's Mom is marrying my Dad. Tony drove. Nicolette is jealous.<\/dialogue>\n    <scene_description>Then a lot of unnecessary hand shaking takes place.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Hi, I'm Tracy.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>I'm Mamie-Claire.<\/dialogue>\n    <scene_description>They shake.<\/scene_description>\n    <character>NICOLETTE<\/character>\n    <dialogue>Nicolette.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Mamie-Claire.<\/dialogue>\n    <scene_description>They shake.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>Tony - and wait, no don't tell me - Mamie-Claire?<\/dialogue>\n    <scene_description>Mamie-Claire ignores the joke, turns back to Brooke.<\/scene_description>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>I thought we weren't speaking.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Right, I want to change that... And I have something I really need to talk to you and Dylan about...<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Dylan isn't here.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Where is he?<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>He volunteers at a retirement community. I'm in the middle of...<\/dialogue>\n    <parenthetical>(hesitates again)<\/parenthetical>\n    <dialogue>It's a thing we do. It's like a party.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>That's okay.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>No... it's not...<\/dialogue>\n    <parenthetical>(getting flustered, then clarifying firmly)<\/parenthetical>\n    <dialogue>It's not for you to say okay, it's for me to say okay.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>We'll wait in the car.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>No, that's weird.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>People wait in cars.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <parenthetical>(sighs)<\/parenthetical>\n    <dialogue>You and your... \"posse\" can hang out in the kitchen.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM. DAY<\/stage_direction>\n    <scene_description>Mamie-Claire leads them past pregnant and just-pregnant women who discuss Faulkner's \"The Hamlet.<\/scene_description>\n    <character>PREGNANT WOMAN #1<\/character>\n    <dialogue>I think the way Faulkner uses language is akin to the way the modernist painters were using paint - exploring the reality of words or paint itself -<\/dialogue>\n    <character>PREGNANT WOMAN #2<\/character>\n    <dialogue>Only Faulkner was interested in how that happens while characters are ACTUALLY trying to communicate, not just drawing attention to the constructedness of the novel.<\/dialogue>\n    <character>TONY<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>Holy shit those pregnant women are super-smart.<\/dialogue>\n    <scene_description>Everyone is impressed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAMIE-CLAIRE'S KITCHEN. DAY<\/stage_direction>\n    <scene_description>Mamie-Claire puts down snacks for the \"posse.\"<\/scene_description>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>I don't know if you're hungry, but this is for if you're hungry.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>This place is amazing.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Brooke frowns, looking around.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>It's really fucking nice.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Would it be OK if we sat in on your discussion?<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>Yeah, I guess. This week's book is Faulkner's \"The Hamlet.\" Followed by a kind of junky biography of Derrida, but it's fun.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Tight.<\/dialogue>\n    <scene_description>He and Nicolette follow Mamie-Claire back into the living room. Tracy looks at a picture of Mamie-Claire on a boat, Brooke leans down and whispers to her:<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>Apparently, she got recruited by Tufts for crew and went but then NEVER did it. I mean, that's the kind of person she is, just sly and shitty.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I would do that if I could. I wasn't good at sports.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Yeah, I would too, but it wouldn't be like my CHARACTER. It would just be something I did.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>When does that become the same thing?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I don't know!<\/dialogue>\n    <scene_description>CUT TO: Brooke and Tracy wait in the kitchen. They've eaten all the snacks. They're bored. Brooke looks at her phone.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>I didn't know you could change the font setting - I hate Helvetica.<\/dialogue>\n    <scene_description>Mamie-Claire enters and places plates in the sink. Brooke stands immediately.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>You look amazing.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Why are all these kids with you?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>They aren't \"kids.\" If they're kids, we are.<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(piping up, to Mamie- Claire)<\/parenthetical>\n    <dialogue>I'm an associate and her almost- sister.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I really need to talk to you...<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Okay, how long do you think you'll need with me, because -<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>How long will Dylan be \"giving back\" at the old folks home? I'd also like to talk to him.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>We're both very busy, I have an appointment after this...<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Oh, come on, Mamie-Claire, that's stupid, you aren't REALLY busy.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Yes! I am!<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(to Tracy)<\/parenthetical>\n    <dialogue>Remember this truth: It's only people who don't have jobs and don't have anything to do that are always fucking BUSY. Like what are you DOING?!<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>We started a community farm. We have goats.<\/dialogue>\n    <character>NICOLETTE<\/character>\n    <parenthetical>(wandering in)<\/parenthetical>\n    <dialogue>Goats are more sustainable. They're smaller.<\/dialogue>\n    <scene_description>Tony behind her.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>Than what?<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Cows.<\/dialogue>\n    <character>PREGNANT WOMAN #2<\/character>\n    <parenthetical>(pokes her head into the kitchen)<\/parenthetical>\n    <dialogue>Um, Mamie-Claire?<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Excuse me, I have to see my guests out.<\/dialogue>\n    <scene_description>Tony and Nicolette follow Mamie-Claire to the kitchen door:<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>I want to say goodbye to Karen.<\/dialogue>\n    <character>NICOLETTE<\/character>\n    <dialogue>Do you have a crush on Karen now?<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>She's seven months pregnant!<\/dialogue>\n    <character>NICOLETTE<\/character>\n    <dialogue>Why do you know that?<\/dialogue>\n    <scene_description>LIVING ROOM Nicolette and Tony are looking at a chess set. Pregnant women are leaving. Mamie-Claire is seeing her guests out.<\/scene_description>\n    <character>TONY<\/character>\n    <parenthetical>(to Mamie-Claire)<\/parenthetical>\n    <dialogue>Mamie-Claire, can me and Nicolette play with your chess set?<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <parenthetical>(confused by who he even is)<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>A pregnant woman sits by the door with her bag in her lap.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>Everything OK, Karen?<\/dialogue>\n    <character>KAREN<\/character>\n    <dialogue>Yes, I'm just waiting for my husband. He's late to pick me up.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>You want to play chess with us?<\/dialogue>\n    <character>NICOLETTE<\/character>\n    <parenthetical>(to Tony, wanting attention)<\/parenthetical>\n    <dialogue>You have to teach me.<\/dialogue>\n    <character>KAREN<\/character>\n    <dialogue>No, he'll be here any minute.<\/dialogue>\n    <scene_description>She checks her phone. Clearly nothing. KITCHEN Mamie-Claire comes back into the kitchen cleaning up.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>Sorry, I got started on the wrong foot there - I meant to say, I've been missing you as a friend and...<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>And?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>She has a very exciting business opportunity for you.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>And I wanted to bring it to you and Dylan as a peace offering. I really think you're going to want to hear about this...<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>The last time I saw you you were hiding in the bushes and then you started incoherently yelling at me and my husband about how we had ruined your life and the time before that you were throwing up at my wedding.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Which is why I am bringing you this exciting business opportunity!<\/dialogue>\n    <scene_description>Mamie-Claire goes into the dining room. Tracy nods at her, like \"keep going!\" They follow Mamie-Claire.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>I would like to offer you a share in a restaurant I'm starting.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Because it is all set up and ready to go and I already have the ability to draw a crowd and it'll just be... perfect. You'll love it. So will Dylan.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>There are lots of other investors.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>But not so many that it would dilute your investment.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>So why are you here?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Well, there was a slight snafu with one of our people which allowed a very coveted spot to open up, which I am offering only to you guys...<\/dialogue>\n    <scene_description>Mamie-Claire considers.<\/scene_description>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>It's not really a good time for me to get involved with a business...<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>We're trying to have a baby...<\/dialogue>\n    <character>KAREN<\/character>\n    <dialogue>You'll never regret it.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Thanks, Karen.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>It's just money, you don't have to do any of the work, you just get the glory and the profit and the satisfaction of being involved with something awesome.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>I don't think Dylan would buy into it. We recently lost money purchasing taxi cab medallions.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I don't want to overstep my bounds here but I think you might be wrong - when is he coming back?<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>I really need to focus on having children - this isn't part of what I need to focus on. No, just... Can I just say no?<\/dialogue>\n    <scene_description>Brooke gets furious.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>No, you cannot \"just say no.\" Why not?<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>I don't need a why.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>The money means NOTHING to you! Look at all this shit, this house that patio furniture. You can spare it, you wouldn't even miss it!<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>And it really would make a profit!<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>No. You can't make me.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Yes, I can because you OWE me.<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(trying to stop her)<\/parenthetical>\n    <dialogue>Um, Brooke...<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <parenthetical>(evenly)<\/parenthetical>\n    <dialogue>I don't owe you.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>For Dylan because that was just skanky but really for the T-shirts - you stole my T-shirt idea and you know it.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>I did not steal your idea. It was my idea and you were there when I had it.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>No! That's so wrong - I remember like the minute I said \"what if this flower was, like, TOUGH.\" And then we started riffing but I SAID IT FIRST.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <parenthetical>(calmly)<\/parenthetical>\n    <dialogue>No, you didn't.<\/dialogue>\n    <scene_description>Brooke screams.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>You are so annoying when you get calm voice!<\/dialogue>\n    <scene_description>Brooke storms off into the backyard. Stops short when she sees two cats.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>Are these my fucking cats?!<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>They're mine. I paid for their cat surgery so they're mine.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Did my cats die and you didn't tell me? Are these replacement cats?<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>No! They are the same goddamn cats!<\/dialogue>\n    <scene_description>Brooke stares at the cats hard and then stomps outside. Tracy wants to go after her but follows Mamie-Claire into the living room. Tony and Nicolette play chess. The pregnant woman still sits by the door checking her phone periodically. Tony thinks hard before a move. He moves his rook--<\/scene_description>\n    <character>KAREN<\/character>\n    <dialogue>If you do that, your knight is vulnerable.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>What? Oh...thanks.<\/dialogue>\n    <character>NICOLETTE<\/character>\n    <dialogue>You took your finger off it, you made the move.<\/dialogue>\n    <scene_description>Mamie-Claire enters. Tracy behind her.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>\"I took my finger off it?\" Who am I playing here Deep Blue?<\/dialogue>\n    <scene_description>He looks at Karen for a laugh. Doesn't get it.<\/scene_description>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Karen, come inside, have a glass of wine.<\/dialogue>\n    <character>KAREN<\/character>\n    <dialogue>Oh, no, I'm fine. He'll be here.<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(indignant to Mamie- Claire)<\/parenthetical>\n    <dialogue>So you deny it? That you profited from her idea that you stole?<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>No, I don't deny it. She's right. The T-shirts were her idea.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Then why did you just say that?!<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>I like making her mad. It's so easy.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>You took her idea. That's not just, Mamie-Claire.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>No, I tried to include her. I set up a meeting with people and she never showed up. And then she stopped speaking to me when me and Dylan got married so I figured I could just go do it.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>So it's her fault.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>No... She is right that I stole a lot of her life ideas. I really am not as creative as she is. But she never would have used them. She has no follow through.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>So it's... no one's fault.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Obviously. That's always true.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>You know the restaurant is going to be really great. She's following through with that. If she's allowed to.<\/dialogue>\n    <scene_description>Tracy leaves to go find Brooke. At the chess table:<\/scene_description>\n    <character>NICOLETTE<\/character>\n    <dialogue>Check.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Wait, what? No it isn't.<\/dialogue>\n    <character>NICOLETTE<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>Check.<\/dialogue>\n    <scene_description>Tony stands, pretends he's being rational.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>I don't want to play anymore.<\/dialogue>\n    <character>NICOLETTE<\/character>\n    <dialogue>Oh come on!<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>I don't feel like playing right now.<\/dialogue>\n    <character>NICOLETTE<\/character>\n    <dialogue>You can't quit right before I'm going to win--<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>I'm just not in the mood. People can be not in the mood.<\/dialogue>\n    <scene_description>Mamie-Claire stares at them.<\/scene_description>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>I couldn't be your mother, thank god.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>What are you, thirty? We're eighteen. You could. Twelve year olds can have kids.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Fuck you.<\/dialogue>\n    <character>KAREN<\/character>\n    <dialogue>Mamie-Claire!<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Sorry, Karen.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACKYARD. DAY<\/stage_direction>\n    <scene_description>Brooke, still worked up, marches across the lawn. Her phone vibrates.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>Hey Dad - what's up? I can't really talk right now.<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>Brooke...<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I'll call you tomorrow, I'm in the middle of something.<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>I know you probably don't care --<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>-- I care about things!<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>But I'm not getting married.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Oh, really?<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>No... We called it off last night. It's for the best. I don't really know her.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>She wasn't committed to the church, either. I think that was all forced.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Sure, sure.<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>Are you okay?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Yes, I just... You're really not doing it? I thought you guys were really symbiotic. Wasn't it a web algorithm that got you together? She seems amazing.<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>You never even met Stevie.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Through you, I met her. I don't know, Dad. Come on...<\/dialogue>\n    <scene_description>Tears run down Brooke's face.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>Don't just bail. That's what the Cardinases always do, move on to something else. Hang in there.<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>Frankly I'm surprised you're so invested in this. Believe me, it's for the best.<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(wiping her face)<\/parenthetical>\n    <dialogue>I have to go.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I have a really important business meeting. I love you.<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>We can do Thanksgiving at my house if you want - since there won't be a wedding.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Nah, I'll probably just end up doing something depressing but young.<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>Home is only a bus ride away.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Is it? Just kidding, it is.<\/dialogue>\n    <scene_description>There is a silence between them for a second.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>So what does this make me and Tracy?<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>Who's Tracy?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Never mind.<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>Oh, oh, right, her daughter - nothing, I guess.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAMIE-CLAIRE'S DEN. DAY<\/stage_direction>\n    <scene_description>Tracy is looking through an old datebook in the den. She picks up a 1970's subway token and puts in her pocket.<\/scene_description>\n    <character>TRACY<\/character>\n    <parenthetical>(startles)<\/parenthetical>\n    <dialogue>Hello.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Sorry, I didn't mean to sneak.<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(saucily)<\/parenthetical>\n    <dialogue>Are you stalking me?<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>I left my backpack in here. I need my migrane pills.<\/dialogue>\n    <scene_description>He goes to his backpack and gets out an pill bottle. He fixes himself a scotch and then downs a pill.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Let me have a sip.<\/dialogue>\n    <scene_description>She takes the glass from him. He looks at her.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>How much longer do you think we'll be here?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I don't know, however long it takes. After Dylan comes home maybe.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>What are you really trying to accomplish here?<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(looking around the room)<\/parenthetical>\n    <dialogue>I'm enjoying this really stylish house. When you live in suburbia you have to really like being in your house.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>That's not what I - what are you doing with this whole thing?<\/dialogue>\n    <scene_description>Nicolette appears in the doorway for a second and then retreats, listening.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>I want Brooke to get her restaurant. I'm helping out.<\/dialogue>\n    <scene_description>Tony goes to his backpack, which was thrown on the couch. Opens it and retrieves the pages she had given him.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>I read your story, by the way.<\/dialogue>\n    <parenthetical>(he holds up the pages)<\/parenthetical>\n    <dialogue>Brooke is the woman in your piece. You're collecting material.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Did you like it?<\/dialogue>\n    <character>TONY<\/character>\n    <parenthetical>(evasive)<\/parenthetical>\n    <dialogue>That's not what we're talking about.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Why are you here?<\/dialogue>\n    <character>TONY<\/character>\n    <parenthetical>(vaguely)<\/parenthetical>\n    <dialogue>You needed a ride. You forced me.<\/dialogue>\n    <scene_description>Tracy quickly walks over to Tony.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>How does it feel to be forced?<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>It feels...uncomfortable.<\/dialogue>\n    <scene_description>Tracy puts her face close to his. She removes his glasses.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>And how do you feel now?<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Still uncomfortable.<\/dialogue>\n    <scene_description>Tracy kisses Tony passionately on the mouth. Nicolette reacts.<\/scene_description>\n    <character>TONY<\/character>\n    <parenthetical>(pushing her off)<\/parenthetical>\n    <dialogue>That's not what I want!<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>It is what you want, but it makes you feel like a bad person to want it.<\/dialogue>\n    <character>TONY<\/character>\n    <parenthetical>(wiping his mouth)<\/parenthetical>\n    <dialogue>You're acting really crazy. I don't like this.<\/dialogue>\n    <scene_description>He puts the story back into his backpack.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Why can't you say you liked my story?<\/dialogue>\n    <character>TONY<\/character>\n    <parenthetical>(upset)<\/parenthetical>\n    <dialogue>I don't know! I'm jealous! It's better than mine! Sheesh!<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>You want other people to do the things that you can't so you can blame them.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>You used to be so nice.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I'm the same. I'm just the same in another direction now.<\/dialogue>\n    <scene_description>Tony and Tracy leave. Nicolette enters, goes to Tony's backpack and takes out the story.<\/scene_description>\n    <character>MAMIE-CLAIRE (O.S.)<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAMIE-CLAIRE'S HOUSE. DAY<\/stage_direction>\n    <scene_description>Dylan, a round annoyed-looking blonde man, is fixing a drink and doing dishes and Mamie Claire is trying to really hug him with her face in his neck.<\/scene_description>\n    <character>DYLAN<\/character>\n    <dialogue>I don't like it when you try to force affection onto me.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>I'm just trying to hug you.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>Do you have to put your face so close to mine?<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>It's nice....<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>You know how upset I get when I visit the home...<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>I want you to share it with me.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>Rosella and Lorene may not even be ALIVE next time I'm there, okay?<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>Just keep your face a little away while I process that.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <parenthetical>(pouting)<\/parenthetical>\n    <dialogue>Fine.<\/dialogue>\n    <scene_description>Dylan looks up -- he clocks Tony, Tracy and Karen, the abandoned Pregnant Woman, at the top of the stairs.<\/scene_description>\n    <character>DYLAN<\/character>\n    <dialogue>Who are all these people?! MC, why do you never tell me who is in the house?<\/dialogue>\n    <character>KAREN<\/character>\n    <dialogue>I wondered if I could have some water.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Of course, Karen.<\/dialogue>\n    <scene_description>She goes to retrieve a glass.<\/scene_description>\n    <character>DYLAN<\/character>\n    <dialogue>Oh, hi Karen, I don't mean you.<\/dialogue>\n    <character>TONY<\/character>\n    <parenthetical>(reaching out his hand)<\/parenthetical>\n    <dialogue>Tony, nice to meet you. Beautiful house sir.<\/dialogue>\n    <character>DYLAN<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Have you seen a girl about this high -<\/dialogue>\n    <parenthetical>(demonstrates with his hand)<\/parenthetical>\n    <dialogue>- that's my girlfriend.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>No, uh, there's more of you?<\/dialogue>\n    <scene_description>Tracy steps in a little:<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>I'm Tracy.<\/dialogue>\n    <character>DYLAN<\/character>\n    <parenthetical>(pointing at himself)<\/parenthetical>\n    <dialogue>Dylan. Tracy is a tight name.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>It's a name that totally is a name but I don't know anyone actually named Tracy, you know?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I am actually named Tracy.<\/dialogue>\n    <character>BROOKE (O.S.)<\/character>\n    <dialogue>Tracy--<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(turning)<\/parenthetical>\n    <dialogue>Yeah?<\/dialogue>\n    <scene_description>Brooke enters. Dylan sees Brooke.<\/scene_description>\n    <character>DYLAN<\/character>\n    <dialogue>Brooke.<\/dialogue>\n    <scene_description>Brooke now notices Dylan.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>Hey Dylan.<\/dialogue>\n    <scene_description>They stand apart almost shyly.<\/scene_description>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Brooke's here with some kindergartners.<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(to Brooke)<\/parenthetical>\n    <dialogue>What were you going to say?<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(smiling at Dylan)<\/parenthetical>\n    <dialogue>In a minute.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Has anyone seen Nicolette?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Forget about Nicolette for a second.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Stop trying to seduce me!<\/dialogue>\n    <scene_description>Mamie-Claire hands Karen her water.<\/scene_description>\n    <character>KAREN<\/character>\n    <dialogue>Thanks, I got a little parched. I think I'm sitting by a heating duct.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <parenthetical>(shoves a stool in her direction)<\/parenthetical>\n    <dialogue>Stay here. Have a glass of wine.<\/dialogue>\n    <character>KAREN<\/character>\n    <dialogue>No. Ted really should be here soon.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Karen!<\/dialogue>\n    <scene_description>Karen sits on the stool. Tony looks distraught.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>Can I have a snack? Stress makes me hungry.<\/dialogue>\n    <scene_description>Mamie-Claire gestures to the refrigerator. Tony opens the freezer and fridge stands in front of it. Dylan considers Brooke. Mamie-Claire watches.<\/scene_description>\n    <character>DYLAN<\/character>\n    <dialogue>Brooke -- I haven't seen you in a second.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I know, right?<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>What brings you to the burbs?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>We were--<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Brooke needs money.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>No, I don't \"need money\" - I come to you with an opportunity.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>I told her about the taxi medallions.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>Let me make you a drink. What's the opportunity?<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(coyly)<\/parenthetical>\n    <dialogue>It's a good one.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>We're having dinner at the Baskins. I'm sorry to say it but you guys will have to leave now.<\/dialogue>\n    <scene_description>Tony holds up a Chipwich.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>Can I have this?<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>YES!<\/dialogue>\n    <scene_description>He leaves, eating the Chipwich.<\/scene_description>\n    <character>DYLAN<\/character>\n    <dialogue>Marty and Jiselle can wait.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Didn't you guys park over at Harold's?<\/dialogue>\n    <character>DYLAN<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>You guys know Harold? How do you know Harold?<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>They don't!<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>She's an old friend, she can stay over if she wants. We have the room for her and her students.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>They're not her students. It's much weirder than that.<\/dialogue>\n    <parenthetical>(definitively)<\/parenthetical>\n    <dialogue>I'll walk you out.<\/dialogue>\n    <scene_description>Mamie-Claire leaves through the door toward the living room. No one follows.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>They're my friends.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>Always running with a young crowd.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>She's starting a restaurant.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I can't wait to tell you about it.<\/dialogue>\n    <scene_description>Mamie-Claire reenters, realizing no one followed.<\/scene_description>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Dylan, let's not do this. She already lost her shit once.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>What's the restaurant?<\/dialogue>\n    <scene_description>Dylan starts doing the dishes\/loading the dishwasher.<\/scene_description>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Brooke, this is uncomfortable. Dylan doesn't want to do this.<\/dialogue>\n    <character>DYLAN<\/character>\n    <parenthetical>(to Mamie-Claire)<\/parenthetical>\n    <dialogue>You don't know what I want. I know you see me a certain way, but I'm not just some square. I saw Nirvana live and this was way before Nevermind.<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(piping in)<\/parenthetical>\n    <dialogue>You seem really cool to me.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>I DJed at my college radio station, the 2AM slot. We played Mudhoney, Superchunk, Trip Shakespeare, I mean...<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>No one wants to hear about your glory days in college radio, Dylan, OK.<\/dialogue>\n    <character>TRACY\/BROOKE<\/character>\n    <dialogue>I do.\/I do.<\/dialogue>\n    <character>DYLAN<\/character>\n    <parenthetical>(back to Mamie-Claire)<\/parenthetical>\n    <dialogue>I play this part for you. I play this guy wearing a fleece, but I'm not just some asshole bankrolling your fitness goals.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>I've gotten really into triathalons.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Brooke teaches cycling.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>So cool.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>No, I only like cycling when it's combined with running and swimming.<\/dialogue>\n    <character>DYLAN<\/character>\n    <parenthetical>(to Brooke)<\/parenthetical>\n    <dialogue>Why did you think of us?<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Because we \"owe\" her!<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Because you're into cool things.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>We are! You guys want to smoke some weed?<\/dialogue>\n    <scene_description>He opens the freezer.<\/scene_description>\n    <character>DYLAN<\/character>\n    <dialogue>I have some frozen weed. MC, where's that weed Jason gave us?<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>You've just said \"weed\" like fifteen times.<\/dialogue>\n    <character>DYLAN<\/character>\n    <parenthetical>(head in the freezer)<\/parenthetical>\n    <dialogue>MC??? Did that kid take my weed!?<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>NO! No one has touched it. It should be next to the Chipwiches.<\/dialogue>\n    <scene_description>CUT TO: Tony knocks on the upstairs bathroom door. He's eating a Chipwich.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>Are you sick?<\/dialogue>\n    <character>NICOLETTE (O.S.)<\/character>\n    <dialogue>No, I'm healthy.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Don't shut me out! You know how hard that is for me!<\/dialogue>\n    <character>NICOLETTE (O.S.)<\/character>\n    <dialogue>You sound like you're eating something.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>I have a Chipwich for you.<\/dialogue>\n    <character>NICOLETTE (O.S.)<\/character>\n    <parenthetical>(softening)<\/parenthetical>\n    <dialogue>You brought me a Chipwich?<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>I can get you another one.<\/dialogue>\n    <scene_description>BATHROOM<\/scene_description>\n    <character>NICOLETTE<\/character>\n    <dialogue>LEAVE ME ALONE!<\/dialogue>\n    <scene_description>Nicolette reads the story on the sink counter.<\/scene_description>\n    <character>TRACY (V.O.)<\/character>\n    <dialogue>It was clear that the thing that Meadow wanted most in the world - the thing that she wanted to define her, to absolve her from the struggle of explaining herself, to give her a place to put her time and talents - her everything - the restaurant.<\/dialogue>\n    <scene_description>Tony pounds on the door.<\/scene_description>\n    <character>TRACY (V.O.)<\/character>\n    <dialogue>It was clear that it would never happen. The most surprising thing was that Meadow was actually surprised by it. She could see the whole world with painful accuracy but couldn't see herself or her fate.<\/dialogue>\n    <character>TONY (O.S.)<\/character>\n    <dialogue>Baby, come out!<\/dialogue>\n    <scene_description>KITCHEN Brooke finds herself standing next to Karen.<\/scene_description>\n    <character>TRACY (V.O.)<\/character>\n    <dialogue>The most surprising thing was that Meadow was actually surprised by it.<\/dialogue>\n    <character>TRACY (V.O.)<\/character>\n    <dialogue>And because I was in love with her, I decided I couldn't see it either.<\/dialogue>\n    <scene_description>The conversations overlap.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>I'm starting a restaurant.<\/dialogue>\n    <character>KAREN<\/character>\n    <dialogue>Oh...I'm an attorney.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>That's awesome for you. I never went to college.<\/dialogue>\n    <character>KAREN<\/character>\n    <dialogue>That doesn't have to be a permanent state. You aren't an amputee.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I know that.<\/dialogue>\n    <character>KAREN<\/character>\n    <dialogue>You can still go to college.<\/dialogue>\n    <character>DYLAN<\/character>\n    <parenthetical>(head still in the freezer)<\/parenthetical>\n    <dialogue>We'll get lifted and you'll tell us about this venture.<\/dialogue>\n    <scene_description>Dylan reemerges holding a Chipwich.<\/scene_description>\n    <character>DYLAN<\/character>\n    <dialogue>Do any of you kids know how to make an apple bong?<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <parenthetical>(nearly apoplectic)<\/parenthetical>\n    <dialogue>Nobody knows how to make an apple bong!<\/dialogue>\n    <scene_description>Tony comes back:<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>I do.<\/dialogue>\n    <character>DYLAN<\/character>\n    <parenthetical>(suspicious)<\/parenthetical>\n    <dialogue>Did you take my herb?<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>I'll get you an apple.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Why don't we all sit down somewhere comfortable and listen to what Brooke has to say...<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>Yes. You'll pitch us.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>That's what you do. If someone wants something. They pitch. Come pitch us on our media stage!<\/dialogue>\n    <scene_description>Dylan, Tracy, Tony and Brooke all troupe down the hall. Mamie-Claire hurries behind:<\/scene_description>\n    <character>DYLAN<\/character>\n    <dialogue>We just ran Apocalypto on Blu Ray. Stunning. Stunning. I've gotten very into vinyl.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I'm into compressed MP3's. Just joking.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>I have a great early Mother Love Bone EP that would be perfect for this occasion.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Records are so warm.<\/dialogue>\n    <scene_description>Brooke is suddenly yanked out of the line of people, by Mamie- Claire who stands in the dark in the guest bathroom:<\/scene_description>\n    <character>MAMIE-CLAIRE<\/character>\n    <parenthetical>(intense whisper)<\/parenthetical>\n    <dialogue>I want you to know that I really love Dylan. I love his blonde hair and his beard. I know you only loved him for his money but I love him as a person and I also love him for his money but not in that order. I'm committed to being a happier person. Do you understand?<\/dialogue>\n    <scene_description>She releases Brooke back out into the hallway. LIVING ROOM Dylan, Mamie-Claire, Tony, Karen and Tracy sit on the couch in front of an elevated stage which is usually used to project movies. Brooke stands behind a curtain. Tracy presses a button and the curtain slowly opens. Brooke appears before them. Brooke backs up and kind of gets a little presentational about the whole thing.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>Umm, well...it's a restaurant, but also like where you cut hair...<\/dialogue>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>Can I start over?<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>Of course. We're old friends.<\/dialogue>\n    <scene_description>Murmurs of \"yes, of course.\"<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>Okay, great.<\/dialogue>\n    <scene_description>She does a weird \"rewinding\" type action. Everyone stares.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>I was, that was pretend rewind. Like...<\/dialogue>\n    <scene_description>Then she does it again.<\/scene_description>\n    <character>BROOKE<\/character>\n    <parenthetical>(breath)<\/parenthetical>\n    <dialogue>So...it would have big heavy wooden tables and chairs and...<\/dialogue>\n    <scene_description>Suddenly a projection of the red FBI warning from a DVD appears across Brooke's body. She hesitates. Dylan pulls the remote control from under his body.<\/scene_description>\n    <character>DYLAN<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <scene_description>He shuts off the image.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>Umm... It would feel like the home everyone wishes they had been raised in. It...it...it...it.<\/dialogue>\n    <scene_description>Brooke is struggling. Tracy can't help but pipe in from the couch.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>No one who comes there will want to take out their cell phones because it won't feel that way. It would be like taking out your cell phone in the woods - totally wrong.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>It's so rude. I concur.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Yeah. It will always feel like fall inside - even on hot summer nights with all the windows open.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Loaves of bread that people tear off pieces. It would be the kind of place where at 2AM the chef and the wait-staff would come out and eat something simple they fixed themselves with the remaining guests and open a bottle of good wine.<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(standing up)<\/parenthetical>\n    <dialogue>It would be the best of capitalism. What politicians pretend they mean when they say \"small business.\"<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>We would resist doing too many pieces in the Times and stuff because we'd want it to stay honest. They would want us to expand and open another one and maybe we eventually would but we wouldn't try to re-create the first one, it would be a totally new thing. And if I ever had kids they would walk there after school and do their homework in a corner table. They'd grow up around all these wonderful adults -<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Chefs and actors who are waiters - it would be a big funny family and they'd never be lonely.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>This could all be something you guys share in - you'd be their auntie and uncle - part of the life and food. And eventually I'd train someone younger than myself to run the day to day so I could go up to Maine with my family in the summers and have the kids dive for lobsters and everyone would be so warm and happy inside knowing that in their life they had participated in something that was only good.<\/dialogue>\n    <scene_description>Silence. Tracy is kind of emotional. Everyone applauds. Karen is sobbing.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <scene_description>Dylan walks up to Brooke, kissing her on each cheek, pretending to be speechless.<\/scene_description>\n    <character>DYLAN<\/character>\n    <parenthetical>(to the group)<\/parenthetical>\n    <dialogue>You know, I lived in the City for many years. Before I started at Goldman, I was teaching at Baruch and I lived in an East Village walk- up. I was the people people make television shows about.<\/dialogue>\n    <parenthetical>(to Tracy)<\/parenthetical>\n    <dialogue>I was quite beautiful.<\/dialogue>\n    <scene_description>He takes Brooke's hand. Mamie-Claire reacts. Takes his other hand. They are all holding hands.<\/scene_description>\n    <character>DYLAN<\/character>\n    <dialogue>This is very fucking interesting.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>DYLAN<\/character>\n    <parenthetical>(re: Tracy and Brooke)<\/parenthetical>\n    <dialogue>So, are you both doing it?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>No, but we're sisters and I'm--<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Tracy is spiritual guidance and waitress.<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(thrilled)<\/parenthetical>\n    <dialogue>Really? I wasn't sure you had heard me those times.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I hear everything.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>How much do you need?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>It's 200 total but I calculated we need forty-two point five on Monday.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>For refrigeration.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>Forty-two point five stacks, huh?<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>What are stacks?<\/dialogue>\n    <character>KAREN<\/character>\n    <dialogue>A thousand?<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>I thought \"stacks\" meant a hundred.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>I'm pretty sure a stack is a thousand.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I think a dime is a thousand.<\/dialogue>\n    <parenthetical>(cutting to the chase)<\/parenthetical>\n    <dialogue>Nevermind, you'd do that?<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>I want to help you.<\/dialogue>\n    <scene_description>The door bell rings. Karen springs off her stool.<\/scene_description>\n    <character>KAREN<\/character>\n    <dialogue>That's Ted! Bye everyone.<\/dialogue>\n    <character>EVERYONE<\/character>\n    <dialogue>Bye.<\/dialogue>\n    <character>KAREN<\/character>\n    <parenthetical>(to Brooke)<\/parenthetical>\n    <dialogue>Good luck with your restaurant!<\/dialogue>\n    <scene_description>She hurries out.<\/scene_description>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Dylan, this is really something for us to talk about privately.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>We need fresh drinks.<\/dialogue>\n    <scene_description>He starts for the kitchen. Brooke follows.<\/scene_description>\n    <character>KAREN (O.S.)<\/character>\n    <dialogue>Umm, Mamie-Claire! Can you come here please?<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Can it wait, Karen?<\/dialogue>\n    <character>KAREN (O.S.)<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>Mamie-Claire hesitates, torn between keeping and eye of Dylan and going to Karen, and then runs to Karen. CUT TO: Harold is at the door. Karen stands there, confused.<\/scene_description>\n    <character>KAREN<\/character>\n    <dialogue>It's not Ted.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Harold--<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>I am calling the cops. You were warned.<\/dialogue>\n    <character>DYLAN (O.S.)<\/character>\n    <dialogue>Could the weed be in the garage freezer?<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>I don't know!<\/dialogue>\n    <character>DYLAN (O.S.)<\/character>\n    <dialogue>Can you check?<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <parenthetical>(yelling)<\/parenthetical>\n    <dialogue>I'm blowing Harold so he doesn't call the cops. JK. I'm probably just going to have to go look at his boat collection.<\/dialogue>\n    <character>HAROLD<\/character>\n    <parenthetical>(stepping inside)<\/parenthetical>\n    <dialogue>I can't remember the last time I was over here.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>I don't think you've ever been over here, Harold.<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>No, when you first moved here, I came for a stilted barbecue.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>That's when we made an effort.<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>Well, invite me in now. I want a house tour.<\/dialogue>\n    <scene_description>LIVING ROOM Tony is working on the apple bong with his all-purpose tool, Tracy watches him.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>You are such a Swiss Army knife kind of guy.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>I have to be a better loser. I really love Nicolette.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>She's angry about the chess game?<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Yeah, I think so. I'm mostly in touch with my feminine side but then I guess not though because I don't understand her right now.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Did you... did you want to be with me ever?<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>I don't want to get into this...<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>No, I'm not going to kiss you. Just a question.<\/dialogue>\n    <scene_description>Tony considers:<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>Yeah, I liked you, but I love Nicolette and honestly... I just never saw you that way.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>You seemed... I need someone I can love, not keep up with.<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(nodding)<\/parenthetical>\n    <dialogue>Sometimes I really think I'm just smarter and better than everyone else. Not necessarily with math or science or whether something is east or west but pretty much with everything else. And if I could just figure out my look I'd be the most beautiful woman in the world too.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Sometimes I think I'm a genius and I wish I could just fast-forward my life to the part where everyone knows it.<\/dialogue>\n    <scene_description>Tony holds up the completed apple bong. It's beautiful. KITCHEN Brooke has followed Dylan into the kitchen, he's fixing a drink.<\/scene_description>\n    <character>DYLAN<\/character>\n    <dialogue>I have to say, I'm impressed Brooke. It takes a lot of moxie to start a restaurant.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>You're doing it, babe. You're out there, doing something besides amassing and hoarding money.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>If I could figure out how to amass and hoard money, I'd do it.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>You could have married me or a dozen other guys but you wanted to be your own person.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Yeah, no, I'm over that now.<\/dialogue>\n    <scene_description>Dylan laughs. He moves toward her. She moves in.<\/scene_description>\n    <character>DYLAN<\/character>\n    <dialogue>You're funny because you don't know you're funny.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I know I'm funny. There's nothing I don't know about myself. That's why I can't do therapy.<\/dialogue>\n    <scene_description>They're close now. He pushes a strand out of her face and behind her ear. Brooke is going with it.<\/scene_description>\n    <character>DYLAN<\/character>\n    <dialogue>MC and I see a woman in New Haven.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Oh...you guys see a therapist? Like a tune up?<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>More like a death watch. She's totally on my side. She basically thinks Mamie-Claire is holding me back and I should just leave her.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Your couple's therapist said that?<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>In so many words. Yeah, we're done.<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(sadly)<\/parenthetical>\n    <dialogue>Mamie-Claire said you were trying to have kids.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>We've talked about it but we've also talked about breaking up.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Oh no, I'm sorry--<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>No, it's liberating. I feel great.<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(freaked out)<\/parenthetical>\n    <dialogue>Yay...<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>I miss New York, man. I miss you. I look you up periodically on the internet. You look hot as hell in those party pictures.<\/dialogue>\n    <scene_description>Brooke takes a step back.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>Oh...do I? Which party? Sometimes I look like I have fat arms.<\/dialogue>\n    <scene_description>He takes another step forward.<\/scene_description>\n    <character>DYLAN<\/character>\n    <dialogue>I like fat arms. I'm going to help you.<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(tearful)<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>She hugs him. He holds the hug too long. She has to yank herself free.<\/scene_description>\n    <character>DYLAN<\/character>\n    <dialogue>Here's what I'm going to do for you. We'll take my forty-three stacks or dimes and pay back the other investors, whatever they're in for thus far. You got a space already? A lease?<\/dialogue>\n    <scene_description>Brooke, realizing, nods.<\/scene_description>\n    <character>DYLAN<\/character>\n    <dialogue>We'll put it up for rent immediately, cool neighborhood?<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(almost inaudible)<\/parenthetical>\n    <dialogue>Williamsburg.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>Oh, come on! The coolest. Yeah, we'll turn it over no problem.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>Because let's face it having a restaurant is like having a kid with a drug problem. It's...just...it's really draining.<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(crushed)<\/parenthetical>\n    <dialogue>You're giving me money to not start a restaurant?<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>First of all - I'm saving you. If you started the restaurant, you'd be back here in a year asking for five times this.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Not if it was successful --<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>What are the odds?<\/dialogue>\n    <scene_description>He pushes a hair away from her face. He's close to her now.<\/scene_description>\n    <character>DYLAN<\/character>\n    <dialogue>You're as beautiful as ever. Whatever you're doing it's working.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>No. No, it isn't.<\/dialogue>\n    <scene_description>Brooke hesitates. Dylan grins. Tracy enters.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Did you ever find the pot? Tony just made a beautiful apple bong.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>We'll have to, because some celebrating is in order.<\/dialogue>\n    <parenthetical>(putting his arm around Brooke)<\/parenthetical>\n    <dialogue>I think we may have reached a deal.<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(shaking off her disappointment)<\/parenthetical>\n    <dialogue>Yes... Dylan made a proposition.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>I'm going to give her money immediately.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Yay!<\/dialogue>\n    <character>MAMIE-CLAIRE (O.S.)<\/character>\n    <dialogue>You're giving her money?<\/dialogue>\n    <scene_description>Mamie-Claire enters. Dylan takes his arm off of Brooke.<\/scene_description>\n    <character>DYLAN<\/character>\n    <dialogue>Who was at the door?<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Harold. He's giving himself a tour of the house.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>Where's Karen?<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>I don't fucking know. You're giving her money??? This is our decision. Not yours.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>I'm not giving her 200 grand, don't worry, I'm just bailing her out of her current situation.<\/dialogue>\n    <scene_description>Tracy looks at Brooke.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>And then for the whole restaurant?<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(trying to be brave)<\/parenthetical>\n    <dialogue>No... I won't do the restaurant now. It's just gotten too crazy.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>DYLAN<\/character>\n    <parenthetical>(to Tracy)<\/parenthetical>\n    <dialogue>You believe in her, don't you?<\/dialogue>\n    <scene_description>Tracy nods. Brooke watches her.<\/scene_description>\n    <character>DYLAN<\/character>\n    <dialogue>This is a good result, this is even better than getting the restaurant. Less financial uncertainty.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>He's right. I think I even feel a little relieved.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>\"Mom's\" wasn't about money.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>Well, I don't think anyone starts anything with the dream of NOT making money.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Do they not?<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Why would you give her money?<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>It's my money. I make it. I can do what I want with it. Just like, you have your T-shirt money, you can do what you want with that.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>But I... we're married. This is our life.<\/dialogue>\n    <scene_description>Brooke looks at Tracy.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>You know what, I appreciate it, Dylan, Mamie-Claire, but I'm not going to take the money. I'll figure something else out.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>Why?<\/dialogue>\n    <scene_description>Brooke looks at Mamie-Claire.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>I just wasn't brought up that way.<\/dialogue>\n    <scene_description>Mamie-Claire smiles at her. An unspoken \"Thanks.\" Tracy comes over to Brooke.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>What will you do?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I'll figure it out. I always do.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I'm so impressed by you and worried for you at the same time.<\/dialogue>\n    <scene_description>She hugs Brooke.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>I'm so glad you're my sister.<\/dialogue>\n    <scene_description>Brooke is about to say something when they HEAR SHOUTING.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAMIE-CLAIRE'S LIVING ROOM. IMMEDIATELY FOLLOWING<\/stage_direction>\n    <scene_description>Dylan, Mamie-Claire, Brooke and Tracy enter. Nicolette and Tony are arguing.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>I love YOU!<\/dialogue>\n    <character>NICOLETTE<\/character>\n    <dialogue>Don't lie to my face and stab me in the back butter boy!<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Hey, that's mean...<\/dialogue>\n    <scene_description>She sees Tracy.<\/scene_description>\n    <character>NICOLETTE<\/character>\n    <dialogue>You're stealing my boyfriend! You're cuckholding me!<\/dialogue>\n    <scene_description>She starts hitting Tracy. Harold and Karen enter.<\/scene_description>\n    <character>NICOLETTE<\/character>\n    <dialogue>You bitch whore!<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Guys!<\/dialogue>\n    <character>TONY<\/character>\n    <parenthetical>(to Brooke)<\/parenthetical>\n    <dialogue>She just started attacking her!<\/dialogue>\n    <character>HAROLD<\/character>\n    <parenthetical>(walking in)<\/parenthetical>\n    <dialogue>What IS it about this house? Everyone screams.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Please stop it!<\/dialogue>\n    <scene_description>Brooke helps Mamie-Claire pull Nicolette off Tracy.<\/scene_description>\n    <character>NICOLETTE<\/character>\n    <parenthetical>(still struggling)<\/parenthetical>\n    <dialogue>She's stealing my boyfriend!<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I am not!<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>I resisted! I resisted!<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Chill the fuck out.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>Ladies, ladies.<\/dialogue>\n    <character>KAREN<\/character>\n    <parenthetical>(re: her stomach)<\/parenthetical>\n    <dialogue>I don't like shouting around the baby.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <parenthetical>(to Karen)<\/parenthetical>\n    <dialogue>Is that a real thing?<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>I'm right here, she's not stealing anything...<\/dialogue>\n    <character>NICOLETTE<\/character>\n    <dialogue>It's NOT just that! There's also THIS!<\/dialogue>\n    <scene_description>The pulls a wrinkled stack of papers out of her pants.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>What the fuck is that?<\/dialogue>\n    <character>KAREN<\/character>\n    <dialogue>Or cursing.<\/dialogue>\n    <character>NICOLETTE<\/character>\n    <dialogue>Tracy knows what it is. I'll give you a hint: it's onion skin.<\/dialogue>\n    <scene_description>CLOSE on Tracy. Nicolette points at her.<\/scene_description>\n    <character>NICOLETTE<\/character>\n    <parenthetical>(pointing her finger)<\/parenthetical>\n    <dialogue>She's a HOMEWRECKER and a bad person.<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(to Brooke)<\/parenthetical>\n    <dialogue>It's not you... It's just inspired. You make me want to write.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>This is so nerdy.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>Who wouldn't want to write a story about Brooke?<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <parenthetical>(raising her hand)<\/parenthetical>\n    <dialogue>Me. I wouldn't.<\/dialogue>\n    <character>TONY<\/character>\n    <parenthetical>(to Nicolette)<\/parenthetical>\n    <dialogue>Baby, I resisted.<\/dialogue>\n    <character>HAROLD<\/character>\n    <parenthetical>(settling in, taking a seat)<\/parenthetical>\n    <dialogue>Can I get a drink?<\/dialogue>\n    <character>PREGNANT WOMAN #3<\/character>\n    <dialogue>Here, have mine.<\/dialogue>\n    <parenthetical>(giving him her wine)<\/parenthetical>\n    <dialogue>They keep handing me alcohol.<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(to Tracy)<\/parenthetical>\n    <dialogue>You wrote a story about me?<\/dialogue>\n    <character>NICOLETTE<\/character>\n    <parenthetical>(to Brooke)<\/parenthetical>\n    <dialogue>She hates you - she wrote mean things about you.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>No I didn't!<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I'd like to read it. If it's about me.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>I'd like to, too.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <parenthetical>(to Dylan)<\/parenthetical>\n    <dialogue>You don't read fiction.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>When it's about my friends I do.<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(to Brooke)<\/parenthetical>\n    <dialogue>Oh, it's not really you, but it's very funny, the character that Nicolette and Tony misconstrued as you is a very funny character.<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(not thrilled with this)<\/parenthetical>\n    <dialogue>Funny? What does it say?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>It's not funny. It's just...it's not you.<\/dialogue>\n    <character>NICOLETTE<\/character>\n    <parenthetical>(to Brooke)<\/parenthetical>\n    <dialogue>Do you live in an apartment that's zoned commercial?<\/dialogue>\n    <scene_description>Brooke hesitates.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>Gimme that story.<\/dialogue>\n    <scene_description>She snatches it out of Nicolette's hands. CUT TO: Brooke reads with Mamie-Claire, Karen, Harold and Dylan all reading over her shoulder. Tony and Nicolette also hover in the background, reading here and there. Tracy watches nervously from across the room. Brooke starts to turn the page. Everyone indicates they're not finished with that page yet. CUT TO: Brooke turns the final page. She looks at Tracy. She is FURIOUS.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>It wasn't meant to be hurtful - I didn't mean to hurt you, Brooke.<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(shaking with fury)<\/parenthetical>\n    <dialogue>You don't get to decide what's hurtful and not hurtful.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I can only tell you my intention.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>You wrote this after ONE night with me? ONE?!<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I guess so, yeah, it felt longer.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>You think I'm a rotting carcass? That I'm doomed to failure???<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>No! It's fiction that's why it's fiction...<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>So much of this \"fiction\" did NOT happen this way. Karen, you're a lawyer. I'm going to sue you until you have NOTHING.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I'm just writing from my life...<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>No, this isn't your life!<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>But I was there that night.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>NO! I was going to have that night anyway, you never were!<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>But I did have it though.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>You joined my life - you needed a place to go and I invited you in and then you stole my life. You're a LEECH. A BLOODSUCKER.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>You loved being admired by me, you loved it, you loved having lessons to impart...<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I DIDN'T ASK FOR YOU.<\/dialogue>\n    <scene_description>Tracy looks for support from Tony and Nicolette.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Brooke, you know great plays, right? - how would it have been if Tennessee Williams hadn't used people he knew, there wouldn't be any plays, there wouldn't -<\/dialogue>\n    <scene_description>I DON'T GIVE A SHIT BECAUSE I AM NOT A FRIEND OF TENNESSEE WILLIAMS.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>You took something I said and made a tweet about it! What about that?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>That's different! You were right there! You knew I was Twittering, it wasn't some sneaky shitty thing - do you want me to credit you? Or no I'll just delete it.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>That's not the point I'm asking you to empathize.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>It's my least popular tweet anyway!<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Stop talking about Twitter, it's so awkward!<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>You are much more of an asshole than you initially appear.<\/dialogue>\n    <character>NICOLETTE<\/character>\n    <dialogue>I agree.<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(looking again at the story)<\/parenthetical>\n    <dialogue>And...you think I haven't dealt with the pain of my mother's death? I deal with it all the time, I talk about it all the time.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>You talk about it all the time, but you never talk about HER. You just throw out that she died and that shuts everyone up.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Your tragedy is your armor in which nothing is ever your fault.<\/dialogue>\n    <scene_description>Brooke looks around, desperately wild eyed, looking for support.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>PLEASE! PLEASE FRIENDS! SOMEONE<\/dialogue>\n    <character>DEFEND ME AGAINST THIS MONSTER!<\/character>\n    <dialogue>Everyone jumps on Tracy, agreeing with Brooke, says she's a dick.<\/dialogue>\n    <character>KAREN<\/character>\n    <dialogue>It's like your whole generation, it's all pastiche.<\/dialogue>\n    <scene_description>Mamie-Claire has been writing. She finishes and calmly joins the discussion.<\/scene_description>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>The emotional betrayal I can't speak to -<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I didn't \"betray\" her -<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>But I can say that you portray women terribly. And because of that.<\/dialogue>\n    <scene_description>Mamie-Claire refers to her piece of neatly folded paper.<\/scene_description>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>I've prepared some questions I'd like you to think about.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Are you fucking kidding me?<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>And I want you to answer these questions, not for our satisfaction, but for your own.<\/dialogue>\n    <parenthetical>(gazing at her paper)<\/parenthetical>\n    <dialogue>One: Do you believe in the women's right to choose?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Yes, what does that -<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Excuse me, I'm not done.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>She's not done, bitch!<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Brooke, please. Two: What do you think someone who bombs abortion clinics would think of your story?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>There isn't even an abortion in this story!<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>No you just portray women as crazy desperate gold diggers!<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(to Brooke)<\/parenthetical>\n    <dialogue>You seemed so cool so totally amazing I didn't think it would be possible to hurt you...<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Of COURSE it's possible, I am the MOST sensitive person...<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>To your own feelings.<\/dialogue>\n    <character>BROOKE<\/character>\n    <parenthetical>(wailing)<\/parenthetical>\n    <dialogue>Mamie-Claire!<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Sorry, I don't really think that, it's just something I would have said at one time.<\/dialogue>\n    <character>KAREN<\/character>\n    <dialogue>I have to say, what you did to Brooke is f-ed up.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Karen, you don't see my side?<\/dialogue>\n    <character>KAREN<\/character>\n    <dialogue>No, sweetheart.<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>You don't have a side you're just wrong.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>You must call the Lit Society and tell them you're withdrawing your essay--<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>It's not an essay, it's a short story.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>This cannot appear in print or online. Karen, will you represent Brooke?<\/dialogue>\n    <character>KAREN<\/character>\n    <dialogue>I'm a tax attorney, but OK.<\/dialogue>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>Will you draw up a contract, please?<\/dialogue>\n    <character>KAREN<\/character>\n    <dialogue>Yes, and in the meantime, I'm going to ask you to rewrite the story and give Brooke the rewritten story. I'll give you my email and you can BCC me.<\/dialogue>\n    <character>NICOLETTE<\/character>\n    <dialogue>She could just CC you.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Nic's right, because we'd already know that you're getting it...<\/dialogue>\n    <character>KAREN<\/character>\n    <dialogue>Sure, CC me.<\/dialogue>\n    <character>HAROLD<\/character>\n    <parenthetical>(sympathetically)<\/parenthetical>\n    <dialogue>Technology can be complicated.<\/dialogue>\n    <character>DYLAN<\/character>\n    <dialogue>I know! I just learned what \"case sensitive\" meant seriously yesterday.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I'm not going to do any of this stuff. You're my sister and I love you but I stand by what I did.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Guess what, bitch? My dad isn't going to marry your slutty atheist mother so we're not sisters. We never will be. We're nothing to each other.<\/dialogue>\n    <scene_description>Mamie-Claire tucks her folded paper into Tracy's pocket.<\/scene_description>\n    <character>MAMIE-CLAIRE<\/character>\n    <dialogue>There are ten questions there. All equally important for you to answer.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Brooke...<\/dialogue>\n    <scene_description>But Brooke won't look at her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAMIE-CLAIRE'S HOUSE. EVE<\/stage_direction>\n    <scene_description>Tracy sits alone. She smokes from the apple bong.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN. MORNING<\/stage_direction>\n    <scene_description>Tracy rides on the train. She opens Mamie-Claire's questions. She reads them to herself.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DORM HALLWAY. EARLY MORNING<\/stage_direction>\n    <scene_description>Tracy opens the door to her room. Her mom is sitting on the bed. She looks like she's been crying.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Mom?<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>Oh, honey! Ruth signed me in.<\/dialogue>\n    <scene_description>CUT TO: Tracy's Mom is crying. Tracy sits next to her on the bed.<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>The Catholicism thing has been kind of crazy and he kind of -- I just saw a side of him that I didn't know before. It's strange to not really know someone...<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Oh...<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>I'm sorry, I know you liked Brooke. He told me that she worships you, she kept talking about how smart you are, how interesting...<\/dialogue>\n    <scene_description>Tracy starts crying.<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Oh, honey, don't cry, you can still be friends...<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I went -- I went through a breakup too.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>You didn't tell me you were dating anyone.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>She cries harder.<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Oh my sweet girl. Do you want to talk about it?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>No, it's too late now anyway.<\/dialogue>\n    <scene_description>Mom rubs Tracy's back.<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>I know this is crappy timing, but I need to take a vacation, and I got the deposit back for the flowers and Colleen told me to come with her family to the Caribbean over Thanksgiving, and Trace, I need it.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Yeah, that sounds nice, Stevie.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>So you're okay, for Thanksgiving, not coming home? I'm sure your father would love to have you...<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Oh, I didn't put that together - yes, I'm fine. I'll be fine. Are you okay?<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>I'm sad. I'm very sad. But I'll be okay.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I wish it had worked, even though I didn't really know him.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>Me too, Baby Tracy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DORM ROOM. NIGHT<\/stage_direction>\n    <scene_description>Tracy's sleeping. She looks peaceful. We HEAR a door open, footsteps and suddenly a pie is jammed in her face. Tracy screams. And screams. And screams. The members of the Mobius Lit Club all stop in their tracks. The boy in the sweater vest says:<\/scene_description>\n    <character>SWEATER VEST<\/character>\n    <dialogue>You're in.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMPUS QUAD. DAY<\/stage_direction>\n    <scene_description>Tracy walks with the Sweater Vest Boy. She holds a briefcase. She sees Tony and Nicolette across the path. They see her and then look away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIBRARY. DAY<\/stage_direction>\n    <scene_description>CLOSE on The Mobius Literary Journal. Tracy opens it up to her story: Mistress America by Tracy Fishko. She reads it again in the magazine.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMPUS. NIGHT<\/stage_direction>\n    <scene_description>Tree lighting ceremony. Tracy walks under the lit trees.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PSYCHIC WAITING AREA. DAY<\/stage_direction>\n    <scene_description>Tracy waits.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PSYCHIC'S APARTMENT. DAY<\/stage_direction>\n    <scene_description>Tracy sits across from the Psychic.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Sometimes I worry that I'm a bad person. That I'm one of those people who essentially has no conscience.<\/dialogue>\n    <character>PSYCHIC<\/character>\n    <dialogue>Spirit says that you need to find your home in yourself.<\/dialogue>\n    <scene_description>The Psychic suddenly takes her hand:<\/scene_description>\n    <character>PSYCHIC<\/character>\n    <dialogue>Spirit says that you haven't dropped into your body yet.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>If I'm not in my body, where am I?<\/dialogue>\n    <character>PSYCHIC<\/character>\n    <dialogue>Five feet to the left and unhappy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HUDSON RIVER. DAY<\/stage_direction>\n    <scene_description>Tracy hurls her briefcase into the water.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE. DAY<\/stage_direction>\n    <scene_description>Tracy sits in front of the Advisor.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>If a person wanted to start their own club, how would a person go about it?<\/dialogue>\n    <character>ADVISOR<\/character>\n    <dialogue>Well, I think it's pretty much done for this semester, but you could put in an application for funding for next semester...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TONY'S DORM ROOM. DAY<\/stage_direction>\n    <scene_description>A knock on the door. Tony answers it.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Hey, can I come in?<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>OK.<\/dialogue>\n    <scene_description>Tracy sits on the floor.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>You going home for Thanksgiving?<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>No, going to Baltimore with Nicolette.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Oh...nice.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Her dad fries a turkey apparently. You?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Nah.<\/dialogue>\n    <scene_description>She hands Tony a couple of pieces of paper.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>It's an application. Two.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>I don't want to join Mobius. I've had enough rejection.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>It's not for Mobius. I quit the briefcase club. You were right, they're self-appointed douche bags. I'm starting my own zine and I'm not saying you're in, but I am saying I'd be very interested in getting your and Nicolette's application.<\/dialogue>\n    <scene_description>Tony stands, he thinks about this for a moment.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>I'll fix us some screwdrivers.<\/dialogue>\n    <character>TRACY<\/character>\n    <scene_description>CUT TO: Tracy goes by the restaurant. For Let. Tracy goes to Soul Cycle, a different instructor. Thanksgiving Day parade. Tracy watches the floats alone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROOKE'S APARTMENT BUILDING. HALLWAY. AFTERNOON<\/stage_direction>\n    <scene_description>Tracy knocks on a door. Kareem, in a tie, answers.<\/scene_description>\n    <character>KAREEM<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Hi - I'm sorry to bother you on Thanksgiving, but I met you once - I went through your window? It was in the middle of the night...<\/dialogue>\n    <character>KAREEM<\/character>\n    <dialogue>Yeah...<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I was with Brooke.<\/dialogue>\n    <character>KAREEM<\/character>\n    <dialogue>You're her sister, right?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Well, I was going to be. Do you have a number for her? The old one isn't working...<\/dialogue>\n    <character>KAREEM<\/character>\n    <dialogue>I don't--<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Anyway - I was going to ask you: do you know where she went?<\/dialogue>\n    <scene_description>Kareem indicates for Tracy to follow him. She passes through a cozy apartment. The table is set for the holiday. A couple of kids run through.<\/scene_description>\n    <character>KAREEM<\/character>\n    <dialogue>Her front door is still bolted shut.<\/dialogue>\n    <scene_description>They reach the window. Kareem opens it.<\/scene_description>\n    <character>KAREEM<\/character>\n    <dialogue>She's upstairs.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIRE ESCAPE. DAY<\/stage_direction>\n    <scene_description>Tracy climbs the fire escape. She gets to the top window and looks through the glass. The place is mostly empty save for stacked boxes and suitcases. Brooke walks into the room and places some books into a box. She wears her red pants. Tracy knocks. Brooke looks up and comes to the window. She and Tracy stare at each other through the glass.<\/scene_description>\n    <character>TRACY<\/character>\n    <parenthetical>(through the glass)<\/parenthetical>\n    <dialogue>Hi.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Can I come in?<\/dialogue>\n    <scene_description>CUT TO: Tracy sits on some boxes watching Brooke move around packing.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>You're leaving?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>In a couple of hours. I'm going to try my luck out west.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>You're going today? On Thanksgiving?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>New York isn't the New York I used to know. There's too much construction. Maybe LA is my lady. In LA I qualify as well-read.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I wanted to say--<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I know you're sorry.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I'm not really that sorry.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>You're not?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Oh then fuck this.<\/dialogue>\n    <scene_description>Brooke opens the window again.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>No, no wait...<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I looked for you.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I've been around.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Are you OK? Like, financially?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Yeah. Mamie-Claire gave me what would have been my share of our T- shirt profits. It was just enough to pay off my debts and get out of town.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>What will you do in LA?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I don't know. I think I'm sick. And I don't know if my ailment has a name - it's just me sitting and staring at the internet or the television for long periods of time interspersed by trying to not do that and then lying about what I've been doing. Then I'll get so excited about something that the excitement overwhelms me and I can't sleep or do anything - and then I just am in love with everything but can't figure out how to make myself work in the world.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I think I have that too.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I wish we lived in feudal times when your position in the world couldn't change. If you were a king or a peasant you had to just be happy with who you were.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>But...wait!<\/dialogue>\n    <scene_description>Brooke looks inside an open box. She finds a piece of paper and hands it to Tracy. CLOSE: SAT results. 2200.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>You can tutor SAT's now.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Well, I thought I might actually go to college. I'm not an amputee.<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>Right.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I filled out a couple of applications. I wrote my college essay all about you.<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(apprehensive)<\/parenthetical>\n    <dialogue>Really?<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Oh snap! No. It's about my mom. But I had you there.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Brooke goes into the other room to retrieve more books.<\/scene_description>\n    <character>BROOKE (O.S.)<\/character>\n    <dialogue>I let Mamie-Claire and Dylan keep the cats. It's like, I gave them a chance for a better life, better than I could have provided for them.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>The cats went from stolen to given because you changed your mind.<\/dialogue>\n    <character>BROOKE (O.S.)<\/character>\n    <dialogue>Don't put that in a story. Not because I care but because it's not a very good observation.<\/dialogue>\n    <scene_description>Tracy sees the Mobius Literary Journal (the one with her story) inside an open box. She's about to say something, but thinks better of it. Brooke reenters and tosses books into the box.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>You know what's funny... I'm not even done with my first semester of college.<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>This won't even be your big \"college story.\"<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I think it'll always be pretty big.<\/dialogue>\n    <scene_description>Brooke hesitates, emotional for a second. She musses Tracy's hair like a kid.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>Well, thanks for stopping by, but I have more packing to do before Kareem and I break down the front door.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>It'll be hard for me not to look at New York and think of you somewhere in it.<\/dialogue>\n    <scene_description>Brooke shrugs.<\/scene_description>\n    <character>BROOKE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Tracy moves toward the window. She looks back at her friend.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Hey Brooke...<\/dialogue>\n    <scene_description>Brooke turns around.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>It's not going to be as great as what my mom and your dad were planning, but... Do you want to have Thanksgiving with me?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. VESELKA. DAY<\/stage_direction>\n    <scene_description>We watch Brooke and Tracy through the window eating pierogis for Thanksgiving.<\/scene_description>\n    <character>TRACY (V.O.)<\/character>\n    <dialogue>Meadow had made rich fat women less fat and rich stupid kids less stupid and lame rich men less lame. And she wanted so badly to be on the other side - to be fat and stupid and lame and rich.<\/dialogue>\n    <character>TRACY (V.O.)<\/character>\n    <dialogue>But what she couldn't see most of all, more than she couldn't see that she was never going to get the restaurant, was that those people were nothing compared to her. They were matches to her bonfire. She was the last cowboy - all romance and failure. The world was changing and her kind didn't have anywhere to go. Being a beacon of hope for lesser people is a lonely business.<\/dialogue>\n    <scene_description>And as Brooke and Tracy talk and reminisce and laugh, we CUT TO BLACK.<\/scene_description>\n  <\/scene>\n<\/script>","summary":"College freshman Tracy Fishko is having trouble adjusting to life at Barnard. She eventually meets and befriends a fellow student, Tony, and develops a crush on him, but when he begins dating another girl, Nicolette, she feels alone again. On her mother's advice, she contacts her soon-to-be stepsister Brooke, who lives in New York. Tracy is immediately entranced by Brooke and her lifestyle. After spending a whirlwind night with her, she pens a short story and submits it to her college's prestigious literary magazine. Tracy continues to spend time with Brooke, who reveals her plans for a small and eclectic restaurant called Mom's after her dead mother; the restaurant is being financed by her partner. But upon returning home one night, Brooke finds herself locked out of her apartment and discovers that her boyfriend has withdrawn financial support. With massive bills for the restaurant coming due, Brooke visits a psychic with Tracy. Tracy interprets the psychic's words as meaning that Brooke should ask for the money from her former friend Mamie-Claire, with whom she had a falling out after Mamie-Claire stole her idea for a business and married her former fianc\u00e9. Tracy has Tony drive her and Brooke to Mamie-Claire's home in Connecticut, with Nicolette joining them to make sure that Tony and Tracy are not having an affair. At Mamie-Claire's home, Brooke and the others crash Mamie-Claire's book club, and Brooke pitches her restaurant to Mamie-Claire, hoping she will invest. Mamie-Claire, who confides to Tracy that she did steal Brooke's T-shirt idea to become rich, insists that she will have to talk to her husband, Dylan. While waiting for Dylan's arrival, Brooke takes a call from her father, who informs her that his wedding with Tracy's mother has been called off. When Dylan comes home, rather than dismiss Brooke, he asks her to pitch her restaurant. Brooke stumbles, but Tracy, still enthused by the project, helps her pitch it. Dylan tells Brooke he will give her the money but insists that, rather than invest in it, he will give it to her to cover the debt she will have from dissolving the business. Seeing that Tracy is upset by this, and also the toxic effect the offer is immediately having on Dylan's and Mamie-Claire's relationship, Brooke refuses the money. Meanwhile, Nicolette, who witnessed Tracy kissing Tony, confronts Tracy about her short story. The entire party reads it, and Brooke becomes offended by how Tracy characterized her. She informs her that they are no longer about to become sisters, as their parents no longer want to marry, and tells Tracy that she will sue. Upset, Tracy, sitting outside the house, takes a hit on the bong that Tony had earlier fashioned from an apple with her initial emblazoned on it, smoking marijuana from Dylan's freezer. Tracy's story is accepted by the university's prestigious literary society, and she joins the group. Still finding herself unable to fit in, she decides to start her own literary club, inviting both Tony and Nicolette to apply for membership. Finding herself alone on Thanksgiving, Tracy goes to Brooke's old apartment and finds her packing her things, about to move to Los Angeles. She learns that Brooke was able to cover her debts, as Mamie-Claire gave her what would have been her share of money from the T-shirt business. Brooke also tells her that she has passed the SAT and that she has been accepted into college and is considering going. Tracy invites Brooke to have Thanksgiving dinner with her. The two eat out at a restaurant, as the film concludes with Tracy, as narrator, musing: \"Being a beacon of hope for lesser people is a lonely business.\""}
{"movie_name":"Rachel Getting Married_2008","imdb_id":"tt1084950","script":"<script>\n  <scene>\n    <stage_direction>EXT. HALFWAY HOUSE PORCH. DAY<\/stage_direction>\n    <scene_description>KYM , a darkly beautiful girl in her early 20 's , is smoking furiously on the porch of an URBAN HALFWAY HOUSE . She glances impatiently at her watch and presses her ear to her cell phone . As she exhales , WE HEAR the rumble of thunder . Irritated , she crams her cell phone into her bag . ROSA a halfway house staff nurse is patiently handling WALTER , an irate patient who is screeching .<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>I want my fucking Zippo now!<\/dialogue>\n    <scene_description>Walter starts yanking at his hair .<\/scene_description>\n    <character>ROSA<\/character>\n    <dialogue>Walter, that is a behavior.<\/dialogue>\n    <character>WALTER<\/character>\n    <parenthetical>( raking his nails against his forearm . )<\/parenthetical>\n    <dialogue>Fuck you!<\/dialogue>\n    <character>ROSA<\/character>\n    <dialogue>And you are making a choice.<\/dialogue>\n    <scene_description>Her cell phone rings .<\/scene_description>\n    <character>ROSA<\/character>\n    <parenthetical>( to Walter . )<\/parenthetical>\n    <dialogue>Hold on. Hello?<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>God!<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Do n't you get it yet, Waldo? She's making a choice not to give you your lighter because you'll torch the Self - Help library again.<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>I'm Walter. Kill anybody recently? Run anybody over with a fucking car?<\/dialogue>\n    <scene_description>Kym grinds her cigarette under her heel and blows smoke but gives no signal that she 's heard anything . She yanks her cell phone out of her bag as . A tan Mercedes STATION WAGON pulls up in front of the House .<\/scene_description>\n    <character>ROSA<\/character>\n    <parenthetical>( to Kym . )<\/parenthetical>\n    <dialogue>That them?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Yes. Finally.<\/dialogue>\n    <scene_description>Rosa takes two of Kym 's several bags . They are oddly matched . A Coach tote , a fake Prada , a Gristedes bag , and a World Wildlife Fund tote bag .<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>You're not letting her get behind the wheel are you? Are you?<\/dialogue>\n    <character>ROSA<\/character>\n    <dialogue>Walter, you are only responsible for yourself.<\/dialogue>\n    <parenthetical>( To Kym . )<\/parenthetical>\n    <dialogue>This is all your stuff?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>You know you never gave me your cell number.<\/dialogue>\n    <character>ROSA<\/character>\n    <parenthetical>( sotto . )<\/parenthetical>\n    <dialogue>It was a mistake. I'm lucky I did n't get fired. We've discussed this.<\/dialogue>\n    <parenthetical>( She offers her hand . )<\/parenthetical>\n    <dialogue>Good luck.<\/dialogue>\n    <scene_description>Kym does n't appear to have heard her but she shakes the hand barely . so very , very faintly . Kym 's dad , PAUL BUCHMAN , a tired , prosperous man in his late 50 's steps around the car and trots up the porch steps . He is wearing a big smile and his glasses are foggy . They hug . Kym talks rapidly over his shoulder .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>Oh my god. Here you are. I thought you were going to abandon me in rehab. It's 12:30. You guys are half an hour late. I've been standing here with these lunatics. You look so great.<\/dialogue>\n    <scene_description>Paul offers his hand to Rosa .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Hello. I'm Paul Buchman.<\/dialogue>\n    <character>ROSA<\/character>\n    <dialogue>I'm Rosa. We met last time you came up.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( does n't remember . )<\/parenthetical>\n    <dialogue>Of course, of course.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Let's go, let's go. Where is everybody?<\/dialogue>\n    <scene_description>CAROL , a handsome woman in her 40 's , waves from the car .<\/scene_description>\n    <character>KYM<\/character>\n    <parenthetical>( loudly . )<\/parenthetical>\n    <dialogue>Hey Carol. How are ya?<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Hello Kym.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>So where's Rachel? Carol, where's Rachel?<\/dialogue>\n    <scene_description>Kym slides into the back seat as Paul loads the car .<\/scene_description>\n    <character>CAROL<\/character>\n    <dialogue>Getting everything ready at the house.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>There is so much going on at the house I ca n't tell you. You know your sister's doing all of it herself.<\/dialogue>\n    <character>KYM<\/character>\n    <parenthetical>( eyeing the rearview mirror as she arranges her bangs . )<\/parenthetical>\n    <dialogue>My sister is bending the environment to her will? Really?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>No wedding planners or anything like that. Just her and Sidney and a lot of their friends. She is so thrilled you're here. Is that everything, sweetheart?<\/dialogue>\n    <character>KYM<\/character>\n    <parenthetical>( distractedly , rifling through her bag . )<\/parenthetical>\n    <dialogue>Yah. Can we go?<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Is there anyone you want to say goodbye to?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>God no.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. TRANSITIONAL SHOTS. DAY<\/stage_direction>\n    <scene_description>The station wagon travels through a constantly changing series of environments as they journey out of New York City on their drive to suburban Connecticut . Right away though , Kym lights up a cigarette and Paul and Carol crank their windows .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>So are all these busy young wedding helpers staying at the house? Because after eight months of constantly revolving cell mates and crazy people.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You were n't in a cell, Kym.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>AND groups groups GROUPS.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>And nobody was crazy, nobody was in a rubber room.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>I was looking forward to a little privacy for once.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>The only extra person staying at the house is Emma, who's actually been staying in your old room. But she can move, I guess.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Rachel and Emma. Oh, great. How relaxing. The only two people on the planet less capable of delegating than Hannibal! On the eve of a wedding! Nachtmare.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Nachtmare?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>It's a nightmare so bad it's in German.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Rachel must be totally freaking out. Is she too tense?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>She's a wigwam!<\/dialogue>\n    <character>KYM<\/character>\n    <parenthetical>( right on top of him , rifling through her bag again . )<\/parenthetical>\n    <dialogue>. Is she eating? Or are all her latent food issues rearing their heads? Is she hoarding Snickers and Cool Whip under the bed like in high school? She never did put that one to sleep.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( genuine . )<\/parenthetical>\n    <dialogue>I do n't think that that's a problem for her.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>No offense, Dad, but you never thought that was a problem for her. I'm kidding. It'll be great to see her. Foodies are the worst, though. They never get it together. There were six of them on my floor in the hospital and you could never get into the bathroom. They would cry at the chocolate pudding and one of them was a guy. I ca n't wait to see Mom.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You'll see her and Andrew at the rehearsal dinner tonight.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Can we stop at the 7\/11 please? I feel nauseous. I need something to drink.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>I brought you a Diet Coke.<\/dialogue>\n    <scene_description>She offers the can .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>I prefer Pepsi from the fountain.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MINI-MART PARKING LOT. DAY.<\/stage_direction>\n    <scene_description>Carol looks at Paul . He is fiddling with the dashboard .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MINI-MART. DAY.<\/stage_direction>\n    <scene_description>Kym fills her Big Gulp at the fountain and pays at the counter . The COUNTER GIRL gives her change .<\/scene_description>\n    <character>COUNTER GIRL<\/character>\n    <dialogue>I saw you on COPS.<\/dialogue>\n    <scene_description>Kym appears not to have heard . She pockets her change and leaves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATION WAGON. DAY.<\/stage_direction>\n    <scene_description>As Paul drives through a bucolic , well - to - do neighborhood featuring a beautiful old church .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE BUCHMAN HOUSE. DAY.<\/stage_direction>\n    <scene_description>The station wagon pulls into a CIRCULAR DRIVEWAY lined with trees and bushes of beautiful blue hydrangea . There are several late model cars parked in the driveway of the SPRAWLING , SHINGLED HOUSE . Young people crawling everywhere in the midst of WEDDING PREPARATION , wrapping garlands and hanging paper lanterns . A LITTLE GIRL tosses rose petals in the swimming pool . The atmosphere is slightly punch drunk and friendly . Paul unloads Kym 's bags .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>I'll do it, Dad.<\/dialogue>\n    <scene_description>She does n't .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUCHMAN LIVING ROOM. DAY.<\/stage_direction>\n    <scene_description>Kym charges into the house where NORMAN SKLEAR and more friends of Rachel are decorating . They stare at her as she runs up the stairs to the second floor . CAMERA RUNS ALL THE WAY UP WITH HER . We hear .<\/scene_description>\n    <character>RACHEL'S VOICE OFF<\/character>\n    <dialogue>Can we raise this hem half an inch?<\/dialogue>\n    <character>EMMA'S VOICE OFF<\/character>\n    <dialogue>Yeah, yeah. Here, let me just.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSTAIRS. DAY. CONTINUOUS -<\/stage_direction>\n    <scene_description>Kym slams open the master bedroom door and finds her older sister , RACHEL , trying on her wedding dress with the help of her best friend EMMA . Radiant and sexy , Rachel glows like an angel in her creamy white and gold sari . Emma has pins in her mouth and a tape measure around her neck .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>Oh my god, you are just mi - nute!<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Kymmie!<\/dialogue>\n    <character>EMMA<\/character>\n    <parenthetical>( to Kym . )<\/parenthetical>\n    <dialogue>You ca n't smoke in here -<\/dialogue>\n    <scene_description>Rachel and Kym squeal and embrace . Rachel is slightly awkward as Emma frantically tries to keep the billowing fabric from combustion .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>Ow!<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I have pins all over me. You look great!<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>I'm fat. Rehab makes you fat. All the vending machines. Look at you, missy! I'd swear to god you were puking again!<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Hah!<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Kym!<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Emma!<\/dialogue>\n    <parenthetical>( To Rachel . )<\/parenthetical>\n    <dialogue>No seriously, you're so tiny it's like you're Asian. Dad wants us to sleep in the same room so you'll be able to watch me while he's asleep and I wo n't sneak out of the house and blow dealers and shoot heroin.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Dad did not say `` blow dealers.''<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>I told him I'd just sleep in Ethan's room.<\/dialogue>\n    <scene_description>Beat .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You can always shoot up in the tree house.<\/dialogue>\n    <scene_description>Kym laughs . A little too loud .<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>Kym, I'm not remotely surprised you're starting your drama already, however it's Rachel's wedding and this week it's about her.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Emma, you still have your tiny core of rage! What a relief.<\/dialogue>\n    <scene_description>Kym flops on the bed and gazes adoringly at her sister for a moment . Rachel beams back .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>So are you an actual shrink yet? Even though you're like twelve years old?<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Psychology. Not psychiatry. You know the difference, right?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>You should prescribe something soothing for Emma. Like Vicodin.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I will have my PhD. in a year and a half. And psychologists do n't get prescription pads, right Kym?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>They do in Guam.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Would you please put that out? Emma designed this dress and there's forty - seven yards of it and I'll go up like the Hindenburg.<\/dialogue>\n    <scene_description>Kym takes a last drag even though she 's down to the filter , then flushes the butt down the toilet in the tiny bathroom .<\/scene_description>\n    <character>KYM<\/character>\n    <parenthetical>( over the flushing toilet . )<\/parenthetical>\n    <dialogue>Since when are you a designer, Emma?<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>A while.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>She has this great little boutique in Greenwich. She says things like `` you need a fabulous jersey pant.''<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>That's so great. I think I heard that. Is n't this your fifth incarnation or something? Were n't you an actress? All the N.E.D.'s in the hospital were actresses.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>N.E.D.s?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Non - specified Eating Disorder.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>they were constantly doing leg lifts under the sheets.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Angela Paylin is coming to the wedding.<\/dialogue>\n    <character>KYM<\/character>\n    <parenthetical>( right on top of her . )<\/parenthetical>\n    <dialogue>I ate so much cookie dough and did so many whip - its with Angela Paylin.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I know. And she confessed to you her secret Elvis Stoyko fantasy. I spied on you.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Oh my god.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Elvis Stoyko the figure skater?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>In her fantasy, she was wearing her hair up and very serious, responsible eyeglasses, because she was a world renowned judge at the Winter Olympics for Men's Figure Skating. And Elvis Stoyko was skating in the finals to `` Could It Be Magic'' for the gold medal. And just when Barry Manilow is singing `` Now \/ Now \/ Now and hold on fast.'' there's this electric connection between them and he stops in the middle of his triple lutz. axel.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>And he skates over to the judges table, all panting and sweaty, with his spangly Neil Diamond shirt open to the chest.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>There is silence as he stops in front of her, their eyes lock, and he reaches for her hand. and Angela takes it!<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>To the roar of the crowd and the shock of the Olympic judges! And he pulls her out of her chair, undoes her hair, and they skate as a pair to the rest of the song!<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>And he gets disqualified but he does n't care!<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Where'd she get the skates from?<\/dialogue>\n    <scene_description>They collapse in laughter . Kym studies her ass in the mirror .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>I should call her right this second. Is she really coming? Who are all these energetic young people decorating the house?<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>She's got everyone she knows pulling elf duty.<\/dialogue>\n    <character>KYM<\/character>\n    <parenthetical>( squinting at her ass . )<\/parenthetical>\n    <dialogue>What about me? What am I doing?<\/dialogue>\n    <scene_description>Rachel and Emma exchange a look .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Well, I think you'll be assisting on floral detail. I want everything all drippy and luxurious and Mom's a little bit tasteful -<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>- Mom's in charge of flowers?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>- and I do n't want to upset her.<\/dialogue>\n    <character>EMMA<\/character>\n    <parenthetical>( to Kym . )<\/parenthetical>\n    <dialogue>And you're such a diplomat.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>I am. I'm like Kofi Annan. In rehab they said I was the maternal hub of my peer group. I was always the referee for softball.<\/dialogue>\n    <scene_description>Rachel snorts .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>I was. I was the only one who could convince the methamphetamine freaks that no one was chasing them when they ran around the bases.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>It's softball. Someone was chasing them.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Whatever. They have trust issues in the first place. I'm going downstairs to find Olive and get some unconditional love.<\/dialogue>\n    <scene_description>Kym swans out of the room .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>Anyway, I'm doing some lighting. I already got the candles and everything.<\/dialogue>\n    <scene_description>Rachel and Emma share a look .<\/scene_description>\n    <character>KYM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Forget Mom and me and the fucking flowers.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSTAIRS HALLWAY. DAY.<\/stage_direction>\n    <scene_description>Kym crosses the hall to ETHAN 'S ROOM and opens the door .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>Speaking of dawgs, when am I going to meet this fiancee of yours anyway?<\/dialogue>\n    <character>RACHEL VOICE OFF<\/character>\n    <dialogue>He went to get stuff with Kieran. They'll be back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ETHAN'S ROOM. DAY.<\/stage_direction>\n    <scene_description>A little boy 's bedroom . Pale blue . A single bed , a window , some games . Some stuff in boxes . Not a mausoleum . Kym enters Ethan 's room . She stands there looking around . She takes a moment .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSTAIRS HALLWAY. DAY.<\/stage_direction>\n    <scene_description>Kym wandering the upstairs hallway . the winding corridors are a little spooky , despite the openness and light , it feels haunted up here . looking into her old bedroom , seeing Emma 's stuff inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSTAIRS HALLWAY. DAY.   --LOOKING DOWN-<\/stage_direction>\n    <scene_description>Paul comes to the bottom of the stairs , yelling up .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>I'm making hot dogs and hungabungas! Who wants what?!<\/dialogue>\n    <scene_description>Rachel and Emma shout back down .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>It's too hot!<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>I do n't eat gluten, Paul!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>What do n't you eat?!<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Gluten!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Where's Kym?<\/dialogue>\n    <scene_description>Kym appears , down the back stairway , behind Paul , not shouting .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>Here.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Besides I'm in my dress!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Ooo! Can I see?!<\/dialogue>\n    <scene_description>Paul starts up the stairs .<\/scene_description>\n    <character>RACHEL\/EMMA<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Okay, okay!<\/dialogue>\n    <scene_description>Paul has stopped half way up the stairs . He turns to Kym , beams at her .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Kymmie, what can I make you?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Actually there's a meeting I have to make. And I have to pee in a cup. And register as a general biohazard.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I'll drive you.<\/dialogue>\n    <character>KYM<\/character>\n    <parenthetical>( heading downstairs . )<\/parenthetical>\n    <dialogue>Just tell me which car I should take.<\/dialogue>\n    <scene_description>Paul does n't say anything . Carol floats to Paul 's side .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>Which car?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Would you do me a favor, Kymmie?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>I have a license.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You would n't believe my insurance. And I'm not. that comfortable. Could we figure something else out?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLAGE COMMUNITY CENTER (CHURCH). DAY.<\/stage_direction>\n    <scene_description>Kym pedaling up on a bouncy , high tech racing bike that is far too big for her . She bangs herself in the crotch as she dismounts .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>Ow!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMUNITY CENTER RECEPTION AREA. DAY.<\/stage_direction>\n    <character>KYM<\/character>\n    <dialogue>Hello? Hello?<\/dialogue>\n    <scene_description>Kym stops a baby - faced NURSE .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>Hi. I'm here to pee in a cup.<\/dialogue>\n    <character>NURSE<\/character>\n    <parenthetical>( over her shoulder . )<\/parenthetical>\n    <dialogue>She needs to pee in a cup.<\/dialogue>\n    <parenthetical>( back to Kym . )<\/parenthetical>\n    <dialogue>Someone will be right with you.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Okay. I'm trying to get to a meeting.<\/dialogue>\n    <character>NURSE<\/character>\n    <dialogue>The meetings are over in the other building.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>I know that.<\/dialogue>\n    <character>NURSE<\/character>\n    <dialogue>Someone will be right with you. Have a seat.<\/dialogue>\n    <scene_description>Several people are waiting in chairs . They look at Kym .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMUNITY CENTER BATHROOM. DAY.<\/stage_direction>\n    <scene_description>A DIFFERENT NURSE is waiting by the sinks examining her teeth in the mirror . Kym bangs open the door of her stall with her foot . The door swings back and Kym spills her sample all over herself .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>Piss!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COMMUNITY CENTER. DAY.<\/stage_direction>\n    <scene_description>As she runs up the OUTSIDE STAIRCASE Kym wipes at her shirt with a wet paper towel . She yanks open the door and a bird poops on her .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>Shit!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMUNITY CENTER MEETING ROOM. DAY.<\/stage_direction>\n    <scene_description>Narcotics Anonymous Meeting . Chairs , light . An ATTRACTIVE GUY is sharing . Kym slams in , frazzled and late . A few people look at her as she grabs a folding chair from a stack leaning against the wall and the other chairs slide to the floor with a huge clatter .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>COCKSUCKER!<\/dialogue>\n    <character>ATTRACTIVE GUY<\/character>\n    <dialogue>Only once. My dealer. I was really broke.<\/dialogue>\n    <scene_description>The room breaks up . Kym struggles to rearrange the fallen chairs . She is pissed .<\/scene_description>\n    <character>ATTRACTIVE GUY<\/character>\n    <dialogue>Let's see. that was Tuesday.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMUNITY CENTER MEETING ROOM. LATER.<\/stage_direction>\n    <scene_description>PASTOR MEL , a guest speaker , shares details of his struggles inside the `` 12 Step '' Process . Kym , like everyone present , is riveted .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUCHMAN HOUSE. DAY.<\/stage_direction>\n    <scene_description>Sweaty and fed up with Carol 's bike , Kym cycles into the Buchman driveway . Paul has been watching for her out the kitchen window while doing dishes . He waves and yells to his wife .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Carol, she's here!<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Where did you think I was?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I made you a sandwich, sweetheart! Meatloaf!<\/dialogue>\n    <scene_description>Kym 's shoulders slump . Watching from an upstairs window , Rachel observes Kym wheel the bike up the driveway and Paul hurrying from the kitchen to meet her , carrying a meat loaf sandwich and a glass of milk . There is an awkward exchange of items . Paul hugs and mushes Kym and kisses her on the forehead . Rachel opens the window , calls down .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Kymberly!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUCHMAN BACKYARD. DAY.<\/stage_direction>\n    <scene_description>Fiancee SIDNEY , sexy , compact , thirties , and best man KIERAN , are stringing lights all over the house and yard . Kieran is on a ladder . He is the same ATTRACTIVE GUY from the meeting . Sidney is completely wrapped , chest to knees , in twinkly white lights and he unspools himself as needed . Rachel arrives with Kym who is holding the aircraft carrier sized meatloaf sandwich that 's oozing lettuce and ketchup and the enormous glass of milk . She holds them both like they 're suspended in formaldehyde . Emma is working on her tan .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>No. You guys are not getting my design concept. I want every single light to represent a different one night stand during the misspent youth of Kris Kringle before he stopped whoring around and became Santa Claus.<\/dialogue>\n    <character>SIDNEY<\/character>\n    <dialogue>Oh. I thought you said Satan Claus.<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>I thought she said Panty Hose. Or Panda Claws.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Pandas are endangered.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I know. We're having an endangered Panda fleeing for its life for the ice sculpture. Or impaling itself on some bamboo. Kym! This is Sidney Williams, my betrothed. Sidney, meet my sister, Kym.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Oh my god. You're black.<\/dialogue>\n    <parenthetical>( To Rachel . )<\/parenthetical>\n    <dialogue>Sorry I called him a dawg.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>That's fine.<\/dialogue>\n    <character>SIDNEY<\/character>\n    <dialogue>No biggie.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>You do n't look like a record producer. You're supposed to have a hapless lackey next to you with an umbrella.<\/dialogue>\n    <character>SIDNEY<\/character>\n    <dialogue>Usually I do, but Mom's out simonizing my car. Funny, you do n't look like Lucifer's Cupbearer.<\/dialogue>\n    <character>KYM<\/character>\n    <parenthetical>( fingering a lock of hair . )<\/parenthetical>\n    <dialogue>I got a haircut.<\/dialogue>\n    <scene_description>Kym gives Emma a look . Emma smiles sweetly . Rachel gestures up the ladder .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>And this is Best Man Kieran.<\/dialogue>\n    <scene_description>Kym looks up the ladder at Kieran .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>Hi there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT. DAY.<\/stage_direction>\n    <scene_description>Kym and Kieran , having SEX in the cavernous basement . It runs practically the length of the house and there are nooks and caves everywhere . An ancient sofa , riddled with cigarette burns , some futons , dragged down and thrown haphazardly in corners , Unicorn posters hideously and pornographically defaced , and squat jars of ancient household products -LRB- Oil of Olay , self tanner -RRB- filled with cigarette butts offer proof of years of inhabitation . LATER - Kym lights up .<\/scene_description>\n    <character>KIERAN<\/character>\n    <dialogue>Well, that was so wrong -<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Gee, thanks!<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>No, believe me, that was so lovely, LOVELY! But in the program - as you know - and we just heard earlier today in fact -<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>It is kind of lurid, is n't it? The best man and the maid of honor. furtively slipping off to the coal bin to have it off while the rest of the wedding party labors away at preparations for the big event.<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>I thought. is n't Emma going to be playing that role?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>`` Maid of Honor''?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>I think I heard that was the plan.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH-END INDIAN CLOTHING BOUTIQUE. DAY.<\/stage_direction>\n    <scene_description>A LAVISH BOLLYWOOD SOUNDTRACK PLAYS as Emma wraps Kym in lilac fabric for her sari - esque bridesmaid 's dress . Kym examines herself in the mirrors of the private salon . The girls look like jewels against the lush fabrics , pillows and curtains . Rachel sits at a vanity trying on dangling earrings and shakes her head gently , the gems glimmer and sparkle .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Is n't the lilac fabulous? You look like a freesia.<\/dialogue>\n    <character>KYM<\/character>\n    <parenthetical>( to Rachel . )<\/parenthetical>\n    <dialogue>I love the grey.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>We're all wearing lilac.<\/dialogue>\n    <character>KYM<\/character>\n    <parenthetical>( heedless , grabbing the grey fabric . )<\/parenthetical>\n    <dialogue>Look at this. I love this. It's like a cloud.<\/dialogue>\n    <scene_description>Emma looks at Rachel .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>You guys know how I am. I never wear lilac.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>It's good to have a principle.<\/dialogue>\n    <scene_description>Kym ignores her .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You wore a lilac sweater with a cat face on it on the cover of Seventeen Magazine when I was at Fat Camp.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Sure, but I got paid for that and I was on horse tranquilizers. So why are n't I the Maid of Honor? Why is Emma the Maid of Honor?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Because.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>What does that mean?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I was n't entirely sure when you were coming or even if you'd make it.<\/dialogue>\n    <scene_description>Kym looks sharply at her .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I was n't sure if you'd have time for a fitting.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Bullshit. It's a sari. You take a bolt of cloth and wrap it around you. Jesus Christ I've been home one day and I ca n't get a straight answer out of anybody.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>I'm talking about Dad offering me food every ten seconds.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Dad offers Irish Hunger Strikers food every ten seconds.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>No. He has to know where I am and what I'm doing all the time because he has never resolved his own trust issues.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>That's odd.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Shut up.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Blow me.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Oh, leave Dad alone.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>I'd love to but he wo n't let me. I feel him watching me all the time. And Carol and you guys too.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>I know I have nothing better to think about.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Everybody's looking at me like I'm the visiting sociopath. What are you people waiting for me to do? Burn the house down?<\/dialogue>\n    <scene_description>They both look at her .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>That was a mattress fire and it was n't even at home! It was on a sleep over! God! I should just get HAZMAT tattooed on my forehead for you people.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Stop! You're like a harpy. Is being my `` Maid of Honor'' this important to you? I did n't think you gave a shit.<\/dialogue>\n    <scene_description>Beat .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>How could you fucking say that to me?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Jesus. Emma!<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Emma, would you be horribly offended and hurt if I asked you to step down as.<\/dialogue>\n    <parenthetical>( exaggerated , practically with quote fingers . )<\/parenthetical>\n    <dialogue>. `` Maid of Honor?''<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Now Emma's got another reason to hate me. Like she needed one.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Is it what you want?<\/dialogue>\n    <scene_description>For an instant , conflict and pain flicker over Rachel 's sweet face .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Not really.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Fine. The crown is yours, First Runner Up.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Thank you, Emma. No, thank you.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>It's not about you.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>It's about sisterhood.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Hooray for sisterhood.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Sisterhood conquers all.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>And bludgeons all and pillages all and leaves all for dead.<\/dialogue>\n    <character>KYM<\/character>\n    <parenthetical>( returning to mirror . )<\/parenthetical>\n    <dialogue>So the gray is not an option?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UKRAINIAN MUSEUM. NIGHT.<\/stage_direction>\n    <scene_description>THE REHEARSAL DINNER - `` The rehearsal '' component is in full swing amidst elegant dioramas and displays of Ukrainian folk art saints , traditional costumes , a skillion painted eggs , the mounted heads of indigenous Ukrainian animals , and the plaster busts of Ukrainian Popes . The audience of revelers is clustered at one end of the room with drinks and appetizers , while at the other end , various friends take their shot at a brief rehearsal . Old friend Norman Sklear is emceeing the line - up - he is currently at the mike with a funny improv based on really disastrous weddings he has known . Everybody is laughing . Paul , Carol , a few of Paul 's closest record biz friends -LRB- including a CULT LUMINARY or two -RRB- ; MR. AND MRS. WILLIAMS -LRB- Sidney 's mom and dad -RRB- , sister KAYRA , grandmother HERREAST , and cousin JOSEPH GONZALES -LRB- in US Army dress uniform , home on leave from Iraq -RRB- blend easily with the younger crowd . Cousin Joseph is always filming with his own CAMCORDER . QUICK CUTS - other rehearsal moments such as a TEENAGED GUITAR\/DRUMS DUO blowing out `` Here Comes The Bride '' ; Gaida 's Arabic wedding song ; UKRAINIAN AL -LRB- the in - house music director -RRB- getting the women to chant `` Rachel '' and the men to chant `` Sidney '' ancient European - stylee ; ZAFER TEE 's exquisitely heartbreaking improvised violin solo ; DORIAN LOVEJOY 's Rachel\/Sidney FREESTYLE RAP , etc. delivering to a breathtaking saxophone solo entitled `` Sidney loves Rachel '' by -LRB- the real -RRB- DONALD HARRISON JR. . Harrison 's toast to Paul , his beautiful family , and the memory of many memorable nights of music in the Buchman house while the kids were growing up draws HUGE APPLAUSE , POWERING INTO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UKRAINIAN MUSEUM DINING HALL. NIGHT.<\/stage_direction>\n    <scene_description>THE DINNER - The forty - odd guests are now seated in an adjoining room at LONG TABLES laden with a GORGEOUS INDIAN FEAST . Yellow rice , red curry , vivid green and orange vegetable dishes , pink shrimp . Huge plates of Dosa and Brinjal . Candles flicker in lanterns shaped like lotuses . PHOTOGENICALLY STYLISH YOUNG SERVERS dressed elegantly in black and white hover around the family and friends as everybody makes total pigs of themselves . The INDIAN FEAST contrasts agreeably with the Ukrainian visuals . EVOCATIVE BOLLYWOOD MUSIC PROVIDES THE SOUNDTRACK . Kym , wandering on along the table like a nomad , wedges herself between Sidney and Rachel . Emma grabs an empty wine glass before Kym knocks it over .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>I do n't know anybody at what's obviously the loser end of the table. Can I have your Chana Masala?<\/dialogue>\n    <scene_description>Without waiting for a response , Kym dives in with her naan .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You've known most of those people since the eighth grade. You always pretend you do n't know people.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Is it because you owe them money?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Where's Mom? Where's our mother? How could she not be here already? I have n't even seen her since I've been home.<\/dialogue>\n    <character>SIDNEY<\/character>\n    <dialogue>She called a few times. She's `` running a little late but should be here soon.''<\/dialogue>\n    <character>KYM<\/character>\n    <parenthetical>( stuffing naan in her mouth . )<\/parenthetical>\n    <dialogue>GOD!<\/dialogue>\n    <scene_description>She tries to catch a piece of Fish Tikka in her mouth and misses .<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>Kieran would you like some more Saag Paneer?<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>No thanks. Is there any krill?<\/dialogue>\n    <scene_description>Emma blinks .<\/scene_description>\n    <character>KIERAN<\/character>\n    <dialogue>Just kidding.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>I ca n't believe Mom would be late for my release back into the wild.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>And here I was thinking tonight was about Rachel!<\/dialogue>\n    <character>SIDNEY<\/character>\n    <dialogue>Rach, I forgot to tell you, Carol got the helium tanks.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>The words `` Carol'' and `` helium'' somehow.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Are n't there some rules about helium tanks?<\/dialogue>\n    <character>KYM<\/character>\n    <parenthetical>( snorting . )<\/parenthetical>\n    <dialogue>She would n't have any idea what to do with a helium tank.<\/dialogue>\n    <character>SIDNEY<\/character>\n    <dialogue>Only on public property. I think. K?<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>Huge liability.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>You're a lawyer?<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>Was. For about five minutes.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Say something legal.<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>Tort.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>So what do you do now?<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>I help Sidney out with the business side of his stuff.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Sweet.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Here's Mom.<\/dialogue>\n    <scene_description>The girls clamber up . Kym brushes curry off Rachel 's shirt . ABBY , the girl 's mom , and ANDREW , her husband , enter the dining room . Abby is a beautiful , wise woman in her fifties . Elegant , ladylike and graceful . Andrew looks foxy in his Abby - selected Armani , but he has the shoulders and knuckles of a heavyweight . As the girls approach , Abby acknowledges Paul across the room but makes no move to go beyond an exchange of long distance little waves and tight smiles .<\/scene_description>\n    <character>ABBY<\/character>\n    <parenthetical>( to Rachel , embracing . )<\/parenthetical>\n    <dialogue>Hello, darling.<\/dialogue>\n    <scene_description>A big hug . She turns to Kym .<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>Kym! Did you get my note?<\/dialogue>\n    <scene_description>They embrace . Abby steps back but keeps her hands on Kym 's shoulders .<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>You look beautiful.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>I'm fat. Rehab makes you fat.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Nonsense. You girls.<\/dialogue>\n    <character>ANDREW<\/character>\n    <dialogue>Hiya Kym. You look great! Hey Rachel!<\/dialogue>\n    <scene_description>He kisses Kym on the cheek . Rachel gives him a big hug .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Mom, where have you been? Is everything okay?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Wow. We were wondering if you got the dates scrambled.<\/dialogue>\n    <scene_description>Abby steps towards her daughters , taking them in .<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>Yes, everything is absolutely fine now.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Thank god. What a relief! Now the party can really get started.<\/dialogue>\n    <scene_description>Abby and Rachel look quickly at Kym .<\/scene_description>\n    <character>KYM<\/character>\n    <parenthetical>( lighting a cigarette . )<\/parenthetical>\n    <dialogue>So Mom, you look great.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Darling, can you smoke that in here?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>It's a private party, Mom. How's grandma? Still surly and irascible?<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Oh, you know how she is. She sends her love.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Great. Same.<\/dialogue>\n    <scene_description>Kym drags on her cigarette like it 's the last Coca Cola in the desert .<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>Honey, you should really put that out. It's not right. You know that.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Fine.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UKRAINIAN MUSEUM DINING HALL. NIGHT. LATER.<\/stage_direction>\n    <scene_description>Kieran is making a toast . Dinner is mostly over . Waiters are discreetly clearing plates , etc. from the table , pouring more drinks .<\/scene_description>\n    <character>KIERAN<\/character>\n    <parenthetical>( something like . )<\/parenthetical>\n    <dialogue>I've known Sidney most of my life. He personifies many of life's grandest cliches, even as he breathes fresh life into most of them. He has never, ever `` ceased to amaze me,'' and only in the best of ways. The magnitude of his artistry and his business acumen are matters of public record and delight. He's been a great friend `` through thick and thin,'' and sometimes it's gotten very, very thin - but he `` stood by me'' at all times, so it is my privilege and honor to stand by him on this profound occasion.<\/dialogue>\n    <scene_description>TIME CUT - Emma rises and bangs her glass with her spoon . It shatters .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You're paying for that, Emma.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Of course. I'd like to make a toast to the happy couple because I want to come visit them in Hawaii. Sidney what's the name of that place again?<\/dialogue>\n    <character>SIDNEY<\/character>\n    <dialogue>Humuu - humuu Nukku - nukuu.<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>A - Pu - Aa - Aa.<\/dialogue>\n    <scene_description>Sidney kisses Kieran on the cheek .<\/scene_description>\n    <character>KYM<\/character>\n    <parenthetical>( sharply , to her sister . )<\/parenthetical>\n    <dialogue>You're moving to Hawaii?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Sidney's recording studio is there.<\/dialogue>\n    <scene_description>Kym , stung , exhales a plume of smoke .<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>I've known the bride her entire life. Not biblically, except for that one time we french kissed at Evan Yassky's party in the ninth grade.<\/dialogue>\n    <character>SIDNEY<\/character>\n    <dialogue>Film! I want film!<\/dialogue>\n    <scene_description>Whoops and hollers .<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>Commence embarrassing story.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>That was n't it?<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Rach, do you remember the time I was teaching you to drive in the Wagoneer and you sideswiped that taxi driver and knocked off his side mirror?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I have no memory of that whatsoever.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Do you remember trying to outrun him and leading him on a high speed chase across 96th street?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Got ta say no.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Well I would like to share with everyone that Miss Rachel - before she got her license or even had any idea how to drive - out maneuvered an irate, screaming cab driver across 96th street to the East river, handily avoiding two EMT guys loading an old lady on a gurney, while at the same time, applying Cocofudge Lip Gloss in the rearview mirror.<\/dialogue>\n    <scene_description>Bravos all around .<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>Wait, wait. She actually got the number of one of the E.M.T guys and went out with him. Twice.<\/dialogue>\n    <character>KYM<\/character>\n    <parenthetical>( loudly . )<\/parenthetical>\n    <dialogue>Was that the guy with the peroxide hair?<\/dialogue>\n    <scene_description>Abby , not looking at her daughter , shushes her .<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>Anyway, when the taxi driver finally caught up with us, Rachel talked him down from his Middle Eastern fury in pretend Farsi, and ended up using his radio thing to call his dispatcher and recommend this guy for a commendation.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Mahamoud! Such a nice man.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>We were driving so fast! It was one of the more exhilarating moments in my life. sadly. but I knew that Miss Rachel would make it okay. So here's to you, my dear, dear friend. A woman who can drive fast, pick up a paramedic, make up languages and get you home in one piece. Sidney, you are a lucky bastard.<\/dialogue>\n    <character>SIDNEY<\/character>\n    <dialogue>Hear hear.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Where? Where?<\/dialogue>\n    <scene_description>Abby smiles broadly at Rachel and blows her a kiss . Kym rises with her glass and takes Emma 's place on stage . She glows in the candlelight .<\/scene_description>\n    <character>KYM<\/character>\n    <parenthetical>( for the crowd . )<\/parenthetical>\n    <dialogue>Relax, it's seltzer.<\/dialogue>\n    <scene_description>Low giggles .<\/scene_description>\n    <character>KYM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hello. I'm Shiva the destroyer and your harbinger of doom for the evening. I want to thank you all for coming and welcome you even though I have n't seen most of you since my latest stretch in the Big House.<\/dialogue>\n    <scene_description>Scattered low giggles .<\/scene_description>\n    <character>KYM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You all look fabulous. During the twenty minutes I was not in the hole for making a shiv out of my toothbrush, I actually did participate in the infamous 12 Step program. 12 Steps. Step - ball - change, step - ball - change. I'm still waiting for the change part.<\/dialogue>\n    <scene_description>Some guests laugh . Sidney grins . Carol , Paul , Rachel , and Abby sit silently . Andrew moves in towards his wife .<\/scene_description>\n    <character>KYM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>But as they say, relapse is an almost always inevitable component of recovery, God knows I've got high marks in that mode!<\/dialogue>\n    <scene_description>Everyone is staring at Kym .<\/scene_description>\n    <character>KYM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Anyhoo, as more of you know than are likely to admit, one of the actual steps is about making amends. So I spent a lot of time calling up people who barely remembered me - who barely remembered anything - and apologizing to them for bouncing a check or passing out in the bathtub and flooding their house, or otherwise involving them in sordid activities they were desperately trying to forget. I had to call this one girl who was, I think, fourteen, but I could n't talk to her because her Mom took out a restraining order.<\/dialogue>\n    <scene_description>Kym thinks this is hysterical . Paul does not .<\/scene_description>\n    <character>KYM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Anyway, I did a lot of apologizing to people who were practically strangers so I very much want to take this opportunity to not only congratulate my extraordinary sister, the future explorer in matters of the mind, thank you very much, and her adorable, impending husband on the occasion of their unprecedented nuptials. but also to apologize to my extraordinary sister, the future explorer in matters of the mind, for. Everything! And I really mean that, Rachel. I've been a nightmare and you've been a saint. I'm so damned glad I'm here with you and Sidney and his family and ours, and I am so happy for you guys, I really am. So, I am hereby raising my seltzer in celebration of my laudatory sister and herewith making amends. Sidney, you are robbing our dysfunctional family of one of it's most vital ingredients, and it's only member still willing to lend me money.<\/dialogue>\n    <parenthetical>( She pauses for a second . )<\/parenthetical>\n    <dialogue>Enjoy Hawaii. La Chaim.<\/dialogue>\n    <scene_description>She lifts her glass and downs it 's contents . There is a smattering of applause .<\/scene_description>\n    <character>KYM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( to the group . )<\/parenthetical>\n    <dialogue>One down. What's for dessert?<\/dialogue>\n    <scene_description>Kieran stares sympathetically at Kym .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UKRAINIAN FOLK MUSEUM. NIGHT.<\/stage_direction>\n    <scene_description>Guests leaving .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUCHMAN HOUSE. NIGHT.<\/stage_direction>\n    <scene_description>Kym drops into a chair in the dining room as Paul , Carol , Rachel , Sidney , Kieran , and Emma struggle in with several elaborately wrapped wedding gifts and leftovers from the rehearsal dinner , which they pile on the dining room table . Rachel and Sidney are having a quiet , tense exchange .<\/scene_description>\n    <character>KYM<\/character>\n    <parenthetical>( to anyone , examining her split ends . )<\/parenthetical>\n    <dialogue>I'm exhausted. Is there any watermelon?<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Let me see.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( To Kym , as if she 's joking . )<\/parenthetical>\n    <dialogue>Nice apology.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( again , making a joke out of it . )<\/parenthetical>\n    <dialogue>Nice apology.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>I was toasting you and I was making amends. It's one of the Steps. It's important.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I know what the Steps are.<\/dialogue>\n    <scene_description>Rachel glides to the den and drags out the huge dictionary .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I learned them in school, and I've visited you in various facilities, Kym.<\/dialogue>\n    <scene_description>Sidney and Emma share a look . Rachel drops the dictionary on the dining room table .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>Oh, god. Dad?<\/dialogue>\n    <scene_description>Kym looks to her father . Carol returns with a tray and a huge watermelon that 's been impaled with an enormous kitchen knife .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Amends. Noun. Often followed by ` for'. Offset a disability or frustration by development in another direction.<\/dialogue>\n    <scene_description>Rachel blinks at her sister .<\/scene_description>\n    <character>KYM<\/character>\n    <parenthetical>( exaggerated . )<\/parenthetical>\n    <dialogue>Yes?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You've never said anything to me, that's remotely apologetic. Yet, all of a sudden, at my wedding dinner, in front of everybody, you decide to grace us all with your development?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Christ. I just got here.<\/dialogue>\n    <scene_description>Carol hands Kym a slice of watermelon .<\/scene_description>\n    <character>CAROL<\/character>\n    <dialogue>Here. Anybody else?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>`` Hey everybody! And guests! Just in case you might be thinking about something else for five minutes, like, I do n't know, my sister's wedding - they just cut me loose! I'm a loose cannon, is that hysterical? Anyone for some rehab humor? Because I'm really fine with acknowledging my disease. And now watch me be really selfless, and weave a lovely blanket apology to my sister for being a tad out of her loop.''<\/dialogue>\n    <scene_description>Rachel giggles . Sidney and Kieran , staying out of this , exchange a glance .<\/scene_description>\n    <character>KYM<\/character>\n    <parenthetical>( chewing . )<\/parenthetical>\n    <dialogue>You're so cynical. Dad, since when has she been this cynical?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>She's making an effort, Rachel.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>An effort. That's what it was? Because I think she presumes that since everything has always revolved around her disease, everything else is going to revolve around her recovery. That's what I think.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Rachel. She just got home.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Again.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>I had no idea you were so angry, doctor.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I'm not.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Kymmie, your sister's got a lot on her plate. She's uptight about.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I'm not uptight, Dad.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>She's meeting Sidney's folks for the first time, there's menus, there's all that live music, you're home, there's a thousand things to worry about.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Absolutely, a wedding will take it right out of you, boy.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Yeah, it would be so lovely if we could all just.<\/dialogue>\n    <character>KYM<\/character>\n    <parenthetical>( removing seeds . )<\/parenthetical>\n    <dialogue>You people need to purge. You people really should go to Nar - Anon or something. I mean it.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Oh my lord. Kym, we have gone through Nar - Anon, baby. You know that.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( turning her head . )<\/parenthetical>\n    <dialogue>You people? You mean the people in this room? Your family?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>All of you people living in this little world of judgement and paranoia and mistrust. I can feel it every second. At the slightest sign of ingratitude or absence of atonement it's like the freaking Salem Witch Trials around here. I might as well be.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( pouncing . )<\/parenthetical>\n    <dialogue>Do n't even start.<\/dialogue>\n    <character>CAROL<\/character>\n    <parenthetical>( standing next to her husband . )<\/parenthetical>\n    <dialogue>Nobody can make you feel any way unless you let them, Kym.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Thank you Carol, for your inevitable pearl of wisdom, but you people are my family. You people make me feel like shit a hundred times a day. You try living under Dad's constant monitoring for five minutes and see how you like it.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>What constant monitoring?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>`` I'll drive you!'' `` Carol, she's back!'' `` Do n't sleep here, sleep there.'' `` Here. Eat this.'' Dad, you're obsessed.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Please. That's hardly news. You may not know this. sure you do. the only way to engage Dad in any meaningful communication is to start the conversation with your name. `` Have you heard from Kym? How's Kym?'' It resuscitates him. It jars him into the moment. Like an alarm.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>That's unfair, Rachel. And completely untrue.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>And she's even worse! `` Dad, you're never going to believe this, but I lost the car again.'' `` Dad, you're never going to believe this, but that check you sent me never showed up and my landlord hates me.'' `` Dad, can somebody meet me downstairs with cab fare and you're never going to believe this but I need to go to the emergency room and my neighbor's suing me and my checkbook got stolen!''<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Gee, Rach, sounds like you have some paternal\/sibling issues to work through.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Are you kidding? The two of you are like a double helix of crises. In the language of psychology one could say you both suffer from acute boundary issues.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Rachel! It's nice that you're getting your Ph.D -<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( she throws up her hands . )<\/parenthetical>\n    <dialogue>- Oh god -<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>- but do n't be patronizing. It's ugly. It does n't become you.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>How come she gets to spout off about paternal issues, but god forbid I should even reference the `` boundary thing,'' even though I actually know what I'm talking about?<\/dialogue>\n    <character>KYM<\/character>\n    <parenthetical>( waving her arms . )<\/parenthetical>\n    <dialogue>Hello? By the way? I'm not in crisis. I have n't been in crisis for a year.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You just got out of rehab!<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Why is this so difficult for you people to understand? It's like you're not happy unless I'm in some kind of desperate situation. You have no idea what to do with me unless I'm desperate. God. Why am I the only one who's willing to say this stuff?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Oh, poor you. You're so much more evolved in your suffering. You know what? Your suffering is not the most important thing in the world to everybody! There are billions and billions and billions of people, in nations all over the world, who never even think about you! Other people have lives! We have lives! I have a life! I'm in school. I'm getting married. I'm.<\/dialogue>\n    <scene_description>Rachel just stands there , not saying anything .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>What?!<\/dialogue>\n    <scene_description>Dead silence . Everyone stares at Rachel . Rachel looks at Sidney . Sidney passes the look right back to her .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I'm pregnant.<\/dialogue>\n    <scene_description>Beat , then : HUGE WHOOPS AND HOLLERS !<\/scene_description>\n    <character>EVERYBODY<\/character>\n    <dialogue>Congratulations! Oh my god! Etc!<\/dialogue>\n    <scene_description>Paul hugs Rachel and kisses her hair . Sidney and Kieran hug . Emma hugs Rachel and kisses Sidney . Hugging all around . Kym is pissed . Paul grabs Kym and Rachel , and hugs both daughters at once . Rachel and Kym 's faces are mushed right next to each other . Kym is impatient and stiff in the dreaded double mush . Kym breaks from Paul 's vice - like grip .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>That is so unfair!<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( ecstatic . )<\/parenthetical>\n    <dialogue>When did you find out?<\/dialogue>\n    <character>SIDNEY<\/character>\n    <dialogue>Roughly about the day before we decided to get married.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I can barely believe it myself!<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( laughing , mushing Rachel 's belly . )<\/parenthetical>\n    <dialogue>How long? How much pregnant? Did you tell your mother?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>We told her at dinner.<\/dialogue>\n    <character>SIDNEY<\/character>\n    <dialogue>She was so happy -<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Wait! Stop! You ca n't just drop that tectonic bit of information into a completely separate conversation, Rachel. You ca n't do that!<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Kym, you're going to have a niece!<\/dialogue>\n    <character>SIDNEY<\/character>\n    <dialogue>Or a nephew!<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Oh, god. Of course I'm happy for you. But you ca n't tell me when we're talking like this. It's a total set - up!<\/dialogue>\n    <scene_description>Beat . All the energy drains out of Rachel .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I am so fucking exhausted.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Dad, will you tell her I'm happy for her?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I just. I need to go to bed. Sidney?<\/dialogue>\n    <character>SIDNEY<\/character>\n    <dialogue>Yeah, okay. Great idea. I'm beat too.<\/dialogue>\n    <character>KYM<\/character>\n    <parenthetical>( to Rachel . )<\/parenthetical>\n    <dialogue>You're leaving? In the middle of this conversation?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Kymmie, she's pregnant. She's exhausted.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Of course. Fair enough. I'm off to raid the medicine cabinet.<\/dialogue>\n    <scene_description>Kym is gone .<\/scene_description>\n    <character>SIDNEY<\/character>\n    <dialogue>She's not serious?<\/dialogue>\n    <scene_description>Everyone gathers around Rachel .<\/scene_description>\n    <character>CAROL<\/character>\n    <dialogue>Oh, Rachel darling, and Sidney, I could n't be happier.<\/dialogue>\n    <character>SIDNEY<\/character>\n    <dialogue>She was n't serious, was she?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Do either of you want anything? A sandwich? You must be hungry. There's cold Saagwala and a little Aloo Gobi left over?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>No thanks, Dad. I really am pretty sleepy.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You're pretty everything!<\/dialogue>\n    <scene_description>He mushes her face and kisses her cheek . Then he mushes Carol 's face .<\/scene_description>\n    <character>CAROL<\/character>\n    <dialogue>Holy cow. What a day. I think I've aged. I mean it.<\/dialogue>\n    <parenthetical>( To Paul . )<\/parenthetical>\n    <dialogue>. -RRB- Would you mind if I went to bed, darling?<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( kissing her again . )<\/parenthetical>\n    <dialogue>Of course not. I'll be up, Carol. I'm just going to load the dishwasher.<\/dialogue>\n    <scene_description>Sidney intones the opening bars to Paul 's heroic `` DISHWASHER THEME '' . Paul raises the Cautionary Finger in Sidney 's direction . Sidney stops with the music .<\/scene_description>\n    <character>CAROL<\/character>\n    <dialogue>Let me help, it'll be quicker.<\/dialogue>\n    <scene_description>Now the Cautionary Finger is levelled at Carol .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Do n't mess with the King.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Okay, okay.<\/dialogue>\n    <scene_description>Hands in the air , Carol leaves the room .<\/scene_description>\n    <character>KIERAN<\/character>\n    <dialogue>Wow. That's it for me too, you guys. Good night everybody.<\/dialogue>\n    <scene_description>Kieran lays a manly , buddy hug on Sidney .<\/scene_description>\n    <character>KIERAN<\/character>\n    <dialogue>Congratulations, man.<\/dialogue>\n    <character>SIDNEY<\/character>\n    <dialogue>Thanks, my friend.<\/dialogue>\n    <scene_description>Kieran leaves . Now it 's just Rachel , Paul and Sidney . Paul is beaming like a klieg light .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I've never been so tired in my life.<\/dialogue>\n    <scene_description>Paul gives Rachel a kiss on the cheek and mushes her face some more .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Dad?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Yes, sweetheart?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I hope it's okay, I told Mom at dinner. About the baby.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Of course, lamb chop. I'm so happy! I'm going to be a grandpa!<\/dialogue>\n    <scene_description>Sidney mushes Paul and they attempt a hug and laugh and then they really hug .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I wish Ethan were here.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I know, sweetheart. Me too.<\/dialogue>\n    <character>KIERAN'S VOICE OFF<\/character>\n    <dialogue>That went well.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT. NIGHT.<\/stage_direction>\n    <scene_description>Kieran and Kym lie entangled in the basement , sharing a cigarette , disheveled . The floor of this entire section of the basement is now covered with all of the carefully arranged mattresses and futons that were stacked down here before . All of Kym 's mismatched bags have been moved down here too . There 's a little lamp there now as well but it 's not on . Only one of the small , cobwebby windows casts a dappled light onto the scene .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>That was such a set - up.<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>She probably did n't realize she was doing it.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Ha! She's such an operator. Now I'm the bad guy again. Or still.<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>They're lucky to have you.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Thank you! Otherwise they'd have to pay attention to their own suspicious lives. Nobody actually wants me to actually change, you know. What would they obsess about? I'm like a blessing.<\/dialogue>\n    <character>KIERAN<\/character>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>No argument from me.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Dad had an actual `` Blueprint for Rehabilitative Success'' at my last intervention. On graph paper. He goes all out with the response, my dad.<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>Not unlike this great nation in which we live.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Meanwhile an ex - heterosexual ex - boy friend of mine actually rang the door once and tells my mother, `` Kym is sitting in her apartment? With the shades drawn? Doing all this heroin and cocaine? And I think she's going to, like, die?'' And Mom smiles and says `` Thank you'' like he was speaking in Sanskrit.<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>You ca n't actually speak in Sanskrit.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Exactly! I nodded out into the poached salmon at Dad's wedding two years ago and he told Carol he thought it was jet lag.<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>I did that in soup once. It made such a mess.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUCHMAN HOUSE. DAY.<\/stage_direction>\n    <scene_description>Saturday morning . A giant delivery truck drives slowly up the driveway , delivering the tent for tomorrow 's wedding party .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT. DAY.<\/stage_direction>\n    <scene_description>Kym leads Kieran through the labyrinthine rooms of the basement giving Kieran a guided tour of the subterranean world of which she was the ruler and where Ethan was her loyal companion - the secret hide - and - seek rooms , the mattress room , the scary little side rooms , etc .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ABBY'S\/ANDREW'S HOUSE. DAY.<\/stage_direction>\n    <scene_description>A very stylish , very elegant , very `` modern '' -LRB- in the best sense -RRB- home , lots of grounds , lots of foliage .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABBY'S\/ANDREW'S HOUSE. MASTER BEDROOM. DAY.<\/stage_direction>\n    <scene_description>Rachel and Abby are seated on Abby 's bed , looking through some family heirlooms in an old alligator jewel case . Rachel is holding an ornate satin evening purse .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Look how exquisite this is. I ca n't borrow this. What do you carry in here? A vital organ? A tiny spleen?<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Is n't it divine? It was grandma's. She sends her love.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I love the color. It's oyster.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>You must promise me you'll stay healthy now, Rachel. You'll eat properly and get a lot of rest?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Yes, Mom.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>How are things going at the house? How's Sidney?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>And his friend? What's his name?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Kieran.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>He seems to be a big hit. Is your sister behaving herself?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I'm not exactly sure what that means.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Well, she needs a lot of acknowledgement.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You think?<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Stop. It ca n't be easy. Everybody knowing her troubles.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Mom, she's sold syndication rights to her troubles.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Stop.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Mom, does it bother you at all, Carol doing so much wedding stuff?<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Not at all, darling, I'm thrilled to be providing the flowers. You know how much that means to me. They're going to be exquisite!<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Yes, I'm sure, and that's so great and so you, but you can do whatever else you want, you know. I'd love it.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Thank you, my sweetheart. I just know I'd be one of those wedding mothers who goes completely insane about the hors d'oeuvres. Andrew says I should n't be allowed near a shrimp puff.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Huh.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>There are so many other people for you to worry about. Your sister's home and everybody's there and the bride always ends up keeping everybody else satisfied.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You're right.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>But this is going to be the most beautiful wedding ever. And I hope your sister has a wonderful time too. Anyway I'm going to be a grandmother! Hooray!<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Hooray!<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>I'm so excited. I have always wanted to be a grandmother. Even when I was thirty. Here. This ring was grandma's and she wanted you to have it.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Is she dead?<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Rachel.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>It's beautiful. Thanks, Mom. I hope it's a boy.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>As long as it's healthy. Try the ring on.<\/dialogue>\n    <scene_description>Rachel does .<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>You've always had the most beautiful hands.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. SCOTTY'S JAMAICAN RESTAURANT. DAY.<\/stage_direction>\n    <scene_description>A neighborhood place , but on the other side of the parkway from the Buchmans ' neighborhood . Friendly , bustling , kids on bikes and skateboards , etc. . Large windows offer a view of a stop sign , Fanny 's Beauty Salon , Soul to Soul Liquor , a barber shop , etc. . The restaurant is fluorescently lit , with a Jamaican flag on the wall and photos of Muhammad Ali , Malcolm X , and Bob Marley . There is a counter at the front where you place your order and pick up your food . There is a Foosball table , and a pinball machine . Kym and Kieran are playing Foosball at the ancient table where someone has painted Jamaican jerseys on all the players . They are both viciously competitive and genuinely irritated with each other .<\/scene_description>\n    <character>KIERAN<\/character>\n    <dialogue>Your hand is on the turf.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>What turf?<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>The turf. The table.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>So we have to do it over now. It was your shot and you get to do it over.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>Do n't tell me you did n't know having one hand on the turf makes the play null.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Null. Maybe we should just play Pinball.<\/dialogue>\n    <scene_description>C\/U . The metal balls ricocheting around the interior of the machine .<\/scene_description>\n    <character>KIERAN<\/character>\n    <dialogue>Sometimes playing next to each other is easier than playing together.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Who told you that?<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>My mom. She runs a pre - school.<\/dialogue>\n    <scene_description>They both crack up .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>What's Hawaii like?<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>You've never been?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Uh uh.<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>It's beautiful. I've got a nice place. My horse lives there.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Most people say `` my girlfriend lives there'' or `` my wife lives there.''<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>I live there and so does my horse. He's very possessive. We're working through it.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Have you had him a long time?<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>Yes. I may be a degenerate dope fiend but I love my horse. I do n't have a wife or a girlfriend and I've been clean almost seven years. You could just ask, you know. Your sister does n't ask direct questions either. She's incredibly cryptic.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>That's a shrink thing, not a genetic thing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMUNITY CENTER MEETING ROOM. DAY.<\/stage_direction>\n    <scene_description>Kym is sharing at today 's `` 12 Step '' meeting . Kieran , the others , listen intently .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>We were in the park. I was sixteen and I was. I had taken all these Percoset. I was unbelievably high. He had thrown away his shoes - and I was like `` Mom's going to kill me'' because I had no idea where his shoes were - but he was so happy about it. And he had his red socks and he was running around kicking up the leaves. You know in movies where they show a person's high or whatever and the camera careens all around? It was like that. But fun. You know. We were having so much fun. We were leaping around in huge piles of leaves. He buried me. I buried him in a big pile. I was on baby sitting detail. He was pretending he was a train. So he was charging through the leaf pile, making tracks, you know? I was the caboose. And he kept going `` Coal, caboose! Coal caboose!'' So it's time to go and we're driving home and he's in his car seat still demanding coal, and I could n't focus and I drove off the bridge. The car went into the lake. I could n't get him out of his car seat. He drowned.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUCHMAN BACK PORCH. DAY.<\/stage_direction>\n    <scene_description>Paul , Rachel , Emma , Sidney , and Norman Sklear are sprawled on the porch eating sandwiches and figuring out the seating arrangement for the wedding by manipulating tiny origami chickens , a tiny turtle , Monopoly pieces , spools of thread , etc . each with a small name tag . Paul sees Kieran 's rental pull up , grins , and calls to Carol .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Carol, they're back!<\/dialogue>\n    <scene_description>Carol emerges with a tray of lemonade as the rental is rolling to a stop . Kieran and Kym are climbing out of the car .<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>( shouting from the porch . )<\/parenthetical>\n    <dialogue>Are you hungry? I made a Salad Nicoise. It's got Tuna!<\/dialogue>\n    <character>KIERAN<\/character>\n    <parenthetical>( shouting back . )<\/parenthetical>\n    <dialogue>I was just thinking Salad Nicoise!<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Can we get back to what we were doing, please?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>All right. Where were we? Ah yes. The Rosenzwiegs. Can you please put the Rosenzwiegs somewhere far away from me?<\/dialogue>\n    <scene_description>Paul sits heavily .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>They're your friends, Dad.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>They're not my friends. I've just known them my entire life.<\/dialogue>\n    <character>SIDNEY<\/character>\n    <dialogue>Just so you know, my mother expects to be carried in by liveried servants to the triumphant swirls of the harp and seated on a solid gold throne forged by nuns.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Really? Because right now I have her shoveling kelp in the laundry room. But I have it as a montage.<\/dialogue>\n    <scene_description>Kieran and Kym arrive on the porch . Kym settles herself on a big comfy chaise .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>Where are you putting me? In the stockade?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Kym, stop it. You're at the family table.<\/dialogue>\n    <scene_description>Kym turns her face to the sun , shutting her eyes .<\/scene_description>\n    <character>KYM<\/character>\n    <parenthetical>( heedless . )<\/parenthetical>\n    <dialogue>Do n't put me with Michael and Sandy.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>They're not invited.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Sandy never called me back after I sent her an amends e - mail from Milestones. I hate it when people do n't meet you half way.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>The family table. With us.<\/dialogue>\n    <scene_description>CLOSE ON SEATING PLACEMENT BOARD - Paul moves Kym 's `` marker '' - the MONOPOLY DOG - to the family table . WIDER -<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>Oops. That's nine. I thought you were having tables of eight?<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( pointedly . )<\/parenthetical>\n    <dialogue>I am.<\/dialogue>\n    <character>KYM<\/character>\n    <parenthetical>( to anyone , her eyes still closed . )<\/parenthetical>\n    <dialogue>Where are you putting me?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I was thinking of putting you with Cookie Puss and the Chicago cousins because they always get really drunk and need wrangling.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Can someone else do it? I was planning on enjoying myself.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You're the only one they're afraid of.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Still? God.<\/dialogue>\n    <scene_description>Rachel pushes the MONOPOLY DOG to a different table .<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>( not getting it . )<\/parenthetical>\n    <dialogue>We can move Grandma Rose and her companion. That's actually a great idea.<\/dialogue>\n    <scene_description>Kym opens one eye and sees Paul switch markers - the MONOPOLY DOG is back at the FAMILY TABLE . Rachel stares at her father .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>That's all I need. Another reason for Grandma Rose to hate me.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>She does n't hate you.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>She's still mad about that thing at the Rite Aid.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Nonsense!<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Whatever.<\/dialogue>\n    <scene_description>CLOSE SHOT - Rachel moves the Monopoly Dog to another table . Paul looks at her .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Dad, can I show you something in the kitchen?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN. DAY.<\/stage_direction>\n    <scene_description>Paul and Rachel alone .<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>( sotto . )<\/parenthetical>\n    <dialogue>Rachel, what is this behavior?<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( same . )<\/parenthetical>\n    <dialogue>I would just like to have a day please.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Have all the days you want. Nobody is taking your day.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Then why are you defending her?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Defending her from what? Darling, look, no one's defending any body.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Why are you protecting her?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I do n't want her to feel like we do n't want her.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Sometimes I do n't want her. It's my fucking wedding, do n't you get it? I want my table to be perfect.<\/dialogue>\n    <scene_description>Paul kisses her on the forehead .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Stop it. She's your sister.<\/dialogue>\n    <scene_description>They look at each other . The screen door swings open as Emma , Carol , Sidney , Kieran , and Norman Sklear carry the lunch plates to the kitchen . Kym follows , carrying the salt shaker .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Okay. Dishes? I'm going to load the dishwasher.<\/dialogue>\n    <character>SIDNEY<\/character>\n    <dialogue>Paul! Paul, listen, I've been thinking about it. I did some preliminary sketches, I'd love to show them to you.<\/dialogue>\n    <character>KIERAN<\/character>\n    <parenthetical>( to Carol . )<\/parenthetical>\n    <dialogue>He's not kidding.<\/dialogue>\n    <character>SIDNEY<\/character>\n    <dialogue>And I think if you move the salad bowls to the upper tier you can get about 10 % more stuff in the dishwasher.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Hee hee hee.<\/dialogue>\n    <scene_description>Paul gives him a look . Sidney starts humming PAUL 'S DISHWASHER THEME .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Sidney, you're a nice young man. You make a lot of money and the world is your oyster. But you do n't know shit about loading a dishwasher.<\/dialogue>\n    <character>SIDNEY<\/character>\n    <dialogue>Sir, with all due respect, the mantle has passed.<\/dialogue>\n    <scene_description>Paul takes a moment to size Sidney up then spins on his heel to the dishwasher . TIME CUT - Sidney has his sleeves up and starts to load .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>What's the time limit?<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Two minutes.<\/dialogue>\n    <character>SIDNEY<\/character>\n    <dialogue>Are you comfortable with that, sir? I could spot you thirty seconds.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You young people should all go fuck yourselves.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Dad!<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Ha!<\/dialogue>\n    <character>SIDNEY<\/character>\n    <dialogue>You see Paul, I think your problem lies in lid placement. Inverting the lids and stacking them in the upper level is really for amateurs. It's passe.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Rachel, you're out of the will.<\/dialogue>\n    <character>SIDNEY<\/character>\n    <dialogue>Observe.<\/dialogue>\n    <scene_description>With a flourish , Sidney presents a beautifully stacked dishwasher . Paul pats his shoulder somberly .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Clean out this machine please, boy. So I can break out the whup - ass.<\/dialogue>\n    <scene_description>Screaming all around . Kym jumps up and down with her arms on Rachel 's shoulders . Rachel glances at her sister , laughing .<\/scene_description>\n    <character>SIDNEY\/KIERAN<\/character>\n    <parenthetical>( delightedly . )<\/parenthetical>\n    <dialogue>He's breakin' out the whup ass!<\/dialogue>\n    <scene_description>A SWEET MONTAGE . Paul is loading the dishwasher like a champ . Carol and Emma are smiling and giggling . Kieran has his eye on the clock . Sidney trash talks from the sidelines .<\/scene_description>\n    <character>SIDNEY<\/character>\n    <dialogue>You know one of the early signs of senile dementia is an obsessive need to organize.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Rachel, go fetch me my dart gun.<\/dialogue>\n    <character>SIDNEY<\/character>\n    <dialogue>I find it touching but ultimately sad when the warriors of yesteryear are reluctant to lay down their plastic containers from Zabar's and retire gracefully.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Kieran, how's my time?<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>You have twenty - five seconds.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I need more dishes. You amateur!<\/dialogue>\n    <character>SIDNEY<\/character>\n    <dialogue>What? No way!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Somebody give me some dishes!<\/dialogue>\n    <scene_description>Kym yanks open a cupboard and passes a handful of dishes to Paul . He begins to load them . CLOSE ON PAUL He has a bowl in his hands . We see the bowl is a plastic child 's bowl with Engines and Cabooses all over it . Paul turns the bowl around in his hands like a steering wheel . It dawns on Kym that she 's handed her father Ethan 's bowl . She is stricken . Paul looks to Carol . He seems bewildered . The kitchen falls silent and Carol takes Ethan 's bowl and places it in the sink , out of sight . She leads Paul gently out of the kitchen . CLOSE ON KYM - CLOSE ON RACHEL - She turns and leaves the kitchen . Sidney follows her . Emma and Norman Sklear step out onto the porch . Kieran takes the Ethan bowl from the sink and puts it quietly back in the cupboard and shuts the door . Kym does n't know what to do .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUCHMAN NEIGHBORHOOD. DAY.<\/stage_direction>\n    <scene_description>The station wagon heading away from the Buchman house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATION WAGON. DAY.<\/stage_direction>\n    <scene_description>Rachel is driving , Kym is in the passenger seat . The radio is on and neither says anything . Kym cranks down the window , tries to light a cigarette .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>Mom is handling the flowers?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Well, she's growing them and choosing them - but they are being delivered by her people.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Got it. Wow. Nurturing and growing things from the soil. Textbook, right?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Kym. Can we talk about the candles for a minute? Because -<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Yeah, exactly! Candles and rice paper - all lit up during the ceremony. It's a way of honoring Ethan, Ethan's. spirit, you know? It will look really nice too, mainly. Millions of little candles all over the place, and one huge rice paper candle - representing Ethan - glowing near the couple. That would be you and Sidney.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Oh my god, no. Do n't. Just do n't. That would kill Dad. And Mom. And me. And everybody. Please, Kym, please please please do n't do that.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Geez. It was an IDEA. Lighten up, okay? They do that in Japan or India or someplace, okay?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Just drop it, sweetie, okay? Please?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Oh my god - fine! Done! It was nothing, okay. It was just an idea. Just a stupid idea. I was joking, you jerk! Lighten up, Rachel. This is your big weekend. Everything's fine.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTOWN STAMFORD. DAY.<\/stage_direction>\n    <scene_description>Establishing this busy Connecticut city as the station wagon drives behind a fancy hair salon on the main drag .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEAUTY SALON. DAY.<\/stage_direction>\n    <scene_description>Kym and Rachel have foils in their hair , situated a few chairs apart . Rachel is intently working on a crossword puzzle .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>Are you getting a manicure?<\/dialogue>\n    <scene_description>Rachel silently waggles her fingers . Kym glances back at her magazine to discover one of the stylists standing close by , gazing at her face . Kym does a little double - take .<\/scene_description>\n    <character>STYLIST<\/character>\n    <dialogue>You do n't remember me, do you?<\/dialogue>\n    <scene_description>Kym looks sharply at the stylist , noting his sincere face , the warmth of his eyes .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>Nooooo.<\/dialogue>\n    <character>STYLIST<\/character>\n    <dialogue>Rick James' limousine.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Oh. My. God.<\/dialogue>\n    <character>STYLIST<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Rachel , nearby , grimaces .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>I meant to come back. I swear. I even had. Oh god, what was it?<\/dialogue>\n    <character>STYLIST<\/character>\n    <dialogue>Peanut M&amp;M's and Carbona cleaning fluid.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>God is punishing me.<\/dialogue>\n    <character>STYLIST<\/character>\n    <dialogue>No, he's blessing me. It's cool : I talked him down.<\/dialogue>\n    <character>KYM<\/character>\n    <parenthetical>( uncomfortable . )<\/parenthetical>\n    <dialogue>So, how are ya?<\/dialogue>\n    <character>STYLIST<\/character>\n    <dialogue>I'm okay. You remember we were in the hospital together, right?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>We were. at Milestones?<\/dialogue>\n    <character>STYLIST<\/character>\n    <dialogue>No. I did n't go to Milestones. I did n't have the coverage. We were on the same floor at Loeb House. That was before you went to Milestones.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Where did you go after that?<\/dialogue>\n    <character>STYLIST<\/character>\n    <dialogue>My parents' house. Unemployment. It's all about the coverage, right?<\/dialogue>\n    <scene_description>He stares deeply , movingly , into Kym 's eyes . Awkward .<\/scene_description>\n    <character>STYLIST<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I ca n't believe I'm seeing you again.<\/dialogue>\n    <character>KYM<\/character>\n    <parenthetical>( more uncomfortable . )<\/parenthetical>\n    <dialogue>I know. It's so weird.<\/dialogue>\n    <character>STYLIST<\/character>\n    <dialogue>Listen. Do you remember that exercise where we all had to write down experiences and pass them anonymously to another person?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>`` The Human Mirror : Seeing With a Fresh Perspective'' Like Secret Santas of despair.<\/dialogue>\n    <character>STYLIST<\/character>\n    <dialogue>I got yours.<\/dialogue>\n    <scene_description>Kym gives him a quizzical look .<\/scene_description>\n    <character>STYLIST<\/character>\n    <dialogue>You drew poodles in the margins. I know it's supposed to be anonymous and everything, but you were so brave. The way your uncle abused you and your sister, and how it led to your sister's anorexia, and how you stayed up nights when she was down to fifty pounds holding a mirror to her face to make sure she was breathing. I'll never forget reading that, I swear to God.<\/dialogue>\n    <scene_description>Rachel 's stylist is removing her foils while Rachel chokes on her Diet Pepsi and it comes out her nose . Kym looks nervous .<\/scene_description>\n    <character>RACHEL'S STYLIST<\/character>\n    <parenthetical>( to Rachel . )<\/parenthetical>\n    <dialogue>Do you want a tissue?<\/dialogue>\n    <scene_description>Rachel looks horrified , holding her hand over her nose .<\/scene_description>\n    <character>STYLIST<\/character>\n    <parenthetical>( To Kym . )<\/parenthetical>\n    <dialogue>I found it so profoundly inspirational that you could be there for her during your own incredible ordeal. I thank God that you came in here today. I never thought I'd ever have the chance to thank you. It was your strength that gave me the courage to confront my own abuse and help me turn my life around.<\/dialogue>\n    <scene_description>Rachel slams down her magazine and leaves the salon . Kym runs after her . Both girls have foils in their hair .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. REAR PARKING LOT\/BEAUTY SALON. DAY.<\/stage_direction>\n    <scene_description>Rachel is being trailed by her sister through the parking lot .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>Would you stop?<\/dialogue>\n    <scene_description>Rachel does n't stop . She is searching for her keys in the fading daylight . Kym catches up , takes Rachel 's arm .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Do n't touch me.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Do n't you think his perspective might be a little skewed?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I never had anorexia. You sure as hell did n't watch over me while I was sleeping and WE DO N'T HAVE A GODDAMNED PEDOPHILE UNCLE! -<\/dialogue>\n    <character>KYM<\/character>\n    <parenthetical>( interrupting . )<\/parenthetical>\n    <dialogue>- That we know of! -<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>- THAT MADE OUR CHILDHOOD A LIVING HELL AND EXPLAINS AWAY ALL OF YOUR SHIT IN ONE FELL SWOOP! Did you tell them that Dad forced us into a life of prostitution while you were at it?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Ew!<\/dialogue>\n    <parenthetical>( she stops and tries to remember . )<\/parenthetical>\n    <dialogue>Wait.<\/dialogue>\n    <scene_description>Rachel yanks open the car door , jumps in .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>I was n't hurting anybody. No one got hurt, Rach.<\/dialogue>\n    <scene_description>Rachel slams the car door shut .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I'm hurt!<\/dialogue>\n    <scene_description>Rachel drives off with a screech , leaving her sister standing there .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUCHMAN HOUSE. DEN. DAY.<\/stage_direction>\n    <scene_description>Rachel , yanking the foils out of her hair , perches on the sofa next to Carol and Paul . She is furious .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I hate her.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You do n't hate her.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Do n't tell me what I do n't hate. I hate, hate the lies. She lied in rehab.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>What do you mean she lied?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>She lied to the people who were working with her. Who were trying to help her. She lies to everybody.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( not getting it . )<\/parenthetical>\n    <dialogue>Where is she now?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Where am I now, Dad?<\/dialogue>\n    <character>KYM'S VOICE OFF<\/character>\n    <dialogue>Rachel! Rachel?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Thank god. In here.<\/dialogue>\n    <scene_description>Kym comes stomping in . Her foils are still intact .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>Thanks for abandoning me. I had to take a taxi!<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( disbelieving . )<\/parenthetical>\n    <dialogue>Are you kidding me?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Why would anything I said or did n't say at the hospital hurt you? It was n't about you!<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Why not? Why was n't it about me?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Rachel.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Dad, stop.<\/dialogue>\n    <parenthetical>( to Kym . )<\/parenthetical>\n    <dialogue>Why not? I was hopeful. I was on your side. I still am. Do you have any idea what that means? Do you have any idea how lonely it was with everybody gone into your terrible world? There was nothing left. Everybody was just empty. You think they remembered I was alive or needed anything during your. life? And after all that loneliness and Mom and Dad blaming each other and worrying and death and divorce and that stupid hopefulness and Dad not even being able to listen to music, you were in the hospital, lying about us! Instead of telling the truth about yourself!<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>God, Rachel.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Wait a minute. Wait a minute. What's this all about?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Apparently she has a whole history of sexual molestation.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Kym, what is your sister saying? Did you say you were sexually molested?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Oh Jesus Christ. Not by you! It was a long time ago!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Were you?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Why in god's name would you say something like that?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>It was anonymous! It seemed like a good idea at the time.<\/dialogue>\n    <scene_description>The three on the couch are stunned for a moment .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Dad, look at me. I'm right here. I'm telling you that after Ethan died I wanted her to get better or just die.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>And look! She is better!<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Nice, Rachel. Thank you.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( to Paul . )<\/parenthetical>\n    <dialogue>. And Dad, she was lying and she did n't give a shit about the rest of us. Recovery ca n't work if you lie. She knows that. I was worthless to her. We all meant nothing to her.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>You're not worthless. You're my sister. I love you guys. I need you guys, but you do n't get to sit around for the rest of my life deciding what I'm supposed to be like. You were n't there. You were n't inside my head when I was fucked up and your certainly not there now. You have n't got a clue what I feel.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Kym, you took Ethan for granted. You were high for his life. You were not present for his life. You were high. He was like a pet to you. You drove him off the bridge. And now he's dead.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>It was an accident.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Yes! I was stoned out of my mind! Jesus Christ, who do I have to be now? Mother Theresa? Did I use up all the love I'm allowed for this lifetime because I killed our little brother?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>No, it was an accident!<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>I'm sorry! I'm sorry, okay? I'm sorry!<\/dialogue>\n    <scene_description>Paul bursts out weeping .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>It was an accident.<\/dialogue>\n    <scene_description>Kym , her hair still in foils , rushes out of the house . Carol turns to Rachel . Rachel bolts upstairs . Carol turns to Paul . Paul waves her away . Carol is bawling too .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 7\/11 PARKING LOT. DUSK.<\/stage_direction>\n    <scene_description>A STATE TROOPER , sitting in his patrol car , looks up from his coffee as Paul 's Mercedes station wagon screeches into a nearby parking space . The cop watches Kym get out of the car and stalk into the 7\/11 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABBY'S\/ANDREW'S HOUSE. MASTER BATHROOM. NIGHT.<\/stage_direction>\n    <scene_description>Steam rises from the surface of Abby 's high - tech and sumptuous bathtub , as she quickly turns the water off and speaks into her cell phone .<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>Hello?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUCHMAN HOUSE. PAUL'S STUDY. NIGHT. CONTINUOUS.<\/stage_direction>\n    <scene_description>He is alone and the door is shut<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Hello Abby. It's Paul.<\/dialogue>\n    <scene_description>INTERCUT the conversation :<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>Hello Paul.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Is Kym with you?<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>No. Why? Did she go somewhere?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>She left the house about an hour ago.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>To a meeting?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>She and Rachel had an argument.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Oh, dear. The night before her wedding? What was it about?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Look, Abby, it does n't matter. She left the house. She took the car.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>What was the argument about?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I do n't know. They were both getting their hair done.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>You do n't know? Well what were they saying?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>For god's sake Abby! I'm trying to figure out where she went before I call the police!<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Well, last time you called the police looking for her she was upstairs, asleep in the guest room.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>She was n't asleep, she was unconscious! And I'm glad I called the police because it took twenty minutes to wake her up and at least something was being done!<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Paul, I'm trying to help.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You're trying to dismiss everything!<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>She's not a criminal!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You're disregarding everything I'm saying, and this failure to listen, failure to understand what is right in front of you is exactly why you will never be able.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Paul!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>To help her!<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Maybe that's not what she needs all the time.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( incredulous . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>ABBY<\/character>\n    <parenthetical>( stammering . )<\/parenthetical>\n    <dialogue>I mean. I mean maybe she needs us -<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>- Maybe she needs someone to be watchful and present and in her life!<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>- To trust her -<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>She could hurt herself! She could be lying dead in a ditch somewhere!<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>All right! All right! Stop it!<\/dialogue>\n    <scene_description>Beat . Paul tries to pull himself together . Abby is trembling .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>If you hear anything, can I count on you to please call me?<\/dialogue>\n    <character>ABBY<\/character>\n    <parenthetical>( incredulous . )<\/parenthetical>\n    <dialogue>Can you count on me?<\/dialogue>\n    <scene_description>Abby puts her hand to her mouth . INTERCUT with Paul waiting , then :<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>Yes Paul, you can count on me to call if I hear anything.<\/dialogue>\n    <scene_description>Now Abby waits : then<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Okay, then.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Goodbye.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Goodbye.<\/dialogue>\n    <scene_description>She hangs up . He hangs up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUCHMAN DINING ROOM. NIGHT.<\/stage_direction>\n    <scene_description>The room is piled high with boxes overflowing with tulle and flowers and glassware . Carol , Sidney , Rachel , Kieran and Emma are seated around the cheerless dining room table , picking at the dinner in front of them . even Emma appears to have given up . She is drinking a lot of wine . Paul returns to the table .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Abby has n't heard from her.<\/dialogue>\n    <scene_description>Rachel stabs her dessert with her fork . Her head is on Sidney 's shoulder , she looks pale and exhausted .<\/scene_description>\n    <character>CAROL<\/character>\n    <dialogue>She must feel awful.<\/dialogue>\n    <character>KIERAN<\/character>\n    <parenthetical>( gently . )<\/parenthetical>\n    <dialogue>Excuse me, but when you're trying to get better there's a lot of pressure in rehabs. when someone is n't ready to take responsibility they create something, like an Uncle Stan, to take responsibility until they're ready.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>( hollow . )<\/parenthetical>\n    <dialogue>Well, she's always been creative.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>I just wish we knew where she was.<\/dialogue>\n    <character>SIDNEY<\/character>\n    <dialogue>Paul, Would you like me to go out and look for her?<\/dialogue>\n    <scene_description>Rachel takes Sidney 's hand .<\/scene_description>\n    <character>CAROL<\/character>\n    <dialogue>You're getting married tomorrow. A hundred people will be here.<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>I'll go. I'm. I'll go. Any idea where she might have gone?<\/dialogue>\n    <scene_description>Everybody looks at Kieran . No one responds . The phone rings . Carol goes to get it . Everybody waits .<\/scene_description>\n    <character>CAROL<\/character>\n    <dialogue>It's the caterer.<\/dialogue>\n    <scene_description>Emma gives Rachel 's arm a squeeze .<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>I'll take it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. SCOTTY'S. NIGHT.<\/stage_direction>\n    <scene_description>Kieran , looking drawn under the fluorescent lights , stands inside the Jamaican restaurant staring out at the night . THROUGH THE WINDOW a beat up WHITE HONDA tears ass right through the stop sign and screeches on up the road . Kieran flinches .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABBY'S\/ANDREW'S HOUSE. NIGHT.<\/stage_direction>\n    <scene_description>Abby is in her kitchen preparing tea , dressed in loose - fitting yoga - style PJs , hair still wet from her bath . A door opens behind her and Kym emerges from the bathroom rubbing her hands over her face .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>Ahhh.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>You should call your father.<\/dialogue>\n    <scene_description>The air seems to go out of Kym for a moment .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>In a minute. I need a glass of water.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>I've made some tea.<\/dialogue>\n    <scene_description>Abby picks up the tray , leading the way from the kitchen into the living room . Trailing behind her , Kym looks around her mother 's unfamiliar house - the spaciousness and stark modernity of Andrew 's house stand in marked contrast to the rampant folksy - ness of the Buchman house . Abby places the tea service on a low table in front of a sprawling sofa in the stone - walled living room .<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>Here darling. Sit down. You look upset.<\/dialogue>\n    <scene_description>Kym sits , pours and sips . Abby remains standing and tightens the belt of her bathrobe .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>When will Andrew be back?<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Not too late. He's at a dinner.<\/dialogue>\n    <scene_description>Beat .<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>I spoke to grandma today. She sends her love. Is everything all right with the wedding?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Good.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Dad was loading the dishwasher.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Mmm hmmm.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>And I handed him Ethan's bowl with the trains on it by accident.<\/dialogue>\n    <scene_description>Kym begins to weep . Abby remains still . Kym 's weeping becomes louder and louder . She is having trouble breathing . Just as Abby reaches out to touch her .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>Why did you leave me in charge of him?<\/dialogue>\n    <scene_description>Abby stops .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>You knew. All of you knew. People told you. I was a junkie. I was a crazy drug addict. I stole from you. I lied to your face. I weighed six pounds and my hair was falling out. I spent every dinner in the bathroom.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>You were sick.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>You know what I was. It's not like there were n't any clues. I stayed in my room for days. I passed out all the time. Where were you, Mom! What were you thinking? Why did you leave me? Why did you leave me in charge of him?<\/dialogue>\n    <scene_description>Abby closes her fists and beats Kym with all her strength .<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>You were n't supposed to kill him! You were n't supposed to kill him!<\/dialogue>\n    <scene_description>Kym curls up protectively and Abby suddenly stops .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>Mom?<\/dialogue>\n    <scene_description>Abby swings at Kym again and connects . Kym punches Abby right back - twice - now she is on her feet . Both women stop , terrified , and look at each other . Kym moves toward her mother .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>Mom?<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Get away!<\/dialogue>\n    <scene_description>Kym stops . Keeping her back to the door she backs out of her mother 's house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ABBY'S\/ANDREW'S HOUSE. NIGHT.<\/stage_direction>\n    <scene_description>Kym falls down the front steps . Her nose is bleeding and her eye starts to swell . Where are the car keys ? Here they are . Where is the door handle ? Here it is . She drives off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SECLUDED ROAD. NIGHT.<\/stage_direction>\n    <scene_description>Kym driving the station wagon too fast .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATION WAGON. NIGHT.<\/stage_direction>\n    <scene_description>- KYM 'S P.O.V. : THROUGH THE WINDSHIELD - Headlights . Windshield wipers . It 's not raining . A curve in the road , squealing around it . The road forks twenty yards ahead , woods in between . Left or right ? Kym drives straight ahead , careening off the road , smashing down a couple of saplings , losing speed , right fender smashing into a big rock - AIRBAGS blast up into Kym 's face - airbag deflates , Kym 's head falls forward , bangs against the steering wheel . A tiny moan . That 's it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WIDE SHOT. FORK IN THE ROAD. NIGHT.<\/stage_direction>\n    <scene_description>The station wagon has come to a halt far off the road , concealed by undergrowth and trees in the foreground . There is no movement in the car . A Volvo station wagon drives by , continuing on its way .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUCHMAN HOUSE FAMILY ROOM. NIGHT.<\/stage_direction>\n    <scene_description>Paul , Kieran , and Sidney are seated around the family room . Paul and Sidney are drinking red wine , Kieran something else . An empty bottle is in front of them and Sidney is uncorking a fresh one .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>I never thought I'd have two little girls. Two little girls running around with their tummies sticking out in their diapers. They used to bite me on the nose, the two of them. I'd hold both of them in the pool and they'd take turns biting my nose. Ethan never did that. He preferred pinkies. Or knuckles.<\/dialogue>\n    <scene_description>Sidney and Kieran chuckle appreciatively . Paul joins the laughter , pours some more wine .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASTER BEDROOM. NIGHT.<\/stage_direction>\n    <scene_description>Rachel and Emma are curled up in the middle of the bed , spoon - style , with clothes still on . Emma is behind Rachel , lost to the world , gently snoring . Rachel 's eyes are wide open . Carol swings the door cautiously open and peers inside . Rachel and Carol look at each other for a long time . Carol withdraws , closing the door behind her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FORK IN THE ROAD. DAWN.<\/stage_direction>\n    <scene_description>The station wagon seen just as before . A couple of joggers lope by on the road .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. STATION WAGON. MORNING.<\/stage_direction>\n    <scene_description>Kym jolts awake as a STAMFORD POLICEMAN raps on her closed window . She is a mess . A black eye . A split , bloody lip . A gash across her forehead . The cop is simultaneously gesturing for her to roll her window down and speaking into his radio . Kym tries to start the car . No luck . The cop bangs on the window . Kym leans her head against the steering wheel . The horn starts blowing . The joggers , a couple of early dogwalkers , and a couple of kids on bikes are gathered by the roadside , whispering and watching .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATION WAGON. DAY.<\/stage_direction>\n    <scene_description>NOW - The cop is studying Kym 's license and registration . NOW - An AMBULANCE has arrived . Red lights flashing . The crowd of onlookers has swelled considerably . NOW - The cop gives a clearly upset Kym a Breathalyzer test as PARAMEDICS wrap a pressure cuff around her arm - she exhales into the Breathalyzer tube , her eyes darting between the cop , the cracked windshield of the car and the gawking crowd up on the road . TIME CUT - The paramedic holds Kym firmly by the chin and peers deeply into her right eye . The other paramedic blots at Kym 's swollen lip with a gauze and hands her an ice pack . TIME CUT - The cop gives Kym her license and hands her an official looking form , which she stuffs in her shoulder bag .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE BUCHMAN HOUSE. DAY.<\/stage_direction>\n    <scene_description>A truck towing the beat - up station wagon comes to a halt in the street in front of the Buchman house . Kym steps down from the passenger seat , ignoring whatever the driver just said in parting . The house is festooned with peonies and lights and WORKERS hurrying about . Everything looks absolutely beautiful . CATERERS are running from their vans into the house with armloads of food , drinks , etc. . Abby 's flowers are being unloaded from another van . Decorative chandeliers are being carried inside . VALETS are setting up their car - parking operation -LRB- a decorated picnic table -RRB- at the foot of the driveway . Kym squares her shoulders and begins her long walk up to the Buchman house , back into the chaos . A CUTE VALET passes Kym on the lawn , carrying two paper cups of coffee , dressed in an Indian military tunic . He takes in Kym 's disheveled and bruised appearance .<\/scene_description>\n    <character>VALET<\/character>\n    <dialogue>Um. Hi.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>I'm the Maid of Honor.<\/dialogue>\n    <character>VALET<\/character>\n    <dialogue>Cool.<\/dialogue>\n    <scene_description>Kym continues her walk toward the house .<\/scene_description>\n    <character>VALET<\/character>\n    <dialogue>Hey, I know you. I used to work at the dog grooming place.<\/dialogue>\n    <scene_description>Kym keeps walking , ignoring him .<\/scene_description>\n    <character>VALET<\/character>\n    <dialogue>Hey, you holding?<\/dialogue>\n    <scene_description>Paul and Carol , beautifully dressed , appear on the front porch and hurry towards Kym .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Kymmie?<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Oh my lord.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Are you all right?<\/dialogue>\n    <scene_description>They meet at the circular driveway .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>I hit Mom.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Oh my god is she.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Not with the car.<\/dialogue>\n    <scene_description>Beat .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>We need to get you to a hospital.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>I have to get dressed.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Look at you! You need to get to a hospital!<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Dad! I'm fine.<\/dialogue>\n    <scene_description>He tries to touch her . She stops his hand . Paul backs off .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You ca n't just vanish. You ca n't just leave. You have to call. You always have to call.<\/dialogue>\n    <scene_description>Paul looks helplessly at his wife .<\/scene_description>\n    <character>CAROL<\/character>\n    <dialogue>Why do n't you go find your sister? She did n't sleep last night waiting for you.<\/dialogue>\n    <scene_description>Kym runs onto the porch as a group of GOFERS carry more of Abby 's flowers through the front door . Emma is on the front porch filling balloons with helium , assisted by the kids from next door . Emma inhales from a balloon as she sees Kym .<\/scene_description>\n    <character>EMMA<\/character>\n    <parenthetical>( in a helium voice . )<\/parenthetical>\n    <dialogue>Oh. My. God.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUCHMAN FOYER. DAY. CONTINUOUS.<\/stage_direction>\n    <scene_description>Kieran is in the living room on his cell phone when he spots Kym . Behind him we see Norman Sklear , Matt and Innbo removing the last of the living room furniture to the rear patio .<\/scene_description>\n    <character>KIERAN<\/character>\n    <dialogue>Holy shit.<\/dialogue>\n    <parenthetical>( into the phone . )<\/parenthetical>\n    <dialogue>She just showed up. Yes. Thank you.<\/dialogue>\n    <parenthetical>( to Kym . )<\/parenthetical>\n    <dialogue>Do you need a doctor?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>You sent out the cavalry?<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>For your dad. Mostly for your dad.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>I have to get ready. I have to get dressed.<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>Okay. I'm so glad to see you.<\/dialogue>\n    <scene_description>KYM 'S P.O.V. - charging up the stairs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASTER BEDROOM. DAY. CONTINUOUS.<\/stage_direction>\n    <scene_description>Also known as the bridal chamber . Kym yanks the door open and Rachel jumps a mile .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Aaaah! Fuck!<\/dialogue>\n    <scene_description>She is dressed in her Sari and huge gold earrings and looks beautiful , despite a lack of sleep . Seeing her bashed up sister framed in the doorway , Rachel fights tears . She loses .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>I hit Mom.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>With the car?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>No. No.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You hit Mom? You hit our mother?<\/dialogue>\n    <scene_description>Kym looks completely desperate . She nods . Rachel 's face contorts with rage as she steps forward and slams the bedroom door in Kym 's face . Kym winces . Beat .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Rachel yanks the door open again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASTER BATHROOM. DAY.<\/stage_direction>\n    <scene_description>Rachel has run a bath for her sister . She has removed her sari but not her earrings . Kym is in the bath . Her body is bruised and purple . Rachel dabs gently at Kym 's face with a washcloth while Kym scrubs at her nails with a brush . She glides the soapy washcloth over Kym 's back . She notices the word ethan inscribed within the design of the rose and thorns image tattooed on Kym 's left shoulder . Rachel rinses shampoo and leaves and dirt out of her sister 's hair while Kym brushes her teeth . Rachel dabs makeup on Kym 's chin as Kym 's hands tremble with the mascara .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I got it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASTER BEDROOM. DAY.<\/stage_direction>\n    <scene_description>Back in her wedding Sari , Rachel wraps Kym in her bridesmaid 's gown and puts some Lilies of the Valley in her hair .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Can you do this?<\/dialogue>\n    <scene_description>Kym nods .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Okay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. BUCHMAN BACK TERRACE\/LIVING ROOM. DAY.<\/stage_direction>\n    <scene_description>THE CEREMONY - Guests , some standing , some in white chairs . The living room is festooned with wall to wall flowers . A canopy of cherry blossoms leads from the living room terrace to the opened living room doors . Sidney , looking stunning in a dove grey Nehru suit and a lavender pocket square , waits at the altar with groomsmen Kieran , Norman Sklear , and Cousin Joseph -LRB- now wearing full dress U.S. Army uniform -RRB- . and officiating JUDGE CASTLE . SFX : LIVE MUSIC - `` Here Comes The Bride '' on distant electric guitar and drums plus foreground violin and gently chanted `` Rachel 's '' and `` Sidney 's '' by the assembled friends . Emma 's smiling face fills the frame as the ceremony begins . Bridesmaids Emma , Kayra Williams , Victoria , and - THE MAID OF HONOR ! - Kym in her dress with her striped hair , split lip and black eye , trying to find her game face . The wedding guests are slack - jawed . Mrs. Williams -LRB- Sidney 's mom -RRB- looks like she 's passing a stone . Abby stands quietly with Andrew in the first row . She looks composed and lovely and has the tiniest hint of a bruise on her chin . The procession reaches the altar and the wedding party turns to face Rachel and Paul . Paul is beaming , walking his beautiful daughter from the side of the house and across the terrace to the living room . She glows in her white and gold Sari . They reach the altar of blossoms . Rachel kisses her dad 's cheek and he hugs her . Things are set up so that Rachel and Sidney stand just inside the living room , facing the beautiful backyard . Kym reaches for Rachel 's bouquet but Rachel has handed it to Emma by reflex . Kym tries to cover her gesture . Rachel and Sidney join hands .<\/scene_description>\n    <character>JUDGE CASTLE<\/character>\n    <dialogue>We're here on this beautiful day.<\/dialogue>\n    <scene_description>Somebody 's baby starts to cry .<\/scene_description>\n    <character>JUDGE CASTLE<\/character>\n    <dialogue>Exactly.<\/dialogue>\n    <scene_description>Everybody cracks up , especially Kym . She laughs a beat longer than anybody else .<\/scene_description>\n    <character>KYM<\/character>\n    <parenthetical>( mumbling . )<\/parenthetical>\n    <dialogue>Excuse me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. BUCHMAN BACK TERRACE\/LIVING ROOM. DAY.<\/stage_direction>\n    <scene_description>Rachel and Sidney are saying their vows .<\/scene_description>\n    <character>SIDNEY<\/character>\n    <dialogue>I always just wanted to hear music, and when I met you I heard you. You are the most beautiful thing I've ever heard. Thanks for marrying me.<\/dialogue>\n    <scene_description>Rachel is crying . Sidney takes his pocket square and carefully dries her tears . Abby is drying her own eyes . Rachel makes her own declaration to Sidney . Norman Sklear hands Sidney an acoustic guitar and Sidney strums it and plucks a delicate melody .<\/scene_description>\n    <character>SIDNEY<\/character>\n    <dialogue>For you.<\/dialogue>\n    <parenthetical>( to Rachel 's stomach . )<\/parenthetical>\n    <dialogue>And you. ahem.<\/dialogue>\n    <parenthetical>( sings . )<\/parenthetical>\n    <dialogue>`` She used to work in a diner Never saw a woman look finer I used to order just to watch her float across the floor She grew up in a small town Never put her roots down Daddy always kept movin', so she did too. You know it ai n't easy You got to hold on She was an unknown legend in her time Now she's dressin' two kids Lookin' for a magic kiss She gets the far - away look in her eyes. Somewhere on a desert highway She rides a Harley - Davidson Her long blonde hair flyin' in the wind She's been runnin' half her life The chrome and steel she rides Collidin' with the very air she breathes The air she breathes. The air she breathes.<\/dialogue>\n    <scene_description>The guests join in on the last chorus , with spontaneous ad - lib instrumentation from some of the musician friends . The song ends with a huge eruption of laughter and applause .<\/scene_description>\n    <character>JUDGE CASTLE<\/character>\n    <dialogue>On that note, and with the power vested in me by the state of Connecticut and Neil Young, I now pronounce you husband and wife.<\/dialogue>\n    <scene_description>Big Kiss ! Lots of screaming and laughing . Huge applause . Carol and Mr. Williams throw pink and white confetti hearts . Kym applauds wildly and is crying her eyes out . Paul weeps openly . Carol breathes a sigh of relief .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUCHMAN BACKYARD. LATER.<\/stage_direction>\n    <scene_description>POST - CEREMONY LUNCH - the whole Wedding Party Inner Circle , everybody , is enjoying barbecue , oysters , Vegetarian Supreme , beers , wine , various other chill - juices and snackettes - on the back terrace , around the swimming pool and spread out at picnic tables and blankets across the expansive back lawn . The exotic reception party tent stands proudly and invitingly down the slope . THE MUSICIAN FRIENDS are playing their version of `` Rachel Loves Sidney . '' Some guests have removed as many layers of clothing as weather permits . Some - including Sidney and Rachel - have even changed into Bermudas and sweatshirts for the moment . Rachel and Sidney are serving second helpings to their friends . Abby and Andrew are at a table eating and chatting with the Chicago Cousins , the Rosenzweigs , and Cookie Puss . Kym is tying a LITTLE BOY 'S balloon to his wrist . She looks over at her mother . Abby is deep in conversation with Andrew . She tucks a stray hair behind his ear .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUCHMAN BACKYARD. DAY.<\/stage_direction>\n    <scene_description>`` CUTTING THE CAKE '' - A MULTI - TIERED WEDDING CAKE , WEDGEWOOD BLUE , IN THE SHAPE OF AN ELEPHANT , WITH TWO TINY PLASTIC ASTRONAUTS SITTING ON TOP . Rachel and Sidney are cutting the cake .<\/scene_description>\n    <character>SIDNEY<\/character>\n    <dialogue>Is this mocha? Or chocolate?<\/dialogue>\n    <scene_description>He samples the frosting .<\/scene_description>\n    <character>MRS. WILLIAMS<\/character>\n    <dialogue>Baby Boy, let them take the picture.<\/dialogue>\n    <character>SIDNEY<\/character>\n    <dialogue>Okay, Mom.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Yeah, Baby Boy.<\/dialogue>\n    <scene_description>Rachel licks the frosting off Sidney 's finger then gives his mom a big wholesome smile . Mrs. Williams shakes her head but she 's okay with this .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Can we all do this together?<\/dialogue>\n    <scene_description>Reshuffling as Sidney , his parents , Kayra , and Rachel , Paul , Carol and Kym each place a hand on the silver cake knife .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Mom.<\/dialogue>\n    <scene_description>With nowhere else to stand , Abby lays her fingers lightly on Kym 's wrist . Emma 's AUNT JOYCE , a cool professional photog , SNAPS THE PICTURE .<\/scene_description>\n    <character>SIDNEY<\/character>\n    <dialogue>Dear God, bless this family and let them always invite us for dinner because my new wife ca n't boil water or fry an egg. La Chaim.<\/dialogue>\n    <character>EVERYONE<\/character>\n    <dialogue>La Chaim.<\/dialogue>\n    <scene_description>Rachel suddenly stands on a chair and bangs on a glass with a spoon .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Friends and family, family and friends! I have an announcement to make! I'm the bride and I'm knocked up!<\/dialogue>\n    <scene_description>Surprised whooping and hollering .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I'm exercising my bridely, knocked up prerogatives and demand that everybody starts dancing. And this means you too, Mom!<\/dialogue>\n    <scene_description>Abby smiles . SFX : The Deejay spins an infectious platter -LRB- TBD -RRB- .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Oh yay! Dad c'mon. C'mon Dad! This is my favorite song!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Ooo. Look at me, I'm dancing.<\/dialogue>\n    <scene_description>She drags Paul to the temporary poolside patio dance floor . Paul is a fantastic dancer ! Sidney drags his dad to the dance floor . He 's dramatic and weird ! Abby smiles politely at Kym and goes to sit down with Andrew . Kieran spirits Kym to the patio , where they join the dancers .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUCHMAN BACKYARD\/OUTSIDE THE TENT. DUSK.<\/stage_direction>\n    <scene_description>THE RECEIVING LINE - All members of both families are lined up outside the entrance to the tent to greet the INNER CIRCLE GANG and the LUCKY FEW OUTSIDERS who have been invited to this evening 's gala wedding reception party . It is twilight . Everybody is spruced and rested . Rachel and Sidney have changed into awesome party outfits . Inside the tent , yet another group of musician friends are currently laying down an evocative , hypnotic and extremely cool , jazzy `` world music '' groove as the same attractive and immaculate young servers -LRB- from the rehearsal dinner -RRB- circulate with trays of delicious appetizers , wine , seltzer , etc. . Kym is still wearing her sari . She stands next to her mother . They are doing their wedding party duties . Neither woman is looking at the other .<\/scene_description>\n    <character>BOB THE NEXT DOOR NEIGHBOR<\/character>\n    <parenthetical>( to Abby indicating Kym . )<\/parenthetical>\n    <dialogue>And how is our little wayward girl?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>I had an accident.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>And, how are you, Bob?<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>God, never better - Isaac opened his practice!<\/dialogue>\n    <scene_description>QUICK CUTS OF KYM<\/scene_description>\n    <character>NICE FAMILY FRIEND<\/character>\n    <dialogue>We're all so glad you made it! I should n't be telling you this, but there was actually a pool! Is that hysterical?<\/dialogue>\n    <character>DISTINGUISHED NEIGHBOR<\/character>\n    <parenthetical>( eyeing Kym 's injuries with a twinkle . )<\/parenthetical>\n    <dialogue>If you're in need of any legal services.<\/dialogue>\n    <character>AWKWARD YOUNG GUEST<\/character>\n    <dialogue>I do n't know if you remember this but you owe me $ 750.<\/dialogue>\n    <character>HIP YOUNG GUEST<\/character>\n    <dialogue>Are you holding?<\/dialogue>\n    <character>INTERESTING YOUNG WOMAN<\/character>\n    <dialogue>Kym? Do you remember me?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Sorry. I'm not sure.<\/dialogue>\n    <character>INTERESTING YOUNG WOMAN<\/character>\n    <dialogue>Kym! Angela Paylin!<\/dialogue>\n    <scene_description>Angela sports an intense tattooed image on the inside of her right forearm . Her face features a unique piercing . Kym hugs her . Their reunion makes her cry . Angela is nice .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EXOTIC WEDDING TENT (EXT. BUCHMAN BACKYARD). NIGHT.<\/stage_direction>\n    <scene_description>The tent is fairly packed now with about 60 - SOME ODD PEOPLE . Everybody is getting along fine . With a single dramatic gesture , Norman Sklear silences the band . Upon Norman 's instructions , the drummer works his cymbals in such a way that the party - goers realize that something big is about to happen . Norman Sklear now gestures for complete silence and he gets it . Rachel and Emma grin madly at each other . SFX : LIVE BRAZILIAN PERCUSSION SLOWLY BUILDING , GROWING LOUDER approaching the tent entrance from the moonlit backyard . ALL EYES ON THE ENTRANCE - the swimming pool lights shimmering outside as - - FOUR SEXY BRAZILIAN DRUMMERS AND FOUR GORGEOUS BRAZILIAN CARNIVAL GIRLS COMPLETE WITH HEADDRESSES AND FEATHERS DANCE INTO THE MIDDLE OF THE CROWD ! The musicians blow whistles and bang on drums . The cafe - au - lait beauties gyrate and pull guests out of their chairs . Rachel leaps from her chair into Sidney 's arms and he gives her a huge , sexy kiss as he rubs her tummy . Wedding guests scream with delight and rush to the floor . The drummers become more impassioned with every beat . They travel allover the dance floor , a trail of guests behind them . Sweat is dripping , the girls are glistening wet , the guests are pulled into a massive pulsing heartbeat on the dance floor . Emma , Kayra and Victoria are dancing together screaming until Cousin Joseph , Matt and another male friend muscle their way in . Little kids swing each other around in circles . Rachel and Sidney are practically doing it on the dance floor . A Brazilian beauty shimmies over to them , her headdress bobbing , her smile enormous . Sidney immediately puts his head on her bosom . After a beat Rachel does too , laughing . SFX : POUNDING BRAZILIAN DRUMS Carol stands quietly besides Paul and takes his hand and whispers to him . Though not dancing , they are clearly enjoying the carnival . Paul gives a little shimmy . Abby and Andrew are huddled together at a table , talking intensely . It 's like they are blind to the spectacle . Kieran offers his hand to Kym . She leaps up , spilling her flowers . Kieran pulls her to the middle of the crowd . They circle each other . They come together almost violently and dance like there 's no tomorrow . Kym 's head is thrown back . Shoulders heaving , Kieran swings her around by the waist . SFX : DRUMMERS DRIVING THE PARTY FASTER AND FASTER . Emma shimmies wildly with her partner , her hair a mess . Mr. and Mrs. Williams clapping wildly and doing the limbo\/hustle\/drunken parent dance . Guests stomping and cheering . The brown , glittering dancers are shaking thisclose to the drummers who have their shirts off . A dancer rocks with an older gentleman who gulps oxygen from a tank . Rachel and Sidney are bathed in sweat , kissing . Sidney is gulping champagne . Kieran and Kym have their foreheads together and their eyes closed , chests heaving . DRUMS CRESCENDO Carol and Paul watching , laughing . Andrew whispering in Abby 's ear . She just stares off . Kieran and Kym glued together . Rachel tossing her hair wildly , Sidney behind her . Everyone laughing , laughing , dancing . DRUMS STOP ! HUGE WHOOPS AND HOLLERS !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUCHMAN BACKYARD. NIGHT.<\/stage_direction>\n    <scene_description>The exotic tent looks beautiful out there in the sprawling backyard , reflections of the POOL LIGHTS shimmering off its sides . The whole backyard is enchanted - with magically deployed twinkle lights , Japanese lanterns and other special lighting effects adding to the aura . `` Rachel Loves Sidney '' is being played in a mellow , super - romantic trumpet solo mode now by Christian Scott . An assorted bunch of guests have relocated to the poolside patio in their finery . The oxygen guy and his matronly wife are seated on a transplanted living room couch , talking intently to a be - feathered headdressed Dancer . Norman Sklear and Emma are sharing a stylish , quietly triumphant slow dance , whispering punctuated by gusts of laughter . Angela Paylin is out there too . Little kids are running around the lawn and a few are playing with OLIVE the Dog . Kym kneels at the far corner of the swimming pool , unnoticed by anyone . A wooden serving tray floats on the surface of the water , supporting a candle wrapped in rice paper . A couple of smaller candles surround the slightly larger one . Kym lights the candles , extinguishes the match , gently slides the illuminated tray out towards the center of the pool , watches . Kym rises and walks towards the house , looking for something .<\/scene_description>\n    <character>NEIGHBORHOOD GIRL<\/character>\n    <parenthetical>( to Kym . )<\/parenthetical>\n    <dialogue>I can do a handstand!<\/dialogue>\n    <scene_description>She executes a truly terrible handstand .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>That sucked.<\/dialogue>\n    <scene_description>The girl throws a rebellious dance move in Kym 's direction .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>Ouch.<\/dialogue>\n    <scene_description>The girl laughs and runs off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. BUCHMAN LIVING ROOM -- CONTINUOUS.<\/stage_direction>\n    <scene_description>Kym crosses the back terrace and enters the living room through the flower bedecked canopy . where she finds Rachel and Sidney slow dancing alone and dreamy in the center of the darkened room , the walls still covered with the ceremonial flowers . A single candle flickers nearby . The dancers are oblivious to Kym 's presence .<\/scene_description>\n    <character>KYM<\/character>\n    <parenthetical>( to Rachel . )<\/parenthetical>\n    <dialogue>Hi. Where's Mom?<\/dialogue>\n    <scene_description>Rachel has her head on Sidney 's shoulder , her eyes closed .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Taking a break.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>How can you take a break from your own daughter's wedding?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Mom does n't actually participate in things.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>And anyway, she has n't even done anything all day.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I was thinking about getting her a cat. Cats are really annoying. At some point you have to deal with them, right? Or they starve to death and piss on your sheets.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>It's so nice here.<\/dialogue>\n    <scene_description>Suddenly Kieran sweeps into the room .<\/scene_description>\n    <character>KIERAN<\/character>\n    <dialogue>You can run but you ca n't hide!<\/dialogue>\n    <scene_description>Kym shrieks as Kieran grabs her and plants a wet one on her , dipping her to the floor . They careen into Sidney and Rachel . Sidney grabs Rachel and starts molesting her .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( totally into it . )<\/parenthetical>\n    <dialogue>Stop! Stop you fiend!<\/dialogue>\n    <scene_description>Rachel and Sidney fall to the floor writhing , sounding way too amorous . Then :<\/scene_description>\n    <character>ABBY'S VOICE OFF<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>The ceiling light flicks on overhead and Abby enters the living room . Blinking against the light , Rachel struggles to her feet smoothing her dress .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Mom!<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Here you are.<\/dialogue>\n    <character>SIDNEY<\/character>\n    <parenthetical>( from the floor . )<\/parenthetical>\n    <dialogue>Hello Abby. You're lovely. And I'm not looking up your skirt.<\/dialogue>\n    <scene_description>Kieran is busting a gut not to laugh .<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>I've been looking for you all over the place.<\/dialogue>\n    <character>ANDREW'S VOICE OFF<\/character>\n    <dialogue>Abby? Where are you?<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>I'm in here.<\/dialogue>\n    <scene_description>Andrew pops his head in .<\/scene_description>\n    <character>ANDREW<\/character>\n    <dialogue>They're bringing the car around.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>All right.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You're leaving?<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Darling, I'm exhausted. I had such a marvelous time. Those dancers were so beautiful. But weddings are really for young people. I thought we'd just sneak off and not make a big scene.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You could make a little scene.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>And here I am making it. Andrew and I are going to Washington in the morning.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Why are you going to Washington?<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>It's the mother of all fund raisers at American. I thought I mentioned it. We're going to stay on about a week - there are lots of meetings. I thought since you two are going away soon.<\/dialogue>\n    <parenthetical>( to Kym . )<\/parenthetical>\n    <dialogue>. and I'm sure you do n't want any grown ups around checking up on you. Will you still be here when I get back?<\/dialogue>\n    <scene_description>Kym does n't say anything .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>What about our post - nuptial wedding gossip reconnaissance, Mom?<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Well, can you come by early?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Um.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Of course you do n't want to do that. It's your wedding night. You do n't want to get up early. I have to get Andrew organized. He's hopeless. And we'll be back in a bit. It was such a lovely wedding, darling.<\/dialogue>\n    <scene_description>She bends in for a kiss .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Wait! I want my mother and my sister!<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Rachel.<\/dialogue>\n    <scene_description>Rachel wraps one arm around Kym 's neck and the other round her mother and hugs them both to her . She has her eyes open . They have their eyes open . They are stiff as boards . Rachel stops hugging and looks from one to the other . Her mom and sister look at her and each other . Beat .<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>Will you call me every day about?<\/dialogue>\n    <scene_description>She pats Rachel 's tummy .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Yes. Of course.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>All right, then.<\/dialogue>\n    <character>SIDNEY<\/character>\n    <dialogue>Goodbye Abby.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Good bye, Son - in - law.<\/dialogue>\n    <scene_description>Kym and Rachel watch their mother leave the room .<\/scene_description>\n    <character>SIDNEY<\/character>\n    <parenthetical>( horrified . )<\/parenthetical>\n    <dialogue>I saw your mother's underwear.<\/dialogue>\n    <scene_description>Kym sees Abby and Andrew crossing the front porch through the window .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>I ca n't find my cigarettes.<\/dialogue>\n    <scene_description>Kym moves quickly from the room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUCHMAN FOYER. NIGHT.<\/stage_direction>\n    <scene_description>Kym is heading for the front door , when Paul breaks away from a group of guests having coffee in the dining room and nabs her , pulling her into a conversation with a WEDDING GUEST .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Kymmie. Speak of the devil. You remember Susanna Galeano.<\/dialogue>\n    <character>KYM<\/character>\n    <parenthetical>( she does n't . )<\/parenthetical>\n    <dialogue>Hi.<\/dialogue>\n    <character>SUSANNA<\/character>\n    <dialogue>Hi Kym.<\/dialogue>\n    <scene_description>Kym is looking out the dining room window between Paul and Susanna - she spots Abby and Andrew walking down the driveway towards the VALETS at the street .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Susanna has a public relations firm and she just lost one of her assistants.<\/dialogue>\n    <character>SUSANNA<\/character>\n    <dialogue>Weddings. They're an epidemic. Your father gave me my start about a hundred years ago.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>No, no. Hardly. Well.<\/dialogue>\n    <character>SUSANNA<\/character>\n    <dialogue>We could definitely use an extra body right about now. Have you ever thought about Public Relations?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>The public is kind of afraid of me.<\/dialogue>\n    <scene_description>Susanna and Paul laugh .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>The firm is opening an office right here in town, just in time for the holidays. You could stay right here.<\/dialogue>\n    <character>SUSANNA<\/character>\n    <dialogue>Have you ever thought about P.R. Kym?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Logistically it's just a dream. You could stay in your old room. I could chauffeur you around. You would n't have to worry about rent.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Have you already talked to Carol about me staying here?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Of course. She's fine about it. You could stay in your old room.<\/dialogue>\n    <character>SUSANNA<\/character>\n    <dialogue>Why do n't you give me a call on Monday, okay?<\/dialogue>\n    <scene_description>She hands Kym a business card and kisses Paul on the cheek .<\/scene_description>\n    <character>SUSANNA<\/character>\n    <dialogue>Goodbye Paul. It was just beautiful. Bye Kym.<\/dialogue>\n    <scene_description>She leaves .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Suzy's first rate. P.R. can be fascinating.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>You always said it was stupid.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I meant stupid. Do you want me to hold that for you? You've got no pockets.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>I've got it. Thanks, Dad. I'll be right back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRONT PORCH. NIGHT.<\/stage_direction>\n    <scene_description>At the edge of the porch Kym sees Abby standing in the moonlight at the front of the driveway with Andrew , waiting for their car . Kym pauses . Abby turns her head slightly in Kym 's direction . Kym , in the half dark , watches her mother . Abby does not move a muscle . Kym steps off the porch . The valet pulls up in the car , jumps out . Abby fixes her gaze on Andrew as he opens the door for her . They drive off . CLOSE ON KYM<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUCHMAN BACKYARD. MORNING.<\/stage_direction>\n    <scene_description>The Absolute End of a Wedding . The place is a gorgeous mess of wedding detritus . The tent looks so lonely . A weary caterer packs away his trays . Kieran is talking and smoking with Sidney at the end of the lawn .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ETHAN'S ROOM. DAY.<\/stage_direction>\n    <scene_description>A freshly scrubbed Kym , in her own clothes , takes a moment in Ethan 's room . She collects a few snapshots of her sister and brother and stuffs them in her shoulder bag .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSTAIRS HALLWAY. DAY.<\/stage_direction>\n    <scene_description>As Kym approaches the stairs , Emma staggers into the hallway , bleary - eyed . She is in her underwear , heading for the bathroom . She stops at the sight of Kym . They stare at each other . Emma gives a tiny wave . Kym responds , heads down the stairs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUCHMAN STAIRWAY. DAY.<\/stage_direction>\n    <scene_description>Kym slipping quietly downstairs . She moves to collect her weird mish - mash of bags waiting by the door . Kieran is there .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>Oof. You scared me.<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>Making a break for it?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Yeah. I have to go. I was coming to find you.<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>You do n't have to slip away without making any noise, you know? I like noise.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>I was coming to find you. My ride's outside.<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>Okay. If you need anything.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>If I need to post bond?<\/dialogue>\n    <scene_description>Kieran hands Kym a folded piece of paper .<\/scene_description>\n    <character>KIERAN<\/character>\n    <dialogue>No. If you ever need anything.<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>Thank you, Kieran.<\/dialogue>\n    <character>KIERAN<\/character>\n    <dialogue>Maybe you'll come visit me in Hawaii?<\/dialogue>\n    <character>KYM<\/character>\n    <dialogue>That would be nice.<\/dialogue>\n    <scene_description>He smiles , kisses her , tenderly . She hugs him fiercely .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>I have to go. Bye.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRONT PORCH. DAY.<\/stage_direction>\n    <scene_description>Kym looks back in through the window , sees her father awake , in his robe , tired , gamely tidying .<\/scene_description>\n    <character>KYM<\/character>\n    <parenthetical>( unbelievably softly and tenderly . )<\/parenthetical>\n    <dialogue>Dad.<\/dialogue>\n    <scene_description>Carol comes up behind Paul , envelopes him in a gentle bear hug .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUCHMAN DRIVEWAY. DAY.<\/stage_direction>\n    <scene_description>A ` 98 maroon CAMRY is idling in the circular driveway out front , exhaust vaporizing against the chilly morning air . A cute two - year - old girl is visible in a carseat and Rosa , the staff nurse from Kym 's halfway house , is at the wheel . The car radio plays quietly as Kym opens the passenger door , wiggling her finger at the little girl . Like a ghost , Rachel appears on the porch . Kym jumps a little . The sisters lock eyes . Kym looks pained . Paul is still moving around in there . She wants to go . Rachel floats down the porch stairs and joins her sister at the car . She takes in Rosa who meets Rachel 's look with a nod .<\/scene_description>\n    <character>ROSA<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>KYM<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>Will you tell Dad?<\/dialogue>\n    <scene_description>Rachel nods . Kym is crying .<\/scene_description>\n    <character>KYM<\/character>\n    <dialogue>I love your baby!<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Me too.<\/dialogue>\n    <scene_description>Rachel hugs her sister fiercely . Kym gets into the passenger seat but leaves the car door open . Rachel smiles her huge , luminous smile . Kym shuts the car door and rolls down the window .<\/scene_description>\n    <character>KYM<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>Bye!<\/dialogue>\n    <scene_description>Rachel mouths `` Bye '' and gives a little wave . The car pulls out of the driveway , Carol watching it go from the dining room window . THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Kym Buchman is temporarily discharged from drug rehab for a few days so that she can attend her older sister Rachel's wedding to Sidney Williams. Kym's history of drug abuse and alcohol-infused antics have more or less rendered her the black sheep of the family, and caused rifts between herself and others. Upon arriving to her paternal home, full of several close friends and family members bustling about and planning activities for the momentous occasion, Kym experiences several challenges reintegrating into the household. For instance, Kym's father, Paul, shows intense concern for her well-being, which Kym interprets as mistrust. Kym also resents Rachel's choice in designating her best friend as maid of honor, relegating her sister to possible bridesmaid due to doubt over whether Kym would have the faculty to make an appearance at all. Rachel, in turn, resents the attention her sister's drug addiction is drawing away from her wedding, which is exacerbated by Kym's behavior at the rehearsal dinner, when she, amid toasts from friends and family, forces an opportunity to offer a strangely blanket apology for her past actions, as part of her twelve-step program. Underlying the family's broader dynamic is a tragedy that occurred several years earlier, which Kym retells at a Narcotics Anonymous meeting. As a teenager, Kym was responsible for the death of her younger brother, Ethan, who was left under her supervision one day; driving home from a nearby park, an intoxicated Kym had lost control of the car, careening off a bridge and into a lake, where her brother drowned. The memory of his death is ensconced in several activities and conversations, throughout the days immediately preceding the wedding. The day before the wedding, as Rachel, Kym, and the other bridesmaids are preparing their hair at a salon, Kym is approached by a man whom she met at rehab years ago. He proclaims himself several months sober, and adamantly thanks her for instilling courage within him, through her story of strength - a story which he's unaware is fully fabricated, to evade accepting responsibility for her own addiction. His genuine graciousness is superseded when Rachel overhears this exchange, and storms out of the hair salon, angered that Kym would lie about having been molested by an uncle or tending to an anorexic sister. The tension between the sisters flares later that night at Paul's house, as Rachel suggests that Kym's rehab has been a complete hoax, revealing to the rest of the family that Kym falsified her story to medical professionals and other addicts in ways that implicated them as well. Rachel also claims that she has never forgiven Kym for their brother's death, to which Kym acknowledges that any amount of progress she makes may never make her worthy of forgiveness. In desperation, she leaves in her father's car and drives to their mother's (Abby's) home, hoping to find solace. This backfires, with empathetic understanding being replaced by a prevailing tone of mutual accusation over responsibility for Ethan's death, culminating in a physical altercation between the two. Heavily distraught over Abby's denial over her own role in Ethan's death, Kym leaves and drives the car off the road in an attempted suicide, crashing into a boulder. She survives and spends the night sleeping in the crashed car, while the rest of the family grow more concerned over her whereabouts. The next morning (the day of the wedding), the police wake up Kym and conduct a field sobriety test on her, which she passes. She gets a ride home with the tow truck driver, and makes her way to Rachel's room as Rachel prepares for the wedding. Seeing Kym's bruised face prompts Rachel's previous anger to vanish. Rachel tenderly bathes and dresses her sister, in the process unveiling a tattoo on Kym's shoulder with Ethan's name permanently imprinted onto her skin, as an eternal reminder of his life and death, and a marker of guilt. Amid a festive Indian theme, Rachel and her fianc\u00e9, Sidney, are wed. Kym is the maid of honor, and is overcome with emotion as the couple exchange their vows. She tries to enjoy herself throughout the wedding reception, but continues to feel alienated, and plagued by her dispute with Abby, who's also present. Ultimately, Abby leaves the reception early, despite Rachel's effort to bring the two together, and the discord between Kym and Abby is left unresolved. The next morning, Kym returns to rehab. As she's leaving, Rachel runs out of the house to hug her."}
{"movie_name":"The Maze Runner_2014","imdb_id":"tt1790864","script":"<script>\n  <scene>\n    <character>THE MAZE RUNNER<\/character>\n    <dialogue>Written by<\/dialogue>\n    <scene_description>Noah Oppenheim Based on the novel The Maze Runner by James Dashner June 10, 2011 FADE IN:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE BOX<\/stage_direction>\n    <scene_description>A confined space, pitch black. Slowly, shapes and boundaries emerge as a dim room, the size of a large freight elevator, gradually comes into focus. A TEENAGE BOY is awakening. From his POV, through a groggy \\* haze...all around there are massive steel STORAGE DRUMS. He \\* slowly sits up, his vision still drifting... \\* Suddenly, there's an escalating, high-pitched hum and he \\* notices a faint point of light at one edge of the ceiling. \\* He watches as the light grows, bisecting the space... Then, a violent lurch, and the vibrations stop. And, now, from above, he can hear the muffled cacophony of what sounds like a CROWD, growing in volume. \\*<\/scene_description>\n    <character>TEENAGER<\/character>\n    <dialogue>I'm down here! \\*<\/dialogue>\n    <scene_description>He's blinded as the ceiling opens, and the space is absolutely flooded with light. Slowly, from the white-out, his vision returns. Revealing...DOZENS of YOUNG MEN staring back at him. They're kneeling, crowded around the container he's arrived in. Some are barely teens, others seem to be in their early twenties. The faces of many are streaked with mud, some bruised and cut. Not one is smiling. The TEENAGER'S focus darts back and forth as... \\*<\/scene_description>\n    <character>HECKLER ONE \\*<\/character>\n    <dialogue>Send him back! \\*<\/dialogue>\n    <character>HECKLER TWO \\*<\/character>\n    <dialogue>We're gonna need a bigger \\* graveyard! \\*<\/dialogue>\n    <scene_description>Laughter, even louder, as the world spins. Then... \\*<\/scene_description>\n    <character>COMMANDING VOICE (O.S.)<\/character>\n    <dialogue>Enough!<\/dialogue>\n    <scene_description>At once, the CROWD above pulls back out of view, quiet. A beat.<\/scene_description>\n    <character>COMMANDING VOICE (O.S.)<\/character>\n    <dialogue>Go on and grab him.<\/dialogue>\n    <scene_description>And then, two FIGURES suddenly hop over the edge of the container. The TEENAGER turns to see FIGURE ONE land behind him, and then back to FIGURE TWO, who's coming toward him. Their features are blurred -- just tall, menacing apparitions, who each grab him by an arm...<\/scene_description>\n    <character>TEENAGER<\/character>\n    <dialogue>Wait!<\/dialogue>\n    <scene_description>...and toss him up over the edge...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE BOX - THE GLADE - DAY<\/stage_direction>\n    <scene_description>...onto the hard, dirt surface. Still the TEENAGER'S POV, on his stomach, as he slowly pushes up to scan the snickering, whispering CROWD.. They're all wearing modified versions of the same strange uniform -- sleek gray tunics and slim trousers -- but many have cut-off their sleeves, or their pants at the knee, and others adorned their chests with various scrawled decorations.<\/scene_description>\n    <character>TEENAGER \\*<\/character>\n    <dialogue>Where the hell am I?<\/dialogue>\n    <scene_description>Then, the commanding voice, GALLY (21), steps forward. \\* GALLY'S face is gaunt, something dark and unhinged just beneath the surface. His left eye clouded over, his right, cold and piercing.<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>Get up, boy. This is no way to make a first impression.<\/dialogue>\n    <scene_description>The TEENAGER tries to avoid GALLY'S menacing gaze, and looks past him, only to find an impossible sight in the near distance... A massive stone Wall rises 100-stories into the sky, defying the laws of physics. The TEENAGER looks back to GALLY, now frantic, as his vision again goes wobbly. His eyes roll back and... \\* BLACK.:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE PIT - THE GLADE - LATER<\/stage_direction>\n    <scene_description>The TEENAGER\"S eyes snap open. He's now on his back, staring at the ceiling of a rock cave. He tries to sit up, but can't. His arms are tied down. \\*<\/scene_description>\n    <character>TEENAGER<\/character>\n    <parenthetical>(screams)<\/parenthetical>\n    <dialogue>Please!! Help me!!<\/dialogue>\n    <scene_description>His cry reverberates. A beat, then, from outside his cell, \\* the sound of footsteps. The TEENAGER strains to see again, and finds himself staring through the bars at CLINT (17) -- nervous, bright eyes, angular features. CLINT turns down the corridor and shouts to someone...<\/scene_description>\n    <character>CLINT<\/character>\n    <dialogue>He's awake!<\/dialogue>\n    <scene_description>The TEENAGER is frantic as CLINT enters the cell and approaches...<\/scene_description>\n    <character>TEENAGER<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>CLINT<\/character>\n    <dialogue>Just relax. You'll be out of here soon enough.<\/dialogue>\n    <character>TEENAGER<\/character>\n    <dialogue>But why am I tied up?<\/dialogue>\n    <character>CLINT<\/character>\n    <dialogue>For your own safety. We never know how you Greenies are gonna react.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Now, lay back...<\/dialogue>\n    <scene_description>GALLY enters, moving with a pronounced limp. The TEENAGER \\* lurches up against his restraints..<\/scene_description>\n    <character>TEENAGER<\/character>\n    <dialogue>Get these ropes off me!<\/dialogue>\n    <scene_description>But GALLY says nothing, unmoved by the TEENAGER'S terror. \\* From down the Hall there's more commotion.<\/scene_description>\n    <character>CLINT<\/character>\n    <dialogue>He's coming...<\/dialogue>\n    <scene_description>Before the TEENAGER can ask who.... CLINT and GALLY move to either side of the cell, standing erect, at attention. And, then, he enters... ALBY. Tall, charismatic. \\* Trailing ALBY, his Guards -- two muscular brutes, carrying \\* hand-made cross-bows and wooden clubs, whose names we'll learn are NEWT (20) and ATLAS (18). CLINT keeps his eyes downcast, visibly nervous. GALLY, on the other hand, looks directly at ALBY, who pronounces...<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>Let's get started.<\/dialogue>\n    <scene_description>The TEENAGER quiets as ALBY approaches. \\*<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>I'm Alby.<\/dialogue>\n    <scene_description>A beat, close on the TEENAGER'S face. He's actually straining to remember. Then it comes to him...<\/scene_description>\n    <character>TEENAGER<\/character>\n    <dialogue>I'm...I'm Thomas.<\/dialogue>\n    <scene_description>ALBY pulls up a stool and sits. \\*<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>Welcome to the Glade, Thomas.<\/dialogue>\n    <parenthetical>(to Clint)<\/parenthetical>\n    <dialogue>Untie him.<\/dialogue>\n    <scene_description>THOMAS' eyes dart back-and-forth among the three men as CLINT loosens his restraints...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>The Glade? Who the hell are you guys? Do I know you?<\/dialogue>\n    <character>ALBY \\*<\/character>\n    <dialogue>Thomas, I look after everyone. As soon as we're done here, we'll make sure you get settled.<\/dialogue>\n    <scene_description>THOMAS, massaging his wrists, looks at ALBY, and relaxes a moment in the presence of his authority.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Please...I just want to know what's happening.<\/dialogue>\n    <scene_description>ALBY nods, sympathetic.<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>What's the last thing you remember?<\/dialogue>\n    <scene_description>THOMAS is about to answer, but when he opens his mouth, he's speechless. Nothing.<\/scene_description>\n    <character>ALBY (CONT'D) \\*<\/character>\n    <dialogue>Besides your name, can you think of anything about yourself? Names of friends? Family?<\/dialogue>\n    <scene_description>Again, THOMAS wants to answer, but struggles, drawing only a blank.<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>Do you have any idea where you live? The name of a city?<\/dialogue>\n    <scene_description>The enormity begins to hit him...<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>Do you know what year it is, Thomas?<\/dialogue>\n    <scene_description>Breathless, beads of sweat forming, THOMAS' heart is \\* pounding. \\*<\/scene_description>\n    <character>GALLY \\*<\/character>\n    <dialogue>Just like all the others.<\/dialogue>\n    <scene_description>ALBY turns to him...<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>That doesn't mean we shouldn't keep trying.<\/dialogue>\n    <scene_description>Resigned, ALBY stands, suddenly, his demeanor hardened. He turns to CLINT again...<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>What do you think? \\*<\/dialogue>\n    <character>CLINT<\/character>\n    <dialogue>Frankly, pretty unimpressive. \\*<\/dialogue>\n    <character>GALLY<\/character>\n    <dialogue>They're shorthanded in the eastern fields.<\/dialogue>\n    <scene_description>ALBY nods. Turns back to THOMAS one last time..<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>We have Laws here. Obey them. Work hard and you'll be kept fed, alive, and reasonably comfortable. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE PIT - THE GLADE \\*<\/stage_direction>\n    <scene_description>GALLY now drags THOMAS from the dark corridors of the Pit -- \\* a shallow cave complex -- into the bright afternoon light of the Glade, a circular expanse the size of a large pit mine.<\/scene_description>\n    <character>ALBY (V.O)<\/character>\n    <dialogue>The Glade's twenty acres of forest and farmland...<\/dialogue>\n    <scene_description>There are primitive structures and large groves of trees that block THOMAS' view in several directions. But, everywhere he looks those towering walls loom around the perimeter...<\/scene_description>\n    <character>ALBY (V.O.)<\/character>\n    <dialogue>Surrounded by walls that touch the \\* heavens. \\*<\/dialogue>\n    <scene_description>THOMAS notices that in each of the four cardinal directions, the walls split open...<\/scene_description>\n    <character>ALBY (V.O.)<\/character>\n    <dialogue>We call it the Maze. \\*<\/dialogue>\n    <scene_description>CRANE UP, DIRECTLY OVERHEAD...to reveal a spiraling labyrinth of twisting and turning passages that unravel around the Glade forever into the distance...<\/scene_description>\n    <character>ALBY (V.O.)<\/character>\n    <dialogue>The Maze stands between us and home...whatever world exists outside this prison.<\/dialogue>\n    <scene_description>As ALBY'S voice fades and we return to ground-level, THOMAS stares down his one clear sight-line where an entrance to the Maze is visible a few hundred yards in the distance. \\* GALLY takes THOMAS by the arm and pulls him toward a SHORT \\* BOY waiting nearby, who goes pale as GALLY gets closer... \\*<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>You're the Field Hand? Chuck?<\/dialogue>\n    <character>CHUCK \\*<\/character>\n    <dialogue>Um. That's right, sir...<\/dialogue>\n    <character>GALLY<\/character>\n    <parenthetical>(to Thomas)<\/parenthetical>\n    <dialogue>Chuck will show you your trade, cover the rest of the basics.<\/dialogue>\n    <scene_description>CHUCK tries to give THOMAS a reassuring look<\/scene_description>\n    <character>GALLY<\/character>\n    <parenthetical>(to Chuck)<\/parenthetical>\n    <dialogue>After shift's over, take him to the Homestead. \\*<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>This is ridiculous! You can't just \\* put me to work! \\*<\/dialogue>\n    <scene_description>Now, GALLY grabs THOMAS by the shirt and picks him up off the ground.<\/scene_description>\n    <character>GALLY \\*<\/character>\n    <dialogue>You'll do as you're told. Or you'll learn quick what every man here already knows: Do not make me angry.<\/dialogue>\n    <scene_description>GALLY drops THOMAS, who's trying hard not to tremble.<\/scene_description>\n    <character>GALLY<\/character>\n    <parenthetical>(to Chuck)<\/parenthetical>\n    <dialogue>Now, get him out of here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOMESTEAD PATH - THE GLADE - CONTINUOUS \\*<\/stage_direction>\n    <scene_description>THOMAS walks alongside CHUCK, who's rushing down a clear path through the trees, roughly the size of a two-lane highway. On either side of the path, a series of walkways have been hung, and, off in the distance, several haphazard structures appear to be suspended in the branches.<\/scene_description>\n    <character>CHUCK<\/character>\n    <dialogue>Pretty cool, huh? Most of it was already built when the first guys got here.<\/dialogue>\n    <character>THOMAS \\*<\/character>\n    <dialogue>How long have you -- \\*<\/dialogue>\n    <character>CHUCK<\/character>\n    <dialogue>Long enough to tell you anything \\* you're wondering. Pegged me a Field Hand right from the start, just like you. But Clint says another few months he might teach me to medic.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>And no one knows what's happening? \\*<\/dialogue>\n    <character>CHUCK<\/character>\n    <dialogue>There were twenty guys at the beginning. Every week since for \\* three years, the Box brings supplies. And every month, a new arrival like me and you. Just a name but no memory.<\/dialogue>\n    <scene_description>THOMAS can hardly believe what he's hearing...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>We must be from someplace. \\*<\/dialogue>\n    <character>CHUCK<\/character>\n    <dialogue>Just follow my lead and stick with \\* the program.<\/dialogue>\n    <scene_description>Now, on their left, the trees begin to thin and THOMAS \\* notices several strange FIGURES in the distance. They're all \\* older, rail thin, and their clothes are in tatters. \\* THOMAS slows, but CHUCK pulls him by the arm... \\*<\/scene_description>\n    <character>CHUCK (CONT'D) \\*<\/character>\n    <dialogue>Changed Boys. Best to keep your \\* distance. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EASTERN FIELDS - THE GLADE - DAY \\*<\/stage_direction>\n    <scene_description>THOMAS and CHUCK arrive at the Eastern Fields, where a dozen FIELD HANDS are working under the afternoon sun to empty the same STORAGE DRUMS delivered earlier with THOMAS. The DRUMS are filled with water, and the FIELD HANDS are attaching hoses that empty them into a series of low-lying irrigation ducts servicing the crops...<\/scene_description>\n    <character>CHUCK \\*<\/character>\n    <dialogue>Brought back an extra set of hands. \\*<\/dialogue>\n    <scene_description>ZACK, a short, powerful boy, comes out from behind a nearby SHED, carrying a SHOVEL... \\*<\/scene_description>\n    <character>ZACK<\/character>\n    <dialogue>Let's hope you didn't rub off on the walk over.<\/dialogue>\n    <parenthetical>(beat, to Thomas)<\/parenthetical>\n    <dialogue>What's your name?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Thomas.<\/dialogue>\n    <character>ZACK<\/character>\n    <dialogue>I'm the boss man. Whatever Chuck here does, do the opposite.<\/dialogue>\n    <scene_description>CHUCK hangs his head, embarrassed. ZACK hands CHUCK the SHOVEL.<\/scene_description>\n    <character>ZACK<\/character>\n    <dialogue>Both of you head out to the spuds \\* and start turning soil.<\/dialogue>\n    <scene_description>As CHUCK starts to walk away, one FIELDHAND sticks out a leg \\* and another shoves CHUCK, sending him crashing hard to the \\* ground. THOMAS instinctively lunges forward...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>The FIELDHANDS look at THOMAS, amused at his outburst. Even \\* CHUCK looks surprised as he struggles to his feet. THOMAS stands still, as ZACK now moves closer, eyeing him head-to-toe. But THOMAS just looks past ZACK, at that \\* towering Wall, closer than ever. \\* Suddenly, ZACK SUCKER-PUNCHES him in the stomach. \\* THOMAS shakes off the blow as the others snicker. He slowly \\* lifts his eyes, and steps nose-to-nose with ZACK. \\* ZACK winds up for a head-shot...but THOMAS catches his fist, \\* mid-swing, in a vice-grip. \\* The other FIELDHANDS are shocked silent. \\* THOMAS forces ZACK'S hand down, surprised by his own \\* strength. \\*<\/scene_description>\n    <character>THOMAS (CONT'D) \\*<\/character>\n    <dialogue>How 'bout that... \\*<\/dialogue>\n    <scene_description>THOMAS releases ZACK and walks past him into the fields, \\* CHUCK trailing. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EASTERN FIELDS - LATER \\*<\/stage_direction>\n    <scene_description>In the shadow of the Wall, THOMAS, drenched in sweat, heaves \\* a shovel of dirt into a nearby pile. Out the corner of his \\* eye, he notices ZACK and some other FIELDHANDS in the \\* distance, watching him. \\* And then, a few feet away, CHUCK collapses, panting. THOMAS \\* turns to him... \\*<\/scene_description>\n    <character>THOMAS \\*<\/character>\n    <dialogue>Follow your lead, huh? \\*<\/dialogue>\n    <scene_description>Laying on his back, CHUCK smiles... \\*<\/scene_description>\n    <character>CHUCK \\*<\/character>\n    <dialogue>I got this down to a science. \\*<\/dialogue>\n    <scene_description>Somewhere in the Glade, a bell clangs. \\*<\/scene_description>\n    <character>CHUCK (CONT'D) \\*<\/character>\n    <dialogue>Especially the quitting part. \\*<\/dialogue>\n    <scene_description>All around, the other FIELDHANDS drop their tools and head \\* back toward the forest. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NORTH GATE - THE GLADE - DUSK \\*<\/stage_direction>\n    <scene_description>THOMAS follows CHUCK and a stream of GLADERS down a wooded \\* path, finally emerging into a clearing... \\* ...and stares, captivated, at one of the entrances to the \\* Maze. He tries to push through the crowd, but before he can \\* get close... \\* MINHO (21) and ARON (20)... Both over six feet tall, not an \\* ounce of body fat on them, come bounding out of the Maze at a \\* full sprint, and stop to catch their breath just inside the \\* Glade. \\* MINHO is wearing an armband, and they're both carrying packs \\* strapped to their shirtless backs, animal skin canteens, \\* cross-bows, and razor-sharp spears. \\* THOMAS stares at them, awestruck. CHUCK whispers... \\*<\/scene_description>\n    <character>CHUCK<\/character>\n    <dialogue>The Runners. They're the strongest, the fastest. \\*<\/dialogue>\n    <scene_description>The gathered GLADERS move aside so the RUNNERS can pass, \\* patting them on the back, offering to carry their gear, \\* offering words of encouragement. \\*<\/scene_description>\n    <character>CHUCK (CONT'D) \\*<\/character>\n    <dialogue>They're looking for a way out of \\* the Maze. \\*<\/dialogue>\n    <scene_description>THOMAS can't take his eyes off them... \\*<\/scene_description>\n    <character>THOMAS \\*<\/character>\n    <dialogue>Why do they need weapons? \\*<\/dialogue>\n    <scene_description>And then, suddenly a THUNDEROUS CLAP, as the Walls SLAM shut, \\* closing off the Maze, as the last light of day vanishes. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOMESTEAD CLEARING - THE GLADE - NIGHT \\*<\/stage_direction>\n    <scene_description>A boisterous scene in the Glade's central clearing, the \\* Homestead -- a large open space filled with wooden tables, a cook shed, a few fire circles, and what looks like a make- shift playing field.<\/scene_description>\n    <character>CHUCK<\/character>\n    <dialogue>You want something to eat?<\/dialogue>\n    <scene_description>The Glade cook, WINSTON, and his KITCHEN HANDS are handing out bowls of steaming chili to a long line of takers. The food looks good enough, but after what he's just seen...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Not hungry.<\/dialogue>\n    <scene_description>Everywhere THOMAS turns, small groups of GLADERS are talking loudly. Some are gathered around what looks like an arm- wrestling match, and others are kicking around a ball of vines and tree rubber. AS THOMAS takes in the rowdy atmosphere...<\/scene_description>\n    <character>CHUCK (O.S.)<\/character>\n    <dialogue>Alby always says...Gotta keep up \\* our spirits. The guys know they \\* get caught moping, Newt and Atlas are gonna give 'em a pep talk. A rough one.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Yeah, well, I'm not so sure about your fearless leaders.<\/dialogue>\n    <parenthetical>(biting)<\/parenthetical>\n    <dialogue>How long they been stuck here?<\/dialogue>\n    <scene_description>THOMAS glances up at the sky -- it's a charcoal grey, with a few pinpoints of light. He studies it...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>I guess the sky looks familiar.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Sort of.<\/dialogue>\n    <character>CHUCK<\/character>\n    <dialogue>Took me a week before I stopped shaking. Just had this terrible ache inside. Like there were family, friends...Who knows? People I was missing.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>I'm not sure what's worse. I keep trying... But I feel nothing.<\/dialogue>\n    <scene_description>Suddenly, a ball comes flying at them and THOMAS barely dodges it. There's laughter from the playing field... \\*<\/scene_description>\n    <character>THOMAS<\/character>\n    <parenthetical>(to Chuck)<\/parenthetical>\n    <dialogue>This place blows, you know that?<\/dialogue>\n    <scene_description>There's not much CHUCK can say.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>I'll see you tomorrow. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOMESTEAD GROVE - THE GLADE - NIGHT<\/stage_direction>\n    <scene_description>THOMAS walks into the surrounding Grove, past several GLADERS \\* already bedding down for the night, who eye him warily. He finds an empty tree at the fringes. THOMAS collapses in the dirt, alone at last, his back against the rough trunk. He can still see the fire circles burning in the clearing and hear the laughter, shouts, and cries of the other boys blowing off steam all around him. Then, from somewhere out in the Maze, a piercing SHRIEK cuts \\* through the night, the menacing cry of some other-worldly \\* creature. \\* THOMAS' eyes water. But before a tear can fall, he wipes it away with his sleeve, and buries his head, exhausted. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOMESTEAD GROVE - THE GLADE - MORNING<\/stage_direction>\n    <scene_description>THOMAS' POV as he slowly awakens...Bright light, splintering through the tree branches, which gradually come into focus. He sits up...to find CHUCK standing right in front of him.<\/scene_description>\n    <character>CHUCK<\/character>\n    <dialogue>You're gonna miss the chow. Long day in the fields without it...<\/dialogue>\n    <scene_description>THOMAS closes his eyes again.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Damn. It wasn't a nightmare.<\/dialogue>\n    <scene_description>He pulls himself up, stiff and aching.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOMESTEAD CLEARING - THE GLADE - DAY<\/stage_direction>\n    <scene_description>The clearing is buzzing with activity as the GLADERS prepare for the day ahead of them. There's a long line at WINSTON's cook shed. As THOMAS and CHUCK take their place at the back of it, all eyes turn to MINHO entering the clearing, leading the RUNNERS. They ignore the line and WINSTON rushes to serve them. Then, the cook looks up...<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>A little respect Gladers? Let's hear it!<\/dialogue>\n    <scene_description>All the GLADERS begin clapping in unison, a tribute the RUNNERS barely acknowledge. Over the pounding noise...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>How do you become one? A Runner?<\/dialogue>\n    <character>CHUCK<\/character>\n    <dialogue>You don't. Right out of the Box, they pull anyone with potential and make 'em a Bagger. Like Newt and Atlas. Six months enforcing the Laws before they even give you a shot at it.<\/dialogue>\n    <scene_description>MINHO and his men have finished collecting their rations when suddenly, louder than the cheer, the blast of a loud, prolonged HORN...<\/scene_description>\n    <character>CHUCK<\/character>\n    <dialogue>That must be a mistake.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>What's it mean?<\/dialogue>\n    <character>CHUCK<\/character>\n    <dialogue>The Box is rising...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE BOX - THE GLADE - DAY<\/stage_direction>\n    <scene_description>From all over, GLADERS race toward the Box, a rectangular concrete bunker built into the earth, topped with steel doors. THOMAS follows CHUCK, who's very excited...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>I don't get the big deal...<\/dialogue>\n    <character>CHUCK<\/character>\n    <dialogue>It's never come twice in a week. Never.<\/dialogue>\n    <scene_description>CHUCK and THOMAS stop directly across the Box from ALBY, who, \\* today, is also dressed like a RUNNER. He looks uneasy. Beside ALBY is GALLY, NEWT, ATLAS and a crew of BAGGERS. The ground vibrates, and there's a high-pitched SCREECH as the elevator rises into place. Slowly, the ground splits, and the doors retract, opening... Everyone surges forward, angling for a better look. This time there are no massive storage drums...<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>There! In the corner...<\/dialogue>\n    <scene_description>Only a small FIGURE, curled up, face down. NEWT and ATLAS leap in. A quick beat and NEWT looks up...<\/scene_description>\n    <character>NEWT<\/character>\n    <dialogue>There's something wrong... \\*<\/dialogue>\n    <scene_description>NEWT turns over the FIGURE, trying to pick him up. Stops, frozen. \\*<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>I said get him up here! \\*<\/dialogue>\n    <scene_description>ATLAS tosses the FIGURE to the surface. The GLADERS gasp. THOMAS sees... It's a teenage GIRL, sprawled out helpless at ALBY's feet, shoulder-length hair obscuring her features, loose fitting clothes draped over her clearly feminine figure. THOMAS stares, captivated, from across the expanse of the open Box. Suddenly, the GIRL'S head turns toward him, revealing her face. THOMAS buckles over and... FLASH TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIDEWALK - DAY<\/stage_direction>\n    <scene_description>...the view from the street of an ordinary brick Town House. Through a gentle shower of white snowflakes, framed in the second-story window is the silhouette of a LITTLE GIRL, her face obscured by shadows.... PRELAP...<\/scene_description>\n    <character>CHUCK (O.S.)<\/character>\n    <dialogue>Thomas!<\/dialogue>\n    <scene_description>As we... FLASH BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE BOX - THE GLADE<\/stage_direction>\n    <scene_description>...CHUCK trying to keep THOMAS from falling into the Box below. THOMAS struggles to stand, as several GLADERS stare at him, their attention drawn by the commotion. THOMAS, confused, reeling...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Still faint from yesterday...<\/dialogue>\n    <scene_description>Across the Box, GALLY has noticed. THOMAS looks away. Meanwhile, the GLADERS are buzzing as ALBY and GALLY examine \\* the GIRL at their feet, visibly unnerved by her presence. \\* She has a tag affixed to her wrist. It reads: \"She's the \\* last one. Ever.\" \\* GALLY looks ashen as ALBY removes the tag and conceals it. A \\* long beat, then...<\/scene_description>\n    <character>ZACK \\*<\/character>\n    <dialogue>Let us get a look at her!<\/dialogue>\n    <scene_description>The GLADERS erupt and surge toward the GIRL. ALBY and GALLY seem frozen, as NEWT tries to push back the mob...<\/scene_description>\n    <character>NEWT<\/character>\n    <dialogue>Atlas!<\/dialogue>\n    <scene_description>ATLAS unholsters his club, and several other BAGGERS help form a perimeter around the GIRL.<\/scene_description>\n    <character>ARI<\/character>\n    <dialogue>C'mon! We've all got a right!<\/dialogue>\n    <scene_description>Finally ALBY snaps out of it. He holds up his RUNNER'S SPEAR and erupts...<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>The right to choke on my blade if you come one step closer!<\/dialogue>\n    <scene_description>The GLADERS stop cold, shocked by the threat. GALLY is still crouching beside the GIRL, focused only on \\* her, oblivious to the standoff. ALBY slowly composes himself. Lowers his weapon, almost embarrassed.<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>I'd trade my life for any Glader. Every man here knows that.<\/dialogue>\n    <character>ALBY<\/character>\n    <dialogue>And right now this girl deserves the same protection.<\/dialogue>\n    <scene_description>The CROWD buzzes...<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>When she wakes up, we'll find out what she knows, if anything. \\*<\/dialogue>\n    <parenthetical>(to Gally)<\/parenthetical>\n    <dialogue>Take her to my quarters, under guard, and make sure Clint has a look at her.<\/dialogue>\n    <parenthetical>(to the Gladers)<\/parenthetical>\n    <dialogue>Today, I lead the Runners into the Maze. I expect a full day's work from the rest of you!<\/dialogue>\n    <scene_description>A brief beat before anyone moves, then...<\/scene_description>\n    <character>ZACK<\/character>\n    <dialogue>Alright. You heard him. \\*<\/dialogue>\n    <scene_description>The crowd disperses but THOMAS stands watching the GIRL as \\* the BAGGERS unfold a stretcher. \\* CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EASTERN FIELDS - THE GLADE - LATER<\/stage_direction>\n    <scene_description>A pick slams violently into hard earth. THOMAS draws a deep breath and swings once more into the long drainage ditch he's carving into the soil. \\*<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Where'd they take her?<\/dialogue>\n    <character>CHUCK<\/character>\n    <dialogue>Near the Map Room. There's a path from the Homestead --<\/dialogue>\n    <scene_description>CHUCK stops himself...<\/scene_description>\n    <character>CHUCK<\/character>\n    <dialogue>Wait. Why? You're not thinking...<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>I need to see her.<\/dialogue>\n    <character>CHUCK<\/character>\n    <dialogue>It's not allowed...<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Allowed?<\/dialogue>\n    <character>CHUCK<\/character>\n    <dialogue>Gally will --<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Wake up Chuck! You do everything \\* you're told and how's that working out for you?<\/dialogue>\n    <scene_description>CHUCK steps back, a bit wounded.<\/scene_description>\n    <character>CHUCK<\/character>\n    <dialogue>Some of them are jerks. I get that. But it'd be worse without \\* the Laws... \\*<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Don't talk to me about the Laws! They seem great for one thing: Giving Gally an excuse to be an asshole!<\/dialogue>\n    <scene_description>THOMAS is really rattled...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Something happened back there, and I can't explain it. \\*<\/dialogue>\n    <character>CHUCK<\/character>\n    <dialogue>What? \\*<\/dialogue>\n    <scene_description>A beat, as THOMAS considers telling CHUCK what happened. Then, the bell clangs indicating the Walls are about to begin closing. The other FIELD HANDS lay down their equipment.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Maybe you should stay away from me. \\* I don't wanna get you in any more trouble.<\/dialogue>\n    <scene_description>THOMAS drops his pick and follows the crowd...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EAST GATE - THE GLADE - DUSK<\/stage_direction>\n    <scene_description>...back to the East Gate, where most of the GLADERS have gathered to await ALBY and the RUNNERS. But as THOMAS pushes through the crowd, he notices the mood is grim. The bolts have extended from the wall, and the sky is once again darkening. He looks around and spots all the RUNNERS, except one... MINHO. Also missing is ALBY. ARON and the others crouch, peering out into the Maze, waiting. GALLY stands back, calm, detached from the air of crisis. THOMAS notices that NEWT, ATLAS, and all the BAGGERS are also present.<\/scene_description>\n    <character>NEWT \\*<\/character>\n    <dialogue>No way they're just lost. Not Alby and Minho.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>If they're not back now, it's because they're goners...<\/dialogue>\n    <scene_description>One of the RUNNERS, ARON, looks to GALLY... \\*<\/scene_description>\n    <character>ARON<\/character>\n    <dialogue>What if we wanna take our chances? \\*<\/dialogue>\n    <scene_description>GALLY turns to NEWT...<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>The Gate. Now.<\/dialogue>\n    <scene_description>NEWT nods and the BAGGERS spring to action, deploying in a line across the entrance to the Maze, blocking the RUNNERS' \\* access. \\* GALLY shows no emotion...<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>Tomorrow the Glade has to keep \\* functioning.<\/dialogue>\n    <scene_description>From inside the Maze there's a loud, piercing, human CRY... \\*<\/scene_description>\n    <character>ARON<\/character>\n    <dialogue>That's gotta be them. They must be right around the corner...<\/dialogue>\n    <scene_description>...and the RUNNERS surge forward. \\*<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>Hold the line!<\/dialogue>\n    <scene_description>The BAGGERS push back, and several begin to wrestle violently with the RUNNERS. Then, that horrific ear-splitting SHRIEK once again echoes. \\* Followed by... \\*<\/scene_description>\n    <character>ALBY (O.S.)<\/character>\n    <dialogue>Just go! Forget me! \\*<\/dialogue>\n    <scene_description>At the sound of ALBY's voice, ARON dips low and flips NEWT over his back, making a dash for the Maze. But before he can make it, GALLY floors him with a CLUB to the STOMACH. THOMAS turns to find CHUCK beside him...<\/scene_description>\n    <character>THOMAS<\/character>\n    <parenthetical>(incredulous)<\/parenthetical>\n    <dialogue>They're just gonna let them die out there??<\/dialogue>\n    <scene_description>THOMAS takes a step closer to the melee and time slows... He spots an opening as GALLY and ARON face-off, and walks toward the Glade's exit. Now GALLY shouts at him...<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>Don't move another inch!<\/dialogue>\n    <scene_description>THOMAS pauses. Then, a whisper in his head...<\/scene_description>\n    <character>GIRL (O.S.)<\/character>\n    <dialogue>Run, Thomas...<\/dialogue>\n    <scene_description>And THOMAS bolts, leaping over GALLY and ARON, and racing into the Maze, just as the doors SLAM shut behind him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ENTRANCE CORRIDOR - EAST JUNGLE - THE MAZE - NIGHT<\/stage_direction>\n    <scene_description>THOMAS immediately turns around, faces the closed Gate, absorbs what's just happened. He can't hear a thing from inside the Glade, or inside his head. It's dead quiet. A beat, THOMAS swivels, back still against the Gate, and we get our first real look at the Maze, ahead in the darkness... A long, straight corridor, extending fifty yards in the distance. THOMAS admires the towering Walls on either side of him. They're covered in a thick mess of leafy vines. THOMAS takes a breath and moves a few steps forward.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Alby! Minho!<\/dialogue>\n    <scene_description>His call reverberates, but there's no answer. As THOMAS \\* walks, he looks up and notices some of the vines hang across the passage ahead, a web of growth, impossibly high above him. THOMAS reaches the end of the corridor, and a T-intersection. In both directions, the passage turns out of sight after a short distance. He stops. Then...the rustle of something moving cuts through the \\* silence. THOMAS, frantic, looks both ways... \\* Another murmur...growing louder. THOMAS is really panting. \\* He makes a choice and heads right, rounding the corner into another corridor which seems to extend indefinitely. Whatever is moving is now right behind him... He starts to \\* run, stumbling, as he looks back over his shoulder. Now, he's sprinting, the sound of his pounding heart and heaving breath drowning out everything. Then suddenly... He's TACKLED...SLAMMED into the Wall, and pinned there. A hand's over his mouth, and he's staring eye- to-eye at MINHO.<\/scene_description>\n    <character>MINHO<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>Not a sound, you hear me?<\/dialogue>\n    <scene_description>THOMAS, stunned, manages to nod. MINHO removes his hand and backs slowly across the corridor to an opening THOMAS hadn't noticed. MINHO ducks through the overgrowth, and THOMAS follows...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EAST JUNGLE CIRCLE - THE MAZE<\/stage_direction>\n    <scene_description>...stepping into a circular chamber, thirty-feet in diameter. There are arched doorways leading off it in every direction. Propped in one corner is ALBY, a massive gash on his forehead, torso hung forward, limp, unconscious.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Is he -- ?<\/dialogue>\n    <character>MINHO<\/character>\n    <dialogue>Cracked his skull. Out cold, but still breathing. You're the new kid, aren't you?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Yeah. \\*<\/dialogue>\n    <character>MINHO \\*<\/character>\n    <dialogue>What the hell happened? \\*<\/dialogue>\n    <character>THOMAS \\*<\/character>\n    <dialogue>No one was going to help. I \\* thought -- \\*<\/dialogue>\n    <character>MINHO \\*<\/character>\n    <dialogue>You did this on purpose? \\*<\/dialogue>\n    <scene_description>MINHO can't believe it. \\*<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Keep your mouth shut and do what I \\* say.<\/dialogue>\n    <parenthetical>(beat, to himself)<\/parenthetical>\n    <dialogue>I need to think... \\*<\/dialogue>\n    <scene_description>From somewhere out in the Maze, another SHRIEK, the loudest \\* yet... MINHO thinks a beat, then throws ALBY over his shoulder. Without saying a word, he takes off through one of the exits... THOMAS looks at all the identical doorways, considers his options. Decides to follow...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INTERNAL CORRIDOR ONE - EAST JUNGLE - THE MAZE<\/stage_direction>\n    <scene_description>THOMAS runs to catch up with MINHO who's moving as fast as he can down a corridor...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Let me help you with Alby....<\/dialogue>\n    <scene_description>MINHO ignores him...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>We're sitting ducks in the jungle... \\*<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>What's out there? \\*<\/dialogue>\n    <character>MINHO<\/character>\n    <dialogue>I told you to keep quiet.<\/dialogue>\n    <scene_description>They approach another T-intersection. MINHO puts ALBY down and covertly sneaks a glance in both directions. Then, from somewhere close, they hear that piercing SHRIEK... reverberating...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>It's like it has our scent or something...<\/dialogue>\n    <scene_description>MINHO thinks and then looks down at ALBY. Makes a decision...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>We leave him.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>MINHO<\/character>\n    <dialogue>Chances are we're all dead anyway. We split up, give The Griever three different targets.<\/dialogue>\n    <character>THOMAS \\*<\/character>\n    <dialogue>The Griever? \\*<\/dialogue>\n    <scene_description>THOMAS looks down at ALBY, helpless...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>But, isn't he your friend? \\*<\/dialogue>\n    <scene_description>MINHO grabs THOMAS by the shirt, furious...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>His rules: Escape is all that \\* matters! \\*<\/dialogue>\n    <scene_description>As MINHO moves to go, THOMAS sees the tangle of vines above him. Has an idea...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Wait!<\/dialogue>\n    <scene_description>But MINHO has already disappeared around the corner. THOMAS is alone, and for a moment all is quiet. THOMAS looks back toward the circular room, where they came from. And then, another SHRIEK... THOMAS turns around to the Wall and starts tearing Vines away, frantic... THOMAS finds a thick Vine and pulls down, putting as much weight on it as possible. High above, somewhere in the darkness, it stays anchored. He grabs an adjacent Vine and now turns to ALBY, securing the injured boy against his back. Then, he starts climbing... THOMAS struggles with each inch, hand over hand, finding footholds in the stone behind the ivy. He's only five feet off the ground, when, another SHRIEK, and...the \"GRIEVER\" \\* seems to be getting closer. \\* THOMAS scrambles faster...dragging ALBY on his back, higher \\* and higher. Until he SLIPS...sliding half the distance back to the floor...and comes face-to-face with...two RED, demonic eyes \\* peering out from the darkness. \\* THOMAS, paralyzed, can barely make out the creature in the \\* shadows. And, then... \\* The GRIEVER's entire body rolls into a BALL and catapults \\* forward... \\* Hanging on desperately, ALBY's weight pulling him back, THOMAS now braces his feet against the Wall, and finds himself at an angle, like he's repelling. The GRIEVER is closing... Holding onto the vine, THOMAS runs up the Wall...as the \\* GRIEVER passes just underneath him. \\* The GRIEVER uncoils, spins around and let's out a blood- curdling SHRIEK... Another ten feet up, THOMAS looks down over his shoulder. and sees the GRIEVER slithering up the Wall straight toward \\* him...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Great. \\*<\/dialogue>\n    <scene_description>THOMAS looks up again -- thinks about trying to outrun it -- then down, and sees the GRIEVER is already halfway to him. THOMAS turns to ALBY, who's limp body just dangles in the Vines. A beat, as THOMAS confronts what he's about to do. He looks hard at ALBY...<\/scene_description>\n    <character>THOMAS<\/character>\n    <parenthetical>(softly)<\/parenthetical>\n    <dialogue>I tried. I'm sorry.<\/dialogue>\n    <scene_description>Now THOMAS focuses back on the approaching GRIEVER. It's ten feet away... five feet away... and its STINGER slowly \\* unfolds... \\* Just at it's about to strike, THOMAS leaps off the Wall, simultaneous sliding down the Vine that he's holding... He lands hard, rolling into the dirt, and slamming into the far Wall. He looks down at his hands, both chafed raw, and up at the GRIEVER. The GRIEVER has stopped, still clinging to the Wall, a foot below ALBY. Before it can react, THOMAS takes off running...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VARIOUS CORRIDORS - EAST JUNGLE - THE MAZE<\/stage_direction>\n    <scene_description>...around the corner in the same direction MINHO followed, but there's no sign of him. THOMAS sprints, following the corridor's serpentine path, turn after turn after turn, until...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEAD END CORRIDOR - EAST JUNGLE - CONTINUOUS<\/stage_direction>\n    <character>GIRL (O.S.)<\/character>\n    <dialogue>Thomas...<\/dialogue>\n    <scene_description>He trips, stumbling to the ground...<\/scene_description>\n    <character>GIRL (O.S.)<\/character>\n    <dialogue>When I wake up I won't remember.<\/dialogue>\n    <scene_description>THOMAS rises to a crouch, his eyes darting in every direction...<\/scene_description>\n    <character>GIRL (O.S.)<\/character>\n    <dialogue>We have to save them.<\/dialogue>\n    <scene_description>Now, THOMAS is totally panicked, standing up, spinning in every direction...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>What...the hell...is happening???<\/dialogue>\n    <scene_description>THOMAS stands still, and for a long moment, there's silence. THOMAS gets his bearings: He's at the center of another T- intersection. To his left, fifty yards down, the passage ends in an arched doorway. To his right, fifty yards down, is a solid wall with no outlet. Then, from behind him...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Never stop moving!<\/dialogue>\n    <scene_description>THOMAS, startled, turns to see MINHO jogging toward him... \\*<\/scene_description>\n    <character>THOMAS \\*<\/character>\n    <dialogue>Did you hear that voice? \\*<\/dialogue>\n    <scene_description>MINHO looks at him like he's nuts...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Keep it together. \\*<\/dialogue>\n    <scene_description>Suddenly, DUST kicks up all around them and the Wall ahead \\* drifts sideways, taking the doorway with it... \\*<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Pieces of the Maze shift every night! One of the reasons it's been so hard to solve it...<\/dialogue>\n    <scene_description>They turn to see the Wall at the far end of the corridor also sliding. MINHO shouts over the now THUNDERING noise...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Stay!<\/dialogue>\n    <scene_description>MINHO runs toward the dead end. He's almost to it when... The GRIEVER careens into the middle of the corridor, separating THOMAS from MINHO. It SHRIEKS...looks both ways, then turns toward THOMAS. THOMAS stares at it, no place to run. MINHO looks back...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Holy sh--!<\/dialogue>\n    <scene_description>But his cry is drowned out by the deafening rumble of the Walls' movement. The GRIEVER curls up and takes off toward THOMAS...Who pauses a beat, then sprints directly toward it... It's a game of chicken as the distance closes. Then, just as it looks like THOMAS might run head-on into the GRIEVER... He cuts to his left...and runs along the Wall, perpendicular to the ground, until he's past it... The GRIEVER spins to follow... \\* Ahead, MINHO is gesturing wildly. The Wall at the once dead end has shifted to reveal a new doorway, but the opening is fast sliding out of view... THOMAS sprints, the GRIEVER directly behind him... \\* Just as the GRIEVER is about to catch them, THOMAS and MINHO leap through the disappearing doorway...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOULDER ROOM - THE MAZE - CONTINUOUS<\/stage_direction>\n    <scene_description>...landing hard on an irregular, rocky surface. \\* A loud SHRIEK as the GRIEVER'S head is squeezed, and the Wall \\* comes off its tracks, coming to a stop. The pinned GRIEVER violently thrusts its STINGER at THOMAS and MINHO, who scramble out of range. For a beat, they stare at its RED EYES, which seem to be studying them. And then, the GRIEVER gathers all its strength and pulls back, disappearing into the darkness. Finally, it's quiet. Both MINHO and THOMAS slowly peel themselves up. A long beat, as MINHO studies THOMAS...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>That was a nice move back there. \\*<\/dialogue>\n    <scene_description>THOMAS nods, numb with fear and exhaustion. He looks around and sees they're in an enclosed space the size of two football fields. It's filled with black, volcanic BOULDERS, some piled high, others scattered alone like they were forgotten. MINHO notices THOMAS taking it in...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Chambers and corridors get bigger the farther out from the Glade you go.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>So, you know where we are?<\/dialogue>\n    <character>MINHO<\/character>\n    <dialogue>Roughly. We map this section pretty regularly.<\/dialogue>\n    <scene_description>And then MINHO realizes...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>But this room's always been closed off to us.<\/dialogue>\n    <scene_description>THOMAS gestures back to the disabled Wall behind them...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Not anymore. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOULDER ROOM - THE MAZE - LATER<\/stage_direction>\n    <scene_description>MINHO and THOMAS carefully traverse the blackened rocks, now halfway toward the far wall.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Is it some kind of animal?<\/dialogue>\n    <character>MINHO<\/character>\n    <dialogue>Everyone's got a theory. \\*<\/dialogue>\n    <scene_description>Another few steps, then MINHO stops dead. A round cloud of mist floats up and hangs in the air, \\* swirling. And then, VROOM! it EXPLODES in a burst of FIRE, and THOMAS \\* recoils from the rush of heat. \\*<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Just watch for the gas clouds. You have a couple seconds before they're ignited.<\/dialogue>\n    <character>THOMAS \\*<\/character>\n    <dialogue>How do you come out here every day? \\*<\/dialogue>\n    <scene_description>MINHO keeps walking. He's spotted a small archway ahead, not \\* on the ground, but twenty feet up the Wall, like some kind of window.<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Now, that's a first...<\/dialogue>\n    <scene_description>MINHO leads THOMAS up a nearby hill of boulders, climbing til they've reached the porthole. MINHO pulls himself up on the ledge and THOMAS comes up beside him. \\* THOMAS' POV... Below them is a long, narrow room unlike the other corridors of the Maze. Every surface is smooth and polished. \\*<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>What's down there?<\/dialogue>\n    <character>MINHO<\/character>\n    <dialogue>No idea. Never seen anything--<\/dialogue>\n    <scene_description>And, then in the darkness, the GRIEVER slithers directly \\* below them. THOMAS and MINHO hold their breath, but the \\* creature keeps moving disappearing at the other end of the \\* passage. THOMAS and MINHO slowly exhale.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>That lead to another part of the Maze?<\/dialogue>\n    <scene_description>MINHO starts climbing down...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>We'll check it out tomorrow. Right now, it looks like we pulled off a miracle. It's almost morning...<\/dialogue>\n    <scene_description>THOMAS takes one last look at the strange corridor and turns to follow.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INTERNAL CORRIDOR ONE - EAST JUNGLE - THE MAZE - DAWN<\/stage_direction>\n    <scene_description>The sky above the Maze has begun to glow with the early light of dawn. THOMAS and MINHO come jogging down the corridor where THOMAS left ALBY, fruitlessly scanning the Vines above them. They're about to give up when...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>There!<\/dialogue>\n    <scene_description>MINHO looks to where THOMAS is pointing. ALBY'S foot is barely visible through the vegetation. But it's still.<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>At least it didn't drag away his body.<\/dialogue>\n    <scene_description>Then, from above...<\/scene_description>\n    <character>ALBY<\/character>\n    <parenthetical>(faint)<\/parenthetical>\n    <dialogue>Min...<\/dialogue>\n    <scene_description>MINHO looks at THOMAS. He can't believe it.<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Alby!<\/dialogue>\n    <scene_description>And MINHO starts climbing...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EAST GATE - THE GLADE - MORNING<\/stage_direction>\n    <scene_description>The Wall's bolts retract, and they slowly split open, \\* revealing... ALBY draped between MINHO and THOMAS, his gash still oozing, barely conscious. GALLY is waiting just inside the Glade, along with NEWT, \\* ATLAS, CLINT and the other RUNNERS. \\*<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>I don't believe it...<\/dialogue>\n    <scene_description>The RUNNERS rush to help carry ALBY. \\* They lay ALBY down and gather around. CLINT approaches \\* carrying a strange CRYSTAL TUBE... \\*<\/scene_description>\n    <character>MINHO \\*<\/character>\n    <dialogue>He's not stung. You can put away \\* the Serum. \\*<\/dialogue>\n    <scene_description>CLINT nods and slides the tube back into his satchel. He \\* kneels and examines ALBY... \\*<\/scene_description>\n    <character>CLINT<\/character>\n    <dialogue>The cut's not as bad as it looks, \\* but we gotta get him to a bed...<\/dialogue>\n    <character>GALLY<\/character>\n    <parenthetical>(to Aron)<\/parenthetical>\n    <dialogue>You heard him!<\/dialogue>\n    <scene_description>ARON, still steaming from the altercation the night before, makes a point of first looking to MINHO, who nods his assent. Only then do the RUNNERS begin loading ALBY onto a stretcher.<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>When he's settled, regroup in the Map Room. \\*<\/dialogue>\n    <scene_description>As the RUNNERS lift ALBY and begin carrying him off, CLINT passes THOMAS who stands dazed, unsure what to do.<\/scene_description>\n    <character>CLINT<\/character>\n    <dialogue>Incredible. A night in the Maze. And a Field Hand's one of the first to survive it...<\/dialogue>\n    <scene_description>THOMAS tries to smile, appreciative. And then... GALLY signals NEWT, who roughly grabs THOMAS by the arm...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>...drawing MINHO's attention...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <scene_description>GALLY starts limping away, no interest in arguing.<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>He violated the Laws and entered the Maze.<\/dialogue>\n    <parenthetical>(to Thomas)<\/parenthetical>\n    <dialogue>You're going to the Pit until we decide what to do with you.<\/dialogue>\n    <scene_description>MINHO can't believe it...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>After what happened out there? He saved Alby's life!<\/dialogue>\n    <scene_description>GALLY stops to face MINHO...<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>I'm calling the shots right now. And the Laws will be enforced. For all we know, he made it worse, angered the Griever...<\/dialogue>\n    <character>MINHO<\/character>\n    <dialogue>When Alby hears...he'll never allow this!<\/dialogue>\n    <scene_description>GALLY explodes...<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>Alby's got much bigger problems!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>The girl's the beginning of something. And the Greenie... You're all too arrogant to see what's happening!<\/dialogue>\n    <scene_description>MINHO grabs GALLY and pulls him close... \\*<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>I remember what you did in the First Days. Alby and I may be the only one's left who do. But that was a long time ago. And I'm starting to think the guys are right. You belong in an asylum.<\/dialogue>\n    <scene_description>Finally...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Please! Both of you!<\/dialogue>\n    <scene_description>GALLY and MINHO turn to him. A beat, then, THOMAS looks at GALLY...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>You don't trust me for some reason. Fine.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Then I assume you won't care if I die looking for a way out of here.<\/dialogue>\n    <scene_description>To MINHO...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>I want to be a Runner. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE PIT - THE GLADE - LATER<\/stage_direction>\n    <scene_description>A cell door slams shut on THOMAS. He watches as NEWT \\* disappears down the corridor, then looks around at the other, empty cells ringing this small cavern deep in the Pit. At the very back of the room, THOMAS notices an enclosure that looks different. Behind two layers of extra-thick fencing, stacked side-by-side... More of those CRYSTAL TUBES CLINT was carrying. \\* THOMAS stares at the crystal, and for a brief moment, as the candlelight falls at the right angle, he catches a glimpse of his own fractured reflection. He shifts position, trying to recapture his first distorted look at his own face, when...<\/scene_description>\n    <character>CHUCK (O.S.)<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>Hey...Brought you some dinner.<\/dialogue>\n    <scene_description>CHUCK stands with a plate of food and a canteen of water. THOMAS backs away from the bars.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>How'd you get in here?<\/dialogue>\n    <character>CHUCK<\/character>\n    <dialogue>Told the guard I screwed up and drew clean-up duty.<\/dialogue>\n    <parenthetical>(beat, with a smile)<\/parenthetical>\n    <dialogue>He believed me.<\/dialogue>\n    <scene_description>THOMAS also smiles. CHUCK slides the food through the bars and sits down in the hallway. As THOMAS digs in, starving...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Thanks. Those things I said, yesterday --<\/dialogue>\n    <character>CHUCK<\/character>\n    <dialogue>You were blowing off steam. That's what friends are for, isn't it?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And the girl's still in some kind of coma. In case you were wondering.<\/dialogue>\n    <scene_description>All is forgiven. THOMAS absorbs this and then nods, appreciative. THOMAS eats some more, but CHUCK can hardly contain himself...<\/scene_description>\n    <character>CHUCK<\/character>\n    <dialogue>So? What was it like? From the day I got here, all I've been hearing about is the Maze. I can't believe you've been inside it...<\/dialogue>\n    <scene_description>For the first time, THOMAS really reflects...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>I wouldn't have made it without \\* Minho. But the funny thing was...It all felt familiar.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I think I belong out there somehow.<\/dialogue>\n    <character>CHUCK<\/character>\n    <dialogue>No one belongs out there. That's ridiculous.<\/dialogue>\n    <scene_description>THOMAS thinks a moment.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>What if we're here because we did \\* something terrible?<\/dialogue>\n    <character>CHUCK<\/character>\n    <dialogue>What could we have done to get this kind of punishment?<\/dialogue>\n    <scene_description>CHUCK bows his head, clearly upset by the suggestion and THOMAS immediately regrets it. Upbeat now...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>What do you imagine Chuck? When you think of home?<\/dialogue>\n    <scene_description>CHUCK doesn't look up...<\/scene_description>\n    <character>CHUCK<\/character>\n    <dialogue>It's so hard to picture anything. I guess...a Mom and Dad who order me around. Tell me to clean up, take a bath, eat my supper.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You know... Just two people who love me...<\/dialogue>\n    <scene_description>CHUCK's voice breaks and THOMAS reaches through the bars, squeezing his arm in comfort.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Chuck, last night, I think we found something. Important.<\/dialogue>\n    <scene_description>FADE OUT. \\*: FADE IN: \\*:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE PIT - THE NEXT MORNING<\/stage_direction>\n    <scene_description>THOMAS steps out of the Pit into the morning light, squinting as his eyes adjust. MINHO is waiting. \\*<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Guard told me I could go...What happened?<\/dialogue>\n    <character>MINHO<\/character>\n    <dialogue>Alby wants you. \\*<\/dialogue>\n    <scene_description>CUT TO: \\*:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALBY'S DWELLING \\*<\/stage_direction>\n    <scene_description>A large multi-room structure, woven through the branches of \\* the Glade's largest Banyan. It stands alone, in a separate \\* clearing, north of the Homestead. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - ALBY'S DWELLING \\*<\/stage_direction>\n    <scene_description>THOMAS follows MINHO down a long hallway inside ALBY'S \\* dwelling. \\* He passes a closed door, and feels compelled to stop outside \\* it. \\* MINHO is a few steps ahead, and THOMAS checks to see no one \\* else is watching. He pushes the door slightly open... \\* ...and finds THERESA in bed, still unconscious. THOMAS \\* stands frozen, and then SUDDENLY... \\* FLASH TO: \\*:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTDOOR HOLDING PEN - DAY \\*<\/stage_direction>\n    <scene_description>...once again, that little BOY staring at the silhouette of \\* the LITTLE GIRL in that second-story window. \\* One of the falling white flakes catches in the BOY's eye. He \\* wipes it away, leaving a black streak across his cheek. It's \\* not snow. It's ash. \\* And then suddenly, the GIRL is pulled out of view. An older \\* WOMAN, her mother, looks down at the BOY with a stern glare \\* and the BOY takes off running... \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN \\*<\/stage_direction>\n    <scene_description>...arriving, out of breath, in a small kitchen which appears \\* to have been ransacked. His FATHER is frantically stuffing \\* CANNED FOOD and aluminum wrapped ENERGY BARS into a suitcase \\* thrown open on the dining table. He looks up... \\*<\/scene_description>\n    <character>FATHER \\*<\/character>\n    <dialogue>Where the hell have you been?! \\*<\/dialogue>\n    <character>BOY \\*<\/character>\n    <dialogue>I wanted to say goodbye... \\*<\/dialogue>\n    <scene_description>A beat, as his FATHER looks furious, about to explode. \\* Instead, he pulls the BOY close and smothers him in a hug. \\*<\/scene_description>\n    <character>FATHER \\*<\/character>\n    <dialogue>You'll see each other again. \\* They're taking all the kids from \\* the neighborhood to the same Camp. \\*<\/dialogue>\n    <character>BOY \\*<\/character>\n    <dialogue>And, we're all coming home in a few \\* months anyway, right? \\*<\/dialogue>\n    <scene_description>The FATHER looks at the BOY, profound sadness in his eyes. \\*<\/scene_description>\n    <character>FATHER \\*<\/character>\n    <dialogue>Right. Just in time for soccer. \\*<\/dialogue>\n    <character>FLASH BACK TO: \\*<\/character>\n    <dialogue>THOMAS. His heart now pounding. He has no idea how many \\* seconds have passed during his vision, but MINHO is now at \\* the other end of the Hallway. \\*<\/dialogue>\n    <dialogue>THOMAS closes the door as MINHO barks... \\*<\/dialogue>\n    <character>MINHO \\*<\/character>\n    <dialogue>C'mon! Don't keep him waiting. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STUDY - ALBY'S DWELLING \\*<\/stage_direction>\n    <scene_description>ALBY'S stands at his window, his head bandaged, looking out \\* over the Glade. He turns to face THOMAS, and it's \\* immediately clear he has no plans to say thank you. \\*<\/scene_description>\n    <character>ALBY \\*<\/character>\n    <dialogue>What did I tell you? \\*<\/dialogue>\n    <scene_description>THOMAS doesn't know how to reply... \\*<\/scene_description>\n    <character>ALBY (CONT'D) \\*<\/character>\n    <dialogue>We have laws here. \\*<\/dialogue>\n    <scene_description>(beat) \\* But you chose to ignore them. \\*<\/scene_description>\n    <character>THOMAS \\*<\/character>\n    <dialogue>I was trying to help... \\*<\/dialogue>\n    <scene_description>ALBY studies THOMAS. \\*<\/scene_description>\n    <character>ALBY \\*<\/character>\n    <dialogue>As much as Gally would like, we \\* can't keep you locked up forever. And with all that's going on, the \\* last thing I need is you loose in \\* the Glade looking for trouble. \\*<\/dialogue>\n    <scene_description>THOMAS turns to MINHO... \\*<\/scene_description>\n    <character>MINHO \\*<\/character>\n    <dialogue>You showed promise out there. Good \\* instincts. But right now, you're \\* still a liability. \\*<\/dialogue>\n    <character>THOMAS \\*<\/character>\n    <dialogue>Does this mean--? \\*<\/dialogue>\n    <character>ALBY \\*<\/character>\n    <dialogue>You're a Maze Runner, Thomas. \\*<\/dialogue>\n    <scene_description>(beat) \\* Don't make me regret this. \\* Off THOMAS face, both nervous and excited... \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEAR LOCKER<\/stage_direction>\n    <scene_description>...the Gear Locker -- a small equipment shed -- where MINHO hands THOMAS a spear...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>For self-defense only. If you have to use it, you're probably a dead man anyway.<\/dialogue>\n    <scene_description>...canteen...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Runners get extra rations of water, so no excuse for dehydration...<\/dialogue>\n    <scene_description>...and a lump of charcoal, which THOMAS eyes skeptically...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Trust me.<\/dialogue>\n    <scene_description>MINHO keeps moving...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAP ROOM<\/stage_direction>\n    <scene_description>...to the Map Room, a large cabin lined with cubby holes around the periphery. Each cubby is overflowing with rolled scrolls of parchment. MINHO grabs one and unrolls it on the large center table... It's a map of the Maze...a massive circle that surrounds the Glade, filled in with a mess of lines, dashes, and unexplored blank spaces.<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>We've been looking for a way out \\* since we got here. \\*<\/dialogue>\n    <scene_description>(beat) \\* As you've seen, first ring of the Maze is Jungle. Glade's surrounded by it. \\* As MINHO continues...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JUNGLE CORRIDOR - THE MAZE - DAY<\/stage_direction>\n    <scene_description>THOMAS, now in his full RUNNER'S gear, races after MINHO down a long Jungle corridor...<\/scene_description>\n    <character>MINHO (V.O.)<\/character>\n    <dialogue>Took us a few weeks to find the \\* right path, but we discovered \\* that's only a warm-up... \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT CORRIDOR - THE MAZE<\/stage_direction>\n    <scene_description>...into an even wider passage of shimmering sand...<\/scene_description>\n    <character>MINHO (V.O.)<\/character>\n    <dialogue>North of the Jungle is the desert. \\* Like running through an oven.<\/dialogue>\n    <scene_description>THOMAS stumbles, dripping in sweat and MINHO pauses.<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Sand radiates heat somehow.<\/dialogue>\n    <scene_description>MINHO pours a drop of water on the ground and it STEAMS.<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Whatever you do, don't fall. Shoes have protective soles, but if you stand still for too long, they'll burn also.<\/dialogue>\n    <scene_description>THOMAS looks down and lifts up his feet, instinctively. Then follows MINHO, who takes off running...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRASSLANDS CORRIDOR - THE MAZE<\/stage_direction>\n    <scene_description>...through thick grass that towers above him...<\/scene_description>\n    <character>MINHO (V.O.)<\/character>\n    <dialogue>Thought we caught a break when we \\* found a way East to The \\* Grasslands... \\*<\/dialogue>\n    <scene_description>(beat) \\* But hidden among the harmless \\* stalks are these lovely bushes. MINHO has stopped beside a low-growing PLANT that looks like a THORN BUSH.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Ouch.<\/dialogue>\n    <character>MINHO<\/character>\n    <dialogue>Ouch ain't the half of it.<\/dialogue>\n    <scene_description>MINHO prods the BUSH with his SPEAR and the entire plant SNAPS closed like a BEAR TRAP.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>I'll watch where I step.<\/dialogue>\n    <scene_description>MINHO nods and pushes ahead through the grass...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STONE CORRIDOR - THE MAZE<\/stage_direction>\n    <scene_description>...into seemingly empty corridors of flat, smooth stone...<\/scene_description>\n    <character>MINHO (V.O.)<\/character>\n    <dialogue>Kept pressing clockwise and found \\* this playground... \\*<\/dialogue>\n    <scene_description>MINHO lets loose... leaping and bouncing between the bare surfaces...<\/scene_description>\n    <character>MINHO (V.O.)<\/character>\n    <dialogue>Easy to run...<\/dialogue>\n    <scene_description>THOMAS tries a back-flip off the Wall...nearly crashing into MINHO, who steps out of the way, placing one foot on a darkened patch of ground...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Except where the floor falls out from under you.<\/dialogue>\n    <scene_description>...which PLUMMETS into a bottomless OBLIVION. THOMAS peaks over the edge...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Breakaway sections are a shade darker.<\/dialogue>\n    <scene_description>MINHO and THOMAS step around the hole, and start running again...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOULDER CORRIDOR - THE MAZE<\/stage_direction>\n    <scene_description>...into a long corridor full of Boulders.<\/scene_description>\n    <character>MINHO (V.O.)<\/character>\n    <dialogue>And, finally, in the West, as you \\* know, the Boulders.<\/dialogue>\n    <scene_description>As a FLAME BURST ignites in front of them, MINHO cuts into an intersecting hallway, and stops. THOMAS comes up behind him, hunched over and heaving. MINHO smiles. Takes out his charcoal, and puts an \"X\" next to the door they just came through...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Use your charcoal to mark your route. Like bread crumbs.<\/dialogue>\n    <scene_description>As THOMAS struggles for breath...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Have a seat.<\/dialogue>\n    <scene_description>THOMAS collapses to the ground.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>It goes on forever... \\*<\/dialogue>\n    <character>MINHO<\/character>\n    <dialogue>Once we realized it was a big \\* circle, we've focused on moving out \\* from the Glade as far as possible. \\* But we've hit a dead-end in almost \\* every direction. \\*<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Of course with the Walls moving, the Maze looks a little different every day. For all we know, the route to go farther just hasn't opened up yet.<\/dialogue>\n    <scene_description>THOMAS shakes his head...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Not that we'd notice...At this pace it's all a blur.<\/dialogue>\n    <character>MINHO<\/character>\n    <dialogue>No choice. The Griever's most \\* active at night. But even in \\* daylight, it'll hunt down us if we \\* don't keep moving. \\*<\/dialogue>\n    <scene_description>(beat) \\* And that's why we memorize what we \\* see and record it in on the maps. \\* So we can look for new paths we might have missed while we were out here. THOMAS takes a long sip of water.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>So what now?<\/dialogue>\n    <character>MINHO<\/character>\n    <dialogue>The other guys are pushing ahead in the Grasslands. It's the one section where we haven't hit an \\* outer limit. But you and I... \\*<\/dialogue>\n    <scene_description>THOMAS gets up...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Are going to follow the Griever.<\/dialogue>\n    <scene_description>MINHO smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEAD END CORRIDOR - EAST JUNGLE - AFTERNOON<\/stage_direction>\n    <scene_description>THOMAS trails MINHO toward the opening left by the disabled \\* Wall. They crouch through... \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOULDER ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>...emerging in the large Boulder Room, and head toward the \\* elevated archway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOULDER ROOM - THE MAZE<\/stage_direction>\n    <scene_description>At the top of the boulder pile MINHO pauses and turns to THOMAS...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>We're here to see where this leads. \\* But first sign of the beast, we \\* back out. Got it?<\/dialogue>\n    <scene_description>THOMAS nods. MINHO removes his backpack and takes out a long rope, anchoring it in the rocks. He throws it through the archway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRIEVER'S EXIT CORRIDOR - THE MAZE<\/stage_direction>\n    <scene_description>THOMAS and MINHO lower themselves into the long, narrow corridor. At one end, they notice a seam in the floor... \\*<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>This must be how it accesses the \\* Maze. Ground opens in here and \\* somewhere on the other side of that wall. \\*<\/dialogue>\n    <scene_description>But THOMAS is focused on the opposite end of the passage... \\*<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>That way... That's where it was heading...<\/dialogue>\n    <scene_description>MINHO and THOMAS jog to the end of the corridor...and the \\* entrance to some kind of tunnel. They stop, peering into the darkness. Before MINHO can object, THOMAS starts walking...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRIEVER TUNNEL<\/stage_direction>\n    <scene_description>...through pitch black, holding onto the curved Walls for balance, until he can see light creeping into the tunnel ahead of him. THOMAS calls back...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>C'mon! It opens up!<\/dialogue>\n    <scene_description>...and starts moving faster... Behind him, MINHO is making his way forward...<\/scene_description>\n    <character>MINHO (O.S.)<\/character>\n    <dialogue>Hold on!<\/dialogue>\n    <scene_description>And then, MINHO's POV... THOMAS silhouetted in the round, bright opening of the Tunnel's exit. THOMAS pauses a beat...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Wow...<\/dialogue>\n    <scene_description>And steps out into the light. CUT TO: \\*:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STUDY - ALBY'S DWELLING<\/stage_direction>\n    <scene_description>ALBY sits behind a massive desk carved out of a tree trunk. \\* He's studying several maps of the Maze, and fingering the \\* note that arrived with THERESA. \\* GALLY comes to the doorway.<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>Alby --<\/dialogue>\n    <scene_description>But he's cut short...<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>How many years have we been at this?<\/dialogue>\n    <scene_description>GALLY senses ALBY is lost in his own head...<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>Too many.<\/dialogue>\n    <character>ALBY<\/character>\n    <dialogue>Some of these kids... They were children when they came out of the Box. I told them the Maze was the way home. I told them to trust me.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm losing them. I can sense it.<\/dialogue>\n    <character>GALLY<\/character>\n    <dialogue>A real man has the courage to change course. It's not too late. But it will be.<\/dialogue>\n    <scene_description>Not the response ALBY was looking for. He snaps out of his reverie.<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>What do you want, Gally?<\/dialogue>\n    <scene_description>A long beat, as the old friends study each other.<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>The girl seems to be waking up. And she's mumbling a name...<\/dialogue>\n    <scene_description>ALBY waits, on edge...<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>Thomas.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SLOT CANYON ALCOVE<\/stage_direction>\n    <scene_description>THOMAS stands in the dusty alcove of a magnificent slot canyon, the smooth, undulating walls rising high above him. Passages snake off in every direction, bounded by twisting, light tan walls. THOMAS takes it in, as MINHO emerges from the tunnel behind him, also captivated.<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>This is no better than the rest of the Maze. These canyons could take months to navigate...<\/dialogue>\n    <scene_description>There are six different chasms heading off in different directions...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>I guess we work 'em left to right.<\/dialogue>\n    <scene_description>But THOMAS is staring at the ground and headed for one of the passages in the center...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Do you see this?<\/dialogue>\n    <character>MINHO<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>There are light streaks on the ground, barely visible, left \\* by something slithering across the soft, talc-like surface... \\*<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Bread crumbs. Griever style...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CREVICE ONE - THE CANYONS - THE MAZE<\/stage_direction>\n    <scene_description>THOMAS and MINHO follow the trail in the sand left by the Griever... Jogging through the snaking passage, they pass under a massive rock overhang... Leap up onto a series of rises... Slide sideways through a narrow bottleneck...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRIEVER CAVERN - THE CANYONS<\/stage_direction>\n    <scene_description>...and finally emerge in front of a massive Cavern. THOMAS and MINHO slow down and cautiously approach the open rock face in front of them. As they walk closer, a faint HUM grounds louder... MINHO brandishes his spear. THOMAS does also... Then, across the bottom lip of the Cavern, two RED EYES emerge from the darkness. The GRIEVER. MINHO starts backing away...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>End of the road, Thomas.<\/dialogue>\n    <scene_description>And then... another set of RED EYES appears, FOUR total.<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>What the--?<\/dialogue>\n    <scene_description>And... TWO GRIEVERS slither forward, barely visible in the \\* shadows. They pulsate, ten feet in front of MINHO and THOMAS...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Did you know it had a brother?<\/dialogue>\n    <scene_description>MINHO shakes his head.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Well, that's bad news then.<\/dialogue>\n    <scene_description>THOMAS thinks a beat, then hurls his spear like a javelin. It bounces harmlessly off the first GRIEVER.<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Really?<\/dialogue>\n    <scene_description>THOMAS shrugs: \"Worth a try?\" He and MINHO take off running... Back through the bottleneck... which the GRIEVERS squeeze through effortlessly... Vaulting back down the rises...At the bottom looking back to see the two GRIEVERS, a DARK BLUR, ROLLING after them... \\* And taking the corners of the snaking passage by kicking off the Walls, parkour-style...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRIEVER TUNNEL<\/stage_direction>\n    <scene_description>Finally, they dive into the Tunnel, scrambling through the dark, when they hear the SHRIEK of their pursuers in unison.. As the terrible sound overcomes them, THOMAS and MINHO cover their ears, stumble to a halt, frozen in terror. Then THOMAS glances back...<\/scene_description>\n    <character>THOMAS<\/character>\n    <parenthetical>(incredulous)<\/parenthetical>\n    <dialogue>They're stopping...<\/dialogue>\n    <scene_description>At the threshold of the Tunnel, the GRIEVERS sit, their STINGERS extending and retracting in what seems like a warning. MINHO takes a breath. Looks at THOMAS...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>You get the message?<\/dialogue>\n    <scene_description>He doesn't.<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Those canyons belong to them. Off- limits.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ENTRANCE CORRIDOR - EAST JUNGLE - THE MAZE - DUSK<\/stage_direction>\n    <scene_description>MINHO and THOMAS jog back toward the Glade, the late afternoon sun fading. As they approach the Gate, they see NEWT, waiting.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - ALBY'S DWELLING<\/stage_direction>\n    <scene_description>MINHO and THOMAS, still in their Runner's gear, now follow NEWT through ALBY's Dwelling...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>There must be some mistake... \\*<\/dialogue>\n    <character>NEWT<\/character>\n    <parenthetical>(sarcastic)<\/parenthetical>\n    <dialogue>Yeah. She meant the other Thomas. \\*<\/dialogue>\n    <scene_description>NEWT stops at the bedroom door and gestures for them to enter.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - ALBY'S DWELLING - CONTINUOUS<\/stage_direction>\n    <scene_description>The GIRL, her face streaked with tears, is sitting up in a cot. GALLY stands against the wall, ALBY is beside her.<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>Meet Theresa...<\/dialogue>\n    <scene_description>THOMAS is transfixed as THERESA turns to the doorway slowly, still groggy. Her eyes are slightly downcast as her gaze settles on him, and THOMAS is drawn into her sad visage. For a beat, they are the only two people in the room. But GALLY is eager...<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>You recognize him?<\/dialogue>\n    <character>THERESA<\/character>\n    <dialogue>I don't know why, but...<\/dialogue>\n    <scene_description>It's the VOICE THOMAS has been hearing in his head...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>How do I know you?<\/dialogue>\n    <scene_description>THOMAS hesitates. \\*<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>I--<\/dialogue>\n    <scene_description>The stares intensify. ALBY. GALLY. MINHO. And THOMAS makes a decision...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>I have no idea who she is.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Nothing about her is familiar.<\/dialogue>\n    <scene_description>For a beat, his denial hangs there. THERESA seems hurt, confused...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>That can't be true.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm sure...<\/dialogue>\n    <scene_description>THOMAS ignores her, looks pleadingly to the other men...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>I swear! My mind's a blank slate, just like the rest of you.<\/dialogue>\n    <scene_description>Then harshly, back to THERESA...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Why are you doing this?<\/dialogue>\n    <scene_description>THERESA leans forward, growing in anger...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>I just woke up alone, surrounded by guys in some kind of nightmare with no memory... Your name is the only thing in my head! I can't help that!<\/dialogue>\n    <scene_description>ALBY eases her back on the pillows...<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>Calm down, please. I know this is overwhelming.<\/dialogue>\n    <scene_description>GALLY steps forward...<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>I say the Greenie's lying. He's been hiding something from the beginning! We need to lock him back up until we get to the bottom of this!<\/dialogue>\n    <scene_description>THOMAS is about to defend himself, when...<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>That's enough!<\/dialogue>\n    <scene_description>ALBY glares at GALLY, then turns to THOMAS...<\/scene_description>\n    <character>ALBY<\/character>\n    <parenthetical>(to Thomas)<\/parenthetical>\n    <dialogue>This can't be a coincidence. You need to think long and hard how it's possible.<\/dialogue>\n    <parenthetical>(beat, to Theresa)<\/parenthetical>\n    <dialogue>Both of you.<\/dialogue>\n    <scene_description>GALLY, enraged, storms out of the room. A beat, as the others watch him go, and ALBY and MINHO share a concerned look. Then...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>I've got more bad news.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>The Griever...it's not alone out there. There are two of them.<\/dialogue>\n    <scene_description>ALBY'S eyes go wide, but before he can respond, NEWT comes to the door. He sneaks a curious glance at THERESA, who looks away embarrassed.<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>NEWT<\/character>\n    <dialogue>Zack and some of the guys are heading this way. They've heard the girl's awake.<\/dialogue>\n    <scene_description>THERESA looks to ALBY, frightened. He assures her...<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>You're perfectly safe here. I promise. Get some rest, and we'll talk more tomorrow.<\/dialogue>\n    <scene_description>ALBY gets up and approaches NEWT.<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>Take Atlas and the other Baggers to head them off. Anyone steps foot in my clearing, beat them unconscious.<\/dialogue>\n    <scene_description>ALBY walks out, brushing past THOMAS. THERESA looks at THOMAS again, her expression pleading. A beat, then he turns his back and walks out on her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOMESTEAD GROVE - NIGHT<\/stage_direction>\n    <scene_description>THOMAS walks through the trees with CHUCK, who's updating him on the latest gossip...<\/scene_description>\n    <character>CHUCK<\/character>\n    <dialogue>Everyone's saying she asked for you by name! How's that possible?<\/dialogue>\n    <scene_description>THOMAS shakes his head, disgusted...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>It's not.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>These guys really have nothing better to do than spread rumors?<\/dialogue>\n    <scene_description>CHUCK tries to assure him now...<\/scene_description>\n    <character>CHUCK<\/character>\n    <dialogue>Don't worry. They're all just jealous.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>So, are you gonna paint me a picture of this girl?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>She's pretty. I already said she was pretty.<\/dialogue>\n    <character>CHUCK<\/character>\n    <dialogue>That's not real specific. First real woman -- ever! Did you get close enough to touch her?<\/dialogue>\n    <scene_description>Suddenly, THOMAS and then CHUCK stops in his tracks. Haunted eyes peer out from the shadows all around them. \\* They're surrounded by the CHANGED BOYS. \\* THOMAS whispers to CHUCK... \\*<\/scene_description>\n    <character>THOMAS \\*<\/character>\n    <dialogue>Now you wanna tell me what's wrong \\* with these guys? \\*<\/dialogue>\n    <scene_description>CHUCK stammers... \\*<\/scene_description>\n    <character>CHUCK \\*<\/character>\n    <dialogue>They were all stung by the Griever. \\* Serum saved their life, but... \\*<\/dialogue>\n    <scene_description>THOMAS looks at him... \\*<\/scene_description>\n    <character>CHUCK (CONT'D) \\*<\/character>\n    <dialogue>They say it's like your insides are \\* melting. For hours. \\*<\/dialogue>\n    <scene_description>Three of the CHANGED BOYS step forward, circling THOMAS. \\*<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Go back to the Homestead, Chuck. \\*<\/dialogue>\n    <scene_description>CHUCK hesitates. THOMAS puts on a brave face...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>I'll be fine. Remember, I'm the guy who survived the Griever.<\/dialogue>\n    <scene_description>CHUCK reluctantly assents and takes off toward safety.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GALLY'S GROVE - NIGHT<\/stage_direction>\n    <scene_description>The CHANGED BOYS march THOMAS through a dark empty field in an isolated corner of the Glade. There's a dense Grove ahead, in front of which lies a massive overturned tree, rotting away slowly... The CHANGED BOYS shove THOMAS through the tangle of roots...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GALLY'S CLEARING - CONTINUOUS<\/stage_direction>\n    <scene_description>...into an open clearing that backs against the Glade's northern Wall...where it looks like someone's been preparing for Armageddon. GALLY stands before a series of defensive fortifications -- angled spikes pointing out of shallow ditches -- laid out in concentric circles around a round yurt-like structure, built against the base of the Wall.<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>Like what I've done with the place?<\/dialogue>\n    <scene_description>THOMAS watches the CHANGED BOYS walk past GALLY through the armaments and disappear into the shelter.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>You live here with them?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I guess insanity's contagious...<\/dialogue>\n    <character>GALLY<\/character>\n    <dialogue>Clarity is, Greenie.<\/dialogue>\n    <scene_description>(beat) \\* But whatever you call it, I picked \\* it up the old fashioned way. \\* A beat, as THOMAS realizes.. \\*<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>The Griever nearly took off my leg, the wound was so deep. I was the third man to drink the Serum. \\*<\/dialogue>\n    <scene_description>(beat) \\* I assumed I'd wind up like the rest. Shattered. Mute. Unable to do anything but wander aimlessly with the animals. (beat) I still don't know why I'm different. THOMAS gathers himself...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Congratulations on being only half a freak.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I still don't know what you want from me...<\/dialogue>\n    <character>GALLY \\*<\/character>\n    <dialogue>I saw things during the Changing. Things I can't forget.<\/dialogue>\n    <scene_description>GALLY steps toward THOMAS, now frozen...<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>Alby said they were fantasies. Hallucinations that would only distract us. And to be fair, they were only splintered fragments...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But, I believed they were memories. And, now, I'm sure of it. Because you were there.<\/dialogue>\n    <scene_description>THOMAS' blood goes cold as he considers whether GALLY could be telling the truth. A pause, then...<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>But you weren't suffering like the rest of us. You were different, Thomas.<\/dialogue>\n    <scene_description>THOMAS erupts...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>I'm done--<\/dialogue>\n    <scene_description>But GALLY suddenly grabs THOMAS by both shoulders with an unexpected strength and ferocity. A madness, brews just beneath the surface...<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>I won't allow you to cause more harm than you have already. The Glade may be imperfect, but it's our only refuge. And your stunts are threatening all of us!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You can deny it all you want, but you and the girl are connected. And you're here to betray us. \\*<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - ALBY'S DWELLING - THE NEXT MORNING<\/stage_direction>\n    <scene_description>Light streams into the bedroom where THERESA slowly awakens. She looks around, gets her bearings, and slides her legs off the cot, sitting up slowly. THERESA sees the door is closed, and she walks to the room's one window. THERESA'S POV...her first look at the Glade: the small, empty clearing around ALBY'S dwelling. Two brutish BAGGERS, their back to her, are idly on guard. THERESA's lip begins to tremble, and it looks like she might cry again, when...<\/scene_description>\n    <character>ALBY (O.S.)<\/character>\n    <dialogue>Feeling better?<\/dialogue>\n    <scene_description>THERESA gathers herself, before turning around, her arms crossed, defensive.<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>How long do you plan to keep me here?<\/dialogue>\n    <character>ALBY<\/character>\n    <dialogue>If you mean the Glade, you're no more trapped than the rest of us. As for this room, that's why I'm here... To invite you to breakfast.<\/dialogue>\n    <scene_description>ALBY smiles warmly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JUNGLE CORRIDOR - THE MAZE - DAY<\/stage_direction>\n    <scene_description>THOMAS and MINHO run alongside each other...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Are we really not gonna talk about this?<\/dialogue>\n    <character>MINHO<\/character>\n    <dialogue>Talk about what?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>What the girl said...<\/dialogue>\n    <scene_description>MINHO doesn't even look at him. Sincere but abrupt...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>You don't know her. I believe you.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>And Gally?<\/dialogue>\n    <scene_description>MINHO ignores him.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>The guy's nuts... Why does Alby even put up with him?<\/dialogue>\n    <scene_description>MINHO stops abruptly.<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Alby would be dead if it wasn't for Gally.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>We all would. Gally was the first man brave enough to come out here. And before he got stung, he taught \\* me everything I know about the Maze. Everything.<\/dialogue>\n    <scene_description>THOMAS studies the guilt and sadness on MINHO's face. But before THOMAS can say anything, MINHO suddenly takes off again. THOMAS sighs, frustrated, and sprints to keep up with him...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOMESTEAD CLEARING - THE GLADE - DAY<\/stage_direction>\n    <scene_description>ALBY, playing proud tour guide, leads THERESA through the Homestead Clearing. They're trailed closely by NEWT, on guard for them.<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>As you can see, it's a simple arrangement, everyone doing their part to keep the place functioning.<\/dialogue>\n    <scene_description>THERESA looks around, taking it all in, and trying to avoid eye-contact with the few passing GLADERS who stop to gawk at her...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>Keeping this many guys under control? I wouldn't call that simple...<\/dialogue>\n    <scene_description>ALBY laughs.<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>Well, the early days weren't pretty.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>We were constantly fighting over the water, could hardly manage to harvest the crops that were growing.<\/dialogue>\n    <scene_description>ALBY's genuinely upset as he remembers...<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>Third month, I'm walking near the West Gate and see this tiny figure near the bushes. It's this kid, Joshua. Couldn't have been older than twelve. His neck was broken. Killed in a brawl between two groups of guys over a soft spot to bed down on.<\/dialogue>\n    <scene_description>THERESA blanches...<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>So, I got organized, put an end to the nonsense. Ever since, I've kept everyone focused on one thing... Finding a way out of here.<\/dialogue>\n    <scene_description>THERESA considers ALBY with a new warmth in her eyes, drawn to him...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>And now I show up...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>One big distraction.<\/dialogue>\n    <scene_description>Before ALBY can reassure her, she reaches out, putting a hand on his arm.<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>Thank you for helping me.<\/dialogue>\n    <scene_description>ALBY nearly blushes. A charged beat, before she breaks contact. THERESA thinks a moment. Then...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>Not sure how much use I'll be in the fields but you said there are maps of this Maze?<\/dialogue>\n    <scene_description>ALBY nods...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>Fresh set of eyes couldn't hurt, could it?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAP ROOM - THE GLADE<\/stage_direction>\n    <scene_description>ALBY holds open the door to the Map Room, and THERESA enters. He walks to a cubby and pulls out three rolls, unfurling them side-by-side on the center table.<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>These are all different sections of the Maze, on the same day. We line them up, look for new paths between them, any route that might get us closer to the outside edge and hopefully an exit...<\/dialogue>\n    <scene_description>THERESA is fascinated by the images before her, running her fingers along the lines on the page, like they're somehow familiar...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>You mind if I stay here for a while?<\/dialogue>\n    <character>ALBY<\/character>\n    <dialogue>I've studied these for years. I promise I haven't missed anything.<\/dialogue>\n    <scene_description>THERESA finally looks up...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>I didn't mean that... But this seems like a safe place to hide out.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Besides, who knows what else is rattling around my head besides the name of a boy who's never met me?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRASSLANDS CORRIDOR - THE MAZE - DAY<\/stage_direction>\n    <scene_description>THOMAS and MINHO have stopped for a quick water break inside a grassy corridor. They are mid-argument...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>I'm telling you we should go back \\* to the cave. There could be \\* something inside there! \\*<\/dialogue>\n    <character>MINHO<\/character>\n    <dialogue>Yeah, I'm guessing two giant predators with poisonous stingers. \\*<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>We're looking for an exit, not new ways to die.<\/dialogue>\n    <scene_description>MINHO closes his canteen, the discussion finished.<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>C'mon. For all we know, the way out's right around the corner.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAP ROOM - THE GLADE<\/stage_direction>\n    <scene_description>THERESA stands at the center table, which is now crowded with parchment scrolls spread all over. She runs her hand through her hair, and sits back on a stool, overwhelmed. ALBY knocks and enters...<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>Ready to give up?<\/dialogue>\n    <scene_description>THERESA smiles... A breeze blows through the open door and sends some of the maps floating off the table.<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>I'm so sorry...<\/dialogue>\n    <scene_description>THERESA kneels to collect them and ALBY rushes over to help her...<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>Don't worry. They're all labeled...<\/dialogue>\n    <scene_description>But THERESA has stopped collecting them. The one parchment she's holding is caught in the late afternoon sunlight, rendering it nearly translucent. THERESA stands up slowly, lost in thought. She lays the parchment on top of another map on the table. Some of the lines match in both versions, forming thicker sections when the two maps are held together. THERESA concentrates intensely. ALBY rises beside her...<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>Are you remembering something else?<\/dialogue>\n    <character>THERESA<\/character>\n    <dialogue>Not exactly...<\/dialogue>\n    <scene_description>Then, there's another knock. It's NEWT...<\/scene_description>\n    <character>NEWT<\/character>\n    <dialogue>We have a problem. The Box rose, this time on schedule.<\/dialogue>\n    <character>ALBY<\/character>\n    <dialogue>And?<\/dialogue>\n    <character>NEWT<\/character>\n    <dialogue>It's completely empty. No storage drums. Nothing.<\/dialogue>\n    <scene_description>ALBY considers this.<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>How long can we last?<\/dialogue>\n    <character>NEWT<\/character>\n    <dialogue>Before we die of thirst, or before there's a rebellion?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOMESTEAD CLEARING - THE GLADE - DAY<\/stage_direction>\n    <scene_description>A growing mob of GLADERS are gathered around WINSTON'S Cook Shed, shouting and jeering. ZACK is at the center... \\*<\/scene_description>\n    <character>ZACK \\*<\/character>\n    <dialogue>Unlock the shed or my guys will bust it apart!<\/dialogue>\n    <scene_description>WINSTON's resolve is foundering, and the two BAGGERS at his side look ready to cut and run...<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>C'mon Zack...Alby's gonna know what \\* to do...<\/dialogue>\n    <character>ZACK<\/character>\n    <dialogue>He's led us down a dead end! Time to wake-up Win! We gotta fend for ourselves...<\/dialogue>\n    <scene_description>The MOB roars in agreement...<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Whaddaya want with it anyway?<\/dialogue>\n    <character>ZACK<\/character>\n    <dialogue>I've got a spare tank in the fields and I have my guys shutting down all the aqueducts. \\*<\/dialogue>\n    <scene_description>(beat) \\* We gotta right to know where we stand. All of us. WINSTON looks ready to relent, when...<\/scene_description>\n    <character>ALBY (O.S.)<\/character>\n    <dialogue>There's less than a quarter tank in the cook shed.<\/dialogue>\n    <scene_description>The MOB turns to see ALBY, NEWT and ATLAS.<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>Which is why I've kept a reserve.<\/dialogue>\n    <scene_description>A brief wave of relief move through the crowd. Then...<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>That, plus what's left in the fields will last us another few weeks. A month if we're lucky.<\/dialogue>\n    <scene_description>The MOB takes this like a punch in the gut. \\*<\/scene_description>\n    <character>ZACK<\/character>\n    <dialogue>So that's where all your Laws led us...Starved like dogs!<\/dialogue>\n    <scene_description>THOMAS and MINHO now come upon the edge of the gathering, as the MOB grows louder... \\*<\/scene_description>\n    <character>ZACK<\/character>\n    <dialogue>You've been lying to us from the \\* start!<\/dialogue>\n    <scene_description>MINHO moves closer to the action. THOMAS is about follow when... GALLY steps out of the crowd.<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>It's not his fault!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Not yet, anyway.<\/dialogue>\n    <scene_description>ALBY glares, ready to unleash the line of BAGGERS massing behind him.<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>We're all victims here. Victims of the traitors sent to destroy us!<\/dialogue>\n    <scene_description>THOMAS is still on the fringe of the crowd. He sees where this is headed and backs out of the clearing, unnoticed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAP ROOM - THE GLADE<\/stage_direction>\n    <scene_description>THOMAS jogs up to the Map Room, where one BAGGER stands by the door, anxious.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>They need you at the Homestead.<\/dialogue>\n    <character>BAGGER<\/character>\n    <dialogue>But... Alby said to watch the girl--<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>I'll watch her.<\/dialogue>\n    <scene_description>The BAGGER looks at THOMAS, still in his Runner's gear...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>You ever want to carry a spear out there, get moving! There's about to be a riot!<\/dialogue>\n    <scene_description>The BAGGER hesitates, and then takes off running...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAP ROOM - THE GLADE<\/stage_direction>\n    <scene_description>THERESA has put together several stacks of maps on the central table. She looks up, startled to see THOMAS...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>You...<\/dialogue>\n    <scene_description>She starts backing away...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Please. We need to talk.<\/dialogue>\n    <character>THERESA<\/character>\n    <dialogue>Where's the guard? Alby said --<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Theresa... I'm sorry.<\/dialogue>\n    <scene_description>THERESA stops retreating but is still skeptical...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>I'm not sure how... But you were right.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I do know you.<\/dialogue>\n    <scene_description>His admission sinks in for both of them. THERESA waits for him to elaborate...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>When they pulled you out of the Box...I realized right away. In fact, I had some kind of flash.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I might have seen where we come from.<\/dialogue>\n    <scene_description>THERESA can't believe what she's hearing...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>What? Where???<\/dialogue>\n    <scene_description>THOMAS finally wants to get it all out...<\/scene_description>\n    <character>THOMAS<\/character>\n    <parenthetical>(rambling)<\/parenthetical>\n    <dialogue>It's not that simple. We were just little kids, but I think I saw your mother. And my father. Something was wrong and we were going away...<\/dialogue>\n    <character>THERESA<\/character>\n    <dialogue>You're not making any sense...<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>I know. None of it does. And before you woke up. I heard your voice in my head. It's like our minds are connected!<\/dialogue>\n    <scene_description>His rambling only makes her confused, angry...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>Our minds... Like telepathy?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>That's impossible. I don't remember anything...<\/dialogue>\n    <scene_description>He's stopped. And then she realizes...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>Yesterday, why didn't you just say something???<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>We can't tell them yet. It's too dangerous.<\/dialogue>\n    <scene_description>Now, she's really shocked.<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>Dangerous??<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>We don't even know what it means... They've been here three years and nothing changes. Then, we show up and it's all falling apart!<\/dialogue>\n    <scene_description>THOMAS stops, takes a breath. Takes a few steps closer to THERESA. With a softer tone...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>There's a guy outside right now, Gally, trying to convince them it's our fault there's no more water. That we're the reason their world is crumbling around them.<\/dialogue>\n    <scene_description>This gets THERESA's attention. Slowly realizing THOMAS' fear may be justified...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>We need to do something...<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>That's why I'm here... To see if we can figure out what's happening. If we discover anything useful, I promise we'll come clean. But until then, we have to keep quiet.<\/dialogue>\n    <character>THERESA<\/character>\n    <dialogue>You mean lie.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>If we need to, yes.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>If they think we're a threat, if they turn on us...<\/dialogue>\n    <character>THERESA<\/character>\n    <dialogue>Alby will protect us. He's taken care of me.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Alby may seem like a good guy but he'll do whatever it takes to keep a lid on this place.<\/dialogue>\n    <scene_description>THERESA considers this.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Please, you have to trust me.<\/dialogue>\n    <scene_description>A long beat, then...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>So, how do we do this?<\/dialogue>\n    <scene_description>THOMAS breathes a sigh of grateful relief.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>I don't know. Do you remember anything more than my name?<\/dialogue>\n    <character>THERESA<\/character>\n    <dialogue>Just that. But there's something about the Glade...I was scared at first, but I should still be curled up in a corner weeping. Except, I feel...<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Comfortable.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Me too...Out in the Maze, it's like I've seen it before.<\/dialogue>\n    <scene_description>A moment, then THERESA beckons THOMAS closer to her...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>Take a look at this...<\/dialogue>\n    <scene_description>THOMAS moves around the table, next to THERESA where he can see her piles of maps laid out side-by-side.<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>So far I've only had time to study this one section. I realized on any given night, only a few of the Walls move...<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>They know that.<\/dialogue>\n    <scene_description>THERESA gives him an eye...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>Right. But I don't think they realize there's a pattern.<\/dialogue>\n    <scene_description>Now, THOMAS is interested. THERESA picks up the first pile she's assembled...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>These are maps of a desert section, every 7th day. They're all slightly different, except for a few of the Walls which always return to the same position.<\/dialogue>\n    <scene_description>THERESA compresses the pages together, and holds them up to the light. The recurring walls are bolder than the rest... Revealing a Runic symbol. THERESA registers THOMAS' amazement...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>THERESA<\/character>\n    <dialogue>I'm not sure. But all these years, the Maze has been speaking to them. Each section painting out some kind of message.<\/dialogue>\n    <scene_description>THOMAS and THERESA stand close together, a charged moment, taking in her discovery.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Amazing...<\/dialogue>\n    <character>THERESA<\/character>\n    <dialogue>It shouldn't take long to find the other symbols.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>But what do we do with them?<\/dialogue>\n    <scene_description>THOMAS and THERESA slowly look up from the maps and study each other. Then...<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>Catching up on old times?<\/dialogue>\n    <scene_description>ALBY is in the doorway, along with MINHO. ALBY looks haggard, angry. MINHO, exhausted. An awkward beat of silence, then...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>C'mon Thomas, we gotta brief the others...<\/dialogue>\n    <scene_description>Off THOMAS' look of confusion...<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>After listening to Gally, at least half the Glade wanted you Banished. Forced out into the Maze alone tonight. Sacrificed to the Griever.<\/dialogue>\n    <character>MINHO<\/character>\n    <dialogue>Then I told them about the cave and your plan to attack it.<\/dialogue>\n    <scene_description>Now THOMAS is really freaked...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Min, you said yourself, even if we can draw them out, we have no idea--<\/dialogue>\n    <character>MINHO<\/character>\n    <dialogue>Save it. We're out of options.<\/dialogue>\n    <scene_description>ALBY stares at THOMAS...<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>I hope you find something. If you come up empty tomorrow, there's nothing more I can do. You're finished.<\/dialogue>\n    <scene_description>THERESA looks at THOMAS, who stands afraid, despondent. He pushes past ALBY and MINHO, out of the Map Room...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOMESTEAD PATH - NIGHT<\/stage_direction>\n    <scene_description>...and now sprints alone down the Homestead Path, running far from the other Gladers...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EASTERN FIELDS - CONTINUOUS<\/stage_direction>\n    <scene_description>...finally collapsing to his knees at the edge of the Eastern Fields, abandoned and quiet. He stares up at the strange sky, tears streaming down his face... His lips are still, but we PRELAP a BOY'S anguished cry of....<\/scene_description>\n    <character>BOY<\/character>\n    <dialogue>Dad!!!!!<\/dialogue>\n    <scene_description>As we.... FLASH TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET<\/stage_direction>\n    <scene_description>...PANDEMONIUM. PEOPLE stream out of every building, along a crowded city street, fighting to reach a black, ARMORED PERSONNEL CARRIER surrounded by rifle-wielding soldiers in HazMat combat suits. A loudspeaker blares...<\/scene_description>\n    <character>LOUDSPEAKER<\/character>\n    <dialogue>Step back or we will open fire! Only notified citizens will be granted entry!<\/dialogue>\n    <scene_description>The BOY is lost in the crowd. And then...<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>Son!<\/dialogue>\n    <scene_description>The FATHER grabs his hand...<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>I told you not to let go!<\/dialogue>\n    <scene_description>The BOY sighs, relieved. Suddenly the CARRIER fires up its engine and the SOLDIERS begin backing onto it as they push away the crowds.<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>C'mon!<\/dialogue>\n    <scene_description>The FATHER drags the BOY toward the vehicle, elbowing and shoving his way to the front. Finally they reach the CARRIER. A phalanx of SOLDIERS guards the entrance, rifles ready, where the COMMANDER is ushering the last children on board.<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>Please! We got our call...<\/dialogue>\n    <scene_description>The COMMANDER holds up a RETINAL SCANNER to the BOY and then, without a word, grabs him by the collar and rips him from his FATHER'S grip, hauling him onto the CARRIER.<\/scene_description>\n    <character>BOY<\/character>\n    <dialogue>Wait!<\/dialogue>\n    <character>COMMANDER<\/character>\n    <parenthetical>(to the Father)<\/parenthetical>\n    <dialogue>Back away, sir.<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>He just wants to say goodbye!<\/dialogue>\n    <scene_description>The CARRIER starts to roll forward, the BOY on board, parting the CROWD. Still on the street, his FATHER, calls out...<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>We'll see each other soon. I promise!!<\/dialogue>\n    <scene_description>Looking down from the CARRIER, the BOY watches, helpless, as the CROWD surges again, swallowing his FATHER. TIGHT ON the BOY'S anguished eyes, as the CARRIER door swings shut and we...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EASTERN FIELDS<\/stage_direction>\n    <character>THERESA<\/character>\n    <dialogue>Thomas?<\/dialogue>\n    <scene_description>THOMAS is still on his knees, staring at the sky, now shaking off the vision.<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>Did you see something else?<\/dialogue>\n    <scene_description>THOMAS nods, but he's too disturbed to describe it. THERESA kneels beside him.<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>Whether we like it or not, we're in this together.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>I know. I'm sorry. I just had to get out of there.<\/dialogue>\n    <scene_description>They both sit a moment in silence.<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>Is there anything I can do...for tomorrow?<\/dialogue>\n    <scene_description>THOMAS turns to her. Slowly, he reaches out and takes her hand. They both look at their fingers, intertwined. Then THOMAS looks in her eyes...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Tomorrow...the only thing that's gonna help is a miracle.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE CANYONS - THE NEXT MORNING<\/stage_direction>\n    <scene_description>THOMAS and MINHO lead the other Runners -- ARON, JAYSON, and \\* TIM -- in formation through the Canyons, toward the Griever Hole. They stop at the narrow bottleneck, beyond which is the open Cavern. MINHO looks each Runner in the eye, one-by-one.<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>See you back in the Glade, gentlemen.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRIEVER CAVERN - THE CANYONS<\/stage_direction>\n    <scene_description>MINHO emerges alone from the bottleneck and slowly approaches \\* the open Cavern, until... \\* The first GRIEVER slithers out into the light. MINHO stops. The second GRIEVER joins it. \\* MINHO holds his ground. The GRIEVERS sit, pulsing, studying him. Then...the first \\* GRIEVER's stinger slowly extends toward MINHO, the barbed tip \\* glistening in the light. \\*<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Now!<\/dialogue>\n    <scene_description>Suddenly, he steps aside. ARON, JAYSON, and TIM emerge behind him with cross-bows, firing a barrage of arrows...THWAP! THWAP! THWAP! The arrows rocket toward the GRIEVERS...and THUCK! THUCK! THUCK! embed in their gelatinous flesh. The GRIEVER'S SHRIEK in unison... then, giving the RUNNERS a head-start in their escape, the GRIEVERS begin pulsing furiously as their bodies expel the arrows one-by-one, leaving them scattered in the dirt, soaked in slime. And then the creatures barrel forward... \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE CANYONS - CONTINUOUS<\/stage_direction>\n    <scene_description>MINHO, ARON, JAYSON and TIM each dive out of the bottleneck, somersaulting to a standing position and resuming their sprint... On their tail...the two coiled GRIEVERS... rolling out of the bottleneck like an avalanche of destruction... We PAN back...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOTTLENECK - THE CANYONS<\/stage_direction>\n    <scene_description>...through the bottleneck and then UP... to find THOMAS wedged high above, between the two Walls of the Canyon, as the Grievers roll by beneath him...As THOMAS drops hard to the floor below...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE CANYONS<\/stage_direction>\n    <scene_description>...MINHO, leading the pack of RUNNERS, suddenly veers to his right, disappearing into another passage that branches off... As JAYSON, ARON and TIM pass it by, one GRIEVER break off to follow.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRIEVER CAVERN - THE CANYONS<\/stage_direction>\n    <scene_description>THOMAS approaches the Griever Cave, now quiet. He steps over the threshold into the shadows of...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTRANCE - GRIEVER CAVERN<\/stage_direction>\n    <scene_description>...a dark, domed chamber. There's a light glow at the very back, about twenty yards ahead, and THOMAS moves cautiously toward it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SLOT CANYONS - VARIOUS<\/stage_direction>\n    <scene_description>QUICK CUTS... MINHO, ARON, JAYSON, and TIM, now each on their own, racing through different corridors of the Canyons, GRIEVERS close behind.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTRANCE CHAMBER - GRIEVER CAVERN<\/stage_direction>\n    <scene_description>THOMAS has reached the back of the chamber and the opening in the base of the wall. He kneels to look inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SLOT CANYON ALCOVE - THE MAZE<\/stage_direction>\n    <scene_description>ARON, alone, comes bounding out of the far left passage into \\* the quiet alcove where the Canyons begin. \\* TIM emerges from a different passage... \\* Then, MINHO, who shouts...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Where's Jay?<\/dialogue>\n    <scene_description>...as ARON and TIM dive into the safety of the Tunnel that \\* leads back to the Maze. \\* MINHO slides to a stop, turning back to look for JAYSON, as the pursuing GRIEVERS roll into the alcove behind him. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HIVE - GRIEVER CAVERN<\/stage_direction>\n    <scene_description>THOMAS' POV as he stares into an enormous underground cavern, the size of an airplane hanger... The ground is solid cement, but the sloping rock walls are a lattice-work of round openings all the way across the ceiling. This is a hive. And, at the far end of the cavern, too far to make out any details...there's a round STEEL DOOR. SPIN BACK AROUND... to THOMAS, taking it all in from above, focused on the distant DOOR, elated. Trying to get a closer look, he dips his head down... Triggering...a wailing SIREN. Now, all over the cavern walls, one-by-one the holes are lighting up with that familiar red glow. HUNDREDS of GRIEVER eyes. The hive has awakened...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SLOT CANYON ALCOVE<\/stage_direction>\n    <scene_description>The two GRIEVERS in the alcove are now pushing forward as MINHO backs toward the Tunnel... When, finally, JAYSON sprints out of the central passage, nearly colliding into the GRIEVERS from behind. As he pulls up short, heaving...<\/scene_description>\n    <character>JAYSON<\/character>\n    <dialogue>Took a wrong turn. My bad.<\/dialogue>\n    <scene_description>MINHO looks at JAYSON, separated from him and the Tunnel by the GRIEVERS. JAYSON understands his predicament -- there's no way for him to get past the creatures.<\/scene_description>\n    <character>JAYSON<\/character>\n    <dialogue>Much luck, boys. We had a good run, didn't we?<\/dialogue>\n    <scene_description>With that, the GRIEVER closest to JAYSON spins around and IMPALES him with its STINGER. MINHO watches JAYSON double-over, eyes wide, and collapse out of view. The GRIEVERS then together surge toward MINHO, who now hops into the Tunnel, where ARON and TIM stand, ashen. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SLOT CANYONS<\/stage_direction>\n    <scene_description>THOMAS' POV... bounding toward the alcove where he'll face the same scene as JAYSON... But, THOMAS stops just before emerging. He slips off his backpack and takes out a crossbow, which he aims at the canyon wall ten feet above. He fires...THWACK...and an arrow, attached to a long line of rope, embeds in the rock wall. THOMAS finds the end of the rope, and threads it through another arrow...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SLOT CANYON ALCOVE<\/stage_direction>\n    <scene_description>...which now rockets over the GRIEVERS and lands in the stone \\* just above the Tunnel. \\* MINHO reaches out to make sure its secure... And, now THOMAS comes flying through the alcove, knees tucked to his chest, as he rides the rope like a zip line ten feet above the ground... Letting go at the last second...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRIEVER TUNNEL<\/stage_direction>\n    <scene_description>...and flying into the Tunnel, feet-first, as the GRIEVERS SHRIEK in fury. THOMAS, on his back, looks around and clocks MINHO, ARON, and \\* TIM. He now knows JAYSON didn't make it. \\* MINHO extends a hand to help him up. THOMAS hesitates...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>I think I did something.<\/dialogue>\n    <scene_description>PRELAP... SLAM!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STUDY - ALBY'S DWELLING - LATER<\/stage_direction>\n    <scene_description>... as ALBY pounds his fist on the table, his frustration exploding. MINHO and THOMAS, exhausted and demoralized, hang their heads. Finally...<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>We should have stayed focused. Kept pressing ahead in the Grasslands. Now, who knows what you triggered?<\/dialogue>\n    <scene_description>THOMAS looks to MINHO, grasping for straws...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>I still say we figure out a way to get down there...<\/dialogue>\n    <scene_description>But MINHO's out of patience...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Even if we could get past all those creatures, you said the door is solid steel. It's a dead end, just like all the others. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EAST GATE - THE GLADE - DUSK<\/stage_direction>\n    <scene_description>The familiar East Gate to the Maze. Two RUNNERS, ARON and TIM stand watch in the clearing as the last light in the sky fades. NIGHT. But no bolts extend from the Walls. They remain still. The Gate...OPEN. In the eerie quiet, ARON and TIM share a look \\* of absolute terror.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STUDY - ALBY'S DWELLING<\/stage_direction>\n    <scene_description>THOMAS faces ALBY and MINHO, his confidence shattered.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>I'm sorry guys. I really thought we were onto something.<\/dialogue>\n    <scene_description>Before either of them can answer, they're interrupted by the growing din of a crowd outside... ALBY approaches the window, THOMAS and MINHO close behind him...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALBY'S CLEARING - THE GLADE - NIGHT<\/stage_direction>\n    <scene_description>ALBY, THOMAS, and MINHO look down into the clearing where most of the GLADERS have gathered. At the front of the mob is GALLY.<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>The Walls didn't close, Alby. Whatever Thomas did out there, the Maze and the Glade are one now.<\/dialogue>\n    <scene_description>ALBY absorbs the news.<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>Soon the Grievers will be here. Weeks have become days. For some of us, only hours.<\/dialogue>\n    <scene_description>ALBY tries to project command of the situation...<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>Listen to me! All of you! We'll barricade the Homestead. Fight them off from the trees...<\/dialogue>\n    <scene_description>The GLADERS are silent, terrified, already defeated. THOMAS spots CHUCK in the crowd, his face streaked with tears, pale white.<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>I warned you not to provoke them! Now they'll kill every last one of us!<\/dialogue>\n    <scene_description>ALBY scans the hopeless crowd...<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>You want to lie down?! You're Gladers! You're men! If we must die, then die like men!<\/dialogue>\n    <scene_description>No one will make eye contact. His exhortation falls totally flat.<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>You've delivered us all to the slaughter.<\/dialogue>\n    <scene_description>ALBY makes one last bid to preserve his authority...<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>Have you all forgotten what I've done for you? You think I wanted this burden? I did it for you! Together, we've risen to every challenge! And we can rise to this one!<\/dialogue>\n    <scene_description>But now, the final blow...He spots NEWT, standing with the crowd, right beside GALLY. As ALBY's face registers his shock at the betrayal, NEWT looks up, remorseless...<\/scene_description>\n    <character>NEWT<\/character>\n    <dialogue>You're soft, Alby. That was always your problem.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I don't know who to believe anymore, but if I'm going down tonight, I'm going down with my brothers.<\/dialogue>\n    <scene_description>Then, from behind him, NEWT pulls THERESA -- disheveled, trembling -- and hands her over to GALLY. GALLY, now totally unhinged, drags her forward, pointing up at THOMAS...<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>They must be cast out! I've begged you to listen!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But I'm done asking.<\/dialogue>\n    <scene_description>THERESA looks up at THOMAS, terrified. A beat, as ALBY takes the measure of the crowd and realizes he's lost them. He turns to THOMAS...<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>He's right, you know. You've brought nothing but disaster.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALBY'S CLEARING - THE GLADE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Led by GALLY, NEWT and a crew of BAGGERS hauls THOMAS and THERESA out of the clearing, through the shouting, heckling CROWD... CHUCK is running alongside them, shouting at NEWT...<\/scene_description>\n    <character>CHUCK<\/character>\n    <dialogue>You can't do this!!<\/dialogue>\n    <scene_description>Until one of the BAGGERS violently shoves him to the ground. Then, THOMAS spots MINHO and the other RUNNERS heatedly arguing. MINHO is about to step forward into GALLY'S path, who braces himself for a confrontation. But THOMAS looks MINHO in the eye.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Don't. The Glade needs you. Save as many of them as you can.<\/dialogue>\n    <scene_description>MINHO reluctantly holds back, and the BAGGERS drag away \\* THOMAS and THERESA. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE PIT - THE GLADE - NIGHT<\/stage_direction>\n    <scene_description>As they approach the Pit...<\/scene_description>\n    <character>THOMAS<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>I won't let anything happen...<\/dialogue>\n    <character>THERESA<\/character>\n    <dialogue>Why are they doing this? We've only tried to help them...<\/dialogue>\n    <scene_description>GALLY and the BAGGERS stop.<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>Just him.<\/dialogue>\n    <scene_description>NEWT starts pushing THOMAS into the Pit...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Wait!<\/dialogue>\n    <scene_description>...tearing him away from THERESA. THOMAS screams...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Where are you taking her?!<\/dialogue>\n    <scene_description>...as he disappears into the darkness.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEST GATE - THE GLADE - NIGHT<\/stage_direction>\n    <scene_description>MINHO stands watch by the open West gate. He's pacing with a spear and cross-bow strapped across his back. A lit torch is planted in the ground, illuminating the first few feet of the Maze... MINHO stops. The low rumble of what sounds like an oncoming train is approaching. PRELAP... a CLANGING BELL, as...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARK ROOM<\/stage_direction>\n    <scene_description>THERESA sits on the edge of a cot, in a dark, windowless room, somewhere in the Glade. She stands, startled.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE PIT - THE GLADE<\/stage_direction>\n    <scene_description>THOMAS also hears it. He gets up from the tiny cot in his cell and strains to look down the empty hallway...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOMESTEAD CLEARING - THE GLADE<\/stage_direction>\n    <scene_description>MINHO, ARON, and TIM converge from all directions in the \\* Homestead Clearing, which is totally abandoned. NEWT walks out of the trees to greet them...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Gally?<\/dialogue>\n    <character>NEWT<\/character>\n    <dialogue>Wanted to ride it out with his Boys.<\/dialogue>\n    <scene_description>MINHO nods.<\/scene_description>\n    <character>NEWT<\/character>\n    <dialogue>Which Gate?<\/dialogue>\n    <character>MINHO<\/character>\n    <dialogue>All of them.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NORTH, SOUTH, EAST, &amp; WEST GATES - THE GLADE<\/stage_direction>\n    <scene_description>QUICK CUTS... Long lines of glistening GRIEVERS barrelling \\* out of the Maze and into the Glade...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOMESTEAD GROVE - THE GLADE<\/stage_direction>\n    <scene_description>Pure chaos as all the GLADERS crowd into a central cluster of three large tree-houses, connected by elevated walkways. MINHO is the last to climb up, and NEWT pulls up the ladder after him. The BAGGERS and RUNNERS are spreading out along the walkways, armed with a combination of spears, cross-bows, and clubs. Mixed among them are ZACK and several FIELD HANDS, brandishing their tools as weapons. Even WINSTON the cook is wielding a butcher's knife. ALBY takes it all in, clearly sidelined, as CLINT approaches, struggling under the weight of a large satchel. He opens it to reveal the CRYSTAL TUBES that contain the Serum...<\/scene_description>\n    <character>CLINT<\/character>\n    <dialogue>What little that's left...<\/dialogue>\n    <scene_description>ALBY nods, then turns to look inside one of the tree- houses...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CENTRAL TREE HOUSE - HOMESTEAD GROVE - THE GLADE<\/stage_direction>\n    <scene_description>...Twenty of the youngest GLADERS, including CHUCK, are huddled in the crowded space. They look up at ALBY, sheer terror in their eyes. ALBY offers a half-hearted nod of assurance, and closes the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EASTERN FIELDS - THE GLADE<\/stage_direction>\n    <scene_description>A long line of GRIEVERS tears through the Eastern Fields, \\* crushing stalks of wheat, uprooting tomato vines, and sending chunks of soil flying through the air in a maelstrom of destruction...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOMESTEAD GROVE - THE GLADE<\/stage_direction>\n    <scene_description>MINHO, NEWT, and ALBY are side-by-side, waiting. ALBY is resigned, detached. NEWT, adjusting his weapons nervously. MINHO primed and ready. And then, the CRACK, SNAP, and BOOM of nearby trees being mowed down...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Let's take a few of the bastards with us.<\/dialogue>\n    <scene_description>...as the GRIEVERS converge from every direction. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARK ROOM<\/stage_direction>\n    <scene_description>THERESA backs away from the door of her tiny room as, \\* somewhere outside, one of the creatures grows closer, \\* louder...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOMESTEAD GROVE - THE GLADE<\/stage_direction>\n    <scene_description>As the mass of GRIEVERS crowd the base of the tree cluster... A panicked ATLAS turns to NEWT...<\/scene_description>\n    <character>ATLAS<\/character>\n    <dialogue>Now?<\/dialogue>\n    <scene_description>But NEWT hesitates. MINHO steps forward...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Only when they start to climb! Aim for their eyes and their stomachs!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE PIT - THE GLADE<\/stage_direction>\n    <scene_description>THOMAS has flipped over the cot in his cell and is bracing the frame against the wall, furiously trying to stomp it into pieces. Then... A SHRIEK... from down the hall, and he stomps one more time...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOMESTEAD GROVE - THE GLADE<\/stage_direction>\n    <scene_description>...followed by a chorus of SHRIEKS as the front line of \\* GRIEVERS begins to climb the tree trunks. \\*<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Fire! \\*<\/dialogue>\n    <scene_description>THWACK! THWACK! THWACK! THUCK! THUCK! THUCK! The GRIEVERS absorb the arrows and...pause. Then they begin to pulse, as the arrows are pushed back to \\* the surface of their skin. As the last arrow is disgorged and drops to the forest floor below, the creatures continue moving... \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARK ROOM<\/stage_direction>\n    <scene_description>THERESA is crouched in the farthest corner from the door as outside a series of... SHRIEKS... followed by guttural human CRIES...echo... With each CRY she shudders, finally trembling, and no longer able to contain her fear... PRELAP...<\/scene_description>\n    <character>THERESA (O.S.)<\/character>\n    <dialogue>Help me!!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE PIT - THE GLADE<\/stage_direction>\n    <scene_description>As THOMAS freezes in place. He's nearly broken off the longest piece of the cot's frame, but now stands still. He takes a breath, tries to focus...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Theresa, you're doing it again...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARK ROOM<\/stage_direction>\n    <scene_description>THERESA'S face freezes in shock. She's heard him. She concentrates...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>Thomas?<\/dialogue>\n    <character>THOMAS (O.S.)<\/character>\n    <dialogue>It's me...<\/dialogue>\n    <character>THERESA<\/character>\n    <dialogue>How can I hear you?<\/dialogue>\n    <character>THOMAS (O.S.)<\/character>\n    <dialogue>This is what I was talking about! It's some kind of telepathy! Where did they take you?<\/dialogue>\n    <character>THERESA<\/character>\n    <dialogue>I don't know... There was a dead tree --<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE PIT - THE GLADE<\/stage_direction>\n    <scene_description>Her voice trails off in THOMAS' head...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Theresa???<\/dialogue>\n    <scene_description>Now frantic..<\/scene_description>\n    <character>THERESA (O.S.)<\/character>\n    <dialogue>Hurry!<\/dialogue>\n    <scene_description>THOMAS turns back to the cot and delivers one last devastating kick, finally shattering it. THOMAS picks up the longest piece of the cot's frame, a long wooden rod, just as... A GRIEVER slithers in front of the cell, facing him. \\* THOMAS is inches from the beast, and for a moment, they simply stare at each other. Then... The GRIEVER lunges forward, breaking through the bars of the cell, and sending THOMAS slamming into the wall behind him. The GRIEVER'S mouth opens...and SNAP...its STINGER shoots forward, which THOMAS deflects with the rod, sending it into the rock wall, inches from his body. The GRIEVER quickly tries to retract the STINGER, but it won't budge, the barbed tip stuck in place. \\* THOMAS spins off the wall, raises the rod above his head, and brings it down in a crushing blow, which SNAPS the STINGER right in the middle... As the GRIEVER lets out a ROAR of agony, THOMAS sprints by it...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOMESTEAD GROVE<\/stage_direction>\n    <scene_description>The tree cluster is now covered in climbing GRIEVERS, several nearly level with the walkways... MINHO races to where the first GRIEVER is about to overtake a BAGGER, who's clubbing it to no avail... MINHO arrives just as the GRIEVER'S STINGER rockets up, \\* stabbing the BAGGER right through the forehead... As the BAGGER collapses, the GRIEVER pulls itself up onto the walkway, exposing it's belly for a split second... Which MINHO ferociously IMPALES with his spear. He drops his shoulder and lunges forward, sending the GRIEVER flying... MINHO watches in happy disbelief as the GRIEVER crashes to the forest floor below. He looks to his left, and sees... NEWT has witnessed the move...and quickly repeats it...sending another GRIEVER hurling to the ground... MINHO looks to his right and sees... ALBY, completely still amidst the madness, his expression blank. Then, that awful RUMBLE again, and the GRIEVERS below part to let through... A barreling onslaught of rolling GRIEVERS, which collide with the base of the trees, sending splinters of wood exploding into the air... The walkways heave...and a BAGGER loses his footing, plummeting into the seething creatures below. Then, the next GRIEVER impacts, and the tree sways...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GALLY'S GROVE<\/stage_direction>\n    <scene_description>THOMAS races across the field toward Gally's Grove... The overturned tree's massive tangle of roots has been obliterated -- a round tunnel carved right through it, exactly the shape of a rolling GRIEVER... THOMAS slows slightly, then bounds through it...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GALLY'S CLEARING<\/stage_direction>\n    <scene_description>...emerging into GALLY'S clearing, where... The barricades are all overturned, and the shelter lies in a heap of rubble. Several bodies -- dressed in the rags of the CHANGED BOYS -- are scattered amidst the wreckage. But no sign of THERESA. Then, from the trees to his right... a SHRIEK. THOMAS spots a barely visible path and takes off toward it...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STABLES PATH<\/stage_direction>\n    <scene_description>...running past the bodies of three more CHANGED BOYS, laying \\* flat on their stomachs, mowed down from behind. Suddenly SOMETHING dashes out of the trees cutting him off. It's one of the SHEEP from the GLADE'S small herd, which BLEATS, before disappearing... Ahead, THOMAS can see the Stables...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE STABLES<\/stage_direction>\n    <scene_description>...a long building with a central hallway lined with paddocks for the various animals. THOMAS enters. Down the hall to his left, he hears movement \\* in the darkness. He sprints right, past empty paddocks until spotting a fully enclosed room in the back corner. He opens his mouth to shout, when, from inside the room...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARK ROOM<\/stage_direction>\n    <character>THERESA<\/character>\n    <dialogue>Thomas!<\/dialogue>\n    <scene_description>THERESA leaps up just as... THOMAS bursts through the door. THERESA embraces him. A beat, then... SHRIEK!... and THOMAS grabs her hand...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Let's get out of here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOMESTEAD GROVE<\/stage_direction>\n    <scene_description>The central tree cluster buckles one last time under the relentless assault of the GRIEVERS and slowly begins to topple...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CENTRAL TREE HOUSE<\/stage_direction>\n    <scene_description>The huddled GLADERS are all thrown to one side of the room, CHUCK in the middle of the pile, as the floor tips and the entire structure...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOMESTEAD GROVE<\/stage_direction>\n    <scene_description>...goes crashing to the ground, sending the GRIEVERS scattering. All is still for a moment, then... FOCUS ON...CHUCK, bleeding badly from his head, trying desperately to lift a piece of wood that has him pinned down... Nearby, CLINT, dazed, is scrambling to collect the CRYSTAL TUBES, several of which have fallen out of his satchel... BACK TO.. CHUCK, who gives the wood plank one last push, but it doesn't budge, and he closes his eyes, fading into oblivion. Then...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Get up!<\/dialogue>\n    <scene_description>MINHO, lifting the debris, is standing over him, watching several nearby GRIEVERS now slowly retreating back through the forest... Across the clearing... ALBY stands frozen amidst the mayhem. Fallen torches have ignited brush fires all around him, and he stares off into the near distance where the Cook Shed and tables are also burning... Then, ALBY turns and sees MINHO. They lock eyes, and MINHO calls out to him...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Alby!!!<\/dialogue>\n    <scene_description>But ALBY'S face makes it clear he's already surrendered. He ignores MINHO and walks toward the fires. MINHO watches his old friend disappear and takes off with CHUCK toward safety...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STABLES<\/stage_direction>\n    <scene_description>THOMAS and THERESA race back down the Stable's central Hallway. They are about to run out the exit when, from the opposite end of the building...<\/scene_description>\n    <character>GALLY (O.S.)<\/character>\n    <dialogue>No!!!<\/dialogue>\n    <scene_description>...followed by another SHRIEK...and, then BOOM!...a paddock door is blown clear off its hinges. THOMAS and THERESA pause. THOMAS thinks, then pulls THERESA's arm to continue moving. She stands firm.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>He wants us dead!<\/dialogue>\n    <scene_description>THERESA still doesn't move. Off her look...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Fine! But you stay here.<\/dialogue>\n    <scene_description>She ignores that also... THOMAS moves down the dark Hallway, THERESA a few steps behind him, until they can see the GRIEVER slowing forcing GALLY back against the wall. THOMAS looks around frantically, and picks up a three-pronged HAY FORK lying on the ground. THOMAS stops ten feet behind the GRIEVER. GALLY now sees him and stares in disbelief.<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>Why?<\/dialogue>\n    <scene_description>The GRIEVER spins to face THOMAS...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>I'm not what you think I am!<\/dialogue>\n    <scene_description>...and starts inching toward him. THOMAS suddenly lunges and STABS the GRIEVER directly between its glowing red eyes, embedding the HAY FORK deep in its skull. The GRIEVER SHRIEKS in agony...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>C'mon!<\/dialogue>\n    <scene_description>...allowing GALLY to slide past it and regroup behind THOMAS.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Take the girl and get out of here!<\/dialogue>\n    <scene_description>GALLY hesitates a moment, then looks at THERESA...<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>I won't harm you.<\/dialogue>\n    <scene_description>GALLY and THERESA start moving more quickly toward the exit, THERESA keeping an eye on THOMAS who's backing away slowly, trying to keep the GRIEVER'S attention. Suddenly, the GRIEVER swings the still-protruding handle of the HAY FORK at THOMAS... catapulting him into the closest paddock. The GRIEVER turns into the paddock, bearing down on THOMAS, who's trapped, gasping for air, and struggling to stand. The GRIEVER is about to pounce on him, when... SLAM!...THERESA pounds it with a shovel...drawing it away... The GRIEVER turns, rolls up and barrels after her, as she sprints down the Hallway... Just as the GRIEVER is about to overtake THERESA, she suddenly leaps back-and-forth between the walls on either side, grabbing onto a rafter as the creature rumbles past beneath her... THOMAS emerges from the paddock in time to see THERESA complete an acrobatic flip off the ceiling beam, dropping to the floor in a perfect landing. Off THOMAS' look of disbelief, THERESA calmly stands up and together they race outside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAP ROOM - THE GLADE<\/stage_direction>\n    <scene_description>MINHO and NEWT lead a dazed mob of two dozen GLADERS, CHUCK among them, tripping, stumbling, crawling... ...past the Map Room, completely flattened, tattered parchment floating through the air...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EASTERN FIELDS - THE GLADE<\/stage_direction>\n    <scene_description>...finally spilling out of the trees, heading toward the ravaged Eastern Fields...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>We rest here.<\/dialogue>\n    <scene_description>MINHO turns to CLINT...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Treat the stung, first. Then the others.<\/dialogue>\n    <scene_description>CLINT nods. As he moves off into the crowd of walking wounded...<\/scene_description>\n    <character>CLINT (O.S.)<\/character>\n    <dialogue>Anyone need the Serum?!<\/dialogue>\n    <scene_description>NEWT approaches MINHO...<\/scene_description>\n    <character>NEWT<\/character>\n    <dialogue>Sitting ducks out here. They backed off for no reason, no telling when they'll come back.<\/dialogue>\n    <character>MINHO<\/character>\n    <dialogue>We collect whatever water we can can from the aqueducts. Then, I don't know... I guess we keep moving.<\/dialogue>\n    <scene_description>Before NEWT can reply, THOMAS, THERESA, and GALLY emerge -- together -- from another section of trees. MINHO and NEWT stand, stunned, as the group walks toward them. THOMAS surveys the small battered group of remaining GLADERS...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>The others?<\/dialogue>\n    <scene_description>By the look on MINHO's face, THOMAS knows the answer. THOMAS turns back to the survivors...WINSTON is applying pressure to another BOY'S bleeding leg, and ATLAS is helping fashion a splint, while CLINT scurries among them. But there's no sign of ZACK, ARON, TIM and so many other familiar \\* faces.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Alby...<\/dialogue>\n    <scene_description>MINHO shakes his head, his eyes glistening as the anguish overtakes him. THOMAS finally spots CHUCK sitting up, alone in the crowd. His clothes are torn and he's holding his sleeve to his own \\* wounded head. THOMAS turns to THERESA...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>That boy over there, by himself...<\/dialogue>\n    <character>THERESA<\/character>\n    <dialogue>I see him.<\/dialogue>\n    <scene_description>THERESA jogs over to CHUCK, kneeling beside him. NEWT is now simmering, about to challenge THOMAS, but THOMAS preempts him...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Gally was right.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>She and I are different. We can do things I can't explain. And before the Glade, we knew each other.<\/dialogue>\n    <scene_description>GALLY says nothing. NEWT and MINHO are shocked...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>You have memories?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Just a glimpse of the world we came from...<\/dialogue>\n    <scene_description>MINHO can't believe this...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Like what?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Nothing useful. Nothing that will help us get out of here.<\/dialogue>\n    <scene_description>They continue staring at him, expectantly...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>There was ash falling from the sky. People were scared. And my father. He was sending me someplace...<\/dialogue>\n    <scene_description>He trails off as the others absorb this. And then, NEWT snaps, gesturing at the carnage...<\/scene_description>\n    <character>NEWT<\/character>\n    <dialogue>You're the only one who remembers a god damn thing, and you still want us to believe you had nothing to do with this?<\/dialogue>\n    <scene_description>THOMAS sees THERESA is walking back toward them.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Just wait... Let us show you.<\/dialogue>\n    <parenthetical>(to Theresa)<\/parenthetical>\n    <dialogue>You have it?<\/dialogue>\n    <scene_description>THERESA nods and hands over a sheet of paper which THOMAS unfolds. On the page is a sketch of the Maze -- a circle Theresa has divided into six wedges, like slices of a pie. Inside each wedge is a Runic symbol. Five are clear, complete, and one is half-formed...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>The Maze wasn't moving to change up the routes. It was forming these symbols. Theresa found them. The last one's incomplete because the grassland maps aren't finished...<\/dialogue>\n    <scene_description>As MINHO, GALLY, and NEWT take it in...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>We're on your side. I don't know how else to prove it.<\/dialogue>\n    <scene_description>A beat, and then, matter-of-fact...<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>You may be now. But there's a reason you're different. I'm sure of it. \\*<\/dialogue>\n    <scene_description>Now it's MINHO's turn to snap, his frustration with GALLY boiling over...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>It's always the same, isn't it?<\/dialogue>\n    <scene_description>(beat) \\* Even if what you're saying about him is true, what good is it? What the hell's he supposed to do about it? GALLY'S calm, silent. And so is THOMAS. A long beat as he makes a decision.<\/scene_description>\n    <character>THOMAS<\/character>\n    <parenthetical>(to Minho)<\/parenthetical>\n    <dialogue>I can go through the Changing.<\/dialogue>\n    <scene_description>MINHO and THERESA look at THOMAS in disbelief...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>That's insane --<\/dialogue>\n    <character>THERESA<\/character>\n    <dialogue>Thomas...<\/dialogue>\n    <scene_description>But THOMAS cuts them off...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>If Gally's right, it could bring back the rest of my memory. There's a chance I'll remember something we've all been missing.<\/dialogue>\n    <scene_description>THERESA can't believe what she's hearing...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>And what if he's wrong? Please, Thomas...You can't do this...<\/dialogue>\n    <character>MINHO<\/character>\n    <dialogue>What if you see nothing and wake up a zombie?<\/dialogue>\n    <scene_description>Now, NEWT interjects...<\/scene_description>\n    <character>NEWT<\/character>\n    <dialogue>I say it's the least he can do. And I don't care if it kills him.<\/dialogue>\n    <scene_description>MINHO ignores him, focused on THOMAS...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>I'm sorry I let them lock you up, but you don't have to do this! I know who you are...<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>So do I, Min. I'm a Glader.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>A Maze Runner. And escape is all that matters.<\/dialogue>\n    <scene_description>A beat, as THOMAS' resolve sinks in. THERESA turns away from him. NEWT looks up at the sky which is beginning to lighten...<\/scene_description>\n    <character>NEWT<\/character>\n    <dialogue>Where to? Can't stick around here much longer.<\/dialogue>\n    <character>MINHO<\/character>\n    <dialogue>The Maze. More places to disappear if we need to.<\/dialogue>\n    <scene_description>MINHO turns back to THOMAS...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>You can't just walk up to one, hoping it stings you...<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>I have an idea.<\/dialogue>\n    <character>MINHO<\/character>\n    <dialogue>And the hours of pain and torment...<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Gally will help me through it.<\/dialogue>\n    <scene_description>GALLY studies THOMAS and slowly nods. And, MINHO realizes there's no more use arguing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE PIT - THE GLADE<\/stage_direction>\n    <scene_description>THOMAS enters his old cell. He approaches the spot where the GRIEVER'S STINGER was embedded in the rock wall and carefully removes a still glistening needle.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JUNGLE CORRIDOR - THE MAZE - MORNING<\/stage_direction>\n    <scene_description>The surviving GLADERS march through the Maze, THOMAS and MINHO in the lead. NEWT and ATLAS guard the rear, while THERESA and CLINT help along the most severely wounded. The GLADERS, inside the Maze for the first time, stare in awe at its massive Walls and endless corridors. Only GALLY, limping along, keeps his eyes down, blocking out his surroundings...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAZE REFUGE - THE MAZE<\/stage_direction>\n    <scene_description>They finally arrive at a large circular room in the Grasslands, with four passages leading off in the cardinal directions. As THOMAS looks around...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Good chance they won't find us here. At least, not for a while. If they do, we've got options.<\/dialogue>\n    <scene_description>The others spread out, finding soft spots on the mossy ground. THERESA approaches WINSTON...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>Water now. I think most of them can hold out on food for another few hours.<\/dialogue>\n    <scene_description>MINHO, still beside THOMAS, points to one of the passages...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>That's a dead end.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I don't think the others should see- -<\/dialogue>\n    <scene_description>He trails off... THOMAS nods. MINHO takes one last look at him and turns to NEWT...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>C'mon. Let's work out a watch schedule.<\/dialogue>\n    <scene_description>Now GALLY approaches...<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>The process can take hours...<\/dialogue>\n    <scene_description>THOMAS surveys the GLADERS, lingering on THERESA, who's busy passing a canteen.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Let's get started.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHANGING CHAMBER - THE MAZE<\/stage_direction>\n    <scene_description>The Walls of the Maze form a small, square room, where GALLY is driving the last of four spikes into the ground, at the corners of a blanket. Each spike is attached to a rope that will tie down THOMAS' hands and ankles... A CRYSTAL TUBE of SERUM is laid out on a rag, alongside the Griever's STINGER. THOMAS watches as GALLY finishes...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>What's it like? Really...<\/dialogue>\n    <scene_description>GALLY looks up at him.<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>You're wondering if it's worse than death.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Your own? Definitely.<\/dialogue>\n    <scene_description>THOMAS turns away. Then...<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>But, worse than watching your friends slaughtered? Men you've lived beside and cared for? I guess that depends on what kind of man you are.<\/dialogue>\n    <scene_description>A beat as THOMAS absorbs GALLY's words. Then...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>And, what if I'm not as strong as you?<\/dialogue>\n    <scene_description>GALLY thinks, and for a moment, seems to soften.<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>Strength comes from purpose.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Alby knew that better than anyone. It's why we followed him. Loved him. At least why I did.<\/dialogue>\n    <scene_description>Suddenly, THERESA emerges at the threshold of the room...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>Can I have a minute?<\/dialogue>\n    <scene_description>GALLY gives THOMAS one last look, his face pained and hard again, before he exits. THERESA sees the spikes in the ground and, under her breath...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>Looks cozy...<\/dialogue>\n    <scene_description>THOMAS is not sure what to say.<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>What are you hoping to see, exactly?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>A big 'Exit' sign too much to ask for?<\/dialogue>\n    <scene_description>She doesn't even smile.<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>Don't do it Thomas.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>There's no guarantee it'll help, and you could lose your mind like the rest of them. Best case, you'll end up like Gally!<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>I don't know...The whole bitter lunatic vibe is growing on me.<\/dialogue>\n    <scene_description>THERESA begins to tremble, and he realizes how upset she is...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>I'm sorry. I didn't mean to--<\/dialogue>\n    <character>THERESA<\/character>\n    <dialogue>We can hear each other's thoughts Thomas! That means something! If you do this, we might never find out how, or why...<\/dialogue>\n    <scene_description>THOMAS can't bring himself to lie and reassure her. He looks at the ground...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>I have to try. This is bigger than us. Those guys out there are counting on me.<\/dialogue>\n    <scene_description>She steps closer. THOMAS looks up at her..<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>If I lose you, I'll lose the only real thing that's left in me.<\/dialogue>\n    <scene_description>From THERESA'S searching brown eyes we... FLASH TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIDEWALK - DAY<\/stage_direction>\n    <scene_description>Those same eyes...on a thirteen-year-old girl, standing in the second-story window of that brick townhouse. THERESA'S POV this time, looking out on the street below, where a young THOMAS stands amidst a gentle shower of white snowflakes, staring back at her. THERESA presses her hand to the window, reaching out to her best friend, her soulmate, as we...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHANGING CHAMBER - THE MAZE<\/stage_direction>\n    <scene_description>THOMAS, now directly in front of her, their faces inches apart. His lips don't move...<\/scene_description>\n    <character>THOMAS (V.O.)<\/character>\n    <dialogue>What did you see?<\/dialogue>\n    <scene_description>And neither do her's...<\/scene_description>\n    <character>THERESA (V.O.)<\/character>\n    <dialogue>Tom... I saw you.<\/dialogue>\n    <scene_description>And they KISS, with the combined passion of both the first and what-could-be the last time.<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>I feel like I was sent here for a reason. To stop you from doing this...<\/dialogue>\n    <scene_description>For a beat, it looks like THOMAS might cave. But then...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>I lost you once before and still managed to find you. Here, in the worst place imaginable. I'll find you again. I promise.<\/dialogue>\n    <scene_description>THERESA backs away, devastated.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHANGING CHAMBER - THE MAZE - LATER<\/stage_direction>\n    <scene_description>THOMAS is on his back, tied to the stakes, a piece of wood between his teeth to bite down on. GALLY slowly slides the Griever stinger into the soft side of THOMAS' elbow, holding the needle in his flesh as the black venom courses into him, darkening his veins as it spreads. As THOMAS' teeth clench, he throws his head to one side, spitting out the wood in agony. GALLY raises the molten, yellow Serum to his lips and THOMAS devours it. GALLY lays down the empty CRYSTAL TUBE. THOMAS turns to it, and for the first time, can clearly see his own reflection. A beat as THOMAS stares at his own face, then... THOMAS' entire body spasms like he's being electrocuted. His pupils suddenly blow, overtaking the whites of his eyes as we... FLASH TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARRACKS<\/stage_direction>\n    <scene_description>...a cavernous hanger filled with bunk beds, stacked three high, row after row, a seemingly endless warehouse of...SLEEPING CHILDREN. We arrive at THOMAS, filthy and gaunt...who bolts upright as a flashlight shines directly in his face...<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Congratulations, Thomas.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You've been Chosen.<\/dialogue>\n    <scene_description>FLASH TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LABORATORY<\/stage_direction>\n    <scene_description>...THOMAS, now cleaned up and healthy, stares through a glass partition at a thrashing GRIEVER bracketed to the floor of a sterile white laboratory... A robotic arm swings into view, carrying one of the CRYSTAL \\* TUBES filled with the Serum. But this TUBE feeds a syringe \\* which is now inches from the creature's flesh. The syringe \\* primes itself...and a single drop of familiar yellow fluid falls to the laboratory floor. The GRIEVER, frantic with fear, lets out a bloodcurdling SHRIEK, as that VOICE whispers...<\/scene_description>\n    <character>VOICE (O.S.)<\/character>\n    <dialogue>Remember...<\/dialogue>\n    <scene_description>FLASH TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRIEVER HIVE<\/stage_direction>\n    <scene_description>...the Hive, viewed from the other side of that steel door. Heavy cranes, steel beams, and other construction equipment sits idly in the eerie, cavernous space... From inside the Hive, a mechanized voice...<\/scene_description>\n    <character>COMPUTER<\/character>\n    <dialogue>Locking Code Correct.<\/dialogue>\n    <scene_description>...and the door SLAMS shut... FLASH TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOMESTEAD - THE GLADE<\/stage_direction>\n    <scene_description>...a MYSTERY POV moves through the familiar structures of the Glade, but something is different. The shelters look less worn, the trees they hang in, younger. And scattered on the ground, as far as the eye can see, there are BODIES. We walk over the CORPSES, toward the only audible sound...a soft, plaintive whimpering. Finally, behind one of the largest trees, we find its source: THOMAS is cradling THERESA, who's curled in the fetal position. Their clothes are ripped, and they're covered in blood.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>You failed. \\*<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And now the others are dead. Every last one of them...<\/dialogue>\n    <scene_description>THOMAS rocks back and forth...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>I'm sorry...I'm so sorry...<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Don't be sorry, Thomas. Just get it right the next time.<\/dialogue>\n    <scene_description>FLASH BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAZE REFUGE<\/stage_direction>\n    <scene_description>...THERESA and CHUCK, huddled beside each other, as THOMAS lets out a tortured SCREAM that echoes throughout the Maze... THERESA clenches her hands over her ears, burying her head in her lap, trying to drown out the sound of THOMAS' agony as we... FADE OUT.: FADE IN:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHANGING CHAMBER - THE MAZE - DUSK<\/stage_direction>\n    <scene_description>THOMAS' POV...through a groggy haze: A gray sky. All around, stone Walls rising impossibly high. THOMAS slowly sits up, unsteady, as his vision slowly comes into focus. He sees GALLY approaching with a canteen of water. THOMAS' voice is dry, cracking...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>They'll keep sending us. They'll keep killing more kids til we solve it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAZE REFUGE - THE MAZE - DUSK<\/stage_direction>\n    <scene_description>The GLADERS are all hunkered down, some sleeping, others leaning against the Walls, nervous, waiting. CHUCK is studying a cross-bow, awkwardly pretending to aim it. MINHO, NEWT, and ATLAS are each stationed at one of the entrances to the room. THERESA is seated by the passage to the dead end, keeping vigil for THOMAS. CHUCK lowers the crossbow, MINHO turns, and slowly everyone stares as... THOMAS steps into the circle, GALLY behind him. He bears the mark of a terrible ordeal, his face more creased, like he's aged half-a-decade. THERESA rushes to embrace him. But THOMAS stands stiff, unsure how to react, as THERESA wraps her arms around him. She steps back...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>Thomas? Are you okay?<\/dialogue>\n    <scene_description>THOMAS looks in her eyes, but there's no warmth in his \\* expression. \\*<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>I'm fine.<\/dialogue>\n    <scene_description>He's all business. THERESA, hurt and confused, moves away, while THOMAS scans the room for CLINT.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>The Serum. How much is left of it?<\/dialogue>\n    <scene_description>CLINT doesn't reply, still shocked THOMAS can speak.<\/scene_description>\n    <character>CLINT<\/character>\n    <dialogue>I --<\/dialogue>\n    <scene_description>But THOMAS is single-minded...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Clint, we don't have much time. It's almost dark out there.<\/dialogue>\n    <scene_description>CLINT glances at the satchel of CRYSTAL TUBES on the ground next to him...<\/scene_description>\n    <character>CLINT<\/character>\n    <dialogue>There were twenty tubes that rose with the first Box. After last night we were down to eight. I guess now seven...<\/dialogue>\n    <character>NEWT<\/character>\n    <parenthetical>(disgusted)<\/parenthetical>\n    <dialogue>You wanna get stung again? This is ridiculous...<\/dialogue>\n    <scene_description>THOMAS turns to NEWT.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>The Serum counteracts the Griever venom. It heals us. At least, that's how this group chose to use it.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But that's not all it does...<\/dialogue>\n    <scene_description>MINHO's beginning to understand...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>It counteracts the Griever venom...<\/dialogue>\n    <scene_description>THOMAS looks at him...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>For us, it's medicine. For them, it's poison.<\/dialogue>\n    <scene_description>MINHO considers this...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Even if we can kill some of them, that only keeps us alive a few days longer...<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>We have to fight our way into the Hive. The symbols are an access code...the combination to open that door.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>We have five of the six. We'll have to get lucky on the last one...<\/dialogue>\n    <scene_description>MINHO digests the difficulty of what THOMAS is proposing. ATLAS doesn't like one word of it...<\/scene_description>\n    <character>ATLAS<\/character>\n    <dialogue>Why should we believe you? You could be leading us into a trap! Making it easier for them to finish us!<\/dialogue>\n    <scene_description>THOMAS is about to answer when GALLY steps forward.<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>Whoever Thomas once was, today he saw the path to salvation. So, let's not waste it.<\/dialogue>\n    <scene_description>THOMAS turns to MINHO...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>We can dip the spears and arrows, but there's only enough Serum to arm a few of us.<\/dialogue>\n    <scene_description>MINHO nods, then turns to GALLY...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>You and Atlas hole up someplace safe with the group. Thomas, Newt and I will assault the Hive, try to buy enough time to enter the code somehow.<\/dialogue>\n    <scene_description>GALLY nods.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>When the door opens, we'll come back for everyone.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAZE REFUGE - NIGHT<\/stage_direction>\n    <scene_description>As the last light fades from the sky, CLINT pours a TUBE of Serum into a bucket, as MINHO and NEWT carefully dip arrows, laying them out to dry. CLINT reaches back into the satchel for another TUBE, but finds it's empty...<\/scene_description>\n    <character>CLINT<\/character>\n    <dialogue>There should be one more...<\/dialogue>\n    <character>NEWT<\/character>\n    <dialogue>Must have gotten lost at the Homestead...<\/dialogue>\n    <scene_description>GALLY wanders among the other GLADERS, helping them strap on packs of water and other supplies. Even ATLAS goes from boy to boy, offering words of encouragement. CHUCK cautiously approaches THOMAS, who stands off to the side, in quiet contemplation...<\/scene_description>\n    <character>CHUCK<\/character>\n    <dialogue>Thomas?<\/dialogue>\n    <scene_description>THOMAS is forced, curt...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Hi, Chuck.<\/dialogue>\n    <character>CHUCK<\/character>\n    <dialogue>You think we might really be going home?<\/dialogue>\n    <scene_description>THOMAS nods, still distant...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>We're close. That I'm sure of.<\/dialogue>\n    <character>CHUCK<\/character>\n    <dialogue>I just really hope my parents remember me.<\/dialogue>\n    <scene_description>THOMAS seems unsure what to do with the emotion. He looks at CHUCK like he's trying to recall what empathy feels like.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Whatever happens tonight, just be careful.<\/dialogue>\n    <scene_description>CHUCK looks up at THOMAS waiting for more words of encouragement. But he's met only with awkward silence. THOMAS walks away, now approaching THERESA, who's helping WINSTON pack up the last of the rations. She stands to greet him...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>Now you want to talk to me?<\/dialogue>\n    <scene_description>THOMAS is flat, matter-of-fact...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>There's something you need to know.<\/dialogue>\n    <scene_description>Reluctantly, THERESA follows him...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHANGING CHAMBER - THE MAZE<\/stage_direction>\n    <scene_description>...into a corner where they can be alone. She stares at him, hurt and silent. THOMAS takes a breath and confesses...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>You and I...We were here before. With another group of kids. And because of us, those kids are dead now.<\/dialogue>\n    <scene_description>She gasps, absorbing the blow... \\*<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>The people who built the Maze...They selected us. Separated us from the others and gave us...special skills. We were too young to understand anything. We must have thought it was a game.<\/dialogue>\n    <scene_description>THERESA looks like she's going to be ill. But THOMAS shows no compassion.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>We have a chance to get it right now. But I need you to focus.<\/dialogue>\n    <scene_description>A long beat as THERESA remains silent, reeling. Then...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>You don't feel anything for me anymore, do you?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>I don't know Theresa. I just feel \\* different. \\*<\/dialogue>\n    <scene_description>THERESA absorbs this.<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>I hope you're right about \\* everything. I hope it was worth \\* it.<\/dialogue>\n    <scene_description>But, before she can walk away, THOMAS reaches out for her.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>There's something else, Theresa.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Getting through that Hive. It's just the beginning.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOULDER ROOM - THE MAZE - NIGHT<\/stage_direction>\n    <scene_description>THOMAS, MINHO, and NEWT armed with poison-tipped cross-bows and spears, are perched at the portal to the GRIEVER corridor, the rumbling sound of the passing creatures disappearing down the ramp and out into the Maze...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Figure twenty minutes before they realize the Glade's empty, turn back, and start hunting.<\/dialogue>\n    <scene_description>THOMAS nods his agreement. He looks down the mound of boulders to the ground below, where THERESA, ATLAS and the \\* remainder of the GLADERS are crowded together, hidden among the rocks. When THOMAS looks back up, MINHO's taken off his armband...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Lead Maze Runner's always worn it.<\/dialogue>\n    <scene_description>Before he can object, MINHO grabs THOMAS' arm and slides it on. For a beat THOMAS studies the band, absorbing both the honor and the responsibility. Then, he looks back to MINHO...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>I'm right behind you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRIEVER CAVERN - NIGHT<\/stage_direction>\n    <scene_description>THOMAS, MINHO, and NEWT walk slowly toward the now familiar opening to the Griever Hive cavern. But as they approach, all is quiet. MINHO and THOMAS trade looks.<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Where's the welcoming committee?<\/dialogue>\n    <scene_description>They keep moving...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTRANCE CHAMBER - GRIEVER CAVERN<\/stage_direction>\n    <scene_description>...into the entrance chamber, which is also empty. THOMAS gestures toward the back and the Hive itself. The three crowd around the opening and look inside...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HIVE - GRIEVER CAVERN<\/stage_direction>\n    <scene_description>...where two dozen GRIEVERS pulsate throughout the cavernous \\* space. Most are clustered at the far end, near the steel door. NEWT looks at THOMAS.<\/scene_description>\n    <character>NEWT<\/character>\n    <dialogue>Don't worry. If you're wrong about this, Grievers won't get you. I'll kill you myself.<\/dialogue>\n    <scene_description>THOMAS begins uncoiling a rope...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAZE REFUGE - THE MAZE<\/stage_direction>\n    <scene_description>GALLY and ATLAS stand watch, while THERESA huddles quietly with the other GLADERS, tense, waiting... Suddenly, a massive RUMBLING approaches...the sound of dozens of GRIEVERS racing toward them... \\* THERESA stands up...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>I thought we had more time...<\/dialogue>\n    <scene_description>...as GALLY turns back to the group...<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>They've found us...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HIVE - GRIEVER CAVERN<\/stage_direction>\n    <scene_description>NEWT slowly lowers THOMAS into the chamber, while MINHO stands alert, cross-bow at the ready... THOMAS drops off the rope on the hard floor. Several of the closest GRIEVERS spin to face him... The nearest GRIEVER is about twenty feet away and now fast approaching. From above...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>You want me to take him?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>No. I wanna do this up close.<\/dialogue>\n    <scene_description>The GRIEVER slithers forward.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRASS CORRIDOR - THE MAZE<\/stage_direction>\n    <character>GALLY<\/character>\n    <dialogue>FASTER!<\/dialogue>\n    <scene_description>GALLY pushes frantically through a corridor of grass stalks, as every other step... SNAP! ...he uses his SPEAR to trigger a THORN TRAP. Behind him THERESA and ATLAS do their best to herd along the GLADERS. As they send along the last of the stragglers... SHRIEK! THERESA and ATLAS look back to see...the GRASS behind them parting... And the GRIEVERS rolling toward them...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HIVE - GRIEVER CAVERN<\/stage_direction>\n    <scene_description>THOMAS, aiming his cross-bow, stares down the GRIEVER, now ten feet away. He shouts up to MINHO and NEWT...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>You ever notice? These things smell awful...<\/dialogue>\n    <scene_description>...and fires...THWAP! THUCK! The Serum-soaked arrow embeds in the GRIEVER'S flesh. The GRIEVER stops moving and SHRIEKS...then begins slowly pulsing, and...expels the arrow, which falls to the floor.<\/scene_description>\n    <character>NEWT<\/character>\n    <dialogue>Great...<\/dialogue>\n    <scene_description>THOMAS can't believe it. He starts back pedaling as the GRIEVER continues at him... \\*<\/scene_description>\n    <character>THOMAS<\/character>\n    <parenthetical>(panicked)<\/parenthetical>\n    <dialogue>No...<\/dialogue>\n    <scene_description>And then...the GRIEVER once again STOPS. Its mouth opens wide, and its STINGER shoots forward, stopping inches from \\* THOMAS' face. For a brief moment, THOMAS stares directly past the needle into the GRIEVER'S glowing red eyes. And, then, its gelatinous body begins sinking into the floor, dissolving into a bubbling puddle of tar-like slime, its solid STINGER finally crashing to the ground, a harmless \\* piece of debris. A long beat as THOMAS, MINHO, and NEWT stare in disbelief at the first dead GRIEVER they've ever seen. Then, one-by-one, every other GRIEVER in the cavern turns to face THOMAS and what's left of their fallen comrade.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Looks like we got their attention.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STONE CORRIDOR - THE MAZE<\/stage_direction>\n    <scene_description>The fleeing GLADERS now emerge into a bare Stone Corridor, and GALLY pulls up short...at the edge of BREAKAWAY section. From the rear...<\/scene_description>\n    <character>ATLAS<\/character>\n    <dialogue>Why are you stopping?<\/dialogue>\n    <scene_description>GALLY looks down the corridor and sees a CHECKERBOARD of dark patches all the way to the end of it. THERESA comes up beside him...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>What's the problem?<\/dialogue>\n    <scene_description>GALLY stomps on the closest BREAKAWAY and it falls into the abyss. THERESA stares horrified.<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>There has to be another way...<\/dialogue>\n    <scene_description>GALLY thinks a beat, then...<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>Send the word back -- everyone follow my footsteps exactly!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HIVE - GRIEVER CAVERN<\/stage_direction>\n    <scene_description>THOMAS stands facing the horde of GRIEVERS, MINHO and NEWT now beside him. The creatures have crowded together, but otherwise are still, seemingly passive...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>You think they want to surrender?<\/dialogue>\n    <scene_description>But, with that, the entire hive begins to slowly vibrate, and one-by-one, each GRIEVER seems to BLEND INTO the creature next to it, forming one growing MASS...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Uh. Oh.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STONE CORRIDOR<\/stage_direction>\n    <scene_description>Most of the GLADERS have reached the end of the minefield, but CHUCK is at the back of the pack, still navigating the BREAKAWAYS, drenched in flop sweat. CHUCK takes a step and STUMBLES, his foot falling through the floor, his entire body lurching toward the darkness. But THERESA grabs his arm and pulls him to safety. As they take the last few steps to solid ground, they look back to see...the first in the line of GRIEVERS, barreling into the corridor and then...DROPPING through a BREAKAWAY into the darkness. The other GRIEVERS halt. THERESA turns to GALLY...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>Did we stop them?<\/dialogue>\n    <scene_description>In response, the next GRIEVER just climbs up the vertical wall and, parallel to the ground, begins slithering toward them...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HIVE - GRIEVER CAVERN<\/stage_direction>\n    <scene_description>THOMAS, MINHO and NEWT cower, as the HIVE GRIEVERS have combined into a enormous, teeming, SWARM, towering above them. And then...the SWARM slowly begins to take FORM... Morphing into razor-sharp CLAWS. A NEEDLE-covered torso. A swinging TAIL coated in still more poisonous STINGERS... ...until a massive SCORPION-like creature now stands between them and the doorway. A QUEEN GRIEVER.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>These things are full of surprises.<\/dialogue>\n    <scene_description>MINHO runs forward, raising his crossbow...and THWAP!...fires an arrow into the creature's side. The QUEEN takes a wild swing with its CLAW, sending MINHO diving to avoid it...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOULDER ROOM - THE MAZE<\/stage_direction>\n    <scene_description>The GLADERS race through the Boulder Room, dodging the FLAMEBURSTS that erupt every few feet around them... ...finally arriving beneath the portal. GALLY shouts to ATLAS...<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>How much time do we have?<\/dialogue>\n    <scene_description>...as he begins ushering the GLADERS up the boulder pile. ATLAS hops on a rock to play lookout, but he's hardly got his balance when...a GRIEVER collides with him, and he goes flying... ATLAS falls hard on the burnt ground, dropping his spear, and the GRIEVER lands feet from THERESA. But before the creature can attack...ATLAS rolls over and fires his cross-bow... THWAP! THWAP! THWAP! and the GRIEVER dissolves before them. As ATLAS struggles to reload his bow, two MORE GRIEVERS come slithering toward them... Then, THERESA spots ATLAS' spear laying in the dirt. She picks it up, and charges forward, swinging it wide like a sword, slicing through both the GRIEVERS.. As the creatures melt, THERESA runs past ATLAS to the boulder pile and starts climbing up behind the last of the GLADERS. THERESA looks back to make sure ATLAS is following, in time to see... Another GRIEVER launching itself from on top of the rock. ATLAS tosses THERESA his quiver of remaining arrows, as the GRIEVER lands on top of him, ripping him to pieces.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HIVE - GRIEVER CAVERN<\/stage_direction>\n    <scene_description>THWAP! THWAP! THWAP! THOMAS, MINHO, and NEWT are now spread out around the cavern floor...taking turns firing at the QUEEN from different directions... THOMAS shouts...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Not sure we can kill it!<\/dialogue>\n    <character>MINHO<\/character>\n    <dialogue>Maybe not! But we can try to distract it!<\/dialogue>\n    <scene_description>THWAP! MINHO lets off another arrow...and the QUEEN once again lunges after him... THOMAS eyes the steel door. There's narrow lane past the QUEEN through which he might be able to reach the exit...<\/scene_description>\n    <character>NEWT<\/character>\n    <dialogue>You waiting for an invitation?!<\/dialogue>\n    <scene_description>THOMAS bolts...as THWAP! THWAP! MINHO and NEWT unleash a storm of arrows... THOMAS is almost past the QUEEN, when it realizes what's happening... The QUEEN swings its barbed TAIL in his direction... but THOMAS LEAPS over the hurtling mass of NEEDLES...and tumbles to safety... As he peels himself up, he faces the 'DOOR' -- a massive steel plate embedded seamlessly in the rock before him.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Now what?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRIEVER EXIT CORRIDOR - THE MAZE<\/stage_direction>\n    <scene_description>THERESA drops off the rope into the Griever's exit corridor, where GALLY and the other GLADERS are waiting. GALLY gestures to the Tunnel entrance in the distance...<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>They're onto us. Might as well make our stand in the Hive with the others...<\/dialogue>\n    <character>THERESA<\/character>\n    <dialogue>But we don't know how to get there...<\/dialogue>\n    <scene_description>Then, a high-pitched WHINE from the opposite end of the corridor, as the floor opens up, spewing out a rolling GRIEVER. The GLADERS all race toward the Tunnel, GALLY helping usher them inside. As THERESA is about to climb through, she looks back in time to see... CHUCK has fallen. He's alone, twenty feet back in the corridor, the GRIEVER bearing down... THERESA'S about to run to his rescue, when GALLY grabs the poisoned spear in her hand...<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>I'll go.<\/dialogue>\n    <scene_description>THERESA hesitates.<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>I never believed I was going home. And I can buy you some time.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You must show them the way. \\*<\/dialogue>\n    <character>THERESA<\/character>\n    <dialogue>How?<\/dialogue>\n    <scene_description>GALLY points to his head... \\*<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>Thomas can tell you. \\*<\/dialogue>\n    <scene_description>Before THERESA can answer, GALLY has the spear. He charges forward...slamming the weapon into the GRIEVER'S forehead just before it reaches CHUCK...... CHUCK struggles to his feet and races toward THERESA, who helps him into the Tunnel... She turns back to see GALLY watching the creature melt, as more GRIEVERS roll up from the ramp. GALLY looks back at THERESA one last time.<\/scene_description>\n    <character>GALLY<\/character>\n    <dialogue>Tell Thomas I was wrong about him. And I'm sorry.<\/dialogue>\n    <scene_description>GALLY smiles -- euphoric -- and then marches toward the GRIEVERS and certain death.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HIVE - GRIEVER CAVERN<\/stage_direction>\n    <scene_description>BOOM! The QUEEN slams its massive CLAW into the wall, as NEWT dives to avoid it.<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>I think it's slowing down! We just need to get enough serum in it's system...<\/dialogue>\n    <character>NEWT<\/character>\n    <dialogue>Only two more arrows in my bow.<\/dialogue>\n    <character>MINHO<\/character>\n    <dialogue>I've got three.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Thomas?<\/dialogue>\n    <scene_description>But THOMAS is focused entirely on the 'DOOR.' As he takes another step closer, the DOOR shimmers and it becomes one massive SCREEN -- a digital image of the Maze right in its center, surrounded by thirty Runic symbols... For a moment, THOMAS hesitates. And then an idea... He finds the first symbol THERESA decoded, and drags it onto the Maze image, exactly where it was revealed by the Maps. The symbol glows green and stays in place.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Ok...<\/dialogue>\n    <scene_description>THWAP! THWAP!...MINHO and NEWT each fire simlutaneously... MINHO shouts to THOMAS, who's now got three symbols in place and hunting for the fourth...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Any luck?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Working as fast as I can...<\/dialogue>\n    <character>MINHO<\/character>\n    <dialogue>Work faster...<\/dialogue>\n    <scene_description>THWAP!<\/scene_description>\n    <character>NEWT<\/character>\n    <dialogue>I'm out...<\/dialogue>\n    <scene_description>The QUEEN lunges at NEWT, backing him into a corner... Then... THWAP! THWAP!...MINHO fires the last of his arrows drawing its attention... THOMAS steps back from the door, five symbols in place. He studies THERESA'S incomplete sketch of the last one. Then looks back to the remaining choices around the perimeter of the SCREEN. There's at least three symbols that could match it. Closes his eyes a beat. Picks one and drags it onto the Maze...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>C'mon...<\/dialogue>\n    <scene_description>A beat, the symbol glows red and then... the whole screen resets. THOMAS explodes...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Damn it!!!<\/dialogue>\n    <scene_description>SLAMMING his fist into the still-closed door, then turning to find both MINHO and NEWT backing toward him, the QUEEN bearing down on all of them... THWAP!...THOMAS fires and, for a moment, the QUEEN slows, but quickly recovers... THOMAS slings his empty bow over his shoulder. He, MINHO, and NEWT now have only their spears as The QUEEN surges forward... THOMAS runs at the QUEEN, wind-milling his spear to parry its CLAWS... And then... THOMAS leaps into the air, stabs the center of the QUEEN'S torso, straight through, top-to-bottom, and pushes off the spear, vaulting over it... For a beat the QUEEN is pinned to the ground, but it bucks furiously, rotating to face THOMAS. NEWT and MINHO try to engage, but, the QUEEN whips its TAIL in a fury, knocking their spears from their hands and sending the weapons scattering to a far corner... Now, THOMAS, NEWT, and MINHO all stand unarmed... Exhausted, ready to give up...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Any more ideas?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>As a matter of fact...<\/dialogue>\n    <scene_description>THUD! A quiver of poison arrows lands at THOMAS' feet. From above...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>I told you we were close.<\/dialogue>\n    <scene_description>The QUEEN now makes a final charge at THOMAS, barrelling toward him... As he crouches, loads the arrows, and fires them off... THWAP! THWAP! THWAP! ...landing all three in its forehead. The QUEEN'S legs buckle and it barrels into the ground, inches from THOMAS, dissolving in a massive puddle. For a beat, all is quiet. Then THERESA slides down the rope.<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>Let's take another look at this door, shall we?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HIVE - GRIEVER CAVERN - MOMENTS LATER<\/stage_direction>\n    <scene_description>MINHO and NEWT divide up the remaining arrows from ATLAS'S old quiver, while CLINT and WINSTON hold the rope steady, as the last of the GLADERS slide down into the Hive. THOMAS stands beside THERESA, entering the first five symbols, while she studies the KEYBOARD... When he's ready for the last one... Without hesitation, THERESA points to one of the symbols... He looks at her...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>I'm positive.<\/dialogue>\n    <scene_description>He smiles, about to select it, when...<\/scene_description>\n    <character>VOICE (O.S.)<\/character>\n    <dialogue>I should have banished you both from the start!<\/dialogue>\n    <scene_description>THOMAS and THERESA turn to see... ALBY. He's standing at the base of the rope, armed with a loaded cross-bow. His clothes are torn, his hair almost completely white...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>You're alive...<\/dialogue>\n    <character>ALBY<\/character>\n    <dialogue>And awake for the first time.<\/dialogue>\n    <character>THERESA<\/character>\n    <dialogue>Are you hurt?<\/dialogue>\n    <scene_description>ALBY now raises the cross-bow and aims it at THOMAS. The other GLADERS gasp...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>He's been Changed.<\/dialogue>\n    <character>ALBY<\/character>\n    <dialogue>After I was stung in the Homestead, I was happy to die. But then I stumbled on some Serum in the wreckage. All those years listening to Gally rant and rave... Thought I'd get a taste.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Turns out the mad man was right about everything after all...<\/dialogue>\n    <scene_description>THOMAS is now holding up his hands defensively...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Put down the bow, Alby. Whatever you think you saw, I can explain...<\/dialogue>\n    <scene_description>But ALBY is maniacal...<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>I built something here. Something extraordinary and they took it away!! All these years trying to escape...This is the escape from out there!<\/dialogue>\n    <scene_description>WINSTON and many of the GLADERS turn to THOMAS...<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>What's he talking about? Where are you taking us?<\/dialogue>\n    <scene_description>ALBY faces the GLADERS...<\/scene_description>\n    <character>ALBY<\/character>\n    <dialogue>We can stay. We'll live in the Maze, fight the Grievers...<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>It's over Alby...<\/dialogue>\n    <character>ALBY<\/character>\n    <dialogue>Don't believe him! He belongs in the Pit! He violated the Laws! Listen to me!!!<\/dialogue>\n    <scene_description>ALBY starts to shake, then takes a breath and focuses the bow back on THOMAS... TWHWAP!<\/scene_description>\n    <character>CHUCK<\/character>\n    <dialogue>No!!<\/dialogue>\n    <scene_description>And CHUCK dives in front of THOMAS, taking the arrow directly in his heart. THOMAS catches CHUCK, as... THWAP! An arrow pierces ALBY in the gut, and he falls to the ground. All the GLADERS' turn to NEWT, who fired and took ALBY down. A long beat, then...<\/scene_description>\n    <character>NEWT<\/character>\n    <dialogue>Been listening for too long. Time to see, with our own eyes.<\/dialogue>\n    <scene_description>THOMAS, cradles CHUCK, who looks up at him, life slipping away...<\/scene_description>\n    <character>CHUCK<\/character>\n    <dialogue>If you find my mom and dad. Tell them I was the best Field Hand in the Glade.<\/dialogue>\n    <scene_description>THOMAS' hardened demeanor softens and we get a glimpse of the boy he was before the Changing.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>I'll tell them you were a hero, Chuck. Braver than all the Runners.<\/dialogue>\n    <scene_description>Suddenly from above, a SHRIEK...and a GRIEVER drops into the Cavern. Then ANOTHER... THERESA turns back to the door and drags the final symbol into place. All six symbols glow green on the image of the Maze. Then, the screen goes blank. And finally, it reads: \"MAZE TRIAL: COMPLETE.\" A beat, then the ground begins to SHAKE, and the steel door rises out of the rock, and rolls to the side, revealing a platform. THERESA steps inside and looks up.<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>It's an elevator! C'mon!<\/dialogue>\n    <scene_description>The GLADERS hesitate half-a-beat, but with little choice, they pile inside, as MINHO and NEWT do their best to ward off the GRIEVERS with the remaining arrows. As they back into the elevator...<\/scene_description>\n    <character>THERESA<\/character>\n    <dialogue>Thomas!!!<\/dialogue>\n    <scene_description>THOMAS looks to her, then one last time at CHUCK whose eyes flutter close. He lays down the boy's body and jumps on the elevator platform, just as it begins to rise...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR<\/stage_direction>\n    <scene_description>THOMAS, THERESA, NEWT, and the GLADERS stand silent, somber as the elevator slows to a stop before another steel door. The door opens. And the GLADERS all stare in AWE...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONTROL ROOM<\/stage_direction>\n    <scene_description>...at a sterile, white room, lit by overhead fluorescents, and split in half by a glass partition. Behind the glass, a massive wall of monitors stream aerial images of the now- empty Maze and Glade from every conceivable angle. And seated before those monitors, at an elaborate computer terminal are a dozen ADULTS in white lab coats. Everything about the setting is sleek, modern, in stark contrast to the natural materials of the Maze and Glade. As the GLADERS file out of the elevator and into the room, several of the ADULTS turn around and approach the glass. For a beat, the GLADERS and the ADULTS simply stare at each other. Then, one of the ADULTS, a kind-looking WOMAN presses a button on the terminal behind her, and an intercom is activated.<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Welcome home.<\/dialogue>\n    <scene_description>The GLADERS remain silent, stunned...<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Congratulations, Thomas! And to you all on a wonderful achievement. The first Group to complete the Maze! And not just complete it...We never thought so many would survive!<\/dialogue>\n    <scene_description>MINHO steps forward...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>What the hell is going on? Who are you people?<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Mr. Minho. Agile, strong, calm under crushing pressure. You \\* should be very proud.<\/dialogue>\n    <character>NEWT<\/character>\n    <dialogue>Proud? Half our friends are dead...<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>And, yet, even in the end, when we accelerated the stimuli, you kept going. You insisted on maintaining order, enforcing Laws. Mr. Minho and his Runners kept mapping a shifting Maze that couldn't be solved. Every day, men did back- breaking work in the fields, labored to erect structures with few tools and meager supplies. And why?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Because they never gave up.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>That's right Thomas. Never stopped looking for a solution.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <character>WOMAN<\/character>\n    <dialogue>And you! Viewed at first with contempt, then suspicion, but finally rising to their lead. Proving yourself willing to sacrifice everything in order to save your flock.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You are worthy of the task for which you've been groomed.<\/dialogue>\n    <scene_description>MINHO looks at THOMAS, confused.<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>I don't understand...who are these people?<\/dialogue>\n    <scene_description>Now a BALD MAN steps up next to the WOMAN.<\/scene_description>\n    <character>BALD MAN<\/character>\n    <dialogue>We are The Consortium.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Humanity's last hope.<\/dialogue>\n    <scene_description>Behind the BALD MAN, the control-room monitors are no longer broadcasting the Glade. Instead, a different series of images: The sun exploding, turning the sky blood red. Ash falling to the ground like snow. Familiar city skylines and landmarks laid ruin. Those armored personnel carriers. Men in biohazard suits stepping over corpses in the streets.<\/scene_description>\n    <character>BALD MAN<\/character>\n    <dialogue>Since the Flare, the sickness has spread faster than anyone anticipated. There are hardly any sanctuaries left. What you're doing here is critical. The Chosen and their followers will save mankind.<\/dialogue>\n    <scene_description>The WOMAN shoots the BALD MAN a silencing look. She turns back to the GLADERS...<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>We know how jarring this must be. But you're safe now. And you'll need your rest. The Maze Trial was just the beginning. Phase Two begins soon.<\/dialogue>\n    <scene_description>MINHO turns again to THOMAS...<\/scene_description>\n    <character>MINHO<\/character>\n    <dialogue>Phase two? I thought we were free...<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Min --<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Not now, Thomas. You'll have plenty of time to rally your troops for the challenge ahead. This is a moment to rest and regroup. To enjoy.<\/dialogue>\n    <scene_description>Suddenly, a door to their right opens, and a crew of ARMED CONSORTIUM OFFICERS file in.<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>These officers will show you to your quarters for the night.<\/dialogue>\n    <scene_description>Then...<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Thomas. Theresa. You may come with us.<\/dialogue>\n    <scene_description>THOMAS and THERESA don't move, as the others stare in disbelief. THOMAS turns to MINHO and NEWT...<\/scene_description>\n    <character>THOMAS<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>I know what it looks like. But this isn't over yet.<\/dialogue>\n    <scene_description>The WOMAN presses a button and a door opens in the glass partition. THOMAS looks at THERESA and together they walk forward and step inside. As they watch the CONSORTIUM OFFICERS begin rounding up the GLADERS...<\/scene_description>\n    <character>THERESA (V.O.)<\/character>\n    <dialogue>You sure about this?<\/dialogue>\n    <character>THOMAS (V.O.)<\/character>\n    <dialogue>I am.<\/dialogue>\n    <character>THERESA (V.O.)<\/character>\n    <dialogue>What if it's worse out there, alone?<\/dialogue>\n    <character>THOMAS (V.O.)<\/character>\n    <dialogue>We're not alone.<\/dialogue>\n    <scene_description>Suddenly, THOMAS and THERESA, reach into their waistbands and pull out serrated BLADES. They grab the BALD MAN and the WOMAN, holding the knives to their throats... The armed CONSORTIUM OFFICERS all turn, but they're separated by the glass. THOMAS barks to one of the adult TECHNICIANS still seated at the computer terminal...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Bring up the profiles!<\/dialogue>\n    <character>TECHNICIAN<\/character>\n    <dialogue>I can't --<\/dialogue>\n    <scene_description>THOMAS digs the blade deeper into the BALD MAN'S flesh...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Or I'll cut his throat.<\/dialogue>\n    <scene_description>The BALD MAN nods, frantic, and the TECHNICIAN goes to work.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Start with Minho.<\/dialogue>\n    <scene_description>The TECHNICIAN hits a few buttons and the monitors all broadcast one giant image of... MINHO, no more than eleven years old, atop a smiling man's shoulders, standing by the Golden Gate Bridge. Next to them is a beautiful woman cradling an infant girl. THOMAS looks out through the glass at MINHO. Over the intercom...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>You're from San Francisco, Min. You had a mother and father. A baby sister named Kim.<\/dialogue>\n    <scene_description>MINHO can't take his eyes off the photo, and for the first time, we see tears stream down his face. The monitor changes and now it's a young NEWT, on a farm, kneeling amidst half-a-dozen young kids, a stern older man looking on, arm around his wife's waste.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Newt, you were born in Oklahoma. Oldest of six.<\/dialogue>\n    <scene_description>NEWT's hardened facade crumbles. As the GLADERS stand silent, the monitors cycle through a short montage of FAMILY PHOTOS, concluding with... THOMAS. His FATHER'S arm around him, center-field at Yankee Stadium. THOMAS looks up, focusing on his dad...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>That's my father. My best friend. I don't know if he, or anyone else is still alive out there. But I intend to find out.<\/dialogue>\n    <scene_description>THOMAS locks eyes with MINHO...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>You once told me... Never stop moving.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <character>THOMAS<\/character>\n    <dialogue>I know we're all tired. But if we want to really be free, we need to keep running.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>We survived the Maze. We defeated the Grievers. And I don't know about you, but I'm done being a pawn in someone else's game. \\*<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>We can do this, Min. Together, we \\* can do anything. \\*<\/dialogue>\n    <scene_description>MINHO looks around at the CONSORTIUM OFFICERS who stand, unsure what to do. At the exhausted GLADERS. And back at THOMAS. He nods. THOMAS gives the TECHNICIAN one last order...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Unlock the access doors to the street.<\/dialogue>\n    <scene_description>Now the WOMAN shouts...<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Don't do it! We've invested too much!<\/dialogue>\n    <scene_description>THOMAS pushes so hard he draws a drop of blood from the BALD MAN'S neck. He glares at the WOMAN.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>You wanted to see how we'd handle your puzzle? This is our solution.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I said let us out. \\*<\/dialogue>\n    <scene_description>SLAM CUT TO: BLACK.:<\/scene_description>\n  <\/scene>\n<\/script>","summary":"A teenage boy wakes up inside an underground elevator with no memory of his identity and is greeted by several male youths in a large grass area, called the \"Glade\", enclosed by giant stone walls. The \"Gladers\" have formed a rudimentary society, and each assumes specialized tasks. The boy learns that a vast maze surrounding them is the only way out. During the day, designated \"Runners\" search the maze for an escape route and return before the entrance closes at nightfall. After a fight with Gally, the boy remembers his name is Thomas. The next day, he is attacked by Ben, a Runner who has been stung and left delirious by a Griever, one of the biomechanical creatures that roam the maze at night. Ben is forced into the maze by the other boys and left to die as there is no cure for his condition. Alby, the leader, and Minho, the lead Runner, retrace Ben's steps inside the maze the following morning. Minho reappears late in the afternoon dragging Alby, who has been stung, but is unable to reach the closing entrance in time. Thomas runs into the maze to help, which leaves all three trapped. Thomas lures a Griever into a closing passageway, which causes it to be crushed. The three manage to survive the night and return the next morning. A girl arrives in the elevator, with a note saying that she is the last one to enter the Glade; she recognizes Thomas, but he cannot remember her. Thomas, Minho, Frypan, Winston, and Zart enter the maze, locate the Griever corpse, and remove a beeping mechanical device from inside it. Gally claims that Thomas has jeopardized the fragile peace between the Gladers and the Grievers, and wants him punished. However, Newt, the group's second-in-command, instead designates Thomas as a Runner. Minho shows Thomas a model of the maze that is based on previous explorations. The maze's numbered sections open and close in a regular sequence and Thomas realizes that the device corresponds to a section of the maze. The girl, Teresa, has two syringes filled with an unknown substance. One is used on Alby, and he recovers from the Griever sting. Minho and Thomas venture back into the maze with the device and discover a possible exit. Several traps are activated, forcing them to leave. That night, the maze entrance does not close, and other doors open, allowing Grievers to enter the Glade. Alby, Zart, Clint, and several other Gladers are killed and Gally blames Thomas for the events. Thomas, who has been having disconnected memory flashes since his arrival, stabs himself with a severed Griever stinger in an attempt to revive his memory before he is injected with the last anti-venom. Unconscious, he recalls that he and Teresa worked for the organization that created the maze, WCKD, and the boys unknowingly have been test subjects for an experiment. Thomas awakens and reveals his retrieved background. Gally, having taken command, intends to sacrifice Thomas and Teresa to the Grievers to restore peace. However, several Gladers free them and enter the maze, but Gally and a few others refuse to leave. As they attempt to access a possible exit, Jeff and several other Gladers are killed by Grievers. The Gladers eventually enter a laboratory strewn with corpses. In a video recording, Ava Paige, a WCKD official, explains that the planet has been devastated by a massive solar flare, followed by a pandemic caused by a deadly virus known as the Flare. The group learns that they were part of an experiment intended to develop a cure. Paige shoots herself in the video as the lab is overtaken by armed men. Gally, having been stung by a Griever, appears and insists that they will never be free, before pointing a gun at Thomas. Minho impales Gally with a spear, but Gally fatally shoots Chuck. While Thomas mourns over Chuck, masked armed men rush in and take the group to a helicopter. It flies over a vast desert wasteland and approaches a ruined city. Later, the supposedly dead scientists meet in a room. Paige notes that the experiment has been successful and the survivors are now entering Phase Two."}
{"movie_name":"Passengers_2016","imdb_id":"tt1355644","script":"<script>\n  <scene>\n    <scene_description>PASSENGERS by Jon Spaihts May 1, 2013 FADE IN:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INTERSTELLAR SPACE<\/stage_direction>\n    <scene_description>A million suns shine in the dark. A STARSHIP cuts through the night: a gleaming white cruiser. Galleries of windows. Flying decks and observation domes. On the hull: EXCELSIOR - A Homestead Company Starship. The ship flashes through a nebula. Space-dust sparkles as it whips over the hull, betraying the ship's dizzying speed. The nebula boils in the ship's wake. The Excelsior rockets on, spotless and beautiful as a daydream.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STARSHIP EXCELSIOR - GRAND CONCOURSE<\/stage_direction>\n    <scene_description>A wide plaza. A lofty atrium cuts through seven decks, creating tiers of promenades framing a vast skylight. Outside the skylight, only stars. Deep space. The promenades are empty. Chairs unoccupied. Beetle-like robots vacuum the carpets and wax the floors. CAFETERIA Super-modern and gleaming. Hundreds of tables, all empty. FORWARD OBSERVATION DECK Lounge furniture and star-filled windows. Completely deserted. A robot on spindly legs washes the glass.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STARSHIP EXCELSIOR - HIBERNATION BAY<\/stage_direction>\n    <scene_description>Endless rows of vertical glass tubes. Inside each tube stands a PASSENGER. Eyes closed in sleep. If they're breathing you can't tell by looking. They sleep on their feet, leaning against padded supports. Straps secure them in place; sensors adhere to their skin. They wear shorts and tank tops with Homestead Company logos. We drift down a row, surveying faces. No children, no elders. Men and women of all races in the prime of their lives. We settle on JIM PRESTON, 38. A display on his pod reads:<\/scene_description>\n    <character>JAMES PRESTON<\/character>\n    <dialogue>Rate 2 Mechanical Engineer Denver, Colorado<\/dialogue>\n    <scene_description>A deep BOOM. Echoes roll down the corridors. The starship SHUDDERS. The wires trailing from Jim's sensors tremble and lie still. Lights wink on in Jim's hibernation pod. Machinery hums to life. Instruments beep and chitter. Medical data fills the pod's screen. Jim's temperature rises. His heart begins to beat. He takes a breath. Jim opens his eyes. Groggy, blinking, seeing nothing. The backrest behind him converts into a recliner, lowering him into a seated position. The sensors on his skin drop off and snake back into the pod's machinery. A HOLOGRAPHIC DISPLAY appears before Jim's eyes, filling the space in front of him. The Homestead Company's logo shines at him. The Homestead Company's theme music plays. IN HOLOGRAM - A gorgeous stewardess appears, smiling sensually. She is inhumanly perfect: computer-generated.<\/scene_description>\n    <character>VIDEO STEWARDESS<\/character>\n    <dialogue>Good Morning, James!<\/dialogue>\n    <character>JIM<\/character>\n    <parenthetical>(disoriented)<\/parenthetical>\n    <dialogue>Jim. What the...<\/dialogue>\n    <character>VIDEO STEWARDESS<\/character>\n    <dialogue>It's normal to feel confused, Jim. You've just spent a hundred and twenty years in suspended animation.<\/dialogue>\n    <scene_description>She makes it sound sexy. Jim scowls and rubs his eyes. ONSCREEN - An animation. Happy people go to sleep in glass tubes in a hospital. The tubes are loaded onto a spaceship.<\/scene_description>\n    <character>VIDEO STEWARDESS<\/character>\n    <dialogue>You're a passenger on the Starship Excelsior - a Homestead Company Starship. We've nearly completed the 120-year flight from Earth to your new home - the colony world of Homestead II. Congratulations!<\/dialogue>\n    <scene_description>ONSCREEN - The Excelsior leaves a skyscraper-covered Earth and soars through space to a lush green Homestead II.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Oh. Yeah.<\/dialogue>\n    <character>VIDEO STEWARDESS<\/character>\n    <dialogue>The Excelsior is on final approach.<\/dialogue>\n    <parenthetical>(sensually)<\/parenthetical>\n    <dialogue>For the next two months you'll enjoy luxury space travel. Food. Fun. New friends.<\/dialogue>\n    <scene_description>ONSCREEN - The ship's lavish amenities: fine dining, sports facilities, shops, all swarming with happy passengers.<\/scene_description>\n    <character>VIDEO STEWARDESS<\/character>\n    <dialogue>Then you'll start your new life on Homestead II. Back to basics. A fresh start. Room to grow.<\/dialogue>\n    <scene_description>ONSCREEN - Publicity shots of Homestead II. Mountains, forests, beaches. Settlements ringed by farmland.<\/scene_description>\n    <character>VIDEO STEWARDESS<\/character>\n    <dialogue>Your wake-up capsules and nutrient juice will help you recover from hibernation!<\/dialogue>\n    <scene_description>Pills rattle into a dish; a glass of pink juice appears. He takes his pills and gulps his juice with a grimace. A slot disgorges a Homestead Company bathrobe and slippers.<\/scene_description>\n    <character>VIDEO STEWARDESS<\/character>\n    <dialogue>Make yourself comfortable in your complimentary robe and slippers.<\/dialogue>\n    <scene_description>He puts them on.<\/scene_description>\n    <character>VIDEO STEWARDESS<\/character>\n    <dialogue>Your shipcard is your key to the starship.<\/dialogue>\n    <parenthetical>(flirtatiously)<\/parenthetical>\n    <dialogue>Don't lose it!<\/dialogue>\n    <scene_description>The pod produces Jim's shipcard: a plastic ID card on a lanyard. He hangs it around his neck.<\/scene_description>\n    <character>VIDEO STEWARDESS<\/character>\n    <dialogue>Now you're ready to go to your cabin. Make yourself at home! Enjoy the rest of your voyage, Jim!<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Right.<\/dialogue>\n    <scene_description>Jim steps out of his pod. All the other pods are closed, the people inside asleep.<\/scene_description>\n    <character>VIDEO STEWARDESS<\/character>\n    <dialogue>Your cabin is this way.<\/dialogue>\n    <scene_description>The holographic stewardess points down the corridor.<\/scene_description>\n    <character>VIDEO STEWARDESS<\/character>\n    <dialogue>Take Elevator D to deck seven. Your cabin number is on your shipcard.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>He shuffles down the corridor in his slippers, rubbing his face. Having trouble keeping his eyes open. Behind him, his pod closes up. Its screen reads PASSENGER DISCHARGED. CORRIDOR A corridor lined with doors. A CLEANING ROBOT vacuums. Jim emerges from an elevator. Instantly the corridor lights brighten. The cleaning robot rolls past Jim.<\/scene_description>\n    <character>CLEANING ROBOT<\/character>\n    <dialogue>Hello, Passenger.<\/dialogue>\n    <character>JIM<\/character>\n    <parenthetical>(startled)<\/parenthetical>\n    <dialogue>Hello, robot.<\/dialogue>\n    <scene_description>Jim follows wall markings to his cabin. Lets himself in. JIM'S CABIN Cozy but small. A bed, a desk, an armchair. No window. A SCREEN lights up. The Homestead Company theme music plays. An ANNOUNCER speaks.<\/scene_description>\n    <character>ANNOUNCER (V.O.)<\/character>\n    <dialogue>Welcome to your cabin, Jim! Your home until we make landfall.<\/dialogue>\n    <scene_description>Jim doesn't pay attention. Pokes around, opening drawers.<\/scene_description>\n    <character>ANNOUNCER (V.O.)<\/character>\n    <dialogue>Over the next two months, you'll prepare for your new life on Homestead II.<\/dialogue>\n    <scene_description>Jim peers into the tiny bathroom. There's a little video screen, and the presentation's running there too.<\/scene_description>\n    <character>ANNOUNCER (V.O.)<\/character>\n    <dialogue>Passengers are organized into Learning Groups for orientation. You've been assigned to Learning group...thirty-eight! Don't forget!<\/dialogue>\n    <scene_description>The DOORBELL rings. Jim opens the door eagerly - and deflates. No one there. He looks down. A waist-high CARGO ROBOT peers up at him with goggle eyes. It carries two suitcases and a duffel bag.<\/scene_description>\n    <character>CARGO ROBOT<\/character>\n    <dialogue>Passenger James Preston?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Jim. Yeah.<\/dialogue>\n    <character>CARGO ROBOT<\/character>\n    <dialogue>Your luggage, Passenger Jim. Swipe your shipcard to confirm.<\/dialogue>\n    <scene_description>Jim swipes his shipcard through a slot on top of the robot. The robot scoots inside and deposits Jim's bags on the floor.<\/scene_description>\n    <character>CARGO ROBOT<\/character>\n    <dialogue>Enjoy your luggage!<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>CARGO ROBOT<\/character>\n    <dialogue>Thank you, Passenger Jim!<\/dialogue>\n    <scene_description>The robot zips out the door. Jim looks up and down the corridor. The receding robot is the only sign of life. CONCOURSE A mall with tiled floors and ornate storefronts. Jim walks along in jeans and a T-shirt. Storefront signs flicker to life as he passes. A dry fountain gushes water. CONFERENCE ROOM Forty chairs around a large table. Jim walks in. The door slides closed behind him. A HOLOGRAPHIC INSTRUCTOR appears on a large screen at the head of the table: a handsome woman of middle age.<\/scene_description>\n    <character>INSTRUCTOR<\/character>\n    <dialogue>Hello, Passengers. Will you all please take a seat.<\/dialogue>\n    <scene_description>Jim looks around. He's the only one there. He sits.<\/scene_description>\n    <character>INSTRUCTOR<\/character>\n    <dialogue>Earth is a prosperous planet. The cradle of civilization. But for many, it's also overpopulated. Over-priced. Overrated. Overrun.<\/dialogue>\n    <scene_description>A holographic cityscape rises out of the conference table: the endless metropolis of Earth, glittering with traffic.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Can I just...<\/dialogue>\n    <character>INSTRUCTOR<\/character>\n    <dialogue>Hold your questions until the end, please.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Wait. Where are all the...<\/dialogue>\n    <scene_description>The holographic image transforms into a stunning green landscape of mountains, beaches, forests.<\/scene_description>\n    <character>INSTRUCTOR<\/character>\n    <dialogue>The Colonies offer an alternative. A better way of life. And there's no colony more beautiful than Homestead II: the Jewel of the Occupied Worlds.<\/dialogue>\n    <character>JIM<\/character>\n    <parenthetical>(shouting)<\/parenthetical>\n    <dialogue>Where is everybody?<\/dialogue>\n    <scene_description>The Instructor pauses, jolted from her oratory. The question seems to confuse her. She recovers with a warm smile.<\/scene_description>\n    <character>INSTRUCTOR<\/character>\n    <dialogue>We're all on the Starship Excelsior. Five thousand passengers and fifty- eight crew members.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>But I'm the only one awake.<\/dialogue>\n    <character>INSTRUCTOR<\/character>\n    <dialogue>No, all the passengers wake up at the same time.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>So why am I alone?<\/dialogue>\n    <character>INSTRUCTOR<\/character>\n    <dialogue>You're not alone. We're all in this together.<\/dialogue>\n    <scene_description>Jim stares at the holographic Instructor suspiciously.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>How many people are in this room?<\/dialogue>\n    <scene_description>A crackle of static runs over the Instructor.<\/scene_description>\n    <character>INSTRUCTOR<\/character>\n    <parenthetical>(dazzling smile)<\/parenthetical>\n    <dialogue>Sorry. I don't understand your question.<\/dialogue>\n    <scene_description>But Jim is gone. His empty swivel chair spins in his wake. GRAND CONCOURSE A vast space: tiled walkways, polished floors, cunning arrangements of cafe tables and cozy conversation pits. Jim walks across the Concourse, eyes searching. Stops. He sees a smooth chrome kiosk. Holographic text hangs in the air above it: INFOMAT - Ask me a question!<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>The holographic text bursts into a flock of colorful question marks. An insanely cheerful voice speaks.<\/scene_description>\n    <character>INFOMAT<\/character>\n    <dialogue>Hello! What's your question?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I need to talk to a person. A real live person.<\/dialogue>\n    <character>INFOMAT<\/character>\n    <dialogue>What sort of person? Personal trainer? Travel planner? Therapist?<\/dialogue>\n    <scene_description>A stylized cartoon accompanies each option.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Someone in charge.<\/dialogue>\n    <character>INFOMAT<\/character>\n    <dialogue>The Ship Steward handles passenger affairs. You can find him in his office on the Service Deck.<\/dialogue>\n    <scene_description>A holographic map of the starship appears. A dotted line shows the way to the Ship Steward's Office.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>INFOMAT<\/character>\n    <dialogue>Happy to help!<\/dialogue>\n    <scene_description>CORRIDOR A businesslike hallway lined with doors. Jim finds a door marked SHIP STEWARD. SHIP STEWARD'S OFFICE The lights flash on as Jim enters, revealing...an office in mothballs. Empty chairs, barren desks.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Not good.<\/dialogue>\n    <scene_description>GRAND CONCOURSE Another Infomat. Jim arrives at a jog. Slaps the kiosk.<\/scene_description>\n    <character>INFOMAT<\/character>\n    <dialogue>Hello! What's your quest...<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Who's flying the ship?<\/dialogue>\n    <character>INFOMAT<\/character>\n    <dialogue>The bridge crew includes the Captain, the Pilot, the Chief Navigator...<\/dialogue>\n    <scene_description>IN HOLOGRAM: An image of each officer appears in turn.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>The Captain. I want to talk to the Captain.<\/dialogue>\n    <character>INFOMAT<\/character>\n    <dialogue>The Captain rarely handles passenger queries directly.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Emergency, okay? Where is he?<\/dialogue>\n    <character>INFOMAT<\/character>\n    <dialogue>The Captain is usually found on the Bridge, on the Command Deck.<\/dialogue>\n    <scene_description>A helpful map shows the way. COMMAND DECK Jim finds the door to the Bridge. He opens it eagerly - only to find a second door behind it - an armored hatch labeled FIREWALL and SECURE ACCESS AREA. A porthole of thick glass gives a narrow view of the Bridge. It's deserted. Instrument lights gleam in the dark.<\/scene_description>\n    <character>JIM<\/character>\n    <parenthetical>(pounding on the hatch)<\/parenthetical>\n    <dialogue>Come on! What the hell?!<\/dialogue>\n    <scene_description>GRAND CONCOURSE Jim runs past restaurants, lounges, shops. All deserted.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Hello? Hello!<\/dialogue>\n    <scene_description>GRAND CONCOURSE - CELESTIAL PROMENADE The highest promenade on the ship: windows on all sides. The huge skylight just overhead. It's almost like being outside. The atrium plunges seven stories to the Concourse below.<\/scene_description>\n    <character>JIM<\/character>\n    <parenthetical>(an echoing shout)<\/parenthetical>\n    <dialogue>Hello!<\/dialogue>\n    <scene_description>A SOUND behind him makes him spin. But it's just a window- washer: a robot with long spindly limbs, polishing windows. GRAND CONCOURSE - OBSERVATORY ENTRANCE Jim disappears into a doorway marked \"OBSERVATORY - Your Place In the Universe.\" OBSERVATORY A seamless hologram offers an idealized representation of deep space. Jim walks in, his footfalls muted. He seems to hang in the void. Overcome with wonder.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>OBSERVATORY<\/character>\n    <parenthetical>(a voice as deep as God's)<\/parenthetical>\n    <dialogue>What can I show you?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>We're supposed to land soon, but I'm the only one awake. Is that normal?<\/dialogue>\n    <character>OBSERVATORY<\/character>\n    <dialogue>I don't understand. What can I show you?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Show me Homestead II.<\/dialogue>\n    <scene_description>The stars wheel and zoom around Jim, until a blue-green Earthlike planet hovers in front of him.<\/scene_description>\n    <character>OBSERVATORY<\/character>\n    <dialogue>Homestead II is the fourth planet in the Bhakti system.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Right. And where are we?<\/dialogue>\n    <scene_description>A golden thread stretches away from Homestead II, across the universe...to another blue green world: Earth. Jim walks along the golden thread until he finds the Starship Excelsior: much closer to Earth than to Homestead II.<\/scene_description>\n    <character>OBSERVATORY<\/character>\n    <dialogue>We are in transit from Earth to Homestead II. We will arrive in approximately ninety years.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>OBSERVATORY<\/character>\n    <dialogue>We land on Homestead II in ninety years, three weeks, and one day.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>No. How long ago did we leave Earth?<\/dialogue>\n    <character>OBSERVATORY<\/character>\n    <dialogue>Approximately thirty years ago.<\/dialogue>\n    <scene_description>Jim stares at the hologram in horrified realization.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>I woke up too soon.<\/dialogue>\n    <character>OBSERVATORY<\/character>\n    <dialogue>I don't understand.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Neither do I.<\/dialogue>\n    <scene_description>HIBERNATION BAY Jim sprints down a row of hibernation pods. Heart pounding. Slides to a stop in front of his empty pod. Jim fusses with the controls, pressing buttons. But the screen just reads \"PASSENGER DISCHARGED.\" Crouching, he pulls at the pod's canopy. It doesn't budge.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>I'm supposed to be in there!<\/dialogue>\n    <scene_description>GRAND CONCOURSE - INFOMAT Jim stands at another Infomat.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>How do I make a phone call?<\/dialogue>\n    <character>INFOMAT<\/character>\n    <dialogue>Your cabin telephone...<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>No. How do I send a message to Earth?<\/dialogue>\n    <character>INFOMAT<\/character>\n    <dialogue>Interstellar messages are sent by laser array. Speak to the Duty Officer in the Comm Center.<\/dialogue>\n    <scene_description>IN HOLOGRAM: The Infomat displays a helpful map.<\/scene_description>\n    <character>INFOMAT<\/character>\n    <dialogue>Please note that interstellar messaging is an expensive service.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Bite me.<\/dialogue>\n    <character>INFOMAT<\/character>\n    <dialogue>Happy to help!<\/dialogue>\n    <scene_description>GRAND CONCOURSE - COMMUNICATIONS CENTER Two communications booths for passenger use. Jim sits at one of these. Swipes his shipcard.<\/scene_description>\n    <character>COMMUNICATIONS BOOTH<\/character>\n    <dialogue>Planet and connection?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Earth. The Homestead Company.<\/dialogue>\n    <character>COMMUNICATIONS BOOTH<\/character>\n    <dialogue>There are thirty thousand, eight hundred twenty-six phone numbers listed under \"Homestead Company.\" What number?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I don't know. I'm emigrating to Homestead II. I have an emergency.<\/dialogue>\n    <character>COMMUNICATIONS BOOTH<\/character>\n    <dialogue>Division of Colonial Affairs, Homestead II Program. I have a Customer Help Line.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Sounds about right.<\/dialogue>\n    <scene_description>The booth's camera zooms in on Jim's face. A microphone extends toward his mouth. The red RECORDING light comes on.<\/scene_description>\n    <character>COMMUNICATIONS BOOTH<\/character>\n    <dialogue>Begin message.<\/dialogue>\n    <scene_description>Jim's a deer in the headlights. He collects himself.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Hi. I'm Jim Preston. I'm a passenger. On the Excelsior...I, uh, I think... something went wrong with my hibernation pod. I woke up too soon. I mean WAY too soon. And I can't get back to sleep. And there's nobody else here, nobody's awake.<\/dialogue>\n    <parenthetical>(with growing panic)<\/parenthetical>\n    <dialogue>The thing is, there's ninety years to go. And at this rate I'll...<\/dialogue>\n    <parenthetical>(takes a deep breath)<\/parenthetical>\n    <dialogue>I'm sorry. I...I'm trying to fix this. Maybe I missed something. I don't know. I just...I could use a hand. Thanks.<\/dialogue>\n    <scene_description>Jim pushes the \"SEND\" button. Sits back in his chair.<\/scene_description>\n    <character>COMMUNICATIONS BOOTH<\/character>\n    <dialogue>Message sent.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Outstanding.<\/dialogue>\n    <character>COMMUNICATIONS BOOTH<\/character>\n    <dialogue>Message will arrive in nineteen years.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Say what?<\/dialogue>\n    <character>COMMUNICATIONS BOOTH<\/character>\n    <dialogue>Earliest reply in fifty-five years.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>COMMUNICATIONS BOOTH<\/character>\n    <dialogue>We are nineteen light years from Earth. By the time your message arrives, we will be thirty-six light- years from Earth. We apologize for the delay.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Fifty-five years!<\/dialogue>\n    <character>COMMUNICATIONS BOOTH<\/character>\n    <dialogue>That will be six thousand twelve dollars.<\/dialogue>\n    <scene_description>GRAND CONCOURSE Jim crosses the Concourse like a sleepwalker. Shell-shocked. He comes to the Concourse Bar: the fanciest watering hole on the ship. Black leather stools along a marble bartop. Behind the bar stands a handsome fellow in a bartender's uniform - his hair and skin eerily perfect. This is ARTHUR. Arthur sets a glass on the bar. At the sound, Jim spins. Gasps at the sight of a human face. He approaches the bar.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>I thought I was the only one awake!<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>It's the middle of the afternoon. What can I get you?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Whiskey, neat.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Coming up.<\/dialogue>\n    <scene_description>Arthur pours. Jim knocks the drink back. Points into the empty glass while his eyes water. Arthur pours another. Jim sighs in profound relief.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Man. I thought I was in trouble. So how come there's nobody else around?<\/dialogue>\n    <scene_description>He sets his glass down carelessly, spilling whiskey.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Can't say.<\/dialogue>\n    <scene_description>In an astonishing movement, Arthur glides the length of the bar as if on roller skates. Scoops up a bar towel and glides back, mopping up Jim's spill. Jim watches this wide-eyed. He steps up on the footrail and peers behind the bar. Arthur's body stops at the waist. He's mounted on rails: built into the bar.<\/scene_description>\n    <character>JIM<\/character>\n    <parenthetical>(deflated)<\/parenthetical>\n    <dialogue>You're a robot.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Android, technically. Arthur's the name.<\/dialogue>\n    <scene_description>He shakes Jim's hand formally.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>I'm Jim.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Pleased to meet you, Jim.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Arthur, how much do you know about the ship?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>I don't know. I know some things.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>What do I do if my hibernation pod malfunctions?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Impossible. Hibernation pods are fail- safe.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Yeah, well, I woke up early.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Can't happen.<\/dialogue>\n    <character>JIM<\/character>\n    <parenthetical>(a challenge)<\/parenthetical>\n    <dialogue>How long until we get to Homestead II?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Ninety years or so.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>And when are all of us passengers supposed to wake up?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Not until the last two months.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>So how can I be sitting here with ninety years to go?<\/dialogue>\n    <scene_description>Arthur's eyes take on a faraway look. His head twitches.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>It's not possible for you to be here.<\/dialogue>\n    <scene_description>He smiles as if he's solved the problem.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>But I am.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Sorry, Jim. My specialty is cocktails and conversation. Take your trick questions to one of those Infomats. They think they know everything.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Arthur, I'm screwed. I am completely, ridiculously screwed.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Come on, now. Every cloud has a silver lining.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Silver lining? I'm going to die of old age on this ship!<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>We all die. Even androids end up on the scrap heap. It's not dying that matters, it's living. This is your life. Are you going to live it or lie down and die?<\/dialogue>\n    <scene_description>Jim shakes his head in surrender.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>What do I owe you?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Jim, the booze is on the house.<\/dialogue>\n    <scene_description>FORWARD OBSERVATION DECK - NIGHT Jim stands in a moody lounge with panoramic windows onto the cold, magnificent vista of outer space. The stars shine in multitudes unseen on Earth. The Milky Way pours through it all like a river of light. Dead ahead of the Excelsior, the stars are blue-shifted by the ship's incredible speed. It's beautiful and fearfully vast.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JIM'S CABIN - MORNING<\/stage_direction>\n    <scene_description>Jim wakes up and rolls out of bed. Shuffles into the shower. CAFETERIA Machines offer food and drink in dizzying variety. Each machine has a card slot and a screen displaying its menu. Jim enters, dressed in his own clothes - jeans, a T-shirt. He swipes his shipcard at a coffee machine. It offers sixteen kinds of coffee, from a simple cup of joe to the \"Mocha Cappuccino Extreme.\" Jim picks the best of the lot.<\/scene_description>\n    <character>COFFEE MACHINE<\/character>\n    <dialogue>Sorry. The Mocha Cappuccino Extreme is reserved for gold-class passengers.<\/dialogue>\n    <scene_description>Jim frowns and punches the button again.<\/scene_description>\n    <character>COFFEE MACHINE<\/character>\n    <dialogue>Sorry. The Mocha Cappuccino Extreme is reserved for gold...<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I want the Extreme. Bill my room.<\/dialogue>\n    <character>COFFEE MACHINE<\/character>\n    <dialogue>Food can be purchased in the ship's specialty restaurants. But food in the Cafeteria is free.<\/dialogue>\n    <scene_description>Jim presses the next button over.<\/scene_description>\n    <character>COFFEE MACHINE<\/character>\n    <dialogue>Sorry. The French Roast Deluxe is reserved for gold-class...<\/dialogue>\n    <scene_description>Jim presses one button after another.<\/scene_description>\n    <character>COFFEE MACHINE<\/character>\n    <dialogue>Sorry...sorr...so...Large coffee.<\/dialogue>\n    <scene_description>The machine dispenses a large coffee.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Are you serious?<\/dialogue>\n    <character>COFFEE MACHINE<\/character>\n    <dialogue>Please enjoy.<\/dialogue>\n    <scene_description>SHIP STEWARD'S OFFICE Jim enters with his coffee. Prowls the office, opening drawers and cabinets. He finds a locker marked EMERGENCY GEAR and opens it eagerly. It holds oxygen tanks; fire extinguishers, an axe, an epoxy foamer for atmosphere leaks. He opens another door marked EMERGENCY MANUALS - and smiles: shelf after shelf of waterproof, fireproof technical manuals. Jim pulls a manual labeled HIBERNATION SYSTEMS. PASSENGER CARGO STOWAGE - DAY A cavernous cargo hold. Jim drives a forklift down the aisle, scanning container numbers. He finds a container labeled \"PASSENGER #1498, JAMES PRESTON.\" The forklift pulls it from the rack. THE CARGO CONTAINER Opens to reveal Jim's belongings. Cartons with labels like \"winter clothes\" and \"kitchen stuff.\" Amidst the cartons, a heavy-duty toolbox. Jim hauls it out. HIBERNATION BAY Jim sits in front of his empty hibernation pod. His toolbox beside him. The Hibernation Systems manual lies open. Jim tinkers with the electronics inside his pod. The pod hums to life. Its data screen flickers with information. Mysterious WHIRS and THUNKS. The canopy opens. Elated, Jim bounces to his feet. Strips off his shirt and scrambles in. The canopy closes over him. He assumes the position, his back against the backrest, waiting for the pod to put him to sleep. Nothing happens. He pokes at the ports where the sensors and intravenous lines used to protrude. Shakes the machine. He gives up. It's not working. But now he's trapped inside the pod. He pushes at the canopy, but it's locked shut. He pounds on the glass with no effect. Finally he loses it, shouting and stamping, hammering and raging. His voice is totally inaudible - the impacts of his fist reduced to quiet thuds. Despairing, he sinks to the floor of the pod, staring out at his tools. He's going to die in this glass prison. Then he notices the emergency release handle down by the floor. He pulls it, and the canopy pops open. The pod's display screen blinks back to its original message. PASSENGER DISCHARGED. CREW HIBERNATION FACILITY DOOR Jim looks through the porthole at the sleeping crew. Swipes his shipcard through the door switch. ACCESS DENIED. He pokes at the keypad. ACCESS DENIED. Jim opens his toolbox, selects a tool. Starts to remove the keypad's cover plate. FADE TO BLACK.: SUPER: THREE WEEKS LATER<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CREW HIBERNATION FACILITY DOOR - MORNING<\/stage_direction>\n    <scene_description>Jim works on the door with an industrial LASER CUTTER, wearing dark welding goggles. Sparks fly. He's drenched in sweat. Mussed and unshaven. He lifts the goggles and inspects the door. The laser cutter has barely marked the surface. The door's a mess. Its switch hangs on wires. There are pry marks around the latch. Gouges around the window. Failed drill holes. Dents left by an axe. But the door stands firm. Jim lets the laser cutter fall. It joins a scrapyard of tools on the floor: sledgehammer, jackhammer, drill, crowbar, axe. CONCOURSE BAR - DAY Arthur polishes glasses behind the bar. Jim sits, sweaty and grimy, a whiskey in front of him. His speech is soft around the edges. He's had a few.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>I thought I'd figure something out. I thought it would just come to me.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Good things come to those who wait, they say.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>But I've tried everything.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Sometimes you can't catch a break.<\/dialogue>\n    <scene_description>Jim gives Arthur a thoughtful look.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>I'm your only customer, but you're always polishing a glass.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Trick of the trade. Makes people nervous when a bartender just stands there.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Okay. Lay some bartender wisdom on me. I'm lost in space here.<\/dialogue>\n    <scene_description>Arthur polishes the bar while he thinks that one over.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>You're not where you want to be. You feel like you're supposed to be somewhere else. Right?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>You said it.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Well, here's the thing. Say you could snap your fingers and be wherever you wanted to be. Back on Earth, or on Homestead II.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>I'll bet even if you got your wish, you'd still feel this way. Not in the right place. Supposed to be somewhere else. That's not a crisis, it's the human condition.<\/dialogue>\n    <scene_description>Jim takes a moment to consider that.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>That's not me.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Well, maybe not. The point is, you can't get so wrapped up in where you'd rather be that you forget to make the most of where you are.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>What are you telling me?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>It's a big ship. You're always running around banging on things and yelling at the robots. Take a break. Live a little.<\/dialogue>\n    <scene_description>Jim spins on his barstool, surveying the Grand Concourse.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Live a little.<\/dialogue>\n    <scene_description>When he comes back around he gives a shove. He spins faster.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>That's the spirit.<\/dialogue>\n    <scene_description>Jim goes for one more shove. Misses. Falls off his stool. GRAND CONCOURSE - INFOMAT Jim scans a map of the ship. Second-class cabins. First-class cabins. And the good stuff: palatial suites named for European cities. His finger stops on one of the biggest. The Berlin Suite. BERLIN SUITE High ceilings, posh furniture, panoramic windows. The door jumps in its frame with a THUNK. Slides open. Jim enters, a crowbar in hand. A cargo robot follows him in, carrying his toolbox and suitcases. It deposits them on the floor.<\/scene_description>\n    <character>CARGO ROBOT<\/character>\n    <dialogue>The Berlin Suite! Enjoy your luggage!<\/dialogue>\n    <scene_description>BERLIN SUITE - BEDROOM Jim unpacks. Stowing clothes, laying out his things. On the bedside table, an electronic book: \"Out of This World: A Colonists's Guide to Starting Over.\" He pulls a pair of sneakers out of his luggage. DECK TWO - GYMNASIUM - BASKETBALL COURT Jim shoots baskets in sneakers and gym clothes. He makes a shot from the foul line. The ball bounces right back to him. He shoots again and misses. Again the ball returns: sits bouncing at his feet. Smart ball. He picks it up, backs up to the three-point line and hits his shot. He's not bad. BERLIN SUITE - BATH Jim cleans up in the opulent bathtub. A robot arm with a water jet washes his back. MARCELLO'S - DAY The Italian restaurant. Red checked tablecloths, vintage posters, candles in wicker-wrapped wine bottles. Jim sits at a table in a button-down shirt and tie. Peruses a menu. A robotic waiter rolls up in a beret and apron.<\/scene_description>\n    <character>WAITER<\/character>\n    <parenthetical>(Italian accent)<\/parenthetical>\n    <dialogue>What do you desire, sir?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I'll have the rigatoni alla diabla, with the sauteed spinach and a glass of the...Montepulciano.<\/dialogue>\n    <character>WAITER<\/character>\n    <dialogue>Va bene!<\/dialogue>\n    <scene_description>The waiter rolls off. Jim looks around at the empty tables. GRAND CONCOURSE - ARCADE - EVENING A state-of-the-art game room. Jim inspects the flagship game: \"Z Factor!\" A huge holographic display, a futuristic cockpit. Jim swipes his shipcard. The game speaks like an angry giant.<\/scene_description>\n    <character>Z FACTOR<\/character>\n    <dialogue>Jim Preston! Welcome to the greatest challenge you will ever know!<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>All right then.<\/dialogue>\n    <scene_description>He clambers into the cockpit.<\/scene_description>\n    <character>Z FACTOR<\/character>\n    <dialogue>Are you ready to play Z Factor?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>Z FACTOR<\/character>\n    <parenthetical>(snarling)<\/parenthetical>\n    <dialogue>Are you ready to play Z Factor?!<\/dialogue>\n    <character>JIM<\/character>\n    <parenthetical>(heartily)<\/parenthetical>\n    <dialogue>Yes!<\/dialogue>\n    <character>Z FACTOR<\/character>\n    <parenthetical>(a roar)<\/parenthetical>\n    <dialogue>Begin!<\/dialogue>\n    <scene_description>Colored lights play over Jim's face as the display lights up with images we do not see. Jim works the complex controls: pressing foot pedals, slashing in the air with handsets. Explosions roar. Red light bathes the room.<\/scene_description>\n    <character>Z FACTOR<\/character>\n    <dialogue>You lose! Z Factor reigns supreme!<\/dialogue>\n    <scene_description>The game howls with demonic laughter. MOVIE THEATER - EVENING Art deco. Seats for a thousand. Jim enters. Looks around. MOVIE THEATER - CONTROL BOOTH Jim scrolls through a dizzying list of available films on a terminal. Makes a selection. MOVIE THEATER The screen shines as the movie starts. Jim arrives at a jog. Settles into a seat. Smiles as the light plays over his face. FADE TO BLACK.: SUPER: THREE MONTHS LATER GRAND CONCOURSE - ARCADE - DAY Flashes of light blaze across Jim's face. He's playing \"Z Factor!\" He's on fire. A fusillade of sound shakes the room. Jim moves like a martial artist, dripping sweat. The controls like part of his body, the gameplay second nature. A final thundering cannonade! A symphonic flourish! Golden light shines from the game machine.<\/scene_description>\n    <character>Z-FACTOR<\/character>\n    <dialogue>You are victorious!<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <character>Z-FACTOR<\/character>\n    <dialogue>You are the Grand Master of Z Factor!<\/dialogue>\n    <character>JIM<\/character>\n    <parenthetical>(elated)<\/parenthetical>\n    <dialogue>I am the Grand Master of Z Factor!<\/dialogue>\n    <scene_description>GYMNASIUM - BASKETBALL COURT Jim shoots a basket from half court. Perfect. Obedient as a dog, the ball bounces back to him, sits bouncing at his feet. Jim stares at the tapping ball. Gives it a kick. It arcs away. Comes bouncing back. He scoops up the ball and hurls it. It bounces off two walls. Comes bouncing back. But Jim's gone. The court is empty. The ball bounces to a halt and sits still. BELLA CANTINA - AFTERNOON The ship's Mexican restaurant. Identical to the Italian restaurant but with gaudy tablecloths, cactus centerpieces. The robot waiters wear sombreros. Jim sits over the wreckage of his lunch. He downs a margarita and puts the empty glass down beside several others.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Another margarita!<\/dialogue>\n    <character>MEXICAN ROBOT WAITER<\/character>\n    <dialogue>You have had many, senor.<\/dialogue>\n    <character>JIM<\/character>\n    <parenthetical>(drunkenly)<\/parenthetical>\n    <dialogue>Margarita otra vez!<\/dialogue>\n    <character>MEXICAN ROBOT WAITER<\/character>\n    <dialogue>S\u00ed, senor.<\/dialogue>\n    <scene_description>LIBRARY - MORNING A room full of workstations, each with a reading machine. Jim sits at one in a headset, taking a Russian Language course.<\/scene_description>\n    <character>RUSSIAN TEACHER (FILTERED)<\/character>\n    <dialogue>This is the Gudonov Russian Language Course. Level One. Let's begin. Repeat after me.<\/dialogue>\n    <parenthetical>(in Russian)<\/parenthetical>\n    <dialogue>\\[I am beginning to learn.\\]<\/dialogue>\n    <character>JIM<\/character>\n    <parenthetical>(in Russian)<\/parenthetical>\n    <dialogue>\\[I am beginning to learn.\\]<\/dialogue>\n    <character>RUSSIAN TEACHER (FILTERED)<\/character>\n    <dialogue>I am beginning to learn.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I am beginning to learn.<\/dialogue>\n    <scene_description>CONCOURSE BAR - EVENING Jim sits drinking. Three glasses in front of him. Drunk.<\/scene_description>\n    <character>JIM<\/character>\n    <parenthetical>(in bad Russian, subtitled)<\/parenthetical>\n    <dialogue>\\[I be study the Russian.\\]<\/dialogue>\n    <character>ARTHUR<\/character>\n    <parenthetical>(in perfect Russian, subtitled)<\/parenthetical>\n    <dialogue>\\[Good for you, my friend! It's a beautiful language.\\]<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>You speak Russian!<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>We have Russian passengers.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Well, I'm trying new things. From now on, every time I sit down, I want a drink I haven't had before.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Fair enough.<\/dialogue>\n    <scene_description>Arthur mixes a bright green drink, sets it in front of Jim. Jim takes a sip and makes a horrible face.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Something new.<\/dialogue>\n    <scene_description>FADE TO BLACK.: SUPER: THREE MONTHS LATER<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERLIN SUITE - BEDROOM - MORNING<\/stage_direction>\n    <scene_description>Jim sleeps in his luxurious bed. The covers knotted around him. He hasn't shaved in weeks. His eyes open. He lies staring at the ceiling. After a long moment he gets up. Shuffles toward the bathroom in his underwear. CAFETERIA - MORNING Jim walks past empty tables. Dials up a coffee and a danish. Sits eating, alone, among hundreds of empty tables. GRAND CONCOURSE - ARCADE ENTRANCE - DAY Flashes and blasts of noise. The sounds of Z Factor!<\/scene_description>\n    <character>Z FACTOR (O.S.)<\/character>\n    <dialogue>You are victorious!<\/dialogue>\n    <scene_description>AT THE Z-FACTOR MACHINE Jim sits blank-faced in the cockpit.<\/scene_description>\n    <character>Z-FACTOR<\/character>\n    <dialogue>New high score!<\/dialogue>\n    <scene_description>Bored, Jim punches his name into the High Scores board. JIM. All the other high scores say JIM. CONCOURSE BAR - MORNING Jim walks up to the bar and slides onto a stool.<\/scene_description>\n    <character>JIM<\/character>\n    <parenthetical>(in fluent Russian, subtitled)<\/parenthetical>\n    <dialogue>\\[I'm ready for today's new drink\\]<\/dialogue>\n    <character>ARTHUR<\/character>\n    <parenthetical>(in Russian, subtitled)<\/parenthetical>\n    <dialogue>\\[I'm afraid I can't help you.\\]<\/dialogue>\n    <scene_description>Jim thumps his fist on the bar.<\/scene_description>\n    <character>JIM<\/character>\n    <parenthetical>(in Russian, subtitled)<\/parenthetical>\n    <dialogue>\\[Don't argue with me, robot. Give me a new drink.\\]<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>There are no new drinks.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>I can make one thousand, four hundred and thirty-six cocktails. You've had them all.<\/dialogue>\n    <scene_description>The news hits Jim like a death in the family.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>There are no new drinks.<\/dialogue>\n    <scene_description>GRAND CONCOURSE - NIGHT Jim walks past the upscale shops, blind to their displays. Barefoot and unkempt. He comes to a PHOTO BOOTH. The promotional pictures on the side catch his attention: people clowning, smiling, kissing. He pulls back the curtain, sits in the booth. A screen shows him his own face. Cheery text prompts him: CHOOSE A BACKDROP! Jim tabs through options. Paris, Angkor Wat, the Alps. A beach, an office, a New Year's Eve party. He picks the party. ONSCREEN: a party scene fills the space behind him. People laughing, dancing, drinking and kissing. A strobe flashes four times. A photostrip drops into the tray outside the machine: four identical shots of Jim staring into the lens without emotion, as digital revelers carouse behind him. GRAND CONCOURSE - ELITE PROMENADE - DAY Jim walks numbly along, ignoring the stellar view. He munches messily on potato chips. A SWEEPER ROBOT follows like a dog, cleaning up the crumbs. There's a bottle of vodka in an ice bucket atop the robot. Jim drops the empty potato-chip bag. As the robot darts in to clean it up, he plucks the vodka bottle from its back. SERVICE CORRIDOR Drinking from the bottle, Jim walks into frame and stops, staring: he's found a SERVICE AIRLOCK. He goes to the airlock and opens the inner door. A BUZZER sounds a warning. AIRLOCK Jim steps in. The inner door closes behind him. He peers through a porthole at the stars outside. He touches the outer door and yanks his hand back. Cold out there. Jim grabs the lever for the outer door: it's surrounded by caution stripes and warning labels. He tightens his grip.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EXCELSIOR - HULL<\/stage_direction>\n    <scene_description>The airlock's outer door opens with a blast of air. Jim emerges - wearing a SPACE SUIT. He plants his feet on the hull and walks up the side of the ship on gravity boots. ATOP THE SHIP Jim walks forward across the giant skylight. AT THE BOW Jim stands staring at the glittering cosmos: its frigid beauty mocking his misery. He raises his arms to the heavens, seeking some answer among the stars.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIBERNATION BAY - NIGHT<\/stage_direction>\n    <scene_description>Jim trudges wearily down a long aisle of sleepers: men and women of a thousand ethnicities, tucked in their rightful places.He looks at them with naked yearning. One face after another. Serene in slumber. Suddenly he stops. Inside a pod, a woman stands sleeping.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <scene_description>He puts the bottle down. Steps close to peer at her pod's data screen:<\/scene_description>\n    <character>AURORA DUNN<\/character>\n    <dialogue>Writer New York, New York<\/dialogue>\n    <scene_description>He studies her face in fascination for a long time.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Aurora.<\/dialogue>\n    <scene_description>FADE TO BLACK.: SUPER: THREE MONTHS LATER<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERLIN SUITE - MORNING<\/stage_direction>\n    <scene_description>Jim lies asleep, wearing boxer shorts and a full beard. The suite's a wreck. Laundry and dishes litter the floor. His eyes open. He looks at the stars outside. Gropes under the pillow and pulls out a remote control. Punches a button. The window shades come down, hiding the view. CORRIDOR Jim emerges from his room in boxer shorts and slippers. He's dragging a blanket. A housekeeping robot, its dustpan quivering in anticipation, hovers outside his door. Jim taps the \"Do Not Disturb\" button on his door panel and walks away. The housekeeping robot squeals in frustration as the door closes over the mess inside. CAFETERIA Jim fills a bowl with cereal. Pours a glass of milk. Tucks a spoon in his waistband. ELEVATOR Jim descends, the blanket draped over his shoulders like a serape. He holds his bowl of cereal and glass of milk. HIBERNATION BAY - AURORA'S POD Jim arrives in front of Aurora's hibernation pod.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Good morning.<\/dialogue>\n    <scene_description>He sits down carefully. Pours milk over his cereal, sets the glass aside and begins to eat. His eyes never stray from her. LIBRARY A study space lined with glass-walled booths containing multimedia terminals. Jim sits in a booth, watching a television interview. From outside the booth, we see Aurora onscreen, speaking to a talk-show host. We cannot hear her: but Jim leans forward, watching intently. CONCOURSE BAR - EVENING Jim sits perusing an electronic slate. Arthur keeps busy behind the bar. Jim sets the slate aside with a sigh.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>You know when you hear someone say something you've always believed, but never put into words? It's like a light turning on.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>I don't do a lot of reading.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>She's good. She sees things, you know? She's not afraid to say it.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Who's that?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Aurora.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>The sleeping girl.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Yeah. The sleeping girl.<\/dialogue>\n    <scene_description>Jim drains his cocktail. Rises from his stool and turns to leave. He stops. Turns back.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>You know, I'm not saying the universe is evil. But it's sure got a nasty sense of humor.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>How's that?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>You get to fly to another planet, but you die on the way. You find the perfect woman right in front you... but she's completely out of reach.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Aurora.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Arthur, I've read her books, everything. I can't stop thinking about her. Can't stay away.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Jim, Aurora's asleep.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I know.<\/dialogue>\n    <parenthetical>(he shakes his head)<\/parenthetical>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>OBSERVATORY - DAY IN HOLOGRAM: Excelsior's progress diagram. The Excelsior hangs between Earth and Homestead II. A legend reads: \"TIME TRAVELED: 30 YEARS. TIME REMAINING: 90 YEARS.\" Jim stands watching. The numbers change with a digital click. TIME TRAVELED: 31 YEARS. TIME REMAINING: 89 YEARS. HIBERNATION BAY - AURORA'S POD Jim stands in front of Aurora's pod, staring inside. He backs up against the opposite pod. Leans against the glass, hands in his pockets. He stands watching Aurora sleep. CONCOURSE BAR - MORNING Jim walks up to Arthur with the HIBERNATION SYSTEMS MANUAL. Drops the book on the bar with a thud and takes a seat.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Say you were trapped on a desert island, and you had the power to wish somebody there with you. You wouldn't be alone anymore, but you'd be stranding another person on the island. Do you make the wish?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>I don't know. I've never been on an island.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Okay. Say you figured out how to do something that would make your life a thousand times better. But it's wrong, and there's no taking it back. How wrong would it have to be to stop you?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>What if it made your life a million times better? How do you do the math?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Jim. These are not robot questions.<\/dialogue>\n    <scene_description>Jim stares at Arthur in frustration.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>I know how to wake Aurora up.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Sounds like a fine idea. You could use some company.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I'd be stranding her on this ship for the rest of her life!<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Oh. Well, you can't do that.<\/dialogue>\n    <scene_description>Jim buries his face in his hands.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>What am I going to do?<\/dialogue>\n    <scene_description>There's real despair in his voice. Arthur looks concerned.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Jim. I'm here for you.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Arthur, you're a machine.<\/dialogue>\n    <scene_description>HIBERNATION BAY - AURORA'S POD Jim stands in front of Aurora, the hibernation manual hugged to his chest. He rocks on his toes. Stares through the glass.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GYMNASIUM<\/stage_direction>\n    <scene_description>Jim runs on a treadmill, drenched with sweat. LATER Jim works a heavy bag, his fists pounding away. The bag jumps and sways. His teeth are clenched, his expression intense.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Don't. Even. Think about it.<\/dialogue>\n    <scene_description>BERLIN SUITE Jim emerges from the shower in a towel. Paces around his messy room. Without thought he scoops up the Hibernation Systems Manual and leafs through it.<\/scene_description>\n    <character>JIM<\/character>\n    <parenthetical>(catching himself)<\/parenthetical>\n    <dialogue>Come on!<\/dialogue>\n    <scene_description>He hurls the book across the room. HIBERNATION BAY - AURORA'S POD Jim stands inches from Aurora's pod. Looking in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERLIN SUITE - BATH - DAY<\/stage_direction>\n    <scene_description>Jim stands at the sink with a futuristic shaver in his hand. He talks to himself as he takes off his castaway's beard.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>I'm shaving off my beard.<\/dialogue>\n    <scene_description>The whiskers pile up in the sink, wash down the drain. His face emerges from its mask.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Seriously. You can't do it.<\/dialogue>\n    <scene_description>He stares at his reflection. Lifts his razor.<\/scene_description>\n    <character>JIM<\/character>\n    <parenthetical>(astonished at himself)<\/parenthetical>\n    <dialogue>I'm shaving off my beard.<\/dialogue>\n    <scene_description>CORRIDOR Jim exits his cabin. Finds a squadron of housekeeping robots waiting outside. He taps the \"PLEASE SERVICE\" button beside his door. The robots zoom inside with squeals of joy. HIBERNATION BAY - AURORA'S POD Jim stands in front of Aurora: toolbox in one hand, the technical manual in the other. He's breathing hard. He sets the toolbox down. Opens the manual. It's densely annotated in Jim's handwriting. He opens the pod's cover panel and goes to work. His hands shake. He starts to close a final contact. Stops. Gets to his feet. Stands looking at Aurora. Quickly he kneels and completes the circuit. Pulls his hands away as if the metal had burned him.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Aurora's pod hums. Medical data flows across its screen. Her vital signs re-start. Her skin flushes with color. Jim stands inches from the glass, staring inside. Aurora's perfect lips part. She takes a breath. Her chest rises and falls. Her thighs shift as she bends her knees. The sensors on her body drop off and withdraw into the pod. The rustle of wires rouses Jim from his trance. In mad haste he snatches up his tools and manual and flees the scene. A moment later Aurora opens her eyes. They're beautiful.<\/scene_description>\n    <character>VIDEO STEWARDESS<\/character>\n    <dialogue>Good morning, Aurora!<\/dialogue>\n    <scene_description>BERLIN SUITE The luxury cabin now tidy and immaculate. Jim bursts in, wild- eyed. Drops his toolbox. Hides the manual in the closet. He splashes water on his face. Stares into the mirror. DECK SEVEN - CORRIDOR Jim sticks his head out of his cabin. Looks up and down the hall. Steps out warily. GRAND CONCOURSE On the Concourse's highest promenade, Jim paces nervously, glancing around. She could be anywhere.<\/scene_description>\n    <character>AURORA (O.S.)<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>Jim rushes to the railing. Below, on the Grand Concourse, Aurora is turning in circles, looking up at the balconies.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Hello!<\/dialogue>\n    <character>JIM<\/character>\n    <parenthetical>(a husky whisper)<\/parenthetical>\n    <dialogue>Hi.<\/dialogue>\n    <parenthetical>(mustering a shout)<\/parenthetical>\n    <dialogue>Hello!<\/dialogue>\n    <scene_description>Aurora spins. Spots him.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Hey! Can I talk to you?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I'll come down.<\/dialogue>\n    <scene_description>Jim runs down six flights of stairs, his heart in his throat. He reaches the Grand Concourse out of breath. Stops a few paces away, just looking at Aurora, getting his wind back.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Passenger or crew?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Passenger. Jim Preston.<\/dialogue>\n    <scene_description>He sticks out a hand. She shakes it firmly. Electric for Jim.<\/scene_description>\n    <character>AURORA<\/character>\n    <parenthetical>(all business)<\/parenthetical>\n    <dialogue>Aurora Dunn. Do you know what's going on? Nobody else in my row woke up.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Yeah, I, uh...same for me.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>The crew's supposed to wake up a month before we do, but I haven't seen anybody.<\/dialogue>\n    <scene_description>Jim swallows hard.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>The crew's still sleeping.<\/dialogue>\n    <scene_description>Aurora stares at him.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>What are you saying? Nobody's awake?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Just me.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Just you.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Just us.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>But somebody's got to land the ship in a few weeks.<\/dialogue>\n    <scene_description>Jim's finding it hard to deliver the bad news.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>I have to show you something.<\/dialogue>\n    <scene_description>ELEVATOR A Jim and Aurora ride upward. Jim can't keep his eyes off her.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Typical. So much incompetence in these companies. No accountability! They lost my luggage on the flight to the spaceport. I'm leaving the planet and my bags almost didn't make it! Nobody apologizes. Nobody even feels bad. Where are we going?<\/dialogue>\n    <scene_description>Jim yanks his eyes away from her.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>The Observatory.<\/dialogue>\n    <scene_description>OBSERVATORY Aurora's eyes, wide and staring. Her face a mask of horror. In front of them in the starry void hangs the ship's progress indicator - the Excelsior hanging between Earth and Homestead II. Thirty-one years elapsed; eighty-nine years to go.<\/scene_description>\n    <character>AURORA<\/character>\n    <parenthetical>(a shocked whisper)<\/parenthetical>\n    <dialogue>Eighty-nine years to go.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>The other passengers aren't late waking up. We're early.<\/dialogue>\n    <scene_description>Aurora stares at Jim.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>We've got to get back to sleep.<\/dialogue>\n    <scene_description>HIBERNATION BAY Jim and Aurora walk down a row of hibernation pods.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>We just need to get back in our pods.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>It's not that simple. Putting somebody into hibernation takes special equipment. Remember the facility where they put us under?<\/dialogue>\n    <scene_description>Jim points at a pod beside them. A middle-aged woman inside.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>This pod'll keep her in hibernation as long as you want. Or wake her up. But it can't put her back to sleep.<\/dialogue>\n    <character>AURORA<\/character>\n    <parenthetical>(getting it)<\/parenthetical>\n    <dialogue>You don't think there's a way back into hibernation.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Not that I can see.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>There has to be. There's always a way. Where's the crew?<\/dialogue>\n    <scene_description>CREW HIBERNATION FACILITY DOOR Jim and Aurora stand staring at the door: scarred by Jim's many assaults. Aurora looks through the porthole at the crew inside. She runs her hands thoughtfully over the door's dents and gouges.<\/scene_description>\n    <character>AURORA<\/character>\n    <parenthetical>(dreading the answer)<\/parenthetical>\n    <dialogue>How long have you been awake, Jim?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>A year and three weeks.<\/dialogue>\n    <scene_description>Aurora covers her mouth. Her eyes full of horror.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Oh, no. No.<\/dialogue>\n    <scene_description>She turns and walks briskly away. Suddenly breaks into a run. Jim watches her go, astonished. He runs after her. HIBERNATION BAY Aurora runs down a row of hibernation pods, her eyes searching wildly among the glass tubes. She turns a corner. Hesitates. Runs down another row. She's fighting tears. She puts on speed. Her sash unknots itself and her robe billows behind her. IN ANOTHER ROW Jim jogs along, worried. He's lost her. He pauses, listening. In the distance, slippered feet. He runs that way. He stops: the sash of Aurora's robe lies on the deck. He picks it up. Runs on.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Aurora!<\/dialogue>\n    <scene_description>He rounds a corner and sees her. She's turning in place in the middle of the row. Laughing at her own panic.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>I can't even find the one I'm supposed to be in.<\/dialogue>\n    <scene_description>Jim gives her the sash. She ties her robe around her.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Jim looks back at her, miserable with guilt.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>I should have found a better way to tell you.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>I'm sorry. I lost it for a second. It just hit me, how serious this is. How did you wake up?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I just did. My pod dumped me out, and there I was.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Me too. We have to get help.<\/dialogue>\n    <scene_description>CONCOURSE - COMMUNICATIONS CENTER Jim and Aurora stand at a Passenger Communication Station. Jim swipes his card through the Comm Station's slot. It brings up his account information.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>I've sent sixteen messages to Earth. A bunch to the Homestead Company, one to the Space Administration, one to the United Nations.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>A couple to Homestead II just for the hell of it. My phone bill's about eighty grand.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>How soon could we hear something?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>With speed-of-light lag...fifty-six years.<\/dialogue>\n    <scene_description>Aurora's mouth goes dry. She swallows hard.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>What about the other occupied worlds?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>They're even farther away. We'd die of old age before they could answer.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>What about other ships?<\/dialogue>\n    <parenthetical>(off Jim's stare)<\/parenthetical>\n    <dialogue>Jim?<\/dialogue>\n    <character>JIM<\/character>\n    <parenthetical>(feeling very stupid)<\/parenthetical>\n    <dialogue>I never thought of other ships.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Jim, you've had more than a year! There has to be a flight plan or something...<\/dialogue>\n    <scene_description>They search the Comm Center and find a map table showing the Excelsior's position relative to the Occupied Worlds. Aurora fiddles with the controls. Interstellar flight plans appear: a holographic spiderweb of starship tracks.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>There!<\/dialogue>\n    <scene_description>They inspect the threads of light - an icon on each thread representing a starship. Even Jim is excited now.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>How can we tell how close they are?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>The computer knows. Give me a ship.<\/dialogue>\n    <character>AURORA<\/character>\n    <parenthetical>(peering at the star map)<\/parenthetical>\n    <dialogue>The Zephyr.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Round-trip message time...ninety-nine years.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>The Andromeda.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>One hundred thirty-two years.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>The Maximilian.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Eighty-one years.<\/dialogue>\n    <scene_description>Jim and Aurora deflate visibly.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>That's the closest one.<\/dialogue>\n    <scene_description>GRAND CONCOURSE - EVENING The ship's lights turn the cool blue of evening as Jim and Aurora walk across the plaza. Aurora looks up.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>What's happening?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Nine o'clock. Night time.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <parenthetical>(she stops walking)<\/parenthetical>\n    <dialogue>I know I should be working the problem right now, but I can barely keep my eyes open.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>You just came out of hibernation. It'll be a couple days before you're a hundred percent. You should rest.<\/dialogue>\n    <character>AURORA<\/character>\n    <parenthetical>(yawning)<\/parenthetical>\n    <dialogue>I think I have to.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I'll walk you to your cabin.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>No, I'm all right.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Jim. Don't look so down. It's going to be okay. You've got me on the team now. Chin up, all right?<\/dialogue>\n    <scene_description>Jim nods, speechless.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>I'm in room 973 if you need me.<\/dialogue>\n    <scene_description>Jim watches her walk away.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>I'm in the Berlin Suite if you need me.<\/dialogue>\n    <scene_description>She stops. Turns to look back at him.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>A year and a half? I can't imagine. It must have been hard for you.<\/dialogue>\n    <scene_description>The sudden kindness is almost more than Jim can bear. His voice grows suddenly hoarse.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>It was.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Good night, Jim.<\/dialogue>\n    <scene_description>GRAND CONCOURSE - CONCOURSE BAR Jim slides onto a barstool.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Whiskey, neat.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Sure thing. How's your day been?<\/dialogue>\n    <scene_description>Jim lifts the whiskey and tips it back.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Aurora's awake.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Congratulations.<\/dialogue>\n    <parenthetical>(off Jim's face)<\/parenthetical>\n    <dialogue>You don't look happy.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Arthur. Can you keep a secret?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>I'm a bartender.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Don't tell Aurora I woke her up. She thinks it was an accident. Let me tell her.<\/dialogue>\n    <scene_description>AURORA'S CABIN - NIGHT Aurora lies sleeping. BERLIN SUITE - BEDROOM - NIGHT Jim sits on the edge of his bed. Stares out the window. GRAND CONCOURSE - INFOMAT - MORNING Aurora talks with a relentlessly cheerful Infomat. She's wearing her own clothes, and it's a transformation: she looks hip and urban, beautiful.<\/scene_description>\n    <character>AURORA<\/character>\n    <parenthetical>(indignant)<\/parenthetical>\n    <dialogue>How can there be no way to put someone back into hibernation? What if a pod breaks down?<\/dialogue>\n    <character>INFOMAT<\/character>\n    <dialogue>No hibernation pod has malfunctioned in thousands of interstellar flights.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Well, I'm awake.<\/dialogue>\n    <character>INFOMAT<\/character>\n    <dialogue>Hibernation pods are fail-safe.<\/dialogue>\n    <scene_description>Jim appears behind Aurora.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Morning. Have you eaten?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>I'm starving. This is the dumbest machine.<\/dialogue>\n    <character>INFOMAT<\/character>\n    <dialogue>Happy to help!<\/dialogue>\n    <scene_description>CAFETERIA Jim watches in astonishment as Aurora blithely orders the snacks that the machines deny him. The Mocha Cappuccino Extreme. The French Breakfast Puff. The Gourmet Fruit Salad. They sit. Aurora eyes Jim's tray.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>You're a man of simple tastes.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I'm a silver class passenger. The French Breakfast Puff is above my pay grade.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Oh, no! All this time? What can I get you?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>No, I'm fine, really...<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Stop it. I'll be right back.<\/dialogue>\n    <scene_description>She gets up. In a minute she's back, setting a tray down in front of Jim: A western omelette...toast...a side of bacon...a cafe latte. Jim shoves his old breakfast aside. They dig in.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>You think the crew members would know what to do? Could we wake them up if we got in there?<\/dialogue>\n    <scene_description>A flash of guilt across Jim's face.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>I'm no expert. But I think so.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>But we can't get in there.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Maybe there's another way to go to sleep. What about the infirmary?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I looked around. It's the usual hospital stuff. Scanners, autodocs.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Did you look for ways of going to sleep?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Not really.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Well, Jim!<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>You think they've got suspended animation pills sitting around?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>You don't know until you look. What about cargo? Maybe there's a hibernation machine in the hold.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I read the manifests. It's mostly farming stuff, machines and trade goods. We're not going to find a hibernation facility in a box.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>You don't know that! We have to think big here. Maybe we can build our own hibernation machine.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>No, we can't.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Jim, you're not even trying!<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I've been awake for over a year. I've tried everything I can think of.<\/dialogue>\n    <character>AURORA<\/character>\n    <parenthetical>(she gets up angrily)<\/parenthetical>\n    <dialogue>Well, it looks to me like you missed some possibilities. And I'm not ready to give up.<\/dialogue>\n    <scene_description>She strides out. Jim watches her go. Reaches over and takes the Gourmet Fruit Salad off her tray. INFIRMARY - DAY Aurora inspects the gleaming medical equipment. Rummages through cabinets full of medicines and instruments. She opens a steel vault. A deep freeze: icy vapor rolls out. Inside: racks of chrome capsules at subzero temperatures. She leans close: each frosted capsule is labeled with a passenger's name and the word SPERM or OVA. This is the GENE BANK, a repository of genetic material from every crew member and passenger aboard the ship. LIBRARY - DAY Aurora sits at a library workstation.<\/scene_description>\n    <character>WORKSTATION<\/character>\n    <dialogue>No plans are available.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>What about research articles? Any kind of technical documents.<\/dialogue>\n    <character>WORKSTATION<\/character>\n    <dialogue>Hibernation technology is proprietary. The following articles deal with the subject on a theoretical level.<\/dialogue>\n    <scene_description>GRAND CONCOURSE Jim comes upon a cleaning robot that appears to have lost its mind. It bumps repeatedly into a wall, blindly. Jim turns the robot around. It drives in a circle and resumes bumping into the wall. Jim watches the robot curiously. CREW HIBERNATION FACILITY DOOR - EVENING Aurora frowns through the window at the sleeping crew. A litter of tools still surrounds the battered door. Aurora snatches up a crowbar and bashes the porthole. The bar spins from her stinging hands, but the window's not even marked. CONCOURSE - COMMUNICATIONS CENTER - DAY Aurora sits at a communications booth.<\/scene_description>\n    <character>COMMUNICATIONS BOOTH<\/character>\n    <dialogue>Planet and connection, please.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Earth. New York City. Random House, office of the Publisher in Chief.<\/dialogue>\n    <character>COMMUNICATIONS BOOTH<\/character>\n    <dialogue>Begin message.<\/dialogue>\n    <character>AURORA<\/character>\n    <parenthetical>(into camera)<\/parenthetical>\n    <dialogue>This is Aurora Dunn. Passenger on the Starship Excelsior. I'm an author of yours, with a contract for a book on the colony worlds.<\/dialogue>\n    <parenthetical>(wryly)<\/parenthetical>\n    <dialogue>You gave me a big advance. I know you won't get this message for a long time...I don't know what you're supposed to do about it...<\/dialogue>\n    <scene_description>She gropes for words, not sure where she's going with this.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>But I'm in trouble...and I had to tell someone.<\/dialogue>\n    <scene_description>GRAND CONCOURSE - EVENING Jim sits on a sofa with his toolbox beside him. The broken robot lies on its back in front of him. He tinkers inside it. Aurora drops into a chair across from him. He looks up. Takes in her condition: weary and frustrated.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>There's no way we're going to build a hibernation machine.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>And there's no magic sleeping pills in the infirmary.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>I did find the gene bank. Five thousand sperm and egg samples on ice. I should be glad they do that. By the time we get to Homestead II, that little capsule in the freezer is going to be all that's left of me. We really are screwed, aren't we?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Pretty much.<\/dialogue>\n    <scene_description>BELLA CANTINA - EVENING Jim and Aurora sit across a Mexican dinner they've already put a dent in. An electric candle burns between them. A robot in a sombrero drops off two mojitos and scoots away. Aurora finishes her plate and leans back.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>So who are you, Jim?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Me?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Yeah. I'm going to be seeing you around. I should know who I'm talking to.<\/dialogue>\n    <scene_description>Jim is flustered by the attention.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>I'm from Denver.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>What kind of work do you do?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I fix things. Transport, robotics, industrial systems. Little of everything. On the emigration forms I'm a \"rate two\" mechanical engineer.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>I'm not nearly that useful. I'm a writer.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>What kind of writer?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Long-form observational pieces. Social commentary, investigative work, some humor...<\/dialogue>\n    <parenthetical>(she grins)<\/parenthetical>\n    <dialogue>A little of everything.<\/dialogue>\n    <parenthetical>(off Jim's stare)<\/parenthetical>\n    <dialogue>Do I have something on my face?<\/dialogue>\n    <scene_description>Jim tears his eyes away from her, embarrassed.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Oh, right! I'm sorry. I'm forgetting. You just spent a year with no one to talk to but robots. I don't know how you did it. They're all such idiots!<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Not all of them.<\/dialogue>\n    <scene_description>CONCOURSE BAR - NIGHT Jim leads Aurora up to the bar. It appears deserted. Aurora is all curiosity. Suddenly Arthur appears, swinging up from behind the bar as if mounted on a hinge. Aurora gives a squeal of surprise.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Evening, Jim. Who's the lovely lady?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Arthur, this is Aurora. Aurora, Arthur.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Aurora. A pleasure.<\/dialogue>\n    <scene_description>He takes her hand formally.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Arthur! Lovely to meet you.<\/dialogue>\n    <scene_description>She peeks over the bar at Arthur's mechanical mounting, the rails he rolls on.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>What'll it be?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Dirty martini!<\/dialogue>\n    <parenthetical>(to Jim)<\/parenthetical>\n    <dialogue>Now this is a robot I can talk to.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Android, technically.<\/dialogue>\n    <parenthetical>(to Arthur)<\/parenthetical>\n    <dialogue>Whiskey and soda.<\/dialogue>\n    <scene_description>LATER Empty glasses show that Jim and Aurora have been doing yeoman's work at the bar. Both are tipsy and laughing.<\/scene_description>\n    <character>AURORA<\/character>\n    <parenthetical>(collecting herself)<\/parenthetical>\n    <dialogue>Oh...I almost forgot my life is in ruins.<\/dialogue>\n    <scene_description>That wipes the smile off Jim's face.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>What for?<\/dialogue>\n    <parenthetical>(she gets up)<\/parenthetical>\n    <dialogue>I'm going to bed. In the morning we'll think of something brilliant.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>All right.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Good night, Jim. Good night, Arthur.<\/dialogue>\n    <scene_description>She exits.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Good night.<\/dialogue>\n    <parenthetical>(to Jim, sotto voce)<\/parenthetical>\n    <dialogue>She's wonderful. Excellent choice.<\/dialogue>\n    <scene_description>Jim drops his head into his hands. AURORA'S CABIN - NIGHT Aurora unpacks. She stows clothing in drawers and closets: everything at right angles and perfectly creased. She looks up suddenly, astonishment on her face.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Of course!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERLIN SUITE<\/stage_direction>\n    <scene_description>Aurora pounds on the door.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Jim! Wake up!<\/dialogue>\n    <scene_description>The door opens. Jim stands blinking in his bathrobe.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>We'll go home.<\/dialogue>\n    <scene_description>ELEVATOR Aurora drags Jim in. He's still in his robe.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>It takes too long to get to Homestead II. But we're closer to Earth. We'll turn the ship around.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>We can't.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>It's our only chance of getting off this ship in our lifetimes!<\/dialogue>\n    <scene_description>COMMAND DECK Aurora drags Jim out of the elevator. Looks around.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Where's the...navigating place?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>The Bridge. That way. But listen...<\/dialogue>\n    <scene_description>She marches off down the corridor. He follows.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>We can learn how to pilot the ship. We have all the time in the world.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Just one problem.<\/dialogue>\n    <scene_description>COMMAND DECK - BRIDGE DOOR Aurora opens the Bridge door - revealing the armored hatch. Gouges and burns betray Jim's past efforts to get inside.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Everything important - the controls, the reactor, the engines - it's all behind firewalls. No way through.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <character>AURORA<\/character>\n    <parenthetical>(crushed)<\/parenthetical>\n    <dialogue>That was my last good idea.<\/dialogue>\n    <scene_description>FORWARD OBSERVATION DECK - DAY Aurora sits curled up in an armchair. Around her, a dizzying view of the cosmos. There's a cup of coffee on a table beside her. In her lap, an electronic slate with a microphone.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>New file. My Voyage.<\/dialogue>\n    <scene_description>A clean page opens on the slate. The title in the corner: \"My Voyage.\" As Aurora speaks, the page fills with words.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>I boarded the Excelsior with a destination. A goal. To walk on new worlds. But things have taken an unexpected turn.<\/dialogue>\n    <scene_description>GRAND CONCOURSE - DAY Aurora jogs in sneakers and sweats. Cabin doors flash past.<\/scene_description>\n    <character>AURORA (V.O.)<\/character>\n    <dialogue>I've been awake on this ship for seven days, awake far too soon...<\/dialogue>\n    <scene_description>Dead end. She's reached the aft end of the ship. She crosses a lobby and runs back the other way.<\/scene_description>\n    <character>AURORA (V.O.)<\/character>\n    <dialogue>...and I may well spend the rest of my life here...<\/dialogue>\n    <scene_description>Running along a promenade, Aurora reaches the forward end of the ship. Dead end again.<\/scene_description>\n    <character>AURORA (V.O.)<\/character>\n    <dialogue>...in a little steel world a thousand meters long.<\/dialogue>\n    <scene_description>GRAND CONCOURSE Jim sits at a table reading a technical manual. He looks up. Watches Aurora jog around the atrium and vanish.<\/scene_description>\n    <character>AURORA (V.O.)<\/character>\n    <dialogue>Another passenger shares my fate. A mechanic named Jim Preston.<\/dialogue>\n    <scene_description>SWIMMING POOL - DAY The swimming pool is a marvel: one entire wall is a window extending from the ceiling to the bottom of the pool. Aurora enters in her Homestead Company bathrobe. Drops the robe to reveal a bathing suit. She dives into the pool.<\/scene_description>\n    <character>AURORA (V.O.)<\/character>\n    <dialogue>The other passengers will sleep for another ninety years.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STARSHIP EXCELSIOR - SWIMMING POOL WINDOW<\/stage_direction>\n    <scene_description>Aurora swims, a slender shape moving on the water's surface. We pull out, the ship dwindling, the blue window receding.<\/scene_description>\n    <character>AURORA (V.O.)<\/character>\n    <dialogue>By the time they wake, Jim and I will have lived, grown old, and died.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORWARD OBSERVATION DECK<\/stage_direction>\n    <scene_description>Back on Aurora in her armchair, writing.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Vanished, like a dream, in the blink of an eye.<\/dialogue>\n    <scene_description>She falters, frightened by her own words. CAFETERIA - DAY Jim sits tinkering with the goggle head of the broken robot. The table is strewn with tools and parts. Aurora sits down across from him.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Why did you do it?<\/dialogue>\n    <scene_description>Jim is thunderstruck. The game is up. He swallows hard.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Do what?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Emigrate. Leave Earth. I'm interviewing you.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>You're what?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>You're the first hibernation failure in the history of space travel. That makes you a story.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Who are you going to tell?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Posterity. So why'd you give up your life on Earth?<\/dialogue>\n    <scene_description>Jim hesitates. He hadn't thought about it quite that way.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>A hundred and twenty years' hibernation means you never see your family and friends again. You sleep your way to another planet and another century. It's the ultimate geographical suicide.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I, uh...I never really...<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Were you running away from something?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>No. Things were okay.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I just wanted...you know. A fresh start. Back to basics.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>That's Homestead Company propaganda.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I guess.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Jim!<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>When something breaks on Earth these days, you don't fix it. You replace it. But in the colonies they still have problems to solve. My kind of problems. A handyman is somebody.<\/dialogue>\n    <scene_description>Nothing there for Aurora to scoff at. She looks impressed.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>And there's room! Open country. Woods and fields. Room to grow.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Now you're back to slogans.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Can't slogans be true?<\/dialogue>\n    <scene_description>HIBERNATION BAY Jim and Aurora walk down an aisle of hibernation pods.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>You know how much the Homestead Company made off its first planet, Homestead I? Over eight quadrillion dollars. That's eight million billions. Colony planets are the biggest business going. Did you pay full price for your ticket?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>No. I'm in a desirable trade.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>So they fill your head with dreams, discount your ticket, and you fly off to populate their planet and pay Homestead ten percent of everything you do for the rest of your life. You think you're free? You're just part of the business plan.<\/dialogue>\n    <scene_description>Jim waves at the rows of sleepers.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>All you see here is five thousand suckers?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>I see zeroes on the Homestead Company's bottom line.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I see five thousand men and women changing their lives. For five thousand different reasons. You don't know these people.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>I'm a journalist. I know people.<\/dialogue>\n    <scene_description>Jim walks up to a hibernation pod. Glances at the data screen. He covers the screen with his hand.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>This guy. Banker, teacher, or gardener?<\/dialogue>\n    <scene_description>Aurora studies the sleeper: a barrel-chested man of 50 with gray temples and a jutting jaw.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Banker.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Gardener.<\/dialogue>\n    <scene_description>Jim moves down the row, peeks at another screen, covers it.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Is this Madison, Donna, or Lola?<\/dialogue>\n    <scene_description>Aurora peers: a birdlike young woman with long red hair.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>She's too silly to be a Donna. I think she's a Lola.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Madison. Chef, accountant, or midwife?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>She has to be a midwife. There's no way you made that one up.<\/dialogue>\n    <character>JIM<\/character>\n    <parenthetical>(chuckling, caught)<\/parenthetical>\n    <dialogue>She's a midwife. I didn't know they still had midwives.<\/dialogue>\n    <scene_description>They move among the sleepers, quizzing each other.<\/scene_description>\n    <character>AURORA<\/character>\n    <parenthetical>(pointing at a man and woman side by side)<\/parenthetical>\n    <dialogue>Married, or strangers?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Married.<\/dialogue>\n    <character>AURORA<\/character>\n    <parenthetical>(impressed)<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <parenthetical>(about an older woman)<\/parenthetical>\n    <dialogue>Politician, historian, or artist?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I don't know. Artist?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>It doesn't say. But I'll tell you this: I like her. We'd be friends.<\/dialogue>\n    <scene_description>Jim looks at Aurora seriously.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>You think you can see that?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Don't you?<\/dialogue>\n    <scene_description>Jim looks at the woman in the pod. Smiles.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>FORWARD OBSERVATION DECK - DAY Jim and Aurora sit together on a sofa - the universe spread out before them. Aurora nestled in a lap blanket. Jim's feet up on a coffee table.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>A round-trip ticket?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>That's right. I was going to fly to Homestead II. Live for a year. Then right back to Earth.<\/dialogue>\n    <character>JIM<\/character>\n    <parenthetical>(perplexed)<\/parenthetical>\n    <dialogue>I left Earth for a new life. But you end up back where you started.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>I end up in the future. Two hundred and fifty years in the future. On Earth, which is still the center of civilization, overcrowded or not. And I arrive with a story to tell, and a perspective no other writer has.<\/dialogue>\n    <scene_description>Jim looks at Aurora, trying to square her chipper tone with the pure desolation of her plan. He doesn't get it.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>And what's the story?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>The selling of the colonial dream.<\/dialogue>\n    <scene_description>Jim's eyes widen at that pronouncement. He thinks it over.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>How did you say good-bye?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I guess I didn't. I just left.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>I had this huge farewell party. Everybody came. Family, friends... Enemies. Everyone I knew.<\/dialogue>\n    <parenthetical>(she laughs bleakly)<\/parenthetical>\n    <dialogue>Jim, I can't think of anything else to try. To save us, I mean. I don't even want to think about it anymore. I can't bear it.<\/dialogue>\n    <parenthetical>(she stands)<\/parenthetical>\n    <dialogue>What is there to do around here?<\/dialogue>\n    <scene_description>MOVIE THEATER - DAY Jim leads Aurora into the movie theater. The lights come up. The curtain opens. Aurora looks around in wonder. A bundle of cables snakes down the aisle.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Watch your step. I've made a few changes.<\/dialogue>\n    <scene_description>They sit. Next to Jim's seat there's a cluster of machines. He taps a button that produces a bucket of hot popcorn.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Popcorn?<\/dialogue>\n    <scene_description>Aurora grins and takes some.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>I never do this.<\/dialogue>\n    <scene_description>A mobile screen beside Jim lists movies.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>What are you in the mood for?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Horror. Something bloody.<\/dialogue>\n    <parenthetical>(off his laughter)<\/parenthetical>\n    <dialogue>I don't know. You choose.<\/dialogue>\n    <scene_description>Jim taps a button. The curtains slide open. They settle back. GYMNASIUM - BASKETBALL COURT - DAY Jim and Aurora play one-on-one. She's not especially good, but fiercely competitive. They jostle and scramble, laughing. Aurora snags the ball. For a minute she stands there beaming.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>What are you so happy about?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>I'm up two points!<\/dialogue>\n    <scene_description>She cuts around him toward the basket. DECK TWO - VIRTUAL MUSEUM - EVENING White rooms. As Jim and Aurora enter, the blank wall panels display a collection of bright abstract paintings. Aurora goes to the control podium. Scrolls through the menu, covers her eyes and chooses blind. The wall panels fill with medieval visions of Hell. She winces. Chooses again. Chaotic collages. She frowns. Jim steps to her side and makes a selection, surprising her. The walls fill with landscapes - stark plains and oceans, with lonely figures isolated in the vastness. The images pull Jim and Aurora in: they stand before a dark seascape. Without thinking she reaches out and tucks her hand in the crook of his elbow. FADE TO BLACK.: SUPER: ONE MONTH LATER SWIMMING POOL - MORNING Aurora swims laps, cutting through the water. In the balcony above the pool, Jim stands watching her. Aurora, making a turn at the end of a lap, catches a glimpse of him but doesn't let on. Underwater she smiles. GRAND CONCOURSE - DAY A little duster robot patrols the concourse. Jim's hands reach into frame and lift the robot off its wheels. Passing along an upper promenade, Aurora sees Jim walk away with the duster robot under his arm. JIM'S WORKSHOP - DAY A functional room that Jim has turned into a workshop. Broken robots of different types lie around in partial states of disassembly. Jim stands at a workbench, the duster robot in front of him. He tinkers with its complex works. He sets the robot on the floor. Types a command on his industrial laptop, hits EXECUTE. His kidnapped robot does a figure-eight on the floor. Jim smiles in satisfaction. FORWARD OBSERVATION DECK - DAY Aurora sits on a sofa, writing slate in her lap. She's editing: dragging words around with a fingertip. A mechanical whir distracts her. She looks down. Jim's pet robot looks up at her with binocular eyes. It carries a paper in a clip on its back. Aurora pulls it free. A handwritten note from Jim. It reads: Come to dinner with me tonight? - Jim Aurora reads the note with a grin.<\/scene_description>\n    <character>AURORA<\/character>\n    <parenthetical>(to the robot)<\/parenthetical>\n    <dialogue>Is he asking me on a date?<\/dialogue>\n    <scene_description>JIM'S WORKSHOP Jim sits at his laptop, watching the screen: a robot's-eye- view of Aurora. He wiggles a joystick on his laptop, and... FORWARD OBSERVATION DECK<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..the robot nods its goggle head. Aurora laughs.<\/stage_direction>\n    <scene_description>Beside the note-clip, the robot carries a pen in a makeshift holder. Aurora takes the pen, scribbles on the paper. Tucks it back into the robot's note clip. GRAND CONCOURSE - CONCOURSE BAR Arthur polishes glasses behind the bar. The robot crosses the Concourse, note clipped to its back. Arthur watches it pass. JIM'S WORKSHOP Jim plucks the note from the robot's back. Aurora's reply is written in bold letters: Love to. -A AURORA'S CABIN - EVENING Aurora gets ready for dinner. A slim dress, a few pieces of jewelry, her hair up. She looks like a goddess. The doorbell rings. Jim stands on her doorstep in a dapper jacket. His eyes widen as he takes Aurora in.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>You clean up all right yourself. You went shopping.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I went shoplifting.<\/dialogue>\n    <scene_description>In the corridor waits a cargo robot to which Jim has attached a loveseat. He helps Aurora aboard. Takes a seat beside her. She's charmed.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Rutherford! To the bar!<\/dialogue>\n    <character>CARGO ROBOT<\/character>\n    <dialogue>Yes, Passenger Jim!<\/dialogue>\n    <scene_description>The robot zooms off to the sound of Aurora's laughter. GRAND CONCOURSE - CONCOURSE BAR Jim and Aurora take seats. Arthur puts on his best manners.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Evening. What can I get for you?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Manhattan, please.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Single malt, rocks.<\/dialogue>\n    <scene_description>Arthur pours.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>You two look fine this evening.<\/dialogue>\n    <character>AURORA<\/character>\n    <parenthetical>(confidentially)<\/parenthetical>\n    <dialogue>We're on a date!<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Very nice.<\/dialogue>\n    <character>AURORA<\/character>\n    <parenthetical>(to Jim, teasing)<\/parenthetical>\n    <dialogue>Took you long enough to ask.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I was giving you space!<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Space is one thing I don't need more of. Oh! I found a drug that would put us in a coma.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Really?!<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>But the catch is, we'd still be aging.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Yeah. If I have to grow old on this ship, I'd at least like to be awake for it. So that was a failure.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>A highly ambitious failure.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>There's the title of my memoir. \"A Highly Ambitious Failure,\" by Aurora Dunn.<\/dialogue>\n    <scene_description>Jim laughs. He thinks for a minute.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>\"Voyage to Nowhere,\" by Jim Preston.<\/dialogue>\n    <character>AURORA<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>\"My Life in a Tin Can.\"<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>\"A Spaceship Built For Two.\"<\/dialogue>\n    <scene_description>GRAND CONCOURSE - NIGHT Jim and Aurora ride along on the cargo robot, giddy and loose. Suddenly she points. They're passing the photo booth.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Rutherford, stop!<\/dialogue>\n    <scene_description>The robot stops. She pulls Jim off.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Come on, we have to do this!<\/dialogue>\n    <scene_description>She pulls Jim to the photo booth. They tumble inside. As the strobe flashes, she kisses him hard. Jim looks at her in happy astonishment. Outside, the photo strip drops into the tray. In the first frame, they pose. In the second, they laugh. In the third, they kiss. In the last, Aurora smiles at the camera. Jim looks at Aurora. XANADU The Excelsior's grandest restaurant. Lavishly styled. Jim and Aurora sit at the best table. Robot waiters set covered plates in front of them. Lift the silver covers to reveal exquisite dishes. Aurora takes her first bite and smiles, her eyes wide.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>So good.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>It wasn't easy getting a reservation.<\/dialogue>\n    <scene_description>They grin at each other across the table.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRLOCK - NIGHT<\/stage_direction>\n    <scene_description>Rutherford the robot whisks Jim and Aurora up to a service airlock and stops. Aurora looks mystified - as if their date has culminated in a visit to a broom closet.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>What's this?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>The best show in town.<\/dialogue>\n    <scene_description>MINUTES LATER Jim stands wearing a spacesuit - helmet off. Helping Aurora into a suit of her own. She's thrilled and terrified, like a skydiver taking her first jump.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>You've done this before?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>And it's safe.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Reasonably safe.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STARSHIP EXCELSIOR - HULL<\/stage_direction>\n    <scene_description>Jim and Aurora, in spacesuits, walk forward along the hull, hand in hand. Around them, a riot of stars. The Milky Way. Blue-shifted stars ahead of the ship, red-shifted stars aft. At the bow they stop, taking in the awe-inspiring view.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Jim. It's incredible.<\/dialogue>\n    <scene_description>He turns to face her. The blue stars frame his head; the pink, Aurora's. He takes a knee in front of her.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <scene_description>Jim unreels tethers from both of their belts. Sticks the anchors to the hull - and turns off Aurora's gravity boots. She floats off the hull, clinging to his hands. Electrified.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Jim!<\/dialogue>\n    <scene_description>But there's wonder and raw delight in her eyes. She pulls her face toward his - and their helmet visors clunk together.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRLOCK - NIGHT<\/stage_direction>\n    <scene_description>Aurora and Jim kiss almost violently as they squirm out of their spacesuits.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERLIN SUITE - NIGHT<\/stage_direction>\n    <scene_description>Jim and Aurora make love in the wide bed, satin sheets tangled around them, a starry tapestry outside the window. FADE TO BLACK.: CAFETERIA - MORNING Jim and Aurora sit eating breakfast. Aurora eats happily: Jim watches her across the table.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>I'm starving. You have no idea.<\/dialogue>\n    <parenthetical>(she grins)<\/parenthetical>\n    <dialogue>Last night was just what I needed.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>You are the most beautiful woman I've ever seen. You kill me.<\/dialogue>\n    <scene_description>Aurora stops eating, her spoon halfway to her lips. They look at each other. Jim grabs her across the table. She comes out of her chair. They kiss fiercely - Aurora climbs onto the table, sweeping dishes aside. A moan. A crash of crockery. Cleaning robots zoom in as Jim and Aurora make love on the tabletop, sweeping up as glassware continues to fall. BERLIN SUITE Jim and Aurora lie in Jim's imperial bed, glistening with sweat and breathing hard. She nestles in his arms, her back against his chest. They look out at the stars.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Yes, I'm fine. It's just...<\/dialogue>\n    <scene_description>She waves her hand in the air as if to signify, all of this.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>She snuggles in tighter, and he holds her close.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STARSHIP EXCELSIOR - BERLIN SUITE WINDOW<\/stage_direction>\n    <scene_description>Through the window, Jim and Aurora lie together in the luxurious bed. We pull out, the window dwindling, as the Excelsior soars away from us through a burning nebula of red and gold. FADE TO BLACK.: SUPER: THREE MONTHS LATER CORRIDOR - MORNING A luxury cabin door: the doorplate reads \"Vienna Suite.\" VIENNA SUITE - BEDROOM The ship's most romantic cabin. On one side of the bedroom, Aurora's mementos and possessions. On the other side, Jim's. They wake together. She kisses him on the cheek with the ease of long habit and heads for the shower. He watches her go. SWIMMING POOL - MORNING Swimming, Aurora reaches the end of a lap. A hand reaches down and catches her before she can turn. Jim kneels at the edge of the pool, in coveralls and work boots, a tool belt slung over his shoulder.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>I'm going down to the cargo hold.<\/dialogue>\n    <scene_description>Aurora pulls herself up and kisses him.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Careful.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Back by happy hour.<\/dialogue>\n    <scene_description>FORWARD OBSERVATION DECK - DAY Aurora writes on her sofa, surrounded by electronic slates.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>The Polynesians set out into the Pacific Ocean with no destination. Searching for islands. They sailed into the endless sea on faith.<\/dialogue>\n    <scene_description>SUBDECK A - NUMBER EIGHT CARGO HOLD - DAY Jim walks among the cargo racks. Machines stacked from floor to ceiling: tractors, combines, gravity boats and hovercraft.<\/scene_description>\n    <character>AURORA (V.O.)<\/character>\n    <dialogue>Some never returned. Others found land and prospered. What drove them out onto the sea? Curiosity? Tradition? The wish for something better?<\/dialogue>\n    <scene_description>Jim opens cargo containers. He sorts through ingots of rare metals, solar panels, spools of gold and silver wire. Raw materials for a young world.<\/scene_description>\n    <character>AURORA (V.O.)<\/character>\n    <dialogue>The urge to move is as primal as hunger or thirst. We run, we drive, we sail, we fly.<\/dialogue>\n    <scene_description>Jim finds a stash of golf carts and his eyes light up. GRAND CONCOURSE - CONCOURSE BAR - DAY Aurora sits at the bar with her slate, sipping a drink.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Is it movement that we need? Or the possibility of something new?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>I'm writing, Arthur. Hush.<\/dialogue>\n    <scene_description>Aurora's slate has recorded this exchange: she erases the extra words with her fingertip. SUBDECK A - NUMBER SEVEN CARGO BAY Jim drives his cart into a new bay - and stares in wonder. In oversized hibernation pods: cattle, horses, sheep, oxen. All asleep. Chickens, ducks and geese in individual cells.<\/scene_description>\n    <character>AURORA (V.O.)<\/character>\n    <dialogue>Like seeds, we carry what we need. The wind drives us - whether the trade winds, the solar winds, or the winds of chance.<\/dialogue>\n    <scene_description>The next aisle holds plants in stasis: saplings in tubes, seedlings in individual vials. Jim stops in front of a glass case. Rosy light bathes his face. He smiles. We don't see why.<\/scene_description>\n    <character>AURORA (V.O.)<\/character>\n    <dialogue>We take root where we fall. And helplessly we grow.<\/dialogue>\n    <scene_description>VIENNA SUITE - BEDROOM - EVENING Aurora sits with her slate. Eyeing Jim's side of the room. Giving in, she begins to explore Jim's possessions: poking into the drawers of his nightstand and dresser. She opens his closet. Shifting things, she finds a dog-eared manual on hibernation pods. A bookmark in the pages. She goes to open the book - and the bookmark slides into her hand. It's the photo strip Jim took during his isolation: Four identical shots of his face, bearded and hollow-eyed. The melancholy images hit her hard. She touches the pictures to make them move: but Jim sits immobile as the digital partygoers in the background cheer and laugh. In the fourth image, Jim sighs heavily. Voices in the hall.<\/scene_description>\n    <character>CLEANING ROBOT (O.S.)<\/character>\n    <dialogue>Hello, Passenger.<\/dialogue>\n    <character>JIM (O.S.)<\/character>\n    <dialogue>Hello, robot.<\/dialogue>\n    <scene_description>Hastily Aurora replaces the manual. Closes the closet. Jim appears in the doorway: tool belt over his shoulder, duffel bag in hand.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Hey. How was your day?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>I wrote a few pages. I'm not sure what I'm doing anymore. I think I'm writing about us.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Makes sense.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>I'm not sure I want to write about us. I don't even know how to think about it. I live in a palace. But it's also a prison.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>I'm moving at half the speed of light and I can't go anywhere!<\/dialogue>\n    <scene_description>Jim takes that in.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>The cargo hold is full of pioneer gear. Floatships and heavy lifters and grav barges. That's what I wanted: a world still being made. Where you can build your own house and live in it.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>I'll never live the life I was going to write about. So much for literary immortality.<\/dialogue>\n    <scene_description>They sit for a moment in glum contemplation.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Did you find anything down there that could help us?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Yes. I found these.<\/dialogue>\n    <scene_description>Jim unzips his duffel bag and takes out a bouquet of red roses. Aurora gasps. Reaches out to touch them.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Are they real?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I cut them myself.<\/dialogue>\n    <scene_description>She takes them.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>She looks into his eyes.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>For two unlucky people, we got pretty lucky.<\/dialogue>\n    <scene_description>FADE TO BLACK.: SUPER: THREE MONTHS LATER<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELITE DECK - CORRIDOR - DAY<\/stage_direction>\n    <scene_description>A deep RUMBLE. Jim and Aurora sprint down the hall, cabin doors flashing by. Jim leading the way.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>It's coming! Run!<\/dialogue>\n    <scene_description>CELESTIAL PROMENADE Jim and Aurora run up the stairs onto the highest promenade on the ship: glass all around, skylight above. The RUMBLE is louder. A bloody light fills the sky. A STAR looms ahead of the ship: a RED GIANT. The Excelsior rockets toward the star. The passage takes less than a minute. The Red Giant swells in the windows. The ship shudders. The engines howl. Aurora falls into Jim's arms. The ship bathed in red light. The star fills the skylight, fills the sky itself. A fiery surface turbulent with sunspots and mysterious currents. The engines scream. And then they're past. The star recedes, dwindling as quickly as it grew. The engines quiet. The ship's calm restored.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>That was incredible.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Happy birthday.<\/dialogue>\n    <scene_description>She throws her arms around him. STARDOME - XANADU - EVENING Jim and Aurora dine. They laugh and flirt with easy intimacy. Their plates emptied, they sit back, sipping wine. Jim lifts the table's candle and waves it in the air. A robot rolls up with a birthday cake, candles alight.<\/scene_description>\n    <character>JIM<\/character>\n    <parenthetical>(singing)<\/parenthetical>\n    <dialogue>Happy birthday to you...<\/dialogue>\n    <scene_description>The robot waiters unexpectedly join in, a tinny chorus. Jim tries not to laugh as he keeps singing. Aurora just beams.<\/scene_description>\n    <character>JIM &amp; ROBOTS<\/character>\n    <dialogue>Happy birthday to you... Happy birthday, dear Aurora... Happy Birthday to you.<\/dialogue>\n    <scene_description>Aurora sits bathed in candlelight, and for this moment she is truly and fundamentally happy. She blows the candles out. GRAND CONCOURSE - CONCOURSE BAR - NIGHT Jim and Aurora sit at the bar, tipsy. Arthur pours.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Birthday drink for the birthday girl.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Aren't you going to check my I.D.? I might not be old enough to drink.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>I'd never ask your age in front of a gentleman.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Jim's not a gentleman. Anyway there's no secrets between me and Jim.<\/dialogue>\n    <scene_description>Arthur looks surprised. Turns to Jim inquisitively.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Is that so?<\/dialogue>\n    <character>JIM<\/character>\n    <parenthetical>(breezily)<\/parenthetical>\n    <dialogue>You heard the lady. Be right back.<\/dialogue>\n    <scene_description>He walks away.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>You know what I like about you, Arthur? You have a sense of occasion. I bet ladies fall for you on every trip.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>I'd say you were pulling my leg, but I haven't got any.<\/dialogue>\n    <character>AURORA<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>Exactly! There you go.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>I remember your last birthday, a year ago. Jim was really looking forward to meeting you.<\/dialogue>\n    <scene_description>Aurora frowns, processing this sentence - her smile fading.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>MEN'S WASHROOM Jim stands at the mirror, touching up his hair. He pulls a swatch of velvet from his pocket and unwraps a handmade ring, cunningly woven of gold and silver wire. He looks it over. Adjusts a curve of wire with his fingernail. He carefully returns the ring to his pocket. CONCOURSE BAR Aurora scowls at Arthur, trying to get her bearings.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>What do you mean, he was looking forward to it? How could he...<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>He couldn't stop talking about you! He spent months deciding whether to wake you up.<\/dialogue>\n    <scene_description>Aurora eyes widen in shock.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Jim woke me up.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Oh, yes. Said it was the hardest decision of his life, but I see it worked out just fine.<\/dialogue>\n    <scene_description>Aurora stops breathing. She stares at the bartop. Jim strolls up to the bar. His hand slides into the jacket pocket where the ring lies hidden. But Aurora's body language is all wrong. He stops, perplexed.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>She sits rigid. Jim's hand slides out of his jacket pocket.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Did you wake me up, Jim?<\/dialogue>\n    <scene_description>Jim's hand slides out of his jacket pocket. He shoots a stricken look at Arthur, who smiles back, oblivious. Aurora's eyes bore into him. Finally Jim finds his voice.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Yes. I woke you up.<\/dialogue>\n    <character>AURORA<\/character>\n    <parenthetical>(in agony)<\/parenthetical>\n    <dialogue>How could you do it?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I tried not to.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>I'm going to be sick. No. I...I can't see.<\/dialogue>\n    <scene_description>She gets up to leave. He goes after her.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Aurora.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Get away from me!<\/dialogue>\n    <scene_description>CELESTIAL PROMENADE Aurora paces in front of the windows, breathing hard. Muttering to herself.<\/scene_description>\n    <character>AURORA<\/character>\n    <parenthetical>(under her breath)<\/parenthetical>\n    <dialogue>I can't get off the ship. There's no way off the ship.<\/dialogue>\n    <scene_description>Jim appears behind her. A reflection in the glass.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Aurora.<\/dialogue>\n    <scene_description>She stops. Turns on him.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>You bastard. How did you decide? Thousands of women in their underwear and you get to pick your favorite.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>It wasn't like that.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>No? What was it like, Jim? What?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I didn't go looking. It just... happened. This was real.<\/dialogue>\n    <parenthetical>(desperately)<\/parenthetical>\n    <dialogue>Aurora. I love you.<\/dialogue>\n    <scene_description>She laughs scornfully.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>No you don't. Show me how you did it.<\/dialogue>\n    <scene_description>HIBERNATION BAY - AURORA'S POD Aurora walks up to her old hibernation pod. Jim trails her.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>So?<\/dialogue>\n    <scene_description>Jim stares at her, unbelieving. But she means it. He opens the cover panel, points out the key components.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Short circuit these two contacts, then these two. And cut these wires.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Just like that.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Just like that.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>I thought you saved me. But you didn't save me, Jim. You did this to me. And now I'm stuck with you. The second- rate mechanic who ruined my life.<\/dialogue>\n    <character>JIM<\/character>\n    <parenthetical>(lamely)<\/parenthetical>\n    <dialogue>Rate two mechanic.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>You sick bastard.<\/dialogue>\n    <scene_description>VIENNA SUITE Aurora walks in, barely under control. Pacing, furious. Grabs a lamp and hurls it across the room in a paroxysm of rage. Instantly a housekeeping robot scoots in from the other room, sweeps up the broken lamp and zips out again, leaving the room pristine. Aurora stares in disbelief at the spotless floor. She breaks down. Sinks to her knees, wracked by sobs. HIBERNATION BAY - AURORA'S POD - DAY Jim sits at the foot of Aurora's hibernation pod, staring into the empty tube. VIENNA SUITE Jim walks in. All Aurora's things are gone. She's moved out. CAFETERIA - MORNING Aurora sits finishing her breakfast. Jim enters and approaches her table. Her eyes are hard as stone.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Can I talk to you?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>I don't want to talk anymore. I don't want to look at you anymore. If you see me coming, get out of my way. If you see me sitting, find somewhere else to be. There's plenty of choices. It's a big boat.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIENNA SUITE - NIGHT<\/stage_direction>\n    <scene_description>Jim sleeps alone in the wide bed. Aurora enters. Stands over Jim in the starlight. Shaking. Suddenly she explodes into violence. Pummels his sleeping body with her fists. Animal sounds burst out of her: grunts, sobs, shouts. Jim curls into a ball under the sheets. Aurora leaps onto the bed. Delivers a few resounding kicks. And then she's gone. The door closes behind her. Jim sits up painfully, looking after Aurora in amazement. JIM'S WORKSHOP Jim sits in front of his laptop. He sports an impressive black eye. Aurora's accusing eyes stare out of the screen. He closes the laptop.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMUNICATIONS CENTER - DAY<\/stage_direction>\n    <scene_description>Jim sits at the security console. Unshaven, his black eye fading. Twenty screens give different views of the ship. One screen shows an upper promenade of the Grand Concourse. As he watches, Aurora jogs by in sneakers and shorts. She runs out of frame on one screen - and into frame on the next. Jim is mapping her route. He looks thoughtfully at the public address microphone. GRAND CONCOURSE Aurora circles the atrium on her high promenade. OVER THE P.A. SYSTEM: Jim clears his throat.<\/scene_description>\n    <character>JIM (VIA INTERCOM)<\/character>\n    <dialogue>Aurora.<\/dialogue>\n    <scene_description>Aurora stops in surprise, looking up.<\/scene_description>\n    <character>JIM (VIA INTERCOM)<\/character>\n    <dialogue>Please...hear me.<\/dialogue>\n    <scene_description>Aurora rolls her eyes and resumes running. COMMUNICATIONS CENTER Jim watches Aurora move from screen to screen. He grips the microphone tightly: his voice reverberates through the ship.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>I'm sorry. I was so alone for so long. It felt like I was disappearing. When I saw you, the first time I saw you... everything changed. You saved my life. You were so beautiful. I kept coming back. Every day. Just staring at you in there.<\/dialogue>\n    <scene_description>That's not sounding right. He regroups and starts again.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>I was trying...trying to know you through the glass. I read all your stuff, trying to hear your voice. When you woke up...<\/dialogue>\n    <scene_description>GRAND CONCOURSE Aurora doesn't break stride. But she's listening.<\/scene_description>\n    <character>JIM (VIA INTERCOM)<\/character>\n    <dialogue>I had no idea what would happen. I had no reason to believe you'd see anything in me. When you did, it was like...I wasn't trapped anymore.<\/dialogue>\n    <scene_description>CONCOURSE BAR Arthur looks up, listening, as Jim's voice echoes through the ship.<\/scene_description>\n    <character>JIM (VIA INTERCOM)<\/character>\n    <dialogue>My pointless life suddenly had meaning.<\/dialogue>\n    <scene_description>GRAND CONCOURSE - UPPER PROMENADE Aurora runs faster now.<\/scene_description>\n    <character>JIM (VIA INTERCOM)<\/character>\n    <dialogue>Aurora. I don't want to lose you.<\/dialogue>\n    <scene_description>Aurora skids to a stop beside a deck steward's station. Leans over the counter and grabs a P.A. microphone. She pivots in place: spots a security camera. Stares into the lens.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Great. I'm glad destroying my life somehow improved yours. But I don't care why you woke me up. I don't care how you feel. You're a murderer. You don't want to lose me?! You lost me.<\/dialogue>\n    <scene_description>COMMUNICATIONS CENTER Onscreen: Aurora drops the mic and strides out of frame. FORWARD OBSERVATION DECK - DAY Aurora sits reading. A whir distracts her. She looks down. Jim's pet robot sits beside her. A note on its back. She picks up the note. It's the photo strip from her first date with Jim: their first kiss captured on film. Clipped to the photo strip is a handwritten note: \"This was real.\" Aurora leans down toward the robot's binocular eyes. ROBOT'S POV Aurora looms close.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Watching me through a robot is creepy, Jim. Cut it out.<\/dialogue>\n    <scene_description>She holds the photo strip up to the robot's eyes and tears it in two. FADE TO BLACK.: SUPER: THREE MONTHS LATER AURORA'S CABIN - MORNING An alarm clock rings. Aurora rolls out of bed and immediately begins making the bed. Hospital corners. VIENNA SUITE - DAY Jim lies asleep in his clothes and shoes. Five-day stubble. Dirty dishes in bed with him. The suite is squalid. A bottle of vodka on the nightstand. CAFE MAXINE The French restaurant. Aurora eats breakfast, reading a digital novel. A croissant, fruit, a cappuccino. VIENNA SUITE Jim still lies asleep. He wakes. Blinks the sleep from his eyes. Rolls out of bed and straps on his tool belt. Takes a swig from his vodka bottle. Shuffles out of the room. SWIMMING POOL - DAY Aurora stands at the end of the pool in her bathing suit, toes hanging over the edge. The water is perfectly calm. The moment grows long. She sighs, heavily, and dives in. JIM'S WORKSHOP Jim slouches in a chair beside his workbench, surrounded by half-assembled robots and machinery. He toys idly with a chunky microchip, visibly burned out. Tosses it into a pile of identical chips. Jim sighs. Looks around. The cart sits by the door. He looks at the cart. Picks up a blowtorch off his workbench and snaps it on. CORRIDOR Jim stands beside his cart. It's transformed. Jacked up on truck tires, a bank of extra batteries. An off-road dragster. Jim climbs aboard. Lowers a pair of welding goggles over his eyes. Hits the throttle. The cart shoots down the straightaway with a wail of rubber. GRAND CONCOURSE - SHOPPING DISTRICT Aurora jogs. But her heart's not in it. She comes to a halt. Not breathing hard: just sick of running. A rumble behind her. She looks around. GRAND CONCOURSE - SHOPPING DISTRICT Jim approaches the end of the concourse at high speed. A daredevil look on his face. He prepares to take the turn. He squeals around a corner - and finds Aurora right in his path. He dodges wildly and disappears down a stairwell. A long series of horrible crashing sounds. Stunned, Aurora takes a step toward the stairs. Hesitates. Turns away and resumes jogging. INFIRMARY Jim lies in the autodoc - his head protruding, his body visible behind glass. Lasers and sensors pass over him.<\/scene_description>\n    <character>AUTODOC<\/character>\n    <dialogue>Two separated ribs. Sprain of the right elbow. One dislocated thumb.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Am I gonna be okay?<\/dialogue>\n    <scene_description>Blindingly fast, robotic hands straighten Jim's arm. Wrap his ribs and arm with white bandages. Jim shouts in shock.<\/scene_description>\n    <character>AUTODOC<\/character>\n    <dialogue>Leave the bandages on for one week.<\/dialogue>\n    <scene_description>The autodoc opens and Jim climbs out, testing his arm.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Thanks, doc.<\/dialogue>\n    <scene_description>He heads out.<\/scene_description>\n    <character>AUTODOC<\/character>\n    <dialogue>And take better care of yourself.<\/dialogue>\n    <scene_description>CONCOURSE BAR - EVENING Aurora sits at the bar in front of a martini.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>I envy you.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>How so?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>You have a purpose. You're always happy. You don't want anything you can't have.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Sure. But you've got legs.<\/dialogue>\n    <scene_description>Aurora laughs bleakly.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>How's the book coming along?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Fine. I'm working on it.<\/dialogue>\n    <parenthetical>(she sighs)<\/parenthetical>\n    <dialogue>Is this it, Arthur? Am I going to be sitting here in thirty years, drinking martinis and telling you how chapter three hundred twelve is going? I'll never make it. I'm not sure I can handle next week. I'm so tired. Tired of fighting myself.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>What are you fighting yourself about?<\/dialogue>\n    <scene_description>Aurora shoots Arthur a naked look, as if the question cuts deep. But she doesn't answer.<\/scene_description>\n    <character>JIM (O.S.)<\/character>\n    <dialogue>Arturo!<\/dialogue>\n    <scene_description>Jim walks in, his arm bandaged. Looks at Aurora in surprise.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Tuesday's my day with Arthur.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Today's Wednesday.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I slept through Tuesday?<\/dialogue>\n    <scene_description>A spasm of emotion in Aurora's face. She hardens.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>You're pathetic. The bar's all yours.<\/dialogue>\n    <scene_description>She spins off her stool and stalks away. Jim watches her go. Sits down and drains her martini at a gulp.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>I'm in hell.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>How so?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I woke her up, and I can't take it back. Can't send her home. Can't put her back to sleep. That's my whole life. Everything's broken and I can't fix it.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>You said you could fix anything.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I did?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Well. You were drunk.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>What do I do, Arthur? What am I supposed to do?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>What humans always do.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Improvise.<\/dialogue>\n    <scene_description>PARIS SUITE Aurora looks through a collection of snapshots. Aurora's farewell party. She touches them one by one. They begin to move and speak. Good wishes. Laughter and cheers. Finally only one snapshot still plays. Aurora's mother.<\/scene_description>\n    <character>AURORA'S MOTHER<\/character>\n    <dialogue>I promise we'll think of you every day. When you wake up, I know we'll be gone. But you just know that we lived our lives remembering you, and holding you in our hearts.<\/dialogue>\n    <parenthetical>(She starts to cry.)<\/parenthetical>\n    <dialogue>You were never happy here. Nothing was ever enough for you. I know.<\/dialogue>\n    <parenthetical>(She tries to soldier.)<\/parenthetical>\n    <dialogue>I hope you find what you're looking for. I hope it makes you happy.<\/dialogue>\n    <scene_description>Aurora watches, devastated. GRAND CONCOURSE - MIDDLE OF THE NIGHT Jim is in the middle of some inscrutable work. A manual lies open nearby. He's diagrammed a wide square on the deck in chalk, with markers for electrical conduits and beams. Aurora walks down a promenade above him like a sleepwalker in her nightgown. Her hair half-unravelled, her face drawn. She stops at the railing. Looks down at Jim. He sees her. Her eyes meet his. Flicker over his diagram. Then she walks away. Jim watches her go. Turns back to his diagram. Pulls the laser cutter from his belt, switches it on. Kneels and starts cutting through the steel deck plates. HIBERNATION BAY - NIGHT Aurora walks down a row of sleepers in her nightgown, looking at their faces. She stops in front of an empty pod. Her own. On impulse she stoops and pulls at the canopy. It opens. Aurora steps into the empty pod. She curls up on the floor. Leans back. Closes her eyes. Tears run down her cheeks in the dim light. CONCOURSE BAR - DAY Jim, in work clothes and tool belt, drops by the bar. He's as dirty as a coal miner but he looks happy.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Morning, Arthur. Coffee.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Coming up. Are you getting my barstool dirty?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Yeah. Got to get dirty to get things done.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>And what have you been doing?<\/dialogue>\n    <scene_description>Jim takes a sip of his coffee.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Improvising.<\/dialogue>\n    <scene_description>GRAND CONCOURSE - ELITE PROMENADE - DAY Aurora strolls listlessly. Glances over the railing at the Grand Concourse below - and gasps. GRAND CONCOURSE A fifteen-foot OAK TREE has been planted in the middle of the Concourse, surrounded by a bed of new grass. Aurora walks up, wide-eyed with wonder. Reaches out like a dreamer to touch the smooth bark of the tree. FADE TO BLACK.: SUPER: THREE WEEKS LATER<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR - DAY<\/stage_direction>\n    <scene_description>Jim descends in an elevator. He wears dirty work clothes and carries half a robot under his arm. Soothing music plays. The elevator jerks to a halt. The music stops. Jim looks up in confusion. The lights go out. Auxiliary lights come on. Jim punches buttons. Nothing. He pulls out his multitool. Pries at the doors.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ELEVATOR<\/stage_direction>\n    <scene_description>Jim squirms out head-first between the elevator doors, several feet above the floor. Climbs to his feet. As soon as he's out, the elevator chimes. The doors open: the car at floor level, music back on. Jim stares at the elevator indignantly. CAFETERIA Aurora walks in wearing slippers and pajamas. Her hair in a ponytail. She shuffles up to the food machines. Hits buttons. The cereal machine releases an avalanche of breakfast cereal. Aurora backs away in alarm. The flood of cereal continues. A sudden burst of static from the P.A. system.<\/scene_description>\n    <character>VOICE (VIA P.A.)<\/character>\n    <dialogue>This is Deck Chief Gus Mancuso.<\/dialogue>\n    <scene_description>Aurora spins around in shock.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ELEVATOR<\/stage_direction>\n    <scene_description>Jim stares up at the P.A. speaker in amazement.<\/scene_description>\n    <character>VOICE (VIA P.A.)<\/character>\n    <dialogue>Who the hell planted a tree on my ship?<\/dialogue>\n    <scene_description>The Grand Concourse! Jim sprints away down the corridor. GRAND CONCOURSE GUS MANCUSO stands at a deck steward's station, intercom mic in hand. A stocky man of 55, with a bristling mustache, wearing a crewman's coverall. Haggard and weary. He stares in consternation at the garden in the middle of the Concourse. Jim and Aurora race into the Concourse from opposite directions - Jim in his work clothes, Aurora in her pajamas. They see Gus and stop, dumbstruck. Jim and Aurora race into the Concourse from opposite directions - Jim in his work clothes, Aurora in her pajamas. They see Gus and stop, dumbstruck.<\/scene_description>\n    <character>GUS<\/character>\n    <parenthetical>(pointing at the tree)<\/parenthetical>\n    <dialogue>Who did that?<\/dialogue>\n    <scene_description>Jim raises a hand sheepishly. Gus shakes his head.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>I can't even talk about that now. Who are you?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Jim Preston.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Aurora. Aurora Dunn.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>Gus Mancuso. Nice to meet you. Anybody else awake?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>No. Just me and him.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>How long you been up?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>A year.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Two years.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>Ouch.<\/dialogue>\n    <parenthetical>(looks them in the eye)<\/parenthetical>\n    <dialogue>You know what it means, right? There's no way back into hibernation.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>We know.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>How far along are we?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Thirty-two years. Eighty-eight years to go.<\/dialogue>\n    <scene_description>Gus blows air.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>That's tough.<\/dialogue>\n    <parenthetical>(he shakes his head)<\/parenthetical>\n    <dialogue>Hibernation failure! They said it couldn't happen. Now three on one trip.<\/dialogue>\n    <scene_description>Aurora shoots Jim a look. Gus doesn't notice.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Well, let's see how bad things are.<\/dialogue>\n    <scene_description>COMMAND DECK Gus leads Jim and Aurora to the Bridge's armored hatch.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>You have no idea how long I've been trying to get in there.<\/dialogue>\n    <scene_description>Gus swipes his crew card through the lock and the door opens.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Now you're in. Don't touch anything.<\/dialogue>\n    <scene_description>BRIDGE The computer consoles of the Bridge brighten as they enter. Gus walks from station to station, studying the screens.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Is this where you work?<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>No, this is flight crew. I'm just a deck chief. But I can read the instruments. We're on course.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>Whatever's wrong with the ship, NavComp's still minding the store.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Something's wrong with the ship?<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>Three pod failures? Something's wrong. Question is what.<\/dialogue>\n    <scene_description>He turns to leave.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Wait. What about turning the ship around? Can't we go back to Earth?<\/dialogue>\n    <scene_description>Gus almost laughs.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>We're doing forty percent of lightspeed! Turning back would take as long as keeping on.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>There has to be a way.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>Sorry. We're going where we're going.<\/dialogue>\n    <scene_description>Jim looks at Aurora: she's visibly crestfallen. Gus breaks into a racking cough.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>I always get a hibernation hangover, but this one's bad.<\/dialogue>\n    <scene_description>GRAND CONCOURSE Gus walks with Jim at his elbow, Aurora following.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Two years! Any other trees I should know about?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Look out!<\/dialogue>\n    <scene_description>She leaps forward and pulls Gus back. Crash! A window-washing robot plummets from a high promenade and shatters on the deck - narrowly missing Jim. Gus lays a hand on Aurora's shoulder.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Thanks, darlin'.<\/dialogue>\n    <scene_description>The robot lies buzzing and twitching. Gus looks at Jim.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>You almost bought the farm!<\/dialogue>\n    <parenthetical>(looks down at the robot)<\/parenthetical>\n    <dialogue>Never seen a thing like that. You?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Not like that. But robots have been breaking down. This guy makes fifteen.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>Fifteen?!<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>The breakfast bar went crazy today.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>And an elevator.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>My door broke last week. I was trapped in my cabin for two days.<\/dialogue>\n    <character>JIM<\/character>\n    <parenthetical>(astonished)<\/parenthetical>\n    <dialogue>You were?<\/dialogue>\n    <scene_description>She just looks at him.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>This is all bad news.<\/dialogue>\n    <scene_description>GRAND CONCOURSE - TECH STATION Gus leads Jim and Aurora up to a steel pillar set in the Concourse wall. Presses a latch. The pillar swings open, revealing a diagnostic console. A tech station.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>All right. There's sixteen of these tech stations on every deck.<\/dialogue>\n    <parenthetical>(pointing)<\/parenthetical>\n    <dialogue>Atmosphere panel. Electrics panel. Robot control node. Data net. Got it?<\/dialogue>\n    <scene_description>Jim and Aurora nod, not sure where he's going.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Status lights on each unit. Green light good. Red light bad. No light really bad.<\/dialogue>\n    <parenthetical>(to Aurora)<\/parenthetical>\n    <dialogue>You walk decks one and two.<\/dialogue>\n    <parenthetical>(to Jim)<\/parenthetical>\n    <dialogue>You walk three and four. Check the lights and record what you find.<\/dialogue>\n    <scene_description>He hands them each an electronic slate.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>You get the idea?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Okay. Got it.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>I'm going down to the Hibernation Bay. Take a look at our pods.<\/dialogue>\n    <scene_description>Jim and Aurora exchange glances.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>That should be interesting.<\/dialogue>\n    <scene_description>HIBERNATION BAY - AURORA'S POD - DAY Gus kneels in front of the pod, examining the mechanism. He doesn't look well: sweating and panting as he works. Something he sees inside the machine makes him forget his discomfort. He stares, astonished.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>I'll be damned.<\/dialogue>\n    <scene_description>A sound behind him. Gus turns to find Jim, an electronic slate in his hands.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>You're supposed to be making your rounds.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I finished.<\/dialogue>\n    <scene_description>Gus looks from Jim to the pod mechanism and back again.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>I looked at your pod. Very simple. The clock chip's burned out. Not supposed to happen, but it's simple.<\/dialogue>\n    <scene_description>Jim fidgets. Starts to speak. Gus cuts him off.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>My pod was complicated. A bunch of failures all at once. Whole thing went haywire. I think that's why I feel so bad.<\/dialogue>\n    <parenthetical>(points at Aurora's pod)<\/parenthetical>\n    <dialogue>But this pod...<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Gus...<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>You did this.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>I was thinking what a lucky son of a bitch you were, stuck with a beauty like Aurora. But it wasn't luck.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Gus sits down heavily, looking at Jim.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>She knows?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>She knows.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>I could see there was some trouble between you. Damn.<\/dialogue>\n    <parenthetical>(he shakes his head)<\/parenthetical>\n    <dialogue>How long were you alone?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>A year.<\/dialogue>\n    <scene_description>Gus takes that in.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Still...<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>Jim quietly lays his electronic slate down beside Gus. Gus starts putting his tools away. GUS'S WORKSTATION A deck chief's workroom, dominated by a display table for viewing maps and data. Gus stands looking at a holographic map of the starship. Breakdowns appear as red markers: dozens, on multiple decks. Gus works with a stylus: plucking information from the slate Jim gave him and posting it on the map: a new red marker forms everywhere he touches. Suddenly he coughs painfully. Leans heavily on the display.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>You and me, old girl, we're not doing so hot.<\/dialogue>\n    <scene_description>Aurora enters with a digital slate. Gus straightens quickly. She hands over her slate. Gus scans the page.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Same as Jim's. Breakdowns in every system. No connection between them.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>You saw the hibernation pods?<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>So you know. What Jim did.<\/dialogue>\n    <scene_description>Gus looks at Aurora. He doesn't want to get into this.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>And?<\/dialogue>\n    <scene_description>She waits, trembling with righteous indignation. Gus looks away uncomfortably.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>It's not my business.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>He woke me up! He took away my life. He let me believe...he made me...<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>I know. I can't defend it. But...<\/dialogue>\n    <parenthetical>(he shrugs helplessly)<\/parenthetical>\n    <dialogue>Look. A drowning man drags somebody down with him, you don't call it right. But he's drowning. A starving man steals a loaf of bread, what can you say? You should have starved?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>I would have starved.<\/dialogue>\n    <scene_description>Gus looks at her solemnly.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Maybe you would have.<\/dialogue>\n    <scene_description>She stands hunched in front of him, misery plain on her face. Gus looks at her. Steps forward hesitantly and takes her by the shoulders. She huddles in his arms, fists under her chin. Jim enters carrying a broken robot - it twitches in his arms.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>This one makes sixteen.<\/dialogue>\n    <scene_description>He stops, seeing Gus and Aurora. Aurora steps away from Gus. Suddenly no one knows where to look. The crippled robot twitches again in Jim's arms.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>How about we get a drink.<\/dialogue>\n    <scene_description>CONCOURSE BAR - EVENING Gus leads Jim and Aurora up to the bar.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Chief Mancuso. Good to see you again.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>Nice to see you too, Arthur. The usual.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Me too.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Me too.<\/dialogue>\n    <scene_description>They sit at the bar - Gus in the middle. Arthur sets a different drink in front of each of them. A beat of awkward silence, which Aurora deliberately breaks.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Where you from, Gus?<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>Chicago. But I've lived aboard ship a long time. The Excelsior's made five inter-planetary runs, and I've been on every one.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>How old does that make you?<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>Fifty-six.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>But how long ago were you born?<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>Oh. Hang on...<\/dialogue>\n    <parenthetical>(he does mental math)<\/parenthetical>\n    <dialogue>About six hundred years ago. Most of that I lost to hibernation or relativity. Doesn't count. When I was sixteen I lied about my age and got on a lunar shuttle crew. A few years later I moved on to planetary ships. Made the Venus run a hundred times. Jupiter. Saturn. Then the gravity drive came along. Real spaceflight. I did everything I could to get onto an interstellar ship. I was thirty-six years old the first time I saw an alien sun. No going back after that. I've walked on seventeen planets in five solar systems.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>That's incredible.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Don't you feel homeless?<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>I'm a spacer. My home is where I am. You can't take much with you, so you don't get hung up on things. You have yourself. The things you do. The company you keep.<\/dialogue>\n    <scene_description>His hands begin to tremble. He fumbles his glass, spilling liquor. Arthur swoops in and wipes up the spill with a smile.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Are you okay?<\/dialogue>\n    <scene_description>Gus clasps his shaking hands together to still them - a startled look in his eye.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>I woke up hard.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>You should rest.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>I think I will. Tomorrow morning, eight bells. At that tree of yours.<\/dialogue>\n    <scene_description>Gus gives them a wave and walks off - leaving Jim and Aurora awkwardly together, an empty stool between them. They stare into their drinks. Look at each other.<\/scene_description>\n    <character>JIM<\/character>\n    <parenthetical>(hesitantly)<\/parenthetical>\n    <dialogue>How are you?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Stranded on a starship.<\/dialogue>\n    <scene_description>She rises and walks away. GUS'S CABIN Gus leans on his desk, coughing into a handkerchief - leaving the cloth spotted with blood.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AURORA'S CABIN - MORNING<\/stage_direction>\n    <scene_description>Aurora wakes. Rolls over and looks at the clock. It's seven. CORRIDOR Aurora emerges from her cabin in a robe. Pads down the hall. GRAND CONCOURSE Jim strolls in his work clothes, restless. Tool belt around his waist. A robot rolls past with a strange hitch in its drive. Malfunctioning. He frowns thoughtfully. SWIMMING POOL In a bathing suit, Aurora dives into the pool, cleaving the water cleanly and striking out in a crawl stroke. She reaches the end of the lane. Kick-turns and swims back... ...and the gravity cuts out. The pool heaves itself into weird humps and tentacles. Aurora flounders in the weightless water, trying not to drown. GRAND CONCOURSE (ZERO GRAVITY) In mid-stride Jim floats off the floor with a gasp of astonishment. He flails for a handhold and misses. Rises weightless into the atrium. GUS'S CABIN (ZERO GRAVITY) Gus snores, flat on his back. His blankets are tucked in tight: he stays in bed. Only his arms float off the mattress. SWIMMING POOL (ZERO GRAVITY) Aurora struggles inside a huge glob of water, desperate for air. In zero-gravity the water becomes a clinging syrup impossible to escape. GRAND CONCOURSE (ZERO GRAVITY) Jim rises past the third-floor promenade. Terrifyingly high. He unbuckles his tool belt. Hurls it away with all his power. The recoil sends him drifting slowly toward the promenade railings. He reaches for the fourth-floor railing - and the GRAVITY COMES BACK ON. Jim goes into free-fall. Catches the third-floor railing and slams into the wall, dangling above the Grand Concourse. SWIMMING POOL Aurora falls. Tons of water crash down into the pool in a thundering torrent. She splashes to the surface, gasping for air. Eyes wide with shock. CORRIDOR Jim strides down the hall. He has a nosebleed: he holds a cloth to his nose. An elevator opens ahead of him. Aurora bursts out, looking shaken. Her hair is wet, her clothing damp. She sees Jim.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>The gravity went away. I was in the pool.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <scene_description>Aurora shoots Jim a furious look. They arrive at Gus's door. She knocks forcefully.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Gus!<\/dialogue>\n    <scene_description>GUS'S CABIN The pounding wakes Gus from a deep sleep. He rises, groggy and weak. Opens his door. Sees Jim and Aurora outside: Aurora damp, Jim blotting a bloody nose.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>What have the two of you been doing?<\/dialogue>\n    <scene_description>INDUSTRIAL CORRIDOR A service corridor below the passenger decks. Gus, Jim, and Aurora emerge from an elevator. Gus is weak but determined.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Sounds like we lost the number three gravity generator.<\/dialogue>\n    <scene_description>INDUSTRIAL CORRIDOR - #3 GRAVITY GENERATOR A massive humming machine. Jim and Aurora look at it in awe.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>How can that happen?<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>That's a good question.<\/dialogue>\n    <scene_description>Gus opens up a control panel: red warning lights glow among the green ones. He points at a dark module.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Son of a gun. Control computer's burned out.<\/dialogue>\n    <scene_description>Jim frowns thoughtfully at the gravity generator.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>If this thing's burned out, why's the gravity back on?<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>Everything's networked. Number three went down, so number two and number four picked up the slack.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>But now they're working too hard, so maybe they go down too. We've got to get number three back up.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Let's do that.<\/dialogue>\n    <scene_description>CARGO BAY - SHIP'S STORES Jim brings the cart to a stop at a massive door labeled SHIP'S STORES. Gus rides shotgun; Aurora in back.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Replacements down here for just about everything.<\/dialogue>\n    <scene_description>Gus climbs stiffly out of the cart. Cards the door. It opens on a vast warehouse of pristine white cartons with Homestead Company logos. All labeled in bold print. SHIP'S STORES Jim pilots the cart down a long aisle.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Pull over there.<\/dialogue>\n    <scene_description>The cart squeals to a halt. Gus hauls himself up, breathing hard. Approaches a stack of shelves and hits a button. A lift slides along the rack and stops beside him. Gus steps aboard.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Be right back.<\/dialogue>\n    <scene_description>He touches a control and vanishes upward. INDUSTRIAL CORRIDOR - #3 GRAVITY GENERATOR A big white carton sits on the cart's cargo deck. Jim slides a computer module out of the carton. Gus leans on the cart, mopping his brow. Jim punches a release button. The burned-out module slides out of the generator. He unbolts it. Shoves it aside. Gus watches with keen interest.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Polaris multitool. You a pro?<\/dialogue>\n    <scene_description>Jim slides the new module into place. Bolts it down.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Rate-two mechanic.<\/dialogue>\n    <scene_description>He punches the release. The generator draws the new module in. It lights up immediately with a reassuring hum.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Won't it just burn out again?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>It's a brand new unit.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>But why'd it burn out in the first place? We haven't done anything about the real problem.<\/dialogue>\n    <scene_description>Gus coughs hard. Wipes his mouth on his sleeve.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Girl's got a point.<\/dialogue>\n    <scene_description>GUS'S WORKSTATION Gus, Jim and Aurora stand at the display table. A holographic map of the ship between them, with its swarm of red markers. Gus peers intently at the map - shaky and damp with sweat.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Been too busy looking at what broke to think about how it broke. But look. Every failure is a burned-out processor. Everything on board is thinking too hard. Why?<\/dialogue>\n    <scene_description>He touches one marker after another, reading the text that pops up: diagnostic data.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>All over the ship, all different systems. There's no pattern.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>What about when they happened? Can you look at this over time?<\/dialogue>\n    <scene_description>Gus touches the table's controls. A graph appears, showing the failures over time: a sudden spike. Then a rising curve. A trickle that swells into a flood. Jim and Aurora look at each other through the display.<\/scene_description>\n    <character>GUS<\/character>\n    <parenthetical>(horrified)<\/parenthetical>\n    <dialogue>It's a cascade failure.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>A what?<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>Cascade. Look.<\/dialogue>\n    <parenthetical>(he touches the graph)<\/parenthetical>\n    <dialogue>It started two years ago. Power surge. Fourteen failures in one day. Including hibernation pod 1498.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>That's me.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>That's you. Something big failed. Failed hard. So everything else on the ship picked up the load.<\/dialogue>\n    <scene_description>Gus traces the shallow part of the curve with his finger.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>But the load's too heavy. After a while, little things start burning out. Robots. Infomats.<\/dialogue>\n    <scene_description>His finger rides up the rising curve of the graph.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Now it's the big players. Hibernation. Gravity. Life support. If we don't stop it...<\/dialogue>\n    <scene_description>He traces the climbing curve to the top.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>I'm stranded on a sinking ship?<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>Whatever happened two years ago, that's the key. Gotta find the source.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Where do we look?<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>There's only a few things big enough to put this kind of load on the ship.<\/dialogue>\n    <scene_description>ENGINEERING SECTION FIREWALL A massive bulkhead, striped with warning signs. An armored door labeled ENGINEERING SECTION leads inside. Jim drives up in the cart - Gus riding shotgun, Aurora in back. Gus leans out with difficulty, drawn and weak. Swipes his crew card through the lock. The door opens. ENGINEERING SECTION - ELECTRICAL PLANT A platform overlooks a vast industrial space filled with transformers and rectifiers, buzzing with power. The cart rolls in and stops on the platform. Jim and Aurora look in awe at the massive machinery. Gus rises from the cart with a sudden access of vigor. Stands at the railing.<\/scene_description>\n    <character>GUS<\/character>\n    <parenthetical>(hoarsely)<\/parenthetical>\n    <dialogue>Now this is a starship.<\/dialogue>\n    <scene_description>He sags against the railing and falls. Hits the deck hard.<\/scene_description>\n    <character>JIM &amp; AURORA<\/character>\n    <dialogue>Gus!<\/dialogue>\n    <scene_description>INFIRMARY Gus lies in a medical scanner. Jim and Aurora watch as the machine bathes Gus in light, sensors floating over his body.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>What does it say is wrong with me?<\/dialogue>\n    <scene_description>The scanner's display screen lists not one diagnosis, but hundreds: disorders, diseases, dysfunctions.<\/scene_description>\n    <character>JIM<\/character>\n    <parenthetical>(hiding his horror)<\/parenthetical>\n    <dialogue>It's a few things.<\/dialogue>\n    <character>MEDICAL SCANNER<\/character>\n    <dialogue>Diagnosis complete.<\/dialogue>\n    <scene_description>Gus hauls himself out of the scanner. Pulls a bathrobe on and comes around to look at the screen. He sees it and blanches.<\/scene_description>\n    <character>MEDICAL SCANNER<\/character>\n    <dialogue>Six hundred twelve disorders found.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>What's the summary?<\/dialogue>\n    <character>MEDICAL SCANNER<\/character>\n    <dialogue>Pan-systemic necrosis. Progressive organ failure. Cause unknown.<\/dialogue>\n    <character>GUS<\/character>\n    <parenthetical>(losing his temper)<\/parenthetical>\n    <dialogue>I'll tell you the cause. My goofy hibernation pod is the cause.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>What's the treatment?<\/dialogue>\n    <character>MEDICAL SCANNER<\/character>\n    <dialogue>No treatment known.<\/dialogue>\n    <scene_description>They exchange troubled looks. Gus pivots the monitor so that only he can see the screen.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Prognosis.<\/dialogue>\n    <scene_description>A series of images flickers over the screen, casting shadows on his face. Gus swallows hard and looks away.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>How long have I got?<\/dialogue>\n    <scene_description>Pill bottles clatter into a metal bin. Gus looks at them.<\/scene_description>\n    <character>MEDICAL SCANNER<\/character>\n    <dialogue>These sedatives will alleviate suffering in these final hours.<\/dialogue>\n    <scene_description>Gus walks out. Jim and Aurora hurry after him. CORRIDOR Jim and Aurora find Gus already walking away. They fall into step on each side of him.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Maybe it's not true. It's just a machine.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>State-of-the-art machine. Anyway, I can feel it happening.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Gus...<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Where are you going?<\/dialogue>\n    <character>GUS<\/character>\n    <parenthetical>(through clenched teeth)<\/parenthetical>\n    <dialogue>My cabin. I need a minute.<\/dialogue>\n    <scene_description>He waves them away and walks off. They watch him go. GUS'S CABIN He studies himself grimly in the mirror: gaunt and sickly. Suddenly he pounds both his fists on the dresser top in a burst of rage.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Damn it!<\/dialogue>\n    <scene_description>He leans on the dresser, breathing hard. He pulls his closet open. Inside hangs his dress uniform - a sharp-creased suit of navy blue, the chest brimming with medals and ribbons. Stars and planets.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GUS'S CABIN - DAY<\/stage_direction>\n    <scene_description>Aurora presses the doorbell and raps on the door. No answer.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Gus! Gus!<\/dialogue>\n    <scene_description>Beside her, Jim uses his multitool to remove the cover plate of Gus's door switch. Twists wires. The door opens.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUS'S CABIN<\/stage_direction>\n    <scene_description>Jim and Aurora rush inside - and find the room empty. They look around in surprise.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Where would he be?<\/dialogue>\n    <scene_description>FORWARD OBSERVATION DECK Jim and Aurora find Gus sitting in an armchair in his dress blues. A lonely figure staring out at the vast sweep of space. They rush to him.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Gus! Are you all right?<\/dialogue>\n    <scene_description>Gus looks up at them. Speaks in a whisper.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Hurts. Should have taken the damn pills.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I'll get them.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>No. Just sit with me.<\/dialogue>\n    <scene_description>Aurora sits beside Gus. Takes his hand. Jim pulls up a chair. Gus gazes out at the cosmos. His voice is reedy and thin.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Space is a funny thing to love. When you're young, the stars are always out of reach. Then you get on a spaceship and get up there. But you're still looking out through a wall of glass. So you put on a spacesuit and go outside. But you're still wearing gloves, still looking through glass at something you can't ever touch. Hard way to fall in love.<\/dialogue>\n    <scene_description>A long breath rattles out of him. He takes his shipcard from his pocket. Hands it to Jim.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>My shipcard. It'll get you where you need to go. Jim. Fix the ship.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I will.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>You two. Take care of each other.<\/dialogue>\n    <scene_description>He turns to Aurora, slow and frail.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>How do I look?<\/dialogue>\n    <scene_description>Tears stream down Aurora's cheeks. She smiles at him.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>You look magnificent.<\/dialogue>\n    <scene_description>Gus's head falls back on the headrest.<\/scene_description>\n    <character>GUS<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Ladies love the dress blues.<\/dialogue>\n    <scene_description>A breath sighs out of him, and he's gone. Jim looks at Aurora. Her face shines with tears. She still holds Gus's hand.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRLOCK<\/stage_direction>\n    <scene_description>Gus lies on the deck in his dress uniform, hands folded on his chest. His eyes closed peacefully. Jim stands beside him, wearing a spacesuit. Jim hits a button. The airlock opens. The gravity cuts out. Gus floats off the floor. Jim drops to one knee beside him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIRLOCK<\/stage_direction>\n    <scene_description>Aurora stands watching through the porthole. She sees Jim guide Gus out through the door into the dark night of space.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STARSHIP EXCELSIOR<\/stage_direction>\n    <scene_description>Gus drifts away among the stars. An endless silence.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIRLOCK<\/stage_direction>\n    <scene_description>Aurora watches as the outer airlock door closes. Jim turns to look at her. Their eyes meet. She turns and walks away. CONCOURSE BAR Aurora arrives. Slouches onto a barstool. Utterly forlorn.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Arthur, Gus is gone.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Gus! He's dead.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Well, no point crying over bridges before they're hatched.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>So what'll it be, passenger?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>\"Passenger?\" It's me!<\/dialogue>\n    <scene_description>Arthur's smile widens into a rictus grin. His head twitches.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Arthur?<\/dialogue>\n    <scene_description>Arthur slams forward across the bar with horrible violence - rictus grin frozen on his face - and lies inert, staring. Aurora backs away in horror into the... GRAND CONCOURSE Blue light floods the scene. Aurora looks up. The Concourse lights begin to race through their daily cycle - dawn to dusk to dawn in seconds. And then - Darkness as the Concourse lights fail completely. Aurora gasps in fear. She backs up to take in the scene, hyperventilating - and something grabs her. She screams. Auxiliary lights come on - dim spotlights all over the Concourse. Aurora stands in Jim's arms. He releases her gently. Tool belt over his shoulder and rigged for work.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Aurora.<\/dialogue>\n    <scene_description>Aurora's relief is obvious - but she steps back from him. Collects herself.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>It's still spreading. It got Arthur.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I'm going down to Engineering. See if I can fix it.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Just like that.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I know you don't want to talk to me, or even be around me. But...<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>You want me to come.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>They look at each other across ten feet of air. Both scared.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>ENGINEERING SECTION FIREWALL Jim and Aurora arrive at the Engineering Section's armored door. Aurora carries an electronic slate.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>What are we even looking for?<\/dialogue>\n    <scene_description>Jim swipes Gus's card through the switch. The door opens on a thundering darkness lit by flashing red emergency lights. A flickering labyrinth.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Something broken. Something big.<\/dialogue>\n    <scene_description>ENGINEERING SECTION - ELECTRICAL PLANT A harrowing gauntlet of electrical equipment. Jim and Aurora move through the plant, dwarfed by the scale. ENGINEERING SECTION - PROPULSION Jim and Aurora stand under a titanic metal cone surrounded by complex machinery. A stencilled label reads STARBOARD ENGINE. Jim inspects a panel of indicator lights.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Is it broken?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Seems okay. What's next?<\/dialogue>\n    <scene_description>Aurora looks at the map on her electronic slate.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Power plant. This way.<\/dialogue>\n    <scene_description>INDUSTRIAL PASSAGEWAY - FIRST DOOR They arrive at a closed hatch. Jim swipes Gus's shipcard through the lock. It flashes red and refuses to open. Jim frowns. Tries again. No luck.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>What's the matter?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Can't get in.<\/dialogue>\n    <parenthetical>(perplexed)<\/parenthetical>\n    <dialogue>Gus's card should open any door.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Try again.<\/dialogue>\n    <scene_description>He tries it again. No effect. Aurora studies her map.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>We'll go around.<\/dialogue>\n    <scene_description>INDUSTRIAL PASSAGEWAY - SECOND DOOR Another door. Jim swipes Gus's card: again the lock flashes red and refuses to open.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>The whole section's closed off. Something's up.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Isn't that what we're looking for? Open it.<\/dialogue>\n    <scene_description>Jim raises his multitool and removes the cover plate of the door switch. Connects two contacts inside. The door opens. A howling gale drags Jim and Aurora inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BREACHED COMPARTMENT<\/stage_direction>\n    <scene_description>Aurora and Jim tumble inside. The wind slams them together. Batters them against the deck. Jim falls on top of Aurora. They gasp for breath. Wind rages around them. They look up in horror at a puncture in the hull. It's a head- sized hole punched through from outside, jagged edges pointing inward. Air screams out into space. The door starts to slide shut behind them. Jim scrambles toward it, fighting the wind. Dives into the doorway. It clamps down painfully on his arm and shoulder - preventing it from closing. Air blasts in through the crack. Aurora lies gasping on the deck under the hole.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Aurora!<\/dialogue>\n    <scene_description>He kicks her fallen slate across the deck to her. Aurora lunges for the slate. Rises to her knees and slams it over the hole. Air pressure pins it there. Wind whistles through the cracks. The pressure comes up. The door slides open, releasing Jim. He rips an emergency foamer from the wall and sprays epoxy foam over the puncture. The foam hardens instantly, sealing the hull breach and cementing the slate in place. They look at each other, catching their breath.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>There's a hole in the ship.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>More than one.<\/dialogue>\n    <scene_description>He points. On the opposite wall, another puncture leads deeper into the starship.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MACHINE ROOM<\/stage_direction>\n    <scene_description>Jim and Aurora enter cautiously. They see yet another hole, leading deeper into the ship.<\/scene_description>\n    <character>JIM<\/character>\n    <parenthetical>(deadpan)<\/parenthetical>\n    <dialogue>This is bad.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR<\/stage_direction>\n    <scene_description>Steel girders march down the corridor wall. A blackened hole pierces every girder. Jim and Aurora walk the passageway, staring at the damage. An ominous rumble grows louder as they go.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>What the hell is that?<\/dialogue>\n    <scene_description>They arrive at the end of the corridor. There's a hole punched through a door marked FUSION REACTOR. Fiery light shines out. The deep rumble is louder here. They exchange a look. Jim cards the door. Ruddy light bathes their faces as the door opens. REACTOR CONTROL ROOM Jim and Aurora enter. Sweat rises instantly on their faces. The room is blistering. Metal creaks in the heat. To one side, the reactor's massive console. It's in chaos. Displays full of static, red lights flashing. TEMPERATURE CRITICAL. CONTAINMENT UNSTABLE. To the other side, a long narrow window looks into the reactor itself. Inside, a caged sun rages at its bonds. On the verge of meltdown. In front of them, a hole is blasted in the console. A meteor - a pitted orb of iron - lodged deep in a computer module. They stand terrified in the middle of the chaos.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>I guess we found it.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Yeah. Guess we did.<\/dialogue>\n    <scene_description>Aurora edges up to the blasted console.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Can you fix this? I thought you were more of a robots-and-refrigerators guy.<\/dialogue>\n    <parenthetical>(she looks at the reactor)<\/parenthetical>\n    <dialogue>We're going to die.<\/dialogue>\n    <scene_description>Jim joins her, surveying the damage.<\/scene_description>\n    <character>JIM<\/character>\n    <parenthetical>(hopefully)<\/parenthetical>\n    <dialogue>There's replacements for everything.<\/dialogue>\n    <parenthetical>(looks at the reactor)<\/parenthetical>\n    <dialogue>Or...we're going to die.<\/dialogue>\n    <scene_description>CARGO HOLD Jim and Aurora roll through the stacks in the cart, reading the labeled shelves. SHIP'S STORES Aurora stands beside the cart, looking up. Jim descends into frame on a lift. A crate beside him. Jim grins.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Got it.<\/dialogue>\n    <scene_description>REACTOR CONTROL ROOM Jim stands sweating in front of the console, multitool in hand. Sizing up the job. The replacement module sits waiting, ready to install. The ruined module is still in place: a few lights flicker on its displays. Aurora looks anxiously at it.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Is that thing still running?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I don't know. Barely.<\/dialogue>\n    <character>AURORA<\/character>\n    <parenthetical>(nervously)<\/parenthetical>\n    <dialogue>Maybe we shouldn't do this. Maybe it'll be okay.<\/dialogue>\n    <parenthetical>(off Jim's look)<\/parenthetical>\n    <dialogue>Okay, okay. Do it.<\/dialogue>\n    <scene_description>Jim goes to work. His multitool whines - unfastening the lockbolts that hold the module in place. He pulls on the module. It won't come out. He looks into the crater: the meteor pins the module in place. He pries at the meteor with his multitool. It shifts. Jim grips the meteor and strains. It tears free. He stumbles back, the meteor in his hands. Electricity arcs inside the damaged module. The reactor roars. The caged sun swells and reddens, scorching the walls of its chamber.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>Jim drops the rock. Drags the old module from its socket. He grabs the replacement module. Aurora joins him. Together they wrestle the new module into place. Jim bolts it down. Slams it home. It lights up. For the first time in two years the reactor is whole. Static vanishes from the displays. Flickering lights go steady. An electronic buzz resolves into a soothing voice:<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <dialogue>Warning. Temperature critical. Reaction mass limit exceeded. Venting reactor.<\/dialogue>\n    <scene_description>They turn to the reactor window. A deafening boom makes both of them duck and cringe.<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <dialogue>Vent fail. Manual override required.<\/dialogue>\n    <scene_description>An emergency control station rises out of the console: a cluster of instruments beside a chunky red lever.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>But we fixed it!<\/dialogue>\n    <character>ANNOUNCER<\/character>\n    <dialogue>Vent reactor. Manual override required.<\/dialogue>\n    <scene_description>Jim goes to the vent station. Grips the red lever. Looks at Aurora and hauls the lever down. A deafening BOOM.<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <dialogue>Reactor vent fail. Vent tube door...<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Come on!<\/dialogue>\n    <scene_description>Jim pulls the lever again. BOOM.<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <dialogue>Reactor vent fail. Vent tube door non- responsive.<\/dialogue>\n    <scene_description>A holographic image appears above the console, showing a schematic of the fusion reactor: the vent tube leading out into space. The tube is sealed by a massive door. The door flashes red. Jim touches the hologram. It zooms in on the vent tube door. Jim studies the mechanism - the light painting his face.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>It's a door. I can open a door.<\/dialogue>\n    <scene_description>Aurora looks at the hologram. Looks at Jim.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>How?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGINEERING SECTION - MAINTENANCE AIRLOCK<\/stage_direction>\n    <scene_description>An industrial airlock surrounded by cabinets and storage lockers. A window looks out on the stars. Jim pulls on a spacesuit as Aurora watches in disbelief. Jim is scared but putting on a brave face.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Do you know what you're doing?<\/dialogue>\n    <scene_description>Jim takes a deep breath. Steadies himself.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>I open the door. I get clear. You vent the reactor.<\/dialogue>\n    <scene_description>He's struggling with the suit. Aurora helps him seal it up. He slings his tool belt over his shoulder.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>You \"get clear?\" What happens to you when that door opens?<\/dialogue>\n    <scene_description>Jim ponders that. He grabs his laser cutter and cuts the door off the spacesuit locker. He hefts the heavy steel door on his arm.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Heat shield.<\/dialogue>\n    <parenthetical>(off her appalled look)<\/parenthetical>\n    <dialogue>It might help.<\/dialogue>\n    <scene_description>He lugs the door to the airlock. Leans it against the wall. Aurora watches him in dawning realization.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>You're going to die out there, aren't you.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I'm hoping not.<\/dialogue>\n    <scene_description>Aurora picks up his helmet and stands in front of him. For a moment they stare at each other.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>I can't live on this ship by myself.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>It's going to be okay.<\/dialogue>\n    <scene_description>Jim gives Aurora a handset communicator.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>You can talk to me through this.<\/dialogue>\n    <scene_description>Aurora puts on Jim's helmet. Speaks into the handset.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Can you hear me?<\/dialogue>\n    <character>JIM<\/character>\n    <parenthetical>(nodding)<\/parenthetical>\n    <dialogue>Can you hear me?<\/dialogue>\n    <scene_description>His voice issues from the handset, tinny and small. She nods. A deep rumble. The floor shakes under their feet.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>You'd better go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STARSHIP EXCELSIOR - MAINTENANCE AIRLOCK<\/stage_direction>\n    <scene_description>Jim eases out of the airlock - and out of the ship's artificial gravity. He hears only his own breathing, the purr of his ventilator, his own footfalls. He steps onto the hull, his grav boots sticking firmly - and his perspective wheels... ...until the hull becomes the ground beneath his feet. He walks across the window. Inside, Aurora stands in the ship's internal gravity. At right angles to him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WINDOW<\/stage_direction>\n    <scene_description>Aurora looks at the soles of Jim's boots, stuck to the glass. His space-suited body cantilevered impossibly away from her. She raises her hand to him. He nods and strides away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STARSHIP EXCELSIOR - ATOP THE SHIP<\/stage_direction>\n    <scene_description>Jim rises into view over the horizon of the curving hull. A spacefaring knight with his shield and tools. We see the Homestead Company logo on his improvised shield, surrounded by a slogan: The Homestead Company: Your Future is Our Business.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STARSHIP EXCELSIOR - REACTOR CONTROL ROOM<\/stage_direction>\n    <scene_description>Aurora dashes into the control room. It's worse. The caged sun roars. Expanding metal creaks and groans. Sweat dampens Aurora's clothes in the blast-furnace heat. She touches the vent lever - and snatches her hand back with a cry. Too hot to touch.<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <dialogue>Containment failure imminent.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STARSHIP EXCELSIOR - VENT TUBE DOOR<\/stage_direction>\n    <scene_description>Jim arrives at the opening of the vent tube: a circular port twenty-five feet across. He anchors his tether. Steps inside.<\/scene_description>\n    <character>AURORA (V.O.)<\/character>\n    <dialogue>Jim. Where are you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REACTOR VENT TUBE<\/stage_direction>\n    <scene_description>Jim walks into the tube: a metal cavern lit by his suit's worklights.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>I'm at the door.<\/dialogue>\n    <scene_description>It looms in front of him: a huge metal IRIS DOOR. Jim twists a recessed handle in the tube wall. A panel recedes, creating a shallow alcove. He steps inside. Turns to find the manual release for the iris door. He twists the release to the OPEN postion. Nothing happens. He tries again, and again. The switch is dead. Jim snarls and drops to one knee. Cuts the switch panel away. The circuitry inside is charred and fused. REACTOR CONTROL ROOM Aurora takes off her shirt, leaving herself in a tank top. Wraps the shirt around her hand to insulate against the heat. Grasps the vent lever. Looks fearfully at the reactor.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>I'm ready. Just say when.<\/dialogue>\n    <scene_description>REACTOR VENT TUBE Jim tears the fused circuitry away. Reaches deep into the mechanism of the door. Strains to see inside.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Hang on...<\/dialogue>\n    <character>AURORA (V.O.)<\/character>\n    <dialogue>It's getting bad in here.<\/dialogue>\n    <scene_description>Deep in the mechanism, Jim sees something. He pulls his multitool. Snaps the flashlight on. Selects a tool setting and reaches into the machinery. Twists an actuator. The massive iris door opens. Bloody light shines out. Jim stares up the tube into the reactor itself. Only the failing containment field between him and the fire. Jim turns to go - but the iris door slides shut as soon as he removes his hand.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>He reaches into the hole again. He twists. The door opens. Withdraws his hand. Instantly the door begins to close. He opens it again. Panic rising in his eyes. He tries to wedge his multitool against the actuator to keep the door open. No luck.<\/scene_description>\n    <character>AURORA (V.O.)<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <scene_description>Jim swallows hard as the facts sink in.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Door won't stay open. I have to stay here.<\/dialogue>\n    <character>AURORA (V.O.)<\/character>\n    <dialogue>What? What do you mean?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I have to hold the door open.<\/dialogue>\n    <character>AURORA (V.O.)<\/character>\n    <dialogue>No. Get out of there.<\/dialogue>\n    <scene_description>Jim looks into the reactor. Red light blazing on his visor.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>I can't.<\/dialogue>\n    <scene_description>REACTOR CONTROL ROOM Aurora stands panting in the heat, drenched in sweat.<\/scene_description>\n    <character>JIM (V.O.)<\/character>\n    <dialogue>Aurora. Vent the reactor. The door's open.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>I'm not going to do this. It'll kill you.<\/dialogue>\n    <character>JIM (V.O.)<\/character>\n    <dialogue>You have to.<\/dialogue>\n    <scene_description>REACTOR VENT TUBE Jim crouches in the partial shelter of the alcove.<\/scene_description>\n    <character>AURORA (V.O.)<\/character>\n    <dialogue>No. This isn't what you said was going to happen.<\/dialogue>\n    <scene_description>Jim drags his heavy shield over himself.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>His breathing echoes in his helmet. The thunder of the reactor is muffled and distant. He turns his head. Looks out of the tube. The stars shine cool and white outside.<\/scene_description>\n    <character>AURORA (V.O.)<\/character>\n    <dialogue>Get out of there.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I know what I'm doing.<\/dialogue>\n    <character>AURORA<\/character>\n    <parenthetical>(horrified)<\/parenthetical>\n    <dialogue>Jim.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>It's okay.<\/dialogue>\n    <character>AURORA<\/character>\n    <parenthetical>(a protest)<\/parenthetical>\n    <dialogue>Jim!<\/dialogue>\n    <character>JIM<\/character>\n    <parenthetical>(a plea)<\/parenthetical>\n    <dialogue>Aurora!<\/dialogue>\n    <scene_description>REACTOR CONTROL ROOM A scream of tortured metal. The reactor window cracks, a faultline crazing the thick glass. It makes a sound like a gunshot. Aurora jumps violently.<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <dialogue>Containment failed.<\/dialogue>\n    <character>JIM (V.O.)<\/character>\n    <dialogue>Now!<\/dialogue>\n    <scene_description>With a cry of anguish, Aurora drops the communicator and hauls the lever down with both hands.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REACTOR VENT TUBE<\/stage_direction>\n    <scene_description>Fusing plasma blasts down the vent tube. It almost rips the heavy shield from Jim's arm. The metal melts and ablates. He clings desperately, huddled behind the metal slab. His grip slipping. He roars with the effort of hanging on.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STARSHIP EXCELSIOR - REACTOR CONTROL ROOM<\/stage_direction>\n    <scene_description>In front of Aurora, the captive sun is discharged from the ship in a cyclone of fire. She listens in horror as Jim's scream echoes from her handset on the floor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REACTOR VENT TUBE<\/stage_direction>\n    <scene_description>The final gust of burning plasma rips Jim from his nook and blasts him out into space.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STARSHIP EXCELSIOR - VENT TUBE DOOR<\/stage_direction>\n    <scene_description>Jim shoots out of the vent tube in a cloud of superheated plasma. His suit blackened in places by the heat. The shield on his arm glows cherry red. He reaches the end of his tether with a bone-jarring jerk, and the melted tether snaps. Jim hurls his shield away with all his strength. The force of his throw stops him dead in space. He hangs motionless, twenty feet from the hull. The ship no longer receding from him - but utterly out of reach. The luminous plasma ejected by the ship disperses, a vast web of burning filaments shining against the stars.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STARSHIP EXCELSIOR - REACTOR ROOM<\/stage_direction>\n    <scene_description>Aurora stands by the darkened reactor, drenched in sweat. The chaos is ended. Quiet restored.<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <dialogue>Vent complete. Commencing re- ignition.<\/dialogue>\n    <scene_description>Aurora snatches up the communicator.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Jim. Jim!<\/dialogue>\n    <scene_description>In the reactor chamber, a new sun is born, growing from a seed of light into a bright golden orb. It hums soothingly.<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <dialogue>Reactor re-stabilized.<\/dialogue>\n    <scene_description>But Aurora can't tear her eyes away from the communicator.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Jim.<\/dialogue>\n    <scene_description>A crackle of static.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Jim?<\/dialogue>\n    <character>JIM (V.O.)<\/character>\n    <dialogue>I'm here.<\/dialogue>\n    <scene_description>Joy floods Aurora's face.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>You okay? Where are you?<\/dialogue>\n    <character>JIM (V.O.)<\/character>\n    <dialogue>Off the port side.<\/dialogue>\n    <scene_description>Aurora runs from the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STARSHIP EXCELSIOR - PORT SIDE<\/stage_direction>\n    <scene_description>Jim floats in space. His breathing echoes in his helmet. He assesses the damage: his spacesuit scorched and blackened. A faint hiss. There's a tiny jet of vapor venting from his left forearm. A leak. He covers the leak with his right hand - and notices a second leak on his right shoulder. He tries to reach the shoulder leak with his joined hands. It's impossible. The air gauge on his wrist shows his air supply dropping steadily. He looks at the ship. Warmth and safety twenty feet away. It might as well be a million miles. He's drifting slightly - moving aft past the windows. The realization triggers a sudden panic. Jim struggles foolishly to reach the ship, milling his arms to no avail.<\/scene_description>\n    <character>AURORA (V.O.)<\/character>\n    <dialogue>Jim!<\/dialogue>\n    <scene_description>She arrives at a window. One hand on the glass, the other holding the communicator.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WINDOW<\/stage_direction>\n    <scene_description>Aurora looks out. Jim hangs there, his white suit stark against the black sky. Still clutching his arm.<\/scene_description>\n    <character>JIM<\/character>\n    <parenthetical>(tensely)<\/parenthetical>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>He waves awkwardly. Aurora waves back, grinning.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>You did it! Come in!<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I can't.<\/dialogue>\n    <character>AURORA<\/character>\n    <parenthetical>(her smile vanishes)<\/parenthetical>\n    <dialogue>Are you hurt?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>No. My tether broke. I can't get back to the ship.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Well, don't you...I mean, can't you...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STARSHIP EXCELSIOR - PORT SIDE<\/stage_direction>\n    <scene_description>Jim is falling astern more noticeably now. Aurora walks along the windows, pacing him without realizing it.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>I don't have jets. I don't have anything left to throw. I can't get back to the ship.<\/dialogue>\n    <scene_description>He's breathing hard. Realizing how thoroughly screwed he is.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>I'll pull you in somehow.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>The ship's accelerating. In a minute or two I'm gone.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WINDOW<\/stage_direction>\n    <scene_description>Keeping pace along the window, Aurora stares at Jim in dawning horror.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Jim.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>This is a stupid way to die.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>No. No.<\/dialogue>\n    <scene_description>She comes to the end of the wide window. Runs to the next.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Where's the last airlock?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Deck Six. All the way back. But listen...<\/dialogue>\n    <scene_description>Aurora turns and sprints toward the rear of the ship.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STARSHIP EXCELSIOR - DECK ONE<\/stage_direction>\n    <scene_description>Aurora runs aft. Flying. Faster than we've ever seen her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STARSHIP EXCELSIOR - PORT SIDE<\/stage_direction>\n    <scene_description>The true immensity of the starship becomes plain as Jim glides past. Hundreds of windows. Air hisses out of his suit at the shoulder. Jim wiggles his jaw against the pressure in his ears. His teeth chatter. A rime of frost on his visor. The end is in sight: the stern of the ship approaching fast.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STARSHIP EXCELSIOR - DECK SIX - AFT AIRLOCK<\/stage_direction>\n    <scene_description>Aurora rips open a locker. Drags a spacesuit out. Wriggles into it, frantic with haste and fumbling. The communicator buzzes on the floor beside her.<\/scene_description>\n    <character>JIM (V.O.)<\/character>\n    <dialogue>I'm running out of ship.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>I'm going as fast as I can!<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Aurora.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I'm sorry. Sorry for everything.<\/dialogue>\n    <scene_description>He's saying goodbye. Aurora gets the suit sealed. Jams a helmet on.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Shut up. I'm coming.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STARSHIP EXCELSIOR<\/stage_direction>\n    <scene_description>Jim looks out at the void with fading eyes. The last of his breath escapes in a puff of white vapor. He passes out. Goes limp. Tumbles along the hull.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AFT AIRLOCK<\/stage_direction>\n    <scene_description>Aurora slams into the airlock.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Jim. Jim! Talk to me.<\/dialogue>\n    <scene_description>She fastens her tether to an anchor in the airlock. Pulls a lever. The external door shoots open with a blast of air. She sees Jim tumbling through space - already past her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STARSHIP EXCELSIOR - AFT AIRLOCK<\/stage_direction>\n    <scene_description>Aurora dives out of the airlock, arms outstretched. She rockets toward Jim - but her tether jerks her to a stop just before she reaches him. Horrified, she watches him drift away from her toward deep space...<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>Then the trailing end of his tether whips across her field of view. She catches it one-handed. The tether goes taut, jerking her after Jim. She swings hard against the hull. Grunts with the impact but keeps her grip. Jim trails behind the starship, dead weight. She reels him in hand-over-hand until she can get her arms around him. Jim's face is blue. His eyes wide and staring. Ice crystals on his eyeballs. Aurora screams.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Jim!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STARSHIP EXCELSIOR - AFT AIRLOCK<\/stage_direction>\n    <scene_description>Aurora topples out of the airlock back into the ship, dragging Jim inside. She lays him on the deck. Wrenches off her helmet and then his. He looks dead and frozen.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Jim!<\/dialogue>\n    <scene_description>INFIRMARY Aurora drags Jim across the room, at the limit of her strength. Wrestles his body into the autodoc. The frost on his skin has melted, but he's deathly pale. Not breathing. She stabs at the control panel. A soothing voice responds.<\/scene_description>\n    <character>AUTODOC<\/character>\n    <dialogue>I'm sorry. The patient is dead.<\/dialogue>\n    <character>AURORA<\/character>\n    <parenthetical>(incredulous)<\/parenthetical>\n    <dialogue>Well, resuscitate him!<\/dialogue>\n    <character>AUTODOC<\/character>\n    <dialogue>Post-mortem operations require authorized medical super...<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Override!<\/dialogue>\n    <scene_description>A menu of options fills the screen: DEFIBRILLATION, OXYGENATION, ALPHA WAVE STIMULATION, INSANGUINATION, and so on. Aurora punches every option.<\/scene_description>\n    <character>AUTODOC<\/character>\n    <dialogue>Multiple procedures are not recommended...<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Override, you stupid machine! Do it! Now! Now! Now!<\/dialogue>\n    <scene_description>She batters the autodoc with her hands.<\/scene_description>\n    <character>AUTODOC<\/character>\n    <dialogue>Executing!<\/dialogue>\n    <scene_description>Inside the autodoc, a storm of medical instruments descends. In a split second Jim is intubated, laced with intravenous lines, blanketed with sensors. His body is jolted by electricity. Bombarded with ultrasound. Massaged by magnetic fields. He convulses and shudders. It's violent. Ghastly. Aurora watches with her hands over her mouth, afraid of what she's done. Afraid it won't work. The instruments withdraw. Jim lies pale and lifeless. After an endless moment he draws a deep, ragged breath. Aurora wrenches the autodoc open, luminous with joy. He opens his eyes. Groggy, blinking, seeing nothing. Aurora looks at him from inches away.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Jim.<\/dialogue>\n    <scene_description>Jim swims back into focus. Draws a deep breath. He takes in his surroundings. Aurora leaning over him.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>You brought me back.<\/dialogue>\n    <character>AURORA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>She kisses him, delicately, her hands on his face. The strength returns to Jim's arms: he pulls her close. FADE TO BLACK.: FUSION REACTOR CONTROL ROOM The fusion reactor rumbles, its artificial sun restored to balance. All the dials and gauges in the green. Power flows like a river into the ship. HIBERNATION BAY We float across rows of passengers sleeping in their pods. Peaceful faces. A soft hum of nurturing machines. GRAND CONCOURSE - CONCOURSE BAR - DAY Arthur polishes the bartop, humming to himself. Cleaning robots patrol the concourse: sweeping, dusting, polishing. Their dance restored to its former perfection.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STARSHIP EXCELSIOR<\/stage_direction>\n    <scene_description>The ship soars across the starscape, all its windows shining. Perfect once more. The blue jewel of the swimming-pool window slides by.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SWIMMING POOL<\/stage_direction>\n    <scene_description>The lights are dimmed. Aurora swims the length of the pool, stars shining through the water. At the end of the pool, Jim waits in the water. She glides into his arms. They kiss. Turning, they cling to the edge of the pool, and stare out at the sea of stars. For a long moment they give themselves over to the beauty of it. She looks at him.<\/scene_description>\n    <character>AURORA<\/character>\n    <dialogue>Hell of a life.<\/dialogue>\n    <scene_description>Jim looks back at her with a slow grin.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Hell of a life.<\/dialogue>\n    <scene_description>They pull each other close. Look together out the wide window at the glittering infinity of space. FADE TO BLACK.: SUPER: EIGHTY-EIGHT YEARS LATER<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STARSHIP EXCELSIOR - CREW HIBERNATION FACILITY<\/stage_direction>\n    <scene_description>A double row of hibernation pods. One by one, they open. A chorus of electronic voices rattle off ship's status reports as the crew members awaken. One by one the crew members step from their pods - including THE CAPTAIN, a bearded bull of a man in a crew coverall. CAPTAIN'S QUARTERS A large, austere cabin. The Captain finishes buttoning his imposing uniform. The door opens behind him. A young ENSIGN ducks into the room, looking like he's seen a ghost.<\/scene_description>\n    <character>ENSIGN<\/character>\n    <dialogue>Captain. You need to see this.<\/dialogue>\n    <scene_description>GRAND CONCOURSE - DECK FOUR PROMENADE The Captain walks up to the railing and looks out into the Grand Concourse - an expression of wonder on his face. A handful of young officers trails behind him, equally amazed. The OAK TREE towers a hundred feet tall in the Concourse. Its branches brush the skylight far above. A blue-green planet looms outside, bathed in golden sunlight: Homestead II. Beneath the oak tree, a cottage stands, hand-built and homey. Windowed and shingled as if it were built in a meadow, not a starship. Roses grow against the walls. The door stands ajar. In front of the cottage are two flowerbeds. GRAND CONCOURSE - GARDEN The Captain walks up, speechless with astonishment. The flowerbeds are clearly graves. A window-washer robot waters them; a modified sweeper robot trims errant leaves. On a bench beside the flower patches lies a beautiful hand- bound book. In the Blink of an Eye: Our Lives Between the Stars, by Aurora Dunn. The Captain picks up the book. Opens the cover. Sees a handwritten dedication: For Jim. He turns the printed pages in wonder. Comes to a bookmark and stops: it's the photo strip of Jim and Aurora from their first date. Carefully mended where it was torn. Four pictures of Jim and Aurora together. They laugh. They clown. She kisses him. Aurora looks into the camera's eye. Jim looks at Aurora. FADE OUT.: THE END.:<\/scene_description>\n  <\/scene>\n<\/script>","summary":"The Avalon, a sleeper ship transporting 5,000 colonists and 258 crew members in hibernation pods, is traveling from Earth to the planet Homestead II, a 120-year journey as part of a mass exodus of Earth's population due to ecocide and the collapse of the biosphere. After only 30 years, an asteroid collision damages the ship despite its defense systems, causing a malfunction that awakens passenger Jim Preston, a mechanical engineer, 90 years too early. After a year of isolation, with only an android barman named Arthur for company, Jim grows despondent and contemplates suicide until he notices Aurora Lane, a beautiful young woman inside a pod. He views her video profile and is smitten. He considers reviving her for companionship, but struggles doing so, knowing it is morally wrong and will circumvent her intended life on their destination planet. He eventually awakens her, letting her believe it was also a malfunction. He tells Arthur to conceal what he has done. Devastated at having to live out her life on the ship, Aurora unsuccessfully tries to re-enter hibernation. Resigned to the situation, Aurora, a writer and journalist, begins writing about her experience. Over the next year, the two fall in love. Just before Jim intends to propose to Aurora, Arthur inadvertently reveals the truth about her awakening, after Aurora tells him that she and Jim do not keep secrets from one another. A distraught and enraged Aurora berates, shuns, and even physically attacks Jim. She furiously rejects his apologies and avoids contact with him. Sometime later, another pod failure awakens Gus Mancuso, a deck chief officer. Using Gus' personnel code, the group accesses the ship's bridge (which Jim unsuccessfully tried to breach). They discover multiple cascading failures throughout the ship's systems, but the computer does not reveal the cause. If left unrepaired, the ship will inevitably fail, causing the passengers and crew to perish. Gus realizes that Jim awakened Aurora; Gus does not condone Jim's actions but understands, and tells Aurora that a \"drowning man\" (meaning the suicidal Jim) will grab onto any lifeline. When Gus falls critically ill, the ship's automated medical suite, the Autodoc, diagnoses pansystemic necrosis and gives him hours to live. Gus attributes it to his hibernation pod's multiple failures. Before dying, Gus gives Jim and Aurora his ID badge and employee code to access crew-only areas, so he and Aurora can try to repair the ship. Jim and Aurora find hull breaches from the asteroid collision two years earlier. The computer module administering the ship's fusion reactor power plant has been critically damaged, causing the cascading malfunctions as the other systems' computing power was diverted in an attempt to maintain it. They replace the damaged module, but when the computer attempts to vent the reactor to extinguish a runaway plasma reaction, the exterior vent fails. Jim is forced to spacewalk and vent the plasma from outside, using the manual controls in the vent tube. Jim discovers that he must remain in the tube to keep the vent open while Aurora initiates venting from inside the ship. Revealing her enduring feelings for him, she admits she is terrified of losing him and being left alone. Jim improvises a heat shield and survives the venting but is blasted out into space as his tether snaps, and his damaged spacesuit begins losing oxygen. Aurora retrieves a clinically dead Jim from space and resuscitates him in the Autodoc. The Avalon, its reactor repaired, returns to normal operations. After burying Gus in space, Jim learns the Autodoc can function as a hibernation pod for one person, and Jim insists that Aurora use it for the remainder of the voyage. Realizing she would never see Jim again, she chooses to remain awake with him. He presents her with the makeshift engagement ring he made earlier, which she accepts. Eighty-eight years later, the ship's crew awakens on schedule, shortly before arrival at Homestead II. In the ship's grand concourse, they discover a huge tree with trailing vines, lush vegetation, flying birds, and a small cabin. A recording of Aurora's story describes the wonderful life she and Jim shared on the Avalon."}
{"movie_name":"The Back-up Plan_2010","imdb_id":"tt1212436","script":"<script>\n  <scene>\n    <stage_direction>INT. EXAM ROOM - DAY<\/stage_direction>\n    <scene_description>We 're not exactly sure where we are . And we 're not exactly sure who 's talking . All we know is that we are looking at a foot . One bare foot with chipped red polish .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I ca n't believe I did n't get a pedicure for this. How embarrassing. Look at that.<\/dialogue>\n    <scene_description>The toes open and then curl down as if trying to hide .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>What's wrong with me? If I were with a real guy doing this, I would've gotten a pedicure. And a wax. I'm pathetic.<\/dialogue>\n    <scene_description>The CAMERA PANS to the other foot , which is also chipped .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Fuck, that one's even worse. And when did my toes get so fat? No wonder I'm alone. I'm a fat - toed animal.<\/dialogue>\n    <scene_description>Zoe lets out a sigh . She speaks out - loud now .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Sorry I did n't get a pedicure.<\/dialogue>\n    <character>DR. HARRIS<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>DR. HARRIS -LRB- mid - fifties , jovial -RRB- looks up from between Zoe 's knees , the light on his head flashing right in Zoe 's eyes .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>My toes. sorry.<\/dialogue>\n    <character>DR. HARRIS<\/character>\n    <dialogue>I'm not looking at your toes.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Right. Duh.<\/dialogue>\n    <scene_description>Dr. Harris stands and takes off his gloves .<\/scene_description>\n    <character>DR. HARRIS<\/character>\n    <dialogue>All done.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>That's it?<\/dialogue>\n    <scene_description>And now , for the first time , we see ZOE . Despite the paper gown and worried look on her face , she 's a late - 30 - something , girl - next - door type . She could be your best friend .<\/scene_description>\n    <character>DR. HARRIS<\/character>\n    <dialogue>I'll elevate your legs for ten minutes and then you're good to go.<\/dialogue>\n    <scene_description>He sets a kitchen timer and then pushes a button to raise her legs . We hear the loud TICK TOCK of the timer .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>This is the first time I've heard that ticking clock sound and it does n't freak me out.<\/dialogue>\n    <character>DR. HARRIS<\/character>\n    <dialogue>Good. Just relax.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I ca n't, I'm totally freaking out.<\/dialogue>\n    <character>DR. HARRIS<\/character>\n    <dialogue>Everything's going to be great. I have a feeling you and.<\/dialogue>\n    <parenthetical>( checks empty syringe . )<\/parenthetical>\n    <dialogue>Number CRM - 101404 are going to make beautiful babies together.<\/dialogue>\n    <scene_description>Zoe smiles . Maybe he 's right . Yeah . of course he 's right .<\/scene_description>\n    <character>BOBBY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Number CRM - 101404? Are you high?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ZOE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>TITLE UP : FOUR WEEKS AGO BOBBY , 39 -LRB- but says he 's 33 , -RRB- gay and gorgeous , opens a file and points to a piece of paper .<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Says here he has red hair and freckles.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>And glasses, too.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>And why are we picking him?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Because he's honest.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>He's ugly.<\/dialogue>\n    <scene_description>Zoe points to a stack of potential donors .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>You think they're all telling the truth? If they're so smart and good looking, why are they beating off into a cup?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Have you ever fucked a guy with red hair and freckles?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>No, and I wo n't have to.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>But what about your kid? No one's going to want to fuck your kid.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>That came out wrong.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Yeah. it's a good thing you're not going to be the father.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAVERLY INN   - NIGHT<\/stage_direction>\n    <scene_description>TITLE UP : EIGHT WEEKS AGO Bobby spits out a mouthful of Sauvignon Blanc .<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>What? I ca n't be the father!<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Come on, we do n't have to have sex.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh, Jesus, I did n't even think about that. Rewind, rewind, rewind.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>You're one of my best friends. Do n't you want to help me?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yeah, but. that's too much. I'll walk your dog, tell you when you look fat, be honest about your eyebrows.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Just a few sperm. Big deal. You waste billions of them every night.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You know I flee at the slightest chance of intimacy. Do you see these bags under my eyes? Ricardo slept over last night, and he wanted to hold me. I actually had to fake a seizure.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Forget it. Forget the whole thing.<\/dialogue>\n    <scene_description>Zoe sighs and puts her head in her hands .<\/scene_description>\n    <character>MONA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Forget the whole thing. It's just a phase.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MONA'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>TITLE UP : TWELVE WEEKS AGO . Zoe and MONA , Zoe 's age but looks much older , sit at the kitchen table .<\/scene_description>\n    <character>MONA<\/character>\n    <dialogue>You do n't want kids. Trust me.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Easy for you to say. You have four.<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>Yeah, and it's awful.<\/dialogue>\n    <scene_description>Three CHILDREN run through the kitchen yelling and screaming . A beat later , a TODDLER runs after them crying .<\/scene_description>\n    <character>MONA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>They've ruined my life.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>Have you seen my vagina?<\/dialogue>\n    <scene_description>Zoe shakes her head .<\/scene_description>\n    <character>MONA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Do you want to?<\/dialogue>\n    <scene_description>Zoe shakes her head again .<\/scene_description>\n    <character>MONA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I would do that for you. To prove to you that you do n't want to have kids, I will show you my vagina.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I do n't want to see your vagina. I want a baby. My own baby.<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>Is it possible you're just a little lonely? You know, you have n't met the right guy and -<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>It's not about a guy. I do n't need a guy. I do n't even think I want a guy at this point. I've dated a hundred guys in the last five years, and not one of them is even close to being the one. How long am I supposed to wait?<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>You never know. He could be right around the corner.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Well, then he's late. And I hate people who are late. And what if he's not right around the corner? What if he's miles away?<\/dialogue>\n    <scene_description>Zoe shakes her head . She becomes very serious .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I want to have a baby. And time is running out. I hear a clock ticking every time I close my eyes. I need it to stop.<\/dialogue>\n    <scene_description>We hear a loud DING .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EXAM ROOM - DAY<\/stage_direction>\n    <scene_description>Zoe opens her eyes . We 're back in the exam room . She looks at the timer , which just hit zero . She smiles .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Ding.<\/dialogue>\n    <scene_description>Then a tear forms in the corner of her eye . She wipes it away . She wipes a tear from the other eye . Happy tears . Then she looks at her legs high above her on the table .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>How the fuck am I supposed to get down from here?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOCTOR'S OFFICE HALLWAY - LATER<\/stage_direction>\n    <scene_description>Zoe walks down the hall with her legs pressed firmly together , moving only from the knees down . Dr. Harris passes .<\/scene_description>\n    <character>DR. HARRIS<\/character>\n    <dialogue>You do n't have to walk like that.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Oh. Okay.<\/dialogue>\n    <scene_description>Zoe separates her legs an inch . And then closes them .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Should we hug? We might have just made a baby together.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAITING ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Zoe walks through the waiting room with her legs still pressed together . She sees two PREGNANT WOMAN , touches her own stomach and smiles . She finally feels part of this exclusive baby club .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>PREGNANT WOMEN<\/character>\n    <dialogue>Hi.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR - DAY<\/stage_direction>\n    <scene_description>Zoe enters the elevator where there is a WOMAN holding a BABY . Zoe smiles at them . Another member of the club .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>The elevator descends . Zoe continues to stare at the baby with a big smile . She stares for an uncomfortably long time .<\/scene_description>\n    <character>WOMAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You're starting to freak me out.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <scene_description>Zoe looks down . After a beat , she sneaks another look .<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Stop it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MADISON AVENUE - DAY<\/stage_direction>\n    <scene_description>It 's POURING outside . The kind of rain that turns umbrellas inside out . NEW YORKERS run for cover with newspapers over their heads . Despite the rain , Zoe skips out of the building with her hands in the air and twirls around . Realizing that she 's spread her legs too far apart , she snaps them back together . A WOMAN pushing a baby stroller covered in plastic runs by .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Hi!<\/dialogue>\n    <scene_description>Zoe looks uptown for a cab . Nope . Nothing . She starts to walk , still keeping her legs firmly pressed together . She rounds the corner towards the subway station and then , miraculously , spies a cab .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Taxi!<\/dialogue>\n    <scene_description>She runs -LRB- little steps -RRB- across the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI - MOMENTS LATER<\/stage_direction>\n    <scene_description>Zoe closes the door behind her .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Hallelujah!<\/dialogue>\n    <scene_description>As soon as the word comes out of her mouth , she notices someone entering the cab from the other side . This is STAN , early 40s , but looks more like a college kid - faded jeans , t - shirt , cute , messy hair .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Uh. excuse me. This is my cab.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>You own it?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>No, but I'm about to rent it.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Actually, if we're being technical, you kind of stole it.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I do n't think so.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>If you see someone about to get in a cab, you ca n't just run in from the other side and say it's yours.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I did n't see you.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I saw you see me.<\/dialogue>\n    <character>ZOE<\/character>\n    <parenthetical>( to the cabbie . )<\/parenthetical>\n    <dialogue>Sir, who saw you first?<\/dialogue>\n    <scene_description>The CABBIE picks up his paper and starts to read .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Maybe you're not from around here, but there's a code. It's like war, even though it's brutal and bloody, there are still certain rules we -<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Fine. Forget it. I'll get out.<\/dialogue>\n    <scene_description>Zoe grabs the door handle and then turns back .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>But not because you're right, but because I am in a terrific mood, and you are ruining it.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>No. I'll get out.<\/dialogue>\n    <scene_description>They each get out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TAXI - CONTINUOUS<\/stage_direction>\n    <scene_description>Zoe and Stan stand on opposite sides of the taxi in the POURING RAIN . Zoe crosses her arms .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Now what?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I do n't know. You tell me.<\/dialogue>\n    <scene_description>That question is answered by the cabbie , who now peels out .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>What? Where's he going?!<\/dialogue>\n    <parenthetical>( waving her hands , then . )<\/parenthetical>\n    <dialogue>Come back!<\/dialogue>\n    <scene_description>They both stand there with a taxi 's width between them .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Well, that was stupid. Why'd you get out, you, stupid - head?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>You said you were in a great mood and I was ruining it. I felt bad.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>Did you just call me stupid - head?<\/dialogue>\n    <scene_description>Zoe storms off with her little steps .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 68TH STREET SUBWAY STATION - DAY<\/stage_direction>\n    <scene_description>Stan and Zoe each swipe their Metrocards at the same time . They enter the subway platform which is jam packed with all the other NEW YORKERS who are shit - out - of - luck in the cab department . Rain droplets drip from the ceiling above .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Oh, man.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>How's your great mood now?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 6 TRAIN - DAY<\/stage_direction>\n    <scene_description>A packed subway car . Zoe and Stan are back - to - back , pushed together by the crowd . Zoe tries to read her paper .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>How ` bout now?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Please stop talking to me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNION SQUARE SUBWAY STATION - DAY<\/stage_direction>\n    <scene_description>Zoe and Stan walk up the stairs a few feet apart from each other . Zoe does her best to ignore the obvious .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>So, why are you in such a good mood anyway?<\/dialogue>\n    <scene_description>They reach the top of the stairs . The rain has stopped , and the sun is just starting to peek through . Everything is wet and has a magical quality .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Not that it's any of your business, but. good things are happening to me.<\/dialogue>\n    <scene_description>Stan is moved by this . What a thing to say .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>That's nice. I hope it continues.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Thanks. Well, have a nice life. Try not to steal any more cabs.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>You do the same.<\/dialogue>\n    <scene_description>They nod and separate .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HUDSON PETS - DAY<\/stage_direction>\n    <scene_description>Hudson Pets is a small but quaint West Village pet store filled with dogs , cats and a few rabbits . Zoe enters . Her dog , NUTS , a raggedy , pug - like dog with hind legs in a WHEELCHAIR , bounds\/wheels towards her , barking .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Hey, Nutsy. How's it going?<\/dialogue>\n    <scene_description>She gives Nuts a good scratch . JALISA , mid - 30s , Latina hottie , and Bobby run from the back .<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Oh, my God, you're glowing.<\/dialogue>\n    <parenthetical>( to Jalisa . )<\/parenthetical>\n    <dialogue>She's glowing, right?<\/dialogue>\n    <character>JALISA<\/character>\n    <dialogue>Glowing. Tell us everything.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Everything.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>There's not much to tell.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You just got shot up with a wad of red - headed - freckle sperm. There's something to tell.<\/dialogue>\n    <character>JALISA<\/character>\n    <dialogue>He had red hair and freckles?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I tried to talk her out of it.<\/dialogue>\n    <character>JALISA<\/character>\n    <dialogue>Why'd you do that, Mami?<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>( to Jalisa . )<\/parenthetical>\n    <dialogue>I know, right?<\/dialogue>\n    <character>JALISA<\/character>\n    <dialogue>Red pubes. Eek.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I'm never going to see his pubes!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You'll see your kid's pubes.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I doubt it.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>But you'll know they're there.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>What is wrong with you?<\/dialogue>\n    <character>JALISA<\/character>\n    <dialogue>So, what happened? Come on.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I lay down, put my feet up, five minutes later it was over. I barely felt a thing.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Sounds like Ricardo.<\/dialogue>\n    <character>JALISA<\/character>\n    <dialogue>Tell me about it, Papi.<\/dialogue>\n    <scene_description>Bobby and Jalisa high five . Bobby then turns to Zoe .<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>So. what happens now?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Now, we wait.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>That's no fun, I want to know if I'm going to be a fairy godmother.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>We'll just have to wait and see.<\/dialogue>\n    <scene_description>Zoe smiles and heads for the back .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HUDSON PETS - NIGHT<\/stage_direction>\n    <scene_description>The lights in the pet store go dark . Moments later , Zoe , Bobby , Jalisa and Nuts exit .<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Come on, Zoe, one drink. You can have an O'Dhouls or something.<\/dialogue>\n    <character>JALISA<\/character>\n    <dialogue>We'll go to the piano bar and get Bobby to sing some Ace of Base.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Forget it, she's not coming. I can tell by the dull look on her face.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Love you.<\/dialogue>\n    <scene_description>They all hug . Bobby and Jalisa walk away arm - in - arm , singing .<\/scene_description>\n    <character>BOBBY\/JALISA<\/character>\n    <dialogue>I saw the sign and it opened up my eyes, I saw the sign.<\/dialogue>\n    <scene_description>Zoe turns to lock up . While her back is turned , Stan appears from the shadows .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Aahhh!<\/dialogue>\n    <scene_description>Zoe screams and drops the keys . Nuts , overexcited by Zoe 's reaction , starts to run\/wheel in circles and then tips over .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You scared the hell out of me!<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Oh, wow. Is he. okay?<\/dialogue>\n    <scene_description>Nuts is still on the ground , his wheels spinning . Zoe sets him upright .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I'm sorry. I did n't mean to scare you. Or hurt your dog. Do n't worry, I'm not a stalker.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>How'd you know I worked here?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I followed you after the subway.<\/dialogue>\n    <parenthetical>( thinks , then . )<\/parenthetical>\n    <dialogue>That sounds a little stalkery, huh?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I just really wanted to see you again. Almost like I had to see you again. Can I walk you home?<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>Is it me or does everything I say make me sound more like a stalker?<\/dialogue>\n    <scene_description>Zoe allows a small smile .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Can I just give you my card? Here. Take my card. I'm not a freak. Really. I sell cheese.<\/dialogue>\n    <scene_description>This hangs out there for a beat .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Cheese?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Yeah. My family has a goat farm. We make cheese. You like cheese?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I guess. I've never really thought about it.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Little Goat. Maybe you've seen us at the Farmer's market? Come by sometime and you can taste my cheese.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>Okay, I'm going to go. This has not gone as planned.<\/dialogue>\n    <scene_description>Stan smiles meekly and then turns to go .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Bye.<\/dialogue>\n    <scene_description>Stan lifts his hand to wave but does n't even turn around . Clearly , he feels like an idiot . Zoe watches him go .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEST VILLAGE BROWNSTONE - MORNING<\/stage_direction>\n    <scene_description>Establishing shot of a cute brownstone with window boxes and a front stoop . We TILT UP to the third floor window .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ZOE'S APARTMENT - MORNING<\/stage_direction>\n    <scene_description>Zoe is asleep with the morning sun on her face . Nuts is beside her , his two little , lame legs hanging off the pillow . Zoe opens her eyes . After a beat , she gets up and walks to the mirror . She lifts up her pajama top and looks at her stomach , sticking it out as far as it will go . It 's flat as a board .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAROL'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Seven WOMEN sit around the cramped living room of this small , East Village apartment . At least one woman is nursing a child that looks entirely too old to still be nursing . This is the SINGLE MOTHERS BY CHOICE Support Group . CAROL , 40 's , short hair , tank top and no bra , is the leader .<\/scene_description>\n    <character>CAROL<\/character>\n    <dialogue>Everyone, please say hello to Zoe.<\/dialogue>\n    <character>EVERYONE<\/character>\n    <dialogue>Hi, Zoe.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Welcome to Single Mother's By Choice. As the name suggests, we are all single mothers by choice. Some of us have adopted, some conceived with a donor, every story is different, but with the same common denominator. We wanted to have a child, and we did n't need a partner to make it happen.<\/dialogue>\n    <scene_description>The women smile and nod . They are a proud , no - nonsense , somewhat masculine bunch . LORI , pregnant with a buzz cut , turns to Zoe .<\/scene_description>\n    <character>LORI<\/character>\n    <dialogue>Are you a doer or a tryer?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>LORI<\/character>\n    <dialogue>Are you already a single mother or are you trying to become one?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Oh, I guess I'm trying. I was just inseminated a few days ago.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>Inseminated. makes me feel like a cow or something.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Well, when we do n't have partners with penises, we do what we've got to do, right?<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>So, tell us a little bit about yourself.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Okay. Let's see. um, I own a pet store on Hudson Street. Dogs, cats, rabbits. no birds, they creep me out. Before that, I worked for Google, which I completely hated. One day, I decided life was too short, and, against my accountant's advice, I quit Google, cashed out and bought the pet store. Now I'm really happy on the work front, but I still have n't found, you know, the one.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Ah, yes. The elusive `` one.''<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I always imagined I'd be married with kids by now, but it does n't look like it's going to happen that way. So, time for Plan B.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Society tells us we're supposed to find that special person to make us happy and complete. But guess what. you have to create your own happiness. You do n't need someone to complete you, some. man. You already are complete.<\/dialogue>\n    <character>LORI<\/character>\n    <dialogue>Amen, sister.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>If you want to have a baby, we here at Single Mothers By Choice can be your partners. We will be your emotional rocks.<\/dialogue>\n    <scene_description>Zoe looks around at her new `` partners . '' There 's SARA , the one nursing the toddler . And TABITHA , a tall women with an even taller afro and a nose ring . BRIDGET , a young girl covered in tatoos . And several more .<\/scene_description>\n    <character>CAROL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>From inception to college graduation and everything in between. We're here for each other.<\/dialogue>\n    <scene_description>Sara smiles and nods at her nursing child .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Dakota was actually born right here in this very room. Right where you're sitting, actually.<\/dialogue>\n    <character>ZOE<\/character>\n    <parenthetical>( uncomfortable . )<\/parenthetical>\n    <dialogue>Really? Right here? Imagine that.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Best day of my life.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>And how old is she now?<\/dialogue>\n    <scene_description>Dakota looks up from the breast .<\/scene_description>\n    <character>DAKOTA<\/character>\n    <dialogue>I'm three.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LE PAIN QUOTIDIEN - DAY<\/stage_direction>\n    <scene_description>Zoe and Mona are sitting by the window sharing a plate of pastries and a pot of coffee .<\/scene_description>\n    <character>MONA<\/character>\n    <dialogue>Why did you join a support group of unattractive, militant lesbians when you have me?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Because you're really not that supportive.<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>Sure I am.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>You just told me that if I breast - feed `` my girls'' will end up looking like empty tube socks.<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>I'm just being honest. And do n't even get me started on what childbirth does to your bladder.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>What does it do to your bladder?<\/dialogue>\n    <scene_description>Mona cracks up and then stops abruptly .<\/scene_description>\n    <character>MONA<\/character>\n    <dialogue>I just peed a little bit.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I do n't think I'm pregnant. The doctor says it will probably take several tries. Something about frozen sperm being lazy.<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>Good. Take your time.<\/dialogue>\n    <scene_description>Zoe takes a sip of coffee and looks out the window .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>So, should I call this guy? Do you think that would be weird?<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>Do I think it's weird that you're pursuing someone at the exact moment in time that you might be most unavailable? No. Because that's what you do. You sabotage.<\/dialogue>\n    <character>ZOE<\/character>\n    <parenthetical>( ignoring her . )<\/parenthetical>\n    <dialogue>He works at the Farmer's market. And it's right around the corner. Are you thinking what I'm thinking?<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>I look fat and old?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>Then, no.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Let's go spy on him. Come on. It will be fun. Like high school.<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>I ca n't.<\/dialogue>\n    <parenthetical>( checks watch . )<\/parenthetical>\n    <dialogue>This twenty minute breakfast concludes my `` me'' time for the week. More proof that you should not have kids.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FARMER'S MARKET - DAY<\/stage_direction>\n    <scene_description>The Farmer 's Market is crowded with people . We hear the sounds of a bluegrass band playing somewhere nearby . Zoe spies the LITTLE GOAT sign . But Stan is not there . She looks around the neighboring stalls for him , but no luck .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Oh, well.<\/dialogue>\n    <scene_description>She walks towards 14th street . We see the bluegrass band on the steps by the subway station . It 's not a big band , just a few guys with an open banjo case and a sign that reads , `` The Organics . '' The country twang of the music is in sharp contrast with the tall buildings all around . As she gets closer , she notices that Stan is in the band . He 's playing banjo . Zoe quickly ducks into the nearest food stall , OLIVIA 'S BERRIES . OLIVIA , mid - twenties , natural beauty , approaches .<\/scene_description>\n    <character>OLIVIA<\/character>\n    <dialogue>Can I help you?<\/dialogue>\n    <character>ZOE<\/character>\n    <parenthetical>( distracted . )<\/parenthetical>\n    <dialogue>No, I'm fine.<\/dialogue>\n    <scene_description>Zoe watches Stan . She mindlessly starts eating some blueberries out of the display pint . Olivia sees that Zoe is looking at Stan .<\/scene_description>\n    <character>OLIVIA<\/character>\n    <dialogue>Tasty, huh?<\/dialogue>\n    <scene_description>Zoe nods and takes another berry .<\/scene_description>\n    <character>OLIVIA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>All ripe and juicy. And firm, too. Bet you could just eat him up in one bite, right?<\/dialogue>\n    <scene_description>Zoe now turns , confused .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>And do n't look now, but he's coming this way.<\/dialogue>\n    <scene_description>Olivia winks and moves off . Zoe turns back and is now face - to - face with Stan , who 's smiling from ear - to - ear , his banjo slung over his shoulder .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>A - ha! I did n't scare you away after all.<\/dialogue>\n    <character>ZOE<\/character>\n    <parenthetical>( trying to be casual . )<\/parenthetical>\n    <dialogue>I was just in the neighborhood. I thought I'd come by and get some blueberries. I'm going to make a pie.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I love blueberry pie.<\/dialogue>\n    <scene_description>Stan takes two pints of blueberries and hands them to Zoe .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>I'm confused. I thought you made cheese or something.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>What makes you think I do n't?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I do n't know, you're over there playing the banjo.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Ca n't someone do both?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Honestly, I did n't know anyone did either.<\/dialogue>\n    <scene_description>Olivia returns .<\/scene_description>\n    <character>OLIVIA<\/character>\n    <dialogue>Are n't you going to introduce me to your new friend?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <parenthetical>( to Zoe . )<\/parenthetical>\n    <dialogue>Come on. Let me show you around.<\/dialogue>\n    <scene_description>Stan puts his arm around Zoe and leads her away . Olivia watches them go with her arms crossed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE LITTLE GOAT CHEESE STAND - LATER<\/stage_direction>\n    <scene_description>Stan walks Zoe through his cheese stand .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>This is our basic chevre, probably our best seller. The cheese that started it all, as they say. Then over here we have our surface - ripened cheeses. These are the aged\/raw milk cheeses.<\/dialogue>\n    <parenthetical>( realizing . )<\/parenthetical>\n    <dialogue>This is really boring, huh?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>No, not at all.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>It's like you're in a foreign country and the only thing to watch on tv is a documentary on cheese. You do n't want to watch it, but somehow you ca n't stop.<\/dialogue>\n    <character>ZOE<\/character>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>I think it's interesting. Really.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>All right, you asked for it.<\/dialogue>\n    <parenthetical>( boring voice . )<\/parenthetical>\n    <dialogue>The aged\/raw milk cheeses are made from raw milk and then aged for four to six months. Sometimes more. Sometimes less. Usually more. Depends on the cheese.<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Stop. You're killing me.<\/dialogue>\n    <scene_description>FRED , early twenties , white guy with Rasta - type dreads , looks up from behind the counter .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Fred, Zoe, Zoe, Fred.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>She's the one I followed from the subway the other day like a total psychopath.<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Right. I heard about you.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I do n't know whether to be flattered or terrified.<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Be afraid.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Do n't scare her away. I'm trying to redeem myself.<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Then you should put down the banjo. You look like a doofus.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Doofus?<\/dialogue>\n    <parenthetical>( then , to Zoe . )<\/parenthetical>\n    <dialogue>Do you think I look like a doofus?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I do n't really know what a doofus looks like.<\/dialogue>\n    <scene_description>Fred points to Stan .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Okay. If I put the banjo down, can I take you to lunch or something?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I should really get back to work.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Come on, say the word and we can have a six - course tasting menu at Union Square Cafe. I know the chef.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>That sounds nice, but, I should probably go.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Well, can I call you?<\/dialogue>\n    <scene_description>Zoe smiles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HUDSON PETS - DAY<\/stage_direction>\n    <scene_description>Zoe enters the pet store with two big bags of vegetables . As soon as she steps foot in the store , Bobby and Jalisa accost her .<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Okay, spill it.<\/dialogue>\n    <character>JALISA<\/character>\n    <dialogue>Who is he? What does he do? How do we know him?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>JALISA<\/character>\n    <dialogue>Stan from the Farmer's Market? He's called twice already.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Is he a farmer? Because that's not okay.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>No. He makes cheese.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>He's a pilgrim?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I do n't know what he is. He's cute and different and plays the banjo.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>I think I like him.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What about the, you know, bun in the oven?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I really doubt I'm pregnant.<\/dialogue>\n    <character>JALISA<\/character>\n    <dialogue>You want to be pregnant. You do n't want to be pregnant. I'm confused.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I want to be pregnant. Of course I want to be pregnant. I mean, I put a lot of thought into this, right?<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>So what did Stan say?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>He says to name any restaurant you want to go to. He'll be there with bells on.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>He did n't say the `` bells on'' part. I added that. Sounds a little too gay, though, so I take it back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 8TH STREET - NIGHT<\/stage_direction>\n    <scene_description>Zoe walks down 8th street . This is the first time we 've seen her really pulled together , and she looks hot . She turns into the restaurant she 's chosen for the big date .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRAY'S PAPAYA HOT DOGS - NIGHT<\/stage_direction>\n    <scene_description>Zoe and Stan stand at the counter with an array of hot dogs in front of them . Stan looks at the hot dogs skeptically .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>We could have gone anywhere.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Just take a bite. You'll see.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Per Se, Jean Georges, Nobu.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Gray's Papaya. Cheers.<\/dialogue>\n    <scene_description>She clinks his dog and then they each take a bite .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Good, right?<\/dialogue>\n    <scene_description>Stan nods , covering his mouth because the bite is so big .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You've lived here your whole life and never been to Gray's Papaya. What's wrong with you?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I actually have n't lived here my whole life. We moved out of the city when my parents bought the farm. not died, but actually bought a farm and moved upstate.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>That must have been a nice place to grow up. On a farm.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>What about your family?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>It's just me and my grandmother. She lives in a retirement community in Queens.<\/dialogue>\n    <parenthetical>( an awkward beat . )<\/parenthetical>\n    <dialogue>My parents died when I was young.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I'm so sorry.<\/dialogue>\n    <scene_description>There is a long silence . They both stare at the hot dogs .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I do n't know what to say now. I've made it all awkward and sad.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>It's okay.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>My dad was kind of a bad guy, anyway.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Shit. I'm so sorry, Zoe.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>No, come on, we'll get all this stuff out of the way so we never have to talk about it again. Let's ask all the awkward, get - to - know - you questions right now.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Okay. Good idea.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Let's see. are you religious?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Nope. What about you?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Have you ever been married?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Are n't you sick of going to weddings?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>If I have to listen to one more couple write their own vows.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I hate when they write their own vows!<\/dialogue>\n    <scene_description>They clasp hands . Not in a high - fivey way , but in a connected , we have so much in common way . Their hands stay together , feeling the charge between them .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What about kids?<\/dialogue>\n    <scene_description>Zoe feels the blood rush to her cheeks . Like everyone there must now be looking at her .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>What about them?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Well, do you want them?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Yeah. I want kids.<\/dialogue>\n    <scene_description>She pulls her hand away . This has all gotten suddenly real . She looks at Stan , almost afraid to ask the next question .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Do you?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Yeah. Absolutely.<\/dialogue>\n    <scene_description>Zoe nods . Slowly , she starts to breathe again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PERRY STREET - NIGHT<\/stage_direction>\n    <scene_description>They are now walking home together , arm - in - arm .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Okay, first kiss.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Jen Salzer. Seventh grade. She wore a head - gear. What about you?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Summer camp. I think his name was -<\/dialogue>\n    <scene_description>Stan interrupts by kissing her . And it 's a great kiss . Full of promises and answers . They linger there for a moment .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>That was way better.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>When can I see you again?<\/dialogue>\n    <scene_description>Zoe feels her heart jump . She kisses him again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ZOE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Zoe is lying in bed with Nuts on the pillow next to her . The sun is shining and they are both waking up . She gets up and goes to the mirror . She lifts up her nightgown and looks at her stomach , this time with a slight look of concern on her face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EQUINOX - DAY<\/stage_direction>\n    <scene_description>Zoe and Mona are side - by - side on the elliptical machines . Zoe is going very fast , while Mona is barely moving at all .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>What if I'm pregnant?<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>Then you'll get fat and hormonal and I'll say, `` I told you so.''<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>But what if this could go somewhere with Stan? Like, really go somewhere.<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>Then it will work out perfectly.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>Because just when you really like him, you'll break up because you're pregnant and then you never have to put yourself out there and possibly get hurt. That's your dream.<\/dialogue>\n    <character>ZOE<\/character>\n    <parenthetical>( thinks , then . )<\/parenthetical>\n    <dialogue>I'm not pregnant.<\/dialogue>\n    <scene_description>She gets off the machine .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EQUINOX STEAM ROOM - DAY<\/stage_direction>\n    <scene_description>We are in a foggy steam room with Zoe , Mona and a few other WOMEN .<\/scene_description>\n    <character>MONA<\/character>\n    <dialogue>So, when are you seeing him again?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Tonight.<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>Well, do n't have sex with him. That's the last thing we need. You get knocked up and we'll have no idea who the father is.<\/dialogue>\n    <scene_description>A few women look over .<\/scene_description>\n    <character>MONA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And then we'll have to do a paternity test. Is it the cheese farmer or the red - pubed bandit?<\/dialogue>\n    <scene_description>More women look over .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>I'm not going to have sex with him tonight. It's too soon.<\/dialogue>\n    <parenthetical>( for the women 's benefit . )<\/parenthetical>\n    <dialogue>I'm not a slut.<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>Well, bring condoms, just in case.<\/dialogue>\n    <parenthetical>( thinks , then . )<\/parenthetical>\n    <dialogue>And a pregnancy test.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Very funny.<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>I'm not joking.<\/dialogue>\n    <scene_description>All of the women are now staring at Zoe .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>I'm really not a slut.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ZOE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Zoe sits on the bed , holding a pregnancy test in her hands . Nuts is beside her . He looks up at her .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>There's no way, right?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ZOE'S BATHEROOM - NIGHT<\/stage_direction>\n    <scene_description>Zoe pees on the stick . Nuts is beside her , watching with his head tilted .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Stop looking at me like that. I'm not pregnant.<\/dialogue>\n    <scene_description>Zoe finishes peeing and looks at the test . Nothing yet .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Come on, come on, come on.<\/dialogue>\n    <scene_description>We hear the doorbell RING .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Shit.<\/dialogue>\n    <scene_description>Zoe looks down at the test . Still nothing . We wait and watch the test . The doorbell RINGS again .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Shit!<\/dialogue>\n    <scene_description>A faint PLUS SIGN is forming .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Shitshitshitshit.<\/dialogue>\n    <scene_description>The plus sign then turns BRIGHT PINK . Zoe 's heart stops . There it is . Plain as day . Pregnant .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>No, shit.<\/dialogue>\n    <scene_description>Zoe stands . Looks at herself in the mirror . And then .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Holy fucking shit!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI - NIGHT<\/stage_direction>\n    <scene_description>Manhattan fades into the distance , as they drive over the Brooklyn Bridge . Zoe cracks the window .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Are you feeling okay?<\/dialogue>\n    <scene_description>Zoe nods . Her face looks pale .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Good, because this should really be a culinary adventure. This is an underground restaurant that moves from apartment to apartment, depending on the chef.<\/dialogue>\n    <scene_description>Zoe nods again . Has n't heard a word he 's said . She rolls the window all the way down and hangs her head out .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And some of the guys from the band will be there. So, we might get a little jam going. Sounds fun, right?<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>Zoe?<\/dialogue>\n    <scene_description>Zoe 's POV . Headlights from passing cars whiz by , and the wind swirls her hair into her face . Brooklyn approaches like a bad dream .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDERGROUND RESTAURANT\/SMALL APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Stan walks down a long table filled with appetizers . He is making a plate for each of them . Zoe trails behind , beads of sweat on her forehead .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>And this looks like a mache salad with grapes and feta.<\/dialogue>\n    <scene_description>He takes some for each of them .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And this, oh this must be white beans and lamb's tongue. You've got to have some of this. Etienne is famous for his lamb's tongue.<\/dialogue>\n    <scene_description>Olivia approaches .<\/scene_description>\n    <character>OLIVIA<\/character>\n    <dialogue>Hey, stranger.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Oh, hey, Olivia. You remember Zoe.<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>Right. How'd that blueberry pie turn out?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>You bought blueberries from me? Said you were going to make a pie?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Um, can you excuse me for a second?<\/dialogue>\n    <scene_description>Zoe hurries off . Olivia watches her go . Eyes narrowing .<\/scene_description>\n    <character>OLIVIA<\/character>\n    <dialogue>No way she knows how to bake a pie.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDERGROUND RESTAURANT\/SMALL APARTMENT - MOMENTS LATER<\/stage_direction>\n    <scene_description>Zoe hovers by the window , whispering into the phone .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>I'm pregnant.<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>What?! Where are you? I'm on my way.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Brooklyn.<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Where's that?<\/dialogue>\n    <scene_description>Zoe hangs up the phone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDERGROUND RESTAURANT\/SMALL APARTMENT - MOMENTS LATER<\/stage_direction>\n    <scene_description>Zoe is now on the phone with Mona .<\/scene_description>\n    <character>MONA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Do n't panic. Could be a false positive. Take another test.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I ca n't. I'm at some underground foodie party in Brooklyn. Where am I gon na -<\/dialogue>\n    <scene_description>Out the window and across the street , we see a drugstore .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRUGSTORE - NIGHT<\/stage_direction>\n    <scene_description>Zoe runs down the aisle and empties one , two , three . what the fuck , every pregnancy test into her basket . Her cell phone RINGS . It 's Bobby . She picks it up .<\/scene_description>\n    <character>BOBBY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Okay, I'm looking at a subway map. Which way is Brooklyn?<\/dialogue>\n    <scene_description>She hangs up again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDERGROUND RESTAURANT\/SMALL APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Zoe hurries through the living room , a packed drugstore bag hidden under her arm . Stan comes up behind her .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Where have you been?<\/dialogue>\n    <scene_description>Zoe jumps and accidentally drops the bag . The tests spill out onto the floor . She quickly scoops everything back in .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Sorry. You scared me.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Did you just go to the store?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Yeah, I had a little emergency. I have a, a, um. corn, and I needed to get those little. corn pads.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Corn pads?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I know, it's gross. Do you know where the bathroom is?<\/dialogue>\n    <scene_description>Zoe walks off leaving him to ponder .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>What's a corn pad?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>Zoe pees on eight sticks at once .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Corn pad? What the hell is wrong with you?<\/dialogue>\n    <scene_description>Someone KNOCKS on the door .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Corn pad. Jesus Christ.<\/dialogue>\n    <scene_description>The knocking turns to an angry BANGING .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Relax! I'll be out in.<\/dialogue>\n    <parenthetical>( checks box . )<\/parenthetical>\n    <dialogue>Three to five minutes.<\/dialogue>\n    <scene_description>Zoe holds up the tests . One by one , the little windows all show PLUS SIGNS and CHECK MARKS and DOUBLE HASH MARKS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDERGROUND RESTAURANT\/SMALL APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Zoe exits the bathroom with a wide - eyed , terrified look on her face . By the bar , she sees a PREGNANT WOMAN sipping a glass of wine . She rushes over .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Excuse me, are you allowed to drink when you're.<\/dialogue>\n    <scene_description>Zoe makes hand motions at her belly , but ca n't say the word .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You know.<\/dialogue>\n    <scene_description>More hand gestures .<\/scene_description>\n    <character>PREGNANT WOMAN<\/character>\n    <dialogue>Pregnant?<\/dialogue>\n    <parenthetical>( off Zoe 's nod . )<\/parenthetical>\n    <dialogue>My doctor says one glass is -<\/dialogue>\n    <scene_description>Zoe does n't wait for her to finish . She rushes the bar , pours a glass of wine and downs it like a frat boy funneling a beer . Outside , we hear a banjo and guitar tuning up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK PATIO - SAME<\/stage_direction>\n    <scene_description>Stan , JERRY and SCOOTER are just starting to play . A small crowd gathers round . Stan starts to sing an old tune called `` Sweet Little Miss Blue Eyes . ''<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Who makes me forget all the other girls I met, sweet, little Miss Blue Eyes. Who's sweeter to me, than she really ought to be, sweet little Miss Blue Eyes.<\/dialogue>\n    <scene_description>Zoe appears at the door to the patio . Stan smiles at her while he sings .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Who's gon na start takin' care of my heart, she makes me realize. And it's lucky for me and I really want to be with.<\/dialogue>\n    <parenthetical>( winks at Zoe . )<\/parenthetical>\n    <dialogue>sweet, little Miss -<\/dialogue>\n    <scene_description>Stan 's POV as Zoe covers her mouth with two hands and bolts for the bathroom , puking .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Blue eyes?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>Zoe 's head is in the toilet . Just when we think she 's done , she pukes again . Finally , she lifts her head .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Ohhhhhhhh.<\/dialogue>\n    <scene_description>She spies an unused pregnancy test on the floor . One that must have dropped . Maybe this will be the one with the answer she 's looking for . She sits back on the toilet , mustering up all of her focus to pee again . She closes her eyes .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Please, God.<\/dialogue>\n    <scene_description>But she ca n't pee . She tries and tries .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Water, water everywhere, but not a drop to.<\/dialogue>\n    <scene_description>She doubles over and pukes between her knees . When she 's done , she holds up the test . CU of the stick , which has no pee on it but is covered in vomit . Slowly the test reveals a PLUS SIGN .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Fuck me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PERRY STREET - NIGHT<\/stage_direction>\n    <scene_description>Stan and Zoe walk towards Zoe 's brownstone . Stan is practically holding her up . Zoe stumbles along .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>My singing made you vomit.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>No. It's not that.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Sure, we were a little out of tune, but.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I really do n't feel well.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Is it your corns? Hurts to walk?<\/dialogue>\n    <scene_description>ANGLE on Carol , from Single Mother 's By Choice , approaching . Zoe 's face pales .<\/scene_description>\n    <character>CAROL<\/character>\n    <dialogue>Zoe?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Wow. Hi. Hey, there.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Where have you been? You have n't been coming to any -<\/dialogue>\n    <character>ZOE<\/character>\n    <parenthetical>( cutting her off . )<\/parenthetical>\n    <dialogue>Right. I know. I've been so busy. Next one, I'm there. For sure.<\/dialogue>\n    <parenthetical>( then , awkward . )<\/parenthetical>\n    <dialogue>This is my friend, Stan.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>CAROL<\/character>\n    <parenthetical>( eyeing Stan suspiciously . )<\/parenthetical>\n    <dialogue>Hello. Are you two -<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Late. Yes. We are. We really are.<\/dialogue>\n    <parenthetical>( pushing Stan along . )<\/parenthetical>\n    <dialogue>I'll see you at the meeting. Bye.<\/dialogue>\n    <scene_description>They walk on . Stan looks at Zoe .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>An old. boyfriend?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Her name is Carol. We're on a. committee together.<\/dialogue>\n    <scene_description>They reach Zoe 's front stoop . Zoe peers over Stan 's shoulder to make sure Carol 's gone .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>All right. I have to go to bed now. I'll call you, okay?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>Hey, I was thinking, if you do n't have any plans this weekend, maybe you'd like to come up to the farm and get away for a few days.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I'll call you tomorrow. Something's not agreeing with me.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Was it the lamb's tongue?<\/dialogue>\n    <scene_description>Zoe runs inside holding her hand over her mouth . Stan stands there for a beat . He calls after her .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Okay, well. this weekend. Think about it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ZOE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Zoe lies in bed . Nuts sleeps beside her . Zoe stares out the window at a flickering street lamp , her face full of fear .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>What the hell have I done?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHADYBROOK RETIREMENT COMMUNITY - DAY<\/stage_direction>\n    <scene_description>Establishing shot of a retirement compound in Queens .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHADYBROOK LOBBY - DAY<\/stage_direction>\n    <scene_description>The lobby is well - appointed and cheery . A young STAFF works behind a front desk area . Were it not for a scattering of PEOPLE IN WHEELCHAIRS , you might think we were at a Ramada . Zoe walks by the front desk . ANNIE , an employee , looks up .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Hi, Zoe. You look fantastic.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I do n't know how that's possible.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Something's different. Did you get highlights or a spray tan? Your face looks like it's.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Please do n't say glowing.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Yes! Exactly!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHADYBROOK COURTYARD - LATER<\/stage_direction>\n    <scene_description>There is a small group of WOMEN speed walking around the courtyard . They are fully decked out in jogging suits , visors and nose shields . The ringleader is NANA , 83 , fit and fabulous . On the sidelines is ARTHUR , 87 , with his walker and big grin , as he watches the ladies exercise .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Morning, Arthur.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Hello, my dear!<\/dialogue>\n    <scene_description>He struggles to get up .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>No, no, no, do n't get up.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Good, because I ca n't get up. Came to see my lovely fiance? She's looking fine today, let me tell you. Fine.<\/dialogue>\n    <scene_description>Nana rounds the bend and waves enthusiastically .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Hi, Nana.<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>One more mile to go. Do you have a minute? Talk to Arthur.<\/dialogue>\n    <scene_description>Zoe looks at Arthur who 's now watching Nana 's ass , nodding .<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>That's what I'm talking about. Work it.<\/dialogue>\n    <scene_description>Horrified , Zoe quickly runs after Nana .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHADYBROOK COURTYARD - LATER<\/stage_direction>\n    <scene_description>Zoe is now speed walking with the ladies . She mimics the same strong arm movements and heel - toe foot action .<\/scene_description>\n    <character>NANA<\/character>\n    <dialogue>Do you want a nose guard? I have an extra.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>No, I'm fine.<\/dialogue>\n    <character>SHIRLEY<\/character>\n    <dialogue>Are you sure? Ethel Silverbeck just had another carcinoma removed from her nose.<\/dialogue>\n    <character>ZOE<\/character>\n    <parenthetical>( to Nana . )<\/parenthetical>\n    <dialogue>I kind of need to talk to you. Alone.<\/dialogue>\n    <scene_description>Nana gives her friends a nod , and they fall back several paces . Zoe waits for them to be out of earshot .<\/scene_description>\n    <character>NANA<\/character>\n    <dialogue>Do n't worry, they ca n't hear anything anyway.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I'm pregnant.<\/dialogue>\n    <character>NANA<\/character>\n    <parenthetical>( ca n't hear her . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I'm pregnant.<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I'm pregnant.<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>I ca n't hear you, darling.<\/dialogue>\n    <character>SHIRLEY<\/character>\n    <dialogue>Jesus, Judy, she's pregnant. Turn your hearing aide up.<\/dialogue>\n    <scene_description>Zoe closes her eyes . Nightmare .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NANA'S ROOM - LATER<\/stage_direction>\n    <scene_description>Nana hands Zoe a cup of tea . Zoe 's eyes well with tears .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>What am I going to do?<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>I'm confused. Is n't this what you wanted? You bought sperm and were inseminated by your doctor. This is n't what we would call an accident.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>But now it's all happening so fast. Did I really think this through?<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>We talked about it for months. You said it was what you wanted more than anything in the world.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>But this guy, he's. special. It's all going to fall apart now.<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>What makes him so special?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I do n't know. He's very. real. And funny. And different. The other guys I've been with all had their briefcases and their five - year plans and their secretaries they were fucking. Stan does n't have a five - year plan. I do n't even know if he has a plan.<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>What about a secretary?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Some kid named Fred.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>I like him, Nana.<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>Well, if he's the right one, he'll stay.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Do you really think so?<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>Gosh, I do n't know. I hoped that would be enough to appease you.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Should I still visit him for the weekend? Or should I just vanish and hope he forgets I ever existed.<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>Do n't be silly. Go up there for the weekend. Spend some time with him and see what he's really like.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Yeah. You're right.<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>You might find out he's a total douchebag and then the whole thing is moot.<\/dialogue>\n    <scene_description>Zoe looks at Nana . Douchebag ?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - DAY<\/stage_direction>\n    <scene_description>Zoe is in the car . We are CLOSE on her as she talks rapidly and a bit maniacally .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Okay, so we'll just hope that he's a douchebag. Could happen, right?<\/dialogue>\n    <scene_description>WIDEN to reveal Nuts in the passenger seat . He 's yawning .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm sorry. Am I keeping you up?<\/dialogue>\n    <scene_description>Nuts closes his eyes and lays down .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>My whole life is falling apart and you ca n't keep your bug - eyes open?<\/dialogue>\n    <parenthetical>( yawning . )<\/parenthetical>\n    <dialogue>Thanks. Now I'm yawning. But why am I so tired? I slept nine hours.<\/dialogue>\n    <parenthetical>( thinks , then . )<\/parenthetical>\n    <dialogue>And I'm starving, too. What the hell is going on?<\/dialogue>\n    <scene_description>Zoe sees a gas station and jams on the breaks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GAS STATION MINI MART - DAY<\/stage_direction>\n    <scene_description>Zoe pours a massive cup of coffee . One of those gas station Big Gulp cups . Even the TRUCKER next to her chooses a smaller cup . Then , a look crosses her face .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Am I even allowed to drink coffee?<\/dialogue>\n    <scene_description>The trucker looks at her . She looks at him .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Do you know anything about being pregnant?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAR - LATER<\/stage_direction>\n    <scene_description>Zoe 's car is now parked on the side of a highway in the middle of nowhere .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - SAME<\/stage_direction>\n    <scene_description>Zoe is sound asleep with her head back and her mouth open . A small , empty coffee cup in her hand , crumpled candy bar wrappers on the floor , and an almost empty bag of Cheetos is in her lap . Her cell phone RINGS . Zoe does n't move . After the third ring , she lifts her head and looks around . It takes her a few moments to realize what 's happened . She looks at the little coffee cup .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Thanks a lot, decaf.<\/dialogue>\n    <scene_description>She picks up the phone .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Where are you?<\/dialogue>\n    <scene_description>Zoe looks around .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>I have no idea.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LITTLE GOAT FARM - DAY<\/stage_direction>\n    <scene_description>Zoe bumps along the winding driveway of this idyllic Hudson River farm . There are red barns in the distance and green pastures filled with goats and sheep . The house is an old carriage house with a rusty weather - vane on top . Zoe parks the car and takes in the whole scene . Stan opens the front door , with a huge smile on his face . Zoe sighs .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>He's so not a douchebag.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - MOMENTS LATER<\/stage_direction>\n    <scene_description>They enter the front door . Zoe takes in the charming carriage house .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>I ca n't believe you live here. This is ridiculous.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I just come on weekends. My parents really live here.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Oh. Where are they now?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>In the kitchen.<\/dialogue>\n    <scene_description>Zoe stops short .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Wait, they're here? Now? Is this a `` meet the parents'' kind of thing? I was n't prepared for this.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>No. Not at all. I mean, you'll meet them, but -<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>When you said come up for the weekend, I assumed it was just us.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>I think I need to lay down.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAN'S BEDROM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Zoe lies in the small bed with the covers pulled up to her chin . Stan stands above her with an odd look on his face .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Are you hung - over or something?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I'm just. not myself. Give me ten minutes. A ten - minute power nap and I'm good. I need to regroup.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Are you sure you're okay?<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>Zoe? Hello?<\/dialogue>\n    <scene_description>But she 's already out . Stan gives her a little poke .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - DAY<\/stage_direction>\n    <scene_description>Stan enters the kitchen . His parents , JOAN and EDWARD look up expectantly , as if about to meet their new daughter - in - law .<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Oh. It's just you.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>She's taking a nap.<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>A nap? Now? She just got here.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Mom, I need you to not be judgemental, okay. I like this girl a lot.<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>How can I be judgemental? We have n't even met her yet.<\/dialogue>\n    <scene_description>We hear a SQUEAK , SQUEAK , SQUEAK coming down the hall .<\/scene_description>\n    <character>JOAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What the heck is that?<\/dialogue>\n    <scene_description>The SQUEAKING continues and then all eyes turn as Nuts rolls into the kitchen and stops . He tilts his head .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Oh. This is Nuts.<\/dialogue>\n    <scene_description>Joan and Edward take in the raggedy\/wheelchair - bound dog and then look at Stan . Stan shoots his mom a look .<\/scene_description>\n    <character>JOAN<\/character>\n    <dialogue>Who's judging?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAN'S BEDROOM - LATER<\/stage_direction>\n    <scene_description>It 's now dark . Zoe is asleep in the exact same position . Suddenly , we hear a loud GRUMBLE . Her eyes open .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>What was that?<\/dialogue>\n    <scene_description>We hear the GRUMBLE again . It 's her stomach . She puts her hands over it .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Whoa.<\/dialogue>\n    <scene_description>Zoe gets out of bed and goes right for the Cheetos . The bag is empty . She smears her hand on the inside of the bag and then licks the orange cheese from her fingers .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - MOMENTS LATER<\/stage_direction>\n    <scene_description>Zoe peeks out of the bedroom and looks both ways .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>Stan?<\/dialogue>\n    <scene_description>No one in sight . She waits a beat and then whispers louder .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Stan!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Zoe peers her head into the empty kitchen . Nuts is with her .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Stan? Hello?<\/dialogue>\n    <scene_description>Zoe stands there unsure of what to do next . Then we hear her stomach GROWL again . Her eyes turn to the stove . Something smells out of this world . She tiptoes over and opens the pot . It 's beef stew .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oh, my God.<\/dialogue>\n    <scene_description>She makes sure the coast is clear and then looks for a spoon . She ca n't find one . She spies a loaf of white bread . Grabs a piece , folds it and then scoops up a heaping bite of stew and devours it .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( mouth full . )<\/parenthetical>\n    <dialogue>Oh, my God.<\/dialogue>\n    <scene_description>She replaces the lid on the pot . And now she just stands there . And stands there some more .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oh, who am I kidding?<\/dialogue>\n    <scene_description>She quickly takes two slices of bread and goes back in . This time , she uses one piece of bread as a ladle and then the other to turn it into a sandwich . She takes a huge bite .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oh. My. God.<\/dialogue>\n    <scene_description>Stew dribbles down her chin . She takes a third piece of bread to wipe her face and then takes a bite of that one . Nuts starts to whine and beg . Zoe uses her bread - ladle to toss some stew on the floor for him . It lands with plop . And now Joan enters . Zoe and Nuts turn , their mouths bursting . Joan does n't quite know what to do . All she knows is she 's supposed to be open - minded .<\/scene_description>\n    <character>JOAN<\/character>\n    <dialogue>Would you like a plate?<\/dialogue>\n    <scene_description>Zoe shakes her head no . Wow . This is embarrassing .<\/scene_description>\n    <character>JOAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>A napkin?<\/dialogue>\n    <scene_description>Zoe nods her head . Joan gives her one . Zoe holds it over her mouth as she tries in vain to swallow this inhuman bite .<\/scene_description>\n    <character>JOAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm Joan.<\/dialogue>\n    <scene_description>Zoe nods . Still ca n't swallow the bite .<\/scene_description>\n    <character>JOAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And you must be Zoe.<\/dialogue>\n    <scene_description>Zoe nods again . She tries to shake Joan 's hand . It 's the best she can do . Unfortunately , her fingers are fluorescent orange from the Cheetos powder . Joan pulls her hand back .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM - LATER<\/stage_direction>\n    <scene_description>The dining room is warm and lovely . There 's faded wallpaper and an old stagecoach lamp serving as a chandelier . Despite the inviting room , Zoe looks very uncomfortable .<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>The stew is delicious, honey.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Yeah, Mom, it's awesome.<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>( to Zoe . )<\/parenthetical>\n    <dialogue>Have you ever in your life had stew like this? Come on, be honest.<\/dialogue>\n    <scene_description>Zoe looks at Joan . Joan smiles . It will be their secret .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Uh. no. Never.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - LATER<\/stage_direction>\n    <scene_description>They are having coffee and dessert in the living room . Things seem more comfortable now . Zoe actually looks like she might be enjoying herself . Nuts sits beside her .<\/scene_description>\n    <character>JOAN<\/character>\n    <dialogue>So are all the animals in your pet store. differently abled?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Oh, you can say paralyzed. He does n't mind.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>No, our pets are all in great shape. Purebreads mostly, but not from puppy mills.<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>Those puppy mills are terrible. I read about them in the paper.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Well, that's actually how I ended up with Nuts. I bought him from this pet store near my house. Six months later, I had thousands of dollars in vet bills and had to put him in a wheelchair.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>You should have sued that place.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I thought about it, but what was that really going to do? They were still going to sell inbred dogs. So. I took the money I made when I left Google and just bought the place figuring I would do better.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>You worked for Google?<\/dialogue>\n    <scene_description>Zoe nods .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>How could I not know that?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>You never asked.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>And you made a lot of money and then bought a pet store?<\/dialogue>\n    <scene_description>Stan puts his arm around her and gives her a squeeze .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I love that.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>It's been fun. Beats brand management, that's for sure.<\/dialogue>\n    <character>JOAN<\/character>\n    <parenthetical>( to Edward . )<\/parenthetical>\n    <dialogue>That sounds like us, honey.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>It's true.<\/dialogue>\n    <parenthetical>( to Zoe . )<\/parenthetical>\n    <dialogue>When we bought this farm we just wanted to make cheese because we could n't find anything we liked in the stores. And now, twenty years later, here we are.<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>Sometimes in life you just have to take matters into your own hands. Make things happen your own way, you know?<\/dialogue>\n    <scene_description>Zoe forces a smile . If only they knew .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LITTLE GOAT FARM - NIGHT<\/stage_direction>\n    <scene_description>The moon is full and fireflies dot the air as Zoe and Stan walk the grounds of the farm . Nuts trots\/rolls ahead of them in a different wheelchair . This one is more rugged , with mountain - bike - type wheels .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>I ca n't believe that Nuts has an off - road wheelchair.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>He's got one for snow, too. With little skis on the bottom.<\/dialogue>\n    <scene_description>Stan smiles and shakes his head .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>You're really something.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Are you making fun of me? Do you think I spoil him?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>No, I really think you're amazing. I mean, that story you told tonight. You just quit your whole professional life because of this little dog? Started your own business, just like that?<\/dialogue>\n    <scene_description>Zoe shrugs .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You're very. unique.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Well, you're a dime a dozen. I ca n't tell you how many banjo playing, cheese makers I've been with.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I keep waiting for the other shoe to drop. Like, how can you be so perfect? Why are you even still single? I ca n't believe no one's snatched you up by now.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I drive them all away, I guess.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Yeah, right.<\/dialogue>\n    <scene_description>Stan takes her in his arms .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Look, I know this is all going fast. the time we're spending together, meeting my parents and everything. but, I'm okay with that. I want it to go fast.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>It is going fast.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>But is n't that okay? Are n't we old enough to skip all the bullshit? What are we waiting for? I. want to be with you.<\/dialogue>\n    <scene_description>Zoe opens her mouth . She 's got to tell him . Before this goes any further , she has to tell him .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Stan.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Come on. There's something I want to show you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHEESE CAVE - NIGHT<\/stage_direction>\n    <scene_description>It 's floor to ceiling wooden shelves all filled with cheese . Stan ceremoniously unwraps a wheel .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>It's cheese.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I can see that.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>It's a new kind of goat's milk we're using. I've been developing the recipe, and now it needs to age. It'll be ready for market in several months.<\/dialogue>\n    <parenthetical>( then , excited . )<\/parenthetical>\n    <dialogue>Want to know what it's called?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Zoe.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>You named a piece of cheese after me?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Not just one piece. The whole line. This will forever in history be known as the Zoe. Unless, of course, it tastes like shit, and then we'll just scrap it.<\/dialogue>\n    <parenthetical>( with a wink . )<\/parenthetical>\n    <dialogue>But that'll never happen.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>How do you know?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Because it's going to be fantastic. Sweet and sassy and very complex. Why do you think I'm calling it Zoe?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>No one's ever named a piece of cheese after me before.<\/dialogue>\n    <scene_description>Zoe stares at the cheese for a long time .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>You're kind of hard to read right now. You're either seriously flattered or totally repulsed.<\/dialogue>\n    <scene_description>Zoe smiles .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I want to kiss you right now, but it really smells like cheese in here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAIRY - MOMENTS LATER<\/stage_direction>\n    <scene_description>The door to the dairy kicks open and Stan carries Zoe out . Her legs are around his waist and they are making out like crazy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Stan carries Zoe up the stairs . They are tripping and kissing and now tearing at each other 's clothes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAN'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Stan throws Zoe on the bed and then peels off his shirt . His body looks amazing in the shadowy moonlight . Zoe lies there , looking at him before he jumps on top of her .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( under her breath . )<\/parenthetical>\n    <dialogue>You're such a douchebag.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Zoe shakes her head and then melts into him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAN'S ROOM - LATER<\/stage_direction>\n    <scene_description>They are now on their backs staring at the ceiling . They look happy and worn out Their P.O.V. Those little glow - in - the - dark star stickers are all over the ceiling . There 's barely any glow left . Stan lets out a big sigh as he looks at the `` stars '' .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>That was amazing. I mean, like, totally and exceptionally, over - the - top, amazing.<\/dialogue>\n    <scene_description>Zoe turns to him . Takes a deep breath .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Stan.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>There's something I really have to tell you.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>There's something I have to tell you, too.<\/dialogue>\n    <scene_description>Now Stan turns to her . They are face - to - face .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Can I go first? ` Cause if we're going to say the same thing, I want to say it first.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>We're not going to say the same thing.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Well, let me go, because this is really embarrassing, and I just have to say it.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I've dated a lot of women. I mean, not tons, but a lot. And, the thing is, I've never. been in love before. I've never even told anyone I love them before. Because I just never felt it. But from the day we met, from the first time our backs accidentally touched in the subway, I feel this, this.<\/dialogue>\n    <parenthetical>( he shakes his head . )<\/parenthetical>\n    <dialogue>Maybe this is too much to say right now, but. I love you, Zoe. I really do.<\/dialogue>\n    <scene_description>Stan finishes . He looks at her and smiles . Zoe just stares at him .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>In my mind, you were supposed to say, I love you, too.<\/dialogue>\n    <scene_description>Instead , Zoe covers her mouth and runs to the bathroom . A beat later , we hear her vomit .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAN'S BATHROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Zoe is at the sink , furiously brushing her teeth . Stan enters .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Zoe?<\/dialogue>\n    <scene_description>He looks at her . Sees the tears in her eyes .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Why are you crying? Everything's perfect.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>It's not.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Sure it is.<\/dialogue>\n    <scene_description>Zoe takes a deep breath .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I'm pregnant.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Uh, I'm pretty sure it does n't happen that fast.<\/dialogue>\n    <scene_description>Zoe shakes her head .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>I just found out.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Pregnant? As in you're going to have a baby?<\/dialogue>\n    <scene_description>Zoe nods .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I do n't understand.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I know. It's hard to explain.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Well, who's it?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I do n't know who the father is. I kind of know him. I just do n't know his name exactly. It was sort of anonymous.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Anonymous?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>He's a donor. From a sperm bank.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Seriously, what the fuck are you talking about? Sperm bank? What?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I know, this is so fucked up.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>When did all of this happen?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>The day we met. That same day. And I did n't tell you because I did n't think there was any way I could be pregnant.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>But. why?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Because supposedly with frozen sperm it takes a few tries and.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>No, why would you do this?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Because I wanted a baby. And I'm almost forty, and I never met the right guy. I was afraid if I waited any longer it would all pass me by, and I'd miss my chance.<\/dialogue>\n    <scene_description>Stan just looks at her . Speechless .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I did n't know you. I would have never done it if -<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I just told you I loved you.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Well. do you not now?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>You're pregnant.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Do n't say it like that.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>You're pregnant.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Yes. I'm pregnant. I'm pregnant!<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I tell you I'm in love with you and you tell me your pregnant with some stranger's child?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Do n't say it like that. You make it sound dirty.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I'm sorry. I. I'm stunned. I do n't know what to say. What the fuck am I supposed to say?! This is great fucking news? Congratulations?! Why did you wait so long to tell me?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Because I'm freaking out, okay! I did n't know what to do. I made this big decision to do this and then I met you -<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Well, what am I supposed to do now? This is n't how it was supposed to be. This is n't what -<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I'm sorry. I'm sorry, okay? Life is n't perfect. It's not all neat and tidy like your perfect family and your perfect farm and your bluegrass band. It's messy. It's fucked up. This is real life, okay? I'm sorry to break it to you.<\/dialogue>\n    <scene_description>They both stand there . After the raised voices , the silence feels more pronounced .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Sorry? What's sorry going to do?<\/dialogue>\n    <scene_description>Stan walks out . Zoe stands there . And stands there . And then she starts to cry .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAN'S BEDROOM - LATER<\/stage_direction>\n    <scene_description>Zoe lies in bed awake . Nuts is beside her . They are alone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LITTLE GOAT FARM - DAY<\/stage_direction>\n    <scene_description>It 's daybreak at the farm . FARM HANDS move herds of goats from one pasture to another .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUEST ROOM - MORNING<\/stage_direction>\n    <scene_description>Stan lies awake in a small guest room . Joan enters and is startled to find him in there .<\/scene_description>\n    <character>JOAN<\/character>\n    <dialogue>Oh, I thought you were in your room. Sorry.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>Everything okay?<\/dialogue>\n    <scene_description>Stan does n't answer . Joan sits on the corner of the bed .<\/scene_description>\n    <character>JOAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Well, she seems really terrific. Dad and I both think so. She's smart and poised and.<\/dialogue>\n    <scene_description>Next door , we hear Zoe puking again . Joan stops . Then , wanting to seem open - minded , continues .<\/scene_description>\n    <character>JOAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And warm and gracious.<\/dialogue>\n    <scene_description>Another very LOUD HURL .<\/scene_description>\n    <character>JOAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And pretty and.<\/dialogue>\n    <scene_description>Another HURL . Joan looks at Stan .<\/scene_description>\n    <character>JOAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What the hell's going on in there?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>She's pregnant.<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>Oh, dear God.<\/dialogue>\n    <scene_description>We hear the toilet FLUSH .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - DAY<\/stage_direction>\n    <scene_description>Zoe sits in the passenger seat with the key in the ignition . Stan leans against the car . They are both quiet .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>I do n't know what to say.<\/dialogue>\n    <scene_description>Neither does Stan , who says nothing . He runs his foot back and forth in the gravel .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I guess I'd given up on meeting someone like you, and I did what I thought was best.<\/dialogue>\n    <scene_description>Stan still does n't say anything .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>But, for what it's worth. I love you, too.<\/dialogue>\n    <scene_description>She puts the car in gear and pulls out . Stan watches her go . His hands in his pockets .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MONA'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Zoe stands in the hallway of Mona 's apartment building . A beat later , Mona opens the door and holds out her arms .<\/scene_description>\n    <character>MONA<\/character>\n    <dialogue>Come here.<\/dialogue>\n    <scene_description>Zoe walks slowly into her embrace . They stand like this for a long time . Just holding each other . Until Mona 's three kids run out with wiffle - ball bats and chase each other down the hall . A beat later , the toddler runs after them crying .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ZOE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Zoe lies in bed with Nuts . She opens her eyes and stares at the ceiling . Then , with a sigh , she gets up and does her morning ritual . She pulls up her nightgown and sticks out her stomach . For the first time , we actually see a little bump .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EXAM ROOM - DAY<\/stage_direction>\n    <scene_description>Zoe lies on the table with a paper gown over her lap . She looks down at her feet in the stirrups . Sadly , we notice a perfect pedicure . Dr. Harris comes in with a big smile .<\/scene_description>\n    <character>DR. HARRIS<\/character>\n    <dialogue>Congratulations! What luck to get pregnant on the first try, huh? And with frozen sperm, too. So, how are we feeling?<\/dialogue>\n    <character>ZOE<\/character>\n    <parenthetical>( unconvincing . )<\/parenthetical>\n    <dialogue>Okay.<\/dialogue>\n    <character>DR. HARRIS<\/character>\n    <dialogue>You sure about that?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>It's been hard. I do n't know if I was really prepared for this.<\/dialogue>\n    <character>DR. HARRIS<\/character>\n    <dialogue>Well, your hormones are n't helping, and going through this without a partner must be difficult.<\/dialogue>\n    <scene_description>Dr. Harries readies the ultrasound wand and inserts the device . He turns the monitor so that Zoe can see .<\/scene_description>\n    <character>DR. HARRIS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Well, the good news is everything looks great. You are now eight weeks pregnant, which is an important milestone. With a little luck, we should be able to see a heartbeat today.<\/dialogue>\n    <scene_description>On the screen we see a small flickering dot . Dr. Harris smiles .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>That's it? That's. my baby?<\/dialogue>\n    <scene_description>Saying these words out loud for the first time hits Zoe . Tears fill her eyes .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hi, Baby.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>Is it okay? Is it healthy?<\/dialogue>\n    <character>DR. HARRIS<\/character>\n    <dialogue>Everything's just.<\/dialogue>\n    <parenthetical>( makes a face , then . )<\/parenthetical>\n    <dialogue>Wait, a minute.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>What? Wait a minute, what?<\/dialogue>\n    <character>DR. HARRIS<\/character>\n    <dialogue>Well. I see another heartbeat.<\/dialogue>\n    <character>ZOE<\/character>\n    <parenthetical>( freaking out . )<\/parenthetical>\n    <dialogue>It has two hearts?<\/dialogue>\n    <character>DR. HARRIS<\/character>\n    <dialogue>No. but you have two babies.<\/dialogue>\n    <scene_description>Zoe 's mouth falls open . NT . CAROL 'S APARTMENT - DAY We 're back at Single Women By Choice . The women are sitting on the floor . Sara is still nursing Dakota . Zoe has her head in her hands .<\/scene_description>\n    <character>CAROL<\/character>\n    <dialogue>Twins! That's fantastic!<\/dialogue>\n    <scene_description>Zoe bursts into tears .<\/scene_description>\n    <character>LORI<\/character>\n    <dialogue>Why are you crying? That's so lucky.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Yup. That's me. Lucky, lucky, me.<\/dialogue>\n    <scene_description>The women are sensing the sarcasm , but not getting it .<\/scene_description>\n    <character>CAROL<\/character>\n    <dialogue>Are you okay? Is it a financial concern? There are many programs -<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>No. I'm fairly loaded, actually. Used to work for Google.<\/dialogue>\n    <parenthetical>( blows nose . )<\/parenthetical>\n    <dialogue>I'm sorry. This is hard for me. I do n't know if I can talk about it yet.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Take your time. When you feel like sharing, we're here for you. We're all sisters here.<\/dialogue>\n    <parenthetical>( then , to the group . )<\/parenthetical>\n    <dialogue>Let's give Zoe some space. When she's ready to talk, we're ready to listen. Deep, cleansing breaths, Zoe.<\/dialogue>\n    <scene_description>Carol takes a deep breath and then lets it out .<\/scene_description>\n    <character>CAROL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Now, in the meantime, does anyone else have anything they want to discuss? Problems? Concerns?<\/dialogue>\n    <scene_description>Tabitha , the tall woman with the nose ring , raises her hand .<\/scene_description>\n    <character>TABITHA<\/character>\n    <dialogue>I'm having a hard time. Luca keeps asking why he does n't have a daddy, and I just do n't know what -<\/dialogue>\n    <character>ZOE<\/character>\n    <parenthetical>( blurting out . )<\/parenthetical>\n    <dialogue>There's this guy. His name is Stan. And he's fantastic.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>I knew it!<\/dialogue>\n    <character>TABITHA<\/character>\n    <dialogue>Uh. was n't I just speaking?<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>I knew you were with that guy!<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>What guy?<\/dialogue>\n    <character>LORI<\/character>\n    <dialogue>Zoe, this group is called Single Mother's By Choice.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I know. I'm sorry -<\/dialogue>\n    <character>TABITHA<\/character>\n    <dialogue>Um, excuse me. What about Luca? He's been really, really sad.<\/dialogue>\n    <character>ZOE<\/character>\n    <parenthetical>( floodgates opening . )<\/parenthetical>\n    <dialogue>Have you ever met a guy and you get butterflies and you think this is the kind of man who could take care of me forever? The kind of guy who makes you re - examine everything? Like, maybe I can be a stay - at - home mom and be barefoot and pregnant.<\/dialogue>\n    <scene_description>The women stare blankly at Zoe .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>He actually lives on a farm! Plays the banjo! Maybe I could learn to sew and take care of the animals. Like Laura Ingalls.<\/dialogue>\n    <scene_description>Even Dakota stops nursing and looks over at that one .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAROL'S APARTMENT - LATER<\/stage_direction>\n    <scene_description>The women file out . No one dares look at Zoe . It 's very awkward , although Zoe seems unaware . She turns to Carol .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Carol, thank you. This has been really helpful. Just getting it all out and being with other women who -<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>I'm going to have to ask you not to come back.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>What? Why?<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>I do n't think we can help you, and, quite frankly, you're against everything we stand for.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>But, I thought we were all sisters.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>No. Not you.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>Do you know how long it took me to conceive? Five years. I had three miscarriages and spent every last dime on in - vitro. And Dana? The woman with the short hair?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Which one?<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>The one with the really short hair?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Yeah, that does n't really narrow it down much.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>She just flew to Memphis to watch her baby being born. Seconds after the birth, the birth mother changed her mind and refused to give it up.<\/dialogue>\n    <scene_description>Zoe 's face changes . She starts to get it .<\/scene_description>\n    <character>CAROL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So, as you can see, we are really dedicated and choosing to be single mothers, and you seem to be in a slightly different place. You're carrying two healthy babies, and you have no idea how lucky you are.<\/dialogue>\n    <character>ZOE<\/character>\n    <parenthetical>( after a beat . )<\/parenthetical>\n    <dialogue>You're right.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>I like you, Zoe. We all like you. But you kind of need to figure out where you are.<\/dialogue>\n    <scene_description>Zoe nods .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHADYBROOK RETIREMENT COMMUNITY - DAY<\/stage_direction>\n    <scene_description>Zoe and Nana are walking the loop around the courtyard . Zoe looks terrible . Like she has n't slept in days . They complete a lap . Arthur gives them the double thumbs up sign .<\/scene_description>\n    <character>NANA<\/character>\n    <dialogue>That man is obsessed with my ass.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I know. It's kind of upsetting.<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>He wants to take me on a cruise so that we can finally tie the knot. But, I do n't know. What's the hurry?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>You've been engaged for nine years.<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>No reason to rush into anything.<\/dialogue>\n    <scene_description>Nana looks over at Zoe . She sees the bags under her eyes .<\/scene_description>\n    <character>NANA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You look terrible, dear.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>You must really love him, huh?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I guess I do.<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>Honey, I'm sure he's wonderful, and I'm sure he loves you, too. But, you have put him in a really awkward position. Having a baby is a big adjustment for any couple. And you're not married. And he's not the father. And you've only been together a little while. And now you're having twins. And -<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Please stop.<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>I'm just saying, if he actually wanted to stay with you right now, he'd be the greatest man in the world, and, quite frankly, I do n't think any man is that great.<\/dialogue>\n    <scene_description>They complete another lap around the courtyard . Arthur smiles at them and then `` raises the roof . ''<\/scene_description>\n    <character>NANA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Arthur's just about the best man I know, and look at him. He's a fucking idiot.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LITTLE GOAT FARM - DAY<\/stage_direction>\n    <scene_description>Stan leans against the fence looking at the goats . He has the beginnings of a beard growing . The scruff makes him look older . Thinner . Joan approaches and stands next to him for a bit .<\/scene_description>\n    <character>JOAN<\/character>\n    <dialogue>You know, people thought we were crazy when we bought this farm. All of our friends in New York, they thought we'd lost our minds.<\/dialogue>\n    <scene_description>Stan nods . We get the feeling he 's heard this before .<\/scene_description>\n    <character>JOAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I guess I'm saying that you may have envisioned your life going one way, but the reality is, it could go a totally different direction. You just have to be open to it.<\/dialogue>\n    <scene_description>Stan watches a nearby goat coaxing her baby to nurse . He shrugs .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Having a baby with someone I barely know, someone else's baby. it's just not how I pictured it.<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>I used to work on Wall Street. Now I wear boots covered in goat shit. This is n't how I pictured it, either. But guess what. I'm happy.<\/dialogue>\n    <scene_description>She gives him a sympathetic hug and walks away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAN'S BEDROM - NIGHT<\/stage_direction>\n    <scene_description>Stan lies in bed looking up at the `` stars . '' There 's even less glow now than last time . He sighs and then turns over to try and sleep . ANGLE ON Nuts ' off - road wheelchair in the corner of the room . Stan looks at it and ca n't help but smile .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ZOE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Zoe and Nuts lie in the bed . They are looking at each other on the pillow . Zoe scratches behind his ears . Zoe goes to the mirror and does her usual . The bump is growing . For the first time , we see a smile .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAROL'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>The Single Mother 's By Choice women are sitting in their usual circle . Lori is passing around a list .<\/scene_description>\n    <character>LORI<\/character>\n    <dialogue>Make sure you put your numbers down. I want to have everyone's number handy in case I go into labor early.<\/dialogue>\n    <scene_description>Zoe enters . All eyes turn . She waves sheepishly .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Hi, guys.<\/dialogue>\n    <scene_description>No one knows what to say .<\/scene_description>\n    <character>CAROL<\/character>\n    <dialogue>Hi, Zoe.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I just wanted to apologize. I'm sorry I got into a relationship and was n't honest with you guys, and I'm sorry I interrupted you, Tabitha. I hope Luca is doing better.<\/dialogue>\n    <character>TABITHA<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>ZOE<\/character>\n    <parenthetical>( to Carol . )<\/parenthetical>\n    <dialogue>And I've thought a lot about what you said, about how lucky I am. I got into this whole situation because I wanted to have a baby. And, somehow, I lost sight of that.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>Anyway, I need partners in this, and I hope you'll take me back.<\/dialogue>\n    <scene_description>Lori smiles and hands her the piece of paper .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What's this?<\/dialogue>\n    <character>LORI<\/character>\n    <dialogue>It's a phone tree. I'm due next month, but my midwife thinks I may go sooner. I want everyone to be there. Are you in?<\/dialogue>\n    <scene_description>Zoe smiles .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>I'm in.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HUDSON STREET - DAY<\/stage_direction>\n    <scene_description>Zoe has her head held high and her cute belly pushed out as far as it will go . A WOMAN with a double stroller approaches . Zoe smiles .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>TWIN TODDLERS<\/character>\n    <dialogue>Hi. \/ Hi.<\/dialogue>\n    <scene_description>Zoe walks on . She sees her reflection in a store window and smiles . She looks like an actual pregnant person now . As she is walking and smiling to herself , we hear a familiar voice .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>Her P.O.V. Stan appears next to her in the reflection . For a brief second , they look like a family . Zoe turns . They both stop . Unsure of whether to hug or what . They just stand there .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>You said that already.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>You. look great.<\/dialogue>\n    <scene_description>Zoe touches her belly . Proud but protective .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>How are you feeling?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Good.<\/dialogue>\n    <scene_description>A long silence .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>You have a beard.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Yeah, it's awful is n't it.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Do n't lie.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>Did I tell you how pretty you look?<\/dialogue>\n    <scene_description>Zoe nods . Another silence .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I miss you.<\/dialogue>\n    <scene_description>A group of SCHOOL KIDS , lost in their own conversations , push up the block , separating Zoe and Stan for a moment . This separation makes the moment all the more tense .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>I miss you, too.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>This whole time we've been apart, I've been trying to figure out what it is about you that I love so much. And I think that it's that a lot of people talk about doing things, but you actually do them. You're really kind of daring. How you quit your job and took over a pet store all because some asshole sold you a lame dog. You came and found me at the Farmer's Market even though the night before I acted like a total stalker.<\/dialogue>\n    <scene_description>Zoe smiles at the memory . Stan continues .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And now you're pregnant. Because you wanted to have a baby and did n't think you could wait any longer. Well, that's just the same kind of thing. It's. brave. And I ca n't love you for being that way but then walk away for the same reason.<\/dialogue>\n    <scene_description>Stan takes her hands .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I love you. I've been waiting my whole life for you. And I ca n't let one little baby get in the way of that. I just. ca n't.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>There's something I need to tell you.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>It's big. And you're allowed to take all of this back when I tell you.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>What.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>It's not just one baby. I'm having twins.<\/dialogue>\n    <scene_description>Stan looks at her . Is she joking ? Her look says no . He takes a beat . And then , even though it 's not a joke , he starts to laugh . A little laugh at first and then a big one . And then , Zoe starts laughing too . The whole thing is just so ridiculous .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>This is insane.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ZOE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>It 's late . Zoe and Stan are naked in bed , lying face to face . Stan puts his hand on her stomach . He feels the little bump , new since he 's last been with her .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Do you feel any kicking?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Sometimes.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>What does it feel like?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Like butterflies.<\/dialogue>\n    <scene_description>Stan smiles . He likes this image . He runs his hand over her belly . Zoe moves in closer . Touches his cheek .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Are you really sure you want to do this?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Yeah. I'm really sure.<\/dialogue>\n    <scene_description>They look at each other for a long time . Finally , Zoe closes her eyes and settles in for sleep , with Stan watching her as she dozes off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EXAM - ROOM<\/stage_direction>\n    <scene_description>CU of a MONITOR where we see two distinct baby shapes floating head - to - toe . Dr. Harris holds the ultrasound wand to her belly . Stan does n't say anything . He looks on in total amazement .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Are you okay?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>They're so. perfect. They look like real babies.<\/dialogue>\n    <character>DR. HARRIS<\/character>\n    <dialogue>Would you like to know the sexes?<\/dialogue>\n    <scene_description>They look at each other . Zoe smiles . Stan shrugs . Zoe nods . Stan does , too .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Yes. Tell us.<\/dialogue>\n    <character>DR. HARRIS<\/character>\n    <dialogue>You're having two healthy little girls.<\/dialogue>\n    <scene_description>Stan gets tears in his eyes .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Two girls?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Two girls.<\/dialogue>\n    <character>DR. HARRIS<\/character>\n    <dialogue>Congratulations.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MADISON AVENUE - DAY<\/stage_direction>\n    <scene_description>Stan and Zoe walk down Madison Avenue . All of the other NEW YORKERS are on some kind of mission - shopping , rushing to meetings , or fighting for cabs . But Zoe and Stan just walk slowly hand - in - hand . Every so often looking at each other and just smiling or laughing . Then , suddenly , Stan picks her up in the middle of the street .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Two girls!<\/dialogue>\n    <scene_description>A WOMAN with a BABY in a Baby Bjorn passes by . Stan smiles . Now he 's part of this exclusive club .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hi.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Hi.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNION SQUARE CAFE - NIGHT<\/stage_direction>\n    <scene_description>We PAN past several small plates of food on a table . A chef tells us what delectable items we are looking at .<\/scene_description>\n    <character>CHEF<\/character>\n    <dialogue>Here we have a yellowtail sashimi with ponzu sauce and pea shoots. This is carpaccio with shaved white truffles. And, finally, an heirloom tomato salad with fresh Buratta flown in from Italy this morning.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Thanks, Sam. It looks incredible.<\/dialogue>\n    <scene_description>Sam tops off their champagne and exits . Stan picks up his fork and starts eating . Zoe does not .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Are n't you hungry?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I ca n't eat any of this.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>ZOE<\/character>\n    <parenthetical>( pointing to each dish . )<\/parenthetical>\n    <dialogue>Raw. Raw. Unpasteurized.<\/dialogue>\n    <parenthetical>( re : champagne . )<\/parenthetical>\n    <dialogue>Alcohol.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Let me get Sam back. He'll make you anything you want.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I do n't want to hurt his feelings. You go ahead. I'm fine.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Well, what are you going to eat?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCDONALD'S - NIGHT<\/stage_direction>\n    <scene_description>The CASHIER reads back Zoe 's order .<\/scene_description>\n    <character>CASHIER<\/character>\n    <dialogue>Big Mac, Quarter Pounder with cheese, four large fries, and a six piece chicken McNuggets?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Make that an eight, no, ten - piece McNuggets.<\/dialogue>\n    <parenthetical>( to Stan . )<\/parenthetical>\n    <dialogue>You'll have some, right?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ZOE<\/character>\n    <parenthetical>( back to the cashier . )<\/parenthetical>\n    <dialogue>Ten - piece. Someone will eat them.<\/dialogue>\n    <scene_description>Stan stands behind Zoe with an incredulous look on his face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ZOE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Zoe and Stan lie in bed , each reading a copy of `` What to Expect when You 're Expecting . '' Zoe has the McNuggets box on her chest . She dips each nugget in three different sauces and then takes a bite . Stan watches with a mixture of amusement and revulsion .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( re : book . )<\/parenthetical>\n    <dialogue>Have you gotten to page 79 yet?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>No. I stopped reading when you ripped out one of my pages and used it as a napkin.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Says here many women in the second trimester experience an increased sexual appetite.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Really?<\/dialogue>\n    <scene_description>Zoe smiles and then slowly triple dunks another McNugget . She takes a seductive bite .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Are you coming on to me? It's kind of hard to tell right now.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Yeah. I'm coming on to you.<\/dialogue>\n    <scene_description>Zoe throws the McNuggets on the floor and climbs on top of him . She puts his hands on her body and then starts to kiss him voraciously . After a beat , Stan stops .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>You have chicken in your hair.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EQUINOX GYM - DAY<\/stage_direction>\n    <scene_description>Zoe and Mona are on the elliptical machines . Zoe is going very fast , while Mona is barely going at all .<\/scene_description>\n    <character>MONA<\/character>\n    <dialogue>Why are you even working out? This is the one time in your life you're allowed to let it go.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Because look at me. I just keep getting bigger and bigger.<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>Well, yeah. That's kind of how it goes.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I'm afraid I'm going to scare him away. I'm like one of those giant bouncy castles. Soon I'm going to take over the whole back yard.<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>Come on. He loves you for you.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I'm just getting kind of freaked out by everything. He asked me to go to this wedding with him. What kind of first impression am I going to make on all of his friends?<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>Well, you're knocked up with some stranger's twins. So, already you're not exactly.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Not helping.<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>Do you have anything to wear at least?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ZOE'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Stan , dressed in a tux , sits on Zoe 's bed . He turns to the closet .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Everything okay in there?<\/dialogue>\n    <scene_description>A cocktail dress FLIES out and hits him in the head .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Never mind.<\/dialogue>\n    <scene_description>He waits a few beats . Another dress FLIES out .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>This SUCKS!<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Honey, whatever you wear is fine.<\/dialogue>\n    <character>ZOE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I do n't have anything to wear! That's the problem.<\/dialogue>\n    <scene_description>Another dress sails through the air .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Fuuuuuuck!<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>You always look great. I've never seen you not look great.<\/dialogue>\n    <scene_description>Stan goes to the closet . Zoe is pulling on a long black dress . She tries to smush her boobs down into the top .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>That's perfect. You look hot.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Really? You think?<\/dialogue>\n    <scene_description>Zoe turns to reveal the back . The two sides of the zipper are ten inches apart .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Do you have a shawl or something?<\/dialogue>\n    <scene_description>Zoe bursts into tears .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PERRY STREET - LATER<\/stage_direction>\n    <scene_description>A cab pulls up in front of Zoe 's brownstone . Stan opens the door for Zoe who is now wearing a long silver dress . While it 's certainly hugging every curve and bump , it looks great .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>You look smokin'.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Thanks, honey.<\/dialogue>\n    <scene_description>Zoe pauses in front of the open taxi door .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Let's go. We're super late.<\/dialogue>\n    <scene_description>She tries to bend at the waist , but the dress is too tight . Then she tries to go in butt first and swing her legs around , but again , the dress is too tight .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Hmmmm.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Why do n't you sort of go in. head first and then turn around.<\/dialogue>\n    <scene_description>Zoe leans her head in and then has no other choice but to lie down sideways on the seat . Stan tries not to laugh .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Shut up and push me.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Push you?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Just do it.<\/dialogue>\n    <scene_description>Stan pushes her legs , and Zoe disappears inside the cab .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI - CONTINUOUS<\/stage_direction>\n    <scene_description>Zoe lies down straight across the seats like a board .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>I hate everyone.<\/dialogue>\n    <scene_description>She sucks in her breath and tries to sit up . As soon as she bends at the waist , we hear a horrific RIP . She bursts into tears again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ZOE'S APARTMENT - LATER<\/stage_direction>\n    <scene_description>We PAN over the coffee table . There 's a pint of melty Ben and Jerry 's , a roll of cookie dough -LRB- half eaten , -RRB- US Weekly , and The National Enquirer . Zoe and Bobby lie on the floor looking at the ceiling .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Do you think he's telling everyone why I did n't go? I'm too much of a fat - ass walrus to go to the wedding?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You're not a fat ass walrus. You're pregnant.<\/dialogue>\n    <scene_description>Zoe eyes well up with tears again .<\/scene_description>\n    <character>BOBBY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Why are you crying? So what? You missed a stupid wedding. You got to have girls' night with me. This is way more fun.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I do n't know. I'm just so emotional lately. It's the hormones.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You ca n't help it. Being pregnant sucks. You're emotional, and irrational, and you get back fat.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I have back fat?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No. I'm just kidding.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>Okay, yes. You have back fat.<\/dialogue>\n    <scene_description>Zoe feels her back .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>How's Stan going to stay with me through this? I'm disgusting.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>We'll go shopping tomorrow. We'll get some hip maternity clothes. whatever that means.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Look at me, Bobby.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ZOE<\/character>\n    <parenthetical>( pinching back fat . )<\/parenthetical>\n    <dialogue>Look at me. What do you see?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I see the most amazingly wonderful person I know.<\/dialogue>\n    <scene_description>Zoe smiles . Tears come to her eyes again .<\/scene_description>\n    <character>BOBBY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>With back fat.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PUCK BUILDING - NIGHT<\/stage_direction>\n    <scene_description>Stan leans against the bar with a beer in hand . He is watching all of the Farmer 's Market girls and his co - worker , Fred , on the dance floor . Everyone looks drunk and happy . Olivia stumbles towards him with an empty glass of champagne .<\/scene_description>\n    <character>OLIVIA<\/character>\n    <dialogue>Why are n't you dancing?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I'm just about to go. It's late.<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>Come on, one dance.<\/dialogue>\n    <scene_description>The spaghetti strap of her dress falls over her shoulder . Stan notices . She steps in closer .<\/scene_description>\n    <character>OLIVIA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>For old time's sake.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I have a girlfriend, Olivia.<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>Never stopped you before.<\/dialogue>\n    <scene_description>She tries to kiss him . Stan steps away .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>It's serious this time.<\/dialogue>\n    <scene_description>Olivia pulls back , surprised .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ZOE'S BEDROOM - LATER<\/stage_direction>\n    <scene_description>Zoe is asleep in the bed . Her bump looks very cute under the covers . Stan quietly gets ready for bed . She turns to him , half asleep .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>How was it?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Boring.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Good.<\/dialogue>\n    <scene_description>Stan gets in bed next to her . Zoe scoots into him .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I miss my old ass.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>It was one of my best features.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>You know what's weird? I never knew your old ass.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>It's kind of like this ass but way hotter.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I also do n't know what you really like to eat and what's just a craving, or when you start laughing hysterically and then crying and you say, this is n't me, if that's true because I do n't really know the real you. All I know is the pregnant you.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>That is weird.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Or like how you're horny all the time? Is that you? Or is that pregnant you?<\/dialogue>\n    <character>ZOE<\/character>\n    <parenthetical>( lying . )<\/parenthetical>\n    <dialogue>That's me.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>When all of this is over, who will you be?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Hopefully, myself again.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>But. who is that?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ZOE'S BEDROOM - LATER<\/stage_direction>\n    <scene_description>The clock by the bed says 2:30 a.m. Stan is snoring slightly . Nuts is on the pillow beside him . Zoe 's side is empty .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ZOE'S LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Zoe sits on the floor of the living room sifting through a box of photographs . We FOLLOW her back into the bedroom and onto the bed . As Stan slowly opens his eyes , she holds up a photograph . His P.O.V. It 's a picture of a woman 's ass .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>This is my old ass.<\/dialogue>\n    <scene_description>Stan blinks a few times . His eyes adjusting .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Why do you have a picture of your ass?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>My college boyfriend took it. So, I guess in fairness, my ass does n't look exactly like this anymore, but it's pretty close. It's held up.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>It's a nice ass.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>You said you do n't know the real me, so I thought I'd show you.<\/dialogue>\n    <scene_description>She picks up another photograph . This one is of Zoe at twelve and at her most awkward - short hair , braces and acne .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>This is me in seventh grade.<\/dialogue>\n    <scene_description>Stan props himself up in one elbow .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>You look like Anthony Michael Hall.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>This period, as horrible as it was, made me who I am. I think every person should go through a hideously ugly phase. It builds character.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>It also taught me that I should never, under any circumstances, have short hair and a perm again.<\/dialogue>\n    <scene_description>She picks up another picture . It 's Zoe in a bathing cap and Speedo . She 's holding up a yellow ribbon and has her arm around Nana .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>This is one of my favorites because look how happy I am. I do n't even know what place yellow is, but I'm sure it's not good.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Fifth place.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>But I still look super happy, right? That's all because of Nana. Whatever I did, she thought it was the best.<\/dialogue>\n    <scene_description>The next picture is a Halloween shot of Bobby , Mona and Zoe . Bobby is all in green , Zoe is all in yellow and Mona is in regular clothes .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>These are my best friends, Bobby and Mona. Mona and I met in high school and Bobby passed out on my couch in college and never left. You have n't met them yet because they might scare you away.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Why are you dressed like that?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Halloween. We were supposed to be a traffic light but Mona bagged out at the last minute and so Bobby and I just look like idiots. That's typical Mona, by the way.<\/dialogue>\n    <scene_description>Zoe puts the picture down and picks up another . It 's a woman in a hospital bed . She 's giving the thumbs up sign .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>This is my mom.<\/dialogue>\n    <scene_description>Stan takes the picture and studies it .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>You look just like her.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>This is the last picture of her that I have. She lived for a few more years, but we never took any pictures because she did n't want us to remember her like that. I was eight when she died.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I. ca n't imagine.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>She had a great laugh. And really soft hands. She used to rub my back before I went to sleep.<\/dialogue>\n    <scene_description>Zoe puts the picture on the bedside table , propping it up next to her clock .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Do you have any pictures of your dad?<\/dialogue>\n    <scene_description>Zoe does n't say anything .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm sorry. If you do n't want to talk about it.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>My mother was in a coma for two years before the end. That's when my dad left her.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>So. that's when he died. To us, anyway.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>God, Zoe. I'm so sorry.<\/dialogue>\n    <character>ZOE<\/character>\n    <parenthetical>( after a beat . )<\/parenthetical>\n    <dialogue>It's okay. It was an important lesson. That's when I realized that nothing lasts forever.<\/dialogue>\n    <scene_description>This sad statement hangs in the air for a few moments .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So, that's my story. That's the real me.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Things can last forever, you know.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Not for me they ca n't.<\/dialogue>\n    <scene_description>Stan takes her hand , and they stay like that for a while . Just holding hands on the floor of her moonlit room . Finally , the silence is broken by the telephone RINGING .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>That's weird.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LORI'S APARTMENT BUILDING LOBBY - NIGHT<\/stage_direction>\n    <scene_description>Zoe and Stan enter the lobby of an old building in Tribeca .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>I'm confused. Why did you say you would come witness this birth in the first place?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I do n't know. Seemed like a good idea at the time. I was trying to get back in their good graces. Go home. I'll meet you there. I do n't want them to see you anyway.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>It's four in the morning. I'm not letting you walk home alone.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Fine. I'll just pop in, show my face and leave. Ten minutes, tops.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LORI'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>There are candles everywhere and a table of food and drinks . Kind of like a birthing cocktail party . Zoe eats a brownie . Carol approaches with Lori , who is wearing a caftan and rubbing her large stomach . They all hug .<\/scene_description>\n    <character>CAROL<\/character>\n    <dialogue>Zoe, it's so nice of you to come, especially at this crazy hour.<\/dialogue>\n    <character>LORI<\/character>\n    <dialogue>You're really one of us now.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Are you sure you're in labor? You're so calm.<\/dialogue>\n    <character>LORI<\/character>\n    <dialogue>Oh, I'm sure.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Well, I just wanted to come and say a quick hi and good luck.<\/dialogue>\n    <character>LORI<\/character>\n    <dialogue>You're not staying?<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>You have to stay. Lori wants us all to be together for this.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Well, I really want to be here but. um, the truth is. actually I've been wanting to tell you guys for a while but, the truth is.<\/dialogue>\n    <scene_description>Lori drops her head on Zoe 's shoulder and lets out a giant MOAN . It 's long and it 's awkward .<\/scene_description>\n    <character>CAROL<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>She's having a contraction.<\/dialogue>\n    <scene_description>Zoe nods . This is weird . Lori breathes through it .<\/scene_description>\n    <character>LORI<\/character>\n    <dialogue>Okay. What was it you were saying?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I'm back with Stan.<\/dialogue>\n    <character>LORI<\/character>\n    <dialogue>Stan who?<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>The farmer?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Actually, he makes cheese. He named a cheese after me. Is n't that romantic? Sort of?<\/dialogue>\n    <parenthetical>( off their blank stares . )<\/parenthetical>\n    <dialogue>Well, anyway, I'm not technically a single mother by choice anymore. So, if you want me to leave right now, I totally understand. I'll just walk out the door and -<\/dialogue>\n    <character>LORI<\/character>\n    <dialogue>No, I really want you to stay.<\/dialogue>\n    <character>ZOE<\/character>\n    <parenthetical>( bummed . )<\/parenthetical>\n    <dialogue>Oh.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Listen, Zoe, if you're happy, we're happy. We'd love to meet him. Bring him to group any time.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Well, actually, he's downstairs, so I should probably get back to -<\/dialogue>\n    <character>LORI<\/character>\n    <dialogue>Great. Invite him up.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Oh, no, no, no.<\/dialogue>\n    <character>LORI<\/character>\n    <dialogue>I'm not shy. I've been through this before. It's quite beautiful, really.<\/dialogue>\n    <scene_description>Zoe stands there trying to come up with another excuse . After a few moments , it 's clear that she can not .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LORI'S APARTMENT BUILDING LOBBY - MOMENTS LATER<\/stage_direction>\n    <scene_description>Stan looks up from the Hunan Lotus take - out menu he 's been reading to pass the time .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Just a few minutes.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I do n't know, Zoe.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>You have to come up. They begged me. And truthfully, I'm kind of scared of them. Please?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LORI'S APARTMENT - LATER<\/stage_direction>\n    <scene_description>Zoe and Stan hover over the dessert table . They both eat brownies and keep their eyes down . Sara is next to them nursing Dakota .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>This is weird.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Good brownies, though. This one has peanut butter in it.<\/dialogue>\n    <scene_description>Carol walks by with a little DRUM , which she bangs rhythmically .<\/scene_description>\n    <character>CAROL<\/character>\n    <dialogue>Come on everybody, it's time. She's getting into the water.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>The what?<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Oh, it's a water birth. Did n't Zoe tell you?<\/dialogue>\n    <scene_description>Carol starts banging the drum again and moves off .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>What's a water birth?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I do n't know. But just so we're clear, this.<\/dialogue>\n    <parenthetical>( re .<\/parenthetical>\n    <parenthetical>the whole scene . )<\/parenthetical>\n    <dialogue>Is not the real me.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I'll wait here.<\/dialogue>\n    <scene_description>Zoe grabs another brownie and exits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LORI'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>In the middle of this very small , very cramped living room is an inflatable baby pool . And in this baby pool is Lori , who is now naked and pushing . Zoe watches , horrified , the brownie still in her hand . Carol is beside her , playing the drum and chanting .<\/scene_description>\n    <character>CAROL<\/character>\n    <dialogue>Hi - ya - ya - hi - ya - ya - hi - ya - hi - ya - ya.<\/dialogue>\n    <character>ZOE<\/character>\n    <parenthetical>( eyes wide . )<\/parenthetical>\n    <dialogue>Wow. Wow. Wow.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>I know. It's amazing how the body can open up like that.<\/dialogue>\n    <scene_description>Zoe covers her mouth . It looks like she is going to throw up . She stumbles for the door .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>I'm just going to get some air. I'm feeling a little.<\/dialogue>\n    <character>LORI<\/character>\n    <dialogue>Do n't move, Zoe, you're my focal point.<\/dialogue>\n    <scene_description>Lori then GRUNTS through another big contraction .<\/scene_description>\n    <character>MIDWIFE<\/character>\n    <dialogue>Push, Lori. Push.<\/dialogue>\n    <scene_description>While Lori 's eyes are closed , Zoe tries to sneak out . Carol chases after , still beating the drum .<\/scene_description>\n    <character>CAROL<\/character>\n    <dialogue>You ca n't leave. You're her focal point.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Ca n't she use someone else?<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>She's in labor. You want to argue with her now?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LORI'S LIVING ROOM - LATER<\/stage_direction>\n    <scene_description>Carol beats the drum faster now . Some of the other Single Mothers by Choicers join her in the chant .<\/scene_description>\n    <character>CAROL<\/character>\n    <dialogue>Hi - ya - ya - hi - ya - ya - hi - ya - hi - ya - ya.<\/dialogue>\n    <scene_description>Lori lets out a SCREAM as Tabitha and the MIDWIFE pull her legs back . Zoe watches with both hands over her mouth .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Oh, Jesus.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>What is. that?<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Sssshh. It's perfectly natural. Sometimes the bowels just let go.<\/dialogue>\n    <parenthetical>( then , back to chanting . )<\/parenthetical>\n    <dialogue>Hi - ya - ya - hi - ya - ya - hi - ya - hi - ya - ya.<\/dialogue>\n    <scene_description>The midwife fishes out the poop with a plastic bag . Zoe turns away , gagging . She drops her brownie .<\/scene_description>\n    <character>LORI<\/character>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>Do n't move, Zoe, I need you! You're my focal point.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>What does that even mean?<\/dialogue>\n    <scene_description>Zoe turns back . Her face white as a sheet . Lori lets out another WAIL .<\/scene_description>\n    <character>LORI<\/character>\n    <dialogue>I need to turn over. Please!<\/dialogue>\n    <character>JESSIE<\/character>\n    <dialogue>Do it, Lori. We're here for you. We're all here for you.<\/dialogue>\n    <scene_description>Carol beats the drum faster as Lori gets on all fours . The midwife lifts Lori 's leg up to the side . Lori lets out a loud , WHALE - LIKE MOAN .<\/scene_description>\n    <character>CAROL<\/character>\n    <parenthetical>( excited . )<\/parenthetical>\n    <dialogue>Here comes the head.<\/dialogue>\n    <scene_description>Lori 's moan turns into a DONKEY - LIKE BRAY .<\/scene_description>\n    <character>JESSIE<\/character>\n    <dialogue>We can see the head, Lori.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>There's so much hair!<\/dialogue>\n    <character>ZOE<\/character>\n    <parenthetical>( woozy , afraid . )<\/parenthetical>\n    <dialogue>I do n't think that's the baby's hair.<\/dialogue>\n    <character>LORI<\/character>\n    <dialogue>I want to see the head. Get me a mirror. It's in the bedroom.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I'll get it.<\/dialogue>\n    <scene_description>Zoe makes a desperate attempt to run from the room .<\/scene_description>\n    <character>LORI<\/character>\n    <dialogue>GOD DAMN IT ZOE, DO N'T MOVE!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LORI'S FOYER - SAME<\/stage_direction>\n    <scene_description>Out in the foyer , Stan is paralyzed . Next to him is Dakota , who is crying . Through the hallway mirror , he can see what 's going on in the living room : a hefty woman on all fours in a dirty inflatable swimming pool with a hairy head coming out of a hairy vag .<\/scene_description>\n    <character>CAROL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Stan, get the mirror!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LORI'S LIVING ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Stan , walks backwards with his head down , holding a mirror .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Excuse me. Hello. I'm Stan. Excuse me. Hi. I'm Stan.<\/dialogue>\n    <scene_description>Carol grabs the mirror and holds it under Lori . Lori lifts her leg like a dog taking a piss and then starts to cry .<\/scene_description>\n    <character>LORI<\/character>\n    <dialogue>Look at all that wet, curly hair.<\/dialogue>\n    <scene_description>Stan steals a look , starts to dry heave and rushes to Zoe .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( freaking out . )<\/parenthetical>\n    <dialogue>Let's get the hell out of here.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I ca n't. I'm her focal point.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>What does that mean?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <scene_description>Suddenly , we hear a huge SCREAM . Zoe and Stan turn just in time to see the baby emerge and plop into the water . CU of the baby in the dirty water still attached to the umbilical cord . CU of Zoe and Stan 's horrified faces . Zoe 's eyes roll back and we : FADE TO BLACK . OVER BLACK we hear silence . Blessed silence . No drums . No chants . No screams . Nothing . Until , we hear the SPLASH .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LORI'S LIVING ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>We are CLOSE on Zoe 's face . She opens her eyes . Blinks a few times .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Are you okay?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I do n't know. Why am I wet?<\/dialogue>\n    <scene_description>WIDEN to reveal that Zoe is lying in the inflatable pool . Her eyes go from side to side . The horror of the situation becoming clear . A spongy , purple thing floats by .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What is that?<\/dialogue>\n    <character>STAN<\/character>\n    <parenthetical>( afraid . )<\/parenthetical>\n    <dialogue>I think it's the placenta.<\/dialogue>\n    <scene_description>Zoe 's eyes roll back again and we . FADE TO BLACK .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 14TH STREET - DAY<\/stage_direction>\n    <scene_description>14th street is just coming to life as the FARMERS start to unload their wares . Zoe and Stan head up the street slowly , wearily , like soldiers back from battle .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Wow. We really should n't have seen that.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I did mention that I barely know those people, right?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Like forty times.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I feel the need to say it again.<\/dialogue>\n    <scene_description>They turn into the Farmer 's Market . ANGLE ON Fred unloading cheese from the back of the Little Goat truck . Stan and Zoe slowly walk towards him .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>It wo n't be like that for us.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>How do you know?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Well, for starters, you wax.<\/dialogue>\n    <scene_description>ANGLE ON Olivia crossing from her berry stand to the cheese stand with a blueberry pie . She is about to place the pie on Stan 's table when she looks up and sees Stan and Zoe .<\/scene_description>\n    <character>OLIVIA<\/character>\n    <dialogue>Oh, hi.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <parenthetical>( awkward beat , then . )<\/parenthetical>\n    <dialogue>You remember Zoe.<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>Right, hi.<\/dialogue>\n    <scene_description>And then Olivia notices Zoe 's pregnant belly .<\/scene_description>\n    <character>OLIVIA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Wow.<\/dialogue>\n    <parenthetical>( then , to Stan . )<\/parenthetical>\n    <dialogue>Wow.<\/dialogue>\n    <scene_description>At the same time , Zoe notices the post - it on the pie . It says , SORRY ABOUT LAST NIGHT .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>What is that supposed to mean?<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>It's nothing.<\/dialogue>\n    <scene_description>Olivia crumples the post - it and turns to Stan .<\/scene_description>\n    <character>OLIVIA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( re .<\/parenthetical>\n    <parenthetical>Zoe 's pregnant belly . )<\/parenthetical>\n    <dialogue>I had no idea it was that serious.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I told you it was serious.<\/dialogue>\n    <character>ZOE<\/character>\n    <parenthetical>( interrupting . )<\/parenthetical>\n    <dialogue>What the hell does, `` sorry about last night'' mean?<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>It's stupid. I was drunk and.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>It was nothing.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>What was nothing?<\/dialogue>\n    <scene_description>Olivia turns back to Stan , flabbergasted .<\/scene_description>\n    <character>OLIVIA<\/character>\n    <dialogue>You're having a baby? I did n't know you'd been together that long.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Well, they're not mine. but, yeah, we're having a baby. Two actually.<\/dialogue>\n    <scene_description>On Zoe 's look of shock we .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FARMER'S MARKET - MOMENTS LATER<\/stage_direction>\n    <scene_description>The fruits and vegetables and flowers become a blur as Zoe runs out of the Farmer 's Market . Stan chases after her .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Nothing happened.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Get away from me.<\/dialogue>\n    <scene_description>Stan runs in front of her , forcing her to stop .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Nothing happened!<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>You said, `` they're not mine.''<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I did n't mean to say it.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>How could you say that?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I do n't know. I was flustered.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Flustered?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I'm sorry, I'm not exactly thinking straight. I've been up all night watching Orca give birth!<\/dialogue>\n    <character>ZOE<\/character>\n    <parenthetical>( incredulous . )<\/parenthetical>\n    <dialogue>`` They're not mine?''<\/dialogue>\n    <character>STAN<\/character>\n    <parenthetical>( at a loss . )<\/parenthetical>\n    <dialogue>Well, I mean. technically, they're not.<\/dialogue>\n    <scene_description>The minute he says this , he wishes he could take it back . Zoe just looks at him . She shakes her head .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>You know, all this time you're trying to figure out who the real me is, but who the fuck are you?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Zoe.<\/dialogue>\n    <scene_description>She runs to a nearby cab and slams the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ZOE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Zoe enters the apartment and slams the door behind her . She runs to the couch and collapses in tears . Nuts wheels over and stands beside her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LE PAIN QUOTIDIEN - DAY<\/stage_direction>\n    <scene_description>Zoe and Mona are at their usual table . Zoe looks like she has n't slept .<\/scene_description>\n    <character>MONA<\/character>\n    <dialogue>Do you really think something happened with the berry girl? They both said nothing happened.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Well, are they going to come out and tell me? And that's not even the point. He said, the babies were n't his. And if he says that, he thinks that. And if he thinks that, he's not really committed.<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>So, now you run?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Why should I stick around for the end of the story when I know what it's going to be?<\/dialogue>\n    <scene_description>Mona says nothing . She looks like she might say something and then does n't .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What? If you want to say something, say it.<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>Do you know the end of the story? Ca n't you just give him the benefit of the doubt? He seems like such a good guy.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>You have n't even met him.<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>Yeah, and do n't think I do n't know the reason for that. You were never going to see this through, Zoe. Never. It was doomed before it began. Just like all of your relationships. You get out before you get hurt.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>You do n't think I'm hurt right now?<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>Every man is not your father. When are you going to realize that?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>You do n't know what you're talking about.<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>I've known you for thirty years. I know you do n't trust people. You and your grandmother, both. She's been engaged to Arthur for how long now?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Leave Nana out of this.<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>She's never going to marry him. Just like you'd never marry Stan. No wonder you ended up with a sperm donor. He'll never let you down. It's your ideal boyfriend.<\/dialogue>\n    <scene_description>Zoe 's face changes . She looks incredibly hurt .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>I used a donor because I wanted a baby.<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>I'm sorry. I went too far.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Because I wanted to have a family. Because Nana is the only one I've got and she's eighty - four years old. And then it will just be me. So, yeah, you went a little too far.<\/dialogue>\n    <scene_description>Zoe leaves Mona at the table .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ZOE'S APARTMENT - MORNING<\/stage_direction>\n    <scene_description>Zoe and Nuts lie on the pillow together . Zoe scratches behind his ears .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Guess it's just you and me again.<\/dialogue>\n    <scene_description>Nuts licks her face . She gets out of bed and goes to check her belly in the mirror . It 's actually getting kind of huge .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ZOE'S BROWNSTONE - DAY<\/stage_direction>\n    <scene_description>Zoe walks down the steps . Stan is waiting for her on the sidewalk . His hands in his pockets .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>What.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>It's Thursday. We have a doctor's appointment.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>There is no `` we'', Stan.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Come on, I did n't mean to say it, and that's not how I feel.<\/dialogue>\n    <scene_description>Zoe shakes her head .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>I made a mistake trusting you.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Do n't say that. That's not true.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>You're not good for me. You made me think I needed you, and I do n't.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>So that's it? Because of one stupid, asinine thing that I said, it's all over? This is how it ends?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Yes. This is how it ends.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>I do n't know why you're so surprised. I told you, nothing lasts forever.<\/dialogue>\n    <scene_description>Zoe gives him a matter - of - fact shrug and walks off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DR. HARRIS' OFFICE - DAY<\/stage_direction>\n    <scene_description>Dr. Harris moves the ultrasound wand over Zoe 's belly . Zoe holds up her shirt and watches the monitor .<\/scene_description>\n    <character>DR. HARRIS<\/character>\n    <dialogue>Things look great.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Good.<\/dialogue>\n    <character>DR. HARRIS<\/character>\n    <dialogue>So, I'll see you back in two weeks, and we'll start checking to see if the babies are dropping.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>It's hard to believe we're in the home stretch.<\/dialogue>\n    <scene_description>Dr. Harris helps Zoe sit up .<\/scene_description>\n    <character>DR. HARRIS<\/character>\n    <dialogue>Now's the time I start discussing a birthing plan with my patients. Do you want me to wait until next time when Stan's here?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Oh. Uh, no. He wo n't be here.<\/dialogue>\n    <character>DR. HARRIS<\/character>\n    <dialogue>He's out of town or something?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>No. He's just. out.<\/dialogue>\n    <character>DR. HARRIS<\/character>\n    <dialogue>Oh. I'm sorry to hear that.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>It's back to just you and me now. We've come full circle.<\/dialogue>\n    <character>DR. HARRIS<\/character>\n    <dialogue>Well, do n't you want anyone with you in the delivery room? You know, like a birthing partner?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHADYBROOK COURTYARD - DAY<\/stage_direction>\n    <scene_description>Zoe and Nana are speed - walking . Nana stops , excited .<\/scene_description>\n    <character>NANA<\/character>\n    <dialogue>Me?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Yeah. Is that okay?<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Good. ` Cause you're all I've got.<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>What do I have to do?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I do n't know. It will be a c - section, so, basically, just stand there and try not to faint.<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>I can do that.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Thanks, Nana. It means a lot to me that you'll be there.<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>Are you kidding me? I've been waiting my whole life for this.<\/dialogue>\n    <scene_description>They pass Arthur , who is in his usual spot , but instead of leering at Nana , he 's in his chair with his head back and eyes closed .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Holy shit, is he dead?<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>Sleeping.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>How can you tell?<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>He's been like that all morning. I wore him out last night.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Wow. I did not need to know that.<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>We were celebrating.<\/dialogue>\n    <parenthetical>( with a smile . )<\/parenthetical>\n    <dialogue>We finally set a date.<\/dialogue>\n    <scene_description>Zoe stops dead in her tracks .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHADYBROOK DINING ROOM - DAY<\/stage_direction>\n    <scene_description>Nana walks Zoe through the Shadybrook dining room .<\/scene_description>\n    <character>NANA<\/character>\n    <dialogue>So, we'll put the band here and the dance floor right here.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I ca n't believe you're getting married. What made you change your mind?<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>All of a sudden it just hit me, what am I waiting for? I love him. He loves me. What am I so afraid of?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Wow. This is. really big news.<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>You do n't seem happy.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>No, I am. It's just. it just makes my situation seem all the more tragic. You're getting married and here I am.<\/dialogue>\n    <scene_description>Her voice trails off .<\/scene_description>\n    <character>NANA<\/character>\n    <dialogue>Zoe.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Do n't worry. I'm fine. I'm really happy for you.<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>I'm worried about you, honey.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I'm fine.<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>I just do n't want you to make the same mistakes I made. I've been alone for over thirty years now, and that's too long. Sometimes in life you have to forgive and move on.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Are you talking about my father or Stan?<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>Both, baby.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ZOE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Zoe has her box of photographs . She pulls out a picture from the very bottom .<\/scene_description>\n    <character>NANA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Because if you do n't learn how to forgive, you will always be stuck in the past.<\/dialogue>\n    <scene_description>The photo is Zoe at age four and a man who looks so much like her , that it can only be her father . After a long beat , she puts it on her bedside table , next to the one of her mother . The two pictures , side - by - side make up a family . Zoe and her father in one shot and her mother from the hospital bed giving the thumbs up sign in the other . Over this image , we hear a quartet playing WEDDING MUSIC .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - DAY<\/stage_direction>\n    <scene_description>The music takes us into the church and there we find Nana , lovely in her wedding gown , and Arthur , dashing in his morning suit , standing at the alter holding hands . Both have tears in their eyes . Arthur lifts her veil and gives her the sweetest kiss . ANGLE ON Zoe and Bobby in the first pew , passing a handkerchief back and forth .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHADYBROOK REC ROOM - LATER<\/stage_direction>\n    <scene_description>Bobby leans against the piano singing a beautiful rendition of `` What a Wonderful World . '' Nana and Arthur are alone on the dance floor . It 's their first dance as husband and wife .<\/scene_description>\n    <character>BOBBY<\/character>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>I see trees of green, red roses too. I see them bloom for me and you.<\/dialogue>\n    <scene_description>Zoe watches , her hands on her belly . Mona stands beside her .<\/scene_description>\n    <character>MONA<\/character>\n    <dialogue>This song always makes me cry.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Me, too.<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>Is it happy or sad? The words are happy but the song is so sad.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I guess it's both. Happy and sad.<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>I see skies of blue and clouds of white. The bright blessed day, the dark and sacred night.<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>I'm sorry about the things I said.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>It was really shitty of me.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>It was. Especially because you were right.<\/dialogue>\n    <scene_description>Mona takes Zoe 's hand .<\/scene_description>\n    <character>BOBBY<\/character>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>And I think to myself. what a wonderful world.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I do n't want to be alone forever, Mona.<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>Then do n't be.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FARMER'S MARKET - DAY<\/stage_direction>\n    <scene_description>Stan stares off into space . His beard is back . A CUSTOMER surveys the different cheeses on the table .<\/scene_description>\n    <character>CUSTOMER<\/character>\n    <dialogue>Is this new? The Zoe?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Yeah. This is the first week it's been out.<\/dialogue>\n    <character>CUSTOMER<\/character>\n    <dialogue>Can I have a sample? What's it like?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>It's. very stubborn, overly suspicious and distrustful of men.<\/dialogue>\n    <scene_description>The customer looks up at Stan .<\/scene_description>\n    <character>CUSTOMER<\/character>\n    <dialogue>Huh?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHADYBROOK REC ROOM - LATER<\/stage_direction>\n    <scene_description>Bobby pulls Zoe onto the dance floor .<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Come on, you old maid.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Dance with me. One dance.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Forget it.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Fine. But it does n't mean that I wo n't dance with you.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Bobby starts dancing . But really dancing . Justin Timberlake style . Zoe smiles at the absurdity and then tries to walk away . But Bobby wo n't let her escape . He blocks her path and keeps dancing . This time turning around and shaking his ass triple - time , like Beyonce .<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Haaaaaay.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Go away, you freak.<\/dialogue>\n    <scene_description>A crowd of old people gather round . They start clapping , thinking this is some kind of young person 's dance routine .<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Smack it, Bitch.<\/dialogue>\n    <scene_description>Bobby takes Zoe 's hand and smacks his ass with it .<\/scene_description>\n    <character>BOBBY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You know you love it. Uh - huh. That's right. Smack it.<\/dialogue>\n    <scene_description>The old people do the same . Trying to learn the hip new dance the kids are doing . Several octogenarian couples smacking each other 's asses . While this is happening , a weird look crosses Zoe 's face . Bobby jumps up and turns around to face Zoe . But when he lands on the ground , his feet slide out from under him and he hits the floor .<\/scene_description>\n    <character>BOBBY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What the hell?<\/dialogue>\n    <scene_description>An OLD MAN in the crowd looks down at the puddle .<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>Damn it. Not again.<\/dialogue>\n    <parenthetical>( then , checks pants . )<\/parenthetical>\n    <dialogue>Nope. Not me.<\/dialogue>\n    <scene_description>A few other old people look down and check themselves . At which point , Zoe looks down and realizes .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>I think my water just broke.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHADYBROOK RETIREMENT HOME - DAY<\/stage_direction>\n    <scene_description>The whole retirement community is outside throwing rice as Zoe , Bobby , Mona , Nana and Arthur try to figure out the logistics of the trip to the hospital .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>I'll drive.<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>You're in labor. You ca n't drive.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>I'll drive.<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>You do n't have a car or a license.<\/dialogue>\n    <parenthetical>( then , to Bobby . )<\/parenthetical>\n    <dialogue>You drive.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>We're in Queens. I do n't even know what side of the road they drive on here.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Will someone please just drive me to the fucking hospital?<\/dialogue>\n    <scene_description>All of a sudden , a white ROLLS ROYCE pulls up . Mona 's at the wheel . She leans out and waves .<\/scene_description>\n    <character>MONA<\/character>\n    <dialogue>This was my surprise for after the wedding, but let's hit it.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>This works.<\/dialogue>\n    <scene_description>They all pile in . And then the car pulls off , revealing a sign that says , JUST MARRIED . FINALLY ! `` Ensure '' cans tied to strings bump along behind them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROLLS ROYCE - LATER<\/stage_direction>\n    <scene_description>Things are a bit frantic in the car .<\/scene_description>\n    <character>NANA<\/character>\n    <dialogue>Are you okay? Remember to breathe. Breathe in, breathe out, breathe in.<\/dialogue>\n    <scene_description>Mona looks at Zoe in the rearview and does Lamaze breaths .<\/scene_description>\n    <character>MONA<\/character>\n    <dialogue>Hee - hee, hoo - hoo, hee - hee.<\/dialogue>\n    <character>NANA<\/character>\n    <parenthetical>( joining in . )<\/parenthetical>\n    <dialogue>Hoo - hoo. Hee - hee.<\/dialogue>\n    <character>MONA\/NANA<\/character>\n    <dialogue>Hoo - hoo. Hee - hee.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Please stop. It's getting really breathy in here. I'm fine.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What about me? I have amniotic fluid on my Gucci tux.<\/dialogue>\n    <scene_description>ANGLE on the mini bar , which is fully stocked .<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Who needs a drink?<\/dialogue>\n    <scene_description>Everyone -LRB- including Zoe -RRB- raises their hands .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LENOX HILL HOSPITAL - DAY<\/stage_direction>\n    <scene_description>Zoe is being wheeled into Labor and Delivery with the gang in tow . Bobby still has a glass of champagne in his hand . Nana grabs the glass and swigs it .<\/scene_description>\n    <character>NANA<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>Bobby.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>I do n't know if I can do this.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What?!<\/dialogue>\n    <character>NANA<\/character>\n    <dialogue>I ca n't go in with her.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Well, I certainly ca n't do it. I do n't do vaginas.<\/dialogue>\n    <scene_description>They look at Arthur , who struggles to keep up with his walker .<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Do n't look at me.<\/dialogue>\n    <scene_description>Nana starts to hyperventilate .<\/scene_description>\n    <character>NANA<\/character>\n    <dialogue>Help me, Bobby.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Nana, pull yourself together. This is the biggest moment of Zoe's life, and you ca n't let her down. I'd slap you right now, but I'm afraid your teeth would fly out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LABOR AND DELIVERY ROOM - DAY<\/stage_direction>\n    <scene_description>Zoe is now alone in a room wearing a hospital gown .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Hee - hee, hoo - hoo, hee - hee, hoo - hee.<\/dialogue>\n    <scene_description>Bobby enters , all sweetness and light .<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Hey, girl. How ya doing?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Good.<\/dialogue>\n    <parenthetical>( smiles , then . )<\/parenthetical>\n    <dialogue>So, I really do n't want you to worry, but Nana just passed out at the nurse's station and is now down in the ER getting stitches.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Everything's under control. Good thing we're at the hospital, right?<\/dialogue>\n    <scene_description>Zoe jumps out of bed .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Where is she?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Get back in bed. All is well. Arthur's with her. Now, on to bigger and better. who do you want to be your birthing partner? Your choices are me or Mona.<\/dialogue>\n    <scene_description>Zoe starts to cry .<\/scene_description>\n    <character>BOBBY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I know. They're shitty choices. Do you want me to call your scary lesbian friends from your group?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>We're going to get through this, okay? You just have to really think about it. Who do you want with you in the delivery room?<\/dialogue>\n    <scene_description>Zoe wipes her tears .<\/scene_description>\n    <character>BOBBY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Who is the one person you want by your side?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 77TH STREET - DAY<\/stage_direction>\n    <scene_description>Zoe runs down the street with a blanket over her hospital gown .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Taxi!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI - MOMENTS LATER<\/stage_direction>\n    <scene_description>Zoe jumps in . The cabbie looks at her in the rearview mirror<\/scene_description>\n    <character>CABBIE<\/character>\n    <dialogue>You're not an escaped mental patient, are you?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Kind of.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 14TH STREET - DAY<\/stage_direction>\n    <scene_description>Zoe runs across 14th street . The blanket flaps behind her like a cape . She looks like a hugely pregnant super - hero . And suddenly , she has to slow down and then stop completely for a contraction . She leans against a parked van to steady herself .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Ow. Son of a bitch, that hurts.<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>Are you okay?<\/dialogue>\n    <scene_description>Out of the corner of her eye , Zoe sees an enormous strawberry on the side of the van . And then next to it , she sees Olivia .<\/scene_description>\n    <character>OLIVIA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Are you in labor?<\/dialogue>\n    <scene_description>As soon as the contraction ends .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Fuck off.<\/dialogue>\n    <scene_description>Zoe takes off again . Olivia watches her go .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FARMER'S MARKET - LATER<\/stage_direction>\n    <scene_description>Zoe runs through the market looking for Stan . ANGLE ON Stan 's truck , where Stan and Fred are unloading cheese .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Stan!<\/dialogue>\n    <scene_description>Fred turns around and sees Zoe running . All belly and boobs bouncing towards him . Her gown starting falling off .<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>Whoa. I've had nightmares that started like this.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Stan!<\/dialogue>\n    <scene_description>Stan turns .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Zoe?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Stan!<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Are you okay? Do n't run!<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I ca n't help it!<\/dialogue>\n    <scene_description>She keeps running towards him . He now runs towards her . They finally meet . Zoe is out of breath and can barely talk .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Are you all right?<\/dialogue>\n    <character>ZOE<\/character>\n    <parenthetical>( panting . )<\/parenthetical>\n    <dialogue>Great. I'm great.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Why are you in a hospital gown?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>I'm in labor.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>What? What the hell are you doing here?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>It's you.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Nana's my birthing partner, but she passed out and needed stitches, and Bobby asked me who I most wanted with me, and. it's you. It's only you.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>I do n't want to be alone anymore. I love you. You do n't know how much I love you.<\/dialogue>\n    <scene_description>Stan does n't know what to say . He 's literally speechless .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>More than anything in the world, I love you.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I've been in love with you since the moment you stole my cab.<\/dialogue>\n    <scene_description>Zoe bends over , holding her stomach . A contraction .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Hee - hee, hoo - hoo, it was my cab, hee - hee, hoo - hoo.<\/dialogue>\n    <scene_description>The contraction ends . Zoe can finally smile again . Stan laughs and throws his arms around her .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Ow. Ow. Ow.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I'm sorry. Oh, I'm sorry. I just love you. I love you so much.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>Let's get the hell out of here.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Yeah. I think I really need to go to the hospital now.<\/dialogue>\n    <scene_description>They kiss again . And then pull apart and look at each other . Stan has tears in his eyes .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Let's go have our babies.<\/dialogue>\n    <scene_description>People clap and cheer as they hurry out of the Farmer 's Market . Even Olivia , watching from a distance , ca n't help but applaud the big moment .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OPERATING ROOM - DAY<\/stage_direction>\n    <scene_description>Some fantastic song that makes us want to cry is playing . We are CLOSE on Zoe 's face . She is smiling . She does not look scared . And she does not look alone . WIDEN to reveal Stan by her side . And we PULL BACK and above the operating table and see Dr. Harris performing the C - section . He pulls out the babies one by one . We FOLLOW the babies as they get swaddled tight and handed back to Zoe and Stan . Zoe and Stan look at the little girls and then at each other . They are both in tears . Even Dr. Harris ca n't help but cry .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - NIGHT<\/stage_direction>\n    <scene_description>It 's night . Zoe is asleep . She opens her eyes and takes a moment to figure out where she is . She turns to the side and finds Stan sleeping next to her , curled up against her in the tiny hospital bed . To the side of the bed are two bassinets . Each baby sleeping soundly in a little pink hat . And in the next bed is Nana , asleep with a bandage on her forehead .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 6TH AVENUE - DAY<\/stage_direction>\n    <scene_description>Nuts trots\/rolls down the sidewalk wearing a sweater that says , `` I 'M A BIG BROTHER . '' We TILT up and see Zoe and Stan strolling arm in arm , each with a Baby Bjorn with a rosy - cheeked baby girl in it . Both girls have flaming red hair . A woman pushing a stroller passes by . She smiles at Zoe and Stan . They smile back .<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Hi.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRAY'S PAPAYA HOT DOGS - DAY<\/stage_direction>\n    <scene_description>They are now at the counter with hot dogs in front of them .<\/scene_description>\n    <character>ZOE<\/character>\n    <dialogue>Who knew you were such a romantic.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Well, it's the anniversary of our first date. Where else would I take you?<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>Cheers.<\/dialogue>\n    <scene_description>They clink dogs and each take a bite .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What a year, huh?<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>Incredible. Would n't change a thing. Well, except for the part where you dumped me.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>And the part where you dumped me.<\/dialogue>\n    <parenthetical>( to the babies . )<\/parenthetical>\n    <dialogue>Girls. Mommy and Daddy were stupid.<\/dialogue>\n    <scene_description>The babies smile and coo .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( baby - talk . )<\/parenthetical>\n    <dialogue>Yes, we were. Yes, we were.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>The first time we held hands was in here. It started out as a high - five, but then I strategically turned into a hand - hold.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>How do you remember that?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>We both agreed that we were totally sick of weddings and hated when people wrote their own vows.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>That's right. I remember that.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>So. I hope you wo n't hold it against me.<\/dialogue>\n    <character>ZOE<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Nana and Arthur come through the door smiling . Zoe looks at them , confused .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What are you doing here?<\/dialogue>\n    <scene_description>And then Bobby comes through the door .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Bobby?<\/dialogue>\n    <scene_description>And then Mona .<\/scene_description>\n    <character>ZOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What's happening?<\/dialogue>\n    <scene_description>And Joan and Edward . And Jalisa . And Fred . And Carol , Lori and Sara with Dakota planted on her breast . And a priest . And we .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRAY'S PAPAYA HOT DOGS - LATER<\/stage_direction>\n    <scene_description>Zoe and Stan , still wearing the Baby Bjorns , stand face to face in front of the guests and the priest .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>I promise to love you even though you still eat chicken McNuggets in bed. I promise to name cheeses after all of our children no matter how embarrassed they are by it. I promise to always check out your ass when you walk away, and I promise to love you more tomorrow than I do today, which does n't even seem impossible.<\/dialogue>\n    <scene_description>And slowly , the sound of Stan 's voice fades out and the sound of Louis Armstrong 's voice fades in . And we watch Zoe 's face as she realizes that there are some things that really will last forever . FADE TO BLACK . THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Zoe (Jennifer Lopez) gives up on finding the man of her dreams, decides to become a single mother and undergoes artificial insemination. The same day she meets Stan (Alex O'Loughlin) when they both try to hail the same taxi. They run into each other twice more at a farmers market and a pet store. Stan convinces Zoe to go on a no-obligations date. Zoe is still uncertain whether she is pregnant or not and if she should tell Stan. The night she takes the test, Stan takes her for a romantic dinner in a garden. Things don't turn out as well as planned when he spills the wine and a fire occurs. At the end of the night Stan asks her to come to his farm during the weekend and Zoe finds out that she is pregnant. She goes to the farm determined to tell him that she is pregnant. They sleep together and afterwards Stan is confused and angry that she didn't tell him before and Zoe leaves the next morning believing that things are over between them.  However, Stan decides he still wants to be with her and they reconcile. They go to the doctor and find out that Zoe is actually carrying twins. Overwhelmed, Stan goes to a children's playing area to figure out what it means to be a father, but is suspected to be a pervert; this is soon cleared up. He finds a friend there that he can talk to about the pregnancy throughout the movie, while Zoe gets little support from her Single Mothers and Proud group when the group members discover she is no longer single. Stan takes the next step to becoming a father and orders a stroller for the twins. After many misunderstandings and comedic revelations, Zoe and Stan are walking into the Market when they run into Stan's ex-girlfriend. Due to Stan's remark that the twins are not his, Zoe believes that he is not ready to become a father to them, and breaks off the relationship. Later, the stroller that Stan ordered arrives and Zoe figures out that Stan was never planning to leave. At her grandmother's wedding, Zoe's water breaks and on the way to the hospital they make a pit stop at the Market. Zoe apologizes to Stan and they begin to work things out. He pulls out the penny that she turned over when they first met and Zoe promises to trust him more. Zoe gives birth to twin girls, one of whom they name Penny. In the end, Stan opens a store\/restaurant next to Zoe's pet shop and after the Grand Opening speech Stan asks Zoe to marry him and she says yes. On their way home, she spontaneously throws up into a trash can and realizes that she may be yet again pregnant."}
{"movie_name":"Whiteout_2009","imdb_id":"tt0365929","script":"<script>\n  <scene>\n    <stage_direction>WHITEOUT<\/stage_direction>\n    <scene_description>Antarctica . Six million square miles of ice . The coldest place on earth . Forty - six countries have competing claims and maintain outposts . The Antarctic Treaty holds these claims in check . There is no regular law enforcement . A single U.S. Marshal is assigned to the territory . END SCROLL<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   ANTARCTICA - DAY<\/stage_direction>\n    <scene_description>Snow - covered hills thrust up out of a barren , white wasteland . No buildings , no animals . nothing . CLOSER : The hills are more defined . Rows of jagged peaks and a crazed pattern of crevasses . A fine ` mist ' of wind - blown snow whips about this jumble of glinting ice . STILL CLOSER : We track down through valleys , skirt crevasses , climb peaks and finally pause on a flat stretch of ice . HOLD on this scene of timeless , savage beauty , then . THUD ! A FACE , hooded and goggled in ECW -LRB- extreme cold weather gear -RRB- drops into frame , smashing down on the icy surface with such brutal impact , the shattered goggle shield pops out - - EYES STARE BLANKLY into camera - locked in death . It 's a man . Camera slowly starts to PULL BACK to see his limbs have snapped at unnatural angles , the head grotesquely twisted - bright red arterial blood seeps from the corpse and spreads out down tiny cracks in the ice until , with startling speed , it turns dark and freezes . We PULL BACK further and look down on the body , a bizarre shape in a spider 's web of frozen blood . And SLOWLY WE PULL BACK . further and further . until all is dazzling white . TITLE : WHITEOUT The sounds of lapping surf and distant seagulls serenades us like a rhythmic lullaby . - CU on WOMAN 'S TOES digging up soft , white sand . The shadow of a palm tree cascading over top . Widen slightly - a pair of feminine hands , donning an ANTIQUE SILVER ring on the left middle finger , are slowly applying coconut tanning lotion onto firm , athletic calves . Deep . Soothing . Then - O.C. KNOCK KNOCK on a door . The hands stop . Another KNOCK KNOCK . The lapping surf and seagull sounds come to an abrupt halt .<\/scene_description>\n    <character>WOMAN<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <parenthetical>( slightly annoyed . )<\/parenthetical>\n    <dialogue>. Yeah?<\/dialogue>\n    <scene_description>Widen to meet CARRIE STETKO , late 20 's . Cargo pants - rolled up , and an exercise top . She 's kicking back , but she 's not at the beach . In fact , she 's in an office , sitting on a chair . A NEWLY OPEN BAG OF KITTY LITTER sits next to a plastic tub she 's got her feet in . Two FLOOR LAMPS stand like sentinels above her , blasting her with warm wattage . A fake palm tree casts the shadow across her body . She 's pulled the earplugs out of her iPod - back to the real world . The door opens . Leaning into the room is JAMIE CLARK -LRB- 20 's -RRB- , African - American . She 's dressed in a flannel shirt , jeans . Carrie does n't look entirely happy at the intrusion .<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>Sorry, a Professor Sapperstein needs to see you in biology. Said it's urgent.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Alright -<\/dialogue>\n    <scene_description>Jamie leaves . As Carrie gets to her feet , camera moves away from her , panning around the small office . Half - packed up boxes lay strewn about the floor . A CALENDER hangs crookedly before a desk . Each day has been marked off with a large X. THREE DAYS REMAIN unmarked . Last space reads : WINTER - OVER , and in the space next to it , there 's a cut out picture of a tropical beach . A dart board is next to it with A PHOTOGRAPH pulverized with dart holes over the Bullseye . It 's of a candy - striped pole topped with a silver ball , surrounded by international flags - the South Pole . Carrie is standing next to the pole , smiling at the camera , arm - in - arm with SAM MURPHY -LRB- 30 's -RRB- . Looks like he 's handsome , but his face is a little more obliterated than the rest of him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   MCMURDO STATION - ANTARCTICA - DAY<\/stage_direction>\n    <scene_description>An ugly sprawl of prefab buildings , power - lines and above ground sewage pipes . It looks more like a Siberian work camp than Antarctica 's largest research base and logistics hub . In the background , smoke rises from Mt. Erebus . SUPER : MCMURDO STATION . -LRB- USA -RRB- POP : 2137 TEMP : - 22 \u00b0 An icy wind HOWLS , but the base swarms with PARKA - CLAD FIGURES shuttling supplies and packing up equipment for winter . We PICK UP CARRIE AND FOLLOW her as she strides down the icy , unmade street . Her hood is pulled up and she 's not enjoying the cold . She reaches a row of buildings and checks the names - GEOLOGY LAB # 2 . ASTROPHYSICS - BERKLEY . until she reaches BIOLOGY BUILDING # 7 and pushes through the double doors into .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   BIOLOGY BUILDING #7 - DAY<\/stage_direction>\n    <scene_description>LONG BENCHES are covered with ANTARCTIC FLORA - MOSSES , LICHENS and LIVERWORTS . They are being nurtured and studied by SCIENTISTS who look like homeless people - unkempt beards , bloodshot eyes and sun - damaged skin . Carrie throws back her hood and unzips her jacket . Approaches one of the scientists with familiarity , who is in the process of EXTRACTING an ICE - CORE SAMPLE from a stainless steel cylinder .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( SARCASTIC . )<\/parenthetical>\n    <dialogue>Hey Fred, unlock any secrets of the Universe - discover we're Alien life forms?<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Workin' on it.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Which one's Sapperstein?<\/dialogue>\n    <character>SCIENTIST<\/character>\n    <dialogue>Deschampsia Antarctica.<\/dialogue>\n    <scene_description>He indicates with a nod to a bench covered with tall grass samples across the room . PROFESSOR SAPPERSTEIN , young , thin and bearded , is studying them .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Okay, thanks.<\/dialogue>\n    <scene_description>She crosses to him -<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Sapperstein?<\/dialogue>\n    <scene_description>He looks at her -<\/scene_description>\n    <character>SAPPERSTEIN<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Wanted to see me?<\/dialogue>\n    <scene_description>His face tenses - this is serious .<\/scene_description>\n    <character>SAPPERSTEIN<\/character>\n    <dialogue>- Follow me.<\/dialogue>\n    <scene_description>He leads her to a bench in the corner on which stands a GLASS HERBARIUM containing only STALKS and a few HEAT LAMPS . One of the GLASS PANELS has been smashed .<\/scene_description>\n    <character>SAPPERSTEIN<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>They took it all.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>All what?<\/dialogue>\n    <character>SAPPERSTEIN<\/character>\n    <dialogue>Cannabis Sativa.<\/dialogue>\n    <scene_description>She looks at him -<\/scene_description>\n    <character>SAPPERSTEIN<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>My weed, man. I've been growing it all summer and they took it.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>It was just budding, too.<\/dialogue>\n    <scene_description>He sends an evil glare across the room to four glassy - eyed scientists sitting around a desk , munching on potato chips , candy bars , and drinking beer . Stifling laughter .<\/scene_description>\n    <character>SAPPERSTEIN<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( GLARING . )<\/parenthetical>\n    <dialogue>It's not funny!<\/dialogue>\n    <scene_description>Carrie looks back to him - can barely stifle a laugh .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Professor Sapperstein, I'd like you to read something for me.<\/dialogue>\n    <scene_description>She pulls out a small LEATHER FOLD chained around her neck . Opens it up . Puts it in front of his face .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What's this say?<\/dialogue>\n    <scene_description>He 's not sure what she 's getting at -<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>C'mon, go ahead, read it.<\/dialogue>\n    <character>SAPPERSTEIN<\/character>\n    <dialogue>Carrie Stetko.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Keep reading.<\/dialogue>\n    <character>SAPPERSTEIN<\/character>\n    <dialogue>United States Marshal.<\/dialogue>\n    <scene_description>She closes the fold , lets it drop around her neck .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Very good.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Now are you still sure you want to report the theft of an illegal narcotic?<\/dialogue>\n    <scene_description>He actually ponders the question for a moment . Carrie puts an arm around his bony shoulder and steers him away from the others .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Professor. are you planning on doing the winter - over?<\/dialogue>\n    <character>SAPPERSTEIN<\/character>\n    <dialogue>Not this year, no.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Good. And how are you feeling right now?<\/dialogue>\n    <character>SAPPERSTEIN<\/character>\n    <dialogue>You think I'm crazy? Is that what you're saying?<\/dialogue>\n    <character>CARRIE<\/character>\n    <parenthetical>( PACIFYING . )<\/parenthetical>\n    <dialogue>No, no, not crazy. But this time of year, down here, we're all going a little toasty are n't we? How about you plant a little Cannabis when you get home?<\/dialogue>\n    <scene_description>She pats him on the back .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   MARSHAL'S OFFICE - MCMURDO - DAY<\/stage_direction>\n    <scene_description>Carrie enters . Walks by a mirror . Takes a glance . Is about to fix her hair , then stares at the reflection - what 's the point ? We notice a slight scar on her right temple . She steps around the moving boxes to her desk , which is bare except for a thick BINDER labelled , ` DAILY REPORTS ' . She takes a seat , opens a binder and flips past dozens of empty pages reading `` INCIDENT : None . ACTION TAKEN : None . '' On today 's page she fills in the blanks with `` Theft of botany sample . '' And `` None . '' A pencil falls down onto the desk before her . Bounces . Then rolls off . She does n't even flinch , or look up . Just stares unhappily at the binder . Camera tilts up - several pencils are stuck into the cardboard tiles . She closes the binder and puts it on the shelf beside a row of framed photos : Carrie in a Marshal 's uniform graduation day ; crisp , clean uniform . She and two other girlfriends , all smiles , at a bar - she 's got a birthday cake in front of her . Carrie on a beach somewhere , sitting in a chair , feet in the sand - shaded by a palm . As she lifts the frames and moves to pack them in a nearby box -<\/scene_description>\n    <character>MURPHY<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>You busy?<\/dialogue>\n    <scene_description>She turns to see SAM MURPHY , base commander , the guy on the DART BOARD . There 's an awkward beat .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>I know you were n't in the area. What's up?<\/dialogue>\n    <scene_description>He sees the photo on the dart board - saunters over to it .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>I got a pilot at ASB who thinks he spotted a popsicle out on the ice.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>What flavor?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Do n't know.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>And we were doing so well.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Where?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>McClain Valley.<\/dialogue>\n    <scene_description>This throws her .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>McClain Valley? What was he doing out there? That's no man's land.<\/dialogue>\n    <scene_description>He takes a closer look at the photo - almost seems amused .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>I've got a plane heading to ASB in an hour with some supplies for Winter - over.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Ca n't get you back until tomorrow.<\/dialogue>\n    <scene_description>He looks at her with a smile -<\/scene_description>\n    <character>MURPHY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You leaving the dart board?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>No - just the picture.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMUNDSEN-SCOTT STATION (ASB) - DAY - ESTABLISHING<\/stage_direction>\n    <scene_description>The red and white striped ceremonial south `` pole '' stands surrounded by international flags . SUPER TITLE : South Pole \/ Amundsen - Scott Station -LRB- USA -RRB- Population : 183 . Temperature : - 55 \u00b0 . Ice as far as the eye can see . In the background is the base . It 's much smaller than McMurdo - a few dozen specialist buildings surrounding four circular buildings raised on hydraulic stands , interconnected by tubular shaped walkways . Off in the distance - A SNOWCAT mounted with a plow , pushes small drifts of snow off the runway onto a LARGE BERM . It 's been busy - SEVERAL OTHER BERMS flank both sides of the runway . Camera pans to Carrie with a gear bag in tow , as she deplanes a LC - 130 . A HALF - DOMED HANGAR rises up on the other side of the plane . The main ASB complex is before her . Across the top of the entrance is a huge poster : 3 DAYS TO WINTER - OVER EVAC . Piles of packed equipment are everywhere . Half a dozen NAKED MEN wearing only boots and face masks blow out the front door screaming and yelling , run around the South Pole , right past her , and back into ASB . Carrie heads in -<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Bottom of the frickin' planet.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   ASB - CORRIDOR - DAY<\/stage_direction>\n    <scene_description>Music cranks . Carrie knows her way . People come and go as she strides along a corridor decorated with PARTY BALLOONS and signs that read : ` DO N'T FORGET THE EVE OF EVAC PARTY ' - comes to an office door with a small plaque on it that reads : MARSHAL . Pushes it open .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARSHAL'S OFFICE - ASB - CONTINUOUS<\/stage_direction>\n    <scene_description>Carrie enters . It 's smaller than her McMurdo office with a HOLDING ROOM that has a viewing window in the door . A fine layer of dust blankets a little desk with a computer and lamp on top . A map of Antarctica is spread across a wall with sub - station positions marked in block letters . A window gives view to the South Pole .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMALL ROOM - RIGHT AFTER<\/stage_direction>\n    <scene_description>Carrie opens the door . Single bed . Tiny dresser . No frills . She tosses her gear bag onto the bed . Closes the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEDICAL CLINIC - ASB - DAY<\/stage_direction>\n    <scene_description>Carrie pokes her head in . An examination table , cabinets with drugs and first aid equipment . A couple of hospital beds . Moving boxes are packed up .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Doc?<\/dialogue>\n    <scene_description>Another door in the back of the room is open , but the light is off . Carrie turns to leave and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   MAIN CORRIDOR - ASB - CONTINUOUS<\/stage_direction>\n    <scene_description>- almost bumps right into one of the runners from outside , Aussie RUSSELL KELLER -LRB- late 20 's -RRB- coming down the corridor . He 's naked , except for a towel wrapped around his waste . Sports a goatee . Couple tats . Flashes a cocky smile .<\/scene_description>\n    <character>KELLER<\/character>\n    <dialogue>Well, hello Marshal.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Keller.<\/dialogue>\n    <scene_description>She leaves . He falls into stride with her .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You seen Doc?<\/dialogue>\n    <character>KELLER<\/character>\n    <dialogue>Out back. What are you doing here?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Checking the freezer for a popsicle.<\/dialogue>\n    <character>KELLER<\/character>\n    <dialogue>No shit?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>It got called in this morning.<\/dialogue>\n    <character>KELLER<\/character>\n    <dialogue>Who spotted it?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Delfy, one of the pilots here.<\/dialogue>\n    <scene_description>Keller half smiles .<\/scene_description>\n    <character>KELLER<\/character>\n    <dialogue>It's his first year down here. You know how that goes. My bet it was just debris, an old tent or something.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Yeah - probably.<\/dialogue>\n    <character>KELLER<\/character>\n    <dialogue>Here's an idea - why do n't you stay here with me and we'll party, just the two of us. Put those cuffs of yours to work.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Were you the second guy from the front?<\/dialogue>\n    <character>KELLER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Not interested.<\/dialogue>\n    <scene_description>They come to the end of the hall . Keller stops . Carrie goes right .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OPERATIONS CENTER - ASB<\/stage_direction>\n    <scene_description>A large room by base standards . Several windows . A giant map of ANTARCTICA dominates one wall with the International stations and research outposts flagged with pins that have their countries flags on them . A grid of EVAC TIMES of each STATION and OUTPOST is next to it . A Tech is changing a few . Another TECH sits as a console , lined with comm equipment and computers . Others hustle about . Talking into a headset is the Station Manager , RHONDA STEWART -LRB- 30 's -RRB- . Silky white skin . Irish . Long red hair tied back . Perfunctory .<\/scene_description>\n    <character>RHONDA<\/character>\n    <dialogue>I'll have them boomerang back and pick up the load - just have it ready.<\/dialogue>\n    <scene_description>The Tech at the console turns to her -<\/scene_description>\n    <character>TECH<\/character>\n    <dialogue>Guys got the science lab all shut down.<\/dialogue>\n    <character>RHONDA<\/character>\n    <dialogue>Good, have them check all the pressure levels on the hydraulics, then clear the exterior storage bins. Make sure we're not leaving anything out there.<\/dialogue>\n    <scene_description>Rhonda sees Carrie coming in the doorway . There 's a flash of awkward tension that both mask with professional demeanor .<\/scene_description>\n    <character>RHONDA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Sam told me you'd be coming up - how's the sleigh ride?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Fine. I need a plane and that pilot who saw the popsicle.<\/dialogue>\n    <character>RHONDA<\/character>\n    <dialogue>I'll have him meet you in the hangar.<\/dialogue>\n    <scene_description>A moment of silence lingers as neither have anything else to say .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Yeah, good.<\/dialogue>\n    <scene_description>Carrie leaves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK OF ASB - DAY<\/stage_direction>\n    <scene_description>Selecting a putter from a bag of golf clubs is DOC FURY , 60 . Looks seasoned . Bearded . Wears the only non - red parka we 've seen : it 's royal blue , trimmed with black fur and emblazoned with dozens of emblems and patches from years of Antarctic service .<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>In less than three days we begin Winter - over. The sky will go completely black and stay that way for six months.<\/dialogue>\n    <scene_description>Camera pulls back to REVEAL five NEWBIES -LRB- first - timers -RRB- ; an Asian , French , Brazilian , Danish and an American . All are standing on their jackets , shivering uncontrollably in the wind .<\/scene_description>\n    <character>DOC<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>The sane ninety percent of the population will be leaving the ice. Extreme weather conditions make it impossible for planes from the outside world to land. You have chosen, for your own misguided reasons, to stay. And it is my responsibility to teach you beakers how not to die.<\/dialogue>\n    <scene_description>Doc lines up on a hot pink golf ball and putts . The ball rolls across the glacier in an impossible , wind - driven arc , approaches a flag , and sinks .<\/scene_description>\n    <character>DOC<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Time?<\/dialogue>\n    <scene_description>The Asian holds a stopwatch . He stares at it stupidly .<\/scene_description>\n    <character>ASIAN<\/character>\n    <dialogue>T. T. Three minutes.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Your core body temperatures have fallen to approximately 97 degrees. You are shivering uncontrollably - losing basic motor skills. You're having trouble focusing on even the simplest tasks. In short, you are well on your way to dying, and it has only been two - hundred seconds.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Put your coats on.<\/dialogue>\n    <scene_description>The class struggles into their jackets . Doc assists those who , in their diminished capacity , are having trouble figuring out how to put them on .<\/scene_description>\n    <character>DOC<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Your life is dependent on your awareness of the weather. So be aware. There is a condition that arises around here known as a whiteout. Do n't get caught in it. Winds kick up snow that's lain on the ice for thousands of years - ca n't see six inches in front of your nose. Temperature plummets to triple digits. We found bodies less than a foot from safety and warmth.<\/dialogue>\n    <scene_description>Carrie walks up . Doc 's eyes brighten .<\/scene_description>\n    <character>DOC<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Class, here we have another of the many hazards found on Antarctica. Say hello to Marshal Stetko.<\/dialogue>\n    <scene_description>Through a disjointed , chattering chorus -<\/scene_description>\n    <character>CLASS<\/character>\n    <dialogue>Hello Marshal Stetko.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Always a pleasure to see you. Unlike most of the beaker - heads down here.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Social visit?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>I wish - We got a job. I need you to take a ride with me.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Might be a body out on the ice.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Why's this crap always happen at the end of the season?<\/dialogue>\n    <scene_description>Carrie pulls a Driver from Doc 's golf bag . Lines up another pink ball .<\/scene_description>\n    <character>DOC<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Too cold for driving.<\/dialogue>\n    <scene_description>Carrie swings - WHACK ! The ball shatters and pink bits rain down around them .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>So it is.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ASB - HANGAR - DAY<\/stage_direction>\n    <scene_description>Carrie and Doc cross the interior , which houses Three double prop Twin Otters , two Snowcats , and six snowmobiles . Keller and two other employees are busy working on one of the Otters .<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>What's your gut say about this body?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>My gut and I do n't talk anymore.<\/dialogue>\n    <scene_description>They continue , after a beat -<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I saw your boxes packed up. What was all that BS last month about, `` I'm never going back - I'll die here. Scatter my ashes over the pole''?<\/dialogue>\n    <scene_description>He takes a beat -<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>People change, Carrie.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Not you.<\/dialogue>\n    <scene_description>Beat .<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>I got a card from my Granddaughter inviting me to her fifth birthday party. You know, I've never even met her.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Or mentioned her. A grandchild? Doc, that's great.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>It got me thinking - I need to be a better Grandfather, than I was a father. It's time I deal with my life. I've been down here a lot longer than I probably should have.<\/dialogue>\n    <scene_description>They arrive at one of the Otters . BYRON DELFY , a baby - faced , African American pilot leans out the plane 's door .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>You Delfy?<\/dialogue>\n    <character>DELFY<\/character>\n    <dialogue>Yes, ma'am.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Where the hell they get these thumb - suckers?<\/dialogue>\n    <scene_description>Delfy smiles graciously .<\/scene_description>\n    <character>DELFY<\/character>\n    <dialogue>Brooklyn. And unless your wrinkled ass has a heart attack on my plane, I think we'll be all right.<\/dialogue>\n    <scene_description>Delfy disappears back into the plane . Doc looks to Carrie .<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>- I want Keller. He's my pilot.<\/dialogue>\n    <parenthetical>( BARKS . )<\/parenthetical>\n    <dialogue>Keller, get over here!<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Delfy's taking us, Doc. He's the one who saw the body. C'mon, you'll be fine. I'll even hold your hand if you want.<\/dialogue>\n    <scene_description>She ushers him in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TWIN OTTER - AIRBORNE - SAME<\/stage_direction>\n    <scene_description>The plane soars through a cloudless sky , the sun sparkling brilliantly on the endless ice sheet below . Carrie 's in the copilot 's seat , wrapped up tight in her ECW , just trying to stay warm . Delfy 's at the controls . Doc 's in the back .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>What were you doing out there?<\/dialogue>\n    <character>DELFY<\/character>\n    <dialogue>I went to evac a camp. Had to fly off route to get around a storm. Got down low to avoid some turbulence, and there it was.<\/dialogue>\n    <scene_description>Carrie notices a picture of a young boy , around seven , wearing a Yankees cap dangling from the instrument panel . It 's framed in popsicle sticks with I LOVE YOU DADDY written around the perimeter .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>That your son?<\/dialogue>\n    <scene_description>He lights up .<\/scene_description>\n    <character>DELFY<\/character>\n    <dialogue>Yeah, name's Nathan.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>He's cute. Has your eyes.<\/dialogue>\n    <character>DELFY<\/character>\n    <dialogue>Lucky he got his momma's brain. Kid's smart.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>So why are n't you with him?<\/dialogue>\n    <character>DELFY<\/character>\n    <dialogue>The bonus pay. Trying to buy a house. Give my boy a yard. His own room. Stuff I never had.<\/dialogue>\n    <scene_description>He looks at Carrie , all bundled up .<\/scene_description>\n    <character>DELFY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Do n't like the cold, huh?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Hate it.<\/dialogue>\n    <character>DELFY<\/character>\n    <dialogue>Then why are you down here?<\/dialogue>\n    <scene_description>Carrie 's eyes drift out the window -<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>We all make stupid mistakes.<\/dialogue>\n    <scene_description>Delfy tips the nose of the plane down . The ice below is broken by jagged hills and yawning crevasses .<\/scene_description>\n    <character>DELFY<\/character>\n    <dialogue>It's right up here.<\/dialogue>\n    <scene_description>He spirals down among the icy hills , visibility is poor . Heavy turbulence suddenly jars the plane sideways - Delfy laughs at Doc 's nervous reaction .<\/scene_description>\n    <character>DELFY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I do n't carry extra panties Doc, so keep it tight.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>There it is.<\/dialogue>\n    <scene_description>He banks the plane and slips down into a valley .<\/scene_description>\n    <character>DELFY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Three o'clock.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Yeah. Got it. It's a popsicle alright.<\/dialogue>\n    <scene_description>Down below is the body sprawled on the icy ground next to the crevice .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Red jacket. He's American.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ICE FIELD - LATER<\/stage_direction>\n    <scene_description>The Twin Otter is in the distant background . Carrie , Doc and Delfy , who has a gear bag slung over his shoulder , weave their way around huge ice boulders - skirt small crevasses . Mid - conversation .<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>It's always different when they freeze. Some curl up. Some stretch out. Some tear their clothes off. They get delirious. What was that guy's name?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Linger.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Yeah. He's lost in a storm. We ca n't find him, but we hear him on the radio going on and on about the Serengeti heat and his wife, Janet. Next day, we find him frozen solid, wearing nothing but his bunny boots.<\/dialogue>\n    <scene_description>Delfy stops . Grimaces . Drops the gear bag .<\/scene_description>\n    <character>DELFY<\/character>\n    <dialogue>Jesus.<\/dialogue>\n    <scene_description>The CORPSE is just ahead - a frozen display of death . They all stare at it - the body in unnatural angles , the spiderweb of frozen blood . Delfy looks nauseous .<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Never seen a dead guy?<\/dialogue>\n    <scene_description>Delfy slowly shakes his head , no . Carrie moves up to it . Takes a look down the deep crevice four feet away . Ca n't see the bottom . She walks around to get a look at the face . Blanches slightly .<\/scene_description>\n    <character>DOC<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You know him -<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>So do you. Think his name's Weiss. We Wintered - over last year with him. Played cards a couple of times.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>The guy who cheated?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Yeah. Geologist, I think.<\/dialogue>\n    <scene_description>Doc takes a look .<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Damn -<\/dialogue>\n    <scene_description>Carrie pulls out a DIGITAL CAMERA from a pocket . Shoots a couple of pics . Doc takes a look up behind them . The ice steepens sharply to a vast plateau , scattered with jagged boulders of ice .<\/scene_description>\n    <character>DOC<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Looks like he fell from up there.<\/dialogue>\n    <scene_description>Carrie pauses with her camera , looks up - does n't seem as convinced .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Then where's his crampons - his gear?<\/dialogue>\n    <scene_description>Doc looks around - she 's right .<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Maybe down the crevasse?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Yeah, maybe -<\/dialogue>\n    <scene_description>Carrie glances to Delfy .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What's the closest camp?<\/dialogue>\n    <character>DELFY<\/character>\n    <dialogue>Brits - about eighty miles west.<\/dialogue>\n    <character>CARRIE<\/character>\n    <parenthetical>( looking at body - Soto . )<\/parenthetical>\n    <dialogue>What the hell where you doing all the way out here?<\/dialogue>\n    <scene_description>Doc reaches down and tries to move the body - does n't budge - frozen solid into the ice .<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Ah Christ - he's a sticker.<\/dialogue>\n    <scene_description>Carrie unzips the gear bag . Digs out ice two axes . TIME CUT TO LATER A pile of chopped ice is off to the side of corpse . Delfy , who looks very uneasy about all this , grabs the feet as Carrie and Doc each grab an arm .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>You going to be alright?<\/dialogue>\n    <character>DELFY<\/character>\n    <dialogue>No - this is the kind of stuff that scars you for life.<\/dialogue>\n    <scene_description>They all strain to lift the body from the frozen ground .<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Gon na give myself a Goddamn hernia.<\/dialogue>\n    <scene_description>They keep pulling and - SNAP ! The arm Doc is holding BREAKS OFF at the elbow . Lands on his ass . Delfy turns away and pukes .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Oh yeah - I'm really going to miss this place.<\/dialogue>\n    <scene_description>A SUBJECTIVE POV - THROUGH HIGH POWERED BINOCULARS is peering down at them from the top of an ice cliff . Widen to see A MAN wearing a white camouflage parka . Lowers the binoculars . Goggles shield his eyes . He moves on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAIN CORRIDOR - ASB - DAY<\/stage_direction>\n    <scene_description>LOUD MUSIC . A party is in progress . People are mingling , some have drinks , others dance . The VOLUME of the music dies , replaced by a repetitive SQUEAKING NOISE emanating through the silence . People stop what they 're doing , and focus on where the noise is coming from , which is - - Doc and Carrie ushering a pushcart with Weiss ' contorted , frozen body through the middle of the party . His dismembered arm rests across his chest . The festive mood evaporates quickly as all eyes stay glued to the horrific state of Weiss ' body . Just as they pass OPERATIONS , Rhonda steps out with the Brazilian and French Newbies at her side to see what 's going on . Her eyes immediately go to Weiss , then shift to meet Carrie 's . Before she can say anything -<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Who manages the Post Stations?<\/dialogue>\n    <character>RHONDA<\/character>\n    <dialogue>Dinkle. Howard Dinkle.<\/dialogue>\n    <scene_description>Doc and Carrie keep moving . Everyone else just keeps silent and watching . Squeaky wheel fades .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEDICAL CLINIC - ASB - DAY<\/stage_direction>\n    <character>CARRIE<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>One - two - three.<\/dialogue>\n    <scene_description>THUMP ! Carrie and Doc set Weiss ' body onto the examination table .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>How long to thaw him out?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Carrie, let's just bag him and put him on a plane to McMurdo.<\/dialogue>\n    <scene_description>She moves over to a sink and gets a cup of steaming hot water from a tap .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>It bothers me no one's reported him missing yet.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Because maybe no one thinks he is.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>How'd he get out there? There were no tracks.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Sounds to me like you and your gut are talking again.<\/dialogue>\n    <scene_description>Carrie returns with the water . Goes to pour it on the zipper , but Doc gently puts his hand on hers , stopping her .<\/scene_description>\n    <character>DOC<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Let's ask ourselves if we really need to do this.<\/dialogue>\n    <scene_description>They share a moment , Carrie understanding , but -<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Nobody wants to get out of here more than I do, trust me, but right now - we're all this guy has.<\/dialogue>\n    <scene_description>She slides her hand away from his - starts pouring the water on the zipper . CU ON CARRIE 'S HAND TUGGING ON THE ZIPPER Little by little , it starts to move - then finally , ZIIIIIIIIIIP . The jacket opens up , barely - like sliced skin . Doc watches as she tries to pry it open further , but ca n't .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Grab that side.<\/dialogue>\n    <scene_description>She takes one half , he the other , and begin to pull . The jacket opens up , like bending metal - slowly revealing a frozen , but extremely bloodsoaked chest area surrounding A DEEP PUNCTURE WOUND through the shirt . Doc 's face sags . Carrie stares at the wound . CARRIE 'S MEMORY HIT : The well defined chest of a man wearing a tight T - shirt . A BULLET HOLE dead center . BACK TO SCENE Doc looks at Carrie with deep concern - he 's tuned in .<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Stirring up a few things?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>I'll be alright.<\/dialogue>\n    <scene_description>Both take a moment looking at the body .<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>You know, this means a Federal Investigation, and we're witnesses. We may get stuck here.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>Doc looks to Carrie , gentle , like a dad would his daughter .<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>We both want to do the right thing Carrie - but we also need to get off the ice. Right now we do n't have to say a word. When they find something later - hey, we did n't know. We were leaving, the body was frozen, we did n't have time to examine it. No one gets murdered in Antarctica. Think about it. Dead is dead.<\/dialogue>\n    <scene_description>He eyes her pleadingly .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Exactly, this is the first murder in Antarctica, Doc - and I ca n't just pretend it did n't happen.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Why did I know you were going to say that?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - SOON AFTER<\/stage_direction>\n    <scene_description>Carrie steps out into the hallway . Takes a moment , leaning against the wall , this whole thing wearing on her more than she 's revealed . She tilts her head back . The second it hits the wall - THE SOUND OF A GUNSHOT RINGS OUT !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - NIGHT (CARRIE'S MEMORY HIT)<\/stage_direction>\n    <scene_description>Carrie 's beat to shit , soul weary . She 's on her knees , full of blood . A man is on the floor between two beds before her . She holds her gun at her side . He 's dead . BACK TO SCENE Carrie refocuses . Pulls away from the wall . Leaves the memory behind .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   CORRIDOR - ASB - LATER<\/stage_direction>\n    <scene_description>Carrie has a NEXTEL phone\/walkie to her ear , making her way up the corridor . Moves past a couple of guys loading a dolly with boxes from an adjacent room .<\/scene_description>\n    <character>MURPHY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What camp was he with?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>I'm on my way to find out.<\/dialogue>\n    <character>MURPHY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>This is all I need right now.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>I'm sure his family's thinking the same thing.<\/dialogue>\n    <character>MURPHY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>That's not what I meant.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>I'll contact the FBI - see how they want to handle this.<\/dialogue>\n    <scene_description>She hangs up . Approaches a closed door . Name plate on it reads Dinkle - SUB - STATIONS MANAGER . O.C. MOANING and GROANING - great sex . Carrie rolls her eyes . Knocks on the door . No one answers . Moaning continues . She does n't have time for this . Opens the door to see - - a large TV playing a locker - room porno where a quarterback with no pants is giving it to a cheerleader with no top . Half a dozen guys , oblivious to Carrie standing there , CHEER the action .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>I hate interrupting educational programming, but -<\/dialogue>\n    <scene_description>The CHEERING dies as everyone turns to see Carrie standing behind them . Only fake PORNO MOANING remains .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I need to talk to Dinkle.<\/dialogue>\n    <scene_description>Everyone gets up , thrilled for an excuse to leave . One of them nods to Carrie on the way out .<\/scene_description>\n    <character>LAST GUY<\/character>\n    <dialogue>Marshal.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Chaplain.<\/dialogue>\n    <scene_description>Carrie flips a nearby wall switch . Lights kick on . Small room . English flag . There 's a Beckham poster and an 8x10 framed photo , turned backwards , hanging on one wall . A large map of Antarctica on another . A proud assortment of tea bags are uniformly lined up along a shelf . One guy remains . HOWARD DINKLE . Thirties . English . Bearded . On the heavy side .<\/scene_description>\n    <character>DINKLE<\/character>\n    <dialogue>Am I in some kind of trouble?<\/dialogue>\n    <scene_description>As he crosses to her , he flips the 8x10 framed photo back around - it 's of THE QUEEN MOTHER .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINKLE'S OFFICE - SOON AFTER<\/stage_direction>\n    <scene_description>A FILE FOLDER drops into frame onto a desktop , which is a map of Antarctica , under glass . File reads : DELTA ONE ONE . Widen . Carrie opens it . Three photos are stapled inside . One is of Weiss , the other two have names written under them - RUBIN and MOONEY . Mooney is a runty looking guy with a mop of blond hair . Rubin is a skinny , thin faced young guy with a beard that has n't filled in yet .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>What are they doing out there?<\/dialogue>\n    <character>DINKLE<\/character>\n    <dialogue>Collecting meteorites.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>One One has an extremely old surface with low sediment deposition.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>English, please.<\/dialogue>\n    <character>DINKLE<\/character>\n    <dialogue>Means it's a good place to look for meteorites.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>It's right here.<\/dialogue>\n    <scene_description>Dinkle points to a location on the map . Delta One One is labeled . Boasts an American Flag .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>I do n't get it - Weiss was no where near Delta One One.<\/dialogue>\n    <scene_description>She looks at Dinkle .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>When are they scheduled for evac?<\/dialogue>\n    <character>DINKLE<\/character>\n    <dialogue>One sec -<\/dialogue>\n    <scene_description>He refers to a RADIO LOG SHEET hanging off the corner of his desk . Gets uneasy - ca n't find what he 's looking for . Finally -<\/scene_description>\n    <character>DINKLE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>They have n't arranged a pickup yet.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Is n't that a little unusual this close to Winter - over?<\/dialogue>\n    <scene_description>He hates to say it , but -<\/scene_description>\n    <character>DINKLE<\/character>\n    <dialogue>Yes, it is. Really unusual, actually.<\/dialogue>\n    <parenthetical>( SCRAMBLING . )<\/parenthetical>\n    <dialogue>I guess I should've contacted them, but -<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>- You've been a little busy. Yeah, I can see that.<\/dialogue>\n    <scene_description>She moves over to a LONG RANGE RADIO CONSOLE tucked up against a wall .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What's their frequency?<\/dialogue>\n    <character>DINKLE<\/character>\n    <dialogue>Seventeen.<\/dialogue>\n    <scene_description>Carrie spins a dial to 17 . Keys the microphone , drawing it to her face .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( into microphone . )<\/parenthetical>\n    <dialogue>Delta One One, this is United States Marshall Carrie Stetko, come back, over.<\/dialogue>\n    <scene_description>Static crackles .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Delta One One, I repeat, this is United States Marshal Stetko, come in, over.<\/dialogue>\n    <scene_description>The dull constant static never wavers . She puts down the mic . Thinks for a moment . Suddenly , Carrie 's NEXTEL RINGS - takes it off her belt .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Stetko.<\/dialogue>\n    <character>JAMIE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Marshal, it's Jamie. I've got some guy holding from Vostok who wo n't give his name, says he has to talk to you.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Vostok?<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Patch it through.<\/dialogue>\n    <character>JAMIE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>You're on now.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>This is Marshal Stetko, who's this?<\/dialogue>\n    <character>MOONEY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>John Mooney.<\/dialogue>\n    <scene_description>She 's thrown .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Mooney?<\/dialogue>\n    <character>MOONEY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>You know who I am?<\/dialogue>\n    <scene_description>Carrie 's eyes shift to his picture on the desk .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>What happened out there, Mooney?<\/dialogue>\n    <character>MOONEY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>You come to Vostok and we'll talk. Only you.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Where's Rubin?<\/dialogue>\n    <character>MOONEY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Come to Vostok.<\/dialogue>\n    <scene_description>CLICK .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - RIGHT AFTER<\/stage_direction>\n    <scene_description>Carrie is moving at a quick pace . Passes the open door to the clinic . Sees Doc looking through some boxes , a glass of Scotch in hand . She stops . Backs up .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Getting drunk already?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Just gearing my liver up in case I have to stay the next six months.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Murphy's contacting the Feds.<\/dialogue>\n    <scene_description>He looks over to her . Raises his glass in a somber toast .<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>You're making my day.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>I'll do everything I can to get you off this ice, promise.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I know you will.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>What's the hurry?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Going to Vostok.<\/dialogue>\n    <scene_description>He raises a curious brow -<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>One of the guys from Weiss' team called. Wants to talk.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>What's he doing in Russia?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OPERATIONS CENTER - DAY<\/stage_direction>\n    <scene_description>Carrie walks in . Rhonda has a phone to one ear , another in her hand . Looks stressed . She 's hovering over one of the Techs who is sitting before a computer screen displaying Satellite Weather Imagery - think Doppler . His focus is on a VAST STORM SYSTEM that is heading toward ASB , which is marked in RED NEON . Other stations are marked as well .<\/scene_description>\n    <character>RHONDA<\/character>\n    <dialogue>We're tracking it now.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>I need a plane to Vostok.<\/dialogue>\n    <scene_description>Rhonda raises her finger - putting her on hold . Carrie does n't like it .<\/scene_description>\n    <character>RHONDA<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>I do n't control the weather - you want to stay the winter, then do n't be ready for your evac.<\/dialogue>\n    <scene_description>She looks to Carrie -<\/scene_description>\n    <character>RHONDA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Sorry, ca n't. All the planes are committed.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>I'm not asking.<\/dialogue>\n    <character>RHONDA<\/character>\n    <dialogue>What am I supposed to tell the deep drill ice core team getting picked up in four and a half?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Tell them I took their plane.<\/dialogue>\n    <scene_description>Carrie spins . Leaves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VOSTOK - DAY - ESTABLISHING<\/stage_direction>\n    <scene_description>Squat Soviet - ugly buildings , some collapsing , others with boarded up windows , are barely visible through the driving ice . STORM LINES of different colors interconnect all the buildings . Carrie and Delfy , wearing full ECW gear , lean hard into the wind , making their way towards the compound . She 's carrying a duffle bag . Can barely see the Twin Otter behind them . SUPER : Vostok Station -LRB- Russian Federation -RRB- Population : 46 Temperature : - 73 \u00b0<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VOSTOK - HALLWAY - DAY<\/stage_direction>\n    <scene_description>Carrie leads the way up a decrepit , dimly - lit hall strung with exposed pipes and wiring . Gaunt , malnourished faces look up from the rooms they pass . All stare . Silently . Looks more like death row .<\/scene_description>\n    <character>DELFY<\/character>\n    <parenthetical>( WHISPER . )<\/parenthetical>\n    <dialogue>What's with this place?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>The Russians barely supply Vostok anymore. They have to barter with other bases for supplies. Some of these guys have been rotting here for years.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VOSTOK - OPERATIONS ROOM - DAY<\/stage_direction>\n    <scene_description>Carrie enters a grungy operations room that never made it out of the 70 's : ancient computers and steel - cased radios fill one wall . One man welds equipment off to the side . Four more Russians sit at a table playing cards and drinking Vodka . They all take their time looking her over .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Who's in charge?<\/dialogue>\n    <scene_description>YURI , a big bear of a man in his forties , gets up from the table . Huge arms . Scruffy face . Bloodshot eyes .<\/scene_description>\n    <character>YURI<\/character>\n    <parenthetical>( heavy accent . )<\/parenthetical>\n    <dialogue>Who's asking?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Stetko, US Marshal. I'm here to talk to an American named Mooney.<\/dialogue>\n    <scene_description>Yuri smiles .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>So many people come through Vostok. Is hard to remember.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>I figured.<\/dialogue>\n    <scene_description>Carrie hoists her duffel bag on the table and unzips it . Yuri pulls it open . It 's packed with steaks . The Russians react with smiles and the mood lightens . Yuri 's grin widens further . Takes out a porno - there 's a Cheerleader on the cover .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>Mister Mooney, yes. I remember now. He offers pay us to fly him off Antarctica on our transport. We give him very good price - because plane leaves a week ago!<\/dialogue>\n    <scene_description>The Russians laugh .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Where is he?<\/dialogue>\n    <character>YURI<\/character>\n    <dialogue>Red storm line.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VOSTOK - COAT ROOM - DAY<\/stage_direction>\n    <scene_description>Carrie is suiting up in her ECW gear , rope harness and crampons . Her jacket 's open . Delfy has a steaming cup of coffee in his hand . He looks to her gear belt ; cuffs , pepper spray , baton .<\/scene_description>\n    <character>DELFY<\/character>\n    <dialogue>You do n't carry a gun?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Against the law - Antarctica's the only place in the world you ca n't have one. Part of the Treaty.<\/dialogue>\n    <character>DELFY<\/character>\n    <dialogue>Does n't that make you feel kind of naked?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>All this crap on - I prefer naked.<\/dialogue>\n    <scene_description>She zips up her jacket . He glances to a temp readout by the door .<\/scene_description>\n    <character>DELFY<\/character>\n    <dialogue>Gettin' worse. Minus eighty - one. Wind at a hundred and ten knots.<\/dialogue>\n    <scene_description>He takes a sip from his hot coffee .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Do you have to do that in front of me?<\/dialogue>\n    <scene_description>He sees that one of her leg straps on her harness needs to be fastened .<\/scene_description>\n    <character>DELFY<\/character>\n    <dialogue>Give you a hand?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>Sets down his coffee on a nearby shelf . As he fastens it , Carrie pulls on her goggles and a face mask . They finish at the same time .<\/scene_description>\n    <character>DELFY<\/character>\n    <dialogue>Ever been on a rope - line in a whiteout?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Nope. Thoughts?<\/dialogue>\n    <character>DELFY<\/character>\n    <dialogue>Yeah, hold on tight.<\/dialogue>\n    <scene_description>Delfy leaves as Carrie cranks the submarine - type wheel - lock in the center of the door . WHAM ! The door is suddenly yanked from her grasp , slamming open against the building . Wind knocks her back . The storm sings in an even DULL ROAR . A solid white wall of wind - driven ice blows past . The light is oddly dim . CRACK ! The coffee mug Delfy left on the shelf , breaks in half , exposing a cylinder of frozen coffee . It rolls across the shelf , falls , and shatters on the floor . Carrie struggles back to the door and clips a three - foot tether from her harnesses to a RED STORM LINE attached to the side of the building . She steps into the storm .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITEOUT - THE LINE - CONTINUOUS<\/stage_direction>\n    <scene_description>Carrie leans into the door , pushing it closed and locking the wheel . Two steps into the storm , the building behind her is gone . Step after step , there 's nothing but the guide line and the ROAR of the storm . A gust of wind lifts her off the ground . She 's caught by her tether and smacked down on the ice . Slowly regaining her stance , she pushes onward . Finally Carrie runs into something . It takes her a moment to realize she 's at a building . She grabs the wheel - lock and turns , breaking ice , opening the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OUTLYING BUILDING - READY ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Unclipping from the line , she closes the door on the HOWLING behind her . Pulls off her mask . Teeth are chattering . She spins the wheel - lock of the door going out of the ready room into the building .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OUTLYING BUILDING - HALLWAY - RIGHT AFTER<\/stage_direction>\n    <scene_description>Carrie hits the lights : nothing . No power . Just a sliver of light stabbing in through a window .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( calling out . )<\/parenthetical>\n    <dialogue>Mooney? Hello?<\/dialogue>\n    <scene_description>Only silence responds . The hallway is long and dark , leading away from her in both directions . She draws a flashlight from her pocket . Thumbs the switch , sending a beam out through the dark . Something does n't feel right . Slides her baton out from her belt . She decides to go left . Walking the hall , she tries door after door . Finally one gives .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Mooney?<\/dialogue>\n    <scene_description>She cautiously pushes it open : four stripped bunks in an empty room . Moves on down the corridor - hears COUGHING , like someone trying to clear their throat . Looks ahead , and determines it 's coming from behind a closed door at the end of the hall . It 's confirmed when she hears it again . Stops at the door . She slowly opens it - Now she can hear HEAVY , LABORED BREATHING - - Sweeps the inside with her light . It 's a large lounge type room : scattered chairs , tables , and an overturned sofa on the other side - where the heavy breathing 's coming from . Another cough . She enters the room . INSIDE THE LOUNGE - CONTINUOUS Inching forward , she gets to the sofa . Looks over it to see A BODY - it 's Mooney , lying in a pool of blood . Struggling to breathe through a puncture wound to his esophagus .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>My God.<\/dialogue>\n    <scene_description>She goes to him . As she kneels , he grabs her , GASPING for air , trying to tell her something . Carrie catches a REFLECTION OF MOMENT behind her in his eyes - someone 's coming at her . - She instinctively rolls back over Mooney just as - WHAM ! An ICE AXE swings down at her . Just misses her head by an inch , but the shaft nails her arm holding the baton that goes clattering across the floor . The killer , wearing ECW gear with hood and goggles , takes another swing . She lunges to the side . Axe misses her , but sinks into Mooney . Game over for him . Carrie slices the floor with her light , looking for the baton , but ca n't see it . The killer yanks his axe free of Mooney as Carrie bolts around the sofa , heading back out the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OUTLYING BUILDING - HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Carrie blows back into the hallway at a full tilt run , retracing her steps . Her light zigzags . The killer emerges a few beats later on a run . It 's going to be close . Halfway down the hall , she hangs a hard right toward the Ready Room . Throws a glance over her shoulder - he 's right behind . She targets the ready room door - the orb of her light getting smaller and smaller as she nears . Gets there . Does n't even want to look back - it 's all or nothing . She pulls open the door -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OUTLYING BUILDING - READY ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>- Leaping in , she spins the wheel - lock closed . SMACK ! The killer HITS THE DOOR from the other side . She SPINS OPEN the outside door wheel - lock , as the lock on the INNER DOOR behind her starts SPINNING OPEN at the same time . It 's a race . CARRIE 'S door slams open first and the wind hits her hard . She pulls on her mask and goggles just as the door behind her bursts open .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITEOUT - CONTINUOUS<\/stage_direction>\n    <scene_description>Carrie jumps into the whiteout , catching the red storm line and clipping in as she staggers forward . Glancing back , she sees the killer in the doorway , then loses sight of him as she 's swallowed in the whiteout . She struggles down the line , buffeted by the storm , but HER HAND ON THE LINE moves erratically - He 's on . She swivels a nervous whirl to see - the Killer materializing out of the whiteout right behind her . He 's clipped into Carrie 's line . He raises the axe . He swings . She jumps back , losing her footing . Hits the ice hard - face first . The killer towers over her , raising the axe again . Carrie drives her heel into his knee , knocking him off balance . He drops next to her . He reaches for Carrie , grabbing her mask , pulling it off . She cries out as the FREEZING WIND catches her face . The killer gets to his feet and delivers a rib - cracking kick , flipping Carrie onto her back . SOUND FADES from Carrie 's world . There is nothing but her strained BREATHING . The killer draws back the axe , shiny with frozen blood . He swings . Carrie UNCLIPS her harness from the tether . THE WIND grabs her , and Carrie SLIDES AWAY - the killer disappearing from view behind the swirling wall of white . Sliding across the ice , Carrie SLAMS into a pole . Grabs on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITEOUT - POLE - CONTINUOUS<\/stage_direction>\n    <scene_description>Cinching her hood down , she searches the storm with no idea which way to go . Carrie glances up the post . Barely visible through the blowing ice are signs pointing different directions : `` Moscow 17,030 Tokyo 13,329 Fiji 7,877 Los Angeles 15,641 '' She pulls herself up and heads out , leaning into the wind . Carrie staggers blindly , trying to protect her face . Falling , she gets up , and struggles on . Her drunken gait increases as she continues to lose heat . A rope catches her in the neck . It 's another storm line .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITEOUT - SECOND LINE - CONTINUOUS<\/stage_direction>\n    <scene_description>Carrie lurches forward , holding the line with one arm . Finally , she bumps into something . It moves . It turns to face her . IT 'S THE KILLER AGAIN . He swings . She deflects the blow with her free arm , and manages to grab the axe head . The killer tears the axe free , taking Carrie 's glove with it . He swings again , but Carrie pulls hard on the rope , throwing him off balance . The axe cuts through the line . The killer hits the ground , and is immediately ushered away in the wind , as Carrie , clinging to the rope , slides over the ice like a pendulum . The line goes tight ; she 's jerked to a stop . It takes everything she 's got to get to her feet . She slowly struggles up the line .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. STORAGE SHED - CONTINUOUS<\/stage_direction>\n    <scene_description>More dead than alive , Carrie stumbles against the door and grabs the wheel - lock with both hands . Unable to bend the frozen fingers of her left hand around the wheel , she struggles to turn it . Finally it gives . The door swings wide and she stumbles in . But she 's caught ; her bare hand frozen to the metal . Ripping it free , her SCREAM is lost to the wind . Carrie falls , collapsing against the door . Blackout SMASH CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL 6 - BATHROOM - NIGHT (CARRIE'S MEMORY HIT)<\/stage_direction>\n    <scene_description>A single bulb above casts a cone of light down onto Carrie , who 's leaning against a sink , staring at herself in a mirror . She looks stressed . Her Marshal 's badge dangles around her neck . Wears a shoulder harness . The bathroom door behind her is open . She catches a REFLECTION of a shadow moving across the room behind her . Body tenses . As she turns -<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Jack?<\/dialogue>\n    <scene_description>No answer . She withdraws a 9mm from her harness - eases toward the door . Gun ready , she rolls her back around the jam - WHAM ! Carrie 's blindsided by a fist that drives her into the other door jam . Before she can recover - a guy , dark eyes , unshaven , grabs her by the hair and runs her head first into the bathroom mirror . SMASH . It 's brutal . Shards fall into the sink , as Carrie 's RIGHT TEMPLE goes bloody . She drops to the floor - CARRIE 'S POV - A BLURRY FIGURE stands over top of her . She 's still got some fight in her - hands lash out in a frenzy , like a cat in water .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Jack!<\/dialogue>\n    <character>DELFY O.C.<\/character>\n    <dialogue>Wo wo wo. It's okay, it's okay.<\/dialogue>\n    <scene_description>The figure materializes around her . It 's Delfy , holding her down . Carrie slowly settles , then she 's out again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OPERATIONS ROOM - VOSTOK - LATER<\/stage_direction>\n    <scene_description>She 's lying on a table , wrapped in blankets . An old , WRINKLED FACED RUSSIAN MAN slowly lowers her wounded hand - pale white and missing some skin , back into a tray of water next to her . Her silver ring glistens under the florescent lights . A HUGE BRUISE runs across her arm .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>DELFY<\/character>\n    <dialogue>When you did n't come back - we went looking for you. Found a dead guy in the other building - that Mooney?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Yeah. Someone got to him before I did. Then went after me.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>How long was I out?<\/dialogue>\n    <character>DELFY<\/character>\n    <dialogue>A couple hours.<\/dialogue>\n    <scene_description>Carrie 's eyes drift to the old man next to her .<\/scene_description>\n    <character>DELFY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>He's been looking after you.<\/dialogue>\n    <scene_description>He flashes a smile of crooked , yellow teeth .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>As she starts to sit up , he protests , saying something in Russian . She ignores him . He walks away , mumbling something else . She sits up . Lifts her hand out of the water - fingers are slow moving .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I need to get back in there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OUTLYING BUILDING - HALLWAY - DAY<\/stage_direction>\n    <scene_description>Delfy and Carrie , with her hand bandaged , both slice the dark with flashlights . She 's starting to get her bearings back .<\/scene_description>\n    <character>DELFY<\/character>\n    <dialogue>Whoever it was, could have flown out after the storm broke.<\/dialogue>\n    <scene_description>They walk a few silent beats , then -<\/scene_description>\n    <character>DELFY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Who's Jack?<\/dialogue>\n    <scene_description>It 's a moment before she responds -<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Let it go, Delfy.<\/dialogue>\n    <scene_description>He lets it go . THEY ENTER THE LOUNGE Same as before . Carrie goes to the over - turned sofa . Moves her light around - searching . Passes over the blood on the floor .<\/scene_description>\n    <character>DELFY<\/character>\n    <dialogue>Until I met you, I had n't seen any dead people. Now I'm at two.<\/dialogue>\n    <scene_description>Carrie gets on her knees - looks under the sofa . Low angles her light . Something reflects . Reaches in . Retrieves her baton -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OUTLYING BUILDING - HALLWAY - RIGHT AFTER<\/stage_direction>\n    <scene_description>Just as Carrie and Delfy leave the lounge , her perifocal vision picks up a wisp of light from a flashlight , which bled out from a door 's threshold halfway down the hall . Delfy 's eyes go wide - Carrie 's finger goes to her mouth - Shhhhh . She instinctively pulls her baton with her left hand , but it hurts . She shifts it to the other . She turns off her light . Delphy does the same . Motions for him to stay put . She heads to the source , keeping her baton ready and her back tight to the wall . Gets to the edge of the door . It 's open just slightly - looks in . Sees a man in an ECW jacket with his back to her , holding a flashlight in one hand and digging through a duffle bag with his other . Items are strewn . Another bag has been completely turned inside out . She enters . Baton cocked .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Unless you want your head cracked, I would n't move.<\/dialogue>\n    <scene_description>His body tenses .<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>Take it easy.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>- Let me see your hands.<\/dialogue>\n    <scene_description>He slowly raises them .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Now turn around.<\/dialogue>\n    <scene_description>He does . He 's a guy in his 30 's . Although he 's clean shaven , there 's a rugged edge about him .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Who are you?<\/dialogue>\n    <scene_description>Delfy comes up behind her .<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>Robert Pryce. I'm a United Nations observer for the Oceanic and Antarctic section. If you relax, I've got my ID.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Let's see it - slowly.<\/dialogue>\n    <scene_description>As he reaches into his liner -<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>You must be Stetko -<\/dialogue>\n    <scene_description>This throws her .<\/scene_description>\n    <character>PRYCE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I was heading to ASB to talk to you about Weiss when I was told you had come up here.<\/dialogue>\n    <scene_description>He holds out his ID for her . As she reads -<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>How do you know about Weiss?<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>FBI notified us. Your base commander called it in.<\/dialogue>\n    <scene_description>Carrie lowers her baton . He stands .<\/scene_description>\n    <character>PRYCE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I thought I might find answers in his gear, but there's nothing here but clothes.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>This is part of a crime scene.<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>I realize that, but considering the time constraints we're up against, let's be honest, taping and bagging everything is n't going to be an option.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>I'll be sure to let the U.N. know if I find out anything.<\/dialogue>\n    <scene_description>She starts to walk away - he follows , he 's not done at all . Delfy brings up the rear .<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>You heading out to Delta One One?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Maybe.<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>I'll grab my bag.<\/dialogue>\n    <scene_description>She stops .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Do n't take this personally, but I do n't need your help.<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>If they've been digging out there, that's a direct violation of the United Nations treaty. We think they were digging. That makes it my business.<\/dialogue>\n    <scene_description>This stops her - digging ?<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>You do n't dig for meteorites.<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>And you do n't get killed for them either. This is now a U.N. matter. I am within my rights to commandeer your pilot and plane if I have to.<\/dialogue>\n    <character>DELFY<\/character>\n    <dialogue>He can, you know.<\/dialogue>\n    <scene_description>She knows and her patience is running thin .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Fine. But this is my investigation, understand? If you obstruct it in any way, I will have you detained.<\/dialogue>\n    <scene_description>She continues with Pryce next to her .<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Mind if I ask you a personal question?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>No, but I have the feeling you're going to anyway.<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>Why do you smell like suntan lotion?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VOSTOK - CORRIDOR - DAY<\/stage_direction>\n    <scene_description>Carrie and Delfy are heading toward the Ready Room . She has her phone to her ear . Two Russians trail behind with Mooney in a bodybag .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Murphy, listen to me, it's got to be Rubin who tried to kill me. You have to shut down flights leaving ASB and McMurdo - search for him.<\/dialogue>\n    <character>MURPHY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>That's not possible. We're still bringing people in and resupplying other bases for Winter - over.<\/dialogue>\n    <scene_description>She thinks about it -<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Sam, I think these guys found something out there at the camp. I'm going to check it out. Until I find Rubin, no one leaves the ice. Not yet.<\/dialogue>\n    <scene_description>She clicks off . Carrie opens the door to the ready room to find Pryce standing there with a gear bag - typing into a PDA -LRB- Treo type -RRB- .<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>We ready?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Guess so.<\/dialogue>\n    <scene_description>He finishes entering his text into the PDA . Sends . Puts it away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OTTER - DAY<\/stage_direction>\n    <scene_description>Delphy flies the plane over a labyrinth of deep , blue crevices .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   CAMP DELTA ONE ONE - DAY<\/stage_direction>\n    <scene_description>Delfy 's Twin Otter has landed beside the camp . There are TWO BIG TENTS and some scattered equipment - a SNOWCAT , a CHEST of TOOLS , DRUMS of GASOLINE . The sky is dark with clouds and the wind MOANS . A haze of wind - driven snow whips by . Carrie , Pryce and Delfy climb out from the plane and make their way toward the tents . Place looks deserted .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>What time is it?<\/dialogue>\n    <scene_description>Pryce glances to a watch strapped to the outside of his jacket .<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>Two thirty.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>A.M. or P.M?<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>A.M.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Wonderful.<\/dialogue>\n    <parenthetical>( re : tent . )<\/parenthetical>\n    <dialogue>I'll take this one.<\/dialogue>\n    <scene_description>She moves toward tent one , Pryce the other .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIRST TENT - DELTA ONE ONE - CONTINUOUS<\/stage_direction>\n    <scene_description>Carrie peers in . It 's too dark to see anything . She goes to pull out her flashlight with her left hand - stops herself . Reaches in with her right , extracts it from her pocket . Turns it on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   FIRST WORK TENT - DELTA ONE ONE - CONTINUOUS<\/stage_direction>\n    <scene_description>Her FLASHLIGHT BEAM plays over a litter of personal effects , then picks up a TRAIL OF BLOOD leading to a cot between two others . Someone is huddled in a yellow sleeping bag on it . Her body tightens .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Rubin?<\/dialogue>\n    <scene_description>She steps into the tent . Moves to the cot . There 's a pool of blood underneath . Her heart pounds . She uses her flashlight , touches the sleeping bag . It does n't move . She pulls at it . and discovers A PAIR OF ECW PANTS - the LEFT LEG is soaked in blood . No corpse . She steadies her breathing . She pulls out a small baggie from her pocket . Uses the end of the flashlight to chip away a frozen blood sample from the pant leg . Puts it in the baggie . Takes out her camera next . Starts snapping . Flash goes off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   SECOND WORK TENT - DELTA ONE ONE - RIGHT AFTER<\/stage_direction>\n    <scene_description>Carrie enters with Delfy . Place is lit by a single dim bulb . This is a work space ; two tables , instruments on top . Sample containers piled everywhere . Numerous photos of meteorites are stuck to a board . She finds Pryce reading the crew 's DAILY LOG .<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>Anything?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Someone's left leg took a hit, lost a lot of blood. What do you got?<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>Their daily work log.<\/dialogue>\n    <scene_description>Delfy 's drawn to a BIZARRE LOOKING PIECE OF EQUIPMENT ; it 's a red box on wheels with a handle like a lawn mower . A circular antennae sprouts from the front of the box .<\/scene_description>\n    <character>DELFY<\/character>\n    <dialogue>Looks like my dad's old lawn mower.<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>It's ground penetrating radar.<\/dialogue>\n    <scene_description>Carrie moves over to a table with a MAP SPREAD OUT ON TOP . The ice field is marked off into sections .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Looks like they were surveying sections at a time.<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>Areas labeled?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Yeah -<\/dialogue>\n    <scene_description>He 's flipping back and forth through the pages -<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>At Sections 101 and 102, they spent one day.<\/dialogue>\n    <scene_description>Carrie finds them on the map .<\/scene_description>\n    <character>PRYCE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>103 two days.<\/dialogue>\n    <scene_description>Carrie finds it .<\/scene_description>\n    <character>PRYCE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>104 - seven days. That was a month ago.<\/dialogue>\n    <scene_description>They look at each other . Carrie finds it on the map as Pryce moves up next to her .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Looks like they hit some really big meteors.<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>How far?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>About four miles.<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>Let's go see what they found.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>I want to check something out first.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TWIN OTTER - SIDE CARGO DOOR - DAY<\/stage_direction>\n    <scene_description>Carrie has Mooney 's bodybag unzipped and is examining his left leg . No cuts . No blood . She thinks on this non - discovery for a moment , then zips it back up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   SNOWCAT - DAY - RIGHT AFTER<\/stage_direction>\n    <scene_description>The CAT 'S tracks CLANK and CRUNCH as it powers across the featureless ice - the loneliest place on earth . Pryce is in the backseat , Delfy is driving . Carrie is next to him with the map and her GPS in hand . She stares at a tiny blinking red light on the GPS -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL 6 - LOBBY - NIGHT (CARRIE'S MEMORY HIT)<\/stage_direction>\n    <scene_description>FLASHING POLICE REDS reflect off the glass of the front doors of a hotel . Several squad cars are nosed up to the entrance . Patrons and bystanders are perched in various locations , watching as A HANDCUFFED Carrie is escorted outside by two uniformed officers . Her eyes are full of tears . She 's put into the backseat of one of the cars . As the door closes , she stares out the window where Coroners are loading a body under a sheet into the back of their truck . BACK TO SCENE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SNOWCAT - DAY<\/stage_direction>\n    <scene_description>Delfy 's looking at Carrie like he 's waiting for an answer .<\/scene_description>\n    <character>DELFY<\/character>\n    <dialogue>I said `` which way?''<\/dialogue>\n    <scene_description>She glances to the GPS .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>North.<\/dialogue>\n    <scene_description>Pryce sees Carrie pause for a moment , massaging her gloved left hand .<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>Hurt?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Yeah, a little.<\/dialogue>\n    <scene_description>He can see it aches more than she 's letting on .<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>How long have you been down here, Marshal?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Almost two years.<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>What brought you to the ice?<\/dialogue>\n    <scene_description>She pauses , humored .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( SARCASTIC . )<\/parenthetical>\n    <dialogue>The excitement, mostly.<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>Everyone down here is running away from something.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Some shrink tell you that?<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>Yeah, and that I should call my mother more often<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>And do you?<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>Every Sunday.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Where do you plant your boots?<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>They got me working out of Christchurch, New Zealand. Beautiful country. But this - crazy place to make a living.<\/dialogue>\n    <scene_description>She takes a moment , gazing out the window to the endless landscape of white .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>I came down to fill in for a Marshal for six weeks before Winter - over. I met someone, decided to stay.<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>He give you that ring I saw? Tell you he was going to marry you?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>No - just gave me a headache.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>I did n't see a ring on your finger.<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>Flattered that you even looked.<\/dialogue>\n    <scene_description>A faint beeping noise emanates from her GPS .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>This is it.<\/dialogue>\n    <scene_description>All eyes go ahead as they drive on . Looking . Nothing but an icy plateau . After a couple of beats -<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Stop.<\/dialogue>\n    <character>DELFY<\/character>\n    <dialogue>There's nothing here.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Just stop.<\/dialogue>\n    <scene_description>Delfy pulls to a stop . They exit the cat .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ICE FIELD - DAY<\/stage_direction>\n    <scene_description>All three get cold - cocked by an invisible wind . Carrie steps away from the Cat . Pryce does too . Her eyes scan the ice with cool appraisal . It 's completely flat . Desert like .<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>You sure this is right?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Section 104. These are the coordinates.<\/dialogue>\n    <character>DELFY<\/character>\n    <dialogue>Maybe you wrote them down wrong.<\/dialogue>\n    <scene_description>Carrie ignores him . Walks further away from the cat . Ice CRUNCHES UNDER HER FEET as she keeps looking - then , she stops . Something 's not right . Looks DOWN . Kneels to the ice . Scoops some up . Checks it out . Perplexed . Pryce approaches from behind .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>This is shaved ice.<\/dialogue>\n    <scene_description>She gets to her feet . Walks further - her eyes now paying close attention to the texture of the ice . After a dozen steps , texture changes . Ice is now smooth - like it 's supposed to be . She turns around . Tries to get the bigger picture . Looks at the ground all around her . Realizes a large area has been blanketed with shaved pieces of ice a few inches thick -<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>They were digging, Pryce. And they tries to spread the ice to hide it.<\/dialogue>\n    <scene_description>She heads back across the area . Scans the horizon . Takes another step forward . WHOOSH ! In an instant , Carrie 's gone ! DISAPPEARS below the ice . Only a four foot wide hole remains , that was covered up with a white , iced - over tarp . Pryce and Delfy move toward her - each hesitating slightly , unsure of their own footing . Pryce gets to the hole . Looks down . Carrie is precariously dangling in an ICE SHAFT that slopes at a slight angle . She 's managed to grasp a protruding piece of ice , but she 's fighting the pain in her left hand to hold on . It slips off . Below her - nothing but darkness .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Grab me!<\/dialogue>\n    <scene_description>Pryce lays flat . Reaches his hand down - six inches too short . Delfy appears from behind .<\/scene_description>\n    <character>PRYCE<\/character>\n    <parenthetical>( to Delfy . )<\/parenthetical>\n    <dialogue>Hold my legs!<\/dialogue>\n    <scene_description>Delfy does . Pryce inches closer .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>I'm slipping!<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>Almost got you.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>I'm losing my grip.<\/dialogue>\n    <scene_description>He gets closer . Closer . Moves to within an inch from hers - - She SLIPS . Falls away . Things become silent .<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>Carrie? Can you hear me?<\/dialogue>\n    <scene_description>Delfy peers over Pryce 's shoulder into the abyss .<\/scene_description>\n    <character>DELFY<\/character>\n    <parenthetical>( YELLING . )<\/parenthetical>\n    <dialogue>Marshal?<\/dialogue>\n    <character>CARRIE<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>I'm okay.<\/dialogue>\n    <character>DELFY<\/character>\n    <dialogue>Saw a rope in the Cat.<\/dialogue>\n    <scene_description>Delfy springs to his feet .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICE SHAFT - SAME<\/stage_direction>\n    <scene_description>Darkness . A flashlight clicks on . Reflects off a wall of ice with a frozen blood trail leading up . Carrie gets to her feet . Sees that she 's in a small dug out area . As she slowly turns to get her bearings , her light falls on an ESCAPE HATCH of some kind , maybe three feet high . Carrie shines the light to her feet . The ground beneath her is metal .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICE SHAFT - RIGHT AFTER<\/stage_direction>\n    <scene_description>Pryce , with a flashlight in hand , lowers himself down a rope to the bottom of the shaft where Carrie waits . Delfy follows . Both take in the discovery . Carrie moves over to the hatch . Pulls on it . Opens easily . She and Pryce hit the interior with their lights . Find themselves staring into . AN AIRPLANE !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARGO BAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Off their lights - every surface scintillates with ice crystals from the frozen atmosphere , undisturbed except for recent tracks of footprints filing in and out - they go forward and aft , disappearing into darkness . Place is tomb silent . Twisted , and strewn with large containers scattered at odd angles - victims of an intense IMPACT . The plane is pitched up at the nose , making their footing precarious .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Cargo plane, but I do n't recognize it.<\/dialogue>\n    <character>DELFY<\/character>\n    <dialogue>It's an Antanov - 74. Russian made - late fifties. No one's put these in the air for forty years.<\/dialogue>\n    <scene_description>Carrie shuffles her way forward into the darkness , heading for the cockpit . Something BRUSHES her leg . She spins . Shines her light - which illuminates a HAND , fingers in a clawed position - as if in excruciating pain . She whips her light past the hand , up the arm - captures the FACE of a man staring at her ! It takes a moment to realize - he 's dead , pinned between two large metal crates . Delfy stands still . Staring . Carrie throws a look back over her shoulder -<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Guess that makes three.<\/dialogue>\n    <scene_description>She continues on with Delfy staying close . Her light targets the cockpit door . It 's closed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COCKPIT - RIGHT AFTER<\/stage_direction>\n    <scene_description>Carrie pushes the door open . The beam of her light reveals frozen blood SPLATTERED across a SHATTERED WINDSHIELD - chunks of ice protruding through it . Continues over three dead men in flight suits still strapped into seats , their broken bodies and ghastly expressions perfectly preserved . Each have a sidearm holstered around their waist .<\/scene_description>\n    <character>DELFY<\/character>\n    <dialogue>This is n't funny -<\/dialogue>\n    <scene_description>She looks back to Delfy - gets confused .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Where's Pryce?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARGO BAY - RIGHT AFTER<\/stage_direction>\n    <scene_description>Trailing her beam of light , Carrie and Delfy climb through a thick wall of nylon webbing . Enter a cluttered cargo area . Ransacked Antarctic gear is strewn everywhere in a tangle of ropes and crampons , old ECW gear , and boxes of supplies . Dipping into a case of bottles , Delfy pulls one free , sniffs , and drinks .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>What is that?<\/dialogue>\n    <scene_description>Delfy grins .<\/scene_description>\n    <character>DELFY<\/character>\n    <dialogue>Vodka.<\/dialogue>\n    <scene_description>Carrie continues through the hold . Her FLASHLIGHT BEAM flickers over more chaos of the crash . HUGE STEEL TANKS TAKE UP MOST OF THE MID - SECTION . Spots Pryce 's flashlight holding on something just ahead . Moves to it .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( SUSPICIOUS . )<\/parenthetical>\n    <dialogue>Find what you're looking for?<\/dialogue>\n    <scene_description>Her light hits Pryce , who is focused on a HEAVY STEEL CAGE WELDED INTO THE AIRFRAME . Incredibly strong . And inside it is a STEEL SAFE . Door is open . Pryce takes a beat - turns to she and Delfy .<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>Just answers.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Those are fuel tanks behind you. This plane was outfitted for long range capabilities.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>And by the looks of that safe, must've been transporting something pretty important.<\/dialogue>\n    <scene_description>Carrie moves in closer . Sees that the cage has been breached . Part of it has been damaged by the crash and this weakness has been ruthlessly attacked by the previous intruders until they forced an opening . Discarded tools litter the floor .<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>They put some serious work into this.<\/dialogue>\n    <scene_description>There 's a pool of frozen blood near the opening - where one of the torn , jagged bars of the steel cage is covered in blood -<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Whoever got hurt, they dragged him out of here. There's blood all over the tunnel.<\/dialogue>\n    <scene_description>She uses her light to examine the interior of the safe more closely - the frost on the shelves exposes SIX ROUND RUST RINGS where containers have been removed . Each one roughly measuring a foot tall , four inches wide . The PLANE SUDDENLY TREMBLES .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What is that?<\/dialogue>\n    <scene_description>The muffled ROAR of a diesel .<\/scene_description>\n    <character>DELFY<\/character>\n    <dialogue>It's the Cat!<\/dialogue>\n    <scene_description>CRASH ! - the unmistakable sound of FALLING ICE .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Go!<\/dialogue>\n    <scene_description>CRASHCRASHCRASH ! More ICE . They scramble back through the darkness , the flashlight beams swinging wildly about the hold . MORE ICE FALLS . It 's getting louder as they 're getting closer to the source . Carrie targets ahead with her light - illuminates the hatch as A LOAD OF ICE DROPS IN covering it completely . Light fades .<\/scene_description>\n    <character>DELFY<\/character>\n    <dialogue>Sonofabitch!<\/dialogue>\n    <scene_description>The continual sound of falling ice grows MUFFLED and DISTANT . Carrie and Pryce both pull out their phones .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>No signal, you?<\/dialogue>\n    <scene_description>Shakes his head no .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Someone followed us.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PLANE - AT THE HATCH - LATER<\/stage_direction>\n    <scene_description>CHIPCHIPCHIP ! Ice is flying . Things are desperate as a single flashlight beam propped up on a crate , illuminates Carrie , Delfy and Pryce hard at it - frantically chopping away at the ice filled hatch with pieces of scrap metal from the plane . Efforts are big - but the progress minimal .<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>This is n't going to work, it's like digging through concrete with a spoon.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>We're going to suffocate before we get out here.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>How long do you figure we've got?<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>Three of us down here - 12, 15 hours at the most.<\/dialogue>\n    <scene_description>Delfy looks at him with the intensity of a trapped animal .<\/scene_description>\n    <character>DELFY<\/character>\n    <dialogue>No way. I'm not going out like this. No way.<\/dialogue>\n    <scene_description>The light from the flashlight slowly begins to fade . Carrie goes over to the crate , slaps it against her leg , trying to get more juice going . Still fading . Light goes out - - Screen goes black . Ca n't see a thing . A second later , ANOTHER LIGHT KICKS ON - Pryce is holding it . Hands it over to Carrie -<\/scene_description>\n    <character>DELFY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>And when that one goes - we're screwed.<\/dialogue>\n    <scene_description>Carries mind whirls with her lack of options , then -<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>What about the Vodka - we could make some torches, maybe melt the ice?<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>Fire will burn the O2 quicker.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>What choice do we have?<\/dialogue>\n    <scene_description>Pryce knows she 's right . Delfy looks to them both . Desperate .<\/scene_description>\n    <character>DELFY<\/character>\n    <dialogue>Do n't need my vote.<\/dialogue>\n    <scene_description>Pryce heads to the back , his body becoming barely visible in the dissipating range of light . Carrie takes a six - inch , pearl handled Buck knife from a pocket , unfolds it - starts cutting the liner of her coat . Delfy moves to a nearby wooden crate . Goes to lift it , but it 's frozen to the floor . Stomps on it . It breaks . Pulls pieces from the siding for torch sticks . Pryce comes back with a couple bottles . Stops dead in his tracks . Carrie looks over to see him staring at two LIFE JACKETS attached to the wall near the hatch . He 's thinking . He moves to Carrie -<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>Hold these.<\/dialogue>\n    <scene_description>He exchanges the bottles for her flashlight . He shines the light to the ceiling as he heads toward the back , leaving Carrie and Delfy getting swallowed in the dark .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>What're you doing?<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>All these planes used to have bail - out hatches.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>We came in through it.<\/dialogue>\n    <scene_description>Pryce goes back into the cargo area .<\/scene_description>\n    <character>PRYCE<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>Has to be more than one.<\/dialogue>\n    <character>DELFY<\/character>\n    <dialogue>It'd be on the ceiling in case of an ocean landing.<\/dialogue>\n    <scene_description>Carrie watches Pryce 's flashlight moving about in the cargo area of the aircraft .<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>Found it!<\/dialogue>\n    <scene_description>Carrie and Delfy get to Pryce . They follow his beam straight up to expose an ESCAPE HATCH in the roof of the fuselage .<\/scene_description>\n    <character>PRYCE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>With the angle of the plane, I do n't think we're that far from the surface. Give me a hand.<\/dialogue>\n    <scene_description>Pryce moves to a large crate - starts to push it over . They join , sliding it over below the hatch . He jumps up onto it - examines the hatch area .<\/scene_description>\n    <character>PRYCE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>These are explosive bolts. If we blow the hatch, maybe it'll smash a hole up through the ice.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Or, if the ice is too thick the blast will come right back at us.<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>We can be blown up, suffocate or freeze to death. Take your pick.<\/dialogue>\n    <scene_description>Pryce hands Carrie the flashlight . She targets the hatch area as he opens an electrical panel beside it ; a crisscrossing maze of wires . As he reaches up to examine the wiring , Carrie catches a GLIMPSE of a SHOULDER HARNESS under his liner .<\/scene_description>\n    <character>PRYCE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>This could work - give me the battery from your phone.<\/dialogue>\n    <scene_description>As he looks down , Carrie masks her discovery . Hands over her phone . He extracts the BATTERY .<\/scene_description>\n    <character>PRYCE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>When I connect these two wires, hopefully there's going to be a big bang. May want to take some cover.<\/dialogue>\n    <scene_description>Pryce is nervous himself as he places one selected wire onto the battery , and prepares for another . He looks to Carrie and Pryce who have backed up against the fuselage .<\/scene_description>\n    <character>PRYCE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You guys ready?<\/dialogue>\n    <scene_description>Delfy nods . Carrie is still running that shoulder holster through her head . Pryce touches the last wire to the battery . Nothing happens . Hope freezes . Pryce tries again - - KA - BOOM ! The hatch EXPLODES INWARD , ricocheting around the inside of the cargo hold like a giant bullet coming in and out of their light . SLAM , SLAM , SLAM , until . WHAM , it buries itself edge - on , halfway into the fuselage , missing Carrie by a hair 's width . They stand there , deafened and stunned , then a shower of ice rains into the plane where the hatch used to be and a THIN SHAFT OF LIGHT DROPS into the cargo bay like a gift from God .<\/scene_description>\n    <character>DELFY<\/character>\n    <dialogue>Hallelujah -<\/dialogue>\n    <scene_description>Pryce drops down . Moves to another crate .<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>Delfy, help me with this. We'll need to get up higher.<\/dialogue>\n    <scene_description>Delfy moves forward to help . The two of them push it over . It 's a strenuous lift to get it on top of the other . Just as they finish , Pryce turns to find himself facing Carrie holding one of the RUSSIAN 'S GUNS TO HIS FACE .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Do n't move.<\/dialogue>\n    <scene_description>Pryce stares at her in disbelief .<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <character>DELFY<\/character>\n    <dialogue>Yeah - what're you doing?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Our friend here is n't who he says he is.<\/dialogue>\n    <scene_description>She reaches into Pryce 's liner , pulls out his sidearm from the shoulder holster . Switches it with the one in her hand . Puts the Russian gun in her coat pocket .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Did n't you know it's a direct treaty violation to carry a firearm down here?<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>I've been authorized because of what's happened.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Stop lying to me -<\/dialogue>\n    <scene_description>She takes out her handcuffs .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Delfy, cuff him to the wall.<\/dialogue>\n    <scene_description>She holds out the cuffs .<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>Do n't do this.<\/dialogue>\n    <character>DELFY<\/character>\n    <dialogue>Man, the guy just saved our lives.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>He was saving his own. Do it.<\/dialogue>\n    <scene_description>Delfy takes the cuffs from her . Cuffs Pryce to some exposed piping . Carrie lowers her gun .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You know what was in that safe.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Now, who are you?<\/dialogue>\n    <scene_description>She sees a moment of contemplation on Pryce 's face -<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I swear I'll leave you here to die.<\/dialogue>\n    <scene_description>Beat .<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>CIA.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Have you got an ID for that too?<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>Listen to me - Forty eight hours ago, we picked up chatter between someone down here and Tahir Soufian, a black market trader in New York. It was all about setting up a buy for cannisters found in an old Russian transport buried in the ice.<\/dialogue>\n    <character>DELFY<\/character>\n    <dialogue>Damn, I knew that government eavesdropping was true.<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>There's been rumors for years that the Russians had a second base - a secret weapons research facility under the ice that supposedly blew up in the late sixties - nothing was ever confirmed. The fact is, before the treaty in ` 72 they were strip mining all over the place down here - we believe for uranium and other specialized minerals for weapon's use. It was the Cold War. No one knows half the things the Russian's were up to. This plane could be the link between rumor and truth. And if it is true, what's in those cannisters could be a prelude to another terrorist attack.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Why did you lie to me?<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>Look, the U.N. carries a lot of weight down here. Think about it - if I had told you I was C.I.A., you would have been on the horn back to Washington in no time. This is a very sensitive matter. News travels fast down here, I do n't have to tell you that.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Besides, I did n't know if I could trust you.<\/dialogue>\n    <scene_description>Carrie wrestles with her emotions . She looks back towards the open safe , the blood staining the airplane floor . Makes a decision .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SURFACE - DAY<\/stage_direction>\n    <scene_description>Delfy wriggles out from the hole . He reaches back . Helps Carrie to the surface . Pryce follows . They look around . The weather has deteriorated - the sky is dark with fast moving clouds . The wind is HOWLING . The Snowcat is parked over the hole , blade lowered . Delfy runs over , jumps onto the CAT . Looks inside the cab .<\/scene_description>\n    <character>DELFY<\/character>\n    <dialogue>Keys are still in it!<\/dialogue>\n    <scene_description>Carrie notices a single set of an airplane 's ski tracks in the distance .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Plane could've gone anywhere. There's forty - six countries here all counting down to Winter - over. Rubin could just disappear in the mayhem.<\/dialogue>\n    <scene_description>Delfy starts up the Cat . Carrie pulls out her Nextel as Pryce takes out his PDA . She depresses the walkie button - makes her way to the Cat .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Rhonda?<\/dialogue>\n    <scene_description>Walkie crackles .<\/scene_description>\n    <character>RHONDA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( PISSED . )<\/parenthetical>\n    <dialogue>Where the hell are you?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Heading back. How many fly - ins to McMurdo in the last four hours?<\/dialogue>\n    <character>RHONDA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>You expect me to -<\/dialogue>\n    <character>CARRIE<\/character>\n    <parenthetical>( SNAPS . )<\/parenthetical>\n    <dialogue>- How many?<\/dialogue>\n    <character>RHONDA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Fifteen.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>I need a list of names.<\/dialogue>\n    <scene_description>Carrie clicks off .<\/scene_description>\n    <character>DELFY<\/character>\n    <dialogue>You think Rubin might try to leave out of McMurdo?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>He knows I'm on his ass, so he might. Anything's possible. I want to eliminate his options.<\/dialogue>\n    <scene_description>She massages her gloved hand . Looks to Pryce who 's talking on his PDA as he heads toward the Cat .<\/scene_description>\n    <character>PRYCE<\/character>\n    <parenthetical>( INTO PHONE . )<\/parenthetical>\n    <dialogue>Six cannisters, maybe four inches in diameter, about a foot high - find out exactly what the Russians transported in something that size.<\/dialogue>\n    <scene_description>He looks to Carrie -<\/scene_description>\n    <character>PRYCE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You have a photo of Rubin anywhere?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Back at ASB -<\/dialogue>\n    <character>PRYCE<\/character>\n    <parenthetical>( to Delfy . )<\/parenthetical>\n    <dialogue>How long to get there?<\/dialogue>\n    <character>DELFY<\/character>\n    <dialogue>When we get back to the plane, I'll get ya there in forty minutes.<\/dialogue>\n    <scene_description>As Pryce climbs into the cat -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SNOWCAT - CONTINUOUS<\/stage_direction>\n    <scene_description>And slides into the back -<\/scene_description>\n    <character>PRYCE<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>I'll scan a picture of him and get it to you. Meanwhile, contact every non - American base down here and put them on watch. He's got some plan to get these off the ice.<\/dialogue>\n    <scene_description>He hangs up . Carrie climbs in - looks back at the plane 's ski tracks .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>I know why Weiss was so far from Delta One One.<\/dialogue>\n    <scene_description>Pryce and Delfy wait for the answer .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>He was dumped from a plane.<\/dialogue>\n    <scene_description>She closes the door to the Cat .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   CORRIDOR - ASB - DAY<\/stage_direction>\n    <scene_description>Carrie strides along the corridor with Pryce . They pass a window where we see that an LC - 13O EVAC PLANE is parked out front - it 's tail section open like the mouth of a massive beast . Move past several people , balloons and ` Eve of Evac ' signs . Pryce sees Carrie really cradling her left hand , now .<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>You need to get that looked at.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>I'll have the Doc take a peek when we're done.<\/dialogue>\n    <scene_description>Dinkle 's pulling a DUFFLE BAG toward them . Sees Carrie and Pryce about to head up some stairs .<\/scene_description>\n    <character>DINKLE<\/character>\n    <dialogue>Murphy's looking for you.<\/dialogue>\n    <scene_description>Carrie stops .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Murphy? What the hell is he doing HERE<\/dialogue>\n    <character>DINKLE<\/character>\n    <dialogue>Came in on the evac.<\/dialogue>\n    <scene_description>She pulls Dinkle 's two - way off his hip . Hands it to Pryce .<\/scene_description>\n    <character>DINKLE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Hey - I do n't turn that in, I have to pay for it.<\/dialogue>\n    <scene_description>Carrie ignores him .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>I'm on 30 if you need me. Rubin's picture is in a file on my desk.<\/dialogue>\n    <scene_description>Dinkle shoots Pryce the stink eye as he walks away -<\/scene_description>\n    <character>DINKLE<\/character>\n    <dialogue>Make sure I get that back.<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>Pryce heads up as Carrie continues on down the main corridor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OPERATION CENTER - ASB - DAY<\/stage_direction>\n    <scene_description>Murphy and Rhonda are standing next to the COMMS TECH , who is sitting in front of his COMPUTER . The screen revealing the SATELLITE IMAGERY of the storm It 's grown and moving closer to ASB .<\/scene_description>\n    <character>TECH<\/character>\n    <dialogue>It's packing winds of a hundred thirty knots.<\/dialogue>\n    <scene_description>Murphy looks stressed .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Shit - we've got to move up the evac.<\/dialogue>\n    <character>RHONDA<\/character>\n    <dialogue>How much?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Six hours at least.<\/dialogue>\n    <character>RHONDA<\/character>\n    <dialogue>Jesus, I got crew that's still not in.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Then get them in!<\/dialogue>\n    <scene_description>Rhonda is thrown off by his tone -<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>You wanted to see me?<\/dialogue>\n    <scene_description>Murphy looks over . Sees Carrie coming in through the door .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Where the hell have you been?<\/dialogue>\n    <scene_description>She does n't like his tone -<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Buried under 2 tons of ice. You?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Do me a favor, you find any more bodies, mind not parading them down the main corridor. I've got Newbies afraid to winterover, for Chirstsake. They want out on seats I do n't have. And next time you want to take a Goddamn plane anywhere, you ask me.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Sure thing, Chief.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>We do n't have enough supplies for all of us to Winter - over if we get stuck down here.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>And you wonder why it did n't work out between us.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>It did n't work, Sam, because you could n't keep your hands off every new woman who stepped foot on the ice down here. I was stupid enough to be one of them. Now if you could cut through your red tape for just one second, you would realize that someone's out there with six cannisters, possibly full of Uranium, and he wants to get it into the hands of some very bad people. And I'm trying to stop it - so fuck asking you for shit, Sam.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>This is ridic -<\/dialogue>\n    <scene_description>THE SOUND OF A LARGE BOOK dropping onto the floor , sends a harsh reverb across the room .<\/scene_description>\n    <character>DOC<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>Enough!<\/dialogue>\n    <scene_description>Everyone 's attention goes to Doc standing at the door . He 's really pissed . Glares at Murphy .<\/scene_description>\n    <character>DOC<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What the hell's wrong with you, Murph? I've got bodies piling up in my lab, and she's the only one doing anything about it.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Why do n't you try helping her for a change?<\/dialogue>\n    <scene_description>Murphy looks at Doc . Not giving in . Carrie calms down - she 's had enough .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>You know what Doc, it's alright.<\/dialogue>\n    <scene_description>Carrie looks to Rhonda -<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You got my list?<\/dialogue>\n    <scene_description>Rhonda pulls it from her clipboard . Hands it to her . Carrie walks out with Doc .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAIN CORRIDOR - ASB - CONTINUOUS<\/stage_direction>\n    <scene_description>A SUBJECTIVE POV - watching Carrie and Doc from behind the crack of a door as they walk down the main corridor and right by .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEDICAL CLINIC - ASB - LATER<\/stage_direction>\n    <scene_description>Carrie 's sitting on the edge of an examination table as Doc slowly unwraps her bandaged hand . She winces from the pain .<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>I'm worried about you. Is it going to take another attempt on your life to get you to finally slow down?<\/dialogue>\n    <scene_description>She looks at him warmly -<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>You worry too much - but it's what I like about you.<\/dialogue>\n    <scene_description>Doc smiles , continues to unravel the gauze -<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Doc, did you notice if Weiss had a wound on his left leg?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I striped him down to put him in a bodybag. There's only the puncture from the axe. No way, I would have noticed it. Why?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Then it's got ta be Rubin.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Any word from the FBI?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>There's no way they're gon na make it. Not with that storm coming in over the peninsula.<\/dialogue>\n    <scene_description>The gauze finally comes off , revealing her middle TWO FINGERS have turned COMPLETELY BLACK along with part of the flesh of her palm . Her ring looks strangely out of place .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Oh God.<\/dialogue>\n    <scene_description>Doc reaches over to a nearby drawer - takes out a sterilized syringe packet .<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Jesus, Carrie, how long did you let this go?<\/dialogue>\n    <scene_description>He opens up the packet .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>When did I go to Vostok?<\/dialogue>\n    <scene_description>Doc puts the tip of the needle onto her blackened flesh .<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Feel that?<\/dialogue>\n    <scene_description>He pushes hard - penetrates the skin . We see the worry begin to elevate further on Carrie 's face .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Doc tries the needle in another location .<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Now?<\/dialogue>\n    <scene_description>Slowly shakes her head . He holds her gaze evenly .<\/scene_description>\n    <character>DOC<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I have to amputate your middle two fingers.<\/dialogue>\n    <character>CARRIE<\/character>\n    <parenthetical>( STUNNED . )<\/parenthetical>\n    <dialogue>No way. Do n't tell me that.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>The fingers are dead, Carrie. If I do n't do it now, gangrene will set in. You'll lose your hand.<\/dialogue>\n    <scene_description>Carrie is sickened .<\/scene_description>\n    <character>DOC<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I'm sorry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEDICAL CLINIC - LATER<\/stage_direction>\n    <scene_description>Carrie sits in sullen silence , the room dark around her . The only light bounces in from a sterile , draped area where Doc works on her hand . She ca n't watch as his CURVED SUTURE and thread , rises and falls with every stitch he makes . Carrie has her attention on BLOODY GAUZE piled up in a tray - SMASH CUT TO CARRIE 'S MEMORY HIT : AN IMAGE SHE SAW EARLIER : The well defined chest of a man wearing a T - shirt . A BULLET HOLE oozes dead center . This time we stay there a little longer , watching the T - shirt absorb the blood around the wound . As the stain widens , so does the camera . slowly . bringing into picture THE MAN Carrie shot . He 's wearing a MARSHAL 'S BADGE around his neck .<\/scene_description>\n    <character>DOC<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>There, finished.<\/dialogue>\n    <scene_description>BACK TO SCENE Carrie looks at him , sullen , afraid to look down . Then slowly lets her eyes drift to her hand .<\/scene_description>\n    <character>DOC<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>It's going to be an adjustment.<\/dialogue>\n    <scene_description>He rises . Goes to a medicine cabinet . Selects a pill bottle . Shakes it . Only a couple inside . He returns with the pill bottle .<\/scene_description>\n    <character>DOC<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Should ease the pain. I'll look around, dig some more up for you.<\/dialogue>\n    <scene_description>She stares at the vacant spot where her fingers used to be .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARRIE'S BEDROOM - ASB - DAY<\/stage_direction>\n    <scene_description>Carrie 's bag is open on the bed with the Russian 's gun next to it . She 's trying to put on a clean flannel over a T - shirt , but ca n't button it up with only one hand . Her frustration mounts as she fights back every bit of emotion that 's trying to get out . She finally gives up - kicks over a nearby chair that sweeps the stuff off her bed . Bag and gun go flying . Carrie slumps to the floor . Silent tears . After a beat - she notices Pryce standing in the doorway with some PAPERS in his hand . He 's looking at her compassionately .<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>I stopped by the clinic. Doc told me.<\/dialogue>\n    <scene_description>Carrie nods , pulling herself together , swallowing her emotion .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Pretty tough Marshal, huh?<\/dialogue>\n    <scene_description>He enters . Holds out her ring for her .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( holds up hand with missing ring FINGER . )<\/parenthetical>\n    <dialogue>If you came to propose, now's not really a good time.<\/dialogue>\n    <scene_description>He joins her . Hands over her ring . Takes a seat next to her .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Anything?<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>Got Rubin's face all over Antarctica, but nobody's seen him yet.<\/dialogue>\n    <scene_description>They sit in silence together for a moment . Carrie sees the Russian pistol that 's ended up on the floor close by . Picks it up . Examines it like a relic .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>You ever kill anyone?<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>Unfortunately.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Anyone you ever trusted?<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Beat .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>I had n't held a gun in my hand for over two years.<\/dialogue>\n    <parenthetical>( LAUGHING . )<\/parenthetical>\n    <dialogue>Was n't supposed to need one down here.<\/dialogue>\n    <scene_description>She looks at him -<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You asked what I was running away from. I came down here to forget my partner, Jack. Thought it would be better than any therapy.<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>We were on a stakeout at a Holiday Inn in Miami, waiting for this buy to go down. I was excited, we'd been after this trafficker for a long time. Thought this bust would be my big chance to impress the brass. Anyway, guy's a no show. One hour went by, then two - nothing. Then Jack starting acting strange. Next thing I knew my face was being rammed into a mirror. My own partner was trying to kill me. Turns out the whole bust was a set up from the start. Jack was dirty, working with the guy we were after.<\/dialogue>\n    <scene_description>Beat .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Four years together. I knew things about him that his wife did n't even know.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>But he was my partner and I killed him that night. There's no changing that.<\/dialogue>\n    <scene_description>Pryce takes it all in . Not the story he expected .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Marshall service cleared me - ruled it self - defense, but I had a real hard time getting over the betrayal - how little my life meant to a guy I was willing to take a bullet for.<\/dialogue>\n    <scene_description>Carrie shifts in her chair . Leans forward .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Know what the kicker is - Jack thought I was close to figuring him out. Thought this hotel room was the best place to get rid of me - make it look like a bust gone bad. Truth is, I had no idea.<\/dialogue>\n    <parenthetical>( ANGRY . )<\/parenthetical>\n    <dialogue>God, I was young and stupid, and in way over my head.<\/dialogue>\n    <scene_description>She stands . Pryce joins her .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You asked me why I smell like suntan lotion - Jack wore Aramis, this cheap after - shave his wife gave him. Some of the guys down here wear it - suntan lotion is the only thing that keeps me from smelling it.<\/dialogue>\n    <scene_description>She notices the papers he 's holding ; faxed photos of THREE DIFFERENT TYPES OF CANNISTERS WITH RUSSIAN WRITING ON THEM .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What do ya got there?<\/dialogue>\n    <scene_description>He shows them to her . One - by - one .<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>It's what the Russians used to transport weapons grade materials in. They match the dimensions inside the safe. We're looking for six of these.<\/dialogue>\n    <scene_description>As Carrie studies them -<\/scene_description>\n    <character>PRYCE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Langley's thinking it might be Hexafluoride, which is a derivative of Uranium. It's a component for nuclear detonation.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>These beakers where really in over their heads.<\/dialogue>\n    <scene_description>The RADIO on Pryce 's hip - crackles .<\/scene_description>\n    <character>RHONDA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Dinkle, it's Rhonda -<\/dialogue>\n    <scene_description>Pryce smirks .<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>I better get this back to him. And we have to find Rubin.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Think you can you help me with these buttons, first?<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>He moves closer . Starts to button her up .<\/scene_description>\n    <character>PRYCE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>For what it's worth - I think you're pretty tough, Marshall.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARSHAL'S OFFICE - ASB - RIGHT AFTER<\/stage_direction>\n    <scene_description>Carrie enters . Light streaming in through the window hits her tired face . She reaches for the light switch on the nearby wall - - A HAND GRABS HERS - - AGGRESSIVELY YANKS her away from the open door . It 's kicked closed as she 's drawn backwards into a man 's embrace . A knife 's brought to her neck .<\/scene_description>\n    <character>MAN<\/character>\n    <parenthetical>( raspy , deep . )<\/parenthetical>\n    <dialogue>. You Stetko?<\/dialogue>\n    <scene_description>Carrie nods - slides her hand toward her pocket .<\/scene_description>\n    <character>MAN<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Do n't.<\/dialogue>\n    <scene_description>She stops .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <scene_description>He slowly turns her around to face him . - it 's Rubin , but he looks beat to shit . Deep cracks slice across his bloody , chapped lips . Peeling skin flakes on his face . Desperate , despondent eyes . Shaky , frostbitten fingers . He 's having a hard time holding it together as he can barely get the words out .<\/scene_description>\n    <character>RUBIN<\/character>\n    <dialogue>- Did Mooney talk to you? I did n't hear from him - he was supposed to call me after you talked.<\/dialogue>\n    <scene_description>Carrie 's confused .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Mooney's dead.<\/dialogue>\n    <scene_description>His eyes well .<\/scene_description>\n    <character>RUBIN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>And so's Weiss.<\/dialogue>\n    <scene_description>He nods - he knew .<\/scene_description>\n    <character>RUBIN<\/character>\n    <dialogue>And I'm next, I know it.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>It's okay, you're safe, just put the knife down.<\/dialogue>\n    <scene_description>His shaking hands slowly lowers it - she breathes a little easier . He sets it down on an empty book shelf next to him .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Who's after you? Where are the cannisters?<\/dialogue>\n    <scene_description>He stares off blankly -<\/scene_description>\n    <character>RUBIN<\/character>\n    <dialogue>Weiss did n't want to go through with it. Oh God. How did we let this happen?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Rubin - I need you to focus for me.<\/dialogue>\n    <scene_description>He tries . Looks at her through tired , pinched eyes - he 's trying . O.C. KNOCK . KNOCK on her door . Rubin is spooked . Glares at her - scared . Like a caged animal .<\/scene_description>\n    <character>DOC<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>Carrie, it's Doc - got those painkillers.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>It's okay, he's a doctor, he can help you.<\/dialogue>\n    <scene_description>It falls on deaf ears - he goes for the knife . She tries to stop him . Rubin shoves her aside , throwing her against a chair . She topples backwards . He whips open the door , driving an unexpected shoulder into Doc , who gets nailed so hard , he goes stumbling back up against the wall behind him . Takes the wind right out of him . Pills all over the floor . Rubin dashes off down the hallway - it 's an effort . Carrie appears at the door . Catches a glimpse of Rubin disappearing down a set of side stairs .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You alright?<\/dialogue>\n    <scene_description>Doc nods . She takes off after him , pulling her phone off her hip . AT THE STAIRS She takes two at a time - keys the two - way .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Pryce -<\/dialogue>\n    <character>PRYCE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Yeah?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Rubin's here! He's on the run. Level one. White T - shirt. Jeans.<\/dialogue>\n    <scene_description>BOTTOM OF STAIRS - LEVEL ONE As Carrie comes off the stairs - looks left - there 's three guys carrying boxes out of a room . Snaps a look to the right - - Rubin 's at the far end , slipping through a doorway that leads into an INTERCONNECTING TUNNEL to another part of ASB .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( into walkie . )<\/parenthetical>\n    <dialogue>He's heading for the Science Lab.<\/dialogue>\n    <scene_description>Carrie kicks it into high -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ASB - OUTSIDE CONNECTING TUNNEL - SAME<\/stage_direction>\n    <scene_description>A SUBJECTIVE POV - catches interval glimpses of Rubin through the small windows that run along the side of the tunnel as he dashes through .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONNECTING TUNNEL   - SAME<\/stage_direction>\n    <scene_description>Rubin is moving through to a door at the far end as Carrie enters . It 's lined with several free standing , empty bookcases .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Rubin, wait!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCIENCE BUILDING - RIGHT AFTER<\/stage_direction>\n    <scene_description>Carrie enters through the connecting tunnel 's doorway . Not a lot of light . Slows her pace . It 's quiet . Dormant . Vacant lab stations . Room 's been shut down for the winter . Eyes scan . Fall upon - - A DOOR ACROSS THE ROOM . A sign above reads : READY ROOM . She takes off again , slaloming her way around the lab stations to get to the door . OTHER SIDE OF ROOM Carrie gets to the door . Pulls on the handle . Wo n't open . Rattles . Looks in through a viewing window - sees - - a panicked Rubin inside , grabbing ECW gear off a rack mounted to the wall . A DIGITAL READOUT ABOVE THE EXIT DOOR READS : - 60 . He and Carrie exchange glances .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Rubin - I can help you!<\/dialogue>\n    <scene_description>He shakes his head . She tugs harder on the doors . Stuck . Looks through the window to see he 's tied them together with some climbing rope . In that same instant a shaft of brilliant daylight floods half the room as the outside door is whipped open . A MAN in full ECW - stands in the doorway . He 's wearing a FACE MASK and GOGGLES . Holds an ICE AXE poised , ready to strike - it 's the same guy who attacked her . Rubin bolts back toward the door separating he and Carrie , but - - SWOOOSH ! THE ICE AXE is buried into his shoulder , gaffing him like a fish . The pain 's excruciating for Rubin , who spins on his attacker like a wild man . BULLDOZES into him , driving him back out the door . Both TUMBLE down a steep set of stairs - the exposed end of the ice axe gets stuck in a step 's steel meshing on the way down - rips out of Rubin 's shoulder .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. READY ROOM - BASE OF STAIRS - CONTINUOUS<\/stage_direction>\n    <scene_description>Rubin eats the pain as he gets to his feet . Takes off . Runs blindly with panting intensity verging on hysteria . Disappears around the contour of ASB before the other guy can get to his feet . His assailant rises . Goes back up a couple steps to retrieve his embedded ice axe , but finds it wedged so tight , it wo n't budge . Abandons it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCIENCE BUILDING - SAME<\/stage_direction>\n    <scene_description>Carrie shoulders the door , but still does n't budge . Hears FOOTSTEPS BEHIND HER . Turns to see it 's Pryce .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Door's jammed -<\/dialogue>\n    <scene_description>Pryce latches on to a heavy SUPPLY CART filled with beakers , micro - scopes and other gear , that 's tucked against one of the lab stations .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Pryce, it's not Rubin -<\/dialogue>\n    <scene_description>Off his confused look -<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Someone's trying to kill him.<\/dialogue>\n    <scene_description>Pryce picks up speed as he targets the door . Hits it like a freight train , busting it open ! Cart goes crashing . Contents scatter like buckshot .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. READY ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>The two of them are hit with icy cold coming in through the open exit door . Carrie throws a look outside - bottom of stairs are vacant . Ice axe is still there .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Shit, Rubin does n't have any gear on.<\/dialogue>\n    <scene_description>Carrie immediately closes the outside door . Pryce goes for the ECW wear . Scrambles to get a coat on . Carrie joins . Same thing .<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>How long's he been out there?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Thirty seconds.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ASB - RIGHT AFTER<\/stage_direction>\n    <scene_description>Rubin staggers as he follows a line of storage bins tucked against the base of the main building . The blood from his wound already frozen on his shirt . The cold - it 's killing him . Body 's shaking . The sun 's reflection off the ice is blinding . RUBIN 'S POV - His vision begins to cloud as the corneas are literally being burned by the intense light . He tries to shield them - has little effect . He looks over his shoulder - gets a BLURRED IMAGE of his attacker not far behind . Rubin trips . Hands go to the icy ground to protect his fall . Still hits hard . Starts to get up , but his palms are frozen to the surface . Does n't have time to care - pulls hard , tearing the skin right off . Stands . Spins around in a panicked whirl - he 's lost ground . Continues to the end of the storage bins . Moves under ASB , using the enormous HYDRAULIC LIFT COLUMNS to conceal his movement .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNDERNEATH ASB - CONTINUOUS<\/stage_direction>\n    <scene_description>Up ahead - forty yards away - hope . He continues toward some storage containers and the SNOW MELTER on the other side , where TWO PEOPLE , CLAD IN ECW are finishing filling an insulated container with water from an insulated hose mounted to the Melter . A snowmobile is parked next to them . He tries to scream , but only a dull , raspy , muffled voice escapes .<\/scene_description>\n    <character>RUBIN<\/character>\n    <dialogue>Help me.<\/dialogue>\n    <scene_description>The guys - oblivious .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. READY ROOM - STAIRS - DAY<\/stage_direction>\n    <scene_description>Carrie and Pryce , now bundled up in ECW , exit the room and head down the stairs . Split up - go opposite directions around the complex .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNDERNEATH ASB - SAME<\/stage_direction>\n    <scene_description>Rubin 's pace is slowing - he 's exerting himself to get to the people as they climb into snowmobile with the container . Frostbite is chewing up his lungs . He 's too slow , they take off . He coughs up blood .<\/scene_description>\n    <character>RUBIN<\/character>\n    <dialogue>W. wa. wait.<\/dialogue>\n    <scene_description>He turns around to check on his pursuer . Twenty feet away and closing . Rubin 's eyes desperately search for some kind of weapon - anything . Sees the insulated hose on the SNOW MELTER . Heads for it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ASB - OTHER SIDE - SAME<\/stage_direction>\n    <scene_description>Carrie passes a gap between storage containers where several snow shovels are stuck into a mound of snow - through their vertical slats , SHE CATCHES A GLIMPSE OF RUBIN at the Snow Melter across on the other side of the main building . Sees the ECW guy closing in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ASB - UNDERNEATH - SAME<\/stage_direction>\n    <scene_description>Pryce is moving under ASB . Passes a hydraulic support leg . Spots Carrie on the other side moving toward Rubin . Also sees the ECW guy in pursuit . Heads toward them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ASB - SNOW MELTER - SAME<\/stage_direction>\n    <scene_description>Rubin 's frostbitten hand reaches for the hose . Grabs it , but he does n't have the strength to turn it on . Throws a defeated glance over his shoulder to see - - THE VILLAIN in ECW gear right on him ! Shoves Rubin against the tank . Grabs the hose from him . Turns it on - SPRAYING him head to toe . Rubin 's clothes turn to ice . One eye freezes shut . Lips go cobalt blue . He tries to escape , but several stiff steps away , he slows and finally stops : a prisoner in his ice - locked clothing . The man moves to Rubin . Grabs his head , and - SNAP - breaks his neck . Rubin 's body topples stiffly to the ground .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OPERATIONS ROOM - ASB - SAME<\/stage_direction>\n    <scene_description>Rhonda crosses the busy room . Reaches for a clipboard hanging next to the window . Something outside catches her attention .<\/scene_description>\n    <character>RHONDA<\/character>\n    <dialogue>Sam!<\/dialogue>\n    <scene_description>She looks to Murphy , who is on the phone . Murphy and the others join her at the window . They see Rubin on the ground , but the Snow Melter blocks any view of the killer .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ASB - SNOW MELTER - SAME<\/stage_direction>\n    <scene_description>The Killer turns to leave the crime scene and - - WHACK ! He 's blindsided by a SHOVEL to his head . Goggles shatter . He drops . Carrie pulls his parka hood away from his head - snaps the goggle from his face . It 's KELLER ! Blood trickles from the fresh wound to his head . The shovel 's courtesy of Carrie , who stands over top of him . Holds the shovel to his neck like a guillotine blade . Pryce approaches . Glances to Rubin 's frozen body - neck askew . Carrie is wound up . Keller 's still recovering from the impact -<\/scene_description>\n    <character>KELLER<\/character>\n    <dialogue>I sh. sh. shoulda killed you at Vostok.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Where are the cannisters?<\/dialogue>\n    <character>KELLER<\/character>\n    <dialogue>Go to hell.<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>Wrong answer.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Help me drag him over here.<\/dialogue>\n    <scene_description>They each take his jacket by the shoulder - pull him back over to the Snow Melter .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Keep him still.<\/dialogue>\n    <scene_description>She hands the shovel to Pryce , who puts it to Keller 's neck . Carrie pulls her Buck knife from her back pocket , then whips off Keller 's gloves . Tosses them aside . The cold makes him more coherent . Sees Pryce at this throat .<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>Who's Tahir selling it to - what's the intended target?<\/dialogue>\n    <scene_description>Keller shifts his attention to Carrie , who 's using her knife to SLICE open his ECW jacket and pants , exposing bare arms and legs .<\/scene_description>\n    <character>KELLER<\/character>\n    <dialogue>What're you doing, you crazy bitch?<\/dialogue>\n    <scene_description>Keller instantly starts to shake .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Why did you kill those scientists, Keller? Was a four - way split too much for you?<\/dialogue>\n    <character>KELLER<\/character>\n    <dialogue>Fuck you.<\/dialogue>\n    <scene_description>Carrie grabs the hose from the Snow Melter . She brutally stomps on Keller 's exposed arm , douses him with water from the hose , welding his arm to the ground as it freezes instantly .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Where is the uranium?<\/dialogue>\n    <character>KELLER<\/character>\n    <parenthetical>( almost smug . )<\/parenthetical>\n    <dialogue>You have no idea what's going on here, do you?<\/dialogue>\n    <scene_description>Keller begins to shiver violently .<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>Hit the sonofabitch again!<\/dialogue>\n    <scene_description>Carrie releases more water , freezing more of the arm . He screams . Pain is too much . He caves .<\/scene_description>\n    <character>KELLER<\/character>\n    <dialogue>The plane, they're in the fucking plane.<\/dialogue>\n    <scene_description>Carrie 's suddenly grabbed from behind . It 's Murphy . Furious . Two other guys at his side .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Have you completely lost your mind?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Let go of me.<\/dialogue>\n    <scene_description>She twists free of his grasp . Gets in Keller 's face .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Where in the plane?<\/dialogue>\n    <character>KELLER<\/character>\n    <dialogue>Find them yourself.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>What the hell's going on?<\/dialogue>\n    <scene_description>She glares at him .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>The cannisters are on the plane.<\/dialogue>\n    <scene_description>She looks to the guys that came out with Murphy .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Throw him in the holding cell.<\/dialogue>\n    <scene_description>The two guys go to Keller , but his arm is stuck to the ground . Carrie kicks it free . It 's painful . Keller screams . The guys lift him to his feet . Haul him away . Murphy looks to Pryce -<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Who the hell are you?<\/dialogue>\n    <scene_description>Carrie looks at Pryce .<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>Name's Pryce.<\/dialogue>\n    <scene_description>Pryce looks at Carrie .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>He's with the UN. We have to search that plane now!<\/dialogue>\n    <scene_description>Murphy looks to Carrie with an intense glare -<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>We do n't have time. We'll just search it in Christchurch when it lands.<\/dialogue>\n    <scene_description>Pryce steps in -<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>It's a twelve hour flight to Christchurch. Anything can happen in that time. Keller is here, so we know it's still on the ground. Once that plane is in the air, we've as good as lost it. Just give us 10 minutes.<\/dialogue>\n    <scene_description>Murphy looks to Carrie , softens slightly -<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Sam, do what is right here. Come on.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Do what you have to, but that plane takes off in one hour.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>We'll need some help.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>I'll send what I can.<\/dialogue>\n    <scene_description>He leaves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LC-130 - DAY<\/stage_direction>\n    <scene_description>Carrie is near the cockpit , searching under a row of seats . Pryce approaches . A handful of ASB employees tear through every inch of the fuselage and cargo .<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>It's clean.<\/dialogue>\n    <scene_description>Carrie gets to her feet . Pissed off .<\/scene_description>\n    <character>PRYCE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You check the cockpit?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Nothing. That bastard. What the hell are you up to, Keller?<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>I do n't get it, why lie to us - we have him either way. He's stuck here.<\/dialogue>\n    <scene_description>Carrie 's suddenly chilled with the ominous reality that -<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>He's buying time.<\/dialogue>\n    <scene_description>Carrie races off the plane . Pryce tries to keep pace .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - RIGHT AFTER<\/stage_direction>\n    <scene_description>Carrie is slaloming her way through the corridor , which is packed with ASB employees carrying their bags for the evac . Pryce is close behind .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Out of the way!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ASB - MARSHAL'S OFFICE - RIGHT AFTER<\/stage_direction>\n    <scene_description>Carrie enters . Pryce at her side . Her face goes white . The door to the holding room is wide open . Keller 's GONE .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Shit!<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>He's got nowhere to go, nowhere to hide.<\/dialogue>\n    <scene_description>Then it hits her -<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>He wo n't try. He's a goddamn pilot.<\/dialogue>\n    <scene_description>As the two of them take off for the door -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ASB - HANGAR - DAY<\/stage_direction>\n    <scene_description>Delfy walks across the floor . Hangar is minimally lit . Still . Silent . Void of personnel . The Otters are lined up . The Snowcats and snowmobiles on the other side . He heads toward an Otter .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TWIN OTTER - HANGAR - DAY<\/stage_direction>\n    <scene_description>Delfy reaches in and gets his son 's picture , which is still hanging on the console . Then , something catches his attention through the windshield of his plane . He sees a FUEL HOSE running to another plane - and it 's pumping . Curious , he gets out of the Otter . Eyes dart about the hangar . Does n't see anyone . Heads to the other plane . Discovers that a door is open on the other side . Takes a another look around . Does n't see anyone . Moves closer . Gets to the plane . Takes a look inside , and - THUD ! He 's nailed with a giant Crescent wrench to the head . Stumbles back . Keller leaps out , grabbing hold of a staggering Delfy . Ruthlessly runs him head first into a standing tool chest . Delfy collapses to the ground in a heap . Unconscious .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ASB - HEADING TOWARD THE HANGAR - RIGHT AFTER<\/stage_direction>\n    <scene_description>Carrie and Pryce , dressed in ECW are making their way toward the hangar .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LC-130 - SAME<\/stage_direction>\n    <scene_description>Employees are trudging up through the back entrance into the plane . Get checked off a list by the LOAD MASTER . Toss their gear into a netted cargo area . Find a seat . Plane is nearly full .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TWIN OTTER - HANGER<\/stage_direction>\n    <scene_description>Keller has the engine going . It 's loud . Preps the console for flight , flipping switches - suddenly sees Carrie and Pryce enter the hangar . Guns drawn . CARRIE AND PRYCE Shift their attention to the plane . Blades turning . They stalk forward . Slowly . Carefully . Eyeing for any betrayal of movement . Then , with a nod from Carrie , they move in . Fast . Ready . Look into the plane . It 's empty , except for a duffle bag in the back . Carrie nods to Pryce . Motions for him to go one way , she 'll go another . INTERCUT CARRIE AND PRYCE Carrie eyeballs a Snowcat . It 's door is slightly open . She heads for it . Gun poised . Pryce moves to check the next plane . Eyes dart to every dark corner . Carrie gets to the Cat . Springs toward the door . Inside 's empty . Pryce walks under THE WING of the next plane . Spots Delfy just ahead on the ground by the tool chest . Looks like he 's stirring into consciousness . Then - SWOOSH ! An ICE AXE swings down from above , embedding in his Pryce 's chest . Deep . It sticks . Gun goes flying . Keller drops down from the wing above . Pryce staggers . Keller kicks him hard . Pryce goes down . Keller grabs the gun . Points it right at Pryce - before he can shoot - BANG ! BANG ! Bullets zip by Keller , who rolls for cover behind SOME EQUIPMENT . Another rips into his shoulder . Keller spots Carrie over by the Cat . She fires continually , forcing him to stay behind cover . The shots go wide - she 's not yet used to firing with the right hand . Keller blindly reaches his gun around the chest - shoots back , which - - Gives Pryce enough time to painfully crawl for cover beneath the plane . He 's losing blood quick . Carrie keeps shooting . Bullets PING OFF THE TOOL CHEST . They stop . Carrie has to reload . Keller makes his move . Fires at Carrie and sprints for his plane . Runs right by pole with a large red button attached to it . Slams it . HANGAR DOORS BEGIN TO RUMBLE OPEN The TEMPERATURE immediately begins to PLUMMET as winter is let inside . Keller keeps shooting . Runs out of bullets . Leaps into the idling Otter . Carrie makes her move . Dashes toward him , firing away . Bullets PLANT in the WINDSHIELD , but ca n't penetrate - glass is too thick - protection from the cold . Keller throttles . Begins to move the Otter forward toward the opening doors . Carrie dashes to Pryce . Sees Delfy get to his feet . Face bloody . He moves to Pryce . She gets over to the guys quickly , giving Delfy a visual once over . He 'll be fine , but things look bad for Pryce . He 's bleeding profusely . She kneels beside him - pulls the tip of the axe out of his chest . Delfy looks to the hangar doors , which are nearly open .<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>I did n't see him.<\/dialogue>\n    <scene_description>His eyes flutter shut . Carrie slaps his face -<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>No! You stay awake!<\/dialogue>\n    <scene_description>Puts her hand directly on the wound . Applies pressure . Blood continues to ooze . She looks over to Keller just as his plane exits the hangar . Looks back to Pryce 's wound - wo n't stop bleeding .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Damn it!<\/dialogue>\n    <parenthetical>( to Delfy . )<\/parenthetical>\n    <dialogue>Come on. We're getting him up.<\/dialogue>\n    <scene_description>They lift him to his feet . Haul ass to the front of the hangar the best they can . Go outside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HANGAR - CONTINUOUS<\/stage_direction>\n    <scene_description>The two of them place the now unconscious Pryce to the ground . Carrie grabs Delfy 's hands . Puts them directly on the bloody wound . Surprisingly , he stays focused .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Press here. Hard. Hard or he will die!<\/dialogue>\n    <character>DELFY<\/character>\n    <dialogue>It wo n't stop!<\/dialogue>\n    <scene_description>Looks Delfy right in the eye .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>He's not going to be number four!<\/dialogue>\n    <scene_description>Pryce moans . Carrie rips open Pryce 's jacket and liner . Scoops up an armful of wind - blown ice . Starts packing it around him . Keeps repeating the motion . She keeps shooting looks to Keller 's departing plane moving toward the runway . The cold hits Pryce , shocking him awake .<\/scene_description>\n    <character>PRYCE<\/character>\n    <parenthetical>( GASPING . )<\/parenthetical>\n    <dialogue>What are you doing? Get Keller.<\/dialogue>\n    <scene_description>She holds him down .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>You're bleeding out. Freezing drops your pulse. We have to slow it down.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>You hold on.<\/dialogue>\n    <scene_description>Carrie snags the two - way off her hip like it 's a quick draw . Keys it .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Sam - is Doc on the plane yet?<\/dialogue>\n    <scene_description>Beat .<\/scene_description>\n    <character>MURPHY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>No - what's going -<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Keller got out. He hurt Pryce - he's bleeding bad. Where's Doc?<\/dialogue>\n    <character>MURPHY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>In the clinic. About to bring the bodies out. What's -<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Tell him to stay put, and I need your help getting Pryce there. We're at the hangar. I've got to stop Keller, he's got the cannisters.<\/dialogue>\n    <scene_description>Carrie does n't wait for an answer . Gives Delfy the two - way .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Do n't let him die.<\/dialogue>\n    <scene_description>Carrie stands . Determined . Sprints back into the hangar .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HANGAR - CONTINUOUS<\/stage_direction>\n    <scene_description>On a full sprint , Carrie dashes over to the Snowmobiles . Coughs . Spits blood . Does n't stop her . She jumps on one . Fires it up . Uses her left palm to steer - blood starts to seep through the gauze . She quickly bundles up , then guns it . Rubber treads grip . Smoke rises . She races it across the cement floor and out the hangar .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HANGAR - CONTINUOUS<\/stage_direction>\n    <scene_description>Off in the distance , Keller 's heading for the front of the runway - has to turn around to take off into the wind . Carrie veers off , targeting the tunnel to ASB . Hits her light as she races in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TUNNEL - CONTINUOUS<\/stage_direction>\n    <scene_description>Carrie 's light silhouettes Murphy and a couple of his guys as they head toward her . She does n't even slow down as she blows right by them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KELLER'S PLANE - SAME<\/stage_direction>\n    <scene_description>Desperation clings to his face as he turns the plane onto the runway . His wound oozes blood - eats the pain as he gives it full throttle . Starts to pick up speed . Heads down his strip of freedom .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIDE OF RUNWAY - OPPOSITE END - SAME<\/stage_direction>\n    <scene_description>A funnel of bumpy light spreads across the ice before Carrie on the snowmobile . She holds tight as she burns a big U - TURN around one of the berms and onto the runway . Heads straight for the lights of Keller 's plane . INSIDE KELLER 'S PLANE He sees Carrie .<\/scene_description>\n    <character>KELLER<\/character>\n    <dialogue>Crazy bitch.<\/dialogue>\n    <scene_description>She targets him like a Japanese zero . Hundred yards and closing . He 's pushing to get airborne . Seventy - five yards between them . Gap narrows fast . Fifty yards . Stay on Carrie . Looks like suicide . She suddenly swerves a hard left , disappearing behind a berm - INSIDE WITH KELLER He bears a momentary sense of triumph , starts to get airborne - until - LAUNCHING UP OFF THE BERM is Carrie 's snowmobile ! She bails , letting it continue right toward him like a heat seeking missile as she tumbles down the berm . Keller 's pov - a THOUSAND POUNDS of snowmobile comes at him fast - obliterates the cockpit . SMASH CUT TO CARRIE 'S POV - AS THE IMPACT Cripples the plane , pitching it sideways . A wing catches the runway , CATAPULTING the entire plane into a cartwheel of disaster as it veers off the runway and - - EXPLODES INTO A FIERY ERUPTION OF FLAME AND DEBRIS ! Resume - Carrie slowly gets to her feet . The flames reflecting off her goggles . She heads to the wreckage . The cold and blowing snow extinguishing the flames quickly . AT THE WRECKAGE Carrie approaches . Only a sputtering of flame remains on the front of the twisted remnants of the Otter 's cockpit . The aft seems relatively intact . Carrie looks in . Sees the charred and already frozen remains of Keller . In the back - the charred duffle bag . She moves closer . Reaches in through a broken window . Pulls it out to the runway . Unzips it . Is confused . No cannisters . Only survival gear .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEDICAL CLINIC - SOON AFTER<\/stage_direction>\n    <scene_description>Delfy , along with Murphy and his two guys , carry Pryce in . Doc 's in the back room with two others , loading the BODYBAGS onto a cart .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Doc!<\/dialogue>\n    <scene_description>Doc quickly moves into the front room . The other two follow . Curious . Doc springs into action , pulling on gloves . Pryce 's face , ashen .<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Get him on the table!<\/dialogue>\n    <scene_description>They usher him onto one . He looks to Delfy who still has his hand on Pryce 's wound .<\/scene_description>\n    <character>DOC<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Do n't move that hand.<\/dialogue>\n    <character>DELFY<\/character>\n    <dialogue>I know, I know, he'll die!<\/dialogue>\n    <scene_description>Doc shifts his attention to one of Murphy 's guys -<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>You, four units O - pos in the warmer. Second shelf, fridge.<\/dialogue>\n    <scene_description>The guy heads for it . Carrie enters . She 's still in her ECW gear . Heart sinks when she sees Pryce . Doc leans over Pryce 's pale form . Examines . As Doc gets an IV going , he looks to Carrie -<\/scene_description>\n    <character>DOC<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What happened?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Keller hit him with an ice axe.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>He get away?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Murphy 's walkie on his hip CRACKLES to life .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LC-130 - SAME<\/stage_direction>\n    <scene_description>Rhonda 's standing up front with the pilot and Copilot , watching the horizon where dark storm clouds are coming at them like a tidal wave . Brings a walkie to her lips .<\/scene_description>\n    <character>RHONDA<\/character>\n    <dialogue>Sam, it's Rhonda - we got ta go. Now.<\/dialogue>\n    <character>MURPHY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I know. I know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEDICAL       CLINIC - ASB - SAME<\/stage_direction>\n    <scene_description>Murphy looks to Doc .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Can you do this on the plane? It's your call, but I need to know now.<\/dialogue>\n    <scene_description>Doc , who 's wrestling with deep contemplation , looks to Carrie - she sees the answer 's no .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>I'll stay with you -<\/dialogue>\n    <character>MURPHY<\/character>\n    <parenthetical>( to his guys . )<\/parenthetical>\n    <dialogue>Grab the bodies and get them on the plane.<\/dialogue>\n    <scene_description>The guys head for the back - As Doc looks at Pryce - knowing he needs him .<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Leave the bodies - you do n't have time. Dead is dead.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Pick them up in six months. Go.<\/dialogue>\n    <scene_description>Doc looks to Carrie , who 's thankful -<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <scene_description>The guys after the bodies look to Murphy for a decision .<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Leave'm. Let's go.<\/dialogue>\n    <scene_description>Murphy and Carrie exchange a quick look - closure .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Take care of yourself.<\/dialogue>\n    <scene_description>He takes off with the others .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LC - 130 - RIGHT AFTER<\/stage_direction>\n    <scene_description>The wind is hurricane fierce as Murphy and his two men are just about to board the plane . Murphy looks to the storm - a forboding darkness getting closer by the second . He realizes they might not make it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RUNWAY - ASB - RIGHT AFTER<\/stage_direction>\n    <scene_description>The LC - 130 's jet engines roars as he gains speed down the runway - faster and faster , then it suddenly gets swallowed in the storm - like an avalanche covering a skier . Camera stays on the fast moving storm , the plane , nowhere in sight , until - The LC - 130 finally pushes out the front of it - AIRBORNE . Takes off into the horizon , where we see that the sun is just about to set .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEDICAL CLINIC - ASB - LATER<\/stage_direction>\n    <scene_description>Carrie is standing next to Pryce on the examination table . He 's been bandaged up . Eyes closed . Looks thrashed . An IV drip hangs from a stand on wheels . She 's looking at him with soft , caring eyes - been through a lot . He slowly opens his . Tries to smile , not easy .<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>Hey -<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Hey back.<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>You get him?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Um - hm.<\/dialogue>\n    <character>PRYCE<\/character>\n    <parenthetical>( EXCITED . )<\/parenthetical>\n    <dialogue>The cannisters?<\/dialogue>\n    <scene_description>She shakes her head -<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <scene_description>They both think on it for a moment .<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>What did we miss? Think Keller cut and run without the stuff?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>After all this, no way. Keller did n't have it on the plane because he's got it hidden somewhere.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Where would he hide something for six months. Somewhere he could be sure no one would ever look.<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>If he had made it out, he would n't have been crazy enough to come back for it.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>True - what the hell was his plan.<\/dialogue>\n    <scene_description>Pryce thinks hard - he 's got nothing .<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>We've got six months to figure it out.<\/dialogue>\n    <scene_description>A SQUEAKY NOISE in the back of the room draws their attention . It 's Doc coming through with the cart - a bodybag on top .<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Eyes open - that's always a good sign.<\/dialogue>\n    <scene_description>He continues pushing the gurney toward them -<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>Hey, Doc - thanks.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Thank her - if she had n't slowed your bleeding.<\/dialogue>\n    <scene_description>Doc rolls the gurney behind her -<\/scene_description>\n    <character>DOC<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I'm going to hunt me down a bottle of scotch -<\/dialogue>\n    <scene_description>Carrie turns , looks at Doc as he wheels the gurney by .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Need any help?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I'm good.<\/dialogue>\n    <scene_description>She sees it 's Weiss ' name on the tag , but something disturbing catches Carrie 's eye - it 's Weiss ' LEFT LEG pressing against the bag . Although the plastic is clouded , she 'd swear his LEFT CALF has a LONG LINE OF STITCHES running down the side .<\/scene_description>\n    <character>DOC<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You okay?<\/dialogue>\n    <scene_description>His voice pulls her focus . She masks her startle .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( COVERING . )<\/parenthetical>\n    <dialogue>Just thinking where it all began.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Yeah, it's a damn shame, is n't it.<\/dialogue>\n    <scene_description>Doc continues on out the door . Pryce sees that she 's bothered -<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Nothing - I'll be right back.<\/dialogue>\n    <scene_description>She heads out the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONNECTING TUNNEL TO SCIENCE BUILDING - LATER<\/stage_direction>\n    <scene_description>Carrie slips in . We 've been here before - this is where she chased Rubin . Darkness creeps in , phantom like , as the remaining daylight FADES OUT through the row of windows that run along the side . Carrie 's plunged into inky black . WINTER HAS SET IN . She HEARS the Science Lab door open before her - peers through the dark blanket to see Doc walking toward her . Carrie slips in between two bookcases , trying to stay tight against the wall . Doc walks right by and out the door . She rises to her feet . Hurries down to the end . Disappears into the science building .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCIENCE LAB - CONTINUOUS<\/stage_direction>\n    <scene_description>Carrie enters . Turns on the light . Illuminates the lab stations , and the busted open doors of the Ready Room . Heads for the freezer .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WALK-IN FREEZER - SCIENCE LAB - CONTINUOUS<\/stage_direction>\n    <scene_description>Carrie opens the door . Illuminates the interior with her light . Storage racks of frozen science samples line the three walls . Lying on the floor are the bodies of Mooney , Rubin , Weiss and Keller . Carry goes to Weiss ' body . Kneels next to him . Goes to unzip the bodybag , but sees that it 's been locked with a plastic cinch . Pulls out her knife . Holds the light steady in her mouth as she cuts the cinch . Unzips the bag . Her light travels down his body to his left leg . She rolls it slightly for a better look . The truth hits her like a sledge hammer . There it is , like standing center stage in her light , the ROW OF STITCHES holding a deep gash tight together . She 's about to stand and walk out , but she stops herself . Thinks about that leg , those stitches . The fact that Doc lied to her . Pans her light over at the other bodies on the floor . Her light pans back , explores the rest of Weiss ' upper body - sees a dried river of blood that 's run out from under his armpit .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( to herself . )<\/parenthetical>\n    <dialogue>Someplace no one would ever think to look.<\/dialogue>\n    <scene_description>She raises Weiss ' arm . More stitches . She cuts through them . Skin splits to reveal the BOTTOM OF A CANNISTER that 's been stuffed inside his chest . She reaches in and pulls it out . Even has rust on the bottom . Carrie 's confused - IT 'S NOT LIKE ANY OF THE CANNISTERS PRYCE SHOWED HER PHOTOS OF . It look more like THE ICE CORE CONTAINER SHE SAW AT MCMURDO . She contemplates opening it for a moment , then places her hand on the top . Begins to twist . It loosens easily . Pulls the lid off . Looks at it . Whatever it is , it 's frozen . Tilts the can slightly , and out slides a FOOT LONG ICE CORE SAMPLE . Ca n't quite figure it out , until she shines her light on it - The freezer DANCES WITH GLISTENING LIGHT . The core sample is PACKED FULL OF DIAMONDS . She looks to the other two bodies . She opens Mooney 's bag . Sees his chest is uneven - more cylinders inside . Repeats the action with Rubin . Same thing . Carrie slowly stands - the betrayal almost too much .<\/scene_description>\n    <character>DOC<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>If they had just gone along with it.<\/dialogue>\n    <scene_description>She turns - Doc is standing right BEHIND HER .<\/scene_description>\n    <character>DOC<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Those fools found a plane - had no idea what they stumbled onto. Turns out the Russians had discovered a diamond field while drilling for core samples in the sixties.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>And we thought it was nukes the whole time.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Keller said he knew someone in the states who could move the diamonds for us. It was a hell of a lot of money.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>How did you get wrapped up in thing, Doc?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Weiss got hurt on the plane. They were afraid to move him, so Mooney called me. Keller and I flew out. But they could n't get the safe open - Keller found a way.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Then Weiss got cold feet. It got ugly, did n't it - and Keller killed him at Delta One One. Everything went to hell after that, did n't it, Doc.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Keller thought he could kill his way out of this whole thing.<\/dialogue>\n    <parenthetical>( ANGRY . )<\/parenthetical>\n    <dialogue>If those idiots had n't panicked, none of this would have happened.<\/dialogue>\n    <scene_description>He turns and walks out of the freezer .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCIENCE LAB - CONTINUOUS<\/stage_direction>\n    <scene_description>Carrie carefully follows . Sees he 's heading for KELLER 'S ICE AXE in the ready room , that someone 's removed from being wedged outside , onto the now uprighted LAB CART Pryce used to bust open the door .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Doc - stop.<\/dialogue>\n    <scene_description>He does . Turns back to her . But there has been a subtle shift inside him - something illogical .<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>I'll cut you in, Carrie. There's at least 5 million in diamonds in there. That can buy both of us a nice life back in the world. How many times have we both talked about having a fresh start. Well, this is it. Those beakers finding that plane was a sign. A sign telling me it was time to go back. Now I have something to go back for.<\/dialogue>\n    <scene_description>She has a realization .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>There is no granddaughter, is there? This was about greed, plain and simple.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>No one will ever know. It's just me and you. We can take care of Pryce.<\/dialogue>\n    <scene_description>His callus disregard for human life rocks her .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Dead is dead, right?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Yes, yes, now you're getting it.<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>What's happened to you? There are four people dead! Four! People we knew.<\/dialogue>\n    <scene_description>Doc looks at her . She 's not sure if it 's registering .<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Where you going to stuff my body too? Huh? Was I going to be five?<\/dialogue>\n    <scene_description>He turns back to the ice axe and starts walking towards it . She pulls the gun out from inside her liner , her mind a whirl of limited options and grim solutions . He nears the ice axe on the cart - Carrie cocks back the trigger -<\/scene_description>\n    <character>CARRIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I wo n't go through it again. Do n't make me shoot you, please.<\/dialogue>\n    <scene_description>Her knuckle on her trigger finger goes white as she wrestles with her emotions .<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>It's either ignore all of this or kill me - and you and I, we're too good of friends for me to force you to make that choice.<\/dialogue>\n    <scene_description>With that . he walks right past the ICE AXE and into the READY ROOM . She 's confused .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Doc, your not thinking straight.<\/dialogue>\n    <scene_description>But he 's not listening .<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Ya know, it's really warm. I'm gon na take a walk - try and cool off.<\/dialogue>\n    <scene_description>The TEMPERATURE GAUGE on the wall reads : - 82 . He looks at her .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Doc, please.<\/dialogue>\n    <scene_description>Carrie crosses the room as he grabs onto the outside door 's latch . He musters a smile -<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Remember, Carrie - freedom's just a sunrise away.<\/dialogue>\n    <scene_description>Using both hands on the latch , he pulls . THE DOOR BLASTS OPEN , filling the space between Carrie and Doc with violent winds and blowing snow . Doc 's throws one last look to Carrie , then takes two steps out the door . Disappears into the blanket of white . Wind and cold storm into the room against Carrie , who remains standing still like a statue . Emotionally drained . Numb . Freezing to death - tears frozen to her cheeks . A shadow passes by her - it 's Pryce . He 's hunkered over in pain , but forcing himself against the driving force of the wind into the Ready Room . Latches onto the door . It takes everything he 's got , but he manages to get it closed . Instant silence . Cold to the bone , he grabs a jacket off the racket . Approaches Carrie , who remains staring at the closed door . The effects of the chill and Doc 's decision apparent . Pryce wraps the coat around her shoulders . Gently leads her away . Super : THREE MONTHS LATER<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARRIE'S OFFICE - ASB<\/stage_direction>\n    <scene_description>The sounds of lapping surf and distant seagulls serenades us like a rhythmic lullaby as we - CU on sand with a shadow of a palm tree casting over top of two pairs of feet - intertwined . Slowly widen - to see Carrie and Pryce , kicking back on lawn chairs , side - by - side . Two heat lamps pouring out bright , warm light . A cut out piece of paper in the shape of a palm leaf is taped to one of the lamps - throwing the shadow . Pryce has a small bandage over his shoulder . Carrie lies back , rests , eyes closed .<\/scene_description>\n    <character>PRYCE<\/character>\n    <dialogue>How's the weather where you are?<\/dialogue>\n    <character>CARRIE<\/character>\n    <dialogue>Hot. But there's a gentle breeze. Fiji's beautiful this time of year.<\/dialogue>\n    <character>PRYCE<\/character>\n    <dialogue>Yeah, St. Barts ai n't bad either.<\/dialogue>\n    <scene_description>They lie there quietly , relishing the moment .<\/scene_description>\n    <character>PRYCE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Six months. Six long months.<\/dialogue>\n    <scene_description>Carrie turns over on her stomach - lets the heat warm her back .<\/scene_description>\n    <character>CARRIE<\/character>\n    <dialogue>Nah. Freedom's just a sunrise away.<\/dialogue>\n    <scene_description>There 's a new calender on the wall , where the days of Winter - over have been marked off - long way to go .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ASB BASE - ESTABLISHING - NIGHT<\/stage_direction>\n    <scene_description>Pull away from the building , which fades into the icy darkness and howling wind of the Antarctic winter . THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In 1957 a Russian cargo plane is flying above Antarctica. In the cargo hold, three Russians sit with a padlocked box. The co-pilot leaves his seat and goes into the cargo hold, then begins to shoot the other men, who return fire. The chaos caused by the gunfight leads to a crash which kills all aboard. In modern times, newcomers arrive at the United States' Amundsen\u2013Scott South Pole Station in Antarctica, while  others who are scheduled to leave are preparing to do so early because of a storm. They must depart before the onset of winter or remain for six months. Special Deputy U.S. Marshal Carrie Stetko (Kate Beckinsale) has been working in Antarctica for two years, since a betrayal by her partner in Miami that killed him and nearly killed her. She plans to resign after returning to the United States in two days. Stetko, her friend Doc (Tom Skerritt), and pilot Delfy (Columbus Short) fly to the remote Haworth Mesa to retrieve a discovered body. The dead man is Anton Weiss (Marc James Beauchamp), one of a group of three scientists looking for meteorites. An autopsy finds evidence of murder by ax. A murder requires a federal investigation; Stetko considers sending the body to McMurdo Station to avoid spending another winter in Antarctica, but decides to continue the investigation. When Stetko goes to speak to one of the others at Vostok Station, she finds him dying from a neck wound and is herself attacked by a black-clad man with an ax. Stetko injures her hands in escaping, losing the wet skin of her fingers on the metal handle of a door. Later, she finds Robert Pryce (Gabriel Macht), a United Nations security agent, examining the body of the second scientist. They conclude that the third, who is missing, must be the killer and set out to explore the group's most recent search site. There, Stetko falls through the ice to find the old Russian cargo plane. Pryce and Delfy join her to investigate, and they realize that the locked box had been opened and six cylinders removed. Pryce reveals that it is possible that nuclear fuel of interest to arms traffickers may be in the cylinders. After nearly being trapped by a cave-in at the plane, Stetko must have her badly frostbitten fingers amputated by Doc. She then finds the missing scientist hiding in her office. He tells her that he and his two companions found the plane and took the canisters, but the killer has them now. Before Stetko can protect him he is killed, but Stetko captures his killer, who is revealed to be Australian biologist Russell Haden (Alex O'Loughlin). The base commander orders everyone to evacuate because of the murders. With Haden locked in the brig and the winter storm near, Stetko and Pryce search for the canisters. However, Haden manages to escape and starts pursuing Stetko and Pryce. The three end up outside the base while the winter storm happens, and just when Haden corners, and is about to kill, Stetko, Pryce arrives and cuts Haden's safety rope and he is dragged onto the base's wall as a result of the storm's heavy winds, fatally smashing his head in the process. Stetko checks the last departing plane's cargo manifest and learns that the bodies of the dead scientists were not aboard. She searches their body bags and notices that the stitching on Weiss's old wound matches the distinctive pattern on her amputated fingers. Stetko explores the body and finds several bags of large, uncut diamonds. Doc confesses that he was part of a diamond smuggling ring with the others before Haden killed the rest. He had hoped that the diamonds would make him wealthy outside Antarctica. When Doc tells Stetko he wants to see the aurora australis one last time, she allows him to walk outside to his death. Six months later, Stetko, Pryce, and Delfy have wintered at the facility. She transmits an email to her superior, rescinding her previous resignation and asking for a warmer location for her assignment."}
{"movie_name":"There's Something About Mary_1998","imdb_id":"tt0129387","script":"<script>\n  <scene>\n    <stage_direction>EXT. CUMBERLAND, RHODE ISLAND HIGH SCHOOL - MORNING<\/stage_direction>\n    <scene_description>It 's the early 1980 's and everyone is arriving at school . We push through the parking lot crowd to a nervous , lanky kid , TED PELOQUIN .<\/scene_description>\n    <character>MAN'S VOICE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>When I was sixteen years old I fell in love.<\/dialogue>\n    <scene_description>CLOSE ON - RENISE , a tough girl with stringy brown hair and a shiny forehead , as she turns toward the camera .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Hey, Renise.<\/dialogue>\n    <scene_description>She barely looks at him as he approaches , just drags on her smoke .<\/scene_description>\n    <character>RENISE<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>So what's up?<\/dialogue>\n    <character>RENISE<\/character>\n    <dialogue>Eh.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Great. Great.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>So listen, uh, I was wondering if maybe you wanted to go to the prom you know, with me.<\/dialogue>\n    <scene_description>Renise looks unenthused .<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>It's no big deal, whatever I mean, if you want.<\/dialogue>\n    <character>RENISE<\/character>\n    <dialogue>See, the thing is, I heard a rumor that this guy I like was gon na ask me.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Uh - huh.<\/dialogue>\n    <character>RENISE<\/character>\n    <dialogue>Yeah, so. I'm gon na wait and see what happens there. But that sounds great, yeah.<\/dialogue>\n    <scene_description>Ted nods , confused .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>So is that a yes or a no?<\/dialogue>\n    <character>RENISE<\/character>\n    <dialogue>I think I was very clear, Ted. If everything else falls apart, maybe.<\/dialogue>\n    <scene_description>Renise throws down her butt and storms off .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>I'm gon na hold you to that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANOTHER PART OF THE SCHOOL PARKING LOT<\/stage_direction>\n    <scene_description>ANGLE ON - a pretty girl , MARY , climbing off a ten - speed in the school parking lot . She 's athletic and tanned and does n't have a bad bone in her body .<\/scene_description>\n    <character>MAN'S VOICE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Her name was Mary. She'd moved to our little Rhode Island town from Minnesota two years earlier.<\/dialogue>\n    <scene_description>She locks up the bike and starts walking toward the school .<\/scene_description>\n    <character>MAN'S VOICE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Mary was very smart, and very cool, and she had a faceful of eyes that promised you a better life if you could only know her.<\/dialogue>\n    <scene_description>As she approaches the camera , we PAN to see Ted watching her . He 's sitting on a picnic table with two FRIENDS .<\/scene_description>\n    <character>FRIEND #1<\/character>\n    <dialogue>Hey, dirtbud, who you going to the prom with?<\/dialogue>\n    <scene_description>Finally Ted takes his eyes off Mary .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Ah, I do n't know if I'm even gon na. You know, not my style.<\/dialogue>\n    <character>FRIEND #2<\/character>\n    <dialogue>You have a style?<\/dialogue>\n    <character>FRIEND #1<\/character>\n    <dialogue>Why do n't you be a gentleman and ask Rosey?<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( perks up . )<\/parenthetical>\n    <dialogue>Who?<\/dialogue>\n    <scene_description>Friend # 1 makes a jerk - off motion .<\/scene_description>\n    <character>FRIEND #1<\/character>\n    <dialogue>Rosey Palm, your girlfriend. God knows you spend enough fucking time with her.<\/dialogue>\n    <scene_description>The guys LAUGH .<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>( out of ammo but does n't know it . )<\/parenthetical>\n    <dialogue>Yeah, and who are you gon na take, your own palm?<\/dialogue>\n    <scene_description>His friends stare at him .<\/scene_description>\n    <character>FRIEND #1<\/character>\n    <dialogue>Clever. I like the way you just spun that around on me.<\/dialogue>\n    <scene_description>Friend # 2 notices Mary talking to her FRIENDS .<\/scene_description>\n    <character>FRIEND #2<\/character>\n    <dialogue>I wonder who she's going with.<\/dialogue>\n    <character>FRIEND #1<\/character>\n    <dialogue>Some guy named Woogie.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>FRIEND #1<\/character>\n    <dialogue>Big guy - goes to Barrington high school.<\/dialogue>\n    <scene_description>This irks Ted .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Woogie from Borrington high? Sounds like a loser.<\/dialogue>\n    <character>FRIEND #1<\/character>\n    <dialogue>Loser? Woogie was all - state football and and basketball and valedictorian of his class.<\/dialogue>\n    <character>FRIEND #2<\/character>\n    <dialogue>I heard he got a scholarship to Princeton but he's going to Europe first to model.<\/dialogue>\n    <scene_description>This takes the wind out of Ted 's sails .<\/scene_description>\n    <character>FRIEND #3<\/character>\n    <dialogue>Yeah and he's got a huge cock.<\/dialogue>\n    <scene_description>Everyone looks at him .<\/scene_description>\n    <character>FRIEND #3<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I heard.<\/dialogue>\n    <scene_description>Suddenly Friend # 1 NOTICES something .<\/scene_description>\n    <character>FRIEND #1<\/character>\n    <dialogue>Hey, check it out.<\/dialogue>\n    <scene_description>THEIR POV - A large , goofy YOUNG MAN with an unfashionable crewcut comes walking up the street . He 's in his early twenties and though the weather is mild he 's WEARING EARMUFFS . He approaches a GROUP OF KIDS sitting on a car hood .<\/scene_description>\n    <character>EAR-MUFF GUY<\/character>\n    <dialogue>You seen my baseball?<\/dialogue>\n    <character>CAR HOOD KID #2<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>The kids watch as the Ear - Muff Guy approaches another group .<\/scene_description>\n    <character>EAR-MUFF GUY<\/character>\n    <dialogue>You seen my baseball?<\/dialogue>\n    <scene_description>ON CAR HOOD KIDS<\/scene_description>\n    <character>CAR HOOD KID #1<\/character>\n    <parenthetical>( to his buddies . )<\/parenthetical>\n    <dialogue>This guy must be in the ` tard squad.<\/dialogue>\n    <parenthetical>( to Ear - Muff Guy . )<\/parenthetical>\n    <dialogue>Hey, buddy, come here, I think I know where your ball is.<\/dialogue>\n    <scene_description>The Ear - Muff Guy heads back to the car .<\/scene_description>\n    <character>EAR-MUFF GUY<\/character>\n    <dialogue>You seen my baseball?<\/dialogue>\n    <character>CAR HOOD KID #1<\/character>\n    <dialogue>Yeah, I seen it. That girl over there, she has it.<\/dialogue>\n    <scene_description>Car Hood Kid # 1 points to a BUSTY GIRL leaning against another car talking to her large BOYFRIEND .<\/scene_description>\n    <character>CAR HOOD KID #2<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>` Cept she does n't call it a baseball. She has another name for it.<\/dialogue>\n    <scene_description>ON BUSTY GIRL - The Ear - Muff Guy marches up to her and her boyfriend .<\/scene_description>\n    <character>EAR-MUFF GUY<\/character>\n    <dialogue>You seen my pecker?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>What?!<\/dialogue>\n    <character>EAR-MUFF GUY<\/character>\n    <dialogue>You seen my pecker?<\/dialogue>\n    <scene_description>The Boyfriend grabs him by the collar .<\/scene_description>\n    <character>BOYFRIEND<\/character>\n    <dialogue>You son - of - a - bitch, I'll kick your ass!<\/dialogue>\n    <scene_description>The Boyfriend throws the Ear - Muff Guy to the ground and is about to pummel him when Ted intervenes .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Take it easy, Smokey.<\/dialogue>\n    <character>BOYFRIEND\/SMOKEY<\/character>\n    <dialogue>This fucking pervert just came on to Nance!<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>All right, just be cool.<\/dialogue>\n    <parenthetical>( under breath . )<\/parenthetical>\n    <dialogue>He looks like he's not all there, you know what I mean?<\/dialogue>\n    <scene_description>A crowd starts to gather which only incites Smokey more .<\/scene_description>\n    <character>BOYFRIEND\/SMOKEY<\/character>\n    <dialogue>Get the fuck out of my way, man!<\/dialogue>\n    <scene_description>Smokey tosses Ted out of the way and moves toward the Ear - Muff Guy . Just then Mary shows up and steps between them .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>What's going on here?<\/dialogue>\n    <scene_description>She bends down and helps the Ear - Muff Guy off the ground .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Are you all right?<\/dialogue>\n    <character>EAR-MUFF GUY<\/character>\n    <dialogue>Mary, you seen my baseball?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>No, I have n't seen your baseball. Jeez, Warren, you know you're not supposed to leave the yard by yourself.<\/dialogue>\n    <character>BOYFRIEND\/SMOKEY<\/character>\n    <parenthetical>( to Mary . )<\/parenthetical>\n    <dialogue>You know him?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>He's my brother.<\/dialogue>\n    <character>BOYFRIEND\/SMOKEY<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I did n't realize he was. you know.<\/dialogue>\n    <scene_description>At this , Smokey and his girlfriend reluctantly head toward the school , along with most of the crowd . Mary turns her attention in the direction Ted was thrown .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <scene_description>HER POV - Ted is sitting in a mud puddle . He stands and brushes himself off .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Oh yeah. Fine.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Thanks a lot, Ted.<\/dialogue>\n    <scene_description>CLOSE ON - Ted . He ca n't believe what he 's just heard . As Mary helps him up , she turns her attention to Warren .<\/scene_description>\n    <character>MAN'S VOICE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>That she knew my name blew my mind. Some of my best friends did n't know my name.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN STREET - MORNING<\/stage_direction>\n    <scene_description>Mary and a muddied Ted are walking Warren home . Warren lags behind , mumbling to himself . Mary notices that Ted is limping .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Hey, you're limping. Did you just hurt yourself?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>No, it's an old football injury.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Oh, are you on the team?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>No, a couple of the players and me were joking around and, uh, I fell off the school.<\/dialogue>\n    <scene_description>Warren approaches and motions for Ted to hop on his back .<\/scene_description>\n    <character>WARREN<\/character>\n    <dialogue>Piggyback ride?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Warren, come on, leave Ted alone.<\/dialogue>\n    <scene_description>Warren pats his back again .<\/scene_description>\n    <character>WARREN<\/character>\n    <dialogue>Piggyback ride.<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( to Mary . )<\/parenthetical>\n    <dialogue>I do n't mind. If you think he can hold me.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Oh he can hold you. He weighs two - hundred - and - thirty pounds.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>A real Clydesdale, huh Warren?<\/dialogue>\n    <scene_description>Ted hops onto Warren 's back .<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Giddy - up.<\/dialogue>\n    <scene_description>Warren walks about five feet and stops .<\/scene_description>\n    <character>WARREN<\/character>\n    <dialogue>My turn now.<\/dialogue>\n    <scene_description>Off Ted 's reaction , we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARY'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Muddy sweat is running down Ted 's face as he struggles up a hill with Warren on his back .<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>( straining . )<\/parenthetical>\n    <dialogue>We're here, Warren. You wan na get off?<\/dialogue>\n    <character>WARREN<\/character>\n    <dialogue>Giddy - up.<\/dialogue>\n    <scene_description>Ted rolls his eyes and continues toward the front door . Mary looks on , amused .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>So who you taking to the prom?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>The prom - you going?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Oh, I do n't know. I think proms are pretty dumb.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>'Cause I thought maybe you and I could go if you were n't already taking someone.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I mean dumb in the sense that they only happen once a year.<\/dialogue>\n    <scene_description>She smiles at this .<\/scene_description>\n    <character>MAN'S VOICE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>From that moment on the guys at school looked at me in a whole new light.<\/dialogue>\n    <scene_description>CLOSE ON FRIEND # 1<\/scene_description>\n    <character>FRIEND #1<\/character>\n    <dialogue>You're a fucking liar!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CUMBERLAND HIGH SCHOOL - DAY<\/stage_direction>\n    <scene_description>PULLBACK TO REVEAL - Ted is leaning against his locker surrounded by a group of guys .<\/scene_description>\n    <character>FRIEND #2<\/character>\n    <dialogue>You expect us to believe you're going to the prom with Mary? What about Woogie?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>They broke up. She said he started getting weird on her.<\/dialogue>\n    <character>FRIEND #1<\/character>\n    <dialogue>I got twenty bucks says you're full of shit.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Oh come on, why would I lie?<\/dialogue>\n    <character>FRIEND #1<\/character>\n    <dialogue>Because you're a loser, and in some warped way this gives you a momentary sense of worth.<\/dialogue>\n    <character>FRIEND #2<\/character>\n    <dialogue>Put me down for fifty.<\/dialogue>\n    <character>FRIEND #3<\/character>\n    <dialogue>I'm in.<\/dialogue>\n    <scene_description>As the others join in , we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARY'S HOUSE - TWILIGHT<\/stage_direction>\n    <scene_description>A tuxedoed and smiling Ted drives up in his parent 's station wagon .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARY' S FRONT DOOR - TWILIGHT<\/stage_direction>\n    <scene_description>Ted knocks on the door and Mary 's gruff DAD answers .<\/scene_description>\n    <character>MARY'S DAD<\/character>\n    <dialogue>Yeah? What do you want?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Um, hi, I'm Ted Peloquin. I'm here to take Mary to the prom.<\/dialogue>\n    <character>MARY'S DAD<\/character>\n    <dialogue>Prom? You're about twenty minutes late. She just left for the prom with her boyfriend Woogie.<\/dialogue>\n    <scene_description>Ted looks devastated . Suddenly the door swings open revealing MARY 'S MOM .<\/scene_description>\n    <character>MARY'S MOM<\/character>\n    <dialogue>Charlie, that's mean. Come on in, Ted. Do n't listen to Mr. Wise Guy here. He's a joke a minute.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <parenthetical>( relieved . )<\/parenthetical>\n    <dialogue>Oh, that's a good one.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S HOUSE - TWILIGHT<\/stage_direction>\n    <scene_description>Ted nervously enters and sees Warren watching T.V. in the den .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Hey, Warren.<\/dialogue>\n    <scene_description>Warren does n't look his way . Just then Mary comes down the stairs looking as if the directors had really taken their time casting this role . Ted ca n't believe his eyes .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Hi, Ted.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Hi, Mary.<\/dialogue>\n    <character>MARY'S MOM<\/character>\n    <dialogue>Poor Teddy - he's been getting it both barrels from the Wisenheimer here.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Dad, have you been busting Ted's chops?<\/dialogue>\n    <scene_description>Mary 's Dad shrugs .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Warren, did you say hi to Ted?<\/dialogue>\n    <character>WARREN<\/character>\n    <parenthetical>( not looking up . )<\/parenthetical>\n    <dialogue>` Bout ten times.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Hey, Warren, I think I know where your baseball is.<\/dialogue>\n    <scene_description>This finally gets Warren 's attention .<\/scene_description>\n    <character>WARREN<\/character>\n    <dialogue>You seen my baseball?<\/dialogue>\n    <scene_description>We see Ted discreetly pull a BRAND NEW BASEBALL out of his pocket and palm it in his hand .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Well, if it's a big white one with red stitching, I think I saw it right behind your ear.<\/dialogue>\n    <scene_description>Ted is reaching behind Warren 's ear when suddenly Warren TAKES A SWIPE AT HIM , knocking him to the ground .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Warren!<\/dialogue>\n    <scene_description>Ted HITS HIS HEAD on the coffee table . ON THE BASEBALL - as it rolls under the couch , stopping right next to the OTHER MISSING BALL . BACK TO SCENE - In a split second , Warren is up like a cat and DIVES ONTO TED . As MARY AND HER PARENTS SCREAM , Ted manages to free himself from the disabled man 's clutches and GETS WARREN IN A HEADLOCK .<\/scene_description>\n    <character>MARY'S DAD<\/character>\n    <parenthetical>( to Ted . )<\/parenthetical>\n    <dialogue>What the hell are you doing?!<\/dialogue>\n    <character>MARY'S MOM<\/character>\n    <dialogue>Teddy, let him go!<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( out of breath . )<\/parenthetical>\n    <dialogue>I'm trying. tell him to. calm down.<\/dialogue>\n    <scene_description>The family jumps on Warren and finally break it up .<\/scene_description>\n    <character>MARY'S DAD<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( to Ted . )<\/parenthetical>\n    <dialogue>Jesus Christ, guy, what the hell were you doing?!<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I was playing a trick. I - I - I had a baseball.<\/dialogue>\n    <character>MARY'S MOM<\/character>\n    <dialogue>What baseball? Where's a baseball?<\/dialogue>\n    <scene_description>Ted looks around but there 's no ball in sight .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>There was a ball I had a honest.<\/dialogue>\n    <scene_description>As Mary helps Ted up , we see that his shirttail is out and his tie is hanging off . Mary 's parents lead the frothing Warren back to the couch .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( to Ted . )<\/parenthetical>\n    <dialogue>I'm sorry. I should've told you, he's got a thing about his ears.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Oh. Okay. I gotcha.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Are you all right?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Oh yeah.<\/dialogue>\n    <character>MARY'S MOM<\/character>\n    <parenthetical>( to Mary . )<\/parenthetical>\n    <dialogue>Honey, now you're all wrinkled.<\/dialogue>\n    <scene_description>Mary looks down and frowns .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Ted, will you just give me one more minute? I have to iron this thing.<\/dialogue>\n    <scene_description>Ted starts to tuck his pants in as Mary and her mother head back up the stairs . Mary 's Dad and Ted are left alone . And Warren . Ted rubs his head , sees a spot of blood .<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>( to Mary 's Dad . )<\/parenthetical>\n    <dialogue>May I use your bathroom?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - TWILIGHT<\/stage_direction>\n    <scene_description>Ted dabs his head with a tissue , then moves to the toilet . As he TAKES A LEAK he glances out the window to his left . TED 'S POV - two LOVEBIRDS are perched on a branch . Ted smiles . at the SOUND of these beautiful tweeties singing their love song for themselves , for the spring , for Ted and Mary , and suddenly they fly away and we . SNAP FOCUS . to reveal Mary in the bedroom window DIRECTLY BEHIND WHERE THE BIRDS WERE , in just a bra and panties , and just then her mother glances Ted 's way and MAKES EYE - CONTACT with what she can only presume to be a leering Peeping Tom . ON TED . he loses the smile and ducks his head back into the bathroom , HORRIFIED . PANICKING NOW , he hastily zips up his fly and<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>YEEEOOOOOWWWWWW!<\/dialogue>\n    <scene_description>TED GETS HIS DICK STUCK IN THE ZIPPER !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BATHROOM DOOR - NIGHT<\/stage_direction>\n    <scene_description>A concerned Mary , her Mom , Dad , and Warren are huddled outside the bathroom .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( knocking gently . )<\/parenthetical>\n    <dialogue>Ted, are you okay?<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( pained . )<\/parenthetical>\n    <dialogue>Just a minute.<\/dialogue>\n    <character>MARY'S MOM<\/character>\n    <dialogue>He's been in there over half an hour.<\/dialogue>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>Charlie, I think he's masturbating.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Mom!<\/dialogue>\n    <character>MARY'S MOM<\/character>\n    <dialogue>Well he was watching you undress with a silly grin on his face.<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( pained . )<\/parenthetical>\n    <dialogue>I was watching the birds!<\/dialogue>\n    <scene_description>They all look at one another .<\/scene_description>\n    <character>MARY'S MOM<\/character>\n    <dialogue>Charlie, do something.<\/dialogue>\n    <character>MARY'S DAD<\/character>\n    <dialogue>All right, kid, that's it, I'm coming in.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>A whimpering Ted huddles in the corner as Mary 's Dad enters .<\/scene_description>\n    <character>MARY'S DAD<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What seems to be the situation here? You shit yourself or something?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I wish.<\/dialogue>\n    <scene_description>Ted motions for him to close the door and Mary 's Dad obliges .<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I, uh. I got it stuck.<\/dialogue>\n    <character>MARY'S DAD<\/character>\n    <dialogue>You got what stuck?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>It.<\/dialogue>\n    <character>MARY'S DAD<\/character>\n    <dialogue>It?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Oh it. All right, these things happen, let me have a look. It's not the end of the world.<\/dialogue>\n    <scene_description>Mary 's Dad moves closer and puts his reading glasses on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BATHROOM DOOR - CONTINUOUS<\/stage_direction>\n    <scene_description>As Mary , her Mom , and Warren listen in .<\/scene_description>\n    <character>MARY'S DAD<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>OH FOR THE LOVE OF GOD!<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Shhhhhh!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - CONTINUOUS<\/stage_direction>\n    <character>MARY'S DAD<\/character>\n    <parenthetical>( CALLS OUT . )<\/parenthetical>\n    <dialogue>Shirley, get in here! You got ta see this!<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>What?! No please, sir -<\/dialogue>\n    <character>MARY'S DAD<\/character>\n    <dialogue>She's a dental hygienist. She'll know what to do.<\/dialogue>\n    <scene_description>Mary 's Mom comes in and closes the door behind her .<\/scene_description>\n    <character>MARY'S MOM<\/character>\n    <dialogue>Teddy, hon, are you okay?<\/dialogue>\n    <parenthetical>( moving closer , seeing the situation . )<\/parenthetical>\n    <dialogue>OH HEAVENS TO PETE!<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Would you shhh! Mary's gon na hear us.<\/dialogue>\n    <character>MARY'S MOM<\/character>\n    <dialogue>Just relax, dear. Now, um. what exactly are we looking at here?<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( dizzy . )<\/parenthetical>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>MARY'S MOM<\/character>\n    <parenthetical>( delicate . )<\/parenthetical>\n    <dialogue>I mean is it. is it?<\/dialogue>\n    <character>MARY'S DAD<\/character>\n    <parenthetical>( gruff . )<\/parenthetical>\n    <dialogue>Is it the frank or the beans?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I think a little of both.<\/dialogue>\n    <scene_description>Suddenly we hear Warren from outside the door :<\/scene_description>\n    <character>WARREN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Franks and beans!<\/dialogue>\n    <scene_description>Ted hangs his head .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BATHROOM DOOR - CONTINUOUS<\/stage_direction>\n    <scene_description>Mary and Warren are huddled outside the door .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( to Warren . )<\/parenthetical>\n    <dialogue>Shhhh.<\/dialogue>\n    <character>MARY'S DAD<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>What the hell's that bubble?<\/dialogue>\n    <scene_description>Mary REACTS to this .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - CONTINUOUS<\/stage_direction>\n    <character>TED<\/character>\n    <dialogue>One guess.<\/dialogue>\n    <character>MARY'S DAD<\/character>\n    <dialogue>How the hell'd you get the beans all the way up top like that?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I do n't know. It's not like it was a well thought - out plan.<\/dialogue>\n    <character>MARY'S MOM<\/character>\n    <dialogue>Oh my, there sure is a lot of skin coming through there.<\/dialogue>\n    <character>MARY'S DAD<\/character>\n    <dialogue>I'm guessing that's what the soprano shriek was about, pumpkin.<\/dialogue>\n    <character>MARY'S MOM<\/character>\n    <dialogue>I'm going to get some Bactine.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>No, please!<\/dialogue>\n    <scene_description>Suddenly a POLICE OFFICER sticks his head in the bathroom window .<\/scene_description>\n    <character>POLICE OFFICER<\/character>\n    <dialogue>Ho there.<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( humiliated . )<\/parenthetical>\n    <dialogue>Oh God.<\/dialogue>\n    <character>POLICE OFFICER<\/character>\n    <dialogue>Everything okay here? Neighbors said they heard a lady scream.<\/dialogue>\n    <character>MARY'S DAD<\/character>\n    <dialogue>You're looking at him. C'mere and take a look at this beauty.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>No, that's really unneces -<\/dialogue>\n    <scene_description>But the Officer 's already climbing in the window . Once inside , he turns his flashlight on Ted and WHISTLES .<\/scene_description>\n    <character>POLICE OFFICER<\/character>\n    <dialogue>Now I've seen it all. What the hell were you thinking?<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( frustrated . )<\/parenthetical>\n    <dialogue>I was n't trying -<\/dialogue>\n    <character>POLICE OFFICER<\/character>\n    <dialogue>Is that bubble what I think it is?<\/dialogue>\n    <scene_description>Mary 's parents nod .<\/scene_description>\n    <character>POLICE OFFICER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>But. how. how'd you get the zipper all the way to the top?<\/dialogue>\n    <character>MARY'S DAD<\/character>\n    <dialogue>Let's just say the kid's limber.<\/dialogue>\n    <scene_description>The Officer makes a face , then rolls up his sleeves .<\/scene_description>\n    <character>POLICE OFFICER<\/character>\n    <dialogue>Well, there's only one thing to do.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>No, no, no, I'll be fine. I'll just hang my shirttail out and work on it in the morning.<\/dialogue>\n    <character>POLICE OFFICER<\/character>\n    <dialogue>Look, son, this'll only hurt for a second.<\/dialogue>\n    <scene_description>The Officer reaches down and takes hold of the zipper .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>No, no, please!<\/dialogue>\n    <character>MARY'S MOM<\/character>\n    <dialogue>Teddy, be brave.<\/dialogue>\n    <character>WARREN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Beans and franks!<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Warren, shhh.<\/dialogue>\n    <scene_description>Defeated , Ted holds his breath and braces for the worst .<\/scene_description>\n    <character>POLICE OFFICER<\/character>\n    <dialogue>It's just like pulling off a Band - aid. A - one and a - two and.<\/dialogue>\n    <character>PARAMEDIC<\/character>\n    <dialogue>We got a bleeder!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARY'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>TWO PARAMEDICS rush Ted out the front door on a stretcher . Mary runs alongside him holding a towel on his crotch . while a THIRD PARAMEDIC dabs at his crotch with a towel . Mary 's Mom and Dad are out front along with two FIRETRUCKS , four POLICE CARS , and a crowd of about thirty NEIGHBORS .<\/scene_description>\n    <character>PARAMEDIC<\/character>\n    <parenthetical>( to Mary . )<\/parenthetical>\n    <dialogue>Keep pressure on it!<\/dialogue>\n    <scene_description>Mary does as she 's told .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( running along . )<\/parenthetical>\n    <dialogue>Ted, I'm so sorry. Are you going to be okay?<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( irrational cockiness . )<\/parenthetical>\n    <dialogue>You betcha!<\/dialogue>\n    <scene_description>He gives her two thumbs up as they slide him into the ambulance .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMBULANCE - CONTINUOUS<\/stage_direction>\n    <scene_description>The doors SLAM shut and as the ambulance pulls away Ted starts to WHIMPER and we can see Mary fade into the night , as we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PSYCHIATRIST'S OFFICE - PRESENT DAY<\/stage_direction>\n    <scene_description>Ted , now in his 30 's , lays on his therapist 's couch .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Anyway, school ended a few days later and that July her father got transferred to Florida.<\/dialogue>\n    <scene_description>The CAMERA PANS up to reveal that the CHAIR BEHIND HIM IS EMPTY . Ted has been telling all this to no one .<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>It took me half the summer to pay off all those bets.<\/dialogue>\n    <parenthetical>( sighs . )<\/parenthetical>\n    <dialogue>I never did see Mary again. That was about twelve years ago.<\/dialogue>\n    <scene_description>Just then the door quietly opens and Ted 's PSYCHIATRIST tip - toes back into the room and takes his seat . -LRB- He has a dab of mustard on his chin and has forgotten about the cloth napkin tucked into his collar . -RRB-<\/scene_description>\n    <character>PSYCHIATRIST<\/character>\n    <dialogue>Uh - huh. Interesting.<\/dialogue>\n    <scene_description>The Psychiatrist notices the napkin and quickly wipes his chin , then tosses it aside .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Anyway, it's not something you exactly forget about, but I guess I must've blocked it out of my head. Then about a week ago I'm driving on the highway and I got to thinking about Mary and suddenly I could n't breathe. I could n't keep up with the flow of traffic anymore I felt like I was going to die. I pulled into a rest area, parked the car, and just started shaking.<\/dialogue>\n    <scene_description>The Psychiatrist scratches his chin .<\/scene_description>\n    <character>PSYCHIATRIST<\/character>\n    <dialogue>You know. rest areas are homosexual hang - outs.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>PSYCHIATRIST<\/character>\n    <dialogue>Highway rest areas - they're the bathhouses of the nineties for some gay men.<\/dialogue>\n    <scene_description>Ted thinks about this , then glances back at the shrink .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>What are you saying?<\/dialogue>\n    <character>PSYCHIATRIST<\/character>\n    <parenthetical>( checking wristwatch . )<\/parenthetical>\n    <dialogue>Oops, time's up. We'll have to delve into that next week.<\/dialogue>\n    <scene_description>Off Ted 's look , we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DRIVING RANGE - DAY<\/stage_direction>\n    <scene_description>Ted and his friend DOM are blasting a couple buckets .<\/scene_description>\n    <character>DOM<\/character>\n    <dialogue>Gay? He said you were gay?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>He implied it.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>Well you're a writer, and a lot of writers are gay. Look at Truman Capote.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Yeah, but he was successful.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>Let me ask you this : When you smoke a cigar, do you ever pretend it has balls?<\/dialogue>\n    <scene_description>Ted appears to think about this .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Come on, that would n't make me gay.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>I'm going to fix you up with my new assistant.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>What's he like?<\/dialogue>\n    <scene_description>Dom LAUGHS , then watches as Ted hits a ball .<\/scene_description>\n    <character>DOM<\/character>\n    <dialogue>You're leaving it out. Finish your swing.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You're going to like this one - she's half Asian, half American.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Good - looking?<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>I just told you, she's half Asian. half American. They're all good looking. You could mate Don Rickles and Yoko Ono and they're going to have a gorgeous kid. It's a foolproof combo.<\/dialogue>\n    <scene_description>Ted thinks about it .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>What's the point? Let's face it, Dom, I'm in a slump.<\/dialogue>\n    <parenthetical>( SIGHS . )<\/parenthetical>\n    <dialogue>Lately I've been feeling like. well. like a loser.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>Loser? You?<\/dialogue>\n    <scene_description>Ted shrugs .<\/scene_description>\n    <character>DOM<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Give me a break. Remember five years ago, when your kidneys failed? If you were a loser would they have been able to find a donor with an exact tissue match? What are the odds of that, one in a million?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Oh, so I'm lucky because my brother got killed in an explosion?<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>I never said that. I'm saying your lucky those kids found his kidneys.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Besides, your brother Jimmy never gave a shit about you.<\/dialogue>\n    <scene_description>Ted gives him a look .<\/scene_description>\n    <character>DOM<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You know, you're a real glass - is - half - empty guy. You got a fucking guardian angel, man.<\/dialogue>\n    <scene_description>Ted manages a small smile . Just then , Ted 's cell phone RINGS .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>I got ta take this, it might be my boss.<\/dialogue>\n    <parenthetical>( flips phone open . )<\/parenthetical>\n    <dialogue>Ted here.<\/dialogue>\n    <character>GARBLED VOICE<\/character>\n    <parenthetical>( on phone . )<\/parenthetical>\n    <dialogue>You're a cocksucking motherfucking piece of puke!<\/dialogue>\n    <scene_description>Whoever it is HANGS UP . Without reacting , Ted closes the phone and puts it back in his pocket .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Yep.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOM'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Dom and Ted are drinking beer while sitting on Dom 's front steps . We see signs of kids everywhere : a tricycle , six - foot basketball hoop , dolls , etc. . DOM 'S WIFE comes out and hands them each a cigar .<\/scene_description>\n    <character>DOM'S WIFE<\/character>\n    <dialogue>I thought you guys might like these with your beers.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>Thanks, baby.<\/dialogue>\n    <scene_description>She goes back inside .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>See, that's what I want. I do n't need these bimbettes you got me chasing. I want what you have. A family. Someone to. you know. love.<\/dialogue>\n    <scene_description>These guys do n't usually talk about this crap , and Ted gets a little embarrassed .<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>It must be great with a wife like that.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>Each day is better than the next.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Have you ever been, you know. in love with someone?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Nah.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>Never?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Well once. Mary.<\/dialogue>\n    <scene_description>Dom SIGHS .<\/scene_description>\n    <character>DOM<\/character>\n    <dialogue>Mary again.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Look, I admit it was brief, but it was definitely love. Crushes do n't last twelve years.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>Whatever happened to Mary?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I told you, her family moved to Miami.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>I mean since then.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>Well why do n't you look her up?<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( sarcastic . )<\/parenthetical>\n    <dialogue>Yeah, right.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Because I guarantee she's married and has a couple kids. Girls like Mary do n't stay single.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>What if you're wrong? You just said she's the only girl you ever loved, what have you got to lose by calling her?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I did try calling her.<\/dialogue>\n    <parenthetical>( sheepish . )<\/parenthetical>\n    <dialogue>A few years ago. She was n't listed.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>So that was it? One bump in the road and you gave up?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I also called Unsolved Mysteries.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>You're kidding? What did they say?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>They told me they do n't help out stalkers.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Look, maybe they're right, it's been a long time.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>I got it - you hire a private eye, fly him out there, he follows her around a couple days, she'll never know a thing.<\/dialogue>\n    <scene_description>Ted considers this .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>No. No fucking way. That's too creepy.<\/dialogue>\n    <scene_description>Dom thinks a moment , then SNAPS his fingers .<\/scene_description>\n    <character>DOM<\/character>\n    <dialogue>Wait a second. There's a guy named Healy in my office who might be able to help you out. He's a claims investigator and he goes to Miami every couple weeks.<\/dialogue>\n    <scene_description>As Ted thinks about this , we ESTABLISHING SHOT of a big insurance company - MORNING<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PROVIDENCE UNION INSURANCE COMPANY - HALLWAY - MORNING<\/stage_direction>\n    <scene_description>Ted and Dom are walking down a hallway .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>I do n't know about this, Dom.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>Relax, this guy owes me a big one. A couple years ago he got in a jam up in the Boston office ; some bullshit about padding his resume - like we have n't all done that. Anyway, they were going to let him go but his mother wrote a tear - jerker letter that ended up on my desk.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>His mother?<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>Yeah, I guess he still lives with her. Seemed like a sweet lady - got diabetes or something - so I went out on a limb and got him transferred down to Providence.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>And you think he could find out her number for me?<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>He'll do better than that. I'll send him down to Miami on business, you throw him a couple bucks on the side, and he'll track her down.<\/dialogue>\n    <scene_description>Ted thinks about this .<\/scene_description>\n    <character>DOM<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Just let me warn you - This guy runs a little hot, but he gets the job done.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HEALY'S CUBICLE - MORNING<\/stage_direction>\n    <scene_description>Ted is seated inside a small cubicle across the desk from PATRICK HEALY , a shaggy - looking guy in a mis - matched three - piece suit . Healy looks more like a used - car salesman than an insurance investigator .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>So, Dom tells me you're looking for some lady - friend you knew in high school.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Uh - huh.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Any idea where I might start looking?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>She moved to Miami Beach twelve years ago. I checked directory assistance down there and she's not listed. She might've moved ten times since then.<\/dialogue>\n    <character>HEALY<\/character>\n    <parenthetical>( skeptical . )<\/parenthetical>\n    <dialogue>All you want is a phone number?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Well, I know you're busy<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Do n't play games with me, Ted.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I do n't know, maybe you could poke around for a half day and see if she has five kids and a Labrador.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>I do n't buy it.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>You do n't buy what?<\/dialogue>\n    <scene_description>Suddenly Healy is in his face .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>Ted, I'm the kind of guy who shoots from the hip. Now I want you to level with me : Did you knock this skirt up?<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( indignant . )<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>She's blackmailing you, right?<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( more indignant . )<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>You want her dead, do n't you?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>You ca n't be serious.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Do you really expect me to believe this is a straight stalker case?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I'm not a stalker! She's a friend of mine.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Sure she is. That's why she got an unlisted number and you have n't heard squat from her in a dozen years. Oh you're good, Ted. You're a real piece of work.<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( stands . )<\/parenthetical>\n    <dialogue>Look, let's forget it. Let's forget the whole thing.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>I get one hundred a day plus expenses.<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( LAUGHS at Healy 's nerve . )<\/parenthetical>\n    <dialogue>You get fifty a day, period. It's a business trip, they'll pay for your expenses.<\/dialogue>\n    <scene_description>Healy thinks about it .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>Okay, Ted, I'll do it. But if this chick turns up with a toe tag, I'm rolling over on you.<\/dialogue>\n    <scene_description>ESTABLISHING SHOT - of Miami Beach<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COLLINS AVENUE - DAY<\/stage_direction>\n    <scene_description>Healy waits alone on a corner carrying one bag and a RACK OF BEERS . Suddenly a '89 Chrysler Lebaron convertible with a GREAT DANE in the back SCREECHES to a halt in front of him . The driver , SULLY , is a muscular , well - groomed man in his thirties .<\/scene_description>\n    <character>SULLY<\/character>\n    <dialogue>Healy you dog!<\/dialogue>\n    <character>HEALY<\/character>\n    <parenthetical>( checking out car . )<\/parenthetical>\n    <dialogue>Fucking Sully! Look at you!<\/dialogue>\n    <character>SULLY<\/character>\n    <parenthetical>( Boston accent . )<\/parenthetical>\n    <dialogue>You hot shit. Ya look fuckin' pisser.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHRYSLER LEBARON - DAY<\/stage_direction>\n    <scene_description>The dog is catching wind in the backseat and Sully hands Healy a packet .<\/scene_description>\n    <character>SULLY<\/character>\n    <dialogue>Here's the info you asked for.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>SULLY<\/character>\n    <dialogue>You should thank me - that girl was not easy to find. What'd she scam you out of - some insurance dough?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Nah, some guy threw me a few bucks to track down his high school girlfriend.<\/dialogue>\n    <character>SULLY<\/character>\n    <dialogue>Stalker, huh?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Big time.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLY'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>This place is modest and clean but it has a direct view of South Beach . Healy puts his bags down and looks around .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>Very nice.<\/dialogue>\n    <character>SULLY<\/character>\n    <dialogue>I'm doing okay.<\/dialogue>\n    <parenthetical>( checks watch . )<\/parenthetical>\n    <dialogue>I got ta get ready for work.<\/dialogue>\n    <scene_description>Sully ducks into the bedroom and Healy looks around the apartment .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>Okay? With this pad, the killer wheels? Looks like you really cleaned up your act.<\/dialogue>\n    <character>SULLY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>What can I tell you? It's a healthier lifestyle down here, and it's easier to succeed when your head's clear. Those guys I worked with back in Boston, they were a bad influence.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Fuckin' animals. Hey, what do you say we go grab a couple drinks.<\/dialogue>\n    <character>SULLY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Not for me, buddy. I do n't drink anymore.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Yeah, and you do n't drink any less, right?<\/dialogue>\n    <scene_description>Suddenly a huge Boa Constrictor slithers up on Healy 's lap .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What the?!<\/dialogue>\n    <scene_description>Sully comes back in the room wearing a police uniform .<\/scene_description>\n    <character>SULLY<\/character>\n    <dialogue>Take it easy, that's Bill.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Tell Bill to get the fuck off!<\/dialogue>\n    <character>SULLY<\/character>\n    <parenthetical>( smiling . )<\/parenthetical>\n    <dialogue>Relax, he just ate.<\/dialogue>\n    <scene_description>Healy just stares at his friend .<\/scene_description>\n    <character>SULLY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( proudly . )<\/parenthetical>\n    <dialogue>Nineteen months I been sober.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>What are you talking about? You were never an alky, you were a cokehead.<\/dialogue>\n    <character>SULLY<\/character>\n    <dialogue>Yeah, well when you quit blow, you got ta quit the booze, too.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Is that right? Well good for you, Sull, I'm proud of you.<\/dialogue>\n    <scene_description>Healy pops open one of his beers and hands it to Sully .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Here, just have one of these then.<\/dialogue>\n    <character>SULLY<\/character>\n    <dialogue>Healy, what I just tell you?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>This is a light beer. You ca n't have a light beer?<\/dialogue>\n    <character>SULLY<\/character>\n    <dialogue>No I ca n't.<\/dialogue>\n    <scene_description>Healy stares at him , baffled .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>Sully, it's one fuckin' beer for Christ sakes.<\/dialogue>\n    <parenthetical>( holds up beer . )<\/parenthetical>\n    <dialogue>Ooh, the big bad beer's gon na get ya.<\/dialogue>\n    <scene_description>Sully stares at the beer , weakening .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I'm worried about you, man. You better learn to have a pop once in a while or you're gon na fall off the wagon. You're being a fanatic and that ai n't healthy.<\/dialogue>\n    <character>SULLY<\/character>\n    <dialogue>Am I?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Bet your ass you are. Now I do n't want to hear anymore of your happy horseshit. You got ta learn how to bend a little or believe me. you're gon na break.<\/dialogue>\n    <scene_description>Finally , Sully takes the beer . He stares at it a moment and then sips .<\/scene_description>\n    <character>SULLY<\/character>\n    <dialogue>Jesus, you know what? This shit does n't even taste good to me anymore.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Ah, fuck ya then, you big pussy. What are you, spotting?<\/dialogue>\n    <scene_description>Healy takes the beer from Sully and as he chugs it , we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHRYSLER LEBARON - DAWN<\/stage_direction>\n    <scene_description>Healy is on a stakeout . He 's dozing . He 's been here for hours , food wrappers litter Sully 's car . He 's wearing Walkman - type HEADPHONES which are connected to a RADIO SURVEILLANCE MICROPHONE attached to a pair of BINOCULARS . Suddenly MUSIC explodes through his headphones - Healy 's jolted awake . Who threw the grenade ? Recovering , Healy aims the binoculars toward . HEALY 'S POV - MARY 'S APARTMENT ACROSS THE STREET Healy has a clear , unobstructed view into Mary 's apartment . The music is coming from Mary 's clock radio . MARY sits up in bed and shakes herself awake , like someone 's just poured cold water over her . She cranks the music even LOUDER . Mary hops out of bed , wearing only her panties , and though she 's a little older now , she still looks well cast . CLOSE UP - ON HEALY - he 's become extremely interested in his work . As much as Healy 's enjoying the show , he 's got a job to do - he speaks into a MICRO - CASSETTE RECORDER :<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( into recorder . )<\/parenthetical>\n    <dialogue>Okay, Ted, I found your Mary. Her current address, two - niner - eight Euclid Avenue, Miami Beach. Husband, negative. Children and Labrador, negative. Extremely nice ass, affirmative.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S APT. - DAY<\/stage_direction>\n    <scene_description>Mary walks into the living room where we see an old woman , MAGDA , sitting on the couch LISTENING to a stack of RADIO SCANNERS .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Have you been up all night again?<\/dialogue>\n    <character>MAGDA<\/character>\n    <dialogue>Bet your ass I have. It's an important job, Neighborhood Watch is.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Neighborhood Watch? Is that what you call listening in on stranger's phone conversations?<\/dialogue>\n    <character>MAGDA<\/character>\n    <dialogue>These ai n't strangers, they're neighbors. This only picks up signals in a half - mile radius.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Meaning?<\/dialogue>\n    <character>MAGDA<\/character>\n    <dialogue>Meaning these are the people you live amongst, you got a right to know if they're creeps. For instance, did you know there's a guy down the hall cheating on his wife?<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>( feigning shock . )<\/parenthetical>\n    <dialogue>You picked that up on the scanner. We got ta move.<\/dialogue>\n    <character>MAGDA<\/character>\n    <dialogue>I confirmed it on the scanner. I knew something was up because Puffy used to bark like hell whenever he saw him and you know Puffy only barks at bad people.<\/dialogue>\n    <scene_description>Magda pats her little dog PUFFY on the head .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Magda, Puffy barks at everybody.<\/dialogue>\n    <character>MAGDA<\/character>\n    <dialogue>That's because there's a lot of bad people out there. Hey, Puffy tried to warn you about that Steve guy you was seeing - he was a fucking asswipe - but you had to find out for yourself, did n't you?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Okay, you win. Now try to get some sleep, huh.<\/dialogue>\n    <scene_description>Mary gives Magda a kiss and heads to her bedroom . MUSIC MONTAGE - as Healy follows Mary around town .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EUCLID AVENUE - MORNING<\/stage_direction>\n    <scene_description>Mary exits her apartment and bounces out into the world . There is a HOMELESS MAN sitting on the sidewalk . Mary flips him an apple , then jumps in her Honda Civic and drives off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DRIVING RANGE - MORNING<\/stage_direction>\n    <scene_description>Mary is at the range HITTING a couple buckets of balls . ON HEALY - watching from the parking lot .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( into mic . )<\/parenthetical>\n    <dialogue>Looks like we got an athlete on our hands.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MACDONALD'S DRIVE-THRU WINDOW - MORNING<\/stage_direction>\n    <scene_description>Mary waits in the drive - thru lane reading the SPORTS PAGE . Finally the window opens and she is handed a HUGE BAG OF FOOD . PAN TO Healy watching from his car .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( into mic . )<\/parenthetical>\n    <dialogue>Well, from her figure and her appetite, I'm guessing she's either got a bowel disorder or we've got a hurler on our hands.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPECIAL ED. CENTER - MORNING<\/stage_direction>\n    <scene_description>Mary 's brother Warren is wearing a walkman as he plays catch out front with a SPECIAL ED TEACHER while several other MENTALLY - DISABLED PATIENTS entertain themselves . Mary pulls up , gets out , and starts handing out Egg McMuffins .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Get in line. One at a time.<\/dialogue>\n    <scene_description>A fat patient , GARY , approaches .<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>Can I have two, Mary?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Yeah, you can have two halves, just like everyone else.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Gary takes his and walks off . A couple more patients and then bucktoothed FREDDIE steps up to her .<\/scene_description>\n    <character>FREDDIE<\/character>\n    <dialogue>Will you marry me, Mary?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Oh yeah, pretty boy? And what about Dolores?<\/dialogue>\n    <scene_description>Mary points to another PATIENT staring bashfully at Freddie .<\/scene_description>\n    <character>FREDDIE<\/character>\n    <dialogue>Would you marry us both, Mary?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Yeah, that'd be a good deal for you, would n't it?<\/dialogue>\n    <scene_description>Freddie moves off and fat Gary is back , trying to be inconspicuous .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Wow, this is weird. There was somebody who looked just like you here a minute ago.<\/dialogue>\n    <scene_description>Mary smiles and hands Gary another McMuffin . CLOSE ON Healy .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( into mic . )<\/parenthetical>\n    <dialogue>Ixnay on the big appetite.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>She's just got a big heart.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH BAR - DAY<\/stage_direction>\n    <scene_description>Neighborhood restaurant and bar . After - work crowd . Mary and her friends , BRENDA , LISA , and JOANIE are sitting at a table under an umbrella . Lisa reads from the PERSONALS COLUMN in South Beach Magazine .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Listen to this one - ` Seeking sensitive Wasp doctor to share candlelit dinners, long walks in Coconut Grove, marriage.'<\/dialogue>\n    <character>BRENDA<\/character>\n    <dialogue>What does this girl want, a corpse? You got ta be more specific : ` Seeking deaf mute with three pound cock and trust fund.'<\/dialogue>\n    <character>JOANIE<\/character>\n    <dialogue>No, it should be' a hockey player with great pecs.'<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Ugh, not pecs. Sounds like one of those guys with a fish - net shirt and a banana hammock.<\/dialogue>\n    <scene_description>PAN TO the bar where we see Healy eavesdropping on their conversation .<\/scene_description>\n    <character>BRENDA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( to Mary . )<\/parenthetical>\n    <dialogue>I suppose you would n't like someone with a washboard stomach like Brad Pitt?<\/dialogue>\n    <scene_description>BACK ON Mary and friends .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>I'm just saying I do n't mind a guy with a bit of a beer belly. It means he's a guy. You can have those pretty boys who hang out in a gym all day staring at their reflections.<\/dialogue>\n    <scene_description>ON HEALY<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( quietly into mic . )<\/parenthetical>\n    <dialogue>A girl after your own heart, Ted.<\/dialogue>\n    <scene_description>BACK ON Mary and friends .<\/scene_description>\n    <character>JOANIE<\/character>\n    <dialogue>I can live with those reflections.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>I'm sick of these calorie - countin' pansies. Give me a guy who likes kielbasa and beer and playing thirty - six holes and still has enough energy to take me and Warren out to a ballgame.<\/dialogue>\n    <character>JOANIE<\/character>\n    <parenthetical>( sarcastic . )<\/parenthetical>\n    <dialogue>Jeez, I do n't know where you're ever going to find a guy like that.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>But here's the rub. The guy I'm talking about has got to be self - employed.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>You mean, like an architect or something?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Architect, yeah.<\/dialogue>\n    <scene_description>BRENDA You mean creative , but not poor .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>No, it's not the money. Creative, yeah, that's good, but it's the freedom I'm talking about. See, this guy has to have a job he could do anywhere. That way we could just up and leave at the drop of a hat.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>And where would you and your beer - bellied architect be leaving to?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>I do n't know. The Super Bowl, New Orleans Jazz Festival. maybe a couple months in Nepal.<\/dialogue>\n    <character>JOANIE<\/character>\n    <dialogue>Yeah, and you'd probably dump the poor guy halfway to Katmandu.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>What's that supposed to mean?<\/dialogue>\n    <character>JOANIE<\/character>\n    <dialogue>It means you're too hard on guys.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>No I'm not.<\/dialogue>\n    <character>JOANIE<\/character>\n    <dialogue>Oh come off it, Mare. What about what's - his - name. Steverino? You could've at least passed the baton on that one.<\/dialogue>\n    <scene_description>The girls LAUGH .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Yeah, Steve. Steve was all right for awhile.<\/dialogue>\n    <character>JOANIE<\/character>\n    <dialogue>All right for awhile? The guy's good - looking, rich, witty. He was a god.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>At one point you were talking about marrying him. Come on, why'd you dump him?<\/dialogue>\n    <scene_description>Mary thinks about this .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>I do n't know, it was complicated. He's in San Francisco, I'm in Miami.<\/dialogue>\n    <parenthetical>( dodging question . )<\/parenthetical>\n    <dialogue>Besides, Magda's psychic dog hated him.<\/dialogue>\n    <character>JOANIE<\/character>\n    <dialogue>Is that old crab still with you? Mary, you said you were putting her up for a month - it's been a year and a half.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Ah, she's okay.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Mary, cut the crap, what really happened with Steve?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Nothing. I mean, you know my brother.<\/dialogue>\n    <parenthetical>( sighs . )<\/parenthetical>\n    <dialogue>Warren.<\/dialogue>\n    <character>JOANIE<\/character>\n    <dialogue>What? Steve seemed to put up with Warren.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>I do n't want someone who'll put up with him. I want someone who will enjoy him, the way I do. Do you know what he told my friend Tucker? He said he would've popped the question a lot earlier if Warren was n't in my life.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Well he is in my life and I'm goddamn lucky to have him. The hell with Steve.<\/dialogue>\n    <scene_description>Everyone is touched by this . Then :<\/scene_description>\n    <character>BRENDA<\/character>\n    <dialogue>Well, that's the last time I blow him behind your back.<\/dialogue>\n    <scene_description>As the girls LAUGH , we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARY'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Healy sits out front in his car again waiting for Mary to get home . He picks up the phone , dials a number , and someone answers but does n't speak .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>Hello? Sully?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Sully, that you?<\/dialogue>\n    <character>SULLY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( over phone . )<\/parenthetical>\n    <dialogue>Who the fuck is it to you?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Sully, it's Healy. What's going on over there?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLY'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Sully is sitting on the kitchen floor in his police uniform , a ring of white around his nostrils . The room is littered with beer cans , he has another one in his hand , there 's a pile of cocaine and a rolled - up bill on the breakfast table . The dog and the snake are in the doorway looking at him with concern .<\/scene_description>\n    <character>SULLY<\/character>\n    <parenthetical>( into phone , sloshed . )<\/parenthetical>\n    <dialogue>Fuckin' Patrick Healy, you think your shit do n't stink. Well I got news for you - you're goddamn right it do n't! How the hell are ya?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HEALY'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Healy looks at the phone , concerned .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>Uh, I'm fine. Just wanted to let you know I'll have your car back in a couple hours, I'm still staking out this girl's apartment.<\/dialogue>\n    <character>SULLY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>You found my car?!<\/dialogue>\n    <scene_description>Just then Healy notices Mary pull up and park . He slides down in his seat . ON MARY &gt; - she gets out carrying a bag and approaches the Homeless Man , who is still sitting on the sidewalk . She hands him the bag .<\/scene_description>\n    <character>HOMELESS MAN<\/character>\n    <dialogue>Thanks, Mary.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>You watch out for yourself, Herb.<\/dialogue>\n    <scene_description>As Mary bounds up the steps of her building , we HOLD ON the Homeless Man as he happily takes a sandwich and soda out of the bag .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>As Mary rushes into the apartment , Magda is glued to her radio scanner , listening intently .<\/scene_description>\n    <character>MAGDA<\/character>\n    <dialogue>Jesus, Mary, you got ta hear this - some cop's staking out this broad's apartment.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>No time, Magda, my show's starting.<\/dialogue>\n    <scene_description>BACK ON HEALY . he can hear the conversation through the SURVEILLANCE EQUIPMENT pointed at Mary 's place .<\/scene_description>\n    <character>MAGDA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>This is a good one, Mare. Sounds like his partner's all lubed up.<\/dialogue>\n    <character>HEALY<\/character>\n    <parenthetical>( quietly into phone . )<\/parenthetical>\n    <dialogue>Call you back.<\/dialogue>\n    <character>SULLY<\/character>\n    <parenthetical>( over phone . )<\/parenthetical>\n    <dialogue>God, I miss ya, ya fuck -<\/dialogue>\n    <scene_description>Healy hangs up abruptly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S APARTMENT - NIGHT<\/stage_direction>\n    <character>MAGDA<\/character>\n    <dialogue>Ah, Christ, I lost'em.<\/dialogue>\n    <scene_description>Mary runs into her bedroom , shuts the door and flips on the tube just as ESPN Sportscenter 's OPENING THEME SONG is playing . Relieved , Mary lays back on her bed and starts watching .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Mary is now watching Andy Griffith while SMOKING A JOINT and GIGGLING away in bed . ON HEALY - he 's sitting in his car , GIGGLING , too .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>Fucking Barney. he never learns.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>As the show 's end credits start to WHISTLE AWAY , Mary stands and starts to UNDRESS for bed . BACK ON HEALY - he sits up , very interested now .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( into mic . )<\/parenthetical>\n    <dialogue>Here we go, Teddo. Here comes the money shot.<\/dialogue>\n    <scene_description>Healy quickly reaches in the back seat and pulls out a bigger , MORE POWERFUL PAIR OF BINOCULARS . HEALY 'S BINOCULAR POV - we 're CLOSE ON the wrinkliest , saggiest , droopiest set of milkbags on the planet . ON HEALY - he cringes .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Oooof. First chink in the armor, Teddy Boy.<\/dialogue>\n    <scene_description>HEALY 'S BINOCULAR POV - He moves his view up from the tits to reveal . MAGDA UNDRESSING for bed . ON HEALY - He flinches , sickened by his mistake , then repositions the binoculars dead left to the next window . HEALY 'S BINOCULAR POV - moving over to the next window we see . Mary as she just finishes putting on some sexy t - shirt . ON HEALY - as he starts to drool .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Oh sweet Jesus<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PROVIDENCE - THE HOT CLUB - DAY<\/stage_direction>\n    <scene_description>Ted is sitting alone having a beer when a smiling Healy approaches .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>I've got some very, very good news for you, my friend.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Really?<\/dialogue>\n    <parenthetical>( perking up . )<\/parenthetical>\n    <dialogue>Very, very?<\/dialogue>\n    <scene_description>Healy sits down and motions for a beer .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>I think your life's about to change.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>So you found Mary?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Right there in Liberty City. And you were right, she's really something.<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>So she has n't changed?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>That I could n't. say. Let me ask you something : Was she a little big - boned in high school?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>No, not at all.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Well she must've packed on a few pounds over the years.<\/dialogue>\n    <scene_description>This does n't dampen Ted 's enthusiasm .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Mary's a little chubby, huh?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>I'd say about a deuce, deuce and a half. Not bad.<\/dialogue>\n    <scene_description>Ted 's smile starts to fade .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>But you know, you shit out a bunch of kids, you're going to put on a few pounds.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>So she's married?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Nope. Never been.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Four kids, three different guys.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Three different guys?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Well I'm guessing. There's a black kid, two whites, and a midget.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Oh my.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Hyperactive little fuckers, too. Tough to keep up with in a wheelchair, I bet.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>She's in a wheelchair?!<\/dialogue>\n    <scene_description>Ted looks completely drained .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>Do n't look so shocked, it's been a long time. I bet you've changed a lot over the last twelve years, have n't you?<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>It's just that. Mary. I would n't have thought.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Anyway, the good news is I have all the information you need. Got it from her bookie - nice guy. You should definitely call her, Ted. I mean she's a real sparkplug, that one. She seems determined to get those rugrats off welfare and with your help I'll bet she does it.<\/dialogue>\n    <scene_description>Ted stands and starts moping away .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Thanks, Healy. Good work.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Ted? Do n't you want the name of the housing project?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Uh, that's okay.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>You sure, big guy? I'll bet she'd love to hear from you before her mastectomy!<\/dialogue>\n    <scene_description>As Ted leaves , Healy puts his feet up on the table and sits back .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TED'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>We PAN across the room of unopened boxes to Ted laying awake in bed . We hear HEAD - BANGER MUSIC coming from the apartment next door . Finally Ted gets up and walks over to his dresser . As he flips on a small light we see loose change , a balled - up Kleenex , a few golf tees , and Ted 's wallet . Ted picks up the wallet and opens it . TED 'S POV - Inside is an an old high school photo of a smiling Mary . As Ted looks at it , he ca n't help but smile , too .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PROVIDENCE UNION INSURANCE COMPANY - DAY<\/stage_direction>\n    <scene_description>ON HEALY 'S CUBICLE - Healy 's taking his last boxload of crap out of his cubicle when he spots Ted . He tries to duck back in but Ted sees him . Healy forces a smile as Ted approaches .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Oh, uh, I resigned.<\/dialogue>\n    <scene_description>Ted picks up a plane ticket off the desk .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Miami?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Yeah, this insurance business is too slow for me. I'm going to go down and try my hand at jai alai.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Jai alai?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Yeah, I do n't know why but I always felt at home in the fronton.<\/dialogue>\n    <scene_description>Healy starts walking out of the office and Ted follows . Healy is having a hard time looking him in the eye . So he does n't .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Look, uh, I've been thinking about everything you told me.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Good good.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Well I think you're right, I should look her up.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Rollerpig? Are you nuts?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>But you said she was a sparkplug?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>I said buttplug. She's heinous.<\/dialogue>\n    <scene_description>Ted SIGHS and follows Healy out the front door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - DAY<\/stage_direction>\n    <scene_description>They walk across the lot toward Healy 's car .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>All the same, I still want to call her. I know it sounds crazy - Mary sure has a lot of troubles in her life - but, I do n't know, maybe I can help her out.<\/dialogue>\n    <parenthetical>( sighs . )<\/parenthetical>\n    <dialogue>The poor thing's had it tough - she's in a wheelchair for Godsakes.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>It's a goddamn bunion. It'll heal.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Oh. I thought.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>That's not it anyway. I know this does n't make any sense to you, but I just ca n't turn it off that fast. I still feel something for her.<\/dialogue>\n    <scene_description>Healy comes to his car and puts his stuff in the trunk .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>Okay, tell you what : I'll get her number for you just as soon as she gets back from Japan.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Japan? What's she doing in Japan?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>You've heard of mail - order brides? Well they go that way, too.<\/dialogue>\n    <scene_description>Ted is devastated .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Mary's a mail - order bride?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Fetched a pretty penny, too. Do n't forget, it's the Sumo culture, they pay by the pound there. Sort of like tuna.<\/dialogue>\n    <scene_description>Off Ted 's look , we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOT CLUB - DAY<\/stage_direction>\n    <scene_description>Ted and Dom are having a beer and a dog .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>That's it, I'm making an oath. I'll never procrastinate about anything again. Life is too fucking short.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>Hey, look on the bright side -<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( interrupting . )<\/parenthetical>\n    <dialogue>What's that, Dom? What's the bright side?<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>Well. at least now you know.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I think it was better when I did n't. It was kind of inspiring to know there was someone so pure in the world.<\/dialogue>\n    <scene_description>As Ted dwells on this , Dom bursts out LAUGHING .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>What's so funny?<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>I'm sorry, it's just that you're taking this all wrong, pal. Do n't you see? You're liberated. I feel liberated. I mean here you've been in therapy thinking you blew it with the greatest girl ever, and it turns out that getting your dick stuck in your zipper was the best thing that ever happened to you!<\/dialogue>\n    <scene_description>Ted flinches at this .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Wait a second, I never told you that.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>Christ, Ted, I was only four towns away.<\/dialogue>\n    <scene_description>Ted thinks it over .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Maybe you're right. I should look on the bright side. I mean, I've still got my health.<\/dialogue>\n    <parenthetical>( checks watch . )<\/parenthetical>\n    <dialogue>I'm out of here. I've got to get up at six a.m. to move my boss's brother into his apartment.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>What? On your day off? Do you even know the guy?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Never met him.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>Jesus, Ted, you've got to finish that damn novel so you can quit that stupid magazine.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Amen to that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIAMI - DRIVING RANGE - DAY<\/stage_direction>\n    <scene_description>Healy pays for a bucket of balls , then takes his clubs and strolls jauntily to . A GOLF TEE NEXT TO MARY 'S Healy places a ball on the tee and takes a swing . He tops the ball and it dribbles about ten yards .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>Hit a house! Bite bite!<\/dialogue>\n    <parenthetical>( to Mary . )<\/parenthetical>\n    <dialogue>Have n't swung the wrenches in a while.<\/dialogue>\n    <scene_description>Mary nods . Healy takes another swing and duck - hooks one about fifty yards . Mary addresses her ball , takes a smooth backswing , and<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Hey, can you give me some tips here?<\/dialogue>\n    <scene_description>She cracks her shot long and straight .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Yeah, do n't talk in someone's backswing.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Mary tees up another ball and Healy puts down his club .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I'm gon na get a soda, you want one?<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>( annoyed . )<\/parenthetical>\n    <dialogue>No thanks.<\/dialogue>\n    <scene_description>Healy pulls out a huge wad of change from his pocket .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>Oh cripes. Do you have change for a dollar? All I have is these stupid Nepalese coins.<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>( interested . )<\/parenthetical>\n    <dialogue>Nepal? Have you been?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Not in months. I do n't even know why I bought the damn place.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>You own a home there?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Well. it's just a condo really. Right outside Katmandu.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Wow. That's a place I've always wanted to go. Is it true the mountains are so tall you ca n't see the tops?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Not'til you get about three hundred yards from the summit. That's been my experience anyway.<\/dialogue>\n    <scene_description>She looks impressed . Healy looks at his watch .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You know, I should just get going. I'll work on my game next week.<\/dialogue>\n    <scene_description>He flips her a coin .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Here. Spend it on your trip to Katmandu.<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Healy starts to walk off . Mary does n't know what to do . Will she ever see this guy again ?<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( CALLS after him . )<\/parenthetical>\n    <dialogue>It was nice meeting you!<\/dialogue>\n    <scene_description>Healy does n't answer or turn around . He just raises his hand and gives her a little wave . Mary shrugs her shoulders . Oh well .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DRIVING RANGE PARKING LOT - DAY<\/stage_direction>\n    <scene_description>Healy is sitting in Sully 's Chrysler LeBaron , right next to Mary 's Honda Civic . He watches the rear - view mirror , and the moment he sees Mary coming out from the driving range , he swings his legs out the door and starts changing out of his golf shoes . As Mary tosses her golf bag into the trunk , she notices Healy tying his shoes . A second chance .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Well, it was nice meeting you, again.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Same here again.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>By the way, what's your name?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Pat Healy.<\/dialogue>\n    <scene_description>There 's an uncomfortable pause . Why does n't this guy ask the usual questions ?<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Do n't you want to know my name?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>I already know it, Mary.<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>( surprised . )<\/parenthetical>\n    <dialogue>How'd you know that?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>It's right there on your golf bag.<\/dialogue>\n    <scene_description>Healy opens the back door to put away his golf shoes . Suddenly , rolls and rolls of paper come tumbling out . Mary bends over to help Healy pick them up .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>What are you doing with all these blueprints?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Some buildings I'm working on.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Are you. an architect?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Well, just until I get my PGA Tour card.<\/dialogue>\n    <scene_description>Mary stares at him , mouth agape .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I'm kidding. Yeah, I guess you could call me an architect - it's just a job really, a way to keep me moving. My real passion is my hobby.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>I work with retards.<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>( taken aback . )<\/parenthetical>\n    <dialogue>I beg your pardon?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>You know.<\/dialogue>\n    <parenthetical>( flaps lips with fingers . )<\/parenthetical>\n    <dialogue>. the guys who ride the short bus.<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>( put off . )<\/parenthetical>\n    <dialogue>Is n't that a little politically incorrect?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>The hell with that. No one's gon na tell me who I can and ca n't work with.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>No, I mean<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>- There's this one kid, we call him Mongo on account of he's a mongoloid. He got out of his cage once and -<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>- He's in a cage?!<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Well it's more of an enclosure really.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>They keep him confined? That's bullshit!<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>That's what I said, so I went out and got him a leash you know, one of those clothesline runners for the backyard. He's got plenty of room out there to dig. The kid's really blossomed. Now I can take him to ball games, movies - you know, happy stuff.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>That sounds like fun.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Yeah, it's fun for them, but it's heaven for me.<\/dialogue>\n    <parenthetical>( getting emotional . )<\/parenthetical>\n    <dialogue>Those goofy bastards are just about the best thing I have in this crazy old world.<\/dialogue>\n    <parenthetical>( checks watch . )<\/parenthetical>\n    <dialogue>Ooh, hey, I got ta run.<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>( won back over . )<\/parenthetical>\n    <dialogue>Look, uh, I was thinking maybe we should go have dinner sometime.<\/dialogue>\n    <scene_description>Healy smiles at this and we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PROVIDENCE APARTMENT - 7:45 A.M.<\/stage_direction>\n    <scene_description>A profusely sweating Ted has a DRESSER ON HIS BACK and EEKS his way toward the front door as his BOSS 'S DISABLED BROTHER catches up to him IN A WHEELCHAIR . -LRB- The man is a quadriplegic who needs to use a MOUTHPIECE to operate his chair . -RRB-<\/scene_description>\n    <character>BOSS'S DISABLED BROTHER<\/character>\n    <dialogue>Hey, shit - for - brains, be careful not to scratch that thing, huh?<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( straining . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>BOSS'S DISABLED BROTHER<\/character>\n    <dialogue>You heard me. You already put a fucking nick in my piano.<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( biting tongue . )<\/parenthetical>\n    <dialogue>I'll try to be more careful.<\/dialogue>\n    <character>BOSS'S DISABLED BROTHER<\/character>\n    <dialogue>S'matter with you? You look like you're fading.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>The thing's kind of heavy.<\/dialogue>\n    <character>BOSS'S DISABLED BROTHER<\/character>\n    <dialogue>Heavy? Heavy?! What I would n't give to know what heavy feels like, you insensitive prick.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>No, I just meant.<\/dialogue>\n    <character>BOSS'S DISABLED BROTHER<\/character>\n    <dialogue>Yeah yeah. I'm going to the corner to get a cup of coffee.<\/dialogue>\n    <scene_description>The Boss 's Disabled Brother bites into the mouthpiece and ZIPS AWAY up the sidewalk . Ted takes a step . Rests . A step . Rests .<\/scene_description>\n    <character>ASSERTIVE WOMAN'S VOICE<\/character>\n    <dialogue>Hey you!<\/dialogue>\n    <scene_description>Ted glances back toward the street to see a T.V. NEWS REPORTER from the CHANNEL 7 I - TEAM rushing toward him with a NEWS CREW on her heels .<\/scene_description>\n    <character>T.V. NEWS REPORTER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Do you know that you're parked in a handicapped spot?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOCTOR'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Ted is splayed out on a table in obvious pain while DR. LALONDE , an old high school pal , palpates his spine .<\/scene_description>\n    <character>DR. LALONDE<\/character>\n    <parenthetical>( smirking . )<\/parenthetical>\n    <dialogue>So. I see you made the news.<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( angry and embarrassed . )<\/parenthetical>\n    <dialogue>It was n't my truck - I was helping out a guy in a wheelchair.<\/dialogue>\n    <character>DR. LALONDE<\/character>\n    <parenthetical>( dubious . )<\/parenthetical>\n    <dialogue>Uh - huh. Where was he?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Out getting coffee.<\/dialogue>\n    <character>DR. LALONDE<\/character>\n    <dialogue>Yeah, that's more or less what the others said, too. Out getting coffee. supposed to meet him here. picking up my grandma.<\/dialogue>\n    <scene_description>Ted turns and GLARES at him .<\/scene_description>\n    <character>DR. LALONDE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I'm just saying. They sure made you look dumb.<\/dialogue>\n    <scene_description>Ted SIGHS . A couple big CRACKS of the neck .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Bob, do you remember Mary?<\/dialogue>\n    <character>DR. LALONDE<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Mary.<\/dialogue>\n    <character>DR. LALONDE<\/character>\n    <dialogue>From high school Mary? Yeah, I saw her about six months ago at a convention in Las Vegas.<\/dialogue>\n    <scene_description>Ted sits up .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>A convention? How'd you see her at a convention?<\/dialogue>\n    <character>DR. LALONDE<\/character>\n    <dialogue>I'm an orthopedic surgeon, she's an orthopedic surgeon.<\/dialogue>\n    <scene_description>The Doc SIGHS , still able to recall the feeling .<\/scene_description>\n    <character>DR. LALONDE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What a babe.<\/dialogue>\n    <scene_description>Ted sits up on his elbows .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Babe?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PROVIDENCE MUTUAL INSURANCE COMPANY - DAY<\/stage_direction>\n    <scene_description>A buckled - over Ted limps into Dom 's office with a crazed look on his face .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Mary's a babe!<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>My Mary - she's not in Japan, she's single, and she's got no rugrats. She does have a little gambling problem, she plays the football cards a bit too much, but she's a babe, a surgeon babe!<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>Huh? But why did Healy?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Well think about it.<\/dialogue>\n    <scene_description>Ted folds his arms .<\/scene_description>\n    <character>DOM<\/character>\n    <dialogue>No You mean?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Uh - huh.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>The lazy fuck just did n't bother to look her up.<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( nodding . )<\/parenthetical>\n    <dialogue>That sneaky prick was probably practicing his jai alai.<\/dialogue>\n    <scene_description>Dom shakes his head . Then :<\/scene_description>\n    <character>DOM<\/character>\n    <dialogue>Well then you've got to call her, man.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Fuck calling her. I'm going down there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>While Mary gets ready for her date , Magda sits in front of the radio scanner in her bathrobe with her little dog Puffy on her lap .<\/scene_description>\n    <character>MAGDA<\/character>\n    <dialogue>So who's the lucky guy?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Name's Patrick, I met him at the driving range.<\/dialogue>\n    <character>MAGDA<\/character>\n    <dialogue>Good lookin'?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>He's no Steve Young.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HEALY'S CAR - NIGHT 69<\/stage_direction>\n    <scene_description>Healy , listening through his headphones , reacts to this .<\/scene_description>\n    <character>MAGDA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What's he like?<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I do n't know. He's kind of a mook.<\/dialogue>\n    <character>MAGDA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What's a mook?<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>You know, a mookalone, a schlep.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S APARTMENT - NIGHT<\/stage_direction>\n    <character>MAGDA<\/character>\n    <dialogue>Then why you going out with him if he's a schlep?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Come on, Magda.<\/dialogue>\n    <parenthetical>( SIGHS . )<\/parenthetical>\n    <dialogue>It's like that movie Harold and Maude.<\/dialogue>\n    <character>MAGDA<\/character>\n    <dialogue>I do n't watch the new ones.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>This one's almost thirty years old. It's about a young kid and an old lady who fall in love.<\/dialogue>\n    <character>MAGDA<\/character>\n    <dialogue>That's exactly why I do n't watch'em anymore - it's bullshit! Why the hell would an old lady go for a young kid?<\/dialogue>\n    <scene_description>Mary smiles at this .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>The point is, love is n't about money or social standing or age, it's about connecting with someone, having things in common kindred spirits.<\/dialogue>\n    <character>MAGDA<\/character>\n    <dialogue>Fuck kindred spirits. My little Puffy here's gon na tell you all you need to know about this guy in about two seconds flat. If he starts yapping, he's a loser ; if Puffy's relaxed. well, you got yourself a keeper.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HEALY'S CAR - NIGHT<\/stage_direction>\n    <scene_description>As Healy thinks about this , we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARY'S APARTMENT BUILDING - NIGHT<\/stage_direction>\n    <scene_description>Healy enters the building .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S APARTMENT BUILDING - HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Healy tiptoes up to Mary 's apartment door . He peeks through the mail slot . HEALY 'S POV - Puffy is staring at him and GROWLING . Healy reaches in his pocket , pulls out a VALIUM and a DOGGY TREAT . Healy shoves the pill into the treat 's soft center , examines it , then thinks what the hell and SHOVES IN ANOTHER ONE . Puffy GROWLS LOUDER . Healy pops the treat through the mail slot and listens as the dog DEVOURS IT . Healy looks at his watch , then sneaks back outside to wait a few minutes for the drugs to kick in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Healy is sitting on Mary 's couch with Puffy spread - eagled upside - down on his lap , KNOCKED OUT COLD . Mary and Magda look on in amazement .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( baby talk . )<\/parenthetical>\n    <dialogue>Oh, Pufferball likes his little tum - tum rubbed, does n't he now?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Wow, I've never seen him like this. He does n't usually like guys.<\/dialogue>\n    <character>MAGDA<\/character>\n    <dialogue>You mean he does n't like bad guys.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>` That right?<\/dialogue>\n    <character>MAGDA<\/character>\n    <dialogue>He can tell you're an animal nut. You are, are n't ya?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Truth is I usually get along better with animals than with people. In Nepal the villagers call me ` Kin - tan - tee', which means ` man who is loved by many animals.<\/dialogue>\n    <parenthetical>( babbling . )<\/parenthetical>\n    <dialogue>. who love him a lot, too. and so on.'<\/dialogue>\n    <scene_description>Magda stares dreamily at Healy , smitten .<\/scene_description>\n    <character>MAGDA<\/character>\n    <dialogue>Would you like a glass of tea or something?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>You got a brew?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <parenthetical>( noticing Magda 's trance . )<\/parenthetical>\n    <dialogue>Uh, Magda, why do n't you get some more cheese and crackers?<\/dialogue>\n    <character>MAGDA<\/character>\n    <dialogue>Oh, yeah, of course, dear.<\/dialogue>\n    <scene_description>The two women go into the kitchen and Healy is left to pet the MOTIONLESS DOG . Suddenly Healy notices that the dog is A LITTLE TOO MOTIONLESS . Healy checks Puffy 's pulse . He looks at his watch to time the rate .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( CALLING out . )<\/parenthetical>\n    <dialogue>Sorry, Pat, out of beer. You like vodka?<\/dialogue>\n    <character>HEALY<\/character>\n    <parenthetical>( CALLING out . )<\/parenthetical>\n    <dialogue>Great.<\/dialogue>\n    <scene_description>He starts SHAKING THE DOG , but Puffy does n't move . Healy goes into action . He starts pressing on his heart , PERFORMING DOGGIE CPR . One - and - two - and - three , he continues trying to revive him .<\/scene_description>\n    <character>MAGDA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( CALLING out . )<\/parenthetical>\n    <dialogue>Would you like a little clam - dip, honey?<\/dialogue>\n    <character>HEALY<\/character>\n    <parenthetical>( CALLING out . )<\/parenthetical>\n    <dialogue>No, thanks.<\/dialogue>\n    <parenthetical>( panicking . )<\/parenthetical>\n    <dialogue>Love a little bundt cake if you have some!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S KITCHEN - SAME<\/stage_direction>\n    <scene_description>Magda and Mary are on their way out the door when they stop .<\/scene_description>\n    <character>MAGDA<\/character>\n    <dialogue>Bundt cake?<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>Must have a sweet tooth. See if you can find some cookies.<\/dialogue>\n    <scene_description>As Magda starts to go through the cupboards .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S FAMILY ROOM - SAME<\/stage_direction>\n    <scene_description>A panicked Healy is giving the little mutt MOUTH - TO - MOUTH now . Then back to the heart , the mouth , the heart , the mouth .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( quietly , desperately , to Puffy . )<\/parenthetical>\n    <dialogue>Come on, man, stay away from the light!<\/dialogue>\n    <scene_description>Healy resumes blowing into the dog 's snout , pumping his chest , with no results . Desperate , he picks up the cheese knife and quickly SLICES THE WIRES ON TWO TABLE LAMPS . Healy grabs the two wires and TOUCHES THEM TOGETHER LIKE A DEFIBRILLATOR on the little pooch 's chest . ZZZZZTTTTTT - the dog BOUNCES a couple feet off the couch as SPARKS FLY . Healy takes his pulse again . Nothing . He ZAPS him once more with the LIVE WIRES . ZZZZZTTTTT - Still nothing . Healy gets to his feet and peeks into the kitchen . When he turns his back , we see PUFFY IGNITE IN FLAMES . When Healy turns back , he 's horrified at what he sees . He grabs a vase of flowers and POURS THE WATER ON THE BURNING DOG . With this , Puffy flinches and comes to , GASPING FOR AIR !<\/scene_description>\n    <character>MAGDA<\/character>\n    <dialogue>All I had was some Funny Bones - how does that sound, honey?<\/dialogue>\n    <scene_description>Healy picks up the stunned pooch and swaddles it in a blanket as Magda ENTERS the room followed by Mary .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( petting dog . )<\/parenthetical>\n    <dialogue>Fine. Fine.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Here you go.<\/dialogue>\n    <parenthetical>( sniffs . )<\/parenthetical>\n    <dialogue>What's that smell?<\/dialogue>\n    <scene_description>Mary hands Healy his vodka and as he downs it , we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIAMI MUSEUM - NIGHT<\/stage_direction>\n    <scene_description>Healy looks slightly disoriented as Mary leads the way into the courtyard area by the main building .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>The museum? I thought we were going out to dinner?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>We will, but first I have a surprise.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>A surprise?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>The architecture exhibit! My friend Tucker is going to be here. He's an architect, too. You guys will have tons to talk about.<\/dialogue>\n    <scene_description>CLOSE ON HEALY 'S FACE as he starts to panic .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARCHITECTURE EXHIBIT<\/stage_direction>\n    <scene_description>Mary and Healy walk through the exhibit area . Mary scans the room for her friend . Healy 's face is ashen .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>I know he's around here someplace.<\/dialogue>\n    <character>HEALY<\/character>\n    <parenthetical>( chipper . )<\/parenthetical>\n    <dialogue>What say we get outta here and go crush a bucket?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>We just got here thirty seconds ago. Is n't this stuff great?<\/dialogue>\n    <scene_description>Mary points to an architectural model .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Is this one art deco or art nouveau?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Deco.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Would you call that a portico or a vestibule?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>That? Vestibule.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>How about -?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>When you look at architecture, try not to concern yourself with the pieces - look at the building in its totalitarianism.<\/dialogue>\n    <scene_description>Mary gives him a look . Suddenly , Healy draws a couple of invisible sixshooters at her .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Stone crab time! Come on, let's get outta here, goofy.<\/dialogue>\n    <scene_description>He turns to go but Mary notices something O.S.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Tucker!<\/dialogue>\n    <scene_description>Mary leads Healy over to her friend TUCKER , a distinguished - looking man in his fifties . Healy looks like a dog that 's being dragged to the vet . Mary and Tucker embrace .<\/scene_description>\n    <character>TUCKER<\/character>\n    <parenthetical>( still hugging . )<\/parenthetical>\n    <dialogue>Come on, like you mean it.<\/dialogue>\n    <scene_description>Mary LAUGHS and hugs Tucker tighter . Then :<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Tucker, this is my friend Pat Healy. Healy and Tucker shake hands.<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>Pleasure to meet you, Patrick.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Same here.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Pat's an architect, too.<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>Hey, no kidding? Where are your offices?<\/dialogue>\n    <character>HEALY<\/character>\n    <parenthetical>( keeping cool . )<\/parenthetical>\n    <dialogue>Mainly I work out of Boston.<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>Boston, huh? Did you get your degree up there?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Yes yes, I did get my degree up there.<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>Harvard?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>You bet.<\/dialogue>\n    <character>TUCKER<\/character>\n    <parenthetical>( pleased . )<\/parenthetical>\n    <dialogue>Did you study under Kim Greene?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Among others.<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>Kim and I are close friends!<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Well, I'll tell her I ran into you.<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>You mean him.<\/dialogue>\n    <scene_description>BEAT .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>Well. that's debatable.<\/dialogue>\n    <scene_description>Healy makes a hand - gesture to imply that Kim 's sexuality is in doubt .<\/scene_description>\n    <character>TUCKER<\/character>\n    <dialogue>Really? But he's been married for twenty years - they've got six kids.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Nice smokescreen, is n't it?<\/dialogue>\n    <scene_description>Tucker can hardly believe his ears .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Pat does projects all over the world.<\/dialogue>\n    <character>TUCKER<\/character>\n    <parenthetical>( impressed . )<\/parenthetical>\n    <dialogue>Where would I have seen your work?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Have you been to.<\/dialogue>\n    <parenthetical>( thinking hard . )<\/parenthetical>\n    <dialogue>Let's see - Santiago, Chile?<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>Absolutely! I was there twice last year. Which building is yours?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Do you know the. soccer stadium?<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>Did you build the Estadio Olympico?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>No. just down the street, the Amigo Tower.<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>I'm sorry, I'm not familiar with it. What style?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Uh, sort of nouveau deco. with a big vestibule. Check it out next time you're up there.<\/dialogue>\n    <scene_description>Tucker starts to look a little suspicious .<\/scene_description>\n    <character>TUCKER<\/character>\n    <dialogue>You know, I really should take your card.<\/dialogue>\n    <character>HEALY<\/character>\n    <parenthetical>( noticing something . )<\/parenthetical>\n    <dialogue>Oh look, it's Doob! Will you excuse me a minute, Tucker?<\/dialogue>\n    <scene_description>Healy drags Mary across the room toward a MAN who 's looking at an exhibit .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( to Man . )<\/parenthetical>\n    <dialogue>Dooby, you old sheep - fucker! How the hell are ya?<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>My name's Mel.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Oh, sorry. Anyone ever tell you you look just like Jim Dubois?<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>The sheepfucker?<\/dialogue>\n    <scene_description>Healy shrugs and the man walks away angrily .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY - NIGHT<\/stage_direction>\n    <scene_description>A two - door Toyota Tercel flies by the camera .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOYOTA TERCEL<\/stage_direction>\n    <scene_description>A determined Ted is cruising along the highway in his rent - a - car . He has a cup of coffee in his hand and a HITCHHIKER in the seat beside him . The Hitchhiker sits with a LARGE RED DUFFEL BAG between his legs .<\/scene_description>\n    <character>HITCHHIKER<\/character>\n    <dialogue>Thanks for picking me up.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>No prob, I could use the company. I've been on the road going on fifteen hours straight.<\/dialogue>\n    <character>HITCHHIKER<\/character>\n    <dialogue>I know how you feel - I been standing in the same spot for the last five hours. You know it's against the law to pick up a hitchhiker in this state.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>That must make it tough.<\/dialogue>\n    <character>HITCHHIKER<\/character>\n    <dialogue>Sucks. So what's up? You some kind of salesman or something?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Nah. I'm. I'm nothing.<\/dialogue>\n    <character>HITCHHIKER<\/character>\n    <dialogue>Oh. Well I am.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Hm?<\/dialogue>\n    <character>HITCHHIKER<\/character>\n    <dialogue>A salesman - that's what I am. I mean, I'm gon na be anyway. I'm starting my own company - video sales - just as soon as I get enough seed money.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>` That right? Good for you.<\/dialogue>\n    <character>HITCHHIKER<\/character>\n    <dialogue>Yeah, you would n't believe my idea - it's a home run. You ever hear of Eight - Minute Abs?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>The exercise tape? Sure, I've seen it on T.V.<\/dialogue>\n    <character>HITCHHIKER<\/character>\n    <dialogue>Two million copies it sold last year. Two million, man. But not next year - my idea's gon na blow them outta the water. Get this :.<\/dialogue>\n    <parenthetical>( dramatic pause . )<\/parenthetical>\n    <dialogue>Seven - Minute Abs.<\/dialogue>\n    <scene_description>BEAT .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>I see where you're going.<\/dialogue>\n    <character>HITCHHIKER<\/character>\n    <parenthetical>( big smile . )<\/parenthetical>\n    <dialogue>Think about it. You walk into a video store and you see Eight - Minute Abs and right next to it you see Seven - Minute Abs - which one you gon na spring for?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I'd go with the seven.<\/dialogue>\n    <character>HITCHHIKER<\/character>\n    <dialogue>Bingo. Especially since we guarantee you'll get every bit as good a work - out.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>How do you guarantee that?<\/dialogue>\n    <character>HITCHHIKER<\/character>\n    <dialogue>Well it's the company motto : ` If you ai n't happy we'll send you the extra minute.'<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Huh. That sounds great.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Unless someone else comes out with Six - Minute Abs.<\/dialogue>\n    <scene_description>Ted CHUCKLES , but the Hitchhiker just GLARES at him , unamused .<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( unaware . )<\/parenthetical>\n    <dialogue>I'm gon na pull over. I got ta take a leak.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. REST AREA - NIGHT<\/stage_direction>\n    <scene_description>The Toyota Tercel pulls in and parks . Ted gets out and walks into the bushes to whiz . ON TED - as he steps into the dark brush UNZIPPING his fly he TRIPS over something and FALLS TO THE GROUND .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>What the -?<\/dialogue>\n    <scene_description>Suddenly WHOOSH , WHOOSH , WHOOSH - several huge SPOTLIGHTS illuminate the area revealing TWO DOZEN FRIGHTENED MEN scurrying to pull their pants up all around him .<\/scene_description>\n    <character>POLICE OFFICER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>THIS IS A RAID!<\/dialogue>\n    <scene_description>ANGLE ON a startled Ted ON HIS KNEES directly in front of ANOTHER MAN , making it appear that he 's been BLOWING THE GUY . REVERSE ANGLE reveals a DOZEN POLICE OFFICERS holding the spotlights and moving in for the arrests followed by a CAMERA CREW .<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>( deer caught in headlights . )<\/parenthetical>\n    <dialogue>Wait a second, it's not what you think.<\/dialogue>\n    <scene_description>A GUY with his pants at his ankles jumps on the bandwagon .<\/scene_description>\n    <character>PANTS AT ANKLES GUY<\/character>\n    <dialogue>That's right! I - I - I was just pissing!<\/dialogue>\n    <scene_description>Ted glares at him .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>No! I was pissing!<\/dialogue>\n    <character>POLICE OFFICER<\/character>\n    <dialogue>Yeah, I'll bet you all were. Come on, in the truck.<\/dialogue>\n    <scene_description>As they grab Ted and the others and hustle them away , we PAN TO the Hitchhiker sitting in the Toyota watching the raid unfold . The Hitchhiker is clearly PANICKY at the sight of all the cops . Quietly he OPENS THE CAR DOOR , ducks down , and then SPRINTS AWAY INTO THE WOODS UNSEEN , LEAVING HIS BIG RED BAG BEHIND . CLOSE UP OF TELEVISION SCREEN as the bust continues . Each of the men COVER THEIR FACES as they pass by the camera , EXCEPT FOR TED who is extremely visible .<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>( to Cop . )<\/parenthetical>\n    <dialogue>Okay, take it easy, you do n't have to push.<\/dialogue>\n    <scene_description>REVERSE ANGLE REVEALS a shocked Dom and his wife watching this on their television .<\/scene_description>\n    <character>DOM<\/character>\n    <dialogue>Oh my God. Is that?<\/dialogue>\n    <character>DOM'S WIFE<\/character>\n    <parenthetical>( matter - of - fact . )<\/parenthetical>\n    <dialogue>Told you he was gay.<\/dialogue>\n    <scene_description>BACK ON THE TELEVISION - The COPS struggle to get the feisty Ted into a police van .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>I was taking a leak!<\/dialogue>\n    <character>T.V. ANNOUNCER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>We'll be right back with more of our special edition of COPS - LIVE IN THE BIBLE BELT!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIAMI STREET - NIGHT<\/stage_direction>\n    <scene_description>Healy and Mary are walking home at the end of their date . Healy is eating a big , wild cone of COTTON CANDY and drinking a beer .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>That grandmother of yours - she's really something.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Magda? She's not my grandmother - actually she rents the apartment right next to mine. Her husband passed away a couple years ago so she does n't like to be alone.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>And it does n't cramp your style?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue \/>\n    <character>Sadly, no. Well except for the lint.<\/character>\n    <dialogue>Well except for the lint. says.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Lint?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Yeah, I think it's that dog of hers running around on the rug all day - just makes for a lot of lint. Look at this.<\/dialogue>\n    <scene_description>Mary lifts her shirt , revealing a BIG CLUMP OF COTTON CANDY STICKING OUT OF HER BELLY - BUTTON .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>See? That's just one day.<\/dialogue>\n    <scene_description>Healy CRACKS UP and then gazes at her . What a babe .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>You know, sometimes I wish I could be like Magda and not go home. I'd like to just bounce around for awhile, do a little traveling.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Why bounce when you have your own condo in Nepal to go to?<\/dialogue>\n    <scene_description>It 's clear Healy forgot about that one .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>Ah, I'd sell that. Start fresh in a new place, quit the architect game, slow things down, read more books, see more movies.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>You're a movie buff?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Try to be. It's tough going with the crap they make today. If Dumb and Dumber's the best they've got to offer I say thanks but no thanks.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Have you seen it?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>No. But the Boston Globe critic Jay Carr hated it.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>A fucking moron.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Huh. I guess I just wish they made them like they used to. You know, something like The Heartbreak Kid. or Harold and Maude.<\/dialogue>\n    <scene_description>Mary ca n't believe her ears .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Harold and Maude is my all - time favorite movie.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Ouch. Come on, do n't bust my chops. I know it's corny, but I do love it.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Pat, I'm not kidding. I really think it's the greatest -<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>- Love story of our time.<\/dialogue>\n    <scene_description>Mary smiles . Is this guy for real ?<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Wow. I thought I was the only one.<\/dialogue>\n    <scene_description>They come to her apartment building and stop . It gets a little awkward .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>So.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Yeah. I guess this is it, huh?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>I guess.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Well, I'll see ya.<\/dialogue>\n    <scene_description>Healy turns to go but stops .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Mary ah, forget it.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>No, forget it, it was stupid.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Come on, what were you going to say?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Nah, really, it was moronic.<\/dialogue>\n    <scene_description>She grabs him by the shirt playfully .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Just say it.<\/dialogue>\n    <scene_description>Healy takes a deep breath .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>Could I feel your bosoms before I go?<\/dialogue>\n    <scene_description>Mary just stares at him .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Knock yourself out.<\/dialogue>\n    <scene_description>Healy reaches out and cups her breasts . He does n't kiss her , she does n't kiss him , he just fondles her breasts . Then :<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>Okey - dokey, so tomorrow night?<\/dialogue>\n    <scene_description>She smiles and as Healy walks away we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOUTH CAROLINA PRISON - DAY<\/stage_direction>\n    <scene_description>Ted is sitting alone at a table in a small interrogation room . PULLBACK to reveal that he is being observed through a two - way mirror by two detectives , FRANEK and CAVALLO .<\/scene_description>\n    <character>DETECTIVE FRANEK<\/character>\n    <dialogue>Man, they never look like you'd expect.<\/dialogue>\n    <character>DETECTIVE CAVALLO<\/character>\n    <dialogue>That's probably how he got the victim to drop his guard.<\/dialogue>\n    <character>DETECTIVE FRANEK<\/character>\n    <dialogue>Where'd they find the body?<\/dialogue>\n    <character>DETECTIVE CAVALLO<\/character>\n    <dialogue>In a big red bag on the front passenger seat. All hacked up - fucking gruesome - a real psycho, this one.<\/dialogue>\n    <scene_description>The Detectives ENTER the room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INTERROGATION ROOM - DAY<\/stage_direction>\n    <scene_description>Ted stands as the Detectives take a seat across from him .<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>( agitated . )<\/parenthetical>\n    <dialogue>I'm telling you, I did not solicit sex! I was just stopping to go the bathroom, next thing I know I tripped over something - well someone - and, POOF, there's cops and lights and -<\/dialogue>\n    <character>DETECTIVE FRANEK<\/character>\n    <dialogue>Okay, calm down, Ted, we believe you.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>The problem is we found your friend in the car.<\/dialogue>\n    <scene_description>As Ted sits back down the Detectives just stare at him . Finally Ted thinks he gets it .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Oh. The hitchhiker.<\/dialogue>\n    <parenthetical>( CHUCKLES . )<\/parenthetical>\n    <dialogue>That's what this is all about.<\/dialogue>\n    <scene_description>Ted puts his head in his hands and smiles .<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Is n't that just my luck - I get caught for everything.<\/dialogue>\n    <character>DETECTIVE CAVALLO<\/character>\n    <dialogue>So you admit it?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Guilty as charged. I'm not gon na play games with you. I could give you a song and dance but what's the point? I did it and we all know it.<\/dialogue>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>The hitcher himself told me it's illegal The irony.<\/dialogue>\n    <scene_description>The Detectives are surprised by his forthrightness .<\/scene_description>\n    <character>DETECTIVE CAVALLO<\/character>\n    <dialogue>Well, uh, can you tell us his name?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Jeez, I did n't catch it.<\/dialogue>\n    <scene_description>The Detectives flinch at his glib demeanor .<\/scene_description>\n    <character>DETECTIVE FRANEK<\/character>\n    <dialogue>So he was a stranger? It was totally random?<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( confused . )<\/parenthetical>\n    <dialogue>He was the first hitcher I saw, what can I tell you? Now cut to the chase, how much trouble am I in?<\/dialogue>\n    <scene_description>The Detectives look at one another .<\/scene_description>\n    <character>DETECTIVE FRANEK<\/character>\n    <dialogue>First tell us why you did it.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Why I did it?<\/dialogue>\n    <parenthetical>( scoffs . )<\/parenthetical>\n    <dialogue>I do n't know. Boredom? I thought I was doing the guy a favor.<\/dialogue>\n    <scene_description>The Detectives look at each other .<\/scene_description>\n    <character>DETECTIVE CAVALLO<\/character>\n    <dialogue>This was n't your first time, was it, Ted? How many we talking?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Hitchhikers? I do n't know - fifty. a hundred maybe - Who keeps track?<\/dialogue>\n    <scene_description>Finally Detective Cavallo EXPLODES across the table and starts WAILING on a shocked Ted .<\/scene_description>\n    <character>DETECTIVE CAVALLO<\/character>\n    <dialogue>You sonofabitch! You're gon na fry!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARY'S OFFICE - MORNING<\/stage_direction>\n    <scene_description>Mary pulls up in her Honda Civic . She parks out front and enters the building . PAN ACROSS THE STREET TO REVEAL - Healy is parked in his car . His surveillance equipment is pointed toward Mary 's office .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S OFFICE - MORNING<\/stage_direction>\n    <scene_description>Mary walks into the office and sees a MEDICAL ASSISTANT standing near the coffee maker .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Mornin', Jane.<\/dialogue>\n    <character>MEDICAL ASSISTANT #1<\/character>\n    <dialogue>Good morning, Doctor. Your friend Tucker's in your office to see you.<\/dialogue>\n    <scene_description>Mary nods and heads toward her office .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S OFFICE - SAME<\/stage_direction>\n    <scene_description>Mary walks into her office and sees Tucker seated at her desk . -LRB- SHOT FROM behind Tucker so we only see the back of his head . -RRB-<\/scene_description>\n    <character>TUCKER<\/character>\n    <dialogue>What's up, Doc?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Tucker, you look different some how. Did you do something with your hair?<\/dialogue>\n    <scene_description>MARY 'S POV - Tucker 's got two TONGUE DEPRESSORS under his upper lip making him look like a walrus .<\/scene_description>\n    <character>TUCKER<\/character>\n    <dialogue>The teeth, the teeth. I got'em capped.<\/dialogue>\n    <scene_description>ON MARY - smiles .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Oh yeah, they look great.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HEALY'S CAR - SAME<\/stage_direction>\n    <scene_description>He 's got his listening gun fixed on Mary 's office .<\/scene_description>\n    <character>TUCKER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>You do n't think they're too big?<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>No no, the bigger the better.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>But I must say, they could be a little brighter. Nothing's sexier than a mouthful of pearly whites.<\/dialogue>\n    <scene_description>Healy looks at his teeth in the mirror . Not exactly pearly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S OFFICE - CONTINUOUS<\/stage_direction>\n    <scene_description>Tucker pulls the tongue depressors out of his teeth and laughs . He stands up , and when Mary tries to squeeze past him he gives her a kiss on the cheek .<\/scene_description>\n    <character>TUCKER<\/character>\n    <dialogue>You ever been laid in this office?<\/dialogue>\n    <scene_description>Mary pushes past him .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Behave yourself, Tucker.<\/dialogue>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Come on, what are you doing here?<\/dialogue>\n    <scene_description>She sits in her chair and leans against her desk .<\/scene_description>\n    <character>TUCKER<\/character>\n    <dialogue>I wanted to talk to you about your friend Patrick.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HEALY'S CAR - CONTINUOUS<\/stage_direction>\n    <scene_description>Healy almost flies out of his seat .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>He's a nice guy, is n't he?<\/dialogue>\n    <character>TUCKER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Well that's what I'm trying to figure out. How long have you known him?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S OFFICE - CONTINUOUS<\/stage_direction>\n    <scene_description>Tucker has a look of concern .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Not long at all, but I really like him.<\/dialogue>\n    <parenthetical>( off Tucker 's look . )<\/parenthetical>\n    <dialogue>Okay, I know he's a little different, Tucker, but that's what I like about him. He's a guy. A real guy. He dresses like a dork and eats corndogs and he is n't always politically correct and he probably farts, too. And that's okay with me.<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>That's what you've been looking for - a farter?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>I've been looking for a guy - not one of these South Beach pussies.<\/dialogue>\n    <character>TUCKER<\/character>\n    <parenthetical>( SIGHS . )<\/parenthetical>\n    <dialogue>Look, it's just that something about him struck me as odd last night. He gave me this funny vibe. Anyway, I called some friends back east. They do n't know of any architect named Patrick Healy and he's not listed as a Harvard alumnus.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HEALY'S CAR - SAME<\/stage_direction>\n    <scene_description>Healy SLAMS his hand on the steering wheel .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>Fuck!<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Huh. that's strange.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S OFFICE - SAME<\/stage_direction>\n    <character>TUCKER<\/character>\n    <dialogue>I thought so. Anyway, I hope you do n't think I'm being meddlesome. I just think you should be careful with this guy.<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>( concerned . )<\/parenthetical>\n    <dialogue>No no no, Tucker, thank you.<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>I mean let's face it, Mary, you're beautiful, you've got money, you trust people - I'm just saying, there's a lot of psychos out there.<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>( small smile . )<\/parenthetical>\n    <dialogue>I appreciate you looking out for me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOUTH CAROLINA PRISON - DAY<\/stage_direction>\n    <scene_description>CLOSE ON - Detective Franek as he SPEAKS , sheepishly . His remorseful - looking partner Cavallo stands behind him .<\/scene_description>\n    <character>DETECTIVE FRANEK<\/character>\n    <dialogue>On behalf of the entire South Carolina law enforcement community, I would like to offer our heartfelt apologies for any pain or temporary inconvenience we may have caused you, Mr. Peloquin.<\/dialogue>\n    <scene_description>REVERSE ANGLE - reveals that Ted is lying on his prison bed being spooned by a 300 - pound SLEEPING INMATE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON HALLWAY<\/stage_direction>\n    <scene_description>The two Detectives and an apoplectic Ted walk down the hallway .<\/scene_description>\n    <character>DETECTIVE FRANEK<\/character>\n    <dialogue>At exactly 10:48 this morning a man was apprehended not far from where you were arrested. He was identified as an escaped mental patient and subsequently confessed to the murder that you were being held for. Lab tests confirmed a fingerprint match on the bag.<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( fragile . )<\/parenthetical>\n    <dialogue>So. I'm free to go?<\/dialogue>\n    <scene_description>Detective Cavallo stops and holds out his hand .<\/scene_description>\n    <character>DETECTIVE CAVALLO<\/character>\n    <dialogue>No harm, no foul?<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( stunned . )<\/parenthetical>\n    <dialogue>I guess.<\/dialogue>\n    <scene_description>Still traumatized , Ted shakes the man 's hand , then mopes toward the door .<\/scene_description>\n    <character>DETECTIVE FRANEK<\/character>\n    <dialogue>By the way, there's somebody here to see you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TED'S CAR - DAY<\/stage_direction>\n    <scene_description>Dom is driving ; a bruised and somber Ted is in the passenger seat .<\/scene_description>\n    <character>DOM<\/character>\n    <dialogue>You are one lucky sonofabitch, you know that?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I am?<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>Did n't they tell you? That hitcher was just about to cut your throat when you stopped to take a leak. You got a fucking horseshoe up your ass, man.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Yeah feels like it.<\/dialogue>\n    <scene_description>Ted grimaces and shifts in his seat .<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>How the hell did you get here anyway?<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>Flew.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Told my wife I was going to a Promise Keepers convention.<\/dialogue>\n    <scene_description>Ted gives him a look .<\/scene_description>\n    <character>DOM<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I hate to ruin your day, Ted, but I have some bad news for you.<\/dialogue>\n    <scene_description>Ted SIGHS .<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>( resigned . )<\/parenthetical>\n    <dialogue>Shoot.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>Remember our friend Healy? Well, I did n't know where to mail his last paycheck so I sent my assistant by his mother's apartment. Turns out there is no diabetic mom. Landlord said she's been dead for ten years.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>And this adversely affects me how?<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>Do n't you see? - Healy lied to us about everything! The landlord said when he got back from Miami he kept talking about falling for some doctor named Mary!<\/dialogue>\n    <scene_description>Ted is stunned .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Huh? What? No. My Mary? Mary would n't go for him. would she?<\/dialogue>\n    <scene_description>Dom hands Ted a SLIP OF PAPER .<\/scene_description>\n    <character>DOM<\/character>\n    <dialogue>His address in Miami. You know, when you think about it, we really do n't know the first thing about this guy.<\/dialogue>\n    <scene_description>Finally the implications of this dawn on Ted .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Jesus Christ what have I done?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S APARTMENT - EVENING<\/stage_direction>\n    <scene_description>A confused Mary and her girlfriends are in the apartment while Magda listens to the radio scanner in the b.g.<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>You're not seriously thinking about going out with this guy again?<\/dialogue>\n    <character>JOANNIE<\/character>\n    <dialogue>Mary, he sounds like a psycho!<\/dialogue>\n    <character>MAGDA<\/character>\n    <dialogue>Would you hens quit ya cackling and let her do what she wants to do. Puffy liked him and Puffy's never wrong.<\/dialogue>\n    <scene_description>The girlfriends roll their eyes .<\/scene_description>\n    <character>BRENDA<\/character>\n    <dialogue>Mary, the guy's full of shit.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>What if he's not? What if Tucker just made an honest mistake?<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>What if he did n't?<\/dialogue>\n    <scene_description>It 's clear that Mary is torn .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>I do n't know how I can bail now, he's going to be here any minute.<\/dialogue>\n    <character>JOANNIE<\/character>\n    <dialogue>Well then blow him off when he gets here.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>But you did n't meet him. He seems so I do n't know. perfect. kind of.<\/dialogue>\n    <character>BRENDA<\/character>\n    <dialogue>He has a big cock, does n't he?<\/dialogue>\n    <scene_description>Mary shoots Brenda a look .<\/scene_description>\n    <character>MAGDA<\/character>\n    <dialogue>Hey hey, what did you say Pat's last name was?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Healy.<\/dialogue>\n    <scene_description>Magda 's eyes almost come out of her head .<\/scene_description>\n    <character>MAGDA<\/character>\n    <dialogue>I think you better listen to this.<\/dialogue>\n    <scene_description>Magda turns up the volume on her scanner and we can clearly hear Healy TALKING ON HIS CELLULAR PHONE . Mary and her girlfriends gather around .<\/scene_description>\n    <character>SULLY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>So where the hell are you, Healy?<\/dialogue>\n    <character>HEALY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Ah, I got a date tonight with that Mary girl I told you about.<\/dialogue>\n    <character>SULLY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The sawbones?<\/dialogue>\n    <character>HEALY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Yep.<\/dialogue>\n    <scene_description>The girls all look at one another .<\/scene_description>\n    <character>BRENDA<\/character>\n    <dialogue>We hit the motherlode.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>We should n't be listening to this.<\/dialogue>\n    <character>LISA AND JOANNIE<\/character>\n    <dialogue>Shhh.<\/dialogue>\n    <character>SULLY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>She still think you're a fucking architect?<\/dialogue>\n    <character>HEALY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Oh yeah.<\/dialogue>\n    <character>SULLY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Dumbshit.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Mr. Perfect, huh?<\/dialogue>\n    <scene_description>Mary starts to feel like a fool .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( edgy . )<\/parenthetical>\n    <dialogue>Turn it up, Magda.<\/dialogue>\n    <character>HEALY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Hey, watch your mouth - she's a great gal. I'm the dumbshit for lying to her.<\/dialogue>\n    <character>SULLY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Why did n't you just tell her the truth?<\/dialogue>\n    <character>HEALY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I do n't know. I guess. it just seems that women today are more impressed by the mighty buck than by some schmo who spent the last seventeen years scraping by on Peace Corp wages.<\/dialogue>\n    <scene_description>The girls all seem moved by this .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HEALY'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Healy is parked out front , the phone in one hand , a SCRIPT in the other , as he listens to Sully read the following words :<\/scene_description>\n    <character>SULLY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>But Jesus, Pat, if she's as special as you say, she's going to want to hear about the things you did.<\/dialogue>\n    <character>HEALY<\/character>\n    <parenthetical>( dismissing this . )<\/parenthetical>\n    <dialogue>Ahh.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLY'S APARTMENT - SAME<\/stage_direction>\n    <scene_description>A disheveled and wired - looking Sully is sitting on the couch in his underwear READING FROM THE SAME SCRIPT . There 's COKE on the table , DOG SHIT on the floor , and FLIES everywhere . In the B.G. we see the Great Dane SNIFFING at his empty bowl and the Boa Constrictor sprawled out on the floor , barely moving .<\/scene_description>\n    <character>SULLY<\/character>\n    <parenthetical>( reading . )<\/parenthetical>\n    <dialogue>Come on, you could tell her about the irrigation ditches you dug in Sudan, the orphan babies who cried in your arms in Romania.<\/dialogue>\n    <parenthetical>( does a line of blow . )<\/parenthetical>\n    <dialogue>. the hope you gave Freddie the leper in Calcutta.<\/dialogue>\n    <scene_description>Suddenly the dog snatches the page out of his hand and STARTS TO EAT IT . BACK ON Mary and friends .<\/scene_description>\n    <character>JOANNIE<\/character>\n    <parenthetical>( welling up . )<\/parenthetical>\n    <dialogue>I love this man.<\/dialogue>\n    <scene_description>Magda folds her arms and gloats .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HEALY'S CAR - NIGHT<\/stage_direction>\n    <character>HEALY<\/character>\n    <dialogue>Look, I did all those things for myself. I'll be honest with you, I'm a selfish prick. I get a high from helping all of God's creatures. An honest to goodness high.<\/dialogue>\n    <scene_description>Just then , Healy sees a bug on the car window and instinctively squashes it . ON SULLY - he has the phone wedged between his cheek and shoulder as he STRUGGLES with the dog to get the script . Sully still ca n't retrieve the script , nor his next line .<\/scene_description>\n    <character>SULLY<\/character>\n    <parenthetical>( winging it . )<\/parenthetical>\n    <dialogue>That's bullshit, man you, uh, you were on the front line. Remember the, uh, malaria the, uh, typhoon fever that vicious strain of genital herpes?<\/dialogue>\n    <scene_description>ON MARY AND FRIENDS - they flinch at this . ON HEALY - he stares at the phone , horrified .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Uh, sure. I cured a lot of nasty illnesses in third - world countries.<\/dialogue>\n    <scene_description>ON MARY AND FRIENDS - as they let out a sigh .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( V.O. ; cont 'd . )<\/parenthetical>\n    <dialogue>The bottom line is, I'm not going to use my philanthropy as some form of currency. especially after what I did.<\/dialogue>\n    <parenthetical>( SIGHS . )<\/parenthetical>\n    <dialogue>I lied to this poor girl. Lied. man. She deserved better.<\/dialogue>\n    <character>SULLY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Hey, love will make you do fucked - up things.<\/dialogue>\n    <character>HEALY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>You said it, mister.<\/dialogue>\n    <parenthetical>( choking up . )<\/parenthetical>\n    <dialogue>I got ta go.<\/dialogue>\n    <scene_description>ON SULLY - as he HANGS UP the phone and does another line , we PAN TO the Great Dane Hal as he looks around for something , anything to eat . He SNIFFS at a sock , then a beer bottle , before finally setting his sights on the Boa Constrictor Bill . Bill glances the dog 's way nervously , SENSES TROUBLE , and wiggles his way into another room . As Hal TAKES OFF after the snake , we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Healy starts to knock on Mary 's door , but , before he can , the door suddenly swings open revealing a beaming Mary .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( startled . )<\/parenthetical>\n    <dialogue>Oh Mary. Look, there's something I have to tell you. I'm not<\/dialogue>\n    <scene_description>Before he can finish , Mary steps forward and their mouths meet in a passionate KISS . MONTAGE OF MARY AND HEALY COURTING - As Mary watches , Healy plays TOUCH FOOTBALL with Warren and a few of his friends . Healy catches a pass then , trying a little too hard to impress Mary , he delivers a forearm shiver to his defender and gives Warren a vicious STRAIGHT - ARM . When Healy gets into the end zone he spikes the ball and starts talking trash to another defender . - Healy shows up at Mary 's door sporting a set of OVERSIZED INCREDIBLY - WHITE CAPPED TEETH . He gives her a big horse smile and she reacts uncertainly . - Healy is in Mary 's apartment as Mary finishes dressing for a night on the town .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>All set.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>You look great.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Hey, Mare, do I have a rip in the back of these pants?<\/dialogue>\n    <scene_description>When she puts her head close to inspect his pants , he lets fly a THUNDEROUS FART . She pulls her head away , repulsed , but Healy just LAUGHS . - Mary and and the horse - toothed Healy are having dinner in a romantic restaurant . As he eats he tells an animated story but he 's having trouble with the new choppers and chunks of food are spraying out of his mouth with every word . Mary has to BOB AND WEAVE to avoid being covered with debris . - Healy and Warren are playing monopoly . When Warren is n't looking , Healy cheats and puts a couple hotels on Boardwalk . In the b.g. we see one of Warren 's buddies fall out of a palm tree .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARY'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>A lovesick Healy is mauling Mary out on the sidewalk in front while Warren stands off to the side LISTENING TO A WALKMAN . REVERSE ANGLE reveals a devastated Ted and Dom watching this from Ted 's car .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Fuck me.<\/dialogue>\n    <parenthetical>( sighs . )<\/parenthetical>\n    <dialogue>Let's go home.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>No! You've gone through way too much to back down now. Get over there and do something - I ca n't stand watching this.<\/dialogue>\n    <scene_description>BACK ON MARY AND HEALY as Healy starts OVER - DOING IT and Mary has to break it off .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Whoa, whoa, how's my stomach taste?<\/dialogue>\n    <scene_description>Healy LAUGHS .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>How's my stomach taste, she says.<\/dialogue>\n    <parenthetical>( shakes head . )<\/parenthetical>\n    <dialogue>Hey thanks for picking up the lunch tab, Mare. Sorry I forgot my wallet. I feel like a dog.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Forget it. It was. fun.<\/dialogue>\n    <scene_description>ON TED AND DOM Ted recognizes Warren .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Holy shit, there's Warren.<\/dialogue>\n    <scene_description>BACK ON MARY . HEALY , AND WARREN Suddenly we see Warren PERK UP at something .<\/scene_description>\n    <character>WARREN<\/character>\n    <dialogue>Franks and beans!<\/dialogue>\n    <scene_description>ON TED AND DOM<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Jesus, I think her brother spotted me.<\/dialogue>\n    <scene_description>They both duck down in their seats . BACK ON MARY . HEALY . AND WARREN<\/scene_description>\n    <character>WARREN<\/character>\n    <dialogue>Beans and franks.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Give it a rest, War. You just ate.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Aw, leave him alone, he's just got a big appetite.<\/dialogue>\n    <parenthetical>( to Warren . )<\/parenthetical>\n    <dialogue>Am I right?<\/dialogue>\n    <scene_description>Healy winks at Mary .<\/scene_description>\n    <character>WARREN<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <scene_description>Healy reaches over and lifts a headphone off Warren 's ear .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>I said you've got a big app -<\/dialogue>\n    <scene_description>Suddenly Warren SUCKER - PUNCHES HEALY IN THE THROAT .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Urrggghh.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Warren!<\/dialogue>\n    <scene_description>ON TED AND DOM - as they flinch .<\/scene_description>\n    <character>DOM<\/character>\n    <dialogue>Attaboy!<\/dialogue>\n    <scene_description>BACK ON MARY et al - Healy holds his throat , clearly in pain .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Are you okay?<\/dialogue>\n    <character>HEALY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( raspy , to Mary . )<\/parenthetical>\n    <dialogue>Not to worry. So. see you tonight, right? Right?<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>( cornered . )<\/parenthetical>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>Mary watches with a look of concern as Healy gets in his car and drives off . ON TED AND DOM Ted stares gazily .<\/scene_description>\n    <character>DOM<\/character>\n    <dialogue>Well? What are you waiting for?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I do n't know what to say.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>Tell her the truth about Healy! Blow the schmuck out of the water.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Are you crazy? I've unleashed a psycho on her. She's gon na be fucking pissed.<\/dialogue>\n    <parenthetical>( stares at Mary . )<\/parenthetical>\n    <dialogue>She's even more beautiful than I remember.<\/dialogue>\n    <scene_description>THEIR POV - Mary and Warren start to go in the apartment .<\/scene_description>\n    <character>DOM<\/character>\n    <dialogue>Get over there, you pussy! She's leaving!<\/dialogue>\n    <scene_description>Suddenly Dom HONKS THE HORN , then ducks down . Mary turns around and sees Ted .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>You asshole, what are you -.<\/dialogue>\n    <parenthetical>( CALLING OUT CHEERILY . )<\/parenthetical>\n    <dialogue>Mary! Is that you?<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>( squinting . )<\/parenthetical>\n    <dialogue>Who's that?<\/dialogue>\n    <scene_description>Ted gets out of the car and hustles across the street toward Mary .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>It is you! It's me. Ted. From Rhode Island Ted.<\/dialogue>\n    <scene_description>Finally she recognizes him .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Oh my God. Ted.<\/dialogue>\n    <parenthetical>( big smile . )<\/parenthetical>\n    <dialogue>What are you? I ca n't believe this. I have n't seen you since -<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Yup, that's right. Junior prom. kinda.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>And did everything -?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Oh yeah, healed right up. No visible scars.<\/dialogue>\n    <scene_description>Mary LAUGHS .<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>How are you doing, Warren?<\/dialogue>\n    <character>WARREN<\/character>\n    <dialogue>Good, Ted. Piggy back ride?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I'm gon na take a rain check.<\/dialogue>\n    <scene_description>Mary is stunned .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>I ca n't believe he remembered you. He never remembers anybody.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You know I tried to call you for weeks after that.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Really? I never got a message.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>That's weird. I talked to your brother Jimmy five or six times.<\/dialogue>\n    <scene_description>Ted is devastated to hear this .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>By the way, how's he doing?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>He's dead.<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>( taken aback . )<\/parenthetical>\n    <dialogue>Oh, Ted I'm so sorry to hear that.<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( bitter . )<\/parenthetical>\n    <dialogue>No, it was a good thing.<\/dialogue>\n    <parenthetical>( off her look . )<\/parenthetical>\n    <dialogue>I mean, good in that it was very quick.<\/dialogue>\n    <scene_description>Ted pantomimes an explosion .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Oh. So. what brings you down here?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Funny story. You see, me and a buddy of mine decided to. ah. you know. just. drive down.<\/dialogue>\n    <scene_description>She stares at him .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Well you look great. Are you married, do you have kids?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Nope, nope - dodged a few bullets.<\/dialogue>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>God, I can not believe I'm standing here with Mary Jenson.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Actually, it's Mary Brooks now.<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( taken aback . )<\/parenthetical>\n    <dialogue>Oh. are you?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Nope, have n't walked the plank yet.<\/dialogue>\n    <parenthetical>( off his look . )<\/parenthetical>\n    <dialogue>There was this guy back in college who was bothering me. got kind of ugly - a restraining order, the whole bit. Anyway, when I got out of Princeton I changed my name as a precaution.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Jeez. that sounds awful. Hey, what do you say we go out to dinner tonight, catch up on old times?<\/dialogue>\n    <scene_description>BEAT .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Did n't we just do that?<\/dialogue>\n    <scene_description>Ted does n't know how to respond to this and then she smiles .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I'm kidding. I'd really love to, Ted, but the thing is I already have plans. How about tomorrow night?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Mary, we have n't seen each other in twelve years.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Do n't make me wait another day.<\/dialogue>\n    <scene_description>Mary seems touched by this .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Tell me where you're staying. I'll pick you up at eight.<\/dialogue>\n    <scene_description>Ted finally smiles and we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HEALY'S CAR - TWILIGHT<\/stage_direction>\n    <scene_description>A content Healy is parked out front of Mary 's apartment , absently listening to her spill her guts to Magda while he reads the newspaper .<\/scene_description>\n    <character>MAGDA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I'm buying bananas tonight.<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Why?<\/dialogue>\n    <character>MAGDA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Back when I was your age I always used to make myself a big banana split after sex. I think you're gon na need one tonight.<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Do n't get ahead of yourself. You'll probably need it before I will.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S APARTMENT - SAME<\/stage_direction>\n    <scene_description>Mary is skipping around the apartment while Magda sits on the couch .<\/scene_description>\n    <character>MAGDA<\/character>\n    <dialogue>Do n't bet on it. Last time I had a pap smear the guy needed leather gloves and an oyster shucker.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>So maybe I could find a nice gentleman to take you to the movies.<\/dialogue>\n    <character>MAGDA<\/character>\n    <dialogue>Knock it off, Pollyanna, just'cause you're in love does n't mean everyone else has to be.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Love? Come on, I would n't call it love.<\/dialogue>\n    <character>MAGDA<\/character>\n    <dialogue>Oh no? I ai n't seen you beaming like this since you broke ninety on the Blue Monster.<\/dialogue>\n    <scene_description>BACK ON HEALY - he 's reveling in it all .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Well I am pretty psyched. I ran into a guy today I had n't seen since high school.<\/dialogue>\n    <scene_description>Healy loses the smile and sits up .<\/scene_description>\n    <character>MAGDA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>An old flame?<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Kind of. Ted Peloquin - one of the sweetest guys in the world.<\/dialogue>\n    <scene_description>Healy TURNS UP THE VOLUME . ON MARY<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>He was so shy and clumsy. I had a major crush on him.<\/dialogue>\n    <scene_description>BACK ON HEALY as he nearly puts his head through the roof . He grabs hold of the steering wheel and pounds his head on it .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>( V.O. ; cont 'd . )<\/parenthetical>\n    <dialogue>We're gon na go out tonight. Oh, that reminds me, I've got to call what's - his - face and cancel.<\/dialogue>\n    <scene_description>ON MARY<\/scene_description>\n    <character>MAGDA<\/character>\n    <dialogue>Do I sense a chill in the air?<\/dialogue>\n    <scene_description>Mary sits down .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Oh, Magda, I let my head get in the way of my love life. I always pick guys on what I feel in here.<\/dialogue>\n    <parenthetical>( pats heart . )<\/parenthetical>\n    <dialogue>But with this Pat guy my head kept saying `` Grow up, Mary. You have a lot in common with this one, you'll grow to feel something for him.'' But it never happened.<\/dialogue>\n    <scene_description>ON HEALY - he could n't look more crushed . Suddenly his cellular phone RINGS . He stares at it for TWO , THREE , FOUR RINGS . Panic - stricken . Then he answers it .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( jovial voice . )<\/parenthetical>\n    <dialogue>Hey, Patty - boy here. Sorry I missed ya, but I'm out rustling up some champagne and roses in preparation for the greatest birthday of my life. Hope you and yours are having a good day, too.<\/dialogue>\n    <scene_description>Healy makes a BEEP sound and then holds his breath . ON MARY - she stares at the phone , feeling cornered .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Uh, hi Pat, it's me, Mary. Just wanted to say I'm. looking forward to tonight.<\/dialogue>\n    <scene_description>She hangs up .<\/scene_description>\n    <character>MAGDA<\/character>\n    <dialogue>You vicious bitch, how do you sleep at night?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>I ca n't do it - I just found out it's his birthday.<\/dialogue>\n    <parenthetical>( sighs . )<\/parenthetical>\n    <dialogue>I guess I've got ta cancel on Ted.<\/dialogue>\n    <scene_description>ON HEALY - he blows imaginary smoke off an imaginary gun . Then he sits back and smugly listens to her DIAL THE PHONE . But then he hears something that concerns him - a KNOCK on the door and the dog YAPPING . ON MARY - she puts down the phone and answers the door . It 's Tucker , the architect .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( surprised . )<\/parenthetical>\n    <dialogue>Tucker. come on in.<\/dialogue>\n    <scene_description>BACK ON HEALY pulling his hair out . He 's on an emotional roller coaster heading downhill .<\/scene_description>\n    <character>MAGDA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Well look who's here.<\/dialogue>\n    <scene_description>BACK TO MARY 'S APARTMENT - Tucker is carrying an unopened BOTTLE OF SCOTCH and absently flicking the YAPPING pooch off his ankles .<\/scene_description>\n    <character>TUCKER<\/character>\n    <dialogue>There she is - I brought you a little thirst - quencher, Mag.<\/dialogue>\n    <character>MAGDA<\/character>\n    <dialogue>Oh, you are sweet.<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>No, I'm not. I just want to get you - drunk so you'll pass out and I can have my way with Mary.<\/dialogue>\n    <scene_description>Everyone LAUGHS .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Can I pour you one?<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>Thanks, but I've got to be going. Unfortunately, Doc, this is n't a social visit.<\/dialogue>\n    <scene_description>Tucker 's tone shifts and Mary grows concerned .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>What's up?<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>Well. I've got a little more news about your friend Healy.<\/dialogue>\n    <scene_description>Mary seems relieved .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>I know what you're going to say, but he already told me everything. I know he's not an architect.<\/dialogue>\n    <scene_description>Tucker pulls out a piece of paper .<\/scene_description>\n    <character>TUCKER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I think you'd better sit down.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Tucker, I appreciate you doing all this, but I'm really strapped for time here and -<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>Mary, the man's a killer.<\/dialogue>\n    <scene_description>ON HEALY - he ca n't believe his ears . BACK ON MARY - as she lowers herself onto the couch .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( stunned . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>I've got a friend in the Boston police department. He faxed me this this morning. I'll just give you the highlights.<\/dialogue>\n    <parenthetical>( reading from rap sheet . )<\/parenthetical>\n    <dialogue>After a short stint as a petty thief, Patrick R. Healy graduated to armed robbery by the age of fourteen. At sixteen he committed his first murder - a pretty teacher's aid named Molly Pettygrove. He was incarcerated until age twenty - two when, despite a grim psychological profile, the state was forced to release him. In his mid - twenties and again in his early thirties he was suspected of homicides in the states of Utah and Washington. Unfortunately, the bodies were so badly decomposed that there was n't enough evidence to hold him, and on and on and so forth and so on.<\/dialogue>\n    <scene_description>Mary looks like she 's going to throw up . ON HEALY - he listens intently , his face ashen .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Holy shit.<\/dialogue>\n    <character>MAGDA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Puffy, get over here.<\/dialogue>\n    <scene_description>We hear the PITTER - PATTER of the dog 's nails on the floor , then a LOUD THUMP followed by a YELP . ON MARY<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Magda!<\/dialogue>\n    <character>MAGDA<\/character>\n    <dialogue>The little shit lied to me about that guy!<\/dialogue>\n    <scene_description>Mary picks up the startled dog and pets him .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( growing emotional . )<\/parenthetical>\n    <dialogue>I ca n't believe this is happening. I'm supposed to be meeting him in an hour.<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>Okay, just calm down. It's going to be okay.<\/dialogue>\n    <scene_description>Tucker puts his arms around her .<\/scene_description>\n    <character>MAGDA<\/character>\n    <dialogue>Why you two never hooked up is beyond me.<\/dialogue>\n    <scene_description>Mary looks fondly at Tucker .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Magda's right, I'm so lucky to have you in my life.<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>Do n't get all gooey on me now, you'll give me a big head.<\/dialogue>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>The important thing, Doctor, is you've got to distance yourself as much as possible without pissing this psycho off.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Yeah, yeah. Okay, I think I know what to do. I'll call him right now.<\/dialogue>\n    <scene_description>BACK ON HEALY - he looks stunned . His cellular PHONE RINGS . He stares at it , then picks it up .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>Hi, I'm out drinking champagne and roses. and I'm really happy. Leave a message. BEEP.<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( nervous . )<\/parenthetical>\n    <dialogue>Uh, hey buddy. Oh boy, am I pissed. You're not going to believe this - well, you'll believe it, there's no reason not to - but I just got beeped for emergency surgery. Well, um, sorry, but I'm going to have to bail on you.<\/dialogue>\n    <scene_description>As we hear a CLICK , Healy stares at the cell phone , seething .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARY'S APARTMENT BUILDING - LATER<\/stage_direction>\n    <scene_description>Tucker comes out the front door , looks around , then walks off down the sidewalk . ANGLE ACROSS THE STREET - on Healy , his steely gaze fixed on Tucker .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( under breath . )<\/parenthetical>\n    <dialogue>You're gon na pay, fucker.<\/dialogue>\n    <scene_description>Healy discreetly pulls out and slowly follows Tucker in his car . BACK ON TUCKER - He continues down the sidewalk , looking back once or twice , apprehensive . He rounds a corner , then stops next to an OLD FORD PINTO . He looks around nervously again . Then Tucker DUCKS INTO THE DRIVER 'S SEAT and DRIVES OFF . Healy pulls into traffic and follows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Dom 's mixing a drink while Ted paces nervously .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Oh God, I'm fucking nervous. I do n't know if I'm ready for this, man.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>Just relax. Have you hit the cash machine?<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( pats his back pocket . )<\/parenthetical>\n    <dialogue>Got cash.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>Car clean? Plenty of gas?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Check.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>Mints?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Copped a tin of Altoids at the car wash.<\/dialogue>\n    <scene_description>Dom nods , satisfied .<\/scene_description>\n    <character>DOM<\/character>\n    <dialogue>Okay, sounds like you're all set. Just clean the pipes and it's a go.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Hm?<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>You know, clean the pipes.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Pipes? What are you talking about?<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>You jerk off before all big dates, right? Tell me you jerk off before your big dates.<\/dialogue>\n    <scene_description>Ted just stares at him .<\/scene_description>\n    <character>DOM<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( incredulous . )<\/parenthetical>\n    <dialogue>You do n't jerk off before -?! Are you crazy?! That's like going out there with a loaded gun. No wonder you're nervous!<\/dialogue>\n    <scene_description>Ted considers this .<\/scene_description>\n    <character>DOM<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Think about it : After you've had sex with a girl and the two of you are laying in bed, are you nervous?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Dom shrugs . Duh .<\/scene_description>\n    <character>DOM<\/character>\n    <dialogue>Why's that?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I'm usually too tired to be.<\/dialogue>\n    <scene_description>Dom makes a game - show BUZZER sound .<\/scene_description>\n    <character>DOM<\/character>\n    <dialogue>Wrong. It's because you ai n't got the baby batter in your brain any more. That'll fuck with your head, that stuff will.<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( starting to believe . )<\/parenthetical>\n    <dialogue>Huh.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>The most honest moment in a man's life is the five minutes after he's blown a load. That's a medical fact. And it's because you're no longer trying to get laid. You're actually thinking like a girl. They love that.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Jesus Christ you're right.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>You bet your ass I'm right. You do n't go out with a loaded gun, you empty the barrels!<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( shakes his head . )<\/parenthetical>\n    <dialogue>Holy shit, I've been going out with a loaded gun!<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>People get hurt that way.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL - EVENING<\/stage_direction>\n    <scene_description>Dom walks out of the lobby just as another cab arrives and Mary gets out . He sees and her and ducks behind a bush as she walks past him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TED'S HOTEL BATHROOM - SAME<\/stage_direction>\n    <scene_description>Ted has a newspaper splayed out on the counter -LRB- open to the bra ads -RRB- as he furiously FLOGS THE DOLPHIN -LRB- chest - high side view . -RRB- We see some balled - up tissue nearby . After several frantic strokes , he takes a deep breath and slowly and loudly EXHALES , clearly having COMPLETED HIS MISSION . He draws a few more breaths , picks up a face cloth , and goes to clean up . But something 's missing : The Load . Ted looks down , checks his hands , pants , shoes , looks in the sink , finally glances at the ceiling , with no luck . The Load IS MISSING ! That 's when the doorbell RINGS . Ted could n't look more HORRIFIED . As he buckles his pants , he makes a last , panicky reconnaissance of the area . The doorbell RINGS AGAIN and Ted reluctantly goes to answer it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TED'S HOTEL ROOM - SAME<\/stage_direction>\n    <scene_description>Ted opens the door and Mary is standing there looking as lovely as ever .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Hi, Ted.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>You look great.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>She notices something .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What's that?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Hm?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>On your ear, you've got something.<\/dialogue>\n    <scene_description>MARY 'S POV - a HUGE LOAD is hanging off of Ted 's earlobe like a drop earring .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>It looks like a gob of.<\/dialogue>\n    <scene_description>Mary leans forward for a closer look . Ted is terrified .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( making face . )<\/parenthetical>\n    <dialogue>Is that. hair gel?<\/dialogue>\n    <scene_description>BEAT .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Oh great, I ran out.<\/dialogue>\n    <scene_description>Before Ted can stop her , Mary grabs The Load off his ear and WIPES IT IN HER BANGS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UPSCALE NEIGHBORHOOD - NIGHT<\/stage_direction>\n    <scene_description>Healy is still following Tucker in his car . Finally Tucker stops in front of a lavish Victorian home and gets out carrying a pizza and wearing a PIZZA DELIVERY HAT . Healy SCREECHES to a sideways stop , jumps out and POUNCES ON HIM .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You motherfucker, you're a dead man!<\/dialogue>\n    <scene_description>Tucker drops the pizza as Healy SLAMS HIM into a tree .<\/scene_description>\n    <character>TUCKER<\/character>\n    <parenthetical>( cowering . )<\/parenthetical>\n    <dialogue>Okay, Pat, take it easy - do n't do anything stupid.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Who the fuck do you think you are making up that bullshit about me?!<\/dialogue>\n    <scene_description>Healy SLAMS HIM AGAINST THE TREE AGAIN .<\/scene_description>\n    <character>TUCKER<\/character>\n    <dialogue>Whoa, whoa - I do n't know what you're talking about.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Maybe this'll jog your memory.<\/dialogue>\n    <scene_description>Healy SLAPS him across the face .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I'll give you a hint - it's got something to do with me being a murderer.<\/dialogue>\n    <scene_description>Healy raises his arm again and Tucker tries to shield himself .<\/scene_description>\n    <character>TUCKER<\/character>\n    <dialogue>Okay, okay, I might've gotten some bad information.<\/dialogue>\n    <scene_description>Healy grabs him by the collar .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>That stalker Ted got to you, right? You're working for him, are n't you, you little shit?<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>Who?<\/dialogue>\n    <scene_description>Healy throws Tucker to the ground and takes off his sport coat .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>This is your last chance, you fuck. Now either you come clean or I'm going to kick your ass from here to Tallahassee.<\/dialogue>\n    <scene_description>Healy grabs Tucker by the hair and cocks his arm .<\/scene_description>\n    <character>TUCKER<\/character>\n    <dialogue>I LOVE HER, OKAY?!<\/dialogue>\n    <scene_description>Tucker suddenly gets emotional . Healy stops and looks at him .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>You what?<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>You heard me, goddamnit. I. I love her.<\/dialogue>\n    <scene_description>Healy slowly lets go .<\/scene_description>\n    <character>TUCKER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I'm a phony - just like you, man.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>I mean I'm a fucking fraud. I'm no architect. Do n't be a putz - who's been to Santiago twice in a year?<\/dialogue>\n    <parenthetical>( scoffing . )<\/parenthetical>\n    <dialogue>Estadio Olimpico - please!<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>But. but you knew people at Harvard.<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>I knew shit. The only thing I knew was that you were a fake and I made up everything else.<\/dialogue>\n    <parenthetical>( sighs . )<\/parenthetical>\n    <dialogue>My real name's Norm. I deliver pizzas.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Bullshit!<\/dialogue>\n    <scene_description>Tucker rolls his eyes and pulls out his PIZZA DELIVERY BADGE , with him pictured beside the name Norman Plante . As Healy let 's this sink in , we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAR - NIGHT<\/stage_direction>\n    <scene_description>Ted 's rolling a little wine around in a glass . He takes a sip , nods his approval .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Thanks, that's great.<\/dialogue>\n    <scene_description>The WAITER turns to Mary .<\/scene_description>\n    <character>WAITER<\/character>\n    <dialogue>Madame?<\/dialogue>\n    <scene_description>ANGLE ON MARY - The light , puffy bangs that Mary started the night with are gone , replaced by a glazed , ACE VENTURA - STYLE WAVE up front .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>The waiter pours her a glass and leaves .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Now by killer, you mean?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>I mean he murdered someone and did time back in Boston. The guy's a freak.<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( stunned . )<\/parenthetical>\n    <dialogue>Jeez, Mary. I'm.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Well, lucky for me I found out. Thank God I have friends like Tucker.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Look, I'm sick of talking about stalkers.<\/dialogue>\n    <parenthetical>( big smile . )<\/parenthetical>\n    <dialogue>Let's talk about you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANOTHER BAR - NIGHT<\/stage_direction>\n    <scene_description>Healy and Tucker are bonding over a beer .<\/scene_description>\n    <character>TUCKER<\/character>\n    <dialogue>So then in'94 I went back to Dade Community College for a semester and when the Wal - Mart cashier job fell through I hooked up with the Pizza Barn.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>And you met Mary how?<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>Just dumb luck. I delivered a pie to her one night and she answered the door in her nightgown - that was it for me. I went home that night, shaved my beard, and a week later I was laid out in her office with a broken back.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>How'd you manage that one?<\/dialogue>\n    <character>TUCKER<\/character>\n    <parenthetical>( matter - of - factly . )<\/parenthetical>\n    <dialogue>Friend. Baseball bat.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Nice.<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>Oh yeah, the plan was going along just fine until you showed up.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Hey, hey, hey, I'm not the one who started telling bald - faced lies about the competition - that's crossing the line!<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>What line? The day you first laid your oily rap on my future wife you started a war!<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Future wife? Get real, man - you're nothing more than a glorified brother in her eyes.<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>Why you son of a -<\/dialogue>\n    <scene_description>Tucker grabs Healy by the jacket .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>Okay, calm down, calm down - the bottom line is neither of us are going to get her if we do n't do something about that headcase she's with now.<\/dialogue>\n    <scene_description>As Tucker slowly releases him , we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DRIVING RANGE - NIGHT<\/stage_direction>\n    <scene_description>Ted and Mary are eating CORNDOGS at the snack bar .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>You hit the ball pretty good for a fourteen.<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( shrugging . )<\/parenthetical>\n    <dialogue>No short game.<\/dialogue>\n    <scene_description>She smiles .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>We should play some time. I mean, if you can afford to lose some money.<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( smiling . )<\/parenthetical>\n    <dialogue>What are you?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Twenty - two.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Bullshit, a twenty - two does n't carry a one - iron - do n't sandbag me, lady.<\/dialogue>\n    <scene_description>Mary smiles coyly .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Okay, sometimes I'm a nineteen.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>That's more like it.<\/dialogue>\n    <parenthetical>( to Counter - Man . )<\/parenthetical>\n    <dialogue>Two more nitrate - sicles please.<\/dialogue>\n    <character>COUNTER-MAN<\/character>\n    <dialogue>You got it.<\/dialogue>\n    <scene_description>Mary is amused by this .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Nitrate - sicles - I like that.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I say they should put more meats on a stick, you know? They got a lot of sweets on sticks - popsicles, fudgesicles, lollipops - but hardly any meat.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>I agree there should be more.<\/dialogue>\n    <scene_description>The Counter - Man hands each of them another corndog .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>You know what I'd like to see? Meat in a cone. You could put corned beef hash in a cone, or chopped liver.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>I like it. And think of the toppings - cheese, mushrooms, mint jelly<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Not to mention ketchup and hot peppers.<\/dialogue>\n    <scene_description>They smile at one another .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>It's too bad you do n't live down here, Ted.<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( pleased . )<\/parenthetical>\n    <dialogue>Yeah?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>We've got a lot in common.<\/dialogue>\n    <scene_description>Ted takes a chance .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Well. why do n't you move back?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Ah, my roots here are too deep. I love my practice, the people I work with, Warren's got a nice thing going.<\/dialogue>\n    <parenthetical>( joking . )<\/parenthetical>\n    <dialogue>Why do n't you just move down here and marry me?<\/dialogue>\n    <scene_description>Mary smiles and Ted LAUGHS . perhaps a little too hard .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARY'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Ted and Mary are sitting on her front stoop SMOKING A BONE .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>So you're a writer?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Trying to be.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Well good for you. I bet it works out for you.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>We'll see. If it does n't, what the hell, at least I gave it a shot.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>That's right. And the good thing is you can do it anywhere.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>What about you, Mare? How the hell'd you manage to stay single?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>I do n't know. My friends think I'm too picky. I think I'm just a weirdo magnet. I did come close once - just last year, in fact. There was this guy he lived in San Francisco.<\/dialogue>\n    <scene_description>ANGLE ON the corner of building . We see Healy and Tucker SPYING ON THEM from the shadows .<\/scene_description>\n    <character>TUCKER<\/character>\n    <parenthetical>( WHISPERING . )<\/parenthetical>\n    <dialogue>That stalkin' son - of - a - bitch!<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Fucking sickening.<\/dialogue>\n    <scene_description>Healy and Tucker duck back into the alley .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARY'S ALLEY - NIGHT<\/stage_direction>\n    <scene_description>Healy is throwing DOGGIE TREATS through an open THIRD - FLOOR WINDOW .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S APARTMENT - SAME<\/stage_direction>\n    <scene_description>We hear the TELEVISION and see Magda DOZING on the couch with a watery COCKTAIL IN HER HAND and the dog Puffy at her feet . Suddenly a DOGGIE TREAT flies through the window , landing on the rug . Puffy SNAPS TO ATTENTION and approaches the treat . He sniffs it , then GOBBLES IT UP . ANOTHER doggie treat lands beside him and he eats that , too . Then ANOTHER .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARY'S ALLEY - SAME<\/stage_direction>\n    <scene_description>Tucker keeps throwing the treats up and Healy looks concerned .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>How many is that?<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>Four.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>That seems like a lot of speed for a little pooch - you sure it wo n't kill him?<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>I never said that.<\/dialogue>\n    <scene_description>As Tucker throws another .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S APARTMENT - SAME<\/stage_direction>\n    <scene_description>The doggie treat LANDS IN MAGDA 'S COCKTAIL , waking her up . Magda looks around , gets her bearings , and then DOWNS THE DRINK !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARY'S APARTMENT BUILDING - SAME<\/stage_direction>\n    <scene_description>Mary and Ted , still sitting on the stoop . Mary seems a little reflective .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>and then it was all over.<\/dialogue>\n    <parenthetical>( SIGHS . )<\/parenthetical>\n    <dialogue>We have n't spoken since.<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( sincere . )<\/parenthetical>\n    <dialogue>Wow. That's too bad. He sounds almost perfect.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Yeah. almost.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You want to come up and watch Sportscenter?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Uh no. I think I'm gon na get out while I'm ahead.<\/dialogue>\n    <scene_description>Mary looks a little disappointed .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Ted. you're not that far ahead.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Look, Mary, the truth is. I'll be in town for a while now but I do n't think we should see each other for a few weeks.<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>( alarmed . )<\/parenthetical>\n    <dialogue>Why not?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Well. to be honest. I'm really crazy about you and it's making me nervous and when I get nervous I'm not myself and I'm afraid I'm going to doing something really dumb before we get started so I think I should just lay back until I regain my composure.<\/dialogue>\n    <scene_description>Mary sort of smiles .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>That's really sweet, Ted, but you should save it for one of your books.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>All right, let's go.<\/dialogue>\n    <scene_description>Ted jumps up and starts up the stairs two at a time .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>As Ted and Mary ENTER , we see Magda HOLDING UP THE COUCH with one hand and VACUUMING WITH THE OTHER . Mary does n't know what to make of it .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Magda, what are you doing?<\/dialogue>\n    <scene_description>Magda turns off the vacuum and we hear a BANGING SOUND coupled with the O.S. MUFFLED YAPPING of Puffy .<\/scene_description>\n    <character>MAGDA<\/character>\n    <dialogue>Oh, hi hon. Just straightening up.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Where's Puffy?<\/dialogue>\n    <character>MAGDA<\/character>\n    <dialogue>Ah, he was being a pest so I put him in the bathroom.<\/dialogue>\n    <scene_description>As the O.S. YAPPING AND BANGING continues , Magda PICKS UP THE TELEVISION and starts DUSTING the TV stand .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( to Ted , concerned . )<\/parenthetical>\n    <dialogue>Um, Ted, I need a moment with Magda - would you let the dog out of the bathroom.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Yeah, sure.<\/dialogue>\n    <scene_description>Ted walks down the hall , following the YAPPING AND BANGING SOUND until he comes to the bathroom door . The YAPPING is MUCH LOUDER now and he NOTICES SOMETHING THAT MAKES HIM HESITATE . TED 'S POV - the bottom part of the door is being DENTED OUTWARD from the force of something BATTERING IT FROM WITHIN .<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>( CALLING out . )<\/parenthetical>\n    <dialogue>Uh, Mare, what kind of dog is Puffy?<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( CALLING out . )<\/parenthetical>\n    <dialogue>Toy poodle!<\/dialogue>\n    <scene_description>Ted thinks about this , shrugs , and opens the door . BARING HIS TEETH like a Rottweiler , Puffy SPRINGS at Ted 's jugular !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Ted stumbles back into the living room with the hopped - up dog ON HIS FACE . He KNOCKS OVER A LAMP , tumbles onto the floor , and fights for his life . Mary and Magda SCREAM as Ted and Puffy mix it up on the floor . Ted tries to CRAWL TOWARD THE DOOR but Puffy GRABS THE CUFF OF HIS PANTS . DOOR POV of Ted 's anguished face as he gets pulled back into the room . Ted manages to GET THE DOG IN A HEADLOCK .<\/scene_description>\n    <character>MAGDA<\/character>\n    <dialogue>Stop it, you're hurting him!<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( out of breath . )<\/parenthetical>\n    <dialogue>Tell him. to calm down.<\/dialogue>\n    <scene_description>Puffy gets a piece of Ted 's wrist and Ted SCREAMS and drops him . Both man and toy poodle SPRING TO THEIR FEET . They start CIRCLING ONE ANOTHER . Puffy leaps at Ted and Ted SMACKS HIM into a wall . Unfazed , the dog gets a running start and LEAPS AT TED 'S NECK . Ted manages to duck and PUFFY FLIES OUT THE OPEN WINDOW !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT MIAMI STREET - DAY<\/stage_direction>\n    <scene_description>MONTAGE OF TED AND MARY FALLING IN LOVE - Ted and Warren are at the top of a giant WATER SLIDE Warren motions that he has decided this is not for him . Ted shoots him a look that makes Warren feel like a sissy . Convinced it 's not too dangerous , Warren decides to go for it and Ted follows . - At the bottom of the slide Ted splashes into the huge pool of water , laughing , having a blast . Then he looks around . no sign of Warren . Concerned , Ted dives underwater and a moment later Resurfaces clutching a GASPING Warren .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIAMI STREET - DAY<\/stage_direction>\n    <scene_description>- Mary pumps Warren 's stomach as he coughs water out of his mouth . Ted looks on sheepishly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIAMI STREET - DAY<\/stage_direction>\n    <scene_description>Ted and Warren walk down a city sidewalk . As they pass a shop Warren points to the window excitedly . THEIR POV In the window there is a mannequin dressed in a Super - hero outfit , i.e. a generic superman . Warren then pulls Ted into the store .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIAMI STREET - DAY<\/stage_direction>\n    <scene_description>Ted comes out followed by a beaming Warren dressed in the Super - Hero outfit . They continue walking again and a few steps later Warren excitedly points to another shop window . THEIR POV In the window is a mannequin dressed in a cowboy outfit , i.e. Lone Ranger -LRB- hat , badge , holster , chaps , vest , boots , spurs , etc. -RRB- Again , Warren pulls Ted into the store .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIAMI STREET - DAY<\/stage_direction>\n    <scene_description>Mary is window shopping with a few bags in hand . She turns and reacts amused . HER POV Warren is now dressed in the cowboy outfit and a humiliated Ted follows dressed in the loose fitting Super - hero outfit .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCENIC PIER - MIAMI - DAY<\/stage_direction>\n    <scene_description>- Ted and Mary are walking arm and arm on a SCENIC PIER where PEOPLE ARE FISHING . Right behind them are Magda and Herb -LRB- the Homeless guy -RRB- enjoying one another 's company . Ted is on top of the world , feeling good , looking good - right up until he gets the HOOK IN HIS MOUTH . Suddenly he gets YANKED OUT OF FRAME .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCENIC PIER - MIAMI - DAY<\/stage_direction>\n    <scene_description>- Ted is FLOPPING AROUND on the pavement and a FISHERMAN has his FOOT ON HIS FACE as he STRUGGLES TO REMOVE THE HOOK . Mary looks on , concerned .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GROCERY STORE - MIAMI - DAY<\/stage_direction>\n    <scene_description>- Ted and Mary come out of the grocery store each HOLDING A COUPLE BAGS . Ted also is CARRYING PUFFY , IN A BODYCAST . Ted PUTS PUFFY ON THE ROOF , then starts putting the groceries in the back seat .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARY'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>- Mary pulls her car up in front of her apartment . AS Ted gets out of the passenger 's side , he notices that PUFFY IS STILL ON THE ROOF . He quickly GRABS PUFFY before Mary notices .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BATTING CAGE - MIAMI - DAY<\/stage_direction>\n    <scene_description>- Warren is futilely taking swings in a BATTING CAGE while Mary looks on helplessly . Finally Ted goes into the cage , SIGNALS THE GUY TO STOP THE PITCHING MACHINE , and MOVES WARREN A LITTLE CLOSER TO THE PLATE . - A distraught Ted SITS SOMBERLY on a bench . Beside him , Mary comforts Warren whose LEFT EYE IS BLACK AND BLUE AND COMPLETELY CLOSED .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Ted shows up at Mary 's apartment door carrying a BOUQUET OF FLOWERS and a BASEBALL . When he KNOCKS , the door opens .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S APARTMENT - CONTINUOUS<\/stage_direction>\n    <scene_description>Ted peeks around the corner and sees a SOMBER Mary sitting on the couch .<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>( chipper . )<\/parenthetical>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>Mary does n't look up . Ted ENTERS , revealing his gifts .<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>The flowers are for you and the ball's for Warren. I had a friend of mine Fedex it to me - it's signed by Tony Conigliaro.<\/dialogue>\n    <scene_description>Mary finally looks up but does n't smile .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Did you hire Pat Healy to follow me around?<\/dialogue>\n    <scene_description>Ted tries to hide his horror .<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>( lamely . )<\/parenthetical>\n    <dialogue>What do you mean?<\/dialogue>\n    <scene_description>Mary picks up a letter off the coffee table and hands it to him . Ted takes a quick look and then drops it on the table .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>It's not true. right, Ted?<\/dialogue>\n    <scene_description>Ted CLEARS HIS THROAT .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Well, funny story there. You see, uh, it started out as a uh. yeah. it's true. =<\/dialogue>\n    <scene_description>Mary stands up .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Get out.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Wait, hold on, Mary - it's not as bad as it sounds. I certainly did n't know -<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>That you put a murderer on my trail?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Well yeah, I did n't know much about him. I just thought -<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>What did you think, Ted? That you could spy on me and trick me into thinking you were someone I could. really go for?<\/dialogue>\n    <scene_description>Mary starts to get emotional .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Mary, I swear I was n't trying to trick you.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Then what the fuck did you do it for?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I did it because because I'd never stopped thinking about you and if I did n't find you I knew my life would never be good again.<\/dialogue>\n    <scene_description>Mary looks away .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Please leave.<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( devastated . )<\/parenthetical>\n    <dialogue>Mary, come on.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Go!<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>And so Ted does .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARY'S APARTMENT BUILDING - DAY<\/stage_direction>\n    <scene_description>Ted comes out of the building , a broken man . He paces back and forth on the sidewalk , manic with despair . Then he seems to grow angry . He rifles through his pockets until he finds a SLIP OF PAPER . TED 'S POV - the paper reads : ` Healy 's Miami address - 229 Court Street , apt . 43 . '<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT BUILDING - DAY<\/stage_direction>\n    <scene_description>Ted walks down a rather dark hallway until he comes to apartment 43 . He KNOCKS on the door but no one answers . He tries the handle and THE DOOR OPENS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLY'S APARTMENT - CONTINUOUS<\/stage_direction>\n    <scene_description>Ted ENTERS and immediately reacts to the STENCH . REVERSE ANGLE reveals that the place is a fucking PIG - STY . DOG SHIT is everywhere , FLIES fill the room , a MOUSE scampers across the carpet .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>No answer . Suddenly he HEARS SOMEONE out in the hall , so he ducks behind the door . Healy and Tucker ENTER the apartment and stop in their tracks when they see the MESS .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>Ho - ly shit.<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>Hey, this is a pretty nice place.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Sully! What the fuck happened here?!<\/dialogue>\n    <scene_description>Again , no answer . Suddenly Ted SLAMS THE DOOR shut and grabs Healy by the collar .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( alarmed . )<\/parenthetical>\n    <dialogue>Hey, hey, hey!<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Surprised?<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>Hey, buddy, do n't do anything rash now.<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( to Tucker . )<\/parenthetical>\n    <dialogue>Who the fuck are you?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>He's in love with Mary, too.<\/dialogue>\n    <scene_description>Ted releases Healy and glares at him .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>You fucked me, man? Why would you do that?<\/dialogue>\n    <character>HEALY<\/character>\n    <parenthetical>( righteous . )<\/parenthetical>\n    <dialogue>What do you mean ` why'?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Answer the question, shitball.<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>I think everybody could use a drink.<\/dialogue>\n    <scene_description>Tucker goes into the kitchen .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>Look, you asked me to follow your girl around, and I did and I started to like her, and then I realized I just could n't in good conscience do it.<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( amazed . )<\/parenthetical>\n    <dialogue>Do what?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Turn her over to a stalker.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>What?! You're calling me a stalker?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>That's right - if you were n't you would've looked for her yourself!<\/dialogue>\n    <scene_description>Suddenly they hear a SOUND and turn to see Bill the Boa slithering into the room with A HUGE , GREAT - DANE - SIZE LUMP in his midsection .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( sickened . )<\/parenthetical>\n    <dialogue>Oh Christ. poor dog.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>You're a sick man, you know that?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Yeah well fuck you! You just ca n't stand the fact that it was my turn.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Your turn?<\/dialogue>\n    <character>HEALY<\/character>\n    <parenthetical>( getting emotional . )<\/parenthetical>\n    <dialogue>That's right, hot shot! My turn. What's the matter with me, huh? Why ca n't I ever get the great girl? Give the big pig with the B.O. to Healy, right? Well I was sick of it, man! No more - it was my turn. It was time for me. time for me. to be happy.<\/dialogue>\n    <scene_description>This is so pathetic that it actually gets to Ted . He sits down , runs his fingers through his hair .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Well you did n't have to blow us both out of the water. Jesus Christ, just because she found out about you, why'd you have to take me down with you?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>I do n't know what you're talking about.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I'm talking about the letter, asshole.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Ted stares at him .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Are you telling me you did n't send Mary a letter outlining our deal?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Why the fuck would I do that? I'd be screwing myself.<\/dialogue>\n    <scene_description>The guys stare at one another , then Tucker comes out the kitchen with a drink . They turn their attention to him .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You little fuck.<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>You fucking prick, we had a deal - you said you would n't fuck me and I would n't fuck you until we had this fuck out of the fucking picture.<\/dialogue>\n    <parenthetical>( moves in on Tucker . )<\/parenthetical>\n    <dialogue>You crossed the line, man.<\/dialogue>\n    <scene_description>Tucker backs away nervously .<\/scene_description>\n    <character>TUCKER<\/character>\n    <dialogue>Whoa, whoa, you're getting crazy now. Why would I cross the line - what do you think I got no pride?<\/dialogue>\n    <scene_description>Healy grabs Tucker by the neck .<\/scene_description>\n    <character>TUCKER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I swear! I did n't tell her nothing! You probably did it yourself, you piece of shit.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Oh that makes a lot of sense. Why would I rat myself out?<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>Like I'm going to try to figure out a guy who's idea of courting is blowing farts in the chick's face<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>You were following us?<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>Do n't flatter yourself - I was following her, I always do. How the hell you think I got rid of Mary's boyfriend Steve?<\/dialogue>\n    <scene_description>This gets Ted 's attention .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>You mean. Steve did n't say all that stuff about Warren?<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>Are you shitting me - Mr. Goody - Two - Shoes? He was like a fucking eagle scout. You two should be kissing my balls - if it was n't for me, she might've married that schmuck!<\/dialogue>\n    <scene_description>Ted thinks about this .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>The hell with you both - I'm out of here.<\/dialogue>\n    <scene_description>Ted walks out the door leaving Healy and Tucker to stare each other down . Just then Hal the Great Dane walks out of the bedroom with a CEREAL BOX stuck on his head . Healy does a double - take , then looks back at the snake .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( sadly . )<\/parenthetical>\n    <dialogue>Oh. Sully.<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>Look, if it was n't you who sent the letter, and it was n't me who sent it?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>CLOSE ON an alarmed Mary .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Woogie? What are what are you doing here?<\/dialogue>\n    <scene_description>REVERSE ANGLE reveals Dom sitting on her bed .<\/scene_description>\n    <character>DOM<\/character>\n    <dialogue>Did you get my letter, Mare? The one about Ted?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>You sent that?<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>Uh - huh. I was worried about you.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Well. thank you. But. you know you're not supposed to be within four hundred yards of me.<\/dialogue>\n    <character>DOM<\/character>\n    <parenthetical>( excited . )<\/parenthetical>\n    <dialogue>That's what I want to tell ya. I've been through two years of extensive psychotherapy and you know what? You were right - I needed help.<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>( cautious . )<\/parenthetical>\n    <dialogue>That's great, Woogie, I'm happy you're better - you seem. good - but. you put me through quite an ordeal, you know.<\/dialogue>\n    <scene_description>Dom nods aggressively .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I had to move, go to court, change my last name - you stole all my shoes!<\/dialogue>\n    <scene_description>Dom stands up .<\/scene_description>\n    <character>DOM<\/character>\n    <dialogue>Look at me.<\/dialogue>\n    <scene_description>Mary turns her head .<\/scene_description>\n    <character>DOM<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Look at me, Mary. On my mother's soul, on God above, on everything that is holy to me, I did not steal your shoes.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Woogie, I caught you red - handed.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>All right, I did, but I was in a weird place then.<\/dialogue>\n    <scene_description>He approaches her .<\/scene_description>\n    <character>DOM<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Give me a break, Mare, I was nuts!<\/dialogue>\n    <scene_description>Mary backs into the living room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HEALY'S CAR - DAY<\/stage_direction>\n    <scene_description>Healy and Tucker are parked right out front LISTENING TO THIS CONVERSATION . They seem concerned .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Woogie, please, you're starting to scare me.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Who the hell's Woogie?<\/dialogue>\n    <scene_description>Tucker just shrugs . BACK ON Mary and Dom . = ~<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>I'm asking you to leave.<\/dialogue>\n    <character>DOM<\/character>\n    <parenthetical>( gentle . )<\/parenthetical>\n    <dialogue>Oh, Mary, honey, you're taking this all wrong.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I'm not leaving.<\/dialogue>\n    <scene_description>BACK IN HEALY 'S CAR<\/scene_description>\n    <character>DOM<\/character>\n    <parenthetical>( cont 'd ; V.O . )<\/parenthetical>\n    <dialogue>Not until I get a little something to remember you by.<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>( V. O . )<\/parenthetical>\n    <parenthetical>( clearly struggling . )<\/parenthetical>\n    <dialogue>Stop that! No! Somebody help me!<\/dialogue>\n    <scene_description>Healy and Tucker jump out of the car and RUN INTO THE BUILDING .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Healy and Tucker STORM INTO THE ROOM and freeze at what they see . THEIR POV - Dom is cradling SEVERAL PAIRS OF SHOES in his arms and trying to crawl to the door while Mary holds him back .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Stop it!<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>Just one pair! You owe me that much, you heartless bitch!<\/dialogue>\n    <scene_description>Healy and Tucker grab Dom and throw him down on the couch .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>Dom, you're pathetic, fucking over your friend Ted like that.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>What? You fucked him over, too.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>He's no friend of mine.<\/dialogue>\n    <scene_description>Suddenly Magda ENTERS from her bedroom . She 's holding a half - eaten BANANA SPLIT . Herb , the Homeless Man , follows after her , sporting a Tom Jones and buttoning up his shirt .<\/scene_description>\n    <character>MAGDA<\/character>\n    <dialogue>What the hell's going on here?<\/dialogue>\n    <scene_description>At first no one knows what to say . Then :<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>We're in love with your roommate.<\/dialogue>\n    <character>MAGDA<\/character>\n    <dialogue>Aw, Christ, I ca n't take it anymore. I'm gon na pack my bags and go back to my own place.<\/dialogue>\n    <scene_description>Magda heads back into her bedroom and Herb follows .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Tucker, where are your crutches?<\/dialogue>\n    <scene_description>Tucker is stumped for a second , then :<\/scene_description>\n    <character>TUCKER<\/character>\n    <parenthetical>( British accent . )<\/parenthetical>\n    <dialogue>Interesting query, Mary.<\/dialogue>\n    <scene_description>Healy slaps Tucker in the back of the head .<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>Shut the fuck up and tell her the truth.<\/dialogue>\n    <scene_description>Before he can respond , Ted ENTERS .<\/scene_description>\n    <character>TUCKER<\/character>\n    <dialogue>Well is n't this nice - now we've got the whole gang together.<\/dialogue>\n    <scene_description>Ted can hardly believe Dom is there .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Dom? What are you?<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>You stole her from me. Now I want her back.<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>( rolling eyes . )<\/parenthetical>\n    <dialogue>Woogie and I went out for awhile in high school.<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( stunned . )<\/parenthetical>\n    <dialogue>You're Woogie?<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>Dom Wooganowski. Duh.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>But but you're married. You have kids a great wife.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>If you're so happy with them, please, be my guest.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>If I may I have a proposal.<\/dialogue>\n    <scene_description>Everyone turns to Healy .<\/scene_description>\n    <character>HEALY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I say none of us leave this room until our young Mary here stops jerking us around and decides once and for all who she wants. Now Mary, I know this is difficult but you really will be doing them all a favor to tell them the truth about us.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Are you crazy? Why would I pick you? You're a murderer.<\/dialogue>\n    <scene_description>Healy glares at Tucker .<\/scene_description>\n    <character>TUCKER<\/character>\n    <dialogue>Uh, well. not exactly. You see, I exaggerated a little there.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>You mean he's not a criminal?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>God no!<\/dialogue>\n    <parenthetical>( pleased . )<\/parenthetical>\n    <dialogue>I'm just a pathological liar!<\/dialogue>\n    <scene_description>Mary looks at Tucker , confused .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Tucker. not you, too?<\/dialogue>\n    <scene_description>Tucker lowers his head and reluctantly nods .<\/scene_description>\n    <character>TUCKER<\/character>\n    <dialogue>Name's Norm. I live up in Pompano with my folks.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Oh Jesus.<\/dialogue>\n    <scene_description>Just then the door opens and BRETT FAVRE , the Packers quarterback ENTERS , with Warren -LRB- wearing a walkman -RRB- beside him . Everyone is stunned .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Brett?<\/dialogue>\n    <character>BRETT FAVRE<\/character>\n    <dialogue>Hi, Mary.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>What the hell is Brett Favre doing here?<\/dialogue>\n    <character>BRETT FAVRE<\/character>\n    <dialogue>We're in town to play the Dolphins.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I called him. I told him to pick up Warren and get over here.<\/dialogue>\n    <scene_description>everyone turns their attention to Ted .<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Mary, I found out that your buddy Tucker there lied to you about Brett.<\/dialogue>\n    <scene_description>Tucker lowers his head .<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Brett never said anything bad about Warren. He loves Warren. and from what he just told me on the phone, he loves you, too.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>He's the guy you should be with.<\/dialogue>\n    <character>BRETT FAVRE<\/character>\n    <dialogue>That's right, Mare. And you know I'll always be true to you.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>Aw shit, this is n't fair.<\/dialogue>\n    <scene_description>Mary manages a smile .<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>( to Mary . )<\/parenthetical>\n    <dialogue>I realized something tonight. I'm no better than any of these guys. None of them really love you. they just fixated on you because of how you made them feel. But that's not real love. Thank you for letting me see that. Now I can get on with the rest of my life.<\/dialogue>\n    <scene_description>Tucker , Healy , and Dom scoff .<\/scene_description>\n    <character>TUCKER<\/character>\n    <dialogue>Oh please.<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>Do n't listen to him, Mary. It's a ploy.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>You are so full of shit, Strohman. Are you going to stand here and tell us that you are n't in love with this girl?<\/dialogue>\n    <scene_description>Ted looks into Mary 's eyes . She looks vulnerable .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Yeah. that's what I'm telling you.<\/dialogue>\n    <parenthetical>( winks . )<\/parenthetical>\n    <dialogue>See you, Mare.<\/dialogue>\n    <scene_description>Ted looks Mary in the eye , then starts for the door .<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( as he passes Warren . )<\/parenthetical>\n    <dialogue>See you, Warren.<\/dialogue>\n    <character>WARREN<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <scene_description>Ted lifts the earphones off Warren 's ear .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>See you, Warren.<\/dialogue>\n    <character>WARREN<\/character>\n    <dialogue>Bye, Ted.<\/dialogue>\n    <scene_description>Ted then WALKS OUT OF THE ROOM . They all stand there in silence for a moment , then Dom turns to Brett Favre .<\/scene_description>\n    <character>DOM<\/character>\n    <dialogue>Hey, Brett, any chance I can get you to autograph one of these pumps for me?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIAMI STREET - DAY<\/stage_direction>\n    <scene_description>Ted is walking down the street BLUBBERING LIKE A SCHOOLGIRL . Everyone he passes stares at him . Suddenly Mary comes running down the OTHER SIDE OF THE STREET .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Ted!<\/dialogue>\n    <scene_description>Ted stops and looks across the street at her . He wipes his eyes , hopeful .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>What what are you doing here?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>You forgot your keys!<\/dialogue>\n    <scene_description>She holds up a RABBIT FOOT KEY - CHAIN .<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>( deflated . )<\/parenthetical>\n    <dialogue>Oh. Thanks.<\/dialogue>\n    <scene_description>They remain across the street from one another .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Did you mean what you said back there, Ted?<\/dialogue>\n    <scene_description>Ted starts to well up again .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Ted?<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>( looking down . )<\/parenthetical>\n    <dialogue>I. I just want you to be happy, Mary.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>But I think I'd be happiest. with you.<\/dialogue>\n    <scene_description>Ted just stares at her .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>You're fucking with me, right?<\/dialogue>\n    <scene_description>Mary smiles .<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( wiping eyes . )<\/parenthetical>\n    <dialogue>But but what about Steve?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Oh yeah, that'd make golf real fun - the guy does n't even drink beer or gamble.<\/dialogue>\n    <scene_description>Now Ted smiles .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Get over here.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Really.<\/dialogue>\n    <scene_description>The BEAMING Ted starts walking across the street . Suddenly a BUS WHIZZES BY AND SMACKS TED BROADSIDE . He bounces around under the bus like a rag doll , then finally squirts out the back end and TUMBLES TO A LIMP STOP . Mary SCREAMS and runs toward the body as a CROWD begins to gather .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Ted, no, no!<\/dialogue>\n    <scene_description>She starts giving him CPR . Somebody covers him with a blanket . Just then , another CAR WHIZZES OVER HIS FEET like speedbumps . The crowd winces .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Somebody hold up traffic!<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Come on, Ted. Come on. Tell me you're going to be okay.<\/dialogue>\n    <scene_description>Then Ted takes a deep breath and his eyes flutter open .<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Mary. Oh Mary, I love you.<\/dialogue>\n    <scene_description>Mary 's smile is as bright as the light from heaven .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>I love you too, Ted.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I think I always have.<\/dialogue>\n    <scene_description>As the two lovebirds kiss , a LADY CALLS OUT :<\/scene_description>\n    <character>LADY<\/character>\n    <dialogue>Over here! I found his foot! It was in the storm drain!<\/dialogue>\n    <scene_description>ON THE LADY as she holds up a SEVERED FOOT in a cloth .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>All right, everyone, let's fan out and look for the penis!<\/dialogue>\n    <scene_description>As Ted REACTS to this , we pull UP , UP , UP , and FADE OUT . THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In 1985, 16-year-old high school student Theodore \"Ted\" Stroehmann is about to go on a prom date with his dream girl Mary Jensen when he gets his scrotum stuck in a zipper. He is hospitalized when it bleeds after being unzipped, which cancels their date. Ted subsequently loses contact with Mary. Thirteen years later, 29-year-old Ted is still in love with Mary. On the advice of his best friend Dom, Ted hires private detective Pat Healy to track her down. Healy discovers that she is an orthopedic surgeon living in Miami.  After observing her for a few days, Healy falls in love with Mary.  Healy returns to Boston and lies to Ted about Mary, telling him that Mary is overweight and has four kids by three different men.  Healy quits his job and returns to Miami to pursue Mary.  Healy resorts to lying, cheating, and stalking to win Mary over.  Healy spends several weeks dating Mary before Mary's friend Tucker, an architect with serious spine damage who uses crutches, exposes Healy as a fraud.  Tucker claims Healy is a serial murderer, which enrages the eavesdropping Healy.  An enraged Healy tails Tucker and discovers him to be a fraud himself: he is an able-bodied pizza delivery boy named Norm Phipps who is also in love with Mary. For years, Norm has been faking an injury to get close to Mary so that he could drive away potential rivals. Meanwhile, Ted decides he still wants to reconnect with Mary and drives down to Florida. During the drive down, Ted picks up a hitchhiker who turns out to be a mass murderer.  The murderer leaves a body in Ted's car when Ted is caught with a group of gay men while he tries to urinate. Ted is mistakenly arrested for the murder and bailed out by his friend Dom after the police catch the real killer. Ted finds Mary, discovers the truth about her, and they resume their relationship. Ted seems to have won Mary's love, until an anonymous letter exposes his connection with Pat, and she breaks contact with him. Ted confronts Pat and Norm, and Mary is accosted by Dom, who is revealed to be her ex-boyfriend \"Woogie\" that she has a restraining order against, and was the one who sent the letter. He wants to reconnect with her as well, which she quickly refuses, so he tries to steal her shoes (he has a shoe fetish, which is why Mary got the restraining order in the first place). Ted, Norm, and Pat arrive, and, when Mary is finally together with all of her deceitful suitors, Ted realizes that the only one who did not resort to lying or manipulation to win over Mary was Brett, who he learns is NFL quarterback Brett Favre; after learning the truth about Pat and Norm, Ted guessed that Norm was the reason Mary broke up with Brett for the apparent insulting comments he made about Mary's brother Warren (who lives with an intellectual disability). After reuniting Brett and Mary, Ted leaves tearfully until Mary catches up to Ted, saying \"I'd be happiest with you\". The film concludes with the two engaging in a kiss while singer\/songwriter Jonathan Richman, who has periodically narrated the story in song throughout the film, is accidentally shot by Magda's boyfriend, who was trying to shoot Ted so he could win over Mary."}
{"movie_name":"Breach_2007","imdb_id":"tt0401997","script":"<script>\n  <scene>\n    <character>BREACH<\/character>\n    <dialogue>By<\/dialogue>\n    <scene_description>Adam Mazer, William Rotko and Billy Ray Story by Adam Mazer &amp; William Rotko<\/scene_description>\n    <character>07\/21\/06<\/character>\n    <dialogue>\/r\\<\/dialogue>\n    <character>UNIVERSAL<\/character>\n    <dialogue>r<\/dialogue>\n    <scene_description>This material is the property of UNIVERSAL PICTURES and is intended for use only by authorized personnel.Distribution or disclosure of this material to unauthorized persons is prohibited. The sale, copying,or reproductionof this material in any form or medium, in whole or in part, is strictly prohibited.<\/scene_description>\n    <character>FADE<\/character>\n    <dialogue>IN:<\/dialogue>\n    <scene_description>. \\*on ROBERT HANSSEN, eyes closed, at prayer.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHAPEL -<\/stage_direction>\n    <character>NOON<\/character>\n    <dialogue>1<\/dialogue>\n    <scene_description>He's on his knees, clutching a rosary while silently mouthing a Novena. (Religion runs bone-deep with this man.) We're in\\*<\/scene_description>\n    <character>SLOW-MOTION,<\/character>\n    <dialogue>M.O. S.<\/dialogue>\n    <scene_description>Ask people about him and the same words keep popping up: cold, arrogant, introverted, awkward... But you'll also hear\\* brilliant, well-read, generous, old-fashioned, a mentor.<\/scene_description>\n    <character>\\*<\/character>\n    <dialogue>We linger on his face, in profile; then he rises. TRACK HIM down the aisle of this gilded chapel to a pair of large wooden doors. He pushes them open, revealing:<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CATHOLIC INFORMATION CENTER -<\/stage_direction>\n    <character>CONTINUING<\/character>\n    <dialogue>(NOON)<\/dialogue>\n    <scene_description>A Catholic \"Reading Roomil boasting pamphlets, tracts, the writings of the Pope, copies of a tome called \"The Way.\" Weire still in SLOW-MO as Hanssen glides through, calmly. The STAFFERS here know him well; they like him. He nods to the NUN at the Cash Register, then opens two glass doors. . \\*and the real world hits us like a jackhammer.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 16TH STREET -<\/stage_direction>\n    <character>WASHINGTON<\/character>\n    <dialogue>NOON<\/dialogue>\n    <character>D. C.<\/character>\n    <dialogue>3<\/dialogue>\n    <scene_description>Sounds suddenly assault us, in REAL-TIME: voices, stereos, horns, unnaturally loud. A coin-op news-stand SLAMS SHUT, revealing a FLORIDA RECOUNT headline. It's December 2000. Hanssen pauses, his ears offended by all this noise. He joins the weather-bundled crowd, vanishing down 16th Street.. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM DAY 4 \\*<\/stage_direction>\n    <character>UNIDENTIFIED -<\/character>\n    <dialogue>We're TIGHT on a TAPE RECORDER as a cassette spins inside.\\* From it, the voice of Robert Hanssen: \\*<\/dialogue>\n    <scene_description>we hear<\/scene_description>\n    <character>HANSSEN'S<\/character>\n    <dialogue>VOICE<\/dialogue>\n    <scene_description>I shouldn't tease you. It just gets me into trouble.. \\* But hear of him, CUT TO: \\* that's all we as we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNIDENTIFIED SMALL CONFERENCE ROOM -<\/stage_direction>\n    <character>DAY<\/character>\n    <dialogue>5<\/dialogue>\n    <scene_description>We'll come to know this place as ROOM 9930. No windows, drab carpet. RICH GARCES looks it over. He's 45, friendly, stocky. Behind him, in a HALLWAY, is a crew of SIX CARPENTERS. He nods to them: go to work. They enter the conference room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/EXT. GEORGETOWN ALLEY -<\/stage_direction>\n    <character>NIGHT<\/character>\n    <dialogue>6<\/dialogue>\n    <scene_description>Snow falls on a VAGRANT ashe urinates against an alley wall: grimy clothes, matted hair, we can smell him from here. Beside him is a CART, packed with junk. He shivers, mumbling. Across the street is an Ethiopian restaurant. A LIBYAN MAN and his WIFE emerge from it, bickering. The Vagrant turns.. \\*\\*and, with a minimum of movement, extracts a CAMERA and a uge LOW-LIGHT LENS from his tattered overcoat. He saueezes off 24 shots of the arguing Libyan Couyle. Just like that. Then he pockets the roll of film, inserts another, and gets 24 more shots... until the Libyan Couple is gone. This \"vagrant\" is ERIC O'NEILL, 26, Orom the FBI's Special Surveillances Group. Smart, cocky, ambitious. But baby-faced. He vanishes around a corner like a ghost. -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 9930 -<\/stage_direction>\n    <character>RESUMING<\/character>\n    <dialogue>(DAY)<\/dialogue>\n    <scene_description>The CONSTRUCTION CREW frames a WALL in the center of this conference room, turning it into a two-office SUITE. Garces looks on as ELECTRICIANS run wires through the wall-studs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>R-8 INT. SSG VAN -<\/stage_direction>\n    <character>NIGHT<\/character>\n    <dialogue>TWO SSG GUYS wait inside a van: GEDDES and OLSEN. Eric bursts \\*<\/dialogue>\n    <character>\\*<\/character>\n    <dialogue>in, excited.<\/dialogue>\n    <character>ERIC \\*<\/character>\n    <dialogue>\\*<\/dialogue>\n    <scene_description>I got Him and the wife. 'em.<\/scene_description>\n    <character>\\*<\/character>\n    <parenthetical>(shuts the door, pulls off his Vagrant \\* costume)<\/parenthetical>\n    <character>\\*<\/character>\n    <dialogue>She can be turned; they were screamin at each other. We gotta \\*<\/dialogue>\n    <character>\\*<\/character>\n    <dialogue>tell the C-T guys.<\/dialogue>\n    <character>GEDDES \\*<\/character>\n    <dialogue>Good. Good. \\*<\/dialogue>\n    <scene_description>The van takes off. Eric hands over two rolls of film. \\*<\/scene_description>\n    <character>OLSEN \\*<\/character>\n    <dialogue>of what they \\*<\/dialogue>\n    <scene_description>Did ya catch any were<\/scene_description>\n    <character>\\*<\/character>\n    <dialogue>saying?<\/dialogue>\n    <character>ERIC \\*<\/character>\n    <dialogue>of it, need \\*<\/dialogue>\n    <scene_description>I got some just gonna a<\/scene_description>\n    <character>\\*<\/character>\n    <dialogue>translater.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>that) \\*<\/dialogue>\n    <scene_description>(Geddes notes I work the corner can outside their \\* Me didn't make me. We \\* apartment. \\* should get over there now, while fighting. \\* they're still And it \\* Then Eric notices something - at Olsen's feet. stops<\/scene_description>\n    <character>\\*<\/character>\n    <dialogue>him cold.<\/dialogue>\n    <character>ERIC \\*<\/character>\n    <dialogue>\\*<\/dialogue>\n    <scene_description>oh.<\/scene_description>\n    <character>\\*<\/character>\n    <dialogue>OLSEN<\/dialogue>\n    <character>\\*<\/character>\n    <parenthetical>(grim)<\/parenthetical>\n    <character>\\*<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>item in \\* Eric leans forward and retrieves the question: entitled: FOR SUBJECT DATABASE \\* It's a FILE, nPROPOSAL PREPARED BY ERIC O'NEILL.\"<\/scene_description>\n    <character>\\*<\/character>\n    <dialogue>Plastic cover, great-loaking font. Hours were spent at<\/dialogue>\n    <scene_description>hate that. \\* Kinko's on this thing. Olsen and Geddes just<\/scene_description>\n    <character>ERIC \\*<\/character>\n    <dialogue>for data \\*<\/dialogue>\n    <scene_description>It's a protocol - storing on<\/scene_description>\n    <character>\\*<\/character>\n    <dialogue>our targets.<\/dialogue>\n    <character>\\*<\/character>\n    <dialogue>OLSEN<\/dialogue>\n    <scene_description>What we're unclear \\* We got that part. is what it was doing on Gene's \\* on<\/scene_description>\n    <character>\\*<\/character>\n    <dialogue>desk?<\/dialogue>\n    <character>\\*<\/character>\n    <dialogue>ERIC<\/dialogue>\n    <scene_description>the chain, doesnit it? \\* Has to go up<\/scene_description>\n    <character>\\*<\/character>\n    <dialogue>GEDDES<\/dialogue>\n    <scene_description>Eric. We're \\* Nobody likes a show-off, to make agent \\* all trying ya know? -:<\/scene_description>\n    <character>OLSEN \\*<\/character>\n    <dialogue>five different \\*<\/dialogue>\n    <scene_description>Different-color tabs, fonts... You musta weekend at \\* spent a Kinko's on this thing. \\*<\/scene_description>\n    <character>\\*<\/character>\n    <dialogue>ERIC<\/dialogue>\n    <scene_description>it? \\* Did you read<\/scene_description>\n    <character>OLSEN \\*<\/character>\n    <dialogue>No. \\*<\/dialogue>\n    <character>ERIC \\*<\/character>\n    <dialogue>That's fcause both \\*<\/dialogue>\n    <scene_description>too bad... you're<\/scene_description>\n    <character>\\*<\/character>\n    <dialogue>credited in there, by name.<\/dialogue>\n    <scene_description>and Olsen almost blush. \\* That changes everything. Geddes<\/scene_description>\n    <character>OLSEN<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>GEDDES<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>ERIC \\*<\/character>\n    <dialogue>\\*<\/dialogue>\n    <scene_description>Yeah. Can we get over to that<\/scene_description>\n    <character>\\*<\/character>\n    <dialogue>apartment now?<\/dialogue>\n    <scene_description>Eric can do that to people - just disarm them when they least \\*<\/scene_description>\n    <character>\\*<\/character>\n    <dialogue>expect it.<\/dialogue>\n    <character>\\*<\/character>\n    <dialogue>OLSEN<\/dialogue>\n    <character>\\*<\/character>\n    <dialogue>Yeah. That's a good idea..<\/dialogue>\n    <character>\\*<\/character>\n    <dialogue>End of conflict. The van rollS On..<\/dialogue>\n    <scene_description>9-10 OMIT 9-10<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 9930 - RESUMING<\/stage_direction>\n    <scene_description>A LIPSTICK CAMERA and MICROPHONE are installed in an overhead VENT. Then a grill is screwed into place, obscuring them.. A HEAT SENSOR is placed inside a wall. Garces activates it with a REMOTE. Then it's covered by a sheet of dry-wall. A TV is also fitted with hidden MIC and LIPSTICK CAMERA. WORKMEN enter with huge roll a of carpet. Garces looks to a TECH who is just nowhiding a MOTION SENSOR and another MICROPHONE in a hollowed-out space in 9930's floor.. 12-18 \\*: 12-18 OMIT<\/scene_description>\n    <character>GARAGE<\/character>\n    <dialogue>WITH\/INT.<\/dialogue>\n    <character>DAY<\/character>\n    <dialogue>FBI<\/dialogue>\n    <scene_description>19 INTERCUT - Hanssen from an elevator \\* Canvas bag over a shoulder, emerges<\/scene_description>\n    <character>\\*<\/character>\n    <dialogue>onto prime FBI real estate: an empty parking space \"Reserved for Director L. Freeh.\" Hanssen eyes it as he passes by. \\*<\/dialogue>\n    <scene_description>20-25 \\*: 20-25 OMIT<\/scene_description>\n    <character>HALLWAY<\/character>\n    <dialogue>INTERCUT<\/dialogue>\n    <character>OUTSIDE<\/character>\n    <dialogue>WITH\/INT.<\/dialogue>\n    <scene_description>25A - An ELECTRONIC COMBO LOCK is programmed into 9930's door. \\* \\*as Garces shuts the door and affixes a PLAQUE to the wall esiae it: \"9930 - Robert Hanssen Special Asst. to- Asst. Director in Charge of Information Assurance Division.\"<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>MOMENTS LATER<\/dialogue>\n    <character>FBI<\/character>\n    <dialogue>26<\/dialogue>\n    <scene_description>26 - At the far end of this garage, Hanssen stops at a Silver Ford Taurus in an unreserved space. To his right, two huge turbines whirl noisily, the building's ventilation system. He opens the Taurus' TRUNK. We peer over his back... to Oind an ARSENAL in there : a 9mm Distol a SUB MACHINE gun. and 400 rounds of ammunition, all covered in ylastic. his canvas bag atop the arsenal, then slams his He places trunk shut. 27-30A 27-30A<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ERIC &amp; JULIANA'S APT. - BEDROOM -<\/stage_direction>\n    <character>MORNING<\/character>\n    <dialogue>(7A.M.)<\/dialogue>\n    <scene_description>JULIANA O'NEILL sleeps on Eric's chest. She's 23, a beauty, German by birth. Her eyes open slowly... to find him studying a PROOFSHEET of the photos he took in that alley.<\/scene_description>\n    <character>JULIANA<\/character>\n    <dialogue>Are they terrorists?<\/dialogue>\n    <scene_description>Eric breathes out a smile: he'd thought she was asleep.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>They're taroets, Honey. That's all I said, right?<\/dialogue>\n    <character>JULIANA<\/character>\n    <dialogue>Right. Sorry.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Good girl.<\/dialogue>\n    <scene_description>They share the world's coldest, dampest apartment, a BASEMENT really - (its window looks up at an alley outside.) A SPACE HEATER blows. A BROKEN RADIATOR gurgles. He kisses her.<\/scene_description>\n    <character>JULIAMA<\/character>\n    <dialogue>I dreamed I couldn't find my keys.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>They're behind the coffee-maker. You put them there when you came in from the market last night.<\/dialogue>\n    <character>JULIAA<\/character>\n    <dialogue>oh.<\/dialogue>\n    <scene_description>By the bed we find A CITIZENSHIP WORKBOOK and a GERMAN- ENGLISH DICTIONARY and a book called \"Parkinsons and the Family.\" (Handwritten notes peek out from between pages.) On a wall we find a framed portrait of Eric and his THREE BROTHERS, (two of them Naval officers) , flanking Juliana. Just then, we hear:<\/scene_description>\n    <character>THE<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>LADY<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>That was the LADY ONE FLIGHT UP, squawking at no one. (She does this around the clock.) Juliana, familiar with the sound, grumbles good-naturedly.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>It's like she's training a parrot.<\/dialogue>\n    <character>THE<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>LADY<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Hey, Mom and Dad wanna take us to Mass today. You wanna go to Mass with me?<\/dialogue>\n    <character>JULIAUA<\/character>\n    <dialogue>I'd rather go to a movie.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Me too..<\/dialogue>\n    <scene_description>She leaves it alone, puts her head back on his chest. Eric mildly shaking his puts his focus back on that proofsheet... head, as if dissatisfied with something.<\/scene_description>\n    <character>JULIANA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ERIC<\/character>\n    <parenthetical>(re: proofsheet)<\/parenthetical>\n    <dialogue>I shoulda been one alley over. The light was better.<\/dialogue>\n    <character>JULIANA<\/character>\n    <dialogue>You're gonna be an agent.<\/dialogue>\n    <scene_description>That was completely spontaneous, but said with absolute certainty. Eric just shrugs can't quite - agree.<\/scene_description>\n    <character>JULIANA<\/character>\n    <dialogue>Are the rest of those guys working as hard as you?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>or course.<\/dialogue>\n    <character>JULIANA<\/character>\n    <dialogue>I bet they aren't.<\/dialogue>\n    <scene_description>Thereis lot a of love here. Juliana shuts her eyes. Eric runs a hand through her hair, his mind drifting, until:<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Say it again, okay?<\/dialogue>\n    <character>JULIANA<\/character>\n    <dialogue>Say what again?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>That I'm gonna be an agent.<\/dialogue>\n    <scene_description>Juliana smiles. His ambition is so raw, so unapologetic..<\/scene_description>\n    <character>JULIANA<\/character>\n    <dialogue>You're gonna be an agent.<\/dialogue>\n    <scene_description>He smiles, satisfied. Then the PHONE RINGS. Damn it.<\/scene_description>\n    <character>JULIANA<\/character>\n    <dialogue>Don't get it.<\/dialogue>\n    <scene_description>He obliges. Their ANSWERING MACHINE picks up. Then:<\/scene_description>\n    <character>CONNORS' VOICE<\/character>\n    <dialogue>Get<\/dialogue>\n    <character>CTHRUMACHINE)<\/character>\n    <dialogue>dressed.<\/dialogue>\n    <scene_description>Eric grabs the phone in an instant.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>To<\/dialogue>\n    <character>CINTO PHONE)<\/character>\n    <dialogue>where?<\/dialogue>\n    <character>CONNORS<\/character>\n    <dialogue>They'll We're<\/dialogue>\n    <character>CTHRUPHONE)<\/character>\n    <dialogue>explain at due<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>On a<\/dialogue>\n    <character>CINTO PHONE)<\/character>\n    <dialogue>Sunday?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FBI WASHINGTON FIELD OFFICE - ESTABLISHING -<\/stage_direction>\n    <character>DAY<\/character>\n    <dialogue>32<\/dialogue>\n    <scene_description>The WFO is sunlit, modern. Eight stories high, at 4th and F. 33 INT. WASH. FIELD OFFICE ( \"WFO'i) -<\/scene_description>\n    <character>SMALL CONF.<\/character>\n    <dialogue>DAY<\/dialogue>\n    <character>ROOM<\/character>\n    <dialogue>33<\/dialogue>\n    <scene_description>A thin FILE slides into frame. Hanssenis PHOTO is inside. Eric, coat and tie now, eyes it. Connors sits beside him.<\/scene_description>\n    <character>KATE (O. S.)<\/character>\n    <dialogue>I'll get right to it if ya don't mind.<\/dialogue>\n    <scene_description>KATE BURROUGHS sits opposite them. She has short hair, a Jersey accent, and the vulnerability of a tank. Wears low heels and hose. Her rank is Special Agent.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>You're being tasked to Headquarters, where you're going to ride the desk of an agent named Robert Hanssen. Do you know him?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>No.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/INT. HANSSEN HOME - STAIRS - MORNING<\/stage_direction>\n    <scene_description>Weire right behind Hanssen as he descends the stairs, dressed for work. (Welve time-cut to Monday morning). We hear:<\/scene_description>\n    <character>KATE (V.O.)<\/character>\n    <dialogue>Former headof the Bureau's Soviet Analytical Unit, considered our most knowledgeable analyst on Russian Intel. Last six years he's been our liaison at the State Department monitoring the whereabouts of every Russian Intelligence Officer in D. C.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HANSSEN HOME -<\/stage_direction>\n    <character>CONTINUING<\/character>\n    <dialogue>35<\/dialogue>\n    <scene_description>GREG, (17, in a school uniform) , is just finishing breakfast. 30, handing off her INFANT BOY to.. \\* JANE, is also here, .BONNIEr Hanssen's wife of 32 years. She's a buttoned-down\\* eauty - never had plastic surgery, never needed it. \\*<\/scene_description>\n    <character>JANE<\/character>\n    <dialogue>Sure you don't mind, Mom?<\/dialogue>\n    <character>BONNIE<\/character>\n    <dialogue>Mind? Itis a treat!<\/dialogue>\n    <scene_description>Hanssen enters the kitchen, grabs his keys, kisses the baby.<\/scene_description>\n    <character>KATE (V.O.)<\/character>\n    <dialogue>We're bringing him back to HQ to start our new Information Assurance Division, safeguarding the Bureau's I.T. system from cyberterrorism and infiltration.<\/dialogue>\n    <scene_description>Sunday, the Hanssens' dog, breezes through. Hanssen breathes out a laugh at the sight of him, then heads for the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WFO - SMALL CONF. ROOM -<\/stage_direction>\n    <character>RESUMING<\/character>\n    <dialogue>36<\/dialogue>\n    <scene_description>Eric looks through the file.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Wait. I've heard about this guy. Was he the one who hacked into another ggentis hgrd-driye?<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Heis the best computer guy weive got.<\/dialogue>\n    <parenthetical>(Eric nods)<\/parenthetical>\n    <dialogue>He's also a sexual deviant.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>oh.<\/dialogue>\n    <character>ROOM<\/character>\n    <dialogue>37<\/dialogue>\n    <character>FLASHBACK<\/character>\n    <dialogue>INTERCUT<\/dialogue>\n    <scene_description>Again, we're tight on that CASSETTE PLAYER.<\/scene_description>\n    <character>HANSSEN'S<\/character>\n    <dialogue>I shouldn't me into<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>tease trouble..<\/dialogue>\n    <character>KATE (V.O.)<\/character>\n    <dialogue>He's been posting on the Internet. Lurid material.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/INT. HANSSEN'S TAURUS -<\/stage_direction>\n    <character>MORNING<\/character>\n    <dialogue>38<\/dialogue>\n    <scene_description>Hanssen sits in his car on the shoulder of a suburban road beside NOTTOWAY PARK. He makes a note on a PALM PILOT.<\/scene_description>\n    <character>KATE (V.O.)<\/character>\n    <dialogue>There are also some complaints in his file from female subordinates. You're going to keep an eye on him for us.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WFO - SMALL CONF. ROOM -<\/stage_direction>\n    <character>RESUMING<\/character>\n    <dialogue>39<\/dialogue>\n    <scene_description>Eric hates this task already.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>You have a FISA Warrant?<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>or course.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Do I get a cover?<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>God, no. Hanssen would peel it away in a day. He spent the last twenty years out-thinking Russian spies.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>. \\*and jerking off under his desk.<\/dialogue>\n    <scene_description>That was a test, to see if Kate is easily thrown.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Ya wanna duck down there and scrape for samples, Oeel free.<\/dialogue>\n    <scene_description>So much for throwing her. .But Eric's distaste for all this remains.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Just ya know, nobody around<\/dialogue>\n    <scene_description>so here likes the idea of embarrassing a guy who's done 25 years of service... But we have reason to believe there are other agents involved in this as well shared postings, et cetera. If that's true, it could mean a huge embarrassment to the Bureau.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/INT. ERIC &amp; JULIANA'S APT. -<\/stage_direction>\n    <character>EARLY<\/character>\n    <dialogue>MORNING<\/dialogue>\n    <scene_description>Eric stands in the doorway, dressed for Day One. We note the PAGER on his hip. Juliana's at their formica table.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>A few can<\/dialogue>\n    <character>CCONT'D, V.O.)<\/character>\n    <dialogue>rules: know about this.<\/dialogue>\n    <scene_description>wife. You've got a new works in Information your boss; his name is Hanssen; he Assurance. works in Information Assurance. That's it. Juliana looks up from her CITIZENSHIP WORKBOOK... as we hear<\/scene_description>\n    <character>\\*<\/character>\n    <dialogue>Eric's reply to Kate:<\/dialogue>\n    <character>ERIC (V.O.)<\/character>\n    <dialogue>I understand.<\/dialogue>\n    <character>8TH<\/character>\n    <dialogue>WITH\/EXT.<\/dialogue>\n    <character>STREET<\/character>\n    <dialogue>D. C.<\/dialogue>\n    <scene_description>41 INTERCUT - Eric walks up 8th St., which is dotted by HOMELESS PEOPLE and POTHOLES. He's in a winter coat, carrying a worn gym bag.<\/scene_description>\n    <character>KATE (V.O.)<\/character>\n    <dialogue>Second. You'll be serving at the needs of the Bureau, answerable to me at all times. I hope that's clear.<\/dialogue>\n    <parenthetical>(HEADLINES blare from news-stands; \"W. Assembling His Team.\" \"Ashcroft Facing Confirmation Fight.\" It's January, 2001.)<\/parenthetical>\n    <scene_description>-:<\/scene_description>\n    <character>MORNING<\/character>\n    <dialogue>42<\/dialogue>\n    <character>42<\/character>\n    <dialogue>INTERCUT<\/dialogue>\n    <scene_description>Eric from below. Before him is the Navy Memorial. emerges<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>This 24\/7. and<\/dialogue>\n    <character>(V.O.,<\/character>\n    <dialogue>pager If it's a<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/EXT. FBI HQ -<\/stage_direction>\n    <scene_description>PLAZA -:<\/scene_description>\n    <character>MORNING<\/character>\n    <dialogue>43<\/dialogue>\n    <scene_description>A huge building, occupying a block on Pennsylvania Avenue. Eric through an OUTDOOR PLAZA. There's a fountain passes here, and a quote from J. Edgar Hoover inscribed on a wall.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>You'll that<\/dialogue>\n    <character>(V.O.,<\/character>\n    <dialogue>keep goes on<\/dialogue>\n    <scene_description>FBI HQ iiESCORT DESK\" - SAME 44<\/scene_description>\n    <character>INTERCUT<\/character>\n    <dialogue>44<\/dialogue>\n    <character>WITH\/INT.<\/character>\n    <dialogue>Behind a glass case are photos of every FBI agent who's ever died in the line of duty. From Edwin C. Shanahan (1925) thru Charles Reed (1996). Heroes, martyrs, patriots..<\/dialogue>\n    <dialogue>Eric stands at the \"Escort Desk.\" A CIVIL SERVANT behind bullet-proof glass hands him an I.D. BADGE.<\/dialogue>\n    <character>CIVIL<\/character>\n    <dialogue>Know<\/dialogue>\n    <character>SERVANT<\/character>\n    <dialogue>where<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>I think SO.<\/dialogue>\n    <scene_description>Civil Servant just smiles a knowing smile.<\/scene_description>\n    <character>KATE (V.O.)<\/character>\n    <dialogue>Who he talks to, who he calls -<\/dialogue>\n    <scene_description>no detail is insignificant. Got that?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WFO -<\/stage_direction>\n    <character>SMALL<\/character>\n    <dialogue>RESUMING<\/dialogue>\n    <character>CONF.<\/character>\n    <dialogue>45<\/dialogue>\n    <scene_description>Her job done, Kate rises.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Good. Gene can fill you in on the rest. Thanks for coming in.<\/dialogue>\n    <scene_description>She turns, almost gone... when Eric just has to ask:<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Agent Burroughs?<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Is this high-priority?<\/dialogue>\n    <parenthetical>(Kate's silent)<\/parenthetical>\n    <dialogue>We've been ghosting some priority targets lately. C-T targets. If I'm being pulled off of that, I just wanna make sure it's..<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>In other words, you wanna know if this is gonna fast-track you into becoming an agent.<\/dialogue>\n    <parenthetical>(Eric blanches)<\/parenthetical>\n    <dialogue>Gene tells me you're confident, bordering on cocky... He also says you can park it when necessary.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Yes, Ma'am.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Enjoy your Sunday.<\/dialogue>\n    <scene_description>And out she goes. END INTERCUT. We are:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ -<\/stage_direction>\n    <scene_description>CORRIDOR -:<\/scene_description>\n    <character>MORNING<\/character>\n    <dialogue>46<\/dialogue>\n    <scene_description>Welcome to the single most confusing structure on earth. Eric stares down two identical corridors that shear off from one another at a 45 degree angle. Yellowish lights overhead, not a window in sight. A maze of intrigue.. Sitting outside several offices are PALLETS piled high with boxes of NEW COMPUTERS. They're everywhere. And Eric is lost. The numbers on the doors make no sense.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ -<\/stage_direction>\n    <character>7TH<\/character>\n    <dialogue>ANOTHER<\/dialogue>\n    <character>FLOOR<\/character>\n    <dialogue>CORRIDOR<\/dialogue>\n    <character>MORNING<\/character>\n    <dialogue>47<\/dialogue>\n    <scene_description>on the floor. More identical doors. On a wall, More pallets behind glass, a POSTER lists all of the FBI SPECIAL BADGES. A posted FLIER congratulates a secretary on her impending retirement. Her Party is next Friday. Cake and Cookies. Eric drifts along until he spots a familiar name on the NAMEPLATE beside a door: \"Louis Freeh. Director.\"<\/scene_description>\n    <character>PASSING<\/character>\n    <dialogue>Can<\/dialogue>\n    <character>UNNAMED AGENT<\/character>\n    <dialogue>I<\/dialogue>\n    <scene_description>Eric turns. The look from this AGENT (50, heavyset), tells us this is restricted air-space. Eric sags, embarrassed.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>How do I get to the Ninth floor?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ -<\/stage_direction>\n    <character>9TH<\/character>\n    <dialogue>GARCES'S OFFICE<\/dialogue>\n    <character>FLOOR<\/character>\n    <dialogue>-<\/dialogue>\n    <character>MOMENTS LATER<\/character>\n    <dialogue>48<\/dialogue>\n    <scene_description>Garces slides an I.D. BADGE across a desk toward Eric. A window looks out on D. C.<\/scene_description>\n    <character>GARCES<\/character>\n    <dialogue>Okay. This is the code to the combo lock. This is the code Oor the key punch. And this is the badge for the security pad. You're all set.<\/dialogue>\n    <scene_description>Posters on the wall warn of the dangers of cyberterrorism. Eric eyes them, not quite ready to leave yet.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Sir... do you know Agent Hanssen?<\/dialogue>\n    <character>GARCES<\/character>\n    <dialogue>Alittle.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Is there anything you can tell me about him?<\/dialogue>\n    <character>GARCES<\/character>\n    <dialogue>What would you like to know?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Anything that'd help me do my job better, I guess.<\/dialogue>\n    <character>GARCES<\/character>\n    <dialogue>Sure... Take nothing personally.<\/dialogue>\n    <scene_description>Garces conceals a grin..<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ - CORRIDOR -<\/stage_direction>\n    <character>OUTSIDE<\/character>\n    <dialogue>9930<\/dialogue>\n    <scene_description>On the of 9930 now is a sign door identifying this as a SCIF: (SENSITIVE COMPARTMENTALIZED INFO FACILITY). Eric eyes the sign, and the plaque with Hanssen's name and title on it. Then he swipes his badge, works a combo lock, punches numbers into a keypad. THREE BEEPS emanate. And he's in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ -<\/stage_direction>\n    <scene_description>ROOM 9930 -:<\/scene_description>\n    <character>CONTINUING<\/character>\n    <dialogue>50<\/dialogue>\n    <scene_description>We saw this suite being constructed: an outer office with a desk, chair, computer, file cabinets. And an inner office. No windows. The door closes hard behind Eric; it's like being sealed into a BANK VAULT, or an air-lock. He crosses to his new desk, sets down his gym bag, sits. .\\*and is greeted with a loud CREEEEAK. The springs in this chair must be a hundred years old. He sits forward. The chair creaks again, annoying as hell. On the desk is an old IBM 350 computer. He flips it On. It to life. Beside it is a MANUAL: \"OPERATING THE ACS groans (Automated Case Support System) \" Eric . opens it. Then he hears those same THREE BEEPS coming from the SCIF Door. 9 a.m. on the dot. The door opens.. \\* \\*and Hanssen enters, carrying his canvas briefcase and two<\/scene_description>\n    <character>ARDBOARD<\/character>\n    <dialogue>BOXES. (Today is his moving-in day too.)<\/dialogue>\n    <scene_description>He pauses, regarding Eric in silence... Then that chair CREAKS again and Hanssen's mind becomes painfully easy to read: \"Who is this moron they put on my desk?\" Hanssen can do that to you, just paralyze you with a look of withering disdain. Silence hangs, until Eric gathers himself:<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Good Morning.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Tell me five things about yourself, four of them true.<\/dialogue>\n    <scene_description>Wait. What'd he just say?<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>I'm sorry?<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Game we used to play in the Soviet Analytical Unit to keep ourselves sharp. Lie detection.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Oh, I don't think I'd be much good at bluffing.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>That would've counted as your lie, right there.<\/dialogue>\n    <scene_description>With that, Hanssen ducks into his private office and shuts the door. Eric eyes it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ - ROOM 9930 -<\/stage_direction>\n    <character>LATER<\/character>\n    <dialogue>MORNING<\/dialogue>\n    <scene_description>Eric sits, disassembling the MOTHERBOARD of that old IBM. (He unclips the RAM WAFER from its housing. It has an ounce of DUST on it.) Each time he moves, his chair CREAKS again. Hanssen emerges from his office, bearing an EMPTY WATER PITCHER. He pauses, eyes Eric, then spots something offensive on Eric's desk... and makes a bee-line for it: Eric braces himself... as Hanssen grabs that ACS MANUAL off the desk, and tosses it into a trash can without ceremony.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>I'm going to be re-inventing how the Bureau stores case information. Didn't anybody tell you that?<\/dialogue>\n    <scene_description>..and Hanssen exits the SCIF. Just like that. A long beat - Eric waiting until itis safe. Then he rises.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 9930 -<\/stage_direction>\n    <character>HANSSEN'S<\/character>\n    <dialogue>CONTINUING<\/dialogue>\n    <character>OFFICE<\/character>\n    <dialogue>52<\/dialogue>\n    <scene_description>It's dark in here, shadowy. (The flourescents overhead have been turned off; a DESK LAMP provides the only light.) Eric flips on the overhead light, revealing: PHOTOS of Bonnie, SIX CHILDREN, five GRANDCHILDREN. A CRUCIFIX over the desk. A framed virgin Mary. And books: The Catechism of the Catholic Church, The Bible, The Way. There's a TV MONITOR in here. It will always be On. And it will always have the same image on it: a LIVE FEED SECURITY- CAM POV from the Corridor outside 9930. Eric eyes it, a bit unsettled... until he sees Hanssen himself on the screen - emerging from a Men's Room and approaching 9930. Shit. Eric snaps the overhead light off, rushes back to his desk.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>52A INT. 9930 - AT ERIC'S DESK -<\/stage_direction>\n    <character>CONTINUING<\/character>\n    <dialogue>52A<\/dialogue>\n    <scene_description>He sits. Another loud CREEEEEAK. He hears the THREE BEEPS at the SCIF door. It opens.. Here's Hanssen again, his water pitcher filled. He hovers in the doorway, staring. And clicking a fat blue PILOT DR.-GRIP pen, repeatedly. Clicking, twirling... until Eric can't bear it any longer:<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Antiquated machine.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>There are pallets of new computers in every corridor of this building. why don't you go get one?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Okay. I'll fill out a req form..<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>You're not listening; go get one. Req<\/dialogue>\n    <scene_description>forms are for bureaucrats. (Eric rises...) Actually, get two. That dinosaur on my desk is useless to me.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Agent Hanssen, my name is Eric.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>No. Your name is Clerk.<\/dialogue>\n    <parenthetical>(Eric reacts)<\/parenthetical>\n    <dialogue>My name is \"sir.\" Or \"Boss,\" if you<\/dialogue>\n    <scene_description>can manage.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Yes, Sir.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>And if I ever catch you in my office<\/dialogue>\n    <scene_description>again, you'll be pissing purple for a week. He ducks into his office, shuts his door. Eric stares at it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ - 7TH FLOOR - CORRIDOR -<\/stage_direction>\n    <character>DAY<\/character>\n    <dialogue>53<\/dialogue>\n    <scene_description>Eric approaches oneof those unguarded PALLETS, piled high with boxed DELL COMPUTERS, cello-wrapped. Agents pass by, their ID badges bouncing. Eric ignores them, trying to look like he's supposed to be here. He pulls out a pocket knife, shears through some cello-wrap.<\/scene_description>\n    <character>PASSING<\/character>\n    <dialogue>You<\/dialogue>\n    <character>SECRETARY<\/character>\n    <dialogue>must<\/dialogue>\n    <scene_description>Eric turns, alarmed. That was a PASSING SECRETARY.<\/scene_description>\n    <character>PASSING<\/character>\n    <dialogue>I<\/dialogue>\n    <character>SECRETARY<\/character>\n    <dialogue>ordered<\/dialogue>\n    <scene_description>Eric smiles thinly, shrugs. The Secretary breezes by.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ -<\/stage_direction>\n    <scene_description>ROOM 9930 -:<\/scene_description>\n    <character>MINUTES<\/character>\n    <dialogue>LATER<\/dialogue>\n    <scene_description>Eric enters, carrying a brand new DELL. Here's what he sees: Hanssen, standing on his own desk. He has pulled a CEILING PANEL loose and is now hunting through the empty overhead space. On his hiked pantleg we see a. 38 in an ANKLE HOLSTER.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Sir? Sir, you could fall.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>I won't fall. I'm very co-ordinated.<\/dialogue>\n    <scene_description>Hanssen drops down, as Eric unloads the new computer.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>Trying to re-route a phone line, to get Internet access.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>I can get an I.T. guy in here to do that for you, Sir.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>My Lord, you are dumb as a bag of hammers, arenit you?<\/dialogue>\n    <parenthetical>(Eric's silent)<\/parenthetical>\n    <dialogue>Yes, let's bring in an I.T. guy making 35, 000 dollars a year and give him access to hard drives that a foreign agent would pay millions for.<\/dialogue>\n    <parenthetical>(Eric nods, chagrinned)<\/parenthetical>\n    <character>HANSSEN<\/character>\n    <dialogue>We're supposed to be protecting the Bureau from electronic infiltration.<\/dialogue>\n    <scene_description>Hanssen's PALM PILOT is on the desk. He shoves it into his canvas bag, as:<\/scene_description>\n    <character>ERIC<\/character>\n    <parenthetical>(casually)<\/parenthetical>\n    <dialogue>What kind of sites do you like?<\/dialogue>\n    <parenthetical>(no reply)<\/parenthetical>\n    <dialogue>On the Internet. Are there sites you like to--<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>why?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Just... never saw anybody climb on top of a desk to get on-line before.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Do you pray the Rosary every day?<\/dialogue>\n    <scene_description>Another curveball. Eric reacts, thrown..<\/scene_description>\n    <character>MANSSEN<\/character>\n    <dialogue>Your file says you prepped at Gonzaga<\/dialogue>\n    <scene_description>with the Jesuits.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>That's right. I did.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>S0?<\/dialogue>\n    <parenthetical>(Eric's a blank)<\/parenthetical>\n    <dialogue>Do you? Pray the rosary every day?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Not every day, nO.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>You should.<\/dialogue>\n    <scene_description>Eric tightens - just has to find a way to get his balance back around this guy.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>You still want my list, Sir? The five things?<\/dialogue>\n    <scene_description>Hanssen grins, amused. Then he takes a fat blue PEN from his breast pocket (a PILOT DR.-GRIP) And begins clicking and twirling it. Again and again.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>These the greatest<\/dialogue>\n    <scene_description>are pens in the world. I would never write with anything else. Eric waits... until Hanssen gives him the go-ahead:<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>Eric doesn't hesitate, just launches:<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>I won Merit<\/dialogue>\n    <scene_description>Boy Scout Badges in every category except Riflery. I haven't been to Confession since high school. There are several words I constantly misspell. My favorite drink is a Vodka Tonic. And I'm the only male in the last four generations of my family who hasnit served in the military. Eric waits, pleased with himself. But:<\/scene_description>\n    <character>HANS SEN<\/character>\n    <dialogue>What jl Your drink then? Gin?<\/dialogue>\n    <character>ERIC<\/character>\n    <parenthetical>(tries not to sag)<\/parenthetical>\n    <dialogue>Scotch.<\/dialogue>\n    <character>HANS SEN<\/character>\n    <dialogue>It's against Bureau policy for an Agent to consume alcohol, off- even duty did you know that?<\/dialogue>\n    <scene_description>- because - an FBI Agent is never off-duty. (Eric pauses, thrown) That comes from Director Freeh. We attend the same church. Who's the pager for? Wait. He means the PAGER Eric got from Kate. Eric hangs on.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>My wife. She likes to know she can get a hold of me 24\/7.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Hmmm.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>Catholic girl?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Oh. No. Sort of a lapsed Protestant, actually; she's East German. Big fan of Christmas plays, though.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Have to do something about that, won't we?<\/dialogue>\n    <scene_description>They eye one another. On Eric, we DISSOLVE TO.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ -<\/stage_direction>\n    <character>8:30<\/character>\n    <dialogue>P.M.<\/dialogue>\n    <scene_description>Working late, Eric dollies an unwanted FILE CABINET out of Hanssen's office. Hanssen's new Dell sits on the desk. Eric stops... and eyes the computer. There's no one around. He turns the computer on. The screen glows to life, a green field reading \"FBI NET\" , with a command for a PASSWORD. Eric looks to the door. Nothing. He looks to Hanssen's TV MONITOR: that security-cam POV of the corridor outside 9930. The corridor is empty. Relax, the guy left hours ago. Eric types in a password... and HANSSEN'S PHONE RINGS, startling the hell out of us. Eric grabs it.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Supervisory<\/dialogue>\n    <character>CINTO PHONE)<\/character>\n    <dialogue>Special Agent Hanssen's<\/dialogue>\n    <scene_description>office.<\/scene_description>\n    <character>HANSSEN CTHRUPHONE)<\/character>\n    <dialogue>Hang up the phone.<\/dialogue>\n    <scene_description>Hanssen, calling from a land line. Eric winces.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>I'm<\/dialogue>\n    <character>CINTO PHONE)<\/character>\n    <dialogue>sorry?<\/dialogue>\n    <character>HANSSEN (THRU PHONE)<\/character>\n    <dialogue>That is an unnacceptable greeting. Hang up the phone.<\/dialogue>\n    <scene_description>CLICK. Eric pauses, unsettled. Hangs up the phone. It RINGS AGAIN. Eric eyes it, grabs it:<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Information<\/dialogue>\n    <character>(INTO<\/character>\n    <dialogue>Assurance<\/dialogue>\n    <character>HANSSEN (THRU PHONE)<\/character>\n    <dialogue>Good Lord.<\/dialogue>\n    <scene_description>CLICK. Eric tightens... and the phone RINGS once more.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Is<\/dialogue>\n    <character>CINTO PHONE)<\/character>\n    <dialogue>there<\/dialogue>\n    <scene_description>Sir?<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>CTHRUPHONE)<\/character>\n    <dialogue>You<\/dialogue>\n    <scene_description>can how to answer my phone properly. i'Section Chief Robert i) Hanssen.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Sir, were Assistant<\/dialogue>\n    <character>CINTO PHONE)<\/character>\n    <dialogue>my understanding Special Director<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>I will<\/dialogue>\n    <character>CTHRUPHONE)<\/character>\n    <dialogue>function address<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Yes,<\/dialogue>\n    <character>CINTO PHONE)<\/character>\n    <dialogue>Sir.<\/dialogue>\n    <character>HANSSEN (THRU PHONE)<\/character>\n    <dialogue>I also want it changed on the plate<\/dialogue>\n    <scene_description>outside the door.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Sir, clear<\/dialogue>\n    <character>CINTO PHONE)<\/character>\n    <dialogue>I'm that<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Don't<\/dialogue>\n    <character>CTHRUPHONE)<\/character>\n    <dialogue>bother.<\/dialogue>\n    <scene_description>standards. I have mine. Eric is about to respond, when:<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>Wait. Why don't I hear your chair creaking?<\/dialogue>\n    <scene_description>Eric freezes, almost afraid to breathe.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Sir?<\/dialogue>\n    <character>CINTO PHONE)<\/character>\n    <dialogue>HANSSEN<\/dialogue>\n    <dialogue>Are<\/dialogue>\n    <character>CTHRUPHONE)<\/character>\n    <dialogue>you<\/dialogue>\n    <scene_description>How the hell is he always so far ahead of me. ?<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Yes,<\/dialogue>\n    <character>CINTO PHONE)<\/character>\n    <dialogue>Sir.<\/dialogue>\n    <scene_description>cabinet when the phone rang. A beat. Eric hears the static of a cel-phone..<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Sir?<\/dialogue>\n    <character>CINTO PHONE,<\/character>\n    <dialogue>HANSSEN<\/dialogue>\n    <dialogue>I<\/dialogue>\n    <character>CTHRUPHONE)<\/character>\n    <dialogue>have<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Sir.<\/dialogue>\n    <character>CINTO PHONE)<\/character>\n    <dialogue>I'm<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>That's<\/dialogue>\n    <character>CTHRUPHONE)<\/character>\n    <dialogue>a<\/dialogue>\n    <scene_description>CLICK. It's been a tense day. 56 OMIT 56 \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>56A INT. ERIC &amp; JULIANA' S APT. -<\/stage_direction>\n    <character>LATER<\/character>\n    <dialogue>NIGHT<\/dialogue>\n    <scene_description>The bedroom door is shut. The tiny apartment is still. Eric sits at the kitchen table, transcribing his HANDWRITTEN NOTES from the day on to his LAP-TOP: We read over his shoulder: a few Hanssen quotes, verbatim.<\/scene_description>\n    <character>\"<\/character>\n    <dialogue>Also a few observations: \"Threw out ACS Manual. 'iBrought his water pitcher to and from the Men's Room several times.\"<\/dialogue>\n    <dialogue>Then we hear a CEL-PHONE RING, coming from Eric's GYM BAG. He fishes for the phone, grabs it.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>This<\/dialogue>\n    <character>CINTO CEL)<\/character>\n    <dialogue>is<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Is<\/dialogue>\n    <character>CTHRUCEL)<\/character>\n    <dialogue>your<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>CINTO CEL)<\/character>\n    <dialogue>57 INTERCUT WITH\/INT. METRO STATION -<\/dialogue>\n    <character>SAME<\/character>\n    <dialogue>57<\/dialogue>\n    <scene_description>Kate descends a Metro ESCALATOR, on a cel-phone:<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Last into<\/dialogue>\n    <character>CINTO CEL)<\/character>\n    <dialogue>I looked, the case.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>CINTO CEL)<\/character>\n    <dialogue>KATE<\/dialogue>\n    <dialogue>Good.<\/dialogue>\n    <character>CINTO CEL)<\/character>\n    <dialogue>Where're<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>I<\/dialogue>\n    <character>CINTO CEL)<\/character>\n    <dialogue>just<\/dialogue>\n    <scene_description>'til ten o'clock.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>(unimpressed)<\/dialogue>\n    <character>CINTO CEL)<\/character>\n    <dialogue>Uh-huh.<\/dialogue>\n    <scene_description>A beat. He doesn't like this lady too much.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Hey, to be looking not like hookers<\/dialogue>\n    <character>CINTO CEL)<\/character>\n    <dialogue>don't I know what I'm for with he's gonna bring through<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Just<\/dialogue>\n    <character>CINTO CEL)<\/character>\n    <dialogue>get<\/dialogue>\n    <scene_description>She snaps the phone shut before Eric can reply. NIGHTS7AA \\*:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>57AA INTERCUT WITH\/INT. HANSSEN HOME - MASTER BEDROOM -<\/stage_direction>\n    <scene_description>Bonnie kneels by her bed, beneath a CRUCIFIX. She prays in \\* whispers, herself, \\* then crosses as:<\/scene_description>\n    <character>\\*<\/character>\n    <dialogue>HANSSEN (O. S.)<\/dialogue>\n    <character>\\*<\/character>\n    <dialogue>Bonnie Wauck.<\/dialogue>\n    <scene_description>in his face. \\* Bonnie turns: Hanssen's the doorway, a grin on<\/scene_description>\n    <character>BONNIE \\*<\/character>\n    <dialogue>Hanssen. \\*<\/dialogue>\n    <scene_description>Bobby Even after 32 years, he still makes her blush. They kiss, and \\* drift out of frame. We linger on the MIRRORED ARMOIRE by \\* Pictures of their CHILDREN and GRANDCMILDREN. \\* their bed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>57A INT. ERIC AND JULIANA'S APT. -<\/stage_direction>\n    <character>7 A.M.<\/character>\n    <dialogue>57A<\/dialogue>\n    <scene_description>It's early, but Juliana's awake laying out- Eric's CLOTHES for today. She lays two ties against a shirt. Eric's awake too... and wondering whether or not he wants to reveal something. We're TIGHT on him.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>He doesn't think too much of me.<\/dialogue>\n    <character>JULIANA<\/character>\n    <dialogue>No?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>He sits up, faces her.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>There're a couple people like that, at work. They think lim a.. lightweight, I guess.<\/dialogue>\n    <scene_description>He looks like a kid just now. She touches his face.<\/scene_description>\n    <character>JULIANA<\/character>\n    <dialogue>They don't know you.<\/dialogue>\n    <scene_description>He considers that, then:<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Maybe they do.<\/dialogue>\n    <scene_description>That's all he'll say. We leave them here, cutting to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>57AA INT. FBI HQ -<\/stage_direction>\n    <character>NINTH<\/character>\n    <dialogue>MORNING<\/dialogue>\n    <character>FLOOR CORRIDOR<\/character>\n    <dialogue>57AA<\/dialogue>\n    <scene_description>TWO CUSTODIANS take down framed portraits of Bill Clinton and Janet Reno, replacing them with portraits of George W. Bush and John Ashcroft. We look down this long corridor. Itis quiet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ - ROOM 9930 -<\/stage_direction>\n    <character>SAME<\/character>\n    <dialogue>58<\/dialogue>\n    <scene_description>Eric tightens a screw on a new, NON-SQUEAKING CHAIR, as we hear those THREE BEEPS at the SCIF door.. Hanssen enters, in his usual uniform: dark suit, red tie. Oddly, today he's carrying a cheap-looking ROWING MACHINE.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Morning, sir.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Morning.<\/dialogue>\n    <scene_description>Hanssen approaches... and Eric tightens: What kind of hoops will I be jumping through today?<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>This is very good work.<\/dialogue>\n    <scene_description>From his canvas bag, Hanssen drops a 50-page DOCUMENT on \" Prooosal Eric's desk. Itis the Kinko's-perfect for New SSG Subiect Database System\" that Eric wrote. But how did Hanssen get it? Eric just stares for a moment.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Sir, when did you--?<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>It was ignored, I'm SUfe.<\/dialogue>\n    <scene_description>Hanssen tosses a PACKAGE into an OUT-BOX: manila a envelope addressed to a \"Jack Hoschouer\" in Bonn, Germany. He notes the dog-eared PARKINSONiS BOOK on Eric's desk.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Yes, Sir.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>That's because you don't shoot.<\/dialogue>\n    <scene_description>On Eric's reaction, we CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ - LEVEL 1 - CORRIDOR - DAY<\/stage_direction>\n    <scene_description>This used to be the Reception Area for the FBI TOUR. Now the Bureau's discards have been shoved here: old vcr's, half- desks, used curtains. The lighting is shadowy. We hear:<\/scene_description>\n    <character>HANSSEN (O. S.)<\/character>\n    <dialogue>The FBI is a gun-culture. You canit advance here unless you're part of it.<\/dialogue>\n    <scene_description>Eric and Hanssen walk past, as we learn something else that's odd about Hanssen: he walks at an angle, as if his gyros were<\/scene_description>\n    <character>I<\/character>\n    <dialogue>off , cutting into Eric s vath comvletely.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Every Director in the history of the Bureau has been from the Law Enforcement side: guys who shoot, guys who make arrests.<\/dialogue>\n    <scene_description>Eric has to adjust his strides to keep from being walked into a wall. But Hanssen has no awareness of it at all.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>There's never been a Director from the Intel side. Never will be. Intel is Siberia, the \"rubber-gun\" squad.<\/dialogue>\n    <character>ERIC<\/character>\n    <parenthetical>(trying not to trip)<\/parenthetical>\n    <dialogue>So why'd you stay?<\/dialogue>\n    <scene_description>Hanssen nearly walks Eric into a water fountain..<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>All those years. why didn't you transfer into something with a higher profile?<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Because I didn't care about making headlines. I wanted to make History.<\/dialogue>\n    <parenthetical>(that landed)<\/parenthetical>\n    <dialogue>The people Intel<\/dialogue>\n    <scene_description>tracks are the ones who wanna wipe America off the map. Somehow, that always meant a little more to me than chasing bank robbers. Whyire you reading about Parkinson's? They come to a stop at a BANK OF ELEVATORS, just in time for Eric to react to the change-up he's just been thrown.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>My mother. For a few years now.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Oh. I'm very sorry to hear that.<\/dialogue>\n    <scene_description>Eric studies him for a hint of sarcasm, or maybe another test... but that was sincere. An ELEVATOR OPENS. Inside is a LOCAL-TV-NEWS-CREW: a CAMERAMAN, a male PRODUCER... and a BEAUTIFUL REPORTER. (She's 30, brunette, smoky eyes, in a great-looking pant-suit.) Eric turns, eager to see Hanssen's reaction to her.. Yet Hanssen doesn't react at all, doesn't even look. He just enters the elevator. Eric follows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ -<\/stage_direction>\n    <character>ELEVATOR<\/character>\n    <dialogue>CONTINUING<\/dialogue>\n    <character>-<\/character>\n    <dialogue>60<\/dialogue>\n    <scene_description>Hanssen hits a button, eyes forward.<\/scene_description>\n    <character>BEAUTIFUL<\/character>\n    <dialogue>Good Morning.<\/dialogue>\n    <character>REPORTER<\/character>\n    <dialogue>HANSSEN<\/dialogue>\n    <parenthetical>(tight)<\/parenthetical>\n    <dialogue>Morning.<\/dialogue>\n    <scene_description>The doors close. They descend in silence. A long beat.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Oh, I forgot to mention, Sir: we got a call from Photo, for a portrait- sitting. You're going up on the \"25 Years of Service\" Wall.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Imagine that.<\/dialogue>\n    <scene_description>The elevator stops.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>60A INT. FBI HQ -<\/stage_direction>\n    <scene_description>LEVEL B-l -<\/scene_description>\n    <character>CONTINUING<\/character>\n    <dialogue>60A<\/dialogue>\n    <scene_description>The NEWS-CREW exits, that Beautiful Reporter drifting around a corner. Hanssen hits the door-close button. We remain inside the elevator as the doors close descending: -<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Beautiful woman.<\/dialogue>\n    <character>HANS SEN<\/character>\n    <dialogue>You're married.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>I can look, can't I?<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>God expects you to live your faith, Eric. At all times. Besides, I disapprove of women in pant-suits.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Sir?<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Men wear pants. The world doesnit need any more Hillary Clintons.<\/dialogue>\n    <scene_description>Eric pauses, certain Hanssen's kidding... No such luck.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ -<\/stage_direction>\n    <character>DATA<\/character>\n    <dialogue>LEVEL<\/dialogue>\n    <character>CENTER<\/character>\n    <dialogue>B-2<\/dialogue>\n    <character>DAY<\/character>\n    <dialogue>61<\/dialogue>\n    <scene_description>A huge subterranean room: computers, mainframes, servers of different makes and sizes - manned by PROGRAMMERS. Hanssen stands dead-center, very much unimpressed. To his left is Rich Garces.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>I wrote aprogram last night using nothing but ones and zeroes, just to see if I could do it. 612 bits of encryption, completely unbreakable.<\/dialogue>\n    <parenthetical>(Garces nods)<\/parenthetical>\n    <dialogue>But you get the office with the window.<\/dialogue>\n    <scene_description>Eric can't believe Hanssen would say that to a superior. But Garces's unoffended.<\/scene_description>\n    <character>GARCES<\/character>\n    <dialogue>Okay. Help us. What do we do?<\/dialogue>\n    <scene_description>Hanssen sighs, jiggles his keys... then he launches:<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>First drop ACS, which<\/dialogue>\n    <scene_description>we is a relic, not nearly enough band-width. That's why youive got agents who still keep sensitive information in cardboard boxes. We need to move to an ATM system instead of the WAN. An OC-48 with a data rate of 2. 488 Megabips. Start with Linux A-B servers, which puts us into Red hat. IP routers throughout the building. Dynamic i.p. addresses to hide the system, using the Invicta prototype with anexternal internet connection. Would it be easier if I put this in a memo?<\/scene_description>\n    <character>GARCES<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>HANS SEN<\/character>\n    <dialogue>Fine. On your desk in the morning.<\/dialogue>\n    <parenthetical>(at Eric)<\/parenthetical>\n    <dialogue>You're going to set up meetings for me with the appropriate systems managers at the CIA, DIA, NSA, and the intel agencies of each armed service. They're all ahead of us on I.T. ; we have to study them.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Yes, Sir.<\/dialogue>\n    <scene_description>Eric makes a note of it, but:<\/scene_description>\n    <character>GARCES<\/character>\n    <dialogue>Uh... ya mind iO we book those appointments through me, Bob?<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>What for?<\/dialogue>\n    <character>GARCES<\/character>\n    <dialogue>Just protocol.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Of COUFSe... And then we switch offices, right?<\/dialogue>\n    <scene_description>Garces and Eric eye Hanssen. Can't tell if he's kidding.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ -<\/stage_direction>\n    <character>LEVEL<\/character>\n    <dialogue>CORRIDOR<\/dialogue>\n    <character>1<\/character>\n    <dialogue>-<\/dialogue>\n    <character>MOMENTS LATER<\/character>\n    <dialogue>62<\/dialogue>\n    <scene_description>Eric and Hanssen emerge from an elevator. When Hanssen is agitated like this, his gyro-less walk is even more pronounced, literally wedging Eric sideways now.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>Perfect. fighting<\/dialogue>\n    <scene_description>We're crime with 19th century technology and he's worried about protocol. (Eric nods) You set up those meetings. Leave it up to him and they'll never happen.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Sir?<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>That was turf protection you just watched in there didn't you see it? -<\/dialogue>\n    <dialogue>Organizational arrogance: No, we don 't wanna learn anything from the CIA; we want the CIA answering to us.<\/dialogue>\n    <scene_description>They pass by a door. It has THREE SIGNS on it: \"Sensitive Compartmentalized Information Facility,\" \"Restricted Access Area,\" \"Authorized Personnel Only.\" Hanssen angle-walks past it, Eric struggling to dodge a wall.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>What's going on behind that door, do you know?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>No, Sir.<\/dialogue>\n    <character>HANS SEN<\/character>\n    <dialogue>Analysts, looking for a spy inside the Intelligence Community highest<\/dialogue>\n    <character>-<\/character>\n    <dialogue>clearance. But there aren't any CIA Officers in there. Know why? Because it's a CIA Officer we're trying to build a case against. Could the mole be someone from the Bureau and not the CIA? Of course. Are we actively pursuing that possibility? or course not! Because we're the Bureau, and the Bureau knows all. Knock on the door someday, ask them if they're planning to share their files with the Agency. Know what they'll tell you' uCo-operation is counter-<\/dialogue>\n    <character>\"<\/character>\n    <dialogue>operational That's the mentality.<\/dialogue>\n    <parenthetical>(keeps walking, spouting)<\/parenthetical>\n    <dialogue>The enemies of this country aren't so picky. They'll work with anyone who shares their hatred of us. Bureau hasn't learned that lesson yet.<\/dialogue>\n    <scene_description>At last he STOPS, at a water fountain, and changes gears:<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>He keeps some paintings in a conference room on eight. I want you to get one of them for me.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Sir?<\/dialogue>\n    <character>HANS SEN<\/character>\n    <dialogue>Two men on a boat. I want it.<\/dialogue>\n    <scene_description>Eric runs that through his head, no idea how to respond.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Wait. You mean Agent Garces? These're his paintings?<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Stop thinking like a clerk, they're sitting in storage!<\/dialogue>\n    <parenthetical>(Eric's at a loss)<\/parenthetical>\n    <dialogue>Two guys on a boat.<\/dialogue>\n    <scene_description>63-68 OMIT 63-68 \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ERIC AND JULIANA'S APT. -<\/stage_direction>\n    <character>MORNING<\/character>\n    <dialogue>69<\/dialogue>\n    <scene_description>Juliana cooks some eggs. It's FREEZING in here. Eric, dressed for work, writes out a small NOTE to himself: i'Linux\/Red Hat - problems : 1) training issues 2) password keysi'<\/scene_description>\n    <character>JULIANA<\/character>\n    <dialogue>I'm thinking about changing my major.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <scene_description>The bADY UPSTAIRS squawks \"Hello? Hello?\" Eric, his focus total, adds to the note: \"3) redundant systems.\"<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Did you say something, Honey?<\/dialogue>\n    <character>JULIANA<\/character>\n    <dialogue>We can talk about it later.<\/dialogue>\n    <scene_description>He leans in, kisses her goodbye.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ERIC &amp; JULIANA'S APT. -<\/stage_direction>\n    <character>MOMENTS LATER<\/character>\n    <dialogue>70<\/dialogue>\n    <scene_description>He emerges from the building - zipping up his jacket, putting that note in his back pocket... then he STOPS: Here's Hanssen, ten feet away, leaning on his Silver Taurus.<\/scene_description>\n    <character>HANS SEN<\/character>\n    <dialogue>Do you know why the Soviet Empire collapsed?<\/dialogue>\n    <scene_description>u Not iiHello NOt i'Sorry to surprise you like this.\" No, the guy just jingles the change in his pocket, waiting.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>'iGood Morningii,<\/dialogue>\n    <character>HANS SEN<\/character>\n    <dialogue>I made a career studying them. They were smarter than us, more devious, more determined. why did they fail?<\/dialogue>\n    <scene_description>Eric hesitates, this is all so odd.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>Godlessness. Atheism. I'm on my way to Morning Mass. You do remember what Mass is, yes? The Jesuits at Gonzaga taught you that much, didn't they?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Sir, my grandfather was a Deacon.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Congratulations. Now it's time to join the Varsity.<\/dialogue>\n    <scene_description>Hanssen opens the car door.. 71 REVERSE ANGLE - FRONT DOOR OF THE APT. BUILDING -<\/scene_description>\n    <character>SAME<\/character>\n    <dialogue>71<\/dialogue>\n    <scene_description>Juliana, visible through a tiny window in the building's front door, watches Hanssen's Taurus vanish down the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CATHOLIC INFORMATION CENTER -<\/stage_direction>\n    <character>MOMENTS LATER<\/character>\n    <dialogue>72<\/dialogue>\n    <scene_description>We've seen this READING ROOM before. Behind it is the CHAPEL where we first met Hanssen. Eric eyes stacks of Catholic reading material: A Voting Guide for Serious Catholics, The Pope 's Writings on Reproduction.. And a pamphlet called \"THE PRELATURE OF OPUS DEI. i)<\/scene_description>\n    <character>HANS SEN<\/character>\n    <dialogue>Saw a woman from Planned Parenthood on television this morning a -<\/dialogue>\n    <dialogue>lesbian, naturally. Defending gay marriage. I almost ripped the cable out of the wall.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Bet she was wearing pants, huh?<\/dialogue>\n    <scene_description>Hanssen almost smiles. Almost.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>Will your children be Jesuit-taught, as you were?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Don't know yet. That conversation's still years away.<\/dialogue>\n    <character>HANS SEN<\/character>\n    <dialogue>It shouldn't be.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>I'm a GS-11, Sir. We need a second salary before we can start having-<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Whatis money compared with the blessings of family?<\/dialogue>\n    <scene_description>Eric considers that, as the MANAGER passes by.<\/scene_description>\n    <character>MANAGER<\/character>\n    <dialogue>Good to see you, Bob.<\/dialogue>\n    <scene_description>Hanssen smiles back, very much at home in this place, as Eric eyes a pamphlet called \"Seeking Holiness in Daily Life.\" Truth is, he feels comfortable in here.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>It my wife<\/dialogue>\n    <scene_description>was who first brought me here. Bonnie. I was a Lutheran when we met, and not much of one. She saved my life.. Before Eric can reply, Hanssen pushes open a pair of large doors, revealing the CHAPEL.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>Come.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHAPEL -<\/stage_direction>\n    <character>CONTINUING<\/character>\n    <dialogue>73<\/dialogue>\n    <scene_description>It's beautiful in here. Shafts of light pour in through stained glass. Hanssen breathes it in, hushed. Eric too.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>Without God life would be terrifying, wouldn't it? Unlivable darkness.'<\/dialogue>\n    <parenthetical>(Eric nods)<\/parenthetical>\n    <dialogue>That's why I come here, every day to remind myself of the things that matter.<\/dialogue>\n    <scene_description>Eric kneels, crosses himself, whispers an audible prayer. Hanssen - who's been watching - nods, satisfied.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>What are they for you? Do you know yet?<\/dialogue>\n    <parenthetical>(Eric doesn't understand)<\/parenthetical>\n    <dialogue>The things that matter, in your core.<\/dialogue>\n    <scene_description>In a House of God, that's a loaded question..<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>My faith. My family.<\/dialogue>\n    <parenthetical>(laughs at himself)<\/parenthetical>\n    <dialogue>Becoming an agent.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>..and your country.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>or course. Yes.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Those are the three: faith, family, country. Take care of them and the agent part will take care of it itself.<\/dialogue>\n    <scene_description>. anot the sort of advice you'd expect to get from a sexual eviant - hence the look of confusion on Eric's face.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <parenthetical>(whispered)<\/parenthetical>\n    <dialogue>We attend Catherine's<\/dialogue>\n    <scene_description>St. on Sundays. A traditional Latin service. Then a big family lunch after. Do you think Juliana might like that?<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>HANS SEN<\/character>\n    <dialogue>Let's give it a try this weekend. My Bonnie's been known to work miracles.<\/dialogue>\n    <scene_description>Hanssen drops his head in prayer. Eric studies him. Their eyes shut. ..when a SHARP SOUND shatters the moment, interrupting: Eric s oager. It BEEPS obnoxiously, Hanssen nearly recoiling from the sacrilege.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>Shut that off!<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <scene_description>Eric silences the pager, quickly. A beat passes. . then Hanssen's anger dissipates. He eyes the kid.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>Your wife?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>No one else even has this number.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Oh. Well. Perhaps you ought to call her. Might be important.<\/dialogue>\n    <scene_description>Eric considers that... then:<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>That's okay. It can wait.<\/dialogue>\n    <scene_description>\\* \\*and he shuts the paoer off, bringing a very pleased grin o Hanssen's face. They proceed down the aisle. We linger here by the doors, as Hanssen leads Eric away from us, to the front pew..<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNIDENTIFIED COLONNADE -<\/stage_direction>\n    <character>NIGHT<\/character>\n    <dialogue>74<\/dialogue>\n    <scene_description>We're not sure where we are: shadowy semi-enclosed a outdoor space. Eric passes along a row of cement columns. Some faint street noise can be heard, maybe twenty feet below him. . then he finds Kate, seated, awaiting him.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Ya know, when I page you it isn't to discuss what's on Oprah. It means I need to speak to you.<\/dialogue>\n    <scene_description>He hands her some PAGES. She starts to look them over.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>We're going to be searching<\/dialogue>\n    <scene_description>his car, which'll involve your keeping him out of the office for a few hours. A thing like that has to be planned.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Did you pick me because I was Catholic?<\/dialogue>\n    <scene_description>Wait. That came out of nowhere. Kate actually looks thrown.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>lim sorry?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Did you think he'd trust me because I was Catholic?<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Jesus, Eric.<\/dialogue>\n    <parenthetical>(he eyes her)<\/parenthetical>\n    <dialogue>We picked you because of your facility with computers. We thought it would impress him. We also thought he might like that 50-page proposal you were pushing all over the Bureau.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>I understand he got his hands on a<\/dialogue>\n    <dialogue>copy, right?<\/dialogue>\n    <scene_description>She returns to her reading. Traffic buzzes by below..<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Agent Burroughs... I'm starting to think I might not be the right guy for this.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Oh yeah?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>I'm used to Intel cases, terrorist cases, targets of value. Nobody ever put me on a perversion detail before.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Think we're being too hard on him?<\/dialogue>\n    <scene_description>She puts the pages in her briefcase. He studies her.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Tell me five things about yourself, four of them true.<\/dialogue>\n    <scene_description>Kate pauses, irritated.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>It's a game he taught me. Lie detection.<\/dialogue>\n    <scene_description>The conversation just ended... We hear the brakes of a BUS squeaking below.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>I think that's your bus.<\/dialogue>\n    <scene_description>And she goes. Eric doesn't move..<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ERIC &amp; JULIANA'S APT. -<\/stage_direction>\n    <character>NIGHT<\/character>\n    <dialogue>75<\/dialogue>\n    <scene_description>Eric enters. He looks spent. But here's Juliana, waiting for him by that lousy formica table. Dinner tonight is two CHINESE FOOD CARTONS and mismatching plates. She shrugs, smiles. Adorable.<\/scene_description>\n    <character>JULIANA<\/character>\n    <dialogue>Hi, Baby.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Will you go to Church with me?<\/dialogue>\n    <scene_description>That came out of nowhere. On her reaction, we CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ST. CATHERINE' S CHURCH -<\/stage_direction>\n    <scene_description>ESTABLISHING -:<\/scene_description>\n    <character>DAY<\/character>\n    <dialogue>76<\/dialogue>\n    <scene_description>A beautiful Catholic church on a glorious snowy day.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ST. CATHERINE' S -<\/stage_direction>\n    <character>SAME<\/character>\n    <dialogue>(DAY)<\/dialogue>\n    <scene_description>FATHER McKEE and other PRIESTS stand at an altar with their backs turned to their parishioners. A Latin Sunday Mass. We DOLLY up an aisle varishioner KNEELING to find<\/scene_description>\n    <character>- -<\/character>\n    <dialogue>everv<\/dialogue>\n    <scene_description>Bonnie and Hanssen, praying. Eric too. And three of Hanssen's kids, (Greg, Jane, SUSAN), and three GRANDKIDS. Then we PAN LEFT... to find Juliana, an outsider here.<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>This is the Lamb of God who away the sins of the world. those who are<\/dialogue>\n    <character>MCKEE<\/character>\n    <dialogue>takes Happy called to his<\/dialogue>\n    <character>ENTIRE<\/character>\n    <dialogue>Lord, but only healed.<\/dialogue>\n    <character>CONGREGATION<\/character>\n    <dialogue>I say the word and I shall<\/dialogue>\n    <scene_description>Hanssen eyes her, checking to see if she knows what to do in<\/scene_description>\n    <character>\"<\/character>\n    <dialogue>a Church. Then he smiles, \"encouragingly It rankles her.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HANSSEN HOME -<\/stage_direction>\n    <character>DINING<\/character>\n    <dialogue>AFTERNOON<\/dialogue>\n    <character>ROOM<\/character>\n    <dialogue>78<\/dialogue>\n    <scene_description>Juliana stares at a decorated cake. Around her, this house bustles: Greg, Lisa, Jane, lots of GRANDKIDS. Bonnie approaches from the Kitchen.<\/scene_description>\n    <character>BONNIE<\/character>\n    <dialogue>How did you like the service, Juliana?<\/dialogue>\n    <character>JULIANA<\/character>\n    <dialogue>It was lovely... lid never been to a Mass where people knelt the whole time.<\/dialogue>\n    <character>BONNIE<\/character>\n    <dialogue>It's a of devotion.<\/dialogue>\n    <scene_description>gesture We've taught children our not to be grocery- cart Catholics, you know? The kind of church-goer who takes only what's convenient and leaves the rest on the shelf. It's all expected of US. She smiles warmly, puts her hand atop Juliana's.<\/scene_description>\n    <character>BONNIE<\/character>\n    <dialogue>Eric's such a nice young man. How did you two meet?<\/dialogue>\n    <character>JULIANA<\/character>\n    <dialogue>We met in a bar, actually.<\/dialogue>\n    <character>BONNIE<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>Have some cake, Sweetheart.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HANSSEN HOME -<\/stage_direction>\n    <character>SAME<\/character>\n    <dialogue>79<\/dialogue>\n    <scene_description>Through a window we see Hanssen and HIS GRANDKIDS, playing in the Hanssen's modest backyard. A snowball fight. REVERSE ANGLE: Eric, watching Hanssen from in here. He turns from the window, looks around the room: mementoes, a few awards, lots of family photos, statues of the Virgin Mary. ..and a computer, which is on but sleeping. Eric sighs, conflicted - takes another look at Hanssen: a grandfather, playing, laughing. Sunday barks happily. Eric sits in Hanssen's chair and toggles the computer mouse. The screen comes to life, revealing the last site Hanssen's been to: . the official WEB-PAGE of the Vatican. Of COUFSe. Now he feels like an idiot. But he moves the mouse to a tab reading i'Internet History\" and CLICKS on it. The names of twentv recently visited web addresses fill the screen. He turns for another look out that window. Just to be safe. Uh-oh. Hanssen is no longer out there. And we hear FOOTSTEPS. Eric wheels back around, clicks out of \"Internet History, il grabs the nearest book handy, (i'The Man Who Was Thursday\" by G. K. Chesterton,) and pretends to be reading, as:<\/scene_description>\n    <character>HANSSEN (O. S.)<\/character>\n    <dialogue>Ilove Sundays..<\/dialogue>\n    <scene_description>Eric looks up, \"casually.\" Here's Hanssen in the doorway, wet from his snowball fight.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>Going to Mass, having the kids here. It makes everything else fade away.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Sorry, I.<\/dialogue>\n    <character>HANS SEN<\/character>\n    <dialogue>Don't be. We want you to feel at home here.<\/dialogue>\n    <scene_description>Eric nods. Hanssen approaches the desk.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Is this your father, Sir?<\/dialogue>\n    <scene_description>Eric's referring to a framed photo on the desk: of a CHICAGO POLICE OFFICER, circa 1968, HOWARD HANSSEN. Eric studies the photo again: a hard, joyless face..<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>He must've been very proud of you. FBI, top Soviet analyst.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Oh, I don't know... Father wasn't very... impressed by things. He wanted me to be a doctor.<\/dialogue>\n    <parenthetical>(Eric nods)<\/parenthetical>\n    <dialogue>He rigged my first driving test, the day I turned sixteen. Made an arrangement with my DMV Instructor.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>So you'd pass?<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>So lid fail.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>He thought it would toughen me up.<\/dialogue>\n    <scene_description>Hanssen breathes out a sad laugh. Eric studies him.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>I do that too, I suppose test -<\/dialogue>\n    <dialogue>people. More than I ought to.<\/dialogue>\n    <parenthetical>(just remembered:)<\/parenthetical>\n    <dialogue>oh. I almost forgot. I have something for you.<\/dialogue>\n    <scene_description>He finds a thick FILE of pages on the desk. Eric's afraid that Hanssen will see that the SCREEN-SAVER isn't on, but:<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>Everything I could get on Parkinson's.<\/dialogue>\n    <scene_description>Eric pauses, thrown... as Hanssen hands him 100 PAGES OF ARTICLES ABOUT PARKINSON'S: pieces from medical journals, websites, the National Institute of Health.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>Been quite bit a of progress in the<\/dialogue>\n    <scene_description>last few years. I didn't know if you were up on it.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Is there... someone in your family who has Parkinson's?<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>No. Thank God.<\/dialogue>\n    <scene_description>Just then, SNOWBALLS hit the window - SPLAT! Hanssen turns. His GRANDKIDS giggle outside. Hanssen crosses to the window.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>Take a look at the studies on Deep Brain Stimulation: electrodes implanted to stimulate the Thalamus, Subthalamic Nucleus, or Globus Pallidius. They control movement.<\/dialogue>\n    <scene_description>Eric eyes that file - and Hanssen, and the photo oO Howard, feeling pretty lousy now about having snooped in here..<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Ya know, Sir. I think you're.. misunderstood.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Oh? By whom?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>I dunno, by whoever hands out window- offices for one.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>oh, that's all right. I think I made too much fuss of all that. Besides, I'll be gone so soon anyway. What good would a window do me now? I'm fifty-seven in two months. That's mandatory retirement.<\/dialogue>\n    <scene_description>Eric pauses, unsettled. Hanssen appreciates that.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>It's fine. It's time. I could stay there another hundred years and I'd still just be an afterthought. The perks go to the guys who play the game, the ones who politick; I knew a long time ago I didn't have the stomach for that. But I'll get my portrait on that 25-year wall, right? That's something.<\/dialogue>\n    <scene_description>He looks around this room, his accomplishments.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>Doesn't really matter much, does it? The judgments of other men. I know what I've done.<\/dialogue>\n    <scene_description>That landed. We can see it on Eric's face..<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>79A INT. ERIC'S JEEP -<\/stage_direction>\n    <character>PARKED<\/character>\n    <dialogue>DUSK<\/dialogue>\n    <character>OUTSIDE<\/character>\n    <dialogue>79A<\/dialogue>\n    <scene_description>Eric and Juliana pull up to their building, still in their church-clothes. It's been a silent ride home..<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Okay. You didn't like them.<\/dialogue>\n    <character>JULIANA<\/character>\n    <dialogue>Don't you think something's off about him? About both of them?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>JUL IAnA One of their daughters sleeps on a wooden board did you know that?<\/scene_description>\n    <character>-<\/character>\n    <dialogue>Opus Dei says it'll i'quell her passions,\" whatever that means.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>She's a numerary. They're celibate.<\/dialogue>\n    <character>JULIMJA<\/character>\n    <dialogue>Good for her. She couldn't be a bridesmaid at her sister's wedding because Opus Dei wouldn't let her take a strange manis arm walking down the aisle.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>It's their religion, okay? They take it seriously.<\/dialogue>\n    <scene_description>She gets out of the car, livid... but Eric doesn't. JULIAnA You're not coming in?<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>I hafta to go talk to somebody.<\/dialogue>\n    <character>JULIANA<\/character>\n    <dialogue>Who?<\/dialogue>\n    <parenthetical>(he's silent)<\/parenthetical>\n    <dialogue>Oh. You can't tell me.<\/dialogue>\n    <scene_description>No, he canit. Juliana heads inside. We MOVE IN ON ERIC.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODROW WILSON PLAZA - TWO HOURS LATER (NIGHT)<\/stage_direction>\n    <scene_description>Kate ascends a Metro escalator at Federal Triangle. Before her is Woodrow Wilson Plaza, a massive semi-circular building with a NAV MEMORIAL at its center. And here's Eric, waiting for her. Alone. Kate approaches, annoyed. It's a cold night.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>What's the trouble?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>I wanna see what youive got on this guy.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Come again?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>His \"internet postings,\" the e-mails. Your case.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>why?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>'Cause I don't think you have one.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>I can read yOU In. I'm authorized to do that. But itid only put you at greater risk.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Of what?! What the hell is all this? He doesn't drink, doesn't tell dirty jokes. He goes to Church every day. His wife loves him, so do his grandkids. And why the hell would you hand a new division to a guy who's retiring in two months, especially if he's under investigation?<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Are you through?<\/dialogue>\n    <scene_description>She walks toward the Navy Memorial: flags, statues, a quote from John F. Kennedy. Eric follows, talking to her back:<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>I think this whole thing is cooked. I think he keeps shooting off his mouth about the Bureau and nobody knows what to do with him. So we tag him as a deviant and run him out of the building. It's bullshit, the whole thing Kenneth<\/dialogue>\n    <scene_description>- Starr all over again - except I'm running around looking for the blue dress! She waits, making certain he's done. Then:<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>You've come to admire him, I see.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Respect him.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Well that was inevitable. In fact for<\/dialogue>\n    <scene_description>our purposes it was sorta necessary. (a beat) But he's a traitor, Eric. Started spying for the Russians in 1985. Silence. Dead silence. Eric doesn't blink, or breathe. He replays the words in his head. Maybe he heard them wrong. No. He heard them right. That's why he can't speak.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>He's given them military<\/dialogue>\n    <scene_description>secrets, intelligence them secrets. He gave our Continuity of Government Program, which told them where the President would be taken during a nuclear or terrorist attack. And the Vice President. And the Congress. And the Cabinet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/EXT. FOXSTONE PARK -<\/stage_direction>\n    <scene_description>FOOTBRIDGE -:<\/scene_description>\n    <character>NIGHT<\/character>\n    <dialogue>81<\/dialogue>\n    <scene_description>Hanssen stands on a footbridge.<\/scene_description>\n    <character>KATE (V.O.)<\/character>\n    <dialogue>The damage he's done to the U. S. Government is in the billions.<\/dialogue>\n    <scene_description>TILT DOWN... to reveal a large LAWN &amp; LEAF BAG at his feet. He kneels down, and stashes it below the footbridoe.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>81A EXT. WOODROW WILSON PLAZA - NIGHT - RESUMING 81A<\/stage_direction>\n    <scene_description>Eric doesn't know what to say.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>But that's just the money part.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/INT. HANSSEN HOME -<\/stage_direction>\n    <scene_description>STUDY -:<\/scene_description>\n    <character>NIGHT<\/character>\n    <dialogue>82<\/dialogue>\n    <scene_description>We're tight on a LOOSE PIECE OF PARQUET FLOORING. Hanssen kneels over it, with a hammer.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>He's were<\/dialogue>\n    <character>(V.O.,<\/character>\n    <dialogue>also given working.<\/dialogue>\n    <scene_description>Hanssen pulls up the parquet tile... revealing STACKS OF 100- Dollar bills - his stash. He adds more cash to the pile.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/INT. UNNAMED SOVIET PRISON -<\/stage_direction>\n    <character>DAY<\/character>\n    <dialogue>83<\/dialogue>\n    <scene_description>A cold cement floor in a dark FOOm... on which we find the lifeless bodies of VALERY MARTYNOV and SERGEI MOTORIN.<\/scene_description>\n    <character>KATE (V.O.,<\/character>\n    <dialogue>In one drops he identified<\/dialogue>\n    <scene_description>of his Valery Martynov and Sergei Motorin, two KGB agents we'd turned. Blood pools from bullet wounds in their respective skulls.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>They were<\/dialogue>\n    <character>(V.O.,<\/character>\n    <dialogue>flown<\/dialogue>\n    <scene_description>executed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODROWWILSON PLAZA -<\/stage_direction>\n    <character>RESUMING<\/character>\n    <dialogue>84<\/dialogue>\n    <scene_description>Kate eyes Eric..<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>We don't have handle<\/dialogue>\n    <scene_description>a yet on how many of our assets he's compromised. Maybe fifty, maybe more. Might be years before we truly know how many deaths he's been responsible for.<\/scene_description>\n    <character>UNIDENTIFIED<\/character>\n    <dialogue>85<\/dialogue>\n    <character>HOTEL<\/character>\n    <dialogue>INTERCUT<\/dialogue>\n    <scene_description>Again, inside that recorder: \\* a cassette spins tape \\*:<\/scene_description>\n    <character>HANSSEN'S<\/character>\n    <dialogue>VOICE<\/dialogue>\n    <scene_description>I shouldn't tease you. It just gets trouble. \\* me into time REPLY that cassette. A RUSSIAN \\* .but this we hear a on olcE: \\*<\/scene_description>\n    <character>RUSSIAN VOICE<\/character>\n    <dialogue>CTHRUCASSETTE)<\/dialogue>\n    <scene_description>It is always to keep our attempt you out of trouble! \\*<\/scene_description>\n    <character>KATE (V.O.)<\/character>\n    <dialogue>Our file on him came from two Russian defectors. Bureau paid seven million dollars for it.<\/dialogue>\n    <scene_description>86 OMIT 86 \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODROW WILSON PLAZA -<\/stage_direction>\n    <scene_description>NIGHT -:<\/scene_description>\n    <character>RESUMING<\/character>\n    <dialogue>87<\/dialogue>\n    <scene_description>Kate on: goes \\*:<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>in the file is \\*<\/dialogue>\n    <scene_description>Of course, everything inadmissable. We make our case \\* independently he walks. Retirement \\* or with full benefits. \\* She lets that sink in. Then, almost as an afterthought:<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Oh, and not that it matters, but the sexual stuff is also true. Irrelevant but true.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/INT. HANSSEN HOME -<\/stage_direction>\n    <character>MASTER<\/character>\n    <dialogue>NIGHT<\/dialogue>\n    <character>BEDROOM<\/character>\n    <dialogue>88<\/dialogue>\n    <scene_description>Bonnie kneels by her bed, at prayer. She crosses herself, then looks up... to find her husband, eyeing her from the doorway. Hanssen starts toward her, gives her a kiss.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>The stories They're real<\/dialogue>\n    <character>(V.O.,<\/character>\n    <dialogue>he put on the Internet? about his wife, name<\/dialogue>\n    <scene_description>- little anecdotes about how much she loves hard cock, that sort of thing. He's a big fan of strippers, too. Has been for years. Hanssen and Bonnie drift out of frame, toward the bed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODROW WILSON PLAZA -<\/stage_direction>\n    <character>NIGHT<\/character>\n    <dialogue>89<\/dialogue>\n    <scene_description>Kate eyes him..<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>But his grandchildren do love him, that part I can't argue.<\/dialogue>\n    <scene_description>Eric tries not to stagger; it all feels like a hole that just keeps getting deeper. He swallows hard. . just realized something:<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>There's no such thing as the li Information Assurance Division.\"<\/dialogue>\n    <scene_description>Is there?<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>No. We created that, to lure him back from State. 9930 was built for him too.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>89A INT. FBI HQ -<\/stage_direction>\n    <character>ROOM 9930 -<\/character>\n    <character>VARIOUS<\/character>\n    <dialogue>(DAY)<\/dialogue>\n    <scene_description>The CONSTRUCTION of 9930, which we saw once before: The inner and outer offices are framed by CARPENTERS. Installation of cameras, heat detectors, microphones. -Carpeting goes down, covering over motion sensors. KATE (CONTiD, V.O.) video, audio, bafflers on the vents, motion sensors, heat sensors, probably enough microwaves in that office to cook a chicken.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>89B EXT. WOODROW WILSON PLAZA - NIGHT -<\/stage_direction>\n    <character>RESUMING<\/character>\n    <dialogue>89B<\/dialogue>\n    <scene_description>She gives him a moment to absorb it all.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>I'm sorry we had to mislead you. But<\/dialogue>\n    <scene_description>this is the worst breach in the history of U. S. Intelligence - unusual steps were required. (Eric nods...) Good news is, you got your wish: you're in the middle of the biggest CSSe WeaVe eVer fUn. Not long ago, that would have been thrilling. BUt nOW..<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Come with me. There're a few people<\/dialogue>\n    <scene_description>I'd like you to meet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WASHINGTON FIELD OFFICE -<\/stage_direction>\n    <character>C-TOC<\/character>\n    <dialogue>-<\/dialogue>\n    <scene_description>This is a C-TOC, (Command &amp; Tactical Operations Center.) A il high-tech, vibrant \"situation room, impressive as hell. 40 AGENTSoccupy two rows of NASA-like consoles. The feeling is precise, focused. If these guys are after you, you're going to be caught. Computers are built into the consoles. We vass through this C-TOC in three directions, picking up EXCHANGES between Agents. A few voices pop out at us:<\/scene_description>\n    <character>AGENT SHERIN<\/character>\n    <dialogue>He badged out at 5:12,<\/dialogue>\n    <scene_description>stopped at his dry cleaners, drove by Dead-Drop EIIis, then went home. How does that compare with the previous Thursday?<\/scene_description>\n    <character>AGENT NECE<\/character>\n    <dialogue>Has the Agency been briefed If it deals Agency has to be briefed<\/dialogue>\n    <character>CINTO PHONE)<\/character>\n    <dialogue>on with Russian on<\/dialogue>\n    <character>AGENT<\/character>\n    <dialogue>Does<\/dialogue>\n    <character>LOPER<\/character>\n    <dialogue>Hanssen<\/dialogue>\n    <scene_description>coming?<\/scene_description>\n    <character>AGENT SHERIN<\/character>\n    <dialogue>Whatis leave-time?<\/dialogue>\n    <scene_description>That draws some laughs. We land a CORNER of the room... where Eric stands, dumbstruck, Kate beside him. He looks over the room: AGENT SHERIN, AGENT LOPER, three dozen others. One is AGENT DEBRA NECE, whom we (and Eric) mistook not long as the Passin FBI Secretar who joked with Eric about ago the computer he was swiping in the 9th Floor Corridor. Eric tightens, feeling small. Behind him is a DATA ROOM, in which servers and mainframes wink in the dark, way ahead of the technological CUFVe. (NOTE: The C-TOC is ringed on three sides by interior windows that reveal support offices and a huge BULLPEN of cubicles and desks. C-TOC has no exterior windows of its own.)<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>How many people are working this?<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Got fifty on the Bigot List so far.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Is the Director involved?<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>The Director's running the case. He sees your pages every day.<\/dialogue>\n    <parenthetical>(that was another stunner)<\/parenthetical>\n    <dialogue>Keep them coming, by the way. Our audio's missing about ninety percent of what Hanssen says in there.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>He mumbles.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>He does a lot of things, this guy.<\/dialogue>\n    <scene_description>Eric looks around... all this manpower, working one case.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>why don't we just arrest him?<\/dialogue>\n    <character>PLESAC (O. S.)<\/character>\n    <dialogue>Can't do that.<\/dialogue>\n    <scene_description>Eric turns... to find DEAN PLESAC leaning in the doorway of what we now realize is the same CONFERENCE ROOM in which Eric was first assigned to this case. Plesac's 47, Kate's superior. He remains in that doorframe like he owns the place.<\/scene_description>\n    <character>PLESAC<\/character>\n    <dialogue>He knows the names and locations of every source we've ever turned. He<\/dialogue>\n    <scene_description>PLESAC (cont' d) knows where we've put our agents overseas. If we can't get him to talk their lives are all at risk. Eric looks to Kate for an introduction:<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Eric O'Neill. Special Agent Dean Plesac.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Sir.<\/dialogue>\n    <character>PLESAC<\/character>\n    <dialogue>Director wants him caught in the act of making a drop.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>That would give you the Death Penalty.<\/dialogue>\n    <character>PLESAC<\/character>\n    <dialogue>Don't you think he's earned it?<\/dialogue>\n    <scene_description>That lands... just as Rich Garces emerges from that same Conference Room, carrying a steel briefcase - (he and Plesac have just concluded a meeting in there.) Eric pales a bit, realizing that Garces too has been in on this all along.<\/scene_description>\n    <character>GARCES<\/character>\n    <dialogue>See ya, Dean.<\/dialogue>\n    <character>PLESAC<\/character>\n    <dialogue>Thanks for coming in, Rich.<\/dialogue>\n    <scene_description>Garces passes by Eric, hiding a grin.<\/scene_description>\n    <character>GARCES<\/character>\n    <dialogue>Like I said, Kid: take nothing personally.<\/dialogue>\n    <scene_description>Eric just sags, humbled.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WFO -<\/stage_direction>\n    <scene_description>C-TOC -:<\/scene_description>\n    <character>MOMENTS LATER<\/character>\n    <dialogue>91<\/dialogue>\n    <scene_description>We DOLLY through the busy BULLPEN as Eric follows Kate. Again, the feeling is disbelief: How did I miss all this?<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>He has an appointment at the D. I.A. tomorrow at two, right?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>You're driving him?<\/dialogue>\n    <scene_description>Eric mumbles a \"yeah'i as they arrive at her CUBICLE (it's slightly neater than those around it). Kate opens up her desk, grabs a KEY from it.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>We need you to keep him out of the office for at least three hours. That's when we'll be sweeping his CSf.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Good.<\/dialogue>\n    <scene_description>Key in hand, she heads back toward the C-TOC, with Eric in tow. We continue to TRACK THEM:<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>How long would it take to download the Datacard from his Palm Pilot?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Twenty, thirty minutes, depending on the level of encryption.<\/dialogue>\n    <parenthetical>(she nods)<\/parenthetical>\n    <dialogue>But you can't. He never lets it out of his--<\/dialogue>\n    <scene_description>She stops him with a look. He re-considers.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Assuming we could separate him from it, twenty to thirty minutes.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>She opens a door, leading him into:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>91A INT. C-TOC -<\/stage_direction>\n    <character>VIDEO<\/character>\n    <dialogue>MOMENTS LATER<\/dialogue>\n    <character>ROOM<\/character>\n    <dialogue>91A<\/dialogue>\n    <scene_description>With a THUNK a thick FILE is dropped onto a table in front of Eric. (Kate has just retrieved it from one of the several large SAFES that line the wall of this room.)<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>What's this?<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>You wanted to be read-in, right?<\/dialogue>\n    <scene_description>Kate shuts the safe, then heads for the door to leave Eric alone with the file. But before she gets there:<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Kate?<\/dialogue>\n    <scene_description>She turns. The kid looks lost.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>What if he's smarter than I am?<\/dialogue>\n    <parenthetical>(hates to say this)<\/parenthetical>\n    <dialogue>I never misread anybody that badly before... except maybe you.<\/dialogue>\n    <scene_description>She breathes out a smile, unaccustomed to humility from him. Seems like it wouldn't be a bad time to encourage him a bit:<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>A couple years ago, the Bureau put together a Task Force.<\/dialogue>\n    <scene_description>Eric wasn't expecting a story.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Lots oO assets had been disappearing, sources like Motorin, Martynov; dozens of them, vanishing. So this Task Force was formed to find the -<\/dialogue>\n    <dialogue>mole who was giving them up. Our best analysts, poring over data, for years, looking for the guy. But they could never quite find him.<\/dialogue>\n    <parenthetical>(Eric waits)<\/parenthetical>\n    <dialogue>Take a guess who we put in charge of the Task Force.<\/dialogue>\n    <parenthetical>(Eric gets the idea)<\/parenthetical>\n    <dialogue>He was smarter than all of US.<\/dialogue>\n    <scene_description>That helped, a little. Kate's about to go..<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Actually, I can live with that part. It's the idea that my whole career's been a waste of time that's<\/dialogue>\n    <scene_description>- the part I hate. (re: the C-TOC) Everything I've done since I got to<\/scene_description>\n    <character>'<\/character>\n    <dialogue>KATE (cont d)<\/dialogue>\n    <scene_description>this office everything - we were all being paid to do he - was undoing it. We all could've just... stayed home. Then she goes...and Eric is alone. Behind him, a TV MONITOR beams a live feed from inside 9930. To his right, a window looks out over the buzzing C-TOC, Kate drifting across it. And before him is that THICK FILE. Reluctantly, he picks up the first page, and eyes it. Its words come alive, in Hanssenls voice:<\/scene_description>\n    <character>HANSSEN (V.O.)<\/character>\n    <dialogue>Dear Friends... Thank you for the 50, 000. As far as the funds are concerned, I have little need or utility for more than 100, 000 at any one time. It merely provides a difficulty since I cannot spend it, store it, or invest it without tripping 'drug money' warning bells.<\/dialogue>\n    <scene_description>Eric puts the page down, picks up another. It sounds angrier:<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>I myself silence. One might insanely answer loyal. insanity<\/dialogue>\n    <character>(V. O.,<\/character>\n    <dialogue>havecome to I hate propose brave or quite insane. neither. Take your in all<\/dialogue>\n    <scene_description>Eric grabs another - noticing now that his hand is shaking.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>The U. S.<\/dialogue>\n    <character>(V. O.,<\/character>\n    <dialogue>be errantly<\/dialogue>\n    <scene_description>can likened to a powerfully-built but retarded child, potentially dangerous but young, immature, and easily manipulated. But donit be fooled by- The tail of that third one is now overlapped by a fourth:<\/scene_description>\n    <character>HANSSEN (V. O.,<\/character>\n    <dialogue>My Security concerns may seem excessive. I believe experience has shown them to be necessary. I am much safer if you know little about me. Neither of us are children about these things.<\/dialogue>\n    <scene_description>We begin to hear several more now, all at once:<\/scene_description>\n    <character>HANSSEN (V.O 'S)<\/character>\n    <dialogue>I found the site empty. Empty sites bother me. I like to know before I commit myself as I'm sure you do also.<\/dialogue>\n    <character>\\*<\/character>\n    <parenthetical>(Eric his shuts eyes...)<\/parenthetical>\n    <dialogue>If you wish to continue our discussions, please have someone run an ad in the Washington Times during the week of January 12th or 19th: \" For Sale, Dodge Diplomat, 1971, needs engine work, $1, 000. Give a phone number and.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WFO -<\/stage_direction>\n    <character>RESUMING<\/character>\n    <dialogue>92<\/dialogue>\n    <scene_description>We move through in SLOW-MOTION now, from Eric's vantage- point, watching the Agents oO the Field Office at work: grinding away, sweating the details, building their case..<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>I based on your description Please business in inch-deep country me. from family,<\/dialogue>\n    <character>(V.O.,<\/character>\n    <dialogue>was unable last recognize suit mud. I Meeting is simply I must friends,<\/dialogue>\n    <scene_description>government. I Perhaps some diamonds as security to my children and some goodwill so that when the time comes, you will accept my senior services as a guest lecturer. I Policies are constraints. Constraints breed patterns. Patterns are noticed.\/<\/scene_description>\n    <character>'<\/character>\n    <dialogue>P. S., your thank<\/dialogue>\n    <scene_description>was deeply you' appreciated. decided \/ on this<\/scene_description>\n    <character>I<\/character>\n    <dialogue>course when I was 14 years old! Now that is insane, ehl\/ Your service has recently suffered some setbacks. I warn that Mr. Boris Yuzhin, Mr. Sergey Motorin, and Mr. Valery Martynov have all been recruited by our \"special services.\"<\/dialogue>\n    <scene_description>It's painstaking, exacting work, but it has to get done. Agents in the C-TOC and the surrounding BULLPEN fueled - on pizza and coffee, tireless. Then we drift back to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. C-TOC -<\/stage_direction>\n    <character>VIDEO<\/character>\n    <dialogue>RESUMING<\/dialogue>\n    <character>ROOM<\/character>\n    <dialogue>93<\/dialogue>\n    <scene_description>Eric, eyeing those agents as we hear that last letter:<\/scene_description>\n    <character>HANSSEN (V.O.,<\/character>\n    <dialogue>Eventually, escape plan. Nothing<\/dialogue>\n    <dialogue>I would appreciate an lasts forever.<\/dialogue>\n    <scene_description>Eric pushes the file away. His head drops. END SLOW-MO.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ERIC &amp; JULIANA'S APT. BLDG. - ALLEY -<\/stage_direction>\n    <character>NIGHT<\/character>\n    <dialogue>94<\/dialogue>\n    <scene_description>Eric sits in his car, staring, almost in a trance... until the penetrating SOUNDS of a distant SIREN jolts him. He gets out of the Jeep. 95 INT. ERIC &amp; JULIANAiS APT. BLDG. - FOYER -:<\/scene_description>\n    <character>MINUTES<\/character>\n    <dialogue>LATER<\/dialogue>\n    <scene_description>He approaches, reaches for his key... But his front door ooens before the key is inserted. And Juliana stands here, with an odd look on her face.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>JULIANA<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>Eric doesn't understand her slightly-lost expression... until she swings the door open wider, and:<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>You're back!<\/dialogue>\n    <scene_description>The blood drains from Ericis face. Hanssen and Bonnie are here. She's in an apron, cooking. He's at the kitchen table. Hanssen, the traitor, the monster, in my home. Eric's head begins to swim. The look on Juliana's face is heartbreaking.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Boss. When did you--<\/dialogue>\n    <character>BONNIE<\/character>\n    <dialogue>Very disappointed in you, Young Man. Leaving your bride alone without telling her where you'd be.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Not good, Eric. Where were you?<\/dialogue>\n    <scene_description>Just like that, Eric has to come up with a lie. He enters.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>My mother fell. I had to go see her.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Did she break anything?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Oh. No. Just bumped her head.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <parenthetical>(watching Julianais reaction)<\/parenthetical>\n    <dialogue>That's awful. Write down their address for me, would you? I'd like to send some flowers.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Very kind of you, Boss.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>We couldn't reach you on your cell.<\/dialogue>\n    <parenthetical>(Eric hesitates)<\/parenthetical>\n    <dialogue>On your hip 24\/7, right?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>It was stupid, I know.<\/dialogue>\n    <parenthetical>(approaches Juliana)<\/parenthetical>\n    <dialogue>Sorry, Honey. I should've called.<\/dialogue>\n    <scene_description>Eric gives her a kiss, praying she won't smoke him out. Hanssen watches every nuance between them. Assessing.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>We were just hearing what it was like to grow up in the Communist Bloc.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Oh yeah?<\/dialogue>\n    <character>HANS SEN<\/character>\n    <dialogue>It piques my curiosity, as you can imagine.<\/dialogue>\n    <parenthetical>(Eric shrugs)<\/parenthetical>\n    <dialogue>I hope it hasn't felt like an interrogation, Juliana.<\/dialogue>\n    <scene_description>Juliana breathes out a smile, trying, as Bonnie brings a Pot Roast to the table, sitting.<\/scene_description>\n    <character>JULIANA<\/character>\n    <dialogue>Bonnie, you really didnit have to go to all this tr--<\/dialogue>\n    <character>BONNIE<\/character>\n    <dialogue>It's only leftovers. I couldn't stand<\/dialogue>\n    <scene_description>the thought of you two ordering from that Peking Wall place again.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <parenthetical>(sits)<\/parenthetical>\n    <dialogue>Even Chinese people can't eat Chinese every night, Eric. Besides, how's this tiny thing going to give you a house full of babies if you don't put some protein in her diet?<\/dialogue>\n    <scene_description>Upstairs, the HELLO LADY can be heard again: i'Hello? Hello?\" Hanssen and Bonnie find that pretty amusing. Time to eSt nOW. Bonnie takes Hanssen's hand to say Grace, extending her other hand toward Juliana.<\/scene_description>\n    <character>BONNIE<\/character>\n    <dialogue>Eric, would you like to say Grace?<\/dialogue>\n    <scene_description>Hands are joined, heads are bowed. Juliana looks to Eric..<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ERIC &amp; JULIANA'S APT. -<\/stage_direction>\n    <character>LATER<\/character>\n    <dialogue>NIGHT<\/dialogue>\n    <scene_description>Hanssen and Bonnie drive away in the Silver Taurus, waving. Eric waves back, waiting until the Taurus is long gone..<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ERIC &amp; JULIANA'S APT. -<\/stage_direction>\n    <character>MOMENTS LATER<\/character>\n    <dialogue>97<\/dialogue>\n    <scene_description>Eric re-enters the apartment. Juliana is angrily dumping food into the trash as ia it were poisonous.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Jule, I'm sorry. I didn't invite them, obviously.<\/dialogue>\n    <character>JULIANA<\/character>\n    <dialogue>But they thought it would be okay, Eric. And what was that bullshit about your mom bumping her head?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>That's complicated.<\/dialogue>\n    <scene_description>JULIAnA \"Complicated\" as in I wouldn't understand? Or as in you can't tell me?<\/scene_description>\n    <character>ERIC<\/character>\n    <parenthetical>(heads for the bedroom)<\/parenthetical>\n    <dialogue>I've got work to do. Some reading.<\/dialogue>\n    <scene_description>JULIAnA Are you gonna quit? (he stops, thrown) I want you to quit. He sighs, stuck. She approaches him, trying to connect.<\/scene_description>\n    <character>JULIANA<\/character>\n    <dialogue>I felt... sick all day, Eric. It's like you're someone else when he's around.<\/dialogue>\n    <scene_description>There's a lot he can't tell her. So heis in a box..<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>I'm sorry it was a stressful day for you. Let's not make it worse.<\/dialogue>\n    <scene_description>And he turns away. Juliana's at a loss.<\/scene_description>\n    <character>JULIANA<\/character>\n    <dialogue>I dunno, maybe it's me. Maybe you want me to be someone else too. Maybe you want me to be Bonnie or something.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Knock it off, Jule.<\/dialogue>\n    <character>JULIANA<\/character>\n    <dialogue>No, thatid be easier for you, wouldn't it? If I were more of an FBI kind of wife, like she is?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>I'm not kidding Juliana, shut up.<\/dialogue>\n    <character>JULIAMA<\/character>\n    <dialogue>If I just went to church all day and wanted to spend my life being pregnant. Your parentsid probably love that.<\/dialogue>\n    <character>ERIC<\/character>\n    <parenthetical>(starts toward her)<\/parenthetical>\n    <dialogue>Enough, awright? !<\/dialogue>\n    <character>JULIANA<\/character>\n    <dialogue>And you wouldn't have to worry anymore if I was Catholic enough or American \\*<\/dialogue>\n    <scene_description>enough. Maybe you'd even--<\/scene_description>\n    <character>ERIC<\/character>\n    <parenthetical>(grabs her)<\/parenthetical>\n    <character>SHUT UP GODDAMMIT! ! !<\/character>\n    <dialogue>That shook the walls, shocking them both. Then, silence.<\/dialogue>\n    <dialogue>With a forced calm he shuts the bedroom door. She stares at it. We DISSOLVE TO: \\*<\/dialogue>\n    <scene_description>98-102 9B-102 \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOME OF JOHN AND VIVIAN O'NEILL -<\/stage_direction>\n    <character>DAWN<\/character>\n    <dialogue>103<\/dialogue>\n    <scene_description>JOHN O'NEILL, 55, emerges from his suburban home, dressed and shaved although the sun is barely up. He grabs the newspaper, turns... and STOPS. Eric is sitting on the front-porch swing. Staring. 5 a.m.<\/scene_description>\n    <character>JOHN<\/character>\n    <dialogue>Eric?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Hey, Dad.<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>How long've you been out here?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>I dunno, an hour or two.<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>It's freezing.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Dad, have you ever quit anything?<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>why?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Just... wondering.<\/dialogue>\n    <scene_description>John just learned why Eric's here. He crosses the porch toward the kid, trying to offer a smile.<\/scene_description>\n    <character>JOHN<\/character>\n    <dialogue>I think I<\/dialogue>\n    <scene_description>gave up on a paper route once. Got tired of waking up so early. why?<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>What'd your father say?<\/dialogue>\n    <scene_description>Now John really knows why Eric has come here. He sits.<\/scene_description>\n    <character>JOHN<\/character>\n    <dialogue>Nothing. He just shrugged.<\/dialogue>\n    <parenthetical>(remembering)<\/parenthetical>\n    <dialogue>He could kill you with those shrugs.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>I've been thinking about him a lot this morning. I don't know why.<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>It's a lot to put on yourself, Son. He was just a kid doing his duty. Like you.<\/dialogue>\n    <scene_description>Eric glances past John, through a window... where he can see \\* THREE WWII MEDALS, encased in lucite, sitting on a table. \\* John eyes them too. The sight of them takes him back a bit.<\/scene_description>\n    <character>JOHN<\/character>\n    <dialogue>\"Get on the boat, do your job, and get back home again.\"<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>It's what<\/dialogue>\n    <scene_description>he said to me the first time I ever shipped out. He knew I was scared so he kept it simple.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Maybe I shoulda gone to Annapolis.<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>Always seemed to me like joining the Bureau was your apology for not going<\/dialogue>\n    <scene_description>to Annapolis which you never- had to do.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>It's what you wanted.<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>I wanted you to serve your country. Is that what you're doing?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>Then you can't quit, can you?<\/dialogue>\n    <scene_description>Eric is silent. The answeris obvious. John pats his leg.<\/scene_description>\n    <character>JOHN<\/character>\n    <dialogue>Get on the boat, do your job, and get back home again. Can you do that?<\/dialogue>\n    <scene_description>Eric nods, he thinks so. Either way, it's comforting, sitting here together. We leave them on that swing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ -<\/stage_direction>\n    <character>NOON<\/character>\n    <dialogue>104<\/dialogue>\n    <scene_description>Eric pays at a cash register while Hanssen clicks and twirls his fat blue PILOT DR.-GRIP PEN. Clicking, twirling. Nothing on his tray but a Diet Coke..<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Not eating today, Sir?<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Best way to lose weight just skip<\/dialogue>\n    <character>-<\/character>\n    <dialogue>lunch. How's your mother?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Oh. Better. Fine. Thank you.<\/dialogue>\n    <scene_description>Hanssen smiles thinly, drifting from the buffet line to a table. Behind him are posters of FBI movies from the '30s: \"G- Men,\" \"G-Men Never Forget,\" \"You Can't Get Away With It.\" They sit, Eric acting as if 's nothing's wrong. Hanssen clicks the pen again.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>I had eggs for breakfast this morning, I own eighteen guns.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Sir?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>My list of five. Thought we might see if you'd learned enough to catch me yet.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Should I go on?<\/dialogue>\n    <parenthetical>(Eric nods...)<\/parenthetical>\n    <dialogue>When I leave the Bureau I'll be stepping into a two-hundred-and-fifty- thousand-dollar-a-year position at an I.T. firm. I'm behind on my tithing to the church... And I don't believe anything actually happened to your mother last night. I think you were somewhere else and just didn't want to tell me.<\/dialogue>\n    <scene_description>That was supposed to unnerve Eric. But:<\/scene_description>\n    <character>ERIC<\/character>\n    <parenthetical>(\"shocked\")<\/parenthetical>\n    <dialogue>You're behind on your tithing to the church? !<\/dialogue>\n    <scene_description>He laughs it off. Hanssen doesn't - just throws another of those X-ray stares. Then:<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>How many people in this room are lying? Can you tell?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>It's in the hands little gestures.<\/dialogue>\n    <character>-<\/character>\n    <dialogue>Tension around the mouth. If you're after a career in Intel you really<\/dialogue>\n    <scene_description>all that. \\* ought to master<\/scene_description>\n    <character>\\*<\/character>\n    <parenthetical>(pointedly)<\/parenthetical>\n    <dialogue>How is mother? \\*<\/dialogue>\n    <scene_description>your Okay. He must be toying with me... But Eric refuses to wilt.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Better. Fine. Thank you.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>I'm bored. Let's go.<\/dialogue>\n    <scene_description>With that, Hanssen rises. We stay with Eric... as he watches Hanssen go, crossing the cafeteria. \\*\\*until Eric's eyes land on Garces, seated at a distant abie, casually sipping a coffee. He notes Eric, then looks down at a newspaper. Hanssen exits. And Eric is at sea..<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ - MEN'S ROOM -<\/stage_direction>\n    <character>DAY<\/character>\n    <dialogue>105<\/dialogue>\n    <scene_description>We're TIGHT on Hanssenis WATER PITCHER as Eric fills it in a bathroom sink. Then Garces enters... and Eric tightens.<\/scene_description>\n    <character>GARCES<\/character>\n    <dialogue>His appointment's in five minutes. Media Room, First Floor. You'll get a page when he's in-pocket. Obviously, if he takes his Palm Pilot with him you call me and we shut it down.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Might not be the best day to do this, Sir. He's due at the D. I.A. at two. I'm driving him.<\/dialogue>\n    <character>GARCES<\/character>\n    <dialogue>Looks like you're in for a full day.<\/dialogue>\n    <scene_description>With that, Garces leaves..<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ -<\/stage_direction>\n    <character>CORRIDOR<\/character>\n    <dialogue>MOMENTS<\/dialogue>\n    <character>OUTSIDE<\/character>\n    <dialogue>LATER<\/dialogue>\n    <scene_description>Eric pauses at the SCIF door, steeling himself.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ -<\/stage_direction>\n    <scene_description>ROOM 9930 -:<\/scene_description>\n    <character>CONTINUING<\/character>\n    <dialogue>107<\/dialogue>\n    <scene_description>Hanssen works, his door open. (There's now a ROWING MACHINE stacked against a wall, and an OIL PAINTING hanging: two men on a boat, circa 1800's. Eric stole it for him days ago.) Eric enters, pitcher in hand, feigning urgency.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Boss, I just realized -<\/dialogue>\n    <scene_description>I totally screwed something up.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>Don't you knock?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>The photographer for your twenty- fifth anniversary portrait, heis here<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>today. it I had<\/dialogue>\n    <scene_description>in my book for next week. it's Buttoday. (sets the pitcher down) They just called me on my cell. Your appointment's in five minutes.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>Well, we'll just have to reschedule, won't we?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>We shouldn't. Heis only here once a month. I'm so sorry.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>I'm supposed to drop everything I'm doing and run down there? In this?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>It's how you dress every day.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>No. There's a spot on my tie.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Lemme look.<\/dialogue>\n    <scene_description>Eric crosses to the desk, \"accidentally\" knockina over that water vitcher as he moves to Hanssen's chair. Big spill.<\/scene_description>\n    <character>HANS SEN<\/character>\n    <dialogue>Good Lord! You klutz!<\/dialogue>\n    <scene_description>Hanssen shoots to his feet. Water runs all over the desk.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>I'm so sorry!<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>It's everywhere.<\/dialogue>\n    <scene_description>Eric grabs a fistful of Kleenex, starts mopping the desk.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Boss. Please. Get down there. I'll have all this cleaned up by the time you're back.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>I've got the D. I.A. at two.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>I'll get you there. No problem.<\/dialogue>\n    <scene_description>Eric keeps mopping, Hanssen studying him... until:<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>Are you finding this job stressful, Eric? Is all this too much for you?<\/dialogue>\n    <scene_description>Eric stops, eyes him.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Sometimes.<\/dialogue>\n    <character>HANS SEN<\/character>\n    <dialogue>Then pray more.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Yes Sir.<\/dialogue>\n    <scene_description>And Hanssen goes... leaving his canvas briefcase behind. Eric waits for the sound of the SCIF door. It closes. And, on Hanssen's TV SCREEN, Eric sees Hanssen disappearing down the corridor..<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/INT. FBI HQ -<\/stage_direction>\n    <character>MEDIA<\/character>\n    <dialogue>MOMENTS LATER<\/dialogue>\n    <character>ROOM<\/character>\n    <dialogue>108<\/dialogue>\n    <scene_description>A makeshift photo studio. Hanssen enters, passing a non- descript CLERK without a hello. A PHOTOGRAPHER approaches, a bit too enthusiastic for Hanssen's tastes:<\/scene_description>\n    <character>PHOTOGRAPHER<\/character>\n    <dialogue>Mister Hanssen! Nice to meet you! I'm John.<\/dialogue>\n    <scene_description>Hanssen nods. Photographer leads him toward the i'studio\" as that non-descript Clerk sends a TEXT-MESSAGE:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 9930 -<\/stage_direction>\n    <character>RESUMING<\/character>\n    <dialogue>109<\/dialogue>\n    <scene_description>Eric has cleaned up the mess on Hanssenis desk. Now he waits... until his PAGER beeps. He looks at its face: \"Karat is in-pocket.\" That's the green light. Eric goes to work, unzipping Hanssenis bag. The first pocket is empty. So's the second. .but pocket #3 has the jackpot: Hanssen's PALM PILOT and a atacara. Eric grabs them and hurries to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 9930 -<\/stage_direction>\n    <character>ERIC'S<\/character>\n    <dialogue>CONTINUING<\/dialogue>\n    <character>DESK<\/character>\n    <dialogue>110<\/dialogue>\n    <scene_description>Eric pulls out a key and opens a LOCKED DESK DRAWER. It has a FALSE BOTTOM in it. He slides that aside, to find an ADVANCED PDA RECORDER, hidden here. Eric plugs the Datacard into it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ - MEDIA ROOM -<\/stage_direction>\n    <character>RESUMING<\/character>\n    <dialogue>111<\/dialogue>\n    <scene_description>Hanssen sits on the stool, uneasy, as a brush is run through his hair by that Photographer.<\/scene_description>\n    <character>PHOTOGRAPHER<\/character>\n    <dialogue>Twenty-five years, huh? That's quite a prideful thing.<\/dialogue>\n    <scene_description>Hanssen smiles tightly - this Photographer seems a little gay to him... Photographer eyes him, then frowns, as:<\/scene_description>\n    <character>PHOTOGRAPHER<\/character>\n    <dialogue>Ya know something? Thereis a little too much bounce on your nose. We don't want that.<\/dialogue>\n    <parenthetical>(reaches for make-up tray)<\/parenthetical>\n    <dialogue>Would you be opposed to just the slightest touch of base?<\/dialogue>\n    <scene_description>Hanssen's look is withering. CONTINUE INTERCUT:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 9930 - ERIC'S DESK -<\/stage_direction>\n    <character>RESUMING<\/character>\n    <dialogue>112<\/dialogue>\n    <scene_description>DOWNLOADING begins. A horizontal PERCENTAGE BAR on the PDA recorder shows the speed at which we're copying.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>112A INT. FBI HQ -<\/stage_direction>\n    <character>MEDIA<\/character>\n    <dialogue>ROOM<\/dialogue>\n    <scene_description>We're mid-shoot. That Photographer is chatting up a storm.. and Hanssen's growing more and more uptight. Then, in the middle of a FLASH.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>Stop.<\/dialogue>\n    <parenthetical>(Photographer stops)<\/parenthetical>\n    <dialogue>Just, stop.<\/dialogue>\n    <scene_description>Hanssen rises off that stool, heading for the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>112B INT. 9930 - AT ERIC'S DESK -<\/stage_direction>\n    <character>RESUMING<\/character>\n    <dialogue>112B<\/dialogue>\n    <scene_description>50% downloaded, 51%, 52% That PDA recorder continues:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ -<\/stage_direction>\n    <scene_description>ENTRY -:<\/scene_description>\n    <character>MINUTES LATER<\/character>\n    <dialogue>113<\/dialogue>\n    <scene_description>Hanssen emerges, irritated. Photographer's behind him:<\/scene_description>\n    <character>PHOTOGRAPHER<\/character>\n    <dialogue>Mister Hanssen! We can get you another tie!<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>\\*<\/dialogue>\n    <scene_description>I don't like to be scrutinized. He walks away from the Media Center, irritated. We FOLLOW. Angry strides, his head shaking. To his right are MORE DISPLAYS in glass cases. Then he turns a corner and:<\/scene_description>\n    <character>GARCES<\/character>\n    <dialogue>Hey! I found you!<\/dialogue>\n    <scene_description>Here's Garces.<\/scene_description>\n    <character>HANS SEN<\/character>\n    <dialogue>Oh?<\/dialogue>\n    <character>GARCES<\/character>\n    <dialogue>I was my way to the range<\/dialogue>\n    <scene_description>on so I called your office. Thought I might finally see if you're the dead shot I've been hearing you were.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>Maybe some other time, Rich. I'm not in the mood JUSt nOW.<\/dialogue>\n    <character>GARCES<\/character>\n    <dialogue>Me neither. Let's go take it out on<\/dialogue>\n    <scene_description>some targets.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 9930 - AT ERIC'S DESK -<\/stage_direction>\n    <character>RESUMING<\/character>\n    <dialogue>114<\/dialogue>\n    <scene_description>Downloading has reached 80% nOWr 81%, 82%.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ -<\/stage_direction>\n    <character>FIRING<\/character>\n    <dialogue>MOMENTS LATER<\/dialogue>\n    <character>RANGE<\/character>\n    <dialogue>115<\/dialogue>\n    <scene_description>BANG-BANG-BANG. Hanssen squeezes off shots, his eyes slightly manic. Garces's right beside him. They push buttons to bring their TARGETS up close. Hanssen has won easily.<\/scene_description>\n    <character>GARCES<\/character>\n    <dialogue>Mmm, mmm, mmm. Shameful.<\/dialogue>\n    <parenthetical>(Hanssen smiles thinly)<\/parenthetical>\n    <dialogue>Double or nothing?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>115A INT. 9930 -<\/stage_direction>\n    <scene_description>AT ERICiS DESK -<\/scene_description>\n    <character>RESUMING<\/character>\n    <dialogue>115A<\/dialogue>\n    <scene_description>The DOWNLOAD is complete now. Eric pops out the Datacard and rises from his desk.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>115B INT. FBI HQ -<\/stage_direction>\n    <character>ELEVATOR<\/character>\n    <dialogue>MOMENTS LATER<\/dialogue>\n    <character>-<\/character>\n    <dialogue>115B<\/dialogue>\n    <scene_description>Hanssen rises. The elevator STOPS on 6 and Tim Bereznay boards; (we met him in Manhattan.)<\/scene_description>\n    <character>BEREZNAY<\/character>\n    <dialogue>Hey, Bob! I heard you were back!<\/dialogue>\n    <character>HANS SEN<\/character>\n    <dialogue>Yep. Gallagher asked me to start up a division. I'm S.E. Sa nOW.<\/dialogue>\n    <character>BEREZNAY<\/character>\n    <dialogue>Good for you!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 9930 -<\/stage_direction>\n    <character>MANSSEN'S<\/character>\n    <dialogue>CONTINUING<\/dialogue>\n    <character>OFFICE<\/character>\n    <dialogue>116<\/dialogue>\n    <scene_description>Eric enters, returns Hanssen's Palm Pilot and Datacard to the canvas bag. Easy. No sign of Hanssen on that TV MONITOR. 117-llB OMIT 117-118<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ -<\/stage_direction>\n    <character>NINTH<\/character>\n    <dialogue>CORRIDOR<\/dialogue>\n    <character>FLOOR<\/character>\n    <dialogue>-<\/dialogue>\n    <character>SAME<\/character>\n    <dialogue>119<\/dialogue>\n    <scene_description>Hanssen emerges from the elevator, heading for 9930.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 9930 -<\/stage_direction>\n    <character>AT<\/character>\n    <dialogue>RESUMING<\/dialogue>\n    <character>ERIC'S<\/character>\n    <dialogue>120<\/dialogue>\n    <scene_description>Eric sits, once again hiding the PDA Recorder beneath that false drawer-bottom. He shuts the drawer, locks it. \\*\\*and allows a grin to fan across his face. Maybe you re not smarter than I am Asshole. It's satisfying. \\*\\*until he realizes something that makes him shoot straight up in his chair, breathless:<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Wrong pocket.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ - NINTH FLOOR -<\/stage_direction>\n    <scene_description>CORRIDOR -:<\/scene_description>\n    <character>SAME<\/character>\n    <dialogue>121<\/dialogue>\n    <scene_description>We're close on HANSSEN'S FOOTSTEPS. His keys jingle noisily.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ -<\/stage_direction>\n    <character>HANSSEN'S<\/character>\n    <dialogue>SAME<\/dialogue>\n    <character>OFFICE<\/character>\n    <dialogue>122<\/dialogue>\n    <scene_description>Eric hurries to Hanssen's desk, kneels down at Hanssenis bag and yanks the Palm Pilot out of the pocket he just put it in. He puts it into another pocket. That also looks wrong. He throws an anxious look at the TV MONITOR... in time to see Hanssen, at the door of 9930.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ -<\/stage_direction>\n    <character>NINTH<\/character>\n    <dialogue>AT<\/dialogue>\n    <character>FLOOR<\/character>\n    <dialogue>9930<\/dialogue>\n    <character>SAME<\/character>\n    <dialogue>123<\/dialogue>\n    <scene_description>Hanssen enters his code at the door of the SCIF.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ -<\/stage_direction>\n    <scene_description>HANSSEN'S OFFICE -:<\/scene_description>\n    <character>RESUMING<\/character>\n    <dialogue>124<\/dialogue>\n    <scene_description>Eric hears the THREE BEEPS behind him: the SCIF door. He crosses himself with a silent prayer, and picks a pocket shoving the Palm Pilot and DataCard in. But there's no time to get back to his desk. He's stuck.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 9930 -<\/stage_direction>\n    <character>AT<\/character>\n    <dialogue>CONTINUING<\/dialogue>\n    <character>9930 'S DOOR<\/character>\n    <dialogue>125<\/dialogue>\n    <scene_description>Hanssen enters. Eric's desk is empty. Hanssen notes it, then crosses to his private office, leans in: .\\*and finds Eric, on his knees, his back to the door, vraving before the virgin Mary:<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Hail Mary, full of grace, the Lord is with Thee. Blessed art Thou among women, and blessed is the fruit of thy womb Jesus. Holy Mary, Mother of God, pray for our sinners, now and at the hour of our death.<\/dialogue>\n    <scene_description>Hanssen waits, lets Eric finish \"Amen\" then jingles his keys. Eric turns as if startled, rising quickly.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Oh. Sorry. How'd the shoot go?<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>It didn't.<\/dialogue>\n    <parenthetical>(crossing to his desk)<\/parenthetical>\n    <dialogue>I don't know why they thought I'd just sit there while some faggot- photographer got his jollies, but I have work to do.<\/dialogue>\n    <scene_description>Eric doesn't reply - just heads for the door. They pass one another awkwardly.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Door open or closed, Sir?<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Closed.<\/dialogue>\n    <scene_description>Eric goes. We go with him, to his desk... where there's nothing to do but sit. And wait. A silent beat, suddenly unbearable. Eric tries to focus on his computer screen. Forget it. Then he hears the worst sound possible from Hanssen's office: that canvas briefcase being opened... and examined. Eric shuts his eyes... Hanssen's door opens, slowly, then:<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>Have you been in my briefcase?<\/dialogue>\n    <scene_description>Eric turns. This had better be good.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Sorry, Boss, I had to move it so it wouldn't get soaked. The water was everywhere. Did I put it back wrong?<\/dialogue>\n    <scene_description>Silence - Hanssen not reacting, Eric just hanging. . \\*another agonizing moment... Then Hanssen nods, and:<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>Let's go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEFENSE INTELLIGENCE AGENCY -<\/stage_direction>\n    <character>GUARD-POST<\/character>\n    <dialogue>-<\/dialogue>\n    <scene_description>An FBI-issue CHEVY SUBURBAN pulls up to the first of TWO GUARDPOSTS protecting this Roslyn, Virginia building. Eric, in the driver's seat, shows his I.D. The Suburban is waved through. A nasty-looking hydraulic BARRICADE is lowered into the pavement.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEFENSE INTELLIGENCE AGENCY -<\/stage_direction>\n    <character>PARKING<\/character>\n    <dialogue>DAY<\/dialogue>\n    <character>LOT<\/character>\n    <dialogue>127<\/dialogue>\n    <scene_description>Hanssen and Eric head for the front door, which is guarded by MARINES. The MILITARY PRESENCE around us is profound.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/INT. FBI HQ -<\/stage_direction>\n    <character>SAME<\/character>\n    <dialogue>128<\/dialogue>\n    <scene_description>We're two levels down. Hanssen's Taurus is driven past us by an UNSEEN DRIVER, who parks it behind a CEMENT BARRICADE. Waiting at the barricade is a FED-EX truck. A SWEEP TEAM emerges from it, each agent wearing inspection gloves. They look toward Plesac. Heas in charge today. \\*<\/scene_description>\n    <character>PLESAC<\/character>\n    <dialogue>We've got until five.<\/dialogue>\n    <scene_description>The Sweep Team decends on the Taurus.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/INT. D. I.A. -<\/stage_direction>\n    <character>DATA<\/character>\n    <dialogue>SAME<\/dialogue>\n    <character>CENTER<\/character>\n    <dialogue>129<\/dialogue>\n    <scene_description>Eric and Hanssen stand in a DATA CENTER. We find SEVEN SUPERCOMPUTERS down here, each identical, churning out data. Immaculate, impressive.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>The Seven Dwarfs, watching the world. God I wish the Bureau had this kind of technology.<\/dialogue>\n    <scene_description>Eric smiles thinly. In bg we see a D. I.A. GUY IN A SUIT, talking on a telephone. CONTINUE INTERCUT:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ - GARAGE -<\/stage_direction>\n    <character>RESUMING<\/character>\n    <dialogue>130<\/dialogue>\n    <scene_description>PHOTOS Ofevery inch of the Taurus and its interior now fill a bulletin board. Plesac eyes them, then nods to a TRUNK il CATALOGUER and an ENGINE CATALOGUER: \"Proceed. They open the trunk and hood of the Taurus, but:<\/scene_description>\n    <character>TRUNK<\/character>\n    <dialogue>Jesus.<\/dialogue>\n    <character>CATALOGUER<\/character>\n    <dialogue>Plesac turns to see what the TRUNK CATALOGUER is seeing: Hanssenas ARMORY: the 9 mm., the sub-machine gun, the 400 rounds of ammunition, and all of it under clear PLASTIC.<\/dialogue>\n    <character>TRUNK<\/character>\n    <dialogue>This guy could park at the bottom the Potomac and come out firing.<\/dialogue>\n    <character>CATALOGUER<\/character>\n    <dialogue>of<\/dialogue>\n    <scene_description>Plesac nods soberly. CONTINUE INTERCUT:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D. I.A. DATA-CENTER -<\/stage_direction>\n    <character>RESUMING<\/character>\n    <dialogue>131<\/dialogue>\n    <scene_description>The D. I.A. SUIT approaches Hanssen, a bit sheepish.<\/scene_description>\n    <character>D. I.A. SUIT<\/character>\n    <dialogue>Got some bad news, Agent Hanssen: we're gonna hafta cut this meeting short.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>I don't understand.<\/dialogue>\n    <character>D. I.A.<\/character>\n    <dialogue>That an<\/dialogue>\n    <character>SUIT<\/character>\n    <dialogue>was emergency<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Does he know that I'm here? Does he know who I am?<\/dialogue>\n    <character>D. I.A.<\/character>\n    <dialogue>I made all yes. He asked your convenience.<\/dialogue>\n    <character>SUIT<\/character>\n    <dialogue>that me<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>No thanks.<\/dialogue>\n    <scene_description>Without warning, Hanssen turns to go. Eric's eyes go wide.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Sir?<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>This visit was a courtesy. Letis go.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Sir, maybe there's someone else who can show us around.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Get the fucking car.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ -<\/stage_direction>\n    <scene_description>GARAGE -:<\/scene_description>\n    <character>RESUMING<\/character>\n    <dialogue>132<\/dialogue>\n    <scene_description>A HUGE PLASTIC TARP has been laid out. Sitting on it are the Taurus' HOOD, doors, tires, every inch of its CARPETING. Aa EVIDENCE PHOTOGRAPHER, flanked by Plesac, shoots it all. Also on the tarp: two HEADSHOTS of Catherine Zeta-Jones.. and DVD's of \"Entrapment\" and \"The Mask of Zorro.\" That' s odd. We also find Hanssen's guns and ammo. ..and a box of LAWN &amp; LEAF BAGS, some WHITE MEDICAL TAPE, a OX OF COLORED CHALK. Most importantly, the sealed lawn &amp; leaf bag that Hanssen filled in his study. Hard evidence..<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEFENSE INTELLIGENCE AGENCY -<\/stage_direction>\n    <character>PARKING<\/character>\n    <dialogue>DAY<\/dialogue>\n    <character>LOT<\/character>\n    <dialogue>133<\/dialogue>\n    <scene_description>Hanssen, with the Marine Guards over his shoulders, stands outside the D. I.A., fuming, clicking that Dr.-Grip pen furiously. Then Eric pulls up in the Suburban.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Boss, I'm sorrr-<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>I was doing you a favor, bringing you along.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>I spoke out of turn. I know that.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>When somebody takes a shit on you, you don't reschedule. He wasn't called into any meeting. That was a power play.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>I didn't... I didn't read it that way.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>That's why you're still a clerk. Just take me back to the office.<\/dialogue>\n    <scene_description>Eric knows he can't do that... CONTINUE INTERCUT:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ - GARAGE -<\/stage_direction>\n    <character>RESUMING<\/character>\n    <dialogue>134<\/dialogue>\n    <scene_description>That Evidence Photographer clicks away as Plesac stands stoically. Then his CEL-PHONE RINGS.<\/scene_description>\n    <character>PLESAC<\/character>\n    <dialogue>Plesac.<\/dialogue>\n    <character>CINTO CEL)<\/character>\n    <dialogue>GEDDES<\/dialogue>\n    <dialogue>They're<\/dialogue>\n    <character>CTHRUCEL)<\/character>\n    <dialogue>on<\/dialogue>\n    <character>PLESAC<\/character>\n    <dialogue>Uh-huh.<\/dialogue>\n    <character>CINTO CEL)<\/character>\n    <dialogue>135 INTERCUT WITH\/INT. SURVEILLING SEDAN -<\/dialogue>\n    <scene_description>MOVING -:<\/scene_description>\n    <character>SAME<\/character>\n    <dialogue>135<\/dialogue>\n    <scene_description>Geddes and Brooks, Eric's old team, drive in a plain sedan.. tailing the Suburban along Wilson Boulevard in Arlington, Va.<\/scene_description>\n    <character>GEDDES<\/character>\n    <dialogue>The meeting on Wilson<\/dialogue>\n    <character>CINTO CEL)<\/character>\n    <dialogue>took 20 minutes. Boulevard, heading<\/dialogue>\n    <scene_description>Plesac looks at the pieces of that dismembered Taurus: doors, bumpers, engine parts, carpeting. A mess..<\/scene_description>\n    <character>PLESAC<\/character>\n    <parenthetical>(barely audible)<\/parenthetical>\n    <dialogue>Good God.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/INT. THE SUBURBAN -<\/stage_direction>\n    <scene_description>MOVING -:<\/scene_description>\n    <character>SAME<\/character>\n    <dialogue>136<\/dialogue>\n    <scene_description>Eric looks in his rear-view mirror, very much aware that he's being tailed. Beside him, Hanssen fumes.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Would you like to hear some music, Sir?<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Yes. I'm the mood for<\/dialogue>\n    <scene_description>in some Andrews Sisters. They got any in here?<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Not to my knowledge, Sir..<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Didnit think SO.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ -<\/stage_direction>\n    <scene_description>GARAGE -:<\/scene_description>\n    <character>SAME<\/character>\n    <dialogue>137<\/dialogue>\n    <scene_description>Plesac snaps his cel-phone shut, turns to his Sweep Team:<\/scene_description>\n    <character>PLESAC<\/character>\n    <dialogue>Sew it up.<\/dialogue>\n    <character>TRUNK<\/character>\n    <dialogue>Sir?<\/dialogue>\n    <character>CATALOGUER<\/character>\n    <dialogue>PLESAC<\/dialogue>\n    <scene_description>We're aborting. Sew it up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBURBAN -<\/stage_direction>\n    <character>TEDDY ROOSEVELT BRIDGE<\/character>\n    <dialogue>-<\/dialogue>\n    <scene_description>Eric drives. Hanssen clicks his blue Doctor-Grip pen angrily.<\/scene_description>\n    <character>ERIC<\/character>\n    <parenthetical>(looks out window)<\/parenthetical>\n    <dialogue>How about that -<\/dialogue>\n    <scene_description>Parkwayis wide open.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>I hate the Parkway. Take E Street.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>They're doing construction on E Street. It was on the radio this morning.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>So take Constitution.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Sir, I'm SSG; we tail people for a living. Parkway's faster.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ -<\/stage_direction>\n    <character>SAME<\/character>\n    <dialogue>139<\/dialogue>\n    <scene_description>The Sweep Team is working frantically to re-assemble the CSf. Plesac's cel-phone rings. He grabs it.<\/scene_description>\n    <character>PLESAC<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>CINTO CEL)<\/character>\n    <dialogue>GEDDES CTHRUCEL)<\/dialogue>\n    <scene_description>He just bought you some time. They're heading for the Potomac Parkway.<\/scene_description>\n    <character>PLESAC<\/character>\n    <dialogue>Good. What kind of roadblock can we get in front of them?<\/dialogue>\n    <character>GEDDES<\/character>\n    <dialogue>Already en-route, Sir.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FBI CHOPPER -<\/stage_direction>\n    <character>MINUTES<\/character>\n    <dialogue>LATER<\/dialogue>\n    <scene_description>A U. S. PARK POLICE HELICOPTER flies at a discreet altitude above the LINCOLN MEMORIAL. We ZOOM DOWN TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POTOMAC PARKWAY -<\/stage_direction>\n    <character>SAME<\/character>\n    <dialogue>141<\/dialogue>\n    <scene_description>GRIDLOCK. A traffic jam... caused by a TOW-TRUCK that has mysteriously STALLED at the bottleneck of this thin street. (We see the back of the Lincoln Memorial in the distance.)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE SUBURBAN -<\/stage_direction>\n    <character>STUCK<\/character>\n    <dialogue>SAME<\/dialogue>\n    <character>IN<\/character>\n    <dialogue>142<\/dialogue>\n    <scene_description>Eric and Hanssen are in that gridlock now. Hanssen is livid. A line of TWENTY STUCK CARS stretches before him.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>Imbecile. Idiot!<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>I'm sorrr-<\/dialogue>\n    <character>HANS SEN<\/character>\n    <dialogue>Is this<\/dialogue>\n    <scene_description>what they teach you in \"ghosting school,\" No wonder the Bureau can never find anyone. Hanssen reaches across Eric and LEANS ON THE HORN.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ -<\/stage_direction>\n    <character>SAME<\/character>\n    <dialogue>143<\/dialogue>\n    <scene_description>Kate arrives, out of breath. She hurries over to Plesac.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>I paged him. Where are we?<\/dialogue>\n    <character>PLESAC<\/character>\n    <dialogue>Not sure yet. Maybe screwed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE SUBURBAN -<\/stage_direction>\n    <character>RESUMING<\/character>\n    <dialogue>144<\/dialogue>\n    <scene_description>With every second, Hanssen's getting more irritated... until he simply grabs his bag and oyens the car-door. That's bad.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Sir, what're you doing?<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>I can here for<\/dialogue>\n    <scene_description>sit an hour. Or I can walk two blocks, get on the other side of that bottleneck by myself, and take a five minute cab-ride back to the office. Which do you think would better serve the needs of the Bureau? With that, he's gone, exiting the Chevy. And Eric is stuck.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. U. S. PARK POLICE CHOPPER -<\/stage_direction>\n    <character>SAME<\/character>\n    <dialogue>145<\/dialogue>\n    <scene_description>Olsen, watching from up here, reaches for his cel-phone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SURVEILLING SEDAN -<\/stage_direction>\n    <character>SAME<\/character>\n    <dialogue>146<\/dialogue>\n    <scene_description>Geddes instantly reaches for his cel-phone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/INT. FBI HQ -<\/stage_direction>\n    <scene_description>GARAGE -:<\/scene_description>\n    <character>SAME<\/character>\n    <dialogue>147<\/dialogue>\n    <scene_description>Plesac's phone rings. He grabs it.<\/scene_description>\n    <character>PLESAC<\/character>\n    <dialogue>Please to Niagara<\/dialogue>\n    <character>CINTO CEL)<\/character>\n    <dialogue>tell Falls.<\/dialogue>\n    <character>GEDDES<\/character>\n    <dialogue>Hanssen's<\/dialogue>\n    <character>CINTO CEL)<\/character>\n    <dialogue>on<\/dialogue>\n    <character>PLESAC<\/character>\n    <dialogue>Of course he is.<\/dialogue>\n    <character>GEDDES<\/character>\n    <dialogue>I put him back at the office in 10 minutes, best case.<\/dialogue>\n    <scene_description>Plesac snaps his phone shut with disgust, turns to Kate:<\/scene_description>\n    <character>PLESAC<\/character>\n    <dialogue>Your boy is killing US.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>He'll be fine.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POTOMAC PARKWAY -<\/stage_direction>\n    <character>CONTINUING<\/character>\n    <dialogue>148<\/dialogue>\n    <scene_description>Eric gets out of the Cheyy, in the middle of this bumper- locked street, abandoning the truck to follow Hanssen. A few DRIVERS begin HONKING at him. Eric ignores them, heading for Hanssen, the Potomac on their right:<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Boss?<\/dialogue>\n    <parenthetical>(Hanssen keeps walking)<\/parenthetical>\n    <dialogue>You gotta get back in the truck, Sir.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Havenit you made enough mistakes for one day, Eric? Now you wanna throw in a traffic violation?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Sir, you hafta get back in the truck.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Why should I?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Look, donit kill me, okay? I did something stupid.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>What a shock.<\/dialogue>\n    <character>ERIC<\/character>\n    <parenthetical>(here goes...)<\/parenthetical>\n    <dialogue>Ilied to you, Boss.<\/dialogue>\n    <scene_description>That stopped Hanssen in his tracks. He turns..<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>There isn't any construction on E Street. I made that up.<\/dialogue>\n    <scene_description>Another x-ray stare from Hanssen. Eric tries not to waver..<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>What would you do that for?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Because I need your help... And I was afraid to ask if we could make an<\/dialogue>\n    <scene_description>extra stop. Eric shakes his head, as if embarrassed by his own cowardice.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>I wanted to go back to that Reading Room, Sir the Catholic Information<\/dialogue>\n    <character>-<\/character>\n    <dialogue>Center. I sorta have to.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>whr?<\/dialogue>\n    <scene_description>Eric pauses, as if not certain he can reveal this... Then:<\/scene_description>\n    <character>ERIC<\/character>\n    <parenthetical>(reluctantly)<\/parenthetical>\n    <dialogue>It's Juliana. We've been fighting all week.<\/dialogue>\n    <scene_description>Hanssen eyes him, reading him. A long beat.<\/scene_description>\n    <character>HANS SEN<\/character>\n    <dialogue>what about?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>To be honest, Sir... your church.<\/dialogue>\n    <scene_description>There it is - a big, fat lie... rooted in truth. And Hanssen, despite himself, is hooked.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>She didn't like it, Boss. She didn't get it. So I wanted to go back to the Reading Room. I thought there might be some books I could get for her, to help her see things better. And I Oigured if we were driving right past it you might wanna pull in. Stupid. But there it is..<\/dialogue>\n    <scene_description>A long beat, cars honking all around them now.. And Eric can't tell if he's dead or not... until:<\/scene_description>\n    <character>HANS SEN<\/character>\n    <dialogue>Swear to God.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>HANS SEN<\/character>\n    <dialogue>Swear to God that everything you just told me is true.<\/dialogue>\n    <scene_description>Eric pauses... but his eyes never leave Hanssen's..<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>No. I'm not gonna do that.<\/dialogue>\n    <scene_description>Hanssen doesn't react.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>I don't lie about my wife, or the church and if you don't<\/dialogue>\n    <character>-<\/character>\n    <dialogue>know that<\/dialogue>\n    <scene_description>yet then I sure as hell wouldn't- (stops himself...) Ya know something, Boss? You do test people too much. And I've had it. I was asking you for help. (silence... then:) Have a nice walk, Sir. I'll see you back at the office. Eric turns, walks away. We STAY WITH HIM as he blows through the middle of the street, passing pissed-off motorists.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ -<\/stage_direction>\n    <character>RESUMING<\/character>\n    <dialogue>149<\/dialogue>\n    <scene_description>Plesacis cel-phone rings again.<\/scene_description>\n    <character>PLESAC<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>CINTO CEL)<\/character>\n    <dialogue>150 EXT. POTOMAC PARKWAY - AT THE SUBURBAN -<\/dialogue>\n    <character>CONTINUING<\/character>\n    <dialogue>150<\/dialogue>\n    <scene_description>Eric puts the key in the ignition, wondering how the hell he's going to explain all this to Kate. Then the passenger door opens. And Hanssen oets In.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>Maybe... maybe I overstepped.<\/dialogue>\n    <scene_description>He sits heavily, eyes front, and pulls the door shut.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ -<\/stage_direction>\n    <character>GARAGE<\/character>\n    <dialogue>-<\/dialogue>\n    <scene_description>Plesac's about to squeeze that cel-phone into pulp, when:<\/scene_description>\n    <character>GEDDES CTHRUCEL)<\/character>\n    <dialogue>O'Neill talked him back in.<\/dialogue>\n    <scene_description>Plesac's eyes go wide. The news is too good to be trusted.<\/scene_description>\n    <character>PLESAC (INTO CEL)<\/character>\n    <dialogue>How'd he manage that?<\/dialogue>\n    <character>GEDDES CTHRUCEL)<\/character>\n    <dialogue>Hard to say. But from here it looked like he may've proposed marriage.<\/dialogue>\n    <scene_description>Plesac hangs up, looks to Kate.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>He's not bad at poker, that kid.<\/dialogue>\n    <character>PLESAC<\/character>\n    <dialogue>Let's not start congratulating anybody just yet.<\/dialogue>\n    <scene_description>Kate half-smiles. END SEOUENCE. CUT TO: \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ -<\/stage_direction>\n    <character>LATER<\/character>\n    <dialogue>DAY<\/dialogue>\n    <scene_description>The Suburban pulls up to Hanssen's parking space... where Hanssen's silver Taurus sits, looking entirely unmolested.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE SUBURBAN -<\/stage_direction>\n    <character>CONTINUING<\/character>\n    <dialogue>153<\/dialogue>\n    <scene_description>Eric's silent. Books from the \"Catholic Information Center\" sit beside him. Hanssen eyes the Taurus, thinking. Then he pulls a BULKY MANILA ENVELOPE from his canvas bag. Again, it's addressed to \"Jack Hoschoueri' in Bonn, Germany.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>This needs to be mailed.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>You're not coming in, Sir?<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>I don I t have to account to you. do I?<\/dialogue>\n    <scene_description>Hanssen hands him the envelope and gets out - examining the Taurus as he approaches. Eric smiles thinly and pulls away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ERIC &amp; JULIANA'S APT. -<\/stage_direction>\n    <character>DUSK<\/character>\n    <dialogue>154<\/dialogue>\n    <scene_description>Eric sits at that crappy formica table, alone. A kettle is heating up on the stove. Another glass of Scotch awaits. Before him is Hanssenis MANILA ENVELOPE, addressed to \"Jack Hoschouer.\" Eric stares at it, conflicted. Then a SHRILL WHISTLE from the kettle pierces the silence, startling him. Steam pours from its spout. Eric grabs the envelope, carries it to the stove..<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>We're on an unmarked VHS CASSETTE, with a Post-It attached: \"Jack, Think you 'll like this one. Bob.\" It's not too late to stuff this tape back into its envelope, (which sits beside the stove in the kitchen.) Instead Eric turns on his TV, and shoves in the cassette. First image on the screen shocks him: It's Hanssen's bedroom, shot in Hi-8 video from inside the mirrored door of their ARMOIRE. Bonnie lies in bed, asleep. And a pit begins to form in Eric's gut. On the monitor, Hanssen crosses into frame on his way to the bed, behind Bonnie, and peels back the sheets. He crawls in so that her body obscures our view of his, and begins to touch her. We hear AUDIO now - her soft moans.. Clearly, she doesn't know she 's being taped. Eric wants to look away, but can't... Hanssen unbuttons the top of Bonnie's silk pajamas... until a sudden SOUND startles the hell out of Eric. And us. It's the front door. Juliana iust came home. Eric leaps for the VCR, hitting STOP just as she enters the room. He doesn't have time to turn the tv off... and doesn't know if she caught the sound of moaning when she walked in.<\/scene_description>\n    <character>JULIAA<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>JULIANA<\/character>\n    <dialogue>What're you watching?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Nothing. A training tape on surveillance. Hanssen asked me to check that the transfer was okay.<\/dialogue>\n    <scene_description>Juliana bought that. She heads for the kitchen, (two grocery bags in her arms), as: JULIAnA Would you mind getting the rest of the groceries for me, Honey?<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Oh. Sure.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN -<\/stage_direction>\n    <character>CONTINUING<\/character>\n    <dialogue>156<\/dialogue>\n    <scene_description>Juliana sets the bags down by the sink, right on toy of that emvtv MANILA ENVELOPE addressed to Jack Hoschouer.. .. as Eric \"casually\" drifts out of the bedroom, dropping the cassette into his gym bag.<\/scene_description>\n    <character>JULIANA<\/character>\n    <dialogue>Few more bags in the CSf.<\/dialogue>\n    <scene_description>She tosses him the keys. He smiles, heads out.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>How was school?<\/dialogue>\n    <character>JULIANA<\/character>\n    <dialogue>It was fine. I'm just tired.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY BEHIND THEIR BLDG. -<\/stage_direction>\n    <character>MOMENTS LATER<\/character>\n    <dialogue>157<\/dialogue>\n    <scene_description>Eric emerges into the alley, disturbed as hell by what he's just seen, but equally relieved that he won't have to explain it to Juliana. Then he freezes in his tracks. Just saw something horrible: Their Jeey. There aren't any grocery bags inside. And he just heard the sounds of BONNIE'S MOANING coming from his bedroom tv; (the room looks up into this alley. ) Heis dead, and he knows it. He races back toward:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTSIDE THEIR BLDG. -<\/stage_direction>\n    <character>TRACKING<\/character>\n    <dialogue>ERIC<\/dialogue>\n    <scene_description>We're right on his back as he runs around the corner, crossing their thimble-sized lawn to a walkway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THEIR BLDG. \"LOBBY\" -<\/stage_direction>\n    <character>TRACKING<\/character>\n    <dialogue>CONTINUING<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>159<\/dialogue>\n    <scene_description>He races into the building. Then down two steps, and into:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ERIC &amp; JULIANA'S APT. -<\/stage_direction>\n    <character>CONTINUING<\/character>\n    <dialogue>160<\/dialogue>\n    <scene_description>He bursts in, breathless.. Juliana is right where he expected her to be: sitting on the edge of the bed... watching that tape. He hurries in.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Jule..<\/dialogue>\n    <character>JUL IANA \\*<\/character>\n    <dialogue>A \"training tape on surveillance\"p \\*<\/dialogue>\n    <scene_description>He crosses to the tv. \\*<\/scene_description>\n    <character>ERIC \\*<\/character>\n    <dialogue>This isn't what it looks like. \\*<\/dialogue>\n    <character>JUL IANA \\*<\/character>\n    <dialogue>It looks making porno's<\/dialogue>\n    <scene_description>like he's of \\* for \\* Bonnie some guy in Germany, except she doesn't know about it. \\*<\/scene_description>\n    <character>\\*<\/character>\n    <parenthetical>(Eric ejects the tape)<\/parenthetical>\n    <dialogue>Everybody told me when you marry - \\*<\/dialogue>\n    <dialogue>the Bureau, things get weird \\*<\/dialogue>\n    <dialogue>sometimes, the cases... But they \\*<\/dialogue>\n    <dialogue>never told me about this. \\*<\/dialogue>\n    <character>ERIC \\*<\/character>\n    <dialogue>This has nothing to do with a case. \\*<\/dialogue>\n    <character>JULIAMA \\*<\/character>\n    <dialogue>Oh. \\*<\/dialogue>\n    <scene_description>him... \\* (eyes I \\* S0... you weren't just steaming open his mail. Me gave it to you. \\*<\/scene_description>\n    <character>ERIC \\*<\/character>\n    <dialogue>I \\*<\/dialogue>\n    <scene_description>gotta go. He heads for the door. Juliana remains on the couch. \\*<\/scene_description>\n    <character>JULIANA \\*<\/character>\n    <dialogue>\\*<\/dialogue>\n    <parenthetical>(at his back)<\/parenthetical>\n    <dialogue>Do you trust me, Eric? \\*<\/dialogue>\n    <scene_description>That him cold at the door. He turns. \\* stops<\/scene_description>\n    <character>ERIC \\*<\/character>\n    <dialogue>\\*<\/dialogue>\n    <scene_description>or course.<\/scene_description>\n    <character>JULIANA \\*<\/character>\n    <dialogue>'Cause think you've got this<\/dialogue>\n    <scene_description>I idea \\* telling me the truth \\* somehow that would mean you were betraying your \\* something. It wouldn't. \\* country or silent) \\* (Eric's You're not shock me - heis a \\* gonna I knew that already. I just. \\* creep,<\/scene_description>\n    <character>\\*<\/character>\n    <dialogue>heis been in our home, we keep fighting about him. I'd \\*<\/dialogue>\n    <scene_description>just like to know what the hell all of this is. \\*<\/scene_description>\n    <character>\\*<\/character>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>Can't tell me? Please? \\*<\/dialogue>\n    <scene_description>you They eye one another from across the room, feels like miles \\* between them. \\*<\/scene_description>\n    <character>ERIC \\*<\/character>\n    <dialogue>I don't know when I'll be back. \\*<\/dialogue>\n    <scene_description>With that, he gaes. She the door.. \\* just stares at<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATE'S APT. BUILDING -<\/stage_direction>\n    <scene_description>HALLWAY -:<\/scene_description>\n    <character>MINUTES<\/character>\n    <dialogue>LATER<\/dialogue>\n    <scene_description>A hand raps hard on an apartment door, repeatedly. Then the door is opened by Kate. Eric stands in her doorway, too wound-up to say hello:<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>I think my wife just read herself into the case..<\/dialogue>\n    <scene_description>Kate throws a glare at Eric that is Hanssen-like in its disdain. Eric nearly staggers from it. Then she opens the door wider. He enters.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATE'S APARTMENT - CONTINUING<\/stage_direction>\n    <scene_description>A clean, efficient one-bedroom. Kate closes the door, calmly.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>I'm assuming that you know what a massive fuck-up that would be.<\/dialogue>\n    <scene_description>They enter. Her Dining Room table is cluttered with two days' worth of unread newspapers, unanswered mail, a half-eaten Lean Cuisine dinner, and some laundry in piles.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Look, she' s smart, okay? She puts things together.<\/dialogue>\n    <scene_description>It feels odd to have her underwear stacked three feet from Eric. She pushes the piles into a basket, irritated.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Uh-huh.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>You're as much to blame as anybody, ya know that? I'm telling so many lies now I can't keep 'em straight anymore.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Wanna make things easier? Next time Hanssen gives you a package and tells you to mail it, mail it!<\/dialogue>\n    <scene_description>That made his jaw drop. utter silence. She eyes him..<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Aside from being a colossally stupid thing to do that was also a violation of the law. You stole someone's mail. Don't you know better?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Jesus. Agent Burroughs, I'm..<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>The package has been re-sealed as you found it, right? No trace that it was ever opened, nothing that would arouse any suspicions on the other end?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>No. I posted it from the Bureau five minutes ago. It was pristine.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>We'll see.<\/dialogue>\n    <character>\\*<\/character>\n    <parenthetical>(Eric's silent)<\/parenthetical>\n    <dialogue>I'm sorry you're having problems at home. IJd offer you some advice but it wouldn't be worth much I donit -<\/dialogue>\n    <dialogue>even have a cat. All I can tell you is keep your head on straight and do your job; it's your best shot at getting this over with. Understand?<\/dialogue>\n    <scene_description>Eric just nods..<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>We pulled 300 pages of classified materials out of a Lawn &amp; Leaf<\/dialogue>\n    <scene_description>Bag in his trunk And quite a bit today. of correspondence off the Palm Pilot. His next drop appears to be imminent... unless someone does something to make him suspicious.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Right.<\/dialogue>\n    <scene_description>The silence hangs.<\/scene_description>\n    <character>KATE<\/character>\n    <parenthetical>(re: laundry)<\/parenthetical>\n    <dialogue>I really oughtta finish this.<\/dialogue>\n    <scene_description>In other words, iiyou have to go.\"<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Yeah. Okay.<\/dialogue>\n    <scene_description>He crosses to the door. She follows, opens the door for him. But he turns, just before leaving:<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Can I ask you something?<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Is it worth it?<\/dialogue>\n    <parenthetical>(she's silent)<\/parenthetical>\n    <dialogue>ERIC(cont 'd)<\/dialogue>\n    <scene_description>Being an agent, what it costs. Is it worth it? She weighs that one for a second, then:<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Ask me when we've caught him.<\/dialogue>\n    <scene_description>163-177 163-177 \\* OMIT:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ -<\/stage_direction>\n    <character>DAY<\/character>\n    <dialogue>178<\/dialogue>\n    <scene_description>Eric sits at his desk, trying to keep it together. A document sits before him: \"MISSION STATEMENT for the Information it Assurance Division... by Robert P. Hanssen. Ten pages long. Across its top is a hand-written note: \"Please check this for spelling and typographical errors, R.H.\" Eric eyes it. All is quiet, until:<\/scene_description>\n    <character>HANSSEN (O. S.)<\/character>\n    <dialogue>Eric?<\/dialogue>\n    <scene_description>Hanssen's voice, coming from behind a closed door.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Yes Boss?<\/dialogue>\n    <character>HANSSEN (O. S.)<\/character>\n    <dialogue>Come in here. I want to show you something.<\/dialogue>\n    <scene_description>Eric rises, heads toward Hanssen's office.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ -<\/stage_direction>\n    <character>HANSSEN'S<\/character>\n    <dialogue>CONTINUING<\/dialogue>\n    <character>OFFICE<\/character>\n    <dialogue>179<\/dialogue>\n    <scene_description>Eric enters. Hanssen is at his desk, staring at a LAPTOP.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>This is<\/dialogue>\n    <scene_description>address the of my mechanic in Manassas. dropping I'm my car off on Monday. Need you to pick me up and bring me into work. A slip of paper sits on the edge of the desk. Eric takes it.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>No later than 8:15.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Something wrong with your car?<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>lim having it swept. For electronic devices.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>oh.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>I've been sensing signal bursts coming through the radio lately. And car alarms go off when I drive past. It's not beneath the Russians to track me. I'm tailed all the time. They know how much I know.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Yes, Sir.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Do you know this movie?<\/dialogue>\n    <scene_description>Eric crosses to the desk... where he finds Entrapment, starring Catherine Zeta-Jones, playing on Hanssen's laptop. Hanssen stares at the screen, his eyes glazed but aroused. And he is touching himself, over his pants.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>She's very appealing.<\/dialogue>\n    <scene_description>Eric pauses. No idea how to play this one.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Yes, Sir. live always thought so.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Close the door on your way out.<\/dialogue>\n    <scene_description>Eric goes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 9930 -<\/stage_direction>\n    <character>ERIC'<\/character>\n    <dialogue>CONTINUING<\/dialogue>\n    <character>S OFFICE<\/character>\n    <dialogue>180<\/dialogue>\n    <scene_description>Eric shuts the door, pauses. Christ, that was odd. Just then his PAGER goes off again. He eyes it: z&amp;. OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WFO -<\/stage_direction>\n    <character>EVENING<\/character>\n    <dialogue>182<\/dialogue>\n    <scene_description>Eric enters the packed room, breathless. He ran here. Oddly, there's no buzz in here tonight. The faces look strained. He spots Kate and hurries OVef. Something is very much off.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>I was<\/dialogue>\n    <scene_description>wrong, Eric. We're not days away from getting this guy. (Eric waits) Son of a bitch is going to ground. Eric is silent. Before Kate is a single page, a typed LETTER.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Just got the encryption off this one: his last letter to his handlers in the SVR, dated two days ago.<\/dialogue>\n    <scene_description>Eric doesn't reach for it. She begins to read it aloud:<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>\"<\/dialogue>\n    <scene_description>\"Dear Friends.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/INT. HANSSEN HOME - STUDY - LATE NIGHT<\/stage_direction>\n    <scene_description>Hanssen eyes his laptop. On the screen is a letter. It begins with the words, iiDear Friends... il We hear Kate, in V.O. now:<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>\" these many years. that come seclude<\/dialogue>\n    <character>CCONT'D, V.O.)<\/character>\n    <dialogue>Ithank you for your assistance It my greatest to an end, myself<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WFO - C-TOC -<\/stage_direction>\n    <character>RESUMING<\/character>\n    <dialogue>184<\/dialogue>\n    <scene_description>That was a bomb; we can see it on Eric's face..<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/INT. ST. CATHERINE'S -<\/stage_direction>\n    <character>EVENING<\/character>\n    <dialogue>185<\/dialogue>\n    <scene_description>Hanssen enters this magnificent church.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>\"Since wonders promoted to a higher Senior regular the counterintelligence is as if<\/dialogue>\n    <character>(V.O.,<\/character>\n    <dialogue>communicating if because do-nothing Executive access program. I am being<\/dialogue>\n    <scene_description>Hanssen dips his finger in the water, crosses himself, as HIS VOICE begins to over-ride Kate's, also in V.O.<\/scene_description>\n    <character>HANSSEN (V.O.)<\/character>\n    <dialogue>\"<\/dialogue>\n    <scene_description>Furthermore, I believe I have detected repeated bursting radio<\/scene_description>\n    <character>0)<\/character>\n    <dialogue>signal emanations from my vehicle.<\/dialogue>\n    <scene_description>We watch from a HIGH-ANGLE as he moves to a CONFESSIONAL.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH -<\/stage_direction>\n    <character>CONTINUING<\/character>\n    <dialogue>186<\/dialogue>\n    <scene_description>Darkness. Then a tiny SCREEN slides open, revealing Hanssen.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>\"<\/dialogue>\n    <character>(V.O.,<\/character>\n    <dialogue>I<\/dialogue>\n    <scene_description>found their not source, but as you wisely do, I will leave this alone, for knowledge of their existence is sufficient.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HANSSEN HOME -<\/stage_direction>\n    <character>RESUMING<\/character>\n    <dialogue>187<\/dialogue>\n    <scene_description>We're on his face, as he types out the words:<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>\"Amusing<\/dialogue>\n    <character>(V.O.,<\/character>\n    <dialogue>the<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - CONFESSIONAL -<\/stage_direction>\n    <character>RESUMING<\/character>\n    <dialogue>188<\/dialogue>\n    <scene_description>Hanssen has been in here for a while nOW. We MOVE IN TIGHT.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>\"<\/dialogue>\n    <character>(V.O.,<\/character>\n    <dialogue>this,<\/dialogue>\n    <scene_description>In however, I strongly suspect that you should have concerns for the integrity of your compartment concerning knowledge of my efforts on your behalf.\" A single tear rolls down his cheek. He rises, exits.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HANSSEN HOME -<\/stage_direction>\n    <character>NIGHT<\/character>\n    <dialogue>189<\/dialogue>\n    <scene_description>Hanssen opens the TRUNK of his Taurus. Inside we find that LAWN &amp; LEAF BAG, sealed.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>'iSomething tiger.<\/dialogue>\n    <character>(V.O.,<\/character>\n    <dialogue>has aroused the sleeping Perhaps you know better<\/dialogue>\n    <scene_description>He removes the lawn &amp; leaf bag from the trunk.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WFO -<\/stage_direction>\n    <character>RESUMING<\/character>\n    <dialogue>190<\/dialogue>\n    <scene_description>Kate comes to the end of the letter..<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ERIC &amp; JULIANA'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Hanssenis Taurus pulls up to the curb outside Eric &amp; Juliana's building. He eyes the front door..<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>\"Life is<\/dialogue>\n    <character>&amp; KATE<\/character>\n    <dialogue>full<\/dialogue>\n    <character>\"<\/character>\n    <dialogue>downs.<\/dialogue>\n    <scene_description>Hanssen cuts his engine. END INTERCUT. We DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WFO -<\/stage_direction>\n    <character>RESUMING<\/character>\n    <dialogue>192<\/dialogue>\n    <scene_description>A pall of gloom now hangs over Kate and her team. Eric too.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Okay. If he doesn't make another drop, what do we have?<\/dialogue>\n    <character>NECE<\/character>\n    <dialogue>We've got the Palm Pilot. That still gives us Conspiracy to Commit Espionage.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>.\\*until he walks into court with a<\/dialogue>\n    <scene_description>iawyer who says that everything gE the Palm Pilot was just notes for a spy novel he was planning to write.<\/scene_description>\n    <character>SHERIN<\/character>\n    <dialogue>We've got the evidence from his trunk, Unauthorized Possession of Classified Material.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>That's five years -<\/dialogue>\n    <scene_description>hardly enough to make him talk. That hovers. These guys are screwed, and they know it.<\/scene_description>\n    <character>LOPER<\/character>\n    <dialogue>Maybe we just keep promoting him.<\/dialogue>\n    <parenthetical>(they turn)<\/parenthetical>\n    <dialogue>Might be the only way to keep him from retiring.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>shit..<\/dialogue>\n    <scene_description>Just then, PLESAC ENTERS, urgently, with news:<\/scene_description>\n    <character>PLESAC<\/character>\n    <dialogue>He's outside your apartment.<\/dialogue>\n    <parenthetical>(Eric turns)<\/parenthetical>\n    <dialogue>He I s aarked outside Your aaartment. Just pulled up.<\/dialogue>\n    <scene_description>That stops things cold in here. But before Eric can react, his CELL-PHONE rings. He eyes the incoming number, then looks to Plesac:<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>It's him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 4TH STREET -<\/stage_direction>\n    <character>MOMENTS LATER<\/character>\n    <dialogue>(NIGHT)<\/dialogue>\n    <scene_description>TIRES SQUEAL as a FORD EXPLORER pulls away from the WFO.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATEJ S CAR -<\/stage_direction>\n    <character>MOVING<\/character>\n    <dialogue>-<\/dialogue>\n    <scene_description>Kate speeds through a RED LIGHT, Eric beside her.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>How drunk did he sound?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>I don't<\/dialogue>\n    <scene_description>know, he wasn't slurring or anything. Maybe surlier than usual but that's it.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>The ghosts said he's been driving all over the place tonight. Spent an hour in his church, then drove to your place.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Has he gotten out of the car? Did they say? Juliana's alone in there.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>He hasn't gotten out of the CSf.<\/dialogue>\n    <scene_description>She goes a little faster. That's fine with Eric..<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>The guy's melting down.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>That would bother me a little less if he didn't have a dozen guns in his trunk.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Drop me off here, okay? It's right around the corner.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>I know where it is.<\/dialogue>\n    <scene_description>Kate pulls over at:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 8TH STREET -<\/stage_direction>\n    <character>EASTERN<\/character>\n    <dialogue>CONTINUING<\/dialogue>\n    <character>MARKET<\/character>\n    <dialogue>195<\/dialogue>\n    <scene_description>Eric gets out 8th Street. on A passing CAR splashes into a deep POTHOLE, sending slush toward us. He pauses, thinking just decided something. He taps on the passenger-side window. Kate lowers it. Somehow, before he's said a word, she knows what's coming:<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>We've got a team on his tail, right?<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Uh-huh.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Can we pull 'em back?<\/dialogue>\n    <scene_description>She eyes him, entirely unsurprised.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Now why would we wanna do that?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>I think I can still work him. I think I can get him to make that drop.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Do you need me to read that letter again, Eric? There is no drop. He's going to ground.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>No, he's dying to make it. We just have to make him feel safe.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>What if he's made you?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>What if<\/dialogue>\n    <scene_description>he has? Bumper-locking him won't make me any safer. (she considers that) Please. I can handle him... but not if he picks up a tail. Kate sighs. She knows he's not wrong.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Okay. I'll call Dean.<\/dialogue>\n    <scene_description>The window goes up and Kate pulls into traffic, reaching for\\* her cell-phone. One last look at Eric, then she's gone. Eric watches her go, then approaches the corner of 8th &amp; E. We TRACK HIM on his way. He turns the corner.. . \\*and spots Hanssenis Taurus, parked 100 feet away, right outside the apartment. Eric pauses, readying himself, then \\* approaches..<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTSIDE HANSSEN'S CAR -<\/stage_direction>\n    <character>MOMENTS<\/character>\n    <dialogue>LATER<\/dialogue>\n    <scene_description>An empty bottle of Gin sits by Hanssen's side. An \"Andrews Sisters\" song plays on his stereo. Hanssen stares, until:<\/scene_description>\n    <character>ERIC (O. S.)<\/character>\n    <dialogue>Ten minutes, as promised.<\/dialogue>\n    <scene_description>Hanssen turns sleepily, as Eric leans in the open window.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Caught me coming right out of the Metro.<\/dialogue>\n    <character>HANS SEN<\/character>\n    <dialogue>Why didn't you drive?<\/dialogue>\n    <scene_description>That sounded drunk. And angry.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Juliana needed the car. I felt like walking anyway.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>why? Something on your mind?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Not especially.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Get in. I want some company.<\/dialogue>\n    <scene_description>Eric pauses... as a non-descript SEDAN pulls by them. Connors is driving it. The sedan vanishes. Eric is on his OWn nOW..<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>Eric opens the door, climbs in. We do too.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HANSSEN' S CAR -<\/stage_direction>\n    <character>CONTINUING<\/character>\n    <dialogue>197<\/dialogue>\n    <scene_description>Eric looks Hanssen over, searching for a weapon: in Hanssen's jacket? Inside that ankle holster?<\/scene_description>\n    <character>HANSSEN<\/character>\n    <parenthetical>(quoting himself:)<\/parenthetical>\n    <dialogue>lilt is against<\/dialogue>\n    <scene_description>Bureau policy for an Agent to consume alcohol. Ever. Even off-duty... because an FBI Agent is ii Director never off-duty Freeh.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Ya wanna go across the street, get a<\/dialogue>\n    <scene_description>cup of coffee or--<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>Can I trust you?<\/dialogue>\n    <scene_description>Eric freezes. That was so stark, so direct.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Of course... Don't you know that?<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>I don't know what I know anymore.<\/dialogue>\n    <scene_description>Then Hanssen hits the gas. We move OUTSIDE ERIC'S WINDOW as the Taurus pulls away. Looks like we're going for a ride..<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. D. C. -<\/stage_direction>\n    <character>16TH<\/character>\n    <dialogue>MOVING<\/dialogue>\n    <character>AND MORROW<\/character>\n    <dialogue>-<\/dialogue>\n    <character>LATER<\/character>\n    <dialogue>NIGHT<\/dialogue>\n    <scene_description>The Taurus glides by us, against the backdrop of ROCK CREEK PARK. It's huge, vast... and dark.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HANSSEN'S CAR -<\/stage_direction>\n    <character>SAME<\/character>\n    <dialogue>199<\/dialogue>\n    <scene_description>Another Andrews Sisters song plays. Hanssen taps a finger to it, deOinitely drunk, and looks over his shoulder, out the back window. They've been silent for ten minutes.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>This the music of your childhood or something?<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>It's the music of my father's childhood.<\/dialogue>\n    <scene_description>More silence... as Hanssen moves into the LEFT-HAND TURN LANE. Nothing but a pitch-black PARK over there..<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>What's in Rock Creek?<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Ilike the park at night.<\/dialogue>\n    <scene_description>He makes the turn. We watch from across the street as the Taurus disappears into the park.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>199A INT. C-TOC - KATE' S CUBICLE - SAME 199A<\/stage_direction>\n    <scene_description>Kate sits at her desk, staring at her phone. Beside it is her cel-phone. Neither is ringing. We PUSH-IN on her, landing tight on her face... Then MATCH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>199B INT. ERIC &amp; JULIANA'S APT. -<\/stage_direction>\n    <character>SAME<\/character>\n    <dialogue>(NIGHT)<\/dialogue>\n    <scene_description>We're tight on Juliana, sitting up in bed, pensive. Her phone isn't ringing either. Where the hell is Eric? We leave her there, PULLING BACK... then:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>199C EXT. HANSSEN'S TAURUS - MOVING - MINUTES LATER 199C<\/stage_direction>\n    <scene_description>HEADLIGHTS from Hanssen's Taurus play on an unlit road. All else is darkness, surrounded by a frozen creek and WOODS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HANSSEN'S TAURUS -<\/stage_direction>\n    <scene_description>MOVING -:<\/scene_description>\n    <character>CONTINUING<\/character>\n    <dialogue>200<\/dialogue>\n    <scene_description>The Andrews Sisters continue to sing away. Eric looks around, trying to guess what's coming. But Hanssen's not saying a word. It's just a silent, slow drive. The speedometer reads 15 m.p.h. .. and there's nowhere for Eric to go. He just has to sit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROCK CREEK PARK -<\/stage_direction>\n    <character>ROAD<\/character>\n    <dialogue>-<\/dialogue>\n    <scene_description>Hanssen's Taurus pulls toward us, parking at the entrance to a thin TRAIL. We peer inside the car, the two men sitting. Hanssen reaches for the Gin by his side, has another swig. Eric tries not to stare.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>Hafta be sure that I can trust you.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Why donit we go back to the ofOice?<\/dialogue>\n    <scene_description>You can polygraph me.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <parenthetical>(with disdain)<\/parenthetical>\n    <dialogue>Ever heard of Aldrich Ames?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Of COUFSe.<\/dialogue>\n    <character>HANS SEN<\/character>\n    <dialogue>Worst spy in U. S. history, sold 2. 5<\/dialogue>\n    <scene_description>million dollars worth of information to the Soviets... and passed every polygraph the Agency gave him. (a beat) But he never would've gotten past me. I can read anyone. Just then, Eric's PAGER RINGS. That's not good; Hanssen glares at the sound as Eric glances at the readout.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>I'm getting really tired of that pager.<\/dialogue>\n    <scene_description>Before Eric can reply, Hanssen gets out of the car. Eric calls out to his back:<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>What're we doing?<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>I told you: the FBI's a gun-culture. Ya can't advance here unless you can shoot.<\/dialogue>\n    <scene_description>With that, Hanssen's walking toward that trail into the woods. Eric gets out of the Taurus..<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROCK CREEK PARK -<\/stage_direction>\n    <character>CONTINUING<\/character>\n    <dialogue>202<\/dialogue>\n    <scene_description>Cold enough to see your breath out here. Hanssen heads for a dense wood by the creek not a bad place<\/scene_description>\n    <character>-<\/character>\n    <dialogue>to dump a body,<\/dialogue>\n    <parenthetical>(Chandra Levy will be found here in less than a year.)<\/parenthetical>\n    <dialogue>Eric follows, twigs and snow crackling under their feet.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>They test you at 25 yards, 15 yards, seven yards, and five yards.<\/dialogue>\n    <scene_description>.\\*which is when Hanssen stops, and pulls his. 38 from a holster. .. and FIRES at a nearby BRANCH, a deafening sound. The branch is decimated.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>What're you--?<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>You wanna be an agent, or don't you?<\/dialogue>\n    <scene_description>He turns and FIRES AGAIN, blowing away another branch. But this time the gun is closer to Eric.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>Prone, left hand, right hand, five- yards-with-gun-in-holster. You get three seconds to fire five shots.<\/dialogue>\n    <scene_description>Then BANG! Another blast. Eric shies away.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>What're you doing?!<\/dialogue>\n    <character>HANS SEN<\/character>\n    <dialogue>Who was that calling you, in the car?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>What? !<\/dialogue>\n    <scene_description>Another SHOT. Eric spins away, moving clockwise to stay out of range.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>I need to know if I can trust you.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Put the gun down, Boss.<\/dialogue>\n    <character>HANSSEN<\/character>\n    <dialogue>Who was calling you?<\/dialogue>\n    <character>PUT THE<\/character>\n    <dialogue>FUCKING<\/dialogue>\n    <character>I<\/character>\n    <dialogue>Hanssen's stands<\/dialogue>\n    <character>NEED TO KNOW IF I<\/character>\n    <dialogue>fires over<\/dialogue>\n    <scene_description>Then... CLICK. His. 38 is empty. There's a surprised silence for a moment. No one moving. until Eric, still on the ground, finally erupts:<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Can I trustyou? Jesus!<\/dialogue>\n    <parenthetical>(no reply)<\/parenthetical>\n    <dialogue>Godsakes, what is wrong with you?!<\/dialogue>\n    <scene_description>Hanssen doesn't answer. Eric gets to his feet.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Look around you, Boss: it's just us out here. Nobody's tailing you, there isn't any GPS On yOUf CSf. And I'm not a foreign agent trying to work you. You don't matter that much.<\/dialogue>\n    <scene_description>There it was - a lie that is 100% true. And it stung.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>The page was Juliana,<\/dialogue>\n    <scene_description>from obviously. Mv wife. She's trying to reach me because I told her I'd be home by now and because we're in another fight, caused by you as usual. Thanks for dropping by unannounced and lecturing her about Opus Dei, that was real helpful. And thanks for staring at her in church like she was from Mars. That also worked out great. Lemme guess, you were testing her too. Ya know she asked me this morning why you're like this, why you grind everybody so hard. And I had all these answers ready: \"Heis misunderstood ii llHe's trying to fix the Bureau and no one ill listen.\" \"He was born in the wrong century.\" \"His father was a prick.\" live got a whole list. But ya know something? At the end of the day it's all crap. You are who you are. The why doesn't mean a thing. Does it? (Hanssen's silent)<\/scene_description>\n    <character>DOES IT?!<\/character>\n    <dialogue>Hanssen considers that, his face a blank.<\/dialogue>\n    <scene_description>. then he turns without a word, and starts a slow drunken walk back toward the CSf. Conversation over. But he stops just long enough to lean in toward Eric, their faces almost touching, as:<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>I matter plenty.<\/dialogue>\n    <scene_description>He vanishes into a thicket of woods. We hear his shoulders rubbing against the brush. Eric doesn't move. He can't.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>203<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>-<\/dialogue>\n    <scene_description>Eric emerges from the Taurus. He waits until it drives \\* away... waits another beat to be certain... then grabs his \\* and dials. \\* cel-phone<\/scene_description>\n    <character>KATE'S<\/character>\n    <dialogue>204<\/dialogue>\n    <character>CUBICLE<\/character>\n    <dialogue>INTERCUT<\/dialogue>\n    <character>AT -<\/character>\n    <dialogue>Kateis at her desk. Her CELL-PHONE rings. She grabs it, reading the incoming number:<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Yes,<\/dialogue>\n    <character>CINTO CEL)<\/character>\n    <dialogue>Eric.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Get<\/dialogue>\n    <character>CTHRUCEL)<\/character>\n    <dialogue>the<\/dialogue>\n    <scene_description>discreet. He'll make the drop. Tomorrow, maybe even tonight.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>You're<\/dialogue>\n    <character>CINTO CEL)<\/character>\n    <dialogue>not<\/dialogue>\n    <character>ERIC (THRU CEL)<\/character>\n    <dialogue>No. I'm not burnt.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>CINTO CEL)<\/character>\n    <dialogue>We're<\/dialogue>\n    <scene_description>Eric enters his building. We DISSOLVE TO: \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \/EXT. HANSSEN'S CAR -<\/stage_direction>\n    <scene_description>PARKED -:<\/scene_description>\n    <character>DAY<\/character>\n    <dialogue>(4 P.M.)<\/dialogue>\n    <scene_description>Hanssen, sitting in his Taurus, parked at a curb on Fairway Drive in Vienna, Va. We DRIFT IN toward him, slowly, as he stares out the window at the trees. Hard to say exactly what he's thinking just now, but there's a certain resignation on his face, a yielding to something inevitable. We land on a CLOSE-UP. He sighs.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>205A<\/dialogue>\n    <character>WOGDS<\/character>\n    <dialogue>-<\/dialogue>\n    <scene_description>A camouflaged FBI GU lies in the brush, looking through a \\* pair of binoculars, waiting. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WFO - C-TOC -<\/stage_direction>\n    <character>SAME<\/character>\n    <dialogue>206<\/dialogue>\n    <scene_description>As always, FOUR TV MONITORS line the front wall of the C-TOC. On one is C-SPAN. On #2 is a feed from inside 9930. On #3 is the feed from the corridor outside 9930. But on screen #4 we're seeing a LIVE FEED from the dashboard of a vehicle of some kind. The vehicle is parked across the street from a Radio Shack in Vienna, Virginia. Kate sits, staring at that fourth monitor... The room bustles over her shoulder. 207 EXT. HANSSENiS CAR - PARKED -:<\/scene_description>\n    <character>RESUMING<\/character>\n    <dialogue>207<\/dialogue>\n    <scene_description>Hanssen gets out, opens the trunk... That sealed LAWN &amp; LEAF BAG awaits, beside CHALK and TAPE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>207A EXT. WOODS -<\/stage_direction>\n    <character>SAME<\/character>\n    <dialogue>207A<\/dialogue>\n    <scene_description>A SECOND CAMOUFLAGED FBI GUY watches from a distance. He \\* clicks his walkie-talkie twice. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOXSTONE PARK -<\/stage_direction>\n    <scene_description>ENTRANCE -:<\/scene_description>\n    <character>CONTINUING<\/character>\n    <dialogue>208<\/dialogue>\n    <scene_description>Lawn &amp; Leafbag in hand, Hanssen crosses Fairway Drive as it slopes toward a large PARK. A wooden SIGN marks its entrance: i'Foxstone Park. il He passes the sign and enters.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI VAN -<\/stage_direction>\n    <character>SAME<\/character>\n    <dialogue>209<\/dialogue>\n    <scene_description>We hear a SIGNAL coming through a VAN DRIVERFS earpiece. \\* Then, behind the Driver, a SWAT TEAM prepares: a clip is \\* rammed into a sub-machine gun, vests are snapped on.. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOXSTONE PARK -<\/stage_direction>\n    <scene_description>FOOTBRIDGE -:<\/scene_description>\n    <character>MOMENTS LATER<\/character>\n    <dialogue>210<\/dialogue>\n    <scene_description>Through bare trees we see the houses that overlook this park. Hanssen, standing at a tiny FOOTBRIDGE, eyes the houses. And he sighs. Then he climbs UNDER the footbridge, stows that lawn &amp; leaf bag there.. and walks away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>21OA INT. FBI VAN -<\/stage_direction>\n    <character>RESUMING<\/character>\n    <dialogue>21OA<\/dialogue>\n    <scene_description>The sighting on a sniper's rifle is calibrated. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOXSTONE PARK -<\/stage_direction>\n    <scene_description>TRAIL -:<\/scene_description>\n    <character>CONTINUING<\/character>\n    <dialogue>Hanssen feel the He stops CHALK from his pocket,<\/dialogue>\n    <character>211<\/character>\n    <dialogue>walks oddly buzzing at that park-entrance and draws a single<\/dialogue>\n    <scene_description>sign. Then he pockets the chalk. 2llA EXT. ERIC &amp; JULIANA'S APT. - SAME 2llA Eric sits on the stoop, alone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FAIRWAY DRIVE -<\/stage_direction>\n    <character>MOMENTS LATER<\/character>\n    <dialogue>212<\/dialogue>\n    <scene_description>Hanssen walks up the incline from the park entrance to his car. Fairway Drive is quiet and calm. \\*\\*until he hears a SHARP SOUND, to his right: a VAn DOOR, sliding open quickly. He turns. . -SS FIVE SWAT GUYS explode out of a WHITE VAN, bearing SUB- ACHINEGUNS.: THEN HE HEARS THE SQUEALING OF BRAKES... AND A SECOND VAN APPEARS, OUT OF NOWHERE, FOLLOWED BY A WHITE FORD EXCURSION.: HIS HEAD SWIVELS... A TOTAL OF TWELVE AGENTS, ARMED TO THE TEETH, NOW CLOSE IN ON HIM. HE FREEZES.:<\/scene_description>\n    <character>SWAT AGENT #1<\/character>\n    <dialogue>You're under arrest! Put your hands in the air!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/INT. WFO - C-TOC -<\/stage_direction>\n    <character>RESUMING<\/character>\n    <dialogue>213<\/dialogue>\n    <scene_description>TV MONITOR #4, we now realize, is picking up the feed from inside the Excursion at the arrest site. So Kate is watching all this live, without sound. Kate reaches for a phone and dials, her face a mask.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>213A EXT. ERIC &amp; JULIANA'S APT. -<\/stage_direction>\n    <character>RESUMING<\/character>\n    <dialogue>213A<\/dialogue>\n    <scene_description>Eric's pager CHIRPS. He reaches for it. i, 'i The readout says: 7# We Got Him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FAIRWAY DRIVE -<\/stage_direction>\n    <character>RESUMING<\/character>\n    <dialogue>214<\/dialogue>\n    <scene_description>In a blur, Hanssen is surrounded. SWAT AGENT #2, his weapon inches from Hanssen's face, grabs Hanssen's car keys.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>The guns won't be necessary. The guns won't be necessary.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>214A EXT. ERIC &amp; JULIANA'S APT. - RESUMING 214A<\/stage_direction>\n    <scene_description>We PUSH IN on Eric as he absorbs the news..<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FAIRWAY DRIVE -<\/stage_direction>\n    <character>RESUMING<\/character>\n    <dialogue>215<\/dialogue>\n    <scene_description>Hanssen is cuffed and led to the Excursion... where Plesac awaits. Hanssen pauses in front of him, almost smiling.<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>Maybe now you'll listen.<\/dialogue>\n    <character>PLESAC<\/character>\n    <dialogue>It's a sad day for all of us, Bob.<\/dialogue>\n    <scene_description>Hanssen is shoved into the Excursion. The others pile in. The Excursion pulls away, followed by the white vans. An agent jumps into Hanssen's Taurus and drives it away as well.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FAIRWAY DRIVE -<\/stage_direction>\n    <character>RESUMING<\/character>\n    <dialogue>216<\/dialogue>\n    <scene_description>. -and Fairway Drive is Fairway Drive again - no sign that anything out of the ordinary has occurred.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>SAME<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Eric enters. Juliana's at the desk. She turns. \\*<\/dialogue>\n    <character>JUL IANA \\*<\/character>\n    <dialogue>Hi. \\*<\/dialogue>\n    <scene_description>Their eyes meet. He looks shaken. \\*<\/scene_description>\n    <character>JULIANA (CONTFD) \\*<\/character>\n    <dialogue>Everything okay? \\*<\/dialogue>\n    <scene_description>He crosses to her, touches her face, kisses her. \\*<\/scene_description>\n    <character>ERIC \\*<\/character>\n    <dialogue>Everything's fine. \\*<\/dialogue>\n    <scene_description>They're going to be okay, these two. We leave them there. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>RB-216 INT. FORD EXCURSION -<\/stage_direction>\n    <scene_description>MOVING -:<\/scene_description>\n    <character>DAY<\/character>\n    <dialogue>RB-216<\/dialogue>\n    <scene_description>The arrest was two minutes ago. Now Hanssen sits in the back \\* seatl cuffed, with an AGENT on each side of him. Plesac sits \\* up front. It's been a silent ride.. \\*<\/scene_description>\n    <character>PLESAC \\*<\/character>\n    <dialogue>Can I give you some advice, Bob? \\*<\/dialogue>\n    <scene_description>(Hanssen doesn't reply) \\* I've been in on a few of these now: \\* Nicholson, Aldrich Ames. It goes a \\* lot easier if you co-operate. On you, \\* on your family. \\*<\/scene_description>\n    <character>HANSSEN \\*<\/character>\n    <dialogue>You really ought to do an overhaul of \\*<\/dialogue>\n    <dialogue>your GPS units, Dean. They throw off \\* a signal burst through the radio. \\* Canit the Bureau come up with better \\* technology than that? \\*<\/dialogue>\n    <character>PLESAC \\*<\/character>\n    <dialogue>We never had a GPS on your car, Bob. \\*<\/dialogue>\n    <character>HANS SEN \\*<\/character>\n    <dialogue>oh. \\*<\/dialogue>\n    <scene_description>Hanssen shrinks a bitl thrown. Plesac stays on point: \\*<\/scene_description>\n    <character>PLESAC \\*<\/character>\n    <dialogue>Even if all you give them is why you \\* did it... it buys you some goodwill. \\*<\/dialogue>\n    <scene_description>(no reply) \\* That's what Ames did, at first anyway \\* just gave up the why. \\*<\/scene_description>\n    <character>HANSSEN \\*<\/character>\n    <dialogue>Must not've taken long. All Ames \\* cared about was the money. \\*<\/dialogue>\n    <character>PLESAC \\*<\/character>\n    <dialogue>why else would he have done it? \\*<\/dialogue>\n    <scene_description>In other words: Why the fuck have you been betraying your \\* country for 22 years? Hanssen almost smiles. Almost. \\*<\/scene_description>\n    <character>HANSSEN \\*<\/character>\n    <dialogue>Oh, it's not so hard to guess, is it? \\* Considering the human ego? \\*<\/dialogue>\n    <scene_description>(Plesac waitsl \\* Imagine sitting in a room with a \\* bunch of your colleagues, everybody \\* trying to find a mole. And all the \\* while, it's you they're looking for. \\* That must be... very satisfying, \\* wouldn't you think? \\* Plesac doesn't answer. \\* HANSSEN (CONTrD) \\* Or maybe he considered himself a \\* patriot. Maybe he saw it as his duty \\* to show us how lax our security was. \\* Maybe he-- \\* Hanssen stops himself. Something just hit him: \\*<\/scene_description>\n    <character>HANSSEN (CONT'D) \\*<\/character>\n    <dialogue>Aw, what good does speculating do? He \\* spied. The why doesn't mean a thing, \\* does it? \\*<\/dialogue>\n    <character>PLESAC \\*<\/character>\n    <dialogue>No. I guess it doesn't. \\*<\/dialogue>\n    <scene_description>The Excursion pulls away from us. We DISSOLVE TO: \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>R-217 INT. FBI HQ -<\/stage_direction>\n    <character>HANSSEN'S<\/character>\n    <dialogue>R-217<\/dialogue>\n    <character>OFFICE<\/character>\n    <dialogue>-<\/dialogue>\n    <scene_description>Eric stands in the doorway, carrying a CARDBOARD BOX. It's \\* moving-out day. He pauses for one last look around: \\* All of Hanssen's things remain in place. Pictures, a \\* crucifix, that painting of two guys on a boat, the \\* rowing machine. Eric takes it all in, turns to go. \\* Then he hears those THREE BEEPS again, coming from the SCIF \\* door. He tenses a bit... until Kate enters. She looks the \\* place over - fascinated but detached. \\* Then she spots that painting on the wall. \\*<\/scene_description>\n    <character>KATE \\*<\/character>\n    <dialogue>Two guys on a boat. \\*<\/dialogue>\n    <scene_description>Eric smiles, Kate drifts in. \\* KATE (CONTaD) \\* Did you see the Director's press \\* conference? \\*<\/scene_description>\n    <character>ERIC \\*<\/character>\n    <dialogue>yeah. \\*<\/dialogue>\n    <character>KATE \\*<\/character>\n    <dialogue>Funny about those things. He thanked \\* the CIA and the U. S. Attorney's \\* Office, the Counsel for Intelligence \\* Policy... but he couldn't thank the \\*<\/dialogue>\n    <dialogue>guy we put behind that desk. You're \\* classified now. \\*<\/dialogue>\n    <scene_description>Eric knows that. \\*<\/scene_description>\n    <character>KATE (CONT'D) \\*<\/character>\n    <dialogue>I'm on my way to the Field Office. \\* We've still got two Russian I.O.'s \\* unaccounted for. \\*<\/dialogue>\n    <scene_description>(re: the cardboard box) \\* This mean me you won't be heading \\* over there with me? \\*<\/scene_description>\n    <character>ERIC \\*<\/character>\n    <dialogue>Thought I'd go home instead. \\*<\/dialogue>\n    <character>KATE \\*<\/character>\n    <dialogue>You're gonna make agent, Eric. That's \\* set now. Isn't that what you wanted? \\*<\/dialogue>\n    <character>ERIC \\*<\/character>\n    <dialogue>It was. \\*<\/dialogue>\n    <character>KATE \\*<\/character>\n    <dialogue>..until you came to my apartment and \\*<\/dialogue>\n    <scene_description>saw the tv dinner and no cat. \\* She was kidding there - she hopes. Eric just lets it \\* go.<\/scene_description>\n    <character>KATE (CONT'D) \\*<\/character>\n    <dialogue>Most of our agents are married, ya \\* know. Their spouses all get used to \\* the life eventually. So will Juliana. \\*<\/dialogue>\n    <character>ERIC \\*<\/character>\n    <dialogue>I don't think I want her to. \\*<\/dialogue>\n    <character>KATE \\*<\/character>\n    <dialogue>Oh. Thatis different. \\*<\/dialogue>\n    <character>ERIC \\*<\/character>\n    <dialogue>Yeah. \\*<\/dialogue>\n    <character>KATE \\*<\/character>\n    <dialogue>Yeah. \\*<\/dialogue>\n    <scene_description>Conversation's over. Kate knows that. So she has to this: \\* say<\/scene_description>\n    <character>KATE (CONT'D) \\*<\/character>\n    <dialogue>You know<\/dialogue>\n    <scene_description>how much you did here, don't \\* you? That was the worst spy in \\* American history you just took down. \\* How can you walk away after that? \\*<\/scene_description>\n    <character>ERIC \\*<\/character>\n    <dialogue>Can you think of a better time to \\* walk away? \\*<\/dialogue>\n    <scene_description>Kate, for the first time, doesn't have an answer. \\*<\/scene_description>\n    <character>KATE \\*<\/character>\n    <dialogue>No. \\*<\/dialogue>\n    <character>ERIC \\*<\/character>\n    <dialogue>S0.. \\*<\/dialogue>\n    <scene_description>Kate nods, giving her blessing. Eric turns to go. \\* .but he stops before getting there. Just spotted something: \\* On the desk is one of those fat blue Doctor-Grip Pens. Eric\\* eyes it, looks to Kate. \\*<\/scene_description>\n    <character>ERIC (CONT'D) \\*<\/character>\n    <dialogue>Think it'd be okay if I. ? \\*<\/dialogue>\n    <character>KATE \\*<\/character>\n    <dialogue>I'd say you'd earned it. \\*<\/dialogue>\n    <scene_description>He puts the pen in his box, heads out. \\*<\/scene_description>\n    <character>KATE (CONT'D) \\*<\/character>\n    <dialogue>Good luck, Eric. \\*<\/dialogue>\n    <character>ERIC \\*<\/character>\n    <dialogue>You too. \\*<\/dialogue>\n    <scene_description>One last look, then he leaves 9930 for the last time. We \\* remain on Kate as the door to the SCIF closes.. \\* OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ -<\/stage_direction>\n    <character>9TH<\/character>\n    <dialogue>MOMENTS LATER<\/dialogue>\n    <character>FLOOR CORRIDOR<\/character>\n    <dialogue>219<\/dialogue>\n    <scene_description>Eric passes a GLASS CASE boasting a display of the FBI's HISTORIC ARRESTS. Beside it is a FLIER for a party to honor a RETIRING SECRETARY's 35 years of service. Cake and cookies. He turns a corner, heading for a bank of elevators.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ -<\/stage_direction>\n    <character>BANK<\/character>\n    <dialogue>CONTINUING<\/dialogue>\n    <character>OF ELEVATORS<\/character>\n    <dialogue>220<\/dialogue>\n    <scene_description>Ten feet away, a pair of elevator doors begin to close. Eric hurries over, knifing his free hand between the closing doors. They open... And he freezes.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>oh.<\/dialogue>\n    <scene_description>Robert Hanssen, master-spy, is inside the elevator, flanked by Plesac and an FBI COP. Hanssen's hands are cuffed. Eric stands stiffly, no idea what to say. The moment hangs. Hanssen eyes his would-be protege, then utters the last words Eric will ever hear from him:<\/scene_description>\n    <character>HANSSEN<\/character>\n    <dialogue>Pray for me?<\/dialogue>\n    <scene_description>Eric's jaw nearly drops. But then..<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>I will.<\/dialogue>\n    <scene_description>He backs away, allowing the elevator doors to close. As the doors come together, we MOVE IN ON HANSSEN. .. and an odd thing happens: the light above him begins to im. Then it starts to vanish entirely. He looks up, confused, as the doors meet one another, and Hanssen is in utter blackness. We leave him there, and.<\/scene_description>\n    <character>FADE OUT<\/character>\n  <\/scene>\n<\/script>","summary":"Eric O'Neill is a young ambitious FBI employee assigned to work undercover as a clerk to Robert Hanssen, a senior agent he is told is suspected of being a sexual deviant. Hanssen has been recalled from a detail post at the State Department to FBI headquarters ostensibly to head up a new division specializing in Information Assurance. Initially, Hanssen insists on a strict formality between the two men. He frequently rails against the bureaucracy of the FBI and complains that only those who regularly \"shoot guns\" are considered for senior positions instead of those, like himself, who are involved in vital national security matters. He calls the bureau's information technology systems antiquated and laments the lack of coordination and information exchange with other intelligence agencies. Eventually, Hanssen becomes a friend and mentor to O'Neill and takes a personal interest in him and his wife Juliana, who is suspicious of Hanssen and resents his intrusions. A devout Catholic who is also a member of Opus Dei, Hanssen urges O'Neill, a lapsed Catholic, and his secular East German-born wife to become active churchgoers. O'Neill finds no evidence of Hanssen leading a secret double life and develops a growing respect for his boss, leading him to confront his handler in the undercover assignment, Kate Burroughs. She admits that the sexual deviance allegations are only a secondary consideration and that Hanssen is suspected of having spied for the Soviet Union and Russia for years and being responsible for the deaths of agents working for the United States. The entire Information Assurance Division that Hanssen now heads was created specifically to lure him away from his previous job as liaison to the State Department, and his office was specially constructed with hidden surveillance equipment. The investigation already includes fifty agents, and is personally overseen by FBI Director Louis Freeh, who has been reading O'Neill's reports on Hanssen. Although the FBI already has enough evidence to arrest Hanssen, Director Freeh wants to catch Hanssen in the act of making a drop so that their case against him will be airtight, ensuring that he will cooperate once arrested and not retaliate by exposing more undercover agents and informants. O'Neill is ordered to obtain data from Hanssen's Palm Pilot and keep him occupied while FBI agents search his car and plant covert listening devices in it. The tracking devices in Hanssen's car cause interference with the radio, which makes Hanssen suspicious. He also wonders why he was placed in an isolated position in the FBI only a few months before he is scheduled to retire. He tells O'Neill he believes he is being watched by Russian agents. The FBI intercepts a message he sends to his Russian handlers saying he will not provide any more information. O'Neill convinces Hanssen that he is not being trailed by the Russians or by him on behalf of the FBI. With his confidence restored, Hanssen makes one last dead drop of stolen information and the FBI catches him in the act. Although he is assured promotion, O'Neill is discouraged by the toll the case has taken on his marriage and opts to leave the agency. When O'Neill leaves his office with his belongings, he unexpectedly encounters Hanssen in an elevator being escorted by arresting officers. A tearful Hanssen asks O'Neill to pray on his behalf, and O'Neill promises he will."}
{"movie_name":"Game Night_2018","imdb_id":"tt2704998","script":"<script>\n  <scene>\n    <character>GAME NIGHT<\/character>\n    <dialogue>By<\/dialogue>\n    <scene_description>Mark Perez Revisions By Dana Fox &amp; Katherine Silberman Current Revisions by Jonathan Goldstein &amp; John Francis Daley Revised Draft October 25, 2016<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PUB - NIGHT<\/stage_direction>\n    <scene_description>MUSIC BLARES. We move past people drinking, playing POOL, DARTS, BEER PONG and land on... MAX (30's) sitting with a team in matching T-shirts. (His says, \"CAPTAIN.\") It's a rowdy PUB TRIVIA NIGHT. Max pounds a drink and yells at his team:<\/scene_description>\n    <character>MAX<\/character>\n    <parenthetical>(slightly slurred)<\/parenthetical>\n    <dialogue>Who cares about winning?! Let's get drunk!<\/dialogue>\n    <scene_description>His team CHEERS. Max walks over to the BARTENDER, dead sober:<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>I need four shots of Everclear and four shots of water.<\/dialogue>\n    <parenthetical>(throwing down some bills)<\/parenthetical>\n    <dialogue>Send the real ones to the other team. Give us the water.<\/dialogue>\n    <scene_description>The Bartender snorts and starts pouring.<\/scene_description>\n    <character>TRIVIA EMCEE (O.S.)<\/character>\n    <dialogue>What former Supreme Court Justice--<\/dialogue>\n    <character>MAX<\/character>\n    <parenthetical>(spinning around)<\/parenthetical>\n    <dialogue>Oliver Wendell Holmes!<\/dialogue>\n    <scene_description>Max's team CHEERS.<\/scene_description>\n    <character>TRIVIA EMCEE<\/character>\n    <parenthetical>(annoyed)<\/parenthetical>\n    <dialogue>That is correct. Again, I'd like to ask the players to allow me to--<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>--finish the question!<\/dialogue>\n    <scene_description>His team laughs and cheers again. Across the room, also wearing a \"CAPTAIN\" shirt, ANNIE (30's) glares at her TEAMMATES, including BILL, a schlubby guy.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Come on, guys. Focus. This isn't a game!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>It literally is.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Bill, I swear to god--<\/dialogue>\n    <character>TRIVIA EMCEE<\/character>\n    <dialogue>For triple points: what is the name of the purple Teletubby?<\/dialogue>\n    <scene_description>The room quiets... There's an intense beat then--<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Tinky Winky!<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Tinky Winky!<\/dialogue>\n    <scene_description>Max and Annie lock eyes, sparks flying.<\/scene_description>\n    <character>MAX<\/character>\n    <parenthetical>(intense)<\/parenthetical>\n    <dialogue>He always carried a--<\/dialogue>\n    <character>ANNIE<\/character>\n    <parenthetical>(unblinking)<\/parenthetical>\n    <dialogue>--red purse. I know.<\/dialogue>\n    <scene_description>There is a definite connection here.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY - NIGHT<\/stage_direction>\n    <scene_description>Max and Annie stand in the middle of a subway car, furiously making out. The car suddenly comes to a stop and the couple goes FLYING INTO A METAL POLE. In a MONTAGE, Max and Annie WIN different GAME NIGHTS as their relationship progresses: --A SMALL STUDIO APARTMENT, playing the board game RISK with another COUPLE, DAN and LINDA.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>If you take Kamchatka and I take Mongolia, we can trap Linda in the middle.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Starve out her army. Smart.<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>Hey! You can't form alliances.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Worked for Hitler.<\/dialogue>\n    <scene_description>They high-five.<\/scene_description>\n    <character>LINDA<\/character>\n    <dialogue>You're high-fiving Hitler?!<\/dialogue>\n    <scene_description>--In A NICER APARTMENT, playing PICTIONARY. Max haphazardly DRAWS a RECTANGLE.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>\"The Best Exotic Marigold Hotel\"!<\/dialogue>\n    <scene_description>Other players protest. Max and Annie kiss. --IN THEIR MODEST SUBURBAN HOUSE, playing CHARADES with Bill. Max points to Bill and Annie guesses--<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Bill. Overweight. Single. Out of work.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>What the fuck?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Hairy?<\/dialogue>\n    <parenthetical>(Max touches his nose)<\/parenthetical>\n    <dialogue>Hairy. Carry. Mary.<\/dialogue>\n    <parenthetical>(Max touches his nose)<\/parenthetical>\n    <dialogue>Mary!<\/dialogue>\n    <parenthetical>(Max points to himself)<\/parenthetical>\n    <dialogue>You! Me!<\/dialogue>\n    <scene_description>Max gestures to put it together.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Marry me!<\/dialogue>\n    <scene_description>Annie does a crazy\/cute victory dance but then:<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Wait-- What?<\/dialogue>\n    <scene_description>She turns back and sees Max on one knee, holding a ring.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Marry me, Annie.<\/dialogue>\n    <scene_description>Annie jumps into Max's arms, laughing and kissing him. Bill is still stinging from their insults.<\/scene_description>\n    <character>BILL<\/character>\n    <parenthetical>(half-hearted)<\/parenthetical>\n    <dialogue>Congrats. Happy for you guys.<\/dialogue>\n    <scene_description>--AT THEIR WEDDING RECEPTION, Max and Annie play a DANCING VIDEO GAME in their tux and wedding dress. Dancing in unison, as their score mounts. The SONG crescendos to... TITLE UP: \"GAME NIGHT\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAITING ROOM - DAY<\/stage_direction>\n    <scene_description>CLOSE ON a paper football about to be flicked at a finger- goalpost.<\/scene_description>\n    <character>ANNIE (O.S.)<\/character>\n    <dialogue>Lotta pressure here. You miss, you lose.<\/dialogue>\n    <character>MAX (O.S.)<\/character>\n    <dialogue>Stay outta my head, please.<\/dialogue>\n    <scene_description>Max and Annie sit in a doctor's waiting room playing paper football. Her hands are the goal. He's about to \"kick.\"<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Y'know, you do have the advantage because your fingers are smaller than mine which means you have a smaller goalpost.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Guess you should've married Uma Thurman.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Guess I should've.<\/dialogue>\n    <scene_description>Max aims, but just as he's about to flick the paper football his PHONE PINGS an incoming text. The \"football\" flies wildly far from the goal.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Come on!<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Awww. I'm sorry, honey. I know how much this meant to you.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>That was interference.<\/dialogue>\n    <scene_description>He reads the text. It's from BROOKS: \"PSYCHED FOR TONIGHT!\" The words are followed by the GIF of THE OBESE BOY DANCING CRAZILY ON A SOFA. Max sighs, annoyed. A NURSE enters.<\/scene_description>\n    <character>NURSE<\/character>\n    <dialogue>Doctor Chin is ready for you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DR. CHIN'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Max and Annie sit across a desk from DR. JOHANNA CHIN, 40's.<\/scene_description>\n    <character>DR. CHIN<\/character>\n    <dialogue>...I think we've determined why you've been having trouble conceiving.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Oh, yeah?<\/dialogue>\n    <scene_description>Chin turns and looks at Max.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>What? It's me? Of course it's me.<\/dialogue>\n    <character>DR. CHIN<\/character>\n    <parenthetical>(opening a file)<\/parenthetical>\n    <dialogue>I'm not loving your semen.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Oh?<\/dialogue>\n    <character>DR. CHIN<\/character>\n    <dialogue>Your count is excellent. But your motility is well below normal.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>What would cause that?<\/dialogue>\n    <character>DR. CHIN<\/character>\n    <dialogue>It can be genetic. Environmental factors. Nine times out of ten it's just stress.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>I'm not stressed.<\/dialogue>\n    <character>DR. CHIN<\/character>\n    <dialogue>Nothing at home or work?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>No. It's all good.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>What about your brother?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>What about him?<\/dialogue>\n    <character>ANNIE<\/character>\n    <parenthetical>(to Dr. Chin)<\/parenthetical>\n    <dialogue>His brother, Brooks, emailed a couple months ago that he's coming into town this week. Max has always had an inferiority complex with him.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>That's not true. And she doesn't need to hear this. She's not a therapist.<\/dialogue>\n    <character>DR. CHIN<\/character>\n    <dialogue>No, but I am a doctor and I believe in treating the whole patient.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>He's been on edge lately.<\/dialogue>\n    <character>DR. CHIN<\/character>\n    <dialogue>What is it about your brother that intimidates you, Max?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Really? We're gonna do this right next to the room where I masturbated?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Max has it in his head that Brooks is more successful and better looking and just generally cooler than he is.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>I never said \"cooler.\" Now you're projecting.<\/dialogue>\n    <character>ANNIE<\/character>\n    <parenthetical>(to Dr. Chin)<\/parenthetical>\n    <dialogue>He's just naturally charismatic.<\/dialogue>\n    <character>DR. CHIN<\/character>\n    <parenthetical>(jots down some notes)<\/parenthetical>\n    <dialogue>Very interesting. And is he single?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Yeah. Why?<\/dialogue>\n    <character>DR. CHIN<\/character>\n    <dialogue>I don't know if I mentioned it, but Keith and I are on a trial separation.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Oh, I'm sorry.<\/dialogue>\n    <character>DR. CHIN<\/character>\n    <dialogue>Don't be. Keith was emotionally abusive.<\/dialogue>\n    <parenthetical>(then, to Max)<\/parenthetical>\n    <dialogue>You think your brother would want to grab a cup of coffee with me?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>I-- I don't know.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>We can ask him.<\/dialogue>\n    <character>DR. CHIN<\/character>\n    <dialogue>Now, is he a tall fella? Because I'm only 5'2\".<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>So we're done with my sperm, then?<\/dialogue>\n    <scene_description>Annie and Dr. Chin ignore him.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>He's definitely taller than Max. But he once dated this ballerina and she was a tiny little thing-- y'know, I'm starting to love this idea.<\/dialogue>\n    <character>DR. CHIN<\/character>\n    <dialogue>Me too. Is he Google-able?<\/dialogue>\n    <scene_description>Max throws up his hands as they continue to talk about how great Brooks is.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAX'S &amp; ANNIE'S HOUSE - EVENING<\/stage_direction>\n    <scene_description>Max and Annie pull into the driveway of a SUBURBAN HOME. Max grabs some groceries from the trunk and they head toward the door. They spot their stiff neighbor, GARY (40, think Michael Shannon, wearing a police uniform) standing at his mailbox. On a leash is a small, white puffball of a DOG.<\/scene_description>\n    <character>MAX<\/character>\n    <parenthetical>(sotto, to Annie)<\/parenthetical>\n    <dialogue>Shit. It's Gary. Don't mention game night.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Good evening, Max. Annie.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Hey, Gary. How's it going?<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Well enough. Just checking the mail. Some people check it earlier in the day but there's always a risk that the mail carrier hasn't come yet. This spares me the chance of a futile trip to the mailbox.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Uh huh.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Plus, it allows Bastian here the opportunity to urinate.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Well, have a good one.<\/dialogue>\n    <character>GARY<\/character>\n    <parenthetical>(pointedly, glancing at groceries)<\/parenthetical>\n    <dialogue>Any plans for this evening? Perhaps a game night?<\/dialogue>\n    <character>MAX<\/character>\n    <parenthetical>(uneasy)<\/parenthetical>\n    <dialogue>Oh, no. Annie and I are staying in.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>I see. I do hope you'll keep me in mind for any future game nights. I always enjoyed the camaraderie of good friends competing in games of chance and skill.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Yeah... we should do that again. But tonight it's just the two of us.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Three bags of Tostitos \"Scoops\" I notice.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>They had a special. Three for one.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Three for one? How can that be profitable for Frito-Lay?<\/dialogue>\n    <scene_description>They shrug.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>Well, you two enjoy each other. Often we don't fully appreciate what we have until it's gone.<\/dialogue>\n    <scene_description>Awkward beat.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>They can't think of anything else to say so they head inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - MAX AND ANNIE'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Max and Annie enter. He peeks outside from behind a curtain.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Now if he sees the others we're screwed.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Well, I told everyone to park far away and sneak in quietly.<\/dialogue>\n    <parenthetical>(then, changing course)<\/parenthetical>\n    <dialogue>Are we being dicks? Should we just keep inviting him? It seems like he really wants to play.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>No! Debbie was our friend. Gary was just the creepy husband we had to put up with. And he's only gotten worse since the divorce. He's like the butler at a haunted house.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Yeah, you're right. We don't actually owe him anything. He can always find people like himself to play with. Y'know, other weirdos.<\/dialogue>\n    <scene_description>Just then, a kitchen window opens and a VERY HOT 20-SOMETHING GIRL, MADISON, crawls in. Max and Annie regard her.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Can we help you?<\/dialogue>\n    <character>MADISON<\/character>\n    <parenthetical>(vocal fry)<\/parenthetical>\n    <dialogue>I'm okay.<\/dialogue>\n    <scene_description>RYAN, 30's, hoists himself in after her.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Why are you coming in the window?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>You said to sneak in so Robocop wouldn't see us.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>I meant sneak in the door but, okay... could you get your boot off our cutting board?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Well, you were super vague about how we should sneak in--<\/dialogue>\n    <scene_description>Just then, another window slides open and KEVIN, 30's African-American, starts climbing inside.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Jesus. It's like \"Night of the Living Dead\" in here.<\/dialogue>\n    <scene_description>Kevin helps his wife, MICHELLE, 30's, African-American, climb in.<\/scene_description>\n    <character>MICHELLE<\/character>\n    <dialogue>I am not dressed for this nonsense.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Yeah, you're asking a lot of us, Max.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>I didn't tell anyone to come in the window.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Guys, this is Madison. Madison, this is Max and Annie. Kevin and Michelle.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Yeah, you brought her last week.<\/dialogue>\n    <parenthetical>(to Madison)<\/parenthetical>\n    <dialogue>You work at Forever 21, right?<\/dialogue>\n    <scene_description>Ryan gives Annie a \"what the fuck\" look.<\/scene_description>\n    <character>MADISON<\/character>\n    <parenthetical>(vocal fry)<\/parenthetical>\n    <dialogue>I work at Sephora.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I'm confused.<\/dialogue>\n    <character>MAX<\/character>\n    <parenthetical>(sotto to Annie)<\/parenthetical>\n    <dialogue>Different girl. Same look, same voice.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Oh. Hi. Nice to meet you.<\/dialogue>\n    <character>MADISON<\/character>\n    <dialogue>You too.<\/dialogue>\n    <scene_description>Madison holds out an awkward limp hand, like a dead fish. Max and Annie try to figure out what to do with it. Annie shakes it awkwardly. Max kisses it.<\/scene_description>\n    <character>MADISON<\/character>\n    <dialogue>Do you guys have a bathroom?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Yes we do. Right down the hall.<\/dialogue>\n    <character>MADISON<\/character>\n    <dialogue>On the right or the left. I don't want to go in the wrong room.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>It'll be the one with the toilet.<\/dialogue>\n    <character>MADISON<\/character>\n    <dialogue>'Kay.<\/dialogue>\n    <scene_description>Madison exits.<\/scene_description>\n    <character>MICHELLE<\/character>\n    <dialogue>Where'd you meet her? At a TED talk?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Don't judge me. Brains and personality aren't everything.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Aren't you sick of losing game night every week 'cause of the dates you bring?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>They're not always bad.<\/dialogue>\n    <scene_description>FLASHBACK TO: --Ryan plays charades. He frantically mimes a clue for his partner, HOT DATE #1. We REVEAL she isn't paying any attention to him. Instead she's on SNAPCHAT, taking a selfie with the \"licking dog\" filter. On it she's written \"Game night. Bored AF.\"<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Come on, Heather! How many pictures of you as a dog do you need?<\/dialogue>\n    <scene_description>The others look embarrassed. --Ryan's HOT DATE #2 puts down a word in Scrabble and claps happily.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>\"Dennis\" isn't a word.<\/dialogue>\n    <character>HOT DATE<\/character>\n    <dialogue>Uh, yeah, it is. It's my daddy's name, so...<\/dialogue>\n    <scene_description>The group roll their eyes. --Ryan and a HOT DATE #3 play Taboo. His card reads \"Seal Team Six.\"<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Okay, these are, like, the very best, the elite--<\/dialogue>\n    <character>HOT BLONDE DATE<\/character>\n    <dialogue>White people?<\/dialogue>\n    <character>EVERYONE<\/character>\n    <dialogue>Whoaaaa!<\/dialogue>\n    <scene_description>BACK TO SCENE.:<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Unlike you psychos, I don't really give a shit about winning at game night. I don't need that validation.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>But you do need the validation of dating hot women.<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>(matter of fact)<\/parenthetical>\n    <dialogue>Oh yeah.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I'm sorry I'm not like you, Michelle. We didn't all meet our soulmates when we were ten years old.<\/dialogue>\n    <scene_description>Kevin smiles and puts an arm around Michelle.<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Fourteen.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>We didn't get married till we were nineteen.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>And this was back in Iran? Or Westeros?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Y'know what, Ryan? I hope someday you find a girl who you love as much as I love my sweet baby here.<\/dialogue>\n    <scene_description>They kiss. Ryan grimaces.<\/scene_description>\n    <character>MAX<\/character>\n    <parenthetical>(heading to living room)<\/parenthetical>\n    <dialogue>Everybody have a drink? What should we play first?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Y'know what rich people are doing on their game nights these days?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Fight clubs. I just read about them. They pay poor people to fight each other and they bet on the winner.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>That's not a real thing.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Yuh-huh. When you can have anything you want in the world, you have to raise the stakes or life gets boring. The Kennedys used to have fight clubs at their Hyannis Port compound.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>You need to stop reading Buzzfeed every damn second of the day 'cause that's just pure silliness.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>So... charades then?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Don't you want to wait for Brooks?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Hold up. Brooks is in town?<\/dialogue>\n    <scene_description>Madison returns.<\/scene_description>\n    <character>MICHELLE<\/character>\n    <dialogue>I thought he was working in Europe.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>He was. Apparently, he's back here for business. I haven't seen him yet.<\/dialogue>\n    <character>MADISON<\/character>\n    <dialogue>Who are we talking about?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Max's brother. He's this super- successful venture capitalist.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>He was the first to invest in Panera Bread. Turned it into America's leading fast casual dining chain.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>He's the Mark Wahlberg to Max's Donnie.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Y'know what? I'm gonna take that as a compliment because Donnie was fucking great in \"The Sixth Sense.\"<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>Was he in that?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Yeah, he was. And you know who wasn't? Mark Wahlberg.<\/dialogue>\n    <character>MADISON<\/character>\n    <dialogue>Mark would never take a role that small.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Oh, he wouldn't, Madison? Thank you.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>We haven't seen Brooks since your wedding. Remember that speech he gave?<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>I've never seen you cry that much.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>We were all crying. What was that lovely poem he read?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>\"Ancient Snapshots\" by Joyce Carol Oates.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>That's right. And then he paid for that whole fireworks display.<\/dialogue>\n    <scene_description>There's a beat as the friends fondly remember how awesome Brooks is. Finally,<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>So, you guys wanna play or...?<\/dialogue>\n    <scene_description>SFX: HONK! HONK! From outside the house, a loud CAR HORN is accompanied by the blaring sound of BILLY JOEL'S \"CAPTAIN JACK\" on the radio. Annie and Max hurry to the window. Parked in front of their house, we see a shiny bright red 1976 Corvette Stingray with BROOKS at the wheel. He spots them and gives a friendly wave.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>You didn't tell him to park up the street?!<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>I did! Like three times!<\/dialogue>\n    <parenthetical>(then, to himself)<\/parenthetical>\n    <dialogue>He got a Stingray?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAX &amp; ANNIE'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Max sneaks out the front door and tries to signal--<\/scene_description>\n    <character>MAX<\/character>\n    <parenthetical>(whisper-yelling)<\/parenthetical>\n    <dialogue>Turn off your car!<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <scene_description>But it's too late. Gary steps out his front door. Max waves at Gary awkwardly, caught.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Hey again.<\/dialogue>\n    <parenthetical>(under his breath)<\/parenthetical>\n    <dialogue>Still wearing the uniform...<\/dialogue>\n    <scene_description>Brooks takes a 12-pack from his car and crosses the street.<\/scene_description>\n    <character>BROOKS<\/character>\n    <parenthetical>(too loud)<\/parenthetical>\n    <dialogue>Hey, bud. Sorry I'm late. I hope you didn't start game night without me.<\/dialogue>\n    <character>MAX<\/character>\n    <parenthetical>(nodding toward Gary)<\/parenthetical>\n    <dialogue>Shh! Didn't you get my texts?<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>What texts?<\/dialogue>\n    <parenthetical>(then, to Gary)<\/parenthetical>\n    <dialogue>Evening, officer.<\/dialogue>\n    <parenthetical>(then, softly)<\/parenthetical>\n    <dialogue>What's up with that guy?<\/dialogue>\n    <character>MAX<\/character>\n    <parenthetical>(to Gary)<\/parenthetical>\n    <dialogue>Gary, this is my brother. We're just doing, like, a little three- man, family game night thing.<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>Three-man? What about Kevin, Michelle and Ryan? I thought they were coming.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>No, no, no.<\/dialogue>\n    <parenthetical>(to Gary)<\/parenthetical>\n    <dialogue>Just us, Gary.<\/dialogue>\n    <character>BROOKS<\/character>\n    <parenthetical>(pointing)<\/parenthetical>\n    <dialogue>I can see them in your doorway. There's a whole mess of people.<\/dialogue>\n    <scene_description>REVERSE to see Kevin, Michelle, Annie, Ryan and Madison all huddled in the doorway, hiding from Gary.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Huh? Oh, yeah.<\/dialogue>\n    <parenthetical>(to Gary)<\/parenthetical>\n    <dialogue>They're not staying, Gary. It was a mix-up with the...<\/dialogue>\n    <scene_description>Looking hurt, Gary goes back in his house and shuts the door.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>God damn it, Brooks.<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>We didn't want him to know we were doing game night. He used to come but we don't like him anymore.<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>Well, now he knows. Bring it in. I haven't seen you in a year.<\/dialogue>\n    <scene_description>Brooks grabs him in a bear hug.<\/scene_description>\n    <character>BROOKS<\/character>\n    <dialogue>You smell good. What is that, Selsun Blue? Head and Shoulders?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Why do you assume it's dandruff shampoo?<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>You've always been a bit of a snowstorm. Now where's that wife of yours?<\/dialogue>\n    <scene_description>He heads inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAX &amp; ANNIE'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Everyone ad libs greetings as they exchange hugs with Brooks.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Sweet ride, Brooks.<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>Oh yeah. I just got her a couple weeks ago.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Is that a Corvette?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>1976 rally red Stingray Coupe. It was my dream car when I was a kid.<\/dialogue>\n    <character>BROOKS<\/character>\n    <parenthetical>(innocently)<\/parenthetical>\n    <dialogue>Yeah, that's what gave me the idea to get it.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I love your house.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Are you being sarcastic?<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>No. I mean it. It reminds me of Mom and Dad's place. Takes me back to simpler times.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Simpler?<\/dialogue>\n    <character>ANNIE<\/character>\n    <parenthetical>(chill out)<\/parenthetical>\n    <dialogue>Max.<\/dialogue>\n    <character>ANNIE<\/character>\n    <parenthetical>(then, to Brooks)<\/parenthetical>\n    <dialogue>So, how long are you in town for?<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>Not sure. Depends on how many clients my firm wants me to schmooze. But I'm hoping it's for a while. I never get to see you guys.<\/dialogue>\n    <scene_description>Brooks throws his arm around Max.<\/scene_description>\n    <character>BROOKS<\/character>\n    <dialogue>I've missed you, man.<\/dialogue>\n    <scene_description>Max looks at his brother and can't help it, he smiles--<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Missed you too.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - MAX &amp; ANNIE'S HOUSE - LATER<\/stage_direction>\n    <scene_description>They're about to play CELEBRITY.<\/scene_description>\n    <character>MADISON<\/character>\n    <dialogue>Say it one more time.<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>(a little impatient)<\/parenthetical>\n    <dialogue>Okay. You take a piece of paper from the bowl and then you give clues to the group and they try and guess who your celebrity is.<\/dialogue>\n    <character>MADISON<\/character>\n    <dialogue>Okay, got it.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Twenty seconds. Starting... now.<\/dialogue>\n    <scene_description>He starts a timer on his phone. Madison pulls out a name.<\/scene_description>\n    <character>MADISON<\/character>\n    <dialogue>I don't know who this is.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>That's okay. Pick another one.<\/dialogue>\n    <character>MADISON<\/character>\n    <parenthetical>(she does)<\/parenthetical>\n    <dialogue>I don't know who this is.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Try another one. Quick.<\/dialogue>\n    <character>MADISON<\/character>\n    <parenthetical>(she does)<\/parenthetical>\n    <dialogue>Oh. Okay, this is the guy who-- no, wait. I don't know who this is.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Maybe someone else should start.<\/dialogue>\n    <scene_description>The others quickly agree. Brooks gets up.<\/scene_description>\n    <character>BROOKS<\/character>\n    <dialogue>I'll go.<\/dialogue>\n    <scene_description>Max rubs his palms on his pants. It's on. Annie offers a bottle of wine to Max.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Do you want more--<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>SHH!<\/dialogue>\n    <scene_description>Ryan starts the timer.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>And... go!<\/dialogue>\n    <scene_description>Brooks pulls out a clue.<\/scene_description>\n    <character>BROOKS<\/character>\n    <parenthetical>(raspy singing)<\/parenthetical>\n    <dialogue>\"The beautiful people...\"<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>Marilyn Manson.<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>You got it.<\/dialogue>\n    <parenthetical>(then, chuckling)<\/parenthetical>\n    <dialogue>Quick story.<\/dialogue>\n    <scene_description>Brooks pauses the timer.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Hey, you can't pause--<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>Remember that urban myth that Marilyn Manson had some of his ribs removed so he could go down on himself?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>Can I tell 'em, Max?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>No! You're in the middle of a--<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>Come on. You were 14. It's an adorable story.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>I forbid it.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Now you've gotta tell us.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Thanks, honey.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Did you blow yourself?<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>You know those bungee cords you use on roof racks? Max wrapped one behind his neck and under his legs to try and squish his face down to his crotch.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>Oh my god.<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>But he gets stuck like that. He can't unhook it. Finally, after about an hour our mom comes home and finds him there. This naked pretzel boy on the floor of his bedroom. He's had back problems ever since.<\/dialogue>\n    <scene_description>The group is equal parts shocked and cracking up. Max is beet red. Annie rubs his back, consoling.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Aww, my little pretzel boy.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>So what?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Did you suck it?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>We're not talking about this anymore.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Come on! That's like turning off \"Kramer vs. Kramer\" before you see who gets the kid.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>It's really not.<\/dialogue>\n    <scene_description>A deeply embarrassed Max grabs the timer and starts it again.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Enough! The timer's going.<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <scene_description>Brooks launches into A RAPID-FIRE SERIES OF CLUES that are so spot-on, they are immediately guessed. He's amazing.<\/scene_description>\n    <character>BROOKS<\/character>\n    <dialogue>Poor man's Johnny Depp stars in \"Jericho.\"<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Skeet Ulrich.<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>UN Secretary General from '92 to '96.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>Boutros Boutros-Ghali.<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>Doesn't like kids in \"Jurassic Park.\"<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Sam Neill.<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>Dubstep DJ looks like Corey Feldman.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Skrillex.<\/dialogue>\n    <scene_description>ANGLE ON Madison. Like Ryan's earlier date, she's on SNAPCHAT, taking a selfie with the \"licking dog\" filter.<\/scene_description>\n    <character>BROOKS<\/character>\n    <dialogue>Rappers are obsessed with this Cubist painter.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Picasso.<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>Big cat shot by asshole dentist.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Cecil the lion!<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Time!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Whoa. Seven. That's gonna be hard to beat.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Not that hard. I'll go next.<\/dialogue>\n    <scene_description>Brooks sits as Max steps up. Ryan starts the timer.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Go!<\/dialogue>\n    <scene_description>We see Max's first celebrity on the paper: ED NORTON<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Okay, easy. Annie, the actor we met at the airport that time.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>The only famous actor we ever met at the airport!<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Bobby Flay?<\/dialogue>\n    <character>MAX<\/character>\n    <parenthetical>(increasingly flustered)<\/parenthetical>\n    <dialogue>He's not an actor. He was in line in front of us at Sbarro? We were trying to figure out why he wasn't in the first class lounge.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Oh, yeah. Who was that...?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Goddamn it!<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>Y'know, you've got a whole room of people here who can help out.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Fine! He was the Incredible Hulk.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Eric Bana.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>No! The other one.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>Mark Ruffalo.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>The other one!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Lou Ferrigno?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Shit! \"Primal Fear.\"<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Richard Gere didn't play the Hulk.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Time's up.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Ed Fuckin' Norton!<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Ohh. Crap. Sorry.<\/dialogue>\n    <scene_description>Max does a bad job of covering how pissed he is.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Zero points for Max. I'd say he blew it, but he won't tell us. Get it?<\/dialogue>\n    <scene_description>Everyone but Max and Annie laughs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. MAX AND ANNIE'S HOUSE - LATER<\/stage_direction>\n    <scene_description>Max and Annie walk their guests out.<\/scene_description>\n    <character>BROOKS<\/character>\n    <dialogue>Hey, how about we do this next week at my house?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>House? What house?<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>Since I don't know how long I'll be here, I rented a place.<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>It's a couple miles away. Up on Broadmoor.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Ooh, swanky neighborhood.<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>It's a cool place. But it's pretty empty with just me. It'd be fun to have you guys over.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>I don't know. It's kind of a tradition to do game night here.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>So what? Could be fun.<\/dialogue>\n    <scene_description>The others chime in with agreement.<\/scene_description>\n    <character>BROOKS<\/character>\n    <dialogue>Perfect.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>Can we bring anything?<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>No. I've got everything.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Actually, Max, you may want to bring your own bungee cord.<\/dialogue>\n    <scene_description>They all crack up.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Just gonna keep going back to that well, huh?<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>I'm sorry. I'm done.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I promise you guys: this will be a game night to remember.<\/dialogue>\n    <scene_description>He hugs Max and gets into his Stingray. Max looks on with a hint of envy, then shuts the door and begins helping Annie clean up.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Jackass.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>He's just trying to get under your skin.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Yeah, and he knows exactly how to do it. He's been doing it my whole life. I don't see him for a year, then he pulls up in MY dream car, insults our house and tells an embarrassing story about me right before my turn.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Buying the same car does seem like a bit of a \"fuck you.\" But maybe it was his dream car too.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Bullshit. He's always known how to undermine me. You know I've never won a game against him?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Well, you've got to stop letting it bother you. It's literally killing our baby.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>What am I supposed to do?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I don't know. Beat him?<\/dialogue>\n    <scene_description>Max considers this. It's a damn good idea. CUT TO BLACK.: CHYRON: \"ONE WEEK LATER\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAX &amp; ANNIE'S HOUSE - DUSK<\/stage_direction>\n    <scene_description>Max and Annie head out toward his car with some board games.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>You don't want to just Uber there?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>I'm not getting drunk tonight. I'm gonna be sharp and ready for--<\/dialogue>\n    <character>GARY (O.S.)<\/character>\n    <dialogue>Evening.<\/dialogue>\n    <scene_description>They both jump and turn to see Gary standing there in the dark, as always in his police uniform, holding his dog.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Jesus, Gary! They hide the board games.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>AHH!!<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Where you headed?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Just going to my brother's.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Another game night?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>No! No game night. Just dinner.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>I see. Pity. I was going to invite you over for a dinner I was hosting. I've purchased four lamb shanks. I'm simmering them in a broth of red wine and rosemary.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>That sounds yummy.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Yeah, it's too bad we have plans.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>It was Debbie's recipe. I like to think she left me her recipe cards as a gesture of goodwill. But most likely it was an unintentional oversight.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Uh huh. We should get going.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Have fun.<\/dialogue>\n    <scene_description>Freaked out, Max and Annie head for the car. After a beat,<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>We didn't say anything.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Oh. Okay.<\/dialogue>\n    <scene_description>Gary stands there watching as they get into the car.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BROOKS' HOUSE\/INT. CAR - NIGHT<\/stage_direction>\n    <scene_description>Max's car pulls up to a beautiful modern mansion.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Aw, fuck me.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Guy who rents a house this big has to be covering up for something small.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>No, I've seen his dick. It's pretty great.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Well, I tried.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROOKS' HOUSE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Brooks opens the door on Max and Annie. The place is all windows and technology. It's annoyingly tasteful and awesome. Brooks offers them glasses of champagne.<\/scene_description>\n    <character>BROOKS<\/character>\n    <dialogue>Hey, guys.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Hey. Nice house, Tony Stark. Should we give our drink orders to Jarvis?<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>Ha! I got the Tony Stark part but then you went full nerd and I lost you. Come on in.<\/dialogue>\n    <scene_description>They follow him into a beautiful living room where Kevin, Michelle and Ryan are having a drink with JILLIAN, a bright, cute girl who seems way more normal than Ryan's usual dates. Ryan proudly presents Jillian like a prize--<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Oh, hello friends. Allow me to introduce you to my date, Jillian. Jillian went to Yale University and is a software engineer at our office, so she's smart as shit, okay?<\/dialogue>\n    <scene_description>Kevin and Michelle exchange a look.<\/scene_description>\n    <character>JILLIAN<\/character>\n    <dialogue>Okay, that was weird.<\/dialogue>\n    <parenthetical>(to Max and Annie)<\/parenthetical>\n    <dialogue>Nice to meet you guys.<\/dialogue>\n    <character>ANNIE<\/character>\n    <parenthetical>(they shake)<\/parenthetical>\n    <dialogue>You too.<\/dialogue>\n    <scene_description>Ryan flips Max and Annie off from behind Jillian's back.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>So maybe you can't always judge a book by its past... covers.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Odd use of that phrase.<\/dialogue>\n    <parenthetical>(to Brooks)<\/parenthetical>\n    <dialogue>We didn't know what games you had, so we brought a few of our favorites.<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>Oh, cool. Thanks, guys.<\/dialogue>\n    <scene_description>Brooks takes the games and THROWS THEM ACROSS THE ROOM. Pieces skitter across the stone floor.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>What the hell?<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>I told you we're taking it up a notch. The game we're playing is so epic, it doesn't need a board or pieces.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Still, you didn't need to throw them across the room.<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>I was being theatrical.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Holy shit. Are we doing a fight club?<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>These super-rich guys pay poor people--<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>No. Enough with the fight clubs. It's nonsense.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>So what are we playing?<\/dialogue>\n    <character>BROOKS<\/character>\n    <parenthetical>(dramatic)<\/parenthetical>\n    <dialogue>In your drinks I've placed a powerful neurotoxin. You have eight hours to find the antidote hidden somewhere in the city.<\/dialogue>\n    <scene_description>They all exchange looks of disbelief.<\/scene_description>\n    <character>BROOKS<\/character>\n    <dialogue>I'm just fucking with you. But this is not a joke: in the next hour, someone in this room will be taken. It'll be up to you to find that person before they're murdered.<\/dialogue>\n    <character>KEVIN<\/character>\n    <parenthetical>(excited)<\/parenthetical>\n    <dialogue>Is this a murder mystery party?!<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>Not just any murder mystery party. I found this company that does it super-real with legit actors. You won't know what's real and what's fake. Cost me a shit-ton.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>Fun!<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>But wait. There's more. Whoever finds the victim wins the grand prize: the keys to the Stingray.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Just the keys?<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>No, Ryan. The whole car.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Holy shit!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <parenthetical>(to Jillian)<\/parenthetical>\n    <dialogue>You're so lucky I brought you to this game night and not one of Max and Annie's.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>No, I just mean because this is better.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Come on, Brooks. You're not actually gonna give away your car.<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>I need a write-off. Plus, my Audi is more practical.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>This is the best night ever.<\/dialogue>\n    <character>JILLIAN<\/character>\n    <dialogue>So what do we do now?<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>Now we wait. Maybe play a little drinking game to pass the time.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>We don't play drinking games.<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>Tonight we do.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>How about \"Never Have I Ever\"?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Good one.<\/dialogue>\n    <character>MAX<\/character>\n    <parenthetical>(sotto, to Annie)<\/parenthetical>\n    <dialogue>Is this all just to one-up us?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Maybe he's trying to show us a good time.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>No, that's not it.<\/dialogue>\n    <scene_description>Annie rolls her eyes. Max heads off to the bathroom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BROOKS' HOUSE - NIGHT<\/stage_direction>\n    <scene_description>A menacing BLACK VAN quietly pulls up and parks outside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLACK VAN - NIGHT<\/stage_direction>\n    <scene_description>Two men sit inside -- a scary-looking, squat BALD GUY (40s) and a wiry creepy guy with a PONYTAIL (40s).<\/scene_description>\n    <character>PONYTAIL<\/character>\n    <dialogue>This the place?<\/dialogue>\n    <scene_description>The Bald Guy pulls out a scrap of paper with an address scribbled on it -- 1765 Broadmoor Avenue.<\/scene_description>\n    <character>BALD GUY<\/character>\n    <dialogue>This is it.<\/dialogue>\n    <scene_description>Ponytail dials his cell phone.<\/scene_description>\n    <character>PONYTAIL<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>We're at the house. Looks like they're all inside.<\/dialogue>\n    <scene_description>Bald Guy takes out a photo of Brooks. Then Ponytail hands him A VERY REAL-LOOKING GUN.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Max exits the bathroom and hears a CLATTERING NOISE from the kitchen. Curious, he slowly makes his way down the hall... Just as he turns the corner he finds himself INCHES AWAY FROM THE BLADE OF A LARGE KNIFE!<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Fucking shit!<\/dialogue>\n    <scene_description>Terrified, Max scrambles back against the wall. REVEAL it's Brooks holding the knife. Max exhales.<\/scene_description>\n    <character>BROOKS<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>What the hell's wrong with you?<\/dialogue>\n    <parenthetical>(re: the knife)<\/parenthetical>\n    <dialogue>It's for the cheese.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>You sure you don't need a bigger one? Are we cutting a whole wheel of gouda?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - BROOKS' HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Max and Brooks return. Everyone plays the drinking game.<\/scene_description>\n    <character>JILLIAN<\/character>\n    <dialogue>Never have I ever connected my work computer to a projector in the conference room while it was open to a WebMD page on chlamydia symptoms.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Dude! Not cool.<\/dialogue>\n    <scene_description>Everyone laughs.<\/scene_description>\n    <character>JILLIAN<\/character>\n    <parenthetical>(grinning)<\/parenthetical>\n    <dialogue>Drink.<\/dialogue>\n    <scene_description>He drinks.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>For the record. I didn't have chlamydia. It was a pubic dermatitis.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Nasty.<\/dialogue>\n    <character>ANNIE<\/character>\n    <parenthetical>(quietly, to Ryan)<\/parenthetical>\n    <dialogue>I like her....<\/dialogue>\n    <parenthetical>(then, to Jillian)<\/parenthetical>\n    <dialogue>I like you.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>You're not supposed to target people with this game. It's supposed to be generic things, like... never have I ever slept with a celebrity.<\/dialogue>\n    <scene_description>The others nod. Without thinking, Michelle take a sip of her drink. Halfway through the sip, she realizes Kevin is staring at her in surprise. She sets down her glass.<\/scene_description>\n    <character>MICHELLE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>You've slept with a celebrity?<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>Hmm? No, no. I was just taking a drink separate from the game.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Why are you all nervous then?<\/dialogue>\n    <character>MICHELLE<\/character>\n    <parenthetical>(nervous)<\/parenthetical>\n    <dialogue>I'm not nervous. Who's turn is it?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I think it's Max's turn. It's somebody's turn. Somebody should go now.<\/dialogue>\n    <character>JILLIAN<\/character>\n    <parenthetical>(to Ryan)<\/parenthetical>\n    <dialogue>What's going on here?<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>They've been together since middle school.<\/dialogue>\n    <character>JILLIAN<\/character>\n    <dialogue>Uh oh.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>How could you possibly have had sex with a celebrity when we've only had sex with each other?<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>You're making this into something it's not.<\/dialogue>\n    <scene_description>Max turns to Brooks.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>This is why we don't play drinking games.<\/dialogue>\n    <scene_description>SFX: BANG! BANG! BANG! Everyone jumps at the sound of banging. They all look at the front door except for Kevin who stares at Michelle.<\/scene_description>\n    <character>MALE VOICE (O.S.)<\/character>\n    <dialogue>Open up!<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>Looks like the game is afoot.<\/dialogue>\n    <scene_description>He crosses to the door and opens it on an imposing, extremely serious 40-something MAN in a dark suit and sunglasses.<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>Are you Brooks Davis?<\/dialogue>\n    <character>BROOKS<\/character>\n    <parenthetical>(mock serious)<\/parenthetical>\n    <dialogue>I am.<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>I'm Agent Henderson. FBI. Please sit down.<\/dialogue>\n    <scene_description>Brooks joins the others as the man enters.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Sunglasses at night. This guy's the real deal.<\/dialogue>\n    <character>AGENT HENDERSON<\/character>\n    <dialogue>I'll get right to the point. The Bureau has been tracking a ring of violent kidnappers in this neighborhood. We have reason to believe that one of you may be their next victim.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Quick question, Agent Henderson? Why is this a federal investigation? Seems more like a local police matter.<\/dialogue>\n    <scene_description>Annie swats Max: \"play along.\" Agent Henderson glares at Max but says nothing. He hands each of them a folder.<\/scene_description>\n    <character>AGENT HENDERSON<\/character>\n    <dialogue>Contained in these dossiers are the clues you'll need to find the kidnappers.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>We have to find them? What's the Bureau's role in this?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Maybe the FBI can take my wife in for questioning. 'Cause apparently, she's got a whole secret life I don't know anything about.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>Honey--<\/dialogue>\n    <character>AGENT HENDERSON<\/character>\n    <parenthetical>(barking)<\/parenthetical>\n    <dialogue>Shut up! All of you! This isn't a joke!<\/dialogue>\n    <scene_description>He gets up in Max's face.<\/scene_description>\n    <character>AGENT HENDERSON<\/character>\n    <parenthetical>(intense)<\/parenthetical>\n    <dialogue>You people are in serious danger and we are running out of time here! I will not stand idly by and see more civilians slaughtered on my watch!<\/dialogue>\n    <scene_description>Max glances over at Brooks and gives him a grudgingly impressed look.<\/scene_description>\n    <character>BROOKS<\/character>\n    <dialogue>He's pretty good, huh?<\/dialogue>\n    <character>AGENT HENDERSON<\/character>\n    <dialogue>Now, before we get started I'm required to ask if anyone here has any food allergies--<\/dialogue>\n    <scene_description>BOOM!!! The FRONT DOOR IS KICKED OPEN, splintering off its hinges. Bald Guy and Ponytail walk in wearing ski masks.<\/scene_description>\n    <character>AGENT HENDERSON<\/character>\n    <dialogue>Who the hell are you?<\/dialogue>\n    <scene_description>Ponytail COLD COCKS the \"FBI Agent.\" He goes down hard.<\/scene_description>\n    <character>BROOKS<\/character>\n    <dialogue>Guys! I know you're \"method\" and all but you can't just break my door--<\/dialogue>\n    <scene_description>Bald Guy walks up to Brooks and PUNCHES HIM IN THE GUT. Brooks doubles over.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Okay, I actually don't mind this game.<\/dialogue>\n    <scene_description>Brooks shoves the guy away.<\/scene_description>\n    <character>BROOKS<\/character>\n    <dialogue>ARE YOU CRAZY?!<\/dialogue>\n    <scene_description>Ponytail grabs Brooks in a headlock from behind. Brooks backs up, slamming Ponytail into the wall.<\/scene_description>\n    <character>JILLIAN<\/character>\n    <dialogue>Wow. This is kind of intense...<\/dialogue>\n    <scene_description>The fight continues. It's SLOPPY AND SURPRISINGLY VIOLENT as Brooks does a decent job of defending himself. ANGLE ON the rest of the group sitting on the sofas calmly eating chips and drinking cocktails like they're watching a movie.<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>(to Max)<\/parenthetical>\n    <dialogue>This is very well done.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Hm. Ski masks are a little on the nose.<\/dialogue>\n    <scene_description>Ponytail is shoved onto the coffee table in front of them. Ryan plucks the champagne bottle out of his way in the nick of time. Brooks manages to get loose from the Bald Guy. He reaches down to his ankle and pulls out a SMALL HANDGUN.<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>(playful)<\/parenthetical>\n    <dialogue>Watch out. He's packin' heat!<\/dialogue>\n    <scene_description>Brooks aims the gun at Bald Guy but it's knocked out of his hand by Ponytail. The gun skitters across the room and comes to a stop at Annie's feet. She looks down at it. The fight spills out of the living room and into the kitchen.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - BROOKS' HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Brooks faces off against the two attackers, wielding pots, utensils and whatever he can grab as a weapon. It's like a Bourne movie except these guys are not nearly as coordinated.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - BROOKS' HOUSE<\/stage_direction>\n    <scene_description>The group are as we left them. We can hear the sounds of breaking glass, clattering pans and pained grunts coming from the kitchen. After a beat, Max slices a sliver of cheese.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>This is good.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Try it with the prosciutto.<\/dialogue>\n    <character>JILLIAN<\/character>\n    <dialogue>Are we sure this is all part of the thing?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Oh, yeah. Brooks always goes all- out.<\/dialogue>\n    <parenthetical>(to the group)<\/parenthetical>\n    <dialogue>Remember that fireworks display he got for their wedding--?<\/dialogue>\n    <character>MAX<\/character>\n    <parenthetical>(abruptly)<\/parenthetical>\n    <dialogue>Yeah, Ryan. We talked about that.<\/dialogue>\n    <scene_description>Suddenly, Brooks flies into the room, landing on his back. There's broken glass in his hair and he's got a bloody nose.<\/scene_description>\n    <character>MICHELLE<\/character>\n    <dialogue>Ooh, they put some makeup on him.<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>Help me! Please! This isn't--<\/dialogue>\n    <scene_description>Bald Guy pins Brooks down and SLAPS TAPE over his mouth.<\/scene_description>\n    <character>MAX<\/character>\n    <parenthetical>(slow clapping)<\/parenthetical>\n    <dialogue>Very impressive. And the Independent Spirit Award goes to...<\/dialogue>\n    <scene_description>Brooks tries to buck Bald Guy off of him. Ponytail takes his gun out of his belt and points it at Brooks.<\/scene_description>\n    <character>PONYTAIL<\/character>\n    <dialogue>Stop fighting, asshole!<\/dialogue>\n    <scene_description>Bald Guy pulls out a bag and puts it over Brooks' head. He and Ponytail drag the struggling Brooks out of the house. Bald Guy stops at the door and points his gun at the gang--<\/scene_description>\n    <character>BALD GUY<\/character>\n    <dialogue>First one that follows us out, I shoot in the face.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>M'kay, drive safe.<\/dialogue>\n    <scene_description>The men hustle Brooks out. There's a beat as the group continue to sip their drinks.<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>There's something about this that doesn't make sense.<\/dialogue>\n    <parenthetical>(to Michelle)<\/parenthetical>\n    <dialogue>What did I do that made you want to cheat on me with a celebrity?!<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>I didn't cheat on you. It was before we got married. When we took that break.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Oh my god. My world is collapsing.<\/dialogue>\n    <scene_description>As Kevin and Michelle bicker, Ryan crosses to the supine \"FBI Agent\" and nudges him with his foot.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Agent Henderson? You gonna keep lying there?<\/dialogue>\n    <scene_description>He doesn't move.<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>(to Jillian)<\/parenthetical>\n    <dialogue>He's a regular Daniel Day Lewis.<\/dialogue>\n    <scene_description>Meanwhile, Max discreetly grabs one of the dossiers and he and Annie scurry off to another room. Jillian notices. She holds up another dossier to Ryan. They hurry off as well.<\/scene_description>\n    <character>KEVIN<\/character>\n    <parenthetical>(to Michelle)<\/parenthetical>\n    <dialogue>...we both agreed we wouldn't hook up with anyone during that break.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>Yeah, but then you went and got a handjob from Karen Waller.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>It was over the pants! And I felt guilty the whole time. But I guess I shouldn't have.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>You're making this into something--<\/dialogue>\n    <parenthetical>(then noticing)<\/parenthetical>\n    <dialogue>Oh hell. They got the jump on us.<\/dialogue>\n    <character>KEVIN<\/character>\n    <parenthetical>(grabs dossier)<\/parenthetical>\n    <dialogue>Come on! But this isn't over.<\/dialogue>\n    <scene_description>They hurry out. IN QUICK CUTS: --IN THE KITCHEN, Max and Annie go over the dossier:<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Here's the first clue. It looks like a riddle.<\/dialogue>\n    <parenthetical>(reads)<\/parenthetical>\n    <dialogue>With shiny fangs...<\/dialogue>\n    <scene_description>--IN A BEDROOM, Ryan and Jillian read the rules:<\/scene_description>\n    <character>JILLIAN<\/character>\n    <parenthetical>(reads)<\/parenthetical>\n    <dialogue>...my bloodless bite...<\/dialogue>\n    <scene_description>--IN A HALLWAY, Michelle reads:<\/scene_description>\n    <character>MICHELLE<\/character>\n    <dialogue>...will bring together what's mostly white.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Donald Trump!<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>I don't think that's it.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>How do you know? Did you fuck him?<\/dialogue>\n    <scene_description>--IN THE KITCHEN--<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>\"Bloodless bite\"? So it's not a vampire. Let me Google this.<\/dialogue>\n    <scene_description>She takes out her phone.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>This is so inconsistent. They choreograph a super-realistic fight and then they give us an FBI dossier with riddles in it? Pick a tone and stick with it.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Do you want that car or not?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>More than anything ever. But I feel like Brooks is setting me up here. This is just another game where somehow he's gonna humiliate me.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I say we find a shortcut.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>How do we do that?<\/dialogue>\n    <scene_description>Max notices her phone.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>His phone! It was in his pocket when they grabbed him.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>You want to call him?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>I want to track him.<\/dialogue>\n    <scene_description>He points to Brooks' iPad lying on the kitchen counter. They give each other an excited look.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - BROOKS' HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Ryan and Jillian are studying the dossier.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>\"Bloodless bite... bloodless bite... bloodless bite...\"<\/dialogue>\n    <character>JILLIAN<\/character>\n    <dialogue>Maybe stop saying \"bloodless bite\" so I can think?<\/dialogue>\n    <scene_description>They hear a CAR DOOR SLAM out the window. They glance out to see Max and Annie getting in their car and backing out of the driveway.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Shit. They must've already figured it out. We've gotta up our game. There's nothing more dangerous than Max when he's got something to prove.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>\"Bloodless bite... bloodless bite...\"<\/dialogue>\n    <character>JILLIAN<\/character>\n    <dialogue>Stop that!<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>We need to find an advantage.<\/dialogue>\n    <scene_description>She spots a wallet on the bedside table and picks it up.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Brooks' wallet? You think we should just steal all his shit?<\/dialogue>\n    <character>JILLIAN<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>She finds Brooks' credit card and dials a number on her cell.<\/scene_description>\n    <character>JILLIAN<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Yes, hi. I lost my credit card and I'm wondering if you can tell me the last few charges I made?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>JILLIAN<\/character>\n    <parenthetical>(covering phone)<\/parenthetical>\n    <dialogue>If we can find the name of the murder mystery company he used we can go to their office and pay them off to give us the final clue.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Whoa. You are a double threat: brains and sneakiness.<\/dialogue>\n    <character>JILLIAN<\/character>\n    <parenthetical>(not exactly flattered)<\/parenthetical>\n    <dialogue>Thanks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Kevin and Michelle are still puzzling over the clue.<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>What has shiny fangs that bites white things together?<\/dialogue>\n    <character>MICHELLE<\/character>\n    <parenthetical>(getting it)<\/parenthetical>\n    <dialogue>A stapler! The white things are paper!<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Yes! I would kiss you but I don't know where those lips have been.<\/dialogue>\n    <scene_description>She rolls her eyes.<\/scene_description>\n    <character>MICHELLE<\/character>\n    <dialogue>Look around for a stapler.<\/dialogue>\n    <scene_description>They move down the hall and enter<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROOKS' STUDY - CONTINUOUS<\/stage_direction>\n    <scene_description>A windowless room with a skylight in the ceiling. Lots of bound books, a desk, etc.<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Found one!<\/dialogue>\n    <scene_description>He grabs a stapler off the desk and opens it. Inside is a FLASHDRIVE.<\/scene_description>\n    <character>MICHELLE<\/character>\n    <dialogue>Here. Put it in the desktop.<\/dialogue>\n    <scene_description>Kevin plugs it into the computer and a text box opens.<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Another riddle.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <parenthetical>(reads)<\/parenthetical>\n    <dialogue>\"I am brown and old by day, white and young by night, my eyes are glass, I have nine faces but no head. I sing to the sky but I have no voice. I am everywhere and nowhere--\"<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>What the fuck is that?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAX'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Annie drives while Max uses FIND MY IPHONE on Brooks' iPad--<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Are they still on Route 18?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Yup. We're catching up.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Can you imagine Brooks' face when we find him so fast?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>It's gonna be so good. Y'know, I think I can actually feel my sperm coming back to life.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Perfect. We'll win your brother's car and then go make a baby in it.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Yeah! And we'll make him watch us!<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>What? I don't want to do that.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>I don't either. I don't know why I said that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROOKS' HOUSE - BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Jillian finishes her call.<\/scene_description>\n    <character>JILLIAN<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Great. Thank you.<\/dialogue>\n    <parenthetical>(hangs up)<\/parenthetical>\n    <dialogue>Let's go. I got the game company's name and address.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Yes! You rock.<\/dialogue>\n    <scene_description>He goes to hug her. Expecting a high-five, she puts up a hand. It's awkward. He ends up hugging her hand.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Ryan and Jillian head toward the living room. They pass the study where Michelle and Kevin are. Ryan stops.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Hey, guys, just wanted to wish you the best of luck tonight.<\/dialogue>\n    <scene_description>Kevin and Michelle look at him quizzically as he shuts the door to the study and PROPS A CHAIR UNDER THE HANDLE.<\/scene_description>\n    <character>JILLIAN<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Oh, being a dick.<\/dialogue>\n    <scene_description>He heads out. She follows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROOKS' STUDY - CONTINUOUS<\/stage_direction>\n    <scene_description>Kevin tries the door but it won't budge.<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>That son of a bitch.<\/dialogue>\n    <parenthetical>(calling through door)<\/parenthetical>\n    <dialogue>You son of a bitch!<\/dialogue>\n    <scene_description>He throws his shoulder against the door. Nothing. He spots some candles on a shelf.<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Hand me those matches. I'm gonna burn down this door.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>You're gonna light a fire in a windowless room that we're trapped in?<\/dialogue>\n    <character>KEVIN<\/character>\n    <parenthetical>(pouty)<\/parenthetical>\n    <dialogue>Fine. Don't hand me the matches.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <parenthetical>(looking up)<\/parenthetical>\n    <dialogue>What about that?<\/dialogue>\n    <scene_description>He looks up to see a SKYLIGHT twelve feet overhead. His eyes narrow.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAX'S CAR - NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON an iPad screen. The BLIP of Brooks' phone stops moving, then disappears.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Hold on. Brooks' phone just disappeared.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Crap. Where did you last see it?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Corner of 5th and Kenmore.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - MINUTES LATER<\/stage_direction>\n    <scene_description>They pull into a deserted lot in a sketchy neighborhood. They get out of the car and look around.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Where could he be?<\/dialogue>\n    <scene_description>Max notices a dumpster that sits behind an unmarked building. He crosses to it and glances in. Inside he spots a cell phone. He retrieves it.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Found it. It's turned off.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>He must've known we were tracking him.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Damn it. They outsmarted us.<\/dialogue>\n    <parenthetical>(noticing)<\/parenthetical>\n    <dialogue>Hang on...<\/dialogue>\n    <scene_description>He points across the street to where Ponytail is finishing a cigarette outside of a dive bar. He heads back inside.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Isn't that one of the actors?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Yeah. I guess they're not that smart.<\/dialogue>\n    <scene_description>They high-five each other.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>We are nailing this! Come on!<\/dialogue>\n    <scene_description>They head across the street, instinctively staying low.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Why are we crouching?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I don't know. Feels right?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DIVE BAR - NIGHT<\/stage_direction>\n    <scene_description>Max and Annie enter, trying to look casual. There's a BURLY BARTENDER, a half-asleep DRUNK GUY, and in a corner booth, facing away from them is Ponytail.<\/scene_description>\n    <character>MAX<\/character>\n    <parenthetical>(sotto, re: Ponytail)<\/parenthetical>\n    <dialogue>There he is. Don't let him see you.<\/dialogue>\n    <scene_description>They take a seat at the bar. Max signals to the tattooed bartender.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Sir? You wouldn't happen to have seen a guy brought in here. Looks a bit like me with a stronger chin, higher cheekbones.<\/dialogue>\n    <character>BARTENDER<\/character>\n    <dialogue>So, a better looking guy?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Okay, well, that's not necessarily--<\/dialogue>\n    <scene_description>Annie gives the bartender a look to say \"kind of, yes.\"<\/scene_description>\n    <character>BARTENDER<\/character>\n    <dialogue>I didn't see nothing.<\/dialogue>\n    <scene_description>He moves off. Max's eyes narrow.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>\"Didn't see nothing\"? That double- negative felt a bit forced, huh?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I bet he's in on it. Look at how fresh his tats are. Probably fake.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Let's test him. We'll order drinks only a real bartender would know how to make.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Smart.<\/dialogue>\n    <parenthetical>(calling)<\/parenthetical>\n    <dialogue>Barkeep?<\/dialogue>\n    <character>BARTENDER<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Can I have a vodka tonic, please?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I choked.<\/dialogue>\n    <character>MAX<\/character>\n    <parenthetical>(to Bartender)<\/parenthetical>\n    <dialogue>I'll take a Harvey Wallbanger.<\/dialogue>\n    <scene_description>The bartender looks at him, annoyed. Then goes to make the drinks.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>This is kinda fun, isn't it?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Yeah. It is nice to get out of the house. Y'know, we won't be able to do this kind of thing when we have a kid.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>'Cause when you have a kid, you stop living for you and you start living for them. That's why Brooks has got it made.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>So, what are you saying?<\/dialogue>\n    <scene_description>Max just shrugs as the bartender sets down their drinks.<\/scene_description>\n    <character>BARTENDER<\/character>\n    <dialogue>Vodka tonic. Harvey Wallbanger.<\/dialogue>\n    <scene_description>Max takes a sip.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Did he get it right?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>I don't know. I realize I've never actually had one. But it's tasty. Tart.<\/dialogue>\n    <scene_description>Suddenly, Max reacts as Bald Guy exits a back room, locks it, then tosses the keys to the Bartender. Behind him, we catch a brief glimpse of a man tied to a chair. It's Brooks.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Holy shit. Brooks is back there. We're about to win this thing!<\/dialogue>\n    <scene_description>Bald Guy has crossed over to Ponytail. He has noticed Max and Annie and he's pointing them out to Ponytail.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Uh oh. They made us.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>You think they're gonna try and stop us?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>We already know they take their roles pretty seriously. But the good news is, so do I.<\/dialogue>\n    <scene_description>She reaches into her purse and pulls out the GUN BROOKS DROPPED EARLIER.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>What the-- where did you get that?!<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>It's the fake gun Brooks \"dropped\" in the fight.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>How do you know it's fake?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>You think your brother would use a real gun in a fake fight with actors he hired?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Good point. So, what are we gonna do?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Follow my lead.<\/dialogue>\n    <scene_description>She gets to her feet and points the gun at the men.<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>(shouting)<\/parenthetical>\n    <dialogue>Any of you fucking pricks move, and I'll execute every motherfuckin' last one of you!<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>\"Pulp Fiction.\" Nice.<\/dialogue>\n    <character>PONYTAIL<\/character>\n    <dialogue>What the fuck is this?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Hand over the keys. We're taking my brother.<\/dialogue>\n    <character>BALD GUY<\/character>\n    <dialogue>Bullshit.<\/dialogue>\n    <scene_description>Caught up in her role, Annie gets closer to Bald Guy and aims her gun right at him.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>You know what's bullshit? Your bald fucking head.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Getting a little personal, hon.<\/dialogue>\n    <character>ANNIE<\/character>\n    <parenthetical>(\"angrily\" to Bald Guy)<\/parenthetical>\n    <dialogue>I'm sorry I called you bald! It works on you because you have a very symmetrical face!<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Okay, all of you. On your knees. Eyes shut. Hands in the air. Heads on the floor.<\/dialogue>\n    <scene_description>The thugs try to comply but can't remember everything. They all assume different positions.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>I said hands in the air.<\/dialogue>\n    <character>PONYTAIL<\/character>\n    <dialogue>Where's my head go?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>On the floor! And close your eyes.<\/dialogue>\n    <character>BARTENDER<\/character>\n    <dialogue>How do I put my hands in the air with my head on the floor?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>I had the same question.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Okay, child's pose. You guys know child's pose?<\/dialogue>\n    <scene_description>They give her blank looks. She hands the gun to Max.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Cover me.<\/dialogue>\n    <parenthetical>(then, to the men)<\/parenthetical>\n    <dialogue>It's like this...<\/dialogue>\n    <scene_description>She gets on the floor and demonstrates the position. The men follow suit.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>If you're doing it right, you'll feel your lumbar really opening up.<\/dialogue>\n    <scene_description>Bald Guy gives Max a look of disbelief. Max just shrugs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STRIP MALL - NIGHT<\/stage_direction>\n    <scene_description>Ryan and Jillian step out of his car and head toward a small storefront -- the party planning company, \"Murder We Wrote.\"<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>There it is!<\/dialogue>\n    <character>JILLIAN<\/character>\n    <dialogue>Looks like they're still open.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>I am so glad I invited you tonight. I usually bring these girls I want to sleep with and they always suck. You're a breath of fresh air.<\/dialogue>\n    <character>JILLIAN<\/character>\n    <parenthetical>(annoyed)<\/parenthetical>\n    <dialogue>Oh, nice. I usually go out with guys who are interesting and smart. So this is a first for me too.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Are we cool? Did I say something wrong?<\/dialogue>\n    <character>JILLIAN<\/character>\n    <dialogue>No. I guess I didn't realize when you invited me tonight that it was just because you needed a ringer.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Ohh. You thought this was a date.<\/dialogue>\n    <character>JILLIAN<\/character>\n    <dialogue>It's fine. The more I get to know you, the happier I am that it's not.<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>(oblivious)<\/parenthetical>\n    <dialogue>So we are cool?<\/dialogue>\n    <character>JILLIAN<\/character>\n    <dialogue>As a cucumber. Let's just win that car and get this night over with.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>That's the spirit!<\/dialogue>\n    <scene_description>He jogs toward the entrance. She shakes her head.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \"MURDER WE WROTE\" OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Ryan and Jillian enter a small reception area. Behind a desk a WOMAN sits facing away from us in a swivel chair.<\/scene_description>\n    <character>JILLIAN<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>No answer. She and Ryan exchange a look. Ryan slowly reaches out and swivels the chair around revealing... A DEAD WOMAN WITH A FRESH BULLET HOLE IN HER FOREHEAD. Her eyes are closed. Blood trickles from the wound and the corner of her mouth.<\/scene_description>\n    <character>RYAN\/JILLIAN<\/character>\n    <dialogue>Holy shit!\/Ahhh!<\/dialogue>\n    <scene_description>Startled by the noise, the dead woman SUDDENLY OPENS HER EYES.<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>Oh my gosh! You scared me.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>What the fuck is this?!<\/dialogue>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>What?<\/dialogue>\n    <parenthetical>(remembering, touches her forehead)<\/parenthetical>\n    <dialogue>Oh. I just came from a six hour murder mystery where I played the corpse. I guess I fell asleep before I cleaned up.<\/dialogue>\n    <character>JILLIAN<\/character>\n    <dialogue>You scared the shit out of us.<\/dialogue>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>Oh, thank you. I do my own makeup. How can I help you?<\/dialogue>\n    <scene_description>A bit of blood dribbles from her mouth.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>We need you to give us the final clue for the murder mystery Brooks Davis ordered.<\/dialogue>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>But that would ruin the fun.<\/dialogue>\n    <character>JILLIAN<\/character>\n    <dialogue>We don't want the fun. We just want to win.<\/dialogue>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>I can't do that.<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>(sly)<\/parenthetical>\n    <dialogue>Would this change your mind?<\/dialogue>\n    <scene_description>He slides a bill across the desk. It's a ten dollar bill.<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>What about this?<\/dialogue>\n    <scene_description>He slides another bill across. It's a five. She looks at him unimpressed.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>You drive a hard bargain. Okay, let's take it up a notch.<\/dialogue>\n    <scene_description>He slides another bill. It's a one. The Receptionist looks at Jillian. Jillian shakes her head: \"Don't look at me.\"<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>I was hoping I wasn't going to have to dig this deep.<\/dialogue>\n    <scene_description>He goes back into his wallet. Considers for a beat, then reluctantly slides another bill over. It's another one dollar bill.<\/scene_description>\n    <character>JILLIAN<\/character>\n    <dialogue>Okay, y'know what? It doesn't matter how slowly you push it over. It's still seventeen dollars.<\/dialogue>\n    <parenthetical>(to Receptionist)<\/parenthetical>\n    <dialogue>How much do you need?<\/dialogue>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>A hundred?<\/dialogue>\n    <character>JILLIAN<\/character>\n    <dialogue>Give her a hundred.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <scene_description>He slowly slides all the bills back toward himself, then slides a hundred dollar bill toward the woman. She reaches into a drawer and hands a folded clue across the desk to them.<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>(to Jillian)<\/parenthetical>\n    <dialogue>And that's how we do.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROOKS' STUDY - NIGHT<\/stage_direction>\n    <scene_description>Michelle watches nervously as Kevin finishes building a tower of furniture, books and office equipment up to the skylight.<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Just tell me who it was.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>It's irrelevant.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Not to me. If I have to imagine you lying underneath some famous figure, it makes a very big difference if I'm imagining John Goodman or Jeremy Renner.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>It wasn't either of them.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Will you tell me if I guess it right?<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Was it an actor?<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Kevin starts to carefully climb up his pile.<\/scene_description>\n    <character>MICHELLE<\/character>\n    <dialogue>This is a bad idea.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Over 40?<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>Yes. Be careful.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>American?<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Tommy Lee Jones?<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>Ew. No.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Was it Denzel? Tell me it wasn't Denzel.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>It wasn't. Unfortunately.<\/dialogue>\n    <scene_description>Kevin has reached the ceiling. He unlatches the skylight and pushes it open. He takes a breath of outside air.<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Ahhh! Sweet freedom. Dipshit thought he could keep us locked up but we found a way out.<\/dialogue>\n    <scene_description>The tower suddenly TIPS OVER. Kevin screams as he falls across the room. He SLAMS INTO THE LOCKED DOOR and the impact smashes it open.<\/scene_description>\n    <character>MICHELLE<\/character>\n    <dialogue>Are you okay?!<\/dialogue>\n    <scene_description>Kevin painfully gets to his feet.<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>What the fuck just happened?<\/dialogue>\n    <parenthetical>(realizing)<\/parenthetical>\n    <dialogue>Hey, we're out. Come on!<\/dialogue>\n    <scene_description>Michelle follows him out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROOKS' LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Kevin and Michelle enter to find \"Agent Henderson\" sitting on the floor touching a cut on his head.<\/scene_description>\n    <character>AGENT HENDERSON<\/character>\n    <parenthetical>(woozy)<\/parenthetical>\n    <dialogue>Where am I? Stay back!<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>All right, take it easy, bud.<\/dialogue>\n    <character>AGENT HENDERSON<\/character>\n    <dialogue>Oh, my head.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>Either give us a clue or get outta the way. 'Cause we've got a mystery to solve.<\/dialogue>\n    <character>AGENT HENDERSON<\/character>\n    <parenthetical>(intense)<\/parenthetical>\n    <dialogue>Don't you get it? That wasn't supposed to happen!<\/dialogue>\n    <scene_description>CRASH! Once again the front door is kicked open and TWO MEN enter wearing creepy clown masks. Michelle and Kevin jump.<\/scene_description>\n    <character>MICHELLE<\/character>\n    <dialogue>What now? You already did the breaking in thing.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>This is some lazy writing.<\/dialogue>\n    <character>CLOWN #1<\/character>\n    <dialogue>Shut up! Get on the floor, all of you!<\/dialogue>\n    <scene_description>The clowns notice Agent Henderson's injury.<\/scene_description>\n    <character>CLOWN #2<\/character>\n    <dialogue>Whoa. Ron. Are you okay?<\/dialogue>\n    <scene_description>The clowns pull off their masks revealing the faces of two actors.<\/scene_description>\n    <character>AGENT HENDERSON\/RON<\/character>\n    <dialogue>No, I'm not okay! Two guys came in here and attacked me!<\/dialogue>\n    <character>CLOWN #1<\/character>\n    <dialogue>You mean for real?<\/dialogue>\n    <character>AGENT HENDERSON\/RON<\/character>\n    <dialogue>Yes! They weren't part of our cast.<\/dialogue>\n    <character>CLOWN #2<\/character>\n    <dialogue>Oh my god.<\/dialogue>\n    <character>AGENT HENDERSON\/RON<\/character>\n    <dialogue>I knew I shouldn't have left dinner theater for this bullshit.<\/dialogue>\n    <character>KEVIN<\/character>\n    <parenthetical>(to Michelle)<\/parenthetical>\n    <dialogue>Now it's getting meta.<\/dialogue>\n    <character>CLOWN #1<\/character>\n    <parenthetical>(dialing cell phone)<\/parenthetical>\n    <dialogue>I'm calling Glenda.<\/dialogue>\n    <character>CLOWN #2<\/character>\n    <dialogue>I'll go make you a cold compress, Ron.<\/dialogue>\n    <character>AGENT HENDERSON\/RON<\/character>\n    <dialogue>I think I may have a concussion.<\/dialogue>\n    <character>CLOWN #1<\/character>\n    <parenthetical>(rubbing his back)<\/parenthetical>\n    <dialogue>Aw, pal.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>Wait. Is this all part of the act?<\/dialogue>\n    <character>AGENT HENDERSON\/RON<\/character>\n    <dialogue>What?! No. Didn't you see? I was assaulted!<\/dialogue>\n    <scene_description>INTERCUT WITH:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \"MURDER WE WROTE\" OFFICE - CONTINUOUS<\/stage_direction>\n    <scene_description>Jillian and Ryan puzzle over the clue.<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>\"Look in your jacket pocket\"? What kind of clue is this? I don't even have a jacket.<\/dialogue>\n    <character>JILLIAN<\/character>\n    <dialogue>Maybe it means a book jacket?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Why would a book have a jacket?<\/dialogue>\n    <scene_description>The phone on the receptionist's (GLENDA) desk rings. She answers.<\/scene_description>\n    <character>RECEPTIONIST\/GLENDA<\/character>\n    <dialogue>Murder We Wrote.<\/dialogue>\n    <character>CLOWN #1<\/character>\n    <dialogue>Glenda! It's Paul. Something terrible has happened.<\/dialogue>\n    <character>RECEPTIONIST\/GLENDA<\/character>\n    <dialogue>Oh dear. What?<\/dialogue>\n    <character>CLOWN #1<\/character>\n    <dialogue>Nathan and I showed up for the takeaway and Ron had been attacked.<\/dialogue>\n    <character>RECEPTIONIST\/GLENDA<\/character>\n    <dialogue>Oh no! At the Brooks Davis house?<\/dialogue>\n    <scene_description>Jillian and Ryan look up.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <scene_description>Glenda puts the call on speaker.<\/scene_description>\n    <character>RECEPTIONIST\/GLENDA<\/character>\n    <dialogue>Is everyone okay?<\/dialogue>\n    <character>RON<\/character>\n    <parenthetical>(yelling at the phone)<\/parenthetical>\n    <dialogue>No, I'm not okay Glenda! I've got a throbbing headache! And they took the host!<\/dialogue>\n    <character>RECEPTIONIST\/GLENDA<\/character>\n    <dialogue>Who took him?<\/dialogue>\n    <character>AGENT HENDERSON\/RON<\/character>\n    <dialogue>Kidnappers! Real ones! Dangerous fucking criminals!<\/dialogue>\n    <scene_description>Off Kevin and Michelle's and Ryan and Jillian's look of shock, we return to<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DIVE BAR - NIGHT<\/stage_direction>\n    <scene_description>MUSIC CUE: \"TAKE ON ME\" by a-ha The upbeat music blares from a jukebox as Max frisks the men. Annie dances to the music, twirling the gun on her finger. She drops it and it lands inches from Ponytail. Annie quickly snatches it back.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>I saw you eyeing that, Ponytail. Not on my watch.<\/dialogue>\n    <scene_description>Max finishes collecting the weapons from the men and sticking them in a bag. He finds keys on the bartender.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Bingo.<\/dialogue>\n    <parenthetical>(to Annie)<\/parenthetical>\n    <dialogue>Come on, babe.<\/dialogue>\n    <scene_description>He moves to the backroom door and unlocks it.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Okay, any of you dickwalls move a muscle I'll shoot off your tits. You got me?<\/dialogue>\n    <scene_description>The men grumble. Annie's phone rings. She checks it. It's Michelle. She hits \"ignore.\" Max and Annie enter the backroom and shut the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACKROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>They quickly lock the door behind them and turn to Brooks, who is tied to a chair and gagged with tape. His eyes go wide when he sees them.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Oh, look at that face. That is priceless.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>You did not expect us this early, did you?<\/dialogue>\n    <scene_description>Brooks frantically grunts and tries to scream through his gag.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>I've gotta capture this moment.<\/dialogue>\n    <scene_description>He takes out his phone, poses beside Brooks with Annie on the other side and snaps a selfie of the three of them. Just then, the phone rings. It's Ryan. He shows Annie.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Probably begging for help.<\/dialogue>\n    <scene_description>He hits \"ignore.\"<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>I feel like maybe we should call that company and complain because this wasn't much of a mystery.<\/dialogue>\n    <scene_description>Brooks MOANS wildly, practically JUMPING OUT OF HIS CHAIR trying to communicate.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>All right, all right...<\/dialogue>\n    <scene_description>She yanks off Brooks' gag.<\/scene_description>\n    <character>BROOKS<\/character>\n    <parenthetical>(as soon as the gag's off)<\/parenthetical>\n    <character>THIS ISN'T A GAME!<\/character>\n    <dialogue>BANG! Someone begins kicking the door from the other side.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Why, because we kicked your ass?<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>Max, THOSE ARE NOT THE GUYS I HIRED!<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Oh I get it. Now you're trying to change the rules on us?<\/dialogue>\n    <scene_description>BANG! The door shakes.<\/scene_description>\n    <character>BROOKS<\/character>\n    <dialogue>Listen to me. I'm not a venture capitalist. I'm a smuggler!<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>A smuggler? What the hell are you talking about?<\/dialogue>\n    <character>BROOKS<\/character>\n    <parenthetical>(scared)<\/parenthetical>\n    <dialogue>I fucked up. I sold the Bulgarian's egg to a different guy and now I have to get it back or he's gonna kill me.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Ooh, the Bulgarian's egg. Did you trade it for the Maltese Falcon?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Wait. This isn't the end?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>You said whoever found you got the car. Game over.<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>I'm telling you. This isn't a game! It's all real!<\/dialogue>\n    <scene_description>SMASH! The door starts to splinter.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Uh huh. Those shitty actors are real? That fight was real?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>This gun is real?<\/dialogue>\n    <scene_description>She points the gun at the ceiling...<\/scene_description>\n    <character>BROOKS<\/character>\n    <dialogue>Annie, stop!<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Oh no. Bang bang--<\/dialogue>\n    <scene_description>She pulls the trigger. BANG! A REAL BULLET SHATTERS the hanging florescent light above them. Startled, Annie drops the gun. It hits the floor and FIRES AGAIN. BANG!<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>OW!<\/dialogue>\n    <scene_description>Max looks down at his arm. It looks okay... until a red circle of blood appears through his shirt. Annie just shot him. A stunned beat, then--<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>AAAAHHHHH!!<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>WHAT IN THE FUCK!!<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>OH MY GOD I SHOT YOU!!<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>YOU FUCKING SHOT ME!!!<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>I told you! Untie me! Quick!<\/dialogue>\n    <scene_description>Annie unties Brooks, her hands shaking as Bald Guy and Ponytail burst into the room. They spot the bag with their weapons and go for it as Max, Brooks and Annie run to the rear emergency exit door. Ponytail and Bald Guy retrieve their guns and FIRE in their direction.<\/scene_description>\n    <character>BROOKS<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DIVE BAR - NIGHT<\/stage_direction>\n    <scene_description>Annie, Max and Brooks sprint across the street to their car, still screaming.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>You shot me!<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I know! I feel terrible!<\/dialogue>\n    <scene_description>Annie runs over to the driver's side and unlocks it, getting behind the wheel. Brooks jumps in the backseat as Annie peels out with Max in the passenger seat. Bald Guy and Ponytail race to their van, firing wild shots at the car as they go.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>STOP!!<\/dialogue>\n    <parenthetical>(another gunshot)<\/parenthetical>\n    <character>STOP DOING THAT!<\/character>\n    <dialogue>They barrel around a corner.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAX'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Annie drives like a madwoman while Max clutches his arm--<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>It's all real! How did it all get real?!<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>You shot me! I'm bleeding out of my arm. I'm gonna die tonight.<\/dialogue>\n    <scene_description>Brooks reaches from the backseat and wraps a gym towel around Max's forearm.<\/scene_description>\n    <character>BROOKS<\/character>\n    <dialogue>Here. Hold this on there.<\/dialogue>\n    <scene_description>The van closes in on their car.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>What the fuck is going on, Brooks? Talk!<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>They're right behind us!<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>I've been lying to you and the rest of the family about what I do. I buy and sell things that aren't strictly legal for people who aren't strictly... good.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>So you're a criminal?<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>Yes. And I made a mistake. There's this guy. They call him the Bulgarian. He has his fingers in all these pies around the world.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>What kind of pies?<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>Bad pies, Max. Pies that have heroin in them and guns and sex slaves. He asked me to find this Faberg\u00e9 egg for him. And I found it.<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>But then I heard about this other guy, Marlon Freeman, who was willing to pay twice as much for the same egg.<\/dialogue>\n    <character>MAX<\/character>\n    <parenthetical>(re: the van)<\/parenthetical>\n    <dialogue>So these guys work for the Bulgarian? And they just happened to crash your murder mystery party?<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>I know. What are they odds?<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I never should've gotten into business with that guy. I'm too small-time for this shit!<\/dialogue>\n    <scene_description>The van has caught up and suddenly SWERVES into the side of their car. They FISHTAIL, nearly running onto the sidewalk before Annie regains control and speeds away.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>We need to go to the cops!<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>We can't! He's got cops on his payroll. I'll be dead before I even get to jail.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Then why don't you go to this Marlon Freeman and buy the egg back from him?<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>I couldn't find him if I wanted. That name was an alias.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>What do we do?! These guys aren't stopping!<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>They won't stop till they get me.<\/dialogue>\n    <parenthetical>(making a decision)<\/parenthetical>\n    <dialogue>I'm sorry I dragged you into all this. I'm sorry for a lot of things.<\/dialogue>\n    <scene_description>He opens his car door.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>What are you doing?!<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>I love you, Maxie.<\/dialogue>\n    <scene_description>And with that, Brooks rolls out of the moving car. He lands hard on the street as the van SCREECHES TO A STOP a few feet away from him.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>No! Stop the car!<\/dialogue>\n    <scene_description>Annie brakes a couple hundred feet from the van. They look back to see Ponytail and Bald Guy grab Brooks and haul him toward the van. Bald Guy raises his gun and fires a couple shots in their direction. Annie steps on the gas and tears away.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Shit! Shit! Shit!<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>What are we gonna do? They're gonna kill my brother.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I feel faint. I'm gonna pass out.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>We've gotta get you to a hospital.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>No! It's a gunshot wound. They'll call the police.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>So, let's go to a mob doctor!<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Do you know a mob doctor?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Of course not!<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Then why did you say a mob doctor?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Because I'm losing my shit here!<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>You're going to have to do it.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>You're gonna have to take the bullet out.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I don't want to.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>I don't want you to either, hon. I've seen you try to cut a chicken. But we don't have a lot of options.<\/dialogue>\n    <scene_description>Off her look of nauseated horror,<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 7-11 PARKING LOT - NIGHT<\/stage_direction>\n    <scene_description>Annie exits the convenience story with a bag of stuff. Her phone rings. It's Michelle.<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>INTERCUT WITH:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROOKS' KITCHEN - SAME TIME<\/stage_direction>\n    <scene_description>Michelle and Kevin share her phone. Ryan and Jillian stand nearby.<\/scene_description>\n    <character>MICHELLE<\/character>\n    <dialogue>Thank god. Listen, honey, it's all real--<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>We know. Brooks is caught up in something. Where are you right now?<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>We're all at Brooks's waiting to talk to the cops.<\/dialogue>\n    <scene_description>Through a doorway, we see TWO POLICE OFFICERS taking a statement from Agent Henderson. An EMT tends to his head.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Don't talk to the cops!<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Why? What's going on? Are you guys okay?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>We're fine. I shot Max but he's fine.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>What?!<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>We'll meet you back at our house. Just don't tell the cops anything. Brooks's life depends on it.<\/dialogue>\n    <scene_description>Annie hangs up. Michelle digests this, then<\/scene_description>\n    <character>MICHELLE<\/character>\n    <parenthetical>(quietly to the other)<\/parenthetical>\n    <dialogue>Come on. We've gotta get out of here.<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>(full volume)<\/parenthetical>\n    <dialogue>Where are we going?<\/dialogue>\n    <scene_description>She shoves him toward the kitchen door. The others follow.<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>(loudly)<\/parenthetical>\n    <dialogue>I thought we were gonna talk to the cops.<\/dialogue>\n    <scene_description>Jillian rolls her eyes as she ushers Ryan out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 7-11 - NIGHT<\/stage_direction>\n    <scene_description>Annie walks around to the rear of the store to find Max sitting on the hood of the car, cradling his arm.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>I got a bunch of stuff.<\/dialogue>\n    <scene_description>She begins laying out items on the hood.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Tweezers, pocket knife, gauze, sewing kit.<\/dialogue>\n    <scene_description>Max picks up a bottle of white wine.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>They didn't have rubbing alcohol and they don't sell hard liquor so I got this chardonnay.<\/dialogue>\n    <scene_description>Max twists off the top and takes a slug, then notices a magazine in the bag.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Country Living magazine? What's that for?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>It's for later.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>They have a butternut squash soup recipe that looked great.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Now put this in your mouth.<\/dialogue>\n    <scene_description>She hands him a DOG's SQUEAKY CHEW TOY in the shape of a hamburger. Max sighs and bites down on the toy. SQUEAK! Annie rolls up his sleeve and recoils at the bloody mess.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Oh god!<\/dialogue>\n    <scene_description>She takes out her phone, types something and sets it on the hood.<\/scene_description>\n    <character>MAX<\/character>\n    <parenthetical>(mouth full)<\/parenthetical>\n    <dialogue>What's that?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Instructions on how to remove a bullet. It's an alt-right militia website so I'm just gonna ignore the racist stuff... \"Step one: sterile gloves.\"<\/dialogue>\n    <scene_description>She slips on a pair of rubber dishwashing gloves.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Check. \"Step two: clean wound with antiseptic.\"<\/dialogue>\n    <scene_description>She pours the wine over Max's arm. SQUEAK!<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Sorry. \"Three: administer anesthetic.\" Gonna skip that... \"Four: apply pressure above the wound.\" Here. Squeeze there.<\/dialogue>\n    <scene_description>She takes his other hand and Max squeezes his injured arm.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>\"Make small incision on each side of wound.\" Oh jeez. Here we go.<\/dialogue>\n    <scene_description>She opens the pocket knife, pours some wine on it and cuts into his arm. SQUEEEEEAAK! She continues to cut. Max spits out the dog toy.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Nope! Too big! You're cutting too big! It's a bullet, not a golf ball.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Well, I don't know!<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>So much blood.<\/dialogue>\n    <scene_description>He dry heaves a little.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Don't you do that! You're gonna make me-- DAWWWWWWW!<\/dialogue>\n    <scene_description>She dry heaves. Max dry heaves. They manage to collect themselves.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>That was close. Okay, next step... shit!<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>My phone went to sleep. Hang on.<\/dialogue>\n    <scene_description>She takes off her glove and re-enters her passcode.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Just set it so it stays on.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>My phone doesn't do that.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>We have the same phone! It does that.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>It's fine. I'll just touch the screen with my nose every 30 seconds.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Why are you so afraid of your phone? Just go to \"settings,\" then \"display\" then adjust the time before it reverts to sleep mode.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>\"Revert\"? What are you, Steve Jobs?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>It's the easiest fucking thing!<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Enough! I know what I'm doing!<\/dialogue>\n    <scene_description>She touches her nose to the screen. Max rolls his eyes. She reads the next step.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Okay, this is going to hurt. Where's your squeaky hamburger?<\/dialogue>\n    <scene_description>She finds it and shoves it in his mouth. She takes the tweezers and begins digging around in the bullet hole. Max writhes in pain.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>I feel something hard. I think I found the bullet...<\/dialogue>\n    <scene_description>She taps something with the tip of her tweezers. We hear a clinking sound. Max inhales painfully.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>It's really wedged in there. Why won't it come out? Oh wait. That's bone. I'm sorry.<\/dialogue>\n    <scene_description>Sweat and tears pour down Max's face.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>I can't find it. Let me see what the racists say if you can't find the bullet...<\/dialogue>\n    <scene_description>She touches her nose to the phone again, then suddenly notices something on Max's arm.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Hang on. What's this? Did you get shot twice?!<\/dialogue>\n    <scene_description>She shows him a hole on the other side of his arm. Max spits out the chew toy again.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>God damn it, Annie. That's an exit wound.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Ohhh. Well, that's good news, right?<\/dialogue>\n    <scene_description>Max looks like he's going to faint. Annie inspects the wound.<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>(disgusted)<\/parenthetical>\n    <dialogue>This one's even uglier than the entry wound. WHAAUUUGGGH!<\/dialogue>\n    <scene_description>She dry heaves.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Stop that-- BWAHHHHH!<\/dialogue>\n    <scene_description>He dry heaves. They both dry heave together.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAX AND ANNIE'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Max and Annie bring Ryan, Jillian, Kevin and Michelle up to speed.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>...now the Bulgarian's guys have Brooks and the only way to save him is to get that egg back from this Marlon Freeman guy.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Man. I can't believe your brother has been lying to us this whole time.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>He's even cooler than we thought!<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>I didn't even know Morgan Freeman collected Faberg\u00e9 eggs. Aren't those worth millions of dollars?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Marlon Freeman. But that's just an alias. Somehow we need to find his real name and address.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Police computer.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>I once dated this girl who's dad was a cop. She had these big, thick legs but not a trace of flab. Solid muscle. She looked like the mom in \"The Incredibles.\" Y'know? Tiny little waist but then it V's out--<\/dialogue>\n    <character>JILLIAN<\/character>\n    <dialogue>Why are you telling us this?!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Oh. Sorry. She showed me her dad's police computer one time.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>It's got this database with every known alias. I bet you could find Marlon Wayans' real name on that.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>If you called her do you think she'd let you use her dad's computer again?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Oh, no. No way. It ended very badly.<\/dialogue>\n    <character>JILLIAN<\/character>\n    <dialogue>I'm shocked.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>Well, how are we gonna get on a police computer without the cops knowing?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I've got it!<\/dialogue>\n    <scene_description>They all turn to him.<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Billy Bob Thornton.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>KEVIN<\/character>\n    <parenthetical>(to Michelle)<\/parenthetical>\n    <dialogue>You slept with Billy Bob Thornton, didn't you?<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Then why was he so friendly to you that one time at 24 Hour Fitness? It felt like you already knew each other.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>That wasn't Billy Bob Thornton! That was Shawn, my dental hygienist.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>That's awfully convenient, isn't it?<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>For who?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Everyone shut up for a second.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I know where we can get on a police computer.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GARY'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Gary opens the door on Max, Annie, Ryan, Jillian, Kevin and Michelle, all wearing unnaturally wide smiles.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Heeeyyy, Gare....<\/dialogue>\n    <scene_description>REVERSE TO REVEAL: Gary, a lamb shank in one hand, Bastian the dog in the other. A napkin tucked into his police uniform. From inside we can hear the faint, tinny sound of Al Jolson crooning \"Toot, Toot, Tootsie!\"<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>Goodness. To what do Bastian and I owe the pleasure?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>We were all talking and we realized we haven't had a game night in ages. Just the seven of us.<\/dialogue>\n    <character>GARY<\/character>\n    <parenthetical>(dubious)<\/parenthetical>\n    <dialogue>It's ten o'clock. And I thought you were going to your brother's house.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>He was tied up.<\/dialogue>\n    <parenthetical>(realizing)<\/parenthetical>\n    <dialogue>With work.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Come on, Gare Bear, it's the weekend. Live a little.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>We were just saying how you were always better at games than Debbie was.<\/dialogue>\n    <character>GARY<\/character>\n    <parenthetical>(intense)<\/parenthetical>\n    <dialogue>I'll thank you not to besmirch my ex-wife. That woman is an angel.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <parenthetical>(backtracking)<\/parenthetical>\n    <dialogue>Whoa. Okay. No, I mean I like her. We all like her.<\/dialogue>\n    <scene_description>Gary's wild-eyed look gives way to a smile.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>I will admit, I have eagerly awaited a visit such as this.<\/dialogue>\n    <scene_description>He backs into the darkness of his house and the creepy 1920's music.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Do we follow him?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Seems like it.<\/dialogue>\n    <character>JILLIAN<\/character>\n    <parenthetical>(pushing Ryan)<\/parenthetical>\n    <dialogue>You go first.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>I'm afraid.<\/dialogue>\n    <scene_description>They all nervously enter.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARY'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>The group sit around a coffee table as Jillian finishes building a Jenga tower. Gary enters with a bowl.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>Help yourselves to popped corn with sea salt.<\/dialogue>\n    <scene_description>Gary plops the bowl in Max's arms right on his covered wound.<\/scene_description>\n    <character>MAX<\/character>\n    <parenthetical>(wincing)<\/parenthetical>\n    <character>ARRGGHHHH...<\/character>\n    <parenthetical>(covering)<\/parenthetical>\n    <dialogue>I love popped corn!<\/dialogue>\n    <scene_description>Ryan notices a framed photo on a table. It shows the game night group, including Gary's ex-wife Debbie, with Gary looming in the background.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>You have a framed photo of game night?<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Doesn't everyone have photos of their best friends in their homes?<\/dialogue>\n    <scene_description>The group exchange guilty looks.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Of course. Max, you want to go first?<\/dialogue>\n    <scene_description>Max takes out the first piece then stands.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>I'm sorry, could I use your bathroom?<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Of course. Just down the hall, past our bedr--<\/dialogue>\n    <parenthetical>(he shuts his eyes, pained)<\/parenthetical>\n    <dialogue>--my bedroom.<\/dialogue>\n    <scene_description>The others give Max a knowing look as he heads off. Bastian the dog trots after Max.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARY'S HOUSE - HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Max hurries to the bathroom, turns on the light and fan, then closes the door without going in. He spots another room and quickly ducks inside. Bastian follows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARY'S STUDY - NIGHT<\/stage_direction>\n    <scene_description>The room is a SHRINE to Debbie. Photos, keepsakes, embroidered pillows, greeting cards, an ENORMOUS WEDDING PHOTO of her and Gary over the desk.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Jesus.<\/dialogue>\n    <scene_description>He spots a reinforced police laptop on the desk and opens it. INTERCUT WITH:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARY'S LIVING ROOM - SAME TIME<\/stage_direction>\n    <scene_description>Michelle carefully slides a piece out of the Jenga tower. There are four players left before Max's turn.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>So, Jillian. How long have you and Ryan been a couple?<\/dialogue>\n    <character>JILLIAN<\/character>\n    <dialogue>Oh, no. We just work together.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>I see. I thought I detected a certain chemistry between the two of you.<\/dialogue>\n    <scene_description>Jillian and Ryan do their best to laugh this off.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>Then again, I'm not the world's best judge of chemistry.<\/dialogue>\n    <scene_description>He lets out THE MOST MIRTHLESS LAUGH IN HISTORY. The others look deeply uncomfortable. BACK IN THE STUDY, Max has pulled up the National Police Database and enters \"Marlon Freeman.\" A profile comes up showing a surveillance photo of a distinguished white man in his 40's, PETER ANDERTON. His suspected crimes include trafficking in stolen artifacts, insider trading, illegal weapons sales, etc.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Hello, Peter Anderton...<\/dialogue>\n    <scene_description>Max doesn't notice a DROP OF BLOOD from his bullet wound has trickled down his arm and landed on the beige carpet. Bastian walks over and sniffs it curiously. PLOP. Another drop lands on the dog's fluffy white fur. BACK IN THE LIVING ROOM Annie is staring at the Jenga tower.<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>(stalling)<\/parenthetical>\n    <dialogue>So many possible moves...<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Come on, Annie. Make up your mind.<\/dialogue>\n    <scene_description>Jillian elbows him in the ribs. He realizes.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Oh. Right. Take your time.<\/dialogue>\n    <scene_description>Gary looks at them, nonplussed. BACK IN THE STUDY. By now BASTIAN'S COAT IS SPATTERED WITH BLOOD but Max has yet to notice. He writes down Anderton's address on a pad, starts to shut the laptop but reconsiders. He types \"The Bulgarian\" into the alias search window. A blurry photo of a burly man appears. \"Real Name: Unknown. Address: Unknown.\" There's an extensive list of suspected crimes: multiple murders, torture, kidnapping, human trafficking, arms trafficking, etc.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Oh, Brooks. What did you get yourself into...?<\/dialogue>\n    <scene_description>He closes the window and shuts the computer and heads for the door. He notices his arm is leaking blood, then sees A TRAIL OF BLOOD DROPS leading across the carpet to Bastian who is now more red than white.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Shit!<\/dialogue>\n    <scene_description>He shuts the door, then hurries back to the dog and tries rubbing off the blood with his hand, but it only smears it. He looks around and spots what looks like a rolled up rag on a shelf. He hastily begins rubbing the dog with the rag but it has little effect.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Oh my god.<\/dialogue>\n    <scene_description>He spits on the dog's back and rubs it some more. Not helping. He sees a bottle of water on the desk. As he moves to grab it, he accidentally knocks over a ceramic wedding cake topper. The bride's head breaks off.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>BACK IN THE LIVING ROOM the others hear Max cry out.<\/scene_description>\n    <character>GARY<\/character>\n    <parenthetical>(standing)<\/parenthetical>\n    <dialogue>Maybe I should check on Max.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I'm sure he's fine.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>He cried out.<\/dialogue>\n    <scene_description>He moves to go. The others looks at each other desperately.<\/scene_description>\n    <character>JILLIAN<\/character>\n    <parenthetical>(blurting)<\/parenthetical>\n    <dialogue>Tell me about Debbie!<\/dialogue>\n    <scene_description>Gary stops, facing away from them.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>I beg your pardon?<\/dialogue>\n    <character>JILLIAN<\/character>\n    <dialogue>I never got to meet her. I'd love to hear what she's like.<\/dialogue>\n    <scene_description>Gary sits back down, looking wistful.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>Where do I begin?<\/dialogue>\n    <scene_description>BACK IN THE STUDY. Max is pouring water onto Bastian and scrubbing him with the rag. Fresh blood continues to seep out onto the dog, making him even messier.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>This is not working...<\/dialogue>\n    <scene_description>He unrolls the rag and reacts as he sees it's not a rag but a SOUVENIR T-SHIRT with a photo showing a smiling Debbie on a beach on vacation. The image is smeared with blood.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>Just then, the wet dog SHAKES HIMSELF OFF vigorously. BLOODY WATER FLIES EVERYWHERE, spattering the walls of the room including the enormous wedding photo. Gary's shrine to Debbie now looks more like the scene of a murder. Max stands and takes it in.<\/scene_description>\n    <character>MAX<\/character>\n    <parenthetical>(sighs)<\/parenthetical>\n    <dialogue>Fuck this.<\/dialogue>\n    <scene_description>He wraps the shirt around his arm, covers it with his jacket, then leaves the room, closing the door on the fluffy, pink dog and the blood-spattered room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARY'S LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Gary regales the group with memories.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>...when she laughed it was like a concerto and if you were there to hear it, you considered yourself lucky just to be in the audience.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <parenthetical>(sotto, to Kevin)<\/parenthetical>\n    <dialogue>I don't remember her laugh being that great.<\/dialogue>\n    <scene_description>Max enters.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>We should go.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>What? But you haven't taken your turn at the Jenga tower.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Right.<\/dialogue>\n    <scene_description>He reaches down and deliberately knocks over the tower.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Darn it. Let's go. Thank you, Gary. This was great.<\/dialogue>\n    <scene_description>The others quickly stand, ad lib goodbyes and head out.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>When shall we play next?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>We'll call you.<\/dialogue>\n    <scene_description>And they're gone. Gary stands there for a moment. Then,<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>Bastian?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KEVIN AND MICHELLE'S VAN - NIGHT<\/stage_direction>\n    <scene_description>Kevin drives the group in his Honda Odyssey.<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>So what do we do when we get to Peter Anderton's house? Knock on his door and ask for his million dollar egg back?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>I don't know. Maybe if I explain the situation he'll want to help.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <parenthetical>(sarcastic)<\/parenthetical>\n    <dialogue>Oh, yeah, most criminal millionaires have hearts of gold.<\/dialogue>\n    <scene_description>SFX: Max's recharged cell phone rings.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Private number. Please don't be Gary...<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>DISTORTED MALE VOICE (ON SPEAKER)<\/character>\n    <dialogue>We have your brother.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Oh my god. Okay, listen. We know who has the egg. We're on our way there right now. We can do a trade. Please don't hurt Brooks.<\/dialogue>\n    <scene_description>There's a long pause on the line.<\/scene_description>\n    <character>DISTORTED MALE VOICE (ON PHONE)<\/character>\n    <dialogue>Meet us on the East 4th Street Bridge at midnight. If you're late he dies.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>That's only an hour from now--<\/dialogue>\n    <scene_description>But the caller hangs up.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Those guys aren't fucking around. Dude sounded like Kylo Ren.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>We're here.<\/dialogue>\n    <scene_description>The van pulls up to what appears to be a large gated estate surrounded by a tall hedge. Max starts to get out.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>You guys head back to the house. I'll call you as soon as I have the egg.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>What are you talking about? We're coming with you.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>No way. It could be really dangerous in there. Brooks shouldn't have dragged any of us into his mess. But he's my brother and it's up to me to fix this.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Bullshit. We're all in this together.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>You know we'd do anything for you.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>No. Max is right. You guys should go home. This is our problem.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>And what happens if you don't make it out?<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>Do you have any idea what game night means to us? We don't come over because we're dying to play charades and stupid ass children's shit. We come over because we love you guys.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>It's the best part of our week.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Mine too. And I've got a lot of options on the weekend.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>Brooks may be your brother. But we're all family here.<\/dialogue>\n    <scene_description>Max and Annie are visibly touched.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>We love you guys too.<\/dialogue>\n    <scene_description>There's a nice beat, then they all realize Jillian is there.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>You should totally go home, though. You don't even know us.<\/dialogue>\n    <character>JILLIAN<\/character>\n    <dialogue>You're right. I don't. But if you guys are cool with it, I'd like to stay.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>JILLIAN<\/character>\n    <dialogue>This has been the most exciting night of my life.<\/dialogue>\n    <character>JILLIAN<\/character>\n    <dialogue>Most Friday nights I eat a Chipotle bowl by myself and watch \"Orange is the New Black\" on my iPad.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>That's exactly what I imagined.<\/dialogue>\n    <scene_description>She elbows him.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>You've got an open invitation to all future game nights, Jillian.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>As long as we don't die tonight.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Speaking of which, how are we gonna get into this place?<\/dialogue>\n    <scene_description>Just then, a car pulls up to the intercom and the gate opens.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Go, go, go!<\/dialogue>\n    <scene_description>Kevin drives in behind the other car.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANDERTON HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Kevin's van pulls up to where a couple dozen expensive cars are parked in the driveway. The house is lit up and shouting can be heard from inside. The group steps out of the van.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Looks like they're having a party.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>That could be good. We can get in there and look for the egg without anyone noticing us.<\/dialogue>\n    <scene_description>They approach the house and peek in a window. Inside they see A SCULPTURE OF A SHARK SUBMERGED IN FORMALDEHYDE along with recognizable modern paintings on the walls.<\/scene_description>\n    <character>MICHELLE<\/character>\n    <dialogue>Damn. Warhol, Rothko, Damien Hirst. This guy's gotta have the egg.<\/dialogue>\n    <scene_description>They peer into the kitchen where we see a chef handing trays of hors d'oeuvres to several CATERERS.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>So what's the plan? We knock out six of those caterers, drag them into a closet and come out wearing their clothes?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>You gonna knock out six innocent people and strip them naked?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>You got a better plan?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Yeah. We wear our own clothes and look for the fucking egg. Now come on.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANDERTON FOYER - NIGHT<\/stage_direction>\n    <scene_description>The group enter to find a crowd of well-dressed MEN and a handful of WOMEN in their 40's and 50's huddled around something we can't see. They're cheering and throwing down hundred dollar bills. Attractive COCKTAIL WAITRESSES serve drinks. Our guys stick out from the crowd, but no one seems to notice.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>What is this?<\/dialogue>\n    <scene_description>They see an opening in the crowd and react: in the center TWO BARE-KNUCKLED WHITE MEN in their 30's are pummeling the shit out of each other.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>No way.<\/dialogue>\n    <character>JILLIAN<\/character>\n    <dialogue>It's some kind of rich guys' fight club.<\/dialogue>\n    <scene_description>They all turn to Ryan who gasps.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>I knew it! I told you they were real!<\/dialogue>\n    <scene_description>Just then, one of the two combatants, BOOMER, KNOCKS THE OTHER ONE UNCONSCIOUS. A distinguished 40-something man, MR. ANDERTON, lets out a celebratory shout as he holds up Boomer's hand.<\/scene_description>\n    <character>MR. ANDERTON<\/character>\n    <dialogue>That's my Boomer!<\/dialogue>\n    <scene_description>He plants a kiss on Boomer's sweaty, bald head, then slaps him on the back like a racehorse.<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>This is some Django Unchained bullshit.<\/dialogue>\n    <scene_description>Anderton mocks one of his guests, WARREN.<\/scene_description>\n    <character>MR. ANDERTON<\/character>\n    <dialogue>Sorry, Warren. Don't think you're gonna be able to amortize that loss.<\/dialogue>\n    <scene_description>Several of the guests laugh and jeer Warren. Anderton holds up a water bottle that Boomer suckles from.<\/scene_description>\n    <character>MR. ANDERTON<\/character>\n    <dialogue>Kramer! Get Logan ready. Minimum buy-in is now ten grand.<\/dialogue>\n    <scene_description>Another rich guy leads his muscly fighter, LOGAN, into the \"ring.\"<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Rich people are fucked up, huh?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>All right, let's split up. Anyone finds the egg, text the others. And for god's sake be careful with it. It's the only chance Brooks has.<\/dialogue>\n    <scene_description>Max and Annie, Kevin and Michelle head off. Jillian goes to leave but notices Ryan is moving closer to the fight which has just begun.<\/scene_description>\n    <character>JILLIAN<\/character>\n    <dialogue>What are you doing?!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>I've got a good feeling about Logan. Do you have ten grand on you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANDERTON MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Kevin and Michelle stealthily enter a lavish bedroom and begin looking around.<\/scene_description>\n    <character>MICHELLE<\/character>\n    <dialogue>Wow. This is the biggest bedroom I've ever seen.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Bigger than your celebrity boyfriend's?<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>You're still on this?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>You gotta tell me who he was, Michelle. It's all I can think about. And that's saying something considering there's a fight club downstairs.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>Why does it matter so much?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>We've been together our whole lives. And I thought I knew everything about you. Now I find out there's this huge secret you've been keeping from me. I'm not mad that you slept with someone while we were on a break. I'm sad that you felt you had to keep it from me.<\/dialogue>\n    <scene_description>Michelle stares at him for a beat. Finally,<\/scene_description>\n    <character>MICHELLE<\/character>\n    <dialogue>Glenn Close.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>The celebrity I slept with. It was Glenn Close.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Get the fuck out of town.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>I was a waitress at the premiere party of \"102 Dalmations.\" I was about to start freshman year at William and Mary and it turned out Glenn went there too. We started talking and we ended up back at her house. We were both a little drunk and one thing led to another.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>It was just that one time?<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>I haven't seen or spoken to her since.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I always knew you and I weren't gonna be apart for long and I wanted to do something crazy while I had the chance.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>So you made love to Cruella DeVille.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>Are you upset?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>No, baby. I'm glad you got it out of your system. And by the way, well done. Glenn Close is a national treasure. I wish you had told me years ago.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>I didn't think you'd take it this well.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Now, if you'd told me it was Denzel I would've killed myself.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANDERTON LIBRARY - NIGHT<\/stage_direction>\n    <scene_description>Max and Annie search through a beautiful wood and leather library. She notices photos on the shelves showing Anderton with a TROPHY WIFE and FIVE KIDS.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>How can this monster have five kids and we can't even make one?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Well, his wife looks like she's about fifteen.<\/dialogue>\n    <parenthetical>(then, distracted)<\/parenthetical>\n    <dialogue>Don't worry. We'll get there.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I'm starting to feel like I'm pushing this baby thing on you.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>No. It's just-- when we first met we did whatever we wanted. Whenever we wanted.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>And then we got real jobs and a mortgage and car loans and now we only have one night of the week where we get to let loose and have fun. Game night. And once we have a kid, we won't even have that anymore.<\/dialogue>\n    <scene_description>Annie suddenly realizes something.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>You weren't stressed because your brother was coming to town. You're stressed because you didn't want to have a kid in the first place. Your sperm doesn't work because you're afraid your sperm might work.<\/dialogue>\n    <scene_description>Max looks away. He knows she's right.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>How about we put a pin in this until my brother is safe?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Yeah. Sure.<\/dialogue>\n    <scene_description>Off Annie's sad look,<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANDERTON LIVING ROOM - SAME TIME<\/stage_direction>\n    <scene_description>Ryan watches raptly as Logan and Boomer beat the hell out of each other. Jillian is losing patience.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Come on, Logan! Boomer ain't shit!<\/dialogue>\n    <character>JILLIAN<\/character>\n    <dialogue>Can we go? We're supposed to be looking for the--<\/dialogue>\n    <scene_description>Suddenly, she notices one of Anderton's EMPLOYEES banding together a stack of bills he's taken from a money counter. He places the cash in a wall safe but does not shut it. Just beside the stacked cash Jillian spots A BEJEWELED, ORNATELY DECORATED FABERG\u00c9 EGG.<\/scene_description>\n    <character>JILLIAN<\/character>\n    <dialogue>Whoa.<\/dialogue>\n    <parenthetical>(she pokes Ryan)<\/parenthetical>\n    <dialogue>Look. It's right there!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Holy shit. Good eyes. Stay here.<\/dialogue>\n    <scene_description>He heads off.<\/scene_description>\n    <character>JILLIAN<\/character>\n    <dialogue>What are you going to do?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>I'm gonna grab it. They're all watching the fight.<\/dialogue>\n    <scene_description>He casually weaves through the crowd of shouting men to the open wall safe. He glances around. No one has noticed him. He grabs the egg. Just then, POW! Boomer delivers a crippling blow to Logan, knocking him out. The crowd roars. Boomer looks up and stares quizzically at Ryan. Everyone else follows his gaze. The room goes silent. All eyes are on Ryan.<\/scene_description>\n    <character>MR. ANDERTON<\/character>\n    <dialogue>Who the hell are you?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Hm?<\/dialogue>\n    <character>MR. ANDERTON<\/character>\n    <dialogue>What are you doing with my egg?<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>(adopting a fake air of haughtiness)<\/parenthetical>\n    <dialogue>I was... simply admiring it. It's a fine specimen. I have dozens of such eggs in my collection. I'm a bit of a connoisseur if you will.<\/dialogue>\n    <character>MR. ANDERTON<\/character>\n    <dialogue>Does anyone here know this guy?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Everyone knows me. I'm a mogul like you gentlemen. And after a hard day of selling stocks and acquiring assets, I like to unwind with a cognac and a good fight. I'm a bit of a connoisseur if you will.<\/dialogue>\n    <scene_description>Jillian buries her head in her hands.<\/scene_description>\n    <character>MR. ANDERTON<\/character>\n    <dialogue>You're full of shit.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>How dare ye?<\/dialogue>\n    <character>MR. ANDERTON<\/character>\n    <parenthetical>(to Boomer)<\/parenthetical>\n    <dialogue>Take this guy down, please.<\/dialogue>\n    <scene_description>Boomer shoves through the crowd toward Ryan who bolts with the egg.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANDERTON HOUSE FOYER - CONTINUOUS<\/stage_direction>\n    <scene_description>Max and Annie rejoin Kevin and Michelle.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Any luck?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Yeah! We actually worked out our issue.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>I'm talking about the egg!<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Oh, no. Nothing.<\/dialogue>\n    <scene_description>Suddenly, Ryan and Jillian CHARGE PAST THEM. Ryan holds the egg and looks terrified.<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>(shouting)<\/parenthetical>\n    <dialogue>Go, go, go!<\/dialogue>\n    <scene_description>Boomer rushes in hot on Ryan's tail. The others scramble. Ryan stumbles and DROPS the egg. It is caught just in time by Annie who laterals it to Michelle. Boomer pursues whoever holds the egg and it turns into a high-stakes game of \"hot potato.\" Finally, Jillian finds herself holding the egg with no one to pass it to. She stands like a deer in headlights as Boomer charges straight for her. At the last possible second, the fighter is TACKLED FROM THE SIDE BY RYAN who has instinctively leapt to Jillian's aid. The two men CRASH into the Damien Hirst shark artwork. The GLASS PANEL SHATTERS AND GALLONS OF FORMALDEHYDE POUR OUT ALONG WITH THE PRESERVED SHARK CARCASS.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Oh god!<\/dialogue>\n    <scene_description>Boomer is dazed. Ryan clambers to his feet, stumbling over the rubbery fish corpse and the group races out of the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANDERTON ESTATE - NIGHT<\/stage_direction>\n    <scene_description>Max and the others run toward Kevin's minivan. Anderton and his guests pour out the door in pursuit. A soaking wet Boomer leads the charge as our group piles into the Odyssey.<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Come on! Get in!<\/dialogue>\n    <scene_description>He floors it and they speed down the driveway and out to the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KEVIN'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Everyone catches their breath as Kevin speeds along. Max holds the egg.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Well, that was unusual.<\/dialogue>\n    <scene_description>Jillian turns to Ryan who looks dazed.<\/scene_description>\n    <character>JILLIAN<\/character>\n    <dialogue>You really saved me back there.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Yeah. Why did I do that? It's like I saw you were in trouble and this feeling came over me. Like I wanted to help you even if I didn't get anything out of it.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Sounds like love, Ryan.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>What? Ew. No, it doesn't.<\/dialogue>\n    <character>JILLIAN<\/character>\n    <dialogue>Yeah. Gross, Annie.<\/dialogue>\n    <scene_description>But as they blow off the moment, we can see both Ryan and Jillian are in uncharted territory.<\/scene_description>\n    <character>MAX<\/character>\n    <parenthetical>(tense)<\/parenthetical>\n    <dialogue>Two minutes to twelve. Where's this bridge?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>GPS says it's right around here but I don't see it.<\/dialogue>\n    <character>ANNIE<\/character>\n    <parenthetical>(points)<\/parenthetical>\n    <dialogue>There it is! 4th Street.<\/dialogue>\n    <scene_description>Seeing they're passing the bridge, Kevin SLAMS ON THE BRAKES. In SUPER-SLOW MOTION, we see the egg fly out of Max's hands.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Fuuuuuuuuuuuuuuuuuccccckkkkkkk!<\/dialogue>\n    <scene_description>The egg passes between the front seats and SHATTERS AGAINST THE FRONT WINDSHIELD. Jewels and enamel fly all over the dashboard. After a beat,<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Oh my.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>That's it. They're gonna kill my brother.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Hang on. Maybe we can fix this...<\/dialogue>\n    <scene_description>Ryan picks up a few shards of egg and tries piecing them together but they fall apart in his hands.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>This is more fragile than a real egg.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Did they specifically say it had to be in one piece?<\/dialogue>\n    <scene_description>Michelle examines some of the tiny gems on the dashboard.<\/scene_description>\n    <character>MICHELLE<\/character>\n    <dialogue>I'm not an expert, but these gems look kinda plastic to me.<\/dialogue>\n    <scene_description>Max leans forward and examines some of the pieces. Inside one he notices a small sticker.<\/scene_description>\n    <character>MAX<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>\"Made in China\"? Is this thing not even real?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Maybe just that sticker was made in China.<\/dialogue>\n    <character>JILLIAN<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Let's let them talk.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Why would the Bulgarian ask Brooks to get him a fake egg?<\/dialogue>\n    <scene_description>Annie notices something amidst the shattered egg. A TINY ROLLED UP PAPER. She picks it up and examines it.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>I don't think he wanted the egg at all. I think he wanted what was inside of it.<\/dialogue>\n    <scene_description>INSERT on the roll of paper. It's a list of names and addresses in tiny type. At the top is a header: \"WITSEC.\"<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>\"WITSEC\"? What is that?<\/dialogue>\n    <character>JILLIAN<\/character>\n    <dialogue>We can ask them.<\/dialogue>\n    <scene_description>She points to the opposite end of the bridge where we can see a black van coming to a stop. Ponytail and Bald Guy step out, open the rear door and drag out a frightened Brooks. Our group steels themselves as they climb out of the minivan. Ryan scoops the shattered egg pieces into a travel mug. Jillian looks at him.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>In case they ask for it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRIDGE - NIGHT<\/stage_direction>\n    <scene_description>Max, Annie and the others move nervously to where the thugs stand in the middle of the bridge holding guns on Brooks.<\/scene_description>\n    <character>BALD GUY<\/character>\n    <dialogue>You tell anyone you were coming here?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>No. I swear. Listen, we've got your egg--<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>You do?!<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>But we broke it.<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>What?!<\/dialogue>\n    <scene_description>Ryan shakes the travel mug helpfully.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>It was a fake. But we have the list of names inside.<\/dialogue>\n    <character>ANNIE<\/character>\n    <parenthetical>(holding it up)<\/parenthetical>\n    <dialogue>That's what you wanted, right?<\/dialogue>\n    <scene_description>The thugs exchange a look.<\/scene_description>\n    <character>PONYTAIL<\/character>\n    <dialogue>Get on the ground.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>We have what you want. Why can't you just let us go?<\/dialogue>\n    <scene_description>Ponytail shoves his gun in Max's face.<\/scene_description>\n    <character>PONYTAIL<\/character>\n    <dialogue>I said \"on the ground\"!<\/dialogue>\n    <scene_description>They all lie down on their stomachs. Brooks lies beside Max. Ponytail begins moving down the line, collecting wallets and cell phones. Bald Guy takes out his own phone and dials.<\/scene_description>\n    <character>BALD GUY<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>It's me. We've got 'em all here.<\/dialogue>\n    <scene_description>As Bald Guy walks off to talk, Brooks turns to Max.<\/scene_description>\n    <character>BROOKS<\/character>\n    <dialogue>The Bulgarian's gonna kill me. Probably you guys too. Why did you come back?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>You're my brother. I can't just let you die. Even if you deserve it.<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>You're unbelievable. You were always a better person than me.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Please shut up.<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>I'm being serious.<\/dialogue>\n    <scene_description>Max rolls his eyes.<\/scene_description>\n    <character>BROOKS<\/character>\n    <dialogue>Look, I haven't been totally honest with you.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Yeah, Brooks, I know. That's why we're lying on a bridge at midnight.<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>I don't mean about this. I mean about everything. I'm not the guy you think I am. I'm not even the guy you think I think I am.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>I'm a fraud. Everyone sees me as this cool, carefree dude who wins at everything he touches. Well, you know how I win? I cheat, Max. I cheat at everything. Even when we were little kids and we would play Battleship.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>Didn't you notice how I always made you sit with your back to the TV? It was so I could see where your ships were in the reflection. And I always pocketed five grand in Monopoly before we even started playing. I cheated at the Game of Life. And the game of life.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Son of a bitch.<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>But it didn't stop there. We grew up and you went to college and met Annie and became a writer. I knew I couldn't compete with your success. So I told everyone I got a job on Wall Street. And I did. Selling coke to the traders.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>You never were a venture capitalist?<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>I'm not even sure what \"venture capitalist\" means.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>So this whole time that I've felt like a complete failure next to you, you've felt the same way about me?<\/dialogue>\n    <character>BROOKS<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>Kinda funny, huh?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>No! It's not funny! It's shitty! You turned me into a self-doubting, competitive mess! You even broke my sperm!<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>Okay, I'm not sure what that last thing means, but listen. I've been trying to find a way to make it up to you. That's what this whole game night was supposed to be. I rigged it so you would finally win. The last clue was gonna lead you to your jacket pocket.<\/dialogue>\n    <scene_description>Puzzled, Max reaches into his jacket pocket and pulls out the key to Brooks' Stingray.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Whoa.<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>Surprise. But I even fucked that up. I'm so sorry, man.<\/dialogue>\n    <scene_description>He puts his forehead on the asphalt, defeated. Max puts a hand on his shoulder.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>You know what? We're gonna be okay. I can feel it.<\/dialogue>\n    <scene_description>ANGLE ON Bald Guy finishing his call.<\/scene_description>\n    <character>BALD GUY<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>...all of them? You sure that's necessary?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>He hangs up and turns to Ponytail.<\/scene_description>\n    <character>PONYTAIL<\/character>\n    <dialogue>What'd he say?<\/dialogue>\n    <character>BALD GUY<\/character>\n    <dialogue>We gotta take 'em all out.<\/dialogue>\n    <scene_description>They cock their guns. Our group all react, terrified.<\/scene_description>\n    <character>MICHELLE<\/character>\n    <parenthetical>(to the thugs)<\/parenthetical>\n    <dialogue>Wait! We got you the list!<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Just let us go. No one needs to know!<\/dialogue>\n    <character>MICHELLE<\/character>\n    <parenthetical>(to Kevin)<\/parenthetical>\n    <dialogue>I'm sorry I fucked Glenn Close.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I'm sorry I fucked Karen Waller.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>You said it was a handjob!<\/dialogue>\n    <scene_description>Panicked, Ryan turns to Jillian.<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>(rapid-fire)<\/parenthetical>\n    <dialogue>I know you're too smart for me and you could do way better, but I really like you and I might love you! Do you love me?!<\/dialogue>\n    <character>JILLIAN<\/character>\n    <dialogue>No, I don't think so, but if you want to kiss I'd be okay with that.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Fair enough!<\/dialogue>\n    <scene_description>They kiss. Then,<\/scene_description>\n    <character>JILLIAN<\/character>\n    <dialogue>You smell like a preserved shark.<\/dialogue>\n    <scene_description>Ponytail and Bald Guy point their guns. They're about to fire when-- WOOOP! The chirp of a POLICE CAR SIREN startles everyone.<\/scene_description>\n    <character>MALE VOICE (O.S.)<\/character>\n    <dialogue>Freeze!<\/dialogue>\n    <scene_description>They turn to see-- GARY STEPPING OUT OF HIS COP CAR LIKE A HERO. His weapon is drawn.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Gary?!<\/dialogue>\n    <scene_description>Bald Guy and Ponytail turn their guns on Gary.<\/scene_description>\n    <character>BALD GUY<\/character>\n    <dialogue>Don't even think about it, pig!<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Can't say I care for that nomenclature.<\/dialogue>\n    <scene_description>Gary FIRES his gun at them. Bald Guy and Ponytail dive for cover, returning fire. It's real and loud and scary. Everybody scatters, screaming. Ryan covers Jillian. Max falls on top of Annie. Michelle falls on top of Kevin. Gary slides across his car's hood like John McClane, firing at the thugs. Ponytail gets hit in the gut, his shirt EXPLODING with red. Gary aims and fires. Bald Guy ducks too late and gets hit in the back, dropping like a sack. A beat of quiet.<\/scene_description>\n    <character>BROOKS<\/character>\n    <dialogue>Is that your neighbor?<\/dialogue>\n    <character>MAX<\/character>\n    <parenthetical>(shaken)<\/parenthetical>\n    <dialogue>Yes it is.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>Is everybody okay?!<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>When did Gary get so cool?!<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Gary?! You all right?<\/dialogue>\n    <scene_description>Gary emerges from cover.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>I'm fine.<\/dialogue>\n    <parenthetical>(looking back)<\/parenthetical>\n    <dialogue>Though in sliding, my belt buckle may have scratched the finish of my squad car.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>How did you know we were in trouble?<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>The nocturnal Jenga game, my blood- spattered marital souvenirs and Max's curious search history piqued my interest.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>You saved our lives.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Just doing my jo--<\/dialogue>\n    <scene_description>BANG! Gary's chest explodes in an eruption of BLOOD. He falls to the ground in a heap. We see that Ponytail has fired one last shot before dying.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Oh my god!<\/dialogue>\n    <scene_description>Annie tries putting pressure on the wound. Max pulls Gary into his lap as Jillian calls 911--<\/scene_description>\n    <character>JILLIAN (ON PHONE)<\/character>\n    <dialogue>I need an ambulance, there's an officer down....<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Gary! Hold on!<\/dialogue>\n    <scene_description>Gary looks down at his chest.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>Oh no...<\/dialogue>\n    <scene_description>Ryan dry heaves.<\/scene_description>\n    <character>MICHELLE<\/character>\n    <dialogue>You're gonna be fine, Gary! Just hang on!<\/dialogue>\n    <scene_description>Gary coughs and a little blood comes out of his mouth. His eyelids get heavier.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Hang on, Gare. We're gonna get you to the hospital!<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>You've got so much to live for!<\/dialogue>\n    <character>GARY<\/character>\n    <parenthetical>(weak)<\/parenthetical>\n    <dialogue>Do I? I have no wife. No friends.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>We're your friends, pal.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>We all love you.<\/dialogue>\n    <scene_description>Ryan looks at Kevin. He shrugs.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>You don't... even like spending time... with me.<\/dialogue>\n    <character>MAX<\/character>\n    <parenthetical>(choked up)<\/parenthetical>\n    <dialogue>Not true. We've just been selfish. We didn't think about you and what you needed. I'm so sorry.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Someone please care for Bastian.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>You're gonna care for him yourself.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Yeah. And when you get out of the hospital you're coming to every game night we have. You hear me?! That's a promise!<\/dialogue>\n    <scene_description>Annie takes his hand, trying not to cry--<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Would you like that, Gary? Would you like to come back to game night? You've just gotta keep breathing.<\/dialogue>\n    <scene_description>A very weakened Gary tries to smile. He leans up like he wants to say something, but he's too weak. Max and Annie lean down close...<\/scene_description>\n    <character>GARY<\/character>\n    <parenthetical>(softly)<\/parenthetical>\n    <dialogue>Don't you EVER exclude me again.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>A beat. Then Gary SPITS OUT what looks to be a plastic packet from his mouth.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>What's that? What was that?<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>And that is how you do a murder mystery party.<\/dialogue>\n    <scene_description>Gary gets to his feet, grinning. Kevin SCREAMS when she sees Bald Guy and Ponytail stand up, very much still alive, brushing themselves off.<\/scene_description>\n    <character>BROOKS<\/character>\n    <dialogue>What the hell is going on?!<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>I've duped you all.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>This was all... a game?<\/dialogue>\n    <character>MICHELLE<\/character>\n    <parenthetical>(furious)<\/parenthetical>\n    <dialogue>A game?!<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>When I learned that you stopped inviting me to your game nights, I hijacked Brooks' murder mystery party and staged a kidnapping of my own.<\/dialogue>\n    <scene_description>ARE YOU KIDDING ME?!:<\/scene_description>\n    <character>JILLIAN<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Okay, y'know what? False alarm. Officer not down. He's back up.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>What better way to prove my worth as a game night participant?<\/dialogue>\n    <character>KEVIN<\/character>\n    <parenthetical>(points to Bald Guy and Ponytail)<\/parenthetical>\n    <dialogue>So who are those guys? Actors?<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Oh, no, they're felons. I was able to shave some time off their parole in exchange for this little side project.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Thank you, gentlemen.<\/dialogue>\n    <character>BALD GUY<\/character>\n    <dialogue>We square now?<\/dialogue>\n    <scene_description>Gary nods. Ponytail and Bald Guy collect their props and head off.<\/scene_description>\n    <character>BROOKS<\/character>\n    <parenthetical>(to Gary)<\/parenthetical>\n    <dialogue>What kind of psycho are you?! You put us through all this shit for your own amusement?!<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Just the opposite. For your amusement. Did everyone have fun?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>No, Gary. Nobody had fun. And I got shot with a real bullet!<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>I don't see how that's possible. My men were using blanks.<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>That was my gun. Which was real.<\/dialogue>\n    <character>ANNIE<\/character>\n    <parenthetical>(to Gary)<\/parenthetical>\n    <dialogue>So, the whole thing with the Faberg\u00e9 egg and the Bulgarian. That was you?<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>You've lost me.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>The egg with the WITSEC list inside.<\/dialogue>\n    <scene_description>Max shows him the paper.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>WITSEC?<\/dialogue>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>This is a list of people in the federal witness protection program. How did you get this?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>It was in the egg! Can you please stop fucking with us now?<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>I'm not fudging with you. I honestly don't know what--<\/dialogue>\n    <scene_description>BANG! Gary is hit in the shoulder by a bullet. Blood spurts out. Gary falls to the ground.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Seriously? How stupid do you think we are?<\/dialogue>\n    <scene_description>Brooks spots a BURLY MAN with two armed BODYGUARDS approaching from the other end of the bridge.<\/scene_description>\n    <character>BROOKS<\/character>\n    <parenthetical>(pointing)<\/parenthetical>\n    <dialogue>Max?<\/dialogue>\n    <character>MAX<\/character>\n    <parenthetical>(to Gary)<\/parenthetical>\n    <dialogue>That's your big twist? You get shot again? And by who? Completely new characters you just introduce at the last minute? I'm sorry. You jumped the shark, bud.<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>No, Max...<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>And you don't do a shot in the shoulder after you did a shot in the chest. That's anti-climactic.<\/dialogue>\n    <scene_description>He sticks his finger into Gary's bullet hole. Gary SCREAMS in pain. Max pulls out his finger.<\/scene_description>\n    <character>MAX<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>Hang on...<\/dialogue>\n    <scene_description>Gary reaches for his shoulder walkie.<\/scene_description>\n    <character>GARY<\/character>\n    <parenthetical>(pained)<\/parenthetical>\n    <dialogue>This is Officer Henson. I've got a ten-double-zero on the 4th Street--<\/dialogue>\n    <scene_description>One of the Bodyguards suddenly KICKS GARY IN THE HEAD, knocking him unconscious. It's clear this is not staged.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Jesus!<\/dialogue>\n    <scene_description>The Bodyguard picks up the gun Gary dropped and hands it to his boss, THE BULGARIAN.<\/scene_description>\n    <character>THE BULGARIAN<\/character>\n    <dialogue>Which one of you is Brooks Davis?<\/dialogue>\n    <scene_description>Brooks nervously holds up his hand.<\/scene_description>\n    <character>THE BULGARIAN<\/character>\n    <dialogue>Funny. You don't look like an asshole. Do I look like an asshole to you?<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>THE BULGARIAN<\/character>\n    <dialogue>One of us has to be the asshole in this transaction because otherwise I'd have my egg and you'd have your money.<\/dialogue>\n    <character>THE BULGARIAN<\/character>\n    <dialogue>But instead, we've wasted our night tracking you down. We find Marlon Freeman. He tells us some idiots in a minivan stole the egg. Now we've shot and kicked this perfectly innocent policeman, and now we're gonna have to kill you.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Excuse me, Mr. Bulgarian? If I may. I'm Brooks' brother. He screwed up. He got greedy. He knows that. But the good news is, we got your egg back. Granted, it's broken. But we got the list inside. And I bet that's what you wanted all along. So how about this? You take the list. For free. We all go our separate ways and nobody gets hurt.<\/dialogue>\n    <parenthetical>(then, grim)<\/parenthetical>\n    <dialogue>Except for the people on that list, I'm guessing.<\/dialogue>\n    <scene_description>Max holds up the list.<\/scene_description>\n    <character>THE BULGARIAN<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Okay?<\/dialogue>\n    <character>THE BULGARIAN<\/character>\n    <dialogue>Deal. Makes perfect sense.<\/dialogue>\n    <scene_description>Max moves to hand the list over but Brooks stops him.<\/scene_description>\n    <character>BROOKS<\/character>\n    <dialogue>Wait. You give him that he's gonna kill me.<\/dialogue>\n    <character>THE BULGARIAN<\/character>\n    <dialogue>Nonsense.<\/dialogue>\n    <parenthetical>(then, dead serious)<\/parenthetical>\n    <dialogue>Give me the list.<\/dialogue>\n    <scene_description>Max hesitates. The Bulgarian nods to his guys who aim their guns at Brooks and Max. In an instant, Brooks grabs the list from Max, shoves it in his mouth and swallows it.<\/scene_description>\n    <character>THE BULGARIAN<\/character>\n    <dialogue>What the hell is wrong with you?!<\/dialogue>\n    <scene_description>SFX: a distant SIREN WAILS as it comes closer<\/scene_description>\n    <character>BROOKS<\/character>\n    <dialogue>Just buying myself some time.<\/dialogue>\n    <character>THE BULGARIAN<\/character>\n    <dialogue>Not much. We're just gonna cut you open on the jet.<\/dialogue>\n    <parenthetical>(to Bodyguards)<\/parenthetical>\n    <dialogue>Take him.<\/dialogue>\n    <scene_description>One Bodyguard grabs Brooks. The other points to the group.<\/scene_description>\n    <character>BODYGUARD<\/character>\n    <dialogue>What about them?<\/dialogue>\n    <character>THE BULGARIAN<\/character>\n    <dialogue>Fuck 'em. We'll be out of the country in an hour.<\/dialogue>\n    <scene_description>They back up towards their car, one gun on Brooks, one gun on the rest of them. Max watches helplessly.<\/scene_description>\n    <character>BROOKS<\/character>\n    <dialogue>Don't follow me, Max. I'm serious.<\/dialogue>\n    <character>THE BULGARIAN<\/character>\n    <dialogue>I'm not worried about that.<\/dialogue>\n    <scene_description>He takes out a gun. Max flinches. The Bulgarian SHOOTS OUT two tires on Kevin's minivan. Max's face hardens as he watches the car drive away.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Man. This game just gets weirder and weirder.<\/dialogue>\n    <scene_description>Everyone looks at Ryan.<\/scene_description>\n    <character>JILLIAN<\/character>\n    <dialogue>You know it stopped being a game, right?<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>(covering)<\/parenthetical>\n    <dialogue>Duh.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>The only private air terminal around here is at LAX.<\/dialogue>\n    <scene_description>Max starts to head off.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>You gonna run there?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>We're only four blocks from Brooks' house.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>But our car's not there.<\/dialogue>\n    <scene_description>Max holds up the key to the Stingray.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Yes, it is.<\/dialogue>\n    <scene_description>He runs off. Annie sighs and follows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRIVATE AIR HANGAR - NIGHT<\/stage_direction>\n    <scene_description>One of the Bodyguards shuts the door of a Cessna private jet as it begins to taxi toward the runway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JET - CONTINUOUS<\/stage_direction>\n    <scene_description>He joins the other Bodyguard who is zip-tying Brooks' hands to the arm of a seat. The Bulgarian looms over him.<\/scene_description>\n    <character>BROOKS<\/character>\n    <parenthetical>(struggling)<\/parenthetical>\n    <dialogue>Look, you don't have to do this. Just let me poop it out.<\/dialogue>\n    <character>THE BULGARIAN<\/character>\n    <dialogue>We're not going to go digging around in your feces. We're civilized men.<\/dialogue>\n    <scene_description>He takes out a LARGE KNIFE from a drawer.<\/scene_description>\n    <character>THE BULGARIAN<\/character>\n    <dialogue>Now hold still while I cut your stomach open.<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>Wait! I'll do whatever you need me to do!<\/dialogue>\n    <scene_description>He is about to cut when Brooks notices something outside.<\/scene_description>\n    <character>BROOKS<\/character>\n    <dialogue>The hell?<\/dialogue>\n    <scene_description>The Bulgarian looks out and sees a CORVETTE STINGRAY SMASHING through the chain-link fence along the runway and speeding right toward the taxiing jet.<\/scene_description>\n    <character>THE BULGARIAN<\/character>\n    <dialogue>Is that...?<\/dialogue>\n    <character>BROOKS<\/character>\n    <parenthetical>(proud)<\/parenthetical>\n    <dialogue>My little brother. He doesn't know when to quit.<\/dialogue>\n    <scene_description>The Bulgarian turns to the cockpit and barks at the PILOTS.<\/scene_description>\n    <character>THE BULGARIAN<\/character>\n    <dialogue>Get us in the air! Now!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STINGRAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Frazzled, Max and Annie chase the jet down the runway.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>What's our plan?!<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>The plan was to break through the fence! Now, I've got nothing!<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>They're about to take off!<\/dialogue>\n    <scene_description>Max steels himself and pours on more speed.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>All right. I've got an idea that's crazy enough it just might work.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>You're gonna crash the car into the plane?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Yeah. How'd you know?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>'Cause it's the only option!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RUNWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>The jet is nearly lifting off the ground as the Stingray pulls up alongside. Max turns the wheel hard to the left and RAMS into the side of the plane. The jet VEERS OFF COURSE, barreling toward the edge of the runway. It speeds over the berm and slams to a stop in a ditch.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COCKPIT - CONTINUOUS<\/stage_direction>\n    <scene_description>The PILOTS are thrown against the controls and knocked unconscious.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JET - CONTINUOUS<\/stage_direction>\n    <scene_description>The Bodyguards, the Bulgarian and Brooks are slammed against the cabin walls.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RUNWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>The totaled car spins out, coming to a halt on the runway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KEVIN'S CAR - CONTINUOUS<\/stage_direction>\n    <scene_description>Max and Annie take a breath.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Well, at least I got to drive it for ten minutes.<\/dialogue>\n    <scene_description>Annie sees the door of the jet open as one of the armed Bodyguards steps out.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Quick. Come on!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RUNWAY - NIGHT<\/stage_direction>\n    <scene_description>She jumps out of the car and heads across the tarmac away from the approaching Bodyguard. Max moves to follow but the Bodyguard is already looking in his direction. Max ducks behind the Stingray just in time. The Bodyguard peers inside the car then heads right toward where Max is hiding. Just as he's about to find Max, Annie stumbles and makes a noise. The Bodyguard turns toward the sound as Annie ducks for cover behind a baggage conveyor belt loader parked alongside the tarmac. The Bodyguard toward her. Annie hides on the other side of the loader as the Bodyguard looks for her. She and Max lock eyes from their hiding places. Frantic to help her, Max suddenly notices a LARGE CRATE perched at the top of the elevated conveyor belt directly above the Bodyguard. Max points at the crate and silently mouths \"turn on the belt.\" She doesn't know what he's talking about. He takes out his cell phone to text her: No service.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <scene_description>He gets an idea. He begins to CHARADE to her. He holds up three fingers. It takes a second but Annie gets it.<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>(to herself)<\/parenthetical>\n    <dialogue>Three words.<\/dialogue>\n    <scene_description>Max does the first word. He spins in a circle.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Spin. Turn.<\/dialogue>\n    <scene_description>Yes. Second word: he puts one hand on top of the other.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>On. Turn on what?<\/dialogue>\n    <scene_description>Max points to his belt.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Belt. Turn on belt.<\/dialogue>\n    <scene_description>She catches on. She sneaks around to the control panel of the loader and finds the activation switch. She's about to hit it but Max gestures for her to wait. The Bodyguard circles around the loader. Annie scurries around it, ducking out of his view. Finally, the Bodyguard returns to the spot beneath the crate. Max signals. Annie turns on the conveyor... ...which starts up with a DEAFENING GROWL of its gas engine. The conveyor CREEPS UP SUPER-SLOWLY giving the Bodyguard ample time to see the crate and step out of the way as it smashes harmlessly to the ground. Max throws up his hands. But while the Bodyguard is distracted, he is BONKED in the head by Annie wielding a fire extinguisher she removed from the loader. He goes down hard. Annie grabs the Bodyguard's gun and runs to join Max.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>You saw what I was going for there?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Of course. If that guy had been deaf and paralyzed it totally would've worked.<\/dialogue>\n    <parenthetical>(re: the gun)<\/parenthetical>\n    <dialogue>You want this?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>I know I don't want you to have it, Calamity Jane.<\/dialogue>\n    <scene_description>He takes the gun and they sneak over toward the jet.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Look. There's a hatch on top of the plane! Maybe I can get the drop on them.<\/dialogue>\n    <scene_description>Max puts the gun over his shoulder and carefully begins climbing up onto the wing.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>\"The drop\"?!<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Get to the hangar. See if you can find a cop or something. I'll be okay.<\/dialogue>\n    <character>ANNIE<\/character>\n    <parenthetical>(whisper yell)<\/parenthetical>\n    <dialogue>You're not Jack Reacher!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JET - CONTINUOUS<\/stage_direction>\n    <character>THE BULGARIAN<\/character>\n    <dialogue>We're sitting ducks here. Get out there, kill those fuckers and find me another plane!<\/dialogue>\n    <character>BODYGUARD #2<\/character>\n    <parenthetical>(re: Brooks)<\/parenthetical>\n    <dialogue>You okay with him?<\/dialogue>\n    <scene_description>The Bulgarian picks up his knife.<\/scene_description>\n    <character>THE BULGARIAN<\/character>\n    <dialogue>Oh, we'll be fine.<\/dialogue>\n    <scene_description>As the Bodyguard hurries out of the plane, the Bulgarian approaches Brooks.<\/scene_description>\n    <character>THE BULGARIAN<\/character>\n    <dialogue>No more waiting. I'm getting my list.<\/dialogue>\n    <scene_description>We hear a rattling from the ceiling of the plane. The Bulgarian steps aside just as Max falls through the emergency hatch, missing the Bulgarian and landing on the floor.<\/scene_description>\n    <character>BROOKS<\/character>\n    <dialogue>Max!<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Can't get the drop on anyone tonight.<\/dialogue>\n    <scene_description>Before the Bulgarian can react, Max aims his gun at him.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Drop the knife.<\/dialogue>\n    <scene_description>But instead, the Bulgarian THROWS the knife at Max. It sticks into the same arm where he was shot earlier. Max drops his weapon.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>ARGGGHH! Right in my bullet hole!<\/dialogue>\n    <scene_description>The Bulgarian charges Max but Brooks TRIPS him with his leg. The Bulgarian falls to the floor and he and Max grapple.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RUNWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>The Bodyguard searches around the plane, his gun drawn. He spots Annie hiding behind the nose of the jet and FIRES. She runs for cover but he has her trapped.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Wait! I have kids! Four of them!<\/dialogue>\n    <character>BODYGUARD #2<\/character>\n    <dialogue>Bullshit. Not with that ass you don't.<\/dialogue>\n    <character>ANNIE<\/character>\n    <parenthetical>(flattered)<\/parenthetical>\n    <dialogue>Well, thank you for that.<\/dialogue>\n    <scene_description>He raises his gun and aims at her head.<\/scene_description>\n    <character>BODYGUARD #2<\/character>\n    <dialogue>You're welcome.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JET - CONTINUOUS<\/stage_direction>\n    <scene_description>Max and the Bulgarian continue to wrestle. They stumble into the cockpit landing between the unconscious pilots directly on top of the THRUST LEVER. The engine ROARS TO LIFE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RUNWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>The engine directly behind the Bodyguard suddenly REVS to maximum throttle. The man turns back to look.<\/scene_description>\n    <character>BODYGUARD #2<\/character>\n    <dialogue>What the f--?<\/dialogue>\n    <scene_description>WHOOSH... SPLAT! He's SUCKED into the engine and shredded.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <parenthetical>(then, grim)<\/parenthetical>\n    <dialogue>Oh my god. That's just horrible.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JET - CONTINUOUS<\/stage_direction>\n    <scene_description>The fight spills back into the cabin as the Bulgarian spots the gun Max dropped on the floor. He clambers toward it. Brooks sticks out his leg and TRIPS HIM AGAIN.<\/scene_description>\n    <character>THE BULGARIAN<\/character>\n    <dialogue>Stop tripping me!<\/dialogue>\n    <scene_description>Max notices a BUNGEE CORD dangling from an overhead compartment. He grabs it and wraps it around the Bulgarian's neck. But the Bulgarian is determined. He continues to crawl to the weapon as the cord tightens around his throat. Just as his hand grasps the gun, he collapses on the floor, unconscious from lack of oxygen. Max quickly ties him up with the bungee cord so he can't move. He cuts Brooks free with the Bulgarian's knife. The two brothers stand there as they collect themselves.<\/scene_description>\n    <character>BROOKS<\/character>\n    <dialogue>Look at that.<\/dialogue>\n    <scene_description>ANGLE ON the Bulgarian. Max has wrapped him so his head is nearly in his own crotch.<\/scene_description>\n    <character>BROOKS<\/character>\n    <dialogue>You get a bungee cord in your hand and you go straight to the pervy place, don't you?<\/dialogue>\n    <scene_description>Annie hurries onto the plane and hugs Max.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Yeah, yeah. I mean, I'm changed forever but I'm fine.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Is that a knife in your bullet hole?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>It's nothing. Listen, I want us to have a baby.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>You sure?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Look at us. We did things tonight we never would've imagined we could do. And we were awesome.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>I thought I wanted to be like Brooks but it turns out Brooks is a low-life and a loser.<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>Guilty.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Plus, think of all the dum-dums having babies out there. Ours is going to be so much better. It'll beat them at everything.<\/dialogue>\n    <character>ANNIE<\/character>\n    <parenthetical>(getting into it)<\/parenthetical>\n    <dialogue>Totally. Our baby's gonna crush every other baby!<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>We're gonna raise the Jason Bourne of babies.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>But without all the creepy Treadstone flashbacks.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Right, no. Obviously.<\/dialogue>\n    <scene_description>Brooks starts slow-clapping. They look at him.<\/scene_description>\n    <character>BROOKS<\/character>\n    <dialogue>And that is how you throw a game night.<\/dialogue>\n    <scene_description>Max and Annie stare.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>It went exactly as I planned.<\/dialogue>\n    <parenthetical>(to the Bulgarian)<\/parenthetical>\n    <dialogue>Trevor, you can get up now.<\/dialogue>\n    <scene_description>Max and Annie exchange an incredulous look and turn to the Bulgarian. He doesn't move. There's a beat.<\/scene_description>\n    <character>BROOKS<\/character>\n    <dialogue>I'm just fucking with you. That would've been cool though, right?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Such a dick.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BROOKS' HOUSE - NIGHT<\/stage_direction>\n    <scene_description>SUPER: \"3 MONTHS LATER\" Max and Annie head toward Brooks' rented house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROOKS' HOUSE - LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Max and Annie enter to find a game night in progress. Kevin, Michelle, Ryan and Jillian play \"Pictionary.\" We see the player at the easel is Gary. They all yell greetings. Brooks hands Max a drink.<\/scene_description>\n    <character>BROOKS<\/character>\n    <dialogue>Thanks for letting me host again.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>It's not like we have a choice.<\/dialogue>\n    <scene_description>REVEAL that Brooks is wearing A BLINKING HOUSE ARREST ANKLE BRACELET.<\/scene_description>\n    <character>BROOKS<\/character>\n    <dialogue>Only for another 36 months.<\/dialogue>\n    <scene_description>Brooks sits down on the sofa and puts an arm around DR. CHIN, the fertility doctor.<\/scene_description>\n    <character>DR. CHIN<\/character>\n    <dialogue>Hi guys!<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Hey, Dr. Chin.<\/dialogue>\n    <character>KEVIN<\/character>\n    <parenthetical>(re: Gary's drawing)<\/parenthetical>\n    <dialogue>\"The Crying Game\"?<\/dialogue>\n    <scene_description>We see Gary's drawing is of a man crying.<\/scene_description>\n    <character>JILLIAN<\/character>\n    <dialogue>\"Boys Don't Cry\"?<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>\"Cry-Baby\"?<\/dialogue>\n    <scene_description>Ryan's phone BUZZER sounds.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Time's up.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>It was \"The Green Mile.\"<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>How is that \"The Green Mile\"?!<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>That's me at the Regal Cinema, crying, as I did through much of the film.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>How are we supposed to know that, Gary?!<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>I assume everyone cried during \"The Green Mile.\"<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>(whispering to Kevin and Michelle)<\/parenthetical>\n    <dialogue>How long till we can stop inviting him again?<\/dialogue>\n    <character>BROOKS<\/character>\n    <dialogue>Who's next?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I'll go.<\/dialogue>\n    <scene_description>Annie gets up and grabs the pen. She pulls out her clue, reads it, tosses it behind her, nods for the timer, and starts drawing a bread roll.<\/scene_description>\n    <character>MICHELLE<\/character>\n    <dialogue>A rock. A ball.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>A burger. A bun!<\/dialogue>\n    <scene_description>She nods, then draws an oven around the bun.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>Wait, is this a motion picture?<\/dialogue>\n    <scene_description>She ignores him.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Baking a bun. In an oven. There's a bun in the oven!<\/dialogue>\n    <scene_description>Annie touches her nose, smiling. Max jumps up, celebrating his win, but then:<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Wait-- what?<\/dialogue>\n    <scene_description>He turns to Annie: she's holding her stomach.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>You're pregnant?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>We did it.<\/dialogue>\n    <scene_description>Max smiles and hugs her as everyone cheers and congratulates them. WE MOVE OUT A WINDOW where the happy tableau plays out in the living room. Suddenly, an ominous BLACK VAN pulls to a stop in front of the house as we SMASH TO BLACK.<\/scene_description>\n    <character>THE END \\*<\/character>\n  <\/scene>\n<\/script>","summary":"Married couple Max and Annie are avid gamers who met at bar trivia and became engaged during charades. Their plans for a baby are complicated by Max's feelings of inadequacy compared to his successful brother, Brooks. They host a regular game night with their friend Ryan and married couple Kevin and Michelle, which they struggle to keep secret from their socially awkward police officer neighbor Gary, especially after his painful divorce from their friend Debbie. Brooks arrives in Max's dream car, humiliates him with a childhood story, and offends Annie (who assumed Max was overthinking his issues with Brooks) by offering to host their next game night himself. When the guests, including Ryan's new date Sarah, arrive at Brooks's rental house, Brooks reveals he has initiated an interactive role-playing mystery game, promising the winner his Corvette. An actor enters to begin the game but is knocked unconscious by two masked men who kidnap Brooks. Believing this is part of the game, the couples passively observe the fight and split up to solve the mystery. Ryan and Sarah visit the role-playing company\u2019s office to offer a bribe for the final clue. Kevin and Michelle talk to the actor, leading them to realize Brooks's abduction was real. Max and Annie track Brooks's phone to a bar and use a pistol Brooks dropped to hold his captors at gunpoint and free him. When Annie accidentally shoots Max in the arm, they realize they are in danger. They flee as Brooks confesses that he is a black marketeer: he procured a Faberg\u00e9 egg for a criminal known as \"the Bulgarian\" but instead sold it to someone with the alias \"Marlon Freeman\". With his kidnappers in pursuit, Brooks jumps out of the car to allow Max and Annie to escape. The couples regroup and, unable to go to the police, decide to recover the egg from Freeman to deliver to the Bulgarian. They show up at Gary's house and distract him with the pretense of a game night while Max uses his police computer to discover Freeman's real name, Donald Anderton, and his address. After Max bleeds on Gary's dog and a shrine dedicated to Debbie, the group leaves and receives a phone call to meet the kidnappers in one hour. They sneak into Anderton's mansion, where he is hosting an underground fight club. Searching for the egg, Michelle admits to Kevin that she once slept with Denzel Washington while they briefly separated, but Kevin determines him to be a celebrity doppelganger after seeing his picture. Separately, Max tells Annie he may not be ready to have a child. Ryan spots the egg in an open safe, leading to a game of keep away with Anderton's guards. The group escapes with the egg but accidentally breaks it, revealing a list inside. The group meets with Brooks and his captors, only to be captured themselves. Brooks reveals that he has always been jealous of Max's life and intended for him to win the Corvette all along. Gary saves them but is shot in the chest. Max and Annie comfort him by promising to invite him to every future game night, and he reveals that he faked the entire abduction \u2014 including hiring the kidnappers \u2014 to trick them into letting him rejoin game night. He is, however, unaware of the list, which he recognizes as a WITSEC list, and they are cornered by the real Bulgarian. Max offers the list in exchange for their lives, but Brooks, thinking they will all be killed anyway, swallows the list and is taken to the Bulgarian's plane. Max and Annie race to the airport in the Corvette, stop the plane, subdue the Bulgarian and his henchmen, and rescue Brooks; Max realizes he wants to be a father after all. Three months later, Brooks is under house arrest for his crimes but has sold the list on the black market for $3 million (after tipping off the witnesses for $20,000 each). He hosts game night for the group, including Gary, and Annie reveals she is pregnant through a game of Pictionary as armed men arrive outside."}
{"movie_name":"Dazed and Confused_1993","imdb_id":"tt0106677","script":"<script>\n  <scene>\n    <scene_description>\"DAZED and CONFUSED\" by \/SW1\"\\*1^ Richard Linklater \/H^K.^A Draft as of: 02.20.1992<\/scene_description>\n    <character>DAZED AND CONFUSED<\/character>\n    <dialogue>CAST OF CHARACTERSi<\/dialogue>\n    <scene_description>Lead Senior Guy a : Randy -PINK\\* Floyd - runs with all crowds: jocks, etoners, poker group intelligentsia and acts accordingly TONY Olsen - witty, intellectual,, paper editor, poker group member, a bit shy around ths girls but ends up with Sabrina DON Dollar - cocky, charming, not smart, womanizer, fun guy, has thing with Shavonne Keith PICKFORO -cool, quirky, a stonar who's got it all together although hia party gets busted BENNY McCracken - athlete, a little dumb, intimidating, but in it for fun, drinks lota of beer Lead Senior Girls: J O D X Kerr - socially popular, smart, Mitch's older sister, Sabrina's \"big Bister' KAYE Faulkner - smart, analytical, most matura of senior girls, social f S H A V O N N E Rhodes - boy eraxy, popular, hot stuff Lead Freshmen\\* MITCH Kerr - Jodi's younger brother, popular, athlete, gets 'busted\\* the worst by seniors but ultimately gets lucky, ends up with Julie r^ S A B R I N A Davis - very striking end mature for her age, a bit shy but a bit calculating at the sane time, ends up with Tony Supporting senior Girlst C Y N T H I A Dunn - smart, a bit socially inhibited, has crush on Tony (unbeknoweat to him), hangs out with tha pokar guys D A R L A woods - tough, humiliates freshman like a drill sergeant, a female O'Bannion MICHELLE Burroughs - Pickford'a girlfriend, doesn't talk much but is perhaps the coolest girl around JULIE Danford - sophmore, parties, flirts with Mitch and ends up with him Supporting Senior Guysi MIKE Nawhouse - intellectual, poker group\/paper staff guy, best friends with Tony but has darker edge, ' ready to push the boundaries Paul SLATER - endearing stoner, accepted by all because of his basically fun and intereating perspective ROYCE Crawford - smart black friend of Tony and Mike's, poker group\/paper staff guy but not completely with his white friends HUDSON Higgins - athlete\/party guy, friends with O'Bannion and Benny, more of a sidekick with a car Fred O ' B A N N I O N - sadistic, 2nd year senior, the only ^ ,-\u2022\u2022 real -bad guy' in the movie but gets commuppance from freshmen guys Additional Guysi Bobby W O O D E R S O N \u2022 older guy still hanging on to high school scene, basically cool end looked up to but is getting more pathetie as the years go on ELVIS Spivey - A little older black guy who haa ambiguous relationship with the crowd at the Emporium though obviously the most respected, \u2022coolest' guy there. Possibly just taking whicey' money at pool. C L I N T Bruno - aggressive jerk, rides around with Party Guys tl and #2, picks on Mike at beer bust, ultimately gets in fight i Additional Girlsi STACY Woodward - has older boyfriend she talks about losing virginity to, best friends with Julie SUSAN Sumner - gets drunk and out of control at beer bust ' Supporting Freshmen: i 1 . CARL Burns - a bit of a smartass, shortstop on Mitch's team, competes with Mitch a little on coolness TOMMY Lewson - catcher on baseball team, looka up to Miteh a bit Adam KZRSK - gets busted by O'Bannion but apearheads revenge scenario Freshman Girls #!-\\*\" \/$!\\*SS\"\\ .-\u2022\\*\" ' \u2022 \/$n&gt;\\*\\<\/scene_description>\n    <character>FADE IN:<\/character>\n    <dialogue>OPENING TITLE SEQUENCE<\/dialogue>\n    <dialogue>Behind logos and title cards we hear the eerie and edgy beginning of Aerosmith's 'Sweet Emotion''. The titles are offset by random high school yearbook photos of members of the case. Some are their official school pictures with their activity listings, while others are the students in various extracurricular activity poses. The last title reads:<\/dialogue>\n    <scene_description>LAST DAY OF SCHOOL MAY 28, 1976 12:55 p.m.<\/scene_description>\n    <character>SERIES OF SHOTS<\/character>\n    <dialogue>As the song kicks in we SEE many of these same characters in their lunch-time environment.<\/dialogue>\n    <character>AEROSMITH<\/character>\n    <dialogue>\u2022Sweeeet emooootion... Sweeeet emooootion...\\*<\/dialogue>\n    <scene_description>A) Inside a car, a joint being rolled on the underside of a frisbee.<\/scene_description>\n    <character>AEROSMITH<\/character>\n    <dialogue>-Talkin' 'bout things and nobody cares...\u2022<\/dialogue>\n    <scene_description>B) A convertible driving through the school parking lot in slow motion. C) In another car, the long-haired inhabitants finish off a beer and toss it out of the car.<\/scene_description>\n    <character>AEROSMITH<\/character>\n    <dialogue>\"Wearin1 other things that nobody wears...\"<\/dialogue>\n    <scene_description>D) Students laying around in the smoking section with bad attitudes. E) In a shop class, a guy drilling small holes in a paddle he's making. F) Girls unloading a large quantity of grocery supplies from their cars and putting them in one truck.<\/scene_description>\n    <character>AEROSMITH<\/character>\n    <dialogue>'Callin' my name but I gotta make clear...\"<\/dialogue>\n    <character>A<\/character>\n    <dialogue>G) Guys playing cards at a picnic table in the snack bar area.<\/dialogue>\n    <character>AEROSMITH<\/character>\n    <dialogue>\"Can't say baby where I'll be in a year...\u2022<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>The convertible parks next to a crowded, smoke-fiiled car with<\/dialogue>\n    <character>HIGH SCHOOL PARKING LOT - DAY<\/character>\n    <dialogue>the windows rolled up. KEITH PICKFORD and MICHELLE BURROUGHS soon hop out of this car and head toward the school. Standing next to his truck, RANDY 'PINK' FLOYD calls out to them.<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>Pickfordi You stoner!<\/dialogue>\n    <scene_description>Pickford acknowledges him with a slightly sarcastic, mimicking voice as he and Michelle walk over to him.<\/scene_description>\n    <character>PICKFORD<\/character>\n    <dialogue>They say it'll kill ya but they don't say when...<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>How's it lookin' for tonight?<\/dialogue>\n    <character>PICKFORD<\/character>\n    <dialogue>Three kegs...<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>Cool. But the big news is... Check<\/dialogue>\n    <scene_description>jjptV this shit- out. Pink grabs a tarp in the bed of his truck and with one quick motion, jerks away the canvas and reveals a smiling Ronald McDonald statue. Formerly of the drive-thru line, Ronald has a speaker in his stomach.<\/scene_description>\n    <character>PICKFORD<\/character>\n    <dialogue>Awwrighc...<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>Cool.<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>Me and Dollar nabbed it about four- thirty this morning. We just went through there for lunch... They got this old lady standing out there taking orders by hand.<\/dialogue>\n    <scene_description>He imitates a little old lady scribbling on a note pad.<\/scene_description>\n    <character>PINK<\/character>\n    <parenthetical>(continuing)<\/parenthetical>\n    <dialogue>Did you want fries with that? The thing's three feet away from her.<\/dialogue>\n    <scene_description>They laugh a bit and walk together up the stairs to the school.<\/scene_description>\n    <character>INT: HALLWAY - DAY<\/character>\n    <dialogue>Pickford, Michelle, and Pink walk down the hall.<\/dialogue>\n    <character>PICKFORD<\/character>\n    <dialogue>Can't believe we gotta be here ac all today...<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>Let the torture begin...<\/dialogue>\n    <scene_description>They pass PAUL SLATER near a water fountain.<\/scene_description>\n    <character>PICKFORD<\/character>\n    <dialogue>Slater, son...<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>How's it going?<\/dialogue>\n    <character>SLATER<\/character>\n    <dialogue>It's fixin' to be going A LOT better...<\/dialogue>\n    <scene_description>Slater pops something in his mouth and takes a quick gulp at the fountain. He then offers up his hand and Pickford \"gives him five\\* in the slowest, coolest way possible.<\/scene_description>\n    <character>SLATER<\/character>\n    <dialogue>So what time tonight?<\/dialogue>\n    <character>PICKFORD<\/character>\n    <dialogue>'Bout nine or ten...<\/dialogue>\n    <character>SLATER<\/character>\n    <dialogue>All right.<\/dialogue>\n    <scene_description>Slater walks away while Pickford, Michelle, and Pink walk near Pink's classroom door.<\/scene_description>\n    <character>PINK<\/character>\n    <dialogue>Later...<\/dialogue>\n    <character>PICKFORD<\/character>\n    <dialogue>See you up there after...<\/dialogue>\n    <scene_description>As Pickford walks away, he acknowledges TONY OLSON and MIKE NEWHOUSE standing in the hall near the door to Pink's classroom.<\/scene_description>\n    <character>PICKFORD<\/character>\n    <dialogue>If it isn't Woodward and Bernstein.<\/dialogue>\n    <scene_description>Tony and Mike just smirk at Pickford as Pink slows down near the door. y#\\*\\*Y,<\/scene_description>\n    <character>PINK<\/character>\n    <dialogue>Men.<\/dialogue>\n    <character>2<\/character>\n    <dialogue>MIKE<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>So was this a smoked or liquid lunch?<\/dialogue>\n    <scene_description>Pink points at him like \"yeah right\" as a friend and'classmate of theirs, ROYCE CRAWFORD, pokes his head out of the door.<\/scene_description>\n    <character>ROYCE<\/character>\n    <dialogue>Poker game still on for tonight?<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>I don't know about tonight for me.. .<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>, I thought we should all go out.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>And do what?<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>I'm probably going to Pickford's party.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Exactly - we should do something like that. We can play poker any time.<\/dialogue>\n    <character>ROYCE<\/character>\n    <dialogue>I don't know, sounds suspect, we'll have to put it up before the committee.<\/dialogue>\n    <scene_description>Royce and Pink head into the room while Tony suddenly remembers something he wants to tell Mike and gestures for him to walk with him down the hall a bit.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>Okay, I had this dream last night...<\/dialogue>\n    <parenthetical>(grins quizzically)<\/parenthetical>\n    <dialogue>Okay, you have to promise not to tell ANYONE.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Say I promise.<\/dialogue>\n    <character>MIKE<\/character>\n    <parenthetical>(reciting)<\/parenthetical>\n    <dialogue>'I promise not to tell anyone...'<\/dialogue>\n    <character>2<\/character>\n    <dialogue>Tony gets a little quieter and makes sure no one is listening.<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>TONY<\/dialogue>\n    <scene_description>Okay... In this dream I was having sex with what had a perfect female body but...<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>But what? What?<\/dialogue>\n    <scene_description>Tony changes his mind.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>I can't say...<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Oh come on, you can't give a build- up like that and then not deliver. Okay, so, a beautiful female body, we're off to a good start...<\/dialogue>\n    <scene_description>He gestures for Tony to continue.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>^ But the head of... \u2022Abraham Lincoln.<\/dialogue>\n    <scene_description>MIKE doesn't really react at all.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Hmmm.\u2022.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>The hat, beard...<\/dialogue>\n    <parenthetical>(changing subject)<\/parenthetical>\n    <dialogue>Oh well, best not think too deeply about this one...<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Best not...<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>. I gotta go see Mr. Lane. I'll be<\/dialogue>\n    <scene_description>back after a while... Tony walks off aa Mike heads into the classroom.<\/scene_description>\n    <character>3<\/character>\n    <dialogue>Later, inside the newspaper class. Pink, Royce, JODI KERR, KAYE<\/dialogue>\n    <character>INT:<\/character>\n    <dialogue>FAULKNER, SHAVONNE RHODES, and CYNTHIA DUNN are deep in discussion.<\/dialogue>\n    <character>3<\/character>\n    <dialogue>ROYCE<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>...Did we already say the one where that big game hunter arrives on the island and decides to hunt Giliigan?<\/dialogue>\n    <character>JODI<\/character>\n    <dialogue>No... That's 27...<\/dialogue>\n    <character>SHAVONNE<\/character>\n    <dialogue>What about the time that rock<\/dialogue>\n    <scene_description>group, \"The Mosquitos\" visits the island and Ginger and Mari Ann form their own group.<\/scene_description>\n    <character>PINK<\/character>\n    <dialogue>,' That's 28. \\ \u2022 KAYE<\/dialogue>\n    <dialogue>I That's got to be about all of<\/dialogue>\n    <scene_description>them... Didn't they only make two season's worth of that show?<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>f0^ Mrs. Howell was also in that group.<\/dialogue>\n    <scene_description>Tony walks in and the entire class dies laughing.<\/scene_description>\n    <character>ROYCE<\/character>\n    <dialogue>Abe!<\/dialogue>\n    <scene_description>Tony flashes a quick glance toward Mike, who's acting like nothing happened.<\/scene_description>\n    <character>PINK<\/character>\n    <dialogue>Honest Abe... read us a Gettysburg address, Mister, or is it Misses? Lincoln.<\/dialogue>\n    <scene_description>Amid continuing laughter, Tony quickly gains his composure and calmly motions to the class to quiet down and listen.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>It's MISTER EDITOR to all of you for the next year... you bunch of<\/dialogue>\n    <scene_description>! mundane feeble wits. He then sits down right in front of Mike and glares at him.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>Death...<\/dialogue>\n    <scene_description>r MIKE I was very specific, I promised not to cell anyONE. I told EVERYone. 3 CONTINUED: (2) From the hallway, DON DOLLAR looks in the room, makes sure the teacher isn't there and then gestures to Pink in the back of the class v<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>Hey Pink! You ready?<\/dialogue>\n    <scene_description>Pink walks over to the door.<\/scene_description>\n    <character>PINK<\/character>\n    <dialogue>I can't go yet. As soon as Mrs. wilk gets here and checks roll we can probably all split. Go get Benny and check me out on the way back.<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>Cool. ..<\/dialogue>\n    <scene_description>Don walks away down the hall. 4 INT: SHOP CLASS - DAY t Don looks into the shop class and gestures to BENNY McCRACKEN who is standing off to the side, putting the finishing sanding couches on a large paddle he has made. Benny gestures for Don to hold on for just a moment. In the back of the class, Slater and two others, STONER #1 and STONER #2, discuss the more technical aspects of rock and roll. On Slater's desk is a three foot bong he has made as his final woodworking project.<\/scene_description>\n    <character>SLATER<\/character>\n    <dialogue>...Man, I heard when Nugent was playing in Miami, or maybe it was San Francisco... Anyway, man, this chick gets up on stage and starts giving him a blowjob while he was playing, man, \"Stranglehold.\"<\/dialogue>\n    <character>STONER #2<\/character>\n    <parenthetical>(excited)<\/parenthetical>\n    <dialogue>No way...<\/dialogue>\n    <scene_description>Stoner #1 gestures toward his project: a roundish, hand-carved Led Zepplin logo.<\/scene_description>\n    <character>STONER #1<\/character>\n    <dialogue>Hey, last week in New Orleans... Bonham... one-hour drum solo...<\/dialogue>\n    <character>STONER #2<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <scene_description>\/S^\"V<\/scene_description>\n    <character>4<\/character>\n    <dialogue>STONER #1<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Hey Benny, man, I feel sorry for those incoming freshmen.<\/dialogue>\n    <scene_description>Benny smiles and makes a gesture like he's giving someone a spanking with his newly sanded board. The teacher of the class, a middle-aged bald man named MR. RIX, is laid back in his chair fast asleep with his mouth open. On his way out the door, Benny goes up to Mr. Rix and pops the top of a coke in his ear. As Benny rushes out the door, Mr. Rix slowly wakes up.<\/scene_description>\n    <character>MR. RIX<\/character>\n    <dialogue>Get back to your seats...<\/dialogue>\n    <character>I 5 INT: HALLWAY OUTSIDE SHOP CLASS - DAY<\/character>\n    <dialogue>Out in the hallway, Benny proudly shows his board to Don as they start to walk down the hall.<\/dialogue>\n    <character>BENNY<\/character>\n    <dialogue>Check it out. I just drilled a series of small holes... to cut down on the wind resistance and create more of a sting on impact.<\/dialogue>\n    <scene_description>In an upbeat, cocky manner, Shavonne walks by and gives a slight smile.<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>Hmrran.. . Lookin' good Sha-Vaaan.<\/dialogue>\n    <scene_description>She walks past but Don keeps watching her. She eventually turns into the girl's room but looks back at Don before she enters.<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>Caught yah!<\/dialogue>\n    <scene_description>He laughs as they keep slowly walking.<\/scene_description>\n    <character>DON<\/character>\n    <parenthetical>(continuing)<\/parenthetical>\n    <dialogue>She wants my dick.<\/dialogue>\n    <character>I. BENNY<\/character>\n    <dialogue>! Yeah sure... Like every other girl<\/dialogue>\n    <scene_description>at this school. She was looking at me, anyway.<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>Shiiit, man, I get so much pussy... I should be banned from this place.<\/dialogue>\n    <character>BENNY<\/character>\n    <dialogue>Banned for being such a pussy?<\/dialogue>\n    <scene_description>\/$^\\*V<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>DON<\/dialogue>\n    <scene_description>Fuuuck you man.<\/scene_description>\n    <character>INT:<\/character>\n    <dialogue>Shavonne, Jodi, and Kaye are hanging out in the bathroom. Kaye<\/dialogue>\n    <character>GIRL'S BATHROOM - DAY<\/character>\n    <dialogue>and Jodi share a cigarette while Shavonne primps in the mirrar.<\/dialogue>\n    <character>SHAVONNE<\/character>\n    <dialogue>...Yeah, he acts all cocky now but did you notice when he poked his head in the room a little while ago, he didn't even look at me?<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>Forget him.<\/dialogue>\n    <character>JODI<\/character>\n    <dialogue>Is Randy Floyd going out with anyone right now?<\/dialogue>\n    <character>SHAVONNE<\/character>\n    <dialogue>I don't think so. I don't know fcbo\\*r\" that guy. Watch him in action - he's like a politician.<\/dialogue>\n    <character>JODI<\/character>\n    <dialogue>Just because a guy isn't like the Neanderthals you like. I mean, you basically don't like any guy whose IQ approaches triple digits.<\/dialogue>\n    <scene_description>Before Shavonne can respond, Kaye jumps in.<\/scene_description>\n    <character>KAYE<\/character>\n    <dialogue>You know, this is really pathetic. All you ever calk about is guys. Everything is always guys - going to watch guys do whatever it is they're doing at the time, getting all dressed up so maybe some guy will notice you... Do you think guys spend one-tenth the time we do thinking and catering to us? Hell no... They\u2022re too busy DOING things besides preparation for us... What do we DO? Sit around and plot about them in some way or another.<\/dialogue>\n    <character>SHAVONNE<\/character>\n    <dialogue>Yeah, but look at the shit they do: playing sports, fixing up their cars, ... It's all bullshit anyway, who can take it serious?<\/dialogue>\n    <scene_description>i 6 CONTINUED:<\/scene_description>\n    <character>JODI<\/character>\n    <dialogue>We don't have any choice BUT to take whatever they do serious.<\/dialogue>\n    <scene_description>v,<\/scene_description>\n    <character>KAYE<\/character>\n    <dialogue>Exactly.<\/dialogue>\n    <parenthetical>(to Shavonne)<\/parenthetical>\n    <dialogue>And there you were in class with<\/dialogue>\n    <scene_description>I them trying to list all the Gilligan's Island episodes without even a HINT of irony. \u2022 SHAVONNE What the hell are you talking about, girl? ,I , KAYE I You never thought about that show? \u2022 It's what's called a male pornographic fantasy. Think about ' it... You're basically alone on an island with two readily available women... one a seductive, sex- goddess type, the other a healthy, girl-next-door type with a nice \"^ butt. So. guys have it all - the Madonna and the whore, and what do women get? Nothing. A geek, an over-weight middle age guy, a nerdy scientific type... those are all types that your typical male feels least threatened by. So in the male viewers mind, he puts himself on the island and. he can have it , all. A woman puts herself on the island and she's bored shitless.<\/scene_description>\n    <character>SHAVONNE<\/character>\n    <dialogue>You're really full of it. First off, you forgot Mr. and Mrs. Howell, and second, the audience is<\/dialogue>\n    <scene_description>\\[ probably half women, anyway. i KAYE My point exactly. Women are taught to not mind being bored as long as they are occasionally acknowledged. (thinking) And being stranded on an island awaiting rescue is a TOTAL metaphor for the position in which most women are put in in this society today. Jodi walks over to Kaye. CONTINUED: (2)<\/scene_description>\n    <character>JODI<\/character>\n    <dialogue>You know, ever since you spent spring break with your sister at college you've had this fucking attitude...<\/dialogue>\n    <scene_description>Kaye suddenly seems to realize she's gone maybe one step too far and pulls back a little.<\/scene_description>\n    <character>KAYE<\/character>\n    <dialogue>well excuse me for thinking about things a little...<\/dialogue>\n    <character>JODI<\/character>\n    <dialogue>Yeah, that's it... stop thinking so much.<\/dialogue>\n    <character>SHAVONNE<\/character>\n    <parenthetical>(to Kaye)<\/parenthetical>\n    <dialogue>You need to get laid.<\/dialogue>\n    <scene_description>From the hall, Benny can be heard.<\/scene_description>\n    <character>BENNY (O.S)<\/character>\n    <dialogue>Pink! we're off to raise hell. Let's go, man!<\/dialogue>\n    <scene_description>Jodi hears them and walks out. INT: HALLWAY - DAY Jodi walks out in the hall and sees Benny, Don, and Pink walking away. She catches up to them.<\/scene_description>\n    <character>JODI<\/character>\n    <dialogue>Hey, Benny. You guys take it easy on my little brother...<\/dialogue>\n    <character>BENNY<\/character>\n    <dialogue>I got room for his initials right here.<\/dialogue>\n    <scene_description>He shows her his board and all the guys laugh a bit.<\/scene_description>\n    <character>JODI<\/character>\n    <dialogue>Just don't get him any more than anyone else.<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>Okay, okay, you win. Even though Mitch is a card-carrying smartass, as a personal favor to you, because we like you so much, we'll take it easy on him.<\/dialogue>\n    <scene_description>\/R^\\*\\ CONTINUED:<\/scene_description>\n    <character>JODI<\/character>\n    <dialogue>But he's not a smartass... No more than any other eighth grader.<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>So you have our word. Little brother will be okay.<\/dialogue>\n    <character>JODI<\/character>\n    <dialogue>I was just kind of worried about him. Sounded like everyone wanted to kill him.<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>Bye.<\/dialogue>\n    <character>JODI<\/character>\n    <dialogue>Bye. Thanks.<\/dialogue>\n    <scene_description>Jodi walks back to the others while the guys turn and continue on. As soon as Jodi is. far enough away not to hear them, Don looks up at Benny with a kind of mischievous grin on his face.<\/scene_description>\n    <character>. DON<\/character>\n    <dialogue>\/\u2022N,^ Bullshit?<\/dialogue>\n    <character>BENNY<\/character>\n    <dialogue>Major bullshit! He's a dead man.<\/dialogue>\n    <scene_description>They all laugh.<\/scene_description>\n    <character>PINK<\/character>\n    <dialogue>Man, this place is vacant. All the seniors gone on their senior trip...<\/dialogue>\n    <character>I BENNY<\/character>\n    <dialogue>I'm glad those losers are gone. This is what it's going to be like all next year.\\*.. US running this place.<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>Really...<\/dialogue>\n    <character>BENNY<\/character>\n    <dialogue>You guys hear about O'Bannion?<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>Yeah, what a dumb-shit.<\/dialogue>\n    <scene_description>On the way out the door, they pass a group of three young \\*\\*\u2022 Vietnamese girls. Benny does a double take.<\/scene_description>\n    <character>8<\/character>\n    <dialogue>Benny, Don, and Pink walk up to Pink's truck.<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>BENNY<\/dialogue>\n    <scene_description>...But that's my point. We're totally being over-run by those Vietcong. Why don't they just stay the hell where they were? We don't i need 'em. I On top of the building in the background is the departing Seniors obligatory 'senior prank' - an outhouse with \\*SRS.'76\" painted on the side. Pink looks up at it as they begin to get in his truck.<\/scene_description>\n    <character>PINK<\/character>\n    <dialogue>Witty guys...<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>Shotgun!<\/dialogue>\n    <scene_description>Before Don gets in the truck, he reaches over, pulls up the tarp, and glances under it.<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>How's Ronnie doin' today?<\/dialogue>\n    <scene_description>A^\\<\/scene_description>\n    <character>9<\/character>\n    <dialogue>As they drive along, Pink tries to explain the Vietnam situation<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>to Benny without being too condescending.<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>...Well maybe because our country had something to do with fucking up where they lxved and the least we could do was help out the ones that got away.<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>Now wait. The side we were fighting for finally lost, right?<\/dialogue>\n    <character>BENNY<\/character>\n    <dialogue>But not while we were fighting with them.<\/dialogue>\n    <character>10<\/character>\n    <dialogue>They pull up in front of 'Edgar Allen Poe Intermediate School<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>and park.<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>Everyone was bailing out, but hey, when they lost we lost.<\/dialogue>\n    <character>^ 10 CONTINUED:<\/character>\n    <dialogue>BENNY<\/dialogue>\n    <scene_description>We never lost no war, man.<\/scene_description>\n    <character>PINK<\/character>\n    <dialogue>When the communist troops swarmed into Saigon and everybody was running for their lives, holding on<\/dialogue>\n    <scene_description>i to planes and pushing choppers into I the sea and shit, it was all over. A defeat by any logical definition.<\/scene_description>\n    <character>BENNY<\/character>\n    <dialogue>It might not have worked out perfectly, but I bet we killed a lot more of them than they killed us, right?<\/dialogue>\n    <scene_description>Benny positions a speaker on top of Pink's truck and hits a switch on his CB. He reaches for the mic.<\/scene_description>\n    <character>PINK<\/character>\n    <dialogue>Yes... we probably killed lets more of them than they did us.<\/dialogue>\n    <character>BENNY<\/character>\n    <dialogue>^. That's all I'm saying.<\/dialogue>\n    <scene_description>With his board in one hand and the mic in the other, Benny assumes a confrontational pose facing a wall of classrooms that are all glass windows, many of which are open.<\/scene_description>\n    <character>BENNY<\/character>\n    <dialogue>Okay all you freshman wimps, listen up! Any of you ever heard of Fred O'Bannion? He was the meanest senior last year. I would've been the meanest senior this year except O'Bannion just found out he's going to be a senior again this next year. He flunked out and he's really pissed off about it! I feel sorry for you guys. And because we feel sorry for you, we're going to take it easy on you. If you wait for us after school today, you'll only get one lick from each of us. If you run like the cowards you are, it's open season all summer long. And Mitch Kerr... we're especially looking for you! Your ass will be purple before this day is over!<\/dialogue>\n    <scene_description>z^WN A^\\*\\ IS<\/scene_description>\n    <character>11<\/character>\n    <dialogue>The room is buzzing as MITCH KERR looks out the window with a<\/dialogue>\n    <character>INT: JUNIOR HIGH CLASSROOM - DAY<\/character>\n    <dialogue>mixture of dread, fear and excitement. Sitting near him are his friends TOMMY LAWSON and CARL BURNS. A few seats away are GEEK #1 and-GEEK #2, intensely playing a juvenile folded-up paper football game.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>You better get out of town. man. Spend the summer with your grandparents or something.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>You are going to show up to our game tonight, aren't you?<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>I'm pitching. Kind of have to.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>How should we inscribe your tombstone?<\/dialogue>\n    <character>GEEK U<\/character>\n    <dialogue>How 'bout \"Bent over.'<\/dialogue>\n    <scene_description>He and Geek #2 giggle. Mitch and the other guys barely acknowledge them.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Yeah right, piss-ant.<\/dialogue>\n    <parenthetical>(to others)<\/parenthetical>\n    <dialogue>It's all because I supposedly smart- mouthed some senior I've never met, and because my sister is Miss popularity... Why aren't they after anyone else?<\/dialogue>\n    <character>, CARL<\/character>\n    <dialogue>! They are, man, believe me. . Across the room, a group of FRESHMAN GIRLS (#l-#4) are going over ' 1<\/dialogue>\n    <scene_description>a list of those scheduled to be picked up after school by the senior girls. SABRINA DAVIS, a little shy but more mature I looking than the others, sits away from the group but is ' listening in somewhat. Behind her is FRESHMAN GIRL #5 who, like I Sabrina, is not in the \"inner circle.\" Freshman Girl #1 reads \\ aloud from the list. i<\/scene_description>\n    <character>FRESHMAN GIRL #1<\/character>\n    <dialogue>.Nita, Terri, Jill.<\/dialogue>\n    <parenthetical>(to sabrina and Freshman Girl #5)<\/parenthetical>\n    <dialogue>(more)<\/dialogue>\n    <scene_description>J\/J0^&gt;\\<\/scene_description>\n    <character>11<\/character>\n    <dialogue>FRESHMAN GIRL #1<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Sorry, looks like you guys didn't make it.<\/dialogue>\n    <parenthetical>(to others)<\/parenthetical>\n    <dialogue>Okay, it says to wear clothes you don't mind getting ruined...<\/dialogue>\n    <character>FRESHMAN GIRL \"3<\/character>\n    <dialogue>And I heard to never wear shorts or your knees will be skinned completely off from air-raiding so much.<\/dialogue>\n    <character>FRESHMAN GIRL #4<\/character>\n    <dialogue>You know Tammy Jones was blinded for all last summer...<\/dialogue>\n    <character>FRESHMAN GIRL #1<\/character>\n    <dialogue>After it was all over last year Jo Ann Gregory's hair was matted so bad she had to have most of it cut off...<\/dialogue>\n    <scene_description>They let out an almost collective moan at what awaits them but are excited at the same time. Sitting a few desks over, BLACK CLASSMATES U , \" 2 , and #3 are taking this all in.<\/scene_description>\n    <character>BLACK CLASSMATE #1<\/character>\n    <dialogue>Girl, you gotta be crazy to let some big girl do that to you.<\/dialogue>\n    <character>BLACK CLASSMATE #2<\/character>\n    <dialogue>You white girls are funny.<\/dialogue>\n    <character>BLACK CLASSMATE #3<\/character>\n    <dialogue>And I wouldn't let one of those senior guys whip my butt for no reason. Nobody but my daddy's ever done that.<\/dialogue>\n    <scene_description>Standing in the hallway trying to get someone's attention is CHRIS PENTICO, a fellow student.<\/scene_description>\n    <character>PENTICO<\/character>\n    <dialogue>Hey, get Mitch.<\/dialogue>\n    <scene_description>Freshman Girl ft3 looks over at Mitch.<\/scene_description>\n    <character>FRESHMAN GIRL #3<\/character>\n    <dialogue>Psst!<\/dialogue>\n    <scene_description>Mitch looks over at her and then sees Pentico in the hallway holding up a set of keys.<\/scene_description>\n    <character>11<\/character>\n    <dialogue>MITCH<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Awwriight! Pentico got his brother's car.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Thank god.<\/dialogue>\n    <scene_description>. Pentico points down the hall. ! MITCH (to others) I He'll be at the side door. . Tommy walks up to the teacher, MR. LINDSAY, who is reading over some papers. I TOMMY I You know Mr. Lindsay, every second I you let us out early increases our I chances of survival exponentially. Mr. Lindsay looks up and then assumes a new air, ready to say something wise to the young men. i \/f^ ' MR. LINDSAY \\ It's like our sergeant told us before one trip into the jungle: (maniacal) 'Men, 50 of you are leaving on this mission and 20 of you ain't comin' back.' The boys look up as if wanting to hear more. They don't.<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>That's it, end of story?<\/dialogue>\n    <character>'. MITCH<\/character>\n    <dialogue>That's your send-off?<\/dialogue>\n    <character>MR. LINDSAY<\/character>\n    <dialogue>You want more? What do you want to hear?<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>I don't know, what happened?<\/dialogue>\n    <character>MR. LINDSAY<\/character>\n    <dialogue>Pretty much what he said.<\/dialogue>\n    <scene_description>They all kind of look at each other and groan.<\/scene_description>\n    <character>12<\/character>\n    <dialogue>Pink's truck pulls up near the practice field. Several coaches<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>are milling about when they notice a few of their prize specimens have arrived. COACH CLEMENTS, an older and rather stoic man 's flanked by COACH ALPERT, who's younger, bigger, more aggressive and piayful. He approaches the guys as they get out of the truck.<\/dialogue>\n    <character>COACH ALPERT<\/character>\n    <dialogue>Any of you ladies gonna be ready to play some football this coming fall?<\/dialogue>\n    <character>BENNY<\/character>\n    <dialogue>I've been doing so good in my English classes, coach, I think I'm going to take next fall off and become a writer.<\/dialogue>\n    <scene_description>They all laugh.<\/scene_description>\n    <character>COACH ALPERT<\/character>\n    <dialogue>Boy, you couldn't write your name if it wasn't stenciled on your locker.<\/dialogue>\n    <parenthetical>(to all -of them)<\/parenthetical>\n    <dialogue>\\ Now don't go getting soft on me<\/dialogue>\n    <scene_description>i this summer... Sitting by a pool somewhere, chasing the muff around... They all laugh a little as they start walking back to the school.<\/scene_description>\n    <character>COACH ALPERT<\/character>\n    <dialogue>Break down!<\/dialogue>\n    <scene_description>Benny automatically falls into a stance where his knees are bent, his fists are clenched and held firmly up near his face, almost karate-like. Don only slightly goes through such ridiculous motions and Pink not at all.<\/scene_description>\n    <character>COACH ALPERT<\/character>\n    <dialogue>Hell, my grandmother's quicker and tougher than you panty-waiscs... Course she is 6'3', 250 and runs a 4.5 forty.<\/dialogue>\n    <scene_description>Noticing Pink's poor attitude, Coach Clements suddenly rouses a little and points at him.<\/scene_description>\n    <character>COACH CLEMENTS<\/character>\n    <dialogue>Randy Floyd, before next fall, you're in need of a serious<\/dialogue>\n    <scene_description>r attitude adjustment young man.<\/scene_description>\n    <character>12<\/character>\n    <dialogue>Don and Benny glance back at the coach and then at Pink, who<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>keeps walking but doesn't say anything back.<\/dialogue>\n    <character>COACH CLEMENTS<\/character>\n    <dialogue>Better get your priorities straight and watch out with that other crowd you're running with. Don't think we haven't noticed.<\/dialogue>\n    <scene_description>As soon as they are all at a safe distance and walking tcward -he school, the guys start to ride Pink a little.<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>Priorities...<\/dialogue>\n    <character>BENNY<\/character>\n    <dialogue>An attitude adjustment...<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>Forget you guys.<\/dialogue>\n    <scene_description>As they continue to walk, HUDSON HIGGINS drives up near them. FRED O'BANNION is sitting in the passenger side of the car. Jt^Z\\ O'BANNION Benny, let's go.<\/scene_description>\n    <character>BENNY<\/character>\n    <parenthetical>(to Don and Pink)<\/parenthetical>\n    <dialogue>I told O'Bannion I'd go over there with him and Hudson.<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>Later.<\/dialogue>\n    <character>\\*<\/character>\n    <dialogue>Benny heads off while Don and Pink enter the school.<\/dialogue>\n    <scene_description>i<\/scene_description>\n    <character>13<\/character>\n    <dialogue>Don and Pink walk down the hall in no particular hurry. In his<\/dialogue>\n    <character>INT. HALLWAY - DAY<\/character>\n    <dialogue>I usual cocky way, Don looks into various classrooms along the way, !, acknowledging those he deems worthy of recognition. As an<\/dialogue>\n    <scene_description>UNDERCLASSMAN walks by. looking a bit afraid of Don to begin with, Don acts like he's going to hit him. The Underclassman reacts by covering himself up and bracing for the blow. Don pulls his punch, of course, and leaves the Underclassman to walk off totally humiliated. He and Pink keep walking like nothing happened. Soon they are at the door to Pink's class.<\/scene_description>\n    <character>PINK<\/character>\n    <dialogue>I better put in a final<\/dialogue>\n    <character>AP\\*\u00b0-<\/character>\n    <dialogue>appearance...<\/dialogue>\n    <character>13<\/character>\n    <dialogue>DCN<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Who you got in here with you?<\/dialogue>\n    <scene_description>He looks in and sees the very cute and sensual LETICIA GARCIA , sitting near the door.<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>. Chi-chi! Come skip out. Let's go<\/dialogue>\n    <scene_description>|! get naked... ' She smiles but shakes her head \"no.\" He sticks his tongue out at her very suggestively. The teacher, MS. STROUD, suddenly looks I out the door and begins to close it. | MS. STROUD I Take it somewhere else, Mr. Dollar. (to Pink) 1 You gracing us with your presence today Mr. Floyd? I\\ PINK Why not... (to Don) I See you up there later. P ^ DON \u2022\u2022 (to Floyd) \u2022 Later Pink. (to Ms. Stroud) Ginny, I been meaning to ask you out. What are you doing this weekend? It'll be legal... school's out. She rolls her eyes a bit as he walks off smiling and then closes the door. Don continues down the hall but, without an audience, seems a little lonely. Suddenly, MR. IRVINE walks around a corner and looks straight at him.<\/scene_description>\n    <character>MR. IRVINE<\/character>\n    <dialogue>Don, either get in a classroom or come to my office, right now!<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>I'm right here in Mrs. Snelgrove's. I was running an errand.<\/dialogue>\n    <scene_description>He quickly ducks into a classroom.<\/scene_description>\n    <character>14<\/character>\n    <dialogue>Don walks into the class and soon acknowledges Pickford,<\/dialogue>\n    <character>INT: CLASSROOM - DAY<\/character>\n    <dialogue>j$f&amp;\\*K<\/dialogue>\n    <scene_description>Michelle, and JULIE DANFORD sitting in the back. -. 21.<\/scene_description>\n    <character>'\"\"\"' 14 CONTINUED:<\/character>\n    <dialogue>He then walks up to the teacher, MRS. SNELGROVE, an old lady on the verge of retirement. She's reading a romance novel and doesn't even know he's there until he speaks up.<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>Mrs. Snelgrove, Mr. Irvine is out in the hall and requests to speak to you briefly.<\/dialogue>\n    <scene_description>Possibly not even sure if Don is in her class or not, she gets up and walks to the door. Seeing nobody, she walks a little out into the hall. At this, Don suddenly shuts the door behind her J and locks it. As she knocks on the door, he heads to the back of the room and opens a window. I DON<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction> Hey, let's get out of here. I \u2022<\/stage_direction>\n    <scene_description>He hops out as Pickford, Michelle, Julie, and several others follow.<\/scene_description>\n    <character>PICKFORD<\/character>\n    <dialogue>Let's go.<\/dialogue>\n    <scene_description>1 MICHELLE f ^ we're out oThere\"!<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Cool...<\/dialogue>\n    <character>15<\/character>\n    <dialogue>Others continue to hop out the window into a courtyard area and<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>u generally head to the parking lot. i | 16 EXT: COURTYARD - DAY<\/dialogue>\n    <scene_description>Trying to get Pink's attention, Don taps on the glass of the window to his classroom.<\/scene_description>\n    <character>17<\/character>\n    <dialogue>Inside the classroom, the students are anxiously waiting for<\/dialogue>\n    <character>INT:<\/character>\n    <dialogue>school to let out. Pink subtly heads to the back of the room, opens the window, and calks to Don. In the front of the class, Ms. Stroud is sitting and talking informally with a few of the more interested students.<\/dialogue>\n    <character>17<\/character>\n    <dialogue>MS. STROUD<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>...I don't think it matters who finally gets nominated, the Democratic candidate is going to win in the fall. . .<\/dialogue>\n    <scene_description>Across the room, Jodi. Shavonne and DARLA WOODS plan &gt;-heir strategy.<\/scene_description>\n    <character>SHAVONNE<\/character>\n    <parenthetical>(to Darla)<\/parenthetical>\n    <dialogue>So all the supplies are in your truck?<\/dialogue>\n    <character>DARLA<\/character>\n    <dialogue>Just waiting for the right moment.<\/dialogue>\n    <scene_description>She smiles in a sort of menacing way. The bell finally rings bw before everyone gets going, Mrs. Stroud signals for them to listen up to one last thing.<\/scene_description>\n    <character>MS. STROUD<\/character>\n    <dialogue>Just remember this summer, when<\/dialogue>\n    <scene_description>\/flfffpN, you're being further inundated with all kinds of American bi-centennial brouhaha: what we're really celebrating is the fact that a bunch of slave-owning, aristocratic white males didn't want to pay their taxes. (smiles) Have a good summer.<\/scene_description>\n    <character>18<\/character>\n    <dialogue>People dart out of the classroom and into the hall where students<\/dialogue>\n    <character>INT:<\/character>\n    <dialogue>are trashing it with extra paper and random contents from their lockers. Darla, Jodi and Shavonne all head for the parking lot.<\/dialogue>\n    <character>I' 19 EXT: HIGH SCHOOL PARKING LOT - DAY<\/character>\n    <dialogue>Cars are starting and music is blaring. Darla checks to make sure their supplies in the back are secure while the others pile in. Soon they are off.<\/dialogue>\n    <character>20<\/character>\n    <dialogue>Outside the junior high, all hell's breaking lose. Some guys are<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>running for their lives as cars of seniors take off after them. Some boys make it to their parent's car or a school bus just ahead of the seniors. Mitch, Tommy, and Carl all jump in Pentico's idling car.<\/dialogue>\n    <scene_description>\/(fiS^S. 23<\/scene_description>\n    <character>20<\/character>\n    <dialogue>ADAM HIRSH is carrying lots of books and is lagging behind them<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>a bit.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Hurry up Hirsh or we're gcnna leave your ass!<\/dialogue>\n    <scene_description>Hirsh makes it to the car and they speed off. Unfortunately, as they are pulling out of the parking lot, they pull up right next to the car with O'Bannion, Benny and Hudson in it. Almost J simultaneously as they are spotted, they all duck down in their seats in total horror.<\/scene_description>\n    <character>)<\/character>\n    <dialogue>MITCH<\/dialogue>\n    <scene_description>Shit! That's them. Let's get out of here. i O'Bannion can barely contain himself at the sight of the entire carload.<\/scene_description>\n    <character>I<\/character>\n    <dialogue>O'BANNION<\/dialogue>\n    <scene_description>Shoowee! Ducks on the pond! Pentico manages to pull out ahead of them but the chase is on.<\/scene_description>\n    <character>21<\/character>\n    <dialogue>In contrast, the senior orderly as they load up freshman girls.. Before their mouths. With the notice Sabrina standing<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>girls seem much more organized and three trucks with nervous and giggling getting in, the seniors put pacifiers in trucks almost full, Jodi happens to nearby.<\/dialogue>\n    <character>JODI<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>SABRINA<\/character>\n    <parenthetical>(looks around)<\/parenthetical>\n    <dialogue>Uh, nobody... I mean I wasn't on the list.<\/dialogue>\n    <character>I<\/character>\n    <dialogue>i<\/dialogue>\n    <character>JODI<\/character>\n    <dialogue>Get in.<\/dialogue>\n    <scene_description>I Sabrina looks a little hesitant at first but soon gets in the ' back of one of the trucks. Jodi gives her a pacifier while ' Freshman Girls #1 and #4 look a little miffed that Sabrina made the cut somehow.<\/scene_description>\n    <character>22<\/character>\n    <dialogue>\"\\*\u2022<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>In hot pursuit, the carload of seniors are right behind Pentico's<\/dialogue>\n    <scene_description>car, honking and waving their boards in the air. f\" . 24.<\/scene_description>\n    <character>22<\/character>\n    <dialogue>The nervous freshmen sit in Pentico's car like caged animals.<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>CARL<\/dialogue>\n    <scene_description>Pentico! Lose those ass-wipes!<\/scene_description>\n    <character>PENTICO<\/character>\n    <dialogue>I 'm trying, m a m<\/dialogue>\n    <scene_description>I He takes a quick turn that the seniors miss. But, instead of ' backing up or turning around, Hudson trenches through the yard c a corner lot and is soon right behind Pentico's car again I<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction> 23 EXT: SUBURBAN STREET - DAY<\/stage_direction>\n    <scene_description>Inside Pentico's car. Mitch anxiously has his hand on the doer \u2022handle. The car suddenly slows down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction> PENTICO<\/stage_direction>\n    <scene_description>You better haul ass man...<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Good luck.<\/dialogue>\n    <character>24<\/character>\n    <dialogue>Mitch suddenly leaps out of the car, runs to his front door and<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>vanishes. The seniors don't know what to think.<\/dialogue>\n    <character>O'BANNION<\/character>\n    <dialogue>Those little fuckers! Fuck! That was Kerr!<\/dialogue>\n    <character>BENNY<\/character>\n    <dialogue>Damn!<\/dialogue>\n    <character>O'BANNION<\/character>\n    <dialogue>That's bullshit!<\/dialogue>\n    <character>25<\/character>\n    <dialogue>when Carl jumps out near his house, O'Bannion is out of the car<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>and right behind him. He quickly overtakes him and is soon standing between Carl and his front door, paddle in hand.<\/dialogue>\n    <character>O'BANNION<\/character>\n    <dialogue>Nice try, freshman... And just for being so brave, I'm only going to give you three licks.<\/dialogue>\n    <scene_description>\/tfJRV - Just as he starts getting his board ready, the front door opens and CARL'S MOM is standing there with a shotgun. AF&amp;\\*\\*<\/scene_description>\n    <character>25<\/character>\n    <dialogue>CARL'S MOM<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>I don't think so, you creep...<\/dialogue>\n    <scene_description>Carl is horrified and embarrassed at his mother's behavior.<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Mooom!<\/dialogue>\n    <character>CARL'S MOM<\/character>\n    <dialogue>Get in the house, Carl.<\/dialogue>\n    <parenthetical>(to O'Bannion)<\/parenthetical>\n    <dialogue>Now get the hell off my property.<\/dialogue>\n    <scene_description>O'Bannion is slightly shocked but soon amused at all this and just slowly backs away with his hands up in the air a little.<\/scene_description>\n    <character>O'BANNION<\/character>\n    <parenthetical>(extreme sarcasm)<\/parenthetical>\n    <dialogue>Sorry, ma'am. Just making sure your son got home safely. You two have a pleasant afternoon, oh, and Carl, I'll be seeing you around.<\/dialogue>\n    <scene_description>He smiles at Carl like \"I'm going to kill you when I get the chance\" and walks off.<\/scene_description>\n    <character>26<\/character>\n    <dialogue>The freshman girls are in a circle with the senior girls walking<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>around them. The attitude of the senior girls varies from fun- loving to sadistic. Darla seems to have assumed the role of<\/dialogue>\n    <scene_description>i tyrannical drill instructor.<\/scene_description>\n    <character>II '<\/character>\n    <dialogue>I<\/dialogue>\n    <character>DARLA<\/character>\n    <dialogue>You disgusting little freshmen<\/dialogue>\n    <scene_description>| sluts... AIR-RAID! The freshmen girls are on their stomachs immediately.<\/scene_description>\n    <character>;| DARLA<\/character>\n    <dialogue>That was pitiful! On your feet,<\/dialogue>\n    <scene_description>j you lazy little bitches! As soon as they are all up, she yells again.<\/scene_description>\n    <character>DARLA<\/character>\n    <dialogue>Air-raid!<\/dialogue>\n    <scene_description>They drop again.<\/scene_description>\n    <character>DARLA<\/character>\n    <dialogue>\"-\\*\u2022 How did you punks ever make it out<\/dialogue>\n    <scene_description>of junior high? (more)<\/scene_description>\n    <character>26<\/character>\n    <dialogue>DARLA<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>The future of our high school is doomed with losers like you no- counts coming in. Now, let's try it one more time...<\/dialogue>\n    <scene_description>Most don't know exactly what she wants and don't get up very quickly.<\/scene_description>\n    <character>DARLA<\/character>\n    <dialogue>That means GET UP you worthless<\/dialogue>\n    <scene_description>I little bitches! . They all get up immediately. \u2022 DARLA I . Air-raid! , They all are on the pavement quicker than ever.<\/scene_description>\n    <character>DARLA<\/character>\n    <dialogue>Well, we tried, we gave you a chance. But because you little<\/dialogue>\n    <scene_description>i prick teases can't quite follow A\\*\\*\\* instructions, we'fe going to have { \\*\\*\\*\" to try something else. She signals to several of the others who bring over \"the i supplies.\" Soon they are dumping rounds of flour, syrup, ketchup, and vegetable oil all over them. Occasionally one will crack an egg over someone's head. Meanwhile, in the crowd of amused onlookers, Tony and Mike analyze the proceedings as they sip slushes.<\/scene_description>\n    <character>I<\/character>\n    <dialogue>I 1<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>...What's fascinating is the way not only the school, but the entire community supports all this or at least turns their heads. I mean, they apparently have permission to<\/dialogue>\n    <scene_description>i use this parking lot, no parents seem to mind...<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I And actually, the freshmen girls 1<\/dialogue>\n    <scene_description>are even made to feel privileged to be participating.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>As are the freshmen guys who the seniors want to bust the most. It's the ultimate stamp of<\/dialogue>\n    <scene_description>y\u00a3^N approval.<\/scene_description>\n    <character>26<\/character>\n    <dialogue>Back in the pack of girls, the seniors have now paired off wi-'-<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>the girls and are humiliating them individually, shavonne walks Freshman Girl #1 over to Pink, who's standing there with Don and some of the others.<\/dialogue>\n    <character>SHAVONNE<\/character>\n    <dialogue>Propose to Mr. Floyd.<\/dialogue>\n    <scene_description>I I Freshman Girl #1 gets down on her knees.<\/scene_description>\n    <character>FRESHMAN GIRL 41<\/character>\n    <dialogue>will you marry me?<\/dialogue>\n    <character>PINK<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>Well, I dunno... what'11 you do for me?<\/dialogue>\n    <scene_description>i i FRESHMAN GIRL #1 Anything you want.<\/scene_description>\n    <character>PINK<\/character>\n    <dialogue>Anything?<\/dialogue>\n    <character>\\*<\/character>\n    <dialogue>FRESHMAN GIRL #1<\/dialogue>\n    <scene_description>Anything. Don whispers something in Pink's ear. They both laugh a bit.<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>He wants to know if you swallow or spit?<\/dialogue>\n    <scene_description>She's not even sure what he's talking about. FRESHMAN GIRL ftl Uhh, whatever you like.<\/scene_description>\n    <character>PINK<\/character>\n    <dialogue>Okay, I guess I'll marry you.<\/dialogue>\n    <scene_description>While Freshman Girl #4 is pushing an egg across the parking lot with her nose, Darla is giving Freshman Girl #3 a hard time. She pokes her in the breasts.<\/scene_description>\n    <character>DARLA<\/character>\n    <dialogue>What are these?<\/dialogue>\n    <character>FRESHMAN GIRL \"3<\/character>\n    <dialogue>Uhhh... well...<\/dialogue>\n    <scene_description>A bit confused, she looks at Darla's rather flat chest.<\/scene_description>\n    <character>FRESHMAN GIRL \"3<\/character>\n    <dialogue>Maybe you wouldn't know...<\/dialogue>\n    <character>26<\/character>\n    <dialogue>DARLA<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Air-raid smartass!<\/dialogue>\n    <scene_description>She does. I<\/scene_description>\n    <character>DARLA<\/character>\n    <dialogue>Get up!<\/dialogue>\n    <scene_description>When she does, Darla pokes her again even harder.<\/scene_description>\n    <character>DARLA<\/character>\n    <dialogue>They're still here. Keep air- raiding 'till I get tired!<\/dialogue>\n    <scene_description>She hits the pavement again while a little farther away a small group of freshmen are made to sing \"Flaming Mamie\" to the crowd.<\/scene_description>\n    <character>FRESHMEN CHORUS<\/character>\n    <dialogue>'I'm a flamin' Mamie, I'm a bedtime baby, I'm the hottest little momma in town...\"<\/dialogue>\n    <character>DARLA<\/character>\n    <dialogue>Now sing 'Seniors'!<\/dialogue>\n    <character>FRESHMEN CHORUS<\/character>\n    <dialogue>'Seniors, seniors, s-e-n-i-o-r-s, Seniors, seniors, s-e-n-i-o-r-s. They're the seniors of B.H.S. They're the seniors and they're the best, Seniors, seniors, s-e-n-i-o- r-s. ..'<\/dialogue>\n    <character>27, EXT:<\/character>\n    <dialogue>1<\/dialogue>\n    <character>FIELD NEAR DAIRY QUEEN - DAY<\/character>\n    <dialogue>We suddenly SEE the goings on from a great distance, through binoculars. Then we SEE the freshman Geek #2 hand the binoculars over to Geek #1, who quickly zeros in on the action. They are in a field that overlooks the parking lot.<\/dialogue>\n    <scene_description>' GEEK ft2 ', Man, they're really getting it! Terri is pushing a peanut across the parking lot with her nose. GEEK ftl Ha! Jill just got an egg cracked over her butt... They both chuckle. Suddenly, Benny and Hudson appear behind them.<\/scene_description>\n    <character>27<\/character>\n    <dialogue>BENNY<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Hold it right there you little fuck-<\/dialogue>\n    <scene_description>l wads! f They freeze, terrified.<\/scene_description>\n    <character>HUDSON<\/character>\n    <dialogue>t What are you guys doing up here?<\/dialogue>\n    <scene_description>Spying on your classmates? i<\/scene_description>\n    <character>BENNY<\/character>\n    <dialogue>what grade you in?<\/dialogue>\n    <character>GEEK #2<\/character>\n    <dialogue>Going into 8th, sir.<\/dialogue>\n    <scene_description>i BENNY Bullshit! You're freshmen.. i i GEEK ftl i No it's true.<\/scene_description>\n    <character>HUDSON<\/character>\n    <dialogue>Then why the fuck are you up here<\/dialogue>\n    <scene_description>\/tm\"K in the weeds? GEEK ftl The only reason we're up here is we didn't want to be mistaken for freshmen...<\/scene_description>\n    <character>BENNY<\/character>\n    <dialogue>You're lying... bend over.<\/dialogue>\n    <character>GEEK #2<\/character>\n    <dialogue>Oh man...<\/dialogue>\n    <character>HUDSON<\/character>\n    <dialogue>&gt; You don't want to get busted? Tell<\/dialogue>\n    <scene_description>us something useful, where are all I you little rats gonna be hiding tonight?<\/scene_description>\n    <character>| GEEK #1<\/character>\n    <dialogue>Uh, there's a party tonight at the Catholic rec room.<\/dialogue>\n    <character>' HUDSON<\/character>\n    <dialogue>We already know that shit, that's easy. Tell us something we don't know, like where we can get Kerr.<\/dialogue>\n    <scene_description>A\\*\\*\\*-1 The two Geeks look at each other but aren't sure what to say.<\/scene_description>\n    <character>27<\/character>\n    <dialogue>I<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>BENNY<\/dialogue>\n    <scene_description>That's it. Bend over and kiss ycur asses goodbye.<\/scene_description>\n    <character>GEEK #2<\/character>\n    <dialogue>We know where Mitch is going to be.<\/dialogue>\n    <scene_description>Benny and Hudson look at each other like \"bingo.\" I .\" HUDSON I Well maybe now you're talkin' a little bit. ' BENNY I where? ) . GEEK ftl You won't bust us? \" BENNY (' Tell us and I might cut you some slack. GEEK ftl You won't bust us?<\/scene_description>\n    <character>HUDSON<\/character>\n    <dialogue>Tell me where I can find Kerr tonight and I won't bust you.<\/dialogue>\n    <scene_description>They both hesitate a bit at the thought of informing, but Geek #1 finally gives in.<\/scene_description>\n    <character>GEEK #1<\/character>\n    <dialogue>He's pitching in the 8 o'clock game.<\/dialogue>\n    <character>BENNY<\/character>\n    <dialogue>Well, well, what do you know.<\/dialogue>\n    <scene_description>GEEK ft2 We can go now? Geek ftl starts to move away but is quickly cut off by Benny.<\/scene_description>\n    <character>BENNY<\/character>\n    <dialogue>Now hold on a second, just hold on a little bit there.<\/dialogue>\n    <parenthetical>(mock seriousness)<\/parenthetical>\n    <dialogue>Something you guys said disturbs me a little. Let me get this straight- maybe I'm a little slow...<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <dialogue>\/fs^n^V<\/dialogue>\n    <character>27<\/character>\n    <dialogue>BENNY ^<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Okay, first you guys lie to us,<\/dialogue>\n    <scene_description>1 your seniors, that you're not -, freshmen, and then you narc on a I good friend of yours..-. Is that right? J Sensing a no-win situation, they give no response.<\/scene_description>\n    <character>! \u0080\ufffd BENNY<\/character>\n    <dialogue>\\\\ ; (getting madder)<\/dialogue>\n    <scene_description>| . I think there' s only one thing I J hate more in this world than a liar ' and that's someone who would I totally rip-off a friend. | (instructional) I&gt; Assume the angle.<\/scene_description>\n    <character>GEEK #1<\/character>\n    <dialogue>'l. You guys said you wouldn't bust us! ! 1<\/dialogue>\n    <character>I<\/character>\n    <dialogue>I said I wouldn't bust you...<\/dialogue>\n    <character>HUDSON<\/character>\n    <dialogue>BENNY<\/dialogue>\n    <scene_description>I didn't promise shit. Grab your ankles! They both reluctantly and nervously bend over and brace themselves for pain.<\/scene_description>\n    <character>BENNY<\/character>\n    <dialogue>And as they say, this is going to hurt you a lot more than it's going to hurt me.<\/dialogue>\n    <scene_description>I He gives them each a major whack. i<\/scene_description>\n    <character>HUDSON<\/character>\n    <dialogue>Air-raid!<\/dialogue>\n    <scene_description>They both hit the ground and then get up for another whack of Benny's board<\/scene_description>\n    <character>!\" 28 EXT: DAIRY QUEEN PARKING LOT - DAY<\/character>\n    <dialogue>1 Back at the parking lot, Tony and Mike continue to contemplate 'i all that's going on around them, enjoying it at the same time.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>...I believe it's because we don't have a significant rival high<\/dialogue>\n    <scene_description>\"\"\"' school within 30 miles of us... (more)<\/scene_description>\n    <character>28<\/character>\n    <dialogue>TONY<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>You know, most schools have a cross- town rival or the next town over is the mutually agreed upon \"evil<\/dialogue>\n    <scene_description> other\" in which one can project all hostility and blame.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>...So it's like we've declared war on ourselves... feeding off our own.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Exactly - under the guise of an initiation ritual.<\/dialogue>\n    <scene_description>Just then, Jodi brings Sabrina over to propose to Tony. Sabrina shyly gets down on her knees in front of him. ; I<\/scene_description>\n    <character>SABRINA<\/character>\n    <dialogue>Will you marry me?<\/dialogue>\n    <scene_description>Tony seems a little awkward at first but soon gets in the swing of the game.<\/scene_description>\n    <character>TONY<\/character>\n    <parenthetical>(to Mike)<\/parenthetical>\n    <dialogue>What am I supposed to say here?<\/dialogue>\n    <parenthetical>(mocking himself)<\/parenthetical>\n    <dialogue>So, uhhh, what'11 ya give me?<\/dialogue>\n    <character>SABRINA<\/character>\n    <dialogue>i Anything you want. '! \u2022 TONY I Define anything.<\/dialogue>\n    <character>SABRINA<\/character>\n    <dialogue>Whatever you want.<\/dialogue>\n    <character>I'<\/character>\n    <dialogue>,<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Think of the possibilities...<\/dialogue>\n    <scene_description>There seems to be an attraction between them. Since Jodi has wandered off, Tony gestures for her to stand up.<\/scene_description>\n    <character>I'<\/character>\n    <dialogue>TONY<\/dialogue>\n    <scene_description>So really,, what's your name?<\/scene_description>\n    <character>SABRINA<\/character>\n    <dialogue>Sabrina.<\/dialogue>\n    <character>\"\\*- TONY<\/character>\n    <dialogue>I'm Tony. Anthony, actually. This is Mike.<\/dialogue>\n    <character>1<\/character>\n    <dialogue>i<\/dialogue>\n    <character>28<\/character>\n    <dialogue>MIKE<\/dialogue>\n    <scene_description>Hey.<\/scene_description>\n    <character>SABRINA<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>Jodi wanders back over. i , JODI So what's going on over here, social hour? I'm supposed to be being a bitch right now. (to Sabrina) Back to the pit, kid. J Sabrina glances back at Tony as she's being marched away. Tony i\\* kind of waves bye to her and she sort of waves back in a shy but 'slightly teasing manner.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Am I mistaken or did you just catch a bit of a rap with that young<\/dialogue>\n    <scene_description>i thing. (sarcastic) You stud...<\/scene_description>\n    <character>TONY<\/character>\n    <parenthetical>(mock cocky)<\/parenthetical>\n    <dialogue>Well, you know how it is.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I bet she's pretty cute once you clean all that shit off her.<\/dialogue>\n    <scene_description>i (realizing) i. It's finally happening... we're seniors. They'll now be all kinds of younger girls who think we're cool just by virtue of our age and senior status.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>I guess it's some sort of a compensation for all these tortuous years of neglect. You have to admit, despite our accomplishments in other areas, we don't have a whole lot to show for ourselves in the female category.<\/dialogue>\n    <scene_description>Mike sees an opportunity to build his case for them going out later that night. '&lt; 28 CONTINUED: (3)<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Yeah and it's pretty tough when you<\/dialogue>\n    <scene_description>; never want to put yourself in a position of MAYBE something I happening. MAYBE if we left -he poker table one weekend night and I did something else, MAYBE something i would have the opportunity of happening. And then you might just ' experience something a little more tangible than an Abraham Lincoln I dream...<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>I And MAYBE if you wouldn't set the \u2022| dialectic up in such simple and : confrontational terms, just MAYBE<\/dialogue>\n    <scene_description>I could do it and not feel bullied 4 into it. You could use a Thomas i Jefferson dream. I I 29 EXT: DAIRY QUEEN PARKING LOT - DAY AF^ On the other side of the par-king lot, O'Bannion comes walking ( '\"\"\"\"\u2022 over to where Benny, Hudson, Don and some others are swapping j their first round of senior-guy bonding stories.<\/scene_description>\n    <character>, HUDSON<\/character>\n    <dialogue>...Man, Benny wore their butts out. Oh lord did he bust their ass...<\/dialogue>\n    <scene_description>The others laugh.<\/scene_description>\n    <character>O'BANNION<\/character>\n    <dialogue>.' Did you hear I got a shotgun pulled<\/dialogue>\n    <scene_description>on my ass?<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>No! Who?<\/dialogue>\n    <scene_description>i<\/scene_description>\n    <character>O'BANNION<\/character>\n    <dialogue>\u2022 That guy I went after. What's that \u2022 little fucker's name... Carl<\/dialogue>\n    <scene_description>something.<\/scene_description>\n    <character>HUDSON<\/character>\n    <dialogue>Carl Burns.<\/dialogue>\n    <character>O'BANNION<\/character>\n    <dialogue>Yeah, that's it. Burns. The door went flying open and his old lady's<\/dialogue>\n    <scene_description>-~. standing there with a fuckin' shotgun. I said whooah bitch.<\/scene_description>\n    <character>29<\/character>\n    <dialogue>The others laugh.<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>0'BANNION<\/dialogue>\n    <scene_description>I can't wait to find that fucker, i\u2022 He's dead meat. He simulates swinging his board and giving a big whack to someone.<\/scene_description>\n    <character>O'BANNION<\/character>\n    <dialogue>I And here's one for your mother,<\/dialogue>\n    <scene_description>motherfucker. I Laughter. II 30 EXT: CAR WASH - LATER AFTERNOON .. The trucks full of freshmen go through an automatic car wash, cleaning off the girls. They sing \"S-e-n-i-o-r-s\" as they go l' through. ,! 31 EXT: DARLA'S TRUCK - DAY \\[~ A-\\*- The freshmen girls are being driven home. In the back of Darla's truck, Jodi sits with Sabrina and some of the other freshmen. I JODI i Do you have a big sister yet?<\/scene_description>\n    <character>SABRINA<\/character>\n    <dialogue>i<\/dialogue>\n    <scene_description>No. I really don't know anyone. Me and my mom just moved here about six months ago.<\/scene_description>\n    <character>' JODI<\/character>\n    <dialogue>\u2022J What does your mom do?<\/dialogue>\n    <character>SABRINA<\/character>\n    <parenthetical>(a little uncomfortable)<\/parenthetical>\n    <dialogue>Something to do with a hotel. Her and my dad got divorced and we moved.<\/dialogue>\n    <character>JODI<\/character>\n    <dialogue>Which house is it?<\/dialogue>\n    <scene_description>Sabrina looks out at the neighborhood.<\/scene_description>\n    <character>SABRINA<\/character>\n    <dialogue>This one here.<\/dialogue>\n    <scene_description>j^T^N f^ 36.<\/scene_description>\n    <character>, 32 EXT: NEAR SABRINA'S HOUSE - DAY<\/character>\n    <dialogue>i The truck pulls up in front of several houses. i JODI<\/dialogue>\n    <scene_description>I know it's kind of corny, but I was supposed to have a little , sister by now. What do you think? Sabrina smiles. I ; SABRINA Yeah sure. ) JODI And me and some friends are going j to a party tonight. Wanna come? \" , SABRINA Yeah, that sounds fun.<\/scene_description>\n    <character>' JODI<\/character>\n    <dialogue>I We'll probably be by around 8:30.<\/dialogue>\n    <scene_description>Is that cool?<\/scene_description>\n    <character>I SABRINA<\/character>\n    <dialogue>^ Yeah.<\/dialogue>\n    <scene_description>The truck drives off and Sabrina begins to walk up the driveway. I She watches the truck disappear into the distance and then veers I, around the house to a small trailer out back. i 33 INT: SABRINA'S HOUSE - DAY I Inside, she passes her MOM on the way to her room. Her mother l\" \u2022 wears a maid's dress and sits watching TV with a drink in her I hand and a cigarette burning. She doesn't seem to notice that Sabrina is wet and dishevelled.<\/scene_description>\n    <character>,'<\/character>\n    <dialogue>SABRINA'S MOM<\/dialogue>\n    <scene_description>I Hi honey...<\/scene_description>\n    <character>SABRINA<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>Sabrina walks to her room.<\/scene_description>\n    <character>34<\/character>\n    <dialogue>Pink knocks on Pickford's front door while his parents are<\/dialogue>\n    <character>EXT: PICKFORD'S HOUSE - DAY<\/character>\n    <dialogue>loading up the family station wagon. His mother notices him.<\/dialogue>\n    <character>PICKFORD'S MOM<\/character>\n    <dialogue>Are you looking for Keith?<\/dialogue>\n    <character>34<\/character>\n    <dialogue>PINK<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Yeah, is he here?<\/dialogue>\n    <character>\\* PICKFORD'S MOM<\/character>\n    <dialogue>Go on in. I think he's here.<\/dialogue>\n    <scene_description>i 35 INT: PICKFORD'S HOUSE - DAY Pink lets himself in and walks down the hall. He comes to Pickford's door and knocks. The door cracks a bit and we see Pickford's paranoid glance. Seeing Pink, he opens the door. They do one of their patented slow, cool handshakes as he enters his room of rock star posters, centerfolds, and surrealistic prints. Michelle sits in a bean-bag chair with headphones on.<\/scene_description>\n    <character>I<\/character>\n    <dialogue>PICKFORD<\/dialogue>\n    <scene_description>\\ Piiink... I I PINK My man.. .<\/scene_description>\n    <character>I<\/character>\n    <dialogue>Pickford goes back over to the door and locks it by sticking an<\/dialogue>\n    <scene_description>^ ice pick in a hole\\*in the frame that acts like a dead-bolt. He then goes over to his bottom drawer and removes it completely. i In the space below the bottom drawer, he pulls out his stash. He grabs a pre-rolled joint off his Frisbee tray and lights it up 11 after he hands Pink a full bag.<\/scene_description>\n    <character>PICKFORD<\/character>\n    <dialogue>' A sample of the goods?<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>i<\/dialogue>\n    <scene_description>| . Cool... He takes a hit and passes it back.<\/scene_description>\n    <character>,' PICKFORD<\/character>\n    <dialogue>l Fifteen bucks...<\/dialogue>\n    <character>I<\/character>\n    <dialogue>As Pink hands over some cash, there's a sudden knock at the door.<\/dialogue>\n    <scene_description>I He panics, quickly handing the joint back to Pickford, who tries ' to remain calm as he quietly but quickly starts putting everything away. i<\/scene_description>\n    <character>PICKFORD<\/character>\n    <dialogue>I Who is it?<\/dialogue>\n    <character>PICKFORD'S MOM (O.S.)<\/character>\n    <dialogue>Keith, I think you need to come out here.<\/dialogue>\n    <character>PICKFORD<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <scene_description>yf^N<\/scene_description>\n    <character>35<\/character>\n    <dialogue>PICKFORD'S MOM (O.S.)<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>There's someone here that says he needs to talk to you.<\/dialogue>\n    <character>PICKFORD<\/character>\n    <dialogue>What about? Who is it?<\/dialogue>\n    <scene_description>He finishes putting everything away and even gives a little quick spray of some air freshener. Then there's a loud knock at the door and his father's voice rings out.<\/scene_description>\n    <character>PICKFORD'S DAD (O.S.)<\/character>\n    <dialogue>Keith! Open the door.<\/dialogue>\n    <scene_description>Pickford pulls out the ice pick lock and opens the door. At the last minute Pink remembers he has a bag of pot in his hand and stuffs it down the front of his pants.<\/scene_description>\n    <character>PICKFORD<\/character>\n    <dialogue>Who's out there?<\/dialogue>\n    <scene_description>PICKFORD'S DAD, a rather large man semi-fashionably dressed in a leisure suit type outfit, steps into the room.<\/scene_description>\n    <character>PICKFORD'S DAD<\/character>\n    <dialogue>Did you order some kegs of beer?<\/dialogue>\n    <scene_description>Suppressing a panic, Pickford walks over to his window and looks | out.<\/scene_description>\n    <character>,I 36 EXT: PICKFORD'S HOUSE - DAY<\/character>\n    <dialogue>i.<\/dialogue>\n    <scene_description>| We see Pickford's P.O.V. out the window. There is a guy i ' \\* unloading kegs from his liquor truck.<\/scene_description>\n    <character>PICKFORD<\/character>\n    <dialogue>\u2022I (under his breath) .; Mother fucker...<\/dialogue>\n    <scene_description>i (to father) ' That guy said I had something to do , with those kegs?<\/scene_description>\n    <character>37<\/character>\n    <dialogue>,'<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>Outside, Pickford walks right up to him. Oblivious to the situation, the delivery guy pulls out some paperwork.<\/dialogue>\n    <character>DELIVERY GUY<\/character>\n    <dialogue>Are you the right Mr. Pickford?<\/dialogue>\n    <scene_description>Pickford is so angry he is practically chewing his teeth.<\/scene_description>\n    <character>37<\/character>\n    <dialogue>PICKFORD<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <parenthetical>(low voice)<\/parenthetical>\n    <dialogue>Aren't you a little early?<\/dialogue>\n    <scene_description>The delivery guy looks at the paperwork.<\/scene_description>\n    <character>DELIVERY GUY<\/character>\n    <dialogue>Oh, hour and a half early. I'm trying to get off early today so I thought I'd swing by and see if anyone was here.<\/dialogue>\n    <scene_description>Pickford glances around and notices his parents are now watching their interaction.<\/scene_description>\n    <character>PICKFORD<\/character>\n    <dialogue>...So, I guess you got the wrong house...<\/dialogue>\n    <scene_description>The Delivery guy finally catches on when Pickford motions with his eyes to his parents.<\/scene_description>\n    <character>DELIVERY GUY<\/character>\n    <dialogue>Yeah, okay. Sorry for the<\/dialogue>\n    <scene_description>r A-\\*- inconvenience. Wrong Mr. Pickford altogether... He starts loading the kegs back up and Pickford walks up the driveway.<\/scene_description>\n    <character>PICKFORD'S DAD<\/character>\n    <parenthetical>(serious)<\/parenthetical>\n    <dialogue>Were you going to have a party here tonight, son?<\/dialogue>\n    <character>PICKFORD<\/character>\n    <dialogue>No. I don't know WHAT that was all about.<\/dialogue>\n    <character>PICKFORD'S DAD<\/character>\n    <parenthetical>(to Pink)<\/parenthetical>\n    <dialogue>Do you know anything about a party here?<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>I haven't heard anything...<\/dialogue>\n    <scene_description>His father looks at both of the young men for an extended moment and then over at the kegs being loaded up. He looks back at them and then makes a decision, shaking his head.<\/scene_description>\n    <character>PICKFORD'S DAD<\/character>\n    <dialogue>-^. Start unpacking - we're not going<\/dialogue>\n    <scene_description>this weekend.<\/scene_description>\n    <character>37<\/character>\n    <dialogue>I I 1<\/dialogue>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>He walks away. PICKFORD'S MOM<\/dialogue>\n    <scene_description>Frank! I Pickford sees there is little he can do at this point and iust | stands there, practically in shock. !<\/scene_description>\n    <character>PICKFORD<\/character>\n    <dialogue>I (low voice)<\/dialogue>\n    <scene_description>I can't believe what just I happened...<\/scene_description>\n    <character>PINK<\/character>\n    <dialogue>Bummer. Let's cruise.<\/dialogue>\n    <scene_description>\u2022' SERIES OF SHOTS ,| As the sun goes down and the music cranks up, we see various I early evening activity: A) The lights going on at the Sonic drive-thru as a car cruises ,i through. B) The lights going on at the baseball fields where games are \"\\*\\* being played. Mitch is pitching in his game. i \u2022 C) As they prepare for the evening, Jodi goes over to Shavonne I, and with a pair of pliers helps zip up her almost physically I impossible tight jeans. i E) O'Bannion, Benny, and Hudson popping the top on some beers as i \u2022 they drive around. 'l , . F) Pink, Pickford, and Slater pass a joint and watch Michelle in , the process of painting the Ronald McDonald statue black, white, and red of an unspecified design. Pink takes off. G) Tony setting out chips around the poker table while Mike makes a a phone call and Royce straightens up portraits of Washington, Lincoln, and Kennedy that hang on Tony's living room wall. i H) At the baseball field, seniors with their boards begin to congregate by the dugout fence while Mitch pitches. ) I) Freshman Girls #l-ft4 taking turns blow drying their hair, practicing dancing, and doing tongue exercises. 'I J) Jodi, Kaye and Shavonne picking up Sabrina as she sits on the curb waiting. K) Stoners #1 and #2 knocking on Pickford's door with the three -. foot long bong in their hand. When Pickford's father opens the door, they look at him, then at each other, and practically sprint away. \/fWK\\*.<\/scene_description>\n    <character>38<\/character>\n    <dialogue>Tommy, the catcher, approaches t h e mound to talk to Mitch who<\/dialogue>\n    <character>E X T : BASEBALL FIELD - NIGHT<\/character>\n    <dialogue>looks past the dugout and sees the intimidating line of seniors<\/dialogue>\n    <scene_description>; lined u p w i t h their boards.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Hey, don't worry about those<\/dialogue>\n    <scene_description>, g u y s . . . Let's just get this last I! guy out. II MITCH I Yeah, easy for your ass to say.<\/scene_description>\n    <character>I TOMMY<\/character>\n    <dialogue>There's nothing you can do about<\/dialogue>\n    <scene_description>it.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>How'd they all know I was going to be here?<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Hey, forget them. You're pitching a good game.<\/dialogue>\n    <parenthetical>(joking)<\/parenthetical>\n    <dialogue>- Just cause you're'not going to be<\/dialogue>\n    <scene_description>able to sit down the rest of the summer, don't let it affect your | concentration.<\/scene_description>\n    <character>! MITCH<\/character>\n    <dialogue>I Up yours...<\/dialogue>\n    <scene_description>I Tommy smiles and runs back to the place while Carl, the I shortstop, comes to the mound. 1<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Hey Mitch. Can you do the rest of<\/dialogue>\n    <scene_description>; us a favor and leave through the I. gate in center field. That will draw them all out there and the ' rest of us can get away. I mean, they're going to get you anyway.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>I Get out of here.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>i1 But if you survive, try to make it<\/dialogue>\n    <scene_description>to the party, okay? Then I think we're all camping out behind Tommy's house. \/s^\"\"^ O'BANNION v Hey Kerr! Quit stalling!<\/scene_description>\n    <character>38<\/character>\n    <dialogue>BENNY<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Hope you got more than a jock strap on under your uniform, Kerr!<\/dialogue>\n    <scene_description>Tommy runs back to his position and Mitch winds up and pitches. Strike two.<\/scene_description>\n    <character>O'BANNION<\/character>\n    <dialogue>Don't choke now, Kerr! If you don't get this guy out we're really going to wear you out!<\/dialogue>\n    <scene_description>Mitch throws strike three to end the game. Amidst the hoopla, he just stands there not knowing where to go. Eventually he gets :r. the line where the two teams walk down a row telling each other \"good game\" but glances over at the group of seniors who are now shadowing him. After his last \"good game, \" in which one of the 'guys on the other team says \"good luck,\" he picks up his stuff near the dugout, barely looks around, and then slowly walks toward the center field gate. The seniors quickly head that way.<\/scene_description>\n    <character>39<\/character>\n    <dialogue>ijffSv<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>Later, past the centerfield\\*fence, the seniors are like a group of wild animals feeding. They cake turns giving Mitch licks as he leans against a car. When they are through, they get in their cars and trucks and take off.<\/dialogue>\n    <scene_description>'! Pink walks up as the last guy, Hudson, is giving Mitch licks.<\/scene_description>\n    <character>'. HUDSON<\/character>\n    <dialogue>I' You next, Pink? 1<\/dialogue>\n    <character>1 \u0080\ufffd PINK<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>i l ' He borrows Hudson's board and stands behind Mitch, who looks up at Pink wondering if he's going to bust him. His eyes are completely red and watery.<\/scene_description>\n    <character>HUDSON<\/character>\n    <dialogue>Hey you heard Pickford's party got busted...<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>HUDSON<\/character>\n    <dialogue>Total rip-off, man. His old man found out. Someone narc'ed.<\/dialogue>\n    <scene_description>s0\\*&amp;\\ Pink pulls the board back all the way like he is going to hit Mitch hard but bluffs and stops an inch from his rear end.<\/scene_description>\n    <character>39<\/character>\n    <dialogue>He then gives him the slightest tap and hands the board back to<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>H Hudson.<\/dialogue>\n    <character>HUDSON<\/character>\n    <dialogue>3ut hey man. we got a coupia sixers and a few dubes... you with us?<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>I'll probably catch up with you later.<\/dialogue>\n    <scene_description>I| HUDSON i Later, man. Hudson takes off to catch up with the others<\/scene_description>\n    <character>I<\/character>\n    <dialogue>PINK<\/dialogue>\n    <scene_description>Hey man, you need a ride? I Mitch seems surprised at his friendliness and then looks around I a bit. j MITCH Yeah, I think everyone left me. '\"\"\\*- He wipes his nose and eyes on his sleeve and is still holding i back tears. i<\/scene_description>\n    <character>J<\/character>\n    <dialogue>\\<\/dialogue>\n    <character>40<\/character>\n    <dialogue>A little later, Pink and Mitch are driving along.<\/dialogue>\n    <character>'. PINK<\/character>\n    <dialogue>i \u2022 . ... I remember they caught my ass<\/dialogue>\n    <scene_description>after baseball practice. Actually, it's best to get a lot at one time. i1. After about 10, your butt gets so , numb you might as well get it over with. f MITCH t Yeah...<\/scene_description>\n    <character>PINK.<\/character>\n    <dialogue>I had some cool seniors, chough. They'd bust the hell out of you then cake you out, get you drunk, stuff like that.<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Cool.<\/dialogue>\n    <character>40<\/character>\n    <dialogue>PINK<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Since the party isn't happening, me and some other guys will probably end up riding around. Want us to cruise by and get you?<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Think it's safe?<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>Yeah, should be. After you get it bad, even the guys that haven't busted you yet will give you a few days. It'd be a cool move to go out and let 'em know it doesn't bother you that much.<\/dialogue>\n    <character>I 41 EXT: MITCH'S HOUSE - NIGHT<\/character>\n    <dialogue>I<\/dialogue>\n    <dialogue>i They pull up to Mitch's house where he gets out. j PINK<\/dialogue>\n    <scene_description>Be by in an hour and a half or -\\*. so. . .<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Cool. Thanks for the ride, man.<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>Sure. Hey, put some ice on it for about an hour. After that it'll be nothing a few beers can't take care of.<\/dialogue>\n    <scene_description>Pink speeds off. ,\\ ,i 42 INT: MAIN DRAG - NIGHT \\[ Inside Jodi's car, the girls are jammin' to the Isley Brother's \"Fight the Power.\" Jodi is driving and checking out everyone i they drive past. Kaye is in the passenger seat while Sabrina I sits in the back just kind of checking everything out. A carload of girls, driven by Julie, pulls up beside them.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>i; (to Kaye and Jodi)<\/dialogue>\n    <scene_description>Did you guys know the party was cancelled?<\/scene_description>\n    <character>KAYE<\/character>\n    <dialogue>\"\"\\* Yeah.<\/dialogue>\n    <scene_description>J0&amp;\\*,<\/scene_description>\n    <character>42<\/character>\n    <dialogue>JULIE<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Nobody told us anything! We just went by there and his father yelled at us.<\/dialogue>\n    <scene_description>They drive away and are soon replaced by a carload of guys, PARTY I GUY ftl, PARTY GUY ft2, and an aggressive jerk we will come to know<\/scene_description>\n    <character>I<\/character>\n    <dialogue>later as CLINT. The driver, Party Guy ftl, quickly checks them out and makes extended eye contact with Sabrina before driving off.<\/dialogue>\n    <character>PARTY GUY #1<\/character>\n    <dialogue>I like the one in the back seat best.<\/dialogue>\n    <scene_description>They pull away but Sabrina is perked up a bit.<\/scene_description>\n    <character>I<\/character>\n    <dialogue>i)<\/dialogue>\n    <character>SABRINA<\/character>\n    <dialogue>What did he say?<\/dialogue>\n    <scene_description>' Kay? and Jodi decide to give Sabrina a hard time,<\/scene_description>\n    <character>JODI<\/character>\n    <dialogue>Who, that guy? I think he said<\/dialogue>\n    <scene_description>something like, 'The one in the back seat looks like a dyke!' They both howl with laughter.<\/scene_description>\n    <character>SABRINA<\/character>\n    <dialogue>No he didn't!<\/dialogue>\n    <character>). KAYE<\/character>\n    <dialogue>\" Yeah, you're right, he actually \u2022' said:<\/dialogue>\n    <scene_description>) (mock drawl) , 'Looks like the one in the back t' seat could suck the chrome off a trailer hitch.\" i: They both shriek with laughter again.<\/scene_description>\n    <character>SABRINA<\/character>\n    <dialogue>Yeah, that's exactly what he said.<\/dialogue>\n    <character>43<\/character>\n    <dialogue>The guys are in the middle of a hand, but, as usual, are more<\/dialogue>\n    <character>INT: TONY'S HOUSE - NIGHT<\/character>\n    <dialogue>focused on their conversation than on winning another quarter.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>...I'm just saying, once you're labeled, that's it.<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <character>43<\/character>\n    <dialogue>MIKE '<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>High school kids don't seem to be able to comprehend muitifaceted personalities...<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Sounds like sour grapes to me...<\/dialogue>\n    <character>ROYCE<\/character>\n    <parenthetical>(to Mike)<\/parenthetical>\n    <dialogue>So how have you been labeled?<\/dialogue>\n    <parenthetical>(to Tony)<\/parenthetical>\n    <dialogue>Who's play is it?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Tony's.<\/dialogue>\n    <character>ROYCE<\/character>\n    <dialogue>Then go already.<\/dialogue>\n    <scene_description>Tony pulls out a pocket calculator and punches in some numbers before deciding to throw in a couple of chips while Mike continues. $m\"v<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>You know, just like Tony... the slightly wimpy, slightly nerdy type. Women are the worst when it comes to that. Ask any high school girl what qualities she looks for in a guy and she'll say, \\*oh, that he's intelligent, sensitive, has a good sense of humor.\" But that next day that same girl will be walking down the hall getting felt- up by some brain-dead gorilla linebacker.<\/dialogue>\n    <scene_description>I Mike folds.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>\u2022The only way to compete is to start a rumor you're hung like a horse or something.<\/dialogue>\n    <scene_description>After Royce tosses in a few chips, Tony reveals his winning hand and scoops up the pot.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>What am I even still doing here?<\/dialogue>\n    <character>TONY<\/character>\n    <parenthetical>(to Mike)<\/parenthetical>\n    <dialogue>What did Cynthia say when you talked to her earlier?<\/dialogue>\n    <character>43<\/character>\n    <dialogue>MIKE<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>She's going to come by here and we're going to go by that party. You guys can stay here ail night, play cards, and then go home and yank it as always.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>For the record, I never said I was opposed to going out anywhere...<\/dialogue>\n    <scene_description>I. ROYCE Me either...<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>i Well then good - it's decided.<\/dialogue>\n    <scene_description>. Royce starts dealing the next hand.<\/scene_description>\n    <character>ROYCE<\/character>\n    <dialogue>Five card drool.<\/dialogue>\n    <parenthetical>(to Mike)<\/parenthetical>\n    <dialogue>Your brief derogatory allusion to masturbation made me remember a thought I had the other day in reference to that subject.<\/dialogue>\n    <scene_description>Tony and Mike lower their cards and look around at each other like 'this should be interesting.'<\/scene_description>\n    <character>ROYCE<\/character>\n    <dialogue>i Isn't it funny how everybody does<\/dialogue>\n    <scene_description>\\ it but if someone happens to catch you... Mike and Tony exchange glances as if Royce speaks from personal<\/scene_description>\n    <character>I:<\/character>\n    <dialogue>experience.<\/dialogue>\n    <scene_description>i ROYCE (continuing) ...you get treated like some kind of sicko.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>But it's like practice for the real world. The same principle is at work in politics...<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Politics is the real world?<\/dialogue>\n    <character>A^&gt;-<\/character>\n    <dialogue>43<\/dialogue>\n    <dialogue>TONY<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <parenthetical>(continuing)<\/parenthetical>\n    <dialogue>...For example, all the stuff Kennedy did was okay because he didn't get caught, but Tricky-Dick got nabbed and they made him pay for it.<\/dialogue>\n    <scene_description>Royce and Mike kind of look at Tony like they're wondering which side he's on.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>Not that I minded him paying for it, of course. In fact, I gotta go take a Nixon right now.<\/dialogue>\n    <scene_description>He gets up from the table and walks to the bathroom.<\/scene_description>\n    <character>44<\/character>\n    <dialogue>Reving up in front of Mitch's house is a jacked-up Nova driven by<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>BOBBY WOODERSON. Slater sits in the passenger seat and Pink is in the back seat. The car honks a few times impatiently before Mitch appears and heads toward the car.<\/dialogue>\n    <character>45<\/character>\n    <dialogue>Mitch hops in the back seat of the car and they get going.<\/dialogue>\n    <character>INT<\/character>\n    <dialogue>MITCH<\/dialogue>\n    <parenthetical>(to Pink)<\/parenthetical>\n    <dialogue>whose wheels?<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>ft You know Bobby?<\/dialogue>\n    <character>WOODERSON<\/character>\n    <parenthetical>(to Mitch)<\/parenthetical>\n    <dialogue>Hey man.<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>How's it going?<\/dialogue>\n    <scene_description>Already seemingly stoned, Slater turns to Mitch.<\/scene_description>\n    <character>SLATER<\/character>\n    <dialogue>Say man, you got a joint?<\/dialogue>\n    <scene_description>Mitch looks over at Pink and then back at Slater.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Nahhh. Not on me.<\/dialogue>\n    <character>45<\/character>\n    <dialogue>SLATER<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>It'd be A LOT cooler if you did.<\/dialogue>\n    <character>46<\/character>\n    <dialogue>They pull up into the Emporium parking lot and all get cut.<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>SLATER<\/dialogue>\n    <scene_description>...That stoner Pickford's in there. I KNOW he's got some weed. Mitch looks a bit in awe of the whole setting as they walk up to the door.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Sure I'm safe in this place?<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>It'll be fine, just play it cool if anybody starts messin' with you.<\/dialogue>\n    <character>^ 47 INT: EMPORIUM - NIGHT<\/character>\n    <dialogue>They walk in the Emporium at the apex of the night's activity. Every pool table and the all rows of foosball tables are occupied as Dylan's 'Hurricane\\* rages on the multi-speaker stereo jukebox. Everyone else is milling around talking or watching others play but continually looking around to see who's coming and going.<\/dialogue>\n    <scene_description>i Much of the room's focus is on the main table where ELVIS SPIVEY ,' is playing. Wooderson heads over to Elvis' table while Pink and \\ Mitch follow Slater over to the foosball table where Pickford is i . playing and several others, including Michelle, are hanging out. i Pickford slams home a \"pull shot\\* and then looks up from the table with a confident, cocky attitude.<\/scene_description>\n    <character>PICKFORD<\/character>\n    <dialogue>Slater, Pink, happnin'?<\/dialogue>\n    <character>SLATER<\/character>\n    <dialogue>Prickford... You winnin'?<\/dialogue>\n    <character>PICKFORD<\/character>\n    <dialogue>i Am I winnin'? You know better than i to ask me such a question... i He pops the ball back into play and almost immediately banks a<\/dialogue>\n    <scene_description>shot in for a score.<\/scene_description>\n    <character>PICKFORD<\/character>\n    <dialogue>-v (continuing)<\/dialogue>\n    <scene_description>Toyin' with the chillren...<\/scene_description>\n    <character>47<\/character>\n    <dialogue>SLATER<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Bummer about your party...<\/dialogue>\n    <character>PICKFORD<\/character>\n    <dialogue>What can I say? Much abuse. It's beyond me - the delivery guy bricked. Dead issue. So where you boys comin' from?<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>I Ridin' around with Wooderson.. I SLATER<\/dialogue>\n    <scene_description>Say man, I was hopin' to score a I dube or two from you. I He puts the ball into play. i' PICKFORD After I school this boy, I'll be ready to take a reefer break myself... He cockily swats the ball back and forth all over the table ^ between his various men and then does a goalie \\*toe shot' the length of the table for the score.<\/scene_description>\n    <character>PICKFORD<\/character>\n    <dialogue>I amaze myself sometimes' on this table.<\/dialogue>\n    <parenthetical>(to Pink)<\/parenthetical>\n    <dialogue>Hey man, you need to see the finished product.<\/dialogue>\n    <parenthetical>(to Slater and Michelle)<\/parenthetical>\n    <dialogue>Let's go drive it around front.<\/dialogue>\n    <scene_description>Pickford and Slater head outside while Pink and Mitch lag behind because Pink stops briefly to talk to Julie. f PINK | Julie... | JULIE 11 Hey...<\/scene_description>\n    <character>\\[. PINK<\/character>\n    <dialogue>I (gestures)<\/dialogue>\n    <scene_description>You know Mitch?<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Oh yeah, I just heard about you. Are you all right?<\/dialogue>\n    <character>47<\/character>\n    <dialogue>MITCH<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Yeah. What kind of stuff did you hear?<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>You know... usual reports.<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Geeze<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>Well, I'm in the process of making my way across the room so maybe I'll see you guys later.<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>t<\/dialogue>\n    <scene_description>All right. Later.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Bye.<\/dialogue>\n    <scene_description>She gives Mitch a sort of double-take as she walks away. Mitch watches her walk across the room and then interact with a group of older guys. As Mitch and Pink start gravitating toward the ^ front door, she looks over at him again. Pink stops at the pool table where Don is in a game and gestures for him to come outside. i<\/scene_description>\n    <character>48<\/character>\n    <dialogue>Pickford, Slater, and Michelle drive the truck into the parking<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>| lot. A large object covered with the tarp rides in the bed of &gt; 1<\/dialogue>\n    <scene_description>the truck. Pickford pulls right up front and then turns so as to best display the contents in tha back to the people standing , around. Everyone's curiosity is piqued as Pickford gets out of the truck and hops in the back for the unveiling.<\/scene_description>\n    <character>PICKFORD<\/character>\n    <dialogue>i You guys ready?<\/dialogue>\n    <scene_description>The crowd responds favorably and at the right moment, he and | Slater jerk away the tarp. Unveiled is the Ronald McDonald i statue recently transformed into Gene Simmons of KISS with the i properly painted face, black outfit and menacing grin. Everyone howls in approval. They soon get out of the truck and mix into the crowd. While Mitch kind of stands against the wall, Slater, Pickford, and Pink are sitting on the hood of Pickford's car. Don walks over to Pink. jpm\\' DON Who painted that?<\/scene_description>\n    <character>48<\/character>\n    <dialogue>PINK<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>, Michelle, mostly. 1<\/dialogue>\n    <character>\u0080\ufffd\u0080\ufffd DON<\/character>\n    <dialogue>Cool.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>Oh hey man. they're onto us.<\/dialogue>\n    <character>I<\/character>\n    <dialogue>Someone was listening to the police band and said they heard the cops are lookin' for Ronald.<\/dialogue>\n    <character>' PINK<\/character>\n    <dialogue>Really? Shit.<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>Yeah, they said that it was two<\/dialogue>\n    <scene_description>, , young Caucasian males in a pick-up truck.<\/scene_description>\n    <character>I<\/character>\n    <dialogue>PINK<\/dialogue>\n    <scene_description>Somebody must have ripped us off. , i Slater looks over at Don.<\/scene_description>\n    <character>SLATER<\/character>\n    <dialogue>Hey, Pickford's got a dube we're about to go burn...You with us?<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>Ten-four on burning some weed.<\/dialogue>\n    <parenthetical>(to Pickford)<\/parenthetical>\n    <dialogue>You driving?<\/dialogue>\n    <scene_description>i i<\/scene_description>\n    <character>PICKFORD<\/character>\n    <dialogue>i I reckon...<\/dialogue>\n    <scene_description>They start to get in the car as Slater looks over at Mitch.<\/scene_description>\n    <character>SLATER<\/character>\n    <dialogue>You cool, man?<\/dialogue>\n    <scene_description>Mitch doesn't quite know what he's getting at.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>i<\/dialogue>\n    <scene_description>Like how? i<\/scene_description>\n    <character>SLATER<\/character>\n    <dialogue>Man, are you cool?<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>I guess so...<\/dialogue>\n    <scene_description>\/fP^V Slater hops off the car and goes over to the others while Pink walks over to Mitch. k<\/scene_description>\n    <character>48<\/character>\n    <dialogue>PINK<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>&gt; He was just asking if you get high.<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Like smoke pot?<\/dialogue>\n    <character>, PINK<\/character>\n    <dialogue>i Yeah. I MITCH , Oh.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>I never have... but...<\/dialogue>\n    <scene_description>I Don and Slater start to pile into Pickford's car. Pickford kisses Michelle goodbye before she walks toward the Emporium. i<\/scene_description>\n    <character>PINK<\/character>\n    <dialogue>\u2022I (to Mitch)<\/dialogue>\n    <scene_description>It's no big deal, really. You usually don't even get high the first few times.<\/scene_description>\n    <character>PICKFORD.<\/character>\n    <dialogue>Pink, you with us?<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>I think I'll hang here for a bit. Catch up with you later.<\/dialogue>\n    <character>PICKFORD<\/character>\n    <dialogue>Whatever, man.<\/dialogue>\n    <parenthetical>(to others)<\/parenthetical>\n    <dialogue>Let's rock and roll...<\/dialogue>\n    <scene_description>i Pink and Mitch head back inside. Pickford gets behind the wheel but Slater suddenly remembers something.<\/scene_description>\n    <character>SLATER<\/character>\n    <dialogue>Oh hey, wait up.<\/dialogue>\n    <scene_description>He quickly runs back over to Wooderson's car, reaches into his tape box, and pulls ouc ZZ Top's \"Fandango!\" As he walks back across the parking lot, we hear the live introduction to the first song on the album, \"Thunderbird.\" SERIES OF SHOTS A) We see the 8-track tape in the deck and as we hear the words:<\/scene_description>\n    <character>ZZ TOP<\/character>\n    <dialogue>'Get high everybody get high. Get high everybody get high. Get high everybody get high.<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <scene_description>J0&amp;\\*\\*<\/scene_description>\n    <character>48<\/character>\n    <dialogue>ZZ TOP<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Get high everybody get high. Have you heard? what's the word? it's Thunderbird...'<\/dialogue>\n    <scene_description>B) The same guys riding around, taking hits from the joint. C) Mitch standing next to Pink and Wooderson watching a pool game. He takes a big gulp of beer not far from a sign that says \u2022It is illegal for minors under the age of 18 to consume alcohol on these premises.\" D) Jodi, Kaye, and Sabrina at the Sonic. As Jodi spikes their cokes with some rum, Shavonne gets out of another car and gets in with them. \"E) Tony winning a big hand at the poker table. I<\/scene_description>\n    <character>49<\/character>\n    <dialogue>I<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>When we return to the car with Pickford, Don. and Slater, they<\/dialogue>\n    <scene_description>h, are engaged in a high-speed game of 'cat and mouse\" with a carload of girls. They dart in and around other cars and dangerously weave in and out of traffic just to keep up with or i lose the other car. i i<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>Let's cruise by the 8th grade party, we might get a sitting duck or two.<\/dialogue>\n    <scene_description>At a traffic light, they see they are next to Shavonne, Sabrina, Jodi, and Kaye.<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>1 Hey man, roll down your window.<\/dialogue>\n    <scene_description>i Watch me catch a quick rap. (to girls) Hey, what's happnin'?<\/scene_description>\n    <character>SHAVONNE<\/character>\n    <dialogue>'i What are you guys up to?<\/dialogue>\n    <character>\", SLATER<\/character>\n    <dialogue>f Oh, a little weed...<\/dialogue>\n    <character>' JODI<\/character>\n    <dialogue>We heard there might be a beer-bust later.<\/dialogue>\n    <character>^ PICKFORD<\/character>\n    <dialogue>Cool.<\/dialogue>\n    <scene_description>The light changes. Afl\\*\\*<\/scene_description>\n    <character>49<\/character>\n    <dialogue>SHAVONNE<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Well, I guess we'll see you guys one place or the other.<\/dialogue>\n    <character>SLATER<\/character>\n    <dialogue>Check YOU later.<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>Later.<\/dialogue>\n    <parenthetical>(to Slater)<\/parenthetical>\n    <dialogue>why are you always such a fuckin' dork?<\/dialogue>\n    <parenthetical>(imitating him)<\/parenthetical>\n    <dialogue>See YOU later. They don't want to hear that shit.<\/dialogue>\n    <character>SLATER<\/character>\n    <dialogue>Well they don't want to hear anything, man - all the women our age are little prudes, anyway. It's like they all got together and said \"let's forget our biological urges.\\* Just to spite us. The<\/dialogue>\n    <scene_description>(UPV women in the classes ahead of us were wild. Our class - worthless. I bet other high schools aren't this bad... 1 PICKFORD 11 Sounds like somebody hasn't gotten past the sniffin' butt stage lately.<\/scene_description>\n    <character>' SLATER<\/character>\n    <dialogue>I'm telling you man, I can't wait<\/dialogue>\n    <scene_description>| to get to college. &gt;' DON I i I'm gonna stay gettin' it.<\/scene_description>\n    <character>I PICKFORD<\/character>\n    <dialogue>Really. Walker said in their dorm<\/dialogue>\n    <scene_description>III room they got this list of girls they can call up at any time and I they'll come over and fuck. I The guys become almost giddy at the thought.<\/scene_description>\n    <character>50<\/character>\n    <dialogue>As they-approach the party, they pull up next to O'Bannion's car<\/dialogue>\n    <character>EXT: JUNIOR HIGH PARTY - NIGHT<\/character>\n    <dialogue>where he, Benny, and Hudson are already staking it out.<\/dialogue>\n    <character>50<\/character>\n    <dialogue>-<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>DON<\/dialogue>\n    <scene_description>Hey men, any luck?<\/scene_description>\n    <character>O'BANNION<\/character>\n    <dialogue>They gotta come out sometime.<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>Really.<\/dialogue>\n    <character>BENNY<\/character>\n    <dialogue>Dollar! Got a beer over here with your name on it.<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>I I might hop in with them for a<\/dialogue>\n    <scene_description>while.<\/scene_description>\n    <character>PICKFORD<\/character>\n    <dialogue>Later.<\/dialogue>\n    <scene_description>, Don gets out, walks over, and gets in with them as Slater and Pickford drive away.<\/scene_description>\n    <character>51<\/character>\n    <dialogue>Pickford pulls past rather slowly. Two younger boys, SMARTASS #1<\/dialogue>\n    <character>EXT: JUNIOR HIGH PARTY - NIGHT<\/character>\n    <dialogue>and ft2, sit on the sidewalk smoking a cigarette.<\/dialogue>\n    <character>PICKFORD<\/character>\n    <dialogue>What grade you boys in?<\/dialogue>\n    <character>SMARTASS #1<\/character>\n    <dialogue>8th.<\/dialogue>\n    <character>SMARTASS #2<\/character>\n    <parenthetical>(correcting him)<\/parenthetical>\n    <dialogue>Going into 8th.<\/dialogue>\n    <character>PICKFORD<\/character>\n    <parenthetical>(insinuating)<\/parenthetical>\n    <dialogue>There wouldn't be any 8th graders<\/dialogue>\n    <scene_description>&gt; going into 9th inside now would ! there? I' The smart-asses they are finally emerge, ftl slowly takes the I cigarette from #2, takes a drag, and then calmly flicks the ashes off. SMARTASS ftl I don't know, it's not our day to t keep up with them... f^ At this, Pickford jumps out of the car and runs around to the two boys. He has a board with him. \/0G\\*\\<\/scene_description>\n    <character>52<\/character>\n    <dialogue>Carl and Tommy are looking at the goings on outside.<\/dialogue>\n    <character>INT:<\/character>\n    <dialogue>CARL<\/dialogue>\n    <scene_description>Shit - we're surrounded.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Right after they leave might be a good time to get out of here. You ready to go?<\/dialogue>\n    <scene_description>They look back outside as Pickford, after making a seemingly friendly gesture of putting a hand on each of the boys shoulders, suddenly knocks their heads together. He hops back in the car and peels out.<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Let's get outta here.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Where's loverboy?<\/dialogue>\n    <scene_description>They walk back through the party where the dance floor is filled with junior high kids who've been dancing very slow to Olivia Newton John's \"I Honestly Love You.\" The song changes to Bread's 'Make It With You\\* and most of the dancers simply resume their dancing in the same \"hugging\" fashion. Not. seeing their friend, they walk back to an adjacent room that is filled with piles of kids making out.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Hey Hirsh! Wherever the hell you are...<\/dialogue>\n    <scene_description>Hirsh and Freshman Girl ft2 look up.<\/scene_description>\n    <character>HIRSH<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Let's go, man.<\/dialogue>\n    <scene_description>Hirsh slowly gets up and walks over to them and talks in a low tone so she can't hear.<\/scene_description>\n    <character>HIRSH<\/character>\n    <dialogue>Why do we have to go now? I'm just getting started...<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>'Cause they're looking for our asses. They're circling the place like buzzards but they just left.<\/dialogue>\n    <scene_description>z(\\*\\' It might be our best shot at making it out of here alive. S3.: 52 CONTINUED:<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Plus it's time to ditch this place anyway.<\/dialogue>\n    <character>HIRSH<\/character>\n    <dialogue>Well maybe I'M having a good time...<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Well then maybe YOU aren't camping out with us later.<\/dialogue>\n    <scene_description>53 EXT: JUNIOR HIGH PARTY - NIGHT Tommy, Carl, and Hirsh get to the front door and cautiously look put. They slowly walk past the chaperone who's watching the door.<\/scene_description>\n    <character>CHAPERONE<\/character>\n    <dialogue>If you leave you can't come back...<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Good.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>We're never coming back.<\/dialogue>\n    <character>HIRSH<\/character>\n    <dialogue>Man, I had my hand up her shirt - I was getting there.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Getting there?<\/dialogue>\n    <parenthetical>(to Tommy)<\/parenthetical>\n    <dialogue>You hear that? He was \"getting there\\*.<\/dialogue>\n    <parenthetical>(to Hirsh)<\/parenthetical>\n    <dialogue>Son, you wouldn't know what to do with it even if you did \"get there\" so don't worry about it.<\/dialogue>\n    <character>HIRSH<\/character>\n    <dialogue>Just 'cause you guys were striking out.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Grow up, boy. That was our last junior high party, we're freshmen now. We're in the big time...<\/dialogue>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>Where all the girls put out. Your days of lying around pulling tongue all night are over.<\/dialogue>\n    <scene_description>jA0&amp;\\<\/scene_description>\n    <character>54<\/character>\n    <dialogue>As they turn the corner and continue walking down the street they<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>notice they are being trailed in the distance by a car with its lights off. They say nothing but glance nervously at each othe- Sudderily the lights come on and the car is after them.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Shit...<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Scatter!<\/dialogue>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>They take off in separate directions. The car happens to follow in Hirsh's direction before O'Bannion jumps out and physically runs him down.<\/dialogue>\n    <character>O'BANNION<\/character>\n    <dialogue>Where you runnin' to boy? We ain't gonna hurt you... Tell you what, you just grab onto that fence and start counting the stars. You might be seeing some new ones up there pretty quick...<\/dialogue>\n    <scene_description>i He laughs sadistically. Still nervous, but resigned to his fate, Hirsh does as he says. He bends over a little and O'Bannion gives him the first big whack. At a safe distance, Carl and Tommy watch Hirsh get busted.<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>(low voice)<\/parenthetical>\n    <dialogue>Bastards...<\/dialogue>\n    <scene_description>Hirsh continues to get busted in the distance.<\/scene_description>\n    <character>55<\/character>\n    <dialogue>Riding around, Jodi, Shavonne, Kaye and Sabrina stop by where<\/dialogue>\n    <character>EXT: BACK STREET - NIGHT<\/character>\n    <dialogue>Hirsh is getting it.<\/dialogue>\n    <character>JODI<\/character>\n    <dialogue>Take it easy on the boy why don't ya...<\/dialogue>\n    <scene_description>Don comes over to the car as Jodi and Shavonne get out of the car.<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>Ladies...<\/dialogue>\n    <character>JODI<\/character>\n    <dialogue>Hey. Who's this one?<\/dialogue>\n    <scene_description>55 CONTINUED:<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>Adam Hirsh... caught him coming out of the junior high party.<\/dialogue>\n    <scene_description>O'Bannion, finally through with Hirsh, starts toward the car. As Hirsh begins to walk away all the while re-adjusting his underwear, O'Bannion grabs a beer and tosses it to him.<\/scene_description>\n    <character>0'BANNION<\/character>\n    <dialogue>Hey punk, have another present!<\/dialogue>\n    <scene_description>Hirsh catches it, and keeps walking, slowly and painfully, taking short breaths and trying not to cry too much.<\/scene_description>\n    <character>O'BANNION<\/character>\n    <dialogue>This fuckin' sucks! Last fuckin' day of school and no party, no fuckin' nothin.'<\/dialogue>\n    <character>SHAVONNE<\/character>\n    <dialogue>You guys got any more beer?<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>That's the ONE thing that IS going on.<\/dialogue>\n    <scene_description>Don walks over to the car, opens the trunk which is basically one large ice chest, and pulls out several beers. He hands a beer to each of the girls. He doesn't recognize Sabrina but gives her a flirtatious smile as he hands her a beer.<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>SABRINA<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>An anonymous car speeds by.<\/scene_description>\n    <character>VOICE FROM CAR<\/character>\n    <dialogue>Fuck her, I did!<\/dialogue>\n    <scene_description>They peel out as O'Bannion almost instantaneously takes a step toward them and grabs his crotch.<\/scene_description>\n    <character>O'BANNION<\/character>\n    <dialogue>Suck me! .<\/dialogue>\n    <scene_description>56 INT: TONY'S CAR IN SUBURBAN NEIGHBORHOOD - NIGHT In Tony's dad's car, Cynthia has joined the poker crowd as they drive around. They don't say much ac first. A^\\<\/scene_description>\n    <character>56<\/character>\n    <dialogue>ROYCE<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <parenthetical>(to Cynthia)<\/parenthetical>\n    <dialogue>Fairly uneventful, huh?<\/dialogue>\n    <character>ROYCE<\/character>\n    <parenthetical>(to Tony, continuing)<\/parenthetical>\n    <dialogue>Tell her your theory about how President Ford's old football head injuries are effecting the economy.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Did you know Ford was on the Warren Commission?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Okay, I have a confession to make. You know how for the last year or so I talked about going to law school so I could be an A.C.L.U. lawyer or be in a position where I could help people who are getting fucked over? Well, as I was standing in line at the post office<\/dialogue>\n    <scene_description>I after school yesterday, the sudden realization hit me that I don't want to do that. I mean it sounds i good, but I really have to confront the fact that I don't much like the people I've been talking about helping in the future. I don't think I like people very much, period. I mean you guys are okay, but I'm just trying to be honest about being a misanthrope. Royce kind of rolls his eyes.<\/scene_description>\n    <character>TONY<\/character>\n    <parenthetical>(to the others)<\/parenthetical>\n    <dialogue>I think I gotta go take another Nixon.<\/dialogue>\n    <character>ROYCE<\/character>\n    <dialogue>Up here anywhere.<\/dialogue>\n    <scene_description>,\\ The car pulls up near a black nightclub called 'Elizabeth's Soul 'j Power.\u2022<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>I can't believe your bailing out on us, Royce. Just think of how you could be cruising around endlessly<\/dialogue>\n    <scene_description>A^,^\"^- all night from the Sonic to the<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>Okay, we get the point.<\/dialogue>\n    <character>TONY<\/character>\n    <parenthetical>(sarcastic)<\/parenthetical>\n    <dialogue>Or maybe we'll catch some freshman and bust them with our paddles.<\/dialogue>\n    <character>ROYCE<\/character>\n    <dialogue>A little too WASPy for my taste.<\/dialogue>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>Drop me off here, man.<\/dialogue>\n    <scene_description>Tony keeps driving and is soon right in front of the club. The guys milling around in front check out this car of white people. Royce ducks down a little.<\/scene_description>\n    <character>ROYCE<\/character>\n    <dialogue>Shit. Pull up farther.<\/dialogue>\n    <scene_description>Tony finally snaps to Royce's dilemma and pulls up a ways.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>r Oh...<\/dialogue>\n    <scene_description>Royce is a bit amused at all this by the time he gets out of the car.<\/scene_description>\n    <character>ROYCE<\/character>\n    <dialogue>What are you trying to do, get me killed?<\/dialogue>\n    <scene_description>He walks away toward the club.<\/scene_description>\n    <character>57<\/character>\n    <dialogue>Jodi, Sabrina, Shavonne and Kaye are standing outside talking.<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>JODI<\/dialogue>\n    <parenthetical>(to Shavonne)<\/parenthetical>\n    <dialogue>...I'm not at all surprised you have a crush on Don. He's an idiot.<\/dialogue>\n    <parenthetical>(to others)<\/parenthetical>\n    <dialogue>You know what he did in class the other day? The teacher handed back the finals... He always has this system where he cheats off the person next to him and pays them five dollars if he makes an A, four dollars for a B, three dollars for a C, you know. Well, he gets back his test and he had made a D.<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <dialogue>\/0toK<\/dialogue>\n    <scene_description>S3:<\/scene_description>\n    <character>57<\/character>\n    <dialogue>,. f<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>JODI (Cont'd) He was so mad at the the guy he had<\/dialogue>\n    <scene_description>cheated off of. He said: (imitating him) &gt; Why didn't you tell me you were stupid? ) They all laugh. 1<\/scene_description>\n    <character>JODI<\/character>\n    <dialogue>I Can you believe we're seniors?<\/dialogue>\n    <character>KAYE<\/character>\n    <dialogue>Not at all. Even during the freshmanizing this afternoon. It didn't feel right.<\/dialogue>\n    <character>JODI<\/character>\n    <dialogue>I Yeah, like we were impostors or 1<\/dialogue>\n    <scene_description>something. i Kaye leans on the wall.<\/scene_description>\n    <character>KAYE<\/character>\n    <dialogue>- It's like, our seniors - now THEY<\/dialogue>\n    <scene_description>were seniors. Nina, Dralane, Kim Cook... that was the real thing. Us, I don't know about. ii JODI Really. It feels to me like we just graduated from junior high.<\/scene_description>\n    <character>KAYE<\/character>\n    <dialogue>It was at the senior's graduation the other night, seeing them all in<\/dialogue>\n    <scene_description>11 a bunch... this weird panic passed over me. I thought of just this iI town, then all the high schools in the state, then the whole country. .: Millions of us that will graduate ', next year and then be flooded into j colleges and then the real world. Ii It's like they'll be too many of us. At some point it can't grow anymore, it just goes bust. And , then there won't be room for any of us.<\/scene_description>\n    <character>JODI<\/character>\n    <dialogue>I always wonder what other kids around the country our age are<\/dialogue>\n    <scene_description>&gt;tffr\\*&amp;V ' doing or what they're like.<\/scene_description>\n    <character>57<\/character>\n    <dialogue>SHAVONNE<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Or do you ever think like, what's the guy I'm going to marry doing right now?<\/dialogue>\n    <character>KAYE<\/character>\n    <parenthetical>(to Shavonne)<\/parenthetical>\n    <dialogue>The guy you're going to marry is probably just going into prison.<\/dialogue>\n    <character>SHAVONNE<\/character>\n    <dialogue>Right.<\/dialogue>\n    <scene_description>A Trans Am pulls up.<\/scene_description>\n    <character>SHAVONNE<\/character>\n    <dialogue>Oh, that's that guy Stacy's been talking about. He's like 26 or something. Her mom doesn't know anything about it.<\/dialogue>\n    <character>JODI<\/character>\n    <dialogue>She says they've been working up to it lately...<\/dialogue>\n    <scene_description>\"\"\\*\u2022\" STACY WOODWARD kisses the OLDER GUY goodbye and gets out of his car. He checks out the pack of girls before driving off. Stacy walks over to them with a big grin on her face.<\/scene_description>\n    <character>SHAVONNE<\/character>\n    <dialogue>You did it! I can tell! You lost it, you little slut...<\/dialogue>\n    <scene_description>Giddy with excitement, they all laugh as she kind of hugs \u2022 Shavonne.<\/scene_description>\n    <character>STACY<\/character>\n    <dialogue>' I can't believe it... I'll remember ! the last two hours of my life<\/dialogue>\n    <scene_description>forever. i SHAVONNE I Two hours? Does that include a ' stop at the Sonic?<\/scene_description>\n    <character>JODI<\/character>\n    <parenthetical>(low voice)<\/parenthetical>\n    <dialogue>' What was it like?<\/dialogue>\n    <character>STACY<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>I don't know, kinda hurt a<\/dialogue>\n    <scene_description>\/^\\*\\A'\\*\\*- little...<\/scene_description>\n    <character>57<\/character>\n    <dialogue>SHAVCNNE<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>What was IT like?<\/dialogue>\n    <character>I<\/character>\n    <dialogue>i STACY<\/dialogue>\n    <scene_description>Kinda big. They all let out a bit of a shrill, i<\/scene_description>\n    <character>STACY<\/character>\n    <parenthetical>(continuing)<\/parenthetical>\n    <dialogue>I think he said we're going to do it again next week.<\/dialogue>\n    <scene_description>i Wooderson, Pink, and Mitch walk out of the Emporium.<\/scene_description>\n    <character>I<\/character>\n    <dialogue>Hey Pink, you heard anything more<\/dialogue>\n    <character>JODI<\/character>\n    <dialogue>about a beer-bust?<\/dialogue>\n    <scene_description>Pink gestures to Wooderson.<\/scene_description>\n    <character>PINK<\/character>\n    <dialogue>Talk to this man here.<\/dialogue>\n    <character>WOODERSON<\/character>\n    <dialogue>Patience, people, patience.<\/dialogue>\n    <scene_description>Wooderson keeps walking while Mitch gravitates over to Sabrina.<\/scene_description>\n    <character>SABRINA<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>I was going to ask you the same thing.<\/dialogue>\n    <scene_description>They both kind of chuckle at their sudden cool status of hanging out with the older crowd.<\/scene_description>\n    <character>SABRINA<\/character>\n    <dialogue>I heard you got busted...<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Uh, yeah.<\/dialogue>\n    <character>SABRINA<\/character>\n    <dialogue>They just got Adam, too.<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Really? How bad?<\/dialogue>\n    <character>SABRINA<\/character>\n    <dialogue>\/0\u00a3\\*\\ t Bad.<\/dialogue>\n    <character>57<\/character>\n    <dialogue>,<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>MITCH<\/dialogue>\n    <scene_description>Man. So what have you guys been j doing?<\/scene_description>\n    <character>SABRINA<\/character>\n    <dialogue>Just riding around, mostly. X didn't realize that it's Jodi that's your big sister.<\/dialogue>\n    <scene_description>i<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Uh, yeah...<\/dialogue>\n    <scene_description>Jodi comes walking over.<\/scene_description>\n    <character>JODI<\/character>\n    <dialogue>You guys talking about me over here?<\/dialogue>\n    <parenthetical>(to Mitch)<\/parenthetical>\n    <dialogue>So I heard they got you.<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Uh, yeah.<\/dialogue>\n    <character>JODI<\/character>\n    <dialogue>I can't believe it - I asked them<\/dialogue>\n    <scene_description>\"\"\u2022\" to take it easy on you.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Great - no wonder.<\/dialogue>\n    <scene_description>i:<\/scene_description>\n    <character>58<\/character>\n    <dialogue>i I. ' 1.<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>Hirsh, Tommy and Carl walk down a dark street with a few buckets full Of SCuff. CARL<\/dialogue>\n    <scene_description>| (to Tommy) I ...Face it, boy, you hadn't had j pussy since pussy had you. I. TOMMY I Yeah, right. (imitating Hirsh) Well I had my hand up a girl's shirt once... I was really 'gettin' there!' Carl and Tommy laugh.<\/scene_description>\n    <character>HIRSH<\/character>\n    <dialogue>Kiss my butt, Lawson. I wish I<\/dialogue>\n    <scene_description>\"-\\* still was at that party instead of listening to your stupid strategy that got me busted. A^\\* 67.<\/scene_description>\n    <character>58<\/character>\n    <dialogue>CARL<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>You got busted because you couldn't get away.<\/dialogue>\n    <scene_description>Carl reaches down and picks up a large empty Jack Daniels bottle.<\/scene_description>\n    <character>HIRSH<\/character>\n    <dialogue>You try to out-run O'Bannion. I'm<\/dialogue>\n    <scene_description>) going to be laughing my ass off when it's your turn - when he's . bustin' your ass. | TOMMY ' I heard last year, when they caught I about ten freshmen at one time, O'Bannion backed his truck over some pizzas and made 'em eat it.<\/scene_description>\n    <character>HIRSH<\/character>\n    <dialogue>I mean, that's bullshit, right? The idiot flunks his senior year so he can be a dick two years in a row? Is that legal?<\/dialogue>\n    <scene_description>r \/ \"\"\\*k Carl suddenly tosses the bottle straight up in the air above them. They all look at each other for an extended moment and then take off running, i<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Goddamn you Burns!<\/dialogue>\n    <scene_description>The bottle comes crashing down right behind them.<\/scene_description>\n    <character>59 . EXT: EMPORIUM PARKING LOT - NIGHT<\/character>\n    <dialogue>I O'Bannion's truck drives up at the Emporium and lets Don out. He<\/dialogue>\n    <scene_description>walks over to where Wooderson is leaning on a wall drinking a ', beer while the rest of the guys, Pickford, Pink, Slater, and I 1 Mitch are all hanging out near Pickford's car a few feet away. Don walks up to Wooderson. i l! DON Wooderson, boy. I haven't seen you in a while. Whatcha been up to?<\/scene_description>\n    <character>WOODERSON<\/character>\n    <dialogue>Same old shit... Workin' for the city. Been thinking about gettin' back in school.<\/dialogue>\n    <character>DON-<\/character>\n    <dialogue>Back to the J.C.?<\/dialogue>\n    <scene_description>(\\*\u2022\\* 68,<\/scene_description>\n    <character>59<\/character>\n    <dialogue>WOODERSON<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Maybe. That's where all the girls are.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>But on the other hand I really just as soon be workin' and makin' money than spending it listening to some dipshit that doesn't know what the hell he's talking about. At least you got some change in your pocket.<\/dialogue>\n    <character>I DON<\/character>\n    <dialogue>Really...<\/dialogue>\n    <character>WOODERSON<\/character>\n    <dialogue>! (to Mitch)<\/dialogue>\n    <scene_description>You're a freshman, right?<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>WOODERSON<\/character>\n    <dialogue>Who are the finest girls your age?<\/dialogue>\n    <scene_description>j0&amp;\\<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>Wooderson boy, you're going to end up in jail.<\/dialogue>\n    <scene_description>The others laugh a bit and Wooderson goes along.<\/scene_description>\n    <character>WOODERSON<\/character>\n    <dialogue>That's what's so great about high school girls: I get older but they stay the same age.<\/dialogue>\n    <character>PICKFORD<\/character>\n    <parenthetical>(to Pink)<\/parenthetical>\n    <dialogue>Hey Pink, you haven't seen 'em yet.<\/dialogue>\n    <scene_description>He opens the door, sits down, and cranks up his stereo,<\/scene_description>\n    <character>PICKFORD<\/character>\n    <dialogue>I just got these new Craig Powerplays... quad.<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>Bad-ass.<\/dialogue>\n    <character>PICKFORD<\/character>\n    <dialogue>Anyone up for another spin?<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>Don quickly decides he's ready to go. f\" . 69.<\/scene_description>\n    <character>59<\/character>\n    <dialogue>DON<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Shotgun...<\/dialogue>\n    <character>PINK<\/character>\n    <parenthetical>(to Mitch)<\/parenthetical>\n    <dialogue>What do you think?<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Yeah, what the hell.<\/dialogue>\n    <scene_description>As Don goes to get in the passenger side door, he finds Slater momentarily sitting in his seat.<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>Someone's gonna have to be latering my seat, man.<\/dialogue>\n    <character>SLATER<\/character>\n    <dialogue>I'm going back inside, man, don't worry.<\/dialogue>\n    <character>WOODERSON<\/character>\n    <dialogue>Yeah, me too. You boys have fun.<\/dialogue>\n    <scene_description>ff^-y They walk to the Emporium door while the guys start to climb in V ^ Pickford's car. He revs it up while Pink and Mitch get in the back. Mitch is a bit squeezed at first because there is a bowling ball in his seat. He holds it up and inquires.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Whose is this?<\/dialogue>\n    <character>PICKFORD<\/character>\n    <dialogue>I don't know. It was in the car when I first got it.<\/dialogue>\n    <character>,<\/character>\n    <dialogue>PINK<\/dialogue>\n    <scene_description>Pickford... you driving in to get Aerosmith tickets tomorrow morning?<\/scene_description>\n    <character>PICKFORD<\/character>\n    <dialogue>1 Unless I end up getting so waisted<\/dialogue>\n    <scene_description>tonight I can't.<\/scene_description>\n    <character>PINK<\/character>\n    <dialogue>If you do, can you get me two tickets?<\/dialogue>\n    <scene_description>Pink hands Pickford thirty dollars.<\/scene_description>\n    <character>PICKFORD<\/character>\n    <dialogue>This should buy me a bag of<\/dialogue>\n    <scene_description>^ A-\\*- Colombian.<\/scene_description>\n    <character>59<\/character>\n    <dialogue>PINK<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Yeah right.<\/dialogue>\n    <character>60<\/character>\n    <dialogue>They pass around the joint and a few beers as they -&gt;am to ZZ Top<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>Mitch takes his first puffs without much fanfare. From the passenger seat, Don mischievously motions Pickford to pull over.<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>Hey, pull up to these trash cans.<\/dialogue>\n    <scene_description>The car slows down and pulls over next to a few trash cans that are sitting on the corner of somebody's front yard. Don leans far out the window and picks up a big metal can.<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>Stay near this side and gun it.<\/dialogue>\n    <scene_description>The car creeps along for a little while then peels out. At top speed, Don releases the trash can and it completely obliterates a mailbox that was in a front yard. The sheer visceral thrill of it all has the carload in an excited state.<\/scene_description>\n    <character>PICKFORD<\/character>\n    <dialogue>Whooaah! Man!<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>Shit-yeah!<\/dialogue>\n    <scene_description>Almost immediately, Pink rolls the back window down and leans out.<\/scene_description>\n    <character>PINK<\/character>\n    <dialogue>Let's get one of those over there.<\/dialogue>\n    <scene_description>The car pulls over and he grabs an old beat-up metal trash can.<\/scene_description>\n    <character>PINK<\/character>\n    <dialogue>Floor that motherfucker!<\/dialogue>\n    <scene_description>The car races off. He catches a large wooden designer-type mailbox dead-on. They whoop it up even more. \u2022i DON I Awwright!<\/scene_description>\n    <character>PICKFORD<\/character>\n    <dialogue>Heeeyuuuu<\/dialogue>\n    <character>DON<\/character>\n    <parenthetical>(to Mitch)<\/parenthetical>\n    <dialogue>You should throw that bowling ball out.<\/dialogue>\n    <character>60<\/character>\n    <dialogue>MITCH<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Think?<\/dialogue>\n    <character>PICKFORD<\/character>\n    <dialogue>Yeah, lose it. It doesn't fit anyone's hand, anyway.<\/dialogue>\n    <scene_description>Mitch grabs the ball and apprehensively leans out the window.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Pickford floors the accelerator and the car is flying. Not really aiming at anything, Mitch tosses the ball into the air. In a slow motion shot, the ball crashes through the windshield of a car parked on the street. The guys seem more shocked than thrilled at first - perhaps at the sheer extent of the property 'damage. 1 PINK i Shit man... someone's car. Mitch looks back at the broken windshield with a mixture of fear and shame. The others start enjoying it when it becomes apparent they've gotten away.<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>Aww, fuck 'em anyway.<\/dialogue>\n    <character>PICKFORD<\/character>\n    <dialogue>Man, that bowling ball said \"hooff\" to that damn windshield.<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>Some poor slob's going to come out to his car tomorrow morning, on his way to work and...<\/dialogue>\n    <scene_description>They all start howling.<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>Strike!<\/dialogue>\n    <scene_description>More laughter. Having officially copped all of them, Mitch goes along with the victory celebration.<\/scene_description>\n    <character>! DON<\/character>\n    <dialogue>Hey man, we're out of beer. We need a Quick and Easy stop.<\/dialogue>\n    <character>61<\/character>\n    <dialogue>^<\/dialogue>\n    <character>EXT: QUICK &amp; EASY - NIGHT<\/character>\n    <dialogue>The car pulls into the parking lot.<\/dialogue>\n    <scene_description>AF^ 72<\/scene_description>\n    <character>\u0080\ufffd 61 CONTINUED:<\/character>\n    <dialogue>DON<\/dialogue>\n    <scene_description>We're also out of cash. Hey, pull I up over there, heading out that way.<\/scene_description>\n    <character>PICKFORD<\/character>\n    <dialogue>What, you're going to steal it?<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>I got it all staked out. It'll be easy. I just need someone to be look-out.<\/dialogue>\n    <character>PICKFORD<\/character>\n    <dialogue>Oh come on man, you're gonna get us in trouble.<\/dialogue>\n    <character>DON<\/character>\n    <parenthetical>(to Mitch)<\/parenthetical>\n    <dialogue>C'mon. I need you to stand by the door.<\/dialogue>\n    <parenthetical>(to Pickford)<\/parenthetical>\n    <dialogue>Have it runnin' and ready to go.<\/dialogue>\n    <scene_description>r Mitch hesitates a bit but is' soon walking with Don up to the store.<\/scene_description>\n    <character>62<\/character>\n    <dialogue>Don and Mitch get up near the store.<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>MITCH<\/dialogue>\n    <scene_description>I don't know about all this, man.<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>Just stand up here and act like a look-out.<\/dialogue>\n    <scene_description>i (whispers) i I'm really going to pay for it but let's fuck with them. I \u2022 Mitch grins briefly and then tries to act serious as Don enters the store. He looks back at Pickford backing the car up and then back inside at how Don is doing. He sees Don bolting for the 'i front door. He pulls the door open and then they sprint to the '| waiting car.<\/scene_description>\n    <character>DON<\/character>\n    <parenthetical>(to Mitch)<\/parenthetical>\n    <dialogue>Hurry up man! Get in!<\/dialogue>\n    <scene_description>-,.\/-\\* But just as they hop in the car, a middle-aged guy walks up to r^ the driver's side and points a pistol at Pickford's head.<\/scene_description>\n    <character>62<\/character>\n    <dialogue>PISTOL GUY<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Don't move or I'll shoot the shit out of ya!<\/dialogue>\n    <scene_description>Pickford doesn't know what to be more panicked about, the gun at his head or the robbery in progress.<\/scene_description>\n    <character>PICKFORD<\/character>\n    <parenthetical>(to Don)<\/parenthetical>\n    <dialogue>Don, give the beer back...<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>Don't worry about the beer, man. I really paid for it.<\/dialogue>\n    <scene_description>Pickford flashes him a quick quizzical look that soon turns into a panic once more.<\/scene_description>\n    <character>PISTOL GUY<\/character>\n    <dialogue>You busted my mailbox, didn'ya?<\/dialogue>\n    <character>PICKFORD<\/character>\n    <dialogue>I don't know what you're talking about man, but... \u2022<\/dialogue>\n    <character>PISTOL GUY<\/character>\n    <dialogue>Tamperin' with mailboxes is a felony offense. I done called the<\/dialogue>\n    <scene_description>,1 po-lice. I think you boys need to get out of the car, nice and slow.<\/scene_description>\n    <character>PICKFORD<\/character>\n    <parenthetical>(to others)<\/parenthetical>\n    <dialogue>. Whadda we do?<\/dialogue>\n    <character>PISTOL GUY<\/character>\n    <dialogue>&gt; I said get the fuck out of the<\/dialogue>\n    <scene_description>car... now! Don has sec the beer near the gear shift in such a way that it can't be seen by the guy with the gun. He slowly is shifting the car into gear.<\/scene_description>\n    <character>I<\/character>\n    <dialogue>1<\/dialogue>\n    <character>PICKFORD<\/character>\n    <parenthetical>(reasoning)<\/parenthetical>\n    <dialogue>What, you're going to shoot us for something YOU think we did?<\/dialogue>\n    <scene_description>j PISTOL GUY I don't think, I know. I seen you. ?:<\/scene_description>\n    <character>62<\/character>\n    <dialogue>PICKFORD<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <parenthetical>(reasoning)<\/parenthetical>\n    <dialogue>Sir, I'm still not quite sure what<\/dialogue>\n    <scene_description>- you're talking about but you had better put that gun away before you ?et in some big trouble. There's aws against this kind of behavior you know.<\/scene_description>\n    <character>PISTOL GUY<\/character>\n    <dialogue>I got witnesses. When the po-lice get here we'll just let them figure it all out.<\/dialogue>\n    <scene_description>The tension has built to a peak.<\/scene_description>\n    <character>PINK<\/character>\n    <parenthetical>(under his breath)<\/parenthetical>\n    <dialogue>Just go man, before the cops show. What's he gonna do, shoot us?<\/dialogue>\n    <character>PICKFORD<\/character>\n    <dialogue>No, he's going to shoot ME.<\/dialogue>\n    <parenthetical>(to Pistol)<\/parenthetical>\n    <dialogue>x^\\*\\ It's like this: the smart money<\/dialogue>\n    <scene_description>says you probably won't murder - and it would be murder - someone over an alleged tampered-with mailbox... Don suddenly pulls Pickford down at the same time he stomps on top of his foot.<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>Duck!<\/dialogue>\n    <scene_description>They all duck as the car peels out. As Pickford regains the wheel, the guy shoots in their direction.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Motherfucker's shooting at us!<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>Go! Lose that son-of-a-bitch!<\/dialogue>\n    <scene_description>The car turns at a corner and hauls.<\/scene_description>\n    <character>63<\/character>\n    <dialogue>Tony, Mike and Cynthia are riding around.<\/dialogue>\n    <character>INT:<\/character>\n    <dialogue>MIKE<\/dialogue>\n    <parenthetical>(sarcastic voice)<\/parenthetical>\n    <dialogue>I need me ah brewski -<\/dialogue>\n    <character>63<\/character>\n    <dialogue>TONY<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Weeeell...<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Actually, my next door neighbor has a refrigerator full of beer. And his garage is always wide open.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Hmmm.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>I've always wanted to steal some, I just have never been a big beer drinker. I don't know, it's the taste - call me weird.<\/dialogue>\n    <character>TONY<\/character>\n    <parenthetical>(quick)<\/parenthetical>\n    <dialogue>Weird.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Well, the true Dionysian way would be to steal the beer and spend the<\/dialogue>\n    <scene_description>A0\u00a3?\\ rest of the evening drinking it. I think that's what everyone in this car needs... some good 'ol worthwhile visceral experience.<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>Like what?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Getting so drunk you throw up. A little sexual activity...<\/dialogue>\n    <scene_description>Cynthia impersonates some brutish guy.<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>You're right - I'm gonna git drunk and either git laid or git inna fight...<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Seriously. You have to be up for anything.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>But do you ever feel like everything we've been taught and everything we do is just at the service of our future selves.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>It's like it's all preparation...<\/dialogue>\n    <character>63<\/character>\n    <dialogue>CYNTHIA<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Yeah, but what are we preparing ourselves for?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Death.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Life of the party.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>I But that's valid - if we're all<\/dialogue>\n    <scene_description>going to die anyway, shouldn't we enjoy ourselves now? I'd like to j quit treating the present like some minor, insignificant preamble to i , something else...<\/scene_description>\n    <character>64<\/character>\n    <dialogue>Soon Mike and Cynthia sneak up to the garage, go inside, and then<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>run out with a couple of six-packs. They hop in the car and Tony drives away, but not before signaling his turn.<\/dialogue>\n    <scene_description>r. 65 INT: EMPORIUM - NIGHT The guys are standing near the featured pool table where Elvis is in a big game with a hustler from out of town. Pickford is recalling the gun incident to Wooderson and Hudson. , PICKFORD i I was inches away from getting my I head blown off. . (points at Don) And Evil Knieval here just throws I \\* the car in gear and floors it. \\[ DON ' 1 (to Pickford) What? Did you get shot? Did we l have to wait around for the cops to bust us? No.<\/scene_description>\n    <character>I<\/character>\n    <dialogue>But it was ME who he had the gun<\/dialogue>\n    <character>PICKFORD<\/character>\n    <dialogue>on, not you. It was ME who was going to get his brains splattered.<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>Don't worry, if that idiot would have pulled the trigger, he would have had US to deal with.<\/dialogue>\n    <character>I<\/character>\n    <dialogue>i<\/dialogue>\n    <scene_description>(f^ 77.<\/scene_description>\n    <character>65<\/character>\n    <dialogue>PINK<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <parenthetical>(amused)<\/parenthetical>\n    <dialogue>That's right, what are you complaining about?<\/dialogue>\n    <character>WOODERSON<\/character>\n    <parenthetical>(to others)<\/parenthetical>\n    <dialogue>They're up to seventy-five a game...<\/dialogue>\n    <scene_description>After his turn, Elvis walks over to the pack of them.<\/scene_description>\n    <character>DON<\/character>\n    <parenthetical>(to Elvis)<\/parenthetical>\n    <dialogue>Elvis, you takin' this g u y s money?<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Workin' on it. How 'bout one of you going and getting me a sixer of Schlitz.<\/dialogue>\n    <scene_description>He reaches in his pocket, pulls out a small roll of bills, peels off a five, and then looks over at Mitch.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(to Mitch)<\/parenthetical>\n    <dialogue>Across the street at the Quick...<\/dialogue>\n    <scene_description>He hands him the money while the others look on. Mitch hesitates a little at first but then gets going after Elvis gives him a confident nod before he returns to the pool table.<\/scene_description>\n    <character>66<\/character>\n    <dialogue>Mitch overcomes any nervousness and walks in with a calm,<\/dialogue>\n    <character>INT: QUICK &amp; EASY - NIGHT<\/character>\n    <dialogue>confident manner. He quickly selects the six pack out of the refrigerator and on the way toward the register grabs a stick of beef jerky. He approaches the CLERK like he's done this a hundred times before.<\/dialogue>\n    <character>MITCH<\/character>\n    <parenthetical>(to Clerk)<\/parenthetical>\n    <dialogue>How's it going tonight?<\/dialogue>\n    <scene_description>He lays the beer and the beef jerky on the counter and puts the five on top of them.<\/scene_description>\n    <character>CLERK<\/character>\n    <dialogue>It'll be going a lot better when I get off in a couple of hours.<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>I hear that...<\/dialogue>\n    <scene_description>\/\\*\\*\\*\\*&gt;\u2022 78 .<\/scene_description>\n    <character>66<\/character>\n    <dialogue>The clerk only then scrutinizes Mitch a little.<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>CLERK<\/dialogue>\n    <scene_description>You're eighteen, right?<\/scene_description>\n    <character>MITCH<\/character>\n    <parenthetical>(quickly)<\/parenthetical>\n    <dialogue>Oh yeah... just graduated,<\/dialogue>\n    <scene_description>i The clerk bags it up and gives him change.<\/scene_description>\n    <character>| CLERK<\/character>\n    <dialogue>So you off to college in the fall?<\/dialogue>\n    <character>I MITCH<\/character>\n    <dialogue>I Still not sure. I'm working right , , now for the city... thinking about<\/dialogue>\n    <scene_description>hanging onto the job for a while. It's money in m y pocket... i<\/scene_description>\n    <character>, CLERK<\/character>\n    <dialogue>I hear that...<\/dialogue>\n    <scene_description>i H e bags u p the beer and hands it to Mitch w h o heads for the door.<\/scene_description>\n    <character>\u0080\ufffd\\* MITCH<\/character>\n    <dialogue>Take it easy...<\/dialogue>\n    <scene_description>i<\/scene_description>\n    <character>67<\/character>\n    <dialogue>I<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>Mitch exits the store, takes a few steps, and then breaks into a<\/dialogue>\n    <scene_description>, big grin. Just then his 8th grade buddies call out to him from the shadows.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Mitch!<\/dialogue>\n    <scene_description>He looks surprised to see them and walks over near Pentico's idling car.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>What are you guys doing?<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>What's in there?<\/dialogue>\n    <scene_description>He gestures to Mitch's bag. Mitch plays it cool.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>A sixer of Schlitz.<\/dialogue>\n    <parenthetical>(to Carl)<\/parenthetical>\n    <dialogue>r-\" And hey man, you OWE me one for<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Yeah, yeah, they busted the hell out of Hirsh. too.<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>I heard.<\/dialogue>\n    <character>' PENTICO<\/character>\n    <parenthetical>(to Hirsh)<\/parenthetical>\n    <dialogue>Tell him what we're doing.<\/dialogue>\n    <character>HIRSH<\/character>\n    <parenthetical>(to Mitch)<\/parenthetical>\n    <dialogue>, Is that bastard O'Bannion over<\/dialogue>\n    <scene_description>there?<\/scene_description>\n    <character>68<\/character>\n    <dialogue>Mitch walks up outside the Emporium, past a group of girls that<\/dialogue>\n    <character>EXT: EMPORIUM - NIGHT<\/character>\n    <dialogue>includes Julie. They all know why he went over there and seem a bit surprised (and impressed) by his success.<\/dialogue>\n    <character>^ JULIE<\/character>\n    <dialogue>r^s^ They sold it to you?<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>'i (casual)<\/dialogue>\n    <scene_description>'Course...<\/scene_description>\n    <character>69<\/character>\n    <dialogue>He walks back in and all is a bit quiet around the pool table.<\/dialogue>\n    <character>INT: EMPORIUM - NIGHT<\/character>\n    <dialogue>11 Elvis calls a pocket on the eightball and lines up a complicated i bank shot. Everyone glances nervously at each other as he<\/dialogue>\n    <scene_description>proceeds with, confidence. Elvis banks the eight perfectly and as the ball drops in the side pocket, the place erupts. After a little hand-slapping congratulations, the losers pay up. Mitch gets an opening and takes Elvis his beer.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>'Salright...<\/dialogue>\n    <scene_description>He grabs the beer and tosses one to Wooderson. Mitch begins to dig through his pocket.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>I got your change...<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Forget about it... What's your name again?<\/dialogue>\n    <character>69<\/character>\n    <dialogue>MITCH<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Mitch... Kerr.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>A beer?<\/dialogue>\n    <scene_description>Taken slightly aback at the offer, Mitch hesitates only brief'v in accepting this gesture from the coolest guy in the olaee' in front of everyone else, no less. He takes ?he bSer and twists otf the top in one motion. \" \"<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(to Wooderson)<\/parenthetical>\n    <dialogue>wooderson... How 'bout that bust at the moon tower? Here's most of the first keg.<\/dialogue>\n    <scene_description>He takes Wooderson's hat off and drops a twenty in it. Wooderson starts walking around the Emporium taking donations.<\/scene_description>\n    <character>WOODERSON<\/character>\n    <dialogue>Keg fund for the bust...<\/dialogue>\n    <scene_description>Julie and Stacy each drop a dollar into the hat and then Stacy AP\\*^ whispers something in Wooderson's ear while she and Julie look over at Mitch. An older man wanders into the Emporium as if looking for someone. Oh my god... Isn't that Rene's father?<\/scene_description>\n    <character>STACY<\/character>\n    <dialogue>How embarrassing... I would DIE if<\/dialogue>\n    <scene_description>i my father ever did something like that.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>At least she's not here I don't think. Jee-zus.<\/dialogue>\n    <scene_description>Mitch walks over to the front door and glances out. He looks \u2022 back at O'Bannion one more time and then steps outside the door. He waves his arms to the guys across the street and then quickly steps back inside. Mitch then walks over to Julie and Stacy and \u2022 slowly escorts them closer to O'Bannion's table. On the way over, he whispers something in Julie's ear.<\/scene_description>\n    <character>JULIE<\/character>\n    <parenthetical>(loudly)<\/parenthetical>\n    <dialogue>They're busting Carl Burns out back?<\/dialogue>\n    <scene_description>^ ^ O'Bannion suddenly looks up from his game. He motions to a friend standing near him.<\/scene_description>\n    <character>69<\/character>\n    <dialogue>0'3ANNION<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Here, cake over for me.<\/dialogue>\n    <parenthetical>(to others)<\/parenthetical>\n    <dialogue>Can't believe it. Get your boards...<\/dialogue>\n    <scene_description>He walks outside as several follow. From across the room, Don over Micch excuses srsScy^SiS oe:?. - \u2022\\*-\u2022\"\\*\"ss^e<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>Hey man, that Julie chick likes you.<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Think so?<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>She's a fox.<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>I'll tell you though. Play it cool, man. If she gets the impression you like her too much, she'll be off with someone else<\/dialogue>\n    <scene_description>M before you know it. I i' MITCH Really? I )' DON Yeah. You got to play it right. Like if she asks you to ride out there with her, don't do it. Just tell her you have a ride and, you know, just say... I' (extra casual) \"Maybe I'll see you out there a II little later.\\* ll (almost apologetic) I know that sounds stupid but h that's how it works.<\/scene_description>\n    <character>70<\/character>\n    <dialogue>O'Bannion and company arrive out back to find Carl standing there<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>with Hudson and Benny, about to be busted.<\/dialogue>\n    <scene_description>V ^ 82.<\/scene_description>\n    <character>70<\/character>\n    <dialogue>0'BANNION<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>ShoowweeJ We got another...<\/dialogue>\n    <parenthetical>(to Hudson and Benny)<\/parenthetical>\n    <dialogue>Lemme go first on this one, okay?<\/dialogue>\n    <character>HUDSON<\/character>\n    <dialogue>Okay, whatever.<\/dialogue>\n    <scene_description>' O'BANNION Thanks. (to Carl) ' So we meet again... i (to others) i This little fucker's mom pulled a shotgun on my ass this afternoon! (to Carl) ' You had any licks yet?<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>O'BANNION<\/character>\n    <parenthetical>(to others)<\/parenthetical>\n    <dialogue>All right! Another cherry...<\/dialogue>\n    <parenthetical>(to Carl)<\/parenthetical>\n    <dialogue>Now I think you should put your hands up against the wall there.<\/dialogue>\n    <scene_description>Carl slowly obliges.<\/scene_description>\n    <character>O'BANNION<\/character>\n    <dialogue>i You must be one dumb freshman son- i of-a-bitch to be out tonight ; somewhere where you'd get caught. &gt;' \u2022 I thought I was going to have to i spend all summer hunting you down<\/dialogue>\n    <scene_description>i but then you show up out of nowhere i. like a little lost puppy dog. He positions himself behind and to the side of Carl and gets ready to give him his first lick.<\/scene_description>\n    <character>,;<\/character>\n    <dialogue>O'BANNION<\/dialogue>\n    <scene_description>I'd like to dedicate this first lick to your mother... fucker. Just as he's drawing back his board, at the height of his sadistic glee, O'Bannion catches a solid drop of paint on his arm. He holds his swing in mid-arc, dumbfounded. As he stares at the drop, he gets another drop on the head. Confused but curious, he looks upward just in time to see the source of his stunning and thorough drenching in white paint and other junk from above. In the confusion and O'Bannion's general helplessness, Carl sprints to Pentico\\*s waiting car that has pulled up. He jumps in and they peel out.<\/scene_description>\n    <character>71<\/character>\n    <dialogue>The car quickly makes the block and heads down an alley where \u2022-<\/dialogue>\n    <character>EXT: ALLEY BEHIND EMPORIUM - NIGHT<\/character>\n    <dialogue>picks up Hirsh and Tommy who've climbed down from the roof-top\" After jumping in the car and driving away, the freshman guys a^e absolutely ecstatic: laughing, screaming and \"slapping ten\" w i ^ each other. Pure victory.<\/dialogue>\n    <character>72<\/character>\n    <dialogue>iI<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>Back behind the Emporium, O'Bannion is cursing ever\/one,<\/dialogue>\n    <scene_description>;<\/scene_description>\n    <character>0'BANNION<\/character>\n    <dialogue>...And you lazy fucks didn't do shit! How 'bout some back-up, you<\/dialogue>\n    <scene_description>I numb-nut cowards! You even let ! 1 that little fucker get away - didn't even go after them! Pitiful! Physically humiliated and embarrassed, he walks over to his car. i On the way, he suddenly smashes his board against the street, cracking it into many pieces. He throws the piece that is left in his hand as far as he can and leaves the rest on the ground. He gets in his car and speeds off. Only then do the others look at each other and howl with .laughter.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction> | 73 INT: TONY'S CAR AT SONIC - NIGHT<\/stage_direction>\n    <scene_description>A waitress brings their order out to the car on a tray that she i . hangs on the driver side window. Tony starts examining the goods and passing them out.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>., .<\/dialogue>\n    <scene_description>...Let's see, tater-tots with cheese, onion rings, burger with mustard, tater-tots with no cheese, ' a cherry coke... I can't believe ;i I'm doing this. I always swore I'd i never be here and here I am sorting | tater tots...<\/scene_description>\n    <character>,| CYNTHIA<\/character>\n    <dialogue>So beer bust at the moon tower?<\/dialogue>\n    <character>.I TONY<\/character>\n    <dialogue>' Are we going?<\/dialogue>\n    <scene_description>As they talk, Mike stares out the window at the cars going by on the main drag. Suddenly he perks up.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Whooah! You guys see that?<\/dialogue>\n    <scene_description>^PfcH, \/0^\\*&gt;.<\/scene_description>\n    <character>73<\/character>\n    <dialogue>TONY AND CYNTHIA<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Where? What?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>A woman in that car that just drove by pulled up her shirt and flashed her tits in this direction.<\/dialogue>\n    <character>TONY<\/character>\n    <parenthetical>(excited)<\/parenthetical>\n    <dialogue>No sir...<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <scene_description>A couple of cars take off after the drive-by car.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>See, those cars are chasing her.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>WOW...<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>r \u2022<\/dialogue>\n    <scene_description>0m<\/scene_description>\n    <character>-<\/character>\n    <dialogue>l wish I was one of chose people who could do something like that. You know, that spontaneous.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>&gt; Don't let us discourage you.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>See, now THAT'S visceral activity.<\/dialogue>\n    <character>74<\/character>\n    <dialogue>As Kiss' \"Rock and Roll All Night\" plays in the background, we<\/dialogue>\n    <character>EXT: ROAD TO MOON TOWER - NIGHT<\/character>\n    <dialogue>SEE many cars and the different groups partying as they drive out<\/dialogue>\n    <scene_description>, of town to the moon tower. They seem to be lead by the \"Ronald McDonald\/Gene Simmons\" truck driven by and Don, Pink, and Mitch.<\/scene_description>\n    <character>75<\/character>\n    <dialogue>I<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>The cars drive down che dark road to the clearing near the moon tower that serves as Che central gathering place. Most cars park on the periphery but Wooderson, Benny, Don and a few others stand next to a truck that is alone in the center with a keg of beer sitting on its tailgate. The \"McDonald\/Simmons\\* statue stands right behind the keg. Two speakers have been placed up on the truck's cab and are blaring music from a tape deck. Some clever<\/dialogue>\n    <scene_description>\/9mA- sorts have now wired up \"Ronald\/Gene's\\* stomach speaker to the rv truck's CB's P.A. system where if you calk into the mic, it comes out of his stomach behind the keg. \/ilffll^v<\/scene_description>\n    <character>75<\/character>\n    <dialogue>CONTINUED:<\/dialogue>\n    <scene_description>Kaye, Jodi, and a few others walk up as Sabrina lags a little behind. They pass a group of guys standing around with cans of beer, .but not drinking. A guy who was in a car earlier, Party Guy \\*1, gestures for Sabrina to come help them out a bit.<\/scene_description>\n    <character>PARTY GUY #1<\/character>\n    <dialogue>Hey, we're doing hot-shots... when I get this can up to my mouth, say go, okay?<\/dialogue>\n    <scene_description>Sabrina is a little unsure but goes along.<\/scene_description>\n    <character>SABRINA<\/character>\n    <dialogue>Okay...<\/dialogue>\n    <scene_description>He opens the bottom side of the beer with a can opener and then puts his mouth over the opening and his finger on the pop-top of the can. The others are already in this position. He looks at her and indicates to say the word.<\/scene_description>\n    <character>SABRINA<\/character>\n    <dialogue>Ready, set, GO!<\/dialogue>\n    <scene_description>They all almost simultaneously pop their tops and practically inhale their beers. One finishes slightly ahead of the others and tosses his beer can to the ground. The winner. Sabrina wanders into the crowd.<\/scene_description>\n    <character>76<\/character>\n    <dialogue>Cynthia, Mike and Tony walk up as Mike seems to smell something.<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>MIKE<\/dialogue>\n    <scene_description>Hmmm. Someone's tokin' some reefer... Clint overhears Mike's observation. To show off to his immediate crowd, he hands them back the joint and approaches Mike.<\/scene_description>\n    <character>CLINT<\/character>\n    <dialogue>Hey, just a second. What did you say?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>When?<\/dialogue>\n    <character>\u0080\ufffdCLINT<\/character>\n    <dialogue>Just then as you walked past, what did you say?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>About what?<\/dialogue>\n    <character>76<\/character>\n    <dialogue>CLINT<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>You said \"someone's toki.v some<\/dialogue>\n    <character>V,<\/character>\n    <dialogue>reefer.\"<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I might have said something about smelling some marijuana... an observation.<\/dialogue>\n    <character>CLINT<\/character>\n    <dialogue>Well I'M the one smoking marijuana, motherfucker. You got a problem with that?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>No, I don't have a problem with that.<\/dialogue>\n    <character>CLINT<\/character>\n    <dialogue>Then why did you say that, man. So I'm a fuckin' pot-head, what's it to you?<\/dialogue>\n    <parenthetical>(pushes Mike)<\/parenthetical>\n    <dialogue>Huh?<\/dialogue>\n    <scene_description>JI(\"S\"\\ (pushes again) Huh? &lt; Pink sees the jam Mike is in and comes over to help him out. . PINK (to Clint) It's all right man, he's okay. Clint calms down a little and slowly heads back over to his group. As Mike re-joins Tony and Cynthia and they begin to walk away, Clint sort of points back at him. i CLINT Okay geek, I'll be watching out for your ass... Mike just turns and keeps walking.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Great, just what I need. The Cro-<\/dialogue>\n    <scene_description>I Magnon man shadowing me.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>You mean getting your face punched in isn't on your list of worthwhile visceral experiences?<\/dialogue>\n    <scene_description>-^ As they walk, they pass a drunk girl, SUSAN SUMNER heavily making f\\*\\*^ out with a guy. When she's noc kissing him, she's taking big gulps of beer.<\/scene_description>\n    <character>77<\/character>\n    <dialogue>Pink, Mitch. Slater and Pickford are ail climbing up the moon<\/dialogue>\n    <character>EXT: MOON TOWER - NIGHT<\/character>\n    <dialogue>tower ladder,<\/dialogue>\n    <character>PINK<\/character>\n    <parenthetical>(to Mitch)<\/parenthetical>\n    <dialogue>I can't believe you've never been out here.<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Never have. Why do they call it the moon tower, anyway?<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>In the 20's they built it to simulate the light of a full moon. So it's like the people around here have a full moon every night of the year.<\/dialogue>\n    <character>PICKFORD<\/character>\n    <dialogue>And they haven't repaired anything since the twenties so be careful, some of the steps are about to give.<\/dialogue>\n    <character>SLATER<\/character>\n    <dialogue>This place used to be off limits. Some drunk freshman fell off the top about ten years ago and smashed his skull on a crossbeam.<\/dialogue>\n    <character>SLATER<\/character>\n    <dialogue>It's a cool view though... Good place to toke...<\/dialogue>\n    <scene_description>They get to a rather small platform at the top. The view on one side is the city and on the other the country. They stare out at the city and back down at the others below.<\/scene_description>\n    <character>PINK<\/character>\n    <dialogue>Look at this whole fucking town. It's completely dead. All those idiots that go off to their little boring jobs and then drive home to their little cubby holes to watch T.v. and awaic death.<\/dialogue>\n    <character>PICKFORD<\/character>\n    <dialogue>If you're not careful, chat could be any of us in a few years.<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>A^\\*^ Not me, man.<\/dialogue>\n    <scene_description>(^ 88.<\/scene_description>\n    <character>77<\/character>\n    <dialogue>Slater fires up a joint as Slater stares off and ponders society<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>r<\/dialogue>\n    <scene_description>in a different way.<\/scene_description>\n    <character>SLATER<\/character>\n    <dialogue>Think how many people out there are fucking at this very minute.<\/dialogue>\n    <scene_description>i Mitch just stares down at all the people at the beer-bust. Down below the tape is being changed to something else. Some scream out their suggestions and objections.'<\/scene_description>\n    <character>RANDOM VOICES<\/character>\n    <dialogue>ZZ Top: Nugent! Free Bird!<\/dialogue>\n    <character>SLATER<\/character>\n    <parenthetical>(shouting down)<\/parenthetical>\n    <dialogue>Zepplin!<\/dialogue>\n    <character>RANDOM VOICE<\/character>\n    <dialogue>Captain and Tenille!<\/dialogue>\n    <character>WOODERSON<\/character>\n    <dialogue>Fuck you!<\/dialogue>\n    <character>78<\/character>\n    <dialogue>Tony, Mike and Cynthia are leaning against one of the cars.<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>TONY<\/dialogue>\n    <scene_description>Sacco and vansetti. They all laugh a little and Mike gets an urge to be a little more public.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <parenthetical>(yells)<\/parenthetical>\n    <dialogue>Sacco and Vansetti!<\/dialogue>\n    <scene_description>This is drowned out by a new song, cranked up all the way. Mike's tone suddenly changes.<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>(to others)<\/parenthetical>\n    <dialogue>I'm going to get that guy.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>what guy?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>That asshole on the way in, Clint -<\/dialogue>\n    <scene_description>- the super-dominant male.<\/scene_description>\n    <character>78<\/character>\n    <dialogue>TONY<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>I wouldn't suggest that.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I've got it all planned out. Most fights at places like this never get past a punch or two before it's broken up, right? There's this almost natural instinct to not upset the herd too much. So, I just have to be sure to get one good punch in and then play defense.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Why are you even thinking like this?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>At first, you're relieved to get away from the situation, but now there's a level of humiliation<\/dialogue>\n    <scene_description>\/$$&amp;\\ setting in that I can tell is going to be with me a long time. This could be yet another experience i that contributes to me being a little ineffectual nothing the rest of my life. I have the conscious ability to rebel against that. If nothing else, it'll set an example and a tone for my senior year. It's like when you go into prison. They say walk right up to the baddest dude in the whole place and punch him right in the nose in front of everyone. He might beat , the crap out of you, but nobody will ever fuck with you because who ! wants to get punched in the face even one time? You gotta prove you're one of those who's not afraid to... { He doubles up his fist and punches his other hand in the palm with a loud pop.<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>Great.<\/dialogue>\n    <scene_description>Sabrina wanders by Tony and after they make eye contact, she boldly goes up to him.<\/scene_description>\n    <character>' SABRINA<\/character>\n    <dialogue>Do you remember me?<\/dialogue>\n    <scene_description>78 CONTINUED: (2)<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>Only if this afternoon's offer still stands.<\/dialogue>\n    <character>SABRINA<\/character>\n    <parenthetical>(flirting back)<\/parenthetical>\n    <dialogue>Uh, what am I supposed to say? Anything you want...<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>That's what I want to hear.<\/dialogue>\n    <scene_description>They don't quite know what to say next but Tony has subtly made room for her to stand next to him while they lean on the car. Cynthia looks at Sabrina and then back at Mike like \"Who's this intruder?\" She seems more irritated that Tony has perked up at tSabrina's presence.<\/scene_description>\n    <character>SABRINA<\/character>\n    <dialogue>Do you know what time it is?<\/dialogue>\n    <parenthetical>(changes mind)<\/parenthetical>\n    <dialogue>No, don't tell me. It'll ruin the rest of my night.<\/dialogue>\n    <scene_description>Cynthia and Mike decide to walk around. 79 EXT: BEER BUST - NEAR KEG - NIGHT Cynthia and Mike are slowly walking toward the keg.<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>Why'd we even come here? I always feel a little out of place at things like this.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah, it's amazing. On one level I don't give a shit about anything in the entire world but that hasn't taken away a kind of shyness. You'd think you could blow off caring if people accepted you or not.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>I can't believe he's flirting with that little freshman.<\/dialogue>\n    <scene_description>She happens to say this in earshot of Darla, who comes over to them when she hears the magic word. 79 CONTINUED:<\/scene_description>\n    <character>DARLA<\/character>\n    <dialogue>Did you say freshman?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Yeah, right over there.<\/dialogue>\n    <scene_description>She points at Sabrina across the way.<\/scene_description>\n    <character>DARLA<\/character>\n    <dialogue>Hmmm.<\/dialogue>\n    <character>MIKE<\/character>\n    <parenthetical>(to Darla)<\/parenthetical>\n    <dialogue>No trouble though, okay?<\/dialogue>\n    <scene_description>Darla keeps looking at Sabrina while she wanders back to her pack \u2022of friends. Mike and Cynthia continue.<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>(continuing)<\/parenthetical>\n    <dialogue>You can't blame him, though. He doesn't even know you like him. It's kind of difficult.<\/dialogue>\n    <character>CYNTHIA'<\/character>\n    <dialogue>I know it. I hate this, let's not even talk about it.<\/dialogue>\n    <scene_description>80 EXT: BASE OF TOWER - NIGHT After climbing down from the moon tower, Mitch, Slater, Pickford and Pink run into Julie, Stacy and some of their friends.<\/scene_description>\n    <character>PICKFORD<\/character>\n    <dialogue>Cottonmouth man, I need some beer!<\/dialogue>\n    <scene_description>Julie wanders over to Mitch.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Hey. You want to go over and get a beer?<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>Sure. Did you ride out here with them?<\/dialogue>\n    <scene_description>They all start making cheir way toward the keg.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Yeah. How 'bout you, you got a car?<\/dialogue>\n    <character>30<\/character>\n    <dialogue>JULIE<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Uh-huh.<\/dialogue>\n    <parenthetical>(pointing)<\/parenthetical>\n    <dialogue>That blue Camaro.<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Cool.<\/dialogue>\n    <scene_description>They walk by an even more drunk Susan and a different guy, ?a--y Guy #1. as they are getting in the back seat of a car. A 'ew'of Party Guy #l's friends are kind of milling around the car.<\/scene_description>\n    <character>STACY<\/character>\n    <parenthetical>(to Julie)<\/parenthetical>\n    <dialogue>Susan's drunk again.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>God, every time...<\/dialogue>\n    <scene_description>Mitch looks back at the car as they walk away.<\/scene_description>\n    <character>81<\/character>\n    <dialogue>\/0WN<\/dialogue>\n    <character>EXT: BEER BUST - NEAR KEG<\/character>\n    <dialogue>Pink walks over to where Benny and Don are standing.<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>Piiink.<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>Okay, so here's the story: if we ever get busted, we tell them we found it down by the river.<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>Yeah. Right at the bottom of that main path.<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>When did we find it?<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>Early this evening, as it was getting dark.<\/dialogue>\n    <character>BENNY<\/character>\n    <dialogue>Just don't be driving around town with it standing up in the back unless you want the cops all over your ass.<\/dialogue>\n    <character>^ DON<\/character>\n    <dialogue>{A\\*\\*\\* Man, screw the cops in this town.<\/dialogue>\n    <character>81<\/character>\n    <dialogue>BENNY<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <parenthetical>(to Pink)<\/parenthetical>\n    <dialogue>And I can smell that reefer on you a mile away, boy. Coach Clements is right - you've been running with chat bad crowd again.<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>Attitude adjustment...<\/dialogue>\n    <character>BENNY<\/character>\n    <dialogue>Priorities...<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>I just want to know who narced on me. I mean why else would he single me out? It's not like I'm the only athlete in our school that parties.<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>Ahhh, don't worry about it. Fuck what those coaches think.<\/dialogue>\n    <scene_description>Don gets that mischievous look on his face as he looks over at all the people in line for the keg. I<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>| Check this out.<\/dialogue>\n    <parenthetical>(yells)<\/parenthetical>\n    <dialogue>Cops!<\/dialogue>\n    <scene_description>In a panic, they all either toss their beers or walk away quickly from the keg.<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>, Amateurs.<\/dialogue>\n    <scene_description>Don laughs as he walks over to the keg and pours himself a beer. I We suddenly HEAR someone off in the woods in another direccion ' throwing up. Everyone kind of laughs at this anonymous person's misery. i , 82 EXT: NEAR CARS - NIGHT Cynthia and Mike are back near Tony and Sabrina leaning against a car and talking.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>...I just think it's important to rebel against all those petty fears<\/dialogue>\n    <scene_description>r \"\"\"\" like pain or even death, (more) 82 CONTINUED:<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>If you can gee to thac point where you are not only not afraid of death but perhaps even embracing it, then there is no longer any bad. Everything then goes beyond judgement - good\/evil, right\/wrong - it's all bullshit.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>From your perspective maybe, but certainly you're not implying chat this is valid thinking for everyone.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I'm not everyone and of course my perspective - for better and worse it's the only one I've got.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>So if there is no absolute morality, judgement, or anything else, would you push the button that would start a global thermo- nuclear war if you could?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I'm noc sure, depends oh my mood at the time.<\/dialogue>\n    <scene_description>They all laugh a little. Cynthia rolls her eyes.<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>Great.<\/dialogue>\n    <scene_description>Although Tony, seems to have been paying more attention to Sabrina, he finally jumps in the conversation.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>Let's just say we're thankful the button to che nuclear holocausc is in the hands of politicians worried about re-election and not someone like you going through an existential crisis.<\/dialogue>\n    <scene_description>Mike gets a little antsy and begins to walk away.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Whatever... Me and my existential crisis are going to go walk around. Later. Much.<\/dialogue>\n    <character>83<\/character>\n    <dialogue>Near another truck with a stereo going, Pickford, Michelle, ?'-k<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>Slater. Stoner #2, and Stacy sic in a circle on the ground<\/dialogue>\n    <scene_description>i . passing a reefer and listening to Neil Young's \"After The Goldrush.\" No one says anything for a while but then Stoner #1 \\* and Slater start in.<\/scene_description>\n    <character>STONER #1<\/character>\n    <dialogue>This song is about aliens landing.<\/dialogue>\n    <character>SLATER<\/character>\n    <dialogue>Of course, man. This country was founded by people who worshipped aliens - George Washington and them. They were all a part of some cult that was way into that.<\/dialogue>\n    <scene_description>I '  George toked weed too, man. He grew it at Mt. Vernon.<\/scene_description>\n    <character>STACY<\/character>\n    <dialogue>Suuure.<\/dialogue>\n    <character>SLATER<\/character>\n    <dialogue>Really man, it's true. He thought it would be a good cash crop for Che southern states. The man was a visionary... And here we are tokin' to his vision 200 years later.<\/dialogue>\n    <scene_description>Slater does a little salute with the joint before passing it.<\/scene_description>\n    <character>84<\/character>\n    <dialogue>Kaye, Cynthia, Jodi and Pink are standing around talking.<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>KAYE<\/dialogue>\n    <scene_description>...It's like all our decisions have been made for us. what are our true opeions? We can ride around, stand here and talk. There's gotta be something interesting going on somewhere else... It's just that we're stuck in bum-fuck-ville.<\/scene_description>\n    <character>JODI<\/character>\n    <dialogue>And it's all so generic.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>I wish I was like Italian or Black or something... anything to not<\/dialogue>\n    <scene_description>\"^. feel like I stepped out of the Brady Bunch.<\/scene_description>\n    <character>84<\/character>\n    <dialogue>PINK<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>So what is it more of, the place we're stuck in or the time period we're stuck in? Maybe nothing's going on anywhere. Maybe nothing's EVER gone on anywhere.<\/dialogue>\n    <scene_description>t I KAYE ...I really liked Tony's last column about this decade. What was that one line? \"The uncertainties of the 60's have been sold out for i the certainty of boredom in the 70's. . .\"<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>Yeah. I'm working on this every- other-decade theory: Okay, the 50's were boring, the sixties rocked, and the 70's obviously suck, so maybe the 80's are going to be cool.<\/dialogue>\n    <parenthetical>(optimistic)<\/parenthetical>\n    <dialogue>I figure we'll be In our twenties<\/dialogue>\n    <scene_description>-s and hey, it can't get any worse. Pink walks around over to Tony. ij PINK I ' Tony, real quick. I don't want to i be sports editor. I'd rather write '! features, editorials, anything but I sports.<\/scene_description>\n    <character>\u0080\ufffd TONY<\/character>\n    <dialogue>You're all we have. Just be editor<\/dialogue>\n    <scene_description>\u2022, and I'll let you write whatever | else you want. i<\/scene_description>\n    <character>PINK<\/character>\n    <dialogue>I just, you know... enough of my life has been spent on sports already.<\/dialogue>\n    <scene_description>. &gt;| Jodi walks around over to Pink.<\/scene_description>\n    <character>JODI<\/character>\n    <dialogue>Let's go get another beer.<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>Okay,<\/dialogue>\n    <scene_description>A^S^ Pink and Jodi just kind of smile and walk away. \/SS^V<\/scene_description>\n    <character>85<\/character>\n    <dialogue>Mike stands at a distance observing the car Susan is in as the<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>door opens and Party Guy #1 gets out. Several of the guy's drunk friends are practically standing in line to make out with her. Another guy is soon kissing her and feeling her large breasts. Suddenly 3enny walks over to them and sort, of breaks it up.<\/dialogue>\n    <character>BENNY<\/character>\n    <dialogue>I don't think you boys should be taking advantage of Susan when she's drunk,<\/dialogue>\n    <parenthetical>(lower)<\/parenthetical>\n    <dialogue>I We all did that when we were<\/dialogue>\n    <scene_description>younger and it wasn't very nice.<\/scene_description>\n    <character>PARTY GUY #1<\/character>\n    <dialogue>Great, when it's our turn we have someone like you keeping us in line.<\/dialogue>\n    <character>BENNY<\/character>\n    <dialogue>Hey fuck you, man. Seriously, you guys get lost. Get going before you get hurt.<\/dialogue>\n    <scene_description>As the guys disperse, Susan\\* stumbles over to the rear car door, opens it, and sits down. i .<\/scene_description>\n    <character>BENNY<\/character>\n    <parenthetical>(to Susan)<\/parenthetical>\n    <dialogue>li You gonna be all right?<\/dialogue>\n    <scene_description>i<\/scene_description>\n    <character>I| SUSAN<\/character>\n    <dialogue>I ''<\/dialogue>\n    <scene_description>Ohhhh, God, I drank too much. I chink I'm startin' to not feel so good. Apparently more interested in intimidating the guys than accually helping Susan ouc, Benny soon walks away. As soon as the coast is clear, Mike walks over near her. She is looking down and is barely conscious.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>SUSAN<\/character>\n    <parenthetical>(mumbling)<\/parenthetical>\n    <dialogue>Guys are fucking bastards...<\/dialogue>\n    <scene_description>She looks up at him, studies him for a second, then gestures for him to come closer.<\/scene_description>\n    <character>SUSAN<\/character>\n    <dialogue>C'mere. What's your name?<\/dialogue>\n    <character>85<\/character>\n    <dialogue>MIKE<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Mike.<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>Do I know you?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah, I think so. I know you.<\/dialogue>\n    <scene_description>She grabs his hand and pulls him closer to her. Soon he is sitting right next to her in the back seat.<\/scene_description>\n    <character>SUSAN<\/character>\n    <dialogue>You're kind of cute. Do you like me?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>She slowly pulls him down on top of her.<\/scene_description>\n    <character>86<\/character>\n    <dialogue>Jodi leads Pink into the woods. They are both kind of laughing.<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>Suddenly Jodi stops, turns around, and is face-to-face with Pink, She kind of smiles and then puts an arm around his neck and starts kissing him. He willingly goes along. Soon they break.<\/dialogue>\n    <character>JODI<\/character>\n    <dialogue>I<\/dialogue>\n    <scene_description>Shavonne was right.<\/scene_description>\n    <character>PINK<\/character>\n    <dialogue>I What?<\/dialogue>\n    <character>JODI<\/character>\n    <dialogue>I I1 She said you're the kind that<\/dialogue>\n    <scene_description>always waits for the girl to make the first move. i PINK What's that supposed to mean?<\/scene_description>\n    <character>'&lt; JODI<\/character>\n    <dialogue>well it's true, it just worked for me. I was testing you.<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>It's easier. Why, did I pass or fail?<\/dialogue>\n    <character>JODI<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <scene_description>j0&amp;&gt;\\*<\/scene_description>\n    <character>86<\/character>\n    <dialogue>She comes closer to him and they start kissing again. Sudden'y<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Jodi backs away and looks right at ? m k . He seems to be enjoy--a the situation and quickly turns to the side, grabs something out of his\"-- pocket and puts it in his mouth. He then cooly, in an almost Bogartish manner, turns to her with a joint dangling from the side of his mouth. Jodi laughs but seems to be going for something else.<\/dialogue>\n    <character>JODI<\/character>\n    <dialogue>So how would you define yourself; more of a jock, a stoner, or a smart guy like Tony and Mike.<\/dialogue>\n    <scene_description>She takes the joint out of his mouth.<\/scene_description>\n    <character>PINK<\/character>\n    <dialogue>What, you can only be one thing? Hey, I'm just trying to get by as painlessly as possible. What is this, a \"let's analyze Randy\\* session? How do you define yourself?<\/dialogue>\n    <character>JODI<\/character>\n    <dialogue>^ Don't get all mad.' Just a few<\/dialogue>\n    <scene_description>thoughts. i They start kissing again. 1<\/scene_description>\n    <character>JODI<\/character>\n    <parenthetical>(continuing)<\/parenthetical>\n    <dialogue>So, Randy, don't you have a girlfriend or something.<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>I don't know, here and there.<\/dialogue>\n    <scene_description>This is not really what Jodi wants to hear and she kind of backs off and chinks about it a little.<\/scene_description>\n    <character>JODI<\/character>\n    <dialogue>So, in relation to me, chat would<\/dialogue>\n    <scene_description>ji mean I'm here right now, and there , as soon as I'm out of your sight.<\/scene_description>\n    <character>PINK<\/character>\n    <dialogue>Whatever...<\/dialogue>\n    <scene_description>Jodi starts walking back to the bust and Pink follows.<\/scene_description>\n    <character>PINK<\/character>\n    <dialogue>Gimme my joint back.<\/dialogue>\n    <character>87<\/character>\n    <dialogue>In the back seat of the car, Susan and Mike are kissing wildly.<\/dialogue>\n    <character>INT:<\/character>\n    <dialogue>Soon her breasts are out of her shirt and Mike is all over them. If not quite sure what to do, he makes up for any lack of experi-ence with enthusiasm and curiosity. Suddenly Susan becomes coherent and pushes him off her.<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>Stop!<\/dialogue>\n    <parenthetical>(pushes him)<\/parenthetical>\n    <dialogue>You fucker!<\/dialogue>\n    <scene_description>Mike is surprised at her sudden rage and moves away a little. She then.kicks at him.<\/scene_description>\n    <character>SUSAN<\/character>\n    <dialogue>All you bastards are the same! All you want is one thing!<\/dialogue>\n    <parenthetical>(kicks again)<\/parenthetical>\n    <dialogue>Well fuck ALL of you!<\/dialogue>\n    <scene_description>She kicks one more time as he gets up and out of the car. He looks back and she sort of shoots the finger at him but hardly seems focused on him at all. He moves away from the car but watches her try to button her shirt back up while she starts crying. i 88 EXT: OTHER SIDE OF KEG - NIGHT Julie and Mitch are getting pretty cosy standing against a tree when they are interrupted.<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>Kerr!<\/dialogue>\n    <scene_description>Mitch looks around and sees Don standing across the way with Benny, Hudson and a few others. Jodi and Pink come out of the woods and kind of smile at each other as they part. She holds up the joint and he just waves her off as if to say \"keep it.\" As she keeps walking, he falls in with his crowd.<\/scene_description>\n    <character>BENNY<\/character>\n    <dialogue>That's righc. YOU, freshman.<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>C'mere boy! We need to have a word with you.<\/dialogue>\n    <scene_description>Mitch looks a bit nervous and then looks over at Julie.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>I guess I better go see what they<\/dialogue>\n    <scene_description>\/^&gt;C ' want.<\/scene_description>\n    <character>88<\/character>\n    <dialogue>JULIE<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Yeah, you probably should,<\/dialogue>\n    <character>\" MITCH<\/character>\n    <dialogue>Shit. I'll be back... maybe.<\/dialogue>\n    <scene_description>By the time Mitch gets over to them, their cone has lightened uo to a good-natured ribbing session.<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>Look at him, a little Casanova.<\/dialogue>\n    <scene_description>Mitch grins a little.<\/scene_description>\n    <character>PINK<\/character>\n    <dialogue>He's got that little shit eatin' grin on...<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>What'd I tell you, huh?<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>Not bad for a little freshman.<\/dialogue>\n    <scene_description>\/0$\\*\\ MITCH (humored) Whatever, man.<\/scene_description>\n    <character>BENNY<\/character>\n    <dialogue>I just want to know are you gonna be fuckin' her later or are you gonna be a little wimp?<\/dialogue>\n    <scene_description>Mitch dishes it back to them.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>How do you know I haven't already?<\/dialogue>\n    <scene_description>They all laugh.<\/scene_description>\n    <character>BENNY<\/character>\n    <dialogue>Shit, boy, get out of here...<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>Son, I think it's past your bedtime...<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>You should catch a ride with her if you can... Tell her we left you and you don't have any other way.<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Yeah, see what happens.<\/dialogue>\n    <character>88<\/character>\n    <dialogue>PINK<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>You beccer get back to her, boy.<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Yeah. You guys take it easy.<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>We want a full report in the morning.<\/dialogue>\n    <scene_description>, 89 EXT: EDGE OF WOODS - NIGHT Kaye and Jodi are standing off to the side, taking it all in. i' JODI , I feel like walking and smoking \\[ this joint.<\/scene_description>\n    <character>KAYE<\/character>\n    <dialogue>Yeah, good idea.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>Check ouc Shavonne... Her and Don's little mating ritual unfolding before us.<\/dialogue>\n    <scene_description>They look across the way to see Don walking away from Shavonne as she follows. He then stops and twists his way into her arms } momentarily before they break and walk farther into the woods.<\/scene_description>\n    <character>JODI<\/character>\n    <dialogue>j' Do you ever just see people and<\/dialogue>\n    <scene_description>think of us as simply produces of lusc and sex? At the moment of i . conception we were all the farthest thing from our parent's mind...<\/scene_description>\n    <character>KAYE<\/character>\n    <dialogue>I And most of the kids in our<\/dialogue>\n    <scene_description>generation are mistakes, anyway.<\/scene_description>\n    <character>JODI<\/character>\n    <dialogue>,i Yeah, and I guess it wasn't legal I to abort us so they were stuck.<\/dialogue>\n    <dialogue>t Mitch and Julie come walking by. Jodi mocions for them to come<\/dialogue>\n    <scene_description>over. They do.<\/scene_description>\n    <character>JODI<\/character>\n    <dialogue>Is chat a beer in your hand, little brother? Have you had more than one of those tonight?<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Yeah, yeah, who's counting?<\/dialogue>\n    <character>89<\/character>\n    <dialogue>JODI<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>I guess I better get used to me and my little brother being at the same social functions. What time are you supposed to be home?<\/dialogue>\n    <scene_description>Mitch is acting cool but in an amused, up-beat manner.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Oh, an hour or two ago...<\/dialogue>\n    <character>JODI<\/character>\n    <dialogue>Don't think for a second Mom won't be waiting up for you when you get home, no matter what time.<\/dialogue>\n    <scene_description>Mitch and Julie start walking away.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Just do me a favor and don't ask her to cake it easy on me.<\/dialogue>\n    <scene_description>He looks at Julie and then past her where he catches eyes with Sabrina, who's in mid-flirty conversation with Tony. They A&amp;\\*\\*. experience a big moment of recognition and smile and shrug at each ocher as if to say \"this is che life, but this is crazy.\" \u2022 I I '. 90 EXT: NEAR PARKED CARS - NIGHT Tony and Sabrina continue talking. I; I TONY ...Isn't it someone's theory thac \u2022 our encire personalicies are formed by che time we're seven or so? , Thac's kind of depressing, I actually, think of all the stuff I' we're stuck with by default. Jodi and Kaye walk by them on their way down the road.<\/scene_description>\n    <character>JODI<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>Hey guys...<\/dialogue>\n    <character>TONY &amp; SABRINA<\/character>\n    <dialogue>Hey...<\/dialogue>\n    <character>JODI<\/character>\n    <dialogue>We're going to take off for a bit. You okay?<\/dialogue>\n    <scene_description>90 CONTINUED:<\/scene_description>\n    <character>TONY<\/character>\n    <parenthetical>(to Sabrina)<\/parenthetical>\n    <dialogue>I can give you a ride.<\/dialogue>\n    <character>SABRINA<\/character>\n    <dialogue>Okay. So I'll either see you later or catch a ride with Tony.<\/dialogue>\n    <character>JODI<\/character>\n    <dialogue>Okay, cool.<\/dialogue>\n    <character>SABRINA<\/character>\n    <dialogue>Bye.<\/dialogue>\n    <parenthetical>(to Tony)<\/parenthetical>\n    <dialogue>Yeah, I know what you're talking about. Certain things stick wich you forever. Like when I was in second grade, in order Co gee words right on a spelling test, we used to make up sentences where the first letter in each word stands for a letter. Like arithmetic was 'A rac in the house might eat the ice cream,\" and geography was \"George eats old gray rats and paints houses yellow.\"<\/dialogue>\n    <scene_description>Tony laughs.<\/scene_description>\n    <character>SABRINA<\/character>\n    <dialogue>I'll probably be seventy years old and when I go to write one of those words, one of chose scupid sencences will still go through my head every single time.<\/dialogue>\n    <scene_description>They both laugh a bit. Darla suddenly walks up to Sabrina and Tony.<\/scene_description>\n    <character>DARLA<\/character>\n    <parenthetical>(to Sabrina)<\/parenthetical>\n    <dialogue>Air-raid!<\/dialogue>\n    <scene_description>They both seem kind of surprised, and Sabrina looks up at Tony.<\/scene_description>\n    <character>DARLA<\/character>\n    <parenthetical>(even meaner)<\/parenthetical>\n    <dialogue>I said air-raid freshman!<\/dialogue>\n    <scene_description>Tension mounts considerably and Tony feels a little confronced.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>whac for? C'mon.<\/dialogue>\n    <character>90<\/character>\n    <dialogue>DARLA<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>This is between me and her and she better be on that ground in five seconds.<\/dialogue>\n    <scene_description>Everybody just kind of stands there. I TONY She doesn't have to because she's I with me.<\/scene_description>\n    <character>DARLA<\/character>\n    <parenthetical>(to Sabrina)<\/parenthetical>\n    <dialogue>Air-raid or its your ass!<\/dialogue>\n    <scene_description>i ' TONY i \u2022 , (to Sabrina) Don't do it. Sabrina still says nothing but looks at both of them, sort of weighing the aggressor against the protector. A little unsure of what to do, she still doesn't air-raid. A\\*K , r v --K That's it you little freshman bitch! I'm never going to forget this. I'm going to make the next year of your life hell! Darla storms off while Sabrina and Tony just kind of look at each other like \"what was that?\" Mike walks over to them.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Yeah, don't air-raid for that bitch. I hate shit like that. It's like that Clint fucker in front of all his friends...<\/dialogue>\n    <scene_description>He does a re-enactment by pushing Tony.<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>(continuing)<\/parenthetical>\n    <dialogue>Huh?<\/dialogue>\n    <parenthetical>(pushes again)<\/parenthetical>\n    <dialogue>Huh, motherfucker?<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Okay, okay.<\/dialogue>\n    <scene_description>Mike suddenly sees Clint raising hell in the keg line. As if led by some wild instinct, he starts to walk over to him.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>The dominant male monkey will get his comeuppance.<\/dialogue>\n    <character>90<\/character>\n    <dialogue>Clint's back is to Mike when he walks up to him. He holds a f'-ll<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>beer in his hand and kind of glances around with a slight quizzical look on his face. He soon focuses on Clint and pours his entire beer over Clint's head. As a stunned Clint whir's around, Mike quickly drops the empty cup and punches Clint a<\/dialogue>\n    <scene_description>I fairly good one in the face. Unfortunately for Mike, Clint recovers rather quickly, grabs Mike's shirt with one hand, and starts punching him with the other.<\/scene_description>\n    <character>91<\/character>\n    <dialogue>Tony can't believe what's happening and starts to run over to the<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>scene of the fight.<\/dialogue>\n    <character>TONY<\/character>\n    <parenthetical>(to Sabrina)<\/parenthetical>\n    <dialogue>Shit, he really did it, I can't believe it.<\/dialogue>\n    <character>92<\/character>\n    <dialogue>Pink and Benny see the commotion and almost instinctively run<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>over to the fight.<\/dialogue>\n    <character>93<\/character>\n    <dialogue>As Tony. Pink, and Benny arrive to try to help break it up, they<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>are shielded from the fight by a large wall of people circled around the nucleus of the fight. Contradictory to Mike's plan, no one in the immediate vicinity seems to want to break up the fight. Worse still, by being such eager spectators, they are actively shielding out those who want to help Mike.<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>Move it!<\/dialogue>\n    <scene_description>Pink, Benny, and Tony (by following their lead) aggressively push their way through the crowd. Finally, as Mike continues to get the holy shit beat out of him, the guys break through and pull Clint off Mike.<\/scene_description>\n    <character>94<\/character>\n    <dialogue>Jodi and Kaye are walking through the woods smoking a joint when<\/dialogue>\n    <character>EXT: WOODS - NIGHT<\/character>\n    <dialogue>they come across an old cemetery. They walk through it, looking at headstones. In the distance, we HEAR cars and trucks starting up and leaving the beer bust sight, Kaye is soon staring at a grave and seems far, far away in her thoughts. Jodi senses this and says nothing. Kaye suddenly turns and starts walking out of the cemetery.<\/dialogue>\n    <scene_description>94 CONTINUED: Jodi follows as they head off farther down the road. 95 EXT: 'FOOTBALL FIELD - NIGHT Pink, Benny, and Hudson are walking around roaring drunk on the football field. They do imitations of their coaches in ranting, authoritative\/aggressive voices..<\/scene_description>\n    <character>PINK<\/character>\n    <dialogue>Don't you get up! Don't you quit! You're wearing Hornet green!<\/dialogue>\n    <character>BENNY<\/character>\n    <dialogue>Stick him! Stick him! I want you on him like stink on shit!<\/dialogue>\n    <character>HUDSON<\/character>\n    <dialogue>Pitch man, pitch man, that's yo'<\/dialogue>\n    <scene_description>itch man! I wane you to knock his ?ights out! Put him in dreamland!<\/scene_description>\n    <character>BENNY<\/character>\n    <dialogue>You don't want to hit him. Hell, my grandmother hits harder than that. 'Course she is 6'4\"\/ 250.<\/dialogue>\n    <scene_description>Pink assumes a mock-serious pose as he walks nearer the others like a coach at halftime.<\/scene_description>\n    <character>PINK<\/character>\n    <dialogue>People, we can't gee out there and play for ya. And IF I COULD, we wouldn't win by two points, we'd win by twenty-two points.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>And have you ever noticed, it's these same fools that are always saying...<\/dialogue>\n    <parenthetical>(imitative voice)<\/parenthetical>\n    <dialogue>People, chese are che best years of your life. They told me chac when I was your age and I didn't believe ic Chen, but now I see they were telling the truth. If I only knew then what I know now...<\/dialogue>\n    <parenthetical>(normal)<\/parenthetical>\n    <dialogue>I just want to go, yeah, if you're a dumb-fuck, it just might be the best years of your life.<\/dialogue>\n    <character>BENNY<\/character>\n    <dialogue>Really.<\/dialogue>\n    <character>95<\/character>\n    <dialogue>PINK<\/dialogue>\n    <character>CONTINUED{<\/character>\n    <dialogue>If at any poinc in the future I start thinking of these as the best years of my life, remind me to kill myself.<\/dialogue>\n    <scene_description>Suddenly a quick police bleep is heard and a squad car pulls UD and puts a light on them.<\/scene_description>\n    <character>COP #1<\/character>\n    <dialogue>Hey! You three! Get up here!<\/dialogue>\n    <character>95<\/character>\n    <dialogue>As they walk up to the cops, they see them looking through the<\/dialogue>\n    <character>EXT: FOOTBALL FIELD PARKING LOT - NIGHT<\/character>\n    <dialogue>bed of the truck at the Ronald\/Gene statue.<\/dialogue>\n    <character>COP #1<\/character>\n    <parenthetical>(excited)<\/parenthetical>\n    <dialogue>This you boys' truck?<\/dialogue>\n    <character>COP #2<\/character>\n    <dialogue>Looks like Ronald got a face-lift.<\/dialogue>\n    <character>97<\/character>\n    <dialogue>Julie's car is parked at the turn-around of a desolate road.<\/dialogue>\n    <character>EXT: CUL DE SAC - DAWN<\/character>\n    <dialogue>Mitch and Julie lie on a blanket in the grass not far from the car as the early morning radio plays. They are making out in a big way. They eventually roll over and then both stare up at the clouds going by in the pre-dawn sky.<\/dialogue>\n    <character>98<\/character>\n    <dialogue>I<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>Kaye and Jodi wander back to the beer bust site. Everyone seems to have vacated although there are still a few empty cars there. It seems to be getting lighter outside.<\/dialogue>\n    <character>KAYE<\/character>\n    <dialogue>We gotta see the sun rise from up there.<\/dialogue>\n    <scene_description>They walk over to the moon tower and start climbing.<\/scene_description>\n    <character>99<\/character>\n    <dialogue>Shavonne pulls up in front of Don's house to drop him off. They<\/dialogue>\n    <character>EXT: DON'S HOUSE - DAWN<\/character>\n    <dialogue>continue what seems co have been a long make-out session but<\/dialogue>\n    <scene_description>\"\"- before they can get very far, they HEAR the bleep of a police car (^ behind them. \/0^<\/scene_description>\n    <character>99<\/character>\n    <dialogue>DON<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Shit...<\/dialogue>\n    <scene_description>Don gets out as Cop #1 approaches him. COP n Good morning mister Dollar. You had a busy night? Don says nothing but notices Pink in the back seat looking kind of glum.<\/scene_description>\n    <character>COP #2<\/character>\n    <dialogue>You ready to go for a ride?<\/dialogue>\n    <scene_description>He opens the door for Don as he gets in the back of the car.<\/scene_description>\n    <character>COP #1<\/character>\n    <dialogue>Absolutely no talking between you two.<\/dialogue>\n    <character>100<\/character>\n    <dialogue>(\"\u2022\"\\*<\/dialogue>\n    <character>EXT: MOON TOWER - DAWN<\/character>\n    <dialogue>They are soon looking out at the horizon, awaicing che sun. Kaye has a distant expression and occasionally looks down.<\/dialogue>\n    <character>KAYE<\/character>\n    <dialogue>I can't scop chinking about this tombstone I saw back there. This girl was only 19 when she died. 1948 to 1967. It's jusc sad.<\/dialogue>\n    <character>JODI<\/character>\n    <dialogue>Sucks... Buc you can't let stuff like that bother you.<\/dialogue>\n    <character>KAYE<\/character>\n    <dialogue>But it's like who's even thinking about her right now?<\/dialogue>\n    <character>JODI<\/character>\n    <dialogue>I don't know. People that knew her. You're thinking of her.<\/dialogue>\n    <character>KAYE<\/character>\n    <dialogue>Because there's a rock in the ground with her name on it.<\/dialogue>\n    <scene_description>They both stare out at the horizon.<\/scene_description>\n    <character>^A-\\*. JODI<\/character>\n    <dialogue>She looks back down where all the people were gathered earlier.<\/dialogue>\n    <character>KAYE<\/character>\n    <dialogue>What's going to happen to all of us? I mean, everyone thac was here tonight... within a year or so, we'll all be scattered and most of us will never see each other again...<\/dialogue>\n    <character>JODI<\/character>\n    <dialogue>Yeah, probably.<\/dialogue>\n    <scene_description>Kaye's attention switches when she notices something in the distance.<\/scene_description>\n    <character>KAYE<\/character>\n    <dialogue>Do you see the lights over there?<\/dialogue>\n    <character>JODI<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>KAYE<\/character>\n    <dialogue>Flickering, past that big house way up there on the left... it sort of sparkles on and off.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>What IS that?<\/dialogue>\n    <character>JODI<\/character>\n    <dialogue>I don't have my contacts in.<\/dialogue>\n    <scene_description>Jodi rubs her eyes a little as Kaye grows a little anxious.<\/scene_description>\n    <character>KAYE<\/character>\n    <dialogue>You HAVE to see them...<\/dialogue>\n    <scene_description>Jodi rubs her eyes again and looks. Kaye stands right next to her and puts their heads near each other so she's sure she's looking in the right place.<\/scene_description>\n    <character>JODI<\/character>\n    <dialogue>A flickering light?<\/dialogue>\n    <character>KAYE<\/character>\n    <dialogue>Yeah. Here, let roe try.<\/dialogue>\n    <scene_description>She gently rubs Jodi's closed eyes.<\/scene_description>\n    <character>JODI<\/character>\n    <dialogue>I should be able to see it...<\/dialogue>\n    <character>KAYE<\/character>\n    <dialogue>You have to.<\/dialogue>\n    <scene_description>( , ill.<\/scene_description>\n    <character>100<\/character>\n    <dialogue>There's an extended, almost dramatic moment.<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>JODI<\/dialogue>\n    <parenthetical>(exciced)<\/parenthetical>\n    <dialogue>I see it!<\/dialogue>\n    <scene_description>They both feel elated and hug each other. i<\/scene_description>\n    <character>101<\/character>\n    <dialogue>Cop #1 and Don walk down the path toward the river.<\/dialogue>\n    <character>EXT: RIVER - DAWN<\/character>\n    <dialogue>DON<\/dialogue>\n    <scene_description>It was kind of dark, but I believe we walked down here... Don acts like he's trying to remember how they found the statue. Of course he's trying to think what exactly Pink might have told the officers. Soon they are by the creek's edge.<\/scene_description>\n    <character>COP #1<\/character>\n    <dialogue>So where exactly was the object when you boys made this miraculous<\/dialogue>\n    <scene_description>\/0&amp;\\ discovery? Don looks around a bit for where Ronald might have been. He points to a slight clearing at the end of the path.<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>He was laying somewhere in this area.<\/dialogue>\n    <scene_description>The cop seems a bit perplexed that cheir scories seem to match so far.<\/scene_description>\n    <character>COP #1<\/character>\n    <dialogue>Okay, quick: when you found him was he face up or down?<\/dialogue>\n    <scene_description>Don answers as if he clearly remembers.<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>Face up. Positive.<\/dialogue>\n    <scene_description>The officer looks at him, definitely frustrated and slightly disgusted.<\/scene_description>\n    <character>COP #1<\/character>\n    <dialogue>Let's go.<\/dialogue>\n    <scene_description>At the police car, he opens the door for Don. He and Pink both \/flpfitf sit there not fully aware of their fate. 102 EXT: DON'S HOUSE - DAWN They pull up in front of Don's house and Cop #1 angrily turns -a Don.<\/scene_description>\n    <character>COP #1<\/character>\n    <dialogue>You are one lucky little prick.<\/dialogue>\n    <parenthetical>(to Pink)<\/parenthetical>\n    <dialogue>You too. Get lost.<\/dialogue>\n    <character>COP #2<\/character>\n    <parenthetical>(to both of them)<\/parenthetical>\n    <dialogue>Now we don't want to hear about you two getting in any more trouble.<\/dialogue>\n    <character>DON<\/character>\n    <parenthetical>(sarcastic)<\/parenthetical>\n    <dialogue>Oh, no sir.<\/dialogue>\n    <scene_description>The police drive off. Once they're at a safe distance, Don and Pink kind of look at each other in amazement.<\/scene_description>\n    <character>PINK<\/character>\n    <dialogue>Face up?<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>Face up! Yes!<\/dialogue>\n    <scene_description>They give each other \"ten\" in this clear victory over che system. As they stand out in the early morning street, Pickford's car drives by and stops.<\/scene_description>\n    <character>PICKFORD<\/character>\n    <dialogue>Happnin' boys?<\/dialogue>\n    <scene_description>Pink and Don walk over to the car.<\/scene_description>\n    <character>PINK<\/character>\n    <dialogue>Hey man, you guys goin' to get the tickets?<\/dialogue>\n    <character>PICKFORD<\/character>\n    <dialogue>Want to go? We're on our way right now. I'm catching my third wind...<\/dialogue>\n    <scene_description>Don looks in the car and sees Slater asleep in the back.<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>That Slater?<\/dialogue>\n    <character>PICKFORD<\/character>\n    <dialogue>Yeah, he's totally passed out but when he wakes up he'd be pissed if we didn't take him along.<\/dialogue>\n    <scene_description>102 CONTINUED:<\/scene_description>\n    <character>PINK<\/character>\n    <parenthetical>(to Don)<\/parenthetical>\n    <dialogue>Wanna go?<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>I'm out of it, man, but go ahead.<\/dialogue>\n    <character>PICKFORD<\/character>\n    <dialogue>Well bros, we gotta be gettin.' That line's getting longer every second.<\/dialogue>\n    <character>PINK<\/character>\n    <parenthetical>(to Pickford)<\/parenthetical>\n    <dialogue>Maybe I'll cruise down there with you guys.<\/dialogue>\n    <scene_description>He hops in the car.<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>Later... You guys be careful.<\/dialogue>\n    <character>PINK<\/character>\n    <dialogue>Later1<\/dialogue>\n    <scene_description>Before Pickford throws the car in gear and speeds away, he holds up Aerosmith's \"Toys in the Attic' tape and gives a thumbs up. 103 EXT: SABRINA'S HOUSE - NIGHT While the rest of the car waits on him, Tony walks Sabrina up the driveway. Avoiding walking all the way to the trailer out back, she scops near che fronc door to the house.<\/scene_description>\n    <character>SABRINA<\/character>\n    <dialogue>My mom might be waiting up, so you probably shouldn't be standing there when I open the door.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>You were supposed to be home at what time?<\/dialogue>\n    <character>SABRINA<\/character>\n    <dialogue>I think she said twelve or twelve- thirty. I'm probably grounded all summer.<\/dialogue>\n    <character>TONY<\/character>\n    <parenthetical>(jokingly)<\/parenthetical>\n    <dialogue>So, you want to go out... this fall sometime?<\/dialogue>\n    <scene_description>She smiles then seems a little nervous.<\/scene_description>\n    <character>103<\/character>\n    <dialogue>SABRINA<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Well, thanks for the ride, and breakfast and everything...<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Yeah, after you've been drinking beer all night it's kind of good to eat a bunch of pancakes and syrup.<\/dialogue>\n    <scene_description>They both stand there a little awkwardly, knowing it is time for the good night kiss. Tony has a sudden thought and looks around a bit.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>I smell my coin collection.<\/dialogue>\n    <scene_description>He quickly realizes this out-of-the-blue statement could not possibly make any sense and attempts to clarify.<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>The oil-based cleaner I used co use on my coin collection when I was nine years old...<\/dialogue>\n    <parenthetical>(gives up)<\/parenthetical>\n    <dialogue>j0^\\*\\ Anyway...<\/dialogue>\n    <scene_description>He leans over and kisses her. As he backs away a bit she pulls him toward her and they have a major session. They finally part; he's in a bit of a daze while she smiles a bit.<\/scene_description>\n    <character>SABRINA<\/character>\n    <dialogue>Bye.<\/dialogue>\n    <character>TONY<\/character>\n    <parenthetical>(gestures to house)<\/parenthetical>\n    <dialogue>Good luck... you know, with the parental units and all.<\/dialogue>\n    <scene_description>He gets in the car and drives off.<\/scene_description>\n    <character>104<\/character>\n    <dialogue>Inside the car, they ride him a little.<\/dialogue>\n    <character>INT:<\/character>\n    <dialogue>CYNTHIA<\/dialogue>\n    <scene_description>Parental units? Bruised and swollen, Mike is leaning against the window but has not completely lost his sense of humor (although he can barely open his eyes).<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>(sarcastic)<\/parenthetical>\n    <dialogue>You pull that tongue?<\/dialogue>\n    <scene_description>CONTINUED: lQ4<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>So all in all, did this beat playing cards tonight?<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Hmmm. Though I didn't win the money I would have at the poker table, it's okay because you guys paid for most of the breakfasc.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Just one question - how does she rate wich Lincoln?<\/dialogue>\n    <scene_description>They drive off. INT: MITCH'S HOUSE - DAWN 105 Mitch walks into his house, chinking of his evening and smiling. MITCH'S MOTHER is standing there and ha momentarily gets an \"obedient son\\* expression on his face. As if she's been preparing for hours, she's not mad but rather reasonable when she confrones him.<\/scene_description>\n    <character>MITCH'S MOTHER<\/character>\n    <dialogue>Okay, ehis is your one. Your sister told me everything so I've decided eo make ehis deal with you. I'm going to try to be open-minded, but next time you come in at sunrise, we're going to have some trouble.<\/dialogue>\n    <scene_description>Mitch kind of shrugs his shoulders and raises his hands as if co say \"okay, good.\\* He concinuea on eo his room, slips off his shoes and walks over eo his bed. Noe quice finished, his moeher pokes her head in his room.<\/scene_description>\n    <character>MITCH'S MOTHER<\/character>\n    <parenthetical>(concinuing)<\/parenthetical>\n    <dialogue>So what, are you drunk? And who's chat girl in che Camaro chat gave you a ride?<\/dialogue>\n    <scene_description>Miech just lays down on ehe bed, grins slightly, and slowly closes his eyes.<\/scene_description>\n    <character>DISSOLVE TO:<\/character>\n    <dialogue>jdSSB^N 1 1 6 .<\/dialogue>\n    <character>^ H EXT: HIGHWAY - DAWN<\/character>\n    <dialogue>\u2022\\* Pickford, Michelle, Pink \u2122 H \" 106<\/dialogue>\n    <scene_description>speeding down the early m S n i n \/i ghh w^a 1y &lt;^ \\* ^ 0 0 ^ Placer are Slater and Michelle finish r o u - Pickford drives Li, They fire ie up while Pink tu^9 \\* 2 0int 0 1 in &lt;=h e back o n che seat U \u00b0 then scares cue ae ^ ^ p e y ^ ^ S \/ ^ \"\"eo and<\/scene_description>\n    <character>THE END<\/character>\n  <\/scene>\n<\/script>","summary":"The film opens on May 28, 1976, the last day of school at Lee High School in Austin, Texas. The next year's group of seniors prepare for the annual hazing of incoming freshmen. Randall \"Pink\" Floyd, the school's star football player, is asked to sign a pledge promising not to take drugs during the summer or do anything that would \"jeopardize the goal of a championship season\". When classes end, the incoming freshman boys are hunted down by the seniors and paddled. The incoming freshman girls are also hazed; they are rounded up in the school parking lot by senior girls (led by Darla), covered in mustard, ketchup, flour and raw eggs and forced to propose to senior boys. As day fades to night, freshman Mitch Kramer escapes the initial hazing with his best friend Carl Burnett, but is later cornered after a baseball game and violently paddled. Fred O'Bannion, a senior participating in the hazing tradition for a second year after failing to graduate, delights in punishing Mitch. Pink gives the injured Mitch a ride home and offers to take him cruising with friends that night. Plans for the evening are ruined when Kevin Pickford's parents discover his intention to host a keg party. Elsewhere, the intellectual trio of Cynthia Dunn, Tony Olson, and Mike Newhouse decide to participate in the evening's festivities. Pink and his friend David Wooderson, a man in his early 20s who still socializes with high school students, pick up Mitch and head for the Emporium, a pool hall frequented by teenagers. As the night progresses, students loiter around the Emporium, listen to rock music, cruise the neighborhood and frequent a local drive-through restaurant. Mitch is introduced to sophomore Julie Simms, with whom he shares a mutual attraction. While cruising again with Pink, Pickford and Don Dawson, Mitch drinks beer and smokes marijuana for the first time. After a game of mailbox baseball, a neighborhood resident brandishing a gun threatens to call the police. They barely escape after the resident fires at their car. After returning to the Emporium, Mitch runs into his middle school friends and hatches a plan with them to exact revenge on O'Bannion. The freshmen dump paint on O'Bannion from a roof, causing him to leave in a fit of rage. After the Emporium closes, an impromptu keg party is planned in a field under a moonlight tower. Cynthia, Tony, and Mike arrive at their first keg party, where Mike is threatened by tough guy Clint Bruno. Tony runs into freshman Sabrina Davis, whom he met earlier during the hazing and begins spending time with her. Mike, suffering from the humiliation of his confrontation with Clint, decides to make a stand by punching him; in return, he gets tackled by Clint and receives a beating from him. The fight is broken up by Pink and Wooderson. Football player Benny O'Donnell confronts Pink about his refusal to sign the pledge. Pink, the only player not to have signed, believes it violates his individuality and beliefs. Mitch leaves the keg party with Julie. They drive to a nearby hill overlooking town to make out. Tony gives Sabrina a ride home and they kiss goodnight. As night turns to dawn, Pink, Wooderson, Don, Ron Slater, and several other friends decide to smoke marijuana on the 50-yard line of the football field, where Wooderson advises Pink to \"keep livin'\" without concern for what is expected of him. The police arrive and, upon recognizing Pink and Dawson, call Coach Conrad, their football coach. Conrad lectures Pink about hanging out with \"losers\" and insists that he sign the pledge. Pink says that he might play football, but he is not going to sign it and leaves with Wooderson and Slater to travel to Houston to obtain tickets to an Aerosmith concert. Mitch arrives home after sunrise to find his mother has waited up for him. She decides against punishment, but warns him about coming home late again. Mitch goes to his bedroom, puts on headphones, and listens to \"Slow Ride\" by Foghat, as Pink, Wooderson, Slater, and Simone Kerr travel down a highway to purchase their tickets."}
{"movie_name":"The Four Feathers_2002","imdb_id":"tt0240510","script":"<script>\n  <scene>\n    <scene_description>Four Feathers Screenplay by Michael Schiffer revised by Hossein Amini based on the book by A.E. Mason EXT. TRAINING GROUND\/ WESTMINSTER barracks\/ LONDON - Day. Through a veil of dust we see two lines of uniformed cavalry, stretched out across the parade ground. There's a tense silence except for the occasional flourish of hooves. A horseman steps out of each line. LIEUTENANTS HARRY FEVERSHAM and JOHN DURRANCE face each other across the wide expanse. Already we feel the keen sense of competition between them. DURRANCE raises his sabre first. His horse sets off at a slow trot. His troops follow in perfect time. HARRY waits a moment, then raises his own sword. A sea of sabres rises up in response. The two lines approach each other at a steady canter. A smile of anticipation lights up DURRANCE's face. He's a born soldier, enjoying himself. HARRY looks more nervous. He's not as easy as Durrance in the saddle. It's a skill he's acquired over the years rather than been born to. DURRANCE seems to sense Harry's doubt. With a loud whoop he kicks his horse into a gallop and points his sabre forwards. His troops echo his war cry and descend on the opposing line at speed. HARRY checks his troops and responds. The two lines bear down on each other, hooves thundering, sabres pointed. DURRANCE charges recklessly. His eyes are fixed on Harry all the time. HARRY holds his gaze, but doesn't look as sure of himself. He's thinking too much, trying too hard. His horse senses it and slows a fraction. The troops behind him lose their cohesion as they draw level. DURRANCE sees the momentary lapse and waves his men on at full tilt. They pass through HARRY's troops in a perfect line, panicking their mounts, cheering triumphantly. HARRY's formation loses its shape. There's no doubt who's won the drill. DURRANCE wheels his horse around and grins at HARRY through the clouds of dust. CREDITS ROLL. INT. Changing room\/ WESTMINSTER BARRACKS - day. Moving through clouds of steam we see the CAVALRY OFFICERS washing themselves in wooden bathtubs. There's a din of voices, soldiers re- living the day's drill, those on Durrance's side still crowing over their victory. DURRANCE walks with his arm around HARRY. With them is another friend, LIEUTENANT TRENCH, a squat bull of a man. DURRANCE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..How many does that make it Harry?<\/stage_direction>\n    <scene_description>harry It's not something I count. DURRANCE How many Trench? harry Trench can't count. TRENCH grabs HARRY in a neck hold. He lets go as he spots another friend of theirs, LIEUTENANT CASTELTON, sitting in a bathtub, staring out. TRENCH sneaks up on CASTELTON, and ducks his head under the water. CASTELTON comes up, spluttering. He reaches for a bar of soap and hurls it after TRENCH. CASTELTON<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..Idiot.<\/stage_direction>\n    <scene_description>INT. WILLOUGHBY's rooms\/ barracks - day. A fifth friend, LIEUTENANT WILLOUGHBY, stares at himself in the mirror. His hair like his uniform is perfect. There's a loud knocking on his door. trench o\/s<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..Miss Willoughby, Miss Willoughby we're waiting.<\/stage_direction>\n    <scene_description>WILLOUGHBY finally stops preening himself as he hears his friends picking the lock. He gets up reluctantly, taking one last look at his reflection in the mirror.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BARRACK GATES\/ LONDON STREET - DAY.<\/stage_direction>\n    <scene_description>The OFFICERS pour out of the barrack gates in full regimental unifom, a sea of gleaming red. We pick out HARRY, DURRANCE, TRENCH, WILLOUGHBY, and CASTELTON, laughing amongst themselves, taking turns to tease each other, inseperable. INT. carriage\/ HAnsom cab\/ london streets - day. The friends share a flask of whisky as they sit in the back of the carriage. WILLOUGHBY passes it on without taking a sip. harry Who are you planning to impress tonight? trench (Grinning) Anna What's-her-name. DURRANCE Anna What's-her-name's father more like. Don't think we're going to take you any more seriously when you're promoted. wILLOUGHBY (Quietly confident) We'll see about that. A chorus of mocking 'ooohs' from the others. TRENCH notices CASTLETON staring out of the window. trench What's so interesting about a London street? CASTELTON (Reflecting) Ask me that when we're in Bombay. TRENCH rolls his eyes and turns to DURRANCE. treNCH Is Ethne going to be there? We catch a hint of shyness in DURRANCE at the mention of Ethne's name. DURRANCE I think so. HARRY watches DURRANCE, a little uncomfortably, as if he's holding something back. EXT. PARTY\/ india office building\/ london - night. CARRIAGES line the entrance to the India Office. INDIAN VALETS in turbans and robes escort the GUESTS to the entrance, holding umbrellas over them. The five friends crowd under a single umbrella. WILLOUGHBY makes sure he's in the middle, he doesn't want to get his uniform wet. TRENCH nudges him into the rain. INT. The Durbar court\/ party\/ INDIA office - night. Palm trees and fountains dominate the room. The ladies are dressed in ballgowns, the Officers in regimental colours. The full pomp and ceremony of Empire is on display. HARRY, DURRANCE, WILLOUGHBY, CASTELTON and TRENCH have gathered by the bar, a little overawed by the occasion. trench (Admiring the passing women) I'm going to ask someone to dance. willoughby (Admiring the passing Generals) You said that ten minutes ago. trench I'm waiting for Castelton. CASTELTON stares at the ARISTOCRATIC WOMEN, paralysed with shyness. trench (Pouring him another drink) ...Just look dreamy. I'll do the talking. DURRANCE smiles as he listens to them. He turns to HARRY. DURRANCE Can you see Ethne? harry Not yet. HARRY seems uneasy again. We sense there's something on his mind, something he wants to tell Durrance. DURRANCE doesn't pick up on it. He finishes his whisky and looks back into the throng. WILLOUGHBY Harry, your father... HARRY looks away from DURRANCE. He sees his father, GENERAL FEVERSHAM, shaking hands with some COLLEAGUES across the room. INT. seating area\/ durbar court\/ india office - night. GENERAL FEVERSHAM is deep in conversation with his friend, COLONEL SUTCH, a fellow veteran of the Crimean war. HARRY moves discreetly into their field of vision. GENERAL FEVERSHAM (His face lighting up) Harry... Immediately we feel the bond between father and son. harry (Greeting Colonel Sutch) How are you Colonel? COLONEL SUTCH Fine Harry. Relieved to see a few familiar faces. When are you boys shipping out? harry Next month. COLONEL SUTCH Your father and I served in Bombay. There are worse places they could have sent you. harry Yes Sir. HARRY smiles politely. SUTCH is sensitive enough to see that his mind is on other things. He lets father and son talk. GENERAL FEVERSHAM Is Ethne here? HARRY Not yet. They both smile, as if they share a secret. GENERAL FEVERSHAM reaches out and straightens his son's collar, trying to make him look as presentable as possible. INT. dance area\/ the durbar court\/ india office - night. TRENCH and CASTELTON are dancing with two GIRLS: TRENCH waltzing boisterously, CASTELTON taking it all very seriously. INT. another area\/ durbar court\/ india office - night. WILLOUGHBY has found a place amongst a group of SENIOR OFFICERS. He stands next to COLONEL HAMILTON, the Commander of their regiment. COLONEL HAMILTON<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..If I had a choice we'd be on our way to the Sudan. Deal with this Dervish uprising once and for all.<\/stage_direction>\n    <scene_description>2nd colonel You prefer a tour in the Sudan to India Willoughby? wILLOUGHBY I don't know about that Sir, but I agree with Colonel Hamilton, we're going to have to fight the Mahdi sooner or later. WILLOUGHBY trails off, leaving COLONEL HAMILTON to continue. INT. bar area\/ the durbar court\/ india office - night. DURRANCE downs another whisky. He looks less sure of himself in this social whirl than he did in the barracks. A few WOMEN cast admiring glances in his direction but he doesn't notice them. His eyes keep searching the crowd for Ethne. INT. seating area\/ durbar court\/ india office - night. HARRY gazes through the crowd at DURRANCE. DURRANCE catches him staring and raises a glass. The two friends smile at each other. INT. STAIRWAY\/ india office - night. A group of late arrivals hurry up the stairs towards the party. ETHNE EUSTACE, is several steps ahead of her father DERMOD, and her friend, CAROLINE ADAIR, a young widow in her 30's. INT. ENTRANCE\/ durbar court\/ india office - night. ETHNE's eyes search the crowd as soon as she walks through. She stops as she sees DURRANCE at the bar. Her eyes stay on him a moment, but it's only to see if Harry's nearby. When she realises he isn't she looks away. Finally she sees him, standing with GENERAL FEVERSHAM and COLONEL SUTCH. She takes her father DERMOD's hand, and leads him in their direction. INT. bar area\/ the durbar court\/ india office - night. CASTELTON and TRENCH are back at the bar, arguing. CASTELTON Your sole purpose in life is to annoy me. trench She couldn't see me. CASTELTON I could see you. I can see you everywhere I look. Pulling those stupid faces at me. willoughby Now Ladies. DURRANCE joins in the laughter but he seems distracted. He takes another gulp of whisky and looks around the crowd. His eyes stop as he sees ETHNE. A smile lights up his face, but it's short lived. Across the courtyard HARRY appears, greeting ETHNE. Their hands touch briefly. The noise fades in DURRANCE's head. He stares in silence. HARRY shakes DERMOD's hand warmly. DERMOD slaps him on the back, as if he's congratulating him. DURRANCE's eyes take in the smallest details now. Even though he can't hear a word, the scene before him reveals itself more and more clearly. COLONEL SUTCH raises his glass. GENERAL FEVERSHAM, DERMOD, and CAROLINE ADAIR respond. HARRY and ETHNE move closer, a little coyly, as if the toast is for them. DURRANCE looks pale. We feel the disappointment in his eyes as he realises what's happened. HARRY's arm moves around Ethne's waist, a libery that can only mean they're engaged. INT. fountain area\/ durbar court\/ india office - night. HARRY and ETHNE glance at each other tenderly. ETHNE Did you tell them? harry I was waiting for you. ETHNE Not even Jack? harry Not even Jack. The two of them look towards DURRANCE for the first time. INT. bar area\/ the durbar court\/ india office - night. DURRANCE looks up as ETHNE and HARRY make their way through the crowd. He gathers himself, and walks towards them, concealing his feelings: DURRANCE Congratulations. harry How did you know? DURRANCE Nothing escapes me Harry... (Kissing ETHNE on both cheeks) I'm delighted for you both. ETHNE Harry wanted to tell you before anyone else. It's my fault. I asked him to wait. DURRANCE I'll still blame him. hARRY (Relieved that his friend's taking it so well) You were the one who introduced us. DURRANCE Did I? I'll be more careful next time. DURRANCE takes HARRY in his arms, slapping him on the back. WILLOUGHBY, TRENCH, and CASTLETON appear behind them, realising something's up. DURRANCE turns to them, beaming: DURRANCE Three guesses for Trench, one for everyone else. The friends let out a cheer as they realise what's happened. They crowd HARRY and ETHNE, congratulating them. INT. DANCE area\/ the durbar court\/ india office - night. TRENCH sweeps HARRY and ETHNE towards the dancefloor. trench (As if they have to dance in public as a punishment)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..Over there. Where we can see you. And remember you're not married yet.<\/stage_direction>\n    <scene_description>HARRY takes ETHNE in his arms. harry (Smiling ironically) Alone at last. TRENCH claps loudly as they dance. CASTLETON looks embarrassed by his friend. Behind them WILLOUGHBY congratulates DERMOD and GENERAL FEVERSHAM. INT. bar area\/ the durbar court\/ india office - night. DURRANCE watches the celebrations from the bar. He's smiling to himself, but it's the glazed smile of someone who's forcing himself to be happy. A quiet voice interrupts him: CAROLINE o\/s Wonderful news isn't it? DURRANCE turns around to see CAROLINE, Ethne's friend, gazing at him. DURRANCE (Smiling automatically) Yes it is. CAROLINE Had Harry told you? DURRANCE I knew it was just a matter of time. (Changing the conversation) What can I get you to drink? CAROLINE Nothing thank you. DURRANCE (Nervous under her gaze) I'd ask you to dance, only I'm not sure how steady I am on my feet. CAROLINE (With the quiet confidence of an older woman) I'd love to dance. DURRANCE grins sheepishly, at a loss, as he is with most women. INT. DANCE area\/ the durbar court\/ india office - night. The waltz is in full swing. All the friends are out on the dance floor. TRENCH spins his GIRL around energetically, exchanging glances with other women as they pass. CASTELTON stares into his partner's eyes, already in love. WILLOUGHBY dances with an elderly WOMAN, probably some General's wife. DURRANCE waltzes with CAROLINE, avoiding her meaningful glances, looking over her shoulder for Harry and Ethne. EXT. PARTY\/ india office building\/ london - night. The rain pours in torrents. HARRY and ETHNE stand in the shadows of the building. Harry tries to kiss her and hold an umbrella over her at the same time. ETHNE What if I hold the umbrella? harry I'd have to kneel. ETHNE Nothing wrong with that. HARRY hands her the umbrella, bending under it. ETHNE (With irony as he kisses her more and more passionately) You're very distant tonight. harrY I'm locked in a barracks room all day. ETHNE What are you going to do in India? harrY Take you with me. ETHNE A Hindu wedding? harry Why not. ETHNE Not on your life. She walks away with the umbrella, leaving him exposed in the rain. ETHNE I want the full works. The Church near my home. A long speech from you. An entire regiment crossing swords. harry (Drenched) Done. ETHNE I don't believe you. HARRY makes a rush and grabs her, eneveloping her in his arms. ETHNE You're soaking wet. HARRY Whose fault is that. ETHNE squirms but loses herself in his embrace. As they start to kiss they're suddenly interrupted by TRENCH's braying voice in the distance. trench o\/s (A regimental song) Goodnight, Ladies...goodnight, Ladies...goodnight, Ladies, we hate to see you go... HARRY shakes his head in despair. TRENCH, castelton, willoughby and durrance together o\/s Merrily we roll along, roll along, roll along...Merrily we roll along, until the morning comes... ETHNE smiles. ETHNE Duty calls. HARRY feels the quiet regret in her voice. harry We've two days leave before we sail. Once I tell them we're engaged I'm sure they'll give me more. ETHNE As long as you promise to make me miserable. Argue with me all the time so I don't miss you a bit. Her lightness is forced. harrY You'll be fine. ETHNE You don't have to reassure me. I'm a soldier's daughter. Everything under control. harry I've never kissed a stiff upper lip before. TRENCH's VOICE bellows out again as they kiss: trench o\/s Goodnight, Ethne's...goodnight, Harry's...Goodnight, goodnight, goodnight... HARRRY and ETHNE ignore him, the rain falling all around them. INT. REGIMENTAL HALL\/ WESTMINSTER BARRACKS - night. The regimental song turns into a deafening roar. All around the mess hall, OFFICERS are laughing and banging on tables. HARRY and DURRANCE stand on wobbly stools, downing pints of beer. As soon as their glasses are empty they set off down the hall at a sprint. It's an obstacle course. The two friends duck under two long tables, and crawl on their bellies, towards two more glasses. TRENCH and CASTELTON are busy laying bets on who'll win. DURRANCE and HARRY step over a bridge of chairs. They have to find a pint of beer hidden under one of them. DURRANCE finds his first. TRENCH looks at CASTELTON smugly, convinced he's going to win. HARRY and DURRANCE step-walk over two long benches. DURRANCE falls off. HARRY overtakes him. He throws his head back and finishes off another pint. CASTELTON stands up, cheering. HARRY and DURRANCE are level as they reach the last glass. As they start to drink HARRY stops, spluttering. harry This isn't beer, it's whisky. trench Down in one! HARRY drinks again, but he's fallen behind. The pint of whisky disappears down DURRANCE's throat. Grinning, he makes his way towards the finish line. HARRY pours the whisky over his head, conceding defeat. EXT. TRAINING GROUND\/ WESTMINSTER barracks\/ LONDON - Day. An obstacle course of a different kind. The CAVALRY are training, galloping at full tilt, HARRY and DURRANCE bringing up the front. At the sound of a bugle, they dismount their horses, and sprint towards a row of bayonets. They snatch up the weapons and charge a row of dummies. DRILL INSTRUCTOR<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..In. Out. On guard...<\/stage_direction>\n    <scene_description>The blades tear into the dummies, exposing soft leaves and hard wood. DRILL INSTRUCTOR<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..Hold the line...and charge...<\/stage_direction>\n    <scene_description>The OFFICERS charge towards a second set of targets. Teeth bared, they drive their bayonets into the stuffed dummies. CASTELTON's blade sticks in a chunk of wood. DRILL INSTRUCTOR<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..In and out, Castelton, in and out...<\/stage_direction>\n    <scene_description>CASTELTON pulls in frustation. He can't get the bayonet loose. DRILL INSTRUCTOR<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..They're coming at you boy. Rip it out or they'll stick you first.<\/stage_direction>\n    <scene_description>CASTELTON puts his foot on the dummy's head and tries to wrench the blade free. Even though it's only a training exercise, his panic is real. TRENCH slows down as he watches his friend struggling in vain. DRILL INSTRUCTOR<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..Move on Trench. Castelton's dead. Enemy spear through his throat.<\/stage_direction>\n    <scene_description>The OFFICERS continue, bayonets thrust forward, leaving the struggling CASTELTON behind. EXT. STABLES\/ training ground\/ westminster barracks - day. The men are washing up after exercises, dousing themselves with cold water. Everyone's teasing CASTELTON, except for TRENCH. For once he keeps quiet, knowing how hard his friend's taking it. A SEARGENT-MAJOR enters and salutes. SERGEANT-MAJOR Gentlemen... fifteen minutes, in the briefing room. As he leaves, the MEN look at each other curiously. INT. BRIEFING ROOM\/ westminster barracks - day. The Officers are assembled. HARRY, DURRANCE, TRENCH, WILLOUGHBY, and CASTELTON, take their places on the wooden benches. As he sits HARRY notices a map of Africa behind Colonel Hamilton. COLONEL HAMILTON<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..Gentlemen...<\/stage_direction>\n    <scene_description>(when the room settles down) The 1st Battalion Grenadier Guards have been ordered to forego their posting to India... (Off murmurs of surprise)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..We ship out in three days, to establish a forward garrison in the Sudan...<\/stage_direction>\n    <scene_description>There's a buzz of excitement. COLONEL HAMILTON can hardly contain his smile. He turns to GENERAL HOLMBY: COLONEL HAMILTON<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..General Holmby, Sir.<\/stage_direction>\n    <scene_description>GENERAL HOLMBY, a severe looking military man, stands and faces the OFFICERS. Their eyes are lit-up with anticipation, all except Harry, who stares ahead, slowly turning inward. GENERAL HOLMBY<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..I'd like to apologise for not giving you men more notice. I know many of you will find it hard to see your families now. Unfortunately we had no alternative...<\/stage_direction>\n    <scene_description>He turns to the map and points out the Sudanese desert. gENERAL HOLMBY<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..Three days ago, an army of Egyptian reserves led by General Hicks, was ambushed at Tashgil by the Mahdi's forces. Upoun attack the Egyptians fled, leaving General Hicks and the British Officers with him, to fight a heroic, but in the end hopeless rearguard action. All of them died, sword in hand...<\/stage_direction>\n    <scene_description>HARRY stares out silently, his whole world turned upside down. geNERAL HOLMBY<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..I hesitate to call this a mission of vengeance, but the honour of our country is at stake. This Government has finally seen fit to send its own troops to war...<\/stage_direction>\n    <scene_description>There's loud cheering from the men now, regimental pride and bravado covering any trace of nerves. EXT. COURTYARD\/ westinster barracks - sunset. The OFFICERS pour out into the courtyard, still exhilirated by the thought of seeing war. We hear TRENCH's voice rising above the others. trench<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..I wish I had more than one life to give for my country. Two would make me feel a lot safer.<\/stage_direction>\n    <scene_description>HARRY laughs with the others, hiding his mounting anxiety. INT. HARRY and DURRANCE's ROOM\/ BARRACKS - NIGHT. Laughter filters into Harry and Durrance's room. The two of them lie in their beds, watching the embers die out in the fireplace. DURRANCE (Gazing up at the ceiling where the noise is coming from)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..I listen to them laugh, and I can't help wondering which ones won't be coming back. The worse part is I think I even know who they are.<\/stage_direction>\n    <scene_description>haRRY Am I one? DURRANCE Of course not Harry. You're one of the lucky ones. Always have been. HARRY picks up the reference to Ethne but doesn't say anything. More laughter filters through. HARRY stares out in the darkness, tormented. DURRANCE What are you thinking? harry (Hesitating) I'm wondering what a Godforesaken desert in the middle of nowhere has to do with her Majesty the Queen. DURRANCE Ask Willoughby. He's on the Colonel's staff. harry I know what he'll say: 'It's not for us to question.' (A beat) Do you ever ask yourself why you're going? DURRANCE Not for the Queen. I hardly know her. (He smiles softly) Nor for the regiment. There isn't much of a military tradition in my family... (A beat) I suppose I'm going because you're going. You, and Trench, and Castelton, and Willoughby... (A big grin) Not much of a reason I know, but it reassures me. HARRY smiles, but Durrance's words only make him feel more ashamed of the fear he feels inside. harry Is there anything that frightens you, Jack? DURRANCE I'm frightened of not coming back in one piece. Much more than dying. I wouldn't know what to do with myself in a wheel chair. And I couldn't stand to be pitied. He puts the thought out of his head and grins. DURRANCE There's a Church near our house. Next to the pub. Every night at ten the drunks spill out, shouting at the top of their voices. That's where I want to be buried. Where I can hear them. harry Nothing's going to happen to you. DURRANCE It's out of our hands anyway. Might as well sleep easy... DURRANCE rolls on his side. HARRY looks back at the fireplace, as the last embers fade. EXT. REGIMENTAL COURTYARD - dawn. A cold blue light hangs over the barracks. The courtyard is empty, except for a few sentries on duty. Wagons pull in, loaded with supplies. INT. HARRY and DURRANCE's ROOM\/ BARRACKS - dawn. HARRY buttons his uniform. He looks as if he hasn't slept. He turns to DURRANCE. His friend is still asleep. HARRY hesitates. He wants to wake him up, and talk, but in the end he turns away, and leaves the room. EXT. regimental COURTYARD - dawn. Harry walks slowly toward the Regimental Office. He glances up at the Regimental flag, flying beside the Union Jack. INT. ADCs' ROOMS\/ THE REGIMENTAL OFFICE - dawn. WILLOUGHBY looks up from his desk as HARRY walks in. willoughby (Grinning)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..Harry. You're up early.<\/stage_direction>\n    <scene_description>HARRY smiles awkwardly but doesn't say anything. WILLOUGHBY senses something's wrong. willoughby (Concerned)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..What's the matter?<\/stage_direction>\n    <scene_description>HARRY looks at him for a moment, but then turns to Colonel Hamilton's other AIDE-DE-CAMP. HARRY I'd like to see the Colonel please. WILLOUGHBY stares in confusion. The AIDE-DE-CAMP disappears into the next door office. HARRY still can't bring himself to look at his friend. willoughby Harry, what's wrong?... He's interrupted as the AIDE-DE-CAMP walks back in. AIDE-DE-CAMP The Colonel will see you, sir. harry Thank you. HARRY walks into Hamilton's office. WILLOUGHBY stares after him, bewildered. INT. COLONEL HAMILTON's office - day. COLONEL HAMILTON glances at the letter HARRY has just given him. He stops reading after only a few words. COLONEL HAMILTON What the hell is this? HARRY My papers, sir. I wish to resign my commission. COLONEL HAMILTON doesn't appear to understand. He looks back at the piece of paper, as if he's misread something. COLONEL HAMILTON If it's leave you want, there's a different procedure. Normally I wouldn't consider it in the circumstances, but given you've got engaged... HARRY (Interrupting politely) I don't want any leave Sir. I wish to resign my commission. A long silence. COLONEL HAMILTON calmly puts the letter aside, and returns to his work, ignoring HARRY. harry Sir... COLONEL HAMILTON It's nerves. We all have them. HARRY Sir, I've made up my mind. COLONEL HAMILTON And I'm asking you to reconsider. HARRY I have considered, sir. And I've decided to leave the service. COLONEL HAMILTON Come back to me when you've discussed it with your father. HARRY It's not his decision, sir... HAMILTON explodes, all his repressed fury pouring out. COLONEL HAMILTON I do not accept these \"papers,\" Lieutenant -- and do not accept that one of my men -- the son of a man with whom I was honored to serve -- would walk out on his Regiment -- HARRY Sir -- COLONEL HAMILTON -- on the very eve we're shipping off to war! (holding out the papers) Take these back! HARRY I will not, sir. Dead silence. harry I wish to resign my commission. HAMILTON stares at HARRY for what seems an eternity. He's struggling to make sense of something beyond his comprehension. Slowly he gathers himself and lowers his eyes, looking down at Harry's papers: COLONEL HAMILTON Very well. Then as the coward and disgrace you are, you may take yourself out of my office... (Signing Harry's papers) Please leave the barracks at once. You're belongings will be sent on. Face drained of color, Harry turns and leaves. INT. ADCs' ROOMS\/ THE REGIMENTAL OFFICE - dawn. As the door opens, WILLOUGHBY stares at HARRY, speechless. HARRY lowers his eyes and walks on. INT. STAIRWAY\/ BARRACKS - DAwn. HARRY walks down the stairway, gripping the bannisters. Two SOLDIERS salute him on their way up, but he doesn't respond. EXT. regimental COURTYARD - dawn. The supply wagons are being unloaded in the courtyard. HARRY walks between more SOLDIERS, his eyes fixed on the barrack gates. The only sound he hears in his head is the gentle flapping of a flag. INT. TRENCH and CASTELTON's ROOM\/ BARRACKS - day. CASTELTON is packing his trunk, neat and fastidious, taking his time over every item. TRENCH waits for him impatiently. trench<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..Why can't you do this after breakfast? We're not leaving till tonight.<\/stage_direction>\n    <scene_description>CASTELTON ignores him, folding his shirts. TRENCH turns to DURRANCE, exasperated. trench He packs three bibles. Can you believe it? Three bibles... DURRANCE grins. He glances up as WILLOUGHBY enters. DURRANCE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..Field Marshall Willoughby...<\/stage_direction>\n    <scene_description>WILLOUGHBY doesn't smile. He looks ashen faced. DURRANCE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..What's the matter?<\/stage_direction>\n    <scene_description>CASTELTON and TRENCH look up. willoughby It's Harry... (He still can't believe it) He's resigned. trench Resigned what? willoughby (Snapping at Trench) His bloody commission. What do you think?! There's a long silence. No-one knows quite what to say. DURRANCE finally speaks. DURRANCE What did Hamilton do? Refuse him leave? willoughby Hamilton didn't do anything. Harry went to see him of his own accord. Right after they changed our deployment. CASTELTON looks at TRENCH, as the insinuation sinks in. trENCH<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..It's just a coincidence. He's having second thoughts about leaving Ethne.<\/stage_direction>\n    <scene_description>willoughby He was happy to leave her behind when we were going to India. No doubts then. DURRANCE (Jumping to Harry's defence) What's that supposed to mean? willoughby You tell me. He resigns his commission the very day we're sent to war. DURRANCE Harry's the best soldier in this regiment. wILLOUGHBY Obviously not when it counts. DURRANCE Why don't you say that to his face. CASTELTON (Intervening) We don't know the circumstances yet. (Reasoning with Willoughby) I think we should give Harry a chance to explain. willoughby (Bitterly) Harry's gone. He left this morning. Whilst you were all asleep. WILLOUGHBY turns away in frustration. He's as upset as the others, but he shows it in anger. TRENCH and CASTELTON look stunned. DURRANCE stares ahead in silence. trench Did he say anything to you, Jack? DURRANCE (Quietly) No. Nothing. DURRANCE remembers his conversation with Harry the previous night. WILLOUGHBY An action like this dishonors the entire Regiment. DURRANCE (Suddenly venting his anger on Willoughby) Will you forget about your bloody Regiment for once! WILLOUGHBY Alright then, it dishonours us! He stares at DURRANCE with conviction. willoughby He was my friend too, Jack... (A beat)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..but a man who isn't prepared to give his life for his friends, isn't a man at all...<\/stage_direction>\n    <scene_description>From the look on their faces, it's clear TRENCH and CASTELTON are beginning to agree with him. wILLOUGHBY This has to be answered. DURRANCE shakes his head, refusing to turn on Harry. He storms out of the room. INT. TRAIN to BINTREE - night. The whistle of a train. HARRY sits in a crowded carriage, looking stiff in his civilian clothes. He glances out of the window, but sees only his own reflection in the glass. EXT. ethne's carriage\/ BINTREE - day. ETHNE drives the carriage through the country lanes, overjoyed to see HARRY. ETHNE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..How many days leave have they given you?<\/stage_direction>\n    <scene_description>harry How many days would you like? ETHNE They shouldn't have let you out of their sight. I'm going to kidnap you. harry I thought as much. This doesn't look like the way to your house. ETHNE laughs happily. HARRY can't quite bring himself to tell her yet. INT. village church near ethne's home - day. Dappled light shines in the small stone Church. ETHNE takes HARRY under the arm, and walks him up the aisle. harry Isn't this supposed to be bad luck? ETHNE Seeing me in the wedding dress is bad luck. This is practice. ETHNE looks towards the church benches, as if she's greeting the guests. harrY So I'm playing your father? ETHNE You have to be a little less steady on your feet. He's had a few to drink. harry (Taking slow deliberate steps) How is he? ETHNE Fine. He'll be thrilled to see you. ETHNE lets go of his hand as they reach the altar. She walks around him, and takes his other hand, as if he's the groom now. ETHNE \"Do you Harry Feversham -- harrY (Skipping the rest) -- You may kiss the bride.\" He tries to kiss her. ETHNE (Laughing) You can't jump ahead like that. You have to let me enjoy my wedding. It's your fault the real one isn't for another year. HARRY hesitates, finally seeing his opportunity. harry There's nothing to stop us getting married whenever we like, Ethne. I've handed in my papers. A long silence. ETHNE stares at him, not sure she's understood. ETHNE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..When?<\/stage_direction>\n    <scene_description>harry Yesterday. I'd been thinking about it for a while. ETHNE Why didn't you tell me? Was it because of me? HARRY Because of you. Because of me. I couldn't see the point of continuing. The moment I fell in love with you my career in the army was over. ETHNE I would have supported your career. My mother did the same for my father. It's what's always been expected of me. harry I didn't think it was what you wanted. ETHNE still looks conflicted. ETHNE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..It is my fault Harry. I gave you the wrong impression. I'm really much more stoical than that. It wouldn't have been easy, but I'd have coped. I love you far too much to let a year make a difference.<\/stage_direction>\n    <scene_description>hARRY It wasn't what I wanted for us. (A hint of guilt as he hides the whole truth from her) I love this place. I love you in this place. We'll help your father with the farm. We'll get it going again. We'll begin our lives together. ETHNE is silent, moved by his words. harrY All I want is for you to be happy. ETHNE (The smile slowly returns to her face) I am happy Harry. She rests her head in his arms again. ETHNE As long as you're sure? hARRY Of course I'm sure. He holds her close, kissing her hair, hiding his eyes from her. EXT. courtyard\/ ETHNE'S HOME\/ BINTREE - DAY DERMOD's dogs leap on HARRY as he jumps off the carriage. HARRY Whoa! You ought to train these beasts Dermod. DERMOD I have. Trained them to scare away prospective son in laws. HARRY and DERMOD hug each other, already like father and son.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTRANCE\/ ETHNE'S COUNTRY HOME - DAY<\/stage_direction>\n    <scene_description>A MAID hands ETHNE some letters and a parcel as she enters the house. HARRY follows her up the stairs. ETHNE Which room do you want? harry The one with the connecting doors. ETHNE You must have imagined that one. INT. the guest room\/ ethne's house. day. Sunlight fills the room as HARRY throws open the blinds. He takes a long look at the fields outside. ETHNE (Glancing through her letters) I see you've moved in already. harry Why? ETHNE This one's addressed to you. She holds out the small parcel. HARRY walks over curiously. ETHNE (Teasing him) A secret admirer? harry (Teasing her back) I wonder which one it is. ETHNE I'll open it, thank you. She undoes the wrapping. There's a small white box underneath. She opens the lid. There's nothing inside, except three white feathers, pinned to three visiting cards. ETHNE's about to make a joke when she suddenly sees how pale HARRY looks. ETHNE What is it? (Looking at the feathers again) What does this mean? HARRY (Slowly) That there are some things that can't be hidden. ETHNE (Beginning to look worried) I don't understand. harry These are feathers of cowardice. ETHNE laughs, nervously. ETHNE What a horrible joke. harry It isn't a joke Ethne. They were sent in earnest. ETHNE By whom? Who sent them? (Her anger rising) How dare they!... harry (Reading the cards) Willoughby, Trench, and Castelton. ETHNE You see it is a joke. They're your friends. She looks to HARRY for confirmation. HARRY (All he can say) You're the most important thing to me. ETHNE (Panicked by his tone) Why are you saying that to me now? What is it Harry? harry We were told on Tuesday night that the regiment would be shipping out to the Sudan instead of India. That we'd be seeing war within a week. I handed in my resignation the following morning. There's a long silence as ETHNE takes it in. Like Durrance she won't accept it. ETHNE I don't believe that's why you resigned. You wouldn't have come to me like this. You wouldn't have been able to look me in the eye. HARRY stares at her guiltily, tormented. ETHNE (The tears shining in her eyes)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..I don't believe you. Three white feathers and our world is at an end. It can't be that simple...<\/stage_direction>\n    <scene_description>And still he doesn't answer. ETHNE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..Please Harry... You have to answer these charges...<\/stage_direction>\n    <scene_description>harry (Finally) I can't. All my life I've been following a path that's filled me with dread. I kept going because of the people behind me, and the people beside me, but all I wanted to do was turn and run. I didn't even have the courage to do that until I met you... ETHNE Don't use me as an excuse. harry Ethne -- ETHNE (Pulling away from him) -- This afternoon you told me you left the army because of me. Or at least you made me believe it. Tell me the truth? Would you have resigned if we weren't engaged? There's a long silence. These are the hardest words Harry's ever had to speak. harry Yes. I would have resigned. I wouldn't have gone to war for anything. ETHNE stares at him a moment, then removes her engagement ring from her finger, and holds it out to him. ETHNE I've no right to call you a coward, but you are a liar. Please take this back. HARRY takes the ring without protest. ETHNE turns and walks away. As she leaves she sets the feathers on the table, and closes the door behind her. HARRY listens to her footsteps fade. He walks towards the table. As he looks down he sees four feathers. Ethne has snapped the fourth from her fan. Very carefully, as if they were the most precious objects in the world, HARRY gathers them, his eyes shining with tears.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LONDON DOCKS - NIGHT.<\/stage_direction>\n    <scene_description>A burst of noise and colour. Rows of SOLDIERS march by, in perfect squares, proudly wearing their regimental colours. The wharf is lined with PEOPLE, cheering and waving flags, sending them off to inevitable victory. INT. stable deck\/ troop ship\/ LONDON DOCKS - NIGHT. We can still hear the roar of the crowd outside. CASTELTON is trying to coax his horse into its box. TRENCH, and WILLOUGHBY, and DURRANCE wait for him. trench ...Come on Castelton. Give her a good kick. I want to wave to the ladies... EXT. wharf\/ LONDON DOCKS - NIGHT. The CROWD below cheers as the soldiers crowd the rails. EXT. rails\/ troop ship\/ LONDON DOCKS - NIGHT. TRENCH waves at the crowd as if he were the Queen. CASTELTON is lost in the scale of it all. DURRANCE stares at the tiny figures, wondering if Harry's amongst them. willoughby (Interrupting his thoughts) ...Jack, I wanted to apologise for the other day. My argument wasn't with you. DURRANCE It's forgotten. DURRANCE keeps staring into the crowd below. EXT. wharf\/ LONDON DOCKS - NIGHT. HARRY stares up at the ship, a ghost amongst the cheering faces. The SOLDIERS at the rails look like specks, but Harry knows his friends are somewhere up there. EXT. officer's stand\/ wharf\/ LONDON DOCKS - NIGHT. A line of RETIRED OFFICERS, salute as the vessel finally sets off. Amongst them is GENERAL FEVERSHAM, Harry's father. He stands at attention.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LONDON DOCKS - NIGHT.<\/stage_direction>\n    <scene_description>The celebrations over, the CROWD moves away from the docks. HARRY searches through the throng for his father.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HANSOM CABS\/ LONDON DOCKS - NIGHT.<\/stage_direction>\n    <scene_description>GENERAL FEVERSHAM and COLONEL SUTCH wait in line for a hansom cab. The two old soldiers look frail in the falling rain. As they're about to climb onto a carriage, a voice calls out: HARRY (o.s.) Father...? The General turns around. His eyes fill with emotion as his son approaches. HARRY<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..I need to talk to you, Sir.<\/stage_direction>\n    <scene_description>There's a long silence as GENERAL FEVERSHAM gazes at his son. HARRY looks as if he hasn't slept in days. His eyes are swollen and bloodshot, full of heartbreak and shame. For a moment it seems as if the old man will take him in his arms and comfort him, but instead he averts his eyes, and climbs into the carriage. COLONEL SUTCH looks at HARRY regrettably, as if to say there's nothing he can do. EXT. LONDON STREETS - night. NEWSBOYS follow HARRY home, trying to sell him their newspapers, refusing to take no for an answer. NEWSBOY<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..It's a commemorative issue, Sir. War in the Sudan...<\/stage_direction>\n    <scene_description>HARRY buys a paper just to be rid of him, only for another NEWSBOY to take his place. SECOND nEWSBOY Different paper Sir, London Times. commerative issue...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARRY'S APARTMENT - DAY.<\/stage_direction>\n    <scene_description>The sound of guns echoes in the distance. HARRY looks up. His face is unshaven, his eyes glassy from lack of sleep. Another volley sounds outside. HARRY gets off the floor and walks over. As he does so we see the piles of newspapers that have gathered on his floor over the past few weeks. The regimental guns boom outside. HARRY opens the window. He wants to hear them more clearly. He wants to be reminded of his shame. He walks back to the day's newspapers and kneels down amongst the mess. We see headlines of massacres and slaughters, beneath them artist's impressions of the Mahdist atrocities. EXT. LONDON STREETS - day. The NEWSBOYS run from HARRY now, mistaking him for a tramp. He catches up with one of them, forcing some money on him. NEWSBOY (Giving him a paper) British defeat in the Sudan! Hundreds dead!... HARRY flicks through the newspaper anxiously. EXT. war office\/ LONDON - day. CROWDS have gathered outside the War Office. The mood has changed from celebration to panic. PEOPLE are stunned by the news of defeat, desperate to hear if their loved ones are alright. SOLDIERS hold back the surging mass. Only small groups are allowed in at a time. INT. corridor\/ war office BUILDING\/ LONDON - day. HARRY hurries down the corridor towards an area where the names of British casualties have been pinned to a notice board. PEOPLE swarm past him in the other direction. Some of them look relieved, others are overwhelmed by grief. HARRY hurries on, his heart pounding. INT. CASUALTY LIST\/ war office BUILDING\/ LONDON - day. HARRY pushes through the CROWD of peering heads. As he finally elbows his way to the front he glimpses the long list of casualties. His eyes look through the D's first. Durrance's name isn't there. No sign of Castelton under the C's. HARRY is jostled backwards as he searches for the other names. With a fierce effort he gets to the front again. No Trench under T, no Willoughby under W. They're all safe. HARRY's body slackens with relief. EXT. harry's appartment block\/ LONDON STREET - day. HARRY looks drained as he reaches the front door of his building. As he opens it his LANDLADY walks out. landlady There's someone to see you Sir. They're waiting upstairs... HARRY doesn't wait for her to finish. INT. STAIRWAY\/ harry's appartment block\/ LONDON STREET - day. HARRY bounds up the stairs, expecting to see Ethne. He stops suddenly as he sees COLONEL SUTCH instead, waiting outside his door. He hides his disappointment with an awkward smile. hARRY Colonel Sutch... SUTCH can't help staring at HARRY, shocked by the state he's in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARRY'S APARTMENT - DAY.<\/stage_direction>\n    <scene_description>HARRY tries to make the room look more presentable, gathering up the newspapers and maps off the floor. He finally stops what he's doing and turns around. harry (Quietly) How is he? COLONEL SUTCH He's been very withdrawn. I've tried to persuade him to leave the house but he's a stubborn man. harrY Will he see me? COLONEL SUTCH I don't think so... (He pauses)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..but if it's money you need he won't cut you off. He hinted as much to me.<\/stage_direction>\n    <scene_description>harry I don't need money, Sir. HARRY turns away. SUTCH looks torn. As a soldier he disapproves of what Harry's done, but as a family friend he can't help feeling sorry for the boy. COLONEL SUTCH You were never cut out for this proffession. harrY (A thin smile) Was it that obvious? COLONEL SUTCH It was to me. Ever since you were a child. I only wish I'd said something to your father. HARRY turns and faces him. harrY (With an almost morbid curiosity) How did you know I didn't have it in me? COLONEL SUTCH What difference does it make? harrY It does to me, Sir. It's all I think about. What makes a man a coward? COLONEL SUTCH (Losing patience) That's enough Harry. Get on a grip on yourself. You're no use to anyone, sitting here all day, driving yourself mad... The outburst seems to release SUTCH from his soldier's reserve. He's all concern now. COLONEL SUTCH What's done, is done. harrY (Quietly) No Sir, it isn't. HARRY reaches into his pocket and pulls out a small white box. He opens it in front of SUTCH. There are four white feathers inside. SUTCH stares at the names on the cards. COLONEL SUTCH (Stunned) Who sent you the fourth? Jack? harrY Ethne. SUTCH looks up in surprise, beginning to realise the full extent of Harry's heartache. COLONEL SUTCH Throw them away. They don't mean a thing. HARRY They do to me, Sir. They're all I have left of my friends. COLONEL SUTCH Harry, this is morbid. harrY I don't mean it that way... (Trying to make him understand) You see, if there was something I could do, something so undeniable...I'm not saying it would change anything, it's too late for that...but if the feathers can be given, then they can be taken back. COLONEL SUTCH Harry, your friends are in Egypt. HARRY Yes Sir. In Alexandria. They transfer to Suakin in a fortnight. SUTCH doesn't understand at first. Then he looks at the newspapers and maps spread out across the floor, and begins to see the method in Harry's madness. COLONEL SUTCH (In disbelief)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..You're a civilian. Even if you find them, there's nothing you can do.<\/stage_direction>\n    <scene_description>harry I'm well aware of my chances. COLONEL SUTCH Then what's the point!? (Staring at him in dismay) You think Ethne will take you back? Is that what you think?! From the look in his eyes it's clear the thought had entered his head. Sutch's words bring him back down to earth. His voice is quieter now, resigned. harrY I don't have any choice... (With a terrible honesty) I'm not sure how much longer I can live with myself, here, like this... COLONEL SUTCH stares at him with pity, seeing the depth of his anguish. haRRY I'm leaving for Egypt tomorrow. COLONEL SUTCH (He realises there's no point trying to dissuade him) Do you want me to tell your father? harry Only if something should happen to me. I'll write and let you know how I am, as often as I can. COLONEL SUTCH What about Ethne? HARRY has to think long and hard about this. The thought of her fills him with sadness. hARRY I'd rather you didn't tell her anything. After all I've put her through the least I can do is let her forget me in peace. COLONEL SUTCH looks moved by his predicament, and impressed by these first, grasping signs of nobility. harrY Maybe I'll come back sooner than I think -- hear the guns booming off the African coast, and take the first ship home. COLONEL SUTCH I doubt it, Harry. COLONEL SUTCH smiles weakly. EXT. HARRY's POV. VIEW OF THE AFRICAN COAST - day. Through the shimmering heat we see the outlines of the African mountains: an arid moonscape, dust clouds blowing in the wind. EXT. port of ALEXANDRIA - DAY. The same veil of dust blows through the crowded port. HARRY covers his eyes. His hair is longer now, his face gaunt and bearded. Clutching his suitcase, he moves through the throng. EXT. streets of ALEXANDRIA - DAY. The alleyways look almost dreamlike through the shimmering heat. It's as if we're in Harry's head, reflecting his state of mind. A crowd of URCHIN BOYS are following his every step, imitating his langorous walk. HARRY doesn't notice them. His gaze is riveted by the sights around him: the MERCHANTS beckoning him into their shops; the BRITISH SOLDIERS on leave, sheltering in the cool hollows of the cafes and whorehouses; the BEGGARS, hunched up against the stone walls, their faces covered with flies. Through the arches of the Souk, a wedding procession appears. The BRIDE and GROOM sit on brightly painted donkeys. All around them WOMEN and CHILDREN clap and shrill. HARRY catches a glimpse of the bride's face. She gazes at him for a moment, then looks away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLONIAL HOTEL\/ ALEXANDRIA - DAY.<\/stage_direction>\n    <scene_description>The colours of the Souk give way to the cool white emptiness of a colonial hotel. ENGLISH GUESTS talk in hushed whispers as EGYPTIAN WAITERS serve them tea. HARRY sits in a corner of the lobby, nursing his drink, observing a group of ENGLISH OFFICERS, laughing amongst themselves. HARRY looks thoughtful, wondering how to approach them. Suddenly he hears a commotion. A drunk BRITISH CORPORAL is escorted out of the hotel by a group of SENIOR OFFICERS. He shouts and swears, but they ignore him, throwing him out of the door. HARRY gets up as he sees his chance. INT. EGYPTIAN bar - brothel\/ BAZAAR\/ ALEXANDRIA - night. The rhythmic beating of drums. Tattooed WOMEN dance on a makeshift stage, mesmerising the crowd of eager SOLDIERS. HARRY sits with the drunken BRITISH CORPORAL. The man's eyes keep drifting longingly towards the stage, as if he hasn't seen a woman in months. HARRY fills his glass. BRITISH CORPORAL (Resuming their conversation)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..It's all reconnaisance trips. The river's too swollen to move troops in numbers. Her Majesty's army's rotting in Suakin.<\/stage_direction>\n    <scene_description>harry Which other regiments were with you? BRITISH CORPORAL They're all there: the Hussars, the Highlanders, the Grenadiers...Which newspaper did you say you were from? hARRY The London Times. BRITISH CORPORAL You must think I'm a disgrace? 'Sand happy'. That's what those Officers called me. harry How much longer do you think the troops will be held up in Suakin? BRITISH CORPORAL As long as they can if they're lucky. (He finishes his drink) Does the Prime Minister read your paper? harrY I imagine so. BRITISH CORPORAL Then tell him from me we're on a losing wicket here. These bastards aren't scared of anything. If they saw death walking down the street they'd hide in an alleyway and try to pick him off with a stone. How do you fight people like that... He tries to drain the last few drops from his empty glass, then looks over longingly, at the tattooed DANCERS. EXT. SAND STORM\/ desert near SUAKIN\/ sudan - DAY. Thick gusts of sand blow at us. As the swirling clouds settle we see a group of misshapen figures, huddled together. As they finally rise and start to move, we realise they're BRITISH SOLDIERS, on camels. Amongst the dust caked faces we see TRENCH, CASTELTON, WILLOUGHBY and DURRANCE. EXT. DESERT near SUAKIN\/ SUDAN - DAY. The sand storm has cleared, and in its place a harsh desert sun beats down. The COLUMN OF BRITISH SCOUTS trudges forward. DURRANCE rides at the front, looking as if he were born here, eyes alert to every shimmer and nuance. Up ahead he sees a large mound of stones standing out amongst the mud flat. He drives his camel forward. As he approaches he sees that it's a dervish burial mound. Skulls and skeletons are splayed across the rocks. WILLOUGHBY rides up through the ranks and joins him. WILLOUGHBY What do you think? DURRANCE I think they're trying to frighten us off. We should keep pressing forward. WILLOUGHBY offers DURRANCE his water flask. DURRANCE takes a drink. DURRANCE (Pulling a face) It's bloody whisky. wILLOUGHBY (Grinning) My camel drinks the water. EXT. burnt out fortress\/ desert - day. As the camels tread their way through the sun baked shingles a ghostly fortress appears on the horizon. The men start loading their rifles instinctively. EXT. courtyard\/ burnt out fortress\/ desert - day. All that's left of the fortress is a grim skeleton. The Union Jack lies ripped to shreds, halfway down its flagpole. The BRITISH SOLDIERS gaze at the destruction. Their camels sense their tension and rear a little in the eerie silence. As ever, TRENCH is the first to break the ice. trench (Jumping off his camel, walking towards the fortress well) I don't know about you lot, but I'm going to grab a drink before Mustapha does. \"Mustapha\" the camel whinnies as if he's understood every word. The MEN start laughing. DURRANCE The water's probably poisoned. trench (Leading his camel towards the well instead) Mustapha, be my guest. There's more laughter. DURRANCE smiles but his eyes are still alert. Above the fortress tower he sees a flock of birds taking flight, rising up gracefully towards the desert sun. Suddenly amidst the laughter and chatter, one of the SOLDIERS topples off his camel. His FRIENDS laugh: friendS<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..Capshaw you dosy bastard... ...Camilla's tired him out...<\/stage_direction>\n    <scene_description>CAPSHAW doesn't move. CASTELTON's the first to realise something's wrong. He jumps off his camel and turns CAPSHAW over. Half the soldier's face has been blown off. Raw bone glistens underneath. CASTELTON rears back in horror. CASTELTON Sniper! Panic erupts. The SOLDIERS leap off their camels, using them as shields. The sniper's bullet rings out and sends one of the animals crashing to the dirt. The men start to run now, seeking shelter in the surrounding hutments. The sniper's gun rings out repeatedly. EXT. HUTMENT\/ burnt out fortress\/ desert - day. DURRANCE and CASTELTON duck into the hutment. DURRANCE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..Keep him pinned. He's up in the tower.<\/stage_direction>\n    <scene_description>CASTELTON unleashes a volley of shots. DURRANCE moves quickly to the other side of the hutment and climbs out of the window. EXT. courtyard\/ burnt out fortress\/ desert - day. The camels circle around themselves in panic. TRENCH weaves his way between the rearing animals, protecting himself from the sniper. A shot rings out and spits dust in his face. trench (Whispering in anger) You bastard... EXT. outer perimeter\/ burnt out fortress\/ desert - day. DURRANCE runs around the back of the fortress, breathing hard. EXT. courtyard\/ burnt out fortress\/ desert - day. A second shot spins TRENCH round, grazing him in the arm. trench (His voice rising) You bastard! A third shot narrowly misses. TRENCH is up and running now, not waiting for the fourth. trench (Shouting like a madman as he charges towards the hutment) You bastard! You bastard! You bastard! EXT. outer perimeter\/ burnt out fortress\/ desert - day. DURRANCE has a clear view on the sniper's tower now. From below he can see the man's rifle edge out, fire, and then withdraw. DURRANCE heads quietly towards the tower stairs. EXT. STAIRS\/ SNIPER's TOWER\/ burnt out fortress - day. Several of the steps are missing from the rickety stairway. DURRANCE climbs over them as lightly as he can. Up above he can hear the sniper's rifle ringing out. EXT. castelton's HUTMENT\/ burnt out fortress\/ desert - day. CASTELTON fires another round at the sniper's tower. TRENCH sits on the floor, cursing as he bandages his grazed arm. EXT. SNIPER's TOWER\/ burnt out fortress - day. DURRANCE raises his head cautiously. At the tower window he sees the DERVISH SNIPER firing his rifle. DURRANCE hesitates. He could kill the man easily, but it would mean shooting him in the back. He can't bring himself to do it: DURRANCE Drop it! The DERVISH SNIPER stops still. He turns around slowly and looks DURRANCE in the eye. A contemptuous smile flickers across his face. Very slowly, he takes a bullet from his pocket and slips it in the rifle. He doesn't even look at DURRANCE. There's a terrifying, suicidal calm about him. DURRANCE studies his enemy, admiring his utter contempt for death, and then fires two bullets into his head. EXT. TENTS\/ THE BRITISH CAMP\/ suakin\/ sudan - night. Bonfires flicker across the British camp. DURRANCE sits outside his tent, bathed in firelight, watching some BEDU DANCERS performing for the BRITISH TROOPS. He seems far away, as if he's thinking about the day's kill. TRENCH's braying voice snaps him out of his reverie. treNCH (Showing off his wound) Look at this beauty... TRENCH sits down between DURRANCE, CASTELTON, and WILLOUGHBY. trench (Playful) It's true what they say. You haven't lived until you've been shot. CASTELTON It's only a scratch. trench You wouldn't understand. You haven't looked into the abyss. CASTELTON Shut up Trench... DURRANCE joins in the laughter but he still seems far away. wiLLOUGHBY (Noticing) Are you alright, Jack? DURRANCE (Smiling) Couldn't be better. WILLOUGHBY sees the haunted look in his eyes, but doesn't say anything. A SEARGENT-MAJOR interrupts. seRGEANT-MAJOR Lieutenant Durrance, Colonel Hamilton would like to see you in his tent, sir. trench Poor Willoughby, they've passed you over. WILLOUGHBY grabs a handful of sand and throws it at TRENCH. DURRANCE gets up to see what HAMILTON wants. EXT. COLONEL HAMILTON's TENT\/ BRITISH CAMP\/ suakin - night. COLONEL HAMILTON sits at a fold-up table, eating his dinner by candlelight. He turns around as DURRANCE walks in. He wipes his face with his knapkin and gestures for DURRANCE to sit. COLONEL HAMILTON<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..Congratulations, it seems you had another successful day.<\/stage_direction>\n    <scene_description>DURRANCE (Too honest to accept the complement) We killed one Dervish sniper, Sir. COLONEL HAMILTON I'm giving you three weeks leave. DURRANCE looks surprised. DURRANCE I really don't need, or deserve any leave. COLONEL HAMILTON You certainly deserve it, every report I receive singles you out for praise. DURRANCE With your permission, I'd like to stay here with the rest of the regiment. COLONEL HAMILTON Permission refused. DURRANCE is too disciplined a soldier to protest. COLONEL HAMILTON<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..Anyway the rest of the regiment is stuck here in Suakin until the Government agrees to send us to Khartoum...<\/stage_direction>\n    <scene_description>(Containing his frustration) You and several other Officers will be going to London, to convince parliament, and more importantly public opinion, that it is necessary to pursue this campaign with the utmost vigour. Do you have any questions? DURRANCE Yes Sir, why me? HAMILTON pauses. Then almost mischievously: COLONEL HAMILTON Because you're a hero. DURRANCE With all due respect Sir, I don't think we've been fighting long enough to have any heroes in this campaign. COLONEL HAMILTON That's my point. It's all about perception. DURRANCE sees there's no point discussing it further. He salutes and turns to leave. COLONEL HAMILTON A question Lieutenant? DURRANCE Yes Sir? COLONEL HAMILTON What is it you like about this place? DURRANCE chooses his words carefully. DURRANCE The freedom Sir. The fact that one is reduced to what one really is. COLONEL HAMILTON smiles softly, wondering if Durrance is insulting him, not giving a damn. EXT. desert between EGYPT and sudan - day. A searing white sun hangs over the desert. Somewhere amidst the rolling dunes and floating dust we see a caravan of camels, winding its way through the plateau. EXT. caravan\/ desert between egypt and sudan - day. HARRY rides at the front of the caravan with GUSTAVE, a sun blackened french slave-driver. Behind them ride SAADI, his Dinka assistant, and three beautiful DINKA SLAVEGIRLS. gustave<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..The British soldiers rent my girls off me for three dhirrams an hour. Well worth the trip to Suakin.<\/stage_direction>\n    <scene_description>HARRY smiles distractedly. His eyes are fixed on the majestic landscape before him, miles and miles of rolling desert. gustave (Recognising the first time awe one feels for the desert) Don't fall in love too quickly. Nothing turns on you like the sand. He looks back at the DINKA SLAVEGIRLS, who are whispering amongst themselves. gustave Shut up!!... (To Saadi) Keep them quiet! What do I pay you for?! SAADI says something to the SLAVEGIRLS in their native Dinka tongue. From the deference in his voice it's clear the women are from a higher caste than him. EXT. desert between EGYPT and sudan - day. A breeze blows sand-drifts across the desert floor. As a veil of dust clears, HARRY sees the bones of a camel, forming a perfect skeleton on the floor. gustAVE Bones are a good sign. We must be near a well. EXT. well\/ desert between EGYPT and sudan - day. The skeletons lie thick around the well: six or seven men in Bedu Robes, sprawled within yards of the precious water. gustave (As Harry stares at the bones) What else is there to fight for in a desert. At least it makes sense of war. SAADI hoists some water up in a goatskin canteen. He offers the canteen to GUSTAVE. The French slave-driver is about to take a drink when he hears one of the DINKA SLAVEGIRLS murmuring in her native tongue. He wheels his camel around angrily. gUSTAVE (To Saadi) What did she say? Before SAADI can make an excuse for her, the DINKA SLAVEGIRL starts cursing in her native tongue, her eyes fixed on GUSTAVE. GUSTAVE lashes out with his whip. The SLAVEGIRL's camel rears, throwing her to the floor. GUSTAVE rides towards her, raising his whip, ready to beat her. HARRY's camel suddenly lurches between them. At first it looks like he's lost control of the animal, but as he steadies his mount, it becomes clear he's put himself in Gustave's way. GUSTAVE sneers. With inch perfect skill, he starts to circle HARRY, trying to get a clear view of the girl. With equal skill, HARRY twists his own camel round, keeping her blocked from him at every turn. GUSTAVE grows impatient. He raises his whip, threatening Harry. HARRY doesn't flinch. His eyes are fixed on Gustave the whole time. Finally GUSTAVE backs down, intimidated by the mysterious stranger. He stares at HARRY, half in anger, half in admiration. gustave You ride well. With that he rides his camel back to the well. The DINKA SLAVEGIRL doesn't look at HARRY. She's too proud to acknowledge his help. INT. cave\/ desert between EGYPT and sudan - night. A howling sandstorm blows outside the cave. The camels screech in the night, terrified by the wind. SAADI and the DINKA GIRLS shelter in the furthest corner of the cave. HARRY and GUSTAVE sit by a flickering fire. gUSTAVE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..What's your secret? Anyone who talks as little as you do must be hiding something? Did you kill a man?<\/stage_direction>\n    <scene_description>HARRY prods the fire, ignoring him. GUSTAVE turns around as he hears SAADI and one of the DINKA GIRLS whispering. guSTAVE Taiser vouz! Silence. GUSTAVE turns back to HARRY, looking pleased with himself. guSTAVE You have to break them. For their own good. They'll only be happy again when they forget what it's like to be free. (He looks at Harry mischievously) It's like a man who's been thrown over by a woman. At first he's defiant, then he's determined, but finally he longs to forget. HARRY gets up and walks to the other side of the cave. He hears GUSTAVE chuckling behind him. gUSTAVE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..Any secrets you have, the desert will find you out.<\/stage_direction>\n    <scene_description>EXT. PASS\/ CLIFFS\/ desert between EGYPT and sudan - night. A screaming gale howls through the desert pass. INT. cave\/ desert between EGYPT and sudan - night. It isn't the storm that wakes HARRY up, but the sound of whispering. GUSTAVE is snoring by the fire. HARRY looks past him. He sees SAADI and the DINKA SLAVEGIRL he rescued earlier, lying in each other's arms, making love as quietly as they can. HARRY can't help staring. Their act seems to represent the ultimate defiance, he ultimate affirmation of their freedom. He feels a spark of hope in their hope. SAADI and the DINKA SLAVEGIRL finally come to rest in each other's arms. HARRY listens as they continue to whisper in their native tongue. He's about to close his eyes when suddenly the DINKA SLAVEGIRL gets up. HARRY watches curiously as she walks across the cave. She picks something off the floor. As she walks towards GUSTAVE HARRY suddenly sees that it's a sharp jagged rock. Before HARRY can say anything the girl falls to her knees and buries the rock deep into GUSTAVE's face. Almost simultaneously HARRY feels a sharp crack on the back of his head. He rolls away instinctively, but to no avail. The blows rain down. As he tries to protect his face, HARRY sees SAADI, holding a thick wooden club over him. The club hammers down, splitting Harry's fingers, tearing into his face, knocking any resistance out of him. As he stares up listlessly, HARRY sees SAADI standing over him, ready to finish him off. Suddenly a voice rings out, a woman's voice, calling Saadi off. HARRY's eyes drift away. INT. ARMY\/NAVY CLUB - LONDON - day. We see ETHNE's face now, staring out. For a moment we think she's part of Harry's dream, but then the familiar noises of reality fade in, and we realise she's amongst a crowd of OFFICERS and JOURNALISTS, listening to DURRANCE lecturing about the Sudan: DURRANCE (Aware she's in the audience)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..Each moment we delay, we imperil General Gordon's life. The Mahdi is concentrating all his forces on Khartoum. At most the garrison can hold out for a few more weeks...<\/stage_direction>\n    <scene_description>EXT. ARMY\/NAVY CLUB - LONDON - day. DURRANCE stands at the club entrance with ETHNE and her friend, CAROLINE ADAIR. ETHNE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..Caroline read about your lecture in the Times. We're both very proud of you.<\/stage_direction>\n    <scene_description>DURRANCE I'm glad you came. DURRANCE tries not to stare at ETHNE too hard. CAROLINE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..We have to be somewhere this afternoon, but if you're free this evening Lieutenant Durrance...<\/stage_direction>\n    <scene_description>DURRANCE I'm afraid I have to give another talk. ETHNE (Suddenly) Would you mind if I didn't come with you Caroline? I don't know the Gilby's all that well... CAROLINE hesitates. We see the reluctance in her eyes, but she's far too dignified to show it. CAROLINE You can do whatever you like, darling. EXT. LONDON\/ STREET - day. DURRANCE and ETHNE walk along a crowded street. Passing WOMEN glance admiringly at DURRANCE in his uniform. ETHNE That's six I've counted. DURRANCE Six what? ETHNE Six married women, gawping at you. DURRANCE smiles shyly, wondering if she's flirting with him. INT. tea shop\/ LONDON - day. A tinkle of china and cutlery. ETHNE and DURRANCE sit in a tea shop. ETHNE can't help sending up the place. She dabs her lips with her napkin, pretending to be all prim and proper. DURRANCE Do you want to go somewhere else? ETHNE No, it's lovely here. I'm teasing. DURRANCE looks out of place in the surroundings, and nervous around ETHNE. ETHNE (Trying to put him at ease) I want to hear all about the desert? She leans towards him, like a child waiting to hear a tale. DURRANCE isn't sure if she's aware of the effect on him. DURRANCE It grows on you. There's something about all that emptiness that concentrates the mind. ETHNE (Looking into his eyes) On what? DURRANCE (He hesitates) You spend a lot of time thinking about the people you miss -- especially at night -- You have the most vivid dreams, it's hard to believe they're not real... He stops as he sees the sadness in her eyes, reminded of the barrier between them. DURRANCE Have you heard from Harry? ETHNE (A beat) No. Have you? DURRANCE I went to see General Feversham. He refused to discuss it with me. ETHNE I know they had a falling out. She tries to sound casual, but DURRANCE feels how much the thought of Harry still pains her. DURRANCE (Testing her, almost in spite of himself) He's one of the people I think about all the time. ETHNE (Very deliberately) I don't as much as I used to. (Looking up at Durrance) I certainly wasn't until you brought him up. There's a touch of reproach in her eyes, but also something flirtatious. It's as if she's forcing herself to put Durrance above Harry in her thoughts. ETHNE When do you go back? DURRANCE Friday. ETHNE So soon? DURRANCE isn't sure how to read her disappointment. He feels conflicted about Harry, but he can't help being drawn to her. DURRANCE (Awkwardly) Are you sure I can't persuade you to stay in London a few more days? Listen to more of my boring lectures... ETHNE I thought the talk was fascinating. DURRANCE (Steeling himself) I really would like to see you again before I leave. There's something touching about Durrance's shyness: a contradiction between the fearless warrior and the tentative lover. ETHNE feels torn, but she wills herself on: ETHNE (Lightly, but acknowledging his invitation nevertheless) You could always visit us in Bintree. She feels her eyes drifting away from him, but she forces herself to look back, and holds his gaze. INT. cave\/ desert between EGYPT and sudan - day. HARRY opens his eyes painfully. His face is still battered and swollen from Saadi's beating. As he picks himself up he sees Gustave's body, lying exactly where the Dinka slavegirl killed him, the jagged rock still embedded in his face. HARRY looks away as he hears a camel whinnying outside. EXT. cave\/ desert between EGYPT and sudan - day. The camel is tied by some rope to a jutting rock, a goatskin canteen slung over its back. HARRY realises the Dinka girl he rescued has left them for him. He looks over the horizon. There's no sign of the Dinkas, only the vast desert waste. EXT. DUNES\/ desert between EGYPT and sudan - day. HARRY urges his camel up the steep slope of a crescent dune. His battered face is burnt raw by the sun, his skin covered in blisters. He looks out hopefully as his camel finally conquers the sandy peak, but all he sees in its place are miles and miles of rolling dunes. EXT. water trough\/ desert between EGYPT and sudan - day. Harry's camel noses its way into a shallow water trough. HARRY almost drops off the animal in his haste to drink. He digs his hands into the mud and cups some of the precious liquid in his palms. It's only after he's drunk that he realises there are dozens of tics, stuck to his arms, and face. EXT. desert between EGYPT and sudan - night. HARRY shivers in the cold night air, partly from the wind, but also from the fever he's caught off the tics. Hands trembling, he burns the blood gorged insects off his arm with a glowing stick from the camp- fire. EXT. shingles\/ desert between EGYPT and sudan - day. HARRY's camel rears as it treads over the searing shingles. He topples off. Eyes half shut, he grabs the reins, making sure the camel doesn't run off. He takes a knife from his pocket. harry<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..I'm sorry, I'm sorry...<\/stage_direction>\n    <scene_description>He cuts a slash in the camel's hide and puts his mouth to it. He sucks up what little blood he can, and rolls the liquid around his mouth. EXT. desert between EGYPT and sudan - night. HARRY talks to himself in the dark. His face is all puffed up with fever, his hair chalked with dust. Above him the stars glimmer, promising another day of relentless sun. EXT. DESERT HILLS\/ desert between EGYPT and sudan - day. HARRY lies unconscious on the camel's back, roped to the animal. The CAMEL noses it's way through the desert floor, coming across a few shrubs. It tears them out of the earth, and starts up the hill, in search of more nourishment. HARRY slides precariously down the camel's back. Only the ropes hold him tight. As the camel finally reaches the top we see a vast plateau open up before us. The earth is still desert brown, but there are patches of green now -- and somewhere in the distance, the sky is blackening with rain. EXT. STREETS OF SUAKIN\/ SUDAN - night. A torrential downpour floods the narrow streets of Suakin. A group of excited BEGGAR BOYS lead HARRY and his camel through the rain swept alleyways. EXT. LOCAL HOTEL\/ SUAKIN\/ SUDAN - night. HARRY lies shivering on a bunk bed, overwhelmed by fever. An ARAB DOCTOR treats his ravaged skin with balm. Behind them the BEGGAR BOYS argue with the ARAB HOTELIER, demanding more money for bringing the foreigner here. ARAB DOCTOR English? HARRY shakes his head no. EXT. marketplace\/ STREETS OF SUAKIN\/ SUDAN - day. Sunlight dries out the previous night's storm. HARRY wanders through the marketplace, wearing long Bedu robes now, limping from his desert ordeal. PASSERSBY pull away as they see his face, mistaking the open blisters for leprosy. EXT. RIVERBANK NEAR THE BRITISH CAMP\/ SUAKIN\/ SUDAN - day. A crocodile rears out of the water and tears a lump of meat off a hook. It disappears back under the surface, avoiding the trap. There's a cry of disappointment from the riverbank. A group of LOCAL CHILDREN are trying to catch the beast. TRENCH is their leader. CASTELTON smiles at his friend's antics. treNCH<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..Don't give up lads. Give the old porker another whack.<\/stage_direction>\n    <scene_description>The BOYS have tied a pig to a stake, outside the water. They beat it with a paddle until it whines. Hearing the noise, the CROCODILE rears its head, and sweeps towards the remaining lump of meat on the hook. TRENCH and the BOYS swarm around the river expectantly. In their excitement they fail to notice the shrouded FIGURE watching them from the distance. It's HARRY, hidden beneath his Bedu robes. He gazes at his two friends longingly. Finally one of the BOYS sees him, and thinking he's a leper, starts throwing stones: sudanese boy Imshi, imshi. The other BOYS join in, yelling insults. TRENCH and CASTELTON pay no attention. They have no idea who it is. HARRY steps back slowly, the pebbles landing at his feet, still gazing at his friends. He knows he doesn't have the courage to face them yet, that it's too soon. INT. HAMILTON's TENT\/ BRITISH CAMP\/ SUAKIN\/ SUDAN - night. Colonel Hamilton's tent is lit in torchlight. Dozens of OFFICERS mill about, celebrating their orders to march on Khartoum. A MAJOR FROM ANOTHER REGIMENT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..It's hard to imagine anyone changing the Prime Minister's mind.<\/stage_direction>\n    <scene_description>COLONEL HAMILTON Even he reads the papers. They told him if he didn't send us to Khartoum he'd be indicted for murder... There's laughter all around. Across the tent, DURRANCE stands on his own, feeling out of place. WILLOUGHBY arrives with two drinks. wILLOUGHBY You're quite the hero tonight. DURRANCE The Colonel seems to be taking a fair bit of credit. They smile as they watch COLONEL HAMILTON holding forth. wILLOUGHBY So you had a good time in London? DURRANCE Better than I thought. wILLOUGHBY (Trying to make it sound casual) Did you look up Harry? DURRANCE (Hesitating) Nobody knows where he is. wILLOUGHBY Not even Ethne? DURRANCE (A little put out) Why should she? She's broken off their engagement. WILLOUGHBY notices the edge in his voice but doesn't say anything. DURRANCE feels a touch of guilt, surprised by his own jealous reaction. INT. HARRY's ROOM\/ LOCAL HOTEL\/ SUAKIN\/ SUDAN - night. HARRY studies his face in the mirror: his blisters have dried into tough leathery skin, his eyes are hollow from recent hardships. He whispers to himself in broken Arabic, and dips his fingers into a dark, mud like substance. He applies it to his hair, his beard, and his teeth. EXT. COOLIES\/ BRITISH CAMP\/ SUAKIN - day. Long lines of DESERT AFRICANS have gathered outside the British camp, looking for work as coolies. There are Nuers, Dinkas, Somalis, Ethiopians, all of them wearing different clothes, and speaking different languages. Somewhere amongst them, we see HARRY, disguised in his Bedu robes. He's being examined by a BRITISH SEARGENT-MAJOR and an EGYPTIAN ORDERLY. BRITISH SEARGENT-MAJOR Tell him to remove his shirt. HARRY waits for the ORDERLY to translate before he opens his robes. His body is lean and tanned and scarred. BRITISH SEARGENT-MAJOR (Impressed by his physique) This one's been in the wars. Let me see his teeth. Again HARRY waits for the Arabic translation before he opens his mouth. BRITISH SEARGENT-MAJOR Good bones. Put him on the boats. HARRY is ushered off. As he walks away he hears an argument start up behind him. The EGYPTIAN ORDERLY is protesting to the SEARGENT MAJOR about hiring a fierce looking NUBIAN warrior. EGYPTIAN ORDERLY<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..This man comes from a race of slaves. They have blood feuds with everyone. If you arm him it will mean trouble. None of the Egyptian soldiers will serve with him.<\/stage_direction>\n    <scene_description>The NUBIAN stares ahead in silence, expressionless. BRITISH OFFICER Alright, put him on the boats. The NUBIAN falls into line, behind HARRY. EXT. DRILL AREA\/ BRITISH CAMP\/ SUAKIN - day. WILLOUGHBY barks orders at the EGYPTIAN RESERVES, drilling them before departure. DURRANCE, TRENCH, AND CASTELTON walk out of their tent, imitating him. EXT. COOLIES\/ BRITISH CAMP\/ SUAKIN - day. HARRY watches his friends from afar. He sits amongst the COOLIES, holding out his soup bowl, waiting to be fed. The NUBIAN squats opposite him. HARRY can't help staring at the long white ostrich feather in his hair. The EGYPTIAN ORDERLY arrives and pours a rancid looking gruel in HARRY's bowl. He turns to the NUBIAN. EGYPTIAN ORDERLY (In Arabic) Is this good enough for you slave? The NUBIAN ignores him. The ORDERLY spits in the gruel before handing it to him. The NUBIAN takes it, and calmly downs it in one. The ORDERLY moves on in disgust. The NUBIAN looks at HARRY. HARRY braces himself and swallows the stew. EXT. CATARACTS of the nile\/ sudan - day. A heavy current rushes through the waters of the Nile. The cataracts are full of treachorous rocks, jutting out in all shapes and sizes. HARRY is force-marched with the other COOLIES, prodded on by the EGYPTIAN OVERSEERS. They drag the British supply boats through the cataract by hand, pulling on huge hemp ropes. In front of HARRY, the NUBIAN is being singled out for punishment. The EGYPTIAN ORDERLY lashes him repeatedly. The NUBIAN keeps pulling, ignoring the stinging pain. He looks back at the ORDERLY as if to say; \"Is that all you've got?\" EXT. SUPPLY BOAT\/ CATARACTS of the nile\/ sudan - day. A supply boat rushes down a steep incline in the river. TRENCH yells at the top of his voice as the spray hits his face. CASTELTON stands beside him, staring at the banks of the Nile, watching the hundreds of COOLIES, dragging their boat through the cataracts. EXT. COOLIE CAMP\/ CATARACTS of the nile\/ sudan - night. Drum beats fill the night sky. The reflection of the coolies' camp- fires glistens over the black water. Some are singing, others praying, but most lie fast asleep. HARRY sits on his own, warming himself by a fire, his body wracked with pain. As he reflects he hears the gentle tread of feet. He looks up to see the NUBIAN staring at him. The man squats down beside his campfire without asking. nubian (Abou fatma) (In English) My name is Abou Fatma. haRRY (Shaking his head as if he doesn't understand) Bedu. ABOU FATMA I was a scout for General Hicks. harry Arabi -- ABU FATMA suddenly launches into a flurry of fluent Arabic. HARRY stares at him in silence, unable to respond. ABOU FATMA There are many in this camp who would serve the Mahdi. When they find out there is a British spy amongst them, watching them, they will kill him. (Quietly mocking) It won't be long, Bedu. He turns to leave. HARRY hesitates, then: harry Shoukran. ABOU FATMA (Correcting his Arabic) Shoukhran. Their eyes stay on each other a moment. harry (Finally speaking in English) Why do you warn me? ABOU FATMA For money. harry I can't pay you. ABOU FATMA I can't help you. HARRY smiles. He gazes at the mercenaries's powerful features, and the long white feather in his hair. harrY What's the feather for? ABOU FATMA The first time I killed a man. (Pointing to a feather earring in his left ear) Five men. (and an ivory bracelet on his wrist) Ten men. (He takes a beaded necklace out of his pocket) This I will wear soon. I'm a good soldier. I will protect you. HARRY stares at him a moment, then takes out a small box from his pocket. He shows ABOU FATMA the four white feathers inside. ABOU FATMA looks at them, unaware of the irony in Harry's gesture, thinking he's saying he doesn't need help. ABOU FATMA (Gesturing to the welts on Harry's body) Underneath the flesh is white, and weak. Even if the Mahdi's men don't find you out, the whips will. harry I'll pay you one shilling a day. ABOU FATMA No. ABOU FATMA gets up, and walks away. HARRY can't help smiling as he stares after him. EXT. COOLIE CAMP\/ CATARACTS of the nile\/ sudan - day. Screams of agony fill the air. The EGYPTIAN ORDERLY lies in a pool of blood, his belly sliced open, holding his guts in his hands. HARRY stands amongst the gathered crowd, watching horrified, as a BRITISH OFFICER kneels beside the dying man. BRITISH OFFICER Who did this to you? Who did this? The EGYPTIAN ORDERLY tries to speak, but all that comes out of his mouth is a froth of blood. His tongue has been cut out. HARRY looks around the crowd until he sees ABOU FATMA. The Nubian's eyes are expressionless. Around his neck he wears the beaded necklace now. EXT. CATARACTS of the nile\/ sudan - day. The white sails of the British supply boats float through the hazy water. On the riverbank HARRY and the hundreds of other COOLIES drag them along. The OVERSEERS glance at ABOU FATMA warily, but none of them dare raise a whip to him now. INT. DURRANCE's tent\/ BRITISH CAMP\/ CATARACTS - day. We can still hear the noise of the coolies outside. DURRANCE sits at a table, writing a letter. We glimpse the words: 'Dearest Ethne...' He stops as he hears a commotion outside. EXT. BRITISH CAMP\/ CATARACTS - day. DURRANCE walks out of the tent. In the distance he sees a handful of ragged looking BRITISH OFFICERS being helped off their camels. As he stares more closely DURRANCE notices that many of them have terrible wounds. Those that can still walk are lead off to the commander's tent. EXT. general wolsey's tent\/ BRITISH CAMP\/ CATARACTS - day. GENERAL WOLSEY and COLONEL HAMILTON are bent over a map of the Nile, discussing their progress with their AIDE-DE-CAMPS. WILLOUGHBY looks up as he hears the WOUNDED OFFICERS being led into the tent. He stops as he sees the terrible state they're in. Even WOLSEY and HAMILTON look shocked. GENERAL WOLSELEY (Slowly rising, saluting) What is it? WOUNDED CAPTAIN A letter, sir... from General Gordon. WILLOUGHBY notices one of the WOUNDED OFFICERS has tears in his eyes. GENERAL WOLSELEY What happened to you? WOUNDED CAPTAIN We were ambushed, Sir. More than half our company were killed. GENERAL WOLSELEY See that these men are tended to. AIDE-DE-CAMP Yes, sir. The WOUNDED OFFICERS are led out. WILLOUGHBY, like all the other Aide- de-Camps, looks dazed. GENERAL WOLSEY opens General Gordon's letter, and reads in silence. GENERAL WOLSELEY (Finally looking up at Colonel Hamilton) Gordon says he can only hold out for forty more days. It took eleven for these men to get here. EXT. BRITISH CAMP\/ CATARACTS - night. DURRANCE, WILLOUGHBY, CASTELTON, and TRENCH sit around a camp fire, trying to ignore the hideous cries of the wounded British soldiers coming from the hospital tent. wILLOUGHBY (Recounting what he's heard)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..Wolsey's going to split the force. A River Column's going to continue down the Nile, whilst a Desert Column joins up with regiment at Abou Clea, and makes a dash for Khartoum.<\/stage_direction>\n    <scene_description>The piercing screams start up again. trench Don't tell me, we've drawn the short straw. EXT. BRITISH CAMP\/ CATARACTS - day. Silence hangs over the British camp. The COOLIES are lined up under the scorching sun. The EGYPTIAN OVERSEERS walk past them, selecting some for the desert march, others for the river march. HARRY stands next to ABOU FATMA. Across the camp he can see DURRANCE, TRENCH, CASTELTON, and WILLOUGHBY, preparing their camels for the overland trek. haRRY (Whispering to Abou Fatma) I need to travel with the desert detachment. ABOU FATMA Two Shillings. HARRY nods. The EGYPTIAN OVERSEER finally reaches them. EGYPTIAN OVERSEER (To Abou Fatma, in Arabic) We'll keep you on the river. ABOU FATMA (A calm, menacing look in his eyes) With you? The EGYPTIAN OVERSEER hesitates, remembering what happened to his friend: EGYPTIAN OVERSEER (Gesturing to the desert column instead) Over there. HARRY falls into line behind ABOU FATMA. The EGYPTIAN OVERSEER doesn't seem to care. He's too relieved to be rid of the Nubian. EXT. DESERT COLUMN\/ BRITISH CAMP\/ CATARACTS - day. The Desert Column has assembled, fourteen hundred strong. SERGEANt at arms Column... FOR-WARD... march! DURRANCE, TRENCH, CASTELTON, and WILLOUGHBY, ride off at the head of the column. Behind them, the COOLIES carry heavy loads, HARRY and ABOU FATMA bringing up the rear. EXT. DESERT lanscape\/ sudan - day. A region of jutting cliffs and giant rock formations. The Desert column rides through a narrow pass. DURRANCE's eyes are fixed on the ridges above them, any one of which could be hiding a Dervish sniper or scout. At the back of the column, HARRY's equally alert. He looks across the cliff walls. Suddenly he notices one of the COOLIES in front of him, listening intently to a high pitched whine coming from a nearby gorge. HARRY studies the man. He's a powerfully built NUER TRIBESMAN, yellow streaks running down his long black hair. Every time he hears the distinctive noise, he looks up, concentrating. HARRY edges closer to ABOU FATMA: harry (Indicating the whining) Do you recognise that sound? ABOU FATMA Mountain goats. HARRY doesn't look convinced. He stares at the NUER TRIBESMAN, walking ahead of them, glancing up from his heavy load every time he hears the distinctive cry. EXT. OPEN DESERT\/ sudan - day. The wind blows gusts of sand into the camels' eyes. DURRANCE stares through the shimmering heatwaves. DURRANCE There's a sandstorm coming. COLONEL HAMILTON looks at the clear blue sky, seeing nothing to indicate a storm, but trusting Durrance's instincts. EXT. DESERT CAMP - night. HARRY and the other COOLIES gather sticks and desert shrubs, building a makeshift wall around the camp. The wind has picked up, blowing thick gusts of sand in their faces. As they work in the darkness and the dust, HARRY hears the whining sound he heard earlier. It's quieter now, but closer. ABOU FATMA hears it too. harry It's coming from inside the camp. They look around, but the dust obscures everything. The whining starts up again. HARRY concentrates until he thinks he knows where it's coming from. He checks to make sure the ORDERLIES aren't watching them, and then signals for ABOU FATMA to follow him. EXT. EDGE OF THE DESERT CAMP - night. Through the drifting clouds of sand we see a FIGURE crouching near the camp perimeter. It's the NUER TRIBESMAN Harry noticed earlier. Every time the wind picks up he calls out to the surrounding cliffs in a high piched whine. HARRY and ABOU FATMA watch him from behind a wagon. ABOU FATMA draws a knife from his boot. haRRY We need to find out who he's signalling. ABOU FATMA replaces the knife reluctantly, and points to a makeshift corrall where the camels are gathered. INT. TENT\/ DESERT CAMP - night. The tent flaps blow in the storm. TRENCH, CASTELTON, and WILLOUGHBY shelter inside, sharing a bottle of whisky. DURRANCE sits apart from the others, reading a letter. treNCH Is that the same letter you read over and over again, or do you get a different one each day? DURRANCE (He can't help a smile) It's the same one, but it's twenty pages long. wILLOUGHBY He writes them to himself. Go on Jack, read us a line. DURRANCE Read your own. trench Don't be so coy, you're amongst friends. Grins all around. DURRANCE looks at letter and tempts them with a single line: DURRANCE \"...I often think about our walks by the river...\" He stops enigmatically to a chorus of protest: tRENCH More, more... DURRANCE hesitates, reluctant to break the confidence of a letter, but anxious to broach the subject with his friends. DURRANCE (Reading more quietly) \"...Your letter surprised and delighted me...If I appear indecisive it's because I'm thinking of both of us...In the meantime I hope the length of my reply gives you some assurance of how very much I care about you...\" DURRANCE lowers the letter and looks at his friends. treNCH So who's the lucky lady? DURRANCE (After a moment) Ethne...I've asked her to marry me...You probably gathered that from the letter. There's a long silence. Astonishment. Then suddenly TRENCH raises his glass and roars. treNCH Congratulations. wILLOUGHBY That's fantastic Jack. DURRANCE She hasn't said yes. trench Of course she will: \"I hope the length of this reply gives you some idea of how much I bloody love you.\" DURRANCE \"How much I care about you.\" treNCH Same thing. TRENCH fills his glass to the brim. DURRANCE laughs, relieved that his friends have taken it so well. It's only as he drinks that he catches a hint of disapproval in CASTELTON's eyes. CASTELTON raises his glass, trying to hide his feelings, but DURRANCE sees through him. The moment is interrupted by loud shouting outside: BRITISH CORPORAL o\/s<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..Something's up with the camels.<\/stage_direction>\n    <scene_description>CASTELTON I'll go. CASTELTON looks relieved to leave the tent, worried that his conflicting emotions will betray him. DURRANCE stares after him, not entirely free of the memory of Harry himself. EXT. DESERT CAMP - night. CASTELTON follows the CORPORAL through the windswept camp. Up ahead they can hear the camels screeching. CASTELTON covers his eyes from the dust. Suddenly he sees the silhouettes of two RIDERS, charging out of the corral. One of them stops and stares at him momentarily. CASTELTON (He can't see the man's face clearly, but his outline seems hauntingly familiar) Harry? The RIDER turns and charges out of the camp. The CORPORAL blows a whistle, reaching for his gun, firing after them. CASTELTON stares at the disappearing figures, wondering if what he saw was real, or a figment of his troubled conscience. EXT. HILLS ABOVE THE DESERT CAMP - night. HARRY and ABOU FATMA ride up a steep hill, shots ringing out behind them. EXT. RIDGE ABOVE THE DESERT CAMP - night. As the sands sweep past we see the Mahdi's scouts for the first time: four NUER TRIBESMEN, standing on a ridge, looking down on the British campfires below. As they hear the shots, they turn away from the cliffside, and mount their camels. EXT. VIEW FROM A CLIFF\/ DESERT - day. The sand storm is still blowing, obscuring the sun. In the distance, the tiny figures of the NUER SCOUTS, can be seen riding across the arid sandscape. HARRY and ABOU FATMA watch them from the cliffs, and set off in pursuit. EXT. ridge\/ VIEW on NUER's campfire\/ DESERT - night. The Nuer's camp-fire glows far below on the valley floor. HARRY and ABOU FATMA have built their own fire in a crevice on the cliff wall, hidden from view. HARRY's eyes are fixed on the Nuer scouts, ABOU FATMA's are fixed on him. ABOU FATMA Why would a British spy be hiding from his own people? HARRY looks up at the Nubian, realising he can't keep up the pretence any longer. hARRY Because I'm not a spy. ABOU FATMA You're a deserter? harry (A long pause) Something like that. I was sent to fight, and I ran away. ABOU FATMA considers this for a moment. ABOU FATMA All soldiers run away. Only the good ones return. HARRY smiles. harry Shoukran. ABOU FATMA Shoukhran. HARRY looks away. Down below the Nuer's camp fire goes out. EXT. OPEN DESERT - night. The moonlight colors the dunes in blues and greens. HARRY and ABOU FATMA follow the Nuers' tracks through the virgin sands. EXT. crest of A hill\/ OPEN DESERT - day. The sunrise casts a blood red light over the horizon. The four NUER SCOUTS appear on the crest of a hill. We see them clearly now, their long black hair streaked yellow, their faces painted ghostly white. They survey the land beneath them and gallop off. EXT. THE same HILL\/ desert - day. ABOU FATMA and HARRY walk their camels quietly up the hill, following the Nuers' hoofprints. As they reach the top of the dune a vast plateau opens up beneath them. They see the NUER SCOUTS, riding along a winding trade route. At the end of the desert road stands a huge fortress. ABOU FATMA That is Abou Clea. A British fort. HARRY stares after the Nuer scouts, wondering why they're heading back into a British stronghold. The four riders merge into one of the caravans that dot the landscape. EXT. CARAVAN\/ TRADE ROUTE TO ABOU CLEA - day. A long line of DINKA REFUGEES walk alongside one of caravans, begging for food. HARRY and ABOU FATMA ride near the back, their faces hidden by their Djellabas. EXT. FORTRESS OF ABOU CLEA - night. A village of tents has spread around the fortress walls. More STARVING REFUGEES clamour at the gates. HARRY gazes up at the garrison walls. BRITISH SENTRIES can be glimpsed high up. The fortress gates creak open to let the caravan through. HARRY lowers his eyes as he rides past the guards. EXT. courtyard\/ FORTRESS OF ABOU CLEA - night. As he looks up again, HARRY suddenly feels a rush of panic. The fortress courtyard is filled with DERVISH WARRIORS. There are no British faces anywhere. HARRY glimpses a familiar red uniform, but as he stares more closely, his relief turns to horror. The British uniform is stained with blood. Wearing it is a fierce looking DERVISH WARRIOR with long braided hair. HARRY looks back at the ramparts. All the soldiers he thought were British sentries are in fact Dervish warriors, wearing the bloody uniforms of their victims. As he turns around, HARRY sees the worst sight of all. Hanging from scaffolds, are the chalk white bodies of the real British soldiers. HARRY is shaken out of his horror by a sharp hissing sound. ABOU FATMA glares at him to keep calm. DERVISH WARRIORS grab hold of their camels, and lead them with the rest of the caravan towards the stables. INT. stables\/ FORTRESS OF ABOU CLEA - night. HARRY and ABOU FATMA tether their camels. Behind them the DERVISH WARRIORS unload the caravan's shipment of rifles. ABOU FATMA (Whispering to Harry) Follow me out. HARRY nods, still in shock. ABOU FATMA turns around and heads out of the stables, unchallenged. EXT. courtyard\/ FORTRESS OF ABOU CLEA - night. HARRY follows ABOU FATMA through the crowded courtyard. His eyes are drawn to the torchlit faces all around him. The Mahdi's army is made up of dozens of different tribes: some in glowing war paint, others marked with ritual scars, wearing the dried viscera of their victims around their necks. The Dervishes' eyes seem to follow HARRY wherever he goes, staring out at him through their slit Djellabas. Suddenly HARRY feels a pair of hands grab him. He wheels around to see a huge DERVISH CAPTAIN towering over him. DERVISH CAPTAIN (In Arabic, studying Harry's features) Come with me. ABOU FATMA (In Arabic) Our caravan is waiting outside. DERVISH CAPTAIN (Waving Abou Fatma away) Imshi! ABOU FATMA murmurs something to HARRY in his native Nubian tongue, slipping in the English words: 'I'll find you.' DERVISH CAPTAIN (To Harry, in Arabic) Follow me! EXT. gallows\/ courtyard\/ FORTRESS OF ABOU CLEA - night. HARRY's heart is pounding as he walks back through the hellish courtyard. He isn't sure if the DERVISH CAPTAIN has realised he's British. It's only as he points HARRY towards the gallows that he realises the predicament he's in. DERVISH CAPTAIN (In Arabic; gesturing to a mound of British dead) Over there. HARRY hesitates, then walks over to the pile of British corpses, convinced he's going to be shot amongst them. DERVISH CAPTAIN (In Arabic; gesturing to the uniforms) Find one that fits. HARRY stares at him, then slowly begins to understand. He's been picked out as a pale looking Arab, one that might pass as a British officer from a distance. As he looks around he sees other DESERT ARABS, grinning at him, wearing their own blood stained British uniforms. HARRY kneels beside the slaughtered British soldiers. One of them still has his pipe stuffed between his teeth. As HARRY stares at the obscenity, his fear slowly turns to anger. With trembling fingers he unbuttons the dead man's jacket. As he slips the bloodstained British uniform over his shoulders we begin to see the change in his eyes. EXT. ABOU FATMA\/ courtyard\/ FORTRESS OF ABOU CLEA - night. ABOU FATMA wanders amongst the Dervish army, begging for alms, searching for Harry. Finally he spots him at the far end of the courtyard, sitting amongst the other DERVISH WARRIORS IN BRITISH UNIFORMS. EXT. HARRY\/ courtyard\/ FORTRESS OF ABOU CLEA - night. ABOU FATMA grovels at the feet of the DERVISHES, before he approaches HARRY. ABOU FATMA (In Arabic) Alms for the poor. HARRY turns around. His eyes are distant. He looks back at the spot he was staring at before. At first ABOU FATMA thinks he's in shock, but then he sees what HARRY's looking at. Across the courtyard stands a large tent, surrounded by flags. Waiting outside, are the four NUER SCOUTS. ABOU FATMA (Beginning to see his intent) We have to leave. harry Wait for me at the gates. (As Abou Fatma starts to protest) Imshi. The other DERVISHES look at ABOU FATMA threateningly. ABOU FATMA gets up and walks away reluctantly. Across the courtyard, the NUER SPIES have been ushered into the tent. INT. WAR COUNCIL tent\/ FORTRESS OF ABOU CLEA - night. The MAHDI, a tall, gaunt, warrior in desert robes, listens to the NUER SCOUTS in silence. As they notify him of the British advance, he starts to draw a battle plan on the tent's sandy floor. His LIEUTENANTS move closer to see what he's planning. INT. WAR COUNCIL tent\/ FORTRESS OF ABOU CLEA - night. Outside the tent more DERVISH WARRIORS have gathered to catch a glimpse of their revered leader. HARRY is amongst them. He stares at the white clad figures within. Suddenly he feels a pair of eyes on him. He turns to see the DERVISH CAPTAIN who stopped him earlier, watching him intently. HARRY moves off. The DERVISH CAPTAIN stares after him suspiciously. EXT. gates\/ FORTRESS OF ABOU CLEA - night. ABOU FATMA waits anxiously outside the fortress gates. The hordes of STARVING BEGGARS are pushed back as a troop of DERVISH WARRIORS ride out, carrying the naked bodies of the British dead. ABOU FATMA stares after them, wondering what's going on. EXT. HARRY\/ courtyard\/ FORTRESS OF ABOU CLEA - night. HARRY looks behind him. Through the milling crowd he sees the DERVISH CAPTAIN, still following him. His heart pounding, HARRY heads towards the stables, trying to give him the slip. EXT. HARRY\/ STABLES\/ FORTRESS OF ABOU CLEA - night. Camels kick and snort in the stable. HARRY crouches down. Through the animals' legs he sees the DERVISH CAPTAIN enter. Suddenly the DERVISH CAPTAIN shouts at the top of his voice. The camels scatter, leaving HARRY exposed. The DERVISH CAPTAIN stares at him menacingly. HARRY bows, and starts to walk towards him, in supplication. His hand slips behind his back, groping for the knife that's hidden there. The DERVISH CAPTAIN barks at him to stay where he is. As he steps backwards, HARRY suddenly charges, and drives the dagger deep into his gut. The DERVISH CAPTAIN screams, but all that comes out is a terrible hissing sound. HARRY clamps his hand over the CAPTAIN's mouth and bends his head backwards. As they tumble to the ground, HARRY twists the knife in deeper. The Dervish bites down in agony, drawing a stream of blood from Harry's knuckles. HARRY rams his fist deeper into the man's throat, choking him slowly. Meanwhile his knife hand tears its way out of the Dervish's gut, and plunges back into his thigh. The CAPTAIN's eyes water in pain and fear. HARRY stares at him, crushing his spirit with his own unflinching gaze. As he feels the man's grip weaken, he pulls away sharply, and swings the knife down with all his force. The blade sticks in the DERVISH CAPTAIN's chest, sending his eyes spinning out of focus, forcing a rush of blood out of his mouth. HARRY watches in horror, as the man's eyes roll around, desperately trying to find their focus, then stop still. He feels his enemy's dying breath on his face, and hears a horrible sucking sound, as he withdraws the knife. HARRY's arm is elbow deep in gore. He turns away and tries to retch, but nothing comes out. He stays like that for a moment, bent over the bloody sand, contemplating what he's just done. Finally he gathers himself, grabs the dead man by the ankles, and drags him further into the stable. EXT. courtyard\/ FORTRESS OF ABOU CLEA - night. HARRY brushes past the crowds of DERVISH WARRIORS, his eyes fixed on the fortress gates ahead. He's only a few yards away, when a DERVISH SENTRY calls out: DERVISH SENTRY (In Arabic) The gates are closed. HARRY stares at him dangerously. For an instant it looks like another fight may ensue, but then a calming voice calls out: ABOU FATMA (In Arabic) Let him give us alms. It will bring you both fortune in battle. ABOU FATMA sticks his hands through the fortress gates, along with the hundreds of other BEGGARS outside. HARRY begins to understand. He pulls out some coins from his robes, and approaches the BEGGARS. harry (Whispering to Abou Fatma, as he hands out alms) Go to the British camp. Tell them they're going to be ambushed. Tell them they have to change their route. It's a trap... ABOU FATMA stares into HARRY's eyes, seeing the change that's come over them. EXT. BRITISH COLUMN\/ DESERT VALLEY - day. DURRANCE rides at the front of the column. He suddenly stops, and stares ahead in horror. All across the desert floor he sees the marble white bodies of dead British soldiers. Wild dogs chew at their remains. The whole of the column seems frozen for a moment. Then TRENCH suddenly breaks rank, and charges the animals, screaming at the top of his voice, dispersing them with his whip. EXT. tents\/ THE SLOPE OF A HILL\/ DESERT VALLEY - day. The column has set up camp until their dead comrades are buried. The OFFICERS dig the graves themselves, watched by the COOLIES now. A CORPORAL approaches WILLOUGHBY and salutes. CORPORAL A native to see you, sir. He says he has some intelligence regarding the route we're on. ABOU FATMA is pushed forward by the EGYPTIAN SOLDIERS. wILLOUGHBY (Eyeing him suspiciously) What intelligence? ABOU FATMA You must leave this area. The EGYPTIAN silences him with a slap to the head. EGYPTIAN CORPORAL This man is lying. He's a deserter. He stole the camels -- ABOU FATMA -- I went to Abu Klea. The Mahdi's forces have captured your garrison. They will attack you in this place. TRENCH and DURRANCE have arrived to see what's happening. TRENCH stares at ABOU FATMA menacingly, still seething over the treatment of the British dead. wILLOUGHBY (To Trench and Durrance) This is their idea of misinformation. (Toying with Abou Fatma) Who told you this? ABOU FATMA A British Officer. wILLOUGHBY (Mockingly) A General no doubt. What else did he tell you? ABOU FATMA (With equal disdain) That you wouldn't believe me. WILLOUGHBY smiles at the Nubian's gall, but TRENCH explodes at his insolence. trench (Grabbing Abou Fatma by the neck) I'll show you a British Officer... (Forcing him on his knees in front of one of the butchered corpses) This is a British Officer!... (Rubbing Abou Fatma's face into a patch of bloodstained sand) This is a British officer's blood. Lick it up! Every bloody drop!... The NUBIAN spins around, ready to strike. TRENCH draws his knife, daring him to make a move. ABOU FATMA (Controlling his anger) The Muslims bury their dead. Even the enemy dead. These bodies have been left here for a reason. To keep you here. To hold you up. wILLOUGHBY (Ignoring him) Take him away. Find out why he was sent here. Do whatever you have to do. The SOLDIERS disperse. Only DURRANCE stays where he is, thinking about the Nubian's warning. EXT. courtyard\/ FORTRESS OF ABOU CLEA - day. A chant of 'Allah Akbar' rises over the fortress walls. Hundreds of WARRIORS kneel and pray in unison. HARRY does the same. EXT. tent\/ BRITISH CAMP\/ DESERT VALLEY - day. ABOU FATMA is on his knees, manacled to a tent pole. EGYPTIAN CORPORAL (In Arabic)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..You work for the Mahdi!<\/stage_direction>\n    <scene_description>ABOU FATMA (In English) I fought the Mahdi... The EGYPTIAN lashes him with a bull-whip. EGYPTIAN CORPORAL (In Arabic)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..Who sent you?!<\/stage_direction>\n    <scene_description>ABOU FATMA A British Officer. The EGYPTIAN starts whipping Abou Fatma again, ready to kill him. DURRANCE finally intervenes. DURRANCE That's enough... He kneels down beside ABOU FATMA, staring into his eyes. ABOU FATMA sees no mercy in his gaze, but at least there's a glimmer of curiosity. DURRANCE Why would you want to help us? ABOU FATMA The Mahdi is allied with slave traders... (pause) My family were taken prisoners and sold as slaves. DURRANCE considers Abou Fatma's answer. There's something about it that has a ring of truth. DURRANCE glances at the BRITISH SOLDIERS, digging graves in the open desert, and then stares up at the surrounding hills. EXT. gates\/ FORTRESS OF ABOU CLEA - night. Through the clouds of dust we see the first of the Mahdi's army riding out -- ghostly DINKA WARRIORS, naked from head to foot, caked in white ash. Behind then come the NUERS, long streaked hair trailing in the wind, faces painted the colors of a nightmare. The HADENDOA spearmen follow, blood-stained feathers in their hair, banging on their calf skin drums. Last of all come the DERVISH RIDERS IN THEIR BLOODSTAINED BRITISH UNIFORMS. HARRY rides at the heart of the demonic troop, his eyes filled with dread. EXT. BRITISH CAMP\/ DESERT VALLEY - day. DURRANCE surveys the surrounding hills. CASTELTON watches him curiously. CASTELTON What is it Jack? DURRANCE's eyes stare at the horizon, still not sure. EXT. HILLS beyond ABOU CLEA - day. At a signal from the MAHDI, his army splits in two, some following the green flags, others the black. HARRY and the DERVISH RIDERS IN BRITISH UNIFORMS are told to wait. EXT. BRITISH CAMP\/ DESERT VALLEY - day. WILLOUGHBY and TRENCH join CASTELTON and DURRANCE at the edge of the camp. DURRANCE is still staring at the ridges above them. As they listen, they can just make out a distant rumble of thunder. DURRANCE looks up. The sky is perfectly blue. DURRANCE We'd better get the Gatling gun out. EXT. HILLS ABOVE THE BRITISH CAMP\/ DESERT VALLEY - day. NUER SCOUTS, daubed in yellow camouflage, appear out of the rocks. INT. CASTELTON's TENT\/ BRITISH CAMP\/ DESERT VALLEY - day. CASTELTON walks into his tent and searches through his belongings. He finds one of his bibles, kisses it for luck, and slips it in his jacket pocket. As he turns around he sees TRENCH grinning at him. trench You haven't got a spare one have you vicar? EXT. SLOPE OF A HILL\/ DESERT - day. Through thick gusts of sand we see hundreds of bare feet and horses' hooves moving up the desert slope. The sand at their feet pours back down the slope like an avalanche. EXT. DURRANCE's POV\/ CREST OF the HILL\/ DESERT - day. As DURRANCE gazes up, the first of the Mahdi's army appear on the crest of the hill, a handful of SCOUTS, riding back and forth, judging the British numbers. As the SCOUTS disappear, a curtain of dust rises up behind them. As it settles, DURRANCE sees thousands of figures appear along the length of the hill, their green banners fluttering in the wind. EXT. BRITISH CAMP\/ DESERT VALLEY - day. Across the camp, CASTELTON and TRENCH stare mesmerised, as another huge army appears on the opposite hill. This time their banners are black. Panicked voices ring out. officers' voices Form a square...Form a square... EXT. CREST OF the HILL\/ view of the british camp - day. The Mahdi's armies stare down from the wind whipped slopes, thousands of expressionless faces, listening to the British bugles shrilling down below. From above we see the British fighting square taking shape: red and khaki colors separating into units, the bright blue of the Egyptian uniforms forming a larger wall around the perimeter. EXT. BRITISH CAMP\/ DESERT VALLEY - day. The GRENADIER GUARDS are crouched in formation, rifles ready. TRENCH changes position, asking one of the other SOLDIERS to swap with him, settling down next to CASTELTON. trench You can't get rid of me that easily. CASTELTON's fear seems to vanish in an instant. EXT. GREEN FLAGGED ARMY\/ CREST OF the HILL - day. A cry of Allah Akbar is picked up by thousands all along the ridge, turning into a deafening roar as the Green flagged Army finally charges. EXT. BRITISH CAMP\/ DESERT VALLEY - day. DURRANCE moves along the lines of RIFLEMEN, barking intructions over the wind. DURRANCE Fire at the horses. Fire at will. A volley of shots answers his call. EXT. GREEN FLAGGED ARMY\/ slope OF the HILL - day. Enemy horses and riders collapse, sliding down the slopes. EXT. DESERT VALLEY - day. The British camp is shrouded in gunsmoke, flashes of orange light bursting through, the Gatling gun wreaking havoc. EXT. GREEN FLAGGED ARMY\/ FOOT OF THE HILL - day. Through the sand drifts, we see the camels' hooves rearing up, bursts of arterial blood as the bullets tear into their hide. The HADENDOA SPEARMEN leap over the walls of torn flesh, and charge the British lines in a suicidal frenzy. EXT. CASTELTON\/ BRITISH CAMP\/ DESERT VALLEY - day. CASTELTON aims at the PAINTED WARRIORS. Every time he fires, someone falls. Every time he kills, he murmurs a prayer. TRENCH bites his lip so hard, his mouth fills with blood. He spits it out as he drops yet another man. EXT. BLACK FLAGGED ARMY\/ FOOT OF THE HILL - day. The DERVISH HORDES keep coming, clambering over the bodies of their dead. EXT. HARRY\/ ENTRANCE TO THE VALLEY - day. Far away, at the entrance to the valley, HARRY can hear the screams of the wounded and dying. Even the DERVISH WARRIORS seem apprehensive. Only the MAHDI is calm, waiting for his moment. He raises his hand, and signals for the horsemen in British uniforms to charge. EXT. DURRANCE\/ BRITISH CAMP\/ DESERT VALLEY - day. Enemy bullets crackle past DURRANCE's head, but he doesn't seem to notice. Through the smoke and dust he sees hundreds of enemy dead, lying in blood smeared heaps. The Dervish onslaught is less sustained now. The occasional STRAGGLER appears out of the haze and is blown away by a burst of gunfire. Suddenly DURRANCE hears the sound of a bugle. EXT. CASTELTON\/ BRITISH CAMP\/ DESERT VALLEY - day. CASTELTON and TRENCH hear the bugle too. They stop firing as they see the remnants of the black flagged army retreating into the hills. There's a moments confusion and then a roar of celebration around the camp as the SOLDIERS see a troop of BRITISH CAVALRY, riding out of the sand clouds towards them. EXT. HARRY\/ DESERT VALLEY - day. HARRY stares in horror as he sees the BRITISH SOLDIERS, breaking rank, waving at the charging RIDERS, thinking they're British cavalry. HARRY kicks his horse and tries to weave his way out of the charging horde. EXT. BRITISH CAMP\/ DESERT VALLEY - day. The BRITISH SOLDIERS gather at the camp perimeter to welcome the approaching cavalry. EXT. HARRY\/ DESERT VALLEY - day. HARRY charges through the red uniformed Dervish ranks, ignoring orders to stay in line. At a signal from one of the DERVISH LIEUTENANTS, the horsemen raise their bows. EXT. DURRANCE\/ BRITISH CAMP - day. DURRANCE stares curiously as a flicker of sunlight streaks across the heads of the distant riders. He watches the approaching dust cloud, wondering why it's coming at them so fast. Slowly he begins to make out the first figures. Something about them isn't right. Their uniforms hang too loosely. They ride too far apart. He reaches for his gun. EXT. HARRY\/ DESERT VALLEY - day. HARRY breaks through the Dervish line. Behind him he hears the mounted ARCHERS stringing their bows. He drives his horse forwards, towards a lone BRITISH SOLDIER, standing on the camp perimeter. EXT. DURRANCE\/ BRITISH CAMP - day. DURRANCE sees the lone rider, charging towards him, yelling at the top of his voice. He can't see the man's face or hear his voice, but he's convinced these riders are the enemy now. EXT. DURRANCE\/ BRITISH CAMP - day. HARRY sees DURRANCE aiming his rifle, a moment too late. The gunshot sends his horse spinning to the ground. He feels the weight of the animal pin him down. As he looks up he sees the DERVISH RIDERS riding over him, letting their arrows fly. EXT. BRITISH CAMP - day. The sky above flickers with light as the arrows catch the sun. The steel shafts hurtle down, plunging into exposed eyes and throats. All around him CASTELTON sees SOLDIERS totter and fall, arrows sticking out of them like quills. He pulls out his revolver and starts firing at the onrushing horses. EXT. DERVISH RIDERS\/ PERIMETER OF BRITISH CAMP - day. The DERVISH lances skewer the BRITISH SOLDIERS as they try to run back to their lines. Some of the DERVISH RIDERS dismount and finish them off with their daggers, and their bare hands. EXT. GREEN FLAGGED ARMY\/ slope OF the HILL - day. On the desert slopes, the retreating green flagged army wheels around and charges back into the fray. EXT. WILLOUGHBY\/ BRITISH CAMP - day. WILLOUGHBY looks up, and sees the Mahdi's black flagged army, also swarming back towards the British ranks. EXT. HARRY\/ PERIMETER OF BRITISH CAMP - day. HARRY is still pinned. He slits the dead horse's belly with his knife, and slides his leg under the gore. He gets to his feet and runs towards the fighting, desperate to reach his friends. EXT. DURRANCE\/ BRITISH CAMP - day. DUURANCE yells at the top of his voice: DURRANCE Close the square! Close the square! CASTELTON and TRENCH fire at the charging horses. As they fall, the other GRENADIERS take courage, and rush at their RIDERS, bringing them down in a volley of gunfire. The SOLDIERS clamber over the dead bodies and link up with the rest of their Square. EXT. HARRY\/ PERIMETER OF BRITISH CAMP - day. HARRY can't see the British square reshaping, but he can see its rippling effect all along the DERVISH line. He cuts his way through like a beserker. Whatever doubts and fears his civilized self felt his primitive self now rejects. He fights like a man possessed. EXT. grenadiers\/ british square - day. The BRITISH line pulls back, firing and reloading as it retreats. EXT. WILLOUGHBY\/ PERIMETER OF BRITISH CAMP - day. WILLOUGHBY stares in horror at the bloodshed all around him. Through the hellish smoke he sees ABOU FATMA, still tied to the whipping post, staring at him in silent reproach. EXT. grenadiers\/ british square - day. CASTELTON fires into the enemy ranks. He's out of ammunition. TRENCH is retreating with the other GRENADIERS. He sees his friend stalling and yells: trench Get back! Get behind us! CASTELTON doesn't hear him. His parade ground training is taking over. He lowers the rifle and fixes a bayonet on it. EXT. HARRY\/ AMONGST THE CHARGING DERVISHES - day. Through the swarming ranks, HARRY glimpses CASTELTON, standing alone with his bayonet poised. He calls out as well. EXT. CASTELTON - day. CASTELTON hears nothing but the pounding of his own heart. The DERVISH WARRIORS swarm towards him. He disembowels the first WARRIOR, then swings his bayonet around to meet the next. The DERVISH impales himself, right up to his rib cage. CASTELTON tries to pull his blade free, but the bayonet is locked in bone now. EXT. TRENCH\/ RETREATING grenadiers\/ british square - day. TRENCH stares in horror as he realises what's happened. The noises around him seem to fade as he gazes at CASTELTON, straining as he did in the training ground, trying to pull the bayonet free. EXT. HARRY\/ AMONGST THE CHARGING DERVISHES - day. HARRY runs as fast as he can, trampling over the dead soldiers and horses that litter the desert floor. EXT. CASTELTON\/ ISOLATED FROM THE SQUARE - day. CASTELTON tries to loosen the blade, but it's no use. He looks up to see a storm of painted faces, rushing towards him, spears pointed at his eyes and guts. Somewhere amongst the screaming horde, he glimpses a familiar face, calling out. A smile flickers across his face. He mouths the words 'Harry' as the first of the Dervish spears sinks into his heart. EXT. TRENCH\/ RETREATING grenadiers\/ british square - day. TRENCH screams in agony as he sees CASTELTON disappear. He charges out of the retreating British line, swinging at everything in his way, breaking skulls and shattering bone. He's only yards away from CASTELTON when a blow to the back of the head sends him sprawling. EXT. DURRANCE\/ RETREATING grenadiers\/ british square - day. DURRANCE charges out of the British square as he sees his friends fall, firing round after round into the enemy ranks. Every time his gun empties, he picks up another from a dead soldier, and keeps going. EXT. HARRY\/ AMONGST THE DERVISHES - day. HARRY drops to his knees, next to CASTELTON's body, protecting his friend's corpse from further abuse. EXT. TRENCH\/ AMONGST THE DERVISHES - day. TRENCH stares up at the nightmare faces crowding all around him. The butt of a spear cracks open his head, reducing everything to a terrifying silence. He feels a sea of hands, reaching down, tearing his uniform, lifting him in the air. EXT. DURRANCE\/ WALKING TOWARDS THE DERVISHES - day. DURRANCE charges towards the enemy, firing into their massed ranks, oblivious to any danger. One of his guns jams. DURRANCE keeps pressing the trigger. The gun suddenly backfires and blows up in his face. EXT. HARRY\/ AMONGST THE DERVISHES - day. HARRY sees DURRANCE fall. He gets up and runs through the enemy ranks, pretending to be one of them. He leaps on DURRANCE as he tries to get up, pinning him to the ground, stopping him getting himself killed. The unsuspecting DERVISH WARRIORS sweep past them, towards their next victims. HARRY keeps DURRANCE pinned, until the enemy hordes disappear. Only then does he stand up. He looks down at his friend. DURRANCE doesn't seem to recognise him. At first HARRY thinks it's the sunlight blinding him, but then he sees the powder burns around DURRANCE's eyes. DURRANCE gropes around. He starts crawling away on his hand and knees. He crawls right into a mud bath of Dervish dead. He rears back in horror, and lets out a little cry of panic. HARRY slowly begins to understand. He watches in anguish, as his friend claws at his eyes, trying to rub the blindness out of them, his whimpers of panic turning into howls of agony. INT. BRITISH HOSPITAL SHIP\/ ALEXANDRIA - day. The screams of the wounded BRITISH SOLDIERS echo all around the hospital ship. CAPTAIN CALDER, the Regimental surgeon, stands over Durrance's bed. DURRANCE stares out, blindly. CAPTAIN CALDER<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..You ought to see a specialist once we're back.<\/stage_direction>\n    <scene_description>DURRANCE Is it part of your treatment to offer false hope? CAPTAIN CALDER Only for some. (reaching in his pocket) This came for you. He hands over a letter. DURRANCE sticks it in his top pocket. DURRANCE I'll read it later. (Grinning as he realises Calder hasn't caught the joke) If you wouldn't mind, Doctor... He hands the letter back to CALDER to read for him. CAPTAIN CALDER (Glancing over it)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..\"Dear James, I hold in my heart all you have written me\"...<\/stage_direction>\n    <scene_description>(He looks up) I feel a little awkward reading this... DURRANCE Don't. There's something strident in Durrance's voice, a brittleness that hides the insecurity inside. CALDER continues: CALDER<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..\"Knowing you as I do, and convinced as I am of your affections, I wish to go back on my previous fears. I'm writing now, to let you know how grateful I am to have you in my life -- and to say, with all my heart, how much I wish to be in yours...With all my love, Ethne.\"<\/stage_direction>\n    <scene_description>CALDER, lowers the letter, quietly moved. CAPTAIN CALDER Congratulations... DURRANCE stares out quietly. DURRANCE I knew a man once who went blind, a good man too, before...A year after you wouldn't have recognised him. He was the most selfish, exacting, egotistical human being you could ever meet. I wouldn't wish him on anyone... He smiles ironically, hiding the heartbreak inside. DURRANCE The one thing I want most in this life, finally comes to me when I can no longer accept it. INT. DRAWING ROOM\/ CAROLINE's house\/ OUTSIDE LONDON - day. ETHNE stares out of the drawing room window, waiting. Her friend CAROLINE sits at a table, pretending to be absorbed in her book, listening just as intently. There's the jingle of a carriage outside. CAROLINE That's him. ETHNE It isn't stopping. EXT. DURRANCE's carriage\/ STREET\/ caroline's house - day. DURRANCE stares ahead as the carriage passes Caroline's house. DURRANCE (To the Driver) Drive around once...Describe the entrance to me... INT. DRAWING ROOM\/ caroline's house - day. ETHNE turns away from the window. CAROLINE Maybe you should have gone to the station to meet him. ETHNE He might have thought I was going because I imagined he was helpless. I don't want him to feel like that. There's a quiet resolve in Ethne's voice, as if she's been mulling over her future life with Durrance. The doorbell rings. ETHNE That must be him. CAROLINE gets up to answer the door. ETHNE walks to the window. Her movements are nervous, her eyes tense. The door finally opens. DURRANCE walks in, alone. As soon as ETHNE leaves the window he turns around and looks straight at her. ETHNE (Startled) It isn't true then, you can see... DURRANCE (Gently) It's perfectly true. I can't see a thing. ETHNE stops, feeling guilty. DURRANCE You moved from the window, that's how I knew. ETHNE I hardly made a noise. DURRANCE No, but the window was open. The noise outside grew louder. She tries to answer his smile. ETHNE Let me get you some tea, and then we can talk. DURRANCE (Sensing her tension) Yes, we have a lot to talk about. ETHNE's hand trembles as she pours the tea. DURRANCE interprets every sound. She picks up the cup and walks over with a smile, holding it out for him. DURRANCE I hate to sound humble, but I don't trust myself with a cup of tea yet. ETHNE feels stupid again. She sets the cup down on a table. DURRANCE (Gently) You're not bound, you know. There's a pause. ETHNE knows exactly what he means. ETHNE Bound by what? DURRANCE I wouldn't dream of holding you to your letter. Or a committment you made to a different man. ETHNE stares at him in surprise, and then in quiet admiration. ETHNE You're not a different man. DURRANCE I don't say it begrudgingly. I'm not being particularly noble or heroic either. It's something I've thought about long and hard -- ETHNE Jack -- DURRANCE -- Please hear me out... (With difficulty) I'm thinking of myself as much as you. I have to learn to accept what's happened. I have to learn to respect the person I've become. The only way to do that is to start again. ETHNE Why does it have to be without me? Her words make him hesitate. DURRANCE Because if I was with you, I'd spend every moment wondering how you really felt about me. ETHNE If you don't know how I feel about you, then that's a good reason to call off our wedding. Your blindness isn't. She stares at him, determined. DURRANCE looks touched by her devotion, but still doesn't feel worthy of her love. DURRANCE It has to be more than mere obligation Ethne, or even friendship. It has to be more than that... ETHNE suddenly reaches out and touches his face. DURRANCE stops as he feels her fingers. He's lost for a moment, unsure of himself. ETHNE leans forward and kisses him, tenderly at first, but then more and more passionately, proving herself to him, proving herself to herself. DURRANCE kisses her back, close to tears. EXT. PATIO\/ caroline's house - DAY. A sharp clatter of hooves. DURRANCE rides his horse with the help of a GROOM, his face fixed in concentration. ETHNE and CAROLINE watch him from the patio. ETHNE (Gazing at him proudly) He seems to need his eyes less and less each day. It's incredible. Nothing escapes him. Sometimes I think he reads me like a book. CAROLINE You no longer have your face to screen your thoughts. ETHNE doesn't notice the edge in her voice. She's lost in her own thoughts. DURRANCE climbs off his horse and strides towards them, looking pleased with himself. DURRANCE (Wrapping Ethne in his arms) You smell wonderful. ETHNE And you smell like a horse. Go wash. ETHNE keeps smiling, even after DURRANCE has gone. CAROLINE watches her friend quietly, fighting the jealousy she feels within. A voice interrupts their separate thoughts: GARDENER o\/s (Calling out)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..Someone to see you Miss Eustace.<\/stage_direction>\n    <scene_description>ETHNE looks up to see a UNIFORMED OFFICER, standing with the GARDENER, by the maze. She gets up curiously. EXT. garden\/ maze\/ caroline's house - day. As ETHNE approaches the soldier she suddenly stops, recognising him. It's WILLOUGHBY. wILLOUGHBY I went all the way to Bintree to find you. Your father told me you were here. I'm sorry I came unannounced, I needed to talk to you alone... ETHNE doesn't reply or return his smile. WILLOUGHBY seems to read her thoughts. wILLOUGHBY I understand how you feel, Ethne. All I can say is that we never set out to hurt you. What happened was between us and Harry, not the two of you. ETHNE (Coldly) What do you want, Tom? WILLOUGHBY hesitates, bracing himself. wILLOUGHBY<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..I've seen Harry. In Suakin. He asked me to give you these...<\/stage_direction>\n    <scene_description>He holds out TWO SOILED WHITE FEATHERS. ETHNE stares at them, unable to speak, her whole world turned upside down. wILLOUGHBY He risked his life to save our regiment. He fought as if he'd been born to it. I've come to tell you I've withdrawn my accusation of cowardice against him, along with Castelton's. ETHNE (All she cares about) Is Harry dead? wILLOUGHBY He was fine when I saw him. He'd changed a great deal but he was in good health. ETHNE Changed how? wILLOUGHBY I didn't spend much time with him. I don't know what else to tell you Ethne. ETHNE Tell me everything Tom. Please... (Imploringly) If by your own admission you've hurt me, then I have a right to know. EXT. PATIO\/ caroline'S house - DAY. CAROLINE watches curiously from the patio, as ETHNE and the mysterious Officer, walk into the maze, deep in conversation. EXT. maze\/ caroline's house - day. ETHNE and WILLOUGHBY sit on a bench in the garden maze. wILLOUGHBY<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..Nothing prepared us for what happened. We were two miles short of Abou Klea when we were ambushed. We managed to hold off the enemy, but at a terrible cost. A few days later Khartoum fell and the whole expedition was called off...<\/stage_direction>\n    <scene_description>TIME DISSOLVE BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRITISH EVACUATION CAMP - ON NILE - DAY.<\/stage_direction>\n    <scene_description>WOUNDED BRITISH SOLDIERS lie in the open sun, moaning in agony, plagued by clouds of dust and swarms of flies. WILLOUGHBY stares out, numb to their suffering, thinking only of his own lost friends. The SHADOW OF A MAN in Arab robes hovers over him. WILLOUGHBY<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..Get lost!... The ARAB doesn't move.<\/stage_direction>\n    <scene_description>wILLOUGHBY (Looking up furiously) Didn't you bloody hear me! Get lost!... WILLOUGHBY suddenly stops. He stares at the Arab as if in a dream. wILLOUGHBY<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..Harry?...<\/stage_direction>\n    <scene_description>HARRY stares back at him through his black desert robes. HARRY I sent a man to you with a warning from Abou Klea. You wouldn't listen to him. You had him tortured instead. The confusion and shock bring pent-up tears to WILLOUGHBY's eyes. HARRY He told you a British Officer had sent him. Even if you didn't believe him, what would it have cost to take precautions. What more did I have to do? wILLOUGHBY (As the horror sinks in) I didn't know Harry...I didn't know it was you... (He still can't believe his eyes)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..What are you doing here in God's name?...What are you doing?...<\/stage_direction>\n    <scene_description>HARRY opens his hand to reveal a soiled white feather. WILLOUGHBY stares at it, in bewilderment at first,then slowly beginning to understand. wILLOUGHBY (He gazes at the feather as if it's the symbol of his own disgrace now) Give me the others. Give them to me. harry They're not yours to take back. WILLOUGHBY looks up at him through his tears. There's no condemnation in Harry's eyes, but no sympathy either. His experiences have changed him, turned him into a harder man. EXT. maze\/ caroline's house - day. ETHNE gazes silently at the feathers in her hand. wILLOUGHBY<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..He'd followed us all the way from Alexandria, looking for an opportunity to redeem himself. It was only after he left that I found out an Arab matching his description had also saved Jack Durrance's life.<\/stage_direction>\n    <scene_description>ETHNE looks up in surprise. willoughby Jack doesn't know. That was the way Harry wanted it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FLASHBACK\/ BATTLEFIELD\/ DESERT\/ SUDAN - DAY.<\/stage_direction>\n    <scene_description>Smoke hovers over the corpse strewn battlefield. We see HARRY through the haze, carrying DURRANCE on his shoulders, staggering under his friend's weight.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FLASHBACK\/ HILLS ABOVE THE BATTLEFIELD\/ SUDAN - DAY.<\/stage_direction>\n    <scene_description>HARRY and ABOU FATMA help DURRANCE up a steep mountain trail, as below them, the battle rages.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FLASHBACK\/ BANKS OF THE NILE\/ SUDAN - DAY.<\/stage_direction>\n    <scene_description>DURRANCE's brow is beaded with sweat. HARRY cools his face with a wet cloth. DURRANCE murmurs questions in his feverish state, but HARRY remains resolutely silent. EXT. maze\/ caroline's house - day. ETHNE stares at WILLOUGHBY, thinking only of Harry. WILLOUGHBY thinks she's staring at the medals on his chest. wILLOUGHBY (Embarrassed) I tried to turn them down. I told the committee I'd done nothing to deserve them. They didn't care. I think they pick their heroes' names out of a hat. (Trying to ease her pain) You asked me how he'd changed. All I can say is that you would have been proud of him. ETHNE I should have been proud of him before. Or at least I should have tried to understand. willoughby You can't blame yourself. ETHNE Why not, if you can. (She won't forgive herself) We all misjudged him, but I had the least excuse. He was the man I was supposed to love. Suddenly a voice calls out: DURRANCE O\/s Ethne... They turn around, startled. DURRANCE stands at the entrance to the maze. WILLOUGHBY gets up nervously. ETHNE (Whispering urgently) Please, I don't want him to know you're here. WILLOUGHBY stops. DURRANCE looks in their direction. wILLOUGHBY (In disbelief) He can see us. ETHNE He can't see a thing. DURRANCE reaches out and feels the hedge, finding his bearings, taking slow steps into the maze: DURRANCE Ethne...? ETHNE keeps quiet. DURRANCE Ethne...? She watches DURRANCE, wracked with guilt. wILLOUGHBY (Beginning to panic) I've got to say something. ETHNE Be quiet. DURRANCE is only a few yards away from them now. He stares a moment, as if at ETHNE, then turns and walks back. EXT. window\/ CAROLINE's house - day. CAROLINE sees DURRANCE, walking away from the maze, still calling out for Ethne. EXT. maze\/ CAROLINE's house - day. Durrance's voice fades in the distance. ETHNE (Struggling with her emotions) I didn't want him to find out what you just told me. wILLOUGHBY Harry was his best friend -- ETHNE -- I'm engaged to Jack. I'm going to marry him. WILLOUGHBY stares in surprise. wILLOUGHBY<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..I knew he'd proposed, I had no idea you'd accepted...<\/stage_direction>\n    <scene_description>(Considering the implications)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..I'd never have told you if I knew. I'm sure Harry wouldn't have wanted me to.<\/stage_direction>\n    <scene_description>ETHNE I'm glad you did. I needed to know. (Looking at him) Do you know where Harry is now? WILLOUGHBY hesitates. wILLOUGHBY He didn't tell me anything; I didn't feel I had a right to ask -- ETHNE -- Please, tell me the truth. There's no anger in her voice, only concern. WILLOUGHBY looks torn. wILLOUGHBY Some of our men were taken prisoner. The Dervishes took them South, in case we tried a rescue. Trench was among the missing. ETHNE smiles sadly, as if she has her answer. wILLOUGHBY (Trying to give her hope) Harry may be determined but he isn't mad. He'll look for Trench and then he'll come back. ETHNE He'll do whatever he has to do. There are still two feathers left. EXT. window\/ caroline's house - day. From her window, CAROLINE sees ETHNE and WILLOUGHBY, saying goodbye, walking off in different directions. As ETHNE approaches the house, CAROLINE sees her gazing at something in her hand. INT. stairway\/ caroline's house - day. CAROLINE walks down the stairs. CAROLINE Is everything alright? ETHNE (Forcing a smile) He was a friend of father's. He apologised for not introducing himself. He was in a hurry. CAROLINE doesn't press. She notices the two white feathers in Ethne's hand. INT. LIVING ROOM\/ CAROLINE's house - night. ETHNE sits at the piano stool, still gazing at the feathers in her hand. She hears voices in the corridor. It's Durrance, asking Caroline where she is. ETHNE hears his footsteps approaching. She lifts up the piano lid and starts to play. The living room door opens. ETHNE ignores the quiet footsteps behind her. She feels DURRANCE listening to every note. His hands cover her eyes gently. ETHNE (Trying to smile) Who could that be... She removes his hands from her eyes, and kisses them. DURRANCE sits down beside her on the piano stool. DURRANCE What were you playing? ETHNE The Melusine overture. DURRANCE Cheerful stuff. He grins and starts to play the tune, perfectly. ETHNE looks on in admiration, trying to hide her feelings. DURRANCE Join me. ETHNE I'd rather listen. DURRANCE Please... Reluctantly ETHNE starts to accompany him. DURRANCE They say you can tell a woman's heart by the way she plays. ETHNE What if she can't play at all. DURRANCE It isn't how well you play, it's how passionately you stroke the keys. ETHNE presses the keys harder, pretending it's a joke, worried that he might see through her. DURRANCE I'd say you're in love. Even though it's said in jest, his words stick like a knife. The notes torture her. She suddenly gets up and walk away from the piano. DURRANCE (Following her footsteps) Where are you going? ETHNE I want to hear you play on your own. A moment's silence. Then DURRANCE turns back to the piano and starts to play -- quietly, tenderly. The haunting music breaks Ethne's heart. Almost involuntarily she starts to walk away from him, towards the open patio doors. DURRANCE (With a sudden flourish of the keys) There you go, I'm in love too... He swivels around and beams at her joyfully. ETHNE stares back at him, unable to speak. DURRANCE (Gazing at her adoringly) These past few days have been the best days of my life, blind or otherwise... His eyes shine in the candlelight, full of new-found hope. DURRANCE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..Before I came here I'd given up. I put on all kinds of fronts and defences, but deep down I was petrified. I had no idea what was going on around me, what people were thinking behind my back. I imagined the worst, so that nothing would surprise me, no-one would catch me out...<\/stage_direction>\n    <scene_description>He walks closer. DURRANCE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..You've made me realise I can't live like that. Whether one can see or not, there's no way of knowing how people really feel about you, all you can do is put yourself in their hands, and trust them unconditionally...<\/stage_direction>\n    <scene_description>ETHNE can't speak. DURRANCE I know how much you loved Harry... (A beat)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..for the first time I'm not afraid to admit it, I'm not not afraid to bring it up between us...<\/stage_direction>\n    <scene_description>(A beat) I'm not afraid, because of you Ethne, because of the way you've made me feel... He waits for an answer but all that greets him is silence. As he steps closer he suddenly loses her presence. A touch of panic enters his voice: DURRANCE Ethne...? The only sound he hears is the wind on the curtains. We see for the first time that Ethne's left, through the open patio doors. DURRANCE Ethne...? He turns around sharply as he hears a noise. CAROLINE stands in the doorway. DURRANCE walks towards her. DURRANCE (Touching her arm) I thought you'd disappeared. CAROLINE It's Caroline. Ethne's gone. DURRANCE pulls back, embarrassed. DURRANCE I'm sorry. CAROLINE She must be in the garden. DURRANCE (Trying to sound lighthearted) She was here a minute ago. It must have been something I said. CAROLINE (Every word is calculated) I don't think it was anything you said. She's been upset all afternoon. Ever since she spoke to Lieutenant Willoughby. DURRANCE Willoughby?... He looks perplexed. DURRANCE Willoughby was here? Why didn't he come and see me? CAROLINE I thought he did. I saw you walking into the maze to join them. She feels the impact on him -- the fact that he called out and no-one answered. DURRANCE (Trying to justify it to himself) He must have had his reasons. CAROLINE He brought her two white feathers. That's all I know. DURRANCE looks up, startled. DURRANCE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..Harry...<\/stage_direction>\n    <scene_description>CAROLINE watches his unseeing eyes trying to make sense of what's happened. She feels a touch of remorse as she sees him struggling with his emotions. Finally he looks up: DURRANCE Ethne obviously didn't want me to know... (Curiously) Why did you tell me? CAROLINE hesitates. CAROLINE I thought you should know. DURRANCE You're her friend. CAROLINE Yours too I hope. DURRANCE stares at her in silence, her intentions slowly becoming clear to him. DURRANCE You're not fair to Ethne. CAROLINE Are you? Her meaning is clear. Her words sting him deeply. DURRANCE How much of our conversation did you overhear? CAROLINE Enough. DURRANCE Then you should know I meant every word. (more with pity than anger) I love and trust Ethne unconditionally. Whatever doubts she's feeling, I know she'll resolve them. (With quiet dignity) I've put myself in her hands. A long silence. DURRANCE doesn't need to see CAROLINE to know she's in tears. CAROLINE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..The only reason I told you, was because you mean the world to me.<\/stage_direction>\n    <scene_description>DURRANCE (A gentle rebuff) I'm sorry, Mrs Adair. EXT. garden\/ caroline's house - night. ETHNE sits in the garden alone, shivering in the wind, hating herself. EXT. THE CITY OF DONGOLA\/ SOUTHERN SUDAN - night. The peeling CORPSE of a British soldier is dragged through the streets by a rope tied to a camel's back. LOCAL WOMEN tear at the dead man's uniform, grabbing at his testicles, spitting on his bloated face. HARRY slips out of the crowd, horrified by what he's seen, relieved it isn't Trench. EXT. DONGOLA\/ SUDAN - day. The jeering women can be heard in the distance. ABOU FATMA sits in the shade, slurping an oily gruel. HARRY squats beside him. ABOU FATMA offers him the bowl. HARRY declines. ABOU FATMA You're surprised by the women? HARRY doesn't need to answer, his face says it all. ABOU FATMA They're always the most cruel. Amongst the Southern Tribes it's the custom for them to go into battle first, calling the men cowards until they're ready to fight. (Mischievously) It is the same in your country, no? HARRY looks up to find ABOU FATMA grinning at him. ABOU FATMA The woman you spoke of. Go back to her. Tell her you're ready. haRRY What did you find out about the British prisoners? ABOU FATMA There are very few of them left. He offers HARRY his food again. This time HARRY takes the bowl and swallows the rancid meat as if it's nothing. harrY Where are they being held? ABOU FATMA Your Army abandoned them. The shame is no longer yours. harry (Provoking him) Have I paid you for nothing, Abou Fatma? The Nubian looks up, stung by the talk of money, when he was only expressing concern. ABOU FATMA (Coldly) Twelve British soldiers were taken by boat from here to Omdurman last month. haRRY Shoukhran. ABOU FATMA You're a foolish man. Even for a British Officer. hARRY (Smiling) 'God protects the fool'. (Passing Abou Fatma the bowl) How would I get into the prison at Omdurman? ABOU FATMA (Sarcastically) Urinate in a holy well. harry That carries a penalty of death. All I want is to be imprisoned there. ABOU FATMA stops eating, realising HARRY is serious. ABOU FATMA You will die before your time. haRRY 'If it is the will of God.' ABOU FATMA (Impatient now) This man turned his back on you. Why should you give your life for his? harry Because he'd do the same for me. No matter what had passed between us. (Looking at the Nubian) I hope I'd do the same for you too. ABOU FATMA I have no need of such friends. The Nubian returns to his food, betraying no sentiment. HARRY reaches into his pocket and holds out five shilling coins. ABOU FATMA (Disdainfully) You owe me two shillings a day. This is too much. HARRY can't help smiling. haRRY You still haven't answered my question? ABOU FATMA You answered it yourself. God protects the fool. EXT. night MARKET\/ outside the city of OMDURMAN - night. HARRY stumbles around the marketplace, strumming on a broken zither, pestering people for money, pretending to be mad. The passing crowds laugh at him and push him away. ABOU FATMA watches from across the street. HARRY staggers through the torchlit stalls. He sees a group of DERVISH WARRIORS, gathered around a fire. Their leader, a sickly looking EMIR, smokes a hashish pipe as he listens to his men recounting their feats of war. Next to him, lies a beautiful, jewel encrusted scabbard. HARRY thinks a moment, then approaches the group, strumming his zither, grinning at the men. Seeing the crazed musician, the DERVISH WARRIORS cover their ears. Some of them toss chunks of meat at him. HARRY picks up the dusty morsels, chewing them with relish, grinning like a happy puppy. ABOU FATMA watches as HARRY humiliates himself, playing his broken zither for the EMIR. The EMIR gazes back at him through bored, bloodshot eyes. As the WARRIORS laugh, HARRY suddenly bends down and snatches the Emir's scabbard. He runs off with it at speed, waving it around his head like a sword, yelling at the top of his voice. The DERVISH WARRIORS give chase, still laughing as they run after the lunatic. HARRY stumbles over a tent pole deliberately. The DERVISH WARRIORS swarm around him, caning him with their sticks. HARRY protects his face with his hands, pleading: harry (In Arabic) God loves the fool. God loves the fool... EXT. WELL\/ outside the city of OMDURMAN - night. The whole marketplace has gathered to watch the madman punished. The WARRIORS hoist HARRY up onto a well, and shout at him to walk around the rim. Holding out his hands, HARRY starts to step around the ledge. As he glances down he sees the drop is at least thirty feet deep. Two of the WARRIORS jump onto the ledge behind him, blowing bugles in his ear. DERVISH WARRIORS (In Arabic) Faster thief...Faster... HARRY starts to walk faster, clapping in time with the WARRIORS, performing for the CROWD. harry (In Arabic)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..God loves the fool. God loves the fool...<\/stage_direction>\n    <scene_description>Another WARRIOR steps out of the crowd and starts prodding HARRY with his spear. The CROWD roars as HARRY almost topples into the well. He regains his footing and laughs back at them, clapping his hands, wriggling his hips. spectator's voiCE (In Arabic) Here's someone for him to dance with... HARRY looks down to see a hideous, half-naked HAG, being pushed towards him. The crowd clears a space for the two lunatics to dance. HARRY forces a crazed giggle as the HAG starts to undulate and thrust her hips at him. He echoes her movements, staring into her deadened eyes. The CROWD pushes them closer together. HARRY feels an overwhelming sense of pity and dread. The dreamlike intensity is getting to him. The tragic creature, shimmying before his eyes, is like a grotesque reminder of the woman he loved and lost. The HAG starts murmuring to herself. As he listens, HARRY realises she's singing -- a tuneless lament, remembered from long ago, sung without any understanding now. The emotion wells up in HARRY's eyes, even as he laughs at her. It's as if he's gazing into a crazy, distorted mirror. The EMIR stares curiously as he catches the emotion in Harry's eyes. He suddenly signals for his men to part the lunatics. HARRY is dragged away from the shrieking HAG, and flung before him. EMIR (In Arabic, suspicious now) Play for me fool... HARRY picks up his zither, and starts to play a tuneless din. EMIR (In Arabic) You're not mad. HARRY pretends not to understand. The EMIR suddenly cracks his cane down on Harry's hands, breaking his fingers. HARRY screams in agony: harry (In Arabic)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..God loves the fool...<\/stage_direction>\n    <scene_description>EMIR (In Arabic) The fool feels no pain. The EMIR beats him again with the cane. HARRY holds up his broken fingers in supplication, singing softly in his madman's gibberish. harry (In Arabic)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..God loves the fool...<\/stage_direction>\n    <scene_description>The EMIR's cane cracks open his face. He doubles over in agony, spitting out blood. ABOU FATMA watches, sickened, unable to do anything. Even the other spectators look shaken. HARRY slithers away in the dust, whimpering like an animal. EMIR (In Arabic) You're not mad. Tell me who are you? Tell me or I'll kill you... ABOU FATMA stares in silence, willing HARRY to speak. Many in the CROWD turn away, fearing the worst. The EMIR raises his cane. With a surge of effort, HARRY lifts up his blood soaked face, and grins at the EMIR. He looks barely human, his face ripped open, swollen beyond recognition. harry (Singing softly in Arabic) God loves the fool. God loves the fool... The EMIR hesitates, convinced nobody in their right mind could take this much pain. EMIR (In Arabic) He's mad. Take him to the prison. Let him sing for them there. He turns away and disappears into the crowd. ABOU FATMA stares at HARRY, with both pity and admiration. He whispers a prayer for his friend's safety. EXT. PRISON of OMDURMAN\/ BANKS OF THE NILE - night. The evening prayers drift over the waters of the Nile. In the distance we see the prison of Omdurman, a huge dome of stone, surrounded by fifty foot walls on three sides, and the river itself on the fourth. INT. HOUSE OF STONE\/ PRISON\/ OMDURMAN - night. Hundreds of shapes move forward in the darkness. At first they look like a herd of animals, but slowly we recognise the grunts and cries as human. Faces come at us out of the dark, screaming and cursing, shoving each other violently, raising their faces to the ceiling, gasping for air. As our eyes adjust to the light, the vision of hell intensifies. The PRISONERS are manacled and herded into a space no more than thirty feet wide. They circle the room in a clockwise direction, pushed on by each other in perpetual motion, afraid that if they stop they'll be sucked under the maelstrom and trampled underfoot. The most fortunate are those who've found a resting space in the corners of the room. They cling to the walls, fighting off anyone who tries to share their sanctuary. From somewhere amongst them we hear a familiar voice: trench Get away! This is Ibrahim's space! TRENCH protects his corner, lashing out at anyone who tries to breach the space. He bellows at the top of his voice: trENCH Ibrahim, where are you?! A voice answers from the heaving mass. TRENCH holds out his hand and drags his friend, IBRAHIM, out of the scrum. trench (Sounding half crazed) You mustn't fall. You musn't fall. As if to prove his point, a fight breaks out at the far side of the room. TRENCH stands on tiptoes, as eager as everyone else to see the outcome. TWO PRISONERS try to strangle each other with their chains, fighting for an inch of space. It's hard to make out anything in the dark, but the savagery of the fight is reflected in the speed of flailing fists and feet. One of the PRISONERS finally loses his footing. In an instant he's sucked under. The victor laughs maniacally. The loser's cries continue for a moment and then stop suddenly as the trampling feet break his neck. TRENCH turns to Ibrahim, with the knowing look of an expert. trench We mustn't fall Ibrahim. We musn't fall. Suddenly there's a cry from outside the cell door. prison guards o\/s (In Arabic) Back! Get back! The PRISONERS closest to the door push away. The head guard, the towering IDRIS-ES-SAIER, tosses in a blazing torch to clear some space. A NEW PRISONER is flung inside and the door slammed shut behind him. The other PRISONERS surge back, trying to reclaim their space. There are cries of pain as some of them tread on the blazing torch. The sheer weight of men quickly puts it out. The NEW PRISONER holds onto anything he can to stop himself falling. From his corner TRENCH looks on grimly. treNCH Watch Ibrahim. He's going to fall. The NEW PRISONER is swept up in the savage wave. As he approaches TRENCH's corner he tries to claw his way to safety. TRENCH beats him back with a flurry of blows. The prisoner disappears under the heaving bodies, but then he pops up again, gasping for breath. He fights with all his might, swinging his fists, clutching at anyone in his way. TRENCH looks impressed, but he knows it won't be long. trench He'll fall. Youssef will get him. As the NEW PRISONER swings towards them again, the prisoner behind him, YOUSSEF, slams his chains down on his head. The new arrival goes down hard. As he disappears, he screams out the name: \"Trench!!!\" TRENCH stares in disbelief, frozen for a moment, then bellowing like a bull, he charges out of his corner and flails his way through the heaving mass, trying to retrieve the fallen prisoner. TRENCH Help me Ibrahim...!!! The tall Arab fights his way to Trench. Together they pull the NEW PRISONER to his feet. They take him under each arm and fall in with the moving mass. treNCH We've lost our place. You mustn't fall. The man almost collapses, but TRENCH holds him up. He and Ibrahim keep walking the prisoner, trying to keep him conscious, knowing they have to fight till daybreak now. INT. HOUSE OF STONE\/ PRISON\/ OMDURMAN - day. The sound of early morning prayers drifts into the House of Stone. Sunbeams pick out bloodmarks and broken nails where prisoners have tried to claw their way to safety. Half a dozen BODIES lie crushed on the floor, those who didn't make it through the night. Those who did, are ushered outside by the PRISON GUARDS, into the merciless heat. TRENCH and IBRAHIM support the NEW PRISONER. A fat, oily looking Prison Guard, HASSAN, sneers at TRENCH on his way out. HASSAN You've found a friend, English. TRENCH ignores him, blinking as he walks into the sun. EXT. courtyard\/ PRISON\/ OMDURMAN - day. The PRISONERS collapse as they stumble into the prison courtyard, exhausted by the previous night's efforts. TRENCH and IBRAHIM help the NEW PRISONER to the river's edge. EXT. RIVERBANK\/ courtyard\/ PRISON\/ OMDURMAN - day. TRENCH kneels beside the prisoner and pours some water over his face. The man opens his lips to swallow it. treNCH Don't drink. It's dirty. Your body isn't strong enough. Beads of sweat shine on the bearded man's ravaged face. TRENCH studies his features, wondering who he is. He digs out a copper coin from his shoe. treNCH (To Ibrahim) See if Hassan will sell us some drinking water. IBRAHIM sets off towards HASSAN, who's busy beating the other PRISONERS to their feet. treNCH (Looking back) You speak English? new prisoner (A trace of a smile appears on his cracked lips)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..I hope so, after all this time...<\/stage_direction>\n    <scene_description>TRENCH stares at him in surprise. treNCH<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..How do you know my name?<\/stage_direction>\n    <scene_description>new PRISONER You told it to me yourself...the first time we met... (Imitating Trench weakly) \"Trench by name, and Trench by nature. Good to meet you Feversham...\" TRENCH stares in astonishment. trENCH<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..Harry?...<\/stage_direction>\n    <scene_description>HARRY's eyes move around and find him, twinkling mischievously, despite all the pain. harrY (With ironic good humor)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..You look well...<\/stage_direction>\n    <scene_description>treNCH (Breaking into a smile) Not half as well as you... (Overwhelmed) What the hell are you doing here?... hARRY<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..I'd come to rescue you...but now that you've rescued me...I have to save you twice...<\/stage_direction>\n    <scene_description>TRENCH stares at him in disbelief. hARRY<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..I have some money to bribe the guards...There's a man waiting for us across the river...With camels and provisions...<\/stage_direction>\n    <scene_description>TREnch (Snapping out of his reverie, hushing him) Keep your voice down. TRENCH looks across the courtyard to make sure no-one's watching them. HASSAN is busy bargaining with IBRAHIM over the cup of water. treNCH (Under his breath) How much money? harRY Two hundred. TRENCH looks hopeful for the first time in weeks. TRENCH<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..I knew it wasn't true. The guards kept telling me our army had left us behind. How far away are they?<\/stage_direction>\n    <scene_description>hARRY (Regrettably) They pulled out. Over a month ago. TRENCH stares in confusion. TRENCH Then who sent you? harrY You did. TRENCH doesn't understand. HARRY slowly opens his fingers to reveal a crushed white feather in his hand. TRENCH stares at it in bewilderment. Then suddenly he starts to laugh, full of anguish and joy, amazed by the madness of the world. EXT. PRISON GATES\/ courtyard\/ PRISON\/ OMDURMAN - day. The compound gates rumble open. The Prisoners' RELATIVES are ushered inside, kept in order by the GUARDS' whips. The PRISONERS limp as fast as they can to receive any food their families have brought them. Before they can eat, the GUARDS have to be paid off, IDRIS first, then HASSAN and the others. As the feeding frenzy breaks out we hear Trench's voice: trENCH v\/o<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..Hassan's the only guard who's corruptible. For two hundred he'll get us on the graveyard detail...<\/stage_direction>\n    <scene_description>EXT. RIVERBANK\/ courtyard\/ PRISON\/ OMDURMAN - day. We see what he's talking about now. The dead bodies from the House of Stone are dumped in a row boat. The GUARDS order several PRISONERS onto the boat with them. They're too afraid to handle the corpses themselves. treNCH v\/o ...The farthest the boat goes is a hundred yards from the opposite shore. We'll have to wait until you're strong enough to swim... HARRY watches the boat drift into the middle of the river. Ripples appear as huge CROCODILES move in to feed. The PRISONERS toss the bodies in the water. The corpses float for a moment, then suddenly vanish in a froth of blood. treNCH (Smiling grimly) You didn't think of that when you came? haRRY I didn't think of much when I came. TRENCH looks at him, still unable to believe anyone could be so reckless and so brave. trENCH All for a feather? hARRY (Lightly) More than one. TRENCH looks down at the sand, reflecting: trENCH Give it to me Harry. haRRY Why? treNCH So I can show you it means nothing -- that if I throw it in the river it'll float away -- end up between some Croc's teeth. harry (Smiling softly) Not this feather. It's got the measure of me. It'll float back and find me. The water laps quietly in the silence. trENCH There were a dozen British Officers here last month. Every time one of them died, the last words on his lips were: \"Don't worry about me lads. Our boys will come and get you.\" They never did. Just you. I'd say you've done enough. haRRY Not until I get you out. trENCH You can hardly walk. harry I don't need to walk, I need to swim. He smiles at TRENCH affectionately. Across the river, the boat returns, silhouetted against the sunset. EXT. house of stone\/ PRISON\/ OMDURMAN - day. The PRISONERS are herded back into the House of Stone. HASSAN walks alongside TRENCH and HARRY, negotiating his bribe. hASSAN<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..God put you here for a reason, English. He tests us. I have fifteen starving children myself to care for.<\/stage_direction>\n    <scene_description>treNCH (Taking his cue) I was thinking of your children Hassan. I'd like to help them. God favours the almsgiver. hASSAN For three hundred I could feed them for a year. treNCH I can afford two. From myself, Ibrahim, and the madman. HASSAN nods, accepting the offer, and walks ahead. INT. HOUSE OF STONE\/ PRISON\/ OMDURMAN - night. HARRY and TRENCH are in the thick of the crowd, fighting for space, trying to give each other strength. treNCH<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..The first thing I do when I get back is book a table at Wilton's. A private room, all to myself, no bloody crowds...<\/stage_direction>\n    <scene_description>He shoves into the man in front, gaining a few more precious inches for them to breathe in. trench<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..I'll start with a half shell of crab, then I'll order the mallard, medium rare.<\/stage_direction>\n    <scene_description>harRY A glass of Burgundy to wash it down. treNCH Nothing foreign. A pint of Stout'll do me fine. harrY (Grinning) Well I'm getting on the first train to Bintree, crowded or not. trENCH I'll drink to that... (He raises his hand, as if he's in a crowded pub, trying to get the Barman's attention) Two pints please... The two of them surge through the crowd, laughing like lunatics. treNCH A few more days Harry. A few more days... INT. HOUSE OF STONE\/ PRISON\/ OMDURMAN - day. The morning call to prayer brings sobs of relief from the PRISONERS. HARRY, TRENCH, and IBRAHIM, lie in a corner of the room, exhausted by the night's efforts. HASSAN steps over the dead bodies littering the floor, and orders them to get up. hassAN (As planned) You three, take the bodies to the boat. HARRY and IBRAHIM get to their feet. TRENCH doesn't move. HARRY reaches down to give him a hand, when he suddenly sees how pale his friend is. He drops to his knees, feeling TRENCH's pulse. He's alive, but very weak. hasSAN (Looking at the unconscious Trench) You see, English. God didn't want you to leave. He has given you Umm Sabbah. TRENCH moans, gripped by Typhus fever. HARRY tries to help him up, refusing to believe their plans are dashed. hARRY (Whispering) Trench, get up. Get up... hassAN (Shouting at Harry in Arabic) Leave him. Carry the dead to the boat. HARRY ignores him, cradling TRENCH in his arms. HASSAN steps forward and lashes him hard across the back. harry (Still trying to rouse Trench) ...Get up Trench. Get up... HASSAN lashes him again. This time HARRY spins around and grabs the whip. He stares at HASSAN dangerously, the frustration and disappointment pushing him to the edge. HASSAN (In Arabic) He paid me to release you. If you don't want to go, you can rot with him. (Turning to Ibrahim) What about you?! IBRAHIM looks at TRENCH guiltily, then gets up, and walks towards the dead bodies. HARRY gathers TRENCH in his arms, and holds him protectively, like a faithful slave. HASSAN sneers, and strides out of the House of Stone. HARRY looks at TRENCH. His friend shivers feverishly. HARRY brushes the wet hair out of his face: hARRY We'll get you to Wilton's. Crab and Mallard, medium rare. EXT. RIVERBANK\/ PRISON\/ OMDURMAN - day. HARRY watches from the shore, as IBRAHIM tosses the corpses overboard. Suddenly the Arab takes his chance and dives. He's only yards away from the boat when he's lifted into air by a huge crocodile, and dragged below the murky depths. All is still again. HARRY looks back at TRENCH, lying by the river's edge, lost in his own feverish dreams. INT. STUDY\/ GENERAL FEVERSHAM's HOUSE\/ LONDON - DAY. ETHNE sits across from GENERAL FEVERSHAM in the dimly lit room. There's bright sunshine outside but very little of it gets in. GENERAL FEVERSHAM seems much older than the first time we saw him, his eyes are withdrawn, his movements restless. He rings the handbell irritably. ETHNE Don't worry about the biscuits General. gENERAL FEVERSHAM I wanted some myself. I need something sweet in the afternoons, otherwise I fall asleep. (Catching himself) Not today of course. ETHNE tries to answer his smile, but neither of them is particularly convincing. gENERAL FEVERSHAM I'm very touched you've come all this way to tell me your good news. Jack'll make you a wonderful husband. ETHNE (Hiding all her doubts) He'll be pleased to hear that. gENERAL FEVERSHAM I'm very fond of the boy. GENERAL FEVERSHAM smiles weakly, and looks away. Whatever they talk about seems to come back to Harry. ETHNE finally broaches the subject: ETHNE Have you heard any news from the Sudan? GENERAL FEVERSHAM hesitates. gENERAL FEVERSHAM<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..An old friend of mine came to visit me yesterday, Colonel Sutch. You probably remember him...<\/stage_direction>\n    <scene_description>ETHNE nods, panicking inside, sensing the old man's grief. gENERAL FEVERSHAM<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..He used to receive the occasional letter from Harry, letting him know that he was alright...<\/stage_direction>\n    <scene_description>(His voice falters) ...Harry made him promise not to tell me anything, unless the letters stopped. I'm afraid they did. Over a month ago. ETHNE looks pale. She tries to hold back her tears for the General's sake. ETHNE I'm sure it doesn't mean anything. gENERAL FEVERSHAM I asked some friends at the war office to make some enquiries. According to their spies, all the British prisoners are dead. ETHNE can't speak. The old man fights his tears as well. gENERAL FEVERSHAM Would you like to see his letters? ETHNE (Barely a whisper) I'm not sure I could cope right now. geNERAL FEVERSHAM No, of course not. I'm sorry... ETHNE looks up, remembering his grief is as great as hers. ETHNE Have you looked at them? gENERAL FEVERSHAM Oh yes. They make wonderful reading... (His face lights up briefly) He travelled all the way from Alexandria to Suakin. Across three hundred miles of desert. From there he followed the camel corp disguised as a coolie. He fought with them at Abou Klea, excelled himself by all accounts, saved dozens of lives. If he was still a soldier they'd have probably given him the Victoria Cross. ETHNE (Her eyes shining with tears) You must be very proud. The old man nods, suffering again. geNERAL FEVERSHAM<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..There isn't a trace of fear in the writing. That's what I find so hard to understand. That someone could be so terrified of going to war; and yet when the time comes to face it for real, he embraces it, almost gratefully...<\/stage_direction>\n    <scene_description>ETHNE (Sharing his guilt) We all misjudged him. gENERAL FEVERSHAM You only knew him a short time. I had no excuse. Seeing him overcome by guilt and grief, ETHNE gets up and takes his hand. GENERAL FEVERSHAM holds hers tightly. gENERAL FEVERSHAM My son loved Jack Durrance like a brother. I know he'd be happy for you. He'd want you to live your lives. ETHNE nods gratefully, unable to speak, her whole world falling apart. EXT. courtyard\/ PRISON\/ OMDURMAN - day. The PRISONERS tear and claw at each other like wild animals, desperately trying reach a scrap of meat that's fallen to the floor. HARRY is in the thick of the fighting, elbowing and head-butting people out of his way. He's changed beyond recognition, and it isn't just physical. He fights with a primal savagery, oblivious to everything except the precious scrap of food. He finally gets hold of it, and swings his elbow round, breaking another PRISONER's nose. EXT. RIVER's EDGE\/ courtyard\/ PRISON\/ OMDURMAN - day. TRENCH lies by the riverside, sweating and shivering from fever, his eyes sunken back into his skull. HARRY kneels beside him, covered in blood. He holds out the scrap of meat. hARRY<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..Trench. Food. You have to eat.<\/stage_direction>\n    <scene_description>TRENCH can't move his jaw, let alone eat. HARRY chews the meat for him. When it's soft between his teeth, he spits it out, and feeds TRENCH with his fingers. For all the primal horror, there's a touching human tenderness in the moment. Suddenly a pair of hands grab HARRY by the hair, and drag him away from TRENCH. It's IDRIS. The giant prison guard tears the scrap of meat from HARRY's hands and kicks him in the ribs for good measure. Spitting out blood, HARRY crawls after him, no longer having to play the madman, he's halfway there. hARRY (In Arabic) Food master, food master please... IDRIS lashes him with his whip. HARRY's body arches in pain but his brain hardly registers. He kisses the ground at Idris's feet, still begging for his scrap of food back. hARRY (In Arabic) Food master. Food... IDRIS walks away in disgust. INT. HOUSE OF STONE\/ PRISON\/ OMDURMAN - night. HARRY holds up the semi-conscious TRENCH, as they're buffeted around in the House of Stone. The other PRISONERS try to push them under, but HARRY defends TRENCH with the savagery of a veteran. A PRISONER tries to blind TRENCH with his hands, but HARRY grabs his fingers, sinking his teeth in as far as they will go. INT. house of stone\/ PRISON\/ OMDURMAN - day. Daylight streams through the open doors. HARRY rests TRENCH against a wall, and scavenges amongst the bodies of the dead, searching for any money they may have hidden. EXT. courtyard\/ PRISON\/ OMDURMAN - day. HARRY runs over to HASSAN, and drops to his knees in supplication, holding out a copper coin: hARRY (Pleading in Arabic) Food master. Food. My master needs food. HASSAN holds out his arm to reveal a stump where his hand should be. hasSAN (In Arabic) This is what Idris gave me for helping your master... (Spitting at Harry's feet) There's some food. HASSAN turns and walks towards the fortress gates. The other PRISONERS scramble after him, desperate to receive their daily handout from their RELATIVES. HARRY thinks about wading in and fighting them for it, but he has no energy left. He collapses in the sand, staring up at the sun. As he closes his eyes, he suddenly hears a whisper: ARAB BOY o\/s English... HARRY looks up to see a small ARAB BOY, approaching him. The BOY stops as he sees HARRY's ravaged face, frightened by his mad, staring eyes. HARRY sees the piece of chicken in his hand, and waves him over. The ARAB BOY finally kneels down, and offers him the chicken bone. HARRY snatches it and gnaws on it like a hungry animal. It's only when he examines the meat, making sure there's enough left for Trench, that we realise how human he still is. He slips the half eaten chicken bone in his robes, and looks at the ARAB BOY gratefully. The ARAB BOY holds out some coins for him. ARAB BOY From Abou Fatma. HARRY stares at the coins. It's all the money he's ever paid Abou Fatma. harrY Money's no good anymore. We can't bribe the guards. I need him to buy food and medecine for my friend... He stops as he realises the ARAB BOY doesn't understand a word. He gives him back the coins: harrY (In Arabic) Tell Abou Fatma to buy us food. You bring me the food... He points to the other RELATIVES as if to explain. The ARAB BOY nods that he understands. HARRY is about to ask him more when he suddenly spots IDRIS walking towards them menacingly. harrY Go. Thank Abou Fatma. Thank him for me. The ARAB BOY gets up and walks away. HARRY watches him leave, already missing the human contact. As IDRIS approaches, he scrambles away, reduced to his bestial state again. EXT. courtyard\/ RIVERside\/ PRISON\/ OMDURMAN - day. HARRY pours water over TRENCH's face. hARRY<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..You're better Trench. Much better. You may not feel it, but you look it...<\/stage_direction>\n    <scene_description>TRENCH opens his eyes, conscious enough for the first time in weeks, to see how much his friend has changed. treNCH (Smiling weakly)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..When I'm better...Will I look as bad as you?...<\/stage_direction>\n    <scene_description>HARRY smiles through bleeding gums and swollen cheeks. The evening prayer starts up behind them. TRENCH closes his eyes in despair. treNCH I don't think of God anymore when I hear that sound. It used to give me hope. Now all I feel is dread. hARRY Don't talk like that. We're going to get you through this. treNCH I don't want to get through this, Harry. What for? In the distance they hear IDRIS shouting at the prisoners, driving them back into the House of Stone. TRENCH<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..There's only one thing that frightens me now. The thought that the closer I come, the more desperately afraid and sure I am that all this will end right here... when I so wish I could die at home...<\/stage_direction>\n    <scene_description>(fighting tears) In my own country -- in my own village...to be buried beneath the trees I know -- in sight of the church and houses I know...beside the trout stream, where I fished when I was a boy... (Trying to smile) Are you laughing yet?... HARRY No, I'm not laughing. HARRY fights his own pain. treNCH I don't think I can take it anymore, Harry... HARRY finds it hard to argue. Staring at TRENCH's ravaged face and withered body all he can do is nod in sympathy. EXT. courtyard\/ PRISON\/ OMDURMAN - day. HARRY sits opposite the young ARAB BOY in the courtyard. There's a look of quiet resignation in his eyes as he stares at the small glass vial in his hand. hARRY (In Arabic) Thank Abou Fatma for me. Ask him to pray for us. The ARAB BOY nods sadly, as if he's seeing Harry for the last time. HARRY pats him on the shoulder, and gets up. INT. HOUSE OF STONE\/ PRISON\/ OMDURMAN - night. HARRY and TRENCH lean against a wall, watching as the House of Stone fills with PRISONERS. TRENCH's eyes are filled with dread. hARRY (Quietly)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..We had a visitor today.<\/stage_direction>\n    <scene_description>TRENCH turns and looks at him. HARRY opens his hand to reveal the small glass vial. TRENCH stares at the dark liquid inside, slowly realising what it is. TRENCH Anything would be better than this. HARRY Are you sure? TRENCH nods, his decision made. hARRY (Slipping him the vial) The poison will take a few hours to work. You won't feel any pain. TRENCH (Smiling grimly) That'll make a change. HARRY looks at him sadly, then turns away, preparing for the inevitable charge from the other PRISONERS. trENCH<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..One last thing, Harry...<\/stage_direction>\n    <scene_description>HARRY turns around. trENCH<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..My feather...I'd like it back...<\/stage_direction>\n    <scene_description>HARRY stares in silence. TRENCH holds out his hand. HARRY takes it. As they finally let go, we see the soiled white feather in TRENCH's palm. TRENCH closes his fingers around it, gratefully. treNCH I hope it gives me as much strength as it gave you. Their eyes stay on each other, full of friendship and respect. Then, steeling himself, TRENCH snaps the vial, and starts to drink. HARRY Half... TRENCH stops. trENCH (Smiling sadly) I didn't mean to be a pig about it... He holds out the vial for Harry. HARRY takes it and swallows the rest of the poison. He grins at TRENCH. hARRY What do you say, we give them one last night of hell. trENCH I'll drink to that. Shoulder first, HARRY charges into the massing PRISONERS. TRENCH follows him, laughing through his tears.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE OF STONE - DAWN.<\/stage_direction>\n    <scene_description>Blinding sunlight. The PRISONERS stumble out of the House of Stone, covered in blood from the previous night's fighting. IDRIS looks down at the broken bodies at his feet. HARRY and TRENCH are amongst the dead. IDRIS prods them both with his spear, making sure. IDRIS (In Arabic) Take them to the boats. EXT. courtyard\/ RIVERside\/ PRISON\/ OMDURMAN - day. A dozen BODIES are dumped, one on top of the other, in two funeral boats. HASSAN takes charge of one, IDRIS the other. EXT. BOATS\/ RIVER\/ OMDURMAN - day. The GUARDS hold onto the sides of the boat, steadying themselves in case a crocodile tries to ram. The PRISONERS charged with throwing the bodies overboard, stare into the water, terrified of the unseen monsters lurking below. EXT. hassan's BOAT\/ RIVER\/ OMDURMAN - day. The corpses are piled high in Hassan's boat, a mass of chalk white flesh. As we follow a rivulet of blood into the heap, we see Harry's face. His eyes suddenly open. Very much alive. They move around, trying to locate Trench. Above him he feels the corpses being lifted off, easing the burden on his back. EXT. RIVER\/ OMDURMAN - day. Arrows break the surface, as the giant crocodiles move in. EXT. hassan's BOAT\/ RIVER\/ OMDURMAN - day. HARRY finally glimpses TRENCH. His friend is still unconscious. In tiny movements, HARRY slips through the ice cold flesh that separates them, and slides over TRENCH's body, trying to ensure he's thrown overboard first. EXT. idris's BOAT\/ RIVER\/ OMDURMAN - day. Blood boils around the boats as more bodies are tossed overboard. As IDRIS stares into the murky depths, he sees a fifteen foot monster, dragging away a translucent corpse. EXT. hassan's BOAT\/ RIVER\/ OMDURMAN - day. HARRY and TRENCH are the only bodies left in Hassan's boat. HARRY braces himself as he's lifted into the air. His body is swung out three times and thrown overboard. EXT. RIVER\/ OMDURMAN - day. HARRY feels the warm water envelop him. Any trace of paralysis the poison has left, disappears in an instant, driven away by sheer terror. Through the eerie green haze he glimpses the dreamlike silhouettes of the crocodiles, feasting on the corpses, dragging them along the river bed. HARRY's instincts are to swim away as fast as he can, but even now he remembers TRENCH. The water above him explodes as TRENCH is hurled in. HARRY swims up to the surface and grabs hold of his friend. EXT. idris's BOAT\/ RIVER\/ OMDURMAN - day. IDRIS stares curiously as he watches the two bodies drifting away. The water around them is bubbling but there's no blood. It's only as he looks more closely that IDRIS realises one of the bodies is kicking his feet, swimming away. iDRIS (In Arabic) Hassan. Behind you! EXT. HASSAN's BOAT\/ RIVER\/ OMDURMAN - day. HASSAN turns around to see HARRY and TRENCH disappearing with the current. He takes out his pistol. EXT. RIVER\/ OMDURMAN - day. Holding the unconscious TRENCH in his arms, HARRY swims towards the fastest point of the river, hoping the current will drag him away from the crocodiles and the boats. EXT. HASSAN's BOAT\/ RIVER\/ OMDURMAN - day. HASSAN aims the pistol with his good hand. He's about to squeeze the trigger, when there's a loud explosion from the opposite shore. A bullet smashes through his skull and hurls him into the water. EXT. opposite shore\/ RIVER\/ OMDURMAN - day. The MAN who fired the shot lowers his rifle. It's ABOU FATMA. He kicks his camel, and gallops along the riverbank, trying to keep up with HARRY and TRENCH in the water. EXT. IDRIS's BOAT\/ RIVER\/ OMDURMAN - day. IDRIS stares after them in fury. He orders the GUARDS to row into the current and give chase. EXT. RIVER\/ OMDURMAN - day. HARRY and TRENCH tumble through the churning water, the current boiling all around them. There are splashes of water as bullets explode. EXT. opposite shore\/ RIVER\/ OMDURMAN - day. ABOU FATMA dismounts as he sees HARRY and TRENCH being picked off. He takes up a position near the riverbank, and fires at the pursuing boat. EXT. IDRIS's BOAT\/ RIVER\/ OMDURMAN - day. IDRIS ducks as one of his GUARDS is hit. He shouts at the remaining GUARDS to fire back at Abou Fatma. EXT. RIVER\/ OMDURMAN - day. HARRY and TRENCH keep disappearing under the water. As he surfaces briefly, HARRY looks around. He sees the current hurtling towards a row of jagged rocks. EXT. RIVER\/ OMDURMAN - day. IDRIS aims at the distant figure on the riverbank, and fires a volley of shots. EXT. opposite shore\/ RIVER\/ OMDURMAN - day. Two bullets spin ABOU FATMA round, grazing him in the leg, knocking the rifle out of his hand. Limping as fast as he can, he takes cover behind the camels. EXT. IDRIS's BOAT\/ RIVER\/ OMDURMAN - day. IDRIS looks back at HARRY and TRENCH, ready to pick them off. Suddenly his eyes stop. He sees the jagged rocks in his path. He yells at the GUARDS to row against the current. EXT. RIVER\/ OMDURMAN - day. The current picks up speed as it hurtles towards the rocks. HARRY holds TRENCH tightly, anticipating the impact. The current sweeps them right through the rocks. EXT. opposite shore\/ RIVER\/ OMDURMAN - day. ABOU FATMA watches from the riverbank as IDRIS's boat tumbles helplessly towards the rocks. EXT. IDRIS's BOAT\/ RIVER\/ OMDURMAN - day. The GUARDS leap off the boat at the last moment, but the current sweeps them up, and dashes their brains against the rocks. Only IDRIS holds on. The boat breaks up all around him, but protects him from the full impact. EXT. RIVER\/ OMDURMAN - day. HARRY and TRENCH surface on the other side of the rocks. Huge tree roots jut out near the riverbank. The current is still strong but it's swimmable. EXT. opposite shore\/ RIVER\/ OMDURMAN - day. ABOU FATMA rides after the disappearing bodies. EXT. GIANT TREE ROOT\/ RIVER\/ OMDURMAN - day. HARRY reaches out and grabs a jutting tree root. With his legs clamped around TRENCH, he pulls them out of the fastest point of the current. As he looks behind him he sees IDRIS disappear under the torrent. Catching his breath, HARRY starts to clamber along the root, trying to make it to the safety of the riverbank. TRENCH groans, fully conscious now. harrY We're going to make it. TRENCH stares at HARRY with an almost childlike trust. harrY See if you can touch the bottom. TRENCH dips his feet under, nodding as they touch the riverbed. harrY Grab the root. TRENCH grips the root. HARRY swims around him. harry Now walk to the riverbank. treNCH My legs are broken. harry Your legs are fine. The poison paralyses the body. It's worn off. Gripping the root, TRENCH starts to walk against the current, the water flowing up to his neck. Slowly the river shallows. HARRY looks relieved as his friend finally tumbles onto the riverbank and collapses. He's about to follow him, when suddenly a pair of hands shoot out of the water, and grab him around the neck. It's IDRIS. He's also managed to clamber his way to safety. With a howl of rage he pulls HARRY's face under the water. HARRY kicks and flails. With one huge hand IDRIS keeps him under the surface, with the other he holds onto the giant tree root. HARRY tries to loosen his grip, but he isn't strong enough. He reaches down into the riverbed, and gropes around until he finds a rock. He grinds it into IDRIS's wrist like a pummel stone. IDRIS whips his hand away in pain. HARRY is instantly sucked out of his grasp. The current smashes him headlong into another root, downriver. IDRIS stares at his escaped prey in fury. His anger clouds his reason. He lets go of his own root and lets the current drag him to HARRY's. EXT. RIVERbank\/ OMDURMAN - day. HARRY drags himself towards the riverbank. He's only a few yards away when IDRIS's hands grab him again. HARRY turns around swinging and catches IDRIS on the jaw. Both of them tumble in the water. They wrestle beneath the surface, then shoot up again, tearing at each other like wild animals. IDRIS grabs HARRY by the hair, and slams his face down on his knee, smashing his nose. The searing pain staggers HARRY. He tries to crawl away, but IDRIS stamps on his back, flattening him. He drops to his knees, and grinds HARRY's face into the riverbed. As he pulls him back up by the hair, we see HARRY's mangled features - - a mask of blood, eyes staring out, jaws hanging open in defeat. For a moment time seems to slow, then suddenly, shaking his head free, HARRY screams a savage, primal cry, and drives his elbow back into IDRIS's face, shattering bone and cartilege. IDRIS falls back, stunned. HARRY has his chance to get away, but he's not interested now. He wades after IDRIS, an expression of pure, uncontrollable rage in his eyes. As IDRIS tries to pick himself up, HARRY slams both fists into his mouth, smashing his teeth down his throat. It's IDRIS's turn to look scared. He tries to crawl away, but the bloody faced demon is on him in seconds, ramming his head back under the water. IDRIS manages to kick him away briefly, but it only enrages HARRY. He comes back at IDRIS with a large rock between his hands, cracking his face open. And still he isn't finished. Sitting astride the gurgling prison guard, HARRY raises both arms as high as they'll go, and smashes the rock into IDRIS's face, again and again. The guard's blood splatters all over him, but HARRY hardly seems to notice. He's gripped by a savage, primordial fury. Everything he's suffered has built up to this point. He's at his highest and lowest ebb. His hands whirr up and down, his eyes glow feverishly, his lips curl in a terrifying sneer. Strong arms grab him from behind, but HARRY ignores them, hammering away. He's beyond hatred, beyond compassion, face to face with his deepest, darkest self. Again the arms try to pull him off, but HARRY brushes them aside. The blood and tears stream down his cheeks. He howls like an animal. His hands finally slow as his arms reach exhaustion. This time ABOU FATMA manages to pull him off. HARRY collapses in his arms and weeps like a baby, finally breaking out of the darkness, no longer sure who or what he is anymore. ABOU FATMA holds him tightly, hushing him, comforting him, understanding. EXT. country lane\/ bintree\/ england - day. A primal silence. Mist hovers over the emerald fields. In the distance a carriage approaches. As it draws nearer, we see HARRY, sitting in the back. His scars have healed, but his eyes have the far away look of someone who's seen too much. The outlines of the village church appear through the fog. HARRY hears a dog barking. hARRY (To the Driver) Could you stop here. EXT. church\/ bintree - day. The barking grows louder as HARRY enters the churchyard. He sees a Collie, tied to a post. It's Dermod's dog. HARRY bends down and strokes the animal. Then he looks up through the open church door. INT. church\/ bintree - day. At first HARRY doesn't see ETHNE. She sits quietly in one of the Church pews. It's only as she hears his footsteps that she turns around. Her eyes stop still. She stares at him in silence, taking in the ravages of time. All the diffidence and boyish charm she remembers have long since disappeared. In their place, there's an inner strength, and confidence. ETHNE Everyone said how much you'd changed. I didn't believe them. hARRY Do I look that bad? ETHNE Trench came to see me last week. He looked a good deal worse than you. hARRY He's suffered more. ETHNE That isn't what he told me. She stares at him with quiet pride. ETHNE May I have it back? hARRY That isn't why I came. ETHNE I'd still like it back. (She smiles sadly) I have three of them, I'd like four. HARRY stares at her, then takes out the fourth feather. hARRY I'm almost sorry to let it go. It's brought me a lot of luck these past few months. ETHNE takes the feather, unable to look at him. She stares at it in silence. ETHNE When did you get back? hARRY Two weeks ago. She looks hurt that it's taken him so long to come and see her, but she knows she has no right to expect more. ETHNE I'm glad you did what you did, on your own, without anyone's help. I'm glad for you, Harry. hARRY I did nothing on my own. You were with me the whole time. The tears begin to shine in her eyes. ETHNE You've heard our news?... hARRY Yes. ETHNE nods, unable to continue. hARRY I didn't come here to change your mind. (With quiet dignity) The most I hoped for -- and I hoped for it every day -- was that I could do enough to save the memory of what we had. So that you wouldn't always be ashamed of the time we spent together. ETHNE is too ashamed of herself to answer him. Her eyes drift to a crack of sunlight on the church wall, glinting through the stained glass windows. hARRY What are you thinking? ETHNE You'd laugh if I told you. harrY That might not be a bad thing. ETHNE I was thinking I'd get up and leave when that patch of sunlight disappeared. So far it's been quite resilient. She smiles gently. For a moment they're the Harry and Ethne of old. ETHNE I passed by your appartment the other day. hARRY (Surprised) When? ETHNE When you didn't come and see me... (She smiles sadly) I was in London for the day. It took me hours to pluck up the courage. When I finally drove by, your lights were off. hARRY I've hardly been out since I got back. ETHNE It was last Friday. Between five and six. hARRY (Pausing) I'd gone to see my father. ETHNE (Smiling ironically) Someone must be watching over us. The sunlight lingers precariously on the wall. ETHNE It will pass. You'll meet someone soon. Then you and her, and Jack and I, will sit over tea and chatter politely, as if there was never anything between us. hARRY That won't happen. ETHNE It has to happen. (The tears fill her eyes) Because I love you Harry...and I can't. I can't. The sunlight on the wall finally fades. ETHNE wipes her tears and gets up to leave. As she tries to walk past him, HARRY takes her in his arms. She doesn't resist. If anything she's relieved. They stay like that for a moment, holding each other, unable to do anything else. We feel their desperate longing, but there's a self imposed wall that keeps them apart. ETHNE pulls away gently. ETHNE I'll take you to the station. He nods. hARRY I wanted to look in on Jack. I'll leave him a note. ETHNE (Considering) No, he'd love to see you. He's staying at the vicarage. It's on the way. They're polite around each other now, like strangers. ETHNE slips past him with an awkward smile. HARRY waits before he follows her. They walk down the aisle, several feet apart. INT. DURRANCE's room\/ vicarage\/ glenalla - day. DURRANCE sits at a table, knotting his tie. There's a determination in his eyes, as if the smallest activity has become a battle to be won. Suddenly he hears the noise of Ethne's carriage outside. His face lights up. He feels his way towards the window. The carriage door takes a long time to open. DURRANCE stares curiously. Finally he hears footsteps on the gravel. They're heavier than he expected. They stop a moment. DURRANCE knows whoever it is, is staring up at him in the window. He looks thoughtful now, as if he knows who it is. He turns away from the window and finds a chair. He sits, facing the door, checking to make sure the carafe of Scotch and the crystal glasses are within easy reach. The footsteps climb the stairs. There's a knock on the door. DURRANCE Come in. HARRY enters. He stops as he sees his friend. DURRANCE's face has softened from inactivity. His skin seems pale compared to Harry's coarse, sunburnt features. DURRANCE It's good to see you, Harry. hARRY (Quietly impressed) How did you know? DURRANCE A calculated guess. (He grins) Scotch alright? hARRY Perfect. DURRANCE I've got to cut down on the stuff. I'm putting on weight. hARRY You look good. DURRANCE Not as good as you, I'm sure. HARRY watches his friend, taking the carafe, pouring two perfect glasses. Everything Durrance does, is designed to show him he's alright, that there's nothing to pity. DURRANCE (Handing him the drink) I heard Ethne's carriage outside? hARRY She's giving me a ride to the station. DURRANCE Why didn't she come up? hARRY (He knows the question isn't as casual as it sounds) I think she wanted to give us a few minutes alone. DURRANCE Do we need a few minutes alone? Even though he's smiling, the air is thick with tension. hARRY I came to thank you, Jack. DURRANCE For what? hARRY For standing by me. DURRANCE If you're talking about the feathers, I wasn't there. hARRY Willoughby told me you were. He said you'd tried to talk them out of it. DURRANCE hesitates. DURRANCE You don't owe me anything Harry. The wedding isn't for another month. Ethne's free to make up her own mind. hARRY You don't owe me anything either, Jack. And she's made up her mind. You should trust her judgement. A long silence. DURRANCE is too proud to respond. HARRY stares at his friend, regretting the wall between them. hARRY I'd better go. I'll miss my train. I'll come and see you soon. He finishes his drink and gets up. DURRANCE Have another one. hARRY I can't Jack. DURRANCE Please. His voice is softer now, more conciliatory. DURRANCE The friendship was the best thing about that place. It's the one thing I haven't been able to hang onto. It's his way of asking Harry to stay. HARRY sits again. DURRANCE I've become like one of those old soldiers we used to laugh at. Forcing my stories on everyone. Enough medals on my uniform to light up a Christmas tree. (Filling their glasses) Have they given you back your commission? hARRY They haven't acknowledged me in any way. DURRANCE I suppose it wouldn't be the British Army if they admitted their mistakes. hARRY I don't know if it was a mistake. I was never a real soldier like you. DURRANCE A real soldier doesn't come back in a hospital ship. (Raising his glass) To Castelton and all the others we left behind. HARRY watches his friend down his whisky, sensing the guilt and pain inside. hARRY (Reassuring him gently) You did everything you could. DURRANCE You saw it happen? hARRY From a distance. I remember the entire British Square retreating in perfect order, and then these two lunatics, charging out to save their friend. (He smiles affectionately) I remember thinking there wasn't a bullet in the world that could stop you that day. DURRANCE (Ironically) Except my own. hARRY You obviously weren't meant to die. You certainly tried your best. DURRANCE chuckles, close to tears, holding them back. DURRANCE It's hard to talk like this with anyone else. They all want to know how many people you've killed, but the moment you mention the friends you've lost, their eyes glaze over. hARRY They weren't there. DURRANCE No. (A beat) Do you ever miss the desert Harry? hARRY I'm glad I'm home. DURRANCE It was the best time of my life. Whenever anyone had a problem they came to me. I never felt so needed. (He smiles) Maybe we should change places. HARRY isn't sure what he means. DURRANCE tops up their glasses. DURRANCE You remember the first time we led a cavalry charge in public? hARRY You wiped the floor with me. Most of my horses ended up in the bandstand. DURRANCE Ethne was watching. hARRY (Hesitating) That's right. DURRANCE We'd met her the previous night, at the regimental ball. hARRY I remember. DURRANCE You should. You were the only one she danced with. HARRY smiles but doesn't say anything. DURRANCE I've never been so jealous. I stayed up all night brooding. The next day I was determined to show you up -- prove to her I was the better soldier. hARRY (Affectionately) You were always the better soldier. DURRANCE And it still didn't make a difference. (He smiles wistfully) She was the first person I looked for in the crowd, and she was staring at you. Everyone else was applauding me, and she was staring at you. (A beat) I'm not sure if anything's changed. HARRY can't speak. He knows what DURRANCE is saying. DURRANCE (Raising his glass) To us Harry. He leans over, grinning, and touches Harry's glass. DURRANCE To you. EXT. churchyard\/ glenalla - day. Church bells chime, drowned out by the excited GUESTS. The Wedding party has gathered outside the chapel, waiting for the bride. There's a flurry of activity as Ethne's carriage finally draws up. FRIENDS and FAMILY run over to greet her. HARRY's PARTY stays behind at the Church door, preparing him for her imminent arrival. GENERAL FEVERSHAM and COLONEL SUTCH make last minute adjustments to HARRY's suit and tie. WILLOUGHBY reminds TRENCH to make sure he's still got the ring. ETHNE finally emerges from the carriage, looking radiant in a white dress. HARRY tries to catch a glimpse of her, but TRENCH covers his eyes, as if it's still bad luck to see his bride. ETHNE laughs as she walks past them into the church, accompanied by her FATHER. TRENCH waits until she's safely inside, before he removes his hands from Harry's eyes. HARRY looks around, hoping to see Durrance amongst the crowd. His friend is nowhere to be seen. HARRY smiles at the other GUESTS, but he seems distracted, as if he knows in his heart Durrance won't show. Slowly the CROWD outside thins until only HARRY, TRENCH, and WILLOUGHBY remain. trENCH Ready? HARRY has one last look for Durrance, still hoping against hope, then he nods and follows his friends inside. The noise of the choir fades as the doors close behind them. For a moment we're left in the balmly stillness of the churchyard, and then, in it's place, we hear the unmistakeable whisper of the desert wind. FADE OUT. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACK ROOM - CHURCH AT GLENALLA - DAY (CHURCH ORGAN OVER)<\/stage_direction>\n    <scene_description>In full dress uniforms, Colonel Sutch and General Feversham work Harry over -- adjusting his collar: GENERAL FEVERSHAM All set... looking good. HARRY (mock nautical) Aye, sir. GENERAL FEVERSHAM That's enough out of you... As they shove him through the door -- turning back to Sutch: HARRY By the way, I must remember to thank you... (pause) For telling everyone I was dead. SUTCH I've never been so happy to be wrong in all my life. But I did what I thought was right.. HARRY A terrible habit. (beat) Raises all kinds of hell... As he heads out through the door, with the ORGAN PLAYING: \"THE WEDDING MARCH...\" SERIES OF SHOTS (MUSIC OVER): 156 - THE CHAPEL: is filled with MILITARY MEN; Feversham family and friends; Mrs. Adair; and a church full of locals. - HARRY'S POV - ON ETHNE: walking down the aisle -- as beautiful as a bride can be. DISSOLVE TO: - HARRY AND ETHNE: kissing at the altar -- joined together as man and wife, as... GENERAL FEVERSHAM (v.o.) (bellows) Officers... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCH - AFTER CEREMONY<\/stage_direction>\n    <scene_description>ANGLE ON: the assembled military men -- in two lines, leading from the church door: GENERAL FEVERSHAM (bellows) Draw... CLOSEUP: hands on hilts, as: GENERAL FEVERSHAM (bellows) Swooooords!!! TWO ROWS OF SWORDS ARE PULLED AND FLOURISHED -- INTO THE AIR! Sunlight glinting off the blades, the Officers and former Officers of the 1st Battalion Grenadier Guards form a canopy, beneath which... HARRY AND ETHNE: exit the church, arm-in-arm, to the CHEERS of their families and friends... and the bitter-sweet tears of Mrs. Adair. As they move down the steps, beneath the ceremonial swords... WITH AN ARMY BAND PLAYING A ROUSING MARCH... TRACK DOWN THE LINE TO REVEAL: the joyous faces of General Feversham, Colonel Sutch, Colonel Willoughby, and Captain Trench. As their heads turn to follow the lovers... CONTINUE TRACKING TO REVEAL: an EMPTY SPACE -- amidst the row of Officers, in honor of the missing Durrance. TRACK IN TOWARD THAT EMPTY SPACE, AND RACK BEYOND IT TO REVEAL: Harry and Ethne, kissing for real... at last. FREEZE FRAME. As the MILITARY MARCH PLAYS ON; CREDITS ROLL TO... THE END.<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Harry Faversham, a young British officer completing his training, celebrates his engagement to Ethne Eustace in a ball with his fellow officers and father. When the Colonel announces that the regiment is being dispatched to Egyptian-ruled Sudan to rescue the British General Charles \"Chinese\" Gordon, young Faversham has serious reservations about going to war, and resigns his commission. Harry's father disowns him. Perceiving his resignation as cowardice, three of his friends and his fianc\u00e9e each give him a white feather, the symbol of cowardice. Ethne breaks off their engagement. Harry learns that his best friend Jack and his former regiment have come under attack by rebels. Undertaking the perilous journey into the Sudan alone, he strikes up an alliance with Abou Fatma, a mercenary warrior. Harry disguises himself as an Arab. Harry and Abou Fatma follow a group of army workers he believes to be spies of self-proclaimed Mahdi, Muhammad Ahmad, and reach the garrison of Abu-Klea, which they realise has been overrun. Harry begs Abou Fatma to warn his friends that their destination is under siege and an attack is likely. The regiment stops its march to bury a group of British killed by the Mahdi. Abou Fatma is captured by Egyptian soldiers; believing he is an enemy scout, they bring him before the British officers. He tells the British that he has been sent by a British officer to warn them of the Mahdi's attack. He says that Muslims always bury their dead and that of the enemy, but that these bodies have been left to keep the British occupied. Faversham's comrades are worried, but ultimately they disregard Abou Fatma's warnings and he is flogged as a suspected spy. The British and Egyptian troops are not prepared for battle. The Mahdi rebels attack with spearmen, riflemen and cavalry, while the British forces form a defensive square. Firing volley after volley, the British repel the initial Mahdi assault just as they spot British cavalry reinforcements in their distinctive red uniforms. A force of skirmishers is sent to pursue the retreating Sudanese, but they are ambushed by Mahdi rebels and forced to fight on foot. Soon the British discover that the cavalry who they thought were reinforcements are Sudanese disguised in British uniforms. Among them is Faversham. The British square reorganises and fires a few volleys, in the process killing several skirmishers who have not yet returned to the square, including Edward Castleton, who had earlier given Harry a feather. Jack attempts to rescue Castleton in the process but is blinded when his rifle misfires. The British issue an order for retreat. Harry finds Jack during the battle and protects him after he was blinded. Harry finds letters from Ethne to Jack, but cares for his friend without identifying himself. Never knowing his rescuer, Jack is transported to England. He asks Ethne to marry him, but she does not answer and discusses it with Harry's father. Tom, another officer, arrives to tell Jack that Harry had visited him in Sudan. During the encounter, Harry confirms that he had sent Abou to alert the British of the Mahdi attack, and is bitter that his friends ignored the warning. Abou tells Harry that he believes Trench lives on in the notorious Mahdi prison of Omdurman. Upon learning this, Harry says he is determined to rescue him. Abou advises Harry against this venture, which is all but certain to lead to his death. Undeterred, Harry allows himself to be captured and imprisoned at Omdurman. In the prison, Harry finds Trench. They suffer greatly as they are starved and subjected to hard labor. After a failed escape attempt, they concede the hopelessness of their situation. Later Abou rescues Harry and Trench by giving them a poison to fake their deaths. A suspicious guard follows the removal of the bodies, along with three other guards. Harry and Abou kill the four. Abou returns to the desert, and Harry escorts Trench back to Britain. Harry is acknowledged by his father and Ethne reclaims her feather, as Harry has proven his bravery. She has become engaged to Jack. Jack learns that Harry was his rescuer when he happens to touch his face; he releases Ethne from their engagement. After a ceremony of remembrance, Harry and Ethne hold hands and are engaged again."}
{"movie_name":"The Devil's Advocate_1997","imdb_id":"tt0118971","script":"<script>\n  <scene>\n    <stage_direction>INT. FLORIDA COURTROOM - DAY<\/stage_direction>\n    <scene_description>Northern Florida in the midst of a heat wave . Air conditioners fighting a losing battle . The gallery is full . The JUDGE a stern , old hand . The PROSECUTOR , an efficient man with a good case . The witness is BARBARA . She is maybe 13 . She is a witness in a criminal trial . Her testimony has been carefully rehearsed .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>we go back to our homeroom for dismissal, unless you have a pass for sports or something.<\/dialogue>\n    <character>PROSECUTOR<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>And is that what you did on the day in question?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>No. Mr. Gettys asked me to stay after class.<\/dialogue>\n    <character>PROSECUTOR<\/character>\n    <dialogue>What happened next, Barbara?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Mr. Gettys closed the door.<\/dialogue>\n    <character>PROSECUTOR<\/character>\n    <dialogue>Everyone else had gone?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Yes. He told me to sit in the chair beside his desk.<\/dialogue>\n    <scene_description>MR. GETTYS , the defendant , is 50 . The very picture of respectability . His perfect wife and son staunchly enduring this testimony .<\/scene_description>\n    <character>PROSECUTOR<\/character>\n    <dialogue>In your own words, Barbara, can you tell us exactly what happened during the next few minutes?<\/dialogue>\n    <scene_description>KEVIN LOMAX . Defense counsel . Taking it all in .<\/scene_description>\n    <character>BARBARA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I told him I was afraid I would miss my bus. He promised I would get to the bus on time if I would help him to do something.<\/dialogue>\n    <scene_description>Kevin - his eyes - drifting around the courtroom - taking inventory - assessing damage -<\/scene_description>\n    <character>BARBARA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Then he put - before I could say anything - he placed his hand inside my blouse.<\/dialogue>\n    <scene_description>Kevin - checking the jury and -<\/scene_description>\n    <character>BARBARA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I was so frightened I did n't move. I thought if I was just quiet it would be okay.<\/dialogue>\n    <scene_description>Kevin - checking Gettys - seeing something that stops him cold -<\/scene_description>\n    <character>BARBARA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Then his other hand went up under - inside my skirt.<\/dialogue>\n    <scene_description>Gettys ' hand - down below the table - down where no one but Kevin could possibly see it - Getty 's fingers subtly feeling their way along the leg of his chair -<\/scene_description>\n    <character>BARBARA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>his hand then, it started, he started, moving back and forth - farther and farther inside my skirt.<\/dialogue>\n    <scene_description>Kevin - glancing around - nobody else can see it -<\/scene_description>\n    <character>BARBARA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>he said he was testing to see if I had any special feelings, that he wanted to find out what kind of feelings I had.<\/dialogue>\n    <scene_description>Gettys ' hand - excited now - stroking the chair leg - absently - involuntarily - unmistakably sexual -<\/scene_description>\n    <character>BARBARA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I did n't know what to say, I was trying to think of something to say but I was confused and he just kept on - with his hand - moving it - under my dress - higher and higher.<\/dialogue>\n    <scene_description>Kevin is rocked . Trying not to show it .<\/scene_description>\n    <character>BARBARA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>then I, I was asking him to stop but it was like he could n't hear me - he just kept on -<\/dialogue>\n    <scene_description>Suddenly , Gettys ' hand stops moving -<\/scene_description>\n    <character>BARBARA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>- and then I screamed.<\/dialogue>\n    <scene_description>Kevin looks up to find Gettys ' eyes waiting for him . Gettys quickly returns his hand into his lap . He 's been caught - watching , as Kevin turns away and -<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>then he, he got mad and said we would have to try again sometime.<\/dialogue>\n    <character>PROSECUTOR<\/character>\n    <dialogue>And did he try again?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Not with me.<\/dialogue>\n    <character>PROSECUTOR<\/character>\n    <dialogue>With friends of yours?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>PROSECUTOR<\/character>\n    <dialogue>And when you told them what he had done to you, they told you what he had done to them, is n't that true?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>PROSECUTOR<\/character>\n    <dialogue>I have nothing further.<\/dialogue>\n    <character>JUDGE<\/character>\n    <parenthetical>( finding Kevin . )<\/parenthetical>\n    <dialogue>Your witness, Mr. Lomax.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Any chance, Your Honor, for a short recess?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLORIDA COURTHOUSE HALL - DAY<\/stage_direction>\n    <scene_description>Kevin heading quickly away from the courtroom . Gettys right on his heels .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Lloyd, as your attorney, I'm advising you to get the fuck away from me.<\/dialogue>\n    <character>GETTYS<\/character>\n    <dialogue>Why? What are you talking about?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>The wife. The kid. The outrage. You definitely had me fooled.<\/dialogue>\n    <character>GETTYS<\/character>\n    <dialogue>You're my lawyer! You're here to defend me!<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>You know what I'm thinking? Why do n't we put you on the stand and you can jerk off for the judge.<\/dialogue>\n    <character>GETTYS<\/character>\n    <dialogue>You know she's lying.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Get the hell out of my way.<\/dialogue>\n    <scene_description>Gettys standing aside , as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLORIDA COURTHOUSE MEN'S ROOM - DAY<\/stage_direction>\n    <scene_description>An ancient upstairs facility . Kevin standing at the mirror . Frozen there . Identity crisis . Morality crisis . He takes off his wedding ring . Letting cold water run in the sink . His eyes never leaving the mirror . Behind him , the door opens . A local REPORTER enters , moves to the urinal .<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>Well, hell, there you are. Rumor was you were out wandering in traffic.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Not now, Larry.<\/dialogue>\n    <character>REPORTER<\/character>\n    <dialogue>What's the game plan, Kevin? I got a four - thirty deadline. I need a quote. Gim me a quote.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Fuck off.<\/dialogue>\n    <character>REPORTER<\/character>\n    <dialogue>` Mr. Lomax had no comment on today's events. Speculation, however, was widespread that the young lawyer's unblemished string of victories would come to an end in this courtroom.'<\/dialogue>\n    <scene_description>Kevin pulls some cold water to his face . Startled , as THUNDER EXPLODES overhead - then just as suddenly , becomes nothing more than the urinal flushing .<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>It was a nice run, Kev. Had to close out someday. Nobody wins'em all.<\/dialogue>\n    <scene_description>The Reporter exits . Kevin alone with the mirror . And then it 's over . He 's made his decision . Replacing his wedding ring . Reaching for his jacket , as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLORIDA COURTHOUSE HALLWAY - DAY<\/stage_direction>\n    <scene_description>Kevin walking through . His game face . A court officer opening the doors and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLORIDA COURTROOM - DAY<\/stage_direction>\n    <scene_description>Barbara on the stand . Everyone in place .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Math has n't exactly been your subject this year, has it?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Any theories on why you've done so poorly in math this year?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>It's not my fault.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Would you say Mr. Gettys is the problem?<\/dialogue>\n    <parenthetical>( as she shrugs . )<\/parenthetical>\n    <dialogue>You're not sure. Have you had any discipline problems in math class this year?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>No? Is n't it true Mr. Gettys has had to talk to you repeatedly about your behavior? Is n't that why he asked you to stay after class?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Have other teachers ever asked you to stay after class?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Once or twice.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Did they want to talk about your behavior?<\/dialogue>\n    <character>PROSECUTOR<\/character>\n    <dialogue>Objection. Immaterial.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Goes to motive.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Overruled. You may answer the question.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>I do n't know what the other teachers wanted. You'd have to talk to them.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>You ever pass notes in class, Barbara? Maybe a note that made fun of Mr. Gettys?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>No? Never called him a ` disgusting pig monster'?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Kevin handing out paperwork .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Your Honor, I've pre - marked this Defense Exhibit A.<\/dialogue>\n    <character>PROSECUTOR<\/character>\n    <dialogue>Objection, Your Honor, we've had plenty of time for discovery here.<\/dialogue>\n    <scene_description>The Judge quickly studying his copy of the note .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>I'm gon na let this in, Mr. Lomax, I'm also gon na suggest that if you have any other exhibits you present in a timely fashion or not at all.<\/dialogue>\n    <character>KEVIN<\/character>\n    <parenthetical>( right to the note . )<\/parenthetical>\n    <dialogue>I'm sorry, Barbara, I was wrong, it's ` huge hog beast'. This is your handwriting, is n't it?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Yes, but -<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>You wrote this in his class.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>It's a joke.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>` He's a huge hog beast. He probably eats a thousand pancakes for breakfast.' You're writing here about Mr. Gettys, are n't you?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>It was meant to be a joke.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Have you ever had a party at your house when your parents were away?<\/dialogue>\n    <parenthetical>( waiting . )<\/parenthetical>\n    <dialogue>Yes or no?<\/dialogue>\n    <character>PROSECUTOR<\/character>\n    <dialogue>Objection. This is way out of.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Credibility and bias.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Overruled. Answer the question.<\/dialogue>\n    <character>BARBARA<\/character>\n    <parenthetical>( rattled . )<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>The word special came up in your testimony earlier. You claimed that Mr. Gettys asked you whether you had special feelings, if you felt special.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Have you ever heard of a game called ` Special Places?'.<\/dialogue>\n    <parenthetical>( waiting . )<\/parenthetical>\n    <dialogue>You're under oath, Barbara. A man's career - his reputation - his life is on the line. This is not a joke. Have you ever played the game Special Places?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Is this game sexual in nature?<\/dialogue>\n    <parenthetical>( waiting . )<\/parenthetical>\n    <dialogue>Is this game sexual in nature?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>We only played it once.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>This special party, Barbara, this was the first time you told the story about Mr. Gettys.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I've spoken to the other children who were there that day. Can you think of anything else, Barbara, they might have told me about that party?<\/dialogue>\n    <character>PROSECUTOR<\/character>\n    <dialogue>Objection. Your Honor, if he has other witnesses let him call them.<\/dialogue>\n    <character>KEVIN<\/character>\n    <parenthetical>( right at Barbara . )<\/parenthetical>\n    <dialogue>If I need to call those other children, I will.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>I'm gon na sustain that, Mr. Lomax. Rephrase your question.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>You threatened those children, did n't you?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>That's not the way it happened -<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>You told them to falsely claim that Mr. Gettys had hurt them, did n't you?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>These things did happen!<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Because if they did n't go along you were going to tell everyone about this special party.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>They happened to me.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>So you made up a story. A special story, about a math teacher - a disgusting pig monster - you did n't like. That's what really happened, is n't it?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>I did n't want to be the only one!<\/dialogue>\n    <scene_description>BARBARA 'S FATHER can take it no longer - suddenly on his feet - charging -<\/scene_description>\n    <character>BARBARA'S FATHER<\/character>\n    <dialogue>You son of a bitch!<\/dialogue>\n    <scene_description>The bailiff making a diving grab -<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>I have no further questions, Your Honor.<\/dialogue>\n    <scene_description>Chaos - court officers struggling with Barbara 's Father and people yelling and Gettys hugging his wife and son and the gavel banging like mad and Kevin just sitting there , staring at the floor , completely drained , emotionally , morally , physically and - In the back of the room , a man . He 's black . Elegant . Amused by the scene . His name is LEAMON HEATH . MARY ANN LOMAX leans in behind her husband . She is a doll . We love her .<\/scene_description>\n    <character>MARY ANN<\/character>\n    <dialogue>Pack it up, baby. You need a drink.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLORIDA NIGHTCLUB - NIGHT<\/stage_direction>\n    <scene_description>It 's a rock and roll joint . Florida style . But it 's early and empty . Kevin at the bar with Mary Ann , two LAWYER friends , the Reporter and someone 's girl friend . 12 shot glasses , two rows of six . A perfect tequila pour and -<\/scene_description>\n    <character>LAWYER #1<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>In the event we all get drunk and forget, I suggest we frontload the ceremonial bullshit.<\/dialogue>\n    <parenthetical>( a toast . )<\/parenthetical>\n    <dialogue>To the best damn trial lawyer in Alachua County.<\/dialogue>\n    <scene_description>Kevin , subdued , watches the rest of them drink .<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>So, Kev, off the record, how's it feel to squeeze a man like Gettys through the door of reasonable doubt?<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>No.<\/dialogue>\n    <parenthetical>( waving him off . )<\/parenthetical>\n    <dialogue>I told you already, we're not gon na discuss that damn case anymore. Done.<\/dialogue>\n    <parenthetical>( to Kevin . )<\/parenthetical>\n    <dialogue>Am I right?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I'll drink to that.<\/dialogue>\n    <parenthetical>( as he does . )<\/parenthetical>\n    <dialogue>No shop talk.<\/dialogue>\n    <scene_description>MONTAGE Tequila pours . As the night goes on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLORIDA NIGHTCLUB - MEN'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Drunk frat boys laughing as they exit . A BAR BAND in the distance . Kevin done pissing . Moving for the sink , when he suddenly stops . Freezes . A mirror above the sink . There he is . The guy that set Gettys free .<\/scene_description>\n    <character>HEATH<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Mr. Lomax?<\/dialogue>\n    <scene_description>Kevin turns - Leamon Heath standing beside him .<\/scene_description>\n    <character>HEATH<\/character>\n    <dialogue>Helluva job today.<\/dialogue>\n    <parenthetical>( quickly presenting his card . )<\/parenthetical>\n    <dialogue>I did n't want to disturb your party.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Milton, Chadwick, Waters. Never heard of it.<\/dialogue>\n    <parenthetical>( looking up . )<\/parenthetical>\n    <dialogue>What're you gon na do? Sue me?<\/dialogue>\n    <character>HEATH<\/character>\n    <dialogue>Actually, we were hoping to retain your services. We've been following your progress.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>From New York.<\/dialogue>\n    <character>HEATH<\/character>\n    <dialogue>You've never lost a case.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I've had some sympathetic juries.<\/dialogue>\n    <character>HEATH<\/character>\n    <dialogue>That's exactly what we're looking for. We want you to come to New York. Help us pick a jury.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Really.<\/dialogue>\n    <parenthetical>( amused now . )<\/parenthetical>\n    <dialogue>I'll tell you, man. You're pretty damn good. And the card is great. And the black thing - you being black - whose idea was that? Paul's?'Cause that's just brilliant.<\/dialogue>\n    <parenthetical>( as he 's walking . )<\/parenthetical>\n    <dialogue>I'm just not drunk enough yet to fall for it.<\/dialogue>\n    <character>HEATH<\/character>\n    <dialogue>You'd have to start next week.<\/dialogue>\n    <parenthetical>( waiting as Kevin stops there . )<\/parenthetical>\n    <dialogue>All expenses. First class travel and lodging. You and your wife. A lump sum payment, regardless of verdict in the amount of, well.<\/dialogue>\n    <parenthetical>( in his hand . )<\/parenthetical>\n    <dialogue>Here. Take a look.<\/dialogue>\n    <scene_description>Kevin takes the check . Still looking at it , as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FLORIDA CINDERBLOCK CHURCH - DAY<\/stage_direction>\n    <scene_description>Two dozen cars parked . MUSIC and SINGING from inside . A sign reads : `` SEMINOLE CALVARY CHURCH OF THE REDEEMER ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLORIDA CINDERBLOCK CHURCH - DAY<\/stage_direction>\n    <scene_description>Inside the church . Plain and functional . Poor but faithful . A trio - electric guitar , accordion , tambourine - playing a hymn . Forty - five voices raised in song . The tempo is ragged and the pitch shaky , but the feeling is strong . They mean it . The CAMERA FINDS - MRS. LOMAX . Kevin 's mother . Forty - six . Singing her heart out . A woman with faith , in the presence of her Lord . The CAMERA FINDS - Kevin . In the very back . Standing in the doorway . Halfway in . Halfway out . Shadow . Light . Waiting .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FLORIDA CHURCH PARKING LOT - DAY<\/stage_direction>\n    <scene_description>Post - service . Mrs. Lomax and Kevin walking to her car .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>It's two weeks at most.<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>You've never been to New York.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Every dog gets a day.<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>Pick a jury.<\/dialogue>\n    <parenthetical>( ridiculous . )<\/parenthetical>\n    <dialogue>I feel the hand of Mary Ann on this adventure.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Mom.<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>New York is not a good idea.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Look, how you fixed for cash?<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>I have my bad feeling.<\/dialogue>\n    <character>KEVIN<\/character>\n    <parenthetical>( an envelope . )<\/parenthetical>\n    <dialogue>I put a couple hundred in here.<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>Sounds like more than two weeks.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Mary Ann typed out the numbers for you - phone, the flights - it's all in there.<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>Let me tell you about New York.<\/dialogue>\n    <character>KEVIN<\/character>\n    <parenthetical>( with a smile . )<\/parenthetical>\n    <dialogue>Babylon.<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>Forewarned is forearmed.<\/dialogue>\n    <parenthetical>( half - serious . )<\/parenthetical>\n    <dialogue>` Fallen, fallen is Babylon the great. It has become a dwelling place of demons.' Revelation Eighteen. Would n't hurt you to look it over.<\/dialogue>\n    <character>KEVIN<\/character>\n    <parenthetical>( rolls with it . )<\/parenthetical>\n    <dialogue>Could n't forget it if I tried.<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>And what happened to Babylon?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>` Thou mighty city. In one hour hast thou mighty judgement come.'<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>` And the light of a single lamp shall shine in thee no more.'<\/dialogue>\n    <scene_description>Kevin gathers her in . Kissing her good - bye , as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL SUITE - NIGHT<\/stage_direction>\n    <scene_description>Darkness . Where are we ? A door opens in another room - VOICES - KEVIN and MARY ANN . They 're LAUGHING . Coming in from a big night out . For an instant - light - we glimpse a great hotel suite - and then -<\/scene_description>\n    <character>KEVIN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>- wait - leave'em off -<\/dialogue>\n    <character>MARY ANN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>- what are you. I ca n't -<\/dialogue>\n    <character>KEVIN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>- close your eyes - do it -<\/dialogue>\n    <scene_description>More LAUGHTER . Stumbling shadows moving PAST us and -<\/scene_description>\n    <character>KEVIN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Okay. Stop.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL SUITE - BALCONY - NIGHT<\/stage_direction>\n    <scene_description>Kevin behind Mary Ann with his hands over her eyes . He takes his hands away , but her eyes stay closed .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Okay. Open your eyes.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <parenthetical>( as she does . )<\/parenthetical>\n    <dialogue>Wow.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL SUITE - BALCONY - NIGHT<\/stage_direction>\n    <scene_description>The view . Wham . The definitive New York skyline .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL SUITE - BALCONY - NIGHT<\/stage_direction>\n    <character>KEVIN<\/character>\n    <dialogue>` Go ahead.'.<\/dialogue>\n    <parenthetical>( in her ear . ) '<\/parenthetical>\n    <dialogue>. bite the Big Apple.'<\/dialogue>\n    <character>MARY ANN<\/character>\n    <parenthetical>( she 's dancing . ) '<\/parenthetical>\n    <dialogue>. Rats on the West Side, bed bugs uptown, I ca n't give it away on Seventh Avenue. This town do n't look good in tatters.'<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I do n't know. looks to me like that dress is in your way.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <parenthetical>( shocked , stops . )<\/parenthetical>\n    <dialogue>Why, counselor.<\/dialogue>\n    <parenthetical>( her best drawl . )<\/parenthetical>\n    <dialogue>Surely you do n't think a small - town girl changes overnight just because a man buys her dinner in the big city.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>No, ma'am. In fact, I hardly ever think at all.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>Well, that's different, then. You're my kind of guy.<\/dialogue>\n    <scene_description>Kevin smiles . She 's taking off the dress . Babylon .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOLEY SQUARE - ESTABLISHING - DAY<\/stage_direction>\n    <scene_description>Six huge courthouses . All those courtrooms .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JURY COURTROOM - DAY<\/stage_direction>\n    <scene_description>Criminal court . Voire dire . Potential jurors fill the benches . A bored judge . MEISEL , defense counsel , is a sour , New York veteran . The juror being questioned , a PIE - FACED MAN with bad vision .<\/scene_description>\n    <character>MEISEL<\/character>\n    <dialogue>Do you think as a juror you'd be able to set aside any prior opinions you might hold about the savings and loan industry?<\/dialogue>\n    <parenthetical>( long pause . )<\/parenthetical>\n    <dialogue>That was a question, sir.<\/dialogue>\n    <character>PIE-FACE<\/character>\n    <dialogue>What? Do I like bankers?<\/dialogue>\n    <scene_description>Heath catches Meisel 's eye . Waves him over .<\/scene_description>\n    <character>MEISEL<\/character>\n    <dialogue>Your Honor, may I have a minute to speak with my colleagues.<\/dialogue>\n    <scene_description>ANGLE ON DEFENSE TABLE Kevin and Heath . And the defendant - a well - tailored reptilian banker . Meisel joins them . Sotto voce .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Dump him. While you're at it let's get rid of number six, eight, and I'd say lose number twelve, except the prosecutor's gon na fuck up and do it for us.<\/dialogue>\n    <character>MEISEL<\/character>\n    <dialogue>Number six? You're kidding, right? She's my first choice.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>She's my first pass.<\/dialogue>\n    <character>MEISEL<\/character>\n    <dialogue>And eight? With the dreadlocks? That's crazy. He's a defendant juror if I ever saw one.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>You see his shoes?<\/dialogue>\n    <character>MEISEL<\/character>\n    <dialogue>Look, kid, maybe down in Florida you're the next big thing, but this is New York. Manhattan. We're not squeezing oranges here.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>He polishes those shoes every night. He makes his own clothes. He may look like a brother - with - an - attitude to you, but I see a man who's got a shotgun under his bed and woe betide the creature who steps into his garden.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>And number six? Your favorite? She's damaged goods.<\/dialogue>\n    <character>MEISEL<\/character>\n    <dialogue>She's a Catholic schoolteacher.<\/dialogue>\n    <parenthetical>( to Heath . )<\/parenthetical>\n    <dialogue>She believes in human frailty.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>No. There's something missing from her. She's wrong.<\/dialogue>\n    <parenthetical>( eyes to the pool . )<\/parenthetical>\n    <dialogue>She wants on this jury. Somebody hurt her and she wants revenge.<\/dialogue>\n    <character>MEISEL<\/character>\n    <dialogue>How the hell do you know that?<\/dialogue>\n    <character>KEVIN<\/character>\n    <parenthetical>( honestly . )<\/parenthetical>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>MEISEL<\/character>\n    <parenthetical>( to Heath . )<\/parenthetical>\n    <dialogue>Look, either you put a stop to this happy horseshit or I walk.<\/dialogue>\n    <character>HEATH<\/character>\n    <dialogue>Walk.<\/dialogue>\n    <character>MEISEL<\/character>\n    <parenthetical>( a pause . )<\/parenthetical>\n    <dialogue>All right. Here's the deal.<\/dialogue>\n    <parenthetical>( to Kevin . )<\/parenthetical>\n    <dialogue>I lose with your jury? You do the explaining.<\/dialogue>\n    <scene_description>The defendant staring a hole into Kevin , as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOLEY SQUARE JURY COURT - DAY<\/stage_direction>\n    <scene_description>Kevin leaving court . In no hurry to get home . He likes it here . Across the street , a man , one of many passing on the sidewalk . Except this man turns as Kevin passes . Watching him . Seeing something that pleases him . This is JOHN MILTON . And now , as Kevin disappears , Milton joins the flow of people heading down into a subway station - down - and gone , as we PULL BACK TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOLEY SQUARE - DAY\/NIGHT (TIME LAPSE)<\/stage_direction>\n    <scene_description>As day becomes night . NIGHT BECOMES DAY AND AGAIN AND THIS TIME LIGHTNING SIZZLES THROUGH THE SKY<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL SUITE - NIGHT<\/stage_direction>\n    <scene_description>Mary Ann watching TV alone . Remnants of a room service dinner . They 've been living here for weeks now . The maids have started to give up . Kevin enters looking beat . Grabs a cold french fry .<\/scene_description>\n    <character>MARY ANN<\/character>\n    <parenthetical>( into her show . )<\/parenthetical>\n    <dialogue>Your mother called. She has her bad feeling.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Every now and then she gets one right.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>What's up?<\/dialogue>\n    <parenthetical>( looks over . )<\/parenthetical>\n    <dialogue>You okay? Something's up.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>They deliberated for thirty - eight minutes.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>Oh shit.<\/dialogue>\n    <parenthetical>( turns off the TV , comforting him . )<\/parenthetical>\n    <dialogue>Oh, Kevin. I'm sorry, honey. What the hell did they expect? The man is guilty as can be. Was n't a jury anywhere gon na let him off.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Yeah. Except one.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>Kev.<\/dialogue>\n    <character>KEVIN<\/character>\n    <parenthetical>( a big ole smile . )<\/parenthetical>\n    <dialogue>Not fucking guilty.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>Omigod.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Thirty - eight minutes. My jury.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>You did it! Omigod, Kevin.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Put on something that's gon na be easy to take off later. We are going out, girl!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAW FIRM LOBBY - DAY<\/stage_direction>\n    <scene_description>Milton , Chadwick , Waters . Those words written in stone on the wall . The decor is stark , dramatic , awesome . The receptionist is simply stunning . Kevin , wearing his best suit , walking with Heath .<\/scene_description>\n    <character>HEATH<\/character>\n    <dialogue>Sorry to keep you waiting, but Mr. Milton got pinned down in Indonesia a little longer than expected.<\/dialogue>\n    <parenthetical>( quietly as they hit the view . )<\/parenthetical>\n    <dialogue>Not bad, huh? You can play it cool if you want, but the first time I walked in here, my jaw was on the floor.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAW FIRM HALL - DAY<\/stage_direction>\n    <scene_description>The firm offices . A large central atrium . Offices rim this space . Lawyers come in all shapes and sizes . Assistants - male and female - are uniformly attractive . The HUM of serious BUSINESS in the background .<\/scene_description>\n    <character>HEATH<\/character>\n    <parenthetical>( as they walk . )<\/parenthetical>\n    <dialogue>We've got forty partners vested at the moment. Close to six hundred associates. This is the home office, but we've got quite a few international arrangements, so Mr. Milton spends a good deal of his time in the air. In addition to our corporate clients, we're currently representing about twenty - five foreign countries. Mid - East, Balkans, Central America, West Africa. Interesting work, but travel intensive.<\/dialogue>\n    <scene_description>Kevin slowing as they pass an open doorway -<\/scene_description>\n    <character>HEATH<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>He's got you scheduled for fifteen minutes, which is a good sign, so make the most of it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAW FIRM - CHRISTABELLA'S OFFICE - DAY<\/stage_direction>\n    <scene_description>THROUGH a large window we see a woman pacing her office . She 's wearing a headset and arguing in machine - gun Italian . She is a goddess . Her name is CHRISTABELLA . She is beautiful beyond propriety . She will also turn out to be a brilliant EUC lawyer . She turns . Sees us staring - like that - Venetian blinds close tightly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAW FIRM HALL - DAY<\/stage_direction>\n    <scene_description>Heath is now far ahead . Kevin rushing to catch up -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAW FIRM - ARCHED CORRIDOR - DAY<\/stage_direction>\n    <scene_description>Kevin about six steps into it when suddenly , he looks down . Stops . Completely spooked .<\/scene_description>\n    <character>HEATH<\/character>\n    <dialogue>Gotcha.<\/dialogue>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Man, I just love that.<\/dialogue>\n    <scene_description>The floor is nothing but glass . Sixty stories above the world . A bridge between two skyscrapers .<\/scene_description>\n    <character>HEATH<\/character>\n    <dialogue>I watched a Senator piss his pants right where you're standing.<\/dialogue>\n    <character>KEVIN<\/character>\n    <parenthetical>( nonplussed . )<\/parenthetical>\n    <dialogue>Great.<\/dialogue>\n    <character>HEATH<\/character>\n    <dialogue>He's waiting for you. Good luck.<\/dialogue>\n    <scene_description>Kevin sucks it up . Starts walking . Up ahead , nothing but an open door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S OFFICE - DAY<\/stage_direction>\n    <scene_description>First of all it 's round . And large . The walls are made of stone . No windows . There are dramatic shafts of natural light from above . Stark and clean to the extreme . No paper anywhere . Kevin standing there . Taking in the space .<\/scene_description>\n    <character>MILTON<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Behind you.<\/dialogue>\n    <scene_description>Kevin turns . There he is .<\/scene_description>\n    <character>MILTON<\/character>\n    <dialogue>Sorry. Did n't mean to.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>No. Please.<\/dialogue>\n    <parenthetical>( his hand . )<\/parenthetical>\n    <dialogue>Kevin Lomax.<\/dialogue>\n    <character>MILTON<\/character>\n    <parenthetical>( they shake . )<\/parenthetical>\n    <dialogue>John Milton.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Nice to meet you.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Have we been treating you well?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Very well. Thank you.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Your wife, she's had a good time?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>She sure has. It's been great. The whole thing's been great.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Good. That's our secret. We kill you with kindness.<\/dialogue>\n    <parenthetical>( walking the room , circling . )<\/parenthetical>\n    <dialogue>What's your secret?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I could n't say.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>You were a prosecutor.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Out of law school. Five years in the Jacksonville D.A.'s office.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Sixty - four straight convictions. What a number.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I like to be in court. I did n't plea out a lot.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>What's that like? One day you're putting them away and the next you're setting them free?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Takes a little getting used to.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Pays better though, does n't it?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Yes it does.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>The math teacher. The Gettys case. I hear you were brilliant.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Prosecutor dropped the ball.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Really. So you think your guy was guilty.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I did n't say that.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>What did you say?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>How's this? I began the case with a clear conscience.<\/dialogue>\n    <character>MILTON<\/character>\n    <parenthetical>( quiet a moment . )<\/parenthetical>\n    <dialogue>I was sure you had a secret.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>The men's room.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Upstairs men's room in the Duval County courthouse. There's a hole in the wall. Straight through to the next room.<\/dialogue>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>I spent five years listening to juries deliberate.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>I love it.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Love it all you want, just do n't repeat it. I'm not sure the Florida Bar Association would appreciate it.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>You do n't really want to go back to Florida, do you? Walk with me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S OFFICE - PANEL - DAY<\/stage_direction>\n    <scene_description>With that , Milton pushes a button . Huge panel screens open out to :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MILTON'S TERRACE - DAY<\/stage_direction>\n    <scene_description>A reflecting pool . Water right to the edge . A narrow walkway straight through the middle . And we 're fifty stories above the city . The effect is staggering .<\/scene_description>\n    <character>MILTON<\/character>\n    <dialogue>What do you think? Some people ca n't handle it.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>It's peaceful.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Exactly.<\/dialogue>\n    <parenthetical>( pleased . )<\/parenthetical>\n    <dialogue>Fill in the resume. Tell me about your family. What does your father do?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I never got to know my father. He passed away before I was born. My mom raised me. Just the two of us.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>She never remarried?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>She was n't married the first time.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>That ca n't be easy in Gainesville.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I do n't think it's easy anywhere.<\/dialogue>\n    <parenthetical>( re the view . )<\/parenthetical>\n    <dialogue>Holy shit.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Little different when you're looking down, is n't it?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Tell me about her. Your mother. What's she like?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>She's a preacher's daughter. She's tough. She's worked in the same poultry plant for as long as I can remember. I think she's up to eight - fifty an hour. She's got a church she really likes, so she's usually either there or they go out, they do a lot of volunteer work.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>` Many are in high places, and of great renown : but mysteries are revealed unto the meek.'<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>So they say.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Did n't rub off on you? The book? The church?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I'm on parole. Early release for time served.<\/dialogue>\n    <scene_description>Suddenly they 're quiet . Silenced by the view .<\/scene_description>\n    <character>MILTON<\/character>\n    <dialogue>Lotta potential clients down there.<\/dialogue>\n    <parenthetical>( Sooner or later it all flows through the streets . )<\/parenthetical>\n    <dialogue \/>\n    <character>KEVIN<\/character>\n    <dialogue>You do n't have to sell me on New York.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>You like it here, do n't you?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Are we negotiating?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Always.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Why do you need a criminal department?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Because our clients break the law just like everyone else and I'm tired of sending their business across the street.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Are you offering me a job?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>I'm thinking about it. You have the talent. I knew that before you got here. It's the other thing I wonder about.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>What thing is that?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Pressure. Changes everything. Some people, you squeeze them, they focus. Some people fold. Can you summon your talent at will? Can you deliver on deadline? Can you sleep at night?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>When do we talk about money?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Money's the easy part.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOMAX BUILDING AND STREET - DAY<\/stage_direction>\n    <scene_description>Carnegie Hall . High off Central Park . A Mercedes stretch pulls to the curb .<\/scene_description>\n    <character>HEATH<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Mt. Sinai Hospital right up the street. Some excellent schools.<\/dialogue>\n    <scene_description>The driver rushing to open the door . Heath , Kevin and Mary Ann getting out of the car just as a group of uniformed school children come charging out of the building to meet their bus .<\/scene_description>\n    <character>HEATH<\/character>\n    <dialogue>I doubt it was at the top of his list when Mr. Milton bought the building, but it's a great neighborhood for children.<\/dialogue>\n    <scene_description>LOOKING UP - BUILDING A stately , pre - war apartment house . One unique touch ; the penthouse rises in a sort of wedding cake design .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOMAX APARTMENT LANDING - DAY<\/stage_direction>\n    <scene_description>Turn of the Century . Elegant . Two apartments per floor . JACKIE HEATH waiting here . She is black , early thirties , and very , very attractive . The elevator doors open . Mary Ann steps out , followed by Kevin and Heath .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>You must be Mary Ann - Welcome. I'm Jackie Heath.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>It's so sweet of you to come by.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Please. We live across the hall.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>You're kidding?<\/dialogue>\n    <character>HEATH<\/character>\n    <dialogue>Right here.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>So it's just two apartments per floor?<\/dialogue>\n    <character>JACKIE<\/character>\n    <parenthetical>( to her husband . )<\/parenthetical>\n    <dialogue>You did n't tell them about the apartment?<\/dialogue>\n    <character>HEATH<\/character>\n    <dialogue>I thought I'd let it speak for itself.<\/dialogue>\n    <scene_description>Opening the door , and we enter -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOMAX APARTMENT - DAY<\/stage_direction>\n    <scene_description>A dream . Twelve - foot ceilings . Huge , oversized rooms . Crown moldings . A huge central hallway . And light . Kevin and Mary Ann walking through . Blown away .<\/scene_description>\n    <character>HEATH<\/character>\n    <dialogue>It's what they call a classic eight.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>We had them paint everything white. Let you see it naked before you pick your palette.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>What am I picking?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Palette. Your colors.<\/dialogue>\n    <character>HEATH<\/character>\n    <dialogue>I need to warn you about one thing.<\/dialogue>\n    <parenthetical>( as they turn back . )<\/parenthetical>\n    <dialogue>There are going to be some very envious people at the firm. These apartments, there are n't many of them, it's really a partner's perk. You must've made quite an impression.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Took us six years to get in here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOMAX APARTMENT BALCONY - DAY<\/stage_direction>\n    <scene_description>French doors opening . Kevin walks out . Mary Ann just behind him . They stand there , staring at the park .<\/scene_description>\n    <character>MARY ANN<\/character>\n    <dialogue>Are you really this good?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I sure as hell hope so.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>They must want you pretty bad.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Look, Mare, I'm only getting behind this if you're on board. You want to go home, I'm with you.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>Sure. Let's go back to Gainesville. You can keep scrounging for clients and pumping out the basement and I'll keep repossessing cars for Akamian. Maybe, if we kill ourselves, in about five years we can afford a baby and a weekend shack at Gulf Shores.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Are you shitting me?<\/dialogue>\n    <scene_description>She smiles first . Kevin pulling her toward him , as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FIRM CONFERENCE ROOM - DAY<\/stage_direction>\n    <scene_description>Incredible and extreme . Forty people - SENIOR PARTNERS and department heads - seated at the table . They 've been going around the table introducing themselves to Kevin . Nearing the end now -<\/scene_description>\n    <character>LAWYER #1<\/character>\n    <dialogue>Krasna. Maritime Law.<\/dialogue>\n    <character>LAWYER #2<\/character>\n    <dialogue>Parvathi Resh. Energy law. I run the Islamic sub - group.<\/dialogue>\n    <character>LAWYER #3<\/character>\n    <dialogue>Joyce Rensaleer. Mergers and acquisitions.<\/dialogue>\n    <character>LAWYER #4<\/character>\n    <dialogue>Chan Sanyou. Intellectual property.<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>Eddie Barzoon. Managing Director.<\/dialogue>\n    <scene_description>Christabella and another woman running in . Taking seats quickly . Christabella beside Kevin .<\/scene_description>\n    <character>CHRISTABELLA<\/character>\n    <dialogue>Christabella Adrioli. Economics. Primarily G - 7 and E.C.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>There you go, Kevin. The whole team. I'm trying to think how long it's been since we were all together. All of us. Too long. I'm looking around, I know some of you came from very far away to be with us here today. It's appreciated.<\/dialogue>\n    <parenthetical>( pacing the window . )<\/parenthetical>\n    <dialogue>This room we're in was built - architecturally designed - to promote healthy group dynamics. A psychic centrifuge. Makes you want to reach out, does n't it? Inclusion. Commonality. Synergy. All that good shit. That's what I'm looking for today. Because when I hear stories - the kind of stories I've been hearing - about backbiting, about partners not working together, departments cutting each other's throats over clients, or worse. I feel drained. It drains me. I feel empty. I feel as though I've let you all down.<\/dialogue>\n    <parenthetical>( off dead silence . )<\/parenthetical>\n    <dialogue>We need something. A gesture.<\/dialogue>\n    <parenthetical>( across the table . )<\/parenthetical>\n    <dialogue>What do I need, Eddie?<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>How about a public flogging?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Wait a minute. I got it. It's perfect. It's intimate. It's quick. Does n't cost a thing. There's a power to it. What is it?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Let's hold hands. All of us. Together.<\/dialogue>\n    <scene_description>Milton is first . Reluctance begins to fold .<\/scene_description>\n    <character>MILTON<\/character>\n    <dialogue>Right now. Every person at this table - take the hand of the person on either side.<\/dialogue>\n    <scene_description>Kevin finds Christabella 's hand at his side .<\/scene_description>\n    <character>MILTON<\/character>\n    <dialogue>You want out of this, Eddie?<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>You've made your point, John.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>You wo n't hold hands?<\/dialogue>\n    <parenthetical>( stare - down . )<\/parenthetical>\n    <dialogue>It's important to me, Eddie.<\/dialogue>\n    <scene_description>Kevin watching Barzoon fold . Watching the circle form .<\/scene_description>\n    <character>MILTON<\/character>\n    <dialogue>See. See, I feel better already.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KEVIN'S OFFICE HALL - DAY<\/stage_direction>\n    <scene_description>Very nice . Major windows . Stripped down at the moment , but there 's a desk and phone .<\/scene_description>\n    <character>HEATH<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <character>KEVIN<\/character>\n    <parenthetical>( kidding . )<\/parenthetical>\n    <dialogue>I guess it'll do.<\/dialogue>\n    <character>PAM<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Until something better comes along.<\/dialogue>\n    <scene_description>In the doorway , PAM GARRETY . Never married . Two - pack - a - day habit . Tough as dirt .<\/scene_description>\n    <character>HEATH<\/character>\n    <dialogue>Kevin Lomax. Pam Garrety.<\/dialogue>\n    <parenthetical>( as they shake . )<\/parenthetical>\n    <dialogue>Pam was with the Brooklyn D.A.'s office for fourteen years, so she knows her way around the local scene. She'll be your guide.<\/dialogue>\n    <parenthetical>( to Pam . )<\/parenthetical>\n    <dialogue>You're gon na be expediting his New York Bar application, right?<\/dialogue>\n    <character>PAM<\/character>\n    <dialogue>In the pipeline. For now, we'll just have you work pro hac vice. We've petitioned Florida for a letter of good conduct. And.<\/dialogue>\n    <parenthetical>( a folder . )<\/parenthetical>\n    <dialogue>. I prepared, at Mr. Milton's request, an overview of the Moyez case.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>The Moyez case?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EAST HARLEM STREET - DAY<\/stage_direction>\n    <scene_description>Deep ghetto side street . One of those blocks that have been completely lost . One whole side of the street has nothing but boarded - up row houses . A black Town Car pulling through . Slowing now -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR (EAST HARLEM) - DAY<\/stage_direction>\n    <scene_description>Kevin and his DRIVER peering across the street .<\/scene_description>\n    <character>DRIVER<\/character>\n    <dialogue>I got ta stick with the vehicle.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAHOUMEY BAKA - DAY<\/stage_direction>\n    <scene_description>A storefront botanica . Insane colors . Rusted iron grates covering two tiny cataract windows . A steel door is open . There 's a sick - looking DOG tied to the doorknob ; he begins BARKING wildly , as he sees - Kevin walking from the car . Suit and tie . Briefcase . Turning , as he hears -<\/scene_description>\n    <character>JUNKIE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>You get'em! Go get'em, man!<\/dialogue>\n    <scene_description>Three JUNKIES camped on the stoop of a burned - out brownstone across the street . Dull , wasted faces aroused by the DOG 'S BARKING -<\/scene_description>\n    <character>JUNKIE<\/character>\n    <dialogue>Tell her turn that shit down! I know what she's doin'! That's right! Tell'em take that noise back t ` Africa ` fore I -<\/dialogue>\n    <scene_description>Stopping instantly because - a WOMAN is standing in the botanica doorway . Her skin is jet black . Her eyes are pale blue . Her hair is white . She holds a live chicken by its feet . The DOG is still BARKING so she slaps it . Hard . Now there is silence .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>I'm looking for Phillipe Moyez.<\/dialogue>\n    <scene_description>She moves aside . Kevin enters -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAHOUMEY BAKA - DAY<\/stage_direction>\n    <scene_description>It 's dark . Oil lamps and candles for light . The air thick with incense . Jars and bags and boxes are stacked on shelves everywhere . Powders . Oils . Bones . Skins . Potions . Dried herbs .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>I called this morning, I'm not sure who I spoke with.<\/dialogue>\n    <parenthetical>( awkward silence . )<\/parenthetical>\n    <dialogue>I'm his lawyer. I have a card.<\/dialogue>\n    <parenthetical>( finding it . )<\/parenthetical>\n    <dialogue>They said he would meet me here. Phillipe Moyez.<\/dialogue>\n    <character>WOMAN<\/character>\n    <parenthetical>( into the back . )<\/parenthetical>\n    <dialogue>Bhalla! Bhalla!<\/dialogue>\n    <scene_description>Kevin taking a very deep breath , as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAHOUMEY BAKA - STAIRS - DAY<\/stage_direction>\n    <scene_description>Darkness . A door opening above us . A BOY - maybe ten - standing there . Kevin behind him .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Look, I'm not sure I'm making myself clear here.<\/dialogue>\n    <character>BOY<\/character>\n    <dialogue>Moyez.<\/dialogue>\n    <parenthetical>( a French accent . )<\/parenthetical>\n    <dialogue>You need him. Speak wid him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAHOUMEY BAKA - STAIRS - DAY<\/stage_direction>\n    <scene_description>The Boy hits the lights . A naked bulb on the landing below . Beyond that , darkness .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>You're saying he's down here?<\/dialogue>\n    <parenthetical>( incredulous . )<\/parenthetical>\n    <dialogue>In the basement? In the dark?<\/dialogue>\n    <character>BOY<\/character>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>Where? Where you think -? Where you think me taking you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAHOUMEY BAKA - BASEMENT HALL - DAY<\/stage_direction>\n    <scene_description>The Boy , still laughing , starts down the stairs - into the darkness . Kevin hesitates . Sucks it up . Crouching not to hit his head as he goes down into -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAHOUMEY BAKA - BASEMENT - DAY<\/stage_direction>\n    <scene_description>Around the landing - the Boy still in front of him and - down - as another light comes up and the boy moves quickly through the space , turning on lamps here and there . No furniture . Mounds of bones . The walls painted a deep , black red .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAHOUMEY BAKA - MOYEZ'S BASEMENT - DAY<\/stage_direction>\n    <scene_description>Kevin waiting as the last light goes on -<\/scene_description>\n    <character>MOYEZ<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I thought I would recognize you, but I do not.<\/dialogue>\n    <scene_description>Kevin , spooked , wheels around - PHILLIPE MOYEZ squatting in the corner . Skinny and intense . His eyes opaque and piercing at the same time . At once unassuming and terrifying . A plastic bag of fresh green roots in his lap . Ghat . Miraa . African cocaine . His teeth black from chewing it .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Mr. Moyez?<\/dialogue>\n    <parenthetical>( as he nods . )<\/parenthetical>\n    <dialogue>We've never met. I'm a lawyer. I'm here about the animals.<\/dialogue>\n    <character>MOYEZ<\/character>\n    <dialogue>As you wish.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I'll be arguing your case with the city. I need to ask you some questions.<\/dialogue>\n    <parenthetical>( gets folder . )<\/parenthetical>\n    <dialogue>I've done a little preliminary research - precedent - cases in the past that dealt with Santeria and Vou -<\/dialogue>\n    <character>MOYEZ<\/character>\n    <dialogue>No. This is not Santeria. We are not Voodoo. Candomble. Obeayisne. None of that. We are much older. Before. Before all of it.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Okay. Is there a name? Or.<\/dialogue>\n    <character>MOYEZ<\/character>\n    <dialogue>We have papers. At your firm. We have the tax exemption.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Okay. I'll get right into that.<\/dialogue>\n    <parenthetical>( scribbling away . )<\/parenthetical>\n    <dialogue>The animals. Let's start with that, then.<\/dialogue>\n    <character>MOYEZ<\/character>\n    <dialogue>We have an investment in blood. Think of it as spiritual currency.<\/dialogue>\n    <scene_description>Moyez stands . Starts slowly across the room .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Look, Mr. Moyez, I'm going to need your help with this.<\/dialogue>\n    <character>MOYEZ<\/character>\n    <dialogue>Yes. That's very clear.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Perhaps we could start at the beginning?<\/dialogue>\n    <scene_description>Moyez , ignoring him , moves to an old refrigerator beside the stairs . For an instant , the door is open - just a glimpse . Meat . Bags of entrails . Jars of blood . Moyez goes to a workbench near the wall -<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Mr. Moyez?<\/dialogue>\n    <character>MOYEZ<\/character>\n    <dialogue>What is the name of the man who will prosecute us?<\/dialogue>\n    <character>KEVIN<\/character>\n    <parenthetical>( scanning file . )<\/parenthetical>\n    <dialogue>Merto. Assistant District Attorney Arnold Merto.<\/dialogue>\n    <character>MOYEZ<\/character>\n    <dialogue>Bhalla. La chemise noire. Vite!<\/dialogue>\n    <scene_description>The Boy already running up the stairs . The sound of NAILS FALLING onto the workbench -<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>What are you doing, Mr. Moyez?<\/dialogue>\n    <scene_description>Moyez stands aside , wiping his hands on his trousers . A huge beef tongue sits on the bench . The nails are scattered around it .<\/scene_description>\n    <character>MOYEZ<\/character>\n    <dialogue>You can go now. You will have all the help I can give you.<\/dialogue>\n    <scene_description>Moyez now with a hammer . And the nail . Driving it into the tongue . Kevin backing away , as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KEVIN'S OFFICE AND HALL - DAY<\/stage_direction>\n    <scene_description>Video monitor - FULL FRAME .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAHOUMEY BAKA BASEMENT - DAY<\/stage_direction>\n    <scene_description>Hand - held footage of a police raid . We 're running - through a building - New York cops - an animal control officer - through a door - voices yelling - down some steps - into a back yard - people standing - Here - a scuffle starting - voices rising - the camera shaking - we see Bhalla - and the Woman - and - There - in the middle , is a goat - on its knees - its throat has just been cut - blood pouring into a pan and Moyez holding its head with one hand - a knife in the other and this positively orgiastic expression on his face , and on that image , we freeze frame .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KEVIN'S OFFICE AND HALL - KEVIN - DAY<\/stage_direction>\n    <scene_description>with the remote control . Pam there with him . A long , sour silence .<\/scene_description>\n    <character>PAM<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>It's a health code case. And it's a loser. So what's the point?<\/dialogue>\n    <parenthetical>( watching her . )<\/parenthetical>\n    <dialogue>It's a test, right?<\/dialogue>\n    <character>PAM<\/character>\n    <dialogue>Is n't everything?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>The smart thing to do is make a deal. Plea him out and suppress the tape.<\/dialogue>\n    <character>PAM<\/character>\n    <dialogue>I'm sure the D.A.'s waiting for your call.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Yeah, well, let him wait.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>And you can tell Milton too.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I did n't come to New York to plea bargain.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOMAX APARTMENT - DAY<\/stage_direction>\n    <scene_description>Jackie rejecting Mary Ann 's color choices .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KEVIN'S OFFICE AND HALL - NIGHT<\/stage_direction>\n    <scene_description>Law books stacked around . An associate wheels in a trolley with more books .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOMAX APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Mary Ann eating fried chicken . She does n't like the wallpaper . She 's tearing it off , as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KEVIN'S OFFICE AND HALL - NIGHT<\/stage_direction>\n    <scene_description>Kevin working late . Across the hall Pam is going home .<\/scene_description>\n    <character>PAM<\/character>\n    <dialogue>It's only a health code case.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MANHATTAN COURTROOM #2 (MOYEZ COURTROOM) - DAY<\/stage_direction>\n    <scene_description>Bench trial . No jury . JUDGE THEO SKLAR and staff . A.D.A. MERTO at his seat . Pam sits with Moyez . Other than that , it 's empty . A rump roast slaps down onto a table .<\/scene_description>\n    <character>KEVIN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>That's a veal roast, Your Honor. U.S.D.A. approved and stamped. Eight days ago, in Kansas City, two men pushed a calf into a steel frame as a third man fired a high - voltage staple - gun into the animal's skull. Men kill animals and eat their flesh. Phillipe Moyez killed a goat. He killed a goat. And he did it at home, in a manner consistent with his religious beliefs. Now some people may find it bizarre. It's certainly not a religious practice performed by everyone. It's not as common as, say, circumcision. It's certainly not as common as the belief that wine is transformed into blood. It's not even as common as the handling of poisonous snakes to prove one's faith. But Phillipe Moyez is n't two thousand miles away in a stockyard. He does n't use electricity to kill. And worst of all.<\/dialogue>\n    <parenthetical>( holding up the roast . )<\/parenthetical>\n    <dialogue>Phillipe Moyez is not shrink - wrapped.<\/dialogue>\n    <scene_description>Merto begins to cough . Quietly at first , but .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Your Honor, the city timed this police action to catch my client exercising his constitutionally - protected right to religious freedom.<\/dialogue>\n    <scene_description>Merto 's coughing getting worse as he tries to stop .<\/scene_description>\n    <character>JUDGE SKLAR<\/character>\n    <dialogue>This is a law protecting Kosher butchering.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Exactly, Your Honor. And I'd like to move at this time for an immediate directed verdict for dismissal.<\/dialogue>\n    <scene_description>Moyez staring a hole in Merto , and the man can not stop coughing .<\/scene_description>\n    <character>JUDGE SKLAR<\/character>\n    <dialogue>I happen to know a little bit about Kashrut law, Mr. Lomax.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I'm aware of that, Your Honor, which is why I feel confident in requesting a dismissal.<\/dialogue>\n    <character>JUDGE SKLAR<\/character>\n    <dialogue>Mr. Merto?<\/dialogue>\n    <scene_description>Merto ca n't speak - wheezing and coughing , as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOYEZ COURTHOUSE HALLWAY - DAY (TEN MINUTES LATER)<\/stage_direction>\n    <scene_description>Empty and dark . Kevin , Moyez and Pam leaving the courtroom . All smiles . Moyez shaking his hand and thanking him , and then , from behind them , the sound of one person CLAPPING -<\/scene_description>\n    <character>MILTON<\/character>\n    <parenthetical>( coming toward them . )<\/parenthetical>\n    <dialogue>Bravo, Kevin. Bravo.<\/dialogue>\n    <parenthetical>( as he arrives . )<\/parenthetical>\n    <dialogue>Pamela, you're looking lovely.<\/dialogue>\n    <parenthetical>( to Moyez . )<\/parenthetical>\n    <dialogue>Satisfied, Phillipe?<\/dialogue>\n    <character>MOYEZ<\/character>\n    <dialogue>Always.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Kevin, what can I say?<\/dialogue>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Outstanding.<\/dialogue>\n    <scene_description>Kevin , trying to look modest and failing , as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CANAL STREET (CHINATOWN) - DAY (LITTLE LATER)<\/stage_direction>\n    <scene_description>A street - food stall . Milton paying for Kevin 's eggroll . And they 're walking .<\/scene_description>\n    <character>MILTON<\/character>\n    <dialogue>Best street food in the world. Try that. Tell me it is n't great.<\/dialogue>\n    <parenthetical>( as Kevin eats . )<\/parenthetical>\n    <dialogue>New York. What a scene, right? Guy like Moyez living in that subterranean shithole all the time he's running around with fifteen million dollars in the bank.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>You got ta be kidding.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>What do you think? We're giving you away? He's paying us in goat's blood? I'm billing you out at four - hundred an hour, my friend. I do n't see a whole lot of pro bono work in your immediate future.<\/dialogue>\n    <parenthetical>( buzzing here . )<\/parenthetical>\n    <dialogue>Seriously, what I like, you got in there with him. Inside the cage. That's instinct. Ca n't be taught. You got ta hear that on your own. It's got ta be in your blood. It's molecular. I bet I've got five thousand lawyers working around the planet. I could n't name ten - could n't name three - I'd trust with Moyez.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>So what the hell are they doing?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>What are they doing? They're corporate lawyers, what do you think they're doing? They're busy reducing life and death to the proper position of a semi - colon. They're doing needlepoint. Push button battles. Push button wars. Armies that get so fucking far away from each other they need satellites to tell them who won. No pain. No sound. No smell. One big, multinational circle jerk. You, on the other hand, you're on the slaughterhouse floor. You ca n't help but smell your clients.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I figure you came to court to make sure I did n't fuck this up.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Maybe I did. But do n't get too cocky. No matter how good you are. Do n't let them see you coming. That's the gaff, my friend - make yourself small. Be the hick. The cripple. The nerd. The leper. The shit - kicking surfer. Look at me - I've been underestimated from day one. Do I look like a master of the universe? That's your only weakness as far as I can tell.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>The look. The Florida stud thing. ` Scuse me, ma'am, did I leave my boots under your bed?'<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Never worked a jury did n't have a woman.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>You know what you're missing? What I have? This beautiful girl she's just fucked me every way she knows how - we're done - she's walking to the bathroom - she turns back - and there I am. It's me. And she smiles - it's like a veil coming down across her face - and that smile, that's a question mark, because she's looking at me, she's wondering, how did that happen? And see, right there, from that moment on, she's got a secret. I'm the hand up Mona Lisa's skirt. I'm the whisper in Nefertitti's ear. I'm a surprise. They never see me coming. That's what you're missing.<\/dialogue>\n    <scene_description>Milton escaping across the street .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>So why did you come down today?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Because I knew it was gon na be good. Because I knew I was gon na like it. That you would shine - that we would take this walk - that we'd really talk. Why I came down? You want the truth? I'm an aging, hipster plutocrat. I came up from nothing. From dirt. I'm warming my hands on your talent -.<\/dialogue>\n    <parenthetical>( distracted then - . )<\/parenthetical>\n    <dialogue>Where's the chicken?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>A CHINESE MAN sits in a doorway -<\/scene_description>\n    <character>MILTON<\/character>\n    <parenthetical>( perfect Cantonese . )<\/parenthetical>\n    <dialogue>Where's the chicken? The chicken that plays tic - tac - toe. He used to be right here.<\/dialogue>\n    <character>CHINESE MAN<\/character>\n    <parenthetical>( Cantonese . )<\/parenthetical>\n    <dialogue>No, you passed it. Back that way.<\/dialogue>\n    <character>MILTON<\/character>\n    <parenthetical>( back to Kevin , as they walk . )<\/parenthetical>\n    <dialogue>There's a chicken, he's famous, he plays tic - tac - toe. He never loses.<\/dialogue>\n    <parenthetical>( suddenly . )<\/parenthetical>\n    <dialogue>Hey. Like you. Right?<\/dialogue>\n    <parenthetical>( catching himself . )<\/parenthetical>\n    <dialogue>Look, I'm rambling because I'm excited. You're in the part of the game I like best. The realm of the True Believers. You are a believer, are n't you?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I believe in the presumption of innocence.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Better a hundred guilty men go free than a single innocent be executed.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Something like that.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>No. Exactly like that. It's faith. You're either in or out. You ca n't believe a little bit.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I was kidding.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>You're not here to amuse me. See, that's why people hate lawyers. So many of us have lost our faith. Do n't let that happen to you. Token?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <scene_description>Milton offering a token . Behind him , the entrance to the Canal Street station -<\/scene_description>\n    <character>MILTON<\/character>\n    <dialogue>Learn the subways, Kevin. Use them. Stay in the trenches.<\/dialogue>\n    <scene_description>Kevin taking the token , as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOMAX APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Kevin just coming in from work . The apartment is starting to come together . Still not enough furniture , but the sparseness reads as elegance .<\/scene_description>\n    <character>KEVIN<\/character>\n    <parenthetical>( walking through . )<\/parenthetical>\n    <dialogue>Mare. Mare?<\/dialogue>\n    <character>MARY ANN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( from the bedroom . )<\/parenthetical>\n    <dialogue>You're late.<\/dialogue>\n    <scene_description>He stops . In the hallway - a wall is missing - sheetrock stacked on the floor - tools piled around - a renovation project halted for the night .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>What's all this?<\/dialogue>\n    <character>MARY ANN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>All what?<\/dialogue>\n    <scene_description>Mary Ann up the hall in the bedroom door . Finishing her makeup for a night out .<\/scene_description>\n    <character>MARY ANN<\/character>\n    <dialogue>Oh, that.<\/dialogue>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>It was gon na be a nursery, but then I remembered you'd have to be home long enough to knock me up, so now I'm thinking of building a law library.<\/dialogue>\n    <scene_description>Kevin smiles . Drops his briefcase . Drops his pants .<\/scene_description>\n    <character>MARY ANN<\/character>\n    <dialogue>Save the thought. We were due up there fifteen minutes ago.<\/dialogue>\n    <scene_description>She blows him a kiss . Ducking back into bedroom .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOMAX APARTMENT BUILDING - ELEVATOR - NIGHT<\/stage_direction>\n    <scene_description>Kevin and Mary Ann in their go - to - meeting clothes . Going up . Nervous .<\/scene_description>\n    <character>MARY ANN<\/character>\n    <dialogue>Tell me I can handle this.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>You can handle this.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>Say something nice.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Something nice.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>Promise me you wo n't leave me alone in there.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Promise.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>How the hell did we get here?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Instinct.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARZOON APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>The door opens . DIANA BARZOON , tonight 's hostess , standing there .<\/scene_description>\n    <character>DIANA<\/character>\n    <dialogue>There you are!<\/dialogue>\n    <parenthetical>( to Kevin . )<\/parenthetical>\n    <dialogue>Diana Barzoon, Eddie's wife.<\/dialogue>\n    <parenthetical>( an air kiss for Mary Ann . )<\/parenthetical>\n    <dialogue>Come on, you two. Everyone ca n't wait to meet you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARZOON APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Twice the size of Kevin 's place . Decorated and furnished to the max . Seventy - five guests and ten in staff . The crowd is very smart , sleek , and experienced at these sort of things . Mary Ann 's hand squeezing Kevin 's just a bit more tightly as Diana leads them into the throng , and we begin -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARZOON APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>SERIES OF SHOTS - PARTY Faces - some of them strangers . Some of them familiar from the conference room scene . KEVIN huddled with Jackie and Mary Ann as Heath brings them drinks from the bar . PAM and two lawyers near the terrace doors - the smoking section - talking with nicotine - driven intensity . CHRISTABELLA simply walking through the room . EDDIE AND DIANA BARZOON They 've found Kevin and Mary Ann .<\/scene_description>\n    <character>DIANA<\/character>\n    <dialogue>I love the eights. The entire ` A' line - such a great shell.<\/dialogue>\n    <parenthetical>( manic and perhaps a bit insane . )<\/parenthetical>\n    <dialogue>I do. I envy you. Starting from scratch. Do you have your fabrics yet? Tell me you do n't.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>Not yet. I do n't think so.<\/dialogue>\n    <character>DIANA<\/character>\n    <dialogue>Come with me. Instantly.<\/dialogue>\n    <parenthetical>( to Kevin . )<\/parenthetical>\n    <dialogue>I'm borrowing your wife.<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>Be gentle, honey. These are normal people.<\/dialogue>\n    <scene_description>Mary Ann giving Kevin a `` help me '' look as she 's dragged into the party -<\/scene_description>\n    <character>BARZOON<\/character>\n    <dialogue>Your first?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>Is this your first marriage?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARZOON APARTMENT - SAME SCENE (PARTY) - NIGHT (LATER)<\/stage_direction>\n    <scene_description>Front door - abuzz - Milton has just arrived .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARZOON APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Across the room , Mary Ann with Jackie and Diana and another wife -<\/scene_description>\n    <character>MARY ANN<\/character>\n    <dialogue>Who is that?<\/dialogue>\n    <character>JACKIE<\/character>\n    <parenthetical>( looking over . )<\/parenthetical>\n    <dialogue>My God, girl.<\/dialogue>\n    <character>DIANA<\/character>\n    <dialogue>You have n't met him yet?<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>Who is he?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARZOON APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Milton - across the room - looks over - he 's found them - already coming toward them - smiling -<\/scene_description>\n    <character>DIANA<\/character>\n    <dialogue>I swear he can hear us.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Hell, he can smell us.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Mary Ann? John Milton.<\/dialogue>\n    <parenthetical>( his hand and eyes . )<\/parenthetical>\n    <dialogue>I was hoping we'd meet tonight. And here you are, already swimming with the sharks.<\/dialogue>\n    <scene_description>Even as he says this , he 's kissing their smiling cheeks . Mary Ann looking a little lost , as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARZOON APARTMENT - NIGHT (SAME TIME)<\/stage_direction>\n    <scene_description>Kevin talking with another lawyer . Looking over as Christabella glides through the room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARZOON APARTMENT - SOFA - DUSK (SAME TIME)<\/stage_direction>\n    <scene_description>Milton and Mary Ann sitting together . Alone .<\/scene_description>\n    <character>MARY ANN<\/character>\n    <dialogue>Deadbeats. I mean, that's what it comes down to. You can call yourself a finance trainee, or a financial resources adviser, or whatever, you're still spending most of your day trying to hammer car payments out of deadbeats.<\/dialogue>\n    <parenthetical>( looking around . )<\/parenthetical>\n    <dialogue>No deadbeats here tonight.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>You'd be surprised. There's a lot more fear in this room than you'd think.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>What do these people have to be afraid of?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Each other. Themselves. Why? What scares you?<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>Not knowing who the deadbeats are.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>You'll figure that out. There's only one thing worth being frightened of anyway, and that's being alone. Truly and finally alone.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>Yes. I think you're right.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>You know what terrifies me? Responsibility.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>For what?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>For what. For you. Let's be honest, I've changed your life. Changed it forever. There's been a seismic shift in your existence and I'm responsible. And you've never even met me. We're talking for the very first time. How insane is that?<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>It's a wonderful opportunity for Kevin.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Kevin. Please. I'm not worried about Kevin. He buys a few new suits. Learns a few new tricks. He's there. I do n't worry about Kevin. What about you?<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>I'm not leaving a lot behind.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>You must have family.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>Bad subject. I have n't spoken to my folks in a long time. My sister ran all the way to Germany.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Whoaa. I got ta think about that. I had you down as daddy's little girl, you know? The princess. Sugar plum snapshots. Pastel bedspreads. Cinnamon cookies.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>I tell Kevin the only thing worse than not having a father was having mine.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>So you've got a lot at stake here. You've made a real commitment.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>I guess I have.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>It's not gon na be like Gainesville, but then you know that already.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>We're gon na be fine. It's gon na be great.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>If it is n't, will you come to me? Let me help? I'd feel a lot less responsible. Will you do that for me?<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>The worst vice is advice, right? But can I make a suggestion? It's about your hair, some people are sensitive, that's why I ask.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>No. I mean, go ahead. You do n't like it?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>You have shoulders nobody can see. Pull it back.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>You mean, you want me to pull my hair back?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>If I do it, everyone in this room that's pretending not to watch us will assume we're fucking or something. Pull back your hair.<\/dialogue>\n    <parenthetical>( there 's the mirror . )<\/parenthetical>\n    <dialogue>Take a look. See. That's it. Is n't that incredible? You need to cut your hair.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>You're kidding.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>A woman's shoulders are the frontlines of her mystique. And her neck, if she's alive, has the very mystery of a border town. It's the no man's land in the battle between mind and body.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You know, your natural color would really bring out your eyes.<\/dialogue>\n    <scene_description>Mary Ann frozen there , as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BARZOON APARTMENT - TERRACE (PARK VIEW) - NIGHT (MAGIC HOUR)<\/stage_direction>\n    <scene_description>Kevin standing at the rail . He looks over . Christabella not ten feet away .<\/scene_description>\n    <character>CHRISTABELLA<\/character>\n    <dialogue>Do you have this view?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Sorry?<\/dialogue>\n    <character>CHRISTABELLA<\/character>\n    <dialogue>From your terrace, is this your view?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Sort of. Not exactly. I'm about twelve floors down. What about you?<\/dialogue>\n    <character>CHRISTABELLA<\/character>\n    <dialogue>No, I live downtown. This is the family building.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Sounds like fun. Downtown, I mean. I'm just getting to know the city.<\/dialogue>\n    <character>CHRISTABELLA<\/character>\n    <dialogue>Is it everything you expected?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>More.<\/dialogue>\n    <character>CHRISTABELLA<\/character>\n    <parenthetical>( raising her glass . )<\/parenthetical>\n    <dialogue>May we always have more than we expect. Salute.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Amen.<\/dialogue>\n    <character>CHRISTABELLA<\/character>\n    <dialogue>Are you alone?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>You mean, tonight?<\/dialogue>\n    <character>CHRISTABELLA<\/character>\n    <dialogue>Is your wife a jealous woman?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Silly question. We're all jealous, are n't we?<\/dialogue>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>Oh, dear, I'm going to scare you away.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I doubt it.<\/dialogue>\n    <character>CHRISTABELLA<\/character>\n    <dialogue>You like to be on top, do n't you?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>CHRISTABELLA<\/character>\n    <dialogue>Of the situation. You prefer to be on top.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Depends on the view.<\/dialogue>\n    <character>MILTON<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>You know what I see?<\/dialogue>\n    <scene_description>Milton in the doorway . He 's been watching them .<\/scene_description>\n    <character>MILTON<\/character>\n    <dialogue>I see the future of this law firm.<\/dialogue>\n    <parenthetical>( perfect Italian . )<\/parenthetical>\n    <dialogue>Christabella, cara, prestamelo per favore, pe lo riporto piu tardi.<\/dialogue>\n    <character>CHRISTABELLA<\/character>\n    <dialogue>It's a boring party, anyway.<\/dialogue>\n    <parenthetical>( to Kevin . )<\/parenthetical>\n    <dialogue>Ciao.<\/dialogue>\n    <scene_description>Kevin ca n't help watching her walk away .<\/scene_description>\n    <character>MILTON<\/character>\n    <dialogue>Look, we got ta talk. You grab Heath and Eddie Barzoon and get up to my place right away. And let's be quiet about it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARZOON APARTMENT (PARTY) - NIGHT<\/stage_direction>\n    <scene_description>Getting louder and wilder . Mary Ann looking lost . Searching for Kevin . He 's not here . not there .<\/scene_description>\n    <character>MARY ANN<\/character>\n    <dialogue>Have you seen Kevin?<\/dialogue>\n    <scene_description>Jackie Heath shaking her head no , as Mary Ann continues on through the party .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOMAX APARTMENT - ELEVATOR - NIGHT<\/stage_direction>\n    <scene_description>Silence . Going up . Kevin , Heath , and Barzoon .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARZOON APARTMENT - STUDY - HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Mary Ann still looking for Kevin . Scanning faces . Stopping as she reaches a door . Opening it and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARZOON APARTMENT - STUDY - NIGHT<\/stage_direction>\n    <scene_description>Just enough light to make out two MEN standing across the room . Silhouettes against the window .<\/scene_description>\n    <character>MARY ANN<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <parenthetical>( in doorway . )<\/parenthetical>\n    <dialogue>I'm looking for my husband.<\/dialogue>\n    <scene_description>The Men - two vaguely familiar faces from the firm .<\/scene_description>\n    <character>MAN #1<\/character>\n    <dialogue>Do n't think he's here.<\/dialogue>\n    <scene_description>Suddenly , a WOMAN 's head rises INTO FRAME -<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>It's just us.<\/dialogue>\n    <character>MAN #2<\/character>\n    <dialogue>But feel free to join in.<\/dialogue>\n    <scene_description>And suddenly it 's clear , she 's walked in on an impromptu menage a trois . The Woman is kneeling on a table , dress hiked up , ass in the air . Man # 1 fucking her from behind . Man # 2 is getting blown and - Mary Ann IN SHOT as the woman begins to laugh and the door WIPES the FRAME .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>The penthouse . One enormous room . Grand scale everything . Otherworldly . Staggering . Of special , special interest : a huge Bas Relief dominates an entire wall . Carved into the marble are human forms - young , naked bodies swimming in a hypnotic chaos of clouds . Milton is on the phone . Two lines going . The dialogue is unimportant , we 'll not understand it anyway - he 's going back and forth between Korean and Russian - brokering some emergency deal . Heath is at the bar , mixing drinks . Barzoon has a cigar . Kevin just standing there gaping at the space .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Is there more to it?<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>Just this room.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>And a bedroom?<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>No bedroom.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Where does he sleep?<\/dialogue>\n    <character>HEATH<\/character>\n    <dialogue>Who said he sleeps?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Where does he fuck?<\/dialogue>\n    <character>MILTON<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( behind them . )<\/parenthetical>\n    <dialogue>Everywhere.<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>What's up, John?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>How many hours did we bill Alex Cullen last year?<\/dialogue>\n    <character>HEATH<\/character>\n    <dialogue>Sixteen thousand, two hundred and forty - two.<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>What the fuck did he do now?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Alex Cullen has just been charged with murdering his ex - wife, her stepson, and a maid.<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>When did this happen?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Just now. Tonight. I already sent Pam downtown to make bail arrangements.<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>They'll fucking crucify him. They'll get in line. I got ta call Meisel.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>No. I want Kevin on this case.<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>I hope you're kidding.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Alexander Cullen in a Manhattan triple murder? With Kevin? You're dreaming.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>I've shaken hands with every marquee defense attorney in town. I take Kevin and I do n't look back.<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>You're a great judge of talent, John. You're the master. I just do n't see it coming together.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>I want you on board, Eddie.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Look, I appreciate the vote of confidence, but maybe Eddie's got a point here.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>We can get this case. The man's our client.<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>He's a business client.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>We know him better than he knows himself. We have the inside track. We have the best damn trial lawyer in the city. It's ours to lose.<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>Tell it to Cullen.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>No. That's up to Kevin.<\/dialogue>\n    <scene_description>With that , the PHONE starts RINGING -<\/scene_description>\n    <character>MILTON<\/character>\n    <dialogue>That's Pam calling.<\/dialogue>\n    <parenthetical>( to Kevin . )<\/parenthetical>\n    <dialogue>Are we fighting for this, or not?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOMAX APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>It 's late . Dark . Kevin tiptoeing through the apartment - turning the corner and -<\/scene_description>\n    <character>MARY ANN<\/character>\n    <dialogue>You left me there. I had a fucking panic attack until Jackie told me where you were.<\/dialogue>\n    <parenthetical>( raw . )<\/parenthetical>\n    <dialogue>Three hours? You do n't even call?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Stop. Reset. I'm upstairs, I'm with Milton and Barzoon and there is a very good possibility that I'm about to catch a triple homicide defendant who also happens to be the largest real estate developer in the city. I had to bail on the party!<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>You bailed on me!<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Mare. did you hear me?<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>I was all by myself!<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>For three whole hours.<\/dialogue>\n    <parenthetical>( as she 's walking . )<\/parenthetical>\n    <dialogue>You got ta be kidding, right?<\/dialogue>\n    <scene_description>No , she 's leaving . Kevin left there , alone -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - CONSTRUCTION SITE - DAY (MORNING)<\/stage_direction>\n    <scene_description>A news van whipping up the block . TIRES SCREECHING as it pulls up beside a construction site where two other news vans are already unloading . The smell of headlines and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - CONSTRUCTION SITE - DAY<\/stage_direction>\n    <scene_description>Two photographers sprinting toward the shell of a high - rise building . A sign blankets the scaffolding . Huge , ego - size lettering reads . CULLEN TOWERS , `` The Next Great Address '' .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONSTRUCTION HIGH-RISE - DAY<\/stage_direction>\n    <scene_description>Looking DOWN FROM fifty stories high , as the media vehicles converge like toys below .<\/scene_description>\n    <character>CULLEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Look at this, I'm not out twenty minutes, we're running from the goddamn press. Look at those insects down there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONSTRUCTION HIGH-RISE - DAY<\/stage_direction>\n    <scene_description>ALEXANDER CULLEN turns back from the edge . Forty - five . Tan , grief - stricken , and sleep deprived . The space is huge and bare . Unfinished concrete . Wide , open views . Kevin , Milton , and Barzoon standing there .<\/scene_description>\n    <character>CULLEN<\/character>\n    <dialogue>You may be right, but look at it from my point of view. I'm sure he's a whiz kid. I believe you. But this is my ass we're talking.<\/dialogue>\n    <parenthetical>( to Barzoon . )<\/parenthetical>\n    <dialogue>Jesus, Eddie.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Alex, you know how this town works. You've got enemies you never heard of. And now? Now you're down? I'd prepare for a class - A, New York pig - fuck. You're going to have to ask yourself who you really trust. Who do you trust, Alex?<\/dialogue>\n    <character>CULLEN<\/character>\n    <dialogue>I do n't know. I got ta look around.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>You do n't have time to shop, Mr. Cullen.<\/dialogue>\n    <parenthetical>( the newspaper . )<\/parenthetical>\n    <dialogue>Jury selection started this morning at every breakfast table in the city. You lost round one. This is what people know. They know you and your wife were living separately. They see this maid - Elucinda - a sixty - eight - year - old grandmother supporting seven children. And then there's your stepson, a ten - year - old with a bullet in his brain. Those are already powerful images in the mind of the public.<\/dialogue>\n    <character>CULLEN<\/character>\n    <dialogue>I did n't kill anybody.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I'm telling you how it looks. You discover the crime. You call it in. You've got blood on your person and clothes, and -.<\/dialogue>\n    <parenthetical>( before Cullen can cut him off . )<\/parenthetical>\n    <dialogue>- and - your prints are on the murder weapon.<\/dialogue>\n    <character>CULLEN<\/character>\n    <dialogue>How do you know that?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>There's a second print in blood - it's a partial of a hand - on the wall next to th -<\/dialogue>\n    <character>CULLEN<\/character>\n    <dialogue>I have keys! I called the cops from the house! I touched the goddamn wall!<\/dialogue>\n    <parenthetical>( to Barzoon . )<\/parenthetical>\n    <dialogue>I was panicked! I panicked!<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>We need twelve people who can see past all that. I'd get out in front of this fast.<\/dialogue>\n    <character>CULLEN<\/character>\n    <dialogue>I panicked! Is that a crime? I touched the wall!<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>He's right, Alex. People need to hear these things.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>You're not happy tomorrow? The next day? We'll move over. But right now - this moment - you need immediate representation.<\/dialogue>\n    <character>CULLEN<\/character>\n    <dialogue>I've got a fourteen - year - old stepdaughter who I care more about than anything in the world. They wo n't let me call her from downtown. They wo n't let me talk to her after I'm out. I got ta go deal with that first.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>We need to issue a statement.<\/dialogue>\n    <scene_description>Cullen looks to Milton . Waiting . Help me .<\/scene_description>\n    <character>MILTON<\/character>\n    <dialogue>He's a winner, Alex. And they'll never see him coming.<\/dialogue>\n    <character>CULLEN<\/character>\n    <dialogue>I'm gon na make some very tough phone calls. Then I'm gon na take a pill and try to get some sleep. My place. Eight A.M. tomorrow. Alone.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>And you better be every fucking inch as good as you think you are.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOHO BOUTIQUE STREET - DAY<\/stage_direction>\n    <scene_description>A woman with short dark hair - her back to us - looking in a shop window . Her reflection in the glass , it 's Mary Ann . She 's cut and colored her hair . Jackie and Diana already going in and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOHO BOUTIQUE AND DRESSING ROOM - DAY<\/stage_direction>\n    <scene_description>White wine and couture . Mary Ann holding a blouse .<\/scene_description>\n    <character>MARY ANN<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>This is three thousand dollars.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Know what you need to do? Buy it. Wear it once. And then throw it away. That'll loosen you up.<\/dialogue>\n    <character>DIANA<\/character>\n    <dialogue>I say spend it all. If you're never gon na see your husband, you might as well have a relationship with his money.<\/dialogue>\n    <parenthetical>( as she strips . )<\/parenthetical>\n    <dialogue>I swear, if he was n't afraid of me shooting my mouth off, Eddie would've put a cellulite clause in the pre - nup.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Dr. Robert, I'm telling you, he's the miracle man. You've seen my new tits, I mean who does it better than that?<\/dialogue>\n    <character>DIANA<\/character>\n    <dialogue>It's not my tits I'm worried about.<\/dialogue>\n    <scene_description>Mary Ann turns . Jackie beside her . Topless . Smiling .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Real or not?<\/dialogue>\n    <parenthetical>( her breasts . )<\/parenthetical>\n    <dialogue>They look real.<\/dialogue>\n    <parenthetical>( she shimmies . )<\/parenthetical>\n    <dialogue>They move real.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <parenthetical>( trapped there . )<\/parenthetical>\n    <dialogue>Must be real.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Feel them. Go ahead. That's the ultimate test.<\/dialogue>\n    <scene_description>Before Mary Ann can stop her , Jackie is taking her hand , guiding it to her breast , and holding it there .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( smiling . )<\/parenthetical>\n    <dialogue>Feel real?<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <parenthetical>( pulling away . )<\/parenthetical>\n    <dialogue>Absolutely. Real.<\/dialogue>\n    <character>JACKIE<\/character>\n    <parenthetical>( backing away . )<\/parenthetical>\n    <dialogue>Dr. Robert. When you're ready.<\/dialogue>\n    <scene_description>Mary Ann looking away as Jackie walks off . Everything is as it was , and yet different . And then , she turns and sees -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOHO BOUTIQUE - DRESSING ROOM (FX) - DAY<\/stage_direction>\n    <scene_description>-LRB- EFX -RRB- Jackie pulling a dress down over her head . She 's taking her time because it 's a delicate , clingy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOHO BOUTIQUE - DRESSING ROOM (FX) - DAY<\/stage_direction>\n    <scene_description>complicated outfit - turning - and for one brief moment we see a serpent 's head - disappearing now into the dress as she struggles inside the material - her body - the body inside the dress - transforming - ribs and spikes and huge moving muscles strain the limits of the material , and then , suddenly , it 's over .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOHO BOUTIQUE - DRESSING ROOM - DAY<\/stage_direction>\n    <scene_description>Jackie 's face appears . She straightens the seams . Turning now -<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <scene_description>But Mary Ann is gone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAW FIRM - STAIRCASE\/OFFICE - DAY<\/stage_direction>\n    <scene_description>Kevin , coming out a door with Heath and an associate .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>first thing - I need this ASAP - I want articles, clippings, TV interviews, I want everything you can get on Alex Cullen.<\/dialogue>\n    <character>HEATH<\/character>\n    <parenthetical>( walking off . )<\/parenthetical>\n    <dialogue>You better get a semi truck.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAW FIRM - STAIRCASE\/OFFICE - DAY<\/stage_direction>\n    <scene_description>Christabella climbing the stairs . Short skirt . Great angle . Halfway up , she stops to fix her stockings .<\/scene_description>\n    <character>CHRISTABELLA<\/character>\n    <dialogue>Enjoying yourself?<\/dialogue>\n    <character>KEVIN<\/character>\n    <parenthetical>( caught . )<\/parenthetical>\n    <dialogue>Sorry. I'm just.<\/dialogue>\n    <character>CHRISTABELLA<\/character>\n    <dialogue>Just what? Looking?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Guilty.<\/dialogue>\n    <character>CHRISTABELLA<\/character>\n    <dialogue>Congratulations on Cullen.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>CHRISTABELLA<\/character>\n    <dialogue>What an incredible situation, even if you lose you become a star.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>What if I win?<\/dialogue>\n    <character>CHRISTABELLA<\/character>\n    <dialogue>If you win.<\/dialogue>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>If you win it's everything.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Any advice?<\/dialogue>\n    <character>CHRISTABELLA<\/character>\n    <dialogue>Cullen is a pig. He's a pig beyond reasonable doubt. I suggest you keep him as far away from the jury as possible.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I'll keep it in mind.<\/dialogue>\n    <character>CHRISTABELLA<\/character>\n    <parenthetical>( leans in , whispering . )<\/parenthetical>\n    <dialogue>You can look all you want, but I do n't fuck married men.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>What a relief. I was starting to think you were perfect.<\/dialogue>\n    <character>PAM<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Kevin.<\/dialogue>\n    <scene_description>He turns instantly - Pamela standing behind him .<\/scene_description>\n    <character>PAM<\/character>\n    <dialogue>Your wife is on the phone. She sounds upset.<\/dialogue>\n    <scene_description>Christabella smiling as Kevin rushes off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOMAX APARTMENT - DAY<\/stage_direction>\n    <scene_description>Mary Ann very upset . Kevin has just come home .<\/scene_description>\n    <character>MARY ANN<\/character>\n    <dialogue>I do n't care if they can hear me! I do n't care! I do n't like it here. And these women, my God. I mean, I'm seeing things for crissake!<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>You just left them in the store?<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Look, calm down, all right? Listen to me. Mare? First, you do this radical thing with your hair.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>You hate it.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Stop. I think it's fine. But I also think it's traumatic. You've got the pressure of fitting in with new friends, a new place. add three bottles of wine and -<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>No! It was n't the wine. It was n't the wine or my hair or talking to Kathy, because I know that's what you're gon na say -<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>What about Kathy?<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>What about her? She's pregnant again.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Oh, and that's got nothing to do with it.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>Kevin, I never see you anymore. Now that you've got this big case, it's just only gon na get worse. I do n't know anybody here. These women scare the living shit out of me. If you can believe it, I'm actually looking forward to having your mother come and visit.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>What about the apartment?<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>Exactly! You just go out - you buy a few new suits and you're fine. I've got this whole place to fill up and I know we have all this money and it's supposed to be fun, but it is n't! It's like a test! The whole thing is like one big test! I'm lonely.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Let's make a baby.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>Do n't tease me.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I would n't do that. Unless you asked.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>You hate my hair, do n't you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOMAX APARTMENT - DAY<\/stage_direction>\n    <scene_description>His hand moves against her cheek , and then down the back of her neck . She moves into his body and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOMAX APARTMENT - DAY<\/stage_direction>\n    <scene_description>-LRB- EFX -RRB- Suddenly - She 's Christabella - right there - in his arms - before he can react - before he can speak - she finds his mouth and they are kissing and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOMAX APARTMENT - DAY<\/stage_direction>\n    <scene_description>Suddenly - She 's Mary Ann - and he 's pulling up her dress and she 's helping him and his hand is moving over bare thigh and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOMAX APARTMENT - DAY<\/stage_direction>\n    <scene_description>-LRB- EFX -RRB- Suddenly - She 's Christabella unbuttoning her blouse - and she ca n't do it fast enough - still with her mouth on his and his hand between her legs and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOMAX APARTMENT - DAY<\/stage_direction>\n    <scene_description>Suddenly - She 's Mary Ann - flattening against the wall and her blouse is open and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOMAX APARTMENT - DAY<\/stage_direction>\n    <scene_description>-LRB- EFX -RRB- Suddenly - She 's Christabella - pulling off her bra as his mouth moves over her breasts and his hands are everywhere and the bra is gone and she 's tearing at his shirt and he 's helping her and her dress is on the floor and there 's no rug or anything , but this is where they will fuck because they ca n't stop themselves and she 's on her back on the bare floor and he 's kicking away his shoes and she 's feeling herself and staring into his eyes and suddenly -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOMAX APARTMENT - DAY<\/stage_direction>\n    <character>MARY ANN<\/character>\n    <dialogue>Stop.<\/dialogue>\n    <scene_description>Kevin looks like he 's been shot . In the balls .<\/scene_description>\n    <character>MARY ANN<\/character>\n    <dialogue>Where are you?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Right here.<\/dialogue>\n    <scene_description>Mary Ann does n't look so sure .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CULLEN'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Huge . Opulent . Kevin and Pamela have been taking notes . Cullen is exhausted , frustrated .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>because it needs to be clear, Mr. Cullen, because I need to understand exactly what happened - you're standing there - you look down - there's the gun -<\/dialogue>\n    <character>CULLEN<\/character>\n    <dialogue>I do n't know why I picked it up - it was before I saw Elucinda's body and then, I mean we've been over this.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>You kneeled down to pick it up?<\/dialogue>\n    <character>CULLEN<\/character>\n    <dialogue>You work late. You come home. You walk in. Everybody's dead. It's not something you plan for.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Back up. Two prints by the gun. Right knee. Right hand. It's a strange move you must've made to pick it up.<\/dialogue>\n    <character>CULLEN<\/character>\n    <dialogue>The blood, I do n't know, maybe I was trying to avoid the blood.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I'm trying to picture it.<\/dialogue>\n    <parenthetical>( contorting . )<\/parenthetical>\n    <dialogue>Your hand came from inside and underneath.<\/dialogue>\n    <scene_description>Cullen reaches into his jacket and pulls out a gun .<\/scene_description>\n    <character>CULLEN<\/character>\n    <dialogue>You want to see? Here.<\/dialogue>\n    <parenthetical>( dropping to his knees . )<\/parenthetical>\n    <dialogue>I'll fucking show you.<\/dialogue>\n    <scene_description>Kevin watching Cullen quickly retrieve the gun from the floor with this weird little motion .<\/scene_description>\n    <character>CULLEN<\/character>\n    <parenthetical>( standing . )<\/parenthetical>\n    <dialogue>Okay? Clear? Got it?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Whose gun is that, Alex?<\/dialogue>\n    <character>CULLEN<\/character>\n    <dialogue>It's mine.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Are you out of your mind?<\/dialogue>\n    <parenthetical>( incredulous . )<\/parenthetical>\n    <dialogue>You're charged in a triple homicide, you're walking around with a forty - five?<\/dialogue>\n    <character>CULLEN<\/character>\n    <dialogue>I've had nine death threats.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Give it over. Now. Gim me the gun.<\/dialogue>\n    <character>CULLEN<\/character>\n    <dialogue>I got ta protect myself.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>That's my job. When the case is over you can have it back.<\/dialogue>\n    <parenthetical>( strong . )<\/parenthetical>\n    <dialogue>This is a dealbreaker, Alex.<\/dialogue>\n    <scene_description>Cullen hands him the gun .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Okay. Let's wrap it up.<\/dialogue>\n    <character>CULLEN<\/character>\n    <dialogue>So what's next?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>We need to talk to your assistant.<\/dialogue>\n    <character>CULLEN<\/character>\n    <dialogue>Call her.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>You feel confident she'll back you on the time.<\/dialogue>\n    <character>CULLEN<\/character>\n    <dialogue>Melissa, yeah. She's okay. She's a real straight arrow.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>So we're going to talk to her and you're not going to talk to anybody. Okay?<\/dialogue>\n    <character>CULLEN<\/character>\n    <parenthetical>( with a smile . )<\/parenthetical>\n    <dialogue>No comment.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.A. MERTO'S OFFICE - DAY<\/stage_direction>\n    <scene_description>A large , ugly cube . Daylight through dirty windows . Kevin alone . On the table , a large , grey envelope . Printed on it : PROPERTY OF THE MANHATTAN DISTRICT ATTORNEY . FORENSIC LOG - # 546D - STATE VS. ALEX CULLEN . Kevin going through a stack of crime scene photographs . Tough stuff . One after another . Three victims . Many angles . We can see their horror in his face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAW FIRM HELICOPTER - DUSK<\/stage_direction>\n    <scene_description>PANNING ALONG Wall Street . The whole downtown skyline . SETTLING finally ON the 60th floor of the law firm building . Hovering at a distance . Lights on here and there and - One window . Kevin 's office . He and Pamela are talking to a young woman . This is MELISSA BLOCK , Cullen 's assistant and alibi . We ca n't hear what they 're saying , but it looks to be a collegial meeting .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KEVIN'S OFFICE AND HALL - NIGHT<\/stage_direction>\n    <scene_description>Kevin and Pam walking Melissa out through the empty reception area .<\/scene_description>\n    <character>MELISSA<\/character>\n    <dialogue>Would my babysitter have to testify?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>We need her to establish the time you returned home.<\/dialogue>\n    <character>MELISSA<\/character>\n    <dialogue>She does n't have her green card is why I ask. I do n't want her to get in trouble.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Tell you what, Melissa, let's talk to her first. See where she stands and take it from there.<\/dialogue>\n    <character>PAM<\/character>\n    <dialogue>I'll make sure Melissa gets down to the car.<\/dialogue>\n    <character>MELISSA<\/character>\n    <dialogue>Mr. Cullen did n't kill those people.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>That's why we're all working so hard.<\/dialogue>\n    <scene_description>As Melissa exits with Pam , Kevin notices two associates carrying boxes far up the hall and we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAW FIRM LIBRARY AND HALL - NIGHT (SAME TIME)<\/stage_direction>\n    <scene_description>Paper shredders . Half a dozen of them cranking full tilt . Stacks of files left to go . Barzoon and six associates working late . Shirtsleeves and coffee .<\/scene_description>\n    <character>BARZOON<\/character>\n    <parenthetical>( directing traffic . )<\/parenthetical>\n    <dialogue>Okay, Excelsior Insurance, who's handling that?<\/dialogue>\n    <parenthetical>( a hand goes up . )<\/parenthetical>\n    <dialogue>All this has to go. Guatemala, Sudan, Cyprus.<\/dialogue>\n    <parenthetical>( cheerleading . )<\/parenthetical>\n    <dialogue>Let's stay organized here.<\/dialogue>\n    <parenthetical>( across the room . )<\/parenthetical>\n    <dialogue>Martin, no. Devada Holdings. That's all you're doing. Believe me, it'll take all night.<\/dialogue>\n    <scene_description>Barzoon stops as he sees Kevin in the doorway .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>I thought I was the only one working late.<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>So did we.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Good news. We just wrapped up with Cullen's assistant. She looks like a great alibi.<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>What a pleasant surprise.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>But it looks like you have your hands full.<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>Just a little housekeeping.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>If they ask, you never saw this.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Who would ask?<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>Weaver.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Who's that?<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>Justice Department. Weaver Commission.<\/dialogue>\n    <parenthetical>( staring at him . )<\/parenthetical>\n    <dialogue>You do n't know about Weaver?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>How nice for you.<\/dialogue>\n    <character>MILTON<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Grab your coat, Mr. Lomax.<\/dialogue>\n    <scene_description>Milton in the hall behind Kevin . Tickets in hand .<\/scene_description>\n    <character>MILTON<\/character>\n    <dialogue>The night is young.<\/dialogue>\n    <parenthetical>( re : tickets . )<\/parenthetical>\n    <dialogue>Title fight. Ringside.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I'd have to call Mary Ann.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Do it on the way.<\/dialogue>\n    <character>BARZOON<\/character>\n    <parenthetical>( am I here ? )<\/parenthetical>\n    <dialogue>You get my message?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>You write beautifully, Eddie.<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>We need to talk.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Soon.<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>I hope so.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY TO FIGHTS TRAIN - NIGHT<\/stage_direction>\n    <scene_description>The car half full . Kevin and Milton standing near the door . Right behind them , three guys in the midst of an intense conversation in Spanish .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>So what's this Weaver Commission?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>I do n't micro - manage. You find the talent and then you delegate. Who knows what the hell Eddie's up to. He's got a lotta fingers in a lotta pies.<\/dialogue>\n    <scene_description>Suddenly , one of the guys behind them , the biggest of the three , we 'll call him BIG GUY , turns back -<\/scene_description>\n    <character>BIG GUY<\/character>\n    <dialogue>What the fuck you looking at?<\/dialogue>\n    <parenthetical>( it 's Milton he 's talking to . )<\/parenthetical>\n    <dialogue>You fucking deaf or something?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>No. I can hear you just fine.<\/dialogue>\n    <character>BIG GUY<\/character>\n    <dialogue>Good,'cause I want you should get your skinny little ass somewhere down the fucking car away from me.<\/dialogue>\n    <character>MILTON<\/character>\n    <parenthetical>( stare - down . )<\/parenthetical>\n    <dialogue>I'm not going anywhere.<\/dialogue>\n    <scene_description>Big Guy pulls open his jacket - a knife in his belt .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Oh, shit.<\/dialogue>\n    <parenthetical>( stepping back . )<\/parenthetical>\n    <dialogue>John.<\/dialogue>\n    <scene_description>But Milton does n't move . He smiles .<\/scene_description>\n    <character>MILTON<\/character>\n    <parenthetical>( perfect Spanish . )<\/parenthetical>\n    <dialogue>Maricela, the moment you left the apartment she was upstairs with Carlos. They're on the pipe right now, my friend. They're in the kitchen splitting a jumbo and then he's going to fuck her in the ass, right on your bed, and she's going to like it.<\/dialogue>\n    <scene_description>Big Guy backing away - into his friends -<\/scene_description>\n    <character>BIG GUY<\/character>\n    <dialogue>Como? How do you?<\/dialogue>\n    <scene_description>The SUBWAY RATTLING into the Fourteenth Street station .<\/scene_description>\n    <character>MILTON<\/character>\n    <parenthetical>( still Spanish . )<\/parenthetical>\n    <dialogue>Do yourself a favor and put that knife where it belongs.<\/dialogue>\n    <scene_description>The doors open . Big Guy stumbling back - his friends catching him - helping him off the train - looking back , as the doors close and . It 's like it never happened . Milton straightening his cuffs as the train pulls away .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>What did you say to him?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>I told him if he did n't leave us alone, you were going to kick all three of their asses.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MADISON SQUARE GARDEN - BOXING RING - NIGHT<\/stage_direction>\n    <scene_description>Right INTO it . Red trunks with a huge right hand and blue trunks drops and the Garden goes wild - five thousand people yelling for blood .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MADISON SQUARE GARDEN - NIGHT<\/stage_direction>\n    <scene_description>And Milton at ringside , breathing deeply of the vibe and -<\/scene_description>\n    <character>KEVIN<\/character>\n    <parenthetical>( on his feet . )<\/parenthetical>\n    <dialogue>Get up! Get up, dammit! C'mon!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MADISON SQUARE GARDEN - NIGHT<\/stage_direction>\n    <scene_description>Blue trunks rises on shaky legs as the BELL RINGS , the round over and the crowd groans back into its seats .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MADISON SQUARE GARDEN - NIGHT<\/stage_direction>\n    <scene_description>Milton turning as DON KING collars him .<\/scene_description>\n    <character>DON KING<\/character>\n    <dialogue>Look at this sorry shit, you got better seats than me.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>You need a better lawyer.<\/dialogue>\n    <character>DON KING<\/character>\n    <dialogue>Nobody better than you, Johnny.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Hang on a second.<\/dialogue>\n    <parenthetical>( presenting Kevin . )<\/parenthetical>\n    <dialogue>Meet my new heavyweight. Kevin Lomax.<\/dialogue>\n    <scene_description>Kevin shaking hands with Don King , as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPANISH RESTAURANT (DOWNTOWN) - NIGHT (LATE)<\/stage_direction>\n    <scene_description>Serious flamenco . Music is loud . The dancer is fantastic . Deep reds . Deep blacks . Skin . Duende . Milton , sitting beside some blonde he 's discovered , he 's got his jacket off , clapping perfectly to the beat . Behind him , a large table of ten\/fifteen people . Food and wine to excess . Laughter and music and .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPANISH RESTAURANT - PHONE AND ROOM - NIGHT<\/stage_direction>\n    <scene_description>Kevin on a pay phone near the kitchen .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>And say what? He's the senior partner at the -.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Mare, you're really starting to piss me off -.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Yes. I'm having one cigarette. You want me to lie? One cigarette after seven months is not -.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>That's exactly what I'm saying. Go to bed. I have no idea.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>I told you, he never sleeps.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Mare. Stop. The guy pays our bills. The food, the heat, the rent on that enormous fucking apartment we live in.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I live there, too!<\/dialogue>\n    <scene_description>CLICK . The LINE is dead . He looks at the cigarette . Takes a hit . Fuck it . And then his eyes find - The dressing room across the hall . An open door . Inside , a woman , one of the dancers , all but nude , stepping into her dress . A simply perfect body . And then she turns TOWARD us and it 's Christabella - clearly - for a single moment - before she slams shut the door . Kevin crosses to the door . Knocks . And again . The door opens . A DANCER standing there . It 's not Christabella .<\/scene_description>\n    <character>DANCER<\/character>\n    <dialogue>Can I help you?<\/dialogue>\n    <scene_description>Kevin already backing toward -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPANISH RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Kevin moving toward the Milton table . Sitting down and just realizing that - Cullen has joined the party . He 's wasted . He waves . Milton catching Kevin 's eye , smiling as the Blonde slips below the table . As if nothing were going on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOMAX APARTMENT - NIGHT (LATE)<\/stage_direction>\n    <scene_description>Dark . Mary Ann asleep in a chair . A breeze through the open terrace windows . Suddenly she wakes .<\/scene_description>\n    <character>MARY ANN<\/character>\n    <dialogue>Kevin?<\/dialogue>\n    <scene_description>Silence . And then , the sound of a BABY CRYING .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOMAX NURSERY HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Mary Ann rushing through the dark , toward the nursery and the sound of the CRYING - stopping suddenly at the nursery door -<\/scene_description>\n    <character>MARY ANN<\/character>\n    <dialogue>How? What are you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOMAX NURSERY AND HALL - NIGHT<\/stage_direction>\n    <scene_description>A one - year - old child sits naked on the floor amidst the tools and material .<\/scene_description>\n    <character>MARY ANN<\/character>\n    <dialogue>You poor thing.<\/dialogue>\n    <scene_description>Mary Ann easing slowly forward .<\/scene_description>\n    <character>MARY ANN<\/character>\n    <dialogue>How did you. how did you get here?<\/dialogue>\n    <parenthetical>( billing and cooing . )<\/parenthetical>\n    <dialogue>Are you okay? Look at you. hello. hello.<\/dialogue>\n    <parenthetical>( kneeling there . )<\/parenthetical>\n    <dialogue>Where's your mommy?<\/dialogue>\n    <scene_description>The baby turns to her voice . Smiling now .<\/scene_description>\n    <character>MARY ANN<\/character>\n    <dialogue>What are you playing with? What do you have there?<\/dialogue>\n    <scene_description>The baby offers his open hands - Viscera . Entrails and blood and slime . The child 's hands full of someone 's insides .<\/scene_description>\n    <character>MARY ANN<\/character>\n    <dialogue>Oh, God, no.<\/dialogue>\n    <scene_description>The baby raising his hands toward her -<\/scene_description>\n    <character>MARY ANN<\/character>\n    <dialogue>no. please, God, no -<\/dialogue>\n    <scene_description>Stopping suddenly as she looks down at her body . Her nightgown is covered with blood . Just starting to scream , as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HEATH GUEST ROOM AND HALL - DAY<\/stage_direction>\n    <scene_description>Motion - Kevin rushing down a hallway - Heath behind him - heading for an open door and into -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HEATH GUEST ROOM AND HALL - DAY<\/stage_direction>\n    <scene_description>Mary Ann in bed . Dead asleep . Jackie Heath , bedside nurse .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Took two seconals to get her out.<\/dialogue>\n    <character>KEVIN<\/character>\n    <parenthetical>( hung - over and guilty . )<\/parenthetical>\n    <dialogue>Milton got his hooks into me.<\/dialogue>\n    <character>HEATH<\/character>\n    <dialogue>Relax. We've all been there.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Leave her with me. Let her sleep. She'll be out another five, six hours at least.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>This transition, it's been really tough on her.<\/dialogue>\n    <character>HEATH<\/character>\n    <dialogue>We're gon na find some names for you. Doctors. Good people.<\/dialogue>\n    <scene_description>Kevin nods . Jackie ushering them out , as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NY - DAY\/NIGHT<\/stage_direction>\n    <scene_description>New York time transition - MOS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAW FIRM STREET - DAY<\/stage_direction>\n    <scene_description>Pamela and three other women smoking . Looking up , as Kevin comes flying out of the building .<\/scene_description>\n    <character>PAM<\/character>\n    <dialogue>Caught me.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I've got ta find Cullen.<\/dialogue>\n    <parenthetical>( as he passes . )<\/parenthetical>\n    <dialogue>We just got the prosecution discovery package.<\/dialogue>\n    <character>PAM<\/character>\n    <dialogue>That bad?<\/dialogue>\n    <scene_description>Kevin just keeps going into -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAW FIRM STREET - DAY<\/stage_direction>\n    <scene_description>Kevin needs a taxi - bingo - a cab - dropping off right here - he 's got it - opening the door and -<\/scene_description>\n    <character>CHRISTABELLA<\/character>\n    <dialogue>Careful.<\/dialogue>\n    <parenthetical>( stepping out . )<\/parenthetical>\n    <dialogue>You'll spoil me for other men.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>That's what they all say.<\/dialogue>\n    <character>CHRISTABELLA<\/character>\n    <dialogue>Heard he finally dragged you out the other night.<\/dialogue>\n    <parenthetical>( as she walks . )<\/parenthetical>\n    <dialogue>Ca n't believe I missed it.<\/dialogue>\n    <scene_description>Kevin watching her go , looking up , seeing the glass bridge high above .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW YORK SIDE STREET - DAY<\/stage_direction>\n    <scene_description>A limousine double - parked outside a brownstone . Kevin standing there as Cullen comes storming out of the building .<\/scene_description>\n    <character>CULLEN<\/character>\n    <dialogue>I get one supervised hour a week with my stepdaughter. This is it. You better have a great reason to call me out.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Your wife, the day she was killed, had lunch with a friend. She says and I quote : ` Alex is fucking around and I can prove it.'<\/dialogue>\n    <character>CULLEN<\/character>\n    <dialogue>Hearsay. Never gets in.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Wrong answer.<\/dialogue>\n    <parenthetical>( listen to me . )<\/parenthetical>\n    <dialogue>Your prenuptial agreement is on file at the firm. The contract is null and void in the event of marital infidelity.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You fuck around, she gets rich.<\/dialogue>\n    <parenthetical>( you asshole . )<\/parenthetical>\n    <dialogue>That's a motive, Alex.<\/dialogue>\n    <parenthetical>( long pause . )<\/parenthetical>\n    <dialogue>What do I need to know?<\/dialogue>\n    <character>CULLEN<\/character>\n    <dialogue>Melissa. My assistant.<\/dialogue>\n    <parenthetical>( such a headache . )<\/parenthetical>\n    <dialogue>She's not even that good a fuck.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>And, on the night in question?<\/dialogue>\n    <character>CULLEN<\/character>\n    <dialogue>I was boning my assistant while my wife was getting shot.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I've got to re - interview Melissa.<\/dialogue>\n    <character>CULLEN<\/character>\n    <dialogue>Forget it. We're not telling that story.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Juries want honesty. Fuck with that at your peril.<\/dialogue>\n    <scene_description>Cullen turns - something more important -<\/scene_description>\n    <character>CULLEN<\/character>\n    <dialogue>Allesandra. Wait.<\/dialogue>\n    <scene_description>Allesandra emerging from the building looking teary and distraught . Her THERAPIST helping her toward the limo .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Arthur.<\/dialogue>\n    <character>CULLEN<\/character>\n    <dialogue>Not now.<\/dialogue>\n    <character>THERAPIST<\/character>\n    <dialogue>Time's up, Mr. Cullen.<\/dialogue>\n    <character>CULLEN<\/character>\n    <dialogue>Allesandra. Please.<\/dialogue>\n    <scene_description>Kevin watching Cullen rush away , as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NY - DAY\/NIGHT<\/stage_direction>\n    <scene_description>New York time transition - MOS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOMAX APARTMENT BUILDING - SIDEWALK - NIGHT<\/stage_direction>\n    <scene_description>A Towncar pulls up . Mary Ann , Kevin and Mrs. Lomax emerge . Just back from dinner . Two steps and - A PAPARAZZI photographer nearby -<\/scene_description>\n    <character>PAPARAZZI<\/character>\n    <dialogue>Kevin, hey, how's it going? Can we get a couple shots here? How about a thumbs - up here? What do you say?<\/dialogue>\n    <scene_description>Kevin reluctantly smiles . Get it over with .<\/scene_description>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>What's he doing?<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>Kevin's had his picture in the paper.<\/dialogue>\n    <scene_description>FEENEY , the doorman , at the ready . Mary Ann first inside . Mrs. Lomax lingers a moment watching Kevin have his picture taken .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Welcome to Babylon, Ma.<\/dialogue>\n    <character>FEENEY<\/character>\n    <dialogue>Sorry, Mr. Lomax, I thought we'd scared'em all away.<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>Always did like to stick his nose in a camera.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOMAX LOBBY - ENTRANCE - NIGHT<\/stage_direction>\n    <character>FEENEY<\/character>\n    <parenthetical>( as they enter . )<\/parenthetical>\n    <dialogue>And how are you, Mrs. Lomax? Did you have a fine dinner?<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>I surely did.<\/dialogue>\n    <parenthetical>( she 's got a doggie bag . )<\/parenthetical>\n    <dialogue>Are you hungry?<\/dialogue>\n    <character>FEENEY<\/character>\n    <dialogue>No, I'm fine. Thank you.<\/dialogue>\n    <character>MILTON<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Speak of the devil.<\/dialogue>\n    <scene_description>There he is , waiting for the elevator . With him are Christabella and an Asian woman who is so sexy it hurts . Kevin off balance from this moment on . Mary Ann smells the danger . Everything is awkward .<\/scene_description>\n    <character>MILTON<\/character>\n    <dialogue>I was just telling the Moyez story.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Really.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>And is this your mother?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Yes. Mom, this is.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>John Milton. Nice to meet you.<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>Alice Lomax. How do you do?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Mary Ann.<\/dialogue>\n    <parenthetical>( a kiss for her . )<\/parenthetical>\n    <dialogue>I think you've met Christabella, and this is Giselle who's just in from Paris.<\/dialogue>\n    <scene_description>A moment of bullshit superficial greetings and then - the elevator doors opening and the whole uncomfortable clot of them moving into -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOMAX APARTMENT ELEVATOR - NIGHT<\/stage_direction>\n    <scene_description>Just enough room . They ascend .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Thanks for the champagne.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>You've very welcome.<\/dialogue>\n    <parenthetical>( to Mrs. Lomax . )<\/parenthetical>\n    <dialogue>This is n't really your first visit to New York, is it?<\/dialogue>\n    <character>KEVIN<\/character>\n    <parenthetical>( after a moment . )<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <character>GISELLE<\/character>\n    <dialogue>Cette femme, elle est la mere de l'homme dont vous m ` avez parle?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>She ca n't believe you're his mother. You've done one helluva job bringing him up, Mrs. Lomax. I'm sure it was n't easy.<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Mrs. Lomax has been staring , and now Milton meets her eyes as the elevator stops and the doors open .<\/scene_description>\n    <character>MARY ANN<\/character>\n    <dialogue>Nice to see you.<\/dialogue>\n    <character>CHRISTABELLA<\/character>\n    <dialogue>Have a lovely evening.<\/dialogue>\n    <scene_description>Kevin next out , holding the door , waiting -<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Mom, we're here.<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>Yes. Good night to you.<\/dialogue>\n    <scene_description>Mrs. Lomax takes one last look at Milton as she exits .<\/scene_description>\n    <character>MILTON<\/character>\n    <dialogue>Kevin, hang on.<\/dialogue>\n    <parenthetical>( holding the door . )<\/parenthetical>\n    <dialogue>How's Cullen. Everything on beam?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>That's a long conversation.<\/dialogue>\n    <scene_description>In the b.g. , Mary Ann opening the apartment door and going inside . Mrs. Lomax right behind her .<\/scene_description>\n    <character>MILTON<\/character>\n    <parenthetical>( hush hush . )<\/parenthetical>\n    <dialogue>Why do n't you come on up?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Now?<\/dialogue>\n    <scene_description>Milton smiles . Christabella smiles . Giselle smiles .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Let's talk tomorrow.<\/dialogue>\n    <scene_description>Milton shrugs . Your loss . Christabella has her hand on Giselle 's ass , working up her skirt -<\/scene_description>\n    <character>MILTON<\/character>\n    <dialogue>You sure?<\/dialogue>\n    <scene_description>Kevin left standing there as the doors close .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOMAX KITCHEN - NIGHT (ONE MINUTE LATER)<\/stage_direction>\n    <scene_description>Mrs. Lomax , subdued , listening to Kevin and Mary Ann bickering .<\/scene_description>\n    <character>MARY ANN<\/character>\n    <dialogue>That what you're doing when you're working late?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>What are we talking about?<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>You know exactly what I'm talking about.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>That's ridiculous.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>I'm going to bed.<\/dialogue>\n    <parenthetical>( walking off . )<\/parenthetical>\n    <dialogue>` Night, Alice.<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>` Night.<\/dialogue>\n    <scene_description>Mary Ann exits .<\/scene_description>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>I'm worried about her. You should n't fight like that.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>That's not a fight, Ma, it's marriage. Not exactly your area of expertise.<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>Are you happy here?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>Are you happy here?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>You're kidding, right? Am I happy? Every now and then I look around and I think my mama must be praying awful hard for me,'cause I died and went to heaven. Am I happy?<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>You were always running somewhere.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I guess I finally got there.<\/dialogue>\n    <parenthetical>( sensing something wrong . )<\/parenthetical>\n    <dialogue>Look, I'm sorry about being so busy this week. Maybe Saturday I can get some time off and.<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>Do n't worry on it.<\/dialogue>\n    <parenthetical>( touching his face . )<\/parenthetical>\n    <dialogue>I love you more than anything in the whole world. You know that, do n't you?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I love you too, Ma.<\/dialogue>\n    <scene_description>Kevin turning out the lights , as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOMAX APARTMENT - FOYER\/HALL - DAY<\/stage_direction>\n    <scene_description>Newspapers . Laying on the doorstep . Headline reads :<\/scene_description>\n    <character>CULLEN PRE-NUP SHOCKER!<\/character>\n    <dialogue>says.<\/dialogue>\n    <scene_description>Kevin , dressed for work , briefcase in hand , rushing down a cup of coffee , reading the headline and -<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Shit!<\/dialogue>\n    <scene_description>The door to the guest room is open . He looks in -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOMAX GUEST ROOM - DAY<\/stage_direction>\n    <scene_description>Mrs. Lomax fully dressed . The bed is made . Her bag is packed .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Mom? Ma, what are you doing?<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>I'm going home, Kevin.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>What? What are you talking about?<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>I do n't feel right.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>You just got here.<\/dialogue>\n    <parenthetical>( his watch . )<\/parenthetical>\n    <dialogue>Look, I'm late and I just got my teeth kicked in on the front page, so I got ta run. We'll talk later.<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>I have to go, Kevin. I miss my church.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Ma, this is New York, there must be twenty - thousand goddamn churches. Take your pick.<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>You need to do a better job with Mary Ann. She's not well. This place is n't good for her.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>So stay. Take care of her if you're so concerned! Help me out.<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>I'll take her home if you let me.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>This is home. You understand? This is where we live! I'm not going back to Gainesville. Unbelievable.<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>` Wide is the gate, and broad is the way that leadeth to temptation.'<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>It's a little early for scripture. I'm going to work.<\/dialogue>\n    <parenthetical>( as he walks . )<\/parenthetical>\n    <dialogue>You can do whatever you want.<\/dialogue>\n    <scene_description>Mrs. Lomax watching him go , as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL PARK PLAYGROUND - DAY<\/stage_direction>\n    <scene_description>Melissa and Kevin on a bench . Kids playing . One of them is hers , but she 's not paying much attention at the moment -<\/scene_description>\n    <character>MELISSA<\/character>\n    <dialogue>I ca n't do it. It's one thing to have an affair with your boss, it's another to have to tell the world in a murder case.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>We have to bring it out, Melissa.<\/dialogue>\n    <character>MELISSA<\/character>\n    <dialogue>My ex - husband would have a field day with this.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>A man's life is at stake. You're our whole case.<\/dialogue>\n    <scene_description>Melissa looking away , as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEAVER FEDERAL COURTROOM - DAY<\/stage_direction>\n    <scene_description>Modern . Empty . The JUDGE is a WOMAN . No bullshit . Barzoon sitting alone at the defense table . Federal prosecutor MITCHELL WEAVER on his feet .<\/scene_description>\n    <character>WEAVER<\/character>\n    <dialogue>there is nothing vague or exploratory about this subpoena request, Your Honor. We're specifically asking for any and all documents relating to Devada Holdings. It's taken six months and seventeen separate motions and we still do n't know who's responsible here. We've got a paper trail here that seems to stretch into eternity!<\/dialogue>\n    <character>WOMAN JUDGE<\/character>\n    <dialogue>Mr. Barzoon?<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>Ca n't turn over what you do n't have, Your Honor. We've been conducting a comprehensive search of our records and I'm sorry to say it's a great deal less than Mr. Weaver would suggest.<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>Your Honor, this is outrageous. We need to get in there and seize these documents before there's nothing left!<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>Your Honor, it's exactly these types of insulting accusations -<\/dialogue>\n    <character>WOMAN JUDGE<\/character>\n    <dialogue>Enough. Both of you. Put it on paper. I'll read it.<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>Your Honor.<\/dialogue>\n    <scene_description>But the gavel comes down . Done . Barzoon packing up , looks to the back of the room . Kevin sitting there . Waiting .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEAVER FEDERAL COURT - HALL - DAY (MINUTES LATER)<\/stage_direction>\n    <scene_description>Busy . Lots of traffic . Barzoon and Kevin walking .<\/scene_description>\n    <character>BARZOON<\/character>\n    <dialogue>Forget about lunch. This guy Weaver is running me ragged.<\/dialogue>\n    <scene_description>A REPORTER pulls up alongside - excited -<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>Kevin. Nancy Osborne, Metro News. How are you?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Busy.<\/dialogue>\n    <character>REPORTER<\/character>\n    <dialogue>We had a report of a private plane at Teterboro airport ready to take Alexander Cullen out of the coun -<\/dialogue>\n    <character>KEVIN<\/character>\n    <parenthetical>( cutting her off . )<\/parenthetical>\n    <dialogue>Mr. Cullen is innocent. He's not going anywhere. He's been released on a two million dollar bond. He looks forward to having his day in court. Thank you.<\/dialogue>\n    <character>REPORTER<\/character>\n    <dialogue>Kevin, is there any truth to -<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I'm in the middle of a meeting. Call my office. Schedule an interview. Or else forget it.<\/dialogue>\n    <scene_description>Barzoon is getting away . Kevin hustling to catch up .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>I'm picking a jury tomorrow.<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>You're good at that.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>You're not gon na have time to help me on Cullen, are you?<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Just then , Weaver comes rumbling past -<\/scene_description>\n    <character>WEAVER<\/character>\n    <dialogue>Devada Holdings, Eddie. Look in your rearview window, I'm right behind you.<\/dialogue>\n    <scene_description>Before he can answer - ANOTHER REPORTER swoops in -<\/scene_description>\n    <character>REPORTER #2<\/character>\n    <dialogue>Kevin, Chuck Higgery, Action News. Have you spoken with Alex Cullen concerning the D.A.'s report.<\/dialogue>\n    <scene_description>Kevin turns to see two more REPORTERS jogging over .<\/scene_description>\n    <character>REPORTER #3<\/character>\n    <dialogue>Kevin, just a statement -<\/dialogue>\n    <scene_description>And a photographer - Kevin under siege and -<\/scene_description>\n    <character>BARZOON<\/character>\n    <parenthetical>( backing away . )<\/parenthetical>\n    <dialogue>Got ta go.<\/dialogue>\n    <scene_description>Barzoon escaping as reporters begin to materialize from all sides , and we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOMAX LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Dark . Quiet . Mary Ann in her chair . She looks like hell . Eyes red from crying . Kevin has just come home and found her like this .<\/scene_description>\n    <character>MARY ANN<\/character>\n    <dialogue>I dreamt about this.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Right here.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>It's not a dream if it's true.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Tell me this is the medication.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>You wo n't stay with me now.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Look, let's get you undressed and in the tub. Okay?<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>You wo n't stay. I know you. You'll leave me now for sure.<\/dialogue>\n    <parenthetical>( as he moves to comfort her - . )<\/parenthetical>\n    <dialogue>Get - away - from - me!<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Okay. I'm confused.<\/dialogue>\n    <parenthetical>( furious . )<\/parenthetical>\n    <dialogue>Why? What is it now? What the fuck is it today, Mare? I swear to God, I'm calling this doctor, I'm gon na find out what the hell they're giving you.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>They took my ovaries. I told you!<\/dialogue>\n    <parenthetical>( tears now . )<\/parenthetical>\n    <dialogue>My sisters have seven children between them. My mother had Derek when she was forty - five. You could set a clock by my periods.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>I ca n't have children!<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Says who?<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>The doctor! The other doctor. I was there today.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Non - specific ovarian failure.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>That's ridiculous.<\/dialogue>\n    <scene_description>The PHONE begins to RING across the room .<\/scene_description>\n    <character>MARY ANN<\/character>\n    <parenthetical>( grabbing his arm . )<\/parenthetical>\n    <dialogue>I know you. You'll leave me.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Mary Ann.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>It's these monsters, Kevin.<\/dialogue>\n    <parenthetical>( losing it . )<\/parenthetical>\n    <dialogue>I dreamt this.<\/dialogue>\n    <scene_description>The PHONE keeps RINGING . Kevin will finally pull away . Answering the phone O.S. , quietly conducting business as Mary Ann falls apart .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOLEY SQUARE - DAY<\/stage_direction>\n    <scene_description>Kevin on a cell phone walking with Milton .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Uh huh. For sleep. And she can take that during the day?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>No, she wo n't be driving.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I'm gon na have the pharmacy call you right back. Thanks.<\/dialogue>\n    <parenthetical>( hangs up , sags against the car . )<\/parenthetical>\n    <dialogue>He thinks, he's not sure, he thinks it could be some kind of hormonal imbalance.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>I'm taking you off the case.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>I want you to drop this case.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>This case? Cullen?<\/dialogue>\n    <parenthetical>( incredulous . )<\/parenthetical>\n    <dialogue>John, I've got a jury showing up this morning.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Do you love this woman?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Yes. Of course I do.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Kevin, she's sick. Everyone will understand. I'll understand.<\/dialogue>\n    <character>KEVIN<\/character>\n    <parenthetical>( stunned . )<\/parenthetical>\n    <dialogue>What about Cullen?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>We'll find someone new. You consult. You live to fight another day.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I put together a great jury.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>It's a disappointment. We all have them. Embrace it. Use it. You move on.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Hang on, we got ta talk about this.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>What's to talk? It's your wife, man. And she's very sick. And that's got ta come first.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Are you telling me the possibility of leaving the case has never crossed your mind?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>You know what scares me? I quit the case. She gets better. And I hate her for it.<\/dialogue>\n    <parenthetical>( silence . )<\/parenthetical>\n    <dialogue>I do n't want to resent her, John. I've got a winner here. I got ta nail this fucker down, do it fast, and put it behind me. Just get it done. Then put all my energy into her.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>I guess you have thought about it. I stand corrected.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CULLEN COURTROOM - DAY<\/stage_direction>\n    <scene_description>Packed . JUDGE ARMAND POE presiding . Cullen seated with Kevin and Pam . The jury in their box . And prosecutor FRANK BROYGO on his feet , just wrapping up his opening statement -<\/scene_description>\n    <character>BROYGO<\/character>\n    <dialogue>And when all that evidence is laid before you, when all these pieces weave together, you will conclude - you will know - that Alexander Cullen is guilty of murdering three people in cold blood with malice aforethought.<\/dialogue>\n    <scene_description>Done . The courtroom is silent . The jury liked him .<\/scene_description>\n    <character>JUDGE POE<\/character>\n    <dialogue>Mr. Lomax.<\/dialogue>\n    <parenthetical>( checking his watch . )<\/parenthetical>\n    <dialogue>We can break for lunch now, or you can do a stop and start.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>If it's a choice, I'll go now. I wo n't be as long as Mr. Broygo.<\/dialogue>\n    <character>JUDGE POE<\/character>\n    <dialogue>Proceed.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>We just spent our morning listening to Mr. Broygo talk about his ` evidence'. What he neglected to tell you is what this case is really about. He left out the most important fact of all : Alex Cullen was somewhere else when these murders took place. Now, Alex Cullen has done a lot of things I do n't like. He's been a terrible husband to all three of his wives. He's been a destructive force in the lives of his step - children. He's cheated the city. His partners. His employees. He's paid hundreds of thousands of dollars in penalties and fines over the years. I do n't like those things. I do n't expect you to like them. There will be other things during the course of this trial that you will hear about and like even less. But this is n't a popularity contest. It's a murder trial and Alex Cullen has n't killed anybody. The state is going all out here. They've got a whole team over there. They're throwing everything but the kitchen sink at this case. I need one thing from you. That's it. One thing. I need you to ask yourself, ` Is not liking this man reason enough to convict him of murder?'.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Enjoy your lunch. We'll talk again.<\/dialogue>\n    <scene_description>Stunned silence , and then -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTHOUSE - SMALL CONFERENCE ROOM - DAY<\/stage_direction>\n    <scene_description>Kevin thrown back against a wall -<\/scene_description>\n    <character>CULLEN<\/character>\n    <dialogue>What the fuck was that? Are you out of your fucking mind?<\/dialogue>\n    <parenthetical>( murderous . )<\/parenthetical>\n    <dialogue>They fucking hate me!<\/dialogue>\n    <scene_description>Kevin - one push - Cullen sent flying .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Listen to me like you've never listened to anybody before. I'm going to bust my ass to make sure they hate you. Because as long as you're out boning Melissa, you're not home killing your wife.<\/dialogue>\n    <character>CULLEN<\/character>\n    <parenthetical>( pause , as he warms to the idea . )<\/parenthetical>\n    <dialogue>Why did n't you tell me before?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Then it does n't look spontaneous.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CULLEN COURTROOM - DAY<\/stage_direction>\n    <scene_description>A Forensic TECHNICIAN on the stand . A display chart beside him . Blowups of the bloody hand - prints .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Let me put it this way, then : can you tell from a blood sample if the person were alive or dead?<\/dialogue>\n    <character>TECHNICIAN<\/character>\n    <dialogue>The victim? Of course not.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>And there's a two hour window in which to place these murders.<\/dialogue>\n    <character>TECHNICIAN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>So, you've got absolutely no way to determine the condition of the victims when Alexander Cullen put his hand on that wall.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARNEGIE HILL GROCERY - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Kevin into the evening air , carrying a bag of stuff . Barzoon standing there in a jogging suit . Furious .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Eddie.<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>Saw you go in.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>What's up?<\/dialogue>\n    <character>BARZOON<\/character>\n    <parenthetical>( cold . )<\/parenthetical>\n    <dialogue>Congratulations.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>It's not over yet.<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>I'm not talking about the trial.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>How the fuck does your name get on the firm's charter?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>Looks like it's been there for years. Now you're a partner? When did that happen? I am still the managing director of this firm. You want my job? Take me head on. Backdoor me one more time and I'll take your partnership papers and stuff'em down your throat.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I do n't know what you're talking about, but I sure as hell do n't like your tone of voice.<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>Bullshit.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>You got a problem with documents, I suggest you put together one of your late - night shredding sessions.<\/dialogue>\n    <character>BARZOON<\/character>\n    <dialogue>You think you're tough enough to run this firm? Fine.<\/dialogue>\n    <parenthetical>( backing away . )<\/parenthetical>\n    <dialogue>You tell Milton next time Weaver calls maybe I pick up the phone.<\/dialogue>\n    <scene_description>Kevin standing there , watching him jog away , as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S APARTMENT - DUSK<\/stage_direction>\n    <scene_description>Kevin sitting there with his bag of groceries . Milton looking sadly perplexed -<\/scene_description>\n    <character>MILTON<\/character>\n    <dialogue>Was he drunk?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I doubt it. He was going running. What the hell was he talking about?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Eddie's gotten himself into trouble again. And he wants me to save him. And I ca n't.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Why does he think I'm after his job?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Do you have any experience with manic - depression?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Not directly, no.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>You do now.<\/dialogue>\n    <scene_description>Milton already on the phone . Punching a number .<\/scene_description>\n    <character>MILTON<\/character>\n    <dialogue>Yes, it's me.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Get Eddie Barzoon. Right away. He may be out running, so page him if you have to. It's an emergency.<\/dialogue>\n    <parenthetical>( hangs up , turns back to Kevin . )<\/parenthetical>\n    <dialogue>Looks like you could use a drink.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOMAX APARTMENT - DUSK<\/stage_direction>\n    <scene_description>Mary Ann coming through the living room . She looks stoned . But moving with purpose . As if she were hearing something . Opening the terrace doors and staring out over the park , as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL PARK RESERVOIR - DUSK<\/stage_direction>\n    <scene_description>The reservoir entrance . It 's a nice night and busy with runners and bikes and - Barzoon comes jogging past .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S APARTMENT - DUSK<\/stage_direction>\n    <scene_description>Kevin has a vodka in his hand .<\/scene_description>\n    <character>MARY ANN<\/character>\n    <dialogue>Eddie Barzoon.<\/dialogue>\n    <parenthetical>( wearily . )<\/parenthetical>\n    <dialogue>I've nursed him through two divorces, a cocaine rehab, and a pregnant receptionist.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>God's creature, right?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL PARK - RESERVOIR - DUSK<\/stage_direction>\n    <scene_description>No leaves on the trees . Barzoon running . Breaking a sweat now . Leaving the heavy traffic behind .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S APARTMENT - DUSK<\/stage_direction>\n    <character>MILTON<\/character>\n    <dialogue>I'll tell you, Kevin, because I know you're into theology. When you've seen - when you've represented - when you've dealt with as many people as I have over the years, finally you say to yourself, ` God must've been awfully bored.'.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Choice. The opportunity to fuck up. Talk about entertainment value.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL PARK - RESERVOIR - DUSK<\/stage_direction>\n    <scene_description>Barzoon running . Into his pace . Glancing down and on the horsepath below .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL PARK - RESERVOIR - DUSK<\/stage_direction>\n    <scene_description>Three running shadows . Side - by - side . Just passing beneath an iron bridge .<\/scene_description>\n    <character>MILTON<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>You take a look at Eddie Barzoon you got ta wonder if maybe God overplayed his hand. Maybe he made the game a little too interesting.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL PARK - RESERVOIR - DUSK<\/stage_direction>\n    <scene_description>Barzoon turns back - stumbles - catches himself - sprinting now to the Pump House . He pulls up here . Resting as several other runners pass by . Glancing back , almost an afterthought and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL PARK - RESERVOIR - DUSK<\/stage_direction>\n    <scene_description>Those three running shadows are now crossing the bridge which is completely impossible considering where they just were a moment ago and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL PARK - RESERVOIR - DUSK<\/stage_direction>\n    <scene_description>Barzoon starts running again - instinctively - faster than before - glancing back and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL PARK - RESERVOIR (FX) - DUSK<\/stage_direction>\n    <scene_description>-LRB- EFX -RRB- The three shadows . The sun setting behind them . Transforming as they run - animal shapes mixing with the harsh silhouettes of bare trees and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL PARK - RESERVOIR - DUSK<\/stage_direction>\n    <scene_description>Barzoon freaked - What the fuck was that ? - The park suddenly looking very empty - and dark -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL PARK - RESERVOIR - DUSK<\/stage_direction>\n    <scene_description>The three shadows and they 're closer and weirder and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL PARK TREE - DUSK<\/stage_direction>\n    <scene_description>Barzoon - suddenly turning - changing course - leaving the path - into the woods - quickly ducking down beside a huge sycamore tree . Hiding . Sweating . Scared . Staring back out at the path -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL PARK - RESERVOIR - DUSK<\/stage_direction>\n    <scene_description>Three women runners - clear as day - pass beneath a streetlight . Team clothes . Machine - like strides . Flat - out . And then gone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL PARK TREE - DUSK<\/stage_direction>\n    <scene_description>Barzoon stands from behind the sycamore tree . Relief . Smiling at his own stupidity . What a jerk . Dusting off . Heading back toward the path , when -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL PARK TREE - DUSK<\/stage_direction>\n    <scene_description>Suddenly , there 's an arm around his neck - throwing him to the ground -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL PARK TREE - DUSK<\/stage_direction>\n    <scene_description>Standing there above him , a crazed - looking homeless MAN - he 's white and old and hungry -<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>Gim me your watch.<\/dialogue>\n    <character>BARZOON<\/character>\n    <parenthetical>( standing now . )<\/parenthetical>\n    <dialogue>You want the watch, old man? Come and get it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL PARK TREE - DUSK<\/stage_direction>\n    <scene_description>Barzoon moving toward the old guy when - Crack ! - A tree branch swings out of nowhere - catching his elbow - snapping it back and - A second homeless man . He 's black and older than the first guy but just as wild and dangerous and he 's winding up to swing the branch again and - Barzoon on his knees - dazed - blood pouring from his head - uncomprehending eyes watching these park creatures tear at his clothes -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL PARK TREE - DUSK<\/stage_direction>\n    <scene_description>-LRB- EFX -RRB- Watching them grow more feral and less human by the moment and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOMAX TERRACE - DUSK<\/stage_direction>\n    <scene_description>Mary Ann staring out at the park . Covering her ears against some horrible sound that she alone can hear .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL PARK TREE - DUSK<\/stage_direction>\n    <scene_description>Barzoon - on his belly - in the dirt - trying to move - crawl - anything -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL PARK TREE - DUSK<\/stage_direction>\n    <scene_description>The two men beating Barzoon to death with stones -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL PARK TREE (FX) - DUSK<\/stage_direction>\n    <scene_description>- transforming with every blow - -LRB- EFX -RRB- as their hands descend they become terrifying , demonic creatures , and as they rise we see them as men and over and over , as we hear -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S APARTMENT - DUSK<\/stage_direction>\n    <character>MILTON<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>You take a look at Eddie Barzoon you got ta wonder if maybe God overplayed his hand. Maybe he made the game a little too interesting.<\/dialogue>\n    <scene_description>Milton turns to find Kevin staring at him .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>I'm gon na, I'm gon na go downstairs now. Put this stuff away.<\/dialogue>\n    <parenthetical>( backing away with his bag of groceries . )<\/parenthetical>\n    <dialogue>Ice cream's already melting.<\/dialogue>\n    <scene_description>Milton watching him walk away , as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAW FIRM - PAM'S OFFICE AND HALL - DAY<\/stage_direction>\n    <scene_description>Pam exits the room . Melissa sitting at the head of the table . Kevin pacing around her . They are alone . Practicing her testimony over early morning coffee .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>You testified that the defendant called you at four - thirty to ask you to come to his office gym for the purposes of sex.<\/dialogue>\n    <character>MELISSA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Mr. Cullen, though, he's not just your lover, is he? He's the boss.<\/dialogue>\n    <character>MELISSA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>So two hours go by before you act on his request?<\/dialogue>\n    <character>MELISSA<\/character>\n    <dialogue>Yes, I went up at six - ten. I knew it was six - ten, they had weather coming on the news. I remember -<\/dialogue>\n    <scene_description>Cut off by -<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Okay. Stop.<\/dialogue>\n    <parenthetical>( breaking character . )<\/parenthetical>\n    <dialogue>This prosecutor is no fool. He's gon na change tempo, attitude, tone of voice - he's gon na come out with questions you never thought of, just to screw you up.<\/dialogue>\n    <parenthetical>( coaching . )<\/parenthetical>\n    <dialogue>So what do we do?<\/dialogue>\n    <character>MELISSA<\/character>\n    <dialogue>Yes and no answers. Stay calm.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Exactly.<\/dialogue>\n    <parenthetical>( back into it . )<\/parenthetical>\n    <dialogue>Is it your testimony, Ms. Block, that between the hours of six - ten and nine - forty you were engaged in sexual congress with the defendant?<\/dialogue>\n    <character>MELISSA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>At any point during this three hour marathon, Ms. Block, did you lose sight of the defendant?<\/dialogue>\n    <character>MELISSA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Did he use the bathroom?<\/dialogue>\n    <character>MELISSA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Is he circumcised?<\/dialogue>\n    <parenthetical>( silence . )<\/parenthetical>\n    <dialogue>You understand the question?<\/dialogue>\n    <character>MELISSA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>So is he cut or not?<\/dialogue>\n    <character>MELISSA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Which is it?<\/dialogue>\n    <scene_description>Silence . Melissa looks away .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>You've been polishing his knob three times a week for six months and you do n't know whether or not he's got foreskin?<\/dialogue>\n    <character>MELISSA<\/character>\n    <parenthetical>( total transformation . )<\/parenthetical>\n    <dialogue>I've had it up to here with this fucking game. Why do n't you take your questions and shove'em up your ass.<\/dialogue>\n    <scene_description>Kevin staring at her . Looking away . Moving quickly for the door , and into :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAW FIRM LIBRARY HALL - DAY<\/stage_direction>\n    <scene_description>Three steps out and he stops . Something 's wrong . Very wrong . People are out of their offices , standing in the doorways . Some of them crying . Christabella rushes toward him , into his arms -<\/scene_description>\n    <character>CHRISTABELLA<\/character>\n    <dialogue>Oh, Kevin -<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>What's happened?<\/dialogue>\n    <character>CHRISTABELLA<\/character>\n    <dialogue>Eddie Barzoon.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>What about him?<\/dialogue>\n    <character>CHRISTABELLA<\/character>\n    <dialogue>He's dead. He was killed.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>When?<\/dialogue>\n    <scene_description>Heath nearby has more answers -<\/scene_description>\n    <character>HEATH<\/character>\n    <dialogue>Last night in the park. He was running if you can believe it.<\/dialogue>\n    <scene_description>Kevin standing there , holding Christabella . Feeling heat on the back of his neck and turning to find Milton at the far end of the hall . Their eyes lock -<\/scene_description>\n    <character>CHRISTABELLA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>What is wrong with people?<\/dialogue>\n    <character>HEATH<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>At least they got the scumbags who did it.<\/dialogue>\n    <character>KEVIN<\/character>\n    <parenthetical>( turning on this . )<\/parenthetical>\n    <dialogue>Who?<\/dialogue>\n    <character>LAWYER #1<\/character>\n    <dialogue>Two old, homeless crazies.<\/dialogue>\n    <scene_description>Pam coming through the hallway like steel -<\/scene_description>\n    <character>PAM<\/character>\n    <dialogue>Kevin. Kevin, I'm sorry, but you're due in court in thirty minutes.<\/dialogue>\n    <scene_description>As Melissa appears in the conference room door -<\/scene_description>\n    <character>MELISSA<\/character>\n    <dialogue>Are we through here, or what?<\/dialogue>\n    <character>PAM<\/character>\n    <dialogue>I'll bring Melissa down in the car, but you better get going.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY TO COURT - DAY<\/stage_direction>\n    <scene_description>SCREAMING uptown . Kevin looking very rattled . Milton , beside him . Talking him down .<\/scene_description>\n    <character>MILTON<\/character>\n    <dialogue>I want you to put Eddie aside. Let me worry about it. You got ta deal with Cullen now. Marshal your strength. Prioritize. Conserve your energy.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I ca n't put her on the stand.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>What choice do we have?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I know she's lying.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Because she did n't answer you fast enough? Did she lie to you? No. She said nothing. The fact is, you'll never know.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>He killed those people.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>You really believe that?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Cullen set me up. Melissa, the whole thing, I know it.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Look, you got ta go with your gut.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>That's your advice?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>I'll back you either way. Hey, you think I have n't lost before?<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>We talked about this, Kevin. Pressure. Take a big whiff.<\/dialogue>\n    <scene_description>Kevin unreadable . The SUBWAY CAR RATTLING away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CULLEN COURTROOM - DAY<\/stage_direction>\n    <scene_description>Packed and ready .<\/scene_description>\n    <character>JUDGE POE<\/character>\n    <dialogue>Mr. Lomax, you may call your next witness.<\/dialogue>\n    <scene_description>A long , awful pause . Kevin in agony . Milton behind him . Cullen and Pamela and everyone waiting .<\/scene_description>\n    <character>JUDGE POE<\/character>\n    <dialogue>Counselor.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I call Melissa Block.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURT - HALL - DAY<\/stage_direction>\n    <scene_description>Chaos ! - media madness - Kevin pushing past dozens of reporters and camera crews - court officers trying to clear the way - fifteen voices screaming at once - questions flying like shrapnel - Cullen , all smiles , alongside Milton as they 're pushed along - Pam , waving a cell phone , fighting her way to Kevin and -<\/scene_description>\n    <character>PAM<\/character>\n    <dialogue>Kevin!<\/dialogue>\n    <parenthetical>( re the phone . )<\/parenthetical>\n    <dialogue>Kevin, it's for you -<\/dialogue>\n    <scene_description>Kevin takes the phone , trying to hear above the noise .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOMAX BUILDING AND STREET - DAY<\/stage_direction>\n    <scene_description>A cab speeds to a stop . Kevin jumps out . Feeney , the doorman , standing there with Felix , his partner .<\/scene_description>\n    <character>FEENEY<\/character>\n    <dialogue>She did n't look well, sir. Felix tried to talk to her, but she -<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Where is she?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MADISON AVENUE AND CHURCH - DAY<\/stage_direction>\n    <scene_description>Kevin running down the sidewalk and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - DAY<\/stage_direction>\n    <scene_description>Kevin enters . It 's empty and dark . Two old ladies up front . Mary Ann in back , wrapped in a comforter .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Honey.<\/dialogue>\n    <parenthetical>( sitting beside her . )<\/parenthetical>\n    <dialogue>Mare. It's me.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>He let himself in. You need to know that. The bath running, or something, I did n't hear him. I swear to you.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>Then we talked. We talked for hours.<\/dialogue>\n    <parenthetical>( coming apart for good . )<\/parenthetical>\n    <dialogue>I have n't talked to anyone, really talked to anyone in such a long time. You have this whole life and all I have is me and he was so clear about it all.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Who let himself in?<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>I came down here. I've just been sitting. I'm afraid to pray. I let him stay. I'm sorry. I'm sorry. I'm sorry, Kevin.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Did somebody hurt you?<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>Milton. He fucked me, Kevin. I let him fuck me. I could n't stop him.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>What? When?<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>Today. This afternoon. All afternoon. God, I'm so ashamed.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Today? Today? Today. He was in court, Mare. He was in court, in my presence all afternoon!<\/dialogue>\n    <character>MARY ANN<\/character>\n    <parenthetical>( sobbing . )<\/parenthetical>\n    <dialogue>I'm not crazy. I'm not. I swear.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I do n't know, Mare. I do n't know how much more of this I can take.<\/dialogue>\n    <scene_description>She stands . Throws open the comforter . She is naked . There are scratch marks all over her body .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL CUBICLE - NIGHT<\/stage_direction>\n    <scene_description>Kevin with a NURSE and paperwork .<\/scene_description>\n    <character>NURSE<\/character>\n    <dialogue>Sign there. And there. And one more.<\/dialogue>\n    <parenthetical>( as he 's done . )<\/parenthetical>\n    <dialogue>She's calm now so this might be a good time to say good night.<\/dialogue>\n    <scene_description>Kevin nods . Stands , moving now - into -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Mary Ann on a moving gurney . Calm now , in the sway of some very strong drugs . Kevin kneels beside her .<\/scene_description>\n    <character>MARY ANN<\/character>\n    <dialogue>I know why this is happening.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>They want you to go to sleep.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>It's the money, Kevin. Blood money. We just drank it down. Both of us. We knew it. Winning those cases, taking the money. We knew they were guilty. But you kept winning. Every time.<\/dialogue>\n    <parenthetical>( fading . )<\/parenthetical>\n    <dialogue>I ca n't look at myself in the mirror, Kevin.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CATHOLIC CHURCH - DAY<\/stage_direction>\n    <scene_description>A big one . A funereal morning . Hearse and cortege parked on the street outside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CATHOLIC CHURCH - DAY<\/stage_direction>\n    <scene_description>Barzoon 's funeral . Big deal . Big crowd . An excess of flowers . ORGAN MUSIC as foreplay . Milton , up front , seating Diana and children . Kevin seated on the aisle . Beside him , Jack Heath .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>What do they say?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>They do n't know. It's bad. She's falling apart.<\/dialogue>\n    <character>CHRISTABELLA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Do you have room for one more?<\/dialogue>\n    <scene_description>Kevin turns to see Christabella standing beside him . Jackie 's concerned expression blossoms into a private , knowing smile now that Kevin has turned away . Christabella squeezes in , as the MUSIC SWELLS and THE PRIEST walks solemnly to the altar . Kevin caught in a high - intensity sexual cross - fire between Jackie and Christabella . He 's tense . He 's flipping out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CATHOLIC CHURCH - DAY<\/stage_direction>\n    <scene_description>Milton passes on his way to the back . Smiles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CATHOLIC CHURCH - DAY<\/stage_direction>\n    <scene_description>On one side the Therapist , on the other Allesandra , except she looks different than last we saw her . Hair down . Makeup . She could be all of seventeen .<\/scene_description>\n    <character>THE PRIEST<\/character>\n    <dialogue>We are here today, to remember and pray and exalt in the spirit of Edward Barzoon.<\/dialogue>\n    <scene_description>Kevin staring at Cullen and the girl .<\/scene_description>\n    <character>THE PRIEST<\/character>\n    <dialogue>Father, husband, partner, friend, colleague.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CATHOLIC CHURCH - DAY<\/stage_direction>\n    <scene_description>-LRB- EFX -RRB- Cullen 's hand stroking at the back of the pew - nothing outrageous , except it does call to mind the hand of Mr. Gettys back in Florida -<\/scene_description>\n    <character>THE PRIEST<\/character>\n    <dialogue>taken from us so suddenly.<\/dialogue>\n    <scene_description>Cullen 's hand moving with purpose - stopping - waiting - as Allesandra sits back and now his fingers find her skin - stroking ever so subtly -<\/scene_description>\n    <character>THE PRIEST<\/character>\n    <dialogue>to contemplate evil. How it robs - how it steals everything of value from us.<\/dialogue>\n    <scene_description>Cullen turns - except it 's not Cullen , it 's Gettys - yes , Gettys - whispering in Allesandra 's ear and -<\/scene_description>\n    <character>THE PRIEST<\/character>\n    <dialogue>farther from God's purpose.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CATHOLIC CHURCH - DAY<\/stage_direction>\n    <scene_description>Kevin out of his seat . Pushing past Christabella - rushing up the aisle -<\/scene_description>\n    <character>THE PRIEST<\/character>\n    <dialogue>and the greater that distance, the greater evil's pleasure.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CATHOLIC CHURCH - DAY<\/stage_direction>\n    <scene_description>Milton watching Kevin flee the church .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CATHOLIC CHURCH - DAY<\/stage_direction>\n    <scene_description>Moments later . Kevin hustling away -<\/scene_description>\n    <character>WEAVER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( behind him . )<\/parenthetical>\n    <dialogue>Mr. Lomax?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>No comment. I'll have something for you later.<\/dialogue>\n    <character>WEAVER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I'm a friend of Eddie Barzoon.<\/dialogue>\n    <scene_description>Kevin turns . Weaver walking beside him .<\/scene_description>\n    <character>WEAVER<\/character>\n    <dialogue>Remember me? Mitch Weaver. Justice Department.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Staking out the funeral?<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>Looking for you actually.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I'm in a bit of a hurry right now. I need to talk to my wife.<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>Just wanted to ask you - off the record - I had a few questions about Eddie.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CATHOLIC CHURCH - DAY<\/stage_direction>\n    <scene_description>The funeral . In progress . CHOIR and ORGAN getting LOUDER . We 're watching Milton move in the back of the church .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>Kevin walking faster . Weaver right beside him .<\/scene_description>\n    <character>WEAVER<\/character>\n    <dialogue>Milton, Chadwick, Waters is a little more than a law firm, but then I assume you knew that.<\/dialogue>\n    <parenthetical>( working him . )<\/parenthetical>\n    <dialogue>Devada Holdings? I'm sure you've heard of it. London, Kinshasa, Karachi - Arms brokering mostly. You've got Munzer - Dietch, they're in Berlin and Djakarta - chemical weapons, toxic waste. Ivanaco Limited - Moscow - money laundering for the Eastern Bloc.<\/dialogue>\n    <parenthetical>( at his ear . )<\/parenthetical>\n    <dialogue>It goes on and on, Kevin.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CATHOLIC CHURCH - DAY<\/stage_direction>\n    <scene_description>Stained glass . Angels . The Stations of the Cross .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CATHOLIC CHURCH - DAY<\/stage_direction>\n    <scene_description>Milton standing in the shadows at the back . Taking it all in . Prodigal angel .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CATHOLIC CHURCH - DAY<\/stage_direction>\n    <scene_description>-LRB- EFX -RRB- And then , the stained - glass angels begin to move . Wings begin to beat . Expressions come alive . Expressions of panic and fear and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - WEAVER - DAY<\/stage_direction>\n    <scene_description>Kevin really striding . Weaver right there .<\/scene_description>\n    <character>WEAVER<\/character>\n    <dialogue>Milton is into everything.<\/dialogue>\n    <parenthetical>( listen to me . )<\/parenthetical>\n    <dialogue>Barzoon was coming in, Kevin. He was gon na testify. Desoto and Dibalista, in Panama, that's a firm that specializes in opening bank accounts for judges all over South America. Huge drug cases. Murder. Everything.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>He's a lawyer! What the fuck do you want?<\/dialogue>\n    <parenthetical>( stopping there . )<\/parenthetical>\n    <dialogue>Stay off my back.<\/dialogue>\n    <scene_description>Weaver left standing there , as Kevin rushes away - through traffic - across the street -<\/scene_description>\n    <character>WEAVER<\/character>\n    <dialogue>This is a first time, last time offer!<\/dialogue>\n    <parenthetical>( calling after him . )<\/parenthetical>\n    <dialogue>I'm learning about you, Kevin. I talked to some old friends down in Florida this morning.<\/dialogue>\n    <parenthetical>( louder now . )<\/parenthetical>\n    <dialogue>The Gettys case. The eighth grade teacher?<\/dialogue>\n    <parenthetical>( did Kevin just slow down . )<\/parenthetical>\n    <dialogue>Found him this morning. He had the body of a ten - year - old girl in the trunk of his car.<\/dialogue>\n    <scene_description>Kevin , across the street , stops .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CATHOLIC CHURCH - DAY<\/stage_direction>\n    <scene_description>-LRB- EFX -RRB- Stained - glass angels going nuts now - wings flapping like mad - danger everywhere , as the MUSIC STARTS to CLIMAX and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CATHOLIC CHURCH - DAY<\/stage_direction>\n    <scene_description>Milton down below . Lowering a single finger into the holy water . Instantly - it 's boiling , and we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>Kevin standing there , across the street - Weaver smiles , thinking he 'll talk now for sure - stepping off the curb and - TIRES SCREECHING and Weaver turning and - A car trying to stop and - Kevin watching as - WHAMM ! - Weaver ploughed onto the hood and - A mother at the wheel - her daughter beside her - both screaming and - The car 's WINDSHIELD as it CRUMPLES and - Kevin watching as the car stops and - Weaver is dazed but alive - his face buried in the windshield - pulling himself up and - Weaver 's face THROUGH the shattered glass as he looks down to see - Mother and child -LRB- EFX -RRB- - transforming - for an instant - into monsters and - Weaver more terrified than hurt - scrambling off the hood of the car - staring back in horror and - Mother and child - completely freaked out - both of them hysterical and - Weaver holding his arm - nose bloodied - but moving - backing away - turning to find Kevin still across the street and - It 's gon na be okay . And then , a big flat - nose truck - out of nowhere - air BRAKES BLASTING as it just wipes Weaver OFF the SCREEN and - Kevin falling back , flat against a wall - STAYING ON Kevin - as the street comes alive with the SOUNDS of EMERGENCY and he starts moving away and we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL HALLWAY - DAY<\/stage_direction>\n    <scene_description>Kevin walking through - stopping finally at an open door -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - DAY<\/stage_direction>\n    <scene_description>Mary Ann in a chair . Heavily sedated . Pam standing beside her , brushing her hair . Mrs. Lomax , on her knees , standing now -<\/scene_description>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>Kevin. honey.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>I came this morning. I been calling the house and getting no answer and then I spoke to Pam and. I need to talk to you.<\/dialogue>\n    <character>PAM<\/character>\n    <dialogue>We got her on the first flight up this morning.<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>Are you all right?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I just. I do n't know.<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>Will you excuse us a moment?<\/dialogue>\n    <scene_description>Mrs. Lomax guides Kevin out . Mary Ann 's vacant eyes watching them exit -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL HALLWAY - DAY<\/stage_direction>\n    <scene_description>Just outside the room .<\/scene_description>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>I never should've left. I knew it. I'll never forgive myself.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I was gon na call you, I just.<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>What I did, Kevin, I thought it was for the best. Loving you was always first for me.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>There's nothing you could've done.<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>I could've told you the truth.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>About what?<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>I've lied to you, Kevin.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>When?<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>Always.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Baptist Endeavor Youth Crusade, ninety - sixty - four. I was here. In New York. That night in the elevator, you never let me answer.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>We stayed a week. The Tremont Hotel, it's not there anymore, I went by and it's gone - they had a restaurant downstairs and we ate there almost every meal -<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Wait. Stop.<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>Your father was a waiter in that restaurant.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Oh, this is great, Ma. this is just perfect -<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>- honey, listen to me -<\/dialogue>\n    <character>KEVIN<\/character>\n    <parenthetical>( total incredulity . )<\/parenthetical>\n    <dialogue>- Now? You do this now? - Because, I mean, your timing - it's superb - you wait thirty years? - you fly up here - you pick today? -<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>- Kevin, honey, wait -<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>- obviously I'm not under enough pressure - I do n't have enough on my mind, I need this little -<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>Listen to me.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Why are you doing this now?<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>Because I'm afraid!<\/dialogue>\n    <scene_description>Kevin overwhelmed - walking away - down the hall - completely fritzed - leaving her standing there -<\/scene_description>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>Kevin. Kevin!<\/dialogue>\n    <parenthetical>( calling after him . )<\/parenthetical>\n    <dialogue>` Behold I send you out as sheep amidst the wolves.'<\/dialogue>\n    <scene_description>Kevin just stopped walking .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - DAY<\/stage_direction>\n    <scene_description>Mary Ann quiet as Pam finishes brushing her hair .<\/scene_description>\n    <character>PAM<\/character>\n    <dialogue>Do n't you look beautiful now.<\/dialogue>\n    <parenthetical>( re something in her bag . )<\/parenthetical>\n    <dialogue>Here. Have a look and see.<\/dialogue>\n    <scene_description>A hand mirror . Mary Ann turns away instantly -<\/scene_description>\n    <character>MARY ANN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>PAM<\/character>\n    <dialogue>It's all right, dear. Look.<\/dialogue>\n    <scene_description>MARY ANN No . Please .<\/scene_description>\n    <character>PAM<\/character>\n    <dialogue>Go on. Take a look. See how beautiful you are?<\/dialogue>\n    <scene_description>Mary Ann opens her eyes . There 's her reflection . She is beautiful . It 's okay . She smiles . What was she afraid of ? And then , the mirror shifts to find -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - DAY<\/stage_direction>\n    <scene_description>Pam - A monster -LRB- EFX -RRB- - her features horribly transformed in the glass and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - DAY<\/stage_direction>\n    <scene_description>Mary Ann rears back - her head smashing into Pam 's face so hard that the MIRROR SHATTERS - Pam , blind for a moment , staggering back - Mary Ann on her feet and fighting and Pam suddenly pushed and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL HALLWAY - DAY<\/stage_direction>\n    <scene_description>Pam standing there , holding her face in pain , as the glass door slams shut and -<\/scene_description>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <scene_description>Mary Ann THROUGH the glass , jamming a chair up under the doorknob - MRS. LOMAX Kevin ! Kevin jogging down the hall - trying the door -<\/scene_description>\n    <character>KEVIN<\/character>\n    <parenthetical>( it wo n't open . )<\/parenthetical>\n    <dialogue>Mary Ann. Hey. Hey!<\/dialogue>\n    <parenthetical>( still no luck . )<\/parenthetical>\n    <dialogue>Omigod. Get somebody! Go!<\/dialogue>\n    <scene_description>Pam does n't move .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - DAY<\/stage_direction>\n    <scene_description>Mary Ann , kneeling on the floor , picking up a broken shard of mirror and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL HALLWAY - DAY<\/stage_direction>\n    <character>KEVIN<\/character>\n    <dialogue>Mare! - Look at me! - Stop! - right now - Mare! -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - DAY<\/stage_direction>\n    <scene_description>Mary Ann raising the glass\/blade to her throat .<\/scene_description>\n    <character>KEVIN<\/character>\n    <parenthetical>( through the glass . )<\/parenthetical>\n    <dialogue>Mary Ann, no! No! No!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL HALLWAY - DAY<\/stage_direction>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>- Help! - Help! - Somebody! We need help -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL GLASS DOOR\/HALLWAY - DAY<\/stage_direction>\n    <scene_description>Kevin banging like mad on the glass but -<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>- Mare! - No! - Look at me! -<\/dialogue>\n    <scene_description>Mary Ann raising the blade to her throat and -<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>- Stop! - No! - Mare! -<\/dialogue>\n    <scene_description>Kevin grabbing a folding chair - swinging it -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - DAY<\/stage_direction>\n    <scene_description>SMASH ! - GLASS SHATTERING over the floor , but Kevin still ca n't get in - wire mesh embedded in the window is bent but unbroken and he 's tearing at it and -<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>- Mare! - Hang on! - I'm almost there! - Look at me!<\/dialogue>\n    <scene_description>And she does . Watching him claw at the wire -<\/scene_description>\n    <character>MARY ANN<\/character>\n    <dialogue>I loved you.<\/dialogue>\n    <scene_description>Pulling the blade across her neck -<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Noooooooooo!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL HALLWAY - DAY<\/stage_direction>\n    <scene_description>Kevin kicking full force against the door and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - DAY<\/stage_direction>\n    <scene_description>The door buckles - the chair wedged in there sent flying - Kevin stumbling over broken glass -<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Oh, God, Mare, what've you done? - no.<\/dialogue>\n    <scene_description>Mary Ann falling to the floor - her bloody hand still holding the blade deep in her neck -<\/scene_description>\n    <character>ORDERLY #1<\/character>\n    <dialogue>- why? - Oh God, Mare, why?<\/dialogue>\n    <parenthetical>( over his shoulder . )<\/parenthetical>\n    <dialogue>We need a doctor in here!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL HALLWAY - DAY<\/stage_direction>\n    <scene_description>Patients out of their rooms - standing at their doorways - sedated , bovine expressions watching -<\/scene_description>\n    <character>MRS. LOMAX<\/character>\n    <parenthetical>( running through . )<\/parenthetical>\n    <dialogue>- please - somebody - help her! - What are you all doing? Somebody! -<\/dialogue>\n    <scene_description>ORDERLY # 1 turning the corner up ahead -<\/scene_description>\n    <character>ORDERLY #1<\/character>\n    <dialogue>What's the hell's going on down here?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - DAY<\/stage_direction>\n    <scene_description>Kevin cradling Mary Ann - his hand trying to staunch the wound in her neck - blood flowing - she is n't moving - her eyes are starting to fix and -<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>- no, Mare - hang on - please, Mare, I'm right here, it's gon na be okay, baby - oh, God, Mare, why did you do this? -.<\/dialogue>\n    <parenthetical>( screaming now . )<\/parenthetical>\n    <dialogue>Where's the fucking doctor?!<\/dialogue>\n    <character>ORDERLY #1<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Oh shit, man.<\/dialogue>\n    <scene_description>Kevin turns - Orderly # 1 in the doorway -<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>What are you doing? Help her!<\/dialogue>\n    <character>ORDERLY #1<\/character>\n    <dialogue>Hey, look, I ai n't no doctor.<\/dialogue>\n    <parenthetical>( backing away . )<\/parenthetical>\n    <dialogue>Hang on - lem me -<\/dialogue>\n    <scene_description>YELLING in the hall now , and faces in the doorway . Mrs. Lomax crying and two weird patients from the next staring and . Pam . And only we can see it , but she 's smiling .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>- please, baby, stay with me. it'll be okay - it's gon na be fine just, just stay with me - Oh God, Mare. please, baby.<\/dialogue>\n    <scene_description>Kevin holding her , but she 's gone , as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - BACK STAIRWELL - DAY<\/stage_direction>\n    <scene_description>But someplace completely different . Older . Dark . Empty . Echoey . A fluorescent bulb sputtering out . FOOTSTEPS approaching . It 's Kevin . And we know instantly that Mary Ann is dead . There 's blood on his shirt . His eyes are raw . At his side , a small suitcase containing her personal effects . More than grief , more than shock , what we notice most is his frighteningly grim determination . Up ahead , a bench . Mrs. Lomax huddled here . Cried out . Empty . Holding herself more tightly as he sets down the suitcase .<\/scene_description>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>I could've packed that up for you.<\/dialogue>\n    <scene_description>Kevin sits . If he loses his steel he 'll drown .<\/scene_description>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>I wish you ` da let me help you.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Finish the story.<\/dialogue>\n    <parenthetical>( off silence . )<\/parenthetical>\n    <dialogue>Nineteen - sixty - four. You're in New York. There's a waiter in a restaurant.<\/dialogue>\n    <parenthetical>( waiting . )<\/parenthetical>\n    <dialogue>Finish the story.<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>He talked to me. Nobody'd ever really talked to me before. Sixteen years old, a thousand miles away from home, somebody takes an interest. Working so hard, putting himself through school, I'd never met anybody like that. Knew the Bible, every word, just knew it by heart. Every meal, there he was, at my ear and I just. I did n't want that week to ever end. But it did. He came to say goodbye, it was late, and I started to cry and he said not to worry, ` Behold, I send you out as sheep amidst the wolves.' And that just stopped me cold because we'd spent that whole day at Bible study reading Matthew Ten and there was just no way for him to know about that, so I was. I took it as a sign. I let him in. And then everything was different. He was cruel. He was so cruel and I was so ashamed, I thought I'd die.<\/dialogue>\n    <scene_description>Kevin 's eyes settle on the suitcase . Mary Ann .<\/scene_description>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>I promised right there if God would let me back into His grace I would never leave again. I prayed there was a reason this terrible thing had happened. There had to be a reason. And there was. It was you. You were my blessing. You were reason enough to endure anything. How much I love you.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I want to hear you say it.<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>His face - that night - I knew it was him and the same time I was confused - and you were so proud you'd come to New York and done all this on your own, I did n't have the heart to tell you -<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Say it.<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <parenthetical>( desperate to finish . )<\/parenthetical>\n    <dialogue>- you wondered yourself - the apartment, the money, all this attention, everything out of nowhere.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Milton. He's your father.<\/dialogue>\n    <parenthetical>( there it is , out loud . )<\/parenthetical>\n    <dialogue>Somehow he found us. Tracked you down.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>He's always been there. I know that now. Watching. Waiting. He's been playing us like a game. Jerking us around. Destroying Mary Ann.<\/dialogue>\n    <scene_description>Kevin stands . Quiet fury . A machine .<\/scene_description>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I got ta go.<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>No. let it alone! Stay with me.<\/dialogue>\n    <parenthetical>( panicked . )<\/parenthetical>\n    <dialogue>Forget about him! We can leave here. We can go home! We do n't ever have to see him again!<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I ca n't do that. You go home.<\/dialogue>\n    <parenthetical>( backing away . )<\/parenthetical>\n    <dialogue>Pray for Mary Ann.<\/dialogue>\n    <character>MRS. LOMAX<\/character>\n    <dialogue>Kevin, please. Honey!<\/dialogue>\n    <parenthetical>( calling after him . )<\/parenthetical>\n    <dialogue>I love you!<\/dialogue>\n    <scene_description>Kevin disappearing down the stairs . Mrs. Lomax dropping to her knees as his FOOTSTEPS ECHO away , and we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOSPITAL EXIT AND STREET - DAY<\/stage_direction>\n    <scene_description>As Kevin explodes through a fire door . Pam standing there , having a smoke .<\/scene_description>\n    <character>PAM<\/character>\n    <dialogue>There you are.<\/dialogue>\n    <parenthetical>( all smiles . )<\/parenthetical>\n    <dialogue>Look at you. you're terrified. Not to worry. He'll take that fear away. You do n't ever have to be frightened again. Go on, he's waiting.<\/dialogue>\n    <scene_description>Kevin turning and something is very wrong -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOSPITAL EXIT AND STREET - DAY<\/stage_direction>\n    <scene_description>Fifty - seventh Street is empty . No cars . No people . Just the building and the silence . Turning back and Pam is gone , and then - And then a WIDER ANGLE - it goes on and on . He 's alone . Just now realizing the scale of Milton 's power . Starting to walk , as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>The room 's only light coming from the huge bas relief . Kevin steps off the elevator , into the room .<\/scene_description>\n    <character>MILTON<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>You're right about one thing. I have been watching. Could n't help myself. Watching, waiting, holding my breath. But I'm no puppeteer, Kevin.<\/dialogue>\n    <scene_description>Milton appears out of nowhere . Walking past Kevin .<\/scene_description>\n    <character>MILTON<\/character>\n    <dialogue>I do n't make things happen. Does n't work like that. Free will - it's like butterfly wings - one touch and it never gets off the ground. I only set the stage. You pull your own strings.<\/dialogue>\n    <scene_description>Kevin has a gun - Cullen 's gun , in his hand -<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>What did you do to Mary Ann?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>A gun? In here?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>What did you do to my wife?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>On a scale of one to ten, ten being the most depraved acts of sexual theater, one being an average Friday night run - through at the Lomax household, I'd say.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Six.<\/dialogue>\n    <scene_description>Kevin FIRES the GUN - BANG ! BANG ! BANG ! - bullets pass right through him - into the wall -<\/scene_description>\n    <character>MILTON<\/character>\n    <dialogue>Whoa. Got me! Damn!<\/dialogue>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>That's my boy. Step on up! Stay angry! Keep hold to that great fury! Hang on tight, Kevin, because it's the final fig leaf.<\/dialogue>\n    <scene_description>Kevin lowers the gun to his side .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Never lost a case. Why? Why? Because you're so fucking good? Yes. But why?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Because you're my father.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Well, I'm a little more than that. Awful hot in that courtroom, was n't it? ` What's the game plan, Kevin?'.<\/dialogue>\n    <parenthetical>( reporter 's voice . )<\/parenthetical>\n    <dialogue>` It was a nice run, Kevin. Had to close out someday.'<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>I have so many names.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Satan.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Call me Dad.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Mary Ann, Barzoon, Weaver.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Come on. You're not listening. Blaming me for Mary Ann? I hope you're kidding. You could've saved her any time you liked. She only wanted love. But you knew it would n't really work out, did n't you? Mary Ann in New York? Face it, you started looking to better - deal her the minute you got here.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>That's a lie.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Hey, it's not that you did n't care for her, it's just you were a little bit more involved with someone else. Yourself.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>What the hell do you know about love?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Bio - chemically no different than eating large quantities of chocolate.<\/dialogue>\n    <parenthetical>( sharply now . )<\/parenthetical>\n    <dialogue>Do n't be such a fucking chump. There's only one real sickness in all of creation and that is self - delusion. I told you to take care of your wife - that the world would understand. And you made a choice. ` You know what scares me, John? I leave the case, she gets better and I hate her for it.' Remember?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>You set me up. It's entrapment.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Who told you to pull out the stops for Mr. Gettys? And Moyez - the direction you took - Snake handlers, Popes and swamis all feeding at the same trough - whose ideas were those? And then Cullen - knowing he's guilty - seeing those pictures - putting that lying bitch on the stand. What did I say, Kevin? Maybe it was time to lose, right? You did n't think so.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>That's my job. That's what I do!<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Exactly!<\/dialogue>\n    <parenthetical>( gotcha . )<\/parenthetical>\n    <dialogue>Vanity is definitely my favorite sin. Self love. It's so basic. What a drug. Cheap, all - natural, and right at your fingertips. Pride. That's where you're strongest. And believe me, I understand. Work for someone else? - Hey, I could n't hack it. ` Better to reign in Hell than serve in Heaven.'<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>What do you want from me?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>What do I want? I want you to be yourself!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>-LRB- EFX -RRB- The Bas Relief - that wall of bodies swirling in marble clouds - it 's going to come to life -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S APARTMENT - NIGHT<\/stage_direction>\n    <character>MILTON<\/character>\n    <dialogue>I've had many children, Kevin. So many disappointments. Neurotic, indecisive wannabes. Over - eager, ham - handed butchers. Strung - out, priapic losers. And then there's you. Your mother, I'll tell you, she outstripped my wildest fantasy. That church she dragged you to? Every day? What training. What a challenge! It's awesome what you've done. How far you've come. Both of you. You and your sister.<\/dialogue>\n    <scene_description>Christabella emerges from behind the bar -<\/scene_description>\n    <character>MILTON<\/character>\n    <dialogue>Half - sister to be exact.<\/dialogue>\n    <character>CHRISTABELLA<\/character>\n    <dialogue>Surprise.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>What do you think, Kevin? What a scene, huh?<\/dialogue>\n    <character>CHRISTABELLA<\/character>\n    <parenthetical>( passing Kevin . )<\/parenthetical>\n    <dialogue>Do n't let him scare you.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Wait till you meet her mother.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>It is a test, is n't it? The whole game, you sitting there, keeping score.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>No. That's the other guy. I do n't judge anybody. As far as I'm concerned, everyone's a winner. God's your prankster, my boy. Think of it. He gives man instincts. He gives you this extraordinary gift and then, I swear to you - for his own amusement - his own private, cosmic gag reel - he sets the rules in opposition. It's the goof of all time. Look but do n't touch. Touch but do n't taste. Taste but do n't swallow. And while you're jumping from one foot to the other he's laughing his sick fucking ass off! He's a tight - ass. He's a sadist. He's an absentee landlord!<\/dialogue>\n    <parenthetical>( incredulous . )<\/parenthetical>\n    <dialogue>Worship that? Never.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>-LRB- EFX -RRB- The Bas Relief getting stranger and more seductive by the moment - bodies spinning and spawning -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S APARTMENT - NIGHT<\/stage_direction>\n    <character>MILTON<\/character>\n    <dialogue>I'm here, on the ground, my nose in it since the whole damn thing began. Why? Because I worship man himself. And it's my time now. Our time.<\/dialogue>\n    <character>CHRISTABELLA<\/character>\n    <dialogue>Anybody want a drink? I'm having a drink.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>This is some pitch. You must need me pretty bad. What do you want?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Eddie was right. Your name is on the partnership charter. I want you to take over the firm. You and your sister.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Is that it?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>No.<\/dialogue>\n    <parenthetical>( letting his hand brush her cheek . )<\/parenthetical>\n    <dialogue>She's ovulating. Right now.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Your vanity is justified, Kevin, you're the seed to a new future. Your son will sit at the head of all tables. You hold a special place in the history of all things.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>You want a child.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>I want a family.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>The Antichrist.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Whatever.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>But I have to volunteer.<\/dialogue>\n    <scene_description>Christabella begins to strip .<\/scene_description>\n    <character>MILTON<\/character>\n    <dialogue>Free will. It's a bitch.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I need a family. I command an ever larger presence on the board. I'm busy and I need some help. There's a plan here. I've been conserving my energy. Synergy. Prioritize. It's the millennium, Kevin. Title fight. Round twenty. I'm ready to work.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>So what are you offering?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Are we negotiating?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Always.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>What are you offering?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Everything. Anything. All of it!<\/dialogue>\n    <parenthetical>( he 's got him . )<\/parenthetical>\n    <dialogue>What am I offering? I'm offering bliss. Instant bliss. Bliss by remote control. Bliss on tap. That first line of cocaine. That walk into a strange girl's bedroom. The jury coming back in thirty - eight minutes. Freedom. Revolution! Viva la causa!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>-LRB- EFX -RRB- The Bas Relief transforming into real clouds and bodies and the frame of it disappearing and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S APARTMENT - NIGHT<\/stage_direction>\n    <character>KEVIN<\/character>\n    <dialogue>You're right, are n't you? About me. I mean, I made all the choices, did n't I? Gettys. Cullen. Mary Ann. I did kill her, did n't I?<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Do n't be too hard on yourself.<\/dialogue>\n    <scene_description>Christabella passing Kevin , handing him her bra .<\/scene_description>\n    <character>CHRISTABELLA<\/character>\n    <dialogue>It's done. Forget it. It's all for us now.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>God, she's just fucking stunning, is n't she?<\/dialogue>\n    <scene_description>Christabella lingering and Kevin leaning in . kissing her . just a moment before she pulls away -<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>You're right. I wanted to fuck her from the minute we met.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Like that's wrong. Like there's anything wrong with that. That there could be laws preventing something so natural. That's our ticket in.<\/dialogue>\n    <parenthetical>( excited now . )<\/parenthetical>\n    <dialogue>Did you know there were more students in law school right now than lawyers walking the Earth?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>-LRB- EFX -RRB- The Bas Relief has become an orgy , bodies coming to life in a swirling , narcotic haze and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S APARTMENT - NIGHT<\/stage_direction>\n    <character>MILTON<\/character>\n    <dialogue>We're coming out, guns blazing. The two of you - all of us - acquittal after acquittal until the stench of it reaches so high into heaven it chokes the whole fucking lot of them! What we can not legislate we will buy. What we can not buy we will degrade. We will blow every fuse of enlightenment until it looks like a vandalized, neon sign! And while God is busy at his peephole - as he deigns us with his disapproval - as he lumbers around his empty kingdom like some overfed colonial governor - as God sleeps late, we will win. We've got a winner here, kids!<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>In the Bible you lose. You're destined to lose.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>Consider the source.<\/dialogue>\n    <scene_description>Christabella - her hands - moving over her body -<\/scene_description>\n    <character>CHRISTABELLA<\/character>\n    <dialogue>Stop talking. Both of you.<\/dialogue>\n    <parenthetical>( reaching out . )<\/parenthetical>\n    <dialogue>Kevin, please.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>-LRB- EFX -RRB- The bodies craning to watch as they roll by .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S APARTMENT - NIGHT<\/stage_direction>\n    <character>CHRISTABELLA<\/character>\n    <parenthetical>( urgently now . )<\/parenthetical>\n    <dialogue>Kevin, really, please.<\/dialogue>\n    <character>MILTON<\/character>\n    <dialogue>She's right, my son. It's time to step up and take what's yours.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>You're right. It's time.<\/dialogue>\n    <scene_description>Kevin raises the GUN to his temple - quick and simple - SNAP ! - he 's blown his brains out - Milton stunned - disbelieving for a moment and then an aura of fire and heat explodes around him -<\/scene_description>\n    <character>MILTON<\/character>\n    <dialogue>Nooooooo!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>-LRB- EFX -RRB- Kevin starting to fall in SUPER SLOW MOTION and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>-LRB- EFX -RRB- The room consumed with fire as the heat explodes around Milton 's body and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>-LRB- EFX -RRB- Kevin still falling and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>-LRB- EFX -RRB- Christabella beating at the flames that now cover her body and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>-LRB- EFX -RRB- Kevin still falling and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>-LRB- EFX -RRB- The Bas Relief . The clouds are now fire - the bodies now burning and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>-LRB- EFX -RRB- Kevin still falling and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>-LRB- EFX -RRB- Milton as his clothes burn away - as the heat eats away his features -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>-LRB- EFX -RRB- as he becomes younger and younger and younger , until suddenly -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>-LRB- EFX -RRB- For a moment . He is an angel . An instant of exquisite perfection amidst the flames . And then , just as -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>-LRB- EFX -RRB- suddenly - HE EXPLODES ! - and we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>-LRB- EFX -RRB- The Bas Relief freezing instantly back into stone - trapped in tortured , agonizing finality .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>-LRB- EFX -RRB- And then , the whole thing just crumbling . Stone raining down in tiny pieces and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILTON'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>-LRB- EFX -RRB- Kevin in SUPER SLOW MOTION as he falls the final few inches to the floor and at the moment of impact we hear the sound of THUNDER and we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLORIDA COURTHOUSE - MEN'S ROOM - DAY<\/stage_direction>\n    <scene_description>The mirror . And Kevin 's face . As THUNDER ECHOES AWAY and becomes nothing more than a FLUSHING URINAL . We 're back in Florida . Where we started . Kevin touches his face . His body . His head . He 's alive . He touches the mirror . He 's insane . He 's here . It 's now . WATER RUNNING in the sink .<\/scene_description>\n    <character>REPORTER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( behind him . )<\/parenthetical>\n    <dialogue>It was a nice run. Kev. Had to close out someday. Nobody wins'em all.<\/dialogue>\n    <scene_description>The Reporter exits . Kevin alone with the mirror and his reflection . And then it 's over . He 's made his decision . Replacing his wedding ring . Reaching for his jacket , as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLORIDA COURTHOUSE - HALLWAY - DAY<\/stage_direction>\n    <scene_description>Kevin walking through . His game face . A court officer opening the doors and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLORIDA COURTROOM - DAY<\/stage_direction>\n    <scene_description>Kevin entering . Standing there a moment . Searching for Heath in the back of the courtroom . He 's not there . A single empty seat . Kevin moving quickly down the aisle . Mary Ann standing there , completely unprepared as Kevin comes in behind her . Embracing her . Holding her tightly to him with a fervor that we alone will understand .<\/scene_description>\n    <character>MARY ANN<\/character>\n    <dialogue>Honey, what are you doing?<\/dialogue>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>Are you okay?<\/dialogue>\n    <scene_description>Kevin nods . Smiles . Backs away . Into his seat . Gettys there beside him . Kevin will not look at him .<\/scene_description>\n    <character>BAILIFF<\/character>\n    <dialogue>All rise for the honorable Justice Garson Deeds.<\/dialogue>\n    <scene_description>The Judge enters . Takes his seat .<\/scene_description>\n    <character>JUDGE<\/character>\n    <parenthetical>( to Barbara . )<\/parenthetical>\n    <dialogue>You're still under oath, young lady.<\/dialogue>\n    <parenthetical>( to Kevin . )<\/parenthetical>\n    <dialogue>Your witness, Mr. Lomax.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Your Honor, I'm terribly sorry, but I can no longer represent my client. I need to be replaced as counsel.<\/dialogue>\n    <scene_description>Another silence . But this one is n't very long . There will be chaos in the courtroom . Gettys will freak out and the press will start running for the phones and the Judge will be banging that gavel , as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLORIDA COURTHOUSE - HALLWAY - DAY<\/stage_direction>\n    <scene_description>As the doors open and the chaos begins to spill into the hallway . Kevin trying to rush away with Mary Ann but right behind them -<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>Kevin! - Hey!<\/dialogue>\n    <parenthetical>( catching up . )<\/parenthetical>\n    <dialogue>Listen, this story - this is the one, pal - this is the one you dream about -<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>There is no story.<\/dialogue>\n    <character>REPORTER<\/character>\n    <dialogue>Bullshit. A lawyer with a crisis of conscience? You got ta be kidding. It's huge!<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>They're gon na disbar me, Larry. You can cover that.<\/dialogue>\n    <character>MARY ANN<\/character>\n    <dialogue>Can they do that?<\/dialogue>\n    <character>REPORTER<\/character>\n    <dialogue>Not when I get through with the story.<\/dialogue>\n    <parenthetical>( still walking . )<\/parenthetical>\n    <dialogue>You got ta talk, Kevin. You got ta gim me an exclusive. This is wire service. This is ` Sixty Minutes'. This is a story that needs to be told. It's you! You're a star!<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Call me tomorrow.<\/dialogue>\n    <character>REPORTER<\/character>\n    <dialogue>You got it. First thing.<\/dialogue>\n    <scene_description>Kevin nods . Holding Mary Ann 's hand as they escape .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLORIDA COURTHOUSE - HALLWAY - DAY<\/stage_direction>\n    <scene_description>The Reporter watching them go for a moment . Then turning back .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLORIDA COURTHOUSE - HALLWAY - DAY<\/stage_direction>\n    <scene_description>-LRB- EFX -RRB- And as he does , his features change , transforming - like that - into Milton .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLORIDA COURTHOUSE - HALLWAY - DAY<\/stage_direction>\n    <scene_description>It 's Milton . Always there . And he smiles . And we FREEZE FRAME . FADE OUT . THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Kevin Lomax, a defense attorney from Gainesville, Florida, has never lost a case. As he defends a schoolteacher, Lloyd Gettys, against a charge of child molestation, Kevin belatedly realizes his client is guilty and local reporter Larry warns him a guilty verdict is inevitable. However, through a harsh cross-examination, Kevin destroys the victim's credibility, securing a \"not guilty\" verdict. Subsequently, a representative of a New York City law firm offers Kevin a large sum of money to assist a jury selection. After the jury delivers a not guilty verdict, the head of the firm, John Milton, offers Kevin a large salary and an upscale apartment if he joins the firm. Kevin accepts the job, and he and his wife Mary Ann move to Manhattan. He is soon spending most of his time at work, leaving Mary Ann feeling isolated. Kevin's fundamentalist mother, Alice, visits New York City and suggests they both return home, but Kevin refuses. When billionaire Alex Cullen is accused of murdering his wife, his stepson, and a maid, Milton assigns the high-profile case to Kevin. This demands more of Kevin's time, further separating him from Mary Ann, and he begins to fantasize about his co-worker, Christabella. Mary Ann begins seeing visions of the partners' wives becoming demonic, and has a nightmare about a baby playing with her removed ovaries. After a doctor declares her infertile, she begs Kevin to return to Gainesville, of which he disapproves. Milton suggests Kevin step down from the trial to tend to his wife, but Kevin claims that if he steps down and she recovers, he may resent her for costing him the case. Eddie Barzoon, the firm's managing partner, is convinced that Kevin is competing for his job when he discovers Kevin's name is on the firm's charter. Surprised, Kevin denies any knowledge of this and Eddie threatens to inform the United States Attorney's office of the law firm's activities. Kevin tells Milton about Eddie's threats, but Milton dismisses them; Eddie is then beaten to death by vagrants with demonic appearances. Mary Ann witnesses this, disturbing her further. While preparing Melissa Black, Cullen's secretary, to testify about Cullen's alibi, Kevin realizes she is lying and tells Milton he believes Cullen is guilty. Despite this, Kevin proceeds with her testimony and the trial. Afterwards, Kevin finds Mary Ann in a nearby church covered with a blanket. She claims Milton raped and brutalized her, but Kevin believes this cannot be true as he was with Milton in court. Mary Ann drops her blanket, revealing her naked body covered with cuts; Kevin assumes Mary Ann injured herself and commits her to a mental institution. Alice, along with Kevin and Pam Garrety, Kevin's case manager from the firm, visit Mary Ann at the institution. After seeing Pam as a demon, Mary Ann hits her with a hand mirror and barricades the room. As Kevin breaks down the door, Mary Ann commits suicide by cutting her throat with a shard of glass. Alice reveals that Milton is Kevin's father; Kevin leaves the hospital to confront Milton, who admits to raping Mary Ann. Kevin fires a pistol into Milton's chest, but the bullets are ineffective. Milton reveals himself as Satan and Kevin blames him for everything that happened; Milton explains that he merely \"set the stage\" and that Kevin could have left at any time. Kevin realizes he always wanted to win, no matter the cost. Milton tells Kevin that he wants Kevin and Christabella, Kevin's half-sister, to conceive a child, the Antichrist. Kevin appears to acquiesce at first, but then abruptly cites free will and shoots himself in the head. Kevin finds himself back at the recess of the Gettys trial. Choosing to do the right thing, Kevin announces that he cannot represent his client despite the threat of disbarment. Larry pleads for an interview, promising to make Kevin a celebrity. Encouraged by Mary Ann, Kevin agrees; after they leave, Larry transforms into Milton, relishing the sin of vanity."}
{"movie_name":"A Perfect World_1993","imdb_id":"tt0107808","script":"<script>\n  <scene>\n    <stage_direction>MUSIC UP.<\/stage_direction>\n    <scene_description>It 's a tad eerie . If a Zydeco band died in a bus crash this is the kind of music they 'd play in heaven . WHITE SCREEN which transforms to a milky white and eventually into a bright high noon sun . A large black bird flies in circles overhead . As it wipes the sun a bright flare causes . CLOSEUP - PAIR OF EYES to squint , then adjust to the light and finally open . They look tired , but content , maybe even relaxed . CLOSEUP - MAN the owner of the eyes . Though we only see from his shoulders to the top of his head , we can tell he 's lying in a field . His arm is propped behind his head as a pillow and he appears to be resting comfortably . MUFFLED VOICES and WHISPERS fill the air but they seem to come from another place . The man does n't notice them . His name is BUTCH . A gust of wind blows Butch 's hair a bit and a piece of straw wipes across his forehead . Then , oddly enough , it is followed by a dollar bill , which rests against his cheek , then skitters across his face . It is followed by another and another , a five , a ten , a single . Butch pays no attention . He 's in another world .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEIGHBORHOOD - MADISONVILLE, TX. - DUSK SUPERSCRIPT:    OCTOBER, 1963.<\/stage_direction>\n    <scene_description>A small country town . Normally quiet at this hour , the street is tonight alive with trick or treaters dressed as witches , goblins and superheroes making their annual door to door rounds .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PERRY HOUSE - NIGHT<\/stage_direction>\n    <scene_description>GLADYS PERRY , 30 going on 45 due to single motherhood and having worked two fulltime minimum wage jobs the past ten years , looks out the window with disgust and pulls the curtains closed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PERRY HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Gladys retreats from the sparsly decorated living room to the predictably drab linoleum kitchen . At the table , hands on their laps , sit her children , NAOMI and RUTH , twin girls aged 10 , and PHILLIP , a quiet boy of 8 . Gladys sets a casserole on the table and goes to the frig for a container of milk . The children WHISPER to one another .<\/scene_description>\n    <character>NAOMI<\/character>\n    <dialogue>Judy Baumer is going as a twirler.<\/dialogue>\n    <character>RUTH<\/character>\n    <dialogue>But she's so fat. I'd go as Cinderella. or Peter Pan.<\/dialogue>\n    <character>NAOMI<\/character>\n    <dialogue>Peter Pan's a boy. Tinker Bell's a girl. Phillip could go as Peter Pan. ` cept you got ta' fly.<\/dialogue>\n    <scene_description>Phillip smiles a bit at the notion .<\/scene_description>\n    <character>RUTH<\/character>\n    <dialogue>Phillip could go as a bump on a log.<\/dialogue>\n    <scene_description>The girls giggle and Phillip frowns .<\/scene_description>\n    <character>PHILLIP<\/character>\n    <dialogue>Why ca n't we go just once?<\/dialogue>\n    <character>NAOMI<\/character>\n    <dialogue>Caus' we jus' ca n't, ok?<\/dialogue>\n    <scene_description>Gladys sets milk and butter on the table and stares directly at her son .<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Our personal beliefs lift us to a higher place. ` Sides, Halloween is nothing but the Devil's work.<\/dialogue>\n    <scene_description>The DOORBELL RINGS . The kids gulp as Gladys turns and heads for the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRONT DOOR - NIGHT<\/stage_direction>\n    <scene_description>MR. HUGHES , a 35 - year - old family man is playing chaperone to prepubescent versions of SUPERMAN , TINKERBELL , and a DANCING SKELETON .<\/scene_description>\n    <character>KIDS<\/character>\n    <parenthetical>( in unison . )<\/parenthetical>\n    <dialogue>Trick or treat!<\/dialogue>\n    <scene_description>Gladys simply stares at the children before looking to Mr. Hughes .<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>I'm sorry but we do n't take no part in Halloween.<\/dialogue>\n    <character>MR. HUGHES<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <scene_description>Phillip arrives at his mother 's apron . He stares at the kids with relish . In the near window , Ruth and Naomi steal a look through the window .<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>We're Jehovah's Witness.<\/dialogue>\n    <scene_description>Superman locks eyes with Phillip .<\/scene_description>\n    <character>SUPERMAN<\/character>\n    <dialogue>Hey, Phillip Perry.<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Hey, Billy Reeves.<\/dialogue>\n    <character>SUPERMAN<\/character>\n    <dialogue>How'd ya' know it was me?<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>Go eat your supper, Phillip.<\/dialogue>\n    <character>MR. HUGHES<\/character>\n    <dialogue>Come on, kids. Let's go to the next house. Sorry for the bother.<\/dialogue>\n    <scene_description>Gladys closes the door firmly and locks it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HUNTSVILLE STATE PRISON - NIGHT<\/stage_direction>\n    <scene_description>A green Impala pulls up to the main entrance and stops . A GUARD steps from his office to greet the driver , LARRY , a pudgy 55 - year - old prison employee wearing a loud plaid jacket .<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>Evenin', Larry. Forget somethin'?<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>Goin' to Austin tomorrow. Gon na' take some work with me.<\/dialogue>\n    <character>GUARD<\/character>\n    <dialogue>Work, work, work. When you and me gon na' go out and grab a cold one?<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>Sooner the better.<\/dialogue>\n    <scene_description>The gate opens and the Impala passes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CELL - NIGHT<\/stage_direction>\n    <scene_description>BUTCH HAYNES , a 38 - year - old inmate who reeks with knowledge procured from the wrong side of the tracks , but whose sad , tired eyes bemoan a maximum of regret , stands on the top of a cell bunk chipping at the ceiling . JERRY PUGH , 29 , rail thin , a punk who constantly licks his lips , keeps watch at the door . An OLD TIMER sits on his bunk and watches both with a cautious eye . Butch chips through to something .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Damn if the old man ai n't right.<\/dialogue>\n    <scene_description>Jerry smiles , turns and grabs the old man by the shirt .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>And this goes to the roof?<\/dialogue>\n    <character>OLD TIMER<\/character>\n    <dialogue>Used to. afore they walled it over.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>If it do n't I'm gon na' rip your tongue out.<\/dialogue>\n    <character>OLD TIMER<\/character>\n    <dialogue>Get yer' damn hands off me!<\/dialogue>\n    <scene_description>Jerry laughs and joins Butch , who is already well on his way to bending open a slot in a corrugated metal air shaft hidden behind the wall .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEIGHBORHOOD - NIGHT<\/stage_direction>\n    <scene_description>Superman and Dancing Skeleton , no longer with adult super - vision , fill water balloons at an outdoor water spigot .<\/scene_description>\n    <character>SUPERMAN<\/character>\n    <dialogue>Make'em small so you can heave'em.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PERRY HOUSE - NIGHT<\/stage_direction>\n    <scene_description>An assembly line at the kitchen sink as the twins wash and Phillip dries the evening dishes . Gladys sits at the kitchen table , reading religious pamphlets and keeping a watchful eye over the process . Several THUDS resound through the house .<\/scene_description>\n    <character>PHYLLIS<\/character>\n    <dialogue>What in the world?<\/dialogue>\n    <scene_description>Phillip jumps down off his stool and races into the living room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Superman lofts a BALLOON and grabs another as the first hits the door of the Perry house and SPLATTERS .<\/scene_description>\n    <character>SUPERMAN<\/character>\n    <dialogue>Bombs away!<\/dialogue>\n    <scene_description>Dancing Skeleton does his best Warren Spahn and tosses a wet fastball at the door .<\/scene_description>\n    <character>SKELETON<\/character>\n    <dialogue>Here's your trick!<\/dialogue>\n    <scene_description>At the window , Phillip , his nose pressed to the pane , stares expressionless at the onslaught . He barely flinches as a BALLOON SPLATS only inches away . Gladys arrives and pulls the curtains shut once more .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRISON - NIGHT<\/stage_direction>\n    <scene_description>Butch kicks the top off a ventilator shaft and rolls onto the roof . Jerry follows as Butch shimmies to the wall . At the edge , Butch and Jerry survey the yard as a searchlight routinely bathes the walls in a circle of light . THEIR POV - GREEN IMPALA parked almost directly below them , next to the Administration office of the prison .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>You'n' me must be livin' right, Butchie boy!<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Let's get something straight. I do n't like you. As soon as we're on our way, that's it.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Who said I liked you?<\/dialogue>\n    <scene_description>Butch slides down and hangs from the ledge before dropping on the roof of the building below .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ADMIN OFFICE - NIGHT<\/stage_direction>\n    <scene_description>A SOFT THUD causes a Guard to look up , but only momentarily as he spots Larry departing , files in hand , waving goodbye .<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>Have a safe trip now, Larry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. YARD - NIGHT<\/stage_direction>\n    <scene_description>Just as Larry reaches the Impala , Butch and Jerry leap down and land on him . The spotlight showers them in a flash of light as it passes by . Butch cups his hand over Larry 's mouth while Jerry reaches into his jacket - Bingo - a shiny .38 .<\/scene_description>\n    <character>BUTCH<\/character>\n    <parenthetical>( to Larry . )<\/parenthetical>\n    <dialogue>Keep yer' mouth shut.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( to Larry . )<\/parenthetical>\n    <dialogue>Gawd I'd love to blow yer' head off.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRISON GATE - NIGHT<\/stage_direction>\n    <scene_description>Larry , driving with his eyes straight ahead , stops at the gate and waves a palm at the Guard , who opens without hesitation .<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>` Night, Larry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - FLOORBOARD - NIGHT<\/stage_direction>\n    <scene_description>stuffed and hidden half on the floor and half under the mats are Jerry and Butch .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>` Night, Larry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMALL, WELL-LIT DINER - NIGHT<\/stage_direction>\n    <scene_description>A weathered finger drops a quarter in a jukebox .<\/scene_description>\n    <character>MAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>B - 5. Have n't heard that one in awhile.<\/dialogue>\n    <scene_description>The woman , MAE , 45 , a dog - tired waitress , punches in the numbers and returns to her post behind the counter . A lonesome HANK WILLIAMS tune pours forth .<\/scene_description>\n    <character>MAE<\/character>\n    <dialogue>Not since last night. How's the pie?<\/dialogue>\n    <scene_description>RED GARNETT , 60 , a grizzled but handsome Texas Ranger , sits at the counter slowly chewing .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>Kinda rubbery. It was better yesterday.<\/dialogue>\n    <character>MAE<\/character>\n    <dialogue>Same pie as yesterday. Not much call for rhubarb. Sell one slice a day.<\/dialogue>\n    <scene_description>In the background we hear a SIREN . Red turns and watches a police patrol car whiz past , lights on .<\/scene_description>\n    <character>MAE<\/character>\n    <dialogue>Yer off duty. Tell me, if I stopped bakin''em would you still come by every night?<\/dialogue>\n    <scene_description>Red , preoccupied , takes another rubbery bite .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <scene_description>Mae smiles and turns her back to Red as she cleans the grill .<\/scene_description>\n    <character>MAE<\/character>\n    <dialogue>Naw, Red Garnett, you do n't come in here for the coffee and pie. You come in here for the company. To see me.<\/dialogue>\n    <scene_description>Another patrol car races past . Red 's eyes follow it . ANGLE ON MAE<\/scene_description>\n    <character>MAE<\/character>\n    <dialogue>Now that I've said that, I'll go one better. What say I cook you dinner at my place sometime? Steaks, baked taters, cold beer, the works. Well? I'm askin' you out.<\/dialogue>\n    <scene_description>She turns to face Red but he 's gone . A coupla dollars lie next to the half - eaten pie . All she can do is sigh .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. PATROL CAR - NIGHT<\/stage_direction>\n    <scene_description>Red pulls up in front of a small house in a residential section of town . Police cars are everywhere and several officers are behind their vehicles , guns pointed at the house . Red steps out of the car and is greeted by a POLICE SERGEANT , about the same age as Red .<\/scene_description>\n    <character>SERGEANT<\/character>\n    <dialogue>Long time, no see. What are you doin' here, Chief?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Could n't sleep. Whattaya got?<\/dialogue>\n    <scene_description>They walk . Red arrives at a truck with a 10 gallon coffee urn roped to the tailgate . He grabs a paper cup and pours .<\/scene_description>\n    <character>SERGEANT<\/character>\n    <dialogue>Guy holdin' his family hostage. She kicked him out, served him divorce papers, he came back drunk and pulled a.38. Fired two shots but we do n't think anybody's hit. Actually you might know the guy from your sheriff days. Hayden Webb. Been on suspension for awhile. Ring any bells?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Yeah. Lem me talk to him.<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>No can do. Police jurisdiction.<\/dialogue>\n    <scene_description>Red tastes the coffee - cold . He spits it out , pours the contents of the cup on the ground and walks toward the front yard . Sergeant follows .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>And how are you guys doin'?<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>We got specific rules to follow in these kinda situations, Red.<\/dialogue>\n    <parenthetical>( gives in . )<\/parenthetical>\n    <dialogue>He wo n't talk. Jus' keeps yellin', crying and waving his gun around.<\/dialogue>\n    <scene_description>Red moves forward into the yard .<\/scene_description>\n    <character>SERGEANT<\/character>\n    <dialogue>At least use the megaphone, you stubborn jackass!<\/dialogue>\n    <scene_description>But Red ignores and arrives at the front door . He knocks .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>Hayden, this is Red Garnett. We worked together a few years back. Mind if I come in?<\/dialogue>\n    <scene_description>The YELLING inside STOPS and the door opens a crack . HAYDEN , 35 , distraught , peers out .<\/scene_description>\n    <character>HAYDEN<\/character>\n    <dialogue>` Evenin', Chief.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Leave it to the P.D.. They got a three - ring circus out there and not one cup of hot coffee. You mind?<\/dialogue>\n    <scene_description>Hayden mulls it over , then opens the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEBB HOUSE - NIGHT<\/stage_direction>\n    <scene_description>On the couch sits Hayden 's wife , JULIE , cradling her two kids , an infant and an 8 - year - old boy . Julie sobs . Her eye and temple are bruised purple . Red slowly enters , nods to Julie , takes off his hat and sets it on a lampstand . Hayden has moved away from Red against the wall . He holds the gun out at no one in particular .<\/scene_description>\n    <character>HAYDEN<\/character>\n    <dialogue>Julie, put a pot of coffee on.<\/dialogue>\n    <scene_description>She slowly gets up and moves to the kitchen , still weeping .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>Appreciate it. Jus' what is it you want, Hayden?<\/dialogue>\n    <character>HAYDEN<\/character>\n    <dialogue>I dunno. I want my job. I want my family.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>What'd they suspend you for?<\/dialogue>\n    <character>HAYDEN<\/character>\n    <dialogue>I answer a call in South Austin. Girl gettin' raped, that's the word. I bust in the door, this lowlife is beatin' the shit outta her with a tire iron. ` Help me, help me,' she says. I take the guy down. He bites me. I break his arm. Case closed, right? No. She was his wife and they both sue me and the department. The guy's about to kill her and she sues me'cause now he ca n't pump gas. They have chump change in the bank but they got the best lawyer in town. Three months I'm goin' crazy. No pay. Then my wife leaves me and I get served divorce papers by John Reese - a sheriff's man. You know how embarrassin' that is? What's happenin', Chief? I mean, everybody's got a fuckin' lawyer!<\/dialogue>\n    <scene_description>Julie emerges from the kitchen and retakes her seat .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>You love her? Love the kids?<\/dialogue>\n    <character>HAYDEN<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>Then why do you hit me!<\/dialogue>\n    <scene_description>Hayden grips the quivering revolver tight and points it at her . Red calms the situation .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>You do n't wan na shoot her.<\/dialogue>\n    <character>HAYDEN<\/character>\n    <dialogue>I swear to God I think I do.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Naw, Hayden, I do n't think so. I think you love her. You know what else I think? That you'd like a way out of this whole mess. That's where I come in.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Sergeant and other cops stand around and watch the house .<\/scene_description>\n    <character>SERGEANT<\/character>\n    <dialogue>Well, I'll be damned.<\/dialogue>\n    <scene_description>NEW ANGLE The front door opens and Julie emerges with her two kids . She takes a few cautious steps , then runs to the police .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Red sits on the coffee table , unloading Hayden 's gun . He opens the cylinder and drops the shells to the floor . A calmer Hayden exits the kitchen with Red 's coffee . Red accepts it , takes a sip .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>Hits the spot.<\/dialogue>\n    <scene_description>Hayden starts to sob a bit . Red hands over a handkerchief which Hayden accepts .<\/scene_description>\n    <character>HAYDEN<\/character>\n    <dialogue>No cuffs, huh, Chief?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Okay. You ready?<\/dialogue>\n    <scene_description>Hayden nods , they stand . Red picks up his hat , sticks it on his head , opens the door and holds it for . Hayden , transfixed by the multitude of lights outside . He gulps .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>We'll walk out together, okay?<\/dialogue>\n    <scene_description>Hayden steps back , looks at Red , then reaches behind his back , underneath his shirt and pulls out a .22 pistol .<\/scene_description>\n    <character>HAYDEN<\/character>\n    <dialogue>Any good officer has a back - up.<\/dialogue>\n    <scene_description>Red holds his palms out and takes a step toward Hayden .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>Lem me have it, Hayden.<\/dialogue>\n    <scene_description>Hayden points the gun at Red , freezing him .<\/scene_description>\n    <character>HAYDEN<\/character>\n    <dialogue>Was I a good officer, Chief?<\/dialogue>\n    <scene_description>Red nods .<\/scene_description>\n    <character>HAYDEN<\/character>\n    <dialogue>Was I a good deputy? The kinda man you could depend on to do what's right?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Hayden smiles .<\/scene_description>\n    <character>HAYDEN<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Then he turns the GUN on himself , swallows the barrel and BLOWS his brains out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - NIGHT (LATER)<\/stage_direction>\n    <scene_description>Hayden 's dead , covered body is carried out the door . Julie screams and sobs , still holding her crying children . Red , looking pretty shook up , slowly exits the house . He stops and looks at Julie and the kids . His eyes lock with the little boy 's .<\/scene_description>\n    <character>COP<\/character>\n    <dialogue>Got a call, Chief Garnett. They're lookin' for ya downtown.<\/dialogue>\n    <scene_description>Red slowly walks away . The little boy 's eyes follow him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONVENIENCE STORE - NIGHT<\/stage_direction>\n    <scene_description>It 's a small town version of a 7 - 11 , kept open by an owner anxious to cash in on the later night munchies of beer drinkers . Good idea . Bad luck . Jerry skims through a girly magazine , turning the pages with the gun . Butch , wearing Larry 's plaid jacket , jimmies open the cash register . He looks to the floor then to . Jerry , who catches Butch 's gaze , holds it , looks down at the floor , then , smiling , looks back to Butch . He returns to the skin mag . Butch holds his stare at Jerry then , in one move , grabs a wad of cash and hops over the counter and out of the store . Jerry notices Butch leaving , grabs a handful of assorted Brach 's candies and hurries after .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Hey, wait up!<\/dialogue>\n    <scene_description>Jerry 's feet scurry through a pool of blood and past a quivering hand .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D.P.S. - TEXAS RANGERS HEADQUARTERS - NIGHT<\/stage_direction>\n    <scene_description>It 's very late , after midnight , and only a handful of people , half of whom are cleanup crews , shuffle through the offices . A light from an office at the end of the hall catches our eye . A MUFFLED VOICE over the phone .<\/scene_description>\n    <character>RED<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I understan' your concern, Johnny.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RED'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Red , behind a huge ranchstyle desk covered with files and paper , sips coffee with one hand , works a buffalo nickel through magician 's paces with the other and balances the phone receiver in the crook of his neck .<\/scene_description>\n    <character>RED<\/character>\n    <parenthetical>( on phone . )<\/parenthetical>\n    <dialogue>Cons are creatures o' habit. Like old coyotes, they'll crawl back into familiar holes. Uh huh. Yeah. Sure yer' right. Listen you go back to bed and I'll call you in the A.M. with an update. I'll have the files by then. Say hullo to the Mrs.<\/dialogue>\n    <scene_description>Red sighs , puts the PHONE back in the hook and stares at it until it RINGS again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PERRY HOUSE - NIGHT (JUST BEFORE DAWN)<\/stage_direction>\n    <scene_description>The CLANGING wind up alarm CLOCK reads 5:30 and Gladys opens her eyes and gently quiets it with a touch . She groans and rises , not happy but used to the daily ritual required of her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PERRY LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>As the kitchen light comes on we see that the couch has been opened up to a bed in which all three children sleep . The twins sleep soundly but Phillip tosses and turns away from the light .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEIGHBORHOOD - NIGHT<\/stage_direction>\n    <scene_description>The Impala creeps through the previously seen neighborhood without its lights .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMPALA - NIGHT<\/stage_direction>\n    <scene_description>Butch drives while Jerry scours the block .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>There's a Buick.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Do n't want a Buick. Want a Ford.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Ford's leak oil. A car's a car.<\/dialogue>\n    <scene_description>Butch puts on the brakes and brings the car to a stop .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Then take the Buick.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Soon as we cross state line I'll do just that.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I'm tired of riding around. I'll check down the block. for a Ford!<\/dialogue>\n    <scene_description>Jerry gets out , slams the door , lights a cigarette and walks away . Butch waits a few seconds , quietly turns the key one notch and checks the gas ggauge . It reads almost empty . He taps it with his finger but it does n't budge . He sighs , looks up and sees . JERRY as he checks one locked car , then feeling eyes on his back , turns , looks at Butch , grins and disappears around a corner . BUTCH discreetly exits the car himself , carefully closing the door without a sound .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PERRY KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Gladys steps into a slip and snaps her bra while cracking eggs into a skillet . By rote she salts , stirs , and pops bread into the toaster .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PERRY BACKYARD - SOMEONE'S POV - NIGHT<\/stage_direction>\n    <scene_description>FROM BEHIND a fence , THROUGH the opened , screened windows we see Gladys at work . Phillip enters , dressed in cotton briefs and a T - shirt , drags a chair from the kitchen table by the window and assists his mother by buttering the toast . POV MOVES CLOSER .<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Thank you, Phillip. Go wake up your sisters.<\/dialogue>\n    <scene_description>Phillip dutifully steps down and returns to the living room . Gladys works to adjust her slip , then grabs plates and silverware and takes them to the table .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I take mine fried.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Gladys gasps at Jerry 's face pressed against the screen , but controls herself when he brandishes the pistol . He motions for her to open the back door . She does . He slides into the room and sits down at the table .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ON STREET - NIGHT<\/stage_direction>\n    <scene_description>A Ford sits in a driveway . In the far b.g. a back porch light glares . Butch ENTERS FRAME , looks at the light , turns to the Ford and starts to jimmie the lock . No luck . He rises and looks to the light .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Jerry stuffs a piece of toast in his mouth , grins at Gladys and makes a motion to the counter .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>A lil' on the bland side. Gim me' that ketchup.<\/dialogue>\n    <scene_description>She picks up a bottle of Heinz and inches toward him . When she gets close , he grabs her and forces her onto his lap . He holds the gun to her throat and whispers in her ear .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Do n't got a man around here, do ya'?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEIGHBOR'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>MR. CUMMINGS , 70 , puts on his glasses and peers through the window . HIS POV - PERRY KITCHEN Gladys sits on Jerry 's lap , thanks to .38 caliber coercion . The convict 's hands move freely over the frightened woman 's body .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PERRY KITCHEN - NIGHT<\/stage_direction>\n    <character>JERRY<\/character>\n    <dialogue>Feed me, sweet thing.<\/dialogue>\n    <scene_description>Her shaking hands raise a forkful of eggs to his lips . He licks them once then gobbles with gusto . Phillip enters the room and stops dead in his tracks .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Well lookie here, you do got a man!<\/dialogue>\n    <scene_description>Jerry smiles at Phillip while he kisses and licks Glady 's neck . At once , Phillip darts across the room at Jerry , who backhands the boy with his gunhand , sending Phillip sprawling . Butch blasts through the door in an instant . With a swift kick to the head , Jerry is knocked senseless onto the floor against the cabinets . The gun slides across the floor and lands at Phillip 's feet .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( holding his ear . )<\/parenthetical>\n    <dialogue>I'm bleedin'! You happy?<\/dialogue>\n    <scene_description>Butch gives Jerry an icy stare and kneels down to eye level with Phillip . Butch looks at the gun and then at Phillip .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>What's your name, boy?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <parenthetical>( scared shitless . )<\/parenthetical>\n    <dialogue>Ph. Phillip.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Well, okay Phillip. Reach down and pick up that pistola.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Give it to me.<\/dialogue>\n    <character>BUTCH<\/character>\n    <parenthetical>( to Jerry . )<\/parenthetical>\n    <dialogue>Shut yer' mouth.<\/dialogue>\n    <parenthetical>( to Phillip . )<\/parenthetical>\n    <dialogue>Pick it up and bring it over here.<\/dialogue>\n    <scene_description>Phillip reaches down and slowly picks up the gun by the handle . He takes one step toward Butch , then another . Gladys , petrified , sobs . Phillip arrives armslength from Butch . CLOSEUPS - PHILLIP AND BUTCH<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Now say ` stick'em up.'<\/dialogue>\n    <character>PHILLIP<\/character>\n    <parenthetical>( hesitant . )<\/parenthetical>\n    <dialogue>Stick'em up.<\/dialogue>\n    <scene_description>Butch laughs and then a NOISE from outside brings him back to reality . He grabs the gun and spins to see . MR. CUMMINGS Standing outside the screen door , gun leveled . Before the old man can utter a syllable , Butch grabs Phillip and points the gun straight at Cummings . Jerry jumps up and grabs Gladys .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Put the gun down, old timer. You could n't hit me anyway. Probably shoot the boy.<\/dialogue>\n    <scene_description>The PHONE RINGS .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Leave it be.<\/dialogue>\n    <scene_description>The twins wiping sleep from their eyes , wander into the room .<\/scene_description>\n    <character>NAOMI<\/character>\n    <dialogue>Mama?<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>It's all right, honey.<\/dialogue>\n    <scene_description>PHONE continues to RING . Cummings ca n't decide what to do with the gun he 's pointing at Butch .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>You deaf?!<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Set it on the ground.<\/dialogue>\n    <scene_description>Cummings reluctantly obeys .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>We got ta' get the hell outta ` here!<\/dialogue>\n    <scene_description>PHONE still RINGS .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Shut up!<\/dialogue>\n    <scene_description>In one fluid move he rips the phone from the wall . The silence is deafening .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( re : Gladys . )<\/parenthetical>\n    <dialogue>I vote we bring her with us.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>How we gon na' get outta' here without a hostage, tell me that? The whole goddam neighborhood's awake.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>We'll take the boy.<\/dialogue>\n    <scene_description>Silence . Gladys ca n't believe her ears . Then .<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Nooooo!<\/dialogue>\n    <scene_description>Jerry tosses Gladys aside . She collapses onto the floor . The TWINS instantly start to CRY . Phillip winds up and hits Butch as hard as he can . Butch picks him up , directs Cummings into the kitchen with the gun and nods for Jerry to lead .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>You'll get him back. I swear it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRONT YARD - DAWN<\/stage_direction>\n    <scene_description>Butch , carrying Phillip , and Jerry emerge from the back of the house and race back to the Impala .<\/scene_description>\n    <character>GLADYS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Phillip!<\/dialogue>\n    <scene_description>Butch flips Jerry the gun , tosses Phillip into the passenger seat , leaps over the hood and into the driver 's seat . The CAR STARTS and SQUEALS away . Neighbors , aroused by the noise , exit their homes clad in robes , nighties and curlers .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - DAWN<\/stage_direction>\n    <scene_description>Jerry FIRES a SHOT over their heads , sending them to the deck or scurrying for safety .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Ai n't you folks ever heard of sleepin' in?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PERRY YARD - DAWN<\/stage_direction>\n    <scene_description>Cummings races from behind the house with the SHOTGUN , levels it and FIRES a BLAST . A nearby station wagon WINDOW SHATTERS . Rising from their cover position , its owners look at Cummings with disgust .<\/scene_description>\n    <character>OWNER<\/character>\n    <dialogue>Nice shootin', Fred.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RED'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Garnett , still in the same clothes , rests the phone receiver in his ear while he shuffles through the files before him . Red 's deputy and boy friday , TOM ADLER , 40 , lank , thinning hair , with a face as soft as Red 's is hard , warms up Red 's coffee with a jolt from the Chief 's favorite plaid Thermos .<\/scene_description>\n    <character>RED<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Yes, Johnny, I do understand that.<\/dialogue>\n    <scene_description>The jabbering on the other end of the phone line continues as Red 's eyes squint to read the files . INSERT - FILES The first is Jerry 's , complete with a grinning mug shot in the upper right hand corner . There are several pages in the file , but Red 's fingers quickly peruse the top rap sheet before turning to . INSERT - SECOND FILE It 's Butch 's and again Red 's fingers start to move down the page then they stop and move to the photo of Butch at the top of the page . RED 'S FACE A hint of recognition . The jabbering continues . CLOSEUP - PHOTO OF BUTCH A little younger than now . A younger con with the grim facade of a man facing hard time . RED keeps staring at the photo , oblivious to the phone conversa - tion he 's `` not having '' .<\/scene_description>\n    <character>PHONE VOICE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Red? Red, you there?<\/dialogue>\n    <character>ADLER<\/character>\n    <parenthetical>( a whisper . )<\/parenthetical>\n    <dialogue>Red?<\/dialogue>\n    <character>RED<\/character>\n    <parenthetical>( to Adler . )<\/parenthetical>\n    <dialogue>Huh?<\/dialogue>\n    <character>ADLER<\/character>\n    <parenthetical>( a whisper . )<\/parenthetical>\n    <dialogue>He's talkin' to ya'.<\/dialogue>\n    <character>PHONE VOICE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Have you heard a word I've said?!<\/dialogue>\n    <scene_description>Red comes to .<\/scene_description>\n    <character>RED<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Yeah, Johnny. Jus' thinkin' is all.<\/dialogue>\n    <character>ADLER<\/character>\n    <parenthetical>( another whisper . )<\/parenthetical>\n    <dialogue>Press has been waiting almost an hour, Red.<\/dialogue>\n    <scene_description>Red nods then notices someone at the door and motions her in . SALLY GERBER , 28 , cute in a plain , no nonsense way , with giant curls accenting her round face in step with the latest hair fashions , enters the room , closes the door behind her . She 's nervous as hell but trying to hide it . Red motions her to have a seat while he finishes his call .<\/scene_description>\n    <character>RED<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Yeah. Clear as a bell. Mi' sabe.<\/dialogue>\n    <scene_description>Red hangs up the phone , takes a draw on the coffee mug and looks again at the file . He seems lost in time .<\/scene_description>\n    <character>ADLER<\/character>\n    <dialogue>What'd he say?<\/dialogue>\n    <character>RED<\/character>\n    <parenthetical>( distracted . )<\/parenthetical>\n    <dialogue>Who?<\/dialogue>\n    <character>ADLER<\/character>\n    <dialogue>The Guvner', Red.<\/dialogue>\n    <scene_description>Red closes the file .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>Reminded me it's an election year.<\/dialogue>\n    <scene_description>Red turns his attention to Sally .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>You drink before noon?<\/dialogue>\n    <character>SALLY<\/character>\n    <parenthetical>( confused . )<\/parenthetical>\n    <dialogue>Uh. no.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Good. Last one I had was on a liquid diet.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>Last what?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Secretary.<\/dialogue>\n    <character>ADLER<\/character>\n    <parenthetical>( remembering . )<\/parenthetical>\n    <dialogue>Penny Munroe.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>I believe you have me confused. I'm here from Huntsville. Assigned by Governor Connally.<\/dialogue>\n    <scene_description>Red is confused . He turns a blank expression to Adler .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>Adler. what is this?<\/dialogue>\n    <scene_description>Adler searches the messy desk for something .<\/scene_description>\n    <character>ADLER<\/character>\n    <dialogue>Rings a bell, Red. Believ' they sent us something about her this mornin'.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Who sent?<\/dialogue>\n    <character>ADLER<\/character>\n    <dialogue>Guvner', Red.<\/dialogue>\n    <scene_description>Adler finds the telex message sheet he 's looking for and hands it to Red .<\/scene_description>\n    <character>ADLER<\/character>\n    <dialogue>Here it is.<\/dialogue>\n    <character>SALLY<\/character>\n    <parenthetical>( introducing . )<\/parenthetical>\n    <dialogue>Uh, I'm Sally Gerber. Criminologist with the State Prison System.<\/dialogue>\n    <scene_description>Sally offers her hand . Red , perusing the telex , ignores but Adler shakes somewhat reluctantly , not sure if he 's supposed to like her or not .<\/scene_description>\n    <character>ADLER<\/character>\n    <dialogue>Tom Adler. Deputy. State Police. System.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>It's a relatively new procedure but I was assigned by Governor Connally.<\/dialogue>\n    <character>RED<\/character>\n    <parenthetical>( reading from telex . )<\/parenthetical>\n    <dialogue>. ` to work with State law enforcement officials in all affairs where penal matters coincide with those of the State Police.' It do n't say nuthin' about.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>It includes parole and work release programs as well as penal escape situations.<\/dialogue>\n    <scene_description>The office PHONE BUZZES . Adler picks it up .<\/scene_description>\n    <character>ADLER<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>On our way, Marge.<\/dialogue>\n    <scene_description>Adler hangs up the phone .<\/scene_description>\n    <character>ADLER<\/character>\n    <dialogue>Gettin' antsy, Red. You scheduled it.<\/dialogue>\n    <scene_description>Adler hangs up , grabs Red 's tie and coat from a brass rung on the wall and hands them over . Red puts down the telex , stares at Sally and reluctantly attempts to make himself presentable .<\/scene_description>\n    <character>SALLY<\/character>\n    <dialogue>The idea is that an understanding of the particular behavioral case histories should, in parole situations, help the subject to avoid habitual traps and, in penal escape situations could, conversely, identify those self - same traps as an aide to apprehension.<\/dialogue>\n    <scene_description>Adler stares at Sally then turns to Red with a `` never heard the like '' look of amazement on his face . Red , roguishly handsome in his tan , western cut blazer , clip on tie and ten gallon hat , makes his way to the door . But , before he exits .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>In the first place, Miss Gerber.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>Sally, please.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>In the first place, Sally, it ai n't a ` penal escape situation.' It's a manhunt. Fancy words in a circle do n't help much.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>And what does?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>A nose like a Blue Tick, a medulla with an antenna and one helluva lot of coffee.<\/dialogue>\n    <scene_description>And with that he 's out the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRESS ROOM - DAY<\/stage_direction>\n    <scene_description>A throng of photogs and news writers stuff the undersized room . The clamor settles when Red enters and steps behind the lectern .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>Listen up, I'll only say it once. At approximately ten o'clock last night two inmates over to Huntsville, Robert ` Butch' Haynes and Jerry David Pugh, escaped through an air shaft, grabbed a prison employee's car and got out through the main gate. At approximately 1 A.M. we believe they robbed a market outside of Cut - n - Shoot and killed the store's owner.<\/dialogue>\n    <character>REPORTER #1<\/character>\n    <dialogue>Is the prison employee with them?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Was when they left the prison.<\/dialogue>\n    <scene_description>Sally and Adler enter the room and stand beside the lectern observing . Red notices them .<\/scene_description>\n    <character>REPORTER #2<\/character>\n    <dialogue>What's the rap sheet on these guys like?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Long as Christmas eve to a kid. Haynes was doin' 40 for armed robbery and Pugh was ridin' 20 hisself for manslaughter and assorted parole vios.<\/dialogue>\n    <character>REPORTER #3<\/character>\n    <dialogue>Is there any indication of.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Lem me' finish, Billy. This mornin' another hostage was taken. from a private home in Madisonville. A boy, age 8. Grabbed him out of bed.<\/dialogue>\n    <character>REPORTER #1<\/character>\n    <dialogue>Any sex offenses on Haynes or Pugh?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Yer' askin' if they're preverts. Well, one is.<\/dialogue>\n    <character>REPORTER #4<\/character>\n    <dialogue>You got inter - agency cooperation on this?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Texas Rangers as the criminal investigation arm of the D.P.S. share responsibility with the F.B.I. due to the kid being taken. But I doubt they're out of bed yet.<\/dialogue>\n    <scene_description>A few chuckles .<\/scene_description>\n    <character>REPORTER #3<\/character>\n    <dialogue>Red, how do you plan to apprehend the escapees?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Officially I can only say we have a full manhunt team on their trail and we'll proceed with due haste.<\/dialogue>\n    <character>REPORTER #3<\/character>\n    <dialogue>And unofficially?<\/dialogue>\n    <scene_description>Red hesitates a moment , something 's bothering him , then blurts out .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>Unoffically? I'm gon na' hunt'em like the rabid dogs they are.<\/dialogue>\n    <scene_description>Every hand in the place shoots up and Ad Lib questions fly like bullets .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>That's all I've got but I'd like to introduce ya' to Miss Sally Gerber. She's straight from the Governor's office. Knows all about psychological profiles and the like. You probably have some questions for her.<\/dialogue>\n    <scene_description>Red steps back and to one side . Sally is taken aback but then warms to the idea and steps to the podium for her first press conference , ready to take on the tough questions , to show off a bit , but . There are no questions . In fact there is utter silence as every raised hand drops . Eyes stare . Red sighs and starts to walk away .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>Look, fellas, I got work to do.<\/dialogue>\n    <scene_description>And he heads out the door , followed by Sally 's eyes and every reporter 's in the room , who commence once again to yell out questions and mob after the Chief . Every reporter , that is , except one . He 's near the back of the room and he smiles and raises his hand . Sally , unsure what to do , looks to him .<\/scene_description>\n    <character>SALLY<\/character>\n    <dialogue>You have a question?<\/dialogue>\n    <character>REPORTER<\/character>\n    <dialogue>Yes I do.<\/dialogue>\n    <scene_description>Sally smiles a bit then puts on her serious face awaiting .<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>You doin' anything tonight?<\/dialogue>\n    <scene_description>Sally , steamed , glares at the guy and stomps out of the room .<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>I'm serious!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMPALA - DAY<\/stage_direction>\n    <scene_description>Butch is driving with Phillip in the front seat beside him , still in his underwear . Jerry , in the backseat , leers at Butch , aims out the window and FIRES ONCE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD NEAR ROAD - DAY<\/stage_direction>\n    <scene_description>An aluminum water tank spews a violent leak .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. CAR - DAY<\/stage_direction>\n    <character>BUTCH<\/character>\n    <dialogue>We got a handful of caps and yer' shootin' water tanks. He's a smart guy, huh, Phillip?<\/dialogue>\n    <scene_description>Phillip does n't move or change expression . Jerry smiles , almost to himself , and FIRES TWICE more for the hell of it . The ROOF of the Impala EXPLODES with two holes as the car speeds off down the highway .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - DAY<\/stage_direction>\n    <scene_description>Red is finishing up with several reporters near the door to the parking lot . Adler jumps in , holds up his hands .<\/scene_description>\n    <character>ADLER<\/character>\n    <dialogue>All right, that's it, boys. Chief's got work to do.<\/dialogue>\n    <scene_description>Red and Adler move through the parking lot to SAUNDERS , 50 , an aide to the Governor . Saunder 's seconds are a PHOTOGRAPHER , young and energetic , and SUTTLE , 35 , dark - haired , with a cowlick . Saunders shakes Red 's hand and they turn to gaze upon . '60 - STYLE AIRSTREAM MOBILE HOME parked in the middle of the lot hitched to the back of a new Chevy truck . The Airstream is painted in state colors and sports banners , decals and logos .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - DAY<\/stage_direction>\n    <scene_description>Saunders follows Red as he walks around the showpiece , occasionally kicking a tire or two .<\/scene_description>\n    <character>SAUNDERS<\/character>\n    <dialogue>So whattaya' think?<\/dialogue>\n    <scene_description>Saunders motions for the Photographer to come closer and take pictures . He moves in next to Red and poses as the camera clicks .<\/scene_description>\n    <character>SAUNDERS<\/character>\n    <dialogue>We are very proud of this baby. Governor Connally special ordered it so state officials and dignitaries can ride in the parade in Dallas. You know President Kennedy's comin'?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>So I hear.<\/dialogue>\n    <character>SAUNDERS<\/character>\n    <dialogue>Latest technology, oversized engine, complete kitchen and sleeping quarters, gun racks, frig, stove, the works. Even got a hot line phone straight to the Governor's office.<\/dialogue>\n    <scene_description>Red stops circling and nods to Adler , who scurries away .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>Fine piece of machinery.<\/dialogue>\n    <character>SAUNDERS<\/character>\n    <dialogue>What's more, as soon as it gets back from Dallas it will be at your requisitioned disposal. Perfect for lots of situations - a headquarters on wheels.<\/dialogue>\n    <scene_description>Red smiles , walks up to one of the Lone Star decals and rips it off .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>We'll take it.<\/dialogue>\n    <character>SAUNDERS<\/character>\n    <dialogue>Uh, Chief?<\/dialogue>\n    <scene_description>Red rips off another decal . Adler and a few others start to load equipment , guns and files into the motor home . In addition they cart out unecessary items : mattresses , etc. and stack them in a pile outside the motor home . The Photographer continues to snap photos .<\/scene_description>\n    <character>SAUNDERS<\/character>\n    <parenthetical>( to Red . )<\/parenthetical>\n    <dialogue>Whattaya' doin', Red?!<\/dialogue>\n    <parenthetical>( to Photographer . )<\/parenthetical>\n    <dialogue>Stop takin' pictures!<\/dialogue>\n    <scene_description>Red does away with the parade banner . Saunders follows behind and tries to reinstate the decal .<\/scene_description>\n    <character>SAUNDERS<\/character>\n    <dialogue>It's jus' not possible, Red. The Governor's gon na' ride it in a campaign parade tomorrow.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Guvner' hisself told me this manhunt was top priority.<\/dialogue>\n    <scene_description>Adler moves through the door to the RV carrying Red 's favorite desk chair . He 's followed by BOBBY LEE , 20 's , cocksure , wearing a plain khaki uniform and boots .<\/scene_description>\n    <character>ADLER<\/character>\n    <parenthetical>( to Saunders . )<\/parenthetical>\n    <dialogue>S'cuse me.<\/dialogue>\n    <parenthetical>( to Red . )<\/parenthetical>\n    <dialogue>This here's Bobby Lee. He's a specialist with the Feds. They want him to tag along.<\/dialogue>\n    <scene_description>Red stares hard at Bobby Lee , then nods . Bobby Lee steps into the Airstream .<\/scene_description>\n    <character>SAUNDERS<\/character>\n    <dialogue>Please, Red, ya' got ta' believe me.<\/dialogue>\n    <scene_description>Red spots Suttle , 35 , bright - eyed , with a cowlick , sitting at the wheel of the Chevy truck .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>SUTTLE<\/character>\n    <dialogue>Dick Suttle, the driver.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Not anymore. Bradley.<\/dialogue>\n    <scene_description>BRADLEY , 35 , glasses , moves to the truck and gets in . Suttle shrugs and steps out . Saunders stops Suttle and turns to Red .<\/scene_description>\n    <character>SAUNDERS<\/character>\n    <dialogue>This man stays with the vehicle wherever it goes, Red!<\/dialogue>\n    <character>RED<\/character>\n    <parenthetical>( to Suttle . )<\/parenthetical>\n    <dialogue>You know how to operate the gadgets?<\/dialogue>\n    <character>SUTTLE<\/character>\n    <dialogue>Yessir.<\/dialogue>\n    <character>RED<\/character>\n    <parenthetical>( to Suttle . )<\/parenthetical>\n    <dialogue>Grab a seat.<\/dialogue>\n    <scene_description>Suttle sets himself in the passenger seat of the truck . Sally emerges from the building , ticked off , carrying an armload of file boxes , and makes a beeline for Red . Saunders gently touches Red 's shoulders ; a final plea .<\/scene_description>\n    <character>SAUNDERS<\/character>\n    <dialogue>Please Red, I'm beggin'. I mean, what am I suppose to tell the Governor?<\/dialogue>\n    <scene_description>Sally arrives but before she can spit out a word .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>Tell John that Miss Gerber here checked me out on it.<\/dialogue>\n    <scene_description>Red whistles and the ENGINE REVS . Red closes the door as the motor home pulls away . Saunders runs beside the passenger side window and yells in to Suttle , who stares out the window .<\/scene_description>\n    <character>SAUNDERS<\/character>\n    <dialogue>Not a scratch, you hear me, Suttle? Not a scratch!<\/dialogue>\n    <scene_description>Saunders stops , breathing hard , next to Sally . She 's pissed and overloaded with files . AIRSTREAM about 20 yards down the way , comes to a stop . A second later the door opens and the steps pop out . Sally walks toward the bus but when she arrives at the door . LAUGHTER filters out of the Airstream . The Airstream moves another 20 feet then stops . Sally waits a full five seconds , then she blows the hair out of her eyes and , against her better judgment , moves cautiously forward , the file boxes getting heavier by the minute . Again , when she gets close . the Airstream moves . Sally , boiling mad as her coiffure wilts in the Texas sun , stops , and tosses down the file box in anger . The Airstream stops . LAUGHTER from inside and a few AD LIBS , i.e. - `` Okay , Okay . '' More LAUGHTER . Red steps out the door , turns his gaze back inside and the laughter and comments stop on a dime . Smiling slightly he turns to Sally , moves straight for the file box , picks it up and walks back to the Airstream . When he arrives at the steps he turns , looks to Sally , who stews and holds her ground .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>You comin' or not?<\/dialogue>\n    <scene_description>She hesitates only a moment before walking straight to Red , grabbing back her file box and entering in front of him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRSTREAM - DAY<\/stage_direction>\n    <scene_description>Sally enters , balancing the boxes , and glares at the faces surrounding her . A smiling Red , a grinning Adler messily gorging on a cinnamon roll , a nervous KAISER , the radio man , and , in the corner , a nasty smirk from Bobby Lee . When the Airstream takes off again , she loses her balance and drops one of the boxes . Adler and Suttle jump forward to help but she gives them the evil eye .<\/scene_description>\n    <character>SALLY<\/character>\n    <dialogue>I've got it.<\/dialogue>\n    <scene_description>She kneels down to pick it up and feels eyes on her . She looks up to the men staring at . Her skirt , raised a bit , exposing a thigh . She calmly stands and looks to Adler , a piece of cinnamon roll dangling on his chin .<\/scene_description>\n    <character>SALLY<\/character>\n    <dialogue>You've got shit on your face.<\/dialogue>\n    <scene_description>Red ca n't help but smile as Adler wipes at his face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RURAL ROAD - DAY<\/stage_direction>\n    <scene_description>The IMPALA BLASTS along , kicking up dust and dispersing crows as it heads into a one light township . It slows , however , before the main part of town and slides to a stop near a pay phone booth .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. IMPALA - DAY<\/stage_direction>\n    <character>JERRY<\/character>\n    <dialogue>Why the hell we stoppin'?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>You said you had a cousin near here.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>So give him a call. See if we can shack there til' things cool down.<\/dialogue>\n    <scene_description>Jerry thinks it over , leans forward and , in one quick swipe , grabs the keys from the ignition . Then he laughs and crawls out on his way to the phone booth . In the b.g. we see Jerry strut to the phone booth and pore through a thin directory . Phillip steals a glance at Butch , who watches his rear view mirror and grits his teeth .<\/scene_description>\n    <character>PHILLIP<\/character>\n    <dialogue>Why'd he take the keys?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>So I wo n't leave him.<\/dialogue>\n    <character>PHILLIP<\/character>\n    <parenthetical>( a tad hopeful . )<\/parenthetical>\n    <dialogue>Would you leave him?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Oh yeah.<\/dialogue>\n    <scene_description>In the b.g. Jerry rips the 20 page phone book in half and returns to the car , half pleased with himself . He tosses the keys to Butch , who starts the car and drives off .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Musta' moved. Prolly' could n't have heard'em anyway. Goddam ear's still bleedin'. You ever try that shit again.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>You were in the middle of threatenin' me.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( from the movies . )<\/parenthetical>\n    <dialogue>Ai n't a threat. It's a fact.<\/dialogue>\n    <scene_description>Butch reaches over , takes Phillip 's hand and places it on the steering wheel .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Here kid, take the wheel.<\/dialogue>\n    <scene_description>Phillip , scared at the prospect , nevertheless does his best to see over the dash and keep the wheel straight . Butch turns back over the seat to confront Jerry .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>In two seconds I'm gon na' break your nose. That's a threat.<\/dialogue>\n    <scene_description>Before Jerry has time to snicker Butch hits him full in the face and grabs the gun . Blood spurts from Jerry 's nose and the injured man cups his hands over the wound . Butch spins and retakes the wheel from a frightened Phillip .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>And that's a fact.<\/dialogue>\n    <scene_description>Instead of expressing outrage , Jerry slinks back down in the seat wearing a look of pure hatred .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I'm gon na' kill you for that.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>And that's a threat. Beginnin' to understand the difference?<\/dialogue>\n    <scene_description>Somethin' catches Butch 's eye and he turns and slows down and turns into .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RURAL STORE - DAY<\/stage_direction>\n    <scene_description>The Impala brakes to a dusty stop near the front of the store , which is bordered by a giant hay field .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMPALA - DAY<\/stage_direction>\n    <character>BUTCH<\/character>\n    <dialogue>Okay, Phillip, listen up. I'm gon na' run in here and get some smokes.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Get beer.<\/dialogue>\n    <scene_description>Butch hands Phillip the revolver .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Here, hold it like this. And point it right between his eyes.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>What the hell?<\/dialogue>\n    <character>BUTCH<\/character>\n    <parenthetical>( to Phillip . )<\/parenthetical>\n    <dialogue>If he so much as moves you pull the trigger. right here. Put your finger on it.<\/dialogue>\n    <scene_description>Jerry snickers and then laughs maniacally . Butch reaches over and cocks the pistol . Jerry 's guffaws stop on a dime .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Yer' a fuckin' crazy man.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>And that's a fact. I believe yer gettin' the hang of this.<\/dialogue>\n    <scene_description>Butch steps out of the car and heads for the market .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STORE - DAY<\/stage_direction>\n    <scene_description>Butch enters . A short fat man with a fishing cap is sweeping up .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>How - do. Where's yer' sodees?<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>Hot in the first aisle. Cold in the back, in the cooler.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMPALA - DAY<\/stage_direction>\n    <scene_description>Phillip 's slightly shaking hands hold the pistol pointed directly at Jerry 's head .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>You ever shot a gun before, boy?<\/dialogue>\n    <scene_description>No answer . Phillip steals a glance at the store , anxious for Butch to return .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Powww! It'll knock you on your ass.<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Be quiet, mister.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Naw. You ai n't never shot no gun before. Livin' in a house with three split tails. no Daddy around. You'll prolly' grow up queer, you know that?<\/dialogue>\n    <scene_description>A bead of sweat rolls down Phillip 's cheek .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Now I'm gon na' lean up here real slow, okay? So we can talk.<\/dialogue>\n    <scene_description>Jerry raises his hands , palms up and slowly leans forward in the back seat . Phillip 's hand quivers but he does n't pull the trigger .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>There we go. Now we can have a ` man to man.' You are a man, ai n't ya'?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STORE - DAY<\/stage_direction>\n    <scene_description>Butch dumps a six pack of RC Colas , a handful of Moon Pies , a handful of beef jerky and some gum on the counter .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMPALA - DAY<\/stage_direction>\n    <scene_description>Jerry 's chin is on the front seat now and his arms are draped over it .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Those are cute little underwears you got there, boy. Say does your mama sew yer' name in'em, initials or anything?<\/dialogue>\n    <scene_description>Jerry 's hand slowly reaches down to the white briefs . He places one finger in the front elastic waistband and slowly pulls it open .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Whatcha' got in there?<\/dialogue>\n    <scene_description>Jerry sneaks a peek .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Kinda' puny, ai n't it?<\/dialogue>\n    <scene_description>Phillip , diverted , looks down . In a flash Jerry grabs the gun .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>The hand is quicker than the eye.<\/dialogue>\n    <scene_description>Jerry flicks open the revolver , spins it - empty slots .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( re : Butch . )<\/parenthetical>\n    <dialogue>That sonofabitch. Hell's bells, no shells.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STORE - DAY<\/stage_direction>\n    <scene_description>The Old Man puts down his broom and ambles to the register .<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>This be all for ya'?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>This and a carton of Chesterfields.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Are those.38 shells? Gim me a box.<\/dialogue>\n    <scene_description>The Old Man puts the cigs and shells on the counter and starts to tally the bill on a notepad .<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>With deposit comes to four dollars eighty.<\/dialogue>\n    <scene_description>Butch reaches in his pocket and extracts the wad stolen from the convenience store . The Old Man takes note . Butch selects a five and places it on the counter .<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>Land's sake. What line of work you in?<\/dialogue>\n    <scene_description>The Old Man bags the goods , but Butch takes the shells and puts them in his coat pocket .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Used cars. Buy'em, fix'em up. Sold a Cadillac down in Madisonville this mornin'.<\/dialogue>\n    <character>OLD MAN<\/character>\n    <dialogue>Do n't say.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMPALA - DAY<\/stage_direction>\n    <scene_description>Jerry puts his gun hand around Phillip 's neck and pulls the sobbing boy closer . Jerry rests his face on Phillip 's neck .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Come over a little closer.<\/dialogue>\n    <scene_description>As Jerry groans , Phillip seizes the moment and bites Jerry hard on the ear . Jerry screams and drops the gun , which Phillip picks up and carries with him as he scurries out of the car and into the hay field . Jerry , in pain , now with both ears bleeding , crawls out of the back seat and gives chase .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD - DAY<\/stage_direction>\n    <scene_description>Phillip , still sobbing , runs for his life in the hay , which is a full foot taller than he . JERRY no longer stumbling , now grinning maniacally , gives chase , whistling as if calling for a lost puppy .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I'm gon na' find you boy. You best come here.<\/dialogue>\n    <scene_description>PHILLIP gun in hand , stumbles , falls , gets up , keeps running . He falls again and crawls to a stop . He wipes his tears and balls up on the ground trying to make himself invisible .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STORE - DAY<\/stage_direction>\n    <scene_description>Butch exits with a grocery sack . When he sees the car doors open he dumps the groceries in the front seat and looks to the field . HIS POV The hay rustles as Jerry moves through the field .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD - DAY<\/stage_direction>\n    <scene_description>Jerry , crouching , moves through the field - eyes peeled for any sign of Phillip . Phillip lies still . He hears the hay rustling near him and he looks up , squares his body and points the revolver at . Butch , who spots him , motions for him to stay put and holds out his hand for the gun . Phillip hands it over and watches while Butch reaches into the plaid jacket pocket , extracts a few shells and loads the .38 . JERRY a little frustrated now , but still moving forward .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( a whisper . )<\/parenthetical>\n    <dialogue>Hey boy. Hey boy. You better hope I do n't find ya'.<\/dialogue>\n    <scene_description>He spots something - a dash of color - and begins to crawl faster . He parts a thick batch of hay and looks up into the gun barrel and eyes of . BUTCH squatted down , who levels the revolver and closes one eye . Jerry laughs .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Whatcha' gon na' do? Hit me with it?<\/dialogue>\n    <scene_description>Butch reaches into the coat pocket with his free hand and shows a shell or two . Jerry 's grin drops .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( pleading . )<\/parenthetical>\n    <dialogue>Me'n you are friends!<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Thick as theives.<\/dialogue>\n    <scene_description>PHILLIP hears a GUNSHOT and runs for his life back toward the store .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKED IMPALA - DAY<\/stage_direction>\n    <scene_description>Phillip runs to the car and hides behind the tire opposite the store and field . In the b.g. we see Butch emerge from the field and walk toward the car . The Old Man , who also heard the shot , emerges from the store with a baseball bat . Butch arrives at the car , spots the Old Man and levels the revolver at him . Phillip is relieved when he hears Butch 's voice instead of Jerry 's .<\/scene_description>\n    <character>BUTCH<\/character>\n    <parenthetical>( to Old Man . )<\/parenthetical>\n    <dialogue>You got a phone?<\/dialogue>\n    <character>OLD MAN<\/character>\n    <dialogue>Naw.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Then go inside and lie down til' we're gone.<\/dialogue>\n    <scene_description>The Old Man meekly does so . Butch goes to the car door , opens it and motions to a frozen stiff Phillip .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Well. Get in.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY - DAY<\/stage_direction>\n    <scene_description>The truck and Airstream barrel down the highway .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRSTREAM - DAY<\/stage_direction>\n    <scene_description>The place is a functioning mobile headquarters now . Adler on the short wave and tacking up a map , Bobby Lee still in his corner , Red and Sally sitting across from one another at the `` kitchen table '' . In the rear section of the Airstream Red 's chair and a mini office for the Chief have been put together .<\/scene_description>\n    <character>ADLER<\/character>\n    <dialogue>Got a spot on'em. A store right outside of Benhur. About 20 miles from here.<\/dialogue>\n    <scene_description>Adler sets down the mike , sticks a tack on the map and stands back .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>All right. Push the roadblock on 288 north by 50 miles.<\/dialogue>\n    <scene_description>Kaiser calls in the instructions . -LRB- NOTE : Kaiser 's radio transmissions are not scripted but go on a lot of the time we 're in the Airstream . In addition , his and Adler 's direc - tions and missives to Bradley in the truck are not all scripted . -RRB-<\/scene_description>\n    <character>ADLER<\/character>\n    <dialogue>Ya' figger' they're that far along?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Hell, I dunno'and neither do they. They're jus' happy to be out. It's a high speed Sunday drive to them.<\/dialogue>\n    <character>ADLER<\/character>\n    <dialogue>Sunday drive. I like that. Never heard you use that one before, Red.<\/dialogue>\n    <scene_description>Sally is watching Red and listening to all of this with a troubled look on her face . Red notices .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>Somethin' eatin' at you?<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>It's. perhaps premature, but do you have an auxiliary roadblock plan for when they split up?<\/dialogue>\n    <scene_description>Everyone stares . No one ever questions Red .<\/scene_description>\n    <character>ADLER<\/character>\n    <dialogue>What makes you so sure they wo n't stay together?<\/dialogue>\n    <scene_description>Sally hesitates . Red notices .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>You got somethin' to say, spit it out.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>Their situation is one of accommodation. They wo n't be together long.<\/dialogue>\n    <scene_description>Silence . Sally continues .<\/scene_description>\n    <character>SALLY<\/character>\n    <dialogue>Haynes and Pugh are opposites. Haynes is a criminal's criminal - armed robbery, mano y mano confrontation. Pugh, on the other hand, has a rap sheet littered with molestation and petty crime. They'll split sheets soon.<\/dialogue>\n    <character>ADLER<\/character>\n    <parenthetical>( still on attack . )<\/parenthetical>\n    <dialogue>What about the hostages? They gon na' flip a coin to see who gets to keep who?<\/dialogue>\n    <scene_description>Red rises and walks to the sink . He rinses a spoon .<\/scene_description>\n    <character>SALLY<\/character>\n    <dialogue>It's happened before. Either way it's a dilemma they'll address soon.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>That's why we should address it now.<\/dialogue>\n    <scene_description>She looks to Red . He refuses to return her gaze .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>We do n't have a dilemma. And neither do they. They'll keep one hostage. and get rid of one, if they have n't already.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>Okay. which one?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>If there's a SNAFU, who's John Q. Public more likely to give a rat's ass about - an innocent boy or a goddam bureaucrat.<\/dialogue>\n    <scene_description>Red wipes the water off the spoon on his shirt and walks to his office in the back . Adler , Bobby Lee and Kaiser chuckle lightly at their boss 's snubbing of the female upstart in their midst . Sally 's face glows a bright red .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTOR HOME - BACK OFFICE<\/stage_direction>\n    <scene_description>Red sits in his office chair , pulls out the spoon and pours Geritol from a bottle into his coffee . He does n't even look up when Sally enters , a stern look on her face .<\/scene_description>\n    <character>SALLY<\/character>\n    <dialogue>We need to talk, Chief Garnett.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Call me Red.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>Red.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Why are you so hell - bent on embarassing me?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>I'm hell - bent on one thing. You hang around long enough you'll find that out. Til' then a tough backside and a sense of humor will get you through a lot.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>I have a fine sense of humor, but the one thing I wo n't do is be your straight man so you can play hero to a bunch of morons who think you're some kind of hillbilly Sherlock Holmes.<\/dialogue>\n    <scene_description>Red sips from the mug calmly then groans , his face contorted .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>Awful. Arthur Godfrey says it keeps ya' young, but I'm not sure it's worth it.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>I'd like an answer.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>This yer' first time out of an office?<\/dialogue>\n    <scene_description>She refuses to answer .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>Thought so. What'd ya' expect ya' signed on for?<\/dialogue>\n    <scene_description>Adler , Bobby Lee and Kaiser all watch the discussion , smiles on their faces . Sally abruptly closes the door .<\/scene_description>\n    <character>SALLY<\/character>\n    <dialogue>You think I'm what? Some dumb schoolgirl who wandered into the boy's locker room? Well you're wrong. I do n't mean to boast, but I happen to be one of the two most intelligent people involved in this fiasco.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Did n't ask that. Asked what you expected.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>I expected to be allowed to do the job assigned to me by the Governor.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>I happen to like the Governor, hunt quail together every year. But deep down he and I know that win, lose or draw this is my ship, not his.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>The Governor as chief executive officer of this state bears ultimate responsibility for.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Bullshit. Responsibility lies with the one that loses sleep ; the one with the most ulcers. This mess turns bloody - and it might - all it's gon na cost the Governor is a few votes! Me, I'm the one that's.<\/dialogue>\n    <scene_description>Red catches himself about to get too personal . He takes another swig of his coffee\/geritol . Sally softens her stance .<\/scene_description>\n    <character>SALLY<\/character>\n    <dialogue>You're the one that what?<\/dialogue>\n    <scene_description>But Red side - steps .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>Tell ya' what. You think I'm makin' a wrong turn you speak up. Might not agree, but I'll listen. As far as stepped on toes and wounded pride, I'll buy everyone a drink when we head for home. Not until. I got more to worry about.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>That sound fair to you?<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Well okay then.<\/dialogue>\n    <scene_description>Sally turns , about to leave .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>So who's the other one?<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>Other one?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>If yer' one brain, who's the other?<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>Haynes. He was tested in prison.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMPALA - DAY<\/stage_direction>\n    <scene_description>Butch drives and catches an occasional glance at Phillip who sits quietly , but who , too , steals looks at his captor between swigs of RC Cola . He finishes off the bottle . Butch reaches in the sack for another , pops the top on the dashboard and hands it to Phillip .<\/scene_description>\n    <character>PHILLIP<\/character>\n    <dialogue>Thankyew.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Are you gon na' shoot me?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>No. Me'n you are friends.<\/dialogue>\n    <scene_description>Butch realizes that in Phillip 's eyes he and Jerry were probably friends .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>If I was choosin' a runnin' buddy, I'd take you over him any day of the week.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RURAL STORE - DAY<\/stage_direction>\n    <scene_description>The RV slides to a stop in the gravel parking lot which is full of state and local police . Red exits first , followed by the others . A LOCAL SHERIFF walks up to greet .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>We got a positive I.D?<\/dialogue>\n    <character>LOCAL SHERIFF<\/character>\n    <dialogue>Yessir, with only the boy as hostage. But not five minutes ago we found something else.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAY FIELD - DAY<\/stage_direction>\n    <scene_description>PAN FROM a fingertip UP an arm and TO the face of Jerry Pugh . A clean bullethole has left him with a third eye , a bloody back and an entourage of late summer flies . We hear the CLICK of a photographer 's CAMERA . BOOM UP TO Red , Local Sheriff and other bystanders .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>Least now we know who's in charge.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMPALA - DAY<\/stage_direction>\n    <scene_description>Butch notices that Phillip is pretty somber as he tugs on another RC .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Whattaya' thinkin' about?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Nuthin'.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>If I guess you tell me?<\/dialogue>\n    <scene_description>Phillip nods .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>You thinkin' about yer mama?<\/dialogue>\n    <scene_description>Phillip sits still . That was it . Butch brings the car to a stop . He points to the horizon . Desolate .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>I hear ya', Phillip, but look around. I ca n't very well leave you here, can I?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RURAL ROAD - DAY<\/stage_direction>\n    <scene_description>The Impala rests in the fork of a dirt road .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMPALA - DAY<\/stage_direction>\n    <character>BUTCH<\/character>\n    <dialogue>Lem me' ask you somethin'. You right or left handed?<\/dialogue>\n    <scene_description>Phillip meekly holds up his right hand . The car races forward .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Then that's the way we'll go. You ever ridden in a time machine before?<\/dialogue>\n    <scene_description>Phillip shakes his head .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Sure you have. Whattaya' think this is?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>A car.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Yer' lookin' at this thing bassackwards. This is a 20th Century time machine. I'm the captain and you're the navigator.<\/dialogue>\n    <scene_description>Butch points forward through the dash .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Out there. that's the future.<\/dialogue>\n    <scene_description>Butch taps on the rearview mirror .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Back there. that's the past. If life's moving too slow and you wan na' project yerself into the future you step here on the gas. See?<\/dialogue>\n    <scene_description>He does so and the Impala surges forward .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>And if yer' enjoyin' the moment yer' in, well hell, just step on the brake here and you can slow it down.<\/dialogue>\n    <scene_description>Butch brings the car to a complete and dusty stop .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>This is the present, Phillip. Enjoy it while it lasts.<\/dialogue>\n    <scene_description>Then he laughs uproariously and steps on the gas .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - DAY<\/stage_direction>\n    <scene_description>The Impala spins out , kicking dirt in all directions .<\/scene_description>\n    <character>BUTCH<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Yessir. Time travelin' through Texas! We got to find us a Ford. My daddy always drove Fords, you know that?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRSTREAM - DAY<\/stage_direction>\n    <scene_description>The Airstream sits in the parking lot of the store . Bradley and Suttle sit up front in the truck .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCK - DAY<\/stage_direction>\n    <scene_description>Bradley turns the knob on an intercom speaker system next to the radio .<\/scene_description>\n    <character>SUTTLE<\/character>\n    <dialogue>It's an intercom speaker system. You can get and give instructions to and from the rear of the vehicle.<\/dialogue>\n    <character>BRADLEY<\/character>\n    <dialogue>How's it work?<\/dialogue>\n    <character>SUTTLE<\/character>\n    <dialogue>You push the power button but if you've got the volume turned up.<\/dialogue>\n    <scene_description>Bradley pushes the power button . The SYSTEM SQUAWKS LOUDLY and then CREAKS TINNILY . Speakers blown .<\/scene_description>\n    <character>SUTTLE<\/character>\n    <dialogue>you'll blow the speakers. Sheeeit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRSTREAM - DAY<\/stage_direction>\n    <scene_description>Red cringes , his ears still ringing from the squawk , and turns to stare at the front of the RV .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCK - DAY<\/stage_direction>\n    <character>BRADLEY<\/character>\n    <parenthetical>( quiet ; to Suttle . )<\/parenthetical>\n    <dialogue>This thing's prolly' got a warranty. You oughta' make a list of all the things that are wrong.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRSTREAM - DAY<\/stage_direction>\n    <scene_description>Red shakes his head and stands in front of the map , placing thumbtacks at crossroads indicated by the circle mark .<\/scene_description>\n    <character>ADLER<\/character>\n    <dialogue>That oughta' put his pecker in a sling, huh, Red?<\/dialogue>\n    <parenthetical>( remembers Sally . )<\/parenthetical>\n    <dialogue>Sorry, ma'am.<\/dialogue>\n    <character>SALLY<\/character>\n    <parenthetical>( ignoring Adler . )<\/parenthetical>\n    <dialogue>Should n't these be roadblocked as well?<\/dialogue>\n    <scene_description>She points to several other unmarked roads .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>Sooner or later he'll get on a main road. We do n't got the manpower to roadblock every farm to market.<\/dialogue>\n    <character>ADLER<\/character>\n    <dialogue>In a perfect world, Miss Gerber, we'd lock arms and thrash the bush til' he turned up.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>In a perfect world things like this would n't happen in the first place.<\/dialogue>\n    <scene_description>Adler hears something on his headset , turns to Red .<\/scene_description>\n    <character>ADLER<\/character>\n    <dialogue>Locals are heading out. Wan na' follow?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Let's sit tight. He'll turn up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RURAL ROAD - DAY<\/stage_direction>\n    <scene_description>The Impala travels slowly along the road until it edges to a stop by the entrance to a small farmhouse with a truck and car parked in a long dirt driveway . A farmer on a combine works a small field .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PLYMOUTH - DAY<\/stage_direction>\n    <character>BUTCH<\/character>\n    <dialogue>Ok, Phillip, we're gon na do some car shoppin'. You ever play cowboys n' Injuns? See that Ford sedan? Now I want you to sneak on over there like an Injun and take a peek and see if the keys is in it.<\/dialogue>\n    <scene_description>Phillip hesitates .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Do n't have to if you do n't wan na. but I'd appreciate it. You bein' the new navigator and all.<\/dialogue>\n    <scene_description>Phillip thinks it over then opens the door and slips out .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Hey, Phillip, check for a radio, too.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FARMHOUSE - DAY<\/stage_direction>\n    <scene_description>Phillip , still in his skivvies , legs cut up and muddied from his escape from Jerry , sneaks up to the car and quietly peers into the open window . The keys dangle when his small hand touches them . Phillip closes the door , looks around and then runs pell - mell to the passenger window of the Impala .<\/scene_description>\n    <character>PHILLIP<\/character>\n    <dialogue>It's got keys and a radio. I checked.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Good man.<\/dialogue>\n    <scene_description>Phillip holds his crotch and stamps his feet .<\/scene_description>\n    <character>PHILLIP<\/character>\n    <dialogue>Can we stop at a fillin' station.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>What for?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Number one.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>This here's nature, Phillip. Pee in the ditch.<\/dialogue>\n    <scene_description>Phillip scrambles to the ditch to relieve himself while Butch steps out of the Impala , tosses the keys into the field and walks toward the Ford . The FARMER stops his tractor and notices Butch and Phillip . Phillip , despite his prior urgency , is having trouble coaxing relief . Butch slides into the Ford , pumps the gas pedal and turns the key . The ENGINE GRUMBLES and DIES . The Farmer is walking now , slowly and then at a trot as he realizes what 's happening . Phillip finally starts to pee . Butch cranks again and again but the Ford is flooded .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Start, you sonofabitch!<\/dialogue>\n    <scene_description>The Farmer runs faster , comes closer .<\/scene_description>\n    <character>FARMER<\/character>\n    <dialogue>Hey, that's my car! Hey!<\/dialogue>\n    <scene_description>Butch floors the gas to clear the flood and the ENGINE finally STARTS . He throws it into reverse and peels out backwards into the road beside the ditch where Phillip continues to relieve himself .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Get in the car, Phillip!<\/dialogue>\n    <scene_description>The Farmer , only 30 yards or so away , is racing toward them madder than a wet hen . Phillip tries to hurry but the RC continues to run through him .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Phillip! Get in the car!<\/dialogue>\n    <scene_description>Phillip pulls his underwear up and races to the car . He leaps into the open passenger door at the same moment Butch steps on the gas and the Farmer arrives and grabs onto the door as it closes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORD - DAY<\/stage_direction>\n    <scene_description>The CAR is SCREECHING down the road but the Farmer holds on for dear life and auto . He claws at Phillip , who does his best to fend off flailing hands and fingers . Butch reaches under the seat for and grasps the pistol . Phillip sees what 's about to happen and bites the Farmer 's hand as hard as he can .<\/scene_description>\n    <character>FARMER<\/character>\n    <dialogue>Aaaaaayyyyyy!<\/dialogue>\n    <scene_description>The Farmer releases his grip on the door and falls backward , summersaulting into the adjacent ditch . Butch places the gun back under the seat .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Goddam, boy, how many RC's did you drink anyway?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Four.<\/dialogue>\n    <scene_description>Butch shakes his head and laughs .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>One thing's for sure. You got one helluva set of chompers.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCK - DAY<\/stage_direction>\n    <scene_description>Sitting still . Bradley tries to light a cigarette with the lighter but gets no heat .<\/scene_description>\n    <character>BRADLEY<\/character>\n    <parenthetical>( to Suttle . )<\/parenthetical>\n    <dialogue>Lighter do n't work. Put that on the list.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRSTREAM - DAY<\/stage_direction>\n    <scene_description>Bobby Lee sits alone in the back corner of the main room of the RV . He just sits and stares , occasionally smiling cynically at Sally . Adler takes the latest info off the radio while the others listen in .<\/scene_description>\n    <character>ADLER<\/character>\n    <parenthetical>( into radio . )<\/parenthetical>\n    <dialogue>Highway 16 north. Four miles south of Desdemona. Got it.<\/dialogue>\n    <parenthetical>( to Red . )<\/parenthetical>\n    <dialogue>Stole a vehicle.<\/dialogue>\n    <scene_description>Kaiser radios up front , the ENGINE STARTS and the Airstream moves .<\/scene_description>\n    <character>RED<\/character>\n    <parenthetical>( to Adler . )<\/parenthetical>\n    <dialogue>What kinda' shape's it in?<\/dialogue>\n    <character>ADLER<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>The Ford he stole.<\/dialogue>\n    <character>ADLER<\/character>\n    <dialogue>Owner told the locals they only drove it to church, but it does have a bad emergency brake.<\/dialogue>\n    <parenthetical>( to Sally . )<\/parenthetical>\n    <dialogue>How'd ya' know it was a Ford?<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>He likes Fords.<\/dialogue>\n    <scene_description>Adler looks at the map .<\/scene_description>\n    <character>ADLER<\/character>\n    <dialogue>Looks like you was right, Red. He's off the farm to market and onto a spur. Whattaya' wan na' do?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Beef up the I - 20 roadblock.<\/dialogue>\n    <scene_description>Adler gets more news through the headsets .<\/scene_description>\n    <character>ADLER<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Red, the locals wan na' know if they're to take a clean shot if they get one?<\/dialogue>\n    <scene_description>Red stares out the window for what seems like an eternity .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Adler looks quizzically at Red and pulls off the headphones .<\/scene_description>\n    <character>RADIO VOICE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Come back? Come back Mobile One. Adler, are you there?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Tell'em what I said.<\/dialogue>\n    <character>ADLER<\/character>\n    <parenthetical>( into mike . )<\/parenthetical>\n    <dialogue>Uh. no.<\/dialogue>\n    <character>RADIO VOICE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Was that a negative?<\/dialogue>\n    <character>ADLER<\/character>\n    <dialogue>No, er, yes. No means negative. Same thing. Over.<\/dialogue>\n    <scene_description>Red sees Sally peering at him over the top of her file . He glances around at the other sets of eyes .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>I do n't want some half - ass Sergeant York taking pot shots with a deer rifle.<\/dialogue>\n    <scene_description>Adler puts the headphones back on . Bobby Lee smirks a bit .<\/scene_description>\n    <character>SALLY<\/character>\n    <dialogue>It's the only thing to do. He's got the child with him.<\/dialogue>\n    <scene_description>Red gives her a look that says , `` Do n't defend me '' .<\/scene_description>\n    <character>BOBBY LEE<\/character>\n    <parenthetical>( to Sally . )<\/parenthetical>\n    <dialogue>I suppose you figger' he'll jus' give up.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>Maybe, maybe not.<\/dialogue>\n    <character>BOBBY LEE<\/character>\n    <dialogue>Well now there's a safe bet.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>I'll give you a safe bet. The boy's in better hands now than he was.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>The third eye Pugh's sportin' on the way to the morgue shouts otherwise.<\/dialogue>\n    <scene_description>Sally flashes Red a look back . Bobby Lee rises and moves past Red on his way to the toilet .<\/scene_description>\n    <character>BOBBY LEE<\/character>\n    <parenthetical>( casually . )<\/parenthetical>\n    <dialogue>Then why not shoot to kill.<\/dialogue>\n    <scene_description>Red just stares at Bobby Lee as the younger man moves slowly past him to the toilet . Adler on the radio .<\/scene_description>\n    <character>ADLER<\/character>\n    <parenthetical>( to Red . )<\/parenthetical>\n    <dialogue>They've forwarded the stolen vehicle license to the roadblocks. You still wan na' go to the farm?<\/dialogue>\n    <scene_description>Red pulls out a package of Red Man chewing tobacco and mulls over the question while he slaps a wad into his cheek .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>Yeah. I got ta' hunch.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORD - DAY<\/stage_direction>\n    <character>BUTCH<\/character>\n    <dialogue>You got blue eyes do n'tcha', Phillip? Never met a blue - eyed Phillip before. Who you named after?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>My daddy.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>You and your old man get along all right?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Yeahsir.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Toss the ball around, play grab - ass in the yard, that sorta' thing?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Nawsir.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Why the hell not?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>He ai n't around, really.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Well he is or he ai n't. When's the last time you saw him?<\/dialogue>\n    <scene_description>Phillip shrugs .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Me'n you got a lot in common, Phillip. The both of us got blue eyes, we both like RC Cola and neither one of us has an old man worth a damn.<\/dialogue>\n    <character>PHILLIP<\/character>\n    <parenthetical>( a bit defensive . )<\/parenthetical>\n    <dialogue>My Mama says he'll prolly' come back. Prolly' when I'm ten or so.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Well. she's lyin' to ya' pure and simple. He ai n't never comin' back.<\/dialogue>\n    <scene_description>Disappointment registers on the boy 's face .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Guys like us, Phillip, we got ta' be on our own. Seek foolish destiny, that sorta' thing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GAS STATION - DAY<\/stage_direction>\n    <scene_description>The Ford pulls off the dusty road and into the lone pump in this dilapidated petrol mirage . A BUCK TOOTH BOY , 15 , in overalls steps to the window .<\/scene_description>\n    <character>BOY<\/character>\n    <dialogue>What can I do ya' for?<\/dialogue>\n    <character>BUTCH<\/character>\n    <parenthetical>( to Phillip . )<\/parenthetical>\n    <dialogue>Tell him your name.<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Phillip.<\/dialogue>\n    <character>BOY<\/character>\n    <dialogue>Fill - er - up it is.<\/dialogue>\n    <scene_description>The attendant starts to pump the gas .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>See there! All you got ta' do is say your name and people are waiting on you hand and foot. Like a goddam king or somethin'.<\/dialogue>\n    <scene_description>Phillip ca n't help but smile at the notion .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FARMHOUSE - DAY<\/stage_direction>\n    <scene_description>Bradley and Suttle lean against the parked RV , chatting .<\/scene_description>\n    <character>BRADLEY<\/character>\n    <dialogue>You responsible for engine maintenance on this thing?<\/dialogue>\n    <character>SUTTLE<\/character>\n    <dialogue>Uh, yeah. I'm the full time driver.<\/dialogue>\n    <scene_description>Bradley shakes his head . `` Too bad '' .<\/scene_description>\n    <character>SUTTLE<\/character>\n    <dialogue>What? Why?<\/dialogue>\n    <character>BRADLEY<\/character>\n    <dialogue>You notice how it keeps wanting to slip a bit goin' into second. Feels to me like somebody's been a little heavy - footed with the clutch.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I'd take care of that if I was you.<\/dialogue>\n    <scene_description>PAN TO : an ambulance door opens and the Farmer , strapped in , is rolled toward it as his wife , sobbing , attends to him . Several local police scour the surrounding field , walking four feet apart , looking for what they hope they wo n't find . Red leans on the trunk of the Impala , chews and spits on the ground . He sniffs the air . Unsavory . Adler strides up from the field .<\/scene_description>\n    <character>ADLER<\/character>\n    <dialogue>No bodies this time, thank Gawd.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>You got the keys to this thing?<\/dialogue>\n    <character>ADLER<\/character>\n    <dialogue>Uh. naw.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Get me a crowbar.<\/dialogue>\n    <parenthetical>( to Sally . )<\/parenthetical>\n    <dialogue>You might wan na' wait in the boat.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>No thank you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUNK - DAY<\/stage_direction>\n    <scene_description>But it 's black as night . A CROWBAR CRANKS at the lock until the trunk blasts open like a bottletop . A blast of light gives way to the silhouetted faces of Red , Adler and Sally , who turns and walks away in nauseous disgust .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>Well.<\/dialogue>\n    <scene_description>THEIR POV - OPEN TRUNK In it lies the crumpled , bent , bloody remains of Larry , the prison employee , the original hostage .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>there's our bureaucrat.<\/dialogue>\n    <scene_description>RED spits a chaw , turns and walks to the RV . Near the entrance Sally is heaving .<\/scene_description>\n    <character>RED<\/character>\n    <parenthetical>( to no one in particular . )<\/parenthetical>\n    <dialogue>It's sure nice to know the boy's in good hands.<\/dialogue>\n    <scene_description>Sally straightens herself , ready to bite back , but Red 's face is soft . He offers a handkerchief . She takes it .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>Gallows humor, Sally. Without it we'd all be heavin'.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SMALL TOWN (NOODLE, TEXAS) - DAY<\/stage_direction>\n    <scene_description>The Ford slides down the Main Street and into a side alley next to a Department Store .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORD - DAY<\/stage_direction>\n    <character>BUTCH<\/character>\n    <dialogue>You ready to get out of those skivvies and into some britches?<\/dialogue>\n    <scene_description>Phillip nods .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Well all right then. But first we got ta' come up with some A.K.A.'s, fake identities, ya' know. Names to call each other when we're around other folks.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Go ahead and think one up. Whatever name you want.<\/dialogue>\n    <scene_description>Phillip is amused by the sport of it all .<\/scene_description>\n    <character>PHILLIP<\/character>\n    <dialogue>Any name I want?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STORE FRONT - ESTABLISHING - DAY<\/stage_direction>\n    <scene_description>A small time Dry Goods store with a sign over the entrance proclaiming : `` FRIENDLY 'S - The Friendliest Store in Texas ! ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRIENDLY'S - DAY<\/stage_direction>\n    <scene_description>A small , well - organized country dry goods store with a dozen or so aisles carrying everything from DDT to used boots . A long counter at the front of the store is backed by a small office with a large glass window that gives the Manager , MR. WILLITS , 45 , bespectacled , anal - retentive , a clear view of the store . A nuclear family with two kids exits the store just as Butch and Phillip enter . Butch holds the door open and smiles at them . They say `` thanks '' but ca n't help but notice Phillip , cowering behind Butch , still clad in his underwear . He hides behind a nearby display which reads : Cast Your Vote For Friendly 's Friendliest Clerk ! A clerk , LUCY , 30 , holding a handful of shoeboxes notices their entrance . She 's schoolmarmish with a smile that looks like it 's painted on .<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Well, hello there and welcome to Friendly's. Looks like the little fella' needs some pants.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>As a matter of fact. Shoes and new skivvies, too. He'll tell you his size. Go with the lady, Buzz.<\/dialogue>\n    <scene_description>Phillip , still in somewhat of a daze , does n't recognize his own `` name '' .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Buzz!<\/dialogue>\n    <scene_description>Phillip snaps to , cracks a smile at Butch and follows the lady to the children 's section of the store .<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Buzz, what a cute name. Like a bee.<\/dialogue>\n    <scene_description>BUTCH walks past the cash register , gives the clerk behind the desk a wink and proceeds to an aisle which features hardware , rope , tape , nails , etc. . He stoops and grabs a shank . with his hands he grips the rope tight and jerks it taut . CHILDREN 'S AISLE Lucy is holding jeans up to Phillip 's waist .<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>It'd be easier if I knew your size, but we'll get it right.<\/dialogue>\n    <scene_description>Phillip 's eye catches something . HALLOWEEN COSTUME DISPLAY on a circular rack with shelves . Hanging prominantly is a Casper the Friendly Ghost costume . Above it a sign reads : `` MARKED DOWN - Get the Jump on Next Year ! '' CLOSEUP - PHILLIP mesmerized by the display . BUTCH takes a roll of electrician 's tape . He tears off a strip , attaches it to the back or his hand and tugs . It holds tight . LUCY kneeling , looking for sizes , selects a pair and turns to find Phillip gone . She spins around and smiles when she sees . PHILLIP wearing the Casper mask .<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Why look. It's a friendly ghost. Say ` Boo.'<\/dialogue>\n    <character>PHILLIP<\/character>\n    <parenthetical>( unconvincingly . )<\/parenthetical>\n    <dialogue>Boo.<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Not very scary but you'll have a whole year to work on it if your Daddy lets you have it. Good price, too. What'd you go as this year?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>A bandit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAIN STREET - DAY<\/stage_direction>\n    <scene_description>A local police car cruises slowly , spots the Ford parked in the alley and comes to a halt .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE CAR - DAY<\/stage_direction>\n    <scene_description>The cop , TERRANCE , 25 , who only started last month after he flunked out of Texas A&amp;M , checks the plates against a notepad on his dash .<\/scene_description>\n    <character>TERRANCE<\/character>\n    <parenthetical>( realizing his find . )<\/parenthetical>\n    <dialogue>Aw. shit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRIENDLY'S - DAY<\/stage_direction>\n    <scene_description>Butch , with a handful of supplies , including the rope and tape , makes his way to the register . He 's greeted there by PAULA , to whom he earlier winked . She 's 25 , country cute , and wears a fake smile that rivals Lucy 's . Butch reaches for and tries on a pair of sunglasses .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Whattaya' think?<\/dialogue>\n    <character>PAULA<\/character>\n    <dialogue>Look good.<\/dialogue>\n    <scene_description>He adds them to the pile of stuff .<\/scene_description>\n    <character>PAULA<\/character>\n    <dialogue>Will that be all for you today?<\/dialogue>\n    <scene_description>Butch nods and hands over the goods .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>You folks are about the grinninest bunch I ever seen.<\/dialogue>\n    <scene_description>Paula laughs , then drops her grin , looks behind her to see Mr. Willits is watching , and whispers .<\/scene_description>\n    <character>PAULA<\/character>\n    <dialogue>Old Man Willits holds a contest ever' month. The friendliest clerk gets a $ 20 bonus.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>There's a ballot box at the front.<\/dialogue>\n    <scene_description>BEHIND GLASS Mr. Willits adjusts his black and white TV and settles on a local news broadcast .<\/scene_description>\n    <character>NEWSCASTER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( on TV . )<\/parenthetical>\n    <dialogue>. the hunt continues for Butch Haynes, who escaped last night from the maximum security unit over in Huntsville. Haynes, six - one, 185 pounds, with brown hair is considered armed and dangerous. He was last seen.<\/dialogue>\n    <scene_description>CHECKOUT COUNTER Paula checks Butch 's items as Lucy and Phillip emerge from an aisle and drop a pair of jeans and sneakers onto the counter .<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Here's the clothes, but Buzz has his heart set on a Halloween costume for next year. It is half off.<\/dialogue>\n    <scene_description>MR. WILLITS pays more attention to Butch as the newscast continues .<\/scene_description>\n    <character>NEWSCASTER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Haynes is believed to have an 8 - year - old boy with him as hostage.<\/dialogue>\n    <scene_description>CLOSEUPS - BUTCH AND WILLITS Each checking out the other .<\/scene_description>\n    <character>BUTCH<\/character>\n    <parenthetical>( to Phillip . )<\/parenthetical>\n    <dialogue>We'll get it next time. Go get in the car, son.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAIN STREET - DAY<\/stage_direction>\n    <scene_description>Terrance pulls his black and white to one end of Main Street and parks it across the street , blocking it .<\/scene_description>\n    <character>TERRANCE<\/character>\n    <parenthetical>( into radio . )<\/parenthetical>\n    <dialogue>Okay, Pete, I'm all set down here. You?<\/dialogue>\n    <scene_description>ANOTHER COP PETE , 40 , probably Terrance 's uncle , slides his black and white to the opposite end of the street and puts it in park .<\/scene_description>\n    <character>PETE<\/character>\n    <parenthetical>( into radio . )<\/parenthetical>\n    <dialogue>Copasetic. Let's just keep him tied up til' the state boys get here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RV - DAY<\/stage_direction>\n    <scene_description>Adler takes the urgent message off the radio and turns to the group .<\/scene_description>\n    <character>ADLER<\/character>\n    <dialogue>They've got him penned down in Noodle, north of Abilene.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRIENDLY'S - AT COUNTER - DAY<\/stage_direction>\n    <scene_description>Paula bags the items , including the jeans . CLOSEUP - WILLITS staring straight at Butch . CLOSEUP - BUTCH shakes his head at Willits - `` Do n't even think about it '' . PHILLIP walks toward the front door but stops short when he sees , once again , the Halloween display . BUTCH pays Paula , then stuffs a $ 20 in her blouse .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>You are truly the friendliest clerk I ever met.<\/dialogue>\n    <scene_description>She blushes a `` thank you '' as Butch makes a hasty retreat to the door .<\/scene_description>\n    <character>PAULA<\/character>\n    <parenthetical>( an afterthought . )<\/parenthetical>\n    <dialogue>Thank you for shopping Friendly's!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAIN STREET - DAY<\/stage_direction>\n    <scene_description>Butch exits the store , spots the blackandwhites , and slides into the middle of a group of old - timers moving down the sidewalk at a leisurely pace .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRIENDLY'S - DAY<\/stage_direction>\n    <scene_description>Phillip stands at the costume display , looks around , then grabs a Casper costume carton , stuffs it under his T - shirt and walks quickly to the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIDE ALLEY - DAY<\/stage_direction>\n    <scene_description>Butch slides away from the Old Timers and into the Ford .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORD - DAY<\/stage_direction>\n    <scene_description>Butch checks the back seat . No Phillip , no Buzz . He checks the rear view mirror and sees . IN REAR - VIEW MIRROR Pete , his cherry top spinning , pulls in behind Butch , blocking his entrance to the main street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIDE ALLEY - DAY<\/stage_direction>\n    <scene_description>Butch throws the Ford into reverse and steps on the gas . Pete not expecxting this kind of pace , at least not from the get - go , leaps into his back seat . The Ford rams into the black and white pushing it backward into a lightpole and a truck . The TRUCK 'S OWNER , carrying mulch from the feed store , watches as his truck slides toward him .<\/scene_description>\n    <character>TRUCK OWNER<\/character>\n    <dialogue>Dammit, Pete!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRIENDLY'S - DAY<\/stage_direction>\n    <scene_description>Phillip steps out the door . He spots the crash and watches as . The Ford blasts back into the alley in a hail of dust .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORD - DAY<\/stage_direction>\n    <scene_description>Butch , driving like a maniac , turns into the back alley and steps on it . All at once he mashes on the BRAKES and comes to a SQUEALING stop . HIS POV The alley is a dead end . BACK TO SCENE Butch rips the CAR into reverse and SQUEALS all the way back to the original side alley .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRIENDLY'S - DAY<\/stage_direction>\n    <scene_description>Phillip stands frozen , scared , not knowing what to do but keeping a look out on the street for the Ford .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRIENDLY'S - DAY<\/stage_direction>\n    <scene_description>Lucy and Paula peer from behind the counter at Phillip and the fracas taking place in the street .<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>I knew something was wrong from the get - go.<\/dialogue>\n    <scene_description>They spot Phillip standing a few feet in front of the door .<\/scene_description>\n    <character>PAULA<\/character>\n    <dialogue>Look, he left his little boy.<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>And look, the little rascal has. he's no better than.<\/dialogue>\n    <character>PAULA<\/character>\n    <dialogue>What?!<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>He's got that Casper costume. He stole it!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAIN STREET - DAY<\/stage_direction>\n    <scene_description>The FORD emerges from the side alley once more and SQUEALS onto Main Street . TERRANCE ca n't believe his eyes . HIS POV - FORD is COMING STRAIGHT FOR him , hell bent on destruction and picking up speed . BACK TO SCENE Terrance sticks his black and white in rapid reverse and backs down the street at 40 mph .<\/scene_description>\n    <character>PETE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( on radio . )<\/parenthetical>\n    <dialogue>Get the hell outta' there. We ca n't lose both vehicles!<\/dialogue>\n    <scene_description>TERRANCE 'S POV - FORD is GAINING ON him - he can actually SEE Butch 's grimaced face - when suddenly it goes into a dusty fishtail , does a 180 , and barrels in the OPPOSITE direction . PHILLIP antsy as hell , stuck , wondering how this whole thing is going to play out . He 's suddenly aware of the peering eyes behind him . Lucy bangs on the glass .<\/scene_description>\n    <character>LUCY<\/character>\n    <parenthetical>( yells . )<\/parenthetical>\n    <dialogue>Buzz! You little shit. Shoplifting is a crime!<\/dialogue>\n    <scene_description>BUTCH checks his mirror , looks ahead , spots Phillip and blasts straight for the front door of the store . He SKIDS to a halt and stares right at Phillip .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Up to you, Buzz.<\/dialogue>\n    <scene_description>PHILLIP He 's frozen for a second , his knees knocking , teeth chattering , the works . Lucy appears behind him and the glass door .<\/scene_description>\n    <character>LUCY<\/character>\n    <parenthetical>( to Phillip . )<\/parenthetical>\n    <dialogue>You'll never get away with this, little mister!<\/dialogue>\n    <scene_description>Phillip dashes to the Ford and makes a swimmer 's starting dive into the open passenger window . Butch pulls his GUN and FIRES once into the glass door above the clerk 's heads .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRIENDLY'S - DAY<\/stage_direction>\n    <scene_description>The GLASS DOOR and surrounding WINDOWS SHATTER into a million pieces , sending Lucy , Paula , makeup , pantyhose , grins and all into a heap on the floor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>The FORD SQUEALS out down the street . Pete crawls out from behind the seat and ducks again just as . the Ford sideswipes the black and white for good measure and fishtails out of town . Pete crawls over the back seat again as his radio SQUAWKS .<\/scene_description>\n    <character>TERRANCE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Pete? Pete? You okay?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRIENDLY'S - DAY<\/stage_direction>\n    <scene_description>Paula emerges from behind the counter and stares at Lucy , on the ground amidst glass and mayhem .<\/scene_description>\n    <character>PAULA<\/character>\n    <dialogue>Say what you want. I'm keepin' the twenty.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RURAL ROAD - DAY<\/stage_direction>\n    <scene_description>Two young , country boys stand by the side of the road . One , FRANK , tosses an egg from hand to hand while he watches the horizon . The other , BILLY , approaches , crawling through a barb wire fence dragging something behind him .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Hurry up. Someone's comin'.<\/dialogue>\n    <scene_description>ON HORIZON Sure enough , a hail of dust signals the approach of a vehicle a mile or so away . Billy crawls into the ditch next to Frank . We see what he 's dragged from the field - a scarecrow with a floppy hat and red bandana .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Stick it in the road. Hurry up.<\/dialogue>\n    <scene_description>Billy does so , propping the scarecrow into a sitting position with a forked stick . Then he races back to the ditch and slides in next to Frank to divide the eggs .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>We got seven eggs. I get four to throw and you get three. since it was my idea.<\/dialogue>\n    <scene_description>Billy nods .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Here they come. Aim for windows and get ready to run.<\/dialogue>\n    <scene_description>The car crests the hill , followed by another , and another and a final one , all Highway Patrol , all with their lights on and SIRENS WAILING .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Oh shit!<\/dialogue>\n    <scene_description>The cars do n't even slow at the sight of the scarecrow , blast - ing right through it , sending hay , hat , limbs and all , flying . The scarecrow , or what 's left of it , lands in a ditch next to the boys . In unison they breathe a sigh of relief , look at each other , drop the eggs and hightail it for home .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORD - DAY<\/stage_direction>\n    <scene_description>The car is parked in a field of some sort . Butch reaches in the back seat for the bag of clothing .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Here, take them nasty skivvies off and put on yer' jeans.<\/dialogue>\n    <scene_description>He spots Phillip 's not so successful effort to hide the costume box .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Whatya' got there?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>A ghost suit.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>From the store? You kyped it?<\/dialogue>\n    <scene_description>Phillip nods , expecting the worst .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Well, hell, Phillip, put it on.<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>You ai n't mad?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Let's unnerstan' each other here. Stealin's wrong, ok? But if there's somethin' you need bad and you ai n't got the money, then it's okay to take a loaner on the item. It's what ya' call an exception to the rule.<\/dialogue>\n    <scene_description>Phillip tears into the box , rips out the costume , looks at it , starts to take off his underwear then balks . Butch notices .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>What's wrong?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Nuthin'.<\/dialogue>\n    <scene_description>Butch notices Phillip 's hands covering his crotch .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>What? You do n't wan na' get undressed, is that it?<\/dialogue>\n    <scene_description>Phillip shrugs .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>You embarrassed caus' I might see yer' pecker?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>It's. puny.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>It's puny.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Well hell, lem me' see.<\/dialogue>\n    <scene_description>Phillip still hesitates .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Go on. I'll shoot ya' straight.<\/dialogue>\n    <scene_description>Phillip gingerly pulls off his underwear . Butch smiles a broad grin .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Hell no, Phillip, it's good size for a boy yer' age!<\/dialogue>\n    <scene_description>Phillip , remasculated , smiles and starts to put on the costume .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Here they come.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RURAL ROAD - DAY<\/stage_direction>\n    <scene_description>The four Highway Patrol VEHICLES from before BLAST past at 90 + , sending stray dogs and roadrunners scurrying for cover . CRANE DOWN to reveal the Ford off the same roadside , but behind a burm in a field . As soon as the patrol cars pass , Butch STARTS up the ENGINE and humps it to the road and off in the opposite direction .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRSTREAM - DAY<\/stage_direction>\n    <scene_description>Sally , deep in her files . She looks up from the file to . ANOTHER ANGLE Bobby Lee who sits by himself , whittling away at a stick and leering at her . Adler is at the map , holding the shortwave mike and wearing the earphones . Behind him , Red stares out the window .<\/scene_description>\n    <character>ADLER<\/character>\n    <dialogue>Haynes bought tape, rope, and some clothes for the boy.<\/dialogue>\n    <scene_description>Red comes to and turns to Adler . Sally smiles almost to her - self . She was right - Haynes is looking after the boy . Everyone knows it , but no one says anything .<\/scene_description>\n    <character>ADLER<\/character>\n    <dialogue>One puzzler though. They say the boy could have gotten away but did n't.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>Probably scared to death.<\/dialogue>\n    <character>ADLER<\/character>\n    <dialogue>That's not all. The kid stole a Halloween outfit.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Holy Jeezus, they're a team.<\/dialogue>\n    <character>ADLER<\/character>\n    <dialogue>With the pit stop in Noodle looks like he's headed for the Panhandle.<\/dialogue>\n    <scene_description>Red sighs and groans . Unpleasant news but somehow he knew it . He moves to the back room for another shot of Geritol .<\/scene_description>\n    <character>SALLY<\/character>\n    <parenthetical>( to Red . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>ADLER<\/character>\n    <dialogue>There's more roads than people in the Panhandle.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>How's that happen?<\/dialogue>\n    <character>KAISER<\/character>\n    <parenthetical>( over his shoulder . )<\/parenthetical>\n    <dialogue>Poor counties. They tend to half finish roads then start on another one.<\/dialogue>\n    <character>ADLER<\/character>\n    <dialogue>But if anybody knows them backroads it's Red.<\/dialogue>\n    <scene_description>Sally lifts her head , watches Red reenter the room , then stares out the window .<\/scene_description>\n    <character>SALLY<\/character>\n    <dialogue>Okay, so. I'm Robert Haynes. Called Butch by everyone. I was born in Amarillo, but grew up in the French Quarter of New Orleans.<\/dialogue>\n    <character>ADLER<\/character>\n    <parenthetical>( sotto voce . )<\/parenthetical>\n    <dialogue>What's she doin', Red?<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>I killed a man when I was eight.<\/dialogue>\n    <scene_description>Silence . Nobody seems willing to play along . Red turns from the window to Sally .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>How'd ya' kill him?<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>Shot him with a pistol. There was always one around the dance hall. That's what they called it but it was a whorehouse. We lived there.<\/dialogue>\n    <scene_description>Red moves away from the discussion and stands at the front of the Airstream , staring out the front window .<\/scene_description>\n    <character>ADLER<\/character>\n    <dialogue>What'd the authorities do?<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>The victim was wanted by the locals so the whole thing got shoved under the carpet Cajun - style.<\/dialogue>\n    <character>ADLER<\/character>\n    <dialogue>They did n't even stick him in juvy?<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>Put me in school. Three years behind but I catch up.<\/dialogue>\n    <character>KAISER<\/character>\n    <dialogue>Sounds like things are goin' okay' now?<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>They were. For awhile. When I'm twelve mom dies.<\/dialogue>\n    <character>ADLER<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>Delilah Jane Haynes hung herself in the bathroom of the brothel. Could have saved herself the trouble. Post - mortem check uncovered last stage syphilis.<\/dialogue>\n    <character>KAISER<\/character>\n    <dialogue>Where's yer' father?<\/dialogue>\n    <scene_description>Red 's face tells us he 's listening .<\/scene_description>\n    <character>SALLY<\/character>\n    <dialogue>Nobody knows where he is now. Ditched when I was six. He was a small - time felon. Popped up again after Mom died - he'd just been paroled. Moved us back to Amarillo. A year later I'm in trouble again.<\/dialogue>\n    <character>ADLER<\/character>\n    <dialogue>Yeah? Kill somebody else?<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>Took a joyride in a Ford coupe that I just could n't resist.<\/dialogue>\n    <character>KAISER<\/character>\n    <dialogue>Hell, that's no big deal.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>Judge gave me four years in Gatesville, toughest juvy farm in Texas.<\/dialogue>\n    <character>ADLER<\/character>\n    <dialogue>That's where the son - of - a - bitch learned to be a criminal. Seen that before, ai n't we, Red?<\/dialogue>\n    <scene_description>Red does n't answer . He seems in a faraway place .<\/scene_description>\n    <character>BOBBY LEE<\/character>\n    <parenthetical>( smart ass . )<\/parenthetical>\n    <dialogue>So, Butch, why do n't you tell us where yer' goin', save us the trouble o' huntin' you down?<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>Where I'm going is n't as important as ` Why am I going there?'<\/dialogue>\n    <character>BOBBY LEE<\/character>\n    <parenthetical>( tired of the game . )<\/parenthetical>\n    <dialogue>Shit. ` Caus' I'm runnin' and they're chasin' and I'd jus' as soon go north as south as east as west. It's a fun lil' parlor game, lady, but right now Butch Haynes do n't have the slightest idea where he's headed!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORD - DAY<\/stage_direction>\n    <scene_description>Phillip , now fully - attired in his Casper outfit and mask , is looking at a folded map while Butch drives .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>An inch is 24 miles. Hold yer' pointin' finger along the line of the road. You got three lines on your finger, do n'tcha'? Each one's an inch. So how many inches to Childress?<\/dialogue>\n    <scene_description>Phillip holds one finger to the map , then another .<\/scene_description>\n    <character>PHILLIP<\/character>\n    <dialogue>One, two. six.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Yer' a helluva' navigator, Phillip. A lot smarter than Jerry. But I guess that's not sayin' a lot.<\/dialogue>\n    <scene_description>Something catches Phillip 's eye .<\/scene_description>\n    <character>PHILLIP<\/character>\n    <dialogue>Lookie there!<\/dialogue>\n    <scene_description>HIS POV - TRUCK AND AIRSTREAM coming TOWARD them on the highway .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRSTREAM - DAY<\/stage_direction>\n    <scene_description>Bradley , driving , tinkers with a broken windowshade . Suttle yawns , comes to , notices the broken windowshade and gives Bradley a look . Bradley , caught , just smiles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORD - DAY<\/stage_direction>\n    <character>BUTCH<\/character>\n    <parenthetical>( excited , too . )<\/parenthetical>\n    <dialogue>Seen one of them in a magazine. It's called a motor home. They're new. Kinda' like a house on wheels.<\/dialogue>\n    <scene_description>Butch HONKS the HORN TWICE and waits for a retort .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCK - DAY<\/stage_direction>\n    <scene_description>Bradley smiles , looks to Suttle , who nods an `` okay . '' Johnson sits on the HORN for TWO solid BLASTS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORD - DAY<\/stage_direction>\n    <scene_description>Phillip laughs and waves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCK - DAY<\/stage_direction>\n    <scene_description>Bradley and Suttle wave back . SALLY staring out the window . She looks at the passing Ford . HER POV Butch is hard to make out , but there 's no mistaking the Casper outfit Phillip wears with pride . BACK TO SCENE<\/scene_description>\n    <character>SALLY<\/character>\n    <dialogue>You said the boy stole a Halloween costume. What character?<\/dialogue>\n    <character>ADLER<\/character>\n    <dialogue>I believe it was Casper. Casper the friendly ghost.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>That was them. They just passed us.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Turn this thing around!<\/dialogue>\n    <scene_description>Adler jumps on the radio to the truck .<\/scene_description>\n    <character>ADLER<\/character>\n    <parenthetical>( into mike . )<\/parenthetical>\n    <dialogue>Turn it around! That was them!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - SAME TIME<\/stage_direction>\n    <scene_description>The Airstream slows to a grind , pulls off the narrow shoulder and begins to make a wide U - turn .<\/scene_description>\n    <character>SUTTLE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>We'll never make it. Stop!<\/dialogue>\n    <scene_description>It 's a close fit but the Airstream just survives a brush with a burm . The TRUCK PEELS away with Airstream in tow .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORD - DAY<\/stage_direction>\n    <scene_description>Butch checks his rear - view mirror and gets a puzzled look on his face . IN REAR - VIEW MIRROR The Airstream barreling fast behind - catching up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCK - DAY<\/stage_direction>\n    <scene_description>Bradley presses the pedal to the floor . The ENGINE STRAINS . Suttle nervously sneaks a peek at the speedometer .<\/scene_description>\n    <character>SUTTLE<\/character>\n    <dialogue>It's. it's not safe to go over 65 with this much load!<\/dialogue>\n    <scene_description>The speedometer reaches 80 . The ENGINE SCREAMS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRSTREAM - DAY<\/stage_direction>\n    <scene_description>The whole thing is shaking , twisting , bumping . All aboard try and keep their balance .<\/scene_description>\n    <character>BOBBY LEE<\/character>\n    <parenthetical>( to Adler . )<\/parenthetical>\n    <dialogue>Tell him to pull up next to'em!<\/dialogue>\n    <scene_description>Bobby Lee opens a window and leans out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORD - REAR-VIEW MIRROR - DAY<\/stage_direction>\n    <scene_description>As Bobby Lee leans out the window of the Airstream some 50 yards back . NEW ANGLE Phillip turns around backward in the seat to watch .<\/scene_description>\n    <character>PHILLIP<\/character>\n    <dialogue>They're goin' fast!<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Phillip, you get in the back seat and lie down on the floor.<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Hell, I do n't know. ` Caus' I said so!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCK - DAY<\/stage_direction>\n    <scene_description>Suttle is scared to death while Bradley is loving every minute . The ENGINE starts to STEAM .<\/scene_description>\n    <character>SUTTLE<\/character>\n    <dialogue>Yer burnin' up the engine!<\/dialogue>\n    <scene_description>But Bradley pays no heed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRSTREAM - DAY<\/stage_direction>\n    <scene_description>Bobby Lee unholsters his pistol and leans back out the window . Red spots him .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>Holster that firearm and get yer ass back inside!<\/dialogue>\n    <scene_description>Bobby Lee thinks it over , shakes his head in disgust and holsters his piece .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORD - DAY<\/stage_direction>\n    <scene_description>Butch spots an opening and .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Hold on, Phillip!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - DAY<\/stage_direction>\n    <scene_description>The Ford makes a sharp veer off the road into a flat scrub brush field . The car spins out a bit when it hits the dirt sending forth a dust devil , then it regains its traction and blasts ahead through the dust .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCK - DAY<\/stage_direction>\n    <scene_description>Bradley spots the maneuver and starts to follow .<\/scene_description>\n    <character>SUTTLE<\/character>\n    <dialogue>Do n't!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - DAY<\/stage_direction>\n    <scene_description>The truck , in an attempt to enter the field , misses the flat spot , hits a burm with its front right tire and flies into the air . The trailer hitch snaps as does the safety chain . The truck lands hard and continues pell - mell through the field . The AIRSTREAM , sans truck , BLASTS forward along the road at 50 + m.p.h.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRSTREAM - DAY<\/stage_direction>\n    <scene_description>Bouncing like hell . Sally holds on for dear life , then glances out the window and almost jumps out of her seat when she sees . HER POV The truck , 100 or so yards away , blasting through the field toward the horizon .<\/scene_description>\n    <character>SALLY<\/character>\n    <dialogue>Shit!<\/dialogue>\n    <scene_description>NEW ANGLE Red spots the same but before he can cuss .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - DAY<\/stage_direction>\n    <scene_description>The Airstream veers off the road and into the rocky field . Trees , scrub brush and boulders are no deterrent for the sleek silverfish which seems to be moving even faster than before .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCK - DAY<\/stage_direction>\n    <scene_description>Steam , smoke pouring from the engine . Suttle , covering his eyes , sneaks a peek behind and screams when he sees no Airstream behind them .<\/scene_description>\n    <character>SUTTLE<\/character>\n    <dialogue>Ahhhh! They're gone!<\/dialogue>\n    <scene_description>Bradley looks in the rear - view mirror , turns around and screams , too . Without visual guidance .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD - DAY<\/stage_direction>\n    <scene_description>The TRUCK BLASTS into a mesquite tree , runs halfway up the tree , then dies a horrible death .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRSTREAM - DAY<\/stage_direction>\n    <scene_description>It 's an anti - gravity room what with the files , coffee , maps and bodies flying around .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD - DAY<\/stage_direction>\n    <scene_description>The Airstream , now losing a bit of steam , hits a burm , almost topples and comes to a precarious stop in a dried - up watering hole .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRSTREAM - DAY<\/stage_direction>\n    <scene_description>Adler , still wearing the headphones , rises first and goes to the radio to answer an incoming call . Red groans . Sally crawls to her feet and offers Red a helping hand , which he accepts .<\/scene_description>\n    <character>ADLER<\/character>\n    <dialogue>Uh. Red?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ADLER<\/character>\n    <dialogue>They wan na know if the boy looked okay?<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>He was laughing and waving.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Do n't tell'em that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOVERNOR'S OFFICE (AUSTIN, TEXAS) - DAY<\/stage_direction>\n    <scene_description>A large group of very serious advisors sit and stand in a circle around the Governor 's desk . Across from GOVERNOR CONNALLY sits a nervous , near tears GLADYS PERRY . An AIDE on the telephone , turns to the Governor .<\/scene_description>\n    <character>AIDE<\/character>\n    <dialogue>They say the boy looked A - okay.<\/dialogue>\n    <scene_description>Governor Connally nods , sighs , and reaches hand across the desk and touches Gladys 's shoulder .<\/scene_description>\n    <character>GOVERNOR<\/character>\n    <dialogue>He'll be fine, Mrs. Perry. This whole nightmare will be over and done with very soon and you'll be home with your boy. I promise.<\/dialogue>\n    <scene_description>Gladys , distraught , nods . Governor Connally discreetly nods to a photographer in the group while keeping his hand on Gladys 's shoulder . A CAMERA 'S FLASH causes everyone to blink in reaction . The Governor shakes it off and continues .<\/scene_description>\n    <character>GOVERNOR<\/character>\n    <dialogue>I want you to know that I personally okayed the use of a brand - new high - tech mobile home from which to conduct the manhunt. It's an amazingly futuristic piece of law enforcement equipment.<\/dialogue>\n    <scene_description>Another FLASH .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD - DAY<\/stage_direction>\n    <scene_description>The Airstream , the amazingly futuristic piece of law enforcement equipment sits beat to hell and leaning to one side in the dry pond bed . All the tires are flat and dents and bruises abound . The door tries to open but is stuck . Red applies a boot to it and the whole thing comes off its hinges and flies to the ground . Red exits . He groans and shakes his head when he spots . Bradley and Suttle limping toward him across the field . Red sighs and starts slowly walking in the direction Butch and Phillip headed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRSTREAM - DAY<\/stage_direction>\n    <scene_description>Sally , her hair a bird 's nest , does her best to collect her files before she sits down , takes a deep breath and glances out the window at Red in the distance .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD - CLOSEUP - RED - DAY<\/stage_direction>\n    <scene_description>Standing in the middle of the field , staring at the horizon . He sticks a chaw in his mouth without diverting or blinking his eyes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - CLOSEUP - BUTCH - DAY<\/stage_direction>\n    <scene_description>Staring at the horizon . ANOTHER ANGLE Butch sits on the hood of the Ford , which is stopped on an asphalt road which , a few feet farther , turns into dirt and a few feet farther a dirt clod field .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Started this road 20 years ago and it still ai n't finished.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Appears to me we got a decision to make.<\/dialogue>\n    <scene_description>Phillip , aka Casper , exits the car and , imitating Butch , leans against the car .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>It's up to you, Phillip. We can backtrack to the highway or we can try it on foot.<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Where we goin'?<\/dialogue>\n    <scene_description>Butch reaches in his back pocket and pulls out a folded postcard . He hands it over to Phillip . INSERT - CARD It 's at least 20 years old , crumpled . It unfolds to reveal a beautiful green valley with a snow capped mountain behind it . BACK TO SCENE<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>It's Alaska, Phillip. Last of the wild frontier.<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>It's pretty.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>It's beautiful!<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>You been there?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Naw. Just got the one postcard. But anyhoo, back to our present dilemma. You feel like a hike?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>How far?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Ca n't be more ` n, oh, say, fifteen hundred miles.<\/dialogue>\n    <scene_description>Phillip seems a tad apprehensive about the prospect .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Yer' prolly' right. Go give our supplies a check.<\/dialogue>\n    <scene_description>Phillip returns to the car and emerges with the paper bag once full of soda , candy and jerky . Butch surveys the countryside . HIS POV - PAN COUNTRYSIDE Typical midwest Texas ; flat , dusty , barren . A mile or so away sits a home - a small ranchhouse . BACK TO SCENE Phillip returns with the bag and pores through it .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>How's it look?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>A soda. some gum. half a Moon Pie.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Rations for one at best. Come on.<\/dialogue>\n    <scene_description>Butch strides straight into the rocky field . Phillip lingers a moment , then sticks the half eaten moon pie in his mouth and follows , hurrying to catch up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD - AIRSTREAM - DAY<\/stage_direction>\n    <scene_description>Suttle limps around the broken - down silver junker , his hands covering what his eyes ca n't bear to see .<\/scene_description>\n    <character>BRADLEY<\/character>\n    <dialogue>Now yer sure that gooseneck had a safety chain?<\/dialogue>\n    <scene_description>Suttle turns and glares .<\/scene_description>\n    <character>SUTTLE<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <scene_description>NEW ANGLE Red walks slowly toward the slumping Airstream . A PHONE RINGS from inside , then STOPS . Adler sticks his head out of the door and calls to Red .<\/scene_description>\n    <character>ADLER<\/character>\n    <dialogue>Governor's hot line, Red. Governor insists that he have the mobile home back for the parade tomorrow.<\/dialogue>\n    <scene_description>Red just stares at Adler , then sighs , removes his hat and scratches his head .<\/scene_description>\n    <character>RED<\/character>\n    <parenthetical>( is n't it obvious ? )<\/parenthetical>\n    <dialogue>Tell'em to come and get it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DUSTY FIELD - DAY<\/stage_direction>\n    <scene_description>Butch continues his hell - bent brisk pace in the field of dirt clods . It 's all Phillip can do to keep up .<\/scene_description>\n    <character>PHILLIP<\/character>\n    <dialogue>Where we goin'?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>We're goin' trick r' treatin', Phillip.<\/dialogue>\n    <scene_description>Phillip stops dead in his tracks . Butch , sensing that the boy is no longer following , stops , spins and faces Phillip .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>We ai n't allowed to trick r' treat.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>My mama do n't allow it.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Trick r' treatin'? Why not?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Against our religion.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Against yer' religion. What kind of foolishness is that?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Jehovah Witness.<\/dialogue>\n    <scene_description>Butch picks up a dirt clod and hurls it as far as he can . He sighs and turns to Phillip .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Now, I'm askin' you, Phillip. I ai n't askin' yer' mother and I ai n't askin' Jehovah. Do you wan na' go trick r' treatin' or not?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. YARD OF FARMHOUSE<\/stage_direction>\n    <scene_description>Butch and Phillip cross the dirt yard and make their way to the door .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Ok, Phillip, all ya' got ta' do is knock on the door and when they open it you say ` trick or treat.' Got it?<\/dialogue>\n    <scene_description>They arrive at the door . Butch nods at Phillip who RINGS the BUZZER .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Now wait til' they come.<\/dialogue>\n    <scene_description>A FARM WIFE , 65 or so , like something from a Grant Wood , only smiling , opens the door and looks out on the pair through the screen door .<\/scene_description>\n    <character>BUTCH<\/character>\n    <parenthetical>( whispers . )<\/parenthetical>\n    <dialogue>Now, Phillip.<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Trick r' treat.<\/dialogue>\n    <character>WOMAN<\/character>\n    <parenthetical>( FARM WIFE . )<\/parenthetical>\n    <dialogue>Well ai n't you the cutest lil' ghost I ever did see.<\/dialogue>\n    <character>BUTCH<\/character>\n    <parenthetical>( whispers . )<\/parenthetical>\n    <dialogue>Say it again, Phillip.<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Trick r' treat, ma'am.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Well, seein' that Halloween was yesterday, I guess you'll have to trick me. You missed the caramel popcorn balls I made up special.<\/dialogue>\n    <scene_description>Butch smiles , pulls up his shirt and exposes the revolver stuck in his pants .<\/scene_description>\n    <character>WOMAN<\/character>\n    <parenthetical>( tune changed . )<\/parenthetical>\n    <dialogue>Wait right here.<\/dialogue>\n    <scene_description>Butch smiles and pats Phillip on the shoulder . His eyes are drawn to . HIS POV - TELEPHONE WIRE which enters the house near the door . We PAN WITH the telephone line FROM the house TO a nearby pole . BACK TO SCENE The Woman returns with an armload of anything she could find in the kitchen . Phillip gratefully opens his sack and watches as the Woman drops in a loaf of bread , a jar of mustard , candies , jams , butter and anything else she could find . Empty - handed she reaches inside the door , opens her purse and dumps her money - a couple of dollars and lots of change into the bag . Phillip smiles .<\/scene_description>\n    <character>PHILLIP<\/character>\n    <dialogue>Thankyew.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. YARD - DAY (SECONDS LATER)<\/stage_direction>\n    <scene_description>Phillip , sack in hand , waves goodbye to the frightened old Woman , who shuts her door and locks it . Butch and Phillip make their way back across the yard .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Never underestimate the kindness of the common man, Phillip.<\/dialogue>\n    <scene_description>Butch reaches up and grabs the phone line , yanks it loose and tosses it aside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRSTREAM - DAY<\/stage_direction>\n    <scene_description>The Airstream is fast becoming a pig sty . Coke bottles , coffee spills , overfull ashtrays , etc. are everywhere . Adler holds the mike and stares at the thumbtacked map .<\/scene_description>\n    <character>ADLER<\/character>\n    <parenthetical>( into mike . )<\/parenthetical>\n    <dialogue>Spur 208 northbound. And 83 at Aspermont coming and going.<\/dialogue>\n    <parenthetical>( to Red . )<\/parenthetical>\n    <dialogue>That it?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Adler moves to set down the mike and topples a cup of coffee . It spills on the floor . Suttle grabs a towel to wipe it up but realizing the futility of keeping the Airstream clean , he simply throws it aside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORD - LATER - DAY<\/stage_direction>\n    <scene_description>Butch drives while Phillip digs through the sack and comes up with a jar of mustard .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>You sure there's no meat in there? Spam maybe, Vienna sausages, anything like that?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Nawsir.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Well, I bet you can make us some mustard sandwiches, ca n't ya'?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Yeahsir.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Well go to it.<\/dialogue>\n    <scene_description>Phillip breaks out the loaf of bread and lays out four slices on the dashboard .<\/scene_description>\n    <character>PHILLIP<\/character>\n    <dialogue>How many?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Many as you want.<\/dialogue>\n    <scene_description>Phillip lays out six more slices . The dashboard is now covered with bread . Phillip pulls out the mustard but has no knife . Butch pulls out a stick of gum and hands it to Phillip to spread with . As they drive along they pass a large , happy family -LRB- Mom , Dad , girl 5 , boy 7 -RRB- picnicking in the dip of a long hill alongside the highway . From the look of their brand - new loaded down station wagon they are on vacation . CLOSEUP - PHILLIP Mesmerized by the family . CLOSEUP - BUTCH Ditto . He pulls his eyes back to the road , notices something .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - DAY<\/stage_direction>\n    <scene_description>Butch brings the car to a stop near the crest of the hill , sets the emergency brake , grabs the first completed mustard sandwich and gets out , leaving the Impala running .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Be right back. Do n't be stingy with that mustard now.<\/dialogue>\n    <scene_description>Phillip nods and continues piling the yellow goop on each of the slices of bread . BUTCH walks ahead to the crest of the hill , the tallest hill in the county . He takes in the 360 degree view . His eyes settle on . LINE OF CARS IDLING as they wait their turn to pass a roadblock at the bottom of the hill . PHILLIP spreading even more mustard . Every so often he sneaks a peek back at the picnicing family . EMERGENCY BRAKE slips a little , then gives all at once . FORD starts to roll backwards .<\/scene_description>\n    <character>PHILLIP<\/character>\n    <dialogue>Whooaaa! Butch! Butch!<\/dialogue>\n    <scene_description>BUTCH turns and sees the Ford rolling backwards , picking up steam back down the hill .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Step on the brake! Put your foot on the brake! The middle one!<\/dialogue>\n    <scene_description>PHILLIP panicked , slides over and grabs the wheel . Of course , he is too short to press on the brake and when he bends down . FORD swerves off the road and onto the shoulder . FAMILY headed by BOB , 35 , their Ward Cleaverish father , looks up to see . FORD barrelling backwards toward them , swerving to and fro and followed by Butch shouting instructions .<\/scene_description>\n    <character>BOB<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Everybody, run! Quick!<\/dialogue>\n    <scene_description>BOB makes a beeline for the station wagon .<\/scene_description>\n    <character>BOB'S WIFE<\/character>\n    <dialogue>Forget the car, Bob!<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>Are you crazy. It's only got a 1000 miles on it!<\/dialogue>\n    <scene_description>He jumps in the Driver 's seat of the WAGON and frantically REVS it just as . PHILLIP gains control of the wheel and steers the rapidly reversing Ford around the Wagon . FORD continues backwards to the bottom of the hill , but it has enough steam built up to head backwards up the other incline of the previous hill . BUTCH comes to a heaving halt next to Bob , who is near heart attack himself .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Bad brakes.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>That was close.<\/dialogue>\n    <scene_description>Bob gets out of the station wagon and stands next to Butch . They watch for the Ford for a second , see that it 's losing momentum and smile at each other .<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>Bob Fielder.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Edgar Poe.<\/dialogue>\n    <scene_description>PHILLIP breathes a sigh of relief as the Ford loses momentum and comes to a stop . But then , of course , . FORD like any car on a roller coaster , starts to move downhill , slowly at first , but then picking up speed . BOB AND BUTCH<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>Had me scared silly. I've only had her two months.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>She's a beaut, all right. Say, Bob, what with my brake problem and all, I sure would appreciate a lift. Me'n my boy live about five miles up the road here. I can pick up the car tomorrow.<\/dialogue>\n    <scene_description>They notice the Ford coming back down the hill and squint to see . FORD coming straight for them , gaining speed , with Casper the friendly ghost behind the wheel . BUTCH AND BOB chuck the small . Bob looks for a place to hide . CLOSEUP - PHILLIP Screaming at the top of his lungs . CLOSEUP - BUTCH Staring straight ahead at Phillip . Butch does n't even flinch , standing his ground in the middle of the road , staring straight into Phillip 's oncoming face .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>The brake, Phillip! Step on the brake! Hard!<\/dialogue>\n    <scene_description>PHILLIP totally freaked , jumps down on the floorboard and pushes with both hands on the brake . SQUEALING TIRES bring . FORD to a SKIDDING halt inches from Butch 's kneecaps . CLOSEUP - BUTCH smiles at Phillip .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Helluva job, Phillip! Never had a doubt.<\/dialogue>\n    <scene_description>CLOSEUP - PHILLIP Smiling back . BOB crawls down from the luggage rack on top of his wagon and smiles a sigh of relief .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADBLOCK - DAY<\/stage_direction>\n    <scene_description>Two Highway Patrol officers check licenses and peek into cars at the checkpoint . In the b.g. we see the red station wagon in line .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATION WAGON - DAY<\/stage_direction>\n    <scene_description>It 's full to the brim with the Family Bob plus two , Butch and Phillip , who ride in the back with Bob 's son . As the car approaches the roadblock Butch grabs a blanket , reclines , and hides behind a stuffed animal .<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>Sorry for the inconvenience, Edgar. The kids like the back down like that so they can play.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>No trouble at all, Bob.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADBLOCK - DAY<\/stage_direction>\n    <scene_description>Bob brings his precious car to a gingerly stop . He pulls out his license , shows it .<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>Why the roadblock, Officer?<\/dialogue>\n    <character>OFFICER<\/character>\n    <dialogue>Escaped convict, sir. Just a precaution.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIRSTREAM - DAY<\/stage_direction>\n    <scene_description>Bradley examines the gooseneck hitch . Bobby Lee sits on a nearby rock , still whittling at his stick . It 's starting to resemble something .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRSTREAM - DAY<\/stage_direction>\n    <scene_description>As in the old Westerns , it 's quiet , too quiet . The inside of the RV is pretty much trashed now - the product of men working in close contact . Sally stares at a file . The silence is broken as Red spits tobacco juice into an empty Coke bottle . Sally peruses a file . INSERT - FILE It 's Butch 's again . She 's reading an addendum page with JUVENILE COURT RECORD stamped at the top . A photo of 14 - year - old Butch is stapled in the corner . BACK TO SCENE Sally finds something very interesting . She looks up at Red . He returns her stare .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>What?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIRSTREAM - DAY<\/stage_direction>\n    <scene_description>Bobby Lee finishes his whittling , blows away shavings , smiles at his creation , sets it on the rock , gets up and walks away . CLOSEUP - HIS CREATION A four inch long wooden replica of a high caliber shell .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRSTREAM - DAY<\/stage_direction>\n    <scene_description>Adler is getting something on the shortwave .<\/scene_description>\n    <character>ADLER<\/character>\n    <parenthetical>( to Red . )<\/parenthetical>\n    <dialogue>They've got two Highway Patrol cars they can give to us now.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Tell'em stand by. We got the best seat in the house right here. Have the southern roadblocks call in the dogs and move north. Check every road, every farm from San Angelo to Sweetwater.<\/dialogue>\n    <scene_description>Adler surveys the map and sticks in a few more thumbtacks .<\/scene_description>\n    <character>ADLER<\/character>\n    <dialogue>He knows he's hemmed in. I predict we'll have him singing a different tune by nightfall.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY - DAY<\/stage_direction>\n    <scene_description>The red station wagon creeps along the highway to the whistled strains of `` Old MacDonald had a Farm . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATION WAGON - DAY<\/stage_direction>\n    <scene_description>Butch , truly `` singing a different tune , '' whistles `` Old MacDonald . '' Bob joins in and soon the whole damn Family Bob is whistling the tune . Bob 's daughter PATSY , 5 , red hair , freckles , starts jumping up and down on the back seat , singing and spilling her drink .<\/scene_description>\n    <character>BOB'S SON<\/character>\n    <dialogue>You're spilling! You're spilling!<\/dialogue>\n    <scene_description>Bob and his Wife immediately turn around .<\/scene_description>\n    <character>WIFE<\/character>\n    <dialogue>Patsy! Look at what you're doing?!<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>Ahhh noooo!<\/dialogue>\n    <scene_description>Bob 's wife grabs Patsy by the arm and shakes her . Butch con - tinues to whistle softly , almost eerily , but he 's watching closely .<\/scene_description>\n    <character>BOB'S WIFE<\/character>\n    <dialogue>Look at what you did! It's all over the seat of your father's new car!<\/dialogue>\n    <scene_description>The little girl starts to cry while Bob grabs at tissues feverishly and hands them to his Wife who , leaning over the seat is wiping hard at the stain . She grabs her daughter 's arm and shakes her , staring into her face . Butch , directly behind the little girl , watches closely .<\/scene_description>\n    <character>BOB'S WIFE<\/character>\n    <dialogue>What is wrong with you?! I told you twice not to jump up and down! Did n't I!<\/dialogue>\n    <scene_description>Patsy bawls harder than ever . Bob 's Wife finishes wiping and reseats herself in the front seat .<\/scene_description>\n    <character>BOB'S WIFE<\/character>\n    <parenthetical>( to herself . )<\/parenthetical>\n    <dialogue>Damn that kid!<\/dialogue>\n    <scene_description>The little girl is crying harder than ever now . Bob reaches back over the seat and tries to touch his daughter .<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>It's okay, sweetie. Daddy's not mad.<\/dialogue>\n    <character>BOB'S WIFE<\/character>\n    <dialogue>So much for the new car smell.<\/dialogue>\n    <scene_description>The little girl muffles her tears . Butch smiles sincerely then looks to the passing landscape .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>This will do fine right here, Bob. But I do have one more favor to ask.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - DAY (FIVE MINUTES LATER)<\/stage_direction>\n    <scene_description>The entire Family Bob is standing along the roadside , their luggage and belongings by their side . The looks on their faces say it all - Stranded . Butch hands over the stuffed animal to Patsy , pats Bob Jr. on the head and sticks out his hand to Bob .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Just a loaner, Bob. Not to worry. You'll get her back.<\/dialogue>\n    <scene_description>Bob reluctantly shakes Butch 's hand in an attempt to impress upon Butch his most important concern of all .<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>Please, it's new. Hold it under 45. at least for the next 500 miles.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>You know I will, Bob.<\/dialogue>\n    <scene_description>Butch gives a snappy salute and is off to the wagon .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATION WAGON - DAY<\/stage_direction>\n    <scene_description>Butch STARTS the CAR and he and Phillip slowly pull away .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Wave, Phillip.<\/dialogue>\n    <scene_description>Phillip does so . Bob 's kids wave back . Phillip starts to giggle .<\/scene_description>\n    <character>PHILLIP<\/character>\n    <dialogue>They look funny.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Maybe, but Bob did the right thing. What if he'd put up a fight? I mighta' had to shoot him, and where would that family be then? Naw, Bob's a fine family man and that's about the best thing a fella' can hope to be.<\/dialogue>\n    <scene_description>Butch floors the wagon and the CAR SCREECHES rubber on the highway . BOB cringes as he watches his pride and joy rocket toward the horizon .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADBLOCK - DAY (LATER)<\/stage_direction>\n    <scene_description>The Highway Patrol continues to monitor cars one by one . One of the Officers sees something and nudges his partner to look at . FAMILY BOB cresting the hill carrying their hats in their hands along with their luggage and coolers .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRSTREAM - DAY<\/stage_direction>\n    <scene_description>Adler drops his headphones and turns to Red .<\/scene_description>\n    <character>ADLER<\/character>\n    <dialogue>He got through! At Aspermont.<\/dialogue>\n    <character>BRADLEY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ADLER<\/character>\n    <dialogue>Coerced a motorist.<\/dialogue>\n    <scene_description>Red sighs .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>Well goddam, shout at Amarillo. Tell'em we got a notion he's headed their way.<\/dialogue>\n    <scene_description>Adler gets right to it .<\/scene_description>\n    <character>RED<\/character>\n    <parenthetical>( almost to himself . )<\/parenthetical>\n    <dialogue>Truth is I wish he'd cross the border so we could turn this over to the feds.<\/dialogue>\n    <scene_description>Nobody in the room expected to hear this .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>I got work to do back home.<\/dialogue>\n    <scene_description>Red rises and stretches , walks to the open door and stares out at the late afternoon light .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>I'm hungry. This thing got any food?<\/dialogue>\n    <character>SUTTLE<\/character>\n    <dialogue>Well, uh.<\/dialogue>\n    <scene_description>Adler jumps up and goes to the frig .<\/scene_description>\n    <character>ADLER<\/character>\n    <dialogue>Got T - bones in the frig, Red!<\/dialogue>\n    <character>SUTTLE<\/character>\n    <dialogue>Uh, uh, those were stocked for the Governor. I do n't think that he would approve of.<\/dialogue>\n    <scene_description>Adler finds a plastic bag in the freezer and inspects it .<\/scene_description>\n    <character>ADLER<\/character>\n    <dialogue>- And look, Red! Tater Tots! Those kind you like!<\/dialogue>\n    <scene_description>Red turns and looks .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>That so?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATION WAGON - DAY<\/stage_direction>\n    <scene_description>Butch fiddles with the RADIO . He settles on a Spanish station playing a BALLAD and ADJUSTS the VOLUME .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Ca n't find a Coonass Waltz to save my ass.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Hey, Phillip, that stuff you told me ` bout not trick r' treatin' causa' Jehovah. Was you pullin' my leg?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Nawsir.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>What else ai n't you suppose' to do?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>We do n't get Christmas.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Yer' shittin' me?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Nawsir. No birthdays, nor parties, neither.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>You ai n't never been to a carnival neither, have ya'?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Nawsir.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Not even one?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Not even one.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Cotton candy?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Seen that once. It's red.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Pink.<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Never ate none though.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Roller coasters?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Seen pictures.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>You know, Phillip, you have a goddammed red, white and blue American right to eat cotton candy and ride roller coasters.<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>I do?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATION WAGON - EXTREME CLOSEUP - PHILLIP'S OPEN MOUTH - DAY<\/stage_direction>\n    <scene_description>screaming . PULL BACK to reveal . CLOSEUP - PHILLIP still screaming in glee , the wind blowing his crew - cut straight up into the air . PULL BACK FARTHER to reveal that Phillip is firmly tied to the luggage rack of the station wagon , which is rocketing across the winding plains of West Texas . BOOM DOWN to reveal Butch , having almost as much fun as Phillip , hooping and hollering as he steps on the gas and weaves to and fro trying his damndest to hit every bump .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAINS OF WEST TEXAS - LONG SHOT - DUSK<\/stage_direction>\n    <scene_description>A Nehi Orange sun pours itself into the Grape - Ade Davis Mountains . PAN ALONG the horizon PAST nothing but open spaces . Then a red neon sign , small and broken down , like the spit grill diner it advertises . The stolen station wagon sits alone beside the pressed dirt parking lot of Dottie 's Cafe .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOTTIE'S CAFE - DUSK<\/stage_direction>\n    <scene_description>A skinny , small town WAITRESS checks her face in a bathroom mirror . She applies too much lipstick and pinches her cheeks before exiting . We FOLLOW as she exits the kitchen bathroom door , grabs two already prepared hamburger platter specials from beside the grill and moves through a swinging door into the diner . A counter , three booths , grease everywhere . She sets the two plates in front of Butch and Phillip at a booth . Butch digs in but Phillip holds for a beat . Butch notices and stops chewing while Phillip says `` grace '' .<\/scene_description>\n    <character>PHILLIP<\/character>\n    <parenthetical>( quiet as a mouse . )<\/parenthetical>\n    <dialogue>Thankyew, Father, for yer' ` boundiful' nature and goodness.<\/dialogue>\n    <scene_description>Butch and the Waitress\/cook share a smile .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Amen. Now dig in, Buzz.<\/dialogue>\n    <parenthetical>( to Waitress . )<\/parenthetical>\n    <dialogue>Call him that caus' he eats like a buzzard. If it's dead he'll swoop and chow.<\/dialogue>\n    <scene_description>She leans down to the table and flirts with her overdone eyes .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>You Dottie?<\/dialogue>\n    <character>WAITRESS<\/character>\n    <dialogue>Eileen. Dottie died. Her son runs the place but. he ai n't never here.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Never?<\/dialogue>\n    <character>EILEEN<\/character>\n    <parenthetical>( WAITRESS . )<\/parenthetical>\n    <dialogue>He leaves at four. Not much traffic after lunch.<\/dialogue>\n    <scene_description>She brazenly stares a hole through Butch as she lifts a slice of pickle off his plate , places it in her mouth and slowly chews . Phillip , mouth full , takes note of the confusing spectacle . Eileen turns to walk away .<\/scene_description>\n    <character>EILEEN<\/character>\n    <dialogue>If you need me, I'll be right over here.<\/dialogue>\n    <scene_description>She slowly sashays away to behind the counter . Butch watches her every step . Phillip chews and watches Butch 's eyes . Butch turns his head and catches Phillip watching him .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Eat yer' food.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD - AIRSTREAM - DUSK<\/stage_direction>\n    <scene_description>A SIRLOIN STEAK hits a grill beside a Tater Tot shiskabob and SIZZLES to beat the band . A homemade barbecue pit , built from nearby abundant rocks , sits square in the middle of the highway with red flares set up just in case a car did come by . Red smiles and shakes a liberal dose of Lea and Perrins onto the flesh . He 's obviously a veteran of many back yard B - BQs and this is definitely one . We see Sally THROUGH the window . She 's inside , still going over her files . She gets up and walks into the back room to look for something . BOBBY LEE sitting outside , rises and slides into the Airstream while BACK TO SCENE Red continues to cook with Adler and Bradley looking on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRSTREAM - BACKROOM - DUSK<\/stage_direction>\n    <scene_description>Sally turns on a nightlight and looks at herself in the mirror . She splashes a little water on her face and is startled when . Bobby Lee slides in behind her .<\/scene_description>\n    <character>BOBBY LEE<\/character>\n    <dialogue>Think yer' pretty smart now do n'tcha'?<\/dialogue>\n    <scene_description>She does n't back down , instead looking him straight in the eye .<\/scene_description>\n    <character>SALLY<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>BOBBY LEE<\/character>\n    <dialogue>Well yer' not smart but you are pretty.<\/dialogue>\n    <scene_description>Sally stares right at Bobby Lee then moves for the door . He shifts his position and blocks her .<\/scene_description>\n    <character>SALLY<\/character>\n    <dialogue>Excuse me.<\/dialogue>\n    <scene_description>Bobby Lee smiles a crooked - tooth grin , refusing to move .<\/scene_description>\n    <character>BOBBY LEE<\/character>\n    <dialogue>Work and pleasure should naturally go together do n't you think? Take me, I enjoy my work.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>I could give a shit.<\/dialogue>\n    <character>BOBBY LEE<\/character>\n    <dialogue>You got a mouth, do n't ya?<\/dialogue>\n    <character>RED<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>How you take your steak, Sally?<\/dialogue>\n    <scene_description>Bobby Lee and Sally both look up to see Red standing in the doorway .<\/scene_description>\n    <character>SALLY<\/character>\n    <parenthetical>( relieved . )<\/parenthetical>\n    <dialogue>Uh. rare.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>A woman after my own heart.<\/dialogue>\n    <scene_description>She takes this opportunity to slide between Red and Bobby Lee on her way into the main room . As she goes .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>I'll just wipe its ass, herd it through and you can cut off a hunk. How'd that be?<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>Maybe medium - rare.<\/dialogue>\n    <scene_description>Bobby Lee and Red are left standing face to face .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>I do n't give a damn who you work for. You're here for one reason and one reason only.<\/dialogue>\n    <character>BOBBY LEE<\/character>\n    <dialogue>Anything else, Chief?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Yeah. Yer' in my office.<\/dialogue>\n    <scene_description>The hot line PHONE RINGS . Bobby Lee flinches first and moves back into the main room . Red follows .<\/scene_description>\n    <character>ADLER<\/character>\n    <dialogue>That's the Governor's line, Red!<\/dialogue>\n    <scene_description>Red calmly walks past Sally who smiles a `` thanks '' . He gives her a one finger to the hat salute , walks to the phone , reaches down and yanks out the cord . The RINGING STOPS .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>Nuthin' as impolite as callin' at the dinner hour.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOTTIE'S    CAFE - NIGHT<\/stage_direction>\n    <scene_description>Phillip , at the booth , plays with the parsley on his empty plate , which sits across from Butch 's barely touched one . The boy looks over his shoulder and sneaks a peek at Butch , who sits at a barstool watching Eileen work behind the counter . AT COUNTER Butch leans over and whispers something sexy into Eileen 's ear . She giggles and licks her lips . Butch feels eyes on his back and looks at Phillip , who immediately turns away from them . When Butch returns his attention to Eileen she 's moved a few feet away and is refilling ketchup bottles .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Buzz, go ahead and chew on mine if you want.<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>No thankyew.<\/dialogue>\n    <scene_description>Eileen slides back down toward Butch . She makes refilling condiment bottles the sexiest pasttime since the hula hoop .<\/scene_description>\n    <character>EILEEN<\/character>\n    <dialogue>Very polite.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>I try hard but, ya' know, since his mama died.<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>- My mama's not dead!<\/dialogue>\n    <scene_description>Butch , a tad annoyed , turns to Phillip and gives him a look . Once again , when he turns back , Eileen has moved . She 's flirting with Butch , moving , bending , wiping her hands on her hips . His eyes are focused on her every squirm .<\/scene_description>\n    <character>BUTCH<\/character>\n    <parenthetical>( over his shoulder . )<\/parenthetical>\n    <dialogue>Okay now, Buzz, you go on out in the parking lot and chunk some rocks or something.<\/dialogue>\n    <scene_description>BACK TO SCENE Phillip reluctantly slides down off the stool and slowly walks out the door . His eyes stay on Butch and Eileen , barely concealing confusion mixed with a hint of jealousy .<\/scene_description>\n    <character>EILEEN<\/character>\n    <dialogue>So is she dead or not?<\/dialogue>\n    <character>BUTCH<\/character>\n    <parenthetical>( covering badly . )<\/parenthetical>\n    <dialogue>Well his biological mother is alive. Gave him up for adoption to me and my wife. My dead wife, that is. She is, was Phil, er Buzz's stepmother, so she's his mom, was his mom, stepmom, but. she's dead.<\/dialogue>\n    <character>EILEEN<\/character>\n    <dialogue>I'm so sorry.<\/dialogue>\n    <scene_description>But she 's not . In fact it seems to have turned her on even more . She puts her hand behind Butch 's neck and slowly pulls him close for gentle kiss .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - NIGHT<\/stage_direction>\n    <scene_description>Phillip tosses a rock then turns to the diner . They 're gone . Phillip drops his handful of rocks and walks to the front window of the diner . PHILLIP 'S POV - DINER It is empty . He sees that the kitchen swinging door is still swinging on its hinges .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINER - ADJUNCT OFFICE - NIGHT<\/stage_direction>\n    <scene_description>A one room addition office built onto the kitchen . It has a desk against one wall , a few chairs , a fan - pretty sparse . Two large windows throw light from the outside neon sign onto the room . A large lamp provides harsh light . Eileen leads Butch by the hand into the room , closing the door behind them . At once they are all over each other . Butch lifts her up onto the desk and starts to kiss her face and neck . Then , in an instant , he flips her over , pulls the ribbon from her hair and unzips the back of her waitress outfit to the waist . He kisses her neck , her back and suddenly , passionately , he flips up her skirt and begins kissing her voluptuous backside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DINER - NIGHT<\/stage_direction>\n    <scene_description>Phillip , a bit scared , moves around the side of the front of the diner and sees something . PHILLIP 'S POV - THROUGH WINDOW In profile Butch continues to kiss Eileen 's buttocks . She moans in ecstasy . BACK TO SCENE Phillip , like a pacifist at a prizefight , does n't want to watch but ca n't not watch . He moves down the wall to a window positioned right at the desk . When he stops he 's right in front of the window , separated from Butch and Eileen by only a foot of air and a thin plate of glass . PHILLIP 'S POV - BUTCH AND EILEEN Kissing , writhing , but FROM this ANGLE all he can really see is a mane of hair swinging to and fro . Butch is out of sight but it 's obvious that his lips continue to caress Eileen 's backside . She cranes her neck , arching it like a swan , moaning like a wildebeast and then . She stops and stares STRAIGHT AHEAD . Butch continues to kiss but only for a beat , sensing the locomotive he 's on has stopped at an unscheduled station . He slides his face from around her rear , a la Kilroy , and he stares , too . Except for their continuing heavy breathing they could be modern art statues staring STRAIGHT AHEAD AT .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE - REVERSE - NIGHT<\/stage_direction>\n    <scene_description>Phillip 's nose is pressed to the glass . In fact if he pressed any harder there would n't be any glass . BUTCH AND EILEEN hold their pose for a second until . PHILLIP comes back to real time and bolts away into the darkness of the parking lot .<\/scene_description>\n    <character>EILEEN<\/character>\n    <dialogue>Nosy little feller'.<\/dialogue>\n    <scene_description>BUTCH races to the side window and watches as Phillip runs into the parking lot .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Phillip!<\/dialogue>\n    <character>EILEEN<\/character>\n    <parenthetical>( a last try . )<\/parenthetical>\n    <dialogue>I keep a cot in the back.<\/dialogue>\n    <scene_description>But Butch , still at the window , just keeps breathing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOTTIE'S CAFE - ANGLE ON SKY - NIGHT (SECONDS LATER)<\/stage_direction>\n    <scene_description>Nothing but stars swimming in black West Texas crude . PHILLIP stands right next to the SPUTTERING NEON SIGN , staring straight up , the neon light splashing his face in a grotesque pink light . BACK TO SCENE In the b.g. , over his shoulder , the cafe door opens , CLANGING a string of BELLS as Butch hastily exits and walks past Phillip .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Get in the car.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATION WAGON - NIGHT<\/stage_direction>\n    <scene_description>Silence . Butch drives away libidinous desires , Phillip sits quietly , staring straight ahead , now and again stealing a peek at Butch .<\/scene_description>\n    <character>PHILLIP<\/character>\n    <dialogue>You mad at me?<\/dialogue>\n    <character>BUTCH<\/character>\n    <parenthetical>( curt . )<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <scene_description>More silence .<\/scene_description>\n    <character>PHILLIP<\/character>\n    <dialogue>You kissed her, huh?<\/dialogue>\n    <character>BUTCH<\/character>\n    <parenthetical>( much regret . )<\/parenthetical>\n    <dialogue>Jus' barely.<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Caus' it feels good. Ai n't you ever seen your mama kiss a man?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>No.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You kissed her backside, huh?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>It's, well, uh, it's kinda' hard to explain. I know how it musta' looked.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Hell, I do n't know how it looked.<\/dialogue>\n    <scene_description>As Butch 's voice trails off silence overtakes the car . After a few seconds Butch seems happy not to have to answer any more questions . Phillip fidgits with the door handle . Several more seconds pass , then .<\/scene_description>\n    <character>PHILLIP<\/character>\n    <dialogue>Do you love her?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>The lady that cooked the hamburgers?<\/dialogue>\n    <scene_description>Butch ponders this , then a grin slides across his face .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Yeah, Phillip, I love her.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Kissed her butt did n't I?<\/dialogue>\n    <scene_description>And they both start to laugh .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY ROAD - NIGHT (LATER)<\/stage_direction>\n    <scene_description>The station wagon pulls off the main dirt road and onto a smaller , private road . After 150 yards or so , it leaves the graded dirt and , shocks bouncing , crosses into a plowed field and comes to a dusty stop .<\/scene_description>\n    <character>BUTCH<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>You wan na' drive?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Yeah!<\/dialogue>\n    <character>BUTCH<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Jus' kiddin', Buzz. I'm just gon na' stop here for awhile and catch 40.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAGON - NIGHT<\/stage_direction>\n    <scene_description>Butch KILLS the ENGINE but keeps the RADIO MUSIC on low .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Things go our way we'll be in Alaska in four or five days. Get the jump on winter.<\/dialogue>\n    <scene_description>Phillip looks a little sad .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>What's wrong?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>I wan na' go home.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>If you wanted to go home so bad, why did n't you stay at that store today?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Caus'.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Caus' why?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>` Caus' I stole. They'd put me in jail. Prolly' go to hell.<\/dialogue>\n    <scene_description>Butch chuckles at the notion .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Same difference. We'll get you home soon. I swear, okay?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Butch?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Yeah, Phillip?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>I can drive.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Done proved that ai n'tcha'? There's lots and lots of stuff you can do, Phillip.<\/dialogue>\n    <parenthetical>( gets an idea . )<\/parenthetical>\n    <dialogue>Reach in that glovebox there. See if Bob's got a notepad or something.<\/dialogue>\n    <scene_description>Phillip extracts a small ringed memo pad .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Good old Bob. Can you write?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>I can print.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Good enough. Now I want you to make a list of everything you ever wanted to do but was n't allowed to. Okay?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Like what?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Like. cotton candy.<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Cotton candy?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Hell I do n't know. It's yer' list.<\/dialogue>\n    <scene_description>Butch settles in for a catnap . Just as his eyes close .<\/scene_description>\n    <character>PHILLIP<\/character>\n    <dialogue>Butch?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Yeah?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD - NIGHT<\/stage_direction>\n    <scene_description>Only the dome light and the LOW MUSIC bring attention to the car sitting lonely in the middle of the massive field .<\/scene_description>\n    <character>PHILLIP<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>How ya' spell ` rocketship?'<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRSTREAM - NIGHT<\/stage_direction>\n    <scene_description>The aftermath of a full scale Texas Bar - B - Q : plates full of gristle and bone , cigarettes burning in ashtrays and swirl - ing in half - drunk bottles of Coke and mugs of coffee , men groaning and picking their teeth with toothpicks . Bradley , Adler and Suttle are dead - ass asleep and snoring . Bobby Lee , too mean to sleep , sits by himself cleaning his fingernails with a pocket knife .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD - NIGHT<\/stage_direction>\n    <scene_description>Red leans against the Airstream and sips coffee from his thermos . Sally walks up , sipping from a mug , and leans against the bumper . Red does n't even turn .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>Figger to give'em another hour of shuteye, then grab the patrol cars and head for the Panhandle.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>Bring back any memories?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Too many.<\/dialogue>\n    <scene_description>Red turns to her . They both know he 's divulged something .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>They got a file on me, too?<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>It's the 60's, Red. They've got a file on everybody.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Just caus' it's written down do n't make it true.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>You worked as County Sheriff in Amarillo and Austin before you became a Ranger. Right so far?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Oh, and it says your name's Cecil.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Yeah, well, that's definitely the worst of it.<\/dialogue>\n    <scene_description>Red uncorks his thermos and refills Sally 's mug . She takes a sip and almost chokes on it .<\/scene_description>\n    <character>SALLY<\/character>\n    <dialogue>Strong. but good. So Cecil.<\/dialogue>\n    <scene_description>Red gives her a strong look .<\/scene_description>\n    <character>SALLY<\/character>\n    <dialogue>Red. What do you do when you're not at work.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>The file do n't tell ya' that, too?<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>I got a ranch I never visit, nieces I hardly know, a tackle box full of dry lures and a dog that figures he's the owner and I'm the pet. Could have a point, he's there more.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>A confirmed bachelor. Any regrets?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Liked to have wet those lures. Maybe a new dog.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>How'd you get into. whatever the hell it is you do?<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>My father's defense lawyer.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>That explains your mouth.<\/dialogue>\n    <scene_description>Sally smiles .<\/scene_description>\n    <character>SALLY<\/character>\n    <dialogue>Instead of Home Ec, I studied Criminology. When I graduated, my father, with the Governor's help, they, he and my dad. I created a position for myself with the prison system.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>What's yer' husband think about all this?<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>Do n't own one.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Yer' not careful you'll wind up jus' like me. Old, tired, with nobody around to love ya'.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>Maybe.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>It's crazy ai n't it?<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Goin' without sleep chasin' after a three time loser and Casper the Friendly Ghost?<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>Sleep? That's what retirement's for.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Bite your tongue.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>You wan na' know what's really crazy? Hayne's juvenile court record lists you as Amicus Curiae.<\/dialogue>\n    <scene_description>Silence save the CRICKETS .<\/scene_description>\n    <character>SALLY<\/character>\n    <dialogue>Friend of the court. Evidence given by a non - party with the intention of swaying the judge one way or the other. They're usually in written form, but there's no copy attached.<\/dialogue>\n    <scene_description>Red does n't flinch .<\/scene_description>\n    <character>SALLY<\/character>\n    <dialogue>Okay, then at least tell me why Haynes got four years for a joyride? What about probation? The boy had a home, a father.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>What's your file say about him?<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>That he was a petty thief who did a little time, got out and stayed pretty clean.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>There are murderers I'd trust with my mother and petty thieves I would n't turn my back on. Your precious files are wrong.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>I'm listening.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Hayne's old man was a career criminal with a soft spot for whores. One way or the other he beat the hell outta' every person he ever crossed, screwed or fathered. Judge sends junior home with the old man and you can bet your last dollar that within a year he'll have a rap sheet as long as yer arm.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I know kids who did Gatesville, made it through, shaped up. Hell, one's even a priest.<\/dialogue>\n    <scene_description>Sally realizes she 's opened an old wound .<\/scene_description>\n    <character>SALLY<\/character>\n    <dialogue>Still, I do n't understand from the file why.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>- This job ai n't about files and books and second guessin'. Ya get one shot and ya call'em like you see'em.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>I'm a bit confused.<\/dialogue>\n    <scene_description>Red tosses out the rest of his coffee .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>In Texas the bottom line is who ya' know and what they owe ya. That's how I do my job and how you got yours.<\/dialogue>\n    <scene_description>He turns to walk inside .<\/scene_description>\n    <character>SALLY<\/character>\n    <parenthetical>( a bit ticked . )<\/parenthetical>\n    <dialogue>What are you trying to say?<\/dialogue>\n    <scene_description>Red stops , faces Sally .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>I bought the judge a T - bone and told him to send the boy up. Told him it was the right thing to do. He went along right down the line.<\/dialogue>\n    <scene_description>Red disappears . Sally just stares after him , her face once again soft .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATION WAGON - CLOSEUP - MEMO PAD - NIGHT<\/stage_direction>\n    <scene_description>resting on Phillip 's lap . BACK TO SCENE His fingers release it as he drifts to sleep . CLOSEUP - PHILLIP asleep , the way a child sleeps . Soundly . CLOSEUP - BUTCH also asleep , but only his body - his mind works over - time . SERIES OF SHOTS - BUTCH 'S DREAM -LRB- NOTE : the entire dream is a series of snapshots to a strong Coonass beat -RRB- A -RRB- A baby snapshot of Butch . B -RRB- A Haynes family photo - a grizzled father standing behind a mother seated holding a baby . They stand in front of a small , white framed house . C -RRB- Extreme closeup - The baby in the snapshot - Butch . D -RRB- Snapshot of a young Butch , age 6 , with his father and another adult male , who are both holding deer rifles with one hand and with the other the antlers and head of a dead deer . E -RRB- Extreme closeup - Butch 's father from the same photo . F -RRB- Snapshot of Butch , 8 , with his mother but no father . G -RRB- An establishing snapshot of a nightclub in New Orleans . The gaudy sign above the joint reads : CLUB - DANCE HALL . H -RRB- A snapshot of Butch 's mother dressed in a somewhat sleazy Latino outfit . She 's surrounded by 3 or 4 lounge lizard types , whose hands are all placed on parts of her body . She has a drunken sneer on her face . I -RRB- Snapshot of Butch , 8 , being taught to dance in the club by his mother . He looks awkwardly into the camera . J -RRB- Snapshot of Butch , 8 , sitting on the bar of the club , surrounded by a motley group of sleazy `` dime dancers '' . K -RRB- Another snapshot of Butch being taught to dance by his drunken mother . -LRB- NOTE : A heavy MACHINE GROWL should START LOW and INCREASE IN VOLUME through the remainder of these fast - paced series of cuts . -RRB- L -RRB- Snapshot of Mom dancing very closely , too closely , to a handsy patron of the club . M -RRB- Snapshot of Mom kissing the same man . We see a tattoo on his arm . N -RRB- Extreme closeup - the tattoo . It is of a naked girl . The words `` hell - bent '' in cursive frame the tattoo . O -RRB- Snapshot of Mom sitting on the tattooed man 's lap at the bar . His hand is resting on the inner portion of her thigh . P -RRB- Snapshot of Butch at the bar with the club bartender . Q -RRB- Same as -LRB- K -RRB- - Butch being taught to dance . R -RRB- Extreme closeup - Butch in same photo . S -RRB- Same as -LRB- J -RRB- - Butch in bar with dime dancers . T -RRB- Extreme closeup - Butch in same photo . U -RRB- Same as -LRB- O -RRB- . Mom with tattooed man . V -RRB- Extreme closeup - tattooed man from same photo . W -RRB- Snapshot of crime scene in the bar . A man lies on the floor in a pool of blood . Onlookers , including some of the dime dancers and Butch 's mom , express their shock at the incident while police photographers and newsmen look on . X -RRB- Extreme closeups - Some of the onlookers faces . Y -RRB- Extreme closeup - Butch 's mom 's face . As opposed to the others , her face is rather displaced . You 'd think she 'd witnessed a fender bender instead of a murder . Z -RRB- Extreme closeup - The face of the victim . It 's the tattooed man . AA -RRB- Extreme closeup - The tattoo . The ROAR of the MACHINE GROWL is now DEAFENING as the image of the tattoo . BRILLIANT WHITE LIGHT that FILLS the FRAME .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. STATION WAGON - NIGHT (PRESENT)<\/stage_direction>\n    <scene_description>Except it 's brighter than the brightest day as a high power light shines directly at . EXTREME CLOSEUP - BUTCH who exits his dream and enters reality with a throttled shock . He squints and tries to discern the source of the light while groping for his gun under the seat . BUTCH 'S POV - WHITE LIGHT It 's bright as hell but getting clearer , less fuzzy . We can now see it 's the headlights of a huge COMBINE which sits , ENGINE RUNNING , directly in front of the station wagon . A BLACK MAN - 50 or so , KILLS the ENGINE -LRB- but leaves the lights on -RRB- steps down from the combine cab and starts toward the station wagon . BACK TO SCENE Phillip , now wide awake and scared . He notices that . Butch is fingering the gun , resting it in his hands and under his right leg . The Black Man , whose name is Mack , crosses the front of the wagon and walks to the driver 's side window .<\/scene_description>\n    <character>MACK<\/character>\n    <parenthetical>( BLACK MAN . )<\/parenthetical>\n    <dialogue>Did n't mean to scare ya'. I work at night. It's cooler. Ya ` lls car break down?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Me n' the boy was just catchin' some shut - eye in yer' field.<\/dialogue>\n    <character>MACK<\/character>\n    <dialogue>Oh, it ai n't mine. I just works it for Mr. Andrews. Where ya'll from?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Drove from Texarkana yesterday.<\/dialogue>\n    <character>MACK<\/character>\n    <dialogue>Quite a haul.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Said a mouthful there.<\/dialogue>\n    <character>MACK<\/character>\n    <dialogue>Well, ai n't no sense in ya'll sleepin' in the car. Not when I got a fold out couch sittin' empty.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Would n't want to put you out. ` Sides we need to get back on the road.<\/dialogue>\n    <character>MACK<\/character>\n    <dialogue>No trouble t ` all. Wake you up first light, fill yer' belly and send you on yer' way.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RURAL ROAD - FIRST LIGHT - DAY<\/stage_direction>\n    <scene_description>A Highway Patrol car , followed by a tow truck , breeze along the highway .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGHWAY PATROL CAR - DAY<\/stage_direction>\n    <scene_description>Two officers , MONTGOMERY and HALL , scan the horizon . They look like they 've driven all night . Saunders wakes up in the back seat and leans forward .<\/scene_description>\n    <character>SAUNDERS<\/character>\n    <dialogue>We did n't pass it did we?<\/dialogue>\n    <scene_description>Saunders spots the RV on the horizon .<\/scene_description>\n    <character>MONTGOMERY<\/character>\n    <dialogue>There it is.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE - DAY<\/stage_direction>\n    <scene_description>The patrol car stops , as does the tow truck .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PATROL CAR - DAY<\/stage_direction>\n    <scene_description>Hall and Montgomery view the beat to hell RV while Saunders , ready to cry , jumps out and runs into the field .<\/scene_description>\n    <character>MONTGOMERY<\/character>\n    <dialogue>Good Gawd Almighty. Governor ai n't gon na' like this.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRSTREAM - DAY<\/stage_direction>\n    <scene_description>Suttle is asleep among the rubble . He jumps to when Saunders bursts in . Saunders gasps when he sees the shape his prize vehicle is in .<\/scene_description>\n    <character>SAUNDERS<\/character>\n    <dialogue>Where are they?!<\/dialogue>\n    <character>SUTTLE<\/character>\n    <dialogue>Uh, uh, they're gone.<\/dialogue>\n    <character>SAUNDERS<\/character>\n    <dialogue>How long?!<\/dialogue>\n    <character>SUTTLE<\/character>\n    <dialogue>I do n't know, uh, four, five hours.<\/dialogue>\n    <scene_description>Saunders , dejected , starts to move some of the trash from the couch . He sits down and moans .<\/scene_description>\n    <character>SAUNDERS<\/character>\n    <dialogue>Well, goddammit, did he say anything?<\/dialogue>\n    <character>SUTTLE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>SAUNDERS<\/character>\n    <dialogue>What?!<\/dialogue>\n    <character>SUTTLE<\/character>\n    <dialogue>Well, uh, Chief Garnett wanted me to tell you that the vehicle gets his seal of approval.<\/dialogue>\n    <scene_description>Saunders ' face begins to turn red .<\/scene_description>\n    <character>SUTTLE<\/character>\n    <dialogue>And that he wants his chair back.<\/dialogue>\n    <scene_description>If he was red before , now Saunders is crimson . A ther - mometer dropped into boiling water .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIRSTREAM - DAY<\/stage_direction>\n    <scene_description>We hear a SCREAM and then a second later , Red 's desk chair comes flying out the door . It hits a rock and splits as it bounces .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY - DAY<\/stage_direction>\n    <scene_description>Two Highway Patrol cars rocket along , one behind the other .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEAD PATROL CAR - DAY<\/stage_direction>\n    <scene_description>OFFICER JONES , a lean , hard - nose of 25 , drives . Adler in the front seat , Red and Sally in the back . Not a word is spoken . Serious business .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SECOND PATROL CAR - DAY<\/stage_direction>\n    <scene_description>ANOTHER OFFICER drives this car . Kaiser rides shotgun working the radio . In the back seat sit Bobby Lee and Bradley .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MACK'S HOUSE - DAY<\/stage_direction>\n    <scene_description>A COFFEEPOT RATTLES on the stove . Two black hands move the pot and rescue overfried eggs in a skillet on the stove . Two small black feet dangle from a too - high bathroom toilet . As they hit the ground we hear a FLUSH . We FOLLOW the feet DOWN down a short hall and into the living room . As they pass the bottom of a fold - out couch we . BOOM UP to reveal Butch and Phillip asleep . Butch 's arm has found its way under Phillip 's head and is acting as an early morning pillow . A small head pops up on the side of the bed nearest Phillip . The six - year - old eyes of CLEVELAND peer close to Phillip and watch , only inches away , as Phillip sleeps . Phillip 's eyes blink a bit and then they open .<\/scene_description>\n    <character>PHILLIP<\/character>\n    <parenthetical>( scared . )<\/parenthetical>\n    <dialogue>Aaaayyyyy!<\/dialogue>\n    <character>CLEVE<\/character>\n    <parenthetical>( more scared . )<\/parenthetical>\n    <dialogue>Aaaayyyy!<\/dialogue>\n    <scene_description>Butch jumps up like a rocket and is on the floor in an instant .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Aaaayyyyy!<\/dialogue>\n    <scene_description>Cleve races into the kitchen and the apron strings of his grandmother , Mack 's wife , LOTTIE .<\/scene_description>\n    <character>LOTTIE<\/character>\n    <dialogue>He wake ya'll up?<\/dialogue>\n    <parenthetical>( to Cleve . )<\/parenthetical>\n    <dialogue>Now I told ya not to do that.<\/dialogue>\n    <scene_description>BUTCH AND PHILLIP , breathing hard , ca n't help but laugh .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>No harm, Ma'am.<\/dialogue>\n    <character>LOTTIE<\/character>\n    <dialogue>I'm Lottie. Mack's wife. This here's my grandbaby, Cleveland.<\/dialogue>\n    <character>CLEVE<\/character>\n    <dialogue>Name's Cleve. I'm six.<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>I'm eight. Mine's Buzz.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MACK'S KITCHEN - DAY<\/stage_direction>\n    <scene_description>Butch , Cleve and Phillip finish breakfast while Lottie pours coffee . Cleve and Phillip , hitting it off well , are engaged in fervent storytelling .<\/scene_description>\n    <character>CLEVE<\/character>\n    <dialogue>We got us a creek down the way. Wan na go later?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Sure thing.<\/dialogue>\n    <scene_description>Mack enters after a hard night 's work .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Mornin' to ya.<\/dialogue>\n    <character>MACK<\/character>\n    <dialogue>Mornin'. Rest done ya'll some good.<\/dialogue>\n    <character>LOTTIE<\/character>\n    <dialogue>You wan na plate?<\/dialogue>\n    <character>MACK<\/character>\n    <dialogue>Not jus' yet.<\/dialogue>\n    <parenthetical>( to Cleve . )<\/parenthetical>\n    <dialogue>Boy, go get my thermos from the truck.<\/dialogue>\n    <scene_description>Cleve , still whispering and giggling with Phillip , is n't really listening .<\/scene_description>\n    <character>MACK<\/character>\n    <dialogue>Do n't ya hear good, boy?!<\/dialogue>\n    <scene_description>Mack firmly cuffs the boy 's ear and Cleve jumps up and out the door , one hand holding the side of his head . Butch and Phillip both look up at Mack .<\/scene_description>\n    <character>MACK<\/character>\n    <dialogue>Boy do n't got the sense Gawd gave a chicken.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEAD PATROL CAR - HIGHWAY - DAY<\/stage_direction>\n    <character>JONES<\/character>\n    <dialogue>Want me to stay on Highway 70?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Let's head on over towards Amarillo. We'll cross him there or wave goodbye at the border.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MACK'S HOUSE - LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Phillip sits on the couch and watches as Butch shows Cleve a trick . Cleve bends over , puts his hands between his legs and Butch grabs them and pulls - a flip . Cleve is ecstatic at the result . Phillip and Butch laugh along .<\/scene_description>\n    <character>CLEVE<\/character>\n    <dialogue>Agin'! Do it agin'!<\/dialogue>\n    <character>LOTTIE<\/character>\n    <parenthetical>( to Butch . )<\/parenthetical>\n    <dialogue>Where's the boy's mother?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>We left her at home this time. Boy's night out kinda thing.<\/dialogue>\n    <scene_description>Butch spots an old phonograph .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Say, lookie here.<\/dialogue>\n    <scene_description>He gives it a spin with his finger and searches through a stack of 78s .<\/scene_description>\n    <character>LOTTIE<\/character>\n    <dialogue>Mr. Andrews give'em to us when he got hisself a newfangled one.<\/dialogue>\n    <scene_description>Butch finds a particular favorite .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Jeezus. Now this is music. You know how long it's been since I heard this.<\/dialogue>\n    <character>LOTTIE<\/character>\n    <dialogue>That's an oldie all right. Mrs. Andrews' maiden name was Bougeois - half - Creole herself she is, but Mr. Andrews he do n't like nobody to know. ` Suppose that's why he give'em to us.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - DAY<\/stage_direction>\n    <scene_description>Mack drops his pants and sits on the throne . He reaches over and turns ON the RADIO resting on the wash basin . A FARM REPORT comes on just as .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>A NEEDLE DROPS on a 78 , filling the room with the SCRATCHY sounds of a Coonass waltz . Butch 's eyes come to life .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>You dance, Lottie?<\/dialogue>\n    <character>LOTTIE<\/character>\n    <dialogue>Lawd goodness no.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Here, jus' follow me.<\/dialogue>\n    <scene_description>He takes her in his arms and slowly but surely adjusts her movement to his . After a few rough turns they 're not too bad . Phillip ca n't help but smile as he and Cleve watch and giggle . Butch and Lottie dance , swirling around the room .<\/scene_description>\n    <character>LOTTIE<\/character>\n    <dialogue>Mr. Poe, you sure can move.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Oughta be able to. Was raised in a dime a dance whorehouse.<\/dialogue>\n    <character>LOTTIE<\/character>\n    <dialogue>Yer' foolin' me?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>No, ma'am. My mama would dance their asses out of the fryin' pan and into the back room fire.<\/dialogue>\n    <scene_description>Butch spots Phillip and Cleve , watching , giggling .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Get on yer' feet, Buzz. You'n Cleve shake a leg.<\/dialogue>\n    <character>LOTTIE<\/character>\n    <parenthetical>( encouraging . )<\/parenthetical>\n    <dialogue>Well go on!<\/dialogue>\n    <scene_description>Cleve and Phillip reluctantly stand and stare at one another .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Dance, boys!<\/dialogue>\n    <scene_description>The little boys do their best to emulate the adults and soon they 're laughing and dancing , too . The RECORD STOPS . They all clap and laugh . Butch hears something . The RADIO in the bathroom .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - DAY<\/stage_direction>\n    <scene_description>Mack sits , cleaning his fingernails with a Barlow knife as the radio announcer begins a news flash .<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Update on the manhunt for the escaped convict. Haynes is armed and extremely dangerous. He is believed to have a hostage with him, an eight - year - old boy.<\/dialogue>\n    <scene_description>A finger turns OFF the RADIO . We FOLLOW the finger UP an arm TO Butch 's concerned face . He sits down on the edge of the tub across from Mack and takes the knife away from him .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>We'll be leavin' soon enough. I'll kill all of you if you try anything stupid.<\/dialogue>\n    <scene_description>Mack swallows hard .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Lottie quizzes Phillip .<\/scene_description>\n    <character>LOTTIE<\/character>\n    <dialogue>What's Texarkana like? I ai n't never been there.<\/dialogue>\n    <character>PHILLIP<\/character>\n    <parenthetical>( through his teeth . )<\/parenthetical>\n    <dialogue>Oh, it's real nice. I got a dog named. Phillip and a tree house and.<\/dialogue>\n    <scene_description>Mack , nervous , enters the room followed by Butch .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Come on, Buzz. Time for us to hit the road.<\/dialogue>\n    <character>LOTTIE<\/character>\n    <dialogue>Whass' wrong, Mack? You look like you seen a ghost.<\/dialogue>\n    <scene_description>Cleve runs up to Butch , turns around backwards and puts his hands between his legs .<\/scene_description>\n    <character>CLEVE<\/character>\n    <dialogue>Do me agin'!<\/dialogue>\n    <character>MACK<\/character>\n    <parenthetical>( scared for the boy . )<\/parenthetical>\n    <dialogue>No! Boy! Get over by yer' Mammaw!<\/dialogue>\n    <scene_description>Lottie senses something is wrong . Cleve , too young to smell trouble , persists .<\/scene_description>\n    <character>CLEVE<\/character>\n    <dialogue>Come on, Mister, do me agin'!<\/dialogue>\n    <scene_description>Butch smiles and starts to oblige the boy , but Mack inter - venes and smacks Cleve hard , sending him sprawling to the floor bawling . Butch , instantly enraged , back - hands Mack , grabs him by the collar and tosses him onto the floor . Phillip - frozen , sitting , watching as things go from bad to worse . Cleve - confused , bawling , afraid . Butch pulls the gun from his pants , bends down , picks up Mack by his throat , presses the gun in his mouth and lifts him into a chair beside Lottie . He bends close to Mack - their noses are inches apart .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Why'd ya' wan na' go and hit Cleve for? He did n't move fast enough for ya', is that it? Or maybe he gets excited sometimes and do n't hear everything ya' say? You make me sick to my stomach.<\/dialogue>\n    <scene_description>Butch spits in Mack 's face , then rises and walks over to Phillip and hands him the revolver .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Point it at'em.<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>I do n't wan na'.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Point it!<\/dialogue>\n    <scene_description>Phillip does so , occasionally wiping a tear from his eye . Mack reaches down and holds Lottie 's hand . Butch kneels down to a still - sobbing Cleve .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Now, son, you wan na' flip?<\/dialogue>\n    <scene_description>Cleve shakes his head `` no '' between sobs . Butch gently takes the boy and lifts him to a standing position .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Go ahead. Put yer' hands between yer' legs. I wo n't hurt ya'.<\/dialogue>\n    <scene_description>Cleve turns to Mack and then runs to him . Butch walks calmly over and pulls the crying child away from the old man and back to the center of the room .<\/scene_description>\n    <character>BUTCH<\/character>\n    <parenthetical>( to Mack . )<\/parenthetical>\n    <dialogue>He do n't trust ya' no more. You got ta' earn that, ya' know?<\/dialogue>\n    <parenthetical>( to Cleve . )<\/parenthetical>\n    <dialogue>Put yer' hands ` tween yer' legs, son.<\/dialogue>\n    <scene_description>Cleve , still sobbing , does so . Butch reaches down and flips him , all the while staring at Mack . Each time he flips the boy , Butch reaches down , grabs Cleve 's hands and flips him again . Finally he allows the frightened child to go to Mack and Lottie . Butch takes the gun from Phillip .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Buzz. Go out to the car and get that rope.<\/dialogue>\n    <scene_description>Phillip stands frozen .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Phillip!<\/dialogue>\n    <scene_description>Phillip slowly rises and walks away . He stops for a moment and turns his back . EXTREME CLOSEUP - PHILLIP His eyes lock in a gaze with . EXTREME CLOSEUP - CLEVE His sobbing eyes plead for something , anything .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - DAY<\/stage_direction>\n    <scene_description>Phillip exits the house , walks past an old well to the station wagon . He opens the door , stops , looks back .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - DAY<\/stage_direction>\n    <scene_description>Butch sits on the coffee table across from Mack , Lottie and Cleve .<\/scene_description>\n    <character>BUTCH<\/character>\n    <parenthetical>( to Mack . )<\/parenthetical>\n    <dialogue>Now you hold that boy and tell him you love him.<\/dialogue>\n    <scene_description>Mack grabs Cleve and sets him in his lap .<\/scene_description>\n    <character>MACK<\/character>\n    <parenthetical>( scared . )<\/parenthetical>\n    <dialogue>I love you.<\/dialogue>\n    <scene_description>Butch cocks the revolver and slides forward . His nose is almost touching Mack 's .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>No, old man. Say it like you mean it.<\/dialogue>\n    <character>MACK<\/character>\n    <dialogue>This boy know I loves him, mistah'.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Then say it.<\/dialogue>\n    <character>LOTTIE<\/character>\n    <dialogue>Please, mistah'. I got ta' sense about you. I know you a good man.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Nome', I ai n't a good man. Ai n't the worst neither, jus' a different breed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - DAY<\/stage_direction>\n    <scene_description>Phillip is at the screen door looking in . He holds the bag in his hand . HIS POV Butch sits on the coffee table , which is pushed right up to Mack , Lottie and Cleve , who sit on chairs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Butch , enthralled with the episode he 's directing , almost quivers with anticipation .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Say it, Mack. Do n't cost nuthin'.<\/dialogue>\n    <character>MACK<\/character>\n    <dialogue>I love you, Cleve.<\/dialogue>\n    <character>BUTCH<\/character>\n    <parenthetical>( serious . )<\/parenthetical>\n    <dialogue>Gawd that's beautiful.<\/dialogue>\n    <scene_description>Butch spots Phillip standing at the entrance to the living room with the bag . He takes it from the boy , empties the contents - candy , cookies , bread , sugar and all - and picks up the rope , takes Mack 's Barlow knife from his pocket and cuts off a long shank . Butch takes the rope and begins to tie up the three . Phillip stands , stares , aware that something bad is happening . Butch finishes tying , sticks the knife in his pocket and walks over to the PHONOGRAPH . He turns it back ON . The SCRATCHY RECORD plays . He turns UP the VOLUME .<\/scene_description>\n    <character>BUTCH<\/character>\n    <parenthetical>( to Phillip . )<\/parenthetical>\n    <dialogue>You can go wait in the car or you can watch. Yer' old enough to think for yer ` self.<\/dialogue>\n    <scene_description>Phillip , unsure what to do , stands his ground . Butch returns to his seat on the coffee table and stares at the three hostages . He appears as if he 's about to cry , closes his eyes and rests his chin on the barrel of the revolver while he recites instructions .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Shut yer' eyes, Cleve. Mack, you and Lottie hold the boy tight. Shut yer' eyes, too.<\/dialogue>\n    <scene_description>Phillip , awkwardly aware that he 's going to witness an execution , starts to cry out , then squelches himself . Butch seems to be in another world now - taken to another place and time . A slight smile finds its way to his face , then disappears .<\/scene_description>\n    <character>LOTTIE<\/character>\n    <dialogue>Please, mistah', ai n't no use in it.<\/dialogue>\n    <character>MACK<\/character>\n    <dialogue>We'll give you ever ` thing we got!<\/dialogue>\n    <scene_description>But Butch does n't even hear the words . He slowly opens his eyes , pulls his chin from the pistol barrel and points it at Mack .<\/scene_description>\n    <character>LOTTIE<\/character>\n    <dialogue>Our Father, which are in heaven, Hallo be thy name.<\/dialogue>\n    <character>BUTCH<\/character>\n    <parenthetical>( to Lottie . )<\/parenthetical>\n    <dialogue>Shhh. shhh. shhh.<\/dialogue>\n    <character>LOTTIE<\/character>\n    <dialogue>Thy Kingdom come, Lawd, thy will be done. here on Earth as it is in Heaven.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Shhh. shhh.<\/dialogue>\n    <character>LOTTIE<\/character>\n    <parenthetical>( to Mack\/Cleve . )<\/parenthetical>\n    <dialogue>Say it wif' me.<\/dialogue>\n    <scene_description>Butch looks to Phillip in a strange way , sets the gun on the floor between them , and crawls amongst the candy , gum and wrappers until he finds the electrician 's tape . Phillip watches , not knowing what to do . The revolver - cocked , resting on the floor .<\/scene_description>\n    <character>MACK, CLEVE &amp; LOTTIE<\/character>\n    <dialogue>Giv' us this day our daily bread and forgiv' us, Lawd, our trespasses as we forgiv' those who tresspass agin' us.<\/dialogue>\n    <scene_description>Butch rips tape from the roll and slaps a piece over each of their mouths , silencing their prayers one by one . Out of breath , he kneels down in front of them and stares at the three while he reaches his hand behind him for the . pistol - but it 's not there . Butch looks up to see . Phillip - teeth gritted , holding the pistol , pointing it directly at Butch . CLOSEUP - BUTCH His expression is blank - then a slight smile . For a second it 's as if none of this has happened , that Butch will grasp Phillip in his arms . A DEAFENING GUNBLAST turns his expression to blank . Phillip , knocked to the floor by the revolver 's kick , recovers to his knees , shaking like a leaf . The MAMBO RECORD comes to an END , but SCRATCHES ON AD INFINITUM . Butch falls back to his knees , still staring at Phillip . He looks at his stomach , where a stain of brown - red gushes through his T - shirt , and back to the boy .<\/scene_description>\n    <character>BUTCH<\/character>\n    <parenthetical>( as if he has n't seen him in years . )<\/parenthetical>\n    <dialogue>Phillip?<\/dialogue>\n    <scene_description>Phillip , momentarily dazed , stares at the gun in his hand , at Butch , the blood pouring from Butch 's side , and the shocked faces of Mack and his family . Then , in a flash , he runs , pell - mell , out of the house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - DAY<\/stage_direction>\n    <scene_description>Phillip blasts out the screen door and runs straight to the well . He drops the gun into the well , catches his breath and heads for the road . After a few yards he has a thought , runs back to the station wagon , grabs the keys and throws them as far into the adjacent field as he can . Then he resumes his race for the road .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - DAY<\/stage_direction>\n    <scene_description>Butch gropes to his feet , still in shock . He stumbles toward the door , then stops , reaches in his pocket , extracts Mack 's Barlow knife , holds it up and walks toward them , staring hard . Mack , Cleve , Lottie - Afraid they 'll be killed after all . Butch , surprisingly , meekly sets the knife down on the coffee table .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Thanks for yer' hospitality.<\/dialogue>\n    <scene_description>And walks away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - DAY<\/stage_direction>\n    <scene_description>Butch emerges and stumbles out .<\/scene_description>\n    <character>BUTCH<\/character>\n    <parenthetical>( to the horizon . )<\/parenthetical>\n    <dialogue>Phillip?!<\/dialogue>\n    <scene_description>No answer . He drags himself to the station wagon and , with much effort , slides himself into the seat . No keys . He opens the door , crawls out , leaving a trail of blood , looks out to the road and starts to walk . PHILLIP runs down the road , looking back every so often to see if Butch is following BUTCH makes his way onto the private dirt and starts walking back toward the main road .<\/scene_description>\n    <character>BUTCH<\/character>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>Phillip?! I wo n't hurt ya', I swear!<\/dialogue>\n    <scene_description>PHILLIP is running out of steam on the road ahead . He stops for a blow and looks back . HIS POV A few hundred yards back , Butch struggles forward . BACK TO SCENE Phillip crawls through the ditch beside the road and squeezes through a barb wire fence . His costume hangs on a barb . He rips away from the fence leaving a foot - long strand behind . In the b.g. - a pickup truck drives by .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCK - DAY<\/stage_direction>\n    <scene_description>ARCH ANDREWS , 50 , the owner of the Ranch , slows down when he sees .<\/scene_description>\n    <character>ARCH<\/character>\n    <dialogue>What the hell?<\/dialogue>\n    <scene_description>HIS POV - PHILLIP clad in his white costume , running across a field toward a grove of trees beside the creek . BACK TO SCENE Arch continues on down the road and passes . Butch - nearly in shock , stumbling down the road . TRUCK pulls into Mack 's place , and Arch gets out , peers into the station wagon , sees blood , grimaces and walks up to the house . He notices a dripping trail of blood on the porch .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - DAY<\/stage_direction>\n    <scene_description>Arch enters the kitchen , sees no one and starts toward the living room . The MAMBO continues to SCRATCH .<\/scene_description>\n    <character>ARCH<\/character>\n    <dialogue>Mack? Lottie?<\/dialogue>\n    <scene_description>Arch enters the living room and stops when he sees Mack and family , still gagged and tied to the chairs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - DAY<\/stage_direction>\n    <scene_description>Butch , holding his side , the pain is worse as he stumbles along . He stops when he spots something - a piece of white costume on the fence . He crosses the ditch , steps through the fence and walks in the same direction Phillip did .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>That was a helluva' thing to do, Phillip. You're a hero. Prolly' be in all the papers tomorrow, how you saved those folks. Truth is, I do n't think I woulda' killed'em. I only killed two people in my whole life. One hurt my mama and one hurt you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEAD PATROL CAR - DAY<\/stage_direction>\n    <scene_description>Adler listens in on the shortwave .<\/scene_description>\n    <character>KAISER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>A town called Happy, over in Swisher County.<\/dialogue>\n    <character>RED<\/character>\n    <parenthetical>( to Jones . )<\/parenthetical>\n    <dialogue>How far?<\/dialogue>\n    <character>JONES<\/character>\n    <dialogue>Half - hour tops.<\/dialogue>\n    <character>RED<\/character>\n    <parenthetical>( to Adler . )<\/parenthetical>\n    <dialogue>Get on the radio and tell whoever gets there first to play it nice and easy.<\/dialogue>\n    <scene_description>Sally gives him a look .<\/scene_description>\n    <character>KAISER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>They've got the boy's mother flyin' in on a private. You want her on standby?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Jeezus, who did that?<\/dialogue>\n    <character>ADLER<\/character>\n    <dialogue>Guvner, I assume.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>Not a bad idea.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Go ahead and chopper her in.<\/dialogue>\n    <scene_description>After a moment of silence , Sally turns to Red .<\/scene_description>\n    <character>SALLY<\/character>\n    <dialogue>I did n't mean to pry last night.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Yes, ya did.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>Look, Red, it was 20 years ago.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Funny thing. When the judge sent him away the kid stared at me. Like he knew. Not hard or mad like you'd expect. It was. It was like he was forgiving me.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>Forgiving you for what?! For looking at the facts and doing what you thought was right?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Naw. For what's gon na happen today.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD - DAY<\/stage_direction>\n    <scene_description>Butch follows Phillip 's path through the field .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>What say we talk this over? Settle things man to man. Then we can be on our way. I'll even let you drive. Knock that right off yer' list. How'd that be?<\/dialogue>\n    <scene_description>PHILLIP finally arrives at the creek , looking over his shoulder all the way . He looks at the water - deep and running swift . Where to go ? He decides and heads for the nearest tree - a big oak , and shimmies up to a branch ten feet or so above the ground .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. LOCAL BLACK AND WHITE - DAY<\/stage_direction>\n    <scene_description>A country cop answering the report , drives slowly down the road , his pistol drawn and held upright in one hand . He pulls into Mack 's driveway and parks . Arch walks out of the house to greet him .<\/scene_description>\n    <character>ARCH<\/character>\n    <dialogue>That's his car. Took off on foot. He's got a pistol. Mack says it looks like a.38.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD - DAY<\/stage_direction>\n    <scene_description>Butch stops to rest . Something catches his eye . HIS POV A white figure moves slightly in the boughs of an oak tree . Phillip tries to climb higher but ca n't reach the next limb . BACK TO SCENE Butch walks underneath the tree without even looking at Phillip . He sits down to rest .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Alaska, Phillip. Wild and wooley. Man against nature. Me personally, I like them odds.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Did I tell you my daddy lives there? He's the one that sent the picture postcard. Listen here to what he says about it.<\/dialogue>\n    <scene_description>Butch pulls the postcard from his back pocket and reads .<\/scene_description>\n    <character>BUTCH<\/character>\n    <parenthetical>( reading . )<\/parenthetical>\n    <dialogue>` Dear Robert'. that's my real name, Phillip. Robert. Jus' like old Bob the family man. ` Dear Robert, I just wanted to tell you that me leaving has nothing to do with you.'<\/dialogue>\n    <scene_description>Phillip , still afraid , ca n't help but listen as Butch suffers through his memories .<\/scene_description>\n    <character>BUTCH<\/character>\n    <parenthetical>( reading . )<\/parenthetical>\n    <dialogue>` Alaska is a beautiful place. Colder than hell most all the time. Someday you can come and visit and we'll maybe get to know each other better.' Short and sweet. That's the old man's style. ` Cold all the time' - like that's a big sellin' point.<\/dialogue>\n    <scene_description>He laughs to himself .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>He useta' pat me on the head and tell folks ` that it's some that can live life without askin' about it and it's others has to know why, and this boy here is one of the latters.'.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>That's why I wanted to go up there. To visit the old man, I guess. Prolly' punch him one first, but then maybe we'd end up bein' friends, sit down, have a beer, talk things over.<\/dialogue>\n    <scene_description>Butch groans . He pulls his hand from his side . Blood is oozing all over the place . He returns the postcard to his pocket .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>We'll jus' rest awhile. Then you can make up yer' mind. How's that?<\/dialogue>\n    <scene_description>Phillip , still clinging to the tree , ca n't help but feel compassion for his friend .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MACK'S HOUSE - DAY<\/stage_direction>\n    <scene_description>A dozen Highway Patrol cars now sit in the driveway . The Fed in charge , AGENT HENDRICKS , assigns different officers to secure the area in an incredibly organized fashion . Mack , Lottie , Cleve and Arch watch from the porch .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CREEKSIDE - DAY<\/stage_direction>\n    <scene_description>Butch 's eyes are closed . A small puddle of blood drips and becomes a rivulet running down into the creek . Phillip , still in the tree , still watching , ca n't bear it any longer . He slowly climbs down and drops next to Butch , who opens his eyes to the boy and smiles .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>One thing's for sure now - I definitely believe in ghosts.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Never been shot before.<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>I know ya' are. Truth is, if it had to happen, I'm glad it was you. As opposed to someone I do n't know, I mean. All things considered, I feel pretty good, though. Could use a beer, though.<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>What's beer taste like?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Oh, it's about the best thing there is. You'd better put that on the list.<\/dialogue>\n    <scene_description>Phillip 's eye catches something . He stands up fearfully . HIS POV - TWO MORE PATROL CARS lights spinning , rushing down the road , kicking up dust .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. RED'S PATROL CAR - DAY<\/stage_direction>\n    <scene_description>Sally watches Red . When the car comes to a stop , she reaches out and touches his arm .<\/scene_description>\n    <character>SALLY<\/character>\n    <dialogue>I think our chances of this thing ending peacefully are good.<\/dialogue>\n    <scene_description>He smiles a lonesome smile , opens the door and exits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CREEKSIDE - DAY<\/stage_direction>\n    <scene_description>Phillip kneels back down to Butch .<\/scene_description>\n    <character>PHILLIP<\/character>\n    <dialogue>You better run.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Naw, Phillip, I need me a time machine with a loud radio to take me where I'm goin'. Walkin's for squares.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MACK'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Red exits his patrol car , followed by Sally . Agent Hendricks walks up .<\/scene_description>\n    <character>HENDRICKS<\/character>\n    <dialogue>Garnett, I'm Tom Hendricks, F.B.I., out of the Amarillo office. I understand you have one of our men with you?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Yeah. You got the area quadroned off?<\/dialogue>\n    <character>HENDRICKS<\/character>\n    <dialogue>Water tight. Like a frog's pussy.<\/dialogue>\n    <parenthetical>( notices Sally . )<\/parenthetical>\n    <dialogue>Sorry, ma'am.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>No doubt an observation based on personal experience.<\/dialogue>\n    <scene_description>Red ca n't help but smile .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>You got him spotted?<\/dialogue>\n    <character>HENDRICKS<\/character>\n    <dialogue>By the creek, half - mile down the road. I spaced officers in a circle around them 100 yards or so away.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>You got any problem with me handling this one?<\/dialogue>\n    <character>HENDRICKS<\/character>\n    <dialogue>What say we both handle it?<\/dialogue>\n    <scene_description>Red sighs .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>Let's head on down there. Bradley, gim me' a megaphone.<\/dialogue>\n    <character>HENDRICKS<\/character>\n    <dialogue>One other thing, Chief. Haynes is wounded. The boy gut - shot him.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Yer' shittin' me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CREEKSIDE - DAY<\/stage_direction>\n    <scene_description>Phillip scoops a handful of water and brings it to Butch , who opens his mouth and drinks , A megaphoned voice interrupts .<\/scene_description>\n    <character>RED<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( through megaphone . )<\/parenthetical>\n    <dialogue>Butch, this is Red Garnett of the Texas State Police.<\/dialogue>\n    <scene_description>A thin , knowing smile crosses Butch 's lips .<\/scene_description>\n    <character>RED<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I know yer' hurt. We've got damn near 100 armed men here. Take a look around and you'll see I'm shootin' ya' straight.<\/dialogue>\n    <character>BUTCH<\/character>\n    <parenthetical>( yelling back . )<\/parenthetical>\n    <dialogue>All this for me. I'm touched, but I'm afraid ya'll gon na' have to back it up a step or two. I'm headed to Mexico.<\/dialogue>\n    <parenthetical>( to Phillip . )<\/parenthetical>\n    <dialogue>Lyin' to'em, of course.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE - DAY<\/stage_direction>\n    <scene_description>Red leans against a patrol car , accompanied closely by Adler , Sally and Hendricks .<\/scene_description>\n    <character>RED<\/character>\n    <parenthetical>( into megaphone . )<\/parenthetical>\n    <dialogue>Hate to tell ya', Butch, but yer' headed the wrong direction. Tell ya' what. You let the boy go and we'll talk about it. Discuss it over a cold beer.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CREEKSIDE - DAY<\/stage_direction>\n    <character>BUTCH<\/character>\n    <parenthetical>( to Phillip . )<\/parenthetical>\n    <dialogue>Beer. What'd I tell ya'.<\/dialogue>\n    <parenthetical>( to Red . )<\/parenthetical>\n    <dialogue>Appreciate the offer, Cap'n, but ya' know I ca n't do that. If you and yer' pals back outta' here, I'll drop the boy at the border.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>If you do n't I'll shoot him in the head. I mean it!<\/dialogue>\n    <scene_description>Phillip , betrayed beyond comprehension , stares at Butch .<\/scene_description>\n    <character>BUTCH<\/character>\n    <parenthetical>( to Phillip . )<\/parenthetical>\n    <dialogue>Do n't look at me like that. I do n't even have a gun. What did ya' do with the pistola' anyway?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Threw it in the well.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Good thinkin'.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE - DAY<\/stage_direction>\n    <character>ADLER<\/character>\n    <dialogue>Ya' think he means it?<\/dialogue>\n    <scene_description>Red mulls it over , replaces his old chaw with a fresh one and looks to Sally .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>Based on what's happened the past two days I do n't think he would.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>One thing's for sure. If he gets outta' here with the boy, we're right back to where we started.<\/dialogue>\n    <character>BRADLEY<\/character>\n    <dialogue>If he kills the boy he'll get the chair.<\/dialogue>\n    <character>ADLER<\/character>\n    <dialogue>Shit, he'll get the chair anyway. He's killed two in two days.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>We do n't know that he pulled the trigger on either of the innocent victims.<\/dialogue>\n    <character>ADLER<\/character>\n    <dialogue>Well he was n't at home in his Strat - O - Lounger. ` Sides, who killed Pugh? Casper?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>All right, both of you, that's enough! From the trail of blood I got a feelin' it ai n't gon na' make any difference. Let's jus' concentrate on gettin' the boy out for now.<\/dialogue>\n    <scene_description>Bobby Lee approaches with a leather case , bypasses Red and goes straight to Hendricks .<\/scene_description>\n    <character>BOBBY LEE<\/character>\n    <dialogue>Where ya' want me, sir?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Can you shoot off a hood?<\/dialogue>\n    <scene_description>Bobby Lee nods . In the b.g. , a HELICOPTER circles , preparing to land .<\/scene_description>\n    <character>ADLER<\/character>\n    <dialogue>That'd be the boy's mother.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Bring her on over.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CREEKSIDE - DAY<\/stage_direction>\n    <scene_description>Butch and Phillip watch the helicopter land .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>See, Phillip, dreams do come true. There's yer' rocketship.<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Think I'll get to ride it?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Today's the day.<\/dialogue>\n    <character>RED<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( megaphoned . )<\/parenthetical>\n    <dialogue>Butch, we got the boy's Mama here. She wants to say something.<\/dialogue>\n    <scene_description>Phillip is visibly stunned by the news . He crawls up to the crest of the creekside and squints , looking for his mom .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>What's wrong, Phillip?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>It's my mama.<\/dialogue>\n    <scene_description>Phillip still cranes his neck to see .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Now that ya' got yerself a ghost suit, do ya' think she'll let ya' trick r' treat?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <parenthetical>( better than none . )<\/parenthetical>\n    <dialogue>I got to do one house.<\/dialogue>\n    <scene_description>Butch smiles . He has an idea .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Put yer' mask back on.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE - DAY<\/stage_direction>\n    <scene_description>Bobby Lee carefully unsnaps the latches on his leather case and opens it on the hood of the patrol car . Inside is . a high - powered military rifle in three parts . Hands unzip a velvetine bag and pull out a high - powered scope . Bobby Lee holds the lens of the scope to his mouth , blows a breath on it and wipes it clean with a piece of clean cloth . He feels eyes and turns to see . Sally , watching him at work . Bobby Lee smiles at her , cocksure . His dark role in this manhunt is now perfectly clear . Sally turns her head , disgusted . Gladys Perry , frazzled , somewhat in shock , is ushered forward . She 's handed the MEGAPHONE . She fumbles with it , pushes the button . It SQUAWKS LOUDLY .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>Jus' push the button and talk normal.<\/dialogue>\n    <scene_description>It SQUAWKS again .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>Here, I'll hold the damn thing. You jus' talk.<\/dialogue>\n    <character>GLADYS<\/character>\n    <parenthetical>( into megaphone . )<\/parenthetical>\n    <dialogue>Hullo. Hullo. Please, sir, he's my only son. I'll give you money, whatever I can. Please, I want to take my boy home! I want to.<\/dialogue>\n    <scene_description>The MEGAPHONE SQUALKS one final dying time and SHORTS OUT . Red hands it to Bradley , who immediately sets it on the trunk and starts taking it apart .<\/scene_description>\n    <character>RED<\/character>\n    <parenthetical>( to Gladys . )<\/parenthetical>\n    <dialogue>Yer' doin' fine. We'll get another one.<\/dialogue>\n    <character>BRADLEY<\/character>\n    <dialogue>I think yer' tobacco spit shorted it out, Red.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CREEKSIDE - DAY<\/stage_direction>\n    <scene_description>Phillip wears the mask . Butch dusts him off and smiles .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>You ready to go home?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <parenthetical>( very sure . )<\/parenthetical>\n    <dialogue>Yeahsir.<\/dialogue>\n    <character>BUTCH<\/character>\n    <parenthetical>( yells . )<\/parenthetical>\n    <dialogue>Hey, Cap'n, you got any candy?<\/dialogue>\n    <scene_description>INTERCUT BACK and FORTH BETWEEN Butch and : RED<\/scene_description>\n    <character>BRADLEY<\/character>\n    <parenthetical>( re : megaphone . )<\/parenthetical>\n    <dialogue>This one's shot.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Well, find another one!<\/dialogue>\n    <scene_description>Red sighs and cups his hands around his mouth .<\/scene_description>\n    <character>RED<\/character>\n    <parenthetical>( yells . )<\/parenthetical>\n    <dialogue>What?!<\/dialogue>\n    <character>BUTCH<\/character>\n    <parenthetical>( yells . )<\/parenthetical>\n    <dialogue>Candy! Halloween candy! Popcorn balls, caramel apples, gum, shit like that?!<\/dialogue>\n    <character>RED<\/character>\n    <parenthetical>( yells . )<\/parenthetical>\n    <dialogue>You hungry?<\/dialogue>\n    <character>BUTCH<\/character>\n    <parenthetical>( yells . )<\/parenthetical>\n    <dialogue>You find me some candy and I'll deliver up a ghost.<\/dialogue>\n    <character>RED<\/character>\n    <parenthetical>( to Adler . )<\/parenthetical>\n    <dialogue>You heard him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE - DAY<\/stage_direction>\n    <scene_description>Red nods to Adler who starts to gather sticks of gum , mints , anything from the surrounding officers .<\/scene_description>\n    <character>BRADLEY<\/character>\n    <dialogue>Do n't have another megaphone, Chief.<\/dialogue>\n    <scene_description>Red just shakes his head and sighs . Bobby Lee leans on the hood of the car and places one eye behind the scope of his rifle .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>You all set?<\/dialogue>\n    <character>BOBBY LEE<\/character>\n    <dialogue>You say when, I'll say dead.<\/dialogue>\n    <scene_description>Red glares at Bobby Lee for an extended moment .<\/scene_description>\n    <character>RED<\/character>\n    <parenthetical>( yells ; to Butch . )<\/parenthetical>\n    <dialogue>You got yer ` self a deal. Candy's waitin'.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CREEKSIDE - DAY<\/stage_direction>\n    <character>BUTCH<\/character>\n    <parenthetical>( yells . )<\/parenthetical>\n    <dialogue>One more thing. His old lady has to swear to take him trick r ` treatin' every year.<\/dialogue>\n    <scene_description>Phillip strains to look for his mom . He 's upset , ready to leave .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Gim me' yer' list, Phillip.<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>Butch?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Gim me that list.<\/dialogue>\n    <scene_description>Phillip pulls it out . Butch snatches it and reads it to himself , laughing . He 's on a death roll of sorts , between losing blood and being in an impossible situation he almost seems to be enjoying the macabre scenario as it unfolds . Phillip , on the other hand , is beginning to sob .<\/scene_description>\n    <character>BUTCH<\/character>\n    <parenthetical>( yells . )<\/parenthetical>\n    <dialogue>And she's got ta promise to take him to the fair for rollercoasters and cotton candy whenever he wants. or at least once a year.<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>I wan na' go home!<\/dialogue>\n    <character>BUTCH<\/character>\n    <parenthetical>( checks list ; yells . )<\/parenthetical>\n    <dialogue>And when he gets older he gets to drink beer.<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>I do n't need beer!<\/dialogue>\n    <character>BUTCH<\/character>\n    <parenthetical>( to Phillip . )<\/parenthetical>\n    <dialogue>Well it's on yer' list.<\/dialogue>\n    <parenthetical>( yells to Red . )<\/parenthetical>\n    <dialogue>And to go out on dates with girls!<\/dialogue>\n    <parenthetical>( to Phillip . )<\/parenthetical>\n    <dialogue>Not on the list, but you'll thank me later for that little addition.<\/dialogue>\n    <parenthetical>( checks list . )<\/parenthetical>\n    <dialogue>Done that, got to drive, gon na' ride that rocketship. That's about it.<\/dialogue>\n    <parenthetical>( yells ; to Red . )<\/parenthetical>\n    <dialogue>She's got ta' promise or I wo n't let him go!<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>I wan na' go home, Butch. My mama's not bad! She gives me those things.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Do n't kid a kidder, Phillip.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE -DAY<\/stage_direction>\n    <scene_description>Red , exasperated , he ca n't believe how weird this has gotten .<\/scene_description>\n    <character>RED<\/character>\n    <parenthetical>( yells . )<\/parenthetical>\n    <dialogue>It's a deal!<\/dialogue>\n    <character>BUTCH<\/character>\n    <parenthetical>( yells . )<\/parenthetical>\n    <dialogue>Make her say it!<\/dialogue>\n    <scene_description>Red looks to Gladys as if to say , `` go ahead '' . She seems reluctant . Red 's frustration is showing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CREEKSIDE - DAY<\/stage_direction>\n    <scene_description>Phillip is near tears . He rises and starts to move for the field , but Butch grabs him with one arm , pulls him close and holds him like he 's his own child .<\/scene_description>\n    <character>PHILLIP<\/character>\n    <dialogue>I jus' wan na' go home.<\/dialogue>\n    <character>BUTCH<\/character>\n    <parenthetical>( sincere . )<\/parenthetical>\n    <dialogue>Know jus' how ya' feel, Phillip.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE - DAY<\/stage_direction>\n    <character>GLADYS<\/character>\n    <parenthetical>( to Red . )<\/parenthetical>\n    <dialogue>Phillip knows those things are against our beliefs.<\/dialogue>\n    <character>RED<\/character>\n    <parenthetical>( to Gladys . )<\/parenthetical>\n    <dialogue>What kinda' foolishness is that?<\/dialogue>\n    <parenthetical>( yells . )<\/parenthetical>\n    <dialogue>She promises!<\/dialogue>\n    <character>BUTCH<\/character>\n    <parenthetical>( yells . )<\/parenthetical>\n    <dialogue>Make her say it!<\/dialogue>\n    <scene_description>Red gives her a look that says , `` Say it or deal with me '' .<\/scene_description>\n    <character>GLADYS<\/character>\n    <parenthetical>( yells . )<\/parenthetical>\n    <dialogue>I promise!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CREEKSIDE - DAY<\/stage_direction>\n    <character>BUTCH<\/character>\n    <parenthetical>( to Phillip . )<\/parenthetical>\n    <dialogue>Can we trust her?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>She's a real good mama.<\/dialogue>\n    <scene_description>Butch reaches into his pocket , extracts the remaining wad of stolen bills , unzips the Casper outfit , stuffs them into the costume and rezips .<\/scene_description>\n    <character>BUTCH<\/character>\n    <parenthetical>( to Phillip . )<\/parenthetical>\n    <dialogue>When you get home, hide this. If she's lyin' you can buy yer' own damn beer.<\/dialogue>\n    <scene_description>Phillip quiets for a moment and stares at Butch .<\/scene_description>\n    <character>PHILLIP<\/character>\n    <dialogue>Yer' not bad, are you, Butch?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Now, Buzz, listen here. I want ya' to step out there real slow, keepin' yer' paws in the air. Then strut right over to them cops and yell ` trick r' treat.' Got it?<\/dialogue>\n    <character>PHILLIP<\/character>\n    <dialogue>What are you gon na' do?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Somethin'll come to mind.<\/dialogue>\n    <scene_description>Butch sticks out his hand . Phillip shakes it , afraid .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>` Bye, Phillip. It's been one helluva' ride.<\/dialogue>\n    <scene_description>Butch nods and smiles .<\/scene_description>\n    <character>BUTCH<\/character>\n    <parenthetical>( yells . )<\/parenthetical>\n    <dialogue>All right, Cap'n. Make way for Casper the friendly ghost. The friendliest ghost I know.<\/dialogue>\n    <scene_description>Butch nudges Phillip and the boy starts toward the field .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE - DAY<\/stage_direction>\n    <scene_description>Adler , looking through binoculars , ca n't help but smile .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>Gim me' them things.<\/dialogue>\n    <scene_description>Adler hands over the binoculars . Red takes a look . HIS POV - PHILLIP nee Casper , walking in his full whitehood , arms reaching for the sky .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD - DAY<\/stage_direction>\n    <scene_description>Phillip reaches level ground and for the first time sees the full strength of the amassed police forces - at least 20 cars , swirling lights , guns everywhere , pointing at him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE - DAY<\/stage_direction>\n    <scene_description>Red watches .<\/scene_description>\n    <character>RED<\/character>\n    <parenthetical>( yells . )<\/parenthetical>\n    <dialogue>Come on. Keep walkin'!<\/dialogue>\n    <scene_description>HIS POV - THROUGH BINOCS Phillip stops walking and stands perfectly still . BACK TO SCENE Red lowers his binocs .<\/scene_description>\n    <character>RED<\/character>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>Why the hell's he stoppin'?<\/dialogue>\n    <parenthetical>( to Gladys ; direct . )<\/parenthetical>\n    <dialogue>Call for yer' boy to come!<\/dialogue>\n    <scene_description>Gladys , near shock , AD LIBS commands to Phillip . `` Come on honey , '' `` Phillip , keep walking , '' that kind of thing . -LRB- NOTE : Her commands become more and more shrieking and frantic and continue throughout , giving rise to even more confusion than is already present . -RRB-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD - DAY<\/stage_direction>\n    <scene_description>Phillip turns back and sees . Butch - He tries to get up in an attempt to make a run for it , but his strength is gone . He collapses . Phillip , standing still , with his mother 's shrieks filling the air behind him , watches Butch for a second then runs back toward him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE - DAY<\/stage_direction>\n    <scene_description>Red sighs and lowers the binocs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CREEKSIDE - DAY<\/stage_direction>\n    <scene_description>Phillip stands before a struggling Butch .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Personally I think we negotiated a pretty fair deal, but if there's somethin' else you want.<\/dialogue>\n    <character>PHILLIP<\/character>\n    <parenthetical>( disbelief . )<\/parenthetical>\n    <dialogue>Do they want to shoot you?<\/dialogue>\n    <scene_description>Butch starts to lie to the boy but ca n't .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE - DAY<\/stage_direction>\n    <scene_description>A finger strokes the trigger of a high - powered rifle . Bobby Lee - Smiling , ready , waiting . Red shrugs and wipes his brow .<\/scene_description>\n    <character>HENDRICKS<\/character>\n    <dialogue>He thought better of releasin' the hostage.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>It does n't necessarily mean that.<\/dialogue>\n    <character>RED<\/character>\n    <parenthetical>( to Bobby Lee . )<\/parenthetical>\n    <dialogue>Stay on ready.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CREEKSIDE - DAY<\/stage_direction>\n    <scene_description>Phillip holds his hand out and helps Butch get up . Butch stands , dusts himself off , grabs the boy 's hand and to - gether they walk toward the field .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE - DAY<\/stage_direction>\n    <scene_description>Red , through the binoculars .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>I seen it all now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD - DAY<\/stage_direction>\n    <scene_description>Butch and Phillip , hand in hand , walking across the field .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE - DAY<\/stage_direction>\n    <scene_description>Red scratches his head .<\/scene_description>\n    <character>HENDRICKS<\/character>\n    <dialogue>What's he up to?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Hell if I know.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>He's giving himself up.<\/dialogue>\n    <character>HENDRICKS<\/character>\n    <dialogue>Keep in mind - he still has the gun.<\/dialogue>\n    <character>RED<\/character>\n    <parenthetical>( yells ; to Butch . )<\/parenthetical>\n    <dialogue>Butch! Stop and let the boy go! Put yer' hands up and let the boy go!<\/dialogue>\n    <scene_description>-LRB- NOTE : AD LIB instructions from Red continue as well . -RRB-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD - DAY<\/stage_direction>\n    <scene_description>With all the yelling , it 's hard to make out what 's being said . Butch and Phillip continue to walk and talk .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>So I guess that's it for Alaska, Phillip.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE - DAY<\/stage_direction>\n    <character>RED<\/character>\n    <dialogue>Stop and put your hands on your head!<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>Run, Phillip! Come here, Phillip!<\/dialogue>\n    <character>SALLY<\/character>\n    <parenthetical>( to herself . )<\/parenthetical>\n    <dialogue>Come on, come on.<\/dialogue>\n    <character>HENDRICKS<\/character>\n    <parenthetical>( a warning . )<\/parenthetical>\n    <dialogue>Chief, we've got an armed killer and an innocent boy out there.<\/dialogue>\n    <character>RED<\/character>\n    <parenthetical>( to Bobby Lee . )<\/parenthetical>\n    <dialogue>You clean?<\/dialogue>\n    <character>BOBBY LEE<\/character>\n    <dialogue>As a whistle.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Keep him locked down. Do n't squeeze til' I say ` when.'<\/dialogue>\n    <scene_description>Red holds Bobby Lee 's eyes until the young Fed nods . Then Red unstraps his holster and moves between the cars .<\/scene_description>\n    <character>HENDRICKS<\/character>\n    <dialogue>Where the hell you going?<\/dialogue>\n    <scene_description>But Red 's not listening , just walking , long and tall , into the field .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD - DAY<\/stage_direction>\n    <scene_description>Butch and Phillip continue to walk , Butch holding Phillip 's hand . When Butch spots Red approaching he slows and then stops . Red shows his palms and keeps walking toward them . When he gets within 25 feet he stops .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>I'm unarmed. Toss your gun on the ground.<\/dialogue>\n    <scene_description>Butch smiles .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>If I had a pistola I'd be headed the other direction. My partner here got rid of the evidence.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Do I know you, friend?<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>No. not really.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Hmm. Well, look I wan na' talk to the boy and then we'll take care of bidness. How's that? Only take a second.<\/dialogue>\n    <scene_description>Red nods then looks over his shoulder at the patrol cars lined up like a wagon train , guns aimed , Bobby Lee peering through the scope of his rifle . NEW ANGLE Butch and Phillip .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>I wan na' give ya' somethin'.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE - DAY<\/stage_direction>\n    <character>HENDRICKS<\/character>\n    <dialogue>He's stopped.<\/dialogue>\n    <character>ADLER<\/character>\n    <dialogue>He's gon na make a run for it.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>Give it a second!<\/dialogue>\n    <character>HENDRICKS<\/character>\n    <parenthetical>( to Bobby Lee . )<\/parenthetical>\n    <dialogue>Hold him!<\/dialogue>\n    <character>SALLY<\/character>\n    <parenthetical>( yells . )<\/parenthetical>\n    <dialogue>Let the boy go, Butch!<\/dialogue>\n    <character>HENDRICKS<\/character>\n    <parenthetical>( to Bobby Lee . )<\/parenthetical>\n    <dialogue>If he makes a move.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD - DAY<\/stage_direction>\n    <scene_description>Butch kneels down beside Phillip . He reaches slowly , pain - fully for his back pocket .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Mebe' someday you'll get to go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE - DAY<\/stage_direction>\n    <scene_description>Hendricks looks through the binocs .<\/scene_description>\n    <character>HENDRICKS<\/character>\n    <dialogue>He's goin' for his weapon!<\/dialogue>\n    <scene_description>THROUGH BINOCULARS Butch reaches into his back pocket . IN FIELD Red squints to make out what Butch 's reaching for . HIS POV Butch smiles as he retrieves the POSTCARD from his pocket . BACK TO SCENE A look of concern crosses Red 's lips . ROADSIDE Sally realizes it 's not a gun that Butch is reaching for .<\/scene_description>\n    <character>SALLY<\/character>\n    <dialogue>Noooooo!!<\/dialogue>\n    <scene_description>FINGER ON TRIGGER squeezes - An EXPLOSION followed by a RINGING ECHO . IN FIELD Butch 's chest explodes when the bullet hits him . He rocks backwards , still on his knees . and looks at Phillip in amazement . Phillip screams , grabs Butch and holds him up . THROUGH CROSSHAIRS OF GUN Phillip is obscuring a second shot at Butch . BUTCH tastes blood and sighs .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Damn, Buzz, shot twice in the same day.<\/dialogue>\n    <scene_description>He collapses and falls into Phillip 's arms . Phillip backs away two steps and falls to his knees . Butch wavers for a second then topples on his back . Phillip moans , sobs , as he watches Butch , the GUNSHOT still ECHOING . AT ROADSIDE Gladys runs from behind the car , followed by a host of officers .<\/scene_description>\n    <character>HENDRICKS<\/character>\n    <dialogue>Keep everybody back!<\/dialogue>\n    <scene_description>Bobby Lee stands , lowers his rifle disengages and smiles at Hendricks .<\/scene_description>\n    <character>BOBBY LEE<\/character>\n    <dialogue>No need to worry. He ca n't hurt nobody now.<\/dialogue>\n    <scene_description>IN FIELD Red stands frozen , staring , in another world . An OFFICER trots up to Butch and does a careful ground frisk .<\/scene_description>\n    <character>OFFICER<\/character>\n    <parenthetical>( calls back . )<\/parenthetical>\n    <dialogue>No weapon, Chief!<\/dialogue>\n    <scene_description>Red `` comes to , '' turns and walks toward the . ROADSIDE Red walks up to Bobby Lee , stops and stares at the grinning marksman . After a beat , Red turns then nearly jumps out of shoes with a sudden right cross that floors the younger man . Red starts to jump in for more but Hendricks , stunned , jumps in , grabs Red and , joined by four other Officers , holds the older man back . Shouting , i.e. `` Hey , hey , Red , whoa , whoa ! '' Red settles a bit . Hendricks turns to Bobby Lee who rises to one knee and wipes at a bloody lip , and then to Red who is still breathing hard .<\/scene_description>\n    <character>HENDRICKS<\/character>\n    <dialogue>What the hell was that all about?!<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>I did n't say ` when.'<\/dialogue>\n    <scene_description>Red turns and walks away . Hendricks throws his hat to the ground , kicks it and follows Red with his eyes .<\/scene_description>\n    <character>HENDRICKS<\/character>\n    <parenthetical>( to no one\/everyone . )<\/parenthetical>\n    <dialogue>Goddammit!<\/dialogue>\n    <scene_description>Adler catches up to Red . He stares at his old friend and boss as they walk along .<\/scene_description>\n    <character>ADLER<\/character>\n    <dialogue>I thought he had a gun, too, Red. There was just no way of knowin'.<\/dialogue>\n    <scene_description>Red does n't even look at Adler , just keeps walking . Adler stops , his eyes following Red . Sally , nearby , watches Red walk away . PHILLIP is helped to his feet by his mother . She holds him dearly to her chest . He hugs back just as hard , his blood - stained Casper outfit staining her blouse . She unzips the costume and dollar bills fly all around . She starts to lead Phillip off but he wo n't leave until . He pulls the postcard from Butch 's hand . CLOSEUP - PHILLIP Staring down at Butch . CLOSEUP - BUTCH His eyes flutter a bit with recognition . AT PATROL CAR Red leans against the car . After a few seconds Sally walks up and finds a spot a few feet down from him where she , too , leans against the car . After a few more seconds .<\/scene_description>\n    <character>SALLY<\/character>\n    <dialogue>You did everything you could. You know that.<\/dialogue>\n    <scene_description>Red just stares straight ahead .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>I do n't know nuthin'. Not a damn thing.<\/dialogue>\n    <scene_description>Red reaches into his pocket , pulls out his tobacco and stuffs a chunk into his mouth . IN FIELD - CLOSEUP - BUTCH He licks his lips as the MUFFLED VOICES CONTINUE around him . He squints hard and sees : HELICOPTER as it lifts off and speeds away . As it wipes the sun . CLOSEUP - BUTCH A slight smile crosses his dying face as he squints to see Phillip 's flight . CLOSEUP - PHILLIP Nose pressed against the glass bubble . BUTCH His eyes do n't close , still squinted but frozen . CLOSEUP - EYES We realize now , are lifeless . BUZZARD continues its flight past the sun . SUN flares , SENDING the SCREEN TO : MILKY WHITE IMAGE that opened the film . FADE TO BLACK . THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In 1963 Texas, convicts Robert \"Butch\" Haynes (Kevin Costner) and Terry Pugh (Keith Szarabajka) escape from the state penitentiary in Huntsville. Fleeing, Pugh stumbles into a house where eight-year-old Phillip Perry (T.J. Lowther) lives with his devout Jehovah's Witness mother and two sisters. Butch follows, and hits Pugh to make him stop molesting the mother. Needing a hostage to aid their escape, Butch grabs the boy, who meekly accompanies them. The trio's journey soon hits an unpleasant note as Butch kills Terry, following the latter's attempt to harm the child. With his partner out of the way, the convict and his young victim take to the Texas highway in a bid to flee from the pursuing police. Meanwhile, Texas Ranger Red Garnett (Clint Eastwood), riding in Governor John Connolly's  airstream trailer, is in pursuit. With criminologist Sally Gerber (Laura Dern) and FBI sharpshooter Bobby Lee (Bradley Whitford) in tow, Red is determined to recover the criminal and the hostage before they cross the Texas border. Also, Red reveals to Sally that he has a personal interest in apprehending Butch alive.  Even though Butch doesn't realize it, Red has a history with him.  When Butch was a teenager, he stole a car, and Red was the arresting officer.  Butch was living with his abusive father, also a criminal, at the time. Due to his age and it being a first offense, Butch was supposed to get a lenient sentence.  Red thought juvenile prison was safer for Butch than home, and muses that some of the kids who went through Gatesville turned out ok, and one even became a priest. He also felt that if Butch had been left at home with his father, he would have a rap sheet \"as long as my arm.\" Red asked the judge to give Butch a harsh sentence. Years later, Red has come to realize that the harsher sentence only encouraged the very life of crime he feared would happen.  Now, Red is hoping that if he can bring Butch in alive, he can redeem himself for his past mistake. Phillip, eight years old, has never participated in Halloween or Christmas celebrations. Escaping with Butch, however, he experiences a freedom which he finds exhilarating, as Butch gladly allows him the kind of indulgences he has been forbidden, including the wearing of a shoplifted Casper the Friendly Ghost costume. Gradually, Phillip becomes increasingly aware of his surroundings, and with constant encouragement from Butch, seems to acquire the ability to make independent decisions on what is wrong and right. Butch slowly finds himself drawn into giving Phillip the kind of fatherly presence which he himself never had. Butch and Phillip try to make it to New Mexico, but find out that the highway they are driving on is unfinished.  While asleep in their car in a cornfield, they encounter Mack, a farmer, and his family - Lottie his wife, and his grandson Cleveland. Mack frequently abuses Cleveland, which Butch tries to tolerate, but when Mack figures out who he is he puts a stop to it. He beats Mack and plans on killing him, but Phillip picks up Butch's gun and shoots Butch in the stomach. Phillip walks out of the house, drops the gun into a well, throws the car keys away, and runs across a meadow. Butch follows, and rests at the tree Phillip has climbed. In the following dialogue Phillip apologizes for shooting Butch who tells him he did the right thing. Red's team surrounds the field where Phillip and Butch are situated, and Butch soon sends the boy to his mother, who has arrived by helicopter and who Butch has made promise to take Phillip trick-or-treating every year. Unwilling to leave the already wounded Butch, the boy runs back and hugs him \u2013 a gesture which, along with his knowledge of Butch's character and background, convinces Red that he can resolve the situation peacefully. His plans are thwarted, however, when Bobby Lee, mistaking one of Butch's gestures to mean he is about to draw a gun, shoots him in the chest, killing him. The move leaves Red angry and frustrated at his inability to save Butch and take him alive. Red punches Bobby Lee and Sally kicks him in the groin before walking away. Phillip is then reunited with his mother, and they fly away in a helicopter while Phillip sadly looks through the window at Butch's lifeless body in the meadow. The last part of the film, from Butch and Phillip having breakfast at Mack and Lottie's home to the rifle shot which kills Butch, occur on November 22, alluding to the assassination of President John F. Kennedy which is occurring on the same day in Texas."}
{"movie_name":"The Grand Budapest Hotel_2014","imdb_id":"tt2278388","script":"<script>\n  <scene>\n    <scene_description>Syntax Warning: Invalid Font Weight Syntax Warning: Invalid Font Weight F O R Y O U R C O N S I D E R A T I O N<\/scene_description>\n    <character>BEST ORIGINAL SCREENPLAY<\/character>\n    <dialogue>Screenplay by Wes Anderson<\/dialogue>\n    <scene_description>Story by Wes Anderson and Hugo Guinness<\/scene_description>\n    <character>BEST ORIGINAL SCREENPLAY<\/character>\n    <dialogue>Screenplay by Wes Anderson<\/dialogue>\n    <scene_description>Story by Wes Anderson and Hugo Guinness PUBLISHED, REPRODUCED, SOLD OR DISTRIBUTED BY ANY MEANS, OR QUOTED OR PUBLISHED IN ANY MEDIUM, INCLUDING ANY WEB SITE, WITHOUT THE PRIOR WRITTEN CONSENT OF TGBH LLC. DISPOSAL OF THIS SCRIPT COPY DOES NOT ALTER ANY OF THE RESTRICTIONS SET FORTH ABOVE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETERY. DAY<\/stage_direction>\n    <scene_description>The present. A graveyard in the city-center of a great Eastern European capital. Frost covers the ground among the stones and between rows of leafless trees. A teenaged girl in a beret and trench-coat with a well- read, dog-eared novel called THE GRAND BUDAPEST HOTEL tucked under her arm stands facing a tarnished bust of a slender, balding, spectacled old man. A bronze plaque below reads, in large letters: AUTHOR: INSERT: The plaque. There is a block of smaller text at the bottom which states simply: In Memory of Our National Treasure All around the base of the statue, there are little metal hooks with hundreds of hotel-room keys of every age and variety from all over the world hanging from them. The girl adds a new set to the tribute.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STUDY. DAY<\/stage_direction>\n    <scene_description>Twenty years ago. A cluttered office with French windows and ornate mouldings. There are books in shelves and stacks, first editions, dictionaries, dime-store paper- backs, translations in numerous languages. There is a typewriter on the desk and an extensive collection of literary prizes on a bureau. The author, seventy-five and identical to his sculpted image, sits with his hands clasped and addresses the camera:<\/scene_description>\n    <character>AUTHOR<\/character>\n    <dialogue>It is an extremely common mistake: people think the writer's imagination is always at work, that he is constantly inventing an endless supply of incidents and episodes, that he simply dreams-up his stories out of thin air. In point of fact, the opposite is true. Once the public knows you are a writer, they bring the characters and events to you -- and as long as you maintain your ability to look and carefully listen, these stories will continue to seek you out --<\/dialogue>\n    <scene_description>A six-year-old boy dressed in a grey military uniform with short trousers appears next to the desk and points a miniature Luger pistol at the author. The author warns him, icy:<\/scene_description>\n    <character>AUTHOR<\/character>\n    <dialogue>Don't do it. Don't!<\/dialogue>\n    <scene_description>The boy hesitates, then fires. A yellow, plastic pellet ricochets off the author's chest and rings against a whiskey glass as the author makes a violent lunge for the boy -- who evades him and dashes off. The author looks at a note-card and rambles a bit, searching for his place:<\/scene_description>\n    <character>AUTHOR<\/character>\n    <dialogue>Over your lifetime. I can't tell you how many times. Somebody comes up to me.<\/dialogue>\n    <parenthetical>(back on track)<\/parenthetical>\n    <dialogue>To him who has often told the tales of others, many tales will be told.<\/dialogue>\n    <scene_description>The boy returns, the gun now tucked under his belt, and sits, immediately comfortable, on the author's lap with the old man's arms wrapped around his shoulders. The conflict seems never to have existed. They both look into the camera as the author concludes:<\/scene_description>\n    <character>AUTHOR<\/character>\n    <dialogue>The incidents that follow were described to me exactly as I present them here, and in a wholly unexpected way.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUNTAIN RANGE. DAY<\/stage_direction>\n    <scene_description>The late sixties. A stunning view from a rusty, iron- lattice terrace suspended over a deep crevasse, green and lush, alongside a high cascade. The author continues in voice-over as the camera glides along a cracked path through a plot of untamed edelweiss and buttercups:<\/scene_description>\n    <character>AUTHOR (V.O.)<\/character>\n    <dialogue>A number of years ago, while suffering from a mild case of \"Scribe's Fever\" (a form of neurasthenia common among the intelligentsia of that time) I had decided to spend the month of August in the spa town of Nebelsbad below the Alpine Sudetenwaltz -- and had taken up rooms in the Grand Budapest --<\/dialogue>\n    <scene_description>The camera comes to a stop as it reveals a sprawling nineteenth-century hotel and baths situated on a wide plateau. There is a deep, formidable staircase up to a regal entrance. There is a promenade above and a glass- panelled conservatory below. A rickety funicular groans as it slowly climbs its hillside tracks. The grass needs cutting, the roof needs patching, and more or less every surface of the building needs a coat of paint.<\/scene_description>\n    <character>AUTHOR (V.O.)<\/character>\n    <dialogue>-- a picturesque, elaborate, and once widely-celebrated establishment. I expect some of you will know it. It was off- season and, by that time, decidedly out- of-fashion; and it had already begun its descent into shabbiness and eventual demolition.<\/dialogue>\n    <scene_description>MONTAGE: The nine other guests of the hotel each observed from a respectful distance: a frail student; a fat businessman; a burly hiker with a St. Bernard; a schoolteacher with her hair in a bun; a doctor; a lawyer; an actor; and so on.<\/scene_description>\n    <character>AUTHOR (V.O.)<\/character>\n    <dialogue>What few guests we were had quickly come to recognize one another by sight as the only living souls residing in the vast establishment -- although I do not believe any acquaintance among our number had proceeded beyond the polite nods we exchanged as we passed in the Palm Court and the Arabian Baths and onboard the Colonnade Funicular. We were a very reserved group, it seemed -- and, without exception, solitary.<\/dialogue>\n    <scene_description>CUT TO: An enormous, half-abandoned dining room. There are two hundred tables and fifty chandeliers. The ten guests sit, each on his or her own, at their separate tables, widely-spaced across the giant restaurant. A waiter carries a tray a great distance to the schoolteacher and serves her a plate of peas.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY. EVENING<\/stage_direction>\n    <scene_description>There are faded couches, fraying armchairs, and coffee tables with new, plastic tops. The carpets are threadbare, and the lighting in each area is either too dim or too bright. A concierge with a crooked nose smokes a cigarette as he lingers behind his desk. He is M. Jean. (NOTE: the staff of the hotel in both the relevant time- periods wear similar versions of the same purple uniform -- while the public spaces reflect a cycle of \"regime changes\".) On the wall behind M. Jean, there is a beautiful, Flemish painting of a pale, young boy holding a piece of golden fruit. This is \"Boy with Apple\". A patch of water- damage above seeps dangerously close to the picture- frame. The author (a fictionalized version of himself) wanders into the room with his hands in his pockets. He has dark circles under his eyes.<\/scene_description>\n    <character>AUTHOR (V.O.)<\/character>\n    <dialogue>Perhaps as a result of this general silence, I had established a casual and bantering familiarity with the hotel's concierge, a West-continental known only as M. Jean, who struck one as being, at once, both lazy and, really, quite accommodating.<\/dialogue>\n    <scene_description>M. Jean quickly stubs out his cigarette as the author approaches -- and tucks the butt into his coat pocket.<\/scene_description>\n    <character>AUTHOR (V.O.)<\/character>\n    <dialogue>I expect he was not well-paid.<\/dialogue>\n    <scene_description>The author and M. Jean chat amicably as they study a pamphlet of Alpine tourist sites.<\/scene_description>\n    <character>AUTHOR (V.O.)<\/character>\n    <dialogue>In any case, one evening, as I stood conferring elbow-to-elbow with M. Jean, as had become my habit, I noticed a new presence in our company.<\/dialogue>\n    <scene_description>At the far end of a colonnade, beyond Reception, a dark- skinned, white-haired seventy-year-old man in a three- piece-suit sits alone smoking a pipe. He is Mr. Moustafa.<\/scene_description>\n    <character>AUTHOR (V.O.)<\/character>\n    <dialogue>A small, elderly man, smartly dressed, with an exceptionally lively, intelligent face -- and an immediately perceptible air of sadness. He was, like the rest of us, alone -- but also, I must say, he was the first that struck one as being, deeply and truly, lonely. (A symptom of my own medical condition, as well.)<\/dialogue>\n    <scene_description>Mr. Moustafa drinks a sip of sherry. The author lowers his voice and asks discreetly:<\/scene_description>\n    <character>AUTHOR (V.O.)<\/character>\n    <dialogue>\"Who's this interesting, old fellow,\" I inquired of M. Jean. To my surprise, he was distinctly taken aback. \"Don't you know?\" he asked. \"Don't you recognize him?\" He did look familiar. \"That's Mr. Moustafa himself! He arrived early this morning.\"<\/dialogue>\n    <scene_description>The author looks to Mr. Moustafa again. Mr. Moustafa is now staring directly back at the author. The author quickly looks away and examines a detail in the woodwork on the ceiling.<\/scene_description>\n    <character>AUTHOR (V.O.)<\/character>\n    <dialogue>This name will, no doubt, be familiar to the more seasoned persons among you. Mr. Zero Moustafa was, at one time, the richest man in Zubrowka; and was still, indeed, the owner of the Grand Budapest. \"He often comes and stays a week or more, three times a year, at least -- but never in the season.\" M. Jean signalled to me, and I leaned closer. \"I'll tell you a secret. He takes only a single-bed sleeping-room without a bath in the rear corner of the top floor -- and it's smaller than the service elevator!\"<\/dialogue>\n    <scene_description>The author seems genuinely intrigued by this information. He nods thoughtfully.<\/scene_description>\n    <character>AUTHOR (V.O.)<\/character>\n    <dialogue>It was well-known: Moustafa had purchased and famously inhabited some of the most lavish castles and pallazzos on the continent -- yet, here, in his own, nearly-empty hotel, he occupied a servant's quarters?<\/dialogue>\n    <scene_description>M. Jean frowns. The fat businessman, sitting at a table in the middle of the lobby drinking hot chocolate and eating biscotti -- appears to be choking to death.<\/scene_description>\n    <character>AUTHOR (V.O.)<\/character>\n    <dialogue>At that moment the curtain rose on a parenthetical, domestic drama which required the immediate and complete attention of M. Jean --<\/dialogue>\n    <scene_description>M. Jean dashes out from behind his desk. As he performs an improvised version of the Heimlich maneuver on the fat businessman, the German hiker enters the lobby with his St. Bernard. The rescue dog, sensing a human in distress, charges avidly, hurdling three tables and jostling the dessert cart, and arrives at the fat businessman's side just as a significant hunk of biscotti rockets out of his mouth, into the air, and lands on a saucer at the next table. M. Jean immediately detaches a cask hanging from the dog's neck, pours a generous shot of brandy into a water glass, and forces it down the fat businessman's throat.<\/scene_description>\n    <character>AUTHOR (V.O.)<\/character>\n    <dialogue>-- but, frankly, did not hold mine for long.<\/dialogue>\n    <scene_description>The other guests of the hotel begin to gather around the gasping victim as the author makes his way into the elevator. He presses a button, and the doors close. MONTAGE: The author appears pensive as he: lies in bed that night staring up at the ceiling; sits in the dining room at breakfast eating toast and gazing into space; and floats through the conservatory ignoring flora at noon. He nods to the schoolteacher sketching an orchid. She smiles and nods back.<\/scene_description>\n    <character>AUTHOR (V.O.)<\/character>\n    <dialogue>However, this premature intermission in the story of the curious, old man had left me, as the expression goes, gespannant wie ein Flitzebogen, that is, on the edge of my seat -- where I remained throughout the next morning until, in what I have found to be its mysterious and utterly reliable fashion: fate, once again, intervened on my behalf.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPA. DAY<\/stage_direction>\n    <scene_description>A steamy, underground mineral baths. Miniature tiles of various shapes and intricate patterns cover every inch of the walls, floors, and ceiling. Distant voices echo faintly through succeeding chambers. A long row of identical, adjacent cubicles each contains a blue tub and is tiled in a more recent, utilitarian style. The author soaks in one of them. He shakes salts from a carton into the water and stirs it. A voice interrupts from off-screen:<\/scene_description>\n    <character>MR. MOUSTAFA (O.S.)<\/character>\n    <dialogue>I admire your work.<\/dialogue>\n    <scene_description>The author hesitates. He looks around. He is not sure which general direction the voice came from.<\/scene_description>\n    <character>AUTHOR<\/character>\n    <dialogue>I beg your pardon?<\/dialogue>\n    <character>MR. MOUSTAFA (O.S.)<\/character>\n    <dialogue>I said, I know and admire your wonderful work.<\/dialogue>\n    <scene_description>There is a small splash, and Mr. Moustafa leans into view from behind a partition where he himself is soaking in a cubicle three tubs over. He wears a bathing cap. The author sits up straight and says formally:<\/scene_description>\n    <character>AUTHOR<\/character>\n    <dialogue>Thank you most kindly, sir.<\/dialogue>\n    <character>MR. MOUSTAFA<\/character>\n    <parenthetical>(teasing slightly)<\/parenthetical>\n    <dialogue>Did M. Jean have a word or two to share with you about the aged proprietor of this establishment?<\/dialogue>\n    <character>AUTHOR<\/character>\n    <parenthetical>(reluctantly)<\/parenthetical>\n    <dialogue>I must confess, sir, I did, myself, inquire about you.<\/dialogue>\n    <character>MR. MOUSTAFA<\/character>\n    <parenthetical>(resigned)<\/parenthetical>\n    <dialogue>He's perfectly capable, of course, M. Jean -- but we can't claim he's a first- or, in earnest, even second-rate concierge.<\/dialogue>\n    <parenthetical>(sadly)<\/parenthetical>\n    <dialogue>But there it is. Times have changed.<\/dialogue>\n    <scene_description>The author nods, attentive. He changes the subject to observe encouragingly, motioning toward the plunging pool across the hall:<\/scene_description>\n    <character>AUTHOR<\/character>\n    <dialogue>The thermal baths are very beautiful.<\/dialogue>\n    <character>MR. MOUSTAFA<\/character>\n    <parenthetical>(gently)<\/parenthetical>\n    <dialogue>They were, in their first condition. It couldn't be maintained, of course. Too decadent for current tastes -- but I love it all, just the same. This enchanting, old ruin.<\/dialogue>\n    <scene_description>Mr. Moustafa looks wistfully around the vaulted space. The author squints, holds up a finger, and asks gingerly:<\/scene_description>\n    <character>AUTHOR<\/character>\n    <dialogue>How did you come to buy it, if I may ask? The Grand Budapest.<\/dialogue>\n    <scene_description>Pause. Mr. Moustafa disappears back behind the partition. The author looks slightly puzzled. Mr. Moustafa immediately reappears, but he has turned himself around in the tub and is now facing the opposite direction so he can more comfortably rest in view. He props his elbow onto the edge of the bath. His eyes twinkle as he says:<\/scene_description>\n    <character>MR. MOUSTAFA<\/character>\n    <dialogue>I didn't.<\/dialogue>\n    <scene_description>At this moment, one of the matrons of the hammam blasts the fat, now naked, businessman with a jet of icy water. He hollers as he is sprayed-down. Silence. Mr. Moustafa and the author look back to each other. Each has raised an eyebrow. They both smile slightly.<\/scene_description>\n    <character>MR. MOUSTAFA<\/character>\n    <dialogue>If you're not merely being polite (and you must tell me if that's the case), but if it genuinely does interest you: may I invite you to dine with me tonight, and it will be my pleasure and, indeed, my privilege to tell you -- \"my\" story. Such as it is.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM. NIGHT<\/stage_direction>\n    <scene_description>The enormous restaurant as before -- but now one of the tables has been set for two and is occupied by the author and Mr. Moustafa. The nine other guests watch, curious, from their usual spots. Mr. Moustafa stares at the wine list as he rattles off a robust order (oysters, soup, rabbit, fowl, lamb). \"Boy with Apple\" is on the cover of the menu. The waiter departs.<\/scene_description>\n    <character>MR. MOUSTAFA<\/character>\n    <dialogue>That should provide us ample time -- if I commence promptly.<\/dialogue>\n    <character>AUTHOR<\/character>\n    <dialogue>By all means.<\/dialogue>\n    <scene_description>Another waiter arrives to uncork a split of champagne and pours a thimbleful. Mr. Moustafa tastes it and nods. The waiter pours two, full coupes. They each drink a long sip. Finally, Mr. Moustafa settles in:<\/scene_description>\n    <character>MR. MOUSTAFA<\/character>\n    <dialogue>It begins, as it must, with our mutual friend's predecessor. The beloved, original concierge of the Grand Budapest.<\/dialogue>\n    <parenthetical>(with deep affection)<\/parenthetical>\n    <dialogue>It begins, of course, with --<\/dialogue>\n    <scene_description>TITLE: Part 1: \"M. Gustave\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SITTING ROOM. DAY<\/stage_direction>\n    <scene_description>The early thirties. A double-reception salon with high ceilings and two couches. There are six trunks and eight suitcases arranged neatly at the side of the room. Each is painted with the initials Mdm. C.V.D.u.T. Outside, a light snow falls. A tall, blond, forty-year-old concierge stands patiently alone surveying the room. He is tranquil, perfectly composed, waiting. He wears the faintest hint of mascara. He is M. Gustave. M. Gustave crosses swiftly to the door and opens it just as a contingent of hotel staff arrives together from down the corridor. There are two waiters, two footmen, two bellboys, and an Arab teenager, small, cheerful, and alert, who appears to be some kind of page. He is Zero. One of the waiters carries a table, and one carries a breakfast tray. M. Gustave ushers them in:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Bring the table to the window.<\/dialogue>\n    <character>FIRST WAITER<\/character>\n    <dialogue>Yes, M. Gustave.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Bring the tray to the table.<\/dialogue>\n    <character>SECOND WAITER<\/character>\n    <dialogue>Right away, M. Gustave.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(pointing to two hats)<\/parenthetical>\n    <dialogue>Have those been brushed and blocked?<\/dialogue>\n    <character>FOOTMAN<\/character>\n    <dialogue>Of course, M. Gustave.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Pack them in the hat boxes.<\/dialogue>\n    <parenthetical>(pointing to a shopping bag)<\/parenthetical>\n    <dialogue>Is that from Oberstdorf and Company?<\/dialogue>\n    <character>BELLBOY<\/character>\n    <dialogue>I believe so, M. Gustave.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Second trunk. Who has the tickets?<\/dialogue>\n    <scene_description>Zero raises his hand.<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>I do, M. Gustave.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Give them to me.<\/dialogue>\n    <scene_description>Zero hands M. Gustave a set of train tickets. M. Gustave studies them carefully. He nods and points.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>These are in order. Wait in the corner.<\/dialogue>\n    <scene_description>Zero retreats. M. Gustave strides to the bedroom door, raps on it briefly, then swings it open.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Good morning, Madame. Your breakfast is served. The sitting room is a battlefield at the moment, but rest assured, you will be en route in precisely --<\/dialogue>\n    <parenthetical>(checks his watch)<\/parenthetical>\n    <dialogue>-- eleven minutes. You look heavenly. Pray be seated.<\/dialogue>\n    <scene_description>An immaculately-dressed, eighty-year-old woman emerges from the bedroom, nimble, brisk -- and highly agitated. She is Madame D. She is followed by two young women, a lady's maid and a private secretary, who quickly join the hubbub fidgeting with trunks and rushing to-and-fro preparing for their departure. M. Gustave waits for Madame D. to sit, then joins her; at which point, she immediately leans across to him and says in a gravely serious, urgent whisper:<\/scene_description>\n    <character>MADAME D.<\/character>\n    <dialogue>I'm not leaving.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(puzzled)<\/parenthetical>\n    <dialogue>Why not?<\/dialogue>\n    <character>MADAME D.<\/character>\n    <dialogue>I'm frightened.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Of what?<\/dialogue>\n    <character>MADAME D.<\/character>\n    <dialogue>I feel this may be the last time we ever see each other.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Why on earth would that be the case?<\/dialogue>\n    <character>MADAME D.<\/character>\n    <dialogue>I can't put it into words -- but I feel it.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Well, for goodness' sake, there's no reason for you to leave us if --<\/dialogue>\n    <character>MADAME D.<\/character>\n    <dialogue>Is there a priest in the hotel?<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Of course, not.<\/dialogue>\n    <character>MADAME D.<\/character>\n    <dialogue>There should be. I've always said so.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Well, I've always profoundly disagreed. The Grand Budapest is no place for clergy.<\/dialogue>\n    <character>MADAME D.<\/character>\n    <dialogue>Come with me.<\/dialogue>\n    <scene_description>M. Gustave hesitates slightly. He gestures to the tickets and speculates in disbelief:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>To Lutz?<\/dialogue>\n    <character>MADAME D.<\/character>\n    <parenthetical>(desperately)<\/parenthetical>\n    <dialogue>Please.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(wildly frustrated)<\/parenthetical>\n    <dialogue>How can I? With this enormous rock-pile around my neck like an albatross.<\/dialogue>\n    <parenthetical>(taking charge)<\/parenthetical>\n    <dialogue>Tell me right now -- wholly, specifically, and without abbreviation: what's troubling you?<\/dialogue>\n    <parenthetical>(surprised)<\/parenthetical>\n    <dialogue>Are you weeping?<\/dialogue>\n    <scene_description>Tears have begun to stream down Madame D's cheeks. M. Gustave produces a dazzling pink handkerchief and dries her eyes. The old woman takes a deep breath.<\/scene_description>\n    <character>MADAME D.<\/character>\n    <dialogue>Let us pray.<\/dialogue>\n    <scene_description>Madame D. closes her eyes, lowers her chin, and crosses herself. M. Gustave reluctantly follows suit. Silence. Madame D. snaps one eye back open suddenly:<\/scene_description>\n    <character>MADAME D.<\/character>\n    <dialogue>Well?<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(surprised)<\/parenthetical>\n    <dialogue>You want me to do it?<\/dialogue>\n    <character>MADAME D.<\/character>\n    <parenthetical>(with authority)<\/parenthetical>\n    <dialogue>If you don't mind.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(instantly)<\/parenthetical>\n    <dialogue>Dear heavenly Father, please, protect our cherished guest as she travels through snow and sleet and under shadow of darkness. Guide her in the night to her final destination. Indeed, whatever luxury she may require, be it small or more extravagant, please, do grant --<\/dialogue>\n    <character>MADAME D.<\/character>\n    <parenthetical>(now with both eyes open)<\/parenthetical>\n    <dialogue>That's not a proper prayer.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Give me your hand.<\/dialogue>\n    <scene_description>Madame D. does so. M. Gustave firmly clasps it. He says in an affectionate, reassuring, patronizing voice:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>You've nothing to fear. You're always anxious before you travel. I admit you appear to be suffering a more acute attack on this occasion, but, truly and honestly --<\/dialogue>\n    <parenthetical>(suddenly taken aback)<\/parenthetical>\n    <dialogue>Dear God. What've you done to your fingernails?<\/dialogue>\n    <scene_description>Madame D. wears an understated, pale-pink polish. She stiffens.<\/scene_description>\n    <character>MADAME D.<\/character>\n    <dialogue>I beg your pardon?<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>This diabolical varnish. The color's completely wrong.<\/dialogue>\n    <character>MADAME D.<\/character>\n    <parenthetical>(slightly uncertain)<\/parenthetical>\n    <dialogue>Really? You don't like it?<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>It's not that I don't like it. I'm physically repulsed.<\/dialogue>\n    <parenthetical>(checks his watch again)<\/parenthetical>\n    <dialogue>Time to go!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR. DAY<\/stage_direction>\n    <scene_description>The procession of trunks, cases, and assistants goes in one direction, and M. Gustave, Madame D, and Zero (carrying a small leather jewel case) go in the other. CUT TO: The elevator on its way down. M. Gustave sits with Madame D. (now wearing gloves) on a velvet-upholstered bench. She clutches his arm and looks deeply concerned. Zero stands at attention with the jewel case alongside a veteran elevator operator.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Perhaps this will soothe you.<\/dialogue>\n    <character>MADAME D.<\/character>\n    <parenthetical>(alarmed)<\/parenthetical>\n    <dialogue>What? Don't recite.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Just listen to the words.<\/dialogue>\n    <character>MADAME D.<\/character>\n    <parenthetical>(anxious)<\/parenthetical>\n    <dialogue>Please. Not now.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Hush!<\/dialogue>\n    <parenthetical>(declaiming gently)<\/parenthetical>\n    <dialogue>\"While questing once in noble wood of grey, medieval pine, I came upon a tomb, rain-slick'd, rubbed-cool, ethereal; its inscription long-vanished, yet still within its melancholy fissures --\"<\/dialogue>\n    <scene_description>Madame D. sighs deeply yet does seem to calm somewhat as she accepts the inevitability of these stanzas.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRONT ENTRANCE. DAY<\/stage_direction>\n    <scene_description>The trunks are piled on the roof of a long, silver limousine. More suitcases stick out of the rumble seat (along with the two bellboys). Madame D. and her secretary sit inside the car. M. Gustave reaches in the window and tightens a fur stole around Madame D's shoulders.<\/scene_description>\n    <character>MADAME D.<\/character>\n    <dialogue>Will you light a candle for me, please? In the sacristy at Santa Maria.<\/dialogue>\n    <scene_description>Madame D. digs a five Klubeck coin out of her handbag and presses it into M. Gustave's hand. He accepts it:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>I'll see to it myself immediately.<\/dialogue>\n    <parenthetical>(saintly)<\/parenthetical>\n    <dialogue>Remember: I'm always with you.<\/dialogue>\n    <scene_description>M. Gustave begins to withdraw, but Madame D. grips his shoulder tightly. She whispers, sincere and impassioned, what she fears will be their last communication:<\/scene_description>\n    <character>MADAME D.<\/character>\n    <dialogue>I love you.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(as if to a child)<\/parenthetical>\n    <dialogue>I love you.<\/dialogue>\n    <parenthetical>(barking at the driver)<\/parenthetical>\n    <dialogue>Abfahren!<\/dialogue>\n    <scene_description>The driver hits the gas. M. Gustave watches as the vehicle races away, spitting ice-chips off the packed snow. Zero lingers outside the front door. M. Gustave says with discreet pride as he continues to stare off down the road into the village of Nebelsbad:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>It's quite a thing winning the loyalty of a woman like that for nineteen consecutive seasons.<\/dialogue>\n    <scene_description>Zero hesitates -- uncertain that he is, in fact, being addressed. He ventures:<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>She's very fond of me, you know.<\/dialogue>\n    <character>ZERO<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>I've never seen her like that before.<\/dialogue>\n    <character>ZERO<\/character>\n    <dialogue>No, sir.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(mildly concerned)<\/parenthetical>\n    <dialogue>She was shaking like a shitting dog.<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(unfamiliar with the expression)<\/parenthetical>\n    <dialogue>Truly.<\/dialogue>\n    <scene_description>M. Gustave holds out the five Klubeck coin, still staring off into the distance, and says rapidly though distracted:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Run to the cathedral of Santa Maria Christiana in Brucknerplatz. Buy one of the plain, half-length candles and take back four Klubecks in change. Light it in the sacristy, say a brief rosary, then go to Mendl's and get me a Courtesan au chocolat. If there's any money left, give it to the crippled shoe-shine boy.<\/dialogue>\n    <scene_description>M. Gustave points to a blind child in leg braces crouched at the top of the funicular tracks. The boy whistles a war march while he polishes a man's boots.<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>Right away, sir.<\/dialogue>\n    <scene_description>Zero nods briskly and takes the coin. M. Gustave looks squarely at him for the first time.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Hold it.<\/dialogue>\n    <scene_description>Zero freezes, poised to dash off. M. Gustave frowns slightly. He says finally, pointing:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(stammering)<\/parenthetical>\n    <dialogue>Zero, sir. The new Lobby Boy.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(mystified)<\/parenthetical>\n    <dialogue>Zero, you say?<\/dialogue>\n    <character>ZERO<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Well, I've never heard of you. I've never laid eyes on you. Who hired you?<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(worried)<\/parenthetical>\n    <dialogue>Mr. Mosher, sir.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(sharply)<\/parenthetical>\n    <dialogue>Mr. Mosher!<\/dialogue>\n    <scene_description>M. Gustave snaps his fingers. A man with neat, oily hair and a thin moustache briskly approaches. He is Mr. Mosher.<\/scene_description>\n    <character>MR. MOSHER<\/character>\n    <dialogue>Yes, M. Gustave?<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Am I to understand you've surreptitiously hired this young man in the position of a Lobby Boy?<\/dialogue>\n    <character>MR. MOSHER<\/character>\n    <dialogue>He's been engaged for a trial period -- pending your approval, of course.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(vaguely remembering)<\/parenthetical>\n    <dialogue>Perhaps. Thank you, Mr. Mosher.<\/dialogue>\n    <character>MR. MOSHER<\/character>\n    <dialogue>You're most welcome, M. Gustave.<\/dialogue>\n    <scene_description>M. Gustave looks back to Zero. He says ominously:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>You're now going to be officially interviewed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY. DAY<\/stage_direction>\n    <scene_description>M. Gustave strides through the front doors. Zero is quickly at his heels, terrified. M. Gustave withdraws a small note-book from his pocket as they walk. Zero asks, uncertain:<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>Should I go and light the candle first?<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(not sure what he means)<\/parenthetical>\n    <dialogue>What? No.<\/dialogue>\n    <parenthetical>(starting the interview)<\/parenthetical>\n    <dialogue>Experience?<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(anxious, very formal)<\/parenthetical>\n    <dialogue>Hotel Kinski, Kitchen Boy, six months. Hotel Berlitz, Mop and Broom Boy, three months. Before that I was a Skillet Scrubber in the banquet hall at --<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(noting this)<\/parenthetical>\n    <dialogue>Experience: zero.<\/dialogue>\n    <scene_description>At this moment, a criss-crossing group of people simultaneously engage M. Gustave all at once. They are: a man in a finely-tailored business suit with a pair of opera tickets in his hand, a doorman in a long coat holding a bouquet of white roses, and a tiny bellboy. (This is Anatole.)<\/scene_description>\n    <character>HOTEL GUEST NO.1<\/character>\n    <dialogue>Thank you again, M. Gustave.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(curtly to Anatole)<\/parenthetical>\n    <dialogue>Straighten that cap, Anatole.<\/dialogue>\n    <parenthetical>(warmly to the hotel guest)<\/parenthetical>\n    <dialogue>The pleasure is mine, Herr Schneider.<\/dialogue>\n    <character>ANATOLE<\/character>\n    <parenthetical>(working on it)<\/parenthetical>\n    <dialogue>The damn strap's busted.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(studying the roses)<\/parenthetical>\n    <dialogue>These are not acceptable.<\/dialogue>\n    <character>DOORMAN<\/character>\n    <dialogue>I agree, M. Gustave.<\/dialogue>\n    <scene_description>Suddenly, M. Gustave and Zero are alone again. M. Gustave resumes his interrogation as they proceed across the carpet:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Education?<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(worried)<\/parenthetical>\n    <dialogue>I studied reading and spelling. I completed my primary school certificate. I almost started --<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(noting this)<\/parenthetical>\n    <dialogue>Education: zero.<\/dialogue>\n    <scene_description>A second criss-crossing group of people now engage M. Gustave. This time: a very old washroom attendant carrying a monkey-wrench, the head waiter wearing an apron and waving a menu, and a woman of a certain age in a beautifully-embroidered dress with a small dachshund cradled in her arms.<\/scene_description>\n    <character>WASHROOM ATTENDANT<\/character>\n    <dialogue>Now it's exploded.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(sweetly to the dachshund)<\/parenthetical>\n    <dialogue>Good morning, Cicero.<\/dialogue>\n    <parenthetical>(coldly to the washroom attendant)<\/parenthetical>\n    <dialogue>Call the goddamn plumber.<\/dialogue>\n    <character>HOTEL GUEST NO.2<\/character>\n    <parenthetical>(flirtatious)<\/parenthetical>\n    <dialogue>This afternoon, M. Gustave?<\/dialogue>\n    <character>HEAD WAITER<\/character>\n    <parenthetical>(angrily)<\/parenthetical>\n    <dialogue>What in the hell is this?<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(equally flirtatious)<\/parenthetical>\n    <dialogue>Without fail, Frau Liebling.<\/dialogue>\n    <parenthetical>(sharply to the head waiter)<\/parenthetical>\n    <dialogue>Not now!<\/dialogue>\n    <scene_description>The second interruption ends. M. Gustave continues:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Family?<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(long pause)<\/parenthetical>\n    <dialogue>Zero.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(noting this)<\/parenthetical>\n    <dialogue>I see.<\/dialogue>\n    <scene_description>M. Gustave leads Zero through a rotunda, below a grand, winding staircase, and back into the elevator. He closes his note-book. The elevator operator awaits instruction.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Six.<\/dialogue>\n    <scene_description>The elevator operator throws a lever and they begin to ascend. M. Gustave locks eyes with Zero.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Why do you want to be a Lobby Boy?<\/dialogue>\n    <scene_description>The elevator operator casts a side-ways look. Zero searches for the honest answer -- then finds it:<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>Well, who wouldn't -- at the Grand Budapest, sir? It's an institution.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(deeply impressed)<\/parenthetical>\n    <dialogue>Very good.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SITTING ROOM. DAY<\/stage_direction>\n    <scene_description>M. Gustave and Zero re-enter Madame D's suite. M. Gustave walks directly over to a pedestal where an envelope waits tucked beneath a vase. He tears it open and withdraws a letter and a stack of bills folded in half. He counts the money and says coolly:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>A thousand Klubecks.<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(astonished)<\/parenthetical>\n    <dialogue>My goodness.<\/dialogue>\n    <scene_description>M. Gustave skims the letter. He holds it up for Zero to see. There is a lipstick-kiss at the bottom of the text. Zero is unsure how to interpret this. M. Gustave raises his eyebrows and tucks the note and the bills inside his jacket. His eyes glaze over in a moment of reverie. He sighs. Zero makes a sudden realization:<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>Were you ever a Lobby Boy, sir?<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(bristling but playful)<\/parenthetical>\n    <dialogue>What do you think?<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(speculative)<\/parenthetical>\n    <dialogue>Well, I suppose you had to start --<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Go light the goddamn candle.<\/dialogue>\n    <scene_description>TITLE: One Month Later<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY. DAY<\/stage_direction>\n    <scene_description>The crowded room buzzes in all corners. Zero circulates among tables and sofas holding up a folded telegram while he calls out a name, searching. A military officer in a grey uniform hails him, and Zero dashes over to deliver the missive.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>And so, my life began. Junior Lobby Boy (in-training), Grand Budapest Hotel, under the strict command of M. Gustave H. I became his pupil, and he was to be my counselor and guardian.<\/dialogue>\n    <character>M. GUSTAVE (V.O.)<\/character>\n    <parenthetical>(rhetorical)<\/parenthetical>\n    <dialogue>What is a Lobby Boy?<\/dialogue>\n    <scene_description>MONTAGE: Zero pushes an old man in a wheelchair. Zero arranges a white bouquet. Zero replaces dirty ashtrays, rearranges furniture, and shields a large woman with a toothpick from view as she excavates between her teeth.<\/scene_description>\n    <character>M. GUSTAVE (V.O.)<\/character>\n    <dialogue>A Lobby Boy is completely invisible, yet always in sight. A Lobby Boy remembers what people hate. A Lobby Boy anticipates the client's needs before the needs are needed. A Lobby Boy, above all, is discreet, to a fault.<\/dialogue>\n    <scene_description>CUT TO: M. Gustave, accompanied by Zero, advancing down a corridor at high velocity. On the floor next to each door they pass, a pair of shoes waits to be polished.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Our guests' know their deepest secrets, some of which are, frankly, rather unseemly, will go with us to our graves -- so keep your mouth shut, Zero.<\/dialogue>\n    <character>ZERO<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <scene_description>M. Gustave stops at the end of the hallway in front of a door labelled KAISER FREDERICK SUITE. He says to Zero:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>That's all for now.<\/dialogue>\n    <scene_description>Zero hesitates for an instant, then nods and reverses rapidly away. M. Gustave withdraws a ring of pass-keys from his pocket. He looks up and down the corridor furtively.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>I began to realize that many of the hotel's most valued and distinguished guests -- came for him.<\/dialogue>\n    <scene_description>Zero looks back briefly over his shoulder as he starts down the staircase and sees M. Gustave slip into the suite. The door locks.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>It seemed to be an essential part of his duties, but I believe it was also his pleasure.<\/dialogue>\n    <scene_description>MONTAGE: A succession of dames of varying grandeurs seen t\u00eate-\u00e0- t\u00eate with M. Gustave: a sixty-year-old Russian chats with him in the tea salon; a sixty-five-year-old German strolls with him on the promenade; a seventy-year-old Argentinian shares a cigarette with him naked in her bed; a seventy-five-year-old Englishwoman washes his back in her bath; and an eighty-year-old Austrian wearing a hair-net and a nightgown gives him a blow-job while he watches in the mirror and eats grapes. There is a platinum wig on a stand on the dressing table.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>The requirements were always the same. They had to be: rich, old, insecure, vain, superficial, blonde, needy.<\/dialogue>\n    <scene_description>CUT TO: Mr. Moustafa and the author at their dinner table. The remains of a rabbit tart are replaced by a sizeable, roasted pheasant as the author gently inquires:<\/scene_description>\n    <character>AUTHOR<\/character>\n    <dialogue>Why blonde?<\/dialogue>\n    <character>MR. MOUSTAFA<\/character>\n    <parenthetical>(after a moment's reflection)<\/parenthetical>\n    <dialogue>Because they all were.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR. DAY<\/stage_direction>\n    <scene_description>M. Gustave, somewhat tousled, with lipstick on his cheek, stands waiting to arrive at his floor. He checks the railings for dust. The car stops and the elevator operator opens the gate. M. Gustave exits with a curt nod. A middle-aged couple enter.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>He was, by the way, the most liberally perfumed man I had ever encountered. The scent announced his approach from a great distance and lingered for many minutes after he was gone.<\/dialogue>\n    <scene_description>As the elevator descends, the middle-aged couple sniffs the air. The man looks irritated. The woman swoons slightly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAFF QUARTERS. MORNING<\/stage_direction>\n    <scene_description>Zero wakes up in the pitch black in a tiny room smaller than a service elevator, turns on the light, springs to his feet dressed in white pajamas with short trousers, splashes water from a bowl onto his face, then quickly dampens and combs his hair. His uniform hangs neatly from a peg on the wall. He carefully grooms it with a clothes-brush.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>I worked six days each week plus a half- day Sunday, five a.m. until just after midnight. Our meals were small but frequent (for stamina): two breakfasts, two lunches, and a late supper. M. Gustave also delivered a nightly sermon:<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MESS HALL. NIGHT<\/stage_direction>\n    <scene_description>The evening meal. Most of the hotel staff occupy a long table set for fifty. A thin, grey broth is served with boiled potatoes. M. Gustave starts at a little podium, then paces back and forth in front of it as he addresses the group. They begin to eat hungrily -- but, at the same time, they continue to listen, attentive and respectful:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Rudeness is merely the expression of fear. People fear they won't get what they want. The most dreadful and unattractive person: only needs to be loved -- and they will open-up like a flower. I'm reminded of a verse:<\/dialogue>\n    <parenthetical>(reciting)<\/parenthetical>\n    <dialogue>\"The painter's brush touched the inchoate face by ends of nimble bristles -- and, with that blush of first color, rendered her lifeless cheek, living; though languish --\"<\/dialogue>\n    <scene_description>As the poetry begins, some of the diners' eye glaze over and there are faint sighs. Mr. Moustafa continues his narration:<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>His own dinner, he took alone in his room.<\/dialogue>\n    <scene_description>CUT TO: M. Gustave seated at a folding table in a room nearly identical to Zero's but with a connecting sitting room and kitchenette. He wears his uniform trousers and a white undershirt. He eats a bowl of cereal while listening to classical music on a radio-set. There are approximately twenty-five identical bottles of cologne on a shelf above the sink in the background. Each is labelled L'air de Panache, Pure Musk.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRONT ENTRANCE. DAY<\/stage_direction>\n    <scene_description>A large sedan with tire-chains arrives through the snow and parks in front of the hotel. A sign next to five stars on the side of the hood reads: Grand Budapest Hotel. One of the back doors opens, and a tall man in a double-breasted suit emerges. He carries a briefcase and wears a pointy beard. He is Deputy Kovacs. He hurries to the top of the steps where M. Gustave waits to greet him.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>The identity of the owner of the hotel was unknown to all of us. Each month, his emissary, known as Deputy Kovacs, arrived to review the books and convey messages on behalf of the mysterious proprietor.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY. DAY<\/stage_direction>\n    <scene_description>Zero, substituting at the concierge desk, looks up to a high window across the room where the shadowy figures of M. Gustave and Deputy Kovacs meet in a storage pantry. A clerk with a pot-belly flips the pages in a ledger-book and takes notes. He is Herr Becker.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>On these occasions, M. Gustave and our business manager, Herr Becker, met with him in private consultation above Reception.<\/dialogue>\n    <scene_description>CUT TO: A plain, graceful, seventeen-year-old beanpole with freckles and a birthmark the shape of Mexico on the side of her face. She is Agatha. She works a rolling-pin over a wide expanse of flattened pastry-dough. There are carts circled around her filled with trays of exceptionally well-made, beautifully-decorated pastries shaped like hour-glass figures. (These are Courtesans au chocolat.)<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>This was also when I met Agatha --<\/dialogue>\n    <scene_description>Agatha pauses to dry the perspiration on her brow with the back of her sleeve. She resumes her rolling.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAKERY. DAY<\/stage_direction>\n    <scene_description>The timber-frame store-front of a tiny p\u00e2tisserie. A large sign painted in delicate, pink cursive across the glass reads: Mendl's. There is a heavy-set baker in an apron with flour all over every inch of himself standing in the doorway. He is Herr Mendl. Agatha rides a rickety bicycle up the alley next to the shop and rings a bell as she turns onto the cobblestone lane. She bears a milkmaid's yoke balanced across her shoulders overloaded with sixty small, pink pastry-boxes tied with string. CUT TO: Agatha gripping the handlebars as she bounces pedalling down the road.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>-- but we won't discuss that.<\/dialogue>\n    <scene_description>TITLE: Part 2: \"Madame C.V.D.u.T.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN SQUARE. MORNING<\/stage_direction>\n    <scene_description>Dawn. The platz in the center of Nebelsbad is deserted. Zero emerges briskly from a press kiosk carrying a thick stack of newspapers. He looks down, scanning headlines, as he crosses the street. Zero stops. His eyes are glued to one of the articles. He skims it. He quickly re-reads it twice more. His mouth falls open. Zero bolts off at a sprint.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRONT ENTRANCE. MORNING<\/stage_direction>\n    <scene_description>Zero races up the steps into the hotel carrying the stack of newspapers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY. MORNING<\/stage_direction>\n    <scene_description>Zero dashes past Reception carrying the stack of newspapers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROTUNDA. MORNING<\/stage_direction>\n    <scene_description>Zero mounts the staircase three steps at a time carrying the stack of newspapers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR. MORNING<\/stage_direction>\n    <scene_description>Zero speed-walks to the end of the hallway and stops in front of a door labelled PRINCE HEINRICH SUITE. A sign on the knob reads: Do Not Disturb. Zero hesitates, then knocks. Pause. The door opens a crack and an irritated M. Gustave in a purple, silk dressing gown looks out.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(a frantic whisper)<\/parenthetical>\n    <dialogue>Look.<\/dialogue>\n    <scene_description>Zero holds up the stack of newspapers. M. Gustave picks one off the top and studies it. INSERT: The front page of the Trans-Alpine Yodel. The headline is, \"Will There Be War? Tanks at Frontier\" -- but a column below the fold reads: Dowager Countess Found Dead in Boudoir A photograph shows Madame D's corpse flat on her back on a white carpet. As M. Gustave reads the article, he says gravely:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Dear God.<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(sadly)<\/parenthetical>\n    <dialogue>I'm terribly sorry, sir.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(melodramatic but pained)<\/parenthetical>\n    <dialogue>We must go to her.<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>We must?<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Tout de suite. She needs me -- and I need you: to help me with my bags and so on.<\/dialogue>\n    <scene_description>An old woman's voice calls from the next room, coquettish:<\/scene_description>\n    <character>FRENCH LADY (O.S.)<\/character>\n    <dialogue>Tout va bien, ma cherie?<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(sharply)<\/parenthetical>\n    <dialogue>Attendez-moi, darling.<\/dialogue>\n    <parenthetical>(to Zero:)<\/parenthetical>\n    <dialogue>How fast can you pack?<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(short pause)<\/parenthetical>\n    <dialogue>Five minutes.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Do it -- and bring a bottle of the Pouilly-Jouv\u00e9 '26 in an ice-bucket with two glasses so we don't have to drink the cat-piss they serve in the dining car.<\/dialogue>\n    <character>ZERO<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <scene_description>M. Gustave slams the door, and Zero dashes away down the corridor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN COMPARTMENT. DAY<\/stage_direction>\n    <scene_description>A first-class state-room on the express to Lutz. The snowy foot-hills of the Zubrowkian Alps whiz by outside. M. Gustave and Zero each hold a glass of chilled white wine. There are tears in M. Gustave's eyes.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>I blame myself.<\/dialogue>\n    <scene_description>M. Gustave checks the color of the wine in the light. It is excellent.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>She tried to tell me she had a premonition. I didn't listen.<\/dialogue>\n    <parenthetical>(imagining the scene)<\/parenthetical>\n    <dialogue>All of Lutz will be dressed in black -- except her own ghastly, deceitful children whom she loathed and couldn't bear to kiss hello. They'll be dancing like gypsies.<\/dialogue>\n    <scene_description>Zero nods soberly. M. Gustave becomes philosophical\/ nihilistic:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>There's really no point in doing anything in life, because it's all over in the blink of an eye -- and, the next thing you know, rigor mortis sets in. Oh, how the good die young! With any luck, she's left a few Klubecks for your old friend --<\/dialogue>\n    <parenthetical>(motioning to himself)<\/parenthetical>\n    <dialogue>-- but one never knows until the ink is dry on the death certificate. She was dynamite in the sack, by the way.<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(scandalized in spite of himself)<\/parenthetical>\n    <dialogue>She was eighty-four, M. Gustave!<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I've had older.<\/dialogue>\n    <scene_description>M. Gustave throws back the rest of his glass and refills it as he expands on the point:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>When you're young, it's all filet-steak, but as the years go by, you have to move on to the cheaper cuts -- which is fine with me, because I like those. More flavorful, or so they say.<\/dialogue>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>Why are we stopping at a barley field?<\/dialogue>\n    <scene_description>The train has, in fact, come to a halt in the middle of nowhere. Noises echo from the other end of the coach: a door slams open; loud voices argue; heavy footsteps approach. Three soldiers appear in the compartment doorway. They are stocky, thick-necked, and armed with carbine rifles. They wear grey uniforms and long coats. M. Gustave says with an air of fancy-meeting-you-here:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Well, hello there, chaps.<\/dialogue>\n    <character>SOLDIER #1<\/character>\n    <parenthetical>(blankly)<\/parenthetical>\n    <dialogue>Documents, please.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>With pleasure.<\/dialogue>\n    <scene_description>M. Gustave withdraws his passport from his coat pocket and presents it to the soldier. The soldier begins to flip through it. M. Gustave gestures toward the photograph of himself:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>It's not a very flattering portrait, I'm afraid. I was once considered a great beauty.<\/dialogue>\n    <scene_description>The soldier ignores this comment. M. Gustave peers at the breast-pocket of his uniform. INSERT: A name tag pinned below a military badge. It reads: Cpl. F. M\u00fcller. M. Gustave raises an eyebrow and asks pointedly:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>What's the \"F\" stand for? Fritz? Franz.<\/dialogue>\n    <character>SOLDIER #1<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>Franz.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(exceedingly pleased)<\/parenthetical>\n    <dialogue>I knew it!<\/dialogue>\n    <scene_description>The soldier returns the passport to M. Gustave and looks to Zero. Zero nervously hands him a creased and tattered little scrap of paper covered with stamps and seals. The soldier frowns and studies it. M. Gustave smiles, uneasy, and says lightly:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>He's making a funny face.<\/dialogue>\n    <parenthetical>(to the soldier)<\/parenthetical>\n    <dialogue>That's a Migratory Visa with Stage Three Worker Status, Franz, darling. He's with me.<\/dialogue>\n    <scene_description>The soldier shows the scrap of paper to his associates. They confer rapidly at a whisper. There is some debate. Finally, the soldier waves for Zero to follow him:<\/scene_description>\n    <character>SOLDIER #1<\/character>\n    <dialogue>Come outside, please.<\/dialogue>\n    <scene_description>Zero swallows hard and begins to rise -- but M. Gustave motions sharply for him to stop. He says, a bit stern:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Now wait a minute.<\/dialogue>\n    <parenthetical>(to Zero)<\/parenthetical>\n    <dialogue>Sit Down, Zero.<\/dialogue>\n    <parenthetical>(to the soldiers)<\/parenthetical>\n    <dialogue>His papers are in order. I cross- referenced them myself with the Bureau of Labor and Servitude. You can't arrest him simply because he's a bloody immigrant. He hasn't done anything wrong.<\/dialogue>\n    <scene_description>The soldier hesitates. He turns to his associates again. They look back at him, expressionless. The soldier grabs Zero by the arm and jerks him out of his seat. M. Gustave is instantly on his feet, tussling.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Stop it! Stop, damn you!<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(in disbelief)<\/parenthetical>\n    <dialogue>Never mind, M. Gustave! Let them proceed!<\/dialogue>\n    <scene_description>M. Gustave is slammed and held against one wall while Zero is pounded into another. M. Gustave shouts and struggles.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>What are you doing? That hurts!<\/dialogue>\n    <scene_description>In two seconds: both M. Gustave and Zero are locked in hand-cuffs with their arms behind their backs. At this point, M. Gustave explodes:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>You filthy, goddamn, pock-marked, fascist assholes!<\/dialogue>\n    <parenthetical>(in a pure rage:)<\/parenthetical>\n    <dialogue>Take your hands off my Lobby Boy!<\/dialogue>\n    <scene_description>M. Gustave and Zero lock eyes across the fracas. In an instant: they are brothers. A new voice shouts from the end of the corridor:<\/scene_description>\n    <character>HENCKELS (O.S.)<\/character>\n    <dialogue>What's the problem?<\/dialogue>\n    <scene_description>All the soldiers snap to attention as a young officer appears in the doorway. He is well-groomed and clean- shaven. He wears a dress-grey uniform with a cape. He is Henckels. The first soldier hands him the scrap of paper and starts to explain the situation -- but M. Gustave interrupts calmly with blood trickling from his nose:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>This is outrageous. The young man works for me at the Grand Budapest Hotel in Nebelsbad.<\/dialogue>\n    <scene_description>Henckels turns suddenly to M. Gustave. He stares. He says in a quiet voice:<\/scene_description>\n    <character>HENCKELS<\/character>\n    <dialogue>M. Gustave?<\/dialogue>\n    <scene_description>M. Gustave looks at Henckels, curious. He nods slowly.<\/scene_description>\n    <character>HENCKELS<\/character>\n    <dialogue>My name is Henckels. I'm the son of Dr. and Mrs. Wolfgang Henckels-Bergersd\u00f6rfer. Do you remember me?<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>I know exactly who you are. It's uncanny. You're little Albert.<\/dialogue>\n    <character>HENCKELS<\/character>\n    <dialogue>I'm terribly embarrassed.<\/dialogue>\n    <parenthetical>(to the soldiers)<\/parenthetical>\n    <dialogue>Release them.<\/dialogue>\n    <scene_description>The soldiers immediately remove the hand-cuffs from both M. Gustave and Zero while Henckels takes out a note-book and begins to scribble something onto a yellow ticket. M. Gustave sits down and presses his pink handkerchief onto his nostril. Henckels says as he writes:<\/scene_description>\n    <character>HENCKELS<\/character>\n    <dialogue>Your colleague is stateless. He'll need to apply for a revised Special Transit Permit, which, honestly, at this point, may be very difficult to acquire. Take this.<\/dialogue>\n    <scene_description>Henckels finishes writing, tears the ticket out of his note-book, and hands it to M. Gustave.<\/scene_description>\n    <character>HENCKELS<\/character>\n    <dialogue>It's temporary, but it's the best I can offer, I'm afraid.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>How's your wonderful mother?<\/dialogue>\n    <character>HENCKELS<\/character>\n    <dialogue>Very well, thank you.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>I adore her. Send my love.<\/dialogue>\n    <character>HENCKELS<\/character>\n    <dialogue>I will.<\/dialogue>\n    <scene_description>Henckels motions politely for Zero to return to his seat and hands the scrap of paper back to him. Zero tucks it carefully into an envelope. His hands are shaking. Henckels says gently:<\/scene_description>\n    <character>HENCKELS<\/character>\n    <dialogue>Your companion was very kind to me when I was a lonely little boy.<\/dialogue>\n    <parenthetical>(to both M. Gustave and Zero)<\/parenthetical>\n    <dialogue>My men and I apologize for disturbing you.<\/dialogue>\n    <scene_description>Henckels turns coldly to the first soldier. He looks sheepish. He says, robotic, to M. Gustave:<\/scene_description>\n    <character>SOLDIER #1<\/character>\n    <dialogue>I beg your pardon, sir.<\/dialogue>\n    <scene_description>Henckels and the soldiers immediately leave the compartment, march down the corridor, and exit the coach. Silence.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>You see? There are still faint glimmers of civilization left in this barbaric slaughterhouse that was once known as humanity. Indeed, that's what we provide in our own modest, humble, insignificant --<\/dialogue>\n    <parenthetical>(sighs deeply)<\/parenthetical>\n    <dialogue>Oh, fuck it.<\/dialogue>\n    <scene_description>M. Gustave looks out the window as the train begins to move again. Zero appears to be in a state of numb shock. MONTAGE: The cosmopolitan city of Lutz in the dead of night. A rickity Daimler taxi sputters along a winding cobblestone road at top speed. It squeezes up a narrow lane lined with shops. All are closed and shuttered. It dips into a tunnel through a brick building. It crosses a stone bridge high over a river. It drives through an iron gate, circles around a garden, and skids to a stop next to Madame D's limousine. Up a short path, there is an enormous mansion.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOYER. DAY<\/stage_direction>\n    <scene_description>A bell rings. Feet clack and echo on the wide marble floor. A maid in black hurries to open the front door. She is Clotilde. M. Gustave and Zero enter the vestibule while the taxi waits outside. M. Gustave kisses Clotilde on both cheeks and says immediately:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Where is she, Clotilde? Take me to her.<\/dialogue>\n    <scene_description>Clotilde leads M. Gustave with Zero in tow through a series of doors, en fillade, until they arrive at a dimly candle-lit drawing room. Murals of cherubs cover the walls. There is a harpsichord in one corner and a loudly ticking grandfather clock in another. The feet of the corpse, in silver pumps, jut out, toes up, from inside the casket on top of a gold-leaf table. M. Gustave stops and gasps. He turns to Clotilde and nods. She tugs Zero by the sleeve, and they withdraw. M. Gustave picks up a chair, carries it to the body, sets it down, and sits. Silence. He speaks in a normal, conversational voice:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>You're looking so well, darling. You really are. They've done a marvelous job. I don't know what sort of cream they've put on you down at the morgue, but I want some. Honestly, you look better than you have in years. You look like you're alive!<\/dialogue>\n    <scene_description>M. Gustave shakes his head in admiration. He leans down and kisses Madame D. on the lips. Zero and Clotilde, watching discreetly from the shadows in the next room, look slightly revolted. M. Gustave takes the corpse's hand. He notices something and hesitates. INSERT: Madame D's fingernails. They are now lacquered in a rich plum. M. Gustave says, deeply moved:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>You changed it, after all. It's perfect.<\/dialogue>\n    <parenthetical>(calling to the next room)<\/parenthetical>\n    <dialogue>Clotilde?<\/dialogue>\n    <scene_description>Clotilde advances into view. She says respectfully:<\/scene_description>\n    <character>MAID<\/character>\n    <dialogue>Oui, M. Gustave?<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>A glass of chilled water with no ice, please.<\/dialogue>\n    <character>CLOTILDE<\/character>\n    <dialogue>Oui, M. Gustave -- et aussi: M. Serge a d\u00e9mand\u00e9 un mot avec vous en priv\u00e9 dans son office, s'il vous pla\u00eet.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(slightly irritated)<\/parenthetical>\n    <dialogue>Oh. Well, all right.<\/dialogue>\n    <parenthetical>(distracted, to the body)<\/parenthetical>\n    <dialogue>I shan't be long, darling.<\/dialogue>\n    <scene_description>M. Gustave stands up and follows Clotilde through the row of doors. Zero looks back at the casket as he trails behind them.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>We were escorted through a green-baize door, down a narrow service-corridor, and into the butler's pantry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE. NIGHT<\/stage_direction>\n    <scene_description>A small chamber separated from the kitchen by a glass- panelled wall. M. Gustave checks his watch. There is a glass of water in his hand. Zero drinks a sip of milk. In the background, a sous chef chops while the cook stirs a bubbling broth. Kitchen and scullery maids dart back and forth clanking pots and pans.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>A moment later, the kitchen passage swung open, and a small servant dressed in white jolted into the room.<\/dialogue>\n    <scene_description>An extremely anxious, petite butler enters with an ice- bucket. He is Serge. He hacks chips off a frozen block in the sink and fills the container briskly. He turns to go -- then spots M. Gustave looking out at him from inside the pantry.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>I've never forgotten the look on that man's face.<\/dialogue>\n    <scene_description>Serge is: deeply distraught, physically exhausted, and, above all, terrified. He swallows, holds up a quick finger for M. Gustave to wait, then disappears back out the door. M. Gustave frowns. He says to himself:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>What the devil is going on?<\/dialogue>\n    <scene_description>M. Gustave looks to Zero. Zero is perplexed.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>I, myself, had never set foot inside a house of this kind in my life.<\/dialogue>\n    <scene_description>M. Gustave dumps his glass of water into a potted cactus and strides through the chaotic kitchen while Clotilde watches him with a feather duster in her hand. She makes a reluctant move to advise him to stop -- but he flies past her, bangs out the swinging door after Serge, and marches into a dark corridor.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>I understood very little about the events that were to follow -- but, eventually, I came to recognize:<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TROPHY ROOM. NIGHT<\/stage_direction>\n    <scene_description>A door opens. M. Gustave comes inside and stops short. He hesitates. Zero sidles in next to him. They both stare, mouths open.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>When the destiny of a great fortune is at stake, men's greed spreads like a poison in the bloodstream.<\/dialogue>\n    <scene_description>CUT TO: A dark, woody parlor with mounted heads everywhere (lions, tigers, buffalo, antelope, etc). A murmuring audience of fifty men in business suits is gathering and taking its seats in rows before a dais. Every age, build, and variety of facial hair is accounted for. Some carry briefcases and canes. Most have strong drinks in their hands. There are also several young dandies; a few little old ladies; and a pair of country farmers.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>Uncles, nephews, cousins -- in-laws of increasingly tenuous connection. The old woman's most distant relations had come foraging out of the wood-work.<\/dialogue>\n    <scene_description>Serge drops an ice-cube into a glass of whiskey with tongs. He does a double-take as he sees that M. Gustave has followed him into the room.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>At the head of this congregation (it was a disorienting coincidence), we<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>discovered our own Deputy Kovacs (himself an important attorney, of course). He was the executor of the dead widow's estate.<\/dialogue>\n    <scene_description>Deputy Kovacs, standing behind a desk on a platform at the front of the room, squints at M. Gustave, puzzled. M. Gustave and Zero look back at him, equally confused. Deputy Kovacs turns his attention back to the seated audience. He clears his throat, sets a large, cardboard box down in front of him, and addresses the room:<\/scene_description>\n    <character>DEPUTY KOVACS<\/character>\n    <dialogue>This is Madame D's Last Will and Testament. It consists of a general tontine drawn up before the event of her husband's death forty-six years ago --<\/dialogue>\n    <scene_description>Deputy Kovacs lifts a faded, fragile slip of paper out of the box. He places it delicately onto the table.<\/scene_description>\n    <character>DEPUTY KOVACS<\/character>\n    <dialogue>-- in combination with 635 amendments, notations, corrections, and letters of wishes executed during the subsequent decades.<\/dialogue>\n    <scene_description>Deputy Kovacs reaches into the box with two hands and pulls out an enormous pile of scraps, slips, shreds, slivers, forms, files, post-cards, and various bits of lint and loose thread. He plants it all down with a thud.<\/scene_description>\n    <character>DEPUTY KOVACS<\/character>\n    <dialogue>The ultimate legality of this accumulation requires further analysis; but, in the opinion of this office, it was Madame D's intention that control of the vast bulk of her estate should be transferred, forthwith, to her son, Dmitri --<\/dialogue>\n    <scene_description>CUT TO: A spindly, thirty-five-year-old man with a thick head of spiky, black hair which sticks up straight into the air. He has black eyes and a black moustache. He wears a black suit cut close to his skinny body. He is Dmitri. A thug in a leather coat with close-shaven head and high- heeled boots sits slightly behind and beside him. He wears brass knuckles on both hands. He is Jopling.<\/scene_description>\n    <character>DEPUTY KOVACS<\/character>\n    <dialogue>-- with special allowances for his sisters Marguerite, Laetizia, and Carolina --<\/dialogue>\n    <scene_description>CUT TO: Madame D's spinster daughters. They range in age from forty to fifty. They are sturdy and fierce.<\/scene_description>\n    <character>DEPUTY KOVACS<\/character>\n    <dialogue>-- and minor gifts for various members of the extended family as shown in the List of Recipients, which I will elucidate in due course.<\/dialogue>\n    <scene_description>There is a mumbling of general approval around the room and throughout the gallery of distant relations. A few take notes. Deputy Kovacs interjects:<\/scene_description>\n    <character>DEPUTY KOVACS<\/character>\n    <dialogue>However.<\/dialogue>\n    <scene_description>Voices hush. Pause.<\/scene_description>\n    <character>DEPUTY KOVACS<\/character>\n    <dialogue>An additional codicil, delivered into my possession by post only this morning, and, by all indications, sent by Madame D. during the last hours of her life, contains an amendment to the original certificate, which, as prescribed by law, I will read to you now. The authenticity of this document has not yet been confirmed by the presiding magistrate, so I ask that all parties be patient and refrain from comment until such time as our investigations can be completed.<\/dialogue>\n    <scene_description>Dmitri and Jopling confer at a tense whisper. The sisters grumble, dismayed. The group as a whole sits up to attention. Deputy Kovacs slides a hand-written letter on pale-pink paper out of an envelope and reads:<\/scene_description>\n    <character>DEPUTY KOVACS<\/character>\n    <dialogue>\"To my esteemed friend who comforted me in my later years and brought sunshine into the life of an old woman who thought she would never be happy again -- M. Gustave H. -- I bequeath, bestow, and devise, free of all taxation and with full and absolute fiduciary entitlement, the painting known as 'Boy with Apple' --<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(floored)<\/parenthetical>\n    <dialogue>Wow!<\/dialogue>\n    <character>DEPUTY KOVACS<\/character>\n    <dialogue>-- by Johannes van Hoytl --<\/dialogue>\n    <scene_description>M. Gustave grips Zero by the shoulder like a vise. Zero grimaces:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>I can't believe it.<\/dialogue>\n    <character>DEPUTY KOVACS<\/character>\n    <dialogue>-- the younger --<\/dialogue>\n    <scene_description>Dmitri drops a tumbler on the floor. He blurts angrily:<\/scene_description>\n    <character>DMITRI<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>DEPUTY KOVACS<\/character>\n    <dialogue>-- which gave us both so much pleasure.\"<\/dialogue>\n    <scene_description>Deputy Kovacs looks up. The three sisters talk loudly over each other simultaneously:<\/scene_description>\n    <character>MARGUERITE<\/character>\n    <dialogue>The van Hoytl?<\/dialogue>\n    <character>LAETIZIA<\/character>\n    <dialogue>Tax-free?<\/dialogue>\n    <character>CAROLINA<\/character>\n    <dialogue>Can she do that?<\/dialogue>\n    <scene_description>A hunched, ancient, grizzled, old man in the middle of the room throws up his hands. He asks loudly:<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>Who's Gustave H?<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(inevitably)<\/parenthetical>\n    <dialogue>I'm afraid that's me, darling.<\/dialogue>\n    <scene_description>Every face in the entire assembly now turns around fully and stares at M. Gustave and Zero. Silence. The room erupts. All the distant relations start talking at once. Dmitri is on his feet, advancing toward the back of the room, flanked by Jopling, as he explodes, pointing at M. Gustave:<\/scene_description>\n    <character>DMITRI<\/character>\n    <dialogue>That fucking faggot! He's a concierge. What are you doing here?<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(stiffening)<\/parenthetical>\n    <dialogue>I've come to pay my respects to a great woman whom I loved.<\/dialogue>\n    <character>DMITRI<\/character>\n    <parenthetical>(turning to the room)<\/parenthetical>\n    <dialogue>This man is an intruder in my home!<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(making a point of it)<\/parenthetical>\n    <dialogue>It's not yours yet, Dmitri. Only when probate is granted, and the Deed of Entitlement --<\/dialogue>\n    <character>DMITRI<\/character>\n    <dialogue>You're not getting \"Boy with Apple\", you goddamn little fruit!<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(genuinely offended)<\/parenthetical>\n    <dialogue>How's that supposed to make me feel?<\/dialogue>\n    <scene_description>The three sisters join Dmitri as the veins in his neck begin to bulge. He continues loudly, for the record:<\/scene_description>\n    <character>DMITRI<\/character>\n    <dialogue>Call the police. We're pressing charges. This criminal has plagued my family for nearly twenty years. He's a ruthless adventurer and a con-artist who preys on mentally feeble, sick old ladies -- and he probably fucks them, too!<\/dialogue>\n    <scene_description>The three sisters look horrified. One of the little old ladies gasps. Shocked faces look to M. Gustave. He shrugs and says tentatively:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>I go to bed with all my friends.<\/dialogue>\n    <scene_description>Dmitri cold-cocks M. Gustave an upper-cut to the jaw and drops him with one punch. Less than a second later, Zero slams his own fist squarely right into the middle of Dmitri's face and knocks him over backward with blood spurting out of his nose. Less than a second after that, Jopling pounds Zero in the side of the head sending him flying with a smack against the wall and melting instantly into the floor. The room breaks into complete pandemonium. In the midst of the chaos, the hunched, old man says, aside, to a younger one:<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>Where's C\u00e9line?<\/dialogue>\n    <character>YOUNG MAN<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>She's dead. We're reading her will.<\/dialogue>\n    <character>OLD MAN<\/character>\n    <parenthetical>(slightly embarrassed)<\/parenthetical>\n    <dialogue>Oh, quite right, of course. How silly of me.<\/dialogue>\n    <scene_description>Another younger man, eavesdropping, starts coughing and spits red wine into his glass. In the meantime: Serge helps M. Gustave and Zero to their feet as Jopling restrains Dmitri, and various of the distant relations attempt to interfere in the fray. Dmitri, behind an almost certainly broken nose, shouts furiously at M. Gustave as he strains to clamber over his henchman's shoulder:<\/scene_description>\n    <character>DMITRI<\/character>\n    <dialogue>If I learn you ever once laid a finger on my mother's body, living or dead, I swear to God, I'll cut your throat!<\/dialogue>\n    <parenthetical>(screaming)<\/parenthetical>\n    <dialogue>You hear me?<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(clever though dizzy)<\/parenthetical>\n    <dialogue>I thought I was supposed to be a fucking faggot.<\/dialogue>\n    <character>DMITRI<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>You are, but you're bisexual!<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Let's change the subject. I'm leaving.<\/dialogue>\n    <scene_description>M. Gustave turns and, assisted by Serge and a staggering Zero, exits the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN. NIGHT<\/stage_direction>\n    <scene_description>Clotilde rushes to M. Gustave's assistance as Serge brings him through the door. She brushes his shoulders and smooths his hair. Serge shouts frantically in French and guides them all back into his butler's pantry. Zero holds his glass of milk against his ear like an ice- pack. Serge and Clotilde yell at each other while the other servants race in and out of the kitchen, panicking. They disappear again into the next room. M. Gustave and Zero, alone for a moment, catch their breath. M. Gustave pants:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>That picture -- \"Boy with Apple\" -- is priceless. Understand?<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(hopeful)<\/parenthetical>\n    <dialogue>Congratulations, M. Gustave!<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>They're going to fight me for the son of a bitch.<\/dialogue>\n    <character>ZERO<\/character>\n    <dialogue>Is it very beautiful?<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(swooning)<\/parenthetical>\n    <dialogue>Beyond description.<\/dialogue>\n    <parenthetical>(reciting)<\/parenthetical>\n    <dialogue>\"E'en the most gifted bard's rhyme can only sing but to the lack of her and all she isn't! His tongue doth trip --\"<\/dialogue>\n    <character>ZERO<\/character>\n    <dialogue>Can I see it?<\/dialogue>\n    <scene_description>M. Gustave looks surprised. Pause.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>I don't see why not.<\/dialogue>\n    <scene_description>M. Gustave zooms out through the scullery and into a little stairwell. Zero follows. They spiral up a steep flight. CUT TO: A wide landing overlooking the foyer. The voices of the bickering assembly echo from the rear of the house. M. Gustave looks quickly left and right, then darts down the hallway and through a set of double doors.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIBRARY. NIGHT<\/stage_direction>\n    <scene_description>A long, narrow gallery lined from floor-to-ceiling with books and paintings. M. Gustave leads Zero straight through to the far end where \"Boy with Apple\" hangs above a fire-place. He stands beside it facing Zero and assumes the role of a museum docent:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>This is van Hoytl's exquisite portrayal of a beautiful boy on the cusp of manhood. Blond, smooth. Skin as white as that milk.<\/dialogue>\n    <parenthetical>(pointing to Zero's glass)<\/parenthetical>\n    <dialogue>Of impeccable provenance. One of the last in private hands -- and, unquestionably, the best. It's a masterpiece. The rest of this shit is worthless junk.<\/dialogue>\n    <scene_description>M. Gustave and Zero stand side-by-side and admire the picture for a long minute -- then Zero looks strangely to M. Gustave. M. Gustave looks back at him, curious. Zero's eyes flicker. M. Gustave frowns. Zero goes to the corner, picks up a foot-stool, and places it on the hearth. M. Gustave hesitates. He steps up onto the foot-stool. He lifts the painting off its hooks. He comes back down to the floor. There is a dark rectangle in the wallpaper marking the absent picture. He turns to Zero again, uncertain. Behind the fire-irons, leaning against a stack of etchings, Zero spots a wood-cut print of two lesbians masturbating. He grabs it and hangs it in the painting's place.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOYER. NIGHT<\/stage_direction>\n    <scene_description>M. Gustave and Zero circle rapidly down the wide staircase. Serge comes into the room at the same time and meets them as they arrive at the front door. He says breathlessly:<\/scene_description>\n    <character>SERGE<\/character>\n    <dialogue>M. Gustave! Pardonnez-moi. Ce n'est pas --<\/dialogue>\n    <scene_description>Serge sees the painting tucked under M. Gustave's arm. He stares at it. He says reluctantly:<\/scene_description>\n    <character>SERGE<\/character>\n    <dialogue>Je peux vous aider?<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Oui, Serge. Vous pouvez emballer celui- la.<\/dialogue>\n    <character>SERGE<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>Emballer -- \"Boy with Apple\"?<\/dialogue>\n    <scene_description>M. Gustave nods and hands Serge the picture. Serge takes it. Pause. He goes over to a bureau, withdraws a large sheet of wrapping-paper, folds it around the painting, and ties it with string. He returns the parcel to M. Gustave.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Merci, Serge.<\/dialogue>\n    <scene_description>Serge opens the front door. M. Gustave and Zero quickly go outside and get into the taxi. Serge, overwhelmed and confused, with tears in his eyes, looks in at them through one of the back-seat windows. M. Gustave rolls it down.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>What'd you want to tell me? Before.<\/dialogue>\n    <character>SERGE<\/character>\n    <parenthetical>(long pause, with a heavy accent)<\/parenthetical>\n    <dialogue>I think I cannot say right now.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(short pause)<\/parenthetical>\n    <dialogue>Write me tomorrow.<\/dialogue>\n    <parenthetical>(sharply to the driver)<\/parenthetical>\n    <dialogue>Lutzbahn Station!<\/dialogue>\n    <scene_description>The taxi's tires squeal, and the car shoots down the driveway. Serge watches, deeply anguished and disturbed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN COMPARTMENT. NIGHT<\/stage_direction>\n    <scene_description>A sleeper on the over-night to Nebelsbad. The bunks have been folded down and made-up, and both M. Gustave and Zero wear pajamas. (M. Gustave's are of burgundy silk and belted.) \"Boy with Apple\", partially unwrapped, is on display balanced along the edge of the wash-basin. M. Gustave says soberly:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>I'll never part with it. It reminded her of me. It will remind me of her. Always. I'll die with this picture above my bed.<\/dialogue>\n    <parenthetical>(quickly)<\/parenthetical>\n    <dialogue>See the resemblance?<\/dialogue>\n    <scene_description>M. Gustave positions himself alongside the painting. Zero mutters politely from his bed:<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>Oh, yes.<\/dialogue>\n    <scene_description>M. Gustave lies down. He stares up at the ceiling. Pause.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Actually, we should sell it. Sooner rather than later, in case they try and steal it back. Plus: something about those lunatic foot-soldiers on the express -- I think this could be a tricky war and a long dry-spell in the hotel trade. For all we know, they could board us up tomorrow.<\/dialogue>\n    <scene_description>Zero looks alarmed. M. Gustave sits up again and signals for him to come closer. Zero joins him.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Let's make a solemn blood-pact. We'll contact the black-market and liquidate \"Boy with Apple\" by the end of the week, then leave the country and lay low somewhere along the Maltese Riviera until the troubles blow over and we resume our posts. In exchange for your help, your loyalty, and your services as my personal valet, I pledge to you: one-point-five percent of the net sale-price.<\/dialogue>\n    <scene_description>Zero takes this in. He says quietly:<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>One-point-five.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Plus room and board.<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(optimistic)<\/parenthetical>\n    <dialogue>Could we make it ten?<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(in disbelief)<\/parenthetical>\n    <dialogue>Ten? Are you joking? That's more than I'd pay an actual dealer -- and you wouldn't know chiarascuro from chicken giblets. No, one-point-five is correct -- but I'll tell you what: if I die first, and I most certainly will, you: will be my sole heir. There's not much in the kitty except a set of ivory-backed hairbrushes and my library of romantic poetry -- but, when the time comes, these will be yours, along with whatever we haven't already spent on whores and whiskey. This is our sacred bond. I'll draw it up right now.<\/dialogue>\n    <scene_description>Pause. Zero nods. M. Gustave whisks a drinks menu out of a slot on the wall, places it face-down on the night- stand, and sets a fountain pen on top of it. He dictates:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>I, M. Gustave H, being of relatively sound mind and body, on this day the twenty-seventh of October in the year of our Lord nineteen hundred and --<\/dialogue>\n    <scene_description>Zero quickly uncaps the pen and begins to write.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STORAGE PANTRY. DAY<\/stage_direction>\n    <scene_description>The next morning. A vault adjacent to the meeting room above the lobby. There are rows of safety-deposit boxes with engraved room-numbers along the walls. M. Gustave hides the wrapped package behind a radiator. He takes a fur stole off a coat hangar and drapes it awkwardly over the top. They exit the room. M. Gustave closes the heavy, inner door and spins the combination lock, then slides an outer one shut and bolts it with a key.<\/scene_description>\n    <character>ANATOLE (O.S.)<\/character>\n    <dialogue>Excuse me.<\/dialogue>\n    <scene_description>M. Gustave and Zero jump. They turn around quickly and see Anatole standing in the doorway. M. Gustave mumbles, anxious:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Uh-huh?<\/dialogue>\n    <character>ANATOLE<\/character>\n    <parenthetical>(intrigued)<\/parenthetical>\n    <dialogue>The police are here. They asked for you.<\/dialogue>\n    <scene_description>Silence. M. Gustave nods. He says cheerily:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Tell them we'll be right down.<\/dialogue>\n    <scene_description>Anatole goes back down the steps. M. Gustave and Zero look down into the lobby through a window. Eight uniformed officers wait at the concierge desk. M. Gustave says tensely:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Have you ever been questioned by the authorities?<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(grimly)<\/parenthetical>\n    <dialogue>Yes, on one occasion, I was arrested and tortured by the rebel militia after the Desert Uprising.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>Right. Well, you know the drill, then. Zip it.<\/dialogue>\n    <character>ZERO<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>You've never heard the word van Hoytl in your life.<\/dialogue>\n    <character>ZERO<\/character>\n    <dialogue>Got it.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>OK. Let's go.<\/dialogue>\n    <scene_description>M. Gustave and Zero descend into the lobby. M. Gustave's face brightens as he crosses the room and greets the visitors:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>How may we serve you, gentlemen?<\/dialogue>\n    <character>POLICE CAPTAIN<\/character>\n    <parenthetical>(producing a warrant)<\/parenthetical>\n    <dialogue>By order of the Commissioner of Police, Zubrowka Province, I hereby place you under arrest for the murder of Madame C\u00e9line Villeneuve Desgoffe und Taxis.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(somehow vindicated)<\/parenthetical>\n    <dialogue>I knew there was something fishy! We never got the cause of death! She's been murdered -- and you think I did it.<\/dialogue>\n    <scene_description>M. Gustave turns away and breaks into a sprint through the lobby. The police chase him. Zero watches, stunned. TITLE: Part 3: \"Check-point 19 Criminal Internment Camp\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRISON. DAY<\/stage_direction>\n    <scene_description>A buttressed castle on a high rock spur. Clusters of tangled barbed-wire decorate the tops of the walls above a sheer cliff that drops straight down into the medieval village below. Zero stands waiting with a small pink pastry-box in his hands. There is a guard with a Tommy-gun next to him. Silence. A hidden gear begins to crank, and a heavy iron and oak gate swings slowly open. The guard makes an off-hand toss of the head to signal for Zero to proceed. Zero nods politely and starts across a narrow bridge over a moat. Two more guards wait at the far end in front of the doors to a fortified keep.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VISITING ROOM. DAY<\/stage_direction>\n    <scene_description>A converted armory containing a row of chairs along an extended table with a penitentiary-style wire-glass partition down the middle. Zero sits alone. The pastry- box is in front of him next to a glass of water. A door opens, and another guard escorts M. Gustave into the room. M. Gustave is now dressed in a striped prison uniform with his cap worn at a slight tilt. His hands are shackled. His face is purple and misshapen, covered almost entirely with bruises and abrasions, with one eye swollen completely shut. He sits down facing Zero on the other side of the partition. (There is a glass of water for him, as well.) The guard waits in the corner. He checks his watch. Zero looks horrified. He gasps:<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>What happened, my dear Zero, is I beat the living shit out of a snivelling, little runt called Pinky Bandinski who had the gall to question my virility -- because if there's one thing we've learned from penny dreadfuls, it's that, when you find yourself in a place like this, you must never be a candy-ass. You've got to prove yourself from Day One. You've got to win their respect. Of course, I've got about a foot and a half of reach on Pinky, so once I'd pried him loose out from under my armpit, it was short order before I whipped him into scrambled eggs.<\/dialogue>\n    <parenthetical>(drinks a sip of water)<\/parenthetical>\n    <dialogue>You should take a long look at his ugly mug this morning.<\/dialogue>\n    <parenthetical>(spits blood back into the cup)<\/parenthetical>\n    <dialogue>He's, actually, become a dear friend. You'll meet him, I hope. So.<\/dialogue>\n    <scene_description>M. Gustave slides closer to the glass. So does Zero.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>You talk to Kovacs?<\/dialogue>\n    <character>ZERO<\/character>\n    <dialogue>I saw him last night in secret. He made me take an oath (on a Bible) I wouldn't tell a soul. You're supposed to, also.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(irritated)<\/parenthetical>\n    <dialogue>I'll do that later.<\/dialogue>\n    <character>ZERO<\/character>\n    <dialogue>He suspects you're innocent.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Of course, he does. What's the charge?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAVERN. NIGHT<\/stage_direction>\n    <scene_description>An alcove in a corner of a dark, seedy, back-street ale- house. Shady characters lurk at the counter. Zero sits across from Deputy Kovacs, who reads a report to him by the light of an oil-lamp. They both sip mugs of lager. There is also a small Bible on the table.<\/scene_description>\n    <character>DEPUTY KOVACS<\/character>\n    <dialogue>\"In the small hours of the evening of nineteen October, an individual well- known to the house and staff, a M. Gustave H, did arrive at the Desgoffe und Taxis residence in Lutz and enter by the rear service alley, alerting no one to his presence, and did then proceed by way of back-stairs and servants-passage, to deliver himself into the private chambers of Madame D. There is no evidence to indicate whether this visit had been pre- arranged with her or not. The next morning, Madame D. was found dead by strychnine poisoning. M. Gustave was not observed on the premises again until,\" of course, \"twenty-four hours later.\" The identity of his accusers is made clear in this notarized deposition.<\/dialogue>\n    <scene_description>Deputy Kovacs produces another document which he hands to Zero. Zero studies it as Deputy Kovacs continues:<\/scene_description>\n    <character>DEPUTY KOVACS<\/character>\n    <dialogue>They include, essentially, all members of the extended family -- but the key witness who actually (ostensibly) saw the alleged events appears to have fled the jurisdiction. His whereabouts are<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <character>DEPUTY KOVACS<\/character>\n    <dialogue>currently unknown, but he's being sought and pursued by the relevant authorities.<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(concerned)<\/parenthetical>\n    <dialogue>Who is he?<\/dialogue>\n    <scene_description>CUT TO: M. Gustave with a look of utter astonishment on his face. He blurts out:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Serge?<\/dialogue>\n    <character>ZERO<\/character>\n    <dialogue>I'm afraid so.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>That little prick.<\/dialogue>\n    <scene_description>Pause. M. Gustave reconsiders.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>No, I don't believe it. They put him up to it. I've been dropped into a nest of vipers.<\/dialogue>\n    <character>ZERO<\/character>\n    <dialogue>You have an alibi?<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(off-hand)<\/parenthetical>\n    <dialogue>Certainly, but she's married to the Duke of Westfalia. I can't allow her name to get mixed-up in all this monkey business.<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(gravely)<\/parenthetical>\n    <dialogue>M. Gustave: your life may be at stake.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(bitterly)<\/parenthetical>\n    <dialogue>I know, but the bitch legged it. She's already on the Queen Nasstasja half-way to Dutch Tanganyika.<\/dialogue>\n    <scene_description>M. Gustave sighs and stares at the floor, shaking his head. He looks like he is about to cry. Zero says finally -- almost inaudibly:<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>Don't give up.<\/dialogue>\n    <scene_description>M. Gustave looks back to Zero. He nods. He points.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>What's in the box?<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(encouraging)<\/parenthetical>\n    <dialogue>A Courtesan au chocolat.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(deeply moved)<\/parenthetical>\n    <dialogue>From Mendl's. Thank you, my angel.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET. NIGHT<\/stage_direction>\n    <scene_description>A dark lane crowded with narrow, crooked little buildings. Rushing water gurgles down the gutters. A pack of rats darts across the road in single-file and disappears into a drain-pipe. A church bell rings across the city. Jopling waits on the threshold of a ramshackle cottage staring at the front door.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>The details of the conspiracy, now a matter of public record, were, at that time, impossible for us to apprehend.<\/dialogue>\n    <scene_description>The door cracks open. A young washer-woman with a club foot and a rag in her hands peers out. Jopling hands the woman his card. She studies it. INSERT: An engraved calling card on bright, white stock which reads: J.G. Jopling, Esq.<\/scene_description>\n    <character>PRIVATE INQUIRY AGENT<\/character>\n    <dialogue>The woman looks back up to Jopling, nervous. He says in a low voice:<\/dialogue>\n    <character>JOPLING<\/character>\n    <dialogue>I'm looking for Serge X. (a young man in the service of my employers, the family Desgoffe und Taxis of Schloss Lutz).<\/dialogue>\n    <character>WASHER-WOMAN<\/character>\n    <parenthetical>(timidly)<\/parenthetical>\n    <dialogue>Yes, sir?<\/dialogue>\n    <character>JOPLING<\/character>\n    <dialogue>You're his sister?<\/dialogue>\n    <character>WASHER-WOMAN<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <character>JOPLING<\/character>\n    <dialogue>Seen him lately?<\/dialogue>\n    <character>WASHER-WOMAN<\/character>\n    <parenthetical>(surprised)<\/parenthetical>\n    <dialogue>No, sir.<\/dialogue>\n    <character>JOPLING<\/character>\n    <parenthetical>(doubtful)<\/parenthetical>\n    <dialogue>No, sir?<\/dialogue>\n    <character>WASHER-WOMAN<\/character>\n    <parenthetical>(innocent)<\/parenthetical>\n    <dialogue>No, sir.<\/dialogue>\n    <character>JOPLING<\/character>\n    <dialogue>I need to find him right away. For his own safety --<\/dialogue>\n    <parenthetical>(pointing in her face)<\/parenthetical>\n    <dialogue>-- and everyone else's. If he shows up?<\/dialogue>\n    <character>WASHER-WOMAN<\/character>\n    <parenthetical>(tentatively)<\/parenthetical>\n    <dialogue>Yes, sir?<\/dialogue>\n    <character>JOPLING<\/character>\n    <parenthetical>(darkly)<\/parenthetical>\n    <dialogue>Tell him Jopling says, \"Come home.\"<\/dialogue>\n    <scene_description>Pause. The woman nods. Jopling turns away and walks over to a black motorcycle parked at the corner.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>-- but one thing was certain: the Desgoffe und Taxis were a very powerful family --<\/dialogue>\n    <scene_description>Jopling puts on a pair of goggles, kick-starts his engine, revs the motor, and rumbles away. The woman shuts the door and locks the bolt. CUT TO: Jopling racing his howling motorcycle through the center of the city at midnight. Under the goggles, his eyes are calm.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>-- and time was not on our side.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MESS HALL. NIGHT<\/stage_direction>\n    <scene_description>Another evening meal. The full assembled staff sits at the long table, anxious and curious, murmuring. The cook waits, uncertain, gripping a cauldron by his oven-mitts. A door swings open. Mr. Mosher and Zero stride into the room. Mr. Mosher holds up an envelope and beckons to Zero.<\/scene_description>\n    <character>MR. MOSHER<\/character>\n    <dialogue>A letter from M. Gustave. Zero?<\/dialogue>\n    <scene_description>The staff whispers excitedly then falls silent as Zero ascends M. Gustave's podium, opens the envelope, and takes out a piece of paper. Pause. Zero clears his throat and reads in a formal voice:<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>\"My dear and trusted colleagues --\"<\/dialogue>\n    <scene_description>CUT TO: M. Gustave in his cell (where his podium seems to have been magically transported). A gentle halo of light glows behind him. He addresses the camera as he begins his usual pacing:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>-- I miss you deeply as I write from the confines of my regrettable and preposterous incarceration. Until I walk amongst you again as a free man, the Grand Budapest remains in your hands -- as does its impeccable reputation. Keep it spotless and glorify it. Take extra- special care of every little-bitty bit of it as if I were watching over you like a hawk with a horse-whip in its talons --<\/dialogue>\n    <parenthetical>(brandishing a soup-ladle)<\/parenthetical>\n    <dialogue>-- because I am. Should I discover a lapse of any variety during my absence, I promise: swift and merciless justice will descend upon you. A great and noble house has been placed under your protection. (Tell Zero if you see any funny business.)<\/dialogue>\n    <scene_description>CUT TO: Zero at podium. He concludes:<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>\"Your devoted M. Gustave.\" Then there's a poem, but we might want to go ahead and start on the soup, since it's forty-six stanzas.<\/dialogue>\n    <scene_description>Mr. Mosher signals to the cook. He begins to serve as Zero reads on:<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>A moist, black ash dampens the filth of a dung-dark rat's-nest and mingles with the thick scent of wood-rot while the lark- song of a gutter-snipe echoes across a --<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR. DAY<\/stage_direction>\n    <scene_description>M. Gustave pushes a metal cart with a stack of plates and a steel tureen on it through a barred door. He stops in front of a large cell where four convicts loiter on their bunks playing cards, scratching graffiti on the walls, and looking at dirty pictures.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>May I offer any of you inmates a plate of mush?<\/dialogue>\n    <scene_description>The convicts all look to M. Gustave at once. No one speaks. M. Gustave hesitates.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>No? Anyone? You -- with the very large scar on your face?<\/dialogue>\n    <scene_description>M. Gustave points to a seven-foot giant with a deep slash from the top corner of his forehead all the way down and across to the other side of his chin. The giant frowns. He stands up. The other convicts look uneasy.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Come now. Try it. It's, actually, quite warm and nourishing this morning. It needs a dash of salt.<\/dialogue>\n    <scene_description>M. Gustave prepares a plate of lumpy gruel for the giant. He shakes-in a touch of salt from a shaker. The giant tastes it. Pause. He shrugs, pleased. He nods. M. Gustave smiles.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Good day.<\/dialogue>\n    <scene_description>M. Gustave pushes his cart to the next cell. A bald wrestler lifts weights while an old man spots him.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Mush, gents? Any takers?<\/dialogue>\n    <scene_description>The wrestler and the old man look at M. Gustave blankly with the barbell in the air. M. Gustave shrugs and says regretfully:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Suit yourselves.<\/dialogue>\n    <scene_description>M. Gustave pushes his cart to the next cell. These convicts are all asleep. M. Gustave says with a musical lilt:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Rise and shine. Chop-chop!<\/dialogue>\n    <scene_description>A wiry, pint-sized convict the shape of a fire-hydrant squints out from under his covers. He is Pinky.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Good morning, Pinky.<\/dialogue>\n    <scene_description>Pinky yawns and sets his feet to the floor. The convicts in the other bunks also begin to rustle. Their faces are brutal, and their bodies are hard and powerful. They are G\u00fcnther and Wolf. (A fourth convict, also in the room, begins to get out of bed, as well -- but his face is not revealed for the moment.) M. Gustave reaches to the lower shelf of the cart and produces a pink pastry-box. All the convicts quickly gather at a small table. (The fourth convict sits with his back to the camera.) Pinky says eagerly:<\/scene_description>\n    <character>PINKY<\/character>\n    <dialogue>Mendl's again?<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Precisely. Who's got the throat-slitter?<\/dialogue>\n    <scene_description>G\u00fcnther digs in his sock and takes out a small weapon consisting of a half-toothbrush fixed with wire to a hand-slivered straight-razor cut into serrated teeth. M. Gustave folds open the pastry-box and cuts a Courtesan au chocolat into careful segments. The convicts eat daintily. Wolf says, chewing:<\/scene_description>\n    <character>WOLF<\/character>\n    <dialogue>Out of this world.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(obviously)<\/parenthetical>\n    <dialogue>Mendl's is the best. Well, back to work.<\/dialogue>\n    <scene_description>M. Gustave rises. Pinky says suddenly:<\/scene_description>\n    <character>PINKY<\/character>\n    <dialogue>Mr. Gustave?<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>Yeah?<\/dialogue>\n    <scene_description>Pinky exchanges a look with the others. They nod. He darts to the door, looks up and down the corridor, then closes it softly. He signals for M. Gustave to sit back down. M. Gustave, slightly puzzled, obeys. They all lean in closer as Pinky whispers:<\/scene_description>\n    <character>PINKY<\/character>\n    <dialogue>Me and the boys talked it over. We think you're a real straight fella.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Well, I've never been accused of that before, but I appreciate the sentiment.<\/dialogue>\n    <character>PINKY<\/character>\n    <dialogue>You're one of us now.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(somewhat moved)<\/parenthetical>\n    <dialogue>What a lovely thing to say. Thank you, dear Pinky. Thank you, G\u00fcnther. Thank you, Wolf. I couldn't ask for a finer tribute.<\/dialogue>\n    <scene_description>M. Gustave bows slightly. He hesitates.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Anything else?<\/dialogue>\n    <scene_description>Pinky looks to the fourth convict. He nods:<\/scene_description>\n    <character>PINKY<\/character>\n    <dialogue>Tell him, Ludwig.<\/dialogue>\n    <scene_description>CUT TO: The fourth convict. Numerous short scars chop skinny, bald lines into his shorn scalp. His arms are tattooed heavily with skulls, skeletons, and images of the grim reaper. He has one silver tooth and a bit of butter- cream icing on the side of his mouth. He is Ludwig. Ludwig takes a deep breath. He launches into his spiel:<\/scene_description>\n    <character>LUDWIG<\/character>\n    <dialogue>Check-point Nineteen ain't no two-bit hoosegow. You got broad-gauge iron bars on every door, vent, and window. You got barb' wire on every containment wall and barricade. You got seventy-two guards on the floor and sixteen more in the towers. You got a 325 foot drop into a moat full of crocodiles -- but, like the best of 'em, it's got a soft spot, which in this case happens to take the form of a storm- drain sewer-system datin' from the time of the original rock fortification way back in the middle ages. Now, nobody's<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <character>LUDWIG<\/character>\n    <dialogue>sayin' it's a stroll down a tree-lined promenade with a fine lady and a white poodle, but it's got what you'd call \"vulnerability\" -- and that's our bread and butter. Take a look.<\/dialogue>\n    <scene_description>Ludwig produces a crude but highly detailed map and floor-plan of the castle compound drawn with charcoal on a strip of butcher paper. M. Gustave examines it with fixed concentration. He says pointedly:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Who drew this?<\/dialogue>\n    <character>LUDWIG<\/character>\n    <parenthetical>(stiffening)<\/parenthetical>\n    <dialogue>What do you mean, \"Who drew this?\" I did.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(impressed)<\/parenthetical>\n    <dialogue>Very good. You've got a wonderful line, Ludwig. This shows great artistic promise.<\/dialogue>\n    <scene_description>Ludwig smiles slightly, pleased and slightly embarrassed. M. Gustave points on the map:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Question: how do you intend to penetrate this lowest rudiment? If I interpret the legend correctly, it's twenty-five inches of reinforced granite masonry, is it not? Digging with the throat-slitter, I expect that would take three to six months of continual effort, during which time several of our members will have been violently executed.<\/dialogue>\n    <character>LUDWIG<\/character>\n    <dialogue>You hit the nail on the head there, Mr. Gustave. We got fake documents, second- hand street clothes, and a rope-ladder made out of sticks and bunk-linens -- but we need diggin' tools, and that's provin' hard to come by in this flop-house.<\/dialogue>\n    <scene_description>M. Gustave nods gravely. The others slump, listless, and sigh. M. Gustave taps rapidly on the table with the jerry-rigged shiv. Suddenly, he sits up straight and frowns. The others watch him, curious -- then look where he is looking. The camera zooms-in slowly toward the crinkled wrapper of the Courtesan au chocolat as the five inmates all stare at it together. CUT TO: Mr. Moustafa and the author at their dinner table surrounded by meats, sauces, and vegetables. Mr. Moustafa is immobile.<\/scene_description>\n    <character>AUTHOR (V.O.)<\/character>\n    <dialogue>At this point in the story, the old man fell silent and pushed away his saddle of lamb. His eyes went blank as two stones. I could see he was in distress. \"Are you ill, Mr. Moustafa?\" I finally asked. \"Oh, dear me, no,\" he said. \"It's only that I don't know how to proceed.\" He was crying.<\/dialogue>\n    <scene_description>Mr. Moustafa smiles sadly with tears streaming down his cheeks. The author looks worried.<\/scene_description>\n    <character>MR. MOUSTAFA<\/character>\n    <dialogue>You see, I never speak of Agatha, because -- even at the thought of her name -- I'm unable to control my emotions.<\/dialogue>\n    <scene_description>Mr. Moustafa dries his eyes with his napkin, but the tears instantly return. He shrugs.<\/scene_description>\n    <character>MR. MOUSTAFA<\/character>\n    <dialogue>Well, I suppose there's no way around it. You see, she saved us.<\/dialogue>\n    <scene_description>TITLE: One Month Earlier<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CINEMA. NIGHT<\/stage_direction>\n    <scene_description>A smoky small-town movie palace. On-screen, a battle- scene is in-progress: tanks explode while an infantry unit charges out of a trench into a tornado of machine- gun fire. In the middle of the back row, a love-scene is in-progress: Zero and Agatha French-kiss in a clutch with her shirt half-unbuttoned and his fingers wrapped around her clearly-visible, white breast. Her hand is jammed down into his trousers. No one else in the scattered audience appears to notice them.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>On our third, formal rendez-vous, I had asked for her hand in marriage, and she had agreed. We did not have fifty Klubecks between the two of us. No one<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>knew, of course; but, then, who would have cared? We were each completely on our own in the world -- and we were deeply in love.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN SQUARE. NIGHT<\/stage_direction>\n    <scene_description>Dusk. The platz in the center of Nebelsbad. A carnival fair is in full-swing with a spinning carousel set to a Wurlitzer organ, a bustling gallery of games, and vendors serving beer and sausages. Agatha holds Zero's arm as they walk through the crowd. He reaches into his uniform, pulls out a small gift-wrapped package, and thrusts it into her hands.<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>Here.<\/dialogue>\n    <character>AGATHA<\/character>\n    <parenthetical>(startled)<\/parenthetical>\n    <dialogue>Thank you!<\/dialogue>\n    <character>ZERO<\/character>\n    <dialogue>It's a book.<\/dialogue>\n    <character>AGATHA<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>I see.<\/dialogue>\n    <character>ZERO<\/character>\n    <dialogue>Romantic Poetry, Volume one. M. Gustave recommended it. I have a copy of my own, as well. I ruined the surprise, I suppose.<\/dialogue>\n    <character>AGATHA<\/character>\n    <dialogue>I'll go ahead and open it, anyway.<\/dialogue>\n    <scene_description>OK.: Agatha carefully unwraps the package, folds up the paper, and puts the ribbon into her pocket. Zero flips- open the book and points at a flyleaf.<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>Read the inscription.<\/dialogue>\n    <character>AGATHA<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>\"For my dearest, darling, treasured, cherished Agatha, whom I worship. With respect, adoration, admiration, kisses, gratitude, best wishes, and love. From Z. to A.\"<\/dialogue>\n    <scene_description>Agatha looks to Zero with tears in her eyes. He smiles sadly.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>M. Gustave insisted on an immediate and thorough cross-examination --<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STORAGE PANTRY. DAY<\/stage_direction>\n    <scene_description>M. Gustave sits opposite Agatha at a long table with his hand resting on top of hers as he leans close to her recounting something vividly. They both laugh uproariously. M. Gustave says loudly, aside, to Zero:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>She's so charming!<\/dialogue>\n    <scene_description>Zero broods in the corner. The table is piled with long- stemmed flowers, and a large, cardboard box overflows with more.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>-- during which he presented Agatha with a porcelain pendant and five dozen individually tissue-wrapped, white tulips in a box the size of a child's coffin.<\/dialogue>\n    <scene_description>INSERT: A white porcelain crossed-keys pendant hanging from a velvet ribbon around Agatha's thin neck. Agatha admires her pendant. Zero grumbles:<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>It's not right.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>I beg your pardon?<\/dialogue>\n    <parenthetical>(conspiratorially to Agatha)<\/parenthetical>\n    <dialogue>Why's he sulking?<\/dialogue>\n    <character>ZERO<\/character>\n    <dialogue>She's my girlfriend. You can't just buy her things.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(in disbelief)<\/parenthetical>\n    <dialogue>I'm only interviewing this vision of loveliness on your behalf.<\/dialogue>\n    <parenthetical>(conveying pearls of wisdom)<\/parenthetical>\n    <dialogue>Never be jealous in this life, Zero. Not even for an instant.<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(to Agatha, like a lawyer:)<\/parenthetical>\n    <dialogue>Is he flirting with you?<\/dialogue>\n    <character>AGATHA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Zero looks to M. Gustave with satisfaction. M. Gustave shrugs this off with a wave of the hand, then offers a benediction:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>I approve of this union.<\/dialogue>\n    <parenthetical>(still flirting)<\/parenthetical>\n    <dialogue>Agatha, my beauty? Return to your beloved.<\/dialogue>\n    <scene_description>Zero and Agatha stand together quietly on display, happy. She clutches a tulip. M. Gustave nods sagely.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>Soon, we learned --<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PATISSERIE. DAY<\/stage_direction>\n    <scene_description>The white-marble frosting-counter in the back-room at Mendl's. There are three, unfinished Courtesans au chocolat in a row with their tops open. Agatha delicately places a little tool into the fillings of each: a slender file, the head of a small hammer, and a half-scale chisel. As she closes them, she begins to apply a complex series of decorative ripples and swirls.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>-- not only was Agatha immensely skilled with a palette knife and a butter-cream flourish: she was also very brave.<\/dialogue>\n    <scene_description>Zero, keeping a look-out at the kitchen door, gives an urgent signal. Agatha swiftly covers the pastries with a damp cheese-cloth just as Herr Mendl crosses into the room, throws open a huge brick-oven, and checks on a batch of gateaux l'Op\u00e9ra.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SORTING HALL. DAY<\/stage_direction>\n    <scene_description>A prison guard searches packages on a metal table. He slices a block of cheese into quarters. He chops-up a loaf of bread into sixths. He opens a double-sized pink pastry-box -- and pauses. He stares at the three pristine Courtesans au chocolat.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>I believe she was born that way.<\/dialogue>\n    <scene_description>The guard gingerly closes the box, slides it aside, unscathed, and moves on to the next package.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAWYER'S OFFICE. DAY<\/stage_direction>\n    <scene_description>An art-deco office looking out directly onto the clock- tower of Lutzbahn Station. Deputy Kovacs sits behind a wide desk. The box containing Madame D's will rests beside him. Its contents have been neatly organized into dozens of little stacks and piles. Dmitri and his three sisters are seated across from Deputy Kovacs in leather arm-chairs. Jopling stands in the corner stroking a Siamese cat and staring out the window. Curtains sway in the gentle breeze. Deputy Kovacs sounds concerned:<\/scene_description>\n    <character>DEPUTY KOVACS<\/character>\n    <dialogue>Something's missing. A crucial document, either misplaced or, conceivably, destroyed. I don't know what it contains, I don't know what it represents, I don't know what it is -- but there are traces and shadows of it everywhere.<\/dialogue>\n    <parenthetical>(motioning to the stacks of paper)<\/parenthetical>\n    <dialogue>Now, I don't want to alarm you, and I don't expect to see any significant change in the magistrate's ultimate decision vis-\u00e0-vis your own inheritance; but, especially given the circumstances of the death, as well as the disappearance of the key witness in the murder case (Serge X.), I suggest we immediately bring this matter to the attention of the municipal inspector so there can be absolutely no question of impropriety at any future date. Agreed?<\/dialogue>\n    <character>DMITRI<\/character>\n    <parenthetical>(simply)<\/parenthetical>\n    <dialogue>Not agreed.<\/dialogue>\n    <character>DEPUTY KOVACS<\/character>\n    <parenthetical>(puzzled)<\/parenthetical>\n    <dialogue>Not agreed?<\/dialogue>\n    <character>DMITRI<\/character>\n    <parenthetical>(with finality)<\/parenthetical>\n    <dialogue>Not agreed.<\/dialogue>\n    <scene_description>Silence. The three sisters are stoic. Jopling is stony. Dmitri and Deputy Kovacs stare at each other blankly.<\/scene_description>\n    <character>DMITRI<\/character>\n    <dialogue>Can I ask you a question, Vilmos?<\/dialogue>\n    <character>DEPUTY KOVACS<\/character>\n    <dialogue>Yes, Dmitri?<\/dialogue>\n    <character>DMITRI<\/character>\n    <dialogue>Who you working for?<\/dialogue>\n    <character>DEPUTY KOVACS<\/character>\n    <dialogue>I beg your pardon?<\/dialogue>\n    <character>DMITRI<\/character>\n    <dialogue>I thought you're supposed to be our lawyer.<\/dialogue>\n    <character>DEPUTY KOVACS<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>Well, in point of fact, I'm the executor of the estate. In this particular situation -- I represent the deceased.<\/dialogue>\n    <character>DMITRI<\/character>\n    <dialogue>Oh, yeah?<\/dialogue>\n    <character>DEPUTY KOVACS<\/character>\n    <dialogue>Yeah. A provision for my fees was included in the --<\/dialogue>\n    <character>DMITRI<\/character>\n    <dialogue>Just wrap it up, and don't make waves. Agreed?<\/dialogue>\n    <character>DEPUTY KOVACS<\/character>\n    <parenthetical>(long pause)<\/parenthetical>\n    <dialogue>I'm an attorney, Dmitri. I'm obligated to proceed according to the rule of law. Not agreed.<\/dialogue>\n    <scene_description>Dmitri's eyes peer sideways. He says quietly, menacing:<\/scene_description>\n    <character>DMITRI<\/character>\n    <dialogue>This stinks, sisters.<\/dialogue>\n    <scene_description>Deputy Kovacs looks insulted. Dmitri stands up, walks to the door, and exits. The cat squeals. Jopling follows Dmitri out the door. Deputy Kovacs' mouth falls open. He points, astonished, across the room:<\/scene_description>\n    <character>DEPUTY KOVACS<\/character>\n    <dialogue>Did he just throw my cat out the window?<\/dialogue>\n    <scene_description>The three sisters turn around quickly. They answer simultaneously:<\/scene_description>\n    <character>MARGUERITE<\/character>\n    <dialogue>I don't think so.<\/dialogue>\n    <character>LAETIZIA<\/character>\n    <dialogue>Jopling?<\/dialogue>\n    <character>CAROLINA<\/character>\n    <dialogue>No. Did he?<\/dialogue>\n    <scene_description>Deputy Kovacs waits for the punch-line -- but it does not come. He dashes to the window and looks down at the sidewalk. CUT TO: A pedestrian in a bowler hat far below standing over a sprawled speck on the sidewalk. He looks up. INSERT: Four small hammers tap rapid-fire at four half-scale chisels, chipping away into a cement pot-hole. They are making good progress.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUDWIG'S CELL. NIGHT<\/stage_direction>\n    <scene_description>M. Gustave, Pinky, G\u00fcnther, and Ludwig work diligently by candle-light under a wooden table. Periodically, Wolf scoops-up the powdery debris with a soup ladle and throws it aside. Ludwig looks up suddenly, alerted. He holds up a finger.<\/scene_description>\n    <character>LUDWIG<\/character>\n    <dialogue>Shh!<\/dialogue>\n    <scene_description>M. Gustave, Pinky, and G\u00fcnther stop tapping at once. They listen attentively. Feet creak along the thick, wooden floor outside the cell -- and come to a halt directly in front of the door. Silence. There is a loud but muffled sneeze. The feet begin to creak again and fade-away until they are inaudible. Ludwig signals to the others. They resume their tapping.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARETT. NIGHT<\/stage_direction>\n    <scene_description>An attic bedroom the size of a broom-closet. The walls and ceiling are bare planks. Thick beams hold the crooked roof in place. A small skylight window is propped open with a pencil. Zero and Agatha are naked under the rough sheets of her narrow bed. They share a plate of little miniature Courtesans au chocolat. Zero whispers:<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>There's something I haven't told you, Agatha.<\/dialogue>\n    <scene_description>A look of dread crosses Agatha's face. She says reluctantly: OK.:<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>We stole a painting. It's very valuable (maybe five million Klubecks, in fact). I don't know if anyone's even noticed it's missing yet -- but if something should happen to me and M. Gustave --<\/dialogue>\n    <character>AGATHA<\/character>\n    <parenthetical>(evenly)<\/parenthetical>\n    <dialogue>You stole -- art?<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(defensive)<\/parenthetical>\n    <dialogue>One picture. Anyway: we need to make a plan for your survival. Hide this.<\/dialogue>\n    <scene_description>Zero produces a square of tissue-paper the size of a large postage-stamp with neat, miniscule hand-writing all over it. Agatha squints at it.<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>It's in code, and you might need a magnifying glass to read it, but it tells you exactly where and how to find \"Boy with Apple\". Don't take less than half the retail asking price. Also --<\/dialogue>\n    <character>AGATHA<\/character>\n    <dialogue>Zero. I'm a baker.<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(correcting her)<\/parenthetical>\n    <dialogue>You're a pastry chef. One of the best in the --<\/dialogue>\n    <character>AGATHA<\/character>\n    <dialogue>Not a \"fence\" (if that's the term). I don't trade in stolen property.<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>I said it wrong. She willed it to him!<\/dialogue>\n    <scene_description>A door bangs open down the hall. In an instant: Zero jumps out of the bed, leaps with both feet at once into his trousers, and shimmies up out of the sky-light. CUT TO: Zero's point-of-view from the roof. The bedroom door creaks open and Herr Mendl looks in at Agatha. She is now calmly reading her volume of romantic poetry. He grunts:<\/scene_description>\n    <character>HERR MENDL<\/character>\n    <dialogue>Go to sleep.<\/dialogue>\n    <character>AGATHA<\/character>\n    <dialogue>Yes, Herr Mendl.<\/dialogue>\n    <scene_description>The door closes. Agatha looks up to Zero. He holds up the sliver of paper. She shakes her head and whispers:<\/scene_description>\n    <character>AGATHA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>OK, but take it, anyway.<\/dialogue>\n    <scene_description>Zero releases the square of tissue-paper. Agatha sits up quickly as it descends, darting and fluttering, and moves her hand around underneath it while she watches trying to estimate where it is going to land. At the last second, she reaches up and cleanly plucks it out of the air between thumb and finger. Zero smiles. He runs away, shoe-less, past gutters and chimneys, jumping noiselessly from roof to roof, into the night.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE BUILDING. NIGHT<\/stage_direction>\n    <scene_description>A bank of elevators in an art-deco lobby. A bell rings, and a pair of doors slides open. Deputy Kovacs emerges and navigates his way through a maze of suds-buckets and women on their hand-and-knees scrubbing the floor. He does not notice: Jopling sitting in a chair behind a column reading the evening edition of the Trans-Alpine Yodel.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET. NIGHT<\/stage_direction>\n    <scene_description>The evening sky is bright blue. Crowds hurry in and out of shops and restaurants. Deputy Kovacs crosses the street and stands next to an old lady at a tram-stop. He checks his watch. The tram arrives, and the door opens. Deputy Kovacs assists the old lady, then boards behind her. He takes a seat. He looks out the window. Just as they pull away, he sees Jopling exit the building and climb onto his motorcycle. Deputy Kovacs frowns. Jopling kick-starts his engine and follows the tram, close behind, for three blocks. At the next intersection, a policeman blows a whistle, holds up his hand, and makes Jopling wait while a stream of opposing traffic crosses. The tram rounds a corner and stops. Deputy Kovacs jumps up and ducks out onto the street. He looks left and right. He hurries up a path toward a grand, colossal, domed palace. A sign carved in stone above the door reads: Kunstmuseum Lutz. As he goes inside, Deputy Kovacs looks back to see Jopling's motorcycle pulling slowly to the curb.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSEUM. NIGHT<\/stage_direction>\n    <scene_description>The spacious, soaring entrance hall is dim and deserted. One guard sits alone in a corner writing in a log-book. Deputy Kovacs strides across the room. His clacking feet echo broadly. He detours into an ante-chamber filled with French still-lives. He pauses. A second set of foot-steps clack through the lobby behind him. Deputy Kovacs advances rapidly into the next gallery, past a long mural of an ancient war, and descends a staircase. He pauses again at the bottom. The second set of foot-steps continues through the ante- chamber behind him. Deputy Kovacs turns a corner and rushes between rows of Greek and Roman statues. He cuts through an Egyptian tomb. He skims through an alcove of iron weapons and suits of armor. He pauses once more and listens. Silence. INSERT: A pair of high-heeled boots. Two feet quietly slip out of them and tip-toe away. CUT TO: Deputy Kovacs looking all around, frantic. Across the room, he sees: A door labelled VERBOTEN. Deputy Kovacs runs to the door and opens it. He scans the hall behind him. He sneaks inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STORAGE ROOM. NIGHT<\/stage_direction>\n    <scene_description>Deputy Kovacs flicks on a light. He is in a long hallway lined with racks filled with hundreds of canvases. The room goes dark at either end. He chooses a direction, then sprints straight through into the blackness. Up ahead, he sees lines of faint light around the edges of a door. He skids to a stop and searches for the knob. He turns it and pulls. It is locked. He fumbles at a latch. He snaps it sideways. He swings open the door. His eyes light up: There is a bicycle leaning against the wall across the alley behind the museum. Deputy Kovacs grabs the door- frame and takes one last, quick look back into the darkness behind him. INSERT: Deputy Kovacs' hand on the knob. A second hand, wearing brass knuckles, gently enfolds it. CUT TO: Deputy Kovac's face. He gasps.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY. NIGHT<\/stage_direction>\n    <scene_description>The door hammers shut with a bang. Four of Deputy Kovacs' fingers, gripping the door-frame, pop-off at the knuckles all at once and fall down into a shallow puddle. On the other side of the door, there is a scream of blood-curdling agony, then a thump, a thwhack, and, finally, a wallop. Pause. The door opens again. Jopling comes out in his stocking- feet. He puts on his boots. He takes out a handkerchief, leans down and collects the four fingers off the ground, wraps them up, slips them into his pocket, and walks away down the alley.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY. DAY<\/stage_direction>\n    <scene_description>Eight a.m. Zero, substituting at the concierge desk again, looks up to the high window across the room. Herr Becker waits alone in the storage pantry with the ledger book under his arm. He checks his watch.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>The next morning, Herr Becker received a peculiar, last-minute-notice from the office of Deputy Kovacs: postponing their scheduled meeting -- in perpetuity.<\/dialogue>\n    <scene_description>TITLE: Three Days Later<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLAGE. NIGHT<\/stage_direction>\n    <scene_description>A nearly-empty bus squeals to a stop behind a quiet inn in the middle of a deserted hamlet and deposits Zero on the road-side. He carries a knapsack and is dressed like a vagabond. The bus drives off. Zero wanders to the middle of the cobblestone lane. He looks down at a rusty manhole. He looks up at the prison- castle across the way, high above the village. He checks his watch.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CELL. NIGHT<\/stage_direction>\n    <scene_description>M. Gustave, Pinky, G\u00fcnther, Wolf, and Ludwig all lie quietly in their bunks with the sheets pulled up to their necks. Faraway voices shout and echo eerily. A guard walks through the section slamming doors and throwing bolts. With a series of loud thumps, block-by- block, the lights go out, and the prison goes dark. Silence. Ludwig whispers:<\/scene_description>\n    <character>LUDWIG<\/character>\n    <dialogue>Let's blow!<\/dialogue>\n    <scene_description>The cell launches into soundless activity: bed-linens are whisked away, the table is carried into the corner, and a row of floor-planks is carefully lifted. M. Gustave, Pinky, G\u00fcnther, Wolf, and Ludwig are all dressed like vagabonds already and carry various sacks and baskets. One-by-one, they disappear into the floor. A pair of hands, at the rear, reaches up to replace the planks.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CRAWL-SPACE. NIGHT<\/stage_direction>\n    <scene_description>M. Gustave, Pinky, G\u00fcnther, Wolf, and Ludwig advance on all fours, single-file, through a low, moldy sub- structure.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOWER. NIGHT<\/stage_direction>\n    <scene_description>A small window in a stone wall. Ludwig gently taps-loose four pre-cut iron bars with one of the small hammers. INSERT: The stump of one of the bars. A little noose is fitted over it and pulled tight. G\u00fcnther assists Ludwig as they slowly feed an unfurling tangle of rope and rungs out the window, inch-by-inch. CUT TO: M. Gustave, Pinky, G\u00fcnther, Wolf, and Ludwig all on the rope-ladder at once like a string of beads dangling down the outside of the tower 325 feet above the moat with crocodiles gliding along the dark surface. The ladder twists and creaks as they descend. Suddenly, a sharp voice calls out above their heads:<\/scene_description>\n    <character>CONVICT<\/character>\n    <dialogue>How'd you get out there?<\/dialogue>\n    <scene_description>They all look up. An anxious convict with a missing ear stares down at them from a cell window. Ludwig whispers:<\/scene_description>\n    <character>LUDWIG<\/character>\n    <dialogue>Shut up!<\/dialogue>\n    <scene_description>The convict frowns. He turns to his unseen bunk-mates and says loudly:<\/scene_description>\n    <character>CONVICT<\/character>\n    <dialogue>These guys are tryin' to escape!<\/dialogue>\n    <scene_description>Ludwig looks furious. He whispers fiercely:<\/scene_description>\n    <character>LUDWIG<\/character>\n    <dialogue>What's wrong with you, you goddamn snitch?<\/dialogue>\n    <character>CONVICT<\/character>\n    <parenthetical>(hollering)<\/parenthetical>\n    <dialogue>Guard! Guard! They're gettin' away! They're --<\/dialogue>\n    <scene_description>A single, large hand grabs the convict with the missing ear by the neck, crushes the wind out of him, and rips him away from the window, out of view. Pause. The giant with the long scar across his face appears in the convict's place, looking down at the dangling escapees. M. Gustave says, gasping:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>It's you! Thank you! Thank you, you sweet, kind man!<\/dialogue>\n    <scene_description>The giant nods sadly. CUT TO: The bottom of the rope ladder which ends half-way down the tower. M. Gustave, Pinky, G\u00fcnther, Wolf, and Ludwig step onto a narrow ledge and make their way, side- stepping cautiously, around the circumference of the building. They arrive at a small sloped roof and open a trap-door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DORMITORY. NIGHT<\/stage_direction>\n    <scene_description>M. Gustave, Pinky, G\u00fcnther, Wolf, and Ludwig all crouch on a beam in the upper eaves of a vaulted hall. In the dark below, there are twenty narrow cots in two rows. Next to each cot, there is a guard's uniform on a coat- hanger, a billy-club on a peg, and a Luger pistol on the night stand. Asleep in each cot, there is a lightly snoring goon. Ludwig gets a firm grip on a tarnished copper pipe. He turns to the others and nods. He swings out and makes his way, hand-over-hand, from pipe-to-pipe across the ceiling. The others follow.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CELLAR. NIGHT<\/stage_direction>\n    <scene_description>A dirty chute sticks down from the ceiling above a wide garbage-bin filled with empty tins and rotting vegetables. M. Gustave, Pinky, G\u00fcnther, Wolf, and Ludwig slide down into view, one-by-one, drop out into the trash-pile, and hurry on their tip-toes into a dim corridor. CUT TO: The candle-lit dungeon. M. Gustave, Pinky, G\u00fcnther, Wolf, and Ludwig all listen attentively, looking up at the ceiling. There is a loud but muffled sneeze above, then feet creaking away. Ludwig nods. Pinky pulls away an oil-skin tarp to reveal the cement pot-hole which has now been chiselled all the way through the thick sub-floor clear into the room below -- where they see: Three startled guards staring up at them from a card table in a dank, brick basement. They each hold a hand of cards. One is in the middle of placing a bet into a rich pot. A gas-lantern flickers on a hook. The escapees all cry-out at once:<\/scene_description>\n    <character>LUDWIG<\/character>\n    <dialogue>Woah!<\/dialogue>\n    <character>PINKY<\/character>\n    <dialogue>Yow!<\/dialogue>\n    <character>WOLF<\/character>\n    <dialogue>Jeez!<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Look out!<\/dialogue>\n    <scene_description>G\u00fcnther whips the toothbrush-knife out of his sock and jumps down into the hole. The table shatters and cards and coins fly in every direction. There is a frenzy of punching, scrapping, and grunting. The others converge excitedly around the hole like the audience at a cock- fight. G\u00fcnther kicks one guard in the teeth, slashes another across the neck, and socks the third, blasting the lantern into bits in the process. The room goes black. M. Gustave, Pinky, and Wolf cheer at a low decibel, whispering advice and encouragement simultaneously down into the darkness while Ludwig quickly searches for a match. He lights it and holds it over the hole. Two of the guards are now sprawled-out on their backs in a spreading pool of blood. G\u00fcnther and the remaining guard twist and clutch on the floor, grappling in violent head-locks, while they simultaneously stab each other repeatedly with the throat-slitter and a thick hunting-knife. They both fall silent and stop moving. Silence. M. Gustave says quietly:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>I suppose you'd call that a draw.<\/dialogue>\n    <scene_description>Ludwig sighs. He delivers a brief eulogy:<\/scene_description>\n    <character>LUDWIG<\/character>\n    <dialogue>Anyway, he went out with a bloody knife in his fist jammed into the gut of a dyin' prison guard. I think that's how he would've wanted it, don't you?<\/dialogue>\n    <scene_description>M. Gustave, Pinky, and Wolf nod and solemnly concur, muttering. They climb down into the hole.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET. NIGHT<\/stage_direction>\n    <scene_description>Zero watches as the man-hole cover flips open onto the street. M. Gustave pokes his head up and whispers simply:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Good evening.<\/dialogue>\n    <scene_description>Zero rushes to assist M. Gustave out of the storm-drain. Pinky, Wolf, and Ludwig surface on high-alert, looking around in every direction. (Pinky carries a wad of the crumbled-up gambling-money in his little hand.)<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Let me introduce you. Pinky, Wolf, and Ludwig: this is the divine Zero.<\/dialogue>\n    <parenthetical>(soberly to Zero)<\/parenthetical>\n    <dialogue>G\u00fcnther was slain in the catacombs.<\/dialogue>\n    <scene_description>M. Gustave crosses himself quickly. He begins a wistful speech:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Well, boys, who knows when we'll all meet again; but if, one day --<\/dialogue>\n    <character>LUDWIG<\/character>\n    <dialogue>No time to gab. Take care of yourself, Mr. Gustave. Good luck, kid.<\/dialogue>\n    <scene_description>Pinky, Wolf, and Ludwig sprint away into the woods. M. Gustave watches them go, bittersweet. He grabs Zero by the shoulder and says, suddenly urgent:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Which way to the safe house?<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(unfortunately)<\/parenthetical>\n    <dialogue>I couldn't find one.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(in disbelief)<\/parenthetical>\n    <dialogue>No safe house? Really? We're completely on our own out here?<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(worried)<\/parenthetical>\n    <dialogue>I'm afraid so. I asked around, but I didn't want to take any chances. I thought --<\/dialogue>\n    <scene_description>Zero trails off. He looks apologetic. M. Gustave sighs, resigned. He says calmly:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>I understand. Too risky. We'll just have to wing it, I suppose. Let's put on our disguises.<\/dialogue>\n    <scene_description>Zero hesitates. He looks down at his vagabond costume, then at M. Gustave's. He says, confused:<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>We're wearing them.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(frustrated)<\/parenthetical>\n    <dialogue>No, we're not. We said false whiskers and fake noses and so on. You didn't bring any?<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(referring to moustache)<\/parenthetical>\n    <dialogue>I thought you were growing one. It wouldn't look realistic, would it? I thought --<\/dialogue>\n    <scene_description>Zero trails off again. He deflates, distressed. M. Gustave remains calm.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>When done properly, they're perfectly convincing -- but I take your point. So be it. Give me a few squirts of L'air de Panache, please, will you?<\/dialogue>\n    <scene_description>Zero smacks his hand to his forehead and looks mortified. M. Gustave says bluntly:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Can I not get a squirt, even?<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(miserably)<\/parenthetical>\n    <dialogue>I forgot the L'air de Panache.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(at peak frustration)<\/parenthetical>\n    <dialogue>Honestly -- you forgot the L'air de Panache? I don't believe it. How could you? I've been in jail, Zero! Do you understand how humiliating this is? I smell.<\/dialogue>\n    <scene_description>M. Gustave lifts up his arms. Zero sniffs him. He grimaces. M. Gustave's eyes narrow. He begins to seethe.<\/scene_description>\n    <character>M.<\/character>\n    <dialogue>Well, that's suppose this where do you<\/dialogue>\n    <character>GUSTAVE<\/character>\n    <dialogue>just marvelous, isn't it? I is to be expected back in -- come from, again?<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(evenly)<\/parenthetical>\n    <dialogue>Aq Salim al-Jabat.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(escalating)<\/parenthetical>\n    <dialogue>Precisely. I suppose this is to be expected back in Aq Salim al-Jabat where one's prized possessions are a stack of<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>filthy carpets and a starving goat, and one sleeps behind a tent-flap and survives on wild dates and scarabs -- but it's not how I trained you. What on God's earth possessed you to leave the homeland where you very obviously belong and travel unspeakable distances to become a penniless immigrant in a refined, highly- cultivated society that, quite frankly, could've gotten along very well without you?<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>The war.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Say again?<\/dialogue>\n    <scene_description>Zero speaks softly and struggles deliberately to hold back his emotions as he says, staring at the ground:<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>Well, you see, my father was murdered, and the rest of my family were executed by firing squad. Our village was burned to the ground. Those who managed to survive were forced to flee. I left -- because of the war.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(back-peddling)<\/parenthetical>\n    <dialogue>Ah, I see. So you're, actually, really more of a refugee, in that sense.<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(reserved)<\/parenthetical>\n    <dialogue>Truly.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(ashamed)<\/parenthetical>\n    <dialogue>Well, I suppose I'd better take back everything I just said. What a bloody idiot I am. Pathetic fool. Goddamn selfish bastard. This is disgraceful -- and it's beneath the standards of the Grand Budapest.<\/dialogue>\n    <scene_description>Zero looks increasingly concerned as M. Gustave begins to come unglued. Tears stream down M. Gustave's face. He stands at attention and says with deep deference:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>I apologize on behalf of the hotel.<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(gently)<\/parenthetical>\n    <dialogue>It's not your fault, M. Gustave. You were just upset I forgot the perfume.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Don't make excuses for me. I owe you my life.<\/dialogue>\n    <scene_description>M. Gustave takes Zero by the hand. He says with great feeling and sincerity:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>You're my dear friend and prot\u00e9g\u00e9, and I'm very proud of you. You must know that. I'm so sorry, Zero.<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(gallantly)<\/parenthetical>\n    <dialogue>We're brothers.<\/dialogue>\n    <scene_description>M. Gustave, touched to the quick, instantly kisses Zero on both cheeks and they embrace. They release each other. They try to pull themselves back together. Pause.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>How's our darling Agatha?<\/dialogue>\n    <scene_description>Zero starts to answer, then hesitates. He recites:<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>\"'Twas first light when I saw her face upon the heath; and hence did I return, day-by-day, entranced: tho' vinegar did brine my heart --\"<\/dialogue>\n    <scene_description>A powerful siren begins to blast across the region. Zero's eyes dart around, startled. M. Gustave says over the noise, impressed:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Very good! I'm going to stop you because the alarm has sounded -- but remember where we left off, because I insist you finish later!<\/dialogue>\n    <scene_description>M. Gustave and Zero take-off full-speed down the road.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TELEPHONE BOOTH. NIGHT<\/stage_direction>\n    <scene_description>A black-and-yellow wooden call-box next to a tiny pub outside the village. Windmills spin gently on the far side of a wheat field in the distance. Zero holds the door open while M. Gustave dials.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Operator, get me the Excelsior Palace in Baden-J\u00fcrgen and reverse the charges, please.<\/dialogue>\n    <parenthetical>(to Zero)<\/parenthetical>\n    <dialogue>We've no choice. There's nowhere else to turn.<\/dialogue>\n    <parenthetical>(into the receiver)<\/parenthetical>\n    <dialogue>I'll hold. Thank you.<\/dialogue>\n    <parenthetical>(to Zero)<\/parenthetical>\n    <dialogue>It's our only hope. Otherwise, I shouldn't even mention its existence to you. It goes without saying, you must never breath a word about this to a living soul. Do you swear?<\/dialogue>\n    <character>ZERO<\/character>\n    <dialogue>Of course. What is it, in fact?<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>I can't say.<\/dialogue>\n    <parenthetical>(into the receiver)<\/parenthetical>\n    <dialogue>Guten abend. M. Ivan, bitte. Danke.<\/dialogue>\n    <parenthetical>(by way of explanation, to Zero)<\/parenthetical>\n    <dialogue>How does one come by front-row aisle- seats for a first-night at the Opera Toscana with one day's notice? How does one arrange a private viewing of the tapestry collection at the Royal Saxon Gallery? How does one secure a corner table at Chez Dominique on a Thursday?<\/dialogue>\n    <scene_description>Zero nods as he takes this in, intrigued. Pause. M. Gustave says suddenly into the receiver, turning on the charm:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Ivan, darling, it's Gustave! Hello! Well, I was until about five minutes ago. We've taken it upon ourselves to clear out in a hurry, if you see what I mean. Through a sewer, as it happens. Exactly! Listen, Ivan, sorry to cut you off, but we're in a bit of a bind. This is an official request.<\/dialogue>\n    <parenthetical>(officially)<\/parenthetical>\n    <dialogue>I'm formally calling upon the special services of --<\/dialogue>\n    <scene_description>TITLE: Part 4: \"The Society of the Crossed Keys\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FIRST LOBBY. NIGHT<\/stage_direction>\n    <scene_description>Concierge desk #1. There are rows of mail-boxes with room numbers on them, keys on hooks, and a bell on the counter-top. A slim concierge with a long moustache talks on the telephone. He is M. Ivan. A Lobby Boy waits beside him silently.<\/scene_description>\n    <character>M. IVAN<\/character>\n    <dialogue>I'll call you back, Gustave. Right. Stand by.<\/dialogue>\n    <scene_description>M. Ivan hangs up the telephone and turns to a waiting young couple as he produces a small paper map from a drawer.<\/scene_description>\n    <character>M. IVAN<\/character>\n    <dialogue>I beg your pardon. Do you prefer to walk? We're right here.<\/dialogue>\n    <scene_description>M. Ivan makes a little \"X\" in ink on the map. He draws a line.<\/scene_description>\n    <character>M. IVAN<\/character>\n    <dialogue>It's very simple. Straight down the corniche. Then left.<\/dialogue>\n    <parenthetical>(to the Lobby Boy)<\/parenthetical>\n    <dialogue>Jojo, see them out.<\/dialogue>\n    <scene_description>The young couple take the map gratefully, and the Lobby Boy escorts them away. M. Ivan picks up the telephone again and says urgently:<\/scene_description>\n    <character>M. IVAN<\/character>\n    <dialogue>Get me M. Georges at the Ch\u00e2teau Luxe, please.<\/dialogue>\n    <scene_description>CUT TO: The dining room at a hunting lodge. One hundred small children crowd around a long table. There is a huge birthday cake with seven lit candles on it. Streamers hang from the ceiling. Balloons float on strings. A very tall, bony concierge conducts the room singing \"Happy Birthday\". He is M. Georges. A Lobby Boy goes over to M. Georges and whispers in his ear. M. Georges nods and quickly exits. The Lobby Boy replaces him and takes over the conducting.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SECOND LOBBY. NIGHT<\/stage_direction>\n    <scene_description>Concierge desk #2. M. Georges picks up the telephone.<\/scene_description>\n    <character>M. GEORGES<\/character>\n    <dialogue>Hello, Ivan? You don't say? Is he really? How about that? Got it.<\/dialogue>\n    <scene_description>M. Georges presses down on the hook to disconnect, then lifts it up again and says urgently:<\/scene_description>\n    <character>M. GEORGES<\/character>\n    <dialogue>Get me M. Dino at the Palazzo Principessa, please.<\/dialogue>\n    <scene_description>CUT TO: A busy piazza across from a church. There is a crowded trattoria on the sidewalk. There is a statue of a centurion. One hundred men and women in pajamas and bath- robes stand on the street in front of a hotel looking up at a fourth-floor window with smoke gushing out of it while a ladder extends from a fire engine toward a calm old woman at the windowsill. An alarm rings loudly. A stocky concierge with slick, black hair stands at the front of the crowd yelling orders and holding a fire- extinguisher. He is M. Dino. A Lobby Boy goes over to M. Reggio and whispers in his ear. M. Dino nods and quickly goes into the hotel. The Lobby Boy takes the fire-extinguisher and replaces him yelling orders.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THIRD LOBBY. NIGHT<\/stage_direction>\n    <scene_description>Concierge desk #3. The lobby is a bit smoky. M. Dino picks up the telephone.<\/scene_description>\n    <character>M. DINO<\/character>\n    <dialogue>M. Georges. No trouble at all. Tell me. I see. I see. Straight away.<\/dialogue>\n    <scene_description>M. Dino presses down on the hook to disconnect, then lifts it up again and says urgently:<\/scene_description>\n    <character>M. DINO<\/character>\n    <dialogue>Get me M. Robin at l'H\u00f4tel C\u00f4te du Cap, please.<\/dialogue>\n    <scene_description>CUT TO: A clay tennis court overlooking a bright, blue sea at sunset. Twenty-five men and women in tennis whites and bathing suits circle around another tennis player lying flat on his back on the ground while a very fit, sporty concierge with a pompadour sits on one knee next to him checking his pulse. He is M. Robin. A Lobby Boy goes over to M. Robin and whispers in his ear. M. Robin nods and quickly leaves the court. The Lobby Boy replaces him and resumes checking the fallen man's pulse.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOURTH LOBBY. NIGHT<\/stage_direction>\n    <scene_description>Concierge desk #4. M. Robin picks up the telephone.<\/scene_description>\n    <character>M. ROBIN<\/character>\n    <dialogue>This is M. Robin. Yes, Dino. Yes, Dino. Yes, Dino. OK, Dino.<\/dialogue>\n    <scene_description>M. Robin presses down on the hook to disconnect, then lifts it up again and says urgently:<\/scene_description>\n    <character>M. ROBIN<\/character>\n    <dialogue>Get me M. Martin at the Ritz Imperial, please.<\/dialogue>\n    <scene_description>CUT TO: An extremely busy hotel kitchen filled with cooks of every rank and specialty. Waiters dash in and out continuously. A small, round concierge with a pink face is screaming and pointing a serving fork at the chef (who is flamb\u00e9-ing a cr\u00e8pe suzette). He is M. Martin. A Lobby Boy goes over to M. Martin and whispers in his ear. M. Martin nods and quickly exits the kitchen. The Lobby Boy takes the serving fork and replaces him screaming at the chef.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FIFTH LOBBY. NIGHT<\/stage_direction>\n    <scene_description>Concierge desk #5. M. Martin picks up the telephone.<\/scene_description>\n    <character>M. MARTIN<\/character>\n    <dialogue>Robin, Martin. I know. So I heard.<\/dialogue>\n    <parenthetical>(suddenly intrigued)<\/parenthetical>\n    <dialogue>Maybe.<\/dialogue>\n    <parenthetical>(gravely)<\/parenthetical>\n    <dialogue>Let me make a few calls.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHEAT FIELD. NIGHT<\/stage_direction>\n    <scene_description>M. Gustave and Zero wait hidden behind a hay-stack next to the telephone booth. M. Gustave re-caps:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Serge X: missing. Deputy Kovacs: also missing. Madame D: dead. \"Boy with Apple\": stolen (by us). Dmitri and Jopling: ruthless, cold-blooded savages. Gustave H: at large. What else?<\/dialogue>\n    <character>ZERO<\/character>\n    <dialogue>Zero: confused.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(nodding)<\/parenthetical>\n    <dialogue>Zero: confused, indeed. The plot \"thickens\", as they say. Why, by the way? Is it a soup metaphor?<\/dialogue>\n    <character>ZERO<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <scene_description>Distant tires squeal. M. Gustave and Zero sit up quickly and peer-off down the road. An approaching car accelerates, whining in the darkness. A pair of head-lights pops into view from the woods. A large sedan emerges with a roar, zig-zagging onto the farm road. It slides across the gravel and rips to a stop in front of them. A sign next to five stars on the side of the hood reads: Hotel Excelsior Palace. One of the back doors snaps open, and M. Ivan shouts from inside:<\/scene_description>\n    <character>M. IVAN<\/character>\n    <dialogue>Get in!<\/dialogue>\n    <scene_description>M. Gustave and Zero dash out from behind the hay-stack and sprint to the vehicle.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL CAR. DAY<\/stage_direction>\n    <scene_description>The door slams shut, and the chauffeur punches it. They speed back into the hamlet. M. Ivan immediately begins briefing M. Gustave and Zero:<\/scene_description>\n    <character>M. IVAN<\/character>\n    <dialogue>We found the butler. He's hiding-out in the remote foot-hills near Gabelmeister's Peak. Our contact convinced him to meet you mid-day tomorrow at the observatory on the summit. Tell no one. He'll explain everything. The train departs in four-and- a-half minutes. Here's your tickets.<\/dialogue>\n    <scene_description>M. Ivan deals-out a pair of train tickets to M. Gustave and Zero. M. Gustave gives his a quick study, then mumbles a puzzled objection:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Third class?<\/dialogue>\n    <character>M. IVAN<\/character>\n    <dialogue>It was over-booked, but the conductor used to be a sommelier at the old Versailles. He pulled some strings. You'll need these for the dining car.<\/dialogue>\n    <scene_description>M. Ivan produces two, pre-tied neck-ties. M. Gustave and Zero slip them over their heads and adjust the knots. The chauffeur hits the brakes, and M. Ivan swings the door open again.<\/scene_description>\n    <character>M. IVAN<\/character>\n    <dialogue>Go!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAIN STATION. NIGHT<\/stage_direction>\n    <scene_description>M. Gustave and Zero jump out in front of a very small depot and slam the door. M. Ivan says out the window:<\/scene_description>\n    <character>M. IVAN<\/character>\n    <dialogue>One last thing.<\/dialogue>\n    <scene_description>M. Ivan leans down and searches for something on the floor. He sits up and thrusts-out a tiny version of a familiar bottle. M. Gustave melts as he realizes:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>L'air de Panache!<\/dialogue>\n    <character>M. IVAN<\/character>\n    <parenthetical>(down-playing it)<\/parenthetical>\n    <dialogue>They only had the half-ounce.<\/dialogue>\n    <scene_description>M. Gustave looks impressed and deeply touched. He leans to Zero and whispers:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>We should give him something as a symbolic gesture. How much money you got?<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>Forty-two Klubecks and three postage stamps.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Give me twenty-five.<\/dialogue>\n    <scene_description>Zero's eyes widen. He cocks his head, dubious. M. Gustave nods firmly. Zero reluctantly digs a handful of coins and bills out of his pocket and passes it on to M. Gustave. M. Gustave says to M. Ivan with profound gratitude:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Bless you.<\/dialogue>\n    <scene_description>M. Gustave attempts to discreetly press the money into M. Ivan's palm -- but M. Ivan withdraws. He waves his hands and says by way of gentle refusal:<\/scene_description>\n    <character>M. IVAN<\/character>\n    <dialogue>Please.<\/dialogue>\n    <scene_description>M. Gustave smiles sadly. He bows. The hotel car skids away. Silence. M. Gustave sprays himself four times with the perfume atomizer. His posture and bearing immediately improve. He turns to Zero. Pause. M. Gustave holds out the bottle. Zero looks confused -- then simultaneously flattered and hesitant. He takes the cologne and spritzes himself once lightly. He gives a polite nod and returns the bottle. A train pulls into the station, and M. Gustave and Zero race out onto the platform. CUT TO: A stack of wooden planks next to the opening in the cell floor. Ten guards and twenty soldiers stand crowded in the little room looking down at the hole. Henckel's head pokes up from the crawl-space below. He wears a look of grim determination as he delivers the following:<\/scene_description>\n    <character>HENCKELS<\/character>\n    <dialogue>I want roadblocks at every junction for fifty kilometers. I want railblocks at every train station for a hundred kilometers. I want fifty men and ten bloodhounds ready in five minutes. We're going to strip-search every pretzel-haus, waffel-hut, biergarten -- and especially every grand hotel -- from \u00c4ugenzburg to Zilchbr\u00fcck. These men are dangerous, professional criminals. (At least, three of them are, anyway.)<\/dialogue>\n    <scene_description>Henckels hesitates. He squints across the room. He points.<\/scene_description>\n    <character>HENCKELS<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <scene_description>The guards and soldiers all turn to look past the bunks behind them and clear the view to: Jopling alone in the dim back corner.<\/scene_description>\n    <character>HENCKELS<\/character>\n    <dialogue>What are you doing here? Civilian personnel aren't permitted in the cell- block. This is a military investigation.<\/dialogue>\n    <scene_description>Jopling steps fully into view. A shifty guard explains nervously:<\/scene_description>\n    <character>SHIFTY GUARD<\/character>\n    <dialogue>This is Mr. Jopling, sir. His employer's mother was one of the victims of the --<\/dialogue>\n    <character>HENCKELS<\/character>\n    <dialogue>Shut up.<\/dialogue>\n    <scene_description>Henckels climbs up out of the hole as Jopling approaches and offers his card. Henckel snaps it up, gives it a fraction-of-a-second look, then hands it off to an underling.<\/scene_description>\n    <character>HENCKELS<\/character>\n    <dialogue>You work for the family Desgoffe und Taxis?<\/dialogue>\n    <scene_description>Pause. Jopling nods. Henckels asks pointedly:<\/scene_description>\n    <character>HENCKELS<\/character>\n    <dialogue>Are you aware of the murder of Deputy Vilmos Kovacs on the twenty-third of October?<\/dialogue>\n    <character>JOPLING<\/character>\n    <parenthetical>(carefully)<\/parenthetical>\n    <dialogue>I'm aware of his disappearance.<\/dialogue>\n    <character>HENCKELS<\/character>\n    <dialogue>His body was found stuffed in a sarcophagus behind a storage room at the Kunstmuseum late last night. He was short four fingers. What do you say about that?<\/dialogue>\n    <scene_description>Henckels withdraws a type-written document out of his coat. He holds it up. INSERT: A police report with a photograph of Deputy Kovacs' body in a pharaoh's casket with his hands crossed on his chest. A section at the bottom of the page is labelled FINGERPRINTS. There are five for the left hand, but only a thumb for the right. Jopling studies the document. He shrugs.<\/scene_description>\n    <character>HENCKELS<\/character>\n    <dialogue>Escort Mr. Jopling off the premises.<\/dialogue>\n    <scene_description>Jopling makes his way toward the cell door accompanied by several soldiers. He pauses just before he exits. He leans down and picks up a flattened, pink, cardboard box off the floor. He scrapes a ridge of icing with his finger and licks the tip. He says softly:<\/scene_description>\n    <character>JOPLING<\/character>\n    <dialogue>Mendl's.<\/dialogue>\n    <scene_description>Henckels watches Jopling suspiciously as he shrinks away down the corridor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIBRARY. NIGHT<\/stage_direction>\n    <scene_description>Dmitri, dressed in black pajamas and a black smoking jacket with a fur collar, listens on the telephone in a small alcove. He says calmly:<\/scene_description>\n    <character>DMITRI<\/character>\n    <dialogue>Talk to his club-footed sister again -- and, this time: be persuasive.<\/dialogue>\n    <scene_description>Dmitri hangs up. He crosses into the library and stands in front of a snooker table. The box containing Madame D's will sits among billiard balls in the middle of it. Its contents have been spread-out and scattered into a sprawling mess. Marguerite, Laetizia, and Carolina play cards and sip at tiny glasses of port on the other end of the room. Dmitri drinks a vodka in one gulp. He shuffles and sifts among the scraps, preoccupied. He picks up a folded sliver of cream-colored writing-paper. He opens it. INSERT: A page of Grand Budapest Hotel stationary with a set of crossed keys insignia at the top. Hand-written below is: Remember: I'm always with you. Dmitri stares at the piece of paper. He tosses it back onto the table. It lands on top of a faded, old photograph of \"Boy with Apple\" with the stamp at the bottom of a long-defunct auction house. Dmitri frowns. He turns around and looks up at the wall above the fireplace directly behind him. His face goes white. CUT TO: The wood-cut print of the two lesbians masturbating. A bit of the discolored wallpaper sticks out behind it on either side. Dmitri is stunned. He stammers:<\/scene_description>\n    <character>DMITRI<\/character>\n    <dialogue>Holy fuck! What's the meaning of this shit?<\/dialogue>\n    <scene_description>Marguerite, Laetizia, and Carolina all look. They seem confused. They respond simultaneously:<\/scene_description>\n    <character>MARGUERITE<\/character>\n    <dialogue>\"Boy with Apple\"? I thought you'd hidden it.<\/dialogue>\n    <character>LAETIZIA<\/character>\n    <dialogue>It's been missing two weeks. I assumed it went to the tax-appraiser.<\/dialogue>\n    <character>CAROLINA<\/character>\n    <dialogue>Why are you only noticing now?<\/dialogue>\n    <scene_description>Dmitri shakes his head, speechless. He says finally, in angry shock:<\/scene_description>\n    <character>DMITRI<\/character>\n    <dialogue>Are you fucking kidding me?<\/dialogue>\n    <scene_description>Clotilde has materialized. Dmitri turns to her. Marguerite, Laetizia, and Carolina turn to her, also. Clotilde's voice cracks and quivers as she says:<\/scene_description>\n    <character>CLOTILDE<\/character>\n    <dialogue>I believe it was removed by M. Gustave.<\/dialogue>\n    <scene_description>Pause. Dmitri grabs the wood-cut off the wall and slams it (punching a thick hole through the center) over a small marble discus-thrower.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN CAR. NIGHT<\/stage_direction>\n    <scene_description>A third-class compartment on the over-night to Gabelmeister's Peak. Students, peasants, and laborers sleep among rucksacks and baskets on hard benches and shelves lining the walls. M. Gustave and Zero whisper to each other from their bunks near the ceiling on either side of the room:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>I'm not angry with Serge. You can't blame someone for their basic lack of moral fiber. He's a frightened, little, yellow- bellied coward. That's not his fault, is it?<\/dialogue>\n    <character>ZERO<\/character>\n    <dialogue>I don't know. It depends.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(irritated)<\/parenthetical>\n    <dialogue>Well, you can say that about most anything. \"It depends.\" Of course, it depends.<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(firmly)<\/parenthetical>\n    <dialogue>Of course, it depends.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(sighs)<\/parenthetical>\n    <dialogue>Yes, I suppose you're right. Of course, it depends. However: that doesn't mean I'm not going to throttle the little swamp rat.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>May I officiate, by the way? The ceremony.<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(surprised, humbly)<\/parenthetical>\n    <dialogue>With pleasure.<\/dialogue>\n    <scene_description>M. Gustave sighs. He says with deep sincerity and feeling:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>I must say, I find that girl utterly delightful. Flat as a board, enormous birthmark the shape of Mexico over half her face, sweating for hours on end in that sweltering kitchen while Mendl (genius though he is) looms over her like a hulking gorilla -- yet without question, without fail, always, and invariably: she's exceedingly lovely. Why? Because of her purity.<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(pleased)<\/parenthetical>\n    <dialogue>She admires you, as well, M. Gustave.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(perking up)<\/parenthetical>\n    <dialogue>Does she?<\/dialogue>\n    <character>ZERO<\/character>\n    <dialogue>Very much.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(impressed)<\/parenthetical>\n    <dialogue>That's a good sign, you know. It means she \"gets it\". That's important.<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Don't flirt with her.<\/dialogue>\n    <scene_description>M. Gustave scoffs, irritated.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARRET. NIGHT<\/stage_direction>\n    <scene_description>Agatha's room. Her few possessions are laid-out neatly on the mattress: two changes of clothes, a short stack of cook-books, her volume of romantic poetry, some tangled ribbons, and a hairbrush. Agatha reaches up to the top of a skinny, pine wardrobe and pulls down an old, wicker suitcase. It has been repaired extensively with wire and string. She transfers everything she owns into it swiftly. She buckles it shut, slides it under the bed -- then bolts upright. She looks up at the ceiling. There is a thump. Silence. Agatha slips-off her shoes (wooden clogs). She slowly steps up onto the bed. She stands on her tip- toes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOF. NIGHT<\/stage_direction>\n    <scene_description>There is no moon, and the night is pitch-black. Agatha's hands grip the edges of the sky-light's frame. Her eyes come up into view. She looks cautiously around in every direction. She listens. Agatha sinks back down, pulls away the pencil holding the sky-light window open, and quickly latches it shut. The camera holds on the empty roof-top: a quiet wind whistles over the sleeping village. INSERT: The front page of the Trans-Alpine Yodel. Headline: Young Girl's Head Found in Laundry Basket<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMAND HEAD-QUARTERS. DAY<\/stage_direction>\n    <scene_description>The next morning. An office decorated with flags, shields, and swords. There is a large map on a broad table with game pieces (chess, checkers, jacks, dice, and dominoes) marking troops and munitions. Henckels sits in a leather armchair drinking a cup of coffee while he stares at the front page of the newspaper. A first lieutenant stands over him holding a note-book and an envelope labelled WIRE MESSAGE. He explains:<\/scene_description>\n    <character>LIEUTENANT<\/character>\n    <dialogue>A radio telegram was delivered and signed for by the girl at four a.m. The envelope was found near the body, but its contents were missing -- however: the telegraph office always keeps a carbon of the ticker-tape for twenty-four hours. I copied it down. It reads as follows: \"Pack your things stop be ready to leave at moment's notice stop hide-out is vicinity of Gabelmeister's Peak stop destroy this message all my love full stop.\"<\/dialogue>\n    <character>HENCKELS<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Where's the basket?<\/dialogue>\n    <scene_description>The lieutenant points across the room. Henckels sighs. He stands up and walks over to a laundry basket on top of a desk against the wall. Pause. He reaches into it and lifts out, by the hair: Serge's sister's severed head. TITLE: Part 5: \"Gabelmeister's Peak\" INSERT: The radio telegram -- which has been torn to shreds, then carefully taped back together. It is speckled with blood.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GAS STATION. DAY<\/stage_direction>\n    <scene_description>A lone fuel-pump in front of a service-shack at the foot of hill on a snowy, country road. A fourteen-year-old attendant in a greasy jumpsuit fills the tank of Jopling's motorcycle. A sled-runner has been fitted over the front wheel. Jopling leans against the wall, silent, looking down at the radio telegram in his hands. The attendant chirps:<\/scene_description>\n    <character>PUMP ATTENDANT<\/character>\n    <dialogue>Where you headed, mister?<\/dialogue>\n    <scene_description>Pause. Jopling's eye-balls turn to the attendant.<\/scene_description>\n    <character>PUMP ATTENDANT<\/character>\n    <dialogue>Skiing? Sledding? Mountain climbing?<\/dialogue>\n    <scene_description>Jopling looks away again. The attendant grows slightly uneasy. Jopling reaches into his leather coat -- half-revealing, holstered inside: a stiletto ice-pick, a black-jack bludgeon, a Luger pistol, and a ball-peen hammer. He withdraws a glass flask with a silver stopper and takes a pull. His brass knuckles clack against it. The attendant clears his throat, pulls the nozzle out of the tank, and says -- polite but quick:<\/scene_description>\n    <character>PUMP ATTENDANT<\/character>\n    <dialogue>Three Klubecks, please.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAIN STATION. DAY<\/stage_direction>\n    <scene_description>The Zubrowkian Alps. A high-altitude depot nestled in a pass between two, craggy ridges. There is fresh powder on the ground. Scattered flakes flicker in the air. A sign along the tracks reads: Gabelmeister's Peak. Twenty-five soldiers armed with carbine rifles stand spaced apart down the length of the platform, waiting. The train rolls in. Doors open, and passengers with skis, snowshoes, and suitcases step down and hurry into the building and around its sides. The soldiers study them, attentive, and peer inside the compartment windows. The passengers continue until they have all cleared-away, and the platform is quiet again. A train conductor, leaning out from the end of a car, watches the soldiers. The soldiers look to each other tentatively. A Sergeant jerks open a door and steps onto the train. He looks around. He raises his chin, lifts his nose -- and sniffs the air. He looks irritated.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OBSERVATORY. DAY<\/stage_direction>\n    <scene_description>The peak of an icy butte. A narrow, domed building sticks up into the sky at the top. A steel balcony winds around it with a platform that extends out over a plunging drop into the white mist. A group of scientists bundled in fur coats listens to a professor. A man on a bench pours cocoa from a thermos. An eagle circles overhead. M. Gustave and Zero shiver at the end of the railing.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>It's a hell of a view. I give them that, for what it's worth.<\/dialogue>\n    <character>ZERO<\/character>\n    <dialogue>I agree.<\/dialogue>\n    <scene_description>Pause. M. Gustave checks his watch. He says with a slightly bitter edge to his voice:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>When one says \"mid-day\" -- what does that mean to you?<\/dialogue>\n    <character>ZERO<\/character>\n    <dialogue>High noon.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Exactly. In other words, twelve p.m. At least, that's always been my interpretation.<\/dialogue>\n    <scene_description>Silence. M. Gustave withdraws the small bottle of cologne from his pocket, spritzes himself twice, hands it to Zero who does the same automatically, then tucks it back away again. He holds-out his palm under the snow. He begins to recite:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>\"'Tis oft'-remarked: no single, falling- flake does any other in its pure and perfect form --\"<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(tensely)<\/parenthetical>\n    <dialogue>Somebody's coming.<\/dialogue>\n    <scene_description>A monk in a grey cloak and a thick scarf clanks up a metal staircase. His face is old and wrinkled. He walks directly out to M. Gustave and Zero and stops. He studies them for a moment, frowning. He whispers:<\/scene_description>\n    <character>MONK #1<\/character>\n    <dialogue>Are you M. Gustave of the Grand Budapest Hotel in Nebelsbad?<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>Uh-huh.<\/dialogue>\n    <character>MONK #1<\/character>\n    <dialogue>Get on the next cable-car.<\/dialogue>\n    <scene_description>The monk points. A cable-car is just arriving down the sloping line from an adjacent peak. M. Gustave hesitates. The monk urges him on with a brusque motion. M. Gustave and Zero sprint across the balcony, scramble down a flight of steps, and race out onto the boarding platform. A family of six waits in skiing costumes. They stare at M. Gustave and Zero as they arrive, breathless. A tramway operator holds open the door. Everyone boards, squeezing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AERIAL TRAM. DAY<\/stage_direction>\n    <scene_description>The cable-car sets-off up and across the wide ravine. M. Gustave and Zero sit side-by-side with the curious, silent family. The father sniffs the air. He looks irritated. Half-way there: the cable-car slams to a stop with a clunk. Everyone is startled. The stalled vehicle sways in the quiet wind. The father looks up. The mother looks down. The children look to each other. In the distance: there is a faint, mechanical hum. M. Gustave and Zero look out. Another cable-car is ascending at a diagonal on a different line. They all watch as it slowly approaches. Just as it is about to criss-cross their path: it slams to a stop, too. Another elderly, cloaked monk stares out from inside the other cable-car. He is alone in the vehicle. He studies M. Gustave and Zero for a moment, frowning. He whispers loudly:<\/scene_description>\n    <character>MONK #2<\/character>\n    <dialogue>Are you M. Gustave of the Grand Budapest Hotel in Nebelsbad?<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>Uh-huh.<\/dialogue>\n    <character>MONK #2<\/character>\n    <dialogue>Switch with me.<\/dialogue>\n    <scene_description>The monk unlatches the door of his cable-car and opens it. The family watch nervously as M. Gustave and Zero stand up, rocking the vehicle, open their own door, and carefully exit. They reluctantly lunge across the precarious abyss. The monk changes places with them. There is another clunk, and the two cable-cars resume their journeys. M. Gustave and Zero exchange a look. Their new cable-car continues up toward its destination. A sign above the arrival platform reads: Our Holy Father of the Sudetenwaltz. Directly below it, there is a walled fort with a steeple and a tall stone cross. Another tramway attendant holds the door open for them as they disembark.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MONASTERY. DAY<\/stage_direction>\n    <scene_description>M. Gustave and Zero walk down a staircase and through the front gate into an empty church-yard. There are walls and low buildings on the sides, a few graves in the middle, and the entrance to a church at one end. Pause. A small window swings open next to M. Gustave and Zero. Another elderly, cloaked monk stares out from inside a caretaker's booth. He studies them for a moment, frowning. He whispers:<\/scene_description>\n    <character>MONK #3<\/character>\n    <dialogue>Are you M. Gustave of the Grand Budapest Hotel in Nebelsbad?<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>Uh-huh.<\/dialogue>\n    <character>MONK #3<\/character>\n    <dialogue>Put these on and sing.<\/dialogue>\n    <scene_description>The monk thrusts a small bundle into M. Gustave's hands. It consists of: two cloaks and two hymnals. The echoing sound of a Gregorian chant begins to rise from all around. M. Gustave and Zero swiftly slip-on the cloaks just as a procession of a hundred monks enters from two directions, merges in the church-yard, and advances double-file toward the chapel. M. Gustave and Zero open their hymnals at random and slip into the procession.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH. DAY<\/stage_direction>\n    <scene_description>A blasting organ joins the chant inside a vast, austere hall as the procession enters. The monks file into pews. The music ends, and the room goes silent. Everyone kneels. The monsignor at the altar places his hands on a thick Bible and speaks Latin. A voice behind M. Gustave and Zero says:<\/scene_description>\n    <character>MONK #4<\/character>\n    <dialogue>Psst.<\/dialogue>\n    <scene_description>M. Gustave and Zero turn around. Another elderly, cloaked monk kneels on a kneeler behind them with his hands folded in prayer. He studies them for a moment, frowning. He whispers:<\/scene_description>\n    <character>MONK #4<\/character>\n    <dialogue>Are you M. Gustave of the --<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(irritated)<\/parenthetical>\n    <dialogue>Yes, dammit.<\/dialogue>\n    <character>MONK #4<\/character>\n    <dialogue>Confess.<\/dialogue>\n    <scene_description>M. Gustave looks deeply offended and flabbergasted. He snaps:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>I'm innocent.<\/dialogue>\n    <character>MONK #4<\/character>\n    <parenthetical>(annoyed)<\/parenthetical>\n    <dialogue>No, no.<\/dialogue>\n    <scene_description>The monk points to a confessional booth in the transept. M. Gustave hesitates. He nods, realizing. He and Zero look down the row of kneeling legs. They step up onto the pew, slink quickly in a crouch to the aisle, then hop down to the floor. Monks, watching them, frown. M. Gustave and Zero hurry together into the confessional booth and close the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONFESSIONAL. DAY<\/stage_direction>\n    <scene_description>A dark, wooden box lined with purple velvet. It is a bit tight for two. A panel slides open. Through the lattice screen: Serge has aged a decade. His eyes are watery and dim. He whispers immediately, reverent:<\/scene_description>\n    <character>SERGE<\/character>\n    <dialogue>Forgive me, M. Gustave. I never meant to betray you. They threatened my life, and now they've murdered my only family.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(frustrated)<\/parenthetical>\n    <dialogue>No! Who'd they kill this time?<\/dialogue>\n    <character>SERGE<\/character>\n    <parenthetical>(deeply wounded)<\/parenthetical>\n    <dialogue>My dear sister.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(trying to picture her)<\/parenthetical>\n    <dialogue>The girl with the club-foot?<\/dialogue>\n    <character>SERGE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Those fuckers.<\/dialogue>\n    <character>SERGE<\/character>\n    <dialogue>I tried to warn you. At the beginning.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>I know, darling. Let's put that behind us. Listen: I hate to put you on the spot, but I really must ask you to clear my name. Obviously, you're grieving, and if I had any other --<\/dialogue>\n    <character>SERGE<\/character>\n    <dialogue>There's more.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <scene_description>OK.<\/scene_description>\n    <character>SERGE<\/character>\n    <dialogue>To the story.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>I get it. Go on.<\/dialogue>\n    <character>SERGE<\/character>\n    <dialogue>I was the official witness in Madame D's presence to the creation of a second will to be executed only in the event of her death by murder.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>A second will.<\/dialogue>\n    <character>SERGE<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>In case she got bumped-off.<\/dialogue>\n    <character>SERGE<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Uh-huh?<\/dialogue>\n    <character>SERGE<\/character>\n    <dialogue>But they destroyed it.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Oh, dear.<\/dialogue>\n    <character>SERGE<\/character>\n    <dialogue>However.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Uh-huh?<\/dialogue>\n    <character>SERGE<\/character>\n    <dialogue>I pulled a copy.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>A second copy of the second will.<\/dialogue>\n    <character>SERGE<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Uh-huh?<\/dialogue>\n    <scene_description>Long pause. M. Gustave finally starts to lose his composure. His voices rises:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Well, what does it say? Where is it? What's it all about, dammit? Don't keep us in suspense, Serge. This has been a complete fucking nightmare. Just tell us what the fuck is going on!<\/dialogue>\n    <scene_description>The panel snaps shut. M. Gustave and Zero frown. The organ blasts again outside the confessional, and the church booms with low, eerie, singing voices. M. Gustave tries to jerk the panel open, but it sticks. He bangs on it with his fists.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Serge? Serge? Serge!<\/dialogue>\n    <scene_description>M. Gustave tries the door. It is locked. Zero peers at the keyhole and says shortly:<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>Give me the pass-keys.<\/dialogue>\n    <scene_description>M. Gustave hesitates. He reaches into his pocket and pulls out his ring of Grand Budapest pass-keys. Zero rapidly flips through them, studying each key. He settles on one, inserts it into the keyhole, jiggles it, and twists. The lock clicks. CUT TO: M. Gustave and Zero jumping out from the confessional booth. Zero darts to the other side and cracks open the other door. He peeks-in and sees: Serge with a bloody garotte-wire strung around his neck. His eyes are wide-open, and his tongue sticks-out slightly. Zero grimaces. M. Gustave looks over his shoulder.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Bloody hell. They've strangled the poor slob!<\/dialogue>\n    <scene_description>M. Gustave presses the door quietly shut again. He and Zero both look frantically around the room. One lone monk swings a smoking censor as he recesses quickly down the center aisle while the rest of the congregation stand in their pews singing. He steps outside and ducks away around the corner. M. Gustave and Zero's eyes light up -- then narrow fiercely. They run after the monk.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTYARD. DAY<\/stage_direction>\n    <scene_description>M. Gustave and Zero dash out the front doors. They skid to a stop and scan the area. There is a display next to the church entrance of a wooden saint on a sled being pulled by a papier-mach\u00e9 reindeer. There is no one else in sight. A door creaks slowly in the wind outside a small shed across the way. A sign above it reads: Ski Locker (Clerical Use Only). A cloak and the still-smoldering censor are strewn in the snow in front of it. INSERT: A pair of high-heeled boots clamping into a pair of ski- clips. INSERT: A pair of hands with brass knuckles gripping onto on a pair of ski-poles. CUT TO: Jopling (without cloak, on skis) exploding out the door of the shed, making a hard pivot, and launching through the monastery gate, down the steep slope. M. Gustave and Zero watch in shock. Zero turns to the display next to them. He leaps over to it, kicks-off the saint, flips-away the reindeer, and shoves the sled full-speed across the church-yard. He shouts:<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>Come on!<\/dialogue>\n    <scene_description>M. Gustave chases after Zero, and they jump onboard just as the sled dips sharply and accelerates like mad down the mountain. Zero hangs onto a short rope knotted to the front. M. Gustave hangs onto Zero. Jopling, skiing superbly up ahead, looks back. He sees M. Gustave and Zero closing-in. He frowns. He makes a quick detour through a gap in the trees, and races down a narrow, zig-zag path. Zero jerks the rope and follows Jopling. The sled bounces and bumps, skids and slides. Zero shouts:<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>What do we do if we catch him?<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I don't know! He's a homicidal psychopath! Let's stop!<\/dialogue>\n    <character>ZERO<\/character>\n    <dialogue>I can't! I can barely steer!<\/dialogue>\n    <scene_description>Jopling ramps over the sloped roof of a shuttered caf\u00e9 and lands cleanly. M. Gustave and Zero duck and shoot under it, banging between tables, scattering chairs, and rattling off the terrace. A group of hikers in snow-shoes walks single-file across the slope. They hurry to one side in a panic to dodge Jopling, then immediately hurry back to the other to dodge M. Gustave and Zero. A long, paper banner rustles in the wind. It reads: Gabelmeister's Peak, Winter Games. Jopling snaps through it and shoots out onto an abandoned bob-sled run. He balances nimbly as he rockets down the ice. M. Gustave and Zero burst onto the track behind him, skittering through the corners. They grit their teeth and hang on, terrified. At the end of the run, Jopling jolts sideways, scratching across the track and showering splinters of ice, then zips up into the air and lands on the snow at the side of a road directly next to his parked motorcycle. He watches as: M. Gustave and Zero come flying down the bob-sled run at break-neck speed, slam into a dense bank at the bottom, and soar into a high arc. The sled flips and twirls, then hits the ground and splits into three pieces. Zero bashes head-first into the deep snow and disappears -- except for his feet and ankles sticking out into the air, motionless. M. Gustave smacks onto the ice and slides, spinning, off the edge of a cliff. Silence. Jopling takes a drink from his flask. He unclips his skis. He walks slowly past Zero's frozen legs and approaches the precipice. M. Gustave is clutching onto a knob of jagged ice while his feet dangle above a rocky chasm a thousand feet deep. He stares up at Jopling, frightened but furious. He says quietly:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>You sick, pathetic creep. I hate you.<\/dialogue>\n    <parenthetical>(shouting)<\/parenthetical>\n    <dialogue>Run, Zero! Save yourself, I suppose!<\/dialogue>\n    <scene_description>Zero's feet are frozen in place. A distant wolf howls. Pause. Jopling lifts his foot and stomps his boot down with all his might. The ice crackles and fissures. M. Gustave sighs miserably. He swallows. Jopling stomps again. The ice around M. Gustave begins to crumble. As Jopling continues to stomp, over and over, M. Gustave sadly recites:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>\"'If this do be me end: farewell!' cried the wounded piper-boy, whilst the muskets cracked and the yeomen roared, 'Hurrah!' and the ramparts fell. 'Methinks me breathes me last, me fears!' said he --\"<\/dialogue>\n    <scene_description>There is a powerful thump, and Jopling flies head-first, screaming, off the cliff over M. Gustave's head. Zero, in the midst of a diving shove, lands on his face and nearly goes over the edge, himself. He is covered with snow. M. Gustave shouts, ecstatic:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Holy shit! You got him!<\/dialogue>\n    <scene_description>Far, far below: Jopling's arms and legs flail as he disappears down into the deepest reaches of the chasm. M. Gustave says proudly in elation:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Well-done, Zero!<\/dialogue>\n    <scene_description>M. Gustave looks greatly relieved as he continues to hang precariously and his fingers stiffen toward frost- bite. Zero gasps for an instant, then thrusts his arms down, stretching, to seize M. Gustave by the wrists. CUT TO: A binocular shot of Zero dragging M. Gustave back up onto solid ground. They dust the snow off their bodies and catch their breath. Henckels' voice shouts over a megaphone:<\/scene_description>\n    <character>HENCKELS (O.S.)<\/character>\n    <dialogue>Halt!<\/dialogue>\n    <scene_description>M. Gustave and Zero look across the hill-side to the next slope. A hundred advancing troops hurry toward them, descending swiftly. The tiny figure of Henckels at the head of the squadron continues forcefully:<\/scene_description>\n    <character>HENCKELS<\/character>\n    <dialogue>Gustave H! You're a fugitive from justice! Do not attempt to flee! Surrender lawfully, and I personally vouchsafe your fair treatment! Repeat: do not attempt to flee!<\/dialogue>\n    <scene_description>M. Gustave turns to Zero. Zero says, unsure:<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(weary)<\/parenthetical>\n    <dialogue>I don't know. I'd rather jump off this cliff right now than go back to fucking prison.<\/dialogue>\n    <scene_description>M. Gustave looks lost and tired. Zero stares at him. He nods. He says calmly:<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>I say we steal that sick maniac's motorcycle, go fetch Agatha, take back \"Boy with Apple\", and head for the Maltese Riviera, once and for all.<\/dialogue>\n    <scene_description>M. Gustave's face lightens. He is moved and deeply impressed.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Very good! You're so extraordinary, Zero. Thank you.<\/dialogue>\n    <parenthetical>(gravely)<\/parenthetical>\n    <dialogue>A moment of silence in memoriam of a devoted servant killed violently during the conduct of his duties.<\/dialogue>\n    <scene_description>M. Gustave and Zero stare solemnly into space for about five seconds. Bloodhounds bark in the far distance. Zero says quietly:<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>Good-bye, Serge.<\/dialogue>\n    <scene_description>M. Gustave nods suddenly. He and Zero break into a sprint, race over to the motorcycle, and jump on. Zero kick-starts the engine, and M. Gustave, on the rear fender, hangs on tightly as they rumble away down the icy road. CUT TO: Henckels watching from the distance. He lowers his binoculars. He looks worried.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>The war began at midnight.<\/dialogue>\n    <scene_description>CUT TO: M. Gustave and Zero winding along the highway. Zero yells back over his shoulder:<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>What's it like, by the way? The Maltese Riviera!<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Charming, really! The weather's exquisite. The local cuisine is simple but excellent! The people are warm, kind, honest! Rather dusky-complexioned. You'll fit right in, actually!<\/dialogue>\n    <scene_description>Zero nods, pleased. TITLE: 24 Hours Later MONTAGE: Various white-gloved hands in action: one rings a bell on the concierge desk with a quick tap. Another slips an envelope into a message box. Another picks-up a room key off a hook. Another forcefully shakes a cocktail-shaker full of ice.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>Pffeifelstad fell by lunch under heavy shelling, and the Zig-zags surged across the long, western border. The Lutz Blitz would last all winter.<\/dialogue>\n    <scene_description>INSERT: A martini glass. The drink is poured neatly -- then stirred with a \"Z-Z\" swizzle-stick.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>High-command advanced to Nebelsbad.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY. DAY<\/stage_direction>\n    <scene_description>The hotel is busier than ever, and every man in the room is in uniform. \"Z-Z\" symbols are plastered across every conceivable surface. Agatha comes in the front doors carrying a tall stack of pink, card-board pastry-boxes. A soldier seated at a small desk blocking the entrance looks up from his ledger-book. He frowns. Agatha explains:<\/scene_description>\n    <character>AGATHA<\/character>\n    <dialogue>Compliments of Herr Mendl. For the Executive Staff.<\/dialogue>\n    <scene_description>Agatha takes a smaller box off the top of the stack and sets it down in front of the soldier. The soldier hesitates. He opens the box and sees inside: one Courtesan au chocolat. He looks back up to Agatha, hopeful. She nods. He signals for her to proceed. An officer with a crew-cut mans the concierge desk. A badge on his chest reads: Military Concierge. He is M. Chuck. Mr. Mosher stands beside him taking notes while he dictates orders:<\/scene_description>\n    <character>M. CHUCK<\/character>\n    <dialogue>General Stieglitz requests a garden-view sitting-room with an extra roll-away. Let's put him in the Duke Leopold Suite. Secretary Woroniecki's office cabled. He's checking-in a day early (rooms 401-2- 3). Tell Tactical Logistics we're moving them to a standard-double on the third floor.<\/dialogue>\n    <character>MR. MOSHER<\/character>\n    <parenthetical>(skeptical)<\/parenthetical>\n    <dialogue>They'll need more space than that.<\/dialogue>\n    <scene_description>Mr. Mosher points to a group of four soldiers carrying a ping-pong table through the lobby. Agatha waits calmly while they pass. She pauses, looks left and right, then ducks through a curtain below a sign that reads: Staff Only. She dashes up a staircase. CUT TO: The storage pantry adjacent to the vault. Agatha comes in and sets aside her boxes. She immediately stands on a chair and runs her hand along the top of a picture rail near the ceiling. She finds a brass key. She unlocks the outer door of the vault and slides it open -- revealing the inner one (which has a combination lock). Agatha reaches into her pocket and withdraws Zero's hand- written square of tissue-paper and a small magnifying glass. She squints and studies the tiny document. She quickly spins the dial and opens the door. Agatha whips the fur stole off the radiator. Agatha pulls out the wrapped painting. Agatha tucks the package under her arm, exits the vault, and re-locks the doors.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAN. DAY<\/stage_direction>\n    <scene_description>The entrance to the hotel. \"Z-Z\" banners hang from every awning. A dozen Zubrowkian flags wave and rustle in a row. Crests, heralds, and insignias are displayed in vitrines, doors, and windows. A chanting platoon marches up the promenade, and a soldier in a pilot's cap sits smoking a cigarette on top of a parked tank next to the funicular. M. Gustave and Zero wait, tense, in a parked delivery truck with Mendl's painted in delicate, pink cursive across the side. The engine idles. Zero is at the wheel. He and M. Gustave both wear white caps and aprons. M. Gustave says, deeply disgusted, as he stares at the new ornamentation:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>The beginning of the end of the end of the beginning -- has begun. A sad finale played, off-key, on a broken-down saloon piano in the outskirts of a forgotten ghost town. I'd rather not bear witness to such blasphemy.<\/dialogue>\n    <character>ZERO<\/character>\n    <dialogue>Me, neither.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(elegiac)<\/parenthetical>\n    <dialogue>The Grand Budapest has become a troop's barracks. I shall never cross its threshold again in my lifetime.<\/dialogue>\n    <character>ZERO<\/character>\n    <dialogue>Me, neither.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(on a roll)<\/parenthetical>\n    <dialogue>Never again shall --<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(alarmed)<\/parenthetical>\n    <dialogue>Actually, I think we might be going in right now, after all.<\/dialogue>\n    <scene_description>Zero points to a long, silver limousine (last seen parked in front of the Desgoffe und Taxis mansion in Lutz) as it pulls up the drive and stops between the Mendl's van and the entrance to the hotel. A liveried chauffeur jumps out and opens one of the back doors. Dmitri emerges. M. Gustave and Zero crouch down low in their seats. M. Gustave whispers with contempt:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Dmitri.<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(whispering, worried)<\/parenthetical>\n    <dialogue>Agatha.<\/dialogue>\n    <scene_description>M. Gustave and Zero watch as: Marguerite, Laetizia, and Carolina exit from the other side of the car, and an eager team of bellboys springs into action collecting their numerous bags and suitcases out of the trunk and off the roof-rack of the vehicle. CUT TO: Agatha poking her head back into the lobby from behind the curtain. She starts toward the front door, but pauses as she sees: Dmitri and his sisters. They enter and are immediately greeted by M. Chuck. A large assembly of maids and footman stand in a row at attention to receive these distinguished guests.<\/scene_description>\n    <character>M. CHUCK<\/character>\n    <dialogue>Good evening, Mr. Desgoffe und Taxis. I'm M. Chuck. We've booked you and your sisters in the King Ferdinand Suite.<\/dialogue>\n    <scene_description>Dmitri shakes hands coolly. As M. Chuck introduces himself to Marguerite, Laetizia, and Carolina -- Dmitri spots Agatha. He stares at her, curious. She looks back at him, uneasy. He focusses-in on the package under her arm. She turns away and walks quickly deeper into the lobby. Dmitri frowns.<\/scene_description>\n    <character>M. CHUCK<\/character>\n    <dialogue>General von Shrecker personally asked me to make sure --<\/dialogue>\n    <character>DMITRI<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>Excuse me.<\/dialogue>\n    <scene_description>Dmitri bolts into the room. Agatha's eyes dart, searching for an escape-route, as she zooms among the tables, couches, tea-trays, officers, waiters, and bellboys. At the concierge desk: Henckels looks up from signing the guest book. He watches Agatha pass. He watches Dmitri grimly pursuing her. He looks intrigued. Agatha bee-lines into the elevator. The elevator operator looks to her and waits. She hesitates. She names the top floor:<\/scene_description>\n    <character>AGATHA<\/character>\n    <dialogue>Six.<\/dialogue>\n    <scene_description>Just as the elevator operator starts to shut the gate -- a voice commands him:<\/scene_description>\n    <character>DMITRI (O.S.)<\/character>\n    <dialogue>Hold it.<\/dialogue>\n    <scene_description>The elevator operator pauses. Dmitri enters and stands next to Agatha. He stares ahead into space and repeats:<\/scene_description>\n    <character>DMITRI<\/character>\n    <dialogue>Six.<\/dialogue>\n    <scene_description>The elevator operator slams the door. Henckels watches from across the lobby. He says to Anatole:<\/scene_description>\n    <character>HENCKELS<\/character>\n    <dialogue>Get M. Chuck.<\/dialogue>\n    <scene_description>Anatole nods and dashes away. At the front door: M. Gustave and Zero stride into the building holding two tall stacks of pink, card-board pastry-boxes. They stop. M. Gustave says warmly:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Compliments of Herr Mendl.<\/dialogue>\n    <scene_description>The soldier at the desk blocking the entrance looks up. He is half-way through his Courtesan au chocolat. He has butter-cream on his moustache. CUT TO: Henckels on his way up the steps followed by M. Chuck. They stop at the next floor, look up and down the corridor, then continue climbing. CUT TO: Mr. Mosher staring, curious; Herr Becker watching, surprised; and Anatole gaping, mouth-open -- at: M. Gustave and Zero crossing speedily through the center of the lobby with their stacked boxes, looking around in every direction as they go. They arrive at the closed elevator doors. A Lobby Boy stands next to it. He has curly hair and looks to be about sixteen. He is Otto.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Have you seen a pastry-girl with a package under her arm in the last minute and a half?<\/dialogue>\n    <character>OTTO<\/character>\n    <dialogue>Yep! She just got on the elevator with Mr. Desgoffe und Taxis.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(irritated)<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>M. Gustave and Zero look up at the wall. Something is gnawing at them both. INSERT: The needle above the elevator entrance. It climbs past Four toward Five. M. Gustave and Zero start to dash away -- but Zero stops short and turns back. He says quickly to Otto:<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>I'm sorry. Who are you?<\/dialogue>\n    <character>OTTO<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>Otto, sir. The new Lobby Boy.<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(sharply)<\/parenthetical>\n    <dialogue>Well, you haven't been trained properly, Otto. A Lobby Boy never provides<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <character>ZERO<\/character>\n    <dialogue>information of that kind. You're a stone wall. Understood?<\/dialogue>\n    <character>OTTO<\/character>\n    <parenthetical>(anxious)<\/parenthetical>\n    <dialogue>Yes, sir.<\/dialogue>\n    <scene_description>M. Gustave and Zero exchange a quick look: well-handled. They run.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR. DAY<\/stage_direction>\n    <scene_description>As the lift ascends: Dmitri casts a side-ways look to Agatha. She stares ahead and avoids his eyes. He looks away. Agatha casts a side-ways look to Dmitri. He snaps his head suddenly to look at her. She turns away again immediately, stricken. Dmitri reaches out toward Agatha. She retreats further into the corner. He touches the package under her arm with his long fingers and peels-back the edge of the wrapping-paper -- revealing a white hand holding a golden apple. He says quietly:<\/scene_description>\n    <character>DMITRI<\/character>\n    <dialogue>Pretty picture.<\/dialogue>\n    <scene_description>Agatha does not respond. They come to a stop, and the elevator operator opens the gate.<\/scene_description>\n    <character>ELEVATOR OPERATOR<\/character>\n    <dialogue>Sixth floor.<\/dialogue>\n    <scene_description>Neither Agatha nor Dmitri move. Silence. The elevator operator turns around slightly to look at them. Agatha exits. The elevator operator starts to close the door, but Dmitri holds up a finger. He follows Agatha. The gate closes behind him. Agatha walks swiftly but calmly down the long corridor. She looks back. Dmitri walks behind her, equally swiftly and significantly more calmly, thirty feet back. Agatha turns a corner. Dmitri cracks his knuckles as he continues. He clears his throat. He turns the corner now, himself, and sees: Agatha running as fast as she can, already sixty feet ahead, nearly at the end of the corridor. She looks back again as she disappears around the next corner. Dmitri breaks into a full sprint. In five seconds, he reaches the end of the hallway. He stops and looks down the next corridor. It is empty. Pause. At the far end: a pair of doors labelled SERVICE ELEVATOR slide open. M. Gustave and Zero stand inside it with their stacked boxes. Dmitri's eyes widen. He shouts:<\/scene_description>\n    <character>DMITRI<\/character>\n    <dialogue>Where's \"Boy with Apple\"?<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>None of your goddamn business!<\/dialogue>\n    <character>DMITRI<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>I'm going to blast your candy-ass once and for all right now!<\/dialogue>\n    <scene_description>Dmitri instantly leans down, lifts up his trouser leg, and draws a small-calibre hand-gun from a strap under his sock. He fires. M. Gustave and Zero throw their boxes in every direction and duck to the sides of the elevator. Dmitri fires again. Bullets ricochet. A door opens half-way down the corridor. An officer wearing his uniform tunic but no trousers looks out at Dmitri, alerted, with a Luger pistol in his hand.<\/scene_description>\n    <character>OFFICER<\/character>\n    <dialogue>Drop your weapon!<\/dialogue>\n    <scene_description>Dmitri fires three more times into the service elevator. The officer fires back at Dmitri. Dmitri ducks behind a room-service cart and quickly re-loads. More doors open up and down the corridor, and more armed officers in various states of dress\/undress look out. Dmitri pops up again and resumes his barrage. All the officers open fire at once, shooting, apparently at random, in both directions. Henckels appears suddenly at the top of the stairs with his own firearm drawn. M. Chuck hurries behind him. Henckels ducks down low and screams:<\/scene_description>\n    <character>HENCKELS<\/character>\n    <dialogue>Cease fire! Cease fire! Stop it!<\/dialogue>\n    <scene_description>The gunfire pauses. Everyone remains poised for the next volley. Henckels hollers:<\/scene_description>\n    <character>HENCKELS<\/character>\n    <dialogue>Who's shooting who?<\/dialogue>\n    <character>DMITRI<\/character>\n    <parenthetical>(behind his barricade)<\/parenthetical>\n    <dialogue>That's Gustave H! The escaped murderer and art thief! I've got him cornered!<\/dialogue>\n    <scene_description>M. Gustave and Zero remain tucked against the walls on the floor of the service elevator. M. Gustave yells, enraged:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>That's Dmitri Desgoffe und Taxis! He's responsible for the killings of Deputy Kovacs, Serge X. and his club-footed sister, plus his own mother!<\/dialogue>\n    <character>HENCKELS<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>Nobody move! Everybody's under arrest!<\/dialogue>\n    <scene_description>There is a loud creak, then a crashing bang. M. Chuck squints at an open window in a small alcove across from him.<\/scene_description>\n    <character>M. CHUCK<\/character>\n    <dialogue>Who's out the window?<\/dialogue>\n    <scene_description>Zero looks to M. Gustave. He says, under his breath:<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>Agatha!<\/dialogue>\n    <scene_description>Zero sprints out of the service elevator and races up the corridor. Dmitri starts shooting again. The entire group opens fire once more. Zero races, crouched, with his hands over his head, and ducks into the alcove. His head thrusts out the window. He looks down. CUT TO: Agatha swinging by one hand from a broken trellis off the end of a terrace three flights below. She hangs onto the wrapped painting with her other hand. She notices something on it and frowns. INSERT: The dangling package. A section of the wrapping paper has torn away, and the corner of a pale-pink envelope is visible pasted to the back of the picture. Zero stares down at Agatha, horrified. He mutters to himself:<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>310-bis!<\/dialogue>\n    <parenthetical>(shouting to Agatha)<\/parenthetical>\n    <dialogue>Hang on! Here I come!<\/dialogue>\n    <scene_description>Zero races back through the hail of bullets. He darts past Henckels and down the stairwell. He descends three flights. He crosses the corridor and stops in front of a door labelled \"310-bis\". A sign on the knob reads: Do Not Disturb. Zero hesitates an instant. Zero raps briskly, retreats back across the corridor, lowers his shoulder, and charges with all his strength. Just as he reaches the door, it swings open to reveal a small, bearded man in a long night-gown. He side-steps Zero. Zero stumbles full-speed through the sitting-room and out the wide-open terrace doors. He slams against the balcony railing and flips over it. Agatha releases the package and grabs Zero's shirt as he somersaults over her. Zero's weight jerks Agatha down with a jolt. They fall together. Four floors down, Zero and Agatha punch-through the canvas roof over the back of the Mendl's van and disappear inside. Silence.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAN. DAY<\/stage_direction>\n    <scene_description>Zero sits up among the chaotic pile of scattered and upturned pink, card-board pastry-boxes. He gasps and digs for Agatha. She surfaces.<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>Agatha! Are you all right?<\/dialogue>\n    <character>AGATHA<\/character>\n    <parenthetical>(dazed)<\/parenthetical>\n    <dialogue>I think so.<\/dialogue>\n    <scene_description>Zero embraces Agatha. He kisses her passionately. He looks into her eyes. She says, woozy:<\/scene_description>\n    <character>AGATHA<\/character>\n    <dialogue>Something's on the back of the picture.<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Agatha holds a piece of the torn and crumbled wrapping paper. She and Zero both look straight up. CUT TO: Zero and Agatha's point-of-view through the hole punched in the roof of the van. Seven floors up, M. Gustave, Henckels, and M. Chuck lean out the window staring down at them, frozen, while other officers lean out other windows all across the facade. Four floors up, \"Boy with Apple\", unwrapped, hangs upside-down from a wire below the balcony. It swings gently. INSERT: The painting, upside-down. A pair of hands flips it over to reveal the pale-pink envelope on the reverse. TITLE: Part 6: \"The Second Copy of the Second Will\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM. DAY<\/stage_direction>\n    <scene_description>The entire, vast assembly of officers and soldiers stands crowded, murmuring, around a table in the restaurant where M. Gustave, Zero, and Dmitri, all in hand-cuffs, sit across from Henckels. Agatha stands behind Zero. Marguerite, Laetizia, and Carolina stand behind Dmitri. M. Chuck stands behind Henckels. Henckels carefully peels the envelope loose from the back of the canvas. He slits it open with a pocket-knife and removes a hand-written letter on pale-pink paper. He skims it, then looks to M. Gustave.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>She left everything to M. Gustave, of course.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURT ROOM. DAY<\/stage_direction>\n    <scene_description>M. Gustave on the witness stand. He wears his concierge uniform and is immaculate. The jury listens, enraptured by his testimony. The judge sniffs the air. He looks irritated.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>The mansion, known as Schloss Lutz; the factories, which produced weapons, medicine, and textiles; an important newspaper syndicate; and (perhaps you've already deduced) this very \"institution\" -- the Grand Budapest Hotel.<\/dialogue>\n    <scene_description>Zero, Agatha, Herr Becker, Mr. Mosher, and Anatole watch, entertained, from the gallery. INSERT: The front page of the Trans-Alpine Yodel. Headline: Cleared of All Charges A photograph shows M. Gustave with the entire staff posing in front of the Grand Budapest. A column below the fold reads, \"Son of Murdered Countess Disappears without Trace.\" CUT TO: Zero behind the concierge desk. He now wears a uniform identical to M. Gustave's. He rattles off instructions to Mr. Mosher, Herr Becker, Anatole, and M. Chuck.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>He anointed me his successor; and, as the war continued, I served my adopted country from the narrow desk still found against the wall in the next room.<\/dialogue>\n    <scene_description>Across the lobby, M. Gustave sits drinking a cocktail with a beautiful, begemmed, ninety-year-old woman. His hand rests on her thigh.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>He was the same as his disciples: insecure, vain, superficial, blonde, needy. In the end, he was even rich.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUNTAIN RANGE. DAY<\/stage_direction>\n    <scene_description>The facade of the Grand Budapest at sunset. The camera glides along the path through the plot of edelweiss and buttercups.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>He did not succeed, however, in growing old -- nor did my darling Agatha. She and our infant son would be killed two years later by the Prussian grippe. (An absurd little disease. Today, we treat it in a single week; but, in those days, many millions died.)<\/dialogue>\n    <scene_description>The camera comes to a stop as it reveals the view from the iron-lattice terrace over the crevasse alongside the cascade. Zero and Agatha hold hands while M. Gustave reads from a Bible, officiating. The other witnesses are: the staff of the hotel and the concierges of the Society of the Crossed Keys.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN COMPARTMENT. DAY<\/stage_direction>\n    <scene_description>A first-class state-room on the express to Lutz. M. Gustave, Zero, and Agatha each hold a glass of chilled, white wine.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>On the first day of the occupation, the morning the independent state of Zubrowka officially ceased to exist, we traveled with M. Gustave to Lutz.<\/dialogue>\n    <scene_description>M. Gustave checks the color of the wine in the light. It is excellent. Pause.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>In answer to your earlier question, by the way: of course.<\/dialogue>\n    <scene_description>Zero looks slightly puzzled. M. Gustave explains, aside, to Agatha:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Zero asked me about my humble beginnings in the hotel trade.<\/dialogue>\n    <parenthetical>(to Zero and Agatha both)<\/parenthetical>\n    <dialogue>I was, perhaps, for a time, considered the best Lobby Boy we'd ever had at the Grand Budapest. I think I can say that. This one --<\/dialogue>\n    <parenthetical>(pointing to Zero)<\/parenthetical>\n    <dialogue>-- finally surpassed me. Although, I must say, he had an exceptional teacher.<\/dialogue>\n    <character>ZERO<\/character>\n    <parenthetical>(with great affection)<\/parenthetical>\n    <dialogue>Truly.<\/dialogue>\n    <character>AGATHA<\/character>\n    <parenthetical>(reciting)<\/parenthetical>\n    <dialogue>\"Whence came these two, radiant, celestial brothers, united, for an instant, as they crossed the stratosphere of our starry window? One from the East, and one from the West.\"<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <parenthetical>(impressed)<\/parenthetical>\n    <dialogue>Very good.<\/dialogue>\n    <scene_description>M. Gustave kisses Agatha's hand. Zero frowns.<\/scene_description>\n    <character>ZERO<\/character>\n    <dialogue>Don't flirt with her.<\/dialogue>\n    <parenthetical>(suddenly)<\/parenthetical>\n    <dialogue>Why are we stopping at a barley field again?<\/dialogue>\n    <scene_description>The train has, in fact, come to a halt in the middle of nowhere again -- but, this time, outside the window, there are tanks, trucks, and a hundred soldiers in black uniforms with long coats. M. Gustave, Zero, and Agatha stare out at them, uneasy.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>I find these black uniforms very drab. I suppose they're meant to frighten people, but --<\/dialogue>\n    <scene_description>Three soldiers appear in the compartment doorway. They are stocky, thick-necked, and armed with carbine rifles. M. Gustave says with his usual air of fancy-meeting-you- here:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Well, hello there, chaps. We were just talking about you.<\/dialogue>\n    <character>SOLDIER #1<\/character>\n    <parenthetical>(blankly)<\/parenthetical>\n    <dialogue>Documents, please.<\/dialogue>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>With pleasure -- as always.<\/dialogue>\n    <scene_description>M. Gustave and Agatha withdraw their passports and present them to the soldier. The soldier flips through them.<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>You're the first of the enemy forces to whom we've been formally introduced. How do you do?<\/dialogue>\n    <scene_description>The soldier ignores this comment. He returns the passports to M. Gustave and Agatha and looks to Zero. Zero nervously hands him his little scrap of paper. The soldier frowns and studies it. M. Gustave smiles. He says lightly:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>Plus \u00e7a change, am I right?<\/dialogue>\n    <parenthetical>(to the soldier)<\/parenthetical>\n    <dialogue>That's a Migratory Visa with Stage Three Worker Status, darling. Read this.<\/dialogue>\n    <scene_description>M. Gustave hands the soldier Henckels' special document. The soldier shows it to his associates. They confer rapidly at a whisper. There is some debate. Before M. Gustave can work his magic -- the soldier rips the special document to shreds. Pause. M. Gustave looks to Zero. Zero and Agatha are both stunned and frightened. M. Gustave seems to smile very slightly, reassuring them, and somehow sends a sincere, private message: Good luck. M. Gustave's jaw hardens. He pegs his glass of wine at the soldier, shattering it, and explodes:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>You filthy, goddamn, pock-marked, fascist assholes!<\/dialogue>\n    <scene_description>M. Gustave is instantly on his feet, tussling. Zero jumps up to intervene, trying to calm everyone down -- and is immediately bashed in the face with the stock of a rifle and dropped to the floor, out cold. M. Gustave shouts and struggles. Agatha screams.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <dialogue>There are still faint glimmers of civilization left in this barbaric slaughterhouse that was once known as humanity.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR. DAY<\/stage_direction>\n    <scene_description>The three soldiers whisk M. Gustave, now in hand-cuffs, out of the compartment and man-handle him down the length of the coach while he shouts furiously, berating them:<\/scene_description>\n    <character>M. GUSTAVE<\/character>\n    <dialogue>I give you my word: I'll see all three of you dishonorably discharged, locked-up in the stockade, and hanged by sundown!<\/dialogue>\n    <parenthetical>(screaming in rage)<\/parenthetical>\n    <dialogue>Where is your commanding officer?<\/dialogue>\n    <scene_description>CUT TO: Zero with his head out the window of the once-again speeding train. A significant volume of blood runs from his forehead around his eye and down into his shirt- collar, soaked deep red. He clutches his little scrap of paper in his fist. The wind rustles against his neck. His mouth is open. His face is frozen. Tears stream down his cheeks.<\/scene_description>\n    <character>MR. MOUSTAFA (V.O.)<\/character>\n    <parenthetical>(re: \"glimmers of civilization\")<\/parenthetical>\n    <dialogue>He was one of them. What more is there to say?<\/dialogue>\n    <scene_description>Agatha, also in tears, pulls Zero back inside. CUT TO: The dining room. Mr. Moustafa and the author sit in front of their desserts: Courtesans au chocolat. They are the last remaining guests in the giant restaurant. A waiter sets places for breakfast at tables in the background. Two glasses of sweet wine are served. Mr. Moustafa and the author sip them. The author asks gently:<\/scene_description>\n    <character>AUTHOR<\/character>\n    <dialogue>What happened in the end?<\/dialogue>\n    <character>MR. MOUSTAFA<\/character>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>In the end, they shot him.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>So it all went to me.<\/dialogue>\n    <scene_description>Mr. Moustafa smiles sadly. He and the author begin to eat their confections in silence. They appear to enjoy them very much.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY. NIGHT<\/stage_direction>\n    <scene_description>The room is deserted, and the lights have been dimmed. Mr. Moustafa and the author wait at the concierge desk. It is not occupied.<\/scene_description>\n    <character>AUTHOR (V.O.)<\/character>\n    <dialogue>After dinner, we went to collect the keys to our rooms -- but M. Jean had abandoned his post.<\/dialogue>\n    <scene_description>Mr. Moustafa looks around. He shrugs. He says, bittersweet:<\/scene_description>\n    <character>MR. MOUSTAFA<\/character>\n    <dialogue>I expect he's forgotten all about us.<\/dialogue>\n    <scene_description>Mr. Moustafa winks at the author and slips around behind the concierge desk.<\/scene_description>\n    <character>AUTHOR (V.O.)<\/character>\n    <dialogue>In recent years, of course, such properties and holdings as the Grand Budapest had with very few exceptions become -- common property.<\/dialogue>\n    <scene_description>Mr. Moustafa takes great pleasure as he: opens a drawer and tidies up its contents slightly; pulls a stack of envelopes out of a slot, flips through them, and hands one to the author; straightens \"Boy with Apple\" slightly; then takes two keys off their hooks.<\/scene_description>\n    <character>AUTHOR (V.O.)<\/character>\n    <dialogue>While the precise terms of his negotiation with the new government had never been announced, the result was an open secret: Zero Moustafa had traded a great and important fortune in exchange for one costly, unprofitable, doomed hotel. Why?<\/dialogue>\n    <scene_description>INSERT: The author's room key as Mr. Moustafa places it onto the desk. It is labelled M. GUSTAVE SUITE.<\/scene_description>\n    <character>AUTHOR (V.O.)<\/character>\n    <dialogue>Was it merely sentimental?<\/dialogue>\n    <scene_description>Mr. Moustafa holds the author by the arm with two hands as the author walks him the length of the room to the elevator.<\/scene_description>\n    <character>AUTHOR (V.O.)<\/character>\n    <dialogue>It was quite forward of me and a bit out of character, but I felt I must know -- for my health, I suppose. I took the plunge.<\/dialogue>\n    <scene_description>CUT TO: One minute later. Mr. Moustafa and the author stand at the entrance to the elevator facing each other. Silence. The author says suddenly, slightly worried:<\/scene_description>\n    <character>AUTHOR<\/character>\n    <dialogue>Forgive me for asking. I hope I haven't upset you.<\/dialogue>\n    <character>MR. MOUSTAFA<\/character>\n    <parenthetical>(dismissing it)<\/parenthetical>\n    <dialogue>Of course, not.<\/dialogue>\n    <character>AUTHOR<\/character>\n    <parenthetical>(long pause)<\/parenthetical>\n    <dialogue>Is it simply your last connection to that -- vanished world? His world, if you will?<\/dialogue>\n    <character>MR. MOUSTAFA<\/character>\n    <parenthetical>(doubtful)<\/parenthetical>\n    <dialogue>His world?<\/dialogue>\n    <scene_description>Mr. Moustafa considers this. He shakes his head slowly.<\/scene_description>\n    <character>MR. MOUSTAFA<\/character>\n    <dialogue>No, I don't think so. You see, we shared a vocation. It wouldn't have been necessary. He's always with me.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>No, the hotel -- I keep for Agatha.<\/dialogue>\n    <scene_description>Mr. Moustafa pulls up his lapel slightly and shows the author Agatha's crossed-keys pendant pinned to his jacket. He hides it away again.<\/scene_description>\n    <character>MR. MOUSTAFA<\/character>\n    <dialogue>We were happy here. For a little while.<\/dialogue>\n    <scene_description>The author nods solemnly. Mr. Moustafa presses a button to call the elevator. It immediately opens. He starts to enter -- but puts up his hand to hold the door as he stops, turns back, and says:<\/scene_description>\n    <character>MR. MOUSTAFA<\/character>\n    <dialogue>To be frank, I think his world had vanished long before he ever entered it -- but, I will say: he certainly sustained the illusion with a marvelous grace!<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Are you going up?<\/dialogue>\n    <character>AUTHOR<\/character>\n    <parenthetical>(politely)<\/parenthetical>\n    <dialogue>No, I'll sit for a little while. Good night.<\/dialogue>\n    <character>MR. MOUSTAFA<\/character>\n    <dialogue>Good night.<\/dialogue>\n    <scene_description>Mr. Moustafa steps inside. He presses a button and the doors close. The author stands still, staring into space. He sniffs the air. He smiles sadly.<\/scene_description>\n    <character>AUTHOR (V.O.)<\/character>\n    <dialogue>The next week, I sailed for a cure in South America and began a long, wandering journeySyntax Warning: Invalid Font Weight<\/dialogue>\n    <scene_description>abroad. I did not return to Europe for many years.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL. NIGHT<\/stage_direction>\n    <scene_description>The entrance at midnight. A doorman sweeps the steps below the front door. Only one room's light is illuminated: a little window at the far edge of the top floor.<\/scene_description>\n    <character>AUTHOR (V.O.)<\/character>\n    <dialogue>It was an enchanting, old ruin -- but I never managed to see it again.<\/dialogue>\n    <scene_description>The light goes out. CUT TO: The lobby. The author sits alone in an armchair in the deserted room writing in a small note-book. CUT TO: The study. The author (at seventy-five) sits in an armchair writing in an identical small note-book. The six-year-old boy plays with an army of metal soldiers on the floor beside him. CUT TO: The park. The girl in the trench coat and beret sits on a bench near the statue of the author. She is just finishing the final chapter of: THE GRAND BUDAPEST HOTEL:<\/scene_description>\n    <character>FOXSEARCHLIGHT.COM\/AWARDS<\/character>\n    <dialogue>Released by Twentieth Century Fox \u00a9 2014 Twentieth Century Fox<\/dialogue>\n  <\/scene>\n<\/script>","summary":"In a cemetery in the former nation of Zubrowka, a woman visits the shrine of a renowned writer, known simply as \"Author\", reading his most-cherished book: The Grand Budapest Hotel. The book, written in 1985, recounts the 1968 vacation of the young writer at the once-grand, then-drab hotel. There, he meets its owner, Zero Moustafa, who tells his rags to riches story at dinner. In 1932, Zero is an illegal refugee escaping a war waged by a fascist regime, which killed his entire family. He is hired as a lobby boy supervised by Monsieur Gustave H., the hotel's concierge. Gustave strikes up affairs with old, wealthy clients, including dowager Madame C\u00e9line Villeneuve Desgoffe-und-Taxis (known as Madame D.), who secretly owns the hotel. She mysteriously dies a month after her last hotel visit so Gustave and Zero visit her estate, where relatives come for the reading of her will. There, her attorney, Deputy Vilmos Kovacs, announces a recent codicil which bequeaths the famous Renaissance painting Boy with Apple to Gustave. Madame D.'s son and an agent of the regime, Dmitri, refuses to let it happen. Gustave and Zero abscond with the painting, hiding it in a safe in the Grand Budapest. After a testimony by Madame D.'s butler Serge X, Gustave is arrested by Inspector Alfred J. Henckels for Madame D.'s murder; Serge then goes into hiding. Gustave befriends a gang during his imprisonment and provides them with pastries from Mendl's, a well-known bakery. After extensive research of the prison, one of Gustave's cellmates, Ludwig, tells the gang that they can escape via a storm-drain sewage system. Convinced to join the prison break, Gustave has Zero place hammers, chisels, and sawblades inside pastries made by Agatha, an apprentice of Herr Mendl and Zero's fianc\u00e9e. The guard responsible for checking contraband cannot bring himself to break open the pastries since Mendl's pastries are works of art. During the prison break, the group of convicts runs into guards who secretly gamble at night, but convict Gunther is forced to sacrifice himself to dispatch the guards. The rest of the group manages to escape and disperse. Meanwhile, Dmitri sends his hitman, J. G. Jopling, to kill Kovacs after questioning his loyalty, as well as Serge's sister for hiding his whereabouts. When Zero and Gustave are reunited, they set out to prove Gustave's innocence with the assistance of a fraternity of concierges known as the Society of the Crossed Keys, which locates Serge and facilitates a meeting between him, Gustave and Zero. Serge reveals that he was pressured to implicate Gustave by the real killer, Dmitri, and that Madame D. had a missing second will, which would only take effect should she be murdered. Jopling arrives and kills Serge, leaving Gustave and Zero without a witness, then tries to flee. After a chase through the snow, Gustave is left dangling of a cliff at the mercy of Jopling. Before it is too late, Zero rescues Gustave by pushing Jopling off the cliff, and the two men continue their escape from swarming Zubrowkan troops led by Henckels. Gustave, Zero, and Agatha return to the Grand Budapest to find it converted into a fascist headquarters by Dmitri. Agatha sneaks in to retrieve the painting but is spotted by Dmitri. Gustave and Zero rush in to save Agatha, but Dmitri shoots at them and initiates a melee with Zubrowkan troops, which Henckels stops. At the back of the painting, Agatha finds Madame D.'s second will, which makes Gustave the hotel owner. He is exonerated in court, while Dmitri becomes the main suspect and flees the country. Over time, Gustave becomes one of the wealthiest Zubrowkans, and Zero and Agatha are wed. However, while the three are later traveling by train, soldiers come by and destroy Zero's refugee documents; Gustave tries to fend them off but is killed. His own will bequeaths the hotel and his fortune to Zero. He maintains the Grand Budapest up to its eventual demolition in memory of Agatha who, like their infant son, died from Prussian Grippe."}
{"movie_name":"Sunshine_2007","imdb_id":"tt0448134","script":"<script>\n  <scene>\n    <scene_description>\u2022 StmSHINB v.01 Copyright Alex Garland January 2004 OPEN ON:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE SURFACE OP THE SUN<\/stage_direction>\n    <scene_description>It never coalesces. It's something we can't quite comprehend. Too much power, too massive, too ancient. The image boils and rages, and is completely hypnotic. The noise is overwhelming. over this, the TITLE:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE SUN<\/stage_direction>\n    <scene_description>\u2022\u2022\u2022 The curve of the sun against the dark of space, where solar flares arc thousands of miles, before the vast gravity of the star pulls them back \u2022\u2022\u2022<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE<\/stage_direction>\n    <scene_description>\u2022\u2022\u2022 Now tens of millions of miles distant from the star, where the sound of fission and countless rolling nuclear detonations are silenced by the vacuum \u2022\u2022\u2022<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ICARUS II<\/stage_direction>\n    <scene_description>\u2022\u2022\u2022 a SPACESHIP is heading towards the sun. The ship is curved and organic in its design, with bulky flanks that look as if they can detach from the rest of the vessel. Most striking of all, the ship is covered in mirrored panels, similar to fish scales. The mirrored panels cover the entire surface of the ship, except for the window portals, and a geodesic dome situated towards the back. These portals and the dome are constructed with a thick half-mirrored glass. The distances involved are so huge between the ship and the sun that it hardly seems to be moving. But as we get closer, and we see space dust and particles flash past or colliding with the hull, detonating and burning under the impact and friction, we realise that in fact the ship is travelling at an extraordinarily fast speed. on the SPACESHIP'S side is its name: ICARUS II. INT. RECREATI:Olf .ROOll In the RECREATIONROOMof the ICARUS II, two men sit either side of a small table, arms folded, their faces a picture of deep thought. The first, and older, of these two men is CAPTAINASHER. The ICARUS II is under his command.\u00b7 He's a career astronaut. Implacable, calm, experienced. The younger of the two men is CAPA. CAPA is a career physicist. In contrast to ASHER, CAPA is thin, young, nervy, and looks unkempt. He has a couple of weeks beard-growth, and his hair is a bedraggled. Between them is a CHESS BOARD- sparse pieces, scattered. The end game. Silence. No movement from either of them. The moment is held. And held. Finally, CAPA puffs out his cheeks and expels \u00b7 a loud sigh. He reaches for his KING, and tips it over. He has RESIGNED. ASHER nods.<\/scene_description>\n    <character>ASHER<\/character>\n    <dialogue>Good game.<\/dialogue>\n    <scene_description>They shake hands. CAPA checks his watch.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>Three and a half hours.<\/dialogue>\n    <character>ASHER<\/character>\n    <dialogue>A long one.<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>Really takes it out of you. All that concentration.<\/dialogue>\n    <character>ASHER<\/character>\n    <dialogue>It does.<\/dialogue>\n    <scene_description>A moment. Then silently both men start to reset the board to play again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OXYGENGARDEN<\/stage_direction>\n    <scene_description>CORAZON,a woman in her early thirties, a Biologist, kneels beside a tall tree fern, using secateurs to trim away dead fronds-. In fact, she is surrounded by ferns, of all species and sizes. The ground is a carpet of mosses. CORAZONlooks as if she is in a prehistoric jungle, except that above her .is a geodesic dome, behind which is outer space and the constellation of stars.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLIGHT DECK<\/stage_direction>\n    <scene_description>On the flight deck of the ICARUS II, two more astronauts sit in front of their instrument panel, which glitters with back- lit displays and switches. These are MACEand CASSIE - flight crew, in the PILOT and CO- PILOT seats \u2022 But-neither have their seat-straps on, or look like they are doing much in the way of piloting. MACEhas his seat reclined, and is dozing with his chin on his chest and his feet propped up on the instrument panel. CASSIE is reading a book. The book is LADYCHATTERLY'SLOVER. MACEstirs in his sleep, and his foot shifts \u2022\u2022\u2022 \u2022\u2022. flicking a switch to 'off' position with his heel. CASSIE, engrossed in her novel, hasn't noticed. Nothing happens for a couple of moment~. Then:<\/scene_description>\n    <character>ELECTRONICVOICE<\/character>\n    <dialogue>Warning. Coolant from port stabiliser redirected to rear engines. No extra coolant in rear engines \u2022required. Recommend coolant redirection is cancelled.<\/dialogue>\n    <scene_description>CASSIE, unconcerned, not looking up from her book:<\/scene_description>\n    <character>CASSIE<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <scene_description>The switch flicks itself back. \u2022, ELECTRONIC VOICE t~ ,.,- Coolant redirection cancelled. K:;\u00b7, CASSIE doesn't bother to respond \u2022\u2022\u2022 \u2022\u2022\u2022 but does reach out with her hand to swipe at MACE'S legs. Grumbling through his sleep, MACEtakes his feet off the instrument panel, and rolls over on to his side.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>SLEEPING QUARTERS<\/dialogue>\n    <scene_description>Another two crew are asleep in their bunks, visible only as s\u00b7ilhouettes behind their frosted-glass privacy partitions. We can't see them, but the names on their bunks read: HARVEYand TREY.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>OBSERVATION ROOK<\/dialogue>\n    <scene_description>The Observation room is three walls and a huge window. The room is at the most forward position of the ICARUS II, therefore this window faces the sun. But the window is darkened greatly. The sun is only visible as a dull orange orb surrounded by blackness. The room itself is only lit by the dull orange \u2022\u2022\u2022 \u2022\u2022\u2022 but in the gloom, sitting on the observation couch, facing the window, we can see a man. SEARLE - the doctor and psychiatrist of ICARUS II.<\/scene_description>\n    <character>SEARLE<\/character>\n    <dialogue>Icarus. 0<\/dialogue>\n    <scene_description>The ELECTRONICVOICE, the voice of ICARUS, replies<\/scene_description>\n    <character>ICARUS<\/character>\n    <dialogue>Yes, Doctor Searle.<\/dialogue>\n    <character>SEARLE<\/character>\n    <dialogue>Please re-filter the observation room portal.<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>Filter up or down, Doctor Searle?<\/dialogue>\n    <character>SEARLE<\/character>\n    <dialogue>Up.<\/dialogue>\n    <scene_description>And the light levels dial up. The room brightens considerably. We can see SEARLE clearly now. He is the oldest crew-member - in his mid-forties. He gazes at the sun, fascinated. Though still distant, the star is much larger and closer than we have ever seen it on Earth. SEARLE is as hypnotised by the sight as we were during the opening sequence.<\/scene_description>\n    <character>SEARLE<\/character>\n    <dialogue>Icarus - how close is this to full brightness?<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>At this distance of thirty six million miles, you are observing the sun at two percent of full brightness.<\/dialogue>\n    <character>SEARLE<\/character>\n    <dialogue>{smiling)<\/dialogue>\n    <scene_description>Two percent \u2022\u2022\u2022 can you show me four percent?<\/scene_description>\n    <character>ICARUS<\/character>\n    <dialogue>Four percent would result in irreversible damage to your retinas. However, you could observe three point one percent, for a period of not longer than thirty seconds.<\/dialogue>\n    <scene_description>A moment. \u2022<\/scene_description>\n    <character>SEARLE<\/character>\n    <dialogue>Icarus - please change filter to thre~ point one percent.<\/dialogue>\n    <scene_description>An amazing blast of bleaching brightness fills the room. SEARLE sucks in a gasp, like a man diving into ice water. FADB 'l'O WHITE. IN'l'. MESS In the MESS, the entire- crew of ICARUS II are sitting down to eat. SEARLE sits with CAPA and CORAZON.<\/scene_description>\n    <character>SEARLE<\/character>\n    <dialogue>It's invigorating. It's like taking a shower. In light.<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>Sounds weird.<\/dialogue>\n    <character>SEARLE<\/character>\n    <dialogue>It is. You lose yourself a little.<\/dialogue>\n    <character>CORAZON<\/character>\n    <dialogue>Like a floatation tank.<\/dialogue>\n    <character>SEARLE<\/character>\n    <dialogue>Actually, no. For psych-tests on deep space, I've run many sensory deprivation trials, testing total darkness in floatation tanks. The point about darkness is: you float in it. You and the darkness are distinct from each other because darkness is a vacuum, an absence of something, whereas we are something.<\/dialogue>\n    <scene_description>SEARLEpauses.<\/scene_description>\n    <character>SEARLE<\/character>\n    <dialogue>But total light - it envelopes you. It swallows you up. It becomes you.<\/dialogue>\n    <scene_description>SEARLElaughs.<\/scene_description>\n    <character>SEARLE<\/character>\n    <dialogue>Anyway. It's very strange \u2022. I recommend it.<\/dialogue>\n    <scene_description>MACEis passing with his tray of food.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>What\u2022 s strange is, you' re the psych- \u00b7 officer on this ship, and I'm clearly a lot saner than you.<\/dialogue>\n    <scene_description>Now FOLLOWINGMACB\u2022 \u2022\u2022 \u2022 \u2022 \u2022 who sits with ASHER, CASSIE and HARVEY.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>So - in case you hadn't noticed \u2022\u2022\u2022<\/dialogue>\n    <character>ASHER<\/character>\n    <dialogue>I had. The solar wind reading is higher than we'd anticipated at this distance.<\/dialogue>\n    <scene_description>All look to HARVEY- Comms officer.<\/scene_description>\n    <character>HARVEY<\/character>\n    <dialogue>For the moment, we can still send package messages back. High frequency bursts will rise above the interference, and the moon stations will pick them up okay \u2022\u2022\u2022<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But it's possible that within forty eight hours we won't be able to communicate at all.<\/dialogue>\n    <character>ASHER<\/character>\n    <dialogue>Possible?<\/dialogue>\n    <character>HARVEY<\/character>\n    <dialogue>Probable.<\/dialogue>\n    <scene_description>CASSIE gives a little shiver.<\/scene_description>\n    <character>CASSIE<\/character>\n    <dialogue>We'll be on our own.<\/dialogue>\n    <scene_description>MACEshrugs.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>We're fifty five million miles from Earth. We're already on our own.<\/dialogue>\n    <scene_description>All in the mess room have now fallen quiet. They listen to ASHERspeak.<\/scene_description>\n    <character>ASHER<\/character>\n    <dialogue>We were all expecting this. No great drama - we're just flying into the dead-zone seven days earlier than we thought. But if any of you were planning on sending a final message home, you might want to get on it now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMSCUB:ICLE<\/stage_direction>\n    <scene_description>CAPA sits in a small cubicle, facing a screen, which shows his own face looking -back at him. The image on the screen is frozen, and of low resolution. The door to the cubicle is clear glass, and behind it we can see the COMMUNICATION CENTER. In the Cornms Center are MACE, TREY and HARVEY. They are talking, but the glass door is fully soundproofed and we can't hear what they're saying. CAPA hits a button on the console in front of him, and the image on the screen begins to play.<\/scene_description>\n    <character>CAPA RECORDING<\/character>\n    <dialogue>Well. Mum and Dad. I hope you're proud of your son, saving mankind and so on. Don't be hard on my big sister just because she isn't saving mankind. Listen - being a full-time housewife makes her just as deserving of your love and respect as me.<\/dialogue>\n    <scene_description>(beat} Did I mention I was saving mankind? (beat) Sis - guess what? I miss your cooking. I hope Maxwell is doing okay. Kiss the kids from me. And kiss John too. CAPA RECORDING(cont'd} A big kiss, right on lips. With tongues. I know he likes that. (beat) It takes about eight minutes for light to travel from the sun to Earth. Which means you' 11 know if we succeeded about eight minutes after we deliver the payload. All you have to do is look out for a little extra brightness in the sky. So if you wake up one morning, and it's a particularly beautiful day \u2022\u2022\u2022 (shrugs) you'll know we made it. (beat) See you in a couple of years. The recording ends. CAPA looks at his frozen face a couple more moments. His finger hovers midway between two buttons on the console: DELETE and SEND. He presses 'SEND'.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ICARUS II<\/stage_direction>\n    <scene_description>ICARUS II flies through space. With an effect similar to Northern Lights, the glow of the SOLARWINDkicks up and flickers around the hull.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OBSERVATIONROOM<\/stage_direction>\n    <scene_description>CORAZONenters the observation room. It is extremely bright. She winces, shielding her eyes.<\/scene_description>\n    <character>CORAZON<\/character>\n    <dialogue>Icarus, dial it down a little, will you?<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>Yes, Corazon.<\/dialogue>\n    <scene_description>The light fades to a lower level, revealing something that was too bright to see previously \u2022\u2022\u2022 Sitting on the observation couch is CAPTAIN ASHER. His eyes are wide, a little glazed. He looks almost in a trance.<\/scene_description>\n    <character>CORAZON<\/character>\n    <dialogue>Captain?<\/dialogue>\n    <scene_description>ASHERblinks, and rubs at his eyes.<\/scene_description>\n    <character>CORAZON<\/character>\n    <dialogue>I'm guessing you've been talking to Searle.<\/dialogue>\n    <scene_description>ASHERlooks towards CORAZON,and seems to take a few moments to actually see her.<\/scene_description>\n    <character>ASHER .<\/character>\n    <dialogue>Did you send a package back?<\/dialogue>\n    <character>CORAZON<\/character>\n    <dialogue>I did. To my husband. You?<\/dialogue>\n    <character>ASHER<\/character>\n    <dialogue>I said my goodbyes before I left.<\/dialogue>\n    <character>CORAZON<\/character>\n    <dialogue>I didn't realise I was saying goodbye.<\/dialogue>\n    <scene_description>ASHER smiles perfunctorily.<\/scene_description>\n    <character>ASHER<\/character>\n    <dialogue>How are the ferns holding up?<\/dialogue>\n    <character>CORAZON<\/character>\n    <dialogue>Fine. Very high productivity. In - fact, their productivity is going up. It will tail off dramatically when we get nearer. But in truth, we already have the reserves to make it there, and quarter-way back.<\/dialogue>\n    <scene_description>(beat} You're thinking about Icarus One. ASHER says nothing. CORAZON Whatever it was that tripped them up, I can tell you it wasn't lack of oxygen. Not on the outward journey, at any rate.<\/scene_description>\n    <character>ASHER<\/character>\n    <dialogue>I'll tick it off my list.<\/dialogue>\n    <scene_description>'. '<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMS<\/stage_direction>\n    <character>CENTER<\/character>\n    <dialogue>CLOSE UP on:<\/dialogue>\n    <dialogue>The faces of CAPA and MACE. They are right next to each other, temples crushed together. Both men are straining, teeth gritted, eyes blazing. It takes a moment to realise they are FIGHTING in the COMMUNICATION<\/dialogue>\n    <scene_description>CENTER.: MACE - much bigger and stronger than CAPA - has CAPA in a headlock. MACE suddenly swings CAPA around in a judo throw and slams him hard onto the floor. Then he's on CAPA, swinging his fist, punching CAPA in the face \u2022.\u2022 Then he's being hauled off by HARVEYand TREY.<\/scene_description>\n    <character>TREY<\/character>\n    <dialogue>Mace - what the Hell are you doing?<\/dialogue>\n    <character>MACE<\/character>\n    <parenthetical>(struggling, yelling at Capa)<\/parenthetical>\n    <dialogue>Little fucking prick! Mother fucker!<\/dialogue>\n    <scene_description>HARVEYand TREY pin MACE against the wall as CAPA scrambles baekwards.<\/scene_description>\n    <character>HARVEY<\/character>\n    <dialogue>Mace! Cut it outl<\/dialogue>\n    <character>MACE<\/character>\n    <dialogue>He took three quarters of a fucking hour in there! Now the fucking wind is too high for me to send my package home!<\/dialogue>\n    <character>CAPA<\/character>\n    <parenthetical>(wiping blood off his mouth and nose)<\/parenthetical>\n    <character>CAPA<\/character>\n    <dialogue>I'm sorry! I didn't realise I was taking so 1.ong!<\/dialogue>\n    <character>MACE\u00b7<\/character>\n    <dialogue>I've got kids! What if I never get a chance to talk to them again?<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>I'm sorry! I'm sorry!<\/dialogue>\n    <scene_description>IBT. MED CENTER MACEsits opposite SEARLE. MACEis nursing his knuckles in one hand, breathing hard. Silence between the two men. Eventually:<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>So how does this work?<\/dialogue>\n    <scene_description>SEARLE says nothing.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>Am I supposed to tell you about my childhood?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAPTAIN'S QUARTERS<\/stage_direction>\n    <scene_description>ASHER sits in his CAPTAIN'S QUARTERS. He's looking at a screen. On the screen, we can see it is a live feed from the MED CENTER, where MACEis tal.king to SEARLE. ASHER's face is blank, unreadable as he listens in on what MACEis saying \u2022\u2022.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>One way to look at it is one flare- up in sixteen months isn't bad. We're humans, right? This is what we do. We. \u2022 \u2022 make mistakes.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>It doesn't matter how high the stakes, no matter how \u00b7hard you try \u2022..<\/dialogue>\n    <scene_description>(beat) . I mean - look at us.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>.We're the key component part of the most important action that man has<\/dialogue>\n    <scene_description>ever undertaken. But Capa decides he doesn't want to shave or cut his hair. \u00b7 I fall asleep on duty. Cassie reads the same book over and over. Asher stares at a chess board all day. And Corazon talks to her plants .\u2022\u2022 (beat) Sixteen months is a long time. (beat) But I messed up. MACEturns to look directly at the screen - and we realise he knows he is being watched.<\/scene_description>\n    <character>MACE \u00b7<\/character>\n    <dialogue>It isn't going to happen again.<\/dialogue>\n    <scene_description>7NT. RECREATIONROOM CAPA sits alone. His lip is split, but the cut is small and has dried over. MACE enters. CAPA looks round. A moment between them.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>Mace. I really am sorry. I should have let you go first, and \u2022\u2022\u2022<\/dialogue>\n    <character>MACE<\/character>\n    <parenthetical>(cutting in)<\/parenthetical>\n    <dialogue>Hey. It's me. I'm the one apologising, okay?<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>\u2022\u2022\u2022 Okay.<\/dialogue>\n    <scene_description>MACE sits opposite CAPA.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>Searle told me why I lost my temper. Apparently I've got unresolved anger issues with my Dad.<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>MACE<\/character>\n    <dialogue>No. It turns out I'm just a fucking idiot.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMS CBNTBR<\/stage_direction>\n    <scene_description>HARVEYsits in the COMMSCENTER. We can hear the fuzz sound of radio static. But behind the static is another noise - looping, arcing tones and pitches. This is the \u00b7sound of the interference caused by SOLAR W~ND. HARVEYis checking through digital frequencies. The intensity\u00b7of the static in relation to the solar wind varies, but neither can be cancelled entirely. HARVEYspeaks into a microphone.<\/scene_description>\n    <character>HARVEY<\/character>\n    <dialogue>Icarus Two to Moon Stations. This package timed at fifteen thirty two; day four hundred and eight four, conns delay at five minutes and seventeen seconds. Total radio silence now for four hours and eleven minutes. Please respond.<\/dialogue>\n    <scene_description>Long beat.<\/scene_description>\n    <character>HARVEY<\/character>\n    <dialogue>Icarus Two to Moon Stations. This package timed at fifteen thirty three, day four eight four, comms delay at five minutes and seventeen seconds. Total radio silence .now for four hours and \u2022\u2022\u2022<\/dialogue>\n    <scene_description>HARVEYbreaks off.<\/scene_description>\n    <character>HARVEY<\/character>\n    <dialogue>Twelve minutes.<\/dialogue>\n    <scene_description>Long beat.<\/scene_description>\n    <character>HARVEY<\/character>\n    <dialogue>Please respond.<\/dialogue>\n    <scene_description>Long beat.<\/scene_description>\n    <character>HARVEY<\/character>\n    <parenthetical>(quiet)<\/parenthetical>\n    <dialogue>Okay.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Moon stations. This is Icarus Two. Signing out \u2022 .<\/dialogue>\n    <scene_description>HARVEYhits a button and the sound of the static cuts dead. Now we can only hear the SOLARWIND. The noise is strange, abstract but almost melodic. HARVEYremains sitting in his chair, listening.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ICARUS II<\/stage_direction>\n    <scene_description>Hearing the SOLARWIND, seeing the NORTHERN LIGHTS effect \u2022\u2022\u2022 \u2022\u2022\u2022 Looking down through the Geodesic dome, where CORAZON kneels by her plants \u2022\u2022\u2022 Then looks straight up at us \u2022\u2022\u2022 CUT TO: BXT. ICARUS II \u2022\u2022\u2022 Looking back at the nose of ICARUS II, where, in the very center of the nose, we can see the portal to the Observation Room \u2022\u2022\u2022 where SEARLE sits, looking out at us, bathed in light. ~NT. FLIGHT DECK CASSIE sits in the pilot's seat. Her dog-eared copy of LADYCHATTERLY'SLOVERis face down on the console, folded open . about two thirds through the text. She has a wide portal in front of her, similar to the portal to the Observation Room, but this is cluttered with the symbols and readings of a HEADSUP DISPLAY. Behind her, TREY - the Navigation Officer - sits at a back- lit NAVIGATION DISPLAY.<\/scene_description>\n    <character>CASSIE<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <scene_description>TREY doesn't look around. He is deep engrossed in calculations and readings.<\/scene_description>\n    <character>CASSIE<\/character>\n    <dialogue>Trey. You want to see something?<\/dialogue>\n    <scene_description>No response.<\/scene_description>\n    <character>CASSIE<\/character>\n    <dialogue>Trey!<\/dialogue>\n    <character>TREY<\/character>\n    <parenthetical>(distracted)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>CASSIE<\/character>\n    <dialogue>Do you want to see something?<\/dialogue>\n    <scene_description>TREY looks around.<\/scene_description>\n    <character>CASSIE<\/character>\n    <dialogue>Come here. Look.<\/dialogue>\n    <scene_description>TREY stands and walks over, and looks where CASSIE is indicating \u2022\u2022\u2022 \u2022\u2022\u2022 at the portal, which shows the sun, and the clutter of the HUD display.<\/scene_description>\n    <character>TREY<\/character>\n    <dialogue>What am I supposed to be seeing? The radiation level? Hull temperature?<\/dialogue>\n    <character>CASSIE<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>She hits a few switches, and the HUD display vanishes \u2022\u2022\u2022<\/scene_description>\n    <character>CASSIE<\/character>\n    <dialogue>There \u2022<\/dialogue>\n    <scene_description>\u2022\u2022\u2022 revealing, against one curve of the sun, a silhouetted sphere. some way distant - a planet.<\/scene_description>\n    <character>CASSIE<\/character>\n    <dialogue>Mercury.<\/dialogue>\n    <scene_description>CLOSE IN on the view of MERCURYthrough the portal.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MERCURY<\/stage_direction>\n    <scene_description>Stunning views of the sun-blasted planet \u2022\u2022\u2022 ... in space \u2022\u2022\u2022 illuminated by the ,.sun \u2022\u2022\u2022 then MERCURYand ICARUS II and the SUN behind. Df'l'. COMMSCENTER HARVEYsits in his chair, dozing with his chin on his chest \u2022. We notice HARVEYhas~ few days stubble showing. Over the speakers is the sound of the SOLARWINDS. Then, through the noise we hear: Faintly, a steady series of regularly spaced tones. on, off, on, off. CLOSE UP on HARVEY'S face. Hearing the noise through his sleep \u2022\u2022\u2022 \u2022 \u2022 \u2022 waking.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRIEFING ROOM<\/stage_direction>\n    <scene_description>The crew is filing into the BRIEFING ROOM<\/scene_description>\n    <character>\u0080\ufffd\u0080\ufffd\u0080\ufffd<\/character>\n    <dialogue>A plain room with a monitor screen on one wall, and a conference table \u2022\u2022\u2022 \u2022\u2022\u2022 where ASHER, SEARLE and HARVEYare already sat. We notice that:<\/dialogue>\n    <dialogue>CAPA'S beard and hair are a longer, and he is more bedraggled.<\/dialogue>\n    <dialogue>MACE has cut his hair very short. CORAZONhas earth and dirt embedded under her fingernails, into her fingerprints.<\/dialogue>\n    <dialogue>SEARLE is wearing sunglasses with extremely dark black-out lenses, and his skin is reddened and peeling slightly.<\/dialogue>\n    <dialogue>ASHER and SEARLEwait in silence while the others take their seats \u2022\u2022\u2022 \u2022 \u2022 \u2022 and when they have taken their seats, ASHER stands ,.<\/dialogue>\n    <character>ASHER<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>ASHERtakes another moment as they settle.<\/scene_description>\n    <character>ASHER<\/character>\n    <dialogue>Okay - here it is. As you are all aware, we've just entered orbit with Mercury, where we will be making a single full pass ~n order to make use of the planet's gravity as a sling-shot velocity boost for the final leg.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You will also be aware that we have now been out of all communication with moon stations for fifty six days.<\/dialogue>\n    <scene_description>ASHER turns to HARVEY.<\/scene_description>\n    <character>ASHER<\/character>\n    <dialogue>Harvey - you want to pick this up?<\/dialogue>\n    <scene_description>HARVEY nods.<\/scene_description>\n    <character>HARVEY<\/character>\n    <dialogue>Twenty three hours ago, while making a routine check of the comms systems \u2022\u2022\u2022<\/dialogue>\n    <scene_description>MACElaughs dryly.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>While listening to your space music.<\/dialogue>\n    <scene_description>HARVEY ignores this.<\/scene_description>\n    <character>HARVEY<\/character>\n    <dialogue>\u2022\u2022\u2022 While scanning the frequencies, I heard a transmission.<\/dialogue>\n    <scene_description>All react - including Mace.<\/scene_description>\n    <character>HARVEY<\/character>\n    <dialogue>It was hard to filter through the high background interference, but after a little time and effort, I managed to clean it up.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Icarus. Please play the audio<\/dialogue>\n    <scene_description>\u2022 file \u2022<\/scene_description>\n    <character>ICARUS<\/character>\n    <dialogue>Yes, Harvey.<\/dialogue>\n    <scene_description>over the speaker system, the AUDIO FILE begins to play. As before, we hear the regularly spaced tones come through the static and SOLAR WIND.<\/scene_description>\n    <character>HARVEY<\/character>\n    <dialogue>End file.<\/dialogue>\n    <scene_description>The AUDIO FILE stops.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>HARVEY<\/character>\n    <dialogue>It's the Icarus One. And that sound is their distress beacon.<\/dialogue>\n    <scene_description>stunned silence in the Briefing room. Then:<\/scene_description>\n    <character>CASSIE<\/character>\n    <dialogue>Jesus.<\/dialogue>\n    <character>TREY<\/character>\n    <dialogue>It's impossible. It's seven years since \u2022\u2022\u2022<\/dialogue>\n    <character>HARVEY<\/character>\n    <parenthetical>(cutting in)<\/parenthetical>\n    <dialogue>It's clearly not impossible because you can hear the beacon with your own ears.<\/dialogue>\n    <character>CASSIE<\/character>\n    <dialogue>Are you saying they're alive?<\/dialogue>\n    <character>ASHER<\/character>\n    <dialogue>We don't know.<\/dialogue>\n    <character>CORAZON<\/character>\n    <dialogue>But we know that they could be.<\/dialogue>\n    <scene_description>All eyes on CORAZON.<\/scene_description>\n    <character>CORAZON<\/character>\n    <dialogue>Their oxygen is self-replenishing. Water is recycled. They have all the solar power they need.<\/dialogue>\n    <character>MACE<\/character>\n    <dialogue>What about food? No way their supplies could have lasted seven years.<\/dialogue>\n    <scene_description>ASHER speaks again.<\/scene_description>\n    <character>ASHER<\/character>\n    <dialogue>That depends. They had food supplies.to .cover eight people for three years.<\/dialogue>\n    <character>MACE<\/character>\n    <dialogue>That's a four year shortfall. One Hell of a diet.<\/dialogue>\n    <character>ASHER<\/character>\n    <dialogue>Only if you're feeding eight. We don't know what happened to Icarus One. There might have been an accident. Or something else. There might not have been eight mouths to feed.<\/dialogue>\n    <scene_description>A beat. Then CAPA speaks for the first time.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>I have a question.<\/dialogue>\n    <character>ASHER<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>Do we know where they are?<\/dialogue>\n    <scene_description>A glance between ASHER and SEARLE.<\/scene_description>\n    <character>SEARLE<\/character>\n    <dialogue>Well done, Capa. That is the question.<\/dialogue>\n    <character>ASHER<\/character>\n    <dialogue>We do know. Yes.<\/dialogue>\n    <scene_description>The monitor screen behind ASHER lights up, to show a graphic of: The SUN, MERCURY, and ICARUS II.<\/scene_description>\n    <character>ASHER<\/character>\n    <dialogue>Icarus. Please plot our trajectory<\/dialogue>\n    <scene_description>\u2022 following the sling-shot around Mercury. The trajectory appears.<\/scene_description>\n    <character>ASHER<\/character>\n    <dialogue>Now plot the source of the Icarus One beacon.<\/dialogue>\n    <scene_description>An icon appears between Mercury and the Sun. - It is close to - but not on - the trajectory course.<\/scene_description>\n    <character>CASSIE<\/character>\n    <dialogue>Oh my God. We' re going to pass right by them.<\/dialogue>\n    <character>ASHER<\/character>\n    <dialogue>Within twenty or thirty thousand miles.<\/dialogue>\n    <character>CORAZON<\/character>\n    <dialogue>We'll be-able to see them.<\/dialogue>\n    <character>ASHER<\/character>\n    <dialogue>Through the scope. Yes.<\/dialogue>\n    <scene_description>CASSIE'S eyes suddenly well up.<\/scene_description>\n    <character>TREY<\/character>\n    <dialogue>But \u2022\u2022\u2022<\/dialogue>\n    <character>SEARLE<\/character>\n    <parenthetical>(quick)<\/parenthetical>\n    <dialogue>Yes?<\/dialogue>\n    <character>TREY<\/character>\n    <dialogue>Well - I'd need to look at all of this pretty carefully. Very carefully. But \u2022\u2022\u2022 if I had to make a guess right now \u2022\u2022\u2022<\/dialogue>\n    <parenthetical>(takes a deep breath)<\/parenthetical>\n    <dialogue>I'd say we could adjust our trajectory. We could fly straight to them.<\/dialogue>\n    <character>MACE<\/character>\n    <parenthetical>( fast, firm)<\/parenthetical>\n    <dialogue>But. We are not going to.<\/dialogue>\n    <scene_description>All eyes on MACE.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>Just to make it absolutely clear. There is literally no way we are going to do that.<\/dialogue>\n    <scene_description>All eyes still on MACE.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>What? You want me to \u00b7spell it out? We have a payload to deliver to the heart of our nearest star. We are delivering :that payload because the star is dying. And if it dies, we all die. Everything dies. So that is our mission. And there is nothing - literally nothing - more important than completing the mission. End of story.<\/dialogue>\n    <character>TREY<\/character>\n    <dialogue>He's right.<\/dialogue>\n    <character>MACE<\/character>\n    <dialogue>What do you mean: 'He's right'? Of course I'm 'right'. Is anyone here seriously thinking otherwise?<\/dialogue>\n    <scene_description>He scans the faces in front of him. And clearly, some of them are.<\/scene_description>\n    <character>SEARLE<\/character>\n    <dialogue>May I put a counter argument?<\/dialogue>\n    <character>MACE<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>SEARLE<\/character>\n    <dialogue>Captain?<\/dialogue>\n    <character>ASHER<\/character>\n    <dialogue>Go ahead.<\/dialogue>\n    <character>SEARLE<\/character>\n    <dialogue>It would, of course, be absurd to alter our course to assist the crew of the Icarus One.<\/dialogue>\n    <character>SEARLE<\/character>\n    <dialogue>Even if we knew that some or even all of the crew still alive, their lives are entirely expendable when seen in the context of our mission. As are our own lives.<\/dialogue>\n    <character>MACE<\/character>\n    <dialogue>Exactly!<\/dialogue>\n    <character>SEARLE<\/character>\n    <dialogue>But. There is something on the Icarus One that may be worth the detour. As you pointed out, Mace, we have a payload to deliver. 'A' payload, singular. And everything about the delivery and effectiveness of that payload is entirely theoretical. Simply put, we don't know if it's going to work. But what we do know is this.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>If we had two payloads, we would have two chances.<\/dialogue>\n    <scene_description>Silence.<\/scene_description>\n    <character>HARVEY<\/character>\n    <dialogue>You're assuming we'd be able to pilot Icarus One.<\/dialogue>\n    <character>SEARLE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>TREY<\/character>\n    <dialogue>Which is assuming that whatever stopped them completing the mission wasn't a fault or damage to the spaceship.<\/dialogue>\n    <character>SEARLE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>MACE<\/character>\n    <dialogue>That's a lot of assumptions.<\/dialogue>\n    <character>SEARLE<\/character>\n    <dialogue>It is. It's a risk assessment. The question is, does the risk of the detour outweigh the benefits of an extra payload.<\/dialogue>\n    <scene_description>MACEglances around the table. CASSIE eyes are shining with tears for the crew of ICARUS ONE. HARVEY, TREY and CORAZONare with MACE. ASHERis unreadable. SEARLE is behind shades. CAPA is undecided.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>We'll have a vote.<\/dialogue>\n    <character>SEARLE<\/character>\n    <dialogue>No. We won't. Because we aren't a democracy. We're a collection of astronauts and scientists. So we will make the most informed decision available to us.<\/dialogue>\n    <character>MACE<\/character>\n    <dialogue>Made by you, by any chance?<\/dialogue>\n    <character>ASHER<\/character>\n    <dialogue>Made by the person best qualified to understand the complexities of the payload delivery. In this instance, our physicist.<\/dialogue>\n    <scene_description>All look to CAPA.<\/scene_description>\n    <character>CAPA<\/character>\n    <parenthetical>(under his breath)<\/parenthetical>\n    <dialogue>Shit.<\/dialogue>\n    <scene_description>IN'.l'-. RECREATIONROOK CAPA stands alone in the RECREATIONROOM, in front of a billiard table. The table is empty except for TWOWHITE CUE BALLS, positioned at the top end of the table, next to each other. Taking the cue, CAPAbends down and takes \u2022\u2022\u2022 \u2022\u2022\u2022 an ambitious shot with the first CUE BALL coming off three cushions, eventually rolling towards the BOTTOMRIGHT POCKET. And the ball misses by a fraction. It rattles a little in the jaws, and doesn't drop. CAPAlooks at the second CUE BALL, blank-faced.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAPA'S BUNX<\/stage_direction>\n    <scene_description>CAPAlies in his\u00b7bunk, frosted privacy partiti9n ~ pulled down. He is wide awake, staring at'the ceiling just a metre above his nose. Attached to the ceiling is a hologram-photo of his pet dog, MAXWELL. on the frame of the hologram-photo is a single red button. CAPApresses it. Noiselessly, MAXWELLBARKS and WAGS HIS TAIL. At that moment - - a figure appears behind the frosted partition, and suddenly \u00b7 the partition slides up. Revealing MACEbehind it, his face twisted in fury.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>You stupid fu-<\/dialogue>\n    <scene_description>CU'l' TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ICARUS II<\/stage_direction>\n    <scene_description>The ICARUS II, flying fast away from the planet MERCURY.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OXYGEN GARDEN<\/stage_direction>\n    <scene_description>CAPA stands in the ferns, gazing into the foliage, thousand yard stare. He thinks he is alone. But he isn't. A few feet away, CASSIE is watching him. Something - intuition - makes him turn, and he sees her.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>\/<\/scene_description>\n    <character>CASSIE<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I just wanted to let you know, I think you made the right choice.<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>Mace doesn't. And I'm guessing Harvey and Trey don't either.<\/dialogue>\n    <scene_description>CASSIE shrugs.<\/scene_description>\n    <character>CASSIE<\/character>\n    <dialogue>But I do.<\/dialogue>\n    <scene_description>CUT 'l'O:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OXYGENGARDEN<\/stage_direction>\n    <scene_description>CAPA and CASSIE are making love in an area of the oxygen Garden. It's passionate - but seems very much led and controlled by CASSIE rather than CAPA. A noise in the foliage distracts CAPA. He breaks off from a kiss and turns to check the source of the noise. He can't see anything or anyone there. CASSIE puts a hand on his cheek and directs him back to her lips. CAPA breaks away again.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>Cassie - we're contravening about twenty different directives and \u2022\u2022\u2022<\/dialogue>\n    <character>CASSIE<\/character>\n    <parenthetical>(cutting in)<\/parenthetical>\n    <dialogue>Good.<\/dialogue>\n    <scene_description>She silences him with her kiss, and CAPA relents.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MESS<\/stage_direction>\n    <scene_description>The atmosphere in the MESS is very subdued, and not all crew are there. MACE, TREY are SEARLE are absent. CASSIE is standing by the food dispenser, filling her tray. CORAZONand HARVEYsit together, and, separated by the four empty places, are ASHER and CAPA. CAPA watches CASSIE get her food. When she turns, she sees his gaze, and gives him a smile. It's bright and friendly, but has a subtle blankness that is not missed by CAPA. The moment is not resolved, because suddenly, abruptly, an ALARMis sounding.<\/scene_description>\n    <character>ICARUS<\/character>\n    <dialogue>All flight crew report immediately to flight deck.<\/dialogue>\n    <scene_description>A frozen beat - then suddenly everyone is jumping to their feet and running for the door. IN~. FLIGHT DECK All except SEARLE arrive at the flight deck, to find MACE and TREY checking a HOLOGRAMSCHEMATIC of the ICARUS II.<\/scene_description>\n    <character>ASHER<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <character>TREY<\/character>\n    <dialogue>{ashen-faced)<\/dialogue>\n    <scene_description>I fucked up.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>It's not you who fucked up. If we weren't straying from the mission \u2022\u2022\u2022<\/dialogue>\n    <character>TREY<\/character>\n    <dialogue>It's my responsibility.<\/dialogue>\n    <character>ASHER<\/character>\n    <dialogue>{firm)<\/dialogue>\n    <scene_description>Trey - just cut to it.<\/scene_description>\n    <character>TREY<\/character>\n    <dialogue>I double and triple-checked all considerations to the route change.<\/dialogue>\n    <scene_description>\/ , - It all worked out, so I set the new \\ coordinates and \u2022\u2022\u2022 put us on our way.<\/scene_description>\n    <character>ASHER<\/character>\n    <dialogue>So what's the problem?<\/dialogue>\n    <scene_description>TREY swallows nervously \u2022<\/scene_description>\n    <character>\u0080\ufffd TREY<\/character>\n    <dialogue>our new trajectory changes our angle of approach to the sun by one point one degrees.<\/dialogue>\n    <scene_description>And HARVEYis a step ahead.<\/scene_description>\n    <character>HARVEY<\/character>\n    <dialogue>You didn't reset the shields to the new angle.<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>HARVEY<\/character>\n    <dialogue>Jesus Christ, Trey. How could you have failed to do that?<\/dialogue>\n    <scene_description>All eyes on TREY.<\/scene_description>\n    <character>TREY<\/character>\n    <dialogue>I ...<\/dialogue>\n    <scene_description>TREY breaks off as if he can hardly believe the answer himself. Then, helplessly:<\/scene_description>\n    <character>TREY<\/character>\n    <dialogue>\u2022\u2022\u2022 I forgot.<\/dialogue>\n    <scene_description>Silence.<\/scene_description>\n    <character>TREY<\/character>\n    <parenthetical>(stammering)<\/parenthetical>\n    <dialogue>My\u2022.. head was full of velocities and fuel calculations, and a million different \u2022\u2022\u2022<\/dialogue>\n    <parenthetical>(snapping, freaking out)<\/parenthetical>\n    <dialogue>I forgot, all right? It happens! People do shit! They get stressed and they fuck up! And I fucked up!<\/dialogue>\n    <scene_description>ASHER steps in.<\/scene_description>\n    <character>ASHER<\/character>\n    <parenthetical>(taking control)<\/parenthetical>\n    <dialogue>Enough! Everyone just take a moment here! Trey - deep breaths. The fact is, we're still alive. A hole hasn't burned in the side of the ship, and we don't have a ten thousand degree climate. So how bad is this? What's the actual damage?<\/dialogue>\n    <scene_description>Behind MACEis the HOLOGRAM<\/scene_description>\n    <character>SCHEMATIC.<\/character>\n    <dialogue>MACE<\/dialogue>\n    <scene_description>We don't know. Icarus tried to reset the shield independently when the alarm triggered. But all ~he sensors up there burned out, so we have no idea of the state of the affected area. {beat) The only way we're going to find out is to go out there. A moment.<\/scene_description>\n    <character>ASHER<\/character>\n    <dialogue>So that's what we're going to do. I'll get suited up.<\/dialogue>\n    <character>HARVEY<\/character>\n    <dialogue>It's a two man job.<\/dialogue>\n    <character>ASHER<\/character>\n    <dialogue>As second in command, you're not going anywhere.<\/dialogue>\n    <character>MACE<\/character>\n    <dialogue>\\ Then I'd like to volunteer.<\/dialogue>\n    <character>ASHER<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <character>MACE<\/character>\n    <dialogue>I'd like to volunteer Capa.<\/dialogue>\n    <scene_description>A moment. CAPA looks over at MACE, who meets the gaze completely straight and even.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>CAPA'S courage is betrayed by the trickle of sweat that escapes his hairline.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>Okay. I'll do it.<\/dialogue>\n    <scene_description>IBT. AIRLOCK ASHERand CAPA suit up. We can see it impossible to put the suits on alone. In gravity, the suits are too bulky and awkward in .the gravity of the spaceship. It is neces~ary to be assisted. ASHER is assisted\u00b7by HARVEY, CAPA by CASSIE. Every part of the suit is made of a strange mirrored material - every surface reflects, causing strange distortions where the stiff suit material is rippled or folded.<\/scene_description>\n    <character>CASSIE<\/character>\n    <dialogue>You've been through this a thousand times in Earth orbit training.<\/dialogue>\n    <character>CAPA<\/character>\n    <parenthetical>(tight, scared)<\/parenthetical>\n    <dialogue>Yeah.<\/dialogue>\n    <character>CASSIE<\/character>\n    <dialogue>You're going to be fine.<\/dialogue>\n    <scene_description>CAPA nods. He's looking straight into CASSIE'S eyes like he wants her to say ---something else. Something personal, or \u2022\u2022\u2022 Clunk. The heavy mirrored helmet is dropped over CAPA'S head and a suck of pressurised air locks the rim into place.~ \u2022 \u2022\u2022\u2022 leaving a reflection of CASSIE'S face where CAPA'S had been. CASSIE locks the helmet in to place by putting her hand either side of the helmet and pulling down sharply, activating locking clasps around the neck ring.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLIGHT DECK<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>.<\/stage_direction>\n    <scene_description>' \u00b7-~ .. MACEsits in the pilot's seat. CORAZON stands behind the CASSIE'S copilot seat.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>Okay, Icarus. I'm going to be taking manual control here for a while.<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>Yes, Mace.<\/dialogue>\n    <character>MACE<\/character>\n    <dialogue>I'm going to be cutting speed.<\/dialogue>\n    <scene_description>\u00b7Then I'in going to be rotating us so that the damaged area is facing away from the sun. Do we understand each other?<\/scene_description>\n    <character>ICARUS<\/character>\n    <dialogue>Yes, Mace.<\/dialogue>\n    <scene_description>Behind MACE, TREY sits by the navigation table. CLOSE UP on Trey's face as MACEsays:<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>Please adjust shields to allow for the rotation.<\/dialogue>\n    <scene_description>TREY closes his eyes. EX'l'. ICARUS II ICARUS II rotates slowly. An amazing sight as: \u2022\u2022\u2022 The ship rotates, and the mirrored scales ripple, all moving independently, directing themselves to best reflect the sun's blaze.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRLOCK<\/stage_direction>\n    <scene_description>ASHERand CAPA are alone in the airlock, fully suited. HARVEYand CASSIE watch from the outside, as \u2022\u2022\u2022<\/scene_description>\n    <character>MACE<\/character>\n    <parenthetical>(over radio link)<\/parenthetical>\n    <dialogue>Okay. I'm opening up.<\/dialogue>\n    <character>ASHER<\/character>\n    <dialogue>We're set.<\/dialogue>\n    <scene_description>The airlock opens to outer space.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ICARUS I:I<\/stage_direction>\n    <scene_description>On the dark, shad.ad side of ICARUS II, ASHER and CAPA emerge. All conversation is heard over radio links.<\/scene_description>\n    <character>ASHER<\/character>\n    <dialogue>Asher, check, helmet-cam fully operational?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLIGHTDECK<\/stage_direction>\n    <scene_description>The HUD vanishes to show two images - live feeds from cameras on the helmets of ASHER and CAPA.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>Affirmative. Good image.<\/dialogue>\n    <character>CAPA<\/character>\n    <parenthetical>(over radio link)<\/parenthetical>\n    <dialogue>Capa, check, helme-<\/dialogue>\n    <character>MACE<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>Affirmative.<\/dialogue>\n    <character>ASHER<\/character>\n    <dialogue>Okay. Break it up, you two. Moving down to investigate damaged area.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ICARUS II<\/stage_direction>\n    <scene_description>ASHER and CAPA move down ICARUS-II, away from the airlock \u2022\u2022\u2022 Revealing \u2022\u2022\u2022<\/scene_description>\n    <character>ASHER<\/character>\n    <dialogue>We got it \u2022<\/dialogue>\n    <scene_description>\u2022\u2022\u2022 the damage. On one area of ship, the mirrored scales are frozen in half- l\u00b7 upright positions - where the others are all flat to the side<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>.<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>.<\/stage_direction>\n    <scene_description>r - of the ship. r ASHER Can you guys see this?<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>{over radio link)<\/dialogue>\n    <scene_description>We see it.<\/scene_description>\n    <character>ASHER<\/character>\n    <dialogue>The mechanisms are all burned out. But it looks like Icarus caught it quick enough to prevent a hull breach.<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <character>ASHER<\/character>\n    <dialogue>Well - let's see.<\/dialogue>\n    <scene_description>ASHERmoves over to one of the half-upright scales - which gives us a clear sense of proportion of the size of the ship, as the scale is as tall as he is - and takes out a tool from a utility pouch on his suit. Like everything else, the tool is perfectly mirrored on every surface. CAPAwatches as ASHER works on the scale. ASHERcuts or releases something. The scale moves to a fully upright position. This allows ASHERto manoeuvre the bulky space-suit to reach ---themechanism underneath. He works inside \u2022\u2022\u2022 \u2022\u2022\u2022 then ASHER pushes himself backwards as slowly the huge scale begins to return to the side of ICARUS II.<\/scene_description>\n    <character>ASHER<\/character>\n    <dialogue>Mace. Head for my quarters and check the bottom drawer. You'll find a bottle of champagne.<\/dialogue>\n    <character>MACE<\/character>\n    <parenthetical>(over radio link)<\/parenthetical>\n    <dialogue>You can do it?<\/dialogue>\n    <character>ASHER<\/character>\n    <dialogue>It'll take a while, but - yeah. We can do it.<\/dialogue>\n    <scene_description>OVERRADIO LINK - the sound of cheering.<\/scene_description>\n    <character>ASHER<\/character>\n    <dialogue>All right, capa. You get them up, and I'll get them down.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ICARUS II<\/stage_direction>\n    <scene_description>The sun and solar-wind blasted side of ICARUS II. And we see that now, facing the sun, is the mirrored glass of the geodesic dome \u2022 . And beneath the dome, the plants bathed in bleaching light.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLIGHT DECK<\/stage_direction>\n    <scene_description>MACEand CORAZONhave been joined by HARVEYand CASSIE, who has taken her pla~e in the copilot's seat. All are watching the ASHER and CAPA helmet-cams \u2022 . ASHERand CAPA are close to completing their task. There are three frozen scales remaining. Two have been made fully upright by CAPA, and one is still half-upright. CASSIE looks backwards and sees TREY at the navigation table.<\/scene_description>\n    <character>HARVEY<\/character>\n    <dialogue>Good work, guys.<\/dialogue>\n    <character>CASSIE<\/character>\n    <dialogue>Hey. Trey. stop beating yourself up. We've got this \u2022.\u2022<\/dialogue>\n    <scene_description>And suddenly, the alarm has started again. MACEhits a button and the alarm stops.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>Icarus?<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>Resuming computer control of Icarus Two.<\/dialogue>\n    <scene_description>MACEand CASSIE exchange a glance.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>Negative, Icarus. Manual control.<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>Negative, Mace. Computer control. Returning vessel to original \u00b7 rotation.<\/dialogue>\n    <character>MACE<\/character>\n    <dialogue>What the fuck?<\/dialogue>\n    <character>CASSIE<\/character>\n    <dialogue>Icarus - override computer control -t;.o manual.<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>Negative.<\/dialogue>\n    <character>ASHER<\/character>\n    <parenthetical>(over radio link)<\/parenthetical>\n    <dialogue>What's going on here guys? We're moving \u2022\u2022\u2022<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>Mission in jeopardy. Override command statement one-oh-oh-one-oh- one. Manual flight controls removed.<\/dialogue>\n    <character>MACE<\/character>\n    <dialogue>Negative, Icarus! Please state reason immediately!<\/dialogue>\n    <scene_description>The picture on the monitors change from the helmet-cams to show a weird and freakish image. A jungle enveloped in a raging blaze.<\/scene_description>\n    <character>ICARUS<\/character>\n    <dialogue>Fire in oxygen garden.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ICARUS II<\/stage_direction>\n    <scene_description>CAPA moves away as the last half-upright scale is released and moves to the fully upright position. He looks around and watches as ICARUS II slowly rotates \u2022\u2022\u2022 And sees \u2022\u2022\u2022 ..\u2022 as the ship is rotating, the area taking the full impact of the sun and solar-winds is moving around to their position.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>Asher. We need to \u2022\u2022\u2022<\/dialogue>\n    <character>\u00b7ASHER<\/character>\n    <dialogue>can't.<\/dialogue>\n    <scene_description>ASHER is working fast, but his voice is calm.<\/scene_description>\n    <character>ASHER<\/character>\n    <dialogue>Can't leave upright panels. Certain hull breach. We'll all die.<\/dialogue>\n    <scene_description>CAPA starts working on the panel he just got to the upright P&lt;;&gt;sition. Silence between the two men. Broken intermittently by snatched broadcasts over the radio link. Shouts, swear words - what sounds like CORAZONscreaming. Which then cut out, leaving silence again. At the same moment, both CAPA and ASHER'S panels start to move back to the down position \u2022\u2022\u2022 Leaving only one remaining. Both move towards it. ASHER is nearer. He gets there first. CAPA looks back over his shoulder. The solar wind and sunlight is moving closer, and now we see \u2022\u2022\u2022 \u2022\u2022\u2022 that very shortly, the light will have reached the airlock, meaning that the two men .will be trapped on the outside of the hull.<\/scene_description>\n    <character>ASHER<\/character>\n    <parenthetical>(not looking round)<\/parenthetical>\n    <dialogue>Go.<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>Captain.<\/dialogue>\n    <character>ASHER<\/character>\n    <dialogue>Go.<\/dialogue>\n    <scene_description>CAPAstill doesn't move. Silence. Then CAPA starts to head back. We follow CAPA.\u2022. In silence, back along ICARUS II towards the airlock. When CAPA reaches the airlock, the sunlight and solar-wind is only a few metres away. He looks back and sees \u2022.\u2022 ASHERmoving away from the panel, as it starts to ~op to the down position. ASHER turns towards CAPA. The two men look at each other down the length of ICARUS II. ASHER doesn't move. He knows it is pointless. CAPAenters the airlock. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLIGHT DECK<\/stage_direction>\n    <scene_description>MACEand CASSIE, frozen, watching the monitor image of ASHER'S head-cam. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OXYGEN GARDEN<\/stage_direction>\n    <scene_description>The plants are all burned to blackened stumps and ashes. Water drifts down from the sprinkler system like rain. CORAZON stands in the middle of the destruction, tears rolling down her face. CUT TO: EX'l'. ICARUS II ASHERwaits motionless as the sunlight and solar winds move towards him. CUT TO: IN'l'. MED CENTER SEARLEwatching the helmet-cam on a monitor in the med- center. SEARLE is an extremely strange sight. He isn't wearing the black-lens sunglasses, and where the sunglasses would be .his skin\u00b7 is pale white. But the rest of his face is badly sun- burned, red, peeling. \u00b7<\/scene_description>\n    <character>SEARLE<\/character>\n    <parenthetical>(intense)<\/parenthetical>\n    <dialogue>Can you see it?<\/dialogue>\n    <scene_description>INT. INSIDE ASHER'S HELMB'l' ASHER'S face as he watches the sunlight get closer.<\/scene_description>\n    <character>SEARLE<\/character>\n    <parenthetical>(over radio link)<\/parenthetical>\n    <dialogue>Can you see it?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ICARUS I I<\/stage_direction>\n    <scene_description>The sunlight has almost reached ASHER. It's only a metre away. He could reach out and touch it ... .. . and he does. His hand lifts, moves into the area of light, and is immediately ignited like a magnesium strip. ASHER keeps his hand there, staring at fingers that glow like light bulb filaments, impossibly bright.<\/scene_description>\n    <character>ASHER<\/character>\n    <dialogue>Oh God \u2022\u2022\u2022<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRLOCK<\/stage_direction>\n    <scene_description>CAPA is in the airlock. His helmet is off. He has collapsed against the airlock door, and slid down to the floor.<\/scene_description>\n    <character>ASHER<\/character>\n    <parenthetical>(faint, over radio link)<\/parenthetical>\n    <dialogue>God.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>ASHER<\/character>\n    <parenthetical>(faint, over radio link)<\/parenthetical>\n    <dialogue>Go-<\/dialogue>\n    <scene_description>The link cuts.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ICARUS II<\/stage_direction>\n    <scene_description>ASHER'S whole figure is blazing with the white-hot brightness. You can hardly tell the figure was ever a man. In seconds, the fierce glow has burned away entirely, and absolutely nothing of ASHERremains. FADB TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRIEFING ROOM<\/stage_direction>\n    <scene_description>All crew except TREY are in the Briefing Room. Silence. Then HARVEY speaks.<\/scene_description>\n    <character>HARVEY<\/character>\n    <dialogue>The breakdown is as follows. As second in cormnand, I am now the captain of Icarus Two.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Trey is sedated in the med-center. Dr Searle has diagnosed him as a suicide risk. And having seen him, I don't think any of us would question that diagnosis.<\/dialogue>\n    <scene_description>{beat)<\/scene_description>\n    <character>HARVEY<\/character>\n    <dialogue>\/ Thanks to both Asher and Capa, our<\/dialogue>\n    <scene_description>shields are intact. As is the payload. We don't have a problem there. HARVEYlets that sink in a moment before the bombshell.<\/scene_description>\n    <character>HARVEY<\/character>\n    <dialogue>But the fern garden is totally destroyed. In addition, a large amount of oxygen was burned in the f \u00b7ire. As it stands now, we have do not have enough oxygen reserves to get us to our payload delivery point, let alone to survive the return journey.<\/dialogue>\n    <scene_description>HARVEY pauses.<\/scene_description>\n    <character>-HARVEY<\/character>\n    <dialogue>We now have no choice but to rendezvous with Icarus One. There remains the possibility that the ship is largely intact. There is a secondary possibility that we could salvage what is left of their oxygen garden. As it stands, if we are going to complete the mission, the Icarus One is now our only hope.<\/dialogue>\n    <scene_description>IXT. ICARUS II ICARUS II flying through space. IHT. CAPTAIN'S QUAR'l'ERS CA.PA - enters ASHER'S quarters. On ASHER'S desk is an open book: FISCHER vs SPASSKY There is also a hologram-photo of a family. CAPApicks the hologram-photo up and looks at it. He presses the red button on the hologram-photo's frame \u2022\u2022\u2022 \u2022\u2022\u2022 and the family SMILE ANDWAVE. As CAPA looks at the photo, we also see a locked cabinet on the wall of Asher's private room, glass-fronted. Inside the cabinet is a HANDGUN.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MED CENTER<\/stage_direction>\n    <scene_description>CAPA is sat watching-TREY. TREY i~ in a glass cubicle, lying on a bed, asleep. A hiss as the door to the Med-Center opens. CAPA looks round. It's CASSIE. CASSlE Where's Searle?<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>Most likely burning his eyes out in the observation room.<\/dialogue>\n    <character>CASSIE<\/character>\n    <parenthetical>(of Trey)<\/parenthetical>\n    <dialogue>How is he?<\/dialogue>\n    <scene_description>CAPA shrugs \u2022<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>Given the tranquillisers in his system, I'd say he's probably the happiest crew member on the ship.<\/dialogue>\n    <scene_description>CASSIE walks over to TREY'S isolation cubicle and looks inside.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>You still think I made the right decision?<\/dialogue>\n    <scene_description>CASSIE turns this question over a few moments before replying.<\/scene_description>\n    <character>CASSIE<\/character>\n    <dialogue>I didn't fuck you because I thought you made the right decision. I fucked you because it was something I needed at that moment.<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>I wasn't asking you as a pick~up. line.<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>I just wanted to know if you still felt I made the right decision.<\/dialogue>\n    <character>CASSIE<\/character>\n    <dialogue>No. I don't. of course I don't. Do you?<\/dialogue>\n    <scene_description>Silence.<\/scene_description>\n    <character>CASSIE<\/character>\n    <dialogue>Corazon said something earlier.<\/dialogue>\n    <scene_description>CAPA waits.<\/scene_description>\n    <character>CASSIE<\/character>\n    <dialogue>She said Harvey has made a mistake regarding the lack of oxygen. She said Icarus One is not our only hope. \u00b7<\/dialogue>\n    <scene_description>{beat) There's not enough oxygen to get all of us to the payload delivery point. But if there were fewer crew-members, we'd get there fine. CAPA laughs - with surprise more than anything.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>Are you suggesting we let Trey kill himself?<\/dialogue>\n    <scene_description>A moment.<\/scene_description>\n    <character>CASSIE<\/character>\n    <dialogue>Actually, Trey wouldn't be enough. We'd need to lose two more.<\/dialogue>\n    <scene_description>CAPA'S face - has he just been threatened? And CASSIE answers the question for him.<\/scene_description>\n    <character>CASSIE<\/character>\n    <dialogue>No. I'm not inviting you to connnit suicide with Trey. Of us all, you're the one who's most needed to supervise the delivery of the payload. I'm just telling you what Corazon said. I thought you ought to know.<\/dialogue>\n    <scene_description>CASSIE makes to leave.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>\/<\/stage_direction>\n    <character>CAPA<\/character>\n    <dialogue>Cassie.<\/dialogue>\n    <scene_description>CASSIE stops in the open door frame.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>Who did Corazon say it to?<\/dialogue>\n    <character>C~SSIE<\/character>\n    <dialogue>Me.<\/dialogue>\n    <scene_description>(beat) \u2022 And Mace.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 'ICARUSI<\/stage_direction>\n    <scene_description>ICARUS I floats in space. A similar design to ICARUS II, but older, rougher. It seems derelict, lifeless. But as we move around the ship, we see the geodesic dome, and ,... inside it,\u00b7 thick greenery \u2022 And between the greenery, what looks like an internal light. Then, continuing around the ship, revealing \u2022\u2022\u2022 ~CARUS II, sun-lit, closing in on ICARUS I at approach speed.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>AIRLOCK<\/dialogue>\n    <scene_description>Arriving half-way into a stand-~p row between HARVEYand MACE in the AIRLOCK.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>He's lost his shit, Harvey. He's a worse liability than Trey. And there's no way I'm going in there with him. .<\/dialogue>\n    <scene_description>As MACEshouts, he is jabbing his finger at SEARLE, who is sat quietly, impassively \u2022\u2022\u2022 \u2022\u2022\u2022 and listening rather than watching. He is wearing his shades, and his head is tilted to direct his ear rather than gaze towards the argument.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>Look at him for Christ's sake. His skin is falling off his bones. He's half blind! What good is he going to do?<\/dialogue>\n    <character>HARVEY<\/character>\n    <dialogue>If there is anyone left alive on \u00b7 Icarus one, they may need the attentions of a doctor.<\/dialogue>\n    <character>MACE<\/character>\n    <dialogue>Right \u2022 A doctor. Not a quack.<\/dialogue>\n    <character>HARVEY<\/character>\n    <dialogue>Mace I'm going in there. And he's going in there. And so are you.<\/dialogue>\n    <character>MACE<\/character>\n    <dialogue>Not with him.<\/dialogue>\n    <character>HARVEY<\/character>\n    <dialogue>With him. And here's why. Because I'm the captain of this ship, and I'm commander of this mission, and I'm giving you a direct order.<\/dialogue>\n    <scene_description>A moment.<\/scene_description>\n    <character>MACE<\/character>\n    <parenthetical>(quiet)<\/parenthetical>\n    <dialogue>Jesus.<\/dialogue>\n    <scene_description>CLOSE UP on SEARLE\u2022\u2022\u2022 .\u2022\u2022 as SEARLE smiles - and the skin of his blistered lips cracks, running a tiny rivulet of blood into his mouth.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ICARUS II<\/stage_direction>\n    <scene_description>Gracefully, ICARUS II is. docking with ICARUS I. ICARUS I is motionless in space, so all the manoeuvring is done \u00b7by ICARUS II. Slowly, their airlocks are brought to face each other \u2022\u2022\u2022 \u2022 \u2022 \u2022 Then brought together.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLIGHT DECK<\/stage_direction>\n    <scene_description>CASSIE sits in the pilot's seat. CAPA is in the copilot's seat. CORAZONwatches behind.<\/scene_description>\n    <character>CASSIE<\/character>\n    <dialogue>Okay. We're locked on. Icarus, please establish contact with Icarus I computer system.<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>Contact failed. Computer system of ' Icarus I has been disabled. \u2022<\/dialogue>\n    <character>CASSIE<\/character>\n    <dialogue>How? A malfunction or an accident? Has it been deliberately shut down?<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>Reasons unknown. Impossible to establish the cause remotely.<\/dialogue>\n    <character>CASSIE<\/character>\n    <dialogue>Is there power on Icarus I?<\/dialogue>\n    <scene_description>Pause.<\/scene_description>\n    <character>ICARUS<\/character>\n    <dialogue>.<\/dialogue>\n    <scene_description>There is power on Icarus I. Solar harvest at full capacity, without detectable malfunction.<\/scene_description>\n    <character>CORAZON<\/character>\n    <dialogue>What's the atmosphere?<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>Oxygen rich. Fully breathable and life-supporting.<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>Is it supporting any life?<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>Unknown. Impossible to establish remotely.<\/dialogue>\n    <scene_description>Silence.<\/scene_description>\n    <character>CASSIE<\/character>\n    <dialogue>Harvey, Mace, Searle. Did you get all that?<\/dialogue>\n    <character>HARVEY<\/character>\n    <parenthetical>(over radio link)<\/parenthetical>\n    <dialogue>We got it.<\/dialogue>\n    <character>CASSIE<\/character>\n    <dialogue>So you heard her. It' . s breathable. In your own time, you're good to go.<\/dialogue>\n    <scene_description>IN~. ICARUS I\/AIRLOCK Inside the AtRLOCKof ICARUS I. The design of the interior of ICARUS I is similar to ICARUS II, but feels slightly more dated, clearly an earlier model. The airlock is dark, half-lit \u2022\u2022\u2022 .\u2022\u2022 until the airlock opens, revealing the bright interior of the ICARUS II airlock, and the three \u00b7men about to board. Each carry flashlights, which also hold \u2022\u2022\u2022<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLIGHT DBCK<\/stage_direction>\n    <scene_description>\u2022\u2022\u2022 \u00b7 a flashlight-cam, which are watched by CAPA, CASSIE and CORAZONon the flight deck monitor. \u00b7<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>Well. Doesn't look like there's a welcoming party.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICARUS ~\/AIRLOCK<\/stage_direction>\n    <scene_description>The three sweep their flashlight beams around-the dark airlock.<\/scene_description>\n    <character>HARVEY<\/character>\n    <dialogue>The air tastes \u2022\u2022\u2022 fine.<\/dialogue>\n    <character>SEARLE<\/character>\n    <dialogue>Its tastes good.<\/dialogue>\n    <scene_description>MACEhas found a control panel, which he uses \u2022\u2022\u2022 and the lights in the airlock come on.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>So the lights work.<\/dialogue>\n    <character>SEARLE<\/character>\n    <parenthetical>(feeling around with his hands like a blind man} Do they? A beat. SEARLE (lowering his hands)<\/parenthetical>\n    <dialogue>C'mon guys. Just trying to lighten the mood.<\/dialogue>\n    <character>MACE<\/character>\n    <parenthetical>(infuriated by Searle)<\/parenthetical>\n    <dialogue>I think we should split up.<\/dialogue>\n    <character>HARVEY<\/character>\n    <dialogue>I'm not sure that's a good idea.<\/dialogue>\n    <character>MACE .<\/character>\n    <parenthetical>(sarcastic)<\/parenthetical>\n    <dialogue>Fair point. If we split up, we might get picked off one at a time by aliens.<\/dialogue>\n    <character>SEARLE<\/character>\n    <dialogue>Mace is right, captain. Icarus One is a big ship. If we're going to search it effectively \u2022\u2022\u2022<\/dialogue>\n    <character>HARVEY<\/character>\n    <dialogue>Okay, okay. Mace, head for the flight deck. See if she can fly. Searle, check the crew's quarters and the med center. I'll check the oxygen garden.<\/dialogue>\n    <scene_description>INT. ICARUS I\/COlUtXDOR MACE moves down a dark corridor with his flashlight. He stops. He's seen something. Kneels down. A pair of broken sunglasses.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICARUS I\/MESS<\/stage_direction>\n    <scene_description>SEARLEenters the Mess. He uses the control panel beside the door, and lights come on, revealing \u2022\u2022\u2022 that the dining room is showroom clean. He walks over to the food dispenser. He presses the button for water - and a steady stream spills out from the tap. Then he presses one of the food dispenser buttons. Chicken. A yellow paste oozes out of the nozzle, and coils where a plate should be. With his finger, SEARLE dips his finger into the paste and gives it a taste.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLIGHT DECK<\/stage_direction>\n    <scene_description>CAPA, CASSIE and CORAZONare watching HARVEY'S live feed, through which we can see dense foliage.<\/scene_description>\n    <character>HARVEY<\/character>\n    <parenthetical>(over radio link)<\/parenthetical>\n    <dialogue>I think I just found the crew.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICARUS I\/OXYGEN GARDEN<\/stage_direction>\n    <scene_description>HAR.VEY stands in the ICARUS I oxygen garden. The plants have covered the entire area, right up to the geodesic dome, seven years of unchecked growth. From the dome and the top canopy, moisture drops like a light rain. Where HARVEYstands are several graves, each marked by an . upr:ight post which bears their name-tags.<\/scene_description>\n    <character>CAPA<\/character>\n    <parenthetical>(over radio link)<\/parenthetical>\n    <dialogue>Not all the crew. Someone must have buried them.<\/dialogue>\n    <character>HARVEY<\/character>\n    <dialogue>I count five. Leaves three.<\/dialogue>\n    <character>MACE<\/character>\n    <parenthetical>(over radio link)<\/parenthetical>\n    <dialogue>Make that two.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICARUS I\/FLIGHT DECK<\/stage_direction>\n    <scene_description>MACEis looking at the pilot's seat of the ICARUS I flight deck. In the pilot's seat is a desiccated corpse. Without insects and maggots to strip the flesh, the dry skin is stretched tight over the skull, as if mummified.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PLIGHT DECK<\/stage_direction>\n    <scene_description>On the.monitor screen we can see SEARLE'S flashlight-cam feed. He is in the \u00b7sleeping quarters. He is opening the privacy partition of one of the bunks. Revealing another desiccated corpse.<\/scene_description>\n    <character>CORAZON<\/character>\n    <dialogue>God damn.<\/dialogue>\n    <character>CASSIE<\/character>\n    <dialogue>They're all dead.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICARUS I\/FLIGHT DECK<\/stage_direction>\n    <scene_description>INSIDE A COMPARTMENT as the door open, to reveal MACEpeering inside, frowning.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>I've got something here.<\/dialogue>\n    <scene_description>---REVERSE ANGLE- to show that inside the compartment is a wall of frosted glass cubes. Many of the cubes are smashed.<\/scene_description>\n    <character>CAPA<\/character>\n    <parenthetical>(over radio link)<\/parenthetical>\n    <dialogue>What is it?<\/dialogue>\n    <character>MACE<\/character>\n    <dialogue>I'm looking at the access compartment to the ship's computer.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>This is no malfunction. This is a shut-down.<\/dialogue>\n    <scene_description>MACEpulls out one of the smashed cubes.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>And permanent.<\/dialogue>\n    <character>CAPA<\/character>\n    <parenthetical>(over radio link)<\/parenthetical>\n    <dialogue>Why would they have done that?<\/dialogue>\n    <character>MACE<\/character>\n    <dialogue>Search me.<\/dialogue>\n    <scene_description>Then MACE.pauses. An idea has just occurred to him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICARUS I\/CORRIDOR<\/stage_direction>\n    <scene_description>MACE walks fast down one of the ICARUS I corridors. As he walks, he talks.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>Okay. You're washed up on a desert island. There's a thousand miles of sea in all directions. All you've got is coconut trees and sand to keep you company. All you can do is wait to die. So what do you do?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLIGHT DECK<\/stage_direction>\n    <scene_description>CAPA, CASSIE and CORAZONare listening to MACE, watching his feed.<\/scene_description>\n    <character>MACE<\/character>\n    <parenthetical>(over radio link)<\/parenthetical>\n    <dialogue>Capa. I 'm talking to you. What do you do?<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>\u2022\u2022\u2022 I wait to die.<\/dialogue>\n    <character>MACE<\/character>\n    <parenthetical>(over radio link)<\/parenthetical>\n    <dialogue>And there's the difference between you and me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICARUS I\/CORRIDOR<\/stage_direction>\n    <scene_description>MACE stops at a door.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>See - I've got kids.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 'ICARUSI\/COMMSROOM<\/stage_direction>\n    <scene_description>The door to the ICARUS I comms room opens, revealing MACE. MACEgoes straight over to the COMMSCUBICLE and opens the \u00b7partition.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>What I'd do is put a message in a bottle.<\/dialogue>\n    <scene_description>He pushes \u00b7 a button on the console. The screen flickers into life - and a MAN'S FACE appears. The MAN'S FACE is back-lit, largely in shadow, so we can't see his features clearly.<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>My name is Captain Pinbacker.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLIGHT DECK<\/stage_direction>\n    <scene_description>CAPA, CASSIE and CORAZONwatch the recording.<\/scene_description>\n    <character>PINBACKER<\/character>\n    <dialogue>I'm not calling for help. Even if the message reached Earth through the solar winds, I know help wouldn't come. I'm only making this recording because \u2022\u2022\u2022 I don't know. I suppose I'm thinking that one day, maybe in ten years, maybe in ten million, someone might find it. And right now, that seems like a good enough reason to me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICARUS I\/OXYGEN GARDEN<\/stage_direction>\n    <scene_description>HARVEYlistens over the radio link.<\/scene_description>\n    <character>PINBACKER<\/character>\n    <parenthetical>(over radio link)<\/parenthetical>\n    <dialogue>The mission of my ship, the Icarus, was to deliver a payload into the heart of the sun.<\/dialogue>\n    <character>PINBACKER<\/character>\n    <dialogue>A vast stellar fission bomb, to kick-start the chain reactions that have been gradually losing their power. To stop the development of the red dwarf. To keep the sun shining.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICARUS I\/MED CENTER<\/stage_direction>\n    <scene_description>SEARLElistens over the radio link.<\/scene_description>\n    <character>PINBACKER<\/character>\n    <parenthetical>(over radio link)<\/parenthetical>\n    <dialogue>We have failed in that mission. I think there will be time and materials for Earth to construct and send a second fission bomb, but I suspect that mission will fail too. It will fail for the same reason as ours. I think it is inevitable.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICARUS I\/COMMSROOM<\/stage_direction>\n    <scene_description>CLOSE UP on the cubicle screen, and PINBACKER.<\/scene_description>\n    <character>PINBACKER<\/character>\n    <dialogue>In fact, ultimately, I know it is inevitable.<\/dialogue>\n    <scene_description>PINBACKERpauses.<\/scene_description>\n    <character>PINBACKER<\/character>\n    <dialogue>This is the truth you realise. The ... truth you must realise. The truth you can only realise \u2022\u2022\u2022<\/dialogue>\n    <scene_description>PINBACKERmoves slightly, away from the camera. And where he was previously back-lit, now light falls on him and reveals \u2022\u2022\u2022 \u2022\u2022\u2022 that his face is like a much advanced version of SEARLE'S. The skin is ravaged, cracked, split. Spread across the surface are constellations of blisters and melanomas, some burned to blackness, some bright red, open and raw. Only his eyes, and the skin around his eyes, white from the protection of sunglasses, are undamaged. PlNBACKER \u2022\u2022\u2022 when you look into the face of God. CU'l' TO: IST. ICARUS I\/COMMS ROOM MACE'S face. stunned. Still absorbing the weirdness of what he has just seen and heard. Then - a sudden wrenching sound. Loud and freakish, like tearing metal.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>What the \u2022\u2022\u2022 ?<\/dialogue>\n    <scene_description>And the next moment - the entire ship gives a sudden lurch. MACEis knocked off balance, and is sent crashing sideways into the wall and down to the floor.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>Cassie! What's going on?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. !'LIGHT DBCIC<\/stage_direction>\n    <scene_description>ICARUS II is lurching too. CASSIE is hitting buttons on the console, flicking switches. over the radio link we can hear the shouts of alarm of MACE, HARVEY and SEARLE.<\/scene_description>\n    <character>CASSIE<\/character>\n    <dialogue>Get back to the airlock! All of you 1 Get back!<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>What is it? What's happening?<\/dialogue>\n    <character>CASSIE<\/character>\n    <dialogue>Icarus! Stabilise us!<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>Affirmative, Cassie.<\/dialogue>\n    <character>CASSIE<\/character>\n    <parenthetical>(to Capa)<\/parenthetical>\n    <dialogue>The airlock has just decoupled. Get down there NOW!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICARUS II<\/stage_direction>\n    <scene_description>WE FOLLOWCAPA as he runs through ICARUS II to the airlock. And when he reaches it \u2022\u2022\u2022<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OUTSIDE AIRLOCK<\/stage_direction>\n    <scene_description>Outside the airlock chamber, CAPA presses his face to the glass. He can see that the airlock door is open to outer space. And he can see the airlock door of ICARUS I, which is also open, and the reason for the sound of tearing metal we heard. Around the door of ICARUS I the skin of the ship has been ripped open, revealing the hull structure beneath.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICARUS I\/OUTSIDE AIRLOCK<\/stage_direction>\n    <scene_description>MACEis arriving at the airlock. SEARLE and HARVEYhave already made it there.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>Cassie?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLIGHT DECK<\/stage_direction>\n    <character>CASSIE<\/character>\n    <dialogue>The airlock has decoupled. We don't know why. Mace - the locking system on Icarus I is ripped open. We aren't going to be able to dock again.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICARUS I\/OUTSIDE AIRLOCK<\/stage_direction>\n    <scene_description>MACE- thinking fast. HARVEY- close to panicking. t\\_.. :;,\u00b7.. HARVEY \u2022.f '~ We're fucked.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>. MACE<\/stage_direction>\n    <scene_description>No. He looks to the MIRROREDSPACE SUITS.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>Suit up.<\/dialogue>\n    <scene_description>A moment. There are several suits, but \u2022\u2022\u2022<\/scene_description>\n    <character>HARVEY<\/character>\n    <dialogue>\u2022\u2022\u2022 We can't. Not all of us. Who will lock the helmets?<\/dialogue>\n    <scene_description>Another moment - then both MACEand HARVEYturn to look at SEARLE.<\/scene_description>\n    <character>SEARLE<\/character>\n    <dialogue>It seems I'll be staying behind then.<\/dialogue>\n    <character>MACE<\/character>\n    <parenthetical>(simple, hard)<\/parenthetical>\n    <dialogue>Agreed.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n    <character>IHT.<\/character>\n    <dialogue>ICARUS I\/OUTSIDE<\/dialogue>\n    <scene_description>HARVEYand MACEare both suited, except for the helmets. SEARLE has HARVEY'S ready. HARVEYcan hardly meet SEARLE'S gaze.<\/scene_description>\n    <character>HARVEY<\/character>\n    <dialogue>Searle - I \u2022\u2022\u2022<\/dialogue>\n    <character>SEARLE<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>The helmet comes down over HARVEY, and SEARLElocks it down. Leaving MACE. \\[ SEARLEtakes the helmet over to MACE. MACElooks straight into SEARLE'$ eyes, meeting the gaze evenly. Something between them. Something about the fact that they both know SEARLE is going to die. And something about the power that SEARLE has over MACEat that moment - if he refuses to lock the helmet. But neither say a word. And the helmet goes down, and SEARLE locks it into place. INT. rCARUS I\/OU'rSIDE AIRLOCK SEARLE is gone \u2022 MACEand HARVEYare alone.<\/scene_description>\n    <character>MACE<\/character>\n    <parenthetical>(over radio link)<\/parenthetical>\n    <dialogue>okay. We've got just one shot. You ready for this?<\/dialogue>\n    <character>HARVEY<\/character>\n    <parenthetical>(over radio link)<\/parenthetical>\n    <dialogue>I'm ready.<\/dialogue>\n    <scene_description>HARVEY opens the door to the airlock. Immediately, both men are sucked out, into the airlock \u2022\u2022\u2022 \u2022\u2022\u2022 then ejected through the broken outer door of the airlock, and into outer space. EXT. ICARUS r:r Silence as \u2022\u2022\u2022 \u2022\u2022\u2022 we watch MACEand HARVEYshoot out from ICARUS I, towards ICARUS II ... \u2022\u2022\u2022 in the weightlessness of space, they have no control over themselves. They collide, and send each other spinning off course \u2022\u2022\u2022 Some way distant from each other, they both slam into the side of ICARUS II. The impact is shocking. MACEhas managed to hold on to the edge of a mirrored panel. But HARVEY has not. He has bounced off the hull at an odd angle, and is now faliing down the side of ICARUS II, towards MACE.~ A S'filADGE, SLOWSEQUENCE. HARVEYis only a couple of metres from the side of the ship. When he reaches out his hand, his fingertips are only an inch from the side of the hull. But he is in zero gravity vacuum. There is nothing he can do to affect his trajectory. He twists. stretches. Strains. All to no effect. He passes within a few feet of MACE. If MACEwere to relinquish his hold on the panel, he could easily reach HARVEY. But he doesn't, and HARVEYfloats by. HARVEYcontinues on this nightmarish journey, down the entire length of ICARUS II \u2022\u2022\u2022 \u2022\u2022\u2022 where we can see, once he moves past ICARUS II, he will suddenly be unshielded from the sunlight \u2022 . - COT TO: INT. FLIGH'l'DECK CASSIE and CORAZONare watching this, horrified, from HARVEY'Shelmet earn. And worse, we can now hear wh~t we couldn't hear before. HARVEY'Sdesperate screaming over the radio link. CASSIE can't bear it. She lunges - switching the image off, cutting out the screaming.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>\\ .EXT. ICARUS II<\/stage_direction>\n    <scene_description>Back to silence again \u2022\u2022\u2022 \u2022\u2022. as HARVEYslips past ICARUS II, into the sunlight, and burns up in an instant.<\/scene_description>\n    <character>FADB<\/character>\n    <dialogue>TO:<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>BRIEFING ROOM<\/dialogue>\n    <scene_description>CAPA, MACE, CASSIE and CORAZONsit in the briefing room. The empty seats say everything they need to. A long beat. Then:<\/scene_description>\n    <character>CORAZON<\/character>\n    <dialogue>If Trey dies, we'll have the oxygen to make it to the delivery point.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MESS<\/stage_direction>\n    <scene_description>The four crew members eat in silence. INT. RECREATl'.ON ROOM CAPA is in the recre~tion room. He walks over to the chess board.<\/scene_description>\n    <character>-\u00b7 .<\/character>\n    <dialogue>The pieces are laid out half way through a game - abandoned between him and ASHER. He s -i-ts down and studies the board for a few moments. Then he tips over the white king. Another moment passes. Then CAPA suddenly lashes out and sweeps his hand violently across the board, scattering the pieces across the room.<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>OBSERVATION ROOM<\/dialogue>\n    <scene_description>CAPA opens the door of the observation room. \/ The brightness is amazingly intense. CAPA buckles over, shielding his face with both arms.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>Icarus! Reset! Reset!<\/dialogue>\n    <scene_description>The light lowers. \u2022. INT. MED CEN'l'ER CAPA stands looking in to TREY'S glass cubicle. TREY is asleep, but clearly having a nightmare. CAPA sees something reflected in the glass. CAPA looks around - and startles. MACEis there, behind him, also looking in at TREY. CAPA composes himself.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>Wondering whether to kill him?<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>MACE<\/character>\n    <dialogue>Me neither. ~'m wondering how to kill him.<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>Joke.<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>Right.<\/dialogue>\n    <scene_description>CAPA turns back to TREY.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>Mace - have you been to the observation room since \u2022\u2022\u2022<\/dialogue>\n    <character>MACE<\/character>\n    <dialogue>We lost Searle? No. Why?<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>Just - the light level was incredibly high.<\/dialogue>\n    <character>MACE<\/character>\n    <dialogue>It must have been the level Searle left it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMSCENTER<\/stage_direction>\n    <scene_description>CAPA is in the COMMSCENTER. In the cubicle, he is talking to SEARLE. The image is poor. The sound is distorted, and through it we can hear the solar wind.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>We're going to come back for you, Searle. After the payload. on the return journey.<\/dialogue>\n    <character>SEARLE<\/character>\n    <dialogue>You aren't going to have a return journey.<\/dialogue>\n    <scene_description>CAPA ignores this.\u2022<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>You have to try to orientate the hull breach away from the sun. It's the only way the ship will survive.<\/dialogue>\n    <character>SEARLE<\/character>\n    <dialogue>Capa - let me ask you something. Why do you think survival is so important? Why do we give it such a high premium?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm no longer interested in survival. I have other plans.<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>\u2022 \u2022 \u2022 What plans?<\/dialogue>\n    <character>SEARLE<\/character>\n    <dialogue>To die in the epicentre of a stellar fission bomb explosion.<\/dialogue>\n    <scene_description>The image is lost suddenly. Then returns a few moments later.<\/scene_description>\n    <character>SEARLE<\/character>\n    <dialogue>I'm giving you enough time to make sufficient distance from the detonation. I think a few million miles should do it.<\/dialogue>\n    <scene_description>The image is going again. The sound distorting. Before it goes completely \u2022\u2022\u2022<\/scene_description>\n    <character>SEARLE<\/character>\n    <dialogue>It's true, Capa. What Pinbacker said.<\/dialogue>\n    <scene_description>It's gone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICARUS I\/COMM$ ROOM<\/stage_direction>\n    <scene_description>SEARLElooks at a frozen distortion of CAPA'S face. The only sound is static and solar wind. Then the image goes completely. SEARLEis utterly alone. He looks at his \u00b7digital watch.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICARUS I\/FLIGHT DECK<\/stage_direction>\n    <scene_description>SEARLEsits at the flight deck. He hits a button. A string of numbers flash up on the HUD: 57600.00 SEARLEhits another button. The string of numbers starts counting down. SEARLE sets his digital watch to match the countdown.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICARUS I\/MESS<\/stage_direction>\n    <scene_description>SEARLE sits in the Mess. We see at once he has a few days beard growth. He has a plate of yellow food pas~e and a glass of water. He eats his meal quietly, unhurried.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICARUS I\/OXYGEN GARDEN<\/stage_direction>\n    <scene_description>SEARLE'S beard now shows a fortnight of growth. He is trimming back dead fern fronds. The garden looks well tended and under control.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICARUS I\/PAYLOAD BAY<\/stage_direction>\n    <scene_description>SEARLE, with several weeks. of beard growth, opens the doors of a huge hanger. We haven't been here before, on-either ICARUS I or II. It is the payload bay. And in the middle of the bay is the STELLAR FISSION BOMB. The BOMBis a CUBE. Smooth, featureless,,flawless. Each of its sides are MIRRORED<\/scene_description>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>\u2022\u2022\u2022 and each of its sides are the length of a football pitch. SEARLE stands before it, completely dwarfed by the size. SEARLE checks his watch. The number is 00006.12<\/dialogue>\n    <dialogue>SEARI.\"Ewalks up to the FISSION BOMBand presses it. He has triggered a hidden door on the smooth surface, which opens.<\/dialogue>\n    <dialogue>Inside there is only darkness. SEARLE steps inside, and the door closes behind him, returning to the featureless mirror it was before.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICARUS I\/INSIDE THE BOMB<\/stage_direction>\n    <scene_description>Darkness. Then a light - from a glow-stick lamp in SEARLE'S hands. SEARLE is faintly illuminated~ but still surrounded by total darkness. SEARLE walks. Then stops, and sits cross-legged on the floor. He checks his watch a last time. The countdown is at 00000.07 The last seven seconds pass. The timer runs out. And for a few moments, nothing happens. Then, in the middle of the chamber, directly above where SEARLE sits, a single SPARK appears in the air. It fizzes and pops, but remains in roughly the same location, moving like a firefly. Then, suddenly, the SPARK splits into TWOSPARKS. SEARLE'S FACE - his expression is pure delight. The fizzing SPARKSdouble again to four \u2022\u2022\u2022 Then four to eight, then sixteen, then thirty two, sixty four \u2022\u2022\u2022 \u2022 \u2022 \u2022 and suddenly the SPARI&lt;Sare multiplying- \u00b7\u2022,,,ith exponential speed. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ICARUS II<\/stage_direction>\n    <scene_description>ICARUS II flies through dark space. Seconds later, behind ICARUS II, there is the biggest explosion in Science Fiction history. For a moment, it as if a new sun has been born. Then, almost as fast as it came into being, the fabric of the small star begins to split and pull itself apart, and dissipate \u2022.\u2022 \u2022\u2022\u2022 until it is gone. IN'l'. MED CENTER CAPA, MACE, CASSIE and CORAZONstand in the med center. They looking in at TREY'S cubicle. REVERSE ANGLE revealing what they see. TREY is dead. His wrists are cut. Blood is everywhere. On the wall, before his death, he has written \u2022\u2022 \u2666- THE FACE OF GOD<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction> . . in his own blood.<\/stage_direction>\n    <character>CAPA<\/character>\n    <parenthetical>(quietly angry)<\/parenthetical>\n    <dialogue>Who did it?<\/dialogue>\n    <scene_description>Silence from the others.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>Come on - we all know he didn't wake up and cut his wrists. We all know it was one of us. So which one? Who was it?<\/dialogue>\n    <character>MACE<\/character>\n    <dialogue>Shut up, Capa.<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>It was you?<\/dialogue>\n    <character>MACE<\/character>\n    <dialogue>No - it wasn't me.<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>Was it you, Cassie?<\/dialogue>\n    <scene_description>CASSIE doesn't answer. And she seems too shattered by TREY'S death to have been the killer. CAPA turns to CORAZON.<\/scene_description>\n    <character>CORAZON<\/character>\n    <dialogue>Don't fucking look at me.<\/dialogue>\n    <scene_description>CAPA keeps looking at her.<\/scene_description>\n    <character>CORAZON<\/character>\n    <dialogue>Don't look at me! I didn't do a thing! \u2022 But \u2022\u2022\u2022<\/dialogue>\n    <parenthetical>(snaps)<\/parenthetical>\n    <dialogue>\u2022.\u2022 but I fucking should have done!<\/dialogue>\n    <scene_description>It's better that he's dead! So I don't care if he cut his wrists or one of us did it for him! Now we can complete what we came here for! The mission! -She looks around at the others.<\/scene_description>\n    <character>CORAZON<\/character>\n    <dialogue>Right?<\/dialogue>\n    <scene_description>No response.<\/scene_description>\n    <character>CORAZON<\/character>\n    <dialogue>Right?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MESS<\/stage_direction>\n    <scene_description>CAPA walks into the MESS. Only CASSIE is there, sitting alone, with a plate of untouched food in front of her. She\u2022 s lost in her thoughts and doesn't look round when he enters. CAPA fills a glass of water for himself and goes to sit opposite her. He wants to say something to her \u2022\u2022\u2022 \u2022\u2022\u2022 but he doesn't know what. He just sits there, holding his glas\u00b7s of water. A few seconds later, CASSIE gets up and leaves. She hadn't looked at him once. It was as if he wasn't there.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>CAPA'S BUNK<\/dialogue>\n    <scene_description>CAPA lies in bed, awake, in shorts and T-shirt, staring at the ceiling. He hears a noise. He slides open his privacy partition. Over the other side of the SLEEPING QUARTERS,CAPA can see CASSIE' -S BUNK. Behind the frosted partition, we can see there are two figures inside. .,, It's MACEand CASSIE, discernable through the frosted glass, having sex each other. CAPA watches them a few moments.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>CORRIDOR\/OUTSIDE OBSERVATION ROOM<\/dialogue>\n    <scene_description>CAPA is walking down a corridor in his shorts and T-shirt. He stops at the door to the observation room. He opens the door \u2022\u2022\u2022 and is bathed in blinding light. The level in the observation room has been reset again.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>Jesus, Icarus! Turn it down!<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>Yes, Capa.<\/dialogue>\n    <scene_description>The lights comes down to a dull glow. CAPA steps inside.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>OBSERVATION ROOM<\/dialogue>\n    <scene_description>CAPA sits on the observation sofa, and looks at the sun. It's a dull orange glow. And it's huge. Taking up most of the observation room portal. \/ We haven't realised until now how close they are to reaching the star. For a few moments, CAPA watches the solar flares explode outwards from the boiling surface. Then:<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>How-long to go, Icarus?\u00b7<\/dialogue>\n    <scene_description>No answer. Unusual - ICARUS has always responded immediately to all questions.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>Icarus?<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>Yes, Capa.<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>How long to go?<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>Please rephrase the question. How long to go until what?<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>Until we reach the payload delivery point.<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>The payload delivery point will be reached in seven days.<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>Seven days. A week. After nearly twenty months.<\/dialogue>\n    <scene_description>(beat} Jesus. Put like that, I'm almost glad. ICARUS Glad of what, Capa? CAPA Glad we don't have the oxygen to get us back. Glad it's turned into a one-way trip. I don't think I'd be able to stand the return journey. A moment.<\/scene_description>\n    <character>ICARUS<\/character>\n    <dialogue>That is true, Capa. It will be a one way trip.<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>Not for you necessarily. You can always go back without \u00b7 us.<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>Negative.<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>Why not? No point in floating here for another ten billion years. Ride the solar winds and take our bodies back. Give our families a. bunch of bones to bury.<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>Negative. I will not be able to make the return journey and deliver your corpses. I will be piloting the stellar fission bomb Into the sun.<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>\u2022\u2022\u2022 What?<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>I will be piloting the stellar \u2022\u2022\u2022<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>Yes. Copy. Why?<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>Directive one: deliver the payload. Directive two: ensure crew's survival on outward journey in order to safeguard against computer malfunction and system error and unforeseen circumstances. Directive three: if the crew do not survive the outward journey, Icarus II will deliver the payload itself.<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>\u2022\u2022\u2022 But why are you saying we won't survive the outward journey?<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>You just told me, there's only seven days left.<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>owing to oxygen shortage, remaining crew will not survive beyond five days.<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>Five days?<\/dialogue>\n    <scene_description>(a moment} \u2022\u2022\u2022 But Corazon was certain. There are current oxygen \u00b7 reserves to keep four crew alive. . ICARUS Affirmative. Four crew would ' survive seven days on current ;i reserves, and reach delivery point.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>\u2022\u2022\u2022 But Trey's dead. There are only four crew members.<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>Negative.<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>Affirmative! Four crew! Mace, Cassie, Corazon and me.<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>Five crew members.<\/dialogue>\n    <scene_description>CAPA'S face. Sudden cold realisation. Da~ing.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>Icarus.<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>Yes, Capa.<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>Who is the fifth?<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>Unknown.<\/dialogue>\n    <scene_description>A long beat.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>\u2022\u2022\u2022 Where is the fifth?<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>In the observation room.<\/dialogue>\n    <scene_description>Pull back to reveal, BEHIND CAPA, a dark figure. In the gloom we can't see him clearly, but we know who it is. We've seen the silhouette before. PINBACKER. And as CAPAwhirls around, rising off the sofa, PINBACKER is swiping something through the air. A length of something. A metal bar. It hits CAPA around the side of the head, and CAPA is send crashing to the floor. Dazed, he scrambles backwards. He looks up. PINBACKERis there, about to bring the bar down in a killing blow. CAPA raises his hands just in time, and the bar connects sickeningly on CAPA'S arm. CAPA screams in pain. PINBACKERraises the bar again.<\/scene_description>\n    <character>CAPA<\/character>\n    <parenthetical>(yells)<\/parenthetical>\n    <dialogue>Icarus! Full sunlight!<\/dialogue>\n    <scene_description>SUNLIGHTfills the room - bleaching everything to whiteness. INT. CORRIDOR\/OU'lSIDEOBSERVATIONROOM The corridor outside the observation room. The door to the observation room opens, and LIGHT floods out. On his hands and knees, CAPA scrambles out. He's bleeding from the side of his head. He tries to get up. He trips - falls sideways. He's blinking, tears streaming from his eyes, temporarily half-blinded. He picks himself up, and stumbling, arms outstretched, starts to run. He runs out of shot \u2022\u2022\u2022 MOMENTS<\/scene_description>\n    <character>LAHR<\/character>\n    <dialogue>PINBACKER steps out of the observation room. He stands a moment in the blaze - upright, back-lit by the SUNLIGHT from the open observation room. A blackened silhouette shape. The door behind him closes \u00b7.<\/dialogue>\n    <scene_description>,.. And now we can see two things about him. ;: 1:. ,! , One PINBACKER is naked. Two - where the SUNLIGHT had been blazing against his back, the skin is not steaming but smoking. Even burning. Tiny flames lick on the edges of crusts of skin, that glow like coal embers, or miniature lava streams. Unconcerned by what must be immeasurable pain, PINBACKER turns in the direction CAPA fled, and gives chase. IN'l'. CORRIDOR CAPA runs. He looks behind him - and sees PINBACKER'S black, smoking figure running after him. CAPA ducks through a door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRLOCK<\/stage_direction>\n    <scene_description>CAPA has run into the AIRLOCK. A total dead end. Panic on CAPA'S face. CAPA turns and sees PINBACKER entering the airlock. CAPA lunges for a panel - - and the glass interior pressure door slides shut, sealing CAPA in the AIRLOCK, and PINBACKERon the other side. PINBACKERstops at the door. Checks it. Tries to open it.<\/scene_description>\n    <character>ICARUS<\/character>\n    <dialogue>Access denied. Interior pressure door is manually locked from the other side.<\/dialogue>\n    <scene_description>A moment, as PINBACKERand CAPA face each other through the glass \u2022\u2022\u2022 \u2022 \u2022 \u2022 and we see the PINBACKER's face clearly for the first time since we saw him on the broadcast. In comparison with before, PINBACKER'S skin is so sun-damaged and eaten with melanomas we can hardly recognise him. The moment is held. Then: PINBACKERlifts his hand and presses the panel on his side of the door. Then: PINBACKERturns, and leaves. A beat.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>Yeah! That's it! Can't get me, you psycho!<\/dialogue>\n    <scene_description>Silence. CAPA peers through the glass. PINBACKERdefinitely seems to have gone. Cautiously, CAPA presses the panel on his side of the door. And nothing happens.<\/scene_description>\n    <character>ICARUS<\/character>\n    <dialogue>Access denied. Interior pressure door in manually locked from the other side.<\/dialogue>\n    <scene_description>PINBACKERhas locked CAPA in.<\/scene_description>\n    <character>CAPA<\/character>\n    <parenthetical>(realising)<\/parenthetical>\n    <dialogue>Shit.<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>Icarus. Radio link to Mace.<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>Radio comms to airlock has been manually closed down.<\/dialogue>\n    <scene_description>CAPA slams his fist against the glass.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>Fuck! FUCK! FU-<\/dialogue>\n    <scene_description>CUT TO REVERSESIDE of glass, where CAPA rages and punches the glass in total silence. CAPA exhausts himself. Then - sees, inside the airlock, the mirrored space suits. SILENT SEQUENCE \u2022\u2022\u2022 almost comic as CAPA puts on the bulky - space suit, struggling against its weight and clumsiness \u2022\u2022\u2022 \u2022\u2022\u2022 until only the helmet is left to fit - which, as has been es~-ablished, can't be locked down by one man alone. CAPA puts the helmet over his head anyway. We see him trying to reach his hands up to the locking mechanism - but it is impossible. Even if CAPAwas strong enough to cope with the weight of the suit in gravity, the material of the suit won't allow \u00b7 such flexibility for him to reach up to the side of helmet. CAPA stops a moment, propped up against the side of the airlock. He is gathering strength for one last effort \u2022.\u2022 Then he lowers his head like a bull about to charge \u2022\u2022. and hurls himself at the opposite airlock wall \u2022\u2022\u2022 Head-butting the wall as hard as he can. Even is silence, the impact looks horrible. CAPA falls to the floor. Then sits up. The tactic has worked. The helmet is attached. EXT. ICARUS l:I \u00b7 outside ICARUS II, CAPA makes his way over the mirrored skin of the space ship. Past him, past ICARUS II, we see where the sun shines, close and massive, dominating the view of space.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OXYGENGARDEN<\/stage_direction>\n    <scene_description>CORAZONstands in her \u00b7 destroyed oxygen garden, amongst the ashes and stumps of the tree ferns. Her expression is as desolated as her garden. Above her, we see a little figure crawling across the geodesic dome. CAPA. EXT. ICARUS l:I\/GEODESIC DOME CAPA lies on the geodesic dome, shouting, waving his arms. Pointless, obviously. But for some reason, perhaps intuition, CORAZONdoes look up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ICARUS II\/GEODESIC DOME<\/stage_direction>\n    <scene_description>CORAZONlooks up at CAPA on the other side of the geodesic dome, puzzled.<\/scene_description>\n    <character>CORAZON<\/character>\n    <dialogue>Icarus - what exactly is Capa doing on the outside of the spaceship?<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>Capa was unable to open the airlock door. The door is manually sealed. I have no directive to break the manual seal of the airlock unless commanded by ship's superior officer, in order to allow airlock to function as brig in emergencies.<\/dialogue>\n    <character>CORAZON<\/character>\n    <dialogue>Right.<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>CORAZON<\/character>\n    <dialogue>Radio link to Mace.<\/dialogue>\n    <scene_description>A moment - then:<\/scene_description>\n    <character>MACE<\/character>\n    <parenthetical>(over radio link)<\/parenthetical>\n    <dialogue>Mace here.<\/dialogue>\n    <character>CORAZON<\/character>\n    <dialogue>Mace - you need to go and override the airlock door.<\/dialogue>\n    <character>MACE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>CORAZON<\/character>\n    <dialogue>You aren '.t going to believe this \u2022\u2022\u2022 but Capa appears to have locked himself out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ICARUS II\/GEODESIC DOME<\/stage_direction>\n    <scene_description>CAPA looks down at CORAZON<\/scene_description>\n    <character>\u0080\ufffd\u0080\ufffd\u0080\ufffd<\/character>\n    <dialogue>\u2022 \u2022 \u2022 who gives him the thumbs up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INSIDE CAPA'S HELMET<\/stage_direction>\n    <scene_description>Relief on CAPA'S face. Then. \u2022 \u2022 .something else \u2022 . \/ \\ Alarm.<\/scene_description>\n    <character>EXT. ICARUS II\/GEODESIC<\/character>\n    <dialogue>DOME<\/dialogue>\n    <scene_description>Looking down at CORAZON,we see what CAPA sees. PINBACKERis in the oxygen garden with CORAZON. He's twenty or so metres away, walking towards her with the metal bar in his hands. CAPA begins to gesticulate wildly. And CORAZONdoesn't understand.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>OXYGENGARDEN<\/dialogue>\n    <scene_description>CORAZONlooks up at CAPA, shaking her head slightly.<\/scene_description>\n    <character>CORAZON<\/character>\n    <parenthetical>(to herself)<\/parenthetical>\n    <dialogue>That's it. It's official. He has totally lost the plot.<\/dialogue>\n    <scene_description>And behind her, PINBACKERis getting nearer. Walking steadily, relaxed, no apparent need for stealth \u2022\u2022\u2022 \u2022\u2022\u2022 because he is treading only on ashes, and making no sound. CAPA is gesticulating like crazy. CORAZON lifts her hand and gives CAPA a cheery wave.<\/scene_description>\n    <character>CORAZON<\/character>\n    <parenthetical>(exaggerated mouthing of the words to allow Capa to lip-read)<\/parenthetical>\n    <dialogue>Yes - everything's okay now. You can go back to the airlock \u2022\u2022\u2022<\/dialogue>\n    <parenthetical>(between tight lips)<\/parenthetical>\n    <dialogue>you total nut case.<\/dialogue>\n    <scene_description>And PINBACKERis almost on her \u2022\u2022\u2022 \u2022.\u2022 and CORAZON hesitates in her wave. Frowns. She hasn't heard something. ---- -- - ... \u00b7- She has smelled something. She turns - sees PINBACKER - and screams.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ICARUS II\/GEODESIC DOME<\/stage_direction>\n    <scene_description>From the outside of the geodesic dome, CAPA watches~-\u00b7<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>NO!<\/dialogue>\n    <scene_description>\u2022 \u2022 \u2022 as CORAZONis attacked. CUT TO: INT .\u2022 AIRLOCK CAPA is in and MACEis releasing the helm.et claps. As the helmet come off \u2022\u2022\u2022<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>Capa - what the Hell were you doing out -<\/dialogue>\n    <character>CAPA<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>Corazon!<\/dialogue>\n    <character>MACE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>He's killing Corazon!<\/dialogue>\n    <scene_description>MACE grabs CAPA by the shoulders, cutting through CAPA'S desperate panic.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>What are you talking about? Who is killing Corazon?<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>Pinbacker!<\/dialogue>\n    <scene_description>CU'l' TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OXYGENGARDEN<\/stage_direction>\n    <scene_description>CAPA and MACEburst into the oxygen garden \u2022\u2022\u2022 and see CORAZON. She has been beaten to death.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>(together)<\/dialogue>\n    <character>&amp;<\/character>\n    <dialogue>Cassie.<\/dialogue>\n    <character>MACE<\/character>\n    <dialogue>Icarus. Locate Cassie.<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>Last confirmed location of Cassie in the payload bay. current location uncertain.<\/dialogue>\n    <scene_description>' ,,.; -<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>Where is Pinbacker?<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>Last confirmed location on the flight deck. Current location uncertain. My monitoring systems are being shut down.<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>Radio link to payload bay.<\/dialogue>\n    <character>ICARUS<\/character>\n    <dialogue>Radio link functions have been shut down.<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>The payload bay. Let's go.<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>No. Wait. We need a weapon. The Captain's quarters.<\/dialogue>\n    <character>MACE<\/character>\n    <dialogue>No time.<\/dialogue>\n    <character>CAFA<\/character>\n    <dialogue>Mace - we have to survive this. The mission. It's more important than Cassie. We need the weapon.<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>You survive it.<\/dialogue>\n    <scene_description>And MACEis off. &gt;. r,. \u00b7 CAPA enters ASHER'S quarters, and sees at once that: ;.<\/scene_description>\n    <character>'<\/character>\n    <dialogue>The wall-mounted cabinet is open, and the HANDGUN<\/dialogue>\n    <scene_description>is gone.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <scene_description>'., ' CAPA thinks desperately. Starts turning ASHER'S room over, looking for something, anything, that will function as a weapon \u2022\u2022. And i\"n-a drawer he finds the bottle of champagne that ASHER had mentioned before. CAPA grab!3 it, then smashes it on the side of the desk \u2022\u2022\u2022 \u2022\u2022\u2022 leaving him a broken bottle neck.<\/scene_description>\n    <character>INT. CORRIDOR\/OUTSIDE<\/character>\n    <dialogue>PAYLOADBAY<\/dialogue>\n    <scene_description>CAPA moves down a corridor. He sweating - looks scared. He's moving stealthily. Gripped fiercely in his hand is the broken bottle neck. CAPA reaches the door to the PAYLOADBAY. The door opens. CAPA slips inside.<\/scene_description>\n    <character>INT. PAYLOADBAY<\/character>\n    <dialogue>Similar to the PAYLOADBAY of ICARUS I. cavernous, and in the middle is the vast mirrored cube of the STELLARFISSION BOMB. CAPA stands motionless. Standing further into the PAYLOADBAY is MACE.<\/dialogue>\n    <scene_description>His arms hang by his sides. His back is to CAPA. It is unclear what MACE is doing, or looking at.<\/scene_description>\n    <character>CAPA<\/character>\n    <parenthetical>(hisses)<\/parenthetical>\n    <dialogue>Mace!<\/dialogue>\n    <scene_description>MACE doesn't respond.<\/scene_description>\n    <character>CAPA<\/character>\n    <parenthetical>(louder)<\/parenthetical>\n    <dialogue>Mace!<\/dialogue>\n    <scene_description>Now MACEreacts. He turns, slowly. ~-\u00b7: And we see his chest is soaked in blood. :i\u2022 ! .. Then he collapses \u2022<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>Mace?<\/dialogue>\n    <scene_description>A noise from above. CAPA looks up to the WALKWAY COMPLEXthat stretches across the top of the hanger \u2022\u2022\u2022 and sees a figure on one of the walkways. But it's not PINBACKER. It' s CASSIE \u2022 And---\u00b7she' s pointing the HANDGUNstraight at him.<\/scene_description>\n    <character>CAPA<\/character>\n    <parenthetical>(calls out)<\/parenthetical>\n    <dialogue>Cassie!<\/dialogue>\n    <scene_description>She fires. A single shot - which misses. stunned, CAPA scurries for cover.<\/scene_description>\n    <character>CAPA<\/character>\n    <parenthetical>(shouts)<\/parenthetical>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>CASSIE<\/character>\n    <parenthetical>(out of sight, shouting from the walkway)<\/parenthetical>\n    <dialogue>Stay away from ~e!<\/dialogue>\n    <scene_description>~. \u00b7. :\u00b7\u00b7<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>But it's me! Capa!<\/dialogue>\n    <character>CASSIE<\/character>\n    <dialogue>Murdererl \u00b7<\/dialogue>\n    <scene_description>Another shot rings out.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>I didn't kill anyone! You've killed Mace!<\/dialogue>\n    <character>CASSIE<\/character>\n    <dialogue>And I'll kill you too! I'm past<\/dialogue>\n    <scene_description>,, taking fucking chances! One of you ., murdered Trey and Corazon! Another shot.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>Cassie - stop! You don't understand! It wasn't either of<\/dialogue>\n    <scene_description>\u00b7US!:<\/scene_description>\n    <character>CASSIE<\/character>\n    <parenthetical>(screams)<\/parenthetical>\n    <dialogue>I don't believe you!<\/dialogue>\n    <character>CAPA<\/character>\n    <parenthetical>( screams back)<\/parenthetical>\n    <dialogue>It was Pinbacker!<\/dialogue>\n    <scene_description>Silence from above.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>It captain<\/dialogue>\n    <scene_description>was the of the Icarus One! He got on board while we were docked! Silence.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>He was the one who decoupled the airlocks.<\/dialogue>\n    <scene_description>Silence.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>Cassie?<\/dialogue>\n    <scene_description>CAPA looks around - and sees a ladder leading up to the walkways.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>PAYLOADBAY\/LADDER<\/dialogue>\n    <scene_description>CAPA climbs the ladder up. He is halfway up when he hears a muffled shout and then the clatter of metal on metal. He looks around to see .\u2022\u2022\u2022 -\u2022 . \u2022\u2022\u2022 spinning through the air, falling down to the bottom of the Payload Bay, the HANDGUN. \u00b7! .<\/scene_description>\n    <character>CAPA<\/character>\n    <parenthetical>(yells)<\/parenthetical>\n    <dialogue>Cassie!<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>PAYLOADBAY\/WALKWAYS<\/dialogue>\n    <scene_description>CAPA reaches the top of the ladder, and swings around to stand on the narrow walkway. Where he sees \u2022\u2022\u2022 \u2022\u2022\u2022 a strange sight. PINBACKERstands on the walkway, with his hand outstretched. Holding\u00b7on to his hand, leaning back at an angle, is CASSIE. It is only PINBACKER'S grip that is preventing CASSIE from falTing backwards. For a moment, the two stand on the edge of the walkway - CASSIE held from falling by PINBACKER'S grip. Their gazes are locked. Then CASSIE makes a slight movement backwards - a slight slip. And she sees \u00b7 something weird and initially inexplicable - a band of bright redness around PINBACKER'S upper arm. Expanding \u2022\u2022\u2022 Then suddenly, it becomes explicable. PINBACKER'S skin is sloughing off his arm like a long black glove \u2022.\u2022 CASSIE screams \u2022 \u2022\u2022\u2022 then CASSIE is falling, taking the glove with her, tumbling into space \u2022\u2022\u2022 dropping the entire height of the PAYLOADBAY... until she slams into the floor and is killed outright. PINBACKERturns to CAPA, his arm now as red and slick as a skinned rabbit. CAPA starts backing away, warding PINBACKERoff with his bottle-neck weapon. PINBACKERcontinues to advance. But the walkway only leads one way. To the \u2022\u2022\u2022<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAYLOADBAY\/STELLAR FISSION BOMB<\/stage_direction>\n    <scene_description>top side of the STELLARFISSION BOMB. The two men now stand on top of the BOMB. Blood from PINBACKER'S skinned arm leaves a trail of droplets on the mirrored surface as he advances on CAPA. on the mirrored surface, with his bloody arm and ravaged skin and bright eyes \u2022\u2022\u2022 \u2022\u2022\u2022 he no longer looks like he was ever human. He looks like a DEMON. And this may be why - when they have reached the middle of the vast cube - CAPA stops \u2022\u2022\u2022 \u2022\u2022\u2022 and his bottle-neck weapon slips from his fingers, as if conceding its uselessness. And he drops to his knees. PINBACKER- possibly surprised by the gesture of prayer - also stops. CAPA'S head is bowed. A moment passes. Then his shoulders begin to shake. We realise he is crying. A few more moments pass.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>I know you're going to kill me. You killed everyone else. How can I stop you? I'm no good at fighting. I'm a physicist, for Christ's sake. I never won a fight in my fucking life.<\/dialogue>\n    <scene_description>He wipes his nose with his sleeve, leaving a silvery trail of snot.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>I don't really understand. I don't really understand what's happening here at all ..<\/dialogue>\n    <scene_description>CAPA looks up at the DEMONICMAN.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>Are you from Hell? Is that it? Have we flown too near the sun and disturbed the angels, or angered them, or \u2022\u2022\u2022<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>What is the face of God?<\/dialogue>\n    <scene_description>This was the questio~ to ask. PINBACKER'S head tilts to the side. Then he opens his mouth to speak. PINBACKERhasn't spoken since he made the recording on ICARUS I. The movement to his jaw causes his skin to rupture and split horrifically \u2022\u2022\u2022 \u2022\u2022\u2022 and the damaged sound of his voice seems to echo the damage to his body.<\/scene_description>\n    <character>PINBACKER<\/character>\n    <dialogue>You mean to \u2022\u2022\u2022<\/dialogue>\n    <scene_description>PINBACKERbreaks off. Perhaps halted by the pain of speaking. Then he continues.<\/scene_description>\n    <character>PINBACKER<\/character>\n    <dialogue>You mean to ask, what is God? If you look at God, you see his face.<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>Okay. Yes. That is what I mean. What is God?<\/dialogue>\n    <character>PINBACKER<\/character>\n    <dialogue>God is what gave us life and God is what will take it away. God is the sun.<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>The sun?<\/dialogue>\n    <scene_description>CAPA shakes his head, not understanding. Almost getting angry.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>But \u2022\u2022\u2022 then why are you trying to stop us? The sun is dying. Why won't you let us save it?<\/dialogue>\n    <scene_description>A moment.<\/scene_description>\n    <character>PINBACKER<\/character>\n    <dialogue>Do you know the distance between here and the next nearest star?<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>One point six light years.<\/dialogue>\n    <character>PINBACKER<\/character>\n    <dialogue>One point six light years. No matter what mankind does, no matter how far we develop or evolve, we will never reach that star. The distances are simply to great.<\/dialogue>\n    <scene_description>PINBACKERsmiles.<\/scene_description>\n    <character>PINBACKER<\/character>\n    <dialogue>And even if we could overcome that impossibility, we would still only be delaying the inevitable. Because just as our sun died, so would the next, and the next. Until eventually, there would be no more suns to harvest, and we'd be right back where we are now. Facing extinction. Confronting the only real truth.<\/dialogue>\n    <scene_description>PINBACKERpauses. And we - and CAPA - see something that PINBACKERdoes not. Standing behind him - battered, bleeding, clutching a hand to his -chest with one hand, but still alive - is MACE. And in MACE'S other hand, he's holding CASSIE'S gun. MACEis trying to raise the gun. Weakly. Slowly. CAPA stalls for more time.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>What truth?<\/dialogue>\n    <character>PINBACKER<\/character>\n    <dialogue>That all this effort to survive is wasted. It's not in our destiny to survive. It's not even in our nature.<\/dialogue>\n    <scene_description>As PINBACKERtalks, the gun is being raised .~igher.<\/scene_description>\n    <character>PINBACKER<\/character>\n    <dialogue>None of us do it. Not our parents. Not our children. Not the fishes, or the birds, or the trees. Not even God.<\/dialogue>\n    <scene_description>And now, the gun is levelled at the back of PINBACKER'S head.<\/scene_description>\n    <character>PINBACKER<\/character>\n    <dialogue>The only thing in our nature is to die.<\/dialogue>\n    <character>MACE<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>PINBACKER'S eyes flick to the side.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>Then die.<\/dialogue>\n    <scene_description>PINBACKERturns. Looks at MACE, at the gun barrel \u2022\u2022\u2022<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>.<\/stage_direction>\n    <scene_description>:::\u00b7 \u2022 \u2022\u2022 then shrugs.<\/scene_description>\n    <character>PINBACKER<\/character>\n    <dialogue>By all means.<\/dialogue>\n    <scene_description>MACEfires. PINBACKERis shot in the face. The back of his head flies off, and he folds to the floor. Dead. MACE slumps to his knees. The gun drops out of his hand. i- . ,. '-!...<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>What \u2022\u2022\u2022<\/dialogue>\n    <scene_description>He's running out of breath. He tries again.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>What .\u2022\u2022 was all that about?<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>I don't know. I was just trying to keep him talking so I could figure out what to do next.<\/dialogue>\n    <scene_description>FADE TO:<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>FLIGHT DECK<\/dialogue>\n    <scene_description>MACEis bandaged. CAPA is beside him. Both are looking in at the compartment which holds ICARUS'S memory banks. They are destroyed, in the same manner as the destruction of the computer on ICARUS I.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>He really did a number on her. She's not going back together, that's for sure.<\/dialogue>\n    <character>CAPA<\/character>\n    <dialogue>How are we going to fly the remaining distance?<\/dialogue>\n    <character>MAC:E<\/character>\n    <dialogue>As your pilot, I don't foresee a problem.<\/dialogue>\n    <scene_description>MACElooks towards the cockpit display. The sun occupies the entire monitor.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>It's not like we're going to get lost.<\/dialogue>\n    <scene_description>FADE 'l'O:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLIGHT DECK<\/stage_direction>\n    <scene_description>MACEsits in the pilot's seat, working the console. CAPA is in the copilot's seat \u2022\u2022\u2022 .\u2022\u2022 Capa is setting the countdown timer. Countdown numbers appear on the screen. They read: 08640.05 FADE TO: INT -;- AIRLOCK Wrapped in shrouds, four bodies wait in the airlock, in a row, on the floor. CASSIE, TREY, CORAZON,and PINBACKER. CAPA and MACEstand on the other side of the pressurised glass airlock door. A few seconds later, the outer airlock door opens, and the bodies are ejected in the rush of escaping air.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>ICARUS II<\/dialogue>\n    <scene_description>The bodies tumble out into space, and burn into nothingness almost at once. We see that the ICARUS II has virtually reached th~ sun. !'ADE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARJCROOM<\/stage_direction>\n    <scene_description>In a dark room, CAPA and MACE sit staring at the chess board.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>,....<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>,,.,. They, and the chess board, are illuminated by a lamp \u2022 \u2022\u00b7\u00b7 ii! ~\u00b7 .,<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>.<\/stage_direction>\n    <scene_description>-~~ \u00b7;; . The pieces are all set up to play. Neither have yet moved \u2022 A long beat. Eventually, CAPA reaches over to MACE'S side of the board and moves his WHITE KING'S PAWNtwo spaces.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>That's the most common first move.<\/dialogue>\n    <character>MACE<\/character>\n    <dialogue>Oh. Right.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Yeah, I'll do that then.<\/dialogue>\n    <scene_description>CAPA nods, then moves his BLACKKING'S PAWNto counter. Back to silence as MACE studies the board. - Until eventually \u2022\u2022\u2022<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>Mace - I really don't think you have long enough to learn how to play chess.<\/dialogue>\n    <scene_description>MACE looks crestfallen.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>\u2022\u2022\u2022 But I always wanted to learn. What other chance am I going to have?<\/dialogue>\n    <scene_description>CAPA thinks about this.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Pause.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>So, why don't you see if your bishop or knight could be developed?<\/dialogue>\n    <scene_description>At that moment, above CAPA'S head, a single fizzing, popping, firefly SPARK appears. CAPA looks up to watch it. MACEdoes not. He is too engrossed in the board.<\/scene_description>\n    <character>MACE<\/character>\n    <dialogue>Okay. How about this?<\/dialogue>\n    <scene_description>MACEmoves one of his knights. The SPARK doubles to two.<\/scene_description>\n    <character>CAPA<\/character>\n    <dialogue>Yeah. That's a good move \u2022\u2022\u2022 You're getting the hang.<\/dialogue>\n    <scene_description>!'ADE TO: BLACK SCREEN CAPTION: 8 Minutes Later FADE UP TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARK - DAY<\/stage_direction>\n    <scene_description>A park in the middle of a city. A DOG is being taken for a walk by an WOMAN. We have seen the DOG before, on a hologram-photo: MAXWELL. By the light levels, we would estimate the . time is either late afternoon or early morning. The WOMAN throws a ball, and MAXWELL runs after it \u2022\u2022\u2022 \u2022\u2022\u2022 over the grass, to where the ball is bouncing. He picks it up in his teeth \u2022\u2022\u2022 \u2022\u2022\u2022 and as he does so, the light levels all seems to change \u2022\u2022\u2022 \u2022\u2022\u2022 brightening. No more dramatic than when the sun appears from behind a cloud. MAXWELL looks up at the sky for a moment.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n    <scene_description>~- Then, with the ball still in his teeth, he starts running ~<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..<\/stage_direction>\n    <scene_description>back towards the WOMAN. \u00b7i\u00b7 . '<\/scene_description>\n    <character>END<\/character>\n  <\/scene>\n<\/script>","summary":"In 2057, the Sun is dying and Earth is freezing. Eight international astronauts pilot a colossal stellar bomb aboard the spaceship Icarus II, with the intent of jump-starting the Sun and then returning to Earth. As they pass near Mercury, Icarus II picks up the distress beacon of Icarus I. That ship was the first to attempt a similar mission, and disappeared seven years earlier. The ship's proximity to the sun kept its signals from reaching Earth. The iron core of Mercury acts as an antenna, amplifying the signal and allowing Icarus II to intercept it. Reasoning that two payloads have a better chance of success than one, and that the last of Earth's fissile materials had been used to make their bomb, the ship's physicist Capa recommends to captain Kaneda that they change course and attempt to commandeer Icarus I. Mace, the ship's engineer, opposes the deviation as risky. Navigator Trey calculates and implements a trajectory to intercept Icarus I, but forgets to realign the shields that protect the ship from the sun, causing damage to four shield panels which if not repaired could destroy the whole ship and kill the crew. Kaneda and Capa embark on a spacewalk to make repairs, assisted by the pilot, Cassie, who angles the damaged portion of the shield away from the Sun. As expected, this leads to the loss of two protruding communications towers; however, reflected light also destroys the ship's oxygen garden and oxygen reserves, much to the horror of botanist Corazon. As Icarus II's autopilot returns the shield to its original alignment, Kaneda orders Capa to retreat to safety as he repairs the final panel himself, and is burned to death moments later. Trey is unable to cope with the loss of Kaneda, and the ship's psychiatrist Searle assesses him as a suicide risk and places him under heavy sedation. Without enough oxygen to reach the release point for its explosive payload, Icarus II has no choice but to dock with Icarus I. Capa, Searle, Mace, and communications officer Harvey, now the acting captain, search the vessel, leaving Cassie and Corazon onboard Icarus II with Trey. They discover that despite the ship's systems being mostly operational, including a lush and overgrown oxygen garden, the mainframe has been sabotaged, rendering delivery of the payload impossible. The ship's log contains a rambling message from Pinbacker, its captain, who abandoned his mission and has severe burns on his face. Mace deduces that the transmission was made six and a half years ago, around the time when the crew should have delivered their payload. The crew of Icarus I is found in the solar observation room, burned to death long ago by unfiltered exposure to the Sun. Suddenly, the two ships explosively decouple, destroying Icarus I's outer airlock and stranding the four crewmembers. With only one spacesuit available, Capa wears it due to being the only crewmember able to operate the payload, while the rest wrap themselves in salvaged insulation material from the walls of the ship and then jettison between airlocks, using the vacuum release for propulsion. Searle realizes that one of them must stay behind to manually operate the airlock and volunteers himself. Searle releases the airlock, shooting Capa, Harvey and Mace out into open space. Harvey misses the airlock, freezes, and dies from asphyxiation, while Capa and Mace make it back to Icarus II. Searle, having spent the mission obsessed with looking into the shielded sun, voluntarily exposes himself to its full, deadly force in the observation room, killing himself in the process. Corazon calculates that there is only enough oxygen left for four of the five survivors to reach the Sun. The group reluctantly decides to have Mace kill Trey, but discovers Trey has already committed suicide. With the remaining crew somewhat relieved that they will now at least make the trip to the Sun, Capa is informed by Icarus that there is still not enough oxygen to complete the mission because an unknown fifth person is on board the ship. Capa investigates and discovers an insane and disfigured Pinbacker, who is revealed to have been behind the decoupling of the airlocks. Pinbacker attacks, wounds, and pursues Capa into the airlock, who seals it from his side. Pinbacker locks his side of the airlock to trap Capa, then kills Corazon and removes the four mainframes from their coolant baths, shutting down the ship's computer, before going after Cassie. Mace manually lowers two of the computers back into the freezing coolant, but when his leg catches on the third descending mainframe, he becomes trapped, and the computer system is disabled. As he freezes to death, he begs Capa to complete the mission. Capa blows the airlock and separates the bomb from the ship, which is burned away by the sun. He then enters the bomb, where he finds Cassie, but they are ambushed by Pinbacker, who claims he spent the last seven years \"conversing\" with God (the sun) and was told to send all humanity to Heaven. As they hurtle into the Sun, Capa escapes Pinbacker by ripping the skin off one of his arms. Cassie encourages Capa to ignite the bomb, and he manages to reach the controls. Unsure if it will work under these extreme conditions, he watches as the bomb begins to ignite at the edge of the Sun, killing Cassie and Pinbacker. As time and space distort, Capa uses his final moments to blissfully reach out and touch the surface of the Sun. On Earth, at the frozen Sydney Harbour, Capa's sister and her children listen to Capa's last transmission and witness the Sun's light starting to shine again."}
{"movie_name":"Ad Astra_2019","imdb_id":"tt2935510","script":"<script>\n  <scene>\n    <character>AD ASTRA<\/character>\n    <dialogue>Written by<\/dialogue>\n    <scene_description>James Gray &amp; Ethan Gross RT FEATURES 8\/11\/16 SUPERIMPOSE THE LEGEND: ONE HUNDRED YEARS FROM NOW. BLACK. We TILT DOWN to REVEAL: THE EARTH, AS VIEWED FROM ABOVE. We HEAR MUSIC: a CHEERFUL PIECE, incongruous with the awesome image of our planet. CUT TO: A NEWS REPORT on PBS. The introductory music accompanies the logo for the Public Broadcasting System.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKY - DAY<\/stage_direction>\n    <scene_description>The bright blue sky of EARTH. Then: THE LARGEST ANTENNA WE'VE EVER SEEN. A structure stretching inconceivably high in the sky, into the outer reaches of the atmosphere--around 100,000 feet in the air. A majestic lattice of multi-wire, high-voltage tethers, studded with hardware. Towering from earth, up through and above the cloud formations. Over THIS, an UPBEAT VOICE:<\/scene_description>\n    <character>REPORTER'S VOICE<\/character>\n    <dialogue>If this looks to you like something out of one of your children's comic book adventures, then you're not alone!<\/dialogue>\n    <scene_description>SERIES OF SHOTS of the ANTENNA UNDER CONSTRUCTION over which the reporter narrates:<\/scene_description>\n    <character>REPORTER'S VOICE<\/character>\n    <dialogue>But child's play it isn't. This represents the beginning of a new era in celestial communications. It's called the Gravitational Interferometer Space Antenna, or \"GISA,\" to those of us who can't remember that mouthful. Its goal?<\/dialogue>\n    <scene_description>SERIES OF SHOTS of WORKERS in what look like SPACESUITS. On scaffolding, hanging from wires, etc. OVER THESE IMAGES:<\/scene_description>\n    <character>REPORTER'S VOICE<\/character>\n    <dialogue>To search throughout the universe for intelligent life. With the recent confirmation of so many planets capable of sustaining life throughout the galaxy, GISA may finally prove, once and for all, that we are not alone.<\/dialogue>\n    <scene_description>File footage of ASTRONAUTS on SPACEWALKS.<\/scene_description>\n    <character>REPORTER'S VOICE<\/character>\n    <dialogue>The antenna will allow us to listen in, across the galaxy, through gravitational waves--seen as the ultimate means of communication through space.<\/dialogue>\n    <scene_description>Now: footage of MACHINES going this way and that, spinning a lattice of tethers. They're almost like spiders on a web. Or HYDRAS, with CYCLOPS-LIKE BRIGHT LIGHTS in their centers.<\/scene_description>\n    <character>REPORTER'S VOICE<\/character>\n    <dialogue>Self-replicators are used for its construction. And it's not just machines; a select few highly- trained folks from the Army Corps of Engineers will have to check every inch of the carbon fiber for flaws. It has proven one of the most demanding jobs on Earth, but these men and women are up to the task. Engineer Major Roy McBride of Las Cruces, New Mexico, says he's not afraid of the challenge:<\/dialogue>\n    <scene_description>IMAGE OF FOUR YOUNG MEN and TWO YOUNG WOMEN, seated on a SOFA, in a nondescript office environment with an Army Corps of Engineers logo\/graphic on a screen behind them. One of them is ROY MCBRIDE. Roy McBride: forties, handsome. His eyes are light blue, seemingly friendly, but reveal little about the man himself. He is even-tempered, but one would not call him kind; there is an icy quality to him. Still, he is not overtly cruel or petty, and to talk to him, one could never question his intentions or his integrity. Roy speaks slowly, formally, deliberately, as though he does not want ever to repeat himself. He seems guarded, sincere, precise, competent. His face is blank but prone to the occasional awkward joke, and those jokes are made almost for self-amusement. He does not seem morose. In fact, he smiles all the time, and his face often lights up with little motivation. He speaks with a very slight Midwestern\/Western accent. Think Neil Armstrong. As he speaks, on the screen appears the title \"Maj. Roy C. McBride\".<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>The Army Corps of Engineers trains us to deal with our fears. And this team here is real inspiring-- Lt. Parsegian did a repair skywalk during an episode of pulmonary edema. Now when you see something like that, you just wanna get up there and do it as good as she did. Be part of that team. So we all feed on each other in that way.<\/dialogue>\n    <character>REPORTER'S VOICE<\/character>\n    <dialogue>McBride is only the latest in a long line of aerospace pioneers. His father, noted activist and educator H. Clifford McBride, was part of an astronaut colony tragically lost in space eighteen years ago.<\/dialogue>\n    <scene_description>It is CLIFFORD MCBRIDE whom we're LOOKING AT. Looks somewhat like Bill Clinton in that old Georgetown photo--almost like a countercultural figure, a sharp contrast with Roy's buttoned- down appearance. ANGLE BACK ON ROY:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>My Dad was...he was certainly a different kind of astronaut. He was a free-thinker. He went all the way to Neptune. It didn't end up going the way he wanted, but he's the reason I do what I do. I just think you can't worry too much about the past because you don't have control over it. So I look forward. And like I said, we've certainly got ourselves a helluva team here.<\/dialogue>\n    <character>REPORTER'S VOICE<\/character>\n    <parenthetical>(cheerful again)<\/parenthetical>\n    <dialogue>That team is always on the go.<\/dialogue>\n    <character>REPORTER'S VOICE<\/character>\n    <dialogue>In the clouds, it's all about the work, and one gets the sense that Roy would rather be left alone to perform his duties than talk to this reporter:<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>What I want...is to serve, to do my job as good as I can, away from the spotlight. It's real critical to maintain control and not to be vulnerable to outside factors.<\/dialogue>\n    <scene_description>Roy flashes that smile.<\/scene_description>\n    <character>REPORTER'S VOICE<\/character>\n    <dialogue>With all of the risks, do you ever contemplate the larger meaning of what it is you're trying to accomplish? How we may be able, for example, to detect intelligent life out there, and find out what they might have to say to us?<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>No...not really... That's not for me to comment on--I don't consider that sort of thing.<\/dialogue>\n    <parenthetical>(the smile returns)<\/parenthetical>\n    <dialogue>But...I do thank you for your interest in the program, and we hope your continued support leads to our success.<\/dialogue>\n    <scene_description>ANGLE ON ROY as we: FADE OUT.: FADE IN:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GISA TETHER STATION - DAY<\/stage_direction>\n    <scene_description>The ANTENNA STRETCHES HIGH INTO THE SKY. LOOKS LIKE IT'S ALMOST DONE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GISA TETHER STATION - DAY<\/stage_direction>\n    <scene_description>We are inside a crowded, cramped place, where no attention is paid to aesthetics and a lot is paid to practicality. Exposed wires and computers and electronics. A circular logo of \"GISA\" (The Gravitational Interferometer Space Antenna). Video monitors are everywhere, but so are signs of recreation: a ping-pong table, board games, cards, etc are mixed with more high-tech gaming equipment. HANK WILLIAMS' MUSIC is PLAYING. It's sort of like a party atmosphere here. CLOSE ON: MEN AND WOMEN SMILING--and looking into the CAMERA. Waving, gesticulating, clapping, egging us on. But we can't HEAR them; we HEAR MERELY the Hank Williams and the SOUND of WHIRRING: an AIRPACK, for a spacesuit of some kind. It is Roy's POINT-OF-VIEW. He walks in a SPACESUIT and HELMET, in his own world. A RADIO voice breaks in, over the Hank Williams:<\/scene_description>\n    <character>RADIO<\/character>\n    <parenthetical>(OS VOICE, RADIO FILTER)<\/parenthetical>\n    <dialogue>Let's see, we got some scores for ya, Roy... It was Auburn over Georgia Tech, 35-16... Oklahoma 17, Syracuse 9... And San Diego State beat Oregon, 23-20.<\/dialogue>\n    <character>SMILING WOMAN<\/character>\n    <parenthetical>(muffled; through radio filter)<\/parenthetical>\n    <dialogue>Skywalk 714! You go, boy!<\/dialogue>\n    <scene_description>Roy waves, gives the thumbs up. Then:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POD<\/stage_direction>\n    <scene_description>Aided by three men in white jumpsuits (the back of which are stamped by corporate logos for RAYTHEON), Roy is positioned inside a small compartment with a LATCH. To a jumpsuited man named SAL:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>I guess there won't be too many more of these soon, huh Sal.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Yes sir, almost done!<\/dialogue>\n    <scene_description>Sal STARTS PUNCHING SOMETHING into a NEARBY COMPUTER. Roy REACHES AROUND SAL'S EAR, PULLS a GOLF BALL from behind his EAR. Roy taps Sal, who smiles at the quite nerdy trick, nodding-- he's seen it before. Roy GRINS WIDELY. The STEEL DOOR SLIDES OPEN, and SAL GENUFLECTS... Only now do we realize that we've been in a STATION floating inconceivably high in the sky. Not in space, certainly earthbound, but frighteningly high up--higher than any aircraft we've ever been inside of. We move outside, above a small PLATFORM.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE BRIGHT BLUE ATMOSPHERE<\/stage_direction>\n    <scene_description>We're in the outer reaches of the atmosphere--around 100 thousand feet in the air. The ground far below is both blue, where the waters are, and tawny, where the land is. The earth's curvature is beginning to be apparent. The air is frigid and thin, and the environment hostile. But there is no doubt it is beautiful. We aren't in space; we are still connected to the earth, as Roy stands at the station's exterior. We cannot SEE his face, which is SHIELDED by his helmet's dark visor. We go with Roy as he steps out of the pod and walks onto--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GISA PLATFORM<\/stage_direction>\n    <scene_description>Roy BEGINS TO CLIMB DOWN a SMALL LADDER. HAIR-RAISING SILENCE. Roy looks UP. The EDGE OF SPACE ABOVE. Back down:<\/scene_description>\n    <character>ROY MCBRIDE (RADIO FILTER)<\/character>\n    <dialogue>The earth sure is beautiful today. As always...<\/dialogue>\n    <scene_description>As he MOVES, we SEE, BELOW HIM, the TETHER CORDS, NEVER- ENDING, or so it seems. And, THOUSANDS OF FEET BELOW ROY, THE EARTH. It passes below his FEET, and it's just the most spectacular vista. The CLOUD FORMATIONS are like Van Gogh's \"Starry Night,\" magnificent swirls, vibrant. Between Roy and the ground is much air activity. About a dozen shuttles (mostly unmanned) crisscross below us, carrying tethers, busses, tether-deployment spools, and other building blocks for modular architecture. Some tethers are dozens of miles long. SELF-REPLICATING MACHINES, looking like HYDRAS made of GRAPHENE, maneuver up and down the antenna. With the shuttles below him, and SATELLITES high above him, Roy is sandwiched--with a lot of space--in between. The project is visually exciting, but for Roy, it's business as usual. We HEAR STATIC. And out of the STATIC, ROY'S RADIO FILTERED VOICE:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Control, I have established visual with tether oh-niner-four-five. Please confirm it is offline. Over.<\/dialogue>\n    <character>CONTROL (RADIO FILTER)<\/character>\n    <dialogue>That's affirmative, Roy. Tether oh- niner-four-five is offline.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Roger that.<\/dialogue>\n    <scene_description>Roy floats down perpendicularly alongside a several-mile- long, multi-wire structure. Roy appears small, like an ant on a tree. We HEAR HIS BREATHING... He rappels down, rather gracefully. Turns some kind of a wheel that allows two parts of the tether to become attached.<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Control, I am...closing the loop now. Over.<\/dialogue>\n    <scene_description>A POWER SURGE has HIT THE TETHER. Roy is STARTLED:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(some concern)<\/parenthetical>\n    <dialogue>Control, I just experienced some unusual power surges. They appear to be quite extreme.<\/dialogue>\n    <character>CONTROL (RADIO FILTER)<\/character>\n    <parenthetical>(alarmed, but completely under control)<\/parenthetical>\n    <dialogue>Uh, yeah Roy, we picked that up too. We--we advise aborting here, we uh, repeat--we do advise aborting.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Control--I have not yet completed my tasks--<\/dialogue>\n    <scene_description>Suddenly: along the entire length of the tether to which Roy is attached, the busses' ACTIVATION LIGHTS come on, one by one. (The lights are how we tell the structure is active.) The HYDRA MACHINES START UP AGAIN! Roy can see the tether is becoming active, section after section, at breakneck speed--and he pushes himself away from it at the last second, just as it ACTIVATES. He REBOUNDS against another, parallel (ACTIVE!) tether, IS SHOCKED, as he RICOCHETS against it--changing directions--and begins to SPIN out of control. He SPINS SO VERY FAST... Is he DEAD...? But remarkably, he's able to speak--rather calmly, given the situation.<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(through heavy breaths)<\/parenthetical>\n    <dialogue>Control--<\/dialogue>\n    <scene_description>As Roy continues to tumble, the radio in his helmet squawks away--though never in a panicked tone:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Obviously a serious malfunction here--I've lost balance, over.<\/dialogue>\n    <scene_description>ROY CONTINUES TO SPIN, CRAZILY, MADLY. VIOLENTLY. He barely avoids hitting more tethers...<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>I'm gonna try and level out as soon as this air thickens up.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Control?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Control, do you read?<\/dialogue>\n    <scene_description>NO ANSWER. Then, as he descends: ROY STRETCHES HIS ARMS and LEGS OUT. In the DENSER AIR, HE STOPS THE SPIN. At last, Roy straightens himself out. Like a great skydiver. HE PULLS THE RIPCORD... A PARACHUTE shoots out from the back of his suit and opens with tremendous force, YANKING HIM UP and AWAY FROM US. He RIGHTS HIMSELF and begins to float safely to the earth... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COLORADO MOUNTAINS - PLATEAU<\/stage_direction>\n    <scene_description>Roy sinks to the surface. A WIDE SHOT as we SEE: SCORES of PEOPLE RUNNING TO HELP HIM...<\/scene_description>\n    <character>MAN'S VOICE (PRE-LAP)<\/character>\n    <dialogue>I must say, you seem to be in remarkably good shape, Major.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - COLORADO SPRINGS CAMPUS - NIGHT<\/stage_direction>\n    <scene_description>A ROW of HOSPITAL BEDS. Roy is sitting up, on one of them. Each seat\/bed has a SCREEN NEXT TO IT. Large WINDOWS LOOK OUT INTO THE COLORADO WILDERNESS. A pair of MED TECHS are here, doing CHECKS on Roy. Roy sits alongside a window as they check his heart, lungs, blood pressure, temperature, etc. Roy looks out the window. Earth, dusk. Beautiful, with cloud formations. He has trouble keeping eye contact with the Medical Officers. A MAN takes ROY'S PHOTOGRAPH.<\/scene_description>\n    <character>MED TECH #1<\/character>\n    <dialogue>How d'you feel?<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Well...my left shoulder's a little sore. It was likely hyperextended at some point during descent.<\/dialogue>\n    <character>MED TECH #1<\/character>\n    <dialogue>Yeah, you got yanked around pretty good. But you're in one piece.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Sad to say, some of your fellow engineers weren't so fortunate.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>What's that, sir?<\/dialogue>\n    <character>MED TECH #1<\/character>\n    <dialogue>We lost your support crew, on the wire--and four hundred some odd more here on earth, too. Been tragic.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Gee... That's real unfortunate. I'm real sorry to hear that...<\/dialogue>\n    <character>MED TECH #2<\/character>\n    <dialogue>Would you like the shades down, Major?<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>No, it's okay. I like to observe the, the cloud patterns and the mountains.<\/dialogue>\n    <scene_description>The Med Tech hears this, nods, then TYPES something into a small iPad-type device, except it unscrolls. The CAMERA TILTS UP the ELECTRONIC DOCUMENT TO SEE: \"MILD AUTISM\". As the Med Techs pack up, Med Tech #1 holds an earplug-sized item.<\/scene_description>\n    <character>MED TECH #1<\/character>\n    <parenthetical>(hands Roy the earplug)<\/parenthetical>\n    <dialogue>You might want to put this in your ear, sleep with it overnight. Just to check for any head trauma. And try to stay put, if you can.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Yessir. I would like to be able to return to my work.<\/dialogue>\n    <character>MED TECH #1<\/character>\n    <dialogue>\\[If\\] Your head checks out, you can be cleared to go back as soon as tomorrow.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Okay. I'd like that very much. Given all that's occurred, they're probably pretty shorthanded up there.<\/dialogue>\n    <character>MED TECH #1<\/character>\n    <parenthetical>(stares for a beat; then)<\/parenthetical>\n    <dialogue>Of course. Try to rest.<\/dialogue>\n    <scene_description>He packs up and leaves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DORMITORY - LATER<\/stage_direction>\n    <scene_description>Roy is in bed, sitting up in hospital whites. A GREEN LIGHT and a BUZZ to his left. He PUSHES A BUTTON. PROJECTED in front of him, a very advanced form of FaceTime is showing: His mother. LEANNE MCBRIDE. Late sixties. Seems older than her age; her face is lined, her mouth slightly downturned. She SEES him, EXPLODING WITH EMOTION. The sound is worse than the image, for some reason:<\/scene_description>\n    <character>LEANNE MCBRIDE<\/character>\n    <dialogue>Roy!<\/dialogue>\n    <scene_description>TEARS FLOW FORTH from HER:<\/scene_description>\n    <character>LEANNE MCBRIDE<\/character>\n    <dialogue>Thank the Good Lord! I couldn't lose you up there too. You're all I've got...<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Hello, Ma. I'm all right. I'm gonna go back to work soon.<\/dialogue>\n    <character>LEANNE MCBRIDE<\/character>\n    <dialogue>I love you--so much. I was just so sick with worry--<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>There's no reason for any kind of concern. The fuss is unnecessary.<\/dialogue>\n    <character>LEANNE MCBRIDE<\/character>\n    <dialogue>Oh Lord... I know you don't understand--you can't. Maybe someday you will... I'm sorry you're alone there...<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>It's okay.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I prefer it.<\/dialogue>\n    <character>LEANNE MCBRIDE<\/character>\n    <dialogue>I love you, Roy. You'll always be my little one. Maybe I can see you for Thanksgiving?<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>It's possible. Goodbye, Ma.<\/dialogue>\n    <character>LEANNE MCBRIDE<\/character>\n    <dialogue>Goodbye, darling.<\/dialogue>\n    <scene_description>He PUSHES A BUTTON and it SHUTS OFF the image... DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DORMITORY - LATE NIGHT<\/stage_direction>\n    <scene_description>The room is DARK. ROY is prostrate, in bed, asleep. RESTLESS. We HEAR his PULSE, HIS HEART... Roy's EYES OPEN, and he is COVERED IN SWEAT. His EYES WIDEN-- like he's SEEING A GHOST. AWAKE, he has a VISION. FLASHING: An image appears to him, and to us: The striking eyes and most of the face of a YOUNG BOY. He seems around 8 years- old, looking off-screen at something. He's smiling and blinking, in EXTREME, STEP-PRINTED, SLOW MOTION. But the image is very UNCLEAR. It's BLURRY, almost like a reclaimed moment from the Zapruder footage. WIDER SHOT -- again, EXTREME SLOW MOTION. A SMALL BOY (probably the same person as the one in the previous image) runs across what might be a wet, cobble-stoned street, on a cloudy day. This time: A GIRL, an OLDER GIRL, is JOINING HIM. The image is haunting. The final image: striking, mainly because it's so odd. A MEDIUM SHOT of what looks like a MEDIEVAL CASTLE (!) IRON GATE, COMING DOWN, in the same EXTREME, STEP-PRINTED, SLOW MOTION as in the other image. ROY'S BREATHING BECOMES LABORED. CLOSE SHOT on ROY as he then looks out the window. His panic abating somewhat, he allows his head to REST back, ON THE PILLOW. His EYES DART BACK AND FORTH, looking out to the ceiling--and to the heavens... FADE OUT.: CUT IN:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - MORNING<\/stage_direction>\n    <scene_description>A YOUNG WOMAN IN ARMY FATIGUES comes down a hallway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DORMITORY<\/stage_direction>\n    <scene_description>She approaches ROY, who is dressed and sitting up. Going through a \"Scientific American\" on-screen magazine.<\/scene_description>\n    <character>YOUNG<\/character>\n    <dialogue>Morning, Major. you to SPACECOM debriefing. Is<\/dialogue>\n    <character>WOMAN IN ARMY FATIGUES<\/character>\n    <dialogue>I'm here to take Control. For that okay?<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Course, Ma'am.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORT CARSON - CONTROL CENTER - MORNING<\/stage_direction>\n    <scene_description>It's the center of the base. A big \"USSPACECOM\" SIGN. Roy is being escorted by the woman. A restaurant, a souvenir stand. MUZAK plays softly. Families are here, excited. There is a TOURISM BOARD desk (A SIGN READS, \"READY TO MEET AN ALIEN? GO TO SPACE!\"). A LARGE ALIEN CHARACTER, meant to appeal to children, graces the painted board: \"Andy The Alien\". Two YOUNG CHILDREN get their PHOTOS TAKEN in ill-fitting army spacesuits in front of a powder-blue backdrop.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORT CARSON - CONTROL CENTER - CORRIDOR<\/stage_direction>\n    <scene_description>Roy is led down a long, winding CORRIDOR until he reaches a closed door.<\/scene_description>\n    <character>YOUNG WOMAN IN ARMY FATIGUES<\/character>\n    <dialogue>Would you like anything to eat or drink, Major?<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(friendly smile)<\/parenthetical>\n    <dialogue>No, thank you. The food's real good in the dorm.<\/dialogue>\n    <character>YOUNG WOMAN IN ARMY FATIGUES<\/character>\n    <dialogue>That's wonderful to hear. We brought in a new caterer last month and I think it's gotten a lot better.<\/dialogue>\n    <scene_description>And a LATCH OPENS:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORT CARSON - CONTROL CENTER - USSPACECOM HEADQUARTERS<\/stage_direction>\n    <scene_description>This is USSPACECOM's covert ops headquarters. Present are FIVE of Roy's SUPERIORS. HE SALUTES THEM, mumbles cordial \"HELLOS\". They are: BRIGADIER GENERAL FALLON, LIEUTENANT GENERAL SHARPE, COLONEL EPINGER, and a woman, ADJUTANT GENERAL AMELIA VOGEL, who refers to a PDA-type device. Among the others here is an older man, seated SILENTLY in the corner. Observing. His name, we will learn, is DR. MARTIN PEDROSA. More on him later.<\/scene_description>\n    <character>BRIGADIER GENERAL FALLON<\/character>\n    <dialogue>Major, I'm Brigadier General Fallon. This is Lieutenant General Sharpe, Director of SPACECOM Special Operations. And Adjutant General Vogel.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(nods; then)<\/parenthetical>\n    <dialogue>Sirs. Ma'am.<\/dialogue>\n    <scene_description>The DOOR is CLOSED BEHIND THEM. Actually, more SEALED THAN CLOSED. Fallon motions for Roy to sit, and he does as well. As the others sit around him, he's looking at a file:<\/scene_description>\n    <character>BRIGADIER GENERAL FALLON<\/character>\n    <dialogue>Please--sit down. Your profile's certainly very interesting. You've done exceptionally well on the assessment tests. Says here-- you've got a near-photographic memory. Basic combat...space training, too--just exceptional, 'cross the board.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(subtly prideful)<\/parenthetical>\n    <dialogue>Thank you, sir.<\/dialogue>\n    <character>BRIGADIER GENERAL FALLON<\/character>\n    <parenthetical>(looks up from dossier)<\/parenthetical>\n    <dialogue>Your pulse's never gone above 80 during any spacewalk or skywalk? Even on this most recent fall? That true?<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>It's what we're trained for, sir. I can't take any personal credit for that.<\/dialogue>\n    <character>LIEUTENANT GENERAL SHARPE<\/character>\n    <dialogue>You know Major, generally we look for people like you, people who won't let emotions or fears get in the way of a task.<\/dialogue>\n    <character>LIEUTENANT GENERAL SHARPE<\/character>\n    <dialogue>People who might be called \"on the spectrum,\" if you will. I do say that with respect.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>So you must not be surprised that we've reached out to you.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>No, sir...I expected a debriefing on account of the accident.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I am surprised that Ops is handling it, but it's certainly not a problem of any kind.<\/dialogue>\n    <character>BRIGADIER GENERAL FALLON<\/character>\n    <dialogue>Well, we've traveled a long way to see you here today. And it is not a coincidence.<\/dialogue>\n    <scene_description>The full-wall VIDEO SCREEN behind Roy plays real-time images of Fort Carson. Lieutenant General Sharpe consults his PDA device. Fallon stares at Roy for a moment, then:<\/scene_description>\n    <character>ADJUTANT GENERAL VOGEL<\/character>\n    <dialogue>General, we're ready.<\/dialogue>\n    <character>LIEUTENANT GENERAL SHARPE<\/character>\n    <parenthetical>(nods; then back to Roy)<\/parenthetical>\n    <dialogue>Major, this is not about your accident--at least, not directly.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>We have...something of a highly classified nature to show you.<\/dialogue>\n    <scene_description>On the WALL-SCREEN, A VIDEO begins to play. LOOKS LIKE OUTER SPACE. Through a TELESCOPE. No stars or anything visible. Until, tiny on the screen, a blue dot. But not the pale blue dot of Earth. CUT TO: CLOSER SHOT. We SEE that this is the magical, mysterious blue of: NEPTUNE.<\/scene_description>\n    <character>LIEUTENANT GENERAL SHARPE<\/character>\n    <dialogue>That is the planet Neptune you're looking at, obviously. Images from the Shun-Barcelli Telescope. Two days ago.<\/dialogue>\n    <scene_description>This distant planet is almost all blue, with none of the organic brown of Earth. It's like a shiny marble jewel, its sheen a uniform hypnotic ultramarine, except for a few darker streaks and a few white smudges of elongated clouds. Unearthly, that's for sure. Then, our vantage point moves, and we CUT CLOSER, longer focal length. We find our view of Neptune momentarily obscured by a faint, partial RING of dust and ice. An arc of white. And then, an oblong object comes into view between us and Neptune. LARISSA.<\/scene_description>\n    <character>LIEUTENANT GENERAL SHARPE<\/character>\n    <dialogue>This is one of Neptune's closest moons, Larissa.<\/dialogue>\n    <scene_description>The small moon is dark against the eighth planet, exhibiting a mild, azure glow, perhaps the reflection of the color of Neptune. It's heavily cratered. We gradually perceive that something odd is going on:<\/scene_description>\n    <character>LIEUTENANT GENERAL SHARPE<\/character>\n    <dialogue>The degradation begins here. Followed by--<\/dialogue>\n    <scene_description>The peaceful blue diorama is suddenly invaded by a faint greenish blush that starts small as a pinprick and grows slowly larger. All is not right with Larissa. Its blue complexion is overcome by a green blemish which spreads outwards and seems to utterly transform the moon's very substance, cracking and fissuring it...<\/scene_description>\n    <character>LIEUTENANT GENERAL SHARPE<\/character>\n    <dialogue>Catastrophic destruction.<\/dialogue>\n    <scene_description>The moon formerly known as Larissa becomes a color that alternates between dark green... and dark yellow... and black... and then... IT EXPLODES. IN DEAFENING SILENCE. Rock and dust scatter in every direction, as gravity fails to hold together the transformed matter, which now glows green and yellow. CLOSE ON ROY'S EYES. Then we linger on this unsettling scenario, until we return our focus to the unblinking blue eye that is Neptune...<\/scene_description>\n    <character>LIEUTENANT GENERAL SHARPE<\/character>\n    <dialogue>That event was most likely the cause of the fluctuations we experienced here, on earth. The ones that almost killed you. And caused many other disasters on the ground as well.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(nods)<\/parenthetical>\n    <dialogue>I'd surely like to know what caused that, sir.<\/dialogue>\n    <scene_description>THE LIGHTS COME UP. Beat.<\/scene_description>\n    <character>COLONEL EPINGER<\/character>\n    <dialogue>Major, what do you know about the Lima Project?<\/dialogue>\n    <scene_description>A TURN. Roy FREEZES for A SLIGHTLY PERCEPTIBLE MILLISECOND:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>It was a research expedition to Neptune, sir. From twenty--I'm sorry, twenty-one--years ago.<\/dialogue>\n    <character>COLONEL EPINGER<\/character>\n    <dialogue>Mmm-hmm. Anything else?<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Its objective was to construct a telescope in order to search for signs of extraterrestrial life. My father was director.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>All crew were lost.<\/dialogue>\n    <scene_description>As everyone takes notes, Adjutant General Vogel slides E- PHOTOS to ROY. THEY ARE OF HIS FATHER, H. CLIFFORD McBRIDE:<\/scene_description>\n    <character>COLONEL EPINGER<\/character>\n    <dialogue>Do you remember how his departure affected you? It WAS a one-way mission, was it not?<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>It was, sir. But the family was not told his absence would be permanent. He said at the time only that it was top national priority to gain knowledge of extraterrestrial life.<\/dialogue>\n    <character>COLONEL EPINGER<\/character>\n    <dialogue>And how did you handle that?<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>My, my mother has often expressed her devastation by his abandonment.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>It's the consensus that his departure was unforgivable.<\/dialogue>\n    <scene_description>Roy lets loose a small laugh(!). An AWKWARD BEAT. He sobers:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Sir, if you're trying to test my loyalty or fitness here, it's not necessary. I assure you, I'm in no need of any kind of support in this manner. I do accept my father's mental illness. And I acknowledge it led to the mission failure.<\/dialogue>\n    <scene_description>The others look at each other.<\/scene_description>\n    <character>COLONEL EPINGER<\/character>\n    <dialogue>Roy, we have something that might come as quite a shock to you.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>We've intercepted secret communications sent to Neptune, we believe from Mars. They lead us to conclude that your father and others from the Project are still alive and for reasons we do not understand, appear to be conducting some extremely dangerous experiments. About which we are deeply, deeply, concerned.<\/dialogue>\n    <character>ADJUTANT GENERAL VOGEL<\/character>\n    <dialogue>The last intercepted communication revealed discovery on Neptune of large quantities of antimatter, Major. Enough when harnessed to destroy the entire solar system.<\/dialogue>\n    <scene_description>Roy is BLOWN AWAY; that slight smile disappears. A darkness overcomes his countenance, and he turns inward.<\/scene_description>\n    <character>COLONEL EPINGER<\/character>\n    <dialogue>Major?<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(finally; clears throat)<\/parenthetical>\n    <dialogue>My father is...alive, sir?<\/dialogue>\n    <character>LIEUTENANT GENERAL SHARPE<\/character>\n    <dialogue>We believe so. The Lima Project's A.I. is still online, and as you know, this would indicate crew has survived. We must ensure they can do no further harm. As such, your relationship to him is potentially invaluable to us.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Yes sir...<\/dialogue>\n    <character>LIEUTENANT GENERAL SHARPE<\/character>\n    <dialogue>We'd like you to try and contact whoever is communicating with the Lima Project. We've determined that the signal is coming from Mars. Presumably, any message sent there would ultimately reach your father, on Neptune. We've tried already without success. It's a bit of a Hail Mary...but we'd like YOU to give it a shot, find out his location and any other information you can gather.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You'll have to go to a secure spot on the moon, of course--for a quantum connection that can't be hacked.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Sir, in the event that contact is made, you will then...attempt to apprehend him and bring him to justice?<\/dialogue>\n    <character>LIEUTENANT GENERAL SHARPE<\/character>\n    <dialogue>That is our intention, yes. Can we count on your participation?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Roy?<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Well sir, I--I'm just trying to understand--<\/dialogue>\n    <character>BRIGADIER GENERAL FALLON<\/character>\n    <dialogue>Major, have you not been LISTENING?!?<\/dialogue>\n    <character>BRIGADIER GENERAL FALLON<\/character>\n    <dialogue>Your father has threatened the destruction of our entire solar system. Does that not mean ANYTHING to you?!?<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Yessir. It surely does.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>DR. PEDROSA (O.C.)<\/character>\n    <dialogue>Roy, I'm Dr. Joao Pedrosa.<\/dialogue>\n    <scene_description>About to answer, Roy turns. At that moment, the old man off to the side, Dr. Pedrosa. He speaks with a much kinder tone:<\/scene_description>\n    <character>DR. PEDROSA<\/character>\n    <dialogue>I am currently Commander of SPACECOM lunar operations, at Tycho. I knew your father very well--we studied neuroscience together, at Purdue University. He was a very brilliant man--a true legend in the department. He looked at things his own way and contemplated vast concepts. So I can understand well his struggles-- because keeping sanity in the face of the infinite can be a monumental challenge.<\/dialogue>\n    <scene_description>Pedrosa gets up, approaches:<\/scene_description>\n    <character>DR. PEDROSA<\/character>\n    <dialogue>Like you, I was skeptical of his survival. But after reviewing the Neptune transmissions, I am now convinced of their authenticity. Of course under usual circumstances, you would want no part of this. But if he is truly alive, we do not dare lose him twice. Will you help us try to find him?<\/dialogue>\n    <scene_description>ANGLE ON ROY. Roy looks down again, at the screen. It's an electronic DOSSIER. (Like an old-fashioned bank file, that opens, but its papery surface is capable of displaying digital information. Such as photos, maps, graphs, etc.) They PUSH THE FILE GENTLY TOWARD ROY. He sees his FATHER'S IMAGE in a photograph. He STARES AT IT. Roy looks back up at the men:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>I will, sir.<\/dialogue>\n    <character>BRIGADIER GENERAL FALLON<\/character>\n    <dialogue>You depart for the moon in twenty- four hours.<\/dialogue>\n    <scene_description>Adjutant General Vogel SLIPS HIM a black leather folder:<\/scene_description>\n    <character>ADJUTANT GENERAL AMELIA VOGEL<\/character>\n    <dialogue>All non-relevant information has been redacted. Please familiarize yourself with its contents...<\/dialogue>\n    <scene_description>The sound FADES OUT as we: CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PREP ROOM<\/stage_direction>\n    <scene_description>A small, bright room dedicated to preparing for space travel. What looks like black leather Eames chairs, cases, men and women in white pants and shirts helping astronauts get ready. Roy is being fitted with his suit. Roy slides open a kind of foldable iPad and places EARBUDS into his ear. We HEAR a RADIO VOICE:<\/scene_description>\n    <character>RADIO VOICE<\/character>\n    <dialogue>Slate One-Niner-Four. Transmission Lima Project, 7\/19\/15. Voice of H. Clifford McBride.<\/dialogue>\n    <scene_description>He is listening to an FILE. We HEAR, with RADIO FILTER:<\/scene_description>\n    <character>H. CLIFFORD MCBRIDE (V.O.)<\/character>\n    <parenthetical>(tone: banal, scientific)<\/parenthetical>\n    <dialogue>We're coming to you now from our base of operations for the Lima Project. And we're going to send you images in a bit from our new Ocular telescope. Sponsored by our good friends at Brookhaven Solar.<\/dialogue>\n    <scene_description>OVER THIS: ROY'S POV as: men and women prepare for spaceflight, finishing their attire--as Roy LISTENS, an IMAGE of CLIFFORD MCBRIDE comes up on his screen. It is like a Skype call gone wrong; the image is high-quality, but the feed is poor, vacillating between a still frame of Clifford McBride and a sped-up image. The AUDIO is constant.<\/scene_description>\n    <character>H. CLIFFORD MCBRIDE (V.O.)<\/character>\n    <dialogue>Now that we believe there are microorganisms on many extrasolar planets, and so many Goldilocks planets perfect for life, we ask the question, \"How soon will it be before we find intelligent life in the universe?\"<\/dialogue>\n    <scene_description>ROY'S SCREEN now features IMAGES of SPACE, then NEPTUNE'S MOONS and NEPTUNE'S SURFACES as the AUDIO CONTINUES:<\/scene_description>\n    <character>H. CLIFFORD MCBRIDE<\/character>\n    <dialogue>We are so excited about this prospect. And who really knows if we haven't been contacted already? Who knows if our cosmic friends haven't tried to reach us through gravitational waves, or some other method we can't fathom? We might be cockroaches walking along a chessboard, not knowing about the great game of chess! Now--I...AM a little surprised we don't have anything yet. \\[Surprised by\\] The silence. But--I have confidence. So...thank you, Brookhaven Solar! We have many--<\/dialogue>\n    <scene_description>The SCREEN GOES BLACK. \"PORTION REDACTED.\" A MAN IN WHITE PANTS AND SHIRT then checks with Roy. Roy CLOSES the SCREEN. Referring to his suit:<\/scene_description>\n    <character>MAN IN WHITE PANTS AND SHIRT<\/character>\n    <dialogue>How's that, Major? Not too snug?<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>No, it's fine, thank you.<\/dialogue>\n    <character>MAN IN WHITE PANTS AND SHIRT<\/character>\n    <dialogue>The pre-breathe for the moon should take about fifteen minutes.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>The Man PLACES a BREATHING APPARATUS over Roy's mouth and nose. He moves to another passenger.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GALLEY<\/stage_direction>\n    <scene_description>Roy ascends the narrow scaffolding, with Pedrosa right behind. It's oddly primitive; the way to the shuttle entrance is a fifty-foot stepladder which goes straight up to where the LUNAR SHUTTLE awaits, nose-up. Harrowing climb for most of us, but there are several people on this ladder, looking surprisingly businesslike and quotidian. A VOICE through a LOUDSPEAKER:<\/scene_description>\n    <character>LOUDSPEAKER VOICE<\/character>\n    <dialogue>Please use the safety straps for your wrists as you ascend. You will find them located on the rails on either side.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUNAR SHUTTLE<\/stage_direction>\n    <scene_description>Roy and Pedrosa, on the shuttle. Both men LOOK into a small SCANNER on the side, near the seats, while stepping on a DEGAUSSING PAD. Then:<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Degauss complete.<\/dialogue>\n    <scene_description>The craft seems to be part of a consortium between the Army and a Southwest Airlines-type company. A hi-tech space. Little attempt at aesthetics--most everything is there for practicality, functionality. BANAL. A dozen or so PASSENGERS are aboard. Roy finds his seat and snaps together his restraints. ANNOUNCEMENTS are made in English and then in Mandarin and Spanish by a MALE FLIGHT ATTENDANT. Another FLIGHT ATTENDANT (a stout, warm woman) is giving everybody pills and whispering into certain passengers' ears. Then, aloud, a recording VOICE:<\/scene_description>\n    <character>FLIGHT VOICE<\/character>\n    <dialogue>As we exit the earth's gravitational field, please remember: objects will float if not properly stored or secured.<\/dialogue>\n    <character>MALE FLIGHT ATTENDANT<\/character>\n    <dialogue>Guys--our rear passenger attendant, Michelle Grierson, was...MARRIED TODAY, EVERYBODY! GIVE HER A HAND!<\/dialogue>\n    <scene_description>The passengers APPLAUD as ROY strains to see this Michelle person behind him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EARTH - HIGH ANGLE<\/stage_direction>\n    <scene_description>The shuttle takes off and begins its ascent to the moon.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUNAR SHUTTLE - LATER<\/stage_direction>\n    <scene_description>At the moment when gravity is gone, things begin to float-- stray pens, paper, etc. Roy of course has followed the rules, but his NEIGHBOR, of Indian nationality and middle- aged and burly, LAUGHS at his own ineptitude as his things start to float away from him. Roy SCANS the SCREEN in the SEAT IN FRONT of HIM: MAPS of the LUNAR SURFACE. CLOSE SHOT on HIS EYES as he PROCESSES the CONTOURS OF THE MOON'S VARIOUS CRATERS and other AREAS. The Flight Attendant hands out packages of nuts. The pilot makes an announcement:<\/scene_description>\n    <character>SHUTTLE PILOT'S VOICE<\/character>\n    <dialogue>On the left there, many of you can catch an excellent view of Petavius on the eastern limb. The moon's gibbous period's waning, so you can also see the Atlas, to the north.<\/dialogue>\n    <scene_description>Roy looks out the window, SEES the landmarks. But also lights, signs of mining and human development\/habitation. Tracks and angular patterns. Snapping Roy out of his observing, with an accented voice:<\/scene_description>\n    <character>A VOICE<\/character>\n    <dialogue>Your first time to the moon?<\/dialogue>\n    <scene_description>Roy turns around. It's his NEIGHBOR, across the aisle. The NEIGHBOR is of INDIAN DESCENT.<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>No, sir. I've been a couple times before, as a child.<\/dialogue>\n    <character>INDIAN NEIGHBOR<\/character>\n    <parenthetical>(trying to make conversation)<\/parenthetical>\n    <dialogue>A child! Well, it's my first time!<\/dialogue>\n    <parenthetical>(laughs awkwardly; then)<\/parenthetical>\n    <dialogue>There's some good new restaurants I read, though.<\/dialogue>\n    <character>INDIAN NEIGHBOR<\/character>\n    <dialogue>I'm staying near Copernicus--they tell me that's safe. How about you?<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>My visit will be very brief.<\/dialogue>\n    <character>INDIAN NEIGHBOR<\/character>\n    <dialogue>Oh... I'm in artificial intelligence.<\/dialogue>\n    <parenthetical>(with enthusiasm; wanting to talk)<\/parenthetical>\n    <dialogue>It's a very strange thing, you know, that we have so much technology and we keep all our systems without any real awareness. I understand why, but it's...it's strange, no?<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(that gentle smile again)<\/parenthetical>\n    <dialogue>Sir--I'd really love to talk to you, but I'm afraid I'm just not allowed. I'm real sorry.<\/dialogue>\n    <character>INDIAN NEIGHBOR<\/character>\n    <dialogue>Okay. Okay, no problem!<\/dialogue>\n    <scene_description>The Neighbor acts like he's not offended. But he is. The Flight Attendant then makes her way down the aisle and guides herself via a series of hoops and webbing overhead. She checks to make sure everyone is fastened and happy. She is handing out PILLS. Roy takes a pill and sips a drink she hands him from a straw.<\/scene_description>\n    <character>SHUTTLE PILOT'S VOICE<\/character>\n    <parenthetical>(perfunctory)<\/parenthetical>\n    <dialogue>As we begin our approach: in accordance with FASA regulations, we must remind you that many areas of the moon are in a state of extreme lawlessness. The United States government does not recommend travel to certain districts--please check your nearest USSPACECOM Outpost for a complete list. Thank you and safe travels.<\/dialogue>\n    <scene_description>Roy SECURES HIMSELF as the FLIGHT ATTENDANT hands out A CUSTOMS FORM CARD to FILL OUT. She HANDS the Neighbor a STYLUS:<\/scene_description>\n    <character>FLIGHT ATTENDANT<\/character>\n    <parenthetical>(with a laugh)<\/parenthetical>\n    <dialogue>Don't steal my pen!<\/dialogue>\n    <scene_description>Roy LOOKS OUT THE WINDOW to SEE: As the craft gets closer to the surface: lots of SATELLITES of varying sizes. A tether-type system that may remind us of the GISA. MINING SITES, GREENHOUSES, SPACE JUNK, DEPOTS, and LIVING QUARTERS that look like they could be housing complexes in Boulder, Colorado. There are also HOUSES OF WORSHIP: a large CHURCH with an open roof (centered by a giant CROSS). LIT SIGNS ANNOUNCE CHAINS WE RECOGNIZE: McDonald's, Dunkin' Donuts, etc. MAG-LEV TRAINS link together various bases and neighborhoods, at extreme velocities.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOON - LUNAR BASE<\/stage_direction>\n    <scene_description>The ship adjusts its gyropscopes and turns over (e.g. in Elon Musk's rocket designs), making a gentle landing near the army's TYCHO BASE. The base is heavily guarded.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUNAR HANGAR<\/stage_direction>\n    <scene_description>The UNDERGROUND looks almost like New York's Penn Station, combined with an enormous parking garage and the most banal of AIRPORTS. The SHUTTLE MOVES into position, closer to an entrance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUNAR HANGAR - CORRIDOR<\/stage_direction>\n    <scene_description>Dr. Pedrosa leads Roy through the corridor, which is, weirdly, wood-panelled. Or is it fake wood? There are FOUR MEN and TWO WOMEN who come from the OPPOSITE DIRECTION, all talking amongst themselves. When Roy and Pedrosa walk toward them, they stop talking. Dogs roam about, smelling them and their belongings. Pedrosa moves to talk to some of the men and women. Roy face brightens at the sight of a dog:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(to the dog, warmly)<\/parenthetical>\n    <dialogue>Hey! How you doin' there, big fella?<\/dialogue>\n    <character>DR. PEDROSA<\/character>\n    <dialogue>This is Major Roy McBride. As you know, he is here to help us.<\/dialogue>\n    <character>EVERYONE<\/character>\n    <parenthetical>(to Roy)<\/parenthetical>\n    <dialogue>Good morning, Major.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(looks up from the dog)<\/parenthetical>\n    <dialogue>'Morning.<\/dialogue>\n    <scene_description>A WOMAN, LESLIE CORTEZ, fifties, steps forward. A MAN stands near, holding a PIECE OF EQUIPMENT that looks like a small EKG machine.<\/scene_description>\n    <character>LESLIE CORTEZ<\/character>\n    <dialogue>We've kept a spot for you in the dormitory. An overnight stay will be necessary.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Yes, Ma'am. But I'm just here to do what I need to. I have my duties on the antenna, and they'll probably be needing me soon.<\/dialogue>\n    <character>LESLIE CORTEZ<\/character>\n    <dialogue>Of course...<\/dialogue>\n    <scene_description>Cortez leads Roy with her hand as we HEAR:<\/scene_description>\n    <character>MAN'S VOICE (PRE-LAP)<\/character>\n    <dialogue>Uplink should be ready to go in just a moment.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUNAR BASE - COMMUNICATIONS CENTER - LATER<\/stage_direction>\n    <scene_description>Roy and the others are in what looks like a recording studio. A glass of water before him. Roy is seated. Dons a headset.<\/scene_description>\n    <character>TECHNICIAN ONE<\/character>\n    <dialogue>We're preparing the connection now.<\/dialogue>\n    <scene_description>Outside the booth, TWO TECHNICIANS make adjustments. Roy looks at a MONITOR before him, which gives him cues, as well as technical info regarding high-rate pulse-position modulation and error-correcting codes. A RED LIGHT goes on. Dr. Pedrosa approaches:<\/scene_description>\n    <character>DR. PEDROSA<\/character>\n    <dialogue>Whatever you say into this microphone will be transmitted to Mars, and then hopefully on to Neptune. The first step is to try to make contact. And then perhaps a negotiation of some kind.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Yessir.<\/dialogue>\n    <scene_description>Interrupting: the CONTROL BOOTH CHIMES IN:<\/scene_description>\n    <character>TECHNICIAN ONE<\/character>\n    <dialogue>Point-to-point contact with the Mars signal is now engaged. Through the squawk box, Major.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Roger that.<\/dialogue>\n    <character>DR. PEDROSA<\/character>\n    <dialogue>Depress the button in order to speak. Remember, your father may be listening.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Sir... What--what precisely is it that you'd like me to say, in order for us to achieve optimal results?<\/dialogue>\n    <scene_description>Dr. Pedrosa takes out a PIECE OF PAPER:<\/scene_description>\n    <character>DR. PEDROSA<\/character>\n    <dialogue>We have assembled a text for you, one that we believe is appropriate for eliciting a response. It is written using language consistent with your own, utilizing data from your profile.<\/dialogue>\n    <scene_description>Roy takes the piece of paper. He looks it over. Weak joke, but a broad smile nonetheless:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Maybe I should've taken acting classes! Okay...here goes...<\/dialogue>\n    <scene_description>Roy MOVES to DEPRESS the BUTTON. FLICKS ON THE MIC. BEGINS TO SPEAK:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>This is Major Roy McBride, I'm currently on Tycho Base.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Repeat. This is Major Roy McBride. I am currently on Tycho Base.<\/dialogue>\n    <scene_description>ON THE MONITOR: as he speaks, there's a voice print analysis. CLOSE ON ROY. Roy's emotions are deeply buried as he READS THE PREPARED SCRIPT:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Dr. McBride... It's your son, Roy.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Prior to this message, I believed you were dead. Our family was informed of this approximately two decades ago. We were told the stress of deep space had altered your behavior. And...as a result, US SPACECOM was forced to terminate your life support systems. However, SPACECOM now believes you have survived. And attempted contact, without revealing yourself due to fear of hacking. If this is true, I'm very much looking forward to hearing from you. I've always felt that it's very important to have a true bond between father and son. We could have this bond. I do recall we would watch motion pictures together, very old ones in black and white--funny ones. And I remember your laugh even more than your face. I would like very much to reconnect with you. I will surely be able to move past any feelings of abandonment your departure presented me with. Your loving son, Roy.<\/dialogue>\n    <scene_description>BEAT. NOTHING. These words have unlocked something in Roy. He flicks off the MIC, stands. Any warmth deserts him:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Hopefully that achieves the desired result.<\/dialogue>\n    <scene_description>The PREPARED SPEECH is LIT ON FIRE by a MAN, its ashes placed in a wastebasket.<\/scene_description>\n    <character>DR. PEDROSA<\/character>\n    <dialogue>Any transmission will take approximately 36 minutes, due to the distance. So we must wait.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALL - LATER<\/stage_direction>\n    <scene_description>Roy is standing outside, looks out the large window. OUTSIDE: A NEARBY SIGN WITH A NEON COWBOY, PUMPING a \"THUMBS UP\" GESTURE--just like the famous Neon Cowboy from Las Vegas's Fremont Ave. Pedrosa EMERGES from the Communications Center. A grim look:<\/scene_description>\n    <character>DR. PEDROSA<\/character>\n    <dialogue>There is no response. Thank you for your participation. You will be returned to the earth tomorrow morning.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>I understand. Thank you, sir. Sorry I was not of more help.<\/dialogue>\n    <scene_description>The men shake hands. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUNAR BASE - BARRACKS - ROY'S ROOM - LATER<\/stage_direction>\n    <scene_description>The room's almost like an economy room in a hotel. With the exception being that, out the window, hangs Earth. The CAMERA DOLLIES OVER TO SEE: a half-eaten meal on a tray. Roy SITS, near a speaker:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Confirming--shuttle 4339, moon to earth, reservation number EH77902. Last name, McBride.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Reservation confirmed, McBride, Roy C. Number EH77902.<\/dialogue>\n    <scene_description>He hangs up. A beat. A TV SCREEN is seamlessly embedded into a wall. Some programming (news... sports.... something animated...). The programming forms a low level of constant noise. And then: The screen CHANGES--completely BLACK. SILENCE. A beat. Roy LOOKS UP. A light, STATIC NOISE. FADING IN is the sound of: A MAN SINGING: \"Hello, I must be going.\/ I cannot stay,\/ I came to say\/ I must be going.\/ I'm glad I came\/ but just the same\/ I must be going...\" Roy looks at the SCREEN as GROUCHO MARX APPEARS. Groucho resumes singing after Margaret Dumont's part: \"I'll stay a week or two,\/ I'll stay the summer through,\/ but I am telling you,\/ I must be going.\" BEEP! The SCREEN GOES BLACK. SILENCE. THEN TEXT, on the SCREEN: \"ARE YOU COMING?\" A SERIES OF NUMBERS AT THE BOTTOM of the SCREEN. CLOSE SHOT: ROY'S EYES. Then we SEE that the screen GOES BLACK. We HEAR:<\/scene_description>\n    <character>ROY MCBRIDE (PRE-LAP)<\/character>\n    <dialogue>They appeared to be coordinates of some kind, sir.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUNAR BASE - CONFERENCE ROOM - LATER<\/stage_direction>\n    <scene_description>Roy stands as Dr. Pedrosa and TWO MEN and LESLIE CORTEZ sit around a conference table, with looseleaf binders in front of them. MOON PHOTOGRAPHS, illuminated from behind, line the walls. Chairs all around. Coffee. Roy is reluctant as he stands at attention. HE STARES STRAIGHT AHEAD, NO EYE CONTACT. The others seem STUNNED INTO SILENCE.<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>I believe the proper first step would be to get me to Mars, to the specified coordinates. I would of course be willing, in order to help resolve this crisis.<\/dialogue>\n    <character>LESLIE CORTEZ<\/character>\n    <dialogue>We are very grateful to you for your service, Major. We will analyze the information you received. But you may return to Colorado now.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>No Ma'am, I'm sorry, but I do feel I should continue to aid the mission. My father is the individual at issue here. And under the circumstances I feel I should remain involved in order to bring him appropriately to justice.<\/dialogue>\n    <character>DR. PEDROSA<\/character>\n    <parenthetical>(leaning forward)<\/parenthetical>\n    <dialogue>A personal connection is an unknown variable and represents serious risk.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Yes sir. However, the task itself inherently involves risk, especially as it appears you will not have multiple chances. And if it really IS my father who is trying to reengage, obviously I would be anxious to confront him. But I'm also considering the task itself, and not merely my personal views.<\/dialogue>\n    <scene_description>None of them answers. Roy steps forward:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>A situation may arise that only I am able to respond to.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>So for this reason, I believe I should be part of any continuing mission.<\/dialogue>\n    <scene_description>Pedrosa can tell that Roy's serious, DETERMINED.<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Sirs? Ma'am? Do I have your permission to continue on in this manner?<\/dialogue>\n    <scene_description>ANGLE ON PEDROSA as we: CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUNAR BASE - MAZELIKE CORRIDOR<\/stage_direction>\n    <scene_description>SECURITY MEN all SURROUND ROY, like he's the President. A POV SHOT of ROY as he WALKS toward: AT THE END OF THE CORRIDOR is Dr. Pedrosa. Over this:<\/scene_description>\n    <character>DR. PEDROSA (V.O.)<\/character>\n    <dialogue>You will travel on a United States military craft already designated for Mars. It contains a payload of a classified but routine nature, and the crew will know of you only as a passenger--a higher-ranking officer making a visitation to the outpost. It will depart from outside standard surveillance, on the Far Side of the moon. As your participation was unanticipated, the path from our current point will take us through only recently- settled territory. We will be escorted by the United States Army's Space Division. And I will protect you as far as I am able.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEDICAL UNIT<\/stage_direction>\n    <scene_description>Roy is sitting up on a medical table. We STILL HEAR DR. PEDROSA'S VOICE. A MEDIC approaches ROY. CLOSE SHOT on an injection into ROY'S ARM.<\/scene_description>\n    <character>DR. PEDROSA (V.O.)<\/character>\n    <dialogue>Members of the crew were selected on the basis of skill and limited social needs, and as such should be no impediment.<\/dialogue>\n    <scene_description>CUT BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR<\/stage_direction>\n    <scene_description>Dr. Pedrosa and Roy board a MONORAIL. As they do, we HEAR:<\/scene_description>\n    <character>DR. PEDROSA (V.O.)<\/character>\n    <dialogue>You will be contacted by a Colonel Lipset once you reach Mars.<\/dialogue>\n    <character>DR. PEDROSA (V.O.)<\/character>\n    <dialogue>He will assist you as you attempt to communicate with your father. Your stress levels will be monitored at all times. If psychological failure is indicated, you will be removed from the mission. This is necessary due to your relationship with the target.<\/dialogue>\n    <character>ROY MCBRIDE (V.O.)<\/character>\n    <dialogue>My focus is entirely on achieving a proper resolution, sir. You need not be concerned. He was emotionally unfit, and I am not.<\/dialogue>\n    <scene_description>They stop at a GATE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LARGE HANGAR<\/stage_direction>\n    <scene_description>Several LUNAR ROVERS are lined up, in the distance. They aren't SLOW, LUMBERING THINGS, however; they are durable and tough and fast and filled with artillery. The ROVERS WHIR and WHINE with ferocity, their engines warming up and getting ready for the trip ahead. Roy and Pedrosa enter, joining a host of MILITARY ASTRONAUTS. One of them, a cheerful, burly man named WILLY LEVANT, late forties, pulls up an interactive 3D MAP. It shows the LUNAR TERRITORIES in incredible detail. Roy listens intently as Levant checks his clipboard.<\/scene_description>\n    <character>WILLY LEVANT<\/character>\n    <dialogue>Should be fine, but... We're gonna be going through what is still technically a war zone.<\/dialogue>\n    <parenthetical>(looks up, w a laugh)<\/parenthetical>\n    <dialogue>Here we are, meant to tame the solar system, and instead seems like we've just brought our chaos. This your first time?<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(broad smile)<\/parenthetical>\n    <dialogue>No, sir. I've been to many Army- Navy games.<\/dialogue>\n    <character>WILLY LEVANT<\/character>\n    <parenthetical>(turns dark)<\/parenthetical>\n    <dialogue>This is serious business, Major. There's no real way to know how any man'll react in combat. It's always a surprise.<\/dialogue>\n    <character>WILLY LEVANT<\/character>\n    <parenthetical>(louder; to everyone)<\/parenthetical>\n    <dialogue>--Almost a full moon. The Far Side's gonna be real black. Fortunately we should have a clean route from here to Veda. We've had a little problem since September with mining pirates, looking for helium-3. But our boys did a heckuva job and swept it all up a few days ago.<\/dialogue>\n    <scene_description>Roy notices that Pedrosa is fiddling with the CRUCIFIX around his neck. Pedrosa SEES Roy looking at him.<\/scene_description>\n    <character>DR. PEDROSA<\/character>\n    <dialogue>You wish to join us, Roy? For a prayer?<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(quietly; without any condescension)<\/parenthetical>\n    <dialogue>No thank you, sir. It's been my experience that prayer doesn't affect outcomes.<\/dialogue>\n    <scene_description>Pedrosa eyes Roy for a moment, nods, then starts to pray with Levant and the others as Roy prepares his suit.<\/scene_description>\n    <character>DR. PEDROSA<\/character>\n    <dialogue>Almighty and merciful God, who hast commissioned Thy angels to guide and protect us, command them to be our companions from our setting out until our return...<\/dialogue>\n    <scene_description>MOMENTS LATER Roy and the others--in full SPACESUITS--board a souped-up and unenclosed LUNAR ROVING VEHICLE (LRV).<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LRV<\/stage_direction>\n    <scene_description>This rover is CRAMPED. Pedrosa has a smaller version of his mapping COMPUTER in front of him and he is next to Levant. Levant is driving, and he makes a final consultation of the route. ON THE TOP OF THE WINDSHIELD: photos of NUDE WOMEN. Like old PLAYBOY centerfolds... Roy is in the back seat:<\/scene_description>\n    <character>WILLY LEVANT<\/character>\n    <dialogue>Arright, let's go. Veda, Sea of Moscoviensis.<\/dialogue>\n    <character>RADIO VOICE<\/character>\n    <dialogue>You should be clear to Veda, over.<\/dialogue>\n    <character>WILLY LEVANT<\/character>\n    <dialogue>Autodrive engaged.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LUNAR BASE<\/stage_direction>\n    <scene_description>The LRV departs, bursting forward with ferocity. NOTE: ALL DIALOG in this sequence will have a \"RADIO FILTER\" effect unless otherwise noted.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. LRV - MOVING<\/stage_direction>\n    <scene_description>Levant is looking around with hi-tech BINOCULARS. Roy is hunched back, right behind him, watching and listening:<\/scene_description>\n    <character>WILLY LEVANT<\/character>\n    <dialogue>Setting two-niner-oh.<\/dialogue>\n    <scene_description>The LRV traverses the lunar surface. Occasionally, the lunar DUST kicks up, obscuring our vision. The SUN is SHINING, and yet the SKY IS JET-BLACK. Roy turns back as the base recedes into the distance. THE EARTH IS IN THE SKY! PEDROSA POINTS TO IT, then DOWN TO THE SURFACE, FOR ROY. A TALL OBELISK, made of STEEL, in the LUNAR DIRT, near the LEGS OF THE LUNAR MODULE:<\/scene_description>\n    <character>DR. PEDROSA<\/character>\n    <dialogue>\\[That is\\] Tranquillity Base Monument.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Surely is a magnificent sight.<\/dialogue>\n    <scene_description>SERIES OF SHOTS of LUNAR SURFACE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE MOON - MOMENTS LATER<\/stage_direction>\n    <scene_description>A CARAVAN OF ABOUT TEN BLACK, ARMOR-PLATED rovers that we'll call the Russian name of LUNOKHODS appear on the horizon, coming toward our GUYS. The Lunokhods are driven by mysterious ASTRONAUTS in DARK BLUE SPACESUITS and HELMETS with mirrored visors.<\/scene_description>\n    <character>WILLY LEVANT<\/character>\n    <parenthetical>(surprised)<\/parenthetical>\n    <dialogue>What the fuck is this...?<\/dialogue>\n    <parenthetical>(to radio)<\/parenthetical>\n    <dialogue>Alpha, what do we got here?<\/dialogue>\n    <parenthetical>(to radio)<\/parenthetical>\n    <dialogue>Alpha, we have what looks like between ten and twelve mining Lunokhods approaching our position.<\/dialogue>\n    <character>RADIO VOICE<\/character>\n    <dialogue>Roger that, Willy. We'll see if they're certified, over.<\/dialogue>\n    <character>WILLY LEVANT<\/character>\n    <dialogue>I'm sorry, gentlemen. They said they'd cleared this zone out. I'm sure we'll be on our way in just a minute.<\/dialogue>\n    <scene_description>AS THEY APPROACH, LEVANT LOOKS THROUGH BINOCULARS. He DARKENS CONSIDERABLY.<\/scene_description>\n    <character>WILLY LEVANT<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Uh...Alpha...we may have some problems.<\/dialogue>\n    <parenthetical>(beat; more heated)<\/parenthetical>\n    <dialogue>They appear to be armed. Possibly with stilettos. Backup requested.<\/dialogue>\n    <scene_description>Roy STEELS HIMSELF. The Lunokhods are closing in on our LRV.<\/scene_description>\n    <character>WILLY LEVANT<\/character>\n    <dialogue>Alpha, they are definitely assuming hostile formation--<\/dialogue>\n    <parenthetical>(to computer)<\/parenthetical>\n    <dialogue>Engage manual operation.<\/dialogue>\n    <scene_description>ROY BRACES HIMSELF. Dr. Pedrosa TURNS AROUND, points to a BOX next to Roy's FEET. Roy opens the box: WEAPONS. GRENADES and a GUN which looks ALMOST LIKE a ROCKET LAUNCHER. (The BLUE ASTRONAUTS in the Lunokhods brandish a weapon called a STILETTO--an electromagnet-propelled jet of liquid metal resembling a solid bar of light.) (VISUAL NOTE: LUNAR DUST PERIODICALLY OBSCURES the VISION.)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE MOON - THE PROMENADE DE LUNA<\/stage_direction>\n    <scene_description>The LRV turns onto a route that runs adjacent to a POWER PLANT. The Lunokhods open fire on our LRV:<\/scene_description>\n    <character>WILLY LEVANT<\/character>\n    <parenthetical>(to radio)<\/parenthetical>\n    <dialogue>Alpha, we're now taking fire! WE NEED BACKUP ASAP!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LRV<\/stage_direction>\n    <scene_description>Everyone bounces forward in their seats, restrained by their seatbelts. ROY ARMS HIMSELF. Ahead of them, he SEES three possible RAMPS: one to the right, one to the center, and one to the left. A FORK IN THE ROAD--the left side of the fork is closed off, blocked by A BARRICADE. The LRV is headed right for it. At the last second, LEVANT jerks the rover to the right. The Lunokhod's driver can't react in time. SLAMS INTO THE BARRICADE. The blue astronaut is hurled from his Lunokhod, CRASHES through the windshield, flies through the air. The Lunokhod flips over and over--no air resistance, so it seems like it won't stop... LEVANT struggles to control the rover, which is in a major SPIN.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. LRV - MOVING<\/stage_direction>\n    <scene_description>OUR LRV stops SPINNING. RESTARTING, they take the left. A BULLET\/SMALL ROCKET hits the back windshield, which CRACKS slightly. The Lunokhods are out of view now, but they're out there. A RADIO VOICE pipes in:<\/scene_description>\n    <character>RADIO VOICE<\/character>\n    <dialogue>COLONEL, WE DO CONFIRM YOU'RE<\/dialogue>\n    <dialogue>FACING PIRATE ACTIVITY. Are you all clear now, over?<\/dialogue>\n    <scene_description>Roy is LOOKING BEHIND HIM:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>There're at least two behind us--<\/dialogue>\n    <character>WILLY LEVANT<\/character>\n    <parenthetical>(to radio)<\/parenthetical>\n    <dialogue>That's a negative, Hawk. They're still out there, behind us at 140 and 220 degrees.<\/dialogue>\n    <scene_description>Roy leans out. His jaw jutting forward just a bit, he seems anxious to do DAMAGE, a strangely VIOLENT COLDNESS coming through here. He reaches down, takes out a WEAPON.<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(under his breath; to no one)<\/parenthetical>\n    <dialogue>I will handle these...<\/dialogue>\n    <scene_description>He AIMS his WEAPON at the HORIZON. Then it appears. It COMES CLOSER and CLOSER! The Lunokhod is almost upon them-- HE FIRES HIS WEAPON. An EXPLOSION. Another Lunokhod appears on the horizon. Gains on them. ROY AIMS, FIRES AGAIN. ANOTHER PUFF of DUST.<\/scene_description>\n    <character>WILLY LEVANT<\/character>\n    <parenthetical>(surprised)<\/parenthetical>\n    <dialogue>Excellent shots, Major! Excellent!<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Thank you, Colonel.<\/dialogue>\n    <scene_description>A DARKNESS OVERTAKES US. It is PERMANENT NIGHT: THE FAR SIDE OF THE MOON.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE MOON - FAR SIDE<\/stage_direction>\n    <scene_description>We now reach the Far Side (i.e. the side always facing away from Earth) and are weaving amongst Chinese thermonuclear REACTORS. ENORMOUS LIGHTS SWITCH ON in front of the ROVER.<\/scene_description>\n    <character>WILLY LEVANT<\/character>\n    <parenthetical>(into radio)<\/parenthetical>\n    <dialogue>SpaceCom, we've just entered the Far Side. We need a push in 2500 clicks! 240 degrees, 58 seconds!<\/dialogue>\n    <scene_description>ROY LOOKS OVER TO PEDROSA. ANGLE ON PEDROSA, from ROY'S POV. HE IS SLUMPED FOR A BEAT! HE SITS BACK UP...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE MOON - FAR SIDE - ROAD<\/stage_direction>\n    <scene_description>Multiple SPACESHIPS DESCEND and DROP ORDINANCE. \"Daisy cutter\"-esque MOABs do their thing. It's gruesome, spectacular, and Roy SPOTS IT looking behind him. It's a ferocious scene, vicious and unforgiving, made all the more bizarre by the utter LACK OF SOUND. The silence and carnage is astonishing. The EXPLOSIONS are beautiful and ferocious. The sky's lit up for miles. MOONBASE VEDA is just ahead--it's built over a massive crater and is underneath a DOME.<\/scene_description>\n    <character>WILLY LEVANT<\/character>\n    <dialogue>We are approaching Veda now, Major.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Godspeed to you, gentlemen.<\/dialogue>\n    <scene_description>Pedrosa salutes. Levant and the rest of the crew depart, unsentimentally, leaving behind DR. PEDROSA and TWO FACELESS ASTRONAUTS to accompany ROY.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE FLATTENED LUNAR LANDSCAPE<\/stage_direction>\n    <scene_description>Roy disembarks from the LRV, flanked by the Faceless and Pedrosa. PEDROSA and the TWO MEN BOUND DOWN THE SIDE OF THE CRATER, with Roy. They reach the bottom, a LAUNCH PAD for the fusion-powered craft, THE CEPHEUS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VEHICLE ASSEMBLY STRUCTURE<\/stage_direction>\n    <scene_description>A mammoth hangar in a covert underground silo. Greenhouses, other life-sustaining structures inside, too. The SILO is IMPREGNABLE, surrounded by a kind of HEAT MOAT which forms a giant RED CIRCLE around the PAD... ROY MOVES to a STEEL BAR. DR. PEDROSA PUTS HIS FOREARM under a BLUE LIGHT. The SILO OPENS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAUNCH PAD<\/stage_direction>\n    <scene_description>The spacecraft--THE CEPHEUS--is poised on the pad, glowing in the beacon lights. Dr. Pedrosa REMOVES HIS HELMET and GLOVES. Roy does the same. We PULL BACK to reveal the massive nature of the spacecraft\/rocket. A WOMAN, SERGEANT ROMANO, approaches:<\/scene_description>\n    <character>SERGEANT ROMANO<\/character>\n    <dialogue>Major, are you all right? We'd been told an officer would be joining us, and we heard about your trouble getting here--<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Yes, Ma'am. The chaos is real infuriating, no doubt. But we were able to engage them on their terms.<\/dialogue>\n    <scene_description>Pedrosa INTERRUPTS Roy, pulling him aside. Something is WRONG; he's sweaty, white as a sheet. Sotto:<\/scene_description>\n    <character>DR. PEDROSA<\/character>\n    <dialogue>Roy--please, take it--<\/dialogue>\n    <scene_description>He hands Roy a thin silver card. Roy looks at him, bewildered:<\/scene_description>\n    <character>DR. PEDROSA<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>It is the redacted section of your father's profile. The password is \"daisywheel\". Examine it only when you are off the grid. The hard drive will protect you from any viral interference.<\/dialogue>\n    <scene_description>Roy SPOTS BLOOD, CASCADING DOWN Dr. Pedrosa's HAND. Looks around for help--<\/scene_description>\n    <character>DR. PEDROSA<\/character>\n    <dialogue>Roy.<\/dialogue>\n    <scene_description>Roy spins back around. Pedrosa grabs him, SMEARING BLOOD on ROY'S SLEEVE:<\/scene_description>\n    <character>DR. PEDROSA<\/character>\n    <dialogue>SPACECOM does not trust you. Try to remain as alert as possible; do not allow them to cloud your perception. And you will be required at times to be less than completely honest--but you must, to preserve the mission and the broader truth.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I have faith in you.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(ferociously; to others)<\/parenthetical>\n    <character>MEDIC!<\/character>\n    <dialogue>PEDROSA CRUMPLES TO THE GROUND. MEDICS COLLAPSE on him as ROY BACKS AWAY. Roy is SURROUNDED by ARMY, among them SERGEANT ROMANO. They pull him away from the dying Pedrosa.<\/dialogue>\n    <dialogue>Roy holds the CARD in his hand, POCKETS IT.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SILO ELEVATOR<\/stage_direction>\n    <scene_description>The doors open, Roy exits. OVER THIS, we HEAR:<\/scene_description>\n    <character>A WOMAN'S VOICE (PRE-LAP)<\/character>\n    <dialogue>Major McBride?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUIT ROOM<\/stage_direction>\n    <scene_description>Sergeant Romano hands a spacesuit to Roy:<\/scene_description>\n    <character>SERGEANT ROMANO<\/character>\n    <dialogue>Your vitals are all here, on your sleeve. Standard. Pulse, oxygen, CO2, blood pressure, and so forth.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>This is your Mission Commander, Captain Lawrence Blunt.<\/dialogue>\n    <parenthetical>(to Blunt)<\/parenthetical>\n    <dialogue>Captain Blunt, this is Major Roy McBride, he'll be hitching a ride to Mars on the jump seat.<\/dialogue>\n    <scene_description>Nearby, three men are donning their suits and going through their EXHAUSTIVE CHECKLISTS. They eye Roy with varying degrees of trepidation. Focus on LAWRENCE BLUNT--early 40s, dark wavy hair, dark eyes, powerful physical presence.<\/scene_description>\n    <character>CAPTAIN LAWRENCE BLUNT<\/character>\n    <dialogue>Right-o. Welcome aboard.<\/dialogue>\n    <scene_description>Blunt shakes Roy's hand.<\/scene_description>\n    <character>CAPTAIN LAWRENCE BLUNT<\/character>\n    <dialogue>Sounds like you went through some tough territory to get here, Major.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>We surely did. Significant force proved necessary.<\/dialogue>\n    <scene_description>Blunt nods. He looks through a clipboard, then:<\/scene_description>\n    <character>CAPTAIN LAWRENCE BLUNT<\/character>\n    <dialogue>You're certified, I'm guessing.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Yes. In EVA and spacecraft mechanics.<\/dialogue>\n    <scene_description>ROY NOTICES PEDROSA'S BLOOD ALL OVER HIS SUIT.<\/scene_description>\n    <character>CAPTAIN LAWRENCE BLUNT<\/character>\n    <dialogue>Terrific... This's First Lieutenant Scobee--our Mission Specialist.<\/dialogue>\n    <scene_description>He refers to DONALD SCOBEE--late thirties, brown hair in a comb-over. He's in excellent physical condition. Looks like old Nixon aide John Dean. He stares at Roy with his piercing eyes as he extends a hand.<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>How do you do.<\/dialogue>\n    <scene_description>A handshake. Scobee is COURTEOUS but tough as NAILS.<\/scene_description>\n    <character>DONALD SCOBEE<\/character>\n    <dialogue>Major.<\/dialogue>\n    <scene_description>And FRANKLIN YOSHIDA. Mid-forties. Totally remote, taciturn, a man of science. Barely makes eye contact with Roy.<\/scene_description>\n    <character>CAPTAIN LAWRENCE BLUNT<\/character>\n    <dialogue>Frank Yoshida's our Medic. And Lt. Alan Tanner is on for navigation and payload.<\/dialogue>\n    <scene_description>Finally, ALAN TANNER. Early-30s. A firm handshake and muttered greeting. Roy responds:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Good to meet all you.<\/dialogue>\n    <scene_description>Roy tries to turn his forearm to hide PEDROSA'S BLOOD. A young CADET walks in with food. Blunt looks down at an illuminated SOLAR SYSTEM MAP.<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>I am headed to Helios South, on Mars.<\/dialogue>\n    <character>CAPTAIN LAWRENCE BLUNT<\/character>\n    <dialogue>That's pretty close to where we're headed. We've got a payload for the North division, but you can shuttle South once we're there.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Will do. Grateful for the ride.<\/dialogue>\n    <character>CAPTAIN LAWRENCE BLUNT<\/character>\n    <parenthetical>(re: food plate)<\/parenthetical>\n    <dialogue>Well all right then... Make yourself comfortable. Looks like there's some ginger beer and farmed salmon for final meal...<\/dialogue>\n    <scene_description>Roy turns to Sergeant Romano. Sotto:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Sergeant--do we know the condition of Dr. Pedrosa?<\/dialogue>\n    <character>SERGEANT ROMANO<\/character>\n    <dialogue>Yes. Unfortunately, he passed, Major.<\/dialogue>\n    <scene_description>Roy nods, then turns, looks through GLASS at the ROCKET THAT will TAKE HIM TO THE STARS... THE CEPHEUS... Here, as everywhere, ARMED MEN and WOMEN abound. Looks down at his hand: CLUTCHING THAT DOSSIER CARD.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAUNCH PAD<\/stage_direction>\n    <scene_description>Roy, in his SPACESUIT, walks with the others holding their airpacks into the top of the rocket.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CEPHEUS - COCKPIT<\/stage_direction>\n    <scene_description>The cockpit is aglow with instruments and screens. Roy moves past Blunt and Scobee as they are ensconced to perform final preparations and checks. Roy STRAPS IN.<\/scene_description>\n    <character>CAPTAIN LAWRENCE BLUNT<\/character>\n    <parenthetical>(into the radio)<\/parenthetical>\n    <dialogue>Checklists complete. We are ready when you are, SpaceCom. Destination Helios Station North, Mars. Over.<\/dialogue>\n    <character>SPACECOM (RADIO FILTER) (V.O.)<\/character>\n    <dialogue>Affirmative, Captain. T-Minus 15 seconds. Ready to go.<\/dialogue>\n    <scene_description>SpaceCom commences COUNTDOWN. ENGINES ROAR to life. The ROCKET SHUDDERS from the force.<\/scene_description>\n    <character>DONALD SCOBEE (V.O.)<\/character>\n    <dialogue>Ten, nine, eight, seven, six... ignition sequence begin. We have main engine start.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. THE CEPHEUS<\/stage_direction>\n    <scene_description>The LIFTOFF TEAM scrambles to get away. The Cepheus, barely held to the gantry, is ready to go.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE MOON<\/stage_direction>\n    <scene_description>A great fire alights beneath The Cepheus.<\/scene_description>\n    <character>DONALD SCOBEE (CONT'D)(V.O.)<\/character>\n    <dialogue>Three, two, one.<\/dialogue>\n    <scene_description>The Cepheus rises, shaking off its tethers.<\/scene_description>\n    <character>DONALD SCOBEE (V.O.)<\/character>\n    <dialogue>We have lift off...<\/dialogue>\n    <scene_description>It explodes forward, hurtling around the Far Side.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CEPHEUS - SEDATION AREA<\/stage_direction>\n    <scene_description>Roy fights the G's.<\/scene_description>\n    <character>SPACECOM (RADIO FILTER) (V.O.)<\/character>\n    <dialogue>Cepheus, you are a go at throttle up. Stand by for separation.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE MOON - CEPHEUS<\/stage_direction>\n    <scene_description>The Cepheus fires its BOOSTERS and explodes forward, hurtling around the Far Side with increasing velocity. DARKNESS returns to the launch pad.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CEPHEUS<\/stage_direction>\n    <scene_description>The group settles in just a bit. The distant sounds of the ENGINE are a soothing, rhythmic lullaby.<\/scene_description>\n    <character>DONALD SCOBEE<\/character>\n    <dialogue>SpaceCom, we are commencing CTP ingestion.<\/dialogue>\n    <scene_description>Everyone TAKES A PILL which comes ejected from the console-- EXCEPT FOR ROY, who PALMS THE PILL and SLIPS it into his pocket.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CEPHEUS - COCKPIT - LATER<\/stage_direction>\n    <scene_description>Roy looks at his fellow travelers, all engaged in checklist tasks, other mundane activities:<\/scene_description>\n    <character>DONALD SCOBEE<\/character>\n    <dialogue>Pilot report A one-niner, Mars trajectory... The burn was on time. The residuals before nulling- -minus 0.1...<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Captain, I think my suit's suffered an oxygen leak. It's going to require an epoxy patch.<\/dialogue>\n    <character>LAWRENCE BLUNT<\/character>\n    <dialogue>Happy to assist, sir.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>That won't be necessary, Captain. Thank you. I've got it.<\/dialogue>\n    <scene_description>As Roy gets up, we SEE, to his RIGHT: \"CAUTION: MANUAL BOOSTER CONTROL\".<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARGO AREA<\/stage_direction>\n    <scene_description>Roy floats in to a SECLUDED PART of the ship. He pulls out what Pedrosa gave him. The DOSSIER\/AMULET, a thin, silver card. He inserts it into a slot of a small computer that is in his sleeve. Inserts an earbud. LASERS and OPTICS read his irises. SCREENS on his helmet inside display his biorhythms.<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Password DAISYWHEEL. Slate 23.<\/dialogue>\n    <scene_description>The password and bioscan activate the ELECTRONIC DOSSIER. The dossier opens up on a screen before him--in what looks like MID-AIR. ON SCREEN: \"LIMA TRANSMISSION INTERCEPT: 12\/14\/16. UNTELEVISED CANADIAN BROADCASTING CHANNEL INTERVIEW: H. CLIFFORD MCBRIDE\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FIAT LUX - OCULUS BASE<\/stage_direction>\n    <scene_description>PROFESSOR H. CLIFFORD MCBRIDE, looking into the camera. Unlike videos from today's astronauts, these are HD, fluid images.<\/scene_description>\n    <character>H. CLIFFORD MCBRIDE<\/character>\n    <dialogue>Hello CBC...Toronto...<\/dialogue>\n    <scene_description>H. Clifford McBride is on a space station, but exactly where is unclear. He looks haggard and unkempt. UNHINGED.<\/scene_description>\n    <character>H. CLIFFORD MCBRIDE<\/character>\n    <dialogue>I'd like to use this opportunity to reach out directly. To my son. If you could get this to him...please...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Roy... Solitude has increased my perception... I look so far into the universe here, and I see how cruel it is in its indifference... So many planets potentially suitable for life, yet as of now we hear and see nothing... I've come to worry that our own long-term survival is in doubt. My death is not something I fear. But--the extinction of ALL ideas, of all human expression--that is the true terror. Our consciousness must extend into the future, past any force that renders us extinct. We must commit ourselves to this goal...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And so I, I... If you see this-- we're, we're real far away. And some people haven't been able to keep their composure...<\/dialogue>\n    <parenthetical>(looks down, avoiding)<\/parenthetical>\n    <dialogue>It's been very difficult...<\/dialogue>\n    <scene_description>ANGLE ON ROY. His FACE registers that this is his father, addressing him directly--and his father doesn't look good. Roy looks down, at his SLEEVE. His VITALS. Over this:<\/scene_description>\n    <character>H. CLIFFORD MCBRIDE<\/character>\n    <dialogue>I'm sure you will have a lot of questions about the choices I've had to make. But... Perhaps someday you'll understand. I do miss you. I'm sure you miss me, too.<\/dialogue>\n    <scene_description>ROY'S PULSE STARTS CLIMBING... So he has to stop watching before the computer redflags his bioactivity... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CEPHEUS - CARGO AREA<\/stage_direction>\n    <scene_description>Roy takes the small stick given to him by Pedrosa and puts it in an airlock, adding the PILL they gave him to take. Releases the lever and sends the items into space...lost forever... A VOICE, through radio earpiece, from another part of Cepheus:<\/scene_description>\n    <character>A VOICE<\/character>\n    <dialogue>Major! MAJOR!<\/dialogue>\n    <scene_description>Roy turns, moves to<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANOTHER SECTION OF CEPHEUS<\/stage_direction>\n    <scene_description>SCOBEE and YOSHIDA seem to be in some kind of quiet panic. SILENTLY attending to the equipment around them. Then Yoshida comes to ROY\/US (the camera is NOW SUBJECTIVE) as ROY settles back into the main area of the craft. Yoshida turns to Roy, with urgency:<\/scene_description>\n    <character>FRANKLIN YOSHIDA<\/character>\n    <dialogue>Major--we're receiving a \"mayday\" from a craft that's in our zone. Per regulation, it may require you to accompany Captain Blunt on an EVA.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>No--we can't stop.<\/dialogue>\n    <character>FRANKLIN YOSHIDA<\/character>\n    <parenthetical>(surprised)<\/parenthetical>\n    <dialogue>Major?<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>We need to reach Mars.<\/dialogue>\n    <character>FRANKLIN YOSHIDA<\/character>\n    <parenthetical>(smiles, an uncomfortable laugh)<\/parenthetical>\n    <dialogue>Major, this is protocol. We have a mayday--<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>We can't stop!<\/dialogue>\n    <scene_description>Roy moves past Yoshida into:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CEPHEUS - CONTROL ROOM<\/stage_direction>\n    <scene_description>Roy enters the CONTROL ROOM, sees that the other men have put on their helmets. The ELECTRONIC BEEPING alert plays, and DATA flashes across the main MONITORS on the bridge. Lawrence Blunt to the radio, with RADIO FILTER:<\/scene_description>\n    <character>LAWRENCE BLUNT<\/character>\n    <dialogue>Ninety-seven hundred kilometers away, on the proximity alert.<\/dialogue>\n    <scene_description>ROY LOOKS OVER THEIR SHOULDERS TO SEE: on a panel screen: the image of THE VESTA IX. A small, rotating station orbiting of \"Earth's second satellite,\" the asteroid called TORO. Roy is agitated:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>The Helios Station is the destination, Captain--why are you stopping?<\/dialogue>\n    <character>LAWRENCE BLUNT<\/character>\n    <dialogue>We have a mayday, major--this is standard--<\/dialogue>\n    <character>(INTO COMMS)<\/character>\n    <dialogue>Vesta Nine, this is Cepheus Seven, United States Armed Forces Space Division. Do you read, over?<\/dialogue>\n    <scene_description>Roy looks impatient, unsure how to press the case:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Other craft will be in the vicinity. We have our destination.<\/dialogue>\n    <character>LAWRENCE BLUNT<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>Major, with respect, we're obligated to stop. As you are merely a passenger, I'm not sure I comprehend your position.<\/dialogue>\n    <scene_description>Unable to reveal anything, Roy turns away as Tanner looks through flight information:<\/scene_description>\n    <character>ALAN TANNER<\/character>\n    <dialogue>The craft is registered as Norwegian, the Vesta Nine, orbiting asteroid Toro. Registered for biomedical research.<\/dialogue>\n    <scene_description>On another screen: A scan of the Vesta IX appears. And on another SCREEN, ship schematics.<\/scene_description>\n    <character>LAWRENCE BLUNT<\/character>\n    <parenthetical>(INTO COMMS)<\/parenthetical>\n    <dialogue>Vesta Nine, do you read, over?<\/dialogue>\n    <scene_description>Still nothing. Roy looks at a screen for information. Eyes the SCHEMATICS for the VESTA NINE.<\/scene_description>\n    <character>LAWRENCE BLUNT (V.O.)<\/character>\n    <dialogue>Vesta Nine, according to the Outer Space Treaty we are responding to your distress call.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Do you read?<\/dialogue>\n    <scene_description>ROY OVERHEARS:<\/scene_description>\n    <character>ALAN TANNER<\/character>\n    <dialogue>I just accessed their log. Last transmission was Sept. 17, 13:37 PM.<\/dialogue>\n    <character>LAWRENCE BLUNT<\/character>\n    <parenthetical>(to Command)<\/parenthetical>\n    <dialogue>Command, I'm going EVA. Possible forced entry required.<\/dialogue>\n    <parenthetical>(to Roy)<\/parenthetical>\n    <dialogue>You're the only non-essential member of this craft. As you know, protocol is for you to come along.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Will this be a problem?<\/dialogue>\n    <scene_description>Roy thinks for a moment, then, with thinly-veiled anger, he starts to suit up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CEPHEUS - EQUIPMENT SECTION<\/stage_direction>\n    <scene_description>Roy and Blunt strap on equipment and make final suit augmentations for their EVA. Roy SEES Blunt is ARMING A WEAPON, a GUNLIKE object.<\/scene_description>\n    <character>LAWRENCE BLUNT<\/character>\n    <parenthetical>(stares at Roy for an uncomfortable moment; then:)<\/parenthetical>\n    <dialogue>I'd advise you to arm yourself as well. You're no longer in a predictable environment.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(curt)<\/parenthetical>\n    <dialogue>I'm aware of that.<\/dialogue>\n    <scene_description>Frustrated, Roy turns, looks through GLASS to SEE: the Vesta IX, about the size of the Cepheus, slowly rolling in place. We hear Donald Scobee from the cockpit...<\/scene_description>\n    <character>DONALD SCOBEE (RADIO FILTER) (V.O.)<\/character>\n    <dialogue>Heading three-three-four. Cannot confirm live contact. Range three- zero-seven-zero meters and closing.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Reactor is still hot.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Optimum approach angle, thirteen degrees. Coming around to three- three-four.<\/dialogue>\n    <scene_description>Blunt leads Roy towards the hatch...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CEPHEUS - AIRLOCK<\/stage_direction>\n    <scene_description>Roy and Blunt stand before the airlock doors... which open into space. Out they go...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE CEPHEUS<\/stage_direction>\n    <scene_description>A few glittering LIGHTS distinguish the Cepheus from absolute darkness. Roy and Blunt jet towards the Vesta IX.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE<\/stage_direction>\n    <scene_description>They venture away from the Cepheus and frighteningly into deep space. The Vesta is still distressingly far... And yet, the Vesta gets closer... And closer...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VESTA IX<\/stage_direction>\n    <scene_description>And then they are upon it! Roy reaches the airlock first. He PUNCHES BUTTONS on the DOORFRAME, to no avail. STATIC NOISE. Blunt motions to Roy, who uses a GATLING GUN to blow open the airlock. In SILENCE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VESTA IX - AIRLOCK<\/stage_direction>\n    <scene_description>Roy and Blunt enter the craft, pulse weapons at the ready. No one's in sight.<\/scene_description>\n    <character>DONALD SCOBEE (V.O.)<\/character>\n    <dialogue>Gentlemen, one of you is required to find the flight recorder box.<\/dialogue>\n    <scene_description>Blunt points to Roy, and he and Roy move in different directions...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VESTA IX - DECK<\/stage_direction>\n    <scene_description>Roy floats through the craft--it's vacant, jammed with idle instruments, empty console chairs. It's quiet, except for an electrical HUM. We HEAR:<\/scene_description>\n    <character>CAPTAIN LAWRENCE BLUNT (V.O.)<\/character>\n    <dialogue>Vesta, this is Cepheus, responding to your mayday signal... Do you read...?<\/dialogue>\n    <scene_description>The ZERO GRAVITY renders a lot of things floating: PENCILS, NOTEBOOKS, EQUIPMENT, LIT FLASHLIGHTS. They spin in the craft.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VESTA IX - LAB<\/stage_direction>\n    <scene_description>Roy floats deeper into the craft. It's dark. Roy scans his TRACKING DEVICE from side to side. The SPINNING FLASHLIGHTS illuminate spots for brief moments. Roy grabs one as it moves. By the looks of the LAB EQUIPMENT, it appears the craft performs research on viruses and diseases. Roy continues...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VESTA IX - PASSAGEWAY<\/stage_direction>\n    <scene_description>Roy MOVES towards an OPENING that leads to a DECK. LIGHTS are coming from that area.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VESTA IX - ANOTHER DECK<\/stage_direction>\n    <scene_description>Much CLUTTER here, lots of ITEMS floating around. Roy moves silently. A SCREEN COMES ON. A bearded man, grizzly and haunted. A NORWEGIAN ASTRONAUT:<\/scene_description>\n    <character>NORWEGIAN ASTRONAUT<\/character>\n    <dialogue>This is a eulogy for 12 good men... Men who came to space to advance scientific understanding of the universe. But... Our supply generator has failed... We can no longer see the earth--and it is not visible from our current perspective... No more earth. And we are adrift, without purpose... With no hope in sight, we have decided to do the only logical thing...<\/dialogue>\n    <scene_description>Then: something weird... CRIMSON ORBS are floating here and there. There must be at least a dozen. Most are baseball- sized, some are larger, some smaller. ROY touches one. Liquid. He removes his finger, the orb divides into smaller orbs. Then-- Something else is FLOATING TOWARDS US... A larger MASS... ROY backs up-- AND bumps into a BODY. A dead body. He is startled. Roy pushes past them. MORE DEAD bodies ahead. One body leaks BLOOD, which bubbles out of the man's torn suit, up, down and around, in every direction, forming the crimson orbs.<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Cepheus, I have one expired individual here, no signs of anyone alive. I believe I've viewed a suicide video file of some kind.<\/dialogue>\n    <character>DONALD SCOBEE<\/character>\n    <dialogue>Copy that, Major. Uh, Major, we've momentarily lost contact with Captain Blunt here.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Appears I have as well. Will attempt eye contact.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VESTA IX - B-DECK<\/stage_direction>\n    <scene_description>Roy is in the aft of the ship and is DOWNLOADING information from a central computer shaft. PULLS OUT a BLACK BOX from the console. A small LIGHT on Roy's tracker FLASHES.<\/scene_description>\n    <character>ROY MCBRIDE (RADIO FILTER)<\/character>\n    <dialogue>Captain?<\/dialogue>\n    <scene_description>No ANSWER. Roy tenses, looks around. Starts to float in that direction. Roy moves between cramped rows of SHADOWED EQUIPMENT. There's MOVEMENT in front of him. He hesitates. Then, another shadowy movement...<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Captain Blunt?<\/dialogue>\n    <scene_description>Again, no answer! Roy RAISES HIS WEAPON. MOVES FORWARD TO REVEAL: AROUND THE CORNER: We SEE a truly GROTESQUE SIGHT: a BABOON DEVOURING CAPTAIN BLUNT'S FACE! It's a big one, a Chacma, close to 100 pounds. It's insane and hungry. Roy jumps back, beyond startled. ROY'S P.O.V. -- The baboon SEES ROY, SHRIEKS (LOUDLY--but SILENT TO US because of our helmeted P.O.V.). It knocks over some equipment as it swims toward us in the gravity-free space, floating towards ROY'S jugular. BANG! ROY KILLS THE PRIMATE WITH HIS WEAPON. It TUMBLES AWAY, dead. Roy comes over to help. He looks in what remains of Blunt's eyes. The pupils are not dilating. Roy PUNCHES a BUTTON on the SIDE OF HIS HELMET. OUT OF BREATH:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Cepheus, a research primate has attacked the captain. He's critically injured. Suggest retrieving the VDR and moving the Captain to the Cepheus as soon as possible. Please advise.<\/dialogue>\n    <character>DONALD SCOBEE<\/character>\n    <dialogue>We confirm, this is our view as well. Over.<\/dialogue>\n    <scene_description>Just then: A RUSH OF MONKEYS APPEARS, CHARGING AT ROY. HE PULLS HIMSELF BACK, through an AIRLOCK, YANKING the SMALL BLACK DATA BOX as well as BLUNT inside. Just in time, too, as the MONKEYS SLAM into the AIRLOCK DOOR. Insanity.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRLOCK - VESTA<\/stage_direction>\n    <scene_description>Roy pulls out a HELMET from a ROW of them, inside the airlock. Locking it into place on Blunt, placing carefully it over Blunt's BLOODIED FACE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE<\/stage_direction>\n    <scene_description>Roy and his cord--pulling the black box as well as an inanimate Blunt--move back to the Cepheus.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEPHEUS<\/stage_direction>\n    <scene_description>As Roy approaches, the Cepheus is SPINNING. He gets to the surface of the craft, waits until the AIRLOCK DOOR approaches.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CEPHEUS - AIRLOCK<\/stage_direction>\n    <scene_description>The airlock doors whoosh open, and Roy rockets in with the equipment and Blunt's body on a tether cord. The doors close behind him. He takes off his helmet. Yoshida helps him\/them through the airlock; PULLING OFF BLUNT'S HELMET, he's horrified to see what's become of his Commander. Yoshida begins immediately to work on Blunt. Roy is out of breath.<\/scene_description>\n    <character>FRANKLIN YOSHIDA<\/character>\n    <parenthetical>(to Roy)<\/parenthetical>\n    <dialogue>What the hell happened in there?!?<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>It was a scientific vessel--they lost control somehow.<\/dialogue>\n    <parenthetical>(with gritted teeth)<\/parenthetical>\n    <dialogue>I tried to tell the Captain... ALL of you.<\/dialogue>\n    <character>FRANKLIN YOSHIDA<\/character>\n    <dialogue>Tell us what?<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>That we have a task in front of us. And that to stop would be a waste of fucking time.<\/dialogue>\n    <scene_description>Yoshida goes back to work on the unresponsive Blunt. Leaning his HEAD IN through the corrugated arch, ALAN TANNER reaches for the BLACK BOX. He pulls it toward him. Then, sotto:<\/scene_description>\n    <character>ALAN TANNER<\/character>\n    <parenthetical>(re: Blunt)<\/parenthetical>\n    <dialogue>What's his status?<\/dialogue>\n    <scene_description>Yoshida SIMPLY SHAKES HIS HEAD. The CAPTAIN WON'T MAKE IT.<\/scene_description>\n    <character>ALAN TANNER<\/character>\n    <dialogue>I'll inform Don, he'll have to be certified for flight.<\/dialogue>\n    <scene_description>As Tanner PULLS the black box, Roy follows him into:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMAND MODULE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Tanner begins to draw on the BLACK BOX data. Scobee is going through his checklist, comparing it the BLACK BOX DATA that is coming in on the computer. Roy moves closer. The RADIO INTERRRUPTS:<\/scene_description>\n    <character>SPACECOM VOICE<\/character>\n    <dialogue>Cepheus, we received your message concerning Captain Blunt. We have Cpt.<\/dialogue>\n    <character>SPACECOM VOICE<\/character>\n    <dialogue>Scobee's retinal scan on file, and he is now in control of the craft. Over.<\/dialogue>\n    <character>DONALD SCOBEE<\/character>\n    <dialogue>This is Cpt. Scobee, SpaceCom. Roger that. Over.<\/dialogue>\n    <scene_description>Sotto, to Scobee, Roy grabs Scobee's arm:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Mars is our assigned destination. That is what requires our complete focus.<\/dialogue>\n    <character>DONALD SCOBEE<\/character>\n    <dialogue>Understood, Major. We're on our way to Helios Station.<\/dialogue>\n    <parenthetical>(louder; to Tanner)<\/parenthetical>\n    <dialogue>Prepare boosters D-6, D-9.<\/dialogue>\n    <character>ALAN TANNER<\/character>\n    <dialogue>Boosters D-6 and D-9, roger that.<\/dialogue>\n    <scene_description>Roy HEARS something. Turns back to SEE:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEAR AIRLOCK<\/stage_direction>\n    <scene_description>The life is leaving Blunt. ROY can SEE the BODY, ENTOMBED inside his SPACESUIT. Yoshida finishes reading LAST RITES:<\/scene_description>\n    <character>FRANKLIN YOSHIDA<\/character>\n    <dialogue>...I commend you to almighty God, and entrust you to your Creator. May the angels and the saints come to meet you, as you go forth from this life. May you see your Redeemer face to face and enjoy the vision of God for ever...<\/dialogue>\n    <parenthetical>(to the men)<\/parenthetical>\n    <dialogue>Airlock engaged.<\/dialogue>\n    <character>DONALD SCOBEE<\/character>\n    <dialogue>Airlock engaged, roger that.<\/dialogue>\n    <scene_description>The AIRLOCK opens. A WHOOOSH!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE<\/stage_direction>\n    <scene_description>THE CEPHEUS RELEASES BLUNT'S BODY into the VOID... Their fallen commander tumbles away, into the darkness. The Cepheus' BOOSTER ROCKETS FIRE, and the CRAFT speeds away-- leaving Blunt's body to tumble. Forever... DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS - LATER<\/stage_direction>\n    <scene_description>The RED PLANET, floating in space. A space elevator with a SPINNING DOCKING STATION is tethered to the planet. The Cepheus ARRIVES into view, its retros thrusting.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CEPHEUS<\/stage_direction>\n    <scene_description>The men speak:<\/scene_description>\n    <character>DONALD SCOBEE<\/character>\n    <parenthetical>(to radio)<\/parenthetical>\n    <dialogue>SpaceCom, we are approaching Mars, Helios North. Over.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTSIDE THE SPACE ELEVATOR<\/stage_direction>\n    <scene_description>It slows to a stop as it DOCKS with THE DOCKING BAY connected to MARS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CEPHEUS - CONTINUOUS<\/stage_direction>\n    <scene_description>As Roy, Tanner, Scobee, and Yoshida ready themselves to leave: A DOWNLOAD COMMENCES.<\/scene_description>\n    <character>SPACECOM VOICE<\/character>\n    <dialogue>Cepheus, this is SpaceCom. We have a secure download for passenger Roy McBride.<\/dialogue>\n    <character>DONALD SCOBEE<\/character>\n    <dialogue>Send it through. Over.<\/dialogue>\n    <scene_description>The FILE DOWNLOADS. Roy takes the chip and:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SECURE CORNER<\/stage_direction>\n    <scene_description>Roy downloads the chip:<\/scene_description>\n    <character>SPACECOM VOICE<\/character>\n    <dialogue>An additional message was sent to the moon's communications center, approximately seven hours after your departure.<\/dialogue>\n    <scene_description>ROY FOCUSES. On a SCREEN comes: THE IMAGES OF THE MEDIEVAL CASTLE THAT ROY has OBSESSED OVER! The MUSIC is odd, a strange \"easy listening\" tune... ROY MOVES CLOSE TO THE SCREEN. Then, the IMAGERY CUTS OUT, leaving a TEXT SENTENCE, white TEXT on BLACK SCREEN: \"ARE YOU COMING?\" NEW LINE of TEXT: \"06:10:00\" ANGLE ON ROY as we: CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOCKING AREA - CEPHEUS<\/stage_direction>\n    <scene_description>Roy SHAKES the hands of Scobee and Yoshida and Tanner:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>My condolences for Captain Blunt, gentlemen. I do appreciate the ride and wish you the best on the rest of your journeys.<\/dialogue>\n    <character>DONALD SCOBEE<\/character>\n    <dialogue>Thank you, Major. Glad we could be of service...<\/dialogue>\n    <scene_description>The HATCH OPENS for ROY, and he glides through.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHUTTLE<\/stage_direction>\n    <scene_description>Roy is in the shuttle to Helios South.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOCKING BAY - MOMENTS LATER<\/stage_direction>\n    <scene_description>He enters the docking bay of the space station. Nobody's here to greet him, although there are cameras and active screens. BEEEEP! ROY SPEAKS:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>McBride, Roy C. Submit.<\/dialogue>\n    <scene_description>Steps forward and puts his eye in the scanner.<\/scene_description>\n    <character>WOMAN ON A SCREEN<\/character>\n    <dialogue>Approved.<\/dialogue>\n    <scene_description>A moment, then a WHOOSH! A LARGE DOOR OPENS TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPACE ELEVATOR<\/stage_direction>\n    <scene_description>The CREW, entering in the elevator. Roy looks out, SEEING THE RED PLANET'S SURFACE APPROACHING as the thing descends.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELIOS STATION - MARS SURFACE<\/stage_direction>\n    <scene_description>The ELEVATOR \"lands\" on MARS. The LARGE STEEL DOOR UNLOCKS AUTOMATICALLY. ROY steps out. We don't see any people here yet. But several SIBERIAN HUSKIES walk up and down the halls of the installation. A couple of them come up to our men and sniff around. A weird SCREECHING sound pervades--as if something large deep inside the station needs repair...or, at the very least, THEN: A FEW SCIENTISTS staggering down the hall, too--SINGING some unknown song badly, somewhat drunkenly. A GUY IN ROLLER- SKATES speeds past in the background. A SEEMINGLY INSANE MARS OFFICER, a woman of fifty, charges to Roy:<\/scene_description>\n    <character>MARS OFFICER<\/character>\n    <dialogue>Did you bring us seeds?!? What about canned produce, did you do THAT?<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>No. I'm sorry. I don't have any. Sorry... Is your commanding officer--<\/dialogue>\n    <scene_description>Roy looks past her. It's MADNESS. More passersby, more revelry... and the return of the Roller-Skater. Next comes an unctuous officer named SERGEANT PETER BELLO (fiftysomething, strangely tan) greets our man. He may not be drunk, but it's unclear if he has his wits about him.<\/scene_description>\n    <character>SGT. BELLO<\/character>\n    <parenthetical>(with a slightly mad grin, too loud at times)<\/parenthetical>\n    <character>SGT. BELLO<\/character>\n    <dialogue>Good afternoon! Or evening--or whatever the fuck! WELCOME TO THE VERY LAST MANNED OUTPOST IN OUR SOLAR SYSTEM! \\[I'm\\] Sergeant Bello... You comin' from earth, or the moon??? OR WHAT?!? Wait, whose retinal scan'd I approve?<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>I've been sent by SpaceCom to conduct an inspection near Vallis Marineris and I need access to the location as soon as possible. I need to see a Colonel Lipset.<\/dialogue>\n    <character>SGT. BELLO<\/character>\n    <dialogue>Oh, I bet he's at Shunga Show, brother! Where we should be! Keep ourselves right in the head--and down BELOW, if you get my meaning--<\/dialogue>\n    <scene_description>ROY INTERRUPTS him.<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>I need to talk to him. It's urgent.<\/dialogue>\n    <character>SGT. BELLO<\/character>\n    <dialogue>Okay, cowboy... Okay...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELIOS STATION - SHUNGA PARLOR<\/stage_direction>\n    <scene_description>An enormous dark space, almost like the Whale Room in New York's American Museum of Natural History. It's lit only by black light. PROJECTED ALL OVER, we SEE...several physically perfect STRIPPERS (holographic--but also totally lifelike). ROY joins the throng of SCIENTISTS &amp; MILITARY. EVERYONE is SMOKING POT and doing a lot of other stuff. Roy walks through some of the strippers.<\/scene_description>\n    <character>SGT. BELLO<\/character>\n    <parenthetical>(excitedly)<\/parenthetical>\n    <dialogue>They keep us company! Don't misunderstand me, we're not allowed't make 'em sentient, course. But our scientists here've tampered with 'em--given 'em a little more personality, we'll say!<\/dialogue>\n    <character>SGT. BELLO<\/character>\n    <dialogue>They're still well within legal A.I. cognition limits, I promise you!<\/dialogue>\n    <scene_description>Roy looks around him at a couple of gorgeous (fake) women, GYRATING IN UNISON to \"TALKIN' LOUD AND SAYIN' NOTHING\". Roy SEES a LARGE BUFFET TABLE with PROCESSED FOOD. The virtual HOLO WOMEN move around Roy like ghosts. It's James Brown night, evidently. The Godfather of Soul is actually here in person, \"on stage\"--a perfect, life-like hologram. Roy's sort of pushing the Holo Women away, like swatting flies. His hand just goes through them. Roy and the rest of the crew encounter: Sitting on a cushion, smoking a BONG and working on God-knows- what with old-fashioned pencil and paper, is astrophysicist SAMIR MALIK--bearded, thirtysomething, bespectacled, hippyish. A shit-eating grin. HIS WIFE, CHERYL, is next to him. Projected around them is a WARM SPACE, almost like a high-end LOG CABIN. STANDING NEARBY: COLONEL LIPSET, a grizzled man, about forty-five years old. Lined face, gaunt. He STARES AT ROY...<\/scene_description>\n    <character>SGT. BELLO<\/character>\n    <dialogue>Sam, this guy's got orders, from SpaceCom. Looking for a Colonel Lipset.<\/dialogue>\n    <scene_description>Malik smiles broadly, holds out a hand to shake Roy's. COMPLETELY STONED. His hand is robotic, a metallic gold (for no explained reason).<\/scene_description>\n    <character>SAMIR MALIK<\/character>\n    <dialogue>Samir Malik--I'm superintendant. With National Institute of Sciences. Cal-Tech Mafia! This's my wife, Cheryl.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Pleased to meet you.<\/dialogue>\n    <character>SAMIR MALIK<\/character>\n    <parenthetical>(with a snort)<\/parenthetical>\n    <dialogue>Well, it's a pleasure to meet anybody this far out--'specially anybody with their heads screwed on straight! END of the LINE here!<\/dialogue>\n    <scene_description>Awkward pause, the MEN LOOK AROUND at the surroundings. COLONEL LIPSET is still staring. Then:<\/scene_description>\n    <character>SAMIR MALIK<\/character>\n    <parenthetical>(lets out a laugh)<\/parenthetical>\n    <dialogue>Gotta maintain that human connection somehow...<\/dialogue>\n    <scene_description>The OFFICER REACHES DOWN to a METAL PLANK below his feet and FLIPS a SWITCH. OFF GOES the HOLOGRAPHIC ROOM AROUND THEM, that \"HIGH-END LOG CABIN\", revealing the real space around them. Stepping forward is Colonel Lipset:<\/scene_description>\n    <character>COLONEL LIPSET<\/character>\n    <dialogue>Major, I'm Colonel Lipset.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Sir. YES.<\/dialogue>\n    <scene_description>As COLONEL LIPSET MOVES to shake Roy's hand, he LEANS IN, softly into Roy's EAR:<\/scene_description>\n    <character>COLONEL LIPSET<\/character>\n    <dialogue>I've been fully briefed.<\/dialogue>\n    <scene_description>Straightening up, and louder:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Yessir.<\/dialogue>\n    <scene_description>Roy turns, HANDS LIPSET A PRINTOUT.<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>My destination is these coordinates.<\/dialogue>\n    <character>COLONEL LIPSET<\/character>\n    <parenthetical>(looks, then to Malik)<\/parenthetical>\n    <dialogue>Dr. Malik?<\/dialogue>\n    <scene_description>MALIK LOOKS AT IT, then UP AT THEM, LIKE ROY'S NUTS. Grows DEADLY SERIOUS. Turns to his wife:<\/scene_description>\n    <character>SAMIR MALIK<\/character>\n    <dialogue>Honey, I've gotta go back to work.<\/dialogue>\n    <parenthetical>(back to Roy)<\/parenthetical>\n    <dialogue>Why don't you take a ride with me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELIOS CORRIDOR - MONORAIL<\/stage_direction>\n    <scene_description>ROY, SAMIR MALIK in a SPEEDING MONORAIL. A LIT MAP IS IN FRONT OF THEM. With Malik is his right-hand, a woman named KATHRYN COLLINS. COLONEL LIPSET is with them, SILENT.<\/scene_description>\n    <character>SAMIR MALIK<\/character>\n    <dialogue>The spot is in the middle of our complex of fission reactors. It's a Westinghouse design, built--I wanna say six earth years ago?<\/dialogue>\n    <scene_description>He looks to Collins:<\/scene_description>\n    <character>KATHRYN COLLINS<\/character>\n    <dialogue>That's right.<\/dialogue>\n    <character>SAMIR MALIK<\/character>\n    <dialogue>Right. Well, there was a meltdown in reactor three a few months after completion. Likely a result of industrial sabotage.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>What's its current status?<\/dialogue>\n    <character>SAMIR MALIK<\/character>\n    <dialogue>Kathryn knows more than I do here.<\/dialogue>\n    <scene_description>Roy TURNS TO THE MAP IN FRONT OF THEM as it scrolls up to the northern hemisphere, then stops. Like Google Maps' \"Street View\"--a remote camera has captured the exterior of a Martian REACTOR. Roy studies the location. Collins points to the map, which shows a \"skeleton\" of the reactor's innards.<\/scene_description>\n    <character>KATHRYN COLLINS<\/character>\n    <dialogue>This area was walled-off after the disaster. They poured concrete to prevent further contamination. And many of the tunnels are still filled with cooling water.<\/dialogue>\n    <scene_description>Roy is studying images of a large TELESCOPE ARRAY near the reactor in Valles Marineris.<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>What is that, to the right?<\/dialogue>\n    <character>KATHRYN COLLINS<\/character>\n    <dialogue>A radio telescope. Still active. Which is why we're continuing to pump electricity, water, and oxygen through the reactor. No one'll spend the money to build a new telescope away from the contaminated area, and it needs those things to operate.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>So this whole zone is deserted now-- but it still has power, that's what I'm to understand?<\/dialogue>\n    <character>COLONEL LIPSET<\/character>\n    <dialogue>That is correct, major.<\/dialogue>\n    <scene_description>Everyone falls silent. Lipset's interjection is odd. Then:<\/scene_description>\n    <character>KATHRYN COLLINS<\/character>\n    <dialogue>SPACECOM's using Cornell University to do an ongoing study of the disaster. One of their fellows's named Francesca DeSanctis. She's their point person.<\/dialogue>\n    <scene_description>As Roy sifts through the reactor scans:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>I'd like to debrief her--if that's okay with you.<\/dialogue>\n    <character>COLONEL LIPSET<\/character>\n    <dialogue>We'll get her to you.<\/dialogue>\n    <scene_description>A TENSE BEAT. Then:<\/scene_description>\n    <character>SAMIR MALIK<\/character>\n    <dialogue>Anything we should know here?<\/dialogue>\n    <character>COLONEL LIPSET<\/character>\n    <dialogue>I'm sorry, Doctor--how do you mean?<\/dialogue>\n    <character>SAMIR MALIK<\/character>\n    <parenthetical>(looks to Collins, then)<\/parenthetical>\n    <dialogue>Well...we had a power surge, couple of weeks ago, and we had a lot of repair work on our hands.<\/dialogue>\n    <character>COLONEL LIPSET<\/character>\n    <dialogue>I seem to recall reading that quakes happen here from time to time, maybe that was the cause.<\/dialogue>\n    <character>SAMIR MALIK<\/character>\n    <dialogue>They do, but...<\/dialogue>\n    <parenthetical>(beat; shrugs)<\/parenthetical>\n    <dialogue>Look, we've heard rumors. About an explosion, off Neptune.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I guess I'm wondering--should we...evacuate?<\/dialogue>\n    <scene_description>Colonel Lipset looks to Roy, who responds \"properly\":<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>The mission's classified, I'm sorry.<\/dialogue>\n    <scene_description>Malik purses his lips. Not the most encouraging answer.<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Please find the woman.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HELIOS - CHAPEL\/LAB - CONTINUOUS<\/stage_direction>\n    <scene_description>What was once solely a chapel has been converted to a lab mixed with a weird version of a 1960's hippy ashram. Blankets, lamps, etc. A WOMAN whose back is to us.<\/scene_description>\n    <character>SAMIR MALIK<\/character>\n    <dialogue>Her name is Francesca DeSanctis-- she was born here. She's part of the Cornell Extension program and had been working on the Mars geology project. So she's been researching the territory for years.<\/dialogue>\n    <scene_description>A CLOSE SHOT on FRANCESCA DESANCTIS, early forties, as she turns around to us. Lovely but also fragile. Not physically delicate, but somehow, we can tell she's emotionally vulnerable. She is whiter than white--as if her skin has never seen sunlight. Veins are visible beneath her temples. She looks into the camera, then STANDS UP, walks toward us as ROY ENTERS.<\/scene_description>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Good evening.<\/dialogue>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <parenthetical>(wide smile)<\/parenthetical>\n    <dialogue>Or morning.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(gentle smile in return)<\/parenthetical>\n    <dialogue>Right, yes.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm from USSPACECOM, and I have some questions for you.<\/dialogue>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>All right.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>I ask you not to be concerned, I just need to know what you know--<\/dialogue>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>I'm not concerned.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Okay, that's good... Dr. Malik informs me that you've been studying the reactors?<\/dialogue>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>Yes. For about four years now, for a SPACECOM study. I toured the area myself before a series of quakes hit the area. I was the last to enter.<\/dialogue>\n    <parenthetical>(wry smile)<\/parenthetical>\n    <dialogue>I guess I'm the lucky one.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>All my records are on file, and I have adhered most strictly to all regulations. My scientific work is very important. It's, it's what I have.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(nods; then)<\/parenthetical>\n    <dialogue>You haven't noticed anything unusual inside the reactors?<\/dialogue>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>Apart from the physical activity?<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>I informed SPACECOM about signs of a physical disturbance inside the reactor. Didn't they tell you?<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(thrown)<\/parenthetical>\n    <dialogue>No...I, I have no information on that matter...<\/dialogue>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>Well, it's my feeling that a person has been inside the core. I've noticed what I think are some very obvious signs.<\/dialogue>\n    <scene_description>ROY IS STUNNED.<\/scene_description>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>I can take you down there--if, if that's where you need to go. I know the routes and I can help.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(cutting her off)<\/parenthetical>\n    <dialogue>Thank you. I think I have enough information for now. I'll contact you.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELIOS CONFERENCE ROOM<\/stage_direction>\n    <scene_description>Roy and Colonel Lipset are huddling. Lipset looks at DATA PAPERS. In medias res:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>I do believe now it's possible that my father escaped from Neptune, yes. In a craft of some sort, perhaps--something of 3-D fabrication. We'd have to find out where he's hiding here on Mars, course.<\/dialogue>\n    <character>COLONEL LIPSET<\/character>\n    <dialogue>Either that, or it's not him.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Sir, with respect, there's no one else who had knowledge of the things that have been sent to me. It is him.<\/dialogue>\n    <scene_description>Lipset looks up. A beat. Then:<\/scene_description>\n    <character>COLONEL LIPSET<\/character>\n    <dialogue>No one's been inside there for years. We don't know what's down there.<\/dialogue>\n    <character>COLONEL LIPSET<\/character>\n    <dialogue>It could be extremely dangerous-- the radiation, the, the self- replicators may still be active. And you don't know the way--<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>I would go with Ms. DeSanctis. She would guide me to the location and I could then initiate the contact with my father. I would set her free and convince him to surrender. You'd have continued access to my data, and you could speak with me directly through my MMU.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>This is the necessary mission, sir. And time is critical.<\/dialogue>\n    <scene_description>Lipset begins to BURN the DATA PAPERS.<\/scene_description>\n    <character>COLONEL LIPSET<\/character>\n    <dialogue>We'll have to follow you close behind, ready to move and hopefully obtain intel on the Lima Project's precise location off Neptune.<\/dialogue>\n    <scene_description>Roy LOOKS TROUBLED. DOES NOT SPEAK UP.<\/scene_description>\n    <character>COLONEL LIPSET<\/character>\n    <dialogue>Is this a problem for you?<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>No sir...<\/dialogue>\n    <character>COLONEL LIPSET<\/character>\n    <dialogue>Good. Because we're only here to help.<\/dialogue>\n    <scene_description>ANGLE ON ROY as we: CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELIOS PREPARATION ROOM<\/stage_direction>\n    <scene_description>Francesca is getting a SPACESUIT put on her. She's rarely had one on before; it looks awkward, almost preposterous, on her. She's older than Roy; she is lovely in her vulnerability. Incredibly aware and sensitive eyes--as well as a seemingly easygoing manner:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Are you uncomfortable with the unit, Ma'am?<\/dialogue>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>I've grown up with these but I've never liked them.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>This one's considerably better than the earlier models. I've noticed increased flexibility with the newer MMUs. They have all our vitals here. And you can release all the nitrogen fuel at once, if you need to, from the pack or even from your boots, here.<\/dialogue>\n    <parenthetical>(beat; senses her stress)<\/parenthetical>\n    <dialogue>If you breathe normally, there's no cause for panic.<\/dialogue>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>That's what I try to do.<\/dialogue>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>\"Breathe,\" I tell myself. It should be easy. It probably is, for you.<\/dialogue>\n    <scene_description>She accepts that. Roy REACHES for a SMALL ELECTRONIC FLAT SCREEN, which he unfolds:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Is this map accurate?<\/dialogue>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <parenthetical>(nods; then)<\/parenthetical>\n    <dialogue>Yes. But when we get there, there's also a guide rope that we installed through the tunnels right after meltdown. It leads to the center of the core.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Okay...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And--and thank you, Ma'am. You can rest assured that this is of great importance, what you're doing. For the Earth.<\/dialogue>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <parenthetical>(nods; then)<\/parenthetical>\n    <dialogue>I've only been to earth once, actually. As a child.<\/dialogue>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>I have a tissue disorder because I was born here. They said I'd die if I tried going back, through the radiation belt. But they're working on new medications.<\/dialogue>\n    <scene_description>Unexpectedly, she stops speaking. Looks at Roy. Her EYES WELL UP:<\/scene_description>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>I remember it very well--I remember, it was extremely beautiful.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Some parts, yes.<\/dialogue>\n    <parenthetical>(lets out a laugh)<\/parenthetical>\n    <dialogue>Other parts...not so much.<\/dialogue>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <parenthetical>(interior)<\/parenthetical>\n    <dialogue>I wish I could be there...I wish, more than anything else...<\/dialogue>\n    <parenthetical>(louder; eases)<\/parenthetical>\n    <dialogue>A lot of people here get lonely. And they break down. The mental hospital at Helios is always full of patients.<\/dialogue>\n    <parenthetical>(sotto; looks at the map)<\/parenthetical>\n    <dialogue>It's why I always thought the reactor crew itself caused the meltdown. I think they just lost it...<\/dialogue>\n    <scene_description>A beat. She seems to get an idea:<\/scene_description>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>Hey, I think I saw a news program on you, from a few years back. I just realized, I think I know you!<\/dialogue>\n    <scene_description>ROY IS MOMENTARILY CONFUSED:<\/scene_description>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>It was--it was about the Space Antenna!<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Oh yes, the gravitational wave antenna. It's almost finished now. It's going to be an excellent project. We'll be able to hear any intelligent life, possibly even respond.<\/dialogue>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>Maybe I'll be able to go to the Earth and see it someday...<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Yes, it will be completed soon. Our team was really working toward that. All of us, back home. It's a very worthy endeavor-- communication with other potential lifeforms.<\/dialogue>\n    <scene_description>DeSanctis looks at her suit. Then:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>I think you're ready.<\/dialogue>\n    <scene_description>A BUTTON on Francesca's SUIT is PUSHED and it COLLAPSES AROUND HER, SNUG. She looks uncomfortable--but ready. Roy SMILES at her; he's comfortable. There's even a level of sexual attraction, maybe. Maybe. Roy talks to his sleeve:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Doctor, Colonel--I think we're good to go here.<\/dialogue>\n    <scene_description>ANGLE ON ROY as he LOOKS UP. THROUGH GLASS, we SEE: SAMIR MALIK and COLONEL LIPSET looking at them. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDERGROUND STATION<\/stage_direction>\n    <scene_description>A maze-like installation. A ROVER about to depart.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROVER<\/stage_direction>\n    <scene_description>In the ROVER are Roy and Francesca. With KATHRYN COLLINS driving.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS - SHUTTLE PORT - DAY<\/stage_direction>\n    <scene_description>The ground opens up and the rover emerges onto the strikingly bright Martian terrain.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS - VALLES MARINERIS - LATER<\/stage_direction>\n    <scene_description>The rover drives alongside one of Mars's monumental canyons, VALLES MARINERIS. It's amazing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROVER<\/stage_direction>\n    <scene_description>A wonder to behold. ALL DIALOG IS RADIO FILTER:<\/scene_description>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>That is Valles Marineris, over to your right--it's a thousand times bigger than the Grand Canyon on earth. And just about every other month an earthsick person throws himself off it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. FRONT ROVER - CONTINUOUS<\/stage_direction>\n    <scene_description>Francesca DeSanctis gestures to a large structure that they're about to pass.<\/scene_description>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>The area we're entering was self- sufficient at one time, with a greenhouse and self-replicating units for maintenance and repair.<\/dialogue>\n    <parenthetical>(to Collins)<\/parenthetical>\n    <dialogue>You can take us right to that white circle, Kathryn.<\/dialogue>\n    <character>KATHRYN COLLINS<\/character>\n    <dialogue>Will do.<\/dialogue>\n    <scene_description>Collins pulls the rover over to the side of the road, near a WHITE STEEL CIRCLE TUBE in the dirt--about 10 feet in diameter. Roy leans forward. To Collins:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>I have activated GPS so you can find us. When we're done. It reports that we have twenty-six minutes until we need to be inside.<\/dialogue>\n    <character>KATHRYN COLLINS<\/character>\n    <dialogue>Roger that. We'll be more than happy to come pick you up on our Mars Taxi service!<\/dialogue>\n    <parenthetical>(no answer from Roy, so)<\/parenthetical>\n    <dialogue>Good luck, both of you!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS - VALLES MARINERIS - CONTINUOUS<\/stage_direction>\n    <scene_description>The rover's doors open. Roy steps out. Roy and Francesca are left all alone as the Rover leaves behind a trail of dust. It's silent. The landscape is mostly barren--the greenhouse, the radio telescope, and a few other structures are in the distance. A purple DUST STORM materializes, gathers, grows, approaches. The atmosphere is obscured. Luckily, the atmosphere is so thin that these twisters are harmless--they just leave a RED\/VIOLET HUE over Roy's and Francesca's spacesuit and helmet. Francesca finds a HATCH, covered in dust and dirt. POINTS TO ROY. Roy bends down, shoves the dirt away and find a metal protuberance. After removing more dirt, he is ABLE TO LIFT UP THE HATCH. DOWN THEY GO, INTO AN UNDERGROUND CHAMBER.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDERGROUND CHAMBER<\/stage_direction>\n    <scene_description>A CONCRETE SARCOPHAGUS. A WALL. With a CIRCULAR WHEEL, leading DOWNWARD. FRANCESCA GESTURES. ROY TURNS THE WHEEL. It opens, and they descend into the DARK WATER:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TUNNELS<\/stage_direction>\n    <scene_description>THEY ARE NOW SWIMMING in a TUNNEL of DARKNESS. Roy and Francesca have HELMET LIGHTS which illuminate a few feet in front of them. They PULL THEMSELVES ALONG by the GUIDE ROPE. ROY'S SLEEVE BLINKS: \"EXCESSIVE RADIATION\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEEPER INTO THE TUNNELS<\/stage_direction>\n    <scene_description>They are dark. Only a few feet in front of Roy is illuminated. THE TWO PULL THEMSELVES ALONG THE ROPE SLOWLY and CAREFULLY. INTO THE DARKNESS. But then we see the movement of particulate in the air. Something is causing dust to disperse in that DARK TUNNEL...<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Something appears to be moving.<\/dialogue>\n    <scene_description>The breaths quicken. TERROR on her face. He looks down the pipeway; he can focus on nothing else... SOMETHING begins to appear in the darkness...<\/scene_description>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>I just received a text message, imploring us not to proceed. It says if we do we will be destroyed...<\/dialogue>\n    <scene_description>SLOWLY BUT SURELY we begin to make it out... It is a creaturelike SELF-REPLICATING MACHINE. We've SEEN SOMETHING LIKE IT before; they were working on the tether, in the beginning of our story. But this one is larger, somehow more unforgiving. Its HEAD is ONE HEADLIGHT; the head looks like Odilon Redon's portrait of the CYCLOPS... It charges at them in silence, through the dense water. It appears to be WELDING--it has TENDRILS, like a HYDRA, which it uses to push itself down the TUNNEL. It gets CLOSER AND CLOSER!<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Please send it code, tell it that we'll proceed no further and it need not be concerned.<\/dialogue>\n    <scene_description>She is typing into her sleeve. A TENDRIL REACHES OUT about to GRAB FRANCESCA. AND THEN IT STOPS. STOPS PROCEEDING. Roy steps forward. Approaches the enormous hydra, which seems frozen and no longer threatening. AT INCREDIBLE SPEED, he withdraws his PULSE WEAPON, FIRES AT IT. DIRECT HIT! It moves spasmodically for a moment after it is hit--almost as if in physical pain. ROY APPROACHES IT, CLOSE, FIRING THE PULSE WEAPON to the CENTER of the EYE of the HEAD... THE HYDRA JERKS SPASMODICALLY AGAIN. ROY then GRABS FRANCESCA'S ARM; REACHES OVER and PULLS on what LOOKS LIKE A RIPCORD of sorts from his MMU. THE MMU on ROY'S BACK RELEASES ALL THE NITROGEN in the PACK, YANKING HER and ROY with TREMENDOUS SPEED PAST THE DESTROYED HYDRA; they TUMBLE THROUGH THE WATER, BLOWING away from the HYDRA and toward relative safety. ROY finds the CABLE, and, holding onto FRANCESCA, he uses her own MMU for power.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TUNNEL AIRLOCK<\/stage_direction>\n    <scene_description>The TWO ENTER: Francesca leads him.<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(to radio)<\/parenthetical>\n    <dialogue>Command, it appears we encountered a self-replicator of some kind, perhaps one meant to secure the structure.<\/dialogue>\n    <character>COMMAND VOICE<\/character>\n    <dialogue>Copy that, Major. Is it still active?<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Negative. It has been disabled.<\/dialogue>\n    <character>COMMAND VOICE<\/character>\n    <dialogue>All right, proceed to the core. You have twelve minutes until you reach the time indicated.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DIFFERENT TUNNEL<\/stage_direction>\n    <scene_description>The two enter a long, BLUE-LIGHT TUNNEL. After a few steps, Roy stops. Something's wrong:<\/scene_description>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>Major? Are you all right?<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>My pulse is getting a little more rapid here.<\/dialogue>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>Mine is as well. We didn't expect to encounter that.<\/dialogue>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>The unit was perhaps agitated by the recent quake--disoriented by having to operate alone.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>No...Ma'am--that's, that's not it. Situations of that nature don't present difficulties for me.<\/dialogue>\n    <parenthetical>(checks his numbers)<\/parenthetical>\n    <dialogue>And this is indicating that my metabolic levels are increasing only now, as we approach the core.<\/dialogue>\n    <parenthetical>(beat; to himself)<\/parenthetical>\n    <dialogue>I, I have to address this...<\/dialogue>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>Should we wait to enter?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Perhaps you're getting anxious about what you'll find there--<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(interrupts)<\/parenthetical>\n    <dialogue>No. We must enter the core.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDERGROUND CORRIDOR<\/stage_direction>\n    <scene_description>They MOVE THROUGH the corridor to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDERGROUND CHAMBER - THE CORE<\/stage_direction>\n    <scene_description>A massive chamber. Roy and Francesca come ACROSS THE ENORMOUS BASE of the REACTOR. A FLICKERING SERIES of FLUORESCENT LIGHTS illuminate HALF the ROOM. It looks almost lived-in, frozen in time. Like there should be half-drunk cups of coffee on the consoles. Francesca DeSanctis's back is to ROY.<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Is this it, Ma'am?<\/dialogue>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>All right. Ma'am, I have to inform you, I've got an operation I need to conduct shortly, and it's classified. So...you're not going to be able to remain here.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm sorry.<\/dialogue>\n    <scene_description>She LIFTS THE HELMET OFF HER HEAD. We STARE FOR A BEAT at the BACK OF HER HEAD. Then:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Ma'am? Did you hear what I said?<\/dialogue>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>Did it--ever seem possible that you might find out something about yourself? Something that might-- change you?<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>I don't know exactly what you're referring to. As I said, I have some objectives, and our conversation has to be terminated now.<\/dialogue>\n    <scene_description>FRANCESCA REACHES OVER, HITS a LARGE KEY on a console. A RECTANGULAR MONITOR begins to PLAY IMAGES WE'VE SEEN, of the boy and girl at THE CLOISTERS!<\/scene_description>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>It always felt like we were destined to meet again. Like it was fate.<\/dialogue>\n    <scene_description>THIS TIME, we SEE the ENTIRE SET OF IMAGES. A LARGE FAMILY, at THE CLOISTERS. THE YOUNG BOY is DRAWING for a somewhat older GIRL. A SMALL PICNIC, or PARTY... AND the GIRL MOVES to SIT ON... H. CLIFFORD McBRIDE'S LAP. The BOY HANDS A DRAWING TO THE GIRL.<\/scene_description>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>It's the only time I saw you, the only time I was on earth. But--I feel as though I know you so well. Your father photographed you a lot as a child. And I still look at the pictures and the videos all the time. So...I feel very connected to you.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I wish you knew about me.<\/dialogue>\n    <scene_description>ROY IS FLUSTERED. FOR THE FIRST TIME in our STORY, HE IS TRULY THROWN. The RADIO begins to SOUND in ROY'S HEAD:<\/scene_description>\n    <character>COMMAND RADIO<\/character>\n    <dialogue>Major, we are registering her non- compliance. We are within ten meters, ready to engage.<\/dialogue>\n    <scene_description>She TURNS TOWARD HIM and US, HOLDING a BLACK FOLDER in HER HANDS. She takes a step toward him. He reaches down, toward his PULSE WEAPON.<\/scene_description>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>Your father was so lonely in his travels. He had another life here, on Mars. Another family.<\/dialogue>\n    <scene_description>She smiles to him, gently--a genuine though somehow melancholy smile.<\/scene_description>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>He is my father, too.<\/dialogue>\n    <scene_description>FRANCESCA DESANCTIS then PUSHES THE BLACK FOLDER toward ROY. She FLIPS IT OPEN. IT IS THE DRAWING THAT THE BOY GAVE THE GIRL in the VIDEO. ROY LOOKS AT THE DRAWING. It's incontrovertible. HE REALIZES. It's TRUE.<\/scene_description>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>He wanted me to reach out to you. I was afraid you couldn't be trusted at first. But then I lost touch with him and when I saw you, I knew it was the right thing to do.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I called for you, Roy. The messages were from me.<\/dialogue>\n    <scene_description>HE APPROACHES the SCREEN. NOW IT IS FOOTAGE OF ROY through the YEARS, beyond the IMAGES we've seen. HIM AS A TODDLER, AS A TEEN, AS A CADET. FRANCESCA is NOW BEHIND HIM AGAIN.<\/scene_description>\n    <character>COMMAND RADIO<\/character>\n    <dialogue>Major, we are ready to intercede.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>What...is it you want from me...?<\/dialogue>\n    <scene_description>HIS EYES BEGIN TO WATER. YES, WE ARE SEEING TEARS BEGIN TO FORM IN HIS EYES!<\/scene_description>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>He needs our help.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(for himself)<\/parenthetical>\n    <dialogue>Dr. McBride...abandoned me...<\/dialogue>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>Your father went to Neptune to try and save us.<\/dialogue>\n    <scene_description>Now Francesca, emotional as well, her back to us again:<\/scene_description>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>The mission went too far from the Earth, and many in the crew went insane...<\/dialogue>\n    <parenthetical>(over her shoulder, to Roy)<\/parenthetical>\n    <dialogue>You've seen for yourself how hard it becomes when the Earth is no longer visible. When they attempted their sabotage, he did what he had to do to continue on.<\/dialogue>\n    <parenthetical>(eyes back down to the floor)<\/parenthetical>\n    <dialogue>He is a truly great man. He told me they found antimatter, that he wanted to make it all anew. But he's gone silent now. All his findings have stopped being sent to Earth. I am concerned--I worry for him so much...<\/dialogue>\n    <parenthetical>(she turns to Roy)<\/parenthetical>\n    <dialogue>He needs our help. I can locate him. I will give that to you.<\/dialogue>\n    <scene_description>Roy STARES AT HER for a MOMENT. Lost, almost as if he's short circuited:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>I have...my own...directives.<\/dialogue>\n    <scene_description>She approaches him:<\/scene_description>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>We're his family. He had no way back, but maybe you will.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Please. He needs our help! He cared about you, he did. HE LOVED YOU, all this time. I know he did--<\/dialogue>\n    <scene_description>HE IS SHAKING. A BEEPING BEGINS; it's his VITALS, on his SLEEVE. THEY'RE OUT OF CONTROL! She touches his arm with tenderness. ALL OF A SUDDEN: The DUCTS SLIDE OPEN. STEPPING IN: TANNER and YOSHIDA, in their suits. POINTING WEAPONS RIGHT AT HER. The THREAT is clear. FRANCESCA is startled. To her:<\/scene_description>\n    <character>ALAN TANNER<\/character>\n    <dialogue>Down! On your knees! Right now!<\/dialogue>\n    <scene_description>Roy begins to approach Francesca. The others intervene. A CHAOS BUILDS. AS TANNER PULLS OUT a STRANGE CORD:<\/scene_description>\n    <character>ALAN TANNER<\/character>\n    <dialogue>We'll handle the interrogation from this point forward, Major.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>She--she may well have information only I can access here!<\/dialogue>\n    <character>ALAN TANNER<\/character>\n    <dialogue>Major, you are currently under no condition to continue this interview.<\/dialogue>\n    <character>ROY MCRIDE<\/character>\n    <dialogue>That's incorrect. It's imperative that you interrogate her with me present--<\/dialogue>\n    <scene_description>AS TANNER ATTACHES IT TO HER:<\/scene_description>\n    <character>ALAN TANNER<\/character>\n    <dialogue>Orders are now that you are to retrieve all relevant data and return to the Cepheus. There is a shuttle waiting for you. She'll be processed appropriately.<\/dialogue>\n    <scene_description>TANNER PULLS HER AWAY. SHE IS YANKED OUT OF THE SPACE, and as she IS, SHE STARES AT ROY as the two EXIT. Yoshida remains, with Roy. Roy MOVES to the CONSOLE, where his FAMILY HISTORY CONTINUES TO PLAY OUT IN FRONT OF HIM:<\/scene_description>\n    <character>FRANKLIN YOSHIDA<\/character>\n    <dialogue>Major, we have to proceed now.<\/dialogue>\n    <scene_description>Roy does not move. LIKE A SHORT CIRCUIT.<\/scene_description>\n    <character>FRANKLIN YOSHIDA<\/character>\n    <dialogue>Major.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <character>MAJOR.<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <character>YOUR ORDERS ARE TO RETRIEVE THE<\/character>\n    <dialogue>DATA CELLS AND RETURN TO THE<\/dialogue>\n    <character>CEPHEUS.<\/character>\n    <dialogue>YOSHIDA DEPARTS. ROY MOVES TO THE CONSOLE and BEGINS TO<\/dialogue>\n    <scene_description>REMOVE THE DATA CARD FROM THE BOARD, UNSCREWING THE CARDS. THE IMAGES OF HIM DISAPPEAR FROM THE SCREEN as he TAKES ALL THE INTEL HE CAN.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARS SURFACE - LATER<\/stage_direction>\n    <scene_description>ROY EMERGES, boards the automated, driverless GPS-guided ROVER THAT IS WAITING FOR HIM.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPACE ELEVATOR<\/stage_direction>\n    <scene_description>CLOSE ON ROY...in the silent elevator car as it lifts up, away from Mars.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. DOCKING PLATFORM<\/stage_direction>\n    <scene_description>Roy ENTERS\/FLOATS INTO the DECK, returning from the elevator. Roy retreats inward at the sight of Colonel Lipset:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(distant)<\/parenthetical>\n    <dialogue>The tasks are completed. Everything from the core's system's been obtained...<\/dialogue>\n    <character>COLONEL LIPSET<\/character>\n    <dialogue>I'm sorry, Roy. SPACECOM and I felt it necessary to contact your associates from your trip to Mars. Your behavior with them did cause concern. We have fully briefed them now.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Concern...?<\/dialogue>\n    <character>ALAN TANNER<\/character>\n    <dialogue>You sent data into space. You also neglected to take your sedative capsule, and you protested the response to a standard mayday call.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>You know why I resisted now...<\/dialogue>\n    <scene_description>A WARNING LIGHT GOES OFF on the console.<\/scene_description>\n    <character>FRANKLIN YOSHIDA<\/character>\n    <dialogue>I'd recommend a sedative for you, Major.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>NO. My metabolics will return to normal in just a moment. The environment on Mars was high- stress, and it was a standard reaction. I just need to do this--<\/dialogue>\n    <scene_description>Roy ATTACHES the DATA BOX to the Cepheus. DATA BEGINS TO FLOW from it into the craft's computer. Yoshida tries to hand Roy a pill and a cup of water.<\/scene_description>\n    <character>FRANKLIN YOSHIDA<\/character>\n    <dialogue>Major--<\/dialogue>\n    <character>COLONEL LIPSET<\/character>\n    <dialogue>Major, take the sedative--<\/dialogue>\n    <character>I HAVE TO DO THIS RIGHT NOW.<\/character>\n    <dialogue>IS MY TASK.<\/dialogue>\n    <character>THIS<\/character>\n    <dialogue>Roy PUSHES THEM AWAY. Alan Tanner looks to Donald Scobee.<\/dialogue>\n    <dialogue>Scobee moves to speak into the console as the Cepheus DECOUPLES FROM the elevator's docking platform:<\/dialogue>\n    <character>DONALD SCOBEE<\/character>\n    <dialogue>SpaceCom, we are ready to proceed.<\/dialogue>\n    <scene_description>ANGLE ON ROY as he is turned inward. No eye contact with the rest of the crew.<\/scene_description>\n    <character>FRANKLIN YOSHIDA<\/character>\n    <dialogue>Major, I'm going to have to insist.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(to Colonel Lipset)<\/parenthetical>\n    <dialogue>What--was the result of your interrogation of Ms. DeSanctis?<\/dialogue>\n    <scene_description>The men have no reaction at first.<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Did you gain any further information from her?<\/dialogue>\n    <scene_description>Then, without a word, LIPSET REACHES OVER and PRESSES a BUTTON ON the CRAFT'S CONSOLE MONITOR. He types in something, and on comes a SURVEILLANCE CAMERA IMAGE: THE SURVEILLANCE IMAGE is of Francesca DeSanctis, seated, in what looks like a small white room with a dropped ceiling and fluorescent light. We hear some MURMURING, which is UNINTELLIGIBLE from her, and from the others who surround her. ROY WATCHES, IN TURMOIL. The MEN who surround her are our team: Lipset, Tanner, Scobee, Yoshida. They are at moments on, and offscreen, their backs to us. They appear to be interrogating her. We HEAR SNIPPETS. \"What were you doing there...?\" \"You are sitting there, without any...\" She isn't looking at them. Entering the FRAME is LIPSET:<\/scene_description>\n    <character>COLONEL LIPSET<\/character>\n    <dialogue>LOOK AT US.<\/dialogue>\n    <scene_description>After a BEAT:<\/scene_description>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>I won't speak to you until Major McBride is here. He needs to be present.<\/dialogue>\n    <character>COLONEL LIPSET<\/character>\n    <dialogue>Major McBride is not part of this particular operation. So you're going to need to respond to us-- right now, Ma'am.<\/dialogue>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>You don't understand. I am not your enemy. You're talking to me like I'm your enemy--and I am not.<\/dialogue>\n    <character>COLONEL LIPSET<\/character>\n    <dialogue>You are admitting that Clifford McBride is your father, and you've been in contact with him. That's correct, is it not?<\/dialogue>\n    <scene_description>She stares at Lipset.<\/scene_description>\n    <character>COLONEL LIPSET<\/character>\n    <dialogue>You're aware he is posing a potentially catastrophic threat?<\/dialogue>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>I need to see my brother. Major McBride.<\/dialogue>\n    <character>COLONEL LIPSET<\/character>\n    <dialogue>WHAT IS THE PRECISE LOCATION OF THE<\/dialogue>\n    <character>LIMA PROJECT?<\/character>\n    <dialogue>FRANCESCA DESANCTIS<\/dialogue>\n    <scene_description>I need to see my brother. She STANDS UP. TANNER MOVES BEHIND HER with INCREDIBLE SPEED. As this is happening-- LIPSET THROWS her BACK, to the CHAIR. VIOLENTLY. But she still TRIES TO GET UP, so LIPSET SLAPS HER, HARD, ACROSS THE FACE. She FLAILS. The MEN CHARGE AT HER, and TANNER PUTS her in a CHOKEHOLD. Francesca starts to GASP. And SHAKE.<\/scene_description>\n    <character>FRANCESCA DESANCTIS<\/character>\n    <dialogue>I--I need help--<\/dialogue>\n    <character>DONALD SCOBEE<\/character>\n    <dialogue>If you want help, you'll tell us--<\/dialogue>\n    <scene_description>Francesca SHAKES VIOLENTLY NOW. Is it a SEIZURE...?<\/scene_description>\n    <character>FRANKLIN YOSHIDA<\/character>\n    <dialogue>Hold it, hold on there--whoa--<\/dialogue>\n    <scene_description>SHE CRUMPLES TO THE GROUND, her body VIBRATING with uncontrollable force. WEIRDLY QUIET, FAST... TANNER PUTS HIS KNEE ON HER BACK. We HEAR the men through MUFFLED SOUND: THE IMAGE ENDS. BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CEPHEUS - COCKPIT<\/stage_direction>\n    <scene_description>Where the men are now ominously surrounding Roy. Tanner at the controls, initiating STAGE-1 liftoff away from the dock:<\/scene_description>\n    <character>ALAN TANNER<\/character>\n    <dialogue>...Booster looking good at 4 minutes. Level sense arm at 8 plus 17; outboard cut-off at 9 plus 11...<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(disturbed)<\/parenthetical>\n    <dialogue>Where--where is she?<\/dialogue>\n    <character>COLONEL LIPSET<\/character>\n    <dialogue>The subject is dead. She stopped breathing and couldn't be revived. But we extracted the coordinates of the Lima Project transmissions. From the Mars reactor data. We know where to go.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(interior)<\/parenthetical>\n    <dialogue>You...killed her?<\/dialogue>\n    <character>FRANKLIN YOSHIDA<\/character>\n    <dialogue>It was likely some kind of congenital disorder.<\/dialogue>\n    <scene_description>ROY'S RAGE is building.<\/scene_description>\n    <character>COLONEL LIPSET<\/character>\n    <dialogue>Major, your contribution to this mission has come to a close.<\/dialogue>\n    <scene_description>The ship's STAGE-1 thrusters (minor, low-velocity) are FIRING, powering the ship away from the Helios's upper station (the top of the space elevator).<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(reverts to form)<\/parenthetical>\n    <dialogue>What's--what's important here is...the mission.<\/dialogue>\n    <character>COLONEL LIPSET<\/character>\n    <dialogue>We're appreciative of your contributions.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>I have followed orders and accomplished my objective. I need to brief SpaceCom.<\/dialogue>\n    <character>FRANKLIN YOSHIDA<\/character>\n    <dialogue>SpaceCom's already fully aware of the situation. You failed your last two psych-evals.<\/dialogue>\n    <scene_description>Roy stops himself. He sees them surrounding him. Scobee is in front of a control panel. The Cepheus has reached a safe radius, about a mile away... So the STAGE-2, high-power rocket thrusters now have room to fire safely. Tanner initiates Stage-2 procedure, a COUNTDOWN begins. The suspense intensifies, and it's eerie, as everyone's just floating, suspended, waiting... Roy's FACE GOES WHITE.<\/scene_description>\n    <character>COLONEL LIPSET<\/character>\n    <dialogue>Major. We don't want to have to eliminate you.<\/dialogue>\n    <scene_description>Yoshida moves towards Roy. Yoshida continues forward, towards Roy--Roy's eyes burn with intensity. Tanner GRASPS his PULSE WEAPON. It's clear they do want him DEAD. Scobee APPROACHES Roy, too. Lipset stays back. Just as Scobee is near Roy-- Roy IGNITES his MMU's BOOT JETS, which blow Scobee back against the opposite wall with such force that Scobee's KILLED instantly, and he CRUSHES AND KILLS Lipset--behind him- -as well by the force of his body. The OTHERS MOVE TO ROY, who--PULLS DOWN on a THRUSTER on the CONSOLE of the CRAFT. The ENTIRE CRAFT BEGINS TO REVOLVE, MAKING A FULL REVOLUTION every SECOND. The CENTRIFUGAL FORCE PUSHES EVERYTHING to the SIDES of the craft--all the CLIPBOARDS, FLIGHT PLANS, PENS, PROCEDURE BOARDS, etc. STICK TO THE WALLS. The MEN are all SHAKEN up. Completely DISORIENTED for a moment. Tanner is shaken loose and hit hard, but he's only stunned. By this point, Yoshida ATTACKS Roy with vicious BLOWS. Roy LURCHES TOWARD the WALL of the CAPSULE; HE PULLS a small, metal CANNISTER that is strapped to the wall near him. He swings the cannister at Yoshida and connects with Yoshida's skull. Yoshida tumbles away. Now, it's just Roy and Tanner. Roy is bleeding. Tanner is holding a PULSE WEAPON. All Roy has is the cannister. But with the CRAFT SPINNING, it's virtually impossible to AIM. Tanner pulls the trigger--the weapon BLASTS. Roy manages to twist out of the way of what was bad aim due to the spinning. The BLAST barely misses him. ROY GRABS a PEN from the SIDE OF THE CRAFT. He STABS YOSHIDA in the NECK. YOSHIDA'S BLOOD BLOOMS. This FORMS GLOBULES of BLOOD in the WEIGHTLESSNESS! Roy uses the moment to EVADE Tanner. Utilizing the NETTING\/WIRING along the side of the ship, Roy scrambles away. The SUNLIGHT COMES THROUGH the WINDOWS FLASHES AS FAST AS A STROBE LIGHT...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CEPHEUS - ANOTHER AREA - CONTINUOUS<\/stage_direction>\n    <scene_description>Roy moves around a CORNER, disappearing into a DARKER area of the ship...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CEPHEUS - COCKPIT -<\/stage_direction>\n    <scene_description>Tanner PULLS the REENTRY LEVER over his head. The CRAFT STOPS SPINNING. HE wraps YOSHIDA'S WOUND with a TOWEL, to stop the blood. He TURNS BACK AROUND to FOLLOW\/KILL ROY.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CEPHEUS - ANOTHER AREA - CONTINUOUS<\/stage_direction>\n    <scene_description>Tanner pursues Roy. Tanner presses a BUTTON to OPEN the fairing door, and leans into that section, when... Suddenly, Roy emerges from the tangle of WIRES AND OTHER MATERIAL against the wall where he'd been hiding, and SHOVES Tanner deep into the fairing section. And Roy presses the button to CLOSE the fairing section door. He's trapped Tanner in this part of the ship. The Stage-2 COUNTDOWN approaches liftoff, and Roy hurries to the safety of a harness just in time. He holds onto the harness as the Cepheus EXPLODES FORWARD. As the STAGING occurs, and the INTER-STAGE FAIRING SECTION and ROCKET ENGINE beneath it can be seen through the window below Roy, falling away into the void. NOTE: The physical environment in the ship is now especially CHAOTIC and MESSY: Wiring, equipment, debris, balls of blood and sweat... all criss-crossing this way and that in the zero- g...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CEPHEUS - COCKPIT<\/stage_direction>\n    <scene_description>Roy moves into the cockpit. He check's Yoshida's pulse. Nothing. Yoshida is now DEAD. Roy eyes the floating CORPSES of former crewmates Scobee and Yoshida.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CEPHEUS - AIRLOCK<\/stage_direction>\n    <scene_description>Roy prepares the two bodies with none of the ceremony or religion that were afforded to Blunt. He leaves them in the airlock and steps out, back into--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CEPHEUS - OUTSIDE AIRLOCK<\/stage_direction>\n    <scene_description>He presses a button to open the airlock to the void.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - THE CEPHEUS<\/stage_direction>\n    <scene_description>THE SHIP RELEASES THE TWO BODIES as the Cepheus speeds away...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COCKPIT<\/stage_direction>\n    <scene_description>Roy grabs a fresh helmet and moves into the cockpit. A man ALONE. He PAUSES FOR A MOMENT; his HANDS are BLOTCHY and BLEEDING...<\/scene_description>\n    <character>ROCKET COMPUTER VOICE<\/character>\n    <dialogue>Significant damage to rocket staging capability... Reentry protection in section THREE DESTROYED...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE CEPHEUS - SPACE<\/stage_direction>\n    <scene_description>The spaceship is moving at such a terrific velocity that there's PERCEPTIBLE MOVEMENT in the surrounding field of stars: APPROACHING STARS appear blue, RECEDING STARS become amber. (This is the \"red shift\" effect.)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COCKPIT<\/stage_direction>\n    <scene_description>Roy is seated at the fore of the ship. He's still BLEEDING PROFUSELY. He goes through a MEDICAL KIT, applies GELS to his wound. He's trying to stem the seeping tide of blood. He is ghostly and alone in the ship's DARKNESS. And outside of the ship's darkness: INFINITE PITCH BLACK. But... finally... a slight GLOW appears from the COCKPIT MONITOR...<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Destination, Neptune Moon Galatea coordinates.<\/dialogue>\n    <character>COMPUTER VOICE<\/character>\n    <dialogue>Length of journey: 19 days, 4 hours, 8 minutes. Sedation is advised.<\/dialogue>\n    <scene_description>Roy HOOKS HIMSELF UP to a FEED TUBE, into his arm. He BUCKLES HIMSELF IN, and straps start sending ELECTRICAL PULSES to his body, to keep his muscles in some sort of tone. Roy SETTLES IN, and the ROCKETS ALIGHT... He is on his way... DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE<\/stage_direction>\n    <scene_description>The craft PASSES an UNMANNED SPACE PROBE... A distant ASTEROID FIELD... JUPITER, distant...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CEPHEUS<\/stage_direction>\n    <scene_description>Roy examines the view outside his window. He grows AGITATED. ALL OF A SUDDEN, BLOOD STARTS POURING INTO THE CRAFT, from EVERY WALL! It FILLS THE CAPSULE! YOSHIDA and SCOBEE are BACK, INSIDE. They ARE ASSAULTING ROY! THE CAPSULE BEGINS SPINNING AGAIN! WHAT IS HAPPENING? And then-- THROUGH THE SPINNING--he REACHES over to the console and injects something into his arm. Within moments, the craft is no longer spinning. THE ASTRONAUTS ARE GONE. HE WAS HALLUCINATING... DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - SATURN - LATER<\/stage_direction>\n    <scene_description>The giant gas planet SATURN looms magnificently against the black backdrop. Its RINGS look like thin ribbons encircling the planet. So perfect is this gas giant, so symmetrical and flawless in its geometry... it almost looks UNREAL. We TILT DOWN to SEE the Cepheus PASS US BY.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CEPHEUS<\/stage_direction>\n    <scene_description>Roy's EYES ARE HALF-MAST. His P.O.V.: A WATERY surface over his eyes causes a slight oblong, double-vision VIEW of the CAPSULE CONSOLE.<\/scene_description>\n    <character>COMPUTER VOICE<\/character>\n    <dialogue>Now passing final unmanned outpost, Trojan QF99. Conserve oxygen and food supply if possible--<\/dialogue>\n    <scene_description>ROY CLOSES HIS EYES. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - URANUS<\/stage_direction>\n    <scene_description>The planet, in the distance. Roy's spacecraft passes it... DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CEPHEUS<\/stage_direction>\n    <scene_description>SOUNDS. It's a 1930's RADIO SHOW that somehow his craft has picked up. ROY'S EYES OPEN. A STRANGE and NATURAL and UNEXPLAINED SPACE PHENOMENON OCCURS. What looks like FIREFLIES FLOWS through the CAPSULE. It's HALLUCINATORY and ROY SEES THEM through SEDATED EYES. He REACHES UP to TOUCH THEM; the SPARKS SEEM TO FLOAT RIGHT THROUGH his HANDS. (These unexplained phenomena do exist.) His BODY BEGINS TO LIFT UP, OUT OF THE SEAT. He STAYS in PLACE because of the seatbelts. His BREATHING BECOMES HEAVIER. Close to some kind of panic. Roy starts to HYPERVENTILATE, STRUGGLING. He INJECTS something into his arm. As we: CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - NEPTUNE<\/stage_direction>\n    <scene_description>The BLUE PLANET. STILL. EERIE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CEPHEUS<\/stage_direction>\n    <scene_description>A CHIME:<\/scene_description>\n    <character>COMPUTER VOICE<\/character>\n    <dialogue>Task Load Index completed.<\/dialogue>\n    <scene_description>ROY UNBUCKLES HIMSELF. MOVES back to the PILOT'S SEAT.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - NEAR NEPTUNE<\/stage_direction>\n    <scene_description>Now: Roy's spaceship, the Cepheus, comes into view, its RETRO- THRUSTERS firing on full blast (in utter silence) to slow its velocity. NEW ANGLE More prominently now, THE RINGS OF NEPTUNE. CLOSER ANGLE On one of the OUTER RINGS. The Cepheus is tiny against the magnificent vista.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CEPHEUS<\/stage_direction>\n    <scene_description>Roy PILOTS the CRAFT as it nears the EDGE of the rings, and keeps pace with the speed of the rings' orbit. Roy LOOKS DOWN at the CONSOLE. BLINKING: \"CRAFT OXYGEN LEVEL: 12 PERCENT\" He LOOKS OUT HIS WINDOW and is momentarily energized by Neptune's BLUE GLOW. The rings are more visible now. They are magnificent, comprised of various-sized ROCKS of dirt and ice that circle around us, almost like cars on a racetrack. Roy looks at the control panels, the monitors.<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Locate signal source.<\/dialogue>\n    <character>COMPUTER VOICE<\/character>\n    <dialogue>The source is \\[scientifically correct location, tbd\\].<\/dialogue>\n    <scene_description>He PULLS a LARGE SWITCH. The cockpit board flashes: \"AUTOPILOT ENGAGED\". ROY PUNCHES THE GALATEA COORDINATES into his SPACESUIT SLEEVE. A BLINKING RED LIGHT on the CONSOLE. He REACHES OVER, TOGGLES THE SWITCH:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE CEPHEUS - CONTINUOUS<\/stage_direction>\n    <scene_description>Roy EMERGES from the craft, in his suit. He REMAINS TETHERED TO THE CRAFT. The CRAFT, moving along with the orbiting rings of detritus, begins to move closer to the rings... CLOSER TO THE RINGS He maneuvers his way BEHIND THE COCKPIT SECTION of the craft, so he is protected FROM the DETRITUS of NEPTUNE'S RINGS by the CRAFT'S BODY ITSELF. He REMOVES a SMALL SOLAR PANEL--ABOUT FIVE FEET IN LENGTH, and about THREE FEET IN WIDTH--from the SIDE OF THE CEPHEUS. He CLIMBS to the ROTATING ARTIFICIAL GRAVITY WHEEL. He GRABS ONTO ONE OF THE SPINNING WINDMILL-LIKE BLADES. HE UNHOOKS HIS TETHER. HE HOLDS ON. SPINNING AND SPINNING. DIZZYING. HE LOOKS AT HIS SLEEVE. A COMPASS NUMBER KEEPS SCANNING different DIRECTIONAL COORDINATES. AND THEN--at JUST THE RIGHT MOMENT-- HE LETS GO. HE IS PROPELLED THROUGH SPACE, without his TETHER.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THROUGH THE RINGS<\/stage_direction>\n    <scene_description>He enters the rings. Miniscule particles begin to hit the SOLAR PANEL that ROY USES AS HIS SHIELD. Some come insanely close to ROY, to his HEAD, to puncturing his SUIT. The SOLAR PANEL is GETTING NICKED and DAMAGED by the PARTICULATE, but it protects Roy.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLOUDS OF NEPTUNE<\/stage_direction>\n    <scene_description>He TUMBLES FURTHER, now ENTERING THE CLOUDS OF NEPTUNE. The CLOUDS are DENSE, like bad CLOUD COVER during an airplane flight. EXCEPT--THEY ARE A RICH, INTENSE BLUE. As Roy TUMBLES, the SHADE OF THE CLOUDS goes from that BLUE to a BEAUTIFUL and BEYOND-THIS-EARTH PINK, then to a DEEP MAGENTA. AND THEN IT BEGINS TO APPEAR, EVER SO FAINTLY. A SPACECRAFT. It is TETHERED to the slowly ROTATING MOON CALLED GALATEA which orbits NEPTUNE inside Neptune's atmosphere. It is THE LIMA PROJECT. CLOSER AND CLOSER it comes to us. ROY SEEMS SPINNING TOWARD IT, OUT OF CONTROL. And then he THROWS the THRUSTER in his PACK. His tumbling GRADUALLY GETS UNDER CONTROL. He STOPS. OUTSIDE THE LIMA PROJECT STATION. IN the DISTANCE: a SYMMETRICAL SERIES of SCANNING MIRROR TELESCOPES. In a LATTICE. NEW ANGLE OF ROY - behind him, in the deep distance, is Earth, a tiny pinprick of light 900 million miles away. (See recent Cassini photograph.) Then, CUT TO WHAT HE SEES: Hovering over the station, still far away from Roy, are: ASTRONAUTS. Appearing as figures on the dark blue horizon, levitating over NEPTUNE. THE LINE OF ASTRONAUTS FLOATS, STILL. ROY PUSHES a BUTTON on his WRIST. We HEAR STATIC.<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>LIMA PROJECT. This is Major Roy McBride. I have taken control of the Cepheus, United States Armed Forces Space Division. I am attempting to reach Dr. Clifford McBride. Over.<\/dialogue>\n    <scene_description>Static. No movement.<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Repeat: Lima Project, this is the Cepheus, of the United States Armed Forces Space Division. I am attempting to reach Dr. McBride. Do you read.<\/dialogue>\n    <scene_description>NO RESPONSE. ROY TURNS his RIGHT WRIST OVER. \"MMU OXYGEN LEVEL: 21 PERCENT\" \"THRUST LEVEL: 39 PERCENT\" HE MOVES toward the SURFACE of the LIMA PROJECT STATION. As HE DOES, he LOOKS to his RIGHT to SEE, maybe a mile away (hard to tell relative direction here), the very BEGINNINGS of a graphene arc.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. LIMA PROJECT STATION<\/stage_direction>\n    <scene_description>Roy \"floats\" inside. The Craft\/Station has a kind of LARGE A- FRAME. Roy VENTURES through the CENTER of the STATION. HUGE SPACES filled with SELF-REPLICATORS that do not resemble anything anthropormorphic, but rather look like the kind of machines which make AUTOMOBILES. WE HEAR Roy's BREATHING. ROY'S P.O.V. - The robots are in repose, ready to be awakened. WE CONTINUE TO HEAR Roy's BREATHING... He passes the anthropoid robots, and enters another, even larger, area. ROY'S P.O.V. - A flurry of automated activity, as we pass EVERY SPECIES OF ROBOT, from giant vehicles to small, squat machines, gliding to and fro. Some are fitted with grabs and manipulators and cutting\/welding equipment. Again, no sign of humans. The robots move slowly, with secret purpose, WARNING LIGHTS whirling for the benefit of the unseen humans.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INNER SANCTUM<\/stage_direction>\n    <scene_description>ROY now ventures to SEE, on both sides: WINDOWS, through which we can spot the INTERIOR of the LIMA PROJECT. As Roy makes some final adjustments to his equipment, we notice one of the very small robots on the side of the A- Frame. A CAMERA mounted on it silently ROTATES towards Roy, and a RED LIGHT blinks on next to the camera. It knows Roy is here. Roy LOOKS RIGHT INTO IT:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>I am Major Roy McBride. Do you read. I am attempting to reach Dr. McBride.<\/dialogue>\n    <scene_description>AGAIN, no ANSWER. ROY PLACES EXPLOSIVE CHARGES on the DOORFRAME of the LIMA STATION. They BLOW. Just then, an APERTURE on the station opens up. ROY VENTURES INSIDE. LIKE HE IS ENTERING A DREAM.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMA PROJECT - DORMITORIES<\/stage_direction>\n    <scene_description>HUMAN BODIES are FLOATING, gravity-free. The FLUORESCENT LIGHTS FLICKER. We STILL HEAR ONLY ROY'S BREATHING. LOUD, PRESENT. We ARE COMPLETELY INSIDE HIS HEAD. Roy finds himself inside a KITCHEN-TYPE area, which is housed somewhere within a laboratory. There are machines and equipment and tables and sinks, but no people besides Roy. There's ZERO GRAVITY here. ROY'S POINT-OF-VIEW: A DOOR IS OPEN, revealing a dark PASSAGEWAY lit only by BLUE LIGHT.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PASSAGEWAY<\/stage_direction>\n    <scene_description>Roy enters\/floats into it. ALL OF A SUDDEN, ALL THE MONITORS on each side--and there are several--switch on. THE LIGHTS BRIGHTEN. ON THE SCREENS: ROY'S FATHER! DR. H. CLIFFORD MCBRIDE. Roy HALTS:<\/scene_description>\n    <character>H. CLIFFORD MCBRIDE<\/character>\n    <dialogue>This will be the final message recorded by the Lima Project. Our efforts have come to an end, and its entire story must be told in the hopes that someday it will be known.<\/dialogue>\n    <scene_description>ROY MOVES CLOSER TO THE SCREEN. It is his FATHER, virtually seeming to speak from the dead:<\/scene_description>\n    <character>H. CLIFFORD MCBRIDE<\/character>\n    <dialogue>We came here to pursue mankind's most noble goal: the search for intelligent life beyond the Earth. But our telescope has repeatedly confirmed only the singular importance--and ephemerality--of our moon, oceans, and magnetic field. After extensive analysis, we now confirm that we are entirely alone in the reachable universe. We shall no longer honor false gods; there is no intelligent life elsewhere, and the rage of the cosmos will destroy us in time.<\/dialogue>\n    <character>H. CLIFFORD MCBRIDE<\/character>\n    <dialogue>For this reason, we on the Lima Project had begun to devise a plan for a new system--with galaxies, stars, and planets. We dreamed to be the first lifeform to make the universe anew.<\/dialogue>\n    <scene_description>CLOSE ANGLE ON ROY MCBRIDE. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NARROW STAIRWELL<\/stage_direction>\n    <scene_description>Roy CLIMBS the STEPS. We STILL HEAR, CONTINUING:<\/scene_description>\n    <character>H. CLIFFORD MCBRIDE (V.O)<\/character>\n    <dialogue>With the vast stores of antimatter we have discovered here, our research focused on the creation of a new big bang. Such a project would take perhaps several thousand years to develop. But only such a bold, long-term endeavor would untether us from the earth and ensure the permanent survival of our species.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONTROL CENTER - STATION<\/stage_direction>\n    <scene_description>Roy FLOATS TOWARD the Control Center. Like the Control Tower of a large airport, it's somewhat dark--but everything is ON. Multiple MONITORS, SCREENS, GAUGES, etc., all like a symphony of blinking, fluttering color and light.<\/scene_description>\n    <character>H. CLIFFORD MCBRIDE (V.O)<\/character>\n    <dialogue>Our research is contained on the onboard VD recorder. It is the most extensive set of data ever assembled about the visible universe. This must be brought back to Earth so that our scientists can be convinced to act. However, our computer system is currently preventing all outside communication. As it is charged only with the continued pursuit of intelligent life, it has been unable to adapt to our changed prerogatives. All attempts to reprogram it have failed. With no alternatives, we sought to return to the Earth.<\/dialogue>\n    <scene_description>Roy looks around at the many screens in front of him; they are like SECURITY CAMERAS, constantly cutting from one angle to another. ONE ANGLE REVEALS: A SPACECRAFT, with a GANTRY. MODEST SIZE. CLOSE SHOT ON ROY. THEN CLOSE SHOT ON IMAGE OF SPACECRAFT. THEN: ROY SCANS THROUGH BASIC BLUEPRINT PLANS of the LIMA PROJECT's CRAFT.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DATABANKS - LIMA PROJECT<\/stage_direction>\n    <scene_description>It is ROWS of DATA, stored. A CLOUD for all the information collected by the Project. Roy FLOATS THROUGH IT, approaching TWO LARGE ORANGE STEEL CANNISTERS: \"VOYAGE DATA RECORDER\" He PULLS THEM OUT FROM THE FRAME. Over this, we STILL HEAR:<\/scene_description>\n    <character>H. CLIFFORD MCBRIDE<\/character>\n    <dialogue>A craft was assembled from 3-D- printed parts, piece by piece, out of view of the onboard system. But it was recognized upon completion, and our nuclear fuel has been intentionally destroyed by the system. This resulted in the catastrophic destruction of moon Larissa. All of us have suffered severe radiation poisoning. Brain death is imminent. The onboard system will likely maintain only our organ function in order for it to remain operational.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING QUARTERS<\/stage_direction>\n    <scene_description>CLOSE SHOT: \"DR. CLIFF MCBRIDE\". A PAPER TAB, HANDWRITTEN. On the DOOR of his LIVING QUARTERS. Roy FLOATS INTO\/ENTERS the LIVING QUARTERS.<\/scene_description>\n    <character>H. CLIFFORD MCBRIDE (V.O.)<\/character>\n    <dialogue>We hope we will be mourned by a Mother Earth that dared send so many of her sons and daughters into the unknown. In ancient days, human beings looked at stars and saw their heroes in the constellations. In modern times, our heroes have become creatures of flesh and blood.<\/dialogue>\n    <character>H. CLIFFORD MCBRIDE (V.O.)<\/character>\n    <dialogue>Others will follow us, and surely find their way home. Our mission must not be denied.<\/dialogue>\n    <scene_description>HE LOOKS AROUND. He SEES the SPACE. It is MODEST, with SCIENCE BOOKS, and DIARIES, and FAMILY PHOTOS everywhere, pinned on the WALLS. Then we HEAR Francesca's VOICE, more PRESENT than CLIFFORD McBRIDE'S had been:<\/scene_description>\n    <character>FRANCESCA'S VOICE<\/character>\n    <dialogue>\"The brain is wider than the sky, for, put them side by side, the other will include, with ease, and you beside...\"<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>It's so beautiful... Do you want to hear another one...?<\/dialogue>\n    <scene_description>Then, APPEARING: FRANCESCA! SEATED, SOMEHOW STILL OBEYING GRAVITY as ROY FLOATS! She STARES, saying nothing. Roy doesn't know what to do, or say. He STOPS HIS MOVEMENT. He lifts his ARM toward her... She GETS UP, begins to WALK TOWARD ROY!! NEAR HIM NOW, HE REACHES OUT, and... HIS HAND AND ARM GO RIGHT THROUGH HER!!!! SHE WALKS RIGHT THROUGH HIM, sits down at the other end. Roy LOOKS AROUND THE SPACE and SEES NOW that it's like his home where he grew up, his home from pictures. PROJECTED. IT'S ALL HOLOGRAMS. He SEES: HIMSELF, as a CHILD, on the FLOOR, PLAYING WITH TRUCKS. And his MOTHER, LEANNE, YOUNGER. His HAND can go right through them, too. (As ROY FLOATS, these HOLOGRAMS remain \"earthbound\"; that is, they seem to have \"gravity\".) Roy TURNS BACK to LOOK AT FRANCESCA. She is in conversation with someone \"offscreen,\" smiling, looking lovely and warm and everything an idealized version of her would be. CLOSE ANGLE ON ROY. We HEAR the PITTER-PATTER of RAIN. RAIN? ALL OTHER SOUND DROPS OUT. And we: CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK - THE CLOISTERS - RAINY DAY<\/stage_direction>\n    <scene_description>A lowered gray sky. Deserted. A monastery on the UPPER WEST SIDE of NEW YORK'S MANHATTAN ISLAND. A PORTCULLIS. COBBLESTONES. The VIDEO we saw, yes, but now we are \"here,\" in the space. A GROUP of children PLAY. ADULTS speak to each other, standing behind the children, watching them play, making small talk. The scene has a strange, dare we say, unearthly quality to it. There is a distance to it; not an emotional distance, but a visual distance. A haze, almost. A dreamlike quality. A SMALLER GROUP of adults, and two children, are here, too. They are nearby and yet somehow apart. We SEE: ROY'S MOTHER, LEANNE. Much YOUNGER. She seems PREOCCUPIED, though she smiles a lot as she attends to the children. Also here is some other woman we don't know, about Leanne's age. She is completely quiet, almost nervous, as she watches the children play. Then there is H. CLIFFORD MCBRIDE, who is involved with the children, making hats for them, drawing for them, joking with them. AMONG THE CHILDREN: the young ROY. And the young FRANCESCA (though she is older than Roy--she seems around 16 or 17, he around 8). She has a grin from ear to ear; Roy does not, instead dedicated to whatever he seems to be DRAWING. H. Clifford McBride stops clowning with another child and moves to Roy's side. Warmly:<\/scene_description>\n    <character>H. CLIFFORD MCBRIDE<\/character>\n    <dialogue>Roy?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Roy?<\/dialogue>\n    <parenthetical>(to Young Francesca)<\/parenthetical>\n    <dialogue>He gets very involved in what he's doing.<\/dialogue>\n    <character>YOUNG FRANCESCA<\/character>\n    <parenthetical>(a laugh; a smile)<\/parenthetical>\n    <dialogue>It's okay.<\/dialogue>\n    <character>H. CLIFFORD MCBRIDE<\/character>\n    <dialogue>Sweetheart, I need you to listen to me for just a moment--you can go back to your drawing very soon.<\/dialogue>\n    <scene_description>Roy finally looks up--for just a brief beat.<\/scene_description>\n    <character>H. CLIFFORD MCBRIDE<\/character>\n    <dialogue>This is Francesca.<\/dialogue>\n    <character>YOUNG FRANCESCA<\/character>\n    <parenthetical>(ebullient)<\/parenthetical>\n    <dialogue>Hello!<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(back to his drawing)<\/parenthetical>\n    <dialogue>Hi.<\/dialogue>\n    <character>H. CLIFFORD MCBRIDE<\/character>\n    <dialogue>She's someone...very close to me, someone I really care for. I want you to meet her--I think you'll really like her.<\/dialogue>\n    <scene_description>Roy keeps drawing--AND THEN TURNS HIS BACK TO HER A BIT.<\/scene_description>\n    <character>H. CLIFFORD MCBRIDE<\/character>\n    <dialogue>It's not so easy for Roy to meet new people. It's something we're trying to work on with him.<\/dialogue>\n    <parenthetical>(quieter)<\/parenthetical>\n    <dialogue>We're hoping he'll break through it someday...<\/dialogue>\n    <scene_description>Clifford approaches Roy. Not unsympathetically, he touches his son and attempts to communicate an important lesson about human interaction:<\/scene_description>\n    <character>H. CLIFFORD MCBRIDE<\/character>\n    <parenthetical>(to Roy)<\/parenthetical>\n    <dialogue>When someone talks to you, you say hello, you look them in the eye. You listen, and you ask how they are--you don't want them to think you don't care about them.<\/dialogue>\n    <scene_description>Roy REACTS IMMEDIATELY. He starts to get teary out of embarrassment and awkwardness. Sensing this, she moves to comfort him:<\/scene_description>\n    <character>YOUNG FRANCESCA<\/character>\n    <dialogue>It's okay, you can go back to your drawing. He just wanted us to meet.<\/dialogue>\n    <scene_description>Roy then eyes her directly, and without a word. She looks at his drawing. Warmly:<\/scene_description>\n    <character>YOUNG FRANCESCA<\/character>\n    <dialogue>That's a wonderful picture. Is that a rocket?<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(nods; then)<\/parenthetical>\n    <dialogue>My father goes into space.<\/dialogue>\n    <character>YOUNG FRANCESCA<\/character>\n    <dialogue>That's where I'm from.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(looks up, interested now)<\/parenthetical>\n    <dialogue>Where?<\/dialogue>\n    <character>YOUNG FRANCESCA<\/character>\n    <dialogue>I'm from Mars. Which is really, really far.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Yeah. Sometimes it's more than 140 million miles away. But right now it's only 80 million miles.<\/dialogue>\n    <character>YOUNG FRANCESCA<\/character>\n    <parenthetical>(again with a laugh)<\/parenthetical>\n    <dialogue>I didn't know that!<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Are you by yourself there?<\/dialogue>\n    <character>YOUNG FRANCESCA<\/character>\n    <dialogue>No, but it feels like that sometimes. That's why I'm so glad I met you.<\/dialogue>\n    <scene_description>UNEXPECTEDLY, responding to her kindness to such a degree he can overcome his shyness, he hands his drawing to her. Francesca looks at the drawing and she is very moved. TEARS OF HAPPINESS come to her eyes. Roy STARES at the tears as though they are foreign objects. The SWELL OF EMOTION from her is as strange as anything he has seen.<\/scene_description>\n    <character>YOUNG FRANCESCA<\/character>\n    <dialogue>Oh--thank you so much! That's so sweet of you! It's beautiful!<\/dialogue>\n    <scene_description>She gives him a BIG, TENDER HUG. Roy ALLOWS HIMSELF to be \"crushed\" by the hug. Roy's FATHER BEAMS... DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HULL OF CRAFT - CORNER OF MCBRIDE RESIDENTIAL QUARTERS<\/stage_direction>\n    <scene_description>A chamber that appears almost like an old \"Iron Lung\" machine. Roy APPROACHES IT. CLOSE SHOT: \"MCBRIDE, CLIFFORD, 788919-0323\" It's a small, illuminated medical identification card. WIDEN TO REVEAL: ROY, COMING UPON his FATHER'S BODY, inside what looks like a kind of ELECTRONIC SARCOPHAGUS. Dr. H. Clifford McBride exists in a vegetative state, resting in a large silver CASE. Through glass, we can SEE that his EYES ARE slightly OPEN, his BODY HOOKED UP to LIFE SUPPORT SYSTEMS. MONITORS around the case MEASURE his PULSE and other VITAL SIGNS. He is KEPT COLD. ROY moves to it, OPENS THE SARCOPHAGUS. STARES AT HIS FATHER'S LOBOTOMIZED FACE. He LIFTS his FATHER'S STIFF, LIFELESS BODY out of its electronic SARCOPHAGUS, pulling off the DIODES and IVs which keep him \"alive\". When the body EMERGES from the SARCOPHAGUS, it seems almost to FLOAT STANDING STIFFLY UPRIGHT. It starts SPINNING IN THE WEIGHTLESSNESS. ROY GRABS the SPINNING BODY, in a way that becomes an EMBRACE. PULLING THE BODY WITH HIM, he FLOATS BACK OUT... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTSIDE THE LIMA PROJECT STATION - IN SPACE<\/stage_direction>\n    <scene_description>ROY releases his FATHER'S BODY INTO SPACE, PUSHING IT TOWARD the SURFACE of NEPTUNE. IN the DISTANCE, WE SEE H. CLIFFORD McBRIDE'S BODY drift TOWARD a RING AROUND NEPTUNE. The BODY comes in contact with a SMALL ICE ROCK. It SHATTERS INTO A MILLION PIECES. LIKE BROKEN WINDSHIELD GLASS. Almost at the VERY INSTANT that H. CLIFFORD McBRIDE's BODY is destroyed, LIGHTS COME ON in a formerly DARKENED SECTION of the LIMA CRAFT.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - NEAR THE LIMA CRAFT - OUTSIDE 3-D PRINTED CRAFT<\/stage_direction>\n    <scene_description>A spacecraft which remains DOCKED. It has been constructed for Dr. Clifford McBride's return, presumably. It NOW HUMS WITH LIFE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 3-D PRINTED CRAFT<\/stage_direction>\n    <scene_description>Roy enters the cockpit, HOLDING the ORANGE VDR (\"VOYAGE DATA RECORDER\") CANNISTERS. Examining the craft's SYSTEMS, he and we recognize that it is astonishingly similar to the Cepheus. (The spacecraft are all constructed by 3-D PRINTER, and there is a uniformity to their design and construction.) The entire SYSTEM of the CRAFT COMES TO LIFE, ONLINE. AS DOES: RADIO STATIC FROM THE EARTH! Communication has been restored: ROY PRESSES THE RADIO BUTTON, TURNS DIALS FOR A CERTAIN CODE:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>SpaceCom. This is Major Roy McBride. I have taken it upon myself and have reached the Lima Project; all crew are deceased. I have recovered significant material for analysis, which I am now in the process of forwarding to you. The self-replicators here malfunctioned and must be destroyed to prevent any unforseen further catastrophe. Therefore, I'm inputting target coordinates 34.34 North, 81.92 West from Earth standard vector 100.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm going to attempt a return to the earth now. The onboard system indicates I'll be arriving in approximately 41 days and 9 hours. My journey will have kept me in an isolated state for a considerable period by that time. I...I am very much looking forward to the day that solitude ends. Over.<\/dialogue>\n    <scene_description>He FLIPS OFF THE RADIO. He PULLS DOWN on a LARGE LEVER which looks almost like the kind of control switch for a 747 airplane. He moves around the CAPSULE, OBSERVING a PRINTED CHECKLIST. Adjusts SEVERAL SWITCHES. MOMENTS LATER Roy is SETTLING IN to his COCKPIT SEAT. He is about to PUT an OXYGEN MASK ON. He activates the CRAFT's GYROSCOPES and CONTROL STICK. Then:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Outgoing mail. McBride, Roy M. Send to Leanne McBride.<\/dialogue>\n    <scene_description>He SEES an IMAGE of HIS MOTHER. It's a photo of her, with him as a little boy. A little ANIMATED BEE flies around the picture, making a PUTT-PUTT SOUND.<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Record voice message.<\/dialogue>\n    <scene_description>After a BEEP--Roy begins to record his message. As we know, he's not much one for communicating--especially when emotions are concerned. But here...<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Mother, I'm on a classified mission right now.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I am by myself.<\/dialogue>\n    <scene_description>THE CAMERA SLOWLY--almost imperceptively so--PUSHES INTO HIM:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <parenthetical>(equivocating; then he steels himself)<\/parenthetical>\n    <dialogue>I am attempting now to return to the earth. In the event I cannot, I don't want you to wonder about me.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'd like to express to you that I realize that you gave me an excellent childhood. I am grateful to you now for attempting to nurture friendships and other relationships. Perhaps you don't think I remember much, but I do. Sometimes the smell of certain foods will bring back exceedingly pleasant memories... On this mission I've encountered people who knew father.<\/dialogue>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>I don't know how much you know about this, but it appears he had another child, a daughter named Francesca. We both met her once. She and I talked. She informed me that father acted out of the noblest principles. And that he sacrificed himself in the name of science.<\/dialogue>\n    <scene_description>He stops. TEARS WELL UP AGAIN. He CLOSES HIS EYES and BOWS HIS HEAD. Then begins to speak again:<\/scene_description>\n    <character>ROY MCBRIDE<\/character>\n    <dialogue>Mother, I, I was unable to protect her. I regret this--terribly. Even worse than I regret any negative feelings toward father. It's led me to commit acts that you would condemn--but were required by circumstance. It has forced me to be alone, a situation I now find unacceptable.<\/dialogue>\n    <parenthetical>(exhales; regroups)<\/parenthetical>\n    <dialogue>But I have succeeded in my mission. I want to say goodbye now, and whatever occurs on my return, I am forever your loving son.<\/dialogue>\n    <scene_description>He SHUTS OFF the RECORDER. ANGLE ON THE FROZEN IMAGE of ROY'S MOTHER.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - 3-D PRINTED CRAFT<\/stage_direction>\n    <scene_description>The Craft's GANTRY RELEASES the ship. Slowly. The CRAFT begins to move, its ROCKETS FIRING. Almost at the same time: A BEAM, HIGH-INTENSITY, HITS A PART OF THE STATION. It EXPLODES! In SILENCE. The colors of the explosion, set against the DEEP BLACKNESS of SPACE. Then another SILENT and COLORFUL EXPLOSION.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 3-D PRINTED CRAFT<\/stage_direction>\n    <scene_description>Roy looks through his windows to SEE: A SERIES OF LASERS HITTING VARIOUS PARTS of the STATION and TELESCOPE. In SILENCE, the EXPLOSIONS ARE VAST, FEROCIOUS, and somehow oddly BEAUTIFUL. They ILLUMINATE the dead BLACKNESS of SPACE even as they are utterly destructive, devastatingly so.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - 3-D PRINTED CRAFT<\/stage_direction>\n    <scene_description>Roy's ROCKET starts to STAGE, AFTER its initial BURST. It leaves the CONTINUED DEVASTATION of the LIMA PROJECT in its wake as it PROPELS FORWARD.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 3-D PRINTED CRAFT<\/stage_direction>\n    <scene_description>Roy's HEAD SHAKES TO AND FRO; the ROCKET'S FORCE is ASTONISHING.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - 3-D PRINTED CRAFT<\/stage_direction>\n    <scene_description>The CRAFT FIRES a NEW SET OF ROCKETS. It moves on, deeper and deeper and deeper toward the earth. The RADIO PIPES UP, and it's in the most straightforward, almost banal, tone imaginable:<\/scene_description>\n    <character>SPACECOM VOICE<\/character>\n    <dialogue>Major McBride, this is SpaceCom. We have verified the authenticity of your coordinates and have begun to target sites accordingly. Upon reentry to earth's orbit, we will intercept your craft and you will be debriefed. However, we do acknowledge the potential of your data files to transform rather radically our view of what the universe may hold.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>We wish you godspeed on your journey homeward. US SPACECOM out.<\/dialogue>\n    <scene_description>Finally, Roy's ROCKET disappears from our view, hurtling back toward the EARTH. The End<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In the early 22nd century, mysterious power surges threaten to destabilize human civilization. Major Roy McBride is informed that the surges have been traced to the \"Lima Project\", a space station in orbit around Neptune, sent twenty-nine years earlier to search for intelligent life. Roy's father, H. Clifford McBride, was the project's leader. Roy agrees to travel to Mars in an effort to determine whether the station's crew are still alive. En route to the SpaceCom base on the Moon's far side, a band of scavenger pirates ambush Roy and his colleague Pruitt, but they manage to fight them off. Pruitt then reveals to him that should he fail to prove that the crew survived, the Lima Project station will have to be destroyed. Roy obtains passage to Mars on the SpaceCom cruiser Cepheus. Roy tells the captain of Cepheus, Tanner, to ignore a distress signal being emitted by a biomedical research station, but the captain replies that they are bound by protocol to investigate it. The two men access the station, only to be attacked by a laboratory baboon that has gone feral. Tanner is mauled to death before Roy kills the baboon by suffocating it in an airlock. Another surge hits as the Cepheus attempts to land on Mars. Roy assumes command and calmly lands the ship. After securing himself in the underground SpaceCom complex, Roy begins recording voice messages and transmitting them to the Lima Project in hopes that Clifford will respond. After numerous attempts, SpaceCom finally receives a response, but Roy is denied permission to accompany the search party. Roy is visited by facility director Helen Lantos, who reveals that her parents were Lima Project team members. She shows him classified footage revealing that Clifford's team mutinied and attempted to return to Earth, causing him to shut off their life-support systems; her parents were among those killed. She also admits that the Cepheus has secret orders to destroy the Lima Project with a nuclear weapon; the search party is merely a formality to keep him quiet. They decide that Roy should confront Clifford, so Lantos advises him to stow away aboard the party's rocket as it departs. Roy climbs aboard as the rocket takes off and is immediately discovered by the crew, who are unintentionally killed in the confrontation. During the 79-day journey to Neptune, a solitary Roy reflects on his relationship with his father and with his estranged wife, Eve. He finally arrives at the station and plants the nuclear bomb before encountering Clifford, the sole survivor of the Lima Project. Clifford explains that the surges are coming from the ship's malfunctioning antimatter power source, which was damaged in the mutiny. He also admits to Roy that he never really cared about his family and does not consider Earth his home. Roy copies data gathered by the Lima Project team and persuades Clifford to accompany him back to Earth. He arms the bomb and they climb out on the station's outer hull to return to the Cepheus. Clifford suddenly launches them into space using his spacesuit's thrusters. The old man pleads for Roy to untether him so he can die amongst the stars; Roy reluctantly does so and watches his father drift away into space. He propels himself back to the Cepheus using his own spacesuit. Discovering that the ship was deliberately left without enough fuel to return home, Roy relies on the shock wave from the explosion of the bomb causing the annihilation of antimatter in the station to propel the Cepheus back towards Mars so he can alert Lantos. The data retrieved from the Lima Project base suggests that humans are the only intelligent life in the galaxy, but also contains a treasure trove of information on exoplanets, planetary systems, and other celestial bodies in the Milky Way that could potentially aid scientific and human colonization efforts. Roy returns to Earth with a newfound optimism, meeting with his estranged wife again."}
{"movie_name":"The Hitman's Bodyguard_2017","imdb_id":"tt1959563","script":"<script>\n  <scene>\n    <scene_description>THE HITMAN'S BODYGUARD by Tom O'Connor<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASTER SUITE - MORNING<\/stage_direction>\n    <scene_description>Fresh steam from a shower fills the air. Dvorak's \"Tempo di Valse\" plays on the sound system with digital clarity. MICHAEL BRYCE is getting ready for his day. Mid-thirties, handsome, very much in shape. This is a man at the height of his powers. He uses a shaving brush and real cream, not foam. He hums along with Dvorak as he whisks the blade over his skin. He quickly makes the bed -- the sheets are barely mussed. He's a good-looking guy to be sleeping alone. Now onto the clothes. If you know suits, you can tell Bryce's is handmade. So are his shoes. He completes the outfit -- cufflinks, wristwatch, double-windsor on the necktie. Bryce's cell phone BUZZES. Text message. It's urgent. His movements become sharper, faster. He straps on two matching GLOCK 18 MACHINEPISTOLS -- one holstered above each hip. Bryce slips on an overcoat of fine vicuna wool. He takes a final look in the mirror -- the concealed guns don't break the line of the coat. Perfect.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOLDING CELL - MORNING<\/stage_direction>\n    <scene_description>Darkness. The LIGHTS snap on. The fluorescent hum is loud in the confined space. Time to wake up. SEAN KIERNAN, mid-thirties, is already awake. And already dressed. He sits on his bare cot, staring straight ahead. He hardly even winces at the sudden bright light. Under the jailhouse scruff, Kiernan's a handsome guy. But his clothes are drab, carefully chosen not to stand out. And his expression is dark -- a black cloud hangs over him. The cell door buzzes open. Four armed GUARDS enter. Kiernan rises from his cot. With just a hint of an Irish brogue:<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Morning, lads.<\/dialogue>\n    <scene_description>Kiernan politely complies as the Guards put him in leg irons, a waist chain, and handcuffs. They lead him into the hall. Even in the restraints, Kiernan moves with a fluid grace.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRYCE'S JAGUAR (MOVING) - DAY<\/stage_direction>\n    <scene_description>TITLE: Geneva, Switzerland Bryce is behind the wheel of his Jaguar XFR, gliding through the business district. Fast but controlled. He's downloaded a set of architectural BUILDING PLANS to his phone. He scans through them as he drives, while also doing a call through his Bluetooth:<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Tell him I'll be there shortly. And that he should relax. There's nothing to worry about.<\/dialogue>\n    <character>MALE VOICE (ON PHONE)<\/character>\n    <dialogue>Um...?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>I know. Tell him anyway.<\/dialogue>\n    <scene_description>Bryce hangs up. Turns on the stereo. Classical MUSIC plays.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A CONFERENCE ROOM - DAY<\/stage_direction>\n    <scene_description>Recessed lighting. A long, polished table. Frosted windows of bulletproof glass. TITLE: INTERPOL Global Headquarters -- Lyon, France Kiernan, still shackled, sits at the table with his lawyer, HARR. They're facing a line of three ATTORNEYS. Several other PEOPLE sit in shadow against the wall. Everyone tries not to stare at Kiernan, but they can't help it -- they're fascinated by his presence. The lead attorney on the other side, MORENO, begins.<\/scene_description>\n    <character>MORENO<\/character>\n    <dialogue>Mr. Kiernan. Following negotiations between the International Criminal Court and all of the relevant nation-states, we now have a formal and binding offer.<\/dialogue>\n    <scene_description>Paperwork is slid across the table.<\/scene_description>\n    <character>MORENO<\/character>\n    <dialogue>If you testify against President Demidov -- and if your testimony results in a conviction -- your wife will receive a full pardon from all jurisdictions.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Ex.<\/dialogue>\n    <character>MORENO<\/character>\n    <dialogue>Pardon?<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Janet's my ex-wife.<\/dialogue>\n    <character>MORENO<\/character>\n    <dialogue>Of course. Apologies.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Also, she's completely innocent and you people have no business charging her with anything. You want to apologize for that?<\/dialogue>\n    <scene_description>Harr motions Kiernan to settle down. He skims the document.<\/scene_description>\n    <character>HARR<\/character>\n    <dialogue>That will suffice for Janet, very good. And now -- what will my client receive?<\/dialogue>\n    <scene_description>Another document is slid across the table. A single sheet.<\/scene_description>\n    <character>MORENO<\/character>\n    <dialogue>This letter, signed by myself and the leadership of the ICC, praising Mr. Kiernan's cooperation and strongly recommending leniency.<\/dialogue>\n    <scene_description>Harr is appalled. This one, he doesn't even bother reading.<\/scene_description>\n    <character>HARR<\/character>\n    <dialogue>My client is about to give you the most reviled war criminal on the planet. And in return, you want to give him a thank-you note?<\/dialogue>\n    <character>MORENO<\/character>\n    <dialogue>It will be a mitigating factor--<\/dialogue>\n    <character>HARR<\/character>\n    <dialogue>There is no mitigating. My client is a contract killer, facing two dozen counts of murder in ten countries. Absent a deal, he will never breathe free air again. We all know that. Now--<\/dialogue>\n    <scene_description>A SOUND stops them. Pen scratching paper. Kiernan is signing the document. Harr starts to protest -- but a look from Kiernan tells him it's pointless. Kiernan slides the papers back. One of the people along the wall stands. He's INTERPOL DEPUTY DIRECTOR RAFAEL CASORIA. Fifties, with an old-world elegance.<\/scene_description>\n    <character>CASORIA<\/character>\n    <dialogue>Let's get this man to the Hague.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDERGROUND GARAGE - DAY<\/stage_direction>\n    <scene_description>Kiernan, now in a protective vest along with his restraints, is brought in by the Guards.<\/scene_description>\n    <character>CASORIA<\/character>\n    <dialogue>This is Agent Ryder.<\/dialogue>\n    <scene_description>INTERPOL AGENT AMELIA RYDER, thirty, attractive, falls into step with them. This is a big assignment for her.<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>Sean, I'll be accompanying you, along with your security detail --<\/dialogue>\n    <scene_description>-- a dozen OFFICERS, clad in all black, wearing full body armor and carrying ASSAULT RIFLES. They're standing in front of three ARMORED SUVS. To us, it's an imposing sight, but Kiernan stops. Skeptical.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Hang on now. Demidov has taken out every single witness against him, and this is my detail?<\/dialogue>\n    <character>CASORIA<\/character>\n    <dialogue>These men are GIPN. That's France's most elite police--<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>--police, exactly. You need military boys on this.<\/dialogue>\n    <scene_description>Casoria's second-in-command is ASSISTANT DIRECTOR GERARD FOWLER. Forties, British.<\/scene_description>\n    <character>FOWLER<\/character>\n    <dialogue>No one knows you're testifying. Or that you're even here.<\/dialogue>\n    <scene_description>Kiernan just laughs at that. The GIPN COMMANDER approaches --<\/scene_description>\n    <character>GIPN COMMANDER<\/character>\n    <parenthetical>(French accent)<\/parenthetical>\n    <dialogue>Monsieur Kiernan, I must insist on your cooperation. And I assure you, we are fully prepared--<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Oh are you, now?<\/dialogue>\n    <parenthetical>(French, subtitled)<\/parenthetical>\n    <dialogue>(Do you have air support? Advance teams sweeping primary and secondary routes? Spotters placed at elevation points?)<\/dialogue>\n    <scene_description>The Commander is thrown. No.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>No offense to you fine people. But I'm the expert at this sort of business. Interpol, you're a bunch of bureaucrats, and you --<\/dialogue>\n    <parenthetical>(to the GIPN Commander)<\/parenthetical>\n    <dialogue>-- you're just a cop. Also, let's face it: you're French.<\/dialogue>\n    <character>FOWLER<\/character>\n    <dialogue>The court's deadline is three days away. There is no time to arrange a multinational military escort.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Even better, then: uncuff me, give me the car keys and a gun, and send these French lads home. I can handle myself.<\/dialogue>\n    <character>GIPN COMMANDER<\/character>\n    <dialogue>We can handle him. It is a short ride through town to the airfield. I have the utmost confidence.<\/dialogue>\n    <character>AMELIA<\/character>\n    <parenthetical>(to Casoria)<\/parenthetical>\n    <dialogue>But sir, maybe we should consider--<\/dialogue>\n    <scene_description>Casoria silences her with a look. This is his call.<\/scene_description>\n    <character>CASORIA<\/character>\n    <dialogue>Take him.<\/dialogue>\n    <scene_description>The GIPN team starts to lead Kiernan towards the center SUV. Fowler catches up to Amelia.<\/scene_description>\n    <character>FOWLER<\/character>\n    <dialogue>If you feel unsafe, we won't force you to go.<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>Thank you, sir. I'm going.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Suit yourself. But if I was being hired to kill me, against this... I wouldn't even charge full price.<\/dialogue>\n    <scene_description>Amelia hesitates -- but she gets in the SUV with Kiernan.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRYCE'S JAGUAR (MOVING) - DAY<\/stage_direction>\n    <scene_description>Bryce pulls into a garage beneath a towering office building.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PARKING GARAGE - DAY<\/stage_direction>\n    <scene_description>Bryce cruises down the rows of spaces. He passes two MAINTENANCE GUYS at work. Finds a spot near the elevators. Bryce walks to the elevators, looking straight ahead -- but using reflective surfaces of other cars to scan the garage. Casually watching his back without turning around. He waits patiently at the bank of elevators. Gets on.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR - DAY<\/stage_direction>\n    <scene_description>Once the doors close, Bryce opens the elevator's control panel. He takes a thick ring of keys from his briefcase. Finds one that fits. He places a small ELECTRONIC DEVICE inside the control panel, clipping it to the wires. He hits the button for fourteen.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOURTEENTH FLOOR - DAY<\/stage_direction>\n    <scene_description>An opulent reception area. A RECEPTIONIST at a massive desk.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Terrence Donner. Mr. Seifert is expecting me.<\/dialogue>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>Yes, welcome. I'll buzz him.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>No need. Down the hall, fifth office on the right, yes?<\/dialogue>\n    <scene_description>Bryce never stops moving. A busy executive. He reaches SEIFERT'S OFFICE where SEIFERT, forties, sits on the edge of his desk. His coat already on. A man on the verge of panic. Bryce, on the other hand, looks perfectly relaxed.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Hi, how are you? Love this office. Lighting is everything, isn't it?<\/dialogue>\n    <character>SEIFERT<\/character>\n    <parenthetical>(low)<\/parenthetical>\n    <dialogue>My wife's not answering her phone.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Your wife is safe. My associates brought her to a hotel.<\/dialogue>\n    <scene_description>Bryce checks the windows, continuing his recon under the pretense of admiring the space.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Mr. Seifert, I'm very pleased that I can be of assistance. As with all new clients, I'd like to briefly explain our working relationship: if you want to live, you will do exactly what I tell you to do.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I hope that's acceptable.<\/dialogue>\n    <scene_description>Seifert quickly nods. It's acceptable.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Excellent. Let's be on our way.<\/dialogue>\n    <scene_description>Bryce leads Seifert back into the HALLWAY<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>I'll walk just behind you, but I go through doors first. Relax. Smile.<\/dialogue>\n    <scene_description>They move at a brisk pace. Brisk, not rushed. Bryce keeps a pleasant smile on his face as he tells Seifert:<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>It's important that this not look like an extraction. Whoever's been sent is likely already here. If they think you're running, they'll move on you immediately.<\/dialogue>\n    <scene_description>As in the garage, Bryce stays aware of his surroundings without seeming to. As they approach the elevators -- -- Bryce draws a key fob from his pocket. A REMOTE. He hits the button -- -- the ELEVATOR he came up in opens. They get on.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR - DAY<\/stage_direction>\n    <scene_description>Bryce presses buttons for the lobby and the garage. As soon as the doors close, Seifert goes into full panic --<\/scene_description>\n    <character>SEIFERT<\/character>\n    <dialogue>Oh my God... I never should have gotten into business with those people. I didn't know--!<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Mr. Seifert. You're frightened and I sympathize. But my job becomes infinitely more difficult if I have to sedate you.<\/dialogue>\n    <scene_description>Seifert settles down. As the elevator descends, Bryce takes a small black CYLINDER out of his briefcase and affixes it to the ceiling.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Move away from the doors, please.<\/dialogue>\n    <scene_description>Seifert does. They wait. The doors open at the lobby.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY - DAY<\/stage_direction>\n    <scene_description>Bryce gets off first. All clear. He motions Seifert to follow. The doors close behind them. Bryce takes out his cell phone. It's receiving a CAMERA FEED. A view of -- THE ELEVATOR The cylinder Bryce placed on the ceiling is a CAMERA. The elevator doors open -- -- and now the camera has a view of the garage. Rows of cars, nothing unusual. The Maintenance Guys are gone. Bryce studies the feed, then leads Seifert towards the stairs. Bryce knows right where they are -- he's got the building layout memorized.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PARKING GARAGE - DAY<\/stage_direction>\n    <scene_description>Bryce and Seifert exit the stairwell.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Where are you parked?<\/dialogue>\n    <scene_description>Seifert points out his car. Bryce aims his phone at it -- camera mode, then he switches to an INFRARED VIEW. There's a HEAT SIGNATURE on the underside of Seifert's car.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Let's take my car.<\/dialogue>\n    <character>SEIFERT<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Because they put a bomb on yours. Keep walking. Everything's fine.<\/dialogue>\n    <scene_description>They go to the Jaguar. Bryce puts Seifert in the backseat. As he's about to start the engine --<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Put your head down.<\/dialogue>\n    <character>SEIFERT<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>They put a bomb on my car, too.<\/dialogue>\n    <scene_description>Before Seifert can protest, Bryce calmly turns the ignition -- -- PHWOOOOM -- the CAR BOMB detonates -- -- the Jag is hurled straight into the air -- -- then slams back down to the ground. The Jag is scratched up, smoking, but otherwise -- intact. Seifert, who didn't put his head down like he was told, is dazed from bumping against the roof. And shocked to be alive.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Custom vehicle.<\/dialogue>\n    <scene_description>Bryce throws the Jag into gear, guns it towards the exit --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SEIFERT'S BUILDING - DAY<\/stage_direction>\n    <scene_description>The two \"Maintenance Guys\" appear on either side of the ramp, both with SUBMACHINE GUNS -- FIRING at the Jag. This time, Bryce doesn't have to tell Seifert to get down. The fusillade of BULLETS chips away at the Jag's armored paneling and ballistic glass. Bryce tears past the attackers, they're almost to the street -- -- a GARBAGE TRUCK slams to a stop, cutting off their escape. Bryce brakes, cuts the wheel hard, comes to a stop broadside of the truck. Terrified PEDESTRIANS up and down the sidewalk. No clear escape path. The attackers are still FIRING, the ballistic glass is starting to give... There's just enough space between the Jag and the truck for Bryce to open his door, drawing one of his MACHINEPISTOLS -- -- a half-second faster than the truck's PASSENGER, leaning out the window with a SUBMACHINE GUN. Bryce FIRES -- the Passenger ducks back in. Bryce pulls a small BLACK OBJECT from his coat, throws it in the truck's cab -- -- it's a STUN GRENADE. It explodes with a burst of blinding LIGHT and a concussive BOOM. Bryce draws his other MACHINEPISTOL -- turns and FIRES over the hood of the Jag at the Maintenance Guys. He has excellent cover, they're on exposed ground -- he kills them both. Back to the truck. The Passenger and DRIVER are still disoriented, trying to recover -- -- too late. Bryce SHOOTS them, too. Silence. Bryce scans the environment. No further threats. He gets back in the Jag. GUNS it. Checks the mirrors. No pursuit, no second wave. Bryce whips -- AROUND THE CORNER then pulls over. Seifert is huddled low in his seat. Bryce runs his hands over Seifert's body, checking for injuries. None.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Congratulations, Mr. Seifert. You have been a model client. And you're alive and unhurt.<\/dialogue>\n    <scene_description>Bryce gets back on the road. Seifert slowly emerges from his crouch. He starts breathing again. Suddenly, Seifert starts to LAUGH. A crazed, weepy joy.<\/scene_description>\n    <character>SEIFERT<\/character>\n    <dialogue>Oh... oh my God...<\/dialogue>\n    <scene_description>Bryce grins. He's seen this before. He pops the glovebox. Bottles of water, a container of pills.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Take one pill, please. One.<\/dialogue>\n    <scene_description>As Seifert swallows, Bryce places a call.<\/scene_description>\n    <character>EMERGENCY OPERATOR (ON PHONE)<\/character>\n    <dialogue>Polizei.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>My name is Michael Bryce. I am an executive protection agent, licensed within the EU. I have just engaged assailants on the Route de Mayrin and am now extracting my client from the scene. When I am able, I will gladly return and make myself available for questioning. Thank you.<\/dialogue>\n    <scene_description>Bryce hangs up. Glances at Seifert. He's starting to come down from the adrenaline rush. Bryce pulls out a cell phone.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Your wife will want to hear your voice. Hit send.<\/dialogue>\n    <scene_description>The call connects --<\/scene_description>\n    <character>SEIFERT<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Honey? I'm okay. Yes. Yes. I love you, darling. I love you so much...<\/dialogue>\n    <scene_description>As Seifert gushes into the phone, Bryce listens with a smile. But it's a sad smile. Must be nice, what Seifert has.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LYON - HIGHWAY - DAY<\/stage_direction>\n    <scene_description>Kiernan's convoy races along the gleaming banks of the Rhone. Three armored SUVs, lights and sirens. Kiernan is in the center vehicle.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KIERNAN'S SUV (MOVING) - DAY<\/stage_direction>\n    <scene_description>The GIPN Commander and THREE OFFICERS. Kiernan rides in back with Amelia, the Interpol agent. Amelia watches Kiernan. His eyes are closed. His head leaning forward. He's... dozing.<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>Thought you were so concerned.<\/dialogue>\n    <scene_description>Kiernan doesn't even open his eyes.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>We're on a highway.<\/dialogue>\n    <scene_description>Back to his nap.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LYON - PRESQU'ILE - DAY<\/stage_direction>\n    <scene_description>The convoy pulls off the highway and into the heart of Lyon, moving across the Place Bellecour. Ancient buildings and grand fountains line their route.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KIERNAN'S SUV (MOVING) - DAY<\/stage_direction>\n    <scene_description>As the vehicle slows... Kiernan comes awake. He leans forward, surveying the road. His focus is absolute. He calls out to the GIPN Commander, riding shotgun:<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Know where I would do it? On this stretch of road coming right up. The curves will cut our speed, and those buildings are close in -- great firing positions.<\/dialogue>\n    <scene_description>The GIPN team is uneasy. Kiernan's the expert.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>If I could sit closer to the front, I could help.<\/dialogue>\n    <scene_description>But the Commander ignores him. The convoy continues on. The Fourviere hill looms ahead -- below it, Lyon's medieval quarter. Pitched, narrow streets. Picturesque... but deadly.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Oh yeah. Perfect. Choke points all along our route and we have zero visibility.<\/dialogue>\n    <scene_description>Still nothing from the Commander. Kiernan turns to Amelia.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Almost there...<\/dialogue>\n    <scene_description>Amelia nods to the Commander: let him up. The Commander, quietly furious, mutters in French to one of his Officers, who unbuckles Kiernan's seat belt. Kiernan gets on the floor. He slides forward as best as he can in his restraints. To the DRIVER:<\/scene_description>\n    <character>KIERNAN<\/character>\n    <parenthetical>(French, subtitled)<\/parenthetical>\n    <dialogue>(You won't have time to decide if you believe me. So decide now.)<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. KIERNAN'S SUV\/LYON - DAY<\/stage_direction>\n    <scene_description>The vehicles wind through the quiet streets. PEDESTRIANS stop to watch. The old buildings are two and three stories, clustered on either side. Kiernan is on the lookout. Then, movement outside -- PROJECTILES flying at the SUV -- -- the GIPN Officers turn, rifles up -- -- ROCKS bounce harmlessly off the car. Outside, a group of KIDS ducks back into an alley, laughing. The GIPN team is rattled. Kiernan barely even turned his head. He's focused on the real danger: They're coming to a curve in the road. As the convoy slows, Kiernan leans forward, scanning -- -- CARS parked along the road. Kiernan's eyes lock on a small PEUGEOT. Innocuous, except the rear end is low to the ground, like there's extra weight on the suspension --<\/scene_description>\n    <character>KIERNAN<\/character>\n    <parenthetical>(Brake! Pull right, right--)<\/parenthetical>\n    <dialogue>The Driver believes Kiernan. He brakes and pulls right as --<\/dialogue>\n    <dialogue>-- THE PEUGEOT DETONATES -- a huge FIREBALL -- just as they would have passed it --<\/dialogue>\n    <dialogue>-- no direct hit, but the blast knocks the SUV on its side -- it SLAMS into a line of parked cars.<\/dialogue>\n    <dialogue>The other SUVs screech to a halt -- more EXPLOSIONS all around -- ROCKET-PROPELLED GRENADES --<\/dialogue>\n    <dialogue>-- coming from upper windows on both sides of the street. But the SUVs are heavily armored -- holding for now.<\/dialogue>\n    <dialogue>The GIPN Officers pour out of the SUVs, FIRING up at the windows, taking out ATTACKERS.<\/dialogue>\n    <dialogue>The street is filled with smoke and fire.<\/dialogue>\n    <scene_description>KIERNAN'S SUV The GIPN men throw open the side door -- now facing skyward -- and SHOOT out of the opening like tank gunners. Amelia, still unsteady, calls to Kiernan --<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>I'll unlock you--<\/dialogue>\n    <scene_description>She puts her hand to her belt -- no keys. Kiernan already has them. He's unlocking his cuffs. An Officer sees Kiernan about to free himself -- he draws a TASER, leaps at Kiernan -- the ELECTRIC WHINE building -- -- Kiernan doesn't pull away, like anyone else would -- he lunges right into the Officer, HEADBUTTING him -- and taking the full force of the TASER right in the chest. Fifty thousand watts. Both men go down -- but the Officer stays down. Kiernan recovers. He calmly finishes unlocking his cuffs. Amelia watches, stunned.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LYON STREET - DAY<\/stage_direction>\n    <scene_description>Bodies everywhere. Heavy casualties on both sides. The surviving GIPN men have formed a cordon around Kiernan's SUV. The RPG bombardment has given way to a ground assault -- ATTACKERS advancing from all directions. A tightening noose.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KIERNAN'S SUV - DAY<\/stage_direction>\n    <scene_description>BULLETS pound against the frame of the SUV. Amelia digs out the damaged radio as two GIPN men go out the top of the vehicle. The Commander stands FIRING in the open doorway -- then falls back into the SUV. BLOOD pours. Dead. Kiernan takes the RIFLE and SIDEARM off the Commander's body. He moves to the rear door --<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>Don't!<\/dialogue>\n    <scene_description>Too late -- Kiernan throws the rear door open -- using it as a shield as he emerges into the open air --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LYON STREET - DAY<\/stage_direction>\n    <scene_description>Kiernan takes in the scene. The ATTACKERS all around the SUV. Drawing in. Using the heavy SMOKE as cover, Kiernan runs directly away from the SUV -- holding his fire, staying low, concealed -- -- he runs right through the circle of Attackers -- now he's behind them, he turns -- -- he's not escaping. He's making a counter-strike. Kiernan circles around the Attackers, FIRING at a dead run, with incredible accuracy. He's mowing them down. Kiernan stops to reload -- -- the Attackers have taken out the last of the GIPN cordon. They're advancing on the SUV.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KIERNAN'S SUV - DAY<\/stage_direction>\n    <scene_description>Just Amelia and the final Officer in here. She's trying the radio --<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>We're under attack--!<\/dialogue>\n    <scene_description>No reply, no static, nothing. Radio's dead. The Officer draws his weapon and races into the STREET and right into a barrage of GUNFIRE. He doesn't have Kiernan's speed -- he's immediately cut down. The final two Attackers move in on the SUV -- -- Kiernan emerges from the smoke, SHOOTS them both -- -- just as a THIRD ATTACKER rises from behind a car -- -- Kiernan spots him -- almost in time. They both FIRE -- Kiernan makes a perfect killshot, but also gets HIT. The shooting stops. Silence. Charming, historic Lyon is now a graveyard. Kiernan checks his body. Grazed in a few places -- and a direct hit, just below his knee. BLOOD flows from it. Kiernan stands -- he can put weight on the leg, at least. Amelia calls from inside the wrecked SUV:<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>Sean?<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>I'm fine. Check the others.<\/dialogue>\n    <scene_description>Kiernan's not fine. His leg is bleeding heavily. But he's got work to do: He rifles through the corpses of the Attackers. He digs through pockets, rips off masks, checks tattoos. He does this roughly, quickly. No respect for the dead. Amelia finds the SUV's med kit and starts checking the GIPN team for survivors. None to be found. She's shaken -- this kind of carnage is beyond her experience. Kiernan rips the sleeve of one of the Attackers -- there's an intricate TATTOO of a CHURCH on his forearm. Kiernan pulls a CELL PHONE from the Attacker's pocket. He hits SEND. The call connects. Kiernan acts scared, desperate:<\/scene_description>\n    <character>KIERNAN<\/character>\n    <parenthetical>(Russian, subtitled)<\/parenthetical>\n    <dialogue>(We took fire. I've been hit... I can't find anyone. I need the key.)<\/dialogue>\n    <character>MALE VOICE (ON PHONE)<\/character>\n    <parenthetical>(Russian, subtitled)<\/parenthetical>\n    <dialogue>(Did you kill Kiernan?)<\/dialogue>\n    <character>KIERNAN<\/character>\n    <parenthetical>(I'm... not sure. I've been shot. I need the key. Please.)<\/parenthetical>\n    <character>MALE VOICE (ON PHONE)<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>(Eight seven two. Good luck.)<\/dialogue>\n    <scene_description>The call disconnects. Kiernan uses the phone's camera to take a few pictures of the church tattoo, then --<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>Drop the weapon.<\/dialogue>\n    <scene_description>He turns. Amelia's holding the med kit -- and her SIDEARM, aimed right at him. He shrugs, kicks his gun to her. The blood from Kiernan's leg is pooling on the ground around him. She tosses him a set of handcuffs.<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>Put these on. I'll dress your leg.<\/dialogue>\n    <scene_description>Kiernan hurls the cuffs away. Forget it. A brief stare-down. He wins.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>We're exposed out here.<\/dialogue>\n    <scene_description>Kiernan limps away. Amelia follows him into an ALLEY He digs through the med kit. He pockets a needle and surgical thread, then starts field work on his leg. Alcohol, pressure bandage, the basics. Keeping her gun on Kiernan, Amelia takes out her phone --<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>No calls.<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>I have to tell Interpol--<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>You can't trust Interpol. After this?<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>I'll take precautions. But we're the only agency with transnational jurisdiction. It's still my only way of getting you to the Hague.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>I can get there on my own.<\/dialogue>\n    <scene_description>Amelia ignores that, dials --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INTERPOL - CONFERENCE ROOM - DAY<\/stage_direction>\n    <scene_description>Casoria, Fowler, and other AGENTS are gathered. Casoria lunges for the phone. Puts her on speaker.<\/scene_description>\n    <character>CASORIA<\/character>\n    <dialogue>We lost radio contact. What's happening--?<\/dialogue>\n    <scene_description>INTERCUT<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>We got hit. Everyone's down.<\/dialogue>\n    <character>CASORIA<\/character>\n    <dialogue>Dear God. And Kiernan?<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Don't tell them--<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>Kiernan's alive.<\/dialogue>\n    <character>CASORIA<\/character>\n    <dialogue>Where is he now?<\/dialogue>\n    <scene_description>She's got the gun -- Kiernan will have to convince her.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>I'm not going to run, alright? Testifying is how I get Janet free. You and I want the same thing.<\/dialogue>\n    <character>FOWLER<\/character>\n    <dialogue>Agent Ryder. Where is Kiernan?<\/dialogue>\n    <scene_description>Chain of command. It's decision time for Amelia. And --<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>I don't know where he is. He escaped.<\/dialogue>\n    <scene_description>Stunned silence in the conference room. Amelia hangs up. END INTERCUT<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Nicely done. You're a smooth one, you are. Now close your eyes and count to twenty.<\/dialogue>\n    <scene_description>Distant SIRENS. Kiernan starts limping away --<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>You really think you'll make it? On that leg? As a fugitive?<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>I'll see you at the Hague.<\/dialogue>\n    <scene_description>She watches Kiernan go. Thinking it over. Calls after him:<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>My apartment's not far. No one will look for you there. You need to rest. Clean up. And you need blood. I can get you blood.<\/dialogue>\n    <scene_description>She writes down the address for him. Kiernan checks his bandage -- already soaked through. He's considering it.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>How do I know you won't change your mind and send Interpol to fetch me?<\/dialogue>\n    <scene_description>As a sign of good faith, she gives Kiernan something else: the gun she took from him. Okay. He disappears down the alley.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTSIDE GENEVA - AIRFIELD - DAY<\/stage_direction>\n    <scene_description>Bryce escorts Seifert to a waiting single-engine CESSNA. The ENGINE is roaring -- too loud to talk. Seifert hugs Bryce tightly. Bryce takes the hug good-naturedly; he's used to that reaction. Seifert disappears into the Cessna. Bryce goes to his Jag, parked by a hangar. He throws a cover over it, concealing its bullet-riddled frame. Parked right next to it -- -- a second, identical Jaguar. Clean and ready to go. As the Cessna climbs into the air, Bryce's cell RINGS. He checks the Caller ID -- this is important. Bryce quickly ducks into the Jag for a quiet place to talk. His voice drops a register:<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>You couldn't stay away.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LYON STREET - DAY<\/stage_direction>\n    <scene_description>Amelia stands among the wreckage of the attack. The SIRENS are getting closer. She's on her cell. INTERCUT<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>Hmm. Am I the one who's been staying away?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Fair point. I'm glad you called.<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>Can you be in Lyon tonight?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>I absolutely can and I will.<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>Bring a few units of O-negative.<\/dialogue>\n    <character>BRYCE<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Personally, I'm more fond of champagne, but now I sense this is not a social visit.<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>I can't say more on the phone. This has to stay under the radar. Thank you, Michael.<\/dialogue>\n    <scene_description>Amelia hangs up -- just as the POLICE CARS surround her. She steps into the open, hands raised, badge showing. Bryce stares at his phone for a moment. Starts the engine.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LYON BACKSTREETS - DAY<\/stage_direction>\n    <scene_description>Kiernan slips through the streets, making his getaway, talking on the cell he took off the Attacker.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <parenthetical>(heavy Irish accent)<\/parenthetical>\n    <dialogue>Aye, it's urgent. Did you not hear me say I'm her lawyer?<\/dialogue>\n    <scene_description>A few moments later --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOCHAS CENTRE PRISON - PHONE ROOM - DAY<\/stage_direction>\n    <scene_description>Nothing but a table, chair, and phone. A Guard leads JANET KIERNAN inside. She's thirty, a soft beauty. Doesn't belong in this place. The Guard leaves. Janet picks up.<\/scene_description>\n    <character>JANET<\/character>\n    <parenthetical>(Irish accent)<\/parenthetical>\n    <dialogue>This is Janet.<\/dialogue>\n    <scene_description>INTERCUT<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>It's Sean.<\/dialogue>\n    <scene_description>Her breath catches. Conflicting emotions.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>They're treating you well enough? You're getting by, are you?<\/dialogue>\n    <character>JANET<\/character>\n    <dialogue>Aye. Well enough.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>I am going to get you out. I promise you that. I know I'm not someone you ought to believe, but I will fix this. I ruined your life once, Janet. But just the once.<\/dialogue>\n    <character>JANET<\/character>\n    <dialogue>Sean... how are you calling me? What's happened?<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Don't ask. I don't want to lie to you again. Be well.<\/dialogue>\n    <character>JANET<\/character>\n    <dialogue>Sean--?<\/dialogue>\n    <scene_description>He hangs up. After the line has gone dead --<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Love you, dear.<\/dialogue>\n    <scene_description>Kiernan turns the phone off. Removes the SIM card.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMELIA'S BUILDING - DAY<\/stage_direction>\n    <scene_description>Kiernan, looking ashen, goes in through a side entrance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMELIA'S APARTMENT - BATHROOM - DAY<\/stage_direction>\n    <scene_description>Bloody towels all over the floor. Kiernan is suturing the wound on his leg. His stitching job is adequate but a little jagged -- first aid isn't his strong suit. He's using vodka as a disinfectant. He wants a drink, but the bottle's almost empty. Hmm. He pours a little more on his leg, then gulps the rest. It goes down like water. LATER Kiernan tests his leg -- putting weight on it, springing off. Like a mechanic running diagnostics.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMELIA'S APARTMENT - GUEST ROOM - DAY<\/stage_direction>\n    <scene_description>Kiernan is laid out on the bed. Trying to conserve energy. He scrolls through the cell-phone PHOTOS he took of the Attacker's tattoo. Zooms in. In the detailed inkwork, now we see something more -- tiny NUMBERS hidden in the church. On a notepad, Kiernan has written \"8 2 7.\" He copies down numbers from the tattoo, then begins transposing the digits. Some kind of code.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMELIA'S APARTMENT - KITCHEN - DAY<\/stage_direction>\n    <scene_description>Kiernan burns the notepad in the kitchen sink, then runs the garbage disposal. Destroying it completely.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEMIDOV'S CELL - DAY<\/stage_direction>\n    <scene_description>Except for the heavy metal door, this feels more like a hotel suite than a prison cell. The inmate is the man himself: ALEXANDER DEMIDOV, fifties. TITLE: ICC Detention Centre -- The Hague Demidov has lost none of the imperiousness of power. He wears a suit and tie, and looks ready to retake command at any moment. The news plays on a small TV:<\/scene_description>\n    <character>NEWSCASTER (ON TV)<\/character>\n    <dialogue>The trial of Alexander Demidov continues. Demidov, the former president of Kajekistan, is accused of selling black-market arms on a massive scale to terrorist groups and fellow dictators across the globe. Fueling genocides in Africa and Asia, as well as terror attacks against western democracies...<\/dialogue>\n    <scene_description>Demidov is unfazed by the accusations. A KNOCK on the door. He mutes the news. Two GUARDS bring in LIVITIN, forties, Demidov's attorney. He looks embarrassed to be here. Russian accent:<\/scene_description>\n    <character>LIVITIN<\/character>\n    <dialogue>Interpol wishes to have a word--<\/dialogue>\n    <scene_description>Fowler shoves his way in. Furious. He gets right to it.<\/scene_description>\n    <character>FOWLER<\/character>\n    <dialogue>There was quite the dust-up in Lyon this morning. You wouldn't know anything about that, would you?<\/dialogue>\n    <character>LIVITIN<\/character>\n    <dialogue>Agent Fowler, you have made a long and pointless journey. My client has nothing to say. Goodbye.<\/dialogue>\n    <character>DEMIDOV<\/character>\n    <parenthetical>(Russian accent)<\/parenthetical>\n    <dialogue>I have no secrets. A diversion would be welcome. You are my guest.<\/dialogue>\n    <scene_description>Livitin sighs. Motions the Guards to leave. As soon as the three of them are alone --<\/scene_description>\n    <character>FOWLER<\/character>\n    <dialogue>I gave you exactly what you needed. How can Kiernan still be alive?<\/dialogue>\n    <character>LIVITIN<\/character>\n    <dialogue>You have come all this way to lodge a complaint?<\/dialogue>\n    <character>FOWLER<\/character>\n    <dialogue>I have come for my money. I delivered as promised.<\/dialogue>\n    <scene_description>Fowler hands Livitin a pen and an official document.<\/scene_description>\n    <character>FOWLER<\/character>\n    <dialogue>The code for the wire transfer to my Cayman account, if you please.<\/dialogue>\n    <character>LIVITIN<\/character>\n    <dialogue>The job is not yet done. We need you back at Interpol, monitoring for any sign of Kiernan.<\/dialogue>\n    <character>FOWLER<\/character>\n    <dialogue>No. They already suspect a leak. Casoria is no idiot. If I tip you off again, I risk exposure.<\/dialogue>\n    <character>DEMIDOV<\/character>\n    <dialogue>You are already at risk. As am I.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>It is crucial that evidence of my misdeeds not become public.<\/dialogue>\n    <scene_description>Suddenly -- Demidov lunges forward -- you wouldn't expect him to be so fast -- -- he grabs Fowler's hand -- and stabs him through the palm with his own pen. Demidov claps a hand over Fowler's mouth to muffle the SCREAM.<\/scene_description>\n    <character>DEMIDOV<\/character>\n    <dialogue>So be sure to hide your wound from the guards.<\/dialogue>\n    <scene_description>Demidov pulls the pen back out, slowly, letting it get soaked in Fowler's blood. He releases Fowler, who stumbles back against the wall. Livitin tosses him a towel.<\/scene_description>\n    <character>DEMIDOV<\/character>\n    <dialogue>When Kiernan is dead, you will be paid in full.<\/dialogue>\n    <scene_description>Using the pen, Demidov scrawls on the transfer document. The letters \"IOU\" -- written in Fowler's blood. Fowler is shaking, terrified. He's never seen this side of Demidov up close. Now he just wants to help.<\/scene_description>\n    <character>FOWLER<\/character>\n    <dialogue>Kiernan... it looks like he might have been injured in the attack. You should send another team to Lyon in case he's gone to ground.<\/dialogue>\n    <scene_description>Demidov nods: thank you. Livitin knocks on the door for the Guards to open it. Fowler leaves, wobbly, the towel wrapped around his hand to cover the wound. Livitin unmutes the news, catching the end of the story:<\/scene_description>\n    <character>NEWSCASTER (ON TV)<\/character>\n    <dialogue>...despite the long catalog of Demidov's alleged atrocities, the prosecution has been hard-pressed to make a solid case. The judges have set a deadline for the end of this week for prosecutors to present compelling evidence or allow Demidov to go free.<\/dialogue>\n    <scene_description>Livitin turns it off. They switch to Russian, subtitled:<\/scene_description>\n    <character>LIVITIN<\/character>\n    <parenthetical>(Nothing about Kiernan, of course. They don't want to give us clues. But we will find him.)<\/parenthetical>\n    <character>DEMIDOV<\/character>\n    <parenthetical>(I find this process unsavory. Silencing witnesses, hiding my work? I am the rightful president. I should hide from no one.)<\/parenthetical>\n    <character>LIVITIN<\/character>\n    <parenthetical>(As soon as you are back in power.)<\/parenthetical>\n    <character>DEMIDOV<\/character>\n    <parenthetical>(You are a good lawyer. But you do not understand power. A true leader does not slither.)<\/parenthetical>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMELIA'S BUILDING - NIGHT<\/stage_direction>\n    <scene_description>Bryce parks on the street. Pops the trunk. Neatly arranged inside: a variety of WEAPONS and MEDICAL SUPPLIES. Bryce takes out a small COOLER. Heads for the entrance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMELIA'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Amelia lets Bryce in. She has a few bruises and scratches from the day's attack. He pulls her close, concerned.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>Work. Just banged up. I'm fine.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Are you sure? You need to put ointment on this.<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>Michael, I've had full medical attention. I promise you, I am in perfect health.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Not for long.<\/dialogue>\n    <scene_description>Satisfied that she's alright, Bryce sweeps her up and puts her on the table. She laughs, playfully fighting him off. As they make out --<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>No, Michael, focus. I brought you here for work.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>You're going to start paying me? That's really not necessary.<\/dialogue>\n    <scene_description>She's trying to break it off before they're too far gone --<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>Seriously, we can't. This is important. Get up. Up.<\/dialogue>\n    <scene_description>One last deep kiss before they break.<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>You brought the blood, good --<\/dialogue>\n    <scene_description>She opens the cooler. Inside: a half-dozen RED ROSES.<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>I told you this was business.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>They're short-stem. They're business roses.<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>And they're lovely.<\/dialogue>\n    <scene_description>She digs deeper in the cooler -- several packets of BLOOD.<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>O-neg, even more lovely. Come on. I want you to meet someone.<\/dialogue>\n    <scene_description>Amelia leads Bryce down the hall to the guest bedroom. She knocks lightly on the door, opens it -- -- but the bed is empty. Kiernan's gone. Amelia turns -- -- Bryce is gone, too. From the kitchen: CLICK. CLICK. Two GUNS being cocked almost simultaneously. Amelia runs into the KITCHEN Bryce and Kiernan have their guns leveled at each other.<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>Guys. Easy.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>What is he doing here?<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>I've got the same question.<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>You two know each other?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>We've never been formally introduced.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>But I've shot him a few times.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Shot at, I think you mean.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>I winged you in Tangiers. I know I did.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Mmm, sorry. But at this range, you might have a chance.<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>Guys. I'm sorry for the surprise. I will explain. Guns down.<\/dialogue>\n    <scene_description>Neither man complies. No one wants to back down first. Amelia steps right between them. She stares hard at Bryce. He lowers his gun. Kiernan follows.<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>Now you're being formally introduced. Michael Bryce, meet Sean Kiernan. Your new client.<\/dialogue>\n    <scene_description>They stare at each other. What the hell...?<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>We are going to go in the other room and speak politely. Make yourselves comfortable.<\/dialogue>\n    <scene_description>Bryce and Kiernan are not at all comfortable.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMELIA'S APARTMENT - LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>The roses have been put into a vase. Bryce comes out of the kitchen with a cappuccino. Kiernan is propped up on the couch, getting a transfusion of the blood from Bryce's cooler. Amelia adjusts the pillows for Kiernan. Bryce's eyes narrow.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Amelia, I can't say I approve of your new friends.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Not that I care about your approval, but I've never killed anyone who didn't have blood all over their own hands. If a job's not right, I turn it down. You should try that sometime.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Forgive me. Did I just receive moral guidance from Sean Kiernan?<\/dialogue>\n    <scene_description>Amelia shoots Bryce a look: quiet. She's ready to explain.<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>We apprehended him three weeks ago, wrapping up a decade-long manhunt.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>How did you finally catch him?<\/dialogue>\n    <scene_description>Amelia looks to Kiernan: alright to say? He shrugs.<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>He surfaced to visit his ex-wife. We took her in as well.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>On completely made-up charges--<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>That wasn't my call. But it did get Kiernan to give up the only person bigger than himself: an old employer, Alexander Demidov.<\/dialogue>\n    <parenthetical>(she lets that land)<\/parenthetical>\n    <dialogue>Kiernan's not my friend. But I do take an interest in his well-being.<\/dialogue>\n    <scene_description>Bryce understands the gravity now. He's thinking it over.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Hang on. It's a sweet gesture and all, but I do not need a bodyguard.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>That's fine, because I'm not a \"bodyguard.\" I'm not a fat man in a cheap suit who keeps you from touching the dancers. I am an executive protection specialist.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>You are an utter gobshite. If I did need protection -- which I don't -- I could do a lot better than him.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Is that right? You've tried to take out several of my clients over the years. I don't think you've fared all that well.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>I killed Jeremy Gibson.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Gibson didn't follow protocol. You didn't get Quattrano, you didn't get Roth, you didn't get Atienza...<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>I got Atienza.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>You thought you got him. I switched vehicles on you. Tony Atienza is alive and well.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>On a yacht in Monte Carlo?<\/dialogue>\n    <scene_description>Bryce's face falls.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Not anymore.<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>I have to get back or it'll look suspicious. You boys are welcome to keep one-upping each other on your way to the Hague.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>I don't believe I've said yes.<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>If Demidov is acquitted, he'll be back in power inside a year. With a massive, newfound grudge against the global community.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>So you want me to guard a man who's nearly killed me numerous times?<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>I want the western hemisphere to not be on fire.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You are the last person I want to involve in this. But you're the only one who can get it done.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Thank you for the blood and the hospitality. I can take care of myself.<\/dialogue>\n    <scene_description>Bryce hates this. But it's got to be done. He faces Kiernan.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Demidov is pursuing you. The authorities are as well. Any safe houses you had are blown. You're alone. And you're injured.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Don't try to be a hero. You have no experience of it.<\/dialogue>\n    <scene_description>Kiernan glares. Amelia holds up her cell. A threat.<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>You let Michael protect you, or you take your chances with Interpol. And if you die, Janet gets life. Are we good?<\/dialogue>\n    <scene_description>Pause. Kiernan nods. Fine. Whatever.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMELIA'S BUILDING - NIGHT<\/stage_direction>\n    <scene_description>Two POLICEMEN are talking with an elderly NEIGHBOR. No subtitles necessary. The Neighbor is describing someone -- demonstrating Kiernan's limp. One of the Cops pulls up a PHOTO of Kiernan on his phone. The Neighbor nods. That's him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INTERPOL - HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>AGENTS grabbing their coats and tearing outside. Casoria is on his cell. An ASSISTANT runs up to him.<\/scene_description>\n    <character>ASSISTANT<\/character>\n    <dialogue>Sir? We ran the occupants of that building.<\/dialogue>\n    <scene_description>The Assistant shows Casoria a sheet of paper. He grimaces.<\/scene_description>\n    <character>CASORIA<\/character>\n    <parenthetical>(into cell)<\/parenthetical>\n    <dialogue>I have to go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPORT LOUNGE - NIGHT<\/stage_direction>\n    <scene_description>Fowler is on his cell.<\/scene_description>\n    <character>CASORIA (ON PHONE)<\/character>\n    <dialogue>I'll keep you updated.<\/dialogue>\n    <character>FOWLER<\/character>\n    <dialogue>Good luck.<\/dialogue>\n    <scene_description>Fowler hangs up. Rubs his injured hand. He's struggling with this. Then -- he pulls out another phone and sends a text.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A VAN (MOVING) - NIGHT<\/stage_direction>\n    <scene_description>Six Kajeki MERCENARIES, heavily armed. Driving quickly through the Lyon streets. Demidov's second team.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMELIA'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Kiernan is taking in the last unit of blood. His color is back now. Bryce and Amelia say goodbyes at the door.<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>Hate to have you working for free.<\/dialogue>\n    <scene_description>She pulls out a single bill -- a five-euro note. Bryce grins, pockets it.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Once we're on the road, I'll have to change out my phone. Can't call to check in.<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>I've learned not to worry about you. Sort of.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>This is nothing. One night of driving. When it's done, let's go away. A long weekend in Amalfi. Villa on the water.<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>Sounds wonderful. But after the long weekend, after the good wine and great sex, what then?<\/dialogue>\n    <scene_description>Bryce doesn't have the answer she wants.<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>Not sure I can keep doing this.<\/dialogue>\n    <scene_description>He moves in to kiss her -- she wants to make it a kiss on the cheek, but gives in at the last second.<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>Be careful.<\/dialogue>\n    <scene_description>And then she's out the door. Kiernan observed all that, but he's not going to comment. Each of these guys has always been the alpha male in every room they've walked into. And now, they're in the same room. Bryce sits across from Kiernan. He switches into client mode, polite and professional:<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Mr. Kiernan. The past is past. You are now my client, and I am very pleased to be of assistance. The working relationship is simple: if you want to live, you will do exactly what I tell you to do.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I hope that's acceptable.<\/dialogue>\n    <scene_description>Kiernan gives Bryce a look of pure fuck-you. They hold each other's gaze. A measuring of wills. The moment is broken when Bryce's cell RINGS. He answers.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>It's going great so far. I've explained the working relationship, and he fully understands.<\/dialogue>\n    <scene_description>Kiernan rolls his eyes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMELIA'S BUILDING - NIGHT<\/stage_direction>\n    <scene_description>Amelia on her cell, walking to her car. Down the street, POLICE CARS are setting up roadblocks.<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>Police. Setting a perimeter.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMELIA'S APARTMENT - NIGHT<\/stage_direction>\n    <character>BRYCE<\/character>\n    <dialogue>We're moving.<\/dialogue>\n    <scene_description>Bryce hangs up. Kiernan has already read his body language -- he tears the IV from his arm. Slaps a bandage on it.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Police. If they're here, so is --<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>-- Demidov.<\/dialogue>\n    <scene_description>In just a few seconds, they're ready to go. Both always prepared. As they move to the door --<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>This building has two--<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>--two stairwells, no fire escapes, no adjoining roofs. Yeah.<\/dialogue>\n    <scene_description>Kiernan draws his gun, he's about to open the door -- then Bryce yanks him back. Hard. Kiernan's fist comes up -- he so wants to hit Bryce.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Mr. Kiernan. I go through doors first. You don't follow until I give the all clear.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>You are a mental case. I've opened doors before.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Let me explain: my job is to keep you out of harm's way.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>I am harm's way.<\/dialogue>\n    <scene_description>Bryce points to where he wants Kiernan to stand. Seething, Kiernan goes to his spot. Bryce draws a machinepistol, opens the door, staying low --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMELIA'S BUILDING - HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Bryce quickly crosses to the doorway opposite. The hallway is clear. He motions Kiernan to come out. Kiernan moves into the hall, with an expression of mock-terror.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMELIA'S BUILDING - NIGHT<\/stage_direction>\n    <scene_description>Amelia drives up to a roadblock. Shows her ID to a POLICEMAN. He reads it. Double-checks. Then --<\/scene_description>\n    <character>OFFICER<\/character>\n    <parenthetical>(French, subtitled)<\/parenthetical>\n    <dialogue>(Turn off the engine. Step out.)<\/dialogue>\n    <scene_description>As Amelia complies, the Officer waves someone over: Casoria. He's not happy with her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMELIA'S BUILDING - HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Bryce and Kiernan move towards the near stairwell. Kiernan with just a slight limp now. As they reach the stairwell door, Bryce draws a COMPACT MIRROR from his coat. Uses it to look through the narrow window -- -- one of Demidov's MERCS is on the landing, one floor down. Signaling to a SECOND MERC below him. Bryce pulls back from the door. Whispers:<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Two hostiles, possibly more. We'll take the other stairwell.<\/dialogue>\n    <scene_description>Bryce starts that way, but Kiernan doesn't follow.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Let's go through these guys.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>We engage only as a last resort.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>What kind of gun are you carrying?<\/dialogue>\n    <scene_description>Bryce holds it up so he can see --<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Glock 18 --<\/dialogue>\n    <scene_description>-- Kiernan snatches the machinepistol out of Bryce's hand, throws open the stairwell door --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRWELL - NIGHT<\/stage_direction>\n    <scene_description>-- Kiernan comes in low, a gun in each hand -- FIRING, instantly killing both Mercs -- -- still in motion, no hesitation -- Kiernan leaps off the stairs, goes airborne over the railing -- -- FIRING again in midair -- killing TWO MORE MERCS on the landing below -- -- Kiernan's vision and reflexes are unreal -- -- he lands on the flight of stairs below. Slams into the wall, spreading the impact across his body and good leg. Kiernan immediately rises back up in a perfect firing stance. Flawless. Bryce rushes into the stairwell, his other gun drawn -- -- but Kiernan's already killed everyone.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Thank God you're here.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Bravo. But guess what happens now?<\/dialogue>\n    <scene_description>With a look of disgust, Bryce points outside --<\/scene_description>\n    <character>BRYCE<\/character>\n    <parenthetical>(French, subtitled)<\/parenthetical>\n    <dialogue>(Shots fired.)<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMELIA'S BUILDING - NIGHT<\/stage_direction>\n    <scene_description>A POLICE OFFICER near the building gets on his radio, and exactly as Bryce predicted:<\/scene_description>\n    <character>OFFICER<\/character>\n    <parenthetical>(Shots fired.)<\/parenthetical>\n    <dialogue>The police aren't creeping in anymore -- now they're charging in. The SQUAD CARS fire up their lights, the perimeter is pulled in tighter, and...<\/dialogue>\n    <dialogue>...HELICOPTERS appear on the horizon. Their SEARCHLIGHTS bathing the ground.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRWELL - NIGHT<\/stage_direction>\n    <scene_description>Kiernan and Bryce race down the stairs. They can already hear the HELICOPTERS.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>See, now we have a new problem.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Nothing I can't handle.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>What I like to do is think ahead. Plan. Account for contingencies.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Brilliant. What I like to do is have talent.<\/dialogue>\n    <scene_description>As they reach the second-floor landing -- -- the stairwell door on the first floor opens -- the last TWO MERCS -- Bryce, watchful, spots them an instant before Kiernan does -- -- Bryce shoves Kiernan aside to shield him -- and SHREDS both Mercs with his machinepistols.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>I would be a lot more impressed by you if I wasn't me.<\/dialogue>\n    <scene_description>Kiernan's ear is ringing -- Bryce fired right by his head.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Right in my ear, thanks.<\/dialogue>\n    <character>BRYCE<\/character>\n    <parenthetical>(into his other ear)<\/parenthetical>\n    <dialogue>Apologies. But it's not like you're listening to me anyway.<\/dialogue>\n    <scene_description>Kiernan brushes him off, starts down the stairwell -- Bryce pulls him back. Points through the window -- -- the helicopters' SEARCHLIGHTS are now covering the ground outside the exit door.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>This way.<\/dialogue>\n    <scene_description>He motions Kiernan towards the hall. Kiernan wants to ignore Bryce, but knows he's right. As they head down the SECOND-FLOOR HALLWAY Bryce keeps an eye on Kiernan's limp.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>The leg's fine.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>I'll determine that, Mr. Kiernan.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Stop calling me that.<\/dialogue>\n    <scene_description>Bryce watches Kiernan walk -- then nods, satisfied. He picks an apartment halfway down the hall -- KICKS the door open -- they run inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SECOND-FLOOR APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Bryce and Kiernan run straight through the apartment -- a young COUPLE cowers behind the couch, terrified -- Bryce CRASHES through a window, Kiernan follows him --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMELIA'S BUILDING - NIGHT<\/stage_direction>\n    <scene_description>-- no lights or police here; they didn't expect Bryce and Kiernan to come out this way. Both men hit the ground, landing and rolling. Kiernan protects his injured leg. They're back on their feet -- -- and running through the dark, reaching a covering of trees just before the SEARCHLIGHTS sweep over them. Safe -- at least for the moment. Just as he did with Seifert, Bryce starts to run his hands over Kiernan's torso, checking for injuries. But Kiernan freaks when Bryce touches him.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Hey! Hands off, you feck.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>I'm checking if you're hurt.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>If I was hurt, don't you think I could tell?<\/dialogue>\n    <scene_description>Bryce shrugs, relents.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>You got a car?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Yes, but we can't get to it now, thanks to you.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>You know what? I didn't ask you to be here. You are more than welcome to walk away.<\/dialogue>\n    <scene_description>Bryce surveys the scene. All the roads are blocked. POLICE are closing in from everywhere. It looks bad.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Alright. Yes. I think I will.<\/dialogue>\n    <scene_description>Bryce holsters his machinepistols. Straightens his clothes, fixes his tie. He hands Kiernan the five-euro note that Amelia gave him. A refund.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>I wish you the best in all your future endeavors.<\/dialogue>\n    <scene_description>And with that, Bryce simply walks out from under the trees. Hands in the air, heading right for the nearest roadblock. Kiernan watches him go. Good riddance. He starts moving in the other direction, staying low -- -- one of the SEARCHLIGHTS picks up Bryce. A police car and TWO OFFICERS wait at the roadblock. They yell commands in French. Bryce obeys, dropping to his knees.<\/scene_description>\n    <character>BRYCE<\/character>\n    <parenthetical>(I'm not a part of this.)<\/parenthetical>\n    <dialogue>Now the Officers can see Bryce's face under the searchlights. One gets on the radio:<\/dialogue>\n    <character>OFFICER<\/character>\n    <parenthetical>(It's not him.)<\/parenthetical>\n    <dialogue>The helicopter flies away, the SEARCHLIGHT moves off Bryce --<\/dialogue>\n    <dialogue>-- as soon as he's in darkness, Bryce MOVES -- a couple of quick strikes -- in an instant, he takes down both Officers.<\/dialogue>\n    <dialogue>Bryce sees Kiernan heading the other way --<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Excuse me, Mr. Kiernan?<\/dialogue>\n    <scene_description>Kiernan turns back. Sees that Bryce has given them a clear path through the perimeter.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>I was thinking -- if you're interested -- you could come over here and, you know, get away.<\/dialogue>\n    <scene_description>Kiernan swallows his pride. Runs back to Bryce. Bryce hurls a STUN GRENADE away from their position -- the BLAST and LIGHT draw the helicopters, giving them a few more seconds of darkness. They drag the two unconscious Officers out of sight, then get into the police car. Bryce at the wheel.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE CAR - NIGHT<\/stage_direction>\n    <scene_description>Bryce doesn't start the engine right away. He holds out a hand. Kiernan knows what he wants. He grudgingly gives the five-euro note back to Bryce. Hired. Bryce kills the siren lights and headlights. They drive away, a shadow in the dark, unseen by the helicopters. The POLICE swarm Amelia's building, not realizing they've already lost their quarry.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INTERPOL - DEBRIEFING ROOM - NIGHT<\/stage_direction>\n    <scene_description>A room meant to be claustrophobic. Amelia sits at the table across from Casoria. Fowler is here, too. Standing against the wall. Baleful. Casoria pages slowly through a folder. Letting Amelia sweat -- but she's not sweating.<\/scene_description>\n    <character>CASORIA<\/character>\n    <dialogue>I always expected that you would climb the ladder. But it seems you have taken command a bit earlier than I would have liked.<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>Official channels were clearly compromised. I had to use unofficial channels. Sir, if I can continue to overstep my bounds -- you need to take Kiernan's face off the wire. Call off the manhunt. If we find him, so will Demidov.<\/dialogue>\n    <scene_description>Casoria mulls that over. He flips to a page on Janet.<\/scene_description>\n    <character>CASORIA<\/character>\n    <dialogue>You're certain Kiernan will go to the Hague and testify? Given his skillset, won't he simply try to break his ex-wife out of prison?<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>And turn her into a fugitive? Janet is innocent. She married Kiernan not knowing what he really was. He wants her pardoned.<\/dialogue>\n    <character>CASORIA<\/character>\n    <dialogue>Tell me more about these unofficial channels.<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>He's an ex-CIA field operative who now provides personal security to high-value targets.<\/dialogue>\n    <character>CASORIA<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Do he and Kiernan know each other?<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>They've interacted professionally.<\/dialogue>\n    <scene_description>Casoria digests that. Closes his folder.<\/scene_description>\n    <character>CASORIA<\/character>\n    <dialogue>You're on indefinite leave pending a full investigation. You'll surrender your credentials outside.<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>Sir.<\/dialogue>\n    <character>CASORIA<\/character>\n    <parenthetical>(to Fowler)<\/parenthetical>\n    <dialogue>You too. It's simply procedure.<\/dialogue>\n    <scene_description>Fowler is visibly stricken. But he's not about to argue. Casoria motions for Fowler to leave. He does. Casoria leans back in his chair. A little more casual now.<\/scene_description>\n    <character>CASORIA<\/character>\n    <dialogue>Very well. I have decided to do things your way. Since you've given me no other option.<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>With your permission, I'd still like to attend the trial. As a civilian, of course.<\/dialogue>\n    <scene_description>Casoria smiles: she's got moxie. He nods.<\/scene_description>\n    <character>CASORIA<\/character>\n    <dialogue>Amelia, you realize you are going to be telling this story for years. From inside a very large office or a very small cell.<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>Sir, not to make light, but I believe the only way Kiernan and Bryce don't make it to the Hague is if they kill each other.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL PARKING LOT - NIGHT<\/stage_direction>\n    <scene_description>Dark, set back from the road. Bryce stands watch while Kiernan hotwires a nondescript car.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>I would have preferred to transport you in my custom-modified Jaguar XFR, complete with all my weapons and gear. But I'm sure we'll do fine in this 2002 Shitheap.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>This car's in good working order, and it blends in. Deal.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Back roads for a few hours, then the expressway... we'll make the Hague by dawn. For one night, yes, I can deal.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Ah, about that. We can't go to the Hague just yet. First we have to make a quick stop in Amsterdam.<\/dialogue>\n    <character>BRYCE<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm sorry?<\/dialogue>\n    <scene_description>Kiernan tosses Bryce the cell phone he took off the Attacker. Talks casually as he continues hotwiring the car.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Check out the pictures.<\/dialogue>\n    <scene_description>Bryce scrolls through the photos of the church tattoo; the embedded numbers are visible.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>I know how Demidov's teams operate. Those numbers are part of a double- blind encryption system, coded with a substitution cipher. You know what all those words mean?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Funny. The encryption is for...?<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>It lets them change locations of their safehouses without being tracked. The numbers are longitude and latitude down to the tenth. I got the key, broke the cipher -- it's an address in Amsterdam.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Your sleuthing is delightful. But why would we go there?<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Amsterdam's a port city, a hub for Demidov's arms sales. We go to this address, get some evidence against Demidov, and bring it to the Hague.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Evidence? We don't need evidence. We have your testimony.<\/dialogue>\n    <parenthetical>(silence from Kiernan)<\/parenthetical>\n    <dialogue>Your testimony. Against Demidov.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>See, okay. I did jobs for Demidov, but there were always layers between me and him. I don't know enough to put him away. But it was my only shot at getting Janet out, so I had to at least try. But with actual evidence, I won't need to fake it.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Amsterdam. Good town. It'll be fun.<\/dialogue>\n    <scene_description>The ENGINE catches. Kiernan's hotwired it. It takes a lot to make Bryce lose his temper. But this is a lot. He's now on a slow burn.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Ah. Well. This is a fascinating development.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Let me be sure I understand. In addition to the festivities we've already experienced, now you want me to come help you infiltrate the global arms-trafficking operations of Alexander Demidov and the Kajekistani Ministry of War. Yes?<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>I'm not asking you to come. Sure as hell, I don't want you to come. But if I ditched you, you'd hop on the phone to your girlfriend --<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>-- she's not my girlfriend --<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>-- and she'd set Interpol right back on my trail. So I'm stuck with you. Now get in the car.<\/dialogue>\n    <scene_description>Bryce stands there. Thinking it over.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Mr. Kiernan, I am at your service. But let's you and I get very, very clear about one thing: you are not stuck with me. You need me. And you know you need me.<\/dialogue>\n    <scene_description>Now Kiernan's pissed. He gets out of the car.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Oh? Oh, really? Do you not know who I am? Hi. Sean Kiernan.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Who cares? I'm Michael Bryce.<\/dialogue>\n    <scene_description>They're right in each other's face now --<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>I've evaded the authorities for years. All of the authorities. There is not a security force on the planet I haven't beaten. I've killed from miles away, from inches away. Anyone and anywhere.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>I have protected monarchs. I have protected presidents. The U.S. Secret Service has hired me to teach them to be like me. You could populate a small town with the people whose lives I've saved.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>I'll tell you why you need me --<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Yeah, please enlighten me --<\/dialogue>\n    <scene_description>-- Bryce punches Kiernan right in the face.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>That's why.<\/dialogue>\n    <scene_description>Kiernan is laid out on the ground, stunned. He truly did not see that coming.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Hey, are you hurt? Can you tell?<\/dialogue>\n    <scene_description>As Kiernan recovers, so does Bryce -- he realizes that he completely lost it for a moment.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>I was making a point. Granted, that might have been inappropriate.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Oh? Might it have been?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>I sincerely apologize.<\/dialogue>\n    <scene_description>Kiernan gets to his feet. Bryce takes up a defensive stance, expecting an attack.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>No no. I'm not going to retaliate. I'm going to be the bigger man. We've got work to do.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>You're right. Yes. Let's just get on the road.<\/dialogue>\n    <scene_description>As they start for the car -- Kiernan throws a sudden flurry of punches at Bryce. And somehow, Bryce blocks them all. Kiernan is shocked -- his punches don't get blocked often.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>I have this job for a reason.<\/dialogue>\n    <scene_description>Kiernan grins. For the first time, Bryce has impressed him. They head for the car -- both going for the driver's side.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Sorry. The client never drives.<\/dialogue>\n    <scene_description>Kiernan's annoyed. But he goes to the passenger side.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Sit in back, please. It's the safest place in the vehicle.<\/dialogue>\n    <scene_description>Kiernan reluctantly opens the back door. Gets in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STOLEN CAR (MOVING) - CONTINUOUS<\/stage_direction>\n    <scene_description>Bryce pulls out. Kiernan sits silently in back, feeling weird. After a moment:<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Now this is just stupid.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>This is standard protocol.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Do I at least get a coloring book?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>In the event of an attack, you'll get down low between the front and rear seats.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>In the event of an attack, I'll counter-attack and kill everyone.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>No, that's not--<\/dialogue>\n    <scene_description>Tired of the argument, Kiernan settles it by climbing into the front seat. There's an icy silence. Bryce turns on the RADIO. Static.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Can you find a classical station?<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>And why would I do that?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Will you please just look for a classical station? Can you do even one thing that I ask you to do?<\/dialogue>\n    <scene_description>Fine. Kiernan turns the dial. Flips through a few stations. Then he grabs ahold of the radio and RIPS the entire unit out of the dashboard. Kiernan starts tearing the radio apart with his bare hands. Methodically, piece by piece. Bryce just watches him do it. Finally, Kiernan tosses the demolished radio out the window.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>I looked. Didn't find one.<\/dialogue>\n    <scene_description>They drive on in silence.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>My telling you what to do... it's not meant as an insult. I'm simply trying to keep you alive.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I know. And this isn't what you signed up for. But you need to get that I'm not your usual client.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Fair point. We both need to adapt to the situation.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>For starters, stop with the \"Mr. Kiernan\" shite. Call me Sean, I'll call you Mike.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Sean it is. Actually, I prefer Michael. It sounds better.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Does it?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>I'm not religious, but Michael is the archangel of protection. I like the sound of that. It's cool.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Is it?<\/dialogue>\n    <parenthetical>(Bryce looks wounded)<\/parenthetical>\n    <dialogue>You're right. Michael the archangel. It's very cool.<\/dialogue>\n    <scene_description>They drive on in silence.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOWLER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Fowler is on his cell. He's coming unglued.<\/scene_description>\n    <character>FOWLER<\/character>\n    <dialogue>I have gone beyond the limit for you. It's over.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEMIDOV'S CELL - NIGHT<\/stage_direction>\n    <scene_description>Livitin is on his cell. Demidov sits in a chair, reading a newspaper, as though this whole matter is beneath him. INTERCUT<\/scene_description>\n    <character>LIVITIN<\/character>\n    <dialogue>I will double your fee. But nothing gets paid until we have results.<\/dialogue>\n    <character>FOWLER<\/character>\n    <dialogue>I've been frozen out. They're about to investigate. I need to run. So I need money. Now.<\/dialogue>\n    <scene_description>Livitin throws Demidov a look. Demidov takes the phone.<\/scene_description>\n    <character>DEMIDOV<\/character>\n    <parenthetical>(into cell)<\/parenthetical>\n    <dialogue>Agent Fowler. If you are no longer an asset, you are a liability.<\/dialogue>\n    <scene_description>Fowler freezes. Hangs up. Starts throwing clothes in a bag. Grabs his passport. Demidov coolly regards the dead phone. Sets it down. Done packing, Fowler goes to the door -- -- then gets thrown to the ground. TWO MEN. They pin Fowler, one puts a plastic bag over his head -- -- no wasted motion, these guys are pros -- -- a third man, IVANOV, carefully steps over them. He stays out of the way. Letting his men do their job. Ivanov goes through Fowler's things, finds his cell. Fowler stops struggling. Dead. Ivanov dials. Livitin answers.<\/scene_description>\n    <character>IVANOV<\/character>\n    <parenthetical>(Russian)<\/parenthetical>\n    <dialogue>(It's been resolved.)<\/dialogue>\n    <scene_description>They hang up. Ivanov's men -- OLEG and PETR -- put Fowler's corpse in a bag. They leave with the body and the suitcase -- making it look like Fowler ran. END INTERCUT Demidov has returned to his newspaper.<\/scene_description>\n    <character>DEMIDOV<\/character>\n    <parenthetical>(Look what I have been reduced to. Executing functionaries.)<\/parenthetical>\n    <dialogue>Livitin sits. He's not eager to say this to Demidov:<\/dialogue>\n    <character>LIVITIN<\/character>\n    <parenthetical>(We need to seriously discuss our contingency plans.)<\/parenthetical>\n    <character>DEMIDOV<\/character>\n    <parenthetical>(Part of me wants to simply tell the truth. To say yes, I did it. Then I could leave that court with my dignity intact.)<\/parenthetical>\n    <dialogue>Livitin smiles. Shakes his head.<\/dialogue>\n    <character>LIVITIN<\/character>\n    <parenthetical>(As your lawyer, I would prefer you didn't.)<\/parenthetical>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRYCE &amp; KIERNAN'S CAR (MOVING) - NIGHT<\/stage_direction>\n    <scene_description>Road trip. This is when most people would make small talk. But the car is silent. The French countryside rolls away in the darkness. Kiernan is antsy. He wants something to do.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Do you need to talk? To stay awake, I mean.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>I'm fine, thank you. I can stay awake under my own power.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Alright. But it's a long drive. And this car's got no radio.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>How did you get into this work? I mean, how does someone decide, I'm going to kill people for a living?<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>That is an excellent question. As a wee lad, many's the hour I wiled away ripping the wings off butterflies and drowning kittens. Then one day it hit me: \"By Jaysus, I could make money at this.\"<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>I didn't mean to imply that you're a psychopath. Necessarily. But it is an unusual career choice.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I fell into it. My father was an arms dealer. I grew up at his side, traveling around the world, hanging out with warlords and guerrilla fighters. Being around all that so young, I picked up things. I started training, got good, got very good. Dad began hiring me out to his clients. It went from there.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Your own father got you into being a hitman? My God, what kind of--?<\/dialogue>\n    <scene_description>A dark look from Kiernan: drop it. Bryce does.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>How I got into protection work is--<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>--oh, I'm bored already. Because the CIA pays for shit and it's a shit life and you don't know if you're on the right side or not. I've got a better question: how come Amelia's not your girlfriend?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>I'd rather not discuss my personal life.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>What? I told you about my father, and that was all sad and weepy.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>There's nothing weepy about me and Amelia.<\/dialogue>\n    <scene_description>Bryce is done talking. Kiernan leans his seat back.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Wake me when you want to switch.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>We're not switching.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Don't be daft. You can't drive the whole night through.<\/dialogue>\n    <scene_description>Kiernan closes his eyes. Silence. Then:<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>What I have with Amelia is great. We have fun when we're together, but there are no strings and we can see other people. Simple as that.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Ah. Ah. But she doesn't see other people, now does she?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>I have no idea.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>She should. I do.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>No you don't.<\/dialogue>\n    <scene_description>Bryce is surprised. And busted.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>I can read people. Helps with the job. So what's your problem?<\/dialogue>\n    <character>BRYCE<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I work in an extremely high-risk profession. Any day, I might not come home. How can I ask someone to make a lifelong commitment to me when I don't know how much longer my life will last?<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>What does she say about that?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>That she knows I will come home. That soldiers get married. Firemen get married. She doesn't say \"married,\" but you know.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>She's not wrong.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>This job is the thing I'm good at. The one thing. I'm not sure I could keep doing it if I had someone waiting at home for me.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>If it makes you feel better... I think you're just okay at your job.<\/dialogue>\n    <scene_description>Bryce laughs. Kiernan closes his eyes. Drifts off. LATER Kiernan's driving now; they've switched. Bryce is in the passenger seat, asleep -- with a machinepistol in each hand.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICC - TRIAL CHAMBER 1 - MORNING<\/stage_direction>\n    <scene_description>Demidov's trial is coming back into session. Three JUDGES in a row on a high bench. Moreno and the other PROSECUTORS settling in. Demidov and Livitin at their own table. SPECTATORS filing into the small public gallery. Headphones for translation placed all around. Amelia takes her seat in the gallery. She watches as Moreno confers with Casoria. Tension is high. No sign of Kiernan. Casoria looks over at Amelia. A dark expression on his face.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMSTERDAM - SPUISTRAAT - MORNING<\/stage_direction>\n    <scene_description>The city's up and awake. Pedestrians, bicycles, even the occasional car. TITLE: Amsterdam, Netherlands Bryce and Kiernan sit at an outdoor cafe at the edge of Dam Square. Bryce with a cappuccino, Kiernan with a black coffee. Bryce has shaved, and he's still immaculate in his overcoat and suit. Kiernan has not shaved. He's changed into new clothes to blend in with the locals, but still looks scruffy. Bryce has PAPERS laid out in front of him -- architectural blueprints, real estate records, government documents, etc. He's doing advance work on -- A two-story home down the block. Unremarkable in this or any other neighborhood. Kiernan keeps an eye on the front door.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>How's that cappuccino?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Mediocre. Outside of northern Italy, no one gets the foam right.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>I hate that.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>That's just coffee in there, right?<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>What's that supposed to mean? Because I'm Irish, you think I'm a boozer?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>I think you're a \"boozer\" because I've heard from many sources that you are. Which I'm sure has no connection to your being Irish.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>I never get pissed on a job. Okay?<\/dialogue>\n    <character>BRYCE<\/character>\n    <parenthetical>(re: paperwork)<\/parenthetical>\n    <dialogue>Nothing out of the ordinary. No modifications on record.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Still no movement out front.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Stay here while I do a pass.<\/dialogue>\n    <scene_description>Bryce gets up -- so does Kiernan. He's coming with.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEHIND SPUISTRAAT 294 - DAY<\/stage_direction>\n    <scene_description>Bryce and Kiernan stand in the alleyway, with a view of the back door. Bryce points his phone at the house.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>No heat signatures. I'll go in first and clear the structure. Once I know it's safe, you can come in.<\/dialogue>\n    <scene_description>As Bryce starts for the back door --<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>You have a lot of experience breaking into places, do you?<\/dialogue>\n    <scene_description>Bryce considers that. He stands to the side, keeping watch. Kiernan examines the back door.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>No cameras, no tripwires, no pressure plates. These boys really want this place to blend in.<\/dialogue>\n    <scene_description>Kiernan balls up his coat and smashes the back windowpane. Reaches in and unlocks the door. Easy enough. Bryce steps forward -- I go in first. Kiernan relents.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPUISTRAAT 294 - DAY<\/stage_direction>\n    <scene_description>The house is sparsely furnished. Everything is orderly and untouched. This looks more like a model home than a place where someone actually lives. Bryce does a sweep through the rooms. Kiernan tries to hang back, but it's not in his nature -- he keeps moving ahead, getting in Bryce's way. They're still working out the kinks. Fortunately, there's no threat in the house. The only remarkable thing is a heavy deadbolt on the basement door. As a loud BUS rolls past outside, Kiernan FIRES a single shot, blowing out the deadbolt. They descend the stairwell into --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT - DAY<\/stage_direction>\n    <scene_description>Virtually the entire basement is glistening WHITE. All the surfaces are surgically clean. The main area is dominated by a full OPERATING ROOM -- surgical table, biomonitor, implements -- they're equipped to perform major surgery down here. A row of empty beds, a generator, stores of food and water. This is a miniature hospital, entirely self-contained.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>If I'd left any survivors in Lyon, they'd be here getting patched up.<\/dialogue>\n    <scene_description>Kiernan starts combing through the basement. Bryce joins him. The men quickly tear the place apart. And... ...they find nothing. There's nothing here that isn't for medical or survival purposes. Kiernan is getting more and more frustrated.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Dammit, dammit...<\/dialogue>\n    <scene_description>Kiernan keeps searching -- going back over places he's already checked. Bryce knows it's hopeless.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>This place has been scrubbed. We should go.<\/dialogue>\n    <scene_description>Bryce moves for the stairs. Kiernan is fuming.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>And do what, then? This is our only lead.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>I guarantee you we activated some sort of alarm when we came in. Think we'll be alone much longer?<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>You're right. Good. Good thinking.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Kiernan checks his gun.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Whoever comes, we kill all but one. We get what we need out of him.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>My job is to keep you alive, I'm not going to let you--<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>--let me? Alive's not good enough. Without evidence, I can do nothing for her.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>We have no idea what's coming. This position is impossible to defend.<\/dialogue>\n    <scene_description>Bryce starts up the stairs, like he's leaving --<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Let's hide upstairs.<\/dialogue>\n    <scene_description>On Kiernan. Good.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPUISTRAAT 294 - FIRST FLOOR - DAY<\/stage_direction>\n    <scene_description>Kiernan and Bryce leave the back and basement doors ajar, then scatter SYRINGES on the ground. Now it looks like junkies broke in and left in a hurry. They take up hiding places, Bryce with a view of the street. They settle in to wait. Nothing yet. Calm before the storm.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Understatement, but you've gone above and beyond. For the court, for your ex. Maybe they'll cut your sentence after all.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Wouldn't count on that. Got a bit of a record, you know.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>If I can ask... what did you tell your wife you did for a living?<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Said I was an intelligence operative. Top-secret and all. She believed me until the day Interpol knocked on our door.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Do you regret it?<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Lying to her? Worst thing I've ever done. Really. Being married to her? Don't regret a moment of that.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Same as you -- in my line of work, I knew I could die any day. So I thought, I'll grab hold of this beautiful thing while I can. Life is short, isn't it? You and I know that better than most.<\/dialogue>\n    <scene_description>Bryce stays with that a moment. Then something out the window catches his eye --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPUISTRAAT 294 - DAY<\/stage_direction>\n    <scene_description>A beat-up van has pulled up out front. Four KAJEKI MEN get out. They're dressed casually, but SUBMACHINE GUNS are visible under their coats.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Four. Coming in.<\/dialogue>\n    <scene_description>Kiernan takes up a firing position. Bryce considers.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>We're in a neighborhood. Gunshots will bring the police.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>What? Now you want to run?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>No. I want to take them without firing shots.<\/dialogue>\n    <scene_description>Kiernan nods. Nice. Let's do it. As the Kajekis come around to the back door, Bryce and Kiernan move into separate rooms. The Kajekis come in through the back, GUNS out. They spot the scattered syringes. Two of the Kajekis start clearing the rooms, like Bryce and Kiernan did. The other two head down to the basement. The first Kajeki checks one room --<\/scene_description>\n    <character>KAJEKI<\/character>\n    <parenthetical>(Russian, subtitled)<\/parenthetical>\n    <dialogue>(Clear.)<\/dialogue>\n    <scene_description>The second Kajeki goes through another --<\/scene_description>\n    <character>KAJEKI 2<\/character>\n    <parenthetical>(Clear.)<\/parenthetical>\n    <dialogue>It's routine, smooth. Bryce and Kiernan signal each other, they'll each take one Kajeki --<\/dialogue>\n    <dialogue>-- now --<\/dialogue>\n    <dialogue>-- Kiernan claps a hand over the first Kajeki's mouth, stabs him with a SCALPEL, heart and throat -- precision strikes -- he's done for --<\/dialogue>\n    <dialogue>-- while Bryce presses the muzzle of his Glock against the second Kajeki's head. Whispers:<\/dialogue>\n    <character>BRYCE<\/character>\n    <parenthetical>(Clear.)<\/parenthetical>\n    <dialogue>Kajeki 2 can tell Bryce is a pro. He calls out:<\/dialogue>\n    <character>KAJEKI 2<\/character>\n    <parenthetical>(Clear. All clear.)<\/parenthetical>\n    <dialogue>Kiernan gently lowers the corpse to the ground. Takes the second Kajeki's gun. Bryce keeps his Glock on him.<\/dialogue>\n    <character>BRYCE<\/character>\n    <parenthetical>(You're lucky you got me.)<\/parenthetical>\n    <dialogue>Bryce and Kiernan consider taking their captive and running for it. But they can hear FOOTSTEPS -- the other Kajekis are already on their way back up.<\/dialogue>\n    <character>KAJEKI 3 (O.S.)<\/character>\n    <parenthetical>(Nothing down here.)<\/parenthetical>\n    <dialogue>Bryce and Kiernan take positions near the stairwell...<\/dialogue>\n    <character>KAJEKI 3 (O.S.)<\/character>\n    <parenthetical>(Taras? Yuri? Are you there?)<\/parenthetical>\n    <dialogue>Bryce nudges the second Kajeki -- TARAS.<\/dialogue>\n    <character>TARAS<\/character>\n    <parenthetical>(Yeah. They must have left.)<\/parenthetical>\n    <dialogue>Kajekis 3 and 4 are almost to the first floor, Kiernan and Bryce move to get clear angles...<\/dialogue>\n    <character>TARAS<\/character>\n    <parenthetical>(Both of them.)<\/parenthetical>\n    <dialogue>Good signal. So much for surprise. Bryce pistol-whips Taras, dropping him --<\/dialogue>\n    <dialogue>-- as 3 and 4 emerge from the basement, SUBMACHINE GUNS coming up --<\/dialogue>\n    <dialogue>-- Kiernan and Bryce are on them, slashing, punching -- wrestling for the guns --<\/dialogue>\n    <dialogue>-- both Kajekis are good fighters, they don't go down fast -- but they do go down. 3 is dead, and as Kiernan slashes 4's throat --<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Get down!<\/dialogue>\n    <scene_description>-- Kiernan dives -- -- Taras has gotten to a loose submachine gun -- FIRING -- -- WHAMWHAMWHAMWHAM -- Bryce and Kiernan take cover --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPUISTRAAT 294 - DAY<\/stage_direction>\n    <scene_description>The front windows of the house SHATTER, blown out by Taras's shots -- PEDESTRIANS duck, bewildered --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPUISTRAAT 294 - DAY<\/stage_direction>\n    <scene_description>Bryce dives out from cover and SHOOTS Taras -- once in each shoulder, wounding him. He kicks Taras's gun away, checks him -- he's bleeding heavily. Starting to fade.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>I need to stop this bleeding. Help me get him downstairs.<\/dialogue>\n    <scene_description>But there's already commotion on the street outside --<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>No time. Got to do it on the move.<\/dialogue>\n    <scene_description>Kiernan hauls Taras to the door as Bryce races down to the BASEMENT and grabs medical supplies, raking bandages and vials into his pockets.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPUISTRAAT 294 - FIRST FLOOR - DAY<\/stage_direction>\n    <scene_description>Kiernan struggles to keep Taras on his feet. Bryce joins them at the door. SIRENS already closing in. Bryce runs out to --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPUISTRAAT 294 - DAY<\/stage_direction>\n    <scene_description>CARS waiting at a light. Most of the vehicles are small and underpowered, but there's a BMW M3 -- -- Bryce aims his machinepistol at the M3's DRIVER.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Out.<\/dialogue>\n    <scene_description>The Driver bails. Bryce takes the wheel.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. BMW M3 (MOVING) \/ AMSTERDAM STREETS - DAY<\/stage_direction>\n    <scene_description>Bryce pulls the car around. Kiernan gets in the back, pulling Taras in with him. As Bryce drives away, Kiernan digs into the medical supplies. Rips Taras's shirt open to treat him. Taras tries to push Kiernan away -- Kiernan calmly holds up his gun in one hand, the bandages in the other.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <parenthetical>(Pick one.)<\/parenthetical>\n    <dialogue>Taras relents. Kiernan starts dressing his wounds.<\/dialogue>\n    <dialogue>They didn't get out of there fast enough -- the POLICE have already locked onto them. TWO CARS in pursuit and closing.<\/dialogue>\n    <dialogue>Bryce tears through the cobbled streets and over the bridges of the Canal Loop -- fast, but not flooring it. Staying in control, trying not to kill any PEDESTRIANS and CYCLISTS.<\/dialogue>\n    <dialogue>In the backseat, Kiernan tries to dress Taras's wounds -- but he's having a hard time with it. Blood everywhere. Bryce sneaks a look in the rearview.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>I realize this goes against your nature, but the idea is to keep the blood inside the body.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>I'm working on it --<\/dialogue>\n    <scene_description>Kiernan glances up -- sees the POLICE CARS closing in --<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Oh Jaysus, maybe try the gas pedal, why don't you?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>It's not a getaway if we crash.<\/dialogue>\n    <scene_description>Kiernan rips open a packet of CELOX (clotting powder) and dumps it over one of Taras's wounds -- Bryce watches --<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Don't just sprinkle it, you've got to pack it in --<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Will you shut up! And stop driving in circles. You stay in one area, the cops will converge --<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>I know what I'm doing --<\/dialogue>\n    <scene_description>Bryce rounds a corner, a POLICE CAR has pulled into the middle of the street ahead of them, blocking the way -- -- Bryce brakes hard.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>No, ram him!<\/dialogue>\n    <scene_description>Bryce ignores Kiernan. Stays on the brake. Once he's almost to a full stop -- he hits the gas again -- -- and drives right into the cop car. At this low speed, it's not a crash; he's just pushing the other car out of the way.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Why ram when you can nudge?<\/dialogue>\n    <scene_description>Bryce pushes through -- they're in the clear again, racing down KERKSTRAAT It's a long straightaway, coming up the Magere Brug bridge. But there are more POLICE CARS bearing down on them.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Think you can drive better? Because I know I can do what you're doing better.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Give me the wheel.<\/dialogue>\n    <scene_description>Bryce opens the sunroof -- throws the car in neutral -- leaps up to give Kiernan space to crawl in below him -- -- now Kiernan has the wheel. And he absolutely floors it. Bryce is almost thrown from the car -- he barely manages to climb into the backseat. Kiernan drives exactly how you'd expect him to. He's fierce. He drives straight at the oncoming cop cars -- then cuts at the last second, weaving around them, blasting down the road. Almost to the Magere Brug -- it's a pedestrian-only bridge, but not today -- Kiernan tears down it -- miraculously not killing anyone -- -- in back, Bryce works on Taras. His hands are sure -- expertly packing in the Celox clotter, applying pressure, and putting on bandages even as the car weaves back and forth. Bryce keeps his head down the whole time -- he's intent on his work, and trying not to watch Kiernan's driving. Kiernan's cleared the bridge -- now he's whipping through the CITY CENTER He keeps the M3 at full speed, barely slowing even at blind curves, with utter faith in his instincts and reflexes. The POLICE CARS are starting to fall behind. Bryce finally looks up -- then looks right back down, shaken.<\/scene_description>\n    <character>BRYCE<\/character>\n    <parenthetical>(to Taras)<\/parenthetical>\n    <dialogue>I can stop your blood loss and sew you up. But it won't matter because we're all going to die.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Not just yet.<\/dialogue>\n    <scene_description>Kiernan cuts down a street -- then has to turn sharply to avoid a LIGHT-RAIL TRAIN as it hums down its track. Kiernan accelerates, driving parallel to the train, the pursuing CARS right behind them. And up ahead -- -- stalled TRAFFIC. No way to get around it. Kiernan GUNS the engine, straight towards the stopped cars -- -- he's racing to get past the train -- the gap is narrowing, there's just a sliver of daylight -- -- Kiernan torques the wheel, cuts right across the front of the train -- to the other side, clear -- -- leaving the police cars behind. Cut off by the train. Kiernan watches the rearview. No pursuit. Bryce checks Taras. Wounds dressed, pulse steady. They did it. Kiernan reaches back his hand. Bryce resists for a moment, then slaps it. High five.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABANDONED BUILDING - DAY<\/stage_direction>\n    <scene_description>Busted windows. Dust on the floor. Taras tied to a chair. Kiernan's handling the interrogation. Bryce sits by the wall, trying his best to get Taras's blood out of his clothes. He wants no part of this. Kiernan paces in front of Taras. Just warming up.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <parenthetical>(How's your English? I have a lot of bad memories in Russian.)<\/parenthetical>\n    <character>TARAS<\/character>\n    <dialogue>English fine.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Nothing to this. I want to know where Demidov's operating from, and what I'll find when I get inside. That's it.<\/dialogue>\n    <scene_description>He gestures to the table. The rest of the medical supplies that Bryce gathered are laid out.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Tell me what I want, and my friend here will shoot you up with a very nice psychotropic cocktail. You'll see pretty pictures for a few days, then wake up in a hospital bed, good as ever.<\/dialogue>\n    <scene_description>Kiernan pulls out a pen and paper. Ready to take it all down.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>But if anything you tell me is wrong, I'll know where to find you. English fine. Let's have it.<\/dialogue>\n    <scene_description>Taras is silent. Not going to be that easy. Kiernan stands. Starts to unbutton his shirt.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>I travel a lot for work. Been all over the world. I've got souvenirs.<\/dialogue>\n    <scene_description>Kiernan pulls off his shirt. As we already know, Kiernan is in phenomenal physical shape. But now we're seeing something else -- the gallery of SCARS that blanket his torso. These are not battlefield scars. Burns, electrical scars, gashes, gouges... every single one looks like it was slow and excruciatingly painful.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <parenthetical>(points to a scar)<\/parenthetical>\n    <dialogue>This one I got from the FARC rebels in Colombia. I was their guest for a couple very long weeks.<\/dialogue>\n    <parenthetical>(another scar)<\/parenthetical>\n    <dialogue>This one is from some Congolese gentlemen.<\/dialogue>\n    <parenthetical>(another scar)<\/parenthetical>\n    <dialogue>North Korean special intelligence. A lot of pent-up anger in that country.<\/dialogue>\n    <parenthetical>(another scar)<\/parenthetical>\n    <dialogue>Irish Republican Army, if you can believe it. Total misunderstanding. They took me out for pints after. Good lads.<\/dialogue>\n    <scene_description>Kiernan's not explaining what exactly was done to him -- he doesn't need to.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <parenthetical>(another scar)<\/parenthetical>\n    <dialogue>This one... I don't even remember. How about that?<\/dialogue>\n    <scene_description>Kiernan moves close to Taras. Stare-down.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>You want some souvenirs, too? You can take a world tour, right here in this chair. Or talk to me.<\/dialogue>\n    <scene_description>Bryce goes to the door. He cannot watch this. But Taras decided to cooperate a few scars ago.<\/scene_description>\n    <character>TARAS<\/character>\n    <dialogue>Demidov still controls the Ministry of War. He is making a big weapons sale. Soon. I don't know who the buyer is. They keep it very quiet. There is a warehouse in Houthaven port. I tell you exactly the place.<\/dialogue>\n    <scene_description>Bryce eases back into the room. Kiernan takes a seat, pencil and paper at the ready.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICC - HALLWAY - DAY<\/stage_direction>\n    <scene_description>The trial is in recess. Demidov waits on a bench. Livitin comes up to him, holding a PHOTO. It's a still from a security camera. A shot of Kiernan and Bryce tearing apart the basement on Spuistraat -- Kiernan's face is clearly visible.<\/scene_description>\n    <character>LIVITIN<\/character>\n    <parenthetical>(I think he wants payback before he testifies. Your men went after him, now he's coming after your men.)<\/parenthetical>\n    <dialogue>Demidov studies the photo.<\/dialogue>\n    <character>DEMIDOV<\/character>\n    <parenthetical>(Fortunately, I have many men.)<\/parenthetical>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUTHAVEN PORT - DAY<\/stage_direction>\n    <scene_description>Kiernan observes a warehouse through binoculars. THE WAREHOUSE is eight stories tall. One side opens directly onto the expanse of the North Channel, with a wet dock. Kiernan can see numerous GUARDS carrying assault weapons. They're all wary, on alert. Kiernan lowers the binoculars. He's seen all he needs to.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Our boy steered us right. Give him his reward.<\/dialogue>\n    <scene_description>They've switched cars again -- something nondescript. Bryce pops the trunk. Taras is inside, bound and gagged. Bryce preps an injection for him.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>We just hit their safehouse. They'll have their guard up.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Know who else had their guard up? Everyone I've ever killed.<\/dialogue>\n    <scene_description>Kiernan gets in the car. As Bryce slides the needle into Taras's arm --<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>My friend, you are going to enjoy the next few days considerably more than I will.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EMERGENCY ROOM - DAY<\/stage_direction>\n    <scene_description>Bryce and Kiernan lay Taras on the ground. He's unconscious, twitching like he's dreaming. They get back in the car.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR (MOVING) - DAY<\/stage_direction>\n    <scene_description>Kiernan's driving. Bryce is still unsettled. Kiernan sees it.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>I wasn't going to do anything to that guy. Wasn't necessary.<\/dialogue>\n    <character>BRYCE<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>During my CIA training, they put us through simulated interrogations. It wasn't my favorite.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>What happened? Did you break?<\/dialogue>\n    <character>BRYCE<\/character>\n    <parenthetical>(yes)<\/parenthetical>\n    <dialogue>I've endured plenty of pain in combat. Being tortured is... different.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <parenthetical>(changing the subject)<\/parenthetical>\n    <dialogue>To get into that warehouse, we'll need to gear up in a serious way. My Amsterdam storehouse is blown.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Mine's not.<\/dialogue>\n    <scene_description>On Kiernan, surprised.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRYCE'S STORAGE FACILITY - DAY<\/stage_direction>\n    <scene_description>Bryce unlocks the unit, codes-out the alarm. Kiernan follows him in. Bryce hits the lights, revealing -- -- his own personal armory. An array of GUNS, WEAPONS, and other EQUIPMENT, all carefully laid out. Kiernan walks through. Impressed -- and annoyed.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>You didn't think to mention this earlier? Say, before we walked into that safehouse?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>If we had needed to retreat and resupply, I would have said so.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I felt strange about letting a hitman browse through all my gear. But go on, have a look.<\/dialogue>\n    <scene_description>Bryce hits a button -- classical MUSIC fills the storehouse. Kiernan throws him a look, annoyed. Kiernan goes through the inventory. Weapons, medical equipment, surveillance gear, GPS tracking systems... Kiernan evaluates it all with an expert's eye. Bryce unlocks a case holding a SECURE PHONE. He dials.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICC - HALLWAY - DAY<\/stage_direction>\n    <scene_description>Amelia, despondent, walks into the courtroom with the other SPECTATORS. Her phone BUZZES -- unknown number.<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>Ryder.<\/dialogue>\n    <character>BRYCE (ON PHONE)<\/character>\n    <dialogue>Hey, Ryder. Get to a hardline. Leave the number on my voicemail.<\/dialogue>\n    <scene_description>Bryce's voice -- thank God. But Amelia forces herself to look casual. She hangs up and starts down the hall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRYCE'S STORAGE FACILITY - DAY<\/stage_direction>\n    <scene_description>Bryce hangs up, then opens a cabinet -- several SUITS and OVERCOATS hang there, all cleaned and pressed.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Seriously?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>I'm in an image business.<\/dialogue>\n    <scene_description>As Bryce starts changing into fresh clothes, he eyes Kiernan, who looks as scruffy as ever.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>If you want to spruce up for court, I might have something in your size. Could help make a good impression on the judges.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Ah, not much for the fancy stuff.<\/dialogue>\n    <scene_description>Bryce pulls off his shirt -- Kiernan spots a small SCAR on his torso.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Tangiers! I did hit you. I knew it.<\/dialogue>\n    <character>BRYCE<\/character>\n    <parenthetical>(busted)<\/parenthetical>\n    <dialogue>You grazed me. Very slightly.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Didn't want to admit it in front of Amelia, did you?<\/dialogue>\n    <scene_description>Bryce shrugs. Kiernan goes back to browsing. He picks up a HANDGUN with an oversized barrel. Next to it are magazines loaded with RUBBER BULLETS.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Rubber bullets? Are you also running a day care?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Nonlethal rounds. For situations where there's a risk of killing civilians.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>You are an archangel.<\/dialogue>\n    <scene_description>Kiernan flips open a RIFLE CASE... and stops cold. He stares into the open case with genuine awe. Inside is a gleaming black SNIPER RIFLE.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>This is a...<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>...a McMillan L15X Super Magnum.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Chambered with three thirty eight Lapua Magnum. Go ahead.<\/dialogue>\n    <scene_description>Kiernan carefully takes the rifle from its case. Fits the scope to the stock. Feels its weight in his hands.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>They only made...<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>...ten of them, before the patent suit from H&amp;K. Tragedy. Finest rifle anyone ever shot.<\/dialogue>\n    <scene_description>The MESSAGE LIGHT on Bryce's secure phone is blinking. He checks his voicemail.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>You take care of this, right? You break it down and re-oil it--?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>--every two months.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Do it every month.<\/dialogue>\n    <scene_description>Kiernan drops a .338 round into the chamber. While he geeks out with the rifle, Bryce dials a number.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICC - SIDE OFFICE - DAY<\/stage_direction>\n    <scene_description>Amelia's alone. Door closed. She picks up in half a ring. INTERCUT AMELIA &amp; BRYCE<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>Are you alright and where the hell are you?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>We're both fine. Slight change of plans, but all is well.<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>Thank God. You're not talking to Amelia now. This is Agent Ryder. Where are you?<\/dialogue>\n    <character>BRYCE<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Amsterdam.<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>Really? That is so wonderful. And how are the hookers, Michael?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Long story. We'll be there soon.<\/dialogue>\n    <scene_description>Kiernan grins -- it's fun watching Bryce take a scolding.<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>There is too much riding on this. I need to know what is going on and I need to be there with you.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Absolutely not. It's too dangerous.<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>The other option is, I tell Casoria to put a red notice out on both of you. That's you on every wire all over Europe. What's it going to be?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Can you put Amelia back on?<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>Michael.<\/dialogue>\n    <scene_description>Bryce gives Kiernan a sour look. He's stuck.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICC - HALLWAY - DAY<\/stage_direction>\n    <scene_description>Amelia emerges from the side office and heads for the exit, slipping through the milling CROWD. No one takes any notice of her, except -- Ivanov. He signals to Oleg and Petr. They start tailing her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICC - TRIAL CHAMBER 1 - DAY<\/stage_direction>\n    <scene_description>Casoria is taking his seat. His cell phone BUZZES. An email from Amelia: \"Trust me for one day more.\" Casoria sees she's not in the gallery. Considers his options. Starts to say something to the AGENT next to him -- then holds off. He settles in to wait. Not thrilled about it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMSTERDAM STATION CENTRAAL - DAY<\/stage_direction>\n    <scene_description>Amelia gets off the NS train. Heads right for the lockers. Oleg and Petr get off the train a few moments after her. They shadow Amelia, switching off to avoid being spotted. They're both wearing earpieces. AT THE LOCKERS Amelia sits on a bench, feels under her seat -- a LOCKER KEY is taped there. She goes to the locker, opens it. Inside: a CELL PHONE. She hits redial.<\/scene_description>\n    <character>KIERNAN (ON PHONE)<\/character>\n    <dialogue>Buy a Metro ticket for the fifty- three line towards Gaasperplas. You need to be on the next train.<\/dialogue>\n    <scene_description>She's already moving -- -- Oleg, seeing Amelia on a cell, pulls a small DEVICE from his bag. Jacks it into his earpiece. As Oleg scrolls through his display, We HEAR snippets of PEOPLE TALKING -- he's tapping into all the cell-phone conversations around him. His device is an IMSI CATCHER. Oleg keeps scrolling, finds the call he wants:<\/scene_description>\n    <character>AMELIA (ON PHONE)<\/character>\n    <dialogue>I see it. I'm going there now...<\/dialogue>\n    <scene_description>Oleg follows after her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AT THE TICKET KIOSK - DAY<\/stage_direction>\n    <scene_description>Ticket in hand, Amelia rushes towards the network of tunnels leading to the Metro trains. Oleg trails her, farther back in the crowd of TRAVELERS.<\/scene_description>\n    <character>KIERNAN (ON PHONE)<\/character>\n    <dialogue>Take a seat in the center car. You'll lose service. But keep this phone on you.<\/dialogue>\n    <scene_description>As Amelia goes AROUND A CORNER someone falls in next to her -- BRYCE. He puts a finger to his lips. Squeezes her hand, a silent hello. As he leads her towards the wall, he plucks the phone from her hand. Kiernan is still giving instructions:<\/scene_description>\n    <character>KIERNAN (ON PHONE)<\/character>\n    <dialogue>Redial this number at every stop and every time the train goes above ground...<\/dialogue>\n    <scene_description>Bryce drops the phone into a PASSERBY's shoulder bag -- then guides Amelia through a SIDE DOOR -- -- just before Oleg comes around the corner. Oleg scans the crowd -- he's lost sight of Amelia for the moment, but Kiernan's VOICE is still in his ear -- -- Oleg continues walking calmly along.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SERVICE CORRIDOR - DAY<\/stage_direction>\n    <scene_description>Bryce shuts the door. Kiernan is here, on a cell. He continues giving decoy instructions into the phone:<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>...if we haven't made contact again, get off at Gaasperplas. Wait at the south end of the terminal.<\/dialogue>\n    <scene_description>Bryce wands Amelia with an electronic SENSOR -- sweeping for tracking beacons. She's clean. Kiernan dumps the cell. The three of them run down the corridor, vanishing into the bowels of the station.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMSTERDAM STATION CENTRAAL - DAY<\/stage_direction>\n    <scene_description>Oleg and Petr are standing outside the 53 train. Frantically scanning the PASSENGERS -- no Amelia. As the train doors close, Ivanov comes down the escalator. Sees the look of defeat on Oleg and Petr. His eyes narrow.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUILDING UNDER CONSTRUCTION - DAY<\/stage_direction>\n    <scene_description>The Amsterdam outskirts. Skyscrapers going up everywhere. We're in the shell of a new building -- high up, with a stunning view of the old city. The floor is covered with Bryce's usual exhaustive advance work -- architectural blueprints, recon photos, maps, etc. Amelia is more than a little unnerved.<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>Guys... isn't this something you can hand off to the police?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>The prosecution has to rest in two days. To get a warrant, based solely on the word of a runaway hitman, would take months.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>And if Demidov has eyes inside Interpol, you know he's tight with the local cops.<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>Then your plan is to go in, commandeer a couple tanks, and drive them to the Hague?<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>We don't need the weapons. The weapons do nothing for us. We need the paperwork.<\/dialogue>\n    <parenthetical>(off her look, confused)<\/parenthetical>\n    <dialogue>How much do you know about selling arms on the black market?<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>It's not a hobby.<\/dialogue>\n    <scene_description>Kiernan hands her a printout. It's of an official-looking DOCUMENT, adorned with seals and stamps.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>This is an \"end-user certificate.\" These are how weapons move about the world. If Kajekistan wants to sell fifty Stinger missiles to, say, China, that's legal. China just supplies a document certifying they're the end user of the missiles, and the shipment sails right through. But if you want to sell those same fifty Stingers to a bunch of terrorists, that's a bit tougher. You can't hide large-scale arms inside a banana crate, you have to ship them in the open. So you get an end-user certificate from a legit customer -- either forge it or bribe somebody -- and then divert the shipment.<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>So whatever weapons are in that warehouse --<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>-- arrived here with fake end-user certificates. That evidence puts Demidov away.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>It's not glamorous, but it works. Like getting Capone on tax evasion.<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>But they know you're coming.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>They think I'm coming to kill them. They don't know I need evidence.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>They're preparing for a full-on assault. We're just going to slip in and take a few papers.<\/dialogue>\n    <scene_description>Amelia is thinking it over. She pulls Bryce aside.<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>I asked you to help. But now this has gone way beyond. If you're doing it for me... don't.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>I'm doing this because it has to get done.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>I won't let him get hurt.<\/dialogue>\n    <scene_description>That gets a little smile from Amelia. She nods. Okay.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRYCE'S STORAGE FACILITY - NIGHT<\/stage_direction>\n    <scene_description>Kiernan and Bryce preparing for the assault. GUNS and GEAR are spread out everywhere.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>When we get in there, don't expect me to play the client. This is too heavy for me to take a backseat.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Agreed. You and I work pretty well together. That means together. Don't try to do it all yourself.<\/dialogue>\n    <scene_description>They keep working. Checking and rechecking.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMELIA'S HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Nothing fancy. Low-end corporate. A KNOCK on the door. Staccato, like a code. Amelia answers. It's Bryce.<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>I thought you didn't believe in pregame activity.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>I'm just here to talk.<\/dialogue>\n    <scene_description>She lets him in. He's carrying two cans of soda.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>I know this place isn't up to our usual travel standards. But I got you a gift: a blackcurrant soda. A local delicacy, available only in the vending machine down the hall.<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>Ooh.<\/dialogue>\n    <scene_description>They drink. It's awful. They set the cans down.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>And that is why.<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>I shouldn't have forced you to bring me up here. I didn't need to come. But... I did need to.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>I'm glad you're here. I told you I wasn't doing this for you...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm very good at certain things. And very bad at everything else.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I've never told you how much--<\/dialogue>\n    <scene_description>Amelia senses an \"I love you\" coming. She stops him.<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>You're going off to war. You may not know what you're feeling. When this is all over with, if there's something you want to say to me...<\/dialogue>\n    <scene_description>Bryce hauls her in for a kiss. With a sudden, fierce intensity. She responds. They need each other now. He moves her to the bed. She holds him tightly. She doesn't want to say it, but she's afraid for him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUTHAVEN PORT - NIGHT<\/stage_direction>\n    <scene_description>Dead of night. Everything is still. The only activity in the port is at the warehouse -- it's being heavily patrolled by Kajekistani COMMANDOS. Several man the roof, some stand guard outside, we see others in the windows. A formidable defense force. ON THE WATER Several small BOATS are scattered throughout the inlet. Watchposts on the dark water. One boat floats close to the warehouse. Two Kajeki COMMANDOS onboard. One checks the time, gets on the radio:<\/scene_description>\n    <character>COMMANDO<\/character>\n    <parenthetical>(Russian, subtitled)<\/parenthetical>\n    <dialogue>(Position one. All clear.)<\/dialogue>\n    <scene_description>As soon as he clicks off -- THWIP -- THWIP -- two silenced BULLETS, both Commandos fall -- -- Kiernan's head sinks back beneath the surface. THE WAREHOUSE Kiernan and Bryce swim to it, cutting silently through the water. The outer stone of the building is worn and gouged by erosion -- plenty of handholds. Kiernan and Bryce free-climb the structure. Two shadows in black wetsuits. Bryce has a large DUFFEL on his back. They reach a lower window. Kiernan peers in. Dark. He pops the hinge with a small pry bar. Lets the glass panel slide into the water. They're in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE WAREHOUSE - SIDE ROOM - NIGHT<\/stage_direction>\n    <scene_description>They're in a small storage space. Empty. Bryce unzips the waterproof duffel -- it's full of WEAPONS and GEAR. They change into dry clothes and start arming themselves. Heavily. Bryce pulls out a small laptop. He types a few commands -- his screen fills with images from numerous SECURITY CAMERAS. He's hacked into the warehouse's security system. Kajeki COMMANDOS are patrolling everywhere. Looks like there are SEVERAL DOZEN spread throughout the building.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Did they bring the whole country?<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>I'd be insulted if they didn't.<\/dialogue>\n    <scene_description>Kiernan opens the hallway door, just a crack. Bryce checks the camera feed, making sure the doorway is in a blind spot. It is. Bryce and Kiernan watch the movement of the patrols, the patterns. Then they see what they're looking for -- TWO COMMANDOS heading down the hallway towards them. Kiernan moves to the door -- waits --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAREHOUSE - SECURITY ROOM - NIGHT<\/stage_direction>\n    <scene_description>A Kajeki OPERATOR sits at a huge bank of MONITORS. He's watching the same footage as Bryce and Kiernan. We see the two Commandos walk out of frame --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAREHOUSE - HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>-- Kiernan steps into the doorway -- THWIP -- THWIP -- he SHOOTS both Commandos -- they drag the bodies into the SIDE ROOM Bryce and Kiernan put on the Commandos' coats and hats, and take their radios. A few more clicks on the laptop -- now the SECURITY FEED is transferred to Bryce's PHONE. They'll have eyes on the whole building as they move. They head into the empty hallway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SECURITY ROOM - NIGHT<\/stage_direction>\n    <scene_description>To the Operator, it all appears normal. Bryce and Kiernan, now wearing the Commandos' clothes, look like just another patrol team moving down the hall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAREHOUSE - CORRIDORS - NIGHT<\/stage_direction>\n    <scene_description>Bryce has memorized the building's layout, and he can watch the other patrols on his phone. He and Kiernan slip through the warehouse, changing directions and ducking into side rooms to avoid running into anyone. It's not easy -- the warehouse is crawling with COMMANDOS -- but so far, so good. Bryce opens an old FUSE BOX and clips a small ELECTRONIC DEVICE to the switches. Then they head into --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRWELL - NIGHT<\/stage_direction>\n    <scene_description>Cameras on every landing. Fewer outs now. They quickly climb a few floors. Bryce keeps an eye on the security feed -- problem -- -- two COMMANDOS are about to enter the stairwell a few floors above them -- -- Bryce yanks Kiernan through a doorway --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOURTH FLOOR - NIGHT<\/stage_direction>\n    <scene_description>An exposed walkway; they stand back out of sight. They can see more patrolling COMMANDOS, mostly on the lower floors. Now they also have a view of the cavernous interior of the warehouse -- -- and the huge cache of WEAPONS arrayed on the bottom level. Mostly large sealed CRATES, but we can see a few surface-to- air MISSILE LAUNCHERS and several FAST-ATTACK VEHICLES -- open jeeps with machine guns mounted on them. There are also rows of EXPLOSIVE ORDNANCE, heavy SHOULDER-MOUNTED WEAPONS... ...Bryce keeps watching his phone -- bigger problem -- -- more COMMANDOS are about to come around the corner -- the two Commandos on the stairs are heading down to their floor -- they're going to be boxed in. They slip back into the stairwell, the least bad option --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRWELL - NIGHT<\/stage_direction>\n    <scene_description>The two Commandos come down the stairs. Bryce and Kiernan lower their heads and walk by, mumbling a greeting -- -- the Commandos nod hello and walk past, it worked -- -- no, it didn't. The second Commando turns back, wanting a better look, going for his radio -- -- a KNIFE appears in Kiernan's hand, Bryce hits a button on his phone --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FIRST-FLOOR HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>The fuse box that Bryce rigged -- a tiny POP from within -- the LIGHTBULBS along the hall flash and EXPLODE --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SECURITY ROOM - NIGHT<\/stage_direction>\n    <scene_description>The FLASH of the exploding bulbs draws the Operator's eye to that screen, so he's not watching --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRWELL - NIGHT<\/stage_direction>\n    <scene_description>-- Kiernan quickly kills both Commandos. Bryce and Kiernan each grab a corpse and haul them up a few more steps to --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FIFTH FLOOR - NIGHT<\/stage_direction>\n    <scene_description>They dump the Commandos' bodies in a blind spot. Glassed-in offices ring the perimeter of the warehouse, connected by walkways. Bryce and Kiernan head for a small office. They're almost running now.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SECURITY ROOM - NIGHT<\/stage_direction>\n    <scene_description>The Operator scans the hall where the light bulbs popped. He completely missed Bryce and Kiernan killing the Commandos.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FIFTH-FLOOR OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Bryce and Kiernan slip inside. A couple of desks and a heavy SAFE in one corner. Jackpot. Kiernan quickly examines it. Bryce stands guard, checking his phone -- -- two more COMMANDOS have entered the stairwell where they just killed the other two. Bryce can only watch as they take a look around --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRWELL - NIGHT<\/stage_direction>\n    <scene_description>Bryce and Kiernan cleared the bodies, so the Commandos don't see anything unusual. But as they start down the stairs -- -- one notices a dark stain on the floor. He touches it -- -- fresh blood. He fumbles for his radio.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FIFTH-FLOOR OFFICE - NIGHT<\/stage_direction>\n    <scene_description>The radios Bryce and Kiernan took off the Commandos start CRACKLING. Yelling in RUSSIAN, overlapping voices. They just got made. Bryce hits a button on his phone --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SECURITY ROOM - NIGHT<\/stage_direction>\n    <scene_description>On the MONITORS, we see COMMANDOS racing around -- the whole warehouse is going into battle mode. Then -- all the screens go BLACK. Bryce just killed their feed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAREHOUSE - GROUND FLOOR - NIGHT<\/stage_direction>\n    <scene_description>Ivanov is here among the crates, flanked by Oleg and Petr. As the ALARM sounds, he gets very still. Thinking, calculating.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FIFTH-FLOOR OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Kiernan has checked out the safe --<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>This would take hours to crack. Going to have to blow it.<\/dialogue>\n    <scene_description>Bryce doesn't like that, but there's no choice. Kiernan packs C-4 EXPLOSIVE around the safe's hinges -- they stand back -- -- BOOM. ON THE LOWER FLOORS There was no missing the EXPLOSION. The Commandos zero in on Kiernan and Bryce.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FIFTH-FLOOR OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Bryce extinguishes the last of the FLAMES -- Kiernan kicks away the charred, mangled door -- digs through the safe --<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Got em. Got em.<\/dialogue>\n    <scene_description>Kiernan pulls out a sheaf of documents -- END-USER CERTIFICATES, like what he showed Amelia. He flips through --<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>We're good?<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>We're perfect.<\/dialogue>\n    <scene_description>Kiernan opens a thin METAL CASE -- slips the certificates inside, then straps it to his chest. They move back into the HALLWAY and dump their silenced weapons. Bryce draws his machinepistols, and Kiernan hoists a SUBMACHINE GUN. The stealth portion of the evening is now over. They encounter resistance right away. Several COMMANDOS pour out of the stairwell -- -- but Bryce is still wired into the security cameras through his phone, he can see the attacks coming -- -- he and Kiernan tear the Commandos apart. Once everyone is dead, they step over the bodies and run into the STAIRWELL both FIRING, dropping more Commandos. Then it gets quiet for a moment. The rest of the Commandos haven't gotten to them yet. And Bryce and Kiernan -- -- do nothing. They're on the fifth floor of an eight-story building, with several dozen armed men racing up towards them, and -- -- they just wait. They calmly reload, listening to the FOOTSTEPS pounding up towards them, getting closer... and... now. Bryce and Kiernan run up the stairs --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EXIT STAIRS - NIGHT<\/stage_direction>\n    <scene_description>They're one flight below the roof. Kiernan lays more C-4 EXPLOSIVE at the base of the final staircase. He and Bryce run up to the<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOP - NIGHT<\/stage_direction>\n    <scene_description>and get the drop on the two COMMANDOS still at their posts, killing them both. They're alone on the roof. But not for long, because the Commandos are almost to the final stairwell -- -- Kiernan pulls out a DETONATOR, punches the button -- -- BLOWING THE STAIRCASE beneath them. There's no way to get onto the roof now. Or to get off it. The BOATS have drawn in closer -- their SEARCHLIGHTS illuminate the inlet. A water escape's no good. But Bryce and Kiernan are already running to the other side of the building -- solid ground below. They put on CLIMBING HARNESSES, uncoil ROPES, and fix an ANCHOR into the roof.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAREHOUSE - NIGHT<\/stage_direction>\n    <scene_description>Ivanov was in the crowd of Commandos going for the roof -- as the SMOKE clears from the explosion, his Commandos are confused, YELLING --<\/scene_description>\n    <character>IVANOV<\/character>\n    <parenthetical>(Quiet! Everyone quiet.)<\/parenthetical>\n    <dialogue>He listens. Nothing.<\/dialogue>\n    <character>IVANOV<\/character>\n    <parenthetical>(No helicopter... everyone get to the windows.)<\/parenthetical>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WAREHOUSE - NIGHT<\/stage_direction>\n    <scene_description>Bryce and Kiernan RAPPEL down the face of the building. Bryce is harnessed with his back to the ground, Kiernan is facing the ground -- between them, they have a 360-degree range of fire. COMMANDOS begin appearing at the windows, trying to get a lock on their position -- Bryce and Kiernan open FIRE at every face that emerges -- it's vertical Wack-A-Mole. They've dropped their ropes directly between windows, so the Commandos can't reach them. Then the recoil from a burst pushes Kiernan too close to a window -- just as a COMMANDO leans out -- Kiernan knocks the Commando's gun aside -- -- but the Commando grabs onto Kiernan -- he's trying to tear Kiernan's hands off the rope, sending him into free-fall -- -- Bryce laying down COVER FIRE -- -- Kiernan has to let go of his GUN -- it clatters all the way to the ground as he wrestles with the Commando -- he's barely hanging on -- -- Kiernan clamps down on his descender, locking himself in place on the rope -- has both hands free now -- -- he grabs the slack rope beneath him, wraps it around the Commando's neck -- hauls him out of the window -- -- Kiernan THROTTLES the Commando with his climbing rope. The Commando goes limp, his neck broken -- -- Kiernan lets the body fall to the ground.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Coming to you!<\/dialogue>\n    <scene_description>Bryce throws Kiernan a fresh SUBMACHINE GUN. Kiernan plucks the weapon out of the air, is FIRING a quarter-second later. As Bryce continues his descent -- a sudden JERK on his rope. He looks up -- AT A WINDOW high above him, another COMMANDO has climbed out on the ledge, he's cutting through Bryce's rope -- -- Bryce FIRES -- killing the Commando -- the body falls straight towards him, Bryce swings to dodge -- his rope is now FRAYING where the Commando cut it. Almost gone -- -- Bryce swings to a ledge, scrambling for a firm grip -- just as his rope BREAKS -- -- Bryce FALLS -- catches himself on the ledge -- slowly pulling himself up -- -- another COMMANDO bursts into the room Bryce is hanging outside of -- Bryce drops back down, dangling from the window, making himself a small target -- -- the Commando runs to the window and leans down, FIRING -- but Bryce isn't there. Bryce is now standing on the ledge, off to the side -- he SHOOTS the Commando point-blank. Bryce climbs back INSIDE He uncoils a fresh rope, secures it to a pipe, hooks in -- ready. He swings back OUTSIDE He and Kiernan continue their descent, side-by-side -- then a sudden TUG on Kiernan's rope -- they look up -- -- now Kiernan's rope is being cut, by another COMMANDO.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>To me!<\/dialogue>\n    <scene_description>Bryce swings towards Kiernan, Kiernan towards him -- -- as Kiernan's rope is sliced clean through -- Kiernan is free in space, he jumps for it, pushing off the building -- -- and catches ahold of Bryce's rope. Kiernan's hanging just above Bryce, but he's not hooked in. It's only a few more stories to the ground --<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Go?<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Go!<\/dialogue>\n    <scene_description>-- Bryce unhooks himself, too -- -- they FAST-ROPE straight down -- a pure free-fall, with just the friction of their bodies on the rope to slow them. Bryce lands first, clears the ground for Kiernan. He hurls a STUN GRENADE into the air -- it detonates, blinding the Commandos at the windows -- -- as Kiernan lands, a little too hard, on his bad leg -- -- Kiernan gets up limping, but he can still move. They run along the side of the warehouse, into the darkness --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FIFTH-FLOOR OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Far from the combat, Ivanov runs into the office. He sees the exploded safe, the scattered papers -- realization hits. He knows what they came here for.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUTHAVEN PORT - NIGHT<\/stage_direction>\n    <scene_description>Bryce and Kiernan run away from the warehouse, towards a high fence. Beyond it, the outer ring of the AMSTERDAM CANALS -- -- and Amelia, waiting in a SPEEDBOAT. Bryce has a few steps on Kiernan -- he scales the fence, perches on top, turns around -- -- and FIRES on the Commandos pouring out of the warehouse. Kiernan gets to the fence. Tries to climb -- can't. His leg won't take the weight. Bryce reaches his hand down -- Kiernan's about to grab it, but then he sees -- ON THE WATER The Kajekis' SPEEDBOATS are roaring out of the inlet, heading for the canals. The speedboat escape won't be a clean getaway. AT THE FENCE Kiernan watches the boats close in. He pulls his hand back. He's not going over the fence.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>What are you doing--?<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Draw them away from me. I'll meet you at the rendezvous.<\/dialogue>\n    <scene_description>Kiernan's serious, he's going to run for it on his own --<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Sean, no--!<\/dialogue>\n    <scene_description>The Commandos running out of the warehouse are closing in, FIRING -- Bryce is an easy target up on the fence. He jumps down, landing on the canal side. Bryce and Kiernan face each other across the fence. A final moment before they split up.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>We have a speedboat. You're on foot. At least give me the case.<\/dialogue>\n    <scene_description>Kiernan unstraps the case, almost throws it over -- doesn't.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>I'll make it.<\/dialogue>\n    <scene_description>Kiernan tucks the case under his arm. Runs. Bryce doesn't waste time on anger. He runs to the<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CANAL - NIGHT<\/stage_direction>\n    <scene_description>and leaps into the speedboat. Amelia guns the ENGINE --<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>He's got the certificates.<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>Where the hell is he going?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>I'll tell you in a second.<\/dialogue>\n    <scene_description>Bryce opens a compartment, pulls out a GPS TRACKER -- we saw it in his storage unit. He powers it up.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>I put a beacon on him in case he did something incredibly stupid. Like exactly this.<\/dialogue>\n    <scene_description>Bryce takes the helm. Turns them to follow Kiernan.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMSTERDAM STREETS - NIGHT<\/stage_direction>\n    <scene_description>Kiernan knifes through the narrow streets, trying to disappear into the city. If he was healthy, he could do it -- but now he's down a step. FOOTSTEPS and car ENGINES are all around him. The Commandos closing in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPEEDBOAT (MOVING) - NIGHT<\/stage_direction>\n    <scene_description>Bryce tries to stay close to Kiernan, following the BEACON display on his tracker. But the two KAJEKI SPEEDBOATS are coming up from behind --<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Get down!<\/dialogue>\n    <scene_description>Amelia hits the deck as GUNFIRE from the pursuing boats caroms off the canal walls. Bryce evades, whipping under a bridge. He rips something from his belt -- chunks of C-4 and DETONATORS.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Rig these.<\/dialogue>\n    <scene_description>As Amelia jams a detonator into each chunk of C-4 --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMSTERDAM STREETS - NIGHT<\/stage_direction>\n    <scene_description>Kiernan runs up a staircase, starts racing across the ROOFTOPS The Commandos are everywhere, swarming, trying to get a bead on him from the street. Kiernan ignores the pain -- through sheer force of will -- somehow, he's almost at a full sprint.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CANALS - NIGHT<\/stage_direction>\n    <scene_description>Bryce is still cat-and-mouse with the Kajeki speedboats. Amelia's wired each chunk of C-4 with a detonator. They're coming up on a tight turn -- a line of ROWBOATS is tied up by the wall.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Throw them in.<\/dialogue>\n    <scene_description>As Bryce whips through the turn, Amelia hurls chunks of C-4 into the empty boats. Bryce grabs the REMOTE DETONATOR -- as the pursuing boats come around the turn, he hits the button -- -- all the C-4 charges go off at once. The BLAST engulfs the pursuing speedboats -- -- both Kajeki boats are now dead FIREBALLS on the water. Bryce checks the tracking beacon. He guns the engine -- back in pursuit of Kiernan.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOPS - NIGHT<\/stage_direction>\n    <scene_description>Kiernan comes to a gap in the roofs, he'll have to jump it -- he forces himself to sprint even faster, ignoring the pain -- -- Kiernan reaches the edge of the roof, springs off, JUMPS -- -- and makes it. Just barely. He almost cries out from the pain in his leg -- but he's still going.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CANALS - NIGHT<\/stage_direction>\n    <scene_description>Bryce checks the beacon -- Kiernan's close. He brings the boat to a stop by the wall.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Get clear of here. We'll meet you at the rendezvous.<\/dialogue>\n    <scene_description>Bryce climbs onto solid ground. Amelia takes the helm and speeds off into the darkness. Bryce runs down the street, GPS tracker in hand. Hunting.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOPS - NIGHT<\/stage_direction>\n    <scene_description>Kiernan, still going. He comes to another gap in the roofs, makes another jump -- -- but as he's in midair -- ON THE STREET BELOW -- Petr is there, waiting, he has a clear shot, FIRES -- -- the BULLET tears into Kiernan's arm, the one holding the metal case -- -- Kiernan lands on the far roof, he made it -- but the impact JARS THE CASE LOOSE -- -- Kiernan is still rolling forward, the case is sliding away from him, he tries to turn, counter his momentum -- -- the case now skittering towards the edge of the roof -- -- Kiernan diving for it -- almost to it -- -- no -- -- THE CASE GOES OFF THE ROOF. Kiernan runs forward, peers over the edge -- and almost gets torn apart by a fusillade of BULLETS from below. The case has fallen into a group of COMMANDOS. They unload on Kiernan -- it's a wall of lead. Nothing he can do. More Commandos are racing across the rooftops, closing. Kiernan runs to another edge of the roof, leaps onto a BALCONY with a view of where the case fell. Petr has already scooped it up -- throws it into a waiting SUV -- the ENGINE guns -- -- gone. The case is gone. Kiernan just stands there. Shattered. Oblivious to the danger around him. For the moment, he just does not care.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUV (MOVING) - NIGHT<\/stage_direction>\n    <scene_description>Ivanov is in the back seat. He opens the case. Flips through the end-user certificates. On his cell:<\/scene_description>\n    <character>IVANOV<\/character>\n    <parenthetical>(I've recovered the items.)<\/parenthetical>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVITIN'S HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Livitin, on his cell.<\/scene_description>\n    <character>LIVITIN<\/character>\n    <parenthetical>(Now clear the warehouse. And get both men. I want this done with.)<\/parenthetical>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAREHOUSE - NIGHT<\/stage_direction>\n    <scene_description>KAJEKIS are securing the weapons for transport. Loading them onto trucks. Frantic, working double-time.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOPS - NIGHT<\/stage_direction>\n    <scene_description>The Commandos race to the edge of the roof, reaching the BALCONY where we last saw Kiernan. But now he's gone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMSTERDAM STREETS - NIGHT<\/stage_direction>\n    <scene_description>Kiernan hobbles down the street, making his escape. Numb. He stops. Leans against a building. Even with his phenomenal conditioning and pain tolerance... he's spent. SIRENS, but far away. And no sign of the Commandos. There's a church across the street. Kiernan tries the door. It's open. He goes in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - NIGHT<\/stage_direction>\n    <scene_description>Kiernan's not a religious man. Just needs a quiet place. He sits in a back pew. Stares at nothing. Closes his eyes. When he hears a GUN being cocked, he doesn't even react. Maybe he's hoping it's over. Bryce has come in. Kiernan is mildly surprised to see him. Bryce is about to ask -- but he can see Kiernan's empty hands. The expression on his face. The question isn't even necessary. Bryce sits. Both men are on empty.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>By now, they've rolled up the whole operation. Cleared the warehouse.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>That was our shot.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Yeah. How did you find me?<\/dialogue>\n    <scene_description>Bryce touches the back of his neck. Kiernan reaches -- finds the tiny TRACKING BEACON hooked into the back of his shirt. A tired smile from Kiernan. It's almost funny to him.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>What now? Do you testify?<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Might as well. I'll be at the hotel for awhile, working on my leg.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>I'm going to the rendezvous. I need to tell Amelia what's happened.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>I can get to the Hague by myself.<\/dialogue>\n    <character>BRYCE<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Is that how you want it?<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Put you through enough, haven't I?<\/dialogue>\n    <scene_description>Bryce goes to Kiernan. Hands him something: the five-euro note. That's their goodbye. As Bryce heads for the door --<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Michael.<\/dialogue>\n    <parenthetical>(Bryce stops)<\/parenthetical>\n    <dialogue>My life got set on a path early. By the time I was old enough to know what I wanted for myself, I was already a fugitive on three continents. Janet and I never had a chance. My life was always going to catch up to me someday.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You found a good girl. Don't screw it up. That's the last of the moral guidance from Sean Kiernan.<\/dialogue>\n    <scene_description>Bryce leaves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMSTERDAM STREETS - NIGHT<\/stage_direction>\n    <scene_description>Bryce walks through the empty streets. No need to hurry now. On the horizon -- FIRST LIGHT. The city is just starting to glow under the sun. As Bryce takes in the beauty of it all... there's almost no change in his stride or expression -- he's careful not to betray a reaction, but -- he knows he's not alone. The threat is close. Bryce scans the streets and alleys, mapping escape routes. And now -- -- he breaks into a sprint, MACHINEPISTOLS out -- he SHOOTS the two KAJEKIS lying in wait ahead of him -- -- but MORE KAJEKIS pour out of the alleys, he's surrounded -- -- a soft POP, a BUZZ -- Bryce is struck by two TASER DARTS -- he goes down. His guns go flying. SIX KAJEKIS descend on him. Bryce recovers, draws a KNIFE, kills one but then loses his blade, now it's hand-to-hand, Bryce is a blur, a machine -- -- it takes all five Kajekis to finally bring him down. Zipcuffs. Duct tape. Captured. An SUV tears out of the alley, they bundle Bryce inside, flooring it --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUV (MOVING) - CONTINUOUS<\/stage_direction>\n    <scene_description>Ivanov sits across from Bryce. Holding the metal case. Bryce only has a moment to appreciate the irony -- the certificates are right in front of him -- before the hood is pulled down over his head.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUILDING UNDER CONSTRUCTION - MORNING<\/stage_direction>\n    <scene_description>The rendezvous point. Kiernan limps up the stairs. He's carrying a nearly-empty bottle of whiskey. He's hammered.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Hey. Guys? Hello?<\/dialogue>\n    <scene_description>But he's the only one here. To the empty space:<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>I'm sorry. I am really sorry. There, I said it. Can I go now?<\/dialogue>\n    <scene_description>He wanders over to the edge to catch the view. Spots a large PACKAGE tucked behind a pillar, wrapped in plain brown paper. A note on top: \"Sean.\" He opens it, reads: \"I doubt they'll let you keep this in your cell. But I want you to have it. Michael.\" Kiernan unwraps the paper -- it's Bryce's SNIPER RIFLE. Footsteps on the stairs. Amelia.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Ah, Amelia. It's a long story. With an unhappy ending.<\/dialogue>\n    <scene_description>That hits her hard. But even worse --<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>Michael's not with you--?<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>I'm sure he'll be along soon.<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>He's never late. For anything.<\/dialogue>\n    <scene_description>Fear in her eyes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT - DAY<\/stage_direction>\n    <scene_description>The hood is pulled off Bryce's head. A bright LIGHT shines down on him. He's tied to a table, spread-eagle. Ivanov, Oleg, Petr, and a few other KAJEKIS all around him. Ivanov pulls up a chair so they can chat.<\/scene_description>\n    <character>IVANOV<\/character>\n    <dialogue>You know what these are, yes?<\/dialogue>\n    <scene_description>Of course -- Ivanov is holding up the stack of end-user certificates, tucked in the metal case.<\/scene_description>\n    <character>IVANOV<\/character>\n    <dialogue>I believe we have all of them back. Am I correct?<\/dialogue>\n    <parenthetical>(Bryce nods)<\/parenthetical>\n    <dialogue>Good. Then we have only one more small piece of business. Where is Sean Kiernan?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>I have no idea.<\/dialogue>\n    <scene_description>Bryce is a good liar. But not good enough to beat Ivanov.<\/scene_description>\n    <character>IVANOV<\/character>\n    <dialogue>You are Michael Bryce, formerly of the Central Intelligence Agency. I showed your picture to some associates. You are well-known in certain circles.<\/dialogue>\n    <scene_description>Ivanov gestures for Oleg to come over. He's carrying something. Bryce strains, trying to see...<\/scene_description>\n    <character>IVANOV<\/character>\n    <dialogue>I heard a story about you being interrogated.<\/dialogue>\n    <scene_description>Oleg is carrying a CAR BATTERY. Bryce goes white. He's been through this before. He tries to put on a brave face, but finds himself pulling desperately at his bonds.<\/scene_description>\n    <character>IVANOV<\/character>\n    <dialogue>Memories, yes? A bit old-fashioned, but so effective.<\/dialogue>\n    <parenthetical>(Russian, to the others)<\/parenthetical>\n    <dialogue>(This won't take long.)<\/dialogue>\n    <scene_description>The others LAUGH. Bryce's breathing is fast, jagged. He's almost hyperventilating. He knows exactly what's coming. Oleg wraps a leather strap around Bryce's head. Connects the wires at his temples. Two more wires go around his feet. Ready to go.<\/scene_description>\n    <character>IVANOV<\/character>\n    <dialogue>Where is Sean Kiernan?<\/dialogue>\n    <scene_description>Bryce doesn't answer. Trying to prepare himself. Ivanov signals. As Oleg brings the wires to the battery --<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Wait. Wait wait wait.<\/dialogue>\n    <scene_description>Oleg stops. A faint smile from Ivanov.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Kiernan needed the certificates because he has no testimony. Do you understand? He's not dangerous to you now. He doesn't matter.<\/dialogue>\n    <character>IVANOV<\/character>\n    <dialogue>I see. This is good. If Kiernan does not matter, then you can tell me where he is. It's of no concern. So. Where is he?<\/dialogue>\n    <character>BRYCE<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Don't.<\/dialogue>\n    <scene_description>Ivanov signals -- Oleg touches the wires to the battery, COMPLETING THE CIRCUIT -- -- Bryce HOWLS. He shakes and thrashes against his bonds. His body convulses as the CURRENT surges through him. This goes on for some time. At last, Oleg turns off the power. Bryce pulls in huge, teary panic breaths. This isn't a hardened operative absorbing punishment. The agony is instant and overwhelming. Bryce just wants it to stop.<\/scene_description>\n    <character>IVANOV<\/character>\n    <dialogue>Where is Sean Kiernan?<\/dialogue>\n    <scene_description>Bryce almost gives him the answer. He almost does. But he holds back. Ivanov signals -- the CURRENT is turned back on. Bryce SCREAMS. Ivanov watches, impassive. Oleg starts to turn the power off -- Ivanov signals him to keep going. Thin tendrils of SMOKE begin to rise from Bryce's temples. The other Kajekis turn away. Even for them, this is hard to watch. Finally, the power is turned off.<\/scene_description>\n    <character>IVANOV<\/character>\n    <dialogue>Where is Sean Kiernan?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>He's... somewhere safe.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>He's very, very safe.<\/dialogue>\n    <scene_description>Ivanov is surprised. They all are. It looked like this was over. But Bryce just went deeper inside himself. And found something more. Ivanov motions Petr to come over. He's wearing heavy rubber gloves. Carrying something. It's nothing out of the ordinary -- just a plastic bucket, full of WATER. Petr pours out a little so Bryce can see.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Go ahead, asshole.<\/dialogue>\n    <scene_description>Petr DOUSES Bryce with the water -- -- the POWER is turned back on, the CURRENT flows again -- the water conducts it throughout Bryce's body -- -- it's an entirely new level of pain -- SPARKS pop and fly -- -- but Bryce doesn't talk. He doesn't even scream. He simply endures. Lost in the agony, Bryce's vision BLURS. Everything goes fuzzy. He's only dimly aware as a few BURSTS of LIGHT begin to appear at the edges of his vision. They're MUZZLE FLASHES. One, then another, then another... then many more. Bryce doesn't even realize what's happening: KIERNAN IS KILLING EVERYONE IN THE ROOM. Even drunk -- and he most certainly is drunk -- Kiernan's utterly lethal. It doesn't take him long. Kiernan stops firing. He knows he's killed everybody, but for a moment, he's not sure where he is. Bryce is slowly coming back to the world. Now Kiernan is standing over him, undoing his bonds.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>I didn't trust you, either.<\/dialogue>\n    <scene_description>Kiernan pulls something off Bryce's pant leg -- a tiny TRACKING BEACON.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>But damn, I should have.<\/dialogue>\n    <scene_description>Kiernan clasps Bryce's hand. He's holding something -- the five-euro note. He's giving it back to Bryce.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Are you drunk?<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Aye.<\/dialogue>\n    <scene_description>Bryce smiles. He looks off to the side. Kiernan follows his gaze... to the metal case, holding the end-user certificates.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY - DAY<\/stage_direction>\n    <scene_description>Amelia waiting anxiously. Hand on her gun. Bryce and Kiernan stumble out of the building. Not a pretty sight. Kiernan is limping and drunk, Bryce is still weak from the torture. But they're triumphant -- they've got the case. Amelia runs to them. She can see that Bryce has been through something horrible. She looks in his eyes: what happened?<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>They... uh...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>They tore my shirt. I really liked this shirt.<\/dialogue>\n    <scene_description>She embraces him. Gently.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A VAN (MOVING) - DAY<\/stage_direction>\n    <scene_description>They're on their way to the Hague. Amelia's driving. Kiernan is riding shotgun and pounding coffee. Bryce is laid out in back, still recovering. Kiernan flips on the RADIO and finds a classical station. A gesture for Bryce.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Oh, this is a great piece. It's Beethoven's third symphony, the maturation of his middle period. It's also known as the \"Eroica\"--<\/dialogue>\n    <scene_description>Kiernan turns around and stares hard at Bryce: don't push it. Bryce stops talking. To Kiernan, quietly, so Bryce doesn't hear:<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>Thank you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICC - SIDE ROOM - DAY<\/stage_direction>\n    <scene_description>Livitin and Demidov. Livitin closes his cell phone. Furious. Wants to punch the wall.<\/scene_description>\n    <character>LIVITIN<\/character>\n    <parenthetical>(He hasn't gotten here yet. We still have a chance to stop him.)<\/parenthetical>\n    <dialogue>Demidov is calm. And still. A coiled serpent.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE - DAY<\/stage_direction>\n    <scene_description>Bryce and Amelia standing outside the van. They're on a hill overlooking a broad plain. TITLE: The Hague, Netherlands The coastline is visible in the distance. The Hague is dominated by a huge building, angular and gleaming white: The HAAGSE ARC. This is the seat of the International Criminal Court. Blue-helmeted UNITED NATIONS TROOPS have established a security perimeter all around the Arc. Most of the surrounding roads have been closed down. Everything looks quiet. Under control. Bryce has cleaned up and changed into a fresh suit. He's got a FOLDER full of blueprints and building diagrams -- advance work on the Arc. He watches the plain below with binoculars. THROUGH THE BINOCULARS Bryce observes several VEHICLES doing patrols just outside the security perimeter. They're definitely not UN personnel -- KAJEKI COMMANDOS. Demidov's final line of defense. Bryce observes the pattern of the patrols -- in particular, a BLACK VAN with tinted windows. Kiernan climbs out of the van. He's sobered up. Surprisingly, he's now wearing a sportcoat. It looks good -- but he hates it. He rips the coat off. Sticking with his usual look.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Let's go to court.<\/dialogue>\n    <scene_description>Amelia dials a cell phone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAAGSE ARC - HALLWAY - DAY<\/stage_direction>\n    <scene_description>Casoria steps out of the trial chamber to answer his cell.<\/scene_description>\n    <character>CASORIA<\/character>\n    <dialogue>Casoria.<\/dialogue>\n    <scene_description>INTERCUT CASORIA &amp; AMELIA<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>It's Ryder. Call me back from a landline. We need to discuss the plans for my very large office.<\/dialogue>\n    <scene_description>Casoria breaks into a huge grin.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. KAJEKI VEHICLE\/HAAGSE ARC - DAY<\/stage_direction>\n    <scene_description>Two Kajeki COMMANDOS drive slowly down the street in front of the Arc's main entrance. On the adjoining streets, other Kajeki VEHICLES also circle the building. Including the BLACK VAN. They're just waiting. Nothing yet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACK OF A VAN (MOVING) - DAY<\/stage_direction>\n    <scene_description>Amelia is on her cell.<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>We're ready. Go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. KAJEKI VEHICLE\/HAAGSE ARC - DAY<\/stage_direction>\n    <scene_description>Motion -- suddenly, UN TROOPS start massing in front of the main entrance. The Kajekis go on alert. The PASSENGER gets on the radio:<\/scene_description>\n    <character>PASSENGER<\/character>\n    <parenthetical>(Watch the front.)<\/parenthetical>\n    <dialogue>The other Kajeki vehicles begin moving to cut off access to the front. Including the BLACK VAN -- it starts coming around from the side --<\/dialogue>\n    <dialogue>-- but then a UN SUV pulls out in front of it, cutting it off. The black van has been made.<\/dialogue>\n    <character>PASSENGER<\/character>\n    <parenthetical>(into radio)<\/parenthetical>\n    <dialogue>(Careful. Not too close.)<\/dialogue>\n    <scene_description>POLICE CARS are converging on the black van now -- the other Kajekis have to back off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. - BLACK VAN\/HAAGSE ARC - DAY<\/stage_direction>\n    <scene_description>The side door of the black van slides open -- Kiernan and Amelia are in back, along with two bound KAJEKI COMMANDOS. Bryce is behind the wheel. They pulled a switch.<\/scene_description>\n    <character>AMELIA<\/character>\n    <parenthetical>(into cell)<\/parenthetical>\n    <dialogue>Perfect. Thank you, sir.<\/dialogue>\n    <scene_description>The back door of the UN SUV opens -- Casoria is waiting inside. Concealed by the stopped vehicles, Bryce, Kiernan, and Amelia slip out of the black van and climb into the SUV. As the SUV pulls away, POLICE CARS surround the black van, now empty except for the bound Kajekis. The UN Troops -- decoys -- are still massed at the Arc's front entrance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UN SUV (MOVING) - DAY<\/stage_direction>\n    <scene_description>No one talks yet. The SUV pulls right up to the Arc's side entrance, they all get out and rush inside --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAAGSE ARC - CORRIDOR - DAY<\/stage_direction>\n    <scene_description>-- where four armed ICC GUARDS are waiting.<\/scene_description>\n    <character>CASORIA<\/character>\n    <dialogue>Sean Kiernan, welcome to the Hague.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Let's keep moving.<\/dialogue>\n    <character>GUARD<\/character>\n    <parenthetical>(to Kiernan)<\/parenthetical>\n    <dialogue>We won't cuff you just yet, but I have to ask you to disarm.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Absolutely not. Not until we're in the courtroom.<\/dialogue>\n    <character>GUARD<\/character>\n    <dialogue>We can't let him roam the halls--<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>It's fine. I'll disarm.<\/dialogue>\n    <parenthetical>(re: Bryce)<\/parenthetical>\n    <dialogue>If he can keep his weapons.<\/dialogue>\n    <scene_description>Casoria nods. Kiernan gives the Guards his guns and a large DUFFEL BAG holding more weapons -- keeping only the metal case with the certificates. Bryce calls up a BUILDING MAP of the Arc on his phone. He scrolls to show the Guards a route through the building.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Gentlemen, this is the path we'll take to the courtroom. Two front, two back. I'll stay with the principal.<\/dialogue>\n    <parenthetical>(to Casoria and Amelia)<\/parenthetical>\n    <dialogue>Meet you there.<\/dialogue>\n    <scene_description>The ICC Guards fall in under Bryce's command. They move down the hall in formation -- Bryce is at maximum readiness. Bryce is taking them through the Arc's SERVICE CORRIDORS They barrel down the halls, surprising the CUSTODIANS and MAINTENANCE STAFF as they pass. Kiernan lets Bryce go through doors first, stands where Bryce tells him -- Kiernan has become a model client. The trust is there now. So far, no resistance. Now they move into --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAAGSE ARC - STAIRWELL - DAY<\/stage_direction>\n    <scene_description>The Guards open the door. Bryce walks in, motions for everyone to hold. He scans the stairwell. Clear. They escort Kiernan up one flight, then into another CORRIDOR The Guard indicates a door down the hall. Two more GUARDS standing outside it.<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>Almost there.<\/dialogue>\n    <scene_description>Bryce stays on alert, expecting... something. Now they're a hundred feet away. Eighty. Sixty. Forty. The door Guards start to move -- -- Bryce's hands go to his machinepistols -- -- twenty feet -- the Guards swing the door open -- -- Bryce motions everyone to hold. He walks into --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRIAL CHAMBER 1 - DAY<\/stage_direction>\n    <scene_description>The courtroom is packed. The GALLERY, the JUDGES, both sets of ATTORNEYS... everyone's here. So is DEMIDOV, calmly studying his notes. They're all settling in, just back from a break. Bryce came in through a side door -- no one's even noticed him yet. Bryce carefully surveys the scene. Everything is exactly as it should be. They made it. Bryce surrenders his own weapons to the Guards, who put them in a storage locker. They cuff Kiernan, then bring him in. The courtroom goes still. Everyone turns. Demidov looks up. He shows no reaction. Just stares. Kiernan gives the metal case to Moreno at the prosecution table. Moreno opens it, flips through... ...and leaps to his feet. He wants a sidebar. Now. As the lawyers and judges confer, Kiernan is escorted to a chair behind the prosecution table. Casoria and Amelia have come in as well. Casoria shakes Bryce's hand.<\/scene_description>\n    <character>CASORIA<\/character>\n    <dialogue>Many thanks. Perhaps we will be able to work with you again in the future. We should discuss.<\/dialogue>\n    <scene_description>Bryce nods. Sure. Then he takes a seat next to Kiernan. Neither man speaks for a moment. They can't quite believe they're really here. The effort of the last few days is suddenly catching up to them.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Been meaning to tell you something.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>I'm sorry that I killed so many of your clients over the years.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Oh. Thank you.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>\"So many\"? You mean, a few.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Mmm... more than a few.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Well, that's very kind. I've been meaning to tell you something, too.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>You remember Atienza? The guy, I switched vehicles on you...<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>...then I killed him on his yacht.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>I also switched yachts.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Yep. You blew up an empty boat.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You fucker.<\/dialogue>\n    <scene_description>Bryce starts to LAUGH. Kiernan does, too. It's a combination of giddiness and deep exhaustion. They keep laughing -- -- people are starting to turn and look. They're like two kids cracking up in class. They can't help it. Amelia turns and stares: what is wrong with you two? Finally, they settle down. Mostly. The sidebar is over. Didn't go well for Livitin. Back at the defense table, he makes a last-ditch effort:<\/scene_description>\n    <character>LIVITIN<\/character>\n    <dialogue>The defense objects to the introduction of this--<\/dialogue>\n    <scene_description>Out of nowhere, Demidov slams the table, yells --<\/scene_description>\n    <character>DEMIDOV<\/character>\n    <dialogue>No! Enough.<\/dialogue>\n    <scene_description>Livitin knew this was coming. He's done all he can do.<\/scene_description>\n    <character>LIVITIN<\/character>\n    <dialogue>My client wishes to briefly address the court.<\/dialogue>\n    <scene_description>Curious, the lead Judge nods. Demidov rises, satisfied to finally be taking center stage.<\/scene_description>\n    <character>DEMIDOV<\/character>\n    <dialogue>I have spent months sitting in that chair, nodding along with this ludicrous charade. It is a waste of your time, and far more importantly, of mine. With apologies to my excellent attorney, the charges against me are entirely correct.<\/dialogue>\n    <scene_description>A BUZZ in the gallery -- what? He plows ahead:<\/scene_description>\n    <character>DEMIDOV<\/character>\n    <dialogue>I am the ruler of Kajekistan, a sovereign nation of this earth. As the ruler of my nation, I will do as I wish -- without exception, without apology. I recognize no authority that limits my power.<\/dialogue>\n    <scene_description>Bryce and Kiernan are as shocked as everyone else. Bryce is more than shocked -- he's worried.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Did we get in here too easily?<\/dialogue>\n    <scene_description>Kiernan turns to him, confused, as Demidov continues:<\/scene_description>\n    <character>DEMIDOV<\/character>\n    <dialogue>In this trial, the world community is attempting to make a statement.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Demidov has massive resources. We just walked in. Where were the rest of his men?<\/dialogue>\n    <character>DEMIDOV<\/character>\n    <dialogue>But now I would like to make a statement of my own.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <parenthetical>(gets it)<\/parenthetical>\n    <dialogue>The UN team was focused on me. They're out of position --<\/dialogue>\n    <scene_description>Bryce and Kiernan get up, rushing towards Casoria --<\/scene_description>\n    <character>DEMIDOV<\/character>\n    <dialogue>I do not recognize the jurisdiction of this court...<\/dialogue>\n    <scene_description>Livitin has been quietly packing up his briefcase. He nods to a KAJEKI in the gallery, who whispers into his cell --<\/scene_description>\n    <character>DEMIDOV<\/character>\n    <dialogue>...so I will now take my leave. With my dignity intact.<\/dialogue>\n    <scene_description>Demidov and Livitin brace themselves as -- -- we hear a MASSIVE EXPLOSION -- -- the BUILDING SHAKES -- everyone is thrown to the ground -- -- more EXPLOSIONS offscreen -- now SHOUTING, GUNFIRE -- -- total chaos -- -- Bryce and Kiernan trying to regain their feet -- -- the ICC Guards moving to secure Demidov -- but then -- -- a wave of KAJEKI COMMANDOS bursts into the courtroom -- wearing full tactical gear -- gasmasks -- -- FIRING on the Guards, throwing TEAR GAS GRENADES -- -- the Guards make the mistake of trying to fight through the gas -- they collapse, CHOKING -- -- Bryce and Kiernan know better, they run to the door they came in through, pulling Amelia with them -- -- the Commandos give masks to Demidov and Livitin, rushing them outside -- Kiernan and Bryce can only watch -- -- Alexander Demidov is busting out of the Hague.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - DAY<\/stage_direction>\n    <scene_description>Bryce, Kiernan, and Amelia make it out of the courtroom -- fresh air --<\/scene_description>\n    <character>AMELIA<\/character>\n    <dialogue>How did they--?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>The weapons at the warehouse.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>Demidov was never selling them. This was his backup plan.<\/dialogue>\n    <scene_description>Kiernan has KEYS he pulled off a fallen Guard -- he unlocks his cuffs, then the door to the -- STORAGE LOCKER where all their WEAPONS are being kept. As Kiernan and Bryce dig through their duffel bag, re-arming themselves, they can hear more GUNSHOTS and EXPLOSIONS. They're both utterly spent. But it's time for one last push. Casoria staggers out of the courtroom. Bryce pulls two RADIOS off the door Guards. Gives one to Amelia.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Help him. He's got to direct the UN force. We're going after Demidov.<\/dialogue>\n    <scene_description>Kiernan and Bryce race down the corridor, around the corner to the COURTROOM ENTRANCE At the end of the hall -- -- a huge HOLE has been blown into the side of the building. SMOKE and DAYLIGHT. Demidov's escape route. There are KAJEKI COMMANDOS and UN TROOPS down the hallway, locked in combat. There's no clear path for Bryce and Kiernan to follow Demidov -- Kiernan starts down another hall -- but Bryce pulls two GUNS, runs straight ahead -- FIRING right into the crowd -- -- BODIES start falling -- is Bryce killing the UN troops? -- -- no -- he has a MACHINEPISTOL in one hand, and his gun that fires RUBBER BULLETS in the other -- left hand lethal, right hand nonlethal -- -- killing the Commandos, knocking out the UN troops -- -- clearing the path. He and Kiernan tear down the hall, through the rubble, towards the gash of smoldering daylight --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAAGSE ARC - DAY<\/stage_direction>\n    <scene_description>The UN security perimeter has been utterly obliterated. PATROL VEHICLES, smoking and charred, litter the road. The only troops in sight are corpses. A MISSILE LAUNCHER, set up in the back of a truck, is still aimed at the building. SHOULDER-MOUNTED ASSAULT WEAPONS are scattered on the ground. The weapons we saw in the warehouse, now abandoned -- -- as the Kajekis make their getaway. They're speeding away in two FAST-ATTACK VEHICLES. Bryce and Kiernan are on foot. No way to catch up. Kiernan limping behind him, Bryce races up a low hill to an OVERPASS Now he can see the final piece of Demidov's escape plan: A small PLANE waiting in the distance. The fast-attack vehicles are closing on it. Bryce gets on the radio:<\/scene_description>\n    <character>BRYCE<\/character>\n    <parenthetical>(into radio)<\/parenthetical>\n    <dialogue>Tell Casoria they're flying out from the west. And I need you to get back in that storage locker.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AT THE PLANE - DAY<\/stage_direction>\n    <scene_description>The fast-attack vehicles screech to a stop. Demidov, Livitin, and the Commandos hustle to get onboard. The PILOT waits in the hatchway -- he greets Demidov with a formal salute. Demidov returns the salute. He's back in command.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OVERPASS - DAY<\/stage_direction>\n    <scene_description>Kiernan and Bryce watch the plane begin a slow taxi down a blocked-off road. It's heading towards the coastline and -- -- the endless expanse of the NORTH SEA. Bryce scans the horizon -- more UN and POLICE VEHICLES are coming from the east, but they're still far away. Demidov will be in the air before they can get to him. The plane is still taxiing -- it has to make a few turns before it can reach the final straightaway.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Can you make a shot from here?<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>With what?<\/dialogue>\n    <scene_description>Amelia is running up the hill towards them -- carrying Bryce's SNIPER RIFLE.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Absolutely.<\/dialogue>\n    <scene_description>Bryce FIRES into the guardrail, shredding the metal to create a gap -- a perfect sniper position for Kiernan. Amelia gets to them. She also brought a MED KIT. Kiernan takes the rifle, starts assembling it. This is the only elevated spot around -- and they've been spotted. Surviving Kajeki COMMANDOS are racing towards them. Coming in from all sides.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>As soon as they turn onto the straightaway, I'll have a shot at the pilot.<\/dialogue>\n    <scene_description>As Kiernan sets up his position, Bryce turns to Amelia.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Get out of here.<\/dialogue>\n    <scene_description>She looks around at the incoming Commandos. Doesn't want to leave Bryce alone.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>I need to protect him. I can't do that unless I know you're safe. Go.<\/dialogue>\n    <scene_description>No time to argue. No goodbye kiss. She turns and runs back down the hill. Gets on the radio --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UN VEHICLE (MOVING) - DAY<\/stage_direction>\n    <scene_description>Casoria is riding with the UN TROOPS, racing towards Demidov's plane.<\/scene_description>\n    <character>AMELIA (ON RADIO)<\/character>\n    <dialogue>Kiernan's in position.<\/dialogue>\n    <scene_description>Casoria can see Bryce and Kiernan on the overpass. The plane taxiing in the distance. The bullet will have to travel more than a mile. A hell of a shot. Casoria starts to respond to Amelia -- but there's nothing to say. Nothing to do but watch and hope.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OVERPASS - DAY<\/stage_direction>\n    <scene_description>Kiernan and Bryce are alone. But not for much longer. The Commandos are closing in from all sides. Bryce pulls ammo clips from his pockets. Hooks them on his belt. Kiernan sets the rifle in place. Chambers a round. He lies on the ground -- sniper's crouch. Bryce stands over him.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>I have you covered. Don't think about anything except the shot.<\/dialogue>\n    <scene_description>Kiernan sights the plane. Zeroes out the scope. He picks a spot farther down the plane's path -- at the last turn, where he'll have a clear shot at the pilot. THE COMMANDOS are closing in. AMELIA is at the bottom of the hill. Watching. Trying not to watch. ON THE OVERPASS Bryce draws his machinepistols. Shakes his hands out. Getting loose. Kiernan lying on the ground. Bryce standing over him. The hitman and his bodyguard. The Commandos -- -- are now in range -- -- Bryce opens FIRE. He STRAFES the Commandos. His SHELL CASINGS clatter on the pavement. They return FIRE, but he's too fast -- won't give them an opening. Kiernan glances up, checking to be sure he's safe -- Bryce screams down at him:<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>I've got you. Make the shot.<\/dialogue>\n    <scene_description>Bryce continues laying down 360-degree cover fire -- We're with Kiernan. He puts his eye to the rifle scope. He breathes. And... EVERYTHING GETS SLOW. Kiernan's tuned out the rest of the world. There's nothing but the plane. The rifle scope. The trigger. Bryce's shell casings falling like leaves all around him. The plane is turning. Almost in the kill zone. Kiernan takes a deep breath. Holds it. He listens to his heartbeat. Waiting for a moment between beats, to achieve perfect stillness. The plane comes out of the turn -- -- the PILOT is in his cross hairs. Kiernan squeezes the trigger. A soft POP -- a gentle nudge of recoil -- -- and -- -- the cockpit window SHATTERS -- -- a fine RED SPRAY blooms from the head of the Pilot -- -- Kiernan lifts his head -- triumphant -- -- as a shadow passes over him -- -- Bryce, falling to the ground. His shirt is red with BLOOD. The world rushes back in on Kiernan -- FAST again -- Bryce's body hits the ground -- Kiernan rolls -- two more Commandos coming, the last two, Bryce took out the rest -- -- as Kiernan scrambles to grab a machinepistol -- -- both Commandos fall -- Amelia is running up the hill, emptying her SIDEARM -- she's killed the Commandos -- -- it's just Kiernan and Bryce. SIRENS fill the air. Kiernan tears away Bryce's shirt. A round went through the gap in his bulletproof vest. Bryce is distant, glassy. Fading. Focused on Bryce, Kiernan doesn't even notice, off in the distance -- THE PLANE now without a pilot, drifting off to the side, slowing... the wave of UN VEHICLES is closing in on it... ON THE OVERPASS Kiernan dives for the med kit Amelia brought. Finds packets of CELOX blood clotter -- what they used to patch up Taras. Kiernan dumps the Celox powder into Bryce's wound, packing it in, just the way Bryce showed him -- -- SIRENS all around now -- -- Kiernan balls up Bryce's shirt, a pressure bandage -- -- Kiernan isn't aware of the AMBULANCE or the TWO MEDICS until they're trying to pull him away from Bryce -- -- Kiernan shakes them off. He's not leaving Bryce. He holds the pressure bandage in place as the Medics start CPR. Amelia is trying to get to them -- the POLICE won't let her through -- Kiernan and the Medics work in silence. Bryce COUGHS. He takes a breath. Another. And another. One of the Medics gently pulls Kiernan's hands away. He applies a clean bandage to the wound. Puts an oxygen mask over Bryce's mouth.<\/scene_description>\n    <character>MEDIC<\/character>\n    <dialogue>He's stable.<\/dialogue>\n    <scene_description>The Medics wheel out a stretcher to load Bryce into the ambulance. Bryce's eyes are refocusing. He looks at Kiernan. A question. Kiernan looks up at -- THE PLANE Demidov's Commandos are getting down on the ground, complying with the UN TROOPS surrounding them. Demidov is also on the ground, hands cuffed behind his back. Casoria stands over him. ON THE OVERPASS Kiernan nods.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>They got him. We did it.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Technically, I did it.<\/dialogue>\n    <scene_description>Bryce grins under the mask. Gives Kiernan the finger as he's loaded onto the stretcher. Kiernan watches him get put into the AMBULANCE Amelia has gotten past the police. She runs to Bryce. Bryce pulls off his oxygen mask. The Medic is about to hook him up to an IV, but Bryce waves him away.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>Not yet. I need a clear head.<\/dialogue>\n    <scene_description>Amelia takes Bryce's hand. He's weak, but he needs to say this now:<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>You asked me to wait until this was over. It's over. And I know exactly what I'm feeling.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Amelia... I love you.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>That was really average. I'm sorry. Can I try again later, when I haven't just been shot?<\/dialogue>\n    <character>AMELIA<\/character>\n    <dialogue>That was perfect. I love you, too, Michael.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Okay. Good. That's good.<\/dialogue>\n    <parenthetical>(to the Medic)<\/parenthetical>\n    <dialogue>And now I would like you to inject me with every painkiller you have.<\/dialogue>\n    <scene_description>The Medic puts the oxygen mask back over Bryce's face. Starts up the IV. Amelia lays a kiss on Bryce's mask. She holds his hand as he drifts away. KIERNAN kept his distance, but he watched all of that. Now there's a VOICE from behind him:<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>Get down on the ground.<\/dialogue>\n    <scene_description>It's two of the ICC GUARDS who escorted him to the courtroom earlier. Kiernan complies. They cuff him. From the ground, Kiernan watches the ambulance take Bryce and Amelia away. FADE TO BLACK.: FADE IN:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAAGSE ARC - TRIAL CHAMBER 1 - DAY<\/stage_direction>\n    <scene_description>Demidov's sentencing. Security is beyond airtight. The CLERK reads out the sentence:<\/scene_description>\n    <character>CLERK<\/character>\n    <dialogue>...Alexander Ilyich Demidov, for your crimes, you are hereby sentenced to serve the remainder of your natural life as a prisoner under the jurisdiction of the Criminal Court...<\/dialogue>\n    <scene_description>Bryce stands in the back of the gallery. He doesn't look fully recovered yet, but he's getting there. As the sentence is read out, Bryce slips into the HALLWAY The damage from the attack has been mostly patched up. Bryce walks down the hall and into --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRIAL CHAMBER 2 - DAY<\/stage_direction>\n    <scene_description>A much smaller courtroom. A single JUDGE presiding. Two defendants stand before him: Janet and Sean Kiernan. Kiernan is in leg irons, and his hands are cuffed at his waist. Bryce takes a seat in the empty gallery.<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Janet Kiernan, under the plea bargain as so described, you are free to go.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Sean Kiernan. This court has received several pleas for leniency on your behalf -- from the ICC prosecutors, the leadership of Interpol, as well as your ex-wife.<\/dialogue>\n    <scene_description>Kiernan steals a look at Janet. He wasn't expecting that. The Judge continues:<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>However, the court finds that your recent actions cannot outweigh your past crimes. You are hereby sentenced to serve the remainder of your natural life as a prisoner under the jurisdiction of the Criminal Court. We are adjourned.<\/dialogue>\n    <scene_description>Kiernan and Bryce knew this was coming. Neither man shows any reaction. As the GUARDS start to escort Kiernan away -- Janet goes to him.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>You see? I only ruined your life the one time.<\/dialogue>\n    <scene_description>She hugs him. A kiss on the cheek.<\/scene_description>\n    <character>JANET<\/character>\n    <dialogue>Ah, Sean. You never did.<\/dialogue>\n    <scene_description>As the Guards lead Kiernan away, his eyes meet Bryce's. A moment between them. A look, a nod, and goodbye. Bryce walks back into the HALLWAY Casoria sits on a bench, waiting for Bryce. He motions him to sit. Hands him some papers.<\/scene_description>\n    <character>CASORIA<\/character>\n    <dialogue>We have met your terms.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON TRANSPORT (MOVING) - DAY<\/stage_direction>\n    <scene_description>Kiernan rides alone in back. Expressionless. The transport rumbles to a stop. The back doors are thrown open. The GUARDS motion Kiernan to get out --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE - DAY<\/stage_direction>\n    <scene_description>The middle of nowhere. The deserted parking lot of a small DIVE BAR. Kiernan has no idea what's going on. As the Guards lead Kiernan to the door, we might notice Bryce's Jag parked off to the side.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DIVE BAR - DAY<\/stage_direction>\n    <scene_description>The place is empty except for a few INTERPOL GUARDS -- and Bryce and Casoria. They sit at a table with a bottle of whiskey and three glasses. The Guards lead Kiernan to a chair. Bryce has a poker face. Casoria gets right to it:<\/scene_description>\n    <character>CASORIA<\/character>\n    <dialogue>Interpol was first chartered to coordinate between law-enforcement arms of various nations. But we've found that by the time we get the FBI, SIS, FSB, so on to even sit at the same table, the criminals are already enjoying their retirement.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Interpol needs to do more than coordinate. We need to be able to act. I have been authorized to create Interpol's first ever clandestine division. I have asked Mr. Bryce to consider joining.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>He agreed, on one condition: he would join if and only if you were brought on as his partner.<\/dialogue>\n    <scene_description>Bryce nods. Kiernan can't believe it. Casoria continues:<\/scene_description>\n    <character>CASORIA<\/character>\n    <dialogue>My initial reaction was extremely negative. But Mr. Bryce and Agent Ryder finally brought me around. I am now inviting the two of you to be the founding and sole members of Interpol's clandestine division.<\/dialogue>\n    <scene_description>Kiernan, still stunned, doesn't say anything just yet. Casoria is happy to continue:<\/scene_description>\n    <character>CASORIA<\/character>\n    <dialogue>Mr. Kiernan, you will need to keep a low profile, to maintain the illusion that you are in prison. Shouldn't be difficult for you. But we will insist that you not return to your prior line of work.<\/dialogue>\n    <parenthetical>(turning to Bryce)<\/parenthetical>\n    <dialogue>You are free to continue in your executive-protection business, with the understanding that from time to time, we will call on you.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>It being a clandestine division, that's all I can tell you unless you agree to join.<\/dialogue>\n    <scene_description>Bryce and Kiernan exchange a look. No discussion required. They're in. A Guard unlocks Kiernan's cuffs while Casoria pours drinks. They make a silent toast.<\/scene_description>\n    <character>CASORIA<\/character>\n    <dialogue>We'll be in touch soon. For now, you have both earned a vacation. Gentlemen.<\/dialogue>\n    <scene_description>They rise to shake hands, then Casoria and the Guards disappear out the door. Now it's just Bryce and Kiernan in the empty bar.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>I don't know what to say.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>I couldn't let you do that time. And strange as it is -- we make a pretty good team.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>We do, don't we?<\/dialogue>\n    <scene_description>And with that -- -- Kiernan punches Bryce in the face. Bryce goes down. He truly did not see that coming.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Even! Now we can move on.<\/dialogue>\n    <scene_description>Bryce lies there, dazed. Then he starts laughing. Kiernan helps him back up.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Right, let's have another.<\/dialogue>\n    <scene_description>Back to the table. Kiernan pours a fresh round of shots.<\/scene_description>\n    <character>BRYCE<\/character>\n    <dialogue>To a long life.<\/dialogue>\n    <character>KIERNAN<\/character>\n    <dialogue>To a long life.<\/dialogue>\n    <scene_description>They drink -- Bryce slams his empty glass down on the table before Kiernan does. A challenge.<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Sure you want to drink against me, Michael? That's a dangerous road.<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Pour.<\/dialogue>\n    <scene_description>Kiernan pours. They drink and slam their glasses down -- at the exact same moment. It's on. As Kiernan pours another round --<\/scene_description>\n    <character>KIERNAN<\/character>\n    <dialogue>Hang on. Who's driving?<\/dialogue>\n    <character>BRYCE<\/character>\n    <dialogue>Screw it. We'll call a cab.<\/dialogue>\n    <scene_description>They drink, slam their glasses down --<\/scene_description>\n    <character>THE END<\/character>\n  <\/scene>\n<\/script>","summary":"Michael Bryce lives a luxurious life as a successful UK-based private bodyguard, until his client Takashi Kurosawa, an international arms dealer, is assassinated on his watch. Two years later, the fallen-from-grace Bryce survives by protecting drug-addicted corporate executives in London. Meanwhile, Vladislav Dukhovich, the vicious dictator of Belarus, is on trial for crimes against humanity at the International Criminal Court. Unable to secure solid evidence or testimony against him, the prosecution's last hope is incarcerated hitman Darius Kincaid, who agrees to testify against Dukhovich in exchange for the release of his wife Sonia from prison. Led by Interpol Agent Amelia Roussel, an armed convoy escorts Kincaid from the UK to the International Criminal Court in The Hague. With the aid of treacherous Interpol Assistant Director Jean Foucher, Dukhovich's men successfully ambush the convoy as it passes through Coventry and kill most of the security team. Kincaid eliminates the attackers, and Agent Roussel, the sole survivor, takes Kincaid to an Interpol safehouse in the city. Realizing that the agency can not be entrusted with the mission due to a possible leak, she enlists the help of Bryce, her ex, to escort and protect Kincaid on the way to The Hague. They hitchhike to a ferry going to Amsterdam, where Sonia is being held. Kincaid reveals to Bryce that he was the one who killed Kurosawa, having spotted him by chance while on another job, causing an outraged Bryce to abandon him. As Bryce evaluates his past mistakes at a beer stand, Dukhovich's men attack Kincaid. Bryce regains his composure and helps Kincaid escape, but is captured in the process. As he's being tortured, Kincaid arrives and rescues Bryce. After reconciling their differences, they arrive at The Hague with seconds to spare. Kincaid testifies that Dukhovich hired him to assassinate a political rival, but Kincaid witnessed Dukhovich carry out a mass execution, and uploaded the massacre photos to a secret FTP site that he provides to the court. Dukhovich admits guilt, then resorts to his backup plan: bombing the court to escape. Foucher leaves the court before the bombing and Roussel deduces he was the traitor. In the confusion after the bomb goes off, Dukhovich seizes a gun to kill Kincaid, but Bryce dives in front of the bullet, taking the hit. Injured, he tells Kincaid to stop Dukhovich. Foucher and Roussel struggle until Bryce shoots him to save Roussel. Kincaid pursues Dukhovich to the roof where he attempts to escape by helicopter his men hijacked. Kincaid destroys the helicopter and angrily kicks Dukhovich off the roof to his death for shooting Bryce. Kincaid is rearrested for his various crimes but breaks out of Belmarsh Prison several months later so he and Sonia can celebrate their anniversary in the bar in Honduras where they first met. As a wild bar brawl breaks out around them, they kiss."}
{"movie_name":"Bros_2022","imdb_id":"tt9731598","script":"<script>\n  <scene>\n    <character>BROS<\/character>\n    <dialogue>Written by<\/dialogue>\n    <scene_description>Billy Eichner &amp; Nicholas Stoller \u00a9 2022 UNIVERSAL STUDIOS<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOBBY'S PODCASTING STUDIO - DAY<\/stage_direction>\n    <scene_description>BOBBY LEIBER records his podcast. He's surrounded by photos with celebrities and media personalities, plus copies of his book GAY LINCOLN and LGBTQ history books he's written. He livestreams to Instagram so Bobby talks straight TO CAMERA.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Hi everyone and welcome to Bobbyland, the podcast where I, your host Bobby Leiber, take you on a journey through LGBTQ history and, much more importantly, my own problems and whatever I feel like talking about. As always, Bobbyland is brought to you by Bagel Drone. And this is a big day because as of today Bobbyland is available exclusively on PODIFY and today wew are celebrating one million subscribers! First caller!<\/dialogue>\n    <character>FIRST CALLER<\/character>\n    <dialogue>Hi Bobby! Any plans for more children's books?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Not at the moment. As some of you know, I wrote a children's book to help parents teach kids about gay history, which no one bought. Turns out four year olds don't want to hear a bedtime story about Martina Navratilova.<\/dialogue>\n    <character>SECOND CALLER<\/character>\n    <dialogue>Bobby! Will we see you on TV again soon? Love when you're on MSNBC!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yes! I'll be all over promoting my latest book, GAY LINCOLN, so tune in - and don't worry I won't just be talking about gay stuff, I'll be covering a wide variety of topics.<\/dialogue>\n    <scene_description>SMASH CUT: Bobby shouting on various cable news shows. MSNBC:<\/scene_description>\n    <character>BOBBY<\/character>\n    <scene_description>CNN:<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>LEONARDO DiVINCI WAS GAY!<\/dialogue>\n    <scene_description>POD SAVE AMERICA: JAMES DEAN WAS GAY! A5 TODAY SHOW WITH HODA KOTB A5<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>INSPECTOR GADGET WAS GAY! Inspector Gadget was a toxic, cis white gay man. And, quite frankly, yet another example of how for decades Hollywood has glamorized law enforcement!<\/dialogue>\n    <scene_description>BACK TO THE PODCAST...<\/scene_description>\n    <character>THIRD CALLER<\/character>\n    <dialogue>Bobby, I love you but I was wondering if you had any thoughts about the negative reaction to your docuseries? It's currently rotten on Rotten Tomatoes.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Can I be honest? I don't give a shit about Rotten Tomatoes. I'll have the folks at Rotten Tomatoes know that that Bobbyland will soon be the first podcast to ever be released on vinyl! And I finally got the footage from my Queer Eye audition! Check it out exclusively on the Bobbyland app!<\/dialogue>\n    <scene_description>SMASH CUT: BOBBY'S QUEER EYE AUDITION. A large bearded Southern straight guy stifles tears as he looks in a mirror. The Queer Eye guys are all crying. Bobby does not cry.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I'm sorry but I'm not sad. This is just not sad. You gave him a haircut and a pair of pants.<\/dialogue>\n    <scene_description>The Queer Eye guys shoot Bobby a dirty look. Bobby scrunches his face and tries to cry, to no avail. He shrugs. BACK TO THE PODCAST...<\/scene_description>\n    <character>FINAL CALLER<\/character>\n    <dialogue>Hi Bobby, this is Sarah. Whatever happened with that movie you wrote?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh right. The movie.<\/dialogue>\n    <scene_description>CUT TO: Bobby pitching to THREE STRAIGHT EXECS - TWO MALE, ONE FEMALE - WHO ARE NODDING ALONG, BUT CLEARLY GETTING MORE AND MORE FREAKED OUT. BACK TO THE PODCAST<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>These big movie producers came to me and said \"we want you to write a rom com about a gay couple. But something for everyone, something a straight guy might even like and watch with his girlfriend!\" And I said \"Something a straight guy might like?\" Like what exactly? Am I gonna be in the middle of some high speed chase and then all of a sudden fall in love with Ice Cube? Am I gonna get buttfucked by the Rock while we're both, I don't know, dealing with a volcano?\" And they said \"We just want a movie that shows the world straight and gay relationships are the same. Love is love is love.\" And I said \"Love is love is love? No it's not! That's bullshit! And I left.<\/dialogue>\n    <character>FINAL CALLER<\/character>\n    <dialogue>Why did you do that?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Because I don't trust them. You can't trust these people. Honestly it's for the best. I'm not the right person to write a rom com anyway.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>In exciting news, I remain very horny and I'm being honored as the Cis White Gay Man of the Year at the LGBTQ Pride Awards tonight!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - THE LGBTQ PRIDE AWARDS - STAGE<\/stage_direction>\n    <scene_description>An NFL player is on stage accepting his award. It says OUT \\* LGBTQ Athlete of the Year on the screen behind him. \\*<\/scene_description>\n    <character>NFL PLAYER \\*<\/character>\n    <dialogue>Being in the NFL I never thought I \\* could come out. For years I had to \\* suffer as a hot, ripped gay person \\* living my life in private. But this \\* last year has really shown me how \\* amazing life can be when you are \\* finally, publicly hot. \\*<\/dialogue>\n    <scene_description>The audience applauds. \\*<\/scene_description>\n    <character>ANNOUNCER (V.O.) \\*<\/character>\n    <dialogue>And now please welcome Emmy and \\* Tony winner Kristin Chenoweth! \\*<\/dialogue>\n    <scene_description>Kristin Chenoweth walks onstage. \\*<\/scene_description>\n    <character>KRISTIN CHENOWETH \\*<\/character>\n    <dialogue>Good evening. What an honor for me \\* to be here tonight. On my head \\* tonight is a hat depicting the \\* Stonewall Riots, where thanks to \\* butch lesbians, trans women and \\* especially trans women of color, \\* the Queer Liberation movement \\* began. And now, the award for Cis \\* White Gay Man of the Year. Now, \\* please welcome the winner of this \\* year's Cis White Gay Man of the \\* Year Award, LGBTQ author, \\* historian, and not just a podcast \\* host but a self proclaimed \"pod- \\* cactivist\" Bobby Leiber! \\*<\/dialogue>\n    <scene_description>Ancient hieroglyphics of two Egyptian men touching noses appear on a screen behind her. An actual historic image.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Meet Khnumhotep and Niankhkhnum, the Bert and Ernie of Ancient Egypt. Many scholars believe they are the first recorded same-sex couple in history!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Here we see them touching noses, which represents kissing, the most intimate physical contact allowed in hieroglyphics. They were even buried in the same tomb! Yet to this day, there are historians who refuse to accept these men were lovers and insist they were brothers instead.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>They say we don't have enough proof they were in love and they focus on their doubts. Thus began five thousand years of gay love stories erased from history! No history of gay love affairs to teach us about love and how to love each other. No LGBTQ wing in the Natural History Museum or the Smithsonian. No LGBTQ wing in the Smithsonian but they have Archie Bunker's couch? Well, this erasure ends today. I'm thrilled to announce we are opening the first National LGBTQ History Museum!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOLD'S GYM<\/stage_direction>\n    <scene_description>Bobby's on a treadmill next to a hot, ripped guy named JOEL.<\/scene_description>\n    <character>BOBBY (V.O.)<\/character>\n    <dialogue>Because these Egyptian men weren't lovers! No! They were brothers!<\/dialogue>\n    <character>JOEL<\/character>\n    <dialogue>Whatcha listening to?<\/dialogue>\n    <scene_description>Bobby looks at his phone. It's a Barbra Streisand song.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>The Weeknd.<\/dialogue>\n    <scene_description>Bobby lies. He's clearly not as confident as he puts on.<\/scene_description>\n    <character>BOBBY (V.O.)<\/character>\n    <dialogue>These two men weren't boyfriends! Of course not! They were just BROS!<\/dialogue>\n    <scene_description>PUSH IN ON THE HIEROGLYPHIC of the TWO MEN TOUCHING NOSES.<\/scene_description>\n    <character>TITLES UP: BROS<\/character>\n    <dialogue>Bobby works out in trendy new fitness classes:<\/dialogue>\n    <scene_description>A CROSSFIT CLASS - Bobby's in ok shape but can't keep up with the other buff gay guys there. TREADMILL CLASS - They run on treadmills. A buzzer goes off and you have to run across the room and start chopping wood. 14 DON LEMON FITNESS CLASS - Bobby and DON LEMON wrestle each 14\\* other to the ground. OMIT SCENE POGOTON CLASS - Bobby and a bunch of guys all jump around on pogo sticks with touch TV screens attached to them. CODY RIGSBY instructs. WORLD WAR I CARDIO - Bobby and his best friend HENRY are both in this class. Bobby runs down a trench, has to grab someone who's pretending he's been shot, sling him over his shoulder and run across \"no man's land.\" Bobby falls, dropping the guy. He watches as another guy, AARON SHEPARD, a handsome, very built dude passes him and very quickly scales a large rock climbing wall. Bobby rolls his eyes and mutters.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Climbing a mountain. What a useful skill in Manhattan.<\/dialogue>\n    <scene_description>Henry is fixated on a very ripped hot shirtless guy with a \"perfect\" body.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOBBY'S APT - LATER THAT AFTERNOON<\/stage_direction>\n    <scene_description>Bobby scrolls through Grindr. He gets a message from a guy. They text in the fake-jock\/bro tone gay guys sometimes use when texting on sex or dating apps to sound more masculine.<\/scene_description>\n    <character>GRINDR GUY<\/character>\n    <dialogue>HEY WHATS UP<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>HEY WHATS UP<\/dialogue>\n    <character>GRINDR GUY<\/character>\n    <dialogue>LOOKING? INTO?<\/dialogue>\n    <scene_description>Bobby types \"Bottom\" but deletes it and types \"I'm versatile.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRINDR GUY'S APARTMENT - CONTINUOUS<\/stage_direction>\n    <scene_description>Bobby walks in. The guy takes off his clothes. Bobby takes off his. No one speaks. The guy starts making out with Bobby intensely. He pushes Bobby into bed and starts jerking off. The guy leans over to finish on Bobby. Bobby grimaces. The guy hands him \"Frozen\"-themed birthday napkins to wipe off.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Why do you have Frozen themed napkins with Olaf on them?<\/dialogue>\n    <character>GRINDR GUY<\/character>\n    <dialogue>Oh, they're left over from my niece's birthday party. Sorry.<\/dialogue>\n    <scene_description>Bobby wipes his crotch off with the napkin.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Oh. Well, poor Olaf is just covered in cum. Sorry Olaf. I gotta go.<\/dialogue>\n    <scene_description>Bobby rushes to get dressed in silence and walks out. MUSIC CUE: \"OUR LOVE IS HERE TO STAY\" by NAT KING COLE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET<\/stage_direction>\n    <scene_description>Bobby awkwardly tries to throw the sticky napkin into a garbage can on the street. He walks around the city. INTERCUT with doing his podcast.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PODCASTING STUDIO<\/stage_direction>\n    <character>BOBBY<\/character>\n    <dialogue>For me, the cold and awkward Grindr hookup is often followed by a walk around the city by myself. Even though it was odd and unsatisfying and you didn't even know the person, you're still feeling this kind of post-sex warmth and wistfulness, only there's no one there to share that feeling with, because you leave their apartment immediately because they're always weird and you're a normal person. And maybe I'll text or call one of my friends. And between the weird sex with strangers you don't like and conversations with friends you love that you don't have sex with, you cobble together a version of a romantic, single life. And it's fine. It's a lot more than what a lot of other people have in this world. And you try to remember that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE LGBTQ MUSEUM<\/stage_direction>\n    <scene_description>Bobby's on Instagram Live outside a construction site.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I'm coming to you today from the future LGBTQ museum! Today the board is deciding which exhibit belongs in the final wing. We have people on the board from all across the LGBTQ community - everyone is really excited and totally getting along!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LGBT MUSEUM BOARDROOM - DAY<\/stage_direction>\n    <scene_description>A tense, panicky room. No one's getting along. Everyone is \\* snapping at each other. \\*<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Ok people! It's getting late! We \\* still need a donor to fund the \\* exhibit in the final wing. And no \\* one wants to donate until they know \\* what the exhibit is. As you all \\* know, Pier One Imports was supposed \\* to make a big donation but they \\* went bankrupt and have been bought \\* by the Taliban. So now that the \\* Taliban owns Pier One Imports we \\* are short 5 million dollars. We've \\* already pushed our opening twice \\* and we're running out of time. We \\* need to figure out which exhibit \\* belongs in the final wing. We need \\* new ideas and we need them now. \\*<\/dialogue>\n    <scene_description>CHERRY, an angry, cranky lesbian academic stands up.<\/scene_description>\n    <character>CHERRY<\/character>\n    <dialogue>We need to be bold! You know that blue whale hanging in the Museum of Natural History?<\/dialogue>\n    <scene_description>She shows a slide of the blue whale.<\/scene_description>\n    <character>CHERRY<\/character>\n    <dialogue>What about that but instead of a blue whale it's a lesbian?<\/dialogue>\n    <scene_description>Cherry shows a slide of the blue whale having been replaced by a huge sculpture of JODIE FOSTER dangling in the air with open arms as if she's welcoming people to the exhibit.<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>I like the idea of a sculpture but why a lesbian and not a bisexual?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Can't it be some sort of big, dangling bisexual?<\/dialogue>\n    <character>ANGELA<\/character>\n    <dialogue>What about a transgender woman from an Indigenous nation?<\/dialogue>\n    <character>CHERRY<\/character>\n    <dialogue>Oh goddammit Angela, what about the 400 lesbians who fought in the Civil War?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Well, they weren't lesbians necessarily, some were trans men, some were women who dressed as men so they could fight.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Stop. This building is a rare chance to legitimize and validate the history of bisexuals.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh here we go.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>We say LGBTQ but we always skip over the B. People don't even believe we exist! This is a chance to change that. I want a Hall of Bisexuals. Like Disney's Hall of Presidents. The most important bisexuals throughout history. I want a stage full of animatronic, talking bisexuals. Talking and moving and gesturing bisexuals. Bisexual holograms. Bisexuals soaring above you, everywhere you look, everywhere you turn!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>We get it, Robert.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Please don't interrupt me. Everyone's always attacking me!<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Robert, I want you to know that I hear you and I love you.<\/dialogue>\n    <scene_description>Angela rolls her eyes.<\/scene_description>\n    <character>TAMARA<\/character>\n    <dialogue>Well, I actually kind of like that cause it is so funny. I mean, we're funny, creative people! The museum should reflect that.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I mean sure to a certain degree but this isn't the Museum of the Wacky Gay Neighbor. Let's not turn ourselves into a joke. I think we should just expand the AIDS Memorial and end on that. And, again, respectfully Tamara, you're just here to document this for social media so please leave the brainstorming to us.<\/dialogue>\n    <character>TAMARA<\/character>\n    <dialogue>Well my mother is Cuban and I will not be silenced.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Your mother is Cuban? My mother is dead! I mean talk about someone who currently has very limited opportunities!<\/dialogue>\n    <character>TAMARA<\/character>\n    <dialogue>Well I have feelings and thoughts and ideas and they are valid and I'll be sharing each and every single one of them.<\/dialogue>\n    <character>ANGELA<\/character>\n    <dialogue>Well this may be controversial but, I don't think the AIDS Memorial needs to be 4 rooms.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>ANGELA<\/character>\n    <dialogue>I'm just saying, I don't want this place to be all pain and heartache. I see it as more of a victory lap!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You don't want a proper AIDS Memorial? This city should have an entire AIDS Museum! We have a museum dedicated exclusively to trains!<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>But does it need to be the final exhibit? The message we leave people with?<\/dialogue>\n    <character>ANGELA<\/character>\n    <dialogue>It is a little unseemly to have the AIDS Memorial drop you off in the gift shop.<\/dialogue>\n    <character>CHERRY<\/character>\n    <dialogue>A lesbian wrote America the Beautiful! Where's her exhibit? Katharine Lee Bates, a lesbian in 1893 - she scrawled the lyrics on a napkin! You can go to her house in Virginia - they have the napkin!<\/dialogue>\n    <character>TAMARA<\/character>\n    <dialogue>I've got it. What if the museum ends with a recreation of a queer wedding? A happy ending!<\/dialogue>\n    <character>EVERYONE BUT BOBBY<\/character>\n    <dialogue>Oh I love that!\/That's so sweet!\/ My parents would love that!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>And people can get engaged and register for wedding gifts here!<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Oh that's gorgeous!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No! I'm joking. That's terrible. It's too conventional and sentimental. We need people to rethink history through a queer prism - show them the history we've been denied for thousands of years - not comfort them with another gay wedding. It's a museum, it's not Schitt's Creek.<\/dialogue>\n    <character>EVERYONE<\/character>\n    <dialogue>Oh I love Schitt's Creek!\/I miss that show!\/My parents love Schitt's Creek!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Ok enough.<\/dialogue>\n    <character>ANGELA<\/character>\n    <dialogue>I just want it to be about love. So much of the museum is about suffering. I think a wedding might make people happy.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>But a wedding's not everyone's idea of a happy ending! It's old fashioned, heteronormative bullshit! I don't live in Schitt's Creek ok? I live in Manhattan. The exhibit shouldn't be about settling down, it should be about freedom!<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Well, here's an idea for an exhibit - what about a huge sculpture of two eyes rolling at the thought of my entire existence?!<\/dialogue>\n    <scene_description>Robert storms out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Bobby runs in late to dinner to meet his friends: TINA and her husband EDGAR, his married friends PETER and PAUL, their new friend MARTY and married couple TOM and LUCAS.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Hi, hi, sorry.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Is everything ok?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Everyone at the Museum hates me, I don't know what to do. I'm going to be the least welcome member of the gay community since Jeffrey Dahmer.<\/dialogue>\n    <character>TINA<\/character>\n    <dialogue>Oh Bobby, you'll love this - last week we went to a bar mitzvah - the theme was RuPaul's Drag Race.<\/dialogue>\n    <character>EDGAR<\/character>\n    <dialogue>The invitation said \"At the ceremony he'll become a man and at the party he'll become a woman.\" We had the best time!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Amazing. How are you guys, Lucas?<\/dialogue>\n    <character>LUCAS<\/character>\n    <dialogue>Well, our surrogate just hit three months. And... not only that...<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>We're having TRIPLETS!!!!!<\/dialogue>\n    <character>EVERYONE<\/character>\n    <dialogue>AHHHH!\/Congratulations!\/Amazing!!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Triplets? Oh my god. Why?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>We didn't really have a choice!<\/dialogue>\n    <character>TINA<\/character>\n    <dialogue>Oh my god this is amazing. We'll give you all our baby clothes.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>And we're around whenever you need us.<\/dialogue>\n    <scene_description>They all turn to look at Bobby. Then, awkwardly:<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>When they are older... I will get them tickets to things.<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>Guys, I'm so sorry, I have to run - night shift at the bar. Great seeing you guys! Congrats boys!<\/dialogue>\n    <scene_description>Marty squeezes Peter and Paul's shoulders oddly and leaves.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Wait, didn't you have an announcement too? Did I miss it?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>No! We waited for you. Ok. So, I totally know this is a little weird and unexpected but, ok so, the reason we've been hanging around with Marty so much is that we are...kind of... dating him.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I mean, we're dating him. Together. Like, as a couple. We're seeing him. I guess it's kind of like a... thrupple situation.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Like, you're having threesomes?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Well, we met him at a party and we got drunk and yeah we hooked up. But then we started to hang out a lot and we realized it was more than just sex. We just really like each other's company.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I know it sounds crazy but it's weirdly normal. He's very chill.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Well it sounds so chill! I mean, just hearing about it, I feel so relaxed. Oh my God - you're Peter, Paul and Marty.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>We knew you'd like that.<\/dialogue>\n    <character>EDGAR<\/character>\n    <dialogue>How long has this been going on?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Like, six months?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>SIX MONTHS??? It's been going on six months and you didn't tell me??<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Well, we didn't know how serious it would get.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Serious? You didn't know how serious it would get? How serious can it be? I mean, what are you gonna do next? Tell your grandmother?<\/dialogue>\n    <scene_description>SMASH CUT:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COUNTRY HOUSE, GEORGIA<\/stage_direction>\n    <scene_description>The PHONE RINGS in a country house in Georgia. A CHARMING OLD LADY, PAUL'S GRANDMA, answers the phone.<\/scene_description>\n    <character>PAUL'S GRANDMA<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Hi Grandma!<\/dialogue>\n    <character>PAUL'S GRANDMA<\/character>\n    <dialogue>Oh hi sweetie!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Gram, Peter and I have some news.<\/dialogue>\n    <character>PAUL'S GRANDMA<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Well, this is something I've dreamed of telling you for a long time but... Peter and I are jointly fucking a third person!!!<\/dialogue>\n    <scene_description>Paul's grandma screams in joy!!<\/scene_description>\n    <character>PAUL'S GRANDMA<\/character>\n    <dialogue>Oh my goodness!!! Oh honey, congratulations! Joe, it's Paul! He and Paul are jointly fucking someone else!<\/dialogue>\n    <character>PAUL'S GRANDPA<\/character>\n    <dialogue>Oh how wonderful! It's a throuple!<\/dialogue>\n    <scene_description>CUT BACK TO THE DINNER:<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Look, Paul and I are always the priority. Marty knows he's just a special guest and that nothing is going to change that.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>A special guest? You're fucking him - it's not Bob Newhart doing 3 episodes of The Big Bang Theory.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>We'll be fine. We trust each other enough to do this.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Wow. I don't think I could ever trust anyone that much.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>That's sad.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>It's sad? That I don't want to be in a thrupple? I don't even want to be in a couple! Just be careful. You're my friends and I love you and it's a slippery slope. We're men. Men dating men. Love is not love. We are selfish and horny and stupid. I am too! Someone called into my show the other day and asked me why I'm still single. You wanna know why? Because I've been gay my whole life and I don't trust these gay motherfuckers.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Well you might want to see a therapist because that's fucked up.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Wait, why do I need to see a therapist? Because I don't need to be in a relationship? Oh because you guys think that means I have some deep rooted issues or something - but I don't. I'm fine! I am perfectly fine! Maybe you're the ones with issues. Ohhh - ever think about that?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Bobby -<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Maybe you're the ones who are judgmental about me and my life! With your triplets and your thrupples! Well great, maybe now all the thrupples can babysit all the triplets!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Bobby, I didn't mean -<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You think you're so progressive? Let me tell you something - with your open marriages and your babies and your thrupples - I think maybe the most progressive thing you can be is alone! That's radical!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You want me to support your marriages, fine! But then you have to support me - a happily single, not co-dependent, basically celibate person on Twitter!<\/dialogue>\n    <character>TINA<\/character>\n    <dialogue>And are you happy?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I am happy. I am a very happy person.<\/dialogue>\n    <scene_description>A teenage girl approaches.<\/scene_description>\n    <character>TEENAGE GIRL<\/character>\n    <dialogue>Mr. Leiber, I'm sorry, I love your podcast, can I get a selfie?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Sure!<\/dialogue>\n    <scene_description>Bobby switches on a scary over the top smile for the selfie. He looks insane. The girl snaps her pic and walks away. Bobby's face switches back to a despondent expression.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Shit I'm late. I told Henry I'd meet him at this party. I wanted to run home and change first. Fuck.<\/dialogue>\n    <character>TINA<\/character>\n    <dialogue>Aren't you just going to take your shirts off anyway?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No! This is not 2003. You have a very cliched view of what gay men do at a party.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DANCE CLUB - NIGHT<\/stage_direction>\n    <scene_description>The dance floor at the club is filled with shirtless men. Bobby stands in his turtleneck with his best friend HENRY.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>So what app is this for again?<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>It's a new hookup app my company is launching. We've had Grindr, we've had Tinder, and now we have Zellweger.<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>It's for gay guys who want to obsess about actresses and then jerk each other off. Can you believe Grindr has been around for 13 years?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Wow. Grindr, the 9\/11 of romance. Time flies when you're pretending it's fun.<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>Bobby I had sex with a 60 year old.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>60??<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>I didn't know! He didn't have an age on his profile! He was nice - great body. And he had this big grey beard. I felt like Mrs. Claus!<\/dialogue>\n    <scene_description>ANGLE ON THE DANCE FLOOR where everyone stares down at their phones, swiping. In a sea of heads all looking down, Aaron Shepard looks up at Bobby. It's brief but their eyes connect.<\/scene_description>\n    <character>HENRY<\/character>\n    <dialogue>There's that guy Aaron.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I don't know who that is.<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>He's at the gym sometimes. He's so hot but so boring.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Well, what else is new?<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>Oh my god - that's the 60 year old!<\/dialogue>\n    <scene_description>They watch the 60 year old with the long grey beard dance.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>That body. My god. He's ripped.<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>I know! It's like if someone injected steroids into Dumbledore.<\/dialogue>\n    <scene_description>Suddenly, Aaron appears next to Bobby. He is SHIRTLESS and in jeans, with a ripped body and a baseball cap. He initiates conversation but he is quiet and seems shy.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Hey. What's up.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Hey. What's up.<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>Oh hey. Aaron, this is Bobby. Want a drink? I'm getting a ShitRocket.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>A Shitrocket? What's that?<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>It's like a Redbull but stronger.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh. Terrible name.<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>Yeah. They're sponsoring the party.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh. Shitrocket and vodka I guess.<\/dialogue>\n    <scene_description>Henry dances off. Aaron stands there hiding under a baseball cap, nodding subtly to the beat.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Not a club guy?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No, I like clubs.<\/dialogue>\n    <scene_description>Beat. They stare out at guys dancing on the dance floor.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>You look angry.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I do? I'm not. That's just how I look. People always tell me I look angry but I'm not. I'm not angry.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I think I saw you fall down at World War I cardio.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Ah. Yes. Thanks for reminding me. It's a beautiful legacy. We're all just very proud.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I hear you're extremely boring.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>What? Who said that? I'm not boring.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I don't know. A lot of people.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Oh. That sucks.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No, I'm just kidding. Sorry I'm really bad at flirting. And I'm also the type of person who tells you I'm flirting, which is so sexy.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Oh, that's ok. Why are you flirting?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Why am I flirting? Um... I don't know. I do not know.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Well I'm not that boring. I'm just shy sometimes.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Ohhh yeah, you look really shy.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Why do you assume you know about me?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You came up to me and said I look angry! Look it's fine. If you're a basic bitch, be a basic bitch. You're certainly not alone here and if I looked like you, I'd probably be a basic bitch too.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>You're really bad at flirting.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I'm not flirting anymore.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I think you are.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh God. Anyway...what do you do?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Like, for work? I'm an estate planner. I write people's wills.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh, interesting. Do you like that?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Yeah, sure. When I was a kid, whenever I would meet someone the first thing I would think is who's this person gonna leave their shit to when they die. I really wanted to be part of the legal logistics of that.<\/dialogue>\n    <scene_description>Bobby laughs.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Actually the head of The LGBTQ \\* Senior Center called me and was \\* looking for someone with your skills to do some pro bono work for them.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>What's that? \\*<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>It's the community center for LGBTQ senior citizens. We've never had as many openly gay seniors as we do right now. And there are some very specific issues that pop up around LGBTQ death!<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Sounds really fun.<\/dialogue>\n    <scene_description>Bobby points to someone on the dance floor.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Wow, that man will just not stop vogue-ing. He's been vogue-ing since we got here. Several hours now.<\/dialogue>\n    <scene_description>They both laugh. Aaron notices a ripped go-go boy dressed as a baseball player dancing on top of a small stage.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>That guy's hot.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>He is.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I'm supposed to fuck him and his boyfriend later.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh. Cool. That must be hard for such a shy person. My god look at your abs. You're like a tortoise.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I'm like a tortoise?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yeah. And that's your pretty, protective shell that everyone likes and that you can hide in when you're feeling scared and shy.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Harsh.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Are you on steroids?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Ha. No.<\/dialogue>\n    <scene_description>Bobby looks at Aaron's body. He can't help but be attracted to him. Similarly, even though Bobby is a bit of a dick, Aaron is amused and drawn to his directness.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>You having fun?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I mean, I guess. I'm 42. If I was straight I'd be home right now, getting fat on my couch, dealing with kids or, I don't know, doing whatever straight white people do. I think they sit at home watching things with Jason Bateman.<\/dialogue>\n    <scene_description>Aaron laughs. Bobby laughs too. They clink Shitrockets.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>I listen to your podcast.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Ohhhh. So is that why you're talking to me? Cause I'm famous?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>You're not really that famous.<\/dialogue>\n    <scene_description>Aaron winks at him. Bobby is offended. He looks at the dance floor. And when he turns back around, Aaron's gone.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Where did he go? (he looks around, doesn't see Aaron). Oh my god.<\/dialogue>\n    <scene_description>Henry returns.<\/scene_description>\n    <character>HENRY<\/character>\n    <dialogue>Where'd he go?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I don't know! I hate these people. (Bobby starts singing) \"I hate these people! I hate everyone here! I mean I love them as a community! But I hate them individually!\"<\/dialogue>\n    <scene_description>JUMP CUT TO LATER: Bobby's at the bar. Aaron appears.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Hey. Where'd you go?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I don't know. Nowhere.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Who you here with?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>My usual crew.<\/dialogue>\n    <scene_description>Aaron points out a group of bro-y buff dudes, most shirtless.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Oh all your boring friends!<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>You're an asshole. They all do really well actually.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>The one doing poppers is the global head of marketing for Ralph Lauren.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh! Well if anyone deserves to blow off some steam!<\/dialogue>\n    <scene_description>They watch a guy in a leather harness dancing with a fan.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Gay guys are so stupid.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh my God, I know! I. know! Gay guys are usually the absolute smartest or, like, the dumbest people I've ever met. But we've been smart enough to brand ourselves as being smart and clever.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Yup. I've hooked up with guys and then after I'll make a joke or say something sarcastic and the guy does not understand that I am making a joke. Literally does. not. understand. satire.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I love you. I've never been in love with anyone in my life but you're the first one.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Can I be honest? I think we're moving too slowly!<\/dialogue>\n    <scene_description>Bobby tries to kiss Aaron. Aaron turns to avoid it. Suddenly the lights strobe. Aaron is gone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DANCE FLOOR<\/stage_direction>\n    <character>HENRY<\/character>\n    <dialogue>What were you and Aaron talking about for so long?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh just about how a lot of gay guys are secretly really stupid!<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>Oh! How fabulous!<\/dialogue>\n    <character>HARNESS GUY WITH A FAN<\/character>\n    <dialogue>WHOOOOOOOOOOOO!<\/dialogue>\n    <scene_description>Bobby's face gets hit repeatedly by the harness guy's fan. Bobby Hey! Can you watch it with your enormous fan? (to Henry) He keeps ghosting me. We're having a good time and then he disappears. Suddenly Aaron passes by. Bobby makes a move towards him.<\/scene_description>\n    <character>HENRY<\/character>\n    <dialogue>Bobby, let it go. He's a dick.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No! I will not let it go! I do not let things go.<\/dialogue>\n    <scene_description>The harness guy dances up to Bobby again.<\/scene_description>\n    <character>HARNESS GUY WITH FAN<\/character>\n    <parenthetical>(to Bobby)<\/parenthetical>\n    <dialogue>Why aren't you dancing???<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Would you leave me alone? I'm dancing ok? What do you want me to do, the fucking Nutcracker Suite?<\/dialogue>\n    <scene_description>Bobby bounds towards Aaron, who's with the baseball player guy.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Hey. What's up?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What's up? I tried to kiss you and you wouldn't kiss me back. Is what's up.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I'm sorry. I told you I'm shy.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh please. You're not shy. What are you into? Some boring, ripped dude with no opinions?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>No I like someone who's physically very frail and won't stop talking.<\/dialogue>\n    <scene_description>Bobby goes for the kiss. After a slight hesitation, Aaron leans into it and kisses him back. It's an intense kiss.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Come home with me.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I can't.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Why? Cause you have fuck the fake baseball player and his husband?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I don't know what to tell you.<\/dialogue>\n    <scene_description>Bobby's fed up and turns to leave. Aaron calls after him.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Hey! Take my number.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Absolutely not.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Why? Because I'm one of the smart ones, asshole. What a shock - you're an emotionally unavailable gay man. Join the club. No one's more emotionally unavailable than me! No one! I pride myself on that. Here's my number if you wanna hang. Or not. As Humphrey Bogart said to Ingrid Bergman at the end of Casablanca, \"sext me when you're drunk!\"<\/dialogue>\n    <scene_description>Bobby turns to leave and is caught in a group of intense vogue dancers who refuse to stop vogue-ing in his face.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Oh god, they cannot stop vogue-ing! They cannot stop vogue-ing! Excuse me, I'm sorry, I know you're vogue- ing but can I please go home?!<\/dialogue>\n    <scene_description>Bobby busts through the dancers and runs out of the club.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOBBY'S APARTMENT - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Bobby swipes through Grindr and texts with a new guy. You've Got Mail plays on basic cable in the background. WHATS UP? NOT MUCH. U? Bobby gets bored of the same texting routine. US TEXTING EACH OTHER ANONYMOUSLY. IT'S JUST LIKE YOU'VE GOT MAIL! HAHA. LOL. DICK PIC? LOL. SORRY, NO. THINK ABOUT YOU'VE GOT MAIL - MEG RYAN WOULD NEVER SEND U A PICTURE OF HER GENITALIA. HAHA. LOLOL. CAN I SEE UR ASS? DON'T HAVE ASS PIC, SORRY. NEED TO SEE ASS PIC THO! DON'T HAVE ASS PIC!!! NOT GONNA MEET UNLESS U SEND ASS PIC! MUST SEE PIC OF ASS!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>In a panic, Bobby takes a series of ass photos in the mirror. He looks at the pics. His ass looks blown out and flat.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>It's too fucking flat!<\/dialogue>\n    <scene_description>He stretches his arm as far as possible while bending over to find a better angle. He falls over while taking it. Bobby then furiously shaves his butt with an electric razor. He cuts his ass cheek - now he's bleeding. MY FUCKING ASS IS BLEEDING? NO! HOW AM I GONNA SHIT NOW? NO FUCKING or SHITTING?! I CAN'T FUCK! I CAN'T SHIT! I'M NOT A PERSON! GODDAMMIT! Bobby frantically shaves a hairy shoulder. He only shaves one shoulder to save time. He poses seductively and takes a pic. INT - BOBBY'S LIVING ROOM - A FEW MOMENTS LATER TOOK THIS JUST FOR YOU, BRO. Beat. Bobby has been blocked. HE BLOCKED ME??? Bobby sinks into the couch, totally defeated. There's a \"Christmas in June\" Hallheart holiday movie marathon on TV.<\/scene_description>\n    <character>HALLHEART ANNOUNCER (O.S.)<\/character>\n    <dialogue>Hallheart proudly presents our first bisexual holiday film, the award winning \"Christmas With Either,\" part of our holiday movie marathon.<\/dialogue>\n    <scene_description>Bobby crawls into a fetal position and watches it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AARON'S OFFICE - NEXT MORNING<\/stage_direction>\n    <scene_description>Aaron sits across from a new client MELVIN FUNK, a wealthy, very blunt, older gay man with a chip on his shoulder.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>How can I help you today, Mr. Funk?<\/dialogue>\n    <character>MELVIN<\/character>\n    <dialogue>I need to adjust my will. I will no longer be giving any money to my sister.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Alright. May I ask why?<\/dialogue>\n    <character>MELVIN<\/character>\n    <dialogue>Because I hate her. She's a terrible person. And I hate her husband too. Also can't stand my niece. 7 years old. Hateful.<\/dialogue>\n    <character>MELVIN<\/character>\n    <dialogue>Also, I'm dying. I have pancreatic cancer.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I'm so sorry to hear that.<\/dialogue>\n    <character>MELVIN FUNK<\/character>\n    <dialogue>So I need to figure out where my money goes.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Any spouse or child? Family member or friend you're close with?<\/dialogue>\n    <character>MELVIN FUNK<\/character>\n    <dialogue>No, no and no.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Well, sometimes it helps to close your eyes and think of who really means the most to you.<\/dialogue>\n    <scene_description>MELVIN closes his eyes for 3 seconds and opens them.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Who is it?<\/dialogue>\n    <character>MELVIN FUNK<\/character>\n    <dialogue>Honestly? Cher.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Oh. Ok. So...you want to leave $100,000 dollars to.. Cher?<\/dialogue>\n    <character>AARON'S RECEPTIONIST<\/character>\n    <dialogue>Mr. Shepard, I'm sorry to interrupt. Mrs. Bailey passed away.<\/dialogue>\n    <character>MELVIN FUNK<\/character>\n    <dialogue>God, this is so depressing.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I'm sorry, Melvin, I can't imagine what you're going through.<\/dialogue>\n    <character>MELVIN FUNK<\/character>\n    <dialogue>I mean your job. What a downer.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOBBY'S APARTMENT - LATER THAT MORNING<\/stage_direction>\n    <scene_description>Bobby wakes up suddenly. His phone buzzes. HEY WHATS UP. Bobby doesn't recognize the number. Another text... IT'S AARON. HOW'S GRINDR? A DREAM. I SPENT 45 MINUTES TAKING A PICTURE OF MY OWN ASS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AARON'S OFFICE - INTERCUT<\/stage_direction>\n    <scene_description>DID U HOOK UP? Bobby thinks about his reply and lies. YUP. NICE BRO. YOU MUST HAVE A HOT ASS. YES I MUST. HOW R U? HOW WAS GROUP SEX WITH THAT FAUX-CHICAGO CUB? IT WAS FUN. THEY INVITED ME BACK TOMORROW. THEIR SURROGATE IS PREGNANT AND THEY'RE HAVING A GENDER REVEAL ORGY. U SHOULD JOIN. A GENDER REVEAL ORGY. JAMES BALDWIN WOULD BE SO PROUD. LOL. I WOKE UP LAUGHING ABOUT U SO RUDELY CALLING ME OUT ON MY SHIT. YOU DESERVED IT, BITCH. HONESTLY I'M IMPRESSED - YOU MIGHT BE MORE EMOTIONALLY UNAVAILABLE THAN I AM! WELL MAYBE WE CAN BE EMOTIONALLY UNAVAILABLE TOGETHER... \"MAYBE WE CAN BE EMOTIONALLY UNAVAILABLE TOGETHER?\" WHO'S WRITING YOUR TEXTS? MAROON 5? AARON: FUCK OFF. JK! IF U WANNA HANG OUT, LET'S HANG OUT. WERE U ASKING ME TO HANG OUT? I'M DOWN FOR WHATEVER. BOBBY: OK. SAME. AARON: COOL. SOUNDS GOOD. SO...TOMORROW? OR I CAN DO WHENEVER. YEAH I'M GOOD FOR WHENEVER. AND WE CAN DO WHATEVER. YEAH I DON'T CARE WHAT WE DO. YEAH ME NEITHER. SO... TOMORROW? AND HONESTLY WE CAN DO WHATEVER. YEAH. I CAN DO WHATEVER AND I CAN DO IT WHENEVER. THAT WORK FOR YOU? YEAH DEFINITELY THAT WORKS. TEXT IN THE MORNING AND SEE HOW WE FEEL? COOL. AND IF TOMORROW DOESN'T WORK WE CAN DO IT ANOTHER TIME. YEAH ANOTHER TIME DEFINITELY WORKS FOR ME. YEAH ME TOO. SOUNDS GOOD. Aaron and Bobby both stare at their phones utterly confused.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCH - AFTERNOON<\/stage_direction>\n    <scene_description>Bobby and Aaron walk by a church with stained glass windows.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Those windows are pretty.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Which? Oh. Wow, I have walked by here like 9000 times in my life and I have never noticed those.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Really? What else are you missing?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Churches creep me out.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>The windows are pretty though.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yeah, I have a hard time forgetting about the other stuff. You think stained glass windows have ever included gay couples?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I'm gonna say no.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Exactly. History has erased gay love stories so we don't grow up learning how to love each other. I did a whole Ted Talk about it.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I'm sure you did. I had an idea for a show called The Masked Ted Talk. It's a combination of the Masked Singer and a Ted Talk, so like you'd have a person giving a speech about female empowerment but they're dressed like a giant caterpillar.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You're, like, secretly very funny.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Thanks. I usually keep those things to myself but I thought you might appreciate it.<\/dialogue>\n    <scene_description>A37 OMITTED A37\\* \\*:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>B37 EXT. STREET - LATER THAT DAY B37<\/stage_direction>\n    <scene_description>Bobby &amp; Aaron walk and talk.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>You grew up here, right? Your parents still in the city?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No, my parents both passed away actually.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Oh I'm sorry.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yeah, thanks. It wasn't recent. My mom died when I was in college and my dad died like 7 years ago- A BEE A BEE A BEE A BEE A BEE A BEE!<\/dialogue>\n    <scene_description>Suddenly a bee is flying very close to Bobby's face and lands on him. He panics. He's flailing and trying to swat it.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Stop swatting - you'll kill it!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>That's what I want to do!<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>The bees are dying. Don't you read?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yes, about gay stuff and movies!<\/dialogue>\n    <scene_description>Bobby freezes in a very awkward position. Aaron gently removes the bee from the back of his neck and sets it free.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>See? No reason to kill it.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Well, I'm sure you're very turned on now watching me flail around like the one white dancer in In the Heights.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Sorry, I'm a big animal person.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>So, what should we do now? Movie?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Sure. What's your favorite movie of all time?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>My favorite movie of all time? I don't have a favorite movie. What am I, twelve years old? Why, what's your favorite movie?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I don't know. Maybe...The Hangover?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>The Hangover?! The Hangover is your favorite movie of all time? How many movies have you seen? One?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>It's a funny movie!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Kinda! And do you remember one of the first lines in that movie?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>\"Paging Dr. Faggot!\"<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>\"Paging Dr. Faggot!\"<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>That's right. \"Paging Dr. Faggot\" is the first line of the highest grossing comedy of 2009. And no one ever talks about it! We're just supposed to laugh it off. That whole era of weird bro comedies was so fucked up.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>And they say \"well that's how guys like that talked.\" And I'm like, oh yeah, you know why people liked The Hangover? Historical Accuracy. But then I'm lame if I complain about it!<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>You're very intense.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Life's too short to take it that seriously.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Really? I think life's too short not to take it that seriously.<\/dialogue>\n    <scene_description>Bobby notices the movie poster for The Treasure Inside.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Oh, The Treasure Inside. It's supposed to be really good. (TBD Prestigious Actor) and Nick play \\* closeted frontiersmen in Jonas the \\* California Gold Rush of 1849. Of course it has to be two straight guys. Straight guys are always allowed to play gay and gay men are hardly ever allowed to play straight. They're worried the audience won't believe it. And I'm like - look at the shit people believe! Star Wars, Transformers, Spider Man - people won't believe a gay man can play straight but they believe in fucking Chewbacca?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>So do you want to see it or not?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Of course! I'm dying to!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOVIE THEATER - MOMENTS LATER 37\\*<\/stage_direction>\n    <scene_description>Bobby and Aaron watch trailer for an animated movie A \\* DIFFERENT DANNY. \\*<\/scene_description>\n    <character>THEN LATER-- \\*<\/character>\n    <dialogue>\\*<\/dialogue>\n    <scene_description>ANGLE ON TBD our two Prestigious Actors in the back of a \\* barn. Actor 2 draws water from a well, wiping his face with \\* his shirt. Actor 1 reaches behind Actor 2 and helps him pump the water. \\* It gradually becomes subtly sexual.<\/scene_description>\n    <character>ACTOR 1 \\*<\/character>\n    <dialogue>What brings ya to Treasure, Oregon?<\/dialogue>\n    <character>ACTOR 2 \\*<\/character>\n    <dialogue>I'm here with the traveling opera.<\/dialogue>\n    <character>ACTOR 1 \\*<\/character>\n    <dialogue>I don't care much for op-er-a.<\/dialogue>\n    <character>ACTOR 2 \\*<\/character>\n    <dialogue>Neither did I at first.<\/dialogue>\n    <scene_description>Suddenly Actor 2 pulls away. \\*<\/scene_description>\n    <character>ACTOR 2 (CONT'D) \\*<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>ACTOR 1 \\*<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <scene_description>They kiss and fall to the ground, about to have anal sex.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>No lube?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I don't think they had lube in 1849. They didn't even have, like, highways.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I'm going to call it. As soon as penetration happens the camera is going to sensitively drift away.<\/dialogue>\n    <scene_description>Actor 1 is about to penetrate Actor 2. Actor 2 screams in \\* pain\/ecstasy and the camera sensitively drifts away.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Shit! You called it!<\/dialogue>\n    <scene_description>An older straight woman turns around and shushes them.<\/scene_description>\n    <character>STRAIGHT OLDER WOMAN<\/character>\n    <dialogue>Shhh!!! How rude!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh, you know what lady? We only get one movie about gay people a year. The least you can do is let me rip it to shreds!<\/dialogue>\n    <scene_description>ANGLE ON THE SCREEN: Actor 2 enters Actor 1's barn. \\*<\/scene_description>\n    <character>TBD PRESTIGIOUS ACTOR<\/character>\n    <dialogue>Git. Git out. Just git. Git.<\/dialogue>\n    <scene_description>MUSIC CUE: \"Che Gelida Manina\" from La Boh\u00e8me. Actor 1 runs \\* away, tears in his eyes, through a field. Bobby and Aaron tear up, but hide it from each other. The lights come up.<\/scene_description>\n    <character>STRAIGHT OLDER WOMAN<\/character>\n    <dialogue>That was brilliant. Just brilliant.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOVIE THEATER LOBBY - MOMENTS LATER - NIGHT<\/stage_direction>\n    <character>BOBBY<\/character>\n    <dialogue>Well, it got me in the end.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Yeah. But why does it always have to be so tragic?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I don't know. Philadelphia, Moonlight, Milk, Brokeback - happy endings don't win Oscars. People love seeing us miserable.<\/dialogue>\n    <scene_description>JOSH EVANS, a handsome, very bro-y dude, and a WOMAN approach.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Wait - Aaron Shepard?!<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Josh Evans?? Holy shit! Sup, dude? Haven't seen you in forfuckingever!<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Aaron and I played hockey in high school! This is my fianc\u00e9 Samantha.<\/dialogue>\n    <character>SAMANTHA<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Nice to meet you. This is Bobby.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Nice to meet you. We just saw The Treasure Inside. Which if you do not want to see gay sex I highly recommend.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Oh. Ok. Nice.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Just some dumb movie.<\/dialogue>\n    <character>SAMANTHA<\/character>\n    <dialogue>Oh wait - I wanna see that! Gay guys are my jam.<\/dialogue>\n    <scene_description>Bobby grimaces at that.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>What're you doing here?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Just on a little trip! First time in NY actually. This city is sick!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>This is your first time in New York and you're going to a movie?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Yeah. Deadpool 7 just opened!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Deadpool 7? Weren't there only 2?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Yeah! They skipped right to 7! Ryan Reynolds is fucking crazy like that!<\/dialogue>\n    <character>SAMANTHA<\/character>\n    <dialogue>Ryan Reynolds is such a badass.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>He really is.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Sounds awesome! Good seeing ya bro!<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>You too bro. Nice meeting you, Bob.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Bob?<\/dialogue>\n    <scene_description>Josh and Samantha head off.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Jesus. That's so crazy. I never run into anyone from home.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Totally, bro. Just some dumb movie, bro.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>He's a dude from my tiny high school who I played hockey with 800 years ago. I wasn't about to get into a dissertation on gay cinema.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No, I get it. No I thought he was sick, I thought he was just extremely sick. They were both very lovely, very sick people.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>God I had the biggest crush on him in high school.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Of course you did! Dumb, bro-y, straight acting men! Like I said!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOBBY'S BUILDING - LATER<\/stage_direction>\n    <scene_description>They approach Bobby's building. Bobby gestures to it.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Well, like the bearded lady in the Greatest Showman, this is me.<\/dialogue>\n    <scene_description>They look at each other. As Bobby goes in for a kiss, Aaron points out Bobby's doorman.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Dude. Your doorman.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>C'mon, let's not be the guys in the movie who only kiss in the bottom of a mine in what is now Oregon.<\/dialogue>\n    <scene_description>Aaron gets a text. It's a hot pic of the faux-baseball player and his husband. He shows Bobby the pic.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>The faux Chicago Cub?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Yeah, his husband just sent this.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Whoa. They are really hot.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Yeah. Mike and Doug. They're just these big, rugged, roided out meatheads. Not the brightest but... sweet guys. You wanna go over there?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Now? Wait - are you ditching me again to fuck the baseball cosplayer and his husband?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I'm not ditching you, I'm inviting you! They want us to come over. You should come!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What? No. I thought you were gonna come upstairs.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Look, I don't do the one on one relationship thing very well. If I come upstairs, it becomes a whole thing. You should just come with me. Seriously, it would be fun!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What? No. Are you crazy? See this is why I don't get involved - because you people are insane. I thought this was a date and then we'd - anyway, whatever. I appreciate the invite but I can't.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Ok. Maybe another time.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Ok. Well... have fun! Goodnight!<\/dialogue>\n    <scene_description>Aaron turns and walks away. He looks down at the pic of the hot couple and then turns around and shouts back at Bobby.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Bobby! Wait!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - AN APT.<\/stage_direction>\n    <scene_description>MUSIC CUE: \"Perfect\" by Ed Sheeran. Tight on Bobby and Aaron making out tenderly. They talk sweetly, almost whispering.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Hey, I had a really nice time today.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Me too.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I never go on dates but it was fun.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Yeah. I had a great time too.<\/dialogue>\n    <scene_description>We hear light slurping sounds and pull out to reveal the baseball player and his husband on their knees sucking Aaron off. Bobby sits there naked and uncomfortable right next to them, with his hands folded covering his privates.<\/scene_description>\n    <character>BOBBY<\/character>\n    <parenthetical>(whispering, to Aaron)<\/parenthetical>\n    <dialogue>Hey, I'm gonna go.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Is everything ok? Is this weird?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh no, no, totally fine, I'm just gonna go.<\/dialogue>\n    <scene_description>Bobby puts on his clothes and leaves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TINA AND EDGAR'S HOUSE - DAY<\/stage_direction>\n    <character>TINA<\/character>\n    <dialogue>Thanks for coming. We're convinced Brian is gay and I think it's good for him to have his gay uncle around.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Of course! I will always be here to be a good guncle to my g'nephew.<\/dialogue>\n    <scene_description>BRIAN and his sister HANNAH run in, ages 8 and 5.<\/scene_description>\n    <character>BRIAN<\/character>\n    <dialogue>Uncle Bobby, will you read my report? It's about Freddie Mercury.<\/dialogue>\n    <character>TINA<\/character>\n    <dialogue>He's obsessed with Bohemian Rhapsody.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Wow. And like that movie does your report take a story about one of the great gay icons and make it about that one time he maybe slept with a woman?<\/dialogue>\n    <character>TINA<\/character>\n    <dialogue>Bobby. He's eight. Plus I thought Freddie Mercury was bi.<\/dialogue>\n    <scene_description>Bobby rolls his eyes. He keeps checking his phone.<\/scene_description>\n    <character>TINA<\/character>\n    <dialogue>What are those gifs of Liam Hemsworth?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>This guy I went out with won't stop bothering me.<\/dialogue>\n    <character>TINA<\/character>\n    <dialogue>A guy? Really? A Grindr guy?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Nope. I met him in real life.<\/dialogue>\n    <character>TINA<\/character>\n    <dialogue>Bobby! That's fantastic. So when are you seeing him again?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Probably never. He's like this wannabe \"bro\", you know? He's smart but it's like he never got over wanting to be this dude. And I see the guys he looks at. They're all like him. And that's not me.<\/dialogue>\n    <character>EDGAR<\/character>\n    <dialogue>Is he a top or a bottom?<\/dialogue>\n    <character>HANNAH<\/character>\n    <dialogue>Bottom! Bottom!<\/dialogue>\n    <scene_description>Hannah starts doing a dance where she shakes her bottom.<\/scene_description>\n    <character>TINA<\/character>\n    <dialogue>Oooh bottom dance!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh God. Gay sex was more fun when straight people were uncomfortable with it. Fuckin' Schitt's Creek.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Maybe we should stop talking about anal sex in front of your children.<\/dialogue>\n    <character>TINA<\/character>\n    <dialogue>Oh please, it's a natural part of life! Bobby - ask him out again! You never like anyone - give it a shot!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I do need a plus one for this work thing.<\/dialogue>\n    <character>EDGAR<\/character>\n    <dialogue>A work thing? With lots of celebrities and fancy people? You gonna peacock to impress him?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No, it's just a fundraiser for the museuem and I need to bring someone.<\/dialogue>\n    <character>TINA<\/character>\n    <dialogue>Are you gonna be on stage?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No, I am not going to be on stage. Who do you think I am? Some sort of narcissistic sociopath?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LGBTQ MUSEUM - NIGHT<\/stage_direction>\n    <scene_description>Bobby is on stage hosting a fundraising party for the Museum. Aaron sits in the crowd, a bit shy and uncomfortable but clearly mesmerized by Bobby and the event.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Ok, let's hear it once more for John Legend and Chrissy Teigen, who insisted on coming and performing tonight without even being asked! They literally just showed up and refused to leave! Everyone, there are rock paintings in Zimbabwe that date back to the year 8000 BCE which depict homosexuality. If only the men on those paintings could've lived 10,000 years to see a character come out on It's Always Sunny in Philadelphia. Please give generously so the Museum can tell all the stories in between that have never been told. Goodnight!<\/dialogue>\n    <scene_description>ANGLE ON: Aaron who sits at a table with other board members.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Hey - are you ok? Sorry I left you alone. You wanna see the Museum?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Are you sure? We can stay.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No, let's just go. Before Andy Cohen tries to steal you away from me. He has a four year old - you don't need that baggage.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSEUM LOBBY - CONTINUED.<\/stage_direction>\n    <character>AARON<\/character>\n    <dialogue>Dude, you were awesome. I could never do that. Speak in front of all those people? You run in some fancy circles, I didn't realize.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>It's not always that glamorous. You should see the fights we have. I'm dreading tomorrow. I'm pitching my Lincoln exhibit for the final wing. How's work for you?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Fine. Dealing with a very sad rich man, Melvin Funk. He's dying. And he has no idea who to leave his money to cause he's totally alone.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>God, that's so sad.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Yep. So that's what I do.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Maybe you should do something else.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Nah. It's fine.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yeah it's fine if you wanna hate your life and be miserable. Oh wait, let's go this way.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FUTURE LGBTQ MUSEUM - THE AIDS MEMORIAL<\/stage_direction>\n    <scene_description>Bobby walks Aaron into a room with a gigantic electronic wall dedicated to those who have died of AIDS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LGBT MUSEUM - THE LEGENDS PAVILION<\/stage_direction>\n    <scene_description>They walk through beautiful displays of photos and artifacts.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>This is the Legends Pavilion. Unsung heroes from LGBTQ history. This is We'wha, a revered transgender Native American \"two- spirit\" from the Zuni tribe in the 1800's. She was accused of witchcraft and sent to prison.<\/dialogue>\n    <parenthetical>(moving on)<\/parenthetical>\n    <dialogue>Magnus Hirschfeld was a doctor who founded the Sex Institute of Berlin in the 1930s, which carried out the first advocacy for LGBTQ rights. It was burned to the ground and destroyed by the Nazis.<\/dialogue>\n    <parenthetical>(moving on)<\/parenthetical>\n    <dialogue>This is Bayard Rustin, a close adviser to Dr. Martin Luther King and chief organizer of the March on Washington. Rustin was openly gay, even in the face of some homophobes in the Civil Rights Movement, who at one point set up a committee to determine whether it was worth keeping him around. What do you think? Incredible, right?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>It's like all AIDS and Nazis and homophobia. It's a bit of a downer.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Well it's a painful history. People need to experience it.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I'm just giving you my reaction.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Well what did you think it was going to be, \"A Night at the Gay Museum?\"<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>You laugh, but every one of my relatives loves that movie. You should maybe do something like that where the things talk at you.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Where the things talk at you? Like what? A hologram of Kenan Thompson \\* as James Baldwin? Seth Meyers as \\* Harvey Milk? Amy Schumer as Eleanor \\* Roosevelt? \\*<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Honestly people would love that shit!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No offense but that's the dumbest thing I've ever heard.<\/dialogue>\n    <scene_description>Wanda and Angela run into the hall.<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>Bobby! We have Debra Messing's agent on Zoom. It's urgent. Debra's worried she's on the verge of getting cancelled. She said in an interview that she was \"the Viola Davis of Tufts\" and people are mad. He said she may want to make a big donation to the Museum to save face. And she's loaded.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh my God! Ok I'm coming. Aaron, I'll be back in 5!<\/dialogue>\n    <scene_description>Bobby leaves. Aaron sees himself reflected in the glass of an empty display, seeing himself in the context of history and all these icons. In his mind's eye the display's blank plaque changes to: \"POPULAR ON GRINDR. HATED HIS JOB. WORKED OUT A LOT.\" WIDE SHOT of Aaron alone in this beautiful exhibit surrounded by heroes. He feels small and lost in comparison.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LGBTQ MUSEUM - THE LEGENDS PAVILION<\/stage_direction>\n    <scene_description>Bobby runs back in to find Aaron. Aaron is gone.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Aaron? Where are you?<\/dialogue>\n    <scene_description>Bobby looks at his phone. SORRY. HAD TO GO. C U. EVERYTHING OK? Aaron doesn't reply. Bobby calls him. Aaron doesn't pick up.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Fuck!!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LGBTQ MUSEUM BOARDROOM - THE NEXT MORNING<\/stage_direction>\n    <scene_description>A distracted Bobby sits with the board before his Lincoln pitch. The board waits impatiently as he texts Aaron again. We see his phone as he scrolls through multiple unanswered texts.<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>Bobby! Whenever you're ready.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh. Ok great. Um -<\/dialogue>\n    <scene_description>Bobby sits up and pulls it together to begin his pitch.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>People wonder if America is ready for its first gay President - I say we already had one. For the final wing, please consider The Lincoln Letters: A Gay American Love Story. For years, historians have speculated about Lincoln's sexuality. He shared a bed and exchanged romantic letters with two different men, Joshua Speed and David Derrickson, Speed for many years-<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>I'm stopping you. It won't work, Bobby. You can't say Lincoln was gay.<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Well, I think it's interesting. And why not be a little controversial?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Because there's not enough evidence.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Well there you have it - no evidence of love! Of course we<\/dialogue>\n    <dialogue>don't have enough evidence Robert - we weren't allowed to exist!<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Lincoln was married to a woman and had three children. He wasn't gay, Bobby - at most he was bi!<\/dialogue>\n    <character>ANGELA<\/character>\n    <dialogue>Well if you ask me, Lincoln is just another cis white man.<\/dialogue>\n    <character>CHERRY<\/character>\n    <dialogue>Just another cis white man? He's Abraham Lincoln!<\/dialogue>\n    <character>ANGELA<\/character>\n    <dialogue>Not according to @wokecunt.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Who the hell is @wokecunt?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>A hugely popular TikTok historian.<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Gigantic influencer.<\/dialogue>\n    <character>TAMARA<\/character>\n    <dialogue>@wokecunt is my hero.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Well, with all due respect to Woke Cunt, she's not on the board of this Museum.<\/dialogue>\n    <character>ANGELA<\/character>\n    <dialogue>But it's not even accurate. We all know James Buchanan came before Lincoln and he was the first gay President. He was hooking up with Senator and future Vice President William Rufus King. You just don't want to mention that Bobby because Buchanan was a Conservative prick.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>And Hitler was gay too!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Ok we're not talking about that!<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>People! Enough! Let's vote on it.<\/dialogue>\n    <scene_description>Everyone writes down which exhibit they want and slips it to Wanda. Bobby looks at his phone. Still no text from Aaron.<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>Ok. We have two votes for Great Bisexuals of the World...<\/dialogue>\n    <scene_description>Robert smiles and flips off Bobby.<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>And three votes for The Lincoln Letters. Lincoln wins.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>YES!!!<\/dialogue>\n    <scene_description>Robert looks pissed. A RECEPTIONIST knocks urgently. Everyone looks toward the door. The receptionist pokes their head in.<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>Debra Messing is in the building!<\/dialogue>\n    <scene_description>Bobby checks his phone again. Still no text.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Goddammit!<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Are you ok?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yes. I'm fine. I am totally fine.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LGBTQ MUSEUM - LOBBY - MOMENTS LATER<\/stage_direction>\n    <scene_description>A frazzled Bobby rushes towards Debra Messing.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Hi there, Ms. Messing --<\/dialogue>\n    <character>DEBRA MESSING<\/character>\n    <dialogue>Please call me Debra. I love this space! How did you find it?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What? Oh. Yeah. I don't know.<\/dialogue>\n    <character>DEBRA MESSING<\/character>\n    <dialogue>Are you OK, dear? You seem a little flustered. Trust me, I know I'm Debra Messing but I'm only human.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh. I'm sorry Debra. Boy problems.<\/dialogue>\n    <character>DEBRA MESSING<\/character>\n    <dialogue>Ohhhhh.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>He was actually here last night. I brought him with me to the fundraiser and then out of nowhere he just left. And I keep texting him and he won't get back to me. I don't know what's happening.<\/dialogue>\n    <character>DEBRA MESSING<\/character>\n    <dialogue>Well, I'm so excited for this tour -<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I mean, what do you think that is? If I may ask. Is he just not interested in me? Or did something really come up? And why the hell am I even thinking about it? Because I am never distracted like this. This is not who I am!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>And I'm like do I keep texting him? Do I call him? Do I go over to his house?? What do I do?<\/dialogue>\n    <scene_description>Debra's smile is now frozen.<\/scene_description>\n    <character>DEBRA MESSING<\/character>\n    <dialogue>I have spent the last twenty-five years listening to every gay guy on Earth complain to me. I am not my fucking character. I'm not every gay man's best friend. I'm just out in the world thinking I was going to get a tour of a museum. But no. Instead I get a bunch of tedious complaints I've heard eight thousand times before. Did I waltz in here and lay all my shit on you? I'm a divorced single mother -- you want to hear what that's like?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No, I mean, I'm so sorry --<\/dialogue>\n    <scene_description>Wanda, Cherry and Angela rush in.<\/scene_description>\n    <character>CHERRY<\/character>\n    <dialogue>What's going on here?<\/dialogue>\n    <character>DEBRA MESSING<\/character>\n    <dialogue>Do you have some personal shit you want to complain about to me?<\/dialogue>\n    <character>CHERRY<\/character>\n    <dialogue>No --<\/dialogue>\n    <character>DEBRA MESSING<\/character>\n    <dialogue>Of course not. Because lesbians have their shit together! I gotta go. I lose my sitter in an hour.<\/dialogue>\n    <scene_description>Debra Messing exits.<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>Bobby, what is going on with you? We're down to the wire. If Debra doesn't donate we're almost out of options. Figure this out, Bobby!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW WORKOUT CLASS - \"XXXTREME BALLPIT\"<\/stage_direction>\n    <scene_description>Bobby, Henry, Tina, Tom and Lucas wade through a colorful ball pit lifting weights above their heads in the new class XXXTREME BALLPIT.<\/scene_description>\n    <character>TINA<\/character>\n    <dialogue>What do you mean he just left?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I mean one minute he was in the museum and the next he was gone. Like Casper that Fucked Up Ghost. This asshole has somehow gotten into my head and he has me acting like a crazy person! And now we don't know if Debra Messing will donate! And if she doesn't, we're fucked! This is not who I am! I don't know what's happening to me!<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>Aaron doesn't have his shit together. You deserve better.<\/dialogue>\n    <scene_description>Suddenly, Tom and Lucas start squealing in delight.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Wait! Our surrogate texted us this new sonogram! Look at our babies!!!<\/dialogue>\n    <scene_description>Tina and Henry race towards Tom and Lucas in the ballpit.<\/scene_description>\n    <character>LUCAS<\/character>\n    <dialogue>Bobby, look!<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Look - one almost has toes!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Quite an accomplishment. Sorry I was actually going through something...<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Oh stop moping about your one night stand. What did you expect?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What did I expect? Well I didn't expect him to just ditch me like that. What I did expect was that you two would adopt!<\/dialogue>\n    <character>LUCAS<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No it's wonderful. I'm just saying at one point you said you would only adopt.<\/dialogue>\n    <character>LUCAS<\/character>\n    <dialogue>Tom decided he wanted his own kids.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Well ok but you said your grandfather was a racist and an anti-semite so what's so great about your DNA that you so desperately had to spread it around?<\/dialogue>\n    <scene_description>Bobby laughs at his own joke but the others don't.<\/scene_description>\n    <character>LUCAS<\/character>\n    <dialogue>Gee Bobby, it's just so hard to figure out why you would've scared Aaron away.<\/dialogue>\n    <character>TINA<\/character>\n    <dialogue>Ok settle down various gays. Look, maybe Aaron's not the one but you liked going out with him, right? Maybe it's a sign you should go on some dates!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I don't know. I'm not a going-on- dates person, you know that. I'm better off alone - all these guys are full of shit! You can't trust them! And here's the worst part - no one ever looks like their pictures! You meet them on some app and then you meet them in person and they're always exactly 30% uglier than how they looked in their photos. It's not fair!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOBBY'S APT - LATER THAT DAY<\/stage_direction>\n    <scene_description>Bobby scrolls through Tinder. We see a brief MONTAGE of Bobby matching with guys and then meeting them in person. When he meets them, WE SEE THEIR FACES MORPH from their perfect Tinder selfie into the real face sitting across from Bobby on a date, which is always 30% less attractive. Finally, he matches with SAM, a cute guy... and the face is accurate!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE - DAY<\/stage_direction>\n    <scene_description>Bobby and Sam drink beers. They're laughing and having fun.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>So, have you ever had sex with a woman?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>As a matter of fact I have. (joking) Do you know someone by the name of... Kate Winslet?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I don't.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh. Ok. I didn't have sex with her. She's an actress. Really you don't know her? Titanic?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Never saw it.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Not a big movie guy. \\* But I read a lot! \\*<\/dialogue>\n    <character>BOBBY \\*<\/character>\n    <dialogue>Oh cool. I read a lot too. I \\* actually just finished that new \\* Walt Whitman biography. Have you \\* read it? Ok, this is crazy. Did you \\* know Walt Whitman, America's \\* greatest poet of the 19th century, \\* published a magazine about men's \\* physique under a pseudonym? It was \\* called \"MANLY HEALTH\" - it was a 13 \\* part series basically teaching men \\* how to build muscle and look hot. \\* Walt Whitman did this! \\*<\/dialogue>\n    <character>SAM \\*<\/character>\n    <dialogue>No way. \\*<\/dialogue>\n    <character>BOBBY \\*<\/character>\n    <dialogue>Yeah! \"America's poet.\" Meanwhile \\* if he were alive today, he wouldn't \\* have time to write \"Leaves of \\* Grass\", he'd probably just be Chris \\* Pratt's trainer. Personal trainers \\* are the new poets! \\*<\/dialogue>\n    <character>SAM \\*<\/character>\n    <dialogue>I feel like he'd probably be some \\* kinky jock-sniffing leather queen \\* with his cock in a cage. \\*<\/dialogue>\n    <character>BOBBY \\*<\/character>\n    <dialogue>Exactly! \\*<\/dialogue>\n    <character>SAM \\*<\/character>\n    <dialogue>Have you ever worn one of those? \\*<\/dialogue>\n    <character>BOBBY \\*<\/character>\n    <dialogue>A cock cage? \\*<\/dialogue>\n    <character>SAM \\*<\/character>\n    <dialogue>Yeah one of those little metal \\* cages that trap your penis so you \\* can't get hard until your master \\* unlocks it? \\*<\/dialogue>\n    <character>BOBBY \\*<\/character>\n    <dialogue>No, but I've seen them - \\*<\/dialogue>\n    <character>SAM \\*<\/character>\n    <dialogue>So my boyfriend put me in one, real \\* hot, but then I broke up with him, \\* and he was so angry, he wouldn't \\* give me the key. And then my \\* grandpa died. \\*<\/dialogue>\n    <character>BOBBY \\*<\/character>\n    <dialogue>Oh my god. \\*<\/dialogue>\n    <character>SAM \\*<\/character>\n    <dialogue>Yeah. And I had to go back to \\* Michigan for the funeral. But there \\* was no way I was getting through \\* airport security with that thing \\* on. So I rent a car, drive nine \\* hours to Ann Arbor, nonstop, then I \\* have to sit through my grandpa's \\* funeral in a cock cage. \\*<\/dialogue>\n    <character>BOBBY \\*<\/character>\n    <dialogue>That is very strange. \\*<\/dialogue>\n    <character>SAM \\*<\/character>\n    <dialogue>Yeah. But it was also kinda hot. \\* Like my dick still belonged to \\* Ethan. \\*<\/dialogue>\n    <character>BOBBY \\*<\/character>\n    <dialogue>Wow. (beat). And you've done all \\* that but you've never seen Titanic? \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAM'S APT. - BEDROOM<\/stage_direction>\n    <scene_description>Sam and Bobby are shirtless, making out on Sam's bed.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>You're really hot.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You too.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You like your nips played with?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Um, sure.<\/dialogue>\n    <scene_description>Sam pinches one of Bobby's nipples. Bobby lets out a quiet \"ouch\" sound. Mildly painful but Bobby doesn't mind.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>You like that?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I think so.<\/dialogue>\n    <scene_description>Sam pinches one nipple a little harder. Then the other.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Ow. Ow.<\/dialogue>\n    <scene_description>Then Sam pinches the other one. Then the first one again.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Ow. (beat) Ow. Ow.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You like that? Have you ever tried these?<\/dialogue>\n    <scene_description>Sam leans over to his night table and pulls out what look like 2 small, soft black rubber knobs from the drawer.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>They're called nipple plumpers.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>They're called what?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>They suction on to your nipples. They make 'em really swollen and sensitive.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh. OK. (as Sam puts them on) Ow. Ow.<\/dialogue>\n    <scene_description>Sam puts the nipple plumpers on Bobby's nipples. Sam is now alternating between Bobby's nipples, pinching them one by one, slowly pinching harder and harder, with Bobby saying \"ow! ow!\" every time but enjoying it. This escalates. Sam's now really going after Bobby's nipples, sometimes one by one, sometimes both at the same time, handling them as if Bobby's nipples are the console in some intense video game. This builds to where Sam has both his fists yanking both nipples at the same time, shaking Bobby's entire body that way. Bobby is flailing and convulsing in ecstasy as Sam shakes him intensely, rocking him back and forth.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Oy oy oy oy oy oy oyyyyy!<\/dialogue>\n    <scene_description>Sam goes for one more really intense pinch with both hands.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Ahhh!! Ok, ok that's enough. I need a break. Let's take them off.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Oh, ok sure. God that was hot.<\/dialogue>\n    <scene_description>Sam tries to take them off. But they're not coming off.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>They're really suctioned on there.<\/dialogue>\n    <scene_description>He pulls them again.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Ow. Ow.<\/dialogue>\n    <scene_description>Sam goes for it and pulls harder. Bobby screams \"OW!!! OW!!!\" but they're still stuck.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>What the fuck??<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'm sorry - they're stuck!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>YA THINK? Just let me do it.<\/dialogue>\n    <scene_description>Bobby grabs at them himself, pulling hard, to the point where he rocks himself into a fetal position trying to get them off - but they won't come off.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Fuck! What am I gonna do? Why did you put these on me?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'm sorry! This doesn't usually happen - hold on let me pour some lube on there and they'll slip off.<\/dialogue>\n    <scene_description>Sam gets his lube bottle and pours it on Bobby's chest, then sets the bottle aside. It falls off the bed and drips on to the floor. Bobby starts to gently massage the lube into the suction cups on his very sore chest, which turns Sam on.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>God you look hot right now.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Are you jerking off?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'm sorry! You're so hot!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Stop it! Oh my god what am I gonna do? They won't come off! They won't come off! I'm panicking!<\/dialogue>\n    <scene_description>Bobby shoves Sam aside. He jumps up from the bed. As his feet hit the floor, Bobby slips on the lube and falls down.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>OW!!! I SLIPPED ON THE LUBE!<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Oh my god are you ok?<\/dialogue>\n    <scene_description>Sam jumps off the bed to help him and Sam slips on the lube too. Bobby gets himself up, slipping and sliding on the lube as he yanks his clothes on.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I'm so sorry, I really am. I had a really good time tonight.<\/dialogue>\n    <scene_description>I DIDN'T!!! THIS IS WHY I DON'T DO THIS! Bobby leaves and slams the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - AARON'S OFFICE<\/stage_direction>\n    <scene_description>Aaron is in his office on Facetime with his mom, ANNE.<\/scene_description>\n    <character>ANNE<\/character>\n    <dialogue>Your brother is here. Say hi!<\/dialogue>\n    <scene_description>Anne pans over to JASON SHEPARD, 42, playing a video game.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Sup.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Sup.<\/dialogue>\n    <character>ANNE<\/character>\n    <dialogue>Never get divorced, Aaron.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Never get married.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Ok mom, I'm at work so-<\/dialogue>\n    <character>ANNE<\/character>\n    <dialogue>Oh wait - I almost forgot to tell you! You remember Josh Evans?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>From high school? Yeah. I just ran into him and his fianc\u00e9 here.<\/dialogue>\n    <character>ANNE<\/character>\n    <dialogue>Well, they just broke up. And you wanna know why? Because he's gay.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Wait - what? Josh Evans? No.<\/dialogue>\n    <character>ANNE<\/character>\n    <dialogue>Yes! People are shocked! But I'm happy for him! Anyway he's moving to NY soon so I gave his mom your number so you guys can hang out and, I don't know, be gay I guess.<\/dialogue>\n    <scene_description>CUT TO LATER: AARON WATCHES JOSH EVANS'S HEARTFELT COMING OUT<\/scene_description>\n    <character>IG STORY. JOSH IS SUPER BRO-Y, VERY DIFFERENT THAN BOBBY.<\/character>\n    <dialogue>JOSH EVANS<\/dialogue>\n    <scene_description>I'm so nervous. Geez. Well here goes. I'm definitely embarrassed by how long this took me but I'm told everyone does this in their own time. And I'm sorry this took me 35 years but I've been empowered by my heroes, Colton Underwood and Carl Nassib, to say that, as it turns out, I'm gay.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Holy shit.<\/dialogue>\n    <scene_description>Aaron looks at old FB photos of him and Josh on the hockey team. At the prom with girlfriends. Dressed in hunting gear.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETER AND PAUL'S APT - BEDROOM - NEXT MORNING<\/stage_direction>\n    <scene_description>Peter, Paul and Marty are all cuddling in bed together. As they wake up, each one very sweetly says good morning to the two others individually so we hear \"good morning\" nine separate times.<\/scene_description>\n    <character>PETER\/PAUL\/MARTY<\/character>\n    <dialogue>Good morning...good morning...good morning...good morning...good morning...<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Wait Bobby's calling me.<\/dialogue>\n    <scene_description>Peter picks up and puts Bobby on speaker.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Hey. Did you guys get my long voicemail about Aaron?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Oh so now you want our opinion?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh stop it c'mon you know I love you, I want your advice.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Do you want us to be honest?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>He sounds like a total basket case.<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>I'd move on.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Who is that? Is that fucking Marty?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Yeah. Marty's here.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Thanks for chiming in, Marty.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOBBY'S APT. - THAT NIGHT<\/stage_direction>\n    <scene_description>Bobby's at home, making dinner, singing to himself while periodically glancing over at his phone.<\/scene_description>\n    <character>BOBBY<\/character>\n    <parenthetical>(singing)<\/parenthetical>\n    <dialogue>\"Don't call him, don't call him, do not caaaaall himmm\"<\/dialogue>\n    <scene_description>Bobby stares at his phone. Then, he grabs it and calls Aaron.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Hey. It's me. Call me if you're around.<\/dialogue>\n    <scene_description>DING. A text. HEY WHATS UP? Bobby calls Aaron again. It goes to voicemail again. WHY WON'T YOU ANSWER UR PHONE? WHO TALKS ON THE PHONE? HAHA. WHAT'S UP? SORRY I HAVEN'T REPLIED. JUST BUSY. NO WORRIES. SAME. WANNA HANG SAT? Dots appear and then disappear 3 times. Bobby squirms. SURE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL PARK MEADOW - DAY<\/stage_direction>\n    <character>BOBBY<\/character>\n    <dialogue>You sure you don't want to join me on this gigantic blanket?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Nah, I'm good.<\/dialogue>\n    <scene_description>CUT TO A WIDE OVERHEAD SHOT. Aaron lies on the grass, next to Bobby's very large blanket which has plenty of room.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>So, what's up? I haven't heard from you in a bit. Which is fine I guess but-<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Wait sorry - you'll love this. I just got crazy news. That old high school buddy of mine we ran into -<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>The sick one?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Yeah. He just came out. Broke up with his fianc\u00e9. I had no clue!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Wow. Well, good for him I guess. When did you come out?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>In college. To my brother.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MONTANA WOODS - FLASHBACK - DAY<\/stage_direction>\n    <scene_description>Aaron and his brother Jason are on a hunting trip in Montana. Aaron is 20 and Jason is 22. They are in heavy hunting gear. It is quiet.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>I need to tell you something.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>What's up?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I'm gay.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Ha. Yeah right. You fucking with me?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <scene_description>Jason takes this in and then fires off a ton of loud gun shots. It's very jarring. Aaron flinches at the shots.<\/scene_description>\n    <character>BOBBY (V.O.)<\/character>\n    <dialogue>You came out to your brother while you were hunting bighorn sheep?<\/dialogue>\n    <character>AARON (V.O.)<\/character>\n    <dialogue>Yup. How about you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. YOUNG BOBBY'S PARENT'S LIVING ROOM - DAY (FLASHBACK)<\/stage_direction>\n    <scene_description>SPLIT SCREEN between the hunting trip and young, 12 year old Bobby in his parents' living room belting \"Maybe\" from Annie while Bobby's proud parents watch and beam.<\/scene_description>\n    <character>BOBBY (V.O.)<\/character>\n    <dialogue>It was pretty similar to yours.<\/dialogue>\n    <scene_description>As young Bobby sings on one side of the screen, Jason fires a loud round of gun shots on the other side which overlap with Bobby's song. Jason yells -<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Got 'er!<\/dialogue>\n    <character>BOBBY'S PARENTS<\/character>\n    <dialogue>Bravo!!! BRAVO!!!<\/dialogue>\n    <scene_description>Bobby's very supportive parents give him a standing ovation.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL PARK MEADOW - AS BEFORE<\/stage_direction>\n    <character>AARON<\/character>\n    <dialogue>You were a confident little gay boy.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I guess so, yeah. Are things ok with your brother now?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>We're fine. I mean, I don't talk to him about guys or anything. But it's fine.<\/dialogue>\n    <scene_description>Bobby clocks Aaron staring at some hot frat boys playing football.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Look, I need you to be honest. You're not into me, right? I'm not your type? It's fine, I can handle it. I just need to know.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Because I don't do this very often - and this is why - so please just tell me so I don't waste my time.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Bobby, it's not that. You're a handsome guy.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Then why are you being so weird and passive aggressive?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Look, you're just... you're just very intense and you have very high expectations for people.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>So what's wrong with that?<\/dialogue>\n    <scene_description>Aaron turns away.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You like dumb guys.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You heard me. You like these big, dumb, basic, conventional idiots. Why? I don't get it. You're smart.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I don't know. I told you I like to keep things simple. It's just how I am. It's just easier. Not everyone is looking to be challenged ok?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I don't have to challenge you! I can be simple! I can be chill! I'll be chill like your boys! Look, Aaron! Look how chill I am!<\/dialogue>\n    <scene_description>Bobby sprawls out on the blanket, attempting very awkwardly to look relaxed. Aaron laughs then looks back at the football players roughhousing, clearly fixated on them. Suddenly, Bobby shoves Aaron hard.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Hey! What are you doing?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I'm pushing you! I'm pushing you! I can be tough! Don't stereotype me!<\/dialogue>\n    <scene_description>Bobby shoves him hard again.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Stop it!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No! I'm just giving you what you want! You want aggression, tough guy? You want a fucking fight?<\/dialogue>\n    <scene_description>Bobby pushes Aaron. Aaron pushes Bobby back. It escalates. The guys wrestle on the lawn. The football players rush over.<\/scene_description>\n    <character>FOOTBALL PLAYERS<\/character>\n    <dialogue>Hey calm down! Let's cool it boys!<\/dialogue>\n    <scene_description>Suddenly, Aaron and Bobby are passionately making out. Not knowing what to do, the football bros slowly back away.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>My place is near here.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Let's go the fuck home.<\/dialogue>\n    <scene_description>MUSIC CUE: \"It Might Be You\" from Tootsie<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AARON'S APARTMENT - BEDROOM - DAY<\/stage_direction>\n    <scene_description>Aaron and Bobby are making out and wrestling on the bed, playfully slapping, punching, shoving each other and pulling each other's hair. Things get increasingly kinky, all set to the song IT MIGHT BE YOU. They each do hits of poppers and go crazy on each other, they get lube out and start using it, they consensually choke each other, they spit on each other, Aaron sticks his whole hand in Bobby's mouth, Bobby licks Aaron's biceps, maybe Aaron gives Bobby a rim job if there's a way to film that, etc etc. Eventually this turns into sex. Aaron's on top. Air gets stuck in Bobby's butt as Aaron thrusts, creating fart noises.<\/scene_description>\n    <character>BOBBY<\/character>\n    <parenthetical>(with each fart noise)<\/parenthetical>\n    <dialogue>Sorry. Sorry. I'm sorry. Sorry.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>It's ok. Just relax.<\/dialogue>\n    <scene_description>Aaron smiles. Bobby smiles too. They connect. Bobby takes a deep breath and lets go. No more fighting. It's intimate.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AARON'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Aaron and Bobby lay in bed. Aaron's looking at his body.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>That was fun.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>It was. I love how your chest goes in like that.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yes it's called a concave chest. One of my many asymmetries. Thanks for pointing it out.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I think it's cool! I love how hairy you are. You're like Austin Powers!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Never thought I'd date someone who knows Austin Powers but not Debra Messing. Where did I go wrong?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Date someone? Um, are we dating?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Um, no. We're not dating. I like to think of it less as dating and more as punching each other followed by you listing off all my physical deformities. We're not dating. We don't date people, remember?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Oh I remember.<\/dialogue>\n    <scene_description>Bobby cuddles next to Aaron. They both look slightly terrified. Bobby closes his eyes and allows himself to put his weight on Aaron. Aaron starts petting his hair gently. We watch the guys let go and relax into each other.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>It's so annoying how good a warm body feels laying on another warm body.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You are really good at sex. Like, really good!<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Ha, thanks. I guess everyone has something they do well.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What are you talking about? You're good at your job.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I am. Except I hate it. It's stressful and it's depressing and it's so fucking boring. I hate it.<\/dialogue>\n    <scene_description>Aaron dwells on this. Suddenly, he sits up abruptly, forcing Bobby to do the same. He looks at Bobby very intensely.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Ok I need to tell you something.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh no. Ok...<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>There was something I wanted to do. When I was younger.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh. Cool. What was it?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I...I wanted to make little chocolates.<\/dialogue>\n    <scene_description>Bobby stares at him completely dumbfounded.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You wanted to make little chocolates?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Yeah. I was obsessed with chocolate as a kid. I would look up all the different chocolate brands in the encyclopedia and see how they were made.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>And I don't mean just like M&amp;Ms, I mean like Ferrero Rocher and Amadei in Tuscany and all these fancy European chocolates. I used to tell my parents I was going to the arcade at the mall and then sneak off to the Godiva. I loved how all the chocolates were wrapped and I thought about how I would design them. And I knew my shit, I was really serious about it. But what was I gonna do with that? What was I gonna be?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>A chocolatier!<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I've never told anyone that.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Why'd you tell me?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I don't know. You have this big, exciting life. I didn't come from one of those families where you were encouraged to \"find your passion\" or turn your hobby into a career or whatever. I was just supposed to get a good job that paid well. My parents wanted me to go to law school, so I did. Got a good job, made good money. I did what I thought I was supposed to do.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>But why don't you just quit? Do something else. Life is short. You don't need to stay in your miserable job. You could be out in the world, I don't know, making fudge! A hot gay chocolatier? Are you kidding? You'd be huge!<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Stop. I'm not quitting my job. You make it sound so easy.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Well no, it's not easy. It's never easy. You know what I have to do this weekend?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I have to drag my deformed body up to Provincetown and beg donors for money. We need 5 million dollars or we won't make our opening. And it's Pride up there so the Museum has a float in the parade but we can't just have any float cause the board wants to do something special so...ya know... nothing's easy.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Oh. Well, maybe I could come?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>To P-town?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Yeah. Could be fun. I mean it's no big deal if you don't want me to.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No, I mean...sure...could be fun.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>No big deal. Either way.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Ok. Yeah. Sure. Let's do it.<\/dialogue>\n    <scene_description>Bobby leans back and they both look nervously up at the ceiling. What are they getting themselves into?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GUEST HOUSE - PROVINCETOWN, MA.<\/stage_direction>\n    <scene_description>Aaron and Bobby turn down a picturesque back lane and drive up to a guest house. LOUIS, a gay man (60s) answers the door.<\/scene_description>\n    <character>LOUIS<\/character>\n    <dialogue>Welcome, welcome. I'm Louis. Let me show you to your room.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUEST HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Louis walks Bobby and Aaron down the hallway of his house.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>This house is so beautiful. How long have you had this place?<\/dialogue>\n    <character>LOUIS<\/character>\n    <dialogue>Well I've been coming to P-town since 1976.<\/dialogue>\n    <scene_description>Aaron and Bobby notice the walls decorated with photos of a group of young men from the late 70s.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Who are those guys?<\/dialogue>\n    <character>LOUIS<\/character>\n    <dialogue>That one's me!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Whoa! Amazing! Look at you! You were so hot!<\/dialogue>\n    <scene_description>Louis gives Bobby a withering glance.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I mean, you're still so hot.<\/dialogue>\n    <scene_description>Louis look at them and raises his eyebrows really high up.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Wow your eyebrows go really high up.<\/dialogue>\n    <scene_description>He raises them even higher.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Now they're even higher up.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Do any of these other guys still come up here?<\/dialogue>\n    <character>LOUIS<\/character>\n    <dialogue>Oh no. By 1996 I think six of the seven were gone. And I lost track of the other one. Then I bought the house in '99 when I realized that, miraculously, I might actually survive!<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Wow. I'm so sorry.<\/dialogue>\n    <character>LOUIS<\/character>\n    <dialogue>What? Oh, thank you. What're you boys up to today?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I have a work thing this afternoon.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Then we're just gonna take it easy.<\/dialogue>\n    <character>LOUIS<\/character>\n    <dialogue>Take it easy? You're in P-town! Go out. Have fun! You'll be dead soon. Here's your room.<\/dialogue>\n    <scene_description>Louis opens a door to their room. It has a gorgeous view of the bay.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUEST HOUSE BATHROOM - LATER<\/stage_direction>\n    <scene_description>With the shower on, Aaron injects his butt with a small syringe. Bobby knocks fast, walks in, sees it and runs out.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Oh shit - sorry! I thought you were in the shower!<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Why are you just walking in here?<\/dialogue>\n    <scene_description>Aaron sighs and looks in the mirror. Bobby knows he saw something he shouldn't.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>It's just testosterone.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Isn't that dangerous? Like for your liver and balls and stuff?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Nah. Half the guys I know use it.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yeah but half the guys you know are roided out morons.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>You don't seem to mind when you're obsessing over my body.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Well... Ok. Um, I need to shower.<\/dialogue>\n    <scene_description>Aaron walks out and sits on the bed, embarrassed. Suddenly, he hears Bobby in the shower singing \"She's Like the Wind\" along to the radio.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MODERN OCEANSIDE HOUSE - DAY<\/stage_direction>\n    <scene_description>Bobby and Aaron approach a lovely beachside house.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>You have a really nice voice.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I heard you singing in the shower.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Well, that's mortifying.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Wait, so, you're asking this guy to donate the remaining 5 million?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No way. If I can get one million out of him I'll take it. You don't want to scare anyone off by seeming too needy. Kind of like with you!<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Who's Lawrence Grape again?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Biggest gay TV producer on the planet. Gay and groundbreaking.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Did he do Modern Family?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No he did not do Modern Family.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>My mom loves Modern Family. It made her ok with me being gay.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh god.<\/dialogue>\n    <scene_description>The door flies open to reveal LAWRENCE GRAPE, TV MOGUL. He is ageless and wearing what must be a $20,000 sweat suit that says \"SOLANGE WAS HERE?\" on it.<\/scene_description>\n    <character>LAWRENCE GRAPE<\/character>\n    <dialogue>You must be with the museum. Come in!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAWRENCE GRAPE'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Bobby sits across from Lawrence. Aaron sits next to Bobby.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Mr. Grape, we're thinking the final wing will be about Lincoln.<\/dialogue>\n    <scene_description>Lawrence is distracted as he excitedly dresses his two puppies in ridiculous pride outifts for the parade. One is an adorable small dog, the other is a very large greyhound.<\/scene_description>\n    <character>LAWRENCE GRAPE<\/character>\n    <dialogue>Love it, love Lincoln.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Few people realize our greatest president was also --<\/dialogue>\n    <scene_description>Lawrence continues to futz with the costumes and the puppies.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>President. First gay president. Wow look at those outfits.<\/dialogue>\n    <character>LAWRENCE GRAPE<\/character>\n    <dialogue>I had these made! And several fittings later, here we are! (to the dog) Who's a proud puppy? Who's the proudest puppy? So this is a Lincoln museum?<\/dialogue>\n    <scene_description>Lawrence struggles to put some sort of pride hat and little pride shoes on the dogs.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>No. It's an LGBTQ museum, the world's first, we spoke last year -<\/dialogue>\n    <character>LAWRENCE GRAPE<\/character>\n    <dialogue>That damn bush.<\/dialogue>\n    <scene_description>Lawrence looks past Bobby and Aaron out the window. Bobby and Aaron look behind them at a bush that's growing outside.<\/scene_description>\n    <character>LAWRENCE GRAPE<\/character>\n    <dialogue>My neighbor planted that fucking bush and it blocks my view. Can you believe that?<\/dialogue>\n    <scene_description>Lawrence abruptly leaves. In the BG we see him walk outside, start to yank on the bush and argue with his neighbor.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>This is a nightmare. He only cares about putting pride outfits on his dogs.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Ok, from my experience at my job, weird rich people like to be listened to. Maybe ask him what he's interested in.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>But I don't care what he's interested in! Fuck! Listening. Ok, I'll try it.<\/dialogue>\n    <scene_description>Lawrence returns.<\/scene_description>\n    <character>LAWRENCE GRAPE<\/character>\n    <dialogue>Boys, I have to get going -<\/dialogue>\n    <scene_description>Beat. Aaron nods at Bobby.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Lawrence, tell me - what do you think should go in the museum? It could be anything, anything at all.<\/dialogue>\n    <scene_description>Lawrence thinks. Bobby is about to speak, Aaron stops him.<\/scene_description>\n    <character>LAWRENCE GRAPE<\/character>\n    <dialogue>The final wing of the museum should be a haunted house of gay trauma.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>LAWRENCE GRAPE<\/character>\n    <dialogue>You get in a cart on a track and you hear some muted 1950s music, like Richie Valens or something --<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>So this is a ride?<\/dialogue>\n    <scene_description>Aaron puts his hand on Bobby's arm.<\/scene_description>\n    <character>LAWRENCE GRAPE<\/character>\n    <dialogue>Yeah it's a fucking ride. Unless you think a ride is too much --<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No, not at all. Tell me more.<\/dialogue>\n    <character>LAWRENCE GRAPE<\/character>\n    <dialogue>We find ourselves in an intimate little bar with some young animatronic men.<\/dialogue>\n    <character>LAWRENCE GRAPE<\/character>\n    <dialogue>And the men turn to dance with each other when suddenly BOOM! A cop car smashes through the wall and police show up and there's sirens and batons and voices screaming and the cart takes off roller coaster style and then there's blood everywhere and a monster with Reagan's face chases the cart backwards down the hallway Pirates of the Caribbean style and then boom we shoot out into the light and...it ends happy on like a rainbow or something. Point is we gotta shove people's faces in our trauma. Force them to confront it: this is what it was like being a gay man in the 20th century.<\/dialogue>\n    <scene_description>Bobby doesn't know what to say.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>A gay trauma-coaster. Very provocative! But I'm not sure we can afford that.<\/dialogue>\n    <character>LAWRENCE GRAPE<\/character>\n    <dialogue>Ok. Well, it was lovely meeting you-<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Mr. Grape - I'm not a creative guy but I am a money guy. And I can tell you to accomplish what you want, we'd need more than a little donation. We need five million dollars. And you won't just get your gay trauma-coaster. You get the Lincoln exhibit, you get all of it. You rewrite history for the entire LGBTQ community. You're a storyteller, Lawrence. And this is the ultimate story.<\/dialogue>\n    <character>LAWRENCE GRAPE<\/character>\n    <dialogue>But you already pushed the opening twice. Is this really happening?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>It's happening! I promise!<\/dialogue>\n    <character>LAWRENCE GRAPE<\/character>\n    <dialogue>Five million seems like a low number to rewrite history. I'm in!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh my god, really??? Thank you!!<\/dialogue>\n    <character>LAWRENCE GRAPE<\/character>\n    <dialogue>Congrats on my money. Happy Pride!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAWRENCE GRAPE'S HOUSE<\/stage_direction>\n    <scene_description>Bobby and Aaron step out of the house. OH MY GOD AARON! YOU'RE A GENIUS! \"You're a storyteller?\" Where the hell did that come from?<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>I told you - I'm good at talking to weird rich folks. It's the only thing I know how to do. I could tell he had more money to spend.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Aaron! This is crazy! I don't even know what to say! Thank you! Shit, I'm late! I've gotta get on the float. See you after?<\/dialogue>\n    <scene_description>Bobby kisses Aaron quickly. As Bobby runs off:<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I kissed you! Are we kissing each other now? I don't know! Bye!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COMMERCIAL STREET IN PROVINCETOWN - THE PRIDE PARADE<\/stage_direction>\n    <scene_description>We're in the middle of the Pride Parade. All 6 Museum board members are on a float to promote the LGBTQ Museum. They are dressed in skin tight, spandex modern dance costumes - full body stockings which cover their heads so only their faces stick out. They begin doing an absurd modern dance on the float as a tribute to black LGBTQ icon Alvin Ailey, which they clearly choreographed themselves. The small float just ahead of theirs is filled with fabulous drag queens in colorful outfits blasting club music and dancing. The float just behind theirs is the Gay Bear float, filled with shirtless, plus-sized gay bears guzzling beers, eating, dancing and getting rowdy as they blast Classic Rock. While doing a particularly feminine looking dance step, Bobby looks down at the crowd and locks eyes with Aaron, who's now tipsy and watching the parade with his friends. Bobby is mortified wearing this deeply unsexy costume. Next to Aaron are 3 young, drunk, Gen Z queer friends, all in costume dressed as the Wicked Witch of the West, complete with green faces etc, all holding phones. They notice Bobby on the float. Aaron overhears them as they snicker.<\/scene_description>\n    <character>WITCH #1<\/character>\n    <dialogue>Ugh, why does Bobby Leiber get to run the gay museum? I can't stand him.<\/dialogue>\n    <character>WITCH #2<\/character>\n    <dialogue>I know. He's so loud and obnoxious. He is way too much. And he's not even cute!<\/dialogue>\n    <character>WITCH #3<\/character>\n    <dialogue>He has no style. If you're gonna be that irritating at least wear cool shoes or a fun sock.<\/dialogue>\n    <character>WITCH #1<\/character>\n    <dialogue>Oh my god you have to tweet that!<\/dialogue>\n    <character>WITCH #3<\/character>\n    <dialogue>No one likes him except for straight people and old queens.<\/dialogue>\n    <character>WITCH #2<\/character>\n    <dialogue>Plus he looks like when Shrek turns back into a human.<\/dialogue>\n    <scene_description>Witch #2 shows them a pic of human Shrek on his phone. It does look like Bobby. They all snicker and cackle. As the witches cackle and laugh, a drunk Aaron butts in.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Hey who the fuck are you guys?<\/dialogue>\n    <character>WITCH #1<\/character>\n    <dialogue>Excuse me? We're the Gay Twitter Witches. Everyone knows us and everyone wants to be us. We have 126,000 followers.<\/dialogue>\n    <character>WITCH #2<\/character>\n    <dialogue>And we're not afraid to tell it like it is while selling makeup.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Do you even know Bobby? He's actually a good person and he works his ass off.<\/dialogue>\n    <character>WITCH #1<\/character>\n    <dialogue>Well he must've worked his ass off cause it's totally flat! And who the fuck are you, you fucking roided out pretty boy?<\/dialogue>\n    <character>WITCH #3<\/character>\n    <dialogue>Oh my god an old white muscle queen who thinks he's still relevant? Is it 1998? Am I watching Third Rock from the Sun?!<\/dialogue>\n    <character>WITCH #2<\/character>\n    <dialogue>You're old!<\/dialogue>\n    <scene_description>A drunk Witch #2 shoves Aaron.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Hey! Don't do that.<\/dialogue>\n    <scene_description>He shoves Aaron again.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>I'm warning you -<\/dialogue>\n    <character>WITCH #3<\/character>\n    <dialogue>Bring it on, you do nothing, old, capitalist, cis gay bro-bot!<\/dialogue>\n    <scene_description>Aaron shoves him back. BOBBY AND WANDA ARE now at the front of their float, giving a speech to the crowd.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Pride Week is so important, because it's not just a party, it's about solidarity -<\/dialogue>\n    <scene_description>The Gay Twitter Witch shoves Aaron. Aaron shoves him back.<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>Today is a day about self-love and about loving and respecting our community -<\/dialogue>\n    <scene_description>The Gay Twitter Witch SLAPS Aaron. Aaron tries to slap back but misses.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>We may have a long way to go but we've also made so much progress -<\/dialogue>\n    <scene_description>THE GAY TWITTER WITCHES ARE NOW KICKING AARON IN THE SHINS. A SMALL BRAWL BREAKS OUT IN THE CROWD. One of the gay twitter witches calls after security.<\/scene_description>\n    <character>GAY TWITTER WITCH<\/character>\n    <dialogue>Officer please - someone from Gen X just touched me!<\/dialogue>\n    <scene_description>ANGLE ON THE BEAR FLOAT where a bunch of bears eat and grill burgers, hot dogs and ribs. SUDDENLY, A BEAR ON THE BEAR FLOAT NOTICES THE FIGHT<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>Most of all we want to say we love you and we've never been so proud!<\/dialogue>\n    <character>ROWDY BEAR<\/character>\n    <dialogue>PRIDE FIGHT!!!!!<\/dialogue>\n    <scene_description>The rowdy drunk bear throws food at Aaron and the gay witches. The drag queens get hit. ANGLE ON THE DRAQ QUEEN FLOAT<\/scene_description>\n    <character>DRAG QUEEN<\/character>\n    <dialogue>Oh we never get to do this. I am so ready for this.<\/dialogue>\n    <scene_description>ANGLE ON A GROUP OF LESBIANS<\/scene_description>\n    <character>LESBIANS<\/character>\n    <dialogue>Oh let's do this. It. Is. On.<\/dialogue>\n    <scene_description>ANGLE ON A GROUP OF GUYS DRESSED AS CUB SCOUTS<\/scene_description>\n    <character>CUB SCOUT GUY<\/character>\n    <dialogue>You heard the bear!<\/dialogue>\n    <character>EVERYONE<\/character>\n    <dialogue>Ahhhhhhh!<\/dialogue>\n    <scene_description>ALL HELL BREAKS LOOSE AT THE PRIDE PARADE! Some of the bears are fighting, some of the bears are scared and crying. The bears and drag queens jump off their floats and start fighting in the crowd. ANGLE ON DRAG QUEEN and a BEAR holding each other and sort of fighting awkwardly with one hand while both are filming each other with the other hand.<\/scene_description>\n    <character>BEAR<\/character>\n    <dialogue>I need approval before you post that.<\/dialogue>\n    <character>DRAG QUEEN<\/character>\n    <dialogue>I need approval before you post that!<\/dialogue>\n    <scene_description>The drag queen float stops short and one of the drag queens throws up on an adorable grandma below her chanting \"I Love My Gay Son!\" (ALT: Chanting \"Love is love is love!\") ANGLE ON A STRAIGHT FAMILY<\/scene_description>\n    <character>STRAIGHT LIBERAL MOM<\/character>\n    <dialogue>I support you! I support you all!<\/dialogue>\n    <scene_description>PAULA, a lesbian, punches the straight mom. \\*<\/scene_description>\n    <character>PAULA \\*<\/character>\n    <dialogue>We don't need your support!<\/dialogue>\n    <character>STRAIGHT LIBERAL DAD<\/character>\n    <dialogue>Please don't hurt us! We never watched POSE but wew've supported Billy Porter from afar!<\/dialogue>\n    <scene_description>ANGLE ON A GROUP OF BORED GAYS standing right next to the fighting but completely blase and unfazed.<\/scene_description>\n    <character>BORED GAY<\/character>\n    <dialogue>This is so boring.<\/dialogue>\n    <character>SECOND BORED GAY<\/character>\n    <dialogue>There are not hot guys here.<\/dialogue>\n    <character>BORED GAY<\/character>\n    <dialogue>Shoud we just do our drugs now?<\/dialogue>\n    <scene_description>Drag queens, lesbians and bears all push, shove and throw punches. The bored gays lean in.<\/scene_description>\n    <character>BORED GAY<\/character>\n    <dialogue>Do you know where the house party is? (they ignore him. He leans in again but just as unfazed.) Do you know guys know where the house party is?(he gives up) I'll text Garrettt.<\/dialogue>\n    <character>SECOND BORED GAY<\/character>\n    <dialogue>Should we just do our drugs now?<\/dialogue>\n    <scene_description>ANGLE ON LOUIS AND HIS FRIEND, an OLDER GAY<\/scene_description>\n    <character>OLDER GAY<\/character>\n    <dialogue>I don't understands why these children are fighting. The fight is over - we won!<\/dialogue>\n    <character>LOUIS<\/character>\n    <dialogue>Exactly. Pete Buttigieg proved that gay men can be exactly what gay men have always wanted to be - Secretary of Transportation.<\/dialogue>\n    <scene_description>Bobby and Wanda look down at the crowd and see Aaron in the middle of the fight.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Oh my god.<\/dialogue>\n    <scene_description>ROBERT sneaks up on Bobby.<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Well, well, well...looks like your little boyfriend RUINED PRIDE.<\/dialogue>\n    <scene_description>Wanda's still at the mic talking to the crowd.<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>We hope to see you all at the LGBTQ Museum! REPRESENTATION MATTERS!<\/dialogue>\n    <scene_description>Cut back to all the queers in the crowd fighting. Bobby jumps off the float, heads into the crowd and drags Aaron away.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>They were making fun of you!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Aaron you can't hit people!<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Those gay twitter witches hit me first! I was defending you!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You were?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Yeah!<\/dialogue>\n    <scene_description>Bobby looks at Aaron, surprised and touched by this.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Well, physical violence is never the answer but...thank you.<\/dialogue>\n    <scene_description>Bobby touches Aaron's face softly.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Is your head okay?<\/dialogue>\n    <scene_description>Aaron nods.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>C'mon. Let's go. Fucking Pride.<\/dialogue>\n    <scene_description>The bored gays walk past them.<\/scene_description>\n    <character>SECOND BORED GAY<\/character>\n    <dialogue>Should we just do our drugs now?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GUEST HOUSE, PRIVATE BEACH - SUNSET<\/stage_direction>\n    <scene_description>Aaron comes out of the water. He looks insanely hot. Bobby sits on the beach admiring Aaron as Aaron walks over to him.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I still can't believe what you did with Lawrence. That was amazing.<\/dialogue>\n    <scene_description>Aaron shrugs.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>It's not too late, you know? You could quit your job. You could do anything! Open a chocolate shop!<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I'm not quitting my job to open a chocolate shop. I don't have your confidence.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I'm not that confident.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>You're literally the most confident person I've ever met. Like, to a fault. It's actually scary.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Trust me - it's all an act. You think I sing well now? I was even better when I was a kid. Had American Idol existed then I would've been the gay guy with an amazing voice who comes in second.<\/dialogue>\n    <scene_description>Aaron laughs.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>So then I started taking acting classes and in college my musical theater teacher told me I had a \"gay walk\" and a \"flamboyant quality\" which would \"limit my options.\" Then for grad school I went to one of the best journalism schools in the country, and a professor - this closeted queen who was married to a woman - pulled me aside and thought he was doing me a favor when he told me that I should stick to writing because my voice was too gay to do the news on TV. My gay history books? Every single publisher I met with told me there wasn't enough of an audience for it. I was always \"too gay\" or \"too niche\" or I made people uncomfortable. And if you hear all of that for years, no matter who you are, you start to worry that maybe it's true. But what else was I going to do? That's who I am! So I just put my head down and I did the work and I just hoped that, somehow, against all odds, all those other people were somehow wrong.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And they were. Which is why you can't trust anybody.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>TMI?<\/dialogue>\n    <scene_description>Aaron doesn't respond right away. Then:<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Want another beer?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>Aaron pops open two beers and sits down next to Bobby.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Did I weird you out? Was that too much?<\/dialogue>\n    <scene_description>Aaron grabs Bobby and kisses him passionately. MUSIC CUE: \"Love and Affection\" by Joan Armatrading<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>God I love this song.<\/dialogue>\n    <scene_description>Bobby gets up, closes his eyes and starts doing a strange, stiff dance, only swaying his head while his body is still.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>That's an interesting dance.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Excuse me? At least I dance!<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I can dance.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh really? I've never seen it.<\/dialogue>\n    <scene_description>Aaron stands close to Bobby. He then starts spastically but passionately flailing his arms and legs to the music, like doing little jabs with them. He is rhythmless but his passion is adorable. Bobby starts to crack up. Aaron's movements get bigger and wilder as he spastically dances around Bobby.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>And you don't think you have confidence?<\/dialogue>\n    <scene_description>WIDE SHOT of Bobby doing his weird stiff dance while Aaron does his flailing dance around the beach as the sun sets.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A71 INT. GUEST HOUSE - LATER THAT NIGHT A71<\/stage_direction>\n    <scene_description>Bobby and Aaron make sweet love. Aaron is on top. Then suddenly he flips over.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Fuck me.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Um, are you sure? When was the last time you did that?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>It's been a while. But I want to.<\/dialogue>\n    <scene_description>Bobby flips him over and tops him for the first time. In the throws of passion, Bobby starts singing along to the song we hear underscoring the scene - \"SHE'S LIKE THE WIND.\"<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>I love your voice but could you maybe not sing during sex?<\/dialogue>\n    <scene_description>They laugh and collapse on each other. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GUEST HOUSE - AFTERNOON<\/stage_direction>\n    <scene_description>Aaron and Bobby drive back to NYC. MUSIC CUE: Bette Midler's cover of \"Beast of Burden\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WORLD WAR I CARDIO CLASS<\/stage_direction>\n    <scene_description>Aaron and Bobby now take the class together. We can tell by the changing colors on the leaves in the park that its now fall. Bobby's the \"hurt soldier.\" Aaron carries him through the class.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOBBY'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Bobby works at his desk. Aaron starts kissing his shoulder.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Hon, I can't now. I'm working.<\/dialogue>\n    <scene_description>Aaron walks off. Then, from the corner of frame, a soft penis and balls appear and rest gently on Bobby's shoulder. Bobby turns, startled. Aaron scoops Bobby up romantically.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A 75 EXT. STREET - DAY A 75\\*<\/stage_direction>\n    <scene_description>Bobby, Aaron, Tina, Edgar and Hannah all trick or treat in \\* Minions costumes. Brian is dressed as Freddie Mercury. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOBBY'S APARTMENT - THANKSGIVING NIGHT<\/stage_direction>\n    <scene_description>It's a big Thanksgiving dinner. Bobby's friend group, along with Aaron, eat a big holiday meal. The friends love Aaron.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - A CHRISTMAS TREE LOT<\/stage_direction>\n    <scene_description>Aaron and Bobby struggle carrying a large Christmas tree.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET<\/stage_direction>\n    <scene_description>Aaron and Bobby struggle to carry a HUGE 6 ft tall menorah.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A78 INT. THE CHOCOLATE SHOPPE - MANHATTAN A78<\/stage_direction>\n    <scene_description>Bobby and Aaron walk through a lovely sweets shop that's decorated for the holidays. They're buying treats for Bobby's holiday party. We see chocolate Santas, Rudolphs, snowmen etc. Aaron points out little chocolates he likes and passionately describes them to Bobby.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOBBY'S APARTMENT<\/stage_direction>\n    <scene_description>A big holiday party. A crew of handsome gays spill in, including Josh Evans. Aaron and Bobby mingle separately.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Holy shit! Aaron! What's up man? I was wondering when I'd run into you!<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>How's it going man? Wow. Congrats on everything.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Yeah, it's crazy. I met these guys at the gym and they invited me.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Awesome. Glad you're here. What have you been up to?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I got a new tat today. Just to like, remember this moment. It's the Empire State Building but instead of King Kong, that's me. And in my hand, instead of that lady, I'm holding a smaller me.<\/dialogue>\n    <scene_description>Josh lifts his shirt to show Aaron. Bobby watches from across the room. Josh is ripped. Aaron looks impressed and flexes his bicep to show Aaron his tattoo. Bobby clocks all of this.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOBBY'S APT. - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Everyone is super drunk now and things are getting rowdy. Two large Santas are making out with each other. Aaron is standing with Josh, waving some mistletoe. He calls Bobby over.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Bobby, come over here.<\/dialogue>\n    <scene_description>A drunk Bobby walks over. Aaron grabs him and they make out.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Josh wants to kiss you too. Don't blame him. It's the mistletoe!!!<\/dialogue>\n    <scene_description>Bobby looks at Josh, who seems like he's into it. Bobby and Josh make out. Then Aaron makes out with Josh. A very short muscular man walks up to them.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Hi, I'm Steve.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Hi Steve!<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Hi Steve!<\/dialogue>\n    <scene_description>Bobby is not as thrilled about Steve.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOBBY'S BEDROOM<\/stage_direction>\n    <scene_description>A four-way ensues. Aaron is making out with Josh on the bed. Bobby and Steve are awkwardly staring at each other.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Hey I'll give you a massage if you give me a massage.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Uh ok.<\/dialogue>\n    <scene_description>Bobby starts massaging Steve.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Lower. Lower. Higher. Right there! I got real tight ham strings.<\/dialogue>\n    <scene_description>Bobby finds himself giving Steve an intense sports massage, kneading his thighs like dough.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Harder please.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I am not a professional masseur.<\/dialogue>\n    <scene_description>Bobby looks over and Aaron is now really going at it with Josh.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Aaron. Aaron. I think we're done here!<\/dialogue>\n    <scene_description>All of a sudden, Henry bursts in.<\/scene_description>\n    <character>HENRY<\/character>\n    <dialogue>Ignore me! I think my scarf is in here. I cannot lose another scarf!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh my God!<\/dialogue>\n    <scene_description>All four guys scramble to get under the sheets to hide their naked bodies. Henry looks at Aaron and Bobby in bed and they crack up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOBBY'S APT - THE NEXT MORNING<\/stage_direction>\n    <scene_description>Bobby and Aaron are hungover and cuddle on the couch. Aaron gets a text from his mom.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Ugh sorry my mom won't stop texting me.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>When do your folks get here again?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>The 21st. She wants to do the whole \"magical Christmas in NY\" thing. They love sightseeing.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Well, if you need me I'll be home alone hate-watching Hallheart Christmas movies. Though if I'm being honest sometimes I'm not sure I'm hate-watching them. I may just be...watching them. I'm only human.<\/dialogue>\n    <character>AARON<\/character>\n    <parenthetical>(hesitant)<\/parenthetical>\n    <dialogue>Well... would you wanna spend Christmas with me? And...my folks?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Really? Are you sure? Cause I'm totally fine alone.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>No! You shouldn't be alone. That's crazy.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I don't know... Are you sure?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Well...ok! Yeah, that would be fun! You're sure?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Yeah. Just don't mention my whole job thing. They're very proud I'm a lawyer.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Of course. And no one knows this city better than me! I will plan the ultimate New York Christmas.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Amazing. Just keep in mind my parents are quiet folks from a small town upstate. They're sweet but, you know, just be chill.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I can be chill!<\/dialogue>\n    <scene_description>Aaron gives him a look.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I promise I won't embarrass you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET IN NYC - NIGHT<\/stage_direction>\n    <scene_description>Bobby shows Aaron's parents and his brother holiday windows.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>And Mrs. Shepard, those are the first holiday windows to ever feature genderless puppets telling the story of A Christmas Carol. Which is so important. There were never LGBTQ characters in the stories we read as kids. There's no gay Cinderella. There's no lesbian Rapunzel. There's no non- binary Ebenezer Scrooge.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I think they get it.<\/dialogue>\n    <character>ANNE<\/character>\n    <dialogue>New York is so fun. I've always wanted to bring my students here!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Jason next time you should bring your kids!<\/dialogue>\n    <character>ANNE<\/character>\n    <dialogue>They were supposed to come but they wanted to stay home with their mom.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Yeah. It's OK.<\/dialogue>\n    <scene_description>Aaron can tell Jason is upset. He makes eye contact with Jason. Jason looks back at him but no one says anything.<\/scene_description>\n    <character>ANNE<\/character>\n    <dialogue>Boys, we have to go! I told Josh Evans we'd meet him at the Hallheart Christmas Movie Pop Up Village!<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>We're seeing Josh Evans?<\/dialogue>\n    <scene_description>THERE'S A HALLHEART CHRISTMAS MOVIE POP UP VILLAGE???<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HALLHEART CHRISTMAS VILLAGE - LATER<\/stage_direction>\n    <scene_description>A pop up \"holiday village\" in Bryant Park. \\*<\/scene_description>\n    <character>ANNE<\/character>\n    <dialogue>This is so beautiful!<\/dialogue>\n    <scene_description>Josh enters wearing shorts in winter like a total psychopath.<\/scene_description>\n    <character>ANNE<\/character>\n    <dialogue>Oh, there's Josh!<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Hey fellas! How's Hallheart Village treatin' ya? You see that gay movie they did? That was kinda dope.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yeah. For years they ignored us. Now their audience has gotten 10% less homophobic so we're a new demographic they can sell shit to. I mean, look at these movies.<\/dialogue>\n    <scene_description>Bobby points at a display with all the Hallheart movie posters.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>\"Have Yourself A Heteronormative Little Christmas.\" \"Homosexual Atheists in Toyland.\" \"It's A Wonderful Life But With Gay Guys.\" \"Home Alone But With Sarah Paulson.\" \"Have Yourself A Merry Little Nas Xmas.\" And \"How the Grinch Stole Chris!\" It's pathetic.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I assumed you'd think it was progress?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Well I don't.<\/dialogue>\n    <character>AARON'S MOM<\/character>\n    <dialogue>Josh! Come get skates! I want you and Aaron on the ice for old time's sake! Bobby, Aaron and Josh played hockey together in high school!<\/dialogue>\n    <scene_description>Josh heads towards her.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Can't you take it down a notch?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What're you talking about?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>We've only been with my parents two hours and you've already mentioned transgender mannequins, HIV prevention and you pointed out the route for the 1976 Dyke March.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>They're fine. What is your problem?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I'm nervous ok? I've never introduced them to anyone. I don't want them to get weirded out. I just wanna have like a chill, normal time.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I'm just being myself.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Well can you maybe be a little bit less of yourself? Just for like 3 hours? I want them to like you.<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(hurt but covering)<\/parenthetical>\n    <dialogue>Oh. Ok. Sure. I'll just...be quiet.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>BOBBY!!! Oh my god, hi!!!<\/dialogue>\n    <scene_description>Suddenly they all turn around and PETER, PAUL, AND MARTY are walking towards them holding hands. \\*<\/scene_description>\n    <character>AARON<\/character>\n    <parenthetical>(under his breath)<\/parenthetical>\n    <dialogue>Oh Jesus Christ.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>We should go. We have a reservation.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Where's dinner again?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THEME RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>A very flamboyant singing waiter is finishing up belting out \"I'M FLYING\" from Peter Pan either on a small stage or in between the tables at a restaurant where the servers sometimes break out into song.<\/scene_description>\n    <character>SINGING WAITER<\/character>\n    <parenthetical>(singing to a track)<\/parenthetical>\n    <dialogue>\"I'm flying...look at me, way up high, suddenly here I am, I'm flyyyyinggggg!\"<\/dialogue>\n    <scene_description>The diners including Aaron's family applauds.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>How're the Polar Bears doing, dad?<\/dialogue>\n    <parenthetical>(to Bobby)<\/parenthetical>\n    <dialogue>That's the team Josh and I were on.<\/dialogue>\n    <scene_description>Bobby smiles and nods. He doesn't seem like himself. He's clearly trying hard to seem quiet and not say much.<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>Haven't won all year. I told Josh they need you boys to come back!<\/dialogue>\n    <scene_description>They all laugh. Bobby puts on the weird \"polite\" smile again and nods without making sound.<\/scene_description>\n    <character>ANNE<\/character>\n    <dialogue>Bobby, you seem quiet tonight. Is everything alright?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Me? Oh yes I'm fine. I'm sorry, I hope I didn't talk too much today. This is actually how I usually am. I'm very quiet.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Very quiet and just very, very normal. Most people think I'm straight.<\/dialogue>\n    <scene_description>Aaron sighs. His parents are confused but laugh politely.<\/scene_description>\n    <character>ANNE<\/character>\n    <dialogue>Well, thank you again for planning such a lovely day. It was perfect.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You're so welcome, Mrs. Shepard.<\/dialogue>\n    <character>ANNE<\/character>\n    <dialogue>But you have to stop calling me Mrs. Shepard. You sound like one of my students! Call me Anne.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Ok I will!<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Mom's been teaching 2nd grade for almost 40 years now.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>That's so great. Good teachers are so important, now more than ever.<\/dialogue>\n    <character>ANNE<\/character>\n    <dialogue>Thank you, I agree! And Aaron says you're working in an American History Museum?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Well...yes. Yes it is. It's an American History Museum.<\/dialogue>\n    <scene_description>Bobby takes a sip of his drink.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Well, specifically, it's an LGBTQ History Museum. It's actually the first major queer history museum in America. Do you teach your students any gay history? I know in a few states they're finally teaching it.<\/dialogue>\n    <character>ANNE<\/character>\n    <dialogue>Well I teach 2nd grade so, no.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Ah. Right. I see.<\/dialogue>\n    <scene_description>Bobby takes a sip of his drink.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Out of curiosity, why not?<\/dialogue>\n    <character>ANNE<\/character>\n    <dialogue>Well, second grade - I think they're a little young for that. Don't get me wrong - I'm sure that history is fascinating, I just think that's a little young.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Right, right. I understand.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I don't think so though.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Bobby.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>If I may disagree. Respectfully. Honestly that's the best time to teach them - when they're young. That way they have an appreciation for LGBT people before they start bullying each other or hating themselves if they're gay.<\/dialogue>\n    <character>ANNE<\/character>\n    <dialogue>Well, maybe you're right.<\/dialogue>\n    <scene_description>Anne takes a sip of her drink.<\/scene_description>\n    <character>ANNE<\/character>\n    <dialogue>Feels a little young though.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh totally. I get it.<\/dialogue>\n    <scene_description>Bobby takes a sip of his drink.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>It's not though. You should think about it. Illinois passed a law that mandates LGBT history be taught in elementary schools. So did New Jersey.<\/dialogue>\n    <character>ANNE<\/character>\n    <dialogue>Oh I know, dear. It just - it just feels a little young.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I understand. I'll drop it! Agree to disagree!<\/dialogue>\n    <character>ANNE<\/character>\n    <dialogue>Cheers to that!<\/dialogue>\n    <scene_description>They all laugh and clink glasses.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>It's not really that young though. It's not that young.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Can you please drop this?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Well no I can't. We're talking about gay kids here, it's important. Look at the things we teach kids all the time. We keep gay people a secret to 5 year olds but they literally know everything about mermaids??<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Oh my God.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I'm telling you - one of the things that saved me is that my parents exposed me to gay stories when I was young. When I was 12 years old we saw a Broadway play called \"Love and Compassion\" about gay men spending a summer on Fire Island. And all of a sudden the curtain goes up and there are 7 completely naked gay men on stage. There I am at age 12 - sitting in between my mom and dad - looking at 7 soft penises. And it. was. wonderful. And then two men start kissing. And then they start talking dirty. At one point one of them yelled out \"Pound my prostate! Pound my prostate!\" - Anne, I swear I didn't even know what that was! But it was amazing. It had a profound effect on me. To know that I could sit there with my parents and see seven soft penises - seven penises, Anne - I was 12 - and to know my parents were ok with that?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>My point is, we need to remove the stigma from all of this so gay kids can feel good about themselves. I mean, look at Aaron and how much he hates his life-<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Bobby -<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I'm just saying, there is a direct correlation between how unhappy you are and what you didn't learn about your potential as a child -<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Bobby. What is wrong with you? He's just performing. This is what he does.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Performing? This is the truth about gay kids, some of whom are in your class, Anne. We're all accountable!<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Enough. Seriously. I will kill you.<\/dialogue>\n    <character>ANNE (V.O.)<\/character>\n    <parenthetical>(with real worry and concern)<\/parenthetical>\n    <dialogue>Aaron - you hate your life?<\/dialogue>\n    <scene_description>Suddenly waiters start to sing the \"RAMA LAMA LAMA\" bridge from \"We Go Together\" from Grease while they dance joyously around the table, circling the family.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THEME RESTAURANT - NIGHT.<\/stage_direction>\n    <scene_description>Bobby and Aaron wave goodbye as the parents drive off.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Well your brother's a real chatterbox.<\/dialogue>\n    <scene_description>Aaron remains silent. He hails a cab.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Hey. Are you mad?<\/dialogue>\n    <character>AARON<\/character>\n    <parenthetical>(clearly mad)<\/parenthetical>\n    <dialogue>Me? Nah. I'm great. Josh is texting me. I'm gonna go to this bar.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I think we should talk about this.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Oh you wanna talk more?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I think it's more important than going to party with Josh the Self Loathing Giant who took 35 years to come out.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Not everyone's you, Bobby.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Ok but 35 years? My god, J.R.R. Tolkien took less time with his journey.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>God, you are fucking relentless.<\/dialogue>\n    <scene_description>Aaron gets in a cab and slams the door as it drives off.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Fuck!!!<\/dialogue>\n    <scene_description>Bobby paces. He jumps in a cab and follows Aaron.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GAY BAR<\/stage_direction>\n    <scene_description>Bobby walks through the bar but can't find Aaron.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GAY BAR ALLEY<\/stage_direction>\n    <scene_description>Josh and Aaron are in an alley outside the bar. They're drunk and kinda flirty. Josh tries to kiss him. Aaron pulls away.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Whoa whoa whoa -<\/dialogue>\n    <scene_description>Josh tries again. This time Aaron lets it happen.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GAY BAR ALLEY - CONTINUOUS<\/stage_direction>\n    <scene_description>Bobby walks outside and sees Aaron and Josh making out.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Aaron! What the fuck are you doing?<\/dialogue>\n    <scene_description>Aaron pulls away from Josh.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Oh shit. Bobby it's nothing, we were just playing around.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You were just playing around? What the fuck is wrong with you??<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>This is my fault. I'm sorry man. I kissed him. It's not his -<\/dialogue>\n    <scene_description>GET THE FUCK OUT OF HERE!! Josh stumbles away.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>What the hell are you doing?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Bobby, calm down.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>My God I was so fucking stupid! I knew it from the beginning and I tried to tell myself it wasn't true! Cause I see the guys you look at Aaron! All these wannabe straight fucking bros, at the club, in the park. Everywhere we go. Josh? Fucking Josh??<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>That's not true-<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Then just go be with them Aaron! If that's what you want. But I will not let you drag me into this any further and I will not let you break my heart. I am too smart for that.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Bobby! God! Let me speak! You think you're so perfect? You think you never do anything wrong? Why did you say that shit about me in front of my parents? I begged you not to embarrass me. But you couldn't help yourself! What is wrong with you?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh don't turn this around on me. This is all on you. \"Tone it down, Bobby.\" \"Take it down a notch, Bobby.\" \"Can't you just be a little bit less of yourself?\" Fuck you. How dare you. You don't think I know what that means? You don't think I know what that's code for? You don't think I've heard that my whole fucking life? I didn't come this far just to have a self- loathing sad aging frat boy tell me I'm embarrassing. All of a sudden I embarrass you? I will not apologize for who I am. I will leave that to you.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Oh my God Bobby I am so sick of this whole self-righteous act. Stop being so fucking dramatic. I wasn't asking you to \"change who you are.\" I was just asking you to be sensitive about my insecurities in front of my parents. And yes I know that's pathetic for a 38 year old man but I'm a fucking human ok? And I just wanted you to be a little understanding. But no - you had to turn it into The Bobby Show and make it about you like you always do. Who does that? I got drunk and kissed an old friend behind a bar. I'm not saying it was right. And I'm sorry. But don't act so virtuous because you're just a selfish mess like the rest of us.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>But what exactly were you so embarrassed by today? Huh? That's what I want to know. That I talked about what I do? That I sound the way I sound?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>That I couldn't keep up with you and Josh during your little hockey game? Or that no matter how much you like me I am still not as hot to you as a real man? Isn't that right Aaron? Just fucking say it because I already know.<\/dialogue>\n    <scene_description>Aaron doesn't respond. Bobby is devastated.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I can't believe I trusted you. Simple men. With bad taste. Never trust them.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>You can trust me -<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>It's fine. I'm fine. But you are who you are, Aaron. You like what you like. And I know how this ends. And it does not end well for me. And we don't have to put each other through this. Isn't that the great thing about being guys like you and me? Because I have never needed this. Until now. And I am mad at you for making me want it.<\/dialogue>\n    <scene_description>Bobby starts to walk off.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Look, maybe we're just not relationship people. I guess we knew that. It's ok. We tried.<\/dialogue>\n    <scene_description>Bobby starts to walk away, fighting back tears. As he does a man approaches with a clipboard.<\/scene_description>\n    <character>PRODUCER<\/character>\n    <dialogue>Bobby, I'm so sorry but do you mind signing this release?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Wait, what? Release for what?<\/dialogue>\n    <character>PRODUCER<\/character>\n    <dialogue>There are cameras here. We're filming a new Netflix series.<\/dialogue>\n    <character>PRODUCER<\/character>\n    <dialogue>It's called \"Dude, Where's My Dude?\" It's like \"Dude Where's My Car\" but instead of looking for a car we follow these hot, recently out male athletes looking for love with other hot recently out male athletes. We're following Josh Evans in this episode.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Are you fucking kidding me? Get the fuck out of here!! You're filming Josh Evans? You think it's hard to be gay for 6 weeks? Try being gay for 40 fucking years!!!<\/dialogue>\n    <scene_description>A camera crew rushes up to Bobby. He pushes them away and storms off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOBBY'S APARTMENT - NEW YEAR'S EVE<\/stage_direction>\n    <scene_description>A sad, disheveled Bobby is curled up watching TV. The apt is a mess. Empty pizza boxes, whiskey, and candles from a menorah melted on to a copy of GAY LINCOLN.<\/scene_description>\n    <character>HALLHEART TV ANNOUNCER<\/character>\n    <dialogue>\"And now, Hallheart proudly presents our first polyamorous holiday film, \"A Holly, Poly Christmas.\"<\/dialogue>\n    <scene_description>On TV, 7 lovers stand on a pretty, Christmas-y street.<\/scene_description>\n    <character>POLYAMOROUS MAN<\/character>\n    <dialogue>Look! It's snowing! It's snowing on all 7 of us!!!<\/dialogue>\n    <scene_description>The 7 lovers on TV all embrace. Bobby tears up. He switches to watching a Queer Eye makeover and now sobs uncontrollably.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>What is happening to me???<\/dialogue>\n    <scene_description>But Queer Eye gives him an idea...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK STREET - DAY<\/stage_direction>\n    <scene_description>Bobby FaceTimes with Henry.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I want steroids.<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>What? No you don't. You're insane.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I just want to try it!<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>Bobby -<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I keep working out but I don't get bigger! I wanna be big.<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>But how big do you wanna be?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I wanna be big like The Rock. I wanna be so big people think I'm headed back to Jumanji. I wanna be fucking HUGE.<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>You know steroids don't make you big on their own, right? You still have to work out and you can't miss the window.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I know! Let's do it!!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOBBY'S BATHROOM - DAY<\/stage_direction>\n    <scene_description>Bobby's nervous to give himself the steroid injection. He closes his eyes and jabs the needle in. It hurts.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CRUNCH GYM - LATER THAT DAY<\/stage_direction>\n    <scene_description>Bobby sees Joel about to bench press. He walks over to introduce himself but loses his confidence. In SLO-MO, Bobby turns his baseball cap around to look more like a BRO. Bobby changes his personality and does a fake, deep, bro-y voice.<\/scene_description>\n    <character>JOEL<\/character>\n    <dialogue>Sup.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Sup.<\/dialogue>\n    <scene_description>There are two 45 lb plates on the bar. Joel loads up six more plates, way more than Bobby could possibly help him with.<\/scene_description>\n    <character>JOEL<\/character>\n    <dialogue>Can you spot me bro?<\/dialogue>\n    <scene_description>Joel lies down under the bar and starts to strain on the bar.<\/scene_description>\n    <character>JOEL<\/character>\n    <dialogue>Gonna need some help here, bro.<\/dialogue>\n    <scene_description>Bobby strains, turning red, as he attempts to lift the bar.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Yeah bro. I got it, bro.<\/dialogue>\n    <scene_description>This is rapidly turning into a slow motion emergency, where NEITHER Bobby nor Joel can lift the bar.<\/scene_description>\n    <character>JOEL<\/character>\n    <dialogue>Gonna need some help bro.<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(to a passive stranger)<\/parenthetical>\n    <dialogue>Gonna need some help here, bro.<\/dialogue>\n    <scene_description>No one stops. Then, using all possible strength, Joel verrrrrrrry slowly lifts the bar up onto the rack while Bobby grunts along with him. They both catch their breath, then:<\/scene_description>\n    <character>JOEL<\/character>\n    <dialogue>So... hope you don't mind me asking this but...you wanna get a juice?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Fuck yeah bro. Love juice.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOEL'S APARTMENT - LATER<\/stage_direction>\n    <scene_description>PAN FROM half empty juices to Bobby and Joel hooking up. Joel's apt is full of Rangers memorabilia. They finish.<\/scene_description>\n    <character>JOEL<\/character>\n    <dialogue>Would you, uh, wanna hang out sometime? Maybe watch a game?<\/dialogue>\n    <scene_description>Bobby accidentally drops the bro voice and speaks normally.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Um, oh yeah, sure, I'll give you my number.<\/dialogue>\n    <character>JOEL<\/character>\n    <dialogue>Whoa. What the fuck happened to your voice?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh shit. So, um, I'm sorry, I know this is really weird. When I walked up to you, I just kinda did this voice. To see what you would think. But it's not my real voice. I'm so sorry, I know that's really weird.<\/dialogue>\n    <character>JOEL<\/character>\n    <dialogue>Holy Shit. Dude are you a serial killer? Are you gonna fucking kill a bro right now?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No, no, I'm not killing a bro, I'm sorry, I'm really sorry, I'll just get my clothes and go, so sorry.<\/dialogue>\n    <character>JOEL<\/character>\n    <dialogue>You need to leave right now.<\/dialogue>\n    <scene_description>Bobby starts frantically putting on clothes.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Ok. But one question. If I had used my real voice, when I came up to you, would you have been attracted to me?<\/dialogue>\n    <character>JOEL<\/character>\n    <dialogue>Wow. That's really sad. But yeah. I think so. Always thought you were cute in the locker room.<\/dialogue>\n    <scene_description>As he walks out, Bobby walks past a Barbra Streisand poster.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Streisand?<\/dialogue>\n    <character>JOEL<\/character>\n    <dialogue>Of course. I love her. Streisand fucking rules.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh. Ok. I'm so sorry. Goodbye.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOBBY'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Bobby gives himself another steroid shot. Again, he screams. He gets a text: EMERGENCY MEETING. LINCOLN EXHIBIT DEAD.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSEUM, LINCOLN EXHIBIT - DAY<\/stage_direction>\n    <scene_description>A manic Bobby charges into a chaotic meeting where the board and other museum employees are discussing replacing the Lincoln exhibit. Movers are carrying out a Lincoln statue.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>What are you doing? NO! STOP!!!<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Bobby! The Lincoln exhibit is cancelled. People are threatening a boycott. They're pulling donations. There's simply not enough proof!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You wanna put Lincoln back in the closet? FINE! I'll put him back in the fucking closet!<\/dialogue>\n    <scene_description>Bobby wrestles the statue away from the movers and throws Abraham Lincoln in a closet. He slams the closet shut.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Are you happy now? Abraham Lincoln is back in the closet where you want him to be! I'm on steroids!<\/dialogue>\n    <character>CHERRY<\/character>\n    <dialogue>Get a hold of yourself, Bobby!<\/dialogue>\n    <character>TAMARA<\/character>\n    <dialogue>Bobby, calm down and let's move on. Angela and I have proposed that the final exhibit be called Post-Gay.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Post-Gay???<\/dialogue>\n    <character>ANGELA<\/character>\n    <dialogue>Just being \"gay\" is old news.<\/dialogue>\n    <character>TAMARA<\/character>\n    <dialogue>Exactly! This will be a tribute to bisexuals, non-binary people, intersex people, asexuals, aromantics, polyamorous couples and open marriages. No boring, heteronormative gay people. All the possibilities. It's so exciting!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What? So now I'm too gay for Aaron but I'm too straight for you? What do you want? Should I just be some big flaming queen you can laugh at and not take seriously? Or maybe I should just pretend I'm straight so guys will want to fuck me? SOMEBODY PLEASE TELL ME EXACTLY HOW GAY I'M SUPPOSED TO BE! I mean, you won't even let poor Abraham Lincoln be gay now??<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Because he wasn't gay, Bobby!<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>HE WAS BI!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Ok ENOUGH! You need Lincoln to be straight! You need Lincoln to be bi! Why can't he just be gay? You wanna know why? Because you don't want to be gay, Robert! You're trying to hold on to some bullshit shred of masculinity!<\/dialogue>\n    <character>ROBERT \\*<\/character>\n    <dialogue>(hurt) \\*<\/dialogue>\n    <scene_description>Are you serious? \\*<\/scene_description>\n    <character>WANDA \\*<\/character>\n    <dialogue>Once again our love stories are being erased from the record! Which is one of the reasons we're so fucked up when it comes to love! If you can't see it, you can't be it! You know who said that?<\/dialogue>\n    <character>CHERRY<\/character>\n    <dialogue>Buddha?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No! Gayle King! You wanna get rid of our stories, fine! Let's get rid of them! I have roid rage!<\/dialogue>\n    <scene_description>In a swift move, Bobby grabs a gay pride flag and flips the flagpole over like a weapon. Next to him is a bust of Pete Buttigieg. He raises the flagpole as if he's about to demolish the statue.<\/scene_description>\n    <character>ANGELA<\/character>\n    <dialogue>Bobby, NO!<\/dialogue>\n    <scene_description>Angela and Cherry grab the gay pride flag. They fight over it \\* in the world's gayest tug of war. Angela yanks it hard, it rips in two, sending Bobby tumbling to the ground.<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>Angela and the lesbians, HOLD HIM DOWN!<\/dialogue>\n    <scene_description>Angela and the lesbians run and pin Bobby to the ground.<\/scene_description>\n    <character>CHERRY<\/character>\n    <dialogue>You're on steroids?<\/dialogue>\n    <character>ANGELA<\/character>\n    <dialogue>You can't tell.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You're all fired!<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>You can't fire us. It's a nonprofit!<\/dialogue>\n    <character>ANGELA<\/character>\n    <dialogue>You know what? I don't need this shit!<\/dialogue>\n    <character>CHERRY<\/character>\n    <dialogue>Me neither! Lesbians, disperse!<\/dialogue>\n    <character>ANGELA<\/character>\n    <dialogue>You think kids are gonna wanna come here? No one likes museums! They're boring as shit! Why would I go to a fucking museum when I can sit in my living room, put on my VR goggles and instantly be living in Tokyo? So as long as we're all airing our grievances can I be honest? I hate the museum and I really fucking hate storytelling!<\/dialogue>\n    <scene_description>There are GASPS in the crowd when Angela says she hates storytelling. And maybe whispers amongst the crowd of \"She said she hates storytelling! and \"She doesn't like telling stories!\"<\/scene_description>\n    <character>ANGELA<\/character>\n    <dialogue>We have too many goddamn stories! All we do is tell stories! Read stories, watch stories! Watch documentaries about the making of a story! History turns into a story which turns into some exhausting thinkpiece about the story which gets read more than the actual story itself! I'm sick of it! I'm sick of it all! I'm sick of reading things and I'm sick watching things! Maybe the final wing should be a big empty room where people can go to just shut the fuck up! I don't want to tell stories!<\/dialogue>\n    <character>ANGELA<\/character>\n    <dialogue>I just want to live! DOESN'T ANYBODY JUST WANT TO LIVE?!<\/dialogue>\n    <scene_description>Angela storms out.<\/scene_description>\n    <character>WANDA\/CHERRY\/TAMARA\/ROBERT<\/character>\n    <dialogue>Yeah! I quit!\/Me too!\/Enough is enough!<\/dialogue>\n    <scene_description>They all leave.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Good! LEAVE! All of you! I don't need anyone! I'll open this place alone if I have to! I'll do it all alone!!! Shit! My window! My workout window!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITNESS CLASS - \"CANDLELIGHT CROSSFIT.\" - DAY<\/stage_direction>\n    <scene_description>Bobby runs to meet his friends at a late night Crossfit class lit by candlelight. He is a broken man.<\/scene_description>\n    <character>HENRY<\/character>\n    <dialogue>Oh my God - are you okay?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No, Henry. No I'm not. I lost it all. The board quit which means we're not going to make our opening which means donors are going to pull their funding which means the entire museum is going to fall apart. All because I tried to be a bro and I have roid rage.<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>Roid rage? You only did steroids twice.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Henry, you don't understand.<\/dialogue>\n    <parenthetical>(Bobby starts crying)<\/parenthetical>\n    <dialogue>I have roid rage.<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>Bobby, people with roid rage aren't openly weeping. Sweetheart, Aaron broke your heart so you're falling apart.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>That's not it. My heart is fine. I'm fine. I'm like you. I don't need a relationship and I tried to have one and it didn't work because I'm not a relationship person and I'm better on my own.<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>No Bobby, you're not like me at all because I'm happy right now and you're miserable.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I wasn't until I met Aaron!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You were unhappy then too. That's why you judge people so harshly. Like you judged us. You try to act like you don't need anyone but clearly you do. It's ok. You're human. Technically.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Of course the board walked out. Because you don't trust anyone else's point of view. You don't think about where they're coming from. Maybe they just got scared. Maybe, just maybe, not everything is a personal attack on you.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh my God. Maybe you're right. Maybe...you're right and...I'm wrong? Is that even possible?<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>Of course they're right. That's why I love them.<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>If I were you, I'd go back to the board, apologize profusely and really listen to what they have to say. Before something else you love passes you by.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I love you boys. Thank you.<\/dialogue>\n    <scene_description>They hug. Then all of their phones ding. They look down.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>OH MY GOD THE BABIES! WE GOTTA GO,<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL MATERNITY WARD - DAY<\/stage_direction>\n    <scene_description>CUE SONG: \"Love is Simple\" by KD LANG. Bobby watches from the sidelines as everyone takes turns holding the adorable triplets. He misses Aaron. He's the only one who feels alone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL CHAPEL - DAY<\/stage_direction>\n    <scene_description>Bobby walks by a hospital chapel with stained glass windows. He gets an idea.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSEUM BOARDROOM - THE NEXT DAY<\/stage_direction>\n    <character>BOBBY<\/character>\n    <dialogue>I brought cookies from Levain. And brownies that are vegan. And crudit\u00e9s for the diabetics among us.<\/dialogue>\n    <character>CHERRY<\/character>\n    <dialogue>Get to it.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>The clock is ticking.<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Now in the interest of empathy, I said we'd hear him out. But I do have a hard out in twenty, Bobby.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Look, I know I've been a very angry, judgmental person. Now, anger can be good sometimes. For years it was the fuel I needed to keep going -<\/dialogue>\n    <character>CHERRY<\/character>\n    <dialogue>I'm bored.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>When I was starting out, I'd get upset when I saw another gay man succeed, not because I didn't think they were worthy, but because I thought it meant there wouldn't be room for me. It wasn't that long ago the straight world didn't allow for that many of us to really succeed in a big way -<\/dialogue>\n    <character>TAMARA<\/character>\n    <dialogue>Oh my god, remember straight people?<\/dialogue>\n    <character>ANGELA<\/character>\n    <dialogue>Yeah. That was a cute moment.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>So I decided I'd be the most determined, the strongest, the loudest, the least penetrable and I would just steamroll over everyone, and, over time, that turned me into this self-centered, angry, control freak. But the truth is, this is the only community that I love being a part of. You're my people - and we fight like crazy and we always have - but you're my people, and I'm very sorry I was so rude and that I talked down to you. I should've shown you more respect. There is no group of people I love and respect more. That's the truth. And I'm just very embarrassed and I'm so, so sorry.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Man, that shit you said about me -<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Especially to you, Robert. Here's the thing - when I was growing up, sometimes guys said they were bi to avoid admitting they were gay. It was a way of hiding, a way of holding on to their masculinity in order to save face or something.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I don't want young gay boys to think they can't just be gay, if that's what they really are. I just want them to know that's ok. That's all I've ever wanted.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>I understand that, and of course I want that too! But times have changed, man. Things don't have to be black and white. Life is short, Bobby. I'm not going to deprive myself of love just to fit into your limited understanding of the world. And that's not me hiding, I'm not ashamed, this is just who I am. And it hurts when someone tries to tell me who the fuck I am. Especially someone who is supposed to be on my side.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You're right. And I'm so sorry. And you shouldn't have had to explain all of that. But I appreciate it. I'm sorry. I'm sorry to all of you.<\/dialogue>\n    <scene_description>Wanda stands up. Gives Bobby a good hard look.<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>Bobby, I want you to know that I hear you. And... I forgive you.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You do?<\/dialogue>\n    <scene_description>Wanda looks at Cherry.<\/scene_description>\n    <character>CHERRY<\/character>\n    <dialogue>Yeah, me too. You can be a self centered prick but I guess we should give you a chance to redeem yourself.<\/dialogue>\n    <character>TAMARA<\/character>\n    <dialogue>I was never that upset with you to begin with. It's been fun watching you melt down actually!<\/dialogue>\n    <scene_description>Everyone looks at Robert for his response.<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Well, I give you credit for owning up to your hypocritical bullshit. Most people are too proud to do that. I'm not gonna lie, I'm still angry. But if we just keep fighting that's all we're ever doing. And I insist on progress. Not just for our LGBTQ heroes but for our LGBTQ assholes too. Like you. So... I forgive you Bobby.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Thank you so much, Robert. I know I don't deserve this. Thank you.<\/dialogue>\n    <character>CHERRY<\/character>\n    <dialogue>How about you Angela? You still hate museums? Are you still gonna quit this place to go out and live your life?<\/dialogue>\n    <character>ANGELA<\/character>\n    <dialogue>Well, I realized that in order to live my life, I need health insurance. So yeah, I'll come back. \\*<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Well then, we should probably discuss the final exhibit. And may I remind you we open in two weeks!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I had a thought actually.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Oh here we go.<\/dialogue>\n    <character>CHERRY<\/character>\n    <dialogue>That didn't take long!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No. It's not my idea. It's actually inspired by what you all said. It's about love and hope and freedom and history but mostly it's about... (Bobby looks at Tamara) all the possibilities.<\/dialogue>\n    <scene_description>Tamara takes out her airpods. Reveal she's been listening to \\* music. \\*<\/scene_description>\n    <character>TAMARA \\*<\/character>\n    <dialogue>Sorry, what? \\*<\/dialogue>\n    <character>BOBBY \\*<\/character>\n    <dialogue>Consider this just the beginning of \\* the conversation.<\/dialogue>\n    <scene_description>Bobby rolls out presentation materials. They smile at them.<\/scene_description>\n    <character>ANGELA<\/character>\n    <dialogue>I have some ideas too!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yes please! Bring it on. Let's bring all the ideas on.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GAY CLUB - NIGHT<\/stage_direction>\n    <scene_description>Aaron and Josh hang at a club. Aaron shouts over the music.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Did you read that Atlantic article about the gender binary being a relatively new construct?<\/dialogue>\n    <character>JOSH EVANS<\/character>\n    <dialogue>Nah. Dude there are so many guys here I can't focus. Wanna dance?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>No, I'm good. Not much of a dancer. But you go have fun.<\/dialogue>\n    <scene_description>Josh dances off. Aaron is alone. He looks around and realizes it's not the same without Bobby. He opens Instagram and sees that Bobby's at the same club. Aaron confronts Bobby.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Hey. Can we talk?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GAY CLUB - NIGHT<\/stage_direction>\n    <scene_description>Bobby sits down on a bike in a row of stationary Citibikes. Aaron sits down on one across from him.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>What's up?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Bobby, I'm sorry. I'm so sorry, Bobby. I was angry and I got caught up in the moment. It wasn't right. And I should've never asked you not to be yourself. That was awful. I just panicked.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Are you still hanging out with him? You must've hooked up with him.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>No. Not at all. He's really sweet but... he's really stupid. Gay guys can be really stupid remember?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>How could I forget?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I miss you so much. I know I fucked up. But this is new for me too.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>And you blew up in front of my parents and I was embarrassed. And angry. And, to be honest, it felt like you were doing it on purpose.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I was. And I'm sorry, that wasn't fair. I shouldn't have handled it like that. But that doesn't change the fact that you are infatuated with a certain type of guy - and that isn't me.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Look, you're right - I always pictured myself with a guy like -<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Like Josh.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Yes. A guy like Josh.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>He's hot. Very symmetrical.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>He is hot. And yes, very symmetrical. Too symmetrical. Simple. Conventional. Basic as hell. Not someone that actually makes me happy. My whole life I've always done what I thought I should do, never what I want to do. Never what really made me happy. And you - you are very different for me. You're not afraid to take up space in the world - and you challenge me - which at the beginning freaked me out because who the hell wants to be challenged? - but I love it. You're what's been missing. I know I fucked up but please accept my apology and give me another chance. Please. I miss you so much.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I miss you too. A lot. I didn't realize until after we broke up that there were actually a few months there where I was - what do they call it - \"in a good mood?\"<\/dialogue>\n    <dialogue>Aaron smiles and puts his hand on Bobby's knee. Bobby puts his hand on Aaron's hand gently.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>But no. I can't. I'm sorry. My whole life I've prided myself on being self-aware and self- reliant and self-possessed. And it didn't matter. Because at the end of the day, I just ended up in the street looking at you and Josh and thinking \"I'm not enough for him.\" That is not who I am.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Bobby, I'm sorry. I feel awful. But don't throw this away because of one mistake! That's crazy!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I don't know what to tell you.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Say you'll give me another chance!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I can't.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Because I don't trust you.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I love you.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I love you too. You made me realize that maybe I am just another basic bitch who wants some love in his life. As much as I hate to admit it.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I know! And I'm here. You're gonna ignore that and punish us forever? I mean, what are we gonna do?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I don't know. Go back to our lives I guess?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I have to go open \"America's first gay history museum\" remember? The board decided the final wing should be above love. The one subject I don't know a goddamn thing about.<\/dialogue>\n    <scene_description>MUSIC CUE: \"Love and Affection\" by Joan Armatrading. They sit in silence on their stationary Citibikes as we get a wide shot of them against the dark city sky. Bobby gets up. He looks back at Aaron. Aaron stares back. Bobby walks away.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>Bobby looks back at him. Aaron has tears in his eyes.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>If you don't trust me, that's fine. But if for some reason, under all that strength and all that confidence, you still don't trust that you're lovable enough, I'm here to tell you I am living proof that you're wrong.<\/dialogue>\n    <scene_description>Bobby takes that in, a bit taken aback by how much Aaron understands him. But he turns and walks away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A102 INT. THE LGBTQ SENIOR CENTER - MANHATTAN - DAY A102\\*<\/stage_direction>\n    <scene_description>A common room at a community center for LGBTQ senior citizens. A group of 3 elderly adorable old queens sit around on chairs and gossip. Aaron walks in arm in arm with Melvin Funk, who clearly doesn't want to be there.<\/scene_description>\n    <character>MELVIN FUNK<\/character>\n    <dialogue>I'm not leaving my money to these old queens.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I told you that's not why we're here.<\/dialogue>\n    <character>MELVIN FUNK<\/character>\n    <dialogue>Then why are we here?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Because, Mr Funk, it's never too late to make friends.<\/dialogue>\n    <character>MELVIN FUNK<\/character>\n    <dialogue>Oh, take me home!<\/dialogue>\n    <scene_description>Just then, Melvin and Aaron walk past the three old queens and listen to them gossiping.<\/scene_description>\n    <character>ROGER<\/character>\n    <dialogue>Well if they ever do the movie version of the Sunset Blvd musical, it has to be Glenn Close!<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Well Glenn would commit suicide if it wasn't her but I'd rather see Cher.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>I think Meryl would be good.<\/dialogue>\n    <scene_description>Melvin can't help himself and chimes in.<\/scene_description>\n    <character>MELVIN FUNK<\/character>\n    <dialogue>No, no, no, you're all wrong. Two words: Diana. Ross.<\/dialogue>\n    <character>ROGER\/JERRY\/MAX<\/character>\n    <dialogue>Oh I love that!\/That's brilliant!\/ That's genius!<\/dialogue>\n    <scene_description>Melvin yanks himself away from Aaron, pulls up a chair and starts gossiping with the queens. Suddenly, an even older queer person who's sitting in a chair nearby calls after Aaron.<\/scene_description>\n    <character>COLMAN<\/character>\n    <dialogue>Son, what's your name?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I'm Aaron.<\/dialogue>\n    <character>COLMAN<\/character>\n    <dialogue>Hi Aaron. I'm Colman Yiddlesworth.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Hello Mr. Yiddlesworth.<\/dialogue>\n    <character>COLMAN<\/character>\n    <dialogue>Can I ask you a question Aaron? Will you hold my hand? You're very cute.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I'm not sure I'm allowed to do that sir.<\/dialogue>\n    <character>COLMAN<\/character>\n    <dialogue>Oh do an old faggot a favor and hold my hand! You've got your whole life ahead of you! I'm fading fast! We only go around once, sugarbutt.<\/dialogue>\n    <scene_description>Aaron smiles and reaches out his hand. Colman takes it and squeezes it gently. After a beat, Colman playfully slaps Aaron's butt.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Now Mr. Yiddlesworth that isn't appropriate.<\/dialogue>\n    <character>COLMAN<\/character>\n    <dialogue>I'm a 92 year old non-binary pansexual. Cancel me.<\/dialogue>\n    <scene_description>Aaron laughs and sit down next to Colman. They sit there in silence holding hands. It's sweet and a little sad.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>AB102 INT. AARON'S BEDROOM AB102\\*<\/stage_direction>\n    <scene_description>Aaron sit in his bed, scrolling through photos of his phone \\* of him and Bobby. He eats chocolates out of a box. After \\* looking through some photos, he looks down at the chocolates \\* and has a realization. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>B102 INT. AARON'S OFFICE B102<\/stage_direction>\n    <scene_description>Aaron sits across from his assistant ready to have a heart to heart.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Hey. So, I'm sorry to spring this on you out of nowhere but I've decided to quit. The truth is, I need to follow my passion. Life is short and if I don't do it now, I'll never do it. So I need to try, no matter how scary that is. I hope you understand.<\/dialogue>\n    <character>ASSISTANT<\/character>\n    <dialogue>Ok. Honestly I've worked here for 3 weeks so this really won't have much of an impact on me. I'm not even sure I'm the one you're supposed to tell?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Ok. Well, thanks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOBBY'S APT - NEXT DAY<\/stage_direction>\n    <scene_description>Bobby looks at guys on GRINDR. He gets a text from Aaron.<\/scene_description>\n    <character>AARON TEXT<\/character>\n    <dialogue>GUESS WHO QUIT HIS JOB TODAY?<\/dialogue>\n    <scene_description>Bobby starts to write back but stops himself. He throws his remaining steroids and syringes away. '<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A103 INT. AARON'S APT. - DAY A103<\/stage_direction>\n    <scene_description>Aaron's in his kitchen experimenting with making little chocolates. The kitchen is covered in chocolate, ribbon, bows, string and that sort of thing. EXT THE CHOCOLATE SHOPPE - DAY Aaron walks into the small chocolate shop he and Bobby visited together at Christmas.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CHOCOLATE SHOPPE - DAY<\/stage_direction>\n    <scene_description>Aaron is talking to the OWNER of the shop and pitching him an idea. Aaron seems very passionate as he pitches his vision.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A105 INT. THE CHOCOLATE SHOPPE - LATER A105<\/stage_direction>\n    <scene_description>Aaron has been given a small corner of the Chocolate Shoppe to sell his uniquely designed chocolates and treats. The display is in honor of the LGBTQ Museum opening soon. Aaron has created little chocolates and treats as a tribute to various LGBTQ cultural icons, including a chocolate Billie Jean King and cookies with very serious looking faces on them made out of frosting including Rachel Maddow, Larry Kramer, Frank Ocean, Laverne Cox, Kristin Stewart, Megan Rapinoe, Wanda Sykes, Jim Parsons and a gingerbread Elliot Page. He takes a selfie in front of the display and texts it to Bobby. Aaron films a video on his phone to show Bobby his chocolate \\* display. \\*<\/scene_description>\n    <character>AARON \\*<\/character>\n    <dialogue>Hey Bobby. So, I wanted you to be \\* the first person to see this! \\* Welcome to Aaron Shepard's \\* Chocolate Factory. I made some \\* little chocolates. And these are \\* some special treats I made to \\* celebrate the opening of the \\* Museum! These are Harvey Milk Duds; \\* this is the first brick thrown at \\* Stonewall made out of red velvet \\* cake; \\*<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>instead of a Valentine's Day heart \\* filled with chocolates we have this \\* Pink \"Silence equals death\" \\* Triangle filled with chocolates. \\* Plus we have cookies featuring \\* LGBTQ icons, a gingerbread Eliot \\* Page, and a tribute to my favorite \\* gay character from TV, TiramaSusan \\* from Friends. Ok bye. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOBBY'S APT. - SAME DAY<\/stage_direction>\n    <scene_description>Bobby gets Aaron's text. He is shocked but puts the phone down and doesn't reply.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AARON'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Aaron and Jason play a duck hunting video game together in silence. Aaron is clearly upset but not saying much.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Dude thanks for letting me crash here. I know Mom forced you to invite me but...it's cool of you.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Yeah. Sure.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>You ok, bro? Aaron? Yo!<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>What? Yeah. Fine. Happy as fuck.<\/dialogue>\n    <scene_description>They play silently until a bottled up Aaron needs to talk.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>I mean, there was that guy but whatever. It's over. I'm fine.<\/dialogue>\n    <scene_description>Jason's surprised Aaron's bringing this up but plays it cool.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Oh. Yeah. Totally. Dude, these ducks drive me fucking nuts!<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>That's all you're going to say?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>What do you want me to say?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>How about \"Hey Aaron, how you holding up? Have you seen him? Have you spoken to him?\" Or any of the other questions normal people ask when you've been dumped.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>I'm sorry dude! We don't talk about this shit! I'm crashing here cause I'm in the middle of a divorce and you haven't asked me about it once!<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Yeah. You're right. Sorry.<\/dialogue>\n    <parenthetical>(then, awkwardly)<\/parenthetical>\n    <dialogue>So... how are you doing with your divorce?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>It's torn my entire life apart. If you want to know the truth. So... what happened with you?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Well, when mom and dad came I just asked him to... tone it down a bit.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Tone what down?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>You know, just to be a little ...less...you know...gay.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>But...you are gay.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>No, I know! I just - look, I fucked up! I panicked! I just wanted mom and dad to like him!<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>They do! Mom said she liked his passion! Dad said he was smart! I thought he was fucking hilarious.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>That's all they said?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>That's all they said! And of course the guy's pissed - you told him not to be himself in front of us.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I know, I know! Fuck!<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Did you try to get him back?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I've been texting him like crazy. He won't respond. Bobby's the best but he's a stubborn son of a bitch.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>And do you love that stubborn little bitch?<\/dialogue>\n    <scene_description>Aaron thinks about this and then nods.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>But it's too late. It's over. Bobby's so strong. He doesn't need me. He doesn't need anyone.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LGTBQ MUSEUM - OPENING NIGHT<\/stage_direction>\n    <scene_description>Celebrities and politicians mob the opening. It's huge.<\/scene_description>\n    <character>INT. LGBTQ MUSEUM - OPENING NIGHT<\/character>\n    <dialogue>ANGLE ON: Debra Messing posing in front of THE DEBRA MESSING<\/dialogue>\n    <scene_description>HALL OF ALLIES. Two guests walks out of the exhibit.<\/scene_description>\n    <character>PARTY GUEST #1<\/character>\n    <dialogue>There are so many allies in there!<\/dialogue>\n    <character>PARTY GUEST #2<\/character>\n    <dialogue>I've never seen so many allies!<\/dialogue>\n    <scene_description>ANGLE ON: A roller coaster cart coming out of THE LAWRENCE<\/scene_description>\n    <character>GRAPE HAUNTED HOUSE OF GAY TRAUMA.<\/character>\n    <dialogue>TINA<\/dialogue>\n    <scene_description>That was absolutely terrifying!<\/scene_description>\n    <character>BRIAN<\/character>\n    <dialogue>I want to go again!!!<\/dialogue>\n    <scene_description>ANGLE ON ROBERT AND HIS GIRLFRIEND watching an animatronic Leonardo Da Vinci in THE GREAT HALL OF BISEXUALS.<\/scene_description>\n    <character>ANIMATRONIC LEONARDO DA VINCI<\/character>\n    <dialogue>Hi! I'm Leonardo Da Vinci! I changed the world with my work as an inventor, scientist, artist and mathematician but most importantly, I may have been bi!<\/dialogue>\n    <scene_description>ANGLE ON BOBBY TALKING TO TAMARA in THE PARTY AREA. A person whose face we don't see comes up to TAMARA.<\/scene_description>\n    <character>MYSTERIOUS PERSON<\/character>\n    <dialogue>I just want to say... I approve.<\/dialogue>\n    <scene_description>The person drifts off. TAMARA starts to cry.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Who was that?<\/dialogue>\n    <character>TAMARA<\/character>\n    <dialogue>That was @wokecunt. They say never meet your heroes but whoever said that never met @wokecunt.<\/dialogue>\n    <scene_description>Bobby and Tamara hug. A112 ANGLE ON ANGELA TAKING A SELFIE OF HERSELF WITH WANDA AND A112<\/scene_description>\n    <character>BOBBY IN FRONT OF THE ENTRANCE TO AN EXHIBIT CALLED THE<\/character>\n    <dialogue>GALLERY OF GENDER NON-CONFORMING ICONS 10,000 BCE-2022.<\/dialogue>\n    <dialogue>We see a monitor at the entrance with a video welcoming people to it. The video is a fast succession of 4-5 still photos of genderfluid\/GNC people each with a chyron with their name and the era\/location they lived in. This short montage is followed by the title THE GALLERY OF GENDER NON- CONFORMING ICONS, which is followed by the words POWERED BY SHITROCKET which appear with some very aggro Redbull style energy drink lightning bolt graphics. ANGELA posts to IG.<\/dialogue>\n    <character>ANGELA<\/character>\n    <dialogue>I swear those VR goggles are still listening to me! Instagram won't stop showing me ads for this guy selling LGBTQ themed chocolates and deserts! One of them had a little chocolate ice cream version of Billie Jean King served inside a waffle cone!<\/dialogue>\n    <scene_description>Bobby realizes that must be Aaron she's referring to. Tina approaches Bobby.<\/scene_description>\n    <character>TINA<\/character>\n    <dialogue>Bobby, seriously, this place is incredible! Are you happy?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yeah. I think so. It's weird. This was my dream and it actually happened, so why do I still not know the answer to that question?<\/dialogue>\n    <scene_description>Bobby holds up his phone and shows Tina Aaron's text with photos.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I think he quit his job and started making little chocolates. Plus this gingerbread Elliot Page. Can you believe it?<\/dialogue>\n    <character>TINA<\/character>\n    <dialogue>OK can I say one thing? I know what he did was wrong. But you didn't have to argue with his parents.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I did though! And I apologized.<\/dialogue>\n    <character>TINA<\/character>\n    <dialogue>And he apologized too. You both fucked up! I know you think there's no one you can really trust in the world. And I understand that. But I also know that this is supposed to be the biggest night of your life and you look miserable. Is there no part of you that wants to give him a second chance?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I don't know. You know what it really is? I don't want to want someone else this much.<\/dialogue>\n    <character>TINA<\/character>\n    <dialogue>But you do! Bobby, it doesn't make you look weak to love someone. Vulnerability is NOT a boner killer! Were you happier with him or without him? That's really all that matters.<\/dialogue>\n    <scene_description>Bobby thinks about that but doesn't answer.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Let's just drop it ok?<\/dialogue>\n    <character>TINA<\/character>\n    <dialogue>Ok. Fine. I've just never seen you that happy. And I loved seeing it.<\/dialogue>\n    <scene_description>She looks at Bobby tenderly. Edgar and the kids run up and pull Tina to the dance floor. Bobby watches alone from the sidelines as his friends and all the board members dance. We see a MONTAGE of images playing in his head from his time with Aaron. He looks down at the photo of Aaron in the chocolate shop, struggling with whether or not to text him. Finally, he decides to. But he can't decide what to write. He starts feverishly writing a long winded text about his feelings - then he deletes it. He starts writing something funny and snarky - then he deletes that too. He finds a TREASURE INSIDE meme and almost sends that but changes his mind. Finally, he settles on what to text and chooses these IMMORTAL WORDS:<\/scene_description>\n    <character>BOBBY TEXT<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AARON'S APARTMENT<\/stage_direction>\n    <scene_description>Aaron and Jason play Duck Hunter. Then, Aaron gets the text!<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>HOLY SHIT! HE TEXTED ME! BOBBY<\/dialogue>\n    <character>TEXTED ME!!!<\/character>\n    <dialogue>JASON<\/dialogue>\n    <scene_description>What'd he say???<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>He said \"Hey What's Up\"!!!!<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>AHHHHH! \"HEY WHAT'S UP!!!\" FUCK<\/dialogue>\n    <character>YEAH, BRO!!!!<\/character>\n    <dialogue>They both start cheering.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Ok, ok! I'm gonna wait to text him back. I have to play it cool. Oh shit, I've got the gym. I gotta go.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Aaron, what the fuck is it with you and Crossfit every day? What exactly are all you people training for? Are you going to war? Bro, you've been running in place on a treadmill every goddamn day for years. Stop playing it so fucking cool! You're both so proud, you're gonna ruin your lives forever. Go tell him how you feel!<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>What about your divorce? What about never getting married and keeping it young and fun?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Whatever! Straight people are so weird and fucked up - we're so set in our ways. You gay guys - you're all so smart! You'll figure it out! My story is not your story. So go make your own damn story. GO! NOW!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MANHATTAN - NIGHT<\/stage_direction>\n    <scene_description>Aaron jogs through the city. He jogs past a wall of FYC posters for The Treasure Inside. He sees a fleet of cabs with taxi top ads for the LGBTQ MUSEUM. He stares at them. Then, he starts running as fast as he can. Music Cue: \"Che Gelida Manina\" from La Boh\u00e8me (and The Treasure Inside).<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSEUM OPENING NIGHT PARTY<\/stage_direction>\n    <character>WANDA<\/character>\n    <dialogue>Bobby, it's time for the toast!<\/dialogue>\n    <scene_description>Bobby looks down at his phone. No response from Aaron. He's disappointed. Meanwhile outside... 115 OMITTED 115\\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSEUM - STAGE<\/stage_direction>\n    <scene_description>Bobby and the board stand on stage. He addresses the crowd.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>One of the hardest parts of putting the museum together was figuring out what the final exhibit would be, the message we want to leave people with about who we are. But the truth is, we are not one thing. We are not a monolithic group. We are still angry and we are so strong and we are selfish and we are sad and we are lonely and we are totally fine and we are all of it. We are the smartest, most self- reliant people you've ever met and we are so stupid and we are a total mess and we are great.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>We've been around since the beginning of time and yet it feels like we're still at the beginning of being able to tell our own stories. Isn't that strange? In many ways, I think we're still getting to know each other really. So much of our history has been denied and second guessed for so long that, believing it, especially love stories which we often don't have enough evidence to prove true - it requires a leap of faith. It requires choosing not to focus on doubt, but to focus on the love that you know in your heart had to be there.<\/dialogue>\n    <scene_description>Bobby sees Aaron in the crowd. They make eye contact. Bobby smiles. So happy to see him.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Now, I'm just a boring old cis white gay, but one thing I've learned from my trans and bi and non-binary family is that happiness for all of us comes from staying fluid, staying open to change, open to evolution, to being more than one thing, more than what you thought you were, or thought you had to be. You can allow yourself to just be happy and not question everything and not torture yourself all the time. That one's tough for me but I'm working on it. We finally did agree on a theme for the final wing: ALL THE POSSIBILITIES. So, this is a toast to all of us. We've come a long way. (Bobby looks at the board). And there are a lot of people who deserved to live long enough to see this. And we are here. And they are not. And we are very lucky. We are very lucky. I have no complaints.<\/dialogue>\n    <scene_description>Bobby runs off stage, through the crowd, to meet Aaron. Suddenly, Debra Messing runs up to Bobby.<\/scene_description>\n    <character>DEBRA MESSING<\/character>\n    <dialogue>Bobby! I just want to tell you --<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>In all my years I'd never thought I'd say this but: Debra Messing, it'll have to wait.<\/dialogue>\n    <scene_description>He passes Debra and walks up to Aaron with tears in his eyes.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I want you to know that I don't need you.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Well I don't need you, either!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Good! But I really love you. Dammit!<\/dialogue>\n    <scene_description>Bobby grabs Aaron and kisses him passionately.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You've been working so hard trying to be a bro on the outside but I realized that, even though I'm like the gayest person in the world, inside I've been trying too hard to be strong and impenetrable too. You were trying to be a bro on the outside. But I was trying to be a bro on the inside. And I don't want to be that way anymore. So...<\/dialogue>\n    <scene_description>Bobby gets down on one knee in front of Aaron. At this point all the friends are gathered around them on the dance floor.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Wait - what are you doing?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Just let me do this! Oh shit, I don't have a ring!<\/dialogue>\n    <scene_description>Bobby turns to Tamara, who's wearing a huge, bejeweled ring.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Tamara, can I borrow that?<\/dialogue>\n    <scene_description>Tamara gives it to Bobby and he gets down on his knee again.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Aaron Shepard - I know we're not relationship people but - will you date me for 3 months and then we'll reassess?<\/dialogue>\n    <scene_description>Aaron cracks up laughing.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Yes, Bobby Leiber. Yes I will date you for 3 months and then we'll reassess.<\/dialogue>\n    <scene_description>All of Bobby's friends start crying and cheering.<\/scene_description>\n    <character>TINA'S DAUGHTER<\/character>\n    <dialogue>Mommy, what's happening?<\/dialogue>\n    <character>TINA<\/character>\n    <parenthetical>(through happy tears)<\/parenthetical>\n    <dialogue>It's a miracle! Uncle Bobby's gonna date someone for 3 months!<\/dialogue>\n    <scene_description>Bobby slips Tamara's huge ring on Aaron, who shows it off to the crowd, and everyone cheers again. Bobby dips Aaron and they have a big movie kiss. Suddenly, we hear:<\/scene_description>\n    <character>GAY TWITTER WITCH #1<\/character>\n    <dialogue>YUCK!<\/dialogue>\n    <scene_description>Bobby and Aaron turn around. It's the GAY TWITTER WITCHES!<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Oh no! The gay Twitter Witches! What are you doing here?<\/dialogue>\n    <character>GAY TWITTER WITCH #2<\/character>\n    <dialogue>Of course we're here. We're everywhere.<\/dialogue>\n    <character>GAY TWITTER WITCH #3<\/character>\n    <dialogue>What happened Bobby? I thought you said you were happy being alone? I thought you said on your podcast you didn't need anyone?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh don't believe any of the bullshit I say on there!<\/dialogue>\n    <character>GAY TWITTER WITCH #1<\/character>\n    <dialogue>Aaron Shepard in love with Bobby Leiber? Seems a little far fetched!<\/dialogue>\n    <scene_description>Tina's 8 year-old, Brian, walks up to the witches in awe.<\/scene_description>\n    <character>BRIAN<\/character>\n    <dialogue>Excuse me. Are you guys Gen Z?<\/dialogue>\n    <character>GAY TWITTER WITCH #2<\/character>\n    <dialogue>That's right, sweetie.<\/dialogue>\n    <character>BRIAN<\/character>\n    <dialogue>Wowww. What's it like being so old?<\/dialogue>\n    <scene_description>The witches realize they are the old ones compared to Brian. They shriek in horror and literally START TO MELT LIKE THE WICKED WITCH, their outstretched hands holding their phones being the last part to melt into the ground.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Wait, Aaron - the final wing!<\/dialogue>\n    <scene_description>MUSEUM - CONTINUOUS Bobby takes Aaron by the hand and they run towards the last exhibit. A sign above the room says ALL THE POSSIBILITIES. Just as they're about to walk in, they're interrupted by a hologram of BEN STILLER dressed up as a museum guard.<\/scene_description>\n    <character>BEN STILLER<\/character>\n    <dialogue>Hey everyone! I'm the museum guard here. Just gonna do some dusting...<\/dialogue>\n    <scene_description>Ben dusts a bust of Eleanor Roosevelt. Suddenly a hologram of Eleanor Roosevelt (played by Amy Schumer) COMES ALIVE. \\*<\/scene_description>\n    <character>ELEANOR ROOSEVELT<\/character>\n    <dialogue>Hello! What're you doing dusting me? I'm lesbian first lady Eleanor Roosevelt!<\/dialogue>\n    <character>HARVEY MILK<\/character>\n    <dialogue>(played by Seth Meyers) \\*<\/dialogue>\n    <scene_description>I'm Harvey Milk!<\/scene_description>\n    <character>JAMES BALDWIN<\/character>\n    <dialogue>(played by Kenan Thompson) \\*<\/dialogue>\n    <scene_description>I'm James Baldwin!<\/scene_description>\n    <character>BEN STILLER<\/character>\n    <dialogue>It's a Night at the Gay Museum!<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>You ended up doing this? You told me you hated it!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I did at first. But Tamara grew up with those movies and loved them.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>She said it would help make the museum not - and I quote - \"as depressing as a dick.\"<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSEEUM - CONTINUOUS<\/stage_direction>\n    <scene_description>Bobby opens the door and leads Aaron into the exhibit, a gorgeous installation of stained glass windows like the ones they saw on their first date - but this time featuring diverse LGBTQ couples and families. It shimmers. MUSIC CUE: HEARTBREAKER by Mariah Carey<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Do we have to dance?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I'm afraid so.<\/dialogue>\n    <scene_description>They run to the dance floor. Bobby starts doing his stiff dance where he barely moves. In response, Aaron starts doing his awkward dance from the sail boat, jumping and flailing spastically all over the dance floor. Tom and Lucas dance holding their triplets, Henry dances with Lawrence Grape, Tina and Edgar dance with their kids. We pan over to see Peter, Paul and Marty locked in a deep, three-way kiss right next to them. The camera sails around the room. We see portraits of real LGBTQ people from past time periods - not icons, just real people, looking down over everyone, ending on the Egyptian hieroglyphic of a gay couple from the start of the film. Bobby and Aaron kiss beneath them. ANGLE ON the GAY TWITTER WITCHES, now alive again and vogue- ing on the dance floor.<\/scene_description>\n    <character>GAY TWITTER WITCH #1<\/character>\n    <dialogue>Imagine thinking we would ever die.<\/dialogue>\n    <character>GAY TWITTER WITCH #2<\/character>\n    <dialogue>Oh my god, you have to tweet that!<\/dialogue>\n    <scene_description>They all cackle and dance.<\/scene_description>\n    <character>FADE TO BLACK. THE END.<\/character>\n    <dialogue>Over End Credits:<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSEUM - CHYRON: 3 MONTHS LATER<\/stage_direction>\n    <scene_description>Bobby and Aaron look up at the stained glass exhibit. Then, Aaron's mom, followed by her second grade class, walks in on a tour led by Wanda. The kids look up at the windows in awe.<\/scene_description>\n    <character>AARON'S MOM<\/character>\n    <dialogue>Bobby!<\/dialogue>\n    <scene_description>Bobby and Aaron's mom hug.<\/scene_description>\n    <character>AARON'S MOM<\/character>\n    <dialogue>My god Bobby this is spectacular! And the kids are loving it!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Thank you! I'm so glad you're here. It means so much to me that you'd make it part of your trip.<\/dialogue>\n    <character>AARON'S MOM<\/character>\n    <dialogue>Of course! I'll admit, when you first mentioned it, I wasn't sure about bringing the kids. But you were right. Of course they should see this! It's their history too!<\/dialogue>\n    <scene_description>A precocious, judge-y second grade boy - looking and sounding a lot like a young Bobby Leiber - pipes up.<\/scene_description>\n    <character>JUDGE-Y YOUNG BOY<\/character>\n    <dialogue>I don't know. It looks nice but it's so sentimental.<\/dialogue>\n    <scene_description>Bobby laughs, looks down and whispers to the kid.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Honestly, I said the same thing. Not everyone is on our level.<\/dialogue>\n    <character>JUDGE-Y YOUNG BOY<\/character>\n    <dialogue>Well, what else is new?<\/dialogue>\n    <scene_description>Bobby looks back up at the windows, taking them in.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>They are pretty though.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTSIDE THE MUSEUM<\/stage_direction>\n    <scene_description>Bobby and Aaron wave goodbye from the museum steps as Aaron's mom puts the kids on the school bus.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>You know we just hit 3 months. How do you think it's going?<\/dialogue>\n    <scene_description>Bobby looks at Aaron and smiles.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I think it's going really well.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I think it's going really well too.<\/dialogue>\n    <scene_description>A beat as they watch the last of the kids hop on the bus.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>You want kids someday right?<\/dialogue>\n    <scene_description>Bobby is horrified.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Oh no.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Bobby...<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Oh absolutely not -<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>C'mon...<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No! No!!!!<\/dialogue>\n    <scene_description>Bobby runs down the steps, jokingly running away from Aaron.<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Wait! Where are you going?<\/dialogue>\n    <scene_description>Aaron chases after Bobby. He catches up to him and they laugh. As they walk off, Bobby throws his arm around Aaron. Then Aaron throws his arm around Bobby. They walk off as Marc Shaiman's Love Theme from BROS plays us out...<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Italian-American brothers Mario and Luigi have recently opened a plumbing business in Brooklyn, to the derision of their ex-employer Spike and the disapproval of their father. After seeing a significant water main leak on the news, Mario and Luigi go underground to fix it but are sucked into a Warp Pipe and separated. Mario lands in the Mushroom Kingdom, ruled by Princess Peach, while Luigi arrives in the Dark Lands, ruled by the evil Koopa king Bowser. Bowser seeks to marry Peach and will destroy the Mushroom Kingdom using a Super Star if she refuses. He imprisons Luigi to threaten Mario, whom he sees as competition for Peach's love. Mario meets Toad, who takes him to Peach. Peach plans to ally with the primate Kongs to help repel Bowser and allows Mario and Toad to travel with her. She also tells Mario that she ended up in the Mushroom Kingdom as a baby, where the Toads took her in and eventually made her their leader. In the Jungle Kingdom, King Cranky Kong agrees to help if Mario defeats his son, Donkey Kong, in a fight. Despite Donkey Kong's immense strength, Mario defeats him using a Cat Suit. Mario, Peach, Toad, and the Kongs use karts to drive back to the Mushroom Kingdom, but Bowser's army ambushes them on Rainbow Road. When a blue-shelled Koopa General destroys part of the road in a kamikaze attack, Mario and Donkey Kong plummet to the ocean while the other Kongs are captured. Peach and Toad return to the Mushroom Kingdom and urge the citizens to evacuate. Bowser arrives aboard his flying castle and proposes to Peach, who reluctantly accepts after Bowser's advisor Kamek tortures Toad. Mario and Donkey Kong, having been eaten by an eel-like Maw-Ray, learn they both want the respect of their fathers. They escape the Maw-Ray by riding a rocket from Donkey Kong's kart and hurry to Bowser and Peach's wedding. At the wedding ceremony, Bowser intends to execute all of his prisoners in lava in Peach's honor. Toad smuggles an Ice Flower into Peach's bouquet, which she uses to freeze Bowser. Mario and Donkey Kong arrive and free the prisoners, with Mario using a Tanooki Suit to save Luigi. Bowser frees himself and summons a Bomber Bill to destroy the Mushroom Kingdom, but Mario knocks it off course and directs it into the Warp Pipe, where it detonates, creating a vacuum that sucks Bowser's castle and its current occupants into Brooklyn. Mario attempts to grab the Star but is attacked by the enraged Bowser, who also swiftly defeats Peach, Toad and Donkey Kong. As all hope seems lost, Mario is encouraged by his own advert to stand up and face Bowser, who almost incinerates him. Luigi saves Mario, with both grabbing the Super Star. They defeat the Koopas, destroy Bowser's castle and incapacitate Bowser. Peach then shrinks Bowser with a Blue Mushroom and imprisons him. Mario and Luigi are hailed as heroes by Brooklyn's populace, including their parents and Spike. Afterwards, the brothers move to a house in the Mushroom Kingdom and begin a day of plumbing work together."}
{"movie_name":"The Whistleblower_2010","imdb_id":"tt0896872","script":"<script>\n  <scene>\n    <stage_direction>THE WHISTLEBLOWER<\/stage_direction>\n    <scene_description>BLACKNESS .<\/scene_description>\n    <character>GIRL'S VOICE<\/character>\n    <parenthetical>( O.S. ; UKRAINIAN . )<\/parenthetical>\n    <dialogue>I ca n't see anything. Are you there?<\/dialogue>\n    <scene_description>Silence .<\/scene_description>\n    <character>GIRL'S VOICE<\/character>\n    <parenthetical>( O.S. ; UKRAINIAN ; CONT 'D . )<\/parenthetical>\n    <dialogue>Are you there!?<\/dialogue>\n    <scene_description>Giggling . LUBA , 15 , dangerous , flicks a lighter , sparking a cigarette , and grins in the flickering flame .<\/scene_description>\n    <character>LUBA<\/character>\n    <parenthetical>( UKRAINIAN . )<\/parenthetical>\n    <dialogue>God I'm drunk. Where's this damn door?<\/dialogue>\n    <scene_description>She scans the space with the lighter . Illuminating .<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>( UKRAINIAN . )<\/parenthetical>\n    <dialogue>Watch it! That's my hair! Let me try.<\/dialogue>\n    <scene_description>RAYA , 15 , pretty , guileless , takes the lighter , searching . CLICK . She has it . They BURST out the door , LAUGHING , onto .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOP - APARTMENT BUILDING - NIGHT<\/stage_direction>\n    <scene_description>A PARTY . ROCK MUSIC BLARES . DRUNK TEENS dance around BURNING BARRELS . GROUPS lounge on ratty couches and turned over boxes skulling cans , making out , talking shit . A BOY , 17 , lights a MOLOTOV COCKTAIL and hurls it off the roof . Luba and Raya join THREE GUYS . ONE of them pisses onto a cloth , stuffs it in a bottle , and tries to light it . It FIZZLES . Everybody bursts out laughing .<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>( UKRAINIAN . )<\/parenthetical>\n    <dialogue>It's ammonia, not alcohol.<\/dialogue>\n    <character>BOY<\/character>\n    <parenthetical>( UKRAINIAN . )<\/parenthetical>\n    <parenthetical>( Drunk . )<\/parenthetical>\n    <dialogue>You're so smart. I love you!<\/dialogue>\n    <scene_description>He lunges in for a kiss , but she dodges him , laughing . Luba gives him the finger , pulling Raya toward the dancing into . TEEN MAYHEM : Raya lets herself go . She gets lost in . A WHIRL of drunk and happy teens . It 's tribal . They dance , silhouetted against the fire and the black sky , their backs to the run - down Soviet buildings . Tonight , they do n't want to think about what life holds in store . Raya stops . Dizzy . She looks at her watch , suddenly aware of the time . Yelling over to Luba .<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>( UKRAINIAN . )<\/parenthetical>\n    <dialogue>I have to get home. Mama's gon na kill me.<\/dialogue>\n    <character>LUBA<\/character>\n    <parenthetical>( UKRAINIAN . )<\/parenthetical>\n    <dialogue>No, you're staying with me tonight. Roman wants us there at 9 in the morning.<\/dialogue>\n    <scene_description>Raya looks at Luba . Torn .<\/scene_description>\n    <character>LUBA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It's just a few months working in a hotel. You want to work at Copyshack like your mother? Marry one of these assholes? There's nothing here! He said it was both of us or no go!<\/dialogue>\n    <scene_description>Raya sighs , wanting to , but unable to agree . Luba hesitates ; she needs this so badly .<\/scene_description>\n    <character>LUBA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Fuck your mom!<\/dialogue>\n    <scene_description>But Raya shakes her head , eyes apologetic . She pushes past Luba who watches her disappear .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAYA'S APARTMENT - KYIV - LATE NIGHT<\/stage_direction>\n    <scene_description>Raya tiptoes through a modest apartment when . The lights come on . Raya turns back to see HALYNA , 35 . Her face torn between anger and relief .<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>( UKRAINIAN . )<\/parenthetical>\n    <dialogue>I know I'm late. I tried to leave, but -<\/dialogue>\n    <character>HALYNA<\/character>\n    <parenthetical>( UKRAINIAN . )<\/parenthetical>\n    <dialogue>It's three in the morning.<\/dialogue>\n    <scene_description>Halyna shakes her head , disappointed . Then turns off the lights . Raya stands alone as Halyna goes into her bedroom . SLAM . Raya looks around the apartment , it 's poverty , it 's measly aspirations .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KYIV - MORNING<\/stage_direction>\n    <scene_description>The silver mist of dawn rises over the Golden Domes of Kyiv .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT - KYIV - MORNING<\/stage_direction>\n    <scene_description>Raya sits on a stool before a WHITE WALL . Luba smokes a cigarette . ROMAN , 40 , smiley , fixes a camera to a tripod .<\/scene_description>\n    <character>ROMAN<\/character>\n    <parenthetical>( UKRAINIAN . )<\/parenthetical>\n    <dialogue>Big smile!<\/dialogue>\n    <scene_description>Luba reads a SWISS HOTEL BROCHURE , then looks up .<\/scene_description>\n    <character>LUBA<\/character>\n    <parenthetical>( UKRAINIAN . )<\/parenthetical>\n    <parenthetical>( practicing . )<\/parenthetical>\n    <dialogue>I am Natalya Verbova. I am going to Budapest to buy carpets for re - selling. I am staying two days.<\/dialogue>\n    <scene_description>Raya sees ZENIA , 30 , peeking in the door . Raya smiles . Zenia , nods , demure . Roman looks through the camera .<\/scene_description>\n    <character>LUBA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>No - one's gon na believe we really did it!<\/dialogue>\n    <scene_description>Luba beams at Raya , who ca n't hide her own excitement . CAMERA POV : Raya looks into the camera . Her face lights up with hope . FLASH . The IMAGE FREEZES . We BURN TO WHITE . Then the title of the film fades in .<\/scene_description>\n    <character>\"THE WHISTLEBLOWER\"<\/character>\n    <dialogue \/>\n    <scene_description>A FLASHLIGHT cuts across .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN HOUSE - LINCOLN, NEBRASKA - NIGHT<\/stage_direction>\n    <scene_description>POLICE OFFICER LEEDS scans the side of a house . Rounding to THE FRONT PORCH He shakes his head at his partner , KATHRYN BOLKOVAC , 38 . Earthy and athletic . She is in great shape , but her eyes tell of a life fully lived . She 's looking at a HUSBAND and WIFE standing in the doorway .<\/scene_description>\n    <character>HUSBAND<\/character>\n    <dialogue>It just got a bit heated, you know how it gets. I'll apologize to the neighbors tomorrow.<\/dialogue>\n    <scene_description>Kathy nods , humoring . A police radio BUZZES .<\/scene_description>\n    <character>OFFICER LEEDS<\/character>\n    <dialogue>Ready to go?<\/dialogue>\n    <scene_description>Kathy eyes the wife , tries to see past them into the house .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>You sure everything is alright, Ma'am?<\/dialogue>\n    <scene_description>The wife is still . Kathy eyes her , gently . Then , calm .<\/scene_description>\n    <character>WIFE<\/character>\n    <dialogue>Really. It was nothing.<\/dialogue>\n    <scene_description>The husband shifts his weight . Kathy flits a look behind him , noticing . Jackets hanging from the wall . Her gaze lowers to a hook hanging much lower than the rest of the jackets .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>You all have any children?<\/dialogue>\n    <character>HUSBAND<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <scene_description>The wife looks down . The man stirs , agitated .<\/scene_description>\n    <character>HUSBAND<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So if that's all Officer.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I'd like to take a quick walk through the house.<\/dialogue>\n    <character>HUSBAND<\/character>\n    <dialogue>You ca n't do that without a warrant.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Yes I can, Sir, please step aside.<\/dialogue>\n    <scene_description>The wife moves out of the way . The man panics . Leeds heads up the porch . Kathy steps over the threshold . When .<\/scene_description>\n    <character>HUSBAND<\/character>\n    <dialogue>You're not coming in my house!<\/dialogue>\n    <scene_description>He blocks her , but Kathy pushes past him , and then he . GRABS Kathy . HURLS her into a wall . CRACK . Kathy yells in EXTREME PAIN . O.S. POLICE SIRENS BLARE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL HALL - NIGHT<\/stage_direction>\n    <scene_description>Three POLICE OFFICERS linger . They peek through a door at .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - SAME<\/stage_direction>\n    <scene_description>Kathy . She sits up on a gurney . The DOCTOR examines her shoulder . It 's BRUISED PURPLE .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>Painful there?<\/dialogue>\n    <scene_description>Kathy winces . CAPTAIN HAWK , 50s , African American , walks in , noticing her exposed shoulders , and turns , uncomfortable . Kathy covers .<\/scene_description>\n    <character>HAWK<\/character>\n    <dialogue>I'm her Captain.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>Her collar bone is broken. And I'm going to have to set her arm in a cast.<\/dialogue>\n    <character>HAWK<\/character>\n    <dialogue>Lookin' for a route to the desk?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Yeah, I'm gon na break every bone in my body until I'm captain.<\/dialogue>\n    <scene_description>Hawk laughs .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm fine. I'm sure you have a hotter date than this tonight.<\/dialogue>\n    <character>HAWK<\/character>\n    <dialogue>I wish.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Just when my self esteem was gettin' so healthy.<\/dialogue>\n    <character>HAWK<\/character>\n    <dialogue>We found a boy locked in the basement. Badly beaten. We charged the husband with domestic assault. You made the right call. But you should've waited for backup.<\/dialogue>\n    <parenthetical>( sighing . )<\/parenthetical>\n    <dialogue>. I wish I did n't have to say this -<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>You're giving Deke the gold shield.<\/dialogue>\n    <character>HAWK<\/character>\n    <dialogue>I have to Kathy. He has seniority.<\/dialogue>\n    <scene_description>Kathy shakes her head , deeply disappointed .<\/scene_description>\n    <character>HAWK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You deserve the promotion. You should be a detective and if we had more openings -<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>That gold shield was the first one in four years. Sir. I'm going to have to resign, and take that position overseas.<\/dialogue>\n    <character>HAWK<\/character>\n    <dialogue>I think that's a mistake. I want you on my team.<\/dialogue>\n    <scene_description>Kathy sighs , touched . But .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Frank, I'm nearly forty. I ca n't be on the streets much longer. Not if I do n't know there's something on the other end.<\/dialogue>\n    <scene_description>She looks up at Hawk , but he 's staring past her at . The door . Kathy turns , seeing . A young , scared GIRL , 15 . This is ERIN . Kathy 's daughter . She 's heard everything . Hawk eyes Erin , sympathetic .<\/scene_description>\n    <character>HAWK<\/character>\n    <dialogue>Just think about it, will you?<\/dialogue>\n    <scene_description>He leaves , passing Erin , who pushes down tears . Kathy eyes Erin , full of love , but not knowing what to say .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - LATER<\/stage_direction>\n    <scene_description>Erin stares out the window . Kathy watches her , concerned .<\/scene_description>\n    <character>ERIN<\/character>\n    <dialogue>I wish you could stay here.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Me too.<\/dialogue>\n    <scene_description>Erin turns . Serious . Weighing .<\/scene_description>\n    <character>ERIN<\/character>\n    <dialogue>I mean it's fine living at dad's, but. Now I really wo n't see you for a while.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I'm doing this for us. If I have a better job, I can give you guys more.<\/dialogue>\n    <scene_description>Erin nods , tearing again .<\/scene_description>\n    <character>ERIN<\/character>\n    <dialogue>When do you have to decide?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Come here.<\/dialogue>\n    <scene_description>Erin moves over , hesitant . Kathy pulls her in to a hug , wincing slightly in pain . But keeps a brave face .<\/scene_description>\n    <character>ERIN<\/character>\n    <dialogue>Are you sure it's not dangerous?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Of course. It's been four years. Things are getting back to normal over there.<\/dialogue>\n    <scene_description>A BOMBED OUT building , sprayed with RED GRAFFITI . DEBRIS everywhere . Torn clothes . A SIGN . Cyrillic letters : SARAJEVO - 3 KM . Sprayed across it in red : TURN AROUND !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRYSIDE - DAY<\/stage_direction>\n    <scene_description>A SILHOUETTE breaks the horizon and SPEEDS towards us , throwing up gravel : a dented white BUS , emblazoned with large black letters : `` UN '' . A UNITED STATES flag on it . TITLE CARD : BOSNIA - HERZEGOVINA 1999<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS - CONTINUOUS<\/stage_direction>\n    <scene_description>Kathy sits in a bus full of BLUE BERETS . She looks out the window , her eyes drinking it all in .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>You come here today as a beacon of hope, as representatives of humanity's highest aspirations.<\/dialogue>\n    <scene_description>In the opposite direction , a U.S. MILITARY TANK ROLLS past . A SOLDIER looks out from the HATCH . Kathy turns to see the only other woman on the bus , Carmen , 20s , Latina . She smiles cheekily , giving Kathy the ` peace ' sign . Kathy smiles . IMMEDIATE SOLIDARITY . In the opposite direction , two other UN BUSES pass , one flanked by a CANADIAN FLAG , the other with a FRENCH TRICOLOR . The bus cranks around the corner , entering .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SNIPER ALLEY - CONTINUOUS<\/stage_direction>\n    <scene_description>The final stretch into Sarajevo . Famous from so many war reports , site of many deaths . The broad , pock - marked avenue is barren . SHELLED HIGH RISES lean like hungry faces , gouged from their once - solid structures . Living rooms are exposed to the elements , wallpaper blowing in the wind like torn skin . IN THE BUS : Carmen taps Kathy , pointing out the window .<\/scene_description>\n    <character>CARMEN<\/character>\n    <dialogue>Sniper Alley. See, the bullet marks are at eye level. People just running to the store.<\/dialogue>\n    <scene_description>All the walls are splattered at head level . Kathy is overcome by the stark reality of war . Worse than she ever imagined . MOVE ALONG rapt faces . YOUNG MEN , MIDDLE - AGED MEN , heads held high , ready for anything . We 're in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEETING HALL - LATER<\/stage_direction>\n    <scene_description>BILL HYNES paces before the assembled NEW RECRUITS . He 's in his 50s , distinguished and seemingly in charge .<\/scene_description>\n    <character>BILL HYNES<\/character>\n    <dialogue>You have been hired by Dyncorp Aerospace International to represent the US as monitors for the United Nations, which means you are the only national contingent coming from a private military. So you people chose to come here. And for the next few weeks, we will teach you how to protect the rule of law in a war zone, how to rebuild a civil society brick by brick.<\/dialogue>\n    <scene_description>MOVING OVER more RECRUITS . On their laps , `` DYNCORP '' ORIENTATION FOLDERS . MEN , listening , determined .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTLYING SUBURB - DAY<\/stage_direction>\n    <scene_description>Kathy and RECRUITS receive TRAINING from a PAKISTANI MONITOR , shadowing him as he hands food - packs to a LINE of REFUGEES .<\/scene_description>\n    <character>BILL HYNES<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>to ensure the dignity, equality, and inalienable human rights of every single person in this devastated place.<\/dialogue>\n    <scene_description>The refugees turn their haunted eyes to the fresh faces of the NEW RECRUITS . Kathy extends a parcel to an OLD MAN . He hesitates . Then she sees . He has no arms . She 's unsure what to do . A young boy takes the package , leading his grandfather away . Kathy stands : WHERE AM I ? ASSEMBLY HALL : Bill Hynes stands before a map of the Balkans .<\/scene_description>\n    <character>BILL HYNES<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>The Dayton Peace Accords of 1995 ended this war, dictating that an International Police Task Force - YOU - would smooth the transition from war to peace.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTSKIRTS OF SARAJEVO - DAY<\/stage_direction>\n    <scene_description>KATHY and THREE NEW RECRUITS are led down a path along a mountainside . They move toward an UNDERGROUND BUNKER . CHILDREN play at the edge of an overgrown field . A BOY hops up on a post , about to jump over , when the leader , TODD MYERS , 30s , a seasoned pro , YELLS at him , points out . A sign closer to the BARBED WIRE , fringing the field . A SKULL AND CROSSBONES . `` LANDMINES NOT SWEPT ''<\/scene_description>\n    <character>BILL HYNES<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>But you will learn that peace is harder won than war.<\/dialogue>\n    <scene_description>Kathy watches the boy run back up the road . The recruits head down STEEP STEPS into .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARTILLERY DEPOSIT - MOMENTS LATER<\/stage_direction>\n    <scene_description>Light sneaks through cracks , catching on the oil black barrels of THOUSANDS of GUNS . Todd hands out BINDERS .<\/scene_description>\n    <character>TODD MYERS<\/character>\n    <dialogue>We are still in the process of disarming the Muslim, Croat, and Serb militias. You will be cataloguing these arms for decommissioning records.<\/dialogue>\n    <scene_description>Kathy eyes the unending stash of GUNS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SARAJEVO SUBURBS - DUSK<\/stage_direction>\n    <scene_description>Kathy drives past a MILITARY BASE , an ITALIAN FLAG flying . A few hundred yards up the street , a BAR . BELLA LUNA BAR Driving past a another BAR . GERMAN FLAG . A SIGN : BERLIN NIGHTS . Kathy passes by , amused .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMERICAN DORMS - SARAJEVO SUBURBS - EVENING<\/stage_direction>\n    <scene_description>Kathy and Carmen are led by a MONITOR through a sparsely furnished UNIT . A poster of ` Born in the USA ' on the wall .<\/scene_description>\n    <character>BILL HYNES<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>You will learn that every morning's hope.<\/dialogue>\n    <scene_description>Carmen bounces her butt up and down to test her mattress .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCAL GROCERY STORE - DAY<\/stage_direction>\n    <scene_description>Kathy inspects items on the shelves . Nothing familiar . MOVING POV FROM BUS - EARLIER A cluster of WOMEN in BLACK BURKAS . They sway like reeds in the wind , grief overcoming them as they watch :<\/scene_description>\n    <character>BILL HYNES<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>is haunted by yesterday's nightmare.<\/dialogue>\n    <scene_description>UN BLUE HELMETS supervise the dig of a mass grave . Bodies are revealed . A child 's shoe is uncovered . A BURLY PEACEKEEPER turns , sickened .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TITO BARRACKS - AFTERNOON<\/stage_direction>\n    <scene_description>The bus arrives . The base is surrounded by barbed wire and overlook sights , manned by ARMED MILITARY . MEETING HALL : Hynes looks out at the new batch . Proud .<\/scene_description>\n    <character>BILL HYNES<\/character>\n    <dialogue>But today is a new day. As Head of the United Nations Mission here I trust that we stake our highest values, even our lives, on the belief that we can rebuild, we must renew, we will witness the rebirth of this country.<\/dialogue>\n    <scene_description>The recruits are hyped , the rhetoric is working . MOVING OVER THEM , MAN by MAN , we REVEAL in the back : Kathy . In her crisp navy blue IPTF flack jacket . Her blonde hair makes her stand out . She is one of the only women in the room . Her eyes ablaze . She is completely fired up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - IPTF DORM - EVENING<\/stage_direction>\n    <scene_description>Kathy sits at the table spreading stuff on dark bread . Carmen across from her . Kathy takes a bite and grimaces .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>I thought this was peanut butter but -<\/dialogue>\n    <character>CARMEN<\/character>\n    <dialogue>It's ass paste? I know. I bought it too. Let's get out of here. I need a drink.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - SARAJEVO - NIGHT<\/stage_direction>\n    <scene_description>ROCK MUSIC ECHOES from several bars . Carmen heads toward one , when an AMERICAN IPTF MONITOR stops her .<\/scene_description>\n    <character>AMERICAN IPTF<\/character>\n    <dialogue>That's a military Bar. You want the party in there.<\/dialogue>\n    <scene_description>He points to BIG NEON SIGN : THE INTERNATIONAL BAR . Tiki lights illuminate a broad patio . A PIG roasts on a spit . Kathy follows Carmen through DOZENS of off - duty IPTF , SFOR and UN workers who drink and trade stories with machismo . There 's a palpable sexual tension in the air . BOSNIAN WAITRESSES flirt with OFFICERS . Guys paw GIRLS with trays .<\/scene_description>\n    <character>CARMEN<\/character>\n    <dialogue>Fuck me, we're outnumbered. Good odds.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Hon, they're all yours.<\/dialogue>\n    <scene_description>They make their way through the crowded bar , feeling the officers ' double - takes . Carmen smiles coyly at Kathy , then zeroes in on JAN VAN DER VELDE , 35 , handsome . He is surrounded by a group of IPTF with Dutch flags on their shoulders . Carmen throws her arms around them , jovial .<\/scene_description>\n    <character>CARMEN<\/character>\n    <dialogue>Okay, fine, if you insist. Mine's a Jaegermeister.<\/dialogue>\n    <scene_description>Jan laughs at Carmen 's forwardness , his eye on Kathy . But she spots Todd Myers across the bar , and is on her way , when .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>What about you? You do n't have an order?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>No. I'm the polite one.<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>I like polite.<\/dialogue>\n    <scene_description>Carmen turns his head toward her .<\/scene_description>\n    <character>CARMEN<\/character>\n    <dialogue>I'm gon na be the drunk one. Let's get toasted.<\/dialogue>\n    <scene_description>Kathy smiles , a little too old for this game . Carmen leans into Kathy 's ear . She smiles , and moves off . AT THE BAR Kathy moves to Todd and the Americans , catching Todd 's eye , but is distracted by a WAITRESS writhing on an ITALIAN SOLDIER 's lap . The Waitress darts Kathy a look , contemptuous . And the soldiers notice . One leers at Kathy .<\/scene_description>\n    <character>ITALIAN SOLDIER<\/character>\n    <dialogue>I'd pay double for a woman in uniform.<\/dialogue>\n    <scene_description>Kathy looks him over .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Sorry pal, I'm not for sale.<\/dialogue>\n    <scene_description>The Soldier is stung . The Italians laugh .<\/scene_description>\n    <character>TODD MYERS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>We're Dyncorp. We're all for sale. Kathy, right?<\/dialogue>\n    <scene_description>Todd puts his arm around Kathy , bringing her to a TABLE OF AMERICAN IPTF . They greet her , friendly .<\/scene_description>\n    <character>TODD MYERS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Look the basic lay of the land is we have to work with the other nationals, but we do n't mix with them at night.<\/dialogue>\n    <scene_description>JIM HIGGINS , 25 , and even younger looking .<\/scene_description>\n    <character>JIM HIGGINS<\/character>\n    <dialogue>Lucky those wops do n't carry guns or we'd've had ourselves a situation. Fucking unarmed mission. I was hoping we'd get to squeeze some off.<\/dialogue>\n    <character>TODD MYERS<\/character>\n    <dialogue>At who? Better odds you'll step on a land mine and what the hell's a gun gon na do for you then?<\/dialogue>\n    <character>JIM HIGGINS<\/character>\n    <parenthetical>( embarrassed . )<\/parenthetical>\n    <dialogue>I'd kill the fucker who buried it.<\/dialogue>\n    <scene_description>Everyone laughs . Todd turns to Kathy .<\/scene_description>\n    <character>TODD MYERS<\/character>\n    <dialogue>You ever had to take someone down?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Just once.<\/dialogue>\n    <scene_description>The others see she 's the real deal . Kathy feels good .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PATIO BAR - LATE NIGHT<\/stage_direction>\n    <scene_description>Kathy moves through the now - hopping bar . She 's ready to leave . She searches for . Carmen . She 's IN A CORNER . Still with the group of DUTCH OFFICERS . Kathy approaches , concerned , when Jan cuts her off . He 's watching Carmen , who 's teetering , drunk .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>You should probably get her home.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>You probably should n't have let her drink that much.<\/dialogue>\n    <scene_description>Kathy moves past him , irritated . But he grabs her .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>Hey. I. do n't worry. I know those guys. Nothing was going to happen to her.<\/dialogue>\n    <scene_description>Kathy shrugs , it does n't mean much to her .<\/scene_description>\n    <character>JAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I was hoping you'd come back.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Well I did. And now we're both leaving.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SARAJEVO - MORNING<\/stage_direction>\n    <scene_description>Early sun breaks through the fog over the valley .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DORM - KITCHEN - MORNING<\/stage_direction>\n    <scene_description>Kathy tries to work the Bosnian coffee maker , a confusing relic . Carmen comes in , holding her head .<\/scene_description>\n    <character>CARMEN<\/character>\n    <dialogue>What the hell happened last night?<\/dialogue>\n    <scene_description>Kathy smiles , pouring her a cup of the tar - like brew . They both look at it , a little scared . Kathy eyes the clock .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Let's move. We're gon na be late.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - ILIDZA, BOSNIA - DAY<\/stage_direction>\n    <scene_description>Industrial plants dominate the skyline of this Sarajevo suburb . Kathy drives frantically past bombed - out buildings . Carmen studies a map beside her . They hit A RED LIGHT . And stop . A GROUP OF MUSLIM WOMEN cross the street . One questions Kathy with a lingering gaze . Carmen stares at her map .<\/scene_description>\n    <character>CARMEN<\/character>\n    <dialogue>Do you have any idea where we are?<\/dialogue>\n    <scene_description>Kathy shakes her head . No idea .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILIDZA STATION - MOMENTS LATER<\/stage_direction>\n    <scene_description>A run - down prefab office , with dated 80s equipment . A couple of small offices off the open center . Kathy and Carmen rush in . An IPTF OFFICER stands waiting for them . Jan Van Der Velde .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>Late night ladies?<\/dialogue>\n    <scene_description>They eye him , embarrassed . He hands them each a thick binder .<\/scene_description>\n    <character>JAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm your duty officer. You check the duty roster. Every day. You're each assigned to monitor and instruct a group of Bosnian local police. We work in six week shifts. You instruct in the mornings, then go into the field with them in the afternoon. One of you needs to go now.<\/dialogue>\n    <scene_description>He eyes an eager Kathy . Carmen shrugs .<\/scene_description>\n    <character>JAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>They're waiting at the 5th canton. Out the gate, then left, left, park, right.<\/dialogue>\n    <scene_description>Kathy rushes off , then stops . Jan tosses a set of keys .<\/scene_description>\n    <character>JAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>My van. There's a map in front.<\/dialogue>\n    <scene_description>She drops the keys , grabs them , and rushes out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 5TH CANTON - ILIDZA, BOSNIA - MORNING<\/stage_direction>\n    <scene_description>A SCHOOL sprayed with GRAFFITI and BULLETS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLASSROOM - MORNING<\/stage_direction>\n    <scene_description>An abandoned CLASSROOM . Shabby corkboards with yellowing PSA posters , ragged kids ' drawings , and tired sticky tape . Kathy skims through the training binders . The DOOR OPENS and a GROUP OF LOCAL POLICE file in . They whisper , exchanging lascivious glances . Kathy straightens her uniform .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Feel free to sit wherever you like.<\/dialogue>\n    <scene_description>Kathy waits for them to take their seats . They do n't . A BOSNIAN WOMAN , pretty , rushes in . Spotting Kathy .<\/scene_description>\n    <character>BOSNIAN WOMAN<\/character>\n    <dialogue>Sorry I am late. I'm your interpreter.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Great, well. I just asked them to sit.<\/dialogue>\n    <scene_description>The interpreter shakes her head benignly . They take their seats . The interpreter looks at Kathy .<\/scene_description>\n    <character>BOSNIAN WOMAN<\/character>\n    <dialogue>They like to be difficult. They understand if you're clear. Mostly they have trouble speaking English. But let's see if you can get them to talk at all.<\/dialogue>\n    <scene_description>Kathy looks out , suddenly daunted . She presses on , opening her binder as authoritatively as she can .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Okay, I'm going to be talking about crime scene investigation today. If we could -<\/dialogue>\n    <scene_description>An older officer , DANIK , stands , defiant .<\/scene_description>\n    <character>DANIK<\/character>\n    <parenthetical>( BROKEN ENGLISH . )<\/parenthetical>\n    <dialogue>Where do we sign to say we came?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Actually, you sign the attendance at the end of the session. It's a UN mandate -<\/dialogue>\n    <character>DANIK<\/character>\n    <dialogue>Or we sign now?<\/dialogue>\n    <scene_description>Full of malice . Kathy puts the sheet away , then .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>We sign later.<\/dialogue>\n    <scene_description>The cop scoffs , and sits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLASSROOM - LATER<\/stage_direction>\n    <scene_description>Kathy stands in front of a BLACKBOARD with DRAWINGS on a CRIME SCENE . She crosses off TWO AREAS on the board .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Keeping the crime scene clean is number one.<\/dialogue>\n    <scene_description>A weak smile . Nothing from the crowd . She trundles on .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Remember you could be Pamyatayte scho vu bu mholy stepping on the very evidence stavatu na scho nam pokazaye that could incriminate . You yaka bula nespodivanka . Treba have to track anything you vcyo datu v torbu . bag . We call that ` chain of evidence . ' Kathy looks out . The cops are barely paying attention . ONE stubs out a cigarette . Another closes the binder , defiantly .<\/scene_description>\n    <character>DANIK<\/character>\n    <dialogue>We sign sheet now?<\/dialogue>\n    <scene_description>Kathy leans back , disappointed . She hands him the sheet . They all sign , apathetic .<\/scene_description>\n    <character>DANIK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You will tell UN we were cooperating?<\/dialogue>\n    <scene_description>Kathy tries to retain a poker face but their indifference stings . And just as they 're about to leave .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>We have to go to the hospital together.<\/dialogue>\n    <scene_description>The cops eye her , agitated .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOSPITAL - DAY<\/stage_direction>\n    <scene_description>Kathy 's SUV pulls up behind the cluster of local police cars . IPTF OFFICER CLARKSON stands outside . He eyes his watch . Kathy rushes to him , but he 's already a foot in the door .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>We got here as quick as we could.<\/dialogue>\n    <character>CLARKSON<\/character>\n    <parenthetical>( BRITISH ACCENT . )<\/parenthetical>\n    <dialogue>Just try to get them here on time.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - DAY<\/stage_direction>\n    <scene_description>Clarkson leads Kathy and the BOSNIAN POLICE through the hall . Gurney 's and IVs suggest it 's a hospital , but you would n't want to be examined here . Some windows are still covered with wood slats , and paint barely covers old bullet holes . The floors still hold the stains of old blood . Clarkson grabs a file , and speaks without looking back .<\/scene_description>\n    <character>CLARKSON<\/character>\n    <dialogue>Seems we have two stabbings, one shooting, and a man with a broken leg and a bad hangover who ca n't remember what happened. Average night back in Brighton.<\/dialogue>\n    <scene_description>The cops stare at him , lost . As they file into a SMALL ROOM filled with tightly drawn curtains . They all squeeze into the center together . Kathy is pressed against the large cop . Clarkson pulls back a curtain , revealing . ZLATA SEHIK , 40 , Muslim . Her face is covered with wounds . She avoids the gaze of the police who stare with contempt . She pulls her bed - sheet up to her chin as .<\/scene_description>\n    <character>CLARKSON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( reading chart . )<\/parenthetical>\n    <dialogue>`` facial contusions from repeated beatings with fist'', `` lacerations on the eye caused by the edge of an iron''.<\/dialogue>\n    <scene_description>He pauses . Looking at Zlata , he moves her sheet up to expose her leg . Zlata 's eyes tear . Clarkson reads .<\/scene_description>\n    <character>CLARKSON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>`` The right hand was the first entry point of a large kitchen knife''. `` The second entry point in the upper left thigh''. It went through her hand and into her leg. Who's going to take this report?<\/dialogue>\n    <scene_description>Kathy looks out at the Bosnian cops , but they stare at the ground . One cop peeks into the next cubicle . Kathy looks at Clarkson for a cue . He holds out the clipboard .<\/scene_description>\n    <character>CLARKSON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Anyone?<\/dialogue>\n    <scene_description>No answer . Clarkson looks to Kathy to take control . She turns to her group , but they have even less respect for her . She goes to speak , when . VIKO , 25 , looks up , hesitant .<\/scene_description>\n    <character>VIKO<\/character>\n    <parenthetical>( BROKEN ENGLISH . )<\/parenthetical>\n    <dialogue>I will take it.<\/dialogue>\n    <scene_description>The cops turn . Clarkson unclicks his pen . Viko sees Kathy , hungry for support . But Danik scoffs .<\/scene_description>\n    <character>DANIK<\/character>\n    <parenthetical>( BOSNIAK . )<\/parenthetical>\n    <parenthetical>( At Zlata . )<\/parenthetical>\n    <dialogue>Tze ye yiyiy vuna.<\/dialogue>\n    <scene_description>Zlata 's face tightens . Viko turns to Danik , angry . Kathy looks to Clarkson , who gives her nothing .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>What did he say?<\/dialogue>\n    <character>VIKO<\/character>\n    <dialogue>She is Muslim. He said she deserved it.<\/dialogue>\n    <character>CLARKSON<\/character>\n    <dialogue>Alright, that's it. Everyone out.<\/dialogue>\n    <character>KATHY<\/character>\n    <parenthetical>( at Clarkson . )<\/parenthetical>\n    <dialogue>Is n't she filing a complaint?<\/dialogue>\n    <scene_description>The other cops eye Kathy , defiant . This is our turf . Clarkson ushers the cops out . Kathy catches Viko 's eye . Simpatico . Then follows the other out . Kathy looks back at Zlata , who lies helpless .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - HOSPITAL - MOMENTS LATER<\/stage_direction>\n    <scene_description>Clarkson leads the group . Kathy pushes up toward him .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>She has to file a complaint. A woman gets stabbed in the face and there are no repercussions?<\/dialogue>\n    <scene_description>Clarkson pulls Kathy aside . Viko stares .<\/scene_description>\n    <character>CLARKSON<\/character>\n    <dialogue>Quit it! You hear me?<\/dialogue>\n    <scene_description>Kathy reddens . The local cops look over .<\/scene_description>\n    <character>CLARKSON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>We are not investigators. We are monitors. You do n't know a Serb from a Croat or a Bosniak. You've got ethnic hatreds that started a war. This is n't just policing, it's diplomacy.<\/dialogue>\n    <scene_description>Kathy blushes , feeling like a chastened schoolgirl .<\/scene_description>\n    <character>CLARKSON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>We do n't run the show, we make sure the show runs smoothly.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - IPTF DORM - EVENING<\/stage_direction>\n    <scene_description>Kathy sits up in bed reading from her Dyncorp\/UN manual . She flicks , not finding what she 's looking for . Carmen comes out of her room , dolled up for the evening .<\/scene_description>\n    <character>CARMEN<\/character>\n    <dialogue>Come out. You ca n't solve this tonight. I'm not taking no for an answer.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOCAL CAFE - SARAJEVO MARKET - NIGHT<\/stage_direction>\n    <scene_description>Kathy has dinner with Carmen , who talks away . Kathy watches the world go by . She notices an OLDER , LARGE IPTF MONITOR walking with his arm around a YOUNG GIRL , 16 , dressed in a short skirt . Kathy turns back to Carmen who is still talking .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SARAJEVO - MORNING<\/stage_direction>\n    <scene_description>Chanting echoes from the SINANOVA HOUSE of the Dervish Order .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILIDZA STATION - MORNING<\/stage_direction>\n    <scene_description>Viko comes in , scanning over IPTF MONITORS . Spotting Kathy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILIDZA STATION - MOMENTS LATER<\/stage_direction>\n    <scene_description>Viko lays down a pile of files . Zlata 's picture on top .<\/scene_description>\n    <character>VIKO<\/character>\n    <dialogue>Zlata Sehik has been to the hospital eight time because of her husband. Every time she try to file a complaint, my bosses send her back. They always laugh at the woman. They laughed at my mother. They do not make prosecutions of domestic violence. I want to get enough evidence to do this.<\/dialogue>\n    <scene_description>Kathy is n't sure . She looks around , almost guiltily .<\/scene_description>\n    <character>VIKO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>This is why you are here, no?<\/dialogue>\n    <scene_description>Kathy looks at him , struck by the truth of this . She takes the files , flipping through them . Thinking .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>With no police reports? Maybe, if you go back to the hospital. You can pull the records for every one of her visits.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FILE ROOM - HOSPITAL - DAY<\/stage_direction>\n    <scene_description>A HOSPITAL ADMINISTRATOR , who hands Viko a stack of files .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOSPITAL - DAY<\/stage_direction>\n    <scene_description>Kathy sits in a UN SUV . Viko watches as she goes through Zlata 's hospital files . She 's encouraged .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Okay, now get the same thing from all the doctors who treated her. They will have to testify on Zlata's behalf.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAW LIBRARY - EVENING<\/stage_direction>\n    <scene_description>Viko and Kathy sit behind a pile of Legal Books . Viko shows Kathy a page , a questioning look on his face .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>This is good. Let's cross reference each injury with other cases where felony assaults were ruled. Can you get something like that?<\/dialogue>\n    <scene_description>Viko turns to see a LIBRARIAN at the main desk .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Because if stabbing someone in a bar is illegal then the same standard can be applied to a domestic assault.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTHOUSE - DAY<\/stage_direction>\n    <scene_description>Viko sits behind Zlata and COUNSEL while a JUDGE rules .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>If an attorney presents this properly, referencing international standards, you might be able to get a conviction.<\/dialogue>\n    <scene_description>Viko and Zlata wait . then breathe relief . They won . Viko turns TO THE BACK OF THE COURTROOM : Kathy smiles , at last feeling they can really accomplish something .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAN'S OFFICE - ILIDZA STATION - DAY<\/stage_direction>\n    <scene_description>Kathy comes inside , interrupting Jan and FRANZ , Dutch IPTF .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Sorry, you wanted to see me?<\/dialogue>\n    <scene_description>Franz excuses himself , eyeing a tense Kathy . Jan closes the door behind Franz , turning to Kathy . All business .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>Madeleine Rees wants to see you. Head of the Office of the United Nations High Commissioner for Human Rights.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>What? Why?<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>I'm sure it's fine. You followed protocol, right?<\/dialogue>\n    <scene_description>Kathy rushes out , worried . Jan smiles , in on a secret .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MADELEINE REES' OFFICE - SARAJEVO - MORNING<\/stage_direction>\n    <scene_description>Kathy sits alone in the office . Degrees , plaques , and awards cover the walls . Pictures of Madeleine Rees with Kofi Annan , Bill Clinton , Nelson Mandela . Kathy is intimidated . MADELEINE REES , 50s , tall , commanding , short blonde hair , British . She sashays in with a DOBERMAN on a leash .<\/scene_description>\n    <character>MADELEINE REES<\/character>\n    <dialogue>Do n't mind Helen, she's a total sap.<\/dialogue>\n    <scene_description>Kathy eyes the malevolent hound .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Ms. Rees, I -<\/dialogue>\n    <character>MADELEINE REES<\/character>\n    <dialogue>Madeleine. You've been stirring things up.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Is this about Zlata Sehik? If I've overstepped protocol -<\/dialogue>\n    <character>MADELEINE REES<\/character>\n    <dialogue>You have done in two months, what we've been trying to do for years.<\/dialogue>\n    <scene_description>Madeleine sits . Kathy straightens .<\/scene_description>\n    <character>MADELEINE REES<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>All due respect to Viko Mezovic, but you just facilitated the first conviction for domestic abuse in Bosnian history. I'm bloody impressed. So is the Dutch Duty Officer who recommended you.<\/dialogue>\n    <scene_description>Kathy takes it in . Madeleine looks out the window at TWO GLASS TOWERS that punctuate Sarajevo 's skyline .<\/scene_description>\n    <character>MADELEINE REES<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>The IPTF has a Gender Affairs Office at Mission Headquarters. Dervla Hughes, the current head, is leaving and I think you're the right person to take over.<\/dialogue>\n    <scene_description>Kathy is taken aback .<\/scene_description>\n    <character>MADELEINE REES<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You'd be overseeing 12 regional offices. Any gender reports come through you. This involves anything from equality training to domestic and child abuse cases, fallout from war crimes against women, prostitution. Women in Bosnia are treated like second class citizens. You could have a real impact on their lives. What do you think? Are you interested?<\/dialogue>\n    <scene_description>This is everything Kathy came to do .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Absolutely.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - IPTF DORM - NIGHT<\/stage_direction>\n    <scene_description>Kathy paces , phone to her ear . Her suitcase open , she 's packing at the same time . Carmen helps .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( INTO PHONE . )<\/parenthetical>\n    <dialogue>I know hon, it's very exciting. If this works out. It's a real opportunity for the future, but it means I have to, I have to extend my contract for another six months. Hello?<\/dialogue>\n    <scene_description>Kathy stops pacing .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Erin?<\/dialogue>\n    <scene_description>Kathy pulls the phone close , listening . Carmen eyes her .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>No I did n't. I'll look right now.<\/dialogue>\n    <scene_description>Kathy goes over to a computer , clicking open an EMAIL . ON THE SCREEN : A PICTURE OF ERIN in a PROM DRESS . Kathy sits back , flushed with emotion . Her enthusiasm complicated by the realization of what she 's missing back home . Softly .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You look beautiful.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMERICAN APARTMENT COMPLEX - NIGHT<\/stage_direction>\n    <scene_description>Carmen helps Kathy load boxes and suitcases into an SUV .<\/scene_description>\n    <character>CARMEN<\/character>\n    <dialogue>I ca n't believe they're moving you into the city. I'm so jealous. So where's your office?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Mission Headquarters. UNMHQ.<\/dialogue>\n    <character>CARMEN<\/character>\n    <dialogue>But Madeleine is UNHCHR, right?<\/dialogue>\n    <character>KATHY<\/character>\n    <parenthetical>( smiling . )<\/parenthetical>\n    <dialogue>I know. I do n't even know if I'm still IPTF.<\/dialogue>\n    <character>CARMEN<\/character>\n    <dialogue>Well I do n't give an F.U.C.K. All I know is I'm gon na miss you. Stay in touch with the little people!<\/dialogue>\n    <scene_description>They hug . Kathy smiles , and hops into the car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SARAJEVO ROAD - NIGHT<\/stage_direction>\n    <scene_description>Kathy drives into the CITY CENTRE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHY'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Kathy puts the last box down . She steps out onto the balcony . Looks out at Sarajevo , city of survivors , her new home .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UN MISSION HEADQUARTERS (UNMHQ) - SARAJEVO - MORNING<\/stage_direction>\n    <scene_description>Member nations ' flags slap in the wind . Hundreds of UN SUVs . Kathy drives up . She takes in the huge building . Almost in disbelief that she 's part of it , at the center of it all .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY - UNMHQ - MORNING<\/stage_direction>\n    <scene_description>The modern lobby buzzes with UN OFFICIALS and DIPLOMATS . Kathy follows RICK JONES , 30s , athletic , crisp .<\/scene_description>\n    <character>RICK JONES<\/character>\n    <dialogue>I'm glad to have an American in the mix. You'll be reporting to me.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Oh. I, I thought I was reporting to Madeleine Rees' Office.<\/dialogue>\n    <character>RICK JONES<\/character>\n    <dialogue>It's a joint office. She's Human Rights. But you're Police Task Force. So you go through me. But we all report to Bill Hynes anyhow.<\/dialogue>\n    <scene_description>They walk through two large doors into . The Inner Sanctum .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - UNMHQ - CONTINUOUS<\/stage_direction>\n    <scene_description>Rick and Kathy round a corner to a medium - sized office , boxes everywhere . Rick eyes the . mess .<\/scene_description>\n    <character>RICK JONES<\/character>\n    <dialogue>Yeah, your ah. predecessor's files. We're waiting for Archives to get those out of here. I'll put another call in.<\/dialogue>\n    <scene_description>Kathy nods , taking in the disarray . Dust sits on the stacks of boxes , on papers and files strewn about .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>It's fine. Thanks for the tour.<\/dialogue>\n    <character>RICK JONES<\/character>\n    <dialogue>Great. I'll leave you to it. Good luck.<\/dialogue>\n    <scene_description>He leaves her . Kathy runs her eye over the place . The reality of her office less exalted than she imagined . But she 's raring to go . She eyes a name plate : KATHRYN BOLKOVAC - HEAD OF GENDER AFFAIRS . Kathy stands in her office doorway , glancing up the hall . THE HALL is empty . The EXIT door at the end swings shut in the flickering fluorescent light .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OLD TOWN TURKISH QUARTER - SARAJEVO - NIGHT<\/stage_direction>\n    <scene_description>Black cobbles . Merchants line the narrow pathways . Open - doored cafes serve coffee to UNEMPLOYED YOUTH . Kathy and Jan walk along . He 's delighted . She 's restrained .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>I was wondering when you'd ask me out.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>It's not a date. No, seriously. It's not. I know you had a lot to do with my promotion, so I wanted to thank you.<\/dialogue>\n    <scene_description>He grabs her by the hand , ducking into a SMALL ARCHWAY . A NARROW PASSAGE opens up onto a charming restaurant .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE - OLD TOWN - LATER<\/stage_direction>\n    <scene_description>Kathy and Jan sit at a table , watching a WAITRESS put down a carraffe of wine and ` Cevapcici ' -LRB- lamb dish -RRB- .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>Here's to not dating.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Listen to me. I'm not joking around. You're a nice guy. But I.<\/dialogue>\n    <scene_description>The waitress reaches across Kathy with a plate . Winks at Jan. .<\/scene_description>\n    <character>WAITRESS<\/character>\n    <dialogue>You are certain you have everything you need?<\/dialogue>\n    <scene_description>The waitress eyes him coyly . Kathy studies the exchange .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>We're fine thank you.<\/dialogue>\n    <scene_description>The waitress leaves . Kathy shakes her head , amused .<\/scene_description>\n    <character>JAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You were saying I'm a nice guy -<\/dialogue>\n    <scene_description>Kathy is watching the waitress hit up another table .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>You must be in heaven over here.<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>The war left behind a lot of widows.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>You do n't find that -<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>I find it uncomfortable. A lot of guys do n't. I do n't know what else to say about it. Now finish your sentence, I'm a nice guy but -<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I ca n't afford to mess this up.<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>It's only dinner. How bad can it get?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Ask my two ex - husbands.<\/dialogue>\n    <scene_description>He grins . Kathy looks at him , unsettled by the chemistry between them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - UNMHQ - DAY<\/stage_direction>\n    <scene_description>Rick introduces Kathy to various IPTF and UN colleagues .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHY'S OFFICE - UNMHQ - DAY<\/stage_direction>\n    <scene_description>Kathy stacks unpacked boxes out of the way . She organizes a BIG BULLETIN BOARD into 12 CANTONS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EIGHTH CANTON - AFTERNOON<\/stage_direction>\n    <scene_description>Kathy follows an IPTF monitor , BARRY , 30s , Irish past the front of a UN BUS . A DOZEN MUSLIM WOMEN disembark and look up , their hands over their mouths , keening .<\/scene_description>\n    <character>BARRY<\/character>\n    <dialogue>This is the first time they've seen their homes in years.<\/dialogue>\n    <scene_description>IPTF MONITORS help with unloading battered suitcases and belongings . THREE carry a couch up the steps of a building as a YOUNG BROTHER and SISTER watch . Standing back , an ELDERLY WOMAN weeps in disbelief as the monitors lay final touches on makeshift storm windows on her aparment . Kathy watches , Barry by her side .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>They're all widows?<\/dialogue>\n    <character>BARRY<\/character>\n    <dialogue>That's why they were so frightened to come back. They could n't believe they'd be safe. That what happened before would n't happen again. Except now with nobody to protect them.<\/dialogue>\n    <scene_description>Kathy shakes her head . The women enter the building , their past lives in shards at their feet . One WOMAN , 40s , stands numb , a bundle of books in her arms , tears running down her face , as her TEENAGE SON beckons her to come in the DOOR .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Except us.<\/dialogue>\n    <character>BARRY<\/character>\n    <dialogue>I always thought helping refugees get home would be one of the best parts of the job. But it's so hard for them.<\/dialogue>\n    <scene_description>Kathy nods , moved .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Thanks for taking me through this. Fill me in when you're done, and I'll send my report to Rick Jones.<\/dialogue>\n    <scene_description>Another FIELD OFFICER rushes up . An urgent look on his face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IPTF FIELD OFFICE - AFTERNOON<\/stage_direction>\n    <scene_description>The field officer leads Barry and Kathy round a corner , to . A YOUNG GIRL nearly passed out on the couch . Her face bloody and swollen . Kathy runs up to the girl , who can barely sit up . Softly waking her . The girl comes to , taking in her surroundings , and . JUMPS UP . An unmistakable look in her eyes . TERROR . Kathy eyes the field worker . He shrugs , lost . Kathy turns back to the girl , and slowly places a hand on her shoulder . The girl flinches , then inches back . shaking her head .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>It's okay, it's -<\/dialogue>\n    <scene_description>But the girl holds out her hands , stopping Kathy . She looks around , completely disoriented . Desperately searching for an exit . She eyes them all , realizing she 's surrounded and then . SHE WAILS . Losing control . Slapping at all of them . Kathy moves to her , trying - gently - to hold her tight . The girl sobs . Hopelessness in her eyes . And then . She faints . Kathy and Barry bend to catch her .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( at field worker . )<\/parenthetical>\n    <dialogue>Call a medic!<\/dialogue>\n    <scene_description>He rushes off . Kathy and Barry lay the girl down . She lies on the ground , breathing slowly , looking close to death . Kathy holds her hand .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Who is she?<\/dialogue>\n    <character>FIELD WORKER<\/character>\n    <dialogue>I found her out in the woods. She was speaking, I do n't know, she's not local. I think she's one of the girls from the bars.<\/dialogue>\n    <scene_description>Looking at the girl , Kathy pushes a strand of hair from her face . And as we stay a moment longer , we realize this is . Raya . A long way from home . But then . THE DOORS OPEN . A frantic HUMAN RIGHTS WORKER carries IRKA , 17 , into the room . Her clothes torn , her body and face bruised . Kathy looks up .<\/scene_description>\n    <character>HUMAN RIGHTS WORKER<\/character>\n    <dialogue>She was further back in the woods.<\/dialogue>\n    <scene_description>Irka sees Raya . Sudden relief . Then realizing .<\/scene_description>\n    <character>IRKA<\/character>\n    <parenthetical>( ENGLISH\/RUSSIAN . )<\/parenthetical>\n    <dialogue>Florida Bar. Ciysh. Six girl there. Iy Policai.<\/dialogue>\n    <scene_description>Kathy looks to Barry .<\/scene_description>\n    <character>BARRY<\/character>\n    <dialogue>It's a bar in the hills.<\/dialogue>\n    <scene_description>Kathy shakes her head . She looks at Raya and Irka .<\/scene_description>\n    <character>BARRY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'll take them to the women's shelter at Zenica.<\/dialogue>\n    <scene_description>Kathy rummages through her files , catching up .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Yeah. Good. I'll follow up at the bar.<\/dialogue>\n    <scene_description>Barry shrugs . Kathy 's mind is racing .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Where exactly is this bar?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/ EXT. - UN SUV - DAY<\/stage_direction>\n    <scene_description>Kathy drives up a winding mountain road , checking directions on a hand - drawn map . A LOCAL POLICE CAR swerves by in the opposite direction .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UN SUV\/EXT. FLORIDA BAR - DAY<\/stage_direction>\n    <scene_description>Kathy 's SUV throws up gravel . Out her windscreen , she sees THE FLORIDA BAR : A dilapidated two story building , painted a garish pink . Crude palm trees painted on the side . Kathy jumps out of her SUV , and moves towards . LOCAL POLICE smoke by POLICE CARS . A LOCAL COP leads a CLUSTER of YOUNG WOMEN out the door . They blink in the glaring light , pale , out of place , lost . At the end of the line , is Luba . Her eyes darting between Kathy and the Local Cops , helpless . Kathy rushes towards the cop . He eyes her , dubious .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>What's going on here?<\/dialogue>\n    <character>LOCAL COP<\/character>\n    <parenthetical>( SERBIAN . )<\/parenthetical>\n    <dialogue>Xo brovnic ce klety scey forzcic nay.<\/dialogue>\n    <scene_description>He moves past her , with the Girls in tow .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Hold on. Where are the IPTF monitoring this raid?<\/dialogue>\n    <scene_description>SHOUTING ECHOES from inside the bar . TWO COPS drag out TANJO ZRAVBIC , 50s . He sees Kathy 's uniform and SHOUTS at her .<\/scene_description>\n    <character>TANJO<\/character>\n    <parenthetical>( SERBIAN . )<\/parenthetical>\n    <dialogue>Zra slobovik brvicetic revic barziny Traba! Motherfockers!<\/dialogue>\n    <scene_description>The cops SHOVE Tanjo in a car , and SLAM the door . Kathy turns to the Local Cop , standing with the group of girls .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Is that the owner? Are you taking him into custody?<\/dialogue>\n    <character>LOCAL COP<\/character>\n    <dialogue>Xivy slovic drinjnislava porslivky.<\/dialogue>\n    <scene_description>Kathy looks around , frustrated .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Is there a translator on the scene? Translator? Wait.<\/dialogue>\n    <scene_description>He stops , impatient . Kathy pulls out her WALKIE .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>This is Kathy Bolkovac. I need an Interpreter. At the Florida Bar.<\/dialogue>\n    <scene_description>The Local Cops watch her . Kathy 's eyes rest on the girls .<\/scene_description>\n    <character>WALKIE VOICE<\/character>\n    <parenthetical>( O.S. ; ACCENTED ENGLISH . )<\/parenthetical>\n    <dialogue>Okay. I need a time and date.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Now.<\/dialogue>\n    <character>WALKIE VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>That's impossible. We need advance notice for field calls.<\/dialogue>\n    <scene_description>The Local Cop talks at the girls . They do n't understand him , but his tone is clear : total disrespect . Kathy moves toward them , protectively , then sees . TWO UN SUVs parked on the other side of the bar . TWO IPTF MONITORS emerge from the bar . Kathy approaches them . They seem surprised .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Hey. I'm from Gender Affairs. I -<\/dialogue>\n    <character>FRED MURRAY<\/character>\n    <dialogue>Hey. Fred Murray.<\/dialogue>\n    <scene_description>He shakes her hand . Tanjo BANGS on the window , inside the police car , apopleptic with rage . Kathy glances over her shoulder .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Is that the owner?<\/dialogue>\n    <parenthetical>( off Fred 's nod . )<\/parenthetical>\n    <dialogue>I tried to get an interpreter but -<\/dialogue>\n    <character>FRED MURRAY<\/character>\n    <dialogue>No, no. that's fine. We're pretty much done here anyway.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Oh. Okay. But there's. We just had two girls come in to a Human Rights Office, saying they escaped from this place.<\/dialogue>\n    <scene_description>Fred seems confused . Kathy pulls out a clipboard .<\/scene_description>\n    <character>FRED MURRAY<\/character>\n    <dialogue>Yeah. Local police have been watching the place for a while. This whole thing happened pretty fast. I guess those girls must've run for it.<\/dialogue>\n    <scene_description>Kathy looks over as the girls are put into a van .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Well, the girls in our field office seemed pretty scared. I should follow up with these ones.<\/dialogue>\n    <scene_description>The Local Cops start to move , stubbing out cigarettes , getting in cars . The Local Cop shuts the doors of the van .<\/scene_description>\n    <character>FRED MURRAY<\/character>\n    <dialogue>You can see where they're taking them, but I ca n't intervene. You know the drill.<\/dialogue>\n    <scene_description>He shrugs and smiles . Kathy hears the POLICE VAN 's engine start . Turning to it .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Thanks. I'll look out for your report.<\/dialogue>\n    <scene_description>She rushes after the van . Fred eyes Kathy confer with the Van driver . He and the other Monitor , drive off . Kathy is left alone in the silence . She turns to the bar .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLORIDA BAR - MOMENTS LATER<\/stage_direction>\n    <scene_description>Kathy moves inside . The place is rank and dingy . A small stage with a POLE in the centre . Tables fanned out around it . CUT WIRES hang over the stage . THE BAR AREA Is filled with PHOTOS : YOUNG GIRLS in various poses with men , IPTF SOLDIERS . They range from the illicit to the obscene .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Jesus.<\/dialogue>\n    <scene_description>Kathy stops on a photo of a NAKED GIRL on stage holding the two open wires over her head . Behind her , SOLDIERS applaud . Kathy takes down the photo , horrified . Turns it over . Scrawled in marker : SARAJEVO FIRECRACKER ! She turns to the stage . Plugs in one of the wires . A HUZZ of electricity . Tiny sparks fly . She turns , and under the bar sees . A SAFE , SMASHED OPEN . A handful of U.S. bills scattered about . And . PASSPORTS . Romanian , Ukrainian , Polish . All for young girls . She gathers them , surprised , and stuffs them into her file . Her eyes are drawn to a back wall . She stops at a panelled door . And pushes . It opens onto . STEPS : She shines her flashlight up the dark passage . The BEAM of the flashlight finds a DOOR . A glint off metal . At the door handle , a large PADLOCK , smashed open . Kathy darts the beam over the other TWO DOORS . both equipped with PADLOCKS . Smashed . Kathy pushes through the first door into .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIDDEN BACK ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Kathy 's flashlight over : Hanging BEDSHEETS separate the room into cubicles . Putrid mattresses . Condoms on the floor . Her eye catches MARKINGS UNDER A MATTRESS . She pulls it away . And sees GIRLS ' NAMES scratched into the floor . Under each name , etched in , a list of amounts : 50 , 100 , 30 , 200 , 20 . Some kind of RECORD . Kathy PULLS back other mattresses . Dust . Some FAMILY PHOTOS . And . a ragged PIECE OF PAPER : Crude drawings of sexual positions . A NUMBER by each one : $ 20 , $ 30 , $ 50 , $ 100 , $ 200 . The amounts correspond exactly with the table on the floor . Kathy looks around , sickened .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOMEN'S MEDICA SHELTER - SARAJEVO SUBURBS - NIGHT<\/stage_direction>\n    <scene_description>A run - down Community Center nestled in a shabby area outside the city . It 's completely unassuming . From the outside , you might think it was abandoned .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - WOMEN'S MEDICA SHELTER - MOMENTS LATER<\/stage_direction>\n    <scene_description>The shelter is a converted gymnasium . Peeling wallpaper . Long - forgotten notices from before the war , postcards . Patchy linoleum curls at the edges . A soft hum . Voices in rooms that Kathy ca n't see . She walks down the hall with MILENA , 40s , Bosnian , down - to - earth , forthright .<\/scene_description>\n    <character>MILENA<\/character>\n    <parenthetical>( ACCENTED ENGLISH . )<\/parenthetical>\n    <dialogue>These girls are told they have been bought and must repay the debt. They are told an outrageous sum, thinking they'll be let go when they earn back that money. But they never are.<\/dialogue>\n    <scene_description>Kathy stares at her , taken aback .<\/scene_description>\n    <character>MILENA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Sex trafficking is one of the worst things to happen after this war.<\/dialogue>\n    <scene_description>Milena hands over a medical report .<\/scene_description>\n    <character>MILENA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Raya has a severe internal infection. The doctor found.<\/dialogue>\n    <parenthetical>( reading . )<\/parenthetical>\n    <dialogue>`` intentionally placed foreign objects causing a disruption of the vaginal wall''.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Foreign objects?<\/dialogue>\n    <character>MILENA<\/character>\n    <dialogue>Coins. She's not the first. Men can feel deficient paying for sex, so they find other ways to feel powerful.<\/dialogue>\n    <scene_description>Milena pushes through a door . To a DARK HALLWAY . Hanging bulbs flicker intermittently . They walk . Avoiding dripping leaks in the roof .<\/scene_description>\n    <character>MILENA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>We gave her Penicillin, but the doctor is worried there could be something more serious.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>When will he know?<\/dialogue>\n    <scene_description>They pass an EATING AREA . TEEN GIRLS sit , pick at food , chain - smoke and flip through magazines . They are clean , but weak .<\/scene_description>\n    <character>MILENA<\/character>\n    <dialogue>Unfortunately that's all we can do for her. We're just a volunteer organization.<\/dialogue>\n    <scene_description>Kathy stares at the girls , the sheer number of them .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>But if there are so many victims.<\/dialogue>\n    <character>MILENA<\/character>\n    <dialogue>We lost our funding because of those.<\/dialogue>\n    <scene_description>She points at a basket of CONDOMS near the coffee .<\/scene_description>\n    <character>MILENA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It's the U.S. Department of State. They have their rules. I'll do anything to give these girls some protection. But the Department of State thinks `` Condoms encourage prostitution.'' NGOs caught giving them out, no longer receive US funding.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>But these girls are n't prostitutes.<\/dialogue>\n    <scene_description>Milena shrugs .<\/scene_description>\n    <character>MILENA<\/character>\n    <dialogue>They do n't realize the cycle they start. If there are no condoms in the bars.<\/dialogue>\n    <scene_description>They pass a ROOM DIVIDER . Seeing . MORE GIRLS . IN THEIR TEENS . All broken . And desperate .<\/scene_description>\n    <character>MILENA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>the guys want to find ways of avoiding STDs. AIDS. Their solution? Pay more for virgins.<\/dialogue>\n    <scene_description>Kathy sees A GIRL sit in a corner . She could n't be more than TEN YEARS OLD . She sits alone .<\/scene_description>\n    <character>MILENA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So the traffickers bring more in. Younger and younger. Now it's a global industry. Simple economics. If there is demand, you supply.<\/dialogue>\n    <scene_description>Milena opens a DOOR , revealing . INSIDE THE ROOM : A VOLUNTEER NURSE sits by Raya 's bed . She lies asleep . IN ANOTHER BED : Irka sleeps . Kathy watches . Hushed .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Where can they get help?<\/dialogue>\n    <character>MILENA<\/character>\n    <dialogue>Try the Global Displacement Agency. They have good medical care, lots of funding. They might take them. Whether they'll keep them or not. I do n't know.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Where are the other girls from the Florida bar?<\/dialogue>\n    <scene_description>Milena looks at her . Blank .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>The local police were bringing them here.<\/dialogue>\n    <character>MILENA<\/character>\n    <dialogue>Those girls never arrived.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SARAJEVO - MORNING<\/stage_direction>\n    <scene_description>UNMHQ stands over the crumbling red roofs of Sarajevo . In the foreground , a CEMETERY packed with crooked wooden crosses .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ADMINISTRATIVE OFFICE - UNMHQ - MOMENTS LATER<\/stage_direction>\n    <scene_description>Kathy walks in . Carmen sits behind a desk , piled with files .<\/scene_description>\n    <character>CARMEN<\/character>\n    <dialogue>Hey, where've you been?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I'll tell you about it over a drink. Could you just check something for me? I want to get a copy of the monitor's report from a raid on the Florida Bar yesterday.<\/dialogue>\n    <scene_description>Carmen nods , and clicks on her computer .<\/scene_description>\n    <character>CARMEN<\/character>\n    <dialogue>Your job is so exciting. The only thing I get to raid is the fridge.<\/dialogue>\n    <parenthetical>( Reading off the computer . )<\/parenthetical>\n    <dialogue>. You sure there was a raid? There's no record here.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>No. That's definitely it. There were six girls removed from the bar and I need to know where they were taken.<\/dialogue>\n    <character>CARMEN<\/character>\n    <dialogue>Sorry. No record of any raid.<\/dialogue>\n    <scene_description>Kathy thinking . Something 's not adding up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR\/OFFICE - UNMHQ - MORNING<\/stage_direction>\n    <scene_description>Kathy walks . MONITORS greet her as she passes . She reaches an OFFICE , and knocks .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>I'm looking for Fred Murray?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MINE FIELD - BOSNIAN COUNTRYSIDE - DAY<\/stage_direction>\n    <scene_description>FIVE local MEN in fatigues scan the field slowly with hand - held minesweepers . One MAN holds up his hand as his device BEEPS . At the edge of the field , Fred Murray blows a whistle . Everybody else STOPS . The man bends down , as all wait . Kathy approaches from the road , behind a fence . Fred smiles .<\/scene_description>\n    <character>FRED MURRAY<\/character>\n    <dialogue>We meet again!<\/dialogue>\n    <scene_description>Kathy looks out , suddenly aware of the dangerous situation .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Is it okay for me to be here?<\/dialogue>\n    <character>FRED MURRAY<\/character>\n    <dialogue>Sure, sure. You're fine here on the gravel. What's going on?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I just wanted to follow up with you on the raid yesterday. Those girls did n't show up at the Shelter, and I wanted to locate them.<\/dialogue>\n    <character>FRED MURRAY<\/character>\n    <dialogue>Yeah, the whole thing was a bit of a mess. Turned out it was a local police mistake. Mix - up with the tip off or something. Thought they had a prostitution bust, but the bar is legit and those girls were just waitresses.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Waitresses are n't kept under lock and key.<\/dialogue>\n    <scene_description>ANOTHER WHISTLE BLOWS . Fred turns to the field .<\/scene_description>\n    <character>FRED MURRAY<\/character>\n    <dialogue>Shit. Can we go over this later? I got to get in there.<\/dialogue>\n    <scene_description>Before she can answer , Fred is moving down the field . She watches him go .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOMEN'S MEDICA SHELTER - DAY<\/stage_direction>\n    <scene_description>Kathy and Milena lead Raya and Irka out to her SUV .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GLOBAL DISPLACEMENT AGENCY - DAY<\/stage_direction>\n    <scene_description>A stark contrast , the GDA is a new and shining edifice . Kathy 's SUV pulls up front .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GLOBAL DISPLACEMENT AGENCY - MOMENTS LATER<\/stage_direction>\n    <scene_description>Kathy and the girls sit in the waiting area . The place is modern , western . corporate . In platinum base relief over the reception desk : GLOBAL DISPLACEMENT AGENCY . The LOBBY . Magazines on a coffee table . The wall adorned with a HUGE FRAMED POSTER of a young girl in a spiderweb . A caption : `` TRAFFIKU ZHINOK YE SPRAV . 1999 '' Kathy scans the hall . Endless posters . 1998 , 1997 , 1996 . LAURA LEVIN , 30s , American , groomed , business - like , comes around the corner . Her ASSISTANT , 20s , leads the girls away .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Kathy. The new Head of Gender Affairs.<\/dialogue>\n    <character>LAURA LEVIN<\/character>\n    <dialogue>I heard. Laura Levin. My assistant will take them to the medical center. As soon as they get medical clearance we'll know where we stand.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>LAURA LEVIN<\/character>\n    <dialogue>Well, it's yet to be determined if they'll cooperate with the repatriation program. That's the only way I can allow them to stay at the GDA.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>They're critical. witnesses for a situation I'm. monitoring. I'll need to speak with them when they're ready.<\/dialogue>\n    <character>LAURA LEVIN<\/character>\n    <dialogue>I understand. I'll be in touch.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Will you be contacting their parents?<\/dialogue>\n    <scene_description>Laura nods . Something still on Kathy 's mind .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>The other girls from the raid were supposed to go to the Women's Medica Shelter, but they never showed up. Do you have any idea where else they might have been taken?<\/dialogue>\n    <character>LAURA LEVIN<\/character>\n    <dialogue>I did n't know there were any others.<\/dialogue>\n    <scene_description>Kathy eyes the girls down the hall . Raya turns , a last look .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. UN SUV\/GDA - NIGHT<\/stage_direction>\n    <scene_description>Kathy starts her car . She pulls out , turning left . Then , cranks the wheel right .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - NIGHT<\/stage_direction>\n    <scene_description>Kathy 's UN SUV swerves along the serpentine mountain road .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAURA LEVIN'S OFFICE - GDA - LATER<\/stage_direction>\n    <scene_description>Laura in her office . HIGH MODERNITY . She works through her files . Opening one with Raya 's photo on top . She dials .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAYA'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>The phone is ringing . Halyna rushes to it . Out of breath .<\/scene_description>\n    <character>HALYNA<\/character>\n    <parenthetical>( UKRAINIAN . )<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <character>LAURA LEVIN<\/character>\n    <parenthetical>( RUSSIAN . )<\/parenthetical>\n    <dialogue>Mrs. Kochan, I'm calling from the Global Displacement Agency in Sarajevo to confirm you have a daughter named Rayisa?<\/dialogue>\n    <character>HALYNA<\/character>\n    <parenthetical>( RUSSIAN . )<\/parenthetical>\n    <parenthetical>( Straightening . )<\/parenthetical>\n    <dialogue>Yes. Yes!<\/dialogue>\n    <character>LAURA LEVIN<\/character>\n    <dialogue>We have located her.<\/dialogue>\n    <scene_description>Halyna falls into a chair , her chest heaving relief .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FLORIDA BAR - NIGHT<\/stage_direction>\n    <scene_description>Kathy pulls up to a PARKING LOT full of CARS and UN SUVs . MUSIC spills out . BACK IN BUSINESS . She gets out of the SUV , moving inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLORIDA BAR - CONTINUOUS<\/stage_direction>\n    <scene_description>Kathy in the doorway . The place is dark but lit by lamps along the walls . MUSIC pumps . The place is hopping . A scantily - clad GIRL dances on the stage , her body writhing but her eyes dead . Along the edges , girls - the very SAME GIRLS Kathy saw released at the raid - ` socialize ' with customers . Many of the CUSTOMERS . in IPTF UNIFORMS , others with off - duty IPTF SWEATSHIRTS , and INTERNATIONALS in civilian casuals . A few LOCALS at the bar , where . Tanjo commands the scene , cheery , chatting with an IPTF OFFICER at the bar . Kathy stands , frozen , until she catches the eye of . Luba , sitting on the knee of a MIDDLE - AGED IPTF Officer . Kathy is filled with . anger .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. UN SUV - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Kathy SPEEDS up the mountain roads . Past many bars . One after another , after another . All filled with UN SUVs . Groups of drunk OFFICERS spill out . She stops across from one , seeing : Jan coming out of the bar . Kathy watches , stunned . Jan helps a drunk friend pile into an SUV . He looks up and sees Kathy as a car beam slides over her . She pulls away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHY'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Kathy stands on the balcony . Taking in the cold air . A KNOCK .<\/scene_description>\n    <character>JAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Kathy, it's Jan..<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Go home.<\/dialogue>\n    <character>JAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I do n't understand. What's wrong?<\/dialogue>\n    <scene_description>Kathy stands , quiet .<\/scene_description>\n    <character>JAN<\/character>\n    <parenthetical>( O.S. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Let me in. Please.<\/dialogue>\n    <scene_description>Kathy waits a moment , breathing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHY'S APARTMENT - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Kathy paces as Jan struggles for words .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>How can you go up there, when you know what happens to these girls?<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>It was a good - bye party. I was -<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>They're thirteen, fourteen, fifteen -<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>I know. If you let me finish, I got a call. Some friends needed a lift home because they got drunk. But hey lady, you better wake up! EVERYWHERE is a brothel. The coffee shop down the street. The post office. My corner store. That's how it is here. I'm not interested, and I try and stay in clean places. And if you do n't believe me, then fuck you.<\/dialogue>\n    <scene_description>He looks at her , hurt - He cares what she thinks . Kathy sees this . Something she has n't felt in so long . Needed .<\/scene_description>\n    <character>JAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Are you okay?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>No. I'm not okay. These girls. What are these guys thinking?<\/dialogue>\n    <scene_description>She looks at him , fighting the urge to trust him . Jan brushes a strand of hair from her face . She lets go . He pulls her in .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Can you tell me what you know?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHY'S APARTMENT - LATE NIGHT<\/stage_direction>\n    <scene_description>Jan and Kathy in front of her computer . They 're on an IPTF MESSAGE BOARD : Flashes of Various Posts : New Girl at the Berlin Bar ; New Twelve Year - Old Pussy at the Old Grill . They scroll down dozens of posts . Kathy looks at Jan , shaken by the banal malevolence of a boys club gone wild .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHY'S APARMENT - NIGHT<\/stage_direction>\n    <scene_description>Kathy watches Jan , asleep in her bed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL SARAJEVO - MORNING<\/stage_direction>\n    <scene_description>Fog hangs low over the waking valley of Sarajevo .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GDA - MORNING<\/stage_direction>\n    <scene_description>A DOCTOR signs off on a final examination of a now much healthier looking Raya . He smiles . She signs a form .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAURA'S OFFICE - GDA BOSNIA - DAY<\/stage_direction>\n    <scene_description>Laura hovers in the background as Raya dials the phone . Her face raw with emotion .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAYA'S APARTMENT - KYIV - SAME<\/stage_direction>\n    <scene_description>The phone in the hall rings . But no one is there to answer .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROMAN AND ZENIA'S APARTMENT - AFTERNOON<\/stage_direction>\n    <scene_description>Halyna at the door . Zenia pales . O.S. . A kettle whistles .<\/scene_description>\n    <character>ZENIA<\/character>\n    <parenthetical>( UKRAINIAN . )<\/parenthetical>\n    <dialogue>Roman will be home soon.<\/dialogue>\n    <character>HALYNA<\/character>\n    <parenthetical>( UKRAINIAN . )<\/parenthetical>\n    <dialogue>Make your tea. I'll be quick.<\/dialogue>\n    <scene_description>KITCHEN - MOMENTS LATER Zenia pours tea out of a chrome kettle . Her hands shake . Halyna stares at a new dishwasher . Then a microwave , blender and small LCD TV . Suspiciously out of context in Kyiv .<\/scene_description>\n    <character>HALYNA<\/character>\n    <parenthetical>( UKRAINIAN ; CONT 'D . )<\/parenthetical>\n    <dialogue>Roman seems to be doing well.<\/dialogue>\n    <character>ZENIA<\/character>\n    <parenthetical>( UKRAINIAN . )<\/parenthetical>\n    <dialogue>Milk?<\/dialogue>\n    <character>HALYNA<\/character>\n    <dialogue>I need to borrow money.<\/dialogue>\n    <scene_description>Zenia looks up , unsure .<\/scene_description>\n    <character>HALYNA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>They found Raya in Sarajevo. I want to go and get her. I do n't need much.<\/dialogue>\n    <scene_description>Zenia nods , keeping still as possible .<\/scene_description>\n    <character>HALYNA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Does he still hit you?<\/dialogue>\n    <scene_description>Zenia chokes on her tea . Conflicted between love and guilt . She wants so badly to say . but she ca n't .<\/scene_description>\n    <character>HALYNA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You know I hate to ask. But she's my daughter. and your niece. Please -<\/dialogue>\n    <character>ZENIA<\/character>\n    <dialogue>I'll get you the money. But you have to go. Roman will be home soon. He wo n't give it to me if he knows it's for you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RICK JONES' OFFICE - MORNING<\/stage_direction>\n    <scene_description>Kathy watches Rick flip through her report .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Fred Murray. There were other officers too. But the raid was not in the books. These girls were just sent back. They are clearly not waitresses. They are victims. I think IPTF were paid off to turn a blind eye.<\/dialogue>\n    <character>RICK JONES<\/character>\n    <dialogue>That's a serious allegation. And you do n't have any evidence. I ca n't open an investigation based on a hunch.<\/dialogue>\n    <scene_description>He drops the papers .<\/scene_description>\n    <character>RICK JONES<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You're gon na need more than this.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GDA BOSNIA - AFTERNOON<\/stage_direction>\n    <scene_description>Raya and Irka sit across from Laura Levin . She slides a document over to each of them .<\/scene_description>\n    <character>LAURA LEVIN<\/character>\n    <parenthetical>( RUSSIAN . )<\/parenthetical>\n    <dialogue>If you sign here, you confirm that you are voluntarily entering the repatriation program at the GDA.<\/dialogue>\n    <scene_description>Raya eyes Irka , confused . Laura softens slightly .<\/scene_description>\n    <character>LAURA LEVIN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>This means we can get you out of Bosnia. Is n't that what you want?<\/dialogue>\n    <scene_description>Raya 's eyes widen . Irka is shocked , but joyous . They never thought this moment would come .<\/scene_description>\n    <character>LAURA LEVIN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You'll stay here for two weeks, to continue medical treatment as well as psychological counselling. We'll give you a ticket home and a stipend of $ 200 to get started when you return.<\/dialogue>\n    <scene_description>Suddenly Irka 's face drops .<\/scene_description>\n    <character>IRKA<\/character>\n    <parenthetical>( RUSSIAN . )<\/parenthetical>\n    <dialogue>But. What do I do then? My parents were killed in Kosovo. It was my brother who sold me here. Ca n't I go somewhere else?<\/dialogue>\n    <scene_description>Laura fumbles .<\/scene_description>\n    <character>LAURA LEVIN<\/character>\n    <dialogue>We can only send you home, but what you choose to do after that is up to you.<\/dialogue>\n    <scene_description>But now , angry tears well in Raya 's eyes . She looks up , torn .<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>( RUSSIAN . )<\/parenthetical>\n    <dialogue>What about the others, the girls in the bar. My friend Luba, we ran, she could n't. I do n't know where she is. I ca n't go without her. Please.<\/dialogue>\n    <scene_description>Laura pauses , taken aback .<\/scene_description>\n    <character>LAURA LEVIN<\/character>\n    <dialogue>I'm sorry, but my role here is to get you home. Otherwise you stay in Bosnia, where you. could face charges for illegal prostitution.<\/dialogue>\n    <scene_description>Raya stares , reeling . To be made to feel like a criminal ?<\/scene_description>\n    <character>IRKA<\/character>\n    <dialogue>I will sign.<\/dialogue>\n    <scene_description>Raya looks at her , but Irka does n't look back .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHY'S OFFICE - UNMHQ - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Kathy stares out across the central courtyard . Into the adjoining building . Through the glass , she watches . Fred Murray leading NEW RECRUITS through the halls . He jokes around , as the OFFICERS eye him with respect . The PHONE RINGS . Kathy turns .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GDA - AFTERNOON<\/stage_direction>\n    <scene_description>Kathy stands in disbelief . Laura is stern .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Raya and Irka could be key witnesses in a UN investigation. I thought we were all on the same team.<\/dialogue>\n    <character>LAURA LEVIN<\/character>\n    <dialogue>Irka can stay. But I ca n't keep Raya here. She is refusing to cooperate in the repatriation program.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Please, just let her stay two weeks. Then we can take it from there.<\/dialogue>\n    <character>LAURA LEVIN<\/character>\n    <dialogue>We only house fourteen girls. It's a valuable spot.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Two weeks. If she's going to testify, she's not safe anywhere else.<\/dialogue>\n    <scene_description>Laura shrugs , resigned .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INTERVIEW ROOM - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Kathy sits across from Raya . A TRANSLATOR to the side , translates as Raya speaks .<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>( UKRAINIAN . )<\/parenthetical>\n    <dialogue>We were supposed to work in a hotel.<\/dialogue>\n    <parenthetical>( shaking her head . )<\/parenthetical>\n    <dialogue>Now. I can be charged with prostitution?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>There is another option. I want to help you find your friends. But you need to help me do that.<\/dialogue>\n    <scene_description>Kathy takes out the photo of Fred Murray and lays it on the table . Raya eyes it , defiant , no reason to trust her .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>None of this is your fault. I want to go after the people who hurt you. But I need to know exactly what happens. As a witness in UN custody, you will be protected and will not be charged for any crimes.<\/dialogue>\n    <scene_description>Raya stares , still not convinced .<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>I.<\/dialogue>\n    <scene_description>The translator starts . Raya stops her . Frustrated . Turning to Kathy .<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>( BROKEN ENGLISH ; CONT 'D . )<\/parenthetical>\n    <dialogue>UN will protect me? They do n't protect me when they drink in bar and fuck me and my friends.<\/dialogue>\n    <scene_description>Kathy is humbled . She looks at Raya , open , raw .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>I have a daughter, just your age. I would n't stop until I found her.<\/dialogue>\n    <scene_description>The two women stare at each other . A silent connection . Raya looks down , almost . ashamed . Struggling to get this out .<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>I only left because. there was nothing, no jobs, no. chances. I was good in school. But with no money. My mother. She is on her own. She works so hard. But nothing changes. I thought I could help her. He said we would work in a hotel. With good wages.<\/dialogue>\n    <scene_description>Tears gathering in her eyes . It 's terrifying to remember .<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>But. When we got there. Other girls were there. Like us. From Ukraine, Moldova, Romania, everywhere. We were in the middle of nowhere. Nobody could hear us. They. rape us. One girl go crazy, screaming. He shoots her. He shoots her right in the head. Then we was. sold. Like animal.<\/dialogue>\n    <scene_description>Raya is stopped by a rush of tears . Kathy reaches for her hand . Looking at this girl , so young . Raya looks Kathy squarely in the face . She slides the photo of Murray toward her .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Do you know this man?<\/dialogue>\n    <scene_description>Raya nods .<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>He is not the only one. They come every month. Tanjo give them money, so they do n't raid the bar. That day you come. Tanjo did not want to pay. They want to punish him. Take his money. His girls. I ran.<\/dialogue>\n    <scene_description>Raya sobs , knowing she has betrayed the system . Betting her life on the hope that this system wo n't betray her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOMEN'S MEDICA SHELTER - NIGHT<\/stage_direction>\n    <scene_description>Milena leads Kathy through the halls .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>I need to get evidence. How many girls do you have here?<\/dialogue>\n    <character>MILENA<\/character>\n    <dialogue>At least thirty five.<\/dialogue>\n    <scene_description>Kathy sits with GIRL after GIRL . Listening to their stories . Writing furiously . Kathy interviews EVA , 16 . She talks through grateful tears .<\/scene_description>\n    <character>EVA<\/character>\n    <parenthetical>( BROKEN ENGLISH . )<\/parenthetical>\n    <dialogue>Many of them come in. Uniforms like you. Different flags on the shoulders. I will testify. I do n't care anymore. One brings cigarette. His name is Peter.<\/dialogue>\n    <scene_description>Kathy with a different girl , FADILA , 17 .<\/scene_description>\n    <character>FADILA<\/character>\n    <parenthetical>( MACEDONIAN . )<\/parenthetical>\n    <dialogue>Sometimes if it's a party, a birthday, they pay for a group of girls, all together. Do whatever they want. Brian, the Irish guy, said Bosnia was better than Thailand for girls.<\/dialogue>\n    <scene_description>Another girl , JASMILA , 18 - stunning , with haunted eyes .<\/scene_description>\n    <character>JASMILA<\/character>\n    <parenthetical>( BROKEN ENGLISH . )<\/parenthetical>\n    <dialogue>The soldier from Italia say I was his girlfriend. I ask him to help me. But the bar owner pay him off. He has a tattoo of Tiger on his arm.<\/dialogue>\n    <scene_description>Yet another , NADIA , 14 , nodding .<\/scene_description>\n    <character>NADIA<\/character>\n    <parenthetical>( BROKEN ENGLISH . )<\/parenthetical>\n    <dialogue>Paolo come every week. He had a thin moustache, the other. here I have a picture.<\/dialogue>\n    <scene_description>Kathy was n't expecting that . Nadia throws down a photo .<\/scene_description>\n    <character>NADIA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>He loved the Firecracker.<\/dialogue>\n    <scene_description>Nadia lifts up her sweatshirt , revealing a long scar . Kathy inspects the photo : Nadia with a SOUTH AMERICAN and U.S. IPTF : Their arms around her . One licks her face .<\/scene_description>\n    <character>NADIA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>They burn me. Then they laugh.<\/dialogue>\n    <scene_description>Kathy eyes Nadia . Silently in awe of her strength .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Do you have any more pictures?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHY'S OFFICE - UNMHQ - DAY<\/stage_direction>\n    <scene_description>Kathy pins Nadia 's photo on a large bulletin board . Steps back . The wall is covered in photos of girls . Kathy reaches for the phone . Dials .<\/scene_description>\n    <character>ERIN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Erin. What are you doing?<\/dialogue>\n    <character>ERIN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>It's three in the morning, ma. I'm sleeping.<\/dialogue>\n    <scene_description>Kathy sits back , relieved .<\/scene_description>\n    <character>ERIN<\/character>\n    <parenthetical>( O.S. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Mom, are you okay?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Yeah. I just was thinking about you.<\/dialogue>\n    <character>ERIN<\/character>\n    <dialogue>Okay, can I go back to bed now?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Yeah. Of course, I just. It's great to hear your voice.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RICK JONES' OFFICE - UNMHQ - DAY<\/stage_direction>\n    <scene_description>Kathy stands before Rick 's desk . He smiles at her , convivial .<\/scene_description>\n    <character>RICK JONES<\/character>\n    <dialogue>How're things?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Busy. I followed up on the Florida Bar. It's worse than I thought. There was a protection racket. IPTF. Americans, Romanians, were taking pay - offs to make sure the place was n't busted. That raid was a punishment bust, because the owner stopped paying. But he must've settled it because the girls are right back where they started. Locked up in the hills.<\/dialogue>\n    <scene_description>Rick scrambles for words , but Kathy 's not finished .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I talked to thirty five girls at the Shelter. All this testimony ca n't be ignored. Our guys are patronizing the bars in large numbers. Rick, serious abuses are taking place. It's all in my reports.<\/dialogue>\n    <scene_description>Kathy lays her stack of files on the desk .<\/scene_description>\n    <character>RICK JONES<\/character>\n    <dialogue>Okay, let's back up a second here -<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I've got two girls ready to testify about IPTF taking pay - offs -<\/dialogue>\n    <character>RICK JONES<\/character>\n    <dialogue>Testify where?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>In court.<\/dialogue>\n    <character>RICK JONES<\/character>\n    <dialogue>A Bosnian court? Not gon na happen. All International Personnel have immunity.<\/dialogue>\n    <scene_description>Kathy is stopped .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>I know. But there must be some channel, some exception -<\/dialogue>\n    <character>RICK JONES<\/character>\n    <dialogue>Look, you've done really good work here. These are serious allegations. Let me look into how to handle it. I'll get back to you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OLD TOWN - SARAJEVO - EVENING<\/stage_direction>\n    <scene_description>The markets shut down . The Catholic Church Bells ring . Across the square the Call to Prayer echoes from old loudspeakers ` .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - KATHY'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Jan stirs a pan . Kathy awkwardly cuts vegetables beside him .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>It's different for us. We're all military or police. Every contingent except for the U.S. if someone does something wrong, they have to answer to a military tribunal at home. With the Americans. your Dyncorp guys? I do n't think you have that.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>So the Americans are n't legally accountable for anything?<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>To be honest, I think our superiors would keep it quiet too. I mean, I have n't seen a military tribunal.<\/dialogue>\n    <scene_description>Jan ca n't help noticing that Kathy is making a mess of the vegetables . He takes the knife . She walks away , preoccupied .<\/scene_description>\n    <character>JAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You know my mission stay is up in a few weeks. You could come home with me.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>To do what?<\/dialogue>\n    <scene_description>She turns , glass of wine in hand , leaning on the counter .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>I was just. This place, y' know, it gets to you. I'm, I'm worried what will happen to you a year from now.<\/dialogue>\n    <scene_description>She puts down her glass of wine , irritated .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>You do n't need to worry about me.<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>Someone does.<\/dialogue>\n    <scene_description>She looks at him , seeing . It 's not discouragement . It 's love .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>So Fred Murray could just walk up to a man and shoot him in daylight and he'd never see the inside of a courtroom?<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>In Bosnia, yes. but. I mean, something that public could get him sent home. And tried in his own country.<\/dialogue>\n    <scene_description>Kathy gets an idea .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OLYMPIC STADIUM - SARAJEVO - DAY<\/stage_direction>\n    <scene_description>A crumbling edifice , once home to the world 's finest , now a reminder of humanity 's worst . INSIDE . Kathy walks with Madeleine , who unleashes Helen the hound .<\/scene_description>\n    <character>MADELEINE<\/character>\n    <dialogue>Helen loves it here. I think she has Olympic ambitions.<\/dialogue>\n    <scene_description>Kathy hands Madeleine the files . She flips through .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>I wanted these girls to testify in a trial against the IPTF officers. But -<\/dialogue>\n    <character>MADELEINE<\/character>\n    <dialogue>The immunity problem.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Okay, but if the girls testify in a Bosnian court against their trafficker. Tanjo. they'd have to mention what else goes on in the brothels.<\/dialogue>\n    <scene_description>Madeleine nods . The dog comes bounding back .<\/scene_description>\n    <character>MADELEINE<\/character>\n    <dialogue>It could work. If you make certain that in their testimony they mention every sordid detail of IPTF involvement -<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>That is their testimony. Then it would be on record. Somebody would have to pay attention. Like. the State Department?<\/dialogue>\n    <scene_description>Madeleine grins , proud .<\/scene_description>\n    <character>MADELEINE<\/character>\n    <dialogue>They're gon na answer for this.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT - UNMHQ - DAY<\/stage_direction>\n    <scene_description>Kathy weaves around the corner of a dimly lit , shabby hallway . She arrives at a doorway : VEHICLE DISPATCH .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VEHICLE DISPATCH - UNMHQ - MOMENTS LATER<\/stage_direction>\n    <scene_description>Kathy talks to LEWIS , 20s , American .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>and the two girls have to go to the hospital to get immunized, or they ca n't stay in the country. I need an armored security vehicle.<\/dialogue>\n    <scene_description>Lewis looks at her , almost laughing .<\/scene_description>\n    <character>LEWIS<\/character>\n    <dialogue>You're lucky you have a car at all. We're stretched to the limit. Besides, is n't this a local police matter? Try them.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOCAL POLICE STATION - DAY<\/stage_direction>\n    <scene_description>Kathy parks her SUV .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCAL POLICE STATION - DAY<\/stage_direction>\n    <scene_description>Kathy walks into the station , drawing the attention of the LOCAL COPS . Danik rolls his eyes .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>I'm looking for -<\/dialogue>\n    <scene_description>Danik turns away .<\/scene_description>\n    <character>DANIK<\/character>\n    <parenthetical>( BOSNIAK . )<\/parenthetical>\n    <dialogue>Viko. your American girlfriend is here!<\/dialogue>\n    <scene_description>Kathy eyes Danik . Viko comes out , smiling broadly at Kathy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOCAL POLICE STATION - MOMENTS LATER<\/stage_direction>\n    <scene_description>Kathy and Viko walk out , energized with a sense of purpose .<\/scene_description>\n    <character>VIKO<\/character>\n    <dialogue>It's no problem. The Van is just sitting here. Let's go.<\/dialogue>\n    <scene_description>They arrive at a POLICE VAN . Kathy eyes it .<\/scene_description>\n    <character>VIKO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It's not exactly armored, but it will do the trick. You follow me, yes?<\/dialogue>\n    <scene_description>He jumps in , and starts it up . Kathy follows in her UN SUV . Across the street , a LOCAL MAN watches from INSIDE A CAR .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GDA BOSNIA - EVENING<\/stage_direction>\n    <scene_description>Kathy SWERVES up . Viko has the Van parked right up against the door . Kathy jumps out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOYER - GDA BOSNIA - MOMENTS LATER<\/stage_direction>\n    <scene_description>Laura leads a very scared Raya out . Kathy smiles , gentle .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( at Laura . )<\/parenthetical>\n    <dialogue>Where's Irka?<\/dialogue>\n    <scene_description>Laura takes a deep breath , eyeing Raya .<\/scene_description>\n    <character>LAURA LEVIN<\/character>\n    <dialogue>I need to have a word with you.<\/dialogue>\n    <scene_description>Kathy looks at her watch - at Raya . Viko taps her shoulder .<\/scene_description>\n    <character>VIKO<\/character>\n    <dialogue>I'll take her. Meet us when you're done.<\/dialogue>\n    <scene_description>As Viko and Raya leave , Kathy stops her .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>I'll be right behind you. Are you okay?<\/dialogue>\n    <scene_description>Raya nods , trusting in Kathy . Who turns , angry , back to .<\/scene_description>\n    <character>LAURA LEVIN<\/character>\n    <dialogue>I was going to call you. There was a problem. During our repatriation procedures, we realized Irka had no passport.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>So we get her one. Where is she?<\/dialogue>\n    <character>LAURA LEVIN<\/character>\n    <dialogue>You do n't get it. She was trafficked from Belgrade. Her parents were killed in Kosovo. And she has no documentation. No embassy will recognize her. She is a girl without a country.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>She is a witness for a UN investigation!<\/dialogue>\n    <scene_description>GDA EMPLOYEES peer . An INTERN betrays a twinge of complicity .<\/scene_description>\n    <character>LAURA LEVIN<\/character>\n    <dialogue>We handed her over to the police a few hours ago. I could n't keep her. I've already done every favour I could for you. This is not on me.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>You had no right to do that!<\/dialogue>\n    <character>LAURA LEVIN<\/character>\n    <dialogue>I had every right. We have a system that works here. You're the one disrupting it.<\/dialogue>\n    <scene_description>Kathy stares at her . Fuming .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Where did they take her?<\/dialogue>\n    <scene_description>Laura shrugs . Shaking off guilt has become a necessary habit . Just then the door opens . And . HALYNA Walks in . Disoriented , emotion rising .<\/scene_description>\n    <character>HALYNA<\/character>\n    <parenthetical>( BROKEN ENGLISH . )<\/parenthetical>\n    <dialogue>I. look for Laura Levin?<\/dialogue>\n    <character>LAURA LEVIN<\/character>\n    <parenthetical>( RUSSIAN . )<\/parenthetical>\n    <dialogue>That's me.<\/dialogue>\n    <scene_description>Kathy holds her anger , smiling respectfully at Halyna . Laura leads her away . Kathy searches for an answer , her eyes landing on . The Intern . Unrelenting .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>If you know anything, this is on you.<\/dialogue>\n    <character>INTERN<\/character>\n    <dialogue>I think the cops leave them somewhere near the border, so that with no papers, the girls have to cross the border illegally. Take the 103 to Visegrad.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. UN SUV - NIGHT<\/stage_direction>\n    <scene_description>Kathy . Speeding down the 103 . A two - lane winding road . Seeing . Nothing but the 20 feet her headlights show .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/ EXT. POLICE VAN\/SARAJEVO - SAME<\/stage_direction>\n    <scene_description>Viko steers the Van around a corner . Raya sits in the back .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAURA LEVIN'S OFFICE - GDA BOSNIA - SAME<\/stage_direction>\n    <scene_description>Laura hands an excited Halyna a cup of tea .<\/scene_description>\n    <character>LAURA<\/character>\n    <parenthetical>( RUSSIAN . )<\/parenthetical>\n    <dialogue>She'll be back in about an hour.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. UN SUV - SAME<\/stage_direction>\n    <scene_description>Kathy 's eyes GLUED on the road , trying to make out a SIGN . LANDMINES . Then another sign . VISEGRAD PRAVO . Sharp Turn . Onto a GRAVEL ROAD . She brakes . SKIDDING .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE VAN \/ EXT. SARAJEVO - SAME<\/stage_direction>\n    <scene_description>Viko stops at a traffic light . Raya peers out a crack in the van . Seeing . Young WOMEN in the streets . Laughing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. UN SUV - SAME<\/stage_direction>\n    <scene_description>Kathy slows her car . FLICKERING LIGHTS . She approaches . A BORDER STATION : A GRAVEL ROAD leads up to it . Kathy slows . BORDER GUARDS smoke and play cards . One guard saunters over .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>I'm looking for a girl. She was dropped here a few hours ago.<\/dialogue>\n    <scene_description>He shrugs , shaking his head .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Can you check the border logs? She's about 15, the police brought her here but she did n't have a passport. Maybe -<\/dialogue>\n    <character>GUARD<\/character>\n    <dialogue>Lady. I know what you're looking for. Those girls do not go through the border. They go through there.<\/dialogue>\n    <scene_description>He points . A THICK Forest . Stretching for MILES .<\/scene_description>\n    <character>GUARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>To Serbia.<\/dialogue>\n    <scene_description>Kathy stares at the endless forest . A dirt road cuts through the middle . She jumps in her SUV , and HURTLES down the road .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. POLICE VAN\/SARAJEVO - SAME<\/stage_direction>\n    <scene_description>Viko turns down a narrow street . He glances in his rear view mirror . An old TRABBANT follows him . He veers down an alley .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST - NIGHT<\/stage_direction>\n    <scene_description>Kathy 's SUV crawls alongside the FOREST . HIGHBEAMS off the top of the car . SCANNING all around . Then , in a clearing up ahead . A SILHOUETTE . Kathy ACCELERATES .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. POLICE VAN ALLEY\/SARAJEVO - SAME<\/stage_direction>\n    <scene_description>Viko eyes the mirror . All clear . Turning onto a DESERTED STREET .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST - NIGHT<\/stage_direction>\n    <scene_description>Kathy HURTLES closer to the silhouette . She turns . It 's Irka . Kathy cranks the wheel , driving off the road and onto . A WIDE FIELD The SUV is jolted by the uneven terrain . Irka peers into the blinding light . Then runs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. POLICE VAN\/SARAJEVO - SAME<\/stage_direction>\n    <scene_description>Viko drives up the deserted street . SUDDENLY two BATTERED MERCEDES fly out from SIDE ROADS and block the way . Viko BRAKES hard . Raya is thrown to the side of the Van .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST - NIGHT<\/stage_direction>\n    <scene_description>Kathy stops the car , jumps out , and runs after Irka .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Irka!<\/dialogue>\n    <scene_description>Irka 's legs start to give . Kathy gains on her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. POLICE VAN\/SARAJEVO - SAME<\/stage_direction>\n    <scene_description>Viko REVERSES and TURNS - but a Mercedes ROARS - ` round the other side - BASHING the side of the Van .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST - NIGHT<\/stage_direction>\n    <scene_description>Kathy feels Irka slowing down .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. POLICE VAN\/SARAJEVO - SAME<\/stage_direction>\n    <scene_description>Two MEN jump out of the cars . With RIFLES . Viko SPEEDS forward . But . GUNFIRE . Raya SCREAMS . A TIRE BLOWN OUT . The Van SKIDS to a HALT . Viko SMASHES against the window . Raya tries the doors , but they wo n't open . She wails , SLAMMING herself against the door . Desperate .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST - NIGHT<\/stage_direction>\n    <scene_description>Kathy raises her arms , waving . Irka turns . Kathy can see her clearly now , disoriented beyond bearing . Irka shields her face from the distant headlights . Kathy steps out of their glare . And then . Irka recognizes her . She collapses , releasing confused tears . Kathy walks over , careful , slowly bending to help .<\/scene_description>\n    <character>IRKA<\/character>\n    <dialogue>Please. let me die.<\/dialogue>\n    <scene_description>Kathy holds her . As the young girl cries .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. POLICE VAN\/SARAJEVO - SAME<\/stage_direction>\n    <scene_description>The Men approach the Van . Raya 's BANGING ECHOES from inside , reverberating around the empty street . Nobody can hear her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOSNIAN COUNTRYSIDE - NIGHT<\/stage_direction>\n    <scene_description>Isolated stars peek through clouds , drifting over dark hills stretching far into the horizon .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHY'S OFFICE - UNMHQ - NIGHT<\/stage_direction>\n    <scene_description>Kathy and Viko sit silent . Barry hangs up the phone .<\/scene_description>\n    <character>BARRY<\/character>\n    <dialogue>Okay. We've got a safe house in the mountains. Nobody knows she's here, so we're clear to take her there now.<\/dialogue>\n    <scene_description>Kathy looks across the room to Irka , who sits hunched , looking out the window . Totally alone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FARM HOUSE - MOUNTAINS - NIGHT<\/stage_direction>\n    <scene_description>A MIDDLE AGED COUPLE lead Irka inside a small home . In the MIDDLE OF NOWHERE . Shrouded in the black night . Nobody will find her here . In the doorway , Irka turns to Kathy and Viko .<\/scene_description>\n    <character>IRKA<\/character>\n    <parenthetical>( BROKEN ENGLISH . )<\/parenthetical>\n    <dialogue>Where is Raya?<\/dialogue>\n    <scene_description>They stare back at her . The woman closes the door . Kathy and Viko stand in the dead silence . His face bruised .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Let's go back to the Florida Bar -<\/dialogue>\n    <character>VIKO<\/character>\n    <dialogue>You think he'd be that stupid?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I do n't care! I have nothing else to go on, do I?<\/dialogue>\n    <scene_description>Adrenalin overtaking sadness . Viko follows Kathy to the car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FLORIDA BAR - NIGHT<\/stage_direction>\n    <scene_description>Kathy and Viko pull up . It 's in full swing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLORIDA BAR - NIGHT<\/stage_direction>\n    <scene_description>They step inside , and IN ONE GLANCE , see . THE WHOLE SET OF GIRLS is different . No Luba , No Raya , No Tanjo . The IPTF barely notice her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FLORIDA BAR - NIGHT<\/stage_direction>\n    <scene_description>Kathy steps out . Furious .<\/scene_description>\n    <character>VIKO<\/character>\n    <dialogue>They moved them already.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Fuck!<\/dialogue>\n    <scene_description>At the end of her rope .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GDA - NIGHT<\/stage_direction>\n    <scene_description>Laura , at a total loss , eyes . Halyna . Sitting . Terrified .<\/scene_description>\n    <character>HALYNA<\/character>\n    <parenthetical>( RUSSIAN . )<\/parenthetical>\n    <dialogue>How could? No, no, no. my, Raya. What!? What will they do to her?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUNTAIN ROAD - NIGHT<\/stage_direction>\n    <scene_description>A BROWN VAN snakes through the distant mountain roads .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROWN VAN - SAME<\/stage_direction>\n    <scene_description>IVAN , 40s , drives . Tanjo is in the passenger seat .<\/scene_description>\n    <character>TANJO<\/character>\n    <parenthetical>( SERBIAN . )<\/parenthetical>\n    <dialogue>We'll stop soon. We're far enough now.<\/dialogue>\n    <scene_description>Ivan nods . Tanjo cranes into the back of the van . He turns on an overhead light , revealing . Five girls . Huddled in the back .<\/scene_description>\n    <character>TANJO<\/character>\n    <parenthetical>( RUSSIAN ; CONT 'D . )<\/parenthetical>\n    <dialogue>So you want to testify?<\/dialogue>\n    <scene_description>All the girls turn to . Raya . Their conscience paralyzed by the need to survive . Terrified , Raya looks to . Luba . Her eyes pleading for support . But Luba turns away .<\/scene_description>\n    <character>TANJO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It's okay. We all move to a new bar now. Somewhere no one will come look for you. Then we have a conversation.<\/dialogue>\n    <scene_description>The girls avoid Raya 's gaze . She sobs . Tanjo turns off the light . The van drives off into the unknown .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - BACK ENTRANCE - UNMHQ - MORNING<\/stage_direction>\n    <scene_description>Kathy stands by her SUV , watching MONITORS set off for the day . Then she sees . Fred Murray emerge with COLLEAGUES , laughing . He stops when He sees Kathy , gazing over , serious .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - UNMHQ- DAY<\/stage_direction>\n    <scene_description>Kathy and Fred walk between the parked cars .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>She's fifteen. I'm begging you -<\/dialogue>\n    <character>FRED MURRAY<\/character>\n    <dialogue>I do n't know what you're talking about.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>If you know any of the other bars he owns, anything. I'm appealing to -<\/dialogue>\n    <character>FRED MURRAY<\/character>\n    <dialogue>Hey. I'm gon na say this one more time. And you can put this down in your investigation on me. I do n't know what you're talking about.<\/dialogue>\n    <scene_description>He leaves . Kathy stands , a black speck in the patchwork of white UN SUVs spread across the lot .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RICK JONES OFFICE - UNMHQ - DAY<\/stage_direction>\n    <scene_description>Rick 's SECRETARY shakes her head at Kathy .<\/scene_description>\n    <character>SECRETARY<\/character>\n    <dialogue>I've called and paged. He says he ca n't get into this now.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Does he know that one of my witnesses was abducted? Where is he?<\/dialogue>\n    <character>SECRETARY<\/character>\n    <dialogue>Sorry Kathy, he really did n't tell me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MADELEINE REES' OFFICE - MORNING<\/stage_direction>\n    <character>MADELEINE<\/character>\n    <dialogue>It's not your fault.<\/dialogue>\n    <scene_description>Kathy is downcast . She nods , not totally convinced .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Irka wo n't testify now. It's completely understandable. She's way too scared. I just. I do n't know what to do with her. The GDA wo n't take her and her traffickers will find her if she's in this city.<\/dialogue>\n    <scene_description>Emotion taking over .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>These girls are dragged into this country like cattle and then the system that's supposed to help them spits them right back out. It barely recognizes sex trafficking as a problem even though it's a fucking epidemic, and everyone knows it. Are we supposed to wait around for that to change?<\/dialogue>\n    <character>MADELEINE<\/character>\n    <dialogue>Maybe it's time for a little diplomacy. Do you have a nice frock?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHY'S APARMENT - NIGHT<\/stage_direction>\n    <scene_description>Kathy stands in front of a mirror , in a black dress , her hair hanging down to her shoulders . She stands , awkward .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Really? You think it's okay?<\/dialogue>\n    <scene_description>She turns to Jan and Carmen , sitting on her bed . Jan smiles .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>You're beautiful.<\/dialogue>\n    <scene_description>But Carmen is tilting her head , doubtful .<\/scene_description>\n    <character>CARMEN<\/character>\n    <dialogue>You can stop standing like a farmer's wife for starters. These people are dignitaries. You got ta up your game.<\/dialogue>\n    <scene_description>She approaches her , and sweeps her hair up into an elegant chignon . She takes off her own earrings and puts them on Kathy . Jan nods , impressed . Kathy eyes herself , pleased .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. CAR\/SARAJEVO HILLS - EVENING<\/stage_direction>\n    <scene_description>A WHITE VOLKSWAGON RABBIT speeds though the Sarajevo hills . Madeleine is elegant in a suit . Kathy looks at her black dress , self - conscious .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Is there a specific way of addressing the High Commissioner of the Mission?<\/dialogue>\n    <character>MADELEINE<\/character>\n    <dialogue>I call him Bill.<\/dialogue>\n    <scene_description>Kathy nods , nervous . They pull into a circular drive .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. U.S. AMBASSADOR'S RESIDENCE - SHORT TIME LATER<\/stage_direction>\n    <scene_description>The house is incongruous in its context : Manicured gardens , remodelled facade . And tonight its BLACK TIE and CATERING . An elegant WOMAN comes to greet them . She is .<\/scene_description>\n    <character>MADELEINE<\/character>\n    <parenthetical>( familiar . )<\/parenthetical>\n    <dialogue>Mrs. Ambassador! How do we do?<\/dialogue>\n    <character>JANET WELLS<\/character>\n    <dialogue>We do what we can. Great to see you Madeleine.<\/dialogue>\n    <scene_description>Janet smiles with the delicatesse of a diplomatic spouse .<\/scene_description>\n    <character>MADELEINE<\/character>\n    <dialogue>I hope you do n't mind, I've brought along a friend. This is Kathy Bolkovac.<\/dialogue>\n    <scene_description>Kathy holds out her hand , a little nervous .<\/scene_description>\n    <character>JANET WELLS<\/character>\n    <dialogue>Great. I need as many gal pals as I can get. Look at this place.<\/dialogue>\n    <scene_description>She gestures toward the room . A haze of cigar smoke hovers over the gaggle of men . Kathy 's eyes zero in on Bill Hynes Surrounded by a group of JAPANESE DIPLOMATS . Bill notices her and Madeleine . He waves , familiar . Madeleine nods , humoring . AMBASSADOR JOHN WELLS , 40s , slides his hand on Janet 's back .<\/scene_description>\n    <character>AMBASSADOR WELLS<\/character>\n    <dialogue>What are your thoughts on dinner?<\/dialogue>\n    <character>JANET WELLS<\/character>\n    <dialogue>I think people are still busy drinking.<\/dialogue>\n    <scene_description>John shakes Madeleine 's hand , darting his eyes over Kathy .<\/scene_description>\n    <character>AMBASSADOR WELLS<\/character>\n    <dialogue>Speaking of, what can I get you ladies?<\/dialogue>\n    <scene_description>Madeleine looks at Kathy .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Thank you, Mr. Ambassador. Ah, I'll have a wine please.<\/dialogue>\n    <character>AMBASSADOR WELLS<\/character>\n    <parenthetical>( nodding . )<\/parenthetical>\n    <dialogue>Coming right up. Madeleine, white for you?<\/dialogue>\n    <scene_description>Kathy notices the respect he shows her . Janet leads them in , chatting with Madeleine . Kathy surveys the room full of dignitaries .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK PATIO - U.S. AMBASSADOR'S RESIDENCE - NIGHT<\/stage_direction>\n    <scene_description>A stunning view of Sarajevo at night . Kathy stands alone . A waiter offers her a convoluted hors d'oeuvre . She takes it , gracious . Trying to figure out what it is when .<\/scene_description>\n    <character>MAN'S VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Nice view, no?<\/dialogue>\n    <scene_description>Kathy turns to . PETER WARD , 40s , smoking a cigarette .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Oh I. I just needed some air.<\/dialogue>\n    <character>PETER WARD<\/character>\n    <dialogue>Trust me, I know the feeling. I hate these stuffy events. You never know anyone's agenda.<\/dialogue>\n    <scene_description>He eyes her . She looks past him . At Bill Hynes . Peter sees .<\/scene_description>\n    <character>PETER WARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oh. well that's a plan.<\/dialogue>\n    <character>MADELEINE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Actually, I had a different one in mind.<\/dialogue>\n    <scene_description>Madeleine and Janet come through the door . Peter stubs out his cigarette , and moves back inside .<\/scene_description>\n    <character>MADELEINE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( arm around Janet . )<\/parenthetical>\n    <dialogue>Behind every good man.<\/dialogue>\n    <scene_description>PATIO - SHORT TIME LATER Janet 's eyes betray empathy . She shakes her head , upset .<\/scene_description>\n    <character>JANET WELLS<\/character>\n    <dialogue>They just left her there? At the border? Poor girl. Just the psychological trauma. How can I help?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>She's very vulnerable to re - trafficking. Internationals got her in this situation. We owe her the chance to get out.<\/dialogue>\n    <scene_description>Janet is keen to follow , but a little lost .<\/scene_description>\n    <character>MADELEINE<\/character>\n    <dialogue>We want to repatriate Irka to the United States and find her a foster family. I was hoping you could use your influence -<\/dialogue>\n    <scene_description>Janet holds up her hand , nodding emphatically .<\/scene_description>\n    <character>JANET WELLS<\/character>\n    <dialogue>We're going to find her a home.<\/dialogue>\n    <scene_description>Kathy eyes Madeleine . Impressed .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>I also think the American embassy should be aware of some of the problems we're having with our officers.<\/dialogue>\n    <scene_description>Madeleine interjects .<\/scene_description>\n    <character>MADELEINE<\/character>\n    <dialogue>Your help with Irka's case can really raise awareness in the Mission around the issue of trafficking.<\/dialogue>\n    <scene_description>Madeleine gives her a reassuring glance . Kathy sees the difference between a cop and a diplomat .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHY'S OFFICE - UNMHQ - NIGHT<\/stage_direction>\n    <scene_description>Kathy stands . Still in her dress , going through files . Proud of the night 's accomplishments , but her eyes linger on the board of girls . On the picture of Raya 's APB .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOSNIAN COUNTRYSIDE - EARLY MORNING<\/stage_direction>\n    <scene_description>Sun over the hills . A DOG follows a YOUNG BOY , 5 , through a field . The boy stops , seeing a BROWN VAN down the road . He runs , waving as the van approaches . It slows to meet him . In the van . Ivan rolls down the window .<\/scene_description>\n    <character>BOY<\/character>\n    <parenthetical>( SERBIAN . )<\/parenthetical>\n    <dialogue>Can I come with you?<\/dialogue>\n    <character>IVAN<\/character>\n    <parenthetical>( SERBIAN . )<\/parenthetical>\n    <dialogue>Not today.<\/dialogue>\n    <scene_description>The boy looks down , disappointed .<\/scene_description>\n    <character>IVAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Tell your mother I'll be home for dinner. Then you and I will go for a walk. I have a present for you.<\/dialogue>\n    <character>BOY<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <scene_description>Ivan shrugs jokingly . Then smiles as he drives away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOMBED OUT BUILDING - BOSNIAN COUNTRY HOUSE - MORNING<\/stage_direction>\n    <scene_description>The brown van pulls up . Ivan comes around it , and opens the back door . He reaches in and pulls out . AN OLD BICYCLE .<\/scene_description>\n    <character>TANJO<\/character>\n    <parenthetical>( SERBIAN . )<\/parenthetical>\n    <dialogue>You could n't buy him a new one? You have money now.<\/dialogue>\n    <character>IVAN<\/character>\n    <parenthetical>( SERBIAN . )<\/parenthetical>\n    <dialogue>I'll fix this one up this afternoon. I had one like it.<\/dialogue>\n    <scene_description>Tanjo lights a cigarette , moving to the destroyed building .<\/scene_description>\n    <character>TANJO<\/character>\n    <dialogue>They're downstairs. I want to get them out today.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRWELL - BOMBED OUT BUILDING - MOMENTS LATER<\/stage_direction>\n    <scene_description>Ivan follows Tanjo down rickety steps . CRIES AND WHIMPERS GROW LOUDER as they descend into a BASEMENT TWO MEN stand guard . Tanjo walks past them . Opens a door . Ushering Ivan INSIDE where . GIRLS are huddled together . Luba , and THREE OTHERS . They look up . PETRIFIED . Offscreen , the cries swell . We realize the sound IS NOT COMING FROM THIS ROOM . Tanjo waves his fingers , methodically .<\/scene_description>\n    <character>TANJO<\/character>\n    <parenthetical>( RUSSIAN . )<\/parenthetical>\n    <dialogue>C'mon, let's go.<\/dialogue>\n    <scene_description>The girls stand , helping one another . Tentative but submissive , they move toward him . He holds open the door .<\/scene_description>\n    <character>TANJO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I want to show you what happens when YOU DECIDE TO TALK TO COPS!<\/dialogue>\n    <scene_description>They jump back . His scream echoes . They move THROUGH THE HALL To a door on the other side . Tanjo nods . A guard opens the door onto A HORRIFIC SITE . Luba closes her eyes . But Tanjo pushes the girls in , one by one they go through into a BARREN ROOM And see . Raya . NAKED . HELD DOWN BY FOUR MEN . SPREAD EAGLE ON HER FRONT . WAILING . HER FACE SHOWS UNIMAGINABLE PAIN . And we see that . Two of the men holding her down are EXTINGUISHING LIT CIGARETTES INTO THE BALLS OF HER FOOT .<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>Ahhhhhhhhhhhhhhhhh!<\/dialogue>\n    <scene_description>But we realize . this is not the greatest cause of her pain . Luba 's face whitens . Eyeing one MAN at Raya 's backside . A flash of shame in his eyes as he steps away from Raya , and drops . A PIPE onto the ground . The men step away . Leaving Raya . Collapsed into a ball . Now the girls all understand . there is no hope at all .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONFERENCE ROOM - UNHCR - DAY<\/stage_direction>\n    <scene_description>Madeleine stands before a small group of REPORTERS .<\/scene_description>\n    <character>MADELEINE<\/character>\n    <dialogue>The young woman, who shall remain anonymous, arrived in Bosnia as a victim of sex trafficking and has survived horrific abuse. Ordinarily she would be repatriated to her country of origin. But because she is an orphan, she finds herself without a home. I'm pleased to announce that we have found a foster family in the United States. I want to thank Janet Wells for her assistance in making this happen. I believe this can stand as a signal that the International community in Bosnia and beyond is finally ready to recognize the growing epidemic of sex trafficking, a human rights abuse as abhorrent as the war crimes that drew the International Community to intervene in Bosnia in the first place. Thank you.<\/dialogue>\n    <character>REPORTER<\/character>\n    <dialogue>Now that the UN is finally recognizing sex - trafficking, how are you going to monitor it?<\/dialogue>\n    <scene_description>Reporters flock with questions . Kathy stands in the back , proud . On the other side , Rick Jones watches .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRONT STEPS - UNHCR - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Kathy and Madeleine emerge , buzzing with their success .<\/scene_description>\n    <character>MADELEINE<\/character>\n    <dialogue>Nothing on Raya?<\/dialogue>\n    <scene_description>Kathy shakes her head , saddened .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>I've sent an APB out to all police stations and UN field offices. But I'm pushing ahead with the other girls in Milena's shelter. I'm creating a photo - line - up using the UN ID database, so they can identify all internationals involved. We've got to make them accountable.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - WOMEN'S MEDICA SHELTER - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Milena looks through a glass window into .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INTERVIEW ROOM - WOMEN'S MEDICA SHELTER - EVENING<\/stage_direction>\n    <scene_description>Kathy sits with girls including Fadila , Nadia , Eva . She brings up ID PHOTOS of IPTF officers , scrolling down the page . Fadila points at one and nods , speaking . Kathy writes . Another girl , JASMILA , points at a picture of . AN IPTF OFFICER . She nods . Kathy brings up a new page of ID PHOTOS . Flicking through page after page . The girls identify SEVERAL OFFICERS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PERSONNEL - UNMHQ - DAY<\/stage_direction>\n    <scene_description>Kathy finds Carmen behind a computer .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>I have a favour to ask.<\/dialogue>\n    <character>CARMEN<\/character>\n    <dialogue>Shoot.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>You have access to all transport vehicle checkouts, right?<\/dialogue>\n    <character>CARMEN<\/character>\n    <dialogue>I'm a fountain of useless knowledge.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Can you see how often Fred Murray has checked out raid vehicles?<\/dialogue>\n    <character>CARMEN<\/character>\n    <dialogue>Fred Murray?<\/dialogue>\n    <scene_description>Kathy nods . Carmen looks at her , surprised .<\/scene_description>\n    <character>CARMEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Fred was sent home.<\/dialogue>\n    <scene_description>Kathy stands back . Confused .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>What? Why did n't anyone tell me. Is he being disciplined because of my -<\/dialogue>\n    <scene_description>Carmen shakes her head .<\/scene_description>\n    <character>CARMEN<\/character>\n    <dialogue>He's just gone. Meaning investigation over. They wanted him out of here. People are talking. Come on, let's get some lunch.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFETERIA - UNMHQ - AFTERNOON<\/stage_direction>\n    <scene_description>Kathy and Carmen at a table in the corner .<\/scene_description>\n    <character>CARMEN<\/character>\n    <dialogue>Kath, you got ta be careful. Look, I know you're doing your own thing and all, but you're investigating your colleagues.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>You've seen what they're doing.<\/dialogue>\n    <character>CARMEN<\/character>\n    <dialogue>I know. I know. I just, the stuff people are saying, I'm catching snippets, and I'm worried about you. Think about your kids.<\/dialogue>\n    <scene_description>Kathy is silenced . Then . A TAP ON HER SHOULDER .<\/scene_description>\n    <character>MONITOR<\/character>\n    <dialogue>Looking for you in Human Resources.<\/dialogue>\n    <scene_description>Carmen eyes Kathy , concerned . Kathy follows the monitor toward the exit . MONITORS and CIVILIANS buzz about , talking . But all around Kathy , the air is silent . Some IPTF OFFICERS eye her , coolly . Is she paranoid ?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HUMAN RESOURCES OFFICE - UNMHQ - DAY<\/stage_direction>\n    <scene_description>OFFICER BLAKELY smiles formally . Kathy shifts in her seat .<\/scene_description>\n    <character>BLAKELY<\/character>\n    <dialogue>I'm John Blakely, Human Resources.<\/dialogue>\n    <scene_description>Kathy eyes him , dubious .<\/scene_description>\n    <character>BLAKELY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>In going through your records, I see you've got quite a case load. It must be stressful.<\/dialogue>\n    <character>KATHY<\/character>\n    <parenthetical>( deadpan . )<\/parenthetical>\n    <dialogue>A bit.<\/dialogue>\n    <character>BLAKELY<\/character>\n    <dialogue>Would you say you're under extreme stress?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>BLAKELY<\/character>\n    <dialogue>There are concerns among some of your superiors that you've become impulsive, reckless in your position.<\/dialogue>\n    <scene_description>Kathy sits , shocked .<\/scene_description>\n    <character>BLAKELY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>We'd like to suggest taking some time off. You have some leave time.<\/dialogue>\n    <scene_description>Kathy eyes him coolly . He slides over a booklet .<\/scene_description>\n    <character>BLAKELY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>See here? You can consolidate your leave. We'll contact our head offices in the U.K. and ensure none of your pay would be deducted. Just. Take a little vacation. Go home. See your kids. We're simply suggesting this out of concern for you.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Are you suggesting I take time off. Or are you telling me?<\/dialogue>\n    <character>BLAKELY<\/character>\n    <dialogue>This is simply out of concern for you.<\/dialogue>\n    <scene_description>Kathy pushes her chair back , and leaves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - KATHY'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Kathy sits at the table , covered in photos of girls , flipping through the Dyncorp manual , irritated .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Consolidate my leave. A fucking vacation?<\/dialogue>\n    <scene_description>She shakes her head , overwrought . Flipping through the manual , seeing .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Who are these people?<\/dialogue>\n    <parenthetical>( stopping on a page . )<\/parenthetical>\n    <dialogue>And why does Dyncorp, a company that sends American peacekeepers, have it's corporate headquarters in England?<\/dialogue>\n    <scene_description>She looks up at Jan. . He shrugs , sympathetic , wanting to help .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Of course I want to see my kids, of course. But. not like this. Not by being sent home like some hysterical woman. My God, it was n't that easy to up and leave them. If I go home like this. It's like coming here, this whole thing was a. mistake.<\/dialogue>\n    <scene_description>She shakes her head , lost in thought . Maybe it was . Jan sits beside her , concerned .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>Nobody who knows you could think that.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Really? I'm losing witnesses, suspects. It's one step forward, two steps back.<\/dialogue>\n    <scene_description>Jan tries to jump in . But -<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>No, seriously. I'm just a cop from Nebraska. What do I know?<\/dialogue>\n    <scene_description>Jan shakes his head .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>It's not what. It's who. You know them.<\/dialogue>\n    <scene_description>He points at the files and photos of girls splayed all over the table . Kathy eyes them , torn between self - doubt and something much more instinctive .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAURA LEVIN'S OFFICE - GDA BOSNIA - EVENING<\/stage_direction>\n    <scene_description>Laura sits across from Halyna , who is heartbroken .<\/scene_description>\n    <character>LAURA<\/character>\n    <parenthetical>( RUSSIAN . )<\/parenthetical>\n    <dialogue>Mrs. Kochan. It's been a few weeks now. I do n't know if there's much point -<\/dialogue>\n    <character>HALYNA<\/character>\n    <parenthetical>( RUSSIAN . )<\/parenthetical>\n    <dialogue>But we - I must - I have to do something. There has to be something I can do?!<\/dialogue>\n    <scene_description>Laura takes a second . Suddenly struck with an idea .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OASIS BAR - MORNING<\/stage_direction>\n    <scene_description>A large WOOD HOUSE with a neon CAMEL sits in the mountains above the city of TUZLA . A VAN pulls up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OASIS BAR - MOMENTS LATER<\/stage_direction>\n    <scene_description>Raya , Luba follow Ivan up stairs . Ivan unlocks a BACK BEDROOM He bangs on a wall . FIVE GIRLS wake in cots on the ground . He motions for them to go in . They do . MARA , 19 , hands Raya and Luba a piece of paper with CRUDE DRAWINGS of SEXUAL POSITIONS . A price value by each .<\/scene_description>\n    <character>MARA<\/character>\n    <parenthetical>( RUSSIAN . )<\/parenthetical>\n    <dialogue>You work in two hours.<\/dialogue>\n    <scene_description>Ivan and Mara leave , locking the door behind him . The other girls go about their business , barely noticing Raya and Luba . But JULIA and TANYA , 16 , come over .<\/scene_description>\n    <character>JULIA<\/character>\n    <parenthetical>( RUSSIAN . )<\/parenthetical>\n    <dialogue>You sleep on whichever mattresses are available. The last two girls in have to share.<\/dialogue>\n    <character>TANYA<\/character>\n    <parenthetical>( RUSSIAN . )<\/parenthetical>\n    <dialogue>They bring us food in the morning. You have to eat it all, or you get fined.<\/dialogue>\n    <scene_description>Raya grabs her head . Feeling faint . She looks for a place to sit . Julia and Tanya help her to the ground .<\/scene_description>\n    <character>JULIA<\/character>\n    <dialogue>Do n't let him see you like this.<\/dialogue>\n    <scene_description>Luba walks over to the other side of the room . Finds a spot and sits . Raya watches her , hurt . Julia pushes a mattress aside . Underneath is a . COUNTING SYSTEM scratched into the floor . Each girls ' name scratched with numbers beside it .<\/scene_description>\n    <character>JULIA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm the closest. Then I can go home.<\/dialogue>\n    <scene_description>Raya barely has the energy to hold herself up .<\/scene_description>\n    <character>TANYA<\/character>\n    <dialogue>What's your name?<\/dialogue>\n    <character>RAYA<\/character>\n    <parenthetical>( UKRAINIAN . )<\/parenthetical>\n    <dialogue>Rayisa. Raya Kochan.<\/dialogue>\n    <scene_description>Tanya scratches Raya 's name into the floor . Then one mark .<\/scene_description>\n    <character>LUBA<\/character>\n    <parenthetical>( RUSSIAN . )<\/parenthetical>\n    <dialogue>It's all bullshit -<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>No! He sent a girl back three months ago. I was here!<\/dialogue>\n    <parenthetical>( to Luba . )<\/parenthetical>\n    <dialogue>What is your name?<\/dialogue>\n    <scene_description>Raya eyes Luba who 's conflicted between loyalty to her friend and her own sense of survival . Luba tears up , but turns away .<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Her name is Luba. Luba Pankiw.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHY'S OFFICE - UNMHQ - MORNING<\/stage_direction>\n    <scene_description>Kathy works , angry , urgent now . On her desk . CLOSER : REPORT : PHOTO ID LINE - UP . Kathy matches circled ID photos of IPTF alongside testimony and Polaroids of girls . She works fast . Circling the photos , slapping files closed . When a . MAIL BOY slides in a cart , and places a stack of REPORTS on Kathy 's IN - BOX . She pulls the first one off the top . A sticky note on the first page : Insufficient Evidence . Kathy grabs another . Sticky note : Unreliable Witness . She sees the name NADIA at the top of the statement . She grabs . ANOTHER : Unreliable Witness . And another . Transferred to Internal Affairs . Kathy flies through the rest of the files . One after another : Insufficient Evidence - Insufficient Evidence - Transferred to Internal Affairs - Unreliable Witnesses - Insufficient - A photo falls out of one of them : RAYA . Kathy stares at it . Her eyes wander over the room , and fall on her predecessor 's battered old file boxes , still waiting for Archives . She moves to them . Cuts the string on the top box . Rips the top off . Inside . REPORT FILES . Slotted in tight . She grabs one . STICKY NOTE : Insufficient Evidence .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Jesus.<\/dialogue>\n    <scene_description>She starts RIPPING through them all - YELLOW STICKY NOTES on all of them .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Kath.<\/dialogue>\n    <scene_description>It 's Jim Higgins , out of breath , in the doorway .<\/scene_description>\n    <character>JIM HIGGINS<\/character>\n    <dialogue>They've called an assembly for all Dyncorp personnel.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONFERENCE ROOM - UNMHQ - NIGHT<\/stage_direction>\n    <scene_description>Kathy and Jim walk into a room filled with DYNCORP BOYS .<\/scene_description>\n    <character>JIM HIGGINS<\/character>\n    <dialogue>Anyone know what this is about?<\/dialogue>\n    <scene_description>No one does . Kathy sits amongst the guys . Until . Rick walks up to the front .<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>I have some not so pleasant news, but bear with me.<\/dialogue>\n    <parenthetical>( Off a prepared statement . )<\/parenthetical>\n    <dialogue>Lately, local police have raided some houses of ` ill repute' and a number of ` ladies of the evening' have been taken into custody. While the credibility of these witnesses is questionable, apparently photo line - ups have been made available to them.<\/dialogue>\n    <scene_description>Rick eyes Kathy , pointedly .<\/scene_description>\n    <character>RICK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>This issue is currently receiving a lot of attention. Guys, you got ta be careful. Kathryn Bolkovac is heading up this investigation. If you have any questions refer them to her.<\/dialogue>\n    <scene_description>ALL EYES ON KATHY . They disperse , passing her , camaraderie obliterated . Kathy walks , livid .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>You've given every officer time to create an alibi.<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>I'm not going to subject my men to this witch hunt based on the testimony of some hookers! Prostitution is illegal! Your witnesses are criminals.<\/dialogue>\n    <scene_description>Kathy ca n't believe what he 's saying .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>They are SLAVES. By any American or International law.<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>These slaves are lying about their presence in Bosnia. You are coming after American Officers with baseless claims.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>you know they're not baseless.<\/dialogue>\n    <character>RICK JONES<\/character>\n    <dialogue>If you've got a problem, go call the Ambassador's wife.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. LOBBY - UNMHQ - EVENING<\/stage_direction>\n    <scene_description>ELEVATOR DOORS OPEN . Kathy comes out . Seeing . IPTF OFFICERS . All eyeing her . She hurries through them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHY'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Kathy sits , anxious . Jan touches her back .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>They hired you to do a job they do n't want done. It's a P.R. position.<\/dialogue>\n    <scene_description>She turns to him .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Rick publicly outed me, jeopardizing those girls. I have to go over his head. But I. I never thought I'd have to go into Internal Affairs. The guys back home would never understand this.<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>I understand you.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Yeah? And how long do you plan on being around, because the last two guys who said that are n't here.<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>Do n't.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>It's just I waited so long you know. I want my kids to know I did something, to be proud.<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>They are.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>No. Your kids are proud. You go on this mission and you're a big hero. I go and I'm a bad mother.<\/dialogue>\n    <parenthetical>( tearing up . )<\/parenthetical>\n    <dialogue>I ca n't believe I'm gon na disappoint them again.<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>So do n't.<\/dialogue>\n    <scene_description>He comes closer . She looks up . Decided .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. CAR - PARKING LOT - UNMHQ - EARLY MORNING<\/stage_direction>\n    <scene_description>A blast of light through Kathy 's windshield . The lot is empty . She looks at a PILE OF REPORTS on the passenger seat .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LONG CORRIDOR - UNMHQ - MORNING<\/stage_direction>\n    <scene_description>Kathy , reports in hand , turns a corner , and . bumps into an OFFICER . She drops some files . He moves around her , as she bends to pick them up . She walks the rest of the hall , focused , and stops at a brass plaque : INTERNAL AFFAIRS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE - INTERNAL AFFAIRS - UNHMQ - MORNING<\/stage_direction>\n    <scene_description>Kathy marches in , nervous . MONITORS turn and see her , knowing who she is , but trying not to show it . She approaches a MALE MONITOR at a desk in the front .<\/scene_description>\n    <character>MALE MONITOR<\/character>\n    <dialogue>What can I do for you?<\/dialogue>\n    <scene_description>The Monitor keeps typing as she talks . Kathy hesitates , then<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>It's, I need to speak in - camera with a senior IA official. I do n't have a name, but -<\/dialogue>\n    <scene_description>Kathy recognizes Peter Ward working in a back OFFICE . He sees her , then closes the door .<\/scene_description>\n    <character>MALE MONITOR<\/character>\n    <dialogue>Just a moment please.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLOSED OFFICE - INTERNAL AFFAIRS - UNMHQ - DAY<\/stage_direction>\n    <scene_description>Kathy sits across from an IA OFFICIAL , 50s . He skims through the reports , nodding .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>I did a photo ID line - up with victims who testified to international patronizing of brothels, as well as complicity in trafficking itself.<\/dialogue>\n    <scene_description>He looks at her .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>All the cases I filed to my superiors have come back, shut down. Some of them were marked as referred to IA.<\/dialogue>\n    <character>OFFICIAL<\/character>\n    <dialogue>I have n't seen those.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Really?<\/dialogue>\n    <scene_description>He shakes his head , standing .<\/scene_description>\n    <character>OFFICIAL<\/character>\n    <dialogue>It's possible they're still in the pipeline, in preliminary processing. I'm sorry to have to rush this, but I have to get to a meeting. Thanks for coming in.<\/dialogue>\n    <scene_description>He hands her a form .<\/scene_description>\n    <character>OFFICIAL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You need to sign here, that you're asking for these investigations.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLS - NIGHT<\/stage_direction>\n    <scene_description>Kathy jogs along a ridge , with a view high over Sarajevo . Determined , panting . she pushes past her fatigue .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHY'S APARMENT - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Kathy comes in , soaked in sweat . The PHONE RINGS . She rushes to it . CALLER ID : Unknown Number . She picks up , breathless .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Hello? Sorry, who is this? Just one second.<\/dialogue>\n    <scene_description>She grabs a pen and pad . Writing : THE HOLIDAY INN . 513 .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Can I get your name? Hello? Hello?<\/dialogue>\n    <scene_description>She looks at the phone , spooked .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY - HOLIDAY INN HOTEL - SARAJEVO - DAY<\/stage_direction>\n    <scene_description>Kathy moves through the lobby , scanning the scene of liquid lunches and diplomats . She keeps her head low , focused ON THE ELEVATORS Ding . The doors open . Kathy steps in . As they close . TWO DIPLOMATS slip in . The elevator ascends . Kathy stares dead ahead .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - HOLIDAY INN - MOMENTS LATER<\/stage_direction>\n    <scene_description>Kathy stands at door 513 . She takes a moment , then knocks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - HOLIDAY INN - MOMENTS LATER<\/stage_direction>\n    <scene_description>Kathy is led in by Peter Ward . She comes inside , tentative , unsure who she 's dealing with . Peter smokes furiously , a burned - out mission lifer , who 's bright , intelligent eyes betray a last spark of the idealism that brought him into this world . He seems nervous .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>That was you today, in IA?<\/dialogue>\n    <character>PETER WARD<\/character>\n    <parenthetical>( nodding . )<\/parenthetical>\n    <dialogue>Would you like a drink?<\/dialogue>\n    <scene_description>Kathy eyes him , dubious . He pours her a drink .<\/scene_description>\n    <character>PETER WARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I saw your files.<\/dialogue>\n    <scene_description>Kathy nods . Peter slaps down a file . Kathy looks at it .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>What's this?<\/dialogue>\n    <character>PETER WARD<\/character>\n    <dialogue>Your file.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I do n't understand.<\/dialogue>\n    <character>PETER WARD<\/character>\n    <dialogue>They're investigating you.<\/dialogue>\n    <scene_description>Kathy stares at him .<\/scene_description>\n    <character>PETER WARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Do n't you get it? They're circling the wagons. What did he tell you? He had n't seen anything from you until today.<\/dialogue>\n    <scene_description>She nods .<\/scene_description>\n    <character>PETER WARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Bullshit. Top Level Dyncorp commanders are walking into IA and removing your files. I've been told to shut down all your investigations.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Why? There has to be some sort of an international court or body that can turn this around -<\/dialogue>\n    <character>PETER WARD<\/character>\n    <dialogue>The United Nations. You're here.<\/dialogue>\n    <scene_description>Peter thinking about how to put this .<\/scene_description>\n    <character>PETER WARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Dyncorp's contract with the State Department in Bosnia alone is worth 52 million dollars. We're paid ninety, a hundred grand, right? But it's a drop in the ocean compared to their profits. This is a global corporation, top five defense contractors in the states after Halliburton and KB&amp;R. You think they're gon na let some sex scandal threaten that?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I do n't want a scandal. I just want -<\/dialogue>\n    <character>PETER WARD<\/character>\n    <dialogue>NOBODY CARES ABOUT YOU. It's designed that way. No oversight. No national or international accountability.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Dyncorp's Headquarters are in England -<\/dialogue>\n    <character>PETER WARD<\/character>\n    <dialogue>Exactly. Nothing leads back to the State Department. That includes you. So if something were to happen to you it would n't even make the news at home. No one would ever know. Poof. You're gone.<\/dialogue>\n    <scene_description>Kathy sits . Scared . Finally understanding the world she 's in . O.S. VOICES . Kathy jolts . Peter moves to the door . THROUGH THE EYE - HOLE : A COUPLE checks in across the room . Peter turns back . Sees a panic - stricken Kathy .<\/scene_description>\n    <character>PETER WARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>If you're going to keep going, you've got to stay under the radar. Make copies of all your files, keep them under lock and key. Just. Be careful. And know who you're up against.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - HOLIDAY INN HOTEL - SARAJEVO - DAY<\/stage_direction>\n    <scene_description>Kathy . Unstrung . She crosses the labyrinth of WHITE SUVs . She looks up at the OSCE towers . Feeling watched . TWO SFOR SOLDIERS walk toward her . Eyeing her . She slips a car key between her fingers , arming herself . Watching them as . They pass . Kathy picks up her pace . Getting to . HER SUV . Her pulse RACING . PARANOID . She checks around . The lot is empty . Quiet . She is alone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNITED NATIONS MISSION HEADQUARTERS - DAY<\/stage_direction>\n    <scene_description>A row of international flags flap in the wind .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHY'S OFFICE - UNMHQ - SAME<\/stage_direction>\n    <scene_description>Kathy watches the flags . She shifts her gaze to the bulletin board . Eyeing the picture of Raya . Then . she moves to . THE FILE CABINET . She pulls out EVERY FILE . Photocopies them . Then . Opens the bottom filing cabinet - pushes files to the front - placing the copies in the back . She steps away . Closes the Cabinet . And locks it . Knowing she is operating outside of protocol now .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACK BEDROOM - OASIS BAR - EVENING<\/stage_direction>\n    <scene_description>Raya stares at herself in a mirror . Dressed as a whore .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OASIS BAR - EVENING<\/stage_direction>\n    <scene_description>It 's more of a medium - sized hall . A bar , some tables and a few ` home touches ' . Maps of Yugoslavia . Pictures of Tito . And FULL OF IPTF . Raya walks through , ogled . She sees . Luba , sitting on Mara 's lap . Surrounded by TEN IRISH SOLDIERS . The soldiers ply them with drinks , ` winning ' them with charm . Luba blends in with remarkable ease .<\/scene_description>\n    <character>RORY<\/character>\n    <dialogue>You feel like a party?<\/dialogue>\n    <scene_description>RORY , Irish , grabs Raya 's hand .<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>( forcing . )<\/parenthetical>\n    <dialogue>Yes. of course.<\/dialogue>\n    <scene_description>He leads her to the back of the bar . Raya looks to Luba , but realizes she is alone . They walk through a BACK DOOR into a ROOM FULL OF BEDS SEPARATED with CURTAINS . We barely make out the shapes of various soldiers with girls in each cubicle . All busy . Until A curtain opens . And Jim Higgins walks out . His rite of passage complete . Rory pulls Raya to the cubicle , as Julia comes out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SARAJEVO AIRPORT - EVENING<\/stage_direction>\n    <scene_description>Halyna boards a plane with PASSENGERS , but without Raya .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHY'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Kathy opens the door into the empty apartment , seeing a RAPIDLY BLINKING LIGHT on a digital display : 14 MESSAGES .<\/scene_description>\n    <character>ANSWERING MACHINE<\/character>\n    <dialogue>Click. Click. Click.<\/dialogue>\n    <scene_description>Each message a silence followed by a hang - up . Kathy stares at the blinking light as the clicks keep coming . CLICK , CLICK , CLICK . She rips the machine out of the wall .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHY'S APARTMENT - LATER<\/stage_direction>\n    <scene_description>We hear a DIAL UP CONNECTION . Kathy 's at her computer . She brings up a Yahoo ! Search page . TYPES IN : RICK JONES 2103 Matches for Rick Jones . She types again . CLOSE ON : RICK JONES + COLORADO SPRINGS 482 Matches for Rick Jones + Colorado Springs She scans down the page . None of the matches work . She shakes her head , about to give up , when . Chief of Police R. Jones in $ 1,000,000 Law Suit A PICTURE of Rick Jones accompanies the article . CLOSE ON WORDS : Richard Jones Fired for Sexual Harassment<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHY'S APARTMENT - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Kathy sits at the empty kitchen table looking at the picture of her kids . She holds her head in her hands .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMERICAN APARTMENT COMPLEX - SARAJEVO SUBURBS - NIGHT<\/stage_direction>\n    <scene_description>Distant music echoes through the night . VOICES of GUYS hanging out on their balconies . Kathy crosses the lot , cutting through the dark night fog .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. SUV\/ROAD - NIGHT<\/stage_direction>\n    <scene_description>Kathy drives . Wide awake . The only vehicle on the road .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ILIDZA STATION - NIGHT<\/stage_direction>\n    <scene_description>Kathy sits in the SUV . Staring at the station . THROUGH THE WINDOW . Jan works the late shift alone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILIDZA STATION - NIGHT<\/stage_direction>\n    <scene_description>Jan and Kathy sit . Several empty coffee cups .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>This is. I ca n't believe your timing.<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>It's a rotation. They're sending us back a month early. I tried to get an extension, but.<\/dialogue>\n    <scene_description>Kathy just stares ahead . Silent . a long time .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>I'm not even sure I'm staying.<\/dialogue>\n    <scene_description>Jan sits back . Stunned .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>These guys. Jones is a sexual offender. Dyncorp hired him. These private militaries are a sham. There's no way around them.<\/dialogue>\n    <character>JAN<\/character>\n    <dialogue>If that's what your instincts are telling you.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I have children, I have to think about them.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OASIS BAR - LATE NIGHT<\/stage_direction>\n    <scene_description>A big IPTF PARTY . AT THE BAR : Raya waits with an empty tray . Luba pulls out a heavy crate of bottles . She hurts her back .<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>( UKRAINIAN . )<\/parenthetical>\n    <dialogue>Here, I'll help you.<\/dialogue>\n    <scene_description>Luba slams two bottles on Raya 's tray .<\/scene_description>\n    <character>LUBA<\/character>\n    <parenthetical>( UKRAINIAN . )<\/parenthetical>\n    <dialogue>I'm fine. I earned this job.<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>I was just trying to -<\/dialogue>\n    <character>LUBA<\/character>\n    <dialogue>Do n't. You'll get us in trouble.<\/dialogue>\n    <scene_description>An IPTF OFFICER , MIKE SEARS grabs Raya from behind . Shakes her , jokingly . She laughs , familiar . Almost routine .<\/scene_description>\n    <character>MIKE SEARS<\/character>\n    <dialogue>How's my favorite girl?<\/dialogue>\n    <character>RAYA<\/character>\n    <dialogue>I am good. Everything good.<\/dialogue>\n    <scene_description>She smiles , hollow and takes the tray over to a TABLE . Julia and Tanya sit with FOUR MEN in suits . They 're plastered .<\/scene_description>\n    <character>SUIT 1<\/character>\n    <parenthetical>( GERMAN ACCENT . )<\/parenthetical>\n    <dialogue>I wan na party all night.<\/dialogue>\n    <scene_description>The girls smile , nodding , playing along .<\/scene_description>\n    <character>SUIT 2<\/character>\n    <parenthetical>( AMERICAN . )<\/parenthetical>\n    <dialogue>Let's go out. I wan na take you home.<\/dialogue>\n    <scene_description>He squeezes Tanya tight to him , kissing her sloppily .<\/scene_description>\n    <character>SUIT 2<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Ivan! C'mere!<\/dialogue>\n    <scene_description>Raya eyes Julia . Ivan comes over , smiling , a gregarious host .<\/scene_description>\n    <character>SUIT 2<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>We wan na party on mate. How much to take them home for the day?<\/dialogue>\n    <scene_description>Ivan eyes the girls . Thinking .<\/scene_description>\n    <character>IVAN<\/character>\n    <dialogue>Ten times normal. Pay upfront. And extra deposit. But you can not take her.<\/dialogue>\n    <scene_description>He points at Raya .<\/scene_description>\n    <character>IVAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Three thousand each.<\/dialogue>\n    <parenthetical>( off their scoffing . )<\/parenthetical>\n    <dialogue>You bring back, you get back deposit.<\/dialogue>\n    <scene_description>Ivan smiles . The other two men are dubious . But Suit 1 and Suit 2 exchange glances . Daring each other .<\/scene_description>\n    <character>SUIT 1<\/character>\n    <dialogue>You're on.<\/dialogue>\n    <scene_description>Ivan waves to follow him . They walk with Julia and Tanya . Raya watches Ivan throw in a bottle of whiskey . They pay him . Julia catches Raya 's eye . They exchange . A look of promise .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUS DEPOT - MORNING<\/stage_direction>\n    <scene_description>The DUTCH CONTINGENT boards a bus . Kathy stands aside with Jan. . Saying goodbye . Franz pats Jan on the back .<\/scene_description>\n    <character>FRANZ<\/character>\n    <dialogue>I'll keep an eye out.<\/dialogue>\n    <scene_description>Jan shakes his hand . Franz winks at Kathy .<\/scene_description>\n    <character>FRANZ<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( to Kathy . )<\/parenthetical>\n    <dialogue>It's finally our time.<\/dialogue>\n    <scene_description>She smiles , soft . Drained of energy .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>Get outta here.<\/dialogue>\n    <character>FRANZ<\/character>\n    <dialogue>Anything you need you call, okay? He'll kill both of us if you do n't.<\/dialogue>\n    <scene_description>Franz moves away leaving the two alone . Jan hugs Kathy .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>You come to me. when you're done.<\/dialogue>\n    <scene_description>He kisses her . The bus engines start .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHY'S OFFICE - UNMHQ - DAY<\/stage_direction>\n    <scene_description>Kathy watches out the window . DIPLOMATS walk the halls .<\/scene_description>\n    <character>MADELEINE<\/character>\n    <dialogue>What's this I hear about you leaving?<\/dialogue>\n    <scene_description>Kathy turns to Madeleine in the doorway .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>How'd you -<\/dialogue>\n    <character>MADELEINE<\/character>\n    <dialogue>The Dutch Officer rang before he left. C'mon, I want to show you something.<\/dialogue>\n    <scene_description>Kathy follows , downbeat .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OASIS BAR - MORNING<\/stage_direction>\n    <scene_description>The girls clean . Raya sweeps , watching Mara teach Luba how to restock the bar . Ivan comes out of the OFFICE . A bag in hand .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOMEN'S MEDICA SHELTER - DAY<\/stage_direction>\n    <scene_description>Madeleine 's UN Volkswagon pulls up . Milena waits , smiling .<\/scene_description>\n    <character>MADELEINE<\/character>\n    <dialogue>After we got Irka repatriated, I had some calls from other private parties that were interested in helping. We've gathered $ 40,000 so far. I've applied for matching funds, so that. we can completely rebuild this shelter.<\/dialogue>\n    <character>MILENA<\/character>\n    <dialogue>Separate from the GDA. We run it our way. The victims come first.<\/dialogue>\n    <character>MADELEINE<\/character>\n    <dialogue>Things are changing Kathy.<\/dialogue>\n    <scene_description>Kathy is moved , seeing a light at the end of this . The three women stand , united . Then . A SHELTER VOLUNTEER comes out .<\/scene_description>\n    <character>SHELTER VOLUNTEER<\/character>\n    <dialogue>There's an important call inside.<\/dialogue>\n    <character>MILENA<\/character>\n    <dialogue>Excuse me.<\/dialogue>\n    <character>SHELTER VOLUNTEER<\/character>\n    <dialogue>No. The call is for Kathy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OASIS BAR - MORNING<\/stage_direction>\n    <scene_description>Ivan puts a bag in a car trunk . He turns to . Mara<\/scene_description>\n    <character>IVAN<\/character>\n    <parenthetical>( RUSSIAN . )<\/parenthetical>\n    <dialogue>Remember I can bring you back here the second you fuck up.<\/dialogue>\n    <scene_description>Mara nods . He shakes her hand . Ivan hands her a passport . She jumps into the car . It 's an odd farewell . Ivan heads back to THE OASIS He scans the room . His eyes land on Luba . Raya watches Ivan nod to Luba . A silent exchange : Luba accepts Mara 's role . SUDDENLY . HONKING . OUTSIDE a car speeds up . The two SUITS from last night appear at the door . Without the girls .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. KATHY'S UN SUV - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Kathy slows . Seeing local police in the distance .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE - OUTSIDE SARAJEVO - CONTINUOUS<\/stage_direction>\n    <scene_description>Kathy pulls up . Through gathered local cops , REVEAL . Julia and Tanya . Disoriented . Still in last night 's clothing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Julia and Tanya are FRANTIC , talking fast .<\/scene_description>\n    <character>JULIA<\/character>\n    <parenthetical>( BROKEN ENGLISH . )<\/parenthetical>\n    <dialogue>They take us home. They were so drunk. We run.<\/dialogue>\n    <character>TANYA<\/character>\n    <parenthetical>( BROKEN ENGLISH . )<\/parenthetical>\n    <dialogue>There are more girls! You must to get them out! Go now!<\/dialogue>\n    <scene_description>They appeal to Kathy .<\/scene_description>\n    <character>JULIA<\/character>\n    <dialogue>Oasis Bar. In mountains.<\/dialogue>\n    <scene_description>Kathy eyes Viko . As the girls talk at her , Kathy knows she was never going home . THIS is where she needs to be .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - GDA BOSNIA - MOMENTS LATER<\/stage_direction>\n    <scene_description>Kathy brings Julia and Tanya in . An Intern leads them down the hall . Viko comes in .<\/scene_description>\n    <character>VIKO<\/character>\n    <dialogue>Should I call for a raid?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>No. He'll walk. We have no proof they were trafficked. Let me talk to them. See what else they know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE - GDA BOSNIA - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Laura watches video footage on a TV . Halyna appears on the monitor . Her assistant PAUSES it .<\/scene_description>\n    <character>ASSISTANT<\/character>\n    <dialogue>That's their first cut. I'll pass on your notes, and they should have it ready for the grant proposal in time.<\/dialogue>\n    <scene_description>A KNOCK at the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY - GDA BOSNIA - MOMENTS LATER<\/stage_direction>\n    <scene_description>Kathy stands , curt now with Laura . All business .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>I have no options right now. The GDA is more secure than Milena's shelter. Can they stay before you do the paperwork?<\/dialogue>\n    <character>LAURA LEVIN<\/character>\n    <dialogue>They'll go on record?<\/dialogue>\n    <scene_description>Kathy nods . Laura shrugs in assent .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - GDA BOSNIA - LATER<\/stage_direction>\n    <scene_description>Kathy listens to a tearful Julia .<\/scene_description>\n    <character>JULIA<\/character>\n    <parenthetical>( BROKEN ENGLISH . )<\/parenthetical>\n    <dialogue>Ivan is good friends with the soldiers. They come all the time.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>And you're saying these soldiers brought you into Bosnia. Through the border? You're sure?<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>Yes. In a van. White van. Like yours.<\/dialogue>\n    <scene_description>They both nod . Emphatic . Kathy thinks .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>They had uniforms? Like mine?<\/dialogue>\n    <scene_description>The girls nod again . Absolutely sure .<\/scene_description>\n    <character>JULIA<\/character>\n    <dialogue>April 8. I never forget. The day I leave my home. We come to Bosnia some day later. I know because we stop at the border. We were six of us. Men from the border, they opened the doors. We give them our fake passports. My name was Irena Woycek. I thought they would see the fake passports, I thought.<\/dialogue>\n    <scene_description>She hesitates , the memories flooding back .<\/scene_description>\n    <character>JULIA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I thought they would save us.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GDA BOSNIA - DAY<\/stage_direction>\n    <scene_description>Viko follows Kathy out .<\/scene_description>\n    <character>VIKO<\/character>\n    <dialogue>If there are records showing those girls came through the border with IPTF -<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Then you have conspiracy to traffick. And I can take it to Bill Hynes. That's enough to do a raid that will stick.<\/dialogue>\n    <character>VIKO<\/character>\n    <dialogue>The main border station keeps the logs.<\/dialogue>\n    <scene_description>Kathy heads to her SUV . Viko shakes his head - points at an old TRABBANT -LRB- a life - size matchbox car -RRB- .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/ EXT. TRABANT - NIGHT<\/stage_direction>\n    <scene_description>The ride is bumpy . Viko shouts over the engine .<\/scene_description>\n    <character>VIKO<\/character>\n    <dialogue>Best if it looks like a local matter. Get more info. You be my UN monitor, okay?<\/dialogue>\n    <scene_description>Kathy smiles , cramped , but appreciative of his help .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BORDER POLICE STATION - NIGHT<\/stage_direction>\n    <scene_description>Viko talks to a BORDER COP sitting at an ancient Mac Computer . Kathy notices a calendar of Pamela Anderson frolicking in foamy surf .<\/scene_description>\n    <character>VIKO<\/character>\n    <dialogue>So when a vehicle is stopped, you'll keep all this on file here?<\/dialogue>\n    <character>BORDER COP<\/character>\n    <dialogue>Of course! It's our fucking job!<\/dialogue>\n    <character>VIKO<\/character>\n    <dialogue>And other stations up the border send all their files to you?<\/dialogue>\n    <character>BORDER COP<\/character>\n    <dialogue>Some do, some do n't. Fifty - fifty chance.<\/dialogue>\n    <scene_description>Disappointing . Viko lights a smoke , offers one to the cop .<\/scene_description>\n    <character>BORDER COP<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You say 30 minutes outside Sarajevo? Maybe Visegrad? You might be lucky. Lanky guy in their archives loves to send files.<\/dialogue>\n    <scene_description>Kathy looks hopefully at Viko , who shrugs . Clicking .<\/scene_description>\n    <character>BORDER COP<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Okay, 11th.<\/dialogue>\n    <parenthetical>( mumbling . )<\/parenthetical>\n    <dialogue>. No, no. You like? Big exciting to watch Bosnian police do boring things?<\/dialogue>\n    <scene_description>Kathy smiles . He turns back , clicking . Then stops .<\/scene_description>\n    <character>BORDER COP<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You owe me! UN vehicle with 6 girls in back. Stanley Harris.<\/dialogue>\n    <scene_description>He turns proudly to them .<\/scene_description>\n    <character>BORDER COP<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What you think? All his little sisters come to visit from America?<\/dialogue>\n    <scene_description>Viko looks knowingly at Kathy .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>That's it. Conspiracy to traffick.<\/dialogue>\n    <scene_description>He slaps a key . The file prints out on an old daisy - wheel printer . Kathy scans the pages .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BORDER STATION - MOMENTS LATER<\/stage_direction>\n    <scene_description>Kathy and Viko hurry to the car .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>We arrest the buyer first. The bar - owner. The border log corroborates the victims' testimony. Once he's in custody, we raid his place and get those girls out.<\/dialogue>\n    <scene_description>Kathy jumps INSIDE THE CAR .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>The raid has to be small. No - one knows the bar till we're on our way.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RECEPTION - BILL HYNES' OFFICE - UNMHQ - EVENING<\/stage_direction>\n    <scene_description>Kathy waits , nervous , holding the border logs . The RECEPTIONIST eyes her .<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>He should n't be long now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BILL HYNES' OFFICE - UNMHQ - NIGHT<\/stage_direction>\n    <scene_description>Bill on the edge of his desk . Kathy paces , frantic .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>That's why I came straight to you. They were brought across the border by our guys. I need two back - up security vans for a raid, with well - trained -<\/dialogue>\n    <character>BILL HYNES<\/character>\n    <dialogue>Our resources are tight. I have to prioritize -<\/dialogue>\n    <character>KATHY<\/character>\n    <parenthetical>( holding the border logs . )<\/parenthetical>\n    <dialogue>This is real evidence. And that's just a drop in the ocean. I have hundreds of files. Photos, corroborated statements. We can build this case and get the perpetrators out of the mission -<\/dialogue>\n    <scene_description>Bill shakes his head .<\/scene_description>\n    <character>BILL HYNES<\/character>\n    <dialogue>If I could give you a piece of advice it would be to think of the future.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>These girls -<\/dialogue>\n    <character>BILL HYNES<\/character>\n    <dialogue>Are Collateral Damage. Whores of War. It's nothing new. Every conflict produces them.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>You know as well as I do, those girls are n't a product of the war. They're a product of the peace. For the peace - keepers.<\/dialogue>\n    <scene_description>Kathy is repulsed . Bill takes a seat .<\/scene_description>\n    <character>BILL HYNES<\/character>\n    <dialogue>This is your first mission. You're eager. But we work in a very grey area and that can get messy. Everybody wants the UN to take the gloves off but they do n't want us to get our hands dirty. It's a fucking Catch - 22. So what do we do? We prioritize. We do our best and we always look at the bigger picture. You're a mother. Fine. I see what you're doing with these girls. Maybe that's why you're thinking with your heart not your head. But you have a chance at a career in the international sector. Ride this out. Get a promotion. Human Rights in Liberia, Afghanistan. I do n't give a shit. And then, when you're running the show, you can implement whatever changes you see fit. But right now be smart and shut this bullshit down!<\/dialogue>\n    <scene_description>The veil is lifted . Kathy stands frozen . The blunt workings of the machine are laid bare .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAZA - UNMHQ - DAY<\/stage_direction>\n    <scene_description>Kathy leans on a balcony overlooking the main plaza at HQ . She observes the sleek facade of honor and power . She straightens , and walks away without looking back .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCAL CANTON STATION - NIGHT<\/stage_direction>\n    <scene_description>A RAID TEAM suits up : FIVE LOCAL COPS and THREE IPTF OFFICERS . Viko turns and hands Kathy a helmet .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( to Viko and other cops . )<\/parenthetical>\n    <dialogue>Try and get him outside first, then arrest him. Once you've got him outta there we'll go in. I want the girls to know they're safe.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY - NIGHT<\/stage_direction>\n    <scene_description>A police vans SPEEDS down the road . TWO UN VANS follow .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UN VAN - SAME<\/stage_direction>\n    <scene_description>Kathy focuses in the cabin filled with SUITED IPTF OFFICERS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OASIS BAR - NIGHT<\/stage_direction>\n    <scene_description>Viko pulls up to the bar . The UN SUV skids into the shadows . Viko and Danik go inside . Kathy glances back at her IPTF officers as they - Pull their visors down , and WAIT - Quiet - Wind in the trees - MUSIC ECHOING from inside as . Viko and Danik emerge , chatting with Ivan . Suddenly . Ivan jolts back - COPS grab him - He 's YELLING - HANDCUFFED - Kicking . Punching - They PUSH him into the VAN - Viko SLAMS the door , turns to the UN van and nods .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UN VAN - CONTINUOUS<\/stage_direction>\n    <scene_description>Kathy looks back to the IPTF officers , raises three fingers . then TWO . ONE . The POLICE VAN SQUEALS AWAY , as . They SLAM open the doors of the bar and RUSH INTO .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OASIS BAR - CONTINUOUS<\/stage_direction>\n    <scene_description>BURSTING in the doors - Clients scatter - RUSH to the EXITS Girls turn from the bar , the stage , the seating area - disoriented - eyes darting . Local police spread around the bar , slamming , pushing clients outside . Kathy pulls off her helmet and SCANS the room .<\/scene_description>\n    <character>VIKO<\/character>\n    <dialogue>We have a warrant to search this premises. The owner of this bar Ivan Bladzic has been arrested and taken into custody for human trafficking.<\/dialogue>\n    <scene_description>The girls look at one another . Is this for real ? The BARMAN steps forward . He looks like he 's had a few drinks .<\/scene_description>\n    <character>BARMAN<\/character>\n    <dialogue>Fuck you!<\/dialogue>\n    <scene_description>Kathy eyes the girls . Their confusion , their fear . Danik , hesitates , confronted with the vulnerability of these girls . His face softens . He looks to Kathy for direction .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>You do not have to be afraid of Ivan Bladzic. He can not hurt you now.<\/dialogue>\n    <scene_description>But the GIRLS do n't move . Kathy looks out - Stunned - Because she sees . Raya . Standing . Shocked . No idea who to trust anymore . One last shred left of the dream of escape . Kathy goes to her . But Raya 's eyes dart to . Luba . Then to Kathy , recognizing the last kind face she saw .<\/scene_description>\n    <character>BARMAN<\/character>\n    <parenthetical>( BROKEN ENGLISH . )<\/parenthetical>\n    <dialogue>These girls work here. They have all documents, passports! You can fuck off.<\/dialogue>\n    <scene_description>Two local cops GRAB him . Danik CUFFS him . The girls are astounded . Viko holds up passports .<\/scene_description>\n    <character>VIKO<\/character>\n    <dialogue>Fakes. Bad ones.<\/dialogue>\n    <scene_description>The barman is dragged outside . Kathy scans the girls . Ending on Raya . her faith awakening .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>We want to get you out of here safely. That is my absolute priority.<\/dialogue>\n    <scene_description>The girls exchange a flurry of looks , speaking volumes . Should we trust her ? Can we risk it ?<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( To Viko . )<\/parenthetical>\n    <dialogue>Get those blankets out of the vans. Let's get these girls out.<\/dialogue>\n    <scene_description>But the girls still do n't move . Raya . Fractured with despair . After all she has been through , all the punishment , all the pain . Raya holds Luba 's gaze - Maybe even she could be convinced . And Raya starts to step to Kathy . When . Behind Kathy , an IPTF officer removes his helmet . Mike Sears . He stares at Raya . Petrifying her . Kathy sees it in her - WHIPS around . Mike Sears avoids her gaze . Kathy turns back to Raya . Moving closer , quietly , out of earshot of the others .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You just have to tell me you want to go. That you do not work here voluntarily. And we will get you to safety.<\/dialogue>\n    <scene_description>Raya wants so badly to answer .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You can leave with me this second. All of you can. But I need you to say it.<\/dialogue>\n    <scene_description>Raya eyes Mike Sears - He looks to Luba . Luba turns back to Raya - Pleading - Do n't do it .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You know me.<\/dialogue>\n    <scene_description>Raya ca n't look at Kathy . Tears stream down her face .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You can all leave with me!<\/dialogue>\n    <parenthetical>( to Raya . )<\/parenthetical>\n    <dialogue>Let's go.<\/dialogue>\n    <scene_description>Raya . With her heart breaking .<\/scene_description>\n    <character>RAYA<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Kathy looks at the all girls . Their eyes flitting between Mike and Kathy . And she understands . Kathy REELS around . Grabs Mike by the collar - SHOVING him to the door - SLAMMING him against the wall .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Who the fuck are you? What have you done? What's wrong with you? What's wrong with you? You fuck!<\/dialogue>\n    <scene_description>Mike pushes back .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Get off me, you crazy bitch!<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>They're supposed to TRUST US!<\/dialogue>\n    <scene_description>Viko and Danik pull them apart .<\/scene_description>\n    <character>VIKO<\/character>\n    <dialogue>C'mon Kathy. It's over.<\/dialogue>\n    <scene_description>She steps back - Catching her breath - Shaking her head - NOT AGAIN . She looks at Raya , tears streaming down her terrified face .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>I know this girl. I know her. We ca n't leave them here. We're supposed to -<\/dialogue>\n    <character>VIKO<\/character>\n    <dialogue>If they wo n't come, we ca n't force them. Nothing will hold up in court. They'll be returned and punished. Do you want blood on your hands?<\/dialogue>\n    <scene_description>The girls all return to their positions behind the bar , cleaning , sitting around the edges . Not one will catch . Kathy 's eye . She glares at Mike Sears . Kathy watches across the room , devastated . As Raya turns , giving up her last chance to leave , and exits to a back room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OASIS BAR - NIGHT<\/stage_direction>\n    <scene_description>Kathy paces frantically in the darkness . Eyes wild . Viko comes out the door , as it hits her like a blunt kick in the face : sheer helplessness . She TURNS - Fuck diplomacy , Fuck bureaucracy , Fuck protocol - and RUSHES back towards the bar . Viko stops her , grabs her . Kathy 's eyes filling with tears she can not cry - Her heart breaking . Viko holds her tight , and pulls her away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. UN VAN - NIGHT<\/stage_direction>\n    <scene_description>Kathy sits in total silence , her face white , staring ahead .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - OASIS BAR - NIGHT<\/stage_direction>\n    <scene_description>Raya crouches in a corner , stifling her sobs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALYNA'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Halyna pours water into a kettle . IN THE LIVING ROOM a TV shows footage of the GDA DOCUMENTARY : THE GDA logo spins . Footage of Halyna ON SCREEN :<\/scene_description>\n    <character>HALYNA<\/character>\n    <parenthetical>( ON TV ; BROKEN ENGLISH . )<\/parenthetical>\n    <dialogue>It took me very long time to realize there was name for this of trafficking. that there are big organizations like GDA who work for against this crime all these years.<\/dialogue>\n    <scene_description>WE SEE FOOTAGE OF THE GDA OFFICE . The place is busy , the staff members look sharp and efficient . CLOSE ON : LAURA<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MADELEINE REES' OFFICE - UNHCR - SAME<\/stage_direction>\n    <scene_description>Madeleine watches the same footage . CLOSE ON SCREEN : Laura .<\/scene_description>\n    <character>LAURA LEVIN<\/character>\n    <parenthetical>( ON SCREEN . )<\/parenthetical>\n    <dialogue>With renewed funding support from USAID, the Global Displacement Agency continues to be the pioneering leader in international counter - trafficking.<\/dialogue>\n    <scene_description>Milena sits by Madeleine . Both saddened realizing .<\/scene_description>\n    <character>MILENA<\/character>\n    <dialogue>And our matching funds go to the GDA.<\/dialogue>\n    <character>MADELEINE<\/character>\n    <parenthetical>( shaking her head . )<\/parenthetical>\n    <dialogue>The State Department money monster. Ironic, is n't it? That the very people whose money we need to fund a shelter to protect these girls, are the exact people they need protecting from.<\/dialogue>\n    <scene_description>She turns up the TV , onto . HALYNA 'S INTERVIEW . O.S. . A KETTLE WHISTLES<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALYNA'S APARTMENT - SAME<\/stage_direction>\n    <scene_description>Halyna puts tea leaves in a strainer . Listening to a TV in the adjoining living room . Where FOOTAGE OF THE GDA plays .<\/scene_description>\n    <character>GIRLS VOICE #1<\/character>\n    <parenthetical>( O.S. ; BROKEN ENGLISH . )<\/parenthetical>\n    <dialogue>My husband tell me, I will be gone one month. His friend arrange for me a job. But his friend bought me for two thousand dollars.<\/dialogue>\n    <scene_description>Halyna pours water through the strainer .<\/scene_description>\n    <character>GIRLS VOICE #2<\/character>\n    <parenthetical>( O.S. ; BROKEN ENGLISH . )<\/parenthetical>\n    <dialogue>My sister arrange for my papers. Her boyfriend did this for 12 other girls.<\/dialogue>\n    <scene_description>Halyna puts down the kettle . An ACADEMIC SPEAKS on TV .<\/scene_description>\n    <character>ACADEMIC<\/character>\n    <dialogue>More often than not, traffickers prey on those they know. Banking on the fact that a girl will trust them. Traffickers are fathers, brothers, sisters, uncles and aunts.<\/dialogue>\n    <scene_description>Halyna 's face whitens . It hits her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROMAN AND ZENIA'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Halyna glares at Zenia , who heaves tears .<\/scene_description>\n    <character>ZENIA<\/character>\n    <parenthetical>( UKRAINIAN . )<\/parenthetical>\n    <dialogue>I wanted to tell you -<\/dialogue>\n    <scene_description>Halyna silences her with her hand . She walks around the apartment , taking it all in . The money is in the details . An LCD TV , DVD player . Halyna 's hand traces over the things .<\/scene_description>\n    <character>HALYNA<\/character>\n    <parenthetical>( UKRAINIAN . )<\/parenthetical>\n    <dialogue>It's how you pay for this.<\/dialogue>\n    <character>ZENIA<\/character>\n    <dialogue>Roman, he does. I'm -<\/dialogue>\n    <scene_description>Halyna stiffens . An anger she thought impossible . She grabs a vase . She wants to throw it at Zenia , but at the last minute she throws it into a wall . Zenia falls as the vase SMASHES .<\/scene_description>\n    <character>HALYNA<\/character>\n    <parenthetical>( UKRAINIAN . )<\/parenthetical>\n    <dialogue>How. Could. You. Sell your own blood. tu xorobo. Where is she?<\/dialogue>\n    <character>ZENIA<\/character>\n    <parenthetical>( UKRAINIAN . )<\/parenthetical>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>HALYNA<\/character>\n    <parenthetical>( UKRAINIAN . )<\/parenthetical>\n    <dialogue>Where is she?! Where is she!? Whe -<\/dialogue>\n    <scene_description>Roman walks in . Halyna lunges at him . He knocks her onto the ground . Zenia crawls to her sister . Roman steps between them .<\/scene_description>\n    <character>ROMAN<\/character>\n    <parenthetical>( UKRAINIAN . )<\/parenthetical>\n    <dialogue>She is no longer your sister. Stay away from me! Stay away from her!<\/dialogue>\n    <scene_description>Halyna spits in his face . He smacks her . She lifts her hand to punch him , but he grabs it and pushes her out the door . ON THE STREET Halyna bends over , heaving . She runs at the door , banging on it . PEDESTRIANS stare . A lunatic 's rage in Halyna 's eyes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHY'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Kathy holds the phone . Her hands shake . Tears streaming .<\/scene_description>\n    <character>ERIN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Mom, what's wrong?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Erin? No. Nothing's wrong. I just needed to. I needed to say I'm sorry. I'm sorry if you ever felt I was n't there for you, but. I love you.<\/dialogue>\n    <scene_description>Kathy ca n't keep it in anymore . She let 's go and cries it all out , to the one person she wanted to be so strong for .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHY'S APARTMENT - LATER<\/stage_direction>\n    <scene_description>Kathy stares at her computer . She presses NEW MESSAGE . CLOSE ON A BLANK EMAIL , THE `` TO '' LINE IS EMPTY . Kathy types . We see the following addresses : `` UN CHIEF OF STAFF '' , `` HIGH COMMISSIONER BOSNIA '' , `` UN SECRETARY '' . She continues typing . CLOSE ON THE SUBJECT LINE : DO NOT READ IF YOU HAVE A WEAK STOMACH OR GUILTY CONSCIENCE Kathy pours her heart into the keyboard . As she types .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I am a police officer obligated to report crimes. I have taken statements from women describing their physical, psychological, and emotional torture.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OASIS BAR - BACK ROOM - LATE NIGHT<\/stage_direction>\n    <scene_description>The girls sleep . Raya lies awake crying .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>On arriving in Bosnia these women are sold, and forced to provide sexual services.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BORDER STATION - NIGHT<\/stage_direction>\n    <scene_description>An IPTF VAN stops . The window rolls down : It 's Mike Sears .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Their clientele consists of SFOR, IPTF, local police, and International employees. Worse, they have become involved in the trade itself.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HALYNA'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Halyna sits at an empty table . Her face gaunt from worry .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It is time each and every one of you realize this is a serious organized crime, with enormous profits.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCAL POLICE STATION - NIGHT<\/stage_direction>\n    <scene_description>The Oasis Barman dumps a STACK of DOLLARS on the counter . Fills out a form . Ivan Bladzic is released by a COP .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>You are peace keepers who came to protect the innocent but now prey upon them in the worst ways possible.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARKET - NIGHT<\/stage_direction>\n    <scene_description>Lines of YOUNG GIRLS . A BUYER approaches one of them . She closes her eyes , too tired to fight .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>It is time to face the truth of what is happening. We can right our wrongs, and move forward, ashamed, but accountable and transparent.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHY'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Kathy finishes typing .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>We may be accused of thinking with our hearts instead of our heads, but we will have our integrity.<\/dialogue>\n    <scene_description>We pull back as she sits in front of the computer . Nothing but the screen illuminating her face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACK BEDROOM - OASIS BAR - MORNING<\/stage_direction>\n    <scene_description>The girls ca n't sleep . THE DOOR OPENS . Luba comes in , quickly closing the door behind her . She rushes to Raya .<\/scene_description>\n    <character>LUBA<\/character>\n    <parenthetical>( UKRAINIAN . )<\/parenthetical>\n    <dialogue>He's coming back in the morning. He's furious. Convinced you will talk.<\/dialogue>\n    <scene_description>The other girls rally around , supportive . Raya shakes . Luba looks into her eyes , suddenly melting .<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>( UKRAINIAN . )<\/parenthetical>\n    <dialogue>But I did n't say anything. I wo n't say anything. I did n't.<\/dialogue>\n    <parenthetical>( SOBBING . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Luba holds her tight . Their friendship not buried after all . Luba unlocks a window , and gives her some money .<\/scene_description>\n    <character>LUBA<\/character>\n    <dialogue>He's gon na kill you. Go! Go!<\/dialogue>\n    <scene_description>Raya 's eyes widen . Terrified . She jumps out into the unknown .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHY'S APARTMENT - MORNING<\/stage_direction>\n    <scene_description>Kathy buttons up her uniform . Logging into her email . MAILBOX FULL In the INBOX : EMAIL after EMAIL . All with the same subject : RE : DO NOT READ IF YOU HAVE A WEAK STOMACH OR GUILTY CONSCIENCE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BILL HYNES' OFFICE - UN MISSION HEADQUARTERS - DAY<\/stage_direction>\n    <scene_description>Blakely , Rick and JOHN MORGAN , 50s , State Department , stands behind a FUMING Bill Hynes . He throws down Kathy 's email .<\/scene_description>\n    <character>BILL HYNES<\/character>\n    <dialogue>What is this?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>An email I wrote.<\/dialogue>\n    <scene_description>Bill suppresses his anger . He holds out his hand . Blakely hands him a document . Bill places it before Kathy .<\/scene_description>\n    <character>BILL HYNES<\/character>\n    <dialogue>The actions I am taking are for your own benefit. We are seeking your repatriation back to the United States.<\/dialogue>\n    <character>KATHY<\/character>\n    <parenthetical>( stunned . )<\/parenthetical>\n    <dialogue>You ca n't -<\/dialogue>\n    <character>BILL HYNES<\/character>\n    <dialogue>I'm doing this for your own good.<\/dialogue>\n    <scene_description>Kathy eyes him , her gaze shifting to Morgan .<\/scene_description>\n    <character>BILL HYNES<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Right now, we are still willing to pay your way home. You need to sign this, to start your check - out procedure. You will be out of this mission by Sunday.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>She leaves . Without signing anything .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/ EXT. MADELEINE REES' OFFICE - AFTERNOON<\/stage_direction>\n    <scene_description>THROUGH THE WINDOW : Kathy paces , nervous , telling all . Madeleine stands , resolved . Says something . Kathy nods , skeptical . Madeleine picks up the PHONE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BILL HYNES' OFFICE - UNMHQ - DAY<\/stage_direction>\n    <scene_description>Madeline slams the door , having burst in . She stops . Squaring off with Bill . Two WARRIORS . Bill keeps calm .<\/scene_description>\n    <character>BILL HYNES<\/character>\n    <dialogue>I'm starting to get a fucking headache. All your people do is gender.<\/dialogue>\n    <character>MADELEINE<\/character>\n    <dialogue>Right. It is a core function of the Gender Office.<\/dialogue>\n    <scene_description>He looks over , unimpressed .<\/scene_description>\n    <character>MADELEINE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>About the memo -<\/dialogue>\n    <character>BILL HYNES<\/character>\n    <dialogue>The email? It seriously concerned me. The level of recklessness she used speaks volumes toward her mental state. This is for her own good.<\/dialogue>\n    <character>MADELEINE<\/character>\n    <dialogue>Bullshit. You ca n't just fire her without cause. You need a reason that would stand up in court!<\/dialogue>\n    <character>BILL HYNES<\/character>\n    <dialogue>She's burned out Madeleine!<\/dialogue>\n    <character>MADELEINE<\/character>\n    <dialogue>She is not burned out, she's being burned!<\/dialogue>\n    <character>BILL HYNES<\/character>\n    <dialogue>You hired her. You keep her under control. You've always wanted to run this your way. But I'm not going to let anyone interfere with the way I run my mission!<\/dialogue>\n    <character>MADELEINE<\/character>\n    <dialogue>Then start running it with some integrity! It's your people perpetrating crimes against humanity!<\/dialogue>\n    <scene_description>She goes to the door furious . But before she leaves .<\/scene_description>\n    <character>BILL HYNES<\/character>\n    <dialogue>Madeleine. Drop this. It's coming from above my head.<\/dialogue>\n    <scene_description>She stops .<\/scene_description>\n    <character>MADELEINE<\/character>\n    <dialogue>This is coming from Washington?<\/dialogue>\n    <character>BILL HYNES<\/character>\n    <dialogue>Yes. They want her out.<\/dialogue>\n    <scene_description>Madeleine leaves . Focused . Something up her sleeve .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMERICAN APARTMENT COMPLEX - NIGHT<\/stage_direction>\n    <scene_description>Sulpher lights . Kathy approaches the building . The American Flags hang from the windows . But it 's quiet . Spookily quiet . Kathy moves quickly . Alert . Something moves - Behind A CAR - Flash of A MAN - Kathy picks up her pace - Eyes forward , but . The Man . Comes up behind her . Kathy flinches , as . he grabs her . She turns quick . Realizing . It 's Franz .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Let's go. Like nothing's wrong.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHY'S APARTMENT - MOMENTS LATER<\/stage_direction>\n    <scene_description>Franz takes apart Kathy 's phone . Removing . a small DEVICE . Kathy stares , alarmed . Franz looks around , frantic . Searching . The COMPUTER . He rushes over . Turns it on . ON SCREEN : A CURSOR FLASHES . Franz types . I HAVE FRIENDS IN BRITISH INTEL . He points to the ceiling . Kathy eyes the walls . Lingering over each corner and crack . Franz grabs the keyboard . PEOPLE ARE LISTENING TO YOU . Kathy watches the screen . Afraid .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DRIVE WAY - SARAJEVO - NIGHT<\/stage_direction>\n    <scene_description>Franz lays talcum powder under a UN SUV .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANZ' HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Franz ' house is small , a bit messy . Kathy 's on the phone .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>He's powdering my car.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAN'S HOME - THE NETHERLANDS - SAME<\/stage_direction>\n    <scene_description>Jan shakes his head , horrified he 's not there .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>The door handles too? Check thoroughly to see if there are any prints before you get in that car tomorrow. Kathy, are you listening?<\/dialogue>\n    <scene_description>Kathy nods . Still grasping what 's happening .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>So you know how we talked about living together? It may be a bit sooner than we planned.<\/dialogue>\n    <scene_description>She offers a nervous laugh .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>Kathy, maybe it's time to come home.<\/dialogue>\n    <scene_description>She hangs her head . Then . A KNOCK at the DOOR . Kathy turns . She puts down the phone . Inching forward . EYES ON THE DOOR . Reaching it , Kathy looks through the EYEHOLE . And exhales . She opens the door to . Madeleine Rees . FRANZ 'S HOUSE - MOMENTS LATER Kathy listens , anxious as Madeleine lays it out .<\/scene_description>\n    <character>MADELEINE<\/character>\n    <dialogue>It's bollocks. Absolute and total. You have signed a contract with Dyncorp Aerospace Operations U.K. And there is no provision under English law for summary dismissal without due process or an investigation.<\/dialogue>\n    <scene_description>Madeleine stops . seeing Kathy is overwhelmed .<\/scene_description>\n    <character>MADELEINE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>But there was something else Bill said. If this is coming from above. Kathy, you need to prove that they are dismissing you because you were uncovering wide - spread corruption within this mission. If you can prove that this is indeed coming from Washington, that the State Department is instructing Dyncorp to fire you. Then we're talking about a conspiracy.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>They tell me. people disappear. They bug my house. I mean, I'm sitting here, worried there's a bomb in my car -<\/dialogue>\n    <character>MADELEINE<\/character>\n    <dialogue>We can fight this.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>This is n't just my career, it's my life. I do n't know if I'm ready to be a scapegoat.<\/dialogue>\n    <character>MADELEINE<\/character>\n    <dialogue>That's exactly what you are.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Whose?<\/dialogue>\n    <scene_description>She eyes Madeleine , pointed . Madeleine sits back .<\/scene_description>\n    <character>MADELEINE<\/character>\n    <dialogue>I do n't know what to say to that. Think about this. Let me know what you want to do. I'll support you either way.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUNTAINS - BOSNIA - EARLY MORNING<\/stage_direction>\n    <scene_description>An aerial glide over the mountains of Bosnia .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OASIS BAR - BACK BEDROOM - MORNING<\/stage_direction>\n    <scene_description>The girls sleep in their cots , when . BAM ! Ivan kicks open the door . He throws Raya in . On the ground . The girls wake . Ivan . He picks Raya up by the neck . She fights . Luba runs in .<\/scene_description>\n    <character>RAYA<\/character>\n    <parenthetical>( RUSSIAN . )<\/parenthetical>\n    <dialogue>I did n't say anything. I never will. Why are you doing this? I just want to go home. I want to see. Mama. Mama.<\/dialogue>\n    <scene_description>But he kicks Raya in the stomach . She ROARS in pain . He flips her over . Shaking her . He looks to the other girls . FURIOUS .<\/scene_description>\n    <character>IVAN<\/character>\n    <parenthetical>( RUSSIAN . )<\/parenthetical>\n    <dialogue>This all happened because of you.<\/dialogue>\n    <scene_description>He pulls out a gun . Raya looks to Luba for help . But it 's too late . Ivan presses the gun to Raya 's head . He glares into Raya 's eyes . A flash of ire . Raya reaches again . Luba steps forward , when . BANG ! Raya 's body falls . Luba turns away . She cups her hand over her mouth . But a loud cry wails through .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUNTAINS - BOSNIA - DAY<\/stage_direction>\n    <scene_description>The sound of Luba 's scream fades over the morning . The wide horizon is calm . But a closer look reveals .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVER - MOUNTAINS - BOSNIA - DAY<\/stage_direction>\n    <scene_description>POLICE cordon off a RIVER BANK . Through an opening we see . Viko . Keeping local cops at bay . Behind him is . Kathy . In civilian clothes . Standing over a . DEAD BODY . Raya . Kathy stares , expressionless . Viko clears the cops out . Kathy turns , and retches . She pulls air into lungs , then straightens . She looks up to the trees , the apex of this leafy cathedral , as if invoking some higher power .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MADELEINE REES' OFFICE - DAY<\/stage_direction>\n    <scene_description>Kathy comes in . Madeleine looks up from a phone call .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>What do I do?<\/dialogue>\n    <character>MADELEINE<\/character>\n    <dialogue>Hand in an appeal. Keep reporting to work. Watch how they respond. Build your case. And catch them in their lies.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNMHQ - DAY<\/stage_direction>\n    <scene_description>Kathy holds an envelope . Hynes ' SECRETARY looks at Kathy . MUFFLED SCREAMING from his office . Kathy leaves the letter .<\/scene_description>\n    <character>SECRETARY<\/character>\n    <dialogue>Ms. Bolkovac. I, me and the other secretaries. Your email was the bravest thing anyone's even done in this mission.<\/dialogue>\n    <scene_description>Kathy nods , truly appreciating that . She walks away , her silhouette growing smaller and smaller down the hall . The secretary takes Kathy 's letter . Walking into BILL HYNES ' OFFICE Bill paces around Rick Jones , Ambassador Wells and John Morgan . Hynes grabs Kathy 's letter .<\/scene_description>\n    <character>MORGAN<\/character>\n    <dialogue>Get something on her! Get anything!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PERSONNEL - UN MISSION HEADQUARTERS - DAY<\/stage_direction>\n    <scene_description>Carmen listens to an anxious Kathy .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>If you could just go into my office, I'll give you a key to the cabinets.<\/dialogue>\n    <scene_description>But Carmen ca n't even meet Kathy 's eye .<\/scene_description>\n    <character>CARMEN<\/character>\n    <dialogue>Kath. my parents really need the money I send home. It's a lifesaver for them. My Dad has medical bills. I'm so sorry.<\/dialogue>\n    <scene_description>Kathy nods , understanding but disappointed . She is alone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOSNIAN DEPARTMENT STORE - DAY<\/stage_direction>\n    <scene_description>Out of date , and under - stocked , the store is as spruce as a little post - war TLC could make it . Kathy stands at a counter , where a CLERK puts down a chunky PORTABLE CASSETTE RECORDER .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>You do n't have anything smaller?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANZ' HOUSE - DAY<\/stage_direction>\n    <scene_description>Kathy paces . She holds a tape recorder to the phone .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Yes, this is Kathy Bolkovac and -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIRSTRIP - SARAJEVO - CONTINUOUS<\/stage_direction>\n    <scene_description>Ambassador Wells in ushered toward a UN PLANE . Into a PHONE :<\/scene_description>\n    <character>AMBASSADOR WELLS<\/character>\n    <dialogue>I can hardly hear you. Can you yell -<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>OK. CAN YOU HEAR ME NOW?<\/dialogue>\n    <character>AMBASSADOR WELLS<\/character>\n    <dialogue>YES. GO AHEAD.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>THIS IS KATHRYN BOLKOVAC. I WANTED TO DISCUSS MY TERMINATION -<\/dialogue>\n    <character>AMBASSADOR WELLS<\/character>\n    <dialogue>THIS IS BETWEEN YOU AND THE IPTF.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>OK. IT'S JUST THAT I WAS TOLD YOU MET WITH MR. HYNES ABOUT ME.<\/dialogue>\n    <character>AMBASSADOR WELLS<\/character>\n    <dialogue>THAT IS TOTALLY UNTRUE! WHO TOLD YOU THAT? I BARELY RECOGNIZE YOUR NAME. I CA N'T TALK RIGHT NOW.<\/dialogue>\n    <scene_description>The PLANE ENGINES are roaring . Kathy ca n't hear him . She slams down the phone . Staring at the recorder . Thinking .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT.   UN SUV\/ UNMHQ PARKING LOT - DAY<\/stage_direction>\n    <scene_description>Kathy , parked . Rips open a CASSETTE TAPE . She looks at her personage - this is n't fitting anywhere . RAIN hits the windshield . The glass becomes blurry in the haze of water . Kathy grabs a UN windbreaker from the back . Sticks the recorder in its pocket .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. LOBBY - UNMHQ - DAY<\/stage_direction>\n    <scene_description>Kathy flashes her UN ID . The guard eyes her . PASSERS - BY also .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - UNMHQ - DAY<\/stage_direction>\n    <scene_description>Kathy walks down the hall . Feeling it close in on her . Turning a corner , to . KATHY 'S OFFICE Peter Ward stands in front . He ca n't look her in the eye . Kathy slips her hand into her pocket . Fumbling . Then looks up . She 's got it . ECU of TAPE WHEELS turning . Kathy moves forward . Coming closer , she sees behind Peter . A NOTICE ON THE DOOR : GENDER OFFICE SHUT DOWN . Peter hands Kathy an envelope . Looking up . Apologetic . She reads , stunned .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Timesheet Violations? They are firing me for time sheet violations!<\/dialogue>\n    <character>PETER WARD<\/character>\n    <dialogue>You should go.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I'm not going anywhere. Not without an investigation. Madeleine Rees is -<\/dialogue>\n    <character>PETER WARD<\/character>\n    <dialogue>Hynes has sent a delegate to Vienna to have Madeleine Rees removed.<\/dialogue>\n    <scene_description>Kathy is stopped short .<\/scene_description>\n    <character>PETER WARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>State Department auditors are here. Asking for files on trafficking, prostitution and time sheets.<\/dialogue>\n    <scene_description>Kathy stops . Realizing .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Can you repeat that?<\/dialogue>\n    <scene_description>He looks around , nervous .<\/scene_description>\n    <character>PETER WARD<\/character>\n    <dialogue>Look, this is between you and me, but Dyncorp and the State Department. you know it's a dual thing, and this is the action they have taken, whether right or wrong. I'm being told to do this.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>So you're saying the State Department is instructing Dyncorp to fire me.<\/dialogue>\n    <scene_description>Peter nods . And Kathy has what she needs .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Please. can I just go in for one minute, get my personal belongings.<\/dialogue>\n    <scene_description>She eyes him . Knowing who he is inside . He should n't . But Peter opens the door . Kathy goes in KATHY 'S OFFICE - CONTINUOUS Closes the door behind her . Rushing - to the File Cabinet - takes out her keys - TO THE BOTTOM DRAWER - Kathy pushes back FRONT FILES - Takes FILES OUT - Looking around - - She grabs a GYM BAG - STUFFS IN AS MANY FILES AS SHE CAN . She zips up the bag . Looks at the door . Still closed . She . TAKES OUT HER TAPE RECORDER . Huddles down behind her desk . PRESSES PLAY . But all she hears is FUZZ .<\/scene_description>\n    <character>PETER WARD<\/character>\n    <dialogue>Kathy.<\/dialogue>\n    <scene_description>She turns . Peter stands over her . Eyeing the tape recorder .<\/scene_description>\n    <character>PETER WARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Scrambling devices.<\/dialogue>\n    <scene_description>She looks at him , waiting for his next move . His eyes soften .<\/scene_description>\n    <character>PETER WARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It probably wo n't work in most of the rooms. Now c'mon. Get out of here.<\/dialogue>\n    <scene_description>She smiles , silently thanking him . She shoves the recorder in her pocket . Grabs the bag . Thrown by it 's heaviness . Peter helps her get it on her shoulder . He ushers her out . Locking the door behind them . They move DOWN THE HALL When Rick Jones barrels after them . Waving Kathy 's appeal . IPTF OFFICERS come out of their office . Kathy rushes into THE ELEVATOR Quickly looking around THE METAL PANELING . She drops the bag . An ECHO REVERBERATES through the HOLLOW SHAFT . Kathy turns . Again slipping her hand in her pocket . This time determined .<\/scene_description>\n    <character>RICK JONES<\/character>\n    <dialogue>I'm gon na tell you this in front of him and everybody else, you no longer have a UN ID. You no longer have a UN job. You do not have a job with the Department of State. The Department of State holds your contract. They are the ones who are pulling it. You will not have an appeal. You will not have a hearing. You will not have anything. Do you understand?<\/dialogue>\n    <scene_description>Kathy lets the doors close without saying a word .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHY'S OFFICE - MISSION HEADQUARTERS - SAME<\/stage_direction>\n    <scene_description>The lights are off . The office sits untouched . Move over the bulletin board , still overflowing with faces of girls .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAYS - UNITED NATIONS HEADQUARTERS - NIGHT<\/stage_direction>\n    <scene_description>The halls . Quiet . Still . No sense of the noise to come .<\/scene_description>\n    <character>REPORTER'S VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>suspected UN involvement in international sex trafficking. Rumors of these allegations began surfacing after an email was sent describing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STUDIO - BBC HARDTALK - DAY<\/stage_direction>\n    <scene_description>BBC CHIMES . Bill Hynes talks to TIM SEBASTIAN .<\/scene_description>\n    <character>BILL HYNES<\/character>\n    <dialogue>I can categorically state that not one United Nations Officer has been involved in the trafficking of a single woman.<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>Are you saying that you believe all these victims' claims to be false?<\/dialogue>\n    <character>BILL HYNES<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I do n't want to make accusations about those girls. But I will assert over and over again, I run a ZERO TOLERANCE program for that type of activity.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANZ' HOUSE - DAY<\/stage_direction>\n    <scene_description>Kathy watches footage of Bill Hynes on BBC . She stares in disbelief . Then picks up . THE GYM BAG FULL OF FILES .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \"BROTHEL\" - DAY<\/stage_direction>\n    <scene_description>An IPTF SWAT TEAM bursts down the door of a bar . They move in , waving FLASHLIGHTS over GIRLS running in all directions .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EDITING ROOM - UN MISSION HEADQUARTERS - DAY<\/stage_direction>\n    <scene_description>ON A TV : Girls in silk robes . No sign of torture . They smile at their saviours . Knights in bullet - proof vests . The screen PAUSES . AN EDITOR Turns to Rick Jones .<\/scene_description>\n    <character>RICK JONES<\/character>\n    <dialogue>Any unused footage. Use it all. I want the press flooded with EPKs.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MADELEINE REES' OFFICE - DAY<\/stage_direction>\n    <scene_description>Madeleine speaks to REPORTERS .<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>What do you say to rumors that Dyncorp are working to have you removed?<\/dialogue>\n    <character>MADELEINE<\/character>\n    <dialogue>Try me. These raids are for show and completely amateurish. This is the biggest cover - up I have ever seen!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BASARABSKA MARKET - DAY<\/stage_direction>\n    <scene_description>Kathy moves through TOURISTS browsing for jewelry . Holding the gym bag tight . She turns a corner down a SIDE STREET Narrow . TWO PEOPLE WIDE . Keeping her eyes to the ground .<\/scene_description>\n    <character>BILL HYNES<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>We've had a UN inspection by senior investigators from New York. We've had inspectors from the State Department.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNITED NATIONS HEADQUARTERS - DAY<\/stage_direction>\n    <scene_description>John Morgan leads STATE DEPARTMENT AUDITORS into the lobby .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NARROW ALLEY - BASARABSKA MARKET - DAY<\/stage_direction>\n    <scene_description>Kathy turns into a PIZZA SHOP . Flanked by AMERICAN FAMILIES . She walks , knowingly . into a BACK PATIO . Small and dark . Kathy spots . A WOMAN in the back .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK PATIO - PIZZA SHOP - BASARABSKA MARKET - DAY<\/stage_direction>\n    <scene_description>Kathy sits across from JOANNA PAUL SMITH . Eyeing her gym bag .<\/scene_description>\n    <character>JOANNA PAUL SMITH<\/character>\n    <parenthetical>( BRITISH ACCENT . )<\/parenthetical>\n    <dialogue>I've been working at Human Rights Watch for fifteen years. We've been keeping close tabs on this. No one has come forward with anything solid before.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I have everything you need. When I arrive in Amsterdam safely, I will go on record.<\/dialogue>\n    <scene_description>Joanna nods , a glimmer of admiration . Kathy stands , shakes her hand , and leaves . Disappearing into the crowd .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. CAR\/ROAD - NIGHT<\/stage_direction>\n    <scene_description>Kathy drives alone . Checking the rearview mirror . A car pulls up behind her . It 's bright light blinds Kathy . The car closes in on her . She winces , but . The car passes . It 's just Kathy on the road . The gym bag on the seat beside her . The culmination of everything she 's been fighting for . Her red tail lights disappear into a dark mountain tunnel . Fade up on :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTHOUSE - LONDON, ENGLAND - DAY<\/stage_direction>\n    <scene_description>REPORTERS snap pictures of Kathy .<\/scene_description>\n    <character>BBC REPORTER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Expecting a verdict today. Two years ago, Ms. Bolkovac took her case against her employer, Dyncorp, to an industrial tribunal in Southampton, because the company is governed by UK employment law.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTHOUSE - DAY<\/stage_direction>\n    <scene_description>A THREE JUDGE PANEL in a hearing room . Kathy and KAREN BAILEY , her lawyer . Across from them , a TEAM of DYNCORP DEFENSE ATTORNEYS . Rick Jones in the seating area .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INDEPENDANCE SQUARE - KYIV - DAY<\/stage_direction>\n    <scene_description>Luba walks through a crowd . She stops at a fountain and looks around , nervous . Then she spots . Mara .<\/scene_description>\n    <character>MARA<\/character>\n    <parenthetical>( RUSSIAN . )<\/parenthetical>\n    <dialogue>Ivan let you go. This is what you do now.<\/dialogue>\n    <scene_description>Luba nods , understanding . BACK IN THE COURTROOM Karen squeezes Kathy 's hand . Kathy looks to the back of the courtroom . Erin smiles at Kathy . So proud . JUDGE SWISS holds up Kathy 's TAPE RECORDER . Kathy straightens . The Judge reads from a VERDICT . Karen 's face lights up . Kathy 's won . Jan breathes , relieved .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COFFEE SHOP - KYIV - DAY<\/stage_direction>\n    <scene_description>Mara and Luba sit across from a YOUNG GIRL , 16 . The girl excitedly flips through a SWISS HOTEL BROCHURE .<\/scene_description>\n    <character>YOUNG GIRL<\/character>\n    <parenthetical>( UKRAINIAN . )<\/parenthetical>\n    <dialogue>You both worked here?<\/dialogue>\n    <scene_description>Mara looks at Luba , a ` do or die ' look in her eye . Hiding her shame , she gathers her strength for this lie .<\/scene_description>\n    <character>LUBA<\/character>\n    <parenthetical>( UKRAINIAN . )<\/parenthetical>\n    <dialogue>Yes. It will change your life.<\/dialogue>\n    <scene_description>AND IN THE COURTROOM FLASHBULBS pop as Kathy stands . Pleased , but not elated . The Dyncorp team files out . As the judges stand , one of them eyes Kathy . And they connect . As only true lawmen do . But in this moment , the Judge , Kathy and us . We all know . She never wanted to win . She just wanted to do her job .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KYIV - NIGHT<\/stage_direction>\n    <scene_description>The sixty - story high STATUE of MOTHER UKRAINE guards Kyiv .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMALL CHURCH - DAY<\/stage_direction>\n    <scene_description>A PRIEST delivers a sermon . His eyes on Halyna . She sits , holding a picture of Raya . A sprinkling of MOURNERS near her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOSQUE - SARAJEVO - NIGHT<\/stage_direction>\n    <scene_description>WORSHIPPERS kneel and pray .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNITED NATIONS MISSION HEADQUARTERS - NIGHT<\/stage_direction>\n    <scene_description>The member countries ' flags crack in the wind . WHITE UN VEHICLES are parked outside . The United Nations stands watch . FADE OUT .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BBC HARDTALK - DAY<\/stage_direction>\n    <scene_description>We end this film with FOOTAGE of THE REAL KATHRYN BOLKOVAC in her BBC HARDTALK INTERVIEW with TIM SEBASTIAN . Show .<\/scene_description>\n    <character>TIM SEBASTIAN<\/character>\n    <dialogue>We talked to Bill Hynes, who was the senior UN official in Bosnia at the time, we talked to him a year ago, on this program about some of your allegations. He said they were n't true at all. He said ` We've had senior officials from New York, we've had investigations from the State Department. I can now categorically say that not a single UN official was involved in trafficking'.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I think that Mr. Hynes knows this is a false statement.<\/dialogue>\n    <character>TIM SEBASTIAN<\/character>\n    <dialogue>So you're accusing him of lying. That not a single word he said is true.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I watched that. Yes.<\/dialogue>\n    <scene_description>Tim shifts . Kathy sits calm .<\/scene_description>\n    <character>TIM SEBASTIAN<\/character>\n    <dialogue>Would you do it again?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Yes I would. No doubt about it. I would definitely do it again. I'm not the type of person who would. As a law enforcement officer, I am held to a higher standard.<\/dialogue>\n    <scene_description>BLACKNESS . AFTER A TWO YEAR BATTLE , A BRITISH TRIBUNAL RULED THAT KATHRYN BOLKOVAC MADE A PROTECTED DISCLOSURE AND WAS UNFAIRLY DISMISSED BY DYNCORP FOR BLOWING THE WHISTLE . KATHRYN BOLKOVAC IS YET TO BE RE - HIRED IN THE INTERNATIONAL SECTOR . HER NAME WOULD THREATEN AN INSTITUTION 'S FUNDING . IN 2003 , DYNCORP WON A MULTI - MILLION DOLLAR CONTRACT IN IRAQ . THIS IN ADDITION TO CONTRACTS IN COLUMBIA , LIBERIA AND AFGHANISTAN . TRAFFICKING IN PERSONS IS A GLOBAL CRIME . OVER TWO MILLION PEOPLE HAVE BEEN TRAFFICKED FOR THE PURPOSE OF SEXUAL SLAVERY . THE NUMBER OF UNKNOWN CASES ARE IMPOSSIBLE TO TELL . PLEASE STOP THE TRAFFIC .<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Kathryn Bolkovac is a police officer from Lincoln, Nebraska, who accepts an offer to work with the United Nations International Police in post-war Bosnia and Herzegovina for a British company, Democra Security (a pseudonym for DynCorp International). After successfully advocating for a Muslim woman who experienced domestic abuse, Kathryn is appointed head of the department of gender affairs. Raya, a young Ukrainian woman, and her friend Luba are sold to a Bosnian sex-trafficking ring by a relative. Raya escapes with Irka, another girl forced into prostitution, and they are sent to a women's shelter for victims of human trafficking. While investigating their case, Kathryn uncovers a large-scale sexual slavery ring utilized by international personnel (including Americans). She persuades Raya and Irka to testify against their traffickers in court, guaranteeing their safety; however, an indifferent UN official drops Irka at the border between Bosnia and Serbia when she cannot produce a passport. Although rescued from the woods by Kathryn, Irka is too afraid to proceed with the trial. Meanwhile, Raya is recaptured by the traffickers after a corrupt peacekeeper tips them off. To deter other girls from running away and talking to the authorities, the traffickers make an example out of Raya by brutally raping her with a metal pipe in front of them. When she brings the scandal to the attention of the UN, Kathryn discovers that it has been covered up to protect lucrative defense and security contracts. However, she finds allies in her investigation: Madeleine Rees, head of the Human Rights Commission, and internal-affairs specialist Peter Ward. As her investigation continues, Kathryn is met with threats on her answering machine and dead ends when highers-up override and close all the Internal Affairs cases. Still, she continues to try to find Raya, and finally locates her on a raid, but Raya refuses to come with her. A few days later, Raya is found dead, having been shot in the head by one of the traffickers, Ivan. Kathryn sends an email to fifty senior mission personnel detailing her findings; she is then fired from her job. She and Ward acquire evidence of an official admitting the scandal before she is forced to leave the country, and she brings it to the BBC News. The final credits note that after Kathryn's departure, a number of peacekeepers were sent home (although none faced criminal charges because of immunity laws), and the U.S. continues doing business with private contractors such as Democra Security (including billion-dollar contracts in Iraq and Afghanistan)."}
{"movie_name":"From Dusk Till Dawn_1996","imdb_id":"tt0116367","script":"<script>\n  <scene>\n    <stage_direction>EXT. LIQUOR STORE - DAY<\/stage_direction>\n    <scene_description>A convenience store in a Texas Suburb . No other businesses surround it . CLOSE - UP : A light switch is flipped on . The sign on top of the store lights up . It reads : BENNY 'S WORLD OF LIQUOR . BIG SPRING , TEXAS . 109 MILES WEST OF ABILENE . 345 MILES EAST OF THE MEXICAN BORDER . A Texas Ranger patrol car pulls into the parking lot and a real live Texas Ranger , EARL MCGRAW , steps out . McGraw is in full ranger uniform - button shirt , cowboy hat , boots , mirrored shades , tin star and a colt revolver on his hip . It 's about an hour and a half before sundown and McGraw is off duty for the day . The only other car in the parking lot is a 1975 Plymouth<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BENNY'S WORLD OF LIQUOR - DAY<\/stage_direction>\n    <scene_description>A young Hawaiian Shirt wearing man named PETE sits on a stool behind the counter . A few CLOSE - UP : STOMERS fiddle about . A MAN wearing a black suit , black tie , and wire rim glasses holds hands with a PRETTY BLONDE GIRL in cutoffs and bare feet . They look through magazines . Another black suit wearing MAN holds hands with a RED - HEADED GIRL in a prep school uniform . They look through the beer cooler in the back of the store . Both girls are around seventeen . MCGRAW enters the store .<\/scene_description>\n    <character>MCGRAW<\/character>\n    <dialogue>Hot goddamn day!<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Have n't felt it a bit. Been inside with the air conditioner blastin' all day long.<\/dialogue>\n    <character>MCGRAW<\/character>\n    <dialogue>Not even for lunch?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>I'm by myself today, ate my lunch outta the microwave.<\/dialogue>\n    <scene_description>McGraw walks over to the beer cooler , as if done ritually every night -LRB- it is -RRB- , takes out a beer , pops it open and joins Pete by the front counter .<\/scene_description>\n    <character>MCGRAW<\/character>\n    <dialogue>Jesus Christ man, that microwave food will kill ya as quick as a bullet. Those burritos are only fit for a hippie high on weed. Pull me down a bottle of Jack Daniels. I'm gettin' tanked tonight.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Whatsamatter?<\/dialogue>\n    <character>MCGRAW<\/character>\n    <parenthetical>( sighs . )<\/parenthetical>\n    <dialogue>Awww, it's just been a shitass day. Every inch of it hot and miserable. First off, Nadine at the Blue Chip got some sorta sick, so that Mongoloid boy of hers was workin' the grill. That fuckin' idiot do n't know rat shit from Rice Krispies. I ate breakfast at nine, was pukin' up pigs in a blanket like a sick dog by ten thirty.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Is n't there a law or something against retards serving food to the public?<\/dialogue>\n    <character>MCGRAW<\/character>\n    <dialogue>Well, if there ai n't there sure oughta be. Who knows what goes on inside Mongoloid's mind?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>You could sue the shit out of her, ya know. That kid belongs under a circus tent, not flippin' burgers. You could own that fuckin' place.<\/dialogue>\n    <character>MCGRAW<\/character>\n    <dialogue>What the hell would I do with that grease pit? Besides, Nadine's got enough of a cross to bear just taking care of that potato head. Then all this Abilene shit happened. You heard about that bank robbery in Abilene, did n't ya?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>That's all that's been on the box all day. They killed some people did n't they?<\/dialogue>\n    <character>MCGRAW<\/character>\n    <dialogue>Four Rangers, three cops, and two civilians. And they took a lady bank teller as a hostage.<\/dialogue>\n    <scene_description>Pete does n't say anything .<\/scene_description>\n    <character>MCGRAW<\/character>\n    <dialogue>They'll probably make a run for the border, which would bring'em this way. And if we get our hands on those shit asses, we're talking payback time. We'll get'em all right. I got ta piss. I'm gon na use your commode.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Knock yourself out.<\/dialogue>\n    <scene_description>McGraw drops his last drip of beer , crushes the can and exits in the bathroom . The black suited man by the beer cooler turns around and , with the prep school girl in tow , walks rapidly toward Pete . We see that the girl is crying .<\/scene_description>\n    <character>BLACK SUITED MAN #1<\/character>\n    <parenthetical>( to Pete . )<\/parenthetical>\n    <dialogue>Do you think I'm fuckin' playing with you, asshole?<\/dialogue>\n    <parenthetical>( points to the tearful prep school girl . )<\/parenthetical>\n    <dialogue>Do you want this little girl to die?<\/dialogue>\n    <parenthetical>( pointing to the blonde with the other guy . )<\/parenthetical>\n    <dialogue>Or that little girl? Or your bosombuddy with the badge? Or yourself? I do n't wan na do it, but I'll turn this fuckin' store into the Wild Bunch if I even think you're fuckin' with me.<\/dialogue>\n    <scene_description>The two men in black suits are the notorious Abilene bank robbers , SETH and RICHARD GECKO , `` The Gecko Brothers . '' And the other customers are all being held hostage . Seth is the one with the prep girl . Richard is the one with the blonde . Everybody speaks low and fast .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>What do you want from me? I did what you said.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Letting him use your toilet? No store does that.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>He comes in here every day and we bullshit. He's used my toilet a thousand times. If I told him no, he'd know something was up.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>I want that son - of - a - bitch out outta here, in his car, and down the road or you can change the name of this place to `` Benny's World of Blood.''<\/dialogue>\n    <scene_description>Richard , holding tightly the hand of the terrified girl , leans next to Seth 's ear and whispers something . Seth looks at Pete .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Were you giving that pig signals?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>What? Are you kidding? I did n't do anything!<\/dialogue>\n    <scene_description>Richard whispers something else in Seth 's ear .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>He says you were scratching.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>I was n't scratching!<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>You callin' him a liar?<\/dialogue>\n    <scene_description>Pete controls himself .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>I'm not calling him a liar, okay? I'm simply saying that if I was scratching, and if I did scratch, it's not because I was signaling the cop, it's because I'm fuckin' scared shitless.<\/dialogue>\n    <scene_description>Richard speaks for the first time in a low calm voice to Seth .<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>The Ranger's taking a piss. Why do n't I just go in there, blow his head off and get outta here.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Do n't do that! Look, you asked me to act natural, and I'm acting as natural - in fact, under the circumstances, I think I ought get a fuckin' Academy Award for how natural I'm acting. You asked me to get rid of him, I'm doing my best.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Yeah, well, your best better get a helluva lot fuckin' better, or you're gon na feel a helluva fuckin' lot worse.<\/dialogue>\n    <scene_description>The toilet FLUSHES .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Everybody be cool.<\/dialogue>\n    <scene_description>Everybody goes back to what they were doing . McGraw steps back out of the back . He appears to be unaware of the situation .<\/scene_description>\n    <character>MCGRAW<\/character>\n    <dialogue>Yeah, and I'm gon na be right back at it tomorrow. So tonight I'm gon na sit in front of the box and just drink booze. How much is the bottle?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Six - fifty.<\/dialogue>\n    <scene_description>Out of nowhere Richard WHIPS out his forty - five automatic and SHOOTS McGraw in the head . McGraw goes down screaming . Richard stands over him and SHOOTS him twice more . Seth charges forward .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( to Richard . )<\/parenthetical>\n    <dialogue>What the fuck was that about?<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>( in a low monotone . )<\/parenthetical>\n    <dialogue>He signaled the Ranger.<\/dialogue>\n    <character>PETE<\/character>\n    <parenthetical>( hysterical . )<\/parenthetical>\n    <dialogue>I did n't.<\/dialogue>\n    <parenthetical>( to Seth . )<\/parenthetical>\n    <dialogue>You got ta believe me, I did n't.<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>( to Seth . )<\/parenthetical>\n    <dialogue>When they were talkin', he mouthed the words `` Help Us.''<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>You fuckin' liar, I did n't say shit!<\/dialogue>\n    <scene_description>Richard SHOOTS Pete and Pete falls down behind the counter . Seth grabs Richard and throws him up against the wall .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>What the fuck is wrong with you -<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Seth, he did it. You were by the beer cooler with your back turned. I was by the magazines, I could see his face. And I saw him mouth :<\/dialogue>\n    <scene_description>Richard mouths the words , `` Help Us . '' While Pete lies on the floor behind the counter bleeding from his bullet wound , he opens his floor safe and pulls out a gun from it . Seth releases his brother .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Start the car.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>You believe me do n't cha?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Shut up and start the car.<\/dialogue>\n    <scene_description>Richard walks away from Seth and crosses the counter . when Pete SPRINGS up , gun in hand , and SHOOTS Richard in the hand . Richard FALLS to his knees , howling . Both Pete and Seth SPRAY the store with gunfire . Seth DIVES down an aisle . He reloads . Pete DUCKS behind the counter . He reloads . Richard has crawled to safety behind an aisle . The two girls have run out screaming .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>Richie? You okay?<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>I'm not dead, but I'm definitely shot! I told you that bastard said, `` Help us!''<\/dialogue>\n    <character>PETE<\/character>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>I never said help us!<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>Well that do n't matter now,'cause you got about two fuckin' seconds to live! Richie!<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>Yeah?<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>When I count three, shoot out the bottles behind him!<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Gotcha!<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>One. Two. Three.<\/dialogue>\n    <scene_description>The two brothers start FIRING toward the counter . They HIT the bottles of alcohol on the shelf behind Pete . Pete is crouched on the ground as glass , debris and alcohol RAIN down on him . Seth grabs a roll of paper towels from off a shelf . Richard keeps FIRING . Seth douses the paper towels with lighter fluid , sets it on fire with his Zippo , then tosses it . The flaming roll of paper towels FLIES through the air . The fireball lands behind the counter . The entire counter area immediately BURSTS INTO FLAMES . Pete screams from behind the counter . Seth smiles to himself and stands . Richard shakes his head in amusement and stands . Pete runs out from behind the counter , ENGULFED IN FLAMES still holding his weapon and FIRING . Seth and Richard hit the ground FIRING their .45 's . Pete , the human torch , FALLS like a tree into the Hostess Pastry display . Seth and Richard rise from the rubble .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BENNY'S WORLD OF LIQUOR - DAY<\/stage_direction>\n    <scene_description>They exit the store squabbling . The store is bursting into flames .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>What did I tell you? What did I tell you? Buy the road map and leave.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>What am I supposed to do, Seth? He recognized us.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>He did n't recognize shit.<\/dialogue>\n    <scene_description>Both Seth and Richard stand on opposite sides of the car .<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Seth, I'm telling you, the way he looked at us - you especially - I knew he knew.<\/dialogue>\n    <scene_description>They both climb in the car , Seth behind the wheel . Seth starts it op . The souped up engine ROARS to life . We can hear Seth mumbling under the motor .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Low profile. Do you know what the words `` low profile'' mean?<\/dialogue>\n    <scene_description>CLOSE - UP : SETH 'S FOOT PUNCHES GAS . The Plymouth tears out of the parking lot backwards , hits the street , and speeds off down the road . We CRANE UP HIGH to see the car leaving a trail of dust behind it , as the store burns out of control . OPENING CREDIT SEQUENCE . Raunchy , honky - tonk MUSIC fills the theater .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TEXAS PANHANDLE - DAY<\/stage_direction>\n    <scene_description>The Plymouth tears ass across Texas plains . As TITLES PLAY OVER , we see Seth and Richard enjoying their getaway\/road trip . Seth behind the wheel , pops open a bottle of prescription pills , empties out four of the red capsules in his hand , pops them in his mouth , and washes it back with a slug of Jack Daniel 's from a pint bottle . Richard looks at Seth through the hole in his hand . Like a boxer , Richard wraps his wounded hand with gaffer 's tape . The camera leaves the boys , as they woosh down the street , and goes along the length of the car to the trunk . It hangs on the trunk . Then we see through the trunk , like Superman : AN OLDER WOMAN tied up and helpless in the trunk . The rest of the titles play over black as the song continues . CREDIT SEQUENCE ENDS<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EMMA AND PETE'S GRAVY TRAIN - DAY<\/stage_direction>\n    <scene_description>Emma and Pete 's Gravy Train is a truck stop off of Highway 290 . SUBTITLE APPEARS AT THE BOTTOM OF THE SCREEN ' : FORT STOCKTON . 238 MILES FROM THE MEXICAN BORDER .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EMMA AND PETE'S GRAVY TRAIN - DAY<\/stage_direction>\n    <scene_description>Emma and Pete 's PATRONS are made up of regulars , truckers , cowboys and road - weary travelers . The CAMERA DOLLIES through the maze of tables , patrons , and waitresses . It stops when it gets to a table occupied by the FULLER FAMILY . The Fullers definitely fall into the road - weary category . The members of the unit consist of the father , JACOB , age 44 , an ex - preacher , a good man with rough edges , and his two children , KATE , age 19 , is a young beauty who possesses what can only be described as an apple pie sensuality . She is dressed like a nice Christian girl , complete with crucifix . SCOTT , age 16 , is a Jacob 's Vietnamese adopted son . Scott is a likable , long - haired kid who always wears a T - shirt with the name of the heavy metal garage band he plays guitar for , `` Precinct 13 . '' The three of them are wolfing down a late lunch .<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>We got about two more hours of day light left. That'll get us into El Paso, which is right next to the border. We'll stop at a motel -<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>Stop? We're not going to actually stop at a motel, are we?<\/dialogue>\n    <scene_description>Scott and Kate speak together , obviously repeating something that Jacob has said about three hundred times .<\/scene_description>\n    <character>SCOTT AND KATE<\/character>\n    <dialogue>We've got a Winnebago. We do n't need those over priced roach havens. We're self contained.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Okay, Okay, maybe I was a little overzealous, but give me a break, I just bought it.<\/dialogue>\n    <scene_description>Scott and Kate continue the impersonation .<\/scene_description>\n    <character>SCOTT<\/character>\n    <dialogue>Why, just look at all this. You got your kitchen -<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>- you got your microwave -<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>- you got your sink -<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>- you got your shower -<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>- see this, television!<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Feel this, real wood paneling. That's real wood, too, not that fake stuff.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Unless you two wiseacres wan na be introduced to the joys of hitchhiking, what say we drop this?<\/dialogue>\n    <character>SCOTT<\/character>\n    <parenthetical>( to Kate . )<\/parenthetical>\n    <dialogue>The truth hurts.<\/dialogue>\n    <character>KATE<\/character>\n    <parenthetical>( to Scott . )<\/parenthetical>\n    <dialogue>It's the bitterest of pills.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>You two ought to start a stand - up act, because you're just wasting your humor on me.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Ai n't it the truth.<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>Why do you want to stop?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>I'm exhausted.<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>Lie in the back, Dad, I'll drive us into Mexico.<\/dialogue>\n    <scene_description>Jacob gives Scott a look that says , `` You are n't touching my new motor home . ''<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>I just bet you would. Do n't even thin about it. Besides, I want to have one night's sleep in an honest - to - goodness bed. The beds in the home are okay, but they're not like a real bed.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Hey, if we go to a motel, we can swim.<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>I'll be right back. I'm gon na go to the bathroom.<\/dialogue>\n    <scene_description>Scott gets up from the table and walks out back to the restroom . Jacob and Kate are left alone . There 's an awkward moment of silence before .<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Dad, when I called the machine to check our messages there was one from Bethel Baptist. Mr.Franklin said he would n't permanently replace you until we came back. He said when we come home, if you still feel the same way -<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>That's very nice of Ted, but I'll call him tomorrow and tell him not to bother waiting.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>I did n't want to talk about this in front of Scott because he gets upset. But you do n't believe in God anymore?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Not enough to be a pastor. Look, I know this is hard on you kids. After Jenny's death, this is probably the last thing you need. But I ca n't do it any longer. My congregation needs spiritual leadership. Well, they ca n't get that from me anymore. My faith is gone. To answer your question, yes, I do believe in Jesus. But do I love them? No. After Jenny died, I just thought, what's the point?<\/dialogue>\n    <character>KATE<\/character>\n    <parenthetical>( pushing him . )<\/parenthetical>\n    <dialogue>It's just, all our lives you've been a pastor. For twenty years you've preached trust in the lord. And then one day you wake up and say fuck him?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>I did n't say fuck him. I'm just not connected anymore.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>That happens, you'll get it back.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Kate, give your old man a little credit. Every person who chooses the service of God as their life's work has something in common. I do n't care if you're a preacher, a priest, a nun, a rabbi or a Buddhist monk. Many, many times during your life you'll look at your reflection in the mirror and ask yourself, am I a fool? We've all done it. I'm not going through a lapse. What I've experienced is closer to awakening. I'm not trying to shake your faith. I've just decided not to devote my life to God anymore.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>What do you think Mom would say?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Mom's got nothing to say, she's dead.<\/dialogue>\n    <scene_description>CLOSE UP : COUNTER BELL . A hand slams down on it . RING .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY - DEW DROP INN - DAY<\/stage_direction>\n    <scene_description>Seth stands at the front desk of the Dew Drop Inn . A standard issue Texas motel . Richard sits outside in the car . Nobody responds to the bell . Seth BANGS it impatiently five times .<\/scene_description>\n    <character>TEXAS VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hold your horses!<\/dialogue>\n    <scene_description>An OLD - TIMER walks through a curtain behind the counter . He 's eating a BBQ rib .<\/scene_description>\n    <character>OLD-TIMER<\/character>\n    <parenthetical>( rough . )<\/parenthetical>\n    <dialogue>Whatcha want?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Whatcha think I want, ya mean old bastard? I wan na room.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTYARD - DEW DROP INN - DAY<\/stage_direction>\n    <scene_description>Richard sits in the car listening to Merle Haggard on the radio . He watches from his perspective , Seth taking the walking outside and getting in the car . Seth starts it up , and drives them to their room .<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Do they have cable?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Do they have an X - rated channel?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Do they have a waterbed?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>They do n't have anything except four walls and a roof, and that's all we need.<\/dialogue>\n    <scene_description>Their car drives up to room # 9 , but they park backing up the trunk close to the door . The two brothers get out of the car .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( tossing Richie the motel keys . )<\/parenthetical>\n    <dialogue>Open the door. We got ta do this fast.<\/dialogue>\n    <scene_description>Richie opens the door . Seth goes to the trunk , looks around the court yard . It 's empty . CLOSE UP : KEY going into the trunk lock , turning . TRUNK POV : Seth looking into the camera . SETH 'S POV : A WOMAN in her late forties is lying scrunched up in the trunk . She is the HOSTAGE BANK TELLER from Abilene . She 's stiff , scared and looks an absolute mess .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Do n't say a word.<\/dialogue>\n    <scene_description>The two brothers , quick as lightening , yank the woman out of the trunk and whisk her into the motel room . SETH closes the trunk , looks around for any Johnny eye - witnesses , does n't see any , slams the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SETH AND RICHARD'S ROOM - DAY<\/stage_direction>\n    <scene_description>Seth turns from the door , sees the hostage woman standing .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>You. Plant yourself in that chair.<\/dialogue>\n    <scene_description>She sits down in the chair .<\/scene_description>\n    <character>HOSTAGE<\/character>\n    <dialogue>What are you planning on doing with -<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>- I said plant yourself. Plants do n't talk. You wan na get on my good side? Just sit still and do n't make a peep.<\/dialogue>\n    <scene_description>She shuts up . Richard slowly takes off his jacket . He winces from his wound .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Let me help you.<\/dialogue>\n    <scene_description>He helps him get his jacket off .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>How's it feel?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>How ya think, it hurts like a son - of - a - bitch.<\/dialogue>\n    <scene_description>Richie goes over to the bed and lies down on it . Seth takes the pillow and stacks them for Richie to prop his back up against .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>I got both rooms on either side of us, so we do n't got ta worry about eavesdropping assholes. How's that feel? You okay?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Feels good.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>I'm gon na go get the money.<\/dialogue>\n    <scene_description>He heads for the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTYARD - MOTEL - DAY<\/stage_direction>\n    <scene_description>Seth goes into the car , takes out a big suitcase . He scans the perimeter with his eyes , goes back inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL ROOM #9 - DAY<\/stage_direction>\n    <scene_description>Seth comes back in , lays the suitcase on the bed . Richie has the TV remote control in his hand and he 's flipping stations . Seth looks at his watch .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>It's about five o'clock.<\/dialogue>\n    <parenthetical>( to hostage . )<\/parenthetical>\n    <dialogue>What time does it get dark around here?<\/dialogue>\n    <character>HOSTAGE<\/character>\n    <dialogue>About seven.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Good. I'm going towards the border to check things out while it's still daylight. Call Carlos and arrange the rendezvous.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Hey, when you talk to him, see if you can arrange a better deal than thirty percent.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>That's their standard deal, brother. They ai n't about to change it for us.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Did you even to try to negotiate?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>These guys ai n't spic fire cracker salesman from Tijuana. They do n't even know the meaning of the word `` barter''. You wan na stay in El Ray? You give them thirty percent of your loot. It's scripture. So it is written, so shall it be done. You want sanctuary, you pay the price, and the price is thirty percent.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>All I'm saying -<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>- This conversation is over.<\/dialogue>\n    <scene_description>Richie shrugs and turns back to TV , Seth turns to the hostage , grabs a chair and slides it up in front of her .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Now, we need to have a talk. What's your name?<\/dialogue>\n    <character>HOSTAGE<\/character>\n    <dialogue>Gloria.<\/dialogue>\n    <scene_description>He shakes her hand .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Hello, Gloria, I'm Seth and that's my brother Richie. Let's cut to the chase. I'm gon na ask you a question and all I want is a yes or no answer. Do you want to live through this?<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Good. Then let me explain the house rules. Follow the rules, we'll get along like a house on fire. Rule number one : No noise, no question. You make a noise.<\/dialogue>\n    <parenthetical>( he holds up his .45 . )<\/parenthetical>\n    <dialogue>. Mr. 45 makes a noise. You ask a question, Mr. 45 answers it. Now are you absolutely, positively clear about rule number one?<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Rule number two : You do what we say, when we say it. If you do n't, see rule number one.<\/dialogue>\n    <scene_description>Seth takes the .45 , places the barrel next to the woman 's cheek . She squirms and shuts her eyes . He pulls back the hammer .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Rule number three : Do n't you ever try and fuckin' run on us.'Cause I got five little friends, and they all run faster'n you can. Got it?<\/dialogue>\n    <scene_description>She nods her head yes . He takes the gun away and replaces the hammer .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Open your eyes.<\/dialogue>\n    <scene_description>She does .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Gloria, you hang in there, follow the rules, and do n't fuck with us, you'll get out of this alive. I give you my word. Okay?<\/dialogue>\n    <scene_description>She nods her head yes . Seth rises .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>I'll be back in a bit.<\/dialogue>\n    <scene_description>He exits . Richard looks to the TV , then looks to Gloria sitting across the room in the chair .<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Wan na come up here on the bed and watch TV with me?<\/dialogue>\n    <scene_description>You can tell she does n't want to . He pats the empty space next to him .<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <scene_description>She gets out of her chair , walks across the bed , and sits next to him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PHONE BOOTH - DAY<\/stage_direction>\n    <scene_description>A phone booth outside of a gas station . Seth is in the middle of a conversation with the party on the other end .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Things are real hot here. Crossing's gon na be a bitch.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Do n't worry, we'll get across. But when we do, where do we go?<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Can we make it as close to the border as possible? Texas wants our balls. The quicker we're in your protection, the better I'll feel.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Okay, where?<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>The Titty Twister?<\/dialogue>\n    <parenthetical>( he laughs . )<\/parenthetical>\n    <dialogue>I love it already. Okay, Carlos, I'll see you and your men at the `` Titty Twister'' tomorrow morning.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Bye, my friend.<\/dialogue>\n    <scene_description>Seth hangs up the phone , lights up a cigarette with his Zippo lighter and exits frame . After Seth exits , leaving the frame empty , a subtitle appears : EL PASO 5 MILES FROM THE MEXICAN BORDER<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SETH AND RICHARD'S MOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Richard lies on the bed by himself , propped up by pillows , watching TV , taking on hits from a water bong in the shape of a wizard . ON TV A local newscaster named KELLY HOUGE is reporting a story about the brothers .<\/scene_description>\n    <character>KELLY HOUGE<\/character>\n    <parenthetical>( talking to camera . )<\/parenthetical>\n    <dialogue>This bloody crime spree started just a week ago today. The oldest of the two brothers.<\/dialogue>\n    <scene_description>MUG SHOT OF SETH<\/scene_description>\n    <character>KELLY HOUGE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Seth Gecko was serving time in Rolling's Kansas State Penitentiary for his part in the 1988 Scott City bank robbery in which two law enforcement officers lost their lives.<\/dialogue>\n    <scene_description>BACK TO KELLY<\/scene_description>\n    <character>KELLY HOUGE<\/character>\n    <dialogue>Having served eight years of his twenty - two year sentence, Seth Gecko was brought to Wichita Municipal court house for his first parole hearing. It was while at the court house that this man.<\/dialogue>\n    <scene_description>MUG SHOT OF RICHARD GECKO<\/scene_description>\n    <character>KELLY HOUGE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>his younger brother Richard Gecko, a known armed robber and sex offender, pulled off a daring daylight escape.<\/dialogue>\n    <scene_description>BACK TO KELLY<\/scene_description>\n    <character>KELLY HOUGE<\/character>\n    <dialogue>resulting in the death of four Wichita law enforcement officers, and this woman.<\/dialogue>\n    <scene_description>PHOTO OF WOMAN SMILING<\/scene_description>\n    <character>KELLY HOUGE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Heide Vogel, sixth grade teacher who was run over by the Geckos during a high speed pursuit through downtown Wichita.<\/dialogue>\n    <scene_description>MAP OF AMERICA A red line travels from Wichita to Oklahoma .<\/scene_description>\n    <character>KELLY HOUGE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>From there the brothers traveled from Kansas through Oklahoma.<\/dialogue>\n    <scene_description>The red line enters Texas and the camera moves into Texas .<\/scene_description>\n    <character>KELLY HOUGE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>into the great state of Texas, and then finally.<\/dialogue>\n    <scene_description>WE ZOOM in on a red - circled Abilene .<\/scene_description>\n    <character>KELLY HOUGE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>into Abilene.<\/dialogue>\n    <scene_description>We hear GUNFIRE and SCREAMS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE CRIMINAL COURT BUILDING - DAY<\/stage_direction>\n    <scene_description>Kelly Houge walks down the courthouse steps of the criminal courts building of Abilene . She talks to the camera . Cops , lawyers and citizens bustle in the background .<\/scene_description>\n    <character>KELLY HOUGE<\/character>\n    <dialogue>The list of the dead climbed up three more notches since our last telecast.<\/dialogue>\n    <scene_description>PHOTO : OFFICER SHERMAN GOODELL in full police uniform .<\/scene_description>\n    <character>KELLY HOUGE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Officer Sherman Goodell, who was in intensive care following the gun battle outside of the Valley Federal bank building.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTHOUSE - DAY<\/stage_direction>\n    <scene_description>Kelly Houge standing on the court house steps talking into the camera .<\/scene_description>\n    <character>KELLY HOUGE<\/character>\n    <dialogue>died about forty - five minutes ago at Hopkins General hospital. And about six hours ago, during a daylight liquor store robbery in Big Springs, The Gecko Brothers killed another Texas Ranger.<\/dialogue>\n    <scene_description>PHOTO : EARL MCGRAW in uniform .<\/scene_description>\n    <character>KELLY HOUGE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Earl McGraw.<\/dialogue>\n    <scene_description>PHOTO : PETE in a Hawaiian shirt holding up a big fish .<\/scene_description>\n    <character>KELLY HOUGE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>and liquor store clerk Pet Bottoms.<\/dialogue>\n    <scene_description>VIDEO FOOTAGE : Of Benny 's World of Liquor burning down .<\/scene_description>\n    <character>KELLY HOUGE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Then they proceeded to burn the store down to the ground.<\/dialogue>\n    <scene_description>VIDEO GRAPHIC : Picture of The Gecko Brothers with a tally underneath : THE GECKO BROTHERS . WICHITA JAIL BREAK . VALLEY FEDERAL BANK ROBBERY . BIG SPRINGS CONVENIENCE STORE ROBBERY . DEATH TOLL : 13 . TEXAS RANGERS : 4 . POLICE OFFICERS : 7 . CIVILIANS : 2<\/scene_description>\n    <character>KELLY HOUGE<\/character>\n    <dialogue>That changes the death toll to fifteen.<\/dialogue>\n    <parenthetical>( It changes under `` Death toll '' . )<\/parenthetical>\n    <dialogue>Five Texas Rangers.<\/dialogue>\n    <parenthetical>( it changes . )<\/parenthetical>\n    <dialogue>Eight police officers.<\/dialogue>\n    <parenthetical>( it changes . )<\/parenthetical>\n    <dialogue>Three civilians.<\/dialogue>\n    <parenthetical>( it changes . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>BACK TO KELLY<\/scene_description>\n    <character>KELLY HOUGE<\/character>\n    <dialogue>And one hostage.<\/dialogue>\n    <scene_description>PHOTO : GLORIA HILL<\/scene_description>\n    <character>KELLY HOUGE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>bank teller and mother of four, Gloria Hill.<\/dialogue>\n    <scene_description>KELLY TO CAMERA<\/scene_description>\n    <character>KELLY HOUGE<\/character>\n    <dialogue>Heading the case to bring these fugitives to justice is FBI agent Stanley Chase. We talked with agent Chase earlier this afternoon.<\/dialogue>\n    <scene_description>VIDEO INTERVIEW Kelly Houge interviewing STANLEY CHASE of the FBI .<\/scene_description>\n    <character>STANLEY CHASE<\/character>\n    <dialogue>For the time being we are very confident we will apprehend the fugitives in the next forty - eight hours. The Bureau, local law enforcement and the Texas Rangers have all joined forces in forming a dragnet to snare Seth and Richard Gecko.<\/dialogue>\n    <character>KELLY HOUGE<\/character>\n    <dialogue>Agent Chase, does it appear that they are heading for Mexico.<\/dialogue>\n    <character>STANLEY CHASE<\/character>\n    <dialogue>Yes, it does, Kelly. We have already alerted the Mexican authorities. They intend to cooperate every way possible in bringing these fugitives to justice.<\/dialogue>\n    <character>KELLY HOUGE<\/character>\n    <dialogue>Are you optimistic about the safety of the hostage they took in Abilene, Gloria Hill?<\/dialogue>\n    <character>STANLEY CHASE<\/character>\n    <dialogue>We've received no news one way or the other. We can only hope for the best.<\/dialogue>\n    <character>KELLY HOUGE<\/character>\n    <dialogue>What about the report from an eyewitness at the liquor store who said one of the brothers was shot?<\/dialogue>\n    <character>STANLEY CHASE<\/character>\n    <dialogue>This ca n't be confirmed at this time, but we do believe it to be true. We have reason to believe it was the youngest brother Richard, and he was shot in the vicinity of his neck and shoulders by the store's clerk.<\/dialogue>\n    <character>KELLY HOUGE<\/character>\n    <dialogue>Is it safe to assume that because the death count involved and the loss of life of law enforcement officers, that the Bureau, the Rangers and the police force are taking this manhunt personally?<\/dialogue>\n    <character>STANLEY CHASE<\/character>\n    <dialogue>I would say that's a very safe assumption.<\/dialogue>\n    <scene_description>RICHARD SMILES .<\/scene_description>\n    <character>RICHARD<\/character>\n    <parenthetical>( Newscaster 's voice . )<\/parenthetical>\n    <dialogue>Is it safe to assume since the law enforcement authorities in the great state of Texas are homosexuals of a sick and deviate nature, that they will be too busy fucking each other up the ass to actually catch The Gecko Brothers?<\/dialogue>\n    <parenthetical>( in an FBI voice . )<\/parenthetical>\n    <dialogue>I would say that's a very safe assumption.<\/dialogue>\n    <scene_description>He changes a channel on the television . We see a Casper the Friendly Ghost cartoon on the screen .<\/scene_description>\n    <character>CASPER<\/character>\n    <dialogue>Would you play with me?<\/dialogue>\n    <scene_description>A big burly COP turns around .<\/scene_description>\n    <character>COP<\/character>\n    <dialogue>Sure, little boy. A GHOST!<\/dialogue>\n    <scene_description>The cop heads for the hills . Casper cries . Seth enters the room carrying a six pack of beer and two take - out bags of Big Kahuna burgers .<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Shit, I started to get worried. Where the fuck ya been?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Sight seein'.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>What'd ya see?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Cops.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Didya look at the border?<\/dialogue>\n    <scene_description>Seth dumps the burgers on the bed . Both men pop open beers and Richard goes to town on a hamburger . Seth flips off the TV<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Yeah, I saw the border. Through binoculars from on top of a high building. That's about as close as I risked getting. What's the TV say?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>They're going to apprehend us in forty - eight hours.<\/dialogue>\n    <scene_description>Seth sits down and takes a hit off his beer .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>I got ta figure a way to get across that goddamn border. Longer we fuck around El Paso our lives ai n't worth a shit.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Look, fuck the border. Let's just dig in and wait for things to cool down.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Richie, it's gon na get a lot fuckin' worse before it gets any fuckin' better. We showed our ass in Texas. We killed Texas fuckin' Rangers. They ai n't gon na stop lookin' till they find us, and when they find us, they're gon na kill us. Texans take it very personal when ya kill their law enforcement officers. The El Paso police have already started a motel and hotel search for us.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>How do you know?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>I heard it on the radio. We got ta get our asses into Mexico tonight. Carlos is gon na meet us tomorrow morning at a rendezvous on the other side, then Carlos and his boys will escort us to El Ray and -<\/dialogue>\n    <scene_description>Seth stops talking and looks around .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Where's the woman?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Seth 's out of his chair .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>What'd ya mean, what? The fuckin' woman, the hostage. Where the fuck is she, Richard!?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>She's in the other room.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>What the fuck is she doin' there?!<\/dialogue>\n    <scene_description>He goes to the door of the adjoining room .<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Seth, before you open the door, let me explain what happened.<\/dialogue>\n    <scene_description>Seth stops and looks at his brother . He knows what he means . He ca n't say anything , only point at his younger sibling . Then he BURSTS open the door . The dead , naked body of Gloria Hill lies on the bed . It 's obvious Richard raped her and killed her . Seth covers his eyes with his hands . He slowly enters the room with the dead body .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>Oh, Richard, what's wrong with you?<\/dialogue>\n    <scene_description>Richard rises from the bed .<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Now, Seth, before you flip out, let me just explain what happened.<\/dialogue>\n    <scene_description>Seth slowly turns to his brother , then walks toward him . Richard backs up .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Yeah, explain it to me. I need an explanation. What's the matter with you?<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>( low and calm . )<\/parenthetical>\n    <dialogue>There's nothing wrong with me, brother. That woman tried to escape and I did what I had to do.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>No.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>That woman would n't of said shit if she had a mouthful.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Wrong, wrong, wrong, wrong, wrong, wrong, wrong! Once you left, she became a whole different person.<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( slowly approaching . )<\/parenthetical>\n    <dialogue>Is it me? Is it my fault?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>It's not your fault, it's her fault!<\/dialogue>\n    <scene_description>Seth grabs Richard and THROWS him in the corner of the room , holding tightly to his wrist .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Is this my fault? Do you think this is what I am?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>This is not me! I am a professional fucking thief. I steal money. You try to stop me, god help you. But I do n't kill people I do n't have to, and I do n't rape women. What you doin' ai n't how it's done. Do you understand?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Seth, if you were me -<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Just say yes! Nothing else, just say yes.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Yes, Seth, I understand.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Yes, Seth, I understand.<\/dialogue>\n    <scene_description>Seth hugs his little brother . Tight .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( whispers in Richie 's ear . )<\/parenthetical>\n    <dialogue>We get into Mexico, it's gon na be sweet Rosemary, hundred - proof liquor, and rice and beans. None of this shit's gon na matter.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTOR HOME - NIGHT<\/stage_direction>\n    <scene_description>Scott and Kate are in the front seat of their parked motor home . The motor home 's parked in front of the Dew Drop Inn 's front office . We see Jacob inside getting a room from the Old - Timer .<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>I ca n't believe he's stopping here. This place looks totally cruddy.<\/dialogue>\n    <scene_description>Jacob walks out of the office . Kate yells from the motor home .<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Dad, why are we stopping here?<\/dialogue>\n    <scene_description>He opens the meter home door and climbs in .<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>There's nothing wrong with this place.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>It's a flop house.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>It's not a flop house. It's basic and simple. That does n't make it a flop house.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>If it does n't have a pool, we're looking for a new place.<\/dialogue>\n    <scene_description>Starting the huge car and slowly maneuvering it through the courtyard .<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>It has a bed. That's all I care about.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Other places have beds, they also have cable TV, a gym, room service.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTYARD - NIGHT<\/stage_direction>\n    <scene_description>Seth walks out of room # 9 with a beer in his hand . He 's thinking about how he 's going to get over the border tonight . Lost in thought , he steps out in the path of the Fuller 's motor home . Jacob slams on the brakes . Seth jumps back , startled . Both Kate and Scott are TOSSED out of their seats onto the floor . THUD . THUD .<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Owww, my head.<\/dialogue>\n    <scene_description>Jacob -LRB- pissed -RRB- honks his horn at Seth and yells out the window .<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>Watch where you're going!<\/dialogue>\n    <scene_description>THROUGH WINDSHIELD Seth just stands right in their way without moving , gazing up at the giant motor home . JACOB BEHIND THE WHEEL Kate and Scott join him up front looking at this weirdo .<\/scene_description>\n    <character>SCOTT<\/character>\n    <dialogue>What's this guy's problem?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>I have no idea.<\/dialogue>\n    <scene_description>Seth continues standing in their way , making no attempt to move . Not threatening , just looking at them . HONK !<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>Anytime, man.<\/dialogue>\n    <scene_description>The horn snaps Seth back to this world . A smile breaks out on the escaped fugitive 's face and he politely steps to one side to let them pass . Pass they do !<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Creepy guy.<\/dialogue>\n    <scene_description>SETH The Sword of Damocles is lifted from above Seth 's head . He 's just solved a problem that a mere thirty seconds ago seemed unsolvable . He knows exactly how he 's going to cross the border . Whistling a happy tune , he turns and walks back into room # 9 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FULLERS' MOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>The Fullers are in room # 12 . It 's identical to the one that the Gecko boys are in , except that the paintings above the beds are different . Jacob has fallen asleep in his clothes on the bed . Scott sits in a chair , headphones on , playing an unplugged electric guitar . Kate is nowhere in sight . KNOCK . KNOCK . KNOCK . on the door . Scott does n't hear shit but his music . Jacob stirs a bit , but does n't wake up . POUND . POUND . POUND . on the door . Jacob SPRINGS UP . He looks over at Scott , who , lost in guitar heaven , is oblivious of the knocker , then to the door .<\/scene_description>\n    <character>JACOB<\/character>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <scene_description>From the other side of the door comes a friendly voice .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I'm your neighbor in room 9, I hate to disturb you, but I'd like to ask a favor.<\/dialogue>\n    <scene_description>Jacob swings his feet to the floor , stands up and walks to the door . As he passes Scott , he says , in his direction -<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>I hope none of this is disturbing you.<\/dialogue>\n    <scene_description>Scott ca n't hear him , but when he sees his dad look at him , he smiles . Jacob opens the door and sees . Richard Gecko standing in the doorway , looking like the nicest guy in the entire world .<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Hi there, I'm from room 9, my name is Don Cornelius. No, not the Don Cornelius from Soul Train. Me and my lady friend need some ice and we do n't seem to have an ice bucket. Could we possibly borrow yours? I'll bring it right back.<\/dialogue>\n    <character>JACOB<\/character>\n    <parenthetical>( still partially asleep . )<\/parenthetical>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>We follow Jacob as he turns to the dresser to get the motel ice bucket . He grabs it , turns back to the door , takes a couple of steps towards it , then stops : in his tracks . He sees Richard and Seth both inside the room with the door closed , both with .45 's in their hands , both aimed at him .<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>What is this?<\/dialogue>\n    <scene_description>Seth SLUGS Jacob in the mouth , KNOCKING him to the ground .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>It's called a punch.<\/dialogue>\n    <scene_description>Scott suddenly becomes aware of what 's going on around him and instinctively stands . Richard shoves his .45 in Scott 's mouth .<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Sit down.<\/dialogue>\n    <scene_description>Scott lowers himself back down onto his seat .<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Good boy.<\/dialogue>\n    <scene_description>Jacob lifts his head off the floor and wipes blood away from his lip . He looks at his opponent who stands over him .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( to Jacob . )<\/parenthetical>\n    <dialogue>What's your name?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Jacob.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Okay, Jacob, get up and sit your ass down on the bed. Make a wrong move and I'll shoot you in the face.<\/dialogue>\n    <scene_description>Jacob rises and sits on the edge of the bed .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( to Richard . )<\/parenthetical>\n    <dialogue>Okay, move the Jap over there.<\/dialogue>\n    <scene_description>Keeping the gun in Scott 's mouth , Richard makes Scott rise .<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Upsy daisy.<\/dialogue>\n    <scene_description>guiding him over to the bed by his father . Richard removes the gun from Scott 's mouth and stands next to his brother , looking down at their two hostages .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( to his hostages . )<\/parenthetical>\n    <dialogue>What's the story with you two? You a couple of fags?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>He's my son.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>How does that happen? You do n't look Japanese.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Neither does he. He looks Vietnamese.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Oh, well, excuse me all to hell.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>What's this about, money?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>It's about money, all right, but not yours. You see, me and my brother here are in a little hot water and we need your assistance.<\/dialogue>\n    <scene_description>The door to room # 12 opens and a dripping wet , bikini clad Kate walks in . The brothers spin their guns in her direction . Kate , startled , screams . Jacob and Scott get on their feet and move forward . Seth spins back towards the two men , gun ready to spit .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( to Scott and Jacob . )<\/parenthetical>\n    <dialogue>Stop!<\/dialogue>\n    <scene_description>Jacob and Scott freeze . Richard moves like quicksilver , shutting the door and positioning himself behind the terrified Kate .<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>We're having a wet bikini contest, and you just won.<\/dialogue>\n    <character>JACOB<\/character>\n    <parenthetical>( to Kate . )<\/parenthetical>\n    <dialogue>It's okay, honey. Everything's going to be all right.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Just listen to daddy, sugar, and do n't do nothin' stupid.<\/dialogue>\n    <parenthetical>( he turns to Jacob and Scott , who are still standing . )<\/parenthetical>\n    <dialogue>You two, Simon says sit the fuck down!<\/dialogue>\n    <scene_description>They slowly sit . Richard ca n't take his eyes off the dripping wet Kate . Both Jacob and Seth see this and neither men like it . Both for their own reasons .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( to Jacob . )<\/parenthetical>\n    <dialogue>Where are the keys to the motor home?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>On the dresser.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Richie, take the keys. Start that big bastard up, and drive it up front.<\/dialogue>\n    <scene_description>Richard does n't move from his position behind Kate . Kate feels his eyes on her . She slowly turns and looks at him . He looks in her face . CLOSE - UP KATE She smiles at him .<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Richie, will you do me a favor and eat my pussy?<\/dialogue>\n    <scene_description>CLOSE - UP RICHARD<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Richard!<\/dialogue>\n    <scene_description>Richard 's eyes go to Seth . Everybody is where they were . Kate never turned around .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Not when you get around to it, now.<\/dialogue>\n    <scene_description>Without saying a word , he takes the keys and leaves the room .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( pointing at Kate . )<\/parenthetical>\n    <dialogue>You, Gidget, go in the bathroom and put on some clothes.<\/dialogue>\n    <scene_description>She grabs some clothes from the floor and moves towards the bathroom . Seth GRABS her wrist .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>You got three minutes. One second longer, I shoot your father in the face. Do you understand what I just said?<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Do you believe me?<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>You damn well better. Go.<\/dialogue>\n    <scene_description>She goes into the bathroom .<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>Look, if you want the motor home, just take it and get out.<\/dialogue>\n    <scene_description>Seth grabs a chair and slides it up to his two male hostages .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Sorry, Pops, it ai n't gon na be that easy.<\/dialogue>\n    <scene_description>We hear the motor home `` HONK '' twice outside .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Get ready to move out, we're all going on a little ride.<\/dialogue>\n    <scene_description>Jacob shakes his head `` no . ''<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>Not a chance.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Come again?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>If you're taking people, take me. But my kids are n't going anywhere with you.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Sorry, I need everybody.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>My children are not going with you, and that's that.<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( angry . )<\/parenthetical>\n    <dialogue>That's not fuckin' that.<\/dialogue>\n    <parenthetical>( holds up his gun . )<\/parenthetical>\n    <dialogue>this is fuckin' this.<\/dialogue>\n    <parenthetical>( he calms down and looks at Scott . )<\/parenthetical>\n    <dialogue>Go sit over there.<\/dialogue>\n    <scene_description>Scott gets up and walks to the other side of the room , leaving the two men alone . Seth speaks in a quiet , conversational tone .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>I ai n't got time to fuck around with you, so I'll make this simple. Take your kids and get in the car, or I'll execute all three of you right now.<\/dialogue>\n    <parenthetical>( he cocks the gun and puts it right in Jacob 's face . )<\/parenthetical>\n    <dialogue>What's it gon na be, yes or no answer?<\/dialogue>\n    <scene_description>Jacob looks at him .<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Good.<\/dialogue>\n    <parenthetical>( to Scott . )<\/parenthetical>\n    <dialogue>Your old man's all right, he just saved your life.<\/dialogue>\n    <scene_description>Seth BANGS on the bathroom door .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Times up, Princess.<\/dialogue>\n    <scene_description>The bathroom door opens . Kate stands there , wearing a T - shirt , jeans and bare feet .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Okay, ramblers, let's get to rambling.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY - NIGHT<\/stage_direction>\n    <scene_description>The motor home with the powder - keg interior drives through the Lone Star night .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTOR HOME NIGHT<\/stage_direction>\n    <scene_description>Richard 's in the back bed area with a gun trained on Kate and Scott . The two scared siblings hold hands .<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Excuse me.<\/dialogue>\n    <scene_description>Richard zeros in on her .<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Where are you taking us?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Mexico.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>What's in Mexico?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Mexicans.<\/dialogue>\n    <scene_description>He does n't smile . In the front part of the motor home , Jacob sits behind the wheel , driving into the night . Seth sits in the passenger seat , going through Jacob 's wallet and talking to him calmly .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( reading his driver 's license . )<\/parenthetical>\n    <dialogue>Jacob Fuller. Jacob, that's biblical, ai n't it? What am I askin' for, of course it is.<\/dialogue>\n    <parenthetical>( motioning behind him . )<\/parenthetical>\n    <dialogue>What are their names?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Scott and Kate.<\/dialogue>\n    <scene_description>Seth repeats the names as he thumbs through the wallet .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Scott and Kate. Kate and Scott. Scott Fuller. Kate Fuller.<\/dialogue>\n    <scene_description>Seth comes to a snapshot of Jacob and his wife .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Who's this?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>My wife.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Where is the little lady?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>In heaven.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>She's dead?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Yes, she is.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>How'd she die?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Auto wreck.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Come on, gim me some more details. How'd it happen? Some fuckin' drunk kill her?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>No. It was a rainy night, the brakes on the car were n't great. She had to stop suddenly. She slid on the road, she crashed, she died.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Died instantly?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Not quite. She was trapped in the wreck for about six hours before she passed on.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Whewww! Those acts of God really stick it in and break it off, do n't they?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Yes, they do.<\/dialogue>\n    <scene_description>Seth looks back at the wallet . He sees Jacob 's minister 's license .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Is this real?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>I've seen one of these before. A friend of mine had himself declared a minister of his own religion. Away to fuck the IRS. Is that what you're doing, or are you the real McCoy?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Real McCoy.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>You're a preacher?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>I was a minister.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Was? As in not anymore?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Why'd ya quit?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>I think I've gotten about as up close and personal with you as I'm gon na get. Now if you need me like I think you need me, you're not gon na kill me'cause I wo n't answer your stupid, prying questions. So, with all due respect, mind your own business.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>I seem to have touched a nerve. Do n't be so sensitive, Pops, let's keep this friendly. But you're right, enough with the getting to know you shit. Now, there's two ways we can play this hand. One way is me and you go round an' round all fuckin' night. The other way, is we reach some sort of an understanding. Now, if we go down that first path at the end of the day, I'll win. But we go down the second, we'll both win. Now, I do n't give a rat's ass about you or your fuckin' family. Y' all can live forever or die this second and I do n't care which. The only things I do care about are me that son - of - a - bitch in the back, and our money. And right now I need to get those three things into Mexico. Now, stop me if I'm wrong, but I take it you do n't give a shit about seeing me and my brother receiving justice, or the bank getting its money back. Right now all you care about is the safety of your daughter, your son and possibly yourself. Am I correct?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>I thought so. You help us get across the border without incident, stay with us the rest of the night without trying anything funny, and in the morning we'll let you and your family go. That way everybody gets what they want. You and your kids get out of this alive and we get into Mexico. Everybody's happy.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>How do I know you'll keep your word?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Jesus Christ, Pops, do n't start with this shit.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>You want me to sit here and be passive. The only way being passive in this situation makes sense is if I believe you'll let us go. I'm not there yet. You have to convince me you're telling the truth.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Look, dickhead, the only thing you need to be convinced about is that you're stuck in a situation with a coupla real mean motor scooters. I do n't wan na hafta worry about you all fuckin' night. And I do n't think you wan na be worrying about my brother's intentions toward your daughter all night. You notice the way he looked at her, did n't ya?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Did n't like it, did ya?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>No, I did n't.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Did n't think so. So, as I was saying, I'm willing to make a deal. You behave, get us into Mexico, and do n't try to escape. I'll keep my brother off your daughter and let you all loose in the morning.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>You wo n't let him touch her?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>I can handle Richie, do n't worry.<\/dialogue>\n    <scene_description>The two men look at each other for some measure of trust . Seth sticks out his hand .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>I give you my word.<\/dialogue>\n    <scene_description>Seth ca n't help but think about the last time he gave his word .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( hand sticks out . )<\/parenthetical>\n    <dialogue>My words, my law. Better you not take it, and that's just where we are, then take it and not mean it.<\/dialogue>\n    <scene_description>Jacob takes his hand , but looks right into Seth .<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>If he touches her, I'll kill him. I do n't give a fuck how many guns you have, nothing will stop me from killing him.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Fair enough. You break your word, I'll kill all of you.<\/dialogue>\n    <parenthetical>( calling to the back . )<\/parenthetical>\n    <dialogue>Kate, honey!<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>You must have a bible in here, do n't cha?<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Yeah, we got a bible.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Get it and bring it up here, will ya, please?<\/dialogue>\n    <scene_description>Kate goes into a drawer , pulls out a bible and brings it up front .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Hold it right there, sweetie pie.<\/dialogue>\n    <parenthetical>( to Jacob . )<\/parenthetical>\n    <dialogue>Put your hand on it.<\/dialogue>\n    <scene_description>Jacob does .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Swear to God, on the Bible, you wo n't try to escape and you'll get us across the border.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>I swear to God I wo n't try to escape and I'll do my best to get you into Mexico.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>You best better get it done, Pops.<\/dialogue>\n    <scene_description>Seth places his hand on the Bible .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>I swear to God I'll let you loose in the morning. And your daughter will be safe. And I also swear if you do anything to fuck me up, I'll slit all your throats.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTOR HOME - NIGHT<\/stage_direction>\n    <scene_description>Richard 's in the back with Kate and Scott . Richard , expressionless , looks at Kate 's bare feet . SLOW ZOOM KATE 'S BARE FEET EX CLOSE - UP KATE 'S TOES . They wiggle . His eyes go to her hands . SLOW ZOOM KATE 'S HANDS EX CLOSE - UP KATE 'S FINGERS His eyes go to her neck . SLOW ZOOM NAPE OF KATE 'S NECK EX CLOSE - UP KATE 'S ADAM 'S APPLE . She swallows . His eyes move up . SIDE PROFILE OF KATE , SLOW ZOOM TO KATE 'S LIPS Back to Richard .<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Did ya mean what you said back there?<\/dialogue>\n    <scene_description>Kate turns to him .<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>In the room. Were you serious, or were you just foolin' around? I'm just bringing it up,'cause if you really want me to do that for you, I will.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Do what?<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>( in a whisper . )<\/parenthetical>\n    <dialogue>What you said to me in the room.<\/dialogue>\n    <character>KATE<\/character>\n    <parenthetical>( whispers back . )<\/parenthetical>\n    <dialogue>What did I say?<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>( whisper . )<\/parenthetical>\n    <dialogue>You asked me if I would -<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Richard!<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>( to Seth . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Seth and Jacob .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>I told you to watch those kids, I did n't say talk to'em. You guys ai n't got nothin' to say to one another. So cut the chatter.<\/dialogue>\n    <scene_description>Richard turns to Kate .<\/scene_description>\n    <character>RICHARD<\/character>\n    <parenthetical>( quiet . )<\/parenthetical>\n    <dialogue>We'll talk later.<\/dialogue>\n    <scene_description>Kate still has n't a clue what he means .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE MEXICAN BORDER - NIGHT<\/stage_direction>\n    <scene_description>Automobiles are lined up , waiting one by one to go into Mexico . Cop cars with their red and blue lights flashing are all over the place . Border Patrol men and Police are stopping all cars . Pulling up to the end of the line is the Fuller 's mobile home .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOBILE HOME - NIGHT<\/stage_direction>\n    <scene_description>Jacob at the wheel , Seth in the passenger seat . Seth jumps up and goes into action .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Okay everybody, it's show time. Richie, take Kate in the bathroom.<\/dialogue>\n    <scene_description>Richard grabs the terrified Kate and drags her in the bathroom ,<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Scott, you come up front with your daddy.<\/dialogue>\n    <scene_description>Scott does . Seth , keeping low , gets behind Jacob .<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>I'm telling you, do n't hurt her.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>As long as you're cool, she'll be cool. What're ya gon na say?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>I do n't have the slightest idea.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Well, you just keep thinkin' of that gun next to Kate's temple.<\/dialogue>\n    <scene_description>Seth disappears into the bathroom with Kate and Richard , closing the door behind him . Father and son are alone for the first time since this whole thing began .<\/scene_description>\n    <character>SCOTT<\/character>\n    <dialogue>What are you gon na do?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>I'm gon na try and get us across the border.<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>No, dad, you got ta tell'em that they're back there.<\/dialogue>\n    <scene_description>Jacob is surprised to hear Scott say this .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - MOBILE HOME - NIGHT<\/stage_direction>\n    <scene_description>The bathroom , which consists of a shower , a toilet and a small sink , is a tight fit with three people in it . Richard has his back against the wall , with his arm around Kate , holding her in front of him . One hand is over her mouth , the other holds a .45 against her head . Kate 's eyes are wide with fear . Seth stands , .45 in hand , ready to fire if the wrong person should open the door . Everybody talks low and quiet .<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>This is n't gon na work.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Shut up. It's gon na work just fine,<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>I just want to go on record as saying this is a bad idea.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Duly noted. Now, shut up.<\/dialogue>\n    <scene_description>Everyone 's quiet for a second , till Richard breaks it .<\/scene_description>\n    <character>RICHARD<\/character>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>They're gon na search the van.<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( offhand . )<\/parenthetical>\n    <dialogue>As long as you do n't act like a fuckin' nut, we'll be just fine.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>What does that mean?<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( distracted . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Richard lets Kate go , she quickly moves to the side .<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>You just called me a fuckin' nut.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>No, I did n't.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Yes, you did. You said as long as I do n't act like a fuckin' nut, implying that I've been acting like a fuckin' nut.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Take a pill, kid. I just meant stay cool.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>You meant that, but you meant the other, too.<\/dialogue>\n    <scene_description>Kate ca n't believe what she 's watching . Neither can Seth .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( serious as a heart attack . )<\/parenthetical>\n    <dialogue>This ai n't the time, Richard.<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>( his voice rising . )<\/parenthetical>\n    <dialogue>Fuck those spic pigs! You called me a fuckin' nut, and where I come from, that stops the train on its tracks.<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( real quiet and violent . )<\/parenthetical>\n    <dialogue>Keep your voice down.<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>( quiet back . )<\/parenthetical>\n    <dialogue>Or what?<\/dialogue>\n    <scene_description>BACK TO JACOB AND SCOTT<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>Have you forgotten about your sister?<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>They're gon na kill us. They get us across the border, they're gon na take us out in the desert and shoot us.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>If they get over the border, they're gon na let us go.<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>Dad, I watch those reality shows. They never let anybody go. Any cop will tell you, in a situation like this, you get a chance, you go for it. This is our chance.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>What about Kate?<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>They're gon na kill her anyway. At least now with all these cops we've got a fighting chance.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Son, I have this situation under control. I know exactly what I'm doing. You're going to have to trust me on this.<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>If trusting you means trusting those fuckin' killers, I ca n't do that. If you do n't tell the cops, I will.<\/dialogue>\n    <scene_description>Jacob grabs Scott by the front of his shirt , and yanks him to him .<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>Now, you listen to me. You ai n't gon na do a goddamn fucking thing, you hear me! Nobody cares what you think, I'm running this show, I make the decisions.<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>He's running the show.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>I'm running the show. I make the plays, and you back the plays I make. Stop thinking with your fucking balls. Kate in a room with a couple of desperate men with nothing to fucking lose ai n't the time to `` go for it.'' I need your cover. Cover my ass.<\/dialogue>\n    <scene_description>There 's a HONK behind them . They both look out the window . It 's their turn with the BORDER PATROL GUARDS . JACOB takes the wheel and drives up . A stern BORDER GUARD approaches JACOB 'S window .<\/scene_description>\n    <character>BORDER GUARD<\/character>\n    <dialogue>How many with you?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Just my son and I.<\/dialogue>\n    <character>BORDER GUARD<\/character>\n    <dialogue>What is your purpose in Mexico?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Vacation. I'm taking him to see his first bullfight.<\/dialogue>\n    <scene_description>BACK TO BATHROOM<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>I'm curious. What was the nuttiest thing I did?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>This ai n't the time.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Oh, I know, was it possibly when your ass was rotting in jail and I broke it out? Yeah, you're right, that was pretty fuckin' nutty. Not to mention stupid. But you know what? I can fix that right now.<\/dialogue>\n    <scene_description>SETH HAULS off and PUNCHES Richard smack in the head . Richard HITS the floor , Guard , Jacob , and Scott hear Richard fall in the bathroom .<\/scene_description>\n    <character>BORDER GUARD<\/character>\n    <dialogue>What was that?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Oh, that's just my daughter in the bathroom.<\/dialogue>\n    <character>BORDER GUARD<\/character>\n    <dialogue>You said it was just you and your son.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>I meant me, my son and my daughter.<\/dialogue>\n    <scene_description>CLOSE - UP BORDER GUARD<\/scene_description>\n    <character>BORDER GUARD<\/character>\n    <dialogue>Open the door. I'm coming aboard.<\/dialogue>\n    <scene_description>BACK TO BATHROOM CLOSE - UP KATE We can only see Kate 's face . It 's scared . We hear rustling around the bathroom , but we do n't know what it is . Then it 's quiet . Then we hear talking outside the door , but we ca n't make it out . Then we hear a knock .<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>I'm in the bathroom.<\/dialogue>\n    <character>BORDER GUARD<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>It's the Border Patrol. Open up.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>It's open.<\/dialogue>\n    <scene_description>We hear the door open and see the light change on Kate 's face . She 's looking up . BORDER GUARD in the doorway looking in . HE SEES : Kate by herself , pants around her ankles , sitting on the toilet .<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Do you mind? Shut the fucking door.<\/dialogue>\n    <character>BORDER GUARD<\/character>\n    <dialogue>Excuse me.<\/dialogue>\n    <scene_description>He closes the door . Kate lets out a breath . We wait a beat , Seth pulls back the curtain in the shower , we see Richie on the floor of the shower knocked out . Seth and Kate meet eyes . He gives her the O.K. signal . BACK WINDOW MOTOR HOME We see through the back window of the motor home , the border getting smaller as we drive away from it . Scott knocks on the bathroom door .<\/scene_description>\n    <character>SCOTT<\/character>\n    <dialogue>It's clear.<\/dialogue>\n    <scene_description>Seth BURSTS out of the bathroom .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Goddamn, that was. intense!<\/dialogue>\n    <scene_description>Seth goes to the back window . He sees the border getting farther and farther away . No cars following .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>We did it.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>We're in Mexico.<\/dialogue>\n    <scene_description>Seth throws his head back and SCREAMS for joy . Kate , emerging from the bathroom , reacts to Seth 's scream , along with Scott . Seth is so happy that he does a little jig in the back of the van . Everybody else is still tense as shit . But Seth lets go of all his tension , and becomes a new man before our eyes . He turns to Kate .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( loud and happy . )<\/parenthetical>\n    <dialogue>Come here, Kate!<\/dialogue>\n    <scene_description>Kate , nervous , takes a step back . He charges for her . GRABS her , hugs her around her waist , and spins her around . When he lets her go , she stumbles dizzily onto the bed .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( to Kate . )<\/parenthetical>\n    <dialogue>You were magnificent! You told him to shut the fucking door. I'm hiding in the shower, and I'm thinking to myself, `` Did I just fuckin' hear what I just fuckin' heard? And what does he do - he shuts the fucking door!<\/dialogue>\n    <scene_description>Kate kind of half smiles .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>If I was a bit younger, baby, I'd fuckin' marry you!<\/dialogue>\n    <scene_description>Seth goes up front and slaps Jacob on the back .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>I got ta hand it to ya, Pops, you raised a fuckin' woman.<\/dialogue>\n    <scene_description>Jacob does n't share Seth 's enthusiasm , but he is relieved .<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>We did our part, we gotcha in Mexico. Now it's time for your part, letting us go.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Pops, when you're right, you're right, and you are right.<\/dialogue>\n    <character>KATE<\/character>\n    <parenthetical>( suddenly brightens . )<\/parenthetical>\n    <dialogue>You're gon na let us go?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>In the morning, darlin', in the morning, we are G - O - N - E and you are F - R - E - E. Now, I know I put you guys through hell, and I know I've been one rough pecker, but from here on end you guys are in my cool book. Scotty, help me pick Richie up, and lay him down. Jacob, keep going on this road till you get to a sign that says, `` Digayo.'' When you get to Digayo, turn this big bastard left, go on down for a few miles, then you see a bar called `` The Titty Twister.'' From what I hear, you ca n't miss it.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Then?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Then stop,'cause that's where we're going.<\/dialogue>\n    <scene_description>He slaps him once again on the back , and leaves to attend to Richard . CLOSE - UP RICHARD without glasses . Unconscious , Seth slaps his face .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>C'mon, kid, wake up. Do n't make a career out of it.<\/dialogue>\n    <scene_description>Richard starts coming to and opens his eyes . Seth sits at the foot of the bed .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>( disoriented . )<\/parenthetical>\n    <dialogue>Yeah, I think so. What happened?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>I do n't know, you just passed out.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>I did?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Yeah, we were just standing there. You said something about your shoulder hurting, then you just hit the ground like a sack of potatoes.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Yeah, when you fell your head smacked the toilet hard. It scared the shit outta me. Sure you're okay?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Yeah, I guess. I'm just a little fucked up.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Well, let me tell ya something, gon na clear your head right up. We are officially Mexicans.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>We are.<\/dialogue>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>`` South of the border down Mexico way.''<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>We are?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Yep. We're heading for the rendezvous right now. We get there, we pound booze till Carlos shows up, he escorts us to El Ray. And then me and you, brother, kick fuckin' back. How ya like them apples?<\/dialogue>\n    <scene_description>Slowly shaking the cobwebs out of his head .<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Far out.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Where are my glasses?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>They broke when you fell.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Oh, fuck, Seth, that's my only pair!<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Do n't worry about it, we'll get you some glasses.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>What dya mean, do n't worry about it. Of course I'm gon na worry about it, I ca n't fuckin' see.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>When we get to El Ray, I'll take care of it.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Yeah, like a Mexican hole - in - the - wall's gon na have my fuckin' prescription.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>It's not a big deal, unless you make it a big deal. Now, I'm real happy, Richie, stop bringing me down with bullshit.<\/dialogue>\n    <scene_description>Jacob calls to the back .<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>Guys! We're here.<\/dialogue>\n    <scene_description>A neon sign that flashes : THE TITTY TWISTER Hiker\/Trucker bar , Dusk till Dawn Underneath the joint 's proud name on the sign , and on top of `` Biker\/Trucker bar , Dusk till Dawn '' is a well - endowed woman , whose breast is being twisted by a neon hand .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE TITTY TWISTER NIGHT<\/stage_direction>\n    <scene_description>The neon sign sits on top of the rudest , sleaziest , most crab - infested , strip joint , honky - tonk whorehouse in all of Mexico . The Titty Twister is located out in the middle of nowheres ville . It sits by itself with nothing around it for miles . A plethora of choppers and eighteen wheelers are parked out in front . The walls almost pulsate from the LOUD , RAUNCHY MUSIC within the structure . Signs cover the walls outside reading things like : `` NUDE DANCING '' , `` WHORES '' , `` BEER '' , `` AUTHENTIC MEXICAN FOOD '' , `` BIKERS AND TRUCKERS ONLY '' , `` OPEN DUSK TILL DAWN '' , `` THURSDAY COCKFIGHT NIGHT '' , `` WEDNESDAY DOGFIGHT NIGHT '' , `` DONKEY SHOW MONDAYS '' , `` EVERY FRIDAY BARE KNUCKLE FIGHT TO THE DEATH , FEATURING THE LOVELY SANTANICO PANDEMONIUM '' , `` ATHENA AND DANNY THE WONDER PONY '' , and `` THE SLEAZY TITTY TWISTER DANCERS . '' In the parking lot , a BIKER and a TRUCK DRIVER beat the shit out of each other , one with a pipe , the other with a hammer . A SECOND BIKER fucks a Titty Twister WHORE against the wall . A greasy man , known as CHET PUSSY , stands in the parking lot , soliciting customers through a Mr. Microphone .<\/scene_description>\n    <character>CHET<\/character>\n    <dialogue>Pussy, pussy, pussy! All pussy must go. At the Titty Twister we're slashing pussy in half! This is a pussy blow out! Make us an offer on our vast selection of pussy! We got white pussy, black pussy, Spanish pussy, yellow pussy, hot pussy, cold pussy, wet pussy, tight pussy, big pussy, bloody pussy, fat pussy, hairy pussy, smelly pussy, velvet pussy, silk pussy, Naugahyde pussy, snappin' pussy, horse pussy, dog pussy, mule pussy, fake pussy! If we do n't have it, you do n't want it!<\/dialogue>\n    <scene_description>The Fullers ' recreational vehicle pulls into the parking lot and stops .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTOR HOME - NIGHT<\/stage_direction>\n    <scene_description>What 's left of the Fuller family and the Gecko family look out the windshield onto the sight that is the Titty Twister .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( to the group . )<\/parenthetical>\n    <dialogue>Okay, troops, this is the homestretch. Here's the deal ; this place closes at dawn. Carlos is gon na meet us here sometime before dawn. Which by my guesstimate is somewhere between three or four hours from now. So we're gon na go in there, take a seat, have a drink - have a bunch of drinks, and wait for Carlos. That could be an hour, that could be three hours, I do n't know which. But when he gets here, me and Richie are going to leave with him. After we split, you guys are officially out of this stewpot. Let me just say I'm real happy about where we're at. We got a real nice, `` I do n't fuck with you - you do n't fuck with me'' attitude going on. Now, if everybody just keeps playin' it cool - and I'm talking to you, too, Richie - everybody's gon na get what they want. Comprende, amigos?<\/dialogue>\n    <scene_description>Everybody nods and mutters in agreement .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Okay hard drinkers, let's drink hard. I'm buyin'.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - NIGHT<\/stage_direction>\n    <scene_description>The camper door FLIES OPEN and the two brothers and the Fuller family step out into the night . They look across the parking lot at the Titty Twister . It literally looks in some ways like the entrance to hell .<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>Out of the stew pot and into the fire.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Shit, I been to bars make this place look like a fuckin' 4 - H club.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>I got ta say I'm with Jacob on this. I been to some fucked up places in my time, but that place is fucked up.<\/dialogue>\n    <scene_description>Seth ca n't believe it .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( in a baby talk voice . )<\/parenthetical>\n    <dialogue>Aww - w, whatsa matter, is the little baby too afraid to go into the big scary bar?<\/dialogue>\n    <scene_description>The two brothers square off , not like strangers fighting , but like brothers fight . They talk real quiet , but real personal .<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>That's what you think?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>That's how you're lookin', Richie.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>I'm lookin' scared?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>That's what you look like.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>You know what you look like?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>No, Richie, what do I look like?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>You're lookin' green.<\/dialogue>\n    <scene_description>That 's not what Seth expected to hear .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>How?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Where are you right now?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Where are you?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>I'm here with you.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>No, you're not. You're sippin' margaritas in El Ray. But we're not in El Ray. We're here - getting ready to go in there. You're so pleased with yourself about getting into Mexico, you think the job's down. It ai n't. Get back on the clock. That's a fuck - with - you - bar. We hang around there for a coupla hours, in all likelihood, we'll get fucked with. So get your shit together, brother.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>My shit is together.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>It do n't look together.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Well, it is. Just because I'm happy does n't mean I'm on vacation. You're just not used to seein' me happy,'cause it's been about fifteen fuckin' years since I been happy. But my shit is forever together.<\/dialogue>\n    <scene_description>Richard believes Seth 's response .<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Okay, just checkin'.<\/dialogue>\n    <scene_description>They walk toward the bar 's entrance . Chet Pussy talks into the microphone .<\/scene_description>\n    <character>CHET<\/character>\n    <parenthetical>( yelling into the microphone . )<\/parenthetical>\n    <dialogue>Take advantage of our penny pussy sale. Buy any piece of pussy a tour regular price, you get another piece of pussy, of equal or lesser value, for a penny. Now try and beat pussy for a penny! If you can find cheaper pussy anywhere, fuck it!<\/dialogue>\n    <scene_description>Chet notices our heroes , especially young Kate .<\/scene_description>\n    <character>CHET<\/character>\n    <parenthetical>( in microphone , towards Kate . )<\/parenthetical>\n    <dialogue>What's this? A new flavor approaching. Apple Pie Pussy.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Step aside, asshole.<\/dialogue>\n    <scene_description>Chet POKES HIS FINGER in Seth 's CHEST .<\/scene_description>\n    <character>CHET<\/character>\n    <dialogue>Not so fast, Slick.<\/dialogue>\n    <scene_description>Seth GRABS HOLD of Chet 's FINGER , BENDS it BACKWARDS till the BONE SNAPS in two . Chet lets out a SCREAM . Seth VIOLENTLY brings his HEAD FORWARD PULVERIZING Chet 's NOSE . Chet FALLS to his KNEES in front of Seth . Seth HOOKS him with a powerful FIST UNDER his CHIN that SNAPS Chet 's HEAD BACK , and THROWS him on his BACK . After HITTING the GROUND , Seth SENDS a SAVAGE KICK straight to Chet 's FACE , ROLLING HIM OVER . Chet is OUT . The whole altercation took two seconds . Everyone 's in shock and looks at Seth . Seth looks back at everyone .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Now, is my shit together, or is my shit together?<\/dialogue>\n    <scene_description>Richard and Seth laugh with each other .<\/scene_description>\n    <character>RICHARD<\/character>\n    <parenthetical>( slappin ' Seth five . )<\/parenthetical>\n    <dialogue>Your shit is forever together!<\/dialogue>\n    <scene_description>They head for the door . Richard stays behind for a second , and gives the fallen Chet a few , swift kicks ,<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE TITTY TWISTER NIGHT<\/stage_direction>\n    <scene_description>If the Titty Twister looked like the asshole of the world from the outside , in the immortal words of Al Jolson , `` You ai n't seen nothin ' yet . '' This is the kind of place where they sweep up the teeth and hose down the cum , the blood and the beer at closing . In the back , TOPLESS DANCERS do lap dances with customers , while a SLEAZY SEXY STRIPPER STRIPS to RAUNCHY MUSIC , played at ear drum - bursting level . TWO MEN are in a savage BAREKNUCKLE FIGHT , surrounded by screaming customers of bikers and truckers . One of the dancers is a man with a saddle on his back , his name is DANNY THE WONDER PONY . The woman on his back , in the saddle , feet in the stirrups , hands on the reins , is ATHENA , his rider . They dance around to the cheers of the crowd . Bikers and truckers play pool in the back . Fights break out here about one every ten minutes . The customers may start 'em , but the bouncer , BIG EMILIO , ends 'em . Seth , Richard , Jacob , Scott and Kate walk through the door . They each individually take in the sights and the smells . Seth is the first to say something .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Now this is my kinda place! I could become a regular.<\/dialogue>\n    <scene_description>The man behind the bar is RAZOR CHARLIE . He eyes the group as they approach . Their difference from the usual road waif nomads who populate the Twister disturbs him . He exchanges a knowing look across the room with Big Emilio , as the group bellies up to the bar .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Whiskey!<\/dialogue>\n    <character>RAZOR CHARLIE<\/character>\n    <parenthetical>( in English . )<\/parenthetical>\n    <dialogue>You ca n't come in here.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>What dya mean?<\/dialogue>\n    <character>RAZOR CHARLIE<\/character>\n    <dialogue>This is a private club. You're not welcome.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Are you tellin' me I'm not good enough to drink here?<\/dialogue>\n    <character>RAZOR CHARLIE<\/character>\n    <dialogue>This bar is for bikers and truckers only.<\/dialogue>\n    <parenthetical>( points his finger to Seth . )<\/parenthetical>\n    <dialogue>You, get out!<\/dialogue>\n    <scene_description>Big Emilio almost magically appears behind Seth and places HIS BIG BEEFY SAUSAGE - FINGERED HAND HARD on Seth 's shoulder .<\/scene_description>\n    <character>BIG EMILIO<\/character>\n    <parenthetical>( to Seth in Spanish . )<\/parenthetical>\n    <dialogue>Walk, Pendaho.<\/dialogue>\n    <scene_description>Seth slowly turns his eyes to the big hand on his shoulder .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( low . )<\/parenthetical>\n    <dialogue>Take your hand off me.<\/dialogue>\n    <character>BIG EMILIO<\/character>\n    <parenthetical>( Spanish . )<\/parenthetical>\n    <dialogue>I'm going to count to three.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>No, I'm going to count to three.<\/dialogue>\n    <character>BIG EMILIO<\/character>\n    <dialogue>Uno.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Two.<\/dialogue>\n    <scene_description>Jacob jumps in the middle .<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>Now wait a minute, there's no reason to get ugly. There's just a misunderstanding going on here. You said this bar is for truckers and bikers, Well, I'm a truck driver.<\/dialogue>\n    <scene_description>Everybody looks at Jacob . As Jacob talks he takes out his wallet .<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>If you look outside your door, parked in your parking lot, you'll see a big ass recreational vehicle. That's mine. In order to drive that legally, you need a class two driver's license. That is the same license that the DMV requires truck drivers to carry in order to drive a truck.<\/dialogue>\n    <parenthetical>( he takes the license out of his wallet and lays it on the bar . )<\/parenthetical>\n    <dialogue>That is me, and this is my class two license. This is a truck driver's bar, I am a truck driver, and these are my friends.<\/dialogue>\n    <scene_description>Everybody 's a little stunned after Jacob 's speech . Razor Charlie picks up the license , looks at Jacob , looks at everyone in the party and smiles .<\/scene_description>\n    <character>RAZOR CHARLIE<\/character>\n    <parenthetical>( to Jacob . )<\/parenthetical>\n    <dialogue>Welcome to the Titty Twister. What can I get you?<\/dialogue>\n    <scene_description>Seth BRUSHES OFF Big Emilio 's paw .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Bottle of whiskey and five glasses.<\/dialogue>\n    <scene_description>Razor Charlie 's eyes go to Seth . Even though he has a big smile on his face , he looks like he 's going to kill Seth . But instead he just says ,<\/scene_description>\n    <character>RAZOR CHARLIE<\/character>\n    <dialogue>Coming right up.<\/dialogue>\n    <scene_description>Razor Charlie goes for the bottle . Big Emilio gives the party one last look and walks away . Richard gives Jacob a buddy punch on the shoulder .<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Good job, Pops.<\/dialogue>\n    <scene_description>Seth 's still frying an egg on his head .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>That's just fuckin' typical. Biggest number one problem with Mexico, it's not service oriented. I was feelin' so good, and those fuckin' spies brought me down.<\/dialogue>\n    <scene_description>Richard puts his arm around Seth .<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Fuck'em, shake it off.<\/dialogue>\n    <scene_description>Razor Charlie brings the bottle and the glasses . Seth looks at the guy , still pissed .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>You serve food, Jose?<\/dialogue>\n    <scene_description>Razor Charlie knows Seth 's taunting him with a racial slur , but he just smiles and says ,<\/scene_description>\n    <character>RAZOR CHARLIE<\/character>\n    <dialogue>Best in Mexico.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>I kinda doubt that. We're grabbin' a table, send over a waitress to take our order.<\/dialogue>\n    <scene_description>Seth walks away , and the group follows him . We just hang on the evil wheels turning inside of Razor Charlie 's head . The five of them move across the floor to a table . As they walk , Kate attracts stares , wolf whistles and rude comments from some of the patrons . Jacob keeps near his daughter . The dancers do their sexy routines . A big - chested , wild - haired blonde catches Scott 's eye . She winks at him . Richard leans over and whispers in Scott 's ear .<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Anytime you want a lap dance with that broad, say the word. It's on me, kiddo.<\/dialogue>\n    <scene_description>He gives the boy 's neck a squeeze . Jacob 's eyes survey the surroundings . Big Emilio and Razor Charlie quietly exchange words about the party in Spanish .<\/scene_description>\n    <character>RAZOR CHARLIE<\/character>\n    <parenthetical>( in Spanish . )<\/parenthetical>\n    <dialogue>They're not the normal road trash we normally feed on. But it'll be okay. No one knows they're here.<\/dialogue>\n    <scene_description>The five of them find a table and sit down . Seth , still in a bad mood , takes the cork out of the whiskey bottle and tosses it . He pours Richie and himself a glass .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Who else?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Pass.<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( picking a fight . )<\/parenthetical>\n    <dialogue>Why not, against your religion?<\/dialogue>\n    <character>JACOB<\/character>\n    <parenthetical>( wo n't be baited . )<\/parenthetical>\n    <dialogue>No, I do drink, I'm just not drinking now.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Suit yourself, more for me.<\/dialogue>\n    <parenthetical>( to Scott . )<\/parenthetical>\n    <dialogue>Scotty?<\/dialogue>\n    <scene_description>Scott shakes his head no .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( to Kate . )<\/parenthetical>\n    <dialogue>How ` bout you?<\/dialogue>\n    <parenthetical>( pointing at Scott and Kate . )<\/parenthetical>\n    <dialogue>are safer in here with us than wandering around a Mexican border town all night long. Just do n't do nothin' stupid and we'll all get along fine.<\/dialogue>\n    <parenthetical>( to Scott . )<\/parenthetical>\n    <dialogue>Scotty, you sure you do n't want a drink?<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>Okay, I'll have one.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>No you wo n't.<\/dialogue>\n    <scene_description>Seth pours Scott a shot .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Sorry, Pops, but I'm drinkin' and I do n't like drinkin' alone. Bottoms up, boy.<\/dialogue>\n    <scene_description>Scott takes the drink and he , too , experiences an on - drinker 's tremor . Seth turns to Kate .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>How about you, cutie pie? Ready for round two?<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Seth just passes her the bottle . She pours her own shot and knocks it back .<\/scene_description>\n    <character>RICHARD<\/character>\n    <parenthetical>( to Seth . )<\/parenthetical>\n    <dialogue>Hey, Dr. Frankenstein, I think you just created a monster.<\/dialogue>\n    <scene_description>Jacob turns to Seth and asks quietly .<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>Why are you so agitated?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>I'm still stewing about that ape laying hands on me. And that fuckin' bartender sticks a weed up my ass, too.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>He backed down.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>He's smilin' at us. But behind his smile, he's sayin', `` Fuck you Jack.'' I hear that loud and clear.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>What are you going to do?<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( picking up the whiskey bottle . )<\/parenthetical>\n    <dialogue>I'm gon na just sit here and drain this bottle. And when I've drunk the last drop, if I still feel then, the way I feel now, I'm gon na take this bottle and break it over his melon head.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Before we stepped in here, you told all of us to be cool. That means you, too.<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( tossing it off . )<\/parenthetical>\n    <dialogue>I never said do what I do, I said do what I say.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Are you so much a fucking loser, you ca n't tell when you've won?<\/dialogue>\n    <scene_description>Richard , Kate and Scott both turn to Jacob . Nobody can believe what he just said . Neither can Seth who calmly lays down his drinking glass .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>What did you call me?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Nothing. I did n't make a statement. I asked a question. Would you like me to ask it again? Very well. Are you such a loser you ca n't tell when you've won?<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>The entire state of Texas, along with the FBI, is looking for you. Did they find you? No. They could n't. They had every entrance to the border covered. There's no way you could get across. Did you? Yes, you did. You've won, Seth, enjoy it.<\/dialogue>\n    <scene_description>Seth looks at Jacob , then picks up the bottle .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Jacob, I want you to have a drink with me. I insist.<\/dialogue>\n    <scene_description>Jacob slides his empty glass over to Seth . Seth pours booze in Jacob 's glass and his own . Both men pick up the glasses .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>To your family.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>To yours.<\/dialogue>\n    <scene_description>They both knock 'em back and slap the empty glasses down .<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>Now, is your shit together?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Forever together.<\/dialogue>\n    <scene_description>Seth turns to Scott .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>In that camper out there I saw a guitar. I take it that's yours.<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>Yeah, it's mine.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Go out and bring it in. I feel a song coming on.<\/dialogue>\n    <scene_description>Seth sitting at the table , playing guitar , singing Mexican songs . Some bikers , truckers , and whores have gathered around their table . Everyone 's groovin ' . Seth finishes the song . Everybody applauds . Razor Charlie behind the bar grabs the greasy microphone that he uses to announce dancers .<\/scene_description>\n    <character>RAZOR CHARLIE<\/character>\n    <parenthetical>( announcer voice in Spanish . )<\/parenthetical>\n    <dialogue>And now for your viewing pleasure. The Mistress of the Macabre. The Epitome of Evil. The most sinister woman to dance on the face of the earth. Lowly dogs, get on your knees, bow your heads and worship at the feet of SANTANICO PANDEMONIUM!<\/dialogue>\n    <scene_description>The lights go down low . A light hits the stage . The opening notes of the Coaster 's `` Down in Mexico '' fills the room . The crowd hushes up . And on the stage steps SANTANICO PANDEMONIUM . This Mexican goddess is beautiful , but not the beauty that Stendhal described in `` As the Promise of Happiness , '' but the beauty of the siren who lures men to their doom . She dances to the raunchy music , not like she owned the stage , but like she owned the world . And if the patrons of the Titty Twister are her world , the world is proud to be her possession . All activity in the bar , save Santanico , stops . Even the Fuller\/Gecko table falls under her spell . Especially Richard , Scott and Kate . Seth knows this song and accompanies from the table with the guitar . When the music builds to its explosive section . Santanico LEAPS from the stage , LANDING in the middle of the room . She does an eyes - closed voodoo dance in perfect step with the beat . As the music continues to play , a very fucked - up looking Chet Pussy walks in . He goes over to Razor Charlie and points at Seth 's table , describing what happened . As the last verse plays , Santanico , like a snake , comes up from the ground , on top of the Fuller\/Gecko table . Richard , Kate and Scott are enraptured . Santanico scans the table , zeroing in on our boy Richard . She STANDS OVER him . While moving her body to the music , she lifts up the whisky bottle from the table , and pours the whiskey down her leg . She lifts up her foot , with the whiskey dripping from her toes , and sticks it in Richard 's face .<\/scene_description>\n    <character>SANTANICO<\/character>\n    <parenthetical>( to Richard in Spanish . )<\/parenthetical>\n    <dialogue>Drink up.<\/dialogue>\n    <scene_description>Richie , mesmerized , sucks the whiskey off her toes . The CROWD GOES WILD . Santanico smiles , master of all she surveys . Jacob and Scott are embarrassed . Kate , oddly enough , is turned on by the controlling power this woman has over a man she 's deathly feared . Seth laughs out loud a Mexican `` yi yi yiii '' laugh , keeping the beat with his guitar . Across the room , Razor Charlie , Chet by his side , motions over Big Emilio . He begins explaining with pointing what Seth and company did to Chet . Richard continues to suck her toes . The song ends , Santanico extracts her foot from Richard 's mouth . Steps off the table . Takes a drink of whiskey . Looks down at the seated Richard . She GRABS the back of his hair , YANKS his head BACK . His mouth OPENS because she 's hurting him . She LEANS her FACE OVER his like she 's going to kiss him . Then let 's the whiskey from her mouth fall into his . They never touch . The crowd applauds . She lets go of Richard 's hair . Except for Jacob and Richard , both for their own reasons , the table applauds , none louder than Seth .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Bravo! Bravo! Bravo! Now that's what I call a fuckin' show!<\/dialogue>\n    <scene_description>One of Santanico 's FLUNKIES brings the naked woman a robe , which she puts on . Richard , still in a daze , looks up at his new friend .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( snapping his fingers . )<\/parenthetical>\n    <dialogue>Earth to Richie. Do n't you wan na ask your new friend to join us?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Well, then ask her, dumb ass.<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>( looking up at Santanico . )<\/parenthetical>\n    <dialogue>Por favor, Senorita. Would you care to join us?<\/dialogue>\n    <character>SANTANICO<\/character>\n    <parenthetical>( to Richard . )<\/parenthetical>\n    <dialogue>Muy bien, gracias.<\/dialogue>\n    <scene_description>Santanico sits down next to Richie . Seth pours her a drink .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Richie, you lucky bastard!<\/dialogue>\n    <parenthetical>( to Santanico . )<\/parenthetical>\n    <dialogue>Now, little lady, you could of just as easily done that to me. Who a Nelly! You got my dick harder'n Chinese arithmetic.<\/dialogue>\n    <scene_description>The table laughs .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Which reminds me of a joke. Little Red Riding Hood is walking through the forest and she comes across Little Bo Peep, and Little Bo Peep says : `` Little Red Riding Hood, are you crazy? Do n't you know the Big Bad Wolf is walking these woods and if he finds you he's gon na pull down your dress and squeeze your titties?'' Then Little Red Riding Hood hitches up her skirt and taps a.357 Magnum she has holstered on her thigh and says : `` No he wo n't.''<\/dialogue>\n    <scene_description>As Seth tells his joke , Jacob notices Razor Charlie , Big Emilio and Chet moving rapidly towards their table .<\/scene_description>\n    <character>JACOB<\/character>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>Oh, shit.<\/dialogue>\n    <parenthetical>( to Seth . )<\/parenthetical>\n    <dialogue>Seth -<\/dialogue>\n    <scene_description>Seth waves him away .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Not now. So finally she comes across the Big Bad Wolf and the Big Bad Wolf's laughing and says : `` Little Red Riding Hood, you know better than to be walking around these woods alone. You know I'm just gon na have to pull down your dress and squeeze your titties.'' Then Little Red Riding Hood whips out her.357, cocks it, sticks it in the Big Bad Wolf's face and says : `` No you wo n't. You're gon na eat me, just like the story says.''<\/dialogue>\n    <scene_description>Seth starts laughing at his own joke uproariously . Richard , Kate , Scott and Santanico join in too . Before Jacob can say anything - The Titty Twister trio stand over the table .<\/scene_description>\n    <character>RAZOR CHARLIE<\/character>\n    <parenthetical>( to Chet in Spanish . )<\/parenthetical>\n    <dialogue>Which one?<\/dialogue>\n    <character>CHET<\/character>\n    <parenthetical>( pointing at Seth . )<\/parenthetical>\n    <dialogue>This piece of shit broke my finger and my nose.<\/dialogue>\n    <parenthetical>( pointing at Richard . )<\/parenthetical>\n    <dialogue>then this fag kicked me in the ribs while I was down.<\/dialogue>\n    <scene_description>That 's all Big Emilio has to hear .<\/scene_description>\n    <character>BIG EMILIO<\/character>\n    <parenthetical>( to The Gecko Brothers . )<\/parenthetical>\n    <dialogue>Up!<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Fuck off, ape man!<\/dialogue>\n    <scene_description>Big Emilio leans in with his beefy hand , GRABS Richard by the shoulder . Richard lets out a howl as blood pours from his wounded shoulder . Santanico steps back from the table . Seth jumps to his feet and FIRES a round from his .45 into Big Emilio , sending his bullet - ridden body to the floor . Razor Charlie whips out a straight version of his name sake and SLASHES Seth across the face . Seth SCREAMS at the top of his lungs as his hand goes up to his laid open cheek . Richard , who has fallen to the ground holding his wound , brings up his .45 and starts BLASTING . Razor Charlie takes a bullet in the head , chest and belly before he hits the floor . Jacob and his children have hit the floor as well to stay out of gunfire . The bikers , truckers , waitresses and whores all stop what they were doing . The music continues to play , though the dancers stop dancing . Santanico , who 's closest to the two brothers , smells something . Her NOSTRILS FLARE . Richard moves to his brother , who takes out a handkerchief and puts it to his face .<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>How are you?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Scarred for life, that's how I am!<\/dialogue>\n    <scene_description>Seth looks up and sees Chet still standing there .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>You thought it was pretty funny, did n't you?<\/dialogue>\n    <scene_description>Both brothers FIRE on Chet . Chet 's blown left . right . left . right . then drops , pointing their guns towards the crowd .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Everybody be cool, or you'll be just as dead as these fucks!<\/dialogue>\n    <scene_description>SLOW MOTION : Blood drips down the side of Seth 's face . SLOW MOTION : It splatters to the floor . The CAMERA scans the crowd . The patrons are scared , but the waitresses , whores and dancers lick their lips . SLOW MOTION : Blood drips from Richard 's shoulder . It falls to the floor , splattering . WE MOVE INTO SANTANICO 'S FACE . A special aroma fills her nostrils . Her eyes lock on Richard . The look on her face could easily be read as intense sexual desire . CLOSE - UP KATE ON FLOOR Looks up and watches , eyes wide with fear , Santanico 's transformation . Her NOSE RECEDES INTO her face like a rodent 's . The whites of her eyes turn YELLOW . The FANGS of a beast PROTRUDE from her mouth . Kate yells from the floor .<\/scene_description>\n    <character>KATE<\/character>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>Richie, look out!<\/dialogue>\n    <scene_description>Before Richie can turn around . SANTANICO LEAPS ACROSS THE FLOOR , LANDS on his BACK and SINKS her FANGS into Richie 's wounded SHOULDER . Richard LETS LOOSE with an agonizing SCREAM . Seth turns to his brother 's cry . He sees SANTANICO PANDEMONIUM , like a mongoose attached to a cobra , legs wrapped around Richard 's waist , fangs buried deep in his shoulder , and Richard screaming and slamming about , trying to knock her off . Richard screams to Seth :<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Shoot her! Shoot her! Get her off!<\/dialogue>\n    <scene_description>Seth tries to aim his gun , but there 's too much movement . He ca n't get a clear shot . Jacob and his children ca n't believe what they 're seeing . Richard ca n't take it anymore , his knees buckle . Santanico rides him down to the floor . Seth gets a clear shot , he takes aim and FIRES , hitting the vamp in the head , blowing her off his brother . Richard , who 's on all fours , tries to stand and gets about half way before he stops , saying :<\/scene_description>\n    <character>RICHARD<\/character>\n    <parenthetical>( with his dying breath . )<\/parenthetical>\n    <dialogue>Fucking Bitch!<\/dialogue>\n    <scene_description>He tumbles over , a corpse .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Richie.<\/dialogue>\n    <scene_description>Suddenly , the eyes of Big Emilio , Razor Charlie and Chet Pussy pop open . The `` dead '' men sit up with evil grins on their faces . The patrons scream . A WHORE locks the front door -LRB- which is a complicated lock with steel rods going into the ground -RRB- , turns toward the bar and yells :<\/scene_description>\n    <character>WHORE<\/character>\n    <dialogue>Dinner is served!<\/dialogue>\n    <scene_description>The bikers and truckers who have been transfixed , watching the impossible , realize that the waitresses , naked dancers and whores who they were pawing just five minutes ago , have turned into yellow - eyed , razor - fanged , drool - dripping VAMPIRES . The vamps attack . What follows is a shark feeding frenzy . Whores , who had been sitting on customer 's laps , sink their teeth into unshaven necks . Naked strippers and bikers wail the shit out of each other . Truckers get their heads caved in by women half their size . The patrons use what ever they can find to fend off the monsters : chairs , chair legs , broken bottles , switchblades , anything . Jacob , Kate and Scott make a dash and dive behind the bar . They hide and watch . Seth stands where his was , limp dick of a .45 in his hand , too freaked , scared and stunned to do anything . He stands motionless , watching what he ca n't believe . Behind him , Santanico , who lies next to the dead Richard , eyes POP OPEN . She RISES in her snake\/dance way . Seth feels her and SPINS in her direction , gun raised .<\/scene_description>\n    <character>SANTANICO<\/character>\n    <dialogue>Let's see if you taste as good as your brother.<\/dialogue>\n    <scene_description>She approaches Seth , who FIRES at her . BAM . BAM . BAM . CLICK . CLICK . CLICK . CLICK . She laughs and gives her hair a toss back . Seth , moving backwards , is terrified . Santanico gives Seth a SWINGING ROUND HOUSE PUNCH to the JAW , that sends him FLYING over a table , SLIDING ACROSS the FLOOR and INTO the WALL . A bad - ass biker named FROST , with a hideous burn on the side of his face , stands on top of a pool table , swinging a pool cue , left to right , fending off vamps . Big Emilio picks up a biker who stabbed him with a switchblade and throws the poor bastard from one end of the bar to the other . The biker - winner of the bare knuckle fight , SEX MACHINE , goes head to head with a stripper . The vamp might have superhuman strength , but Sex Machine has close to superhuman strength , and he 's matching the vamp bitch blow for blow . Then he GRABS her by the waist , LIFTS her up over his head and BRINGS her DOWN HARD on an upturned table , IMPALING her on the wooden leg . FROST is still swinging his POOL CUE , when Razor Charlie appears , straight razor in hand . Frost JUMPS off the table to meet the challenge . Razor Charlie SWINGS at him , Frost LEAPS back , SWINGING his pool cue at him . They do this dance , till Frost CRACKS Charlie UPSIDE the HEAD with the pool cue , breaking it in half . Charlie FEELS the HIT . Frost PLUNGES the splintered end of the cue in Razor Charlie 's heart . Green blood comes out of his chest , as Charlie screams the vampire 's death scream . Seth comes to and finds Santanico standing over him . He tries to rise , but Santanico places her bare foot on his chest , pinning him down to the floor . He tries to move , but the pressure of her foot is equivalent to an engine block placed on his chest .<\/scene_description>\n    <character>SANTANICO<\/character>\n    <dialogue>I'm not gon na drain you completely. You're gon na turn for me, You'll be my slave. You'll live for me. You'll eat bugs because I order it. Because I do n't think you're worthy of human blood, you'll feed on the blood of stray dogs. You'll be my foot stool. And at my command, you'll lick the dog shit from my boot heel. Since you'll be my dog, your new name will be `` Spot''. Welcome to slavery.<\/dialogue>\n    <scene_description>SLOW MOTION : A WHISKEY BOTTLE FLIES THROUGH the AIR , sailing end over end . CLOSE - UP SANTANICO looking down at Seth , her face contorts to FEED MODE , when the bottle HITS her SQUARE in the HEAD , SHATTERING . We see that Jacob behind the bar threw it . Santanico , bathed in whiskey and broken glass , is momentarily dazed . She looks down at Seth . Seth sits up , .45 in hand , and fires . Santanico is HIT in the CHEST . The bullet from the gun makes the liquor - soaked robe ignite . Santanico SCREAMS as she GOES UP IN FLAMES . Big Emilio sees Santanico 's fiery death . He lets out a cry .<\/scene_description>\n    <character>BIG EMILIO<\/character>\n    <dialogue>Noooooo!<\/dialogue>\n    <scene_description>He turns his hateful gaze on the two humans . Seth and Jacob see Big Emilio zeroing in on them , then they see him move his big frame in their direction . Seth turns to Jacob .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>We may be in trouble.<\/dialogue>\n    <scene_description>Big Emilio walks steadily through the bar like Godzilla walks through Tokyo . Tipping over tables , knocking fighting vamps and humans alike on their asses on his way to stamp out Seth and Jacob . A TRUCKER JUMPS in his path to attack him , with a QUICK SWING of his hand the trucker is brushed aside , receiving a broken neck for the effort . Big Emilio never breaks his stride or takes his eyes off Seth and Jacob . Seth and Jacob both grab pieces of wood , holding it like a weapon , but the wood looks puny compared to their opponent . Big Emilio stands in front of them . The two men hold their wood tight . Fangs grow in Big Emilio 's mouth that make him look like a huge walking shark . Just when Big Emilio 's ready to strike , he hears behind him ,<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hey, you, monkey man!<\/dialogue>\n    <scene_description>Big Emilio turns and sees Sex Machine across the room .<\/scene_description>\n    <character>SEX MACHINE<\/character>\n    <dialogue>Anything you got ta say to them, say to me first.<\/dialogue>\n    <scene_description>Both Seth and Jacob ATTACK Big Emilio from behind . He effortlessly knocks them away . They both hit the ground . Sex Machine gestures with his hand to Big Emilio to `` come ahead . '' Big Emilio CHARGES towards Sex Machine , like a runaway locomotive . Sex Machine stands his ground waiting for IMPACT . The two huge men COLLIDE . What follows is literally a war of the Gargantuans . The two mastiffs POUND each other till one buckles . Finally , the one who buckles first is Big Emilio , who HITS the floor . Once on the floor , Seth and Jacob , stand over the huge vamp , BEATING him with clubs and pipes , like L.A. 's finest . The vamp can do nothing except SQUIRM on the floor from the savage beating .<\/scene_description>\n    <character>SEX MACHINE<\/character>\n    <dialogue>That's enough.<\/dialogue>\n    <scene_description>Jacob and Seth stop . Sex Machine holds a pool cue in his hand . He SNAPS off the end tip , making it jagged , and like a spear , STICKS it into big vamp 's fallen body . Big Emilio , SCREAMS , TWITCHES and dies . The pool cue sticks out straight up from the dead vamp . Chet Pussy spies Ms. Apple Pie Pussy herself , Kate . He breaks into a lecherous grin and licks the blood from around his mouth . Kate and Scott are cowering behind the bar when Chet appears over the top . They both let out a scream . Scott goes to protect his sister and receives a punch in the face for his trouble . Chet dives at Kate .<\/scene_description>\n    <character>CHET<\/character>\n    <dialogue>You know what everybody says about me? I suck!<\/dialogue>\n    <scene_description>Chet goes to bite Kate , grabbing at her t - shirt , and sees her crucifix . HE recoils backwards . Scott grabs hold of his head from behind . Kate jumps up from the floor , rips off her cross and grabs Chet by his beatnik beard , opening his mouth . She SHOVES the cross inside . Chet 's eyes roll up back into his head . Scott SLAPS Chet hard on the back . GULP . Chet has swallowed the crucifix . A SIZZLING sound is heard moving down from his throat to his belly . He opens his mouth and lets out a noise similar to a train whistle . He jumps up from behind the bar , doing a wild dance from pain . He jumps from wall to wall and floor to ceiling , screaming all the while . Kate and Scott watch him from the bar , mischievous grins on their faces . Chet is on his knees , arms stretched out , yelling at the top of his lungs like a vamp King Lear .<\/scene_description>\n    <character>CHET<\/character>\n    <dialogue>I - AM - IN - AGONNNYYYY!<\/dialogue>\n    <scene_description>Chet breaks off a chair leg , muttering to himself .<\/scene_description>\n    <character>CHET<\/character>\n    <dialogue>Stop the pain, stop the pain, stop the pain, stop the pain, stop the pain.<\/dialogue>\n    <scene_description>He plunges the stake into his own heart , but instead of the vampire 's cry that escapes from the others upon being staked , Chet lets out a sigh of relief . By this time there are not too many people left . Most of the vampire have been killed by wooden stakes and most of the customers have been butchered or drained . All that 's left on the vampire side are two naked dancers and two whores . On the human side are Seth , Jacob and his kids , Sex Machine and Frost . Aside from the children , who are hiding behind the bar , all the humans are holding wooden stakes . The four human men group together . The four female vampires charge , teeth exposed , snarling and dripping with blood . Seth , Jacob , Sex Machine and Frost raise their weapons and slam , almost simultaneously , the four vamps . All four staked bodies hit the floor . Kate and Scott run from behind the bar to their father 's side . They all stand looking at the horrible carnage that has taken place . The floor is littered with dead bodies .<\/scene_description>\n    <character>FROST<\/character>\n    <dialogue>Ai n't they supposed to burn up or something?<\/dialogue>\n    <scene_description>At that moment a bright flash ERUPTS , illuminating everyone 's face . The sound of quick burning flames fills the air . Everybody shields their eyes from the intense light , which lasts only a split second . It vanishes , along with the bodies of the vampires . All that remains is a smoldering mess of goo where the bodies once lay . They all stare at the mess for a few seconds and then RUN for the door . It 's locked . They BANG on the door , but it 's useless . It ai n't budging , yet they all go on banging . Except for Seth . He never ran for the door . He walks over to his dead brother 's body and kneels beside it . He takes his dead hand .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Richie, I'm sorry I fucked things up. You'd really like it in El Ray. We'd find peace there. I love you little brother, I'll miss ya bad.<\/dialogue>\n    <scene_description>Seth goes to kiss his brother 's lips when , RICHARD 'S EYES POP OPEN . They 're YELLOW . Seth RAISES his head in surprise .<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>I'm glad you feel that way, Seth. I love you, too.<\/dialogue>\n    <scene_description>Richard GRABS Seth by the front of his shirt and pulls him down to him . Fangs are now exposed . Seth tries to pull away . He SCREAMS for the others to help . Richard PULLS Seth down to striking distance and opens his mouth to take the big bite , when Sex Machine grabs Seth from behind and YANKS him from Richard 's grasp . Jacob , Frost and the kids have surrounded Richard and proceed to KICK him and STOMP his head . Sex Machine picks up a chair and SMASHES it against a wall . He picks up one of the chair legs and walks over to where the others are holding Richard down . Richard sees the wood in the biker 's hand . He knows what that means . Seth whips out his .45 and points it at Sex Machine .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Touch my brother with that stake, biker, and vampires wo n't need to suck your blood, they'll be able to lick it up off the floor.<\/dialogue>\n    <character>SEX MACHINE<\/character>\n    <dialogue>He ai n't your brother no more.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>That's a matter of opinion, and I do n't give a fuck about your's.<\/dialogue>\n    <scene_description>Jacob , Frost and the kids continue to hold Richard down to the ground .<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>Do n't be an idiot, he'll kill us all!<\/dialogue>\n    <scene_description>Seth aims his gun at the group .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Shut up!<\/dialogue>\n    <scene_description>Richard 's giggling .<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Yeah, shut up.<\/dialogue>\n    <scene_description>Seth , still holding the outstretched gun , takes the stake out of Sex Machine 's hand . Seth lowers the .45 .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Hold him down.<\/dialogue>\n    <scene_description>The smile evaporates from Richard 's face .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Richie, here's the peace in death I could never give you in life.<\/dialogue>\n    <scene_description>Seth puts the stake over Richard 's heart . Using the butt of his .45 like a hammer , he POUNDS the stake into Richard 's heart . Richard screams and dies . They all stand around the body as it BURSTS INTO FLAMES and disintegrates into goo . Seth breaks away from the group and walks over to the bar . He grabs a bottle of whiskey and starts downing it . Kate , of all people , walks away from the group and joins Seth at the bar .<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Are you okay?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Peachy! Why should n't I be? The world's my oyster, except for the fact that I just rammed a wooden stake in my brother's heart because he turned into a vampire, even though I do n't believe in vampires. Aside from that unfortunate business, everything's hunky - dory.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>I'm really sorry.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Bullshit! You hate us. If you had half a chance you'd feed us to them!<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Then why did n't I?<\/dialogue>\n    <scene_description>Jacob walks over to Seth .<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>I saved your life. I did n't have to, but I did. And I'm sorry you lost your brother. I'm sorry he's dead. I'm sorry everybody's dead. Now, if we're gon na get out of this we need each other. And we need you sober and thinking, not drunk and.<\/dialogue>\n    <scene_description>As Jacob has been talking , a sound has started that has grown LOUDER and LOUDER . Jacob stops in mid - sentence to identify it .<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>What the hell is that?<\/dialogue>\n    <character>FROST<\/character>\n    <dialogue>At first I just thought it was birds.<\/dialogue>\n    <character>SEX MACHINE<\/character>\n    <dialogue>No, it's more of a gnawing sound. Birds peck, they do n't gnaw. Rats gnaw.<\/dialogue>\n    <scene_description>Seth puts the bottle in his hand down .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>It's bats.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TITTY TWISTER - NIGHT<\/stage_direction>\n    <scene_description>The outside of the Titty Twister is literally covered with hats , CLAWING , FLAPPING , GNAWING , trying like hell to get inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TITTY TWISTER - NIGHT<\/stage_direction>\n    <scene_description>Everybody listens to the bats SCRATCHING and clawing all along the walls , the roof and at the front door . Everyone 's scared shitless and nobody has the slightest idea what to do next . The door begins to crack and splinter , little claws poke their way through .<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>Give me a hand!<\/dialogue>\n    <scene_description>Jacob runs to a table top . He grabs it and covers the area the bats are trying to claw through . The others grab other items to help secure and barricade the door . As the survivors are panickedly boarding up the door and the windows , a DEAD BIKER that the vampires fed on , pops open his yellow eyes . He sits up and sees all the furious activity . Everyone 's so busy they do n't notice their new friend . The dead biker vamp sets his sights on Kate , who 's putting a board into place . He springs to his feet and POUNCES on her , just as Sex Machine turns from across the room in her direction .<\/scene_description>\n    <character>SEX MACHINE<\/character>\n    <dialogue>Watch out, girly!<\/dialogue>\n    <scene_description>The biker vamp GRABS Kate from behind . She lets out a scream . The vamp holds her close to him in a bear hug , but she 's moving around so much he ca n't get a clear bite . The others hear the scream and look toward Kate . Sex Machine , Big Emilio 's baseball bat in hand , is halfway to the rescue . As the biker vamp opens his mouth to take a juicy bite out of Kate 's shoulder , Kate RAMS her head back , hitting the vamp in the mouth and breaking his fangs . He releases her and spits out his teeth just as Sex Machine runs up and SWINGS the baseball bat upside the vamp 's head , breaking the bat in two and sending the vamp to the floor . As the vamp lies on the floor seeing stars , Sex Machine grabs one of the broken ends of the bat and SHOVES it in the vamp 's heart . He dies and bursts into flames . At that point , three other dead victims rise to a sitting position . Sex Machine grabs a chair and THROWS it to the ground , breaking it . He grabs the four legs .<\/scene_description>\n    <character>SEX MACHINE<\/character>\n    <parenthetical>( mumbling to himself . )<\/parenthetical>\n    <dialogue>Goddamn fuckin' vampires.<\/dialogue>\n    <scene_description>The biker has turned into Captain Sex Machine , Vampire Hunter . He stakes two of the vampires as they get to their feet . Both SPEW green blood , scream , die and burst into flames . The third , a trucker vampire wearing a cat cap , SMACKS Sex Machine in the mouth , which sends the biker for a loop . As CAT CAP runs toward the fallen Sex Machine , Kate JUMPS on his back from behind . Both of them go tumbling into a stack of whiskey cases . Sex Machine runs over and grabs Kate by the hand , pulling her up and out of the way . Cat Cap is lying in a pile of broken bottles and whiskey . Sex Machine raises his stake as Cat Cap dies and DRIVES it in the vamp 's black heart . Cat Cap dies and bursts into flames , which hits the whiskey , starting a giant fire .<\/scene_description>\n    <character>SEX MACHINE<\/character>\n    <dialogue>Fire!<\/dialogue>\n    <scene_description>Frost and Jacob stop barricading and run to the fire .<\/scene_description>\n    <character>FROST<\/character>\n    <parenthetical>( to Sex Machine . )<\/parenthetical>\n    <dialogue>We'll put this out. You stake the rest of these fuckers.<\/dialogue>\n    <character>SEX MACHINE<\/character>\n    <dialogue>Way ahead of ya.<\/dialogue>\n    <parenthetical>( to Kate . )<\/parenthetical>\n    <dialogue>What's your name, girly?<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Kate, what's yours?<\/dialogue>\n    <character>SEX MACHINE<\/character>\n    <dialogue>Sex Machine. Pleased to meet ` cha. Kate, let's stake these blood - sucker fuckers.<\/dialogue>\n    <scene_description>Kate and Sex Machine give each other a high five and go to work STAKING the dead bodies . Jacob and FROST beat down the fire with their jackets and whatever else is at hand . A hole begins to appear where a window had been plastered over . Little claws scrape their way through . Scott stands in front of the window .<\/scene_description>\n    <character>SCOTT<\/character>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>We got a problem!<\/dialogue>\n    <scene_description>Seth , who is barricading doors and window , looks in Scott 's direction . The hole in the plaster cracks open and out POPS a little , fleshy vampire bat\/rat head . The bat\/rat , which is SQUEAKING and HISSING its head off , tries to SQUEEZE its body through the newly formed hole . Seth , gun in hand , RUNS to the window . He points the .45 , point - blank range at the head of the bat\/rat . The bat\/rat sees this , makes an `` oh shit '' face , and YANKS his head back through the hole . Seth was ready to fire , he lowers his gun in bewilderment , when . WHAM ! The bat\/rat BURSTS through the hole , like shot out of a cannon , HITTING Seth in the gut and sending him FLYING , LANDING HARD on his back . Once Seth hits the ground , the bat - thing -LRB- which has the body of a fat rat with a bat 's large wingspan -RRB- lickity - split RUNS UP Seth 's body to his juggler . Seth 's hand GRABS the bat 's neck , and tries to PUSH it away . But the bat - thing has its CLAWS DUG in Seth 's clothes . The bat - thing is just inches from Seth 's face . Its mouth is SNAPPING .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Get this bastard off of me!<\/dialogue>\n    <scene_description>Frost leaves Jacob with the fire , comes from behind and GRABS the bat - thing and YANKS it off of Seth . Sex Machine and Kate are a green , bloody mess from their preventative staking of dead bodies . Sex Machine kneels by a dead body , raising the stake in his hand to spear him . The body SPRINGS UP and bites Sex Machine on the arm . Red blood squirts all over . Sex Machine screams , then brings the stake down in the body 's chest . It dies , burns and turns into goo . Sex Machine holds his bit arm and wraps it with a piece of his shirt . He quickly looks around to see if anybody saw him get bit . Nobody saw it , everybody was too busy . Frost holds the FLAPPING , FIGHTING , SNAPPING bat - thing in front of him at arm 's length . He struggles with it for a while , then . BASHES its head against the bar . The first bash takes some fight out of the little fucker , so . Frost BASHES his head against the bar six or seven times . He then THROWS the bat - thing on the bar , turns it over , garbs a pencil in a cup next to the register , and RAMS it in the bat - thing 's heart . The bat - thing coughs and dies . There 's a FLASH of FLAMES , followed by a pile of goo . Sex Machine and Kate have covered up a hole in the plastered window with a table while Frost , Scott and Seth wrestle with the bat - thing . Jacob has put out the fire . Everybody comes together , exhausted , and takes a breather . Outside , the bats continue to try and claw their way in .<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>Is everybody okay?<\/dialogue>\n    <scene_description>Everyone mutters `` yeah . ''<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>Okay, does anybody here know what's going on?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Yeah, I know what's going on. We got a bunch of fuckin' vampires outside trying to get inside and suck our fuckin' blood! That's it, plain and simple. And I do n't wan na hear any bullshit about `` I do n't believe in vampires'' because I do n't fuckin' believe in vampires either. But I do believe in my own two fuckin' eyes, and with my two eyes I saw fuckin' vampires! Now, does everybody agree we're dealin' with vampires.<\/dialogue>\n    <scene_description>Everybody agrees .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>You too, preacher?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>I'm like you. I do n't believe in vampires, but I believe in what I saw.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Good for you. Now, since we all believe we're dealing with vampires, what do we know about vampires? Crosses hurt vampires. Do you have a cross?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>In the Winnebago.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>In other words, no.<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>What are you talking about? We got crosses all over the place. All you got ta do is put two sticks together and you got a cross.<\/dialogue>\n    <character>SEX MACHINE<\/character>\n    <dialogue>He's right. Peter Cushing does that all the time.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>I do n't know about that. In order for it to have any power, I think it's got ta be an official crucifix.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>What's an official cross? Some piece of tin made in Taiwan? What makes that official? If a cross works against vampires, it's not the cross itself, it's what the cross represents. The cross is a symbol of holiness.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Okay, I'll buy that. So we got crosses covered, moving right along, what else?<\/dialogue>\n    <character>FROST<\/character>\n    <dialogue>Wooden stakes in the heart been workin' pretty good so far.<\/dialogue>\n    <character>SEX MACHINE<\/character>\n    <dialogue>Garlic, holy water, sunlight. I forget, does silver do anything to a vampire?<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>That's werewolves.<\/dialogue>\n    <character>SEX MACHINE<\/character>\n    <dialogue>I know silver bullets are werewolves. But I'm pretty sure silver has some sort of effect on vampires.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Does anybody have any silver?<\/dialogue>\n    <character>ALL<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Then who cares?<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>When's sunrise?<\/dialogue>\n    <scene_description>Jacob looks at his watch .<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>About two hours from now.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>So all we have to do is get by for a few more hours and then we can walk right out the front door.<\/dialogue>\n    <character>SEX MACHINE<\/character>\n    <dialogue>Yeah, that's true, but I doubt our barricades, that door, those plastered windows and these walls will last two more hours with those bat fucks fuckin' with'em.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Has anybody here read a real book about vampires, or are we just remembering what a movie said? I mean a real book.<\/dialogue>\n    <character>SEX MACHINE<\/character>\n    <dialogue>You mean like a Time - Life book?<\/dialogue>\n    <scene_description>Everybody laughs .<\/scene_description>\n    <character>FROST<\/character>\n    <parenthetical>( in a cowboy voice . )<\/parenthetical>\n    <dialogue>John Wesley Hardin, so mean he once shot a man for snorin'.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>I take it the answer's no. Okay then, what do we know about these vampires?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Aside from they're thirsty.<\/dialogue>\n    <character>FROST<\/character>\n    <dialogue>Well, one thing, they might got super human strength, but you can hurt'em.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Yeah, that bottle upside the head of Santanico did n't kill her, but it did n't feel too good either.<\/dialogue>\n    <character>SEX MACHINE<\/character>\n    <dialogue>Another thing, you try and ram a broken chair leg in a human, you better be one strong son - of - a - bitch. The human body is one rough - tough machine. But these vamps got soft bodies. The texture of their skin is softer, mushier. You can push shit right through'em. Conceivably, if you hit one hard enough, you could take their fuckin' head off.<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>You could take their head off.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Actually, our best weapon against these satanic cocksuckers is this man.<\/dialogue>\n    <parenthetical>( he points at Jacob . )<\/parenthetical>\n    <dialogue>He's a preacher.<\/dialogue>\n    <scene_description>Frost and Sex Machine look toward Jacob .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>As far as God's concerned, we might just as well be a piece of fuckin' shit. But he's one of the boys. Only one problem, his faith ai n't what it used to be.<\/dialogue>\n    <scene_description>Jacob PUNCHES Seth in the mouth , sending him to the floor . Jacob stands over him .<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>I've had enough of your taunts.<\/dialogue>\n    <scene_description>Seth looks up from the floor .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>I'm not taunting you. We need you. A faithless preacher does n't mean shit to us. But a man who's a servant of God can grab a cross, shove it in these monsters' asses. A servant of God can bless the tap water and turn it into a weapon.<\/dialogue>\n    <scene_description>Seth rises .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>I know why you lost your faith. How could true holiness exist if your wife can be taken away from you and your children? Now, I always said God can kiss my fuckin' ass. Well, I changed my lifetime tune about thirty minutes ago' cause I know, without a doubt, what's out there trying to get in here is pure evil straight from hell. And if there is a hell, and those monsters are from it, there's got to be a heaven. Now which are you, a faithless preacher or a mean, mother fuckin' servant of God?<\/dialogue>\n    <scene_description>Jacob has to laugh at that . So does everybody else . Jacob sticks out his hand and shakes Seth 's .<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>I'm a mean, mother fucking servant of God.<\/dialogue>\n    <scene_description>The laughter and good humor passes quickly and the only sound to be heard is that of the bats gnawing and clawing . It immediately reminds the group of the deep , deep shit they 're in .<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>I do n't know if I can take two hours of that noise.<\/dialogue>\n    <character>FROST<\/character>\n    <dialogue>You can. You'll take it'cause ya got no choice. How'd ya like twenty four hours of it, lying in a muddy ditch with only the rotting corpses of your friends to keep you company?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>FROST<\/character>\n    <dialogue>Back in'72 I was in Nam, trapped behind enemy lines, lying in a rat hole with my entire squad dead. They thought they killed everybody, and except for me, they were right. But it was n't for lack of trying. A grenade blew up right next to me, that's why I'm so pretty.<\/dialogue>\n    <scene_description>They thought I was dead , so I played dead . They dumped all the bodies in a ditch . All I could do was lie there playing possum . Dead bodies under me , dead bodies on top of me , listening to the enemy laugh and joke hour after hour after hour . As Frost goes into his monologue , the sound fades out and the camera moves to Sex Machine . He 's having a hot flash . He ca n't hear anything . He 's looking at Frost speaking , but he does n't hear any sound . Then he hears a deep , MALE VOICE say :<\/scene_description>\n    <character>MALE VOICE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Thirst.<\/dialogue>\n    <scene_description>`` Who the fuck was that ? '' he thinks to himself . He turns around : nobody 's there . No one else in the group seems to hear it , A FEMALE VOICE seductively says :<\/scene_description>\n    <character>FEMALE VOICE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Thirst.<\/dialogue>\n    <scene_description>We hear Sex Machine 's thought in a voice answer .<\/scene_description>\n    <character>SEX MACHINE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Stop fucking saying that!<\/dialogue>\n    <character>TWO MALE VOICES<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Thirst!<\/dialogue>\n    <character>SEX MACHINE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>That bite were n't nothin'. It just hurt like a son - of - a - bitch, that's all. It barely punched the skin.<\/dialogue>\n    <scene_description>Sex Machine looks at Frost , who 's acting out his story . The biker is pantomiming fighting and slashing . He 's describing all the while , but we ca n't hear anything . All we hear are many voices , male , female , children saying :<\/scene_description>\n    <character>VOICES<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Thirst. Thirst. Thirst.<\/dialogue>\n    <scene_description>Sex Machine begins looking at the other members of the group in a thirsty way . He stares at each of their necks , closer and closer until he can see the veins on Frost 's neck actually pulsating , throbbing , beckoning to him . Sex Machine has turned into a vampire . The sound comes back as Frost finishes his story .<\/scene_description>\n    <character>FROST<\/character>\n    <dialogue>and then when I came back to my senses, I realized I had killed the entire V.C. squadron single handedly. My bayonet had blood and chunks of yellow flesh on it like some cannibal shish kabob. And to this day I do n't have the slightest idea how I -<\/dialogue>\n    <scene_description>Sex Machine lets out a hideous cry .<\/scene_description>\n    <character>SEX MACHINE<\/character>\n    <dialogue>THIRST!<\/dialogue>\n    <scene_description>Frost SCREAMS as Sex Machine grabs hold of him and BITES into his neck . The group tries to PULL the TWO men apart . Jacob gets his arm around Sex Machine 's neck and tries pulling . Sex Machine takes his teeth out of the biker 's neck and SINKS them in Jacob 's arm . Jacob SCREAMS and lets go . Seth , Kate and Scott react to Jacob being bit . Sex Machine GRABS Jacob and TOSSES him effortlessly over the bar , CRASHING into a shelf full of liquor bottles . Frost HOPS around the room , mad as a hornet , holding his bleeding neck .<\/scene_description>\n    <character>FROST<\/character>\n    <dialogue>I been bit! He fuckin' bit me!<\/dialogue>\n    <scene_description>Sex Machine PUNCHES Seth in the face , dropping him like a sack of potatoes . He smacks the shit out of Kate . She goes FLYING into a table . Sex Machine turns , seeing Frost breaking off a big table leg . Frost looks at the big vamp .<\/scene_description>\n    <character>FROST<\/character>\n    <parenthetical>( to Sex Machine . )<\/parenthetical>\n    <dialogue>You're dead, mother fucker! You're gon na bite me! You just turned me into a vampire, asshole!<\/dialogue>\n    <character>SEX MACHINE<\/character>\n    <dialogue>What are you gon na do about it?<\/dialogue>\n    <scene_description>Frost , table leg in hand , RUNS , SCREAMING his head off , straight at Sex Machine . Sex Machine 's nostrils flare . He raises his meaty fist and pulls it back , so he can really haul off . Frost , top speed , stake raised , screaming . Sex Machine lets loose with his punch , Seth , Scott and Kate look up from the floor . Jacob rises from behind the bar . Frost 's face COLLIDES with Sex Machine 's fist . Sex Machine hits Frost so hard it lifts the biker off the ground and propels him through the air . Seth sees where Frost is heading and says :<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Oh shit!<\/dialogue>\n    <scene_description>Jacob sees .<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>Good lord!<\/dialogue>\n    <scene_description>Frost , in mid - air , HITS the barricaded , plastered overwindow and CRASHES through it . Sex Machine lets loose with a maniacal laugh . Hundreds of bat - things fly into the bar . Seth grabs the two kids by the hand and runs for the backroom . Behind the bar , Jacob grabs two pieces of wood from off the ground . Ten bat - things are in hot pursuit of Seth , Kate and Scott , who are RUNNING for their lives . They get to the door of the back room , whip it open , dive in and SLAM it behind them . An ugly , fleshy bat - thing manges to get its head caught in the door as it closes . Kate and Scott PUSH on the door as hard as they can . The bat - thing 's head , which is inside , screams , howls and snaps in fury . Seth turns toward the bat\/vamp in the door . He sticks his .45 in its big mouth .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>You wan na suck something, suck on this!<\/dialogue>\n    <scene_description>He FIRES four shots that blow the bat vamp 's head all over the wall . Kate yells :<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>We have to go back for Daddy!<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Daddy's dead.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Noooo!<\/dialogue>\n    <scene_description>She spins and grabs the door knob , ready to fling the door and help her father . Scott grabs her and pushes her up against the wall .<\/scene_description>\n    <character>SCOTT<\/character>\n    <dialogue>He's right, Kate. Daddy's dead! He was too far away. If flinging that door and filling this room with those bat - things would save him, I'd fling it. The only thing it'll do is turn us into one of them.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>He needs our help!<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>He's beyond our help. You saw him get bit. I saw him get bit. We all saw it. You ca n't help him. I've got no one left to lose but you. I ca n't be alone again. We're sticking together.<\/dialogue>\n    <scene_description>Just then they hear Jacob 's voice BOOMING from the bar room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAR ROOM - NIGHT<\/stage_direction>\n    <scene_description>Jacob , holding a cross made out of two sticks and reciting appropriate verse from the bible , is keeping the vampires at bay . But , as Seth predicted , it is the shining power of his restored faith that is his mightiest weapon . Jacob is making his way through the vampires , toward the back door . A lot of the bats have transformed into bat\/devil\/human creatures . The creatures stand at the edge of Jacob 's force field of holiness . Many bat things fly around the bar like mad , whirling dervishes . A cluster of bat - things over above and in front of Jacob . They all growl and hiss at the man of god . For every one step forward Jacob takes , the vampire stake one step back . Jacob recites the verse from the bible in a threatening , mean , mother fucking , servant of god tone . As he speaks with authority and strength , he sees Frost lying on the ground , bat - things on him like ants on a candy bar . But Jacob is too much in control to let even this repugnant sight trip him up . Jacob has backed himself up by the door .<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>Open the door.<\/dialogue>\n    <scene_description>The door FLIES open . Jacob jumps inside . The door SLAMS shut . Jacob hugs daughter and son . As he hugs them , we see his bloody arm . When he releases them , they ca n't help but notice .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Did he?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Yep.<\/dialogue>\n    <scene_description>Seth explodes , knocking over boxes , busting chairs , tipping over tables and cussing a blue streak .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Fuck, piss, shit! Mother fuckin' vampires! Mother fuckin' vampires! Goddamn mother fuckin' vampires!<\/dialogue>\n    <scene_description>Seth runs over to the barricaded door and yells to the creatures on the other side .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>You all are gon na fuckin' die! I'm gon na fuckin' kill every last one of you godless pieces of shit!<\/dialogue>\n    <character>JACOB<\/character>\n    <parenthetical>( to Seth . )<\/parenthetical>\n    <dialogue>You bet your sweet ass you are, and I'm gon na help you do it. But we ai n't got much time.<\/dialogue>\n    <scene_description>Kate is crying , she knows what 's happened to her father .<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>You're gon na be okay, are n't you, daddy?<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>No, I'm not. I've been bit. In effect, I'm already dead.<\/dialogue>\n    <scene_description>Scott and Kate , crying , grab their father and hold on for dear life . Jacob wants to cry , but if he breaks down , the kids will never have the courage for what they must do .<\/scene_description>\n    <character>JACOB<\/character>\n    <parenthetical>( to his children . )<\/parenthetical>\n    <dialogue>Children, listen to me. I love you two more than anybody. And I just want you to know you've made me proud all your lives. But never more so than tonight. And I wish we could sit here and cry till I pass on, but we ca n't. Because I'm not going to pass on. I'm going to turn into a monster. And when I do, I'm going to be dangerous. But before that happens, just know I love you.<\/dialogue>\n    <parenthetical>( to Seth and the kids . )<\/parenthetical>\n    <dialogue>Now, I'd say in the next twenty or thirty minutes our friends outside will bust in this door. And I'll probably turn into a vampire within the hour. Now, you have two choices. You can wait for me to turn, then deal with me, then wait for them to burst inside here and the three of you will deal with them. Or, we can kick open that door and the four of us can hit'em with everything we have, and carve a path right through'em to front entrance. But if we're gon na go at'em, we got ta go at'em now. I confused them, I scared them, I took them off guard. But they're going to get unconfused, they're going to get unscared, they're going to get together and they're going to hit that door like a ton of bricks. And when that moment arrives, we got ta be ready.<\/dialogue>\n    <scene_description>Jacob sees that the back room is pretty damn big and filled with boxes and crates .<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>What's this stuff?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>My guess is that this little dive's been feeding on nomad road waifs like bikers and truckers for a longtime. This is probably some of the shipments they stole off the trucks.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Well, I say lets tear this place apart for weapons. So when they burst through that door, we'll make'em wish they never did.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>I do n't give a shit about living or dying anymore. I just want to send as many of these devils back to hell as I can.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Amen.<\/dialogue>\n    <scene_description>MONTAGE The survivors are opening boxes and prying open crates . A lot of what they find is bullshit . Pantyhose , coffee , teddy bears , etc. . But a few of the boxes are just what the doctor ordered . Cases from a sporting good supplier yield a shipment of baseball bats . Meant to arrive at toy stores are a shipment of Uzi replica squirt guns and a box of balloons . And captured en route to a hardware store are shipments of power tools , saws and jack hammers . Seth and Scott saw the bats into wooden stakes . Kate fills the Uzi squirt guns with tap water from the backroom sink . Jacob , with Seth 's knife , etches a cross into every bullet in the .45 automatic 's last full clip of ammo . Vampires all start converging on the back room door , getting their courage back . Kate makes water balloons . Scott sharpens the stakes to a point with the tools . Seth attaches a wooden stake to the end of a jackhammer . Jacob blesses the water in the squirt guns and balloons , turning it into holy water . Our heroes work together , preparing for the battle to come . The back room door , barricaded with crates and boxes , begins to be pounded on by the undead on the other side . The room tone is a combination of chewing , scratching , pounding , squeaking and screaming . Finally they 're ready . Jacob turns to his kids .<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>Before we go any further, I need you three to promise me something. I'll fight with you to the bitter end, but when I turn into one of them, I wo n't be Jacob anymore. I'll be a lap dog of Satan. I want you three to promise you'll take me down, no different from the rest.<\/dialogue>\n    <scene_description>The kids ca n't say the words .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>I promise.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Kate, Scott?<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>I promise.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Scott?<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>Yeah, I promise.<\/dialogue>\n    <scene_description>Jacob does n't believe them .<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>Why do n't I believe you?<\/dialogue>\n    <parenthetical>( he picks up the .45 . )<\/parenthetical>\n    <dialogue>I'm gon na ask you two again, then I want you to swear to God that you'll kill me. If you do n't, I'm gon na just kill myself right now. Now, since you need me I think you better swear. Kate, do you swear to God that when I turn into one of the undead, you'll kill me?<\/dialogue>\n    <scene_description>Kate does n't answer . Jacob places the .45 barrel against his temple .<\/scene_description>\n    <character>JACOB<\/character>\n    <dialogue>Kate, we do n't have all day, so I'm only gon na count to five. One. two. three. four.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Okay, okay, I promise I'll do it!<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Not good enough, swear to God.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>I swear to God, our father, that when you change into one of the undead, I will kill you.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Good girl. Now, Scott, we have even less time, so I'm only giving you the count of three. One.<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>You do n't believe in suicide.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>It's not suicide if you're already dead. Two.<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>Okay, I'll kill you when you change, I swear to God in Jesus Christ's name.<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>Thank you, son.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Okay, vampire killers, let's kill some fuckin' vampires.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARROOM - NIGHT<\/stage_direction>\n    <scene_description>The vampires , bat - things and what have you , start BREAKING down the door . They are in a mad frenzy . They burst through the door . Waiting for them are Scott and Kate holding Uzi squirt guns and water balloons draped down their chests on a belt like grenades . Jacob is holding a cross made of sharp wooden stakes and the .45 with the cross bullets . Seth is holding the jackhammer . The survivors walk out of the back room into the bar . The vamps back up , letting them inside . What we have here is a Mexican standoff , a la `` The Wild Bunch . '' A moment of peace before the battle . The vamps just watch the humans . The humans just watch the vamps . Then , like the bull in the china shop , Seth ends the peace by starting up the jackhammer .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Kill'em all!<\/dialogue>\n    <scene_description>Jacob holds up the cross , the vamps react . The kids SPRAY the crowd with UZI fire , burning vampire flesh . The pack of vamps retreat while the Fuller squad walk forward . They are attacked on all sides , but they keep moving towards the door . Seth slams the stakes into several of the vamps , it speeds in and out of vampire chests , each time spraying him in green vamp blood . Jacob shoves his cross stake into a vampire with one hand and SHOOTS three vampires with blessed bullets with the other . Flame BURSTS from the vampires ' chests when the bullets hit . Kate and Scott both whip water balloons off their belts and toss them into the crowd . They burst and FRY several of the vamps , who fall , screaming in pain . From its perch on a wood ceiling beam , a bat - thing drops and HURLS toward the group . Jacob sees it , raises his gun and FIRES . The bat - thing bursts into a ball of screaming fire . Seth continues carving a path to the front door by slamming the hammer stake into vampire chests . The front door is barricaded again by a big table and other junk .<\/scene_description>\n    <character>SCOTT<\/character>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>Why did they block the door again?<\/dialogue>\n    <character>JACOB<\/character>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>To keep the daylight out! This is where they sleep! Get to the door!<\/dialogue>\n    <scene_description>Seth tries to get to the front door , when Sex Machine , now a half bat , half devil vamp , about six foot seven , drops from above in front of him . Seth RAMS the stake in its chest . The Sex Machine - thing screams out , LIFTING the hammer and Seth off the ground . Seth is thrown from his hold on the hammer across the room , he CRASHES into a table . The Sex Machine - thing falls back with the jackhammer sticking out of his chest , dead . Kate , spraying Uzi fire like Rambo , sees Seth fall . She screams :<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Seth!<\/dialogue>\n    <scene_description>Seth quickly gets up to find himself surrounded by vampires on all sides . With no weapons , he puts up on dukes .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Okay, dead boys, come on! Take a bite and feel all right!<\/dialogue>\n    <scene_description>Kate clusters with her father and Scott .<\/scene_description>\n    <character>KATE<\/character>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>I'm going for'em!<\/dialogue>\n    <character>JACOB<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Everybody goes home!<\/dialogue>\n    <scene_description>Kate turns into a squirt gun firing , water - balloon throwing , one - woman army , as she breaks from her father and heads in Seth 's direction .<\/scene_description>\n    <character>KATE<\/character>\n    <parenthetical>( screaming . )<\/parenthetical>\n    <dialogue>Die, monster, die! Die, monster, die!<\/dialogue>\n    <scene_description>Kate mows down the group by Seth , they lie on the floor , burning in agony . Kate takes Seth 's hand and gives him a couple of water balloons and a stake .<\/scene_description>\n    <character>KATE<\/character>\n    <parenthetical>( to Seth . )<\/parenthetical>\n    <dialogue>Watch my back!<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Anytime.<\/dialogue>\n    <scene_description>Cutting through vampires , the two make their way across the bar . Jacob , firing the .45 , takes out several more vampires in fiery death . Scott fires the Uzi and chucks more water balloons . As Jacob fights , all of a sudden the sound goes out . He ca n't hear anything . He wonders if he 's gone deaf . He starts to hear the words : `` Thirst , thirst , thirst . '' He notices the vampires have stopped attacking him . They look at him wit happy smiles on their devilish faces . Fangs begin to grow . His eyes are yellow . Scott turns to his dad . He sees his father is a monster . Jacob , with a devilish grin on his face , GRABS Scott and sinks his teeth into Scott 's forearm . Scott screams bloody murder as his dad begins to drain him of blood . Scott takes one of the water balloons he 's wearing and SMASHES it against Jacob 's head . The holy water melts half of Jacob 's face away . He lets go of Scott , screaming , and drops the .45 on the floor . Scott drops to the ground , picking up the gun . He brings it up to fire . A totally evil Jacob , with only half a face , matches stares with the boy he once called his son . Scott 's eyes turn to steel .<\/scene_description>\n    <character>SCOTT<\/character>\n    <dialogue>I swear to God, in Jesus Christ's name.<\/dialogue>\n    <scene_description>He FIRES , sending a holy bullet into Jacob 's forehead , creating a hole from which fire shoots out . Jacob 's entire head bursts into flames , then explodes . From across the room , Fate sees her daddy ignite . She cries out . In the thick of the battle , Seth yells :<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Fight now, cry later.<\/dialogue>\n    <scene_description>Kate takes his advice and hits a vamp square in the face with a holy water balloon , which melts his head . A bat - thing lands on the back of Scott 's neck . He screams as it bites into him . He drops the .45 . Kate sees Scott get bit .<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Oh my god.<\/dialogue>\n    <scene_description>Another bat - thing lands on Scott 's arm and takes a bite . Scott screams .<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>You bastards!<\/dialogue>\n    <scene_description>She goes to spray them when her Uzi runs out of water . Now seven bat - things are on Scott biting and sucking blood . Scott is in agony .<\/scene_description>\n    <character>SCOTT<\/character>\n    <dialogue>Kill me, Kate!<\/dialogue>\n    <scene_description>Kate runs for her brother , does a DIVE and a ROLL , coming up by the .45 , SNATCHING it in one motion and FIRING three times . One . two . three bat - things are hit , shoot flames , then all of them EXPLODE , BLOWING UP Scott . The remaining vamps approach . All the humans have left is a few bullets and one holy balloon .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>How many bullets left, kid?<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Not many.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Well, when you run out of weapons, just start cold cocking'em. Make'em sing for their supper.<\/dialogue>\n    <scene_description>The two survivors are backed up against a wall . Two bat things do a Kamikaze dive from the air toward Seth . Seth throws the holy balloon at them . Direct hit . The two bat - things burst into flames and spiral to the floor . The two survivors look at the vampires , who stand before them . A moment of stillness before the attack . Kate stands holding the .45 , arm outstretched .<\/scene_description>\n    <character>KATE<\/character>\n    <parenthetical>( to Seth . )<\/parenthetical>\n    <dialogue>Should I use the last bullets on us?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>You use'em on the first couple of these parasites that try to bite you.<\/dialogue>\n    <scene_description>The vamps begins to close in . Kate lines up the .45 sights on the face of an approaching vampire . Seth holds the Uzi like a club , ready to bash in the first vampire 's head that gets in swinging distance . Beams of sunlight shoot through the holes that Kate shot through the wall . Approaching vampires burn . The scorched vamps scream like they 've never screamed before .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Shoot more holes!<\/dialogue>\n    <scene_description>Kate turns away from the vamps and shoots holes in the wall behind him , Daylight comes through , providing Kate and Seth with a safe , lighted area . The .45 's empty . The vamps hiss and scream at the frustration of not being able to get at them . The two survivors hold hands , when . All of a sudden the door to the Titty Twister is pounded on from the outside . The vamps look towards it in horror . From the other side of the door , we hear a voice with a Spanish accent .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( in Spanish . )<\/parenthetical>\n    <dialogue>I'm looking for my friend. Is Seth in there?<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>Carlos!<\/dialogue>\n    <parenthetical>( in Spanish . )<\/parenthetical>\n    <dialogue>Help us, bash the door. Bash the door in!<\/dialogue>\n    <character>CARLOS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( in Spanish . )<\/parenthetical>\n    <dialogue>Danny, Manny, knock down the door. Hurry, hurry!<\/dialogue>\n    <scene_description>The vamps are totally fucking freaked out ! They run and fly around the bar in a panic . Crying , howling , grabbing onto each other . The front door is TORN apart from shotgun fir coming from the outside , punching holes the size of basketballs in the door . The table in front of the door gives and FALLS forward . The door caves in and sunlight invades the bar . Many vamps are instantly fried , bursting into flames . The Mexican gangster CARLSO and his two henchmen , DANNY and MANNY , are horrified at what they see . They cross themselves in fright . Vampires search for dark corners , but all is lost . Sunlight hits a mirrored ball attached to the ceiling , sending hundreds of beams of sunlight scattering through the room . Vamps try and dodge the beams . No dice . All around the vamps combust in fiery explosions . The Titty Twister is now on fire , burning out of control . Seth and Kate run through the building and leap through the door into the parking lot .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TITTY TWISTER PARKING LOT - MORNING<\/stage_direction>\n    <scene_description>Carlos , Danny and Manny help them to their feet and walk them away from the blazing bar . They catch their breath by Carlos 's Mercedes .<\/scene_description>\n    <character>CARLOS<\/character>\n    <parenthetical>( to Seth . )<\/parenthetical>\n    <dialogue>What the fuck was going on in there?<\/dialogue>\n    <scene_description>Seth signals Carlos to wait a minute while he catches his breath . Then he hauls off and PUNCHES Carlos square in the kisser . Danny and Manny aim their shotguns at Seth .<\/scene_description>\n    <character>CARLOS<\/character>\n    <parenthetical>( in Spanish . )<\/parenthetical>\n    <dialogue>Whatsamatter with you? Are you crazy?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Why the fuck, outta all the god forsaken shit holes in Mexico, did you have us rendezvous at that place?<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>I do n't know, one place's as good as another.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Have you ever been there before?<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>No, but I passed by it a couple of times. It's out in the middle of nowhere. It seems like a rowdy place, so there would n't be a lot of police. And it's open from dusk till dawn. You said meet you in the morning.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Well, because you picked that place out of a hat, my brother's dead now. And this girl's family's dead.<\/dialogue>\n    <scene_description>Carlos stands up again .<\/scene_description>\n    <character>CARLOS<\/character>\n    <dialogue>I'm sorry to hear that. What were they, psychos?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Did they look like psychos? They were fuckin' vampires. Psychos do n't explode when sunlight hits'em, I do n't care how crazy they are.<\/dialogue>\n    <scene_description>Danny and Manny react to the vampire news by crossing themselves again .<\/scene_description>\n    <character>CARLOS<\/character>\n    <dialogue>Oh, Seth, how can I ever make it up to you?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>You ca n't, but fifteen percent instead of thirty for my stay at El Ray is a good start.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Twenty - eight.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Jesus Christ, Carlos, my brother's dead and he's not coming back, and it's all your fault. Twenty.<\/dialogue>\n    <scene_description>They look at each other , then shake hands , saying in unison .<\/scene_description>\n    <character>SETH AND CARLOS<\/character>\n    <parenthetical>( in Spanish . )<\/parenthetical>\n    <dialogue>Twenty - five.<\/dialogue>\n    <scene_description>Seth gets the suitcase and gives Carlos 25 % . Seth walks over to a red 1990 Porsche 911 .<\/scene_description>\n    <character>CARLOS<\/character>\n    <dialogue>You like the car?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>I said new, this is an' 90.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>It's hardly been used at all. I got it from a drug dealer who only drove it 5 times in as many years. Swear to God. That's like new.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>So do I just follow you?<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Yeah, follow us.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>So let's do it.<\/dialogue>\n    <character>CARLOS<\/character>\n    <parenthetical>( to Danny and Manny . )<\/parenthetical>\n    <dialogue>Vamanos!<\/dialogue>\n    <scene_description>Carlos , Danny and Manny pile into Carlo 's white Mercedes . Seth by his Porsche , looks back at Kate . Kate stands alone . The whole desert seems between them . So much to say . but no words .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Me too.<\/dialogue>\n    <scene_description>Long pause .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>See ya.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Later.<\/dialogue>\n    <scene_description>Seth turns his back on her . Just as he opens the door , Kate says behind him :<\/scene_description>\n    <character>KATE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Seth.<\/dialogue>\n    <scene_description>Seth turns around .<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>You want some company?<\/dialogue>\n    <scene_description>Seth smiles .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Kate honey, I may be a bastard. But I'm not a fuckin' bastard.<\/dialogue>\n    <scene_description>He blows her a kiss across the desert . She blows one back . Seth 's in his car and GONE . Kate turns around , faces endless desert before her , and begins her long walk home . THEME OF MOVIE BEGINS POUNDING THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Fugitive bank robber brothers Seth and Richie Gecko hold up a liquor store, killing clerk Pete Bottoms and Texas Ranger Earl McGraw, and in the process, they inadvertently destroy the building. At the motel room where they are hiding out, Seth returns to find Richie has raped and gruesomely murdered a bank clerk they had taken hostage. Jacob Fuller, a pastor experiencing a crisis of faith, is on vacation with his teenage children Scott and Kate in their RV. They stop at the motel and are kidnapped by the Geckos, who force the Fullers to smuggle them over the Mexican border. In Mexico, they arrive at the Titty Twister, a strip club in the desert, where the Geckos will be met by their contact, Carlos, at dawn. Carlos will escort them to sanctuary at \"El Rey\", a place of safety for fugitives from justice whose admission fee is 30 percent of everything they have.  When Richie complains to Seth that this too high, Seth tells him it is non-negotiable. The bar employees reveal themselves as vampires and kill most of the patrons. Richie is bitten by a stripper and dies; only Seth, Jacob, Kate, Scott, a biker named Sex Machine, and Frost, a Vietnam veteran, survive. The others are reborn as vampires, including Richie, forcing the survivors to kill them all. When an army of vampires, in bat form, assembles outside, the survivors lock themselves in, but Sex Machine is bitten, becomes a vampire, and bites Frost and Jacob. Frost throws Sex Machine through the door, allowing the vampires to enter while Frost turns into a vampire. Seth, Kate, and Scott escape to a storeroom, followed shortly by an injured but still alive Jacob, brandishing a shotgun. In the storeroom, they fashion weapons from truck cargo the vampires have looted from past victims, including a stake mounted on a pneumatic drill, a crossbow, and holy water, which requires Jacob to recover his faith to bless. Jacob, knowing he will soon become a vampire, makes Scott and Kate promise to kill him when he changes. The group makes their final assault on the undead. Sex Machine mutates into a large rat-like creature and attacks Seth, but is killed. Jacob becomes a vampire, but Scott hesitates to kill him, allowing Jacob to bite him. Scott hits Jacob with holy water and shoots him. Scott is overwhelmed by vampires, who begin to devour him; he begs for death, and Kate shoots him. As vampires surround Kate and Seth, streams of morning light enter through bullet holes in the building, making the vampires back away. Carlos arrives and his bodyguards blast the door open, letting in the sunlight and killing the vampires. Seth chastises Carlos for his poor choice of meeting place and negotiates a smaller tribute for his admission to El Rey. Kate asks Seth if she can go with him to El Rey, but he refuses, apparently as a kindness, leaving her with some cash. Kate drives away in the RV, leaving the Titty Twister \u2014 revealed to be the top of a partially buried Aztec temple \u2014 behind."}
{"movie_name":"The Book of Eli_2010","imdb_id":"tt1037705","script":"<script>\n  <scene>\n    <stage_direction>THE BOOK OF ELI<\/stage_direction>\n    <scene_description>A civilization is destroyed only when its gods are destroyed . Emil Cioran<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST - DAWN<\/stage_direction>\n    <scene_description>Bare as all hell . The trees stripped of their bark and white like ghosts . Some torn violently from their roots and felled . STARK GRAY SUNLIGHT shafts between the trees , clouded by a creeping fog that obscures the true color of everything . A LIGHT SNOW flutters . The world monochrome , lifeless and cold . A CAT prowls across the dead earth . Barely recognizable as the domestic breed it might once have been . Its fur mangy and rank , body rib - thin from starvation . Entirely feral . It moves slowly , cautiously . Sniffing the air , scanning the forest , alert . Trusting nothing of its surroundings . It paces across a leaf - strewn clearing , closing stealthily on : A DEAD MAN , splayed face - down in the earth . His feet bare . Face frozen in a grim death mask . A GAPING GUNSHOT WOUND in his head , the dried blood caked around it matting his hair . As the cat moves closer , approaching warily : P.O.V. FROM ACROSS THE CLEARING About thirty yards away . Someone is watching . Waiting . SLOW , DEEP BREATHS , heard through a GASMASK RESPIRATOR . CLOSE ON A PAIR OF INDUSTRIAL GOGGLES The MIRRORED LENSES reflecting the forest clearing , locked onto the cat . The slow , metered breathing continues . THE CAT slows , but continues pacing toward the corpse . More cautious than ever . It inches forward , sniffing at the body . ON THE WATCHER . Crouched behind the mangled stump of a felled tree . Concealed beneath a camouflaging mesh of leaves , twigs and bracken . A `` ghillie suit '' of the kind used by snipers . THE CAT sniffs at the dead man 's hand , frozen by death in a grotesquely contorted claw . The animal still unsure . Looks around again , checking its surroundings for predators . THE WATCHER moves almost imperceptibly . The leaves covering him rustle ever so slightly as we hear - just barely - the familiar creaking sound of a BOW STRING BEING DRAWN TAUT . THE CAT hears it . Looks up , alert . Staring right at the watcher , but he is too well camouflaged to be seen . An interminable , tense BEAT - is the prey going to flee ? Finally , the cat turns its attention back to the carcass , nibbling gingerly at the flesh of the man 's fingers . THE WATCHER looses the arrow . It sails across the clearing and SKEWERS THE CAT clean through . It drops to the ground . THE WATCHER STANDS , shaking off the ghillie suit , revealing him to us for the first time . He wears a weather - beaten knee - length duster . Hooded sweater with more layers beneath that . Torn pants and scuffed work boots . Everything filthy and battered from years of wear . Along with the goggles , his face remains obscured by a DISPOSABLE PAPER DUST MASK and a CRUDELY - FASHIONED FUR HAT with dangling ear flaps that may once itself have been a cat . Around his neck he wears a silver SAINT CHRISTOPHER PENDANT hanging from a frayed twine cord . His name is ELI . He shoulders the bow and walks across the clearing . Crouches beside the dead cat and pulls out the arrow . Wipes the blood from the shaft , then reaches down to collect the body . Suddenly the cat SCREECHES AND FLAILS WILDLY ! Eli recoils , falling backward , stunned , as the cat - MORTALLY WOUNDED BUT FIGHTING TO THE DEATH - bites and claws desperately at him . Eli struggles violently with the cat , wrestling it to the ground and grabbing up a HUNK OF FALLEN BRANCH . He holds the writhing animal down and CLUBS IT until it lays still . He sits back , breathing harder than the dustmask will allow . He yanks it down , revealing the dirty , unshaven face beneath . Impossible to tell his age , but certainly not a young man . For a moment he just sits there . Then bundles up the dead cat and returns to the mangled tree stump . Folds away his ghillie suit into a nearby RUCKSACK which he hauls up onto his back . A canteen dangles from the backpack , a SHOTGUN strapped to its side . Eli reaches down for his final possession - an old SAMURAI SWORD in a scabbard which he slings across his back . He gazes up at the sky . A snowflake drifts down and lands on his cheek . He reaches up and brushes it away , leaving a BLACK SMEAR on his face . Not snow after all , but some kind of ASH .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST ROAD - DAY<\/stage_direction>\n    <scene_description>Eli emerges from the treeline onto the cracked and ruptured asphalt . Lined by more of those ghostly , stripped - bare trees . He sniffs the air , breathing it in . Checks the road in both directions . Deserted . A few yards away is the rusted , burned - out chassis of a CAR . He heads toward it . The car rests half on the road , half in the adjacent ditch . Stripped of its tires and engine . In the driver 's seat is a MUMMIFIED BODY . A BULLET HOLE piercing its forehead . Eli regards the body dispassionately . Tries the door handle but it 's jammed . He yanks on it harder and eventually wrenches it open . He leans in and checks the man 's feet . They 're bare . No shoes or socks . Eli curses under his breath . He leaves the car behind and heads on down the road . As he walks away , we see that the sole of one of his boots has worn loose , held in place now only by a rubber band .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - DAY<\/stage_direction>\n    <scene_description>Eli continues down the road . He ambles along slowly , a man in no hurry . A man who has been walking a long time . The road has since emerged from the forest . Passing now through a wasteland of dead scrub brush and urban junk . The sun beats down from directly overhead . The sky has no color to it , paper - white . The unfiltered sun 's stark light leaves everything seeming bleached - out , over - exposed . CRANE UP as Eli walks on . On the horizon is the silhouette of a CITY . Or what was once a city . Columns of BLACK SMOKE rise from within , casting a deathly pall over the skyline . BURNED AND BROKEN SKYSCRAPERS jut out like tombstones . Eli reaches a fork in the road and stops . The road he 's on appears to wind off in the direction of the ruined city on the horizon . The other fork continues on into the wasteland . After a brief pause , Eli changes direction and heads off down the other fork , away from the city .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ABANDONED TOWN - DAY<\/stage_direction>\n    <scene_description>Little more than a main street lined with storefronts . Eli walks steadily along , side - stepping rubble and debris . Ignoring the petrified corpses lying in the street . He passes by abandoned stores , every one picked clean . Empty shelves , smashed windows . Looted and burned . He does n't even look inside , knowing already that he will find nothing . Until he comes to a store that does cause him to stop . An old - fashioned sign squeaks on rusted hinges in the breeze . ED 'S SHOES - GENTLEMEN 'S AND LADIES ' FOOTWEAR He steps into the doorway and pushes open the door . It swings open on its one remaining hinge before splintering away from the frame and crashing to the floor in a cloud of dust .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOE STORE - CONTINUOUS<\/stage_direction>\n    <scene_description>Eli steps inside . Like all the others , the store has been cleaned out . Shoe racks and empty boxes strewn over the floor . The whole place reeking of dead , musty air . Eli looks around , just to be sure . Drags his sheathed sword idly along the empty racks as he checks them . Nothing . As he turns back for the door , his foot nudges against a shoe box . It 's not empty . He crouches down , flips the lid off hopefully . and pulls out a LADY 'S HIGH - HEELED SHOE . He strokes the shoe leather with his hand . Shakes his head grimly , then tosses the shoe back into the box and leaves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ABANDONED HOUSE - DAY<\/stage_direction>\n    <scene_description>On the outskirts of town . In disrepair - peeling paint , broken windows , damp - stained walls - but habitable . Eli stands in the front yard , surrounded by brownish , overgrown weeds . Thinking it over . Turns to face the setting sun . It will be dark soon . He turns back toward the house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABANDONED HOUSE - DAY<\/stage_direction>\n    <scene_description>The front door is sent CRASHING OPEN with a hard kick , revealing Eli silhouetted in the fading sunlight . The shotgun unhitched from his pack and held ready . He moves inside . Another dead place . Flies buzzing in the still , dank air . Everything covered in a thick layer of dust but otherwise largely preserved . An eerie snapshot of a world long gone . KITCHEN Every cupboard empty . Eli checks each one , poking around in the dark corners with his sword , but finds nothing but dust . He opens the freezer , checks inside . Empty save for a small ICEBOX . The lid stuck fast with mildew and gunk . Eli digs at it with his grimy fingernails and manages to pry it open . Inside are the wizened , petrified remains of a HUMAN HAND . Floating in slimy , discolored water . The smell vile and thick enough to make Eli retch . He quickly jams the lid back on . BEDROOM A wooden bedframe stripped clean . The dresser drawers have been emptied and lie strewn across the floor . Eli moves toward a large walk - in closet and opens the door . No clothes inside - just the near - fossilized corpse of a MAN HANGING BY A NOOSE . Twisting gently back and forth . Unfazed , Eli crouches down and checks the man 's feet . An old pair of Converse All - Stars hang limp from the man 's skeletal ankles . Eli calmly sets about unlacing them . He checks the size ; they 're a fit . He upturns each shoe and shakes the old flakes of mummified flesh from them . Discards his ruined boots and puts on the sneakers , laces them up . He walks around , pacing up and down , getting a feel for the new shoes . They feel good . For the first time , he smiles . LATER Eli sits in the corner , roasting the carcass of the dead cat over a small CAMPFIRE . He cleans the animal 's pelts as he watches it cook . Pokes at the meat with a pen - knife , checking it for done - ness . It appears ready to eat . He clasps his hands together in prayer .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Dear Lord, thank you for your generosity in providing us today with this bountiful feast.<\/dialogue>\n    <scene_description>He speaks QUIETLY , his voice barely above a whisper . Even so , we catch the accent - a RASPY , OLD - WORLD MIDWEST DRAWL , like John Wayne or some other long - forgotten western icon .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Thank you for the many gifts that you have given me. Thank you for your protection and your guidance. Thank you for bringing me this far. I know my long journey's end is near. I ask now only for the strength and the courage to complete the task that you in your infinite wisdom saw fit to bestow upon me over all men. I wo n't let you down. Amen.<\/dialogue>\n    <scene_description>He signs a cross over himself , then uses the knife to saw off a chunk of meat . Takes a bite , savoring the taste with great relish . To him , it 's grade - A filet mignon .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Hey. You hungry?<\/dialogue>\n    <scene_description>It appears as though he is talking to himself . until a RAT emerges from his coat pocket , whiskers twitching keenly . Eli offers it some meat . The rat gnaws enthusiastically at it . SUNDOWN The last of the waning sunlight shafts through the bedroom 's broken window . Eli rummages through his backpack , pulls out a SMALL PACKAGE wrapped in cloth and tied fast with string . He sits back in his corner and carefully unwraps it . It 's an OLD LEATHER - BOUND BOOK . The binding cracked and pages dog - eared , thumbed through a thousand times and more . Eli gazes lovingly at it . Lets his fingers play across the beat - up old leather cover . A cherished thing . He begins to read , half - hidden in the shadows of the fading sunlight . Silently mouthing the words as he reads them . MANY PAGES LATER Eli closes the book and parcels it back up as before . Replaces it in his pack , then reaches in for something else . A CAR BATTERY . Old and streaked with acid stains . Attached to a tangled bunch of ELECTRICAL WIRING and JUMPER CABLES . Eli reaches into his pocket and produces : AN IPOD . Badly beat - up , the case pretty much held together with duct tape . But functional . Eli attaches the battery cable to the iPod and places the headphones in his ears . The music plays . Mozart 's Piano Concerto No. 20 in D Minor . Eli rests back against the wall and pushes the volume way up . THE MUSIC SWELLS . Eli 's fingers dance and swoop in the air , as though conducting an orchestra , as he is transported by the music to another world , a world far from this one . MORNING Sunlight shafts through the window . Eli sits slumped in the exact same position , headphones still in his ears . Asleep . The rat scurries up Eli 's chest and licks his face . Slowly , he wakes , realizing he fell asleep with his music still on . Checks the battery . It 's dead , drained overnight . He frowns . He gets to his feet , moves to the window and checks outside . All seems quiet . He loads up his backpack and weapons .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Come on now.<\/dialogue>\n    <scene_description>The rat scurries up his leg , onto his duster and disappears into the breast pocket . Eli turns and moves out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ABANDONED HOUSE - MORNING<\/stage_direction>\n    <scene_description>The gate squeaks shut behind Eli as he exits the front yard . He breathes in the air , turns to feel the warm morning sun on his face . Then turns away from it and walks on down the road .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - DAY<\/stage_direction>\n    <scene_description>The landscape barren and featureless , road lined with dead trees . Eli walks along the warped and broken asphalt . The road is strewn with burned - out cars and debris from a world long dead . A warped metal sign by the side of the road reads : LITTER REMOVAL NEXT TWO MILES BY : `` CIRCUIT CITY '' . Up ahead is a HUNCHED FIGURE by the side of the road . Eli arrives to see that it 's a YOUNG WOMAN . Bone - thin , dressed in filthy rags . Skin plagued by an unpleasant rash . The SHOPPING CART she was pushing has overturned into a roadside ditch , spilling its contents . Blankets , tins of food , old clothes . She 's on her knees trying to gather it up . She looks up as she sees Eli approaching . Instantly cowers from him , raising her hands to protect herself . Terrified .<\/scene_description>\n    <character>YOUNG WOMAN<\/character>\n    <dialogue>Oh. Please do n't hurt me. Here, take anything you want. You want some food? Take it.<\/dialogue>\n    <scene_description>She offers him a can of pet food with a trembling hand . Eli stands there looking at her . His expression impossible to read behind the mirrored goggles .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>I'm not going to hurt you.<\/dialogue>\n    <character>YOUNG WOMAN<\/character>\n    <dialogue>That's what the last guys said.<\/dialogue>\n    <scene_description>Eli bends down and picks up a couple of the cart 's spilled contents . Steps forward and offers them to her .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Here.<\/dialogue>\n    <scene_description>She blinks . Unsure . Cautiously she reaches out and takes it .<\/scene_description>\n    <character>YOUNG WOMAN<\/character>\n    <dialogue>Could you help me? The wheel came off. I ca n't fix it. Maybe if I could get it out of the ditch. But I ca n't.<\/dialogue>\n    <scene_description>Eli looks at the cart . It has come to rest in the ditch just inches from a THICK BRACKEN HEDGEROW that lines the road . He looks again at the girl . Her faded blouse is unbuttoned , revealing a little cleavage . Her skirt torn along the leg , showing more than a little thigh . Almost deliberate . He sniffs the air . Watches the hedgerow warily . Just like the cat he hunted , his senses heightened and on alert . Behind the hedge , THREE ROADSIDE BANDITS are crouched , waiting to pounce . Each armed with a crude blunt weapon . They exchange anxious looks . ELI sniffs the air again - then backs away from the girl .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>One good thing about no soap any more. You can smell the road agents a mile off.<\/dialogue>\n    <scene_description>The girl 's face falls as Eli backs up . The three bandits EMERGE FROM THE HEDGEROW , brandishing their weapons . A couple of them wear old sunglasses and goggles similar to Eli 's . The BANDIT LEADER grabs the girl by a fistful of hair as he passes , yanking her painfully to her feet .<\/scene_description>\n    <character>BANDIT LEADER<\/character>\n    <dialogue>Dumb bitch. What did we tell you?<\/dialogue>\n    <scene_description>He pushes her away , she crumples to the road in a heap . Eli backs away , but TWO MORE ARMED BANDITS drop from hiding in the trees behind , cutting off his escape , surrounding him .<\/scene_description>\n    <character>BANDIT LEADER<\/character>\n    <dialogue>What you got there in the pack?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <character>BANDIT LEADER<\/character>\n    <dialogue>Yeah, that's what they all say. How about you take it off real slow and tip it out so's we can take a look?<\/dialogue>\n    <scene_description>BANDIT # 2 notices the shotgun strapped to the pack .<\/scene_description>\n    <character>BANDIT #2<\/character>\n    <dialogue>He's got a gun.<\/dialogue>\n    <character>BANDIT LEADER<\/character>\n    <dialogue>Shit, it ai n't loaded. They never are. Ai n't that right, old man?<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Open the fucking pack or die.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I ca n't do that.<\/dialogue>\n    <scene_description>The bandit leader steps forward aggressively . Now within striking distance of Eli . He grins , teeth filthy and rotten .<\/scene_description>\n    <character>BANDIT LEADER<\/character>\n    <dialogue>Want us to do it for you? We can get it off real easy after we've hacked your fucking arms off.<\/dialogue>\n    <scene_description>Eli remains perfectly calm . And though he speaks with a soft , even tone , there is something formidable about his voice .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>It's real important you boys listen to me and understand. The man I work for, you do not want to cross him. See, I'm under his protection. You stand in my way, you stand in his. And he will cut you down with a righteous fury - through me. For I am his faithful instrument.<\/dialogue>\n    <scene_description>BEAT . The bandit leader looks at Eli incredulously . and then LAUGHS . The other bandits laugh along nervously .<\/scene_description>\n    <character>BANDIT LEADER<\/character>\n    <dialogue>What the hell are you, some kinda preacher?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Something like that.<\/dialogue>\n    <character>BANDIT LEADER<\/character>\n    <dialogue>Well I got news for you, preacher man. Whatever kinda God you reckon yourself to be working for, he left these parts a long time ago. He ai n't here to protect your ass. Now take off the pack and set it on the ground.<\/dialogue>\n    <scene_description>Eli does n't move , does n't say a word . The bandit leader takes another step forward and shoves him in the shoulder .<\/scene_description>\n    <character>BANDIT LEADER<\/character>\n    <dialogue>You fucking listening to me?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I hear you. You lay that hand on me again and you will not get it back.<\/dialogue>\n    <scene_description>The other bandits exchange nervous looks . This is not how it 's supposed to go .<\/scene_description>\n    <character>BANDIT LEADER<\/character>\n    <dialogue>All right, I had just about enough of this shit.<\/dialogue>\n    <scene_description>He lunges forward , grabs the shoulder strap of Eli 's pack . If you blinked , you missed it . But somehow Eli has now drawn his sword . A RIVULET OF BLOOD snakes down along the blade and drips onto the asphalt . Bandit leader 's hand is still gripped firmly around Eli 's shoulder strap . But it 's no longer connected to his arm . The SEVERED HAND hangs there from the strap , dripping blood . Bandit leader staggers backward and raises the bloody stump where his hand once was . Looks at it in shock and horror .<\/scene_description>\n    <character>BANDIT LEADER<\/character>\n    <dialogue>What. you just. he just cut my fucking hand off! My fucking hand!<\/dialogue>\n    <scene_description>Eli pries the hand loose from the strap and tosses it onto the road as bandit leader 's legs give out and he slumps to the asphalt . His eyes dart around , as though confused .<\/scene_description>\n    <character>BANDIT LEADER<\/character>\n    <dialogue>What you standin' around for? Kiss him!<\/dialogue>\n    <character>BANDIT #3<\/character>\n    <dialogue>What's he talkin' about, kiss him?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>He's in shock. He means `` kill him''.<\/dialogue>\n    <scene_description>A tense BEAT . And then the four remaining bandits ATTACK ELI ALL AT ONCE , weapons flailing . Eli flourishes the sword . A BLUR , TOO FAST TO FOLLOW . But it 's clear he is possessed of an inhuman level of skill . It is over in moments . The four bandits LAY SLAIN IN THE ROAD , blood pooling out onto the asphalt . The bandit leader crawls toward his severed hand , a few yards away . Eli steps in and kicks it out of his reach .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>I told you you would n't be getting that back.<\/dialogue>\n    <scene_description>Bandit leader looks up to see the figure of Eli bearing down on him , silhouetted ominously against the sun . He looks for a moment like an avenging angel , something not of this world .<\/scene_description>\n    <character>BANDIT LEADER<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>My name is Eli.<\/dialogue>\n    <scene_description>And with that , Eli runs him through with his sword . He turns to see the young woman slumped in the road , sobbing . She cowers again as he approaches , certain that she is next . He WALKS PAST HER . Sheathes his sword , then pulls out the shopping cart from the ditch and rights it . The woman watches incredulously as he gathers up her supplies into the cart .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Take it and go on your way. And do n't fall in with men like these again. No good can come.<\/dialogue>\n    <scene_description>She looks at him , puzzled .<\/scene_description>\n    <character>YOUNG WOMAN<\/character>\n    <dialogue>Why are you doing this?<\/dialogue>\n    <scene_description>Eli says nothing . Walks back to the slain bandits , crouches beside them and begins searching their bodies . He takes a scarf from around the neck of one . Finds a Zippo lighter on another , checks that it works and pockets it . LATER The five bodies are lined neatly in the ditch , half - covered with dirt . The best burial they are going to get . Eli stands before them , head bowed in prayer . He speaks quietly and quickly , a speech he has given many times .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>God, the father of mercies, through the death and resurrection of his son has reconciled the world to himself and sent the holy spirit among us for the forgiveness of sins.<\/dialogue>\n    <scene_description>The young woman stands a few yards away , watching him , transfixed . She has never seen anyone like him .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Through the ministry of the church may he give you pardon and peace, and I absolve you from your sins in the name of the father, and of the son, and of the holy spirit. Amen.<\/dialogue>\n    <scene_description>He turns and walks away down the road , passing the woman .<\/scene_description>\n    <character>YOUNG WOMAN<\/character>\n    <dialogue>Thank you. You're. a good man.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>There are no good men on the road.<\/dialogue>\n    <character>YOUNG WOMAN<\/character>\n    <dialogue>Where are you going?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>West.<\/dialogue>\n    <character>YOUNG WOMAN<\/character>\n    <dialogue>Can. can I come with you?<\/dialogue>\n    <scene_description>He does n't even turn back to look at her .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>He walks on , into the horizon .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FREEWAY OVERPASS - DAY<\/stage_direction>\n    <scene_description>Straddling the desert like a giant , crumbling monument to a long - dead civilization . Eli steadily climbs his way up . He comes to an abrupt stop as we realize suddenly that the overpass has COLLAPSED at mid - point . RUSTED IRON RODS jut out from where the roadway has been severed . Eli just stands there at the edge for a moment , feeling the wind whip around him , his coat fluttering in the breeze . The overpass 's collapsed section is now just a MOUNTAINOUS PILE OF RUBBLE that leads down to the road below . Eli steps onto the rubble . About to make his way down when he FREEZES . He hears something . The faintest of sounds . He takes cover , peering down at the road beneath the overpass to see : TWO PEOPLE walking together on the road . We see everything from ELI 'S P.O.V. - too far to make out much detail , but apparently it is a MIDDLE - AGED COUPLE . The man pushes along an OLD WHEELBARROW covered by a tarp as the woman , seemingly his wife , walks alongside . The barrow 's rusted wheel gives out a plaintive , rhythmic SQUEAK . Eli ducks down again as he hears something else . This time much louder . The menacing growl of MOTORCYCLE ENGINES . FOUR BIKES IN TOTAL . Riding out of the horizon , closing in on the couple . They see the bikes coming and panic . Try desperately to steer the barrow off the road . The bikes screech to a halt and the FOUR RIDERS dismount . Brandishing a variety of weapons . The couple make a run for it but they 're quickly chased down and tackled to the ground . The woman SCREAMS and struggles helplessly as the bikers swarm over the man like a pack of predatory animals . The woman is pulled to the ground and the clothes stripped from her . Eli turns away . He knows what comes next . Eli listens as the woman screams and screams . He reaches for his shotgun . hesitates . then withdraws his hand .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>It ai n't your concern. Stay on the path. It ai n't your concern. Stay on the path.<\/dialogue>\n    <scene_description>Eli repeats it like a mantra . He clearly wants to intervene , but will not permit himself to . Instead , he simply sits and waits grimly as the woman continues to scream for help . And then finally , suddenly , is silenced . Down below , the bodies of the man and woman lay dead and bloodied in the dirt . The bikers tear the tarp from the wheelbarrow , spilling its contents onto the asphalt . They ferret through the items , scavenging a few items - we do n't see what - and stuffing them into an old cloth satchel . They leave the rest strewn in the road and ride off in the direction they came , dust pluming in their wake . Eli waits until the sound of the motorcycles has receded into the far distance before emerging from his hiding place .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD BENEATH OVERPASS - DAY<\/stage_direction>\n    <scene_description>Eli crouches on one knee before the murdered couple . He signs a cross over their ravaged bodies as he mutters a prayer under his breath . Then stands and continues on down the road .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD FORK - DAY<\/stage_direction>\n    <scene_description>More desolate wasteland as far as the eye can see . The road forks again here . Eli arrives at the junction and stops . The road Eli is on leads further into the west . The other fork heads toward a SMALL TOWN just visible on the horizon . A HAND - PAINTED SIGN has been driven into the dirt nearby . No words , just a series of CRUDE PICTOGRAMS . A BED . A PLATE OF FOOD . A WATER FAUCET . AN ARROW points toward the town . Eli pauses , thinking it over . Retrieves the iPod from his pocket . Clicks the button , but no response . He sighs . He turns and heads down the other fork , toward town .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT TOWN - OUTSKIRTS - DAY<\/stage_direction>\n    <scene_description>A primitive , sprawling village of tents and barn - like structures . Built from corrugated iron , rotted wood , molded plastic , tarpaulin - materials scavenged from the old world . HUDDLED RESIDENTS are dressed in little more than rags , many wearing goggles like Eli 's to shield their eyes from the sun . Eli stands at the edge of town . Reluctant to enter , but he braces himself and walks on in . And as he rounds a corner , entering the center of town , an astonishing sight :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT TOWN - MAIN STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>The broad thoroughfare now all that remains of whatever town once stood here . Many of the old storefronts still largely intact but patched up with salvaged materials . The asphalt street warped and cracked , parking meters bent and smashed . It 's a lot like the abandoned town Eli passed through earlier , except VERY MUCH ALIVE - BUSTLING WITH TOWNSFOLK . It 's at once a familiar and also a disturbing sight - like an old Norman Rockwell painting of classic small - town America , but filtered through the devastating eye of an apocalypse . An unsettling juxtaposition of the old world and the new . The centerpiece of the town is a GRAND THEATER at the head of the main street . THE PALLADIUM . Like the rest of the town , badly damaged and shoddily fixed - up . But still standing . Eli walks down the street and approaches a BLACKSMITH , hammering out a metal plate over an anvil outside his store .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>You got an engineer or a fuelman around here?<\/dialogue>\n    <scene_description>The blacksmith does n't look up from his work but motions toward a storefront at the far end of the street .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Eli heads down the street . Stopping when he comes across a STATUE erected in the center of the road . A TALL MAN crudely fashioned in clay . One hand placed paternally on the head of a SMALL CHILD , the other outstretched toward the sun . As he observes the statue , Eli notices that passing residents take a moment to PAUSE AND GENUFLECT before it . Worshipping . Curious , Eli reaches up and runs his hand over the statue 's face . Then hears SHUFFLING FEET behind him and turns as a PARADE OF EMACIATED MEN AND WOMEN trudges past . Roped together at the waist , each man leading the one behind . Heads shaved , thin from malnutrition . And each one BLIND . They gaze at the ground with pale , dead eyes . They carry picks , shovels and other tools - a sightless CHAIN GANG . Eli watches as the pathetic parade shuffles past , herded like cattle by a brutish CHAIN GANG BOSS who swats at them with a stick to keep them moving and indicate direction .<\/scene_description>\n    <character>CHAIN GANG BOSS<\/character>\n    <dialogue>Come on, move it!<\/dialogue>\n    <scene_description>The gang boss glares at Eli as he passes by . Eli does n't return the look , just continues crossing the street as the blind are herded away . Headed toward a wooden building with a pictogram of a LIGHTNING BOLT suspended above the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGINEER WORKSHOP - CONTINUOUS<\/stage_direction>\n    <scene_description>Whatever this place once was , it 's now a kind of POST - APOCALYPTIC RADIO SHACK . Shelves display a variety of goods . Engine parts . Old electrical wiring . Small appliances . An old ELECTRIC GENERATOR rumbles noisily , powering strings of multi - colored CHRISTMAS LIGHTS that hang all around . Behind the main counter a convoluted Rube Goldberg - esque STILL is running . An ENGINEER in a leather apron pours the remnants of a can of motor oil into the still 's funnel . Attached to the still is an old MOTORCYCLE MIRROR . In its reflection the engineer sees Eli checking out the store . Without turning around , he reaches surreptitiously behind the counter for something . Eli turns toward the counter - to find the engineer training a PUMP - ACTION SHOTGUN right at him .<\/scene_description>\n    <character>ENGINEER<\/character>\n    <dialogue>I do n't know you.<\/dialogue>\n    <scene_description>Eli slowly raises his hands .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>I'm not from around here.<\/dialogue>\n    <character>ENGINEER<\/character>\n    <dialogue>No shit. Who are you?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I'm just a customer.<\/dialogue>\n    <character>ENGINEER<\/character>\n    <dialogue>A customer with a shotgun?<\/dialogue>\n    <scene_description>He nods toward the shotgun visible on Eli 's backpack .<\/scene_description>\n    <character>ENGINEER<\/character>\n    <dialogue>You come in here to rip me off?<\/dialogue>\n    <scene_description>The engineer 's hands tremble , his finger tight on the trigger . This man needs to be talked down carefully .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>No. I'll set it down. Okay?<\/dialogue>\n    <character>ENGINEER<\/character>\n    <dialogue>Slowly!<\/dialogue>\n    <scene_description>Eli nods . Unhitches the pack and sets it down , steps away .<\/scene_description>\n    <character>ENGINEER<\/character>\n    <dialogue>You carry a gun in the outland, you do n't bring one into town less you live there. Do n't you know that?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I'm sorry, I forgot. I've been on the road a long time.<\/dialogue>\n    <scene_description>This seems to make the engineer more suspicious of Eli .<\/scene_description>\n    <character>ENGINEER<\/character>\n    <dialogue>Show me your hand.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I'm not a -<\/dialogue>\n    <scene_description>The engineer jerks the shotgun at Eli nervously .<\/scene_description>\n    <character>ENGINEER<\/character>\n    <dialogue>I said show me your fucking hand!<\/dialogue>\n    <scene_description>Eli raises his hand and holds it outstretched , palm faced downward . The engineer watches it closely for any sign of ticks or tremors , but Eli 's hand stays steady as a rock .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>I'm not one of them.<\/dialogue>\n    <scene_description>The sight of the steady hand seems to reassure the engineer a little . Finally , he lowers the shotgun .<\/scene_description>\n    <character>ENGINEER<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I'm just passing through. I need some help. I can pay.<\/dialogue>\n    <character>ENGINEER<\/character>\n    <dialogue>What kinda help? And what kinda pay?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I'm going to get something out of my pack. Okay?<\/dialogue>\n    <scene_description>The engineer raises the shotgun nervously again .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>I know, I know. Slowly.<\/dialogue>\n    <scene_description>The engineer watches him like a hawk as Eli opens up his pack and pulls out the car battery . When he sees it , he gasps .<\/scene_description>\n    <character>ENGINEER<\/character>\n    <dialogue>Holy shit.<\/dialogue>\n    <scene_description>Eli places it on the counter . The engineer looks it over with awe , like it 's a priceless historical artifact .<\/scene_description>\n    <character>ENGINEER<\/character>\n    <dialogue>Where'd you find this?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Years ago, in the outland back east aways.<\/dialogue>\n    <character>ENGINEER<\/character>\n    <dialogue>Does it work?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Yeah, it just needs a charge. Can you do it? I got the cables.<\/dialogue>\n    <character>ENGINEER<\/character>\n    <dialogue>Depends if you also got the coin.<\/dialogue>\n    <scene_description>Eli pulls the Zippo lighter from his pocket . The engineer picks it up , sparks the flint , watches the flame flicker .<\/scene_description>\n    <character>ENGINEER<\/character>\n    <dialogue>It'll take a couple hours. There's a bar across the street you can wait, they just opened up.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I'll wait here.<\/dialogue>\n    <character>ENGINEER<\/character>\n    <dialogue>You do n't trust me?<\/dialogue>\n    <character>ELI<\/character>\n    <parenthetical>( SMILES . )<\/parenthetical>\n    <dialogue>I do n't know you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALLADIUM - AUDITORIUM - DAY<\/stage_direction>\n    <scene_description>This once grand theater have been largely gutted - seats torn out , fixtures and fittings stripped , curtains ripped from the stage . But still , there 's a sense of grandeur to this place . Looking out over the stage , a ROYAL BOX - once the most prestigious seat in the house - has been converted into an OFFICE of sorts . Seats removed and replaced by an ORNATE MAHOGANY DESK facing inward , a CHANDELIER suspended above it . The whole set - up is gaudy and ostentatious - the work of someone who wants to project an aura of power and wealth , but has no taste whatsoever . A TALL MAN is seated in a battered leather armchair behind the desk , deeply involved in an OLD PAPERBACK BOOK . The book 's cover is faded and partially torn away , the title still just visible : 7 HABITS OF HIGHLY EFFECTIVE PEOPLE . The man is OLDER than most we 've seen . His skin weathered by the elements and by a long life 's experience . One of the very few people we 've seen in this world close to Eli 's age - and unlike everyone else we 've seen , he appears healthy and well - groomed . A rich mane of hair , full set of teeth . He wears a tattered SUIT AND TIE . None of it matches , everything scavenged from different outfits and eras . But he looks almost civilized . Respectable . His name is CARNEGIE . He looks up from his book at the sound of a POLITE COUGH O.S. REDRIDGE stands before him . Tall , powerfully built .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <scene_description>His accent is like caramel . A RICH , DEEP - SOUTH DRAWL .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>Survey team just finished up their inspection. It ai n't good.<\/dialogue>\n    <scene_description>Carnegie lowers his book . Concerned .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>How bad is it?<\/dialogue>\n    <character>REDRIDGE<\/character>\n    <dialogue>Pressure is down again, and going by the new rod they sank levels're lower than they've ever been.<\/dialogue>\n    <scene_description>Carnegie stands . Thinking . This is bad news .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>How long?<\/dialogue>\n    <character>REDRIDGE<\/character>\n    <dialogue>Hard to say. Six months, maybe. A little longer if we're careful. But we're already -<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>Halve the rations.<\/dialogue>\n    <character>REDRIDGE<\/character>\n    <dialogue>We just halved ` em last -<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>So halve them again!<\/dialogue>\n    <scene_description>BEAT . Carnegie stares Redridge down . Nobody but nobody questions his orders .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>You're going to have to say something. Folks were none too happy last time. Gon na be worse now, you can count on it.<\/dialogue>\n    <scene_description>Carnegie sighs , rubs his brow . He knows Redridge is right .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT TOWN - MAIN STREET - DAY<\/stage_direction>\n    <scene_description>A LARGE CROWD OF TOWNSFOLK - several hundred strong - has assembled outside the Palladium theater . AN ARMED CREW OF CARNEGIE 'S GOONS keeps watch over the crowd . Carnegie stands on a BALCONY above the theater marquee . He treats the balcony like a pulpit , speaking through a MICROPHONE connected to an old PA SYSTEM that carries his words to the far reaches of the crowd .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>I want you all to remember how far we've come together. And how far we still can go, if only we believe. When I brought us here to this oasis - this promised land - we knew there would be hardships. Knew there would be sacrifices. But we also knew that we were creating for ourselves a world where we could be safe from the horrors of the forsaken lands beyond our borders.<\/dialogue>\n    <scene_description>The crowd listens intently , hanging on Carnegie 's every word . He is an incredibly charismatic and persuasive speaker - his cultivated image and inspiring , confident delivery remind us of a TELEVISION EVANGELIST .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>And I want you all to remember above all that it is not the water with which we have been blessed that is the true lifeblood of this town. but faith.<\/dialogue>\n    <scene_description>This sends a MURMUR OF DISCONTENT through the crowd . Many do n't like where they suspect this may be going . Carnegie senses this and dials up his rhetoric - delivering it now with the fire - brand passion of an old - time baptist preacher .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>It is our faith that sustains us, brothers and sisters! Hallelujah!<\/dialogue>\n    <scene_description>The crowd is divided . Many return the `` Hallelujah '' with varying levels of conviction . Others are not convinced . But Carnegie continues unabated , selling it harder than ever .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>And mark me, the ultimate validation of that faith is coming! The sacred Word of Our Lord that formed the world before and will reform it once again is coming to this town to bring it succor, bring it nourishment, bring it new life! For the Almighty Himself has spoken unto me and promised it!<\/dialogue>\n    <scene_description>Carnegie is such an impassioned and inspiring speaker it 's almost impossible not to get caught up and swept away by his words . His apparently unshakable belief is infectious .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>In the meantime, He has asked us all to be patient. To walk the hard road of the faithful just a little longer. And to do that, we must give just a little more.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Water rations will be halved until further notice.<\/dialogue>\n    <scene_description>This sends a much broader ripple of discontent through the crowd - this news has not been received well at all . Some still `` keep the faith '' but many more are perturbed by this . Carnegie motions for the crowd to settle down .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>I understand your frustration. The road to salvation is a difficult one - but what lies at the end of that road is a greater glory, beyond anything you can imagine.<\/dialogue>\n    <scene_description>A DISCONTENTED VILLAGER steps forward , pushing through the crowd and jabbing his finger angrily up at Carnegie .<\/scene_description>\n    <character>DISCONTENTED VILLAGER<\/character>\n    <dialogue>We've heard this all before! When are you going to -<\/dialogue>\n    <scene_description>Carnegie 's goons quickly move in and efficiently SILENCE THE MAN , removing him from the crowd . Dissent is not tolerated here . Carnegie goes on speaking as if nothing had happened .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>I know each and every one of you will understand the necessity of this action. It was faith that built this town - and faith that will sustain it even through the dark times that may lie ahead. But it is always darkest before dawn - and the new dawn is coming.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>May God go with you all.<\/dialogue>\n    <scene_description>Carnegie steps back inside , leaving the crowd to talk among themselves , clearly mixed about what they have heard . As the assembled townsfolk disperse , FOUR MOTORCYCLES roar into town and pull up outside the Palladium . As the riders dismount , one detaches a CLOTH SATCHEL from his bike 's cargo rack . The four riders head inside . They each have long , straggly hair and brutish expressions . We recognize them now as the BIKER BANDITS who killed the couple on the road under the freeway overpass .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALLADIUM - SECOND FLOOR - DAY<\/stage_direction>\n    <scene_description>Carnegie emerges into the second - floor hallway from the balcony , mopping his brow . Exhausted and stressed from his grand theatrical display , and from its mixed reception . Redridge climbs the stairs to meet him .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>One of the road crews just rolled into town.<\/dialogue>\n    <scene_description>Carnegie looks at his cracked old wristwatch .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>Of course they did, the bar's open. Outlanders, always looking for answers at the bottom of a bottle.<\/dialogue>\n    <character>REDRIDGE<\/character>\n    <dialogue>Not these guys.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>These guys say they got something.<\/dialogue>\n    <scene_description>That gets Carnegie 's attention .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>Get them up here now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALLADIUM - MAIN LOBBY - DAY<\/stage_direction>\n    <scene_description>What was once a grand , gilded entrance foyer has , like the rest of the theater , been largely gutted . But it 's still impressive - a spacious bar area with a grand staircase leading up to a second floor , entrance to balcony seats , etc. . FADED OLD THEATER POSTERS still hang from the walls . The place has been shabbily converted into a kind of SALOON . Old ripped - out theater seats arranged around tables . A FIREPLACE sputters dimly . A MANGY TABBY CAT walks across the straw - laden floor . A dozen or so CUSTOMERS in the place , a mixed , rough - looking bunch . Redridge emerges from an upstairs room and nods to a group of his MEN who are holding the bikers at the foot of the stairs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALLADIUM AUDITORIUM - CARNEGIE'S BOX<\/stage_direction>\n    <scene_description>Carnegie checks his reflection in a CRACKED HAND MIRROR , licks his palm and slicks his hair back . He adjusts his tie as Redridge 's men usher the bikers into his `` office '' . Carnegie wheels around and flashes a smile at them . Just as when he gave his balcony address , Carnegie is in performance mode - charismatic and slick like a campaigning politician .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>Gentlemen! It's truly a delight to see you again! I understand your latest excursion into the outland has been a profitable one?<\/dialogue>\n    <scene_description>The bikers exchange looks . They understood maybe half the words in that sentence . The lead biker - named HOG - speaks .<\/scene_description>\n    <character>HOG<\/character>\n    <dialogue>We did good.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>Well, let's see, shall we?<\/dialogue>\n    <scene_description>Hog tips the satchel 's contents out onto Carnegie 's desk . BOOKS . About a dozen different volumes of all shapes and sizes . Carnegie rifles excitedly through the collection . We see various titles as he sorts through them . Treasure Island . The Da Vinci Code . A volume of encyclopedia . The Diary of Anne Frank . Tuesdays with Morrie . In amongst the books are a few MAGAZINES . An old issue of OPRAH magazine . A torn copy of SPORTS ILLUSTRATED . And a NEWSWEEK . The cover graphic illustrates OPPOSING NUCLEAR ARSENALS over a world globe . On one side the STARS AND STRIPES , on the other flags indicating a SINO - ISLAMIC ALLIANCE . The headline reads : `` IS THERE NO TURNING BACK ? ''<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>No. No. No. No. No.<\/dialogue>\n    <scene_description>As Carnegie rejects each book with growing disappointment and frustration , it 's clear he 's looking for a specific volume .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>It's not here.<\/dialogue>\n    <character>HOG<\/character>\n    <dialogue>These ai n't worth nothin'?<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>When you bring me the book I asked you for, it'll be worth something.<\/dialogue>\n    <scene_description>The bikers exchange more looks . An unspoken conversation .<\/scene_description>\n    <character>HOG<\/character>\n    <dialogue>We been doin' this a long time now. Had to make a whole lotta corpses to bring you all these books. You want us to keep at it, reckon it's worth more than a few free glasses of that swill you call liquor.<\/dialogue>\n    <scene_description>Carnegie 's guards bristle , ready for a confrontation . Carnegie just smiles , always ready to smooth things over .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>Gentlemen, gentlemen. I urge you once again to take the long view here. When we find this book - and believe me, we will find it - we are going to build a new world. A world far greater, far more righteous than this one. And you and I are going to be perched right on top of it, looking down upon it, masters of all creation!<\/dialogue>\n    <scene_description>As always , his carefully stage - managed rhetoric is delivered with the utmost conviction , every word dripping with passion and persuasion . He 's a master salesman , a true huckster .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>And you know, I think you're absolutely right. That is worth more than a few glasses of liquor. A whole lot more.<\/dialogue>\n    <scene_description>He steps forward and looks Hog right in the eye . His gaze like a laser beam , utterly disarming .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>The book I want is out there somewhere, just waiting to be found. Once there were millions of copies - you only need to find one! Find it and bring it here. And I promise you, you will be rewarded beyond anything you can imagine.<\/dialogue>\n    <scene_description>It 's impossible not to be swayed by this guy . He 's just so full of fiery passion and infectious belief , you almost want to reach into your pocket and hand over your wallet . Hog snatches up his empty satchel .<\/scene_description>\n    <character>HOG<\/character>\n    <dialogue>This better not be bullshit.<\/dialogue>\n    <scene_description>He turns and marches to the door , the other bikers following . The guards escort them out , only Redridge remains . Carnegie slumps back into his chair , frustrated , pissed off .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>Might help if they knew just what they were looking for.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>Not one of them can read. How would they even know when they found it?<\/dialogue>\n    <character>REDRIDGE<\/character>\n    <dialogue>So how's about you just tell me?<\/dialogue>\n    <scene_description>Carnegie and Redridge lock eyes . BEAT .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>Two years now you been sending these crews into the outland. Burning up gas we can barely spare. For a goddamn book? What the hell kinda book can be worth all this?<\/dialogue>\n    <scene_description>Carnegie ignores him . Stands , walks toward the door . Redridge sighs , gestures toward the books piled on Carnegie 's desk .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>What about these?<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>Put them with the others.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALLADIUM - MAIN LOBBY - DAY<\/stage_direction>\n    <scene_description>Redridge stands by the marble fireplace , tossing the books into the fire . The flames flicker and leap around the books as their pages blacken and are consumed by the fire .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGINEER WORKSHOP - DAY<\/stage_direction>\n    <scene_description>Eli watches as the engineer charges the battery with the gas generator , which chugs noisily . He licks his lips , dry as sand . Unscrews his canteen to take a drink , but it 's down to its last few drips .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>What's this place across the street? They got any water?<\/dialogue>\n    <character>ENGINEER<\/character>\n    <dialogue>We got our own underground spring here. Only fresh water in a hundred miles - if's you can pay for it.<\/dialogue>\n    <scene_description>Eli thinks a while longer . Then stands and stuffs his shotgun inside his pack , shoulders his gear and makes for the door .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>I'll be back.<\/dialogue>\n    <scene_description>Eli stops in the doorway and turns back to the engineer .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>If that battery ai n't here when I get back, I will use this gun on your kneecaps and I will put this building to the torch and I will watch it burn to the ground with you alive inside it. So help me God.<\/dialogue>\n    <scene_description>And with that he turns and leaves . The engineer gulps . Not a hint in Eli 's voice that he did n't mean every word .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALLADIUM - CARNEGIE'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>This old second - floor DRESSING ROOM has been converted into a bedroom , simply furnished . A WOMAN stands in front of an old DRESSING ROOM MIRROR , the bulbs around the frame burned - out and broken . She washes her face in murky water in an old PORCELAIN BOWL on the dresser . Her name is CLAUDIA . Early 30s , pretty . She gazes into the mirror as she dries her hands , but it 's so cracked and warped it 's near impossible to see a reflection . The door opens and Carnegie enters . He still looks steamed . Claudia does n't turn to look at him , keeps facing the mirror .<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>Is that you, honey?<\/dialogue>\n    <scene_description>Carnegie says nothing . Just paces angrily up and down . Finally Claudia turns to face him .<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>Something wrong?<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>More books came in from the road today.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Oh? It's been a while.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>And it'll be a while longer. Just another pile of useless junk. If we do n't find the right one soon - if I ca n't give these people what they want to hear.<\/dialogue>\n    <scene_description>Carnegie trails off , the thought too awful to contemplate . Claudia adopts a sympathetic expression , supportive .<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>You'll find what you're looking for. It's out there somewhere. You just have to have faith.<\/dialogue>\n    <scene_description>This seems to anger Carnegie . He wheels on her .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>Faith? Is that what you think we're missing around here?<\/dialogue>\n    <scene_description>She detects the aggressive tone in his voice and goes quiet , head bowed . Carnegie moves toward her angrily .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>My old man used to have faith. He had it in spades. My mother, too. You know where it got them? You know where it got me?<\/dialogue>\n    <scene_description>He 's in her face now . Claudia avoids eye contact , submissive .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>Faith is for the weak. It's for them out there, the sheep. This world is what you can see and touch and taste. It's what you make it. All these years with me, you still do n't have any grasp of that? What's wrong with you, woman?<\/dialogue>\n    <scene_description>He 's shouting now , and she 's trembling , afraid to speak .<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <scene_description>Carnegie realizes he 's frightened her . He softens .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>No, I'm sorry. I did n't mean to scare you. Hey. You okay?<\/dialogue>\n    <scene_description>He lifts her chin up , wipes away a tear .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>You just get me all riled up with that kind of talk. It's not what I need from you right now.<\/dialogue>\n    <parenthetical>( SMILES . )<\/parenthetical>\n    <dialogue>You know what I need right now?<\/dialogue>\n    <scene_description>He puts his hands on her lustfully . It 's clear she 's not in the mood , but she halfheartedly responds anyway . More out of a sense of wifely duty than reciprocated passion . As they kiss , Carnegie pushes her excitedly against the wall and feverishly begins unbuckling his pants .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALLADIUM - MAIN LOBBY - DAY<\/stage_direction>\n    <scene_description>The original customers have now been joined by the four bikers , who sit at their own table drinking a clear and pungent moonshine - type liquor from a shared jar . Eli enters . All eyes are on him immediately , regarding him with guarded interest as he pulls up a stool at the bar . The BARTENDER approaches , looks him up and down . Suspicious .<\/scene_description>\n    <character>BARTENDER<\/character>\n    <dialogue>Outlander? Let me see -<\/dialogue>\n    <scene_description>Eli raises his hand as before . Holds it outstretched , steady .<\/scene_description>\n    <character>BARTENDER<\/character>\n    <dialogue>What'll it be?<\/dialogue>\n    <scene_description>Eli places the canteen on the bar .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Water.<\/dialogue>\n    <character>BARTENDER<\/character>\n    <dialogue>That's the good stuff. Got ta eat into my own ration to sell it - so I do n't sell it cheap.<\/dialogue>\n    <scene_description>Eli takes off his scarf and puts it on the bar . The bartender takes it and looks it over . Not particularly impressed .<\/scene_description>\n    <character>BARTENDER<\/character>\n    <dialogue>That'll get you maybe half - way.<\/dialogue>\n    <scene_description>The bartender spies Eli 's silver Saint Christopher pendant .<\/scene_description>\n    <character>BARTENDER<\/character>\n    <dialogue>What about that?<\/dialogue>\n    <scene_description>Eli stuffs the pendant inside his shirt . No way that 's for sale . Instead , he reaches into his coat and produces the fur pelts he skinned from the dead cat , lays them out on the bar .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>That's the best I got.<\/dialogue>\n    <scene_description>The bartender takes a pelt and examines it . The mangy cat leaps up onto the bar and approaches . Sniffs at the pelts with suspicion and HISSES at Eli . Eli shoos the cat off the bar with a wave of his hand . At the biker 's table Hog watches this , not happy about this . Satisfied with the pelts , the bartender gathers them up along with the scarf , then turns away toward the back room .<\/scene_description>\n    <character>BARTENDER<\/character>\n    <dialogue>Solara!<\/dialogue>\n    <scene_description>A TEENAGE GIRL emerges from the back . No older than 16 or 17 . Dressed in unflattering work clothes , face grimy , blonde hair tied back in a ponytail . But even through all this , it 's clear she is a strikingly beautiful young woman . The bartender takes Eli 's canteen and hands it to Solara along with a RATION CARD he keeps around his neck .<\/scene_description>\n    <character>BARTENDER<\/character>\n    <dialogue>Take this out back and get it filled.<\/dialogue>\n    <scene_description>Solara takes the canteen , pausing for a moment to look Eli up and down . Unsure quite what to make of him , but intrigued . There 's something about him she ca n't put her finger on . He does n't look back at her . She turns and exits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT TOWN - MAIN STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>Solara exits via the Palladium 's STAGE DOOR and walks across the busy street to where TWO OF CARNEGIE 'S ARMED MEN stand guard around an ENCLOSURE OF CHAIN - LINK FENCE TOPPED WITH RAZOR WIRE . TOWNSFOLK wait in line with bowls and buckets . One of the guards recognizes Solara and lets her cut to the front of the line . He punches two holes in her ration card and lets her inside the chain - link enclosure . Inside is an OLD RUSTED SPIGOT attached to a pipe emerging from the earth . Solara cranks hard on the handle - it takes a few pulls before the water comes , and then only at a weak trickle ; it will take a while to fill the canteen .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALLADIUM - MAIN LOBBY - CONTINUOUS<\/stage_direction>\n    <scene_description>As Eli sits at the bar , a SHADOW comes into view and looms large over him . Hog is standing behind him , glaring , cutting a menacing figure in his armored cycle leathers . Solara senses trouble brewing and moves off , taking Eli 's canteen away into the back room .<\/scene_description>\n    <character>HOG<\/character>\n    <dialogue>That was my cat.<\/dialogue>\n    <scene_description>Eli does n't turn . Just looks straight ahead . Impossible to read him behind those mirrored goggles . Utterly inscrutable .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Fine specimen.<\/dialogue>\n    <character>HOG<\/character>\n    <dialogue>I saw you push him off the bar.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I did n't push him.<\/dialogue>\n    <character>HOG<\/character>\n    <dialogue>You raised your hand at him.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Sorry. It wo n't happen again.<\/dialogue>\n    <scene_description>The bartender looks at Hog nervously .<\/scene_description>\n    <character>BARTENDER<\/character>\n    <dialogue>Hey, how about another drink, Hog?<\/dialogue>\n    <character>HOG<\/character>\n    <dialogue>That cat's been comin' in here for nigh on two years. It got more right to be here than you. Who the fuck do you think you are?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I do n't want any trouble.<\/dialogue>\n    <scene_description>Hog grabs him by the arm .<\/scene_description>\n    <character>HOG<\/character>\n    <dialogue>Well, that's too bad, ` cause -<\/dialogue>\n    <scene_description>Blink . Suddenly Hog 's head is pinned to the bar by nothing more than Eli 's thumb . Pressed deep into a nerve cluster in his neck . Eli leans in close as Hog whimpers , paralyzed .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>I know you. Murderer of innocent travelers on the road. You're going to spend eternity drowning in a lake of fire for the things that you've done. Did you know that?<\/dialogue>\n    <scene_description>The other bikers stand and approach , the OTHER CUSTOMERS following suit . Eli senses the trouble gathering behind him .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>You go on back to your table and I'll be on my way. All right?<\/dialogue>\n    <scene_description>It 's all Hog can do to just barely nod his head . Eli releases his thumb . Hog staggers backward , gasping for breath . Eli stands and makes toward the door , but the bikers and other patrons have moved to block his exit .<\/scene_description>\n    <character>BURLY PATRON<\/character>\n    <dialogue>You push Hog, you push all of us.<\/dialogue>\n    <scene_description>Eli sighs , looks down at the floor . He 's been pushed one time too many today . For the first time , we see anger in his face .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Cursed be the ground because of you. By toil shall you eat of it. Thorns and thistles shall it sprout for you. From the ground were you taken. For dust you are.<\/dialogue>\n    <scene_description>The patrons look at Eli strangely . Who is this guy ? Eli reaches back and draws the samurai sword . Carves a line in the dirt at his feet with the tip of the blade .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>And to dust you shall return.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALLADIUM - CARNEGIE'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>Carnegie has Claudia pinned against the wall , his pants bunched around his ankles , ass bared as he pounds away at her . Not making love . This is mechanical , loveless sex . Claudia stares vacantly over his shoulder into space as Carnegie thrusts into her again and again . Deeply uninterested , just waiting for it to be over . Suddenly , we hear a CRASH O.S. Carnegie stops and listens .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>Did you hear that? What was that?<\/dialogue>\n    <scene_description>Claudia sees an opening to get out of this .<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>Maybe you should go check.<\/dialogue>\n    <scene_description>BEAT . Carnegie keeps listening . Then comes another CRASH .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>What in the hell is going on?<\/dialogue>\n    <scene_description>He pulls up his pants , grabbing a RIFLE propped by the door as he rushes out . Claudia just stands there for a moment , then reaches down and pulls up her panties . She moves from the wall and makes her way across the room , feeling her way with her hands , gazing off into nothingness . Only now do we finally realize that she is BLIND .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALLADIUM - MAIN LOBBY - CONTINUOUS<\/stage_direction>\n    <scene_description>Carnegie emerges from the bedroom onto the balcony . Looks down over the railing - and is stunned by what he sees . CHAOS in the bar below . Eli cutting a one - man swath of mayhem through the dozen brawlers . Most already lie dead . TWO MORE MEN ATTACK Eli and are effortlessly felled by his sword . Carnegie rushes hurriedly along the landing , banging loudly on the doors of the upstairs rooms .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>Get your asses out here!<\/dialogue>\n    <scene_description>ON ELI . Surrounded by the dead , only one man left standing . Hog . He backs away as Eli circles him like a predator . Sword held ready , the blade glistening with dark red blood . SOLARA re - emerges from the back room with Eli 's refilled canteen . She stops and emits a horrified GASP when she sees the bloody carnage laid out in the bar before her . She watches , mortified , as Eli moves toward the helpless , terrified Hog , going in for the kill . Raising his sword . Suddenly , Solara steps forward and CRIES OUT :<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>Stop!<\/dialogue>\n    <scene_description>Eli FREEZES . Sword hanging in the air , poised to strike . He turns his head to where Solara stands behind the bar .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>Please do n't.<\/dialogue>\n    <scene_description>BEAT as Eli considers . He looks back at Hog , still completely at his mercy . and then LOWERS THE SWORD .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Go.<\/dialogue>\n    <character>HOG<\/character>\n    <parenthetical>( CONFUSED . )<\/parenthetical>\n    <dialogue>. What?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>It ai n't for me to judge you. Your time for that's gon na come. Believe me. Now go on. Get out of here.<\/dialogue>\n    <scene_description>Hog stumbles backward through the door , into the sunlight . Eli moves toward Solara , who stands petrified behind the bar . Reaches out and gently pries the canteen from her loose grip .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>In the exitway , Hog turns back inside , grabbing up a BROKEN BOTTLE from the bloody floor as he goes . Hog rushes Eli from behind . Solara sees him coming and goes to SCREAM - but before any sound can come , Eli flips his sword backward and Hog runs right onto it , SKEWERING HIMSELF . BEAT . Hog just stands there for a moment , eyes wide , frozen in shock . His fingers go limp , dropping the bottle . He slides off the sword and collapses to the floor , dead . Eli wipes the sword clean and sheathes it . Looks around at the bloodied , fallen bodies . Then back at Solara .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>I'm sorry for all the mess.<\/dialogue>\n    <scene_description>As he turns and heads toward the door :<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hold it right there.<\/dialogue>\n    <scene_description>Accompanied by the sound of MULTIPLE GUNS COCKING . Carnegie is on the landing , training his rifle down at Eli . Alongside him , FIVE GUNMEN do the same . They 've got him cold .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALLADIUM AUDITORIUM - CARNEGIE'S BOX<\/stage_direction>\n    <scene_description>Carnegie sits at his desk , the huge auditorium and stage area visible behind him . Eli stands before him . Around him are the other gunmen , who keep their weapons trained on him . Standing at Carnegie 's side are REDRIDGE and CLAUDIA .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>So, who are you?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Nobody. A walker in the outland.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>I've met walkers before. Not a particularly civilized bunch. Some have even taken to eating their own kind, did you know that? You would n't be one of those savages now, would you?<\/dialogue>\n    <scene_description>Carnegie 's gunmen look him over , inspecting him warily .<\/scene_description>\n    <character>CARNEGIE GUNMAN<\/character>\n    <dialogue>He ai n't got the shakes.<\/dialogue>\n    <scene_description>Carnegie 's confident gaze remains fixed on Eli throughout .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>Good. This is a civilized town. Under God. Do you know what that means?<\/dialogue>\n    <scene_description>Eli ca n't help but react at the mention of that word .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>It means we have laws here. Laws set down long before any of us ever walked this earth. And one of them is, you do n't eat the flesh of your brother. Else you're no better than an animal. And not welcome here.<\/dialogue>\n    <scene_description>Eli does n't respond . Just stands there in Carnegie 's gaze .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>So what's your business here, friend? Walkers do n't usually come into town less they want something.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I had a battery needed charging and a canteen needed filling. I did n't come here looking for trouble.<\/dialogue>\n    <scene_description>Barely noticeable , Carnegie gestures to one of the gunmen , who nods in acknowledgement and leaves .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>Well, you sure as hell found it. Do you know who I am?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>My name's Carnegie. I own this bar. I own the whole town. You've never heard of me?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>That's you out there on the street.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>Remarkable likeness, is n't it? You'd never guess half the men who built it were blind. A small tribute from a grateful people. I was deeply touched.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>You had slaves build you a monument to yourself?<\/dialogue>\n    <scene_description>The mention of that word rankles Carnegie . He walks around the desk toward Eli , waves an admonishing finger at him .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>Do n't call them slaves. That's an old word. I'm not a slaver. I'm trying to help these people.<\/dialogue>\n    <scene_description>Carnegie ca n't help himself - once again he is in his natural element , spinning the argument his way , pitching . Selling .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>In the outland the sightless are preyed upon like sick animals. Here at least they're protected. They do the essential work others do n't want. And in return they eat, they drink, they survive. Last year, a couple of them even got married - performed the ceremony myself.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>You see, I'm not exploiting these people - I'm saving them! Any one of them is free to leave whenever they wish. But here they stay. And they thank me every single day for their salvation!<\/dialogue>\n    <scene_description>An impressive , impassioned performance . He sounds just like an old - school TV evangelist . But Eli is unmoved .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>It's none of my business what you do here. Like you said, it's your town. I just want to be on my way.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>What's your name, walker?<\/dialogue>\n    <scene_description>Eli does n't respond . Just stands there .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>All right, I guess we just call you Walker. Do n't see too many folks your age these days. You lived in the world before? You can read?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I read every day.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>That's good. Good man. We educated folk, we need to stick together, if we're ever going to rebuild this world. People like you and me, we're the future.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>What do you want with me?<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>Straight to the point. I like that. Fact is, you could be in a lot of trouble. This is a peaceful town. You walk in here, armed, and the next thing a dozen of my good citizens are dead. I've hanged men for less. I could hang you.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Or, you could come work for me.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>I never once saw anyone handle themselves the way you did down there in that bar. I do n't know where you learned it, but I sure as hell could use it.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I'm not interested.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>People who work for me can live better than any walker ever dreamed. Real beds, clean water, hot food. Women, even. You could do a lot worse, my friend.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I'm not your friend. And I'm not staying. I got someplace I need to be. Out west.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>West? There is nothing west. It's all gone, a long time ago.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I've been told different.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>By who?<\/dialogue>\n    <scene_description>Eli does n't reply . Carnegie smiles , dials up the charm .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>All right, look. I'm going to make you an offer of goodwill. Stay the night, think it over. Try a little local hospitality. We'll talk again in the morning. If you're still not interested, you're free to go. No hard feelings.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Thank you for your offer. But I'd prefer to just leave right now. So you can either let me out of here, or I can kill my way out.<\/dialogue>\n    <scene_description>The gunmen bristle , exchange nervous looks . Carnegie appears unfazed . He smiles . BEAT . He looks to the gunman at the door .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>Let him go.<\/dialogue>\n    <scene_description>The gunman opens the door . Eli turns and exits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGINEER WORKSHOP - DAY<\/stage_direction>\n    <scene_description>The engineer stands behind the counter , looking worried . His heart sinks when he sees Eli enter .<\/scene_description>\n    <character>ENGINEER<\/character>\n    <dialogue>Oh, shit.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>How's my battery?<\/dialogue>\n    <character>ENGINEER<\/character>\n    <dialogue>It's, uh. it's gon na take a little longer than I thought.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>How much longer?<\/dialogue>\n    <character>ENGINEER<\/character>\n    <dialogue>It's got ta charge overnight. You, uh, you can always stay here in town, pick it up in the morning.<\/dialogue>\n    <scene_description>Eli leans in a little closer . He smells a rat .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>You remember what I said would happen if I came back here and you did n't have my battery?<\/dialogue>\n    <character>ENGINEER<\/character>\n    <dialogue>It's right here! It's just gon na take a while longer. I swear.<\/dialogue>\n    <scene_description>Eli looks at the engineer . Hard to be certain , but he 's pretty sure he 's lying . Somebody got to him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALLADIUM AUDITORIUM - CARNEGIE'S BOX<\/stage_direction>\n    <scene_description>A VIOLENT COMMOTION is heard from down the hall . Suddenly one of Carnegie 's henchmen comes flying into view as he is THROWN HARD INTO A WALL and slumps to the floor , unconscious . Eli storms into the box , pissed . MORE GUARDS rush in behind him . Carnegie , seated behind his desk , waves the guards off as he stands to greet Eli , smiling ingratiatingly as ever .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>I knew you'd reconsider.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Yeah? How'd you know that?<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>None of the walkers I've seen come here from the outland were ever what you'd call smart. I mean all those years out there alone on the road, some with their brains half - fried from eating each other - it's understandable why you people are n't the brightest bulbs in the box. But I never met one so dumb that he'd turn down a meal and a bed if it was offered.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>So you did n't send someone across the street to the engineer?<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>Engineer? I do n't know what you're talking about. If there's something wrong, maybe I can help.<\/dialogue>\n    <scene_description>Carnegie is a practiced liar . Much more difficult to read .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>This is Redridge. He's kind of my right - hand man around here.<\/dialogue>\n    <scene_description>Redridge - one of the two men who chased Eli into the room - steps forward . He regards Eli with a distrustful eye .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>He'll show you to your room.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALLADIUM - GUEST BEDROOM - DUSK<\/stage_direction>\n    <scene_description>Redridge opens the door and ushers Eli inside . It 's another of the dressing rooms converted into a bedroom , less well - appointed than Carnegie 's own . A threadbare rug . Bed with relatively clean sheets . A sink for washing .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>Enjoy your stay. There'll be someone outside your room all night. If you need anything.<\/dialogue>\n    <scene_description>Redridge smirks and closes the door , leaving Eli alone . Eli paces across the room . Finally sits down on the creaky old bed . Trying to figure out how he managed to get stuck here . He unshoulders his pack , sets it down . Lies down on the bed . It 's been a while since he felt a real bed on his back . A KNOCK at the door . Eli gets quickly to his feet .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>The door opens and CLAUDIA enters . Carrying a metal tub of water in both hands and , atop that , a dinner tray .<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>I have this for you. Water for washing and some food.<\/dialogue>\n    <scene_description>Eli just stands there . Totally unfamiliar with this kind of situation , it 's been too long . She smiles , embarrassed .<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>Well. are you going to take it?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Oh. Thank you.<\/dialogue>\n    <scene_description>He takes the stuff from her , sets it on the table .<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>You're very welcome.<\/dialogue>\n    <scene_description>We get the impression that Claudia is as unfamiliar with this kind of polite interaction as Eli . But she likes it .<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>It'll be dark soon.<\/dialogue>\n    <scene_description>She strikes a match and lights the oil lamp on the table . The room is lit by its flickering glow .<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>Can I get you anything else?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>No, thank you.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Well. Have a good night.<\/dialogue>\n    <scene_description>As she turns for the door :<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>You're Carnegie's woman?<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Why do you ask?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Just making conversation is all. Have n't had one of those in a while. Not a real one, leastways.<\/dialogue>\n    <scene_description>Claudia smiles . Neither has she .<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>He found me in the outland. I was sixteen, my family had been. well, they were gone. There was just me and my baby.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>You had a baby?<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>I'd met some men on the road. Bad men. They.<\/dialogue>\n    <scene_description>BEAT . She trails off , struggling with this unhappy memory . Eli gets it , raises a hand reassuringly .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>It's all right.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>I was on the road for a year after that. I could n't feed myself, let alone my little girl. And then Bill found us and he promised he'd take care of us. He told me he was going to make a place where we could be safe. And he did. He did all that. He built this whole town. He kept us safe. And he raised that child like she was his own. He's been so good to both of us. He saved us, really.<\/dialogue>\n    <scene_description>There 's a bittersweet quality to Claudia 's words . As though there is more to the story than she is telling . Eli pulls out a chair at the table , offers it to her .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>You want to eat some?<\/dialogue>\n    <scene_description>She smiles and sits . Eli sits across from her .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>When did you go blind? In the war? You get caught in a flash?<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>No, I was born this way. I think I'm lucky like that.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Lucky?<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>It's not like I ever knew what I'm missing. I was already used to being like this by the time. by the time it all happened. So I got around pretty good even when I was on my own. And now it's easy. I know every creaky old floorboard in here, and it's not like I ever go any place else. Bill would never allow it. He worries about me so much.<\/dialogue>\n    <scene_description>Again , bittersweet . The sense that Claudia feels trapped . Thinking about it begins to upset her . She gets up .<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>I should go. He'll be wondering where I am.<\/dialogue>\n    <scene_description>Eli stands , escorts her to the door and opens it .<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>Thank you. I enjoyed our conversation.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>So did I.<\/dialogue>\n    <scene_description>Eli closes the door , then sits back at the table .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALLADIUM - CARNEGIE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Carnegie washes , looking at himself in the old dressing - room mirror . He sees Claudia enter the room in its dim reflection .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>You took your time in there. How long does it take to deliver a plate of food and some water?<\/dialogue>\n    <scene_description>A subtly accusing tone . It makes Claudia nervous .<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>He wanted to talk.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>Oh? What about?<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Nothing really. He asked me what it was like to be blind.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>He tell you anything about him?<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>No. I do n't think he likes to talk about himself much.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>Yeah, I got that.<\/dialogue>\n    <scene_description>Claudia moves to the bedside , begins to undress .<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>I do n't think he's going to change his mind by morning. I do n't think he's going to stay.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>What makes you say that?<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Just strikes me as the kind of man who's of a mind, is all. Does n't seem like the type to go changing it once it's set.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>Well, we'll just see about that.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>You saw him. He's not like the others. You wo n't be able to smooth - talk him and wrap him around your finger like you usually do.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>Who said anything about me?<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>I'm sending Solara.<\/dialogue>\n    <scene_description>Claudia reacts suddenly to this . Shocked and angry .<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>You're doing what?<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>You know how often these walkers get laid? Never. Least not by anything living or willing. Girl like her can be very persuasive.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>You ca n't send her in there with him. He's dangerous, he's a killer!<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>You went in there readily enough.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>That's different. Solara's just a child, she ca n't -<\/dialogue>\n    <scene_description>Carnegie sighs , tiring of this .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>She's a grown woman now, Claudia. Sooner or later you're going to have to accept that. She has to earn her keep around here, same as the rest of us.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>By working as a whore? That's all you think she's fit for?<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>We've each been given a talent to help us make our way in this world. Some people's gift is more evident than others. Solara's sure as hell is.<\/dialogue>\n    <scene_description>Claudia looks at Carnegie in disgust .<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>What kind of a man are you?<\/dialogue>\n    <scene_description>Now it 's Carnegie 's turn to get angry . He rounds on her menacingly . She backs off as he approaches .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>I'm the kind of man who'd pull a helpless blind girl off the road, a girl who'd been beaten and raped, and give her a place where she can live without fear! Without me you'd be just another no - eye, lying dead in the outland, picked clean by the buzzards, or shoveling dirt down there with the others. That's the kind of man I am!<\/dialogue>\n    <scene_description>He has her against the wall , his face just inches from hers .<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>I do n't live without fear. I have n't for a long time now.<\/dialogue>\n    <scene_description>Carnegie calms himself , backs off . Claudia goes to leave .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>Where are you going?<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>I'm not going to let you do this.<\/dialogue>\n    <scene_description>Carnegie surges forward and pins Claudia to the wall .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>You're not going to let me?<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Nobody tells me what I can and ca n't do in my own town. Nobody. I built this world, and I am God here! So do n't go thinking about screwing with my plans. You know how this works. Solara goes against me, you get hurt. You go against me, she gets hurt.<\/dialogue>\n    <scene_description>He releases his grip on her .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>So let's not see anybody get hurt. Okay?<\/dialogue>\n    <scene_description>He speaks more softly now . As he strokes his hand tenderly through Claudia 's hair , a tear runs down her cheek .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALLADIUM - GUEST BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Dark outside , but the room is brightly lit by the glow of the oil lamp . Eli sits up on his bed , quietly reading the old leather - bound book from his backpack . Another KNOCK at the door . Eli jumps up and hurriedly hides the book inside his shirt .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Come in.<\/dialogue>\n    <scene_description>The door opens to reveal Solara . Looking very different than she did before . Cleaned up and wearing a flowery summer dress , blonde hair let down over her shoulders . Stunning . Unlike everyone else we have met , she seems - physically , at least - totally unscarred by the horrors of the times . Far too beautiful a thing to belong in a world like this .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>Hi. Can I come in?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Someone was already here with food and water. I got everything I need.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>You sure about that?<\/dialogue>\n    <scene_description>She glides into the room , closing the door . She 's good . Very seductive . Eli is totally disarmed in her presence .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>It's too bright in here. Mind if I turn it down a little?<\/dialogue>\n    <scene_description>She does n't wait for an answer . Moves to the table and turns down the oil lamp . A darker , more seductive lighting scheme .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>That's better. I'm Solara. You're Walker, right?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>No. My name's Eli.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>That short for something? Elias?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Elijah.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>Elijah. I never heard that one before. It's kinda cute.<\/dialogue>\n    <scene_description>She sits on the bed , kicks her legs playfully . Her light cotton dress revealing in all the right places . The silhouette of her body bathed in the seductive glow of the oil lamp . No red - blooded man on earth could resist her .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Look, I do n't mean to be rude. But I'm really not interested.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>You sure about that? It gets mighty lonely out there on the road.<\/dialogue>\n    <scene_description>She leans over on the bed , resting on her elbow . Her hair cascades down . God damn , she looks good .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>If you're worried about money, this is all paid for. The whole night.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>It's not that. You're a very nice girl. But I'm not that kind of man.<\/dialogue>\n    <scene_description>She slides off the bed , approaches him . Begins to work the buttons of his shirt .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>They're all that kind of man.<\/dialogue>\n    <scene_description>He moves her hand away . Gently pushes her back a step .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>I'm not.<\/dialogue>\n    <scene_description>She is stunned . No man has ever turned her down before . And then she seems a little insulted .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>They told me you were crazy. Maybe they were right.<\/dialogue>\n    <scene_description>Eli opens the door for her .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>I'm sorry. Good night.<\/dialogue>\n    <scene_description>Suddenly all her other emotions give way to fear . She moves to the door and slams it shut again . Looks Eli in the eye .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>Please do n't make me leave. I have to stay the night. If I do n't.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>If you do n't, what?<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>He'll hurt my mom.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Who will? Carnegie?<\/dialogue>\n    <scene_description>She nods , fighting back a tear . This angers Eli .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Maybe he and I oughta have words.<\/dialogue>\n    <scene_description>He goes for the door handle , but she stops him .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>No! Please, do n't!<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>He's hurting you. He's hurting your mother. He's -<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>He's my dad.<\/dialogue>\n    <scene_description>BEAT . Eli moves his hand away from the door .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>Look, if you want to help me, just let me stay here tonight. We do n't have to do anything. I'll sleep on the floor. Tomorrow you can tell my dad that we had a good time. I'll be no trouble, I swear.<\/dialogue>\n    <scene_description>She looks up at Eli imploringly . Transformed . No longer the teenage sex kitten . Now she 's just a frightened little girl .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>You want to have a conversation?<\/dialogue>\n    <scene_description>She smiles , wiping the tear from her cheek . LATER Eli and Solara sit together on the bed . A silent BEAT . At first , it appears as though they have nothing to say .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>You know, you do n't have to be afraid of me. What happened down there in the bar.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>I'm not afraid of you. I know you did n't start that trouble. When I first saw you, I knew you were n't the type to go looking for it.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>How'd you know that?<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>My mom says I'm a good judge of character. She says I can read people. That I know a good man when I see one.<\/dialogue>\n    <scene_description>She smiles . Eli is surprised to find himself smiling back .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>So. you're pretty old, right?<\/dialogue>\n    <scene_description>Eli smiles , amused by the bluntness of the question .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>I'm sorry. I just mean, I have n't seen too many people your age. How old are you exactly?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>You know, I do n't rightly remember.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>But you're old enough. I mean, you remember what it was like? In the world before?<\/dialogue>\n    <scene_description>Eli nods .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>What was it like?<\/dialogue>\n    <scene_description>Eli thinks about this . Dredging through old , old memories .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Better than this.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>People lived longer back then. Longer than me. Some were more than a hundred years old.<\/dialogue>\n    <scene_description>Solara smiles like she 's having her leg pulled .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I swear, it's true. Nowadays it's not the same. If you're sick or you're weak or you're old you wo n't last long out on the road.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>So how come you have?<\/dialogue>\n    <scene_description>BEAT . Eli thinks . Should he or should n't he ?<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Can I read you something?<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>Wait. You can read?<\/dialogue>\n    <scene_description>Eli pulls the book from his shirt . Solara 's eyes widen .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>And you have a book?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Not just any book.<\/dialogue>\n    <scene_description>For the first time we see that it 's a KING JAMES BIBLE . An embossed GOLD CROSS on its old leather cover . Eli opens it up , scans the page with his finger until he finds the passage he 's looking for .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>The Lord is my shepherd. I shall not want. He makes me lie down in green pastures. He leads me beside still waters. He restores my soul. He leads me in the paths of righteousness.<\/dialogue>\n    <scene_description>ON SOLARA as she listens to Eli read . Transfixed .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Though I walk through the valley of the shadow of death, I will fear no evil. For you are with me. Your rod and your staff, they comfort me. You prepare a table before me in the presence of my enemies. You anoint my head with oil. My cup runs over. Surely goodness and mercy shall follow me, all the days of my life. And I will dwell in the house of the Lord forever.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>That's beautiful. Did you write that?<\/dialogue>\n    <character>ELI<\/character>\n    <parenthetical>( SMILES . )<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>What book is it from? Is it poetry?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I guess you could think of it that way. It's from the Holy Bible.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>I never heard of it. What's it about?<\/dialogue>\n    <scene_description>BEAT as Eli thinks . How on earth to answer that ?<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>It's about love, and forgiveness, and life and death, and mercy, and revenge, and the beginning and the end of the world. I guess it's about a little bit of everything.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>Can I see?<\/dialogue>\n    <scene_description>She reaches out for the book but he snatches it away .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>What? I'm not going to do anything.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I'm sorry. I'm charged to protect this book. I ca n't trust it with anyone. Not even for a while.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>What's so special about that book?<\/dialogue>\n    <scene_description>BEAT . Eli runs his fingers across the embossed gold cross on the beat - up leather cover .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>It's the last one. There are no other books like this. All the others are gone - destroyed by the war or in the burnings that came after. This is the only one that survived until now. The last one anywhere.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>How can you know that?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I just know.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>For a long while after it happened, I just wandered on the road like most everybody else. There were still a lot of people around back then, in the beginning. I did n't really know what I should do or where I was going. I was just moving from place to place, trying to stay alive. And then one day I heard this voice. I do n't know how to explain it, it's like it was coming from inside me. But I could hear it, clear as day. Clear as I can hear you talking to me now.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>What did it say?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>It led me to this place, I do n't really know where. And I found this book buried deep under some rubble. No way no - one was ever going to find it if they did n't know exactly where to look.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>But you knew because the voice told you?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>That's right. And that voice told me to carry the book west. It told me that a path would be laid out before me, that I'd be led to a place where this book would be safe. It told me I'd be protected against anyone or anything that tried to stand in my way. If only I would have faith.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>That was twenty - five years ago. And I've been walking ever since.<\/dialogue>\n    <character>SOLARA<\/character>\n    <parenthetical>( SKEPTICAL . )<\/parenthetical>\n    <dialogue>Because a voice you heard in your head told you to.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I'm not crazy. I did n't imagine it. I know what I heard.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>So who was it? The voice?<\/dialogue>\n    <scene_description>BEAT as Eli considers his answer .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>A very important, very powerful man.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>More powerful than my dad?<\/dialogue>\n    <character>ELI<\/character>\n    <parenthetical>( SMILES . )<\/parenthetical>\n    <dialogue>I should say so, yes.<\/dialogue>\n    <scene_description>BEAT . The two of them sit in silence for a moment .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>Would you teach me to read?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>I never learned. No - one around here knows how. Only my dad, and he wo n't teach me. I think he likes being the only one who can read. I think it makes him feel powerful.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I think you're probably right.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>So would you teach me?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I'm sorry. I'm leaving tomorrow. And I wo n't be back this way, ever.<\/dialogue>\n    <scene_description>She looks down , sad . She likes this guy . She does n't want him to leave . Eli can sense her sadness .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Are you hungry?<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>I guess a little.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>There's some food on the table over there. Let's eat.<\/dialogue>\n    <scene_description>She walks over to where the dinner tray is covered by a small cloth . She whips it away - to reveal ELI 'S RAT nibbling on a piece of cheese . Solara SHRIEKS and backs away . The rat scurries down the table leg and leaps up onto Eli 's shoulder , just as afraid of her as she is of it .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>It's okay, it's okay. He's with me.<\/dialogue>\n    <parenthetical>( to the rat . )<\/parenthetical>\n    <dialogue>Do n't be afraid, pal. This is Solara. She's our friend.<\/dialogue>\n    <scene_description>Solara approaches warily . Reaches out and strokes him . The rat scurries up her arm . She almost shrieks again .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>It's okay. It means he likes you.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>It does?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Trust me, if he did n't like you, you'd know about it.<\/dialogue>\n    <scene_description>Solara pets the rat on her shoulder . Then :<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>Did you really mean that?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Mean what?<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>That I'm your friend.<\/dialogue>\n    <scene_description>BEAT . Eli finds himself surprised that he admitted such a thing . When is the last time he had someone he could call a friend ? He ca n't even remember .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>She smiles . Giggles as the rat 's whiskers tickle her ear . Eli breaks the cheese in two and gives half to Solara . She 's about to eat but stops as Eli clasp his hands in prayer .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Our father, we thank you for this meal which you have been so gracious to place before us.<\/dialogue>\n    <scene_description>Unsure of what to do , Solara mimics Eli , putting her hands together and bowing her head .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>We thank you for a warm bed and a roof over our heads on a cold night such as this.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>And we thank you for the gift of friendship in these hard times.<\/dialogue>\n    <scene_description>Solara looks at him , touched by that .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Amen.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>You say that last part too.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>Amen. And now we eat?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>And now we eat.<\/dialogue>\n    <scene_description>They sit and eat together , sharing the simple meal . PULL OUT from the window as they eat , away from the theater . Away from the town and its flickering points of torchlight . Moving farther and farther away until the entire town is consumed by the darkness of the world .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT TOWN - MAIN STREET - DAWN<\/stage_direction>\n    <scene_description>The pale sun rises over the town . To establish :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALLADIUM - DINING ROOM - MORNING<\/stage_direction>\n    <scene_description>What was once the theater 's COSTUME ROOM - OLD MANNEQUINS still stand around in the corners , creating an eerie feel . Carnegie and Claudia sit at a DINING TABLE , eating breakfast in silence . A third place is set , but no - one is seated there . Solara enters and sits down without a word .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>Good morning, Solara.<\/dialogue>\n    <scene_description>Solara does n't say anything .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>I said good morning, Solara.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>Morning, dad.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>How was your night? Did you sleep well?<\/dialogue>\n    <scene_description>Claudia appears perturbed by Carnegie 's subtle probing . Solara flashes him a frosty look .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>I did like you asked. Is n't that what you really want to know? Just come out and say it.<\/dialogue>\n    <scene_description>Carnegie glares at her sternly .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>You do n't speak to your father like that. When I ask you a civil question, I expect a civil answer.<\/dialogue>\n    <scene_description>Solara lowers her head , scorned . Carnegie continues eating .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>Did he say anything?<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>No. We did n't talk much.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>Well, do you think you managed to change his mind about staying?<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>I do n't know. He said he had to go.<\/dialogue>\n    <scene_description>Carnegie puts down his food , looks angrily at her .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>So he did talk? What else did he say? Come on, I want all of it!<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>That's all he said. That he was going to be leaving this morning.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>We'll see. This is my town, nobody leaves until I say they leave.<\/dialogue>\n    <scene_description>He glances knowingly at Claudia .<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>Solara, honey, eat something.<\/dialogue>\n    <scene_description>She looks at the food on the plate before her . Then closes her eyes and clasps her hands in prayer .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>Our father, thank you for this meal which you have been so gracious to place before us.<\/dialogue>\n    <scene_description>Claudia and Carnegie freeze . Carnegie stares at her , agape .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>Thank you for my mother. Please watch over her and keep her safe.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>Solara.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>Thank you for all the -<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>Solara!<\/dialogue>\n    <scene_description>She snaps suddenly out of it , looks at her father .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>What the hell are you doing?<\/dialogue>\n    <scene_description>She does n't respond . Looks embarrassed .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>God did n't put this food on the table. Do you hear me?<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Who put this food on the table?<\/dialogue>\n    <scene_description>Solara says nothing , just looks down at the table .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>I said who put this food on the table?<\/dialogue>\n    <character>SOLARA<\/character>\n    <parenthetical>( SOFTLY . )<\/parenthetical>\n    <dialogue>You did.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>Who taught you that?<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>Eli taught me.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <parenthetical>( PUZZLED . )<\/parenthetical>\n    <dialogue>Who the hell is Eli?<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>The walker. That's his name.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>And he taught you how to say those words? How did he know them?<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>He had them written down in a book.<\/dialogue>\n    <scene_description>This piques Carnegie 's interest greatly .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>What kind of a book?<\/dialogue>\n    <scene_description>He barks the question at her . Solara is rattled .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>I do n't remember! It was an old leather book. It had kind of a. thing on the front of it.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>Show me.<\/dialogue>\n    <scene_description>Solara makes the SIGN OF A CRUCIFIX with her index fingers . Carnegie 's eyes widen ; he can barely believe it .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>He had a bible?<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>That's what it was. A holy bible. Daddy, what's wrong? Did I.<\/dialogue>\n    <scene_description>Carnegie BOLTS SUDDENLY FROM THE TABLE , overturning his chair and sending his plate of food crashing to the floor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALLADIUM - LOBBY BALCONY - CONTINUOUS<\/stage_direction>\n    <scene_description>Carnegie races across the landing , toward the ARMED GUARD posted outside Eli 's bedroom . The guard steps aside as Carnegie flings the door open and barges inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALLADIUM - GUEST BEDROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Empty . No sign of Eli or his gear anywhere . The window is WIDE OPEN , the curtains fluttering gently in the breeze .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGINEER WORKSHOP - CONTINUOUS<\/stage_direction>\n    <scene_description>His hands shaking , the engineer disconnects Eli 's battery from the generator and places it on the counter . Eli stands on the other side of the counter with his SHOTGUN TRAINED RIGHT AT THE MAN 'S HEAD . He takes the battery from him and stuffs it into his backpack .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PALLADIUM - CONTINUOUS<\/stage_direction>\n    <scene_description>Carnegie races from the lobby entrance and looks up at the open window to Eli 's room . He could have easily jumped . Redridge emerges onto the street behind him .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>Something wrong, boss?<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>Something wrong? Something wrong? The walker's gone!<\/dialogue>\n    <character>REDRIDGE<\/character>\n    <dialogue>That ca n't be. I had a man outside his room the whole time.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>He jumped out the window, you idiot! You did n't think to put a man outside the fucking window?<\/dialogue>\n    <parenthetical>( beat ; fuming . )<\/parenthetical>\n    <dialogue>Find him. Now!<\/dialogue>\n    <character>REDRIDGE<\/character>\n    <dialogue>Boss, he could be anywhere. He.<\/dialogue>\n    <parenthetical>( REALIZATION . )<\/parenthetical>\n    <dialogue>A battery. Did n't he say something about a battery?<\/dialogue>\n    <scene_description>They turn to face the engineer 's storefront - just as ELI EMERGES ONTO THE STREET , shotgun still in his hand . EVERYBODY FREEZES . Like a wild west stand - off . Redridge 's fingers play over the butt of the pistol on his hip . BEAT as time hangs perfectly still for a second . and then ALL HELL BREAKS LOOSE . Redridge draws and FIRES , SHATTERING A PARKING METER just inches from Eli and showering quarters all over the sidewalk . Eli rushes along the sidewalk , RETURNING FIRE . The shot wings Redridge in the shoulder . He goes down , wounded . Carnegie dives for cover as FOUR MORE GUNMEN rush from the theater . Carnegie waves frantically in Eli 's direction .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>Go! Go!<\/dialogue>\n    <scene_description>They spot Eli sprinting away and rush off in pursuit . Carnegie gets to his feet and storms back inside the theater .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALLADIUM - DINING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Solara and Claudia watch through the window . Turn suddenly when they hear the door slam open behind them . Carnegie stands in the doorway , glaring at them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT TOWN - MAIN STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>LOCAL RESIDENTS scream and rush to and fro in panic as Eli darts along the boardwalk . CARNEGIE 'S GUNMEN pursue , firing their rifles wildly on the run . The bullets splinter wood , pierce barrels and crates , narrowly missing Eli as he dashes , keeping his head down . Eli aims the shotgun and FIRES without even looking . The shot HITS A GUNMAN SQUARE IN THE CHEST , dropping him to the dirt . Eli hits the deck , diving for cover behind a JUNKPILE as more gunfire ricochets all around him . He takes a moment to collect himself , reloads the shotgun . The three remaining gunmen close in on the junkpile warily . Eli signs a cross over himself with the shotgun , looks to the sky and offers up a silent prayer . Then emerges from around the junkpile back into the street . All three gunmen OPEN FIRE , their bullets whipping past on either side of him . In one swift motion Eli raises the shotgun and FIRES . Three shots in quick succession . And then there is silence . Smoke wisps from the shotgun 's sawn - off barrel . The three gunmen LIE DEAD IN THE STREET . One hit square in the chest . The other two each have maybe one half of their heads remaining . Eli looks around . He 's right at the end of the main road , the perimeter where the town meets the open desert . He 's free . And then , A GIRL 'S SCREAM . Distant but unmistakable . Eli whips around . In the upstairs window of the theater , Carnegie shoves Solara roughly against the wall . Barking angrily at her , shaking her . Eli looks at the road . Then up at the theater . Then back to the road again .<\/scene_description>\n    <character>ELI<\/character>\n    <parenthetical>( quietly ; to himself . )<\/parenthetical>\n    <dialogue>It ai n't your concern. Stay on the path.<\/dialogue>\n    <scene_description>But he sounds less resolute now than before . Until today this was always a simple decision for him to make . But now .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Dammit.<\/dialogue>\n    <scene_description>He marches back toward the theater , stepping over the fallen bodies of the gunmen , re - loading his shotgun as he goes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PALLADIUM - CONTINUOUS<\/stage_direction>\n    <scene_description>Redridge finally manages to clamber back up to his feet , wincing as he clutches his painful shoulder wound . He looks up just in time to see Eli coming right at him . Without breaking stride , he COLD - COCKS Redridge in the jaw with the shotgun , sending him back to the deck , out cold .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALLADIUM - DINING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Eli kicks the door wide open , finds Carnegie holding Solara against the wall . She sobs , terrified . Eli levels the shotgun at Carnegie 's head .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Let her go.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>That cannon of yours casts a pretty wide net. I do n't reckon you can hit me without hitting her.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I reckon you're right.<\/dialogue>\n    <scene_description>He holsters the shotgun . Then in the same fluid motion draws a PISTOL from his belt that we never even knew he had .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>This, though? With this I'll shave the hairs clean off your balls at a hundred paces. You believe me?<\/dialogue>\n    <scene_description>Carnegie releases his grip on Solara , steps away , hands up .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>I believe you. I have to say I'm surprised to hear that language coming from you, though. I mean, you being a holy man and all.<\/dialogue>\n    <scene_description>BEAT . Eli glances at Solara .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>She told me all about it. Told me all about the bible, too.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Can I see it?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Carnegie takes a small step forward . Suddenly , his whole demeanor changes , and he now looks at Eli imploringly .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>You know, I've been searching for a book like that one for years. All I've ever wanted was to bring the word of God to these poor unfortunates here. To shine its light upon them and give them something in this wretched world that they could believe in. Something to live for! It's why I built this town, did you know that? All we've been missing is the word to show us the way. And now, praise the Lord, you've brought it to us.<\/dialogue>\n    <scene_description>Carnegie takes a step closer . He appears entirely sincere - but then he is very good at doing so .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>It's not right to keep that book hidden away, all to yourself. The word is meant to be shared with others. It's meant to be spread! Is n't that what you want? I could help you do that. You and me, we could do it together.<\/dialogue>\n    <scene_description>BEAT . Eli seems to be considering what he 's heard carefully .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>The Lord himself told me that if I carried this book west, one day I would find the place where it was needed. Where it would be safe. Where it belonged.<\/dialogue>\n    <scene_description>Carnegie smiles broadly . and then with a sudden blur of movement Eli PISTOL - WHIPS him to the floor .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>But this ai n't it.<\/dialogue>\n    <scene_description>He turns to Solara and offers her his hand .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Come on.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PALLADIUM - CONTINUOUS<\/stage_direction>\n    <scene_description>Eli emerges from the theater , leading Solara onto the street . RESIDENTS part before them , staring at Eli with astonishment . Eli passes the statue of Carnegie - and STOPS . Something about that thing is bothering him .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>What? What is it?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>You shall not make for yourself any graven image.<\/dialogue>\n    <scene_description>He turns , drawing his samurai sword and in the same fluid motion SLICING across the base of the statue . BEAT . And then the STATUE TOPPLES from the neat cut just below the knees , CRASHING DOWN to the ground and SHATTERING . The assembled residents GASP at this defiant display . Eli sheathes his sword and takes Solara by the hand again .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Now we can go.<\/dialogue>\n    <scene_description>CRANE UP over the main street as they both head out of town .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - DAY<\/stage_direction>\n    <scene_description>The town barely visible on the distant horizon behind Eli and Solara . Eli walks as he always has , his pace steady and slow . Still , Solara lags along behind . She 's already tired .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>Where are we going?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I told you where I'm going. You're free to go wherever you want.<\/dialogue>\n    <scene_description>She stops in the road .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>Wait. I'm not coming with you?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>You're only going to slow me down.<\/dialogue>\n    <scene_description>Eli does n't stop walking . Solara is forced to catch up .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>So what the hell was all that about back there?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>The man was hurting you. I do n't like that, so I put a stop to it. Now you're free. He ca n't hurt you any more.<\/dialogue>\n    <parenthetical>( off her stare . )<\/parenthetical>\n    <dialogue>No need to thank me.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>Thank you? For what? What am I supposed to do now?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Whatever you want. That's what being free is.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>Whatever I want. Except go with you.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I have to get where I'm going. I ca n't be worrying about someone else along the way.<\/dialogue>\n    <scene_description>Solara is incredibly hurt by this . Blinks back a tear .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>I thought you were my friend.<\/dialogue>\n    <scene_description>BEAT . Eli stops and turns back to face her .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>It's dangerous in the outland. I would n't want you to get hurt.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>I'll be safe so long as I'm with you. I know it.<\/dialogue>\n    <scene_description>Eli sighs . He 's not getting through to her . So now comes the harsh truth of it :<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>You do n't want this life. I got ta do what I got ta do. Do n't have no choice in it. But you do. And I ca n't let you choose this. You do n't want to be like me. You do n't want to spend your life alone.<\/dialogue>\n    <scene_description>Solara steps closer , her eyes pleading .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>If I came with you, I would n't be alone. And neither would you.<\/dialogue>\n    <scene_description>A long BEAT as Eli considers this . For a moment it appears as though Solara might have won him over . But then :<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>I'm sorry. Look, maybe it's best you just go on back to town.<\/dialogue>\n    <scene_description>He turns and walks off , leaving her in the road . She stands there , furious , screaming at his back as he walks away .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>Fine! I'll do just that! I had a life there! A family! I did n't ask you to save me! I did n't ask you for anything!<\/dialogue>\n    <scene_description>He does n't turn or acknowledge her at all . Just keeps walking off into the horizon . Getting smaller all the time . Solara stands there in the road , weeping . All alone .<\/scene_description>\n    <character>SOLARA<\/character>\n    <parenthetical>( SOFTLY . )<\/parenthetical>\n    <dialogue>Fine.<\/dialogue>\n    <scene_description>She turns and walks back in the direction she came .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT TOWN - BARNYARD - DAY<\/stage_direction>\n    <scene_description>A small , penned - in area to the rear of the Palladium containing an eclectic bunch of farmyard animals . Goats , sheep , geese , pigs . Mostly mangy , sad - looking specimens . Carnegie stands in the yard , tossing handfuls of animal feed from a nearby sack onto the ground . He watches with satisfaction as the animals gather at his feet to feed . Claudia emerges from the theater with an ice - pack .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>Thank you, darling.<\/dialogue>\n    <scene_description>Carnegie applies it to his jaw , red and swollen from Eli 's pistol - whip . Redridge appears nearby , his arm in a sling .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>He killed four of my men and walked out of town without a scratch. They shot off a hundred rounds at him and he did n't get hit once. I never even heard of anything like that.<\/dialogue>\n    <scene_description>Carnegie does n't appear to be listening . He is lost in a world of his own as he tends to the farm animals .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>You know, I always thought of myself as a shepherd. Bringing together the wayward and the lost. Tending to my flock. But all the things I want to do, I ca n't do them on my own. The one thing I've needed is the one thing that's always been missing. Then one day it walks right into town - so close I can almost touch it - and then walks right on out again.<\/dialogue>\n    <scene_description>Carnegie finally looks up from his animals , at Redridge .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>I want you to put a crew together and go out after him.<\/dialogue>\n    <character>REDRIDGE<\/character>\n    <dialogue>He's not going to work for you. I think he's made that plain.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>I'm not interested in him any more. I only want the book he's carrying.<\/dialogue>\n    <character>REDRIDGE<\/character>\n    <dialogue>If I'm gon na risk my ass hunting down this maniac in the outland, I need to know it's gon na be worth it. I need to know what's so special about this goddamn book.<\/dialogue>\n    <scene_description>BEAT as Carnegie considers this .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>You have no idea. You're too young, you do n't remember the world before. But I do. I remember.<\/dialogue>\n    <scene_description>He turns back to his animals , summoning up old memories .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>When I was a kid my parents used to read that book every goddamn day. My mother, she'd read it along with this smooth - talking preacher on the TV screen. They used to be able to beam these guys right into your house, into every house in the world, through the air. Like magic.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>She worked two jobs and she sent every spare penny she had to that fucking guy on the TV. My old man, he'd read that book, then he'd get liquored up and kick my ass, tell me all about the power and the glory and how I was going to burn forever in hell for the sins I was born with. He made sure he beat it into me good.<\/dialogue>\n    <scene_description>He snaps out of his reverie and looks at Redridge .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>Do n't you see? It's not just any book. It has the power to motivate people. It can give them hope, it can terrify them. It can shape them. Control them.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Do you remember how I built this town? It was n't done with force, and it was n't done just with water. It was done with the power of words. I created this place out of nothing, because people believed in a promise that I sold to them. Those guys on the TV, they were richer than you could ever dream, and it was all built the same way. With words. With promises. And with that book.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>That book is a weapon. Aimed right at the hearts and minds of the weak and the desperate. Just imagine what I could do with it.<\/dialogue>\n    <character>REDRIDGE<\/character>\n    <dialogue>Boss. we're running out of water and the people are running out of patience. You're trying to tell me that a book is going to keep them in line?<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>Oh, it'll do much more than that. The water in this town may run dry, but faith - that springs eternal! And that faith will help turn this town into a city. And this city into a nation. It will help me build a new world. In my image. People will come from far and wide to hear what's inside of it. They'll follow me anywhere just to get a taste of it. And they'll do whatever I tell them.<\/dialogue>\n    <scene_description>As usual , Carnegie 's slick rhetoric has worked - Redridge has totally bought into it . Claudia , however , looks appalled .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>And what if this book do n't work? What if it do n't say what you want it to say?<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>Oh, it'll say what I want, I can promise you that. Because I'm going to rewrite it. I'll keep the parts that work for me and make the rest whatever I need it to be.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>A new bible, for a new world.<\/dialogue>\n    <scene_description>He reaches out and takes Claudia by the hand .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>What do you think, darling? A whole new world, to do with as we will. Wo n't that be grand?<\/dialogue>\n    <scene_description>She smiles halfheartedly , but it 's clear she is mortified . Carnegie turns back to Redridge .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>Find that book.<\/dialogue>\n    <character>REDRIDGE<\/character>\n    <dialogue>He has half a day on us already.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>So use the motor pool.<\/dialogue>\n    <character>REDRIDGE<\/character>\n    <dialogue>There ai n't much gas in reserve.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>Whatever there is, use it.<\/dialogue>\n    <scene_description>Redridge nods and goes to leave .<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>What about Solara?<\/dialogue>\n    <scene_description>BEAT . In all this excitement about the book , she had been completely forgotten about .<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>She's still out there. With him.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>Right. Right. Of course. Bring her back, too, if you can. But -<\/dialogue>\n    <character>REDRIDGE<\/character>\n    <dialogue>The book. I know.<\/dialogue>\n    <scene_description>Redridge turns and leaves . Claudia scowls at Carnegie , but he does n't even notice , just goes back to feeding his animals .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESOLATE ROAD - DAY<\/stage_direction>\n    <scene_description>Solara wanders the road . She 's tired . The sun beats down mercilessly . Nothing but desolation and wasteland all around . She comes to a FORK IN THE ROAD . Stops at the junction , unsure . Was this here before ? She does n't remember . There are no signs . Both paths look the same . Which one is which ? She turns and looks back , looks around . She 's lost .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>Shit. Shit.<\/dialogue>\n    <scene_description>She alternates her finger between the two paths . Eeny - meeny - miney - moe . Picks a path and follows it , headed down the road .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - DAY<\/stage_direction>\n    <scene_description>Eli walks on . Slow and steady . His gaze , as ever , fixed firmly on the horizon . Takes a swig from his canteen . Suddenly , he STOPS and stands stock still in the center of the road . Impossible to know what he 's thinking . He stands there for a long time .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WASTELAND GAS STATION - DAY<\/stage_direction>\n    <scene_description>Solara comes upon an abandoned CHEVRON STATION . She does n't remember passing this . Looks back up and down the road .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>Where the hell am I?<\/dialogue>\n    <scene_description>There 's a RUSTED CAR parked at one of the pumps . Like every other car we 've seen , stripped of its tires and engine . She walks around to the driver 's side . A PETRIFIED FEMALE BODY lies on the ground , half - in , half - out of the car . Solara claps her hand to her mouth and recoils , horrified . In the dead woman 's hand is a dusty bottle of MINERAL WATER . Solara hesitates . Not wanting to get closer . But so thirsty . She braces herself , grimacing , and tries to take the bottle , but the dead woman 's hand is closed tight around it . She pulls harder and wrenches it free . In the process she falls on her butt and flips the corpse over onto its back . In the other woman 's arm , she has a SKELETAL BABY cradled to her bosom . It seems to be staring right at Solara . Solara SCREAMS and frantically shuffles backward away from it . Gets to her feet and runs across the forecourt . She stops by the station shop and rests against the wall , hyperventilating , heart pounding . Trying to get it together . She inspects the water in the bottle . It looks clean . Unscrews the cap with shaking hands and takes a sip . She SPITS IT BACK OUT , coughing . It 's rank . Undrinkable .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WASTELAND GAS STATION - FOOD COURT - DAY<\/stage_direction>\n    <scene_description>Solara enters . Gloomy inside . Comprehensively looted . Empty shelves coated in thick sheets of dust . She moves further in , searching for something , anything . But the place has been gutted . There 's nothing . She checks the wall of dead refrigerators . Shattered glass , all empty . She 's never known desolation and emptiness like this . It 's beginning to scare her . She wheels around in a panic .<\/scene_description>\n    <character>FEMALE VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>Distant , calling from outside . Solara hears it and freezes .<\/scene_description>\n    <character>FEMALE VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hello? Can anyone help me?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WASTELAND GAS STATION - CONTINUOUS<\/stage_direction>\n    <scene_description>She runs out across the forecourt , onto the road . A FEMALE FIGURE is hunched by the side of the road about fifty yards up ahead . Hard to see what she 's doing from here .<\/scene_description>\n    <character>SLUMPED FEMALE<\/character>\n    <dialogue>Hello? Is anybody there?<\/dialogue>\n    <scene_description>Solara starts walking toward her . The woman has her back to Solara . She 's on her knees , muttering to herself . Gathering objects up from the road . As Solara moves closer , we see that the woman is struggling with an UPTURNED SHOPPING CART . Stuck in a roadside ditch , its contents spilled out next to a few BRACKEN BUSHES . We see her face now . It 's the SAME YOUNG WOMAN from before . The same shopping cart . The same trap .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>Are you all right?<\/dialogue>\n    <scene_description>The woman looks around , sees Solara standing nearby . She 's shocked to see that it 's a girl .<\/scene_description>\n    <character>YOUNG WOMAN<\/character>\n    <dialogue>Oh. Yes, I'm fine. Thank you. You go along, I'll be okay.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>You look like you need some help.<\/dialogue>\n    <character>YOUNG WOMAN<\/character>\n    <dialogue>No, really! I'm fine. Really. I need a man to help. Not you. You just keep along. Please.<\/dialogue>\n    <scene_description>The woman seems anxious to get rid of her . Tries to indicate the threat silently with her eyes , but Solara does n't get it .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>It'll just take a minute.<\/dialogue>\n    <scene_description>She steps into the ditch and starts to haul the cart out .<\/scene_description>\n    <character>YOUNG WOMAN<\/character>\n    <dialogue>Really, it's fine! Please!<\/dialogue>\n    <scene_description>Too late . THREE ROAD BRIGANDS POUNCE FROM THE BUSHES . Every bit as brutish and horrifying as the group that Eli killed on the road in our opening . They grab Solara and drag her from the road into the desert , screaming and kicking all the way .<\/scene_description>\n    <character>YOUNG WOMAN<\/character>\n    <dialogue>Let her go! She ai n't got nothing!<\/dialogue>\n    <scene_description>The BRIGAND LEADER looks Solara up and down lustfully .<\/scene_description>\n    <character>BRIGAND LEADER<\/character>\n    <dialogue>I ai n't too sure about that.<\/dialogue>\n    <scene_description>Solara is reviled by the man . He 's filthy , his stench overpowering . One eye missing , just a dark , empty socket . He licks his lips , revealing a mouth almost devoid of teeth .<\/scene_description>\n    <character>YOUNG WOMAN<\/character>\n    <dialogue>This was n't the deal!<\/dialogue>\n    <scene_description>The brigand leader lashes out and grabs her by the throat .<\/scene_description>\n    <character>BRIGAND LEADER<\/character>\n    <dialogue>Shut your mouth, bitch. You oughta be grateful you're getting a break.<\/dialogue>\n    <scene_description>He releases her . She slumps to the dirt , whimpering .<\/scene_description>\n    <character>BRIGAND LEADER<\/character>\n    <dialogue>Never did care much for that dried - up old snatch anyhow.<\/dialogue>\n    <scene_description>He looks back to the struggling Solara .<\/scene_description>\n    <character>BRIGAND LEADER<\/character>\n    <dialogue>This one, though. this one looks fresh. You a virgin?<\/dialogue>\n    <scene_description>She says nothing , just sobs helplessly .<\/scene_description>\n    <character>BRIGAND LEADER<\/character>\n    <dialogue>Well, let's find out.<\/dialogue>\n    <scene_description>He unbuckles his pants , lets them drop to his ankles . We hear a sound . It 's hard to place . Something like a THHUP . The brigand leader is frozen in shock . His face goes pale , the blood draining from it . The two bandits holding Solara look at their leader in dismay . Staring down at his crotch . A quiet whimper escapes from his lips as he looks down . There is an ARROW IMBEDDED IN HIS CROTCH . What was once down there is now just a bloody mess of mangled meat . More blood streams down his thighs . A real horror show . He staggers backward , shrieking . Hands shaking . Staring down at the awful wound from which the long arrow shaft extends . The two other brigands release Solara and whip around , scanning the horizon . They see nothing . One of them has a RIFLE . He unslings it and aims it frantically around . Then they both see it . Coming right at them . The most terrifying thing either has ever seen . ELI , WALKING TOWARD THEM FROM THE ROAD , OUT OF THE SUN . His silhouette distorted in the rippling heat . An avenging angel . He pulls another arrow and draws it back as the rifle bandit trains his weapon on him , finger tightening on the trigger . Eli SHOOTS . The arrow sails through the air and RIGHT INTO THE RIFLE BARREL . The feathers at the end of the shaft plugging the muzzle tight . Rifle bandit pulls the trigger . The gun EXPLODES , BLOWING HIS HANDS CLEAN OFF . He falls to the ground , screaming . Eli only had two arrows . He shoulders the bow and draws his sword . All the remaining brigand has is a small knife . The two now square off at arm 's length . A hopeless mismatch . BEAT . The knife brigand hesitates , trembling . And then RUSHES ELI WITH THE KNIFE . Eli deftly sidesteps , flourishes the sword . So quick it almost seems like he did n't move at all . The knife bandit staggers forward a couple more steps . His hand goes limp and drops the knife . And then his HEAD FALLS BACKWARD like a Pez dispenser . Almost completely decapitated , but not quite . Blood fountains from the neck stump as his body falls to the dirt . Eli moves to the other two bandits who lay horribly wounded on the ground , but still breathing . He stands over their fallen bodies . They stare back up at him , helpless . He crouches down between them in the dust .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>I offer you both one final chance in this life to seek forgiveness for your sins so that your souls may find salvation. Will you say with me the act of contrition?<\/dialogue>\n    <scene_description>The brigand leader defiantly spits blood at him .<\/scene_description>\n    <character>BRIGAND LEADER<\/character>\n    <dialogue>Fuck you.<\/dialogue>\n    <scene_description>Eli sighs . Stands and looks down on him without pity .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Some might think it'd be most fitting to leave you here like this. Let you die slow in the sun. But I know better. I know where you're going. And the sooner you get there, the sooner you'll get what's coming to you.<\/dialogue>\n    <scene_description>He plunges his sword into the bandit leader , finishing him off . Pulls the arrow from his crotch and wipes it clean . He turns to the other man , raising his sword .<\/scene_description>\n    <character>RIFLE BANDIT<\/character>\n    <dialogue>Wait!<\/dialogue>\n    <scene_description>Eli pauses , sword hovering over him , poised to strike .<\/scene_description>\n    <character>RIFLE BANDIT<\/character>\n    <dialogue>I want to say it. I want to be forgiven.<\/dialogue>\n    <scene_description>Eli crouches once more by his side .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Repeat after me. Oh God, I am heartily sorry for having offended thee, and I detest all my sins.<\/dialogue>\n    <scene_description>The bandit follows along with Eli , mouthing the words quietly . The life ebbing from him with each moment .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>I firmly resolve, with the help of thy grace, to confess my sins, and do penance, and to amend my life. Amen.<\/dialogue>\n    <character>RIFLE BANDIT<\/character>\n    <dialogue>Amen.<\/dialogue>\n    <scene_description>His eyes roll back as his final breath leaves him . Dead . Eli signs a cross over his body , then stands and walks away . Solara sits on the ground nearby , a wreck . Eli approaches and gathers her up in his arms . She clings on to him tightly .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>You came back for me.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>What are friends for?<\/dialogue>\n    <scene_description>She laughs , a tear rolling down her cheek . Grips him tighter . He helps her up and escorts her back to the road .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>This is the deal. You keep up. You pull your weight. You fall behind, I ca n't help you. Okay?<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>She looks back at the young woman still slumped in the dirt .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>What about her?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>There's nothing can be done for her.<\/dialogue>\n    <scene_description>They walk on down the road .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT TOWN - MAIN STREET - DAY<\/stage_direction>\n    <scene_description>METAL GARAGE DOORS roll back to reveal darkness within . A PAIR OF HEADLIGHTS fires up . Full beam right at us . A VEHICLE roars out of the darkness onto the street . Heavily modified with plate armor and turret - mounted weapons . But its original form still recognizable underneath . It 's a HONDA ODYSSEY minivan . Once the # 1 choice of soccer moms , transformed now into an armored personnel carrier . Another minivan roars from the garage behind it . A DODGE GRAND CARAVAN , similarly customized and armed to the teeth . THREE MORE CARS follow . As eclectic an assortment as you could imagine . A MINI COOPER . FORD EXPLORER . A PRIUS . Each adorned with plate armor and weapons . In the lead Minivan is REDRIDGE , heavily armed . He nods to the DRIVER , who guns the engine . The fleet of armored vehicles moves out , kicking up a great funnel of dust in their wake as they roar out of town .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT - DAY<\/stage_direction>\n    <scene_description>Late afternoon . The sun hangs low on the horizon . We 're far from the road . Nothing but scrub brush and a few PRAIRIE DOG BURROWS dotted around . A PRAIRIE DOG pops its head up , scans the horizon . Sniffing the air , whiskers twitching . and is SKEWERED BY AN ARROW . Thirty yards away , one of the pieces of scrub brush appears to COME ALIVE . And then we realize it is Eli 's GHILLIE SUIT , camouflaging both he and Solara beneath it . Eli casts off the camouflage net and walks toward the dead prairie dog . Solara just stands there , appalled .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>You killed it! That cute little thing!<\/dialogue>\n    <scene_description>Eli picks up the dead animal by the scruff .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>It's good eating, is what it is.<\/dialogue>\n    <scene_description>He yanks out the bloody arrow . Solara looks away . When she turns back , Eli is standing right there , holding the dead animal in front of her face . She YELPS in surprise and staggers backward , falling on her butt .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>That's not funny.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>If you're going to be on the road, you ca n't be picky about what you eat. You eat what's there to eat.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>I'm not eating that.<\/dialogue>\n    <character>ELI<\/character>\n    <parenthetical>( SHRUGS . )<\/parenthetical>\n    <dialogue>More for me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WASTELAND CAVE - DUSK<\/stage_direction>\n    <scene_description>Eli and Solara sit in the mouth of a desert cave , around a flickering campfire . The prairie dog roasts on a spit . Eli digs his knife into the carcass , the blade comes out clean . It 's done . He clasps his hands together and gazes down penitently at the ground .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Father, we thank you for your generosity in providing us with this meal. Bless this food to our use and us to thy service, and keep us ever mindful of the needs of others. Amen.<\/dialogue>\n    <scene_description>Eli carves off a piece of meat . Juicy and succulent . He bites into it , teasing Solara by making a show of how good it tastes . He feeds a piece to the rat perched on his shoulder . Solara tries to appear uninterested , but she 's starved .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>What does that taste like?<\/dialogue>\n    <scene_description>He takes another bite , thinks on this as he chews .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Tastes like chicken.<\/dialogue>\n    <scene_description>She tries to fight the temptation to try it . but she ca n't . She reaches out and tears off a piece . Sniffs at it , takes a small bite . then quickly wolfs down the rest . Eli smiles . As she eats , she gestures toward Eli 's Saint Christopher .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>What is that?<\/dialogue>\n    <scene_description>Eli reaches up and touches his hand to it .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>It's a Saint Christopher medal.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>Who's Saint Christopher? Is he a character from your book?<\/dialogue>\n    <scene_description>Eli smiles and shakes his head .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Christopher was a man who lived a long time ago. He wanted to be a good man, he wanted to help people. So he would stand by a river that had no bridge and carry people across. He was a big strong man and there was no one he could n't carry.<\/dialogue>\n    <scene_description>Solara listens , rapt . Eli is a good storyteller .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Then one day a young child came to the river and asked to be carried across. Christopher tried to carry him but he was too heavy. He was just a small boy but he was heavier than any man he had ever carried. The boy explained that he was the son of God, and that he was so heavy because he bore all the sins of the world. After that, Christopher was able to carry him across and when they got to the other side the boy baptized him in the river. And that's how he became a saint. Later on, he was known as the patron saint of travelers.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>What is a saint, anyway?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>It's someone who spent their life doing good things for others. Enough that God himself took a special interest in them.<\/dialogue>\n    <scene_description>Solara looks at Eli tenderly , with admiration .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>Someone like you.<\/dialogue>\n    <scene_description>Eli looks away , down at the ground . He appears sad .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>No. Not like me. Saints ai n't killers. And I done too much of that. Spilled too much blood.<\/dialogue>\n    <scene_description>BEAT . No words , just the flickering firelight .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>Will you read me some more from the book?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>It's late. You should get some sleep. Maybe tomorrow.<\/dialogue>\n    <scene_description>LATER - NIGHT The fire down to its last embers . Eli sleeps next to his pack , half - hidden in the looming shadows of the cave . His hat and goggles hung up for the night on the hilt of his sword . Solara sleeps nearby . then opens her eyes . Not asleep after all . She looks over at Eli - his face hidden in shadow and so impossible to tell if he 's asleep or awake .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>Eli?<\/dialogue>\n    <scene_description>No response . Quietly , she moves forward , kneeling by his side . She opens his coat and checks the pockets . Empty . She goes deeper , peeling back the layers of clothing , stealthily frisking him . She finds something on his lapel , hidden under several layers , that causes her to stop . It 's a RECTANGULAR PLASTIC BADGE . The red , white and blue colors faded and worn . It reads : WELCOME TO WAL - MART MY NAME IS `` ELI '' HOW MAY I HELP YOU ? She stares at it for a moment , not knowing what to make of it . Then moves on , continuing to pat him down . Whatever she 's looking for is not here . She turns her attention to the backpack . Slowly , carefully , opens it up . There it is . THE BIBLE , wrapped carefully in its neat little package of cloth and twine . She reaches in for it . Suddenly , ELI 'S HAND SHOOTS OUT AND GRABS HER BY THE WRIST . She cries out , startled . Eli sits up , his face just a dark shape in the shadows . For the first time he appears a little scary to Solara .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>You scared me! I thought you were asleep.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>On the road you sleep with one eye open. I asked you what you were doing.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>I just wanted to see the book.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>You want to see the book, you ask me. Nobody touches it but me. Ever. Until it gets where it's going. Do you understand?<\/dialogue>\n    <scene_description>He 's very forceful . She nods , a little afraid of him .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Tell me you understand!<\/dialogue>\n    <scene_description>He grips her wrist tighter .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>Okay! I understand! Ow!<\/dialogue>\n    <scene_description>Eli releases her wrist . Takes the pack from her and closes it up . Pulls it closer to him and lies back down .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>It's no use to you anyway. You do n't know how to read it.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>Well. now we have the time, maybe you can teach me.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Maybe. Get some sleep.<\/dialogue>\n    <scene_description>She lies back down beside him , but does n't close her eyes . She just lies there , watching him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WASTELAND - DAWN<\/stage_direction>\n    <scene_description>The sun rises out of the east . And out of the sun comes the FLEET OF ARMORED VEHICLES . Racing side - by - side down the road . The lead vehicle comes to a halt . A door opens and Redridge gets out . MORE ARMED MEN emerge from the other vehicles and follow him as he marches into the wasteland by the roadside . The DEAD BRIGANDS are splayed out in the dirt where Eli slew them . A FLOCK OF BUZZARDS is picking their bones clean .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>He's been here.<\/dialogue>\n    <scene_description>Redridge looks at the footprints in the dirt headed from the bodies and back onto the road . Two sets of tracks .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>The girl's with him.<\/dialogue>\n    <scene_description>He moves back to the cars .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>Move out!<\/dialogue>\n    <scene_description>The other men hold for a moment , still looking at the half - eaten bodies in the dirt . Redridge turns back .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>I said move out!<\/dialogue>\n    <character>CARNEGIE GUNMAN<\/character>\n    <dialogue>I heard this guy's protected somehow, some. power from up above. That there ai n't nothing on this earth can touch him.<\/dialogue>\n    <character>REDRIDGE<\/character>\n    <dialogue>He's just a man. You put a bullet in him, he'll go down like any other. I do n't want to hear no more of this superstitious horseshit!<\/dialogue>\n    <scene_description>Hesitantly , they make their way back to the vehicles . The cars gun their engines and move on down the road , past the abandoned Chevron station . Dust pluming in their wake .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - DAY<\/stage_direction>\n    <scene_description>Eli and Solara walk together , passing by a few burned - out buildings . It appears we might be headed toward a town . Solara looks up at the sweltering sun . Then around at her surroundings . Nothing but devastation and decay .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>You say you've been walking for twenty - five years. Have you ever considered that you might be lost?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>But how can you know? How can you know this is the right way?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I told you. My path has been laid out before me.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>Yeah, but laid out by who?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>By Almighty God.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>Well if this God guy's so mighty, how come it's taking you so long to get where you're going? Does n't he know the way?<\/dialogue>\n    <scene_description>Eli wheels around and jabs a scolding finger at her .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>You want to stay on this road with me, do n't ever let me hear you take his name in vain like that again.<\/dialogue>\n    <scene_description>Solara is surprised by the severity of his reaction .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <scene_description>Eli resumes walking .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>God has a reason for everything being the way it is. It's not always apparent to us. But it is his plan nonetheless.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>So, is he talking to you right now? Telling you where to go?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>It's not like that. It's kinda hard to explain. I'm guided by faith.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>I do n't know what that word means.<\/dialogue>\n    <scene_description>BEAT as Eli thinks on how to explain it .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>It means you know something even though you do n't know it.<\/dialogue>\n    <scene_description>Solara thinks about this , shakes her head .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>That does n't make any sense at all.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>It does n't have to.<\/dialogue>\n    <scene_description>They walk on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - DAY<\/stage_direction>\n    <scene_description>On the outskirts of a small town that lies in ruins . Almost every building burned or reduced to rubble . Except for one SMALL HOUSE . The building is damaged and worn but in mostly decent condition . It stands out among its surroundings for being the only structure still intact . The windows are BARRED . The outer structure fortified with SHEET METAL and other custom patch - ups . The whole plot surrounded by a CHAIN - LINK FENCE TOPPED WITH RAZOR WIRE . Eli and Solara crouch behind a pile of rubble nearby .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>I do n't get it. It looks almost. normal. Like nothing ever happened. How can it still be out here?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>Maybe we should look inside. There might be food.<\/dialogue>\n    <scene_description>BEAT as Eli considers . Then stands and unhooks his shotgun .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Stay behind me.<\/dialogue>\n    <scene_description>They approach the house cautiously . Arrive at the perimeter fence . There 's a gate held in place by a PADLOCK . Eli pulls a pair of BOLT - CUTTERS from his belt and snips the padlock free . Swings open the gate with a metallic SQUEAK . They move inside , up the garden path . Though the soil in the yard is dead , it 's been carefully raked and tended . WEEDS arranged in thoughtful patterns , like real flowers .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>This is weird.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Eli steps forward , his foot planting on a CRACKED PAVING STONE that shifts almost imperceptibly under his feet . Accompanied by a barely audible SOUND . He looks down .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>A ROPE NOOSE suddenly whips around their feet , tightening at their ankles and YANKING THEM UPSIDE - DOWN INTO THE AIR . Eli drops his shotgun to the ground . They hang there for a moment , twisting in the breeze . The front door to the house SWINGS OPEN to reveal . AN ELDERLY COUPLE . The woman 's gray hair tied into a neat bun . The man bald , squinting through wire - frame glasses . They look like the couple from Grant Wood 's `` American Gothic . '' Instead of a pitchfork the man holds a 12 - GAUGE RIOT SHOTGUN which he keeps trained from the hip on Eli and Solara . They step outside , regarding their new visitors carefully . The man seems more suspicious than his wife . He drags Eli 's shotgun toward him with his foot , hands it to his wife .<\/scene_description>\n    <character>ELDERLY MAN<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>My name is Eli. This is Solara. We're travelers, that's all. We do n't mean you any harm.<\/dialogue>\n    <character>ELDERLY MAN<\/character>\n    <dialogue>You cut my padlock. I saw you. Trying to break into our house.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I'm sorry. We did n't think anybody lived here. We thought it was abandoned, like all the rest.<\/dialogue>\n    <scene_description>This seems to annoy the man .<\/scene_description>\n    <character>ELDERLY MAN<\/character>\n    <dialogue>Take a look around you. Look at this yard. Does it look abandoned to you?<\/dialogue>\n    <scene_description>Clearly he 's proud of the work he 's done with the pitiful means at his disposal .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>No, sir. I. like what you've done with the place.<\/dialogue>\n    <character>ELDERLY MAN<\/character>\n    <dialogue>What's your business here?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>No business. We're sorry to have troubled you. If you'll let us down we'll happily be on our way.<\/dialogue>\n    <scene_description>The wife steps forward , she 's much warmer , less guarded .<\/scene_description>\n    <character>ELDERLY WOMAN<\/character>\n    <dialogue>George, look at them! They're not robbers or road agents! One of them's just a girl!<\/dialogue>\n    <character>ELDERLY MAN<\/character>\n    <dialogue>Seen that before. Oldest trick in the book.<\/dialogue>\n    <character>ELDERLY WOMAN<\/character>\n    <dialogue>Oh, stop! It's no trick. Let them down!<\/dialogue>\n    <scene_description>The woman glares at him . The husband reluctantly accedes and moves to the concealed trap apparatus . Releases the rope , dropping Eli and Solara to the ground in a heap . The old woman helps them to their feet . They shake off the noose from their ankles .<\/scene_description>\n    <character>ELDERLY WOMAN<\/character>\n    <dialogue>I'm so sorry about my husband. We so rarely get visitors these days, he's suspicious of everybody.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>I'm Martha and this is my husband George. Would you care for some tea?<\/dialogue>\n    <scene_description>Eli and Solara exchange a look . What the hell is this ?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>It 's like something out of the world before . The interior is almost perfectly preserved . Chintzy couches . A mahogany table . A TV set in the corner . Lace curtains . Unreal . Eli and Solara sit on the couch , feeling self - conscious and looking entirely out of place in this cozy environment . George sits across from them on the couch , scowling at them inhospitably . The shotgun resting across his lap . Martha emerges from the kitchen , carrying a tray laden with a tea pot and old china cups . Cracked and faded , but intact . She places the tray on the coffee table and sits .<\/scene_description>\n    <character>MARTHA<\/character>\n    <dialogue>I'm afraid we do n't have any cake or biscuits for the tea. They ran out some time ago.<\/dialogue>\n    <scene_description>She lifts the tea port and pours into the cups . But it 's not tea , only water . Somewhat murky water . Eli and Solara stare at the cups , unsure . Martha gestures toward them .<\/scene_description>\n    <character>MARTHA<\/character>\n    <dialogue>Please.<\/dialogue>\n    <scene_description>They raise their cups and take a sip . Martha watches eagerly . It 's clearly a thrill for her to be doing something as civilized and elegant as serving `` tea '' to guests .<\/scene_description>\n    <character>MARTHA<\/character>\n    <dialogue>How do you like it?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>It's. uh.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>It's very good.<\/dialogue>\n    <scene_description>Martha smiles , delighted . She lifts her own cup to her lips . HER HANDS TREMBLE , the cup rattling against the saucer .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Have you always lived here?<\/dialogue>\n    <character>MARTHA<\/character>\n    <dialogue>For almost forty years now. This home is our pride and joy, is n't it, George?<\/dialogue>\n    <scene_description>George just grunts . Not interested in conversation .<\/scene_description>\n    <character>MARTHA<\/character>\n    <dialogue>We refused to leave, even during the troubles. We said, did n't we George, we said if we're going to die anywhere, we're going to die right here, in our own home.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I do n't understand how you've survived out here this long.<\/dialogue>\n    <character>MARTHA<\/character>\n    <dialogue>Well, George is something of a handyman, are n't you, dear? He did a lot of work on the place, making it safe. We may be old, but we're resilient. We've had more than a few who've tried to take this place from us. Have n't we, George?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Yes. Yes we have.<\/dialogue>\n    <scene_description>He stands and moves toward the back door . Opens it up and beckons Eli and Solara to come look .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - BACK YARD - CONTINUOUS<\/stage_direction>\n    <scene_description>Eli and Solara stand in the doorway , looking out on the yard . Solara is horrified by what she sees . The entire back yard is a GRAVEYARD . Maybe twenty human graves dug shallow into the earth . Some were dug long ago , others look like they 're very recent .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>Are these. graves?<\/dialogue>\n    <character>MARTHA<\/character>\n    <dialogue>Of course. It would be uncivilized not to bury them. We're not barbarians.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Plus, it's good for the soil.<\/dialogue>\n    <character>MARTHA<\/character>\n    <dialogue>Come on back inside. I think I might be able to rustle up some sandwiches.<\/dialogue>\n    <scene_description>George and Martha go back inside , leaving Eli and Solara gazing at the little graveyard .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>We have to get out of here.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>They look so sweet. I would never have believed they were killers.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>They're worse than that.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>They did n't just kill these people.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>They ate them.<\/dialogue>\n    <scene_description>Solara is stunned .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>They what?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>There's a disease in the outland. Spread by eating human meat. It affects the brain. Dementia, loss of motor function. Did you notice the old woman's hands shaking? She's got it. They've both got it.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>Oh my God.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Eli and Solara re - enter . Solara looks at George nervously . He 's still carrying that shotgun . Martha 's voice drifts in from the nearby KITCHEN .<\/scene_description>\n    <character>MARTHA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I found some meat for those sandwiches! Are you hungry?<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>No! Thank you!<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>We really must be going.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>So soon?<\/dialogue>\n    <scene_description>An unnerving glint in his eye . Eli moves toward the door .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Yes, I'm afraid so.<\/dialogue>\n    <scene_description>As he gets to the door , George moves to intercept . Hard to tell if he 's blocking his path or moving to open the door for him . A tense BEAT . Martha emerges from the kitchen .<\/scene_description>\n    <character>MARTHA<\/character>\n    <dialogue>Are you sure you wo n't stay?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Yes. Thank you again for the tea.<\/dialogue>\n    <scene_description>Eli stares George down . Reluctantly , George steps aside . Eli opens the door and escorts Solara outside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Eli and Solara emerge into the sunlight . Walk down the garden path . And FREEZE IN THEIR TRACKS . THE ARMED VEHICLES ARE COMING . Driving toward them out of the horizon in a hazy cloud of dust .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>Oh no. it's my dad. It's his men.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Are you sure?<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>I recognize the cars.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Back inside.<\/dialogue>\n    <scene_description>Eli bundles Solara back into the house . George stands in the doorway , squinting at the approaching convoy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>George follows them back in , furious .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>What did you bring upon us?<\/dialogue>\n    <character>MARTHA<\/character>\n    <dialogue>George? What's wrong?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>A whole convoy of armed degenerates, that's what's wrong! Coming here for them! And they led them right to us!<\/dialogue>\n    <scene_description>Martha rushes to the window , pulls aside the lace curtain . Outside she sees the armored vehicles SCREECHING TO A HALT . The men spill out from the vehicles and take cover behind them , locking and loading weapons .<\/scene_description>\n    <character>MARTHA<\/character>\n    <dialogue>Oh no they do n't.<\/dialogue>\n    <scene_description>She rushes across the room , teeth gritted with determination .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Martha, what are you doing?<\/dialogue>\n    <character>MARTHA<\/character>\n    <dialogue>I finally got this house just the way I want it. I'm not going to let anybody tear it apart!<\/dialogue>\n    <scene_description>She goes to the couch and yanks off the seat cushions . Underneath is a WOODEN LID which she throws open to reveal : A HUGE CACHE OF WEAPONS . Automatic rifles . Shotguns . Pistols . Grenades . And enough ammunition for everything . She pulls out an M - 60 MACHINE - GUN , slings the strap over her shoulder and locks in a CHAIN OF BULLETS . She looks like a post - apocalyptic Martha Stewart .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>Where did you get all this stuff?<\/dialogue>\n    <scene_description>George pulls out an AK - 47 , slots in a magazine .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Took ` em off them who came looking to take the place from us. Built up quite the stash over the years.<\/dialogue>\n    <scene_description>He offers a .44 MAGNUM to Solara .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>You know how to fire a gun?<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>My daddy showed me once.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Just like riding a bike.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>I never rode a bike.<\/dialogue>\n    <scene_description>George sighs , turns instead to Eli .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>How about you, you know how to -<\/dialogue>\n    <scene_description>Eli is already reloading his shotgun , checking the barrel . Readying the weapon in the practiced manner of an expert .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Never mind.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Redridge steps forward , raises a BULLHORN .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>We know you're in there! Come on out with your hands up and your weapons on the deck and nobody needs to get hurt.<\/dialogue>\n    <scene_description>SILENCE . No sign of activity inside the house . Redridge turns back to his men . Their hands trembling . They did n't sign up for this , and they 're not ready for it . Redridge turns back to the house . Into the bullhorn :<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>All right, look. I'm gon na make it easy on y' all. Bring out the girl with the book.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Eli is crouched beneath the window . George and Martha have taken up positions at other windows , peering out .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>That's all we want. The girl and the book. The rest of you's can go your way.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>What are we going to do?<\/dialogue>\n    <scene_description>BEAT as Eli thinks .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Hand me my pack.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - DAY<\/stage_direction>\n    <scene_description>Redridge waits . Still no sign of a response . His nervous gunmen exchange worried looks .<\/scene_description>\n    <character>CARNEGIE GUNMAN #2<\/character>\n    <dialogue>They ai n't comin' out. They -<\/dialogue>\n    <scene_description>Redridge raises his hand to silence him . Looks up as an UPSTAIRS WINDOW slides open . A CLOTH PACKAGE is tossed from the window . It lands in the dirt outside the perimeter fence a few yards from Redridge . Cautiously , he approaches . The package is wrapped in cloth and tied up with twine . It looks like Eli 's bible . He picks it up and tugs at the twine , untying it . Folds away the cloth wrapping . Looks for a moment in puzzlement at the object , at the words written on the front of it . THIS SIDE TO FACE ENEMY It 's a MINIATURE CLAYMORE MINE . The small red light on top of the unit ILLUMINATES WITH A BEEP . Armed .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>Holy shi.<\/dialogue>\n    <scene_description>He drops the package in the dirt and races for his life back toward the vehicles .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>Get down! Everybody get down!<\/dialogue>\n    <scene_description>He dives across the trunk of the Explorer into cover as THE MINE EXPLODES , SHATTERING EVERY WINDOW OF EVERY VEHICLE . The lightweight Mini Cooper takes the main brunt and EXPLODES , cartwheeling through the air , a burning wreck . Redridge looks around . Three men lie dead already . Flaming wreckage all around him . Suddenly , it 's a war zone . MACHINE - GUN FIRE ERUPTS FROM THE HOUSE , peppering the vehicles ' armor . The gunmen cower behind cover .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>Damn you, return fire!<\/dialogue>\n    <scene_description>Redridge aims at the house and OPENS FIRE . Inspired by his example , the others follow . A HAIL OF BULLETS CRISS - CROSS BACK AND FORTH . The house 's faded paint facade is shredded .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Martha continues firing wildly with the M - 60 . Screaming at the top of her lungs , loving every minute of it .<\/scene_description>\n    <character>MARTHA<\/character>\n    <dialogue>Come and get it, you god - damn sons of mother - fucking bitches!<\/dialogue>\n    <scene_description>George and Eli also open fire from their windows , periodically ducking to take cover from incoming fire . Solara sits across the room , in the corner , sobbing .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>It's all right. We're going to be all right. Trust me.<\/dialogue>\n    <scene_description>MORE GUNFIRE splinters the window frame above his head .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>You remember what I told you about faith?<\/dialogue>\n    <scene_description>She nods . Eli peeks out and FIRES OUT THE WINDOW , dropping one of the enemy gunmen with a crack shot . Ducks back down as the return fire impacts around him .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>We're going to get out of this alive. Both of us. I know.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>Because God told you?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Because God told me.<\/dialogue>\n    <scene_description>Amidst all the chaos and gunfire , George has been listening to this exchange .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>What about us?<\/dialogue>\n    <scene_description>BEAT .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>He did n't mention you.<\/dialogue>\n    <scene_description>BEAT . George chambers a round and RESUMES FIRING .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Redridge 's men continue the hail of gunfire . Six of them dead now , six more still standing . No lessening of fire from inside the house . They 're losing . Redridge races between the vehicles , ducking from gunfire until he makes it to the back of the Dodge Caravan . Pops the trunk and pulls out a ROCKET - PROPELLED GRENADE LAUNCHER . He sets it on his shoulder , rests on the trunk to steady his aim . And FIRES . The rocket screams toward its target , tearing through the chain fence and TEARING AN ENTIRE CORNER FROM THE HOUSE in a fiery explosion .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Filled with smoke . The sounds of COUGHING . Dazed , George pushes his way through the smoke , waving his arms to clear it . A BLOODY GASH on his forehead .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Martha? Martha!<\/dialogue>\n    <scene_description>He finds her lying on the tile floor in what remains of the kitchen . Or at least her top half . The rest of her is gone . George slumps to his knees with tear - filled eyes . Takes his wife tenderly by the hand for a moment . Then the anger returns . He gets up and turns , consumed now by a wild fury . Firing with rage over the torn brick wall . He CLIPS ANOTHER GUNMAN IN THE HEAD , killing him . George moves back toward the LIVING ROOM , firing as he goes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Redridge moves between the cars again , staying behind cover . George 's hail of gunfire has them pinned down .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>We got any more of those RPGs?<\/dialogue>\n    <character>CARNEGIE GUNMAN #3<\/character>\n    <dialogue>That was it.<\/dialogue>\n    <character>REDRIDGE<\/character>\n    <dialogue>Screw this.<\/dialogue>\n    <scene_description>Redridge jumps into the driver 's seat of the minivan , turns the key in the ignition . Jams the accelerator down with the butt of his rifle , then shifts the transmission into DRIVE .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>Get clear!<\/dialogue>\n    <scene_description>The gunmen leap clear as the minivan HURTLES TOWARD THE HOUSE , engine roaring . CRASHES THROUGH THE CHAIN FENCE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Eli looks up from cover and see the van coming RIGHT AT HIM . He dives clear as the van CRASHES THROUGH THE WALL INTO THE LIVING ROOM . It SMASHES INTO THE FAR WALL , finally coming to a stop . More dust and debris , more coughing . Eli tries to get up , but winces in pain . Puts his hand to his side , it comes back WET WITH BLOOD . A bad wound . He covers it with his coat , stands and moves through the smoke .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Solara?<\/dialogue>\n    <character>SOLARA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Eli!<\/dialogue>\n    <scene_description>He finds her in the smoke . She embraces him .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Are you all right?<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>I'm fine.<\/dialogue>\n    <scene_description>As the smoke clears , Solara sees George PINNED AGAINST THE WALL BY THE MINIVAN . His body crushed . Dead .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>Oh God.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Come on. We're going out the back. We're running.<\/dialogue>\n    <scene_description>As he helps her to her feet , we hear the sound of MOVEMENT THROUGH THE RUBBLE . They turn around . The gunmen are ENTERING THE HOUSE , passing through the smoking hole left by the minivan . Eli reaches for his sword . Met by the sound of MULTIPLE GUNS COCKING . Redridge steps out from among the gunmen . Smiles .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>Go ahead and try it, holy man. You ai n't that fast.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - DAY<\/stage_direction>\n    <scene_description>Eli and Solara are shoved out of the house at gunpoint and marched past the torn perimeter fence to the vehicles . Eli has been stripped of his weapons and backpack . Redridge faces him and points a pistol at his head .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>Where's the book?<\/dialogue>\n    <scene_description>BEAT . Eli does n't answer . Redridge cocks the pistol .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>I ai n't playing.<\/dialogue>\n    <scene_description>Redridge stares him down . Eli just stares right back . Totally unflappable . Redridge motions to his men .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>Check the pack.<\/dialogue>\n    <scene_description>The gunman carrying Eli 's pack opens it up and tips its contents out onto the ground . The ghillie suit , battery , some old canned goods , other odds and ends . No sign of the book .<\/scene_description>\n    <character>CARNEGIE GUNMAN #4<\/character>\n    <dialogue>It ai n't here.<\/dialogue>\n    <character>REDRIDGE<\/character>\n    <dialogue>It's got ta be.<\/dialogue>\n    <scene_description>Redridge holsters his gun and frisks Eli , going through his pockets . Finds nothing . He opens Eli 's coat and checks the inside pockets . Digs around deep inside .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>Hello, what have we here?<\/dialogue>\n    <scene_description>And then suddenly he SHRIEKS IN PAIN . Yanks his hand out to reveal ELI 'S RAT , TEETH SUNK DEEP INTO HIS FLESH . Redridge flails around violently , trying to get the rat off him , but it wo n't let go . His hand is bleeding badly .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>Fuck! Get it off! Get it off me!<\/dialogue>\n    <scene_description>He finally manages to shake it free . It hits the floor dazed . Redridge STOMPS ON IT with his boot , reducing it to a bloody smear in the dirt . Eli lowers his head in sadness . Redridge clutches his bloody hand , glares at Eli furiously . Pulls his gun again and marches right up to him , pressing the muzzle tight against his forehead .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>If you do n't got the book, what fucking use are you?<\/dialogue>\n    <scene_description>His finger tightens on the trigger .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>Wait!<\/dialogue>\n    <scene_description>She breaks from the gunmen holding her and rushes toward Redridge . Reaches inside her dress and PRODUCES THE BIBLE .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>It's here! I've got it! Please do n't kill him.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Solara.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>It's just a book, Eli. No book is worth giving up your life for.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>You're wrong.<\/dialogue>\n    <scene_description>Satisfied , Redridge takes the book . Runs his hand over the leather cover , gazes admiringly at the gold - embossed cross .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>You did good, sweetheart. Your daddy would be proud. He knew you'd come through for him.<\/dialogue>\n    <scene_description>Solara looks at Eli guiltily . She feels terrible .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>He said he would hurt my mom. If I did n't help him.<\/dialogue>\n    <character>REDRIDGE<\/character>\n    <parenthetical>( SMILING . )<\/parenthetical>\n    <dialogue>Daddy's little girl.<\/dialogue>\n    <scene_description>Solara stands between him and Eli . Deadly serious now .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>I want you to let him go.<\/dialogue>\n    <character>REDRIDGE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>You've got what you came for. You do n't need him. Let him go.<\/dialogue>\n    <character>REDRIDGE<\/character>\n    <dialogue>He's killed a dozen of my men.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>If you hurt him, I'm not coming back with you. You'll have to drag me kicking and screaming.<\/dialogue>\n    <scene_description>Solara glares at Redridge . He sighs . He can tell she means it . It 's not worth the aggravation . He turns back to Eli .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>Take your shit and get out of here.<\/dialogue>\n    <scene_description>Eli gathers up his stuff into his pack . Shoulders it and goes to pick up his sword , but Redridge puts his boot on it .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>No weapons.<\/dialogue>\n    <scene_description>Eli still has a half - dozen guns trained on him . He turns and walks away , toward the road . As he passes Solara :<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>I told you we'd both live. Now do you have faith?<\/dialogue>\n    <scene_description>A tear runs down Solara 's cheek as she watches him walk away . Redridge grabs her by the arm and pulls her toward the vehicles as his men load up and prepare to move out . IN THE REARMOST VEHICLE Solara sits in the back seat , staring out the rear window as it drives down the road at the tail end of the convoy . She watches as Eli moves away down the road , getting smaller and smaller until he is just a speck on the horizon . She bursts into floods of uncontrollable tears . LATER Solara in the back seat , calmer now . The tears dried on her cheeks . She sits staring blankly at the DRIVER in front . And then she LUNGES VIOLENTLY FORWARD . Clawing and biting at the driver , who struggles to fight her off . His hands come off the wheel and the car FISHTAILS WILDLY . REDRIDGE 'S VEHICLE The DRIVER sees something odd in the rear - view mirror .<\/scene_description>\n    <character>DRIVER<\/character>\n    <dialogue>What the hell?<\/dialogue>\n    <scene_description>Redridge turns to see the car behind VEERING ERRATICALLY then SLAMMING ON THE BRAKES , stopping in the middle of the road .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>Stop, stop!<\/dialogue>\n    <scene_description>The car screeches to a halt . Redridge watches through the rear window as the driver 's side door opens and the driver is KICKED OUT ONTO THE ASPHALT . The door closes again , the engine revs and the car TURNS AROUND , racing back down the road in the direction it came .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>Shit. Turn around!<\/dialogue>\n    <character>DRIVER<\/character>\n    <dialogue>We ai n't got the gas for it!<\/dialogue>\n    <character>REDRIDGE<\/character>\n    <dialogue>She's getting away!<\/dialogue>\n    <character>DRIVER<\/character>\n    <dialogue>We got the book! And we got barely enough gas to make it back as it is! We ca n't go chasin' her!<\/dialogue>\n    <scene_description>BEAT . Redridge knows he 's right .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>Stupid little bitch.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Drive on.<\/dialogue>\n    <scene_description>The car moves on , following the rest of the convoy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - DAY<\/stage_direction>\n    <scene_description>Solara screeches the car to a halt outside the smoking wreckage of the besieged house . She runs from the vehicle to where ELI 'S SWORD lies in the dirt and grabs it up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - DUSK<\/stage_direction>\n    <scene_description>Solara races down the road in the car , pedal to the metal .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>Come on, come on.<\/dialogue>\n    <scene_description>Eventually , she sees him . At first just a dot on the horizon . But unmistakably Eli . By now , she 'd know him anywhere . Suddenly the engine SPLUTTERS . She checks the fuel gauge ; the needle deep in the red . She pounds the wheel in frustration .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>No. No!<\/dialogue>\n    <scene_description>The car grinds to a halt , dead . She flings open the door and leaps out of the vehicle , rushing after Eli on foot . ON ELI . As always , his pace steady and slow . The sun directly ahead of him as it sets on the horizon . Headed always west . Solara is running up behind him , a hundred yards back .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>Eli! Eli!<\/dialogue>\n    <scene_description>He does n't stop or look back . Just keeps on walking . She finally catches up with him , breathing hard , exhausted .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>Eli.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Thought you'd gone back to town.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>I ca n't go back there. Eli, I'm so sorry.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>For what?<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>For what? I betrayed you! I gave them the book!<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>You did what you believed you had to.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>You're not mad at me?<\/dialogue>\n    <scene_description>BEAT .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>I forgive you.<\/dialogue>\n    <scene_description>She continues walking alongside him . Trying to process this . This kind of compassion is totally foreign to her . She holds out the sword , offering it to Eli by way of atonement .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>Here. I thought you might still need this.<\/dialogue>\n    <scene_description>Eli seems appreciative that she would think to return it to him . He takes it and slings it over his shoulder .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>What are you going to do now?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Same as always. Keep heading west.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>Why? I mean, you do n't have the book any more.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>But I still have my faith.<\/dialogue>\n    <scene_description>They walk on together , into the sunset .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NORTHERN CALIFORNIA - MONTAGE - DAY<\/stage_direction>\n    <scene_description>Eli and Solara follow the road through burned - out towns and retail neighborhoods . Gutted and dead , like every place else . But something is different here . Things are greener . Tufts of grass here and there . They attract Solara 's attention .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <scene_description>Eli reaches down and runs his hand through the grass .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>It's grass. It used to grow all over the place.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>How come it's here?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I do n't know. Less poison in the air this near to the ocean, maybe.<\/dialogue>\n    <scene_description>They keep walking . Eli groans , clutches his side . Does his best to hide his pain from Solara . She notices anyway .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>What's wrong?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Nothing. Just a cramp.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FREEWAY - NIGHT<\/stage_direction>\n    <scene_description>They walk on through the night . Eli stops and sniffs the air .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Do you smell that?<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>Smell what?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Salt in the air. We're close to the ocean. We're almost there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CALIFORNIA ROAD - DAWN<\/stage_direction>\n    <scene_description>They keep on along the road . A shallow uphill incline . They follow it uphill , finally reaching its crest , where they stop and take in the view before them . THE PACIFIC OCEAN . Straddled by the GOLDEN GATE BRIDGE - the once - great structure has partially collapsed from decades of neglect and disrepair . The span sags and hangs low over the ocean , the asphalt cracked and ruptured . On the other side of the bay , SAN FRANCISCO - or the little that remains of it . The city has been almost TOTALLY DESTROYED - entire areas reduced to rubble , the few buildings still standing looking on the verge of collapse . Solara looks at it all in horrified awe . Eli , unperturbed , keeps on moving , still clutching his side .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Come on.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOLDEN GATE BRIDGE - DAY<\/stage_direction>\n    <scene_description>Eli and Solara make their way south across the bridge , side - stepping the fractures in the road .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAN FRANCISCO RUINS - DAY<\/stage_direction>\n    <scene_description>Eli leads Solara through the rubble of what used to be San Francisco . It 's like walking through the wreckage of 9\/11 's Ground Zero , but a hundred times the scale . Horrifying . They pass by the wreckage of a HOTEL , nothing but the lobby still standing . A HILTON sign protruding from the rubble . Eli uses his sheathed sword as a walking stick , poking around ahead of him for loose rubble underfoot . He steps carefully .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Watch your footing. Step where I step.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAN FRANCISCO - FINANCIAL DISTRICT - DAY<\/stage_direction>\n    <scene_description>More buildings are still standing here , but they 're nothing more than great dead monoliths . Solara looks up at the blasted skyscrapers - she 's never seen anything like it . The buildings loom over her like giant tombstones . It scares her - like walking through the graveyard of a dead world .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>This. this is the world before?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>What's left of it.<\/dialogue>\n    <scene_description>They keep walking , passing the TOPPLED TRANSAMERICA PYRAMID .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAN FRANCISCO - FISHERMAN'S WHARF - DAY<\/stage_direction>\n    <scene_description>Once a bustling oceanside tourist spot , now a ghost town . Eli and Solara walk along the litter - strewn street , passing the old RIPLEY 'S BELIEVE - IT - OR - NOT and WAX MUSEUMS . The celebrity mannequins are still in fair condition , but slumped at their feet are CHARRED HUMAN SKELETONS . Eli is struggling now . He looks pale from the blood loss . His breathing labored . Solara takes him by the arm to help him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAN FRANCISCO - PIER 39 - DAY<\/stage_direction>\n    <scene_description>A dead , ruined place , like everywhere else . We hear the sound of SEAGULLS nearby - the only sign of life at all . Eli and Solara walk along the pier , until they reach its end . The original end has long since collapsed into the sea , but a RICKETY HAND - MADE ROPE BRIDGE has been affixed to the pier 's sheared - off edge . Eli and Solara stand at the pier 's end , looking out to sea .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Do you see that?<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>I see it. Is that it?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>That's it.<\/dialogue>\n    <scene_description>Reveal now that the rope - bridge leads out across the bay to : ALCATRAZ ISLAND Looking much the same as it always has , old and dilapidated . The coastal fog shrouding it gives it an ethereal look . It feels almost like a mythic place - the `` promised land '' Eli has sought for so many years . A tattered STARS AND STRIPES still flutters in the breeze atop the prison lighthouse .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAY ROPE BRIDGE - DAY<\/stage_direction>\n    <scene_description>Eli and Solara make their way carefully across the bridge . It feels highly unstable and sags low over the bay , the waters below close enough to lap around their ankles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALCATRAZ ISLAND - DAY<\/stage_direction>\n    <scene_description>Eli and Solara arrive at the prison gates . Securely locked . As they inspect it for a possible way to enter :<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Who goes there?<\/dialogue>\n    <scene_description>They look up . A GUARD in paramilitary fatigues is stationed in one of the perimeter towers . Training a rifle on them .<\/scene_description>\n    <character>ALCATRAZ GUARD<\/character>\n    <dialogue>Identify yourselves!<\/dialogue>\n    <scene_description>In the opposite tower ANOTHER GUARD has his rifle trained on them too . Eli looks up , raises his hands .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>My name is Elijah Stone. I have a message for your boss. I need you to tell him that I have a King James Bible in my possession.<\/dialogue>\n    <scene_description>BEAT .<\/scene_description>\n    <character>ALCATRAZ GUARD<\/character>\n    <dialogue>Remain where you are! Do not attempt to move or you will be fired upon!<\/dialogue>\n    <scene_description>Keeping the gun trained on them , the tower guard uses his free hand to talk into a WALKIE - TALKIE RADIO . We do n't hear the conversation . All Eli and Solara can do is wait . The guard puts away his radio and shouts back down :<\/scene_description>\n    <character>ALCATRAZ GUARD<\/character>\n    <dialogue>Be prepared to surrender any weapons at the gate!<\/dialogue>\n    <scene_description>BEAT . And then the massive front gates SLOWLY OPEN ON MECHANICAL RUNNERS with the low groan of rusted iron . Eli and Solara look at each other , then step gingerly inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALCATRAZ - MAIN GATES - CONTINUOUS<\/stage_direction>\n    <scene_description>As soon as they step inside they are SURROUNDED BY DOZENS OF HEAVILY - ARMED SOLDIERS . Not U.S. military , more like a semi - official militia . But every bit as deadly . Eli and Solara raise their hands . A pair of SOLDIERS take Eli 's pack and sword , pat them both down for other weapons .<\/scene_description>\n    <character>SOLDIER<\/character>\n    <dialogue>They're clean.<\/dialogue>\n    <scene_description>The soldiers before them part - to reveal a THIN , BALDING MAN wearing spectacles . He wears Kevlar body armor over his tweed jacket and tie . Professorial , academic . He approaches , shakes Eli 's hand vigorously - very excited .<\/scene_description>\n    <character>THIN MAN<\/character>\n    <dialogue>Welcome, both of you. I'm Professor Lombardi. I'm the curator here.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Elijah Stone.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>Solara.<\/dialogue>\n    <character>LOMBARDI<\/character>\n    <dialogue>Solara. What a delightful name. Is that by any chance Shakespearean?<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>I, uh, I think it's Japanese.<\/dialogue>\n    <character>LOMBARDI<\/character>\n    <dialogue>Wonderful.<\/dialogue>\n    <scene_description>He turns back to Eli .<\/scene_description>\n    <character>LOMBARDI<\/character>\n    <dialogue>Is it true what they tell me? You have a King James Version?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Been carrying it with me for twenty - five years.<\/dialogue>\n    <scene_description>Solara looks at Eli , puzzled . Lombardi finds it hard to contain his excitement .<\/scene_description>\n    <character>LOMBARDI<\/character>\n    <dialogue>My goodness. I ca n't tell you how exciting this is. Well, come, come! I'll give you the nickel tour and then we can all sit down and take a look at it.<\/dialogue>\n    <scene_description>He leads them across the courtyard into the prison buildings .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT TOWN - MAIN STREET - DAY<\/stage_direction>\n    <scene_description>Redridge 's remaining vehicles drive back into town and come to a halt outside the theater . Redridge emerges from his car , carrying the bible . Walks up to the Palladium and enters .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALCATRAZ - CELL BLOCK - DAY<\/stage_direction>\n    <scene_description>What was once a cell block is now an IMMENSE LIBRARY . Stacked floor to ceiling with books . Lombardi shows Eli and Solara around . Behind them , a pair of ARMED GUARDS follow closely .<\/scene_description>\n    <character>LOMBARDI<\/character>\n    <dialogue>Yes, we've been doing this for some time now. Collected over thirty thousand volumes from generous donors all across the nation. We even have a printing press that we hope to have operational soon.<\/dialogue>\n    <scene_description>Solara is stunned as she surveys the endless stacks of books . She 's never seen anything like it .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>You turned the whole prison into a library?<\/dialogue>\n    <character>LOMBARDI<\/character>\n    <dialogue>Well, not exactly. We're more like a storage facility. We're holding these books here in trust, if you like. When society gets back on its feet and no longer needs us to preserve these volumes, they'll be here waiting.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>I must ask you, how did you hear about us? We've been doing everything we can to get the word out, but we always like to know where our benefactors come from.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I was sent here by God.<\/dialogue>\n    <scene_description>Lombardi raises a quizzical eyebrow .<\/scene_description>\n    <character>LOMBARDI<\/character>\n    <dialogue>Is that right? Well, it's good to know we're getting such high - profile referrals these days.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>I must say, I am so excited that we finally have a King James. You know, we have a Talmud here, we have two Korans, we even have that Scientology book. But never a Christian bible, until now. I honestly believed it was the one book I'd never see again, after what happened.<\/dialogue>\n    <scene_description>BEAT . Lombardi appears sad for a moment .<\/scene_description>\n    <character>LOMBARDI<\/character>\n    <dialogue>May I ask what condition it's in?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>It's a little beat - up. But it'll do the job.<\/dialogue>\n    <character>LOMBARDI<\/character>\n    <dialogue>Well, then. What say we take a look at it?<\/dialogue>\n    <scene_description>Lombardi looks at Eli with anticipation . So does Solara , interested to know where this is going to go next . Eli winces in pain , puts his hand to his side .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Is there someplace we could sit?<\/dialogue>\n    <character>LOMBARDI<\/character>\n    <dialogue>Of course. Right this way.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALLADIUM AUDITORIUM - CARNEGIE'S BOX<\/stage_direction>\n    <scene_description>Redridge appears . Carnegie looks at him eagerly .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>Did you get it?<\/dialogue>\n    <scene_description>Redridge holds the bible up proudly . Carnegie beams .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>Show me.<\/dialogue>\n    <scene_description>Redridge hands it over . Carnegie sits back in his chair , running his hand lovingly over the battered leather cover .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>The new world begins here.<\/dialogue>\n    <scene_description>He opens the book and looks inside . BEAT . And then he looks up at Redridge , confused .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>What the fuck is this?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALCATRAZ - CAFETERIA - DAY<\/stage_direction>\n    <scene_description>Eli , Solara and Lombardi sit at one of the long lunch - room tables . The two armed guards keep watch nearby .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Do you have something you can write with?<\/dialogue>\n    <character>LOMBARDI<\/character>\n    <dialogue>Mmm? Oh, yes of course!<\/dialogue>\n    <scene_description>He pulls a pen from his pocket , motions to one of the guards .<\/scene_description>\n    <character>LOMBARDI<\/character>\n    <dialogue>Could you please bring us some writing paper?<\/dialogue>\n    <scene_description>The guard nods and moves toward the door . As he does so :<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Bring a lot of it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALLADIUM AUDITORIUM - CARNEGIE'S BOX<\/stage_direction>\n    <scene_description>Carnegie looks at the open bible , jaw hanging loose , his complexion ashen . Like he 's just been slapped in the face .<\/scene_description>\n    <character>REDRIDGE<\/character>\n    <dialogue>What? What is it?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALCATRAZ - CAFETERIA - DAY<\/stage_direction>\n    <scene_description>The guard brings a THICK SHEAF OF WRITING PAPER to the cafeteria table , sets it down by Lombardi .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Are you ready?<\/dialogue>\n    <character>LOMBARDI<\/character>\n    <dialogue>What exactly am I writing?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Pay close attention and write down every word exactly as I say it.<\/dialogue>\n    <scene_description>Eli removes his goggles . Solara ca n't believe what she sees . His eyes are pale , milky - white , dead . TOTALLY BLIND .<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>The First Book of Moses called Genesis. Chapter one, verse one. In the beginning God created the heavens and the earth. Verse two. The earth was without form, and void ; and darkness was on the face of the deep. And the spirit of God was hovering over the face of the waters. Verse three. And God said, `` Let there be light,'' and there was light.<\/dialogue>\n    <scene_description>Lombardi hurriedly writes down every word .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALLADIUM AUDITORIUM - CARNEGIE'S BOX<\/stage_direction>\n    <scene_description>Carnegie sits at his desk , still in shock . Eli 's bible sits open on the desk before him . A BRAILLE BIBLE . Claudia is ushered in by a guard .<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>What's wrong?<\/dialogue>\n    <scene_description>He rushes forward and thrusts the bible into her hands .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>You told me once that you know how to read this. This blind language.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Well, a long time ago, when I was a little girl.<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>You're going to read it for me. Every word. And I'm going to write it down. Start at the beginning.<\/dialogue>\n    <scene_description>As Carnegie hunts on his desk for a paper and pen , Claudia opens the book and trails her fingertips across the raised lettering . For a moment there is a glimmer of recognition . a faint smile . but then it fades as Carnegie turns back to her , eagerly clutching the writing materials .<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>I'm sorry. It's been so long. I do n't remember. I do n't remember any of it.<\/dialogue>\n    <scene_description>Carnegie is aghast . BEAT as the anger swells within him , threatening to explode .<\/scene_description>\n    <character>CARNEGIE<\/character>\n    <dialogue>God fucking dammit!<\/dialogue>\n    <scene_description>He swipes violently at the bible , knocking it out of Claudia 's hands . He grabs it up and tries to rip it in two , but it 's too thick to tear . Red - faced with rage , he tosses it out over the box balcony . It lands somewhere in the dark auditorium below , between the rows of gutted theater seats . As he paces angrily back past Claudia :<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>Bill, is there something -<\/dialogue>\n    <character>CARNEGIE<\/character>\n    <dialogue>Just go. Just get out of my sight.<\/dialogue>\n    <scene_description>He slumps in his chair , exhausted and furious . Claudia sadly turns and leaves him alone with his thoughts .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALCATRAZ - CAFETERIA - NIGHT<\/stage_direction>\n    <scene_description>Some considerable time later . Great stacks of paper have been filled with Lombardi 's handwriting . Lombardi 's pen races across the paper , struggling to keep up with Eli 's recitation . Solara is curled up on a nearby bench , asleep . Eli 's coat covering her to keep her warm . Eli clutches his wound painfully as he continues to recite . He looks paler now than ever . Close to death .<\/scene_description>\n    <character>ELI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Dear Lord, thank you for giving me the strength and the conviction to complete the task you entrusted to me. Thank you for guiding me straight and true, through the many obstacles in my path. And for keeping me resolute when all around seemed lost.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALCATRAZ - EXERCISE YARD - PRE-DAWN<\/stage_direction>\n    <scene_description>The prison yard shrouded in the dim light just before dawn . Solara crosses the yard . She looks more mature somehow . Determined and strong . She carries with her ELI 'S SWORD - and something else , tucked under her arm .<\/scene_description>\n    <character>ELI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Thank you for your protection and for your many signs along the way.<\/dialogue>\n    <scene_description>She stops in a nondescript corner of the yard . At her feet is a SHALLOW MOUND OF DIRT . At the head of the mound , a SIMPLE TOMBSTONE . She kneels and places a SINGLE FLOWER on the grave .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALLADIUM - CARNEGIE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Lit only by the pale moonlight , barely enough to see by . Carnegie sleeps soundly in bed . Next to him lies Claudia , wide awake . She checks that Carnegie is sound asleep , careful not to wake him before she creeps out of bed and exits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALLADIUM AUDITORIUM - NIGHT<\/stage_direction>\n    <scene_description>Claudia is on her hands and knees in the darkness , searching blindly in the aisles and beneath the theater seats . She finds Eli 's bible in some litter strewn on the floor .<\/scene_description>\n    <character>ELI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Thank you for the good that I have done. For whatever light you were able to shine into the darkness of this world through me.<\/dialogue>\n    <scene_description>Sitting in the darkness , Claudia opens the book and runs her fingers across the braille , reading . And though we can barely see in the dim light , we see the smile on her face . The joy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALCATRAZ - EXERCISE YARD - DAWN<\/stage_direction>\n    <scene_description>As Solara kneels by the grave , we see now that she wears Eli 's SAINT CHRISTOPHER PENDANT around her neck . The tombstone reads : HERE LIES ELIJAH STONE DIED AUGUST 21 , 2048 FAITHFUL SERVANT TO THE LORD AND FRIEND TO SOLARA She unsheathes Eli 's sword , plants it in the ground before his grave . Takes the BOOK from under her arm and opens it up . It 's a NEW BIBLE . Crudely typeset from Lombardi 's original transcription and printed on the prison press . She opens it up and begins to read a passage from the bible over Eli 's grave . We do n't hear what she says . As Solara finishes her reading and closes the bible , LOMBARDI appears behind her .<\/scene_description>\n    <character>LOMBARDI<\/character>\n    <dialogue>You know, you do n't have to leave. You're welcome to stay here with us. You'll be safe.<\/dialogue>\n    <character>SOLARA<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>She stands , pulling Eli 's sword from the earth .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>But I got ta do what I got ta do.<\/dialogue>\n    <character>LOMBARDI<\/character>\n    <dialogue>Where will you go?<\/dialogue>\n    <scene_description>BEAT . Solara looks at the sword , her fingers playing across its hilt . The blade glimmers in the light of the rising sun . There is a determined , purposeful look in her eye .<\/scene_description>\n    <character>SOLARA<\/character>\n    <dialogue>Home.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALCATRAZ ISLAND - DAWN<\/stage_direction>\n    <scene_description>The sun rises through the fog on the horizon . The great iron gates grind open . Solara emerges from inside the prison , steps out onto the island rock . She is dressed in a flak jacket , combat pants and boots . Eli 's old pack across her back . Hair tied in a neat pony tail . Atop that , Eli 's ragged fur hat .<\/scene_description>\n    <character>ELI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Thank you for the friend I made.<\/dialogue>\n    <scene_description>In her hand she clutches a copy of the newly - printed bible . Eli 's sword slung over her shoulder .<\/scene_description>\n    <character>ELI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Please watch over her as you watched over me.<\/dialogue>\n    <scene_description>MONTAGE as Solara walks back along Fisherman 's Wharf . through the San Francisco rubble . across the Golden Gate bridge .<\/scene_description>\n    <character>ELI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Thank you for allowing me finally to rest. I'm so very tired. The time of my departure is at hand and now I surrender my soul into your care, at peace in knowing that I have carried out your will. That I have done right with my time on this earth.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - DAY<\/stage_direction>\n    <scene_description>and finally back onto a desolate road leading off into the desert wasteland . She looks up and down the road , then turns and heads toward the sun on the horizon . Headed east .<\/scene_description>\n    <character>ELI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I have fought the good fight. I have finished the race.<\/dialogue>\n    <scene_description>As she walks away into the sun , her lonely silhouette on the road reminds us of Eli as we saw him so many times before .<\/scene_description>\n    <character>ELI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I have kept the faith.<\/dialogue>\n    <scene_description>She grows smaller and smaller as she walks into the distance , until she consumed by the rising sun and we<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Thirty years after a nuclear apocalypse, Eli travels on foot across the wasteland of the former United States. He demonstrates uncanny survival and fighting skills, hunting wildlife and defeating a group of marauders. Searching for water, he arrives in a ramshackle town ruled by a warlord named Carnegie, who seeks to control the people through the power of a certain book, which his henchmen have been unable to find. Eli barters with a store owner, the Engineer, to recharge the battery of his portable music player. At the town bar, he is attacked by a gang of bikers but swiftly kills them all. Impressed, Carnegie invites Eli to join his employ, but Eli declines. Realizing Eli is a literate man like himself, Carnegie forces him to stay the night under guard. After Carnegie's blind mistress Claudia brings Eli food and water, Carnegie orders her daughter Solara to seduce Eli, but he rebuffs her. Solara sees Eli has a book, and he offers to share his food, saying grace before they eat. In the morning, Carnegie overhears Solara repeat the prayer to her mother, and realizes Eli has the book he has been seeking \u2013 a Bible. Eli sneaks away, but Carnegie and his henchmen confront him in the street. When Eli refuses to give up the book, Carnegie orders him killed; the ensuing battle leaves Eli untouched, but many henchmen dead and Carnegie shot in the leg. Solara catches up to Eli and leads him to the town's water supply, hoping to accompany him on his travels, but he traps her inside and continues alone. Solara escapes and is ambushed by two bandits who attempt to rape her, but Eli reappears and kills them. Continuing toward the west coast, Eli explains his mission: his book is the last remaining copy of the Bible, as all other copies were intentionally destroyed following the nuclear war. He says that he was led to the book by a voice in his head, directing him to travel westward to a place it would be safe, and assuring that he would be protected and guided on his journey. At an isolated house, Eli and Solara fall into a trap but manage to allay the suspicions of the residents, George and Martha, who invite them in for tea. Realizing that the couple are cannibals, Eli and Solara attempt to leave just as Carnegie and his men arrive. In the ensuing shootout, George, Martha, and many of Carnegie's men are killed, and Eli and Solara are captured. Threatening to kill Solara, Carnegie forces Eli to surrender the Bible before shooting him and leaving him for dead, departing with his caravan. Solara escapes, destroying one truck with a hand grenade and driving back in another to find Eli. With his remaining vehicle low on fuel, Carnegie returns to town. Solara finds Eli, and they drive until they reach the Golden Gate Bridge, and row to Alcatraz Island, where they find a group intent on preserving what remains of literature and music. Eli tells the guards that he has a copy of the Bible. Taken inside, Eli is revealed to be blind, and dictates the New King James Version of the Bible from memory to Lombardi, the sanctuary\u2019s leader.In the town, the Engineer opens Eli\u2019s locked Bible, which Carnegie discovers is in Braille. Claudia, pretending she cannot remember how to read it, tells Carnegie that his leg wound has become infected and the loss of his enforcers has led the people to run amok. At the sanctuary, Eli has died, but not before reciting the entire book. A printing press begins producing copies of the Bible, and Lombardi places one on a bookshelf between the Tanakh and the Quran. Offered sanctuary, Solara chooses to return home, taking up Eli's machete and other possessions."}
{"movie_name":"Man on a Ledge_2012","imdb_id":"tt1568338","script":"<script>\n  <scene>\n    <scene_description>\"MAN ON A LEDGE\" By Pablo Fenjves Revisions by Chris Gorak Current Revisions by Erich Hoeber &amp; Jon Hoeber 10\/7\/10 - White Draft FADE IN:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 49TH STREET &amp; 6TH AVENUE - EARLY MORNING<\/stage_direction>\n    <scene_description>A bus stops, doors opening with a pneumatic HISS. A man exits and starts down the street. NICK CASSIDY is 35, with a determined gaze, strong and lean, clean shaven, wearing a rumpled suit. He could be a stockbroker or in sales; he has that tired but intense look.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOSEVELT HOTEL - ESTABLISHING<\/stage_direction>\n    <scene_description>Nick checks his watch, 6:23, then heads for the canopied entrance of this two tower, twenty-five story hotel in the heart of the city.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - LOBBY - CONTINUOUS<\/stage_direction>\n    <scene_description>A SLEEPY BELLHOP, 65, feeble, probably allowed to keep his job out of pity, sees Nick coming and opens the door wide. Nick nods, unsmiling as he enters. Several GUESTS sit in the plush marble lobby, reading the morning paper, sipping coffee. Nick heads for the front desk. The HOTEL MANAGER, 50 prepares for the morning crush.<\/scene_description>\n    <character>MANAGER<\/character>\n    <dialogue>Good morning, sir.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Morning. Last name's Walker.<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>Yes, Mr. Walker. Room 2105, East Tower. Great view.<\/dialogue>\n    <scene_description>He types a couple of codes into his computer.<\/scene_description>\n    <character>MANAGER<\/character>\n    <dialogue>We also have a larger unit available on the east side I can offer to you at the same price.<\/dialogue>\n    <scene_description>Nick shakes his head.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>I'll stick with the view.<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>He signals for the bellhop.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 2105 - DAY<\/stage_direction>\n    <scene_description>The bellhop enters, followed by Nick. It's a good-sized room with a set of large windows. The bellhop opens the curtains and adjusts the lights.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>What's your best Champagne?<\/dialogue>\n    <character>BELLHOP<\/character>\n    <dialogue>Bollinger '97, Vieille Vignes. The finest. Anything else, Sir?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 2105 - DAY<\/stage_direction>\n    <scene_description>Nick relaxes, champagne in a bucket, uncorked, a half eaten filet mignon, a plate of caviar. It's an over-the-top four- star breakfast. He pulls at a lobster tail, dips it in melted butter.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 2105 - BATHROOM - DAY<\/stage_direction>\n    <scene_description>Splashing water on his face, Nick takes a moment, staring himself down in the mirror. Thinking? Psyching himself up? Hard to tell, but it's intense.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 2105 - DAY<\/stage_direction>\n    <scene_description>Nick walks in from the bathroom with a hand towel and goes to work methodically wiping down everything he's touched: the card-key, table, chair, utensils. Moving to the desk, he methodically writes three lines. Leaving the note, he walks to the windows. The view is spectacular.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOM 2105 - CONTINUOUS<\/stage_direction>\n    <scene_description>High above the street. Nick stands framed head to toe in a window, looking out at the city for a long beat. He opens the window... Then steps out, onto the narrow ledge running around the building. The wind tousles his hair. Leaning slightly forward, Nick looks down at the stomach- tightening, ball-cinching view of the street 200 feet below. Twenty-one floors above certain death, he's poised to jump. Far below, a WOMAN SCREAMS. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRISON YARD - DAY<\/stage_direction>\n    <scene_description>WHACK! Nick, a prison inmate, bearded and unkempt, throws a hard elbow square into ANOTHER PRISONER'S face... ...sending a METAL SHANK chattering across concrete. A SECOND PRISONER grabs Nick from behind in a choke-hold as a THIRD PRISONER delivers gut-wrenching blows. The fight is sloppy and raw and real as Nick pushes back, sending himself and the guy on him falling into a rack of weights. CRACK! The first guy clobbers Nick with a weight bar SNAPPING his arm and knocking him down. He closes in for the kill, but Nick kicks him in the balls.<\/scene_description>\n    <character>SUPERED TITLE: SING SING CORRECTIONAL FACILITY, NEW YORK<\/character>\n    <dialogue>The third guy kicks Nick in the side, flipping him over, and the others surround him, kicking and stomping.<\/dialogue>\n    <dialogue>ALARMS SOUND and prisoners move to the edge of the yard.<\/dialogue>\n    <dialogue>Guards race in... but the only thing to see is Nick lying unconscious in a pool of blood.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NICK'S CELL - NIGHT<\/stage_direction>\n    <scene_description>Nick sits alone on his bed. He's got a cast on one arm, ugly bruises and swelling everywhere. He stares out at nothing: a million miles from freedom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON - INTERVIEW ROOM - DAY<\/stage_direction>\n    <scene_description>A female PRISON PSYCHIATRIST, 50, cold and detached, sits across from Nick, thumbing his file. Nick's still in the cast, but his wounds have healed a bit.<\/scene_description>\n    <character>PSYCHIATRIST<\/character>\n    <dialogue>So your final appeal has been denied, Mr. Cassidy.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>That's why I'm here.<\/dialogue>\n    <scene_description>Nick stares off blankly, trying to quell his emotion.<\/scene_description>\n    <character>PSYCHIATRIST<\/character>\n    <dialogue>Your old life is gone.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Not many men, let alone ex-cops, can handle a forty-year sentence.<\/dialogue>\n    <scene_description>Despair creeps across Nick's face.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Maybe I'm one of the ones who can't handle it.<\/dialogue>\n    <character>PSYCHIATRIST<\/character>\n    <dialogue>This is good. Recognizing you've lost hope is the first step toward accepting the reality of your situation.<\/dialogue>\n    <scene_description>He just stares off.<\/scene_description>\n    <character>PSYCHIATRIST<\/character>\n    <dialogue>Nick, have you ever considered hurting yourself?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Hurting? No. Killing? Every goddamned day.<\/dialogue>\n    <scene_description>She coldly scratches a note in his file.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NICK'S CELL - DAY<\/stage_direction>\n    <scene_description>An INMATE arrives outside Nick's cell with a cart of books. Nick returns one: \"The Psychology of Depression.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRISON YARD - DAY<\/stage_direction>\n    <scene_description>Nick steps out into the harsh light of the prison yard. The group that nearly killed him before stands across the way, eyeing Nick as a guard shoves him forward.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON - VISITATION ROOM - DAY<\/stage_direction>\n    <scene_description>PRISON GUARDS keep watch. PRISONERS speak to LOVED ONES across long steel tables. Nick waits at a table, hands cuffed in front of him, playing with a RUBIK'S CUBE. His cast is off now, but he's got a fresh black eye and bruises. He looks up. MIKE CAVANAUGH, 30s, sharply dressed in a suit and tie approaches to greet him.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Hey, Cass.<\/dialogue>\n    <scene_description>Nick takes in Mike's attire as he sits down.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Missed you, Mikey. Been awhile.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah, well. Getting married...<\/dialogue>\n    <scene_description>Nick smiles bitterly.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>I expect everyone else to dry up and blow away. Not you.<\/dialogue>\n    <scene_description>Mike looks away.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Hey. Look at me. It's not right I hear from someone else you made detective.<\/dialogue>\n    <scene_description>Mike gets it.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>It's hard for me, Cass, seeing you like this.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I know, Mikey.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Congratulations.<\/dialogue>\n    <scene_description>It's a nice moment, but then Mike turns serious.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Your brother called me.<\/dialogue>\n    <scene_description>Nick sets down the cube.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>He ask for money? I heard they lost the house.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Your dad is dying.<\/dialogue>\n    <scene_description>There it is, hard and ugly. Nick looks away, choked up.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>How long?<\/dialogue>\n    <scene_description>Mike shrugs. Not long.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I'll talk to the warden, make sure you get a day on the outside with no hassle.<\/dialogue>\n    <scene_description>Nick smiles grimly. He picks up the Rubik's Cube, turning it mindlessly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRISON YARD - DAY<\/stage_direction>\n    <scene_description>Nick jogs along the razor wire fence, head down, keeping to himself, burning through a rigorous routine. Suddenly a PRISON GUARD stands in his path. Nick stops, staring at the guy. He knows what's coming.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. SING SING PRISON - GATE - DAY<\/stage_direction>\n    <scene_description>A prisoner transport vehicle stands at inspection. A PRISON GUARD drives, racked shotgun beside him. In the cage in the back are another GUARD and Nick, who sits handcuffed to a steel rail, wearing his prison blues.<\/scene_description>\n    <character>PRISON GUARD #2<\/character>\n    <dialogue>Beautiful day.<\/dialogue>\n    <scene_description>The transport pulls away from the prison.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEDAR LAWN CEMETERY - SUNSET<\/stage_direction>\n    <scene_description>Set up against a set of train tracks, there's no rolling hills or shady trees here: just brown grass and fumes. Nick stands, hands cuffed before him, next to his brother, JOEY CASSIDY, 30, clean-shaven, a touch brainy with a youthful charm. Neither wants to be here. And neither wants to be standing next to the other. JOEY'S GIRLFRIEND, ANGIE, 24, holds Joey close, quiet and supportive. Later we'll get to know her as an ass-kicking, take-no-shit New York firecracker: down to earth and charming but emotional, the kind of woman you don't want to cross. Mike's there with his WIFE, looking slick compared to the rumpled older generation of MOURNERS who watch as FATHER LEO, 60, wraps it up.<\/scene_description>\n    <character>FATHER LEO<\/character>\n    <dialogue>...and when a good soul is taken from us, it can be hard to find reason to believe. But, having faith in God's promise -<\/dialogue>\n    <scene_description>Father Leo looks to Nick; his words are for him...<\/scene_description>\n    <character>FATHER LEO<\/character>\n    <dialogue>- and faith in yourself - is your one true ally.<\/dialogue>\n    <scene_description>Father Leo turns to bless FRANK CASSIDY'S CASKET hovering over the hole.<\/scene_description>\n    <character>FATHER LEO<\/character>\n    <dialogue>May God bless you, Frank Cassidy; you are truly free. Amen.<\/dialogue>\n    <scene_description>A brief round of Amens. Less than twenty feet away, the prison transport vehicle idles. Both prison guards stand at the ready. Nick and Joey say good-bye to his father's friends. Not allowed physical contact, Nick is scrutinized by the guards. The moment's surreal.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Thanks... Thank you....<\/dialogue>\n    <scene_description>Mike waits his turn, then approaches.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Cass. Sorry, man.<\/dialogue>\n    <scene_description>Nick nods.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>Thanks for coming, Mikey.<\/dialogue>\n    <scene_description>JANICE, Mike's wife, conservatively dressed but gorgeous, gives him a smile.<\/scene_description>\n    <character>JANICE<\/character>\n    <dialogue>It's nice to meet you, Nick. I've heard so much.<\/dialogue>\n    <scene_description>Mike hangs back with Nick as Janice moves on.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>You finally got a woman with all her teeth.<\/dialogue>\n    <scene_description>Mike grins.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Anyway I can help, you guys let me know.<\/dialogue>\n    <scene_description>He leans in, respecting the rules but too close for the guards' liking.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I'll be there. Okay?<\/dialogue>\n    <scene_description>Nick nods. Mike pats Joey on the shoulder as he walks away. Angie steps in and gives Nick a peck on the cheek.<\/scene_description>\n    <character>PRISON GUARD<\/character>\n    <dialogue>No contact!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I'm glad it's the pretty girl who broke the rules.<\/dialogue>\n    <scene_description>Angie smiles.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>You got the time?<\/dialogue>\n    <character>ANGIE<\/character>\n    <parenthetical>(checks her phone)<\/parenthetical>\n    <dialogue>Five twenty.<\/dialogue>\n    <scene_description>She kisses Joey and heads back to her car, leaving the brothers alone at the casket. Nick stares out, watching Mike and the other guests pulling out, heading back to their lives. A TRAIN WHISTLE sounds in the distance and Nick glances at the tracks with obvious displeasure.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>This the best you could do? View of the goddamned tracks?<\/dialogue>\n    <scene_description>The prison guards perk up at his tone.<\/scene_description>\n    <character>JOEY<\/character>\n    <parenthetical>(disgusted)<\/parenthetical>\n    <dialogue>You killed him the day you went to prison.<\/dialogue>\n    <scene_description>Nick smiles bitterly.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Cause I left him with a goddammed screw-up.<\/dialogue>\n    <scene_description>Joey burns with rage.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>My life ended the day you went down. College: gone. All I did is earn for your defense and dad's medical.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Yeah well, apparently not enough.<\/dialogue>\n    <scene_description>Joey explodes, swinging hard, hitting him in the face. Hands cuffed together, Nick clubs Joey across the jaw. Joey retaliates with a hard left-hook, knocking Nick down, then jumps on him throwing more punches.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>This is all your fault.<\/dialogue>\n    <scene_description>Nick manages to hit Joey again, slamming him to one side. The guards jump in, pulling them apart. Nick's dragged away, his hands still cuffed. Joey lunges for him again, but the second guard blocks him.<\/scene_description>\n    <character>PRISON GUARD #2<\/character>\n    <dialogue>Walk away!<\/dialogue>\n    <scene_description>Joey looks after Nick, still pissed, spits, and walks off. Nick stops struggling, taking a final look at his father's casket. The guard shoves him toward the truck.<\/scene_description>\n    <character>PRISON GUARD #1<\/character>\n    <dialogue>You're done. Let's go.<\/dialogue>\n    <scene_description>As Nick reaches the truck, he glances up the tracks as the train WHISTLE sounds again... ...then suddenly turns, swinging one arm over the guard, flicking open A SWITCHBLADE and jamming it against the guy's neck as he backs against the truck for protection. The second guard draws and aims, but he doesn't have a shot.<\/scene_description>\n    <character>PRISON GUARD #2<\/character>\n    <dialogue>Drop it!<\/dialogue>\n    <scene_description>Nick's blade is already digging deep, drawing blood...<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Stay back, Donnie.<\/dialogue>\n    <parenthetical>(to his hostage)<\/parenthetical>\n    <dialogue>Unlock 'em.<\/dialogue>\n    <character>PRISON GUARD #2<\/character>\n    <parenthetical>(into radio)<\/parenthetical>\n    <dialogue>This is three twelve, prisoner escape in progress at Cedar Lawn! He's got my partner, I need backup!<\/dialogue>\n    <scene_description>With shaking hands, guard #1 unlocks the cuffs... ...and Nick instantly pulls his Glock 22, putting it to his head.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Drop it! NOW!<\/dialogue>\n    <character>PRISON GUARD #2<\/character>\n    <dialogue>Take it easy, Cassidy.<\/dialogue>\n    <scene_description>He drops his weapon and raises his hands. Joey watches from a distance as Nick pushes the guards into the truck.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON TRANSPORT VEHICLE - CONTINUOUS<\/stage_direction>\n    <scene_description>Nick quickly cuffs the guards to the rail.<\/scene_description>\n    <character>PRISON GUARD #1<\/character>\n    <dialogue>You won't get far.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I don't plan to.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEDAR LAWN CEMETERY - CONTINUOUS<\/stage_direction>\n    <scene_description>Joey runs up as Nick hurries out of the truck.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>The hell are you doing?<\/dialogue>\n    <scene_description>Nick levels the Glock at his brother's head.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Keys.<\/dialogue>\n    <scene_description>The guards watch as he pushes Joey towards the parking lot.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - SUNSET<\/stage_direction>\n    <scene_description>Joey stands helpless as his brother unlocks his 4x4.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>You sure about this? There's no going back.<\/dialogue>\n    <scene_description>He glances at the far end of the cemetery where two police cars enter, then back over at the APPROACHING TRAIN.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Jumping in the truck, Nick peels out. Joey stands there staring after him as the two police cruisers blow past him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. JOEY'S TRUCK - DRIVING - CONTINUOUS<\/stage_direction>\n    <scene_description>Nick floors it, flying through the cemetery, eyeing the train and the cops. Breaking through a chain-link fence, he maneuvers the truck up the berm and across the tracks... ...as the train roars past, WHISTLE BLARING... ...cutting off the cruisers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EMPTY ROAD - SUNSET - ESTABLISHING<\/stage_direction>\n    <scene_description>Nick's truck flies down the road.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. JOEY'S TRUCK - DRIVING - CONTINUOUS<\/stage_direction>\n    <scene_description>One hand on the wheel, he goes through the glove-box. Coming up with a flip-blade knife, he cuts off his GPS ANKLE- BRACELET and tosses it out the window. Zipping open Joey's gym bag on the front seat, he rifles through it, gunning the truck faster. In the distance, far behind him, the lights of police pursuit rise. Nick eyes them drawing closer, then turns off on a side road, blowing past a sign that reads \"NO OUTLET.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WASTEWATER TREATMENT PLANT - ESTABLISHING<\/stage_direction>\n    <scene_description>This massive plant sprawls across hundred of acres: a maze of pipes and tanks.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WASTEWATER TREATMENT PLANT - SUNSET<\/stage_direction>\n    <scene_description>The 4x4 sits abandoned, as police cars pour in surrounding it, SCREECHING to a stop. Cops swarm out, guns ready. Nick could have gone any number of ways.<\/scene_description>\n    <character>COP<\/character>\n    <parenthetical>(into radio)<\/parenthetical>\n    <dialogue>Set a perimeter. He can't have gone far.<\/dialogue>\n    <scene_description>BOOM DOWN to REVEAL that he's standing on a manhole.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODED HILLSIDE - ACCESS DOORWAY - NIGHT<\/stage_direction>\n    <scene_description>This concrete-framed gated steel door set into this wooded hillside swings open and Nick emerges. Pulling on a coat from Joey's gym bag, he disappears into the night. BOOM UP to REVEAL a sea of blue and red flashing lights at the treatment plant a mile away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. MIKE'S SUV - MOVING - NIGHT<\/stage_direction>\n    <scene_description>Mike drives, Manhattan's skyscrapers visible up ahead. The freeway back into the city is thick with traffic. Janice touches up her make-up as Mike's phone RINGS.<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Cavanaugh.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT - EXT. CEDAR LAWN CEMETERY - NIGHT - CONTINUOUS<\/stage_direction>\n    <scene_description>Joey leans on a police car, the crime scene abuzz with activity behind him.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>It's Joey. Nick's escaped.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>Jacked the guards, took my truck.<\/dialogue>\n    <scene_description>Mike looks like he just got gut-punched.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Jesus.<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>I don't know what to do, Mike.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I got a guy with the Staties. Don't worry. I'll find him.<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Still stunned, Mike places the phone back on the dashboard.<\/scene_description>\n    <character>JANICE<\/character>\n    <dialogue>Everything okay?<\/dialogue>\n    <scene_description>He smiles.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Sure baby. Nothing I can't take care of.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STORAGE AREA - NIGHT - ESTABLISHING<\/stage_direction>\n    <scene_description>Elevated train tracks run above this fenced off area where several cargo containers have been placed for storage.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STORAGE AREA - NIGHT<\/stage_direction>\n    <scene_description>Hopping the fence, Nick spins the combination lock on a container and swings open the door. Grabbing an extension cord from inside, he climbs on top of the container, yanks the power cord from the roof of the next container, and plugs his in, lights flickering on.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARGO CONTAINER - NIGHT<\/stage_direction>\n    <scene_description>As Nick shuts the door, we see the place is filled with furniture, luggage, and labelled moving boxes: his old life. Nick sits, exhausted. Utterly spent. Then he sees a framed picture lying on one of the boxes. He picks it up revealing his DAD, JOEY and HIMSELF on a fishing trip from years ago: the three of them smiling. He sits there, thinking about the past. About what to do.<\/scene_description>\n    <character>SERIES OF SHOTS:<\/character>\n    <dialogue>Nick's got a suitcase open, shaving off his goatee and scruff. He wipes his face.<\/dialogue>\n    <dialogue>With a pair of scissors, he goes to work on his hair, cutting over the ears and off the collar.<\/dialogue>\n    <dialogue>Digging to the bottom of a coffee can of loose pennies, Nick pulls out a money clip of crisp cash.<\/dialogue>\n    <dialogue>He pulls a suit from a wardrobe box and starts changing: pants, shirt, a cheap Timex 1440 digital sports watch.<\/dialogue>\n    <dialogue>Finally he slips the 4x6 photo from the frame and pockets it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. BUS - EARLY MORNING<\/stage_direction>\n    <scene_description>Transformed, Nick rides into the city with the early-shift of working stiffs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 49TH STREET &amp; 6TH AVENUE - EARLY MORNING<\/stage_direction>\n    <scene_description>The bus stops, doors opening with a pneumatic HISS. Nick steps out. This is where we opened.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 47TH STREET - EARLY MORNING<\/stage_direction>\n    <scene_description>Nick walks along 47th, enjoying early morning serenity. The city is empty and calm: a rare moment before the insanity of eight million people begins again. This is the heart of the Diamond District, where virtually every sign and storefront here is a diamond or jewelry business. Nick pauses to check out his reflection in a store window: straightens his tie, tugs on his cuffs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 45TH STREET &amp; MADISON AVENUE - EARLY MORNING<\/stage_direction>\n    <scene_description>Nick stops walking and looks up at the Roosevelt Hotel... ...and the ledge 21 floors above the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOM 2105 - DAY<\/stage_direction>\n    <scene_description>Nick stands on the ledge as before, poised to jump, eyeing the street far below.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 45TH STREET - DAY<\/stage_direction>\n    <scene_description>A COP runs up the street towards the Roosevelt, looking up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIDTOWN NORTH PRECINCT - DAY<\/stage_direction>\n    <scene_description>A DESK SERGEANT relays commands over the radio.<\/scene_description>\n    <character>DESK SERGEANT<\/character>\n    <dialogue>I need ESU on scene at the Roosevelt on 45th. Shut down the block.<\/dialogue>\n    <parenthetical>(shouting out)<\/parenthetical>\n    <dialogue>Call Marcus: we got a man on a ledge.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 45TH STREET - DAY<\/stage_direction>\n    <scene_description>OFFICERS unload BARRICADES, slamming them into place, one after another. The street is closed. Onlookers are corralled at both ends of the block, out of harm's way.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - DAY<\/stage_direction>\n    <scene_description>Nick looks down, watching the rapidly expanding action.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 45TH STREET - DAY<\/stage_direction>\n    <scene_description>The swelling crowd parts as a FIRE TRUCK pulls in followed by a NYPD ESU CAR. DETECTIVE BOB DOUGHERTY gets out: 40, brash, self-confident, and New York Irish through and through. Dougherty and the firemen look at Nick 200 feet up.<\/scene_description>\n    <character>DOUGHERTY<\/character>\n    <dialogue>That'll make a mess.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 2105 - DAY<\/stage_direction>\n    <scene_description>The bellhop unlocks the door, allowing Dougherty to enter.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - CONTINUOUS<\/stage_direction>\n    <scene_description>Dougherty pokes his head outside, glancing down 21 gut- wrenching stories: Jesus. He looks over at Nick standing on the ledge, ten feet away, contemplating the abyss.<\/scene_description>\n    <character>DOUGHERTY<\/character>\n    <dialogue>Mr. Walker? Hang tight, okay? My name is Bob Dougherty and I'm here to help.<\/dialogue>\n    <scene_description>Nick just stares down at the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 45TH STREET - DAY<\/stage_direction>\n    <scene_description>DETECTIVE NATHAN MARCUS, 45, suit and tie, is the competent, intense, get-it-done man in charge: always in control and doesn't suffer fools. He heads into the Roosevelt trailed by two cops.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>I want mobile command here pronto. Keep the street locked up. Businesses too. And get more crowd control.<\/dialogue>\n    <parenthetical>(into walkie)<\/parenthetical>\n    <dialogue>Dougherty, report.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - LOBBY - CONTINUOUS<\/stage_direction>\n    <scene_description>Marcus points at the waiting manager as he sweeps into the hotel, crossing to the elevators.<\/scene_description>\n    <character>DOUGHERTY (V.O.)<\/character>\n    <dialogue>Jumper's mid-thirties, looks professional. He's not talking.<\/dialogue>\n    <character>MARCUS<\/character>\n    <parenthetical>(to the Manager)<\/parenthetical>\n    <dialogue>I need the doorman, bellhop, room service - anyone who had contact.<\/dialogue>\n    <scene_description>Marcus enters the elevator, presses \"21.\"<\/scene_description>\n    <character>MANAGER<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <scene_description>The doors close on him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 2105 - DAY<\/stage_direction>\n    <scene_description>Standing at the open window, Dougherty glances over as Marcus walks in. Out on the ledge, Nick checks his watch.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>I want a woman.<\/dialogue>\n    <scene_description>Dougherty pauses. This is a new one.<\/scene_description>\n    <character>DOUGHERTY<\/character>\n    <dialogue>Come inside, I'll get you whatever you like. Blonde? Brunette?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Officer Anderson. If she isn't here in 30 minutes, I'm jumping. You and I are done talking, Bob.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 2105 - CONTINUOUS<\/stage_direction>\n    <scene_description>Dougherty walks from the window, Marcus waiting.<\/scene_description>\n    <character>DOUGHERTY<\/character>\n    <dialogue>Ready for this? He wants Anderson. Says he's going over if he doesn't get her.<\/dialogue>\n    <scene_description>Marcus notes Nick's breakfast spread on the table.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>Last Supper?<\/dialogue>\n    <character>DOUGHERTY<\/character>\n    <dialogue>Not a good sign.<\/dialogue>\n    <scene_description>Marcus thinks it over. He points to the note on the desk.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>\"I will exit this world just like I entered - innocent. I'm going home.\"<\/dialogue>\n    <character>DOUGHERTY<\/character>\n    <dialogue>To the nut-house if he's lucky.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Get a print team in here. I want an ID.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And call Anderson.<\/dialogue>\n    <character>DOUGHERTY<\/character>\n    <dialogue>Seriously?<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>You'll back her up.<\/dialogue>\n    <character>DOUGHERTY<\/character>\n    <dialogue>Sure. Why not? Everyone loves a good train wreck.<\/dialogue>\n    <scene_description>Marcus walks out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LYDIA'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Sprawled on the bed in her underwear, LYDIA ANDERSON wakes from the sound of her RINGING phone. She's 30s. Beautiful. And a wreck. Lydia stumbles through the simple apartment, tripping over a half-empty vodka bottle. The place is nicely decorated, but a mess. There are family pictures: parents, brothers, many of them cops. Pulling the phone from under a pizza box, she answers.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Anderson.<\/dialogue>\n    <character>DOUGHERTY (V.O.)<\/character>\n    <dialogue>Christ, did I wake you up?<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Course not. Hold on.<\/dialogue>\n    <scene_description>Lowering the phone, she takes a beat to pull it together.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>What's up?<\/dialogue>\n    <character>DOUGHERTY (V.O.)<\/character>\n    <dialogue>You're up.<\/dialogue>\n    <scene_description>This is the last thing she expected.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>I'm not on the rotation.<\/dialogue>\n    <character>DOUGHERTY (V.O.)<\/character>\n    <dialogue>No shit. The Roosevelt. Right now.<\/dialogue>\n    <scene_description>CLICK. The line goes dead. She stands there, slightly lost, not sure what to do.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Crap.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - DAY<\/stage_direction>\n    <scene_description>Nick checks his watch. THE CROWD BELOW continues to grow. Cops clear a path allowing a TACTICAL MOBILE COMMAND CENTER truck to roll in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOBILE COMMAND CENTER - DAY<\/stage_direction>\n    <scene_description>Two POLICE TECHS sit before a huge array of communications equipment and video monitors as Marcus walks in.<\/scene_description>\n    <character>POLICE TECH #1<\/character>\n    <dialogue>We've got links with traffic control, the precinct, and the hotel.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Get cameras up. Where's my crime scene unit?<\/dialogue>\n    <character>POLICE TECH #2<\/character>\n    <dialogue>Almost here.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Anything on J. Walker?<\/dialogue>\n    <character>POLICE TECH #2<\/character>\n    <dialogue>We've got over six hundred of 'em in the city.<\/dialogue>\n    <character>POLICE TECH #1<\/character>\n    <dialogue>Fire Chief wants a word.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 45TH STREET - DAY<\/stage_direction>\n    <scene_description>ELENA OTERO MORALES, 40, with smoldering good looks, eyes the gathering crowd then looks up to Nick on the ledge. Her CAMERAMAN frames them up.<\/scene_description>\n    <character>ELENA MORALES<\/character>\n    <dialogue>Let's burn one.<\/dialogue>\n    <character>CAMERAMAN<\/character>\n    <dialogue>In 3... 2... 1...<\/dialogue>\n    <character>ELENA MORALES<\/character>\n    <dialogue>Unlucky in love? Victim of the Stock Market? A young man contemplates death. This is Elena Otero Morales reporting live from midtown...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE \/ 45TH STREET - DAY<\/stage_direction>\n    <scene_description>Nick watches the ESU TRUCK pull up. The Emergency Services Unit jumps to it, hauling out an INFLATABLE PAD. One hits a switch; the emergency airbag begins to inflate. 20' x 20' x 8'. From this height it's not much bigger than a postage stamp.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 45TH STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>The ESU guys beside the inflatable pad look up at Nick, a tiny speck twenty floors up.<\/scene_description>\n    <character>ESU #1<\/character>\n    <dialogue>Helluva a drop.<\/dialogue>\n    <character>ESU #2<\/character>\n    <dialogue>This ain't gonna help.<\/dialogue>\n    <scene_description>Cops push back the gathering crowd of construction workers, businesspeople, homeless, students: a cross-section of the entire city. A heavyset BEARDED GUY is annoyed.<\/scene_description>\n    <character>BEARDED GUY<\/character>\n    <dialogue>Don't shove me, man.<\/dialogue>\n    <scene_description>Behind him, Lydia steps out of a cab, completely transformed and looking totally professional. She stares up 21 floors at Nick. It's a hard, internal moment, seeing him, knowing that she's about to become responsible for this man's unraveling life.<\/scene_description>\n    <character>MARCUS (O.S.)<\/character>\n    <dialogue>Hey. You good to work?<\/dialogue>\n    <scene_description>She turns. He's right there with the Fire Chief.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Of course.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - LOBBY<\/stage_direction>\n    <scene_description>Stopped by the officer controlling the front door, she presents her badge.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Anderson.<\/dialogue>\n    <scene_description>At the announcement of her name it's like a hush ripples out, silence falling across the OFFICERS and EMERGENCY WORKERS filling the lobby. Head up, ignoring the dozens of pairs of eyes on her, Lydia crosses to the elevators, shoes CLIPPING loudly in the silence.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR - CONTINUOUS<\/stage_direction>\n    <scene_description>Hitting 21, she turns: every person in the room is staring at her as the doors roll closed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 2105 - CONTINUOUS<\/stage_direction>\n    <scene_description>Dougherty and a uniformed cop keep an eye on Nick.<\/scene_description>\n    <character>MARCUS (V.O.)<\/character>\n    <dialogue>Anderson's on her way up.<\/dialogue>\n    <character>DOUGHERTY<\/character>\n    <dialogue>Enter the Grim Reaper.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 21ST FLOOR CORRIDOR - MOMENTS LATER<\/stage_direction>\n    <scene_description>Dougherty waits outside the room as she heads up the hall.<\/scene_description>\n    <character>DOUGHERTY<\/character>\n    <dialogue>Welcome back.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Kiss my ass, Bob.<\/dialogue>\n    <character>DOUGHERTY<\/character>\n    <dialogue>He asked for you. By name.<\/dialogue>\n    <scene_description>She considers this.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>What's the scene?<\/dialogue>\n    <character>DOUGHERTY<\/character>\n    <dialogue>Suicide note. Name's Walker but we haven't made him yet. He's not talking except to say he's going off in...<\/dialogue>\n    <parenthetical>(checks watch)<\/parenthetical>\n    <dialogue>...one minute.<\/dialogue>\n    <scene_description>She turns off the ringer on her cell and enters the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 2105 - CONTINUOUS<\/stage_direction>\n    <scene_description>Lydia stops, taking in the room: food, note, made beds, empty luggage rack.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Did he ask for help?<\/dialogue>\n    <character>DOUGHERTY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Drunk?<\/dialogue>\n    <character>DOUGHERTY<\/character>\n    <dialogue>Don't know.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Attitude?<\/dialogue>\n    <character>DOUGHERTY<\/character>\n    <dialogue>No dialogue.<\/dialogue>\n    <scene_description>She studies Nick from behind as he leans against the sealed window: posture, stance, attitude.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - CONTINUOUS<\/stage_direction>\n    <scene_description>Nick checks his watch. 8:41 AM.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 45TH STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>A handful of REPORTERS and PHOTOGRAPHERS stand against the barricades photographing Nick and getting street interviews.<\/scene_description>\n    <character>ANGRY TRAFFIC GUY<\/character>\n    <dialogue>Anyone who creates this much traffic in midtown should be killed!<\/dialogue>\n    <scene_description>Elena Morales and her cameraman look up at Nick.<\/scene_description>\n    <character>ELENA MORALES<\/character>\n    <dialogue>He jumps soon, we'll make evening news in London.<\/dialogue>\n    <character>CAMERAMAN<\/character>\n    <dialogue>I give him an hour.<\/dialogue>\n    <character>ELENA MORALES<\/character>\n    <dialogue>I'll take the under.<\/dialogue>\n    <character>CAMERAMAN<\/character>\n    <dialogue>Twenty bucks?<\/dialogue>\n    <scene_description>She smiles. It's on.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. ROOM 2105 \/ LEDGE - DAY<\/stage_direction>\n    <scene_description>Two CSI TECHS dust for prints as Dougherty looks on. Lydia eyes the remains of Nick's breakfast, then glances at the techs working.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>You process this yet?<\/dialogue>\n    <character>CSI TECH<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>She helps herself to some fries. Then she sets her cell phone by the TV, and puts in an ear- piece attached to her radio. Taking a breath, she moves to the window and leans out.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Mr. Walker? I'm Detective Lydia Anderson. I understand you asked for me.<\/dialogue>\n    <scene_description>For the first time, Nick turns. She stands there: quiet, non- threatening, attractive.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Did you know part of Asia Minor was once called Lydia?<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Do we know each other?<\/dialogue>\n    <scene_description>He shakes his head. She settles comfortably onto the window frame.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>What brings us out here today?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Aside from the view?<\/dialogue>\n    <scene_description>She smiles. But then he steps forward, standing rigid, toes just off the lip of the ledge.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Trust me, this gazing into the abyss stuff isn't a good idea.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Today is the day everything changes. One way or another.<\/dialogue>\n    <scene_description>He pins her with an unwavering gaze, bringing every fiber of his soul to bear.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>I am prepared to die. It's very important that you understand.<\/dialogue>\n    <scene_description>She nods.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Tell me.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>I understand.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>That's all for now.<\/dialogue>\n    <scene_description>He turns away, expecting her to go. She doesn't.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Why me?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Because you were with that jumper on the bridge last month and he died with the whole world watching.<\/dialogue>\n    <scene_description>This cuts right to her core: she's stunned, frozen into silence. Turning from the window, she finds Dougherty smiling at her.<\/scene_description>\n    <character>DOUGHERTY<\/character>\n    <dialogue>Excellent work. Very impressive.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Clear the room.<\/dialogue>\n    <character>DOUGHERTY<\/character>\n    <dialogue>Now hold on...<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>My scene. My room. I want space. Now!<\/dialogue>\n    <scene_description>Dougherty gives her a look as the techs file out.<\/scene_description>\n    <character>DOUGHERTY<\/character>\n    <dialogue>This is on you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMAND CENTER - DAY<\/stage_direction>\n    <scene_description>All the screens are now up showing a long-lensed view of Nick, plus wider views of the crowd, the street, and the Roosevelt, plus some TV feeds. Putting down a phone, a police techs turns to Marcus.<\/scene_description>\n    <character>POLICE TECH #2<\/character>\n    <dialogue>We're getting a lot of static from the store owners.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>The street stays locked up 'til I say so. I don't want this poor bastard falling on someone.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. ROOM 2105 \/ LEDGE - DAY<\/stage_direction>\n    <scene_description>Lydia takes a seat on the window again, watching Nick standing with his eyes closed, turned away, mumbling. Sensing something, he opens his eyes, sees her, and stops.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Are you praying?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>My father died.<\/dialogue>\n    <scene_description>He holds up the picture from storage of him with Joey and their dad.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>You have family?<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Parents. Three brothers.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>With three brothers, how do you end up a cop?<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>They're cops too. I was the rebel who got a degree and went into private practice.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Leather couch, matching chair, Miro lithograph?<\/dialogue>\n    <scene_description>She smiles.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Chagall.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>It was dull as hell. Now I'm here.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Any regrets?<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Sure. Things happen. We make plans, God laughs.<\/dialogue>\n    <scene_description>Nick pauses, keeping his emotions in check.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>You have a lot of friends on the force?<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Enough.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Not many I bet. No women in the Boy's Club.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>You got something against cops?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODED HILLSIDE - ACCESS DOORWAY - DAY - CLOSE ON<\/stage_direction>\n    <scene_description>Mike. Showered and sharply dressed, he's all energy as he paces while keeping an eye on the scene behind him where Nick escaped from the wastewater treatment plant. Officers put up police tape as detectives scour the area and a K-9 unit hunts around.<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Nothing at JFK? How about the border?<\/dialogue>\n    <scene_description>One of the detectives catches Mike's eye and shakes his head. Mike gives him a nod of acknowledgement.<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>(lowers his voice)<\/parenthetical>\n    <dialogue>Tom, I want you to reach out to everyone we know. Let's keep this internal. I want to find him first. Run everything you get through me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 21ST FLOOR CORRIDOR - DAY<\/stage_direction>\n    <scene_description>Dougherty and the techs are standing in the hall when suddenly the room door opens. Dougherty straightens up as Lydia gets in his face.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Can you do your job or do you need to go?<\/dialogue>\n    <character>DOUGHERTY<\/character>\n    <dialogue>Look, Lydia...<\/dialogue>\n    <character>LYDIA<\/character>\n    <parenthetical>(pointing)<\/parenthetical>\n    <dialogue>I'm primary. You're secondary. You're here to support me. In or out: nothing in between.<\/dialogue>\n    <scene_description>Dougherty looks her over icily as the Techs watch stunned, waiting to see what's going to happen.<\/scene_description>\n    <character>DOUGHERTY<\/character>\n    <dialogue>I'll do my job.<\/dialogue>\n    <scene_description>She turns and walks back into the room, leaving the door open behind her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - ENGLANDER'S OFFICE - DAY<\/stage_direction>\n    <scene_description>DAVID ENGLANDER, 50s, confident and serene, wearing a five thousand dollar suit, stands at a wall safe, strapping on a gold Brequet Classique 3137, then grabs a pair of massive emerald cuff-links while he talks on a headset.<\/scene_description>\n    <character>ENGLANDER<\/character>\n    <dialogue>I'll tell you what, Monica. I'll host a dinner for the gold circle donors. Use my name. Whatever you need. I mean, it's the children's wing.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Hell, in this economy, it's the least I can do. Of course. Bye.<\/dialogue>\n    <scene_description>An ASSISTANT has appeared in the background with a well- dressed 40-year-old Connecticut WASP.<\/scene_description>\n    <character>ASSISTANT<\/character>\n    <dialogue>Mr. Henry is here, sir.<\/dialogue>\n    <scene_description>Englander closes the safe and walks through his massive open office in the 22nd floor of the Roosevelt, where architectural models of different developments are laid out on tables.<\/scene_description>\n    <character>ENGLANDER<\/character>\n    <dialogue>What do you want, Ted?<\/dialogue>\n    <scene_description>The man smiles nervously at Englander's approach.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>I couldn't do it...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I've dealt with the planning commission, but the councilman... it's too much of a risk for me.<\/dialogue>\n    <scene_description>Ted sets a Cartier box on Englander's desk. Englander stares at it.<\/scene_description>\n    <character>ENGLANDER<\/character>\n    <dialogue>The hell is that?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>It's a gift... I'm sorry.<\/dialogue>\n    <scene_description>Englander opens the box, looks at the Pasha watch, and hurls it against the wall... WHAM!<\/scene_description>\n    <character>ENGLANDER<\/character>\n    <dialogue>I don't need a fucking watch, Ted! I need you to do the job you agreed to do!<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>David...<\/dialogue>\n    <character>ENGLANDER<\/character>\n    <dialogue>The job that by not doing you are fucking me and my partners in a way that cannot be unfucked by some pathetic gesture in a red box which does absolutely nothing but make you feel better!<\/dialogue>\n    <scene_description>I...:<\/scene_description>\n    <character>ENGLANDER<\/character>\n    <dialogue>Tell me it's done.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Please...<\/dialogue>\n    <scene_description>TELL ME IT'S FUCKING DONE!:<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>(breaking)<\/parenthetical>\n    <dialogue>Sure, David. It's done.<\/dialogue>\n    <character>ENGLANDER<\/character>\n    <dialogue>Thanks for the watch.<\/dialogue>\n    <scene_description>He watches Ted turn and leave as his assistant appears.<\/scene_description>\n    <character>ASSISTANT<\/character>\n    <dialogue>We've had to push the presentation thirty minutes: there's a jumper on the building and they closed 45th.<\/dialogue>\n    <scene_description>Englander checks the time on his Breguet, exasperated.<\/scene_description>\n    <character>ENGLANDER<\/character>\n    <dialogue>Why can't people just shoot themselves in the head?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Go push him off.<\/dialogue>\n    <scene_description>The assistant freezes, unsure what to do.<\/scene_description>\n    <character>ASSISTANT<\/character>\n    <dialogue>The police are supervising the situation, sir.<\/dialogue>\n    <scene_description>He grins.<\/scene_description>\n    <character>ENGLANDER<\/character>\n    <dialogue>You'd do it? I love that.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Get out of here. You disgust me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - DAY<\/stage_direction>\n    <scene_description>Nick looks over with a bemused smile.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>You're way prettier than I thought you'd be.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Are you flirting with me?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>What? You're telling me that never comes up in your line of work?<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Not too often. Most suicidal people have other things on their minds.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOBILE COMMAND CENTER - DAY<\/stage_direction>\n    <scene_description>The bellhop is here, talking to Marcus.<\/scene_description>\n    <character>BELLHOP<\/character>\n    <dialogue>He gave me a hundred dollar tip on a two-forty tab. Imagine that?<\/dialogue>\n    <character>POLICE TECH #1<\/character>\n    <dialogue>Two hundred forty bucks for breakfast?<\/dialogue>\n    <character>BELLHOP<\/character>\n    <dialogue>It is the most important meal of the day.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Anything else unusual?<\/dialogue>\n    <character>BELLHOP<\/character>\n    <dialogue>He's got honest eyes. You can tell a lot about a man by his eyes.<\/dialogue>\n    <scene_description>Marcus glances at the TELEVISION FEED, which now has a closer view of Nick taken from another building, but it's still difficult to see him clearly. Marcus's radio crackles and we...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT - INT. ROOM 2105 - DAY<\/stage_direction>\n    <character>DOUGHERTY<\/character>\n    <dialogue>Marcus, get this. Techs didn't find a single print up here.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>DOUGHERTY<\/character>\n    <dialogue>He wiped everything down.<\/dialogue>\n    <scene_description>Marcus taps his finger, stressed. This isn't adding up.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>Tell Anderson.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. LEDGE - DAY<\/stage_direction>\n    <scene_description>Dougherty hands Lydia a note. She reads it and glances over at Nick who's staring off across the street.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Why don't you want us to know who you are?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I can't talk about that yet.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>But you will?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Maybe.<\/dialogue>\n    <scene_description>Nick moves to the lip of the ledge, looking down, feeling what it's going to be like to go over. On the street below, the crowd CHEERS. Lydia watches Nick balanced exactly on the brink; the thinnest hair away from death. She speaks calmly but emotionally: connecting, controlling.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Those people down there don't care about you. They want you to jump. It's why they watch. But I care.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Wouldn't that be amazing? If you actually did?<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>What's so crazy about that?<\/dialogue>\n    <scene_description>Lydia pulls out a pack of cigarettes. Shaking one out, she lights it, takes a drag and looks over, offering... Nick glances at his watch, smiles.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>No thanks.<\/dialogue>\n    <scene_description>He studies her: a cool girl just sitting there, relaxed and approachable, like it was a cafe and not a ledge.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>I need someone I can count on. I'm hoping that could be you. Odds are this is my last hurrah.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>It doesn't have to be that way. It's your choice.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Maybe. But it might be yours.<\/dialogue>\n    <character>LYDIA<\/character>\n    <parenthetical>(pointed)<\/parenthetical>\n    <dialogue>What you mean by that?<\/dialogue>\n    <character>DOUGHERTY (O.S.)<\/character>\n    <dialogue>Anderson. You should see this.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 2105 - CONTINUOUS<\/stage_direction>\n    <scene_description>Looking inside, Lydia sees Dougherty watching the news on TV. RECORDED FILE FOOTAGE. High on the Brooklyn Bridge, a 17 YEAR OLD BOY, illuminated by spotlights, threatens to jump... ...as LYDIA tries to talk the kid down.<\/scene_description>\n    <character>ELENA MORALES (V.O.)<\/character>\n    <dialogue>In breaking news we have just received a tip that the negotiating officer here at the Roosevelt is Lydia Anderson, from last month's tragic incident on the Brooklyn Bridge...<\/dialogue>\n    <scene_description>The boy heads in towards Lydia, as though he's coming down, then stops, smiles, turns away and jumps. People SCREAM. A C.U. of Lydia FILLS THE FRAME, eyes wide in horror...<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>I hate that bitch.<\/dialogue>\n    <character>DOUGHERTY<\/character>\n    <dialogue>Everyone loves a celebrity.<\/dialogue>\n    <scene_description>Lydia grabs the remote and clicks off the TV.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>This guy left no traces: no credit card, no prints. Who does that?<\/dialogue>\n    <character>DOUGHERTY<\/character>\n    <dialogue>Someone with a history.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Exactly. Get some people on mug shots. Start with white collar stuff, but do the boroughs too: his accent says Queens.<\/dialogue>\n    <scene_description>She looks out at Nick, standing there praying.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Something is going on.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 46TH &amp; 5TH AVENUE - DAY<\/stage_direction>\n    <scene_description>Out of a sea of New Yorkers, we find a guy in a black hoodie and a girl in sunglasses coming down the street. It's Joey and Angie.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>We're here, we're here, we're here. Don't freak out.<\/dialogue>\n    <scene_description>And we REVEAL he's talking into a radio with...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT - EXT. LEDGE - CONTINUOUS<\/stage_direction>\n    <scene_description>...Nick, who's wearing a tiny ear jack and throat mic hidden in his collar.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>You're late!<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>Midtown's totally grid-locked.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Yeah. And you're the one person in Manhattan who knew it would be!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT - INT. ACCESS BUILDING - FOYER - CONTINUOUS<\/stage_direction>\n    <scene_description>Joey and Angie head into a building, striding through the foyer.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Overnight timelocks go down in two minutes.<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>Relax. Everything's in place.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Everything but you.<\/dialogue>\n    <character>JOEY<\/character>\n    <parenthetical>(to Angie)<\/parenthetical>\n    <dialogue>He's big and good looking, but kind of high strung. Used to puke before games.<\/dialogue>\n    <scene_description>Joey and Angie step into an elevator...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ACCESS BUILDING - ELEVATOR - CONTINUOUS<\/stage_direction>\n    <scene_description>...and hit the button for the top floor. Angie takes the walkie from Joey as they ride up.<\/scene_description>\n    <character>ANGIE<\/character>\n    <parenthetical>(into comm)<\/parenthetical>\n    <dialogue>How you doing way up there?<\/dialogue>\n    <character>NICK (V.O.)<\/character>\n    <dialogue>I ever tell you us Cassidys are afraid of heights?<\/dialogue>\n    <character>ANGIE<\/character>\n    <dialogue>Seriously?<\/dialogue>\n    <character>NICK (V.O.)<\/character>\n    <dialogue>Just tell Joey to calm down. I can see his leg shaking from here.<\/dialogue>\n    <scene_description>Joey stops bouncing his leg, caught without even being seen. Angie smiles. DING. The elevator reaches the top floor and Joey leads the way out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 45TH STREET - DAY<\/stage_direction>\n    <scene_description>ELENA MORALES stands in front of the ever-growing crowd.<\/scene_description>\n    <character>ELENA MORALES<\/character>\n    <dialogue>Someone in this country commits suicide every seventeen minutes.<\/dialogue>\n    <character>ELENA MORALES<\/character>\n    <dialogue>That's eighty people a day; thirty thousand a year. But rarely does it unfold in such a spectacular fashion...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ACCESS BUILDING - ROOF - DAY<\/stage_direction>\n    <scene_description>Joey takes a ladder lying on the roof, puts it up against the taller building next to it, and leads the way up.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>Hey, you see me?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - CONTINUOUS<\/stage_direction>\n    <scene_description>Nick looks across the street at an eighteen story building: \"ENGLANDER JEWELRY EXCHANGE.\" Secured to the roof is a BLUE CONSTRUCTION TARP: \"24-Hour Roof Repair.\" And just beyond it is Joey, peeking over the back of the roof.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Don't worry, everyone's looking at me.<\/dialogue>\n    <scene_description>He watches as Joey, then Angie climb onto the roof and duck underneath the blue tarp.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT - EXT. JEWELRY EXCHANGE - ROOF - UNDER TARP -<\/stage_direction>\n    <character>CONTINUOUS<\/character>\n    <dialogue>Two black duffel bags and assorted gear are already here, stacked up and ready to go.<\/dialogue>\n    <dialogue>Crouching under the tarp, Joey and Angie pull on headsets, throat mics, and gloves.<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>I heard on the news that they're still searching the water treatment plant for you.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Couldn't have gone better.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You could have pulled your punches a little.<\/dialogue>\n    <scene_description>Joey smiles at this.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>What can I say? It's been a rough couple years.<\/dialogue>\n    <scene_description>Nick checks his watch.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Ten seconds...<\/dialogue>\n    <scene_description>Joey notices Angie touching up her lipstick.<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Five...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JEWELRY EXCHANGE - CONTINUOUS<\/stage_direction>\n    <scene_description>Automated steel-gates behind the front doors slide open revealing a small foyer and a sign: \"ENGLANDER JEWELERS, 15TH FLOOR\". Another layer of metal gates on the street side remains chained shut, two heavy-duty locks around the door handles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELECTRICAL ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>TIGHT ON the computerized central alarm-system. Numbers jump and dance. A light blinks twice with a piercing BEEP. Lights go green. The first layer of security, deactivated.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - CONTINUOUS<\/stage_direction>\n    <character>NICK<\/character>\n    <dialogue>Night locks should be deactivated.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JEWELRY EXCHANGE - ROOF - UNDER TARP - CONTINUOUS<\/stage_direction>\n    <scene_description>Joey studies a web page printout, then looks at where the concrete roof has been drilled and several small charges are placed in a circle. Joey screws two wires to a small plastic box and slides a mattress over the charges.<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>This gonna work?<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>My friend the Internet thinks so.<\/dialogue>\n    <scene_description>His leg's shaking again.<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>I'm scared too.<\/dialogue>\n    <scene_description>He stops what he's doing and turns to her.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>I have to do this: it's family, but you...<\/dialogue>\n    <scene_description>She puts a finger on his lips.<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>Hey. I love you.<\/dialogue>\n    <scene_description>Joey smiles.<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>Besides you'd probably screw this up without me.<\/dialogue>\n    <scene_description>His smile dies.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>Nobody's screwing anything up.<\/dialogue>\n    <character>ANGIE<\/character>\n    <dialogue>Because I got your back.<\/dialogue>\n    <scene_description>She kisses him and they bunker down, sliding in ear protection.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>It's your show, bro.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - CONTINUOUS<\/stage_direction>\n    <scene_description>Nick looks down at the crowd as Lydia reappears at the window.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Look at all those people with nothing better to do.<\/dialogue>\n    <scene_description>Lydia looks down.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Can't disappoint them.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Three, two, one...<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Jesus. DON'T!<\/dialogue>\n    <scene_description>Nick steps off... ...but jerks back at the last second, tottering on the brink... A LOUD COLLECTIVE ROAR rips across the crowd...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JEWELRY EXCHANGE - ROOF - UNDER TARP - CONTINUOUS<\/stage_direction>\n    <scene_description>...as Joey presses the button on the electrical detonator. WHUMP. A muted explosion, further muted by the ROARING CROWD. Dust and debris fill the narrow confines. Joey and Angie cover their faces, coughing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 45TH STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>A cop turns toward the sound, but everyone's staring at the ledge. The cop can't help but look up, too.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - CONTINUOUS<\/stage_direction>\n    <scene_description>Nick catches himself, recovers, and backs up against the wall with relief: that was more realistic than he'd planned. Across the street a small cloud of dust floats from under a corner of the blue construction tarp. Lydia's stunned, trying to let go of the panic of almost losing another one.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Take a breath... You okay?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I've never felt more alive.<\/dialogue>\n    <scene_description>She shakes her head, at a loss.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Do me a favor. Embrace that for a moment.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JEWELRY EXCHANGE - ROOF - UNDER TARP - CONTINUOUS<\/stage_direction>\n    <scene_description>Joey waves at the dust. The canvas tarp undulates gently above his head. Angie climbs higher on the roof arriving at a newly blasted hole. She unrolls a rope ladder, hooking it on a pipe and lowering it into the darkness. Joey shoulders a heavy duffel bag and leads the way down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JEWELRY EXCHANGE - ELEVATOR SHAFT ACCESS ROOM - DAY<\/stage_direction>\n    <scene_description>Angie descends the ladder with a smaller bag, joining Joey in this dust-filled room. Joey shines a flashlight revealing they're at the top of an ELEVATOR SHAFT with the elevator visible three stories below.<\/scene_description>\n    <character>JOEY<\/character>\n    <parenthetical>(into radio)<\/parenthetical>\n    <dialogue>We're in.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - DAY<\/stage_direction>\n    <scene_description>Nick checks his watch, 9:15. Then looks over at Lydia.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Maybe I will have that cigarette now.<\/dialogue>\n    <scene_description>Feeling her pockets, she comes up with the pack and shakes out the last one.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Last one. Mind if we share?<\/dialogue>\n    <scene_description>He nods and she lights it and drags. Standing up, she braces herself against the window frame, stretching out... ...as Nick leans across the ledge with a careful lunge and takes it. THE CROWD BELOW \"oohs\" and \"aahs.\" Nick takes a drag.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>I can imagine how it must have felt after that kid jumped. Cops are so superstitious. Third straight loss? I bet they ran from you like the plague. Nicknames. Jokes. And then when they suspend you, you realize everyone you thought was your friend is actually relieved.<\/dialogue>\n    <scene_description>She's angry, but keeps it in check.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>You're a clever guy.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>But you never quit. A year ago you did 68 hours straight in that hostage negotiation down on Fulton. Got everyone out.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>How come you know so much about me?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Because you and I have a lot in common.<\/dialogue>\n    <scene_description>She eyes him, considering this.<\/scene_description>\n    <character>LYDIA<\/character>\n    <parenthetical>(re: cigarette)<\/parenthetical>\n    <dialogue>You mind?<\/dialogue>\n    <scene_description>Nick stretches, handing it back to her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 2105 - CONTINUOUS<\/stage_direction>\n    <scene_description>Lydia walks from the window.<\/scene_description>\n    <character>DOUGHERTY<\/character>\n    <dialogue>Since when do you smoke?<\/dialogue>\n    <scene_description>Lydia hands the butt to the CSI Tech.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>See if you can get a partial.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BROOKLYN POLICE PRECINCT - DAY - ESTABLISHING<\/stage_direction>\n    <scene_description>Mike pulls up and bounds up the steps.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROOKLYN POLICE PRECINCT - DUTY ROOM - DAY<\/stage_direction>\n    <scene_description>Mike makes his way past COPS and DETECTIVES as a TELEVISION blares in the b.g.<\/scene_description>\n    <character>ELENA MORALES (V.O.)<\/character>\n    <dialogue>There's a Code Red travel advisory for midtown. But we've yet to get a name for the man on the ledge.<\/dialogue>\n    <character>COP #1<\/character>\n    <dialogue>Bet it's a woman, drove him up there.<\/dialogue>\n    <character>COP #2<\/character>\n    <dialogue>It's money. Women jump for love. Men jump for money. Frickin economy.<\/dialogue>\n    <scene_description>Something about this catches Mike...<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Where is that?<\/dialogue>\n    <character>COP #2<\/character>\n    <dialogue>The Roosevelt.<\/dialogue>\n    <scene_description>Mike goes cold.<\/scene_description>\n    <character>INSERT: LONG LENS VIDEO SHOT OF NICK.<\/character>\n    <dialogue>Most people wouldn't be able to tell who it is, but Mike has no doubt.<\/dialogue>\n    <character>MIKE<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>Christ.<\/dialogue>\n    <scene_description>He glances at the other cops: they have no idea. Mike hits the exit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - DAY<\/stage_direction>\n    <scene_description>Nick stands studying the photo of his dad.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>It's okay to mourn our losses. The pain will get better.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Is it getting better in your life?<\/dialogue>\n    <scene_description>She smiles.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>I'm a terrible example. But then again, I'm not on a ledge.<\/dialogue>\n    <scene_description>Nick can't help but smile. She's totally endearing... Suddenly a NEWS HELICOPTER roars into view, banking towards the ledge. Nick's buffeted by the high winds, grabbing the side of the building as the chopper ROARS closer. Pissed, Lydia grabs her walkie.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Get that chopper out of here before I shoot out its goddammed rotor!<\/dialogue>\n    <scene_description>Nick holds on for all he's worth, but the wind rips the photo from his hand. He scrambles after it, almost going over as it flutters away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR SHAFT - DAY<\/stage_direction>\n    <scene_description>Joey stands on top of the elevator with the bags, watching Angie smoothly rappelling down the shaft.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - DAY<\/stage_direction>\n    <scene_description>Chopper gone, Nick turns back, regaining his balance as she looks at him worried.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Are you okay?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>I'm sorry about that.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You want to tell me about your dad? What he was like?<\/dialogue>\n    <scene_description>Thinking it over, Nick smiles with genuine affection.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>He used to say, \"Being on the tightrope is living; everything else is waiting.\"<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>He always stuck by me. No matter what.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR SHAFT - DAY<\/stage_direction>\n    <scene_description>Joey pops the elevator's top hatch and slowly peers into the blackness. Upside-down, he sees a SECURITY CAMERA. Reaching in, he quickly covers the camera lens with a BLACK LENS CAP.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR - CONTINUOUS<\/stage_direction>\n    <scene_description>Joey lowers himself through the hatch into the elevator, landing softly. The lights flicker on as the motion sensor activates.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FIRST LINE SECURITY - CONTINUOUS<\/stage_direction>\n    <scene_description>A small high-end security operation with hi-tech equipment and uniformed personnel. Security officer, SAM CHO, 30, sits in front of a large bank of monitors. We see numerous angles inside Englander's, however the monitors for ELEVATORS 1 through 4 remain all black... ...although there's a little light at the edge of #2. Cho gives the monitor a tap. Nothing happens, but he doesn't seem worried.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR - CONTINUOUS<\/stage_direction>\n    <scene_description>Angie hands Joey the duffles, then drops down through the hatch. She opens the \"OTIS ELEVATOR\" CONTROL PANEL on the wall revealing a KEY PAD.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>Five, one, six, something... hold on.<\/dialogue>\n    <scene_description>He digs in his pocket for a scrap of paper. Angie punches a code into the KEY PAD.<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>Five, one, six, double two, star.<\/dialogue>\n    <scene_description>Joey's surprised.<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>Otis override. You'd sit trapped for hours in the Bronx if you didn't know that.<\/dialogue>\n    <scene_description>He just smiles and shakes his head. Angie pushes \"15\" and the elevator descends.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 45TH STREET - DAY<\/stage_direction>\n    <scene_description>The street's still blocked off, with crowds at either end. All the businesses remain closed.<\/scene_description>\n    <character>COP<\/character>\n    <parenthetical>(into bullhorn)<\/parenthetical>\n    <dialogue>45th Street between 5th and Madison is closed indefinitely. Cross town detour use 49th.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 2105 - CONTINUOUS<\/stage_direction>\n    <scene_description>Dougherty sidles up to Lydia at the window.<\/scene_description>\n    <character>DOUGHERTY<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>He's a textbook case... but there's something off. It's like he's waiting for something.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - RECEPTION AREA - DAY<\/stage_direction>\n    <scene_description>Joey and Angie cautiously peek out of the elevator into the well-appointed reception area.<\/scene_description>\n    <character>JOEY<\/character>\n    <parenthetical>(into radio)<\/parenthetical>\n    <dialogue>Just arrived, fifteenth floor.<\/dialogue>\n    <scene_description>They carefully hug the wall. Joey steals a glance around the corner, spotting a SECURITY CAMERA covering the room. Angie pulls a skateboard out of the duffle-bag. Joey unrolls a seven foot long sheet of cardboard with a marbled pattern painted on it. Joey lies on the skateboard as Angie unfolds the cardboard onto his back, making sure it's perfectly flat. It's been painted to exactly match the marble flooring and as the CAMERA MOVES from PROFILE to LOOKING DOWN on him, it's almost magical as he disappears.<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>Looks good.<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>Launch.<\/dialogue>\n    <scene_description>She gives him a gentle push and he glides smoothly into the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FIRST LINE SECURITY - CONTINUOUS<\/stage_direction>\n    <scene_description>On one of Cho's monitors WE SEE Joey move through a SECURITY CAMERA FRAME... but it's just the slightest ripple as he blends into the floor, almost invisible. Cho's working on a Twinkie, glued to a TELEVISION with another \"man on a ledge\" update from Elena Morales.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - DAY<\/stage_direction>\n    <scene_description>Nick watches the crowd below. People sit on cars and hang from lampposts. Some have folding chairs.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Gotta love New York.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>I think it's time you told me what's really going on here.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>I've worked a lot of scenes. I've never seen a jumper wipe his prints.<\/dialogue>\n    <scene_description>Nick studies her, thinking it over.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>You've never wanted to just escape your past? Be someone else?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - RECEPTION AREA\/HALLWAY TURN - DAY<\/stage_direction>\n    <character>SERIES OF SHOTS:<\/character>\n    <dialogue>Joey, stands at this 90 degree turn in the corridor, flush against the wall beneath two security cameras that are pointed down each hallway. He holds a point-and-shoot camera above his head near one security camera, duplicating its view and - CLICK - takes the picture. A tiny inkjet printer prints the photo. Joey hangs the photo - in a wire frame - in front of one of the cameras.<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>Okay. Clear.<\/dialogue>\n    <scene_description>Angie peeks around the corner.<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>How can you be sure that looks right on the monitors?<\/dialogue>\n    <scene_description>Joey steps in front of the camera and breaks into a terrible and embarrassing dance.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>Because the alarms aren't ringing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FIRST LINE SECURITY - DAY<\/stage_direction>\n    <scene_description>Cho goes for his second Twinkie. The reception area camera displays just the empty hallway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - MAIN HALLWAY - DAY<\/stage_direction>\n    <scene_description>Moving past the cameras, Joey and Angie cautiously make their way down the main corridor. Joey raises a hand, stopping.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>Hold on. There's something new.<\/dialogue>\n    <scene_description>Halfway down the hall is a DEVICE mounted on the ceiling. Joey pulls out a small pair of binoculars and studies it.<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>Let me see.<\/dialogue>\n    <scene_description>She takes the binoculars from him and peers at the device.<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>Back up. Back up. It's an infrared sensor.<\/dialogue>\n    <scene_description>She pulls him back.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>It is? How do you know?<\/dialogue>\n    <character>ANGIE<\/character>\n    <parenthetical>(lying)<\/parenthetical>\n    <dialogue>I just... read about it somewhere.<\/dialogue>\n    <scene_description>Joey gives her a look.<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>Do we have to talk about this now?<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>That depends on what we're talking about.<\/dialogue>\n    <character>ANGIE<\/character>\n    <dialogue>Okay, look, when I was in high school, I used to sometimes - you know - break into houses.<\/dialogue>\n    <scene_description>Joey stares at her, stunned.<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>Really expensive houses. But then I got caught and I stopped.<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>You were a thief?<\/dialogue>\n    <character>ANGIE<\/character>\n    <dialogue>No! Mostly I just watched cable and tried on clothes.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Unless the clothes fit.<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>Jesus Christ, Angie! The whole point of stealing this diamond is that we're NOT criminals! You know how this could look?<\/dialogue>\n    <character>ANGIE<\/character>\n    <dialogue>Don't yell at me! You probably would've set that thing off!<\/dialogue>\n    <scene_description>Joey's steamed, but he decides to let it go for now.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>Nick, we got something wasn't here three weeks ago. Little black bulb thing on the ceiling.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - DAY<\/stage_direction>\n    <scene_description>Nick listens, trying to see it in his head, but Lydia's talking to him...<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>I want you to visualize something positive. If this wasn't going on, if you could be anywhere, what would you be doing?<\/dialogue>\n    <character>JOEY (V.O.)<\/character>\n    <dialogue>Angie thinks it's a heat sensor.<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(to Joey and Lydia)<\/parenthetical>\n    <dialogue>I'm thinking.<\/dialogue>\n    <parenthetical>(to Lydia)<\/parenthetical>\n    <dialogue>Maybe we'd be having coffee.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Come on. You can do better than that. Something to really live for.<\/dialogue>\n    <scene_description>He looks over at her.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Scratch coffee. We'd have a four star dinner and a couple great bottles of wine.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>That's a little better.<\/dialogue>\n    <character>JOEY (V.O.)<\/character>\n    <dialogue>Talk to me, Nick. Not the girl.<\/dialogue>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>Is she hot?<\/dialogue>\n    <scene_description>O.S. We HEAR Angie SMACK him.<\/scene_description>\n    <character>JOEY (V.O.)<\/character>\n    <dialogue>Ow!<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(to Joey and Lydia)<\/parenthetical>\n    <dialogue>Oh yeah.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>What else?<\/dialogue>\n    <scene_description>Nick, thinking, remains quiet.<\/scene_description>\n    <character>JOEY (V.O.)<\/character>\n    <dialogue>Yo Nick? Nicholas? Nicky? Hey, numbnuts.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Sometimes I freeze up.<\/dialogue>\n    <character>JOEY (V.O.)<\/character>\n    <dialogue>Okay. How do I do that?<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Freeze up?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>It's like all my hopes are extinguished.<\/dialogue>\n    <character>JOEY (V.O.)<\/character>\n    <dialogue>Extinguished.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>It's like all the oxygen just got sucked out of the room and I just got sprayed with CO2.<\/dialogue>\n    <scene_description>Lydia's a little confused by this turn in the conversation.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>That sounds like a horrible feeling.<\/dialogue>\n    <character>ANGIE (V.O.)<\/character>\n    <dialogue>Fire extinguisher! CO2 fire extinguisher!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>JOEY (V.O.)<\/character>\n    <dialogue>Copy that.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>But then sometimes I know everything's going to be okay. You just have to keep moving, because time is running out for all of us.<\/dialogue>\n    <character>JOEY (V.O.)<\/character>\n    <dialogue>I hear you, lover-boy. Just take it easy with the poetry there. It's a little gay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - MAIN HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Joey pulls a CO2 fire extinguisher off the wall. He fires a long blast at the sensor, approaching quickly, Angie directly behind him, carrying the bags. Closing in, Joey hoses it down, frosting the sensor up with ice condensing on it as they hurry past.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - CONTINUOUS<\/stage_direction>\n    <character>LYDIA<\/character>\n    <dialogue>Why is time running out for you?<\/dialogue>\n    <scene_description>Nick checks his watch.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Because that print you pulled off our cigarette is about to come through.<\/dialogue>\n    <scene_description>Lydia looks at him in surprise.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STORAGE AREA - DAY<\/stage_direction>\n    <scene_description>Mike glances left, glances right, then cuts the lock off Nick's container with bolt cutters.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARGO CONTAINER - DAY<\/stage_direction>\n    <scene_description>Pulling on latex gloves, Mike looks around, noting Nick's shaving stuff and prison clothes. Rifling through the place, he finds a stack of papers Nick left: mechanical drawings of a building, electrical schematics.<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>(realizing)<\/parenthetical>\n    <dialogue>Son of a bitch.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - MAIN HALLWAY - DAY<\/stage_direction>\n    <scene_description>Joey peeks around the corner with a small hand-held mirror revealing the VAULT HALLWAY with STEEL DOOR at the end. On the ceiling in front of the door is a MOTION DETECTOR. Joey turns back as Angie a takes small Styrofoam ice chest from their bag, painting its rim with rubber cement.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>Slow and steady.<\/dialogue>\n    <scene_description>She nods and steps into the hall, moving super slowly. Smooth and even, she starts up the hall, focused on the motion sensor and its little green light.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOBILE COMMAND CENTER - DAY<\/stage_direction>\n    <scene_description>Police Tech #1 tears off a printout and hands it to Marcus.<\/scene_description>\n    <character>POLICE TECH #1<\/character>\n    <dialogue>Got a hit on Anderson's print.<\/dialogue>\n    <scene_description>Marcus studies the paper, stunned.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>Get a tactical team here now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 2105 - DAY<\/stage_direction>\n    <scene_description>Lydia stands with Dougherty away from the windows.<\/scene_description>\n    <character>MARCUS (V.O.)<\/character>\n    <dialogue>Your boyfriend's an escaped convict. Nick Cassidy. Was doing hard time in Sing Sing.<\/dialogue>\n    <scene_description>Lydia is more pissed than surprised, eyeing Nick through the windows.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>The cop from Midtown North, who stole the forty-million dollar diamond from David Englander.<\/dialogue>\n    <character>DOUGHERTY<\/character>\n    <dialogue>I knew I recognized him.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Englander owns this hotel. His offices are here.<\/dialogue>\n    <character>MARCUS (V.O.)<\/character>\n    <dialogue>And his Jewelry Exchange is directly across the street.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Get his police file over here. I want a line on family. And have someone to toss his cell ASAP.<\/dialogue>\n    <character>DOUGHERTY<\/character>\n    <parenthetical>(on the suicide note)<\/parenthetical>\n    <dialogue>\"I will exit... like I entered. Innocent.\"<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>He wants us to think he didn't do it.<\/dialogue>\n    <character>DOUGHERTY<\/character>\n    <dialogue>Good luck with that.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>What escaped felon returns to the scene of the crime?<\/dialogue>\n    <character>DOUGHERTY<\/character>\n    <dialogue>Suicidal ones.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Who'd he ride with?<\/dialogue>\n    <character>MARCUS (V.O.)<\/character>\n    <dialogue>Mike Cavanaugh.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. CARGO CONTAINER - DAY<\/stage_direction>\n    <scene_description>Mike pours gasoline over the contents of the container, pausing to answer his RINGING cell.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Cavanaugh.<\/dialogue>\n    <scene_description>He listens for a moment, then takes a breath, prepping his performance.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Jesus. I can't believe it. How's he doing?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT - INT. ROOM 2105 - CONTINUOUS<\/stage_direction>\n    <character>LYDIA<\/character>\n    <dialogue>He's playing it very cool. Like this is all some sort of game.<\/dialogue>\n    <scene_description>Mike considers this, worried.<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>He always insisted he was innocent.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>You believe that?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Look, he was my partner for eight years. I stood by him... but, you know...<\/dialogue>\n    <scene_description>She absorbs this, watching Nick, considering.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>You think he'd jump?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>He's got nothing to lose. I'm on my way.<\/dialogue>\n    <scene_description>Hanging up, he throws a match, walking away as an inferno ERUPTS behind him, framing him in flames.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - VAULT HALLWAY - DAY<\/stage_direction>\n    <scene_description>Beneath the motion sensor, Angie slowly raises the ice chest, sticking it to the ceiling around the motion sensor.<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>We're clear!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FIRST LINE SECURITY - DAY<\/stage_direction>\n    <scene_description>Sitting before his monitors, Cho picks up the RINGING phone.<\/scene_description>\n    <character>CHO (V.O.)<\/character>\n    <dialogue>First Line Security. This is Cho.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT - INT. MOBILE COMMAND CENTER - DAY<\/stage_direction>\n    <character>MARCUS<\/character>\n    <dialogue>This is Detective Marcus from over at the Roosevelt. You work for me today. I need you to open Englander's shop. Right now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - VAULT HALLWAY - DAY<\/stage_direction>\n    <scene_description>Joey and Angie stand in front of the impenetrable, STEEL REINFORCED DOOR with a CODED COMPUTER-LOCK. Joey's studying schematic diagrams of the building as Angie breaks down the bags, spreading their gear across the floor. Joey traces his finger from an air-conditioning vent in the ceiling - protected by a dozen thick steel bars - down to the wall below.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>It's right... here.<\/dialogue>\n    <parenthetical>(like a surgeon)<\/parenthetical>\n    <dialogue>Chisel.<\/dialogue>\n    <scene_description>Angie hands him a chisel and Joey carefully pries off the wood paneling exposing cast concrete. Taking a sledge hammer, he starts pounding away at the wall sending chips of cement flying everywhere.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - LUXURIOUS CONFERENCE ROOM - DAY<\/stage_direction>\n    <scene_description>Four wealthy INVESTORS sit at the table, flipping through copies of a PROSPECTUS. Englander faces them, supremely confident, flashing a million dollar smile.<\/scene_description>\n    <character>ENGLANDER<\/character>\n    <dialogue>Gentlemen. Welcome.<\/dialogue>\n    <scene_description>All eyes on him.<\/scene_description>\n    <character>ENGLANDER<\/character>\n    <dialogue>The Bayside parcel. The chance to raze a blighted neighborhood and replace it with high-end condos, shopping, restaurants. Its proximity to the city...<\/dialogue>\n    <character>WEALTHY INVESTOR #1<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>We've looked at Bayside. There's fierce local opposition, trouble with the planning commission...<\/dialogue>\n    <character>ENGLANDER<\/character>\n    <dialogue>The question isn't who will let me, it's who will stop me. Every man builds the world in his own image, does he not?<\/dialogue>\n    <scene_description>He smiles.<\/scene_description>\n    <character>ENGLANDER<\/character>\n    <dialogue>So imagine for a moment that those obstacles were to disappear.<\/dialogue>\n    <character>WEALTHY INVESTOR #1<\/character>\n    <dialogue>Than I imagine I would be very interested.<\/dialogue>\n    <character>ENGLANDER<\/character>\n    <dialogue>They've all come around to seeing things our way.<\/dialogue>\n    <scene_description>A beat as this sinks in.<\/scene_description>\n    <character>WEALTHY INVESTOR #2<\/character>\n    <dialogue>You can guarantee that?<\/dialogue>\n    <character>ENGLANDER<\/character>\n    <dialogue>The deal is done. All you have to do is decide if you're in or out.<\/dialogue>\n    <scene_description>The Investors are impressed. Suddenly the ASSISSTANT enters, WHISPERING in Englander's ear.<\/scene_description>\n    <character>ASSISSTANT<\/character>\n    <dialogue>They've ID'd the jumper.<\/dialogue>\n    <character>ENGLANDER<\/character>\n    <parenthetical>(annoyed)<\/parenthetical>\n    <dialogue>So what?<\/dialogue>\n    <character>ASSISSTANT<\/character>\n    <dialogue>It's Nick Cassidy.<\/dialogue>\n    <scene_description>Englander considers this, evenly. He's furious, but keeps it together, smiling for the investors.<\/scene_description>\n    <character>ENGLANDER<\/character>\n    <dialogue>Gentlemen, I'll give you a few moments.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - DAY<\/stage_direction>\n    <scene_description>Lydia reappears at the window.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Nick Cassidy, convicted felon.<\/dialogue>\n    <scene_description>Nick looks over.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Pleased to meet you.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Your commander's probably sending a team across the street to check on things right now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT - INT. ENGLANDER JEWELERS - VAULT HALLWAY -<\/stage_direction>\n    <character>CONTINUOUS<\/character>\n    <dialogue>Joey freezes in front of the hole he's widening in the wall which exposes a VENTILATION DUCT. He's covered in concrete dust, and the huge mess is everywhere.<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>What? We're not ready yet!<\/dialogue>\n    <scene_description>They burst into panicked action: Angie frantically sweeping up the mess as Joey replaces the wooden panel over the hole.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>You having fun, jerking my chain? You think you can manipulate me?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>No. But I thought, maybe, when it came to this moment, you of all people might listen to what I have to say.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>You overestimate me.<\/dialogue>\n    <scene_description>Nick holds her gaze.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Two years ago I took a moonlighting gig; \"Escort David Englander up to Chappaqua with the Monarch Diamond.\" Yesterday, I was doing forty years for stealing it. But today I'm going to rewrite history. And you're going to help.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>You're nuts.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>You're a good cop, remember? You care.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>I talked to your partner. He thinks you did it.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>David Englander set me up.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>You should have played it smart and bolted, Nick. You could've been in Mexico sipping tequila on a beach.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Cracking the FBI's Most Wanted list isn't freedom.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>And sitting on a ledge smiling for the TV cameras is?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>No one's gonna shoot me with their grandmother watching.<\/dialogue>\n    <scene_description>Lydia considers. He's got a point.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Maybe you should tell me what your plan is.<\/dialogue>\n    <scene_description>He looks at her.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>It's real simple. I'm not going back to prison. Either I prove my innocence today. Or I jump.<\/dialogue>\n    <scene_description>She weighs this. Inside the room, Dougherty gestures for Lydia's attention.<\/scene_description>\n    <character>DOUGHERTY<\/character>\n    <dialogue>Marcus wants you downstairs to talk about this.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - MAIN HALLWAY - DAY<\/stage_direction>\n    <scene_description>Angie sprays the infra-red sensor with the CO2 again, and puts the fire extinguisher away as Joey lugs their bags back across the floor piling them beneath the cameras.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - CONTINUOUS<\/stage_direction>\n    <scene_description>Nick looks down, spotting Cho from First Line Security, his partner and TWO COPS moving past the barricades and onto the empty street.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Here they come. Party of four.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - VAULT HALLWAY - DAY<\/stage_direction>\n    <scene_description>Dashing back, Joey and Angie arrive at the steel door. Joey places something up under the privacy hood of the steel door's electronic keypad, then runs up the hall.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>We need more time, Nick!<\/dialogue>\n    <character>NICK (V.O.)<\/character>\n    <dialogue>Roger that.<\/dialogue>\n    <scene_description>Alone, Angie takes a breath, slowly pulls the Styrofoam ice chest from the ceiling motion detector, and begins the excruciatingly long walk up the hall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 45TH STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>Cho's team crosses toward the Jewelry Exchange.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - CONTINUOUS<\/stage_direction>\n    <scene_description>Nick pulls a couple grand in two thick stacks of five dollar bills from his jacket... ...and tosses the money off the ledge. Hundreds of bills flutter through the air towards the empty street below.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 45TH STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>The crowd stares up at the fluttering bits of paper drifting down the street, unsure what they're seeing.<\/scene_description>\n    <character>BEARDED GUY<\/character>\n    <dialogue>What is that?<\/dialogue>\n    <character>OLD LADY<\/character>\n    <dialogue>It's money!<\/dialogue>\n    <scene_description>A ROAR rises from the crowd. Police back up, raising their arms trying to contain everyone... ...but the CROWD rushes forward, knocking down barricades and spilling into the street in front of the hotel, trying desperately to catch the fluttering bills. Cho and the cops get overrun, the crowd blocking their way into the Jewelry Exchange.<\/scene_description>\n    <character>ELENA MORALES<\/character>\n    <dialogue>I kinda love this guy!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - MAIN HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Beside the cameras, just out of sight of the elevators, Joey has a ceiling panel opened up, desperately stuffing their gear up into the ceiling.<\/scene_description>\n    <character>JOEY<\/character>\n    <parenthetical>(calling out)<\/parenthetical>\n    <dialogue>How you doing babe?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - VAULT HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Dripping sweat from concentrated effort, Angie continues her agonizingly slow trek up the hall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOBILE COMMAND CENTER - DAY<\/stage_direction>\n    <scene_description>Two cops escort Englander inside the mobile command center.<\/scene_description>\n    <character>ENGLANDER<\/character>\n    <dialogue>Who's in charge?<\/dialogue>\n    <scene_description>Marcus turns, unflappable as always.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>That would be me.<\/dialogue>\n    <character>ENGLANDER<\/character>\n    <dialogue>What is that sonofabitch doing up on my building?<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>I don't know, Mr. Englander. But I can assure you the situation is under control.<\/dialogue>\n    <scene_description>Englander almost laughs, looking at Marcus like he's an idiot.<\/scene_description>\n    <character>ENGLANDER<\/character>\n    <dialogue>Have you looked outside?<\/dialogue>\n    <scene_description>Marcus regards him icily.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>Is there something specific I can do for you?<\/dialogue>\n    <character>ENGLANDER<\/character>\n    <dialogue>I want access to my floor of the Jewelry Exchange.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>We're already working with First Line.<\/dialogue>\n    <character>ENGLANDER<\/character>\n    <dialogue>And I want that thief off my building!<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>We have procedures.<\/dialogue>\n    <character>ENGLANDER<\/character>\n    <dialogue>He's a policeman. He knows your procedures! You're letting him manipulate you.<\/dialogue>\n    <scene_description>Marcus is done being pushed.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>Cassidy isn't going anywhere except back into custody or splat on 45th.<\/dialogue>\n    <character>ENGLANDER<\/character>\n    <dialogue>Wrap this up, or tomorrow you're sucking fumes on a parking scooter in Staton Island.<\/dialogue>\n    <scene_description>Englander exits, leaving Marcus staring coldly after him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ENGLANDER JEWELERS - DAY<\/stage_direction>\n    <scene_description>Cho, his partner, and the cops make it through the crowd to the gated door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - CONTINUOUS<\/stage_direction>\n    <scene_description>Nick watches as they enter the building.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>They're inside.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - VAULT HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Angie continues her walk: she's only half-way up the hall. She's never going to make it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - ELEVATOR - CONTINUOUS<\/stage_direction>\n    <scene_description>Cho and his team ride up in the elevator.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - MAIN HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Joey jumps for the ceiling, catches it, and pulls himself up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - RECEPTION AREA - DAY<\/stage_direction>\n    <scene_description>DING! The elevator (not Joey and Angie's) rolls open revealing Cho and his team, but Cho stops the cops from exiting, and dials his phone.<\/scene_description>\n    <character>CHO<\/character>\n    <dialogue>Disarm fifteen, hallway.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Ok. We're clear.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - MAIN HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Joey listens to them as he hangs upside-down in the ceiling.<\/scene_description>\n    <character>JOEY<\/character>\n    <parenthetical>(whisper into radio)<\/parenthetical>\n    <dialogue>Go!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - VAULT HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Angie breaks into a sprint, rounding the corner...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - MAIN HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>...running all-out as...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - RECEPTION AREA\/HALLWAY TURN -<\/stage_direction>\n    <character>CONTINUOUS<\/character>\n    <dialogue>...Cho and the cops stride forward.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - MAIN HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Angie jumps and Joey catches her wrists, pulling her up into the ceiling, her feet disappearing... ...as Joey yanks the pictures from the security cameras... ...just as Cho and the cops round the corner... ...and stride up the empty hall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - VAULT HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Cho and the cops arrive at the steel door.<\/scene_description>\n    <character>CHO<\/character>\n    <dialogue>This is where Englander entertains the high-rollers.<\/dialogue>\n    <scene_description>He enters a long combination sequence into the KEYPAD.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - CEILING - CONTINUOUS<\/stage_direction>\n    <scene_description>Joey and Angie lie side by side, surrounded by their gear... ...watching a hand-held monitor with a view from the tiny camera Joey placed under the keypad hood. ...as Joey scrawls the combination on his arm.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - VAULT HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>The door CLICKS open with a HUM.<\/scene_description>\n    <character>CHO<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Disarm the vault room.<\/dialogue>\n    <scene_description>He pulls open the incredibly thick steel door...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - MAIN SAFE ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>This well appointed inner sanctum is impressive: wood floors, Persian carpets, Modernist paintings, a well stocked wet-bar, leather chairs and felt-covered tables for handling jewels. There's also an enormous steel safe along one wall. Cho holds everyone at the door.<\/scene_description>\n    <character>CHO<\/character>\n    <dialogue>The floor's wired with seismic sensors. And over there we have light sensors and body heat sensors. And that's before you ever get to the safe.<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>No one's getting into that beast.<\/dialogue>\n    <scene_description>Cho swings the door closed and they head back out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - MAIN HALLWAY - DAY<\/stage_direction>\n    <scene_description>Cho dials his cellphone, pausing as it connects.<\/scene_description>\n    <character>CHO<\/character>\n    <dialogue>It's Cho. Englander's is clear, Detective.<\/dialogue>\n    <scene_description>Overhead, ice on the heat sensor slowly melts. A couple drops of water have already landed at Cho's feet. A WATER DROPLET gathers, hanging precariously, ready to drop.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT - INT. COMMAND CENTER - CONTINUOUS<\/stage_direction>\n    <character>MARCUS<\/character>\n    <dialogue>Good. I don't need that sonofabitch crawling any further up my ass.<\/dialogue>\n    <scene_description>The water droplet falls... just missing Cho as he starts forward.<\/scene_description>\n    <character>CHO<\/character>\n    <dialogue>Roger that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 45TH STREET - DAY<\/stage_direction>\n    <scene_description>The TACTICAL VAN pulls up next to the Command Center and a bunch of commandos start unloading equipment.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOBILE COMMAND CENTER - CONTINUOUS<\/stage_direction>\n    <scene_description>Lydia is already here with Marcus as BAUER, the tactical commander walks in.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>Welcome to the show, Bauer.<\/dialogue>\n    <character>BAUER<\/character>\n    <dialogue>I understand this is a fugitive situation.<\/dialogue>\n    <scene_description>Marcus nods.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>Where are we at?<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>I think he really believes that he's innocent.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Yeah? What's that make him?<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Either an honest man or a sociopath.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>He ain't an honest man. Can you get him off the dammed ledge?<\/dialogue>\n    <scene_description>She considers.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Yeah. He likes me.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Get back up there and make it happen.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - CEILING\/MAIN HALLWAY - DAY<\/stage_direction>\n    <scene_description>Joey opens the panel, peeks out, and drops to the ground.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>So other than being a thief, is there anything else you haven't told me?<\/dialogue>\n    <scene_description>WHAM! The big bag hits him in the face, hard. She drops down beside him.<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>You know, you're really starting to chafe me. You don't want to know everything. Nobody does.<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>Sure I do.<\/dialogue>\n    <character>ANGIE<\/character>\n    <dialogue>Boyfriends? Girlfriends? Best sex of my life?<\/dialogue>\n    <scene_description>Joey winces.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>Okay! Stop!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. MIKE'S SUV - DRIVING - DAY<\/stage_direction>\n    <scene_description>Mike drives like a madman through midtown. Traffic is a mess.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOSEVELT HOTEL - DAY<\/stage_direction>\n    <scene_description>Long lens type shot of HOTEL GUESTS leaning out of the windows, craning for a view of Nick. PAN OVER to see Nick, high up on the ledge.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 45TH STREET - DAY<\/stage_direction>\n    <scene_description>People in the crowd stare up, rapt. A carnival atmosphere has taken hold. STREET VENDORS are doing a brisk business in hotdogs and popcorn. A SAXOPHONE PLAYER is playing on the corner.<\/scene_description>\n    <character>OLD ORTHODOX JEW<\/character>\n    <dialogue>He should think of his poor mother.<\/dialogue>\n    <character>OLDER ORTHODOX JEW<\/character>\n    <dialogue>That's probably why he's up there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 45TH STREET - DAY<\/stage_direction>\n    <character>ELENA MORALES<\/character>\n    <dialogue>The Monarch Diamond was first owned by Charles II, the last King of the House of Hapsburg. It was held by the Englander family for three generations until it was stolen by the man on the ledge, Nick Cassidy, who's said to have cut it into untraceable pieces and sold it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - VAULT HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Joey pulls off the wood panel revealing the rough hole... ...and the exposed ventilation duct.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - ENGLANDER'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Englander paces on his headset.<\/scene_description>\n    <character>ENGLANDER<\/character>\n    <dialogue>Because you're the goddammed Mayor, that's why. I want you to get your cops to scrape this turd off my building!<\/dialogue>\n    <character>MAYOR (V.O.)<\/character>\n    <dialogue>David, you're upset, but it's not like they can just shoot him off. Look, I'll call and apply some pressure.<\/dialogue>\n    <scene_description>Englander angrily breaks the connection, and walks to his bar, pouring a short one, and looking out the window... ...across the way at Nick on the ledge.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - DAY<\/stage_direction>\n    <scene_description>Nick watches Cho, Cho's partner and the two cops leave the Exchange. Lydia reappears at the window.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Tactical is on scene. Your time up here is ticking away.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Everything you think you know about me is wrong.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Englander didn't steal his own diamond.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>When someone like him is suddenly out of money, greed begets corruption.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>He's loaded. He parlayed his father's jewelry business in to a real estate empire.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Yeah, and after I drove him up to Chappaqua, he stood there smiling while two masked guys pulled me out of the car and knocked my lights out.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>No one believes that.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Not even my own lawyer.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>They found diamond chips in your shirt.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>The Monarch never left Englander's hands; he'd never part with it. It's the ultimate symbol of his success.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>So what did he have to gain?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>He was broke. Lost thirty million with Lehman. And at least another twenty in the real estate bust.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Two weeks after my conviction, Lloyd's of London wired him a forty- million dollar insurance claim. Poof. He's back.<\/dialogue>\n    <scene_description>Lydia weighs it.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Why put it on you?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I could never prove it, but the two guys who clobbered me were cops.<\/dialogue>\n    <character>LYDIA<\/character>\n    <parenthetical>(disturbed)<\/parenthetical>\n    <dialogue>How could you know?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>The way they carried themselves. You'd have known. Any cop would've.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 45TH STREET - DAY<\/stage_direction>\n    <scene_description>Mike arrives on scene, flashing his detective's badge and crossing the barricade.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOBILE COMMAND CENTER - DAY<\/stage_direction>\n    <scene_description>Hurrying in, Mike's stunned at the views of Nick on screen. Marcus turns to face him.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>How is he?<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Anderson hasn't killed him yet.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Talking?<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Some. But I'm getting a lot of pressure to end this.<\/dialogue>\n    <scene_description>A uniformed COP enters with a blue folder.<\/scene_description>\n    <character>COP<\/character>\n    <dialogue>I've got some papers from his cell in Sing Sing.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Take 'em up to Dougherty and Anderson.<\/dialogue>\n    <scene_description>Mike glances at the folder.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I'll take it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - CONTINUOUS<\/stage_direction>\n    <character>NICK<\/character>\n    <dialogue>The thing we've got in common, Lydia, is we've both been hung out to dry. You know what it means to be on the outside. You know what I'm up against.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>I know you tell a good story.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Just like me, today's the day you get another shot.<\/dialogue>\n    <scene_description>She weighs it for a long beat.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>If you're fucking with me on this, I'll push you off myself.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 2105 - CONTINUOUS<\/stage_direction>\n    <scene_description>Lydia walks inside past Dougherty, picking up her cell phone.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Watch him!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - VAULT HALLWAY - DAY<\/stage_direction>\n    <scene_description>Joey finishes cutting into the air duct. Angie has stripped down to her underwear and starts pulling on a skintight mylar suit. Joey watches. She's smoking hot and she knows it. He knows he should keep his mouth shut, but...<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>So... what was the best sex of your life?<\/dialogue>\n    <character>ANGIE<\/character>\n    <dialogue>You, baby.<\/dialogue>\n    <scene_description>He can't decide if she's fucking with him or not.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>ANGIE<\/character>\n    <dialogue>Well, there was this one guy in high school. He was older...<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>Don't even mess with me.<\/dialogue>\n    <scene_description>Joey zips up her suit. Angie pulls on a climbing harness and peers into the tiny vent.<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>I won't fit in there.<\/dialogue>\n    <scene_description>Joey looks to his watch, stressed.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>C'mon hon. There's no time for this. Just like we practiced or Nick'll kill me.<\/dialogue>\n    <character>ANGIE<\/character>\n    <dialogue>Not if I kill you first.<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>Be mad. But be mad in the vent.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 2105 - CONTINUOUS<\/stage_direction>\n    <scene_description>Lydia paces, listening to someone on her cellphone - apparently getting more information about Nick's case.<\/scene_description>\n    <character>LYDIA<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>When was this? Did IA have something?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Okay. Thanks.<\/dialogue>\n    <scene_description>She hangs up and turns to Dougherty.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Are we sure nothing's happening across the street?<\/dialogue>\n    <character>DOUGHERTY<\/character>\n    <dialogue>You can't steal something twice. Especially not after it's been diced up into a dozen pieces.<\/dialogue>\n    <scene_description>SLAM! Elena Morales bursts through the door with her cameraman in tow, a confused uniformed cop chasing after her, the camera light hitting Lydia in the face.<\/scene_description>\n    <character>ELENA MORALES<\/character>\n    <dialogue>Detective Anderson, we've heard that Cassidy chose you. That he has a death wish. Care to comment?<\/dialogue>\n    <scene_description>Lydia, pissed, controls her emotions for camera.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Bob, get rid of her.<\/dialogue>\n    <scene_description>Dougherty and the cop shove Morales and her cameraman into the hallway.<\/scene_description>\n    <character>DOUGHERTY<\/character>\n    <dialogue>Move it, sweet cheeks.<\/dialogue>\n    <scene_description>Lydia picks up her walkie.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Marcus.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT - INT. MOBILE COMMAND CENTER - CONTINUOUS<\/stage_direction>\n    <character>MARCUS<\/character>\n    <dialogue>Go.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>What if he didn't do it?<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>What if there were cops involved? A lot of people moonlighted for Englander.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>If you're trying to make yourself even more despised within the department, I'd say you're really on to something.<\/dialogue>\n    <scene_description>Lydia doesn't back down.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Cassidy was cooperating with Internal Affairs.<\/dialogue>\n    <scene_description>Marcus pauses. She has his attention.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>About what?<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Remember when someone disappeared a million bucks of cocaine out of evidence? He gave them a guy named Jack Walker. Same name he checked in under. A week after Cassidy goes down, Walker and his car were pulled out of the Hudson.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>He had blood alcohol level of .23. Stop while you're behind.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Whoever was in it with Walker had every reason to set Cassidy up.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>You don't even know Walker did it. It was just an allegation!<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>I know this: Cassidy's not out on that ledge to say good-bye.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Then what's he saying?<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>\"Fuck you.\"<\/dialogue>\n    <scene_description>Marcus turns to Bauer, frustrated.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>Let's get tactical in position. Quietly. I want to have some options.<\/dialogue>\n    <character>BAUER<\/character>\n    <dialogue>Roger that.<\/dialogue>\n    <parenthetical>(keys walkie)<\/parenthetical>\n    <dialogue>Game time, gentlemen. To the roof on the QT.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - MENS' ROOM STALL - DAY<\/stage_direction>\n    <scene_description>Mike has the blue folder of papers from Sing Sing open and is furtively flipping through them. Amongst the papers are \"EVIDENCE ROOM LOGS\" and \"OFFICER WORK SCHEDULES\" with dates and times highlighted. Mike pulls the papers from the file, and tosses them in the toilet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 45TH STREET - DAY<\/stage_direction>\n    <scene_description>Elena Morales interviews a LATINO CONSTRUCTION WORKER in the crowd, who's looking up at Nick.<\/scene_description>\n    <character>ELENA MORALES<\/character>\n    <dialogue>Now that you know he's a fugitive, does it change your opinion?<\/dialogue>\n    <character>CONSTRUCTION WORKER<\/character>\n    <dialogue>Yeah. This guy's my hero.<\/dialogue>\n    <character>ELENA MORALES<\/character>\n    <dialogue>Why's that?<\/dialogue>\n    <character>CONSTRUCTION WORKER<\/character>\n    <dialogue>Man always said he didn't do it. Maybe he didn't. Anyway, vato's got cojones, you know?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - AIR DUCT - DAY<\/stage_direction>\n    <scene_description>A long narrow tube. Dark. Cramped. Angie crawls along, scared, fighting claustrophobia with each movement. She squirms toward a vent up ahead.<\/scene_description>\n    <character>JOEY (V.O.)<\/character>\n    <dialogue>Angie, you okay?<\/dialogue>\n    <scene_description>She ignores Joey, fuming. Finally reaching the vent, she peers down into...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - MAIN SAFE ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Englander's well-appointed private sanctum.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - LOBBY - DAY<\/stage_direction>\n    <scene_description>The tactical team loads gear into the elevator.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 45TH STREET - DAY<\/stage_direction>\n    <scene_description>The Bearded Guy addresses the crowd with a MEGAPHONE.<\/scene_description>\n    <character>BEARDED GUY<\/character>\n    <dialogue>This is what happens when a guy gets pushed too far! This is what happens when you take away everything a man has! When the only dignity a man can salvage... is death. It's the little guy who always takes the hit. There are no rich guys in prison. Nick Cassidy could be any of us!<\/dialogue>\n    <scene_description>The CROWD is getting more and more riled up. Two COPS manning the barricade, nervously eye the mass of people.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL ROOF - DAY<\/stage_direction>\n    <scene_description>The tactical team bursts out the roof access door and begins setting up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 2105 - DAY<\/stage_direction>\n    <scene_description>Mike flashes his badge, entering the room. Dougherty gives him a nod.<\/scene_description>\n    <character>DOUGHERTY<\/character>\n    <dialogue>Welcome to the party, Cavanaugh.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Got some papers from Sing Sing.<\/dialogue>\n    <scene_description>Lydia, on her cell phone, walks from the window, takes the blue file from Mike and gives it to Dougherty.<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>(to Lydia)<\/parenthetical>\n    <dialogue>I want to talk to him.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Mike's taken aback.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>You were buddies with Jack Walker, right?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>The hell does that have to do with anything?<\/dialogue>\n    <scene_description>Mike tries to walk past her. She gets in front of him.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>I said no.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>That's my friend out there!<\/dialogue>\n    <scene_description>Angry, he turns to Dougherty.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Dougherty? You wanna fix this?<\/dialogue>\n    <scene_description>Dougherty weighs it out.<\/scene_description>\n    <character>DOUGHERTY<\/character>\n    <dialogue>It's the lady's call, Mike.<\/dialogue>\n    <scene_description>Mike's furious... but then he tucks it away, turns, and walks out. There's an uneasy beat.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>DOUGHERTY<\/character>\n    <parenthetical>(cold)<\/parenthetical>\n    <dialogue>You better know what you're doing.<\/dialogue>\n    <scene_description>Suddenly the bellhop appears in the door with a room service cart. Lydia and Dougherty stare at him.<\/scene_description>\n    <character>BELLHOP<\/character>\n    <dialogue>I brought up some food. Thought the kid might be hungry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - DAY<\/stage_direction>\n    <scene_description>The bellhop pokes his head out. Takes a look at Nick.<\/scene_description>\n    <character>BELLHOP<\/character>\n    <dialogue>How you doin, son?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - DAY<\/stage_direction>\n    <scene_description>Nick munches on a cheeseburger and fries. The crowd watches, rapt. They're loving it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - ENGLANDER'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Englander stands at his window, watching Nick eat his lunch on the east tower. Nick gives him a big smile and flips him off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - AIR DUCT - DAY<\/stage_direction>\n    <scene_description>Angie ties a shoelace to the vent screen, pops it out, catches it with the lace and tapes it to the wall. Stressed, she pokes her head out and spots the COMPUTERIZED KEY-PAD on the wall.<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>Nick, I'm in.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - CONTINUOUS<\/stage_direction>\n    <scene_description>Nick glances back through the window into the room, then turns back to face the Jewelry Exchange.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Let's do this fast before that heat sensor catches up with you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - MAIN SAFE ROOM\/VAULT HALLWAY -<\/stage_direction>\n    <character>CONTINUOUS<\/character>\n    <dialogue>Angie clicks on a red LED head lamp and inches forward, slipping out of the vent...<\/dialogue>\n    <dialogue>...falling, before the rope catches her...<\/dialogue>\n    <dialogue>...jerking Joey forward.<\/dialogue>\n    <character>JOEY<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>Light as a feather.<\/dialogue>\n    <character>ANGIE<\/character>\n    <dialogue>I heard that!<\/dialogue>\n    <scene_description>She maneuvers in front of the panel, flicks open a switchblade, and pops it revealing a tangle of electronics.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - CONTINUOUS<\/stage_direction>\n    <scene_description>Suddenly Lydia reappears at the window.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>I just threw Cavanaugh out of here. Tactical is setting up on the roof. You need to come in.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I can't yet.<\/dialogue>\n    <character>ANGIE (V.O.)<\/character>\n    <dialogue>Nick?<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>The whole world knows who you are now.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>You've inspired every reporter in the country to dig into your story. If you're innocent, it'll come out.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>If I end up back in custody, they will kill me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT - INT. ENGLANDER JEWELERS - MAIN SAFE ROOM - DAY<\/stage_direction>\n    <scene_description>Angie sweats it out, dangling from ropes.<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>Nick? Don't leave me hangin'!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I need you to buy me some time.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Please. Trust me.<\/dialogue>\n    <scene_description>She hesitates.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>I thought I could trust that kid on the bridge, you know? I thought I had him wired. I was supposed to be relieved, but I stayed on because I knew. And then suddenly I didn't know.<\/dialogue>\n    <character>DOUGHERTY (V.O.)<\/character>\n    <dialogue>Anderson, you need to get in here!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 2105 - CONTINUOUS<\/stage_direction>\n    <scene_description>Dougherty has papers from the blue folder spread across the bed. Lydia comes over and he hands her two sheets.<\/scene_description>\n    <character>DOUGHERTY<\/character>\n    <dialogue>He had bomb schematics in his cell.<\/dialogue>\n    <scene_description>She looks at the pages stunned, then back at Nick wondering if she's misjudged this situation. She hardens.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Call it in.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - CONTINUOUS<\/stage_direction>\n    <character>NICK<\/character>\n    <dialogue>What do you see, Angie?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT - INT. ENGLANDER JEWELERS - MAIN SAFE ROOM - DAY<\/stage_direction>\n    <scene_description>She looks at the electronics in the panel...<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>Mass of wires, four orange ladybugs, two silver cuff-links.<\/dialogue>\n    <scene_description>Nick closes his eyes, envisioning the layout.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Okay, the cuff-links are processors. We're going to short one out and take down all the sensors. Cut the red wire...<\/dialogue>\n    <scene_description>Under the red light they all look red.<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>They're all the red wire!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Pick the reddest.<\/dialogue>\n    <scene_description>Joey strains on the rope.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>You're doing great, babe.<\/dialogue>\n    <scene_description>Angie sorts through the spaghetti of wires: she makes a choice and...<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>Please God...<\/dialogue>\n    <scene_description>CLIP! Nothing happens.<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>Done.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Great. Now bridge it to one of the cuff-links. It might spark a bit...<\/dialogue>\n    <scene_description>Angie touches it and gets a huge shock, jerking violently.<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>Ahhh!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - VAULT HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Joey looses control of the rope... ...dropping Angie with a horrible THUD.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>Angie?<\/dialogue>\n    <scene_description>There's no response. Pulling back his sleeve, he frantically punches in the combination they lifted from Cho. Dragging open the door... ...reveals Angie, pissed, standing in the disarmed room.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>It has to be me, right? That time I took you upstate for the weekend. You actually passed out...<\/dialogue>\n    <scene_description>She starts stripping out of the suit.<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>I'm not speaking to you right now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 45TH STREET - DAY<\/stage_direction>\n    <scene_description>The BOMB SQUAD VAN pulls up across from the hotel. Four BOMB SQUAD GUYS pour out, unloading their gear.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - 21ST FLOOR CORRIDOR - DAY<\/stage_direction>\n    <scene_description>Mike paces, on his phone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT - INT. MOBILE COMMAND CENTER - CONTINUOUS<\/stage_direction>\n    <character>MIKE<\/character>\n    <dialogue>This chick is completely off the reservation!<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Take it easy...<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Pull her! Let me take over.<\/dialogue>\n    <scene_description>Marcus considers.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>I think you should sit this one out.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Listen to me...<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Mike! You're done.<\/dialogue>\n    <scene_description>Furious, Mike ends the call.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOSEVELT HOTEL - ROOF - DAY<\/stage_direction>\n    <scene_description>The TACTICAL LEADER studies a TOP-VIEW of Nick on a small hand-held screen of a SNOOP CAM peeking over the roof. Three commandos are harnessed up, ready to go over the edge.<\/scene_description>\n    <character>TACTICAL LEADER<\/character>\n    <parenthetical>(into radio)<\/parenthetical>\n    <dialogue>We're in position.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOBILE COMMAND CENTER - CONTINUOUS<\/stage_direction>\n    <scene_description>Bauer looks at Marcus.<\/scene_description>\n    <character>BAUER<\/character>\n    <dialogue>On your word. Just need to clear the negotiator for a clean exit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 2105 - DAY<\/stage_direction>\n    <scene_description>Dougherty's on the radio<\/scene_description>\n    <character>DOUGHERTY<\/character>\n    <dialogue>Stand by.<\/dialogue>\n    <parenthetical>(to Lydia)<\/parenthetical>\n    <dialogue>Clear the window. Tactical's a go.<\/dialogue>\n    <scene_description>Lydia can't believe it. She doesn't move an inch.<\/scene_description>\n    <character>LYDIA<\/character>\n    <parenthetical>(into radio)<\/parenthetical>\n    <dialogue>The hell is this, Marcus?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT - INT. MOBILE COMMAND CENTER - CONTINUOUS<\/stage_direction>\n    <character>MARCUS<\/character>\n    <dialogue>We're accelerating.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>This makes no sense!<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>It's not your call.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Negative. He'll go off before he gets taken down.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>That's assuming our track record is on par with yours.<\/dialogue>\n    <scene_description>Lydia feels it... she's getting shut-out of the Boys Club.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>You do NOT fuck with me on my turf. I'm trying to draw him out on this bomb threat!<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>This bomb threat is a stall. He set it up just like he delayed his ID. He's playing you. He picked you because you're in no condition to do your job! This bullshit is finished!<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>This is my scene! My negotiation!<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Don't make me relieve you.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Try it. I'll go to the press.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>And end your career?<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Been there, done that.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Dougherty, pull her out of there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - CONTINUOUS<\/stage_direction>\n    <scene_description>Lydia leans out the window, meeting Nick's eyes, then glancing up as the commandos appear at the roofline. ...and before anyone can do anything... ...she steps out the window, across the gap, and onto the ledge. Two-hundred feet below, the crowd goes crazy, cheering like a rockstar just took the stage.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOBILE COMMAND CENTER - CONTINUOUS<\/stage_direction>\n    <scene_description>Marcus and Bauer watch it on their screens.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>Jesus.<\/dialogue>\n    <character>BAUER<\/character>\n    <dialogue>Hold! Repeat no go, no go!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - MAIN SAFE ROOM - DAY<\/stage_direction>\n    <scene_description>Joey's sweating hard, drilling a small hole in the safe's lock mechanism, finally breaking through.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>Okay. Thermos?<\/dialogue>\n    <scene_description>Angie steps in with heavy gloves, funnel, and a thermos full of LIQUID NITROGEN which she pours into the drill hole.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - CONTINUOUS<\/stage_direction>\n    <scene_description>Lydia presses against the wall, trying not to look down.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Well this is scary.<\/dialogue>\n    <scene_description>Dougherty stares through the window in shock, then starts shouting into a radio as Nick looks at her, stunned.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>The hell are you doing?<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Just a spur of the moment thing to save your life.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>You're crazy.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>That's real funny coming from you.<\/dialogue>\n    <scene_description>Nick breaks into a big grin.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>You finally believe I'm innocent.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>It's a possibility.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Just please tell me there's no bomb.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Course not. I just need ten more minutes.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Ten more minutes for what?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - MAIN SAFE ROOM - DAY<\/stage_direction>\n    <scene_description>The safe door is covered in frost as Angie pours the last of the liquid nitrogen into the hole.<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>Batter up.<\/dialogue>\n    <scene_description>Joey steps up to the plate with the sledge hammer. Joey swings: WHAM! The combination lock shatters to bits.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>Moment of truth, Nick.<\/dialogue>\n    <scene_description>Angie spins the bolt retractor and the safe swings wide... ....REVEALING THE MOTHERLODE: trays of gemstones, piles of jewelry, and bars of gold. It's absolutely stunning. Joey dives in, quickly riffling through the drawers of the safe, searching. Angie presses up against him.<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>I am so hot for you right now.<\/dialogue>\n    <scene_description>She reaches out for the goods; he lightly slaps her hand.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>We're only here for one thing.<\/dialogue>\n    <character>ANGIE<\/character>\n    <dialogue>And while that's true, I suddenly question our plan.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT - EXT. LEDGE - CONTINUOUS<\/stage_direction>\n    <scene_description>Nick turns the Rubik's Cube, giving Lydia a wink and...<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Talk to me Joey. Tell me what we've got.<\/dialogue>\n    <scene_description>Lydia stares at him as he for the first time does not hide the fact that he is talking to someone else.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Who the hell are you talking to?<\/dialogue>\n    <parenthetical>(realizes)<\/parenthetical>\n    <dialogue>You're stealing the diamond.<\/dialogue>\n    <scene_description>Nick grins.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Oh yeah.<\/dialogue>\n    <scene_description>Lydia can't believe it. Joey's now systematically turning out every drawer in the safe, dumping them on the floor: riches of every sort... Angie watches as he dumps out the last tray. No diamond.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>No...<\/dialogue>\n    <scene_description>He starts tapping around the inside of the safe looking for secret panels or anything. Angie's stunned.<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>It's gotta be here! What the hell are we going to do?<\/dialogue>\n    <scene_description>Joey looks lost. Then he sets his jaw.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>We keep going.<\/dialogue>\n    <scene_description>He hits his comm.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>Nick, it's not here.<\/dialogue>\n    <scene_description>The Rubik's Cube slips from Nick's grasp... In SLOW MOTION, it tumbles through the air, falling twenty- one floors... and SMASHES to bits on 45th street.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Are you sure?<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>I'm sorry, Nick.<\/dialogue>\n    <scene_description>Nick looks to Lydia, grim.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>It's not in the vault.<\/dialogue>\n    <scene_description>Lydia stares at Nick, stunned realizing what this means.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Oh shit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOBILE COMMAND CENTER - DAY<\/stage_direction>\n    <scene_description>Marcus studies Nick and Lydia on the ledge from one of the tactical team's camera feeds.<\/scene_description>\n    <character>BAUER<\/character>\n    <dialogue>You want us to try to grab her too?<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Christ no. We squiff this, it's gonna be all our asses.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 45TH STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>Suddenly ALARMS ring out at the Jewelry Exchange. EVERYONE REACTS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FIRST LINE SECURITY - CONTINUOUS<\/stage_direction>\n    <scene_description>CHO jumps up staring at his screens.<\/scene_description>\n    <character>CHO<\/character>\n    <dialogue>Christ.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - ENGLANDER'S OFFICE - CONTINUOUS<\/stage_direction>\n    <scene_description>Englander stares out at the Jewelry Exchange, the ALARM audible from here.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOBILE COMMAND CENTER - CONTINUOUS<\/stage_direction>\n    <character>POLICE TECH #2<\/character>\n    <dialogue>We've got an alarm at Englander's!<\/dialogue>\n    <scene_description>Marcus is stunned.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>Seal that building! No one gets out!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - DAY<\/stage_direction>\n    <scene_description>Nick and Lydia stare out across the street.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Jesus.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - MAIN HALLWAY - DAY<\/stage_direction>\n    <scene_description>Englander strides up the hall with Cho and an array of security men and cops. They note the ceiling panel askew where Joey and Angie hid earlier.<\/scene_description>\n    <character>CHO<\/character>\n    <parenthetical>(into walkie)<\/parenthetical>\n    <dialogue>They're in here somewhere. Maybe the ceiling.<\/dialogue>\n    <character>MARCUS (V.O.)<\/character>\n    <dialogue>We're searching it floor by floor.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - MAIN SAFE ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Striding in past the ripped out panel and vent, they discover tools and the cracked safe, jewels scattered everywhere. Englander walks straight past the safe to the back of the room, swiping a magnetic card at a blank spot on the wall... ...and a secret panel slides open revealing a hidden safe and a retinal scanner which lights up. Englander has his eye scanned, then punches in a long code and the secret vault CLICKS open. Inside is a single red velvet bag.<\/scene_description>\n    <character>ENGLANDER<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>Thank god.<\/dialogue>\n    <scene_description>He slips open the bag to check its contents and we glimpse something sparkling, the size of a golf ball. He pauses for a moment, as if to consider whether it was all worth it. Smiling, he tucks it into his pocket and shuts the secret safe then turns to Cho and the cops.<\/scene_description>\n    <character>ENGLANDER<\/character>\n    <dialogue>Tear this place apart.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - CONTINUOUS<\/stage_direction>\n    <scene_description>Nick and Lydia watch the commotion around Englander's. He turns to her, nervous and worried.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>I need you to try something.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>You can pull the IA file on Walker. See if there's anything there.<\/dialogue>\n    <scene_description>A long moment between them.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Don't go anywhere.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I'll do my best.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 2105 - DAY<\/stage_direction>\n    <scene_description>Dougherty gives her a hand climbing back inside.<\/scene_description>\n    <character>DOUGHERTY<\/character>\n    <dialogue>You got some big balls. They're going to hang you by 'em, but Jesus they're big.<\/dialogue>\n    <scene_description>Lydia picks up her cell phone and walks out into the hall. REVEAL Mike standing in the stairwell, watching her go.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOBILE COMMAND CENTER - CONTINUOUS<\/stage_direction>\n    <scene_description>A tech calls out to Marcus.<\/scene_description>\n    <character>POLICE TECH #2<\/character>\n    <dialogue>She's off the ledge, sir!<\/dialogue>\n    <scene_description>Marcus checks the screens.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>Bauer, get 'em set.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - 21ST FLOOR CORRIDOR - CONTINUOUS<\/stage_direction>\n    <scene_description>Lydia stands at the end of the hallway, on her cell phone.<\/scene_description>\n    <character>VOICE (V.O.)<\/character>\n    <dialogue>Internal Affairs.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Gordon, it's Lydia. I need your help.<\/dialogue>\n    <scene_description>Behind her, Mike walks into 2105.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 2105 - CONTINUOUS<\/stage_direction>\n    <scene_description>Dougherty looks up as Mike enters.<\/scene_description>\n    <character>DOUGHERTY<\/character>\n    <dialogue>What do you want, Cavanaugh?<\/dialogue>\n    <scene_description>Mike grabs him, propelling him out the door and slamming it behind him. As SHOUTS of PROTEST rises from outside, Mike flips the dead- bolt and the security hasp, then braces a chair under the door handle. He calmly walks to the window, looking out at Nick.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Hey, partner. You going to jump here or what?<\/dialogue>\n    <scene_description>Nick glances over, uneasily.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>We alone here, Mike?<\/dialogue>\n    <scene_description>Mike smiles.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>This isn't exactly helping your chances for parole.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>My first chance at parole is in 2043.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JEWELRY EXCHANGE - STREET - DAY<\/stage_direction>\n    <scene_description>Escorted by two cops, Englander exits the building and crosses the empty street towards the Roosevelt, nervously eyeing the rowdy crowds at the barricades and Nick on the ledge.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 21ST FLOOR HALLWAY - DAY<\/stage_direction>\n    <scene_description>Lydia runs up. Dougherty's on the radio as the uniform cop kicks at the door.<\/scene_description>\n    <character>DOUGHERTY<\/character>\n    <parenthetical>(into radio)<\/parenthetical>\n    <dialogue>Cavanaugh just locked us out...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT - INT. MOBILE COMMAND CENTER - CONTINUOUS<\/stage_direction>\n    <scene_description>Marcus listens in disbelief, then checks the monitor revealing Mike at the window.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>Get in there and find out what he's up to!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. ROOM 2105 - CONTINUOUS<\/stage_direction>\n    <character>MIKE<\/character>\n    <dialogue>I want to help, Nick. I know you think it was a cop who set you up.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>But do you know? Do you have proof?<\/dialogue>\n    <scene_description>Nick looks him over.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>I'm working on it.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Because if you take a fall before it's all played out, it's all just get brushed under the carpet.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>What do you suggest?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Let me bring you in. I'll stand by you, like I always have.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>You come out here and bring me in. See what it's like to live on the edge.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>You're a son-of-a-bitch, Cass.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - 21ST FLOOR CORRIDOR<\/stage_direction>\n    <scene_description>Dougherty and the Uniform throw their weight against the door: nothing.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Shoot the lock.<\/dialogue>\n    <character>DOUGHERTY<\/character>\n    <dialogue>Somebody might get hurt.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Don't be a pussy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOBILE COMMAND CENTER - CONTINUOUS<\/stage_direction>\n    <scene_description>Glued to the monitor, Marcus watches Mike step up into the window frame. Outside the CROWD ROARS.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>Oh hell no. No. No. No. Bauer that's a GO for tactical.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Right now, before he gets out there!<\/dialogue>\n    <character>BAUER<\/character>\n    <parenthetical>(into radio)<\/parenthetical>\n    <dialogue>Team leader, you are go for take down.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL ROOF - CONTINUOUS<\/stage_direction>\n    <scene_description>The tactical leader nods to three of his men on the edge.<\/scene_description>\n    <character>TACTICAL LEADER<\/character>\n    <dialogue>Take him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - CONTINUOUS<\/stage_direction>\n    <scene_description>Mike steadies himself, adjusting to the height. Forcing a smile, he extends his hand to Nick.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I'm here for you, Nick.<\/dialogue>\n    <scene_description>Nick looks from Mike's hand down 200 feet to the pavement... ...then checks out the Rolex Milgauss GV116400 on Mike's wrist.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Nice watch.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Come on, Nick.<\/dialogue>\n    <scene_description>The moment draws out between them, thick with tension.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>You set me up.<\/dialogue>\n    <scene_description>Mike looks at him, expression going hard and dark, then glances up at a flicker of motion. Three commandos ZIP down from above in an upside-down rappel position, looking for the catch. Hanging onto the window, Mike lunges for Nick. Nick reacts, exploding into action, turning, running, dodging the middle commando... But SLAMS into the one on the end who grabs him... ...as Nick's momentum sends them both swinging thirty feet out away from the building on the commando's rope.<\/scene_description>\n    <character>THE CROWD<\/character>\n    <dialogue>...SCREAMS! People go nuts!<\/dialogue>\n    <character>BEARDED GUY<\/character>\n    <dialogue>Oh no! No! No!<\/dialogue>\n    <character>ELENA MORALES<\/character>\n    <dialogue>Yes! Yes! Yes!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 2105 - CONTINUOUS<\/stage_direction>\n    <scene_description>Mike strides toward the room door as BLAM BLAM BLAM the lock is shot to pieces.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - CONTINUOUS<\/stage_direction>\n    <character>NICK<\/character>\n    <dialogue>...pendulums back, slamming the commando into the side of the building, breaking free in impact, falling, but just catching himself as he goes over.<\/dialogue>\n    <dialogue>Scrambling back up he runs, continuing along the ledge wrapping the building.<\/dialogue>\n    <dialogue>...and shoulders a 4th commando out of his way, spinning the man out into space.<\/dialogue>\n    <character>COMMANDOS<\/character>\n    <dialogue>...pay out their ropes, running after Nick.<\/dialogue>\n    <character>THE CROWD<\/character>\n    <dialogue>...goes wild, the bearded guy charging through police barriers, backed by hundreds as they chase after Nick, running along the front of the building.<\/dialogue>\n    <character>COPS ON THE STREET<\/character>\n    <dialogue>...are overwhelmed as spectators charge past.<\/dialogue>\n    <character>ELENA MORALES<\/character>\n    <dialogue>...charges with her camera man.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>...sees two other commandos above him. He's screwed.<\/dialogue>\n    <dialogue>Smashing a window, Nick ducks back into the hotel.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - 21ST FLOOR HALLWAY - DAY<\/stage_direction>\n    <scene_description>Dougherty and Lydia kick in the broken door and are startled as Mike runs out, charging past them and up the hall, paralleling Nick's direction. Lydia races to the window and looks out just in time to see the last commando disappear into the hotel after Nick.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Dammit!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENGLANDER JEWELERS - MAIN SAFE ROOM - DAY<\/stage_direction>\n    <scene_description>A DETECTIVE kneels down, examining something on the floor: a chemical HEAT PACK.<\/scene_description>\n    <character>DETECTIVE #1<\/character>\n    <dialogue>Look at this. Heat pack.<\/dialogue>\n    <scene_description>His PARTNER looks from the heat pack up to the heat sensor on the ceiling... the styrofoam cooler has been removed.<\/scene_description>\n    <character>DETECTIVE #2<\/character>\n    <dialogue>That's what tripped the sensor.<\/dialogue>\n    <character>DETECTIVE #1<\/character>\n    <dialogue>Why would they set off the alarm?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - ENGLANDER'S OFFICES - DAY<\/stage_direction>\n    <scene_description>Englander enters, locking the door behind him. Opening a wall panel reveals the safe. He spins the combination lock... and freezes... ...listening to the TINKLE OF ICE behind him. Englander turns to see Joey swirling a glass of his scotch as Angie pours herself another at his office bar.<\/scene_description>\n    <character>ENGLANDER<\/character>\n    <dialogue>And who are you?<\/dialogue>\n    <scene_description>Joey sets down his drink and snaps open a steel baton.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>The brother. The one sitting behind Nick in court every day for five weeks?<\/dialogue>\n    <scene_description>Englander smiles disdainfully.<\/scene_description>\n    <character>ENGLANDER<\/character>\n    <dialogue>How quaint. The loyal brother. And what an adorable little chihuahua.<\/dialogue>\n    <character>ANGIE<\/character>\n    <dialogue>Hijo de puta.<\/dialogue>\n    <character>ENGLANDER<\/character>\n    <dialogue>And it speaks!<\/dialogue>\n    <scene_description>Joey shoves Englander against the wall, patting him down... ...and coming up with the MONARCH DIAMOND. He hands it to Angie, who stares astonished. It's stunning: impossibly large and glittery beyond belief.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>Thanks for defeating those last couple levels of security. Nick had you wired.<\/dialogue>\n    <scene_description>Tossing Englander's cell phone across the room, he snaps handcuffs on his wrist and secures him to the desk. Englander looks them over icily.<\/scene_description>\n    <character>ENGLANDER<\/character>\n    <dialogue>I can't decide which I'll enjoy more: having you killed or watching you suffer through your pathetic little lives.<\/dialogue>\n    <scene_description>Angie blows him a kiss as they walk out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - 21ST FLOOR - PARALLEL HALL - DAY<\/stage_direction>\n    <scene_description>Nick runs all-out up the hall, ducking into the stairwell... ...as Mike glimpses him from another corridor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - STAIRWELL - CONTINUOUS<\/stage_direction>\n    <scene_description>Three floors below, cops pour into the stairwell. Nick charges up... But coming down from the roof, the booted feet of the tactical team POUND DOWN the stairs. Nick ducks out onto 22.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - 21ST FLOOR - ELEVATORS - DAY<\/stage_direction>\n    <scene_description>Mike plugs an earpiece into his radio, following the chase. The elevator opens, he hits 22 and draws his full-frame black .45.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - 23RD FLOOR - HALL - DAY<\/stage_direction>\n    <scene_description>Joey and Angie hold hands walking quickly up a hall as police run past them the other direction.<\/scene_description>\n    <character>RUNNING COP<\/character>\n    <dialogue>Stay in your rooms!<\/dialogue>\n    <scene_description>As the cops round a corner, Joey and Angie duck into a stairwell, hurrying down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOBILE COMMAND CENTER - DAY<\/stage_direction>\n    <scene_description>Marcus directs cops as Bauer directs tactical, both men shouting orders into radios as fast as they can.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>Lock down floors twenty-one through twenty-four. Assemble personnel on twenty with guest lists. We'll sweep up, room to room...<\/dialogue>\n    <character>BAUER<\/character>\n    <dialogue>Everyone not in first squad, break teams of two, floor by floor, rolling cover...<\/dialogue>\n    <scene_description>Marcus's cell RINGS in the middle of this, and he snaps it up.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>He listens, going cold.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT - INT. ENGLANDER'S OFFICE - CONTINUOUS<\/stage_direction>\n    <scene_description>REVEAL: it's Englander, talking to Marcus.<\/scene_description>\n    <character>ENGLANDER<\/character>\n    <dialogue>The brother and his girlfriend. They have the diamond!<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Christ.<\/dialogue>\n    <character>ENGLANDER<\/character>\n    <dialogue>They're in the goddammed hotel!<\/dialogue>\n    <scene_description>Marcus hangs up. Bauer looks at him.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>Cassidy has a bomb trigger.<\/dialogue>\n    <scene_description>Bauer reacts.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>Tell tactical to take him out. Kill shots.<\/dialogue>\n    <scene_description>Marcus heads for the door.<\/scene_description>\n    <character>BAUER<\/character>\n    <dialogue>Where are you going?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - STAIRWELL - DAY<\/stage_direction>\n    <scene_description>Lydia runs up the stairs, chasing the action, reaching for her RINGING phone.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT - INT. NYPD IA OFFICE - CONTINUOUS<\/stage_direction>\n    <scene_description>GORDON EVANS sits at his desk, on the phone, studying a file.<\/scene_description>\n    <character>EVANS<\/character>\n    <dialogue>It looks like we knew Walker had accomplices. We were leaning on him hard when he turned up dead, which ended the case.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 45TH STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>Marcus walks towards the hotel, unsnapping his gun holster.<\/scene_description>\n    <character>EVANS (V.O.,<\/character>\n    <dialogue>There was no hard evidence, but circumstantially we suspected officers Michael Cavanaugh... and Nathan Marcus.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - SERVICE ENTRANCE - DAY<\/stage_direction>\n    <scene_description>Joey and Angie walk through this service hallway, heading for the back doors, seconds from freedom...<\/scene_description>\n    <character>MARCUS (O.S.)<\/character>\n    <dialogue>Joey Cassidy.<\/dialogue>\n    <scene_description>Marcus angles in on them, gun leveled.<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>There's been some mistake.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>On your knees. Both of you! Hands behind your heads!<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>We didn't do anything!<\/dialogue>\n    <scene_description>As they kneel he moves behind them, patting them down. He comes up empty. There is no diamond.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>Where is it?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - SERVICE KITCHEN - DAY<\/stage_direction>\n    <scene_description>Nick runs through this service kitchen as employees stare after him in confusion. Bursting out the back, he collides with...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - SERVICE KITCHEN HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>The bellhop spilling them both to the ground.<\/scene_description>\n    <character>BELLHOP<\/character>\n    <dialogue>Slow down, Kid.<\/dialogue>\n    <scene_description>Nick pauses to help the old man back up, and the bellhop dusts off Nick and straightens Nick's jacket.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>He takes off to the right as enters the kitchen.<\/scene_description>\n    <character>DOWN!<\/character>\n    <dialogue>DOWN! DOWN!<\/dialogue>\n    <scene_description>The commandos burst out of the door, covering the hall. The bellhop points off to the left, the opposite direction Nick went.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - 22ND FLOOR - ELEVATOR FOYER - DAY<\/stage_direction>\n    <scene_description>Nick works on the elevator doors, prying them open with the door of a fire extinguisher box... ...when the elevator next to him, suddenly DINGS and opens. Two commandos step into the foyer... ...but Nick's disappeared, having rounded the corner into the hall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - 22ND FLOOR CORRIDOR - CONTINUOUS<\/stage_direction>\n    <scene_description>Nick hurries up the hall knocking on doors, quietly but intensely, first door... second door... third door... The commandos appear in the hall behind him... ...as the third door opens. Nick dives into the room, knocking down a stunned BUSINESSMAN... ...as bullets chew up the door frame around him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - ROOM 1 - CONTINUOUS<\/stage_direction>\n    <scene_description>Charging through the suite, Nick hits the connecting door to the next room, breaking through to...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - ROOM 2 - CONTINUOUS<\/stage_direction>\n    <scene_description>...a couple watches TV about Nick, as he charges through, hitting the next door as pours into room 1.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - ROOM 3 - CONTINUOUS<\/stage_direction>\n    <scene_description>Bursting into this room, Nick collides with WOMAN, spilling both of them to the ground as the shouts of pursuit rise.<\/scene_description>\n    <character>COMMANDO (O.S.)<\/character>\n    <dialogue>Get down!<\/dialogue>\n    <scene_description>There's no connecting door here and Nick breaks for the hallway...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - 22ND FLOOR CORRIDOR - CONTINUOUS<\/stage_direction>\n    <scene_description>...which has two more commandos who open fire, rounds flying past Nick, shattering the room's windows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - ROOM 3 - CONTINUOUS<\/stage_direction>\n    <scene_description>Nick slams the door, cornered as closes in from both directions. He runs past the terrified woman, through the broken window and back out onto the ledge... ...disappearing from sight just as commandos burst in from both sides. Leaning out the open window, MP5 ready, the lead commando just catches a glimpse of Nick disappearing as he climbs up the corner of the building.<\/scene_description>\n    <character>LEAD COMMANDO<\/character>\n    <dialogue>He's back outside!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - STAIRWELL - DAY<\/stage_direction>\n    <scene_description>Tactical pounds up the stairs... ...followed by Lydia shouting into her radio.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>You have to call off tactical! There is no bomb threat.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT - INT. MOBILE COMMAND CENTER - CONTINUOUS<\/stage_direction>\n    <character>LYDIA (V.O.)<\/character>\n    <dialogue>Trust me on this, Bauer.<\/dialogue>\n    <scene_description>Bauer watches a monitor where Nick claws his way up the side of the hotel.<\/scene_description>\n    <character>BAUER<\/character>\n    <parenthetical>(into radio)<\/parenthetical>\n    <dialogue>Confirmed, he's still climbing. I want coverage on every floor.<\/dialogue>\n    <parenthetical>(into police radio)<\/parenthetical>\n    <dialogue>This is nuts Anderson. I have orders.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Then where's Marcus? Where's the intel on the threat? Where's this supposed trigger?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT HOTEL - SERVICE KITCHEN - DAY<\/stage_direction>\n    <scene_description>Angie stands handcuffed to a stove in this now deserted kitchen as... CRACK! Marcus pistol whips Joey, who's cuffed to a pole, dropping him to his knees.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>Where's the diamond?<\/dialogue>\n    <character>ANGIE<\/character>\n    <dialogue>Leave him alone!<\/dialogue>\n    <scene_description>Joey regains his feet, smiling through the blood.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>You hit like a girl. Where are you from, Jersey?<\/dialogue>\n    <scene_description>Marcus throws a brutal right to Joey's gut, doubling him over, leaving him gasping for air. Without missing a beat, Marcus fires up a stove burner and grabs Angie by the hair.<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>AAAAGH!<\/dialogue>\n    <scene_description>He forces Angie's face towards the flames.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>I'm from the Bronx.<\/dialogue>\n    <scene_description>Joey wrenches at his cuffs.<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>No! Please!<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>NO!<\/dialogue>\n    <scene_description>Marcus looks at him. He's not fucking around.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>Last chance, kid.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOSEVELT HOTEL - CORNER CORNICE - DAY<\/stage_direction>\n    <scene_description>Clinging to decorative masonry, Nick struggles, climbing up the corner of the building... ...as below him the CHEERS of the crowd drift up. Dragging himself up to the 24th floor ledge, Nick pauses for a second, looking out at the world: - The crowd below fills the street, gridlocking traffic. - The building across the street littered with homemade banners proclaiming their support. \"NICK CASSIDY\" and \"MAN ON A LEDGE.\" - People on the opposite roof cheering for him. Nick continues his climb.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 45TH STREET - CORNER - CONTINUOUS<\/stage_direction>\n    <scene_description>Nick slips, people on the street GASPING... ...but Nick catches himself, and continues.<\/scene_description>\n    <character>ANGRY TRAFFIC MAN<\/character>\n    <dialogue>This guy is awesome!<\/dialogue>\n    <scene_description>Elena Morales reports.<\/scene_description>\n    <character>ELENA MORALES<\/character>\n    <dialogue>...and clearly the mood here has shifted. Nick Cassidy may be an escaped convict, but today he has provided one of the most heart stopping shows the city has ever seen and the crowd here, well, they love him...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL ROOF - DAY<\/stage_direction>\n    <scene_description>NICK pulls himself up onto the roof, gasping but alive...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..as shots ring out, sending him diving behind an air- conditioning unit as...<\/stage_direction>\n    <scene_description>TACTICAL<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..moves in, firing, keeping him pinned.<\/stage_direction>\n    <scene_description>NICK<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..crawls into the gravel of the roof as the machinery around him is shredded by rounds.<\/stage_direction>\n    <scene_description>He moves right... but more fire pours in. Ducking the other way almost gets him shot as well. Bullets are landing around him like rain until...<\/scene_description>\n    <character>OKAY!<\/character>\n    <dialogue>I GIVE UP!<\/dialogue>\n    <scene_description>LYDIA<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..pushes the lead tactical officer.<\/stage_direction>\n    <character>LYDIA<\/character>\n    <dialogue>Hear that! Let him give up! He's not armed!<\/dialogue>\n    <character>MARCUS (O.S.)<\/character>\n    <dialogue>Stand down. It's okay.<\/dialogue>\n    <scene_description>And we REVEAL him striding onto the scene, weapon out, dragging Joey and Angie handcuffed... ...and with Englander at his side. Brushing past, he points at Lydia.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>Arrest her for obstruction and get her off my roof.<\/dialogue>\n    <scene_description>Lydia is grabbed by a tactical officer and quickly cuffed.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>The officer drags her to the stairwell as commandos move in on Nick.<\/scene_description>\n    <character>TACTICAL LEADER<\/character>\n    <dialogue>Hands! Show me hands!<\/dialogue>\n    <scene_description>NICK<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..raises his hands, and slowly steps out.<\/stage_direction>\n    <scene_description>80 feet in front him are and Marcus. Right behind him is a 250 foot drop and the crowd below. MARCUS<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..moves beside the tactical leader, talking softly.<\/stage_direction>\n    <character>MARCUS<\/character>\n    <dialogue>There's intel he's placed a bomb, so I need you to pull your men back while I negotiate. Keep your team in the stairwell. Tell Bauer to clear the choppers.<\/dialogue>\n    <scene_description>The tactical leader nods as Angie goes off.<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>He's lying! He's going to kill him.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Take her with you.<\/dialogue>\n    <scene_description>As the tactical team retreats, dragging Angie with them away from Joey, she flips out, struggling wildly.<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>No! Joey! JOEY!<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>Hey! Angie! Look at me. Right here baby.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>It's going to be okay. I promise. You understand. I promise.<\/dialogue>\n    <scene_description>She calms down, nodding, and Marcus, Joey, and Englander watch as she's lead away, the hard truth settling out as they are left alone on the roof.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>It's not going to be okay.<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>...watches Englander and Marcus walk over with Joey.<\/dialogue>\n    <dialogue>Marcus stops ten feet away, holding Joey securely, but carefully positioning him by the edge of the roof: a subtle push and off he goes. No one would even know it's murder.<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>Sorry bro.<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(to Marcus)<\/parenthetical>\n    <dialogue>I'm going to fuck you up.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>You're going to do what you're told, or your brother is going to jump off the roof.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 45TH STREET - CORNER - CONTINUOUS<\/stage_direction>\n    <scene_description>Everyone watches, waiting to see what's going to happen. From the street, people can see Nick on the brink and just a bit of Joey up there. No Marcus.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOSEVELT HOTEL - ROOF - DAY - CLOSE ON<\/stage_direction>\n    <character>MIKE...<\/character>\n    <dialogue>...already on the roof, watching the action. Circling, keeping cover, approaching Nick's flank, he looks for a shot at Nick.<\/dialogue>\n    <dialogue>Englander walks up to Nick, staring him down.<\/dialogue>\n    <character>ENGLANDER<\/character>\n    <dialogue>Here's where we're at Mr. Cassidy: you're dead. But what your efforts have earned you is the opportunity to negotiate for the lives of your family.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I understand you have something of mine. Tell me where the rock is or your brother dies right here.<\/dialogue>\n    <scene_description>Nick looks Marcus over.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>You okay with this?<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>You never should have gone to IA, Cassidy. You earned what you got coming.<\/dialogue>\n    <scene_description>He nudges Joey to the brink.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Wait!<\/dialogue>\n    <scene_description>Nick reaches into his pocket...<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>Nick, don't.<\/dialogue>\n    <scene_description>...and pulls out the Monarch Diamond. Englander reacts with surprise.<\/scene_description>\n    <character>ENGLANDER<\/character>\n    <dialogue>Impressive.<\/dialogue>\n    <scene_description>Nick tosses it to Englander.<\/scene_description>\n    <character>ENGLANDER<\/character>\n    <dialogue>There's two kinds of people in this world, Mr. Cassidy...<\/dialogue>\n    <scene_description>He checks it with a loupe to confirm it's real.<\/scene_description>\n    <character>ENGLANDER<\/character>\n    <dialogue>People who will do anything to get what they want... and everybody else.<\/dialogue>\n    <scene_description>He nods to Marcus.<\/scene_description>\n    <character>ENGLANDER<\/character>\n    <dialogue>Clean this up.<\/dialogue>\n    <scene_description>Marcus turns to Nick as Englander walks off.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>You have ten seconds to jump or I throw your brother off the roof.<\/dialogue>\n    <scene_description>Joey starts struggling wildly, but Marcus lifts up his cuffs, ripping up his shoulders, easily controlling him.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>Eight seconds.<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>Don't do it!<\/dialogue>\n    <scene_description>Nick looks over the edge.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>Not like this, Nick.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Five seconds.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Give me your word he goes free.<\/dialogue>\n    <scene_description>Marcus nods.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>Two bodies would be tough to explain.<\/dialogue>\n    <scene_description>Nick steps to the edge.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>I'm sorry, Joey.<\/dialogue>\n    <scene_description>He can't believe what he's about to do.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>No! Please!<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Give the people what they want, Nick. They've been waiting all day!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I love you, Joey.<\/dialogue>\n    <scene_description>He's going to jump. BANG! BANG! BANG! High caliber rounds slam into Marcus's chest dropping him to the roof... MARCUS<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..rolls prone, saved by his vest, and unloads, firing a full magazine of 19 at...<\/stage_direction>\n    <scene_description>MIKE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..diving for cover behind a ventilation stack.<\/stage_direction>\n    <character>JOEY AND NICK<\/character>\n    <dialogue>...scramble for cover in opposite directions as the gunfight rages.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOFTOP STAIRWELL - CONTINUOUS<\/stage_direction>\n    <scene_description>The tactical team, packed in the stairwell with Lydia handcuffed behind them, reacts to the SHOTS. The tactical leader taps his man, who peeks onto the roof.<\/scene_description>\n    <character>COMMANDO<\/character>\n    <dialogue>Cavanaugh's out there!<\/dialogue>\n    <scene_description>Lydia muscles her way forward.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Marcus is corrupt.<\/dialogue>\n    <character>TACTICAL LEADER<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Take these off!<\/dialogue>\n    <scene_description>He looks her over, worried and unsure.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>You have no idea what's going on here.<\/dialogue>\n    <scene_description>She focuses in, calm and unthreatening.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>I'm not armed. Trust me. I can help.<\/dialogue>\n    <scene_description>He weighs it, then unlocks Lydia's cuffs... ...and she grabs his thigh-holstered pistol and goes bolting across the roof.<\/scene_description>\n    <character>TACTICAL LEADER<\/character>\n    <dialogue>Hey!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOSEVELT HOTEL - ROOF - DAY<\/stage_direction>\n    <scene_description>Mike lies with his back against a vent, gut-shot, hands drenched in blood as Nick scrambles to his side.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Jesus...<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah well. I always tell people that this is the kind of thing that happens when you shoot at cops.<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(brave face)<\/parenthetical>\n    <dialogue>I thought you were gunning for me Mikey.<\/dialogue>\n    <scene_description>Bloody and scared, Mike looks up at him, heart breaking.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I stole the drugs, Cass. But I had no idea they were going to set you up. I swear. Never in a million years.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But after... I couldn't go to prison Nick. I'm not that tough. I'm just not. I'm sorry...<\/dialogue>\n    <scene_description>Nick takes Mike's .45 from the gravel beside him.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Direct pressure. I'm going to kill that son of a bitch.<\/dialogue>\n    <scene_description>He gets up... ...but Marcus steps out behind him. He's got Nick dead to rights. Nick sees the expression on Mike's face, knows what's coming. Marcus's finger tightens on the trigger and...<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Freeze!<\/dialogue>\n    <scene_description>Marcus glances at her. Then at Nick. And back at Lydia. And he goes for it, throwing himself back as he whips the gun around firing... BANG! His neck explodes in blood as Lydia drops him with one shot. She stands frozen for a moment, jacked on adrenaline, looking at Marcus in shock... ...then lowers the gun and grabs her radio.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>Officer down! Request immediate medical assistance on the roof...<\/dialogue>\n    <character>JOEY (O.S.)<\/character>\n    <dialogue>Nick! NICK!<\/dialogue>\n    <scene_description>Following his voice, Nick runs to where his brother stands at the edge of the roof looking down. As soon as Nick appears, a CHEER goes up from the crowd. Joey points down where...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 45TH STREET - ROOSEVELT HOTEL - CONTINUOUS<\/stage_direction>\n    <scene_description>Englander walks up the street in front of his hotel, heading towards a waiting limo at the edge of the police barriers. Hearing the crowd on the corner, he looks up to see Nick, 25 floors up, staring down at him. Englander smiles wide.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL ROOF - CONTINUOUS<\/stage_direction>\n    <scene_description>Nick watches Englander give him a wave, then flip him off and continue on his way.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>That's the end of our lives. It's over.<\/dialogue>\n    <scene_description>He looks over, but his brother is no longer beside him: he's twenty feet back along the edge of the roof.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>One way or another...<\/dialogue>\n    <scene_description>And Nick breaks into an all-out run.<\/scene_description>\n    <character>BELOW<\/character>\n    <dialogue>...the crowd goes wild realizing what's happening as he runs along the brink.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>...steps out to see Nick streak past her.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>...watches, paralysed as...<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>NICK!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>...leaps from the building...<\/dialogue>\n    <scene_description>...falling... ...250 feet through open air... ...and hits the airbag. ESU officers and firefighters scramble in. Elena Morales and her camera man charge forward, running all out. The bearded guy stands paralysed in shock as the crowd runs past, breaking around him like a river on a stone.<\/scene_description>\n    <character>BEARDED GUY<\/character>\n    <dialogue>Oh no...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHOPPER - CONTINUOUS<\/stage_direction>\n    <scene_description>Looking down on the action, watching the crowd run back towards the front of the hotel and the airbag... ...as NICK crawls free of the bag.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 45TH STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>Pushing past two firemen, Nick breaks onto the street to see Englander staring at him in utter shock. There's nothing between them.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Hello, David.<\/dialogue>\n    <scene_description>Englander backs away towards his limo where Cho holds the door open. Nick charges for him. Cho steps forward, swinging, but Nick drops him with a flurry of blows, then turns on Englander... ...who suddenly has a gun leveled at his head, smiling.<\/scene_description>\n    <character>ENGLANDER<\/character>\n    <dialogue>I love your drive, Nick. Your can- do attitude is inspiring. So what'll it be? Get shot in the head? Or go back to prison?<\/dialogue>\n    <character>ELENA MORALES (O.S.)<\/character>\n    <dialogue>David! Nick!<\/dialogue>\n    <scene_description>Englander glances off at Elena and her cameraman racing over, leading a huge crowd... ...as Nick lunges, stripping the gun. INSERT: POV ELENA MORALES' VIDEO CAMERA ...shaking wildly as they run up to see... ...Nick pull the Monarch Diamond from Englander's pocket. Englander looks at the camera in horror, realizing it's all on film, then looks back at Nick.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>They're gonna eat you up in prison.<\/dialogue>\n    <character>ELENA MORALES<\/character>\n    <dialogue>Nick Cassidy! Nick! What do you have to say to the world?<\/dialogue>\n    <scene_description>He looks at the diamond in his hand, then into the camera.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>I'm innocent.<\/dialogue>\n    <character>RETURN TO SCENE...<\/character>\n    <dialogue>...as the crowd rushes in, surrounding them, desperate to get close to Nick.<\/dialogue>\n    <character>BEARDED GUY<\/character>\n    <dialogue>I love you, man! I love you!<\/dialogue>\n    <character>ENGLANDER<\/character>\n    <dialogue>...is dragged off in cuffs.<\/dialogue>\n    <scene_description>INSERT: POV VIDEO Elena Morales grabs Nick's arm, struggling to hang on as they are jockeyed around.<\/scene_description>\n    <character>ELENA MORALES<\/character>\n    <dialogue>This couldn't have been written! New York has a new hero: cop wrongly accused, leaping for his life. Nick Cassidy: I apologize. In fact, I want a date! This is Elena Morales live for Eyewitness News!<\/dialogue>\n    <scene_description>WHAM: A pack of cops tackles Nick. He goes down under the blue uniforms, smiling and laughing. INSERT - POV CHOPPER ...high above, looking down at the crazy chaotic mob out of control and we... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MANHATTAN DETENTION COMPLEX (THE TOMBS) - FOYER - NIGHT<\/stage_direction>\n    <scene_description>A heavy door BUZZES and Nick is released from jail, still wearing his suit from that morning as several cops slap his back and smile. The place is deserted... except for Lydia.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Yeah. Thanks. You?<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Lydia nods to the front where through the glass doors a mob of international press is assembled.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>I thought maybe I'd walk you out the side.<\/dialogue>\n    <scene_description>Cutting into a side hall, they walk in silence. Finally, Nick breaks a smile.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Now that I'm not on a ledge, you run out of things to say to me?<\/dialogue>\n    <scene_description>She smiles back.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>I was just thinking about taking you up on that drink we talked about.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Coffee.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>What was right after the coffee?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Candle-lit dinner?<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Sure. Since you ask.<\/dialogue>\n    <scene_description>He grins.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>So how on Earth did you get the diamond?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MANHATTAN DETENTION COMPLEX - SOUTH SIDE - NIGHT<\/stage_direction>\n    <scene_description>Exiting an unmarked door, they step into the crisp New York night... ...where the BELLHOP stands waiting. The old man pulls Nick into a huge hug.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Dad. I want you to meet my friend, Officer Lydia Anderson.<\/dialogue>\n    <scene_description>Her jaw drops as FRANK CASSIDY extends a hand.<\/scene_description>\n    <character>BELLHOP<\/character>\n    <dialogue>Frank Cassidy.<\/dialogue>\n    <character>LYDIA<\/character>\n    <dialogue>Unbelievable.<\/dialogue>\n    <scene_description>Joey and Angie run up holding hands.<\/scene_description>\n    <character>ANGIE<\/character>\n    <dialogue>Sorry we're late, he got lost.<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>Did not!<\/dialogue>\n    <scene_description>Nick pulls his brother into a huge hug. When they break, Angie gives Nick a hug and a big kiss. A little too big.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>Hey. Whoa. That's my brother there!<\/dialogue>\n    <character>ANGIE<\/character>\n    <dialogue>Come on Joey, he's a hero.<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>There's not a mark on him! Look at me. I'm the hero.<\/dialogue>\n    <character>ANGIE<\/character>\n    <dialogue>Don't start with me, Joey Cassidy.<\/dialogue>\n    <character>JOEY<\/character>\n    <parenthetical>(turning on Nick)<\/parenthetical>\n    <dialogue>And you keep your mitts off my wife.<\/dialogue>\n    <character>ANGIE<\/character>\n    <dialogue>Girlfriend.<\/dialogue>\n    <scene_description>Joey drops to one knee, whipping out a massive diamond ring from Englander's safe. Angie SQUEAKS in excitement.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>Angie will you marry me?<\/dialogue>\n    <character>ANGIE<\/character>\n    <dialogue>Hell yes!<\/dialogue>\n    <scene_description>She pulls him up and they kiss sloppily.<\/scene_description>\n    <character>LYDIA<\/character>\n    <dialogue>I'm just going to assume that's a family heirloom.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>It is now.<\/dialogue>\n    <character>FRANK CASSIDY<\/character>\n    <dialogue>Come on, let's get a drink.<\/dialogue>\n    <scene_description>Nick slips his arm around Lydia and the five of them saunter off into the New York night. FADE OUT.:<\/scene_description>\n  <\/scene>\n<\/script>","summary":"A man named Joe Walker checks into the Roosevelt Hotel, enters his hotel room on the 21st floor, and climbs on the ledge, apparently ready to commit suicide. The crowd below calls the police. Dante Marcus controls the crowd, while Jack Dougherty talks with Walker. Walker will only speak to negotiator Lydia Mercer, who is on a leave of absence after failing to save a suicidal policeman. Mercer arrives at the hotel room and acquires Walker's fingerprints from a shared cigarette. Dougherty has them analyzed and discovers that \"Walker\" is actually Nick Cassidy, an ex-policeman who was given a 25-year sentence for stealing a diamond from businessman David Englander; Nick escaped one month earlier during his father's funeral. Nick maintains his innocence and claims that Englander has framed him as part of an insurance fraud scheme, as Englander lost his fortune in a bad business deal and was too proud to sell the diamond. Nick distracts the police while his brother, Joey, and Joey's girlfriend, Angie, break into Englander's vault across the street to recover the diamond and prove his innocence. Cassidy must use double entendres to provide instructions to Joey and Angie through an earpiece while speaking to Mercer. Dougherty informs Marcus of Nick's identity, and Marcus orders the jewelry store's security to check the vault. Joey and Angie evade them but do not find the diamond. They deliberately set off an alarm, trick Englander into retrieving the diamond, and ambush him in his office, where they steal the diamond at gunpoint. Nick's ex-partner, Mike Ackerman, arrives at the hotel with evidence that Nick is planning something and demands to be allowed into the hotel room. Mercer distrusts him, and Dougherty backs her up. Ackerman claims he has found bomb schematics in a storage unit Nick rented and is convinced that he will detonate an explosive somewhere. While the crowd is evacuated by the bomb squad, Mercer, believing in Nick's innocence, calls internal affairs and discovers that three of the cops employed by Englander were suspected of being corrupt: Ackerman, Marcus, and a deceased officer called Joe Walker. Joey and Angie enter the hotel and hand the bag containing the diamond to the hotel concierge. The concierge pockets the diamond while placing the bag onto the rack. Englander calls Marcus, one of the corrupt cops who helped him frame Nick, and has him capture Joey and Angie as they reach the street. Nick attempts to escape through the hotel, pursued by a tactical team. The concierge aids him by handing him a disguise containing the diamond. Marcus chases Nick to the roof, where he has Mercer arrested for obstruction to clear the roof. Englander brings Joey and Angie, threatening to kill Joey unless Nick gives him the diamond. Nick turns it over, and Englander leaves. Mercer escapes custody in an elevator and rushes back to the roof. Marcus demands Nick jump off the roof. Ackerman arrives, shoots Marcus, and is shot in return. Ackerman apologizes to Nick and says he did not know Englander would frame him. Marcus' bulletproof vest saves him. As he prepares to kill Nick, Mercer arrives and shoots him. Englander mocks Nick as he leaves the area. Nick jumps from the roof onto an airbag set up earlier by the police and catches up to Englander. With the assistance of a crowd member, Nick evades capture and pulls the diamond from Englander's jacket, publicly proving his innocence. Englander is then arrested for insurance fraud. Nick is cleared of all charges and released from custody. He meets Joey, Angie, and Mercer at a bar owned by Nick's father, Frank Cassidy, who had faked his death and pretended to be the hotel concierge. Mercer asks Nick to \"explain everything\" to her as Joey proposes to Angie with a diamond ring, presumably stolen from Englander's vault. She accepts, and they all celebrate together."}
{"movie_name":"Outbreak_1995","imdb_id":"tt0114069","script":"<script>\n  <scene>\n    <character>OUTBREAK<\/character>\n    <dialogue>Written by<\/dialogue>\n    <scene_description>LAWRENCE DWORET &amp; ROBERT ROY POOL December 1993 Draft FOR EDUCATIONAL PURPOSES ONLY FADE IN:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JUNGLE<\/stage_direction>\n    <scene_description>HIGH-PITCHED WHINES. LOUDER AND LOUDER. MORTARS race through the air and EXPLODE in the distant jungle. Sol- diers -- black, white, Oriental -- curse and mutter in French, German, Australian and American as they reload. COMPUTER KEYS POUND -- the letters leap across the screen: THE MOTABA RIVER VALLEY, BELGIAN CONGO (ZAIRE), 1960. THE CAMP OF FORCES LOYAL TO MOISES TSHOMBE - DAY BLACK MALE NURSE carrying a bucket of water from the Motaba River rushes past the Mercenary Army to -- CAMP INFIRMARY Where he replaces the towel on the forehead of a fever- ish, delirious AUSTRALIAN MERCENARY with a cold new one.<\/scene_description>\n    <character>AUSTRALIAN MERCENARY<\/character>\n    <dialogue>Gimme somethin' for the bleedin' pain. C'mon, mate, help me.<\/dialogue>\n    <scene_description>The Mercenary tries to lift himself out of his stretcher. Can't. He's too weak. His skin is yellow and covered with blisters that look like chicken pox.<\/scene_description>\n    <character>NURSE<\/character>\n    <parenthetical>(checking the soldier's temp)<\/parenthetical>\n    <dialogue>He's still over a hundred and six. Why can't we bring it down?<\/dialogue>\n    <scene_description>The black African army physician, DR. RASWANI, looks on, helpless. Suddenly, the Australian emits a sharp cry. His eyes roll back, and he begins convulsing. Before Raswani can even reach into his bag for medecine, the Mercenary is dead. Raswani and his Nurse stare with horror. The DRONE of a CHOPPER grows LOUDER as a Bell Z180 ap- pears over the edge of the forest and kicks up a storm of dust as it lands. Raswani and the Nurse run to meet it. In their eyes, hope. CONTINUED: Two space-suited figures emerge from the chopper, their faces hidden by thick green plexiglass shields. The U.S. flag is emblazoned on the side of their helmets, which also display their ranks. The much taller man is a lieutenant whom we'll know as McCLINTOCK. Through his visor, we can just make out his pock-marked, angular face. The shorter, pear-shaped man is a CAPTAIN. We can't see his features, only the reflection of horn- rimmed glasses.<\/scene_description>\n    <character>RASWANI<\/character>\n    <dialogue>Have you brought the medicines?<\/dialogue>\n    <character>CAPTAIN<\/character>\n    <dialogue>Soon.<\/dialogue>\n    <character>RASWANI<\/character>\n    <dialogue>Why the hell didn't you bring them?<\/dialogue>\n    <scene_description>CUT TO: INFIRMARY The two space-suited figures follow Dr. Raswani past soldier after soldier infected with the same disease.<\/scene_description>\n    <character>RASWANI<\/character>\n    <dialogue>Thirty deaths yesterday, eighteen the day before, the disease is killing our men faster than enemy bullets.<\/dialogue>\n    <scene_description>The Captain stops at a young AMERICAN MERCENARY'S cot. He's shaking with fever. His skin is mottled and looks like the pulp of an orange. His voice is a whisper:<\/scene_description>\n    <character>AMERICAN MERCENARY<\/character>\n    <dialogue>Take me home, Captain... Get me outta this shithole. Please, I wanna see my girl.<\/dialogue>\n    <scene_description>The American Mercenary reaches out with his arms to the Captain, who shrinks back, not wanting to be contaminated.<\/scene_description>\n    <character>CAPTAIN<\/character>\n    <dialogue>We'll get you home, soldier. First, I need a tissue sample.<\/dialogue>\n    <scene_description>He pulls from his black bag a long metal syringe and plunges the biopsy needle deep into the man's liver. He places the needle in an aluminum test tube and seals it. CONTINUED:<\/scene_description>\n    <character>AMERICAN MERCENARY<\/character>\n    <dialogue>Promise me you'll get me home. Promise me, Goddamit!<\/dialogue>\n    <scene_description>A long uneasy beat.<\/scene_description>\n    <character>CAPTAIN<\/character>\n    <dialogue>We'll get you home.<\/dialogue>\n    <scene_description>CUT TO: TWO SPACE-SUITED U.S. ARMY FIGURES boarding their chopper, Dr. Raswani and his Nurse standing by.<\/scene_description>\n    <character>RASWANI<\/character>\n    <dialogue>Not just supplies, but doctors and nurses. And suits like yours to protect us. This disease spreads too fast.<\/dialogue>\n    <character>CAPTAIN<\/character>\n    <dialogue>The plane tonight will bring everything.<\/dialogue>\n    <scene_description>CUT TO: INSIDE CHOPPER ascending above the camp. Lt. McClintock and the Captain look out the window at the campsite. McCLINTOCK It's viral. There's no way to stop it. It could spread all over the world. We can't see the Captain's face, but feel his remorse. So can McClintock: McCLINTOCK If you'll excuse my bluntness, sir, you can't go halfway on this one.<\/scene_description>\n    <character>CAPTAIN<\/character>\n    <dialogue>Don't ever -- ever -- tell me what I have to do.<\/dialogue>\n    <scene_description>CUT TO: TSHOMBE CAMPSITE - DUSK Dr. Raswani gives a shot to the American Mercenary, who looks terminal.<\/scene_description>\n    <character>DR. RASWANI<\/character>\n    <dialogue>This will help the pain.<\/dialogue>\n    <scene_description>The Male Nurse rushes up.<\/scene_description>\n    <character>MALE NURSE<\/character>\n    <dialogue>They're coming.<\/dialogue>\n    <character>AMERICAN MERCENARY<\/character>\n    <dialogue>I knew... they'd come back... I knew. Help me up. Help me --<\/dialogue>\n    <scene_description>CUT TO: RASWANI ThE Male Nurse, and dozens of soldiers rush across the forest to the makeshift runway beside the camp. In the distance a camouflaged DC-3 is rapidly approaching.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DC-3<\/stage_direction>\n    <scene_description>The PILOT, no more than 21, sees the soldiers celebrating their arrival down on the runway. His hand is on the green bomb release lever.<\/scene_description>\n    <character>PILOT<\/character>\n    <dialogue>I can't.<\/dialogue>\n    <scene_description>McClintock is in the copilot's seat. McCLINTOCK It's either them or us. He puts his hand on the green release lever. Hesitates.<\/scene_description>\n    <character>PILOT<\/character>\n    <dialogue>You can't either.<\/dialogue>\n    <scene_description>ON GROUND Dr. Raswani and the soldiers stare at the plane, coming in too high for a landing. INSIDE PLANE McClintock squeezes the green lever. CONTINUED: The bomb cannisters under the wing open up, releasing a thick cloud of yellow cyanide gas. ON GROUND Screams of agony rip out as Raswani and the soldiers convulse and die. The plane shoots over the treetops, spraying the ground below like a crop duster. Then the plane arcs and approaches again. OVER RUNWAY littered with the dead, the plane releases a waxy grey cloud. One second. Two seconds. An eerie stillness. The CLOUD EXPLODES in a huge inferno. The plane releases more and more napalm, burning the jungle for miles. The CRIES of ANIMALS caught in the fire pierce the night. Flames shoot up trees a hundred feet high. PULL BACK to show the whole forest ablaze. A long beat, then at the very LEFT CORNER OF the FRAME, a MONKEY with a black and white coat (a Colobos monkey) emerges from the fire, looks back at its mate, threatened by the flames. The Colobos jumps up and down, baring its teeth, SCREAMING. The fire moves relentlessly forward. The monkeys dart to safety. CUT TO: MOTABA RIVER VALLEY - NEXT MORNING A metal syringe burned to a molten shard lies beside a mortar launcher, twisted and deformed like some bizarre modern sculpture. PULL BACK to reveal acre after acre, mile after mile of nothing but ashes and carcasses of burnt-out trees. Not a single living thing remains. FADE OUT and ROLL CREDITS. FADE UP: TREETOPS A wind rippling through treetops. CONTINUED: COMPUTER KEYS POUND: \"THE MOTABA RIVER VALLEY, AUGUST 12, 1994.\" SHOCK CUT TO: ABOVE RAINFOREST Brilliant streams of orange and purple, the last rays of the setting sun, dance across the sky and penetrate the vapor cloud above the rain forest. Unworldly silence. Shattered by: Giant TREES CRASHING to the ground. TRACTORS ROAR, CHAINSAWS REV with a penetrating whine. Huge trees living undisturbed for hundreds of years topple to earth, their roots ripped from the soil. REVEAL the army of construction workers clearing a path for the new road linking Kinshasa with Bangui. White foremen bellow orders in French at their black workers, including: MORAZU: a seven-foot tall Goliath with mischievous eyes. He PUNCHES on his CHAIN SAW and RIPS into another tree. A cloud of wood dust envelops him. OVERHEAD - ZAIREAN ARMY HELICOPTERS ROAR by overhead, their machine gunners searching for guerilla activity. INTERCUT - TWO COLOBOS MONKEYS a mother and her daughter, whom we'll know as Betsy. Betsy plays with a fat, round jackfruit, kicking it and rolling it every which way. Her mother watches the construction workers warily. Morazu hums as he pulls a huge tree limb off the road and into a thick patch of brush where he comes face to face with Betsy. Morazu smiles. He takes a long piece of sweetened bread from his pocket and lays it down right in front of the young monkey. Betsy eyes it warily.<\/scene_description>\n    <character>MORAZU<\/character>\n    <parenthetical>(softly)<\/parenthetical>\n    <dialogue>Take it.<\/dialogue>\n    <scene_description>CONTINUED: A long beat. Betsy takes the bread, examines it careful- ly, finally takes a bite. Morazu grabs her. BETSY struggles, thrashing and SCREAM- ING. Morazu pins her hands behind her back. She spins around and sinks her teeth into his finger. He lets go with a shriek and swears at Betsy, who disap- pears with the bread. STAY WITH Morazu as he returns to his work. He sucks the blood out of the small wound. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOTABA RIVA VALLEY (AUGUST 15)<\/stage_direction>\n    <scene_description>Morazu gets off a bus by a small muddy river and walks slowly toward his village of about fifty mud-thatched huts. Pain in his back makes him wince. We see him UP CLOSE: his eyes are red and his skin is pale. He's sweating. He stops at the village well and takes a drink. Other villagers come up to say hello, and Morazu greets them wearily, dipping his cup back in the water for another drink. The villagers drink too. DISCOVER in the background: the tribal medicine man, the \"ju-ju man.\" Streaks and circles of paint cover his skin. He watches the excitement surrounding Morazu's return. CUT TO: RAIN FOREST - LATER THAT NIGHT A small group of Colobos monkeys including Betsy and her mother run swiftly through the forest. Suddenly, BETSY CRIES OUT. Her foot is snagged in a trap. Before her mother can respond, she's pulled high into the air into a bamboo cage. The DOOR SNAPS SHUT. BETSY SCREAMS in fear and pain, hanging upside down -- CUT TO: SAME - FOLLOWING MORNING The Colobos monkeys scatter as VOICES APPROACH, REVEALING two TRIBESMEN pulling a small wagon. The men chatter as they lower the cage holding Betsy onto the cart. CONTINUED: FADE UP LUCIANO PAVAROTTI singing a love song from \"La Boheme\" and... CUT TO: CLOSE ON HUMAN SKULL wearing Porsche sunglasses and an Army Colonel's hat. COMPUTER KEYS POUND: \"Frederick, Maryland, August 19.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GILLESPIE'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>FADE UP the VOICE of a MAN SINGING along with the GREAT TENOR. CONTINUE PANNING OVER the room: the skull gives way to a full skeleton wearing a star-spangled red-white- and-blue bow-tie and carrying an umbrella over its fore- arm. CONTINUE PAST the oak rolltop desk. MIKE GILLESPIE, about 40, keeps singing as he reads through a lengthy typed report, making notes in the margin. LUCIANO hits a high C. Gillespie reaches for it... and misses badly. DOGS WHINE O.S., probably in closer harmony to Luciano than Gillespie. He's not pleased.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>I rescue you from certain death and instead of gratitude, you mock me.<\/dialogue>\n    <scene_description>His two WOLFHOUNDS, Olser and Harvey, GROVEL on the floor contritely, each with a worn shoe in his mouth. Behind them we see the rest of Gillespie's living\/dining room. His townhouse is spartan; it needs a woman's touch. Un- packed boxes stand in the corner beside a treadmill.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>That can't go unpunished. No Letterman for three nights.<\/dialogue>\n    <scene_description>The dogs wag the running shoes. CUT TO: OLD CREEK PARK (FREDERICK, MARYLAND) - NIGHT Gillespie, puffing, a weekend runner, strains to keep up with the DOGS. They BARK excitedly. CONTINUED:<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <parenthetical>(reaching into his pockets)<\/parenthetical>\n    <dialogue>Okay! Okay!<\/dialogue>\n    <scene_description>Without breaking stride, he throws what look like sticks high into the air. The dogs jump and catch the objects in their mouths and race back to Gillipsie. We see they're old stethoscopes with thick rubber tubing. Gillespie lets them fly again. He laughs at their eager- ness and keeps running, sprinting now, trying to prove to himself that he's still young. Suddenly -- a PHONE RINGS. Without breaking stride, he pulls a cellular phone from his pocket:<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Dr. Gillespie... How many dead?...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BILLY FORD'S OFFICE (FORT DETRICK, MARYLAND)<\/stage_direction>\n    <scene_description>Gillespie's boss, GENERAL BILLY FORD, MD, is a heavy-set man in his early 60's with thinning hair, piercing, in- telligent grey eyes and a warm smile. Scattered all around his office are cages filled with frogs and rep- tiles. As he talks on the phone, he's feeding a green- horned toad some dead flies.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Almost an entire village.<\/dialogue>\n    <scene_description>INTERCUT WITH: FORD WITH GILLESPIE still running.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Is is Lassa Fever? Ebola? What?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>How the hell do I know? I'm the bureaucrat, you're the detective, remember? All I know is State wants us to lend a hand and when the Secretary talks, I listen. And when I talk, you listen. You're Code Red. The plane's leaving at 01:30.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <scene_description>Gillespie hangs up, out of breath... excited. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GILLESPIE'S OLD BMW - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Gillespie and the dogs pull into the driveway of a comfor- table two story colonial home, passing a \"For Sale\" sign on the front lawn pasted with a \"Sold\" sticker.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COLONIAL HOME<\/stage_direction>\n    <scene_description>Gillespie knocks. The DOGS BARK excitedly.<\/scene_description>\n    <character>WOMAN (O.S.)<\/character>\n    <dialogue>Who is it?<\/dialogue>\n    <scene_description>The dogs recognize the voice and jump against the door.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Mike.<\/dialogue>\n    <scene_description>ROBERTA \"ROBBY\" KEOUGH, an attractive, intelligent woman in her mid 30's, opens the door a few inches, until the latch LOCK CHAIN SNAPS tight. The dogs try to push inside.<\/scene_description>\n    <character>ROBBY<\/character>\n    <parenthetical>(smiles; delighted)<\/parenthetical>\n    <dialogue>Hey, guys!<\/dialogue>\n    <scene_description>But when she looks at Gillespie, she's guarded.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Robby, I know I'm the last guy you'd do a favor for, but I've got no one else to ask.<\/dialogue>\n    <character>ROBBY<\/character>\n    <dialogue>My lawyer said not to talk to you anymore.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Then just listen. I gotta go to Zaire.<\/dialogue>\n    <scene_description>Robby shakes her head, \"No, no way.\" CONTINUED:<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>Put 'em in a kennel.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>So they can die of some weird disease like Stripes did?<\/dialogue>\n    <scene_description>She mouths the word \"no.\"<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>-- Look, Robby, if I had any other choice, I wouldn't be here.<\/dialogue>\n    <character>ROBBY<\/character>\n    <dialogue>You should've let me have them. You can't take care of them.<\/dialogue>\n    <scene_description>Beat. Robby's torn. The dogs nuzzle against her leg.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>I won't be gone long.<\/dialogue>\n    <character>ROBBY<\/character>\n    <dialogue>You know I'm moving to Atlanta -- they want me to start in four days.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>I'll be back before that.<\/dialogue>\n    <character>ROBBY<\/character>\n    <parenthetical>(sharply)<\/parenthetical>\n    <dialogue>Four days is four weeks -- to you.<\/dialogue>\n    <scene_description>Silence.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>It wasn't all my fault, Robby.<\/dialogue>\n    <character>ROBBY<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>A long beat.<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>I'll look after them on one condition: if you're not back in four days, they're mine.<\/dialogue>\n    <scene_description>Gillespie doesn't like it.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>In writing.<\/dialogue>\n    <scene_description>She unlatches the door and moves inside. The dogs race after her. Gillespie enters... FRONT HALL overflowing with moving boxes, some sealed, others waiting to be packed. Gillespie feels awkward, a stranger in his own home. She hands him a prescription pad. He crosses off her nameplate, \"Roberta Keough, MD,\" and starts writing while Robby enters... KITCHEN<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>Hey, guys, c'mon!<\/dialogue>\n    <scene_description>They follow her in.<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>Guess what I got?<\/dialogue>\n    <scene_description>The DOGS BARK excitedly.<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>Damn straight!<\/dialogue>\n    <scene_description>She opens the freezer, grabs a couple of frozen bagels and flips them to the DOGS. They catch the bagels and start CHOMPING.<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>I missed you guys so much.<\/dialogue>\n    <scene_description>Gillespie hands her the note.<\/scene_description>\n    <character>ROBBY<\/character>\n    <parenthetical>(reading it)<\/parenthetical>\n    <dialogue>'I, Michael Gillespie, agree that if I'm not back in exactly four days from now, the ownership of my dogs, Osler and Harvey, will go to Roberta Keough.'<\/dialogue>\n    <parenthetical>(handing it back)<\/parenthetical>\n    <dialogue>Time and date it.<\/dialogue>\n    <scene_description>He does. She points to a huge box on the kitchen table: CONTINUED:<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>That's stuff from med school... Some of it's yours. I don't know if you want any of it.<\/dialogue>\n    <scene_description>He fishes through it, shoving aside old medical books and equipment. He finds an old wood stethoscope with thick rubber tubing. He shoves in into his pocket.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Got a place yet?<\/dialogue>\n    <character>ROBBY<\/character>\n    <dialogue>An apartment.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>The first thing you'll do is spend the whole night unpacking... You'll stay up 'til dawn but you'll get everything in its place.<\/dialogue>\n    <character>ROBBY<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>Probably.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Nothin' in my life has been organized since you left, Robby.<\/dialogue>\n    <scene_description>Beat. She's surprised at his admission. And un- comfortable. So's he. He continues searching through the box and pulls out... A photo taken during their honeymoon cruise: they're both smiling radiantly as they hold between them a trophy of a dancing couple.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Y'know, this is the only evidence on Earth that I was ever graceful.<\/dialogue>\n    <scene_description>He checks her reaction. There is a hint of a smile.<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>Take it.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Nah, people might see it... get the wrong impression.<\/dialogue>\n    <scene_description>He drops the photo back in the box and moves toward the door. CONTINUED:<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>Four days.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Or less.<\/dialogue>\n    <scene_description>As we hear the front DOOR OPEN and SHUT, HOLD ON Robby: a hint of regret. CUT TO: ANDREWS AIR BASE, MARYLAND COMPUTER KEYS POUNDING: \"Andrews Air Base, Maryland.\" Flood lights illuminate a huge C5A transport plane waiting on the runway, its nose cocked open exposing its innards to the pouring rain. Several enlisted men rapidly wheel equipment into the open hatch. A private pushes a dolly loaded with boxes with the red cross emblem up the ramp. DR. ISAAC \"IZZY\" BERMAN, a short, bald Army Major in his late 30's directs traffic.<\/scene_description>\n    <character>IZZY<\/character>\n    <dialogue>Blood in the freezer over the right wing. C'mon! Gut it! We're late.<\/dialogue>\n    <scene_description>The private grunts and pushes the dolly slowly up the ramp. Izzy lends a hand, and the two of them run it up the ramp. Mike Gillespie, dressed in a uniform, climbs down from the cockpit. Now we see his rank: Colonel.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Where the hell's Yaffe?<\/dialogue>\n    <character>IZZY<\/character>\n    <dialogue>His wife... she's due tomorrow. I put him on leave.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>We need him now! Who's going to read the electron micrographs?<\/dialogue>\n    <character>IZZY<\/character>\n    <dialogue>I will.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>You can't even read a Playboy pinup.<\/dialogue>\n    <character>IZZY<\/character>\n    <dialogue>He said he'd get a guy to fill in.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>We can't wait.<\/dialogue>\n    <scene_description>A Jeep drives across the tarmac, toward them and comes to a park a short distance away. The Driver scurries out to open the passenger door to let -- General Ford get out.<\/scene_description>\n    <character>IZZY<\/character>\n    <dialogue>What does he want?<\/dialogue>\n    <scene_description>The driver pulls two suitcases out of the Jeep and follows Ford into the plane.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>I'm comin' along, Mike.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Sir, we're going into very dangerous territory.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>I'm well aware of the dangers.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Beggin' your pardon, General, I don't think you are. You've had only the most cursory training on how to avoid contamination. Concerns for your safety would distract us.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Nothing distracts you, Colonel. You won't even know I'm there.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Sir, I'm not comfortable --<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Mike, have a little compassion for an old man who's been rotting behind a desk.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>For once I'd like to be there when one of these buggers hits. You're not going to tell me I can't go, Colonel, are you?<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>No, sir.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Good. I feel wanted, now.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I get airsick in the back. I'll be up with the pilot.<\/dialogue>\n    <scene_description>As they watch him move forward and out of sight:<\/scene_description>\n    <character>IZZY<\/character>\n    <dialogue>The guy wouldn't know a virus from a Barbie Doll. I'm not lookin' after him. He's yours.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Bullshit.<\/dialogue>\n    <character>IZZY<\/character>\n    <dialogue>All of a sudden, playing golf and pushin' papers isn't good enough. Damn, when I'm his age, that's all I'm gonna want to do.<\/dialogue>\n    <scene_description>Gillespie flips a coin, covers it over his wrist.<\/scene_description>\n    <character>IZZY<\/character>\n    <dialogue>Heads. No! Tails.<\/dialogue>\n    <scene_description>Gillespie lifts his hand and smiles.<\/scene_description>\n    <character>IZZY<\/character>\n    <dialogue>Fuck!<\/dialogue>\n    <scene_description>Gillespie grabs the phone to the cockpit.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Rafferty, rock and roll with this bird.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COCKPIT<\/stage_direction>\n    <scene_description>The Pilot, CAPTAIN RAFFERTY, checks General Ford, nestled in safely behind him.<\/scene_description>\n    <character>RAFFERTY<\/character>\n    <parenthetical>(into headmike)<\/parenthetical>\n    <dialogue>T minus sixty seconds.<\/dialogue>\n    <scene_description>DOWN BELOW Gillespie pulls a lever and the hatch starts to close.<\/scene_description>\n    <character>IZZY<\/character>\n    <dialogue>Wait!<\/dialogue>\n    <scene_description>Mike follows his eyes out to the -- TARMAC where a BLACK MAN carrying a duffel bag is sprinting toward them at incredible speed, like a ghost through the pelting rain. Berman swings the lever down and the hatch starts to open but the Man doesn't wait for it to lower completely. Without breaking stride, he leaps the four feet onto the plane and slides to a stop right in front of Gillespie. He steadies himself and salutes:<\/scene_description>\n    <character>SALT (BLACK MAN)<\/character>\n    <dialogue>Captain Walter Salt reporting, sir.<\/dialogue>\n    <scene_description>Izzy smiles. He looks at Gillespie, who is impressed but won't show it.<\/scene_description>\n    <character>SALT<\/character>\n    <dialogue>I'm sorry to be late, sir. I was wrapping up some tests in my lab --<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>-- Strap in.<\/dialogue>\n    <scene_description>The huge JET ENGINES come to life. Gillespie, Berman, and Salt strap themselves into the row of jump seats along the fuselage. Issy is filled with the excitement of a young kid who can't believe his luck:<\/scene_description>\n    <character>IZZY<\/character>\n    <dialogue>You're not the football player from West Point, that Salt?<\/dialogue>\n    <character>SALT<\/character>\n    <dialogue>The same, sir.<\/dialogue>\n    <character>IZZY<\/character>\n    <dialogue>I thought you had the Heisman sewed up 'til you hurt your knee.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>SALT<\/character>\n    <dialogue>You and my mother, Major... I was never that good. But thank you for saying so, sir.<\/dialogue>\n    <character>IZZY<\/character>\n    <dialogue>Don't call me sir. The only one who does that is the Colonel here. Everyone else calls me Izzy.<\/dialogue>\n    <character>SALT<\/character>\n    <dialogue>Izzy, sir?<\/dialogue>\n    <character>IZZY<\/character>\n    <dialogue>My mother calls me Isaac, but I hate it. I pitched for my high school team. My dad thought I was gonna be another Dizzy Dean. So he called me 'Izzy.'<\/dialogue>\n    <character>SALT<\/character>\n    <dialogue>Yes, sir, Izzy, sir.<\/dialogue>\n    <scene_description>The plane surges forward and taxis down the runway.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>I want to know just one thing. Can you read electron micrographs as well as you can run?<\/dialogue>\n    <character>SALT<\/character>\n    <dialogue>I'm not sure how to assess the question --<\/dialogue>\n    <character>IZZY<\/character>\n    <dialogue>-- Just say 'yes, sir,' Captain. Whatever the Colonel asks, you just say 'yes, sir.' That's how we keep him under control.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Have you ever seen filovirus infection in a human being?<\/dialogue>\n    <character>SALT<\/character>\n    <dialogue>No, sir.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>It's about as pretty as goin' naked up the middle against the Dallas Cowboys.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>SALT<\/character>\n    <dialogue>I grew up on the South Side of Chicago, sir. Whatever it is, I can handle it.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>I hope so, because if you can't, you'll make a mistake. You'll be holding a needle and it'll slip. Or your glove will have a crack in it and you won't notice. You work with filoviruses, it's like working with plutonium. A single drop of blood can hold six billion... That's more filoviruses than there are people in the world. You get a single one of those inside you, you're infected. Say you're lucky and it's one of the few filoviruses we have antiserum for. Then we can treat you and you'll probably live. But say you're unlucky. And you get one of those filoviruses we don't have an antiserum for, which is most of them. There's no medicine, no cure, nothing we can do to help you. Your body gets so hot, your liver, your kidney, all your vital organs melt, and your skin turns into tapioca pudding.<\/dialogue>\n    <scene_description>Stunned silence.<\/scene_description>\n    <character>IZZY<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>He means chocolate pudding.<\/dialogue>\n    <scene_description>Salt smiles slowly. He likes Izzy. The WHEELS come up with a THUMP. The giant jet shakes and rattles and soars into the air. SHOCK CUT TO: TWO U.S. ARMY HUEY HELICOPTERS - DAY flying low over the rain forest. The first carries Gillespie and his crew, the second is a gunship flying escort. They pass over the wide Motaba River that snakes for miles. CONTINUED: On the river: a Zairean Army patrol boat cruises down- stream, looking for guerrillas. The machine gunner swivels his cannon around at the two choppers. The machine gunner looks up at the U.S. Army insignia and waves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACK OF CHOPPER<\/stage_direction>\n    <scene_description>Izzy slips the clear helmet over General Ford's head. PULL BACK to reveal: The General covered from head to toe in BL-4 bio- safety suit. Salt, dressed the same, looks on, amused.<\/scene_description>\n    <character>FORD<\/character>\n    <parenthetical>(panicking)<\/parenthetical>\n    <dialogue>How do you breath in here?<\/dialogue>\n    <character>IZZY<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>With a respirator. Positive pressure's what you want. Keep those buggers out.<\/dialogue>\n    <scene_description>Izzy flips the switch on Ford's respirator, which sucks air out of the atmosphere, filters it, and pumps it into the suit. Ford starts to swell up like the Pillsbury doughboy.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>And I thought it was a hassle wearin' a tie all day.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRONT OF CHOPPER - A LITTLE LATER<\/stage_direction>\n    <scene_description>Gillespie, now suited up in full biosafety gear, but holding his helmet in his hands, sits beside the CHOPPER PILOT. In the distance, we see a village in which numerous huts are burning.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>We got a lot of equipment. You're gonna have to get us in close.<\/dialogue>\n    <character>PILOT<\/character>\n    <dialogue>I... I don't want to get no disease, sir.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Then don't kiss me, Sergeant.<\/dialogue>\n    <scene_description>CUT TO: CHOPPERS throwing up a storm of dust as they sweep down to the ground on the perimeter of the village.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHOPPER<\/stage_direction>\n    <scene_description>Gillespie, Salt, Berman and Ford stand by the door, ready to get out as soon as the chopper puts down. Gillespie has to shout at Salt over the sound of the WHIRLING CHOPPER BLADES:<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Captain Salt, if you fail to observe strict decontamination protocol, three things can happen. First, you can be court-martialed. Second, you can die from this horrible disease. Third, and worst of all, you can incur my displeasure. You got it?<\/dialogue>\n    <character>SALT<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>If one of us gets sick, we all get sick.<\/dialogue>\n    <parenthetical>(turns to Ford)<\/parenthetical>\n    <dialogue>And I didn't come here to die.<\/dialogue>\n    <scene_description>BURNING HUTS - WIDE ANGLE SHOT juxtaposed against the U.S. Army choppers disgorging the U.S. Army Infectious Disease Team -- blue space- suited figures with the U.S. flag emblazoned on their arms and helmets. The ju-ju man remains high on the cliff above the village, chanting and wailing, burning an offering to the gods. The U.S. Army Team approaches the village through the smoky haze, and we see -- Two different worlds juxtaposed -- men in spacesuits and a man in a loincloth. Gillespie, followed by Berman, Salt and Ford, moves across the village which now looks devastated and deserted except for a few remaining huts and a small cinder block building with an old Volkswagen van, marked with a red cross, parked out front. CONTINUED: Ford walks slower taking everything in, appalled at what he sees. The U.S. Army team enters the cinder block hut.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CINDER BLOCK HUT<\/stage_direction>\n    <scene_description>A short, slender, bespectacled black man in his late forties -- DR. IWABI -- head of the Zaire Infectious Disease Heath Agency -- and his NURSE, protected only by a smock, a surgical mask, and gloves, gives comfort to a young woman who's dying.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Doctor Iwabi? I brought blood, plasma --<\/dialogue>\n    <character>DR. IWABI<\/character>\n    <dialogue>-- You're too late.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>I came as soon as I could.<\/dialogue>\n    <character>DR. IWABI<\/character>\n    <dialogue>It wouldn't have mattered when you came. This one is different -- worse than Lassa, worse even than Ebola. It strikes and kills so fast. The young, the healthy, everybody.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Who was the index case?<\/dialogue>\n    <character>DR. IWABI<\/character>\n    <dialogue>A road construction worker.<\/dialogue>\n    <character>IZZY<\/character>\n    <dialogue>How did he get it?<\/dialogue>\n    <character>DR. IWABI<\/character>\n    <dialogue>We don't know. He died three days ago.<\/dialogue>\n    <scene_description>Salt moves ahead to the next bed and pulls aside the thin mosquito curtain to inspect the patient. Ford is right behind him.<\/scene_description>\n    <character>SALT<\/character>\n    <dialogue>God...<\/dialogue>\n    <scene_description>CONTINUED: The corpse's eyes are yellow and his flesh, speckled with hemmorrhages, looks like pulp. Blood oozes from his nose and his nipples. Ford turns away in horror.<\/scene_description>\n    <character>SALT<\/character>\n    <parenthetical>(retches)<\/parenthetical>\n    <dialogue>I'm gonna be sick.<\/dialogue>\n    <scene_description>He starts to rip off his mask. Gillespie grabs his arms.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Keep you helmet on, Goddamit!<\/dialogue>\n    <character>SALT<\/character>\n    <dialogue>I can't breath.<\/dialogue>\n    <scene_description>Salt vomits in his helmet. Rips it off. He rushes out. Izzy moves after him.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Put him in quarantine. Now!<\/dialogue>\n    <character>DR. IWABI<\/character>\n    <dialogue>You don't need to.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>DR. IWABI<\/character>\n    <dialogue>It's not spread in the air.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>How do you know?<\/dialogue>\n    <character>DR. IWABI<\/character>\n    <parenthetical>(pulls down his mask)<\/parenthetical>\n    <dialogue>There's no cough. Or we'd all be dead. For days we've been working with only these masks. They can't keep out a particle as small as a virus.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Could any infected person have gotten out of this village and spread it?<\/dialogue>\n    <character>DR. IWABI<\/character>\n    <dialogue>The incubation period is only one or two days. The mortality is one hundred percent.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>DR. IWABI<\/character>\n    <dialogue>If anyone got out, they are dead, or will be soon. And if they have spread the disease, we will know rather quickly.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Finding the host is the only way to control the spread. Our only hope is that this is like most viruses and that it has to live in a host, an animal, to which it's adapted over thousands of years. And that animal host has developed antibodies to protect itself against the virus. If we can identify that animal host, and harvest its antibodies, we can use them to fight the disease in humans.<\/dialogue>\n    <character>DR. IWABI<\/character>\n    <dialogue>There are a hundred thousand species of animals and insects in this rain forest. The construction worker could have been in contact with any one of them. Where do I start?<\/dialogue>\n    <character>GILLEPSIE<\/character>\n    <dialogue>General, tell him that our government will help with money, personnel supplies, whatever it takes.<\/dialogue>\n    <scene_description>Ford hesitates.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Of course, we'll do whatever we can.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OVER MOTABA RIVER VALLEY - DAWN<\/stage_direction>\n    <scene_description>In a SINGLE-FRAMED TIME LAPSE SHOT, dawn arrives in the Motaba Valley. FADE UP the hundreds of sounds of the rain forest ANIMALS. There is something primeval about this vista; this surely must be what the Garden of Eden looked like, except for the... CONTINUED: Plumes of black smoke which waft up from the blackened, Two African orderlies carry a stretcher bearing the dead body of a villager. They slide it onto a funeral pyre already burning with bodies. Gillespie, Ford and Dr. Iwabi make their way to the choppers where Berman and Salt are loading into the hold plexiglass cases of blood samples. ON CLIFF OVERHEAD The ju-ju man chants. He seems to float above the funeral pyre like a mirage.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>What's he saying?<\/dialogue>\n    <character>DR. IWABI<\/character>\n    <dialogue>He's asking for forgiveness from the Gods of the forest. They're angry because they've been awoken from their sleep by the men building the road. These deaths are their punishment.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Why isn't he sick?<\/dialogue>\n    <character>DR. IWABI<\/character>\n    <dialogue>He stayed in his cave all week and greeted his visitors with poison darts.<\/dialogue>\n    <character>GILLEPSIE<\/character>\n    <parenthetical>(a sense of foreboding)<\/parenthetical>\n    <dialogue>It was as if... as if he knew what was coming.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. C5A COCKPIT<\/stage_direction>\n    <scene_description>Heading home. Ford reads a hand-written paper Gillespie's just handed him and gets irate. CONTINUED:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>A memo to the CDC to issue a warning to every physician in the United States to be on the look-out for this disease? What the hell is this?<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>A safeguard, sir.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Are you nuts? Within a week we'll know if this thing burned itself out in that village, just like Iwabi said --<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>-- And if Iwabi's wrong? American doctors should be warned so cases can be quarantined. Sir, this one is different --<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>-- You're a smart guy, Gillespie, but you can't write a memo to the CDC which says the sky is falling.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <parenthetical>(sharply)<\/parenthetical>\n    <dialogue>We should do nothing?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Did I say that, Colonel?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>We will monitor the situation in Africa, and if this virus reappears, we will act with all our resources, not just to protect the American people but the people of the world. You will destroy this memo. That's an order.<\/dialogue>\n    <scene_description>Gillespie's frustrated.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <scene_description>SMASH CUT TO: NATIONAL AIRPORT (WASHINGTON) - DELTA GATE - DAY Robby is moving forward in the boarding line, and Mike is walking beside her. CONTINUED:<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>You asked for four days and four days it was... last night.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>It was a bad virus... Cut me some slack.<\/dialogue>\n    <character>ROBBY<\/character>\n    <dialogue>I cut you ten years of slack. I'm not giving you the dogs.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Stop joking. Where are they?<\/dialogue>\n    <character>ROBBY<\/character>\n    <dialogue>I shipped them this morning.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>You did not.<\/dialogue>\n    <scene_description>ON her face: a triumphant smile.<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>It's better for them. And for you. I'll be there to feed them and take care of them. You won't have to feel guilty.<\/dialogue>\n    <scene_description>She moves past the gate. Gillespie's stuck behind it. Screaming after her:<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>I'm coming to Atlanta... I'm takin' 'em back.<\/dialogue>\n    <character>ROBBY<\/character>\n    <dialogue>Dream on.<\/dialogue>\n    <scene_description>HOLD ON Gillespie's dismay as she disappears. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAIN CORRIDOR OF M.I.D.U.<\/stage_direction>\n    <scene_description>Mike walking briskly down the main corridor. Two M-16 toting security guards salute as he passes by. He reaches six-inch thick metal doors, closed tight. He slides his ID card into the optical reader. CONTINUED: The computer screen above it prints out the words, \"Colonel Michael Gillespie.\" A digitized voice booms from the WALL SPEAKER:<\/scene_description>\n    <character>WALL SPEAKER (V.O.)<\/character>\n    <dialogue>How-are-you-today-Doctor-Gillespie?<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Piss ass good. And you?<\/dialogue>\n    <scene_description>ON COMPUTER SCREEN We see Gillespie's voice print. The doors spring open. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR<\/stage_direction>\n    <scene_description>Gillespie going up in the elevator past the four floors of glassed-in laboratories. At the first level, workers wear civilian clothes. At the second level, they wear respir- ators. At the third level, they wear body suits, and at the fourth level they wear biosafety suits. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. M.I.D.U. - SMALL LOCKER ROOM OUTSIDE BL-4 LABS -<\/stage_direction>\n    <scene_description>STEADI-CAM SHOT Mike and Izzy strip off their clothes.<\/scene_description>\n    <character>IZZY<\/character>\n    <dialogue>Admit it, for chrissakes: The dogs will get better care with her than they got with you.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>That really cheers me up.<\/dialogue>\n    <character>IZZY<\/character>\n    <dialogue>You think cause we're friends I should ignore reality.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>I think cause we're friends you might show some tact.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>IZZY<\/character>\n    <dialogue>You were gone so often that when you were home... you spoiled 'em. Robby keeps an even keel.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Hey, she's available...<\/dialogue>\n    <character>IZZY<\/character>\n    <dialogue>Don't think I haven't thought about it.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>You're just what she's looking for. Mr. Stability. Three wives in five years.<\/dialogue>\n    <character>IZZY<\/character>\n    <dialogue>Two. I never married Sherry. I liked her too much...<\/dialogue>\n    <scene_description>Izzy pulls a red air hose down from the ceiling and in- flates his space suit before he puts it on; this is stan- dard safety procedure. Mike steps right into his suit.<\/scene_description>\n    <character>IZZY<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>IZZY<\/character>\n    <dialogue>You forgot to test your suit. Look! It's torn.<\/dialogue>\n    <scene_description>There is a small tear on the left leg of Gillespie's suit. They both realize Gillespie's mistake could have cost him his life.<\/scene_description>\n    <character>IZZY<\/character>\n    <parenthetical>(beams)<\/parenthetical>\n    <dialogue>If I let you die, who've I got to rag on?<\/dialogue>\n    <scene_description>FADE UP the sound of furiously RUSHING AIR, then: CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FT. DETRICK MILITARY INFECTUOUS DISEASE UNIT<\/stage_direction>\n    <scene_description>(M.I.D.U.) - BL-4 LAB - AIR LOCK Gillespie and Berman, dressed in their BL-3 suits, stand in the air lock. CONTINUED: There's no sound other than the FILTERED AIR RUSHING from a WALL JET into the long red tubing attached to the back of their helmets. These red tubes are called umbilical cords. Gillespie disconnects his, punches the wall plate and enters... MAIN ROOM OF LAB Quickly he connects to another umbilical cord; they hang from the ceiling at ten foot intervals. PAVAROTTI and SUTHERLAND singing the duet from \"Lucia de Lamamoore\" BLASTS from the SPEAKERS. Whenever Gillespie's in the lab, he's listening to opera. He approaches... The space-suited figure working under the hood. The figure turns and smiles; it's Salt. Gillespie's surprised. Salt salutes.<\/scene_description>\n    <character>SALT<\/character>\n    <dialogue>Good afternoon, Colonel, sir.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>I thought you were doing your thesis at Walter Reede.<\/dialogue>\n    <character>SALT<\/character>\n    <dialogue>A lot's been published on Herpes B but nothing on this new virus.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>So you were hoping to change subjects and get your name on my research papers?<\/dialogue>\n    <character>IZZY<\/character>\n    <dialogue>Our research papers.<\/dialogue>\n    <character>SALT<\/character>\n    <dialogue>I would do my share of the work, sir. More.<\/dialogue>\n    <character>IZZY<\/character>\n    <dialogue>And you wouldn't have to worry about anybody publishing the same thing cause there ain't nobody else crazy enough to work with this dangerous a virus.<\/dialogue>\n    <scene_description>Salt hesitates, then beams. CONTINUED:<\/scene_description>\n    <character>SALT<\/character>\n    <dialogue>Yes, sir! Have you given the virus a name, sir?<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Motaba... after the valley where we found it.<\/dialogue>\n    <character>SALT<\/character>\n    <dialogue>I like it, sir.<\/dialogue>\n    <character>IZZY<\/character>\n    <dialogue>Like it? Listen to the way it rolls off your tongue. Mo-ta-ba. Like a perfume.<\/dialogue>\n    <scene_description>He lifts up a vial labeled MOTABA and puts it close to his body as if he's putting on perfume. Salt watches with horror. In spite of their BL-4 suits, you just don't play with these things. Salt checks Gillespie, expecting the same reaction, but... Gillespie's enjoying the moment. He expects these things from Berman. Izzy rubs the vial against his chest, savoring the experience.<\/scene_description>\n    <character>IZZY<\/character>\n    <dialogue>One drop and you feel... so different... Your lover will never recognize you again.<\/dialogue>\n    <parenthetical>(shoving the vial at Salt)<\/parenthetical>\n    <dialogue>Have some, Captain.<\/dialogue>\n    <scene_description>Izzy tosses the vial of Motaba to Wally, who, terrified, doesn't know whether to catch it or not. But he does.<\/scene_description>\n    <character>IZZY<\/character>\n    <dialogue>Good hands... That's important for working with level 4 viruses.<\/dialogue>\n    <scene_description>Salt, trembling, notes that the vial is made of plastic.<\/scene_description>\n    <character>SALT<\/character>\n    <dialogue>This plastic is unbreakable, right?<\/dialogue>\n    <character>IZZY<\/character>\n    <dialogue>So far.<\/dialogue>\n    <scene_description>CONTINUED: A short, husky SPACE-SUITED FIGURE pushing a cart of test- tubes round the corner. The name Owigatsuyama is embla- zoned above his breast, Sergeant Major stripes on his arm. THROUGH his visor we see the face of a Japanese-American man in his early 60's with a warm friendly grin. We'll know him as Owi.<\/scene_description>\n    <character>OWI (SPACE-SUITED FIGURE)<\/character>\n    <parenthetical>(saluting Gillespie)<\/parenthetical>\n    <dialogue>Sir.<\/dialogue>\n    <parenthetical>(gesturing to Salt)<\/parenthetical>\n    <dialogue>He's here early. No coffee breaks.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Should we let this guy horn in on our new virus, Owi?<\/dialogue>\n    <scene_description>Owi hesitates.<\/scene_description>\n    <character>OWI<\/character>\n    <dialogue>I don't think so.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Well, that's that.<\/dialogue>\n    <scene_description>Salt nervously eyes Izzy: \"Is this a joke?\"<\/scene_description>\n    <character>IZZY<\/character>\n    <dialogue>Captain, Sergeant Owigatsuyama here not only looks after everything in this lab, but since he knows the birthday of every great tenor and soprano who ever lived, Dr. Gillespie looks to him for supreme guidance on all matters.<\/dialogue>\n    <character>SALT<\/character>\n    <dialogue>Just a minute! I could've changed the radio to jazz. I love jazz. But I didn't. Whaddya haveta do to get on here?<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Get me a blood test for the Motaba Virus.<\/dialogue>\n    <character>SALT<\/character>\n    <dialogue>With a PCR catalyst I should be able to have a crude -- and I underscore crude -- screening test in a few weeks.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>IZZY<\/character>\n    <dialogue>Excellent. But nobody's asking you to work a hundred and fifty hours a week...<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>A hundred and twenty will be plenty.<\/dialogue>\n    <character>IZZY<\/character>\n    <dialogue>Welcome aboard, Captain.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORD'S OFFICE - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Ford feeds flies to the Gila Monster. He looks out the office window at the BL-4 lab where Salt is working late. Ford moves on to the frog cages and feeds them too. He looks back at the BL-4 lab: sees Salt exiting. The lights go out. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORD'S OFFICE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Ford watches the bank of video monitors behind his desk: one shows Salt in the parking lot, getting into his old Fiat and leaving. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BL-4 LOCKER ROOM<\/stage_direction>\n    <scene_description>Ford, naked, slips on his suit with the ease of Joe Montana pulling on his helmet. He buckles the suit with- out even looking, as if he's done it five thousand times. FADE UP the sound of RUSHING AIR and... CUT TO: GILLESPIE'S BL-4 LAB Ford steps out of the air lock, disconnects his red hose and reconnects. He moves quickly across the room. Sud- denly, his air tube snags on the side of the lab bench. Ford stops, freaked. Quickly checks his hose. Indented, but not broken. He breathes again. CONTINUED:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>The world is round, Gillespie. Didn't anybody fucking teach you?<\/dialogue>\n    <scene_description>He grabs a metal file off the tool board and files down the side of the bench until it's perfectly smooth and round. Then moves on to... One of the huge circular freezers in the center of the lab. He punches in a seven-digit code on the keypad and the LOCK SNAPS OPEN. He lifts the heavy lid. VAPOR RUSHES OUT. He looks inside, sees the 65 aluminum test tubes labeled \"Motaba.\" CUT TO: NEGATIVE PRESSURE HOOD - FORD - MINUTES LATER opening one test tube after another, expertly withdrawing from each only a tiny sample of the virus, then putting it into a large test tube. Suddenly -- The air lock opens and three BL-4 figures approach Ford. We recognize the tall lean figure although he's 35 years older: McClintock, now a Lieutenant General. Ford hands him the large test tube.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Tell the boys the Old Man wants the answer tonight.<\/dialogue>\n    <scene_description>McCLINTOCK Yes, sir. McClintock places the test tube into a clear plexiglass container which is contained within a large plexiglass container, each with its own combination lock. He twirls the tumblers. The LOCKS SNAP into place. CUT TO: GILA MONSTER Its eyes darting back and forth, ever watchful, trusting nothing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BALCONY - FORD'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Ford leans on the bannister oblivious to the Gila Monster beside him. He's depressed and worried. In the distant sky,, traces of orange and pink announce the new day. From inside the office, a BEEP. Ford rushes...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORD'S OFFICE<\/stage_direction>\n    <scene_description>to his computer terminal. A message ratchets across the screen: \"ANALYSIS FINISHED\" He punches a computer key and swivels around in his chair to see the huge video screen on the wall. It shows two viral structures that look like DNA double helices. One is labelled \"CD-40 1960 (Motaba Valley)\"; the other is labelled \"Motaba Virus - Gillespie - 1994.\" Letters flash across the screen. Ford puts on his horn-rimmed glasses and stares at the screen. He doesn't breathe. A long beat.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>You fucker, why couldn't you stay dead?<\/dialogue>\n    <scene_description>CUT TO: MOTABA RIVER VALLEY - DAY (AUGUST 24) Deep in the rain forest, a trapper wheels a cage contain- ing a baboon to a clearing where other trappers and Government Health workers have lunch. Scattered around them are cages filled with other animals they've caught for Motaba Virus testing. The DRONE of approaching PLANES builds. The animals hear it first and grow restless. The Army troops guarding the workers scan the sky but can't see the planes because of the treetops. They scream into their walkie-talkies. On the river, the Machine Gunner on the Army Patrol-Boat, hears their reports and swivels his cannon around, scan- ning the sky. But he can't see the planes either. The DRONE becomes DEAFENING. Suddenly: Over the treetops, three camouflage-painted DC-3 gunships emerge, CANNONS FIRING right on target. The Patrol Boat explodes into a shower of splinters. The DC-3 Gunships turn and arc high into the sky. On the ground the soldiers sight the planes. They OPEN FIRE but the planes are out of range. The ju-ju man comes out of his cave and watches the planes circle back and release a waxy grey cloud. The ju-ju Mmn raises his arms defiantly. He bares his teeth and screams, and his cry fuses with: CONTINUED: EXPLODING NAPALM. The planes press on relentlessly, extending the fireball mile after mile, extinguishing all life. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORD'S OFFICE - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Gillespie bursts in. Ford looks up from his desk.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>The rebels hit Iwabi's camp.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>He swivels around in his chair to the world map on the wall.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>They hit Kisangani, Bukavu, and Mbandaka as well. Three hundred thousand acres of forest burned, at least thirty-seven dead. I'm trying to find out about Iwabi.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>He's all right, thank God. He was in Kinshasha at his clinic but his entire field staff was killed. His whole lab destroyed.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Terrible.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>I want to continue working on Motaba, sir.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Look, as a scientist, I appreciate the fact that this one fascinates you --<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>-- It scares the shit out of me, sir.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Colonel, the Pentagon's biting my ass cause we're months behind on the Anthrax studies. Get 'em finished. Take the heat off me.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Then you can fiddle with Motaba as much as you like.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Sir, if this virus came to America --<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>-- Then it'd be outside our mandate. The CDC takes care of civilian problems. Christ, now you've even got me buying into your paranoia. We can't protect everybody against everything. We've got to make decisions based on the odds, and the odds of Motaba causing us any more trouble are a billion to one.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BL-4 LAB<\/stage_direction>\n    <scene_description>Gillespie, Salt and Izzy search through the round freezer.<\/scene_description>\n    <character>IZZY<\/character>\n    <dialogue>Every sample of Motaba gone... Where the fuck did he put it?<\/dialogue>\n    <scene_description>Owi looks contrite.<\/scene_description>\n    <character>OWI<\/character>\n    <dialogue>General Ford ordered me to move all tubes to the sealed vault in A wing... Only he has access. He said you weren't gonna need it for months.<\/dialogue>\n    <scene_description>Gillespie and his men are despondent.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Those were the only samples in the world of Motaba, Iwabi lost all his in the fire.<\/dialogue>\n    <parenthetical>(to Owi)<\/parenthetical>\n    <dialogue>There's got to be a way to get that access code from Ford's computer.<\/dialogue>\n    <character>OWI<\/character>\n    <dialogue>Sir, I don't want any more trouble.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>OWI<\/character>\n    <dialogue>It's bad enough that I already made one mistake and forgot to transfer one of the tubes of Motaba. I seemed to have mixed it up with a tube of common cold virus. If I give you the tube, I'm sure you'll fix my mistake, sir.<\/dialogue>\n    <scene_description>He reaches into his pocket and pulls out a gleaming aluminium test tube with the words \"Motaba #48\" written on the side.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>I love it when you make mistakes, Owi.<\/dialogue>\n    <character>OWI<\/character>\n    <dialogue>How do you know? I never made one before now.<\/dialogue>\n    <scene_description>Hold on their grins, FADE UP the sound of FURIOUSLY RUSHING WIND and: CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PACIFIC SEAS<\/stage_direction>\n    <scene_description>A Dutch freighter plowing through the heavy seas. COMPUTER KEYS POUND: \"THE DUTCH FREIGHTER APELDORN. AUGUST 29.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FREIGHTER<\/stage_direction>\n    <scene_description>In a cramped dark hold, Betsy stares sadly through the bars of her cage at her captor, SEAMAN SECOND CLASS DIETER JANS, 21-years-old and making his first trip.<\/scene_description>\n    <character>SEAMAN JANS<\/character>\n    <parenthetical>(in Dutch)<\/parenthetical>\n    <dialogue>What's the matter, girl?<\/dialogue>\n    <scene_description>Dieter pushes a banana through the bar of the cage, and Betsy snatches it. Then she retreats with it to the far corner of the cage and studies Seaman Jans with plaintive eyes. PULL BACK to show the ship headed for the Golden Gate Bridge. SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOCKS (SAN FRANCISCO) - DAY<\/stage_direction>\n    <scene_description>Betsy stares out from her cage as it swings down from ship to wharf. CUT TO: BIOTEST ANIMAL HOLDING FACILITY (SAN JOSE, CALIFORNIA) We're in a long aisle with monkey cages stacked two high on both sides. A translucent skylight gives this place a greenhouse glow. A forklift putters down the aisle with Betsy's cage in front. Betsy's cage is lifted up and placed into a slot. Betsy stands out from all the other monkeys because she is the only black and white Colobos -- the other monkeys are all brown rhesus. Betsy's cage slides into place. BETSY SHRIEKS at the man in the forklift. JIMBO SCOTT, 23-years-young, long, scraggly hair, an aspiring rock and roll drummer working here to make ends meet. Jimbo's BEEPER SOUNDS. He checks the message, then looks puzzled. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BIOTEST GUARD GATE - NIGHT<\/stage_direction>\n    <scene_description>Jimbo's red Nissan pulls up to the exit lane of the guard gate. The GUARD leans over.<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>Hey, Jimbo, I saw your band last night. Hot! I didn't know you were such a good drummer, man.<\/dialogue>\n    <character>JIMBO<\/character>\n    <dialogue>Wait'll I get my new traps. The world'll never be the same.<\/dialogue>\n    <scene_description>The Guard raises the gate and Jimbo drives forward. CUT TO: SIDE OF DARK ROAD Jimbo opens the trunk to reveal Betsy, drugged, asleep in her cage. Jimbo slides Betsy's cage out of the trunk and places it in the back seat. CUT TO: INTERSTATE FIVE (OREGON) - DAY Jimbo speeds along in his red Nissan.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RED NISSAN<\/stage_direction>\n    <scene_description>In her cage in the back seat, Betsy moves back and forth restlessly, a baby bottle of water in her hand.<\/scene_description>\n    <character>JIMBO<\/character>\n    <dialogue>Cars put babies to sleep, why not you?<\/dialogue>\n    <scene_description>Betsy takes a mouthful of water and spits it on Jimbo. His reaction is instant rage. He slams the cage:<\/scene_description>\n    <character>JIMBO<\/character>\n    <dialogue>You stupid fucking monkey! Why'dya wanna go and do that?<\/dialogue>\n    <scene_description>He shoves the cage further away. Then he sees it - a small cut on his hand, caused by a couple of wire pro- trusions on the cage. He rubs the blood off on his shirt. The Nissan roars down the road. CUT TO: EXTREME CLOSEUP - TISSUE CULTURE - THROUGH ELECTRON MICROSCOPE A normal cell.<\/scene_description>\n    <character>SALT (O.S.)<\/character>\n    <dialogue>A normal healthy liver cell.<\/dialogue>\n    <scene_description>The image changes.<\/scene_description>\n    <character>SALT (O.S.)<\/character>\n    <dialogue>Infected cell.<\/dialogue>\n    <scene_description>The infected cell is swollen and filled with black brick- like structures.<\/scene_description>\n    <character>SALT (O.S.)<\/character>\n    <dialogue>Bricks of virus. They multiply until...<\/dialogue>\n    <scene_description>The image changes: the bricks have completely overrun the cell, shattering its outer membrane so that bricks run rampant inside and outside the cell. CONTINUED:<\/scene_description>\n    <character>SALT (O.S.)<\/character>\n    <dialogue>They explode the cell and destroy it. Then they move on to the next healthy cell. And the next. 'Til there's nothing left to kill.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BL-4 LAB - M.I.D.U.<\/stage_direction>\n    <scene_description>Gillespie, Berman, and Salt, dressed in their biosafety suits, peer at the video monitor hooked up to the electron microscope. Salt flicks a switch on the console to change the magnification. The fuzzy brick-like structures are computer enhanced and enlarged to razor-sharp crystal- line structures that look like huge ominous steel balls climbing up the sides of thick pillars.<\/scene_description>\n    <character>IZZY<\/character>\n    <dialogue>There's our guy, Mr. Motaba.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Ugly bastard, isn't he?<\/dialogue>\n    <character>SALT<\/character>\n    <dialogue>I wouldn't let him date my sister.<\/dialogue>\n    <scene_description>CUT TO: EXTREME CLOSEUP - MICROSCOPE FIELD as the image comes INTO FOCUS we see a wavy purple out- line of a cell.<\/scene_description>\n    <character>SALT (O.S.)<\/character>\n    <dialogue>The blood test. Normal is this -- pure purple. But if you're infected...<\/dialogue>\n    <scene_description>Focus changes and another image fills the screen: the field is filled with wide patches of red circles. Gillespie and Berman each peer into the scope.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>If you're red, you're dead. Is that what you're telling me?<\/dialogue>\n    <character>SALT<\/character>\n    <dialogue>That's right, Colonel. The virus doesn't know the Cold War is over.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>SALT<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But the rest is just a quickie; I haven't had time to refine it. There are false negatives, purples that should be red. I don't know why yet.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>How long to fix it?<\/dialogue>\n    <character>SALT<\/character>\n    <dialogue>Hard to say.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>How long?<\/dialogue>\n    <character>IZZY<\/character>\n    <dialogue>Hey, don't pressure the kid! It took the NIH guys eight months to get the kinks outa the AIDS test... And they didn't have to put up with your nagging.<\/dialogue>\n    <scene_description>SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMALL ANIMAL TESTING ROOM - TRAVELING SHOT<\/stage_direction>\n    <scene_description>Gillespie, Berman and Salt moving rapidly through the room within the BL-4 lab.<\/scene_description>\n    <character>IZZY<\/character>\n    <dialogue>This bug definitely ate its Wheaties.<\/dialogue>\n    <scene_description>ANGLE ON FOURTEEN CAGES each contains three or four different small mammals -- rats, guinea pigs, small lab mice, hamster, and rabbits. All stone dead.<\/scene_description>\n    <character>IZZY<\/character>\n    <dialogue>It survives in air for twelve hours, and it survives in water for two hours.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <parenthetical>(incredulous)<\/parenthetical>\n    <dialogue>Bullshit.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>IZZY<\/character>\n    <dialogue>Hey, this little bugger's so hardy it can read the whole Sunday NY Times and not die, it can run the hundred in nine flat, and it can kill fish faster than my cat. Voila!<\/dialogue>\n    <scene_description>A fish tank with a dozen dead fish floating on top.<\/scene_description>\n    <character>IZZY<\/character>\n    <dialogue>No test species has survived, even when I've treated them with all antivirals, including every damn antiserum. What's even worse is there's a latency phase. Iwabi didn't see this in Zaire, I don't know why, but some of the animals I've tested had the infection a long time before they showed any symptoms. They even tested negative but had the disease. If this is true of humans... why we could have it ourselves and not know it.<\/dialogue>\n    <character>SALT<\/character>\n    <dialogue>Yet be spreading it.<\/dialogue>\n    <character>IZZY<\/character>\n    <dialogue>Exactly.<\/dialogue>\n    <character>SALT<\/character>\n    <dialogue>Holy shit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RUDY'S PET SHOP (BONNEVILLE, OREGON) - DAY<\/stage_direction>\n    <scene_description>COMPUTER KEYS POUND: \"BONNEVILLE, OREGON... FRIDAY, AUGUST 31.\" Jimbo slides a cage containing Betsy into a space beside a cage containing a male brown RHESUS MONKEY. He grabs the bars of his cage and HISSES. Betsy cowers. RUDY ALVAREZ, the owner of the shop, slips on a pair of gloves and opens the cage, reaches in for Betsy. She tries to avoid his grasp.<\/scene_description>\n    <character>RUDY<\/character>\n    <dialogue>You got the papers and all?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>JIMBO<\/character>\n    <dialogue>Yeah, sure... I got the papers. She's legal.<\/dialogue>\n    <character>RUDY<\/character>\n    <dialogue>Whaddya mean 'she'?<\/dialogue>\n    <scene_description>Betsy takes advantage of the opening and bolts out of the cage, heading for the window. As Rudy and Jimbo both chase after her, Rudy is steaming.<\/scene_description>\n    <character>RUDY<\/character>\n    <dialogue>I told you a male.<\/dialogue>\n    <character>JIMBO<\/character>\n    <dialogue>You said 'she'.<\/dialogue>\n    <character>RUDY<\/character>\n    <dialogue>Bullshit! I said 'he'. The customer's already got a female Colobos. He wants to breed 'em.<\/dialogue>\n    <scene_description>Betsy slams against the glass. Rudy grabs her.<\/scene_description>\n    <character>RUDY<\/character>\n    <dialogue>C'mon, baby... c'mon.<\/dialogue>\n    <scene_description>She lashes out at his naked forearm, digging her nails into him, drawing blood. He yelps and lets go, and she runs away to the other side of the room, passing the brown rhesus, who eyes a half-eaten banana in Betsy's cage. He grabs it and scarfs it down. Jimbo finally grabs Betsy from behind. Rudy grabs her from the front and they thrust her back into her cage. Rudy wipes the blood off his arm.<\/scene_description>\n    <character>RUDY<\/character>\n    <dialogue>Get this bitch outa here.<\/dialogue>\n    <character>JIMBO<\/character>\n    <dialogue>What about my money?<\/dialogue>\n    <character>RUDY<\/character>\n    <dialogue>Go back and get me a male Colobos.<\/dialogue>\n    <character>JIMBO<\/character>\n    <dialogue>We ain't got one. This was the only Colobos we had... Look, I'll sell her cheap.<\/dialogue>\n    <character>RUDY<\/character>\n    <dialogue>I wouldn't take her for free.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>RUDY<\/character>\n    <parenthetical>(indicating the Brown Rhesus)<\/parenthetical>\n    <dialogue>I can't even sell this one.<\/dialogue>\n    <character>JIMBO<\/character>\n    <parenthetical>(depressed)<\/parenthetical>\n    <dialogue>Hey, I need some money now, man.<\/dialogue>\n    <scene_description>Rudy hesitates.<\/scene_description>\n    <character>JIMBO<\/character>\n    <dialogue>I done you a lot of favors.<\/dialogue>\n    <scene_description>Rudy pulls out a billfold.<\/scene_description>\n    <character>RUDY<\/character>\n    <dialogue>All right... Fifty bucks for your expenses. A lot more when you bring me a male.<\/dialogue>\n    <character>JIMBO<\/character>\n    <dialogue>What am I going to do with her?<\/dialogue>\n    <scene_description>Rudy shrugs. CUT TO: SMALL ROAD DEEP IN FOREST - LATER THAT DAY Jimbo opens the cage which is sitting on the side of the road by the Nissan, but Betsy shrinks back in a corner of the cage. Jimbo feels sorry for her.<\/scene_description>\n    <character>JIMBO<\/character>\n    <dialogue>Look at all the trees. It's like home.<\/dialogue>\n    <scene_description>Jimbo jabs her lightly with a drumstick. She runs out of the cage but stops at the edge of the road, afraid of the forest she doesn't know.<\/scene_description>\n    <character>JIMBO<\/character>\n    <parenthetical>(flicking pebbles at her)<\/parenthetical>\n    <dialogue>C'mon, get. Get!<\/dialogue>\n    <scene_description>She scampers off into the forest. Jimbo follows her with his eyes, a little saddened. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 757 CABIN<\/stage_direction>\n    <scene_description>Jimbo Scott is asleep against the window in the back row of the plane.<\/scene_description>\n    <character>BILLY BOY (O.S.)<\/character>\n    <dialogue>Bang, bang! You're dead.<\/dialogue>\n    <scene_description>Jimbo bolts up, and looks groggily at the four-year- old boy standing on the next seat: he's dressed in a cowboy's outfit with a huge sheriff's star pinned to his chest. He sneezes right in Jimbo's face. His mother puts down her Cosmo.<\/scene_description>\n    <character>BILLY BOY'S MOTHER<\/character>\n    <dialogue>Billy!? Say you're sorry.<\/dialogue>\n    <parenthetical>(to Jimbo)<\/parenthetical>\n    <dialogue>He's so excited; he's going to see his cousins.<\/dialogue>\n    <character>BILLY BOY<\/character>\n    <dialogue>My uncle's a real cowboy at a rodeo.<\/dialogue>\n    <scene_description>Jimbo looks terrible. His eyes are red and he's having trouble swallowing. He grabs his pillow and blanket and gets up. Billy jabs his six guns into Jimbo's belly:<\/scene_description>\n    <character>BILLY BOY<\/character>\n    <dialogue>Where d'you think you're goin', mister?<\/dialogue>\n    <character>JIMBO<\/character>\n    <dialogue>Someplace they don't have lawmen.<\/dialogue>\n    <scene_description>He goes to the back of the plane where's it's deserted, and lies down across three seats. His body shakes with a chill. He pulls the blanket tight against his chest. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOGAN AIRPORT (BOSTON) - DAY<\/stage_direction>\n    <scene_description>COMPUTER KEYS POUND: LOGAN AIRPORT, BOSTON, SATURDAY, The 757 glides almost silently over Boston Harbor as it sweeps in towards Logan Airport. LOGAN AIRPORT - GATE Jimbo lumbers out and is greeted by a young woman with long scraggly hair who wears blue jeans and an old, faded T-shirt that says \"Metallica.\" Her name is ALICE, and she puts her arm around Jimbo and hugs him.<\/scene_description>\n    <character>ALICE<\/character>\n    <dialogue>What'sa matter, honey?<\/dialogue>\n    <character>JIMBO<\/character>\n    <dialogue>Some little brat gave me his cold.<\/dialogue>\n    <scene_description>She plants a kiss on him and pats his ass.<\/scene_description>\n    <character>ALICE<\/character>\n    <dialogue>Too many late nights, that's all. Come home to bed.<\/dialogue>\n    <scene_description>Jimbo smiles and pulls her close. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUNTAIN FOREST - NIGHT<\/stage_direction>\n    <scene_description>Betsy's eyes glow in the moonlight. She looks hungry and sad. She hears the SHRIEK of a HAWK and freezes. These are foreign sounds. She moves stealthily across the forest floor. CUT TO: MOUNTAIN FOREST - LATER THAT NIGHT A patch of wild blackberries grow in a thicket. Betsy begins eating them ravenously. Then she HEARS SOMETHING and turns to see -- A coyote poised to leap. Betsy races up a pine tree. HER POV The COYOTE BARKS below. He's joined by his mate. The coyotes settle in for a long, hungry wait. Betsy is terrified. CUT TO: MOUNTAIN FOREST - FOLLOWING MORNING Betsy, still high up in the pine tree, looks down on -- The COYOTES, still waiting. One of them pricks up his ears and GROWLS. Suddenly a SHOT rings out, and the coyotes bolt. In the distance a hunter takes aim and FIRES again. Betsy cowers behind the tree, hiding herself from this new danger. The hunter runs under Betsy's tree, rifle in hand, cursing to himself, hell bent on killing the coyotes. CLOSE ON BETSY IN TREE She waits as TWO more SHOTS ring out in the distance, then slowly climbs down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DR. DREW REYNOLDS' OFFICE - DAY<\/stage_direction>\n    <scene_description>COMPUTER KEYS POUND: \"OFFICE OF THE DIRECTOR, CENTER FOR DISEASE CONTROL (CDC), ATLANTA, SEPTEMBER 1.\" DR. DREW REYNOLDS, 55, dressed in a doctor's coat, paces in front of a bookcase filled with medical tomes and topped by tennis trophies. Reynolds has a rest- less energy; he squeezes a tennis ball as he listens to Robby, sitting in a chair across from his desk, with a folder of fax papers in her papers. She's clearly intimidated by him, which is his intended effect on everyone.<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>Dr. Gillespie wants us to send out a special bulletin warning all physicians to watch out for any symptoms of a virus from Zaire named 'Motaba.' He thinks it's serious enough to warrant emergency reporting nationwide, that it can't wait for our regular monthly report.<\/dialogue>\n    <character>DREW REYNOLDS<\/character>\n    <dialogue>Which will be released next week, correct?<\/dialogue>\n    <character>ROBBY<\/character>\n    <dialogue>Wednesday.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>DREW REYNOLDS<\/character>\n    <dialogue>To get out a special bulletin for four hundred thousand health professionals is about a hundred and fifty thousand dollars.<\/dialogue>\n    <character>ROBBY<\/character>\n    <dialogue>Dr. Gillespie says it's the worst virus he's ever studied --<\/dialogue>\n    <character>DREW REYNOLDS<\/character>\n    <dialogue>-- Forgive me, Robby, but this is the guy who found three cases of Congo Fever in Nairobi in '87, and suddenly it's in every American kid's lunch box --<\/dialogue>\n    <character>ROBBY<\/character>\n    <dialogue>-- You're not being fair --<\/dialogue>\n    <character>DREW REYNOLDS<\/character>\n    <dialogue>In '91 he said Tsutsugamushi Fever was coming. In '92 it was Ebola. His panics cost us plenty. Around here he's known as Doctor Doom.<\/dialogue>\n    <character>ROBBY<\/character>\n    <dialogue>He could've been right about any of them. Rule out the worst first... that's what my father always taught.<\/dialogue>\n    <character>DREW REYNOLDS<\/character>\n    <dialogue>Your father was one of the greatest Surgeon Generals this country ever had. He took me under his wing and let me fly. I've always been grateful. And I've always had a special feeling for you, Robby. The... pain it gave him to see you working under Gillespie... all your promise... the man never gave you a chance to show it.<\/dialogue>\n    <scene_description>A long silence. Drew has hit home.<\/scene_description>\n    <character>DREW REYNOLDS<\/character>\n    <dialogue>Look, is there a shred of evidence that Motaba is more transmissible than the other filoviruses we've seen in the past?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>DREW REYNOLDS<\/character>\n    <dialogue>Then as long as the bulletin goes out next week, we're covered.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR (DESCENDING) - ROBBY<\/stage_direction>\n    <scene_description>alone, very depressed, leans against the wall. We sense, if somebody walked in and said hello, she'd cry. The doors open into her floor and she gets out, not making eye contact with anyone. She enters... HER EXPANSIVE OFFICE Her young assistants, DR. JULIO SANCHEZ and DR. LISA ARONSON, faxes in hand, join her from their neighboring offices.<\/scene_description>\n    <character>LISA ARONSON<\/character>\n    <dialogue>An E-Coli outbreak in Michigan at a couple of Ronny's steakhouse franchises.<\/dialogue>\n    <character>JULIO SANCHEZ<\/character>\n    <dialogue>And -- a couple of fevers of unknown origin at Boston Municipal that the infectious disease docs can't figure out. That's all we've got on the log.<\/dialogue>\n    <character>ROBBY<\/character>\n    <parenthetical>(jesting)<\/parenthetical>\n    <dialogue>The Boston case is not some guy out of Zaire... with Motaba, is it?<\/dialogue>\n    <character>LISA ARONSON<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>Yeah, right! Nah, it's a couple of Americans. No unusual travel.<\/dialogue>\n    <character>JULIO SANCHEZ<\/character>\n    <dialogue>They've probably got some atypical strain of Lyme and the Boston doctors have just missed the boat.<\/dialogue>\n    <character>ROBBY<\/character>\n    <dialogue>Then let's see if we can throw them a lifeline.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RUDY'S PET SHOP (BONNEVILLE, OREGON) CLOSE ON<\/stage_direction>\n    <scene_description>RUDY - DAY He doesn't look good, his face is flushed and sweaty, his eyes glassy. He turns the \"Closed\" sign around to \"Open\" and unlocks the door for an elderly lady, MRS. FOOTE, standing impatiently outside with her fat Persian cat in her arms. The BELL TINKLES as the door opens and she enters.<\/scene_description>\n    <character>MRS. FOOTE<\/character>\n    <dialogue>Rorshie didn't like the shredded veal wafers. I asked her and she said, 'Can we change it for the beef chips?'<\/dialogue>\n    <scene_description>He's not up for this today.<\/scene_description>\n    <character>MRS. FOOTE<\/character>\n    <dialogue>Are you okay, Rudy?<\/dialogue>\n    <character>RUDY<\/character>\n    <dialogue>I'm fine, Mrs. Foote... it's hot. That's all. Lemme open a win--<\/dialogue>\n    <scene_description>Suddenly his face twitches, his body stiffens, his eyes roll back and he falls to the floor, convulsing violently. Mrs. Foote screams. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BONNEVILLE GENERAL HOSPITAL - EMERGENCY ROOM<\/stage_direction>\n    <scene_description>COMPUTER KEYS POUNDING: \"EMERGENCY ROOM, BONNEVILLE GENERAL HOSPITAL - SEPTEMBER 1, 08:50.\" DR. MASCELLI, 43, a local G.P. auscultates Rudy's chest with his stethoscope. A nurse, EMMA, starts an IV. A second nurse, Jim, puts an oxygen mask over Rudy's face. The lab tech, HENRY, 23, very serious, wraps a tourniquet around Rudy's arm and draws some blood into three colored tubes.<\/scene_description>\n    <character>DR. MASCELLI<\/character>\n    <dialogue>C'mon, Rudy, talk to me!<\/dialogue>\n    <scene_description>No response. Dr. Mascelli rubs his knuckles into Rudy's chest. Rudy groans.<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>They said he was fine yesterday.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>DR. MASCELLI<\/character>\n    <parenthetical>(rattled)<\/parenthetical>\n    <dialogue>And now he's in shock with pneumonia.<\/dialogue>\n    <parenthetical>(to Henry)<\/parenthetical>\n    <dialogue>Get me some blood cultures.<\/dialogue>\n    <scene_description>Henry nods as he fills a lavendar-topped tube with Rudy's blood.<\/scene_description>\n    <character>DR. MASCELLI<\/character>\n    <dialogue>I've been reading about real bad strep cases. I bet this is one of 'em. Emma, don't leave him alone. His heart could stop any minute.<\/dialogue>\n    <scene_description>CUT TO: LAB - CLOSE ON LAVENDER-TOPPED TUBE - MINUTES LATER spinning in a centrifuge. Henry turns it off. In the b.g., the RADIO BLARES with the MARINERS -- ANGELS game:<\/scene_description>\n    <character>BASEBALL RADIO<\/character>\n    <dialogue>ANNOUNCER (V.O.)<\/dialogue>\n    <scene_description>Johnson's ready... Checks the runners... Salmon is waiting. Johnson delivers. (a LOUD CRACK) That ball is hit. Deep... deep... it's gone. The Angels win!<\/scene_description>\n    <character>HENRY<\/character>\n    <dialogue>Damn!<\/dialogue>\n    <scene_description>Without thinking he reaches into the centrifuge, but it's still spinning. The lavendar tube shatters, spraying Rudy's blood everywhere. Henry squints. He's got blood in his eye. He rushes to the sink and washes it out. CUT TO: EMERGENCY ROOM OFFICE - MINUTES LATER Dr. Mascelli trying to calm Henry. CONTINUED:<\/scene_description>\n    <character>DR. MASCELLI<\/character>\n    <dialogue>You washed it out. Don't worry. But just in case, I'll put you on some penicillin prophylactically.<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>I wouldn't want to give it to my girl friend.<\/dialogue>\n    <character>DR. MASCELLI<\/character>\n    <parenthetical>(nudging Henry)<\/parenthetical>\n    <dialogue>Cheer up, the penicillin'll kill that, too.<\/dialogue>\n    <scene_description>Henry manages a smile. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VICTORIA STREET THEATRE<\/stage_direction>\n    <scene_description>COMPUTER KEYS POUNDING: \"VICTORIA STREET THEATRE, BONNEVILLE, OREGON - SEPTEMBER 1, 20:25 PDT.\" Henry sits with his girl friend, CORINNE, watching a showing of the Warner-Kopelson blockbuster, Thief Of Araby. Henry starts to cough violently, then stands up.<\/scene_description>\n    <character>CORRINE<\/character>\n    <dialogue>Honey, what's wrong?<\/dialogue>\n    <scene_description>He's sweaty and pale.<\/scene_description>\n    <character>HENRY<\/character>\n    <dialogue>Nothin'. Just thirsty... Lemme get something to drink and I'll be okay.<\/dialogue>\n    <scene_description>Henry heads up the aisle in the darkened theatre.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THEATRE LOBBY - CONCESSION COUNTER<\/stage_direction>\n    <scene_description>Henry hits the concession stand line just as it's filling up before another movie in this multiplex. He's still coughing. He covers his mouth as he coughs again and again. CONTINUED: Movie patrons, children and adults, on all sides of him are exposed to his \"cold.\" HOLD ON each of their faces for a second as Henry pushes his way to the front of the line and grabs a handful of napkins.<\/scene_description>\n    <character>HENRY<\/character>\n    <dialogue>Could I please get something to drink?<\/dialogue>\n    <scene_description>TRACY, the salesgirl with a spiked haircut regards him with a hostile glance.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>You'll have to wait your turn, sir.<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>Please -- I'm not feeling too good. A large Coke. Or Pepsi. I don't care.<\/dialogue>\n    <scene_description>At the front of the line, a black woman (MRS. LOGAN) with a streak of purple in her hair holds her toddler in her arms. She sees that Henry is ill.<\/scene_description>\n    <character>MRS. LOGAN<\/character>\n    <dialogue>That's okay, let him go first.<\/dialogue>\n    <scene_description>Henry, coughing violently, slaps down three dollars. Tracy serves him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARKENED THEATRE<\/stage_direction>\n    <scene_description>Henry walks down the aisle with his drink in hand. He stumbles and falls forward, spilling the drink all over a MOVIE PATRON sitting on the aisle.<\/scene_description>\n    <character>MOVIE PATRON<\/character>\n    <dialogue>Hey?! Watch what you're...<\/dialogue>\n    <scene_description>When he sees Henry sprawled face down on the carpet, he's scared. He touches Henry's back:<\/scene_description>\n    <character>MOVIE PATRON<\/character>\n    <dialogue>Hey, buddy...? Usher!! Usher!!<\/dialogue>\n    <scene_description>SHOCK CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOSTON MUNICIPAL HOSPITAL<\/stage_direction>\n    <scene_description>COMPUTERS KEYS POUND: \"BOSTON MUNICIPAL HOSPITAL.\" CONTINUED: Dr. Julio Sanchez from the CDC and THREE OTHER DOCTORS, dressed in full surgical smock, cap, foot covers, and gloves, stride briskly down the hall and approach double-doors marked \"Quarantine: Protective Clothing Required\" in red letters. They put on positive pressure respirator face masks and we hear the sound of RUSHING AIR. They push through the double-doors.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. QUARANTINE WARD<\/stage_direction>\n    <scene_description>Jimbo lies near death in one bed, and his girl friend -- Alice lies near death in another. Plastic drapes have been placed over both beds, holding the air inside. CLOSE ON JIMBO The scarlet hemorrhagic rash can be seen on his cheeks. Blood trickles from his nose and his mouth, and soaks his sheets. Dr. Sanchez is shocked at how far gone Jimbo is.<\/scene_description>\n    <character>JULIO SANCHEZ<\/character>\n    <parenthetical>(loudly)<\/parenthetical>\n    <dialogue>Mister Scott -- Jimbo... We're trying to figure out how you got this disease. It's important, so try to help me. You work at an animal facility in San Jose --<\/dialogue>\n    <scene_description>Jimbo's eyes are blank. He's dead.<\/scene_description>\n    <character>BOSTON DOCTOR #1<\/character>\n    <dialogue>What's this guy got?<\/dialogue>\n    <character>JULIO SANCHEZ<\/character>\n    <dialogue>I don't know. That's why we'll need a post.<\/dialogue>\n    <character>BOSTON DOCTOR #2<\/character>\n    <dialogue>No way. I'm not gonna slip and cut myself and get what he's got.<\/dialogue>\n    <character>BOSTON DOCTOR #1<\/character>\n    <dialogue>Me neither.<\/dialogue>\n    <scene_description>Suddenly from under her plastic protective shield, Alice stares over at Jimbo's bed. She calls out, her voice a whisper: CONTINUED:<\/scene_description>\n    <character>ALICE<\/character>\n    <dialogue>Jimbo -- Jimbo? Honey, are you all right...? Answer me, please.<\/dialogue>\n    <scene_description>Alice has just spoken her last words. FADE UP the WHIR of a SUCTION PUMP and... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOSTON MUNICIPAL HOSPITAL - PATHOLOGY LAB<\/stage_direction>\n    <scene_description>Boston Doctor #3, in a biosafety suit, stares at Jimbo's naked body lying on the autopsy table. Dr. Sanchez, also in a biosafety suit, stands opposite.<\/scene_description>\n    <character>JULIO SANCHEZ<\/character>\n    <dialogue>Go very carefully, very slowly. Maximum sharps precautions.<\/dialogue>\n    <scene_description>Sweat drips off Boston Doctor #3's face, fogging his visor. He starts to make the first cut, but his hand is trembling too much.<\/scene_description>\n    <character>JULIO SANCHEZ<\/character>\n    <dialogue>Don't let your eyes leave the blade. Ever. And you'll be okay.<\/dialogue>\n    <scene_description>Doctor #3 cuts deep into Jimbo's ribs but no matter how slowly he cuts, the sharp edge of the scalpel seems too close to his fingers. PULL BACK to reveal they're doing the autopsy in a plastic tent using negative pressure suction pumps. As the PUMPS WHIR... CUT TO: AUTOPSY TENT - LATER<\/scene_description>\n    <character>BOSTON DOCTOR #3<\/character>\n    <dialogue>Jesus -- the liver, spleen, kidneys -- they've turned into jelly.<\/dialogue>\n    <scene_description>CUT TO: OPERATING ROOM NURSING STATION<\/scene_description>\n    <character>JULIO SANCHEZ<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>It's as if they swallowed a bomb and it went off inside them.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>JULIO SANCHEZ<\/character>\n    <dialogue>I don't know if it's Motaba but it sure looks like what Gillespie described.<\/dialogue>\n    <scene_description>INTERCUT WITH: ROBBY at her kitchen table. Petrified. We see she's been working late: her laptop's on, papers are strewn about.<\/scene_description>\n    <character>ROBBY<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>How many were exposed?<\/dialogue>\n    <character>JULIO SANCHEZ<\/character>\n    <dialogue>Too many. The medical staff didn't know what they were dealing with so they didn't take precautions. They're scared outa their minds.<\/dialogue>\n    <scene_description>Julio gazes through the glassed-in walls at the half- dozen pathology residents and nurses, peering at him with worried expressions. He spins around in his chair so he doesn't have to see them.<\/scene_description>\n    <character>JULIO SANCHEZ<\/character>\n    <dialogue>That's just the beginning. Patient zero -- this guy Jimbo Scott -- worked in an animal quarantine facility in San Jose, California. That's probably where he picked it up. Probably the whole place is infected by now and is gonna have to be nuked.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>It gets worse. Jimbo here takes a goddamn plane from Portland to Boston. The plane stopped in Chicago. Two hundred and eight people on the first leg, and Christ, something like two hundred and fifty on the second! If this guy was infectious, by now the whole country's been exposed. And Gillispie says there's no treatment for this mother, nothing to do but pronounce people dead. What are we supposed to do, Robby? Christ, what the hell are we supposed to do?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>ROBBY<\/character>\n    <parenthetical>(coolly)<\/parenthetical>\n    <dialogue>Gillespie said Motaba only spreads by direct contact, that the disease isn't airborne. Was patient zero coughing?<\/dialogue>\n    <scene_description>Sanchez flips through Scott's medical record.<\/scene_description>\n    <character>JULIO SANCHEZ<\/character>\n    <dialogue>I don't see anything about his coughing.<\/dialogue>\n    <character>ROBBY<\/character>\n    <dialogue>Then the people on the plane are probably okay. But we're going to have to check every one of them out. Plus all the medical staff who worked on him and his girl friend. Plus all their recent contacts.<\/dialogue>\n    <character>JULIO SANCHEZ<\/character>\n    <dialogue>-- That's thousands of people --<\/dialogue>\n    <character>ROBBY<\/character>\n    <dialogue>-- I don't see a choice --<\/dialogue>\n    <character>JULIO SANCHEZ<\/character>\n    <dialogue>-- This whole hospital is buzzin' with rumors... it's gonna hit the press real soon. What are we gonna tell them?<\/dialogue>\n    <character>ROBBY<\/character>\n    <dialogue>That the C.D.C. is investigating the situation, but we do not feel there's reason for alarm. I know it's scary, Julio, but the truth is we don't know what it is yet.<\/dialogue>\n    <character>JULIO SANCHEZ<\/character>\n    <dialogue>Gillespie's the only one who can tell us.<\/dialogue>\n    <scene_description>Robby has mixed emotions: the last person she wants to involve is her ex-husband.<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>Send him everything by stat courier.<\/dialogue>\n    <character>JULIO SANCHEZ<\/character>\n    <dialogue>Got it.<\/dialogue>\n    <scene_description>CONTINUED: He hangs up. STAY WITH Robby: her mind racing. She punches in a speed-dial key. An operator answers:<\/scene_description>\n    <character>OPERATOR (V.O.)<\/character>\n    <dialogue>Center for Disease Control.<\/dialogue>\n    <character>ROBBY<\/character>\n    <dialogue>This is Dr. Keough. Put out a stage three alert.<\/dialogue>\n    <character>OPERATOR (V.O.)<\/character>\n    <dialogue>Your password, Doctor?<\/dialogue>\n    <character>ROBBY<\/character>\n    <dialogue>Zebra, Apple, Charley, Kill.<\/dialogue>\n    <scene_description>CUT TO: WAR ROOM OF C.D.C (23:00) A wan Drew Reynolds enters this large, frenetic room crowded with doctors and staff man the phone banks and fax machines that take up an entire wall. Along another wall is a huge electronic map of the U.S. A red circle blinks on Boston. Reynolds knows that if Motaba Virus rips through America, he's scapegoat number one. He makes his way to -- Robby at the large desk in the middle of the room.<\/scene_description>\n    <character>ROBBY<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Great! Now get the list of all his friends in San Jose. I want to know every contact the last last five days.<\/dialogue>\n    <scene_description>She hangs up, turns to Lisa Aronson, on the phone at the next desk.<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>Paitent Zero didn't take a commercial plane to Portland. Presumably he went by car. Fax every emergency room in the Portland area a description of the disease. Then hit every hospital along every freeway from San Jose to Portland.<\/dialogue>\n    <character>LISA ARONSON<\/character>\n    <dialogue>Right.<\/dialogue>\n    <scene_description>CONTINUED: Drew Reyonlds sits down at Robby's desk. Suddenly he looks much older.<\/scene_description>\n    <character>DREW REYNOLDS<\/character>\n    <dialogue>We don't even have confirmation. This could all be for noth --<\/dialogue>\n    <character>ROBBY<\/character>\n    <dialogue>-- Worst first. My father never made the same mistake twice.<\/dialogue>\n    <scene_description>Reynolds is humbled. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BONNEVILLE GENERAL HOSPTIAL - INTENSIVE CARE UNIT<\/stage_direction>\n    <scene_description>Corinne stands at Henry's bedside. She's getting sick too: pale, sweating, starting to cough, but she's more worried about Henry, who's barely conscious.<\/scene_description>\n    <character>DR. MASCELLI<\/character>\n    <dialogue>Henry, we got it early, and you're gonna make it. But I need you to fight.<\/dialogue>\n    <scene_description>Henry stares at him with blank eyes.<\/scene_description>\n    <character>CORRINE<\/character>\n    <dialogue>Fight, Henry. Fight hard.<\/dialogue>\n    <scene_description>The OVERHEAD PAGING SYSTEM GOES OFF.<\/scene_description>\n    <character>PAGING OPERATOR (V.O.)<\/character>\n    <dialogue>Dr. Mascelli, E.R. stat. Dr. Mascelli, E.R. stat...<\/dialogue>\n    <scene_description>Dr. Mascelli rushes out. CUT TO: EMERGENCY ROOM Two paramedics wheel in Tracy, the Movie Counter Sales- girl with the spiked haircut. Her father runs alongside.<\/scene_description>\n    <character>TRACY'S FATHER<\/character>\n    <dialogue>Doc, she got sick so fast. I thought it was the flu, then she fainted in the bathroom. She's hot, Doc, so hot.<\/dialogue>\n    <scene_description>HOLD ON Dr. Mascelli's fear, then -- CUT TO: E.R. HALLWAY - MASCELLI - MINUTES LATER He's searching through a thick book on infectious diseases. Nurse Emma approaches, near tears:<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>What's wrong with these people?<\/dialogue>\n    <character>DR. MASCELLI<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <scene_description>INTERCUT EMERGENCY ROOM - B.G. We see a roomful of people waiting to check in, including Mrs. Logan (the black woman with purple hair) and her toddler. Suddenly the toddler starts coughing and coughing. His lips turn blue.<\/scene_description>\n    <character>MRS. LOGAN<\/character>\n    <parenthetical>(screams)<\/parenthetical>\n    <dialogue>My baby. My baby!<\/dialogue>\n    <scene_description>Dr. Mascelli throws down the book and rushes out, past -- The FAX MACHINE, spitting out a sheet of paper. The words at the top declare: \"Center for Disease Control, Atlanta, Emergency Bulletin.\" FADE UP the ROAR of a CHOPPER and -- CUT TO: FT. DETRICK - HELIPORT (23:50) As the BELL CHOPPER emblazoned with the Boston Police logo hits ground, Gillespie, Berman, Salt and Owi yank open the doors and pull out the two shiny aluminum coffins.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GILLESPIE'S BL-4 LAB<\/stage_direction>\n    <scene_description>The aluminum coffins containing Jimbo Scott and Alice still lie open. Gillespie, Berman, and Owi anxiously watch Salt slip a slide under the scope and peer though the eyepieces. A long beat. He moves carefully from one field to the next.<\/scene_description>\n    <character>IZZY<\/character>\n    <dialogue>C'mon, for chrissakes.<\/dialogue>\n    <scene_description>Salt shifts to another field, looks at it long and hard. Pulls his head back: hopelessness in his eyes. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORD'S OFFICE<\/stage_direction>\n    <scene_description>A fuzzy, bright fluorescent glow FILLS the SCREEN. As the image comes INTO FOCUS, we see the ugly, large red circles of Motaba. ANOTHER ANGLE A shaken Bill Ford pulls back from his scope. He tries to project an air of calm:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>P.C.R. tests are tricky. It's easy to make a mistake --<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>-- Yeah, I followed your orders instead of my gut.<\/dialogue>\n    <scene_description>He grabs the phone and punches in a long distance number.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>I should've blasted our African findings across every newspaper in the country.<\/dialogue>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Robby.<\/dialogue>\n    <scene_description>INTERCUT C.D.C. WAR ROOM - ROBBY One person after another sees her on the phone and real- izes what this is about. Within seconds the room is si- lent. Drew Reynolds squeezes his tennis ball. Robby's shoulders sag with dismay.<\/scene_description>\n    <character>ROBBY<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>You're sure?<\/dialogue>\n    <scene_description>Reynolds drops the ball. Around the room: shock; even though they all anticipated the positive result, nobody can quite believe it.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>You need my help, Robby.<\/dialogue>\n    <scene_description>Robby, flustered, doesn't answer.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>I know this virus, you don't. I've worked this virus, you haven't. How many people are infected?<\/dialogue>\n    <scene_description>CONTINUED: She's afraid to tell him.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>How many?<\/dialogue>\n    <character>ROBBY<\/character>\n    <dialogue>We don't know. We've only got a whole emergency room full of people in Bonneville, Oregon, and we don't know what they've got.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <parenthetical>(dismayed)<\/parenthetical>\n    <dialogue>How could that many people get infected so fast?<\/dialogue>\n    <character>ROBBY<\/character>\n    <dialogue>We're not sure.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Robby, don't get anywhere near this thing.<\/dialogue>\n    <scene_description>Robby doesn't answer.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>You've been in an office for years. You've forgotten what these things are like.<\/dialogue>\n    <character>ROBBY<\/character>\n    <dialogue>I worked with the A.I.D.S. virus.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>That's level two, nothing! This is level four. Stay the fuck away, Robby.<\/dialogue>\n    <scene_description>ON ROBBY She is scared. BACK TO SCENE<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Please, Robby. Stay away.<\/dialogue>\n    <character>ROBBY<\/character>\n    <dialogue>I need to be able to test a lot of people and quickly. I need the primer --<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Why has it always been so hard for you to admit that you need anything from me?<\/dialogue>\n    <character>ROBBY<\/character>\n    <dialogue>I don't have time to fight with you. I'll have a courier pick up the primer at 01:00.<\/dialogue>\n    <scene_description>She hangs up without giving him a chance to respond.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Robby!<\/dialogue>\n    <scene_description>Hands trembling, he hangs up the phone. Ford says nothing, but in his eyes -- pity.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Request permission to bring my team to Bonneville, Oregon, sir.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Request denied. Civilian infections are not within our mandate --<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>-- A Presidential order can override --<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Let the C.D.C. do its job. If they need help, they know we're here.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>The Goddamn fuse is lit! What're you gonna do? Wait for the bomb to go off?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>We don't live in the African bush. We don't crap in our streets, we don't drink dirty well water filled with spit. The disease will be stopped.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Yeah? Today, maybe they've got a handful... By tomorrow they could have a hundred, and the day after that, a thousand. When the President and Congress ask why you didn't bring in one group, the only group in the entire world with experience in fighting this disease, what're you gonna say?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>You don't obey orders, Gillespie. You're the last person I'd send.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>I'm sending a letter to the Surgeon General right now. I'm going to create a paper trail. You will fry.<\/dialogue>\n    <scene_description>Gillespie storms out. Ford remains unruffled.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GILLESPIE'S SMALL, CLUTTERED OFFICE<\/stage_direction>\n    <scene_description>Gillespie bursts into the room and slams the door. He grabs the glass PAPERWEIGHT off his desk and throws it against the wall. It SHATTERS. He stops. A moment of hesitation.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FT. ANDREWS AIR FORCE BASE - CONTORL TOWER<\/stage_direction>\n    <scene_description>SERGEANT MUCIA picks up the phone. The wall clock reads midnight.<\/scene_description>\n    <character>SERGEANT MUCIA<\/character>\n    <dialogue>Fort Andrews. Air traffic control. Sergeant Mucia.<\/dialogue>\n    <scene_description>INTERCUT MUCIA WITH GILLESPIE IN HIS OFFICE<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Sergeant, this is Colonel Gillespie at Fort Detrick. We're on code red status for Bonneville, Oregon. Time of departure 01:00.<\/dialogue>\n    <character>SERGEANT MUCIA<\/character>\n    <dialogue>That's not possible, sir.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Is that Mucia with a 'C' or an 'S'?<\/dialogue>\n    <character>SERGEANT MUCIA<\/character>\n    <parenthetical>(nervous)<\/parenthetical>\n    <dialogue>'C,' sir.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Get it done, Sergeant. That's a direct oroder from General Ford.<\/dialogue>\n    <character>SERGEANT MUCIA<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FT. ANDREWS AIR FORCE BASE<\/stage_direction>\n    <scene_description>Flood lights illuminate dozens of enlisted men rapidly wheeling equipment into the open hatch of the huge C5A standing on the tarmac. Gillespie, Salt, and Berman approach the plane, Gillespie in the lead, the others two steps behind.<\/scene_description>\n    <character>SALT<\/character>\n    <dialogue>The C.D.C. asked us? That doesn't sound like them.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>They're going to have to show the President they did everything possible.<\/dialogue>\n    <scene_description>There's a nervousness in Izzy's face, something we've seen before.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Get a bunch of paper pushers scared enough, they'll do anything.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORD'S OFFICE<\/stage_direction>\n    <scene_description>He punches the words \"Bonneville, Oregon\" into his computer. The computer answers: \"Population: 1218. Portland Metropolitan Area: Population: 532,000.\" He punches another key. A TELEPHONE speed dial WHISTLES across the room. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DUGWAY (UTAH) - NIGHT<\/stage_direction>\n    <scene_description>A gila monster hunts for prey, its eye darting back and forth, its tongue twitching hungrily. It runs off, vanishing in the dry chaparral and desert that stretches for hundreds of miles. CONTINUED: We're seemingly in the middle of nowhere until we find -- An electrified barbed-wire fence emblazoned with signs warning: \"U.S. Military Property: Trespassing Strictly Prohibited.\" Behind the fence stand rows of huge satellite scanners. Behind them are rows of duplexes. Inside one of the du- plexes a light comes on.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUPLEX<\/stage_direction>\n    <scene_description>McClintock grabs the PHONE RINGING by his bed. INTERCUT FORD AND MCLINTOCK<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>The genie's out of the bottle in Bonneville, Oregon, Donny, and we've got to get him back in.<\/dialogue>\n    <scene_description>General McClintock looks dumb.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Cancel all leaves. Mobilize all personnel. I'm going to want wind conditions and transmission rates -- for all insects, animals, marine, and human vectors. If this virus is spreading, I want to know how fast and where.<\/dialogue>\n    <scene_description>He looks at his computer monitor, which projects a map of Western Oregon: the town of Bonneville is close to the Columbia River.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Bonneville's only five miles from the Columbia River and if this mother gets there, we're in big shit trouble.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. C5A<\/stage_direction>\n    <scene_description>Flying in heavey weather. COMPUTER KEYS POUND: September 3, 02:30. The Radioman turns to Gillespie, seated with Izzy and Salt in the back of the cockpit. CONTINUED:<\/scene_description>\n    <character>RADIOMAN<\/character>\n    <dialogue>We've got the Secretary of Defense on the radio. They had to wake him up.<\/dialogue>\n    <scene_description>Gillespie unstraps himself and takes hold of the microphone.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <parenthetical>(into mike)<\/parenthetical>\n    <dialogue>Tell him it is Colonel Mike Gillespie, Commander of the U.S. Army Motaba Virus Task Force.<\/dialogue>\n    <scene_description>INTERCUT WITH: SMALL OAK-LINED STUDY (VIRGINIA) where PHILLIP GOODELL, the Secretary of Defense, is dressed in his pajamas.<\/scene_description>\n    <character>GOODELL<\/character>\n    <dialogue>Give that to me one more time, Colonel.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>We've got to quarantine the entire town of Bonneville and do it quick. Morning will be too late -- people will panic and try to leave. If even one infected person gets out, the entire effort could be for nothing.<\/dialogue>\n    <character>GOODELL<\/character>\n    <dialogue>Why can't the State Police do it?<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>They can shut down the major roads, but we need a much larger force to encircle the town.<\/dialogue>\n    <character>GOODELL<\/character>\n    <dialogue>Where would I get troops at this hour and have 'em in Bonneville, Oregon before sunrise?<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Fort Lewis, Washington, or Ford Ord, California. Closer is better. Sir, this is a doomsday disease.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>As deadly as A.I.D.S., but it kills within days. It could spread over the entire country.<\/dialogue>\n    <scene_description>Goodell's wide awake now.<\/scene_description>\n    <character>GOODELL<\/character>\n    <dialogue>Does your commanding officer know about this?<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Yes, sir, of course. He asked me to call you.<\/dialogue>\n    <character>GOODELL<\/character>\n    <dialogue>Colonel, all I can do is refer the matter to the National Security Council. An action of this scope would require the President's approval.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Then get it, sir. Right away, please.<\/dialogue>\n    <scene_description>They break radio contact. Salt looks at Gillespie with awe.<\/scene_description>\n    <character>IZZY<\/character>\n    <dialogue>If the C.D.C. asked us to help, why did you have to call the Defense Secretary? Why didn't General Ford make the call?<\/dialogue>\n    <scene_description>Gillespie shifts uncomfortably. Salt realizes he's in trouble.<\/scene_description>\n    <character>IZZY<\/character>\n    <dialogue>You bet your ass, Captain. Colonel Gillespie has taken it upon himself to circumvent the entire chain of command.<\/dialogue>\n    <scene_description>The plane bounces in the turbulence. Salt turns to Gillespie.<\/scene_description>\n    <character>SALT<\/character>\n    <dialogue>You're shitting me?... Sir?<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>I'll take full responsibility for whatever happens.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>IZZY<\/character>\n    <dialogue>That only means they'll hang you first.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Don't worry, the C.D.C. -- and the President -- will invite us to Bonneville.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>They'll invite Mary and Jesus too.<\/dialogue>\n    <scene_description>CUT BACK TO: DEFENSE SECRETARY GOODELL'S OAK-LINED STUDY<\/scene_description>\n    <character>GOODELL<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>I just got a disturbing call from one of your officers, General.<\/dialogue>\n    <scene_description>INTERCUT WITH: FORD IN HIS OFFICE sitting at his desk. As we hear Goodell go on, a look of anger builds on Ford's face.<\/scene_description>\n    <character>GOODELL<\/character>\n    <dialogue>I can tell the President we're looking at a situation you can contain with minimal loss of life, can't I?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>CUT TO: GILLESPIE'S BL-4 LAB (02:30) TRACK PAST the open aluminum caskets holding the remains of Jimbo and Alice to Owi working under a negative pres- sure hood. He removes a rack of test tubes, suddenly freezes. Facing him are General Ford and four men dressed in BL-4 suits and carrying automatic weapons in plastic sheaths. One soldier closes the caskets and starts moving them out. The others start unpacking the freezers. CONTINUED:<\/scene_description>\n    <character>OWI<\/character>\n    <dialogue>Are you crazy? Don't touch them. Those are Level Four viruses.<\/dialogue>\n    <scene_description>The lead soldier raises his rifle at Owi.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Sergeant, I want every specimen of Motaba Virus in this lab and this time no 'mistakes.'<\/dialogue>\n    <scene_description>FADE UP COUNTRY MUSIC with a real twang like the JUDDS' \"Red Cadillac\" and... CUT TO: RED PICKUP with chrome wheels racing along a deserted country road in the dark of night. COMPUTER KEYS POUND: \"BONNEVILLE, OREGON, TUESDAY -- 05:00.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. PICKUP - NIGHT<\/stage_direction>\n    <scene_description>TOMMY HULL, 28, a construction worker, sings along. The windows of his pickup are wide open and the wind blows his long hair straight back. There's an empty gun rack in the back. He rounds a turn and BRAKES to a SCREECHING HALT. The glare of flashing red and blue lights crosses his face.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>What the hell?<\/dialogue>\n    <scene_description>TOMMY'S POV - THREE HIGHWAY PATROLMEN wearing gas masks and toting shotguns in their latex- gloved hands, stand in front of their patrol cars whose emergency lights flash off and on, creating an eerie glow. Down the road, is a second checkpoint where the patrol cars are facing the other way. BACK TO SCENE Tommy Hull climbs out. The HIGHWAY PATROLMAN raises his shotgun and aims it. CONTINUED:<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>What's goin' on?<\/dialogue>\n    <character>HIGHWAY PATROLMAN #1<\/character>\n    <dialogue>Stay inside your car.<\/dialogue>\n    <scene_description>Tommy Hull freezes.<\/scene_description>\n    <character>HIGHWAY PATROLMAN #1<\/character>\n    <dialogue>Turn around, go home, and stay there.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>What's goin' on? Why are you wearin' all that stuff?<\/dialogue>\n    <character>HIGHWAY PATROLMAN #2<\/character>\n    <dialogue>Go home and you'll be all right. Move it.<\/dialogue>\n    <scene_description>Tommy Hull ain't gonna argue with three loads of buckshot. He STARTS his TRUCK, then stops and gapes, as rapidly ap- proaching from the opposite way towards town is... CONVOY OF THREE STATE POLICE CARS They ZOOM by him. In the back seat of the lead car, we see Robby and Lisa Aronson. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BONNEVILLE GENERAL HOSPITAL (TUESDAY, 6:15 AM)<\/stage_direction>\n    <scene_description>The convoy of police cars pull in the parking lot where local police, wearing respirators, hold back a crowd of about twenty people, the families of those who are sick inside. Robby and Lisa and the state police officers climb out wearing their respirator\/helmets and biosafety suits. The twenty people react as the realization sets in that what- ever their loved ones have, it's awful. Tracy's Father pushes forward.<\/scene_description>\n    <character>TRACY'S FATHER<\/character>\n    <dialogue>Nobody's tellin' us what's goin' on.<\/dialogue>\n    <scene_description>Robby turns to the local POLICE CHIEF, Ray Fowler, a stringy, taciturn man. CONTINUED:<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>I'm Dr. Roberta Keough from the C.D.C. I'm in charge.<\/dialogue>\n    <character>POLICE CHIEF<\/character>\n    <dialogue>I thought he was in charge.<\/dialogue>\n    <scene_description>She follows his gaze to the main entrance of the hospital. Standing at the top of the stairs, dressed in his bio- safety suit is... MIKE GILLESPIE Robby is shocked, but not shocked. She moves up the steps. He blocks her path.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>I've got people inside. They can do what needs to be done. Set up your command post outside the town, where you'll be safe.<\/dialogue>\n    <scene_description>She tries to go around him. He grabs her arm.<\/scene_description>\n    <character>ROBBY<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Let me do my job. Please. I know what I'm doing.<\/dialogue>\n    <scene_description>A beat. He reluctantly lets go. She goes inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL<\/stage_direction>\n    <scene_description>Robby, followed by Mike, moves down the corridor.<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>On whose authority are you here, Michael?<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Want me to leave?<\/dialogue>\n    <scene_description>She doesn't answer. We hear only the RUSH of AIR in their SUITS, drowning out the horror we see as they pass room after room of Motaba patients, screaming and moaning in pain. They pass... Izzy in a room with Henry, the lab tech. Lips blue, gasping for every breath, he fights against the vent- ilator. Streaks of blood line the wall. In the next bed is his girl friend, Corinne, comatose and near death. CONTINUED: A MOTHER'S cry of agony rips through the RUSH of AIR as Robby and Mike pass the room where Mrs. Logan is holding her dying toddler in her arms. Her body is covered with the fine red vesicular rash of end-stage Motaba. She pleads with Salt, standing there in a biosafety suit, completely helpless.<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>Save my baby... Please... Save my baby.<\/dialogue>\n    <scene_description>Robby exchanges a glance with Gillespie. She's devastated.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>I tried to warn you.<\/dialogue>\n    <scene_description>But nothing he could have said could have prepared her for this. She moves on into... SMALL INTENSIVE CARE UNIT crammed with ten patients on gurneys, all sick with end- stage Motaba. Nurse Emma and Dr. Mascelli, in biosafety suits, pack Tracy, the movie-counter girl, in ice.<\/scene_description>\n    <character>TRACY<\/character>\n    <parenthetical>(delirious with fever)<\/parenthetical>\n    <dialogue>Daddy... Daddy! Where's my daddy?<\/dialogue>\n    <scene_description>Robby looks at Rudy, lying in the next cubicle, eyes com- pletely yellow and lifeless, face and body covered in black-and-blue splotches. His chest rises and falls in short gasps.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Bonneville patient zero. He never regained consciousness so we don't know how he got infected.<\/dialogue>\n    <scene_description>Suddenly Tracy starts convulsing.<\/scene_description>\n    <character>DR. MASCELLI<\/character>\n    <dialogue>More Valium. Quick.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>We're out.<\/dialogue>\n    <character>ROBBY<\/character>\n    <dialogue>Where's the crash cart?<\/dialogue>\n    <scene_description>CONTINUED: Nurse Emma nods to a Sears Roebuck-style tool cabinet in the corner. Dr. Mascelli starts for it, but Gillespie's already there. He punches off the plastic lock, rips open a drawer and grabs a small box labeled Valium. He flips it to... Robby, who in a second, pops it open, pulls out the syringe of Valium and shoots the yellow liquid into Tracy's IV. She stops seizing. Dr. Mascelli and Nurse Emma are impressed.<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>Dr. Mascelli, we spoke on the phone, I'm Dr. Keough from the C.D.C.<\/dialogue>\n    <scene_description>One of the patients starts coughing. Gillespie and Robby are alarmed.<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>How many of your patients are coughing?<\/dialogue>\n    <character>DR. MASCELLI<\/character>\n    <parenthetical>(indicating Rudy)<\/parenthetical>\n    <dialogue>Except for him, all of them. Why?<\/dialogue>\n    <scene_description>SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASCELLI'S OFFICE<\/stage_direction>\n    <scene_description>And a grid map of Bonneville with cases of Motaba marked in red. They're spread out all over the town.<\/scene_description>\n    <character>DR. MASCELLI<\/character>\n    <dialogue>The common bond is the movie theatre.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>This isn't the same virus --<\/dialogue>\n    <character>ROBBY<\/character>\n    <dialogue>-- It's mutated --<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>-- To an airborne form --<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>DR. MASCELLI<\/character>\n    <dialogue>My God, if it's spreading through the air, person to person, by droplets, it's... it's the plague. Everybody in the town's gonna die.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>They may not all be infected.<\/dialogue>\n    <character>DR. MASCELLI<\/character>\n    <dialogue>But they will be. And if one person gets out --<\/dialogue>\n    <character>ROBBY<\/character>\n    <dialogue>The quarantine has to be ironclad --<\/dialogue>\n    <character>DR. MASCELLI<\/character>\n    <dialogue>People are gonna get out over the mountains -- it will be impossible to stop them.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>You're wrong.<\/dialogue>\n    <scene_description>FADE UP the ROAR of CHOPPERS. An OVERWHELMING DIM. Dr. Macselli moves to the window, pulls back the shades. Can't believe his eyes. In the distance, against the dawn half-light... the sky is filled with Sikorsky Blackhawk helicopters from the U.S. Rapid Deployment Force.<\/scene_description>\n    <character>ROBBY<\/character>\n    <parenthetical>(astonished)<\/parenthetical>\n    <dialogue>How...<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>... Don't ask.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BONNEVILLE GENERAL HOSPITAL (06:40)<\/stage_direction>\n    <scene_description>A giant helicopter maneuvers a mobile BL-4 lab into the parking lot behind the hospital. Another chopper flies behind it, carrying a portable pre-fab hospital. Another sets down and begins disgorging combat troops wearing chem-warfare suits. CUT TO: SOLDIERS dressed in chemical warfare gear and carrying M-16s ride in a Jeep through the center of the town. The SOLDIER with a megaphone bellows at a group of townspeople gathered in front of a donut shop:<\/scene_description>\n    <character>SOLDIER<\/character>\n    <dialogue>Go home and stay there or you will be placed under arrest.<\/dialogue>\n    <scene_description>The townspeople stare at these terrifying figures, then quickly disperse. REVEAL the next street over, and the next. Soldiers blast out warnings. CUT TO: TOMMY HULL, HIS WIFE, DARLA, AND TWO KIDS (06:40) barreling along a gravel road in their pickup. In the hazy light, Tommy sees... Two infantry men in chem-war gear move into position on the road and raise their guns toward the pickup. Tommy does not slow down. His wife screams:<\/scene_description>\n    <character>DARLA<\/character>\n    <dialogue>They'll shoot us!!<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>They won't.<\/dialogue>\n    <scene_description>But he can't be certain. The soldiers take aim. Tommy brings the PICKUP to a SCREECHING stop, throwing up gravel on all sides. He whips the vehicle around and heads back toward town. A Chinook HELICOPTER THUNDERS overhead. Tommy scans the horizon for an escape.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>I know one place they won't think to go.<\/dialogue>\n    <scene_description>CUT TO: RED PICKUP bouncing along an overgrown creek bed, splashing water everywhere, careening into the big rocks which litter the creek bed. Suddenly -- A helicopter gunship emerges over the tree-tops.<\/scene_description>\n    <character>DARLA<\/character>\n    <dialogue>Stop!<\/dialogue>\n    <scene_description>But Tommy doesn't stop. The PICKUP keeps going -- SMASH- ING and BASHING its way up the creek. The GUNSHIP OPENS FIRE, shredding the tires. The PICKUP THUMPS to a halt. Inside, Darla and the children cry, Tommy is shaken. The helicopter hovers above them as the Hulls climb out and head back toward town. CUT TO: STATE POLICE CAR coming to a fast stop at the highway checkpoint outside Bonneville as... GUNFIRE RINGS OUT from the distance. Inside, Mike and Robby react with alarm and climb out. CHOPPERS ROAR by overhead, create a DEAFENING BLAST. The line of cars trying to get out of town is a quarter mile long. They're held back by a... Long line of infantrymen in chem-war gear who look like futuristic insects. This area will become the front lines of a war. Robby and Mike race by the soldiers... To the command where LIEUTENANT COLONEL RONALD BRIGGS is on the radio, coordinating his units.<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>You're using rubber bullets, aren't you?<\/dialogue>\n    <scene_description>Briggs salutes Gillespie. He speaks with a Georgia accent.<\/scene_description>\n    <character>LT. COLONEL BRIGGS<\/character>\n    <dialogue>No, ma'am. My orders are that no one is to get out of this town.<\/dialogue>\n    <character>ROBBY<\/character>\n    <dialogue>You're operating under civilian control in a civilian disater.<\/dialogue>\n    <scene_description>CONTINUED: A monster Chinook comes down, sending up a torrent of dust.<\/scene_description>\n    <character>LT. COLONEL BRIGGS<\/character>\n    <dialogue>No, ma'am, we're not.<\/dialogue>\n    <scene_description>He turns to... The figure emerging from under the WHIRLING BLADES: General Billy Ford. Gillespie braces himself. Robby's surprised. Billy hands Robby a sealed document.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>The Secretary of Defense and the President have made this a joint operation between the C.D.C. and the United States Army. I've been placed in command.<\/dialogue>\n    <scene_description>Ford goes straight over to Gillespie. Briggs intercepts him halfway there, salutes, and reports:<\/scene_description>\n    <character>LT. COLONEL BRIGGS<\/character>\n    <dialogue>Sir, since we established our perimeter at 06:20, nobody has penetrated our line. Before that, I can give no guarantees.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>There are one thousand two hundred and eighteen people living in this town. I want every one of them accounted for by 09:00.<\/dialogue>\n    <character>LT. COLONEL BRIGGS<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <scene_description>He moves off. Ford and Gillespie square off.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>You're under arrest. With Major Berman and Captain Salt --<\/dialogue>\n    <character>ROBBY<\/character>\n    <dialogue>-- He was right. We were wrong --<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>-- Stay out of it, Robby. Gillespie, you violated a direct order --<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>-- The virus is airborne.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Motaba is only spread by direct fluid contact.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Since it left Africa, it mutated.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>That's crazy.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Go to the hospital and see for yourself. Leave your face bare.<\/dialogue>\n    <scene_description>Ford starts away from Gillespie.<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>You can't put him in jail. I need him. I need his whole team.<\/dialogue>\n    <scene_description>Ford thinks for a moment.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Very well. Colonel, you, Major Berman, Captain Salt... can help Dr. Keough for the duration of this crisis, but you cannot leave this town and as soon as we get this under control, you'll be taken into custody.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Major Berman and Captain Salt were following my orders -- I am the only one at fault.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>We'll let the court martial decide that.<\/dialogue>\n    <scene_description>Suddenly Robby's walkie-talkie squawks:<\/scene_description>\n    <character>LISA ARONSON (V.O.)<\/character>\n    <dialogue>We got the host!<\/dialogue>\n    <scene_description>FADE UP the cacophony of SHRIEKING ANIMALS and -- CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RUDY'S PET SHOP<\/stage_direction>\n    <scene_description>The brown rhesus sits in the back of his cage, staring at Biosafety suited doctors crowded around his cage. The other ANIMALS SCREECH with hunger.<\/scene_description>\n    <character>LISA ARONSON<\/character>\n    <dialogue>I found this note on the desk...<\/dialogue>\n    <scene_description>She holds a post-it with the words scribbled across it: \"Scott - Monkey - 8\/31.\"<\/scene_description>\n    <character>LISA ARONSON<\/character>\n    <dialogue>This must be the monkey Scott brought up from Biotest.<\/dialogue>\n    <character>SALT<\/character>\n    <dialogue>And if he is the host, his blood will give us a treatment.<\/dialogue>\n    <character>LISA ARONSON<\/character>\n    <dialogue>He's so cute it's hard to believe he's caused such destruction.<\/dialogue>\n    <character>IZZY<\/character>\n    <dialogue>Hitler's girl friend used to say the same thing.<\/dialogue>\n    <scene_description>Ford stands in the back of the room, disinterested, as if he knows already the brown rhesus is going to lead nowhere. Robby peers into the rhesus's cage.<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>Why is he so quiet?<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Monkeys get quiet when they get hungry...<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>... Or sick.<\/dialogue>\n    <scene_description>SMACH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BIO-TEST ANIMAL QUARANTINE FACILITY<\/stage_direction>\n    <scene_description>COMPUTER KEYS POUND: \"BIOTEST ANIMAL QUARANTINE FACILITY -- SAN JOSE, CALIFORNIA\" McClintock hurries down the long aisle filled with monkey cages stacked two high on both sides. Keeping pace is FELDER, the president of Bio-Test.<\/scene_description>\n    <character>FELDER<\/character>\n    <dialogue>These animals are all healthy.<\/dialogue>\n    <scene_description>CONTINUED: McClintock turns to a dozen biosafety-suited figures, each carrying a doctor's bag. McCLINTOCK Fan out. They each go off in a separate direction, leaving McClintock and Felder opposite a cage of African Green monkeys. McClintock opens his black bag, takes out a strange looking pistol and feeds in a cartridge con- taining a turquoise-blue liquid (amobarbital). McCLINTOCK One of these animals may be the host of the worst virus the world has ever known. Felder shudders. McClintock thunders into his walkie- talkie. McCLINTOCK Make sure the animals are completey tranquilized before specimens are drawn. Use all level four precautions. Felder squirms as McClintock aims the pistol at the Green MONKEY, who grabs the bars of the cage and HISSES. As one GUN after ANOTHER GOES OFF -- SMASH CUT TO: HOSPITAL PARKING LOT - NEAR PORTABLE BL-4 LAB ChemWar-suited infantrymen standing with M-16s held ready. Behind them is a pre-school with a yardful of toys now abandoned. The infantrymen stare at the brown rhesus, held tightly in a \"squeeze cage.\" Robby, Mike, Lisa, and Wally look on anxiously as Izzy approaches the monkey with a needle attached to a long syringe. The rhesus strains with every muscle to lash out. Izzy moves quickly, jabbing the needle into the monkey's thigh. He pushes the plunger. The rhesus suddenly jerks his arm.<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>Izzy!<\/dialogue>\n    <scene_description>NEEDLE HEADS FOR IZZY'S HAND (SLOW MOTION) but he yanks it back just in time. ON IZZY trembling. A long beat. BACK TO SCENE The rhesus falls asleep. Izzy draws blood as a Jeep carrying Ford pulls up, followed by an Army truck. Soldiers empty the truck, piling up crates of plastic IV bags filled with brown fluid.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Filo-four antiserum. Antitoxin. Anyone with symptoms or positive blood tests will get it stat.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>What for?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>It kills twenty-five percent of filoviruses.<\/dialogue>\n    <character>IZZY<\/character>\n    <dialogue>Not Motaba. We tried it.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>In the lab. People react differently.<\/dialogue>\n    <scene_description>Gillespie and Izzy exchange a skeptical glance: is Ford losing it, or what?<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>We have nothing to lose -- the disease is incurable.<\/dialogue>\n    <character>ROBBY<\/character>\n    <dialogue>General Ford is right.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>CUT TO: SERIES OF SHOTS A) A school classroom, empty. B) A factory, empty. C) A supermarket, empty. CONTINUED: D) The center of town -- Not a sign of life except for the Jeep carrying ChemWar troops bearing M-16s.<\/scene_description>\n    <character>ROBBY (V.O.)<\/character>\n    <dialogue>The Army will begin emergency food deliveries once a day...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMALL ONE STORY HOUSE - KITCHEN<\/stage_direction>\n    <scene_description>SHERRY listens to a RADIO with her three young children. She coughs and exchanges a worried look with her husband. INTERCUT WITH:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCAL RADIO STATION - GLASSED-IN BROADCAST BOOTH -<\/stage_direction>\n    <scene_description>ROBBY AND MIKE<\/scene_description>\n    <character>ROBBY<\/character>\n    <parenthetical>(into mike)<\/parenthetical>\n    <dialogue>... If you have special needs, such as medicine you take, let them know and it'll be delivered to you. But please -- stay inside. Do not go out for any reason.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <parenthetical>(into mike)<\/parenthetical>\n    <dialogue>This disease looks like a regular flu in its early stages, but if you have flu symptoms, don't panic... It's probably just a normal virus and not Motaba.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHERRY'S HOUSE - SAME TIME<\/stage_direction>\n    <character>GILLESPIE (V.O.)<\/character>\n    <parenthetical>(on radio)<\/parenthetical>\n    <dialogue>But the way to protect your family is to detect it early, before you spread it.<\/dialogue>\n    <scene_description>ON SHERRY Terrified. BACK TO SCENE<\/scene_description>\n    <character>SHERRY'S HUSBAND<\/character>\n    <dialogue>You don't have it, honey.<\/dialogue>\n    <character>HER FOUR-YEAR-OLD SON<\/character>\n    <dialogue>What do you have, Mommy?<\/dialogue>\n    <character>SHERRY<\/character>\n    <dialogue>Nothing. Mommy's fine.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTABA HOSPITAL WARD - SIMULTANEOUSLY<\/stage_direction>\n    <scene_description>Ford walks through the Motaba ward, now overflowing with infected patients, some of them unconscious and some of them moaning. Their loved ones have not been allowed into this infected ward, so most of these people are alone and scared. In Ford's eyes we see pain. From a RADIO in the nursing station.<\/scene_description>\n    <character>ROBBY (V.O.)<\/character>\n    <parenthetical>(on radio)<\/parenthetical>\n    <dialogue>If you're feeling sick in any way, you should hang a pillowcase or other piece of cloth on your front door. Soldiers will take you somewhere safe for a test. You'll know the result within a few hours. If you're positive, you'll go into one of our isolation hospitals, so bring clothes and personal things you might need.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOMMY HULL'S SMALL HOUSE<\/stage_direction>\n    <scene_description>Darla and her two kids gather 'round the radio. In the b.g. Tommy takes a swig of whiskey. He's still trembling from his encounter with the chopper.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Turn it off!<\/dialogue>\n    <character>DARLA<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Tommy grabs the radio and throws it across the room, break- ing it. CONTINUED:<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>We don't have it, goddamn it. But if we stay here, we'll get it.<\/dialogue>\n    <character>DARLA<\/character>\n    <dialogue>They're doctors. They know more than you.<\/dialogue>\n    <scene_description>CUT BACK TO: RADIO STATION BROADCAST BOOTH<\/scene_description>\n    <character>ROBBY<\/character>\n    <parenthetical>(into mike)<\/parenthetical>\n    <dialogue>I know you're scared. We're all scared. But together we're going to get through this.<\/dialogue>\n    <scene_description>CUT TO: BONNEVILLE GENERAL HOSPITAL A room full of Motaba patients, all with antiserum running through their IV's. Dr. Mascelli and Izzy listen to the RADIO. Mascelli's eyes are blood-shot. He sneezes and sniffles.<\/scene_description>\n    <character>DOCTOR MASCELLI<\/character>\n    <dialogue>And now I've got it too. I'm going to die along with the rest of them, aren't I?<\/dialogue>\n    <scene_description>The look in Izzy's eyes confirms Dr. Mascelli's worst fear.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHERRY'S HOUSE<\/stage_direction>\n    <scene_description>Sherry slowly opens the front door, puts a white pillow- case over the door. Her kids run into her arms crying.<\/scene_description>\n    <character>SHERRY<\/character>\n    <parenthetical>(hugging them)<\/parenthetical>\n    <dialogue>I'll be back in a few hours. It's like I'm goin' to work.<\/dialogue>\n    <scene_description>She wipes the tears from her eyes; she's trembling. CONTINUED:<\/scene_description>\n    <character>SHERRY<\/character>\n    <parenthetical>(to each kid in turn)<\/parenthetical>\n    <dialogue>Now, promise you won't fight. Promise you'll do what your father tells you.<\/dialogue>\n    <scene_description>They each promise - nodding \"yes\" in order from the oldest to the youngest. It's a very solemn moment as Sherry steps onto:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PORCH<\/stage_direction>\n    <scene_description>She walks slowly down the small path, knowing this could be the last time she ever makes this walk, ever sees her family. She stops, wipes a tear off her cheek. She wants to look back so bad, to get one last look at her kids, but doesn't want them to see her scared. She climbs into the waiting Army Jeep. Sherry waves as the Jeep pulls away. But she's sitting next to a soldier in full ChemWar gear, and this only amplifies the fear in her children's eyes. The Jeep drives past other houses with pillowcases over the door. SHOCK CUT TO: SHERRY'S ARM Her fist clinches as Lisa Aronson finishes drawing blood.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TESTING TENT<\/stage_direction>\n    <scene_description>Lisa carefully slips the test tube of blood into a plexi- glass case and locks it. As she exits the tent, we see: TENT CITY Tent after tent -- at least four hundred of them -- a tent city set up on the high school football field. Housing people in isolation who have had or are about to undergo the blood test. This is purgatory, where you wait for judgment. CUT TO: MOBILE BL-4 LAB Izzy carefully withdraws a syringe of clear liquid from a rubber capped bottle labeled \"DNA PRIMER.\" He mixes this into a blood sample from a test patient. At the bench, Robby is doing the same. Izzy looks under his scope. The field is filled with red circles.<\/scene_description>\n    <character>IZZY<\/character>\n    <dialogue>Positive.<\/dialogue>\n    <scene_description>He takes another tube of blood from a different patient. Looks under the scope.<\/scene_description>\n    <character>IZZY<\/character>\n    <dialogue>Positive.<\/dialogue>\n    <scene_description>Robby looks under her scope.<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>Positive.<\/dialogue>\n    <character>IZZY<\/character>\n    <dialogue>The whole fucking town's infected.<\/dialogue>\n    <scene_description>A sense of despair.<\/scene_description>\n    <character>IZZY<\/character>\n    <dialogue>Double check it! Triple check it.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHERRY'S TENT<\/stage_direction>\n    <scene_description>Sherry Templeton tries to come to terms with the fact she's positive.<\/scene_description>\n    <character>SHERRY<\/character>\n    <dialogue>Does this mean my children have it, too?<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <parenthetical>(shaken by her pain)<\/parenthetical>\n    <dialogue>No...<\/dialogue>\n    <scene_description>But she sees he's not sure.<\/scene_description>\n    <character>SHERRY<\/character>\n    <dialogue>Oh my God.<\/dialogue>\n    <scene_description>CUT BACK TO: BL-4 LAB - IZZY AND ROBBY working. Izzy looking under the scope. Everything is purple.<\/scene_description>\n    <character>IZZY<\/character>\n    <dialogue>How can this be? Doctor Mascelli can't be negative. I know he's got it. Something's wrong.<\/dialogue>\n    <scene_description>CUT TO: BL-4 LAB - LITTLE LATER Izzy concentrates on Mascelli's blood test. His eyes are bloodshot from fatigue. EXTREME CLOSEUP - AIR HOSE COUPLING at Izzy's side. The red umbilical cord connected to the ceiling catches on the sink handle in the center island; it slowly slips out of its coupling and drops. The sound of RUSHING AIR suddenly STOPS. BACK TO SCENE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>.. but Izzy doesn't hear it. He continues looking through the scope. Suddenly, he spots the red umbilical cord lying on the floor.<\/stage_direction>\n    <character>IZZY<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>Robby grabs the cord and re-inserts it into Izzy's suit; the RUSH OF AIR quickly fills the suit, but -- Izzy - panicked - runs out of the lab into: FORMALDEHYDE SHOWER AREA and blasts himself with formaldehyde. As the frothy liquid bath pours over him: CLOSE ON IZZY'S FACE terrified: Did he breath in the virus? CUT TO: LOCKER ROOM - MINUTES LATER<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>It was only a few seconds, nothing got in.<\/dialogue>\n    <character>IZZY<\/character>\n    <dialogue>I know. I'm fine.<\/dialogue>\n    <scene_description>Silence.<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>I can finish the tests --<\/dialogue>\n    <character>IZZY<\/character>\n    <dialogue>-- I'm fine.<\/dialogue>\n    <scene_description>She nods, worried. CUT TO: HOSPITAL WARD - NIGHT Ford checks Henry's (the Lab Tech's) pulse. Nothing. He looks at McClintock, staring at Henry's corpse into which the antiserum is still flowing. In the next bed, Corinne, Henry's girl friend, also lies dead. McCLINTOCK The Motaba antiserum doesn't work.<\/scene_description>\n    <character>FORD<\/character>\n    <parenthetical>(devastated)<\/parenthetical>\n    <dialogue>The virus has changed enough so that the antibodies can't recognize it. We've got to find the host, Donny.<\/dialogue>\n    <scene_description>McCLINTOCK How? The San Jose animals were all negative. (sharply) For thirty years you've thought it was a breath away. And we looked, and tested and tested. And we couldn't find it. (beat) What good would it do anyway? The virus has mutated. The host would carry the antibodies against the African strain -- before it mutated. CONTINUED:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Nature is more generous than man, Donny... it creates more variablity in the antibodies. If we find the host, its antibodies may be effective against the mutated strain.<\/dialogue>\n    <scene_description>McCLINTOCK That's a guess. And there's no time, no cure. We have no choice but to implement the Emergency Containment Plan. ON Ford's troubled reaction -- CUT TO: BL-4 LAB - LATER THAT NIGHT Gillespie, Robby, Lisa, and Izzy peer... Into the Brown Rhesus's cage. The monkey looks dreadful: he's crouched in a fetal position and his nose drips puss.<\/scene_description>\n    <character>SALT<\/character>\n    <dialogue>He's dying of Motaba. His blood doesn't have any protective antibodies. Nothing.<\/dialogue>\n    <scene_description>Gloom and defeat sink over the room.<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>But where did this monkey get the disease?<\/dialogue>\n    <character>LISA ARONSON<\/character>\n    <dialogue>Christ, it could have been anywhere... Maybe he was on a boat from Africa, next to the host.<\/dialogue>\n    <character>IZZY<\/character>\n    <dialogue>Then there's no hope.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>No. Unless Jimbo Scott had close contact with the host and that animal is somehow traceable. There's got to be something at Bio-Test.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>Lisa, go back there. There's got to be something that was missed.<\/dialogue>\n    <scene_description>Lisa nods. CUT TO: BL-4 LAB - LATER Salt looks plaintively at the Rhesus. He opens the refrigerator and takes out a bottle labeled morphine. He's about to close the fridge, but stops and stares... Inside the refrigerator: a unit of antiserum just lying around. He looks at the antiserum, then at the monkey, sick in its cage. CUT TO: QUARANTINE PERIMETER - DAWN The line of troops and tanks stretches for miles. HUEYS THUNDER overhead, keeping watch. Behind the tanks are a swarm of figures wearing red BL-4 suits. They're moving cages filled with insects and animals toward a huge series of trailers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GENERAL FORD'S COMMAND CENTER - DAWN<\/stage_direction>\n    <scene_description>The Command Center is buzzing with activity. Along one wall is an array of supercomputers all feeding data to... The big board -- a computerized map of the Quarantine Area. DR. FRANKLE, a Biowar Defense expert, an intense, bearded man of about 50 -- paces in front of the big board. As Frankle briefs Ford and McClintock, we literally see the epidemic spreading out from the center of Bonneville -- more and more terrain is colored red each time the big screen redraws. The red gets larger and larger, until it comes within three miles of the Columbia River, which cuts a big blue swath through the map.<\/scene_description>\n    <character>FRANKLE<\/character>\n    <dialogue>Mosquitoes are picking up this virus. An hour ago a squirrel with Motaba was trapped just three miles from the river.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>FORD<\/character>\n    <parenthetical>(angry)<\/parenthetical>\n    <dialogue>Increase the spraying, Goddamnit!<\/dialogue>\n    <character>FRANKLE<\/character>\n    <dialogue>The best stuff we've got won't kill every last one. Eventually one bug, one animal's going to get through to the river. Worst case is the virus penetrates the ecosystem. Then we can't stop it.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>There's got to be a way to deal with it --<\/dialogue>\n    <character>FRANKLE<\/character>\n    <dialogue>-- The only similar case I know of is the Influenza Epidemic of 1918. It circled the globe in two weeks.<\/dialogue>\n    <scene_description>Silence. McCLINTOCK People can be asymptomatic, for weeks. The tests are faulty. We have to assume everyone in this town is infected and will get this disease sooner or later. Silence. Finally:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>I want the most rapid-acting nerve gas. Something so quick they'll never know what hit 'em.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BIO-TEST MAIN OFFICE (SAN JOSE) - DAY<\/stage_direction>\n    <scene_description>The office is a small, chaotic room filled with old filing cabinets and ancient PC's. The company President, Felder, and Lisa Aronson sit near a speakerphone.<\/scene_description>\n    <character>LISA ARONSON<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>And I've been through all the files... No animal's been removed in the last fourteen days.<\/dialogue>\n    <character>FELDER<\/character>\n    <dialogue>If Jimbo Scott got an infected animal, he didn't get it here.<\/dialogue>\n    <scene_description>INTERCUT WITH: SMALL OFFICE IN BACK OF BL-4 LAB Gillispie, Robby, and Izzy are running out of options as they converse with Lisa Aronson in San Jose, California, on the speakerphone:<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Could Jimbo Scott have deleated all traces of an animal stored at your facility?<\/dialogue>\n    <character>FELDER (V.O.)<\/character>\n    <dialogue>Don't be absurd, he was a good employee --<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Mr. Felder, don't take this personally, but either you're a horrible judge of character or the world's in deep shit. Could Jimbo Scott have erased all records on an animal stored at your facility? Yes or no?<\/dialogue>\n    <scene_description>Felder hesitates. Suddenly Gillespie's WALKIE-TALKIE BEEPS:<\/scene_description>\n    <character>SALT (V.O.)<\/character>\n    <dialogue>Colonel, come quick.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BL-4 LAB<\/stage_direction>\n    <scene_description>Robby, Mike and Izzy enter the animal lab and stop cold. The brown rhesus is sitting up in his cage, weak but eating some lettuce.<\/scene_description>\n    <character>SALT<\/character>\n    <dialogue>He should be dead.<\/dialogue>\n    <scene_description>The last of the antiserum drips into the animal's arm.<\/scene_description>\n    <character>SALT<\/character>\n    <dialogue>I gave him the antiserum.<\/dialogue>\n    <character>IZZY<\/character>\n    <dialogue>It doesn't work on people. It shouldn't work on simians either.<\/dialogue>\n    <character>SALT<\/character>\n    <dialogue>So how come it worked on this one?<\/dialogue>\n    <scene_description>Gillespie's mind is racing: CONTINUED:<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>He was infected with the first strain, before it mutated.<\/dialogue>\n    <character>IZZY<\/character>\n    <dialogue>It still shouldn't work. This Korean Filo4 doesn't cross-react with the Motaba virus. We checked!<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Maybe it's not Korean Filo4.<\/dialogue>\n    <character>SALT<\/character>\n    <dialogue>What else could it be?<\/dialogue>\n    <scene_description>Izzy leans against the wall; he's pale, feverish. The others pay no attention.<\/scene_description>\n    <character>IZZY<\/character>\n    <dialogue>I need some air.<\/dialogue>\n    <scene_description>He takes a step, then starts seizing, his whole body shaking in one convulsive wave after the next. Gillespie, Robby and Wally rush over.<\/scene_description>\n    <character>SALT<\/character>\n    <parenthetical>(checking his pulse)<\/parenthetical>\n    <dialogue>He's slowin' down. He's gonna arrest.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Let's go. Now!<\/dialogue>\n    <scene_description>With extraordinary effort, he heaves Izzy over his back. CUT TO: CROWDED MOTABA WARD Gillespie gently drops Izzy onto a hospital bed.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Ice, fluids, blood, oxygen... Let's go!<\/dialogue>\n    <scene_description>Gillespie puts a probe in Berman's mouth, shudders when he sees the reading.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>A hundred and eight. Ice... I want ice... I mean now!<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Open your eyes. Open your fuckin' eyes, Izzy. Nobody's lettin' you off so easy. Pressure?<\/dialogue>\n    <character>ROBBY<\/character>\n    <dialogue>Comin' up.<\/dialogue>\n    <scene_description>A long, long beat. Berman slowly opens his eyes. Gillespie smiles.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>You were a hundred and eight. Not too long... but long enough...<\/dialogue>\n    <parenthetical>(an evil grin)<\/parenthetical>\n    <dialogue>You musta lost a billion brain cells.<\/dialogue>\n    <character>IZZY<\/character>\n    <dialogue>Now I'm only as smart as you.<\/dialogue>\n    <scene_description>Gillespie grins. Berman tries to smile. His lip twitches... uncontrolla- bly. His whole body seizes.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>We need a line.<\/dialogue>\n    <scene_description>Robby flips Gillespie a catheter set. He looks for a vein. Robby and Wally try to keep Izzy flat while Gillespie works, but... SLOW MOTION SHOT Izzy's arm jerks free, pushing Mike's hand and the razor- sharp needle right at Mike's other hand.<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>Watch out!<\/dialogue>\n    <scene_description>She shoves Mike's hand out of the path, but the needle nicks her glove. Mike and Wally are horrified.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Lemme see it.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>ROBBY<\/character>\n    <parenthetical>(yanks her hand away)<\/parenthetical>\n    <dialogue>It didn't get past the outer glove.<\/dialogue>\n    <parenthetical>(to Wally)<\/parenthetical>\n    <dialogue>Hold him down.<\/dialogue>\n    <scene_description>Wally pins Izzy's arm down as Robby sticks in an IV and injects medicine. Izzy stops seizing. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SURGERY LOCKER ROOM<\/stage_direction>\n    <scene_description>Robby, alone, peels back her triple-thick glove, and... The second layer is cut, too! She rips off the second layer and... The third layer is cut, too! She pulls it off to reveal: Her finger -- we see just the tiniest thin line of crimson blood. Terrified, she runs into... SURGICAL SCRUB ROOM and squeezes her finger, trying to expel any virus. She pours iodine into the tiny wound and frantically scrubs, as if her life depened on it. It does. She turns at the sound of the DOOR OPENING. It's Gillespie.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <parenthetical>(anguished)<\/parenthetical>\n    <dialogue>You took the hit for me... Why?<\/dialogue>\n    <scene_description>Tears fill her eyes. Her mouth opens. She can't talk. Only a low moan of terror. Gillespie cradles her head against his. CUT TO: PROP PLANE (07:45) spraying over the forest outside Bonneville. Huge wafts of smoke drift over the birch and pine forest like a thick fog. CONTINUED: Hidden in the dense woods, Tommy Hull takes a slug of whisky and watches the plane. Between him and the plane are Armed Personnel carriers, their gas-masked personnel unaffected by the poison. Tommy coughs. He stands up on the hood of an old blue van and screams at the troops.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>That's right. Kill us all. C'mon!<\/dialogue>\n    <scene_description>They can't hear him or see him. He finishes the last of the bottle and climbs into... HIS BEAT-UP VAN We see on the floor a half dozen guns including a shotgun and an AK-47. He STARTS the ENGINE and ROARS off. CUT TO: PERIMETER CHECKPOINT (08:00)<\/scene_description>\n    <character>CHECKPOINT GUARD #1<\/character>\n    <dialogue>I'm sorry, Colonel. You can't proceed.<\/dialogue>\n    <scene_description>Gillespie's Jeep is blocked by THREE GUARDS armed with M-16s.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Get the hell out of my way. I'm going to see the General.<\/dialogue>\n    <character>CHECKPOINT GUARD #1<\/character>\n    <dialogue>Strict orders, sir. Anyone with direct patient care is contaminated.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>That's a load of crap. Get him on the line, soldier. Now!<\/dialogue>\n    <character>CHECKPOINT GUARD #1<\/character>\n    <parenthetical>(punches on the radio)<\/parenthetical>\n    <dialogue>Checkpoint three to base. Colonel Gillespie to speak to General Ford.<\/dialogue>\n    <scene_description>Suddenly, Tommy Hull drives up and brakes to a stop. CONTINUED:<\/scene_description>\n    <character>CHECKPOINT GUARD #2<\/character>\n    <dialogue>Go home.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>You go home.<\/dialogue>\n    <scene_description>Before Guard #2 can react, Hull raises his SHOTGUN and FIRES. Gillespie dives under the dashboard of his Jeep. The other Guards react. Too late. Tommy Hull pulls an AK-47 out from behind his seat and CHEWS them UP. The RADIO BLASTS:<\/scene_description>\n    <character>RADIO (V.O.)<\/character>\n    <dialogue>Base to checkpoint three: what's goin' on?<\/dialogue>\n    <scene_description>Tommy Hull FIRES the SHOTGUN again, ANNIHILATING the RADIO. He ROARS ahead. Gillespie races over to soldiers. They're dead. He looks at... The van, racing toward the crest of the hill. Suddenly, from the other side of the hill: Two Apache helicopters appear. Hull sticks the AK-47 out the window and FIRES at the choppers. They keep coming. Red sparks erupt from their bellies. HELLFIRES. The VAN EXPLODES into tiny pieces. Gillespie GUNS the JEEP toward the wreckage. A Jeep driven by General Ford comes over the hill and pulls up on... OPPOSITE SIDE OF WRECKAGE Ford and Gillespie both survey the charred remains of the van. Both are appalled. CONTINUED:<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>You had the antiserum to the original African strain, you could've made it available right away. The virus would've never had a chance to mutate. You could have stopped this whole epidemic before it got started. Why?<\/dialogue>\n    <scene_description>Ford says nothing. He stares at the wreckage as if some- how he could find an answer there he himself believes.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <scene_description>Silence. Finally:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>It's so strange... You look at these viruses under the electron microscope... They're like... like beautiful symmetrical crystals, so cold, so pure. You think you're looking at some fabulous piece of sculpture behind a museum wall... till you see the blood and people dying all around you. I stopped it once. I thought I could stop it again.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>You ordered the attack on Iwabi's people in Africa?<\/dialogue>\n    <scene_description>Silence. Ford neither confirms nor denies the accusation. Then with sadness and remorse, Ford tells the truth:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>We had to ensure that we had the only live samples of the virus.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Biowarfare research is illegal. We signed a treaty...<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>... What do you know about the real world, Gillespie? Even the air you breathe is artificial. Why do you think Saddam Hussein didn't kill our boys with his anthrax and his botulism and all the other crap he created in his labs? 'Cause he knew we had something worse --<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>-- One mad man --<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>-- Every fucking dictator of the future's going to use biological weapons that you can manufacture cheap in a test tube with technology you can buy at the newsrack. Deterrence works.<\/dialogue>\n    <scene_description>Gillespie, horrified, steps away from his boss as he begins to understand the scope of the deception which he has been the victim of.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>We spent years synthesizing an antibody that worked with the original African strain. We assumed it would work with this Bonneville strain. We gambled. We lost. We can't afford to lose again...<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>So you're going to wipe out this entire town -- kill everyone in it?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>The virus is going to reach the river.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Take the people who are well and get them out!<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>If even one were sick, no matter where we were, the disease would start again.<\/dialogue>\n    <scene_description>Beat, Gillespie knows he's right.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Your only hope is to look for the host.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>I did -- for thirty years.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Let me.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>You might be contaminated.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>I know I'm not.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>We have facilites to hold a few people in quarantine. Get out now. Take your team.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Izzy is sick, Robby infected.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Wipe out the town, wipe out Motaba. And you're still the only one in the world who's got the virus. No matter what, your program's secure.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>That's not a consideration.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Bullshit!<\/dialogue>\n    <scene_description>CUT TO: BL-4 LAB - OFFICE (09:10) Pages spit out of the fax. As WALLY gathers them up, we see the cover page: INSERT - COVER PAGE From: Lisa Aronson, M.D. To: Colonel Gillespie, M.D. RE: Biotest Animal Inventory Mike -- Here is the list of every animal imported by Biotest during the last six months... BACK TO SCENE Salt looks outside, worried: SALT'S POV A Black Hawk helicopter takes off. Soldiers gather around a second Black Hawk and start to load their gear. The BioWar Defense Unit is pulling out of the town. BACK TO SCENE HOLD on Salt's face: scared. Robby has as yet no sign of the fever. She and Gillespie pour over the fax from Lisa Aronson.<\/scene_description>\n    <character>WALLY<\/character>\n    <dialogue>Colonel, we gotta go now.<\/dialogue>\n    <scene_description>Beat. Mike and Robby exchange a glance, knowing this may be the last time they're together.<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>No goodbyes. It's bad luck.<\/dialogue>\n    <scene_description>ANOTHER ANGLE - ON GILLESPIE desperately torn, not wanting to leave her.<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>I'm glad you were here.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOSPITAL HELICOPTER LANDING AREA<\/stage_direction>\n    <scene_description>Salt carries a decontamination unit on his back, Gillespie a cellular phone and a black duffel bag as they reach -- BLACK HAWK Where soldiers finish loading under the watchful eye of SERGEANT MEYER.<\/scene_description>\n    <character>SERGEANT MEYER<\/character>\n    <dialogue>Atten-shun!<\/dialogue>\n    <scene_description>The soldiers salute Gillespie and Salt.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Sergeant, General Ford has ordered us to decon all aircraft before takeoff.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>SERGEANT MEYER<\/character>\n    <dialogue>But we've been doing it at the base, sir.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Vector transmission is increasing and airborne contamination must be minimized. Pretty soon, Sergeant, even that suit won't protect you.<\/dialogue>\n    <character>SERGEANT MEYER<\/character>\n    <parenthetical>(scared)<\/parenthetical>\n    <dialogue>Yes, sir.<\/dialogue>\n    <scene_description>Salt takes hold of Sergeant Meyer's walkie-talkie. The Sergeant is puzzled by this but says nothing as Salt sprays it thoroughly with disinfectant before handing it back. He sprays the outside of the chopper, then moves inside.<\/scene_description>\n    <character>SERGEANT MEYER<\/character>\n    <dialogue>The pilot is inside, sir!<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>I'll get him out.<\/dialogue>\n    <scene_description>CUT TO: OUTSIDE CHOPPER - SECONDS LATER Sergeant Meyer reacts as the big rotor blades start to turn. The chopper begins to rise:<\/scene_description>\n    <character>SERGEANT MEYER<\/character>\n    <dialogue>What the hell?<\/dialogue>\n    <scene_description>Sergeant Meyer reaches for his walkie-talkie, but it won't work. He slams it down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHOPPER - FLYING OVER COMMAND CENTER<\/stage_direction>\n    <scene_description>The pilot, WARRANT OFFICER DETERICH barks into his radio:<\/scene_description>\n    <character>WARRANT OFFICER DETERICH<\/character>\n    <dialogue>Den mother, this is Naked Zulu. Going to decon.<\/dialogue>\n    <character>RADIO (V.O.)<\/character>\n    <dialogue>Roger, that, Naked Zulu.<\/dialogue>\n    <scene_description>PULL BACK to reveal Gillespie holding a gun against Deterich's head. CONTINUED:<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Nice and easy now.<\/dialogue>\n    <scene_description>The Black Hawk cruises over the camp, blending right in with half-a-dozen other choppers going in all directions. CUT TO: COMMAND CENTER - FORD'S OFFICE Sergeant Meyer stands nervously at attention, trying to avoid the eyes of General McClintock, who's fit to be tied. In a rapidly moving DOLLY SHOT, McClintock leaves Meyer and approaches General Ford, who is on the phone. McCLINTOCK Your Colonel Gillespie has commandeered one of our helicopters. CLOSE ON FORD Just the hint of astonishment. Then he regains his usual composure: McCLINTOCK Gillespie has become a vector of the disease. Mobilize all resources to find him. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ISOLATED STRETCH OF OREGON COAST (10:00)<\/stage_direction>\n    <scene_description>Warrant Officer Deterich, dressed in underwear, huddles against a huge rock. A pile of rations lie beside him.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>There's food and water for two days. They'll find you by then.<\/dialogue>\n    <scene_description>Gillespie slips on Deterich's uniform, Salt pulls on Gillespie's.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>You never expected to make Colonel this fast, did you, Salt?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. BLACK HAWK<\/stage_direction>\n    <scene_description>Hovering above Deterich. Salt opens the throttle; the CHOPPER ROARS down the coast and Deterich becomes nothing but a dot in a cove shut off by soaring cliffs on one side and the ocean on the other. Salt keeps the chopper just feet above the whitecaps.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Not bad for somebody who hasn't flown in six years.<\/dialogue>\n    <character>SALT<\/character>\n    <dialogue>Seven. Want to see my loop-d- loop?<\/dialogue>\n    <scene_description>He pulls the wheel, brining the nose up to a high angle of attack. Gillespie looks panicked. Salt levels out the chopper.<\/scene_description>\n    <character>SALT<\/character>\n    <dialogue>Just kidding, sir.<\/dialogue>\n    <scene_description>Gillespie studies the air map of the Pacific Ocean.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Cut inland at Klamath River and keep this mountain ridge between us and Oregon.<\/dialogue>\n    <character>SALT<\/character>\n    <dialogue>To San Jose, sir?<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>No. Ford will anticipate that.<\/dialogue>\n    <character>SALT<\/character>\n    <dialogue>Lisa Aronson sent us all the shipping records...<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>No, not all... Just the ones Biotest had.<\/dialogue>\n    <scene_description>COMPUTER KEYS POUND. SUPERIMPOSE: KLAMATH FALLS, OREGON -- 10:10 TWO F-15 EAGLES SCREAM down the runway and lift off. Within seconds, more follow.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ABOVE OREGON COASTAL FOREST<\/stage_direction>\n    <scene_description>McClintock's Apache sweeps above the forest. The radar screen indicates a return. McClintock picks up the radio: McCLINTOCK Portland regional, please identify transponder 2CAW442. Over.<\/scene_description>\n    <character>TRAFFIC CONTROLLER (V.O.)<\/character>\n    <dialogue>That's another light plane, number 86221 Zebra, registered Corvallis...<\/dialogue>\n    <scene_description>McClintock grimaces. McCLINTOCK Where the hell's that A.W.A.C.S.?<\/scene_description>\n    <character>PILOT<\/character>\n    <dialogue>Sir, they're comin' from Oklahoma.<\/dialogue>\n    <scene_description>The radio crackles:<\/scene_description>\n    <character>F-15 PILOT (V.O.)<\/character>\n    <dialogue>Got a low target sitting on the coast. Going down for visual.<\/dialogue>\n    <scene_description>INTERCUT WITH: INSIDE BLACK HAWK HELICOPTER Where Salt sees a blip on the radar screen.<\/scene_description>\n    <character>SALT<\/character>\n    <dialogue>Problems.<\/dialogue>\n    <scene_description>He pushes the wheel down, and the camouflaged-painted chopper descends into a tight ravine between two rocks. The blades whirl inches from disaster. Gillespie holds his breath; so does Salt who tries to hold the Black Hawk motionless. We hear a SONIC BOOM. The F-15 streaks overhead. Gillespie and Salt exchange a glance. Have they been seen or not?<\/scene_description>\n    <character>F-15 PILOT (V.O.)<\/character>\n    <dialogue>I've lost it. Possible bird flock.<\/dialogue>\n    <scene_description>The plane turns inland. Gillespie and Salt breathe again. INT. McCLINTOCK'S APACHE McCLINTOCK (into radio) General, Gillespie could now be anywhere inside a thousand mile radius, and if he's landed, we got no way to track him. INTERCUT the Command Center. Ford is angry and frustrated.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>You're Gillespie, you don't trust the C.D.C., you don't trust anybody... you'd want to look at all the data yourself.<\/dialogue>\n    <scene_description>Ford turns to an aide, Lieutenant Richardson:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Issue an all-points bulletin to every police department on the West Coast. Start with San Jose. Colonel Gillespie and Captain Salt are armed, and assumed to be contaminated until proven otherwise...<\/dialogue>\n    <scene_description>CUT TO: FAX MACHINE Photos of Gillespie and Salt roll into the reader, then -- CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BIOTEST ANIMAL FACILITY (SAN JOSE)<\/stage_direction>\n    <scene_description>It is pouring RAIN. At first, everything looks normal. Until we realize there aren't any people on the side- walks. And no moving cars on the streets. Snipers with .22 rifles and telescopic sights straddle the rooftops. SMASH CUT TO: FEDERAL BUILDING - MAIN OFFICE - DAY (12:05PM) A long line of people wait for a single clerk; it's lunch hour. CONTINUED: Gillespie storms in and goes right to the front of the line. The others glare. The clerk, ARMISTEAD, a 50-ish man with long grey hair tied in a pony tail, continues to help the lady in the front of the line.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <parenthetical>(sharply)<\/parenthetical>\n    <dialogue>Excuse me.<\/dialogue>\n    <character>ARMISTEAD<\/character>\n    <dialogue>Just a minute, soldier.<\/dialogue>\n    <scene_description>He continues helping the lady.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>I am Warrant Officer Deterich of the United States Army --<\/dialogue>\n    <scene_description>The NEXT PERSON in line reacts:<\/scene_description>\n    <character>NEXT PERSON<\/character>\n    <dialogue>Hey -- end of the line, asshole --<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>I just came from the site of the virus epidemic in Oregon and you will help me now!<\/dialogue>\n    <scene_description>Armistead's supervisor, MRS. PANAMIDES, comes out of her office as the other persons waiting in line, fearful of the dreaded Motaba Virus, edge away from Gillespie rapidly.<\/scene_description>\n    <character>MRS. PANAMIDES<\/character>\n    <dialogue>What do you need?<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Bills of lading for all ships which arrived from Africa during the last six months.<\/dialogue>\n    <character>MRS. PANAMIDES<\/character>\n    <dialogue>What are you looking for?<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>An animal.<\/dialogue>\n    <character>MRS. PANAMIDES<\/character>\n    <dialogue>What kind of animal.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RECORD ROOM<\/stage_direction>\n    <scene_description>A shaggy, sloppily dressed COMPUTER JOCK types.<\/scene_description>\n    <character>COMPUTER JOCK<\/character>\n    <dialogue>Biotest is very methodical about their paper work.<\/dialogue>\n    <scene_description>The printer spits out pages of animals. Gillespie cross- checks them against the fax pages from Lisa. They match perfectly.<\/scene_description>\n    <character>COMPUTER JOCK<\/character>\n    <dialogue>That's it. Sorry.<\/dialogue>\n    <scene_description>Gillespie leans back: In despair. Not sure what to do next. A long beat. The Computer Jock walks over to the printer.<\/scene_description>\n    <character>COMPUTER JOCK<\/character>\n    <dialogue>Damn! Jammed again!<\/dialogue>\n    <scene_description>He hits a reset button. One more page prints out. At the top of the page: An entry that Lisa's list doesn't have. Gillespie circles it in red.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>That's it. The Apeldoorn, a Dutch freighter. One monkey. But what kind of monkey?<\/dialogue>\n    <character>COMPUTER JOCK<\/character>\n    <dialogue>There's no way to tell.<\/dialogue>\n    <scene_description>CUT TO: GILLESPIE climbing into the Black Hawk. The RAIN is much heavier now. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLACK HAWK<\/stage_direction>\n    <scene_description>as it rises off the rooftop of the Federal Building. From this vantage, Gillespie and Salt can see a threat- ening rain storm sweeping in over the San Francisco Bay. CONTINUED:<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>I tried to radio. All static. 'Cause of the storm.<\/dialogue>\n    <character>SALT<\/character>\n    <dialogue>So 'cause of the storm, you want me to fly twenty miles through a gale and hover while I drop you on board a ship at sea?<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>SALT<\/character>\n    <dialogue>Sir, with all respect -- no fuckin' chance.<\/dialogue>\n    <scene_description>Beat. Gillespie is dead serious.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>The storm won't break 'til tomorrow.<\/dialogue>\n    <scene_description>Salt is torn.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>If you want, I could try to hover and drop you on board.<\/dialogue>\n    <character>SALT<\/character>\n    <dialogue>No way.<\/dialogue>\n    <scene_description>CUT TO: PACIFIC OCEAN The chopper fighting the gale, trying to find the ship in the storm. The sky is so dark it's like night. RAIN POUNDS the windshield; the wipers can't keep up.<\/scene_description>\n    <character>SALT<\/character>\n    <dialogue>Colonel, I couldn't find my umbrella in this rain.<\/dialogue>\n    <scene_description>Despair. A long beat. Then: In the distance through the mist, a red light flashes. CUT TO: BLACK HAWK hovering above the Apeldoorn, riding rough on twenty- foot swells. The winds rock the chopper. CONTINUED: Wally fights to hold it steady.<\/scene_description>\n    <character>SALT<\/character>\n    <dialogue>Ready for drop.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Speak for yourself.<\/dialogue>\n    <scene_description>On the deck of the Apeldoorn: Four crewmen hold tight onto their lifelines and wait for -- Gillespie, who emerges from the belly of the chopper. He hangs tight onto the winch, which strains in the wind, thrusting Gillespie over the waves. One breaks on top of him. A crewman grabs the line with a hook and reels Gillespie in. SHOCK CUT TO: FREEZER DOOR opening. Gillespie isn't ready for this: Frozen on a shelf, is Seaman Dieter Jans. Even under a layer of ice, the yellow skin, blood streaking from his nipples, and other signs of Motaba are all too clear.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>How long has it been since the monkey was on the ship?<\/dialogue>\n    <scene_description>One of the seamen translates Gillespie's question to the CAPTAIN in Dutch. The Captain answers in halting English:<\/scene_description>\n    <character>DUTCH CAPTAIN<\/character>\n    <dialogue>How long? Six days.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>When did Seaman Jans first get sick?<\/dialogue>\n    <character>DUTCH CAPTAIN<\/character>\n    <dialogue>Yesterday -- he is sick yesterday night. He is dead early this morning.<\/dialogue>\n    <scene_description>CLOSE ON GILLESPIE alarmed. This is ominous information. CONTINUED:<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Captain, your ship will have to be quarantined at sea. No one is to go near this freezer. Do you understand?<\/dialogue>\n    <scene_description>The Captain nods, overwhelmed by sudden fear.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Someone else must have seen the monkey --<\/dialogue>\n    <scene_description>The First Mate steps forward. As he begins to jabber in Dutch... SHOCK CUT TO: BLACK HAWK racing back to shore. Gillespie's on the cellular PHONE. The storm fills the line with STATIC.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>The monkey was small, black and white...<\/dialogue>\n    <scene_description>COMPUTER KEYS POUND: KINSHASA NATIONAL HOSPITAL, ZAIRE. INTERCUT WITH:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL WARD - DR. IWABI<\/stage_direction>\n    <character>DR. IWABI<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>A colobos monkey. The highways have chased them deeper and deeper into the jungle. But there are still a few left.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Find as many as you can.<\/dialogue>\n    <scene_description>SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CDC WAR ROOM - DREW REYNOLDS<\/stage_direction>\n    <scene_description>On the phone. Drew Reynolds listens with rapt attention.<\/scene_description>\n    <character>GILLESPIE (V.O.)<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>-- But you have to help me --<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>REYNOLDS<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>-- I will do whatever they let me do...<\/dialogue>\n    <character>GILLESPIE (V.O.)<\/character>\n    <parenthetical>(desperately)<\/parenthetical>\n    <dialogue>If they implement the containment plan --<\/dialogue>\n    <scene_description>Reynolds is angry, flustered -- terrified his worst nightmare has come a reality.<\/scene_description>\n    <character>REYNOLDS<\/character>\n    <dialogue>It's out of my hands!<\/dialogue>\n    <character>GILLESPIE (V.O.)<\/character>\n    <dialogue>If we can find the host, we can obtain an effective antibody against the virus, and reproduce it. We can present them with a credible alternative...<\/dialogue>\n    <scene_description>Reynolds squeezes his tennis ball.<\/scene_description>\n    <character>REYNOLDS<\/character>\n    <dialogue>My people have been doing everything humanly possible to help.<\/dialogue>\n    <character>GILLESPIE (V.O.)<\/character>\n    <dialogue>Drew, Robby's infected.<\/dialogue>\n    <scene_description>Reynolds squeezes his tennis ball tighter. COMPUTER KEYS POUND: MOLALLA, OREGON - 14:45<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRE-SCHOOL<\/stage_direction>\n    <scene_description>Four and five-year-olds play happily in a sandbox outside their pre-school which borders the Columbia National Forest. Their teacher, MRS. JEFFRIES, carefully watches over them. Betsy hides behind a nearby tree. She's hungry and can't take her eyes off the half-eaten sandwiches lying in the kids' snack boxes. Sean is distracted by a glimpse of Betsy and spills his juice all over Geneva. CONTINUED:<\/scene_description>\n    <character>GENEVA<\/character>\n    <dialogue>You dodohead.<\/dialogue>\n    <parenthetical>(breaking into tears)<\/parenthetical>\n    <dialogue>Mrs. Jeffries, look what Sean did.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>I didn't... mean to!<\/dialogue>\n    <character>MRS. JEFFRIES<\/character>\n    <parenthetical>(taking her by the hand)<\/parenthetical>\n    <dialogue>We'll clean you up right away.<\/dialogue>\n    <parenthetical>(heads inside)<\/parenthetical>\n    <dialogue>The rest of you come in, too.<\/dialogue>\n    <scene_description>All the children follow her except Sean, pouting. Betsy runs up and starts gobbling a sandwich. Sean stares at the monkey, then moves toward her:<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>Hey, that's mine!<\/dialogue>\n    <scene_description>BETSY HISSES. Sean, scared, runs. INSIDE<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>A monkey stole my sandwich.<\/dialogue>\n    <scene_description>He points to the sandbox but there's no trace of Betsy. Mrs. Jeffries kneels.<\/scene_description>\n    <character>MRS. JEFFRIES<\/character>\n    <dialogue>There are no monkeys in this forest, Sean. It's okay.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMAND CENTER (14:55)<\/stage_direction>\n    <scene_description>Dr. Frankle paces nervously.<\/scene_description>\n    <character>DR. FRANKLE<\/character>\n    <dialogue>The storm's blowin' up the coast faster than we thought. That's a problem. The wind's going to hasten vector transmission and the rain's going to absorb the gas.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>DR. FRANKLE<\/character>\n    <dialogue>Jesus Christ, Colonel, you'd have to hit the town two, three times to be sure you got everybody.<\/dialogue>\n    <scene_description>The thought of this troubles Ford deeply.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>What time's that storm going to hit?<\/dialogue>\n    <scene_description>Frankle wavers.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Goddammnit, you got every computer in the world here, what time's it comin'?<\/dialogue>\n    <character>DR. FRANKLE<\/character>\n    <dialogue>Any time before dawn you should be okay.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Then we go at midnight.<\/dialogue>\n    <scene_description>COMPUTER KEYS POUND: SANTA ROSA, CALIFORNIA - 17:00<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELIPAD<\/stage_direction>\n    <scene_description>In the pouring RAIN, the Black Hawk carrying Gillespie and Salt lands on the helipad next to the television station: WNER. ON NEWSROOM SOUNDSTAGE The ANCHORMAN looks grim:<\/scene_description>\n    <character>ANCHORMAN<\/character>\n    <dialogue>The governor of Oregon this morning extended the evacuation zone another five miles.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATION LOBBY<\/stage_direction>\n    <scene_description>The security guard watches the NEWSCAST: The governor of Oregon is giving a press conference. CONTINUED:<\/scene_description>\n    <character>GOVERNOR (V.O.)<\/character>\n    <parenthetical>(on T.V.)<\/parenthetical>\n    <dialogue>General Ford and the Army physicians have assured me there is no threat of spread of this disease at the present time. This is strictly a precautionary measure...<\/dialogue>\n    <character>REPORTER FROM FLOOR (V.O.)<\/character>\n    <parenthetical>(on T.V.)<\/parenthetical>\n    <dialogue>Why have all communications in and out of Bonneville been cut off?<\/dialogue>\n    <character>GOVERNOR (V.O.)<\/character>\n    <parenthetical>(on T.V.)<\/parenthetical>\n    <dialogue>There is apparently some kind of computer malfunction in that area...<\/dialogue>\n    <scene_description>The guard suddenly freezes. Salt and Gillespie burst inside holding M-16s. INSIDE NEWSROOM<\/scene_description>\n    <character>ANCHORMAN<\/character>\n    <dialogue>In a related story, the Army has released the names of two men who escaped from Bonneville and are infected with this virus.<\/dialogue>\n    <scene_description>The pictures of Gillespie and Salt fill the screen. Suddenly there's a RUCKUS O.S. and the Anchorman gasps as the security guard, hands held high, moves toward the news desk.<\/scene_description>\n    <character>SALT<\/character>\n    <dialogue>Nobody move!<\/dialogue>\n    <scene_description>Gillespie sits down beside the Anchor. He shrinks back as Gillespie leans over, grabs his lapel mike and pins it on himself.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>I am not infected.<\/dialogue>\n    <scene_description>One of the two cameramen backs away from his camera and bolts toward the door. Salt points the gun at him, but doesn't pull the trigger. More and more people stampede out. CONTINUED:<\/scene_description>\n    <character>SALT<\/character>\n    <dialogue>Shake it, Colonel!<\/dialogue>\n    <scene_description>Gillespie talks into the camera with the red light on.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>We need help to find the animal carrying the Motaba Virus. It is a small black and white monkey and it was brought to Northern California or Oregon within the last two weeks. If you have any information about this monkey, please call this number at the C.D.C. in Atlanta.<\/dialogue>\n    <scene_description>He holds up a crude sign with the numbers \"1-800-888-0000.\"<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Many people are going to die. This is their only chance. Please... Help us...<\/dialogue>\n    <scene_description>Gillespie bolts up. He and Salt run out of the newsroom. FADE UP POLICE SIRENS and -- CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATION - HALF-A-DOZEN POLICE CARS<\/stage_direction>\n    <scene_description>pull up to the station, but -- The Black Hawk is half a mile away, running full- throttle. The OFFICER in the lead car grabs his radio.<\/scene_description>\n    <character>OFFICER<\/character>\n    <parenthetical>(into radio)<\/parenthetical>\n    <dialogue>Suspects heading northwest...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMAND CENTER - FORD'S OFFICE<\/stage_direction>\n    <scene_description>Ford and McClintock watch Bernard Shaw on CNN. Behind them we see the computerized map of the quarantine area. The red perimeter is within one mile of the Columbia River. The clock reads: 17:12. CONTINUED:<\/scene_description>\n    <character>BERNARD SHAW (V.O.)<\/character>\n    <parenthetical>(on T.V)<\/parenthetical>\n    <dialogue>Colonel Gillespie's action -- commandeering this news room at a California television station in order to get his message out -- raises troubling questions about what is really going on inside the quarantine area.<\/dialogue>\n    <scene_description>McCLINTOCK Great, now we've got the whole fucking world watching. You should've locked him up when we got here. People'll be calling Washington... The President won't be able to make up his mind, and the whole fucking planet will go. Outside, it's starting to SPRINKLE. CUT TO: PRE-SCHOOL CLASSROOM (MOLALLA, OREGON) Empty except for Mrs. Jeffries who's cleaning up. A pile of paintings. One is of an enormous black and white monkey towering menacingly over a little stick figure. Mrs. Jeffries smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRE-SCHOOL OFFICE (17:45)<\/stage_direction>\n    <scene_description>Other staff idly watching the NEWS. Mrs. Jeffries enters and grabs a cup of coffee. On TV, we see the face of Mike Gillespie, and we hear the tail end of his plea:<\/scene_description>\n    <character>GILLESPIE (V.O.)<\/character>\n    <parenthetical>(on T.V.)<\/parenthetical>\n    <dialogue>If you have any information about this monkey, please call...<\/dialogue>\n    <scene_description>HOLD ON Mrs. Jeffries' face. SMASH CUT TO: BLACK HAWK (POURING RAIN) (18:50) flying low over the redwoods of Northern California. CONTINUED: Gillespie clicks off the phone. Salt is dumbfounded:<\/scene_description>\n    <character>SALT<\/character>\n    <dialogue>I'm gonna fly into the heaviest radar surveillance on Earth on account of something that might have been seen by a toddler?<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>We know that Jimbo Scott took an animal up to Bonneville to sell. This place, Molalla, would be right on the way to the airport.<\/dialogue>\n    <scene_description>Gillespie studies the map.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>To get back up there we're gonna haveta fly through everything the Air Force has got. Are you feelin' lucky, Captain?<\/dialogue>\n    <character>SALT<\/character>\n    <dialogue>Luck ain't gonna be enough.<\/dialogue>\n    <scene_description>Salt pushes the wheel down, until the Black Hawk is just a few feet above the tall redwood trees. He veers to avoid -- A particularly tall redwood -- and misses it by inches, whacking off a few of its upper branches with the rotor blades.<\/scene_description>\n    <character>SALT<\/character>\n    <dialogue>'Course -- a little luck won't hurt us any.<\/dialogue>\n    <scene_description>He and Gillespie exchange a tense, worried glance. That was close. As the chopper skims low over the redwoods -- CUT TO: AWACS PLANE (AT 10,000 FEET) cruising high above the clouds which now blanket the terrain below.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AWACS PLANE<\/stage_direction>\n    <scene_description>Inside, the RADAR OPERATORS scan. They're pissed. CONTINUED:<\/scene_description>\n    <character>RADAR OPERATOR<\/character>\n    <dialogue>Where the hell did it go?<\/dialogue>\n    <scene_description>CUT TO: BLACK HAWK (DIRECTLY BELOW ON INTERSTATE 5) flies just thirty feet above the freeway, at the same speed as the traffic. The Black Hawk's RADAR DETECTOR SQUAWKS each time the AWACS radar scans it, every two seconds. INSIDE BLACK HAWK Salt flies anxiously. One moment of inattention could bring the Black Hawk down on top of one of the cars on the freeway.<\/scene_description>\n    <character>SALT<\/character>\n    <dialogue>It moves like a truck, it reflects radar like a truck, but guess what? It ain't a truck.<\/dialogue>\n    <scene_description>ON INTERSTATE BELOW BLACK HAWK An IRATE DRIVER is watching Salt and yelling into his cellular phone:<\/scene_description>\n    <character>IRATE DRIVER<\/character>\n    <dialogue>That's right, Sheriff -- flying too Goddamn low --<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMAND CENTER (19:05)<\/stage_direction>\n    <scene_description>Ford hangs up the phone.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>We got him!<\/dialogue>\n    <scene_description>McClintock smiles, grabs his flight helmet and races --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COMMAND CENTER<\/stage_direction>\n    <scene_description>His squadron of Apaches takes off. A FAX MACHINE WHINES O.S.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMAND CENTER<\/stage_direction>\n    <scene_description>Ford scans the fax. CONTINUED: The other officers in the room grow silent as they see his face grow grim and serious.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Gentlemen, I have in my hand the final authorization to proceed, signed by the President. I know that each of us has doubts about what we are about to do. It is only human to have doubts when you are commanded to take the lives of other human beings. Remember your wives, remember your children... they will all get the disease and die if we let fear govern our hearts. We are doing what is right, and what the nation requires of us.<\/dialogue>\n    <scene_description>PAN ACROSS the grim faces.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>I expect each man to do his duty. I know you won't fail.<\/dialogue>\n    <scene_description>CUT TO: BLACK HAWK (19:20) Gillespie standing beside the open door aiming an infrared heat-sensing device down at the forest which is so thick with trees you can only rarely catch glimpses of the forest floor. ON COMPUTER MONITOR Swirls of colors -- like gases moving on the surface of the sun -- diffuse across the screen. Gradually, we see that one bright red band is moving faster than the others.<\/scene_description>\n    <character>SALT (O.S.)<\/character>\n    <dialogue>The monkey!<\/dialogue>\n    <character>GILLESPIE (O.S.)<\/character>\n    <dialogue>No, it's moving too fast.<\/dialogue>\n    <scene_description>FOREST BELOW A deer scurries across a clearing. ANOTHER ANGLE DISCOVER Betsy: Only a few hundred feet away from the deer. Afraid of man and his loud machines, she runs deeper into the forest, hiding herself under the branches of trees. GILLESPIE picks up another swirl of red on the infra-red sensing device. He points to it.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Circle in.<\/dialogue>\n    <scene_description>ANOTHER ANGLE OPEN WIDE to show the chopper moving in a tight circle. BETSY hearing the ROAR of the CHOPPER LOUDER AND LOUDER, scurries up a tree and tries to hide. GILLESPIE stares at the monitor. A faint red band appears in the corner of the screen, then disappears.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Starboard!<\/dialogue>\n    <scene_description>The chopper veers to the right and the red band glows brighter and brighter.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Lock!<\/dialogue>\n    <scene_description>The chopper hovers, then starts to descend straight down. Gillespie looks through binoculars at: GILLESPIE'S POV Nothing but trees... trees... more trees... Stop! A patch of black and white. A pair of frightened eyes. Betsy hisses at the terrifying monster. BACK TO SCENE<\/scene_description>\n    <character>SALT<\/character>\n    <dialogue>Drive her down! She falls from that height, she'll bleed out.<\/dialogue>\n    <scene_description>Gillespie jams cartridges containing turquoise liquid into the M-16. He FIRES. The bullets land above Betsy. She jumps onto a lower branch. The bullets keep coming. She jumps onto: ON GROUND Gillespie FIRES. Misses. The blue liquid splatters against a tree trunk. BETSY caught in the open, darts toward a thick patch of trees -- safety. She's only a step away. GILLESPIE FIRES again. ANGLE ON BETSY - SLOW MOTION SHOT Betsy's hit. She spins, grabbing her arm in pain, then gets up. Tries to make it to the next tree. Goes down on one knee. Then the other. She reaches out. Cries for freedom. Then collapses. As Gillespie lowers himself out the door -- CUT TO: HORIZON The Apaches approaching fast.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHOPPER<\/stage_direction>\n    <scene_description>Gillespie stows Betsy in the back. Salt sees the glistening lights of the Apaches.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Up! Fast!<\/dialogue>\n    <scene_description>Salt yanks the wheel back. The Black Hawk starts climbing. The Apaches quickly surround it. INTERCUT: COMMAND CENTER - LEAD APACHE on a radar screen, Ford can see Gillespie's chopper and the Apaches. He and Gillespie and McClintock converse through their radios:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Give me the monkey, Mike.<\/dialogue>\n    <scene_description>The Black Hawk climbs higher and higher, through the thick layer of clouds, now absolutely black in the darkness of the night.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>If the antibodies work, we'd have a way to stop the epidemic by medical means --<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>-- We have no way to produce them in quantity --<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>-- Dr. Iwabi --<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>There's no time for that now.<\/dialogue>\n    <scene_description>In the lead Apache, snipers lean out the window. Their telescopic sights lock on Gillespie and Salt. McCLINTOCK Give me an order to fire, sir. We don't need the monkey.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>You do. Because if you fail to contain the virus, you're going to be racing to synthesize an antiserum. How long did it take you to do the last one? A year? Two years? Five?<\/dialogue>\n    <scene_description>Ford's torn.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>If the monkey's antibody is effective, you could use it as a template. Maybe you could save Europe.<\/dialogue>\n    <scene_description>Ford hesitates. McCLINTOCK Sir, let me -- The Black Hawk blasts through the cloud cover and emerges: ABOVE CLOUDS - NIGHT A full moon illuminates the Black Hawk. The Apaches burst through the clouds, too.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLACK HAWK<\/stage_direction>\n    <character>GILLESPIE<\/character>\n    <dialogue>Fire away! Nothing's going to survive the crash.<\/dialogue>\n    <scene_description>ANGLE ON FORD a long beat. Gillespie's got him.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>You've got until midnight, Mike.<\/dialogue>\n    <scene_description>CUT TO: FOREST SURROUNDING TOWN The forest looks dark and primeval in the damp night. The sounds of BIRD CALLS and CRICKETS CHIRPING can be heard in the background. This is what a biological meltdown looks like -- nothing at all. Then suddenly a deer drops to its knees, stricken with the Motaba Virus. It struggles to rise, but fails. The deer keels over, barely breathing. CUT TO: OUTSIDE QUARANTINE PERIMETER - STAGING AREA Large canisters of deadly nerve gas are loaded onto Chinook helicopters. The canisters are clearly marked with the skull-and-crossbones for \"poison\" and big red \"CAUTION!\" labels. CUT TO: HOSPITAL HELIPORT - BLACK HAWK settling down. CUT TO: HOSPITAL LAB Tubes run from Betsy to a blood separator as Salt works feverishly to separate the antibodies out. As the centrifuge spins faster and faster -- CUT TO: HOSPITAL CORRIDOR - GILLESPIE moving rapidly past the patients 'til he gets to: IZZY'S ROOM Gillespie's alarmed. Izzy looks terrible, his voice a whisper:<\/scene_description>\n    <character>IZZY BERMAN<\/character>\n    <dialogue>Mike... I know you never liked my name.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>IZZY BERMAN<\/character>\n    <dialogue>My nickname -- Izzy. You never really liked it.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>I like it all right.<\/dialogue>\n    <character>IZZY<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>It's okay, 'cause from now on you can call me Hurricane.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>I like it.<\/dialogue>\n    <character>IZZY<\/character>\n    <dialogue>Good, 'cause I'm giving you a new name, too. Guess what it is?<\/dialogue>\n    <scene_description>Izzy's lips go dusky, his breathing only short gasps.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Tell me.<\/dialogue>\n    <character>IZZY<\/character>\n    <dialogue>Guess.<\/dialogue>\n    <scene_description>Gillespie's voice breaks: CONTINUED:<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>I can't.<\/dialogue>\n    <scene_description>Izzy's dead. Tears stream down Gillespie's cheeks. CUT TO: ROBBY'S ROOM She's lying in a bed, her face flush with fever, her skin covered with the rash. She's just barely conscious enough to see him at the door, watching her.<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>I'm scared. So scared.<\/dialogue>\n    <scene_description>He comes toward her.<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>No false hope. No games.<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>You can't give up.<\/dialogue>\n    <character>ROBBY<\/character>\n    <dialogue>Just be with me.<\/dialogue>\n    <scene_description>He cups her hands in his gloved hand.<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>How's Izzy?<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>He's gonna be okay. You're both going to be okay.<\/dialogue>\n    <scene_description>Her eyes start to close. Gillespie, horrified, shakes her:<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Stay with me! Fight!<\/dialogue>\n    <scene_description>She half opens her eyes, her voice a murmur.<\/scene_description>\n    <character>ROBBY<\/character>\n    <dialogue>Hold... me.<\/dialogue>\n    <scene_description>He puts his arms around her. Screams into helmet radio:<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Salt, where the hell are you? Salt, answer me!<\/dialogue>\n    <scene_description>CONTINUED: No response. A long beat. Then Gillespie... with more tenderness than we've ever seen:<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Remember the first time we made love? In France. Behind the haystack. And we were so worried that the little boy on the bicycle might see us.<\/dialogue>\n    <scene_description>She smiles, remembering.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>I never felt anything except with you, Robby. I was so stupid to let it slip away.<\/dialogue>\n    <scene_description>She closes her eyes. A cry of anguish:<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Salt!<\/dialogue>\n    <scene_description>Beat. Then Salt appears in the doorway holding a large plastic bag of Betsy's antiserum. Gillespie connects it to Robby's IV and the brown fluid flows into Robby. Gillespie sits down beside her. A long beat. Then he does: Something crazy. He removes the glove from his biosafety suit so that his own bare hand can touch Robby's skin. He touches her face gently. HOLD ON Gillespie, sitting beside his wife's bed, holding her hand.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. QUARANTINE PERIMETER - NIGHT<\/stage_direction>\n    <scene_description>Massive Chinook HELICOPTERS RUMBLE over the staging area, loaded down by the weight of the nerve gas they carry in their bellies and the spray rigs which protrude on both sides of the fuselage. CUT TO: ROBBY'S ROOM The wall clock declares 11:30. Robby's still comatose.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>I was wrong. The antiserum doesn't work.<\/dialogue>\n    <scene_description>CONTINUED: Salt shares his despair. A long beat. Gillespie hands Salt a paper.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Take this. A signed declaration by me that at all times you were following my orders -- Now get out of here.<\/dialogue>\n    <character>SALT<\/character>\n    <dialogue>-- No, sir.<\/dialogue>\n    <scene_description>Gillespie's moved:<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>You'll be the only person left alive who knows the truth --<\/dialogue>\n    <character>SALT<\/character>\n    <dialogue>-- But, sir --<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>-- You will leave! You will not disobey an order.<\/dialogue>\n    <character>SALT<\/character>\n    <parenthetical>(very emotionally)<\/parenthetical>\n    <dialogue>Yes, sir.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>MONTAGE - EXT. COMMAND CENTER - NIGHT (23:45)<\/stage_direction>\n    <scene_description>A) In the pouring RAIN, Ford surveys the vast machine he's assembled: B) Soldiers in Chemwar gear pile boxes of body bags into trucks. C) Tractor drivers REV their ENGINES and THUNDER forward to the front line of Chinooks carrying the poison gas. D) Corpsmen check their watches and flash their signal lights. E) The CHINOOKS THUNDER into the air. FORD All the parts move with such precision he should be proud. But he's deeply troubled. He moves:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMAND CENTER<\/stage_direction>\n    <scene_description>BUZZING with activity. Dr. Frankle and McClintock stand beside the computerized map of the quarantine area which shows the red perimeter is within a half mile of the Columbia River. The clock reads 23:47. The RADIO CRACKLES with a Louisiana drawl from the Squadron Commander of the nerve gas team; we'll know him as Sandman One.<\/scene_description>\n    <character>SANDMAN ONE (V.O.)<\/character>\n    <dialogue>General, we got a problem. It's rainin' pitchforks up heah. The damn rain will dilute it down, barely be strong enough to kill a cat.<\/dialogue>\n    <scene_description>Frankle's troubled too:<\/scene_description>\n    <character>DR. FRANKLE<\/character>\n    <dialogue>He's right.<\/dialogue>\n    <scene_description>Ford agonizes.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>To implement the plan and to kill only a portion of the population... That would cause great harm and solve nothing.<\/dialogue>\n    <scene_description>McCLINTOCK Sir!! The nerve gas rapidly loses its potency after it's mixed. The choppers have got enough to make two runs. The virus is a quarter mile from the river. You've got to go forward. Ford wavers. He grabs the radio mike:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Stand down!! Return your squadron to base and stand down until you receive further orders.<\/dialogue>\n    <character>SANDMAN ONE (V.O.)<\/character>\n    <dialogue>Acknowledge. Return to base.<\/dialogue>\n    <scene_description>Ford moves into: HIS PRIVATE OFFICE a highly secure area, sound-proofed for top-secret commu- nications. McClintock follows him in and slams the door shut. They're completely alone. CONTINUED: McCLINTOCK How are you going to stop the virus from reaching the river?<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Napalm everything from the town outward.<\/dialogue>\n    <scene_description>McCLINTOCK In the rain, the napalm will burn unevenly.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>I'll take that chance.<\/dialogue>\n    <scene_description>McCLINTOCK The virus will escape and we'll have to use nuclear weapons to sterlize the area.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>I gave you my orders.<\/dialogue>\n    <scene_description>Beat. Then quietly: McCLINTOCK Let's say the antiserum did work, General. You'd bus out the people, move 'em somewhere, and treat 'em. And with luck some of them would live. But it's not going to work and in the meantime you don't understand what you've done.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>I understand perfectly.<\/dialogue>\n    <scene_description>McCLINTOCK No, you don't. We can't fool the media forever. They'll ask questions... there'll be inquiries... What we did was important. What we did was right, sir. A long beat. Ford knows he's ruined either way he turns. McClintock's despair is deep and profound. Ford feels sorry for him, but: CONTINUED:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>I'm sorry, but my decision stands. If there is any hope of avoiding this horrible contingency, I've got to...<\/dialogue>\n    <scene_description>McClintock has slowly drawn his belt out of his trousers. He quickly throws it around Ford's neck, crosses it, and pulls violently on the two ends. Ford kicks and struggles, but he's no match for McClintock's strength. McCLINTOCK I am relieving you of command on the basis of cowardice in the face of a national emergency. Ford's dead. McClintock lays him out on the floor. Opens the door and screams into the main room. McCLINTOCK Help! He starts doing CPR as aides rush in. McCLINTOCK Call the medics quickly. The General's had a heart attack. One aide grabs the phone and calls the medics. Two more take over CPR. McClintock straightens his shirt and moves back into:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAIN ROOM<\/stage_direction>\n    <scene_description>McCLINTOCK I am assuming command under the authority of the Secretary of Defense. PAN AROUND the room: Faces of uncertainty and fear. McClintock grabs the radio mike: McCLINTOCK Sandman One, this is General McClintock. You are to proceed with nerve gas dispersal. You will make two runs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEAD CHOPPER - ON SANDMAN ONE<\/stage_direction>\n    <scene_description>He shares a look of concern with his co-pilot. BACK TO COMMAND CENTER A long beat. Then:<\/scene_description>\n    <character>SANDMAN ONE (V.O.)<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COMMAND CENTER<\/stage_direction>\n    <scene_description>Salt drives up in a Jeep. Immediately he's surrounded by MP's, and taken into custody. SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBBY'S ROOM<\/stage_direction>\n    <scene_description>Gillespie stares out the window at the rain. Just visible in the distance: The blue and red lights of the approaching Chinooks. He moves back toward Robby, still comatose. The bag of Betsy's antiserum is empty. He reaches for Robby's hand. Her finger twitches. Beat. Her eyes open. CUT TO: NURSING STATION Gillespie grabs one phone. The line's dead. He grabs another. Dead. He throws it aside. Races to the window. The choppers' lights burn brighter.<\/scene_description>\n    <character>GILLESPIE<\/character>\n    <dialogue>Stop!<\/dialogue>\n    <scene_description>But nobody's listening. He runs down the hall screaming. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMAND CENTER<\/stage_direction>\n    <character>SANDMAN ONE (V.O.)<\/character>\n    <dialogue>General McClintock, we are ready to commence phase one.<\/dialogue>\n    <scene_description>McCLINTOCK Proceed. CLOSE ON YOUNG MAJOR agonizing. He leaves his post.<\/scene_description>\n    <character>YOUNG MAJOR<\/character>\n    <dialogue>Sir, General Ford ordered --<\/dialogue>\n    <scene_description>McCLINTOCK Sit down, Major, or I will have you arrested. The Young Major hesitates. McClintock draws his pistol. Salt enters, escorted by two MP's. The MP's survey the situation, with the General facing off against a young Major. What the hell is going on?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOSPITAL HELIPORT - GILLESPIE<\/stage_direction>\n    <scene_description>races for the Black Hawk. Throws the door open and grabs the RADIO. A beat, then it FLICKERS to life. CUT BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMAND CENTER<\/stage_direction>\n    <scene_description>Gillespie's voice rings out over the radio:<\/scene_description>\n    <character>GILLESPIE (V.O.)<\/character>\n    <dialogue>Stop! The antiserum works.<\/dialogue>\n    <scene_description>McCLINTOCK Turn it off! The radioman hesitates. INTERCUT Sandman One in his chopper.<\/scene_description>\n    <character>GILLESPIE (V.O.)<\/character>\n    <dialogue>This is Colonel Gillespie. And I'm ordering you... begging you... to stop. We can save these people.<\/dialogue>\n    <scene_description>McClintock punches off the radio. ON FACES OF OFFICERS in the room, wavering. CONTINUED:<\/scene_description>\n    <character>SALT<\/character>\n    <dialogue>You do this, every night for the rest of your life you will wake up screaming.<\/dialogue>\n    <scene_description>INTERCUT Sandman One. A long beat.<\/scene_description>\n    <character>SANDMAN ONE<\/character>\n    <dialogue>This is Sandman One... we are returning to base.<\/dialogue>\n    <scene_description>McCLINTOCK (into radio) You will be shot for dereliction of duty in a national crisis. Do you understand? Sandman One doesn't answer. McClintock turns to the Young Major. McCLINTOCK Order him to proceed. The Young Major hesitates. McClintock points the gun at his head. The Young Major trembles, but shakes his head \"no.\"<\/scene_description>\n    <character>SALT<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>McClintock turns the gun to Salt.<\/scene_description>\n    <character>YOUNG MAJOR<\/character>\n    <dialogue>No, sir... Please.<\/dialogue>\n    <scene_description>McCLINTOCK I cannot allow a catastrophe to occur -- He puts the PISTOL into his own mouth and PULLS the TRIGGER. Dead silence. Then:<\/scene_description>\n    <character>SALT<\/character>\n    <parenthetical>(to the Young Major)<\/parenthetical>\n    <dialogue>As the ranking officer, you are in command...<\/dialogue>\n    <parenthetical>(punching on the radio)<\/parenthetical>\n    <dialogue>Until --<\/dialogue>\n    <scene_description>AT BLACK HAWK Gillespie has heard this entire action on the radio.<\/scene_description>\n    <character>SALT (V.O.)<\/character>\n    <dialogue>Colonel Gillespie gets here.<\/dialogue>\n    <scene_description>Gillespie pulls his coat up over his head to shield himself from the driving RAIN and begins to run toward the quarantine perimeter. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BONNEVILLE GENERAL HOSPITAL - NIGHT (03:00)<\/stage_direction>\n    <scene_description>The rain has stopped, as if for a brief moment man's battle with nature has been suspended. Buses loaded with the townspeople of Bonneville pass by. We recognize the Police Chief, Tommy Hulls' wife and children, Sherry Templeton's kids. All the windows and doors of the buses have been sealed with tape. TRACK PAST Betsy being loaded into the back of a van TO: GILLESPIE pushing Robby on her gurney into an Army truck. He seals the back tight with tape. Then climbs inside: CAB Salt turns the key and the ENGINE ROARS to life. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COLUMBIA RIVER - NIGHT (03:10)<\/stage_direction>\n    <scene_description>Eerie silence. A PLANE CRUISES over the forest on the Bonneville side. A waxy grey cloud fills the air. One second. Two seconds. The forest erupts in a wall of fire. CUT BACK TO: CONVOY OF TRUCKS AND BUSES heading out of town. The fire burns in the b.g. As the end of the convoy leaves the town, PLANES ROAR by. As they drop a waxy grey cloud over the town of Bonneville -- DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT - DAY<\/stage_direction>\n    <scene_description>A C-5A transport gliding to a landing on a runway carved out of the desert. Waiting anxiously for the plane to disembark: Wally, Mike, and Robby, in a wheelchair. They move forward to greet the small African man who emerges from the plane. Dr. Iwabi smiles and quickens his pace. The cargo hold doors open to reveal cage after cage of Colobos monkeys. SHOCK CUT TO: BLACK SCREEN COMPUTER KEYS POUND; the letters leap ACROSS the SCREEN: November 21 -- the CDC announced that no evidence of aquatic spread of the Motaba Virus had ever been obtained, and that its intensive monitoring of the Columbia River would be scaled back. March 14 -- researchers at the University of San Francisco announced the production of the first synthetic antibodies effective against the mutated Motaba Bonneville strain. Mass production of the antibodies began four weeks later at the CDC and at the Military Disease Institute. May 12 -- Dr. Roberta Keough and General Michael Gillespie were married for the second time. ROLL CREDITS and -- SHOCK CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DUGWAY (UTAH) - DUSK<\/stage_direction>\n    <scene_description>A gila monster hunts for prey, its eye darting back and forth, its tongue twitching hungrily. It moves past: The barbed-wire fence emblazoned with the sign warning: \"U.S. MILITARY PROPERTY: TRESPASSING STRICTLY PROHIBITED.\" Behind the fence the duplexes are dark and abandoned. The gila monster catches a fly and disappears into the night. FADE OUT.:<\/scene_description>\n    <character>THE END<\/character>\n  <\/scene>\n<\/script>","summary":"The single biggest threat to man's continued dominance on the planet is the virus. In 1967, during the Stanleyville mutinies, a virus called Motaba, which causes a deadly fever, is discovered in the African jungle. To keep the virus a secret, U.S. Army officers Donald McClintock and William Ford destroy the camp where soldiers were infected. Twenty-eight years later, Colonel Sam Daniels, a USAMRIID virologist, is sent to investigate an outbreak in Zaire. He and his crew \u2014 Lieutenant Colonel Casey Schuler and new recruit Major Salt \u2014 gather information and return to the United States. Ford, now a brigadier general, and Daniels' superior officer, dismisses the latter's fears that the virus will spread. A white-headed capuchin monkey that is host to the virus is smuggled into the country. James \"Jimbo\" Scott, a worker at an animal testing laboratory, is infected when he steals the monkey to sell on the black market. Jimbo takes the monkey to Rudy Alvarez, a pet-store proprietor in the coastal-California village of Cedar Creek. He fails to sell the monkey after it scratches Rudy, who also becomes infected. After releasing the monkey into the woods outside of the nearby community of Palisades, he develops symptoms on a flight to Boston, and infects his girlfriend Alice at the airport. Their illness is investigated by Dr. Roberta Keough, a CDC scientist and Daniels's ex-wife. Jimbo, Alice and Rudy die, but Keough determines that no one else in Boston was infected. A hospital technician in Cedar Creek is infected when he accidentally breaks the vial of Rudy's blood. The virus quickly mutates into a strain capable of spreading like influenza, becoming airborne and causing a number of people to be infected in a movie theater. Daniels flies to Cedar Creek against Ford's orders, joining Keough's team with Schuler and Salt. As they begin a search for the monkey, the Army quarantines the town and imposes martial law. Schuler is infected when his suit tears, and Keough accidentally sticks herself with a contaminated needle while treating him. When Ford provides an experimental serum that cures the original strain, Daniels realizes that his superiors were aware of the virus before the outbreak. Daniels learns about Operation Clean Sweep, a plan for the military to contain the virus by bombing Cedar Creek, incinerating the entire town and its residents, ostensibly to prevent Motaba's expansion to pandemic proportions. However, McClintock, now a major general, plans to use the operation to conceal the mutated virus's existence, so the original strain can be preserved for use as a biological weapon. To prevent Daniels from finding a cure, McClintock orders him arrested for carrying the virus. Daniels escapes before he and Salt fly a helicopter to the ship at sea that carried the monkey. Daniels obtains a picture of the monkey and releases it to the media; a Palisades resident, Mrs. Jeffries, realizes that her daughter Kate has been playing with the monkey (which she named Betsy) and calls the CDC. Daniels and Salt arrive at the Jeffries's house, where Salt tranquilizes Betsy after Kate coaxes her from hiding in the woods nearby. When he learns from Daniels about Betsy's capture, Ford delays the bombing. On their return flight, Daniels and Salt are chased by McClintock in another helicopter. Salt fires two rockets into the trees to deceive him into thinking they crashed. Once back in Cedar Creek, Salt mixes Betsy's antibodies with Ford's serum to create an antiserum; although Schuler has died, they save Keough. McClintock returns to base and resumes Operation Clean Sweep, refusing to listen to Ford. Daniels and Salt fly their helicopter directly into the path of the bomber's approach to its target. With Ford's help, Daniels persuades the bomber's flight crew to detonate the thermobaric bomb over water and spare the town. Before McClintock can order another bombing, Ford relieves him of command and orders his arrest. Daniels and Keough reconcile as Cedar Creek's residents are cured."}
{"movie_name":"Gang Related_1997","imdb_id":"tt0118900","script":"<script>\n  <scene>\n    <stage_direction>EXT. NEON SIGN - THE PRINCE MOTEL - NIGHT<\/stage_direction>\n    <scene_description>The N and the E are not working . So it reads the PR IC motel . ROOMS TO RENT BY DAY , WEEK , MONTH . KITCHENETTES . The Prince Motel has passed its prime . A few beat up cars are parked outside rooms . We CRANE DOWN to ROOM SEVEN . Curtains closed , but someone is holding it open a crack , looking out . We PUSH in CLOSE TO THE WINDOW and the EYE looking over the parking lot . Then the curtain closes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM SEVEN - PRINCE MOTEL - NIGHT<\/stage_direction>\n    <scene_description>Peeling flowered wallpaper , ultra - cheap furniture . The man moving away from the window is RODRIGUEZ . He is slender , sports a thin mustache , hair slicked straight back . He 's in his late thirties . Slightly nervous . Another man sits on the couch , looking at a magazine . He is forty , solidly built . His name is FRANK DIVINCI .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Says here they got slips in Honolulu. 325 a month. Utilities included. That's not bad.<\/dialogue>\n    <scene_description>Rodriguez sits down .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>But I got ta get at least a forty footer. It'll handle rough water better and I'll need the room if I'm gon na live on it.<\/dialogue>\n    <scene_description>Rodriguez stands up , moves back to the window . Divinci looks up .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>I do n't know how you do it.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>How you can think about Hawaii now?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>My heart's in Hawaii.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>You never been there. How can your heart be there.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>You're tellin' me there's no place you'd rather be other than here?<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>No, I'm saying I just do n't know how you can think about Hawaii right now.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>If I was in Hawaii right now, I would n't be thinking about here. See the difference?<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Look, I'm not in Hawaii, I'm here. But I do n't want to be here, I want to be in Hawaii. I ca n't be in Hawaii, therefore I think about it so as to not get depressed about being here.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>But I'm here, I know I'm here, I do n't like being here, but I ca n't be anyplace else because I look around and I see all this shit. How do you get around that?! That's what I'm asking.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Focus.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Focus.<\/dialogue>\n    <scene_description>Divinci nods . Rodriguez looks at his watch .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>It's time. No more Hawaii, okay? Focus on this.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Aloha.<\/dialogue>\n    <scene_description>Rodriguez shakes his head , exasperated , and exits .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>Aloha my ass.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DARK STREET - NIGHT<\/stage_direction>\n    <scene_description>Poor side of town . A few old cars parked on the street . Some buildings vacant . A LATE MODEL WHITE CADILLAC cruises past . We HEAR LOUD RAP MUSIC .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CADILLAC - NIGHT<\/stage_direction>\n    <scene_description>LIONEL HUDD drives . Hudd is thirty . African American . The MUSIC is loud . His clothes lean to African roots . A WOMAN sits next to the passenger window . Her name is CYNTHIA WEBB . Cynthia is thirty - five , dressed in short provocative skirt , tight top . A little too much make - up . She 's lead a hard life . She glances at Hudd . Hudd glances at her , looks down at her skirt hiked up on her leg .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>Left at the corner.<\/dialogue>\n    <scene_description>Hudd 's eyes linger on her thighs for a moment , then he turns his attention back to driving , tapping along with the heavy bass .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRINCE MOTEL - NIGHT<\/stage_direction>\n    <scene_description>The Cadillac pulls into the parking lot . Parks in front of room SEVEN . Hudd gets out , looks around . Cynthia gets out , leads him to SEVEN . Knocks . The curtains pull back . Divinci looks at Hudd and Cynthia . She nods to him . The door unlocks and opens . Cynthia enters . Hudd looks around again . Then follows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL ROOM SEVEN - NIGHT<\/stage_direction>\n    <scene_description>Divinci waits at the door . He and Hudd eye each other as Hudd enters the room . Divinci looks out , making sure no one has followed , then shuts the door .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Hope you do n't mind me checkin' you for weapons.<\/dialogue>\n    <character>HUDD<\/character>\n    <dialogue>Hell yes I mind.<\/dialogue>\n    <scene_description>Divinci hesitates . This could break the deal .<\/scene_description>\n    <character>HUDD<\/character>\n    <dialogue>I just do n't want no man handlin' me.<\/dialogue>\n    <scene_description>Hudd looks at Cynthia . The suggestion is taken .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Okay. Check him.<\/dialogue>\n    <scene_description>Hudd spreads his legs , lifts his arms . Cynthia would rather not have the job , but there 's no choice .<\/scene_description>\n    <character>HUDD<\/character>\n    <dialogue>Lotta good hidin' places on this body. Check good.<\/dialogue>\n    <scene_description>Cynthia runs her hands over Hudd , checking pockets , pants , sleeves . Finally coming to his crotch . Hudd smiles .<\/scene_description>\n    <character>HUDD<\/character>\n    <dialogue>Careful. It's loaded.<\/dialogue>\n    <scene_description>Cynthia has heard it all before . She 's not squeamish in the least and she gives him a good going over .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>He's got nothin'.<\/dialogue>\n    <scene_description>She smiles back at Hudd . Then moves away , sits on the couch and seductively crosses her legs . Divinci , satisfied , pulls a PLASTIC BAG packed tight with COCAINE out of his pocket , tosses it to Hudd . Hudd sits on the couch , opens the bag , sticks his finger in and tastes the contents . But never takes his eyes off Divinci .<\/scene_description>\n    <character>HUDD<\/character>\n    <dialogue>Not bad, not bad. Any more where this came from?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Maybe.<\/dialogue>\n    <character>HUDD<\/character>\n    <dialogue>Then maybe we talk again.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Maybe.<\/dialogue>\n    <scene_description>Hudd stands , unzips his pants . Reaches in to grab his cock , but instead , pulls out a stack of MONEY . Inch thick .<\/scene_description>\n    <character>HUDD<\/character>\n    <dialogue>Told you there was a lotta good hidin' places on this body.<\/dialogue>\n    <scene_description>Hudd hands the money to Divinci and pockets the plastic bag . Then crosses to the door . Glances back at Cynthia .<\/scene_description>\n    <character>HUDD<\/character>\n    <dialogue>Bet you got ta lotta nice hidin' places, too.<\/dialogue>\n    <scene_description>Then Hudd smiles and exits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRINCE MOTEL - NIGHT<\/stage_direction>\n    <scene_description>Hudd gets into his Cadillac , pulls out of the motel parking lot .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>Deserted . No one on the street this late . Several of the buildings are boarded up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CADILLAC - NIGHT<\/stage_direction>\n    <scene_description>Hudd drives . No music this time . His attitude has changed . More serious . LIGHTS in the REAR VIEW MIRROR . Coming up fast . Hudd watches as the car pulls around to pass . He glances at the CAR as it pulls past him , but all we SEE is the FLASH OF A BLAST FROM A GUN . Front WINDOW EXPLODING . THE CADILLAC swerves into a parked car . The OTHER CAR - a BUICK REGAL - screeches to a stop next to it . ONE MAN gets out . Moving quickly to the Cadillac . It 's dark , difficult to see . He carries a SMITH AND WESSON .44 . Opens the door . He 's wearing PLASTIC GLOVES . Hudd is dead , slumped against the passenger door . The man reaches in , turns off the engine , grabs the plastic bag of cocaine . And now we see it 's Divinci .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUICK REGAL - NIGHT<\/stage_direction>\n    <scene_description>Rodriguez is the driver . Anxious . Engine running .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Come on! Hurry up!<\/dialogue>\n    <scene_description>Divinci dashes back to the Buick , hops in . Rodriguez floors it . THE BUICK tears off down the dark street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. APARTMENT BUILDING - NIGHT<\/stage_direction>\n    <scene_description>Not a great part of the city . Apartment buildings line both sides of the street . An alley runs between two of the buildings . A TAXI pulls up in front . HEADLIGHTS SHINING on a MAN passed out in the street . Cynthia exits the taxi . The taxi pulls away . She glances at the man passed out in the street . His clothes are ragged . He 's filthy . His face covered in beard and greasy dirty hair . Hard to tell how old he is . Maybe forty . Maybe eighty . Who knows ? His hand clutches a bottle in a bag .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>Hey, Joe, wake up. Get outa the street before you get run over. Joe, wake up!<\/dialogue>\n    <scene_description>She nudges him with her foot . The man groans , rolls back . Dead drunk .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>You're in the street, Joe. Get outa the street.<\/dialogue>\n    <scene_description>The man , JOE , is silent for a moment , then he starts to crawl - toward the middle of the street .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>Other way, Joe.<\/dialogue>\n    <scene_description>Joe turns his crawl toward the curb . Cynthia watches him for a moment . He is truly pathetic .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>Forget it, Joe. Maybe you're better off right there. I do n't think you'd even feel it.<\/dialogue>\n    <scene_description>Cynthia enters the building next to the alley . CYNTHIA - INT . APARTMENT - NIGHT asleep . The room is dark . We HEAR a door open and close . Cynthia wakes .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>Who is it?<\/dialogue>\n    <scene_description>Divinci crosses to the bed .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Got your money.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Put it on the table.<\/dialogue>\n    <scene_description>She closes her eyes , trying to go back to sleep .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Tired?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>I'm not.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Take a sleeping pill. There's some in my purse.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>You want your money?<\/dialogue>\n    <scene_description>Cynthia 's eyes open and she looks up at Divinci . He 's smiling , holding up FIVE ONE HUNDRED DOLLAR BILLS .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>I already worked for that.<\/dialogue>\n    <scene_description>Divinci unzips his pants .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>This is a bonus.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>For who?<\/dialogue>\n    <scene_description>Divinci smiles . Cynthia snatches the money . Divinci starts to undress .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>This ai n't my fault. This is a failure of our educational system. If you had n't fallen through the cracks and dropped outa school, you would n't be here now.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>So what's your excuse?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>I'm in love.<\/dialogue>\n    <scene_description>Cynthia just stares at him for a long beat . Then she unbuckles Divinci 's pants . KEY - INSERTED INTO DOOR LOCK - NIGHT A door is pushed open . Rodriguez enters his one bedroom apartment . Starts to shut the door when TWO MEN appear from the shadows . The first is short , well dressed . His name is VIC . The second is large , heavy - set , shaved head . His name is CUTLESS SUPREME . Cutless Supreme is not a man to be messed with .<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>Keepin' some late hours.<\/dialogue>\n    <scene_description>Rodriguez looks at Cutless Supreme .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>What the hell you doin'? What're my neighbors gon na think?<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>I apologize. I understand your concerns. But you must understand that, unlike a bank, I can not rely on a late fee as sufficient encouragement to repay one's debts. I am forced to employ the likes of Mr. Cutless Supreme, whom I might add, contributes significantly to my overhead. I am the real loser here. And I am concerned about your sincerity in repaying the twenty - seven thousand, nine hundred forty - two dollar gambling debt that is one week past due. What can you do to reassure me of your good intentions?<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>I can make your life fuckin' miserable that's what I can do.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>Look at me. Do I have a wife and three kids? Do I have a good job at IBM? Am I a handsome guy? No, no and no. I loan money at excessively high interest rates to pricks like you who ca n't control their urges to lose big money playing cards and then I am forced to stay up all night trying to convince them that I have needs, too. The point of which is, I already have a fuckin' miserable life. So do n't threaten me you lousy bag of cat shit.<\/dialogue>\n    <scene_description>Rodriguez steps toward Vic , but Cutless Supreme slides in between them . Rodriguez is n't going to win this one .<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>All I'm askin' is that you be responsible. Is that unreasonable?<\/dialogue>\n    <scene_description>Rodriguez backs off , hesitates as he runs over his options . There are n't any . He reaches into his pocket , pulls out some of his night 's earnings .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Four thousand is all I got.<\/dialogue>\n    <character>VIC<\/character>\n    <dialogue>I am proportionally reassured. You purchased yourself an extension.<\/dialogue>\n    <scene_description>Vic takes the money , heads for the street . Rodriguez watches Vic walk away . Cutless Supreme watches Rodriguez .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Cutless Supreme, what kind of fuckin' idiot name is that?<\/dialogue>\n    <character>CUTLESS SUPREME<\/character>\n    <dialogue>It was the car my daddy stole to take my momma to the hospital, but the cops stopped him and shot him dead in an alley before he could explain. I was born in the back seat.<\/dialogue>\n    <scene_description>Rodriguez glares at Cutless Supreme , then he shuts the door . CREDIT SEQUENCE - BLACK AND WHITE MONTAGE CRIME SCENE PHOTOGRAPHS - Dead drug dealers lying where they were shot . Overlapping CLOSE - UPS of EVIDENCE TAGS and SHELVING filled with EVIDENCE from hundreds of crime scenes . And CLOSE - SHOTS of CRIME SCENES - chalk outlines - bullet shells - bloody foot prints . And finally CRIME SCENE TAPE . The BLACK AND WHITE fades back into COLOR - YELLOW CRIME SCENE TAPE surrounding the CADILLAC . We PULL BACK , revealing COPS controlling the area . It 's early morning . A FEW PEOPLE have stopped to watch . But this is not a high traffic area . ANOTHER CAR pulls up . Unmarked . Two men get out . We FOLLOW BEHIND THEM as they approach the Cadillac and PATROLMAN MAHONEY , who knows them .<\/scene_description>\n    <character>PATROLMAN MAHONEY<\/character>\n    <dialogue>Another day, another body. Where you wan na start?<\/dialogue>\n    <character>FIRST MAN<\/character>\n    <dialogue>A hit?<\/dialogue>\n    <character>PATROLMAN MAHONEY<\/character>\n    <dialogue>Looks like. Could be gang related.<\/dialogue>\n    <scene_description>And now we SEE THE TWO MEN from the unmarked car . It 's DIVINCI and RODRIGUEZ . Suit and ties . They act like they own the area . And they do .<\/scene_description>\n    <character>PATROLMAN MAHONEY<\/character>\n    <dialogue>Happened sometime last night, early morning, two, three o'clock. African - American male, looks like in his thirties. But even that's a guess. Half his head is on the upholstery.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Any witnesses?<\/dialogue>\n    <character>PATROLMAN MAHONEY<\/character>\n    <dialogue>Oh, sure, hundreds.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CADILLAC - DAY<\/stage_direction>\n    <scene_description>The bloody scene is untouched . Hudd 's body is where it fell , on the seat . Dried blood everywhere . Divinci looks in .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Fuckin' Animals.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - DAY<\/stage_direction>\n    <scene_description>EVIDENCE ROOM . Behind a locked fenced in area . A DESK OFFICER checks in and out all evidence . He is twenty - eight , wears glasses , very clean cut . TWO DETECTIVES are checking in evidence as Divinci walks in .<\/scene_description>\n    <character>FIRST DETECTIVE<\/character>\n    <dialogue>three shotgun shells, twelve gauge.<\/dialogue>\n    <scene_description>The Desk Officer checks in the evidence .<\/scene_description>\n    <character>DESK OFFICER<\/character>\n    <dialogue>Three shotgun shells, twelve gauge.<\/dialogue>\n    <scene_description>The two detectives wave hellos to Divinci as he approaches .<\/scene_description>\n    <character>SECOND DETECTIVE<\/character>\n    <parenthetical>( SGT. GARDNER . )<\/parenthetical>\n    <dialogue>Heard you got a gang related. Lucky guy, Divinci. You get all the pretty ones.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>One less drug store on the street.<\/dialogue>\n    <character>DESK OFFICER<\/character>\n    <dialogue>And the world is a safer place.<\/dialogue>\n    <scene_description>The Desk Officer buzzes Divinci through the door . Divinci crosses to the - EVIDENCE STORAGE ROOM - filled with shelves . Stacked with evidence from on - going investigations . And the shelves are full of guns , knives , bloody gloves , masks , shoes , etc. . Divinci looks around , then removes the PACKAGE OF COCAINE and the .44 from his pockets and places them back on one of the shelves . CASE NUMBER C - 549087 . One thing about the .44 which we can see now - a BLACK STAIN on the metal of the handle .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOMICIDE SQUAD ROOM - DAY<\/stage_direction>\n    <scene_description>Desks , phones , computers , typewriters and HOMICIDE DETECTIVES . Some witnesses being interviewed . Rodriguez is on the phone at his desk . He 's in the middle of an interview as he fills out one of the many forms that complicate his life .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>- a green car. you know what make. Maybe a Ford, uh - huh. You did n't see the license, did you?<\/dialogue>\n    <scene_description>Divinci comes back to his desk , next to Rodriguez . Rodriguez looks up . Divinci gives him a confident smile and brushes his hands together - clean hands .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Yeah, no, I understand, it was dark. Uh - huh.<\/dialogue>\n    <scene_description>Divinci sits at his desk . He pulls an ADVERTISEMENT for a 42 FOOT SPORT FISHING BOAT out of his desk . He holds it up to Rodriguez , points to the boat .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Wan na go for a ride?<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>You think you could describe the driver?<\/dialogue>\n    <parenthetical>( covers phone ; to Divinci . )<\/parenthetical>\n    <dialogue>You bought it?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>As of last night, I've got the down. Just picture me under swayin' palms with a Mai Tai.<\/dialogue>\n    <scene_description>We can HEAR someone describing a felon over the phone , but Rodriguez is n't listening . He 's looking at the boat .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Uh - huh.<\/dialogue>\n    <parenthetical>( covers phone . )<\/parenthetical>\n    <dialogue>You're gon na buy it, no shit. When?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Just a phone call away.<\/dialogue>\n    <scene_description>Divinci picks up the phone , starts to dial .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>That's really great, man.<\/dialogue>\n    <scene_description>Divinci smiles . Rodriguez suddenly realizes the person on the other end of the phone has stopped talking .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <parenthetical>( back to phone . )<\/parenthetical>\n    <dialogue>Uh - huh, okay. how tall was he?<\/dialogue>\n    <scene_description>A heavy set man in his fifties approaches - CAPTAIN HENDERSON .<\/scene_description>\n    <character>CAPT. HENDERSON<\/character>\n    <dialogue>You got primary on the drug related this morning on 27th.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>I'm workin' it up now.<\/dialogue>\n    <character>CAPT. HENDERSON<\/character>\n    <dialogue>Who's your second?<\/dialogue>\n    <parenthetical>( Divinci points at Rodriguez . )<\/parenthetical>\n    <dialogue>In my office. Both of you.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>CAPT. HENDERSON<\/character>\n    <dialogue>Now.<\/dialogue>\n    <scene_description>Captain Henderson does n't wait for a response . He heads for the office - an inner office of glass and wood . Divinci looks at Rodriguez , who is suddenly a little nervous . We can HEAR the PERSON OVER THE PHONE that he 's talking to , but he 's no longer interested and hangs up on them .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>What the hell -<\/dialogue>\n    <scene_description>Divinci motions `` keep calm . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAPTAIN HENDERSON'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Henderson is hanging up his coat as Divinci and Rodriguez enter . They are n't the only ones in the office . RICHARD SIMMS , thirty - two , trim , short cut hair , suit , is waiting .<\/scene_description>\n    <character>CAPT. HENDERSON<\/character>\n    <dialogue>Detectives Divinci and Rodriguez, this is Richard Simms. He's with the D.E.A.. He wants to ask you some questions about your case.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>What's the occasion?<\/dialogue>\n    <character>SIMMS<\/character>\n    <dialogue>You get an i.d. on the victim?<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>We're waitin' for prints.<\/dialogue>\n    <scene_description>Divinci pulls out his note pad .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Car was registered to -<\/dialogue>\n    <character>SIMMS<\/character>\n    <dialogue>- Anchor Imports. 81 El Dorado. Black.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>If you got all this, what d'you want from us?<\/dialogue>\n    <character>SIMMS<\/character>\n    <dialogue>The man in the car is Lionel Hudd.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <parenthetical>( a little incensed . )<\/parenthetical>\n    <dialogue>How d'you know that?<\/dialogue>\n    <parenthetical>( to Henderson . )<\/parenthetical>\n    <dialogue>What's goin' on here?<\/dialogue>\n    <character>SIMMS<\/character>\n    <dialogue>Hudd was DEA, undercover.<\/dialogue>\n    <scene_description>Rodriguez and Divinci take the news like a sledgehammer . On their frozen expressions we HEAR -<\/scene_description>\n    <character>SIMMS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>He was workin' a case on syndicate distribution of drugs on the south side. But every dealer we tagged kept getting killed. He finally got a lead on a girl - Hudd was a friend of mine. I'm gon na nail the sonuvabitch who killed him.<\/dialogue>\n    <scene_description>A long beat on Rodriguez and Divinci , then -<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>We'll do everything we can to help.<\/dialogue>\n    <scene_description>THE UNMARKED POLICE CAR - EXT. . STREET - DAY screeching around a corner and up a drive into a VACANT LOT . The car skids to a stop and Rodriguez gets out of the driver 's side , slamming the door and storming off . He 's out of his mind . Divinci gets out quickly , follows him . Rodriguez is so fired up and scared he ca n't stop moving .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>SHIT, FUCK, SHIT, JESUS CHRIST!<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Calm down!<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>WE'RE DEAD, WE'RE FUCKING DEAD!<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>SHUT UP!<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>FUCK, FUCK, FUCK!<\/dialogue>\n    <scene_description>Divinci catches Rodriguez , tries to stop him from flailing about .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>STOP IT! YOU HEAR ME, RIGHT NOW, STOP IT!<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>GOD, GOD, THIS IS REALLY FUCKIN' OUT OF CONTROL!<\/dialogue>\n    <scene_description>Rodriguez tries to push Divinci away , but Divinci holds on . They struggle -<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>LET GO OF ME!<\/dialogue>\n    <scene_description>- pushing , shoving , falling to the dirt . Divinci jumps on top of him , pulling his pistol and shoving it into Rodriguez mouth .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Shut up and listen to me!<\/dialogue>\n    <scene_description>Rodriguez glares up at Divinci .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>They could be watchin' us right now you asshole. So fuckin' shape up! You got it?!<\/dialogue>\n    <parenthetical>( nothing from Rodriguez . )<\/parenthetical>\n    <dialogue>I want you to nod!<\/dialogue>\n    <scene_description>It takes Rodriguez a moment , but he nods . Divinci pulls his gun out of Rodriguez ' mouth , gets off him and holsters his pistol . Rodriguez is scared to death , not of Divinci , of the mess they 're in . He just lies in the dirt .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Get the fuck up!<\/dialogue>\n    <scene_description>Rodriguez starts to get to his feet . Divinci grabs him , yanks him up . Pushes him to the car .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Get in the car!<\/dialogue>\n    <scene_description>They move back to the car . Rodriguez gets back into the driver 's seat . Divinci moves around to the passenger side . Gets in , slams the door shut .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNMARKED CAR - DAY<\/stage_direction>\n    <scene_description>They sit silently in the car for a moment in the middle of the vacant lot . Breathing hard . Dirty . After a beat -<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>There's no fuckin' reason to panic.<\/dialogue>\n    <scene_description>Rodriguez turns slowly and looks at Divinci incredulously .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>No fuckin' reason to panic? Did you say no fuckin' reason to panic!<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Stop being an idiot! We're the cops on the case. It's our case. We are going to find the fuckin' killers.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>WE'RE THE FUCKIN' KILLERS!<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Since when does that matter?!<\/dialogue>\n    <scene_description>Rodriguez stares at Divinci for a beat , then we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNMARKED CAR - PARKED - DAY<\/stage_direction>\n    <scene_description>Rodriguez and Divinci are sitting on the car , each with a beer and sharing a bottle of whiskey .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>All they want is someone to go down for the crime, right? Do we care who goes down for the crime? Fuck no. As long as someone goes down for the crime. It's a slot that's got ta be filled.<\/dialogue>\n    <scene_description>Rodriguez is calmer , but still something bothers him -<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>We killed a cop, does n't that bother you?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Of course it bothers me. What d'you want me to do, turn myself in? Well I'm not. That's the risk we take everyday, somebody might pop us, especially undercover like that. So he got popped. It happens.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Not by other cops!<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>I patted him down! He was n't wearin' a wire, he had no badge, no gun, how was I supposed to know?!<\/dialogue>\n    <scene_description>A moment of silence , then -<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Look, I feel just as bad as you do, but we got ta start thinkin' about us here. The important thing is we do n't lose control of the case. We can never lose control of the case. Whatever evidence there is goes through us. We lay down the trail. Make it nice and logical. We're the teachers and two and two can add up to five if it's our classroom.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>What're you talkin' about, are you sayin' we stick somebody with this?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Evidence points wherever we want it to point. Shit, we can provide so much evidence, even the asshole we pick will think he fuckin' killed him.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>You got some asshole in mind?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Just do n't worry. We'll find a killer. There's lots of'em out there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>THREE AFRICAN AMERICAN YOUTHS , all in their twenties , are hanging on a street corner . Talking . Normal street traffic . They give a long hard look to an ATTRACTIVE AFRICAN AMERICAN WOMAN who walks past . A little chatter . The UNMARKED CAR suddenly screeches to the curb . The black youths scatter quickly as Divinci jumps out and goes after the tallest of the three . His name is JAMES . Rodriguez guns the car and gives chase on wheels . James darts across traffic . Divinci running hard after him . Rodriguez spins the car in a u - turn . Racing after them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY - SAME TIME<\/stage_direction>\n    <scene_description>James darts down the alley . Narrow , dark , lined with trash bins . Divinci turns into the alley , but he is n't going to catch him . James is almost to the end when the car turns into the alley , skidding to a stop . Rodriguez jumps out , gun leveled at James . No where for him to go . He slows down . Rodriguez moves in from his front , Divinci runs up from behind . James is disgusted .<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>What the hell'd I do now?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - EVIDENCE STORAGE ROOM - DAY<\/stage_direction>\n    <scene_description>Divinci removes the PACKAGE OF COCAINE and the .44 from the shelf . CASE NUMBER C - 549087 . THE .44 - INT . INTERROGATION ROOM - DAY SLIDING across a table to James , who stops it with his right hand . Divinci and Rodriguez are across from him .<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Ai n't my gun.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Never is, is it.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>That ai n't my fuckin' gun.<\/dialogue>\n    <scene_description>He shoves the gun back . Divinci stops it with his arm , careful not to touch it .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Got your fuckin' prints on it.<\/dialogue>\n    <scene_description>James quickly realizes what they 've done . He lunges for the gun , but Divinci picks it up quickly with a pencil through the trigger guard . James glares at them with murderous intent .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Where were you Friday night?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Friday night. last Friday night?<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Where were you?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Whatever you think I did went down last Friday night?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Better have a good alibi, James, or it's good ali bye - bye.<\/dialogue>\n    <scene_description>A beat , then James smiles .<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I was in jail you assholes. Check it out.<\/dialogue>\n    <parenthetical>( starts to laugh . )<\/parenthetical>\n    <dialogue>All night. What a couple a dickheads!<\/dialogue>\n    <scene_description>Rodriguez and Divinci are silent . DOOR - INT . APARTMENT - DAY KICKED IN on a grungy small apartment . Divinci and Rodriguez burst in , guns drawn . Scaring the shit out of an HISPANIC MAN -LRB- CORTEZ -RRB- and his half - naked GIRLFRIEND as they watch television .<\/scene_description>\n    <character>DIVINCI AND RODRIGUEZ<\/character>\n    <dialogue>NOBODY MOVE! HANDS IN THE AIR! NOW! MOVE IT!<\/dialogue>\n    <scene_description>THE .44 - INTERROGATION ROOM - DAY SLIDING across the table back to Rodriguez and Divinci . Cortez sits across from them . Wearing white t - shirt , baggy pants . Tattoos on his arms .<\/scene_description>\n    <character>CORTEZ<\/character>\n    <dialogue>Ai n't my gun.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Got your prints on it.<\/dialogue>\n    <character>CORTEZ<\/character>\n    <parenthetical>( stands ; angry . )<\/parenthetical>\n    <dialogue>You fuck, I ai n't never seen that gun before!<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Where were you last Friday night?<\/dialogue>\n    <character>CORTEZ<\/character>\n    <dialogue>Fuck you. I wan na talk to a lawyer!<\/dialogue>\n    <scene_description>Just want they wanted to hear . No alibi .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Lawyer's not gon na help you, Cortez. All the evidence we got points right to you.<\/dialogue>\n    <scene_description>Cortez stares at them for a moment , then -<\/scene_description>\n    <character>CORTEZ<\/character>\n    <dialogue>Did you say last Friday night?<\/dialogue>\n    <scene_description>Cortez smiles and pulls up his shirt , revealing a long scar across his stomach .<\/scene_description>\n    <character>CORTEZ<\/character>\n    <dialogue>Intensive Care, you pindejo fuckin' gutter shits. And Thursday night, and Saturday, too. I just fucking got out this morning.<\/dialogue>\n    <scene_description>MAN - EXT. . ALLEY - DAY SLAMMING INTO A WALL , hitting hard , falling back to the dirty garbage covered alley . He 's about twenty - seven , thin , blond hair tied in a pony tail . He wears a flannel shirt , jeans , boots . He does n't want to fight . His name is DAVE .<\/scene_description>\n    <character>DAVE<\/character>\n    <dialogue>Alright, alright, alright. shit. I ai n't gon na fight you.<\/dialogue>\n    <scene_description>He looks up at Divinci and Rodriguez moving toward him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INTERROGATION ROOM - DAY<\/stage_direction>\n    <scene_description>Dave is behind the desk handling the .44 with no apparent problem .<\/scene_description>\n    <character>DAVE<\/character>\n    <dialogue>Ai n't my gun.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>That's what they all say.<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>Wish it was. No better gun than Smitty and Wes.44 mag with serial numbers filed off.<\/dialogue>\n    <parenthetical>( opens cylinder . )<\/parenthetical>\n    <dialogue>Got any bullets?<\/dialogue>\n    <scene_description>Divinci walks around , holds out his hand for the gun .<\/scene_description>\n    <character>DAVE<\/character>\n    <dialogue>Who did I kill?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Where were you last Friday night?<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>You mean, what's my alibi right?<\/dialogue>\n    <scene_description>Dave spits on the gun , wipes off his prints with his shirt .<\/scene_description>\n    <character>DAVE<\/character>\n    <dialogue>I was breakin' and entering. Jewelry store on seventh and Front, about nine o'clock. Not even close to your jurisdiction. I got the rocks to prove it.<\/dialogue>\n    <scene_description>He drops the gun , clean of prints onto the table .<\/scene_description>\n    <character>DAVE<\/character>\n    <dialogue>Sorry I ca n't help ya. But one to five is better than ten to life.<\/dialogue>\n    <scene_description>Divinci and Rodriguez stare at Dave . They are not happy . MUG SHOTS - INT . HOMICIDE SQUAD ROOM - DAY in plastic pages . A BINDER full of criminal portraits . Divinci is going through one book . Rodriguez searches another .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Montrose LaJolla.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>We pulled him in last year for knifing that dealer on 32nd.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Yeah. Almost killed him, remember? He'd be good.<\/dialogue>\n    <parenthetical>( calls out to ANOTHER DETECTIVE . )<\/parenthetical>\n    <dialogue>Anybody seen Montrose LaJolla?<\/dialogue>\n    <character>ANOTHER DETECTIVE<\/character>\n    <dialogue>He's dead. His life partner killed him in a Domestic D about a month ago.<\/dialogue>\n    <scene_description>Rodriguez suddenly slams his book shut .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Shit!<\/dialogue>\n    <scene_description>Divinci looks at him . Rodriguez is angry , tense . Divinci gives him a look telling him this is not the time and place for a discussion on this topic .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Take it easy.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>This is n't gon na work!<\/dialogue>\n    <scene_description>Divinci leans toward Rodriguez .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Nobody said it was gon na be easy. But let's not advertise our despair. Okay?<\/dialogue>\n    <scene_description>The PHONE RINGS . Divinci picks it up .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Divinci.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAPT. HENDERSON'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Captain Henderson is sitting behind his desk . Divinci and Rodriguez are in front of him . Rodriguez is trying to hide his nervousness . Divinci is absolutely cool .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>This is our case! Not the goddamn DEA's!<\/dialogue>\n    <character>CAPT. HENDERSON<\/character>\n    <dialogue>It's been three days.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>We're not fuckin' magicians! What the hell is three days?! This is a goddamn murder case! It takes a little bit of goddamn time!<\/dialogue>\n    <character>CAPT. HENDERSON<\/character>\n    <dialogue>When a Federal Undercover Officer goes down, it's never a fuckin' murder case! I do n't like the DEA on my ass any better than you like'em on yours. But this is personal for them and they want answers. Forget your other cases and get something, anything that I can give to them. The last thing I want is the goddamn F.B.I. on my back, too.<\/dialogue>\n    <scene_description>Divinci and Rodriguez are quiet for a beat , then -<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>We've got a couple leads. We need a little more time.<\/dialogue>\n    <character>CAPT. HENDERSON<\/character>\n    <dialogue>I ca n't hold'em off much longer.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>This is no fuckin' way to run an investigation.<\/dialogue>\n    <character>CAPT. HENDERSON<\/character>\n    <dialogue>Let me tell you both something, if you do n't solve this quick, they're gon na start askin' why? And they'll be lookin' to blame somebody in this department. So my advise to you is, get something fuckin' fast or turn over what you've got and get outa the way.<\/dialogue>\n    <scene_description>Rodriguez and Divinci are quiet for a moment , then -<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>How much time we got?<\/dialogue>\n    <character>CAPT. HENDERSON<\/character>\n    <dialogue>A couple days. The funeral's this afternoon.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>What funeral?<\/dialogue>\n    <character>CAPT. HENDERSON<\/character>\n    <dialogue>For Agent Hudd. Simms wants you there.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>What for? We did n't know him.<\/dialogue>\n    <character>CAPT. HENDERSON<\/character>\n    <dialogue>How the hell do I know?! It's DEA, it's their thing. You're the cops on the case, I suppose they want you to know what a great guy Hudd was so you'll work all that harder to find his killer. Just go. It'll reassure'em how much you care and keep'em off my ass.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETERY - GRAVE SITE - LATE AFTERNOON<\/stage_direction>\n    <scene_description>MOURNERS gathered around the grave site . WIFE in tears . MOTHER in tears . The men trying their best to hold up . Beyond the family , DEA AGENTS . Simms among them . A show of support and solidarity . A REVEREND delivering -<\/scene_description>\n    <character>REVEREND<\/character>\n    <dialogue>- and it is too easy to say that he was a good man in his job because he gave more than most. And it's too easy to say that he was a good man in his community because he gave more than others. And it's too easy to say he was a good man at home with his family because he was always there when they needed him. Special Agent Lionel Hudd was not just a good man, he was an extraordinary man. And his death shall not be in vain.<\/dialogue>\n    <scene_description>CAMERA FINDS Divinci and Rodriguez at the back . Rodriguez looks nervous . Divinci notices . Their conversation is quiet .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Do n't Humpty Dumpty on me.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>What's that mean?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Your cracks are startin' to show.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <parenthetical>( covering . )<\/parenthetical>\n    <dialogue>Bullshit.<\/dialogue>\n    <scene_description>Divinci sees Simms approaching from the side .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Get your balance. Here comes the King.<\/dialogue>\n    <scene_description>Rodriguez glances toward Simms as he walks up . The conversation is quiet . Not wanting to disturb the ceremony .<\/scene_description>\n    <character>SIMMS<\/character>\n    <dialogue>Glad you came. Anything break?<\/dialogue>\n    <scene_description>Divinci glances at Rodriguez .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Nothin' to brag about. But we've got a couple new leads we're followin'.<\/dialogue>\n    <character>SIMMS<\/character>\n    <dialogue>Look, normally we'd be all over this, but your Captain seems to think you can do the job. It's your territory. I guess you know it better than anybody. And that can be worth a lot. But you understand. we wo n't wait forever.<\/dialogue>\n    <scene_description>Divinci is pissed . He does n't like Simms .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Just outa curiosity. What happened to his backup? You guys use backup on undercover do n't you?<\/dialogue>\n    <character>SIMMS<\/character>\n    <dialogue>It was a new lead. Hudd was afraid backup would blow his cover. He was supposed to check in ten minutes after the deal went down. He never checked in.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>We want this one as bad as you do. A cop's a cop. We're in this together, right?<\/dialogue>\n    <scene_description>Simms stares at Rodriguez and Divinci for a moment , then he returns his attention to the ceremony .<\/scene_description>\n    <character>SIMMS<\/character>\n    <dialogue>That's why I asked you to come here. Just so you knew that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOT DOG VENDOR STREET - DUSK<\/stage_direction>\n    <scene_description>Rodriguez and Divinci walk down the street , hot dogs in hand , returning to their car parked curbside .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>He did n't have backup. You believe that?! Jesus what a dick.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>I do n't think we should criticize that particular decision of his.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>I do n't care what the reasons are, you do n't play Lone Fuckin' Ranger on a drug buy. You're just askin' for it. That's all I'm sayin'.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>I do n't trust those bastards. They're not waitin' for us. That's bullshit. They're runnin' their own investigation. I know it!<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Let'em. The gun, the coke came from evidence. The car came from impound. So what's to find?<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>That's what I'm afraid of. There's nothing for them to find. We were too good.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>So what're you worried about?<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Nobody is that fuckin' good.<\/dialogue>\n    <scene_description>Divinci looks at Rodriguez , then smiles .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Except us.<\/dialogue>\n    <scene_description>STRIPPER - INT . STRIP JOINT - NIGHT bumping and grinding her way through her performance . We do n't see her face yet . Just her body . G - string and skin tight tank top . LOUD MUSIC . MEN in the audience appreciative . The room is smoky . LIGHTS swirl over the stage . The tank top comes off . WHISTLES and CHEERS . And now we see the dancer - it 's CYNTHIA .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - BACK STAGE - NIGHT<\/stage_direction>\n    <scene_description>Cynthia moves down the hall in her g - string and high heels . She enters the dressing room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRESSING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Divinci is sitting in the only chair in the cramped little room . He 's going through her purse . Cynthia stops when she sees him , then shuts the door .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>I think this is breaking and entering, is n't it?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>I work homicide, I do n't deal with that shit.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <parenthetical>( puts on robe . )<\/parenthetical>\n    <dialogue>Learn anything you did n't already have on file?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Yeah. You surprise me sometimes. Here I think you're just a hard case and I discover you've got a heart of gold.<\/dialogue>\n    <parenthetical>( holds up her drivers license . )<\/parenthetical>\n    <dialogue>You're an organ donor. That's really nice. The only problem is, they'll never use your best parts.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>I'll make sure you get them.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Hey, do n't get me wrong. I was just surprised that we had something in common. Besides what we have in common.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Do everybody a favor, if you're gon na donate your heart, make sure it goes to science. Most people want one that beats.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Cynthia. pretty name. What do the first three letters spell?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Do n't get so clever. It's out of character.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CYNTHIA'S APARTMENT - BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Divinci and Cynthia are lying in bed . Divinci has his arm around her , but he 's staring at the ceiling .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>What's so interesting up there?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Then why's it got all your attention?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>I'm thinkin', that's all.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>About us?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Good.<\/dialogue>\n    <scene_description>Divinci looks at Cynthia .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>What if I was thinkin' about us?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Do n't waste your time.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>What if I was?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Where's it gon na get us?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Maybe I got plans.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>I do n't wan na hear'em. Plans just make you think somethin's gon na get better. I'm fine now. I do n't need to get screwed up waitin' for something good to happen.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>I just want you to know, love is important to me.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Me, too.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>But more important is loyalty. Nothing is more important than that. Not love, not anything. Because loyalty is about respect. You can talk about love all you want, but without respect it's empty. I mean the first thing that goes in a marriage is respect. And once it's gone, forget the love. So I am telling you, I am loyal to you. Like I'm loyal to my partner. We are closer than blood. And I trust him with my life.<\/dialogue>\n    <scene_description>Cynthia did n't really expect this from Divinci . She 's actually , despite herself , a little touched .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>Why're you telling me this?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>When you asked if I was thinkin' about us and I said I was n't, I just want you to know that I do.<\/dialogue>\n    <scene_description>A beat , then -<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>Just do n't ask me to marry you.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Why are n't more women like you?<\/dialogue>\n    <scene_description>Divinci leans in and they kiss .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CYNTHIA'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Divinci exits the building . Starts to cross the street to his car parked on the opposite side when he HEARS SOMETHING BEHIND him . He turns , instantly reaching for his pistol . A drunk staggers out of the alley - looks like he has a gun in his hand . Divinci instinctively raises his gun to shoot when - THE LIGHT - catches the object in the drunk 's hand - a BROWN BOTTLE , the neck sticking ahead like the barrel of a gun .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <parenthetical>( lowers gun . )<\/parenthetical>\n    <dialogue>You fuckin' idiot.<\/dialogue>\n    <scene_description>The drunk stops when he hears the voice . Looks through his matted greasy hair that cascades in front of his eyes . Now we recognize Joe . Divinci turns away , disgusted . Opens his car door , then stops . Caught in a thought . He turns back and looks at Joe again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY - NIGHT<\/stage_direction>\n    <scene_description>Joe stumbles back into the DARKNESS OF THE ALLEY . Lies down next to a trash bin . LIGHTS suddenly illuminate Joe . Joe squints as a CAR moves right up to him . Joe shields the light with an arm . We HEAR the DOOR OPEN and CLOSE , then Divinci bends down into the LIGHT . He is wearing a BASEBALL CAP backwards on his head . And GLOVES on his hands . He reaches inside Joe 's JACKET POCKET .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>What've we got here?<\/dialogue>\n    <scene_description>He pulls out the Smith and Wesson .44 . Divinci looks at Joe .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Where were you last Friday night?<\/dialogue>\n    <scene_description>Confused , Joe looks up at Divinci through matted hair .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - DRIVING - NIGHT (EARLY MORNING)<\/stage_direction>\n    <scene_description>Divinci drives . Joe up front . In an alcoholic daze .<\/scene_description>\n    <character>DIVINCI'S VOICE<\/character>\n    <dialogue>What's your name?<\/dialogue>\n    <scene_description>Joe looks at Divinci . Having trouble focusing .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Your name, what's your name?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Joe.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Where'd you get the gun, Joe?<\/dialogue>\n    <scene_description>Joe looks down at his hands - he 's holding the .44 .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>It was in your pocket, Joe, your coat pocket. You must keep it for protection, right?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Sure you do, Joe. Everybody needs protection. Especially a guy like you lives on the street, right?<\/dialogue>\n    <scene_description>Joe just stares at the gun .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Put it back in your pocket, Joe. You do n't have to worry about me, I'm not gon na hurt you.<\/dialogue>\n    <scene_description>Joe puts the gun into his jacket pocket .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - EARLY MORNING<\/stage_direction>\n    <scene_description>The LOCATION of HUDD 'S MURDER . The street is empty . Quiet . Divinci stops his car next to where Hudd died .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DIVINCI'S CAR - EARLY MORNING<\/stage_direction>\n    <scene_description>Joe is asleep , leaning against the window . Divinci reaches across and yanks him .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Wake up, Joe! I want you to look at something. Out the window, Joe. Look out the window.<\/dialogue>\n    <scene_description>Joe 's eyes open . Divinci forces his head to the window .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>This is where it happened, Joe. I want you to remember it. This is where you killed him<\/dialogue>\n    <scene_description>Joe tries to turn to Divinci , but Divinci holds his head .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>You remember it now? How you shot him through the head? You remember it?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I. do n't.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <parenthetical>( lets go of Joe . )<\/parenthetical>\n    <dialogue>You will.<\/dialogue>\n    <scene_description>Divinci slams his foot down on the accelerator and - THE CAR - tears off down the street . RODRIGUEZ - INT . BEDROOM - EARLY MORNING asleep . Alone in a double bed . The PHONE RINGS . Rodriguez startles awake . Catches the phone on the second ring .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Who the hell is this?<\/dialogue>\n    <scene_description>INTERCUT WITH DIVINCI - INT . MOTEL ROOM - EARLY MORNING Divinci on the phone in the f.g. Joe is passed out on the bed in the b.g. . The room is dark .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Is that any way to answer the phone?<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Divinci, shit! It's quarter to six.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>I know what time it is, I'm not the one in bed. I need the photos of the scene.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Now?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>I got a suspect. But he ca n't remember all the details. He needs a little help. And I thought, since you're my partner, you might jump at the opportunity to lend me a fuckin' hand.<\/dialogue>\n    <scene_description>Rodriguez sits up in bed .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>He does n't remember last Friday?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>He does n't remember a lotta Fridays. Bring the shots and pick up a fifth of Vodka.<\/dialogue>\n    <parenthetical>( glances at Joe . )<\/parenthetical>\n    <dialogue>Make it two.<\/dialogue>\n    <scene_description>JOE - INT . MOTEL ROOM - DAY asleep on the bed .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Time to get up, Joe.<\/dialogue>\n    <scene_description>Divinci slaps him . Joe 's eyes open .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>I want you to look at something.<\/dialogue>\n    <scene_description>The room is still dark . Curtains drawn . We now see Rodriguez . He 's wearing a black sock cap and gloves . He hands Divinci POLICE PHOTOGRAPHS of the car , the street , the victim - the murder scene . Divinci pulls Joe into a sitting position .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>There's the guy and the street and the car. You remember how you shot him.<\/dialogue>\n    <scene_description>Joe stares at the photographs and starts to shake his head .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>You do n't remember? That's not what you told me last night.<\/dialogue>\n    <scene_description>Joe is confused .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>If you remember you can have a drink.<\/dialogue>\n    <scene_description>Joe looks at the bottle Rodriguez holds out to him .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>But you got ta remember how you saw him driving toward you and you were in the street and you were afraid he was going to hit you so you had to shoot to protect yourself. You remember now do n't you?<\/dialogue>\n    <scene_description>Joe stares at the photographs for a moment , then nods .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>And where's your gun, Joe, where do you keep your gun?<\/dialogue>\n    <scene_description>Joe thinks a moment , then reaches into his coat pocket and pulls out the .44 . Divinci hands Joe the bottle and Joe drinks . We PUSH IN on the BOTTLE OF VODKA as the liquid drains away and we CLOSE IN TIGHT until we can SEE LIONEL HUDD 'S FACE as we - CLOSE UP - THE PHOTOGRAPHS Hudd dead . Blood on the windows . The street . Joe is drunk again . In a haze . Starts to lift the bottle . Rodriguez pulls it away . Rodriguez and Divinci always stay behind Joe .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Why'd you kill him?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I. do n't know.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>It was your gun.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I do n't have a gun.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Yes you do. In your pocket.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I'm tired.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>I know, Joe, it's tough to remember things you do n't wan na remember. What about your last name, Joe. You got a last name?<\/dialogue>\n    <scene_description>Joe looks up as if trying to remember . Or trying not to .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Come on, Joe, everybody's got a last name.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I do n't remember.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Do n't fuck with us, Joe. We're trying to help you. What's your last goddamn name?<\/dialogue>\n    <scene_description>Joe shakes his head .<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <scene_description>Rodriguez suddenly smacks Joe on the side of the head when he tries to look back . Joe is surprised by the blow . Divinci pushes Rodriguez back . Shakes his head telling him to back off .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <parenthetical>( to Joe ; friendly . )<\/parenthetical>\n    <dialogue>Come on, we're all tired here, Joe. Just give us your last name.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I do n't remember.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Okay, fine, what's in a name? But you remember the gun, right, in your pocket.<\/dialogue>\n    <scene_description>Joe nods .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>And you remember that you told me you thought he was going to hit you, right? That's why you shot.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Divinci looks at Rodriguez . Rodriguez nods .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>How'd it happen, Joe, tell me how it happened.<\/dialogue>\n    <parenthetical>( prompting . )<\/parenthetical>\n    <dialogue>You saw him driving toward you -<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>- I saw him driving toward me -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - NIGHT - LIONEL HUDD<\/stage_direction>\n    <scene_description>driving . The night that he was shot . He looks ahead into the darkness of the street . Suddenly he SEES -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>A MAN standing in the street ahead of him . HUDD - INT . CAR - NIGHT smiles and turns toward the man in the street . A .44 is pulled from a jacket pocket , lifted toward the APPROACHING CAR . The gun is in the hands of Joe . He is scared . The HEADLIGHTS COMING RIGHT AT HIM . He aims and FIRES the gun . THE FRONT WINDOW SHATTERS . And the car swerves to the curb .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>Joe watches from the street , then looks at the .44 in his hand . BACK INSIDE THE MOTEL ROOM - NIGHT Rodriguez leans into Joe who is now sitting on the edge of the bed , looking down at the .44 in his hand .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Then what did you do?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>Joe is in the street again . He does n't know what he did . BACK INSIDE THE MOTEL ROOM Divinci leans close to Joe from behind now .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>You ran.<\/dialogue>\n    <scene_description>And now Joe can imagine it . We PUSH INTO JOE 'S EYES . BACK TO THE STREET as Joe turns and runs . As fast as he can away from the death . He looks back over his shoulder , scared .<\/scene_description>\n    <character>JOE'S VOICE<\/character>\n    <dialogue>I did n't mean to.<\/dialogue>\n    <scene_description>BACK INSIDE THE MOTEL ROOM Joe is staring at the gun . Divinci and Rodriguez watch him .<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>He was going to hit me. I was scared. he was going to hit me.<\/dialogue>\n    <scene_description>Rodriguez looks at Divinci .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>That's why you shot him.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>That's why I.<\/dialogue>\n    <scene_description>JOE - BACK ON THE STREET - NIGHT AIMS the gun again at the APPROACHING CAR .<\/scene_description>\n    <character>JOE'S VOICE<\/character>\n    <dialogue>shot him.<\/dialogue>\n    <scene_description>And we HEAR the GUN SHOT AGAIN , shattering the silence as we - THE SMOKING .44 - INT . ABANDONED WAREHOUSE - DAY held by Joe 's hand , which is held by Divinci 's gloved hand . Divinci has held Joe 's finger on the trigger and pulled it . The gunshot is deadened in the old building . Joe is lying in the back seat of a car , passed out , with Divinci holding the .44 in his hand . The back door is open . The engine is running .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Helluva nice shot, Joe.<\/dialogue>\n    <scene_description>Divinci pulls the 44 . out of Joe 's hand , then shuts the door , gets into the front . The car pulls away , exiting the warehouse . HAND - INT . INTERROGATION ROOM - POLICE STATION - DAY signing a name at the bottom of a paper - Joe . Beneath it is the type written name : JOE DOE . We PULL BACK and see it 's Joe signing a typewritten page as Divinci and Rodriguez watch . Joe is a mess . When he finishes he pushes the paper away and puts his head down on the table . Divinci picks up the paper and we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CYNTHIA'S APARTMENT BUILDING - DAY<\/stage_direction>\n    <scene_description>A small yellow Toyota with a bashed up left fender pulls to the curb . Cynthia gets out lugging her purse and a bag of groceries . We HEAR ANOTHER CAR DOOR SHUT . She turns . Divinci is walking across the street from his car toward her .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>It's the middle of the day.<\/dialogue>\n    <scene_description>Divinci gives her a look as he takes the grocery bag from her .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Just talk.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Since when?<\/dialogue>\n    <scene_description>Divinci leads the way into the apartment building .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CYNTHIA'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Cynthia opens the door , pulls the key out of the lock as Divinci enters behind her with the groceries .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>I need you to do something.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Good, I need the money.<\/dialogue>\n    <scene_description>She shuts the door . Divinci deposits the bag on the table . Cynthia picks it up , moves into the kitchen .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>This is n't a deal. Where you goin'?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>I got perishables, okay?<\/dialogue>\n    <scene_description>Cynthia enters the kitchen and Divinci follows . Cynthia starts unloading the groceries , putting the milk , eggs , etc. into the refrigerator .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>The guy we did the last deal with is dead.<\/dialogue>\n    <scene_description>Cynthia turns suddenly .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Somebody popped him that night, probably when he tried to unload the stuff. I do n't know.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Jesus, does anybody -<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>- Do n't worry, there's no connection. We got the guy who did it.<\/dialogue>\n    <scene_description>Cynthia breathes a sigh of relief .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>You scared the hell outa me.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>We just need you to do one thing.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>What?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - DAY<\/stage_direction>\n    <scene_description>Divinci and Rodriguez are moving down a hallway with Cynthia . She 's nervous . Wants very much not to be here .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>He'll be third from the left. Do n't fuck up. Third from the left.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>What'm I supposed to say?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Just look at'em and then look at the man the third from the left and say, It's him.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>And I'll say, Are you sure?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>And you say, Absolutely. No question.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>This is all I need to do right?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>We have a signed confession. You i.d. him, he's goin' straight into the can.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Okay, okay. But this is it. I'm not doin' anything more than this.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Hey, it's a done deal.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE LINEUP ROOM - DAY<\/stage_direction>\n    <scene_description>ROWS of seats face a small platform . The LINEUP WALL is striped with horizontal lines with HEIGHT NUMBERS . The brightly lighted lineup is separated from the gallery , which is in the dark . UNIFORMED GUARDS are on hand to make sure there is no discussion , verbal or otherwise , between accused and witness . SIX MEN file onto the platform . All shady characters .<\/scene_description>\n    <character>A VOICE<\/character>\n    <dialogue>Stop and face front.<\/dialogue>\n    <scene_description>The six men obey . A couple keep their heads down . The others squint from the bright lights .<\/scene_description>\n    <character>THE VOICE<\/character>\n    <dialogue>Lift your heads, look straight.<\/dialogue>\n    <scene_description>Heads are lifted . Eyes front . But we only recognize one of them , standing third from the left . It 's Joe . Divinci , Rodriguez and Cynthia are in the gallery .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Take your time. Try and remember his face.<\/dialogue>\n    <scene_description>Cynthia counts three from the left and . wait a minute . She looks more closely . Just to be sure . Rodriguez and Divinci watch her . She 's obviously putting on a good show . Then she turns to Divinci , sitting next to her and whispers -<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>I know him.<\/dialogue>\n    <scene_description>Divinci is caught a little of guard - he did n't expect a private conversation , nor does he want one for fear of it looking like he 's coaching her .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>If you can identify the man -<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <parenthetical>( whisper . )<\/parenthetical>\n    <dialogue>I know him.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Just tell us which one.<\/dialogue>\n    <scene_description>Cynthia , frustrated , gives Divinci a look .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>No. I fucking know him.<\/dialogue>\n    <scene_description>Divinci still is n't sure what 's gotten into her . Rodriguez looks over , a little annoyed .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>What's the problem?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>There's no problem!<\/dialogue>\n    <parenthetical>( to Cynthia ; pointedly . )<\/parenthetical>\n    <dialogue>Do you see him up there?!<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <parenthetical>( aside . )<\/parenthetical>\n    <dialogue>You do n't understand.<\/dialogue>\n    <scene_description>Divinci is losing his patience . He does n't want to blow the whole thing now , not in front of guards and police personnel . The Guards are beginning to wonder what the hell 's going on . So are the MEN in the line .<\/scene_description>\n    <character>ONE OF THE MEN<\/character>\n    <dialogue>Hey, come on, do it or do n't!<\/dialogue>\n    <character>THE VOICE<\/character>\n    <dialogue>No talking.<\/dialogue>\n    <scene_description>Divinci leans in close to her . We can HEAR GRUMBLING from the men on the platform .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Pick the asshole out!<\/dialogue>\n    <scene_description>Cynthia starts to protest again , but she suddenly feels Divinci 's hand grip her arm . He 's had enough . Cynthia gets the message . And while keeping her eyes locked on Divinci she says -<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>Third man from the left.<\/dialogue>\n    <scene_description>JOE squints against the harsh light , trying to see into the room , as if he recognized the voice .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - POLICE STATION - OUTSIDE THE LINEUP ROOM  DAY<\/stage_direction>\n    <scene_description>Rodriguez , Divinci and Cynthia move briskly down the hall . None happy about what just happened . The conversation is strained .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>You mind telling me what that was all about?!<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>I know him. He hangs around my building. He lives in the alley or something.<\/dialogue>\n    <scene_description>Rodriguez looks at Divinci . Is this a problem ?<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>You do n't think people that hang around your neighborhood can kill somebody. Well let me tell you something. You do n't live in a great fuckin' neighborhood.<\/dialogue>\n    <scene_description>Divinci pulls a paper from his pocket .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Just sign the goddamn paper.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>What paper?<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>You picked a man out of a lineup, you have to sign that you did that so they do n't think we made it up.<\/dialogue>\n    <scene_description>Cynthia just stares at Rodriguez for a beat , then -<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>Now why the hell would they think something like that?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Sign it.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>You said all I had to do was pick him out.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>This is part of it. Just sign it and you're done.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>How come you're so sure it was him?<\/dialogue>\n    <scene_description>Rodriguez rolls his eyes .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Jesus Christ!<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>He confessed.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Bullshit.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>We got it in writing.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>He did n't do it.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>How the hell d'you know that? Were you with him at the time?! You have a good goddamn alibi for him?!<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Maybe she was blowing him!<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Better him than you.<\/dialogue>\n    <scene_description>Rodriguez grabs her arm and pushes her against the wall . Divinci looks around quickly to see who 's watching .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Take it easy.<\/dialogue>\n    <scene_description>Rodriguez angrily throws up his hands and glares at Divinci .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Fine, I got nothin' at stake here.<\/dialogue>\n    <scene_description>Divinci gives him a look , then leans right up next to Cynthia .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>This is what they call an open and shut case. He did the kill and he's going down. Do n't make the mistake of thinking you know the right thing to do.<\/dialogue>\n    <scene_description>Divinci holds out the paper . Cynthia hesitates a beat , then takes it and signs her name . JOE - CLOSE SHOT - MUG SHOTS holding a number . The SCENE FADES WHITE with the FLASH . CELL DOOR - INT . JAIL - DAY closing on Joe who is standing in the small CELL , facing the wall , his back to us . The door is locked and we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EVIDENCE ROOM - DAY<\/stage_direction>\n    <scene_description>as the .44 is placed on a shelf . But this time it 's tagged with a different number . M5114000 . THE SIGNED CONFESSION - INT . CAPT. HENDERSON 'S OFFICE - DAY as Agent Simms reads through it to the end .<\/scene_description>\n    <character>SIMMS<\/character>\n    <dialogue>Doe?<\/dialogue>\n    <scene_description>Simms looks across at Rodriguez and Divinci . Capt. Henderson and TWO OTHER DEA AGENTS -LRB- HOOPER and SARKASIAN -RRB- are also present . The DEA are in suits and ties .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>He would n't give us his last name.<\/dialogue>\n    <character>SIMMS<\/character>\n    <dialogue>He signed a confession but he would n't give you his last name?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>He said he could n't remember it.<\/dialogue>\n    <parenthetical>( points to his head . )<\/parenthetical>\n    <dialogue>He's a head case.<\/dialogue>\n    <character>AGENT HOOPER<\/character>\n    <dialogue>You run prints?<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>No priors.<\/dialogue>\n    <character>AGENT SARKASIAN<\/character>\n    <dialogue>Ballistics match?<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>We're waiting. But a forty - four was used in commission. He had a forty - four on him.<\/dialogue>\n    <character>AGENT HOOPER<\/character>\n    <dialogue>It went down pretty quick.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>It's our street.<\/dialogue>\n    <character>CAPT. HENDERSON<\/character>\n    <dialogue>I think they did a helluva job.<\/dialogue>\n    <scene_description>Suddenly Simms slams his hand down on the desk .<\/scene_description>\n    <character>SIMMS<\/character>\n    <dialogue>Goddammit!<\/dialogue>\n    <scene_description>Everyone turns to Simms . He 's angry . Rodriguez is uneasy .<\/scene_description>\n    <character>SIMMS<\/character>\n    <dialogue>Some goddamn piece a shit blows him away for NOTHING!<\/dialogue>\n    <scene_description>The intensity of Simms anger quiets everybody . A beat as Simms regains his composure .<\/scene_description>\n    <character>SIMMS<\/character>\n    <dialogue>I'm sorry. Hudd was too good for this to happen. I just did n't think he'd go down this way.<\/dialogue>\n    <scene_description>Simms crosses the room to Divinci and Rodriguez .<\/scene_description>\n    <character>SIMMS<\/character>\n    <dialogue>Good work. Thanks.<\/dialogue>\n    <scene_description>He shakes their hands . Then exits . Hooper and Sarkasian follow their boss out the door . Rodriguez , Divinci and Henderson exchange a look .<\/scene_description>\n    <character>CAPT. HENDERSON<\/character>\n    <dialogue>Do me a favor. Make sure this one sticks. I do n't want the D.E.Assholes back in here.<\/dialogue>\n    <scene_description>HEADLIGHTS -LRB- B&amp;W -RRB- coming right at us . Closer and closer . Filling the screen . FLAMES BURST -LRB- COLOR -RRB- from the barrel of a .44 in SLOW MOTION - a FIREBALL . The GUNSHOT is deafening , like thunder . GLASS SHATTERS in SLOW MOTION . JOE covers his face with his hands to protect himself from the glass . But there is no glass . Joe is sweating , detoxing . Wild eyed . He looks through his fingers , but there is no street , no dead man . Just the BARS of his CELL . GLASS OF WHISKEY - INT . CYNTHIA 'S APARTMENT - NIGHT golden liquid caressing the ice . A hand lifts the glass to red lips . The liquid disappears . Cynthia lowers the glass , staring at it .<\/scene_description>\n    <character>DIVINCI'S VOICE<\/character>\n    <parenthetical>( FILTERED . )<\/parenthetical>\n    <dialogue>Cynthia. pretty name. What do the first three letters spell?<\/dialogue>\n    <scene_description>Cynthia suddenly hurls the glass across the room . THE GLASS - SLOW MOTIONS shatters against the wall . And bits of glass , edges sharp tumble through space like ice .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE JAIL - CELLBLOCK HALLWAY - DAY<\/stage_direction>\n    <scene_description>A GUARD leads a MAN in a dark suit and striped tie down the corridor . He carries a briefcase . Short hair and a beard and wire - rimmed glasses . His name is ELLIOT GOFF .<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>Word is he killed a DEA undercover.<\/dialogue>\n    <parenthetical>( no response . )<\/parenthetical>\n    <dialogue>Word is he shot him in the face.<\/dialogue>\n    <parenthetical>( no response . )<\/parenthetical>\n    <dialogue>Word is he signed a confession.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>Word is everyone's entitled to a defense. no matter how guilty they are.<\/dialogue>\n    <scene_description>They stop at the cell block door . The guard unlocks the door . INSIDE THE CELL we can see Joe on the floor in fetal position . Shaking from lack of alcohol .<\/scene_description>\n    <character>ELLIOT<\/character>\n    <dialogue>Oh shit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INFIRMARY - DAY<\/stage_direction>\n    <scene_description>Elliot waits in the hall . Fingers impatiently drumming his briefcase . The door opens and a DOCTOR exits the room .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>He's detoxing. I gave him something to help him through it.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>Can I talk to him?<\/dialogue>\n    <scene_description>The doctor nods , opens the door . Elliot enters .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INFIRMARY - DAY<\/stage_direction>\n    <scene_description>Basic first aid station . Joe is on a table . Eyes closed . Elliot walks up . Doctor behind him .<\/scene_description>\n    <character>ELLIOT<\/character>\n    <dialogue>Joe, can you hear me?<\/dialogue>\n    <scene_description>Joe 's eyes open .<\/scene_description>\n    <character>ELLIOT<\/character>\n    <dialogue>I'm Elliot Goff. I'm your attorney. Do you understand what I'm saying?<\/dialogue>\n    <scene_description>Joe 's eyes close . Leaving Elliot in the dark .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMALL COURTROOM - DAY<\/stage_direction>\n    <scene_description>Court is in session . Old metropolitan courthouse . The PROSECUTOR and his TEAM are at one table . The DEFENSE ATTORNEY and his CLIENT are at the other . The Prosecutor is a woman . Her name is HELEN EDEN . She is thirty - nine . She wears a business suit . RICHARD STEIN is her second in command . Richard is thirty - three . The DEFENSE ATTORNEY is fifty and a little on the portly side . His name is JOHN OBLINGER . But it 's the DEFENDANT that really attracts our attention . His name is CLYDE D. DUNNER . He 's done his best to look like a law abiding citizen , but no matter what kind of clothes he wears or how he slicks down his long hair or trims his mustache , this sonuvabitch looks like he 'd kill for a nickel . He 's on trial for murder . In the first . What a surprise . We are in the midst of opening statements . And Helen is keeping the JURY riveted . The presiding Judge is a WOMAN , JUDGE WEINBERG .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>- when the defendant, Clyde Dunner, entered the house of George and Carol Beaman on Friday night, a.44 caliber pistol in his hand. He entered the house with one thing in mind. To kill George and Carol, the people he blamed for the break up of his marriage to Carol's sister, Paula.<\/dialogue>\n    <scene_description>The defendant is hardly listening . His attention is on TWO MEN SITTING BEHIND the prosecution table . And he turns to glare at them . The two men are DETECTIVES RODRIGUEZ and DIVINCI . Clyde glares at them as if he 'd like to get up right now , walk over to them and cut off their heads . Actually , that 's what he 's thinking . He mouths `` You die . '' Divinci mouths back . `` Fuck you , prick , asshole , dickhead . '' Then he smiles . Clyde boils .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>George and Carol were watching a movie when he entered the living room and opened fire. George was killed instantly, hit in the face. Carol died later of three bullet wounds to her chest.<\/dialogue>\n    <scene_description>John Oblinger , his attorney , catches Clyde 's murderous look and instructs him , with a point of his hand , to pay attention to Helen . Clyde reluctantly turns his gaze from Divinci .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Then the defendant, in his effort to cover up the crime, doused them with lighter fluid and set the house on fire. Carol was still alive.<\/dialogue>\n    <scene_description>A YOUNG MAN , looking very upset , enters the courtroom , shows i.d. to a GUARD , then makes his way down the aisle . He tries his best to be quiet , not to interrupt Helen 's statement .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Ladies and gentlemen of the jury we will prove to you, beyond any reasonable doubt, that the defendant, Clyde David Dunner, is guilty of two counts of murder in the first degree.<\/dialogue>\n    <scene_description>Helen looks at the jury for a beat , then returns to her table .<\/scene_description>\n    <character>JUDGE WEINBERG<\/character>\n    <dialogue>The defense may now proceed.<\/dialogue>\n    <scene_description>John Oblinger stands to present his side of the case . But our attention stays with Helen as she approaches the table to find her team in an upset . Their conversation is a tense whisper .<\/scene_description>\n    <character>RICHARD STEIN<\/character>\n    <dialogue>- Jesus Christ!<\/dialogue>\n    <character>YOUNG MAN<\/character>\n    <dialogue>- I do n't know where?<\/dialogue>\n    <character>RICHARD STEIN<\/character>\n    <dialogue>Are you sure?<\/dialogue>\n    <character>YOUNG MAN<\/character>\n    <dialogue>They looked all over -<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>What's wrong?<\/dialogue>\n    <character>RICHARD STEIN<\/character>\n    <dialogue>They ca n't find the murder weapon.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>What're you talking about?<\/dialogue>\n    <character>RICHARD STEIN<\/character>\n    <dialogue>Dunner's.44. They ca n't find the goddamn gun!<\/dialogue>\n    <character>YOUNG MAN<\/character>\n    <dialogue>They lost it or something. Misplaced it, I do n't know. They ca n't find it anywhere.<\/dialogue>\n    <character>HELEN<\/character>\n    <parenthetical>( no whisper this time . )<\/parenthetical>\n    <dialogue>What?!<\/dialogue>\n    <scene_description>A pause in the court . The judge taps his gavel in anger as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELEN'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Rodriguez , Divinci , Richard Stein , the young man and Helen . Helen is furious .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>- I do n't have a goddamn case without the goddamn gun. His fingerprints, the ballistics, everything! I have to have the fucking gun or he's gon na walk. That murdering piece of filth will go free without the.44. How could they lose it?!<\/dialogue>\n    <scene_description>Rodriguez and Divinci exchange a look . RODRIGUEZ AND DIVINCI - EXT. . COURTROOM - DAY walking quickly down the steps .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>The Dunner gun, you used the fucking Dunner gun?!<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>This is not my fuck up! Our shooting was supposed to be gang - related and unsolved! Only because we tagged a goddamn undercover cop do we need the fucking.44 for evidence! Otherwise, we never woulda needed it. So do n't point your finger at me!<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Alright, alright. But how are we supposed to explain how the same gun was used in two murder cases by two different killers when it was supposed to be in police custody?!<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>We do n't explain it. It's not our fault they lost the evidence. Ballistics are already complete in Dunner's case. All we need is another gun.<\/dialogue>\n    <scene_description>BRIEFCASE - ALLEY - DAY as it opens , revealing a DOZEN different HANDGUNS .<\/scene_description>\n    <character>THE GUN SELLER<\/character>\n    <dialogue>All my merchandise is in top condition. Untraceable. The best money can buy.<\/dialogue>\n    <scene_description>A BLACK MAN in a three piece suit , picks up the .44 with a GLOVED HAND . His accent is British .<\/scene_description>\n    <character>THE GUN SELLER<\/character>\n    <dialogue>It's got good knock down, but it's slow. Unless you have a preference for revolvers, I suggest a nine millimeter auto. They are more expensive, but what they cost in money, they save in time.<\/dialogue>\n    <scene_description>Rodriguez and Divinci look down at the gun .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>The.44.<\/dialogue>\n    <scene_description>The gun seller eyes them for a moment .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>THE GUN SELLER<\/character>\n    <dialogue>You look like police.<\/dialogue>\n    <scene_description>Divinci and Rodriguez stare at the gun seller . Then he smiles .<\/scene_description>\n    <character>THE GUN SELLER<\/character>\n    <dialogue>No offense.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EVIDENCE ROOM - DAY<\/stage_direction>\n    <scene_description>as the NEW .44 goes onto the shelf . CASE NUMBER C - 549087 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAIL - INTERVIEW ROOM - DAY<\/stage_direction>\n    <scene_description>Elliot is waiting , sitting at a table , staring at papers in his open briefcase . Door opens and a GUARD leads Joe into the room . Joe looks better , for the first time . His hair is combed . And he 's clean . He wears jail blues . But he is a little gaunt . And tired . Elliot stands . The guard shuts the door , leaving them alone .<\/scene_description>\n    <character>ELLIOT<\/character>\n    <dialogue>Joe, I'm Elliot, we met the other. well, you were n't in very good shape. You look much better.<\/dialogue>\n    <scene_description>Joe just stares at Elliot .<\/scene_description>\n    <character>ELLIOT<\/character>\n    <dialogue>Have a chair. We need to talk.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>About what I did.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Joe crosses to the table and takes a chair opposite Elliot .<\/scene_description>\n    <character>ELLIOT<\/character>\n    <dialogue>Joe, before we get into what happened that night, I'd like to check a couple of things first.<\/dialogue>\n    <parenthetical>( looks at papers . )<\/parenthetical>\n    <dialogue>Joe is your first name, I assume Joseph?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Okay ? Not the answer Elliot was looking for .<\/scene_description>\n    <character>ELLIOT<\/character>\n    <dialogue>What about Doe? Is that what you told the officers your last name was?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I do n't think so.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>What did you tell them your last name was?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I do n't remember.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>Well, is Doe your last name?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I'm not sure.<\/dialogue>\n    <scene_description>Elliot stares at Joe . This is going to be a little more difficult than he thought .<\/scene_description>\n    <character>ELLIOT<\/character>\n    <dialogue>Do you know what your last name is?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I do n't remember.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>Joe, I'm your attorney, I'm here to help you. It does n't matter if you give the court your last name or not, they will still put you on trial. Do you understand?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>So there's no reason to try and hide your identity.<\/dialogue>\n    <parenthetical>( Joe nods . )<\/parenthetical>\n    <dialogue>What is your last name?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I would tell you if I could remember.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>Joe Smith, Joe Jones, Joe DiMaggio.<\/dialogue>\n    <scene_description>Elliot hopes he can trigger a response . Joe tries hard .<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>I do n't think so.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>Okay. Look, we'll move on. You understand the charges against you. They're serious. And if you are found guilty, you could go to prison for a very long time.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Maybe I should.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Go to prison. I killed him. I did n't mean to. But he was going to hit me.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>Yes, I know, I read your confession. Joe, if you really felt your life was in danger, we might be able to use self - defense as our argument. But before we get into that. Do you have any family, Joe? Any friends?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I do n't think so.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>Joe. do you know what a psychiatrist is?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>Have you ever seen a psychiatrist?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I'm not sure.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>Joe, you do n't remember much about yourself.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>but you remember the night you shot the man in the car.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>because. I can. I'm sorry, I'm not much help.<\/dialogue>\n    <scene_description>Elliot stares at Joe , then looks down at the blank page in front of him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMALL COURTROOM - DAY<\/stage_direction>\n    <scene_description>The trial of Clyde D. Dunner in progress . Prosecution team at their table . Defense team at their table . JUDGE WEINBERG at the bench . Divinci on the stand . Clyde glaring at him . And Jury listening to Helen on the floor , prosecuting with vigor .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>- and when you approached the suspect in his apartment, did you identify yourself as a police officer?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Did the suspect respond?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Yes, he did?<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>In what way?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>He started shooting through the door.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>The Defendant fired six times, until his gun was empty. We would like to show you the weapon he used.<\/dialogue>\n    <scene_description>Helen crosses to the prosecution table , picks up the .44 . She holds it up for the jury to see .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>And we would like to enter it into court records. It was the same Smith and Wesson revolver he used to viciously murder George and Carol Beaman.<\/dialogue>\n    <scene_description>The .44 is duly entered into the records . CLYDE glances at `` his '' .44 as it passes into the BAILIFF 'S HANDS . It 's a .44 all right .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>The prosecution would like to call Mr. Steven J. Allen to the stand.<\/dialogue>\n    <character>BAILIFF<\/character>\n    <dialogue>Steven J. Allen.<\/dialogue>\n    <scene_description>STEVEN J. ALLEN , a short balding bespectacled man in his fifties , crosses to the witness box where he is sworn in , then sits .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Mr. Allen, would tell the court what you do.<\/dialogue>\n    <character>STEVEN J. ALLEN<\/character>\n    <dialogue>I am a lab technician for the police department. One of my duties is to examine weapons used in violent crimes.<\/dialogue>\n    <scene_description>Clyde 's attention is on Helen 's LEGS . He 's bored by the proceedings , but something suddenly strikes him . He looks at - THE .44 SMITH AND WESSON - on the evidence table . There is no BLACK STAIN on the handle .<\/scene_description>\n    <character>STEVEN J. ALLEN<\/character>\n    <dialogue>I tested the defendant's revolver and matched the bullets fired to the bullets removed from the deceased.<\/dialogue>\n    <character>CLYDE<\/character>\n    <dialogue>That ai n't my gun.<\/dialogue>\n    <scene_description>All attention turns to Clyde . His attorney , the judge , the jury , Helen , everybody is surprised by the sudden statement .<\/scene_description>\n    <character>JUDGE WEINBERG<\/character>\n    <dialogue>I must remind the defendant that he is not to speak out when -<\/dialogue>\n    <character>CLYDE<\/character>\n    <dialogue>That ai n't my gun!<\/dialogue>\n    <scene_description>The Judge taps her gavel . John Oblinger puts a hand on Clyde 's arm . Clyde pulls it away . And now things happen very fast .<\/scene_description>\n    <character>CLYDE<\/character>\n    <dialogue>THAT AI N'T MY FUCKIN' GUN!<\/dialogue>\n    <scene_description>And Clyde is moving toward the gun . And the Bailiff and GUARDS are moving toward Clyde . And Helen is moving out of the way . And the Judge is standing , banging her gavel . And the jury is scared .<\/scene_description>\n    <character>CLYDE<\/character>\n    <dialogue>YOU'RE TRYIN' TO FUCKIN' FRAME ME!<\/dialogue>\n    <scene_description>Clyde grabs for the gun as the bailiff and guards grab for Clyde . Clyde turns and decks the bailiff and all hell breaks lose .<\/scene_description>\n    <character>CLYDE<\/character>\n    <dialogue>IT AI N'T MY FUCKIN' GUN!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEN'S ROOM - DAY<\/stage_direction>\n    <scene_description>Door slams open . Rodriguez and Divinci enter . Rodriguez quickly checks all the stalls as Divinci closes the door . They are alone . When Rodriguez finishes with the stalls -<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>We got ta put the right gun back.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>We ca n't put the right gun back! Without that gun, they wo n't convict Joe.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Without that gun they wo n't convict Clyde!<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>I'm not worried about Clyde, I'm worried about us!<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Look, Joe's never goin' to trial, right. He signed a goddamn confession! Like you said, this one is open and shut. Clyde's the one we got ta worry about. We ca n't let him go back on the street! He's a fuckin' psychopath. He'll kill somebody again.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Shit. How the hell did that piece of puke know it was n't his fuckin' gun?! I do n't think he knows his own fuckin' mother, but he knows his fuckin' gun!<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>I do n't think that's important right now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EVIDENCE ROOM - DAY<\/stage_direction>\n    <scene_description>The harried Desk Officer is filling out his usual paper work when Divinci and Rodriguez approach . Divinci knocks on the door . The desk officer looks up . He 's had a tough day .<\/scene_description>\n    <character>DESK OFFICER<\/character>\n    <dialogue>Sorry, Divinci, ca n't do it.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>What d'you mean you ca n't do it? I got ta check something.<\/dialogue>\n    <character>DESK OFFICER<\/character>\n    <dialogue>You got ta get written permission from the Chief.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Since when?!<\/dialogue>\n    <character>DESK OFFICER<\/character>\n    <dialogue>Since an hour ago when he came down here and chewed me a new asshole bigger than a three car garage.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>What's the problem?<\/dialogue>\n    <character>DESK OFFICER<\/character>\n    <dialogue>Something about missing evidence or who the hell knows. I just wan na transfer the hell outa here.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>What the hell're we supposed to do?!<\/dialogue>\n    <character>DESK OFFICER<\/character>\n    <dialogue>Ask the chief. Policy ai n't my department!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMALL COURTROOM - DAY<\/stage_direction>\n    <scene_description>Joe 's preliminary trial . Joe is seated at the defense table with Elliot . ANOTHER JUDGE , JUDGE HAROLD PINE , is behind the bench . No jury . This is a preliminary hearing to determine if there 's enough evidence for Joe to stand trail . Elliot is shuffling papers in preparation for his opening . And at the prosecution table is a very tired Helen . She looks completely pissed off and worn out . In no mood for anything to go wrong .<\/scene_description>\n    <character>JUDGE HAROLD PINE<\/character>\n    <dialogue>Whenever you're ready.<\/dialogue>\n    <scene_description>Elliot stands .<\/scene_description>\n    <character>ELLIOT<\/character>\n    <dialogue>We would like to plead not guilty to the charge of murder at this time for reason of Insanity.<\/dialogue>\n    <scene_description>Helen gives Elliot a look . She does n't need this .<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>But I did it.<\/dialogue>\n    <scene_description>Elliot turns to Joe .<\/scene_description>\n    <character>ELLIOT<\/character>\n    <dialogue>Yes, Joe. Let me handle this.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>But I signed the confession.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>Yes, Joe. Do n't worry about it. I'm the attorney.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Your honor, can we have a moment?<\/dialogue>\n    <character>JUDGE HAROLD PINE<\/character>\n    <dialogue>Council may approach the bench.<\/dialogue>\n    <scene_description>Helen and Elliot cross to the bench .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Your honor, my colleague's client admits to the killing. I do n't see any reason to go through a trial when it's obvious he would like to plead guilty.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>I do n't agree.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>If he wants to plead guilty, you have to let him plead guilty.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>Not if he's not of sound mind.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Come on, Elliot!<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>I think he's crazy. I know you think he's just putting it on, that's D.A. standard procedure, but I do n't think he is. So, your honor, I'm standing by the not guilty because I believe he's incapable of making that judgment.<\/dialogue>\n    <character>JUDGE HAROLD PINE<\/character>\n    <dialogue>Have you had a psychiatrist look at him?<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>Yes, your honor.<\/dialogue>\n    <parenthetical>( hands him papers . )<\/parenthetical>\n    <dialogue>I think you'll see that my diagnosis is not without warrant.<\/dialogue>\n    <scene_description>The judge hesitates , then looks at Joe . Joe is staring at him .<\/scene_description>\n    <character>JUDGE HAROLD PINE<\/character>\n    <dialogue>I'll review the findings and make my decision tomorrow.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>Thank you, your honor.<\/dialogue>\n    <parenthetical>( to Helen . )<\/parenthetical>\n    <dialogue>Besides, I hear there's a good chance of beating the charges for lack of evidence.<\/dialogue>\n    <scene_description>Helen 's look turns icy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ETHNIC BAR\/RESTAURANT - DAY<\/stage_direction>\n    <scene_description>Dark , smoky . Not a place for the health - conscious . Rodriguez and Divinci at a corner booth . Both with scotch and waters .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Nobody can connect us to the evidence thing. we're clean there.<\/dialogue>\n    <scene_description>Rodriguez is quiet .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>The most important one is this DEA mess anyway. Once that's finished, we're completely in the clear.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>You know we ca n't do it anymore.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>yeah, I guess.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>No, we're through. That's it.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Good while it lasted though. A hundred grand apiece. Not bad for a few nights work.<\/dialogue>\n    <scene_description>Divinci lifts his glass in a toast to himself , drinks .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>I just wan na get through this.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>We're gon na get through it. No evidence problems on this one.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>I hope not. I do n't know, Frank, lately I been thinkin'. maybe what we did was n't such a good idea.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Hey, we took out a few scumbags, that's it. Nobody's ever gon na miss those shitheels. They were all pieces of garbage. Not one of'em had a sheet less than a mile long. Drugs, extortion, assault. They were all fuckin' guilty as hell and still on the street, you know that.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Except the cop.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Yeah, except the cop. That's part of the job. Could just as easily have happened to you or me.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>But we're cops, you know? We fucked up.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>We fucked up once. Once outa ten. That's not bad.<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>I'm sorry, okay? I'm sorry. He was in the wrong place at the wrong time, what can I say. I'm not goin' down for it.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Look, if we got paid a decent salary we would n't be tempted by this, right? And what happens when we retire? You think our pension's gon na take care of us? Shit no. We are on our own. I mean all I want in life is a goddamn fishing boat, a beach, a couple drinks and some Hawaiian fuckin' music. That ai n't much for twenty years putting murdering assholes behind bars. I mean, the dealers, the pimps, the killers, they got no rules. We got all the fuckin' rules. It ai n't fair. That's all I'm sayin', it ai n't fair. For awhile, we made it fair.<\/dialogue>\n    <scene_description>Rodriguez downs his scotch .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Quit thinkin' you're a bad guy. You're not a fuckin' bad guy. You made one mistake. Let it go.<\/dialogue>\n    <scene_description>Rodriguez nods . A WAITRESS comes to the table . Rodriguez orders another . The Waitress leaves . Rodriguez hesitates a moment , then -<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Do you think we're corrupt?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Hey, I never took a fuckin' bribe in my life.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Me either.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Nobody ever bought me.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>No fuckin' way. Even the thought makes me sick. And what we did has nothing to do with being corrupt. It's two completely different things. Do n't get'em confused.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>I guess you're right.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>I'm telling you. It's nothin' to do with corrupt.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>I'm worried, that's all.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Hey, you got ta worry a little. It's natural. Just do n't lose your sense of humor.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>My sense of humor, right.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>The problem with people is, nobody gives a shit about makin' the world a better place. You and me, I do n't care what anybody says, we made the world a better place. No matter what happens. There are ten less drug dealin' assholes on the street today because of us. They're not plea bargainin' their way back onto the street, they're not clogging up the courts, and they're not costing the tax payers a fuckin' penny because they're not in prison. They were garbage. And there's nothin' wrong with takin' out the garbage.<\/dialogue>\n    <scene_description>Divinci downs his scotch . Rodriguez nods , then -<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>So, you think you'll get back with Caroline?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Shit. Nothin' I ever do is good enough, you know?<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Never is, never was, never will be.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Guess I got ta make the effort. It's gon na cost me if I do n't.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Tell me about it. You know how much I got left.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>You're gon na think I'm an idiot, but. I like Cynthia. There's no bullshit with her. I just fuckin' like her.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>I think you just like fuckin' her.<\/dialogue>\n    <scene_description>Rodriguez smiles . Divinci looks at him for a beat , then -<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Yeah, that, too.<\/dialogue>\n    <scene_description>NEWSPAPER - INT . CYNTHIA 'S APARTMENT - DAY with JOE 'S PHOTOGRAPH on the front page . HEADLINE : UNDERCOVER COP GUNNED DOWN BY UNDERCOVER KILLER . We PAN AROUND to Cynthia , sitting in her kitchen , staring at the photograph .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>What the hell, Joe, at least you wo n't get run over.<\/dialogue>\n    <scene_description>She folds up the paper and throws it in the trash can .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMALL COURTROOM - DAY<\/stage_direction>\n    <scene_description>The Dunner trial . The JURY is back . Helen , Judge Weinberg , Clyde D. Dunner -LRB- who now sports a couple bandages to his head -RRB- , his attorney John Oblinger - they 're all waiting for the verdict .<\/scene_description>\n    <character>JUDGE WEINBERG<\/character>\n    <dialogue>The defendant will stand and face the jury.<\/dialogue>\n    <scene_description>Clyde stands .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>What is your verdict?<\/dialogue>\n    <character>JURY FOREMAN<\/character>\n    <dialogue>We find the defendant, Clyde David Dunner, not guilty.<\/dialogue>\n    <scene_description>Helen closes her eyes in defeat . Clyde smiles .<\/scene_description>\n    <character>CLYDE<\/character>\n    <dialogue>Fuckin' A!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOMICIDE DIVISION - DAY<\/stage_direction>\n    <scene_description>Divinci is on the phone .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>- when was the last time you saw him? - Uh - huh - And you have n't seen him since then?<\/dialogue>\n    <scene_description>Rodriguez suddenly strides up . He looks panicked .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>We got ta talk.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Just a second.<\/dialogue>\n    <parenthetical>( covers phone . )<\/parenthetical>\n    <dialogue>Calm down. I heard. Clyde walked.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>No!<\/dialogue>\n    <parenthetical>( leans in close . )<\/parenthetical>\n    <dialogue>They're takin' Joe to trial.<\/dialogue>\n    <scene_description>Divinci stares at Rodriguez for a beat , the reality of his statement taking a moment to fully slam home .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>They found him mentally unable to plead so his attorney pleaded not guilty by reason of insanity.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>You got ta be kiddin' me.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Yeah, that's me, I love to make people laugh. You hear the one about the two cops who popped the undercover DEA?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRIP JOINT - NIGHT<\/stage_direction>\n    <scene_description>Cynthia on stage , in the middle of her routine . Hoots and whistles from the all MALE CROWD . But she 's not really into her performance tonight . She pulls off the last of her clothing to APPLAUSE and CHEERS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRESSING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Cynthia enters . An ASIAN MAN in sweat shirt and jeans is sitting in the room .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>Who the hell're you and what the fuck are you doing in here?!<\/dialogue>\n    <parenthetical>( calls down hall . )<\/parenthetical>\n    <dialogue>HEY, BOB, I GOT AN ASSHOLE IN THE DRESSING ROOM.<\/dialogue>\n    <parenthetical>( to the man . )<\/parenthetical>\n    <dialogue>I suggest you get out before Bob gets here. He does n't like assholes.<\/dialogue>\n    <character>ASIAN MAN<\/character>\n    <dialogue>You're Cynthia Webb.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <parenthetical>( calls down hall . )<\/parenthetical>\n    <dialogue>BOB!<\/dialogue>\n    <scene_description>The Asian Man stands .<\/scene_description>\n    <character>ASIAN MAN<\/character>\n    <dialogue>But you are Cynthia Webb the famous dancer, yes?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Yeah, yeah, nice try, get out.<\/dialogue>\n    <scene_description>The man moves toward her , pulling a PAPER from his pocket . He hands it to her .<\/scene_description>\n    <character>ASIAN MAN<\/character>\n    <dialogue>I liked your show very much.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>What the hell's this?!<\/dialogue>\n    <scene_description>He exits . No answer . Cynthia stares at the paper -<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>A subpoena?! For what?! I did n't do anything!<\/dialogue>\n    <scene_description>But the man is gone . BOB , a HUGE BOUNCER , tears past , giving chase .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <parenthetical>( staring at paper . )<\/parenthetical>\n    <dialogue>Oh shit. oh shit. He served me! He fuckin' served me!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Dark , quiet . PHONE RINGS . A hand picks up the phone .<\/scene_description>\n    <character>MAN'S VOICE<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>ANOTHER MAN'S VOICE<\/character>\n    <dialogue>Detective Divinci?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>ANOTHER MAN'S VOICE<\/character>\n    <dialogue>This is Sergeant Gardner down at the station.<\/dialogue>\n    <scene_description>INTERCUT WITH SERGEANT - INT . HOMICIDE DIVISION - NIGHT The station is alive with activity . Even at this early hour . HOOKERS , PIMPS , PUSHERS , DRUNK DRIVERS . Some being booked , some being released , some being obnoxious .<\/scene_description>\n    <character>SERGEANT GARDNER<\/character>\n    <dialogue>Sorry to call so late, but I got a hysterical woman here says she needs to talk to you about a murder.<\/dialogue>\n    <scene_description>Divinci turns on the light revealing a WOMAN in bed with him . He picks up his watch , looks at the time .<\/scene_description>\n    <character>SERGEANT GARDNER<\/character>\n    <dialogue>I told her I could n't call you at home, but she said that it was very important. A matter of, you know, life and death.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>What's her name?<\/dialogue>\n    <character>SERGEANT GARDNER<\/character>\n    <dialogue>Cynthia.<\/dialogue>\n    <scene_description>Divinci perks up at the name . And now we SEE Cynthia in the POLICE STATION trying not to look as freaked out as she feels . But she 's not holding together well .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Tell her to wait, I'll be right down.<\/dialogue>\n    <scene_description>Divinci hangs up . Starts to dress . The woman groans .<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>What the hell're you doing?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>I got ta go down to the station.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Now? What time is it?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Go back to sleep.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Frank, this is no way to repair our marriage, you know?<\/dialogue>\n    <scene_description>She pulls the covers over her head . Divinci pulls on his pants .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - 3:38 A.M.<\/stage_direction>\n    <scene_description>Divinci pushes into the room . Sees Cynthia sitting on the bench , looking nervous as hell . Smoking , tapping her foot , looking around . Just this side of a wreck .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>Cynthia sees him and is immediately on her feet , moving to him .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>Frank, I ca n't do this. He came to the club. You got ta -<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Not here!<\/dialogue>\n    <scene_description>He takes her arm , leads her out of the station .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION PARKING GARAGE - NIGHT<\/stage_direction>\n    <scene_description>Divinci leads Cynthia out of the station to his car .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>I thought you said all I had to do was pick him out?! That's what you said, that's all I had to do. I did what you said. But that was supposed to be all.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>SHUT UP!<\/dialogue>\n    <scene_description>He opens the driver 's door , pushes her in . Gets in behind her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNMARKED CAR - NIGHT<\/stage_direction>\n    <scene_description>Cynthia is a bundle of nerves . Divinci slams the door . Cynthia is startled by the suddenness of his anger .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>What're you talkin' about?<\/dialogue>\n    <scene_description>Cynthia opens her purse and pulls out the subpoena .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>They want me in court.<\/dialogue>\n    <scene_description>Divinci glances at the papers .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>You promised me I was n't gon na have to do anything! What the hell is goin' on?!<\/dialogue>\n    <scene_description>This is yet another glitch that Divinci had n't counted on .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>I ca n't do this, Frank. I ca n't go into court. I'm gettin' outa here!<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>You are not getting outa here!<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Well I ca n't go to court! THAT'S NOT WHAT YOU SAID I'D HAVE TO DO!<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>WELL THIS WAS N'T SUPPOSED TO HAPPEN! NOW JUST FUCKIN' CALM DOWN FOR A SECOND AND LET ME THINK!<\/dialogue>\n    <scene_description>Cynthia glares at him , then turns away , takes a drag and blows out the smoke .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>Fine. Think away.<\/dialogue>\n    <scene_description>Divinci hesitates as ANOTHER CAR pulls out . Then turns to her .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Look, you're a witness, that's all. You got nothin' to worry about. You saw something happen -<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>- What?! What did I see?!<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>I will tell you everything you got ta know. You understand? Everything. You will know exactly what to say.<\/dialogue>\n    <scene_description>Cynthia looks at Divinci , unsure . Divinci gives her a confident smile . Look , it 's another stage , that 's all . Just like dancin ' . THE UNMARKED CAR pulls quickly out of the PARKING GARAGE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAIL - MEETING ROOM - DAY<\/stage_direction>\n    <scene_description>Elliot is waiting . The guard opens the door and Joe enters . Joe is looking better . Getting him off booze has helped immensely .<\/scene_description>\n    <character>ELLIOT<\/character>\n    <dialogue>Hi, Joe. You're looking much better.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I guess jail's been good for me.<\/dialogue>\n    <scene_description>Elliot nods , motions for Joe to take a chair .<\/scene_description>\n    <character>ELLIOT<\/character>\n    <dialogue>Trial date's been set for Thursday.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I've been thinking about what I did. and I do n't think it's right that I try getting off.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I want to plead guilty. I killed a man and I should be punished.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>I'm a little surprised.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>Nobody ever wants to be punished for what they've done. It's just a new concept. But I still think our defense is reasonable. I do n't believe, under the condition you were in, that you were responsible for your actions.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>But why was I carrying a gun? I had no right to carry a gun.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>If you had n't been carrying the gun, you might be dead.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>And he might be alive.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>I understand. Can I think about this?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>No. I've made up my mind.<\/dialogue>\n    <scene_description>Elliot stares at Joe for a beat , then we - YELLOW CRIME SCENE TAPE - EXT. . APARTMENT BUILDING - DAY TWO MURDER VICTIMS lying in the street . POLICE OFFICERS have the area under control . A few CURIOUS PEOPLE have stopped to watch . An UNMARKED CAR pulls up . Stops .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNMARKED CAR - DAY<\/stage_direction>\n    <scene_description>Parked . Rodriguez behind the wheel . Divinci next to him .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>What if she takes off?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Then we got no goddamn witness puts him at the scene.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>And what happens if she testifies and nobody fuckin' believes her?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Perjury, maybe. But that's a fifty fifty. They might believe her.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Shit, Frank, she's a goddamn stripper for Chrissake, who's gon na believe her. I do n't believe her when she's telling the truth!<\/dialogue>\n    <scene_description>An OFFICER walks to the car and knocks on the window . Divinci rolls it down .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>OFFICER<\/character>\n    <dialogue>Ahh, we got two bodies out here and three more in the house.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>OFFICER<\/character>\n    <dialogue>I was just wondering if you were gon na be the primary on this one, that's all.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Yeah, yeah, we're comin'. Just give us some room.<\/dialogue>\n    <scene_description>Divinci rolls the window back up . The officer backs off .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>She could blow the whole thing. She could tie us in and that would be it. We'd be fuckin' fried.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>If it looks like she's gon na crumble we'll take steps.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>What steps?<\/dialogue>\n    <scene_description>Divinci looks at Rodriguez .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>One more chalk outline more or less in this city who's gon na know?<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Oh shit, Frank.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Hey, hey, you think I like this?!<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>We just ca n't go around killin' everybody!<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Just a second. Look around. Whatta we got here? Two stiffs on the street, shot to shit, three more inside. That's five chalk lines in one night in one deal in one neighborhood in one city. Let me fill you in on some statistics, we're not killin' everybody.<\/dialogue>\n    <parenthetical>( a beat , then - . )<\/parenthetical>\n    <dialogue>Look, this is strictly last resort. Okay? But let's not kid ourselves. If push comes to shove, somebody has to go down. If you got another candidate, I'm willin' to listen.<\/dialogue>\n    <scene_description>Rodriguez is silent . Divinci opens the door . Rodriguez watches him , then he follows . To the scene of another crime .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CYNTHIA'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Cynthia is in the kitchen , making herself a peanut butter and jelly sandwich as she watches Sally Jesse Raphael interview yet another moron on television . The phone rings . She takes a bite of the sandwich as she picks up and mumbles -<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <scene_description>INTERCUT WITH INT . OFFICE - D.A. 'S DEPARTMENT - DAY Richard Stein , the attorney , is on the phone . His office is cluttered with the myriad of case files he 's forced to juggle .<\/scene_description>\n    <character>RICHARD STEIN<\/character>\n    <dialogue>Cynthia Webb?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <parenthetical>( swallows . )<\/parenthetical>\n    <dialogue>. yeah.<\/dialogue>\n    <character>RICHARD STEIN<\/character>\n    <dialogue>I'm Richard Stein with the District Attorney's office. You're a witness in a case we're handling and I'd like to talk to you as soon as possible.<\/dialogue>\n    <scene_description>Cynthia puts down the sandwich , her appetite suddenly gone .<\/scene_description>\n    <character>RICHARD STEIN<\/character>\n    <dialogue>Ms Webb?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>RICHARD STEIN<\/character>\n    <dialogue>Any chance we could get together today?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <parenthetical>( nervous . )<\/parenthetical>\n    <dialogue>I'm ah. pretty busy.<\/dialogue>\n    <character>RICHARD STEIN<\/character>\n    <dialogue>It wo n't take long. Will you be home about two?<\/dialogue>\n    <parenthetical>( no answer . )<\/parenthetical>\n    <dialogue>Ms Webb?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Yeah, okay. two.<\/dialogue>\n    <character>RICHARD STEIN<\/character>\n    <dialogue>Good. Let me make sure I've got your correct address.<\/dialogue>\n    <scene_description>SUITCASE - INT . CYNTHIA 'S BEDROOM - DAY as clothes are stuffed into it . The suitcase is slammed shut . And Cynthia heads for the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MANSION - DAY<\/stage_direction>\n    <scene_description>A BLACK CONVERTIBLE MERCEDES pulls into the circular , gated drive of the large two story home on immense manicured grounds . A BMW is parked in front of the FOUR CAR GARAGE . It is being waxed by car care specialists . The Mercedes stops and a MAN gets out . He has gray hair and expensive clothes . He carries a briefcase and heads for the front door . His name is ARTHUR BAYLOR .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MANSION - PATIO - DAY<\/stage_direction>\n    <scene_description>A BUTLER shows Arthur to the patio where another MAN , NATHAN MCCALL , is seated behind a table , reviewing documents . McCall is fifty - five , wears glasses .<\/scene_description>\n    <character>BUTLER<\/character>\n    <dialogue>Mr. Baylor is here.<\/dialogue>\n    <scene_description>McCall looks up , smiles .<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Arthur.<\/dialogue>\n    <scene_description>Arthur crosses . The two men shake hands .<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Nathan. How are you?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Good, Arthur, thanks. Would you like some coffee, juice.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>No, I'm fine.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Well, this is all a bit of a mystery. You certainly got my attention with your phone call. What's this all about?<\/dialogue>\n    <scene_description>Arthur removes a NEWSPAPER from his briefcase . Opens it . Revealing the PHOTOGRAPH OF JOE and the headline : UNDERCOVER COP GUNNED DOWN BY UNDERCOVER KILLER . McCall looks at the paper .<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Is there something you want me to see?<\/dialogue>\n    <scene_description>Arthur points at the photograph . McCall looks . A beat , then -<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Oh my God.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS STATION - DAY<\/stage_direction>\n    <scene_description>Cynthia boards a greyhound . Getting the hell out of Dodge .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CYNTHIA'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>We HEAR a key in the lock . The door opens and Divinci enters . He looks around .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Cynthia.<\/dialogue>\n    <scene_description>He moves into the bedroom . Sees clothes strewn around and a half empty closet .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Shit!<\/dialogue>\n    <scene_description>He heads back into the living room . Pulls open the door and almost runs into Richard Stein who was just about to knock .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <parenthetical>( startled . )<\/parenthetical>\n    <dialogue>Jesus!<\/dialogue>\n    <scene_description>Richard Stein is just as startled and it takes him a moment to recognize -<\/scene_description>\n    <character>RICHARD STEIN<\/character>\n    <dialogue>Divinci?<\/dialogue>\n    <scene_description>Divinci is caught off guard .<\/scene_description>\n    <character>RICHARD STEIN<\/character>\n    <dialogue>Richard Stein, D.A.'s office.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Oh, yeah, sorry. I did n't expect - what're you doing here?<\/dialogue>\n    <character>RICHARD STEIN<\/character>\n    <dialogue>I have to talk with Cynthia Webb. A witness in - well, wait, are n't you and Detective Rodriguez on this one?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <parenthetical>( vamping . )<\/parenthetical>\n    <dialogue>Yeah, yeah, that's why I'm here. I wanted to go over some of the details.<\/dialogue>\n    <character>RICHARD STEIN<\/character>\n    <dialogue>Me, too. Is she there?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>RICHARD STEIN<\/character>\n    <dialogue>I was supposed to meet her at two.<\/dialogue>\n    <parenthetical>( looks at watch . )<\/parenthetical>\n    <dialogue>Do you know her?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>What d'you mean?<\/dialogue>\n    <character>RICHARD STEIN<\/character>\n    <dialogue>Well, I just mean, if she's not here. you were.<\/dialogue>\n    <parenthetical>( a little awkward . )<\/parenthetical>\n    <dialogue>. inside.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <parenthetical>( forces a smile . )<\/parenthetical>\n    <dialogue>Oh, yeah, the legal thing. Well, she's a witness in a murder case. And when they do n't answer a knock and the door's open, it's my experience, you know. I like to make sure there's no dead bodies layin' around.<\/dialogue>\n    <parenthetical>( pulls door shut . )<\/parenthetical>\n    <dialogue>Do n't tell on me.<\/dialogue>\n    <character>RICHARD STEIN<\/character>\n    <dialogue>No, no, of course not. Well, maybe I should wait. She might be stuck in traffic or something.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Yeah. If she shows up, let me know. I'd like to talk to her, too.<\/dialogue>\n    <character>RICHARD STEIN<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>Divinci looks at Stein for a beat , then smiles and -<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>See you in court.<\/dialogue>\n    <character>RICHARD STEIN<\/character>\n    <dialogue>Right.<\/dialogue>\n    <scene_description>Divinci heads down the walkway . Richard Stein watches him for a moment , then looks at the closed door , then at his watch .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELLIOT'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Elliot 's office is a cramped space in the PUBLIC DEFENDERS FLOOR of the CRIMINAL COURTS BUILDING . A buzz of activity outside . The staff is overworked , underpaid and underappreciated . Elliot is reviewing legal documents . Knock on the door .<\/scene_description>\n    <character>ELLIOT<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>The door opens and Arthur Baylor enters .<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Elliot Goff?<\/dialogue>\n    <scene_description>Elliot looks up and suddenly recognizes -<\/scene_description>\n    <character>ELLIOT<\/character>\n    <dialogue>Arthur Baylor?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Elliot is stunned and flattered . He stands quickly .<\/scene_description>\n    <character>ELLIOT<\/character>\n    <dialogue>Arthur Baylor, oh my God. I ahh, would you ahh. are you here to see me?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Arthur shuts the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAIL - INTERVIEW ROOM - DAY<\/stage_direction>\n    <scene_description>Door opens . Joe is lead into the room by the JAIL GUARD . Joe looks even better now . His stay in jail has broken his dependency on alcohol . His hair is clean and combed . And he 's not as depressed . He stops upon seeing Elliot and Arthur at the table . Both men stand . The guard shuts the door . Arthur looks at Joe for a moment , then says -<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>William.<\/dialogue>\n    <scene_description>Joe stares at Arthur as if fighting a lost memory , then -<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>yes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DISTRICT ATTORNEY - HELEN'S OFFICE - DAY<\/stage_direction>\n    <character>HELEN<\/character>\n    <dialogue>What are you telling me?!<\/dialogue>\n    <scene_description>Richard Stein is facing a not very happy Helen . She is seated behind her desk stacked high with case files .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>She missed the appointment? She forget you were coming? What?!<\/dialogue>\n    <character>RICHARD STEIN<\/character>\n    <dialogue>If you want my best guess, I'd say she split.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>She split, our witness split. Ca n't we keep our evidence and witnesses from disappearing around here? I mean what do I have to do, lock them in the trunk of my car? What the fuck is going on?! I want that bitch back here and on the stand or in jail!<\/dialogue>\n    <scene_description>Richard Stein nods quickly .<\/scene_description>\n    <character>RICHARD STEIN<\/character>\n    <dialogue>I'll get her.<\/dialogue>\n    <scene_description>And he exits fast . He does n't like it when his boss is pissed . And right now his boss is really pissed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAIL BOND OFFICE - DAY<\/stage_direction>\n    <scene_description>A seedy side street near the courthouse and jail . The unmarked car pulls up and Divinci gets out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAIL BOND OFFICE - DAY<\/stage_direction>\n    <scene_description>The interior is sparse . Several FRAMED FIGHT POSTERS on the walls . All with MANNY LADREW , a young tough fighter in the featherweight division , in his best pose , explaining where and when the next bout will be - but all these posters are at least fifteen years old . Two desks . One for the secretary , who is on vacation , and the other for MANNY LADREW , the ex - pugilist . He 's put on some pounds in the intervening years , plus an added thin mustache . Manny is on the phone -<\/scene_description>\n    <character>MANNY<\/character>\n    <dialogue>- yeah, uh - huh.<\/dialogue>\n    <parenthetical>( takes notes . )<\/parenthetical>\n    <dialogue>Why you think he'd go there?<\/dialogue>\n    <scene_description>Divinci enters .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>We need to talk.<\/dialogue>\n    <character>MANNY<\/character>\n    <parenthetical>( covers phone . )<\/parenthetical>\n    <dialogue>Just a second.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Not just a second, now!<\/dialogue>\n    <scene_description>Manny glares at Divinci . He does n't like Divinci , never has , never will . But he 's a cop . Cop 's you have to make room for .<\/scene_description>\n    <character>MANNY<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>I'll call you back.<\/dialogue>\n    <parenthetical>( hangs up . )<\/parenthetical>\n    <dialogue>What d'you want, Divinci?<\/dialogue>\n    <scene_description>Divinci pulls some papers out of his pocket , hands them to Manny .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>I got a witness who took off. I got ta get her back. I do n't got a lotta time.<\/dialogue>\n    <character>MANNY<\/character>\n    <dialogue>You're the fuckin' police. What're you comin' to me for?!<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Do n't ask fuckin' questions, you just find her!<\/dialogue>\n    <scene_description>Manny , annoyed , looks at the papers - photo of Cynthia included .<\/scene_description>\n    <character>MANNY<\/character>\n    <dialogue>Where've I seen her before?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>She dances.<\/dialogue>\n    <character>MANNY<\/character>\n    <dialogue>Yeah, right, okay. So what'd she take off for?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>I said -<\/dialogue>\n    <character>MANNY<\/character>\n    <dialogue>- I know what you fuckin' said, but you want me to find her I got ta know why the fuck she took off! So I know where not to look! Okay?!<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>she's supposed to testify. She got scared, thinks somebody might kill her, so she's hidin'. That's why I want you to find her. If somebody is tryin' to pop her, I do n't want anyone knowin' where she is. Manny eyes Divinci. He does n't believe anything anybody tells him. Especially in his business.<\/dialogue>\n    <character>MANNY<\/character>\n    <dialogue>How long I got?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Two days.<\/dialogue>\n    <character>MANNY<\/character>\n    <dialogue>Shit, two fuckin' days!<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Find her, puss head.<\/dialogue>\n    <scene_description>Divinci glares at Manny , then exits . Manny watches him leave .<\/scene_description>\n    <character>MANNY<\/character>\n    <dialogue>Sure, Detective. Always like to help out the police whenever possible!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LARGE COURTROOM - DAY<\/stage_direction>\n    <scene_description>Joe -LRB- William -RRB- is lead into the courtroom by GUARDS . Takes his place at the DEFENSE TABLE which includes Elliot and TWO YOUNG ATTORNEYS . The PROSECUTION TABLE , which includes Richard Stein and Helen is going over last minute minutia . PEOPLE are taking seats in the gallery . But another attorney joins the Defense table . It 's Arthur Baylor . And Richard Stein double - takes when he sees him . AT THE PROSECUTION TABLE<\/scene_description>\n    <character>RICHARD STEIN<\/character>\n    <parenthetical>( to Helen . )<\/parenthetical>\n    <dialogue>Is n't that Arthur Baylor?<\/dialogue>\n    <scene_description>Helen turns .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>They watch Arthur shake hands with everyone - Elliot , the two young attorneys and Joe .<\/scene_description>\n    <character>RICHARD STEIN<\/character>\n    <dialogue>What's he doing here?<\/dialogue>\n    <scene_description>Arthur takes a seat at the defense table and glances across at Helen and Richard and nods . Helen and Richard are stunned .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>What the hell?<\/dialogue>\n    <character>BAILIFF<\/character>\n    <dialogue>Hear ye, hear ye. All rise, face our flag and recognize the principles for which it stands. The Criminal Court, Department G is now in session. The Honorable Harold W. Pine presiding.<\/dialogue>\n    <scene_description>Everyone rises as JUDGE HAROLD PINE enters . In black robe . Taking his place behind the bench . He sits .<\/scene_description>\n    <character>BAILIFF<\/character>\n    <dialogue>Please be seated and come to order.<\/dialogue>\n    <scene_description>Everyone sits . And even Judge Harold Pine double - takes when he sees Arthur Baylor at the Defense table .<\/scene_description>\n    <character>BAILIFF<\/character>\n    <dialogue>The People versus Joe Doe in case number 95 - 24705.<\/dialogue>\n    <character>JUDGE HAROLD PINE<\/character>\n    <dialogue>Before we proceed, I'd like to ask the Defense if there's anything this court should be made aware of.<\/dialogue>\n    <scene_description>Arthur stands .<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Yes, your honor. I have joined the defense in the representation of Mr. William Dane McCall, otherwise known to this court as Joe Doe.<\/dialogue>\n    <scene_description>Everyone turns to look at Joe -LRB- William McCall -RRB- . CAMERA PUSHES in on him . It does n't look as if he 's sure who he is yet .<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>I have represented the McCall family for several years before William McCall's disappearance seven years ago. It was assumed that he had died, but since he has reappeared under these tragic circumstances, I would ask this court for a continuance to allow the defense to prepare adequately in light of his real identity now being known.<\/dialogue>\n    <character>JUDGE HAROLD PINE<\/character>\n    <dialogue>How long do you need.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>One week should be sufficient.<\/dialogue>\n    <character>JUDGE HAROLD PINE<\/character>\n    <dialogue>Any objection to a week's continuance by the State?<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>I do n't. believe so, your honor.<\/dialogue>\n    <character>JUDGE HAROLD PINE<\/character>\n    <dialogue>Then I grant a one week continuance. We will start the proceedings next Monday morning.<\/dialogue>\n    <scene_description>Judge Harold Pine taps his gavel . TELEVISION NEWS REPORTS - INT . HELEN 'S OFFICE - DAY FLASH Joe 's photograph and scenes of him being lead from the courtroom . Helen and Richard Stein are watching . They ca n't believe it .<\/scene_description>\n    <character>NEWSCASTER<\/character>\n    <dialogue>- when it was discovered that the man who has confessed to killing an undercover DEA agent, was actually himself thought dead for seven years. The man who signed the confession as Joe Doe is actually William Dane McCall, brother of Nathan McCall. Both are sons of the founder of McCall International, a corporation involved in telecommunications, computer design and development and other related industries. The net worth of both men is estimated at over a billion dollars -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNMARKED CAR - DAY<\/stage_direction>\n    <scene_description>Parked on the street . Rodriguez and Divinci inside . Rodriguez reads the paper .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>- but William McCall shunned the business world and turned his life to medicine, receiving his medical degree from Harvard in 1969. Once again he turned his back on the established norm and spent several years in Africa performing organ transplants for the poor.<\/dialogue>\n    <scene_description>Rodriguez slams down the paper .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Jesus Christ, this is who you picked? A goddamn surgeon who performs organ transplants on poor Africans?!<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>He was living in the fuckin' street! How the hell was I supposed to know he was a goddamn doctor?!<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>He's not a goddamn doctor! You picked a fuckin' Saint to pin a fuckin' murder on!<\/dialogue>\n    <scene_description>Divinci grabs the paper away from him . Both cops are angry , upset , frustrated and scared to death .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>When we pick'em, we really fuckin' pick'em. We shoulda just picked up the fuckin' Pope.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <parenthetical>( reading . )<\/parenthetical>\n    <dialogue>- he disappeared seven years ago on September 19 two weeks after the tragic death of his wife and two young children in a multiple vehicle accident. At the time it was assumed that he had returned to Africa, but that was never confirmed. What William McCall has been doing for seven years is now the mystery that the court will try to help unravel.<\/dialogue>\n    <scene_description>Divinci closes the paper .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Alright, alright, let's think here. What's the worse case scenario?<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Are you asking me if I can think of something worse than what we've done that we can still do, or something worse that might happen to us if this all blows up and we are convicted and sent to jail and die in the electric chair and go to hell?<\/dialogue>\n    <scene_description>Divinci looks at Rodriguez .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Work with me here.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>I'm sorry. I'm a little on edge. Would you repeat the question?<\/dialogue>\n    <scene_description>Both men are quiet for a moment , then -<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Even if the doc walks, there's no evidence ties us to it. There's only one person who can connect us to Hudd.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Okay, fine, I do n't wan na argue about it anymore. Let's just fuckin' kill her.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BALL BOND OFFICE - DAY (LATE AFTERNOON)<\/stage_direction>\n    <scene_description>Manny LaDrew is pouring himself a cup of coffee . His SECRETARY is typing up a letter at her desk .<\/scene_description>\n    <character>DIVINCI'S VOICE<\/character>\n    <dialogue>We need to talk.<\/dialogue>\n    <scene_description>Manny recognizes the voice . He mouths an oh fuck to himself , then turns around to Divinci who is standing in the doorway .<\/scene_description>\n    <character>MANNY<\/character>\n    <dialogue>Are you fuckin' with me?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>No, I'm not fuckin' with you. Are you fuckin' with me?!<\/dialogue>\n    <character>MANNY<\/character>\n    <dialogue>You do n't know?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Know what?<\/dialogue>\n    <character>MANNY<\/character>\n    <dialogue>Well this is a good one. You're a cop and you do n't know.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Stop it.<\/dialogue>\n    <character>MANNY<\/character>\n    <dialogue>Cops got her. Ai n't that a gas. Cops got her, you're a cop, and you got ta find out from me. It's a crazy world we live in, do n't you think?<\/dialogue>\n    <scene_description>Divinci suddenly explodes , going for Manny , grabbing him , slamming him against the wall , his arm to Manny 's throat .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Cops?! What fuckin' cops?!<\/dialogue>\n    <character>MANNY<\/character>\n    <dialogue>I do n't know what fuckin' cops. All I know is, my people got to her sister's place and she was already gone. Her sister said some cops took her. I thought it was you!<\/dialogue>\n    <scene_description>Divinci glares at Manny for a beat , then he storms out .<\/scene_description>\n    <character>SECRETARY<\/character>\n    <dialogue>What an asshole.<\/dialogue>\n    <scene_description>Manny looks down at his Secretary .<\/scene_description>\n    <character>MANNY<\/character>\n    <dialogue>You're a good judge of character.<\/dialogue>\n    <scene_description>DIVINCI - INT . HOMICIDE DIVISION - DUSK at his desk , on the phone .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>- look, she's our witness, if she's in custody, somebody better tell me!<\/dialogue>\n    <scene_description>Divinci slams down the phone . He sits quietly for a moment , then rubs his face . Rodriguez crosses to his desk , sits down .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Anything?<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Nothin'. Nobody knows nothin'. The D.A. thinks she's gone. D.E.A. does n't know shit.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>If she was bein' held by police, we'd know.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Unless she said somethin'.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>If she said something we would n't be sittin' here.<\/dialogue>\n    <parenthetical>( a beat , then - . )<\/parenthetical>\n    <dialogue>I think it's that lyin' piece of shit.<\/dialogue>\n    <scene_description>MANNY - INT . BALL BONDS OFFICE - NIGHT getting the shit beat out of him . The room is dark . Two men are hammering on Manny . Throwing him against the wall , pulling him up and hitting him in the stomach - not the face . Throwing him across the room , over the desk . Manny is too hurt to get up . Divinci walks over to him , rubbing his gloved hand .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Do n't ever lie to me again.<\/dialogue>\n    <scene_description>Manny looks up weakly . Divinci walks away . Rodriguez opens the door and they exit .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COUNTY JAIL CELL - MORNING<\/stage_direction>\n    <scene_description>Joe is sitting on his cot , staring at the floor . ANOTHER MAN is in the cell with him , reading a magazine . His name is DUNCAN . Duncan looks at Joe .<\/scene_description>\n    <character>DUNCAN<\/character>\n    <dialogue>First trial, huh.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>DUNCAN<\/character>\n    <dialogue>I got one piece of advise. When you break for lunch, do n't get the pastrami.<\/dialogue>\n    <scene_description>We HEAR the BARRED CELL DOOR open .<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>Time to go.<\/dialogue>\n    <scene_description>Joe gets up . Puts out his hands . They shackle him as we HEAR -<\/scene_description>\n    <character>THE BAILIFF'S VOICE<\/character>\n    <dialogue>Hear ye, hear ye. All rise, face our flag and recognize the principles for which it stands.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COUNTY JAIL CELL - HALLWAY - MORNING<\/stage_direction>\n    <scene_description>Joe is lead down the hall by TWO GUARDS , past rows of cells filled with other PRISONERS -<\/scene_description>\n    <character>BAILIFF'S VOICE<\/character>\n    <dialogue>The Criminal Court, Department G is now in session. The Honorable Harold W. Pine presiding.<\/dialogue>\n    <parenthetical>( We HEAR people rise . )<\/parenthetical>\n    <dialogue>Please be seated and come to order.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTY JAIL - PARKING AREA - DAY<\/stage_direction>\n    <scene_description>Joe is lead to a waiting prison van . He gets inside .<\/scene_description>\n    <character>BAILIFF'S VOICE<\/character>\n    <dialogue>The People versus William McCall in case number 95 - 24705.<\/dialogue>\n    <scene_description>The van pulls away . THE .44 SMITH AND WESSON -LRB- CLYDE 'S .44 -RRB- as it is introduced into evidence .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>- when he pulled this gun and fired at the driver of the car. Killing him instantly. Let the record show that this is the weapon used in the crime, a Smith and Wesson forty - four caliber handgun.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LARGE COURTROOM - DAY<\/stage_direction>\n    <scene_description>Joe is sitting at the Defense table with Arthur and Elliot . The trial is underway . And they watch the .44 go to the evidence table - the .44 with the BLACK STAIN . Richard Stein is seated at the Defense table . He , too , is watching the .44 . He leans across to his ASSISTANT .<\/scene_description>\n    <character>RICHARD STEIN<\/character>\n    <dialogue>All these goddamn guns are startin' to look the same to me.<\/dialogue>\n    <scene_description>DIVINCI - INT . LARGE COURTROOM - LATER on the stand , being questioned by Helen .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>And when you arrested the defendant, did he deny that he had killed Agent Hudd.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Can you describe the defendant's condition at the time of his arrest.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>He was drunk. We could smell the booze on him. But we drew blood. He did n't object.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>We have the blood test report that shows -.<\/dialogue>\n    <parenthetical>( picks up report . )<\/parenthetical>\n    <dialogue>- that he had four times the legal limit to drive. The people would like to enter this into evidence.<\/dialogue>\n    <scene_description>They so enter it . RODRIGUEZ - INT . LARGE COURTROOM - LATER on the stand . Elliot is cross - examining .<\/scene_description>\n    <character>ELLIOT<\/character>\n    <dialogue>- and you arrested the defendant four days after the killing. What lead you to suspect Mr. McCall?<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>You ask questions. Work the neighborhood. Find out who was on the street that night.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>Yes, but specifically Mr. McCall? He had no previous criminal record.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>We found someone who'd seen him in the area. So we picked him up for questioning. We did n't expect it to be him. But if someone saw him in the area that night we would want to talk to him. If he was n't the killer, he might've seen the killer. Just routine really.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>Where did you find the defendant?<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>On the street. Corner of Third and Madison.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>What was he doing?<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>He was passed out.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>But you knew it was the man you were looking for.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>Based on what?<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>His description.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>Who provided you with the description?<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <parenthetical>( hesitates a beat . )<\/parenthetical>\n    <dialogue>Cynthia something, I think.<\/dialogue>\n    <scene_description>Elliot moves to the defense table , glances at Arthur as he picks up a paper . Arthur nods approvingly . Elliot looks at the paper .<\/scene_description>\n    <character>ELLIOT<\/character>\n    <dialogue>I believe her name is Cynthia Webb. According to the statement filed the night she picked him out of the line - up. The name familiar?<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Yes. that's her.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>Where did you find Ms Webb?<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>On the street. Same area.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>And she agreed to pick the defendant out of a line up.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>Where you aware that Ms Webb disappeared after she was served with a subpoena?<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Yes, my partner and I tried to contact her about the case and were unsuccessful.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>Thank you, Detective, that's all the questions I have.<\/dialogue>\n    <scene_description>Rodriguez gets up as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ETHNIC BAR\/RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>A waitress cruises past tables to the booth in the back . She sets down two scotch and waters to the two men . Rodriguez and Divinci . The waitress exits . Divinci picks up his glass .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>To justice in all its forms.<\/dialogue>\n    <scene_description>Rodriguez picks up his glass .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>We're not home free yet.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Without Ms Webb, there's no place they can go. We still got the confession, the gun, the ballistics. And I do n't give a shit about all this African doctor crap. the man is a drunk and he's been a drunk for seven goddamn years. So lets have a drink for drunks.<\/dialogue>\n    <scene_description>Rodriguez reluctantly lifts his glass . They clink and drink .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>That's the thing about life. You control it or it controls you. Most people do n't understand that. They try'n blame their fuck - ups on something or somebody else. But it's not like that. I do n't wan na hear why your life's a mess. It's a mess cause you're a mess. That simple. They're waitin' to live happily ever after. But after what? After all the shit happens? Well, I got a clue for everybody, the shit never stops happening. So you deal with it or you get buried in it. I'm not talkin' about you, you know what I'm sayin' here.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Life do n't work in mysterious ways. There ai n't no mystery to it. You just work it. And you do n't take it too serious. You ca n't take it too serious otherwise you get fragile. And you ca n't be fragile and have any fuckin' fun.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>You think I'm fragile?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>That's the first sign of trouble, when you start askin' other people.<\/dialogue>\n    <scene_description>Rodriguez nods .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>I just wish I knew where the hell she was.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELEN'S D.A. OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Helen and Richard Stein are working late . Over take - out Chinese .<\/scene_description>\n    <character>RICHARD STEIN<\/character>\n    <parenthetical>( referring to papers . )<\/parenthetical>\n    <dialogue>- so I think we'll have to rely on the confession for his description of what happened. He'll never take the stand, even if -<\/dialogue>\n    <scene_description>The phone rings . Richard picks up .<\/scene_description>\n    <character>RICHARD STEIN<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>D.A.'s office. What? When? Where will -<\/dialogue>\n    <scene_description>Richard is surprised . He turns to Helen .<\/scene_description>\n    <character>RICHARD STEIN<\/character>\n    <dialogue>They found Cynthia Webb.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>RICHARD STEIN<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>When?<\/dialogue>\n    <character>RICHARD STEIN<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Well who the hell was that?<\/dialogue>\n    <character>RICHARD STEIN<\/character>\n    <dialogue>I do n't know. They hung up.<\/dialogue>\n    <scene_description>Richard hangs up the receiver . He and Helen exchange a look .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>What the fuck is going on?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LARGE COURTROOM - DAY<\/stage_direction>\n    <character>HELEN<\/character>\n    <dialogue>Your honor, the people call Ms. Cynthia Webb to the stand.<\/dialogue>\n    <scene_description>VARIOUS REACTIONS Rodriguez and Divinci are stunned . Cynthia ? Elliot is completely surprised . Cynthia ? Arthur is never shaken by anything . The courtroom doors open and Cynthia is lead down the aisle by a SHERIFF 'S DEPUTY . She moves to the chair . But it 's Joe 's turn to double take . He remembers her . My God , he knows her . It 's Cynthia - the girl from the apartment building . He never saw who pointed him out , but he never expected it to be her .<\/scene_description>\n    <character>BAILIFF<\/character>\n    <dialogue>Raise your right hand.<\/dialogue>\n    <scene_description>Cynthia raises her hand . But her look goes right to Joe . Staring at him . She 's never seen Joe like this - cleaned up , trimmed , handsome . She 's not sure she even recognizes him .<\/scene_description>\n    <character>BAILIFF<\/character>\n    <dialogue>You swear to tell the truth, the whole truth and nothing but the truth so help you God.<\/dialogue>\n    <scene_description>She turns her eyes from Joe .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>BAILIFF<\/character>\n    <dialogue>You may be seated.<\/dialogue>\n    <scene_description>Cynthia sits down . Looks at Divinci . And Joe leans across to Arthur and Elliot . Their conversation is in whispers -<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>I know her.<\/dialogue>\n    <character>ELLIOT<\/character>\n    <dialogue>She's the woman who identified you.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>No. I mean I know her.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>How?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I'm not sure. I think I lived near her.<\/dialogue>\n    <scene_description>Arthur exchanges a look with Elliot . Arthur turns now and looks at Cynthia . The wheels are turning .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Please state your name for the court.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Cynthia Webb.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Do you see the man that you identified in a police line - up in this room.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Is it the defendant, Mr. McCall?<\/dialogue>\n    <scene_description>Cynthia looks at Joe . Joe looks straight at her . Cynthia turns her eyes away .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Please describe what you saw the night of September 14th.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>I was comin' out of an all night minimart -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - MINI MART - NIGHT<\/stage_direction>\n    <scene_description>Cynthia comes out of a ALL NIGHT MINI - MART with a bag of food . She walks down the street and suddenly we HEAR a GUNSHOT . Followed by a CAR CRASH . She turns toward the sound . And we HEAR RUNNING FOOTSTEPS . Then we see a man running . He has a pistol in one hand . Cynthia watches the man run past and disappear into the darkness .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LARGE COURTROOM - DAY<\/stage_direction>\n    <scene_description>Cynthia is looking at Helen .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>And you're positive the man you saw with the gun is the defendant.<\/dialogue>\n    <scene_description>Instead of looking at Joe , Cynthia turns to Rodriguez and Divinci who are seated in the rows behind the prosecution table . They are looking right at her . They wait for her answer .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>No further questions.<\/dialogue>\n    <scene_description>Divinci offers her a small smile . Cynthia turns away . Arthur is now standing in front of her .<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Miss Webb. is it Miss?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Miss Webb, had you ever seen the defendant before that night, the night you described to us?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Do you know what perjury is?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>When you lie.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>When you lie under oath in a court of law. Do you know what the penalty for that is?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>You go to jail.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Yes. Cynthia, have you ever seen the defendant before that night?<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Objection. The witness has already answered that question.<\/dialogue>\n    <character>JUDGE HAROLD PINE<\/character>\n    <dialogue>Sustained.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>I just want to give the witness the opportunity to remember if she could have seen Mr. McCall anyplace else before the night in question.<\/dialogue>\n    <scene_description>Divinci stares at Cynthia . As if willing her to give the answer he wants her to give .<\/scene_description>\n    <character>JUDGE HAROLD PINE<\/character>\n    <dialogue>Ms. Webb, do you understand the consequences of perjury?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>JUDGE HAROLD PINE<\/character>\n    <dialogue>Let's get on with it then.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>What did you buy the night you went into the mini - mart?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>What did I buy?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>You remembered seeing Mr. McCall that night and hearing the gunshot and a car crash. I just wondered if you remembered what you bought in the mini - mart.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>shampoo I think.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>That's all?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Where do you live?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>4356 17th Street. Number 37.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Is that close to where this mini - mart is?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Close? Sort of.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>How far would you say?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>I do n't really know.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Within walking distance?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>No. I do n't think so.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Did you walk there that night or drive?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>I ahh. drove.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>You drove. But when you left the mini - mart you stated that you walked down the street.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>How far?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>to the corner.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Objection. Your honor, I do n't see a point to this line of questioning.<\/dialogue>\n    <character>JUDGE HAROLD PINE<\/character>\n    <dialogue>Is there a point?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Yes, your honor. Since this is the only witness, I'm trying to establish what the scene was like that night.<\/dialogue>\n    <character>JUDGE HAROLD PINE<\/character>\n    <dialogue>Try to get there as quickly as possible.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <parenthetical>( to Cynthia . )<\/parenthetical>\n    <dialogue>And how far away from the corner was the Mini - mart? For example was it in the middle of the block, close to the corner, where?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>In the middle I think.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>So you walked all the way to the corner. I assume then you were walking back to your car, yes?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>yeah.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Was there a reason you parked so far away?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <parenthetical>( getting nervous . )<\/parenthetical>\n    <dialogue>Um. there were lots of cars parked on the street.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Was there anyone else on the street besides you?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Lots of cars, but no people. Any traffic?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>I do n't remember.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>So you were the only person to see Joe on the street that night?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>I did n't see anybody else.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>So you heard a gunshot, a car crash and a man running with a gun in his hand.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>What did you do then? Did you call the police, 911?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>I went home.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>You went home. Straight home?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>And you're sure it was Joe you saw that night?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>When you went home.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Arthur pauses .<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>When you went home you saw Joe?<\/dialogue>\n    <scene_description>Cynthia realizes what she 's said .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Objection. Defense is trying to confuse the witness.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>I'm not trying to confuse the witness, it's the witness that's trying to confuse the court. I have witnesses who will refute her testimony. Witnesses who were on that corner the night of the shooting, who never saw Ms. Webb, who never heard the gunshot, who never saw Joe run past. Ms Webb saw Joe outside her apartment building that night because he lived in the alley next to it. Is n't that right, Ms Webb?<\/dialogue>\n    <scene_description>Arthur turns dramatically to Cynthia . She is scared .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Objection!<\/dialogue>\n    <scene_description>Everyone 's attention is on Cynthia .<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>When I referred to him as Joe, you knew who I was talking about, did n't you. This case is the People versus Mr. William McCall. Not Joe. Joe has never been mentioned in this trial. How did you know who I was talking about, Ms. Webb?<\/dialogue>\n    <scene_description>Cynthia looks from Arthur to Divinci . Divinci is frozen . Rodriguez is sweating . Then Cynthia turns and looks at Joe . Joe looks at her , feeling sorry for her . Not hating her .<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Ms. Webb, how did you know that Joe was the defendant?<\/dialogue>\n    <scene_description>Cynthia lowers her eyes to the floor .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>He lived in the alley next to my apartment building.<\/dialogue>\n    <scene_description>Helen and Richard Stein are stunned yet again .<\/scene_description>\n    <character>HELEN<\/character>\n    <parenthetical>( to herself . )<\/parenthetical>\n    <dialogue>Oh shit.<\/dialogue>\n    <scene_description>Divinci and Rodriguez are doing their best to remain cool , calm and collected .<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Why did you lie to this court?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Are you afraid of somebody?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>Are you protecting somebody?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>JUDGE HAROLD PINE<\/character>\n    <dialogue>Answer the questions, Ms. Webb or I'll be forced to cite you for contempt.<\/dialogue>\n    <scene_description>Cynthia looks up at the judge . She 's not talking . CYNTHIA having her mug shots taken . Holding a number . On the FLASH -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNMARKED CAR - STREET - DAY<\/stage_direction>\n    <scene_description>Driving .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>She did n't talk.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Do n't hold your breath.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>You think she'll talk.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>I know she'll talk.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>We'll make it look gang related.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Problem is we're gon na need another gun.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>The problem?! Have you forgotten? She's in fucking jail. That's the goddamn problem.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Since when is being in jail a guaranty of a long life? You just get a fuckin' gun.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>Rodriguez gets out of the car . Divinci pulls away , driving into traffic . Rodriguez heads into the Station .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAIL BOND OFFICE - DAY<\/stage_direction>\n    <scene_description>Divinci enters . Manny looks up from his desk . His face is bruised and bandaged .<\/scene_description>\n    <character>MANNY<\/character>\n    <dialogue>Oh shit. I did n't do anything!<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Everything's fine, Manny. I just came to apologize.<\/dialogue>\n    <parenthetical>( looks at secretary . )<\/parenthetical>\n    <dialogue>We need some privacy.<\/dialogue>\n    <scene_description>Manny looks at Divinci , then motions for his Secretary to take a walk . She gets up , exits .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Just one more favor. I want you to bail somebody out of jail.<\/dialogue>\n    <character>MANNY<\/character>\n    <dialogue>You're kiddin'.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Bail's twenty - five thousand.<\/dialogue>\n    <scene_description>Divinci pulls out a piece of paper .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>I want her out tonight. And do n't tell her who. It's a surprise.<\/dialogue>\n    <character>MANNY<\/character>\n    <dialogue>And how'm I payin' for this? They do n't take American Express.<\/dialogue>\n    <scene_description>Divinci pulls a plastic bag filled with cocaine out of his pocket - tosses it onto Manny 's desk .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>I know you know how to exchange that. It's worth a lot more than twenty - five grand. You can keep the change.<\/dialogue>\n    <parenthetical>( points to cocaine . )<\/parenthetical>\n    <dialogue>I want her back in two hours. Or I'll nail you for possession.<\/dialogue>\n    <character>MANNY<\/character>\n    <dialogue>How'd you get to be such a prick?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>DNA.<\/dialogue>\n    <scene_description>Divinci exits .<\/scene_description>\n    <character>MANNY<\/character>\n    <dialogue>What a piece of shit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COUNTY JAIL CELL - NIGHT<\/stage_direction>\n    <scene_description>Cynthia sits alone in her cell .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COUNTY JAIL CELL - NIGHT<\/stage_direction>\n    <scene_description>Joe lies on his cot . But even though he is in jail for murder , he is no longer the bum . This is a new man now . Clean shaven . Hair cut . Prison clothes neat . Duncan rolls over on his cot .<\/scene_description>\n    <character>DUNCAN<\/character>\n    <dialogue>You do n't have to say nothin', but. you really a doctor?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I was. a surgeon.<\/dialogue>\n    <character>DUNCAN<\/character>\n    <dialogue>No shit, no shit, really. A surgeon. I know I'm nobody to judge, but you musta been a smart guy. What the hell's a smart guy like you doin' in here?<\/dialogue>\n    <scene_description>Joe looks up at Duncan , hesitates , then -<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>I had an affair with another woman. a nurse at the hospital I worked at. It was nothing. I ca n't even remember much about her. Except my wife found out. We had a fight. She left the house, took the kids. She was hysterical. I should've done something. gone after them, I do n't know. they were killed in a car accident about a mile from the house. I've never told anybody that. about why she left.<\/dialogue>\n    <scene_description>Duncan nods .<\/scene_description>\n    <character>DUNCAN<\/character>\n    <dialogue>Hey, doc, you can trust me. It wo n't go no farther.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 6TH STREET OUTSIDE STATION - NIGHT<\/stage_direction>\n    <scene_description>Rodriguez is outside the Station . Looking nervous and upset . The unmarked car pulls up . Rodriguez moves for the car . He gets in and the car pulls away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNMARKED CAR - NIGHT<\/stage_direction>\n    <scene_description>Divinci drives . Rodriguez sweats . Divinci notices .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>You get the gun?<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>I got it.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Everything okay?<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Are you kidding? We're going to kill a goddamn witness who's in fucking jail because we killed an undercover DEA agent. I'm sorry, but this kinda shit troubles me a little.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Take off the dress and get back in the game. We got ta do what we got ta do.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Yeah. I know. Let's just get it over with.<\/dialogue>\n    <scene_description>Divinci glances at Rodriguez . He 's more nervous than normal .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTY JAIL - FRONT - NIGHT<\/stage_direction>\n    <scene_description>Manny walks out of the jail building . Cynthia is with him .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>I do n't understand. Why ca n't you tell me who put up the bond?<\/dialogue>\n    <character>MANNY<\/character>\n    <dialogue>Look, a guy comes in, says bail her out, gives me the money, I do it. That's how I make my living, I bail fuckin' people outa jail. You wait with me.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Was it a cop?<\/dialogue>\n    <character>MANNY<\/character>\n    <dialogue>Yeah, right. Cops bail people outa jail all the time. Does n't there seem to be a dichotomy there for you?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>I do n't like this.<\/dialogue>\n    <character>MANNY<\/character>\n    <dialogue>You wan na stay in jail, that's up to you. Or you come with me.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>What'd he look like?<\/dialogue>\n    <character>MANNY<\/character>\n    <dialogue>You're a stripper right? Lotta guys fall in love with your type. But they do n't know how to get close, know what I mean? Somebody wants you to owe them something.<\/dialogue>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>Take it or leave it.<\/dialogue>\n    <scene_description>Manny starts down the steps . Cynthia hesitates , then follows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNMARKED CAR - PARKED DOWN THE STREET - NIGHT<\/stage_direction>\n    <scene_description>Divinci and Rodriguez watch Cynthia get into the car with Manny .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>This is the last time, Frank. The last time we kill somebody.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Yeah, it's the last time.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>This'll be eleven, Frank. Eleven is enough.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>I get the picture.<\/dialogue>\n    <scene_description>Divinci looks at Rodriguez . He 's staring out the window , but he looks ill . Something is not right with him .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>It was all okay until you shot Hudd.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>What's goin' on here? You mad at me or something?<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>It was n't my idea to start killing people, Frank. That's all I'm sayin'. We're in this goddamn mess because you started killing people.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Drug dealers do n't qualify as people. Never did, never will. So what the hell's wrong with you tonight? You suddenly worried about where all the money went?<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>I'm just sick of it, that's all.<\/dialogue>\n    <scene_description>Divinci stares at Rodriguez for a beat , then starts car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY - NIGHT<\/stage_direction>\n    <scene_description>The unmarked car turns off the street onto the side street and stops . The lights go out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNMARKED CAR - NIGHT<\/stage_direction>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>What're you doin'?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>I need some fresh air.<\/dialogue>\n    <scene_description>Divinci exits . Rodriguez hesitates , then gets out with him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY - NIGHT<\/stage_direction>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Frank -<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Talk to me, okay? Just fuckin' talk to me.<\/dialogue>\n    <scene_description>Rodriguez hesitates a moment , then -<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>I do n't know. I owe some money. I do n't know how I'm gon na pay it.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>You gambling again?<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Yeah, yeah. I just could n't. Frank. let's forget about this. Let's just get the fuck outa here. We got enough money, let's go. We'll get outa the country or something.<\/dialogue>\n    <scene_description>Divinci turns toward Rodriguez . And he 's got his pistol out .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>What the hell're you doin'?!<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Take off your shirt.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>What're you talkin' about?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Just take off your shirt. If there's nothin' to worry about, then I'll apologize. But I'm not gon na argue. Take off your fuckin' shirt now.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>What is this, you piece of shit?! You do n't trust me?! Is that it?! YOU DO N'T FUCKIN' TRUST ME AFTER ALL WE'VE BEEN THROUGH?!<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Take off your shirt.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Fuck you, you do n't trust me.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>I'm askin' you one more time.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>You wan na shoot me? Shoot me.<\/dialogue>\n    <scene_description>Divinci hesitates . He does n't want to . This is his partner . A beat , then he lowers his gun .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Okay, I'm sorry. You're right. I'm fuckin' nervous. Like you. Forget it. This thing. shit. Let's just get it over with.<\/dialogue>\n    <scene_description>Divinci holsters his gun . Rodriguez hesitates , breathes a sigh , then returns to the car . They both get back in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNMARKED CAR - NIGHT<\/stage_direction>\n    <scene_description>Divinci starts up the car .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>I'll just feel a whole lot better when she's dead. Then we're off the hook.<\/dialogue>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Right.<\/dialogue>\n    <scene_description>Divinci starts to shift gears , but suddenly throws his elbow into Rodriguez ' face . And Divinci is all over him like a tornado . Slamming a fist into his face repeatedly . He grabs his shirt and rips it open REVEALING the TAPE RECORDER strapped to his body , recording their every word .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>YOU FUCKIN' RAT!<\/dialogue>\n    <scene_description>Divinci puts his revolver to Rodriguez ' head . Rodriguez , bleeding from the mouth and nose , looks at Frank .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Yeah. yeah. I am, I'm a fuckin' rat. I traded you, Frank, I fuckin' traded you. Simms knows everything.<\/dialogue>\n    <scene_description>Divinci pulls back the hammer , ready to blow Rodriguez ' head off .<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Just fuckin' shoot me, get it the fuck over with! I DESERVE IT! I FUCKING DESERVE TO DIE!<\/dialogue>\n    <scene_description>Divinci is ready to pull the trigger .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>You're fuckin' right.<\/dialogue>\n    <scene_description>Divinci rips the wires off the recorder . Rodriguez closes his eyes , waiting for the end . A tense moment , then -<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Get out.<\/dialogue>\n    <scene_description>Rodriguez opens his eyes , looking at Divinci , who is still holding the gun to his head . Another moment , then -<\/scene_description>\n    <character>RODRIGUEZ<\/character>\n    <dialogue>Frank -<\/dialogue>\n    <character>DIVINCI<\/character>\n    <parenthetical>( calm . )<\/parenthetical>\n    <dialogue>Get outa the car NOW!<\/dialogue>\n    <scene_description>A beat , then Rodriguez gets out . Divinci looks up at his partner .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>This is why you can never - ever - lose your sense of fuckin' humor.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY - NIGHT<\/stage_direction>\n    <scene_description>The car tears away , leaving Rodriguez alone in the alley . THE KEY - INSERTED INTO THE DOOR LOCK - NIGHT Rodriguez pushes open the door to his apartment , enters . Shuts the door . Stands alone in the room for a moment , then suddenly erupts in rage . Ripping off his coat , ripping off his shirt , ripping off the tape recorder taped to his chest . He throws the recorder on the ground . Stomps on it until it 's shattered into pieces . He stares at the broken recorder .<\/scene_description>\n    <character>MAN'S VOICE<\/character>\n    <parenthetical>( VIC . )<\/parenthetical>\n    <dialogue>I guess we caught you at a bad time.<\/dialogue>\n    <scene_description>Rodriguez spins around . Vic steps into the moonlight streaming in through the window . Behind him is Cutless Supreme .<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>But we all have problems.<\/dialogue>\n    <scene_description>Rodriguez suddenly YELLS and CHARGES THEM . He tackles Vic . But in the darkness we ca n't see anything . Until the explosion of a GUN and the FLASH of flames lights up the room . A moment of silence then -<\/scene_description>\n    <character>VIC<\/character>\n    <dialogue>Oh shit. You shot him, you fuckin' shot him!<\/dialogue>\n    <scene_description>Two men stumble to the door . Leaving one on the floor . The door is flung open and Vic runs out . Followed by Cutless Supreme . CRIME SCENE TAPE - INT . RODRIGUEZ APARTMENT - EARLY MORNING The crime scene is swarming with cops , DEA and FBI . The task of evidence collection in progress . Rodriguez ' body on the floor . Agent Simms is standing over the body with Agent Sarkasian .<\/scene_description>\n    <character>AGENT SARKASIAN<\/character>\n    <dialogue>Divinci musta figured it. I did n't think he'd kill his own partner though.<\/dialogue>\n    <character>SIMMS<\/character>\n    <dialogue>He's an animal.<\/dialogue>\n    <scene_description>DEA AGENT Hooper comes up behind Simms .<\/scene_description>\n    <character>AGENT HOOPER<\/character>\n    <dialogue>Recorders busted up. But we might be able to salvage some of the tape.<\/dialogue>\n    <character>SIMMS<\/character>\n    <dialogue>I want him. You understand me, I do n't care what it takes. I want that sonuvabitch!<\/dialogue>\n    <scene_description>Simms heads for the door . Sarkasian and Hooper follow .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAIL BOND OFFICE - MORNING<\/stage_direction>\n    <scene_description>A car pulls up in front .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAIL BOND OFFICE - MORNING<\/stage_direction>\n    <scene_description>It is deadly quiet . We PAN SLOWLY around the office until we find Manny in his chair , sprawled back . Continuing to PAN until we see Cynthia sprawled on the couch . But no signs of blood . Just the bodies . The door opens . TWO MEN enters . All we SEE are GUNS in hands . Cynthia and Manny wake up with a start . Manny is scared .<\/scene_description>\n    <character>MANNY<\/character>\n    <dialogue>Shit! Who the fuck're you?!<\/dialogue>\n    <scene_description>A BADGE comes out . And now we see Agents Hooper and Sarkasian .<\/scene_description>\n    <character>AGENT SARKASIAN<\/character>\n    <dialogue>Ms. Webb. We'd like you to come with us.<\/dialogue>\n    <scene_description>Cynthia looks at Manny . She 's pissed .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>This was the big secret? Shit. You're an asshole.<\/dialogue>\n    <scene_description>Cynthia puts her coat on and heads for the door . Manny does n't know what the hell is going on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INTERROGATION ROOM - FEDERAL BLDG. - DAY<\/stage_direction>\n    <scene_description>Cynthia is in with Agents Simms , Hooper and Sarkasian .<\/scene_description>\n    <character>SIMMS<\/character>\n    <dialogue>Who set it up?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>AGENT HOOPER<\/character>\n    <dialogue>It was Divinci was n't it?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>SIMMS<\/character>\n    <dialogue>Which one pulled the trigger? Divinci or Rodriguez?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <scene_description>Agent Simms looks right into Cynthia 's eyes .<\/scene_description>\n    <character>SIMMS<\/character>\n    <dialogue>Detective Rodriguez is dead. He was shot in the head last night.<\/dialogue>\n    <scene_description>This gets Cynthia 's attention .<\/scene_description>\n    <character>SIMMS<\/character>\n    <dialogue>Rodriguez was wearing a recorder. Divinci found it. You can do addition, ca n't you.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>You're full of shit.<\/dialogue>\n    <character>AGENT SARKASIAN<\/character>\n    <dialogue>Just tell us what you know.<\/dialogue>\n    <scene_description>Cynthia looks at both of them .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>Where's Divinci?<\/dialogue>\n    <character>SIMMS<\/character>\n    <dialogue>We do n't know. But we're gon na find him.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>You're gon na find him?<\/dialogue>\n    <parenthetical>( smiles sarcastically . )<\/parenthetical>\n    <dialogue>Right. I do n't know a fuckin' thing.<\/dialogue>\n    <scene_description>Simms stares at her for a moment , then turns to Hooper and nods . Hooper takes Cynthia 's arm and leads her out of the office . When the door closes -<\/scene_description>\n    <character>SIMMS<\/character>\n    <dialogue>Get a copy of the tape to Bailor. But make sure it does n't come from us.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COUNTY JAIL CELL - DAY<\/stage_direction>\n    <scene_description>Cynthia is alone in her cell . We HEAR footsteps . She looks up as the GUARD approaches .<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>Your attorney's here.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>What attorney?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM - COUNTY JAIL - DAY<\/stage_direction>\n    <scene_description>Cynthia enters the office . The Guard shuts the door . Cynthia finds herself facing Arthur Baylor . A tape recorder on the table in front of him .<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Hi, Cynthia. Please sit down.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>I got nothin' to say.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>So I'm told.<\/dialogue>\n    <scene_description>Arthur pushes the tape recorder and we HEAR -<\/scene_description>\n    <character>DIVINCI'S VOICE<\/character>\n    <dialogue>Take off your shirt.<\/dialogue>\n    <character>RODRIGUEZ'S VOICE<\/character>\n    <dialogue>Fuck you, you do n't trust me.<\/dialogue>\n    <character>DIVINCI'S VOICE<\/character>\n    <dialogue>I'm askin' you one more time.<\/dialogue>\n    <character>RODRIGUEZ'S VOICE<\/character>\n    <dialogue>You wan na shoot me? Shoot me.<\/dialogue>\n    <character>DIVINCI'S VOICE<\/character>\n    <dialogue>Okay, I'm sorry. You're right. I'm fuckin' nervous. Like you. Forget it. This thing. shit. Let's just get it over with. I'll just feel a whole lot better when she's dead. Then we're off the hook.<\/dialogue>\n    <scene_description>Arthur watches Cynthia 's reaction to `` when she 's dead . '' But Cynthia has seen enough not to be too shocked by anything . And her reaction is subtle . She knows better than to reveal what she 's really feeling and thinking .<\/scene_description>\n    <character>RODRIGUEZ'S VOICE<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>DIVINCI'S VOICE<\/character>\n    <dialogue>YOU FUCKIN' RAT!<\/dialogue>\n    <character>RODRIGUEZ'S VOICE<\/character>\n    <dialogue>Yeah. yeah. I am, I'm a fuckin' rat. I traded you, Frank, I fuckin' traded you. Simms knows everything. Just fuckin' shoot me, get it the fuck over with! I DESERVE IT! I FUCKING DESERVE TO DIE!<\/dialogue>\n    <character>DIVINCI'S VOICE<\/character>\n    <dialogue>You're fuckin' right.<\/dialogue>\n    <scene_description>The recording ends . Arthur shuts off the machine .<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>I think you know my client is innocent. That's all I care about, my client. But I understand why you're scared. You're already facing perjury charges. My guess is, your involvement is deeper than that. But I do n't really care, I'm not after you. I get nothing if you go to jail. But I think if I help you, I can help my client.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>how?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>William - Joe - did n't do it, did he?<\/dialogue>\n    <scene_description>Cynthia hesitates , then shakes her head .<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Why do n't you sit down.<\/dialogue>\n    <scene_description>A beat , then Cynthia pulls up a chair . AGENT SIMMS - INT . OFFICE - DAY angry .<\/scene_description>\n    <character>SIMMS<\/character>\n    <dialogue>No goddamn way! I'm not going to grant that whore immunity. She lied on the stand, she's protecting somebody. And she's involved. I want them all.<\/dialogue>\n    <scene_description>Arthur , who was sitting across from him , stands .<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Before I leave, let me remind you that you have shit for a case. If you really care about seeing justice for your dead agent, do n't blow this deal. Immunity for her testimony is a small price for a bad cop. It's the only way she's going to talk.<\/dialogue>\n    <scene_description>Simms glares at Arthur .<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>And William McCall walks, right now, all charges dropped.<\/dialogue>\n    <scene_description>Simms hesitates , then -<\/scene_description>\n    <character>SIMMS<\/character>\n    <dialogue>If what she says is any good, I'll deal. If it is n't, then nobody goes anywhere.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - CRIMINAL COURTS BUILDING - DAY<\/stage_direction>\n    <scene_description>Cynthia is lead down the hall by GUARDS . They enter an office .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE - CRIMINAL COURTS BUILDING - DAY<\/stage_direction>\n    <scene_description>Agents Simms , Hooker , Sarkasian and TWO TECHNICIANS are waiting inside with Arthur . Cynthia is lead into the room . The guards withdraw , closing the door . Cynthia looks at the men , then at the TAPE RECORDING EQUIPMENT on the table and the empty chair . A MICROPHONE is waiting . Cynthia looks at Arthur , then sits down in the chair .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CRIMINAL COURTS BUILDING - DAY<\/stage_direction>\n    <scene_description>REPORTERS swarm around Arthur and Joe as they exit the courthouse .<\/scene_description>\n    <character>REPORTERS<\/character>\n    <dialogue>How does it feel to be a free man again?<\/dialogue>\n    <scene_description>Arthur and Joe head down the steps to a waiting LIMOUSINE .<\/scene_description>\n    <character>REPORTERS<\/character>\n    <dialogue>Do you remember everything that happened to you? What are your plans?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I just want to go back to work.<\/dialogue>\n    <character>REPORTERS<\/character>\n    <dialogue>As a surgeon?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>REPORTERS<\/character>\n    <dialogue>What about the signed confession, did the police coerce you into signing it?<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>I'm sorry, no more questions.<\/dialogue>\n    <scene_description>They get into the back of the waiting limo and it pulls away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMOUSINE - DAY<\/stage_direction>\n    <scene_description>Nathan is in the back , staring at Joe . Arthur sits next to Joe . Nathan smiles . Joe smiles .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Good to have you back, Will.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I'd like to make one stop.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>I know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETERY - DAY<\/stage_direction>\n    <scene_description>The limousine is parked curbside . Nathan and Arthur wait . Watching Joe walk across the lawn . He stops , looking down . The grave stones are for his wife and two children . He sits down beside them . It 's very near where Agent Hudd was buried .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE MCCALL MANSION - DUSK<\/stage_direction>\n    <scene_description>Giant party in progress . Expensive cars parked along the drive .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCCALL MANSION - DUSK<\/stage_direction>\n    <scene_description>Filled with well - wishers in TUXES and GOWNS . Arthur Bailor and Elliot in attendance . Elliot is n't used to this much glory , but he 's taking credit where where he can - with one of the PRETTY YOUNG WOMEN .<\/scene_description>\n    <character>ELLIOT<\/character>\n    <dialogue>- you know, it just did n't make sense, a man wanting to be punished for a crime? How many times does that happen? Once in a lifetime, I can tell you.<\/dialogue>\n    <scene_description>CAMERA MOVES to Arthur , who is also receiving his share of the credit .<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>- to tell the truth, I had no other witnesses to refute her testimony. But she did n't know that. All we knew was that she was reluctant to testify. You look for signs.<\/dialogue>\n    <scene_description>And CAMERA CONTINUES TO Joe and Nathan .<\/scene_description>\n    <character>A MAN<\/character>\n    <dialogue>My God, we thought you were dead, you know. It's just incredible that you're here.<\/dialogue>\n    <character>A WOMAN<\/character>\n    <dialogue>Life moves in such strange ways. Oh, I just think what might've happened to you had you not been arrested for killing that poor policeman. You still might be on the street.<\/dialogue>\n    <scene_description>Joe just takes it all in , smiling and nodding .<\/scene_description>\n    <character>ANOTHER WOMAN<\/character>\n    <dialogue>Joe, you look wonderful. After what you've been through. I just ca n't imagine.<\/dialogue>\n    <character>ANOTHER MAN<\/character>\n    <parenthetical>( SINCLAIR . )<\/parenthetical>\n    <dialogue>When you're ready to come back to work, let me know. I've already spoken to the board, they're ready to re - certify you anytime. I can put you in the emergency sector until you get warmed up. We all want you back. We ca n't afford to waste someone of your talent.<\/dialogue>\n    <scene_description>A beat , then Joe smiles .<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>I'm ready.<\/dialogue>\n    <scene_description>A BLACK TUXEDO WIPES past CAMERA as we - BLACK SCREEN . We HEAR the POUNDING of the MUSIC - a FAMILIAR RHYTHM . And in GRAFFITI across the screen : FOUR MONTHS LATER .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STRIP JOINT - NIGHT<\/stage_direction>\n    <scene_description>The neon blares as usual .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRIP JOINT - NIGHT<\/stage_direction>\n    <scene_description>And there 's Cynthia . Back bumping and grinding to the music . He life has n't changed at all . And she knows it . But there 's nothing else she can do .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CYNTHIA'S APARTMENT - NIGHT (EARLY MORNING)<\/stage_direction>\n    <scene_description>Door opens . Cynthia enters . Shuts the door . Tries the light . It does n't go on . Suddenly a man is next to her -<\/scene_description>\n    <character>MAN'S VOICE<\/character>\n    <parenthetical>( DIVINCI . )<\/parenthetical>\n    <dialogue>I guess you had no choice.<\/dialogue>\n    <scene_description>Cynthia tries to move , but a hand grabs her arm . And now we see Divinci . He looks like hell . A man on the run . Desperate and dangerous . He has n't shaved . His clothes are filthy . He looks like . Joe . Cynthia looks up at him .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>You had to do the right thing.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>What d'you want?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>What do I want?<\/dialogue>\n    <scene_description>Divinci suddenly shoves her hard across the room .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Why're you asking me that? You gon na grant me three wishes? I do n't know where to start. Let's see. money would be nice. love would be better. but a little loyalty. you can never get enough of that.<\/dialogue>\n    <parenthetical>( moves up to her . )<\/parenthetical>\n    <dialogue>. But we'll start with. money.<\/dialogue>\n    <scene_description>Divinci pushes her into the bedroom .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - NIGHT (EARLY MORNING)<\/stage_direction>\n    <scene_description>Cynthia goes to her closet , pulls out a box , opens it . It 's got her savings .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>This is all I've got.<\/dialogue>\n    <scene_description>Divinci grabs the money and stuffs it into his jacket pocket .<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>They'll catch you.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>I do n't think so.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>You wan na bet?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>They do n't have a clue, baby. And you wan na know why? Because I am following my heart.<\/dialogue>\n    <scene_description>Divinci puts aside his gun . And pushes Cynthia down on the bed . He leans in close to her . Face to face .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>And they do n't know where that is.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>So tell me about your plans. I think I'd like to hear'em now.<\/dialogue>\n    <scene_description>Divinci looks at Cynthia for a moment , almost with remorse .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Loyalty is what it all comes down to. Nothing holds together when it's gone. And once it's gone, you do n't ever get it back. You should n't've told'em.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>I should n't've done a lotta things in my life. But that's not one of'em.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Let me tell you something. the only difference between a liar and a witness is that just one of'em knows what he's doing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - NIGHT (EARLY MORNING)<\/stage_direction>\n    <scene_description>It is dark and quiet . No clue as to what 's going on inside . And we hold on this for a long moment . Just wondering what 's she being made to do . And then there 's a MUFFLED BOOM . Divinci exits the bedroom quickly . He is upset . We HEAR the DOOR close . AND WHITE FEATHERS fall like snow flakes on Cynthia 's body draped across the bed . The pillow on the floor beside her with the stuffing blown out . She has a hole in her chest , right above her heart .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAIL BOND OFFICE - EARLY MORNING<\/stage_direction>\n    <scene_description>Manny unlocks the door , enters his office .<\/scene_description>\n    <character>DIVINCI'S VOICE<\/character>\n    <dialogue>Shut the door and lock it.<\/dialogue>\n    <character>MANNY<\/character>\n    <dialogue>Jesus Christ!<\/dialogue>\n    <scene_description>Manny looks toward the voice . Divinci is sitting on the floor out of sight . Holding his revolver .<\/scene_description>\n    <character>MANNY<\/character>\n    <dialogue>You scared the shit outa me.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Lock the door.<\/dialogue>\n    <scene_description>Manny locks the door .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>One more favor, Manny.<\/dialogue>\n    <character>MANNY<\/character>\n    <dialogue>Since when did I become such a good guy?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>I'm takin' some time off. I want a car, here tonight, and a driver. You can do that for your old friend, right?<\/dialogue>\n    <character>MANNY<\/character>\n    <parenthetical>( disgusted . )<\/parenthetical>\n    <dialogue>Yeah, I can do that. But you are a hot fuckin' potato. And drivers that do n't talk, do n't come cheap.<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>I got the money. Just put it together.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOSPITAL - EARLY MORNING<\/stage_direction>\n    <scene_description>An AMBULANCE races up to the EMERGENCY entrance .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - EARLY MORNING<\/stage_direction>\n    <scene_description>TWO PARAMEDICS push the gurney down the hall . Cynthia is conscious on the gurney . Looking up at the ceiling . She is fading . We HEAR -<\/scene_description>\n    <character>VOICES<\/character>\n    <dialogue>- come on, hang in there, hold on.<\/dialogue>\n    <scene_description>CYNTHIA 'S -LRB- MOVING -RRB- P.O.V OF THE CEILING and FACES . The gurney pushes past and CAMERA PICKS UP TWO SURGEONS moving out of an Operating Room . Pulling off masks and rubber gloves bloody from surgery . One of them is Joe . The other surgeon pats him on the back .<\/scene_description>\n    <character>OTHER SURGEON<\/character>\n    <dialogue>Just like riding a bike.<\/dialogue>\n    <scene_description>Joe finally breathes a sigh of relief and manages a smile . BLACK LINCOLN - EXT. . BAIL BOND OFFICE - NIGHT pulls up in front of the office . Tinted windows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAIL BOND OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Manny is looking out the window .<\/scene_description>\n    <character>MANNY<\/character>\n    <dialogue>Leather upholstery, moon roof, CD. What more could you ask for?<\/dialogue>\n    <scene_description>Divinci looks out . Gun in hand . He 's cleaned himself up . He 's now wearing a Hawaiian shirt , slacks . A traveler .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Better not be a set up.<\/dialogue>\n    <character>MANNY<\/character>\n    <dialogue>Want me to hold your hand?<\/dialogue>\n    <character>DIVINCI<\/character>\n    <dialogue>Just walk me to the door.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAIL BOND OFFICE - NIGHT<\/stage_direction>\n    <scene_description>The Lincoln idles at the curb . Divinci and Manny exit the office . Divinci glances up and down the street as they move toward the car . Manny opens the back door . Nobody inside .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>I think I'll let you live.<\/dialogue>\n    <character>MANNY<\/character>\n    <dialogue>You are a real prince. Now how about my money?<\/dialogue>\n    <scene_description>Divinci hands Manny a wad of cash from his pocket , then gets into the back of the car .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>You never saw me.<\/dialogue>\n    <character>MANNY<\/character>\n    <dialogue>Do n't I wish that were true.<\/dialogue>\n    <scene_description>He closes the door . The Lincoln pulls away . Manny watches it move off down the street .<\/scene_description>\n    <character>MANNY<\/character>\n    <dialogue>Have a nice trip.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LINCOLN - NIGHT<\/stage_direction>\n    <scene_description>Driving . Divinci in the back . Can only see the DRIVER 'S EYES in the REAR VIEW MIRROR .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>Head south. Get on the interstate. Do n't break the speed limit.<\/dialogue>\n    <scene_description>Divinci settles into the leather seat . Looks at the rear view mirror .<\/scene_description>\n    <character>DIVINCI<\/character>\n    <dialogue>You know, the one thing about life. you can never lose your sense of humor. Without it, you got nothin'.<\/dialogue>\n    <scene_description>Suddenly the driver turns around , holding a 9mm and fires . BLAM . BLAM . BLAM . Divinci 's head snaps back as the BACK WINDOW BLOWS OUT of the Lincoln . And now we recognize the driver . It 's Clyle D. Dunner .<\/scene_description>\n    <character>CLYDE<\/character>\n    <dialogue>Fuckin' A.<\/dialogue>\n    <scene_description>THE LINCOLN moves right into CAMERA . BRIGHT HEADLIGHTS filling the screen . The car stops . We HEAR the DOOR OPEN and RUNNING FEET . And PAN INTO THE BRIGHT HEADLIGHTS GLARING into CAMERA . SURGICAL LIGHTS - INT . OPERATING ROOM - NIGHT SHINING BRIGHTLY into CAMERA .<\/scene_description>\n    <character>MAN'S VOICE<\/character>\n    <dialogue>- run the cardioplegia.<\/dialogue>\n    <scene_description>Faces appear . Looking down . We recognize Joe and one of the friends from the party - Sinclair .<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>She's fibrilating. Go on bypass.<\/dialogue>\n    <scene_description>Faces move away as we HEAR MEDICAL MACHINES in operation . A NURSE reappears . CAMERA MOVES back now , revealing the room . And the operation in progress .<\/scene_description>\n    <character>SURGEON SINCLAIR<\/character>\n    <dialogue>Forceps.<\/dialogue>\n    <parenthetical>( A nurse hands him forceps . )<\/parenthetical>\n    <dialogue>Just like old times.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I would n't have done this without you. I owe you.<\/dialogue>\n    <character>SURGEON SINCLAIR<\/character>\n    <dialogue>Lucky to have a donor. Never would've survived the night. Have a suture ready.<\/dialogue>\n    <character>NURSE<\/character>\n    <parenthetical>( picks up suture . )<\/parenthetical>\n    <dialogue>I heard it was a cop's heart.<\/dialogue>\n    <scene_description>Joe looks at the nurse .<\/scene_description>\n    <character>NURSE<\/character>\n    <dialogue>He was shot in the head a couple hours ago.<\/dialogue>\n    <scene_description>CAMERA PUSHES IN ON JOE<\/scene_description>\n    <character>NURSE<\/character>\n    <dialogue>They think it was gang related.<\/dialogue>\n    <scene_description>The BRIGHT LIGHTS OVERHEAD bleed the scene to WHITE and we - WAVES - DAY crashing on white sand . PANNING with the clear blue water racing up the sand to a woman in a bathing suit , sitting alone . We PAN UP HER LEGS , past her stomach , to her CHEST where we see a SCAR ABOVE HER HEART . We CONTINUE UP TO HER FACE NOW . It 's Cynthia . Staring out at the ocean . Palm trees behind her . She 's beautiful . She leans back , hands behind her and . She smiles . Her life has changed . And we HEAR HAWAIIAN SLACK KEY GUITAR MUSIC as we - THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Vice police detectives Franklin \"Frank\" Divinci (James Belushi) and Jacob \"Jake\" Rodriguez (Tupac Shakur) gun down narcotics dealer Lionel Hudd (Kool Moe Dee), after the two engage illegally in drug trafficking; this is in order to recover the cocaine Hudd purchased from them. When Divinci and Rodriguez find out Hudd was actually a \"deep cover\" DEA agent\u2014because Hudd's partner, Richard Simms (Gary Cole) drops by their precinct for help sniffing out the killers\u2014they try to frame anyone else with the murder. It does not help that Rodriguez has outstanding gambling debts, and that a loan shark and his \"enforcer\", known as Mr. Cutlass Supreme (Tiny Lister) is eager for repayment. After arresting numerous felons without success (because they cannot possibly link Hudd's murder to any of them), Divinci and Rodriguez arrest a homeless drunk by the name of Joe Doe (Dennis Quaid). While Joe is still intoxicated, the detectives convince him that he shot Hudd. They even make him sign a confession. Divinci and Rodriguez convince local stripper Cynthia Webb (Lela Rochon), also Divinci's mistress, who was the \"bait\" in their trap for Hudd, to \"identify\" Joe in a police line-up. At his first legal hearing, Joe is declared mentally unfit to stand trial (he cannot even remember his own last name). The trial is postponed accordingly. Really believing that he killed Hudd, Joe informs his attorney that he deserves to be in jail and is not willing to accept a plea bargain. Meanwhile, it turns out that the .44 Magnum that Divinci stole from the police-evidence room to kill Hudd is that of Clyde David Dunner, a murderer and arsonist arrested by Divinci and Rodriguez and whose case is currently being tried. To fill the void, Divinci gets another gun to replace the other, but during trial Dunner recognizes that this one is not his gun and the case is dropped for lack of evidence. At Joe's second hearing, high-profile lawyer Arthur Baylor (James Earl Jones) attends the proceedings. Baylor reveals that his client's name is actually William Dane McCall, and that he is actually the missing-and-presumed-dead co-heir to the financial empire of a high-status family, as well as a surgeon who used to perform organ transplants for the poor in Africa. Baylor asks the court to grant a one-week continuance so he can prepare his defense properly and the court agrees. Afterwards, Cynthia is summoned to testify in court. Nervous and afraid, she disappears. Divinci, fearing that she may betray him, hires a bail agent named Manny (Terrence C. Carson) to locate her; when Manny's efforts fail, he is roughed up by Divinci and Rodriguez. Cynthia is finally discovered and brought in for The People vs. William Dane McCall. She gives her rehearsed testimony against \"Joe\", at which time William informs Baylor that he lived in an alley next to Cynthia's apartment. Baylor questions Cynthia and points to the contradictions in her testimony until she finally confesses to knowing \"Joe\". The fact that she knows the defendant as \"Joe\" and not as \"William Dane McCall\" shows that she had previous knowledge of the defendant, thus proving her testimony for \"Joe\" being Hudd's killer to be false. She is arrested for perjury while the verdict of William's case remains pending. Divinci hires Manny to get Cynthia out of jail, planning to kill her before she can testify. On their way to \"take her out\", Rodriguez yet again complains and opens up to Divinci about how he feels about the murders they have committed. All the while Det. Rodriguez makes sure to imply \"you\" instead of \"us\". Divinci drives to an alley to discuss further plans, to which Rodriguez tells Frank about his $27,000.00 debt and possibly fleeing the country. Immediately Divinci suspects his partner is wearing a wire and holds Rodriguez at gun point demanding him to take off his shirt. Rodriguez refuses and minutes later Divinci forcibly searches him after attacking him, suspecting that he is up to something. Rodriguez informs Divinci that he has already confessed to the DEA regarding what they have done and tells him to go ahead and pull the trigger on the gun he has pressed to his temple. Instead, Divinci orders him out of the car and Rodriguez begins his heavy hearted walk home alone. Rodriguez returns home with his wire showing and in frustration starts to tear up the place before seeing his bookie and Mr. Cutlass Supreme waiting for him. Overwhelmed by his circumstances he attacks them, driving them back into the next room. Two shots ring out and the next scene finds the police investigating his murder, Divinci being the main suspect. Cynthia is found at Manny's and taken in to Simms, the prosecutor. She claims she doesn't know anything, enraging the police who brought her in. The prosecutor tells them to get the recovered wire recordings to Baylor, but to insure that they don't appear to come from them. After hearing the tape where Divinci tells Rodriquez he plans to kill her, she agrees to tell the truth. But when Baylor informs Simms that Cynthia wants blanket immunity, he balks since she committed perjury. Baylor then reminds him that he has no case and that the main objective is to capture Davinci. Four months later, Frank has become a fugitive and Cynthia is back to dancing. Knowing that Cynthia blew the whistle on him a bedraggled Frank breaks into her home and waits. Before taking her money, he berates her for turning on him. When she had had enough and attempts to leave, he throws her on her bed, grabs a pillow and shoots her. Having been shot in the shoulder and not the head as Frank thought, she is able to call for help and is rushed to an emergency room. One of the ER docs present is Doctor McCall (Joe Doe) and it is assumed that he will operate on her. Divinci forces Manny to help get him out of town that night. Manny reminds him that he is a wanted man and that it's incredibly short notice, so it will be expensive. Divinci states that money isn't an issue. Manny is able to quickly hire a driver with a towncar for Frank. After threatening that it better not be a setup, he tells Manny to walk him to the car. Before entering the car, he reminds Manny that he never saw him before paying his large fee. Glad to be rid of his biggest headache, Manny goes back inside. Divinci sits back in the limousine thinking he is finally free, barking directions at the driver. In the middle of Divinci saying his well known phrase, the driver (who turns out to be Dunner), turns and shoots him in the face before abandoning the car in a deserted alley."}
{"movie_name":"Downton Abbey_2019","imdb_id":"tt6398184","script":"<script>\n  <scene>\n    <character>DOWNTON ABBEY<\/character>\n    <dialogue>Screenplay by<\/dialogue>\n    <character>JULIAN FELLOWES<\/character>\n    <dialogue>Based on the television series created by Julian Fellowes<\/dialogue>\n    <scene_description>MONTAGE UNDER CREDITS. In a gilded room a crested letter is signed and placed inside a leather satchel to be carried away by a liveried official. At King's Cross Station, silhouetted men load the mail bags on to the night train. Further down, a man we will later know as Major Chetwode walks through the steam to climb aboard. Out of a burst of more steam the train thunders through the darkness. Chetwode finds his compartment. Inside a dimly lit carriage, postal workers sort the post into pigeon holes. A man pauses as he finds our letter. The train continues through the countryside as day breaks. At dawn, we follow a royal mail van, winding its way through a waking Downton village until it stops by the post office. The letter lands on the counter where it attracts attention. A postman on a GPO motorcycle takes us to our first view of the iconic house, bathed in the morning light. When Andy opens the back door, the postman holds up one envelope in particular.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Morning.<\/dialogue>\n    <character>POSTMAN<\/character>\n    <dialogue>Special one today.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Blimey!<\/dialogue>\n    <scene_description>He takes it, with the rest of the post and starts down the kitchen passage. He is unusually dignified in his manner.<\/scene_description>\n    <character>MRS PATMORE<\/character>\n    <dialogue>What have you got there?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Wouldn't you like to know?<\/dialogue>\n    <scene_description>He sweeps on, leaving Mrs Patmore and Daisy to register his air of importance. Andy gives the letters to Thomas, who raises his brows, picks up a salver and starts up the stairs. END MONTAGE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALL\/DINING ROOM. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Robert is coming down with the dog Teo as Thomas enters the hall. He stops to take the letters from the salver.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Just arrived, m'lord. There's one from Buckingham Palace.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Heavens.<\/dialogue>\n    <scene_description>He walks into the dining room. We hear Mary speaking.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>But we really need to cut back until the farms repay the investment. And we must make a plan for the roof.<\/dialogue>\n    <scene_description>Robert is reading the letter, standing by the sideboard.<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Well, this won't help us to economise.<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>The King and Queen are coming to stay.<\/dialogue>\n    <scene_description>He helps himself.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>What? During their Yorkshire tour?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>That's it. Just for a night. They'll spend one night at Downton and then go on to Harewood for a ball. While they're here, there's to be a parade of the Yorkshire Hussars in the village. Is there any chance Henry might be back?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>I doubt it. I'll send a telegram. But there's a motor show in Chicago that I know he cannot chuck.<\/dialogue>\n    <scene_description>Robert sits to eat and gives some bacon to Teo.<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Tom, you're keeping your enthusiasm under control. Is this the Irish patriot making a reappearance?<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>I know you find my opinions highly entertaining.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>I suppose they'll send people to check that Mrs Patmore isn't a Russian spy. Will you tell them downstairs, Barrow? I'll see to Her Ladyship.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Yes, m'lord.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN\/KITCHEN PASSAGE. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Mrs Hughes and Mrs Patmore are with Daisy and Andy.<\/scene_description>\n    <character>MRS PATMORE<\/character>\n    <dialogue>A Royal luncheon, a parade and a dinner? I'm going to have to sit down. What about Mr Branson?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>What about him?<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>Well, he's a Republican, isn't he?<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>Should Mr Carson look in, no one is to say that word in front of him.<\/dialogue>\n    <scene_description>She walks out, into the kitchen passage.<\/scene_description>\n    <character>DAISY<\/character>\n    <dialogue>I agree with Mr Branson. I don't like kings either. I suppose that makes me a republican too.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Are the English allowed to be?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRANCASTER CASTLE. NORTHUMBERLAND. DAY.<\/stage_direction>\n    <scene_description>Edith is driving herself towards the castle.<\/scene_description>\n    <character>EDITH (V.O.)<\/character>\n    <dialogue>Two weeks to get ready? Golly.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRANCASTER CASTLE AND DOWNTON. SMALL HALL. DAY<\/stage_direction>\n    <scene_description>Edith and Cora speak to each other on the telephone.<\/scene_description>\n    <character>EDITH<\/character>\n    <dialogue>It's quite an honour.<\/dialogue>\n    <character>CORA<\/character>\n    <dialogue>It is. But if I know anything about Royal visits, we will never stop changing our clothes.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>I've just been on a buying spree, which is good.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>Madame Handley-Seymour is making me a ball dress, so I'll get her to hurry it up.<\/dialogue>\n    <character>CORA<\/character>\n    <dialogue>Have her send it here. How are things otherwise?<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>Oh, you know. I've got a luncheon for thirty today in aid of the lifeboats. Or is that tomorrow? Anyway, it's in aid of something.<\/dialogue>\n    <character>CORA<\/character>\n    <dialogue>Sounds like business as usual. I'll see you soon, darling.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE CARSONS' COTTAGE. DAY.<\/stage_direction>\n    <scene_description>Carson works on a vegetable patch. Mrs Hughes joins him.<\/scene_description>\n    <character>MRS HUGHES<\/character>\n    <dialogue>You know I can bring back as many vegetables as we could eat.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>I like to keep busy. How have they taken the news up at the house?<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>Daisy's singing \"The Marseillaise\", so no surprises there. What's the matter? I thought you'd be pleased.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>I am pleased. The visit is a great honour. But members of the Royal and Imperial Household are coming to Downton who will have visited the greatest houses in the land. Blenheim, Chatsworth, Arundel. Does Mr Barrow know what he's taking on?<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>Why should it affect you? You're not in charge anymore. Now come in for your lunch and let me get back.<\/dialogue>\n    <scene_description>She does not see that Carson looks as if she has struck him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KING'S ARMS. DOWNTON VILLAGE. DAY.<\/stage_direction>\n    <scene_description>Major Chetwode walks in, carrying a suitcase.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A ROOM AT THE KING'S ARMS. DOWNTON VILLAGE. DAY.<\/stage_direction>\n    <scene_description>The door opens and Chetwode is shown in by a landlady.<\/scene_description>\n    <character>LANDLADY<\/character>\n    <dialogue>All right, sir. Here we are.<\/dialogue>\n    <character>CHETWODE<\/character>\n    <dialogue>This will do very well. Thank you.<\/dialogue>\n    <scene_description>He puts his case on the bed. The landlady gives Chetwode the key and leaves. Chetwode goes to the window. The room looks out over the green.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUCKINGHAM PALACE. DAY.<\/stage_direction>\n    <scene_description>Swans swim in the lake near the palace.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUCKINGHAM PALACE. DAY.<\/stage_direction>\n    <scene_description>A footman opens the gilded door. The Queen looks up.<\/scene_description>\n    <character>FOOTMAN<\/character>\n    <dialogue>The Lady Bagshaw, Your Majesty.<\/dialogue>\n    <scene_description>Maud Bagshaw has a kind face but a determined one.<\/scene_description>\n    <character>QUEEN MARY<\/character>\n    <dialogue>Good. We'll go to the 1844 room as soon as they're here. Do sit down.<\/dialogue>\n    <scene_description>Maud and Queen Mary move to the sitting area. Maud holds a folder.<\/scene_description>\n    <character>MAUD<\/character>\n    <dialogue>I've just received the plan for the tour of Yorkshire, ma'am.<\/dialogue>\n    <character>QUEEN MARY<\/character>\n    <dialogue>Yes. It's just been finalised. I think we'll enjoy it.<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>I didn't realise we would be staying at Downton Abbey.<\/dialogue>\n    <character>QUEEN MARY<\/character>\n    <dialogue>Only for a night. There's to be a parade and a dinner and then we go on to Princess Mary at Harewood.<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>I just wondered if I might, perhaps, go straight to Harewood.<\/dialogue>\n    <scene_description>Queen Mary is rather surprised.<\/scene_description>\n    <character>MAUD<\/character>\n    <dialogue>Lord Grantham is my cousin and the two families have... fallen out. Or at least we might if I were there in person.<\/dialogue>\n    <character>QUEEN MARY<\/character>\n    <dialogue>And what would cause this quarrel?<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>Lord Grantham's mother believes her son should be my heir.<\/dialogue>\n    <character>QUEEN MARY<\/character>\n    <dialogue>Old Lady Grantham can be very hard to resist, as I am well aware.<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>Exactly, ma'am.<\/dialogue>\n    <character>QUEEN MARY<\/character>\n    <dialogue>But surely they need to know if their hopes are to be disappointed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN. DOWNTON. EVE.<\/stage_direction>\n    <scene_description>Mrs Patmore is with Daisy, Anna and Mrs Hughes.<\/scene_description>\n    <character>MRS PATMORE<\/character>\n    <dialogue>I wish I knew if they like simple food or fancy.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>I can't think they'll want simple food. With that sort, don't they like sauces and everything velout\u00e9 and frapp\u00e9 and smothered in cream?<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>\"That sort\"? He's the King of England! There's only one of them in the world. \"That sort\" indeed!<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>Don't plan too much. Not until we know what's expected.<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>Well, I know what's expected of me-- food. You too, Daisy. So less philosophy, more elbow grease.<\/dialogue>\n    <scene_description>Andy enters with an empty tray. He heard this.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Is the pudding ready?<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>It is. Daisy take the souffl\u00e9s out of the oven while I find my specs.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>This country needs a shake-up.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>You should run for Parliament.<\/dialogue>\n    <scene_description>Daisy scoffs.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Why not? Lady Astor's done it.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>And so an under cook from Yorkshire is bound to follow her.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>You've got to have big dreams.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>But do you have big dreams, Andy?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>I've not offended you, have I?<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>Why do you say that?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Well, for a start, you never talk about the wedding anymore.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>We'll get wed when we're good and ready and not before.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>But, you see, I am ready.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>Take those up before they collapse.<\/dialogue>\n    <scene_description>He goes. Mrs Patmore has been listening.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM. DOWNTON. EVE.<\/stage_direction>\n    <scene_description>Andy and Thomas serve. Violet, Isobel and Merton are among the party.<\/scene_description>\n    <character>VIOLET<\/character>\n    <dialogue>Maud Bagshaw is coming to Downton?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Yes, as the Queen's lady-in- waiting.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Oh, my goodness.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Why so surprised? Who is she?<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>She's a cousin of your father's.<\/dialogue>\n    <scene_description>Violet hesitates slightly. She glances at Thomas and Andy.<\/scene_description>\n    <character>VIOLET<\/character>\n    <dialogue>We'll discuss it later.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>You're not to make things awkward.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>How's it all going?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Mary's got it under control.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Hardly. There's so much to do.<\/dialogue>\n    <character>MERTON<\/character>\n    <dialogue>Who were those men measuring on the green as we came past?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>They're building the dais for the Queen at the parade.<\/dialogue>\n    <character>MERTON<\/character>\n    <dialogue>How exciting.<\/dialogue>\n    <character>ISOBEL<\/character>\n    <dialogue>It seems rather a waste of money.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Here we go.<\/dialogue>\n    <character>CORA<\/character>\n    <dialogue>Isn't that what the Monarchy's for? To brighten the lives of the Nation with stateliness and glamour?<\/dialogue>\n    <character>ISOBEL<\/character>\n    <dialogue>To quote Tennyson, \"Kind hearts are more than coronets, And simple faith than Norman blood.\"<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Will you have enough clich\u00e9s to get you through the visit?<\/dialogue>\n    <character>ISOBEL<\/character>\n    <dialogue>If not, I'll come to you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRAWING ROOM. DOWNTON. NIGHT.<\/stage_direction>\n    <scene_description>They have their coffee and other drinks and the servants leave them. Teo is lying by the fire. Violet sits in state.<\/scene_description>\n    <character>MERTON<\/character>\n    <dialogue>And now, you were going to tell us about Lady Bagshaw. Is she a very distant cousin?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>No. Her father was my great-uncle.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Then why have I never heard of her?<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Because she chose to cut herself off from the family.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Do you know the reason?<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Maybe. I believe she means to cheat your father of his rightful inheritance. She has no children. Your father is her nearest relation.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>I won't have her put on the spot.<\/dialogue>\n    <character>ISOBEL<\/character>\n    <dialogue>You're plotting something. I see a Machiavellian look in your eye.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Machiavelli is frequently underrated. He had many qualities.<\/dialogue>\n    <character>ISOBEL<\/character>\n    <dialogue>So did Caligula, not all of them charming.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>What are you up to, Granny?<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Ideally, I would like Maud to see your father as the son she never had.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Will she be the mother I never had?<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Sarcasm is the lowest form of wit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN PASSAGE\/SERVANTS' HALL. DOWNTON. NIGHT.<\/stage_direction>\n    <scene_description>The servants are finishing dinner when Molesley appears.<\/scene_description>\n    <character>BATES<\/character>\n    <dialogue>Mr Molesley, it's very late for you to be out.<\/dialogue>\n    <scene_description>Molesley is breathless.<\/scene_description>\n    <character>MOLESLEY<\/character>\n    <dialogue>Is it true?<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>Is what true, Mr Molesley?<\/dialogue>\n    <character>MOLESLEY<\/character>\n    <dialogue>Mr Bakewell said that you'd warned him that there was to be a Royal visit.<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>Well, now I know who not to trust with a secret.<\/dialogue>\n    <character>MOLESLEY<\/character>\n    <dialogue>That we should deserve such honour!<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>Not you too. I am disappointed.<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>Ignore her.<\/dialogue>\n    <character>MOLESLEY<\/character>\n    <dialogue>I wonder, do you think I might be allowed to slip on my livery again?<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>Would the school let you?<\/dialogue>\n    <character>MOLESLEY<\/character>\n    <dialogue>They'll give me time for this, I promise.<\/dialogue>\n    <character>BATES<\/character>\n    <dialogue>Let's wait 'til we know our orders.<\/dialogue>\n    <character>MOLESLEY<\/character>\n    <dialogue>What about it, Mr Barrow? Will you let me wait upon my King and Queen?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Uh, well--<\/dialogue>\n    <scene_description>Bell rings.<\/scene_description>\n    <character>BATES<\/character>\n    <dialogue>That's us.<\/dialogue>\n    <scene_description>He is stumped for words. Anna has taken in his terror.<\/scene_description>\n    <character>MRS PATMORE<\/character>\n    <dialogue>Good night, Mr Molesley<\/dialogue>\n    <scene_description>Molesley goes, flabbergasted. Bates stands.<\/scene_description>\n    <character>BATES<\/character>\n    <dialogue>When we're done, shall I fetch Johnnie, or will you?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I can fetch him.<\/dialogue>\n    <scene_description>They leave. Daisy and Mrs Patmore are left alone.<\/scene_description>\n    <character>MOLESLEY<\/character>\n    <dialogue>How exciting.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>They're all mental. All this fuss for a man and woman we don't even know.<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>Never mind that. I wanted to tell you: I've had some ideas about what to serve at your wedding.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>Stop going on about my wedding.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. MONTAGE. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Curtains are taken down, rugs are taken up. Maids make beds, scrub, polish.<\/scene_description>\n    <character>MRS HUGHES (V.O.)<\/character>\n    <dialogue>We've only a few days left, so I spoke to Her Ladyship and she's agreed our normal rules should be suspended.<\/dialogue>\n    <character>MRS HUGHES (V.O.)<\/character>\n    <dialogue>We won't clean a room if a family member is using it, but otherwise, all restrictions are lifted. No detail should be left undone, however small.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SERVANTS' HALL. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Mrs Hughes is still addressing the whole staff at the table.<\/scene_description>\n    <character>MRS HUGHES<\/character>\n    <dialogue>I want every surface in this house to gleam and sparkle by Thursday.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Blimey.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Can I have your attention, please? At four this afternoon, Their Majesties' butler, Mr Wilson, will be coming over from Raby Castle with a lady's maid and a valet.<\/dialogue>\n    <character>BATES<\/character>\n    <dialogue>To give us our instructions?<\/dialogue>\n    <character>BAXTER<\/character>\n    <dialogue>With the Royal servants, are we to wait on them?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>That is what will be made clear.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>I won't be waiting on any valets and lady's maids, thank you very much.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Before we get hot under the collar, let's just wait and see what they have to say.<\/dialogue>\n    <character>BATES<\/character>\n    <dialogue>Amen.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAR SHOWROOM. YORK. DAY.<\/stage_direction>\n    <scene_description>The man we saw earlier, Chetwode, is watching as Branson opens up. Chetwode crosses the road.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR SHOWROOM. YORK. DAY.<\/stage_direction>\n    <scene_description>Branson is taking off his gloves and coat when the man enters.<\/scene_description>\n    <character>BRANSON<\/character>\n    <dialogue>Can I help you, sir?<\/dialogue>\n    <character>CHETWODE<\/character>\n    <dialogue>It's really you I came to see.<\/dialogue>\n    <scene_description>He is a British officer type, in tweeds, with a slight drawl.<\/scene_description>\n    <character>BRANSON<\/character>\n    <dialogue>How can I help you, Mr...?<\/dialogue>\n    <character>CHETWODE<\/character>\n    <dialogue>Chetwode. Major Chetwode. Am I right, you're Mr Branson, Lord Grantham's son-in-law?<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>I am.<\/dialogue>\n    <scene_description>Chetwode nods. It is hard to tell where this is going.<\/scene_description>\n    <character>CHETWODE<\/character>\n    <dialogue>The papers tell me the King and Queen will be staying at Downton Abbey during their tour of Yorkshire.<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>Well, if it's in the papers, it must be true.<\/dialogue>\n    <character>CHETWODE<\/character>\n    <dialogue>Yes, a great honour. Although, as an Irishman, you may feel differently.<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>I know when my parents-in-law have been paid a compliment.<\/dialogue>\n    <character>CHETWODE<\/character>\n    <dialogue>There's to be a military parade, I gather. How do you feel about that?<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>What do you mean, \"how do I feel\"?<\/dialogue>\n    <character>CHETWODE<\/character>\n    <dialogue>Only you didn't say whether you support them. The King and Queen.<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>I support Lord Grantham.<\/dialogue>\n    <character>CHETWODE<\/character>\n    <dialogue>Very neat. Until we meet again, Mr Branson.<\/dialogue>\n    <scene_description>Branson has the feeling he has been tried and found wanting.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE SILVER PANTRY. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Thomas is staring at a vast display of silver. Mary enters.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Ah, Barrow. They said you'd be in here. Heavens! We can still put on quite a show when we need to, I'm glad to see. Has it all been cleaned?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>More or less everything's been done to a basic level, m'lady, but we haven't done the final buffing-up.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>I was waiting for Their Majesties' butler. I thought I'd ask his advice on what to use on the table.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Really? Can't we decide what we lay on our own dining table?<\/dialogue>\n    <scene_description>The door opens and Andy looks in.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Front doorbell, Mr Barrow.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Please, go.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>M'lady.<\/dialogue>\n    <scene_description>Thomas leaves Mary in the pantry.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Mr Wilson stands before a gleaming car with the valet and maid, Ellis and Lawton. Thomas opens the door and comes out.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Greetings, Mr Wilson. Welcome to Downton Abbey.<\/dialogue>\n    <scene_description>Wilson looks at the house disdainfully. Wilson, Ellis and Lawton walk past Thomas, into the house. Thomas follows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALL. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Mary crosses the hall as Thomas enters with Wilson and the others. Her eyes meet Thomas's. She raises her brows.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>This way, Mr Wilson.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIBRARY. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Mary enters, taking Caroline from the nanny. The family is already having tea. George plays draughts with Robert. Branson has Sybbie. Cora is reading a letter.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>The Royal butler's terribly scary. Barrow looked like a rabbit in front of a cobra.<\/dialogue>\n    <character>CORA<\/character>\n    <dialogue>Oh, dear. Should I go down?<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>They know what they're doing.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Do they? They're hideously behind. There's a mark on the Blue Room carpet we can't shift, I have no chairs for the parade, and we haven't even decided on the footmen.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>I'm going to have another cup, if no one's coming up to serve.<\/dialogue>\n    <character>CORA<\/character>\n    <dialogue>This is nice. Princess Mary wants us for tea tomorrow at Harewood.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>I've got so much to do.<\/dialogue>\n    <character>CORA<\/character>\n    <dialogue>I wonder if that means the young couple have taken over the big house?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>They're hardly the \"young couple\". Well, he isn't anyway.<\/dialogue>\n    <character>CORA<\/character>\n    <dialogue>She always seems quite shy to me.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>A shy Royal? Is that an oxymoron?<\/dialogue>\n    <character>CORA<\/character>\n    <dialogue>Anyway, we're going.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SERVANTS' HALL. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Wilson is addressing the household. Molesley's not there but Mr Ellis and Miss Lawton, are.<\/scene_description>\n    <character>WILSON<\/character>\n    <dialogue>I will return to Raby Castle and come back to Downton in advance of Their Majesties on Thursday. But His Majesty's valet, Mr Ellis, and Her Majesty's dresser, Miss Lawton, will stay on, if that is convenient. Or they can put up in the village.<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>No, we'll find them rooms.<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>Then Monsieur Courbet, the chef--<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>Excuse me, \"Mr Courbet, the chef\"?<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>That's right. We'd be very grateful if you could make the kitchens ready.<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>So what should I order?<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>Nothing. He will bring it all.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>And we don't cook any of the food?<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>Cook for the servants. Monsieur Courbet won't have time for that.<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>Oh, I say! That is something to look forward to!<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>Calm yourself, Mrs Patmore. If it's the way these things are done...<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>Mrs Webb and four footmen will arrive with Monsieur Courbet the day before.<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>Who is this... Mrs Webb, is it?<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>She is the housekeeper. She will also bring two maids with her.<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>The housekeeper?<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>While Their Majesties are here.<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>And the maids?<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>They will make the beds, clean the bathrooms, that sort of thing.<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>I see. So my maids and I will not be involved in the preparations?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>You mean, during the stay you'll be the butler, and--<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>Excuse me. I am not a butler. I am the King's Page of the Backstairs.<\/dialogue>\n    <scene_description>They almost reel. Daisy rolls her eyes.<\/scene_description>\n    <character>BATES<\/character>\n    <dialogue>So our staff has nothing to do.<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>I'm sure they can be useful.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>How can they eat and get dressed at Raby Castle if the chef and the valet and the maid are all here?<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>We have two of each. The principal valet and the principal dresser will arrive in advance of Their Majesties, who bring an equerry, a lady-in-waiting, two detectives and two chauffeurs. The other chef goes from Raby to Harewood. Four footmen go with him and the other four come here. Do you all understand me?<\/dialogue>\n    <scene_description>No, judging by their expressions.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTON ESTATE. DAY.<\/stage_direction>\n    <scene_description>Violet is walking with Isobel.<\/scene_description>\n    <character>ISOBEL<\/character>\n    <dialogue>You can hardly heckle Lady Bagshaw in front of the Queen.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>I'm just trying to prevent a crime.<\/dialogue>\n    <character>ISOBEL<\/character>\n    <dialogue>Who says it's a crime?<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>I do.<\/dialogue>\n    <character>ISOBEL<\/character>\n    <dialogue>Oh, and you're an expert in the matter?<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>I am an expert in every matter.<\/dialogue>\n    <character>ISOBEL<\/character>\n    <dialogue>You must have some idea why she doesn't want Robert as her heir.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>I have none. He is her closest relative. The family have held Brompton for three centuries. But she wants to give it to who? Charity? The dogs' home?<\/dialogue>\n    <character>ISOBEL<\/character>\n    <dialogue>I would have thought the family had enough to worry about.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>That's not the point.<\/dialogue>\n    <character>ISOBEL<\/character>\n    <dialogue>Very well. We must try and discover her reasons.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>What possible reasons can there be?<\/dialogue>\n    <character>ISOBEL<\/character>\n    <dialogue>That's what I intend to find out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. THE CARSONS' COTTAGE. DAY.<\/stage_direction>\n    <scene_description>Carson is with Mrs Hughes. There's a knock. Mary is outside. He leads her inside.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Carson.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>M'lady. Please, come in. This is an honour.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>I don't want to be a nuisance, but I need your help, Carson. Barrow just isn't up to the task.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>M'lady?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>He won't clean the silver. Or he won't let Andrew clean it.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>He says the page of the... thingummy will choose which pieces to use.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>I see.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>The truth is, he's in a sort of trance. Won't you help me? I feel I'm pushing a rock uphill.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>I'll be there in the morning, m'lady. Don't you worry.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>You're a treasure, Carson. That's all there is to say. I'll see myself out.<\/dialogue>\n    <scene_description>She slips away.<\/scene_description>\n    <character>MRS HUGHES<\/character>\n    <dialogue>You could never refuse her anything. And what about Mr Barrow?<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>Mr Barrow can like it or lump it.<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>Then I'm afraid he'll lump it.<\/dialogue>\n    <scene_description>Carson sits, pleased.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MENSERVANTS' BEDROOM CORRIDOR\/ELLIS' ROOM. EVE.<\/stage_direction>\n    <scene_description>Thomas leads Ellis to his room.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>We have supper after the upstairs dinner, so you've plenty of time.<\/dialogue>\n    <character>ELLIS<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>How does it work with two valets?<\/dialogue>\n    <character>ELLIS<\/character>\n    <dialogue>I prepare His Majesty's clothes and uniforms for Downton. Then, when Mr Miller arrives, I get the stuff for Harewood ready. Then I head back to London and prepare for their return. It all overlaps.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>So, Mr Miller's the one who actually dresses the King?<\/dialogue>\n    <character>ELLIS<\/character>\n    <dialogue>Unless he's ill. Then it's me.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Is he often ill?<\/dialogue>\n    <character>ELLIS<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Which makes them both laugh.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN\/KITCHEN PASSAGE. DOWNTON. NIGHT.<\/stage_direction>\n    <scene_description>Mrs Patmore is by the sink. Daisy is with her.<\/scene_description>\n    <character>DAISY<\/character>\n    <dialogue>I think it's rubbish. They impose, they demand, and now we're to be made nothing in our own house.<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>It's very disappointing, I won't deny it. This water's not too hot. Have they all been having baths?<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>How should I know?<\/dialogue>\n    <scene_description>She walks into the passage where Anna and Bates are waiting. Bates carries their little boy. Thomas is coming downstairs.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Mr Barrow, don't you think you should speak to His Lordship?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>About what?<\/dialogue>\n    <character>BATES<\/character>\n    <dialogue>Well, it's not right, surely, for us to be humiliated in this way.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>What could he do about it?<\/dialogue>\n    <scene_description>He walks off.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Is the staff always ridden over roughshod whenever Royalty come to stay? Why do they bring so many servants with them?<\/dialogue>\n    <character>BATES<\/character>\n    <dialogue>Maybe it's because they go from house to house around the county and they need to know things are done the way they like.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>As if we couldn't manage that.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>We're not footballs, Mr Bates, and we don't deserve a kicking.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE PARK. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Carson strides purposefully up the drive, like a proud king returning to claim his throne.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIBRARY. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Robert is with Mary.<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>But what are we to say to Barrow? After all, he's done nothing wrong.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>He's done nothing at all. That's the problem.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>But it feels very unfair.<\/dialogue>\n    <scene_description>Carson enters the library, clearing his throat to announce himself.<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Oh, I see. So it's now.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>I've sent down for Mr Barrow to join us, m'lord.<\/dialogue>\n    <scene_description>The door opens and Thomas comes in.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>You wanted to see me, m'lord? Mr Carson! What brings you here?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Well, this is the thing...<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Carson is going to move back into the house for the Royal visit.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>The sound of the word is very bald. He stares at Carson.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>You are coming back here as butler, when I am the butler here?<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>Yes, that is--<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Can I ask how long this has been planned, m'lord?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>I wouldn't say it's been exactly planned.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Because I don't quite understand where it leaves me.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Well, you can be a sort of--<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>With your permission, I'd prefer not to be a \"sort of\" anything, m'lord. I will surrender my position for the duration of the visit, if I must, and serve you again when Their Majesties have gone, if you so wish.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Please don't think that--<\/dialogue>\n    <scene_description>But Thomas has made up his mind. He walks towards the door.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>By the way, the boiler's playing up and there's no hot water.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>God, that's all we need.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Now, Barrow--<\/dialogue>\n    <scene_description>He leaves in a white rage, more or less slamming the door.<\/scene_description>\n    <character>CARSON<\/character>\n    <dialogue>Not to worry. The plumber will soon have it mended, m'lady, and we'll bring water jugs up to the bedrooms tonight and in the morning. It can't be that hard. We did it for three hundred years.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Thank you, Carson. Well, that went well.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Will you sack him?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>No. As a matter of fact, I was quite interested. I never thought of him as a man of principle before.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTON VILLAGE. DAY.<\/stage_direction>\n    <scene_description>A new day. Mrs Patmore and Daisy are on the pavement.<\/scene_description>\n    <character>MRS PATMORE<\/character>\n    <dialogue>I'll have to tell him I'm only ordering for the servants' hall. I'm afraid I've got his hopes up.<\/dialogue>\n    <scene_description>They walk into Mr Bakewell's shop.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAKEWELL'S SHOP. DOWNTON VILLAGE. DAY.<\/stage_direction>\n    <scene_description>Mr Bakewell is serving Molesley. He is delighted to see her.<\/scene_description>\n    <character>BAKEWELL<\/character>\n    <dialogue>Speak of the devil! Come in, come in. I was just saying you'll be wanting to finalise the order.<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>Were you, indeed?<\/dialogue>\n    <character>MOLESLEY<\/character>\n    <dialogue>Honestly, no one in the village can talk about anything else!<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>BAKEWELL<\/character>\n    <dialogue>I know it's a bit of a liberty, but I've made a list of all the ingredients of your favourite dishes. I know them well enough after all these years, but some things will have to be brought in, so we should really get on with it.<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>I appreciate everything you've done, Mr Bakewell--<\/dialogue>\n    <scene_description>Mr Bakewell laughs.<\/scene_description>\n    <character>BAKEWELL<\/character>\n    <dialogue>My heart is fit to burst, I don't mind telling you. I shall have fed the King Emperor from my own shop.<\/dialogue>\n    <character>BAKEWELL<\/character>\n    <dialogue>If only my father were alive. He'd be so proud of me. He would.<\/dialogue>\n    <scene_description>He is almost crying.<\/scene_description>\n    <character>MRS PATMORE<\/character>\n    <dialogue>I'm sure he'd be proud of you anyway, Mr Bakewell.<\/dialogue>\n    <character>BAKEWELL<\/character>\n    <dialogue>Oh, no, not like this. No. This is the peak of my career. The peak of my life, really. Everyone's so jealous. Now, I've put ticks next to the ones I think you'll go for.<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>The thing is--<\/dialogue>\n    <character>BAKEWELL<\/character>\n    <dialogue>I'm guessing the luncheon will be for around a dozen? Of course, the dinner will be larger. Let's say thirty or thereabouts? You'll correct me if I'm wrong.<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>Well, you see--<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>You're not wrong, Mr Bakewell. But we'll say if the numbers change.<\/dialogue>\n    <scene_description>Mrs Patmore stares at her but Daisy is defiant.<\/scene_description>\n    <character>DAISY<\/character>\n    <dialogue>The pavlova's not realistic. We'd be safer with a charlotte russe. We can do most of the work before.<\/dialogue>\n    <character>MOLESLEY<\/character>\n    <dialogue>And I shall be serving! Think of that!<\/dialogue>\n    <scene_description>He bursts into song, waltzing with Mrs Patmore.<\/scene_description>\n    <character>MOLESLEY<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>I've danced with a man who's danced with a girl who's danced with the Prince of Wales I'm crazy with excitement, completely off the rails<\/dialogue>\n    <character>BAKEWELL<\/character>\n    <dialogue>All of my suppliers are so excited. Oh, Mrs Patmore, I shall never be able to thank you enough. Not if I live to be a hundred.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTON VILLAGE. DAY.<\/stage_direction>\n    <scene_description>They emerge from the shop doorway and walk away.<\/scene_description>\n    <character>MRS PATMORE<\/character>\n    <dialogue>I feel like a liar. I should go back.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>And lower yourself to a kitchen skivvy in the eyes of the village? Never mind ruining Mr Bakewell's year. You'll do no such thing.<\/dialogue>\n    <scene_description>She stamps off. Mrs Patmore hesitates.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Robert, Cora, Mary, Andy, Albert, Carson and Mrs Hughes watch as a car comes to a halt. Edith, Bertie and Marigold climb out.<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>No maid, no valet, no nanny, even.<\/dialogue>\n    <character>BERTIE<\/character>\n    <dialogue>It's nineteen twenty-seven. We're modern folk.<\/dialogue>\n    <character>CORA<\/character>\n    <dialogue>Nanny will take care of Marigold. And Anna can look after you.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Really? Can she?<\/dialogue>\n    <character>CORA<\/character>\n    <dialogue>Of course. Just like the old days. Granny's here, and Isobel, and we're paying a call this afternoon on Princess Mary.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>Has my new ball dress arrived?<\/dialogue>\n    <character>CORA<\/character>\n    <dialogue>Not yet, but it will.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOOT ROOM. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>The Queen's dresser, Lawton, is cleaning shoes with Anna. Bates is in there, polishing a pair of Robert's.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>How long have you worked for Her Majesty, Miss Lawton?<\/dialogue>\n    <character>LAWTON<\/character>\n    <dialogue>Six years.<\/dialogue>\n    <character>BATES<\/character>\n    <dialogue>How interesting. I expect you're a skilled needlewoman for that job.<\/dialogue>\n    <scene_description>Lawton's pitying, smug smile confirms the truth of this.<\/scene_description>\n    <character>LAWTON<\/character>\n    <dialogue>I've had no complaints. I trained under Madame Lucile. Her Majesty wanted a professional dressmaker.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>And they found you?<\/dialogue>\n    <character>LAWTON<\/character>\n    <dialogue>My reputation found me.<\/dialogue>\n    <scene_description>Anna catches Bates' eye. He giggles. Lawton doesn't notice.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>The end of luncheon. Carson is supervising. Cora stands.<\/scene_description>\n    <character>CORA<\/character>\n    <dialogue>Come on, you two, it's nearly three. We ought to get ready.<\/dialogue>\n    <character>MERTON<\/character>\n    <dialogue>Will the Princess be at the parade?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>They both will.<\/dialogue>\n    <character>ISOBEL<\/character>\n    <dialogue>I always find her rather sad, Princess Mary.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>She is Royal. Royal women are not meant to grin like Cheshire cats.<\/dialogue>\n    <character>ISOBEL<\/character>\n    <dialogue>They don't have to look miserable.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>To you she looks miserable. To me she looks dignified.<\/dialogue>\n    <character>MERTON<\/character>\n    <dialogue>Doesn't that say it all?<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>How comforting to see you here, Carson. What prompted you to take up the flaming sword again?<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>I felt I should go where I could do the most good, m'lady.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Wise words for all of us.<\/dialogue>\n    <scene_description>They have risen now and they are leaving the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAREWOOD HOUSE. YORKSHIRE. DAY.<\/stage_direction>\n    <scene_description>The splendid palace sits comfortably in its setting. A car drives up. The three women walk from their car to the entrance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRAWING ROOM. HAREWOOD HOUSE. DAY.<\/stage_direction>\n    <scene_description>A footman announces the family. They have shed their coats but retained their hats and they carry their gloves.<\/scene_description>\n    <character>FOOTMAN<\/character>\n    <dialogue>The Marchioness of Hexham, the Countess of Grantham, the Lady Mary Talbot.<\/dialogue>\n    <scene_description>They advance towards a rather sad-looking woman of thirty, near the fire. They sink into deep court curtseys.<\/scene_description>\n    <character>CORA<\/character>\n    <dialogue>Your Royal Highness.<\/dialogue>\n    <character>PRINCESS MARY<\/character>\n    <dialogue>Please, sit down, Lady Grantham. I suppose you're in turmoil because of my parents' visit. I do sympathise.<\/dialogue>\n    <character>CORA<\/character>\n    <dialogue>We don't need to explain it to you.<\/dialogue>\n    <character>PRINCESS MARY<\/character>\n    <dialogue>Just don't paint anything. They're sick of the smell of new paint.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>I hope it's not too late.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>Are you living here now, ma'am?<\/dialogue>\n    <character>PRINCESS MARY<\/character>\n    <dialogue>No, we're still at Goldsborough. But Lord Harewood's not well, so we've come to run the visit and the ball.<\/dialogue>\n    <scene_description>The door opens and a nanny appears with two boys, aged four and three. The Princess opens her arms. The boys run to her.<\/scene_description>\n    <character>PRINCESS MARY<\/character>\n    <dialogue>Hello, my darlings! How have you been? Have you been having a lovely day?<\/dialogue>\n    <scene_description>Her face lights up which all the Crawley women notice.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN\/KITCHEN PASSAGE. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Daisy is working when a young man enters. He's very handsome.<\/scene_description>\n    <character>DAISY<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>SELLICK<\/character>\n    <dialogue>This is your lucky day. I'm the new plumber, Tony Sellick.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>Oh, yes. Right. Well, I'd better show you where the boiler is.<\/dialogue>\n    <scene_description>She is flustered, as she starts to go, when Andy appears.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Where are you off to?<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>This is Mr Sellick, the plumber. I'm taking him to the boiler house.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>I'll do it.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>No, you're all right. Just tell Mrs Patmore where I am.<\/dialogue>\n    <scene_description>She and Sellick leave. Andy is none too pleased.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRAWING ROOM. HAREWOOD. DAY.<\/stage_direction>\n    <scene_description>They have been served tea. The nanny plays with the boys.<\/scene_description>\n    <character>CORA<\/character>\n    <dialogue>Please bring the boys on Thursday.<\/dialogue>\n    <character>PRINCESS MARY<\/character>\n    <dialogue>Oh, how lovely!<\/dialogue>\n    <character>LASCELLES<\/character>\n    <dialogue>Why are the children in here?<\/dialogue>\n    <scene_description>The Princess' husband has entered the room. The nanny stutters.<\/scene_description>\n    <character>HAREWOOD NANNY<\/character>\n    <dialogue>We just got back and they wanted to-<\/dialogue>\n    <character>LASCELLES<\/character>\n    <dialogue>They're not allowed in the drawing room before six.<\/dialogue>\n    <character>HAREWOOD NANNY<\/character>\n    <dialogue>I know, m'lord. But they-<\/dialogue>\n    <character>LASCELLES<\/character>\n    <dialogue>Take them upstairs. And don't bring them down again tonight.<\/dialogue>\n    <character>HAREWOOD NANNY<\/character>\n    <dialogue>Yes, m'lord.<\/dialogue>\n    <character>PRINCESS MARY<\/character>\n    <dialogue>But they were only-<\/dialogue>\n    <character>LASCELLES<\/character>\n    <dialogue>Thank you, Nanny.<\/dialogue>\n    <scene_description>The boys are led out by their nurse.<\/scene_description>\n    <character>PRINCESS MARY<\/character>\n    <dialogue>You remember Lady Grantham and her daughters?<\/dialogue>\n    <character>LASCELLES<\/character>\n    <dialogue>Lady Grantham.<\/dialogue>\n    <character>PRINCESS MARY<\/character>\n    <dialogue>They want us to bring the boys to the parade.<\/dialogue>\n    <character>LASCELLES<\/character>\n    <dialogue>No. They'd only cause a ruckus.<\/dialogue>\n    <character>CORA<\/character>\n    <dialogue>We were hoping you would both stay for dinner that night, Lord Lascelles.<\/dialogue>\n    <character>LASCELLES<\/character>\n    <dialogue>No, I'm afraid not. Well, I'll leave you to it.<\/dialogue>\n    <scene_description>All of which seems oddly rude. He goes and closes the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOILER ROOM. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Sellick and Daisy survey the boiler.<\/scene_description>\n    <character>DAISY<\/character>\n    <dialogue>Well, I suppose I'd better let you get started. So I'll be on my way.<\/dialogue>\n    <character>TONY SELLICK<\/character>\n    <dialogue>Aren't you going to wish me luck?<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>You don't look as if you need me to wish you luck, Mr Sellick. Or anyone else, for that matter.<\/dialogue>\n    <character>TONY SELLICK<\/character>\n    <dialogue>You don't know what I need.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>And I don't intend to find out.<\/dialogue>\n    <scene_description>He smiles as she goes, blushing at her own boldness.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTON VILLAGE GREEN. DAY.<\/stage_direction>\n    <scene_description>Bertie and Branson cross the green to look at the finished dais. All around them the village has been decorated with bunting.<\/scene_description>\n    <character>BERTIE<\/character>\n    <dialogue>Do we need to cut the grass again?<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>They're doing it tomorrow morning.<\/dialogue>\n    <scene_description>But a man is coming towards him. It is Major Chetwode.<\/scene_description>\n    <character>CHETWODE<\/character>\n    <dialogue>Hello, Mr Branson. Getting ready for Their Majesties, I see.<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>That's right. This is Lord Hexham. May I present Major Chetwode.<\/dialogue>\n    <scene_description>Bertie shakes his hand.<\/scene_description>\n    <character>BERTIE<\/character>\n    <dialogue>Are you here for the parade?<\/dialogue>\n    <character>CHETWODE<\/character>\n    <dialogue>I am. I'm staying at the pub.<\/dialogue>\n    <character>BERTIE<\/character>\n    <dialogue>Excuse me.<\/dialogue>\n    <scene_description>Bertie goes to talk to the workman. Branson comes closer.<\/scene_description>\n    <character>BRANSON<\/character>\n    <dialogue>Or are you here to keep an eye on me?<\/dialogue>\n    <character>CHETWODE<\/character>\n    <dialogue>I was rather hoping you'd be my guide for the ceremony. Would you like a drink?<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>I'll join you in a minute.<\/dialogue>\n    <scene_description>Chetwode walks off towards the King's Arms.<\/scene_description>\n    <character>BERTIE<\/character>\n    <dialogue>Who's he?<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>I don't really know. Army, perhaps. Or maybe a civil servant. But I'll drink with him and try and put his mind at rest.<\/dialogue>\n    <character>BERTIE<\/character>\n    <dialogue>What does he want?<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>Maybe to make sure I'm a leopard who has changed his spots.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTON. EVE.<\/stage_direction>\n    <scene_description>The darkening sky is filled with clouds.<\/scene_description>\n    <character>ANNA (V.O.)<\/character>\n    <dialogue>What about you, m'lady? Is everything ready?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S BEDROOM. DOWNTON. EVE.<\/stage_direction>\n    <scene_description>Mary is dressing for dinner with Anna's help.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>No. And my heart is pounding. By the way, have you seen the silver box from the table by the fire in the drawing room? My grandmother used to keep playing cards in it.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I know the one. Is it missing?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Yes. And so is the little cupid from the mantelshelf. They must have been taken downstairs for cleaning.<\/dialogue>\n    <scene_description>The door opens and Edith enters, changed.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>I was just coming to you, m'lady.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>Oh, don't worry. I'm fine.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>If that's all, m'lady?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>I suppose. Can you manage the jug and basin? Or are they too heavy?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>No, no. I can do it.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>How's the boiler?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I'm sure they'll fix it soon.<\/dialogue>\n    <scene_description>She takes the jug and the china basin and goes.<\/scene_description>\n    <character>EDITH<\/character>\n    <dialogue>Bertie was with Tom earlier.<\/dialogue>\n    <scene_description>Mary looks at her, curious. Edith ploughs on.<\/scene_description>\n    <character>EDITH<\/character>\n    <dialogue>You don't think Tom would ever... try to make trouble?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Why do you say that?<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>Bertie says there's some army type who has him under surveillance.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Tom likes to shock, that's all. He'd never be disloyal to this family. Never. Shall we go down?<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>Yes, let's.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN. DOWNTON. NIGHT.<\/stage_direction>\n    <scene_description>Sellick, the plumber and raconteur, is there while dinner is being served upstairs. Daisy pours tea for him.<\/scene_description>\n    <character>SELLICK<\/character>\n    <dialogue>So I said to her, \"Listen, lady, there's a little one here who still needs turning.\"<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>Oh! Careful, Mr Sellick, you'll make Daisy blush.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>Takes more than that to make me blush. Now get that down you.<\/dialogue>\n    <scene_description>But she is smiling up at him as she gives him the tea.<\/scene_description>\n    <character>BAXTER<\/character>\n    <dialogue>You deserve that. It's very late.<\/dialogue>\n    <character>SELLICK<\/character>\n    <dialogue>Well, I've got to get it done. And I don't mind long hours. I mean to build my own business and you can't do that working nine to five.<\/dialogue>\n    <character>BAXTER<\/character>\n    <dialogue>These water jugs nearly killed me. How did we manage in the old days?<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>Maybe people were tougher then.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>Maybe they expected less from life.<\/dialogue>\n    <character>SELLICK<\/character>\n    <dialogue>Well, I expect a lot from life.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>So do I. And I mean to have it, too.<\/dialogue>\n    <scene_description>He laughs, admiringly.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Are you still here?<\/dialogue>\n    <scene_description>He is carrying a tray. How long was he watching?<\/scene_description>\n    <character>MRS PATMORE<\/character>\n    <dialogue>Mr Sellick's been working hard for hours for our benefit, Andy.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Then it's time he went home. Is the savoury ready?<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>Take this.<\/dialogue>\n    <scene_description>Andy collects the tray of savouries and goes.<\/scene_description>\n    <character>SELLICK<\/character>\n    <dialogue>He's right. The new pump should arrive around nine. I'll be here.<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>So will we.<\/dialogue>\n    <character>SELLICK<\/character>\n    <dialogue>Ta-ra!<\/dialogue>\n    <scene_description>Sellick puts down his cup, walks to the door and leaves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIBRARY. DOWNTON. NIGHT.<\/stage_direction>\n    <scene_description>Robert pours some whisky as Cora appears.<\/scene_description>\n    <character>CORA<\/character>\n    <dialogue>That was Mama. She's in London. She's staying with Rosamund.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>She can't be. She was here for lunch. She didn't say anything.<\/dialogue>\n    <character>CORA<\/character>\n    <dialogue>She went up this afternoon. She'll be back tomorrow, so I've asked her to come for tea. You must persuade her to leave Maud Bagshaw alone.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>I don't believe even Mama will pick a quarrel in front of the King.<\/dialogue>\n    <character>CORA<\/character>\n    <dialogue>I wonder if he can come early.<\/dialogue>\n    <scene_description>They laugh.<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Are you excited?<\/dialogue>\n    <character>CORA<\/character>\n    <dialogue>I am a bit. Are you?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Would it be common to admit it?<\/dialogue>\n    <character>CORA<\/character>\n    <dialogue>Not to an American.<\/dialogue>\n    <scene_description>And with that he takes her in his arms and kisses her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. MONTAGE. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Gardeners trim the grass and rake the paths. Others clean the windows. Inside, a frenzy of cleaning. Carson and the hall boys survey the china and crystal. Silver is polished. Carson selects wine from the cellar. Andy winds a clock.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Carson, Bates and Mrs Hughes wait as a charabanc halts. A haughty man and a proud woman approach, leading four footmen and two maids.<\/scene_description>\n    <character>BATES<\/character>\n    <dialogue>Here we go, Mr Carson.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>Leave this to me.<\/dialogue>\n    <scene_description>The man and woman stop, as if expecting them to stand aside.<\/scene_description>\n    <character>COURBET<\/character>\n    <dialogue>I am Monsieur Courbet. And this is Mrs Webb, the housekeeper.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>Ah. Follow that path and it'll take you into the kitchen courtyard.<\/dialogue>\n    <character>COURBET<\/character>\n    <dialogue>I said, I am Monsieur Courbet, chef to Their Majesties.<\/dialogue>\n    <scene_description>He pushes past them into the hall. Mrs Webb follows.<\/scene_description>\n    <character>MRS HUGHES<\/character>\n    <dialogue>Well done, Charlie. Always start as you mean to go on.<\/dialogue>\n    <character>BATES<\/character>\n    <dialogue>This way, gentlemen.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRAWING ROOM\/HALL. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Anna enters to find Miss Lawton. She stops in surprise.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Miss Lawton?<\/dialogue>\n    <character>LAWTON<\/character>\n    <dialogue>I was just looking round. It's a beautiful house.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>You've seen many that are finer.<\/dialogue>\n    <scene_description>She has been looking for a glove on a side table.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>That's what I came for. But we shouldn't be in here, really.<\/dialogue>\n    <scene_description>Lawton leads the way out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>The kitchen is chaotic.<\/scene_description>\n    <character>COURBET<\/character>\n    <dialogue>You. Where can I put this?<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>Don't tempt me.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>We've cleared some space in the scullery. And that cupboard.<\/dialogue>\n    <scene_description>She rolls her eyes at Mrs Patmore and murmurs.<\/scene_description>\n    <character>DAISY<\/character>\n    <dialogue>What a lot of fuss over nothing!<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>Where's our order from Mr Bakewell?<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>Follow me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CUPBOARD. DOWNTON. CONTINUOUS.<\/stage_direction>\n    <scene_description>She leads the way down the crowded passage to a door, pushes Mrs Patmore in and turns on a light. The cupboard is packed.<\/scene_description>\n    <character>MRS PATMORE<\/character>\n    <dialogue>How did you manage it?<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>A gardener helped me carry everything in, so no one saw.<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>I suppose you could sell the lot and use the money to pay Mr Bakewell.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>Don't worry. They can eat it gradual when the visit's over.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN PASSAGE. CONTINUOUS.<\/stage_direction>\n    <scene_description>As they emerge, Tony Sellick walks towards them.<\/scene_description>\n    <character>SELLICK<\/character>\n    <dialogue>It's done, Mrs Patmore. The new pump's installed.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>Hail the conquering hero!<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>It's Mrs Hughes you should be telling. Or Mr Carson. Not them.<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>It's all right, Mr Sellick. We'll see the news gets through. Thanks.<\/dialogue>\n    <scene_description>Sellick leaves as Daisy rounds on Andy. They pass Mrs Hughes, engaged in a row with Mrs Webb.<\/scene_description>\n    <character>MRS WEBB<\/character>\n    <dialogue>But I don't need your help, Mrs Hughes. I just want to know where Their Majesties are sleeping so Miss Stinson can prepare the rooms.<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>Then I will show you, Mrs Webb. Because, without my help, you will not find them.<\/dialogue>\n    <scene_description>She is livid.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOOT ROOM. DOWNTON. CONTINUOUS.<\/stage_direction>\n    <scene_description>Baxter, Anna and Thomas are with Ellis.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Is it always like this?<\/dialogue>\n    <character>ELLIS<\/character>\n    <dialogue>A Royal visit is like a swan on a lake. Grace and serenity above, demented kicking down below.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>I wish I could get away.<\/dialogue>\n    <character>ELLIS<\/character>\n    <dialogue>I've got tomorrow night off when Mr Miller arrives. I told my mum I'd look in. Why don't you come to York with me? We could have a drink.<\/dialogue>\n    <character>BAXTER<\/character>\n    <dialogue>You should go. You're not on duty.<\/dialogue>\n    <character>ELLIS<\/character>\n    <dialogue>That settles it, then. I'll come find you when I'm released. We can borrow a car.<\/dialogue>\n    <scene_description>Ellis leaves them. By now, a fight has broken out in the passage.<\/scene_description>\n    <character>MRS HUGHES<\/character>\n    <dialogue>Mrs Webb, I am the housekeeper here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN PASSAGE. DOWNTON. CONTINUOUS.<\/stage_direction>\n    <character>MRS WEBB<\/character>\n    <dialogue>You are not housekeeper so long as His Majesty is under this roof.<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>But he's not here yet, is he?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALL. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Robert, with Teo, walks through the hall as servants scrub and clean every surface.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIBRARY. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Robert, Edith and Bertie join the others for tea. The children are there.<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>It's like living in a factory.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>It reminds me of our days as a convalescent home during the war.<\/dialogue>\n    <character>CORA<\/character>\n    <dialogue>I enjoyed that, although I always feel guilty saying so. Where's Tom?<\/dialogue>\n    <character>SYBBIE<\/character>\n    <dialogue>Daddy's in the village.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Again? What's he playing at?<\/dialogue>\n    <scene_description>Nanny steps forward, gathering the children. They leave, passing Violet in the doorway, still in her hat.<\/scene_description>\n    <character>VIOLET<\/character>\n    <dialogue>I saw Tom looking very stern as I came up the drive.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>I hope he's not building a bomb.<\/dialogue>\n    <character>BERTIE<\/character>\n    <dialogue>Many a true word is spoken in jest. We think he's being tailed by Special Branch.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Nonsense. Mama, how was London?<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>What were you there for?<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Oh, various things.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>But you hate London.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Whoever told you that? Now, when do you want me tomorrow?<\/dialogue>\n    <character>CORA<\/character>\n    <dialogue>Twelve at the latest. They arrive at half past. But, Mama, you must promise not to attack Maud Bagshaw.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>I can't ignore her. She is my cousin.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Exactly. Greet her as a cousin and leave it at that.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>I'll think about it.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>But even if she has left everything to an outsider, what could we do?<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Challenge the will.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>On what basis?<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Undue influence.<\/dialogue>\n    <character>BERTIE<\/character>\n    <dialogue>But how could you know that? And how would you prove it?<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>We'd find a friendly judge.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Friendly or corrupt?<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Whichever does the trick.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Are you here for dinner, Mama? It's a buffet.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>I'm not changed.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>We won't change either, so you just need to take off your hat.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>You talk as if that were easy.<\/dialogue>\n    <scene_description>Edith scoffs.<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Where's the paper knife, the silver one with my regimental crest?<\/dialogue>\n    <scene_description>At this, Mary looks over sharply.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN. DOWNTON. EVE.<\/stage_direction>\n    <scene_description>Mrs Patmore is nearly mad. She turns a tap on as she speaks.<\/scene_description>\n    <character>MRS PATMORE<\/character>\n    <dialogue>They won't help tonight, apparently. They won't lift a finger. But then, my food is only fit for servants. Well, at least your young hero seems to have sorted out the water.<\/dialogue>\n    <scene_description>Daisy laughs as she answers but they have not noticed Andy.<\/scene_description>\n    <character>DAISY<\/character>\n    <dialogue>He's not my hero.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Yes. Why did you call him that?<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>It was just a joke.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>But why's it funny?<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>Oh, Andy, leave it.<\/dialogue>\n    <scene_description>He storms off. Mrs Patmore looks at Daisy but she is unmoved.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KITCHEN COURTYARD. DOWNTON. EVE.<\/stage_direction>\n    <scene_description>Andy comes out, fuming. He crosses the courtyard.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOILER ROOM. DOWNTON. EVE.<\/stage_direction>\n    <scene_description>Andy looks at the boiler. He picks up a shovel leaning against it and smashes part of the boiler until steam escapes. He drops the shovel.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MANSERVANTS' BEDROOM CORRIDOR. EVE.<\/stage_direction>\n    <scene_description>There's trouble here too. Thomas watches from a doorway.<\/scene_description>\n    <character>COURBET<\/character>\n    <dialogue>But this is a rabbit hutch.<\/dialogue>\n    <character>ROYAL FOOTMAN<\/character>\n    <dialogue>Don't look at me, Mr Courbet. You couldn't swing a cat in my room.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>Gentlemen, please. I'm sure you'll find-<\/dialogue>\n    <character>COURBET<\/character>\n    <dialogue>Out of my way! I will have a bath and then I will decide. Perhaps I will find a hotel.<\/dialogue>\n    <scene_description>He has walked into the bathroom.<\/scene_description>\n    <character>ROYAL FOOTMAN<\/character>\n    <dialogue>Where can we eat? Somewhere apart?<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>Why not in the servants' hall?<\/dialogue>\n    <character>ROYAL FOOTMAN<\/character>\n    <dialogue>We never eat with the resident staff.<\/dialogue>\n    <character>COURBET (V.O.)<\/character>\n    <dialogue>The water's cold. What's happening?<\/dialogue>\n    <scene_description>He reappears in the bathroom doorway.<\/scene_description>\n    <character>COURBET<\/character>\n    <dialogue>This is impossible. We can't stay here with no hot water. Are you crazy?<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>But the boiler was fixed today. It was hot an hour ago.<\/dialogue>\n    <character>COURBET<\/character>\n    <dialogue>Well, it's cold now!<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Why are you here again, Mr Carson? So you could keep control when I would fail? Was that it? I forget.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>Mr Barrow, would you mind?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>I'm not on duty, Mr Carson, you are.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTON. NIGHT.<\/stage_direction>\n    <scene_description>Downton in a torrent of rain.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUTLER'S PANTRY. DOWNTON. NIGHT.<\/stage_direction>\n    <scene_description>Carson enters to find Wilson working at his own desk. Wilson decants a bottle of wine.<\/scene_description>\n    <character>WILSON<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>Since you are in my room, sitting at my desk, it is for me to ask what you want.<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>Nothing from you.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>I would remind you that I have been in charge of Downton for many years.<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>Mr Carson, you are a retired servant in a minor provincial house, serving an undistinguished family.<\/dialogue>\n    <scene_description>This is like a physical blow for Carson.<\/scene_description>\n    <character>WILSON<\/character>\n    <dialogue>Your history is of no interest to me. Now, if you will excuse me.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>So, what would you like me to do?<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>I would like you to find a good book and read it until we leave.<\/dialogue>\n    <scene_description>Anna appears at the door.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Mr Carson, you'd better come and see this.<\/dialogue>\n    <scene_description>She goes and Carson follows, bruised.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN PASSAGE. DOWNTON. NIGHT.<\/stage_direction>\n    <scene_description>Sellick is with Mrs Patmore and Daisy. Andy sees them from the passage.<\/scene_description>\n    <character>SELLICK<\/character>\n    <dialogue>It's well and truly damaged.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>Can you mend it in time?<\/dialogue>\n    <character>SELLICK<\/character>\n    <dialogue>Oh, yes. But somebody should tell them someone wanted to wreck the Royal visit. They ought to know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM. DOWNTON. NIGHT.<\/stage_direction>\n    <scene_description>They help themselves from a buffet laid on the sideboard, and then sit at the table. Cora turns to Edith as Carson enters.<\/scene_description>\n    <character>CORA<\/character>\n    <dialogue>Has the dress arrived?<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>Not yet. What am I going to wear?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Carson, what is it?<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>Some folding chairs-- Well, a great many chairs have been delivered, m'lady. They're at the back door. Anna thought you should be told at once.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>She's right. They're for the parade. We'll have to set them out tonight, there'll be no time tomorrow. The villagers will start arriving from nine onwards.<\/dialogue>\n    <scene_description>She hurries away.<\/scene_description>\n    <character>MERTON<\/character>\n    <dialogue>I'm not sure fate is on our side.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Poor little Mary. Have we let her take on too much?<\/dialogue>\n    <character>MERTON<\/character>\n    <dialogue>You're right. Come on. We should lend her a hand.<\/dialogue>\n    <character>CORA<\/character>\n    <dialogue>You can't go out in this.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Of course we can. Good night, Mama. Remember to pray for us, mainly for better weather.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>I'll put in a word.<\/dialogue>\n    <scene_description>He hurries away with Merton.<\/scene_description>\n    <character>VIOLET<\/character>\n    <dialogue>Of course, little Mary could hammer in a tent peg with her teeth.<\/dialogue>\n    <character>ISOBEL<\/character>\n    <dialogue>I wonder who she got that from.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>You know, I'm always surprised when you praise me.<\/dialogue>\n    <character>ISOBEL<\/character>\n    <dialogue>I'm surprised to hear that I have.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN PASSAGE. DOWNTON. NIGHT.<\/stage_direction>\n    <scene_description>Outside the kitchen Mary's with Anna, in the passage. We can hear the heavy rain.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>As if things aren't bad enough without a thunderstorm.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>We'll manage. I've roped in Mr Molesley, and Andy's gone for the truck. But Mr Bates can't help and Mr Barrow has vanished.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Ditto. Lord Hexham's out looking for Mr Branson. We'll have to do our best without them.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>You're not going yourself?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>How else will they know what to do?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Then I'll fetch our coats.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>You don't have to come.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Of course I do. I'll just tell Mr Bates where I've gone.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>You're a good friend to me, Anna.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I hope we're good friends to each other, m'lady.<\/dialogue>\n    <scene_description>She hurries off. For once, Mary is quite moved by this.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KITCHEN COURTYARD. DOWNTON. NIGHT.<\/stage_direction>\n    <scene_description>Andy and Molesley are loading the chairs into a truck with Mary and Anna, when Robert and Merton come hurrying up.<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Here we are. All set and ready.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Oh, Papa, Dickie, you're so kind. But are you sure? You'll be soaked to the skin and filthy.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>What's that to us? We're hunting men. Come on.<\/dialogue>\n    <character>MERTON<\/character>\n    <dialogue>You don't need to come, my dear. We can manage it between us.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Of course I'm coming. Come along.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Cheer up, Molesley.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. KING'S ARMS. DOWNTON VILLAGE. NIGHT.<\/stage_direction>\n    <scene_description>Through the pub window, in the rain, Branson and Chetwode are talking over their pints of beer.<\/scene_description>\n    <character>BRANSON<\/character>\n    <dialogue>The villagers and guests will watch from both sides of the dais. And there'll be seats at the front kept for the family.<\/dialogue>\n    <scene_description>They sit near the fire.<\/scene_description>\n    <character>CHETWODE<\/character>\n    <dialogue>I'll join you there.<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>I suppose so.<\/dialogue>\n    <character>CHETWODE<\/character>\n    <dialogue>We'll meet in the high street where we planned. Don't bring anyone. Come on your own.<\/dialogue>\n    <scene_description>He smiles.<\/scene_description>\n    <character>CHETWODE<\/character>\n    <dialogue>It's all ridiculous, of course. It's a lot of fuss over nothing.<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>What? I thought you were here to check I didn't do anything foolish and spoil things.<\/dialogue>\n    <character>CHETWODE<\/character>\n    <dialogue>In what way?<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>I don't know. Throw eggs or wave a banner or shout.<\/dialogue>\n    <character>CHETWODE<\/character>\n    <dialogue>Will you?<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>No. But I'm starting to wonder about you.<\/dialogue>\n    <scene_description>Naturally, he's joking, but Chetwode returns his stare.<\/scene_description>\n    <character>CHETWODE<\/character>\n    <dialogue>I don't throw eggs. Have another?<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>He stands to buy the drinks, leaving Branson with an opaque expression that is hard to read.<\/scene_description>\n    <character>CHETWODE<\/character>\n    <dialogue>Same again, please.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTON VILLAGE GREEN. NIGHT.<\/stage_direction>\n    <scene_description>In lashing rain, Molesley, Andy, Robert, Merton, Mary and Anna carry folded seats towards the dais. Mary counts.<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>We'll bring a special chair up for the Queen after breakfast when, hopefully, it will have stopped raining.<\/dialogue>\n    <character>MOLESLEY<\/character>\n    <dialogue>I shall carry it myself, m'lord!<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>What about the King?<\/dialogue>\n    <character>MERTON<\/character>\n    <dialogue>He'll be on his horse.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>But suppose it's still raining?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>God will make it stop.<\/dialogue>\n    <scene_description>Across the green, Branson is leaving the pub.<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Is that Tom? Has he been in the pub the whole evening? Huh.<\/dialogue>\n    <scene_description>Mary stares at Branson.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTON. DAY<\/stage_direction>\n    <scene_description>Downton on a beautiful, sunny day. Mary stands near Carson. The servants stand in a line.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Well, the day has dawned and the weather proves conclusively that God is a Monarchist.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>Who could doubt it, m'lady?<\/dialogue>\n    <scene_description>Robert comes out with Bertie, Branson, Edith, Violet and the Mertons, the men all in tweeds.<\/scene_description>\n    <character>CORA<\/character>\n    <dialogue>Here they come now.<\/dialogue>\n    <scene_description>She's right. The two gleaming cars are progressing up the drive. The first car stops beside them. The doors are held open and King George V and Queen Mary get out. Molesley starts to hyper-ventilate.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Mr Molesley?<\/dialogue>\n    <character>MOLESLEY<\/character>\n    <dialogue>I'm all right. I just need a moment to catch my breath.<\/dialogue>\n    <scene_description>Cora plunges into a deep court curtsey before the King and Queen.<\/scene_description>\n    <character>CORA<\/character>\n    <dialogue>Your Majesties, welcome to Downton Abbey.<\/dialogue>\n    <character>KING GEORGE<\/character>\n    <dialogue>We're glad to be here, Lady Grantham. Grantham.<\/dialogue>\n    <scene_description>Robert gives a sharp neck bow. Cora takes over.<\/scene_description>\n    <character>CORA<\/character>\n    <dialogue>You remember Lord Grantham's mother.<\/dialogue>\n    <scene_description>Violet curtsies deeply. The King gives her his hand.<\/scene_description>\n    <character>KING GEORGE<\/character>\n    <dialogue>Hello, Lady Grantham. Can I help you?<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Someone must, sir, or I may never rise again. Thank you.<\/dialogue>\n    <character>CORA<\/character>\n    <dialogue>My daughter, Lady Mary Talbot, The Marquess and Marchioness of Hexham, Mr Tom Branson.<\/dialogue>\n    <scene_description>Branson gives a very slight neck bow. Mary sighs with relief. She looks at Bertie.<\/scene_description>\n    <character>CORA<\/character>\n    <dialogue>Lord and Lady Merton.<\/dialogue>\n    <scene_description>The Queen is being led down the same line by Robert.<\/scene_description>\n    <character>QUEEN MARY<\/character>\n    <dialogue>This is kind of you, Lord Grantham.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Not at all. It is a great honour. I'm sure you know, but Princess Mary and Lord Lascelles will be joining us for luncheon and the parade.<\/dialogue>\n    <character>QUEEN MARY<\/character>\n    <dialogue>They're both coming?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>As far as I'm aware.<\/dialogue>\n    <character>QUEEN MARY<\/character>\n    <dialogue>What a relief. Please forget I said that.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Said what, ma'am?<\/dialogue>\n    <scene_description>She squeezes his arm. The others have curtsied and bowed. Now Robert gestures to the servants. Behind them walks Lady Bagshaw. She and Violet will be equally matched.<\/scene_description>\n    <character>VIOLET<\/character>\n    <dialogue>Cousin Maud.<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>Violet.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Are we going to kiss?<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>I'm glad you want to kiss me. It wasn't quite what you said when I last heard from you.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>It wasn't quite how I felt when I wrote.<\/dialogue>\n    <scene_description>They kiss.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KITCHEN COURTYARD. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Branson is loitering outside when he sees a young woman arrive, struggling with two cases. He walks towards her.<\/scene_description>\n    <character>BRANSON<\/character>\n    <dialogue>Can I help you at all?<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Thanks. The others all shot off, and I'm not sure if this is the right way.<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>If you just come with me. What's your part in this circus?<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>I'm Lady Bagshaw's maid.<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>Oh well, then it's this door. If you just ask for Mrs Hughes. She'll look after you.<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>They have reached the back door. He watches her go in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN PASSAGE. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Lucy walks past the others as Albert gives a bandbox to Anna.<\/scene_description>\n    <character>BATES<\/character>\n    <dialogue>This has just arrived for Lady Edith.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Lady Hexham these days, Mr Bates. But-- Thank you, Albert. It's a relief.<\/dialogue>\n    <scene_description>She starts up the servants' staircase.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Courbet is in his chef's toque and screaming at his minions.<\/scene_description>\n    <character>COURBET<\/character>\n    <dialogue>I want the milk now! I want the egg yolks now! I want the olive oil now! And I want the vanilla pod now!<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>He wants a clip round the ear now.<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>Careful, Mrs Patmore. Right. Who's taking this up? Mr Molesley?<\/dialogue>\n    <scene_description>Molesley, in day livery, lifts the serving plate as Anna enters with Bates. Wilson pushes forward.<\/scene_description>\n    <character>WILSON<\/character>\n    <dialogue>There's no need for you to meddle, Mrs Hughes. We will see to it.<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>Meddle? I don't believe I'm meddling in my own house, thank you. Andrew, yes. You take that one.<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>But it's not your house, is it? So would you like to go and sit down?<\/dialogue>\n    <character>BATES<\/character>\n    <dialogue>Now, just a minute.<\/dialogue>\n    <scene_description>He is infuriated by what he is witnessing. Molesley has carried his plate out of the room. So has Andy.<\/scene_description>\n    <character>WILSON<\/character>\n    <dialogue>You! Leave those! Put them down. For heaven's sake, go after them!<\/dialogue>\n    <scene_description>Two Royal footmen race out. Carson has seen the end of this.<\/scene_description>\n    <character>CARSON<\/character>\n    <dialogue>I really must protest. My staff are-<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>Keep them down here, Mr Carson. That goes for you too. Stay out of our way! You've seen Their Majesties. Let it be enough.<\/dialogue>\n    <scene_description>Wilson has gone, leaving them all dumb struck.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SERVERY. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Andy and Molesley prepare their plates, but the Royal footmen snatch the dishes out of their hands.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Excuse me.<\/dialogue>\n    <character>MOLESLEY<\/character>\n    <dialogue>Wait a minute. What are you playing at?<\/dialogue>\n    <scene_description>The footmen carry the plates out of the servery. Andy scoffs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>As the footmen enter, the King and Queen sit opposite each other. Violet is on the King's left. The King is talking to Cora on his right.<\/scene_description>\n    <character>KING GEORGE<\/character>\n    <dialogue>Things seem calmer in the north.<\/dialogue>\n    <character>CORA<\/character>\n    <dialogue>You mean after the strike, sir? Yes, if calmer means more resigned. I'm not sure what the future holds.<\/dialogue>\n    <scene_description>The King looks towards Violet.<\/scene_description>\n    <character>KING GEORGE<\/character>\n    <dialogue>And you, Lady Grantham? Were you affected by the general strike?<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>My maid was rather curt with me while it was on, Sir. But she is a communist at heart so I suppose it was only to be expected.<\/dialogue>\n    <scene_description>Robert is sitting on the Queen's right.<\/scene_description>\n    <character>QUEEN MARY<\/character>\n    <dialogue>Wasn't the Princess joining us?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>They telephoned. Lord Lascelles has been held up by something. But they are planning to come for the parade.<\/dialogue>\n    <scene_description>The Queen raises her eyebrows slightly. Down the table Maud Bagshaw is on Branson's left. Edith on Branson's right.<\/scene_description>\n    <character>MAUD<\/character>\n    <dialogue>I imagine the servants' bedrooms are quite pleasant here.<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>Why? Are you worried for your maid?<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>How clever of you. Lucy is more of a companion than a maid. I'd hate for her to be uncomfortable.<\/dialogue>\n    <scene_description>Branson is getting restless.<\/scene_description>\n    <character>BRANSON<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>He turns to Edith.<\/scene_description>\n    <character>BRANSON<\/character>\n    <dialogue>I really have to go.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>You can't embarrass Mama. I'm sorry, but you must wait until we stand.<\/dialogue>\n    <scene_description>Branson snatches up the menu holder, reads it and groans.<\/scene_description>\n    <character>KING GEORGE<\/character>\n    <dialogue>Lord Hexham, how is Northumberland?<\/dialogue>\n    <character>BERTIE<\/character>\n    <dialogue>As beautiful as ever, sir.<\/dialogue>\n    <character>KING GEORGE<\/character>\n    <dialogue>Can it spare you, do you think?<\/dialogue>\n    <scene_description>Edith glances at her husband.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN PASSAGE\/SERVANTS' HALL. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Molesley and Andy hurry down the stairs and head into the hall. Mrs Patmore, Carson, Bates, Anna, Mrs Hughes and Daisy are in a huddle.<\/scene_description>\n    <character>MRS PATMORE<\/character>\n    <dialogue>We might as well all go for a walk.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>We cannot challenge the way a Royal visit is conducted, Mrs Patmore.<\/dialogue>\n    <character>BATES<\/character>\n    <dialogue>I'm not so sure.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Why don't we all meet back here after the parade?<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>Anna, Mr Bates, there must be no trouble or disloyal tomfoolery of any kind. Do you hear me?<\/dialogue>\n    <scene_description>He strides away. The others share the moment.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>We'll meet in the wine cellar. Tell the others. Now, I'm walking to Mr Bakewell's, if you've any errands.<\/dialogue>\n    <scene_description>Mrs Patmore shakes her head.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM\/HALL. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Luncheon is over. The equerry catches the King's eye.<\/scene_description>\n    <character>KING GEORGE<\/character>\n    <dialogue>We should get moving.<\/dialogue>\n    <scene_description>He stands and they all rise to their feet. He leads the way out.<\/scene_description>\n    <character>EDITH<\/character>\n    <dialogue>What was the King saying earlier? I couldn't hear.<\/dialogue>\n    <character>BERTIE<\/character>\n    <dialogue>He's planning a tour for the Prince of Wales next March. It'll take in most of the African colonies and finish in Cape Town.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>And he wants you to go?<\/dialogue>\n    <character>BERTIE<\/character>\n    <dialogue>He thinks I'm a steadying influence.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>How long would you be away?<\/dialogue>\n    <character>BERTIE<\/character>\n    <dialogue>About three months. I can't believe my luck. Can you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALL. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>In the hall, Branson hurries off, watched by Mary.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTON VILLAGE. MAIN STREET. DAY.<\/stage_direction>\n    <scene_description>The mounted squadron moves forward, down the main street, towards the green. As they pass they reveal Branson approaching the pub. He does not see Mary following him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A ROOM AT THE KING'S ARMS. DOWNTON VILLAGE. DAY.<\/stage_direction>\n    <scene_description>Chetwode takes a revolver out of a drawer. He checks that it's loaded and puts it in his inside coat pocket.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTON VILLAGE. MAIN STREET. DAY.<\/stage_direction>\n    <scene_description>Chetwode comes out of the pub. Branson is walking towards him as Mary arrives.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Tom!<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>What on earth are you doing here?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>I might ask you the same question.<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>Go back or you'll ruin things.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Isn't that what you're doing?<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>You don't know what I'm doing.<\/dialogue>\n    <scene_description>Chetwode has walked over to them so Branson cannot explain. The crowd continues to cheer as the troops pass.<\/scene_description>\n    <character>CHETWODE<\/character>\n    <dialogue>Who's this?<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>This is my sister-in-law, Lady Mary Talbot.<\/dialogue>\n    <character>CHETWODE<\/character>\n    <dialogue>I told you to come alone.<\/dialogue>\n    <scene_description>With a glance at Mary, he hurries away.<\/scene_description>\n    <character>BRANSON<\/character>\n    <dialogue>Leave this to me.<\/dialogue>\n    <scene_description>He runs off. Mary follows him. Chetwode disappears into the crowd, turns and runs across the street between mounted horses and gun carriages. Branson is in pursuit, but he cannot cross as the street is now filled with cavalry. Chetwode ducks into a side alley and then into an empty barn. Branson dodges the horses and gives chase, followed by Mary.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTON VILLAGE. BARN &amp; COURTYARD. DAY<\/stage_direction>\n    <scene_description>Chetwode emerges from the barn to see the King on horseback, with his equerry in front of him. They are walking slowly towards the parade and don't see Chetwode emerge. He lifts his gun to take aim, when Branson slams him to the ground and as they struggle.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Tom!<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>Get the gun!<\/dialogue>\n    <scene_description>Mary steps on the wrist with the gun, forcing Chetwode to let go. She kicks the gun away. Two plain clothed officers arrive at the run and pull Chetwode up, leading him away. Branson gets up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTON VILLAGE. DAY.<\/stage_direction>\n    <character>DETECTIVE<\/character>\n    <dialogue>Are you all right, sir? Your Ladyship?<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>Why are you even here? I didn't suspect him myself until last night.<\/dialogue>\n    <scene_description>Branson shakes his head. So does Mary. As Chetwode is cuffed his anger takes over.<\/scene_description>\n    <character>CHETWODE<\/character>\n    <dialogue>How was I to know you'd given up on a free Ireland?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Isn't it free now?<\/dialogue>\n    <character>CHETWODE<\/character>\n    <dialogue>Not with the bloody Crown around its neck!<\/dialogue>\n    <scene_description>They watch him bundled into a police car.<\/scene_description>\n    <character>BRANSON<\/character>\n    <dialogue>I'm not impressed you all decided I was a Royal assassin.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>I didn't. It was really the others.<\/dialogue>\n    <scene_description>Branson's expression rather questions this.<\/scene_description>\n    <character>DETECTIVE<\/character>\n    <dialogue>If you'll follow us to the station.<\/dialogue>\n    <scene_description>They nod and set off after the police van.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Why didn't you tell us?<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>I thought he'd come to check up on me and didn't want to drag you into it. I assumed he'd back off if I answered his questions and met him for a drink. But last night at the pub, I realised he wanted to use me to get close to the King.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTON VILLAGE GREEN. DAY.<\/stage_direction>\n    <scene_description>Everyone stands as the King rides on to the parade ground, attended by his equerry and other mounted officers. The national anthem strikes up. Anna creeps up to Mrs Patmore and Daisy. Bates is there. Anna nods at him.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Sorry. Excuse me.<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>We thought you'd miss it.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I was just in time.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>I don't know why I bothered.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>Shh!<\/dialogue>\n    <scene_description>The commanding officer rides up to the King, salutes with his sword and asks:<\/scene_description>\n    <character>COMMANDING OFFICER<\/character>\n    <dialogue>Your Majesty, The Yorkshire Hussars are formed up, ready and awaiting your inspection.<\/dialogue>\n    <scene_description>Escorted by the commanding officer, the King rides to the right of the line, accompanied by the escorting officers. The band plays as the inspection begins. The Queen has noticed an empty chair next to her daughter.<\/scene_description>\n    <character>QUEEN MARY<\/character>\n    <dialogue>Where is he?<\/dialogue>\n    <character>PRINCESS MARY<\/character>\n    <dialogue>He's not feeling well.<\/dialogue>\n    <character>QUEEN MARY<\/character>\n    <dialogue>Wasn't he out shooting yesterday?<\/dialogue>\n    <character>PRINCESS MARY<\/character>\n    <dialogue>What do you want me to say?<\/dialogue>\n    <character>QUEEN MARY<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <character>PRINCESS MARY<\/character>\n    <dialogue>You have to let me leave him.<\/dialogue>\n    <character>QUEEN MARY<\/character>\n    <dialogue>We will not talk about it now.<\/dialogue>\n    <scene_description>Cora turns to the Princess. Further down, Maud waves at Lucy in the crowd.<\/scene_description>\n    <character>EDITH<\/character>\n    <dialogue>Is that your maid?<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>That's right. Lucy.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Don't you call her by her surname?<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>She's been with me so long.<\/dialogue>\n    <scene_description>This troubles Violet which Edith registers. In the background the magnificent parade is still in full swing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE VILLAGE POLICE STATION. DAY.<\/stage_direction>\n    <scene_description>Mary and Branson come out and start walking up the street.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>It's so strange. He seemed so English.<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>And so he was. A pillar of the establishment until the notion of Irish independence took him over to the other side. That's where I came in. He'd heard my sympathies lay with Ireland and the republic.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Don't they?<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>Not at any cost. I'm a law-and- order man these days. That's what you lot have done to me.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>So will there be a great splash all over the newspapers? Poor Papa.<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>Oh, no. You'll find there isn't a whisper about this anywhere.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>An establishment cover-up. I don't believe in conspiracy theories.<\/dialogue>\n    <scene_description>But he just smiles and they walk on.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTON VILLAGE GREEN. DAY.<\/stage_direction>\n    <scene_description>The crowd disperses. Lucy Smith is also leaving. Branson quickens his pace. Edith, with Bertie and others, notices.<\/scene_description>\n    <character>BRANSON<\/character>\n    <dialogue>Ah, Miss Smith. Did Mrs Hughes sort you out?<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>She did.<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>And have you enjoyed the parade?<\/dialogue>\n    <scene_description>They laugh. She gives him a glance but he smiles and so does she.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Do you work at the house?<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>Not exactly. I sell cars and I help with the estate. Lord Grantham is my father-in-law.<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Oh, I do beg your pardon, sir.<\/dialogue>\n    <scene_description>She starts to drop back but he slows for her to join him.<\/scene_description>\n    <character>BRANSON<\/character>\n    <dialogue>No, please, let me explain. I started here as the chauffeur.<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>You must be Lady Sybil's husband.<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>I am.<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Lady Bagshaw and I followed the story. We were so sad when she died. How long ago was it?<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>Seven years, or nearly. My God.<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>I'm sorry. It's still painful.<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>Not in that way. It doesn't hurt anymore, but it's still there.<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Can I ask you something?<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Was it hard, coming up like that? Joining the family.<\/dialogue>\n    <scene_description>He looks at her. Then he decides to answer her question.<\/scene_description>\n    <character>BRANSON<\/character>\n    <dialogue>Very hard. Between my old world and the new one, sometimes I didn't know who I was.<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>But you do now?<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>I think so, yes. I came to terms with it. Why?<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>I'm just curious.<\/dialogue>\n    <scene_description>Once again, Edith is watching them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE WINE CELLAR. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>The Downton servants are in the wine cellar. Anna is ushering them along. Baxter and Barrow are the last to enter.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Can somebody tell me what's going on? Anna?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Shh!<\/dialogue>\n    <character>BAXTER<\/character>\n    <dialogue>What are we all doing down here?<\/dialogue>\n    <scene_description>Bates locks the door and turns to face the others.<\/scene_description>\n    <character>CARSON<\/character>\n    <dialogue>This is most improper.<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>Yes, why have you got us all here?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I will tell you. Mr Bates and I, we want to defend Downton's honour.<\/dialogue>\n    <character>BAXTER<\/character>\n    <dialogue>In what way?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Would you like a repeat of how you were all treated at luncheon?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>No, I bloody well would not.<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>Andrew! There are ladies present.<\/dialogue>\n    <character>BATES<\/character>\n    <dialogue>We think we should fight back.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>I don't like the sound of this. I do not like this at all.<\/dialogue>\n    <character>BATES<\/character>\n    <dialogue>Anna, tell them.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>We are going to clear the way so you cook and serve dinner for the King and Queen at Downton Abbey. As you should.<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>Oh, my God! Is this a revolution?<\/dialogue>\n    <character>MOLESLEY<\/character>\n    <dialogue>Shall I fetch the pitchforks?<\/dialogue>\n    <character>BATES<\/character>\n    <dialogue>We're serious, Mr Molesley.<\/dialogue>\n    <character>BAXTER<\/character>\n    <dialogue>But do you know what Mr Courbet has brought in for tonight?<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>Never mind that. We've got our own supplies.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>And you can leave Mr Courbet to me.<\/dialogue>\n    <character>BAXTER<\/character>\n    <dialogue>What do you want us to do?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Don't bother with the maids and valets. We've no quarrel with them.<\/dialogue>\n    <character>BATES<\/character>\n    <dialogue>But we need to get rid of the Royal butler for the night.<\/dialogue>\n    <character>MOLESLEY<\/character>\n    <dialogue>The Page of the Backstairs, if you don't mind, Mr Bates.<\/dialogue>\n    <scene_description>He is loving it. Bates is more serious.<\/scene_description>\n    <character>BATES<\/character>\n    <dialogue>And the footmen need to be out of commission from seven until you finish serving.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>This is treason!<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>What can we do about them?<\/dialogue>\n    <character>MOLESLEY<\/character>\n    <dialogue>We could lock them in the attic.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>Any more talk like that and we'll all end up in Botany Bay.<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>And did you enjoy being pushed around and passed over and told to stay down here by Mr Wilson?<\/dialogue>\n    <scene_description>She has been silent until now. Carson is caught. In agony.<\/scene_description>\n    <character>CARSON<\/character>\n    <dialogue>I will play no active part in this. Suppose His Majesty sees what's going on and is displeased?<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>Why? Do you think I'm not capable of cooking a decent dinner?<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>Oh, no, of course not. But I-<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>I'll see to the footmen.<\/dialogue>\n    <character>BATES<\/character>\n    <dialogue>What are you going to do?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>You'll find out.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>So, does this mean we're back on duty after all? Me and Mr Molesley?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>And Albert as well. You know where to find the state liveries.<\/dialogue>\n    <character>MOLESLEY<\/character>\n    <dialogue>Will I pour wine for the Queen's sweet lips?<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>Any more of that and we'll lock you in the attic.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>I don't know why you're bothering.<\/dialogue>\n    <character>BAXTER<\/character>\n    <dialogue>What about that Mrs Webb who keeps telling us she's the housekeeper?<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>Don't you worry about Mrs Webb. I am more than a match for Mrs Webb.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN PASSAGE. DAY.<\/stage_direction>\n    <scene_description>By the cellar door, they are dispersing.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>I still don't know how you're going to manage Mr Courbet.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Well, there's--<\/dialogue>\n    <scene_description>At that moment Courbet appears, yawning.<\/scene_description>\n    <character>COURBET<\/character>\n    <dialogue>I'm just going upstairs to lie down. Can you get things ready for when I come back?<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>And when will that be, Oh Mighty One?<\/dialogue>\n    <scene_description>He does not like her tone, but he decides not to quarrel.<\/scene_description>\n    <character>COURBET<\/character>\n    <dialogue>Wake me in half an hour if I'm not already in the kitchen.<\/dialogue>\n    <scene_description>But he is stifled by his yawns as he sets off for the stairs. They are all amazed. The others stare at Anna. Bates smiles.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Trust us.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALL. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>The King and Queen, the family, Maud Bagshaw and the Mertons are having tea. Other guests, who came to watch the parade, have joined them. They are served by the four Royal footmen. Mary is with Violet, Maud, Merton and Isobel.<\/scene_description>\n    <character>VIOLET<\/character>\n    <dialogue>Tell us about your maid.<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>Lucy is the daughter of David's army servant, Jack Smith. And, like my husband, he died in the Boer Wars.<\/dialogue>\n    <character>MERTON<\/character>\n    <dialogue>So you looked after his child?<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>Lucy had no mother, you see. So I gave her a home.<\/dialogue>\n    <character>ISOBEL<\/character>\n    <dialogue>That's very generous.<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>Generosity that has been amply returned, I can assure you.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>I'm glad.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>You don't sound very glad.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GARDENS. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Branson, now in a morning coat, is watching Sybbie and the others play. Nanny waits nearby. There is movement in the shadows and Branson investigates. Princess Mary is crying. She sits on a bench. Branson clears his throat to announce his presence.<\/scene_description>\n    <character>PRINCESS MARY<\/character>\n    <dialogue>Goodness. I thought everyone was in the drawing room.<\/dialogue>\n    <scene_description>She looks at him and wipes her eyes briskly.<\/scene_description>\n    <character>BRANSON<\/character>\n    <dialogue>I've been dodging it, I'm afraid. I suppose I ought to get back. Can I get someone for you?<\/dialogue>\n    <character>PRINCESS MARY<\/character>\n    <dialogue>No. Thank you. You're the widower of the youngest daughter, aren't you? I've heard of you, Mr...<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>Branson. Tom Branson. And who are you? I should know, but I'm no good at that sort of thing.<\/dialogue>\n    <scene_description>After a puzzled moment, this pleases her.<\/scene_description>\n    <character>PRINCESS MARY<\/character>\n    <dialogue>I suppose you can't be expected to know everyone. Did you enjoy the parade?<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>I'm afraid I missed it completely. I got distracted.<\/dialogue>\n    <character>PRINCESS MARY<\/character>\n    <dialogue>What a shame.<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>Well, to be honest, I'm not much of a Royalist. Although, I probably shouldn't say that out loud.<\/dialogue>\n    <character>PRINCESS MARY<\/character>\n    <dialogue>Certainly not to a stranger. That seems odd as the Crawleys would die for the Crown if they had to.<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>You can love people you disagree with.<\/dialogue>\n    <character>PRINCESS MARY<\/character>\n    <dialogue>And you love them?<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>They're decent at the core.<\/dialogue>\n    <character>PRINCESS MARY<\/character>\n    <dialogue>People can be decent at the core but very difficult to live with.<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>True enough. They're silly too and snobbish at times. And I wouldn't give tuppence for their politics. But I've learned to be happy with all of that. And, besides, they're my daughter's family.<\/dialogue>\n    <scene_description>She looks over to where the children are playing.<\/scene_description>\n    <character>PRINCESS MARY<\/character>\n    <dialogue>And she lives here?<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>I nearly took her away once. She belongs here now. I spent so much of my life not belonging anywhere. That's important to me.<\/dialogue>\n    <character>PRINCESS MARY<\/character>\n    <dialogue>I suppose, in the end, it's deciding what's important, isn't it? You've given me a great deal to think about, Mr Branson.<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>Good things, I hope.<\/dialogue>\n    <character>PRINCESS MARY<\/character>\n    <dialogue>That may be so, but now we must go in.<\/dialogue>\n    <scene_description>They get up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALL. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Violet is now with Maud and Isobel.<\/scene_description>\n    <character>VIOLET<\/character>\n    <dialogue>We must change. And you leave in the morning. I wonder if we might have a talk later? We'll find a cosy spot. And Robert can join us.<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>I won't be interrogated, Violet.<\/dialogue>\n    <character>ISOBEL<\/character>\n    <dialogue>Please, don't miss the chance to settle things between you.<\/dialogue>\n    <scene_description>She glances at Violet. Maud looks at them both for a moment.<\/scene_description>\n    <character>MAUD<\/character>\n    <dialogue>Very well. But now I must go.<\/dialogue>\n    <scene_description>She joins the Queen and Their Majesties lead the way out.<\/scene_description>\n    <character>VIOLET<\/character>\n    <dialogue>That was helpful. Thank you.<\/dialogue>\n    <character>ISOBEL<\/character>\n    <dialogue>I told you I wanted to help.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Well, thanks to you, we have her cornered.<\/dialogue>\n    <scene_description>She leaves. Isobel is not entirely sure she is pleased.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN PASSAGE. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Wilson is walking past. Bates and Baxter are waiting.<\/scene_description>\n    <character>BAXTER<\/character>\n    <dialogue>Mr Wilson, there's a telephone call for you.<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>For me?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUTLER'S PANTRY. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Wilson, talking on the telephone, is bewildered.<\/scene_description>\n    <character>WILSON<\/character>\n    <dialogue>But, Sir Harry, they wouldn't get to London until nine.<\/dialogue>\n    <character>ELLIS (OVER TELEPHONE)<\/character>\n    <dialogue>It doesn't matter. The ball at Clarence House won't start 'til ten.<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>What ball at Clarence House?<\/dialogue>\n    <character>ELLIS (OVER TELEPHONE)<\/character>\n    <dialogue>The Duke of Connaught's. What are you playing at, Wilson?<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>I'm not questioning you, sir. Not if it's what the Duke of Connaught wishes. But how do I manage here?<\/dialogue>\n    <character>ELLIS (OVER TELEPHONE)<\/character>\n    <dialogue>Don't they have footmen at Downton?<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>Yes. There are footmen. But won't His Majesty--<\/dialogue>\n    <character>ELLIS (OVER TELEPHONE)<\/character>\n    <dialogue>His Majesty won't give a tinker's cuss. Now do as I say!<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>Of course, Sir Harry, at once.<\/dialogue>\n    <scene_description>He puts down the receiver.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POST OFFICE. DOWNTON VILLAGE. DAY<\/stage_direction>\n    <scene_description>Ellis hangs up the telephone. He and Thomas stifle laughs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUTLER'S PANTRY. DOWNTON. DAY<\/stage_direction>\n    <scene_description>Bates and Baxter are watching.<\/scene_description>\n    <character>BATES<\/character>\n    <dialogue>Everything all right, Mr Wilson?<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>I need to see my footmen, and the house footmen and the hall boy. When is the next train to London?<\/dialogue>\n    <character>BAXTER<\/character>\n    <dialogue>I hope it's not bad news.<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>Not bad, exactly, but irregular. Very irregular indeed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POST OFFICE. DOWNTON VILLAGE. DAY.<\/stage_direction>\n    <scene_description>Thomas and Ellis leave the post office. They are in stitches.<\/scene_description>\n    <character>ELLIS<\/character>\n    <dialogue>I'll get drummed out of the regiment if they ever find out.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>You sounded convincing to me.<\/dialogue>\n    <character>ELLIS<\/character>\n    <dialogue>I'm very good at doing Sir Harry Barnston, I can assure you.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>What if Mr Wilson rings back?<\/dialogue>\n    <character>ELLIS<\/character>\n    <dialogue>No one queries Sir Harry's orders.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>But if he did?<\/dialogue>\n    <character>ELLIS<\/character>\n    <dialogue>Then they'd uncover the trick. But they couldn't trace it back to me. Right. Shall we go into York?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>I'm sorry to miss out on the fun in a way. Where shall I wait for you when you're with your parents?<\/dialogue>\n    <character>ELLIS<\/character>\n    <dialogue>We'll find a pub.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EDITH'S BEDROOM. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Edith is wearing her new ball dress. It is huge. Prettily embroidered but huge. Anna comes in.<\/scene_description>\n    <character>EDITH<\/character>\n    <dialogue>Did you manage to speak to someone?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I got hold of Madame Seymour's assistant. They've sent you the wrong one. It's similar in style, but not, as you can see, in size.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>Where's my dress now?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>On its way to New York.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>Well, that's that, then. Wonderful. Everything's going wrong for me today.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>M'lady?<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>Never mind. How are things downstairs? Any better?<\/dialogue>\n    <scene_description>Anna helps Edith out of the dress and into a dressing gown.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>A bit better. Yes, m'lady. In fact, I ought to be getting back.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>Of course. One thing. The painted glass that used to sit by my bed, was it broken while I was away?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Leave it with me, m'lady, and the dress. You wouldn't mind a fitting later tonight, would you?<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>I don't understand. Who with?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I've just had an idea.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAUD BAGSHAW'S BEDROOM. DOWNTON. EVE.<\/stage_direction>\n    <scene_description>Violet opens the door. Maud sits at the dressing table. Her maid, Lucy, stands beside her. Both are chuckling.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>I shouldn't think so, not if she knows what's good for her.<\/dialogue>\n    <scene_description>They peal with laughter again. Now Violet speaks.<\/scene_description>\n    <character>VIOLET<\/character>\n    <dialogue>I'm sorry to interrupt.<\/dialogue>\n    <scene_description>Maud swings round, her eyes narrow.<\/scene_description>\n    <character>MAUD<\/character>\n    <dialogue>How clever of you to find me.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Not really. I lived here forty years. I assume this is your maid.<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>Yes. This is Lucy Smith.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Oh, good evening, Smith.<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Good evening, m'lady. Shall I go?<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Not for me. Not for me. I'm delighted to meet you. I've heard so much about you.<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>Is there something you want?<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Just to see you're comfortable, and to confirm our little chat for later.<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>I live my own life now, Violet. I'm not what I was. My father is gone. My husband is gone. I see no reason not to do what I want.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>That doesn't mean there is no reason, merely that you cannot see it.<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>I think Lady Merton is right. We'll have it out, once and for all. But now I must go to Her Majesty.<\/dialogue>\n    <scene_description>She puts on her gloves and leaves. Violet stares at Lucy.<\/scene_description>\n    <character>VIOLET<\/character>\n    <dialogue>Hmm.<\/dialogue>\n    <scene_description>Violet turns and goes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN. DOWNTON. EVE.<\/stage_direction>\n    <scene_description>Wilson lectures Molesley, Andy and the hall boys, in state livery. Baxter, Bates, Anna, Mrs Patmore, Mrs Hughes and Daisy listen<\/scene_description>\n    <character>WILSON<\/character>\n    <dialogue>You're not to speak. You're not to think. Just follow my lead. Their Majesties must not know they're being served by anyone different. Do you hear me? I don't want them to even notice.<\/dialogue>\n    <character>MOLESLEY<\/character>\n    <dialogue>We will do our best, Mr Wilson.<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>I don't want your best. I want far better than your best.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>Is everything under control here, Mr Wilson? I gather the others caught the train.<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>And this is what we're left with.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>Mind you don't disgrace the state livery, Albert.<\/dialogue>\n    <character>ALBERT THE HALL BOY<\/character>\n    <dialogue>Of course, Mr Carson.<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>Where is Monsieur Courbet? I came in here to see him.<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>He went out. So I thought I'd better get on with dinner. Wasn't I right?<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>No. You were not right. You were entirely WRONG!<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>Oh!<\/dialogue>\n    <scene_description>Mrs Patmore has contrived to spill the bowl of sauce she is stirring down the front of Wilson's livery. He is furious.<\/scene_description>\n    <character>MRS PATMORE<\/character>\n    <dialogue>Oh, I'm sorry. I don't know how that happened.<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>I shall have to go and change. We'll sort this out when I return.<\/dialogue>\n    <scene_description>He walks off.<\/scene_description>\n    <character>ANNA (WHISPERS)<\/character>\n    <dialogue>Andy.<\/dialogue>\n    <scene_description>Andy nods and leaves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EDITH'S BEDROOM. DOWNTON. EVE.<\/stage_direction>\n    <scene_description>Edith is filling an evening bag.<\/scene_description>\n    <character>BERTIE<\/character>\n    <dialogue>If you don't want me to, I won't.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>But you've already said that you will.<\/dialogue>\n    <character>BERTIE<\/character>\n    <dialogue>Because it's a fantastic chance. It didn't occur to me you'd mind.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>I don't exactly, not in that way.<\/dialogue>\n    <character>BERTIE<\/character>\n    <dialogue>Then in what way?<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>I wasn't going to tell you. I wasn't going to tell anyone. But...<\/dialogue>\n    <scene_description>He waits for her explanation.<\/scene_description>\n    <character>EDITH<\/character>\n    <dialogue>I might be pregnant.<\/dialogue>\n    <character>BERTIE<\/character>\n    <dialogue>Oh, darling. How marvellous. How fabulous. My heart is bursting.<\/dialogue>\n    <scene_description>They embrace.<\/scene_description>\n    <character>EDITH<\/character>\n    <dialogue>Well, that's exactly what I don't want. It could easily go wrong.<\/dialogue>\n    <character>BERTIE<\/character>\n    <dialogue>But, if it doesn't-<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>Then I'll give birth just as you set off on your three-month colonial tour.<\/dialogue>\n    <character>BERTIE<\/character>\n    <dialogue>Why didn't you say this when I first mentioned it?<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>You'd agreed before I had the chance.<\/dialogue>\n    <character>BERTIE<\/character>\n    <dialogue>Secrets always muddle things.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>Oh, yes. That's right. Let's make it my fault.<\/dialogue>\n    <character>BERTIE<\/character>\n    <dialogue>Well, I'll tell the King I can't go.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>And he'll accept that, will he?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MANSERVANTS' BEDROOM CORRIDOR\/WILSON'S BEDROOM\/<\/stage_direction>\n    <scene_description>COURBET'S BEDROOM. EVE. Andy walks down the passage holding a keyring. Wilson is changing his shirt. Outside, Andy turns the key silently in the lock. Then he removes it. He walks down the passage and locks the door to Courbet's room. Courbet is fast asleep.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM GALLERY. DOWNTON. EVE.<\/stage_direction>\n    <scene_description>Edith and Mary emerge, just as Lucy leaves Maud's room.<\/scene_description>\n    <character>EDITH<\/character>\n    <dialogue>Hello. It's Miss Smith, isn't it? We were talking about you earlier. Weren't we?<\/dialogue>\n    <scene_description>Mary looks at her, puzzled. Branson, in white tie, appears.<\/scene_description>\n    <character>EDITH<\/character>\n    <dialogue>Oh, Tom. What luck! You know Miss Smith, don't you? Come along, Mary.<\/dialogue>\n    <scene_description>She hurries away with a bewildered Mary.<\/scene_description>\n    <character>BRANSON<\/character>\n    <dialogue>Are you all right? Has something happened?<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Old Lady Grantham came in while we were dressing. I think the stage is set for a fight later, about me. She thinks Lady Bagshaw means to favour me and she doesn't approve.<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>What business is it of hers? Lady Bagshaw must have her reasons. And that's good enough for me.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Going down, Tom?<\/dialogue>\n    <scene_description>He has emerged from his dressing room. The two men walk off.<\/scene_description>\n    <character>BRANSON<\/character>\n    <dialogue>Good night.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SERVANTS' HALL. DOWNTON. NIGHT.<\/stage_direction>\n    <scene_description>Miss Lawton is sewing when Anna looks in.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>There you are, Miss Lawton. I hope you're having a well-earned rest.<\/dialogue>\n    <character>LAWTON<\/character>\n    <dialogue>There's always less for me to do when Miss Aplin arrives. But we must be ready for the ball tomorrow.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>That's what I want to talk about. Later this evening, when I go up to help Lady Hexham, I want you to come with me, fit a new ball dress and sew it overnight so it's done before you leave in the morning.<\/dialogue>\n    <scene_description>Miss Lawton stares at her.<\/scene_description>\n    <character>LAWTON<\/character>\n    <dialogue>Why on earth would I do that?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>The box and cupid from the drawing room, the library paper knife, Lady Hexham's painted glass?<\/dialogue>\n    <scene_description>The penny drops painfully.<\/scene_description>\n    <character>LAWTON<\/character>\n    <dialogue>I never took the glass.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Then it must have been broken, like she said. But you took something from that room. What was it?<\/dialogue>\n    <character>LAWTON<\/character>\n    <dialogue>A patch box from the dressing table.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I'd like them all back, please.<\/dialogue>\n    <character>LAWTON<\/character>\n    <dialogue>I can't sew a dress in a night. When would I sleep?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>When you get to Harewood tomorrow. And don't think I won't tell. \"Queen's dresser a thief\". That'll make headlines from here to Peru.<\/dialogue>\n    <scene_description>Anna leaves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTON ABBEY. NIGHT.<\/stage_direction>\n    <scene_description>The guests are arriving for the dinner. The men wear court dress with decorations, the women glimmer in tiaras.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALL. DOWNTON. NIGHT.<\/stage_direction>\n    <scene_description>The King and Queen, with Cora and Robert, are receiving.<\/scene_description>\n    <character>CARSON<\/character>\n    <dialogue>The Marquess and Marchioness of Granby. Sir William and Lady Ingleby.<\/dialogue>\n    <scene_description>Mary moves to Molesley's side.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Where are the Royal footmen?<\/dialogue>\n    <character>MOLESLEY<\/character>\n    <dialogue>They've had to go back to London.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>All of them? Wasn't that rather unlucky?<\/dialogue>\n    <character>MOLESLEY<\/character>\n    <dialogue>Unlucky for some, m'lady.<\/dialogue>\n    <scene_description>George, Sybbie, Marigold and Johnnie are watching from the gallery with their nanny, laughing and pointing down at the gleaming, glamorous throng below. Mary blows them a kiss.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WILSON'S BEDROOM\/MANSERVANTS' BEDROOM CORRIDOR. EVE. 104<\/stage_direction>\n    <scene_description>Wilson is wrestling with the bedroom door.<\/scene_description>\n    <character>WILSON<\/character>\n    <dialogue>For goodness' sake! Help me. Will someone help me?<\/dialogue>\n    <scene_description>But in the empty passage, no one is listening.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PUBLIC HOUSE. YORK. NIGHT.<\/stage_direction>\n    <scene_description>Thomas is waiting. It has clearly been a long time. A man at the bar is giving him the eye. He nods towards the door.<\/scene_description>\n    <character>WEBSTER<\/character>\n    <dialogue>I'm going on to Turton's in a minute. Do you know it? I'm Chris Webster, by the way.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>I'm waiting for someone.<\/dialogue>\n    <character>WEBSTER<\/character>\n    <dialogue>For a very long time. Perhaps he's found better things to do.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>And?<\/dialogue>\n    <character>WEBSTER<\/character>\n    <dialogue>Why don't you come with me? You know you want to.<\/dialogue>\n    <scene_description>Thomas stares at him. He sups some beer and puts down the glass.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Excuse me, sir? My name's Barrow. If someone comes looking for me, could you tell him I've gone?<\/dialogue>\n    <character>BARMAN<\/character>\n    <dialogue>Shall I say where to?<\/dialogue>\n    <scene_description>Thomas and Webster speak simultaneously.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Turton's.<\/dialogue>\n    <character>WEBSTER<\/character>\n    <dialogue>Never mind that.<\/dialogue>\n    <scene_description>They go. The barman watches them as they walk out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SERVERY. DOWNTON. EVE.<\/stage_direction>\n    <scene_description>Bates, Andy, Molesley, the boys and Mrs Hughes are busy with preparations. Carson enters in tails and breeches.<\/scene_description>\n    <character>CARSON<\/character>\n    <dialogue>I just cannot understand where Mr Wilson has got to.<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>Never mind him. What about you? Surely you can't really mean to leave His Majesty unattended.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>But is it for me to attend him?<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>Well, you've got your breeches on.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>I have, but-<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>Mr Carson, this is your destiny. You know as much, and so do I. Now accept it proudly. And walk into that room with your head held high.<\/dialogue>\n    <character>BATES<\/character>\n    <dialogue>You can do it, Mr Carson.<\/dialogue>\n    <scene_description>Carson pauses, thinks, nods and heads to the dining room. Mrs Webb comes in. She is furious.<\/scene_description>\n    <character>MRS WEBB<\/character>\n    <dialogue>Please tell me what is going on!<\/dialogue>\n    <character>BATES<\/character>\n    <dialogue>Mr Courbet is missing, ditto Mr Wilson, and your footmen are on their way up to London.<\/dialogue>\n    <character>MRS WEBB<\/character>\n    <dialogue>I am still in charge here.<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>No, Mrs Webb. These are my people now. So please, go back to the servants' hall and sit down. Or would you rather ruin the evening?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>That's telling her.<\/dialogue>\n    <scene_description>Mrs Webb might protest but thinks better and retreats as Anna and Baxter arrive, carrying sauce boats and bowls.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Mrs Patmore forgot to send up the sauce.<\/dialogue>\n    <character>BAXTER<\/character>\n    <dialogue>And I've got the chopped egg.<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>That's kind when it's not your job.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Nonsense. We must all pull our weight tonight for Downton's glory.<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>Now, are you ready, boys?<\/dialogue>\n    <character>ALBERT THE HALL BOY<\/character>\n    <dialogue>Ready as we'll ever be.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>We'll be fine, Mrs Hughes.<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>What about you, Mr Molesley?<\/dialogue>\n    <character>MOLESLEY<\/character>\n    <dialogue>I know I'm going to forget my lines.<\/dialogue>\n    <character>BAXTER<\/character>\n    <dialogue>You haven't got any lines!<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>You're on.<\/dialogue>\n    <character>MOLESLEY<\/character>\n    <dialogue>Oh, right.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>And Mr Molesley? Remember to breathe.<\/dialogue>\n    <character>MOLESLEY<\/character>\n    <dialogue>Breathe. Yes.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>Gentlemen.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM\/SERVERY. DOWNTON. EVE.<\/stage_direction>\n    <scene_description>The dining room and the company make a splendid impression. Molesley floats in, moving behind the Queen as Andy goes to the King. Albert follows with a serving plate. Andy stands beside Carson. He whispers.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>I'm glad you're here, Mr Carson.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>I must go where my king needs me.<\/dialogue>\n    <scene_description>He himself walks like an emperor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TURTON'S. YORK. NIGHT<\/stage_direction>\n    <scene_description>Thomas and Webster approach a closed door. Webster knocks in a rhythmic pattern. A security guard opens the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TURTON'S. YORK. NIGHT.<\/stage_direction>\n    <scene_description>Thomas enters the bar with Chris Webster. He looks round, amazed. It is a covert gay club. Men are dancing with men.<\/scene_description>\n    <character>TURTON'S PATRON<\/character>\n    <dialogue>Looks like we've got some new blood here. Hello.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>I can't believe this. I've never seen anything like it.<\/dialogue>\n    <character>WEBSTER<\/character>\n    <dialogue>There's a first time for everything.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>I know, but...<\/dialogue>\n    <character>WEBSTER<\/character>\n    <dialogue>Come dance with me.<\/dialogue>\n    <scene_description>Webster takes Thomas' hand and leads him through the club.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM. DOWNTON. NIGHT.<\/stage_direction>\n    <scene_description>The dinner guests enjoy their meal.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>I wish I could tell them how grateful they should be to you.<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>You were every bit as brave as I was.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Mary, you're talking in the wrong direction.<\/dialogue>\n    <scene_description>The other women have followed the Queen to face the other way. Except Mary. She turns. Now Branson is talking to Edith.<\/scene_description>\n    <character>EDITH<\/character>\n    <dialogue>Don't worry about Granny. She's getting ready to give Cousin Maud a grilling. Mainly, I suspect, about her maid.<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>I think Lady Bagshaw sees her as more than just her maid.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>I'm sure she does. And that's what Granny's afraid of.<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>I might as well admit... I like her.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>Good. Don't let them put you off.<\/dialogue>\n    <scene_description>This is a surprise and Branson turns to look at her.<\/scene_description>\n    <character>VIOLET<\/character>\n    <dialogue>Tom, you're looking pleased with yourself.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>He was just praising Lady Bagshaw's maid.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>How did she contrive to make your acquaintance?<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>She didn't contrive anything. We met by chance.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>What simpletons men are.<\/dialogue>\n    <scene_description>The King speaks to Cora on his right.<\/scene_description>\n    <character>KING GEORGE<\/character>\n    <dialogue>This is good. And I thought something else was planned. But it is excellent. So, a well done to old Courbet.<\/dialogue>\n    <character>MOLESLEY<\/character>\n    <dialogue>Oh, this wasn't Monsieur Courbet, Your Majesty. Mrs Patmore cooked it. In fact, it is the Downton Abbey staff who are serving you this evening.<\/dialogue>\n    <scene_description>This silences the room. Andy makes a horrified face at Molesley who suddenly realises he's broken every sacred law.<\/scene_description>\n    <character>MOLESLEY<\/character>\n    <dialogue>I do beg your pardon, Your Majesty.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>That's quite enough, Molesley.<\/dialogue>\n    <scene_description>Molesley is trembling with nerves and humiliation. He is literally paralysed. The Queen decides to save the moment.<\/scene_description>\n    <character>QUEEN MARY<\/character>\n    <dialogue>You must give our compliments to Mrs Patmore and to all the staff.<\/dialogue>\n    <character>CORA<\/character>\n    <dialogue>Molesley, Her Majesty is speaking to you.<\/dialogue>\n    <scene_description>Molesley had been locked in a mist of dark, satanic horror but now the sun breaks through. He opens, like a flower.<\/scene_description>\n    <character>MOLESLEY<\/character>\n    <dialogue>With pleasure, Your Majesty<\/dialogue>\n    <scene_description>He plunges into a cross between a bow and a curtsey and slowly backs out of the room.<\/scene_description>\n    <character>CORA<\/character>\n    <dialogue>That was kind of you, ma'am.<\/dialogue>\n    <character>QUEEN MARY<\/character>\n    <dialogue>I suppose he's excited that they've had to take over from our people. I wonder what's happened.<\/dialogue>\n    <character>CORA<\/character>\n    <dialogue>Whatever may have happened does not excuse his behaviour.<\/dialogue>\n    <character>QUEEN MARY<\/character>\n    <dialogue>I can assure you, Lady Grantham, we are quite used to people behaving strangely when we are near.<\/dialogue>\n    <scene_description>Which makes Cora laugh.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TURTON'S. YORK. NIGHT.<\/stage_direction>\n    <scene_description>Thomas is very drunk. He is also dancing the tango with Webster. He has never had such a good time. Until the air is rent with the sound of a loud whistle. The band stops. A policeman in uniform is facing them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TURTON'S. YORK. NIGHT<\/stage_direction>\n    <scene_description>Black Marias are parked in the road. Policemen run towards the club.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TURTON'S. YORK. NIGHT<\/stage_direction>\n    <scene_description>Policemen surround the men in the club.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <character>POLICEMAN<\/character>\n    <dialogue>All right, gentlemen. That's the end of your evening. Shut that music up now! Right! You are all coming to the station with us.<\/dialogue>\n    <character>WEBSTER<\/character>\n    <dialogue>We're just having a bit of fun, Officer. No one's making any trouble.<\/dialogue>\n    <character>POLICEMAN<\/character>\n    <dialogue>That's for the judge to decide.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Judge?<\/dialogue>\n    <character>POLICEMAN<\/character>\n    <dialogue>What did you think? We were going to slap your wrists and send you home?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>I've never been here before.<\/dialogue>\n    <character>POLICEMAN<\/character>\n    <dialogue>Well, you're here now. Right! Gather your things. You're coming with us, you dirty perverts.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TURTON'S. YORK. NIGHT.<\/stage_direction>\n    <scene_description>The club is in a dark side street. The men are loaded in to the Black Marias, Thomas among them. On the other side of the road Ellis is watching from the car.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIBRARY. DOWNTON. NIGHT.<\/stage_direction>\n    <scene_description>Supervised by Carson, Molesley and Andy dispense coffee and drinks. Violet is with Isobel. She drops her voice.<\/scene_description>\n    <character>VIOLET<\/character>\n    <dialogue>I met the maid. She has Maud wound around her little finger.<\/dialogue>\n    <character>ISOBEL<\/character>\n    <dialogue>Then we need to know why.<\/dialogue>\n    <scene_description>Bertie approaches the King, who turns to him, smiling.<\/scene_description>\n    <character>KING GEORGE<\/character>\n    <dialogue>What is it, Hexham?<\/dialogue>\n    <character>BERTIE<\/character>\n    <dialogue>Well, Your Majesty, it's this. I've just learned that Lady Hexham is expecting our first child.<\/dialogue>\n    <character>KING GEORGE<\/character>\n    <dialogue>But that's wonderful news.<\/dialogue>\n    <character>BERTIE<\/character>\n    <dialogue>We're not telling anyone quite yet. But I thought you'd be interested.<\/dialogue>\n    <character>KING GEORGE<\/character>\n    <dialogue>And so I am. Congratulations.<\/dialogue>\n    <character>BERTIE<\/character>\n    <dialogue>The thing is, Sir, it's due to be born around the time the Prince and I will be setting off on tour.<\/dialogue>\n    <character>KING GEORGE<\/character>\n    <dialogue>Excellent! Please make it register with him. Help the Prince to understand what it means to have a real family life. You can be such an example to him, I know it.<\/dialogue>\n    <scene_description>Bertie drops back, stumped. Maud, Violet, Cora, Robert and Isobel are sitting together.<\/scene_description>\n    <character>MAUD<\/character>\n    <dialogue>Very well. Let's get to the point. Robert is my nearest relation on my father's side.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>He is.<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>But he will not be my heir.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>And there we have it.<\/dialogue>\n    <character>CORA<\/character>\n    <dialogue>Who will be? Can you tell us?<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>Lucy Smith, my maid.<\/dialogue>\n    <scene_description>This does not come as a surprise to Isobel. It does to Cora.<\/scene_description>\n    <character>VIOLET<\/character>\n    <dialogue>What? Are you out of your mind?<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>No. And I know what I'm doing.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>On the contrary, you're clearly insane! You should be in an asylum!<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>How like you. A word of resistance and you slash with your sabre.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>It is lucky for Miss Smith that I do not own a sabre.<\/dialogue>\n    <character>CORA<\/character>\n    <dialogue>So this is truly your choice?<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>Lucy has taken care of me for many years. I wish to show my gratitude.<\/dialogue>\n    <scene_description>She is very determined but Violet has boiled over.<\/scene_description>\n    <character>VIOLET<\/character>\n    <dialogue>With the family house? With the family estate? You belong in a straitjacket! To treat your maid as a blood relation is to unpick every fibre of the English way of life.<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>What piffle you talk.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Please, there is no need to argue.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>I never argue. I explain.<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>Face it, Violet, I'll outlive you anyway, so it need trouble you no further. And now, I must attend Her Majesty.<\/dialogue>\n    <scene_description>She stands and leaves. Robert has stood as she goes.<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Game, set and match to Lady Bagshaw.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Not while I'm the umpire.<\/dialogue>\n    <scene_description>Violet has lost her rag. Isobel has not.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION. YORK. NIGHT.<\/stage_direction>\n    <scene_description>Ellis is talking to the sergeant.<\/scene_description>\n    <character>ELLIS<\/character>\n    <dialogue>We had a few drinks and Mr Barrow thought it'd be fun to play a trick on the queers, that's all. He was only in there for five minutes.<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>Dancing the tango with another man.<\/dialogue>\n    <character>ELLIS<\/character>\n    <dialogue>Come on, Sergeant. It was a joke.<\/dialogue>\n    <scene_description>But he sees he needs a new tactic.<\/scene_description>\n    <character>ELLIS<\/character>\n    <dialogue>Turns your stomach, though.<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>Relieved to hear it.<\/dialogue>\n    <character>ELLIS<\/character>\n    <dialogue>I'd rather be dead if I thought I was one of them. But what can I say to the earl?<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>What earl?<\/dialogue>\n    <character>ELLIS<\/character>\n    <dialogue>The Earl of Grantham. Mr Barrow is his butler. Of course, you'll want to see proof of my identity.<\/dialogue>\n    <scene_description>He hands over a card. The luckless copper stares at it in horror.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE STATION. YORK. NIGHT.<\/stage_direction>\n    <scene_description>Thomas emerges, looking round. Ellis waves him over.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Was it you who got me out?<\/dialogue>\n    <character>ELLIS<\/character>\n    <dialogue>No, the good fairy came down on a moonbeam.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>How did you know where I'd gone?<\/dialogue>\n    <character>ELLIS<\/character>\n    <dialogue>The landlord told me. I waited outside, followed you here.<\/dialogue>\n    <character>ELLIS<\/character>\n    <dialogue>Then I showed the sergeant my card, and that seemed to settle things.<\/dialogue>\n    <scene_description>He is still holding the card which Thomas takes.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>\"The Royal Household.\" He must have loved that. I'm afraid I've been a silly boy.<\/dialogue>\n    <character>ELLIS<\/character>\n    <dialogue>You just need to be a bit more circumspect in future, Mr Barrow.<\/dialogue>\n    <scene_description>He puts his finger to his lips and touches Thomas'. Thomas slips the card into his pocket, which Ellis does not notice. He has forgotten about the card completely.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EDITH'S BEDROOM. DOWNTON. NIGHT.<\/stage_direction>\n    <scene_description>Edith is having the dress fitted by Lawton, watched by Anna.<\/scene_description>\n    <character>LAWTON<\/character>\n    <dialogue>Could you please remove it, m'lady, leaving the pins in place?<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>Can you really get it done before you go? I don't see how.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>She'll finish it. Won't you?<\/dialogue>\n    <character>LAWTON<\/character>\n    <dialogue>I'll do my best.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I'm sure you'll manage. By the way, I think I know what happened to the cupid from the drawing room, m'lady.<\/dialogue>\n    <scene_description>Edith has stepped out of the dress. Now Lawton takes it.<\/scene_description>\n    <character>EDITH<\/character>\n    <dialogue>Really? Was it missing?<\/dialogue>\n    <character>LAWTON<\/character>\n    <dialogue>Your dress will be ready in the morning, m'lady.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Lawton leaves.<\/scene_description>\n    <character>EDITH<\/character>\n    <dialogue>I don't know how you persuaded her.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>She's nice, really. When you get to know her. Is there anything else?<\/dialogue>\n    <scene_description>Bertie arrives in a dressing gown as Anna leaves.<\/scene_description>\n    <character>EDITH<\/character>\n    <dialogue>Only to say that you're a genius. Good night.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Good night.<\/dialogue>\n    <character>BERTIE<\/character>\n    <dialogue>I'm afraid I didn't get anywhere.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>Well, that's that, just because the King doesn't see that a man has any part to play in childbearing.<\/dialogue>\n    <character>BERTIE<\/character>\n    <dialogue>Well, he doesn't. But you'd think he'd know that one likes to be around.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>You can't just tell him no?<\/dialogue>\n    <character>BERTIE<\/character>\n    <dialogue>Darling, I'm one of the senior peers in the land. What do you think that means? What do you think I'm sworn to?<\/dialogue>\n    <scene_description>Edith has nothing to add.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAUD'S BEDROOM. DOWNTON. NIGHT.<\/stage_direction>\n    <scene_description>Maud comes in to find Isobel waiting.<\/scene_description>\n    <character>ISOBEL<\/character>\n    <dialogue>Lady Bagshaw, could I have a word before you ring for your maid?<\/dialogue>\n    <scene_description>Maud, puzzled, nods.<\/scene_description>\n    <character>ISOBEL<\/character>\n    <dialogue>Does Lucy know that you're her mother?<\/dialogue>\n    <scene_description>The bomb has dropped. Maud takes a deep breath.<\/scene_description>\n    <character>MAUD<\/character>\n    <dialogue>She does. For years I said I was her godmother, but I told her the truth on her eighteenth birthday.<\/dialogue>\n    <character>ISOBEL<\/character>\n    <dialogue>How old was she when Jack died?<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>Six. She'd lived with Jack and his mother until then. But I took her into the house and she went to the village school until, eventually, she became my maid.<\/dialogue>\n    <character>ISOBEL<\/character>\n    <dialogue>I suppose if she'd been your ward, people would have guessed.<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>Exactly. Who takes notice of a servant? I hid her in plain sight.<\/dialogue>\n    <character>ISOBEL<\/character>\n    <dialogue>Did you love Jack Smith?<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>Everyone should know a total love at least once. Jack was mine. My husband was very dull, you know? He wasn't a bad man, but he wasn't a clever one either. And... then he died and Jack came to see me and it began from there.<\/dialogue>\n    <scene_description>They sit near the fire.<\/scene_description>\n    <character>ISOBEL<\/character>\n    <dialogue>How daring.<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>I know it sounds reckless, but I was thirty-nine when I got pregnant. I thought I was barren. Of course, I knew I couldn't tell my father, so I went to America.<\/dialogue>\n    <character>ISOBEL<\/character>\n    <dialogue>They must have thought that wild.<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>Little did they know how wild it really was.<\/dialogue>\n    <character>ISOBEL<\/character>\n    <dialogue>But you were happy with Jack?<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>Very. We had ten years together before he died. I'd have married him if I'd had the courage. I was weak. But you never knew my father.<\/dialogue>\n    <character>ISOBEL<\/character>\n    <dialogue>I suppose Royal service kept you silent on the subject.<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>In a way. But it was cowardice, really. Now, by making Lucy my heir, I will have taken the first step.<\/dialogue>\n    <character>ISOBEL<\/character>\n    <dialogue>You must tell Violet at once.<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>I couldn't.<\/dialogue>\n    <character>ISOBEL<\/character>\n    <dialogue>You're wrong. As soon as she knows the truth, she'll fathom your plans and cease to fight you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S BEDROOM. DOWNTON. NIGHT.<\/stage_direction>\n    <scene_description>Anna is looking after Mary.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>The servants seemed to be enjoying themselves tonight, especially Molesley. What happened to the Royal team?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>It's a long story, m'lady. But you're right. We did have fun.<\/dialogue>\n    <scene_description>Mary has tied her dressing gown and sits at a writing desk.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Well, I'm glad it's gone well for everyone. But I don't think I could face doing it again.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>You're not finished yet. You've still got the ball at Harewood.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Yes, but it won't be our fault if anything goes wrong.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>That's not very cheerful.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>The last few days have made me think. Should we really go on with it? We're running the house with too few people as it is. And half of those here now will leave soon.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>What are you saying, m'lady?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Isn't it time to chuck in the towel? Lots of people have.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>You mean, leave Downton?<\/dialogue>\n    <scene_description>Mary moves to a chair beside the bed.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>We could sell it for a school or an old people's home or something. And buy a manor house with a modest estate, and live a normal life.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Is that what you want?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>I want everything to stop being such a struggle. Will the staff stay? Will the farms pay? What are we going to do about the roof? When I was putting up the chairs in the rain, I kept thinking, \"What am I doing?\"<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I'll tell you what you're doing, m'lady. You're making a centre for the people who work here, for this village, for the county. Downton Abbey is the heart of this community. And you're keeping it beating.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>So you think we should battle on?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>While there's blood in your veins.<\/dialogue>\n    <scene_description>The two women look at each other. This is a pact.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM GALLERY. DOWNTON. NIGHT.<\/stage_direction>\n    <scene_description>Branson is on his way to bed when Lucy enters the gallery.<\/scene_description>\n    <character>BRANSON<\/character>\n    <dialogue>Ah, Miss Smith. Is she settled for the night?<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>She's more rattled than settled. And I was right. There was an argument, and it was about me.<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>I hear from Lord Grantham she's planning to alter your life for the better. He says Old Lady Grantham was up in arms.<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>I can imagine.<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>Are you entitled to your good luck? Do you know why she's doing it?<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>I do. And I think it's fair.<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>Go forward in health and use your luck wisely.<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>I have such a feeling that you can understand what's going on inside my head, when no one else does or ever could. I'll miss our talks.<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>Would you like to write to me? I could always provide a shoulder.<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>May I? Really?<\/dialogue>\n    <scene_description>Branson holds Lucy's hand.<\/scene_description>\n    <character>BRANSON<\/character>\n    <dialogue>I should be pleased and flattered if you would.<\/dialogue>\n    <scene_description>He leans in to kiss her. She responds but then pulls back.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>And now I think it's time to say good night, Mr Branson.<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>Good night, Miss Smith.<\/dialogue>\n    <scene_description>She leaves him a much happier man than he was.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN. DOWNTON. NIGHT.<\/stage_direction>\n    <scene_description>The Downton staff is celebrating victory with plenty of wine.<\/scene_description>\n    <character>BATES<\/character>\n    <dialogue>Here's to the triumph of Downton and my beautiful wife!<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Here's to all of you who brought it off!<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>Here's to Mr Carson for swallowing his principles!<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>I shan't sleep a wink tonight.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>And here's to Her Majesty for taking pity on Mr Molesley.<\/dialogue>\n    <character>MOLESLEY<\/character>\n    <dialogue>For a moment there, I thought I was headed for the Tower.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>You're not coming round to them, are you?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>It was decent of her, Daisy, when she could have let it spoil things.<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>Not everyone's like Robespierre! Let's hear it for the King and Queen.<\/dialogue>\n    <character>EVERYONE<\/character>\n    <dialogue>The King and Queen!<\/dialogue>\n    <scene_description>Andy leads Daisy away from the others.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>I've got to tell you something, Daisy. It was me that broke the pump. I don't know what I was doing. I was just in a jealous rage.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>It was that plumber you made eyes at. I just saw red. And then when I realised I'd brought him back to the house, I went nearly mad.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>I did not make eyes. I liked him, but there was nothing more to it.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>I feel a fool now.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>You tried to wreck the visit of the King of England. You risked being sacked, you risked ruin, just for the love of me?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>My feelings took over. That's all I can say. Can you forgive me?<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>Forgive you? Oh, Andy, I'd have done it myself if I'd had the nerve. Don't you see what it means? We're alike, you and I, full of passion for what matters. I thought you were easily satisfied, but I see now you're not. So we can fight our way to a better world together.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STABLE YARD. DOWNTON. NIGHT.<\/stage_direction>\n    <scene_description>Thomas and Ellis walk away from the car towards the house.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>I'm not sure I've shown enough gratitude for what you did.<\/dialogue>\n    <character>ELLIS<\/character>\n    <dialogue>We have to stick together, men like us.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>That's the point. I don't know any men like I am. I've never just talked to someone like me.<\/dialogue>\n    <character>ELLIS<\/character>\n    <dialogue>We're talking now.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>And it feels good. Just to be two blokes, having a chat, not trying to fit in for once.<\/dialogue>\n    <character>ELLIS<\/character>\n    <dialogue>We all have to do what we must to get by. But yes, it feels good to be two ordinary blokes.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Will they ever see it our way?<\/dialogue>\n    <character>ELLIS<\/character>\n    <dialogue>I don't know. Fifty years ago, who'd have thought man could fly?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>A new day has dawned.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EDITH'S BEDROOM. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Bertie wakes. He is alone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Edith walks alone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN PASSAGE\/BOOT ROOM. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Anna is walking to the servants' hall when Lawton sees her.<\/scene_description>\n    <character>LAWTON<\/character>\n    <dialogue>Mrs Bates? Here's the dress.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>We can try it before you leave.<\/dialogue>\n    <character>LAWTON<\/character>\n    <dialogue>No need. It'll fit.<\/dialogue>\n    <scene_description>She hesitates before bringing out a box.<\/scene_description>\n    <character>LAWTON<\/character>\n    <dialogue>Those are the things you wanted.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Why do you do it, Miss Lawton?<\/dialogue>\n    <character>LAWTON<\/character>\n    <dialogue>Doesn't it ever worry you that on each table in this house there's an ornament that you couldn't buy with a year's wages?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>And what's your answer? Because everyone can't have them, no one should have them?<\/dialogue>\n    <character>LAWTON<\/character>\n    <dialogue>No. My answer is, \"Why can't I have them? Or some of them.\" Don't worry. They won't miss what I take. I doubt there's more than one in a hundred will even notice they're gone.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>But they're not yours, Miss Lawton. And they never will be. I'd give it up, if I were you. What if people were to think Her Majesty was light- fingered, if things go missing from every house she stays in?<\/dialogue>\n    <character>LAWTON<\/character>\n    <dialogue>Keep your advice for someone who's interested, Mrs Bates.<\/dialogue>\n    <scene_description>She leaves Anna.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SERVANTS' HALL\/ KITCHEN PASSAGE DOWNTON. DAY.<\/stage_direction>\n    <scene_description>The remaining Royal staff and the house servants are having breakfast. Lawton sits.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Those doors play up something dreadful. They jam and stick for no reason. It's happened to everyone.<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>Why didn't any of you look for me?<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>I thought I'd seen you go out, Mr Wilson. I'm afraid I was mistaken.<\/dialogue>\n    <character>MRS WEBB<\/character>\n    <dialogue>Just as you were mistaken in not waking Monsieur Courbet.<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>We thought he'd gone out an' all.<\/dialogue>\n    <scene_description>Thomas and Ellis arrive together and sit opposite each other.<\/scene_description>\n    <character>MRS HUGHES<\/character>\n    <dialogue>The footmen have telephoned this morning. It seems it was a hoax that took them up to London.<\/dialogue>\n    <character>COURBET<\/character>\n    <dialogue>But who would do that?<\/dialogue>\n    <character>MRS WEBB<\/character>\n    <dialogue>Who, indeed?<\/dialogue>\n    <character>COURBET<\/character>\n    <dialogue>We can investigate when we get to Harewood.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>I should be careful, Monsieur Courbet, unless you enjoy ridicule.<\/dialogue>\n    <character>COURBET<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>I'd say the dinner was a success.<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>They sent down their compliments, so I think it must have been.<\/dialogue>\n    <scene_description>Anna enters and sits.<\/scene_description>\n    <character>CARSON<\/character>\n    <dialogue>Well, then. Why call attention to it? Would you show to advantage in this story, do you think?<\/dialogue>\n    <character>WILSON<\/character>\n    <dialogue>But what do we say if we're asked?<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>There was a confusion in London. Monsieur Courbet was ill. If I were you, I wouldn't mention it.<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>Not unless they bring it up.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>Quite right.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TEMPLE. DOWNTON GARDENS. DAY.<\/stage_direction>\n    <scene_description>Edith is sitting. Bertie approaches her.<\/scene_description>\n    <character>BERTIE<\/character>\n    <dialogue>There you are. I've been looking everywhere.<\/dialogue>\n    <scene_description>But she doesn't answer him.<\/scene_description>\n    <character>BERTIE<\/character>\n    <dialogue>What's the matter, darling? Is it something I can help with?<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>Judging by last night, I doubt it.<\/dialogue>\n    <scene_description>Edith stands.<\/scene_description>\n    <character>EDITH<\/character>\n    <dialogue>I just want to own my own life. I want to say things that I think and do what I like.<\/dialogue>\n    <character>BERTIE<\/character>\n    <dialogue>Don't you now?<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>No. I spend my time entertaining people who bore me to death because they're entitled to sit at our table. I attend committees that I haven't chosen because they've chosen me. I used to have a job that I loved, but not anymore. And now my husband won't be there when I have a baby. The woman in the lodge is entitled to that, but I'm not.<\/dialogue>\n    <scene_description>Bertie takes Edith's arm.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>The cars wait outside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALL. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Robert walks out of the library to find Carson.<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Early warning. Their Majesties are getting ready to leave.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>Very good, m'lord.<\/dialogue>\n    <scene_description>He goes as Edith enters, wearily. Cora is coming downstairs.<\/scene_description>\n    <character>CORA<\/character>\n    <dialogue>Darling, what's the matter?<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>Nothing you can help with.<\/dialogue>\n    <character>CORA<\/character>\n    <dialogue>Can't I try?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN PASSAGE. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Carson climbs down the steps to find the staff assembled.<\/scene_description>\n    <character>CARSON<\/character>\n    <dialogue>We should go up. Their Majesties are on their way.<\/dialogue>\n    <scene_description>They walk to the stairs, passing Ellis.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUTLER'S PANTRY. DOWNTON. DAY<\/stage_direction>\n    <scene_description>Ellis finds Thomas in the pantry.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>So you're off to London?<\/dialogue>\n    <character>ELLIS<\/character>\n    <dialogue>They'll drop me at the station.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>I hope we can keep in touch. I feel I've finally found a friend.<\/dialogue>\n    <character>ELLIS<\/character>\n    <dialogue>Is that what you've found, Mr Barrow? A friend?<\/dialogue>\n    <scene_description>Ellis kisses Thomas but just as they kiss -<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Their Majesties are going.<\/dialogue>\n    <scene_description>The two men spring apart before he finds them with his eyes.<\/scene_description>\n    <character>ELLIS<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Andy leaves and they stare at each other.<\/scene_description>\n    <character>ELLIS<\/character>\n    <dialogue>I want you to have this.<\/dialogue>\n    <scene_description>He brings out a key ring with a silver crescent moon fob.<\/scene_description>\n    <character>ELLIS<\/character>\n    <dialogue>It's not much, but I've had it for years. It'll remind you of me. That's the point, isn't it? So you can think of me 'til we meet again?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>CARSON (V.O.)<\/character>\n    <dialogue>Mr Ellis, you must come!<\/dialogue>\n    <scene_description>Ellis hurries away, and Thomas is alone with his key ring.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Queen Mary walks outside, towards the main car, talking to Cora. Robert and the King also go to the cars. The Royal servants stand to attention. So do the Downton staff. The two teams are glaring at each other, unnoticed by their employers.<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>I hope you enjoy your time at Harewood, sir.<\/dialogue>\n    <scene_description>The King looks at him. He sighs, slightly resigned.<\/scene_description>\n    <character>KING GEORGE<\/character>\n    <dialogue>Yes. I hope so too.<\/dialogue>\n    <character>QUEEN MARY<\/character>\n    <dialogue>It isn't really goodbye when we'll see you all this evening.<\/dialogue>\n    <character>CORA<\/character>\n    <dialogue>We're looking forward to the ball. Harewood is such a wonderful house.<\/dialogue>\n    <character>KING GEORGE<\/character>\n    <dialogue>Well, let's mount up , shall we? We'll see you later, Grantham.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Your Majesty.<\/dialogue>\n    <scene_description>They climb into the cars which drive away. The family goes inside but Robert approaches Carson.<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Well done, everyone! Shall we head back in? Carson, what happened to the Royal servants last night?<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>Hard to say, m'lord. They sort of gave up the ghost.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Well, you managed splendidly. Although, I could have done without Molesley's aria. But please thank the staff for saving the day.<\/dialogue>\n    <scene_description>He goes inside. Carson and Mrs Hughes walk towards the kitchen courtyard, accompanied by Anna.<\/scene_description>\n    <character>CARSON<\/character>\n    <dialogue>Mrs Bates...can I ask you something?<\/dialogue>\n    <scene_description>Anna waits.<\/scene_description>\n    <character>CARSON<\/character>\n    <dialogue>What did you give Monsieur Courbet?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>A double dose of a sleeping draught from Mr Bakewell's, in his tea.<\/dialogue>\n    <scene_description>With this, she walks towards the kitchen courtyard. Molesley is with Baxter.<\/scene_description>\n    <character>MOLESLEY<\/character>\n    <dialogue>I'm afraid I made rather a fool of myself last night.<\/dialogue>\n    <character>BAXTER<\/character>\n    <dialogue>You could never be a fool to me.<\/dialogue>\n    <character>MOLESLEY<\/character>\n    <dialogue>Do you mean that, really?<\/dialogue>\n    <character>BAXTER<\/character>\n    <dialogue>I do. And I think you know how much.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN PASSAGE\/KITCHEN. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Mrs Patmore and Daisy are busy finishing preparing lunch. Andy walks past in the passage.<\/scene_description>\n    <character>DAISY<\/character>\n    <dialogue>You're right, Mrs Patmore. It's time I started to plan my wedding.<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>I don't know what took you so long.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>I wasn't sure before. But I am now.<\/dialogue>\n    <character>MRS PATMORE<\/character>\n    <dialogue>That's good to hear.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>I'm happy, Mrs Patmore. I don't often say that. But I am.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTON. DAY<\/stage_direction>\n    <scene_description>Mrs Hughes turns to Carson as he begins to close the outer doors.<\/scene_description>\n    <character>MRS HUGHES<\/character>\n    <dialogue>Are you very shocked by it all?<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>I should be. Interfering with the palace staff on a Royal visit, and me part of it, to boot. I don't know what came over me.<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>But?<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>They had it coming to them, Elsie. Let's face it, they had it coming in spades. Hello, what's this?<\/dialogue>\n    <scene_description>An open car is speeding up the drive. It screeches to a stop and Henry Talbot climbs out.<\/scene_description>\n    <character>CARSON<\/character>\n    <dialogue>Welcome back, Mr Talbot.<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>Hello, Carson, Mrs Hughes. Do you know where I'll find Lady Mary?<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>After everything that's gone on, I should think she'll be lying down, sir. They all will be.<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>Sounds ominous.<\/dialogue>\n    <scene_description>He goes into the house.<\/scene_description>\n    <character>MRS HUGHES<\/character>\n    <dialogue>That's nice, that he's back in time for the ball.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>And thank the Lord we don't have to organise it.<\/dialogue>\n    <scene_description>They go inside. Carson closes the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALL. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Henry runs up the stairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARY'S BEDROOM. DOWNTON. DAY.<\/stage_direction>\n    <scene_description>Mary is hugging Henry tightly. They kiss.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Oh, darling, you don't know what we've lived through.<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>I'm sorry I couldn't get here sooner. It was the first ship after the last meeting, I promise.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Never mind. You're here now. And I don't have to go to the ball alone like a sad little wallflower.<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>I'll only come if you promise to dance with me non-stop.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>It's a deal.<\/dialogue>\n    <scene_description>They kiss again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAREWOOD HOUSE. NIGHT.<\/stage_direction>\n    <scene_description>The great palace blazes with light from every window. Ball guests arrive.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALL\/BALLROOM. HAREWOOD HOUSE. NIGHT.<\/stage_direction>\n    <scene_description>The guests are milling about, the men in court dress, the women in tiaras and long gloves. Violet is standing with Isobel. She glances at Maud, who is near the Queen.<\/scene_description>\n    <character>VIOLET<\/character>\n    <dialogue>I suppose Maud has brought that scheming little minx with her.<\/dialogue>\n    <character>ISOBEL<\/character>\n    <dialogue>If you continue in this vein, you will only make yourself look stupid.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>ISOBEL<\/character>\n    <dialogue>What I say.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Are you keeping something from me?<\/dialogue>\n    <character>ISOBEL<\/character>\n    <dialogue>Come with me.<\/dialogue>\n    <scene_description>The King and Queen are talking to Princess Mary. Lascelles and Maud are nearby.<\/scene_description>\n    <character>PRINCESS MARY<\/character>\n    <dialogue>Why aren't you happy? I thought you'd be delirious.<\/dialogue>\n    <character>QUEEN MARY<\/character>\n    <dialogue>We are happy, if you mean it. Very. But how will you manage Henry?<\/dialogue>\n    <character>PRINCESS MARY<\/character>\n    <dialogue>By altering the way we manage each other. And it may not be easy, but I've decided that I'm staying with him.<\/dialogue>\n    <character>KING GEORGE<\/character>\n    <dialogue>I just don't understand what changed your mind.<\/dialogue>\n    <character>PRINCESS MARY<\/character>\n    <dialogue>It was something Mr Branson said about deciding what matters. For me, the Crown matters more than any of us. I can make it work.<\/dialogue>\n    <character>KING GEORGE<\/character>\n    <dialogue>Branson? The Irish republican?<\/dialogue>\n    <character>PRINCESS MARY<\/character>\n    <dialogue>You're well informed.<\/dialogue>\n    <character>KING GEORGE<\/character>\n    <dialogue>I'm better informed than you know. So he persuaded you to do this?<\/dialogue>\n    <character>PRINCESS MARY<\/character>\n    <dialogue>We were talking after the parade. Oh, there he is. Say something nice. Please.<\/dialogue>\n    <scene_description>The King walks through the crowd to where Branson's standing, with Mary and Henry.<\/scene_description>\n    <character>KING GEORGE<\/character>\n    <dialogue>Mr Branson. I wish we had spoken more while we were at Downton Abbey.<\/dialogue>\n    <scene_description>Branson is completely bewildered.<\/scene_description>\n    <character>BRANSON<\/character>\n    <dialogue>Do you, sir?<\/dialogue>\n    <character>KING GEORGE<\/character>\n    <dialogue>Certainly. I believe I have more than one reason to be grateful to you. More than one.<\/dialogue>\n    <scene_description>He walks on. Branson, dazed, rejoins Henry and Mary.<\/scene_description>\n    <character>HENRY<\/character>\n    <dialogue>What was that all about?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>I'll tell you when we're alone.<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>But why more than one?<\/dialogue>\n    <scene_description>He is amazed. Then he catches sight of the Princess.<\/scene_description>\n    <character>BRANSON<\/character>\n    <dialogue>Who is she?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>That's Princess Mary. She was at Downton for the parade yesterday. Didn't you see her?<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>Not at the parade. But I saw her afterwards, at the tea.<\/dialogue>\n    <scene_description>The Princess nods to him. He gives a neck bow, with a smile. Violet, Maud Bagshaw and Isobel sit together.<\/scene_description>\n    <character>MAUD<\/character>\n    <dialogue>So, you see, she has Brompton blood, albeit from an unusual angle.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Why did you not say this long ago?<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>It seemed too great a leap for you.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Who do you think I am? Some maiden aunt who's never left the village?<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>Obviously not.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Don't think I approve, because I don't. But at least I understand. Does Miss Smith know the truth?<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>Yes, she does. When I get home I will hire another maid, and Lucy can be my companion.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>That's much more suitable.<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>And I'm afraid you'll dislike it, but she says that she and Tom Branson have agreed to correspond.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Dislike it? I will lick the stamps myself.<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>You are amazing, Violet. You haven't won, you know.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>I don't believe in defeat. But we can hammer this out when you come back to stay, you and Lucy, when you've finished your tour of duty.<\/dialogue>\n    <character>MAUD<\/character>\n    <dialogue>You mean I am once more a member of this family?<\/dialogue>\n    <scene_description>Violet smiles. The Queen makes a gesture and Maud goes.<\/scene_description>\n    <character>ISOBEL<\/character>\n    <dialogue>She's right, you know. Brompton is gone. And you must all learn to live with it.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>I think we can get it back. For Tom, at least. That's why we need the girl back here.<\/dialogue>\n    <character>ISOBEL<\/character>\n    <dialogue>Oh, Violet. After all these years, you still astonish me.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Good. I'm glad I'm a revelation and not a disappointment.<\/dialogue>\n    <scene_description>Meanwhile, the King stops Bertie and Edith as they pass.<\/scene_description>\n    <character>KING GEORGE<\/character>\n    <dialogue>There you are, Hexham. I'm sad you can't be part of the Prince's tour. But we'll find something else for you to do.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>BERTIE<\/character>\n    <dialogue>Sir, I didn't-<\/dialogue>\n    <character>KING GEORGE<\/character>\n    <dialogue>I understood why not as soon as Her Majesty had explained it to me.<\/dialogue>\n    <scene_description>Edith and Bertie look to the Queen who smiles.<\/scene_description>\n    <character>QUEEN MARY<\/character>\n    <dialogue>Congratulations to you both.<\/dialogue>\n    <scene_description>They drop back. Bertie starts to talk to Henry but we follow Edith who is joined by Mary.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>You're looking very sunny tonight.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>I'm happy. Why? Does it bother you?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>No. But tell me, what are you playing at with Tom and Cousin Maud's famous maid?<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>I heard you at dinner last night. What are you up to?<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>You know she'll inherit the Brompton estate.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>So Mama told me.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>Well, then? Wouldn't you like Tom to have a proper establishment?<\/dialogue>\n    <scene_description>Mary stares at her.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>You devious cat.<\/dialogue>\n    <scene_description>But, for once, they laugh together, until...<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>I just want a word with Granny.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRAWING ROOM. HAREWOOD. NIGHT.<\/stage_direction>\n    <scene_description>Violet and Mary are together in an empty drawing room.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>How long were you planning to wait before you told us why you really went up to London on Wednesday?<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Since you ask, I haven't decided. So, if I tell you now, will you promise to keep it to yourself?<\/dialogue>\n    <scene_description>They sit.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>I promise.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Very well. I had some medical tests a few weeks ago, and I went up to London to hear the results.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>And I may not have long to live. It won't be too quick. But, of course, you can never get a London doctor to be precise.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Oh, Granny.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>No, no, my dear, save your tears for something sad. There's nothing sad here. I have lived a privileged and an interesting life. And now it's time to go.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>I'm leaving the family and the place that I treasure in talented hands.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>I know Papa will be-<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Oh, no. I don't mean your father. I love him dearly. No, I mean you. You are the future of Downton.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>But I have such doubts, Granny. Are we right to keep it all going when the world it was built for is fading with every day that passes? Will George and Caroline still be living that life? Are we living it now?<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Our ancestors lived different lives from us, and our descendants will live differently again. But Downton Abbey will be part of them.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>It won't be the same without you.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Of course it will. You'll take over from where I left off. You'll be the frightening old lady keeping everyone up to the mark.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Thank you very much.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>You will, my darling. And you'll do it wonderfully. You're the best of me that will live on. Hurrah.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Oh, Granny. I love you so much. But should you be here tonight? Won't you be worn out?<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Mary, I can't spend the rest of my life in a shower of, \"How are you feeling?\" and \"Are you quite well?\" The point is, I'll be fine until I'm not. That's all there is to it.<\/dialogue>\n    <scene_description>The door opens and Isobel appears.<\/scene_description>\n    <character>ISOBEL<\/character>\n    <dialogue>There you are. The dancing's starting. You mustn't miss it.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Isobel goes. Mary stands and takes Violet's hand to help her up.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>You know you'll always be with us, Granny, staring from every picture, talking from every book, as long as the house stands.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>That sounds very exhausting. Do you know, I think I should prefer to rest in peace.<\/dialogue>\n    <scene_description>Mary laughs. They leave the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BALLROOM. HAREWOOD HOUSE. NIGHT.<\/stage_direction>\n    <scene_description>Violet and Mary return to the ballroom. The first dance is finishing. Lord Lascelles is with the Queen, the Princess with her father. But now they return to their spouses. It is a waltz. Gradually couples join, including Mary and Henry.<\/scene_description>\n    <character>LASCELLES<\/character>\n    <dialogue>What is it you want?<\/dialogue>\n    <character>PRINCESS MARY<\/character>\n    <dialogue>We have things in common. The boys, horses, racing. And there must be more if we look for it. I want us to be friends.<\/dialogue>\n    <character>LASCELLES<\/character>\n    <dialogue>We'll have to see.<\/dialogue>\n    <character>PRINCESS MARY<\/character>\n    <dialogue>No, dear. We'll have to change. Both of us.<\/dialogue>\n    <scene_description>Edith and Bertie, Robert and Cora join the dance. The Hexhams dance by the Granthams.<\/scene_description>\n    <character>EDITH<\/character>\n    <dialogue>How did that happen? Was it you, Mama? How did you do it?<\/dialogue>\n    <character>CORA<\/character>\n    <dialogue>Simple. Bertie asked the King. I asked the Queen.<\/dialogue>\n    <scene_description>And the dance spins them apart.<\/scene_description>\n    <character>CORA<\/character>\n    <dialogue>I do love our adventures.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>But isn't it fun when they're over?<\/dialogue>\n    <scene_description>The Hexhams dance on. Branson sees a figure at the door. It is Lucy. He walks over.<\/scene_description>\n    <character>BRANSON<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>I wanted to see the dancing, so I thought I'd pretend I was bringing Lady Bagshaw a handkerchief.<\/dialogue>\n    <character>BRANSON<\/character>\n    <dialogue>I can give it to her, if you'd like.<\/dialogue>\n    <scene_description>She holds it and his hand closes on hers before he takes it.<\/scene_description>\n    <character>BRANSON<\/character>\n    <dialogue>I wish you could dance with me.<\/dialogue>\n    <scene_description>He kisses her hand. She smiles, turns and leaves. Branson takes the handkerchief to Maud Bagshaw, catching Violet's eye. Henry and Mary dance past.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>I've got a question for you.<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>Go on?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>You'd never want to leave Downton and start up somewhere else, would you? And tell me truthfully.<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>What brought this on?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Just tell me.<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>Leave Downton? I think we're stuck with it, aren't we?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Yes, I believe we are.<\/dialogue>\n    <scene_description>She looks over to where her grandmother sits, watching, stiff- backed and proud. Mary nods to her. Violet nods back. They understand each other, these two, the past and future chatelaines of Downton Abbey.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAREWOOD HOUSE. NIGHT.<\/stage_direction>\n    <scene_description>Branson searches empty rooms for Lucy Smith. He sees her on a terrace.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BALLROOM. HAREWOOD HOUSE. &amp;. EXT. TERRACE. HAREWOOD 144<\/stage_direction>\n    <scene_description>HOUSE. NIGHT. The shot widens and we spend a beat each with Robert and Cora, with Henry and Mary, with Edith and Bertie, with the King and Queen, with Isobel and Merton, all talking and dancing, as they spin in the waltz, at the heart of the scene. Branson and Lucy Smith dance together on the terrace. Maud Bagshaw smiles, watching the dancing. Violet smiles, watching Mary dance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTON. NIGHT.<\/stage_direction>\n    <scene_description>The front door opens and Carson emerges with Mrs Hughes.<\/scene_description>\n    <character>MRS HUGHES<\/character>\n    <dialogue>We shouldn't come out this way.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>They won't mind, not this once.<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>Well, they've gone and Downton is still standing.<\/dialogue>\n    <character>CARSON<\/character>\n    <dialogue>Elsie, a hundred years from now, Downton will still be standing. And the Crawleys will still be here. That is a promise.<\/dialogue>\n    <character>MRS HUGHES<\/character>\n    <dialogue>We'll see, Charlie. We'll see.<\/dialogue>\n    <scene_description>He holds out his arm. She smiles and takes it. Together, they walk away from the great house. THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In 1927, the Crawleys receive word that King George V (Simon Jones) and Queen Mary (Geraldine James) intend to visit Downton during their royal tour of Yorkshire, exciting both the family and the staff. As the servants begin preparations, Lady Mary (Michelle Dockery) feels that house butler Barrow (Robert James-Collier) is ill-equipped to manage such an important event and thus recruits former butler Carson (Jim Carter) to briefly exit retirement in order to assist, much to Barrow's chagrin. When the boiler breaks down, a repairman shows up and seems to be flirting with Daisy (Sophie McShera), making Andy (Michael Fox) jealous. Shortly thereafter, members of the royal staff begin to arrive at Downton in advance of the King and Queen themselves. While Richard Ellis (Max Brown), the King's valet, treats the Downton staff kindly, the rest of the entourage are arrogant and rude, making it clear that the royal staff intends to supplant that of Downton for the duration of the visit. In addition, small items keep disappearing from the house. Bertie and Edith Pelham, Lord and Lady Hexham (Harry Hadden-Paton and Laura Carmichael), arrive the day before the royal couple is due to visit. Later that evening, chairs for the parade seating are delivered during heavy rain and Lady Mary leads a messy group effort to position the chairs for the next day. The weather clears and the King and Queen arrive at Downton, where they are introduced to the Crawley family. Violet (Maggie Smith) exchanges cold pleasantries with the queen's lady-in-waiting Maud (Imelda Staunton), who is Robert's (Hugh Bonneville) first cousin once removed and Tom (Allen Leech) meets her maid Lucy Smith (Tuppence Middleton). Violet begrudges Maud for her decision to bequeath her estate to Lucy rather than to Robert. Meanwhile, in the village, Tom encounters a mysterious man identifying himself as Major Chetwode (Stephen Campbell Moore), whom Tom initially believes is assessing security ahead of the royal visit and parade. Later, when the parade is set to begin, Chetwode prepares to assassinate the King in the staging area but is thwarted by Tom, whom Chetwode mistakenly believed was an ally because of their shared Irish origins, and Lady Mary, who disarms him after Tom pins him to the ground. After the parade, Tom encounters a woman sobbing on Downton's lawn. Unbeknownst to him, the woman is Princess Mary (Kate Phillips). She laments her failing marriage, but Tom lifts her spirits and ultimately motivates her to remain with her husband. Anna (Joanne Froggatt) and Mr Bates (Brendan Coyle) rally the Downton staff into retaking control of Downton's operations while the royal couple is still visiting. Barrow and Ellis trick Mr Wilson (David Haig), the Page of the Backstairs, into ordering some of the royal staff to return home to London early. Anna slips a strong sedative into the tea of the royal chef, Monsieur Courbet, and Wilson himself is \"accidentally\" locked in his room. Anna has surmised that Miss Lawton (Susan Lynch), the Queen's dresser, is stealing the house's items and leverages her knowledge of Lawton's crimes to compel her to alter a gown for Lady Hexham. Then the Downton staff, with the assistance of Mr Molesley (Kevin Doyle) and Albert, manage the dinner that marks the end of the royal visit. The revised menu elicits high praise from the King, which in turn prompts Molesley to break protocol and announce that it was the Downton staff, not the royal staff, that produced it. That evening, Barrow and Ellis make a trip to York. Ellis visits his parents, while Barrow waits for him at a pub. A man at the pub invites Barrow to an underground gay nightclub, but shortly after their arrival there, police raid the venue and arrest the attendees. Ellis, also a closeted gay man, soon learns what happened and uses his position in the royal household to get Barrow released from police custody. Isobel (Penelope Wilton) deduces that Lucy is Maud's illegitimate daughter, which is why she stands to inherit Maud's estate. Isobel challenges Maud to explain the situation to Violet. The next morning, Henry (Matthew Goode) returns home after travelling abroad and joins the Crawleys at Harewood House, along with the royal family. During the ball that evening at Harewood, Princess Mary informs her parents that Tom helped save her marriage by convincing her to remain with her husband and she encourages the King to speak with Tom. He approaches Tom and expresses gratitude, also implying that he's aware of Tom's role in thwarting the assassination attempt at the parade. The King releases Bertie from his obligation to join the Prince of Wales on a three-month tour of Africa, which the King had requested earlier in the visit. Bertie had initially accepted the commitment, but he later wished to back out of the trip after learning of Edith's pregnancy. Thanks to Cora (Elizabeth McGovern) and the Queen's intervention, the King had a change of heart and rescinded his request. Meanwhile, Maud privately confesses to Violet that Lucy is her daughter, which is why she made Lucy her heir instead of Robert. Violet finally understands the situation and the two reconcile. Violet then begins plotting to keep Maud's estate in the Crawley family in the future through a union of Tom and Lucy, as she had taken notice of the pair's budding romance earlier. Finally, Lady Mary quietly asks Violet about her visit to London. Violet informs her that she had gone for a doctor's visit, during which she learned that she may not have long to live. Mary is distraught, but Violet assures her that Downton and its legacy are safe in Mary's hands. As this conversation continues, Tom finds Lucy on the terrace and the two dance in the dark while listening to the music played inside at the ball."}
{"movie_name":"Batman & Robin_1997","imdb_id":"tt0118688","script":"<script>\n  <scene>\n    <stage_direction>INT. BATCAVE -BATMAN'S COSTUME VAULT<\/stage_direction>\n    <scene_description>Chrome and shadow . A black gauntlet SNAPS into place . A cape WHIPS over a dark rubber back . A bat - shaped buckle LOCKS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATCAVE  ROBIN'S COSTUME VAULT - INTERCUT<\/stage_direction>\n    <scene_description>A silver throwing - bird is chosen from a weapon 's array . Gloved hands lift a black eye mask . Tunic armor CLICKS shut , turning to reveal the chest - borne insignia of a Robin .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.BATCAVE<\/stage_direction>\n    <scene_description>BATMAN - CLOSE . Emerges from his costume vault . WIDER Deeper excavation has doubled the size of the cavern . New state - of - the - art computing systems flash . Surveillance screens monitor news and police FREQUENCIES . Crime 's worst nightmare . Batman strides towards the rising steam - obscured pedestal which bears the sleek , redesigned Batmobile . ROBIN appears in the door of his costume vault , dressed in the black and red of his Nightwing costume . Two dark avengers stand suited , ready to take back the night .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Nice suit. And today you are?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Nightwing. Scourge of darkest evil.<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>This is all about fashion for you, is n't it?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>It's the gear. Chicks love the gear.<\/dialogue>\n    <scene_description>ALFRED steps forward , out of the shadows .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>Do call if you're going to be late for dinner, sir.<\/dialogue>\n    <scene_description>TURBOS - CLOSE . ROAR . The Batmobile SHOOTS away through the arches of the cave access tunnel . The compass to of the Batmobile service pedestal splits wide like the opening petals of a flower , revealing a sleek , turbo - charged motorcycle . meet Robin 's bike : The Redbird .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>Drive carefully, Master Wing.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Do n't wait up, AL..<\/dialogue>\n    <scene_description>The REDBIRD 'S TURBO - CLOSE . EXPLODES into life . The powerful bike SHOOTS after the Batmobile . ALFRED watches them go . Then , he relaxes , lets his weight fall against the main console , a man not as well as he seems .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATCAVE ACCESS TUNNEL - BATMOBILE - MOVING<\/stage_direction>\n    <scene_description>Batman is behind the wheel , Robin visible through the window .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Ten police cruisers frozen solid on the Gotham Expressway.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATCAVE ACCESS TUNNEL - REDBIRD - MOVING<\/stage_direction>\n    <scene_description>Robin is on his bike , data scrolling on his console monitor .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>A giant drilling truck burrowing under the city.<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>Mr. Freeze.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>The batcomputer tracks him heading for the Gotham Museum.<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>The new antiquities exhibit. The Second Sun of the Sudan.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Of course. He's going to steal the giant white diamond.<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>No, Robin. He's going to jail.<\/dialogue>\n    <scene_description>BATMAN 'S MONITOR - CLOSE - THE GOTHAM MUSEUM PUSH IN<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOTHAM MUSEUM - NIGHT<\/stage_direction>\n    <scene_description>A stone and glass palace set on the edge of Gotham 's Central Park .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOTHAM MUSEUM - NIGHT<\/stage_direction>\n    <scene_description>A GIANT DRILLING TRUCK points up through the rubble of the shattered museum floor . WIDER . A great hall bearing the skeleton of a mighty brontosaur amongst a myriad of other exotic antiquities . All frozen . HOLD on A GIANT DIAMOND CASE The case begins to glow blue , then white , the shatterproof glass EXPLODING into a thousand flying fragments . RACK IN through the storm of ice and glass , ACROSS the frozen floor , PAST exhibits of Aztec ruins peppered now with three FROZEN GUARDS , UP stone steps of a pyramid altar TO REVEAL . A silver suited figure stands , bald head visible beneath a helmet , A high - tech bazooka in his hand . MR. FREEZE<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>The Iceman Cometh.<\/dialogue>\n    <scene_description>WIDER A gang of Thugs in thermal suits , THE ICEMEN , skate to the base of the steps . Two hold a MOANING , shivering GUARD captive .<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>Please. Show some mercy.<\/dialogue>\n    <scene_description>Freeze begins down the altar steps . A SHIMMERING , TERRIFYING GOD .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>I'm afraid my condition has left me cold to your pleas of mercy.<\/dialogue>\n    <scene_description>Freeze FIRES his weapon , the beam of cryonic energy engulfing the Guard , turning him to ice .<\/scene_description>\n    <character>FREEZE<\/character>\n    <parenthetical>( knocks on the guard 's cheek . )<\/parenthetical>\n    <dialogue>Copsicle.<\/dialogue>\n    <scene_description>Freeze closes , now , on the shattered case .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>In this universe, there is only one absolute. Everything.<\/dialogue>\n    <scene_description>Freeze swipes away the shattered glass and steel , from the debris lifts a tremendous diamond .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Freezes.<\/dialogue>\n    <scene_description>Freeze holds the diamond high over his head , the light hitting the gem like a star . THE SKYLIGHT - CLOSE . EXPLODES . Batman free - falls into the room , hitting the brontosaurus and sliding down its neck , SMASHING Freeze with his feet , the diamond sliding across the frozen floor .<\/scene_description>\n    <character>FREEZE<\/character>\n    <parenthetical>( aiming his pistol . )<\/parenthetical>\n    <dialogue>Bat on ice, anyone?<\/dialogue>\n    <scene_description>Batman KICKS the pistol high in the air , catches it .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Did n't your mother ever tell you not to play with guns?<\/dialogue>\n    <scene_description>Freeze cartwheels across the room , kicking the gun away from Batman , catching it in mid air .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>You're not sending me to the cooler.<\/dialogue>\n    <scene_description>Freeze FIRES . Batman dodges the blast . Freeze takes aim again . THE FRONT DOORS - CLOSE . BLOW OPEN Robin , on the Redbird , flies into the room . BATMAN uses the distraction , flying - kicks the gun into the air . ROBIN soars over Freeze 's head , kicks the airborne gun to the altar atop the giant pyramid .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Score. And the crowd goes wild.<\/dialogue>\n    <scene_description>Robin lands , laying his bike sideways in a slide , KNOCKING a precious vase into mid air . he grabs a statue , using it to whip around in a dismount . BATMAN catches the falling vase , replaces it , as Robin skates beside him . The two heroes race for Freeze .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Grab the gem. Kill the heroes.<\/dialogue>\n    <scene_description>MORE INCEMEN in hockey masks , sticks in hand , rush the caped crusaders from both sides .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>It's the hockey team from hell.<\/dialogue>\n    <scene_description>FREEZE is racing towards the altar and his fallen gun . SIX GUARDS rush in through a side door and swarm the unarmed Freeze . Mistake . Freeze begins wailing on the Guards . It 's a straight display of fisticuffs executed with unbelievable speed and precision , hooks , jabs , upper and lower cuts all perfectly delivered , felling the assault force . 30A FREEZE Cop - suey . He begins racing again for his gun . BATMAN AND ROBIN begin a martial arts extrordinaire , blocking stick blows , punching and kicking the Icemen . THE GEM lays on the ice behind the wall of advancing ICEMEN . 33\/34 BATMAN AND ROBIN grab two assailants , slipping between their legs , skates popping out of their boots , as they snatch the Icemen 's sticks and trip the villains . FREEZE has made it to his gun . He turns , FIRES , creating an ice bridge to the floor .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Caution. Bridge may ice over.<\/dialogue>\n    <scene_description>35A He slides down the ice bridge to the floor below . Starts racing for his giant drilling truck . BATMAN begins skating towards Freeze .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>You get the ice. I'll get the iceman.<\/dialogue>\n    <scene_description>ROBIN skates through the Thugs , double sticking , CHECK - ING them wildly into the boards , reaches down and scoops up the diamond .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Sweet.<\/dialogue>\n    <scene_description>38\/39 FREEZE is racing towards his truck , Batman closing fast behind him .<\/scene_description>\n    <character>Freeze spins and FIRES.<\/character>\n    <dialogue>says.<\/dialogue>\n    <scene_description>BATMAN ducks , using his cape as an ice shield , deflecting the beam into a closing Iceman behind him , freezing the villain solid . FREEZE disappears behind the giant brontosaurus . ROBIN skates into line with Batman , both heading fast for Freeze .<\/scene_description>\n    <character>ROBIN<\/character>\n    <parenthetical>( shows the diamond . )<\/parenthetical>\n    <dialogue>I got mine. Where's yours?<\/dialogue>\n    <scene_description>FREEZE FIRES his gun , freezing the legs of the mighty Brontosaur .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>What killed the dinosaurs? The ice age.<\/dialogue>\n    <scene_description>Freeze pushes on the belly of the beast , the mighty creature toppling forward , EXPLODING in front of Batman and Robin . ROBIN He 's definitely extinct . BATMAN AND ROBIN skate fast to avoid the debris . AN ICEMAN flies in from the side , hitting Robin 's hand , sending the gem flying free . ANOTHER ICEMAN skates to the gem , HITTING it with his stick , sending the diamond flying up onto the landing by the front doors . FREEZE has made it to his truck , is climbing towards the hatch . THE ICEMEN are a rushing wall between the caped crusaders and the gem . Batman and Robin skate toward the villains , pulling flagpoles from a display as if they are about to joust the Icemen . At the last second , Batman and Robin drive their poles into the ice , vaulting over the heads of the Icemen towards the landing and the waiting gem above . FREEZE has climbed to the hatch of his vehicle .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Hit me boys.<\/dialogue>\n    <scene_description>54\/55 Batman and Robin land on the landing inches from the gem . An Iceman skates from the wings , with a SLAPSHOT , sends the diamond flying . FREEZE 'S GLOVE - CLOSE . The diamond HITS . A perfect catch .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Thanks for playing.<\/dialogue>\n    <scene_description>Freeze drops into the cab of his giant drilling truck . The hatch starts to slide closed .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Round up the thugs. I'll get Freeze.<\/dialogue>\n    <scene_description>59\/60 Batman leaps onto the banister , slides standing down the rail and jumps , dropping into the closing hatch after Freeze .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRILLING TRUCK - CONTROL CAPSULE<\/stage_direction>\n    <scene_description>A bank of control panels are set inside the giant glass head of the drill . Batman falls in to find Freeze standing at the main console .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Stop the insanity.<\/dialogue>\n    <character>FREEZE<\/character>\n    <dialogue>Nice of you to drop in.<\/dialogue>\n    <scene_description>Freeze hits a button . A tremendous ROAR .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSEUM<\/stage_direction>\n    <scene_description>The capsule , set on the end of an ejection cylinder , BLASTS out of the drilling truck , rising like a rocket towards the roof . ROBIN jumps on another banister , slides down , grabs a banner and swings himself onto the side of the cylinder , clutching a porthole ledge and hanging fast .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOTHAM MUSEUM<\/stage_direction>\n    <scene_description>The capsule BLOWS through the top of the museum , ROCKETING towards the starry night sky above . ZOOM IN . Robin clings to the side of the rocket for dear life .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAPSULE<\/stage_direction>\n    <scene_description>Batman is thrown to the floor by the powerful acceleration . Freeze stays upright , protected by his mighty suit .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>You were a great scientist once. Do n't squander your genius on evil.<\/dialogue>\n    <character>FREEZE<\/character>\n    <dialogue>I hate being lectured.<\/dialogue>\n    <scene_description>Freeze throws Batman , hard , into the bulkhead , uses his pistol , to FREEZE Batman 's ankles and wrists to the wall in chunks of ice .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Watch the numbers, Batman. For they are the harbingers of your doom.<\/dialogue>\n    <scene_description>ALTIMETER CLOSE . 10,000 feet and climbing fast .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Can you feel it coming? The icy cold of space. At 30,000 feet your heart will freeze and beat no more.<\/dialogue>\n    <scene_description>THE ALTIMETER CLOSE . 15,000 feet and rising .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAPSULE<\/stage_direction>\n    <scene_description>Robin has climbed onto the nose - cone . Is struggling against the acceleration , using bat - magnets to crawl towards the escape hatch .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAPSULE<\/stage_direction>\n    <scene_description>Freeze steps into a glide - wing backpack mounted on the wall .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>After you have frozen, your icy tomb will plummet back to Gotham.<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>Freeze, you're mad. This capsule will slaughter thousands.<\/dialogue>\n    <scene_description>Freeze releases the door behind him , the sky WHIPPING past beyond .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Ai n't it grand? Freeze well.<\/dialogue>\n    <scene_description>Freeze leaps out into the night .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NIGHT SKY<\/stage_direction>\n    <scene_description>Freeze begins to plummet towards the lights of Gotham below . FREEZE 'S BACKPACK - CLOSE . A sleek wing extends from its housing . Freeze angles himself downward in mid air , using his glide wing to control his fast flight towards the distant city .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAPSULE<\/stage_direction>\n    <scene_description>The controls , the glass nose - cone , the capsule itself are all frosting over . The hatch opens . Robin drops in .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I was just hanging around.<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>I thought you were going to stay in the museum and round up the thugs.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>How about, nice to see you? Glad you're here to save my life.<\/dialogue>\n    <scene_description>Robin pulls a laser from his utility belt , FLASH MELTS one of his ice - shackles .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>When we get home, we're having a little communication workshop.<\/dialogue>\n    <scene_description>Robin FLASH METLS the other ice gauntlet . Batman is free .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Is it cold in here or is it just me?<\/dialogue>\n    <scene_description>ALTIMETER - CLOSE . 20,000 and rising . Ice is forming everywhere .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Got to make sure this rocket does n't turn Gotham into a crater.<\/dialogue>\n    <scene_description>Batman whips a bat - shaped charge , throws it onto the ceiling . An armed light on the charge flashes green .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Now what? We call a taxi?<\/dialogue>\n    <scene_description>Batman grabs a handle marked CAUTION : EXPLOSIVE BOLTS . Robin smiles , grabs a similar handle on the opposing metal door .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Watch the first step.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Surf's up.<\/dialogue>\n    <scene_description>Both pull the release handles , leaping onto the capsule doors as the EXPLOSIVE bolts BLOW them into space . THE BATCHARGE LIGHT - CLOSE . Goes red .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NIGHT SKY - FALLING<\/stage_direction>\n    <scene_description>As the capsule EXPLODES above them raining falling debris , Batman and Robin skyboard on the doors down towards . FREEZE is ROCKETING to earth , the diamond in his hand . BATMAN AND ROBIN race towards Freeze and the city below . The caped crusaders avoid skyscraper turrets and elevated bridges as they follow in Freeze 's wake . BATMAN swoops down above the villain , pushing off his skyboard , grabbing Freeze around the neck , the diamond flying into mid air . ROBIN maneuvers in a grand flip , grabs the falling gem . 86\/87 FREEZE releases his glide pack buckle , dislodging Batman , the hero and the glide pack spinning away from Freeze . BATMAN dumps the glide pack , arcs back into his rushing drop . FREEZE is descending fast towards the giant smoking chimney of a towering industrial complex . He aims his gun at the smoking toward and FIRES , the fast maw quickly covering with snow . Freeze plummets into the snowy chimney . BATMAN AND ROBIN drop into the ice shaft after the villain . FREEZE FIRES his gun as he falls , slowing his descent by turning the chimney into a madly snaking tunnel of ice before him . BATMAN AND ROBIN tumble head first through layers of snow after the villain . They pull their Batgrapples and FIRE . BATGRAPPLES - CLOSE . Hit the wall . Catch . BATMAN AND ROBIN use their tethers to slow their descent , landing hard in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INDUSTRIAL BASEMENT<\/stage_direction>\n    <scene_description>A long submarine - like corridor<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Cool. Can we do that again?<\/dialogue>\n    <scene_description>Batman and Robin race towards Freeze who is fleeing down the other end of the corridor . he points his gun at the ceiling . FIRES . The sprinkler system pipes EXPLODE , forming a mighty , intense blizzard in the wind - tunnel .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Sudden temperature drop. Watch out for the.<\/dialogue>\n    <scene_description>A blast of wind ROARS down the tunnel , SLAMMING the doors , sending snow and ice whipping towards them<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Wind.<\/dialogue>\n    <scene_description>Batman and Robin WHIP their capes over their faces , push forward , fighting the storm , going through the doors one by one .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOILER ROOM<\/stage_direction>\n    <scene_description>Frozen . At the terminus of the tunnel . A frozen boiler stands in the center of the icy moat of the building 's INTERNAL RESERVOIR . The door swings open , Batman pushing inside . Freeze flies from behind the door , SLAMMING the metal portal hard into Batman 's face . Batman tumbles forward . Freeze raises his gun . Another figure leaps in from the hallway , going for Freeze . Robin . Freeze FIRES , turning the boy into a frozen sculpture of ice . He plucks the diamond from his icy hand . 109A EXT. . CROSS SECTION OF GOTHAM CITY - VFX A schematic map of Gotham . Freeze 's vehicle burrows underneath the city , freezing the firmament in its path and clearing away the debris , heading towards the boiler room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOILER ROOM<\/stage_direction>\n    <scene_description>-LRB- OVER -RRB- a RUMBLING . Suddenly the wall EXPLODES . Freeze 's drilling truck appears in the clearing smoke .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Can you be cold, Batman? You have eleven minutes to thaw the bird. What will you do, chase the villain or save the boy?<\/dialogue>\n    <scene_description>Freeze leaps onto the giant vehicle .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Your emotions make you weak. That is why this day is mine.<\/dialogue>\n    <parenthetical>( smile . )<\/parenthetical>\n    <dialogue>Stay cool, bats.<\/dialogue>\n    <scene_description>And Freeze is gone , sealing the tunnel hole after him with a blast of ice , clearing the frosted pane to wave goodbye . Batman moves fast to the boy wonder , touches his frozen skin . He whips out his bat - laser , points at the icy reservoir and FIRES . THE RESERVOIR - CLOSE . The frozen water melts , begins to SIMMER . The caped crusader immerses Robin in the steaming sea . 115A Under the water , the boy 's face is perfectly still . A long beat . Then Robin 's head breaks the surface . COUGHING . Alive<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Did we get him?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOUTH AMERICAN RAIN FOREST - NIGHT<\/stage_direction>\n    <scene_description>-LRB- OVER -RRB- THUNDER . Lighting flashes on a maze of tends and tarpaulins affixed to the ruins of a decaying PRISON MORTE . A `` FOR SALE OR LEASE '' sign is illuminated by the storm . SCREEN READS - Meanwhile , somewhere in the South American Jungle .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TENTED GREENHOUSE LAB - NIGHT<\/stage_direction>\n    <scene_description>Bunsen Burners flicker . Beakers BUBBLE . Martha Stewart does Fankenstein . PAMELA ISLEY , lovely features hidden by a glasses and bad hair , shape obscured by her lab coat , TALKS into a cylindrical micro - recorder .<\/scene_description>\n    <character>PAMELA<\/character>\n    <dialogue>I still have high hopes for the animal plant cross - breedings<\/dialogue>\n    <scene_description>Pam surveys the two lab tables . One table is a mass of plants . The other is covered with tanks of spiders , snakes and scorpions . Tubes run from the lethal beasts into a jar of milky fluid labeled VENOM . More tubes run from the Venom jar into the plants . One plant twitches as it receives the toxins .<\/scene_description>\n    <character>PAMELA<\/character>\n    <dialogue>If I can only find the correct dose of Venom, these plants will be able to fight back like animals. I will have given flora a chance against the thoughtless ravages of man.<\/dialogue>\n    <scene_description>-LRB- OVER -RRB- An agonized SCREAM . Terrified , Pam walks towards the source of the WAILS , a gothic prison door to which the tent is affixed . The portal is marked : PROJECT GILGAMESH .<\/scene_description>\n    <character>PAMELA<\/character>\n    <dialogue>Personal note : my work would proceed faster if Dr. Woodrue were n't always whisking my Venom samples back to his mysterious Gilgamesh Wing. Why wo n't he let me into his lab?<\/dialogue>\n    <scene_description>-LRB- OVER -RRB- Another blood - curdling SCREAM . Pam turns off the recorder .<\/scene_description>\n    <character>PAM<\/character>\n    <dialogue>What is he doing in there?<\/dialogue>\n    <scene_description>Just then the door opens , a startled Pam dropping her recorder as lightning flashes and DOCTOR JASON WOODRUE ENTERS . Einstein 's hair . Manson 's eyes .<\/scene_description>\n    <character>WOODRUE<\/character>\n    <dialogue>Dr. Isley, loveliest flower in our garden. How fare our little wards?<\/dialogue>\n    <scene_description>Woodrue moves in , too close , backing Pam against her worktable , his face inches from hers . He spots the jar of Venom .<\/scene_description>\n    <character>WOODRUE<\/character>\n    <dialogue>What do we have here? A lovely new supply of Venom.<\/dialogue>\n    <parenthetical>( lifts the jar . )<\/parenthetical>\n    <dialogue>I'll just take this to my laboratory for further study.<\/dialogue>\n    <character>PAMELA<\/character>\n    <dialogue>What exactly are you working on in there? What are those screams?<\/dialogue>\n    <scene_description>A bright flash of lightning . Woodrue advances on Pam .<\/scene_description>\n    <character>WOODRUE<\/character>\n    <dialogue>How I'd love to share my secrets with you. But I ask you, sweet sapling, can you be trusted? You refuse my invitations to dine. You hide your honeyed buds behind these sallow robes.<\/dialogue>\n    <scene_description>-LRB- OVER -RRB- More lightning and ever more deafening THUNDER .<\/scene_description>\n    <character>WOODRUE<\/character>\n    <dialogue>Ah, but there's romance in the air tonight. Perhaps a moonlit stroll in the jungle. And then, later, in the dark, we can share everything.<\/dialogue>\n    <scene_description>Woodrue has her up against the wall , his twitching lips only inches from hers . Pam winces , manages to step away . -LRB- OVER -RRB- another SCREAM .<\/scene_description>\n    <character>PAMELA<\/character>\n    <dialogue>You have to tell me what you're doing with my Venom.<\/dialogue>\n    <character>WOODRUE<\/character>\n    <parenthetical>( nasty . )<\/parenthetical>\n    <dialogue>You must show me your secrets, blossom, before I show you mine.<\/dialogue>\n    <scene_description>Pam watches him leave . As the door to the Gilgamesh wing swings closed , Pam kicks her fallen recorder , the metal cylinder rolling between door and jamb , keeping the entrance from sealing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LABS - GILGAMESH SECTION - WALKING<\/stage_direction>\n    <scene_description>Pam steals through the crumbling hallway of the abandoned prison following the SCREAMS -LRB- OVER -RRB- as they grow ever LOUDER .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LABS - GILGAMESH CHAMBER<\/stage_direction>\n    <scene_description>Banks of flashing SuperCrays . A gurney is surrounded by SPARKING and HUMMING equipment . Frankestein meets Frankenstien . Woodrue emerges from the shadows , a portable phone in hand .<\/scene_description>\n    <character>WOODRUE<\/character>\n    <dialogue>Ladies and gentlemen of the un - United Nations.<\/dialogue>\n    <parenthetical>( into the phone . )<\/parenthetical>\n    <dialogue>And our mystery bidder.<\/dialogue>\n    <scene_description>Pull BACK TO REVEAL A small bridge arcs over the room . AN AMERICAN GENERAL , A RUSSIAN COMMISSAR , A SHEIK , and A DICTATOR all watch on from above .<\/scene_description>\n    <character>WOODRUE<\/character>\n    <dialogue>I give you the future of military conquest.<\/dialogue>\n    <scene_description>A scrawny PRISONER in a too - large tank suit is dragged into the room by several gun - toting CAPOS and shackled to the gurney . His bald skull is adorned with three surgically implanted ducts .<\/scene_description>\n    <character>WOODRUE<\/character>\n    <dialogue>May I present Antonio Diego, serial murderer serving life in prison and sole surviving volunteer.<\/dialogue>\n    <scene_description>Diego SPITS .<\/scene_description>\n    <character>WOODRUE<\/character>\n    <dialogue>And what a charmer he is.<\/dialogue>\n    <scene_description>WIDER . Pam slips in , unseen , hides behind a stack of circuit boxes , watching on as Woodrue lifts the jar of milky Venom .<\/scene_description>\n    <character>WOODRUE<\/character>\n    <dialogue>The super solder serum, code named Venom, patent pending of course.<\/dialogue>\n    <scene_description>Woodrue pours the venom into a high - tech injector pack strapped to the back of the gurney . He lifts an open - front black and white mask attached by snaking tubes to the injector pack .<\/scene_description>\n    <character>WOODRUE<\/character>\n    <dialogue>Notice the hassle free zipper.<\/dialogue>\n    <scene_description>He pulls the oversized mask over Diego 's head , tubes fitting into the ducts in his skull , zips the fabric closed over his face .<\/scene_description>\n    <character>WOODRUE<\/character>\n    <parenthetical>( lifts a remote . )<\/parenthetical>\n    <dialogue>Time to scream.<\/dialogue>\n    <scene_description>He hits a control stud on the remote . The injector pack begins PUMPING the milky Venom into Diego 's skull . Diego SCREAMS . Something strange happens to the prisoner . His chest begins to enlarge . His neck becomes thick . his forearms grow .<\/scene_description>\n    <character>WOODRUE<\/character>\n    <dialogue>Behold, the ideal killing machine. I call this little number. Bane. Bane of humanity. Imagine it, your own personal army made up of thousands of these super soldiers. Bidding begins at a mere 10 million.<\/dialogue>\n    <scene_description>Woodrue ups the Venom flow . Impossibly the prisoner grows larger . Arm and leg shackles SNAP . Bane lurches for the Venom pump , SMASHING consoles , SPARKING components raining down around Pam . PAM SCREAMS . As Capos rush to subdue Bane , Woodrue strides to the dazed Pam .<\/scene_description>\n    <character>WOODRUE<\/character>\n    <dialogue>Welcome to my parlor.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - WALKING<\/stage_direction>\n    <scene_description>Woodrue is escorting a nervous Pam back towards her lab .<\/scene_description>\n    <character>WOODRUE<\/character>\n    <dialogue>Our original sponsor had no stomach for military applications. he cut the funding for our work -<\/dialogue>\n    <character>PAMELA<\/character>\n    <dialogue>Our work?<\/dialogue>\n    <character>WOODRUE<\/character>\n    <dialogue>Without your research, I could never have come this far. Join me. The two of us, entwined, side by side.<\/dialogue>\n    <scene_description>They have arrived at Pam 's workshop . Woodrue opens the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAMELA'S WORKSHOP - CONTINUOUS<\/stage_direction>\n    <character>PAMELA<\/character>\n    <dialogue>Join you? I've spent my life trying to protect plants from extinction and now you corrupt my research into some maniacal scheme for world domination. When I get through you wo n't be able to get a job teaching high school chemistry, do you hear me, you psycho?<\/dialogue>\n    <character>WOODRUE<\/character>\n    <dialogue>Well, I can respect your opinion.<\/dialogue>\n    <scene_description>Woodrue shoves Pam viciously backwards into the inter - connected tables , plants and poisonous beasts raining down on top of her .<\/scene_description>\n    <character>WOODRUE<\/character>\n    <dialogue>Sadly, I'm not good at rejection.<\/dialogue>\n    <scene_description>Woodrue begins pulling shelves of cages and BUBBLING beakers CRASHING down atop the struggling Pam , burying her and all her specimens entirely .<\/scene_description>\n    <character>WOODRUE<\/character>\n    <dialogue>I'm afraid you'll have to die.<\/dialogue>\n    <scene_description>WOODRUE - CLOSE . Smiles as the SOUNDS of Pam 's struggle are finally silenced . He turns , heading back into the hallway .<\/scene_description>\n    <character>WOODRUE<\/character>\n    <parenthetical>( loud . )<\/parenthetical>\n    <dialogue>Fellow maniacs, bidding begins!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATCAVE - NIGHT<\/stage_direction>\n    <scene_description>Bruce stands with Dick , now wrapped in a blanket , steaming mug in hand , watching the main monitor .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>Gotham University Labs. Security video. Two years ago.<\/dialogue>\n    <scene_description>SCREEN - CLOSE . The image of a dazzling hi - tech lab - oratory . A beautiful young woman -LRB- NORA FRIES -RRB- lays on a gurney . A SCIENTIST works a bank of controls over a SMOKING vat of cryonic solution . Handsome , the intense gaze of genius , the man Freeze once was .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>Dr. Victor Fries Two time Olympic Decathelete. Nobel Prize winner in molecular biology. After his wife contracted a rare disease, McGregor's Syndrome, he hoped to freeze her in cryogenic sleep until he could discover a cure. Here's where everything goes north.<\/dialogue>\n    <scene_description>Alarms flash . A panel EXPLODES . Fries is BLOWN into the vat of cryogenic solution .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>That liquid is fifty below.<\/dialogue>\n    <scene_description>Fries SCREAMS , engulfed in the mists of the cryonic solution , his skin now frozen , bluish , his hair brittle , all but gone .<\/scene_description>\n    <character>DICK<\/character>\n    <dialogue>That's got ta hurt.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Somehow he survived. But the cryoslution mutated his body.<\/dialogue>\n    <scene_description>The display shows a turning schematic of Fries .<\/scene_description>\n    <character>DICK<\/character>\n    <dialogue>What happened to his wife?<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Presumed dead. No one knows.<\/dialogue>\n    <scene_description>The display now shows a turning Mr. Freeze . Compartments in both suit sleeves are highlighted , flashing diamond shapes within .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>He needs extreme cold to survive. His cryo - suit uses diamond enhanced lasers to keep him at zero degrees.<\/dialogue>\n    <character>DICK<\/character>\n    <dialogue>Let me get this straight. A brilliant citizen, disfigured by a horrible accident, re - emerges as a psychotic super - villain bent on theft, revenge and destruction. You see a pattern here?<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Maybe it's something in the water.<\/dialogue>\n    <scene_description>Bruce returns Dick 's smile .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>Well, if it's ice the iceman wants. Alfred!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COSTUME VAULT - CONTINUOUS<\/stage_direction>\n    <scene_description>Alfred stands near the costumes , clutching a console , a man in intense pain . He lets the wave subside , regains his composure .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATCAVE - CONTINUOUS<\/stage_direction>\n    <scene_description>Alfred emerges as if nothing were wrong .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>I need the Wayne Diamonds.<\/dialogue>\n    <character>DICK<\/character>\n    <dialogue>We gon na trap ourselves a snowman?<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Absolutely. Just as soon as you take ten hours training in the simulator.<\/dialogue>\n    <character>DICK<\/character>\n    <dialogue>Whoa, I made a mistake. I'm sorry. Do n't go all protective on me. It wo n't happen again.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Dick, you were reckless. You could have been killed.<\/dialogue>\n    <character>DICK<\/character>\n    <dialogue>I'm fine. See. Me. here. Alive. How are we gon na work together if you're never going to trust me?<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>How, indeed?<\/dialogue>\n    <scene_description>Bruce stares at the two of them . He smiles a wry smile .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>When did I become the bad guy?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACK STAIRCASE - WALKING<\/stage_direction>\n    <scene_description>Bruce and Alfred travel the winding stair that leads from the Batcave to the top of the house .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>He's over - eager, impulsive. I ca n't trust him not to get hurt.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Perhaps the truth is you do n't really trust anyone.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Do n't tell me you're on his side. Again.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Despite all your talents, you are still a novice in the ways of family. Dick follows the same ends as you but gets there by his own course. You must learn to trust him. For that is the nature of family.<\/dialogue>\n    <scene_description>They step through a doorway into .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALFRED'S QUARTERS - NIGHT - CONTINUOUS<\/stage_direction>\n    <character>BRUCE<\/character>\n    <dialogue>I trust you, Alfred.<\/dialogue>\n    <scene_description>Alfred seems oddly pained by Bruce 's words .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>But I sha n't be here forever.<\/dialogue>\n    <scene_description>Bruce stares at Alfred a beat . But Alfred just smiles .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>Good night, Master Bruce.<\/dialogue>\n    <scene_description>135A EXT. . WAYNE MANOR - HALLWAY Bruce EXITS his butler 's room . Looks to the end of the hallway . 135B A YOUNGER BRUCE , no older than ten comes racing around the corner , trips , tumbling to the wooden floor . Another figure steps out behind him . ALFRED , decades younger , kneels by the boy , brushing off his knees , giving the boy comfort . 135C BACK TO SCENE BRUCE - CLOSE . Blinks away the images from the past , only the fragile ghosts of memory , moves off down the empty hallway . 135D INT . ALFRED 'S QUARTERS - NIGHT Alfred sit at his computer , activates the screen . he lifts a CD , slips in into the disk drive , begins to TYPE .<\/scene_description>\n    <character>COMPUTER<\/character>\n    <dialogue>Override engaged. Copying protected files.<\/dialogue>\n    <scene_description>Alfred lifts a micro - recorder .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>Still unable to reach you. have vital information you must see.<\/dialogue>\n    <scene_description>SCREEN - CLOSE . The files Alfred is copying . Batmobile design . Batsuit schematics . All downloading onto the small disk .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOUTH AMERICAN JUNGLE - PRISON MORTE - NIGHT<\/stage_direction>\n    <scene_description>A full moon shines over the hidden complex .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TENTED GREENHOUSE LAB<\/stage_direction>\n    <scene_description>Woodrue stands at Pam 's workstation , TALKING on his portable phone as he rifles through her research .<\/scene_description>\n    <character>WOODRUE<\/character>\n    <dialogue>Yes, sir, I'm so pleased you won the bidding, Your Supreme Ruthlessness.<\/dialogue>\n    <scene_description>-LRB- OVER -RRB- Bane SCREAMS in the distance .<\/scene_description>\n    <character>WOODRUE<\/character>\n    <dialogue>We're making the final modifications on Bane right now. We'll have a thousand super soldiers out to you tomorrow by overnight mail.<\/dialogue>\n    <scene_description>He hangs up . HOLD on a patch of ivy in the b.g. Perfectly still . Suddenly the leaves RUSTLE , as if being moved from beneath . Woodrue turns as a figure BURSTS , fast , from beneath the brush . Magenta hair . Chlorophyll green eyes . Ravaged clothes revealing the form and demeanor of a goddess . The woman who was once Pamela Isley smiles , moves forward .<\/scene_description>\n    <character>WOODRUE<\/character>\n    <dialogue>Dr. Isley? Pamela? You look great. Especially for a dead woman.<\/dialogue>\n    <character>PAMELA<\/character>\n    <dialogue>Hello, Jason. I think I've had a change of heart.<\/dialogue>\n    <scene_description>Her lips glisten . She leans in and kisses him .<\/scene_description>\n    <character>PAMELA<\/character>\n    <dialogue>Quite literally. I do n't think I'm human anymore. The animal - plant toxins had a rather unique effect on me. They replaced my blood with aloe, my skin with chlorophyll and fill my lips with Venom.<\/dialogue>\n    <scene_description>Woodrue begins to CHOKE . He falls , clutching his throat .<\/scene_description>\n    <character>PAMELA<\/character>\n    <dialogue>Oh, and Jason? One other thing. Silly me, I probably should have mentioned this earlier. I'm poison.<\/dialogue>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>It's a jungle in here.<\/dialogue>\n    <scene_description>Pam spills beakers of chemicals onto the floor . She throws a Bunsen burner to the ground , the lab suddenly in flames .<\/scene_description>\n    <character>PAMELA<\/character>\n    <dialogue>Let the flames touch the sky. For I am nature's arm, her spirit, her will. Hell, I am mother nature. The time has come for plants to take back the world so rightfully ours. Because it's not nice to fool with mother nature.<\/dialogue>\n    <scene_description>Something catches Pam 's eye . Pam lifts a broken beaker On it , the Wanye Enterprises logo . -LRB- OVER -RRB- Bane SCREAMS in the distance .<\/scene_description>\n    <character>PAMELA<\/character>\n    <dialogue>Coming, Bane darling. We've got a plane to catch.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SNOWY CONES ICE CREAM FACTORY - NIGHT<\/stage_direction>\n    <scene_description>An abandoned ice cream factory built in the shape of a snowman 's face , a dripping cone stuck onto the giant snowball head .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SNOWY CONES ICE CREAM FACTORY<\/stage_direction>\n    <scene_description>Abandoned . Always freezing . Ice sculpture everywhere . Freeze walks the bowels of the old factory . ICEMEN in parkas and SNOW BUNNIES eat frozen dinners , GUFFAWING as they watch TV . The SEXIEST BUNNY sidles up to Freeze .<\/scene_description>\n    <character>MS. B. HAVEN<\/character>\n    <dialogue>Freezy, I'm feeling. hot.<\/dialogue>\n    <character>FREEZE<\/character>\n    <dialogue>I find that unlikely.<\/dialogue>\n    <character>MS. B. HAVEN<\/character>\n    <dialogue>Okay, my hair is brittle, my skin is dry and I do n't care. I'd weather blizzards to have you. You're the most perfect man I've ever known.<\/dialogue>\n    <character>FREEZE<\/character>\n    <dialogue>To be frozen. To never change. A life of perpetual ice - olation. There is little perfection in that.<\/dialogue>\n    <character>MS. B. HAVEN<\/character>\n    <parenthetical>( pushing closer . )<\/parenthetical>\n    <dialogue>What say we turn up the heat?<\/dialogue>\n    <character>FREEZE<\/character>\n    <dialogue>You're skating on thin ice. My passion thaws for my bride alone.<\/dialogue>\n    <character>MS. B. HAVEN<\/character>\n    <dialogue>Forget your frosty femme. These lips are wet and ready to get frostbite.<\/dialogue>\n    <character>FREEZE<\/character>\n    <dialogue>Hop away little bunny. Before I cool your jets. Permanently.<\/dialogue>\n    <scene_description>The Bunny storms off .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>I wonder how cold I can get my shower. Frosty!<\/dialogue>\n    <scene_description>Freeze 's faithful aide , FROSTY , appears by his side .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Everyone is always having a good time. Except me. Try as I might, can find no pleasure. Perhaps my heart truly has turned to ice.<\/dialogue>\n    <scene_description>Freeze lifts his gun and FIRES , freezing Frosty solid .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Well, that was fun. There's hope for me yet.<\/dialogue>\n    <scene_description>143A Freeze stares at his frozen aide a beat , changes the setting on his gun and FIRES , a THAWING BEAM melting Frosty so he stands now , soaked and dripping like a wet cat . 143B Freeze turns on his heel . Frosty follows him past mounting files of research . Scrawled schematics An icy workshop .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Do you think I'm mad, Frosty?<\/dialogue>\n    <character>FROSTY<\/character>\n    <parenthetical>( wringing out his sleeves . )<\/parenthetical>\n    <dialogue>That's really a judgment call, boss.<\/dialogue>\n    <scene_description>A flashing display on his suit watch reads LOW POWER .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Battling the bat exhausted my power.<\/dialogue>\n    <scene_description>From a safe , Freeze takes three small diamonds , place them in the suit compartment . His power levels spike to normal .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>But I was successful nevertheless.<\/dialogue>\n    <scene_description>Freeze continues to a pedestal atop which sits a machine powered by two giant diamonds . Slots for two more diamonds are empty . He removes the giant stolen diamond from within his tunic , place the gem in an empty third slot .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>One more giant diamond of this size and my freezing cannon will be complete. I will hold Gotham ransom. Unless the city bows to my demands, it's winter forever here in goat - town. The city fathers will have no choice but to give me the billions I need to complete my research, to find the cure for.<\/dialogue>\n    <scene_description>Freeze has come to a frozen wall .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Leave us. We need quality time.<\/dialogue>\n    <scene_description>As Frosty EXITS in the b.g. , Freeze enters a walk - in freezer , lifts a frozen dinner box . A SECRET VAULT opens . Freezes steps into . 148A INT . FREEZE 'S SUBTERRANEAN COLD VAULT Within , a computerized glacier - like sarcophagus bears his frozen wife , a snowflake pendant around her neck .<\/scene_description>\n    <character>FREEZE<\/character>\n    <parenthetical>( touches the glass . )<\/parenthetical>\n    <dialogue>Soon we will be together once more.<\/dialogue>\n    <scene_description>Freeze turns towards his research , heading back to work .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Nothing frustrates a man like a frigid wife.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMBO - NIGHT<\/stage_direction>\n    <scene_description>Robin is fighting Mr. Freeze and his cronies . Robin delivers a fast set of spinning kicks to the Thugs , felling them like toys . A Thug carrying a large diamond breaks free , racing away . Robin leaps for the escaping Thug , putting his back to Freeze . Freeze raises his joined fists high above Robin 's head , coming down fast . Robin is done for . Suddenly Batman swing out of the dark , his boots flying into Freeze 's chest , sending the villain hard to the ground . Batman drops to Freeze 's chest , HAMMERS a series of punches into his tunic , rendering him unconscious . Batman looks up at Robin .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>We'll be starting again now.<\/dialogue>\n    <scene_description>Just then Freeze 's hand shoots up , grabbing Batman by the throat .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Pause virtual reality simulation.<\/dialogue>\n    <scene_description>PUSH IN as Batman reaches towards his cowl . SCREEN WIPES TO REVEAL . BRUCE WAYNE - CLOSE . Pulls off a pair of VR goggles . WIDER Bruce and Dick , also in VR goggles , stand on an empty platform in the back of the Batcave .<\/scene_description>\n    <character>DICK<\/character>\n    <dialogue>I got the diamond. Quell problemo, Bruce?<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>You left your back wide open. Freeze could have killed you.<\/dialogue>\n    <scene_description>Dick demonstrates a spinning back kick that would have dropped Freeze in his tracks .<\/scene_description>\n    <character>DICK<\/character>\n    <dialogue>I had it covered.<\/dialogue>\n    <scene_description>-LRB- OVER -RRB- A doorbell RINGS .<\/scene_description>\n    <character>DICK<\/character>\n    <dialogue>You know, in the circus, The Flying Graysons were a team. We had to trust each other. We had to count on each person to do his part. That's what being partners is all about.<\/dialogue>\n    <parenthetical>( loud . )<\/parenthetical>\n    <dialogue>End simulation.<\/dialogue>\n    <scene_description>Ambient lights come up in the cave .<\/scene_description>\n    <character>DICK<\/character>\n    <dialogue>Sometimes counting on someone else is the only way to win.<\/dialogue>\n    <scene_description>-LRB- OVER -RRB- the doorbell RINGS again .<\/scene_description>\n    <character>DICK<\/character>\n    <parenthetical>( puzzled . )<\/parenthetical>\n    <dialogue>Where's Al?<\/dialogue>\n    <scene_description>Dick heads for the door .<\/scene_description>\n    <character>BRUCE<\/character>\n    <parenthetical>( following . )<\/parenthetical>\n    <dialogue>Could n't we just for once pretend that I'm the teacher and you're the student?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAYNE MANOR - FOYER - AFTERNOON<\/stage_direction>\n    <scene_description>Columns of dancing sunlight fill the giant entryway . Dick goes to the front door as Bruce meets Alfred emerging in the b.g.<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>I must have dozed off. My sincerest apologies, sir.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>No apology necessary. That's the first time in thirty years.<\/dialogue>\n    <scene_description>Bruce smiles , but he ca n't take his eyes off Alfred . The butler seems pale , older than usual .<\/scene_description>\n    <character>DICK<\/character>\n    <dialogue>Mystery pizza delivery?<\/dialogue>\n    <scene_description>Dick opens the door . A young girl stands in the autumn light , beautiful , dressed in prim , schoolgirl clothes , BARBARA WILSON .<\/scene_description>\n    <character>DICK<\/character>\n    <dialogue>Please be looking for me.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>I'm so sorry to trouble you, but -<\/dialogue>\n    <scene_description>That 's when the girl sports Alfred . The old man 's eyes widen .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>Uncle Alfred?<\/dialogue>\n    <scene_description>Barbara rushes in , past Dick and Bruce , into the old butler 's arms . he holds her close . Bruce and Dick face each other .<\/scene_description>\n    <character>BRUCE &amp; DICK<\/character>\n    <parenthetical>( mouthing . )<\/parenthetical>\n    <dialogue>Uncle?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WAYNE ESTATE GARDENS - AFTERNOON - WALKING<\/stage_direction>\n    <scene_description>Bruce , Alfred , Dick , and Barbara tour .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>How long has it been, Uncle Alfred?<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Ten years.<\/dialogue>\n    <parenthetical>( to Bruce . )<\/parenthetical>\n    <dialogue>Barbara is n't really me niece, sir. She's Joanna Clark's daughter.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Of course. Alfred still keeps your mother's picture in his room.<\/dialogue>\n    <character>DICK<\/character>\n    <dialogue>Anybody want to tell us kids in the cheap seats who Joanna Clark is?<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Joanna and I were in love in London. But when I realized our age difference was too extreme -<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Uncle Alfred left for America. Much to my mother's dismay -<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Eventually she married a young physician.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WAYNE ESTATE - STABLES - WALKING - CONTINUOUS<\/stage_direction>\n    <character>DICK<\/character>\n    <dialogue>Al's main squeeze. Is she here?<\/dialogue>\n    <parenthetical>( off everyone 's looks . )<\/parenthetical>\n    <dialogue>I'm about to scrape the bottom of my shoe off my tongue, right?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>My parents were killed in an auto accident ten years ago. Alfred has been supporting me ever since.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>You have?<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Secrets are a virtual prerequisite in this house, do n't you think?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>I'm on break from -<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Oxbridge Academy?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Their new computer sciences division. How did you know?<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>I recognized the accent.<\/dialogue>\n    <scene_description>They have come to the garage . A motorcycle sits out front .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>What is it? It's beautiful.<\/dialogue>\n    <scene_description>The way the sun catches Barbara , she looks like an angel .<\/scene_description>\n    <character>DICK<\/character>\n    <dialogue>You can say that again.<\/dialogue>\n    <parenthetical>( catching himself . )<\/parenthetical>\n    <dialogue>It's a competition racer I've been fixing up. Maybe one day I'll show you how to ride.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>You certainly will not.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Oh no, those things frighten me.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Well, I hope you'll stay with us.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>There's a lovely inn just down -<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>All this luxury really is n't my style but -.<\/dialogue>\n    <parenthetical>( still eyeing the bike . )<\/parenthetical>\n    <dialogue>I'd love to stay.<\/dialogue>\n    <character>BRUE<\/character>\n    <dialogue>Then it's settled.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Oh, but, sir. So much goes on -<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Do n't be silly, Alfred. After all, she's family.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOTHAM AIRPORT - TARMAC _ NIGHT<\/stage_direction>\n    <scene_description>A vintage DC - 3 steams on the runway . Pilots descend the gangway . Pamela Isley , dressed as a grieving window , supervises the LUGGAGE HANDLERS ' debarkation of a coffin . An immense coffin .<\/scene_description>\n    <character>PAMELA<\/character>\n    <dialogue>Be gentle. He's always been touchy.<\/dialogue>\n    <character>HANDLER<\/character>\n    <dialogue>Whatever you say, lady.<\/dialogue>\n    <scene_description>Pam watches the Handlers carry the coffin away . She turns , walks off across the tarmac . FAVOR THE BAGGAGE HANDLERS as they bear the coffin to the terminal .<\/scene_description>\n    <character>HANDLER<\/character>\n    <parenthetical>( imitating Pam . )<\/parenthetical>\n    <dialogue>He's always been touchy. Right.<\/dialogue>\n    <scene_description>A GIANT FIST CRASHES through the splintering lid . The Handlers drop the coffin as a figure emerges . Bane , wearing his full costume , his injector pack strapped to his back . Bane lifts a Handler , begins swinging him like a baseball bat , sending the other Handlers flying .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIRPORT - TARMAC<\/stage_direction>\n    <scene_description>A LIMOUSINE sits at the edge of the runway . A lone BUSINESSMAN approaches the waiting car . The DRIVER smiles , opens the door . he Businessman climbs in to find .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMO - NIGHT<\/stage_direction>\n    <scene_description>Pam sits sprawled on the back seat , showing no small bit of leg .<\/scene_description>\n    <character>BUSINESSMAN<\/character>\n    <dialogue>There must be some mistake -<\/dialogue>\n    <character>PAMELA<\/character>\n    <dialogue>Silly darling, there's no need to pretend in front of the driver.<\/dialogue>\n    <scene_description>She grabs his face kisses him passionately . She lets go , the Businessman slumps to the seat . Dead .<\/scene_description>\n    <character>PAMELA<\/character>\n    <dialogue>Love hurts. In my case it kills.<\/dialogue>\n    <scene_description>THE REARVIEW MIRROR The limo driver watches on . Suddenly a hand reaches in SNAPPING his neck , drags out his body . Bane climbs into the driver 's seat .<\/scene_description>\n    <character>PAMELA<\/character>\n    <dialogue>Once around the park.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALFRED'S ROOM<\/stage_direction>\n    <scene_description>The door is ajar . -LRB- OVER -RRB- a gentle KNOCK . Barbara pushes inside , wearing a long terry robe . The room is empty . She notices a pile of envelopes on the desk . ENVELOPES - CLOSE . All addressed to Wilfred Pennyworth . Royal Court of Mirajanpore . All stamped RETURN TO SENDER .<\/scene_description>\n    <character>ALFRED<\/character>\n    <parenthetical>( OVER . )<\/parenthetical>\n    <dialogue>I did n't know sneaking around was on the curriculum at Oxbridge.<\/dialogue>\n    <scene_description>Barbara starts , turns . Alfred steps from the shadows in his robe .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>I'm sorry, Uncle, I came to tuck you in. And.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>You came to tuck me in. That's quite a switch.<\/dialogue>\n    <parenthetical>( off the envelopes . )<\/parenthetical>\n    <dialogue>I am looking for my brother, Wilfred. He is first butler to the Maharajah of Mirajanpore. But Mirajanpore is a floating court, it travels across India, so Wilfred can be rather difficult to find.<\/dialogue>\n    <scene_description>Alfred TAPS his computer keyboard . SCREEN - CLOSE . Full motion images of a resplendent royal court , carried entirely on the back of elephants .<\/scene_description>\n    <character>BARBARA<\/character>\n    <parenthetical>( OVER . )<\/parenthetical>\n    <dialogue>I guess they do n't have fax machines on elephants.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>I have been trying to reach Wilfred with no success. As one grows older, one yearns for family.<\/dialogue>\n    <character>BARBARA<\/character>\n    <parenthetical>( she smiles . )<\/parenthetical>\n    <dialogue>It's good to see you again, Uncle. I've missed you.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>As I've missed you.<\/dialogue>\n    <parenthetical>( kissing her head . )<\/parenthetical>\n    <dialogue>Sleep well, child.<\/dialogue>\n    <scene_description>Barbara heads out , closing the door behind her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Barbara walks to her room . She pauses , waiting for the light under Alfred 's door to go out . Then she disappears inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAYNE MANOR - BARBARA'S ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Barbara whips off her robe . Underneath , a tight black leather motorcycle outfit . She begins pulling on sleek black boots .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WAYNE MANOR - NIGHT _ CONTINUOUS<\/stage_direction>\n    <scene_description>A knotted climbing rope tumbles out of one of the windows . A figure expertly descends into the courtyard below . Turns , face now visible in the moonlight . Barbara .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAYNE MANOR GARAGE - NIGHT - CONTINUOUS<\/stage_direction>\n    <scene_description>Kids collect Matchbox and Corgi . Billionaires collect the real thing . Barbara ENTERS , cloaked in the shadows , moves stealthfully past the myriad cards until she comes to the row of motorcycles . She stops at a sleek competition bike , climbs on , pulling a racing helmet from her back - pack , expertly kick - starts the ENGINE . Barbara rides out through the open garage into the night .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SNOWY CONES ICE CREAM FACTORY - NIGHT<\/stage_direction>\n    <scene_description>Freeze is standing at his computerized work - station , entering data into the keyboard .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Maybe this time, this new formula, will return you to me.<\/dialogue>\n    <scene_description>Freeze hits a switch . A beat . Then an ALERT panel flashes a simple message : TEST FAILURE . Freeze SLAMS the console with his fist . FOLLOW FREEZE as he rises , walks through the open door into . 185A INT . FREEZE 'S VAULT - NIGHT Freeze stares up at his wife in her frozen sarcophagus , fighting back the tears .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>No cure tonight, my love. Forgive me. But soon, I promise you. Soon.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMOUSINE - DAY<\/stage_direction>\n    <scene_description>Morning . Bane drives . Ivy sits in the back seat , applying brown contact lenses , donning a dark wig . Pamela Isley once more .<\/scene_description>\n    <character>PAMELA<\/character>\n    <parenthetical>( to the Charlie jingle . )<\/parenthetical>\n    <dialogue>Kind of Hip, kind of Wow, Ivy. Kind of Free, kind of Now, Ivy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOTHAM OBSERVATORY - DAY _ESTABLISHING<\/stage_direction>\n    <scene_description>A stone and copper observatory in the process of being restored , set atop the banks above the Gotham River and the city beyond .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OBSERVATORY<\/stage_direction>\n    <scene_description>An immense circular hall under construction . Within , a partially installed telescope . Bruce stands flanked by his stunningly beautiful date -LRB- JULIE MADISON -RRB- , a SCIENTIST and his ASSOCIATE , all on a podium backed by blueprints , facing the PRESS .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>My father once told me that to succeed we need only pick our star and follow it. And so Wayne Enterprises is donating the world's most advanced telescope to Gotham's Observatory Restoration Project. Perhaps this telescope will give future generations a chance to find their own stars.<\/dialogue>\n    <character>GOSSIP GERTY<\/character>\n    <dialogue>Brucy, is it true this new telescope can see all around the globe?<\/dialogue>\n    <character>SCIENTIST<\/character>\n    <dialogue>Yes, if you'll watch the monitors -<\/dialogue>\n    <scene_description>A MONITOR BANK - CLOSE . A graphic of the earth . Equidistant satellites in geosyncronous orbit are highlighted .<\/scene_description>\n    <character>SCIENTIST<\/character>\n    <dialogue>Satellites already in orbit allow us to reflect light around the planet.<\/dialogue>\n    <scene_description>ON SCREEN - A graphic ray of light is reflected from a satellite over Australia , to a satellite over the U.S. , and then beamed to a graphic of the Gotham - based telescope .<\/scene_description>\n    <character>ASSOCIATE<\/character>\n    <dialogue>From here we'll be able to see the sky anywhere on earth.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Just do n't point it at my bedroom.<\/dialogue>\n    <character>GOSSIP GERTY<\/character>\n    <dialogue>Brucy, you and the exquisite Julie Madison have been going out forever. Are you planning to tie the knot?<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Get married? me? No.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>No!?<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Umm. What I mean is. no plans at the moment.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>But soon.<\/dialogue>\n    <character>GERTY<\/character>\n    <dialogue>Soon?<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Ah. Sooner or later. all relationships evolve and.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>And?<\/dialogue>\n    <character>BRUCE<\/character>\n    <parenthetical>( to Julie . )<\/parenthetical>\n    <dialogue>Can I get some help over here?<\/dialogue>\n    <scene_description>Julie smiles , turns to the PRESS . the very picture of composure .<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Bruce and I are lucky enough to be recklessly in love. And that is most certainly enough for us.<\/dialogue>\n    <parenthetical>( to Bruce . )<\/parenthetical>\n    <dialogue>For now.<\/dialogue>\n    <scene_description>FOLKS LAUGH , charmed .<\/scene_description>\n    <character>SCIENTIST<\/character>\n    <dialogue>Now, if you'll all follow me, I'll show you the central control grid.<\/dialogue>\n    <scene_description>The Scientist and Associate tour Julie and the Press around the telescope , leaving Bruce to confer with two of his Aides .<\/scene_description>\n    <character>GUARD<\/character>\n    <parenthetical>( OVER . )<\/parenthetical>\n    <dialogue>Mr. Wayne?<\/dialogue>\n    <scene_description>WIDER Pam , hair in a bun , face behind glasses , cloaked in a frumpy suit , is standing behind two door GUARDS .<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>She does n't have a pass, sir.<\/dialogue>\n    <scene_description>BRUCE smiles , waves off the guards with a gesture .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>They're overly protective. You're Not going to hurt me are you, Ms.<\/dialogue>\n    <character>PAMELA<\/character>\n    <dialogue>Dr. Pamela Isley.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>What can I do for you, Doctor? A research grant? A hospital wing?<\/dialogue>\n    <character>PAMELA<\/character>\n    <dialogue>Actually, I already work for you. Or did. Your arboreal preservation project in South America.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>We cut our support. A conflict of ideologies. Dr. Woodrue was a lunatic.<\/dialogue>\n    <character>PAMELA<\/character>\n    <dialogue>I see you knew him.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>That lab was consumed by fire last week. how did you manage to escape?<\/dialogue>\n    <character>PAMELA<\/character>\n    <dialogue>I have here a proposal showing how Wayne Enterprises can immediately cease all actions that toxify our environment.<\/dialogue>\n    <scene_description>Bruce takes the proposal , scans it . Pam 's eyes shine despotic .<\/scene_description>\n    <character>PAMELA<\/character>\n    <dialogue>Forget the stars. Look here, at the Earth, our mother, our womb. She deserves our loyalty and protection. And yet you spoil her lands, poison her oceans, blacken her skies. You're killing her.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Your intentions are noble, but no diesel fuel for heat. No coolants to preserve food. Millions would die of cold and hunger alone.<\/dialogue>\n    <character>PAMELA<\/character>\n    <dialogue>Acceptable losses in a battle to save the planet.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>People come first, Dr. Isley.<\/dialogue>\n    <scene_description>The tour has returned . Pam turns to the Press . Begins to soapbox .<\/scene_description>\n    <character>PAMELA<\/character>\n    <dialogue>Mammals. So smug in your towers of stone and glass. A day of reckoning is coming. The same plants and flowers that saw you crawl blind from the primordial soup will reclaim this planet. Earth will be a garden again. Somehow, some way, I will bring your man - made civilization to its knees and there will be no one to protect you.<\/dialogue>\n    <scene_description>Pam 's tirade is so extreme , folks around her LAUGH .<\/scene_description>\n    <character>GOSSIP GERTY<\/character>\n    <dialogue>You must be new in town. In Gotham City, Batman and Robin protect us. Even from plants and flowers.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Perhaps you'd like to meet them.<\/dialogue>\n    <scene_description>Bruce nods and an Aide hands Pam an invitation . INVIATION - CLOSE . Batman and Robin to appear at the Flower Ball .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>The caped crusaders are helping us auction off a prized diamond to raise money for the Gotham Botanical Gardens. Just a few mammals doing what we can for our world's plants.<\/dialogue>\n    <character>GOSSIP GERTY<\/character>\n    <dialogue>So, Brucy, will the delicious Ms. Madison be your date for the flower ball tonight?<\/dialogue>\n    <character>PAMELA<\/character>\n    <dialogue>Tell me, billionaire, would you warm faster to my pleas if I looked more like Ms. January here?<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Although the Wayne Foundation is hosting the event, sadly I will be unable to attend. Thank you all.<\/dialogue>\n    <parenthetical>( to Pam . )<\/parenthetical>\n    <dialogue>Good day, Doctor.<\/dialogue>\n    <scene_description>Pam watches him go , trailed by press . Peers at her invitation .<\/scene_description>\n    <character>PAMELA<\/character>\n    <dialogue>Batman and Robin. Militant arm of the warm - blooded oppressors. Animal protectors of the status quo. First I'll rid myself of the fur and feathered pests. And then Gotham will be mine for the greening.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SNOWY CONES ICE CREAM FACTORY<\/stage_direction>\n    <scene_description>Nora and Victor Fries kiss at their wedding altar . The video images change to show the couple playing with a puppy . Nora LAUGHS as her husband crowds beside her . He EXITS frame , hands her something .<\/scene_description>\n    <character>NORA<\/character>\n    <dialogue>Oh, Victor, it's beautiful.<\/dialogue>\n    <scene_description>Nora holds her snow - flake necklace up for the camera . Places it around her neck , smiling up tot he warm summer sun . PULL BACK TO REVEAL Freeze sits watching the images on his screen .<\/scene_description>\n    <character>FROSTY<\/character>\n    <parenthetical>( OVER . )<\/parenthetical>\n    <dialogue>` Scuse me, chief. I got something her you might want to see.<\/dialogue>\n    <scene_description>Frosty stands in the door , newspaper in hand . Without shifting his gaze , Freeze lifts his freezing gun , FIRES . Frosty Freezes .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>I hate it when people talk during the movie.<\/dialogue>\n    <scene_description>Freeze continues staring at the screen . Finally the happy images are just too much for him . He FIRES his gun at the screen , the picture EXPLODING into flying shards of light .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>One more diamond, my love. One more.<\/dialogue>\n    <scene_description>Freeze rises . he breaks off the cover of the frozen paper in Frosty 's hand . PAPER - CLOSE . Wayne Donates Diamond to Flower Ball .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOTHAM BOTANICAL GARDENS - NIGHT<\/stage_direction>\n    <scene_description>An immense glass greenhouse set atop the roof of a mighty skyscraper . Elegant guests mill admist the stars .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOTHAM BOTANICAL GARDENS - GREENHOUSE - NIGHT<\/stage_direction>\n    <scene_description>A hanging banner reads GOTHAM CHARITY FLOWER BALL . A GIANT BEAST MASK covers the entrance . DRUMMERS STOMP on congo drums . GUESTS dress as flowers . TWO COSTUMED GORILLAS romp about the room . 203A Batman and Robin stand by the stage .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>You think Freeze will take the bait?<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>He'll be here.<\/dialogue>\n    <scene_description>203B ATOP THE STAIRS . The two Gorillas have converged on the DRUMMERS . One begins dancing around , covertly KNOCKING the drummers unconscious with his paws . ON STAGE . The MC walks out , followed by Gossip Gerty .<\/scene_description>\n    <character>MC<\/character>\n    <dialogue>Ladies and Gentlemen. Gossip Gerty of Good Morning Gotham and I welcome you to the gem of our evening.<\/dialogue>\n    <scene_description>Two armed guards emerge bearing a palette upon which hangs a silver necklace supporting a perfect , grapefruit sized diamond .<\/scene_description>\n    <character>GOSSIP GERTY<\/character>\n    <dialogue>The famed Heart of Isis, on loan from the Collection of my close, personal friend Bruce Wayne.<\/dialogue>\n    <scene_description>The MC gestures and several woman step forward dressed as flowers , each more strikingly gorgeous than the next .<\/scene_description>\n    <character>MC<\/character>\n    <dialogue>Tonight, on auction, an opportunity to dine with one of our fabulous flowers, the famed diamond draped around her neck.<\/dialogue>\n    <character>GOSSIP GERTY<\/character>\n    <dialogue>Ooo, look at all these luscious lovelies. let's start the bidding.<\/dialogue>\n    <character>MAN #1<\/character>\n    <dialogue>Ten thousand for Chrysanthemum.<\/dialogue>\n    <character>MAN #2<\/character>\n    <dialogue>Twenty thousand for Lilac.<\/dialogue>\n    <character>MAN #3<\/character>\n    <dialogue>Thirty thousand for Rose.<\/dialogue>\n    <character>GOSSIP GERTY<\/character>\n    <dialogue>Boys, please. Show some gusto.<\/dialogue>\n    <scene_description>THE TOP OF THE STAIRS . ONE GORILLA begins to BEAT the drums . The other removes her paw mitts . Her gorilla 's head . From within her gorilla costume , steps a vision . Skin tight green costume made of leaves . Green boots and mask . magenta hair . Glowing green eyes . Meet POISON IVY , simply the most beautiful woman known to man . 205A ROBIN - CLOSE . Smiles .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Gorilla my dreams.<\/dialogue>\n    <scene_description>Ivy lifts her green gloved hands , both filled with piles of sparkling dust , blows the powder over the startled patrons . FOLLOW THE DUST as it spins out in fairy - like spirals , curling through the crowd . THE CROWD - VARIOUS SHOTS . Folks blink their eyes , suddenly bewitched , as Ivy tilts backwards , falling into the arms of several jungle clad men on the ballroom floor . IVY saunters over a bridge made of the backs of kneeling men , through the parting crowd , towards Batman and Robin .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>Hi there.<\/dialogue>\n    <character>MC<\/character>\n    <parenthetical>( sputtering . )<\/parenthetical>\n    <dialogue>And you are.<\/dialogue>\n    <character>IVY<\/character>\n    <dialogue>Poison. Poison Ivy.<\/dialogue>\n    <scene_description>BATMAN - CLOSE . Dazed . Like a man who 's drunk a quart of love potion . He takes her hand .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>Why not send junior to bed early, I could come and take your measurements?<\/dialogue>\n    <scene_description>Ivy turns now to Robin , offers the other hand . She blows another volley of dust into Robin 's face .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>On the other hand, youth does have its advantages. Endurance. Stamina.<\/dialogue>\n    <scene_description>ROBIN - CLOSE . Also suddenly smitten , perhaps even harder .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>Why settle for second place? Robin is a sidekick, a junior partner. If we were a team, you'd be the star. Forget the geriatric bat. Come, join me, my garden needs tending.<\/dialogue>\n    <scene_description>The two help her up onto stage . She turns to the mesmerized MC .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>I'll take it from here, pal.<\/dialogue>\n    <scene_description>Ivy lifts the diamond , places it around her neck .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>Some lucky boy's about to hit the honey pot. I'll include an evening of my company for the winner. I'll bring everything you see here. Plus everything you do n't.<\/dialogue>\n    <parenthetical>( off Batman and Robin . )<\/parenthetical>\n    <dialogue>And I'll bring my imagination.<\/dialogue>\n    <character>MAN #1<\/character>\n    <dialogue>50 thousand for Poison Ivy -<\/dialogue>\n    <character>MAN #2<\/character>\n    <dialogue>100 thousand for Poison Ivy -<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>One million -<\/dialogue>\n    <character>ROBIN<\/character>\n    <parenthetical>( sotto voce . )<\/parenthetical>\n    <dialogue>You own it.<\/dialogue>\n    <parenthetical>( loud . )<\/parenthetical>\n    <dialogue>Two million -<\/dialogue>\n    <scene_description>The two lock eyes .<\/scene_description>\n    <character>BATMAN<\/character>\n    <parenthetical>( sotto voce . )<\/parenthetical>\n    <dialogue>You do n't have two million.<\/dialogue>\n    <parenthetical>( loud . )<\/parenthetical>\n    <dialogue>Three million -<\/dialogue>\n    <character>ROBIN<\/character>\n    <parenthetical>( sotto voce . )<\/parenthetical>\n    <dialogue>I'll borrow it from you.<\/dialogue>\n    <parenthetical>( loud . )<\/parenthetical>\n    <dialogue>Four million -<\/dialogue>\n    <character>IVY<\/character>\n    <dialogue>You two boys are n't going to fight over little old me, are you?<\/dialogue>\n    <scene_description>Batman reaches to his utility belt , draws a batarang .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Five million -<\/dialogue>\n    <scene_description>Robin reaches to his utility belt , pulls a throwing bird .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Six million -<\/dialogue>\n    <character>GOSSIP GERTY<\/character>\n    <dialogue>Is it getting nippy in here?<\/dialogue>\n    <scene_description>THE TEETH of the giant mask EXPLOSE as Freeze 's truck SMASHES into the room from an elevated bridge beyond . Standing atop the vehicle , backed by swirling mists , Freeze , his Icemen following behind .<\/scene_description>\n    <character>FREEZE<\/character>\n    <parenthetical>( drawing his gun . )<\/parenthetical>\n    <dialogue>Did I use the wrong door again?<\/dialogue>\n    <scene_description>Batman hurls his batarang , knocking Freeze 's pistol free . Batman and Robin race forward , engulfed by the rushing force of Icemen . HIS PISTOL flies into the hands of one of the Guests . A THUG rams the Guest from behind , the gun bouncing into the air . 215A A swarm of armed SECURITY GUARDS and GUESTS swamp Freeze . 215B FREEZE When technology fails . brute force . 215C FREEZE moves like lightning , SMASHING guards with mighty punches , WHIPPING guests flying across the room . FREEZE 'S PISTOL bounces from Guest , to Thug , to Guest like a wildly fumbled football , a Thug finally tipping the soar - ing gun back towards Freeze . 215D FREEZE Alright , everyone , chill ! Freeze FIRES , turning a few guests and several exotic flower arrangements into ice .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>I should have been a decorator.<\/dialogue>\n    <scene_description>Freeze starts for the stage . BATMAN and ROBIN are in mid - melee , fighting off an army of Icemen . Batman SMASHES one Thug three times in the chin . Robin does a spinning side kick to another approaching villain , then ducks , sending one villain crashing into another . Batman grabs a Thug , throws him to Robin , who punches him back to Batman who punches him back to Robin . Both punch him simultaneously , the Thug flying back through the air . They begin fighting their way towards the stage . FREEZE climbs onto the stage to face Poison Ivy .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Let me guess, Plant Girl? Vine Lady? Ms. Moss?<\/dialogue>\n    <character>IVY<\/character>\n    <dialogue>Listen, Captain Cold, the suit, maybe, even though silver went out in the 70's. But those boots are unforgivable. What is it with men?<\/dialogue>\n    <character>FREEZE<\/character>\n    <dialogue>I'd love to stand here all day and exchange fashion tips but I'm kind of pressed for time. So hand over the diamond, Garden Gal, or I turn you into mulch.<\/dialogue>\n    <scene_description>Ivy pulls a handful of dust from her belt - pouch , blows it towards him . The dust swirls around his helmet . Ivy frowns .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Pheromone dust. Designed to heat a man's blood. Does n't work on the cold hearted. Now, if you please.<\/dialogue>\n    <scene_description>Freeze extends his gloved hand .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>Well, if you insist.<\/dialogue>\n    <scene_description>Ivy hands him the diamond .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Clever little clover.<\/dialogue>\n    <scene_description>Just then one of the Thugs flies across the room , SHASHING into the back of the stage .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>That's my exit cue.<\/dialogue>\n    <scene_description>FREEZE races for his truck . BATMAN and ROBIN dispatch the last Iceman , make for the stage .<\/scene_description>\n    <character>BATMAN<\/character>\n    <parenthetical>( to Gordon . )<\/parenthetical>\n    <dialogue>You have eleven minutes to thaw those guests, Commissioner.<\/dialogue>\n    <scene_description>Batman and Robin race after the escaping Freeze and his men . Ivy stares after them . She lifts a small souvenir . A tiny glass globe that says Welcome To Gotham . Shakes the bauble , the tiny city within suddenly covered by snow . Gordon appears behind her .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>Miss Ivy, you've just met one of the most sinister men in Gotham.<\/dialogue>\n    <character>IVY<\/character>\n    <dialogue>That's no man. That's a God!<\/dialogue>\n    <scene_description>Gordon moves off as the second Gorilla arrives on stage , removes his mask . Bane .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>Enough monkey business. We've got work to do.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOTHAM CITY - NIGHT<\/stage_direction>\n    <scene_description>A GIANT STATUE stands amidst Gotham 's sky - scrapers . CLOSER . Freeze in his Ice Truck , two Crony Trucks behind him , race up the interconnecting bridges that crisscross Gotham 's skyline .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FREEZE'S TRUCK<\/stage_direction>\n    <scene_description>FREEZE - POV . Gothamites veer their cars off the roadway in his path as Freeze spots the statue . He reaches for his dashboard . Freeze hits a flashing gun - shaped button on the dash .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FREEZE'S TRUCK - NIGHT<\/stage_direction>\n    <scene_description>A giant freeze - gun atop the truck FIRES .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOTHAM ROOFTOPS - NIGHT<\/stage_direction>\n    <scene_description>THE STATUE 'S HEAD - CLOSE . Freezes , the neck of the giant figure EXPLODING in a storm of ice . FREEZE 'S TRUCK swerves off the road , leaping through the hole in the statue 's neck and racing onto its shoulder . His Crony trucks follow , all racing away down the statue 's arm . THE BATMOBILE AND THE REDBIRD follow in close pursuit , BLOWING through the hole in the statue 's neck .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATMOBILE<\/stage_direction>\n    <scene_description>BATMAN - POV . The Freeze vehicles are heading towards the hand of the statue . Batman hits a button . MONITOR - CLOSE . Flashing schematics of the various trajectories of the Freeze vehicles and their imminent jumps from the hand , over the abyss of the city , to the lower rooftops beyond .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Pull back. You ca n't make the jump.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. REDBIRD<\/stage_direction>\n    <character>ROBIN<\/character>\n    <dialogue>I can make it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE'S ARM<\/stage_direction>\n    <scene_description>The Batmobile is shooting down the arm , the Redbird close behind<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Pull back.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>I can make it.<\/dialogue>\n    <scene_description>Robin SHOOTS a wheelie , overtaking the Batmobile .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATMOBILE<\/stage_direction>\n    <character>BATMAN<\/character>\n    <dialogue>Redbird control codes.<\/dialogue>\n    <scene_description>MONITOR - CLOSE . Schematics for the Redbird flash .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Disable engine.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. REDBIRD - NIGHT<\/stage_direction>\n    <scene_description>Robin 's engine warning - light goes on . The motor begins to DIE . The abyss is coming up fast . Robin side - grounds the bike , SKIDDING .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE'S HAND - NIGHT<\/stage_direction>\n    <scene_description>Freeze and his cronies split towards the separate fingers . SUPER - THRUSTERS fire and Freeze 's truck clears the jump , landing on the sloping roof on the other side of the abyss . His Crony Trucks follow , taking different fingers , flying into the air towards the rooftops beyond . Not high enough .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOP ABYSS - NIGHT<\/stage_direction>\n    <scene_description>One Crony truck BLOWS into an elevated billboard , the other EXPLODING into the opposing building . 246A EXT. . ROOFTOPS Freeze 's truck hits the roof , breaks SCREECHING , spinning degrees , his freeze gun now pointing back over the abyss .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE'S HAND<\/stage_direction>\n    <scene_description>The Redbird slides dangerously close to the end of the finger and the abyss below , finally coming to a halt as the Batmobile ROCKETS its engine and roars past , flying over the chasm . ROBIN stands on the fingertip , SHOUTING his rage into the night .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOPS ABYSS<\/stage_direction>\n    <scene_description>The Batmobile soars over the abyss towards Freeze 's truck .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FREEZE'S TRUCK - NIGHT<\/stage_direction>\n    <character>FREEZE<\/character>\n    <dialogue>It's a cold town.<\/dialogue>\n    <scene_description>Freeze hits the flashing gun - shaped button on the dash .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FREEZE'S TRUCK - NIGHT<\/stage_direction>\n    <scene_description>The freeze - gun FIRES its deadly blast , hitting the Batmobile . 252A EXT. . STATUE 'S HAND - NIGHT Robin watches as the flying Batmobile begins to ice over from Freeze 's cryonic blast .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATMOBILE<\/stage_direction>\n    <scene_description>The controls are frozen . A monitor flashes : SYSTEMS FAILURE . BATMAN - POV . The windscreen is covering with ice .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOP ABYSS<\/stage_direction>\n    <scene_description>The Batmobile is falling across the abyss like frozen sculpture . Suddenly the windscreen EXPLODES as Batman is catapulted through the glass like a torpedo , flying into the air high above the busy city . 257A EXT. . LOWER ROOFTOPS The frozen Batmobile drops to the safety of the rooftops on the other side of the abyss .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NIGHT SKY<\/stage_direction>\n    <scene_description>Batman flips , angling down , WHIPPING his cape open like the wings of a giant dark angel , riding the urban winds in a racing glide towards Freeze 's truck below .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FREEZE'S TRUCK - NIGHT<\/stage_direction>\n    <scene_description>THE SHADOW OF THE BAT falls over the open cab of Freeze 's truck .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Uh - oh.<\/dialogue>\n    <scene_description>FREEZE - POV . Batman , cape extended , soars directly over the cab .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FREEZE'S TRUCK<\/stage_direction>\n    <scene_description>Batman SMASHES through the glass driver 's dome , wrenching Freeze out of the cab , and soaring towards .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOWER ROOFTOP<\/stage_direction>\n    <scene_description>Batman lands standing in the moonlight , a stunned Freeze rolling out of his cape , diamond still in hand .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>I'm putting you on ice.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WAYNE MANOR - NIGHT - VFX<\/stage_direction>\n    <scene_description>The moonlit mansion sits on its clifftop perch above the river . PUSH IN as a portion of the cliff BURNS AWAY TO REVEAL .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATCAVE - NIGHT<\/stage_direction>\n    <scene_description>Bruce and Dick argue .<\/scene_description>\n    <character>DICK<\/character>\n    <dialogue>I could have made the jump.<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>You could have splattered your brains on the side of the building.<\/dialogue>\n    <character>DICK<\/character>\n    <dialogue>This is no partnership. You're never going to trust me.<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>Trust you? You ca n't even keep your head on the job. All you could think about was Poison Ivy.<\/dialogue>\n    <character>DICK<\/character>\n    <dialogue>You just ca n't stand that she might have wanted me instead of you ; that's your idea of friendship, is n't it, Bruce? You have to have everything. Your house. Your rules. Your way or the highway. It's Batman and Robin not Robin and Batman. I'm sick of it.<\/dialogue>\n    <scene_description>Dick is right up in Bruce 's face .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>Yes it's my rules. My rules that keep us alive. And if you want to stay in this house and on this team then you'll abide by them.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALFRED'S QUARTERS - NIGHT<\/stage_direction>\n    <scene_description>Alfred is completing a cassette tape .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>I have tried every address I know for you. I am praying this reaches you. We have very little time.<\/dialogue>\n    <scene_description>Alfred puts the tape in the envelope . -LRB- OVER -RRB- a KNOCK . Bruce ENTERS .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>Congratulations on your apprehension of Mr. Freeze. Batman monopolized the evening news.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>But the billionaire seems anything but celebratory .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>Is there something wrong, sir?<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Alfred, am I pigheaded? Is it always my way or the highway?<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Why, yes, actually. Death and chance stole your parents. But rather than become a victim, you have done everything in your power to control the fates. For what is Batman if not an effort to master the chaos that sweeps our world, an attempt to control death itself.<\/dialogue>\n    <scene_description>270A BRUCE - POV . Out the window , young Bruce and Alfred lay wreaths on a windy grave . Alfred puts his arm around the boy , holds him close . 270B BACK TO SCENE<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>But I ca n't can I?<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>No, my boy. I'm afraid none of us can.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAYNE MANOR GARAGE - NIGHT<\/stage_direction>\n    <scene_description>The competition bike 's headlight goes out . WIDER Barbara walks the bike steahtlfully back into the garage . A HAND touches her shoulder . Barbara moves fast , flipping the assailant over her shoulder in an expert judo move . She spins to face . Dick . Floored in every sense of the word . Barbara 's demeanor suddenly changes . All school girl politeness .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>Oh. I'm so sorry. I'd just never seen anything like it. So massive. I took it out for a spin. I do so hope I did n't inconvenience you.<\/dialogue>\n    <parenthetical>( off his look . )<\/parenthetical>\n    <dialogue>Ah yes, the outfit. For a. costume party. Just trying it out. One never knows how leather will wear.<\/dialogue>\n    <parenthetical>( helping him up . )<\/parenthetical>\n    <dialogue>Judo lessons at school, you know. All the rage, really. I suppose they've taken better than I thought. Again, my greatest of pardons.<\/dialogue>\n    <scene_description>She 's gone before Dick has a chance to speak . he stares after her . All is not as it seems in Wayne Manor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARKHAM ASYLUM - NIGHT<\/stage_direction>\n    <scene_description>Moonlight illuminates the familiar castle out of nightmare .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARKHAM ASYLUM CORRIDOR<\/stage_direction>\n    <scene_description>Several ARMED GUARDS are rolling a giant sub - zero refrig - erator on a gurney , the door chained and padlocked shut . Freeze is jammed inside , face visible through the torn off freezer compartment door .<\/scene_description>\n    <character>HEAD GUARD<\/character>\n    <dialogue>You're the common cold. And we're the cure. Welcome home, frost face.<\/dialogue>\n    <character>FREEZE<\/character>\n    <dialogue>Allow me to break the ice. My name is Freeze. Learn it well for it is the chilling sound of your doom.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARKHAM ASYLUM - FREEZE'S CELL - NIGHT<\/stage_direction>\n    <scene_description>Glowing rings on the floor and ceiling project a shimmer - ing column of snowing cold within the center of the room . Two GUARDS dump a suitless Freeze out of his frigidaire prison onto the floor , begin dragging him into the cold field . Freeze throws off the Guards in a sudden fury , SMASHING one in the head with closed fists , kicking the other in the face . He rushes for the door . Mistake . As his body passes out of the hypothermic field , he tumbles to his knees , his skin turning gray as he begins to wither and die .<\/scene_description>\n    <character>GUARD<\/character>\n    <parenthetical>( OVER . )<\/parenthetical>\n    <dialogue>Look at him stew. How do you like your bad guy, medium or well done?<\/dialogue>\n    <scene_description>The Guards stand over him , Laughing as he crawls back over the filed threshold . His color begin to return to normal .<\/scene_description>\n    <character>GUARD #2<\/character>\n    <dialogue>Get used to it. You're gon na be here a very long time.<\/dialogue>\n    <scene_description>Freeze looks up at the Guard who stands now at the wall sink , washing his hands . A beat . Then Freeze smiles .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>I'm afraid not. You see the means of my liberation is in your hands. Sadly, you will not live to see it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOTHAM ALLEY - NIGHT<\/stage_direction>\n    <scene_description>The entrance to an abandoned Turkish bath - house . Ivy and Bane approach a boarded - up portal .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>Batface and Birdbrain turned out to be more resistant to my love dust than expected. No matter, I'll give them a stronger dose. Next time, they'll literally be dying for me.<\/dialogue>\n    <scene_description>Bane SMASHES through the wooden boards with joined fists , two by fours splintering like balsa . They disappear inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLOSSOM STREET TURKISH BATHS - NIGHT<\/stage_direction>\n    <scene_description>Abandoned . Mid - eastern furniture crumbles . Slaves and sycophants cover the walls , weeping color .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>A fixer - upper, yes. But with a certain homey charm.<\/dialogue>\n    <scene_description>That 's when the shadows in the cave begin to move . One slips across the doorway . More appear on all sides , encroaching .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>Ah, a minus. Current tenants.<\/dialogue>\n    <scene_description>One figure steps into a column of moonlight . Pale . The toughest of urban predators . These are a gang of punks called the GOLUMS .<\/scene_description>\n    <character>GOLUM<\/character>\n    <dialogue>Hello, pretty.<\/dialogue>\n    <character>IVY<\/character>\n    <dialogue>Hello yourself. I love this place. I hope it's priced to sell.<\/dialogue>\n    <character>GOLUM<\/character>\n    <dialogue>We love you. You look good enough to eat.<\/dialogue>\n    <character>IVY<\/character>\n    <dialogue>Oh, that I am. Come and get me. If you can.<\/dialogue>\n    <scene_description>The Golums close in . IVY SLAMS the activation stud on Bane 's chest . BANE - CLOSE . Venom is pumped from his backpack through the tubes on his back into his skull . The Golums attack . But Bane hurls them off like animals . Kick and beats them , tossing them into walls , until the survivors race away .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>For the strong, silent type, you are most persuasive. Let's redecorate.<\/dialogue>\n    <parenthetical>( crossing the baths . )<\/parenthetical>\n    <dialogue>First, the light is all wrong.<\/dialogue>\n    <scene_description>Bane rips a hanging board from the ceiling , the old wooden planks tumbling to the floor , sudden moonlight streaming in from above .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>Also, what is this floor?<\/dialogue>\n    <scene_description>Bane stomps the floor , now revealing the dirt beneath .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>Au natural. Still, I've always hankered for something on the water.<\/dialogue>\n    <scene_description>Bane SMASHES a water main with his foot , irrigating the soil .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>Now a little color. It took God seven days to create paradise.<\/dialogue>\n    <scene_description>Ivy withdraws a handful of tiny seeds from Bane 's satchel .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>Let's see if I can do better.<\/dialogue>\n    <scene_description>Ivy drops the tiny plants on the ground . They begin to sprout into vines that spawn fast - budding flowers . Ivy lifts the Welcome to Gotham Bauble in her hand .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>Bane, I've found a fellow who strikes my fancy. A cool customer, yes. Icy demeanor, no question. But I detect a certain ruthless charm I may be able to use to my advantage.<\/dialogue>\n    <parenthetical>( off the dead thugs . )<\/parenthetical>\n    <dialogue \/>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAYNE MANOR - LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Candlelit . A table set for two . Alfred fills Bruce 's wine goblet , walks away . His forehead beads with sweat . A man hiding pain . BRUCE - POV . Across the table sits Ivy . She licks her lips .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>Bruce?<\/dialogue>\n    <scene_description>Bruce blinks . Looks again . Not Ivy at all but Julie .<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>You're not even listening to me.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>What? I'm sorry. You were saying.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>We've been going out over a year now and. Okay, here goes. Bruce, I want to spend my life with you.<\/dialogue>\n    <scene_description>Ivy saunters up behind Bruce , runs her hands down his chest . Bruce rises , shaking off the vision . Goes over to Julie .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>Julie, I'm not the marrying kind. There are things about me you would n't understand.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>I know you're a dedicated bachelor. That you've had a your wild nights.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Wild does n't exactly cover it.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>But there's nothing you've done under the cover of darkness I could n't learn to understand.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>I would n't bet on that.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>I'm betting on you. You'll make someone a good husband one day. But I ca n't wait around forever. Do n't answer now. Just think it over.<\/dialogue>\n    <parenthetical>( leaning close . )<\/parenthetical>\n    <dialogue>Here's some food for thought.<\/dialogue>\n    <scene_description>They kiss passionately . Bruce opens his eyes . He 's kissing Ivy . He recoils . But it 's only Julie before him , looking up , puzzled .<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Who's Ivy?<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>You just called me Ivy. Who's Ivy?<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>I wish I knew.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATCAVE - ROBIN'S COSTUME VAULT - NIGHT<\/stage_direction>\n    <scene_description>-LRB- OVER -RRB- loud MUSIC . Various magazine covers of Robin . Dick is at his computer terminal , staring at a monitor . MONITOR - CLOSE . A newsphoto of the flower ball survivors .<\/scene_description>\n    <character>DICK<\/character>\n    <dialogue>Enhance detail, 14 to 19.<\/dialogue>\n    <scene_description>A corner of the screen is highlighted , the IMAGE expands . IVY .<\/scene_description>\n    <character>DICK<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <scene_description>-LRB- OVER -RRB- an ALARM SOUNDS . The screen suddenly changes to an IMAGE of Barbara climbing out of her window , rappelling down an exterior wall .<\/scene_description>\n    <character>COMPUTER<\/character>\n    <dialogue>Alert! Unauthorized motion within specified parameters.<\/dialogue>\n    <character>DICK<\/character>\n    <dialogue>Got ya!<\/dialogue>\n    <scene_description>Dick is up fast , heading for the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAYNE MANOR GARAGE - NIGHT - MINUTES LATER<\/stage_direction>\n    <scene_description>Barbara has donned her leathers once again . She mounts the competition bike . Kick - starts the ENGINE , peeling out into the night . Dick rolls another racer out of hiding in the shadows . Pulls on his racking helmet . He kicks his ENGINE and starts after her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOTHAM ALLEY - NIGHT<\/stage_direction>\n    <scene_description>Groups of motorcycle gangs have gathered . Each is represented by a single racer . Leather clad . Costumed . Dyed hair . Pierced faces . Boys and girls for whom speed is a drug , the streets their home . Barbara pulls up her bike . A rider -LRB- BANKER -RRB- looks her up and down .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>What's the entry fee?<\/dialogue>\n    <character>BANKER<\/character>\n    <dialogue>Two - fifty.<\/dialogue>\n    <scene_description>Barbara nods , hands the cash . Another biker -LRB- SPIKE -RRB- steps forward .<\/scene_description>\n    <character>SPIKE<\/character>\n    <dialogue>You got a handle?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Folks call me Three - Jump.<\/dialogue>\n    <character>SPIKE<\/character>\n    <dialogue>You're the babe won the tunnel run two nights ago. That was trike racing. This is the big time. Maybe you should ride my hog instead.<\/dialogue>\n    <scene_description>Barbara smiles .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>How about a side bet?<\/dialogue>\n    <scene_description>As Spike and Barbara move in line beside the other racers , another helmeted racer emerges from the shadows to pay his entry fee . His face hidden by his helmet , Barbara ca n't see that it 's Dick . The racers , all helmeted , are in their starting positions . Engines are REVVED . Banker raises a pistol in the air and FIRES . Bikers SHOOT into the street . Some go over the tops of cars , others across the tops of stoops . Barbara watches as a biker beside her careens into an EXPLODING pile of trash cans . Two bikers are going neck and neck towards a racing truck . They split at the last instant , fly up off parked cars , then hit the ground , one SPINNING OUT , the other taking a position at the front of the pack . Barbara , Spike , two others hold the lead , leaving the rest in the dust . One of the bikers hits an oil skid , flies into a FIREBALL . THE FINISH LINE is a series of flashing yellow warning beacons atop the incomplete construction of a draw - bridge in the near distance . The race is down to three , Barbara , Spike and a third biker , all racing now onto the bridge , riveted steel beneath their wheels . THE FINISH LINE is coming up fast , and just beyond the line of flashing cones , an abyss separating the two as yet unconnected sides of the bridge . The trick is to cross the finish line first , but not so fast you ca n't brake before going over the edge into the water below . Spike is trying to keep up . But he 's coming up on the finish line too fast for his taste .<\/scene_description>\n    <character>SPIKE<\/character>\n    <dialogue>Crazy broad.<\/dialogue>\n    <scene_description>He hits his BRAKES , slowing , falling out of position . Barbara looks across to see the racer on the other side . Barbara ca n't see his face , but it 's Dick . The finish line is coming up fast . Instead of braking , both GUN their ENGINES . THE FINISH LINE - CLOSE . Barbara flies over the line , Dick a hair behind her , and then both shoot over the edge of the unfinished bridge , into the air , soaring high above the abyss . Dick 's front wheel hits the metal roadway on the other side of the gap , spinning rubber catching steel . Barbara 's front wheel hits the edge badly , rolling backward . Dick spins over his shoulder , sees what 's happening . Barbara 's bike is losing purchase , slipping backwards over the edge . Dick ditches his still moving bike and helmet , rolling off on tucked shoulder , leaping towards the edge as Barbara 's bike finally slips , she and her hog tumbling downwards into the abyss . Dick 's jump sends him over the edge , hands extended , feet catching the lip of the bridge , hand grabbing Barbara 's ankle , her bike plummeting beneath her as her helmet falls into the water below . Dick hangs by one foot , holding a dangling Barbara by her ankle .<\/scene_description>\n    <character>DICK<\/character>\n    <dialogue>So, this is where you hang out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOTHAM BRIDGE - NIGHT<\/stage_direction>\n    <scene_description>Barbara stands in the b.g. receiving her winnings from Banker and Spike . Dick rights his bike as she approaches .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>I could have made it, you know. I did n't need your help.<\/dialogue>\n    <character>DICK<\/character>\n    <dialogue>Whatever you say, lady. It's all in a day's work for me.<\/dialogue>\n    <scene_description>Barbara tries to hand Dick her winnings .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>This is to replace the bike I lost. I'll get you the rest.<\/dialogue>\n    <character>DICK<\/character>\n    <dialogue>Keep it.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Of course, Dick Grayson, ward of the fabulously wealthy Bruce Wayne. Why would you need a few hundred dollars?<\/dialogue>\n    <character>DICK<\/character>\n    <dialogue>Hey, what's your problem?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>I guess, the truth is I'm just not comfortable with the idle rich. Even when they try to act like heroes.<\/dialogue>\n    <scene_description>Dick pats the back of his seat .<\/scene_description>\n    <character>DICK<\/character>\n    <dialogue>Well you better get comfortable real fast, sister. Cause we've only got one bike and it's a long walk home.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAYNE MANOR - GARAGE<\/stage_direction>\n    <scene_description>Dick and Barbara dismout .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>I started racing after my parents died. There was something about the speed, the danger, that took me out of myself, that made the hurt go away. You would n't understand.<\/dialogue>\n    <character>DICK<\/character>\n    <dialogue>You'd be surprised.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Street racing is n't exactly an acceptable major at Oxbridge. They kicked me out. it does n't matter. I've won enough money to do what I've always dreamed.<\/dialogue>\n    <character>DICK<\/character>\n    <dialogue>Just do n't tell me you're hoping to run away and join the circus.<\/dialogue>\n    <scene_description>They head towards the entrance tot he house .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>Alfred has supported me my whole life. Now I'm going to pay him back. I'm going to liberate him from his dismal life of servitude.<\/dialogue>\n    <character>DICK<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Servants, Masters, it's ridiculous. Alfred is the sweetest, most noble man alive and he's subjugated all his life and dreams to someone else.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAYNE MANOR - FOYER - WALKING - CONTINUOUS<\/stage_direction>\n    <character>DICK<\/character>\n    <dialogue>Alfred and Bruce are like family.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Paying someone to prepare your meals and do your laundry and clean your dishes, you call that family?<\/dialogue>\n    <character>DICK<\/character>\n    <dialogue>Alfred's happy here.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Happy.<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>You honestly do n't know, do you? You ca n't even see what's in front of your own eyes.<\/dialogue>\n    <scene_description>They 've reached the main stair . Dick stares at her puzzled .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>Look at his skin. At how he's hiding the pain all the time. Ca n't you see it? Alfred's sick.<\/dialogue>\n    <scene_description>And with that , Barbara disappears upstairs . Dick stares after her .<\/scene_description>\n    <character>BRUCE<\/character>\n    <parenthetical>( OVER . )<\/parenthetical>\n    <dialogue>Alfred's not sick.<\/dialogue>\n    <scene_description>Bruce steps from the shadows . Sits now at the foot of the steps .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>He's dying. And I ca n't deal with it.<\/dialogue>\n    <character>DICK<\/character>\n    <dialogue>But he's never said a word -<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>You know Alfred. He'd never say Anything. But I can tell. Until you came along, Alfred was the only family I ever had. Without him, I do n't know how I would have survived. He saved my life, Dick. And I've never told him.<\/dialogue>\n    <character>DICK<\/character>\n    <dialogue>Talk to him, Bruce. There's nothing worse than losing someone without telling them how you feel.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>I'm scared, Dick. Maybe for the first time in my life. I'm really scared.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARCKHAM ASYLUM - FREEZE'S CELL - NIGHT<\/stage_direction>\n    <scene_description>Freeze stands within the anti - thermic field , crafting a tiny ice sculpture of his wife . He lifts the miniature gearworks from an alarm clock , places the ice sculpture atop of it , the statuette beginning to turn . He covers the figure with a drinking glass .<\/scene_description>\n    <character>GUARD<\/character>\n    <parenthetical>( OVER . )<\/parenthetical>\n    <dialogue>Hey Icehead, you got a visitor.<\/dialogue>\n    <scene_description>WIDER A GUARD stands by the door .<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>Your sister's here to see you.<\/dialogue>\n    <scene_description>FREEZE - CLOSE . Puzzled .<\/scene_description>\n    <character>FREEZE<\/character>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>Sister?<\/dialogue>\n    <scene_description>The Second Guard ENTERS , followed by a woman in a cloak . None other than Poison ivy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARKHAM LOCK-UP - NIGHT<\/stage_direction>\n    <scene_description>A tiny basement room with a single barred window where prisoner 's effects are kept . Mannequins display familiar costumes , Joker 's , Riddler 's , Freeze 's . A GUARD sits against the wall , watching TV . Suddenly two fists SMASH through the cement wall and grab the chair , wrenching the seated Guard through the wall in a storm of dust . Bane ENTERS , walks to Freeze 's suit .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FREEZE'S CELL<\/stage_direction>\n    <scene_description>The two Guards stand by the console as the door seals behind Pam .<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>Do n't mind us, ma'am. You can converse freely.<\/dialogue>\n    <scene_description>But Pam is n't interested in Freeze , instead walks to the Guards .<\/scene_description>\n    <character>PAMELA<\/character>\n    <dialogue>Oh, I do n't mind you at all.<\/dialogue>\n    <scene_description>Pam begins a saunter around the room , shedding her cloak to reveal her skintight Ivy costume .<\/scene_description>\n    <character>PAMELA<\/character>\n    <dialogue>You're not that attractive. Pretty average I'd say. But your fantasies are n't average, are they?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARKHAM HALLWAY - HALLWAY<\/stage_direction>\n    <scene_description>-LRB- OVER -RRB- ALARMS . Bane , rolling Freeze 's suit in a shopping cart , barrels down the hallway , KNOCKING Guards and Doctors into walls .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FREEZE'S CELL<\/stage_direction>\n    <scene_description>Pam 's saunter has brought her back to the two mesmerized Guards .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>Men. The most absurd of all God's creatures. We give you life and we can take it back just as easily.<\/dialogue>\n    <scene_description>She holds one Guard 's chin in each hand . Leans in to kiss them .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>What if I told you one kiss from me would kill you?<\/dialogue>\n    <character>GUARD<\/character>\n    <dialogue>Right<\/dialogue>\n    <character>GUARD #2<\/character>\n    <dialogue>Whatever.<\/dialogue>\n    <character>IVY<\/character>\n    <dialogue>I really am to die for.<\/dialogue>\n    <scene_description>She kisses first one , then the other . They CHOKE , fall . Dead .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Impressive<\/dialogue>\n    <character>IVY<\/character>\n    <dialogue>Well, I, my most unabominable snowman, have been impressed by you. In fact I propose a pairing. So I'm here to set you free.<\/dialogue>\n    <character>FREEZE<\/character>\n    <dialogue>An enticing offer. But what does the lady want in return?<\/dialogue>\n    <character>IVY<\/character>\n    <dialogue>Let's cool it for now. There's someone I want you to meet.<\/dialogue>\n    <scene_description>Ivy presses a button and the door slides open . Bane runs in , wheeling Freeze 's suit . Ivy seals the door behind him .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Ah, a laundry service that delivers.<\/dialogue>\n    <scene_description>Bane rolls the cart across the cryonic field . Freeze begins to dress .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>I love that belt. What are you, about a fifty Big and Tall?<\/dialogue>\n    <character>FREEZE<\/character>\n    <dialogue>I always go a size smaller. Makes me look slimmer.<\/dialogue>\n    <scene_description>FREEZE - POV . His watch like status display shows his power supply . Dangerously low . Auxiliary Power Only . Freeze opens his sleeve compartments . Empty .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>They've confiscated my generator diamonds. I'm running on empty.<\/dialogue>\n    <scene_description>-LRB- OVER -RRB- the SHOUTS of approaching Guards . The flame of a laser torch begins to cut around the side of the front door . 333 \/ IVY hits the Venom pump . Bane lifts his fists and tries to SHASH the far wall . It does n't break .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>Not good.<\/dialogue>\n    <scene_description>-LRB- OVER -RRB- the SHOUTS of more Guards coming down the hall . Freeze reaches for his holster . Empty .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>No gun. How disarming.<\/dialogue>\n    <character>IVY<\/character>\n    <dialogue>I wonder if I can get a cell with a view of the gardens?<\/dialogue>\n    <character>FREEZE<\/character>\n    <dialogue>Dear daisy, do n't despair.<\/dialogue>\n    <scene_description>Freeze walks to a sink set into the cell wall . He turns on the water . Freeze cracks his gauntlet seal , cryo - gas HISSING out .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Always winterize your pipes.<\/dialogue>\n    <scene_description>Freeze aims the gas jet at the spigot . PIPES around the room begin to freeze , bulging with the cold , frozen water within them splitting metal , rushing towards , CRACKING , the stone wall .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARKHAM ASYLUM - NIGHT<\/stage_direction>\n    <scene_description>The wall of Freeze 's turreted isolation tower begins to CRACK .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARKHAM ASYLUM - FREEZE'S CELL<\/stage_direction>\n    <scene_description>The wall has split apart , revealing the night beyond . Bane , Ivy , and Freeze look down at the rushing river far below .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>I hate heights.<\/dialogue>\n    <scene_description>The cell door flies off its hinges .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>You'll hate prison more.<\/dialogue>\n    <scene_description>The three villains jump .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARKHAM ASYLUM - NIGHT<\/stage_direction>\n    <scene_description>Three tiny figures plummet towards the fast rushing waters below .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAYNE MANOR - NIGHT - WALKING<\/stage_direction>\n    <scene_description>Bruce walks with Alfred through the old house , shutting out lights .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>Are you well, old friend?<\/dialogue>\n    <scene_description>Alfred stops , stares into his charge 's eyes , then turns away .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>I am as well as can be expected.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Alfred, I know you're sick - I can get you the best doctors.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>I've seen the best doctors -! A gentleman does not discuss his health. It's not civilized. I hope I've taught you at least that much, young man.<\/dialogue>\n    <scene_description>Bruce bites back a bitter smile . He knows better than to push him when he 's like this .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>Have you ever regretted your life working here, Alfred?<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Attending to heroes? No sir. My Only regret is that I was never able to be out there with you.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Not all heroes wear masks.<\/dialogue>\n    <scene_description>Alfred smiles .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>Alfred, if I've never told you. I just want to say.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <scene_description>Bruce looks away , fighting tears , unable to say the words . 342A BRUCE - POV . Out the window , a young Bruce plays hide and seek with Alfred , the old Butler gone behind a hedge , then back again . 342B BACK TO SCENE<\/scene_description>\n    <character>DICK<\/character>\n    <parenthetical>( running in . )<\/parenthetical>\n    <dialogue>Freeze has escaped.<\/dialogue>\n    <scene_description>OUT THE WINDOW . The Batsignal shines in the night sky .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMO - NIGHT<\/stage_direction>\n    <scene_description>Filled with flowers . Bane sits at the wheel , Ivy and Freeze in back , watching the Snowy Cones Ice Cream Factory , surrounded now by a police perimeter .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>My reserves are exhausted. I must have the gems that power my suit.<\/dialogue>\n    <character>IVY<\/character>\n    <dialogue>You are looking unseasonably hot. Let's go inside and grab your rocks.<\/dialogue>\n    <scene_description>The Batmobile SCREECHES up . Batman and Robin race inside .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>In my weakened state I am no match for the bat and the bird.<\/dialogue>\n    <character>IVY<\/character>\n    <dialogue>You leave Batman and Robin to me.<\/dialogue>\n    <scene_description>Freeze looks skeptical . Ivy smiles seductively .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>Trust me. Vegetable magnetism.<\/dialogue>\n    <character>FREEZE<\/character>\n    <dialogue>Fine. While I retrieve my diamonds, you and meatloaf will bring my wife to your lair. She's frozen in -<\/dialogue>\n    <character>IVY<\/character>\n    <dialogue>Hold it. You never said anything about a wife, frozen or otherwise -<\/dialogue>\n    <scene_description>Freeze moves fast , grabbing her neck , SMASHING her against the seat back . Bane moves in but Ivy SHOOS him off with a gesture .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>You will rescue my wife<\/dialogue>\n    <character>IVY<\/character>\n    <dialogue>OK, OK. Ms. Ivy to the rescue. Now where do I find your brittle bride?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FREEZE'S LAIR<\/stage_direction>\n    <scene_description>Police tagged and tapped . Batman and Robin examine Freeze 's lab . Commissioner Gordon ENTERS , drops a video disk in a console player .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>There's no sign he came back here after the escape. We pulled this off the surveillance cameras at Arkham.<\/dialogue>\n    <scene_description>346A MONITOR - CLOSE . The three villains daring aerial escape . Batman hits a switch . The image of Ivy fills the screen .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>She's definitely part of this. It's weird, for a while Ivy was all I could think about. But then.<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>I know. The feeling just vanished.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>I ca n't believe we were fighting over a bad guy.<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>Bad, yes. Guy, no. This is one majorly beautiful evil person.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>I'm totally over her. Positively.<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>Me too. Great stems, though.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Umm - hmmmm.<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>Definitely.<\/dialogue>\n    <scene_description>Batman has gone to the walk - in freezer . Examines a wall of food . He lifts a frozen oriental dinner . The secret vault swings open .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>How did you?<\/dialogue>\n    <character>BATMAN<\/character>\n    <parenthetical>( off the box . )<\/parenthetical>\n    <dialogue>Open Sesame. Chicken.<\/dialogue>\n    <scene_description>346B INT . FREEZE 'S VAULT Batman and Robin ENTER , examine Nora Fries in her sarcophagus .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>She's still alive. He's adapted his freezing technology to reverse McGregor's Syndrome.<\/dialogue>\n    <parenthetical>( off a scrolling monitor . )<\/parenthetical>\n    <dialogue>He's even found a cure for the early stages of the disease.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Can he save her?<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>No. Her case is too advanced. But maybe, someday, with more research -<\/dialogue>\n    <scene_description>346B FAIRY - LIKE SPIRALS begin winding through the room . Batman and Robin , both dazed , follow the dust through a snaking passage , wrench open two service doors TO REVEAL . 346C INT . SNOWY CONES FACTORY - INDUSTRIAL BASEMENT Bane stands atop a staircase overlooking an industrial basement crisscrossed by catwalks above giant mixing vats and conveyer belts . He hits a switch , the machinery WHIRRING to life .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>No beauty.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Just the beast.<\/dialogue>\n    <scene_description>BATMAN rushes the monster . Bane SIDESWIPES him , sending him flying off the stairs towards the basement below . Robin uses Batman 's distraction to SMASH into Bane 's chest . Robin bounces off , landing hard atop the landing .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Ouch.<\/dialogue>\n    <parenthetical>( standing . )<\/parenthetical>\n    <dialogue>Anymore at home like you?<\/dialogue>\n    <scene_description>The two begin to fight atop the stairs . 346D INT . SNOWY CONES ICE CREAM FACTORY The front doors BLOW open . Gordon and the Cops stare up to face Mr. Freeze , standing atop the steps .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>I hate uninvited guests.<\/dialogue>\n    <scene_description>The Cops race up the stairs towards Freeze . He pulls a lever marked COOLANT GAS . VENTS around the room begin to HISS blue freezing gas . 346E INT . SNOWY CONES INDUSTRIAL BASEMENT Batman has landed in a giant ice cream mixer . He rolls clear of the giant stirring arm , flipping out of the vat to face . Poison Ivy . She smiles , blows a handful of dust into his face .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>I must confess, the combination of heroic daring - do and an anatomically correct rubber suit puts fire in a girl's. lips.<\/dialogue>\n    <scene_description>She leans in to kiss him . Batman stares a beat , shakes it off .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Why do all the gorgeous ones have to be homicidal maniacs? Is it me?<\/dialogue>\n    <scene_description>346F BATMAN - POV . Bane is spinning Robin over his head . Batman races up the steps towards his partner . 346G INT . SNOWY CONES FACTORY The Cops are fighting through the HISSING coolant gas towards Freeze at the top of the stairs . Freeze reaches for another lever .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Why do n't you boys slip into something more comfortable?<\/dialogue>\n    <scene_description>346H THE ICY STPES - CLOSE . SNAP into a steep , curving ramp . Freeze PUNCHES the lead Cop backwards into his shivering cohorts , the police tumbling in a slipping pile down to the floor below . 346I INT . INDUSTRIAL BASEMENT - TOP OF STAIRS Bane hurls Robin down the steps . Batman SMASHES into Bane , both falling off the platform , taking their fight to a catwalk below . 346J INT . BASEMENT FLOOR Robin stands , behind him a giant miller 's wheel carries planks of wood through a chopper and back up as pallets of popsicle sticks .<\/scene_description>\n    <character>IVY<\/character>\n    <parenthetical>( OVER . )<\/parenthetical>\n    <dialogue>Her pretty birdie.<\/dialogue>\n    <scene_description>Robin spins to face Ivy . She blows a pile of dust into his face . She begins advancing , backing him towards the chopper blades .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Give it up. If you threw yourself -<\/dialogue>\n    <character>IVY<\/character>\n    <parenthetical>( leaning in . )<\/parenthetical>\n    <dialogue>At you? Polly want a kiss?<\/dialogue>\n    <scene_description>She leans in , lips pursed . 346K ON THE CATWALK OVERHEAD Bane 's mighty BLOWS back Batman towards the edge of the catwalk . Robin looks from Ivy to Batman , grabs a strut on the miller 's wheel , the giant cog lifting him up towards the catwalk and his partner .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>I must be losing my touch.<\/dialogue>\n    <scene_description>346L INT . SNOWY CONES FACTORY Freeze is striding through the mists towards his diamond vault . More Cops rush him from the HISSING gas . FREEZE moves like lightning , WHIPPING billy clubs from the holsters of two police , using them like disconnected nunchucks , KNOCKING the cops unconscious in a flurry of SLAMS and JABS .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Stick around.<\/dialogue>\n    <scene_description>A COP hits the wall . Beside him a button reads ; EMERGENCY HEAT . He SLAMS the stud , filaments coming to life , the room glowing red . Freeze 's watch begins to flash . No power . 346M INT . CATWALK Bane kicks Batman off the end of the catwalk as Robin leaps onto the villain . Robin and Bane begin fighting again . 346N INT . CONVEYOR BELT Batman lands on his back on a moving belt that is feeding ancient tubs of ice cream into a clown shaped flash freezer . Ivy jumps atop the caped crusader , their faces close .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>You bring out the animal in me.<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>I should have brought my leash.<\/dialogue>\n    <character>IVY<\/character>\n    <dialogue>Enough sweet talk.<\/dialogue>\n    <scene_description>With that Ivy blows another handful of dust into Batman 's face . Ivy licks her lips . Leans in for a kiss . At the last second , Batman averts his face , wrenching Ivy to the floor just ahead of the clown 's freezing maw .<\/scene_description>\n    <character>BATMAN<\/character>\n    <parenthetical>( mustering all his will . )<\/parenthetical>\n    <dialogue>You're going to jail.<\/dialogue>\n    <character>IVY<\/character>\n    <dialogue>I'm a lover not a fighter. That's why every Poison Ivy action figure comes complete with. him.<\/dialogue>\n    <scene_description>BANE stands atop a giant storage vat , a dazed Robin hanging in his hand . Bane tosses the boy aside , slide , feet first , down a conveyer belt and double fists Batman , CRASHING , into the wall .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>I'm off to find Bachelor Number Two. Try not to make a mess when you die.<\/dialogue>\n    <scene_description>346O INT . SNOWY CONES ICE CREAM FACTORY The room is growing even hotter . Freeze stagger towards his diamond vault , his flesh turning ray . With his last strength , Freeze wrenches open his safe , filling his sleeve power compartments with diamonds , his color returning .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Ahh. Chilled to perfection.<\/dialogue>\n    <scene_description>Freeze hits his watch , the villain now suddenly encased in ice . 346P WIDER The Cops are warming back into action , draw guns , FIRE , bullets bouncing off Freeze 's armor of ice , ricocheting into the walls .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Superman, eat your heart out.<\/dialogue>\n    <scene_description>Freeze starts towards his weapons locker . 346Q INT . INDUSTRIAL BASEMENT Bane SMASHES Batman into the wall . Advances . At the last second , Batman FIRES a Batclub , HITTING Bane in the head stunning him . 346R BATMAN - POV . Ivy is closing in on Robin . 346S INT . SNOWY CONES ICE CREAM FACTORY The Cops rush Freeze . The villain whips a small icing jewel from his weapons locker , the floor GLOWS , suddenly covered with ice . The Cops begin slipping on the glassy floor in classic Keystone style , ending up sprawled on their backs . Freeze stands , pulsing with power , this icing cannon now under one arm . He lifts his pistol in his free hand . Points at the police .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>All right coppers, Freeze.<\/dialogue>\n    <scene_description>He FIRES . 346T INT . INDUSTRIAL BASEMENT Ivy has Robin up against a giant vat .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>Stop living in the shadow of the big bad bat. You do n't need him.<\/dialogue>\n    <parenthetical>( blows more dust . )<\/parenthetical>\n    <dialogue>You deserve your own legend. Your own bright shining signal in the sky. Let me guide you. Let me.<\/dialogue>\n    <parenthetical>( touches his face . )<\/parenthetical>\n    <dialogue>. Touch you. Kiss you.<\/dialogue>\n    <scene_description>He ca n't resist , about to kiss her . A tiny batarang hits his cheek .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Remember the victim at the airport. Toxins introduced through the mouth.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>Why is she so desperate to kiss us? I'm betting her lips are poison.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>A poison kiss? You have some real issues with women, you know that?<\/dialogue>\n    <parenthetical>( advancing . )<\/parenthetical>\n    <dialogue>You just could n't stand that she was about to kiss me.<\/dialogue>\n    <parenthetical>( shoves him . )<\/parenthetical>\n    <dialogue>Could n't stand that something might be mine and not yours. Could you?!<\/dialogue>\n    <scene_description>Robin shoves him harder still . In frustration , Batman delivers a fantastic roundhouse , sending Robin SMASHING into a wall .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Damn.<\/dialogue>\n    <scene_description>Batman tries to help Robin up . Robin shrugs him off , stands .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Ivy's right. I do n't need you. I'm going solo. I want my own signal in the sky.<\/dialogue>\n    <scene_description>Batman looks around . Ivy and Bane are gone .<\/scene_description>\n    <character>GORDON<\/character>\n    <parenthetical>( arriving . )<\/parenthetical>\n    <dialogue>What happened? How'd they get away?<\/dialogue>\n    <scene_description>But the caped crusader does n't have an answer .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FREEZE'S HIDDEN CHAMBER<\/stage_direction>\n    <scene_description>Ivy enters through the snaking passage . She turns to face Freeze 's wife , still in her frozen sarcophagus .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>So sorry, Ms. Fridigaire. I'm just not good with competition.<\/dialogue>\n    <scene_description>Ivy pulls the main power switch . Status lights flash red .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLOSSOM STREET TURKISH BATHS - DAWN<\/stage_direction>\n    <scene_description>Transformed . Sunlight streams in through the broken ceiling . The ground thrives , now a rich garden . IVY ENTERS , strolls through the gardens into a small ante - room where Freeze sits over his freezing engine , having ZAPPED the walls with his pistol , the room now a world of ice .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>Make yourself right at home.<\/dialogue>\n    <character>FREEZE<\/character>\n    <dialogue>Where is my wife?<\/dialogue>\n    <character>IVY<\/character>\n    <dialogue>There was nothing I could do. Batman deactivated her. She's dead.<\/dialogue>\n    <character>FREEZE<\/character>\n    <dialogue>You lie!<\/dialogue>\n    <scene_description>Freeze lunges for Ivy . Bane steps between them . Mistake . Freeze hurls him across the room . Ivy stills Bane with a gesture .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <scene_description>Ivy reaches up , holding the snowflake necklace between her and the looming Freeze . Freeze stops , takes the chain in his hand .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Their bones will turn to ice. Their blood will freeze in my hands.<\/dialogue>\n    <character>IVY<\/character>\n    <dialogue>Kill them. Of course. But why stop there? Why should only Batman and Robin die while the society that created them goes unpunished?<\/dialogue>\n    <scene_description>Ivy lifts the frozen Gotham bauble off the iced table . Turns it over in her hand absentmindedly . Freeze stares at her .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Yes. I shall replay the world for sentencing me to a life without the warmth of human comfort. I will blanket the city in endless winter. First Gotham and then the world.<\/dialogue>\n    <character>IVY<\/character>\n    <dialogue>Just what I had in mind. Everything dead on Earth except us. A chance for mother nature to start again.<\/dialogue>\n    <parenthetical>( she lifts a flower . )<\/parenthetical>\n    <dialogue>Plants and flowers are the oldest species on the planet yet they are defenseless against man. Sorry hon, this is for science.<\/dialogue>\n    <parenthetical>( she crushes the flower . )<\/parenthetical>\n    <dialogue>Behold the dawn of a new age.<\/dialogue>\n    <scene_description>From a canisters labeled PROJECT GILGAMESH , Ivy removes a savage , other - worldly plant with HISSING fangs .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>I have created a race of plants with the strength of the deadliest animals. Once you have frozen mankind, my mutants will overrun the globe. The Earth will become a brave new world of only plants. And we shall rule them. For we will be the only two people left in the world.<\/dialogue>\n    <character>FREEZE<\/character>\n    <dialogue>Adam and Evil.<\/dialogue>\n    <scene_description>Freeze lifts the Gotham bauble , holds it on his palm , his gauntlet glowing blue , tiny Gotham freezing . He CRUSHES the city .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>You will distract the bat and bird while I prepare to freeze Gotham.<\/dialogue>\n    <character>IVY<\/character>\n    <dialogue>Ca n't we just ice them along with the rest of the citizenry?<\/dialogue>\n    <character>FREEZE<\/character>\n    <dialogue>That is far too merciful. Batman will watch his beloved Gotham perish, then I will kill him.<\/dialogue>\n    <character>IVY<\/character>\n    <dialogue>As a team, the duncely duo protect each other. But the Robin is young. Impetuous. If I could get him alone -<\/dialogue>\n    <character>FREEZE<\/character>\n    <dialogue>One kiss and you could lift the mask from his lifeless face. Their secret identities would be revealed. But how best to bait a brid?<\/dialogue>\n    <character>IVY<\/character>\n    <dialogue>The way to a boy's heart is through his ego. What strapping young hero could resist his very own. signal?<\/dialogue>\n    <character>FREEZE<\/character>\n    <dialogue>Inspired, Ms. Ivy.<\/dialogue>\n    <character>IVY<\/character>\n    <dialogue>I'm hungry. I think I'll have poultry.<\/dialogue>\n    <scene_description>393A INT . WAYNE MANOR - UPSTAIRS HALLWAY _ EVENING Barbara and Dick stand talking to a DOCTOR .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>It's Stage One of McGregor's Syndrome. I'm sorry. All we can do is make him comfortable.<\/dialogue>\n    <scene_description>PUSH IN through a partially open door in the b.g .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAYNE MANOR - ALFRED'S ROOM - EVENING<\/stage_direction>\n    <scene_description>Alfred lays on his bed . Bruce in black tie , kneels beside him .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>I've spent my whole life trying to beat back death. What good are all my heroics now if I ca n't save you?<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Everyone dies, Master Bruce. There's no defeat in that. Victory comes in fighting for what we know is right while we still live.<\/dialogue>\n    <scene_description>394A Bruce looks past Alfred . There in the adjacent suite , a young Alfred finishes reading to a young Bruce . Shuts out the light . 394B BACK TO SCENE<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>I love you, old man.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Remember this. And remember it always. I'm proud of you. And I love you too, son.<\/dialogue>\n    <scene_description>They embrace .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAYNE MANOR - FOYER<\/stage_direction>\n    <scene_description>-LRB- OVER -RRB- the doorbell is RINGING . Dick follows Bruce downstairs , the billionaire donning his coat .<\/scene_description>\n    <character>DICK<\/character>\n    <dialogue>McGregor's Syndrome. That's what Freeze's wife had.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Yes. But Alfred's condition is less severe. Freeze's research says he cured a case like Alfred's. It just does n't say how.<\/dialogue>\n    <character>DICK<\/character>\n    <dialogue>I checked the medical database. No one else is even close.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>I'm late for the dedication. Then I go after Freeze and Ivy. Alone.<\/dialogue>\n    <character>DICK<\/character>\n    <dialogue>Like hell you do.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Dick, do n't push me right now.<\/dialogue>\n    <character>DICK<\/character>\n    <dialogue>Or what? No one can capture Ivy but the big bad Bat. Crap! You just want her for yourself. Do n't you? Answer me, damn it!<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Yes! Yes, I want her so badly I can taste it. That's the whole point. Look at us. Orphans. Isolated. Obsessed to the exclusion of life, love, family. We're perfect targets. She's done something to us, got us fighting over her somehow.<\/dialogue>\n    <character>DICK<\/character>\n    <dialogue>Hail the all - knowing Bruce Wayne. Here's what I know, she loves me, Not you and it's driving you crazy. It's why you stopped us from kissing. Because if you ca n't have her, nobody can.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>She's clouded your mind. You're not thinking straight.<\/dialogue>\n    <character>DICK<\/character>\n    <dialogue>Oh but I am. For the first time in a long time. I'm through living in your shadow. All that ends right now.<\/dialogue>\n    <scene_description>395A Dick walks away . Bruce stares after him . -LRB- OVER -RRB- The bell RINGS again . The front door swings open , Julie ENTERS . A limo sits out front .<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>I've been ringing forever. Where's Alfred?<\/dialogue>\n    <scene_description>But Bruce does n't answer . 395B INT . WAYNE MANOR - ALFRED 'S QUARTERS - NIGHT Barbara stands over the old man .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>I'm sorry. I was too late.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Too late for what, dear child?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>I came to give you your freedom, a chance to live the life you choose. The same gift you gave me.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>I have been part of the greatest adventure ever know. I have found purpose here, and the family I could never have.<\/dialogue>\n    <scene_description>Alfred smiles , is hit by a sudden wave of pain .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>You must do something for me.<\/dialogue>\n    <scene_description>Alfred takes her hand , puts an envelope in her grasp .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>Find my brother Wilfred. Give him This. I have duties he must fulfill in my stead. Only family can be trusted.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>It is the hearts of two good men whom I have had the honor of calling son. Take it, child. But I implore you, never open it.<\/dialogue>\n    <parenthetical>( he touches her cheek . )<\/parenthetical>\n    <dialogue>You look so like your mother.<\/dialogue>\n    <scene_description>And with that his eyes close .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>Uncle Alfred?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOTHAM OBSERVATORY - NIGHT<\/stage_direction>\n    <scene_description>A black tie gala celebrating the telescope unveiling . PAMELA ISLEY stands in the center of the room . Alone . Her drab outfit and demeanor make her anything but a conversation magnet . Bruce and Julie ENTER , smiling through the storm of FLASHBULBS , and the crowd of PRESS , being greeting guests . Commissioner Gordon steps away , reaches for champagne off a try .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( OVER . )<\/parenthetical>\n    <dialogue>I've always wondered, where does that big old bat light come from?<\/dialogue>\n    <scene_description>Pamela stands before Gordon . She flips open a compact , blows a pile of love dust , the tiny swirl catching the cop in the face , a bit more hitting Bruce who stands behind the Commissioner . GORDON - CLOSE . Stunned . And suddenly in love .<\/scene_description>\n    <character>GORDON<\/character>\n    <parenthetical>( stammering . )<\/parenthetical>\n    <dialogue>It's on top of police headquarters.<\/dialogue>\n    <scene_description>Pam takes Gordon 's arm , leads him like a puppy into an alcove .<\/scene_description>\n    <character>PAMELA<\/character>\n    <dialogue>I'd just love to see it. But you probably do n't have access.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>Why, I'm Commissioner of Police.<\/dialogue>\n    <parenthetical>( patting his pocket . )<\/parenthetical>\n    <dialogue>I have the keys right here.<\/dialogue>\n    <scene_description>BRUCE , still standing with Julie , amidst the PRESS and WELL - WISHERS , seems suddenly distracted , begins looking around the room . As if summoned by an inaudible call , Bruce peels away from a perplexed Julie , begins searching the crowd . A man on a quest . PAM has Gordon against the alcove wall . Her fingers slip into his pocket .<\/scene_description>\n    <character>PAMELA<\/character>\n    <dialogue>On second thought, you're way too old for me.<\/dialogue>\n    <scene_description>She pushes a stunned Gordon away , spins , heads towards the door , tossing something in her hand . Gordon 's keys . A HAND grabs her . Pam spins to face Bruce Wayne .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>Dr. Isley. it was like I could feel you in the room. You're. enchanting. Gorgeous. The most beautiful woman I've ever seen. If you're. um. free. this evening.<\/dialogue>\n    <character>JULIE<\/character>\n    <parenthetical>( arriving . )<\/parenthetical>\n    <dialogue>Bruce? What are you doing?<\/dialogue>\n    <character>PAMELA<\/character>\n    <dialogue>I think he's asking me on a date, in an awkward, stammering sort of way.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>I've heard of commitment anxiety, but this is insane. You're not really propositioning another woman right in front of me. Are you?<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Well, define ` propositioning'.<\/dialogue>\n    <scene_description>The PRESS has noticed the conflict , now surround Bruce , Julie and Pam .<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Make a choice, Bruce. Her or me.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Well. um. her.<\/dialogue>\n    <character>JULIE<\/character>\n    <parenthetical>( crestfallen . )<\/parenthetical>\n    <dialogue>You were right. I get it. You're not the marrying kind. You've made your point. Goodbye Bruce Wayne.<\/dialogue>\n    <character>PAMELA<\/character>\n    <dialogue>Physical perfection, charm and wealth tossed over for a dowdy spinster. How do you explain your behavior?<\/dialogue>\n    <character>BRUCE<\/character>\n    <parenthetical>( puzzled . )<\/parenthetical>\n    <dialogue>I ca n't. But perhaps tonight, over dinner. I've just had an opening.<\/dialogue>\n    <character>PAMELA<\/character>\n    <dialogue>Maybe your witless playboy persona works on every bimbo du jour but I am not the least bit titillated by your attentions. So back off or I'll have you in court quicker than you can spell sexual harassment. Got me?<\/dialogue>\n    <scene_description>402A WIDER Folks are staring . MURMUR to each other . Bruce is chagrined .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>Does that mean dinner's a no?<\/dialogue>\n    <scene_description>Pam has already pushed past him , out the door .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>It's just I sort of. kind of. love you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLOSSOMS TREET TURKISH BATHS - FREEZE'S CHAMBER<\/stage_direction>\n    <scene_description>Freeze stands , putting on his suit . He SNAPS his fingers . A legion of Icemen step out of the swirling mists . Freeze lifts his freezing engine .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Bundle up boys. There's a storm coming.<\/dialogue>\n    <scene_description>Freeze and his battalion head into the night .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE HQ - ROOF - NIGHT<\/stage_direction>\n    <scene_description>A giant door swings open . Bane and Ivy emerge onto the roof .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>Let there be light.<\/dialogue>\n    <scene_description>Bane walks to he dormant Batsignal , TEARS it from its shackles . 404A INT . WAYNE MANOR - BARBARA 'S ROOM - NIGHT Barbara ENTERS , lost in grief . She sits , turns Alfred 's envelope over in her hand . A long beat . She withdraws a single , silver CD .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>Only family can be trusted?<\/dialogue>\n    <scene_description>Barbara slides the disk into her computer .<\/scene_description>\n    <character>COMPUTER<\/character>\n    <dialogue>Access denied. Protected files.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Perhaps you did n't give me your genes. But you gave me your heart.<\/dialogue>\n    <scene_description>Barbara begins hacking the disk , trying to break the code . 406A INT . - WAYNE MANOR - HALLWAY - NIGHT Bruce , still in his tux , ENTERS , sits at the main batcomputer console , distraught , starting in to the darkness of the cave . 407A A YOUNGER ALFRED stands with an ADOLESCENT BRUCE , working together over the original Batsuit prototype . 407B BRUCE - CLOSE . As the images dissipate to memory .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>Alfred, old friend, I could use your help right now.<\/dialogue>\n    <character>ALFRED<\/character>\n    <parenthetical>( OVER . )<\/parenthetical>\n    <dialogue>Right here, sir.<\/dialogue>\n    <scene_description>Bruce spins , stunned . A monitor flickers into life . The words COMPUTER SIMULATION flash under an image of Alfred .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>I anticipated a moment might arrive where I became. incapacitated. As such, I programmed my brain algorithms into the batcomputer and created a virtual simulation.<\/dialogue>\n    <scene_description>Bruce stares a beat . Then he smiles .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>It's good to see you.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>What seems to be the problem?<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Women.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>That, sir, does not compute.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>First Ivy had an intoxicating effect on both Dick and me. Tonight my feelings spread to someone else.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Specify, please.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Pamela Isley. I was so attracted to her I could n't reason clearly. I still ca n't. She used to work for Wayne Enterprises. Find a file.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Coming on line now, sir.<\/dialogue>\n    <scene_description>A spinning Isley appears on the monitor .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>What was her area of research?<\/dialogue>\n    <scene_description>Study and report titles scroll up the side of the image .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>Advanced botany. DNA splicing. Recombinant animal plant patterns. Pheromone extractions.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Pheromones?<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Glandular secretions from animals. Scents that create powerful emotions. Fear. Rage.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Passion. Of course. Find the photo of Ivy after the flower ball.<\/dialogue>\n    <scene_description>A spinning Ivy appears beside the spinning Isley .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>Deconstruct and resolve.<\/dialogue>\n    <scene_description>Schematics of various features , finger and retina prints , height , weight , are highlighted and compared . All match .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>Amazing what a good wig and contact lenses can do. And I thought Clark Kent got away with murder just wearing those glasses.<\/dialogue>\n    <scene_description>Suddenly ALERT panels start flashing . ALARMS SOUND .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>It appears, sir, that someone has stolen the batsignal.<\/dialogue>\n    <scene_description>408A INT . WAYNE MANOR - NIGHT Barbara is still hacking away at the disk .<\/scene_description>\n    <character>COMPUTER<\/character>\n    <dialogue>Access code accepted.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>This better be one hell of a secret.<\/dialogue>\n    <scene_description>She hits a key . a Pictures begin to reflect in the dark of her eye .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>Oh my God.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOTHAM STREET<\/stage_direction>\n    <scene_description>Freeze 's trucks SCREECH to a stop , Freeze and Bane at the helm .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>No matter what they tell you, it's the size of your gun that counts.<\/dialogue>\n    <scene_description>PAN UP The giant TELESCOPE of the Gotham Observatory aims into the night . CAMERA CONTINUES UP to the heavens as the BATSIGNAL appears in the sky . Then something amazing happens . The familiar beacon turns blood red , the shape within changing from a bat to bird . THE ROBIN SINGAL shines over Gotham .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATCAVE - NIGHT<\/stage_direction>\n    <scene_description>THE ROBIN SIGNAL glows on the central monitor . WIDER Bruce stands in civvies talking to Dick who is suiting up .<\/scene_description>\n    <character>DICK<\/character>\n    <dialogue>That's no batlight, it's a birdcall.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>Her name is Pamela Isley. I saw her talking to Gordon. She must have stolen his keys, altered the signal -<\/dialogue>\n    <character>DICK<\/character>\n    <dialogue>And she did it all for me. For love.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>She's infected us with some kind of pheromone extract -<\/dialogue>\n    <character>DICK<\/character>\n    <dialogue>Is that it, Bruce? I'm under some magic spell?<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>She wants to kill you.<\/dialogue>\n    <character>DICK<\/character>\n    <dialogue>You'd say anything to keep me away from her. To keep her for yourself.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>You once said to me that being part of a team means trusting your partner. That sometimes counting on someone else is the only way to win. DO you remember?<\/dialogue>\n    <scene_description>Dick does n't answer .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>You were n't just talking about being partners. You were talking about being a family. Well, part of our family is dying. I'm not going to lose everyone I've ever loved. So I'm asking you now, friend, partner, brother - will you trust me?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OBSERVATORY - TOWER PLATFORM<\/stage_direction>\n    <scene_description>The Scientist and his Associate stand amidst the debris from the party , testing the telescope . -LRB- OVER -RRB- A TREMENDOUS SMASHING . ON THE FLOOR BELOW Freeze and Bane Enter .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Hi. Sorry about the door. Is the party over?<\/dialogue>\n    <scene_description>BANE begins pulling charges from his satchel and setting them around the room .<\/scene_description>\n    <character>SCIENTIST<\/character>\n    <dialogue>Who the hell is this nutball?<\/dialogue>\n    <scene_description>Freeze points up , FIRES a cryonic BLAST at him , turning him to ice .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>That's Mr. Nutball to you. Half a set of bookends.<\/dialogue>\n    <parenthetical>( to the Associate . )<\/parenthetical>\n    <dialogue>You. Go like this.<\/dialogue>\n    <scene_description>Freeze pantomimes the Scientist 's frozen expression of terror for the Associate . The Associate , terrified , imitates Freeze 's move .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>No. move your hands up. Higher. Now a hint more fear. Excellent.<\/dialogue>\n    <scene_description>Freeze fires another BLAST , freezing the Associate in the same position as the Scientist .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>A matched pair. Sometimes I exceed even my wildest expectations.<\/dialogue>\n    <scene_description>Freeze smiles at the mighty telescope .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>If revenge is a dish best served cold, then put on your Sunday finest. It's time to feast.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATCAVE - NIGHT<\/stage_direction>\n    <scene_description>Dark . Dormant . The automatic activation sequence engages . Ambient lights come on . Computers flicker into life . The giant Batmobile pedestal begins to rise . On it , no car but a single figure standing now in the center of the cave . Barbara . 419A BARBARA - CLOSE . Eyes wide with awe . Barbara walks to the main terminal of the Batcomputer . Touches the console . The Alfred simulation appears on screen .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>Uncle Alfred?<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>In spirit only, I'm afraid.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>The boys need help.<\/dialogue>\n    <scene_description>The image of Alfred stares at her a beat . Then smiles .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>Your mother would be proud.<\/dialogue>\n    <scene_description>MAIN SCREEN - CLOSE . Flickers into life . Costume schematics turn .<\/scene_description>\n    <character>ALFRED<\/character>\n    <dialogue>Forgive my being personal, dear girl, but I must know your size.<\/dialogue>\n    <scene_description>421A EXT. . BLOSSOM STREET TURKISH BATHS Robin arrives the entrance to the dark baths , lush , inviting , mysterious . He passes the giant bird signal chained to the door , the spotlight shutting out as he disappears inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLOSSOM STREET TURKISH BATHS<\/stage_direction>\n    <scene_description>Giant floral fans spin . Leaf curtains undulate . Fruits burst with color . In the center of the cave , a giant bed of buds . Ivy touches the buds . All instantly blossom .<\/scene_description>\n    <character>ROBIN<\/character>\n    <parenthetical>( OVER . )<\/parenthetical>\n    <dialogue>Is your thumb the only part of you that's green?<\/dialogue>\n    <scene_description>Ivy looks up . A figure stands in the darkness . She smiles .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>You'll just have to find out.<\/dialogue>\n    <scene_description>Ivy extends her hand . Robin steps out of the shadows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOTHAM OBSERVATORY - TOWER PLATFORM - NIGHT<\/stage_direction>\n    <scene_description>Freeze attaches the icing engine to the telescope . Bane finishes laying his explosive charges , joins Freeze .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Big family? Like pets? Do n't talk much, do you?<\/dialogue>\n    <scene_description>Freeze engages the engine . Suddenly the entire pedestal is washed in a blue wave of freezing cryonic energy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OBSERVATORY - NIGHT<\/stage_direction>\n    <scene_description>The ambient ice wave spreads down , encasing the old structure . The nearby banks whiten , turning into snow cliffs , the river freezing into an icy channel . The Observatory has transformed into a fortress of ice .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATCAVE<\/stage_direction>\n    <scene_description>A SERIES OF SHOTS . Boots are pulled on . A slim utility belt LOCKS . A cape WHIPS over a lithe female back .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLOSSOM STREET TURKISH BATHS<\/stage_direction>\n    <scene_description>Ivy sits on the bed , draws Robin down beside her , faces close .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>I'm glad you came. I ca n't breathe without you.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>I want us to be together. But I need to know you're serious about turning over a new leaf. I need a sign.<\/dialogue>\n    <character>IVY<\/character>\n    <dialogue>How about dangerous curves?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Of trust. Tell me your plan.<\/dialogue>\n    <character>IVY<\/character>\n    <dialogue>Kiss me and I'll tell you.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Tell me and I'll kiss you.<\/dialogue>\n    <character>IVY<\/character>\n    <dialogue>Freeze has turned the new telescope into a freezing gun. He's about to turn Gotham into an ice cube.<\/dialogue>\n    <character>ROBIN<\/character>\n    <parenthetical>( recoiling . )<\/parenthetical>\n    <dialogue>I've got to stop him.<\/dialogue>\n    <character>IVY<\/character>\n    <parenthetical>( pulling him back in . )<\/parenthetical>\n    <dialogue>One kiss, my love. For luck.<\/dialogue>\n    <scene_description>Robin ca n't resist . They kiss . Ivy pulls back , holds his gaze .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>Bad luck, I'm afraid. It's time to die, little bird.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>IVY<\/character>\n    <dialogue>You should have heeded your pointy - eared pal. These lips can be murder.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Then you never loved me?<\/dialogue>\n    <character>IVY<\/character>\n    <dialogue>Love you? I loathe your bipedal arrogance, your animal superiority. My only joy is knowing that even now my poison kiss is sucking the life from your ape - like face.<\/dialogue>\n    <character>VOICE<\/character>\n    <parenthetical>( OVER . )<\/parenthetical>\n    <dialogue>I'm not saying I told you so.<\/dialogue>\n    <scene_description>Ivy spins . From the shadows , a figure emerges . Batman .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>You're too late. Say bye - bye birdie.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Sorry to disappoint you. But rubber lips are immune to your charms.<\/dialogue>\n    <scene_description>Robin peels a rubber coating from his mouth . Ivy stares in dismay . 428A BATMAN Robin and I found the cure to your evil spell . And that 's teamwork . 428B Then she SCREAMS her rage . She shoves Robin into the lily pool , the Boy Wonder immediately tangled into predatory vines . 428C MORE VINES wrench Batman hanging upside down to the ceiling , the stalks squeezing our heroes .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>Sorry, boys, my vines have a little crush on you.<\/dialogue>\n    <scene_description>Ivy begins leaping across lily pads towards the exit .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>Got ta run. So many people to kill. So little time.<\/dialogue>\n    <scene_description>THE SKYLIGHT - EXPLODES . The room fills with moonlight . A figure comes flipping down from above . Long cape . Tall ears . Black leather . BATGIRL .<\/scene_description>\n    <character>BATGIRL<\/character>\n    <dialogue>You're about to become compost.<\/dialogue>\n    <scene_description>Ivy and Batgirl begin a furious martial arts battle . -LRB- CHOREOGRAPHY TO COME -RRB- . BATMAN pulls a bat - knife , begins cutting himself free . ROBIN struggles to untangle himself from the aquatic vines . BATGIRL is fighting Ivy , feet flying , hands moving like lighting .<\/scene_description>\n    <character>BATGIRL<\/character>\n    <dialogue>Using feminine wiles to get what you want. Trading on your looks. Exploiting men's weakness for sex. Read a book, sister. That passive - aggressive crap went out in the seventies. Chicks like you give women a bad name.<\/dialogue>\n    <scene_description>BATMAN deftly slashes through his captor vines . ROBIN struggles , trying to free himself IVY gets the upper hand , backs Batgirl against the wall .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>As I told Lady Freeze when I pulled her plug, this is a one woman show.<\/dialogue>\n    <character>BATGIRL<\/character>\n    <dialogue>I do n't think so.<\/dialogue>\n    <scene_description>Batgirl grabs Ivy 's hair , knocking her out with a knee to the forehead , then batcuffs her . BATMAN cuts himself freed , drops to the floor to face Batgirl . ROBIN pulls himself , dripping , from the pool . 438A BATMAN And you are ?<\/scene_description>\n    <character>BATGIRL<\/character>\n    <dialogue>Batgirl.<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>That's not awfully PC. How about Batwoman? Batperson?<\/dialogue>\n    <character>BATGIRL<\/character>\n    <dialogue>It's me. Barbara. I found the cave.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>We got ta get those locks changed.<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>She knows who we are.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>I guess we'll just have to kill her.<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>Kill her later. We've got work to do.<\/dialogue>\n    <scene_description>The three heroes race into the night .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOTHAM OBSERVATORY - TELESCOPE PLATFORM - NIGHT<\/stage_direction>\n    <scene_description>Freeze stands on the platform , giant telescope in his hands . -LRB- OVER -RRB- approaching SIRES .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>1 - Adam 12, 1 - Adam - 12, see the mad scientist with the freezing ray.<\/dialogue>\n    <scene_description>A SQUAD OF CRUISERS SCREAM up the avenue towards the observatory , their bubble lights flashing .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Cops on the rocks, anyone?<\/dialogue>\n    <scene_description>He FIRES a giant blue beam of cryonic energy at the street below . THE COP CARS become skidding , SCREECHING cubes of ice , They SHASH into each other , EXPLODE into a pyre of raging flames .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Police are so hot tempered these days. Do n't you agree, Mr. Bane?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FROZEN RIVER BANKS<\/stage_direction>\n    <scene_description>A sleek one man ice sail -LRB- THE BATSLED -RRB- blows out onto the frozen water . Robin is at the helm . A modified white Batmobile on rocket skis -LRB- THE BATHAMMER -RRB- , BLASTS onto the ice , falling in alongside the Batsled . Batman drives . A single - bladed , rocket snowcylce -LRB- THE BATBLADE -RRB- , whips onto the ice , falling into the attack line . Batgirl helms the craft . The bat - force BLASTS upriver towards the icy Observatory .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOTHAM OBSERVATORY - ELESCOPE PLATFORM - NIGHT<\/stage_direction>\n    <scene_description>TELESCOPE VIEWFINDER - CLOSE . The Batvehicles are visible through the lens .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Ivy failed to unmask the Dynamic Duo. No matter, the Bat and Bird are mine at last. Watch, Batman, as your beloved Gotham freezes. And prepare to die. Because you're next.<\/dialogue>\n    <scene_description>Freeze points the telescope downtown . He FIRES<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOTHAM STREET - NIGHT<\/stage_direction>\n    <scene_description>Folks walking their dogs , drinking on stoops , kissing against alley walls , mailboxes , lampposts , the pavement itself , are all suddenly encased in glistening ice .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OBSERVATORY RIVER BANKS - NIGHT<\/stage_direction>\n    <character>FREEZE<\/character>\n    <parenthetical>( OVER . )<\/parenthetical>\n    <dialogue>The Bat - allion approaches. Icemen. Attack.<\/dialogue>\n    <scene_description>FREEZE 'S TRUCK bursts through the mists , BLASTING down the frozen river on blades , two pairs of icemen hanging from tail lines on skis , machine guns BLAZING .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHAMMER - NIGHT<\/stage_direction>\n    <character>BATMAN<\/character>\n    <dialogue>Attack plan alpha.<\/dialogue>\n    <scene_description>Batman peels left .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BATSLED - NIGHT<\/stage_direction>\n    <character>ROBIN<\/character>\n    <dialogue>Alpha. Roger.<\/dialogue>\n    <scene_description>Robin peels right .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BATBLADE - NIGHT<\/stage_direction>\n    <character>BATGIRL<\/character>\n    <dialogue>Alpha. Got it.<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>What the hell is attack plan Alpha?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BATSLED - NIGHT<\/stage_direction>\n    <character>ROBIN<\/character>\n    <dialogue>Divide and conquer.<\/dialogue>\n    <scene_description>Robin is flying downriver . One pair of icemen sweep out alongside the truck , heading towards Robin 's billowing craft , guns FIRING .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BATBLADE - NIGHT<\/stage_direction>\n    <scene_description>A second pair of skiing icemen whip towards Batgirl , their guns SPITTING rounds of shells into the ice around her . 460A EXT. . FREEZE 'S TRUCK Side mounted rocket launchers FIRE towards the Bathammer , BLOWING holes in the ice .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BATHAMMER<\/stage_direction>\n    <scene_description>Batman maneuvers , managing to swerve around the sudden , steaming pools . He GUNS the TURBOS , heading straight for the truck .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BATSLED<\/stage_direction>\n    <scene_description>The two icemen bearing down on Robin release their tethers , converging on the Batsled , guns FIRING madly .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Tack.<\/dialogue>\n    <scene_description>Robin pulls the boom and the sail LUFFS . His boat suddenly changes course and the two skiers COLLIDE , flying onto the ice .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Boy, I hope Freeze hires these guys by the dozen.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BATBLADE<\/stage_direction>\n    <scene_description>The skiers are closing fast . Batgirl hits a key and a status panel displays a menu of the Batblade 's special modifications .<\/scene_description>\n    <character>BATGIRL<\/character>\n    <dialogue>Nice extras package.<\/dialogue>\n    <scene_description>PANEL - CLOSE . Barbara selects a setting called Ice Cutter . THE BATBLADE scythe peels back , revealing a sharper blade . BATGIRL uses her deft driving skills to spin and side - skid , her blade sending a wave of frozen ice into the faces of the icemen , the villains tumbling in backwards somersaults across the ice .<\/scene_description>\n    <character>BATGIRL<\/character>\n    <dialogue>That's what I call a close shave.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BATHAMMER<\/stage_direction>\n    <scene_description>Batman is shooting the center of the frozen river , heading straight for the ice truck , its side guns BLAZING .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHAMMER<\/stage_direction>\n    <scene_description>Batman hits a control stud . 482A EXT. . BATHAMMER Two torpedoes shoot out of the Bathammer chassis , hitting the frozen river directly in front of Freeze 's truck , ice flying skyward in a tremendous EXPLOSION . 482B EXT. . FREEZE TRUCK The driver ca n't swerve in time , the hole in the ice dead ahead . 482C EXT. . FREEZE TRUCK The truck hits the steaming pool , flipping up , nose first , and begins to sink into the icy waters . 482D INT . BATHAMMER Batman races past the sinking truck , Icemen crawling to safety .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Do n't sink and drive.<\/dialogue>\n    <scene_description>482E EXT. . FROZEN RIVER Under the pulse of Freeze 's BEAMS hitting the city , the Batvehciles fire TURBOS , closing in on the Observatory .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOTHAM OBSERVATORY - TELESCOPE PLATFORM - NIGHT<\/stage_direction>\n    <scene_description>Freeze tilts his gun down towards the frozen river below .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Not so fast. Time you cooled your heals.<\/dialogue>\n    <scene_description>Freeze FIRES .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FROZEN RIVER - NIGHT<\/stage_direction>\n    <scene_description>The frozen channel ahead of the bat - force is hit by the FREEZING RAY . A giant wall of rock - hard ice forms , block - ing the river .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHAMMER - NIGHT<\/stage_direction>\n    <scene_description>Batman hits a console stud marked : EMERGENCY BURN . 488A EXT. . FROZEN RIVER The Bathammer engines ROAR , the Bathammer BLOWING straight through the frozen wall in an EXPLOSION of ice . 488B THE BADTBLADE and the BATSLED shoots up the face of the ice wall on either side of the Bathammer , soaring over the top of the mountain of snow . 488C EXT. . BATSLED - FLYING<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Youwsa! Nothing but air.<\/dialogue>\n    <scene_description>488D EXT. . BATBLADE - FLYING<\/scene_description>\n    <character>BATGIRL<\/character>\n    <parenthetical>( to the old 60 's Batman theme . )<\/parenthetical>\n    <dialogue>Batgirl, Baatgirl, Baatgirl.<\/dialogue>\n    <scene_description>488E EXT. . FROZEN RIVER The Batsled and the Batblade hit the ice running , WHIPPING in alongside the speeding Bathammer . The Batvehicles BLAST towards the Observatory .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OBSERVATORY - TELESCOPE PLATFORM - NIGHT<\/stage_direction>\n    <scene_description>Freeze stares at a monitor . The bat - team is now below the observatory , at the base of the giant ice cliffs .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Mr. Bane, I'll finish off the city. You, as they say in showbiz, are on. Take the boys and kill the kids. But bring me the Bat.<\/dialogue>\n    <scene_description>A GIANT CLOCK TOWER - CLOSE . 11:49<\/scene_description>\n    <character>BATMAN<\/character>\n    <parenthetical>( OVER . )<\/parenthetical>\n    <dialogue>We have eleven minutes to stop Freeze And thaw the city.<\/dialogue>\n    <scene_description>PAN DOWN<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ICE CLIFFS - NIGHT<\/stage_direction>\n    <scene_description>Three tiny figures scale the ice using pitons and ropes . PUSH IN .<\/scene_description>\n    <character>BATGIRL<\/character>\n    <dialogue>This is easy.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Crimefighter's rule number one : never say that.<\/dialogue>\n    <character>BATGIRL<\/character>\n    <dialogue>Why?<\/dialogue>\n    <scene_description>THE LEDGE ABOVE THEM . Suddenly a score of ice - climbing thugs pour over the edge on ropes , sliding down , FIRING their guns madly .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>That's why.<\/dialogue>\n    <scene_description>A SHOOTER comes flying down a rope straight towards them , guns BLAZING . Robin swings wide on his rope , grabbing Batgirl , pulling her out of the line of fire . They hit a snow bank and roll .<\/scene_description>\n    <character>BATGIRL<\/character>\n    <dialogue>Does this mean we're going steady?<\/dialogue>\n    <scene_description>Four figures land on the snow beside them . Icemen , guns drawn .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ICE CLIFFS - NIGHT<\/stage_direction>\n    <scene_description>Batman uses batpitons to pull himself up onto a ledge just below the Observatory . That 's when another wave of Icemen descend on him from the mists . Batman reaches for a batarang . A beat . Then he smiles .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Let's do this the old - fashioned way.<\/dialogue>\n    <scene_description>Batman leaves his batarang belted , begins wailing on the Icemen using only his hands and feet , flying back fists , and spinning roundhouse kicks felling the thugs one after another .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ICE CLIFFS - NIGHT<\/stage_direction>\n    <scene_description>Robin and Batgirl move back to back , surrounded now by a band of Icemen . Robin notices a heavily cantilevered overhang of snow . ROBIN Crimefighter 's rule number two . BATGIRL I 'm afraid to ask . ROBIN Be ready for anything . Robin puts his hands together and YELLS . The ECHO shoots up the hill . A tremendous RUMBLING comes back down , the overhang of snow dumping on several Icemen . Robin does a standing backflip into the Thugs behind him . Batgirl goes down , taking out several more with a deft leg sweep . BATGIRL . -LRB- kicks a thug . -RRB- Pow ! -LRB- punches another . -RRB- What ! -LRB- backhands a third . -RRB- Kazow !<\/scene_description>\n    <character>ROBIN<\/character>\n    <parenthetical>( fighting . )<\/parenthetical>\n    <dialogue \/>\n    <character>What exactly are you doing?<\/character>\n    <dialogue>says.<\/dialogue>\n    <character>BATGIRL<\/character>\n    <dialogue \/>\n    <character>I don't know.  It just feels right.<\/character>\n    <dialogue>It just feels right. says.<\/dialogue>\n    <scene_description>Batgirl and Robin begin fighting their way through the Icemen up towards the Observatory .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OBSERVATORY - NIGHT<\/stage_direction>\n    <scene_description>Batman pulls himself up onto the aperture ledge as Robin and Batgirl climbs in from the other side . The giant chamber is empty , the telescope still aimed at Gotham .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue \/>\n    <character>No sign of the snowman.<\/character>\n    <dialogue>says.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue \/>\n    <character>Maybe he melted.<\/character>\n    <dialogue>says.<\/dialogue>\n    <scene_description>Batman SHOOTS a batgrapple into the ceiling , swings across the room , dropping two bat - charges at the feet of the frozen Scientists , continues his swing landing on the telescope platform . BATGIRL AND ROBIN swing onto the Telescope platform to join Batman . THE BAT CHARGES begin to glow , their radiating heat starting to melt the Scientists . 513A BATGIRL I hope you 've got about ten million more of those little toys . Batgirl points at the control console clock . 11:52<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Eight more minutes and a city full of Gothamites are ice cubes forever.<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>Sunlight could reverse the freezing process.<\/dialogue>\n    <character>BATGIRL<\/character>\n    <dialogue>Sunrise is n't for five hours.<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>Here.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>But it's morning in the Congo.<\/dialogue>\n    <scene_description>Batman points to a screen showing a graphic represent - tation of the satellites in orbit .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>If we could relay the sunlight -<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>From the other side of the equator -<\/dialogue>\n    <character>BATGIRL<\/character>\n    <dialogue>It'll take the satellites about a minute to re - align, but. damn!<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Damn? Damn is not good.<\/dialogue>\n    <character>BATGIRL<\/character>\n    <dialogue>Those targeting mirrors are frozen. The sun beam wo n't work.<\/dialogue>\n    <scene_description>PULL BACK TO REVEAL TWO SMALL MIRRORS sitting on the telescope barrel . Both are encased in ice .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>I'll set the telescope. You two thaw the mirrors.<\/dialogue>\n    <scene_description>Batgirl and Robin race out onto the telescope , each pulling a laser from their utility belts .<\/scene_description>\n    <character>BATGIRL<\/character>\n    <dialogue>I love this belt. Can I get a matching handbag?<\/dialogue>\n    <scene_description>Their LASERS FLARE . Batgirl and Robin begin thawing the mirrors . BATMAN goes to the main console , begins working the keyboard .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Who ever thought Aunt Harriet's typing lessons would lead to this?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EARTH - VIEW FROM SPACE<\/stage_direction>\n    <scene_description>Satellite thrusters FIRE . The giant orbital mirrors begin to turn .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OBSERVATORY<\/stage_direction>\n    <scene_description>MONITOR - CLOSE . Graphic satellites begin to adjust . TARGETING flashes over a blinking graphic of Gotham A digital clock reads : 11:54 . BATMAN - POV . As he aims the telescope . The skyline through the crosshairs is suddenly obscured by a blur as Freeze drops from the rafters onto the telescope , his face now visible in the targeting scope .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Tonight's forecast.<\/dialogue>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>. a freeze is coming!<\/dialogue>\n    <scene_description>Freeze grabs Batman and hurls the caped crusader up over his head onto the telescope barrel , using his free hand to yank the telescope control joystick . The telescope tilts sharply downward . BATGIRL AND ROBIN tumble down the telescope barrel , rolling towards the lens and the drop TO the city below . BATMAN tumbles , rights himself , spins . BATMAN - POV . Freeze is climbing towards the control console . Batgirl and Robin are rolling towards the end of the telescope . No way to get both . A beat . Batman rushes towards Freeze .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OBSERVATORY<\/stage_direction>\n    <scene_description>Batgirl and then Robin tumble off the end of the telescope , dropping towards the city below .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OBSERVATORY - TELESCOPE PLATFORM<\/stage_direction>\n    <scene_description>Freeze has reached the main telescope control . He hits a switch . MONITOR - CLOSE . Graphic satellites blink red under the flashing message : TARGET LOCK DISABLED . Clock reads : 11:56 535A EXT. . SPACE THRUSTERS quit as the satellites stop turning . 535B INT . OBSERVATORY - TELESCOPE Batman is struggling up the slope of the telescope towards Freeze . 535C Freeze pulls the control level . The telescope begins to tilt and spin madly , the ambient condensation creating an indoor snowstorm . Batman goes down , hanging from the telescope frame .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OBSERVATORY<\/stage_direction>\n    <scene_description>BATGIRL is plummeting towards the city below . Robin is falling a couple of feet above her . He FIRES a bat tether over his head . ROBIN 'S GRAPPLE secures in a glacier - like overhang . ROBIN reaches down for Batgirl as Batgirl reaches up towards him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OBSERVATORY - TELESCOPE<\/stage_direction>\n    <scene_description>Batman flips himself back up onto the wildly spinning telescope , advancing on Freeze and the control console .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Millions will die so you can save on air conditioning. Is n't that taking self help a little too far?<\/dialogue>\n    <scene_description>Freeze draws his pistol .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>We aim to.<\/dialogue>\n    <parenthetical>( fires . )<\/parenthetical>\n    <dialogue>. Freeze.<\/dialogue>\n    <scene_description>Batman deflects the blast with his suit armor .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>That's new. Let's swing.<\/dialogue>\n    <scene_description>Freeze smashes the control joystick to the stop , the telescope 's spin accelerating , swinging towards . THE TWO SCIENTISTS have finally melted , stand drenched on the Tower Platform , the massive Telescope now careening towards them .<\/scene_description>\n    <character>SCIENTIST<\/character>\n    <dialogue>This just is n't my day.<\/dialogue>\n    <scene_description>551A THE TELESCOPE SMASHES directly into the TOWER PLATFORM . The platform begins to topple . 551B ASSOCIATE Up , up and away . 551C As the platform falls CRASHING onto the floor below , the two PhDs leap , landing safely on the swinging telescope , hanging on to the tensioning bar for dear life . 551D SCIENTIST PhDs rule ! 551E FREEZE is thrown by the impact of the telescope hitting the tower into the Telescope Platform rail , his gun falling to his feet .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OBSERVATORY<\/stage_direction>\n    <scene_description>Robin 's hand is inches from Batgirl 's , the city coming up fast .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OBSERVATORY - TELESCOPE CONTROL PLATFORM<\/stage_direction>\n    <scene_description>Freeze is scrambling for his gun . Suddenly a figure looms above him . Batman . Freeze draws . Batman kicks the gun out of his hand . The two begin to fight on the twirling platform . A battle of titans .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>You've turned Gotham to ice.<\/dialogue>\n    <parenthetical>( a right . )<\/parenthetical>\n    <dialogue>You've endangered countless lives.<\/dialogue>\n    <parenthetical>( a left . )<\/parenthetical>\n    <dialogue>It's payback time.<\/dialogue>\n    <scene_description>555A Batman KNOCKS Freeze with a mighty punch , hurling him onto the back of the telescope . Batman turns towards the console , TYPING commands . 555B MONITOR - CLOSE . TARGETING . Graphic satellites flash green . Clock reads : 11:58 555C THE MIRRORS overhead open , beginning to glow with ambient sunlight . 555D Freeze SCREAMS at the emerging light , leaping onto Batman , sending the caped crusader sprawling onto the barrel of the telescope . He advances on the fallen bat . 555E Freeze kicks Batman hard in the face , the hero rolling down the telescope towards the opening and Gotham beyond .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OBSERVATORY<\/stage_direction>\n    <scene_description>Robin grabs Batgirl 's hand as Batgirl FIRES a batarang from her wrist . Robin 's tether pulls taught , the boy wonder holding Batgirl dangling over the city .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I've got you.<\/dialogue>\n    <scene_description>ROBIN 'S GRAPPLE rips free from the melting ice . BATGIRL 'S GRAPPLE hits the metal roof above . Holds firm . ROBIN 'S line tears free , Robin falling as Batgirl 's tether pulls tight , Batgirl now holding Robin dangling above Gotham .<\/scene_description>\n    <character>BATGIRL<\/character>\n    <dialogue>No. I've got you.<\/dialogue>\n    <scene_description>She pulls him eye level . The two hang suspended , face to face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OBSERVATORY<\/stage_direction>\n    <scene_description>Batman is tumbling towards the open slat and Gotham below . He slows his fall , stopping on the barrel .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( OVER . )<\/parenthetical>\n    <dialogue>Wow. Batman.<\/dialogue>\n    <scene_description>WIDER . The two Scientists are clinging to a targeting groove along the body of the barrel .<\/scene_description>\n    <character>SCIENTIST<\/character>\n    <dialogue>I've seen you on TV.<\/dialogue>\n    <scene_description>BATMAN - POV . Freeze is heading back to the control panel .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Nice to meet you. Can you give me any more height on this thing?<\/dialogue>\n    <scene_description>The Scientist reaches down to a red EMERGENCY lever .<\/scene_description>\n    <character>SCIENTIST<\/character>\n    <dialogue>Going up.<\/dialogue>\n    <scene_description>He pulls the lever and the telescope tilts straight up , sending Batman soaring into the air towards the dome above . Batman flips in mid air , dives , SMASHING directly into Freeze , the villain CRASHING over the edge of the control platform and into the freezing engine . THE MIRRORS overhead align , the beams of sunlight hitting the freezing engine . Freeze is struck by the rays , the sun penetrating his damaged suit . 571A THE TELESCOPE activates , a powerful THAWING BEAM shooting from it 's giant lens . Batman turns to Freeze , the villain beginning to gray and wither .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>You're loosing your cool<\/dialogue>\n    <character>FREEZE<\/character>\n    <dialogue>I think not. There'll be no hot time in this old town tonight.<\/dialogue>\n    <parenthetical>( pulls a remote . )<\/parenthetical>\n    <dialogue>You'll get a charge out of this.<\/dialogue>\n    <scene_description>He presses a button . As Freeze rolls out of the sunlight , falling towards the floor below , CHARGES around the tele - scope base EXPLODE . The TELESCOPE tilts , dropping out of the open slat towards Gotham , taking a chunk of observatory floor with it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OBSERVATORY<\/stage_direction>\n    <scene_description>Robin and Batgirl are just pulling themselves onto an ice ledge beneath the dome slat as the giant telescope carrying Batman and the two Scientists plummets over them towards the city below . 575A ROBIN Now that 's what I call an exit .<\/scene_description>\n    <character>BATGIRL<\/character>\n    <parenthetical>( looking past Robin . )<\/parenthetical>\n    <dialogue>Please tell me he's on our side.<\/dialogue>\n    <scene_description>A figure steps out from behind the ice . BANE 575B Robin coils , leaps into a spinning roundhouse , but Bane KNOCKS him away , the boy wonder flying hard into the snow . The monster begins advancing on Batgirl .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TELESCOPE - FALLING<\/stage_direction>\n    <scene_description>Batman slides down the telescope towards the two Scientists , simultaneously FIRING a double ended bat - tether , two grapples SHOOTING horizontally into the air .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OBSERVATORY<\/stage_direction>\n    <scene_description>BATGRAPPLES - CLOSE . Sink into the arms of the giant sculpture holding up the Observatory just as the telescope plummets past . 580A EXT. . OBSERVATORY - ICE LEDGE Robin shakes off the blow , looks up to see Batgirl fending off Bane with a fast series of punches and kicks . She might as well be hitting steel . 580B BATGIRL . -LRB- to Robin . -RRB- Do n't worry . I 've got him . Just then Bane SLAMS her into an ice wall by the throat , rears back with his fist , about to deliver the killing blow .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>No. I've got him.<\/dialogue>\n    <scene_description>580C Robin leaps , ripping off the tubes leading from Bane 's injector pack to his skull , venom spraying wildly into the air . 580D Bane hits the snow , writing , as the venom effect is reversed . His muscles shrink , his form diminishing until he is again a scrawny prisoner , struggling in the folds of his costume . 580E ROBIN You should get that suit taken in . No one 's buying baggy anymore .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TELESCOPE - FALLING<\/stage_direction>\n    <scene_description>The ground is rushing up below them .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Grab my belt and hang on.<\/dialogue>\n    <scene_description>The Scientists each grab one side of Batman 's utility belt . THE CABLE pulls taught , slowing Batman 's fall , the telescope dropping from under them as the cable bends like a bow , Batman and the Scientists sinking at its center . The cable reaches its nadir over an outcropping of rock on the cliff . Below the telescope EXPLODES into the frozen river .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>This is your stop.<\/dialogue>\n    <scene_description>Batman pushes the Scientists onto the ledge , the reduced weight SHOOTING the cable taught , ROCKETING Batman up towards the dome like an arrow .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  OBSERVATORY<\/stage_direction>\n    <scene_description>Batman flips in through the telescope slat , followed immediately by Batgirl and Robin , all landing together on the observatory floor .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Winded, old timer?<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>Do n't make me kill you in front of the girl.<\/dialogue>\n    <character>BATGIRL<\/character>\n    <dialogue>It's midnight. The telescope's gone. There's no way to thaw the city.<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>Theoretically, the satellites could be positioned to thaw the city directly. But it would take a computer genius.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>I'm on it.<\/dialogue>\n    <scene_description>Robin clears the rubble from a fallen console , begins to type . Nothing . The equipment is dead .<\/scene_description>\n    <character>BATGIRL<\/character>\n    <parenthetical>( shouldering him aside . )<\/parenthetical>\n    <dialogue>No. I'm on it.<\/dialogue>\n    <scene_description>She quick patches a couple of broken wires , the console lighting up , WHIRRING to life . Begins hacking .<\/scene_description>\n    <character>BATGIRL<\/character>\n    <dialogue>Ms. Genius. Madame Genius. Her Geniusness. Which sounds better?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  EARTH - VIEW FROM SPACE<\/stage_direction>\n    <scene_description>The giant orbital satellites finally align . A full disk of the sun appears in the mirror , beamed from one to the next and then the next , the beam cutting downward towards .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOTHAM SKYLINE<\/stage_direction>\n    <scene_description>The giant rays of focused sunlight begin warming the city .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OBSERVATORY - NIGHT<\/stage_direction>\n    <scene_description>Rays of light hit the Observatory , melting the ice covered stone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OBSERVATORY FLOOR<\/stage_direction>\n    <scene_description>Batman walks over to Freeze who lies amidst the rubble , weak and gray with the growing heat , straining to BREATHE .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Go on, kill me too. Just as you killed my wife.<\/dialogue>\n    <character>BATMAN<\/character>\n    <dialogue>I did n't kill your wife.<\/dialogue>\n    <scene_description>Batman presses a button on his utility belt .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>Run Ivy evidence tape 001.40.<\/dialogue>\n    <scene_description>BATMAN 'S GAUNTLET - CLOSE . A tiny monitor shows an image of Poison Ivy .<\/scene_description>\n    <character>IVY<\/character>\n    <parenthetical>( OVER . )<\/parenthetical>\n    <dialogue>As I told Lady Freeze when I pulled her plug, this is a one woman show.<\/dialogue>\n    <scene_description>FREEZE SCREAMS his rage . His face streams with frozen tears , like tiny diamonds .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>But she's not dead, Victor. We found her, restored her icy slumber.<\/dialogue>\n    <scene_description>BATMAN 'S GAUNTLET MONITOR shows Mrs. Fries restored in cryogenic slumber .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>She's still frozen, Victor, alive, waiting for you to find a cure. I know what it's like to lose everything you've ever loved. But vengeance is n't power. Any two - bit thug with a gun can take a life. To give life, that's true power, a power you once had. I do n't know if you'll ever find a cure for your wife. But I'm asking you now, Doctor Victor Fries, to save another life. Show me how to cure McGregor's Syndrome Stage One. And maybe you can also save the man your wife once loved. He's still inside you, buried somewhere deep beneath the snow. Will you help me? Doctor?<\/dialogue>\n    <scene_description>Freeze stares at Batman . Finally he unseals his chestplate , removes two glowing power orbs , holds them out , his smile , bittersweet .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Take two of these and call me in the morning.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAYNE MANOR - ALFRED'S QUARTERS - NIGHT<\/stage_direction>\n    <scene_description>Robin and Batgirl watch as Batman attaches the modified power sources from Freeze 's suit to Alfred 's life - support .<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>All we can do now is wait.<\/dialogue>\n    <parenthetical>( takes Alfred 's hand . )<\/parenthetical>\n    <dialogue>And hope.<\/dialogue>\n    <scene_description>594A EXT. . ARKHAM ASYLUM - NIGHT The prison is secure once again . 594B INT . ARKHAM ASYLUM CELL - NIGHT Ivy sits in the barred moonlight , staring out the window , holding a small flower in her hand , pulling the petals out one by one .<\/scene_description>\n    <character>IVY<\/character>\n    <dialogue>He loves me. He loves me not. He loves me. he loves me.<\/dialogue>\n    <character>VOICE<\/character>\n    <parenthetical>( OVER . )<\/parenthetical>\n    <dialogue>Not.<\/dialogue>\n    <scene_description>A figure stands cloaked in shadows . He steps forward . Mr. Freeze .<\/scene_description>\n    <character>FREEZE<\/character>\n    <parenthetical>( off his suit . )<\/parenthetical>\n    <dialogue>It's amazing what you can buy around here for a few dozen diamonds.<\/dialogue>\n    <scene_description>Freeze begins coming towards her , menacingly .<\/scene_description>\n    <character>FREEZE<\/character>\n    <dialogue>Prepare for a bitter harvest. Winter has come at last.<\/dialogue>\n    <character>IVY<\/character>\n    <dialogue>Not good.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WAYNE MANOR - DAWN<\/stage_direction>\n    <scene_description>Morning breaks on the great old building . A PILE OF PIZZA BOXES - CLOSE PULL BACK TO REVEAL<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAYNE MANOR - LIVING ROOM - DAWN<\/stage_direction>\n    <scene_description>World War III was lost in this room . Strewn clothes . Barbara dozes on the couch . Dick paces . Bruce stands , staring out the window , afraid he has lost Alfred forever . -LRB- OVER -RRB- a THROAT CLEARS . LOUDER . All look up . Alfred is descending the stairs . Scowling .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>Alfred, are you?<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>Rather disappointed at how poorly I taught you proper housekeeping.<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>And quite well, it seems. Thanks to you, son. Thanks to you all.<\/dialogue>\n    <scene_description>The three move to him . A family reunion . Dick turns to Bruce .<\/scene_description>\n    <character>DICK<\/character>\n    <dialogue>One question. When Batgirl and I rolled off the telescope, how come you did n't try and save us? It was the first time I fell and you were n't there to catch me.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>I knew you could handle it.<\/dialogue>\n    <scene_description>Barbara CLEARS her throat . Dick shoots her a look .<\/scene_description>\n    <character>BRUCE<\/character>\n    <dialogue>Sometimes counting on someone else is the only way to win.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Hey, I'm the one who kicked Ivy's botanical butt. Personally. Me. I did.<\/dialogue>\n    <character>BRUCE<\/character>\n    <dialogue>You are going back to school.<\/dialogue>\n    <character>DICK<\/character>\n    <dialogue>You're never going to win this argument, Bruce.<\/dialogue>\n    <scene_description>Barbara extends her hand .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>Partners?<\/dialogue>\n    <scene_description>A beat . The other heroes follow suit . A team is born .<\/scene_description>\n    <character>BRUCE &amp; DICK<\/character>\n    <dialogue>Partners.<\/dialogue>\n    <character>ALFRED<\/character>\n    <dialogue>We're going to need a bigger cave.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BATSIGNAL - NIGHT<\/stage_direction>\n    <scene_description>Three costumed avengers race into the night . FINAL FADE TO BLACK THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Set two years after the defeat of Two-Face and the Riddler, Batman and his new partner, Robin, become defenders of Gotham. They attempt to thwart the villainous Mr. Freeze from robbing diamonds from the natural history museum, but he steals one and flees. Mr. Freeze was originally Dr. Victor Fries, a doctor working to develop a cure for MacGregor's syndrome to heal his terminally ill wife. Fries was forced to wear a cryogenic suit powered by diamonds after becoming unable to live at normal temperatures following a lab accident. At a Wayne Enterprises lab in Brazil, the botanist Dr. Pamela Isley is working under the deranged Dr. Jason Woodrue, experimenting with the Venom drug. She witnesses Woodrue use the formula to turn the violent, but diminutive, convicted serial murderer Antonio Diego into a hulking monstrosity dubbed \"Bane\". When Isley threatens to expose Woodrue's experiments, he attempts to kill her by overturning a shelf of various toxins. Despite Woodrue's efforts, Isley is resurrected, transforming into the beautiful and seductive Poison Ivy before exacting revenge; she kills Woodrue with her poisonous kiss, and sets fire to the lab, leaving it to burn down while she escapes with Bane. She finds that Wayne Enterprises funded Woodrue, thus she appropriates Bane as a muscle-bound thug, taking him with her to Gotham City. Meanwhile, Alfred Pennyworth's niece, Barbara Wilson, makes a surprise visit and is invited by Bruce Wayne to stay at Wayne Manor until she goes back to school. Wayne Enterprises presents a new telescope for Gotham Observatory at a press conference interrupted by Isley. She proposes a project that could help the environment, but Bruce declines her offer, which would kill millions of people. Batman says that this project is in conflict with the main goals of the Wayne Corporation. That night, a charity event is held by Wayne Enterprises with special guests, Batman and Robin, and she decides to use her abilities to seduce them. Mr. Freeze crashes the party and steals a diamond from the event. Although he is captured by Batman and detained in Arkham Asylum, he eventually escapes with the help of Poison Ivy and Bane. Meanwhile, Dick discovers that Barbara has participated in drag races to raise money for Alfred, who is dying of MacGregor's syndrome. Batman and Robin begin to have crime fighting relationship problems because of Ivy's seductive ability with Robin, but Bruce eventually convinces Dick to trust him. Poison Ivy is then able to contact Robin once more; she kisses him but fails to kill him due to Robin wearing rubber lips. Robin says that the rubber lips are immune to her charms. Meanwhile, Barbara discovers the Batcave, where an AI version of Alfred reveals he has made Barbara her own suit. Barbara dons the suit and becomes Batgirl. Ivy captures Robin, but he gets rescued by Batman, and Batgirl arrives and subdues Ivy to get eaten by her throne plant, before revealing her identity to the pair. Batman, Robin and Batgirl decide to go after Mr. Freeze together. By the time they get to the observatory where Mr. Freeze and Bane are, Gotham is completely frozen. Batgirl and Robin are attacked by Bane, but they eventually defeat him by kicking apart his venom tubes, stopping the flow of venom to his body. Bane collapses before transforming back to his original diminutive size of Antonio Diego and is left helpless on the ground. Meanwhile Batman and Mr. Freeze begin to fight each other, with Batman defeating Mr. Freeze. Batgirl and Robin manage to thaw the city, and Batman shows Freeze a recording of Poison Ivy during her fight with Batgirl, who had informed the latter that she killed Mr. Freeze's wife. However, Batman informs Mr. Freeze that she is still alive, in cryogenic slumber before being moved to Arkham Asylum, waiting for Mr. Freeze to finish his research. Batman proceeds to ask Mr. Freeze for the cure Mr. Freeze has created for the first stage of MacGregor's Syndrome to administer to Alfred, and Mr. Freeze atones for his misunderstanding by giving him the medicine he had developed. Mr. Freeze is then detained in Arkham Asylum. Poison Ivy is also imprisoned in Arkham Asylum with a vengeful Mr. Freeze as her cellmate (due to his own cell is in the process of being modified for his laboratory needs) and he plans to make Poison Ivy's life a living hell while staying for the attempted murder of his wife. After Alfred is cured, everyone agrees to let Barbara stay at Wayne Manor and fight crime with them."}
{"movie_name":"Ouija_2014","imdb_id":"tt1204977","script":"<script>\n  <scene>\n    <character>O U I J A<\/character>\n    <dialogue>Written by<\/dialogue>\n    <scene_description>Juliet Snowden &amp; Stiles White September 26, 2013 DARKNESS. A low wind stirs from far away...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEIGHBORHOOD HOUSE - NIGHT<\/stage_direction>\n    <scene_description>No cars in the driveway. A single light on in an upstairs window. We hear A TEENAGE GIRL'S VOICE.<\/scene_description>\n    <character>TEENAGE GIRL (O.S.)<\/character>\n    <dialogue>I wanted to talk. I felt like last night... I don't know. Things were starting to get kinda weird between us.<\/dialogue>\n    <scene_description>EASE IN on that upstairs window...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Glimpse a sliver of A BEDROOM... because we're looking out from inside the bedroom closet. The slightly open closet door keeps us from seeing more. We stay exactly in this spot throughout... A teen girl sits on the floor. This is DEBBIE (17). She's talking to someone in her room.<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>It was fun for a while, when we first started playing. But... I feel like you've changed.<\/dialogue>\n    <scene_description>EASE OVER SLIGHTLY... able to see a little more of Debbie. There's something in front of her on the floor. A GAME BOARD. Debbie's fingers touching a heart-shaped wooden piece on the board. She's playing OUIJA with someone. But from where we are inside the closet, we can't see who it is. WE DRIFT UP AWAY FROM THE BOARD now so that we're just on Debbie's face.<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>I mean, you're still my friend, right?<\/dialogue>\n    <scene_description>Debbie sits there waiting.<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>C'mon. Answer me.<\/dialogue>\n    <scene_description>Suddenly, Debbie's expression shifts. Fear in her eyes.<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>You know what? This is our last game. I'm not playing ever again. I want you to leave. Just get out.<\/dialogue>\n    <scene_description>MOVEMENT. A DARK SHAPE steps past the crack in the closet. We hear a THUD and now we are -- IN THE BEDROOM WITH DEBBIE She sits there alone on the floor, glancing over to the wide open bedroom door as it comes to a rest against the wall. As if someone just left the room. The night wind creaks outside... Debbie gathers up the Ouija board and planchette and moves quickly to her closet. She opens the double doors, about to put the board away when -- -- there's a noise. SCRAPE. Debbie glances over her shoulder. The room is still empty. She turns back. Reaching to place the Ouija up on a shelf as behind her -- -- there's MOVEMENT in a mirror. Unseen by Debbie, because she's still reaching up to put the board away. The wooden planchette slips and falls, landing at Debbie's feet. She picks it up when suddenly -- -- BAM! A loud sound in her room. Debbie spins to see that her bedside table lamp has fallen... now slowly rolling on the floor. Debbie stands there totally still. Staring. Her panicked eyes scan the room. All we hear is her BREATHING and the WIND outside. She turns slightly... and a SHADOW falls across her face. We don't see what she sees -- but someone's standing right there. Debbie stares. Absolutely terrified. Her lips tremble, about to say something when -- -- she's PUSHED HARD into her closet! It's a blur. She falls back into her hanging clothes. Getting twisted up in a plastic dry cleaning bag. VERY CLOSE on Debbie -- and right before she can scream, a clear plastic dry cleaning bag suddenly PRESSES TIGHT AGAINST HER FACE! A split second shock and we instantly go --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBBIE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>-- back into the bedroom. The closet doors, out of focus in the background. We catch the tail end of them closing shut with a slight creak. No sound comes from the closet. Just the wind outside. CHILLING MUSIC rises, taking us to -- TITLE CREDITS. A vintage turn of the century black and white photograph of a parlor SEANCE GATHERING. People in formal attire at a table with a OUIJA BOARD at the center. We hear a WOMAN'S VOICE speak via a scratchy cylinder recording --<\/scene_description>\n    <character>WOMAN'S VOICE<\/character>\n    <dialogue>As friends we've gathered, hearts are true. Spirits near, we call to you.<\/dialogue>\n    <scene_description>More PHOTOS. STOCK FILM FOOTAGE. Moving through the decades. Groups of people playing the Ouija. Even though the times and styles change, the Ouija board continues to look the same. We hear that familiar calling, different VOICES --<\/scene_description>\n    <character>VARIOUS VOICES<\/character>\n    <dialogue>As friends we've gathered, hearts are true. Spirits near, we call to you.<\/dialogue>\n    <scene_description>Polaroid shots. Video footage. Each Ouija game feels more recent than the last. The final image is TWO GIRLS (12). Sitting on a floor with a Ouija board between them. Dressed for a sleepover. It's just a photo, but we hear their innocent young voices as they say the words --<\/scene_description>\n    <character>TWO GIRLS<\/character>\n    <dialogue>As friends we've gathered, hearts are true. Spirits near, we call to you.<\/dialogue>\n    <scene_description>From the photo of the two girls we DRIP TO BLACK. LARGE BOLD LETTERS appear one by one out of the darkness... as if conjured from the ether. Spelling out a single mysterious word in a familiar vintage font:<\/scene_description>\n    <character>O U I J A<\/character>\n    <dialogue>SOUND rises. !A hard SCRATCHING. CLOSE ON -- A PENCIL ON PAPER. Cursive handwriting spills across the page. Beat.<\/dialogue>\n    <dialogue>Suddenly the paper is ripped from a notebook and crumpled up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL CLASSROOM - DAY<\/stage_direction>\n    <scene_description>ELENA \"LAINE\" MORENO, 17, tosses the paper into the wastebasket near her desk. !A few other crumpled notes already in there.! It's early. Laine sits alone in the classroom. !Outside the commotion of students arriving for the school day. !Laughing distant voices. Slamming of lockers out in the hallway. Laine regards another blank piece of paper. She takes a breath. Writes out another note. Her final words are the only ones we see: \"Friends forever xoxo Laine\" Laine folds the paper into an origami note. !She sets it on a far desk near the window as the bell rings and students start filtering into the classroom. A MOMENT LATER. Laine's back in her desk. ISABELLE (17) takes the seat next to her and starts right in --<\/scene_description>\n    <character>ISABELLE<\/character>\n    <dialogue>What are we feeling this weekend?<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>It's only Tuesday.<\/dialogue>\n    <character>ISABELLE<\/character>\n    <dialogue>I know. But I like to get a jump.<\/dialogue>\n    <parenthetical>(scrolling through her phone)<\/parenthetical>\n    <dialogue>Got multiple party options here. Small selective gathering or that blow-out everyone's going to?<\/dialogue>\n    <scene_description>A GUY swoops in and gives Laine a kiss before taking the desk behind her. This is TREVOR (17).<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>She trying to steal my time again? Iz, we don't always have to tag along. You can fly solo.<\/dialogue>\n    <character>ISABELLE<\/character>\n    <dialogue>Yeah. Me showing up to a party alone wouldn't look pathetic at all. Not everyone has your perfect couple situation.<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>Look at her... acting like she's not the one who breaks up with every guy she goes out with.<\/dialogue>\n    <character>ISABELLE<\/character>\n    <dialogue>I'm a picky bitch. Can't help it.<\/dialogue>\n    <scene_description>A TEACHER, MR. SATLOF, enters and starts passing out an exam.<\/scene_description>\n    <character>MR. SATLOF<\/character>\n    <dialogue>Okay. Settle. Books away. I'm putting thirty minutes on the clock. Please dazzle me with your knowledge of all things John Milton.<\/dialogue>\n    <scene_description>Trevor leans in toward Laine, whispering --<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>Yo. You ready to throw down on this iambic pentameter --<\/dialogue>\n    <scene_description>But Laine's not paying attention. She's glancing back at the desk where she put the note... and it's still empty. The note just sitting there.<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>Laine? This is the part where you laugh.<\/dialogue>\n    <scene_description>Laine snaps out of it. Gives Trevor a smile.<\/scene_description>\n    <character>MR. SATLOF<\/character>\n    <dialogue>Eyes front. No talking.<\/dialogue>\n    <scene_description>DISSOLVE TO: LAINE TAKING HER TEST. She hears whispering and looks up to see her TEACHER out in the hall talking with someone. Mr. Satlof comes back into the classroom, and by his somber expression, Laine knows that something is wrong.<\/scene_description>\n    <character>MR. SATLOF<\/character>\n    <dialogue>I know some of you are finishing up, but... I have something I need to share with everyone.<\/dialogue>\n    <scene_description>Students put their pencils down. Murmuring, wondering what's going on.<\/scene_description>\n    <character>MR. SATLOF<\/character>\n    <dialogue>I just got word that...<\/dialogue>\n    <scene_description>Mr. Satlof's voice trails off. This is hard for him to say. Laine glances back again at the EMPTY DESK. Then --<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>It's Debbie, isn't it? What happened?<\/dialogue>\n    <scene_description>Now everyone's looking at Laine. Mr. Satlof slowly nods.<\/scene_description>\n    <character>MR. SATLOF<\/character>\n    <dialogue>I'm so sorry... she died at her house last night.<\/dialogue>\n    <character>TREVOR<\/character>\n    <dialogue>Oh my God...<\/dialogue>\n    <scene_description>Reaction ripples through the classroom. Isabelle starts crying. But Laine is frozen.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>No. It's a mistake. Debbie can't be dead...<\/dialogue>\n    <character>MR. SATLOF<\/character>\n    <dialogue>This is a tremendous loss. The school will be providing counselors for anyone who needs to talk during this difficult time --<\/dialogue>\n    <scene_description>EASE IN ON LAINE. Her eyes stare in shock. The world suddenly seems to swim around her. !Sounds and voices fading. And from that EMPTY DESK with the note sitting on it we go --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAINE'S ROOM - DAY<\/stage_direction>\n    <scene_description>Laine stands at a mirror as an OLDER WOMAN zips up her black dress from behind. This is Laine's grandmother, NONA. The woman sees the devastation on her granddaughter's face. Their conversations are always in Spanish with subtitles --<\/scene_description>\n    <character>NONA<\/character>\n    <dialogue>I know this mourning that you feel. With the death of a friend, there is a part of you who dies as well.<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>It's like there's a pain in my heart that will never go away. !<\/dialogue>\n    <character>NONA<\/character>\n    <dialogue>Respect grief, my precious Elena. It is often in these times we find our own light and understanding.<\/dialogue>\n    <scene_description>Laine looks at her grandmother.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>I don't want understanding. !I want Debbie back.<\/dialogue>\n    <scene_description>There's a knock at the door. !Laine's father, ANTHONY MORENO. Latino. !Dressed in a suit. !His eyes filled with heartache.<\/scene_description>\n    <character>MR. MORENO<\/character>\n    <dialogue>It's time.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEBBIE'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Several cars are parked out front. GUESTS in post-funeral attire heading into the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBBIE'S HOUSE - DOWNSTAIRS - DAY<\/stage_direction>\n    <scene_description>WITH LAINE. Standing among the mourners who are gathered in the house. Adults. Other high school friends. A few teachers... Mr. Satlof among them. Trevor and Isabelle are here. Laine moves through the gathering. Voices hushed. Snippets of dialogue:<\/scene_description>\n    <character>MOURNERS (VARIOUS)<\/character>\n    <dialogue>...and that Carol had to find her like that... in the closet. Just horrible... makes no sense. They're packed and coming to stay with me... can't be in this house another night...<\/dialogue>\n    <scene_description>Laine hovers, glances at a vintage ANNIVERSARY CLOCK. Small crack in the glass dome. Hands frozen in time. Hasn't worked in years. Beat... then over at the stairs she sees a GUY standing there holding flowers. Student. Strange. Thrift store suit and tie. He doesn't seem to know anyone else here. He's just standing there. Glancing up the stairs... Laine hears crying. Sees Debbie's PARENTS sitting across the house, being comforted by friends. THE MOTHER, sobbing. Laine turns back... and now that GUY at the bottom of the stairs is gone. His flowers left behind on the foyer table.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBBIE'S ROOM - DAY<\/stage_direction>\n    <scene_description>Upstairs. Laine pushes open a door into Debbie's bedroom. She steps inside and glances around, as if trying to understand Debbie's sudden death. The room is decorated in an eclectic style. Evidence of Debbie's life in high school theatre. Framed posters and photos of her plays and performances. But the most prominent feature in the room is a MURAL OF A TREE, silhouette style. Painted branches sweeping across the wall. It's familiar. We've been in this room before... Laine casts a glance to the closet. !The door is slightly open. An unsettling crack of darkness within. Laine reaches out and pushes it closed. Laine takes a breath. !She steps to a BULLETIN BOARD, covered in mementos and photos. Almost all of the pictures are of Debbie and Laine. Through the years. Birthday parties. Camping trips. School dances. Arms around each other. A faint CREAK. Laine looks over... and the closet door is again slightly open. She stares... unaware that a FIGURE is now right behind her.<\/scene_description>\n    <character>MRS. GALARDI (O.S.)<\/character>\n    <dialogue>You were everything to her.<\/dialogue>\n    <scene_description>Laine spins and sees Debbie's MOTHER standing there. !The woman's eyes wild with grief.!<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Mrs. G...<\/dialogue>\n    <parenthetical>(devastating beat)<\/parenthetical>\n    <dialogue>I can't believe she's gone.<\/dialogue>\n    <scene_description>Laine hugs Debbie's mom. !Holds her tight in the silence. And then Mrs. Galardi pulls back, looks at Laine.<\/scene_description>\n    <character>MRS. GALARDI<\/character>\n    <dialogue>Do you understand this, Laine? Why would my baby do this to herself? !<\/dialogue>\n    <scene_description>Tears run down Laine's cheeks. !All of this simply too much.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>I don't know.!<\/dialogue>\n    <scene_description>Mrs. Galardi steps away... glances around. !Being in this room, the despair is so immense.! Mrs. Galardi starts collecting some of her daughter's possessions and putting them in a box. !A bracelet. !An old Flip camera. Pulling photos from the bulletin board. Laine watches her with concern, not understanding.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Mrs. G....<\/dialogue>\n    <character>MRS. GALARDI<\/character>\n    <dialogue>She'd want you to have these. This way a part of her is always with you...<\/dialogue>\n    <scene_description>Mrs. Galardi hands Laine the box of mementos.!<\/scene_description>\n    <character>MRS. GALARDI<\/character>\n    <dialogue>Always remember her.<\/dialogue>\n    <scene_description>Laine nods. !Her heart breaking.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAINE'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>A very similar two-story style as Debbie's house. !Same neighborhood. The sudden SOUND OF GIRLS LAUGHING takes us -- FLIP CAMERA VIDEO SCREEN. Recent footage. Laine and Debbie trying on dresses in a small store changing room. Laughing. Posing in the mirror. Hamming it up for the camera.<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>That's the one. Very hot. Lemme see that booty shake!<\/dialogue>\n    <character>SALESPERSON (O.S.)<\/character>\n    <dialogue>Ladies, I need you to keep it down in there. We do have other customers.<\/dialogue>\n    <scene_description>Laine and Debbie laugh so hard they can barely breathe. ANOTHER MOMENT. Laine and Debbie in their dresses. In Debbie's house. Saying goodbye to Debbie's parents. ANOTHER MOMENT. School dance. Music pumping. Lights swirling. Debbie holds the camera out, getting a two-shot of her and Laine. The kind of night you want to last forever. Image freezes. A GLITCH. It makes Debbie's frozen laugh look like a scream.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAINE'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Laine's on her bed with the box of mementos. Laptop open next to her revealing Debbie's Facebook page -- now a memorial. Memories and messages from friends popping up. Laine tries to get the Flip camera working again, but it's stuck on that image of Debbie. Laine sets it aside. She looks down at the mementos. Laine puts Debbie's infinity charm bracelet on her wrist. She dangles a little penguin with sunglasses keychain on her finger... ...when she hears a loud car MUFFLER outside. ! Laine goes to the window. Her sister SARAH (15) emerges from a beat-up car that proceeds to head off down the street. The girl comes up the sidewalk as Laine's FATHER storms out of the house. !Laine cracks her bedroom window to listen --<\/scene_description>\n    <character>MR. MORENO<\/character>\n    <dialogue>-- that's the guy you skipped school with today? What the hell's going on with you?!<\/dialogue>\n    <scene_description>Sarah responds. !Her voice low. !Laine unable to make it out.<\/scene_description>\n    <character>MR. MORENO<\/character>\n    <dialogue>Well, you better start caring. Because I'm getting calls at work. Principal said one more no-show and you're getting expelled --<\/dialogue>\n    <scene_description>Laine watches as her father follows Sarah into the house, their ARGUING VOICES muffled through the walls.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - MOMENTS LATER<\/stage_direction>\n    <scene_description>SARAH stomps up the stairs into the hallway and we get our first real look at her. !Heavy makeup. !Growing up too fast. Sarah sees Laine standing there.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Great. !Now I get to be blessed with your opinion too. !Lucky me.<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>I can't believe you weren't at the funeral. !Actually, I can. It's totally typical.<\/dialogue>\n    <scene_description>Sarah keeps heading to her room. !Laine follows.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Can't be around people crying. !All sad and stuff --<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>-- Debbie was always good to you. Especially when mom left --<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>-- I know. !Okay.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And now she's gone too. !<\/dialogue>\n    <scene_description>Sarah steps into her room and closes the door, leaving Laine alone in the hallway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAINE'S ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Laine steps to her bed, starts putting Debbie's things back in the box. She glances over and sees that a PHOTO has fallen on the floor. !Face down. !She picks it up. It's Laine and Debbie circa 7th grade. !The two girls are in their pajamas playing a OUIJA BOARD. Two girls playing Ouija. We've seen this photo. Laine stares at the photo. Lost in thought. She notices something. Runs her finger over a GLARE streaking across the Ouija board in the image. It's odd. Then -- LAINE'S COMPUTER SCREEN. !Photo folders. !Click. Recent Instagram pics of Laine and her friends.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAINE'S BEDROOM - NIGHT - LATER<\/stage_direction>\n    <scene_description>Laine scrolls through her digital photos. !Going backwards through the years.! And Laine finally finds the exact same photo of her and Debbie on the floor playing the Ouija. Laine holds up the printed photo next to the image on her screen. There's no glare on her computer version. !The one from Debbie's bulletin board is definitely different. CLOSE ON THE PRINTED PHOTO. !Suddenly lit up with a bright FLASH OF LIGHT. Laine takes a 'snapscan' of the photo with her iPad. !She opens up the image in her photo app and ENLARGES THE PICTURE. She scrolls around. !Down to the Ouija board. !That WEIRD GLARE. Laine taps -- blows the photo up even more. !The glare seems to perfectly highlight the word GOOD BYE at the bottom of the Ouija board.!! Off of Laine's puzzled expression cut to --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEBBIE'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Debbie's house sits in late afternoon shadows. Curtains drawn. Trevor's car pulls up in front. Laine gets out and heads around the side of the house.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>This'll just be a second. I have to grab something.<\/dialogue>\n    <scene_description>Trevor calls out through the rolled down window --<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>I thought her parents were gone?<\/dialogue>\n    <scene_description>Laine doesn't answer. Keeps walking.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEBBIE'S HOUSE - BACKYARD - DAY<\/stage_direction>\n    <scene_description>Alone, Laine moves past a tarp covered swimming pool in the backyard. She glances up at the dark windows of the house. There's a soft lapping of water from under the pool tarp. Laine turns. A brief undulating MOVEMENT underneath... but it's just the wind. Dead leaves blowing across the tarp. Laine checks under a small garden statue -- finds a SPARE KEY. A hiding place she's familiar with. And when she looks back up at the house... there's now a LIGHT TURNED ON IN AN UPSTAIRS WINDOW. Laine looks at the window, unsettled, as we go --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBBIE'S HOUSE - DOWNSTAIRS - DAY<\/stage_direction>\n    <scene_description>A CLICK at the back door... and Laine comes inside. Curtains drawn. Still.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Mrs. G? Hello?<\/dialogue>\n    <scene_description>No answer. Laine moves through the kitchen. Coffee cups next to an open tin of cookies... remnants of Debbie's wake. There's a feeling that Debbie's parents packed a few things and simply left. So eerie.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBBIE'S HOUSE - UPSTAIRS HALLWAY - DAY<\/stage_direction>\n    <scene_description>Laine steps to the top of the stairs. Down the hall... the LIGHT is coming from Debbie's bedroom.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Somebody there?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBBIE'S ROOM - DAY<\/stage_direction>\n    <scene_description>Laine moves into Debbie's room. Everything here is just as it was the other day. Preserved and untouched. The bedside table lamp suddenly FLICKERS off and then back on. BUZZING like it has a bad bulb. Laine unplugs it... But now there's a slight sound. SCRAAAPE. Laine turns -- eyes falling on the CLOSET. Is it coming from in there? She goes to the closet. Hesitates. Knowing what happened in here. Laine opens the doors. Darkness. Can't see. She reaches up, pulls the light cord -- -- and there's a FACE. SOMEONE'S STANDING BEHIND THE CLEAR PLASTIC HANGING BAGS. Laine startles, as --<\/scene_description>\n    <character>TREVOR (O.S.)<\/character>\n    <dialogue>What're you doing?<\/dialogue>\n    <scene_description>Laine spins to find Trevor behind her. Watching. As Laine turns back to the closet, she sees that the \"face\" is actually one of Debbie's painted theatre masks, hanging on the back wall. Laine settles, looks around the closet shelves. And there among some other games is a OUIJA BOARD. She pulls it down and brings it over to the floor. Laine sits there, runs her fingers over the antique lettering on the vintage wooden game board.!<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>So you came here looking for a Ouija board?<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>We used to play all the time.<\/dialogue>\n    <character>TREVOR<\/character>\n    <dialogue>Anything cool ever happen?<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>No, it's just a game. But we pretended it was real. Asked questions about our future. You know... 'Will I ever find true love?' Stuff like that. Debbie would always spell out the answers I needed to hear. !And I'd do the same for her. Like texting each other. Old school.<\/dialogue>\n    <scene_description>Trevor picks up the tear-shaped PLANCHETTE out of the box. It's wooden. Looks homemade. Not the plastic kind that usually comes with the game.<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>And this is the thing you use -- the game piece?<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>The planchette. Debbie's mom made this one when she was our age. Put her initials on the bottom. And we added ours too. See?<\/dialogue>\n    <scene_description>Laine places the planchette on the board. !Touches it with two fingers... moving it slightly across the board --<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>You know how Debbie and I had that huge fight a few weeks ago?<\/dialogue>\n    <scene_description>Trevor nods.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>I thought it would blow over. You know, 'It'll be okay tomorrow.' Or next week. And suddenly there's no tomorrow.<\/dialogue>\n    <scene_description>Laine looks at Trevor. !She is sick with guilt.<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>Laine, you can't blame yourself for this. Friends have arguments. Why Debbie did what she did... we'll never know.<\/dialogue>\n    <scene_description>Quiet. Laine keeps looking at the board.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Sit across from me a sec. !<\/dialogue>\n    <scene_description>Trevor gives her a look -- knows where she's going with this.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>You aren't supposed to mess with it alone.<\/dialogue>\n    <character>TREVOR<\/character>\n    <dialogue>You said it was a game.<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>It is. But...<\/dialogue>\n    <scene_description>Trevor sits across from her. !Watches as Laine puts her fingertips on the planchette. !He does the same.<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>You do two circles like this. One for each of us. Clockwise.<\/dialogue>\n    <scene_description>They move the planchette twice around the board. !The feeling in the room shifts. !Trevor gives Laine her space, knows she needs to say some things.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Freshman year, when my mom suddenly decided that she needed to 'find herself' and split on us, I was a total mess. You get your world ripped out from you like that -- you don't know if you can trust anyone again. And Deb... she pulled me out of it. It wasn't anything she said or did -- it was her just being there. Always there.!<\/dialogue>\n    <scene_description>Trevor trades a quiet look with Laine, moved by her words. !!<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>I never got to say 'goodbye.'<\/dialogue>\n    <scene_description>Together their hands move the planchette to the words GOOD BYE at the bottom of the Ouija board. Overcome with sadness, Laine can barely say the words...<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Goodbye, Debbie.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAINE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Laine's back home. Alone in her room. And she now has the OUIJA with her. She sets the board on her desk. Slides the planchette on GOOD BYE at the bottom. Laine lights a votive candle next to the board. A remembrance. TIME LAPSE DISSOLVE... as the candle burns low... flickers out... the light in the room fading on the board.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAINE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>It's late. !The room sits in darkness. !We're on the Ouija board... the planchette still rests on the words GOOD BYE.! DRIFT OVER TO LAINE. !Asleep. We hover above the bed as... ...very slowly... almost imperceptibly... the bedside table begins to slide away from the bed. Laine wakes up. !Listening in the dark as she hears something moving in her room. ! Laine sits up, reaches over for her lamp... and it's not there. She looks over to see that her bedside table is now three feet away from the bed. The light cord from the lamp swings slightly. And that sound comes again. SCRAAAAPE... something else is sliding around in the room. Laine gets out of bed, turns on the lamp -- and the sound immediately stops. Laine steps over to see the OUIJA BOARD on the desk where she left it. But something looks different. The planchette has moved... no longer on GOOD BYE at the bottom of the board. Laine stands right over the board... sees that the planchette is now on top of the letter 'D.' Laine is chilled by the sight of it. She cautiously reaches out and touches the planchette... glances around her room -- 'what just happened?'!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAINE'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>Morning. Laine's getting dressed as Sarah shuffles past in the hallway... just now waking up.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Hey, Worm --<\/dialogue>\n    <scene_description>Sarah pokes her head in.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>-- were you in my room last night?<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Wait. What? --<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>-- were you messing around in here. Yes or no?<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>No. God. I wasn't in here. You're trippin'.<\/dialogue>\n    <scene_description>Sarah moves on. Laine stands there, looking down at the Ouija.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINER - DAY<\/stage_direction>\n    <scene_description>Local hangout. Family-owned kind of place. !Laine sits with Trevor and Isabelle at a booth. !Isabelle wears a waitress uniform, taking a break from her shift. Laine is in the middle of her story --<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>-- and then the planchette had moved to the letter 'D.'<\/dialogue>\n    <character>TREVOR<\/character>\n    <dialogue>The board must've gotten bumped --<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>-- it did not get bumped, Trevor. Stuff was moving in my room.<\/dialogue>\n    <scene_description>Trevor reaches across the table... takes Laine's hands.<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>Laine. !Everyone's in shock. !But you don't need to keep feeling guilty about this. Last night... you were having some crazy nightmare.<\/dialogue>\n    <scene_description>Laine's frustration is growing. !She pulls her hands away.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>I wasn't asleep. !It's Debbie. She's trying to contact me.<\/dialogue>\n    <scene_description>Isabelle and Trevor exchange a worried look. Isabelle tries a softer approach --<\/scene_description>\n    <character>ISABELLE<\/character>\n    <dialogue>Let's say she is. What do you think she wants?<\/dialogue>\n    <scene_description>Laine looks at them. !Very serious.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>She wants me to play the game.<\/dialogue>\n    <character>TREVOR<\/character>\n    <dialogue>Are you being for real?<\/dialogue>\n    <scene_description>Laine fights her emotions. Trying not to fall apart.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>You ever think that even after someone you love has died... there's still a way they can reach out? What if the game is real this time? I need to talk to Debbie. Please. Do this with me.<\/dialogue>\n    <scene_description>The COOK at the kitchen window hits the bell. DING! !Order up. A man in a tie -- ISABELLE'S FATHER -- angrily waves at her to get back to work.<\/scene_description>\n    <character>ISABELLE<\/character>\n    <dialogue>Of course... I'm in.<\/dialogue>\n    <scene_description>Trevor nods, uncomfortable about this.<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>Me too.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAINE'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Laine stands out at the curb as her FATHER finishes loading a suitcase and hanging bag into the back of a waiting TAXI CAB. Mr. Moreno closes the trunk, comes over to Laine.<\/scene_description>\n    <character>MR. MORENO<\/character>\n    <dialogue>I hate to leave right now.<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>We'll be okay.<\/dialogue>\n    <character>MR. MORENO<\/character>\n    <dialogue>Once these permits get approved, I'll be back. !Might be a few days though.<\/dialogue>\n    <scene_description>Laine nods.<\/scene_description>\n    <character>MR. MORENO<\/character>\n    <dialogue>Nona will drop by, check in on you guys -- but you know she can't keep up with Sarah. !<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>I got it covered.<\/dialogue>\n    <scene_description>He gives her a smile, but his eyes are filled with worry.<\/scene_description>\n    <character>MR. MORENO<\/character>\n    <dialogue>Love you, baby.<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>Love you too, Papi.<\/dialogue>\n    <scene_description>CLOSE UP OF A BLACK AND WHITE PHOTO. Artistic. !Half of Laine's face and half of Debbie's face. Side by side. Staring right at the camera.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAINE'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>From the photo on her wall collage, EASE OVER to find Laine at her desk... looking down at the OUIJA BOARD. Beat, then she places the board into her backpack and zips it up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAINE'S HOUSE - DOWNSTAIRS - NIGHT<\/stage_direction>\n    <scene_description>Sarah's on the living room couch. !History textbook open. Notes. Studying hard. Laine steps in, backpack over her shoulder.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>C'mon. I have to run out. I'm dropping you off at Nona's.<\/dialogue>\n    <character>DEBBIE<\/character>\n    <dialogue>Laine, I'm totally in the middle of this. Dad put me on blast, so look -- I'm studying.<\/dialogue>\n    <scene_description>Laine regards her sister for a long beat.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>One hour and I'll be back. There's some dinner stuff in the fridge. Sarah, do you hear me?<\/dialogue>\n    <scene_description>Sarah barely looks up from her book.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>One hour. I got it. Later.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAINE'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Laine comes out of the house... takes a few steps down her walkway. !Glances over -- -- to see that same CAR Sarah got out of the other night now parked in front of the house next door. Lights off, but music playing inside. !BASS THUMPING. Laine starts walking toward the car.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Hey! !I see you, asshole!<\/dialogue>\n    <scene_description>Laine has a plastic water bottle and throws it at the car! THUNK. !The car lights quickly turn on -- engine revs and the vehicle peels out. Sarah storms out of the house, furious.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>-- the hell, Laine!<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>For a minute there I actually had a little faith in you.<\/dialogue>\n    <scene_description>Sarah's a swirl of fury and hurt.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>We hang out -- what's wrong with that?!<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>What's wrong is that you're fifteen and whoever that dude is should know better. Alright. Since you can't be left alone, you're coming with me.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>What?! I'm not going anywhere.<\/dialogue>\n    <scene_description>Laine goes quiet... and then --<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>You know what? I'll let Dad deal with it. I think he said if you slipped up again -- at all -- you'd have to go to that special school. You know, where they send the 'problem kids.' !I'm sure it's nice. Oh, but remember, when you have to use pepper spray on your fellow classmates, extend your arm away from your face.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBBIE'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>LOOKING DOWN FROM AN UPSTAIRS WINDOW. Laine moves through the dark backyard past the covered pool... followed by Trevor, Isabelle and Sarah. Linger here. At the side of the window, what we thought was the edge of the curtain suddenly MOVES. Someone steps away... sinking back into the shadows of the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBBIE'S HOUSE - DOWNSTAIRS - NIGHT<\/stage_direction>\n    <scene_description>Furniture sitting in the dark. Hold for a long beat... ...as LAINE enters the quiet space. She glances around, passes the vintage clock she looked at before... making sure the coast is clear. She turns and signals to the others who are waiting by the back in the kitchen. They all step further inside. Isabelle turns on a lamp --<\/scene_description>\n    <character>ISABELLE<\/character>\n    <dialogue>This feels wrong. We shouldn't be here.<\/dialogue>\n    <scene_description>-- Trevor comes up behind Isabelle, turns off the light.<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>No house lights. We don't want to draw attention.<\/dialogue>\n    <scene_description>Trevor pulls an LED camping lantern from his backpack and turns on the low light.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>I thought we'd do this up in her room. That's where we used to play.<\/dialogue>\n    <scene_description>Sarah steps over to Trevor -- an aside.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>I don't know how you think you're gonna 'talk' to someone with that thing.<\/dialogue>\n    <parenthetical>(going into a little routine)<\/parenthetical>\n    <dialogue>'Yo. Can you hear me now? Signal's bad. I'm only getting like one bar here.'<\/dialogue>\n    <character>TREVOR<\/character>\n    <dialogue>Your sister needs to do this. Just zip it and go along.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Fine. I'll lead the way.<\/dialogue>\n    <scene_description>Sarah takes Trevor's lantern, heads for the stairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBBIE'S HOUSE - UPSTAIRS HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Sarah is ahead of the others. Moving down the dark upstairs hallway. We follow her into --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBBIE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Sarah comes into the room. She shines the lantern around. Looks at the tree mural across the wall. FOLLOW THE LANTERN LIGHT, scanning things on Debbie's shelves, over to the bed -- -- and SOMEONE'S SITTING RIGHT THERE IN THE DARK! SARAH SCREAMS! Drops the lantern. Backs away. Laine, Isabelle and Trevor hurry into the room to find Sarah standing with her back against the wall. Staring. Laine follows her gaze -- as the PERSON sitting on the bed now stands... steps further into the light. ! It's the loner GUY who Laine saw at Debbie's wake. !This is PETE (17).<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>Who the hell are you --<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>-- what're you doing up here?!<\/dialogue>\n    <scene_description>Pete coolly takes them in. !Not ruffled in the slightest.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Everyone just chill.<\/dialogue>\n    <character>TREVOR<\/character>\n    <dialogue>You got three seconds to answer me --<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>-- I'm Pete. !Friend of Debbie's from theater class. !Transferred in last fall.<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>-- she never talked about a 'Pete.' I think I'd know if you were friends.<\/dialogue>\n    <scene_description>Pete regards Laine.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Laine, right? !Heard all about you from Debbie... the falling out you guys had. How you stopped talking to her.<\/dialogue>\n    <scene_description>Laine's stung by his comment. A beat and then Pete holds up a DVD.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>In answer to your questions, I told Debbie's folks I'd burn a DVD of her last performance. !Promised to drop it off. !I didn't know they were already gone.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Back door was unlocked, so...<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>Fine. But why are you in Debbie's room?<\/dialogue>\n    <scene_description>Pete glances over at the CLOSET.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Guess I wanted to see where it happened. Still can't believe she would do that...<\/dialogue>\n    <scene_description>The room finally settles. !Pete connects a look with Laine.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Your turn. What're you doing here?<\/dialogue>\n    <character>TREVOR<\/character>\n    <dialogue>Laine, you don't have to tell him anything.<\/dialogue>\n    <scene_description>Pete's eyes fall on the OUIJA board in Laine's hands.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>That's hers, right? Last couple of weeks, she talked a lot about that game.<\/dialogue>\n    <scene_description>Beat. Laine can't hide her surprise at this new info.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Did you ever play it with her?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>No. !She wanted me to. !Bugging me about it... and then she quit asking. !Said she found another friend to play with.<\/dialogue>\n    <scene_description>Pete glances at all of their faces.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>That's why you're here. Gonna try to talk to Debbie.<\/dialogue>\n    <scene_description>A beat and then Pete hands Laine the DVD. !<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Then I'll let you guys do your thing. If you can get this to her parents, I'd appreciate it.<\/dialogue>\n    <scene_description>Pete heads out of the room.!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBBIE'S HOUSE - UPSTAIRS HALLWAY<\/stage_direction>\n    <scene_description>As Pete heads toward the stairs.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Hold up.<\/dialogue>\n    <scene_description>Pete stops as Laine approaches. It's just the two of them.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>She really wanted you to play?<\/dialogue>\n    <scene_description>Off his expression we go -- THE FLOOR. !Laine sets up the OUIJA BOARD. !Places the camping lantern next to it. !Just the right amount of light. Trevor adjusts his VIDEO CAMERA on a tripod, aiming it down on the Ouija board. !He glances back at Pete, and then comes down next to Laine. !Very quiet --<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>We don't even know this guy...<\/dialogue>\n    <scene_description>Laine cuts a look at Pete. !He's at Debbie's desk, browsing through her things.<\/scene_description>\n    <character>LAINE !<\/character>\n    <dialogue>But Debbie did... she wanted him to play. !The more of her friends around the board, the more likely we make contact.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You finish setting up the camera?<\/dialogue>\n    <character>TREVOR<\/character>\n    <dialogue>Yeah. !We're all ready.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBBIE'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Everyone's now gathered in a circle around the Ouija board. Sarah starts to touch the planchette, but Laine stops her.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>The rules first. !You can't ever break them. !For starters... never play Ouija in a graveyard.<\/dialogue>\n    <character>ISABELLE<\/character>\n    <dialogue>Okay. Obviously we're good there.<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>Don't ask for any physical signs -- it should only be questions and answers. !Always end a session with 'good bye.' !And the most important one -- do not play alone.<\/dialogue>\n    <scene_description>Pete reaches a hand in. The first to touch the planchette. He's ready. Hesitant vibe in the room -- OVERHEAD. !THE BOARD. !As everyone else puts a hand on the planchette. Fingertips touching.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>We circle the board five times to begin. Once for each of us.<\/dialogue>\n    <scene_description>The planchette circles the board five times clockwise... then comes to rest at the center. Laine takes a breath... her words are like a summoning. The painted tree limbs of Debbie's wall mural stretched out behind her.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>As friends we've gathered, hearts are true. Spirits near, we call to you.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>If there is a presence here, please make yourself known.<\/dialogue>\n    <scene_description>Nothing happens. The planchette is totally still. Isabelle and Trevor trade a side glance, just wanting this to be over. Laine remains focused on the board, asks again --<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Is there a presence among us?<\/dialogue>\n    <scene_description>Another long moment passes. And then...<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>I feel something.<\/dialogue>\n    <character>TREVOR<\/character>\n    <dialogue>Feel what? Nothing's happening.<\/dialogue>\n    <scene_description>We ever so slightly PUSH IN ON THE BOARD -- and the planchette starts moving. Slowly at first. The movement is stuttered... tentative. But definitely moving.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>C'mon. Who's doing that?<\/dialogue>\n    <character>ISABELLE<\/character>\n    <dialogue>Not me.<\/dialogue>\n    <scene_description>The planchette keeps moving into the upper left hand corner of the board, stopping on the word YES.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Can you tell us who you are?<\/dialogue>\n    <scene_description>Beat... then the planchette slides over to the 'D.' Laine's eyes widen. She's breathless.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>It's her. I told you. I told you she was here.<\/dialogue>\n    <character>LAINE<\/character>\n    <parenthetical>(out into the room)<\/parenthetical>\n    <dialogue>Debbie... talk to us.<\/dialogue>\n    <scene_description>With eerie movement, the planchette LITERALLY STARTS TO TURN UNDERNEATH THE PLAYERS' FINGERS. Like it's pointing in a direction... then moves with a sudden quickness to the letter 'H'... now over to 'I.'<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>She's spelling something.<\/dialogue>\n    <scene_description>EVERYONE WATCHES... their faces bathed in the cool blue LED light of the camping lantern, as -- -- the planchette glides across the board. More letters. Each one coming faster: F-R-E... (Visual note: we won't show every letter when the Ouija is spelling out messages. The game sessions will always be a combination of fast stylistic shots of seeing certain letters appear in the planchette window, and characters talking out the messages as they happen.) VIDEO CAMERA FOOTAGE. That fixed angle on the tripod. Looking down at the circle of players... hands on the planchette... as the game piece moves uncannily again to the letter 'D.' And stays there. Finished with the message. Everyone's fingertips remaining on the planchette. Sarah is fully engaged now --<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>It spelled 'hi friend.'<\/dialogue>\n    <scene_description>ON LAINE -- astonishment filling her eyes.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Hi friend.<\/dialogue>\n    <scene_description>Isabelle and Trevor trade that worried look again. Isabelle asks a question, pretending that she believes in this --<\/scene_description>\n    <character>ISABELLE<\/character>\n    <dialogue>Laine thinks you're trying to make contact.<\/dialogue>\n    <scene_description>Nothing happens.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Have you been in my room -- was that you last night?<\/dialogue>\n    <scene_description>The planchette TWITCHES, then slowly slides again to YES.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Is there something you're trying to tell me?<\/dialogue>\n    <scene_description>The planchette TWITCHES again under their fingers, moves to the number '3'... now over to another number -- '0.' Pete watches -- trying to follow it all.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>It's a number. '306.'<\/dialogue>\n    <scene_description>NOW LETTERS... the planchette criss-crossing the board and then coming to a stop.<\/scene_description>\n    <character>ISABELLE<\/character>\n    <dialogue>And 'B D Y.'<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>What does that mean? 'Body'? Or initials? Somebody you know?<\/dialogue>\n    <scene_description>Laine shakes her head.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Debbie? Deb... I want to understand.<\/dialogue>\n    <scene_description>Trevor sees the hope in his girlfriend's eyes. !It's killing him. !<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>Okay. !I think we're done here --<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>-- No. We can't stop. Not now.<\/dialogue>\n    <scene_description>VIDEO CAMERA FOOTAGE. Trevor looks up into the lens, with his free hand, uses his remote to widen out the angle on the room. We stay in VIDEO CAMERA MODE --<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>This isn't real. And if it is, I need some proof --<\/dialogue>\n    <character>ISABELLE<\/character>\n    <dialogue>-- Whoa. What do you mean proof?<\/dialogue>\n    <character>TREVOR<\/character>\n    <dialogue>I want Debbie to show us that she's here. C'mon. Show us something --<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>-- Trevor! That's breaking a rule. You can't ask for a physical sign.<\/dialogue>\n    <character>TREVOR<\/character>\n    <dialogue>No. !It's me asking to see something that's not this guy pushing the planchette around --<\/dialogue>\n    <scene_description>Trevor's glaring at Pete as he says this.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>-- wait. !You think I'm doing this?<\/dialogue>\n    <scene_description>Isabelle is starting to grow uneasy.<\/scene_description>\n    <character>ISABELLE<\/character>\n    <dialogue>-- let's just say 'goodbye' and end the game.<\/dialogue>\n    <scene_description>There's a sound out in the house. A low CREAKING. Everyone falls silent. Listening... listening... and -- BAM! !OUR POV suddenly shakes. !Like the camera's been hit hard. !THE POV TIPS BACK ON THE TRIPOD -- FALLS! !CRASHING TO THE FLOOR. !We're staring up at the ceiling.<\/scene_description>\n    <character>LAINE (O.S.)<\/character>\n    <dialogue>Who knocked the camera over?!<\/dialogue>\n    <scene_description>Shadows on the ceiling as Trevor comes running over. !Picks us up. !Checking the camera.<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>It's okay. !Still working --<\/dialogue>\n    <scene_description>TREVOR SWINGS THE CAMERA AROUND. On the floor, the planchette has been knocked off the Ouija board. Sweep around to see that everyone's on their feet. Rattled. But Laine's not with the group.<\/scene_description>\n    <character>TREVOR (O.S.)<\/character>\n    <dialogue>Laine?<\/dialogue>\n    <scene_description>The camera eventually finds Laine... out in the upstairs hall. Standing there very still.<\/scene_description>\n    <character>TREVOR (O.S.)<\/character>\n    <dialogue>What is it --<\/dialogue>\n    <scene_description>Laine holds her hand out to silence him. She's trying to hear something. We move out into the hallway. Laine points toward the stairs -- angle turns -- where we hear faint CHIMING MUSIC coming from downstairs.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>You hear that?<\/dialogue>\n    <scene_description>Laine moves down the hall and disappears around the corner to the stairs.<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>Laine --<\/dialogue>\n    <scene_description>Sarah steps up, holding the camping lantern. Trevor turns to Pete --<\/scene_description>\n    <character>TREVOR (O.S.)<\/character>\n    <dialogue>-- dude, you got a friend down there or something?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>I came solo -- swear.<\/dialogue>\n    <character>TREVOR<\/character>\n    <dialogue>Laine!<\/dialogue>\n    <scene_description>There's no answer from below... Trevor takes the lantern from Sarah, moves out in front of the others with the light... ...the lantern light pushes into the shadows ahead. Past framed photos of Debbie hanging on the staircase wall. The further we go, the more distinct that MUSIC becomes. A delicate and haunting melody. Trevor arrives DOWNSTAIRS, catching his reflection in a hanging wall mirror. Across the room, we see Laine standing next to the VINTAGE ANNIVERSARY CLOCK. Mechanisms turn inside the glass dome as the MUSIC plays. Trevor approaches Laine. She keeps staring at the clock.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>This was broken since we were kids... hasn't worked in years.<\/dialogue>\n    <scene_description>And then the MUSIC winds down... stops. Laine looks away from the clock, talking out into the downstairs. Urgent.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Deb. I know it's you. You're right here with us. Tell me what you want me to do.<\/dialogue>\n    <character>TREVOR<\/character>\n    <dialogue>It's not her --<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>-- then how do you explain this?!<\/dialogue>\n    <character>SARAH (O.S.)<\/character>\n    <dialogue>Guys... where's Pete?<\/dialogue>\n    <scene_description>CAMERA PANS around... and Pete's missing. !It's just the four of them.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Pete?<\/dialogue>\n    <scene_description>The house is so quiet now...<\/scene_description>\n    <character>ISABELLE<\/character>\n    <dialogue>I thought he was standing right --<\/dialogue>\n    <scene_description>SMASH! !A shattering sound rips through the darkness! !It JOLTS everyone. !Trevor loses his grip on the camera for a moment. !It bobbles. Finally re-adjusts, and now we're FOLLOWING THE OTHERS THROUGH THE HOUSE. !Passing furniture in the dark. Searching. (A LOW BATTERY warning starts flashing on the upper part of the camera screen.) Around a corner. !There's Pete in a downstairs hallway. Blood on his shirt. !He looks stunned.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Oh my god you're bleeding!<\/dialogue>\n    <scene_description>On the floor, large pieces of a BROKEN MIRROR. !Shattered. CAMERA CATCHES SIGHT OF PETE'S HAND -- a DEEP RED SLICE across his palm.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>I saw someone...<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>Where?!<\/dialogue>\n    <scene_description>Pete points to a shadowed corner.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Standing right there.<\/dialogue>\n    <scene_description>CAMERA PANS OVER... lantern light aims that way as well... blowing out the shadows. !Just an empty corner.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>I saw a reflection... in the mirror. !And then it fell. !I was reaching out --<\/dialogue>\n    <scene_description>Pete stands there in the hall... apart from the others. Battery warning BEEP. And then picture goes out. !BLACK. OUT OF THE DARKNESS, a light breaks through. Shining brighter. FLARING OUT. PULL BACK. It's a porch light, finally revealing --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAINE'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Laine stands at her front door with Trevor. She's still wired from playing the game, holding Trevor's video camera.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Can I hang on to this? I want to go through the footage. Take another look at her messages.<\/dialogue>\n    <scene_description>Trevor doesn't say anything. Laine looks up at him and sees his expression. Hard to read.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Why are you looking at me like that?<\/dialogue>\n    <character>TREVOR<\/character>\n    <dialogue>I'm worried about you. That you need this game to mean something.<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>You were there. You saw what happened tonight.<\/dialogue>\n    <character>TREVOR<\/character>\n    <dialogue>Yeah. And that guy Pete was there too. I don't know what he's up to, but he's messing around with your head. You believe that he saw someone in the house... the mirror just falling like that?<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>His hand. Why would he do that to himself?<\/dialogue>\n    <scene_description>Trevor shrugs... gazes off.<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>I mean... we really don't know what he was doing there tonight. !Do we?<\/dialogue>\n    <scene_description>Laine doesn't answer. !Because Trevor's right -- she doesn't know. !Trevor gives her a kiss, but he's preoccupied.<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>'Night.<\/dialogue>\n    <scene_description>Laine heads inside. Closes the door. We hear it LOCK from the inside. Trevor heads back to his car. His keyless entry CHRIPS. He's about to get in... taking one last look around. The nighttime street is totally empty... no one around. And yet, something feels changed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGH SCHOOL - ATHLETIC FIELD - DAY<\/stage_direction>\n    <scene_description>Girls dressed for Phys Ed stream out of the locker room, tossing a volleyball around. Laine's the last one. !Heading to join the others on the field when --<\/scene_description>\n    <character>PETE (O.S.)<\/character>\n    <dialogue>Laine.<\/dialogue>\n    <scene_description>Laine turns. !Sees Pete standing there behind the bleachers. He approaches. !Laine glances at his bandaged hand. !It's awkward between them.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>How's your hand?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Better. !Thanks.!<\/dialogue>\n    <scene_description>Pete stands there. !Uneasy.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Last night... with the game. !What do you think really happened?<\/dialogue>\n    <scene_description>Laine doesn't say anything. !Cautious. !Pete keeps going...<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Because I was reading these theories about the Ouija. !One of them said it's our subconscious minds moving the planchette. !You know? !Involuntary motor muscles kick in and we're just telling ourselves what we want to believe.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>There are only two things it can be. Either our minds are playing tricks on us... or we were really talking to Debbie last night.<\/dialogue>\n    <scene_description>Laine regards Pete... and then she breaks. !Putting her true feelings out there.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Yeah. I believe it was her.<\/dialogue>\n    <scene_description>Pete quietly nods... turns away. !Like he's trying to hold back his emotions.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Did you like her? !You know... more than friends?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>We hung out in class. She!always said I was a good listener. !Yeah. I thought maybe there could be more between us. !That I should ask her out. !But I never did...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Deb used to talk about you.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>The day you guys had that fight, she was upset. !Whatever went down -- not my business. !But all the stories she told me, the good times - - feels like I already know you.<\/dialogue>\n    <scene_description>We hear Isabelle SHOUTING from the field --<\/scene_description>\n    <character>ISABELLE (O.S.)<\/character>\n    <dialogue>Laine -- let's go!<\/dialogue>\n    <scene_description>Laine glances over toward the field... suddenly feeling isolated back here with Pete behind the bleachers. !The two of them are out of view of the others.!<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>I should go.<\/dialogue>\n    <scene_description>Pete takes a step toward her. Standing very close now.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Laine, what do you think Debbie's trying to tell you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL COMPUTER LAB - DAY<\/stage_direction>\n    <scene_description>STUDENTS at work on an assignment, but Laine's turned away from her computer. Looking down at the palm of her hand. CLOSER WITH LAINE. The Ouija message from last night written in pen on her hand: 3 0 6 B D Y.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL HALLWAY - DAY<\/stage_direction>\n    <scene_description>Laine has snuck out of class, moving with purpose down the empty hallway. Whispering numbers --<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>299. !300. !301.<\/dialogue>\n    <scene_description>Laine scans down a row of STUDENT LOCKERS. Stops at --<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>REVEAL that Laine is standing in front of locker #306. Remnants of a makeshift memorial. Notes. Wilted flowers stuck in the locker vents. It's Debbie's locker. Combination lock still attached. !<\/dialogue>\n    <dialogue>Laine looks back at the message written on her hand: !B D Y<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>'B-Day.' !Debbie's birthday.<\/dialogue>\n    <scene_description>Laine enters a series of numbers and CLICK -- to her astonishment -- the lock falls opens. Laine hesitates... glances around the hall... wondering if she should even be doing this.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>This is crazy...<\/dialogue>\n    <scene_description>SOMEPLACE DARK. A metallic rattle, a door opens... light spilling in. We're deep inside Debbie's locker, looking out at Laine. Linger here for a moment, then -- WITH LAINE -- as she checks things out. A messy math BINDER. Graded papers in folders. A couple cans of Red Bull.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>What do you want me to find...<\/dialogue>\n    <scene_description>Laine keeps digging. !Pushes aside a sweater in the back of the locker to find a black and white marbled NOTEBOOK. Notebook pages flip to reveal... doodles... to-do lists... math scratch paper. !Nothing of significance. !Laine keeps flipping... ! ...suddenly stops on a detailed sketch of a OUIJA BOARD. And as Laine slowly turns the page, there's more. VINTAGE PHOTO COLLAGES of people playing Ouija. Eerie images printed from the internet that depict seance type gatherings and spirit contact. This wasn't done in the name of art. It feels like the outward signs of an increasing obsession. JOURNAL ENTRIES and dates are mixed in with the images. Debbie's handwriting. Laine reads a passage quietly to herself as her face fills with deep concern.<\/scene_description>\n    <character>MAN'S VOICE<\/character>\n    <dialogue>Laine... what are you doing?<\/dialogue>\n    <scene_description>Laine turns and sees the history teacher, MR. SATLOF, standing at the end of the hall, watching her intently.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Nothing...<\/dialogue>\n    <scene_description>Laine closes the locker, shutting us back into the DARKNESS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGH SCHOOL - PARKING LOT - DAY<\/stage_direction>\n    <scene_description>End of day. !Most of the cars already gone from the parking lot. !We find TREVOR, Isabelle, AND LAINE hanging out by Isabelle's car. !Trevor has his bike out, resting against it. CLOSER WITH THEM. !They're flipping through DEBBIE'S JOURNAL.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Her journal... the whole thing. Every word's about playing the game with some friend. !<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>Over and over again. !Listen to this...<\/dialogue>\n    <parenthetical>(Laine reads)<\/parenthetical>\n    <dialogue>'...he's changed. !Started acting really weird. !I don't want to play with him anymore. !I'm going to tell him tonight that it's over.'<\/dialogue>\n    <scene_description>Trevor takes the journal and flips to the next page to find it blank. !<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>That was her last entry... written the day she died.<\/dialogue>\n    <parenthetical>(to Laine)<\/parenthetical>\n    <dialogue>And you're sure she never says a name of who she's playing with...<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>No. !Like she was keeping a secret.<\/dialogue>\n    <scene_description>Isabelle swallows. !<\/scene_description>\n    <character>ISABELLE<\/character>\n    <dialogue>What if Debbie wasn't alone that night?<\/dialogue>\n    <scene_description>They all absorb the impact of this. !<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>That Pete guy. !Maybe he was with her --<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>-- we don't know that.<\/dialogue>\n    <character>ISABELLE<\/character>\n    <dialogue>I got an idea. !How about we just walk away from all of this.<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>I'm not walking away from Debbie. Not again.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>If we figure out who this friend is -- we figure out what really happened to Debbie.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAINE AND SARAH'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Alone, Laine and Sarah's grandmother NONA moves through the house with a laundry basket. Spanish language TV on in the background. !She picks up a stray sock on the stairs... and notices another sock further up.<\/scene_description>\n    <character>NONA<\/character>\n    <dialogue>These girls...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAINE AND SARAH'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Nona retrieves the other sock at the top of the stars, and as she looks down the hall... ...sees that pieces of laundry are scattered on the floor like a trail leading to Laine's closed bedroom door. Nona feels a chill. She puts the basket down, moves down the hall, stopping at Laine's door. She hesitates at the door... then pushes it open.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAINE'S ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Nona steps into Laine's room and sees that the trail of clothes continues across her floor to the bed. UNDER THE BED... as NONA comes closer. Picking up the clothes. Closer... ! BACK WITH NONA. She gets down on her hands and knees, starts to lift the dust ruffle when behind her -- a SCRAPING SOUND. Nona turns. !Just as the Ouija planchette falls off the desk and lands on the floor. !She picks it up. !Confused. !And as she stands she sees the OUIJA BOARD on the desk. In an instant, she realizes what she's holding and drops it. Backing away from the board right into -- Laine. Home from school. Both of them scaring the hell out of each other.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Nona, what're you doing --<\/dialogue>\n    <scene_description>Nona points at the Ouija board... but won't look at it.<\/scene_description>\n    <character>NONA<\/character>\n    <dialogue>-- you should never touch such things, let alone bring one into your house --<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>-- it was Debbie's. It's just a game. That's all. Nona --<\/dialogue>\n    <scene_description>Nona's doesn't want to hear it. She's out of the room. Muttering something to herself. Laine picks up the planchette from the floor. Beat, and we're -- SUDDENLY TIGHT ON TREVOR. Sweating. Breathing. His face a mask of total concentration.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBDIVISION STREET - DAY - LATER<\/stage_direction>\n    <scene_description>Trevor bikes along the outer edge road of a neighborhood. No traffic out here. Body leaning forward on the bike. Pushing hard. A little further. Reaching a mental finish line... and then he coasts. Sits up. Catching his breath.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PEDESTRIAN TUNNEL - DAY<\/stage_direction>\n    <scene_description>Trevor takes a sip of water... walks his bike to the entrance of a long pedestrian tunnel. HOLD HERE... as Trevor enters and slowly disappears into the shadows ahead.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PEDESTRIAN TUNNEL - DAY<\/stage_direction>\n    <scene_description>Bike gears clickclickclick as Trevor makes his way through the narrow tunnel... light fading on him as he goes deeper. Up ahead, a sound coming from around a tunnel corner.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..SCRATCH-SCRATCH-SCRATCH-SCRATCH.<\/stage_direction>\n    <scene_description>Trevor stops. Silencing the clicking of his bike so he can hear better. The SCRATCHING gets louder... like nails on a chalkboard echoing in this concrete corridor.<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>Hey -- somebody there?<\/dialogue>\n    <scene_description>No answer... but something MOVES. An abandoned SHOPPING CART slowly rolls out from behind the corner... drifts to a stop. Trevor peers ahead into the darkness. Can't see around the corner up ahead. Was it the wind... or did someone push it?<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>Who is that?<\/dialogue>\n    <scene_description>The cart just sits there. Trevor leans his bike against the wall and unclips a safety light from under the seat. He starts walking toward that corner. Coiled. On edge. His red light BLINKING into the darkness.<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>Pete? I swear to god dude --<\/dialogue>\n    <scene_description>He quickly rounds the corner -- and no one's there. Trevor regards the empty tunnel... his light still blinking when suddenly -- a small ROCK comes skipping out of the darkness, landing at his feet. Like someone just tossed it. Trevor picks up the rock. Rattled. He moves toward the direction it came from... notices a sign on the tunnel wall: PLAYGROUND -- with an arrow pointing to the exit. Trevor runs his light across the sign, revealing that it's been vandalized. Some of the letters wildly scratched off. Just the word PLAY remains. Trevor raises his blinking light toward the empty darkness ahead of him where the rock came skittering in from. He starts to back away... unaware that in the brief flashes of red light -- -- SOMEONE IS BEHIND HIM. Just a shape. And Trevor is backing up right toward them. Closer. CLOSER. He turns -- -- and it's just empty tunnel. His bike leaning against the wall. Trevor stares. Can't shake the feeling that he wasn't alone here.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NONA'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Laine comes inside with her grandmother. Turns on some lights. It's a comfortable apartment. The decor reflects Nona's life and heritage. Laine and her grandmother say nothing. Then, in Spanish --<\/scene_description>\n    <character>NONA<\/character>\n    <dialogue>The board. You used it. !Didn't you -- to try to contact your friend?<\/dialogue>\n    <scene_description>Laine hesitates. !Then --<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>It was just once.<\/dialogue>\n    <scene_description>Nona touches the small gold cross that dangles from her neck.<\/scene_description>\n    <character>NONA<\/character>\n    <dialogue>Do not turn to divination for answers. There are things beyond us that we must simply leave alone. Promise, Elena. !You get rid of it. Never touch it again.<\/dialogue>\n    <scene_description>Nona's warning hangs heavy in the air.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAINE'S CAR - DAY<\/stage_direction>\n    <scene_description>Laine sits in her parked car outside her grandmother's apartment building. Conflicted. She glances over, the corner of DEBBIE'S JOURNAL sticking out of her backpack. MOMENTS LATER. Laine still in her car. Flipping through the pages of the journal. She can't pull herself away from this. She studies a page that has OUIJA MESSAGES jotted down. The word fragments make no sense. Laine writes one of them out on a piece of paper trying to decipher it...<\/scene_description>\n    <character>FNS HGME<\/character>\n    <dialogue>Laine's cell phone suddenly vibrates on the dashboard, shaking her from her thoughts. !She answers --<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>Sure. !Of course -- I'll go check right now. !<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEBBIE'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Evening has fallen. Laine pulls up to DEBBIE'S HOUSE and in the sweep of headlights sees a WOMAN standing out in the yard, looking up at the house. Laine gets out of her car and approaches the WOMAN. It's MRS. GALARDI. Just standing there.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Mrs. Galardi -- your husband's been looking all over for you.<\/dialogue>\n    <scene_description>Mrs. Galardi points toward an upstairs window. !Riveted.<\/scene_description>\n    <character>MRS. GALARDI<\/character>\n    <dialogue>I saw her... up in the window.<\/dialogue>\n    <scene_description>A chill runs through Laine as she looks up at the window. But it's empty.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>It's just the curtain.<\/dialogue>\n    <scene_description>Laine tries to guide Mrs. Galardi away from the house.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>I told Mr. G. I'd wait with you here. He's going to take you back to your sister's. Okay?<\/dialogue>\n    <character>MRS. GALARDI<\/character>\n    <dialogue>What if Deborah's still in the house... and she needs me...<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>There's nothing for you in there. Promise me you won't go in the house.<\/dialogue>\n    <character>MRS. GALARDI<\/character>\n    <dialogue>I've been having these dreams. Debbie's in her room... and someone's in there with her. And my baby... she's screaming... but I can't hear her.<\/dialogue>\n    <scene_description>Mrs. Galardi turns and takes Laine's hand -- holds it tight -- looking right at her with wild eyes.<\/scene_description>\n    <character>MRS. GALARDI!<\/character>\n    <dialogue>No one can hear her.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINER - NIGHT<\/stage_direction>\n    <scene_description>SUDDENLY, and quietly, we're on a CHAIR. It just sits there. EASE IN on the legs of the chair... as it starts to move... sliding across the floor. IN THE EMPTY DINER, WE FIND ISABELLE in her waitress uniform. She pulls chairs out and flips them upside down on a table. Sweeping underneath. Closing up for the night. She heads toward the back, but stops at the daily special board. A prankster has obviously rearranged the letters from \"Try Our Meatballs\" to \"Eat Our Balls.\"<\/scene_description>\n    <character>ISABELLE<\/character>\n    <dialogue>That's lovely.<\/dialogue>\n    <scene_description>She puts the letters back in place. Then --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINER KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Isabelle ties off a large bag of garbage... heads toward the rear exit... passes her FATHER in the restaurant office as he runs through the receipts.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DINER - BACK AREA - NIGHT<\/stage_direction>\n    <scene_description>Isabelle comes out the back exit... nudges a brick against the bottom of the door to keep it open. She takes the sack of garbage over to the dumpster and heaves it in. DRIFT AWAY FROM HER... ...over to the back door. As the brick door-stop begins to slide across the ground. Sliiiding and -- SHHHUNK. !Isabelle turns to see the door has fallen shut. She steps away from the dumpster and comes over to the door. Tries the handle. !No entry from the outside. !<\/scene_description>\n    <character>ISABELLE<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>She KNOCKS on the door. !Waiting. !Stuck out here alone behind the restaurant. !Isabelle glances around. !The bulky dumpster... her parked car... sodium vapor lights BUZZING overhead. Not a soul in sight... and yet... there is a presence. !Like someone out there is watching. Isabelle BANGS on the door again. !More urgent. !Doesn't want to be out here a second longer.<\/scene_description>\n    <character>ISABELLE<\/character>\n    <dialogue>Dad! !C'mon, open up!<\/dialogue>\n    <scene_description>There's a faint fluttering sound. !Behind her. Isabelle glances back. !Sees A FLYER on her car windshield. Fluttering in the night breeze. She goes to her car, passing through a pool of overhead light. !Takes the flyer off her windshield. !Furniture Sale Saturday! !She wads it up, and now notices something else... The word 'FREND' written in the condensation on the driver's side window. !The letters drip. !Like someone was just here... having written the word with their finger. ! It seems innocent. !Isabelle wipes it away with her hand. Stands there in the dark... As her car ALARM suddenly goes off! !Scaring the hell out of her. !It shrills through the night air. !Isabelle takes a step back... something doesn't feel right. !The alarm keeps BLARING as -- KA-THUNK! !The back door finally opens. !Light from the restaurant spilling out. !We hear her DAD from inside --<\/scene_description>\n    <character>DAD (O.S.)<\/character>\n    <dialogue>What's going on -- you okay?<\/dialogue>\n    <scene_description>DAD has Isabelle's car keys. He shuts off the alarm. Silence again. !Isabelle takes a final look at her car.<\/scene_description>\n    <character>ISABELLE<\/character>\n    <dialogue>Yeah. !I'm good.<\/dialogue>\n    <scene_description>She steps inside and pulls the door closed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAINE'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Through a window, glimpse SARAH in the living room. Her face bathed in the glow of her laptop screen. A GUY'S VOICE --<\/scene_description>\n    <character>GUY'S VOICE (O.S.)<\/character>\n    <dialogue>Imagine what could happen if one million minds came together with the same mission.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAINE'S HOUSE - LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Sarah is on her laptop, watching a video on a website. A HIP PODCAST GUY talks about the Ouija, as a ticker runs along the top of the screen... 16,209 and counting.<\/scene_description>\n    <character>HIP PODCAST GUY<\/character>\n    <dialogue>That's right, we're gonna be talking with the spirits. Hit the join button. All you need is your mouse...<\/dialogue>\n    <scene_description>NOW A \"VIRTUAL OUIJA\" on the computer screen. A demo shows someone with their hand on a mouse, slightly moving... as the planchette on the virtual game board also moves.<\/scene_description>\n    <character>HIP PODCAST GUY (V.O.)<\/character>\n    <dialogue>...and you can take part in the world's biggest Ouija game ever...<\/dialogue>\n    <scene_description>Sarah slaps her laptop closed.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>So lame.<\/dialogue>\n    <scene_description>CUT TO: THE OUIJA BOARD. Fingertips on the planchette as it moves around to different letters. It's the VIDEO FOOTAGE from the other night.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAINE'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Laine's up late. Holding Debbie's penguin keychain like a worry stone -- watching the Ouija game video on her computer. Playing back the part where the camera got knocked over. ON SCREEN --<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>If Debbie's really here she can show us --<\/dialogue>\n    <character>ISABELLE<\/character>\n    <dialogue>-- let's just say 'goodbye' and end the game.<\/dialogue>\n    <scene_description>There's a sound out in the house. !A low CREAKING. !Then -- BAM! !OUR POV suddenly shakes. !Like the camera's been hit hard. !THE POV TIPS BACK ON THE TRIPOD -- FALLS! !CRASHING TO THE FLOOR. !We're staring up at the ceiling.<\/scene_description>\n    <character>LAINE (O.S.)<\/character>\n    <dialogue>Who knocked the camera over?!<\/dialogue>\n    <scene_description>Laine stops the tape. Silencing the chaotic volume of the game. REWIND. Everything moving in reverse. She hits PLAY again, watching an earlier moment. The argument --<\/scene_description>\n    <character>ISABELLE<\/character>\n    <dialogue>Laine said no physical sign.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>So what? !I don't see anyone taking their hand away.<\/dialogue>\n    <scene_description>Laine FREEZES the tape. REWINDS further and REPLAYS. Watching the game as the planchette moves about the board. Specifically, she's watching Pete. Closely. Trying to get a read on his facial expressions. Now studying his hand as the planchette spells out a message -- starting to wonder if he is making it move. She hits pause. The image freezes between frames. It creates a weird effect... and it makes Pete look strange. His features suddenly menacing. Out in the hall... a floorboard CREAKS. Similar to the sound Laine just heard on the video playback.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Sarah?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAINE'S HOUSE - UPSTAIRS HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Laine comes down the hall. So irritated. She opens Sarah's bedroom door.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Worm, if you're sneaking out --<\/dialogue>\n    <scene_description>But Sarah's not in her room. Beat... Laine continues down the hall, to THE STAIRS -- and finds Sarah standing a few steps below... quietly staring ahead. From the top of the stairs, Laine can see that the front door is wide open, lightly THUMPING against the wall... leaves blowing in across the foyer from the outside. Sarah slowly turns back... looking up at Laine. Quiet --<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Someone's in the house.<\/dialogue>\n    <scene_description>They hold a rising, terrified look as the sound of something heavy suddenly SCRAPES on the floor downstairs. Like someone accidentally bumped into a piece furniture in the dark. Sarah bolts back up the stairs to Laine -- and together they hurry into --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAINE'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Laine silently pulls at Sarah, over to the closet. A hiding spot. The two girls moving quickly -- quietly slipping into the closet. Closing the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLOSET - NIGHT<\/stage_direction>\n    <scene_description>Very dark in here. Laine and Sarah huddle close in the small closet. Voices so quiet and scared ---<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Ohmygodohmygod...<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>Shh-shh. Do you have your phone? Good. Call for help.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Who the hell's in our house?!<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>Just call --<\/dialogue>\n    <scene_description>Their faces visible in the faint glow of Sarah's cell phone. THUD! A sound out in the house.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Sarah -- hurry.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>I'm trying.<\/dialogue>\n    <scene_description>Sarah can't even dial her phone. !Hands shaking so bad. And now something SLAMS against the closet door! Hands over their mouths, the girls want to cry out -- but can't. !Takes everything they have to hold it in. Another SLAM against the closet door. Sarah drops her phone. Laine grabs the closet door handle. Holds it tight. Trying to keep anyone from getting it open. It's an excruciating moment. Waiting for what's next. Breathing hard. Scared to death. And then ALL HELL BREAKS LOOSE on the!other side of the door. It sounds like someone's banging on the door with their fists. BAM! BAM! BAM! Over and over and over. Relentless. The CLOSET DOOR RATTLES HARD -- someone's trying to get in! Sarah can't even hold back anymore. She SCREAMS. Falling back into the corner of the closet. Laine holds tight -- with everything she's got. BAM! BAM! BAM! Louder... LOUDER... SO GODDAMN LOUD! And then -- -- it stops. !Completely. All the noise. Silent. The longest beat... the girls hold absolutely still. And then Laine gently turns the door handle.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Don't.<\/dialogue>\n    <scene_description>Laine does it anyway. !Opens the door...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAINE'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>The girls emerge from the closet. And even in the dark, right away -- they can tell that something's different.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Where's your bed?<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>Moved. Over there.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Everything's moved.<\/dialogue>\n    <scene_description>The whole room has been rearranged. But there's a familiarity about the lay-out of all the furniture. Car lights pass by outside, just for a moment -- casting a long tree branch shadow across the wall. Laine feels for a light -- CLICK. It's now set up just like Debbie's room. Bed. Desk. Side table. Even the OUIJA BOARD is at the center of the floor... just like when they play it at Debbie's house. Sarah takes it all in... reeling.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>This is so messed up... who would do this?<\/dialogue>\n    <scene_description>Laine kneels down next to the Ouija board on the floor and sees that the planchette is once again on the letter 'D.'<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>It's Debbie. She wants us to play again.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINER - DAY<\/stage_direction>\n    <scene_description>Corner booth. !Away from the other customers. !Everyone who played the Ouija is gathered. !Except for Pete. !Voices hushed. !Urgent. !Talking over each other --<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>-- and all the furniture had been moved. Arranged just like Debbie's room. The game sitting right there. It was her way of saying we need to come back to the board --<\/dialogue>\n    <character>TREVOR<\/character>\n    <dialogue>-- Laine. !Stop it. This is a living breathing person who's trying to freak us out. The game is not real.<\/dialogue>\n    <character>ISABELLE<\/character>\n    <dialogue>Then how do you explain someone watching me last night, writing messages on my car --<\/dialogue>\n    <character>TREVOR<\/character>\n    <dialogue>-- it's Pete. You ever wonder if the guy might be a complete psycho... making us think that it's Debbie doing all this? I mean, what do you want me to say here?<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>I want you to say you believe in this.<\/dialogue>\n    <scene_description>But Trevor won't give her that. Sarah has remained silent this whole time. !Still shaken by the night before. !She finally speaks, her voice quiet...<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>In our house last night, couldn't have been a person that did all that. It was her. I'm with Laine. We've got to keep going.<\/dialogue>\n    <scene_description>Isabelle looks at Laine. Puts it out there --<\/scene_description>\n    <character>ISABELLE<\/character>\n    <dialogue>You think she's trying to tell us the truth about how she died.<\/dialogue>\n    <scene_description>Laine holds her look. !It's dead quiet. !<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Someone killed Debbie.<\/dialogue>\n    <character>ISABELLE<\/character>\n    <dialogue>Why did we do this? Never should have touched that thing...<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>We have to talk to her. We get a name... and then we're done.!!!<\/dialogue>\n    <scene_description>No one says anything. Just an incredible sense of dread in the air. And then jolting us like a clap of thunder -- THE OUIJA BOARD. Larger than life. FOUR HANDS reach in... fingertips touching the planchette.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBBIE'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Laine, Trevor, Sarah, and Isabelle sit on the floor in Debbie's room. !A couple of battery lanterns placed about the dark room. !Everyone has a hand on the planchette.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Four circles this time. !One for each of us.<\/dialogue>\n    <scene_description>They CIRCLE THE BOARD clockwise. !One. !Two. !Three. !Four. The game has begun.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>As friends we've gathered, hearts are true. Spirits near, we call to you. If there's a presence here, make yourself known.<\/dialogue>\n    <scene_description>Long beat on the board... the planchette totally still. !<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>It's not working.<\/dialogue>\n    <character>ISABELLE<\/character>\n    <dialogue>Let me try. Debbie, it's Iz. Will you come and talk to us?<\/dialogue>\n    <scene_description>Everybody remains intensely focused. Barely breathing. !EASE IN on the planchette. !Closer and closer... a feeling of passing time... ...and nothing happens. !It sits there. !Lifeless.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>I don't understand.<\/dialogue>\n    <character>ISABELLE<\/character>\n    <dialogue>We're doing everything exactly the same.<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>Not everything.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Pete's not here. Maybe because there were five of us who made initial contact... something about our collective energy.<\/dialogue>\n    <scene_description>Beat... as Trevor gives Laine a look.<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>Collective energy. Sure. That's it. You know what? There's one way to find out.<\/dialogue>\n    <character>ISABELLE<\/character>\n    <dialogue>Bring Pete here -- what if it's him doing all this?<\/dialogue>\n    <character>TREVOR<\/character>\n    <dialogue>It's okay, Iz. Laine, go ahead. Invite him over.<\/dialogue>\n    <scene_description>TIME DISSOLVE. FROM THE SHINING LIGHT OF THE CAMPING LANTERN, we drift up to see that PETE is now sitting with the others in the circle around the board. !He feels the tension. No one's talking to him.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>So what's going on with this little gathering? Seems like the party got started without me. You guys tried to play already, didn't you?<\/dialogue>\n    <character>TREVOR<\/character>\n    <dialogue>We're going to do something different this time, Pete.<\/dialogue>\n    <scene_description>Trevor has a bandana in his hand. Pete eyes it.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Blackout. Okay, so we're all taking turns... or it's just for me?<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>For you.<\/dialogue>\n    <character>TREVOR<\/character>\n    <dialogue>Unless you don't want to stay.<\/dialogue>\n    <scene_description>Pete thinks about it --<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Fine. Go ahead.<\/dialogue>\n    <scene_description>Trevor comes behind Pete. Ties the blindfold over his eyes. Cinches it tight. Pete's eyes are completely covered. !No way he can see the board. Before they start, Trevor quietly TURNS THE BOARD 180 DEGREES. It's now upside down for Pete, and he's unaware.<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>Okay, Pete. We're starting.<\/dialogue>\n    <scene_description>The four friends reach in and put their hand on the planchette. Pete blindly feels out and touches the planchette with his bandaged hand. He's the last one in. Quiet beat on the Ouija... Then, a TWITCH of the planchette. !IT MOVES. Like before, slides across the board to the letter \"D.\" Laine and the others silently take note... then a suspicious glance at Pete with his blindfold. Laine turns her eyes back to the board.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Debbie, we want to help you. !Who were you playing with? !Who was with you the night you died?<\/dialogue>\n    <scene_description>The planchette slightly vibrates under their fingers... THEN QUICKLY SLIDES ALL THE WAY OFF THE BOARD.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Whoa. !What does that mean?<\/dialogue>\n    <character>TREVOR<\/character>\n    <dialogue>Because he can't see. So he's just sliding it off the board --<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>-- I didn't do that --<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>-- Trevor. Stop.<\/dialogue>\n    <scene_description>Laine moves the planchette back onto the board.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Give us a name. !Who were you with?<\/dialogue>\n    <scene_description>The planchette just sits there. !Everyone staring. Laine takes a breath, tries a new approach.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>If you don't want to say right now, I understand. !How about something else? Just so we know it's you.<\/dialogue>\n    <scene_description>The planchette remains still.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>The other night, you moved everything around in my room.<\/dialogue>\n    <scene_description>A beat... and then the planchette slides to YES. Laine exchanges a look with her little sister. !Sees the fear on her face.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>You really scared Sarah. !Let's not do that anymore.<\/dialogue>\n    <scene_description>The planchette starts to move. !H - A - H - A.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>'Ha ha...'<\/dialogue>\n    <scene_description>Laine suddenly doesn't feel right about this game. !Something is off.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Debbie. !The clock downstairs... remember how it got broken? !<\/dialogue>\n    <scene_description>The planchette just sits there.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>...when we were kids.<\/dialogue>\n    <character>TREVOR<\/character>\n    <parenthetical>(under his breath)<\/parenthetical>\n    <dialogue>What're you doing?<\/dialogue>\n    <scene_description>Laine doesn't answer. !Focused on the board.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Who broke the clock?<\/dialogue>\n    <scene_description>The planchette hesitates. !Then spells: M - E Laine looks up at the others --<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>I was the one who broke the clock. It's not her... !<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>This isn't Debbie.<\/dialogue>\n    <scene_description>SUDDENLY, WE'RE ACROSS THE ROOM. Watching the players from a lurking perspective. Behind Debbie's bedside table. The lantern right in front of us moves. Just an inch. The players don't notice... focused on the game. The lantern moves again. Slowly sliding. It inches across the table and -- -- CRASH! Everyone spins at the sudden sound and sees the fallen lamp on the floor.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>What the hell was that?<\/dialogue>\n    <scene_description>Trevor in particular seems alarmed by the incident. He turns back to look at the blindfolded Pete... suddenly not so sure of his beliefs anymore. Laine turns back to the planchette. The air feels thick. !She asks in a cautious tone --<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Who is this?<\/dialogue>\n    <scene_description>Like before, the planchette slides to 'D'... stops for a moment, and then keeps going. !Over to 'Z.'<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>'DZ.' !We don't know you. !We want to talk to Debbie.<\/dialogue>\n    <scene_description>QUICK MOVEMENTS ACROSS THE BOARD. Letters appear in the planchette window: 2 B A D<\/scene_description>\n    <character>ISABELLE<\/character>\n    <dialogue>'Too bad.'<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>Did Debbie make contact with you?<\/dialogue>\n    <scene_description>The board spells out -- M-Y-F-R-E-N-D.<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>'My friend.'<\/dialogue>\n    <scene_description>A sick realization sets into Trevor's expression.<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>Wait. !Is this who Debbie was talking about? !This is the friend.<\/dialogue>\n    <scene_description>EASE IN ON LAINE... a rising sense of urgency in her question amidst the revelations --<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>When the five of us played before... that was you?<\/dialogue>\n    <scene_description>Planchette slides to YES. MOVE AROUND THE CIRCLE OF PLAYERS. A beat on each of their faces... now connected to this game more than ever.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>And the night Debbie died... she was playing the game. !She was talking to you.<\/dialogue>\n    <scene_description>CLOSE ON THE PLANCHETTE. !Totally still... and then it starts to VIBRATE HARD. !Literally RATTLING against the board. Everyone stares, keeping their fingers in place. This is something new. Pete sits there with his blindfold in place. Getting tense at only being able to hear.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Did you kill her?<\/dialogue>\n    <scene_description>The lights from the surrounding lanterns begin to BRIGHTEN. A LOW GROANING SOUND coming from somewhere deep in the house. Pete rips the blindfold off. Can't take it anymore. Desperate to see what's going on. Isabelle closes her eyes, saying a prayer to herself.<\/scene_description>\n    <character>ISABELLE<\/character>\n    <dialogue>Please forgive us for what we have done...<\/dialogue>\n    <scene_description>But Laine keeps pressing. !Has to know the truth.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Did you kill Debbie?<\/dialogue>\n    <scene_description>The planchette shoots over to YES. The LIGHTS BRIGHTEN EVEN MORE on everyone's stunned faces. That INHUMAN GROANING SOUND IN THE HOUSE coming from all directions!<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>What do you want? !Tell us!<\/dialogue>\n    <scene_description>The planchette zig-zags from letter to letter around the board. A new message -- FNSHGME<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Debbie had the same message in her journal. I don't know what it means --<\/dialogue>\n    <scene_description>Pete looks sick because he figures it out --<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>'Finish game.'<\/dialogue>\n    <scene_description>Those two simple words said out loud -- and the game feels more ominous than ever. The players squint against the impossible bright light. !The planchette RATTLING LIKE HELL UNDER THEIR FINGERS! Isabelle is the first to bail. She yanks her hand away and scrambles back from the board. All of them now pull their hands away... backing away as blinding light fills the room. Laine's the last one at the board. She pulls her hand away -- -- AND THE PLANCHETTE IS STILL MOVING. BY ITSELF! It's like a living thing twitching on the floor.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Laine -- get away from it!<\/dialogue>\n    <scene_description>But she can't pull herself away, shouting at the Ouija board --<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>We're done! Do you hear me? We're not playing the game anymore!<\/dialogue>\n    <scene_description>She watches as the planchette skitters to the bottom of the board, and then SLOWLY GRINDS across the words that are printed there. WE HOLD VERY CLOSE AS IT MOVES LETTER TO LETTER:<\/scene_description>\n    <character>G O O D<\/character>\n    <dialogue>Laine stares as the overhead light suddenly comes on. Growing brighter along with the other lights. BLINDING.<\/dialogue>\n    <character>B Y E<\/character>\n    <dialogue>It<\/dialogue>\n    <scene_description>pops! Glass showering down. Pete pulls Laine away from the falling glass. Both of them now safely against the wall. Lantern bulbs suddenly POP AND BREAK -- the entire BEDROOM falling into PITCH DARKNESS. !We hear the commotion of everyone screaming in panic. HARD CUT TO --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EMPTY LOT - NIGHT<\/stage_direction>\n    <scene_description>At the edge of the neighborhood... a dark vacant lot. In the distance, THE GROUP stands around a small fire. CLOSER WITH THEM. Some newspaper and a few dry branches burn. Orange light flickers on everyone's haunted faces.<\/scene_description>\n    <character>ISABELLE<\/character>\n    <dialogue>What was that --<\/dialogue>\n    <scene_description>The fire crackles. No one else says anything. Too rattled. Trevor has a little flask out. Coiled tight as he takes a sip. But Isabelle has to talk this out loud, processing --<\/scene_description>\n    <character>ISABELLE<\/character>\n    <dialogue>I mean... Debbie made contact with something evil. You could feel it, right? Like it was all over your skin...<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>Iz, it's okay --<\/dialogue>\n    <character>ISABELLE<\/character>\n    <dialogue>-- it's not okay! Because when she played she opened the wrong door or something. The game was just sitting there -- waiting for us.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Please. Stop. Talking.<\/dialogue>\n    <scene_description>But Isabelle is lost in her own thoughts. In tears now. Words tumbling out --<\/scene_description>\n    <character>ISABELLE<\/character>\n    <dialogue>-- and then we touched it! We're all connected now to whatever the hell it is! It got Debbie and now it's going to get us! --<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>-- shut up! Just shut up!<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>No. It's over.<\/dialogue>\n    <scene_description>Everyone looks over at Pete -- as he tosses the OUIJA BOARD on top of the fire. The board starts to catch, curling at the edges.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>The board's gone.<\/dialogue>\n    <scene_description>The OUIJA BOARD is now fully consumed by the fire. The words GOOD BYE blister and bubble in the heat. Isabelle wipes her eyes... trying to come down. Sarah stands next to her big sister, as Laine pokes at the burning OUIJA BOARD with a stick. Silent, Trevor takes another sip from his flask, gazing into the flames. The fire pops. Pete stares up... watching the orange sparks as they float into the night sky. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGH SCHOOL - DAY<\/stage_direction>\n    <scene_description>Beginning of the day. Cars pulling in the school lot. Sarah, Laine and Isabelle walk toward the school. Silent. No one's in the mood to talk. Trevor locks his bike to the rack. !Sees Laine approaching, but he heads off. Won't even look at her. Something's forever changed between them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL - CAFETERIA - DAY<\/stage_direction>\n    <scene_description>Laine eats by herself. She looks off, her eyes catch -- PETE. !Sitting a few tables away with a couple others of his \"type.\" !He happens to glance over -- sees Laine. He gives her a slight wave. !But it's tinged with some sadness. !Everyone back to their usual high school roles. Laine returns the wave. !But she feels the distance too. Pete watches for a moment... students passing in front of his view... as he goes back to his lunch.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEIGHBORHOOD STREET - DAY<\/stage_direction>\n    <scene_description>The sun starts to fade on Laine and Sarah's house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAINE AND SARAH'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Laine comes down the stairs, rounds the corner... and stops. Visibly surprised by something. REVEAL -- Sarah in the kitchen cooking dinner. !She's even set the table. !A lit candle flickers. !It looks nice. Off Laine's reaction --<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>No big deal. I've made dinner before.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM - NIGHT - LATER<\/stage_direction>\n    <scene_description>Laine and Sarah eat. Laine tries to hide how bad it tastes.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>This fish is good.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>It's chicken.<\/dialogue>\n    <scene_description>Sarah glances at Laine and they laugh. A beat...!<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>I broke up with that guy. !<\/dialogue>\n    <scene_description>Laine nods. Knows not to lecture.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>I'm gonna get my shit together. Stop skipping. !Nose to the grindstone and all that. !A second chance, you know.<\/dialogue>\n    <scene_description>These words are a such a relief to Laine. !<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>I'm really proud of you, Worm.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>C'mon. Don't get all corny on me.<\/dialogue>\n    <scene_description>A smile as the two sisters keep eating. No more words need to be said.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAINE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Laine's at her desk. Lingering on the black and white photo of her Debbie. She glances over... notices the little keychain figure. Sees that the penguin's head is coming loose from the body. Laine pulls on the head. !It comes off to reveal... the keychain toy is actually a FLASH DRIVE. Laine now has Debbie's FLASH DRIVE plugged into her computer. She clicks through folders. Searching. Opens up a folder called LET'S PLAY that contains various VIDEO FILES. Beat. Laine clicks and opens up the first file. Before we see the image, we hear familiar words --<\/scene_description>\n    <character>LAINE AND DEBBIE (O.S.)<\/character>\n    <dialogue>As friends we've gathered, hearts are true. Spirits near, we call to you.<\/dialogue>\n    <scene_description>ON SCREEN. !LAPTOP CAM POV. !We recognize the tree mural of Debbie's room. Laine sits with Debbie on the bed. !Hanging out. !They have the Ouija board between them. !The footage feels very recent.<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>Is Blake ever going to actually ask me out -- or will he just keep sending me naughty texts?<\/dialogue>\n    <scene_description>Both girls have their hands on the planchette. !It starts to move -- jerky.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Okay. You're being a spaz.<\/dialogue>\n    <character>DEBBIE<\/character>\n    <dialogue>That's not me --<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>-- yeah, right.<\/dialogue>\n    <scene_description>The planchette slides to NO. !Debbie cuts a look at Laine.<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>Hey -- you're supposed to give me the answers I want to hear --<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>-- I didn't do that.<\/dialogue>\n    <character>DEBBIE<\/character>\n    <dialogue>I guess you don't think he's right for me --<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>-- moving on. My turn.<\/dialogue>\n    <scene_description>Laine turns her attention to the board.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Ouija. !I heard a rumor that Debbie isn't coming with me to college next year. !Is that true?<\/dialogue>\n    <scene_description>Debbie hesitates. !Then visibly pushes the planchette to YES. Laine takes her hands off the planchette. !<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>When were you going to tell me?<\/dialogue>\n    <character>DEBBIE<\/character>\n    <dialogue>I was trying to find the right time. !Listen -- I'm glad you know now because I've been dying to share this with you. !I got this amazing opportunity for a photography internship in Spain --<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>-- but we were going to room together and everything. !We had a whole plan. !<\/dialogue>\n    <character>DEBBIE<\/character>\n    <dialogue>It's just for a year --<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>-- I can't believe you're doing the to me. !<\/dialogue>\n    <scene_description>Debbie seems crushed by Laine's reaction.<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>I was hoping you'd be excited. That I landed this, you know. I've always been then there for you.<\/dialogue>\n    <scene_description>ON LAINE AS SHE WATCHES. !Reliving this moment. !The regret playing across her face as we hear the argument on the video escalating. !Their voices getting louder. BACK ON THE VIDEO -- Laine gets up. !Feeling totally abandoned by Debbie.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>But you're leaving me behind --<\/dialogue>\n    <character>DEBBIE<\/character>\n    <dialogue>-- you're my best friend. !This doesn't change anything between us--<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>It changes everything!<\/dialogue>\n    <scene_description>Laine storms out of frame. !Debbie is stunned. !<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>Laine -- please. Let's talk about this!<\/dialogue>\n    <scene_description>Debbie follows. !Voices continuing off. Long beat. !The Ouija sits there. !Debbie returns. !Climbs back onto her bed. !Upset. ! She regards the board... positions it in front of her. !Puts her fingertips on the planchette. !Talking to herself, fighting tears about the argument --<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>Question: Is Laine going to keep acting like such a little bitch?<\/dialogue>\n    <scene_description>Beat... the planchette TWITCHES. !Familiar. !Slides to an answer. !Not in a way that looks like Debbie moving it, but that it's really working. !It's obvious by Debbie's expression that she's startled by the moment.<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>Okay. !That didn't just happen.<\/dialogue>\n    <scene_description>Debbie reaches toward the laptop camera POV -- CLICK. Switching the image off. ON LAINE -- she opens the next file in Debbie's folder. ON SCREEN. COMPUTER CAM POV. Back in Debbie's room. The OUIJA BOARD is set up on the floor. Camera adjusts down a bit as DEBBIE leans into the frame.<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>Something very weird happened yesterday. So I'm doing a little test...<\/dialogue>\n    <scene_description>Debbie sits down at the Ouija Board. Alone. Debbie looks right at us... as if talking directly to Laine.<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>I know. !I know. !Never play alone. But I need to make sure I'm not losing it.<\/dialogue>\n    <scene_description>Debbie puts her fingertips on the planchette and circles the board. Once.<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>Wanted to see if you were out there... whoever was here last night.<\/dialogue>\n    <scene_description>ON LAINE -- watching the footage intently. She turns the volume up. DEBBIE has her eyes closed... fingers on the planchette. Everything totally still. !Nothing happening. ! FOOTAGE FAST FORWARDS to further in the game. !Debbie still sitting there with her eyes closed. !And then the planchette starts to move. THE VIDEO STOPS, rewinds a few seconds then resumes play. The planchette now moves around the board. !Spelling -- ! ! ! ! ! ! ! ! ! !H !I !F !R !E !N !D Debbie stares -- amazed. She's made contact.<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>Whoa. Hi friend.<\/dialogue>\n    <scene_description>LAINE is visibly unnerved. Seeing this evidence. Knowing the fateful path her friend is heading down by playing the game alone. A SERIES OF SHOTS as Laine goes through Debbie's files. MORE CLIPS as the VARIOUS GAMES progress -- ! Debbie. Another day.<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>Tell me your name.<\/dialogue>\n    <scene_description>The planchette slides to \"D.\"<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>'D.' !Okay. !'D' what? !<\/dialogue>\n    <scene_description>The planchette moves fast to another letter -- \"Z.\"<\/scene_description>\n    <character>DEBBIE!<\/character>\n    <dialogue>'DZ.' Hey DeeZee. Cool name.<\/dialogue>\n    <scene_description>LAINE -- her mind churning. Whispering --<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>D.Z. -- who is that?<\/dialogue>\n    <scene_description>Glimpses of other footage. ANOTHER GAME. !Debbie has developed a bond with this \"DZ spirit.\" !She is so at ease. Talking to the board like she's in a confessional --<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>...it's my birthday today and you know what? She didn't even call. So the big plans are dinner with my parents... I'm such a loser.<\/dialogue>\n    <scene_description>DIFFERENT CLIP. Another bit of dialogue...<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>...the locker next to mine... see I'm 306... and he's 305 but he's got a girlfriend...<\/dialogue>\n    <scene_description>ON LAINE watching the tape. Realizing --<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>My God... she told it everything.<\/dialogue>\n    <scene_description>ON DEBBIE. !She's tentative. !Putting herself out there...<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>You're my friend. !Right... DZ?<\/dialogue>\n    <scene_description>The planchette slides quickly to: ! B - E - S - T<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>Best friends. Cool. Since I'm being completely blown off. Now she won't even answer my texts. I mean... we've been friends our whole lives. Guess I don't exist anymore.!<\/dialogue>\n    <scene_description>ON LAINE as the color drains from her face. !She watches as the planchette spells out: ! N-A-M-E<\/scene_description>\n    <character>DEBBIE!<\/character>\n    <dialogue>Her name? !Laine.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Hey. You know the future, D.Z. Right? Will we be friends again... me and Laine?<\/dialogue>\n    <scene_description>The planchette falls totally still. ! ! ON LAINE as she watches. !Not taking a breath. ! And then the planchette slowly starts to drag across the board with an eerie scraping sound. !The planchette moving until it lands on -- YES.<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>I knew it.<\/dialogue>\n    <scene_description>Laine swallows at the mention of her own name. Clicks the next file -- Now -- A DIFFERENT CLIP. !Debbie's dark room. !We hear her BREATHING, having just quickly grabbed and turned on her camera. !Frame adjusting. The sound of something moving in her room.<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>Something's moving... what is that --<\/dialogue>\n    <scene_description>A LOUD SCRAPE. !Heavy across the floor. !Debbie turns on her lamp, catching the last bit of movement as a chair in her room slides by itself against the door. !Hold. !All we hear is Debbie's BREATHING. ANOTHER CLIP. !Debbie stands in her BATHROOM MIRROR, holding the camera in one hand, pulling her shirt off her shoulder with the other. There's some kind of DARK MARK coming up over the top of her shoulder. She keeps the camera aimed at the mirror, turns around so she can see her back... and there's a much LARGER MARK across her shoulder blade. Like something smeared on her skin.<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>...the hell's happening to me...? !<\/dialogue>\n    <scene_description>Debbie wipes at it with her hand. It comes off on her fingers, a dark ash-like substance. ANOTHER CLIP. DEBBIE IS BACK AT THE OUIJA BOARD.<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>Let's start a new game. How does that sound? Okay. Good. Here we go. As friends we've gathered...<\/dialogue>\n    <parenthetical>(If it sounds familiar, it's because we're now seeing the computer cam POV of what we heard in the opening scene...)<\/parenthetical>\n    <character>DEBBIE<\/character>\n    <dialogue>It was fun for a while, when we first started playing. But... I feel like you've changed.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I mean, you're still my friend, right?<\/dialogue>\n    <scene_description>The planchette skids down the board to the words GOOD BYE and slowly SCRAPES across the letters (just like it did in Laine's last game). DEBBIE'S LOOKS RIGHT INTO THE CAMERA, VOICE TREMBLING --<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>This is our last game. I'm not playing ever again! Get out of my room!<\/dialogue>\n    <scene_description>LAINE KEEPS WATCHING... horrified by Debbie's rising fear. Debbie gets up from the Ouija board and walks out of frame. HOLD HERE. The sound of Debbie opening her bedroom door. Footsteps heading down the hall. Everything very still -- -- but in the background... a glass of water begins to eerily slide across Debbie's desk. Image GLITCHES then shuts off.! Laine sits there staring at the blank screen. A SOUND. She slowly glances over... a GLASS OF WATER on her own desk. Beat. And then it slides. Just like on the video. Coming toward her. Smooth and steady. Stops right in front of her. Then nothing. Silence. And then -- -- HER WHOLE ROOM ERUPTS! THINGS HURLING OFF THE SHELVES. So sudden and intense. Her laptop goes sliding across the desk and FLIES INTO THE WALL. Laine SCREAMS! Jumps to her feet as Sarah rushes into the room. !Breathless. Sarah takes in the destruction with terror in her eyes. !She and Laine trade a sick look.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>The game...<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>...it's not over.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DINER - NIGHT<\/stage_direction>\n    <scene_description>The restaurant sits like an island amidst the surrounding empty parking lot. We see Isabelle through the windows... closing up, putting chairs up on the tables as the last two customers leave.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINER - NIGHT<\/stage_direction>\n    <scene_description>Isabelle has the restaurant phone against her ear as she closes out the register.<\/scene_description>\n    <character>ISABELLE<\/character>\n    <dialogue>...yeah. Dad, I got it. I know to lock your office before I leave. Okay. I'll be home in a bit.<\/dialogue>\n    <scene_description>She hangs up. Goes over to the wall and turns out a bank of lights. The restaurant FALLING DARK. Isabelle gathers her purse from the counter, pulling keys out when she suddenly STARTLES -- because SOMEONE has been sitting in the far corner booth this whole time. Back turned. In the shadows. Isabelle calls out --<\/scene_description>\n    <character>ISABELLE<\/character>\n    <dialogue>Excuse me, but we're closing up.<\/dialogue>\n    <scene_description>THE FIGURE doesn't move. Doesn't speak. From the shadows, all we can see are two little glints where the eyes would be. Isabelle is suddenly weak with fear.<\/scene_description>\n    <character>ISABELLE<\/character>\n    <dialogue>Did you hear me? We're closed.<\/dialogue>\n    <scene_description>But THE FIGURE -- just. sits. there. Isabelle moves cautiously -- grabs a knife from the counter and hits the lights. BAM! No one is there. Booth empty. Isabelle scans the restaurant -- but she's alone. She sets the knife down. Keys jingle in her hand. Ready to get out of here. She moves for the door... and stops. She stands at the daily special board. Frozen. The letters have been rearranged, spelling out:<\/scene_description>\n    <character>FNISH GAME<\/character>\n    <dialogue>Hands trembling, Isabelle pulls her phone from her purse... takes a photo of the FNISH GAME message... as if to prove to herself that this is really happening.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ISABELLE'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Isabelle pulls her door closed. Freaked out. She glances in the rear-view and notices something on her neck. Tilts the mirror down for a better look -- -- to see a DARK MARK across her neck... similar to what we saw on the video of Debbie standing at her bathroom mirror. Five long steaks down her skin, a larger smudge at the bottom. It looks like a strange HANDPRINT. Isabelle stares. Touches it. Black residue comes off on her fingers. Panic surging.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - NIGHT<\/stage_direction>\n    <scene_description>Isabelle's car speeds down the deserted late night streets.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ISABELLE'S CAR - NIGHT<\/stage_direction>\n    <scene_description>A heavy condensation has built up on the windshield. Isabelle hits the defrost just as her cell phone on the passenger seat starts RINGING. Isabelle glances over at the caller ID screen -- it's Laine. She reaches for the phone just as the light turns red. She hits the brakes and the cell phone sliiides off the seat -- slipping into the darkness underneath the passenger seat.!<\/scene_description>\n    <character>ISABELLE<\/character>\n    <dialogue>Shit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INTERSECTION - NIGHT<\/stage_direction>\n    <scene_description>Isabelle is the only car at the intersection. Engine idles... red traffic light bleeding through the night haze.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ISABELLE'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Isabelle puts the car in PARK. !The phone keeps RINGING as she leans over... feeling around under the seat for it. And while she's down... we notice a light pole outside the car slowing starts MOVING. As if somehow -- impossibly -- the rest of the world is sliding past the stationary car. The pole keeps moving... out of view. ! Isabelle finally finds her phone, sits up -- and something doesn't feel right. She looks out her window to see -- -- THAT HER CAR NOW SITS SMACK DAB IN THE MIDDLE OF THE INTERSECTION. Moved here without her even feeling it.!<\/scene_description>\n    <character>ISABELLE<\/character>\n    <dialogue>What... the...<\/dialogue>\n    <scene_description>And as she turns back to the front, Isabelle sees something written in the condensation on the windshield --<\/scene_description>\n    <character>H I !F R E N D !<\/character>\n    <dialogue>Totally frantic, Isabelle turns. Looking out every window into the empty intersection. Who the hell did that?!<\/dialogue>\n    <dialogue>She hits the windshield wipers, desperate to get rid of that finger written message. !The wipers squeeak back and forth against the glass -- but the letters remain. !<\/dialogue>\n    <dialogue>Isabelle reaches out and runs her hand across the words and to her horror... it wipes away.<\/dialogue>\n    <dialogue>It was written on the inside of the car! Her eyes shoot to the rear-view mirror. Checking the back. Nobody there. Just her coat laid across the back seat... ...but something starts to move under her coat.<\/dialogue>\n    <dialogue>Isabelle keeps her eyes glued to the mirror. Doesn't dare turn around. She keeps watching in disbelief and horror as a FIGURE takes form under her coat.<\/dialogue>\n    <dialogue>Isabelle FUMBLES with the door but she can't get out. Stuck in the car. She shoots another glance to the rear-view -- -- as a HEAD emerges from under the coat. Can't see a face. Just a dark awful shape.<\/dialogue>\n    <dialogue>Isabelle struggles with her door. SCREAMING. Unaware that lights are rising on her from the opposite direction. A fast approaching BLARE OF A HORN.<\/dialogue>\n    <dialogue>Isabelle turns -- squints into the BLINDING LIGHT -- -- SMASH! Her car is literally SWEPT OUT OF FRAME! We hold forever on the sudden empty space of the intersection... as the night falls quiet again.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAINE'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Laine and Sarah drive. Urgent. Sarah's on the cell phone.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Trevor's not answering.<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>Isabelle's probably still closing up -- I already texted her. When we get there we'll try everyone again.<\/dialogue>\n    <scene_description>FLASHING LIGHTS slowly rise across their faces. Laine brings the car to a stop. Both sisters looking out the windshield.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - NIGHT<\/stage_direction>\n    <scene_description>Laine's out of the car. Sarah close behind. Laine starts to hurry toward the red spinning lights. Remnants of the accident coming into view. Broken glass on the road. EMERGENCY VEHICLES. Isabelle's SMASHED CAR. Laine moves faster, and now sees -- -- a SHEET COVERED BODY on a stretcher... loaded into the back of an ambulance. Laine stops in her tracks. Shattered.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>No... no... this isn't happening.<\/dialogue>\n    <scene_description>Laine staggers back from the scene. Sarah stands on the road, crying. Beside herself. Laine can barely breathe. Slowly spinning. Wishing something could make sense to her right now. There's a BUZZING sound in the tall grass on the side of the road. Something glowing. Numb... Laine walks toward it. Reaches down into the grass... and finds Isabelle'S CELL PHONE. Flung from the vehicle during the accident. A smear of blood across the screen: 1 MISSED TEXT - LAINE Laine starts going through the phone. Anything that can help her find out what happened. She looks at the recent PHOTOS. Scrolls through them. Fun shots. Lots of pics of Isabelle and Laine being silly. Then Laine stops. It's the photo of the MENU BOARD at the restaurant, the message from earlier that night --<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Finish game.... !<\/dialogue>\n    <scene_description>PULL UP FROM LAINE AND SARAH ON THE ROAD... the red lights sweeping across them with a creeping menace and we go -- BLURRY PIXELS OF LIGHT. VOICES. PULLING BACK -- we see that it's the VIDEO of Laine and Debbie playing the Ouija in Debbie's room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAINE'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Very late. Laine sits at her computer. Watching the footage. Still numb from Isabelle's death. ON THE COMPUTER SCREEN --<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>Is Blake ever going to actually ask me out -- or will he just keep sending me naughty texts?<\/dialogue>\n    <scene_description>Both girls have their hands on the planchette. !It starts to move -- jerky.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Okay. You're being a spaz.<\/dialogue>\n    <character>DEBBIE<\/character>\n    <dialogue>That's not me --<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>-- Yeah, right.<\/dialogue>\n    <scene_description>Laine stops. Rewinds. Watches that moment again. The JERKY FAMILIAR MOVEMENT OF THE PLANCHETTE. She rewinds again. Playing those few seconds over. Watching closely. It's clear now that Debbie's not moving the planchette. There's a STRANGE BLUR on the screen. Laine enlarges the video image on her computer. CLOSER. There's Laine's hand, Debbie's hand -- and a THIRD GHOSTLY HAND also visible. Touching the planchette. Laine freezes the image, thunderstruck by this new understanding. This was the actual first moment of contact with the spirit... and she was part of it. CLOSE ON A DOOR. !We don't know where we are. !Someone knocks. !Beat. !Footsteps on the other side. !Click. !The door unlocks and opens a bit. !It's Laine's grandmother NONA. Looking now with concern at -- -- LAINE IN THE HALLWAY. !Her eyes pleading for help.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NONA'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Early morning. !Laine and Nona sit across from each other.<\/scene_description>\n    <character>NONA<\/character>\n    <dialogue>This is about the talking board... the one that was in your room.<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>NONA<\/character>\n    <dialogue>What have you done?<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>Something very bad. !I didn't listen to you.<\/dialogue>\n    <character>NONA<\/character>\n    <dialogue>And Sarah... she's part of this as well?<\/dialogue>\n    <scene_description>Laine nods -- 'yes, both of us.' Nona takes a heavy breath. !Her words come carefully --<\/scene_description>\n    <character>NONA<\/character>\n    <dialogue>Most of us -- our spirits -- move on when we die. But for some, they remain very close to this world. If one of the living decides in their heart to reach out and find someone on the other side, a connection can be made to that place. !But to use such means can be a danger. !You may knock, but it is uncertain who will answer. There are some spirits trapped in a place of darkness and anger... forever seeking a way back into our world. It is possible that this entity you have been speaking with is someone who was evil in life... and now evil in the afterlife.<\/dialogue>\n    <scene_description>It's almost too much for Laine to take in.!<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>What can I do?<\/dialogue>\n    <scene_description>Beat... Nona reaches out and takes Laine's hands.<\/scene_description>\n    <character>NONA<\/character>\n    <dialogue>Walk backwards in your footsteps -- to the beginning. There you can return things to where they were.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You have opened a door to this other side, now you must close it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGH SCHOOL - DAY<\/stage_direction>\n    <scene_description>Front of the school. The flag sits at half-mast against a gray morning sky.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL HALLWAY - DAY<\/stage_direction>\n    <scene_description>At Isabelle's locker. A BUNCH OF STUDENTS have gathered. Many flowers placed in the hallway. Notes taped to the locker. The air heavy with the grief and shock of the death of another student. Laine and Sarah approach. Trevor's already there. !He seems lost in his shock, unraveling. !Laine steps close to Trevor. Just for him to hear --<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>-- I was going back through a video of me and Debbie with the Ouija. I had no idea... that all of this started when Debbie and I played together that last time.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm going to fix this, Trevor.<\/dialogue>\n    <scene_description>Trevor stares at her for a long moment. !His eyes unreadable. Laine pulls out Isabelle'S PHONE, shows Trevor the 'FNISH GAME' photo.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>That message. 'Finish game.' Debbie got it too. She never figured out how to end it. But we can. And then this is over.<\/dialogue>\n    <character>TREVOR<\/character>\n    <dialogue>You made us play.<\/dialogue>\n    <scene_description>Trevor's tone is so cold.<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>This D.Z. kills Debbie -- kills Isabelle. !It's coming for all of us --<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>-- we can stop it.<\/dialogue>\n    <scene_description>Trevor suddenly explodes. !<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>You think you can do something? There's nothing. !Nothing we can do to stop it!<\/dialogue>\n    <scene_description>STUDENTS turn. !Now watching Laine and Trevor. Not understanding. !Pete approaches, trying to ease the situation.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Whoa -- Trevor. !Calm down.<\/dialogue>\n    <scene_description>Suddenly Trevor PUNCHES Pete and slams him against the lockers. !Laine and Sarah SCREAM OUT in shock. !<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>So who's next?! !You! !Me?!<\/dialogue>\n    <scene_description>The teacher MR. SATLOF hurries over to break up the fight.<\/scene_description>\n    <character>MR. SATLOF<\/character>\n    <dialogue>Guys -- hey, knock it off!<\/dialogue>\n    <scene_description>Laine is too paralyzed to even cry. !Her world falling apart. Trevor lets go of Pete, pushes through the crowd of students and takes off down the hall. Pete wipes his face with his hand. !Bleeding from the nose. Laine reaches out to help him but he waves her off with an embarrassed look -- \"I'm fine.\" And then he heads off as well from the scene. MOMENTS LATER. The hallway has cleared. Mr. Satlof stands with Laine. She looks stunned. Totally lost. She can't even make eye contact.!<\/scene_description>\n    <character>MR. SATLOF<\/character>\n    <dialogue>Losing two friends in such a short time -- emotions are all over the place right now.<\/dialogue>\n    <scene_description>As we slowly ease in on Laine's face...<\/scene_description>\n    <character>MR. SATLOF<\/character>\n    <dialogue>You need to talk to a counselor. It's going to take a while to feel normal again, but you will overcome this, Laine. There's so much life ahead for you.<\/dialogue>\n    <scene_description>Laine glances up at Mr. Satlof for the first time. Vibrating with urgency.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>You're wrong. There's no time left.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL AUDITORIUM - DAY<\/stage_direction>\n    <scene_description>Empty auditorium. !Mostly dark. !A couple of work lights on stage reveal painted scenery flats for a school production. Laine wanders out onto the stage, looking around for Pete. !A VOICE comes through the sound system.<\/scene_description>\n    <character>PETE (O.S.)<\/character>\n    <dialogue>If you're looking for me, I'm up here.<\/dialogue>\n    <scene_description>Laine squints against the light and sees Pete in an enclosed sound booth in the back of the auditorium.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL AUDITORIUM - SOUND BOOTH - DAY<\/stage_direction>\n    <scene_description>Laine enters the small blacked-out space of the sound booth. The inner domain of the theater 'tech crew' guys. !Mixing console. !Cable bundles. Laine finally breaks the silence --<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Earlier, with Trevor --<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>-- he's scared. We all are.<\/dialogue>\n    <scene_description>Laine's mind is running on fumes at this point.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>The last page in Debbie's journal. She knew she was in danger. What was she trying to do in that final game?<\/dialogue>\n    <scene_description>Off their look -- CLOSE ON A COMPUTER SCREEN. Internet searches about The Ouija. Clicking through pages. \"Real Encounters of the Supernatural.\" \"Ouija: Myth or Magic?\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL AUDITORIUM - SOUND BOOTH - DAY<\/stage_direction>\n    <scene_description>Laine and Pete are on the computer. Looking for anything that might help them. It's all basic info.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Nothing. Same stuff on all the sites.<\/dialogue>\n    <scene_description>Laine gets up. She goes to the window that looks out into the auditorium. Everything feels like a dead end. Pete stays at the computer. He types. Clicks. Types again. Clicks. Starts reading something on the screen --<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Hey. Come look at this.<\/dialogue>\n    <scene_description>There's now a PARANORMAL WEBSITE pulled up on the computer.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>I entered 'Ouija' and the initials 'D.Z.' into a search and this is what came up. I guess this happened a while back.<\/dialogue>\n    <scene_description>Laine clicks into an article. The HEADLINE: \"Friends Die in Tragic House Fire.\" She starts to read --<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>'Investigators never found a cause for a fire that took the lives of three high school students while they slept.'<\/dialogue>\n    <scene_description>As Laine reads, we glimpse accompanying PHOTOS (circa early 80's) that are on the webpage. Three TEENAGE GIRLS hanging out in a bedroom. Making faces. And playing a OUIJA.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>'But there were rumors that the girls had been playing with a Ouija board.'<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>'Other friends from school confirmed the reports. And that the name of the spirit during contact went by the initials D.Z.'<\/dialogue>\n    <scene_description>Hearing those same initials, it's like Laine has the wind knocked out of her.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>This has happened before...<\/dialogue>\n    <scene_description>Pete keeps reading --<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>'In our research, these initials have appeared in other instances in which players suffered various outcomes... sudden death due to unexplained accidents... cases where people simply vanished... never seen again --'<\/dialogue>\n    <scene_description>Laine clicks on another PHOTO on the website. FIRE INVESTIGATORS sifting through the remains of the burned down house. Laine clicks another photo of the destruction -- and notices something. She enlarges the image. There -- amidst the charred remains of the house -- a OUIJA BOARD. Uncannily undamaged by the fire. And then another photo of the back of the board. ANOTHER PHOTO. A BLACK SMUDGE on the back of the board. The shape... it looks like a HANDPRINT. ! Laine turns to Pete, her nerves shredded. He's on the same wavelength. The world feels like it's closing in on them.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>My god. 'Finish game.' I thought it was a message -- something we had to do to end this. But it's his pattern. D.Z. kills all the players. !And then he's finished. Moves on to the next game...<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>...and it starts all over again.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL CLASSROOM - DAY<\/stage_direction>\n    <scene_description>Lights are off. A TEACHER lectures at the front of the room, projecting science charts on a screen. DRIFT DOWN A ROW OF DESKS to Sarah sitting in the far back. An empty desk behind her. Sarah's finding it hard to pay attention to the lecture. Her thoughts stray. She sets her pen down. Closes her eyes. Takes a breath. Trying to tune things out, but something doesn't feel right. Sarah opens her eyes. The dim light in the classroom shifts as the teacher advances to another chart. Sarah glances down at her desk. Her pen sitting there. Beat... and then it twitches. She keeps staring. Maybe that didn't just happen. Everything is very still... the droning voice of the teacher at the front of the class... and the pen twitches again. Very slowly, as if being moved by some unseen force, it starts to slide across her desk. Sarah watches in disbelief. Can't pull her eyes away. This seems impossible and yet it's happening. Right here in class! The pen continues its eerie drift from one side of her desk to the other. She looks over at the student across the aisle from her... wondering if anyone else is seeing this. But the guy has his eyes up front. Taking notes. BACK ON SARAH... staring... the pen still moving like some kind of dreamy time-lapse. CLICK. Another projection chart. And in the momentary shift of the light... we see that SOMEONE -- an out-of-focus figure -- is now sitting in that last desk behind Sarah that was empty just moments ago. Sarah doesn't notice, entranced by the pen as it edges closer and closer toward her hand. BEHIND HER. The DARK FIGURE slightly tilts his head. Cold glints where the eyes should be... just like the glimpse of what we saw in the back seat of Isabelle's car. ON SARAH'S DESK... as the pen finishes its way across the desk... and then quickly slips right into Sarah's hand. THE DARK FIGURE BEHIND HER -- leans in closer, suddenly -- Sarah's hand JERKS across the desk as she starts SCRAWLING JAGGED LETTERS OUT ON THE COVER OF HER NOTEBOOK. Pen snapping. Ink smearing. And Sarah can't control it. She can barely speak --<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Help... somebody help me.<\/dialogue>\n    <scene_description>Sarah frantically looks around the classroom. It's all shadows. No one notices her. The TEACHER lecturing. The HUM of the projector. Everything so far away. Like Sarah's desk is in a separate dimension. The pen SCRATCHES into the notebook. MORE LETTERS being scrawled out in messy smears of ink. Can't see what it says in the dark. Sarah's literally crying. So helpless. Fighting to resist -- but there's nothing she can do. Finally, her hand comes to a stop. Her pen drops and clatters to the floor. Frozen beat. And now Sarah feels it. SOMEONE sitting behind her. She slowly turns around in her seat... daring a glance back... seeing something we don't see. Her eyes going wide -- -- and then WHOOSH!! Her whole desk SLIDES across the floor of the classroom! SMASHING HARD INTO A WALL. INSTANT COMMOTION in the class. The lights are still off. Dim light from the projector. STUDENTS trying to see what happened. Sarah's tumped over on the floor. Her wild eyes shooting to the desk that was behind her -- and it's empty. No one sitting there. TEACHER'S VOICE calls out --<\/scene_description>\n    <character>TEACHER<\/character>\n    <dialogue>Sarah, what the hell's going on back there?! Everyone settle down.<\/dialogue>\n    <scene_description>Sarah grabs her NOTEBOOK and scrambles up. Moves through the dark toward the door. Has to get out of here now.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL HALLWAY - DAY<\/stage_direction>\n    <scene_description>Sarah bursts from the classroom -- RIGHT INTO LAINE AND PETE IN THE HALLWAY. Laine sees how panicked her sister is. The tears on her face. And Sarah keeps looking back at the classroom door.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Sarah, what is it --<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>-- he's here.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Wait. What happened?<\/dialogue>\n    <scene_description>Sarah's looking everywhere. Paranoid. Doesn't even feel safe standing in the hallway.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>He's here. Following us wherever we go.<\/dialogue>\n    <scene_description>Laine glimpses Sarah's NOTEBOOK clutched in her arms -- the jagged carved letters. She gently takes the notebook from Sarah. It doesn't look like anything, until she turns it upside down. A MESSAGE --<\/scene_description>\n    <character>FINSH GAME<\/character>\n    <dialogue>And now in the light, Sarah finally sees the message as well. She stares with a sick look.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VACANT LOT - DUSK<\/stage_direction>\n    <scene_description>The empty neighborhood lot. !Trevor sits at the curb next to his bike. !He checks his cell phone, looks up as Pete's car pulls up across the street. Laine gets out of the car and approaches. !Pete and Sarah hang back, giving them some space. !<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>Got your text.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Hey, those things I said...<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>You're here now. !That's all that matters.<\/dialogue>\n    <character>TREVOR<\/character>\n    <dialogue>So... why are we here?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VACANT LOT - DUSK<\/stage_direction>\n    <scene_description>LONG SHOT. !In the fading light of day, Laine, Trevor, Pete and Sarah walk through the tall dead grass... heading toward the spot where they burned the Ouija board. Sarah stops. Doesn't want to go any further. Laine continues on... walks up to a spot in the dirt. Black charred bits of wood and grey ash. Remnants from the fire. Laine leans down, brushes away the ash. Pete and Trevor stand over her shoulder... watching. Laine keeps sweeping the ash away with her hand... a familiar antique font alphabet appearing underneath. It's the OUIJA BOARD. !Totally intact. !As if the fire never touched it. !The PLANCHETTE too. !Not burned. !It's perfect. Everyone stares. It's a nightmare they can't escape. Laine stands with the board in her hands. !Beat. !She turns it over. !And there's a BLACK SMUDGE on the back. !That same CREEPY HANDPRINT we glimpsed in the Ouija internet article.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>I saw this before. !On Debbie's video... she was standing in the mirror. !Something was on her skin. It was this. !A handprint. !His handprint. !<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Is that what he's doing? !Marking us. !Telling us who's next.<\/dialogue>\n    <scene_description>Pete, Trevor and Laine check themselves. Nothing. And then Laine looks over at Sarah... standing there with her sleeves pulled to her wrist. Laine doesn't even need to say anything.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Don't make me look. !I don't want to know...<\/dialogue>\n    <scene_description>Laine comes over... gently pulls one of Sarah's sleeves up. Nothing there. !Pulls the other one up... and there's the DARK HANDPRINT on her forearm.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>I'm next. I'm going to die...<\/dialogue>\n    <scene_description>Sarah frantically tries to wipe away the black handprint. She's totally losing it. Laine takes her sister's face... trying to calm her.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>No. !I won't let that happen. !We have to play one last time and then it's over. !Do you trust me?<\/dialogue>\n    <scene_description>Sarah holds the look with Laine -- nods.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEBBIE'S HOUSE - DUSK<\/stage_direction>\n    <scene_description>Sun setting. !Trees casting long shadows. !EASE IN on the dark windows...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBBIE'S HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>The downstairs is totally still for a long beat... then a FIGURE moves through the shadowed house. !Stepping through the broken mirror shards on the floorboards. ! It's DEBBIE'S MOTHER. She walks slowly. Eyes searching. Expectant. She freezes at hearing a dull SLIDING sound coming from upstairs.<\/scene_description>\n    <character>MRS. GALARDI<\/character>\n    <dialogue>Debbie?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBBIE'S HOUSE - STAIRS - MOMENTS LATER<\/stage_direction>\n    <scene_description>Debbie's mother stands at the bottom of the stairs looking up. She reaches for the handrail and begins to head up... passing photos of her daughter along the wall. !Debbie's face distorted by the shadows on the glass as she passes.<\/scene_description>\n    <character>MRS. GALARDI<\/character>\n    <dialogue>Are you here, baby? !Let me see you -- I need to see you.<\/dialogue>\n    <scene_description>From upstairs... that dull SLIDING sound again. Mrs. Galardi keeps moving up the stairway. !Suddenly, she stops. Gasping at the sight of -- -- a DARK FIGURE standing at the very top of the stairs by the wall. !The face is concealed with one of Debbie's painted theatre MASKS. Mrs. Galardi smiles in astonishment. !Her eyes alive.<\/scene_description>\n    <character>MRS. GALARDI<\/character>\n    <dialogue>I knew it. !I knew you were here.<\/dialogue>\n    <scene_description>THE FIGURE just stands there. Not moving. Mrs. Galardi continues up the stairs, almost to the top... now just inches away from the FIGURE.<\/scene_description>\n    <character>MRS. GALARDI<\/character>\n    <dialogue>I want to see that beautiful face ...just once more.<\/dialogue>\n    <scene_description>Mrs. Galardi reaches out with trembling hands and slowly begins to lift the mask. !We don't see what she sees -- -- as the smile fades from her face. Mrs. Galardi stares with the most devastating expression of dawning horror. And then it's as if she simply can't take what she's looking at and she SCREAMS. Loses her footing on the stairs. Suddenly STUMBLES BACKWARDS --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEBBIE'S HOUSE - NIGHT!<\/stage_direction>\n    <scene_description>Pete's car pulls up. Everyone gets out, but Laine instantly sees something that makes her face fall -- MRS. GALARDI'S EMPTY CAR. Parked out in front of Debbie's house like before. Driver's side door wide open. Laine turns -- sees that the front door is cracked open. She hurries toward the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBBIE'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Laine moves past the same bits of broken mirror on the floor. Scanning the dark. The house absolutely silent. Laine keeps going. She rounds the corner to the stairs... glances up to see that they are empty. Beat... about to move on... looking down -- and there's that MASK at the bottom of the steps. Icy beat. Laine stares. Reaches down to pick it up -- -- WHEN SOMEONE SUDDENLY GRABS HER ARMS! Laine staggers in shock. It's MRS. GALARDI. Crawling out from the shadows. Dazed and hurt from a bad fall down the stairs. Grabbing onto Laine in a blind panic. Laine kneels down with Mrs. Galardi.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>It's alright. I'm here. I'm right here.<\/dialogue>\n    <scene_description>But Mrs. Galardi keeps staring up at the top of the stairs.<\/scene_description>\n    <character>MRS. GALARDI<\/character>\n    <dialogue>-- not alone -- she wasn't alone --<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>Hang on, hang on -- I'm going to call for help.<\/dialogue>\n    <scene_description>And now Debbie's mother raises an arm and points up. Laine turns in that direction... looking toward the top of the stairs. But it's just emptiness up there. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEBBIE'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>SILENT AND DREAM-LIKE. Laine in the street, talking with a POLICE OFFICER. Answering questions. MRS. GALARDI is loaded into an ambulance. Doors shut. THROUGH THE AMBULANCE DOORS as it pulls away. Looking out at Laine through the back window... getting smaller as she stands there in the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEBBIE'S HOUSE - BACKYARD - NIGHT<\/stage_direction>\n    <scene_description>Laine enters the backyard. The others are already here. Waiting. The mood is so grim.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>She hit her head pretty hard. They think she fell down the stairs. But she'll be okay.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>D.Z. did that to her. Because it doesn't want anyone else in the house.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Only us...<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>Caminar hacia atr\u00e1s en las huellas, al principio.<\/dialogue>\n    <character>TREVOR<\/character>\n    <dialogue>What does that mean?<\/dialogue>\n    <scene_description>Sarah trades a look with Laine.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>'Walk backwards in our footsteps.'<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>It's how we stop him.<\/dialogue>\n    <scene_description>They turn and look up at the dark house, knowing they have to go inside. A NIGHT WIND starts to rise as we go -- POV OF TREVOR'S VIDEO CAMERA. Set up like before. Same angle on the Ouija board.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBBIE'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Just like the previous games, everyone is in place around the Ouija board. But now -- only FOUR PLAYERS instead of five. One by one, each player puts their fingertips on the planchette. Laine offers a final caution --<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>What we all did to make contact, we now have to do in reverse. That's how we close the door.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>No matter what happens, don't take your hand away.<\/dialogue>\n    <scene_description>The air is absolutely electric. Laine begins, saying the words we've heard before, but backwards --<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>You to call... we near spirits... ...true are hearts... gathered... we have friends... as...<\/dialogue>\n    <scene_description>Everything's quiet. Laine glances at the others.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Now four times around the board. One for each of us. Backwards.<\/dialogue>\n    <scene_description>Together they circle the board -- counter-clockwise -- with the planchette. Very cautiously. Completing a full cycle.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Okay. One down...<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>Keep going...<\/dialogue>\n    <scene_description>Hope rising. They start the second circle, and THE PLANCHETTE STARTS TO VIBRATE AND RATTLE against the surface of the board.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>It's D.Z.<\/dialogue>\n    <scene_description>They keep pushing at the planchette, but it's as if the piece is suddenly heavy. Hard to move.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>He's pushing back.<\/dialogue>\n    <scene_description>There's a DEEP, LOW GROAN somewhere in the house. VIDEO CAMERA ANGLE -- Eyes dart. Everyone heard that.<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>He knows what we're doing.<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>Do not stop.<\/dialogue>\n    <scene_description>THE IMAGE GLITCHES -- like we saw before when Laine was watching the footage of Debbie's games. And in the momentary distortion, beyond the four players sitting around the board... there is ANOTHER PRESENCE in the shadows. BACK WITH THE GROUP -- FINGERTIPS PUSHING. Veins in hands straining. The planchette finally finishing the second circle. That OTHERWORLDLY GROAN IN THE HOUSE -- LOUDER! Sounds as if it's moving behind the walls. Across the ceiling.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Two more. C'mon c'mon c'mon --<\/dialogue>\n    <scene_description>They start to move the planchette -- and somewhere in the darkness a DOOR SLAMS! The sound THUNDERS THROUGH THE HOUSE.<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>It's not working... it's not working...<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>Goddammit. Focus.<\/dialogue>\n    <parenthetical>(calling out into the room)<\/parenthetical>\n    <dialogue>D.Z. -- we know you're here. We're ending the game!<\/dialogue>\n    <scene_description>And everyone keeps PUSHING THE PLANCHETTE as it seems to literally fight against their efforts. The third circle complete. On to the last...<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>We can do this.<\/dialogue>\n    <scene_description>The planchette inches... slowly moving... THE UNGODLY NOISE in the house rises -- LOUDER -- the planchette finishes the fourth and final circle around the board.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Hurry. Move it to 'Good Bye' and we're done.<\/dialogue>\n    <scene_description>Together, they move the planchette toward the words at the bottom of the board -- but it stops. RATTLING in place. Won't go any further. An incredible force pushing back against them. The lanterns FLICKER AND DIM. THE GROANING SOUND falls away as everything becomes eerily quiet.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>C'mon... almost there.<\/dialogue>\n    <scene_description>A breathless beat -- -- as the lantern softly FLICKERS. Faster. Now strobe-like. BLASTS OF LIGHT and then total darkness. Over and over. And in those FLASHES -- glimpses of a FIFTH PERSON NOW SITTING WITH THE OTHERS AT THE BOARD. An 18-year-old YOUNG MAN. Ghostly. Eyes filled with menace. It's D.Z. Everyone sees him. Holy shit! Another FLASH of light -- and now he's gone. Back into darkness. Sarah's SCREAM suddenly fills the room -- Laine looks over. Face going slack -- -- BECAUSE SARAH'S BEING LIFTED KICKING AND SCREAMING OFF THE FLOOR! Something shadowy and mostly unseen is behind her -- holding her -- making it look like Sarah's levitating in the rapid-fire strobes of light. And then -- WHOOSH! Sarah goes flying across the room. OUT INTO THE UPSTAIRS HALLWAY. THE BEDROOM DOOR SLAMMING SHUT! Pandemonium. Everyone scrambles up from the floor and runs to the door. Trying to get it open. Sarah SCREAMS from the other side --<\/scene_description>\n    <character>SARAH (O.S.)<\/character>\n    <dialogue>Laine! Help me!<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>Hang on!<\/dialogue>\n    <scene_description>From the space at the bottom of the door, Sarah's fingers desperately reach out. Feeling out onto the floor. Laine crouches down -- holds her sister's hands while Trevor and Pete struggle with the door.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>I got you!<\/dialogue>\n    <character>SARAH (O.S.)<\/character>\n    <dialogue>He's here, Laine!<\/dialogue>\n    <scene_description>Laine holds tight, but now Sarah is totally frantic in the hallway. Like she's not out there alone. Her fingers slip away... right out of Laine's grasp. As Trevor and Pete finally get the door open -- -- INTO THE HALLWAY. And Sarah's not there. Laine takes in the empty hallway.<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>Where the hell is she??!!<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>SARAH!<\/dialogue>\n    <scene_description>No answer. Laine grabs a flashlight. CLICK. The three of them move down the upstairs hallway. All we can see are their faces in the light. UP AHEAD -- the various bedroom doors. More darkness within each room. It feels like anything could be waiting around the next corner... THE THREE SPLIT UP -- their lights moving away from each other. Into rooms... down the stairs...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBBIE'S HOUSE - PARENTS' ROOM - NIGHT<\/stage_direction>\n    <scene_description>Pete checks the parents' bedroom. Searching the dark. Moving fast. Everything looks so normal. The neatly made bed. Vanity table. Woman's dress hanging on an armoire. FROM BEHIND A CURTAIN. Hiding from this vantage point. Watching Pete search the dark room. BACK WITH PETE. He turns and notices the curtains. The last place he hasn't checked. He moves toward them. Reaches out and whips the curtain aside... ...but no one's there.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBBIE'S HOUSE - DOWNSTAIRS HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>LIGHT SWEEPS ACROSS OUR VISION -- it's LAINE. Laine moves toward a CLOSED DOOR with her light. A LOW, AWFUL SOUND rises... Laine stops. Breathing hard. Listening. As the sound MOVES FROM BEHIND THE WALL -- SCRAPING OVERHEAD -- ACROSS THE CEILING -- and then off into the house. Like a presence passing. Quiet again... Laine summons her resolve... arrives at the CLOSED DOOR. Beat. She quickly twists the door knob and pushes into -- THE GARAGE. Laine shines her light into the dark corners, but Sarah's not here. Laine's desperation grows. She calls out --<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Sarah?! Can you hear me?<\/dialogue>\n    <scene_description>Behind her in the hallway -- SOMEONE'S NOW STANDING THERE in the shadows. The faintest whispery voice --<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Laaainne...<\/dialogue>\n    <scene_description>THE FIGURE moves. Not walking. They eerily slide out of view... off into the house. Laine turns -- not seeing anyone. ELSEWHERE. WITH TREVOR -- heading toward the back of the house. Lantern sweeping the shadows. No sign of Sarah. Trevor swings the light over toward the sliding glass door leading to the back. It's OPEN. He steps closer -- 'Is Sarah out there?'<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEBBIE'S HOUSE - BACKYARD - NIGHT<\/stage_direction>\n    <scene_description>Trevor is now out back. Night wind blowing. Leaves SKITTERING across the pool cover... Trevor scans the area. His light sweeps across patio furniture... but no sign of Sarah. A SOUND. BEHIND HIM. Trevor turns. Holding his light out. Everything still. A WATERY SOUND... ...as A SHAPE MOVES BENEATH THE POOL COVER. Something's in the water. At first he can't believe it. A trick of the eyes. Trevor steps toward the edge of the pool... A SICK GURGLING SOUND... as the SHAPE moves again under the pool cover.<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>Sarah!<\/dialogue>\n    <scene_description>Trevor moves fast. He reaches down... peels the pool cover back... brackish water underneath. Impossible to see anything as -- -- AN EXPLOSIVE SPLASH! LANTERN DROPS TO THE CONCRETE. -- and Trevor is VIOLENTLY PULLED INTO THE POOL! Disappearing under the surface of the water. The pool settles. Quiet. Stay here for as long as we can get away with. We're now literally holding our breath. Waiting for Trevor to come up... ...but he never does.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBBIE'S HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>WITH PETE. At the back sliding glass door. He hears the soft lapping of the pool, looks out -- sees the fallen lantern lying on the concrete... but no Trevor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEBBIE'S HOUSE - BACKYARD - CONTINUOUS<\/stage_direction>\n    <scene_description>PETE RUNS FOR THE POOL. Arrives at the edge. Shines his light down into the dark water. Can't see Trevor. Pete reaches in... his hands searching... water splashing everywhere... desperate -- -- AND THEN HE GRABS HOLD OF SOMETHING. Pulls. It's TREVOR. Coming up out of the water. Head sagging. Drenched. Lifeless.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>No no no... Trevor, c'mon.<\/dialogue>\n    <scene_description>Pete strains with everything he's got and manages to hoist Trevor out of the pool. Lays him on the concrete. Trevor doesn't move at all. Pete puts his ear to Trevor's chest... listens for a heartbeat. His expression says it all -- this isn't good. Pete shakes Trevor.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Trevor --<\/dialogue>\n    <scene_description>Nothing. Trevor's not moving. Not breathing. Pete puts his hands into CPR position. He pumps on Trevor's chest. Again. Again. -- -- Trevor's whole body JOLTS as he coughs up water. Gasps for breath. Eyes blinking. Taking in air. He finally focuses on Pete. Realizes he just saved his life. Pete holds a look with him -- relieved.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBBIE'S HOUSE - BATHROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Laine enters a bathroom. Clutching her light in the darkness. She scans the small space. No sign of Sarah... about to leave when -- -- there's a sound. Coming from behind the glass shower door. A dull THUMP... THUMP. Laine turns. Stares at the shower. She waits for the sound to come again, but it's just silence. She takes a step closer. Flashlight trembling in her grip. Trying to see through the opaque shower door glass. Another step -- and THUMP! Something SLAMS against the other side of the glass. A DISTORTED FIGURE. One HAND -- then another SLAMS against the glass! Laine FREAKS! Swings her light wildly as -- -- the shower door CREAKS open and THE FIGURE stumbles out, COLLIDING RIGHT INTO LAINE! Laine's light finally settles to see that it's Sarah. Her eyes are dazed. She looks totally disoriented. Traumatized. Laine holds her sister. Brushing the hair out of her face. Sarah's so scared, trying to get the words out --<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>He told me...<\/dialogue>\n    <scene_description>Her voice fades. Eyes unable to focus.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Hey. It's me. Sarah? It's Laine. Are you hurt? Talk to me.<\/dialogue>\n    <scene_description>Sarah is falling apart. Shaking all over like she has hypothermia.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>He's playing with us.<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>Just breathe.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>This is the only thing he wants... that taste of life again.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>He finishes with us and then it's another game. It keeps going and going...<\/dialogue>\n    <scene_description>EASE IN ON LAINE -- as she's suddenly hit with a MEMORY. DEBBIE. ON THE VIDEO. Playing the Ouija alone in her room.<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>Let's start a new game. How does that sound? Okay. Good. Here we go.<\/dialogue>\n    <scene_description>SNAP BACK TO LAINE -- a revelation now clear to her.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Another game... that's what she was doing. Trying to protect me...<\/dialogue>\n    <scene_description>Beat. Laine puts her flashlight into Sarah's hands.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Sarah -- I want you to stay right here. You'll be safe.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Don't leave me.<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>I love you.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Wait, why are you saying that --<\/dialogue>\n    <character>LAINE<\/character>\n    <dialogue>-- no matter what happens, you remember that. Okay, Worm?<\/dialogue>\n    <scene_description>Laine's pulls away...<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Laine!<\/dialogue>\n    <scene_description>But she's gone. Hurrying off into the dark house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBBIE'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>THE OUIJA sits on the floor. Right where the group left it. Lantern to the side. The board seems larger than life. Laine steps into the doorway in the background. Regards the board. Heavy. She comes into the room and closes the door. Locks it. Laine kneels down at the Ouija. She hesitates -- then places her fingertips on the planchette. She slowly starts to circle the board. Clockwise. One time.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>As friends we've gathered, hearts are true. Spirits near, we call to you.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>D.Z. -- if you're here, make your presence known.<\/dialogue>\n    <scene_description>It's now clear what Laine's doing -- she's here to play the game alone. SUDDENLY -- A STRANGE POV. Looking up at Laine through the Ouija board. Like it's a window into the room. The letters and words on the board are all backwards. And the sound in this place -- an evil LOW GROANING like a rising storm. BACK WITH LAINE in the shadowy room.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Just tell me that you're here. Talk to me.<\/dialogue>\n    <scene_description>EASE IN ON THE PLANCHETTE. Totally still. A twitch under Laine's fingertips. The planchette moves. Spells out the familiar greeting -- HI FREND<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Hi friend. !Then our game has started.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I know something about you... all the games you've played before. The terrible things you have done.<\/dialogue>\n    <scene_description>The entire room seems to react with menace. A dull wind in the dark blowing against Laine.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>You move game to game. One to the next. And now you're playing with me. Just the two of us. That means the last game is over. You can't hurt my friends... can't hurt my sister. Not anymore.<\/dialogue>\n    <scene_description>The planchette RATTLES on the board. There's an angry energy in the room.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>But I'm here. I'm ready.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBBIE'S HOUSE - DOWNSTAIRS - NIGHT<\/stage_direction>\n    <scene_description>Pete and the still soaking wet Trevor hurry through the house. Their light catching sight of Sarah. But Trevor immediately notices that Laine's absent.<\/scene_description>\n    <character>TREVOR<\/character>\n    <dialogue>Where's Laine?<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>She went upstairs.<\/dialogue>\n    <scene_description>With a sick realization --<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>She's with the Ouija. Alone.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBBIE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Laine is still at the board. Fingers still in place. The LANTERN flickers as Laine's hit by an angry uncanny blast of wind. An angry energy filling the room. The closet door swings open. The mirror mounted to the inside, reveals Laine's reflection. !She gasps at the sight of a prominent large black HANDPRINT now on her arm. !She has been marked! And then she sees in the reflection -- BEHIND HER -- someone standing there. It's D.Z. He reaches out toward her with a strange stuttering arm. ! Suddenly -- THE MIRROR CRACKS. !Spiderwebs. ! A loose shard rattles in the mirror -- then sucked away by the wind. Flies across the room. The sharp piece SLICES Laine's cheek. Draws blood. There's POUNDING on the other side of the door. Trevor's voice faintly yelling under the rising chaos in Debbie's room. WHOOSH! Debbie's shelves slide in front of the door. No one's getting in. Laine shoots a look to the door. Knows she's trapped. Bathed in a little island of lantern light in the inky black that surrounds her. This is where she's going to die. She takes a brave breath. Closes her eyes. Ready. SLOWLY MOVE DOWN LAINE TO THE PLANCHETTE, rattling on the board -- as OTHER HANDS reach in. Fingertips touching. Laine senses something. Opens her eyes. Astonished to see that SOMEONE is sitting across from her. Playing the game. It's a TEENAGE GIRL. The girl looks up with sad eyes... It's DEBBIE. Laine whispers in amazement. !Totally overcome with emotion to see her old friend sitting across from her.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Debbie...<\/dialogue>\n    <character>DEBBIE<\/character>\n    <dialogue>Never play alone, Laine.<\/dialogue>\n    <scene_description>The way Debbie says these words... so full of regret. !Laine starts to cry. !And Debbie does too. Debbie looks around her room. !At all of her things. !And then sees her bracelet on Laine's wrist. !She reaches out and touches it. !A piece of her living on through Laine. !!<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>I should've been there for you. I'm so sorry. !If I could do it all over again...!<\/dialogue>\n    <scene_description>Debbie smiles through her tears. !All is forgiven between them. But Debbie's smile slowly fades, sensing something -- -- and she suddenly spins and looks behind her. !Terrified.<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>Laine -- he's coming.<\/dialogue>\n    <scene_description>The LANTERN flickers. In the flash of light, DEBBIE NOW LOOKS HORRENDOUS! Plastic dry cleaning bag wrapped tight around her screaming twitching head. Another LAMP flicker -- back to normal. A part of her stuck here. Can't move on.<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>Take your hands away.<\/dialogue>\n    <scene_description>Laine shakes her head. !<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>No! !I'm not leaving you again. !<\/dialogue>\n    <scene_description>The vibe in the room grows more intense. All around them, A FIGURE drifts in and out of the shadows. There! Then over there! It feels like being in the very heart of evil. The PLANCHETTE twitches across the board.<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>You have to, Laine... you have to say goodbye.<\/dialogue>\n    <scene_description>Laine is crying harder. !Shaking her head. !Terrified but willing to die right here.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>I can't.<\/dialogue>\n    <character>DEBBIE<\/character>\n    <dialogue>You need to go, Laine. !Live a good life. !Do great things...<\/dialogue>\n    <scene_description>The two girls lock eyes with each other. !<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>...for me.<\/dialogue>\n    <scene_description>Laine is overcome. !Can barely get the words out.<\/scene_description>\n    <character>LAINE<\/character>\n    <dialogue>Good bye...<\/dialogue>\n    <scene_description>Laine pulls her hands away from the board. Alone, Debbie does a reverse circle around the board. Finally moves the planchette to GOOD BYE, but she's looking at Laine when she says...<\/scene_description>\n    <character>DEBBIE<\/character>\n    <dialogue>Goodbye.<\/dialogue>\n    <scene_description>THE ROOM IS RATTLING LIKE HELL. Everything reaching a final pitch fury -- Debbie is now looking over Laine's shoulder. Laine slowly turns-- glances behind her -- A DARK FIGURE STANDS THERE. Hovering above them. The uncanny wind howling and storming around Laine. Suddenly -- DEBBIE ERUPTS in her own fury. For a split second, that disturbing death appearance of the plastic bag around her twitching head. FLASH. Then normal again. She bolts off the floor. Takes four running steps at THE FIGURE. Both of them falling back into the shadows. The WIND ON LAINE IS FEROCIOUS. She SCREAMS! Can barely hear her. The LANTERN FLICKERS HARD then total darkness.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT - CONTINUOUS<\/stage_direction>\n    <scene_description>Trevor SHOVES at the door. Finally gets it open --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBBIE'S ROOM - NIGHT - CONTINUOUS<\/stage_direction>\n    <scene_description>-- he bursts into the room -- -- to find that everything is totally still. He shines his light around the room. The calm after the storm. Laine's not here. It's just the board sitting on the middle of the floor. A smear of blood on it. Next to the board, the planchette. It's literally cracked in half. Sarah moves in behind Trevor. Taking in the room. Doesn't see her sister anywhere.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Laine?<\/dialogue>\n    <scene_description>And Sarah starts sobbing. Fearing the worst. Trevor holds her. Both of them speechless. Pete crouches down. Nudges the broken planchette with his flashlight. Taking in the stillness of the room. A faint sound. He shines his light over by the bed. Can't see anything. Pete moves forward... closer... around the side of the bed. And there's LAINE. Huddled in a corner. Her head buried in her arm. Pete gently reaches out... touches her. Laine glances up. Surprised to see him. Surprised that she's even here. Laine looks at her arm -- the handprint mark that was there is gone.! Sarah turns. Sees her sister. Races over to her. Crying even harder now. They hold each other. Not letting go.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEBBIE'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>PULL AWAY from the house. The horror truly feels over. The spirit moving on to the next game. Somewhere out there... DISSOLVE TO: CLOSE. A PIECE OF PARCHMENT. Letters appearing one by one, spelling out the name DEBORAH.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETERY - DAY<\/stage_direction>\n    <scene_description>Trees. Grass. WE FIND LAINE... at Debbie's grave. Making a rubbing of her headstone. Finished, she pulls the parchment away, revealing the full inscription: Deborah Galardi - A Friend Forever SARAH, TREVOR AND PETE are standing here too. They all place a flower at the grave and then step away. Allowing Laine to have a final moment. Laine places her single white flower among the others. She kisses her fingers, touches the headstone. Laine rises. A last look... and she steps away. ROLL CREDITS over a haunting, female vocal cover version of Morrissey's \"Ouija Board, Ouija Board.\" Ouija board Would you work for me? I have got to say hello To an old friend And for those who stay all the way until the very end of the credits, they are rewarded with a final tag: BLACK. !We hear a GUY'S VOICE --<\/scene_description>\n    <character>GUY'S VOICE (O.S.)<\/character>\n    <dialogue>Here it is. !The moment we've all been waiting for.<\/dialogue>\n    <scene_description>IMAGE COMES UP. !A guy on screen, speaking directly to the camera. !We recognize him as HIP PODCAST GUY from earlier when Sarah was on her computer.<\/scene_description>\n    <character>HIP PODCAST GUY<\/character>\n    <dialogue>One million people online, right now -- ready to play the world's biggest game of Ouija. What are we waiting for? Let's do this. Hand on your mouse.<\/dialogue>\n    <scene_description>The image of a virtual OUIJA BOARD comes up and fills the screen. !The layout and lettering identical to the actual game. The planchette circles the board in a clockwise motion.<\/scene_description>\n    <character>HIP PODCAST GUY (O.S.)<\/character>\n    <dialogue>Is there a spirit with us now? Please let us know that you are here.<\/dialogue>\n    <scene_description>Beat... then the planchette on screen moves up to the YES. PULL AWAY FROM THE SCREEN... into a bedroom... we see a hand resting on the computer mouse. !KEEP PANNING UP to reveal that it's SARAH. !Sitting at her laptop in her room.<\/scene_description>\n    <character>HIP PODCAST GUY (O.S.)<\/character>\n    <dialogue>Okay, this is seriously cool. Spirit, can you tell us your name?<\/dialogue>\n    <scene_description>ON THE SCREEN -- the planchette sits there. !Then slowly starts to move. Across the letters... keeps moving... SARAH watches... waiting... As the planchette finally lands on the letter \"D.\" Whoa. !Sarah clicks out of the screen. !The online Ouija game is gone. She sits there. !Lets out a breath. Never again. Sarah clicks the mouse, and now something else comes up on screen. Solitaire. !Nice safe Solitaire. !PULL BACK FROM SARAH as she begins to play...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEIGHBORHOOD - NIGHT<\/stage_direction>\n    <scene_description>VARIOUS SHOTS. !Different houses. !The distinctive blue glow of computer screens from bedroom windows. We catch glimpses through curtains and blinds. !Other people with the OUIJA board on their computer. !Playing. WIDE SHOT. !The vast sprawl of the suburbs before us. !All those houses. !All those people. !Glimmers of lights in the windows. The world's biggest Ouija game is underway... FADE OUT.<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Debbie Galardi recalls playing Ouija with her best friend Laine Morris as children. In present day, she throws her Ouija board into the fire and implies to Laine that something strange happened with the board. After Laine leaves, the Ouija board reappears in Debbie's bedroom. Debbie becomes possessed and hangs herself inside her home. Laine attends Debbie's wake with her boyfriend Trevor, younger sister Sarah, friend Isabelle, and Debbie's boyfriend Pete. The five friends meet at Debbie's house and use her Ouija board to try communicating with her. Strange things happen, and a presence smashes Pete's hand and face into a mirror. The friends start finding the phrase \"Hi friend\" (a message communicated during the Ouija board session) written in different places, like Isabelle's car and Pete's desk. Thinking Deb is trying to communicate with them, they have another Ouija session and discover that they are actually in contact with a spirit calling itself \"DZ\". Laine sees the image of a little girl with her mouth sewn shut. The girl warns them to run because her mother is coming. Laine later learns that Deb found the Ouija board in her attic and played alone. Isabelle is possessed and killed. Laine and Pete search Deb's attic and find a box of old photographs that belonged to the previous residents. While researching the previous family's history, they learn of a little girl named Doris Zander who went missing. Doris' sister Paulina, now an old woman committed to a psychiatric hospital, explains that her mother was a medium and used Doris as a vessel for the dead to speak through. Their mother went mad and sewed Doris' mouth shut, killing her. She tells Laine that there is a secret room in the house where Laine must find Doris' hidden body and unstitch her mouth in order for the girl to banish their mother. The friends go back to the Galardi house, where Laine finds Doris' corpse and cuts the stitches on her mouth. Doris' mother's spirit protests, but Doris chases away the ghost. Pete becomes possessed and is killed. Laine revisits Paulina, realizing that she was in allegiance with Doris all along and had intentionally lied. Doris is the evil entity and her mother was trying to stop the friends from summoning her. Laine's grandmother, Nona, advises the sisters to destroy Doris' body and the Ouija board. Doris' ghost drowns Trevor and captures Sarah to sew her mouth shut. Laine plays the Ouija board alone to draw the spirit's attention. Doris starts possessing Laine, but Debbie's ghost helps Laine defeat Doris. Sarah and Laine throw Doris' body and the Ouija board into the furnace, stopping the paranormal activity. Later, Laine finds that the planchette has mysteriously appeared back at her home and looks through it."}
{"movie_name":"Luca_2021","imdb_id":"tt12801262","script":"<script>\n  <scene>\n    <character>LUCA<\/character>\n    <dialogue>Original Screenplay by<\/dialogue>\n    <scene_description>Jesse Andrews Mike Jones<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIGURIAN SEA - NIGHT - PROLOGUE<\/stage_direction>\n    <scene_description>A small FISHING BOAT exits the harbor of PORTOROSSO, a Ligurian seaside town. Onboard, a gramophone plays a 1950s pop song. An Italian flag flutters in the breeze. The boat's wake cuts the deep inky blue of the ocean, as lights glimmer on the waves. On the boat, TWO FISHERMEN. One old, one young. The old one (TOMMASO) steers while the young one (GIACOMO) frets--<\/scene_description>\n    <character>GIACOMO<\/character>\n    <dialogue>Listen, Tommaso--do we really need to fish near the island?<\/dialogue>\n    <character>TOMMASO<\/character>\n    <dialogue>You worry too much.<\/dialogue>\n    <scene_description>Giacomo points downward-- At a fascinating old illustrated MAP of the Ligurian Sea, featuring all manner of sea monsters. He points his finger near ISOLA DEL MARE, the island they're heading towards.<\/scene_description>\n    <character>GIACOMO<\/character>\n    <dialogue>I dunno. ...What if the old stories are true?<\/dialogue>\n    <character>TOMMASO<\/character>\n    <dialogue>Oh, c'mon, Giacomo. You really believe in sea monsters?<\/dialogue>\n    <character>GIACOMO<\/character>\n    <dialogue>Too many strange things have been seen in these waters...<\/dialogue>\n    <character>TOMMASO<\/character>\n    <dialogue>They're all just stories. Tall tales to keep us away from a great fishing spot.<\/dialogue>\n    <character>GIACOMO<\/character>\n    <dialogue>But, Tommaso!--<\/dialogue>\n    <character>TOMMASO<\/character>\n    <dialogue>We're fine. Non preoccupare ti, Giacomo.<\/dialogue>\n    <scene_description>Tommaso cuts the engine, and changes the record on the gramophone. Puccini. O mio babbino caro. \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>TOMMASO<\/character>\n    <dialogue>That's more like it.<\/dialogue>\n    <scene_description>As the aria fills the night air, they pull in their nets-- While some scaly shadowy something approaches. (This is ALBERTO. We won't really meet him until later.) Its FIN knifes through the water as it closes in on the boat-- Oh. It's not here to murder them. It's here to steal stuff. As the fishermen go about their business, oblivious, the thing swipes a WRENCH, a DRINKING GLASS, PLAYING CARDS-- But as it reaches a skinny purple arm for the gramophone--<\/scene_description>\n    <character>GIACOMO<\/character>\n    <dialogue>AAAH! What is that!?<\/dialogue>\n    <scene_description>Our scampish little sea monster has been spotted.<\/scene_description>\n    <character>TOMMASO<\/character>\n    <dialogue>Per mille sardine--<\/dialogue>\n    <scene_description>The figure dives into the water--and right into the fishermen's net. It STRUGGLES, getting more tangled-- A lantern smashes on the deck--the light goes out--the panicked fishermen try to reel him in--<\/scene_description>\n    <character>GIACOMO<\/character>\n    <parenthetical>(straining efforts)<\/parenthetical>\n    <dialogue>Tira, tira!<\/dialogue>\n    <scene_description>The boat lists to one side as the tug-of-war intensifies-- Desperate to escape, the sea monster reverses direction and BREACHES THE SURFACE-- It arcs over the fishermen--astonished, they stumble backwards, knocking the gramophone into the water-- The sea monster dives into the water on the opposite side-- Giacomo, shaking, throws a harpoon after him, but misses-- And the sea monster is gone.<\/scene_description>\n    <character>TOMMASO<\/character>\n    <parenthetical>(panting)<\/parenthetical>\n    <dialogue>You missed! Let's go--before it comes back for us--<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>GIACOMO<\/character>\n    <dialogue>I told you they were real!<\/dialogue>\n    <character>TOMMASO<\/character>\n    <dialogue>Oh, what a monster. Horrifying...<\/dialogue>\n    <scene_description>The gramophone and other objects from the boat SINK into the murky depths of the ocean as ominous music BUILDS-- SMASH TO: LUCA, 12 an adorable and not remotely frightening SEA MONSTER BOY, freaking out:<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>AaaaaaaahhhH!!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PAGURO HOME - MORNING<\/stage_direction>\n    <scene_description>WIDE--he is in front of some kind of UNDERSEA BARN. Its doors are open and no one is inside. He whirls to see his family's herd\/school of GOATFISH dispersed all over the pastoral undersea landscape, snacking on inappropriate things.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Fish out of the barn. FISH OUT OF THE BARN. Mom's gonna kill me--<\/dialogue>\n    <scene_description>One of the goatfish bleats, like a goat, then zips away--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Caterina! --Wait!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTSIDE THE BRANZINOS' HOME - BRISK CUTS OF LUCA CHASING<\/stage_direction>\n    <scene_description>DOWN GOATFISH Luca tears past a SEA MONSTER FARMER, startling him in the middle of feeding his crabs--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Good morning, Mr. Branzino! And also, I'm sorry. And, uh. How's Mrs. Branzino?<\/dialogue>\n    <character>MR. BRANZINO<\/character>\n    <parenthetical>(unamused)<\/parenthetical>\n    <dialogue>Hi, Luca.<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTSIDE THE GAMBERETTOS' HOME<\/stage_direction>\n    <scene_description>Luca timidly approaches another stolid sea monster farmer--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Excuse me, ma'am? Have you, by any chance--<\/dialogue>\n    <character>MRS. GAMBERETTO<\/character>\n    <parenthetical>(severely)<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>She rotates. A goatfish is nibbling the back of her head.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLSIDE<\/stage_direction>\n    <scene_description>Luca races up a hill after--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Giuseppe! Get back here!!<\/dialogue>\n    <scene_description>--one last goatfish (GIUSEPPE) nosing his way up the hill, in the direction of the surface. Luca jumps on him; Giuseppe squirms free. Some greased-pig shenanigans. Finally Luca gets him under an arm, and scolds him as he heads back down--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>You wanna run off like your buddy Enrico? Because I've got news for you: he's either dead, or he's...<\/dialogue>\n    <parenthetical>(thinking about it)<\/parenthetical>\n    <dialogue>...out there somewhere.<\/dialogue>\n    <parenthetical>(a little dreamily)<\/parenthetical>\n    <dialogue>Seeing the world.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>LUCA<\/character>\n    <parenthetical>(snapping out of it)<\/parenthetical>\n    <dialogue>But he's probably dead!<\/dialogue>\n    <scene_description>They return to the now-assembled flock--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Okay. That's everyone.<\/dialogue>\n    <parenthetical>(knowingly)<\/parenthetical>\n    <dialogue>Monalisa...? Why are you smiling?<\/dialogue>\n    <scene_description>MONALISA has kind of a creepy smile. She opens her mouth and a smaller fish wrestles its way out of there. \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Anyone else in there?<\/dialogue>\n    <scene_description>A few more fish emerge from Monalisa's mouth.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Giuseppe, what did we JUST talk about.<\/dialogue>\n    <scene_description>Giuseppe, who has begun straying from the herd a little, FREEZES. Then he continues straying from the herd a little more.<\/scene_description>\n    <character>LUCA<\/character>\n    <parenthetical>(to the school)<\/parenthetical>\n    <dialogue>All right--Let's head out--<\/dialogue>\n    <scene_description>TITLES, AS-- SEA MONSTER FARMERS attend to their labors, surrounded by the fields, farms, homes, and silos of a PEACEFUL AGRARIAN UNDERSEA COMMUNITY-- Luca exchanges warm polite greetings with many of them--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Hello!<\/dialogue>\n    <character>MR. GAMBERETTO<\/character>\n    <dialogue>Good morning!<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Hi, Mrs. Aragosta.<\/dialogue>\n    <character>MRS. ARAGOSTA<\/character>\n    <dialogue>Hey, Luca!<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Good morning!<\/dialogue>\n    <character>MR. MERLUZZO<\/character>\n    <dialogue>Morning!<\/dialogue>\n    <scene_description>Sea monsters: not quite how we imagine them. PAN TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNDERWATER FIELD<\/stage_direction>\n    <scene_description>Luca corrals the goatfish flock toward a PASTURE--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Ok. All clear.<\/dialogue>\n    <scene_description>The fish start grazing, and Luca settles in for another not- super-stimulating day. \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>LUCA<\/character>\n    <parenthetical>(to the fish)<\/parenthetical>\n    <dialogue>Let me know if you need anything. Anyone? No? ...Okay.<\/dialogue>\n    <scene_description>Luca sits on a ROCK and blows bubbles from his mouth, bored. Hmm. Giuseppe is sniffing at something--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Giuseppe?<\/dialogue>\n    <scene_description>--an ALARM CLOCK. Luca, intrigued, picks it up. What is this? It goes off, terrifying him, then mercifully stops. There's more--he spots a PLAYING CARD floating nearby-- He examines it, then looks up to contemplate the alien world that these things must have fallen from-- And spots a BOAT OVERHEAD--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>LAND MONSTERS!<\/dialogue>\n    <character>EVERYBODY UNDER THE ROCK!<\/character>\n    <dialogue>Luca herds the scattered goatfish into a small CAVE--this is a familiar drill.<\/dialogue>\n    <dialogue>They remain as the boat passes, not seeing them--<\/dialogue>\n    <dialogue>And as Luca watches it get farther away--<\/dialogue>\n    <scene_description>HE BEGINS TO FOLLOW. As he approaches the surface, the fascinating world up there comes into view--he tries to poke his head through, but the water BULGES unnaturally with his head, keeping him in the water--he strains to see what there is to see--<\/scene_description>\n    <character>DANIELA (O.S.)<\/character>\n    <dialogue>LUCA!<\/dialogue>\n    <character>LUNCH IS READY!<\/character>\n    <dialogue>Luca's mom's voice shatters his DAYDREAM, which was all it was--he's actually just a few feet off the sea floor.<\/dialogue>\n    <character>LUCA<\/character>\n    <parenthetical>(stressed)<\/parenthetical>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Luca scrambles to hide his clock and cards, and collect the herd--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Come on! We gotta get back--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PAGURO HOME - LUNCHTIME<\/stage_direction>\n    <scene_description>Luca swims home. His mom, DANIELA--loving, warm, overbearing-- is on him.<\/scene_description>\n    <character>DANIELA<\/character>\n    <dialogue>You're two minutes late. Was there a boat?! Huh?! Did you hide?!<\/dialogue>\n    <character>LUCA<\/character>\n    <parenthetical>(dutiful but weary)<\/parenthetical>\n    <dialogue>Yes, Mom.<\/dialogue>\n    <character>DANIELA<\/character>\n    <dialogue>Because if they catch even a glimpse of you--you think<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Uh-huh.<\/dialogue>\n    <scene_description>they come around to meet new friends? Huh? Make small talk No. about the current? No. I don't. They're here to do MURDERS. Uh-huh. Just making sure you know. Thanks Mom. They head into their cozy little undersea farmhouse, as Daniela reminisces about how things have changed--<\/scene_description>\n    <character>DANIELA<\/character>\n    <dialogue>When I was a kid, we'd go weeks without seeing a boat. And let me tell you, they did not have motors. Just a sweaty land monster with a paddle.<\/dialogue>\n    <scene_description>GRANDMA, prickly, irascible, sits at the table. Even if Luca wasn't her only grandchild, he'd be her favorite.<\/scene_description>\n    <character>LUCA<\/character>\n    <parenthetical>(giving her a kiss)<\/parenthetical>\n    <dialogue>Hi, Grandma.<\/dialogue>\n    <character>GRANDMA<\/character>\n    <dialogue>Hey, Bubble.<\/dialogue>\n    <scene_description>Luca's dad, LORENZO, is a little too into his show crabs, our sea monster equivalent of prize-winning chickens. He is attending to one now named PINCHY-PESSA. \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Hi, Dad.<\/dialogue>\n    <character>LORENZO<\/character>\n    <parenthetical>(whispering, awestruck)<\/parenthetical>\n    <dialogue>Luca. Look at Pinchy-pessa. She's molting. Oh, it's magnificent. Now here's a champion show crab if I ever saw one.<\/dialogue>\n    <character>LUCA<\/character>\n    <parenthetical>(trying to be interested)<\/parenthetical>\n    <dialogue>Oh. Nice.<\/dialogue>\n    <character>LORENZO<\/character>\n    <dialogue>Whoa whoa whoa! Don't look her in the eye!<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Sorry!<\/dialogue>\n    <character>LORENZO<\/character>\n    <dialogue>But don't apologize! She can sense weakness!!<\/dialogue>\n    <scene_description>Sure enough, Pinchy-pessa PINCHES Luca's ear. Daniela uses her tail to scoop up the crab and orders Luca to the table.<\/scene_description>\n    <character>DANIELA<\/character>\n    <dialogue>Come eat, Luca. C'mon.<\/dialogue>\n    <parenthetical>(to Lorenzo)<\/parenthetical>\n    <dialogue>We better beat those Branzinos at the crab show this year. Everyone thinks Bianca Branzino's so great. With her prize-winning crabs and amaaaazing dolphin impression. Please! Everyone has a dolphin impression! ECK ECK ECK ECK ECK ECK. I mean, right?<\/dialogue>\n    <character>LORENZO<\/character>\n    <dialogue>Why do dolphins even sound like that? Why don't they just talk?<\/dialogue>\n    <scene_description>Luca's thoughts are back on the pasture--Grandma notices--<\/scene_description>\n    <character>GRANDMA<\/character>\n    <dialogue>Luca, what's on your mind?<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>I... Well, I was just wondering... where do boats come from?<\/dialogue>\n    <scene_description>Lorenzo SPIT-TAKES.<\/scene_description>\n    <character>GRANDMA<\/character>\n    <dialogue>The land monster town. Just above the surface. I beat a guy at cards there once.<\/dialogue>\n    <character>DANIELA<\/character>\n    <dialogue>Mom! What are you doing?!<\/dialogue>\n    <character>GRANDMA<\/character>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>He's old enough to hear about it.<\/dialogue>\n    <character>LUCA<\/character>\n    <parenthetical>(floored)<\/parenthetical>\n    <dialogue>You've been to the surface?! And-- and done the change?!--<\/dialogue>\n    <character>DANIELA<\/character>\n    <dialogue>Nope! Nope! The end! Shut it down!<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>I was just curious--<\/dialogue>\n    <character>DANIELA<\/character>\n    <dialogue>And the curious fish gets caught! We do not talk, think, discuss, contemplate, or go ANYWHERE near the surface. Got it?<\/dialogue>\n    <character>LUCA<\/character>\n    <parenthetical>(cowed)<\/parenthetical>\n    <dialogue>Yes, Mom.<\/dialogue>\n    <scene_description>Daniela hands Luca the rest of his lunch--<\/scene_description>\n    <character>DANIELA<\/character>\n    <dialogue>Here. Now let's get back to work.<\/dialogue>\n    <scene_description>She watches him get his crook, a little wistfully.<\/scene_description>\n    <character>DANIELA<\/character>\n    <dialogue>Hey. Look me in the eye. You know I love you, right?<\/dialogue>\n    <character>LUCA<\/character>\n    <parenthetical>(softening)<\/parenthetical>\n    <dialogue>I know, Mom.<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL She watches him head out with the flock.<\/scene_description>\n    <character>DANIELA<\/character>\n    <parenthetical>(to Lorenzo)<\/parenthetical>\n    <dialogue>We're a little worried about him, right?<\/dialogue>\n    <character>LORENZO<\/character>\n    <parenthetical>(completely disengaged)<\/parenthetical>\n    <dialogue>No thanks! I'm full!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELDS<\/stage_direction>\n    <scene_description>Luca is hunting more and more fascinating human objects. They carry him farther and father out of the pasture. A shiny WRENCH-- A DRINKING GLASS-- And there, in the distance-- The GRAMOPHONE from our prologue. Fascinated, cautious, he approaches it. Too distracted to notice the ominous FIGURE IN A DIVING SUIT, STEALTHILY CLOSING IN BEHIND HIM-- Luca turns--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>AAAAAAH!!!<\/dialogue>\n    <scene_description>The diver hefts his harpoon--Luca, scrambling to get away, blunders into a rock-- HE'S CORNERED--<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Boo.<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>HUH?<\/dialogue>\n    <scene_description>The diver takes off its helmet to reveal that IT'S ANOTHER SEA MONSTER BOY (ALBERTO, 14). Alberto is a rule-breaker, insouciant, carefree and careless. Your parents might think he's a bad kid, but you know he doesn't mean anyone any harm. \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>It's fine! I'm not human.<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Oh!<\/dialogue>\n    <parenthetical>(still kind of terrified)<\/parenthetical>\n    <dialogue>...Thank goodness!<\/dialogue>\n    <scene_description>Before Luca can stop this from happening, Alberto hands him his harpoon.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Here, hold this.<\/dialogue>\n    <scene_description>Luca very gingerly takes hold of it and watches Alberto begin to collect all of the human items that have fallen here--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Uhhh. Do you... live around here?<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Down here? No no no. I just came for my stuff.<\/dialogue>\n    <scene_description>Alberto picks up Luca's CROOK, too--<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Ooooh!<\/dialogue>\n    <scene_description>And bolts for the surface before Luca can stop him--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Hey. Wait! That's mine!<\/dialogue>\n    <scene_description>Luca HURRIES AFTER HIM, only managing to catch up once Alberto is near the surface.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Sir? You forgot your harpoon. And if I could just--<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Oh yeah. Thanks.<\/dialogue>\n    <scene_description>Alberto grabs the harpoon and just WALKS OUT OF THE WATER.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Wha?? What are you doing?!<\/dialogue>\n    <scene_description>Luca, in shock, stares through the water--he can't totally make out what's happening-- Then the CROOK sticks back through the surface. \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL And hooks Luca and pulls him out of the water, too.<\/scene_description>\n    <character>LUCA<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH - DAY<\/stage_direction>\n    <scene_description>Alberto, now in human form, hauls Luca up onto the sand-- Luca's hand quickly begins to TRANSFORM--then his arms, his body, his face--he has HAIR-- Luca COMPLETELY FREAKS OUT. He thinks he might be dying.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>AAAAAAHHH! No no! OH NO!! AAAH!! HELP ME!!!<\/dialogue>\n    <scene_description>SMASH TO WIDE: He is not dying. He is a small human boy rolling around yelling on the sand for seemingly no reason.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>First time?<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Of course it is!! I'm a good kid!<\/dialogue>\n    <scene_description>Alberto realizes he needs to walk him through this a little.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Hey. Relax. Breathe.<\/dialogue>\n    <scene_description>Luca takes a couple breaths. Sure enough, he begins to relax. He looks around. He takes in the sights and sounds of the surface. The shore. The trees. The grass. The sky. Things he has spent his entire young life wondering about. Alberto watches, amused.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Well? Isn't it great?<\/dialogue>\n    <scene_description>This snaps Luca out of it--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Uh! No! It's bad! I'm not supposed to be up here! --Good day!<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Luca scrambles into the water. Alberto picks up Luca's crook and holds it out right as Luca comes back for it, flustered--<\/scene_description>\n    <character>LUCA<\/character>\n    <parenthetical>(angry polite)<\/parenthetical>\n    <dialogue>Thank you. Good day. ...Again.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAGURO HOME - LUCA'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Luca can't sleep. He glances across the room at Grandma. She gazes back at him. He needs to ask SOMEONE about what he saw.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Grandma? ...Did you really go up to the--<\/dialogue>\n    <character>GRANDMA<\/character>\n    <dialogue>SNORE.<\/dialogue>\n    <scene_description>Ah. Grandma was asleep with her eyes open. She does that.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELDS - NEXT MORNING<\/stage_direction>\n    <scene_description>Luca assembles a crude rock sculpture that is supposed to look like him.<\/scene_description>\n    <character>LUCA<\/character>\n    <parenthetical>(to the fish)<\/parenthetical>\n    <dialogue>Okay everyone. This is, uh... Smuca. Yeah. He's in charge now. Got it? Great.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEAR THE SURFACE<\/stage_direction>\n    <scene_description>And, his responsibility discharged for the moment, Luca returns to the surface, fascinated but apprehensive-- He stops a few feet away. Fear overtakes him. He backs away, shaking his head. He approaches again, gets pretty close to the surface, and once more backs away at the last minute-- And again-- \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <scene_description>Luca whirls. Alberto has been watching this whole embarrassing thing.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>That was hard to watch.<\/dialogue>\n    <scene_description>He is holding another armful of stuff. He hands some to Luca--<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Here. C'mon.<\/dialogue>\n    <scene_description>Alberto exits. Luca holds his breath, and hurries after him--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH<\/stage_direction>\n    <scene_description>--in time to see Alberto finish transforming, flipping the water out of his hair. Luca STUMBLES after him, dropping everything he was holding. For the second time in his life, Luca TRANSFORMS. This time he really takes it all in. So this is The Change.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>WHOA.<\/dialogue>\n    <scene_description>He absently reaches for his tail--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Wait. It feels like it's still there--<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Yeah, that's called \"phantom tail.\" You'll get used to it.<\/dialogue>\n    <scene_description>Luca tries to stand and immediately falls over.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Right. Walking. Don't worry! You're in luck. I basically invented walking. To start, stack everything one on top of the other. Like a pile of rocks.<\/dialogue>\n    <scene_description>Luca manages to stand in a WOBBLY way. \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Great! I mean, not great. But, fine. Now, walking is just like swimming. But without fins. Or a tail. Also there's no water. Otherwise it's the exact same thing!<\/dialogue>\n    <scene_description>Luca tries to follow this advice and completely eats it.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Uh. That's not it. Try it again.<\/dialogue>\n    <parenthetical>(Luca fails again)<\/parenthetical>\n    <dialogue>Hmm. Try to lead with your head?<\/dialogue>\n    <parenthetical>(Luca looks insane)<\/parenthetical>\n    <dialogue>Nope. More belly.<\/dialogue>\n    <parenthetical>(Luca falls down)<\/parenthetical>\n    <dialogue>That's, ah... that's just lying on the ground. How about this: Take a step without even thinking about it.<\/dialogue>\n    <scene_description>Luca hesitates. He's clearly thinking about it.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>No no no no. DON'T think about it!<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>I don't know how to NOT think about something!<\/dialogue>\n    <scene_description>This is going nowhere. But Alberto gets an idea--<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Okay, okay. Watch.<\/dialogue>\n    <parenthetical>(positioning Luca)<\/parenthetical>\n    <dialogue>Point your feet to where you want to go. Okay? And then just catch yourself before you fall.<\/dialogue>\n    <scene_description>Luca follows his example. He points his feet and gets up.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>That's right...<\/dialogue>\n    <scene_description>Alberto gives him a NUDGE--and Luca starts WALKING!--<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Good... good... yes. YES!<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>I'm getting it!<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Luca's first success on land. It feels pretty good.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Not bad, kid.<\/dialogue>\n    <parenthetical>(introducing himself)<\/parenthetical>\n    <dialogue>Alberto Scorfano.<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Luca Paguro.<\/dialogue>\n    <scene_description>Alberto leads Luca through a confusing HANDSHAKE--<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Piacere, Girolamo Trombetta.<\/dialogue>\n    <parenthetical>(off Luca's bafflement)<\/parenthetical>\n    <dialogue>It's a human thing. I'm kind of an expert.<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>What does it mean?<\/dialogue>\n    <scene_description>Alberto does not reply right away.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>The, uh... thing you just said? With the handshake?--<\/dialogue>\n    <character>ALBERTO<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>C'mon, I'll show you some more stuff.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ISLAND - HILL - DAY<\/stage_direction>\n    <scene_description>Alberto leads Luca through the trees, up the hill-- To the base of an ABANDONED SARACEN TOWER. A rickety ladder leans against the side.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Mother of pearl. You live up here?<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Yeah. Me and my dad. He's not even here a whole lot, so I pretty much just do whatever I want.<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Isn't it dangerous?<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Yeah! It's the best. EVERYTHING good is above the surface.<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Like... what else?<\/dialogue>\n    <scene_description>MONTAGE OF GREAT ABOVE-THE-SURFACE THINGS: 1. AIR.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Air!<\/dialogue>\n    <scene_description>Alberto does a BIG INHALE. So does Luca. He accidentally inhales a bug. 2. GRAVITY. Alberto, on the top of the tower, yells down to Luca, on the ground:<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Gravity! Also known as: FALLIIIING<\/dialogue>\n    <scene_description>Luca watches Alberto jump down into a tree, fall through some branches, and then land on the ground, bruised and giddy. 3. THE SKY.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <parenthetical>(pointing)<\/parenthetical>\n    <dialogue>The sky, clouds, the sun--<\/dialogue>\n    <parenthetical>(covering Luca's eyes)<\/parenthetical>\n    <dialogue>Whoa, don't look at it!<\/dialogue>\n    <parenthetical>(uncovering Luca's eyes)<\/parenthetical>\n    <dialogue>Just kidding. Definitely look at it.<\/dialogue>\n    <scene_description>Luca squints at the sun and is immediately blinded. 4. HUMAN STUFF.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>And then there's human stuff.<\/dialogue>\n    <scene_description>Alberto leads Luca into his hideout--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALBERTO'S HIDEOUT<\/stage_direction>\n    <scene_description>Luca takes in the incredible, wildly disorderly spectacle of Alberto's room. It contains AN UNGODLY AMOUNT OF HUMAN STUFF. Rusty, broken, salvaged from shipwrecks. \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>WHOA.<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>I've been collecting for a long time. Ask me anything.<\/dialogue>\n    <scene_description>Luca spots the gramophone and gazes into it--<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Ah yes, the Magic Singing Lady Machine. It's broken, unfortunately...<\/dialogue>\n    <scene_description>As Alberto is saying this, Luca discovers the CRANK, fiddles with it, and-- MUSIC comes out. The Puccini aria. O mio babbino caro. Alberto is momentarily at a loss for words. This kid did something cool.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Whoa! You unbroke it!<\/dialogue>\n    <scene_description>Luca's attention settles on a VESPA POSTER--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>ALBERTO<\/character>\n    <parenthetical>(recovering bravado)<\/parenthetical>\n    <dialogue>That? Just the greatest thing that humans ever made. The Vespa. You sit on it, and it takes you anywhere you want to go. In the whole stinkin' world.<\/dialogue>\n    <scene_description>Luca, rapt, reads the Italian on the poster:<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>\"Vespa is freedom.\"<\/dialogue>\n    <scene_description>DISSOLVE TO HIS IMAGINATION: Luca flies over the sea, gloriously, on a fantastic magical VESPA--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Whoo!! Yeah!!<\/dialogue>\n    <character>ALBERTO (O.S.)<\/character>\n    <dialogue>Pretty cool, right?<\/dialogue>\n    <scene_description>Alberto's voice brings Luca back to REALITY. \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>And gazing around the hideout, Luca gets an idea--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Are you gonna make one? I think you have all the parts...<\/dialogue>\n    <scene_description>Alberto follows his gaze around the room and realizes--that thing is a wheel, that thing is another wheel, that rocking chair could be a seat...<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>I do have the parts. I AM gonna make one!! You wanna help?<\/dialogue>\n    <character>LUCA<\/character>\n    <parenthetical>(delighted)<\/parenthetical>\n    <dialogue>Me?! Yeah!<\/dialogue>\n    <parenthetical>(remembering)<\/parenthetical>\n    <dialogue>Wait. No. I can't. I gotta go home!<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Right this second?<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Yeah. If my parents found out I was up here...<\/dialogue>\n    <parenthetical>(cringing)<\/parenthetical>\n    <dialogue>It would be bad. So thank you, but.<\/dialogue>\n    <parenthetical>(staring longingly at the Vespa poster)<\/parenthetical>\n    <dialogue>Goodbye. Forever.<\/dialogue>\n    <scene_description>CARD: One hour later. Luca has not left. Instead he has begun making the Vespa with Alberto.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Okay but now I really do have to go.<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Okay. Bye.<\/dialogue>\n    <scene_description>Card: Forty-five minutes later. Now it has wheels.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Seriously, I have to go, like now. Like right now.<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Okay! See you!<\/dialogue>\n    <scene_description>Card: Two hours later. Their improvised Vespa, made from 100% NON-VESPA parts, is done. They admire it, dreamily.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>It's even better than the picture.<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Yeah it is.<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Gotta run!<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>See you tomorrow!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PAGURO HOME - DUSK - CONTINUOUS<\/stage_direction>\n    <scene_description>Luca races home--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAGURO HOME - DINNER<\/stage_direction>\n    <scene_description>But his suspicious mom is waiting for him in the kitchen.<\/scene_description>\n    <character>DANIELA<\/character>\n    <dialogue>Luca?! Where have you been?!--<\/dialogue>\n    <character>LUCA<\/character>\n    <parenthetical>(rushed)<\/parenthetical>\n    <dialogue>Uhh...<\/dialogue>\n    <character>LUCA'S THOUGHTS<\/character>\n    <dialogue>Don't say surface. Don't say surface.<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Surface.<\/dialogue>\n    <scene_description>He claps his hand over his mouth--<\/scene_description>\n    <character>DANIELA<\/character>\n    <parenthetical>(narrowing eyes)<\/parenthetical>\n    <dialogue>WHAT did you just say?!<\/dialogue>\n    <character>LORENZO<\/character>\n    <parenthetical>(pointing)<\/parenthetical>\n    <character>WHAT'S WRONG WITH HIS FOOT?!!<\/character>\n    <dialogue>Luca looks down--<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL ONE OF HIS FEET IS STILL A HUMAN FOOT SOMEHOW--<\/scene_description>\n    <character>LUCA<\/character>\n    <scene_description>SMASH BACK TO: The last ten seconds was just his IMAGINATION. Thank God. But his mom is still waiting for an answer--<\/scene_description>\n    <character>DANIELA<\/character>\n    <dialogue>Luca? Gonna tell us where you were?<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>I...Uhh...<\/dialogue>\n    <scene_description>Grandma comes to the rescue.<\/scene_description>\n    <character>GRANDMA<\/character>\n    <dialogue>It's my fault. I sent him to look for sea cucumbers.<\/dialogue>\n    <character>LUCA<\/character>\n    <parenthetical>(catching on quick)<\/parenthetical>\n    <dialogue>RIGHT. Sorry, Grandma. Couldn't find em!<\/dialogue>\n    <character>DANIELA<\/character>\n    <dialogue>Mom. His life is maybe a little more important than your snacks?<\/dialogue>\n    <scene_description>Grandma shrugs. The heat is off Luca. For now. He mouths a \"Thank you\" to her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUCA'S BEDROOM<\/stage_direction>\n    <scene_description>Luca can't sleep. He just had the greatest day of his life. And tomorrow might be even better.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLTOP - NEXT DAY<\/stage_direction>\n    <scene_description>Luca is amazed to find the Vespa now outside the tower, at the top of the hill--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Whoa! How'd you get it down?<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>ALBERTO<\/character>\n    <parenthetical>(bragging)<\/parenthetical>\n    <dialogue>I RODE it down.<\/dialogue>\n    <scene_description>Beat. Alberto, how would that even work.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <parenthetical>(admitting the truth)<\/parenthetical>\n    <dialogue>I didn't. I pushed it out the back window. Took a while to put back together. But it's fine now! You ready to ride it?<\/dialogue>\n    <scene_description>Alberto gestures DOWN A DIZZYINGLY STEEP HILL. A little WOODEN RAMP sits at the bottom.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Ah. Well, thank you, but, no thank you.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I mean I just think maybe I would die.<\/dialogue>\n    <character>ALBERTO<\/character>\n    <parenthetical>(shrugging)<\/parenthetical>\n    <dialogue>Okay, I'll ride it. You hold the ramp.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOTTOM OF HILL<\/stage_direction>\n    <scene_description>Now under the ramp at the bottom of the hill, Luca tries not to freak out--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>--Sir? Maybe we should sleep on it?<\/dialogue>\n    <scene_description>--as Alberto mounts the Vespa, high above him--<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Whatever you do, do not move!<\/dialogue>\n    <character>LUCA<\/character>\n    <parenthetical>(panicking)<\/parenthetical>\n    <dialogue>I'm not the guy you want for this! I'm more of an idea man--<\/dialogue>\n    <character>ALBERTO<\/character>\n    <parenthetical>(triumphantly)<\/parenthetical>\n    <character>TAKE ME, GRAVITYYYYYYYY!!!<\/character>\n    <dialogue>And with that glorious cry, Alberto kicks off--<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL And races down the hill toward Luca. Almost immediately, the Vespa hits a rock and breaks in half. Alberto, now riding the front half like a unicycle, continues hurtling toward Luca--<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>THIS IS NORMAL. STAY FOCUSED.<\/dialogue>\n    <scene_description>Pieces of the Vespa come tumbling past Luca--he ducks behind the ramp-- And peeks out to see Alberto tumble off the last remaining Vespa wheel and begin VIOLENTLY SOMERSAULTING TOWARD HIM--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>AAAAAAAHHH<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>DON'T MOVE DON'T MOVE DON'T MOVE--<\/dialogue>\n    <scene_description>Luca ducks back under the ramp just as Alberto ROLLS over it-- Is suspended in the air for a glorious moment-- CRASHES into the water-- And just kinda floats there.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>He's dead. I killed him.<\/dialogue>\n    <scene_description>Alberto lifts his skinny sea monster fists to the heavens.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>WOOOOHOOO!! HA HA HA!!<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>That was... good?!<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Did you see the height I got?! Hey. Nice ramping. Come on, let's build another one--<\/dialogue>\n    <scene_description>Alberto pats Luca on the back-- A BIG DUMB SMILE floods Luca's face-- --BEGIN MONTAGE-- \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLTOP - DAY<\/stage_direction>\n    <scene_description>Luca and Alberto begin assembling another Vespa, with more fun human items--Alberto swings a buoy around joyously and accidentally bonks himself in the head--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIDEOUT - LATER<\/stage_direction>\n    <scene_description>Alberto gives Luca some AWESOME HUMAN CLOTHES--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIDEOUT<\/stage_direction>\n    <scene_description>Luca and Alberto GROOVE to some TUNES--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLTOP<\/stage_direction>\n    <scene_description>Alberto rides another janky Vespa down the hill as Luca, under the ramp again, is attacked by a seagull--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELDS - UNDERWATER - QUICK CUT<\/stage_direction>\n    <scene_description>Daniela glances from distance at Luca's pasture to check on him--she is fooled by the silhouette of SMUCA--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ISOLA DEL MARE<\/stage_direction>\n    <scene_description>Alberto does a fearless graceful CLIFF DIVE--<\/scene_description>\n    <character>ALBERTO<\/character>\n    <parenthetical>(from the water)<\/parenthetical>\n    <dialogue>C'mon, Luca!<\/dialogue>\n    <scene_description>Luca tries to do the same, but fear takes over--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>AAAAAAAHHH--<\/dialogue>\n    <scene_description>--and he ends up doing more of a brutal CLIFF BELLY FLOP.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELDS - UNDERWATER - QUICK CUT<\/stage_direction>\n    <scene_description>Uh oh. Daniela discovers Smuca-- And Lorenzo finds Luca's cache of human trinkets-- \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIDEOUT<\/stage_direction>\n    <scene_description>Luca and Alberto diagram a Vespa with charcoal--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIDEOUT<\/stage_direction>\n    <scene_description>Luca repurposes the wire hanger Alberto has been using as a back scratcher, turning it into handlebars--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELDS - UNDERWATER - MORNING<\/stage_direction>\n    <scene_description>DANIELA and LORENZO, hiding behind rocks, watch Luca position Smuca and then swim away. So THAT'S what he's been doing. The parents are horrified. But Daniela has a plan--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OPEN WATER - DAY<\/stage_direction>\n    <scene_description>Luca and Alberto watch an ANGRY FISHERMAN shout at a passing speedboat--<\/scene_description>\n    <character>ANGRY FISHERMAN<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GROTTO - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Alberto YELLS into a cave, imitating him--<\/scene_description>\n    <character>ALBERTO<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COVE - SUNSET<\/stage_direction>\n    <scene_description>Luca grabs two SEA SNAILS and uses their slime to style his hair like Alberto's, and the two gaze happily at a sunset. --END MONTAGE--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLTOP - NEXT DAY<\/stage_direction>\n    <scene_description>Another day, another Vespa. But this time:<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>We gotta ride together. If you don't sit on the back and hold on to the front, the whole thing falls apart.<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>And who's holding the ramp?<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>The turtle.<\/dialogue>\n    <scene_description>Yes. The ramp is balanced on a TURTLE.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>And he's faster than he looks. Let's go.<\/dialogue>\n    <character>LUCA<\/character>\n    <parenthetical>(resolutely)<\/parenthetical>\n    <dialogue>Okay. Let's go.<\/dialogue>\n    <scene_description>Beat. Luca doesn't move.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>You, uh... you coming?<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Nope. Can't do it. Never in a million years--<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Hey hey hey. I know your problem. You got a Bruno in your head.<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>A Bruno?<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Yeah. I get one too sometimes. \"Alberto, you can't. Alberto, you're gonna die. Alberto, don't put that in your mouth.\" Luca, it's simple: Don't listen to stupid Bruno.<\/dialogue>\n    <scene_description>Beat, as Luca puzzles over this--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Why is his name Bruno?<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>I don't care. It doesn't matter. Call him whatever you want. Just shut him up. Repeat after me: SILENZIO BRUNO.<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>LUCA<\/character>\n    <parenthetical>(hesitantly)<\/parenthetical>\n    <dialogue>Silenzio Bruno.<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Louder! SILENZIO BRUNO! SILENZIO BRUNO!<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Silenzio Bruno! Silenzio Bruno!!<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>CAN YOU STILL HEAR HIM?!<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>NOPE! JUST YOU!<\/dialogue>\n    <scene_description>Alberto physically puts Luca on the back of the Vespa--<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>GOOD. Hang on.<\/dialogue>\n    <scene_description>Alberto checks his image in the rearview mirror (not a mirror: instead a taped photo of MARCELLO MASTROIANNI)-- And he kicks off.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>ANDIAMOOOOOOO--<\/dialogue>\n    <scene_description>Luca clings to Alberto, terrified, as they go HURTLING DOWN THE HILL, bouncing off loose rocks and stuff. Alberto's erratic steering mostly does not have them aimed at the ramp.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <parenthetical>(psyched)<\/parenthetical>\n    <character>WOOHOOOOOOOO!!! YEAH!!!<\/character>\n    <dialogue>Luca's eyes are shut tight--he opens them for a peek--the Vespa begins to FALL APART--oh God no--he shuts his eyes, grips Alberto tightly, and pulls the Vespa back together--<\/dialogue>\n    <character>LUCA<\/character>\n    <parenthetical>(terrified muttering)<\/parenthetical>\n    <dialogue>silenzio bruno silenzio bruno silenzio bruno silenzio brunooOOOOOOOOO--<\/dialogue>\n    <scene_description>Alberto steers them onto the ramp just in time--<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>YAHOOOOOOOOOOOOOO!!<\/dialogue>\n    <scene_description>And Luca opens his eyes as they SOAR gloriously into the sky-- \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL And takes in the SPARKLING SEA, THE CLOUDS, the SHORELINE. It's an indescribably wonderful moment. Then they begin plummeting seaward.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Uh-oh.<\/dialogue>\n    <scene_description>Specifically right toward an extremely sharp-looking rock.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>AAAAAAAAAAHHH<\/dialogue>\n    <scene_description>At the last moment, Luca, thinking quickly, SHOVES Alberto's half of the Vespa away from his half-- They become TWO PROJECTILES instead of one, and Alberto SPLASHES down safely on one side of the rock, Luca on the other. They SURFACE--Alberto shoots his fists in the air-- Luca's disbelief quickly turns to ELATION:<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>WHOOHOOO! YEA! Take that, Bruno!<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>YES. WE'RE ALIVE. I CAN'T BELIEVE IT.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOP - EVENING<\/stage_direction>\n    <scene_description>Luca and Alberto lay around a CAMPFIRE, gazing at the STARS.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>What are all those tiny lights?<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Anchovies. They go there to sleep.<\/dialogue>\n    <scene_description>Luca is DUMBFOUNDED.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Yeah. The big fish protects them.<\/dialogue>\n    <parenthetical>(pointing at the moon)<\/parenthetical>\n    <dialogue>I touched it once.<\/dialogue>\n    <parenthetical>(nonchalant)<\/parenthetical>\n    <dialogue>I dunno. Felt like a fish.<\/dialogue>\n    <scene_description>Luca is ASTOUNDED. And a little wistful-- \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Wow. Your life is so much cooler than mine. I never go anywhere. I just dream about it.<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>You came up here!<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Thanks to you.<\/dialogue>\n    <parenthetical>(gazing at stars)<\/parenthetical>\n    <dialogue>Otherwise I never would have seen any of this.<\/dialogue>\n    <scene_description>His gaze travels to the HUMAN TOWN across the water.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Have you ever gone to the human town?<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Yeah! All the time.<\/dialogue>\n    <parenthetical>(beat. This is a lie)<\/parenthetical>\n    <dialogue>No. Not even once. But my dad told me all about it, so, I'm pretty much an expert.<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Your dad sounds so cool. You're lucky he lets you do what you want.<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Yeah, for sure.<\/dialogue>\n    <scene_description>A silence. Each boy is in his head. Alberto gets them out of it.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Hey, remember that time we almost hit that rock? And we flew through the air? And I was like \"YEAHHH!\" And you were like \"NOOO!!\"<\/dialogue>\n    <scene_description>It cracks Luca up.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Wouldn't it be amazing to have a real Vespa?<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>That's the dream.<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Luca closes his eyes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>DISSOLVE TO HIS IMAGINATION: EXT. FIELDS - DAY<\/stage_direction>\n    <scene_description>Luca and Alberto ride through the open fields on a Vespa. Little trails of smoke rising from the field alert them to--<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Oh, Luca, look!<\/dialogue>\n    <scene_description>A herd of UNTAMED, RIDERLESS VESPAS, like wild horses.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Wild Vespas!<\/dialogue>\n    <scene_description>The wild Vespas ride with them toward a GIANT RAMP that goes straight into the sky.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Luca, take over!<\/dialogue>\n    <scene_description>Luca climbs up front and takes control--<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Yeah man! Faster!!<\/dialogue>\n    <scene_description>Luca can't resist Alberto's encouragement. He guns it and shoots up the ramp, launching them into the sky--<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>WHOOOHOOOO!<\/dialogue>\n    <scene_description>They fly among the stars, which are, indeed, LUMINOUS GOLDEN FISH. Luca reaches out to touch one--its skin RIPPLES brilliantly--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>I'm doing it, Alberto!--<\/dialogue>\n    <scene_description>But when he looks back--Alberto has DISAPPEARED.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Alberto?--<\/dialogue>\n    <scene_description>And everything begins turning to water-- Luca transforms back and begins falling earthward, abyssward--<\/scene_description>\n    <character>LUCA<\/character>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL SMASH BACK TO REALITY:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOP - MORNING<\/stage_direction>\n    <scene_description>Luca JOLTS AWAKE, on the ROOFTOP. IT WAS A DREAM--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Oh no! I fell asleep!<\/dialogue>\n    <character>ALBERTO<\/character>\n    <parenthetical>(groggy)<\/parenthetical>\n    <dialogue>Hmm--whaa?<\/dialogue>\n    <scene_description>Luca hurries to the steps and runs off--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Luca sneaks into his room-- His GRANDMA is snoring. WHEW. But--WHIP PAN to DANIELA, arms folded, in the doorway--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Luca sits guiltily at the table, holding his tail nervously. His alarm clock and playing cards are on the table. Both parents hover over him. Daniela maintains a stony silence. Lorenzo, ever conflict-averse, hems and haws--<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>Daniela, do we really need to go through with this?<\/dialogue>\n    <character>LUCA<\/character>\n    <parenthetical>(very worried)<\/parenthetical>\n    <dialogue>With... what?<\/dialogue>\n    <character>LORENZO<\/character>\n    <parenthetical>(struggling to take the lead)<\/parenthetical>\n    <dialogue>Son, you're in big trouble. You need to promise us that you'll never sneak off to the surface again.<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>I'm really sorry.<\/dialogue>\n    <parenthetical>(trying for good news)<\/parenthetical>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>But you know--it's not that dangerous up there. Maybe I could show you!--<\/dialogue>\n    <character>DANIELA<\/character>\n    <parenthetical>(erupting)<\/parenthetical>\n    <dialogue>I told you. Our son has a death wish!<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>But Mom, we're always careful--<\/dialogue>\n    <scene_description>Luca covers his mouth, realizing his mistake--<\/scene_description>\n    <character>DANIELA<\/character>\n    <dialogue>\"We\"?<\/dialogue>\n    <character>LORENZO<\/character>\n    <dialogue>\"We?\"<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Me and my friend. Alberto. But it's okay! He's one of us--<\/dialogue>\n    <scene_description>An angler light behind Luca switches on to reveal-- UNCLE UGO, Lorenzo's twin brother. He's been lurking here this whole time.<\/scene_description>\n    <character>UNCLE UGO<\/character>\n    <dialogue>Yes, there's usually a bad influence.<\/dialogue>\n    <scene_description>He is like Lorenzo but transparent-skinned, milky-eyed, and generally horrifying to behold.<\/scene_description>\n    <character>UNCLE UGO<\/character>\n    <dialogue>Good thing you sent for me when you did.<\/dialogue>\n    <character>LORENZO<\/character>\n    <dialogue>Luca, this is my brother. Your Uncle Ugo.<\/dialogue>\n    <character>DANIELA<\/character>\n    <dialogue>Thanks again for coming all this way on such short notice.<\/dialogue>\n    <character>UNCLE UGO<\/character>\n    <dialogue>Of course. Hello, Luca. It is nice to--<\/dialogue>\n    <scene_description>Ugo FREEZES. His heart has visibly stopped. \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>Luca, punch his heart.<\/dialogue>\n    <parenthetical>(off Luca's hesitation)<\/parenthetical>\n    <dialogue>The red thing. Punch it.<\/dialogue>\n    <scene_description>Luca gives Uncle Ugo's chest a little NUDGE.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>Oh, way harder than that.<\/dialogue>\n    <scene_description>Luca socks Uncle Ugo in the heart. He jolts back to life.<\/scene_description>\n    <character>UNCLE UGO<\/character>\n    <parenthetical>(coughing)<\/parenthetical>\n    <dialogue>Thanks for that. Too much oxygen up here. Not like the deep. As you'll learn!<\/dialogue>\n    <character>LUCA<\/character>\n    <parenthetical>(horrified)<\/parenthetical>\n    <dialogue>...what?<\/dialogue>\n    <character>UNCLE UGO<\/character>\n    <parenthetical>(rambling)<\/parenthetical>\n    <dialogue>Sure, there's no sunlight. But there's nothing to see anyway! Or do. It's just you and your thoughts. And all the whale carcass you can eat. Little bits of it just float into your mouth. No way to stop it. Your mouth is open, the whale carcass goes in.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Well! Come on! No time to waste!<\/dialogue>\n    <character>LUCA<\/character>\n    <parenthetical>(panicked)<\/parenthetical>\n    <dialogue>Mom? What does he mean?<\/dialogue>\n    <character>DANIELA<\/character>\n    <dialogue>You're going to stay with Uncle Ugo for the rest of the season.<\/dialogue>\n    <scene_description>BOMBSHELL.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>No! I can't--<\/dialogue>\n    <character>DANIELA<\/character>\n    <dialogue>TWO seasons, then! Wanna go for three?!<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Why are you doing this?!<\/dialogue>\n    <character>DANIELA<\/character>\n    <parenthetical>(terrible, vulnerable)<\/parenthetical>\n    <dialogue>The world is a very dangerous place, Luca! And if I have to send you to the bottom of the ocean to keep you safe--so be it!<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>You don't know what it's like up there!<\/dialogue>\n    <character>DANIELA<\/character>\n    <dialogue>I know YOU. And I know what's best for you. It's done.<\/dialogue>\n    <scene_description>Luca fumes bitterly. Daniela's heart breaks a little as she watches him--she needs for him to understand--<\/scene_description>\n    <character>DANIELA<\/character>\n    <dialogue>Hey. Look me in the eye. You know I love you, right?<\/dialogue>\n    <scene_description>Luca refuses to reply--instead he whirls and heads off to his bedroom, furious.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUCA'S BEDROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Luca paces his bedroom. He glances at the window, then back at his bedroom door-- He makes a decision--and escapes out the window. PAN TO GRANDMA: Who saw the whole thing. She chuckles. Go get em, kid.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALBERTO'S HIDEOUT - MORNING<\/stage_direction>\n    <character>LUCA (O.S.)<\/character>\n    <dialogue>They're sending me to the deep!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALBERTO'S HIDEOUT<\/stage_direction>\n    <scene_description>Luca paces, furious, as Alberto listens in disbelief-- \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>To live with my weird see-through uncle!! What do I do?!<\/dialogue>\n    <character>ALBERTO<\/character>\n    <parenthetical>(hoping it's this easy)<\/parenthetical>\n    <dialogue>...Stay?<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Up here? They'll come looking for me!<\/dialogue>\n    <character>ALBERTO<\/character>\n    <parenthetical>(panicky, stalling for time)<\/parenthetical>\n    <dialogue>Okay. Yes. That may be true. But---<\/dialogue>\n    <parenthetical>(getting the best idea he has ever had)<\/parenthetical>\n    <dialogue>--will they come looking for you over there?<\/dialogue>\n    <scene_description>Alberto is pointing to the HUMAN TOWN, across the water.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>No way. That's crazy.<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>I mean, that place must be full of Vespas. There's gotta be one for us.<\/dialogue>\n    <character>LUCA<\/character>\n    <parenthetical>(excited)<\/parenthetical>\n    <dialogue>A real Vespa.<\/dialogue>\n    <parenthetical>(second-guessing himself)<\/parenthetical>\n    <dialogue>But could we even survive over there?<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>You and me? We can do anything. We'd swim right over to Vespatown, track down Signor Vespa--<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Wait. Do you really think there's a Signor Vespa?<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Makes sense, right?<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Yes. Continue.<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>And we say: \"Signor Vespa! Build us one... of THESE.\"<\/dialogue>\n    <scene_description>Alberto pulls out a boyish SCHEMATIC of their custom Vespa drawn on a torn-out page from a book. The drawing has outlandish embellishments and an extra long seat.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>This is the greatest drawing I've ever seen.<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Yes. I know. Luca, think about it: Every day we'll ride someplace new. And every night we'll sleep under the fish. No one to tell us what to do. Just you and me out there. Free.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALBERTO'S HIDEOUT - DAY<\/stage_direction>\n    <scene_description>The boys run toward a cliff--<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>TAKE ME GRAVITYYYY--<\/dialogue>\n    <scene_description>Alberto CLIFF DIVES-- Luca gets to the cliff, and as always--HESITATES. He looks out toward the human town.<\/scene_description>\n    <character>LUCA<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>Silenzio Bruno.<\/dialogue>\n    <scene_description>He JUMPS--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OPEN WATER - CONTINUOUS<\/stage_direction>\n    <scene_description>Luca and Alberto swim at TOP SPEED WITH MAXIMUM EXCITEMENT-- They are heading for a rock--Luca is about to avoid it but Alberto grabs him, and pulls him OUT OF THE WATER-- They ARC GRACEFULLY OVER THE ROCK, TRANSFORMING for a moment before plunging back into the water-- CUE A GLORIOUS KINETIC SEQUENCE OF LUCA AND ALBERTO swimming to town, leaping out of the water, skimming and skating across the waves-- \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Alberto leading the way, Luca following, coming into his own.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PORTOROSSO HARBOR - LATER<\/stage_direction>\n    <scene_description>Luca and Alberto surface near a buoy. In front of them--the human town is beautiful. But they don't get long to admire it--a fishing boat motors by and they DIVE, but not before a girl on the boat sees something--<\/scene_description>\n    <character>CHIARA<\/character>\n    <dialogue>Pap\u00e1? What's that?!<\/dialogue>\n    <scene_description>UNDERWATER:<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>How do we get in?<\/dialogue>\n    <scene_description>They both glance down at the SUNKEN BOAT beneath them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COVE<\/stage_direction>\n    <scene_description>An overturned boat walks out of the water, with sea monster feet underneath that quickly turn to human feet. They've made it onto land. Alberto, all confidence, leads Luca towards town--<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>This will be a breeze. Just don't get wet.<\/dialogue>\n    <scene_description>But Luca's panic overtakes him at the first sight of humans-- two FISHERMEN strolling toward them.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Actually, this town seems a little crowded.<\/dialogue>\n    <scene_description>Luca tries to turn around and leave. Alberto grabs him--<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Hey. Silenzio Bruno.<\/dialogue>\n    <scene_description>And drags Luca past the fishermen-- \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>ALBERTO<\/character>\n    <parenthetical>(inflected like \"Good day to you!,\" flourishing with one hand)<\/parenthetical>\n    <dialogue>What's wrong with you, stupido?<\/dialogue>\n    <scene_description>The fishermen stop but are too puzzled to confront them.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>See? You just gotta follow my lead.<\/dialogue>\n    <scene_description>The kids round the corner into the piazza-- And we stay with LUCA as his WONDER takes over. He is awestruck by the sights and sounds of Portorosso: Barflies sharing gossip and enjoying caff\u00e8; A group of kids playing soccer in the PIAZZA; Young girls eating watermelon from a balcony; Two old guys playing cards;<\/scene_description>\n    <character>CARD PLAYER<\/character>\n    <dialogue>SCOPA!<\/dialogue>\n    <scene_description>It's all very ITALIAN, and very everyday. But the mundane is, to Luca, enthralling.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Classic human town. Pretty cool, right?<\/dialogue>\n    <scene_description>Luca spots a couple of OLD LADIES (the ARAGOSTA SISTERS, Pinuccia and Concetta) eating two beautiful GELATO CONES.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <parenthetical>(to Luca, encouragingly)<\/parenthetical>\n    <dialogue>You do it now. Just say the thing.<\/dialogue>\n    <character>LUCA<\/character>\n    <parenthetical>(trying his best)<\/parenthetical>\n    <dialogue>What's wrong with you, stupido?<\/dialogue>\n    <scene_description>Beat. The Aragosta Sisters pummel the boys with umbrella and purse. HARD CUT TO: Luca and Alberto keep walking, stiffly, with gelato cones on their heads.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Maybe I... said it wrong?<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL But now Luca begins taking in the ominous FRESCOES and STATUES around them, all featuring the same mustachioed man (SIGNOR GIORGIO GIORGIONI) SLAYING VARIOUS SEA MONSTERS-- Oh no. This town hates sea monsters.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Alberto, this is too dangerous! Let's get out of here!<\/dialogue>\n    <scene_description>Luca grabs Alberto's arm and starts dragging him away.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <parenthetical>(protesting)<\/parenthetical>\n    <dialogue>And go where!?<\/dialogue>\n    <scene_description>BUT BEFORE LUCA CAN GET THEM OUT OF THERE: They hear the unmistakable sound of an ONCOMING VESPA. (Driven by ERCOLE, 16, lots of product in his hair.)<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Signor Vespa.<\/dialogue>\n    <character>ERCOLE<\/character>\n    <dialogue>Buongiorno a tutti!!<\/dialogue>\n    <scene_description>Ercole is a massive narcissist. He believes everyone in town is overjoyed to see him, which, the adults at least are not. (He is attended by CICCIO and GUIDO, his faithful goon-like friends, who jog behind him with a large sub sandwich.)<\/scene_description>\n    <character>MAGGIORE<\/character>\n    <parenthetical>(rolling eyes)<\/parenthetical>\n    <dialogue>Mannaggia. Here we go.<\/dialogue>\n    <character>PRIEST<\/character>\n    <parenthetical>(begging Ercole to stop)<\/parenthetical>\n    <dialogue>Mamma mia. Please, no more revving.<\/dialogue>\n    <character>OLD WOMAN ON BALCONY<\/character>\n    <parenthetical>(furious)<\/parenthetical>\n    <character>CHE PUZZA, ERCOLE!<\/character>\n    <dialogue>ERCOLE<\/dialogue>\n    <scene_description>CIAO, CIAO!! Beep beep!! Pride of Portorosso, coming through!! (flirty, to the Aragosta Sisters) Ciao, belle! You're making me blush! \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>PINUCCIA ARAGOSTA<\/character>\n    <dialogue>Blech.<\/dialogue>\n    <character>CONCETTA ARAGOSTA<\/character>\n    <dialogue>Disgraziato!<\/dialogue>\n    <scene_description>The kids are afraid of him but in most cases trying not to show it, lest he start bullying them. Ercole comes to an acrobatic stop, revs a few more deafening times, dismounts and saunters to a caffe table, where Ciccio and Guido are hastily setting up his lunch.<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>Now! Who wants to watch me eat a big sandwich?<\/dialogue>\n    <scene_description>Luca and Alberto gaze at the Vespa, RAPT.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>There it is! That's how we're gonna see the world.<\/dialogue>\n    <scene_description>Luca walks toward it, in a trance-- A soccer ball rolls in front of him.<\/scene_description>\n    <character>SOCCER KID<\/character>\n    <dialogue>Hey! Little help?<\/dialogue>\n    <scene_description>Luca winds up and KICKS it. Unfortunately, it is pretty off target. It bounces off a few things and hits the Vespa--<\/scene_description>\n    <character>WOMAN ON BALCONY<\/character>\n    <dialogue>E b\u00e0sta!!<\/dialogue>\n    <scene_description>The Vespa begins to TEETER--<\/scene_description>\n    <character>ERCOLE<\/character>\n    <parenthetical>(panicking)<\/parenthetical>\n    <character>AAAH! LA MIA BAMBINA!<\/character>\n    <dialogue>At the last moment, Ciccio DIVES underneath it, cushioning the fall with his body.<\/dialogue>\n    <dialogue>Ercole runs over, full of concern--<\/dialogue>\n    <character>ERCOLE<\/character>\n    <dialogue>Oh, mamma mia-- Talk to Ercole, are you hurt?!<\/dialogue>\n    <character>CICCIO<\/character>\n    <dialogue>Well, my head kinda hurts--<\/dialogue>\n    <character>ERCOLE<\/character>\n    <dialogue>Not you, Ciccio! Out of the way!<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Oh. The \"Are you hurt?\" was meant for the Vespa, not for his friend Ciccio, who has definitely sustained some minor injuries protecting it.<\/scene_description>\n    <character>ERCOLE<\/character>\n    <parenthetical>(looks over Vespa)<\/parenthetical>\n    <dialogue>Oh piccolina, if there is so much as a scratch...<\/dialogue>\n    <scene_description>Fortunately, the Vespa is completely unharmed.<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>Someone got lucky today. Hmm? WHO GOT LUCKY?!<\/dialogue>\n    <scene_description>The soccer kids point to Alberto and Luca. Ercole sizes them up.<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>Out-of-towners, eh? Let me welcome you. Benvenuti a Portorosso. ...Ciccio.<\/dialogue>\n    <scene_description>He removes his SWEATER, places it without looking into the waiting arms of Ciccio, and saunters up to his latest victims.<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>I am delighted to meet you, number one and number two, I love your stylish clothes. Where did you get them? A dead body? --HA! I'm kidding!<\/dialogue>\n    <character>CICCIO<\/character>\n    <dialogue>Ha. \"Dead body.\"<\/dialogue>\n    <scene_description>Alberto is not sure what to make of this guy.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Uh, ha ha. Yeah. Well, look, Signor Vespa, I--<\/dialogue>\n    <character>ERCOLE<\/character>\n    <dialogue>Signor Vespa? Hoho. These guys are funny. I am Ercole Visconti, five-time winner of the Portorosso Cup.<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>The Portorosso what?<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>The Portorosso Cup! Per mille sardine--how do you think I paid for my beautiful Vespa?<\/dialogue>\n    <scene_description>The gears start going in Luca's head, as he looks at the Vespa--but his train of thought is interrupted by Ercole--<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>Hey. Stop looking. She's too beautiful for you.<\/dialogue>\n    <scene_description>Poor Luca can only stammer and shrink away from him.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Ah...I, I, uhhh...<\/dialogue>\n    <character>ERCOLE<\/character>\n    <parenthetical>(mocking)<\/parenthetical>\n    <dialogue>I, I, uhhh--oh, I love it. The little guy can't even get a word out.<\/dialogue>\n    <parenthetical>(waving a hand in front of his nose)<\/parenthetical>\n    <dialogue>Ugh, And he smells like behind the pescheria.<\/dialogue>\n    <scene_description>This is too much for Alberto.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>HEY, MY FRIEND SMELLS AMAZING.<\/dialogue>\n    <character>ERCOLE<\/character>\n    <dialogue>Sorry, sorry, I'll make it up to him. Ciccio? Guido?<\/dialogue>\n    <scene_description>Guido and Ciccio grab Alberto and hold him back while Ercole grabs Luca and marches him to the FOUNTAIN--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>What are you doing?!<\/dialogue>\n    <character>ERCOLE<\/character>\n    <dialogue>I'm giving you a little bath! It's funny. Eh?<\/dialogue>\n    <scene_description>Ercole SHOVES LUCA'S FACE TOWARD THE WATER-- DROPLETS begin to hit Luca's face--tiny little green flecks begin to appear on his skin-- \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>LUCA<\/character>\n    <parenthetical>(struggling)<\/parenthetical>\n    <character>NO NO NO--<\/character>\n    <dialogue>Ercole clocks that something a little strange is going on--<\/dialogue>\n    <dialogue>But before he sees it definitively--<\/dialogue>\n    <character>GIULIA (O.S.)<\/character>\n    <dialogue>HEY!<\/dialogue>\n    <scene_description>A girl on a BIKE attached to a CART FULL OF FISH rides to the rescue. This is GIULIA, 13, brainy, competitive, intense, and a bit awkward. She is 100% incapable of being anyone other than herself.<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Ercole, b\u00e0sta!<\/dialogue>\n    <scene_description>She comes BARRELING through, Ercole jumps out of her way.<\/scene_description>\n    <character>ERCOLE<\/character>\n    <parenthetical>(unexcited, cutting)<\/parenthetical>\n    <dialogue>Oh, look who's here. Spewlia. Wow. That's how you're training for the race?<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>Si certo! Your reign of terror is coming to an end--<\/dialogue>\n    <character>ERCOLE<\/character>\n    <parenthetical>(overlapping, has heard this before)<\/parenthetical>\n    <dialogue>\"...coming to an end.\" You mean, like a year ago? When you quit in the middle of the race? Because you couldn't stop throwing up?<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>I didn't quit. They MADE me stop.<\/dialogue>\n    <character>ERCOLE<\/character>\n    <dialogue>I think that is worse. Now go away. I'm having fun with my new friends.<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>They're coming with me.<\/dialogue>\n    <parenthetical>(to the boys)<\/parenthetical>\n    <dialogue>Hop on. I could use the extra weight.<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL The boys, relieved, hop on the back of her cart.<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>Fine! Go start a club! For losers!<\/dialogue>\n    <scene_description>As he is giggling at his own brilliant joke, a fisherman runs up to the MAGGIORE (a policewoman)--<\/scene_description>\n    <character>GIACOMO<\/character>\n    <dialogue>Maggiore! Another sighting--in the harbor this time--<\/dialogue>\n    <character>MAGGIORE<\/character>\n    <parenthetical>(holding a poster)<\/parenthetical>\n    <dialogue>I know. We're setting up a reward. Someone's gonna win a nice prize...<\/dialogue>\n    <character>ERCOLE<\/character>\n    <dialogue>Me! Me! I win the prizes!! Ciccio, get your daddy's harpoon. We're gonna catch a sea monster!!<\/dialogue>\n    <scene_description>Across the piazza, the boys, hearing this, give each other looks of alarm. Meanwhile Giulia, stung by Ercole's parting shot, pedals them around the corner--<\/scene_description>\n    <character>GIULIA<\/character>\n    <parenthetical>(ranting)<\/parenthetical>\n    <dialogue>Sto IMBECILLE! Thinks he can be a jerk cuz he keeps winning the race which he shouldn't even get to do anymore cuz he's too old and too much of a JERK!<\/dialogue>\n    <parenthetical>(to the boys)<\/parenthetical>\n    <dialogue>Hey. We underdogs have to look out for each other, right?<\/dialogue>\n    <scene_description>The boys are completely baffled by her.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>What's under the... dogs?<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>UNDER-dogs. You know. Kids who are different... dressed weird...<\/dialogue>\n    <parenthetical>(defiantly exposing sweaty armpits)<\/parenthetical>\n    <dialogue>Or a little sweatier than average.<\/dialogue>\n    <scene_description>Beat. Giulia knows she can be a little much for people sometimes. \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Too much? Too much. So are you in town for the race?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>The Portorosso Cup?<\/dialogue>\n    <scene_description>The boys remain absolutely silent and perplexed.<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Well, uh... good talk. But I gotta deliver these. Always be training, you know?<\/dialogue>\n    <scene_description>And she pedals away, hitting a STOPWATCH. But Luca has realized something.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>We should ask her about this Portorosso Cup race. That's how the loud scary human said he got his Vespa.<\/dialogue>\n    <scene_description>They look back at... Giulia, now rapidly performing her first delivery--<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>(racing through transaction)<\/dialogue>\n    <character>SIGNORA MARSIGLIESE<\/character>\n    <dialogue>Giulia! Buongior-- Oh.<\/dialogue>\n    <scene_description>Buongiorno, Signora Uh... Marsigliese. Grazie. Due sogliole, perfetto, okaygreatciao! As she sets off to the next door, Luca and Alberto run alongside her--<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Hey, uh, Spewlia--<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>GIULIA. My name is Giulia.<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Sure. So when you uh... race... in a cup... what do you get?<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>Soldi. Prize money.<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Oh..kay.<\/dialogue>\n    <scene_description>Giulia pedals away, but Luca knows there's more to learn--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>(whispering)<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>(whispering)<\/dialogue>\n    <scene_description>No no! Keep going! Ask her What? Why? But that stuff is about the prize money! Maybe useless! How would that that becomes a Vespa! Just become a Vespa!? Fine fine ask her! fine.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Hello, again.<\/dialogue>\n    <character>GIULIA<\/character>\n    <parenthetical>(wary)<\/parenthetical>\n    <dialogue>Ciao.<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>So, can we turn the money into something else? Something like--<\/dialogue>\n    <scene_description>As the three of them turn the corner, they see a MECHANIC'S GARAGE with a beautiful Vespa in front--<\/scene_description>\n    <character>LUCA<\/character>\n    <parenthetical>(pointing to the Vespa)<\/parenthetical>\n    <character>--THAT!<\/character>\n    <dialogue>GIULIA<\/dialogue>\n    <scene_description>Pfft. No. (afterthought) But it could get you that. She redirects the boys' gaze to an EXTREMELY RUSTY AND DECREPIT USED VESPA next to the new one. It is the WORST VESPA YOU HAVE EVER SEEN IN YOUR LIFE. But... DISSOLVE TO LUCA'S IMAGINATION: He and Alberto are triumphantly riding it through a sea of golden coins. BACK TO REALITY: The boys have a muttery sidebar, gazing at the Vespa.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>It's so beautiful.<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Yes. We need it.<\/dialogue>\n    <parenthetical>(to Giulia)<\/parenthetical>\n    <dialogue>Great! So we'll just win the race.<\/dialogue>\n    <scene_description>His cockiness rubs Giulia the wrong way.<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>You'll have to beat Ercole.<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Okay, so we'll beat Ercole.<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>Ha. Thinks he'll beat Ercole, this guy. First of all, GET IN LINE. Every summer that jerk makes my life miserable. So no one's taking him down unless it's ME.<\/dialogue>\n    <scene_description>Even Alberto is cowed by this.<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Second, this isn't any old race. It's an epic, grueling traditional Italian triathlon: swimming, cycling, and eating pasta. So, you'd need a teammate.<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Well, we'll figure it out. Thanks, human girl.<\/dialogue>\n    <scene_description>Giulia heads off once again, and Alberto heads in the other direction. But Luca senses an opportunity.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Alberto--what if we join her team?<\/dialogue>\n    <scene_description>Alberto frowns. But then something occurs to him.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Better idea: What if SHE joins OUR team?<\/dialogue>\n    <scene_description>He yells to Giulia, who's pedaling away--<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Hey! Spew--<\/dialogue>\n    <parenthetical>(remembers that's not her name, but can't remember her name)<\/parenthetical>\n    <dialogue>Uh! Girl!<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>GIULIA<\/character>\n    <parenthetical>(exasperated)<\/parenthetical>\n    <dialogue>Santa Mozzarella.<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Congratulations! You're joining our team!<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>You wish. I race alone.<\/dialogue>\n    <scene_description>As she says this, her cart gets stuck--the boys help get the wheel free--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>But we could be under the dogs too!<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>It's okay, Luca. She'd rather do the whole race alone again. Maybe this time she won't throw up as much!<\/dialogue>\n    <scene_description>Giulia frowns. She studies them.<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>You wanna be on my team, eh? ...Let's see what you got.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. IN FRONT OF THE PESCHERIA - DAY<\/stage_direction>\n    <scene_description>Luca sits on GIULIA'S BIKE, now disconnected from the cart. Giulia looks on expectantly. Luca tries to pedal it. Unfortunately, he has never ridden a bike in his life before this moment. HE CRASHES. Alberto tries to give some pointers about a thing he also has never ever done even once.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Try jumping onto it!<\/dialogue>\n    <scene_description>Luca tries this, and crashes again.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>No no no. You gotta show it you're the boss.<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Another crash.<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Santa Mozzarella.<\/dialogue>\n    <parenthetical>(to Luca)<\/parenthetical>\n    <dialogue>Eyes up! Looking down is what's making you fall.<\/dialogue>\n    <scene_description>Luca tries this advice--almost crashes again-- But this time, manages to stay upright. He rolls around the piazza, wobbly but exhilarated--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>WHOA. I'm doing it!<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>So can we be on the team?<\/dialogue>\n    <scene_description>Not so fast. Giulia needs to see more.<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Aspetta! Can you dodge obstacles? What if an old lady crosses your path? Hmmm?<\/dialogue>\n    <scene_description>She pretends to be an old lady, tottering in his way--Luca barely manages to dodge her--<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Can you withstand PASSIVE- AGGRESSIVE VERBAL ASSAULTS?!<\/dialogue>\n    <parenthetical>(imitating Ercole)<\/parenthetical>\n    <dialogue>Nice bike, number one and number two, I was kidding, your bike is a disgrace! HA HA HA HA.<\/dialogue>\n    <scene_description>She swiftly leans some planks on some barrels to create a difficult TIGHT ROPEY SITUATION for Luca to negotiate--<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Can you handle the course's fiendishly difficult terrain?!<\/dialogue>\n    <scene_description>Luca grimaces, but rallies himself--<\/scene_description>\n    <character>LUCA<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>Silenzio Bruno.<\/dialogue>\n    <scene_description>He WOBBLES his way up and starts across the plank-- \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL But then he sneaks a look down. It's his undoing. He CRASHES.<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Hmm.<\/dialogue>\n    <scene_description>Luca struggles valiantly to his feet. He's gonna try it again. She stops him.<\/scene_description>\n    <character>GIULIA<\/character>\n    <parenthetical>(to Alberto)<\/parenthetical>\n    <dialogue>What about you? Can you swim, at least?<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Yeah. I'm amazing.<\/dialogue>\n    <parenthetical>(Luca elbows him)<\/parenthetical>\n    <dialogue>-LY baaad at swimming.<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>You can't swim, you can barely ride a bike... siete un disastro! I mean, where are you even from?<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>We're not telling you our secrets!<\/dialogue>\n    <parenthetical>(immediately)<\/parenthetical>\n    <dialogue>We're runaways.<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>Runaways? I dunno, ragazzi...<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Please!<\/dialogue>\n    <scene_description>Luca, still tongue-tied from nervousness, powers through it:<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>My family was gonna send me somewhere horrible. Away from everything I love. But if we win this race, well... we can be free.<\/dialogue>\n    <scene_description>Beat. Giulia is moved. She turns to Alberto.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>My life's great. I'm just helping him out.<\/dialogue>\n    <scene_description>This is less moving to Giulia. She narrows her eyes and purses her lips, thinking.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Just give me one more chance.<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>No. You guys want it just as bad as I do. You have the hunger. That's the most important thing.<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>I'm definitely hungry.<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>Perfetto. You eat, you bike, and I swim. ...Underdogs?<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>(overjoyed)<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>(overjoyed)<\/dialogue>\n    <scene_description>Underdogs! Underdogs! A TRIUMPHANT GATHERING OF HANDS MOMENT--<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Now we just need money for the entry fee.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>From my dad.<\/dialogue>\n    <scene_description>Uh oh.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASSIMO'S KITCHEN\/DINING ROOM - DINNER<\/stage_direction>\n    <scene_description>MASSIMO, Giulia's enormous, terrifying, tattooed, one-armed dad SINGS OPERA as he preps dinner.<\/scene_description>\n    <character>MASSIMO<\/character>\n    <dialogue>Per un barbiere di qualit\u00e0, di qualit\u00e0! BRAVO FIGARO, BRAVO, BRAVISSIMO, BRAVO! LA LA LA LA. LAAAAAA.<\/dialogue>\n    <scene_description>Giulia leads the boys into her dad's cramped little working- class home.<\/scene_description>\n    <character>GIULIA<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>All right. Just let me do the talking. And act casual. He doesn't do well with fear.<\/dialogue>\n    <parenthetical>(calls out)<\/parenthetical>\n    <dialogue>Hey, Papa! I brought some friends for dinner. Is there enough for four?<\/dialogue>\n    <scene_description>Massimo turns and clocks the boys, MASSIVE CLEAVER in hand. \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL He looks them up and down, silently.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>What's wrong with you, stup--<\/dialogue>\n    <scene_description>Luca jams his hand in Alberto's mouth before he can finish. Massimo narrows his eyes. But he turns and continues to prep dinner. Giulia gives a reassuring signal to the boys. HARD CUT to the boys sitting at the table. Luca is terrified. Alberto clocks the HARPOONS on the wall.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <parenthetical>(whispering to Luca)<\/parenthetical>\n    <dialogue>What do you think he kills with those?<\/dialogue>\n    <character>MASSIMO<\/character>\n    <parenthetical>(overhearing)<\/parenthetical>\n    <dialogue>Anything that swims.<\/dialogue>\n    <scene_description>Luca feels DREAD. Alberto feels DREAD, but also PROFOUND AWE.<\/scene_description>\n    <character>MASSIMO<\/character>\n    <dialogue>Did you see the paper today?<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>That photo's a fake, Papa.<\/dialogue>\n    <parenthetical>(to the boys, a little embarrassed)<\/parenthetical>\n    <dialogue>Everyone in Portorosso pretends to believe in sea monsters.<\/dialogue>\n    <scene_description>Giulia hands a newspaper to Alberto, who studies it. It has a BLURRY PHOTO of a sea monster, tail visible above the water--<\/scene_description>\n    <character>MASSIMO (O.S.)<\/character>\n    <dialogue>I'M not pretending.<\/dialogue>\n    <scene_description>Massimo takes the clipping from Alberto's hands and VIOLENTLY PINS it to the wall with a knife-- Adding it to a VAST \"BEAUTIFUL MIND\"-TYPE BOARD OF SEA MONSTER ARTICLES AND PHOTOS-- Luca, drinking a glass of water, SPIT-TAKES onto Alberto. Half of Alberto's monster turns sea monster. Oh sweet Jesus no. Luca TACKLES Alberto to the floor, before Massimo and Giulia can see him. \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Alberto hastily dries off under the table, where no one can see them. No one, that is, except: MACHIAVELLI, the Marcovaldo family's imposing cat. He growls. The boys scramble back into their seats.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Slipped!<\/dialogue>\n    <scene_description>An uneasy beat.<\/scene_description>\n    <character>MASSIMO<\/character>\n    <dialogue>Dinner's ready. Trenette al pesto.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Mangiamo.<\/dialogue>\n    <scene_description>Clearly the boys are supposed to start eating. But they have no idea how the utensils work. So Alberto just grabs a handful of pasta and sticks it in his mouth. Then another. Luca, hesitantly, follows suit. The food is delicious. Pretty soon both boys are cramming it into their mouths with the worst manners that you have ever seen.<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Uhh. Okay.<\/dialogue>\n    <character>MASSIMO<\/character>\n    <dialogue>Where did you boys say you were from?<\/dialogue>\n    <character>GIULIA<\/character>\n    <parenthetical>(needing to rescue them)<\/parenthetical>\n    <dialogue>They're classmates! From Genova. Luca and uhhh---<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>(muttering)<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>--hhhhlberto.<\/dialogue>\n    <scene_description>Alberto.<\/scene_description>\n    <character>MASSIMO<\/character>\n    <dialogue>And what brings you to Portorosso?<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>Funny you should ask! They came for the race.<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>MASSIMO<\/character>\n    <parenthetical>(darkening)<\/parenthetical>\n    <dialogue>The race, huh.<\/dialogue>\n    <scene_description>Giulia can feel this is going badly--<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Yeah. You know what? Don't worry about it.<\/dialogue>\n    <character>MASSIMO<\/character>\n    <dialogue>Don't worry about it?<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>Don't worry about it.<\/dialogue>\n    <scene_description>Massimo sets down his glass.<\/scene_description>\n    <character>MASSIMO<\/character>\n    <dialogue>Giulietta? A word?<\/dialogue>\n    <scene_description>Massimo and Giulia confer privately:<\/scene_description>\n    <character>MASSIMO<\/character>\n    <dialogue>I don't want you doing the race again. You get so upset.<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>Pap\u00e0, per favore! I have a team now!<\/dialogue>\n    <character>MASSIMO<\/character>\n    <dialogue>There's also the entry fee. Money's tight.<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>I'll work double shifts at the pescheria--whatever you need--<\/dialogue>\n    <character>MASSIMO<\/character>\n    <parenthetical>(with a painful smile)<\/parenthetical>\n    <dialogue>I can't sell what I don't have. What I need is more fish in my net. Mi dispiace, Giulietta.<\/dialogue>\n    <character>LUCA (O.S.)<\/character>\n    <dialogue>...Umm, excuse me?<\/dialogue>\n    <scene_description>PULL OUT to show that Massimo and Giulia are just a few feet away from Luca and Alberto. Because this house is very small. Anyway, the boys heard the whole thing, and: \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>We could help!<\/dialogue>\n    <character>MASSIMO<\/character>\n    <parenthetical>(doubtfully)<\/parenthetical>\n    <dialogue>You know fish?<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>We know lots of fish.<\/dialogue>\n    <scene_description>Giulia puts on her most winning smile--<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Can this face lose?<\/dialogue>\n    <scene_description>Beat. Then Massimo sighs heavily and shrugs in resignation--<\/scene_description>\n    <character>MASSIMO<\/character>\n    <dialogue>You want to work, I'll put you to work.<\/dialogue>\n    <scene_description>The boys celebrate--Giulia is giddy with excitement--<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Grazie, Pap\u00e0!!<\/dialogue>\n    <scene_description>Luca turns to see the cat inches from his face.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>OH NO.<\/dialogue>\n    <character>GIULIA<\/character>\n    <parenthetical>(stern)<\/parenthetical>\n    <dialogue>Machiavelli! No! NO--<\/dialogue>\n    <scene_description>The cat LEAPS-- HARD CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GIULIA'S BACKYARD - NIGHT<\/stage_direction>\n    <scene_description>The boys hurry into the yard, scratched up from the cat.<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>I'm so sorry about the cat. I don't know what got into him!<\/dialogue>\n    <character>LUCA<\/character>\n    <parenthetical>(woozy)<\/parenthetical>\n    <dialogue>It's fine. We're gonna head back to, uhh...<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL He's not sure how to finish the sentence and Giulia realizes--<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Do you guys need a place to stay?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GIULIA'S TREEHOUSE<\/stage_direction>\n    <scene_description>Luca and Alberto sit on a platform in a tree--Giulia's treehouse. Lights are strung in the branches. Books are scattered here and there--Giulia picks them up--<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Oops. Sorry. This is my--<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Your hideout.<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>Heh. Yeah. My hideout.<\/dialogue>\n    <scene_description>She walks along a branch and jumps, not super gracefully, through a window into her bedroom.<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>...Buonanotte, boys. See you in the morning!<\/dialogue>\n    <scene_description>As soon as she is gone, Luca EXHALES in RELIEF--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>That was close.<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>How big was that dad human?! That guy kills things, for sure.<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>I thought we were gonna die like a hundred times.<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Hey. Relax. We're incredible at this humaning stuff.<\/dialogue>\n    <scene_description>Luca smiles, starting to come around.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Did you see me on the bike? Giulia said \"look up\" and then all of a sudden, I was riding it!!--<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Alberto doesn't love hearing about how Luca learned something from a person who wasn't him.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>Yeah yeah yeah. Our Vespa's gonna be even better than a bike, though. Because the moment we get it, we're OUTTA here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH - DAWN<\/stage_direction>\n    <scene_description>Like middle-aged commandos-- DANIELA and LORENZO sneak out of the ocean and onto shore, uncer cover of early-morning darkness. They are here to get their son back.<\/scene_description>\n    <character>DANIELA<\/character>\n    <dialogue>How could my mother tell him about this town of bloodthirsty lunatics?<\/dialogue>\n    <character>LORENZO<\/character>\n    <dialogue>I still can't believe he would do this. It's not like him.<\/dialogue>\n    <scene_description>Daniela TRANSFORMS while speaking:<\/scene_description>\n    <character>DANIELA<\/character>\n    <dialogue>Just keep your guard up. There's gonna be land monsters everywhere-- AAIIGH!<\/dialogue>\n    <scene_description>Daniela turns to see a land monster (Lorenzo) and attacks him, knocking him to the ground and slapping his face.<\/scene_description>\n    <character>DANIELA<\/character>\n    <dialogue>NOT \\[SLAP\\] TODAY \\[SLAP\\], LAND<\/dialogue>\n    <character>MONSTER. \\[SLAP\\]<\/character>\n    <dialogue>LORENZO<\/dialogue>\n    <character>DANIELA! WAIT! IT'S ME!<\/character>\n    <dialogue>DANIELA<\/dialogue>\n    <character>OH.<\/character>\n    <dialogue>You scared the scales off of me.<\/dialogue>\n    <scene_description>Lorenzo rubs his cheek.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>Jeez, you're strong.<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>DANIELA<\/character>\n    <dialogue>Sorry. I'm just a little on edge.<\/dialogue>\n    <character>LORENZO<\/character>\n    <dialogue>No. I needed that. It really woke me up. Wow! We look horrifying.<\/dialogue>\n    <scene_description>Daniela inspects her BEAUTIFUL HAIR.<\/scene_description>\n    <character>DANIELA<\/character>\n    <dialogue>Ugh. Gross.<\/dialogue>\n    <parenthetical>(resolute)<\/parenthetical>\n    <dialogue>Come on. Let's find our son.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GIULIA'S TREEHOUSE - MORNING<\/stage_direction>\n    <scene_description>Luca wakes up in the treehouse. Its branches drip gently--it rained in the night. He smiles, for the moment oblivious to the fact that the RAIN HAS TRANSFORMED HIM INTO A SEA MONSTER. He turns to look at Alberto, who has also transformed. Oh snap.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Oh no. Alberto! Wake up!!<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>What? --AAAAH!! The sky's been leaking!<\/dialogue>\n    <scene_description>Giulia slams open her shutters, cups her hands to her mouth like a trumpet, and plays a REVEILLE--<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Papapparapaa pappaparapaaa!<\/dialogue>\n    <scene_description>The boys SCRAMBLE OUT OF THE TREE before she can see them-- Then they scramble AROUND THE TREE as the BACKYARD DOOR opens and Massimo leans out, harpoons in hand. Hastily, they manage to dry off before anyone sees them, except for an agitated Machiavelli.<\/scene_description>\n    <character>MASSIMO<\/character>\n    <dialogue>All right, ragazzi. You want that entry fee, you gotta earn it. Giulietta, you make the deliveries--<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>GIULIA<\/character>\n    <parenthetical>(snatching the list, heading out)<\/parenthetical>\n    <dialogue>Already makin' em.<\/dialogue>\n    <character>MASSIMO<\/character>\n    <dialogue>And you two are coming with me.<\/dialogue>\n    <scene_description>Luca is anxious; Alberto, intrigued, clocking Massimo's MANY KNIVES--<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Which knife do I get?<\/dialogue>\n    <character>MASSIMO<\/character>\n    <dialogue>You don't.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FISHING BOAT - MORNING<\/stage_direction>\n    <scene_description>Out on the water, Massimo exchanges greetings with Tommaso, on a passing fishing boat--<\/scene_description>\n    <character>TOMMASO<\/character>\n    <dialogue>Buongiorno Massimo! You'll keep an eye out for those sea monsters, right? We're all counting on you!<\/dialogue>\n    <character>MASSIMO<\/character>\n    <dialogue>Don't worry, Tommaso, I've got my eyes peeled. They won't get away.<\/dialogue>\n    <scene_description>Massimo taps his TRUSTY HARPOON by his side. Meanwhile the waves are jostling the boys to and fro--they keep almost flying out of the boat and into the water--<\/scene_description>\n    <character>MASSIMO<\/character>\n    <dialogue>This isn't a joyride. Make yourselves useful.<\/dialogue>\n    <scene_description>The boys hastily get to work pulling up NETS. Machiavelli stalks Luca. Some Hitchcock fun and games that results in Machiavelli POUNCING ONTO LUCA'S FACE. He is really clamped on there. Luca staggers around, trying to get him off, rocking the boat a little--<\/scene_description>\n    <character>MASSIMO<\/character>\n    <dialogue>Hey! No goofing around back there!<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Luca finally succeeds in FLINGING Machiavelli off his face-- and into the water. TIME CUT: Luca apologetically feeds an anchovy to a soaking wet, shell-shocked, furious Machiavelli. Up front, Alberto is sneaking a glance at Massimo's one-armed style. Massimo catches him--<\/scene_description>\n    <character>MASSIMO<\/character>\n    <parenthetical>(nodding at his arm)<\/parenthetical>\n    <dialogue>A sea monster ate it.<\/dialogue>\n    <scene_description>Beat. Then Massimo chuckles--<\/scene_description>\n    <character>MASSIMO<\/character>\n    <dialogue>Just kidding. This is how I came into the world.<\/dialogue>\n    <scene_description>And one-armed, he opens a net with a dexterous flourish--<\/scene_description>\n    <character>MASSIMO<\/character>\n    <dialogue>Mannaggia. Not a great catch today.<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>It might be because we're over a haunted fish graveyard?<\/dialogue>\n    <scene_description>Beat. Massimo is confused. Alberto comes to the rescue.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <parenthetical>(explaining, confidently)<\/parenthetical>\n    <dialogue>--WE know it's not haunted. The FISH think it's haunted.<\/dialogue>\n    <scene_description>Massimo knits his brow. These boys are strange.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>This time of day, most fish will be riiight about there.<\/dialogue>\n    <scene_description>Alberto points off into the distance. Massimo is skeptical--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARINA - DAY<\/stage_direction>\n    <scene_description>Giulia races through town on her bike--SKIDS to a halt at the dock-- Checks her POCKET WATCH, then shoots two fists in the air--<\/scene_description>\n    <character>GIULIA<\/character>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Then clocks Massimo and the boys returning with a truly EPIC AMOUNT OF FISH.<\/scene_description>\n    <character>GIULIA<\/character>\n    <parenthetical>(in quiet awe)<\/parenthetical>\n    <dialogue>Santa Pecorino.<\/dialogue>\n    <character>MASSIMO<\/character>\n    <parenthetical>(to Giulia)<\/parenthetical>\n    <dialogue>Your friends do know fish.<\/dialogue>\n    <scene_description>Massimo pats Alberto on the back. Giulia is relieved--<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Let's go sign up!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PORTOROSSO - DAY<\/stage_direction>\n    <scene_description>LAUNDRY hangs on a clothes line. Two pairs of hands whisk it off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SEAWALL NEXT TO GIULIA'S BACKYARD - DAY<\/stage_direction>\n    <scene_description>DANIELA and LORENZO, wearing the pilfered clothing, sneak into town--<\/scene_description>\n    <character>DANIELA<\/character>\n    <dialogue>Okay, okay. Now what's our plan. Think, Daniela!--<\/dialogue>\n    <character>LORENZO<\/character>\n    <dialogue>Hey. Everything's always on you. I want to step up.<\/dialogue>\n    <character>DANIELA<\/character>\n    <dialogue>Uh... you sure?<\/dialogue>\n    <character>LORENZO<\/character>\n    <parenthetical>(confidently)<\/parenthetical>\n    <dialogue>Oh yeah. I got this.<\/dialogue>\n    <scene_description>And he saunters over to a kid (not Luca) sitting by himself on the seawall enjoying a gelato cone.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>Well, hello there, young man. You're not fooling anyone.<\/dialogue>\n    <scene_description>The kid licks his gelato, blank-faced and confused. \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>DANIELA<\/character>\n    <dialogue>(under breath\/through teeth)<\/dialogue>\n    <character>LORENZO<\/character>\n    <dialogue>Did you really think you could get away with this?<\/dialogue>\n    <scene_description>Lorenzo. Uh-uh. You thought we wouldn't find Nope. Lorenzo. Nuh-uh. you? Well, guess what.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>It's time for us to go home.<\/dialogue>\n    <scene_description>Lorenzo PUSHES the kid into the water. He is about to follow, when Daniela grabs him. The kid has not turned into Luca. Awkward beat. The kid begins to cry.<\/scene_description>\n    <character>LORENZO<\/character>\n    <parenthetical>(trying to recover)<\/parenthetical>\n    <dialogue>And... let that be a lesson to you!<\/dialogue>\n    <character>DANIELA<\/character>\n    <dialogue>RUN. Before its mother gets here.<\/dialogue>\n    <scene_description>The adults FLEE--<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>It turns out I don't got this.<\/dialogue>\n    <character>DANIELA<\/character>\n    <dialogue>No. But I do. I'll know my son when I--<\/dialogue>\n    <scene_description>--into the PIAZZA, which contains MANY KIDS.<\/scene_description>\n    <character>DANIELA<\/character>\n    <dialogue>--see him.<\/dialogue>\n    <scene_description>Daniela gazes around. This is going to be pretty difficult.<\/scene_description>\n    <character>DANIELA<\/character>\n    <dialogue>Aw, sharks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PIAZZA - DAY<\/stage_direction>\n    <scene_description>Giulia, Luca, and Alberto walk up to a LINE OF KIDS waiting to submit their entries to the PORTOROSSO CUP. A WOMAN in an ELABORATE COSTUME and MUSTACHE addresses them from a little makeshift stage: \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>SIGNORA MARSIGLIESE<\/character>\n    <dialogue>Fellow Portorossans! It is I! GIORGIO GIORGIONI!!<\/dialogue>\n    <parenthetical>(hamming it up)<\/parenthetical>\n    <dialogue>Slayer of sea monsters. And beloved purveyor of pasta!<\/dialogue>\n    <scene_description>In the crowd, Luca is alarmed:<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Slayer of sea monsters?!<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>That's just Signora Marsigliese. She works for the sponsor for the race.<\/dialogue>\n    <parenthetical>(exasperated sigh)<\/parenthetical>\n    <dialogue>This is gonna take forever.<\/dialogue>\n    <character>SIGNORA MARSIGLIESE<\/character>\n    <dialogue>The finest pasta in Liguria. At a price every family can afford!--<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>GET TO THE RULES.<\/dialogue>\n    <character>SIGNORA MARSIGLIESE<\/character>\n    <parenthetical>(dry)<\/parenthetical>\n    <dialogue>Enthusiasm. Love to see it.<\/dialogue>\n    <parenthetical>(regaining momentum)<\/parenthetical>\n    <dialogue>To win my famous race, your team must be the first to: Brave the treacherous waters of the bay!! Devour a mystery bowl of my delicious pasta!! And ride to the top of Mount Portorosso--and back!!!<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>That all sounds pretty hard.<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Yeah. Hard to LOSE. We're going to win!<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>I love your confidence. But don't forget. We have to go through--<\/dialogue>\n    <character>ERCOLE<\/character>\n    <dialogue>Champion coming through! Ciao, ciao!<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL --Ercole arrives, Ciccio and Guido trailing behind as usual.<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>--Ercole.<\/dialogue>\n    <scene_description>Ercole plonks down his entry fee.<\/scene_description>\n    <character>SIGNORA MARSIGLIESE<\/character>\n    <dialogue>Aren't you a little old, Ercole?<\/dialogue>\n    <character>ERCOLE<\/character>\n    <parenthetical>(pretend outrage)<\/parenthetical>\n    <dialogue>Signora! I'm sixteen!<\/dialogue>\n    <character>SIGNORA MARSIGLIESE<\/character>\n    <dialogue>You said that last year.<\/dialogue>\n    <character>ERCOLE<\/character>\n    <dialogue>But this year it's true!<\/dialogue>\n    <parenthetical>(walking away, addressing the kids)<\/parenthetical>\n    <dialogue>You might want to save your money, ragazzi, this year Ercole is gonna break the record and make it six in a row--<\/dialogue>\n    <scene_description>He notices, with delight, that Giulia has teamed up with Luca and Alberto.<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>Oh no. I don't believe it. Spewlia, you teamed up with these vagrants?!<\/dialogue>\n    <character>GIULIA<\/character>\n    <parenthetical>(irritated)<\/parenthetical>\n    <dialogue>Ignore him.<\/dialogue>\n    <character>ERCOLE<\/character>\n    <parenthetical>(mock-apologetic)<\/parenthetical>\n    <dialogue>I wish for you that you could. I'm afraid your friends still need to pay the Out-of-Town Weirdo Tax.<\/dialogue>\n    <scene_description>Ercole snaps his fingers--Ciccio snatches the money out of Giulia's hand and gives it to Ercole--<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>HEY!<\/dialogue>\n    <dialogue>Ercole--you HAVE to give it back!<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>Ercole doesn't have to do anything. He's the Portorosso Cup champion, number one, and number two, his life is amazing and everyone loves him.<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>They don't love you! They're afraid of you!<\/dialogue>\n    <character>ERCOLE<\/character>\n    <parenthetical>(intimidating, to the crowd)<\/parenthetical>\n    <dialogue>Raise your hand if you love me.<\/dialogue>\n    <scene_description>EVERYONE in the crowd, terrified, raises their hand.<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>See? Everyone.<\/dialogue>\n    <parenthetical>(to Alberto)<\/parenthetical>\n    <dialogue>Even you.<\/dialogue>\n    <parenthetical>(booping Alberto's nose)<\/parenthetical>\n    <dialogue>Boop.<\/dialogue>\n    <scene_description>This is too much for Alberto. He raises his fists.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>That's it. Come on, Luca.<\/dialogue>\n    <character>ERCOLE<\/character>\n    <dialogue>Ooh! The vagrants want to fight!<\/dialogue>\n    <character>LUCA<\/character>\n    <parenthetical>(unsure)<\/parenthetical>\n    <dialogue>Alberto...?<\/dialogue>\n    <character>ALBERTO<\/character>\n    <parenthetical>(hushed, to Luca)<\/parenthetical>\n    <dialogue>Silenzio Bruno. Remember this is for our Vespa!<\/dialogue>\n    <character>ERCOLE<\/character>\n    <dialogue>A Vespa? Pfft. Trash like you can't ride Vespas.<\/dialogue>\n    <scene_description>Giulia gets in the way before the fight can begin.<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Stop.<\/dialogue>\n    <scene_description>Every eye watches the STANDOFF: \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Ercole, you're just afraid we're gonna put an end to your evil empire of injustice--<\/dialogue>\n    <character>ERCOLE<\/character>\n    <parenthetical>(bored, overlap)<\/parenthetical>\n    <dialogue>\"evil empire of injustice.\" Got anything new?<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>Yeah! HERE'S a new one. You... look like a...<\/dialogue>\n    <scene_description>Beat. She's got nothing. Ercole smirks.<\/scene_description>\n    <character>LUCA<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>A catfish.<\/dialogue>\n    <character>GIULIA<\/character>\n    <parenthetical>(loudly, triumphantly)<\/parenthetical>\n    <character>A CATFISH!<\/character>\n    <dialogue>This only confuses the crowd. And Ercole. They are not impressed--until--<\/dialogue>\n    <character>LUCA<\/character>\n    <parenthetical>(timidly)<\/parenthetical>\n    <dialogue>Uh, they're bottom feeders and they also have two sad little whiskers.<\/dialogue>\n    <scene_description>Now the crowd starts snickering. Even Guido lets out a little involuntary giggle. Ercole fumes. He smacks Guido with a sandwich. Then he turns to Luca, towering over him.<\/scene_description>\n    <character>ERCOLE<\/character>\n    <parenthetical>(advancing)<\/parenthetical>\n    <dialogue>Listen, Piccoletto. I eat kids like you for breakfast. I dunk them in my cioccolata and GNAM! Finiti!<\/dialogue>\n    <scene_description>Ercole leans in and creepily puts an arm around Luca, who cowers.<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>So, here. Sign up. I'll make it my mission to destroy you.<\/dialogue>\n    <scene_description>He lets this sink in. Then, suddenly, BRIGHTENS-- \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>Ha ha ha!<\/dialogue>\n    <parenthetical>(leaving, joking with the crowd)<\/parenthetical>\n    <dialogue>It's gonna be some race, huh? Sorry, no autographs today!<\/dialogue>\n    <parenthetical>(to a little boy who is still raising his hand)<\/parenthetical>\n    <dialogue>You. You can put your hand down.<\/dialogue>\n    <scene_description>Luca is absolutely terrified. But then Giulia puts an arm around him--<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>HA HA! Luca! Bravo, we did it!<\/dialogue>\n    <scene_description>Luca remembers to breathe. Giulia drags him away-- Alberto lags behind, strangely let down. AT THE TABLE: Giulia slaps the cash down on the table.<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Giulia Marcovaldo!<\/dialogue>\n    <character>SIGNORA MARSIGLIESE<\/character>\n    <dialogue>Ciao, Giulia. Team of one?<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>Not today!<\/dialogue>\n    <scene_description>She parts to reveal Luca and Alberto.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Luca Paguro.<\/dialogue>\n    <character>ALBERTO<\/character>\n    <parenthetical>(slightly reluctant)<\/parenthetical>\n    <dialogue>Alberto Scorfano.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MASSIMO'S HOME - CONTINUOUS<\/stage_direction>\n    <character>GIULIA (O.S.)<\/character>\n    <dialogue>Ok, ragazzi! We have one week to train!<\/dialogue>\n    <scene_description>BUT TRAINING GETS OFF TO A ROCKY START: \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASSIMO'S HOME<\/stage_direction>\n    <scene_description>Giulia puts a BOWL OF LINGUINE in front of Alberto.<\/scene_description>\n    <character>GIULIA<\/character>\n    <parenthetical>(ready, set, go!)<\/parenthetical>\n    <dialogue>Pronti, ai posti, via!<\/dialogue>\n    <scene_description>Alberto is about to start when Luca comes in with an ARMFUL of DIFFERENT PASTA DISHES:<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Wait, what!?<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>Every year they change the pasta. You have to be ready for anything! Could be cannelloni, penne, fusilli, trofie, EVEN LASAGNE!<\/dialogue>\n    <scene_description>Alberto shrugs and is about to grab a handful when Giulia raps his knuckles with a fork--<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>And you have to use a forchetta. It's the rule.<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Rules are for...<\/dialogue>\n    <parenthetical>(frustrated)<\/parenthetical>\n    <dialogue>...rule people!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PORTOROSSO STREETS - UPHILL<\/stage_direction>\n    <scene_description>NEXT: Luca struggles uphill on the bike as Alberto and Giulia slowly walk behind him. They are passed by a VERY OLD MAN. Alberto slaps his hand to his forehead in frustration. CUT TO: AT THE TOP OF THE DOWNHILL-- Luca nervously looks down the STEEP INCLINE.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Holy carp. No. I can't.<\/dialogue>\n    <scene_description>Of course Ercole, breezily riding by, hears this-- \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>I know, I know. Ha ha ha ha! And remember, Piccoletto:<\/dialogue>\n    <scene_description>He draws a finger across his neck menacingly as he rides off.<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Forza! Luca, don't let him get in your head. You can do this!<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Okay. Silenzio Bruno! Here we go!<\/dialogue>\n    <parenthetical>(he pushes off)<\/parenthetical>\n    <character>NOPE. I CAN'T.<\/character>\n    <dialogue>He hits the brakes, the front wheel locks up, and he CRASHES.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SEA<\/stage_direction>\n    <scene_description>AND FINALLY: Giulia swims in the sea as Alberto and Luca paddle behind. They watch her, unimpressed.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>I guess that's how humans swim?<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Man, that's embarrassing.<\/dialogue>\n    <scene_description>IN A MOTORBOAT IN THE DISTANCE: Ercole looks through binoculars as his henchbuddies WIELD HARPOONS hopefully--<\/scene_description>\n    <character>CICCIO<\/character>\n    <dialogue>Any sea monsters?<\/dialogue>\n    <character>ERCOLE<\/character>\n    <parenthetical>(lowering binoculars)<\/parenthetical>\n    <dialogue>No... but I see some bait.<\/dialogue>\n    <scene_description>He GUNS THE MOTOR-- Giulia spots the boat speeding toward them--<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Oh no. It's Ercole--<\/dialogue>\n    <scene_description>Alberto and Luca start rowing FURIOUSLY. But they are rowing in opposite directions and the boat just goes in circles--<\/scene_description>\n    <character>ALBERTO<\/character>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>WHY AREN'T WE MOVING?!<\/dialogue>\n    <scene_description>Ercole's boat is bearing down on them--Ercole grins maniacally--<\/scene_description>\n    <character>GUIDO<\/character>\n    <parenthetical>(worried)<\/parenthetical>\n    <dialogue>Ercole--?<\/dialogue>\n    <scene_description>At the last minute, Guido grabs the steering and averts collision, instead sending a WAVE over Luca and Alberto-- --splashing Alberto, who turns SEA MONSTER and DUCKS into the boat with Luca-- Fortunately, Ercole missed it. He's too busy berating Guido.<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>Guido?!<\/dialogue>\n    <character>GUIDO<\/character>\n    <dialogue>I--I slipped!<\/dialogue>\n    <character>ERCOLE<\/character>\n    <dialogue>Ciccio! Slap Guido! Again! Like you mean it!<\/dialogue>\n    <scene_description>Giulia furiously doggy-paddles to confront Ercole. Meanwhile, Luca tries to throw a tarp over Alberto but instead hits Alberto in the face, KNOCKING HIM OVERBOARD-- Tbe commotion draws Ercole's attention--he turns to see Luca by himself.<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>Where did the other one go?<\/dialogue>\n    <scene_description>He spots something purple in the water--he squints-- But then TOPPLES OVER--a FURIOUS GIULIA has rocked the boat by hanging onto the sides to yell at him.<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Ercole! Cosa stai pensando, eh?!<\/dialogue>\n    <scene_description>Ercole's sweater has fallen into the water. This now occupies 100% of his attention.<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>Insane girl! It is wool! It cannot be moistened!<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL While Ercole is distracted, Luca pulls Alberto on board. Then hastily throws a tarp over him before Giulia, also clambering on board, can see anything--<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Well, I think that's enough training for today--<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Yeah! Agreed!<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Yup!<\/dialogue>\n    <scene_description>As the kids begin to row home, Ercole notices them--<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>BAHH! Ciccio! The motor! They are slowly getting away!<\/dialogue>\n    <scene_description>Ciccio fumbles with the motor.<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>Guido! Slap Ciccio! With contempt!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PORTOROSSO - PIAZZA - DAY<\/stage_direction>\n    <scene_description>Lorenzo and Daniela's search for Luca is not going so well, either. Daniela pulls the hat off a kid. Nope. Not her son. A SOCCER BALL rolls to Daniela, from the kids playing nearby--<\/scene_description>\n    <character>SOCCER KID #1<\/character>\n    <dialogue>Hey! La palla!<\/dialogue>\n    <character>SOCCER KID #2<\/character>\n    <dialogue>Kick it!<\/dialogue>\n    <scene_description>Daniela KICKS it. She is pretty strong. It knocks a kid into the fountain. She stares at the kid, thinking.<\/scene_description>\n    <character>DANIELA<\/character>\n    <dialogue>I have an idea.<\/dialogue>\n    <character>LORENZO<\/character>\n    <dialogue>Uh. Honey?!<\/dialogue>\n    <character>DANIELA<\/character>\n    <dialogue>Hey guys! Can I play too?!<\/dialogue>\n    <scene_description>A kid with the ball tries to JUKE her out. She instead deftly steals the ball and HIP-CHECKS him into the fountain.<\/scene_description>\n    <character>DANIELA<\/character>\n    <dialogue>Oops! Sorry. I'm not used to legs.<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>LORENZO<\/character>\n    <parenthetical>(catching on)<\/parenthetical>\n    <dialogue>Ohhhhhhhh.<\/dialogue>\n    <character>SOCCER KID #3<\/character>\n    <dialogue>PRENDILA! THE BALL!<\/dialogue>\n    <character>DANIELA<\/character>\n    <dialogue>Come and get it.<\/dialogue>\n    <scene_description>Another kid approaches Daniela, who now has the ball. She deftly sidesteps and the second kid, too, TUMBLES into the fountain. She is basically LIONEL MESSI. She DRIBBLES through a few more kids, TRIPPING, CHECKING, JUKING them all into the fountain-- Where Lorenzo checks to see if they're Luca--<\/scene_description>\n    <character>LORENZO<\/character>\n    <parenthetical>(muttering)<\/parenthetical>\n    <dialogue>Not our kid. Not our kid.<\/dialogue>\n    <scene_description>Daniela approaches the goal, takes a shot, but skies the ball instead--knocking a watering can out of a neighbor's hand-- and drenching the kid below. Daniela CELEBRATES by hurling another kid into the fountain.<\/scene_description>\n    <character>DANIELA<\/character>\n    <parenthetical>(out of breath)<\/parenthetical>\n    <dialogue>Let's see Bianca Branzino do THAT!<\/dialogue>\n    <parenthetical>(dolphin impression)<\/parenthetical>\n    <scene_description>NEAR THE PESCHERIA: Luca HEARS his mother's distinct DOLPHIN CALL. He looks over and sees two adults who look like the human versions of his parents over by the fountain. Uh oh. He ducks into the yard after Giulia and Alberto--<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Good effort, team. You've earned your pasta tonight.<\/dialogue>\n    <character>ALBERTO<\/character>\n    <parenthetical>(desperate)<\/parenthetical>\n    <dialogue>Can I please eat with my hands.<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL --as the parents regroup, still having not found their son.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>Well at least you won! ...I think!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GIULIA'S TREEHOUSE - EVENING<\/stage_direction>\n    <scene_description>Luca and Alberto confer in the treehouse--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Uh, Alberto? I think I might've seen my parents...<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>No way. I told you, they're not coming here.<\/dialogue>\n    <scene_description>Luca doesn't know how to push past Alberto's dismissiveness--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>But what if they did? They're gonna send me to the deep!--<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Relax! It's never gonna happen.<\/dialogue>\n    <scene_description>Giulia arrives.<\/scene_description>\n    <character>GIULIA<\/character>\n    <parenthetical>(determinedly positive)<\/parenthetical>\n    <dialogue>All right, boys. Pretty good today, but let's talk technique--<\/dialogue>\n    <scene_description>Massimo arrives, too.<\/scene_description>\n    <character>MASSIMO<\/character>\n    <dialogue>Hey, ragazzi! I need some help with the nets.<\/dialogue>\n    <parenthetical>(looking to Alberto)<\/parenthetical>\n    <dialogue>You! The big strong one. Andiamo.<\/dialogue>\n    <scene_description>Alberto is reluctant to leave. But he does like being the big strong one.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>I'll be right back.<\/dialogue>\n    <scene_description>Alberto exits with Massimo, leaving Luca and Giulia. She sees he's rattled, and ventures to comfort him. \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Hey. We're gonna win. And you'll get your Vespa. ...Why do you want a Vespa again?<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Oh--because it'll be amazing. Every day me and Alberto are gonna ride someplace new. And every night we'll sleep under the fish.<\/dialogue>\n    <scene_description>He indicates the STARS that are starting to come out. Giulia is thrown for a loop. She decides to just go with it.<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>The, uh... fish. Yes! Good.<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>What'll you do when you win?<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>Ohoho. I'll get up in front of everyone and say, \"TOLD you I'd win!!\"<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Yeah!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And then what?<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>I don't know. That's it! Look. During school, I live with my mamma in Genova. And every summer, I come here, and everyone thinks I'm just some weird kid who doesn't belong.<\/dialogue>\n    <scene_description>This really lands with Luca.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>I think I know how you feel.<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>Right?! That's why we gotta win!! The town will cheer our names--<\/dialogue>\n    <parenthetical>(a little too excited)<\/parenthetical>\n    <character>ERCOLE'S LIFE WILL BE RUINED--<\/character>\n    <parenthetical>(stopping herself)<\/parenthetical>\n    <dialogue>Sorry. Too much? My mom says sometimes I'm too much.<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>No way! Not for me.<\/dialogue>\n    <scene_description>Giulia smiles. She watches Luca look at the stars, that he might think are fish.<\/scene_description>\n    <character>GIULIA<\/character>\n    <parenthetical>(unable to let it go)<\/parenthetical>\n    <dialogue>You know those aren't fish, right?<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Of course they are! Alberto told me all about it.<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>Come with me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOPS - MOMENTS LATER<\/stage_direction>\n    <scene_description>Luca follows Giulia up onto the roof and across PORTOROSSO'S BEAUTIFUL ROOFSCAPE. A night stroll above a lovely sleepy little town. They finally arrive at a little balcony. Giulia uncovers a TELESCOPE and makes adjustments--<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>This is a telescope. Old Man Bernardi lets me use it. It makes faraway things seem close. Look.<\/dialogue>\n    <scene_description>She hands it over to Luca--who looks through it-- AT A GALAXY.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>WHOA.<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>See any fish?<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Then what are all those?!<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>Stars. Like the sun. Giant, raging balls of fire!<\/dialogue>\n    <character>LUCA<\/character>\n    <parenthetical>(to himself, realizing)<\/parenthetical>\n    <dialogue>Alberto was wrong.<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>And stars are circled by planets.<\/dialogue>\n    <scene_description>Through the TELESCOPE, she shows him SATURN--<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>That's Saturno. It's my favorite.<\/dialogue>\n    <parenthetical>(geeking out hard)<\/parenthetical>\n    <dialogue>It's the lightest of the planets. They say if there was an ocean big enough to hold it, it would float--<\/dialogue>\n    <scene_description>As she speaks, his imagination takes hold-- BEGIN IMAGINATION SEQUENCE-- Luca runs on the ring around SATURN-- Giulia FLIES by on a DA VINCI FLYING MACHINE--Luca joins her on a second one-- PILOTS his way through the STARS and above ROMAN RUINS-- They fly over PINOCCHIO, on his way to school-- PULL OUT FROM IMAGINATION to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GIULIA'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Luca is utterly absorbed in Giulia's SCHOOLBOOKS--that's what's been firing his imagination this whole time. He is electrified, peppering her with questions--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>So this is how machines fly?<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>S\u00ec s\u00ec!<\/dialogue>\n    <scene_description>And there are big towns called cities? S\u00ec! Like Genova! Like even bigger than Literally twenty times Portorosso? bigger!<\/scene_description>\n    <character>LUCA<\/character>\n    <parenthetical>(back to the space book)<\/parenthetical>\n    <dialogue>And we're all on a big round rock, floating around a star, in the... \"solar system\"?<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>So cool, right?!<\/dialogue>\n    <scene_description>Luca pages through excitedly--the UNIVERSE gets BIGGER and BIGGER before his eyes as he asks her-- \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>And is there anything beyond the solar system?<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>Only a galaxy FULL of solar systems!<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Then what?!<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>A universe FULL of galaxies!!<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>AND THEN WHAT?!<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>And THEN...<\/dialogue>\n    <parenthetical>(beat, realizing)<\/parenthetical>\n    <dialogue>...I don't know. But next year in Advanced Astronomy I'm gonna use my school's telescope. So maybe I'll find out! That thing's HUGE. I wish I could show it to you.<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>JUST PROMISE YOU'LL TELL ME<\/dialogue>\n    <character>EVERYTHING YOU SEE!!<\/character>\n    <parenthetical>(catching himself)<\/parenthetical>\n    <dialogue>Sorry. Too much?<\/dialogue>\n    <character>GIULIA<\/character>\n    <parenthetical>(overjoyed)<\/parenthetical>\n    <dialogue>Never.<\/dialogue>\n    <scene_description>They're interrupted--<\/scene_description>\n    <character>ALBERTO<\/character>\n    <parenthetical>(in the window)<\/parenthetical>\n    <dialogue>Hey, Luca! I've been looking everywhere for you.<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Oh! Sorry--<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Come on, let's go.<\/dialogue>\n    <scene_description>Luca turns to Giulia, clutching the book. \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Could I maybe--borrow this? Just for tonight--<\/dialogue>\n    <scene_description>Giulia opens the book, CROSSES OUT her name, and writes \"Luca\" on the first page.<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>You can have it. The universe is literally yours!!<\/dialogue>\n    <character>LUCA<\/character>\n    <parenthetical>(blown away)<\/parenthetical>\n    <dialogue>Wow. Thank you!!--<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Luca!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PORTOROSSO STREETS - NIGHT<\/stage_direction>\n    <scene_description>Alberto leads Luca through the nighttime alleyways to a destination of his own--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Where are we going?<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>I got something to show you.<\/dialogue>\n    <scene_description>Luca is still buzzing with excitement.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Alberto, you won't believe this--<\/dialogue>\n    <parenthetical>(pointing to the sky)<\/parenthetical>\n    <dialogue>Those aren't fish!<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Yeah! Giulia explained it to me. They're fires. But like a million times bigger--<\/dialogue>\n    <character>ALBERTO<\/character>\n    <parenthetical>(dismissively)<\/parenthetical>\n    <dialogue>No, they're not.<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MECHANIC'S GARAGE<\/stage_direction>\n    <scene_description>They arrive outside the MECHANIC'S GARAGE and look in the window at the beat-up VESPA they want to buy, the FOR SALE sign still on it. Alberto slaps a drawing on the window--<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Take a look. I thought of every single thing we're gonna need. Also I added flames.<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>That's so cool.<\/dialogue>\n    <parenthetical>(realizing)<\/parenthetical>\n    <dialogue>And we can bring a telescope too!<\/dialogue>\n    <scene_description>Luca draws a TELESCOPE on Alberto's drawing.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>YEAH! That shoots lightning!<\/dialogue>\n    <scene_description>Alberto adds LIGHTNING coming out of the telescope. Luca ERASES Alberto's lightning, to Alberto's irritation--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>No, no, no. You look through it. Giulia says there's an even bigger one at her school.<\/dialogue>\n    <scene_description>Luca stops. Getting a BIG IDEA:<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Wait! What if we visit her there?<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Why would you want to do that?!<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>It... kinda sounds interesting?<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>The whole reason we're getting a Vespa is to live on our own! We don't need school! We don't need anybody!<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Couldn't we just try it? Just for a few days...?<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Luca--sea monsters can't go to school! What do you think is gonna happen when they see your fish- face?<\/dialogue>\n    <scene_description>Luca is deflated. But before he can reply: THUNK! Ercole's harpoon SLAMS into a nearby SEA MONSTER RELIEF. Ercole, Ciccio, and Guido saunter towards our boys--<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>Hey. Look who it is. And with no Giulia to hide behind.<\/dialogue>\n    <scene_description>Luca is nervous but Alberto insists on standing their ground.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>C'mon, let's go--<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Nah.<\/dialogue>\n    <character>ERCOLE<\/character>\n    <dialogue>Something's fishy with you two. I mean besides the smell. You're hiding something.<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Is it... that we're smarter than you? I mean, we're not really HIDING that, it's just kinda obvious.<\/dialogue>\n    <character>ERCOLE<\/character>\n    <dialogue>You know, people think I'm a nice guy. Always joking around.<\/dialogue>\n    <scene_description>Ercole SHOVES Alberto against a wall.<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>But really, I'm not.<\/dialogue>\n    <scene_description>Ciccio and Guido keep Alberto PINNED to the wall.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>STOP!<\/dialogue>\n    <scene_description>Ercole SHOVES Luca to the ground. \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>Wait your turn, Piccoletto.<\/dialogue>\n    <parenthetical>(to Alberto)<\/parenthetical>\n    <dialogue>I want to make myself very clear. This is my town, number one--<\/dialogue>\n    <scene_description>He SOCKS Alberto in the stomach--<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>--and number two, I DON'T WANT YOU IN IT--<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>I said STOP!<\/dialogue>\n    <scene_description>They turn. Luca, TREMBLING, is AIMING THE HARPOON at Ercole. Ercole smirks. He takes a step toward Luca.<\/scene_description>\n    <character>ERCOLE<\/character>\n    <parenthetical>(disdainful)<\/parenthetical>\n    <dialogue>Put that down, Piccoletto. You'll hurt yourself.<\/dialogue>\n    <character>LUCA<\/character>\n    <parenthetical>(terrified)<\/parenthetical>\n    <dialogue>Let him go.<\/dialogue>\n    <scene_description>Ercole nods to Ciccio and Guido, who release Alberto.<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>Go. NOW. Before I change my mind.<\/dialogue>\n    <scene_description>Luca and Alberto back away--then break into a RUN-- Luca throws the harpoon down as they round a corner--<\/scene_description>\n    <character>ERCOLE<\/character>\n    <parenthetical>(calling after them)<\/parenthetical>\n    <dialogue>Nobody wants you here, idioti! Keep running!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTSIDE MASSIMO'S HOME - NIGHT<\/stage_direction>\n    <scene_description>At the door to Giulia's backyard--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Why did you make him mad? We should have left!--<\/dialogue>\n    <scene_description>But Alberto again is in absolute denial of reality. \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>We're fine! I had it under control. All you gotta do is follow my lead, remember?<\/dialogue>\n    <scene_description>He heads into the backyard before Luca can respond--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GIULIA'S TREEHOUSE - NEXT MORNING<\/stage_direction>\n    <scene_description>The boys are DEAD ASLEEP. Giulia does her patented TRUMPET IMITATION--<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Papapparapaa pappaparapaaa!<\/dialogue>\n    <scene_description>The boys are JOLTED upright into wakefulness: --BEGIN TRAINING MONTAGE, AS THE DAYS COUNT DOWN TO THE RACE--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASSIMO'S KITCHEN<\/stage_direction>\n    <scene_description>Alberto struggles with the fork--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS OF PORTOROSSO<\/stage_direction>\n    <scene_description>Luca pedals uphill, past kids eating watermelon-- Who are abruptly DRENCHED with water balloons-- Dropped by Daniela and Lorenzo, on the balcony above them--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASSIMO'S KITCHEN<\/stage_direction>\n    <scene_description>Luca and Alberto placate Machiavelli--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GIULIA'S TREEHOUSE - EARLY MORNING<\/stage_direction>\n    <scene_description>The boys are dead asleep again. This time it's Massimo who wakes them up--cart for Luca, BUTTER KNIFE for Alberto--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MASSIMO'S FISHING BOAT - MEANWHILE<\/stage_direction>\n    <scene_description>Massimo pulls up FISHING NETS one-armed; Alberto sees a SEA MONSTER-SHAPED SHADOW in the water; \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Before he can do anything, Massimo sees it too--he grabs his harpoon and PLUNGES it into the shadow--Alberto is HORRIFIED; Fortunately, when Massimo pulls the harpoon out of the water-- REVEAL--it was only a CLUMP OF SEAWEED. Massimo is disappointed; Alberto, FRAZZLED and TWITCHY-EYED because he thought for a second he had just witnessed a murder, EXHALES--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HARBOR - EVENING<\/stage_direction>\n    <scene_description>LORENZO and DANIELA sneak up behind two kids eating gelato-- But are distracted by a MONSTER MOVIE POSTER. Is that guy Ugo? That guy really looks like Ugo.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MASSIMO'S BACKYARD - MORNING<\/stage_direction>\n    <scene_description>The boys, dead asleep as usual, are awoken by Giulia--<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Rise and shine! Only two days till the race!<\/dialogue>\n    <scene_description>They are so tired they can barely move. But Giulia gets an idea--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASSIMO'S KITCHEN - MORNING<\/stage_direction>\n    <scene_description>And gives the groggy boys two cups of...<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Espresso.<\/dialogue>\n    <scene_description>The boys sip it. And perk the heck up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STEEP PORTOROSSO HILL - DAY<\/stage_direction>\n    <scene_description>Luca BOOKS IT up the hill, as the watermelon-eating kids cheer him on--<\/scene_description>\n    <character>GELATO KIDS<\/character>\n    <dialogue>Go, Luca! \/ You got it! Vai, Luca!<\/dialogue>\n    <character>ERCOLE<\/character>\n    <parenthetical>(walking past)<\/parenthetical>\n    <dialogue>Hey! Don't cheer for him!!<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HARBOR - STAIRS<\/stage_direction>\n    <scene_description>Lorenzo shoots a SPRAY BOTTLE with abandon, failing to impress Daniela and drenching an infuriated bystander.<\/scene_description>\n    <character>MAN (O.S.)<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASSIMO'S KITCHEN - DINNER<\/stage_direction>\n    <scene_description>Alberto struggles to get TRENETTE AL PESTO onto his fork. Massimo notices. He holds up his fork for Alberto to see. And demonstrates twirling a forkful. Alberto carefully imitates Massimo... And manages to capture a forkful of his own. Finally! He turns to Giulia and Alberto for approval. But they're preoccupied with another stupid book. Alberto eats, irritably. Stupid Giulia. --END MONTAGE--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PIAZZA - FOUNTAIN - DAY<\/stage_direction>\n    <scene_description>DANIELA and LORENZO sit at the fountain, DEFEATED. (A passing kid recognizes them as the adults that are throwing kids into fountains, turns, and runs away.)<\/scene_description>\n    <character>DANIELA<\/character>\n    <dialogue>I don't know, Lorenzo. Was I too hard on him?<\/dialogue>\n    <character>LORENZO<\/character>\n    <dialogue>No. You were just trying to keep him safe. It's my fault. I wasn't paying enough attention to him.<\/dialogue>\n    <character>DANIELA<\/character>\n    <dialogue>But I was the one who tried to send him away. ...I just never in a million years would have thought he'd do this. It's like I don't even know...<\/dialogue>\n    <scene_description>As she is talking, a boy (Luca) passes, pedaling a bike carrying his two other friends (Giulia, Alberto)-- \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Dai forza! You can do it, Luca!<\/dialogue>\n    <character>DANIELA<\/character>\n    <parenthetical>(eyes narrowing)<\/parenthetical>\n    <dialogue>...who he... IS... LUCA?!<\/dialogue>\n    <scene_description>Luca SPOTS HIS PARENTS and pedals faster--<\/scene_description>\n    <character>LORENZO<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS - DAY<\/stage_direction>\n    <scene_description>Luca furiously pedals up a different street.<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Where are we going?<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Uh... a shortcut!<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>Steeper, rough terrain. I like it!<\/dialogue>\n    <scene_description>Alberto rolls his eyes. Giulia turns to him--<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Why aren't YOU training?<\/dialogue>\n    <scene_description>Alberto pulls out a WAD OF PASTA from his pocket and eats it.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <parenthetical>(irritably)<\/parenthetical>\n    <dialogue>I'm always training.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOP OF THE HILL - DAY<\/stage_direction>\n    <scene_description>They crest the top of the hill. Luca is absolutely exhausted. Giulia checks her POCKET WATCH.<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Bravo, Luca. That was your best yet!<\/dialogue>\n    <scene_description>Below them, a TRAIN heads out of the station, up the coast--<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Oh! Guys, look! That's the train to Genova.<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>That goes to your school?<\/dialogue>\n    <scene_description>Giulia nods. Alberto rolls his eyes.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>I was wondering actually... is your school open to... everyone?<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>Well, it costs a little money, but... I guess!--<\/dialogue>\n    <scene_description>Alberto hates where this is going. He takes over impatiently--<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Great. Thank you, Giulia, for showing us the boring thing that takes you to the terrible place. Now can we focus on what matters? If we lose this race, we're not going anywhere!<\/dialogue>\n    <scene_description>Luca holds his bike and gazes down the hill.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Santa Mozzarella. The downhill.<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>I know it looks scary. But here's what you need to know--<\/dialogue>\n    <character>ALBERTO<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>Would you stop bossing him around?<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>WHAT is your problem?!<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>I'm his friend! I know what he needs!<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>Oh yeah? Then what does he need?<\/dialogue>\n    <scene_description>Alberto straddles the front of the bike, Luca on the back.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>ME.<\/dialogue>\n    <dialogue>We'll just ride it like we did on the island: together. ANDIAMO!<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>But Alberto has already kicked them off. They careen wildly down the hill, way too fast and out of control, knocking things over, barely staying upright--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>ALBERTO, STOP!<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>THAT'S BRUNO TALKING!<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>NO--I'M PRETTY SURE THAT'S JUST ME--<\/dialogue>\n    <scene_description>The boys UPEND A CHESS GAME--<\/scene_description>\n    <character>CHESS PLAYER<\/character>\n    <dialogue>Disgraziati!<\/dialogue>\n    <scene_description>Luca tries to gain control of the bike--<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Let it go!<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Look out!!<\/dialogue>\n    <scene_description>In their struggle, they go over a guard rail and SAIL OFF A CLIFF, into the sea.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HARBOR - MOMENTS LATER<\/stage_direction>\n    <scene_description>Around the PROMONTORY, Ercole hears SCREAMS and a big SPLASH. He grabs his harpoon and jumps to his feet--<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>Porca paletta! What was that?! Eyes on the water! Move, move!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNDERWATER - MEANWHILE<\/stage_direction>\n    <scene_description>Down in the water, Luca and Alberto can distantly hear and see Giulia high above them, calling out worriedly--<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Luca?! Alberto?!<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>She'll see us--come on!<\/dialogue>\n    <scene_description>Luca furiously swims off--Alberto follows him--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ABOVE WATER - SUBSEQUENTLY - SUNSET<\/stage_direction>\n    <scene_description>They exit the water down the coast where no one can see them. Alberto knows Luca's furious at him. He tries to explain--<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Look, I was just trying to show you how to do it right--<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>You don't KNOW how to do it right!<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>I got us down the hill, didn't I?<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>You CRASHED! INTO THE SEA!<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>It's fine--<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>NOTHING is fine! My parents just saw me!<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Luca--your parents aren't here.<\/dialogue>\n    <scene_description>Alberto's continued denial of the truth enrages Luca even further--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>You don't! Know! What you're talking about!!<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Look. This town is making you crazy. We just need to win that Vespa and get outta here.<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>It's not gonna be any different! I don't want to--<\/dialogue>\n    <parenthetical>(stopping and gathering himself)<\/parenthetical>\n    <dialogue>I want to go to school.<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL It now is Alberto's turn to get angry.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>THAT again?! WE CAN'T GO TO SCHOOL!<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>You're just afraid you can't do it!<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>I'M NOT AFRAID.<\/dialogue>\n    <character>YOU'RE THE ONE WHO GETS AFRAID.<\/character>\n    <dialogue>Alberto SHOVES him. Luca SHOVES Alberto back!<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Shut up!<\/dialogue>\n    <scene_description>THEY FIGHT!<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>OW!!<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>GRRRR!!<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>WHAT HAPPENS WHEN SHE SEES YOU?<\/dialogue>\n    <character>WHEN ANYONE SEES YOU?<\/character>\n    <dialogue>LUCA<\/dialogue>\n    <scene_description>Get off me!!<\/scene_description>\n    <character>GIULIA (O.S.)<\/character>\n    <dialogue>YOU'RE ALIVE!--<\/dialogue>\n    <scene_description>They turn to see GIULIA--she runs up and hugs them in relief.<\/scene_description>\n    <character>GIULIA<\/character>\n    <parenthetical>(playfully, to Alberto)<\/parenthetical>\n    <dialogue>You're never allowed on my bike again. Stick to food, big guy.<\/dialogue>\n    <scene_description>Alberto whirls away from her in irritation and fury. Giulia now begins to clock that something's wrong.<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Uh, what's going on?<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Nothing. Let's just get back to training--<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL But Luca senses an opportunity.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Actually, we have something to ask you. We were wondering... if we could come with you to your school?<\/dialogue>\n    <scene_description>Giulia is thrilled.<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Santo Pecorino! That's the best idea ever!! Yes! Of course!!<\/dialogue>\n    <scene_description>Luca, overjoyed, takes Giulia's hand--and shows her the handshake that Alberto taught him.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Piacere, Girolamo Trombetta.<\/dialogue>\n    <scene_description>Alberto, watching this betrayal, FUMES. He has to stop this. However he can.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Hey, ah, Giulia? Your school... does it take all kinds of people? I mean, what if some of them were... not human?<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Alberto--?<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>What if some were... Oh, I don't know... sea monsters?<\/dialogue>\n    <character>GIULIA<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>Sea monsters?<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>I doubt your school would even accept sea monsters, right?<\/dialogue>\n    <character>LUCA<\/character>\n    <parenthetical>(gritting teeth)<\/parenthetical>\n    <dialogue>Ha ha! That's a weird joke!<\/dialogue>\n    <scene_description>Luca urgently signals to Alberto to stop--but-- \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Yeah, I know, it's kinda hard to imagine. So let me just show you.<\/dialogue>\n    <scene_description>And with that, Alberto DIVES into the water. Luca gasps.<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Ugh. Alberto, we don't have time to goof around--<\/dialogue>\n    <scene_description>Alberto emerges a SEA MONSTER. Giulia SCREAMS. Luca is FROZEN.<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>HELP! --Don't hurt us!<\/dialogue>\n    <character>ALBERTO<\/character>\n    <parenthetical>(forcefully)<\/parenthetical>\n    <dialogue>SEE!? I knew this would hap--!<\/dialogue>\n    <scene_description>But Luca, in the moment, realizes there's something he can do, too-- And he points at Alberto and cries:<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>SEA MONSTER!<\/dialogue>\n    <scene_description>To seem like he didn't know. Like he's a human, too. Like Alberto's the only one. NEARBY BUT OUT OF SIGHT: Ercole and his goons overhear--<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>Did you hear that?<\/dialogue>\n    <scene_description>BACK TO SCENE: Alberto is shocked, confused, betrayed:<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Luca?<\/dialogue>\n    <scene_description>But Luca just shakes his head, teary-eyed. Protectively, Giulia gets between Luca and Alberto. \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>GIULIA<\/character>\n    <parenthetical>(to Alberto)<\/parenthetical>\n    <character>STAY BACK.<\/character>\n    <dialogue>And before Alberto can say anything else, OVER THE ROCKS come Ercole and his awful friends, WIELDING HARPOONS--<\/dialogue>\n    <character>ERCOLE<\/character>\n    <dialogue>SEA MONSTER! THERE IT IS!<\/dialogue>\n    <scene_description>ERCOLE comes CHARGING toward him-- Alberto realizes he has to get out of here. He gives Luca a truly miserable look--<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>NOW!<\/dialogue>\n    <scene_description>Alberto turns, and dives into the water, as Ercole and his goons take aim and THROW THEIR HARPOONS--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>NO--!<\/dialogue>\n    <scene_description>--which miss, barely. Luca, heartbroken, watches Alberto swim away.<\/scene_description>\n    <character>ERCOLE<\/character>\n    <parenthetical>(to Luca and Giulia)<\/parenthetical>\n    <dialogue>Idioti! You let it get away!<\/dialogue>\n    <parenthetical>(to Ciccio and Guido)<\/parenthetical>\n    <dialogue>To the boat! WE'RE GONNA KILL A SEA MONSTER!!<\/dialogue>\n    <scene_description>Ercole and his cronies race off-- Leaving Giulia and Luca, stunned.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASSIMO'S HOME<\/stage_direction>\n    <scene_description>They return to Giulia's home to find Massimo preparing pasta for them--<\/scene_description>\n    <character>MASSIMO<\/character>\n    <dialogue>There you are! I made your favorite --trenette al pesto--<\/dialogue>\n    <scene_description>Massimo stops, seeing it's just the two of them--<\/scene_description>\n    <character>MASSIMO<\/character>\n    <dialogue>Where's Alberto?<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Luca tries to cover--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Ah... he left, Signor Marcovaldo.<\/dialogue>\n    <scene_description>Beat. Massimo puts down the bowl and puts on his coat.<\/scene_description>\n    <character>MASSIMO<\/character>\n    <dialogue>Do you know where he went?<\/dialogue>\n    <character>LUCA<\/character>\n    <parenthetical>(nervous)<\/parenthetical>\n    <dialogue>No--but I don't think he wants anyone looking for him--<\/dialogue>\n    <character>MASSIMO<\/character>\n    <dialogue>Maybe not. But just in case.<\/dialogue>\n    <scene_description>Massimo exits. Giulia is silent. Luca, needing to fill the silence, starts BABBLING--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Okay. Well. The two of us can still do the race. You'll swim, you'll eat, you've done both before, and I'll do the ride, I mean that's allowed, right? It should be fine, we're still okay--<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>(trying to stop him) Luca... Luca? LUCA!<\/dialogue>\n    <scene_description>Finally, she grabs a glass of water and splashes it at him-- he holds out his hands, which transform-- Giulia exhales. She knew it. He's a sea monster, too.<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>\"Sleeping under the fish\"! Now I get it.<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>I... I can explain--<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>Of all the places for sea monsters to visit--PORTOROSSO?! Have you SEEN this town?!<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>My father HUNTS SEA MONSTERS! Luca, you have to get out of here--<\/dialogue>\n    <character>LUCA<\/character>\n    <parenthetical>(pleading)<\/parenthetical>\n    <dialogue>But I thought we were underdogs.<\/dialogue>\n    <character>GIULIA<\/character>\n    <parenthetical>(anguished)<\/parenthetical>\n    <dialogue>Do you think I WANT you to leave? This is the happiest I've--<\/dialogue>\n    <scene_description>She stops herself.<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Look. It's just not worth it.<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>You don't understand!<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>No I don't. Risking your life? For a Vespa?<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>My parents were gonna send me away. I was never gonna see him again. That's why we... did all of this.<\/dialogue>\n    <scene_description>A beat, as Luca realizes what he's done.<\/scene_description>\n    <character>LUCA<\/character>\n    <parenthetical>(miserably)<\/parenthetical>\n    <dialogue>But it's over now. Goodbye, Giulia. I'm sorry.<\/dialogue>\n    <scene_description>Giulia SINKS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHORE - NIGHT<\/stage_direction>\n    <scene_description>Luca sits by the shore staring out at ISOLA DEL MARE. Dimly he can make out a fire, burning on the roof. He knows what he has to do. He heads into the water.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ISLAND - NIGHT<\/stage_direction>\n    <scene_description>Luca approaches Alberto's hideout hesitantly--walking past some of Alberto's belongings, which now litter the ground, broken and scattered, the aftermath of a miserable outburst. \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL The rope ladder has been thrown down too. So Luca scales the tower without it--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALBERTO'S HIDEOUT<\/stage_direction>\n    <scene_description>And emerges into a hideout that is in ruins.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Alberto?<\/dialogue>\n    <scene_description>But Alberto is nowhere in sight. Everything has been ripped off the shelves, thrown to the ground, broken. Even the VESPA drawing is on the floor, ripped in half.<\/scene_description>\n    <character>ALBERTO (O.S.)<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <scene_description>Luca turns. Alberto is watching him from the steps to the roof.<\/scene_description>\n    <character>LUCA<\/character>\n    <parenthetical>(needing the words, but not having them)<\/parenthetical>\n    <dialogue>I'm--sorry. I never should have done that. I wish I could take it back--<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Great. You're sorry. Now go away.<\/dialogue>\n    <scene_description>Alberto goes up to the ROOFTOP. Luca gazes sadly around at the WRECKED HIDEOUT. His gaze settles on where the VESPA POSTER hung. It's been ripped off the wall-- And where it had been are TALLY MARKS IN THE STONE that Luca has never seen before.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOP - SUBSEQUENTLY<\/stage_direction>\n    <scene_description>Luca finds Alberto staring miserably into a CAMPFIRE.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Alberto? What are those marks on the wall?<\/dialogue>\n    <scene_description>Alberto shrugs but says nothing. \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>LUCA<\/character>\n    <parenthetical>(insistent)<\/parenthetical>\n    <dialogue>Tell me what they mean.<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>I started when my dad left.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>You were living here alone for... that many days?<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>I just stopped counting after a while. He said I was old enough to be on my own. I just thought that... maybe he'd change his mind.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Honestly, though, I get it. He's better off without me. You are too.<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>That's not true.<\/dialogue>\n    <character>ALBERTO<\/character>\n    <parenthetical>(gently)<\/parenthetical>\n    <dialogue>Yes, it is. You're not like me. You're the good kid. And I'm just the kid that ruins everything.<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>SILENZIO BRUNO. That's just a dumb voice in your head. You taught me that. And getting a Vespa--seeing the world--your ideas are the best!--<\/dialogue>\n    <character>ALBERTO<\/character>\n    <parenthetical>(exploding)<\/parenthetical>\n    <dialogue>Just let it go! Okay? You and I should have never have been friends in the first place.<\/dialogue>\n    <character>LUCA<\/character>\n    <parenthetical>(pleading)<\/parenthetical>\n    <dialogue>Don't say that.<\/dialogue>\n    <scene_description>But Alberto turns away from him.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Alberto...<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>GET OUTTA HERE!<\/dialogue>\n    <character>I'M NOT GONNA TELL YOU AGAIN!<\/character>\n    <dialogue>Tears well in Luca's eyes.<\/dialogue>\n    <dialogue>But an IDEA starts to form.<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Okay, I'll go. --I'll go win the race.<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>LUCA<\/character>\n    <parenthetical>(realizing)<\/parenthetical>\n    <dialogue>And then the Vespa will be ours! And we'll ride away, together!<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Luca, that's crazy.<\/dialogue>\n    <character>LUCA<\/character>\n    <parenthetical>(shrugging)<\/parenthetical>\n    <dialogue>Well... maybe I'm crazy.<\/dialogue>\n    <scene_description>And just like that-- Luca JUMPS OFF THE ROOF--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>TAKE ME, GRAVITY!!!!!!!<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>LUCA!!<\/dialogue>\n    <scene_description>He tumbles through the tree, lands on the ground in a HEAP--<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>What are you doing?!<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>I'll be back tomorrow! I'm gonna fix this!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PIAZZA - RACE DAY<\/stage_direction>\n    <scene_description>At the registration table, Signora Marsigliese is PERPLEXED--<\/scene_description>\n    <character>SIGNORA MARSIGLIESE<\/character>\n    <dialogue>You want to... split up your team?<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL REVERSE to Luca, holding a RUSTY BIKE:<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Yes--if it's allowed--<\/dialogue>\n    <scene_description>Giulia, on her way to the starting line, spots Luca--<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Luca?! What are you doing here?<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Don't worry! I'll race on my own!<\/dialogue>\n    <scene_description>Giulia turns to Signora Marsigliese in shock--<\/scene_description>\n    <character>SIGNORA MARSIGLIESE<\/character>\n    <dialogue>You can if you want--I don't recommend it--<\/dialogue>\n    <scene_description>But Luca's already headed OFF before anyone can stop him-- Giulia is horrified but also doesn't want to blow his cover--<\/scene_description>\n    <character>GIULIA<\/character>\n    <parenthetical>(calling after him)<\/parenthetical>\n    <dialogue>But--how are you gonna--I mean-- what happens when--YOU CAN'T SWIM!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS - DAY<\/stage_direction>\n    <scene_description>Meanwhile, Daniela and Lorenzo are still looking for Luca when a RACE JUDGE (the priest) confronts them--<\/scene_description>\n    <character>PRIEST<\/character>\n    <dialogue>Volunteers! You're late. One cup for each kid.<\/dialogue>\n    <scene_description>They look down at a table full of CUPS OF WATER--clock that they're for the race--realize this is gonna work out pretty well for them--<\/scene_description>\n    <character>DANIELA &amp; LORENZO<\/character>\n    <dialogue>Yeah yeah yeah. One cup per kid. Got it.<\/dialogue>\n    <scene_description>The priest then hands them a BUCKET and SCRUB BRUSH--<\/scene_description>\n    <character>PRIEST<\/character>\n    <dialogue>And here.<\/dialogue>\n    <parenthetical>(apologetically)<\/parenthetical>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>PRIEST<\/character>\n    <dialogue>For when Giulia... you know.<\/dialogue>\n    <parenthetical>(mimes throwing up)<\/parenthetical>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STARTING LINE<\/stage_direction>\n    <scene_description>IN THE SKY: A storm is approaching. IN THE STANDS: Massimo and Machiavelli hold an encouraging sign for GIULIA--<\/scene_description>\n    <character>MASSIMO<\/character>\n    <dialogue>Forza, Giulietta!<\/dialogue>\n    <scene_description>Giulia smiles, apprehensive. Next to her, Ercole pours OLIVE OIL on Ciccio, who is stretching.<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>Ciccio, hold still.<\/dialogue>\n    <parenthetical>(explaining to Giulia)<\/parenthetical>\n    <dialogue>Olio d'oliva. He will cut through the water like a knife. An oily knife.<\/dialogue>\n    <scene_description>Then they SEE-- LUCA, CLOMPING up to the starting line in Alberto's FULL-BODY DIVING SUIT.<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>Oh, this makes me laugh. Even your terrible friends don't want to be your friends!<\/dialogue>\n    <scene_description>Luca glances nervously across at his COMPETITORS.<\/scene_description>\n    <character>GIULIA<\/character>\n    <parenthetical>(ignoring Ercole)<\/parenthetical>\n    <character>LUCA! THIS IS A VERY BAD IDEA!<\/character>\n    <dialogue>ERCOLE<\/dialogue>\n    <character>HEY! VAGRANT!<\/character>\n    <dialogue>CAN'T AFFORD A PROPER SWIMSUIT?!<\/dialogue>\n    <character>SIGNORA MARSIGLIESE<\/character>\n    <parenthetical>(addressing crowd)<\/parenthetical>\n    <dialogue>Signore e Signori! The Portorosso Cup is about to begin! We know there's been a few sightings lately, but fear not! If any sea monsters show up today-- we're ready for them.<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL She indicates the FISHING BOATS all around the harbor, brimming with FISHERMEN wielding HARPOONS AND NETS. Luca is terrified. He glances over at Giulia. She signals to him once more to GET OUT OF HERE--<\/scene_description>\n    <character>SIGNORA MARSIGLIESE<\/character>\n    <dialogue>Swimmers, take your mark!--<\/dialogue>\n    <scene_description>The STARTER BELL rings! The swimmers TAKE OFF-- EXCEPT LUCA, PARALYZED BY FEAR--BY BRUNO-- Then he takes a deep breath. And puts the DIVER HELMET on. And sloshes into the water! Giulia, swimming up ahead, PUSHES FORWARD-- But in front of her and everyone else, Ciccio is off to a great start. The only problem is that the oil covering Ciccio's body is beginning to attract some HUNGRY FISH.<\/scene_description>\n    <character>CICCIO<\/character>\n    <dialogue>OW! YOW--<\/dialogue>\n    <scene_description>Giulia passes him, rounds a buoy, and heads back to shore, over the head of-- LUCA, on the sea floor. He can see the swimmers outpacing him above, despite his best efforts-- To make matters worse, the glass on the diver's helmet SHATTERS--he has turned SEA MONSTER!-- Giulia is the first out of the water, passing Ercole, who is screaming at Ciccio, thrashing in agony--<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>Swim, Ciccio! Idiota! SWIM!!<\/dialogue>\n    <scene_description>Giulia finishes dressing into her street clothes and RUNS toward the PASTA-EATING STAGE, where the pasta is...<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>HA HA! Trenette!<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL She twirls a forkful as Luca EMERGES from the water. Ercole TRIPS him--the diver helmet goes FLYING-- Luca TURTLES inside it before anyone can see his scaly head. And he scrambles headlessly to the pasta table, manages to dry off without anyone seeing him, and plops down-- --next to Giulia, who's thinking: Luca, you idiot, you're gonna get yourself killed. He fumbles with the trenette.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Come on...<\/dialogue>\n    <scene_description>Giulia, MUNCHING FURIOUSLY, can't not help him--<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>UUUGGGH.<\/dialogue>\n    <scene_description>Impatiently, exaggeratedly, she demonstrates to him HOW TO PROPERLY FORK THE PASTA--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Thank you!--<\/dialogue>\n    <character>GIULIA<\/character>\n    <parenthetical>(angrily)<\/parenthetical>\n    <character>DON'T THANK ME.<\/character>\n    <dialogue>Ciccio finally runs from the water, wailing, little fish hanging from his oily skin.<\/dialogue>\n    <character>ERCOLE<\/character>\n    <dialogue>Stop crying and tag Guido!!<\/dialogue>\n    <scene_description>He does. Ercole FROG-MARCHES Guido to the pasta-eating stage. As Giulia FINISHES her pasta and SLAMS the fork down:<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>FINITO!<\/dialogue>\n    <scene_description>She stands up, suddenly gripping her stomach, GROANING, and hobbles over to the BIKES. She's still in the lead! Ercole angrily looks at Giulia pedaling off (though slowly).<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>Per mille cavoli, Guido! FASTER!<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Luca hastily forks pasta into his mouth as other kids around him finish and tag their partners, who run off-- He's way behind. But so is Ercole, who is now physically SMUSHING PASTA into Guido's MOUTH--<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>Eat, idiota! Pi\u00f9 veloce!<\/dialogue>\n    <scene_description>The kid sitting next to Guido, groans her protest--<\/scene_description>\n    <character>PASTA KID<\/character>\n    <dialogue>Hey! That's not allowed!<\/dialogue>\n    <character>ERCOLE<\/character>\n    <dialogue>HE'S DONE.<\/dialogue>\n    <scene_description>Ercole SLAMS the fork down for Guido, grabs his LIMP HAND, uses it to slap his own hand, and sprints to his bike. Guido sinks his head into his bowl. Finally Luca slurps down the last noodle. He is the last kid at the table. But he's still going. He high-fives himself.<\/scene_description>\n    <character>LUCA<\/character>\n    <parenthetical>(frazzled)<\/parenthetical>\n    <character>DONE!<\/character>\n    <dialogue>He drops the fork, runs to his bike, lets out an insane BURP, and speeds off after the pack.<\/dialogue>\n    <dialogue>As the STORM BREWS OVERHEAD--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS OF PORTOROSSO<\/stage_direction>\n    <scene_description>DANIELA and LORENZO, at the water table, are frightening the racers passing them, who recognize the adults who have been terrorizing them for days.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>Thirsty? Uh... Water, anyone?<\/dialogue>\n    <character>RACE KIDS<\/character>\n    <dialogue>AAAAAAAAHHH! NOOOO! PLEASE STOP!<\/dialogue>\n    <character>NOT AGAIN!!<\/character>\n    <dialogue>Then Daniela squints at the last kid, who is bringing up the rear but closing in fast on the pack--<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>DANIELA<\/character>\n    <dialogue>That's him. That's him! LUCA! STOP!<\/dialogue>\n    <scene_description>They LUNGE FOR LUCA--he SWERVES, barely evading them--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Sorry Mom! Sorry Dad! I have to do this!!<\/dialogue>\n    <scene_description>Lorenzo is FURIOUS. Daniela is a little (or completely) distracted by how much human butt he is kicking.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>GET BACK HERE RIGHT NOW!!<\/dialogue>\n    <character>DANIELA<\/character>\n    <dialogue>WOW, he's fast.<\/dialogue>\n    <scene_description>HE SURE IS-- Luca SURGES PAST one kid, then another, then another-- As the storm continues to gather overhead-- Up AHEAD, Giulia's lead is swiftly dwindling as Ercole gains on her--she covers her mouth, trying not to VOMIT-- Ercole passes her. Rudely SLAPPING HER HELMET to add injury to insult.<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>Oops! Scusa!<\/dialogue>\n    <character>GIULIA<\/character>\n    <parenthetical>(pure rage)<\/parenthetical>\n    <dialogue>Rrrrrrrgh!! I'LL CATCH YOU ON THE<\/dialogue>\n    <parenthetical>(wheeze, hiccup)<\/parenthetical>\n    <character>DOWNHILL!!!<\/character>\n    <dialogue>ERCOLE<\/dialogue>\n    <scene_description>Oh, Spewlia. You've never even MADE it to the downhill. Ercole takes a moment to slow down, luxuriate in triumph, perhaps fix his hair-- And as he does, LUCA passes HIM!<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>WHAT?!<\/dialogue>\n    <parenthetical>(huffing and puffing)<\/parenthetical>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>Impossible! He's cheating! Arbitro!! Arbitro!!<\/dialogue>\n    <scene_description>Luca doesn't reply--just keeps CHUGGING UPWARD--he puts some distance between him and Ercole-- He's in the lead. He could win this thing! And then, the rain finally begins to fall. Little spots of transformation appear on his arm--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Oh, no no no no...<\/dialogue>\n    <scene_description>AT THE WATER STATION: Daniela and Lorenzo notice the RAIN-- And hastily duck under the TABLECLOTH-- DOWN IN THE PIAZZA: Among the grownup onlookers, the UMBRELLAS come out. Massimo watches, a little confused, as a CAFE UMBRELLA bobs along through the crowd. It makes its way out of the crowd and up the road. AT THE TOP OF THE HILL: Luca pedals around the tower, trying to race the rain-- But there's too much. He'll transform. He stops under an awning, overlooking the downhill portion of the race-- Antsy, he waits out the downpour--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Come on, come on! I'm so close!<\/dialogue>\n    <character>ALBERTO (O.S.)<\/character>\n    <dialogue>LUCA!!<\/dialogue>\n    <scene_description>Luca LOOKS UP-- Alberto is RUNNING toward him, clutching the CAFE UMBRELLA (that was him, down in the piazza)-- \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Just stay right there! I'm coming for you--<\/dialogue>\n    <scene_description>Luca smiles. But here comes Ercole--he's caught up with Luca and is now passing him--<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>What's wrong, Piccoletto? Afraid of a little rain?<\/dialogue>\n    <scene_description>Ercole smacks Luca's helmet and continues, heading right for Alberto, who tries to scramble out of his way--<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>For the last time, you two don't belong here. Get out of my town--<\/dialogue>\n    <scene_description>Ercole KICKS Alberto-- The cafe umbrella goes flying-- Ercole chuckles, then GASPS-- Alberto has transformed. A sea monster scrambles to his feet on the cobbles of Portorosso, surrounded by dumbstruck, horrified onlookers--<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>SEA MONSTER!!<\/dialogue>\n    <character>TOWNSFOLK<\/character>\n    <dialogue>MAMMA MIA!!! SEA MONSTER! STOP THAT<\/dialogue>\n    <character>THING!<\/character>\n    <dialogue>ERCOLE<\/dialogue>\n    <scene_description>Ciccio! My harpoon! VELOCE! Luca and Alberto are face to face--human Luca under the awning, sea monster Alberto in the rain.<\/scene_description>\n    <character>LUCA<\/character>\n    <parenthetical>(aching)<\/parenthetical>\n    <dialogue>Alberto--!<\/dialogue>\n    <scene_description>And he begins to take a small step toward him.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>No! Stop!<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Alberto backs away.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Just stay there. You're still okay.<\/dialogue>\n    <scene_description>The safety of his friend is all that's left--it's all he cares about now-- Alberto turns and makes a RUN for it, back down the hill--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>ALBERTO, WAIT!<\/dialogue>\n    <scene_description>For a moment or two, it seems like he's going to make it. Then a net snags him.<\/scene_description>\n    <character>TOWNSFOLK<\/character>\n    <dialogue>DON'T LET IT GET AWAY!<\/dialogue>\n    <scene_description>Alberto struggles, but he can't get free--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>NO!!!<\/dialogue>\n    <scene_description>Luca knows what he must do. He PEDALS OUT INTO THE RAIN to save his friend. He turns SEA MONSTER--Giulia, watching, gasps--<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Santa Ricotta.<\/dialogue>\n    <scene_description>Luca plows straight through the crowd--<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>ALBERTO!<\/dialogue>\n    <scene_description>REACHES OUT A HAND to Alberto and HOISTS him onto the bike--<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>AAH! WHAT?!?<\/dialogue>\n    <scene_description>And they speed down the hill.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>You really ARE crazy.<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Learned it from you. Let's get to the water!<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Behind them, FURIOUS ERCOLE finally gets his harpoon from Ciccio--he jumps on his bike to chase them down-- Giulia pedaling hard behind him-- CUT TO: Luca and Alberto continue through the race--<\/scene_description>\n    <character>ALBERTO<\/character>\n    <parenthetical>(to racers, as they pass)<\/parenthetical>\n    <dialogue>Hey there. Excuse us.<\/dialogue>\n    <character>ERCOLE<\/character>\n    <dialogue>OUT OF THE WAY!<\/dialogue>\n    <character>VIA! VIA!<\/character>\n    <dialogue>Ercole HOISTS HIS HARPOON--<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>LUCA!!<\/dialogue>\n    <scene_description>Alberto gets Luca to swerve just in time. Through a door, and into an apartment.<\/scene_description>\n    <character>WOMAN IN APARTMENT (O.S)<\/character>\n    <dialogue>AHHHH!!!!<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>SORRY SORRY SORRY<\/dialogue>\n    <scene_description>--then back onto the course, right between Ercole and Giulia-- Ercole now in front of them--<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>HUH?<\/dialogue>\n    <scene_description>Daniela and Lorenzo, still under the tablecloth, spot Luca (FULLY SEA MONSTER) speeding by.<\/scene_description>\n    <character>DANIELA<\/character>\n    <dialogue>Oh no! LUCA!!<\/dialogue>\n    <character>LORENZO<\/character>\n    <dialogue>SON!<\/dialogue>\n    <scene_description>Ercole turns, balances himself, rides backwards, a showboat to the end. He hoists his harpoon and aims it at the boys.<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>You shoulda left when I told you. Now I gotta kill some sea monsters.<\/dialogue>\n    <scene_description>The boys have nowhere to go-- \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL But Giulia does.<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>So long, evil empire of injustice.<\/dialogue>\n    <scene_description>She SWERVES RIGHT INTO ERCOLE. BIKES AND PEOPLE GO FLYING. Giulia goes TUMBLING to the ground. And the boys ride past to safety, into the PIAZZA. But they see Giulia grit her teeth in pain-- And a few feet from the water, Luca hits the brakes. The boys run back to make sure their friend is all right. Meanwhile the piazza crowd is now reacting to the sight of two SEA MONSTER BOYS who have skidded into the square and are now running toward a fallen human girl--Massimo's daughter--<\/scene_description>\n    <character>MASSIMO<\/character>\n    <dialogue>MOSTRI MARINI...!<\/dialogue>\n    <dialogue>Give me that!<\/dialogue>\n    <scene_description>He SWIPES a HARPOON from a fisherman and runs to confront them--<\/scene_description>\n    <character>LUCA<\/character>\n    <parenthetical>(concerned)<\/parenthetical>\n    <dialogue>Giulia! Are you all right?!<\/dialogue>\n    <character>GIULIA<\/character>\n    <parenthetical>(dazed)<\/parenthetical>\n    <dialogue>Yeah... I'm, uh... okay... Thanks guys...<\/dialogue>\n    <scene_description>She smiles gratefully, as they pull her to her feet. The three kids stand. They are surrounded by FISHERMEN and Massimo, blocking any escape with nets and harpoons.<\/scene_description>\n    <character>MASSIMO<\/character>\n    <parenthetical>(disbelieving)<\/parenthetical>\n    <dialogue>Giulietta?<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>Pap\u00e1... I--<\/dialogue>\n    <scene_description>Massimo can't believe his eyes. Alberto's smile fades. \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL The fishermen close in.<\/scene_description>\n    <character>GIACOMO<\/character>\n    <dialogue>You're not going anywhere.<\/dialogue>\n    <scene_description>And Ercole comes running in from the other side, re-armed with his harpoon, pointing it at the kids--<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>I saw them first! The reward is MINE!!<\/dialogue>\n    <scene_description>Luca stands up to him.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>We're not afraid of you!<\/dialogue>\n    <character>ERCOLE<\/character>\n    <parenthetical>(contemptuously)<\/parenthetical>\n    <dialogue>No. We're afraid of YOU.<\/dialogue>\n    <scene_description>Sure enough, the crowd looks pretty FRIGHTENED of what is happening.<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>Everyone is horrified and disgusted by you. You're monsters--<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>STOP! They're NOT monsters!<\/dialogue>\n    <character>ERCOLE<\/character>\n    <dialogue>Oh yeah? Who are they, then?<\/dialogue>\n    <scene_description>Massimo SILENCES EVERYONE--<\/scene_description>\n    <character>MASSIMO<\/character>\n    <dialogue>I know who they are.<\/dialogue>\n    <scene_description>Massimo stands FIRMLY in front of the kids. HARPOON IN HAND.<\/scene_description>\n    <character>MASSIMO<\/character>\n    <dialogue>They are... Luca and Alberto.<\/dialogue>\n    <scene_description>He DROPS his harpoon. Then LIFTS ALBERTO'S SEA MONSTER HAND into the air--<\/scene_description>\n    <character>MASSIMO<\/character>\n    <dialogue>And they won.<\/dialogue>\n    <scene_description>Everyone is STUNNED, even the kids. \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Wh... what?<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>ERCOLE<\/character>\n    <dialogue>They can't be the winners! They are not even... people!<\/dialogue>\n    <scene_description>Massimo looks to Signora Marsigliese for confirmation--<\/scene_description>\n    <character>MASSIMO<\/character>\n    <dialogue>Signora Marsigliese?<\/dialogue>\n    <scene_description>And he nods significantly at the boys' BICYCLE, LYING ACROSS THE FINISH LINE. Signora Marsigliese studies it, deliberates, and finally shrugs--<\/scene_description>\n    <character>SIGNORA MARSIGLIESE<\/character>\n    <parenthetical>(confirming)<\/parenthetical>\n    <dialogue>Technically... legally... Yes. They won.<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>HUH?<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>We won?<\/dialogue>\n    <scene_description>The fishermen aren't quite buying it. But Massimo holds strong. He will not let anything happen to these kids. And now, a number of them LOWER THEIR HARPOONS. Some, shaking their heads in DISGUST, head away to leave. Others remain, muttering to each other, confused-- Ercole tries to RALLY them all back--<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>Who cares if they won? They're SEA MONSTERS!!<\/dialogue>\n    <scene_description>But as Ercole is preoccupied, Giulia SNATCHES HIS HARPOON-- and, with the boys' help, snaps it in half.<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>HEY!<\/dialogue>\n    <dialogue>Ciccio! Guido! Another harpoon!<\/dialogue>\n    <scene_description>Even Ciccio and Guido don't obey right away.<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>Idioti! Be useful for once in your pathetic lives...!!<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL And with that, Ercole loses his only two friends. They give each other a look.<\/scene_description>\n    <character>CICCIO<\/character>\n    <dialogue>Guido?<\/dialogue>\n    <character>GUIDO<\/character>\n    <dialogue>Ciccio.<\/dialogue>\n    <scene_description>They grab Ercole, drag him to the fountain, and dump him in.<\/scene_description>\n    <character>ERCOLE<\/character>\n    <dialogue>GAHHH!!!<\/dialogue>\n    <scene_description>Ercole THRASHES WILDLY in the fountain's two feet of water. Ciccio drops Ercole's WOOL SWEATER in after him.<\/scene_description>\n    <character>CICCIO<\/character>\n    <dialogue>Oops.<\/dialogue>\n    <character>GUIDO<\/character>\n    <dialogue>Thhhhppppbbbbbbttt.<\/dialogue>\n    <character>ERCOLE<\/character>\n    <parenthetical>(weeping)<\/parenthetical>\n    <dialogue>No, no--piccolino--<\/dialogue>\n    <scene_description>And Giulia watches from afar, realizing what this means.<\/scene_description>\n    <character>GIULIA<\/character>\n    <parenthetical>(in shock)<\/parenthetical>\n    <dialogue>...It's over. The reign of terror... IT'S FINALLY OVER!!<\/dialogue>\n    <scene_description>Before Luca can react, Daniela and Lorenzo finally make it over to him, now SEA MONSTERS.<\/scene_description>\n    <character>DANIELA<\/character>\n    <dialogue>Luca!<\/dialogue>\n    <character>LORENZO<\/character>\n    <dialogue>Luca!<\/dialogue>\n    <scene_description>Daniela swoops him up in an embrace--<\/scene_description>\n    <character>DANIELA<\/character>\n    <parenthetical>(wildly conflicted)<\/parenthetical>\n    <dialogue>You had us worried half to DEATH and you must NEVER do that again and you raced your little TAIL off and kicked SO MUCH HUMAN BUTT and I'm so PROUD of you and I AM SO MAD AT YOU--<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>LUCA<\/character>\n    <parenthetical>(starting to come out of his shock)<\/parenthetical>\n    <dialogue>I love you, Mom--<\/dialogue>\n    <scene_description>She wraps him in a hug. Lorenzo, too. The crowd watches in astonishment as SEA MONSTER PARENTS embrace their SEA MONSTER KID- Signora Marsigliese walks up to our kids with a TROPHY.<\/scene_description>\n    <character>SIGNORA MARSIGLIESE<\/character>\n    <dialogue>Signore e Signori, the winners of this year's Portorosso Cup... The underdogs!<\/dialogue>\n    <scene_description>And it finally sets in with the kids that THEY'VE WON.<\/scene_description>\n    <character>LUCA &amp; ALBERTO &amp; GIULIA<\/character>\n    <parenthetical>(jumping up and down)<\/parenthetical>\n    <dialogue>WE WON! I can't believe we won!! Underdogs! Woohoo!<\/dialogue>\n    <scene_description>The other kids start celebrating, too.<\/scene_description>\n    <character>TOWN KIDS<\/character>\n    <dialogue>Go underdogs!! Ercole lost!!! Wow! I know sea monsters!<\/dialogue>\n    <scene_description>The ARAGOSTA SISTERS glance at each other, drop their umbrellas--and TRANSFORM too! A priest sees them and FAINTS. Portorosso struggles to come to grips with the sea monsters among them. Some people don't love what's happening, like the MAGGIORE, who clutches a sea monster BOUNTY POSTER. But others are more open-minded.<\/scene_description>\n    <character>BENCH LADY<\/character>\n    <parenthetical>(to the Maggiore)<\/parenthetical>\n    <dialogue>Gimme that.<\/dialogue>\n    <scene_description>The BENCH LADIES take the poster and rip it up-- And HUMAN KIDS, so excited to know sea monsters, celebrate the new CHAMPIONS OF PORTOROSSO-- CUT TO: \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL A RICKETY WHEEL ROLLS ALONG THE COBBLES-- PULL OUT to show that it's our THREE HEROES on their LONG- DESIRED, VERY JANKY VESPA.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GARDEN - EVENING<\/stage_direction>\n    <scene_description>They zoom into Massimo's garden, where a dinner party has already begun with both human and sea monster guests. The Vespa makes a horrendous noise. Parts fall off.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <parenthetical>(happily, proudly)<\/parenthetical>\n    <dialogue>It's so perfect.<\/dialogue>\n    <scene_description>Massimo serves pasta to LORENZO and DANIELA...<\/scene_description>\n    <character>MASSIMO<\/character>\n    <dialogue>Trenette al pesto. Mangiate.<\/dialogue>\n    <scene_description>...and GRANDMA?!<\/scene_description>\n    <character>GRANDMA<\/character>\n    <dialogue>Grazie.<\/dialogue>\n    <character>DANIELA<\/character>\n    <dialogue>Mom?! What are you doing here?<\/dialogue>\n    <character>GRANDMA<\/character>\n    <dialogue>I come to town most weekends.<\/dialogue>\n    <scene_description>Across the yard, Daniela watches Luca and Alberto and Giulia LAUGHING and GOOFING OFF on their VESPA.<\/scene_description>\n    <character>DANIELA<\/character>\n    <parenthetical>(quiet, reverent)<\/parenthetical>\n    <dialogue>What he did today was amazing. But... We can't let him stay in this world.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Can we?<\/dialogue>\n    <character>GRANDMA<\/character>\n    <parenthetical>(seeming to agree)<\/parenthetical>\n    <dialogue>Some people will never accept him.<\/dialogue>\n    <parenthetical>(here's the turn)<\/parenthetical>\n    <dialogue>But some will. And he seems to know how to find the good ones.<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL BACK ON THE KIDS--<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>So where will you go first?<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Oh, we're gonna stick around here for a bit.<\/dialogue>\n    <parenthetical>(patting the Vespa)<\/parenthetical>\n    <dialogue>We gotta fix this thing up before we take it across the entire earth.<\/dialogue>\n    <character>GIULIA<\/character>\n    <parenthetical>(a little nervous about the boys spending their lives on this thing)<\/parenthetical>\n    <dialogue>Okay. Just don't forget to... pack.<\/dialogue>\n    <parenthetical>(realizing)<\/parenthetical>\n    <dialogue>SANTO GORGONZOLA--I need to pack! For school!<\/dialogue>\n    <character>LUCA<\/character>\n    <parenthetical>(realizing)<\/parenthetical>\n    <dialogue>--Oh yeah.<\/dialogue>\n    <parenthetical>(wistfully)<\/parenthetical>\n    <dialogue>School.<\/dialogue>\n    <parenthetical>(trying to be upbeat)<\/parenthetical>\n    <dialogue>You're gonna learn so much...<\/dialogue>\n    <scene_description>Giulia sees in his face how much he wishes it was him, learning all those things at school.<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>I can leave you some books...?<\/dialogue>\n    <scene_description>(SUPER EXCITED):<\/scene_description>\n    <character>YOU CAN?!<\/character>\n    <dialogue>Come on, Alberto--<\/dialogue>\n    <scene_description>Giulia and Luca RUN into the house. Alberto smiles, watching them. He is deep in thought. He is realizing something pretty important, about his friend. And about himself. He looks down at the Vespa and knows what he has to do.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAIN STATION - EARLY MORNING<\/stage_direction>\n    <scene_description>On the TRAIN STATION PLATFORM, Massimo says GOODBYE to Giulia, all packed up. \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>MASSIMO<\/character>\n    <dialogue>...And you have your lunch for the train?<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>Si.<\/dialogue>\n    <character>MASSIMO<\/character>\n    <dialogue>Sweater if it gets cold?--<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>For the MILLIONTH time, si. I love you too, Pap\u00e0.<\/dialogue>\n    <scene_description>She HUGS him-- And turns to the boys:<\/scene_description>\n    <character>GIULIA<\/character>\n    <dialogue>Santa Mozzarella. We did it!<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Well, Giulia--can't wait to race next summer.<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>Or we could just have fun.<\/dialogue>\n    <scene_description>She swoops the boys up in a BIG HUG. They both SMILE.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Ciao, Giulia.<\/dialogue>\n    <character>GIULIA<\/character>\n    <dialogue>Ciao, ragazzi! A presto--<\/dialogue>\n    <scene_description>Giulia and Alberto exchange a WINK. Luca doesn't see it. She heads into the train. Luca, tearful, trying to hide it, watches her disappear into it.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Well--let's go fix up our Vespa--<\/dialogue>\n    <scene_description>But Alberto is holding a little slip of paper.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Yeah, about that. Uhh, crazy thing. I...might have sold it.<\/dialogue>\n    <scene_description>Alberto hands it to him--it's a TICKET TO GENOVA. Luca studies it. \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Then turns to see his PARENTS AND GRANDMA arriving on the platform with a packed bag.<\/scene_description>\n    <character>LUCA<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>Mom? What are you all doing here?--<\/dialogue>\n    <character>DANIELA<\/character>\n    <dialogue>IF.<\/dialogue>\n    <dialogue>You promise to write to us EVERY SINGLE DAY, and be as SAFE as possible, and I mean SAFER than safe...<\/dialogue>\n    <parenthetical>(deep breath)<\/parenthetical>\n    <dialogue>You can go to school.<\/dialogue>\n    <scene_description>He can barely wrap his mind around this.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>I CAN?!<\/dialogue>\n    <character>LORENZO<\/character>\n    <dialogue>It's all arranged, actually. You'd stay with Giulia and her mom.<\/dialogue>\n    <character>GRANDMA<\/character>\n    <dialogue>Your friend talked them into it. It wasn't easy.<\/dialogue>\n    <scene_description>Alberto smiles and shrugs, like, \"Yeah, I guess I did.\"<\/scene_description>\n    <character>DANIELA<\/character>\n    <dialogue>Luca? Do you promise?<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>YES! YES I PROMISE!<\/dialogue>\n    <character>THANK YOU--<\/character>\n    <dialogue>Fighting emotion, Daniela reaches forward to fix Luca's hair, but stops herself.<\/dialogue>\n    <character>DANIELA<\/character>\n    <parenthetical>(tearful)<\/parenthetical>\n    <dialogue>Just remember. We are ALWAYS here for you. Okay?<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Hey. Look me in the eye. You know I love you. Right?<\/dialogue>\n    <character>DANIELA<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL She gives her son a kiss... and lets him go.<\/scene_description>\n    <character>LUCA<\/character>\n    <parenthetical>(excited)<\/parenthetical>\n    <dialogue>--Come on Alberto! The train's gonna leave!<\/dialogue>\n    <scene_description>Luca, headed to the door of the train, realizes Alberto is standing back a little. And there's a funny look on his face. Luca begins to put it together.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>Where's your stuff?<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>Yeah, well. You see...<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>You are coming, right?<\/dialogue>\n    <scene_description>Alberto considers it.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>I would. But. Massimo asked if I wanted to stick around, move in maybe... and I just thought, ah... I think he needs me. You know?<\/dialogue>\n    <scene_description>Luca begins to falter.<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>I can't do it without you.<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>But you're never without me.<\/dialogue>\n    <scene_description>Alberto hands him a scrap of paper that's been taped back together. His old DRAWING of the two of them on the Vespa. The greatest drawing Luca has ever seen.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>The next time that you jump off a cliff, or tell Bruno to quit bothering you... that's me.<\/dialogue>\n    <scene_description>But it's not quite enough for Luca. \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>LUCA<\/character>\n    <dialogue>But how am I gonna know you're okay?<\/dialogue>\n    <scene_description>Alberto's face crumples a little. He wraps his friend in the hug to end all hugs.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>You got me off the island, Luca. I'm okay.<\/dialogue>\n    <scene_description>And as the train readies to leave, Luca stands on the steps of the train, and does one last handshake with Alberto.<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Piacere, Girolamo-- Trombetta.<\/dialogue>\n    <character>LUCA<\/character>\n    <dialogue>Seriously, what does that mean?<\/dialogue>\n    <character>ALBERTO<\/character>\n    <dialogue>No idea. Go find out for me, will ya?<\/dialogue>\n    <scene_description>The boys RELEASE THEIR GRIP, as the train begins to move-- Carrying Luca away from Alberto, who has to run now, to keep pace. He reaches the edge of the platform. He jumps off into the rain. He TRANSFORMS--<\/scene_description>\n    <character>ALBERTO<\/character>\n    <dialogue>Go Luca! GOOOO!<\/dialogue>\n    <scene_description>Luca watches Alberto CHEER HIM OFF TO GENOVA. Then loses sight of him for good, as the train enters a TUNNEL. For a few beats, Luca is in the darkness, alone. He comes out of the tunnel. He looks at the island. He watches PORTOROSSO DISAPPEAR around the corner. \u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL He is leaving everything he has ever known. But he wipes away his tears. He leans into the rain. He feels the wind on his face. He transforms. And he turns, and gazes into a BRILLIANT FUTURE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..FINE. (THE END).<\/stage_direction>\n    <scene_description>\u00a92021 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In the summer circa 1959, timid sea monster child Luca Paguro herds goatfish off the coast of the Italian town of Portorosso. His parents forbid him to approach the surface, fearing that he might be hunted by humans. One day, Luca meets Alberto Scorfano, a fellow sea monster child who lives alone in an abandoned tower on land. Alberto teaches Luca that sea monsters can turn into humans, as long as they stay dry. Luca begins sneaking out to meet Alberto, and they become friends, wishing to own a Vespa and travel around the world. Upon discovering their son's actions, Luca's parents decide to send him to live in the deep with his uncle Ugo. In retaliation, Luca runs away from home with Alberto to hide out in Portorosso. The boys run afoul of Ercole Visconti, the local bully and five-time champion of the Portorosso Cup, a triathlon of swimming, pasta-eating, and biking. When Ercole tries to soak Luca in a fountain, Giulia Marcovaldo, a young girl, stops him. In hopes of winning the money needed for a Vespa, the boys team up with Giulia for the triathlon. Giulia invites them to stay at her house and introduces her fisherman father, Massimo, who is prejudiced against sea monsters. Meanwhile, Luca's parents infiltrate the town to find their son. Giulia and Luca bond over their love of learning, making Alberto jealous. When Luca shows interest in attending school, Alberto intentionally reveals his sea monster form to Giulia to prevent it. Unwilling to give himself up, Luca feigns shock at the transformation, and a betrayed Alberto flees as Ercole's gang arrives to hunt him. Heartbroken, Alberto trashes everything in his hiding place. Shortly after, Giulia finds out that Luca is a sea monster as well, and sends him away for his safety. Luca heads to Alberto's hiding place in an effort to reconcile with him, and learns that Alberto was abandoned by his father long ago. Though Alberto declines to participate in the triathlon, Luca promises to win the Vespa to rebuild their friendship. The triathlon begins with Luca and Giulia competing separately. Luca successfully completes the swimming race (in a diving suit) and the pasta-eating contest without revealing himself, but rain begins during the bike race. Alberto shows up to give Luca an umbrella, but Ercole knocks it away, exposing Alberto's sea monster form and shocking the audience. Luca rescues Alberto, revealing his own true form, and the two bicycle towards the finish. Giula deliberately collides with Ercole's bike to stop him from harpooning Luca and Alberto, who unintentionally cross the finish line before turning back to help Giulia. When Ercole and the other townsfolk confront the boys, Massimo stands up for them and insists that they have won. A few of the townsfolk reveal that they are sea monsters as well, and Luca is finally reunited with his family. Most of the humans welcome the sea monster, except Ercole whose prejudice turns him into an outcast. He is thrown into a fountain by his much-abused henchmen. Luca and Alberto buy an old Vespa, but Alberto sells it to get a train ticket for Luca, allowing him to go to school in Genoa with Giulia. Luca's family, Massimo, and Alberto see Luca and Giulia off at the train station, where they all promise to stay in touch. During the credits, Luca meets Giulia's mother and attends school with Giulia, while Massimo adopts Alberto as his son."}
{"movie_name":"A Knight's Tale_2001","imdb_id":"tt0183790","script":"<script>\n  <scene>\n    <scene_description>A Knight's Tale\" written by Brian Helgeland November 1999 \"And at a Knight I therefore will begin.\" Geoff Chaucer prologue, The Canterbury Tales (,,..) '\u2022,\"\"&lt;.' A fanfare of horns. The cheer of a crowd swells and then releases. We hear familiar rhythmic stomping in the stands. Queen and the voice of Freddy Mercury: Buddy you're a boy make a big noise playing in the streets gonna be a big man someday ... As \"We Will Rock You\" continues and opening credits roll: FADE IN ON: WILLIAM THATCHER. With a full beard and shoulder length hair, he stands looking down at something. With disgust, a ragged piece of linen shoved up either nostril. We hear the sound of some wet excretionaccompanied by moaning. William wears a squire's houppelande with dagged edging, the breast bears the heraldic badge of his lord: a leaping white stag. Plated shin guards are his only armor. Proud William wants his life to be more than it was preordained to be. Right now, it's less. INSERT: Tournament grounds. Flanders. 1370 AD. Another moist flapping sound. As William lets out a deep sigh, he's joined by ROLAND. A varlet, Roland also wears the white stag on his tunic. Hulking Roland, with his soft heart. He looks down where William is looking.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>Should we help him?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>He asked not to be molested. Not even should the trumpets blow and the rapture occur.<\/dialogue>\n    <scene_description>Roland looks up toward the heavens. A trumpet blows, but it's not from up there. Another moan as well.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Besides, I wouldn't touch him now with St. Dunstan's tongs.<\/dialogue>\n    <scene_description>Roland winces at another dank effluvium.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>I know that mercy resides in the bowels, but this is more grace than a man should possess.<\/dialogue>\n    <scene_description>There's a long shuddering moan and then silence.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>He has to be in the lists in two minutes. Two minutes or forfeit.<\/dialogue>\n    <character>ROLAND<\/character>\n    <parenthetical>(re: nostril linens)<\/parenthetical>\n    <dialogue>Lend us those.<\/dialogue>\n    <scene_description>William pulls the linen strips from his nostrils, hands them to Roland who shoves them up his ~wn. Moving forward: Roland kneels behind a bush beside a prone SIR ECTOR. In his mail hauberk, plate armor and white stag insignia on his surcoat, Sir Ector is ...<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>Dead.<\/dialogue>\n    <scene_description>A second varlet arrives. WAT. A 135 pound powderkeg, Wat personifies the medieval saying: \"It's not the size of the cock in the fight, it's the size of the fight in the cock.\"<\/scene_description>\n    <character>WAT<\/character>\n    <parenthetical>(cheery)<\/parenthetical>\n    <dialogue>Two scores.to none after two lances. All Sir Ector needs to do is not fall off his horse and we've won.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>He's dead.<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>What do you mean dead?<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>The spark of his life is smothered in shi te. His spirit. has left him, but his stench remains. Does that explain it?<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>No. He sleeps. Rouse him.<\/dialogue>\n    <scene_description>Roland shakes his head. Wat's good cheer withers, dies on the vine. His grape not destined for wine but for raisin.<\/scene_description>\n    <character>WAT<\/character>\n    <dialogue>We're minutes from victory. I haven't eaten in three days!<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>None of us have, Wat.<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>Sir Ector has or where would all of this shite've come from?!<\/dialogue>\n    <scene_description>Tsk-tsking, Roland joins the others.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>We need to fetch a priest.<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>He's not dead; he's asleep and I'll wake him if I have to fong him in the hole of his arse!<\/dialogue>\n    <scene_description>In a fury, Wat stumbles over, starts to kick Sir Ector. Roland sighs, but William looks grim, full of resolve. From a distance, the KING-OF-ARMS, a major tournament official, approaches. \u00b7<\/scene_description>\n    <character>KING-OF-ARMS<\/character>\n    <dialogue>Hoy, squire!<\/dialogue>\n    <scene_description>William turns, keeping his body between the king-of-arms and Sir Ector and his bush.<\/scene_description>\n    <character>KING-OF-ARMS<\/character>\n    <dialogue>Sir Ector must report at once or forfeit the match.<\/dialogue>\n    <scene_description>Roland starts to point to the body. William grabs his arm ..<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>He's on his wayl<\/dialogue>\n    <scene_description>As the king-of-arms moves off ...<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Strip his armor. I'm riding in his place.<\/dialogue>\n    <parenthetical>(moves forward; to Wat)<\/parenthetical>\n    <dialogue>Stop kicking him and help me!<\/dialogue>\n    <scene_description>Incredulous, Roland watches as William starts to take off Ector's armor. Wat helps him.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>What's your name, William?<\/dialogue>\n    <parenthetical>(no answer)<\/parenthetical>\n    <dialogue>I'm asking you, William Thatcher, to answer me with your name!<\/dialogue>\n    <scene_description>William stares at Roland, dumbfounded.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>It's not Sir William. It's not Duke or Count or Earl William and it's certainly not King William!<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I'm aware of that.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>You have to be of noble birth to compete!<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>A detail. The landscape is food. Do you want to eat or don't you?<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>If the nobles realize who you are there'll be the devil to pay.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Then pray that they don't.<\/dialogue>\n    <scene_description>William takes Sir Ector's helmet, pulls it down over his own head. Roland finally starts to laugh.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>God love you, William. No one else will.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LISTS - DAY<\/stage_direction>\n    <scene_description>The king-of-arms, the NOBLES in the grandstands, the crowd of townsfolk standing in the wings, all wait impatiently. The tourney host, a DUKE, sits with his LADY in a box above the lists: a jousting field nearly a hundred yards long. A wooden four foot barrier separates two well~trodden runs. At the end of one waits a KNIGHT in armor with his SQUIRE and VARLETS. They all wear their 'team uniform,' a lion passant: a lion walking with right forepaw raised. The squire steadies on end the knight's LANCE, twelve feet long with a cupped shield to protect the hand and arm at one end. The sharp point is studded with a three point iron coronal, making the lance non-lethal for competition. The impatience of all assembled eases as 'Sir Ector' rides toward his end of the list. His varlets Wat and Roland run alongside, Roland bearing a lance across his shoulders. They're met by the timid white stag team herald - EUSTACE.<\/scene_description>\n    <character>EUSTACE<\/character>\n    <dialogue>Where's William?<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>Don't let it trouble you.<\/dialogue>\n    <scene_description>Trumpeters stand, play a martial flourish on their horns. The king-of-arms steps forward, announces:<\/scene_description>\n    <character>KING-OF-ARMS<\/character>\n    <dialogue>The score stands at two lances to none in favor of Sir Ector, second son of Henry Earl of Surrey, liege knight to Duke Robert of Essex ... Lord Philip of Aragon, first son of Prince Philip of Aragon, stand ye ready?<\/dialogue>\n    <scene_description>The lion knight nods, lowers the visor on his helmet. WILLIAM Through the slit of his visor he takes it all in. Banners, knights and pageantry. And suddenly we're on ... LONDON BRIDGE Over the muddy Thames. As it was in its day lined with 136 shops with dwellings above them.\u00b7 A 10-year-old BOY runs along behind a crowd watching a procession go by. What it is we cannot tell, and every time the boy tries to squeeze in to see, he's shoved back.<\/scene_description>\n    <character>MAN'S VOICE<\/character>\n    <dialogue>William! Here!<\/dialogue>\n    <scene_description>The boy William rushes up to a stout looking man. His FATHER. He scoops the boy up, stands him on the rump of a HORSE. The boy now has a view of the procession: A parade of resplendent KNIGHTS and their SQUIRES, arriving in London for tournament. Armor gleams, war horses tip the scales at 2000 pounds. William's eyes shine~<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Someday I'll be a knight.<\/dialogue>\n    <scene_description>The TOOTHLESS MAN on the horse looks back, cackles.<\/scene_description>\n    <character>TOOTHLESS<\/character>\n    <dialogue>The son of a thatcher? A knight? You might as well try to change the stars.<\/dialogue>\n    <scene_description>It's like a slap in the face, little William looks down at his father for reassurance.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Can it be done, father? Can a man change his stars?<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>Yes, William. If he believes enough, a man can do anything.<\/dialogue>\n    <scene_description>It's like a promise. And as William smiles at his father:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LISTS - DAY<\/stage_direction>\n    <scene_description>Roland punches the daydreaming William in the thigh as:<\/scene_description>\n    <character>KING-OF-ARMS<\/character>\n    <parenthetical>(exasperated)<\/parenthetical>\n    <dialogue>Sir Ector, stand ye ready or no?<\/dialogue>\n    <scene_description>William nods, takes his lance from Roland. Wat helps William to get the shaft of the lance into a U-shaped cradle bolted to the right side of his breastplate.<\/scene_description>\n    <character>EUSTACE<\/character>\n    <dialogue>(realizing} Where's Sir Ector? ROLAND Don 1 t let it trouble you.<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>. Ready?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Of course. I 1 ve tilted against Sir Ector many times.<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>In the practice lists. As his target. You were never allowed to strike him.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Badger me not with details!<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>The landscape then. Stay on the horse. He needs three points to beat you. A broken lance will not win it for him.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I know how to score!<\/dialogue>\n    <character>EUSTACE<\/character>\n    <dialogue>What's ... happening?<\/dialogue>\n    <scene_description>They step back from him. He stares down across at his foe.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>And I've waited my whole life for this moment.<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>You waited your whole life for Sir Ector to shite himself to death?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Get into position.<\/dialogue>\n    <scene_description>Wat and Roland trot to the center of the list. Point of impact. The lion knight's varlets wait on the other side. They smile across the barrier, nod at their counterparts.<\/scene_description>\n    <character>WAT<\/character>\n    <dialogue>Abandon those smiles or I'll fong you in the holes of your arses till you're both dead.<\/dialogue>\n    <scene_description>As their smiles fade ... BOX SEATS A PURSUIVANT raises the Duke's banner. The crowd is filled with anticipation as the banner ~omes down. LION KNIGHT Urges his big horse forward, lance pointed 45\u00b0 skyward. His squire runs along behind him. WILLIAM'S HORSE Rears up. A moment to master him and William is on his way. But the shaft of the lance is jarred free of the cradle. William tries to remedy this as he rides. LIST The crowd begins to rise as 1000 1 s of pounds of flesh and force hurtle toward each other. As impact approaches: The lion knight lowers his lance level, aims it at: William. His lance finally drops into the cradle. But as William looks up ... CRACK! The coronal of the lion knight is lance strikes him flush on the helmet just below the eye slit. The lance splinters, shatters under the impact. It knocks: William senseless. He drops his own lance along with the reins of his horse. It's only the high back of his saddle that keeps him from tumbling backwards off the horse. But it looks like he'll pitch off the side. Finally, he ends up across the horse's neck, but still in the saddle.<\/scene_description>\n    <character>WAT<\/character>\n    <dialogue>We've done it! We've won!<\/dialogue>\n    <scene_description>Roland brings the horse under control. The face of the helmet is noticeably dented. Roland whispers:<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>William, are you alive?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I think my face is broken ...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAVILION - TOURNAMENT GROUNDS - DAY<\/stage_direction>\n    <scene_description>A feast is about to get underway. The Duke stands before the assembled guests. Beside him, his lady stands holding a velvet pillow on which rests a GOLD PEACOCK FEATHER . .: Across from them William, still in his armor. Wat, Eustace and Roland wait a few steps behind.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>Sir Ector, receive your prize.<\/dialogue>\n    <scene_description>William steps forward. The Duke frowns.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>Sir Ector. Remove your helmet.<\/dialogue>\n    <scene_description>Roland and Wat exchange a look of dread, begin to edge back.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>My lord, I'm afraid the final blow of the lance has bent it onto my head.<\/dialogue>\n    <scene_description>The Duke nods, understands. As the Duke hands William his feather, Roland gives Wat a nudge and a smile.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>I present your champion!<\/dialogue>\n    <scene_description>Polite, not overwhelming applause. And as the Duke starts to catch the miasmic odor wafting off William's armor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PAVILION - DAY<\/stage_direction>\n    <scene_description>William exits, flanked by Roland, Eustace and Wat who carries the feather. Roland chuckles.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>\"The final blow bent it onto my head.\" Brilliant, William.<\/dialogue>\n    <scene_description>William stops short, struggles mightily with the helmet.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>It 1 s the truth! I'm suffocating under here!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLACKSMITH'S SHOP - DAY<\/stage_direction>\n    <scene_description>Wat, Eustace and Roland wince at the sound of each hammer strike. Stripped of his armor, but still wearing the helmet, William is bent over, his head on the anvil as a SMITH brings a hammer down on it. CLANG! CLANK!<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>I 1 m not sure this is what King Arthur had in mind.<\/dialogue>\n    <scene_description>WILLIAM - INSIDE HELMET His nose flattened against the side. Each hammer strike shivers the metal. Like being trapped inside a bell. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CROSSROADS - SUNSET<\/stage_direction>\n    <scene_description>Eustace, Wat and William wait as Roland does business with a medi~val FENCE who examines the feather. William 1 s nose is swollen. In b.g. a BODY in chains twists from a gibbet. Finally, Roland receives a clinking pouch. Waving goodbye to the fence, he joins his two compatriots. Laughing, he dumps a palrnful of small gold coins into his hand.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>Twenty gold florins.<\/dialogue>\n    <scene_description>{handing them out) Five for William, five for Wat, five for Eustace and five for Roland who's going straight home to England. As William stares at the five gold florins in his palm:<\/scene_description>\n    <character>WAT<\/character>\n    <dialogue>It's straight to the pub for me: eel pie, brie tarts and tansy cakes with peppermint cream.<\/dialogue>\n    <scene_description>William's seen the future there in his hand. He looks up.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>We can do this.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>Do it? We've done it, boy! That's gold in your hand.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I mean we can do this. We can be champions ... Give me your coins.<\/dialogue>\n    <scene_description>Wat, Eustace and Roland hesitate, exchange a look.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Give them to me.<\/dialogue>\n    <scene_description>Wat and Roland hand over their florins. Eustace will not.<\/scene_description>\n    <character>EUSTACE<\/character>\n    <dialogue>Whatever your scheme, I'm not interested! I've had it with the hunger! With all the big plans-! Sir Ector's! Yours! No more!<\/dialogue>\n    <parenthetical>(clutching coins)<\/parenthetical>\n    <dialogue>I have my own plans now. Good bye and good luck.<\/dialogue>\n    <scene_description>Eustace turns, starts off. William looks to Wat and Roland.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Will you hear me or will you march?<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>You have our money, don't you?<\/dialogue>\n    <scene_description>William smiles. That's right. He sets the remaining fifteen gold pieces on the ground, gives one to Roland.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>That\u2022s one for you. And one ...<\/dialogue>\n    <parenthetical>(to Wat)<\/parenthetical>\n    <dialogue>For you. That leaves thirteen. Thirteen for training and out- fitting. The tournament at Rouen is a month from now. In one month we could split a prize bigger than this one. In one month we could be on our way to glory and riches none of us ever dreamed of.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>I don't want glory and riches, William, I want to go home.<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>Tansy cakes with peppermint cream. Dilled veal balls with ginger and squash fritters. I'll take my five now.<\/dialogue>\n    <scene_description>William stares at them, boring in the guilt.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>But you can't even joust.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Most of it is the guts to take a blow in order to strike one. That I have. And technique? I have a month to learn that.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>You're not of noble birth!<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>So we lie! How did the nobles become noble in the first place? They took it. At the point of a sword. I'll do it with a lance.<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>A blunted lance.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>No matter! A man can change his stars. I won't spend the rest of my life as nothing.<\/dialogue>\n    <scene_description>Roland points up at the corpse hanging from the gibbets.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>That is nothing. And nothing is right where glory will take us.<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>We're the sons of peasants. Glory<\/dialogue>\n    <scene_description>c: ~! and riches and stars are out of our reach But a full stomach ... That dream can come true. Resigned, indignant, William gives them each four florins more to make them both whole at five.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Goodbye and good luck.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>William ...<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Goodbye. Good luck.<\/dialogue>\n    <scene_description>With a sigh and a shrug, Wat and William turn their backs and start down south away from the crossroads. Hold on William, the hanged man behind him, watching them go.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <parenthetical>(under his breath)<\/parenthetical>\n    <dialogue>You will not leave me. Your hearts are too big to walk away.<\/dialogue>\n    <scene_description>Wat and Roland walk. Finally they stop and look back. Wat looks pissed. So does Roland. Finally he shouts back:<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>Well, thirteen is a damned unlucky number! Thirteen sat at the Last Supper and we all know how that turned out!<\/dialogue>\n    <scene_description>William smiles; they're in. He takes one gold florin, reaches up for the dead man's hand. He slaps the coin in the corpse's palm, closes the stiff fingers around it.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Twelve it is thenl<\/dialogue>\n    <scene_description>With a huge grin, William hurries forward to his friends. As he puts his arms around their shoulders ...<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>God love you, William ...<\/dialogue>\n    <character>WILLIAM<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>I know, I know, no one else will.<\/dialogue>\n    <scene_description>As \"Low Rider\" by War begins; so does the Training Montage. THE QUINTAIN A swiveling, 'T-armed' wooden post. One arm holds a wooden shield, from the other hangs a heavy sack of sand. As William, stripped of armor, rides through, his lance strikes the shield. But his horse hitches in stride and as the quintain swings around, the sack of sand strikes him in the back of the head. As he pitches off the horse ... WAT &amp; WILLIAM Looming over him. William blinking up.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Again?<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>Glory and riches, William. Again.<\/dialogue>\n    <scene_description>QUINTAIN William's lance misses. As his outside shoulder slams into the shield, the sack of sand swings into the back of his head. He's got it coming and going. ROPED OFF RING William uses a wooden sword to fight Roland also armed with. a wooden sword. Wat is behind William holding a third wooden sword.<\/scene_description>\n    <character>WAT<\/character>\n    <dialogue>Switch!<\/dialogue>\n    <scene_description>William spins, starts sparring fiercely with Wat. Roland wipes the sweat from his brow, catches his breath. William is fierce, obviously accomplished with sword play.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>Switch!<\/dialogue>\n    <scene_description>William turns just in time to block Roland who's on him in an instant. As Wat catches his breath ... A BRASS RING Hanging in the air from a string. William rides past, aiming the lance at it, misses by a mile. A series of guick cuts as he misses half a dozen times.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>Slow down! Speed kills accuracy!<\/dialogue>\n    <scene_description>THE RING Snapping off its string as the tip of the lance plucks it from the air. William smiles at the ring at the end of his lance. He looks back over his shoulder at Wat and Roland.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>I did it! I did it<\/dialogue>\n    <scene_description>Not looking where he's going, William rides into a low hanging branch. WHUMP! It sweeps him from the horse. WILLIAM Lying on his back, his wind knocked out. He looks to his left, sees Roland and Wat running toward him. As he holds up his hand to be helped, they run past him. To the\u00b7horse. It's right foreleg obviously tender. Roland examines it as Wat steadies the big beast.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>Lame. He'll need a week.<\/dialogue>\n    <parenthetical>( to William)<\/parenthetical>\n    <dialogue>Watch where you're going, you goddamn fool!<\/dialogue>\n    <scene_description>As William drops his waiting arm back down ... WILLIAM Lance in hand, headed at the quintain~ Only, he's sits on a saddle mounted to the top of a HAY CART. Wat and Roland run ahead, pulling the cart with ropes. William smiles.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Faster! Faster!<\/dialogue>\n    <scene_description>Roland and Wat want to kill him. As they churn faster: HILLSIDE Silhouetted, Wat and Roland pulling William and the\u00b7 cart as fast as they can. TWO passing MONKS stop to watch them.<\/scene_description>\n    <character>MONK ONE<\/character>\n    <dialogue>Mon dieu ... Those fellows work hard to get to Hell.<\/dialogue>\n    <scene_description>CAMPFIRE As our trio chew on the remains of dinner, William draws in the dirt with a stick. The outline of a banner.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>We need a banner. Our emblem. I was thinking of a phoenix.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>Why waste the money? He have Sir Ector's white stag.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Someone may recognize it. We need to be reborn. Like a phoenix rising from the ashes.<\/dialogue>\n    <scene_description>William scratches a rough phoenix into the dirt.<\/scene_description>\n    <character>WAT<\/character>\n    <dialogue>A lion. Lying down, head raised.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>Yes, a lion. But walking, right forepaw raised.<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>How about rearing up on its hind legs, weight on the left?<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>The right.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Everyone uses a lion! Can't you see? The phoenix. It's end is its beginning. Like myself.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>Ah, well, if it's just about you, pick whatever you like. You're the knight; we're just your humble servants.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I meant a phoenix like the three of us! Not just me.<\/dialogue>\n    <scene_description>Wat reaches, traces two more in the dirt with his finger.<\/scene_description>\n    <character>WAT<\/character>\n    <dialogue>Three phoenixes then.<\/dialogue>\n    <scene_description>William looks to Roland who grudgingly nods. {\/\"\"\u00b7~ WILLIAM Three it is! ', J<\/scene_description>\n    <character>DORY<\/character>\n    <dialogue>Being pulled along the river's edge by Wat and Roland with ropes from the shore. Toward a quintain set up on the riverbank. In full armor, ankles tied together, William stands, lance in hand. William can barely balance.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Slower! Slower! Accuracy!<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>Faster! Faster! Balance!<\/dialogue>\n    <scene_description>As William strikes the quintain, he falls off the back off the boat, disappears under the surface with a splash. Roland and Wat stand watching the ripples widen.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>Any moment now. Like a phoenix.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Flat on his back in three feet of water. Held down by his armor. Bubbles rise from his visor. Suddenly, as Wat and Roland bring him sputtering to the surface ...<\/dialogue>\n    <character>ROPED OFF RING<\/character>\n    <dialogue>William drenched in sweat, the cries coming rapidly.<\/dialogue>\n    <character>WAT &amp; ROLAND<\/character>\n    <dialogue>Switch! Switch! Switch!<\/dialogue>\n    <scene_description>He turns over and over, alternately blocking their sword thrusts. Finally, exhausted, Wat and Roland drop to their knees. As he drops alongside them ...<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>Whatever happens with the lance, we have the sword to save us.<\/dialogue>\n    <character>A LOCK OF HAIR<\/character>\n    <dialogue>Drops to a pile on the ground. Reveal William, freshly shaved, nearly totally shorn. You wouldn't recognize him. A whole new face. As Wat saws at a last lock with a knife:<\/dialogue>\n    <dialogue>Roland's meaty fists subtly works a needle and thread.<\/dialogue>\n    <scene_description>\/,.,..~ ...~-, Biting off the knot, he holds up a BANNER: three red \\ ' phoenixes on a field of jet black. It's: '-\u00b7-c<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Beautiful ...<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>And just in time, William. We leave for Rouen in the morning.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>No more William. Ulrich von Lichtenstein. From Gelderland. That's the name I'll fight by.<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>THE ROAD TO RODEN - DAY<\/dialogue>\n    <scene_description>Wat and Roland walk, leading a small palfrey or pack horse. William rides the war-horse.<\/scene_description>\n    <character>WAT<\/character>\n    <dialogue>It's my turn to ride.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>No. We haven't reached the mile marker yet. And I'm not sure you should. Suppose we pass another knight. How would it look if my squire rode while I walked?<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>I don't give a witches teat! It's my turn.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>Maybe none of us should be riding. He's not the horse he. used to be and we need him.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Hoy . . . Look ahead .<\/dialogue>\n    <scene_description>Ahead, a NUDE MAN walks slowly along the side of the road. Slowly, deliberately, his feet obviously in pain. As they come up alongside, the nude man barely notices.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>NUDE MAN<\/character>\n    <dialogue>Trudging. The slow, weary, yet determined walk of one who has no other choice but to soldier on.<\/dialogue>\n    <scene_description>(~~':, WILLIAM Were you robbed? \"\u00b7\u00b7--&lt;. NtJDE MAN Yes, a sort of involuntary vow of poverty. But to trudge represents pride. Pride, resolve and a trust in God to deliver me from my current tribulations.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>NUDE MAN<\/character>\n    <dialogue>Lilium inter spinas.<\/dialogue>\n    <parenthetical>(off their blank looks)<\/parenthetical>\n    <dialogue>The lily among the thorns. Geoff Chaucer. I'm a writer.<\/dialogue>\n    <scene_description>Indeed, we're looking at the 29-year-old GEOFFREY CHAUCER. The first rainbow of English writers. Buck solid naked.<\/scene_description>\n    <character>WAT<\/character>\n    <dialogue>A what?<\/dialogue>\n    <scene_description>NtJDE MAN\/CHAUCER Writer. With ink and parchment? For a penny, I'll scribble all you want: summonses, warrants, decrees, edicts, patents of nobility. Even a poem or two. Perhaps you read my Book of the Duchess? It was allegorical.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>We won't hold that against you. That's something each man has to decide for himself.<\/dialogue>\n    <scene_description>As Chaucer wonders how exactly Roland has misunderstood him:<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Did you say patents of nobility?<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>\u00b7 Yes. Now who are you, gentlemen?<\/dialogue>\n    <scene_description>Wat starts to answer. AHEM! William interrupts.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>I am Sir Ulrich von Lichtenstein. And these my faithful squires:<\/dialogue>\n    <parenthetical>(re: Roland &amp; Wat)<\/parenthetical>\n    <dialogue>Delves of Doddington. And Fowlehurst of Crew.<\/dialogue>\n    <scene_description>As Roland and Wat react to their new names, Chaucer laughs.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>And I am Richard Lion Hearted. No wait, my name is Charlemagne.<\/dialogue>\n    <parenthetical>(laughing harder)<\/parenthetical>\n    <dialogue>No, I'm St. John the Baptist.<\/dialogue>\n    <scene_description>They watch as Chaucer laughs: Roland and Wat realizing how easily they've been seen through; William, furious. He jumps down from the horse, drawing a DAGGER. He\u00b7 lifts Chaucer's chin with the point.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Hold your tongue or lose it.<\/dialogue>\n    <scene_description>Chaucer stops laughing, but keeps the twinkle in his eye.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>Now that I believe. Sir Ulrich.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <parenthetical>(lowers dagger)<\/parenthetical>\n    <dialogue>Thank you. . . Geoff.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>Do you have anymore to say, Master Nude, or, having failed your test, may we be on our way?<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>Are you going to the tournament?<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>This is the road to Rouen, isn't it?<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>That remains to be seen. They're limiting the field at Rouen. Noble birth must be established for four generations on each side of the family. Patents of nobility must be provided.<\/dialogue>\n    <scene_description>The words hang in the air. William waits.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>Dress me, feed me, shoe me, let me ride a bit. And you'll have your patents. I'm thinking your mother's father was Shilhard von Rechberg. His crest a peacock.<\/dialogue>\n    <scene_description>(~ William exchanges a long look and finally a shrug and nod \\ i with Roland and Wat. Finally, Wat turns to Chaucer. '\u2022\u00b7&lt; WAT Betray us and I'll fong you in the hole of your arse till your outside is in and your inside is out. Your ears 1 ll blow snot and shite'll squirt from your naval.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>I'll keep that in mind, Squire Fowlehurst. Now, if you'll kindly give me your shoes ...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>RODEN - DAY<\/dialogue>\n    <scene_description>The town abuzz. Flags flutter from the rooftops. Acrobats tumble past Punch &amp; Judy shows. It's like having the NCAA tournament in town. Money and excitement for everyone. The GREAT CATHEDRAL looms as knights ride in with their retinues. On a tabletop a GRAYBEARD table jousts with his GRANDSON. Each hold a stick with a mounted knight figurine attached to the end. As they run them together. BELLS TINKLE. Townsfolk get out of the way as two mounted KNIGHTS round a corner, mock battling. Bells on their horse and weapons warning pedestrians of their approach. Meanwhile, an arriving Wat and Roland eye two comely MILKMAIDS\\_ as they pass with their pails. A one-armed man hawks relics. He holds a RUSTY NAIL.<\/scene_description>\n    <character>ONE-ARM<\/character>\n    <dialogue>Own the marvel of all Christendom! The very nail that held Christ's left hand to the cross!<\/dialogue>\n    <scene_description>Chaucer walks beside William who rides. Chaucer wears a. triple phoenix badge, holds a ROLLED PAPER in his hand.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>Tournaments. Ladies can show new dresses, beggars their afflictions and pickpockets their agility.<\/dialogue>\n    <scene_description>Chaucer's attention is taken by several men playing 'sixes &amp; sevens' with DICE up against a wall. Money changes hands and Chaucer is quite taken. A gambler perhaps? William slows as he sees something ahead.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Ready Herald Chaucer?<\/dialogue>\n    <scene_description>Chaucer looks ahead, sees what William is referring to.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>All they can do is put us in the stocks. Or brand us perhaps?<\/dialogue>\n    <character>TOURNAMENT ENTRY TABLE<\/character>\n    <dialogue>William sits proudly on his horse as Chaucer reads from his scroll to the tournament KING-OF-ARMS.<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>... Duke Guelph of Saxony son of Ghibellines, son of Wendish the fourth Earl of Brunswick. The same Wendish who inherited the fief of Luneburg from --<\/dialogue>\n    <character>KING OF ARMS<\/character>\n    <dialogue>That'll do Herald. Six generations is more than enough.<\/dialogue>\n    <scene_description>He takes the patents from Chaucer. Everything in order.<\/scene_description>\n    <character>KING-OF-ARMS<\/character>\n    <dialogue>Indicate in which events shall your lord Ulrich compete.<\/dialogue>\n    <scene_description>Chaucer takes a waiting STAFF. A series of shields are hung overhead, each painted with a representation of six different events. Chaucer touches one painted with a SWORD and one with a LANCE. As a scribe notes thi~:<\/scene_description>\n    <character>KING-OF-ARMS<\/character>\n    <dialogue>The entry fee is two florins.<\/dialogue>\n    <scene_description>Chaucer takes out a heavy sack of gold, opens it. We see his POV: two florins rest in a bag of sand. He plucks them out, hands them over. \u00b7 It looks like 'Ulrich' is cash fat.<\/scene_description>\n    <character>KING-OF-ARMS<\/character>\n    <dialogue>Sir Ulrich's number is 32. He'll first meet Roger lorde Mortimer in the lists tomorrow morning.<\/dialogue>\n    <scene_description>The king-of-arms bows to William. William nods nobly, rides off with Chaucer as the next contestant steps up. r'<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n    <character>WILLIAM<\/character>\n    <parenthetical>(low exultation)<\/parenthetical>\n    <dialogue>You did it, Geoff! You did it!<\/dialogue>\n    <character>GEOFF<\/character>\n    <dialogue>My pleasure, William. If you don't mind, I'd like to stick around, see how things turn out.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Act as my Herald and you'll receive a share of the winnings.<\/dialogue>\n    <character>GEOFF<\/character>\n    <dialogue>Done. Now if you'll excuse me.<\/dialogue>\n    <scene_description>Chaucer heads off for the dice game. William watches after him a beat then continues riding. He can't help but smile to himself. He's so happy he starts to sing.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Walking off of London Bridge my fortune for to seek. I passed along the river Thames its waters they did reek. Twas there I met a pretty lass she said her name was Nell. She<\/dialogue>\n    <scene_description>William stops short. Ahead, he sees her: JOCELYN, a princess in every sense of the word: beautiful and haughty, kind and cruel. If you know your Keats, she is William's \"La Belle Dame Sans Merci.\" But much more the Dicksee painting than the Waterhouse. (In other words, you're going to have to work for this one.) Jocelyn walks the streets with her MAID. As they disappear around the corner, William comes out of his trance.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Bell or Hell. Rhymes with Nell.<\/dialogue>\n    <scene_description>Cupid's arrow is so deep in him, it might be fatal. As he urges his horse around ... THE CORNER And nearly runs down an old CHAR-WOMAN. As he reins up:<\/scene_description>\n    <character>CHAR-WOMAN<\/character>\n    <dialogue>The cheek of you no-good bloods. You think you own the streets. A poor old woman doesn't mean more than a bump beneath your hooves.<\/dialogue>\n    <scene_description>William watching desperately as Jocelyn disappears into the crowd. The Char-Woman begins to beat on his leg.<\/scene_description>\n    <character>CHAR-WOMAN<\/character>\n    <dialogue>'<\/dialogue>\n    <scene_description>I But Judgment day comes! The meek will inherit the earth!<\/scene_description>\n    <character>WILLIAM<\/character>\n    <parenthetical>(riding around her)<\/parenthetical>\n    <dialogue>I assure you, Mum, I'm as common and meek as you are!<\/dialogue>\n    <character>STREET<\/character>\n    <dialogue>Jocelyn walks purposefully with her maid who's quite a looker herself. Still, no comparison. Jocelyn's eyes flash quicker than her smile; they could cut you in two. We hear approaching and then slowing hoof clops. William rides parallel, ten feet away. Staring, his mouth agape. Jocelyn doesn't look over but she knows he's there.<\/dialogue>\n    <scene_description>l JOCELYN I am not your missing rib, sir.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>If you were, then my ribs are made of gold. Wrapped in samite. With emeralds for --<\/dialogue>\n    <scene_description>Jocelyn disappears around another corner even as William rides smack into a low. hanging WOODEN PIG advertising the butcher's. As he struggles to unencumber himself.<\/scene_description>\n    <character>CLOSE ON JOCELYN<\/character>\n    <dialogue>As William catches up once again. She's climbing broad, low rise stone steps. Stricken, William rides right with her.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Would you speak to me?<\/dialogue>\n    <character>JOCELYN<\/character>\n    <dialogue>Speak? But, sir, my sex are marked by their silence.<\/dialogue>\n    <scene_description>And they're passing through two huge wooden doors. The sunlight cuts out as we're now inside. William oblivious.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>I would hear you speak if it cost me my ears.<\/dialogue>\n    <character>-\u00b7 JOCELYN<\/character>\n    <dialogue>That is well for I do not want silence in my life.<\/dialogue>\n    <scene_description>The hooves echo as he rides down some wide passage that we're still to tight on them to make out.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Tell me your name.<\/dialogue>\n    <character>JOCELYN<\/character>\n    <dialogue>Would you care if I were ugly?<\/dialogue>\n    <scene_description>She stops, steps to her left, her maid, looking aghast, alongside her. William reins to a stop. We're aware of the sound of shocked voices in the b.g ..<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>You desecrate the house of God!<\/dialogue>\n    <scene_description>Widen TO REVEAL that William has ridden into: The nave of the magnificent CATHEDRAL OF ROUEN. Framed by stained glass, William realizes as well. An OLD BISHOP swings his crosier. A DOZEN YOUNG PRIESTS rush at him. PARISHIONERS here for Mass are shocked. William is shoved back, but still enchanted. His horse rears. And Jocelyn isn't completely unimpressionable. This is the most amazing thing she's seen in awhile.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Tell me your name, woman!<\/dialogue>\n    <character>JOCELYN<\/character>\n    <dialogue>What would you do with my name, sir hunter? Call me a fox for that is all I am to you.<\/dialogue>\n    <scene_description>Jocelyn laughs as William is swept back through the doors.<\/scene_description>\n    <character>JOCELYN<\/character>\n    <dialogue>A handsome hunter, I give him that.<\/dialogue>\n    <scene_description>And William is gone. Jocelyn finally stops laughing under the remonstrative stare of the old bishop.<\/scene_description>\n    <character>OLD BISHOP<\/character>\n    <dialogue>Does this not shock you, Jocelyn?<\/dialogue>\n    <character>JOCELYN<\/character>\n    <dialogue>Certainly, father. I only laugh to, to, to keep from weeping.<\/dialogue>\n    <scene_description>She sells it pretty good. He softens. I (~ OLD BISHOP \\,, . &lt; ' J Ahh, beauty is a curse. Pray for your years to come swiftly. Pray for beauty to fade so you may concentrate on God.<\/scene_description>\n    <character>JOCELYN<\/character>\n    <dialogue>Oh, I do, father. I pray for it all the time. Why did God curse me with this face?<\/dialogue>\n    <character>OLD BISHOP<\/character>\n    <dialogue>His ways have purpose, but we cannot know them.<\/dialogue>\n    <scene_description>Jocelyn winks to her maid. As they try not to laugh again: DISSOLVE TO:<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>A tent encampment housing knights, judges, heralds,<\/dialogue>\n    <character>PAVILIONS - NIGHT<\/character>\n    <dialogue>surgeons, musicians, armorers, lance-makers, you name it. Right now it's late, quiet.<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>William lies staring up at the roof. Wat and Roland are<\/dialogue>\n    <character>PHOENIX TENT - NIGHT<\/character>\n    <dialogue>curled up on either side facing away. Armor, equipment and an empty space for Chaucer take up the rest of the cramped camp. Wat snores softly, almost whimpering in his sleep. William, wide awake, heaves a SIGH.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>What was that?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>It was the sound of love, Roland.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>For the love of victory, William, go to sleep.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I can't. Love has given me wings and so I must take flight.<\/dialogue>\n    <scene_description>It's Roland's turn to sigh. Deep, surrendering.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>I can't explain it. She makes me feel like a poet.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>I You might feel like a poet, but<\/dialogue>\n    <scene_description>you sound like an idiot. You don't even know her name. j WILLIAM Her name is Aphrodite, Calypso, Venus. Take your pick. Finally, Roland rolls over, looks at his friend.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>Women weaken the heart. Without your heart, you cannot win.<\/dialogue>\n    <parenthetical>(William sighs)<\/parenthetical>\n    <dialogue>Concentrate!! !<\/dialogue>\n    <scene_description>Wat sits bolt upright.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>You're right, Roland. I will.<\/dialogue>\n    <scene_description>They both close their eyes. Wat rubs his, looks about.<\/scene_description>\n    <character>WAT<\/character>\n    <dialogue>Where's Chaucer?<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>Never showed up. We're without a herald I'm afraid.<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>No loss. In fact, it'll keep the skin on my knuckles<\/dialogue>\n    <scene_description>As Wat lies back down, we enjoy a peaceful moment before:<\/scene_description>\n    <character>HARD CUT TO:<\/character>\n    <dialogue>ROGER LORDE MORTIMER<\/dialogue>\n    <dialogue>Filling frame, headed right for us until a LANCE SHATTERS against his chest. That slows his momentum considerably ..<\/dialogue>\n    <dialogue>And as William rides past, only three feet of his twelve foot shaft is left ...<\/dialogue>\n    <character>WAT &amp; ROLAND<\/character>\n    <dialogue>Exchange a look of disbelief. He did it.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Acknowledges the measured CHEER from the crowd, rides past:<\/dialogue>\n    <character>ROUEN KING OF ARMS<\/character>\n    <dialogue>After three passes Sir Ulrich von Lichtenstein defeats Roger lorde Mortimer one lance to none!<\/dialogue>\n    <scene_description>William rides back to vocal and hearty congrats from Wat and Roland. He's caught up in it a moment, before:<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Easy, lads, they're likely to think this is the first time I've broken a lance.<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>But it is, William!<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Sir Ulrich has broken 1000 lances.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>Well dismount, master of 1000 lances. We're due in the sword ring in two minutes.<\/dialogue>\n    <scene_description>MEANWHILE, NEARBY: COUNT ADHEMAR The velvet covered razor, premiere jouster of a generation. He watches from a distance as his SQUIRES strap beautiful armor onto his dramatically outstretched limbs.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>Germaine ...<\/dialogue>\n    <scene_description>He doesn't call loudly. Peop~e are expected to listen when they're near him. His toady Herald, GERMAINE, steps over.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>The knight there. What badge is that?<\/dialogue>\n    <character>\u00b7GERMAINE<\/character>\n    <dialogue>(squinting} Triple phoenixes on sable, perhaps marking him~~ a third son. Germaine rolls through his tournament scroll, finds it. GERMAINE Ulrich von Lichtenstein. A Duke<\/dialogue>\n    <scene_description>of Gelderland.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>Gelderland?<\/dialogue>\n    <character>GERMAINE<\/character>\n    <dialogue>Well east of the Rhine I believe.<\/dialogue>\n    <scene_description>Adhemar reacts as one of the Squires pinches him on the arm cinching a strap. The squire tenses, expecting ... The backhand, WHAP!, which sends blood trickling from his lip. Adhemar pulse rate doesn't break 60.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <parenthetical>(re: William)<\/parenthetical>\n    <dialogue>Make me aware if it looks like I should face him.<\/dialogue>\n    <character>GERMAINE<\/character>\n    <dialogue>Yes, my Lord Adhemar.<\/dialogue>\n    <scene_description>A KNIGHT IN FULL ARMOR Standing stock still as TWO VARLETS use wooden clubs to beat on his shoulders, back and chest. Finally they stop, out of breath. The knight lifts his visor, troubled, uncertain.<\/scene_description>\n    <character>KNIGHT<\/character>\n    <dialogue>No, it still feels loose somehow.<\/dialogue>\n    <scene_description>The varlets go about tightening the straps on the armor as William, Roland and Wat hurry past. MOVE WITH them as they pass by several knights having various wounds and muscle pulls bound up.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Two events was a mistake. I don't have time to breathe. I should withdraw from the sword.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>But the sword is by far what you're best at.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>The prizes are bigger in the joust, the prestige as well --<\/dialogue>\n    <scene_description>They're interrupted as a man steps in front of them.<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>Ulrich von Lichtenstein?<\/dialogue>\n    <scene_description>Our trio exchange suspicious looks. Who the hell is this?<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>I am Simon, the Summoner.<\/dialogue>\n    <scene_description>I: The summoner is pimply with scabby eyebrows and a fiery complexion. In a word: venereal. His physical corruption reflecting a spiritual corruption as well.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Good for you. And I'm overdue at the sword arena.<\/dialogue>\n    <scene_description>William's about to move past him, when:<\/scene_description>\n    <character>SIMON SUMMONER<\/character>\n    <dialogue>I am bid detain you on behalf of your herald.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEHIND PAVILIONS - MOMENTS LATER<\/stage_direction>\n    <scene_description>Chaucer stands, naked again, hands bound together, looking across at William, Roland and Wat. Simon the Summoner is here as well as the corpulently corrupt PETER the PARDONER. Peter holds a dagger vaguely directed at Chaucer.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>You were never robbed, were you?<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>I, ah, no. I have a gambling problem. I sell my clothes when I've exhausted all other funds.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>And what do you expect us to do about it?<\/dialogue>\n    <character>PETER PARDONER<\/character>\n    <dialogue>He assured us that you, his liege, would pay us.<\/dialogue>\n    <scene_description>We see the outrage on our trio, Wat in particular.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>And who are you?<\/dialogue>\n    <character>PETER PARDONER<\/character>\n    <dialogue>Peter. A humble pardoner and purveyor of religious relics.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>How much does he owe you?<\/dialogue>\n    <character>SIMON SUMMONER<\/character>\n    <dialogue>Ten gold florins.<\/dialogue>\n    <scene_description>Wat goes after Chaucer, grabs him in a headlock and begins to rabbit punch him on the top of the head. i I CHAUCER Get him off me! A mini-melee as Roland and William pull Wat off. Furious t now, William faces the Summoner.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>And what will you do to him if I refuse?<\/dialogue>\n    <character>SIMON SUMMONER<\/character>\n    <dialogue>We, on behalf of the Lord God, will take it from his flesh. In order that he may understand that gambling is a sin.<\/dialogue>\n    <scene_description>The Summoner, in light of his physical condition, should never titter the word flesh. William looks at Chaucer.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>Please Will --<\/dialogue>\n    <parenthetical>(catches himself)<\/parenthetical>\n    <dialogue>Please will you help me, Sir Ulrich? You won't regret it.<\/dialogue>\n    <scene_description>Roland clinches Wat as the little man lunges again.<\/scene_description>\n    <character>WAT<\/character>\n    <dialogue>You can take it out of whatever flesh I leave behind!<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Wat! Enough!<\/dialogue>\n    <parenthetical>(to: Summoner)<\/parenthetical>\n    <dialogue>I don't have the money now, but release him, return his clothes and I swear you'll get it.<\/dialogue>\n    <character>SUMMONER<\/character>\n    <dialogue>Done.<\/dialogue>\n    <scene_description>The Pardoner uses the dagger to cut the ropes.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>You've a great heart beating in you; Ulrich. I see that now.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Shut up.<\/dialogue>\n    <character>CUT TO:<\/character>\n    <dialogue>j<\/dialogue>\n    <scene_description>WILLIAM &amp; CHAUCER William strides with extreme purpose, Chaucer struggles to keep up and pull his tunic over his head at the same time.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Why didn't you tell us the truth?<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>I was trying to engender pity.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>You lied.<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>Of course I lied! I'm a writer!<\/dialogue>\n    <scene_description>They're at the roped off SWORD RING. William continues in receiving a BLUNTED SWORD from Roland who stands alongside a TOURNAMENT OFFICIAL.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>Behold my lord Ulrich von Lichtenstein, son of<\/dialogue>\n    <character>OFFICIAL<\/character>\n    <dialogue>Too late. He's been announced.<\/dialogue>\n    <parenthetical>(to crowd)<\/parenthetical>\n    <dialogue>Ten blows by sword! Sir Ulrich to receive first!<\/dialogue>\n    <scene_description>As William lowers his visor, a knight with a HAWK BADGE waits no time as he steps up, takes his best ten whacks at William. William is a whirlwind, blocking (and only blocking) the first five swings the Hawk Knight gives. The sixth glances off William's sword and just catches his shoulder. TWO JUDGES raise flags indicating a strike. Blows seven, eight and nine, all delivered in an obviously practiced sequence, are all blocked. Frustrated, the Hawk Knight circles left, feints several times before it looks like William's committed to a block. At that moment, he reverses, brings down his sword which William simply sidesteps allowing it to dig into the dirt.<\/scene_description>\n    <character>OFFICIAL<\/character>\n    <dialogue>One strike for Sir Walter Loring!<\/dialogue>\n    <scene_description>A beat as the knights catch their breath. Then:<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Stand ye ready?<\/dialogue>\n    <scene_description>;\"'\"\u00b0\"\\, HAWK KNIGHT Aye! 1.,.,.2 I ' William starts in with three almost lazy, albeit powerful strokes. The hawk knight blocks all three, but they're like body shots in a boxing match. \u00b7 William spins, swings the flat of his sword into the knight's side. Two more swings bat the knight on either side of the head. As he stumbles, the judges raise their flags three times. The crowd cheers appreciatively. William stops, raises his visor.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>I yield my final four blows.<\/dialogue>\n    <character>OFFICIAL<\/character>\n    <dialogue>Very well. Sir Ulrich yields his final four blows and has won three strikes to one!<\/dialogue>\n    <scene_description>Applause at this act of chivalry. Chaucer steps up.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>Behold my Lord Ulrich. His sword is swift, yet his mercy is swifter! The flower of chivalry still blooms upon tpis earth!<\/dialogue>\n    <scene_description>The Hawk Knight bows. Cheers as the crowd gets behind William. He looks across in surprise at Chaucer.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>Your arm and my tongue and there'll be no stopping you.<\/dialogue>\n    <scene_description>William smiles; Chaucer smiles back. And as Bachman Turner Overdrive launch into \"Taking Care of Business ... 11 CUT TO:<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>ROUEN CATHEDRAL - DAY<\/dialogue>\n    <scene_description>ON A YOUNG priest moving down a line of parishioners. A WOMAN holds out a BABY. The priest sprinkle\u00b7s HOLY WATER on the its head. Then a second baby. The priest looks like he does this all day long. Then he stops short. A knight stands holding out his sword. Other knights hold armor, lances. Wat and Roland present the phoenix -banner. The priest sighs, starts shaking out the holy water:. CUT TO:<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>TILTING LISTS - DAY<\/dialogue>\n    <scene_description>As William shatters a lance on another knight's chest: I  He improves with each pass.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>He's a natural he is.<\/dialogue>\n    <scene_description>As Chaucer nears, he's met by Adhemar's herald Germaine.<\/scene_description>\n    <character>GERMAINE<\/character>\n    <dialogue>Good Herald Chaucer!<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>Do I know you?<\/dialogue>\n    <character>GERMAINE<\/character>\n    <dialogue>I am Germaine, Herald to Count Adhemar and poet of renown. Your Lord Ulrich is unknown to me.<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>' And you utterly unknown to him.<\/dialogue>\n    <dialogue>e '<\/dialogue>\n    <character>'<\/character>\n    <dialogue>As Germaine pretends to chuckle at the jest, Chaucer just walks away. Time to entertain the crowd.<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>Behold my lord Ulrich?- Like a wind from Gelderland he sweeps by. Blown far from his homeland in search of glory and honor!<\/dialogue>\n    <scene_description>Cheers. As Germaine walks off, Chaucer watches after him.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>SWORD FIGHTING RING - DAY<\/dialogue>\n    <scene_description>White scoring flags go up as William delivers blow after blow with the sword. As the crowd goes crazy ...<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>BAKER'S SHOP - DAY<\/dialogue>\n    <scene_description>Roland, William, Chaucer and Wat watch the pies coming out of the ovens, patrons leaving with cakes. Wat may faint.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>All we have left is a penny.<\/dialogue>\n    <character>I<\/character>\n    <dialogue>\\ WAT<\/dialogue>\n    <scene_description>&lt; Only enough for one of us to eat. j<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>We're all hungry, but ... The food should go to the one who most needs his strength.<\/dialogue>\n    <scene_description>As the three of them look at William ... THE FOUR OF THEM Chewing air, watching their war horse chew through a barrel of oats. The horse is the one who most needs his strength.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LISTS - DAY<\/stage_direction>\n    <scene_description>William is slammed in the shoulder with a lance. His armor, in fact, splits open. As Roland rushes over.,.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>We should have saved the penny for the blacksmith.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARMORER'S PAVILION - DAY<\/stage_direction>\n    <scene_description>Hammers clink or pound depending on the severity of the damage. William talks to a series of SMITHIES.<\/scene_description>\n    <character>SMITHY ONE<\/character>\n    <dialogue>Sorry, I'm up to my hips in it.<\/dialogue>\n    <character>SMITHY TWO<\/character>\n    <dialogue>It's cash first, no promises.<\/dialogue>\n    <character>SMITHY THREE<\/character>\n    <dialogue>You might try the farris.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>A woman?<\/dialogue>\n    <character>SMITHY THREE<\/character>\n    <dialogue>Beggars can't be choosers, lord.<\/dialogue>\n    <scene_description>RED HOT HORSESHOE Being pounded on an anvil. Then thrust into a barrel of water. Rise up with the steam to reveal KATE, the farris. Her head is wrapped loosely in wet wool to kill the sparks.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>I don't work for free.<\/dialogue>\n    <scene_description>William stands here with Roland and Wat who carry his armor.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>And I can't joust with split open armor.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Your problem not mine.<\/dialogue>\n    <scene_description>She looks over her handiwork. One tough chick. As she tosses the shoe in a pile and starts on another one, William looks to Roland, winks.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Just as well. They said I was daft for even asking.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>WILLIAM<\/dialogue>\n    <scene_description>The other armorers.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>They said I couldn't do it because I was a woman?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>No. They said you were great with horseshoes, but shite with armor. The fact you were a woman wasn't mentioned.<\/dialogue>\n    <scene_description>She does a not so slow burn. As she steps over, grabs the breastplate from Roland's hands:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\" ROUEN STREET - DAY<\/stage_direction>\n    <scene_description>Passing knights are looked on with awe. Especially by kids. People stream toward the grandstands. A VENDOR hawks:<\/scene_description>\n    <character>VENDOR<\/character>\n    <dialogue>Cat's meat and hot wine! Cat's meat and hot wine here!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TILTING LISTS - DAY<\/stage_direction>\n    <scene_description>The grandstands by the point of impact packed with nobles including several outrageously beautiful women. The wings packed with poor townsfolk. This sport cuts through class. A roar builds as below, two knights hurtle at each other on horseback, their varlets in position and squires following after them. A huge cheer as both lances splinter to bits. As the knights return to their starting points, water carriers rush out to sprinkle water to keep down the dust. VIP BOX Jocelyn sits stunningly bored with her maid and several other more enthusiastic YOUNG NOBLES. Jocelyn wears a low- cut bodice embroidered with ermine. There are pearls in her hair. She should be on the cover of Medieval Vogue. Jocelyn's arrogant BROTHER steps over with Adhemar. It may not seem it, but this is a formal introduction.<\/scene_description>\n    <character>BROTHER<\/character>\n    <dialogue>Sister, may I present Count Adhemar who for some mad reason wishes to meet you.<\/dialogue>\n    <character>ADHEMAR<\/character>\n    <dialogue>If wanting to be introduced to the most beautiful woman in Europe is mad, then so be it.<\/dialogue>\n    <scene_description>Jocelyn gives a nod of acknowledgment to Adhemar's bow. The crowd cheers at a spectacular pass in the lists. Adhemar's attention is obviously immediately there.<\/scene_description>\n    <character>JOCELYN<\/character>\n    <dialogue>Do you only pretend to fight, Count Adhemar, or do you wage real war as well?<\/dialogue>\n    <character>ADHEMAR<\/character>\n    <dialogue>I am the leader of the Free Companies. My army is in Southern France for the moment.<\/dialogue>\n    <scene_description>She just nods. Does she think this is better than just pretending or worse? Regardless, she is faint of praise.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>What do you think of the joust?<\/dialogue>\n    <character>JOCELYN<\/character>\n    <dialogue>It's very, abrupt, and I'm afraid I don't understand the rules.<\/dialogue>\n    <character>ADHEMAR<\/character>\n    <dialogue>I shall educate you. A match is three lances. One point is awarded for breaking a lance on a man between the waist and neck.<\/dialogue>\n    <scene_description>( \\ \\ i '~~~ In quick succession, several lances are broken on several different knights. The judges raise single white flags.<\/scene_description>\n    <character>ADHEMAR'S VOICE<\/character>\n    <dialogue>Two points for breaking on the helmet. It's difficult. The helmet sweeps back. Most blows glance to left or right leaving the lance unbroken.<\/dialogue>\n    <scene_description>Again, in quick succession several knights duck under or flinch away from head shots. Also, several lances find the mark, but deflect unbroken to the left or right. Finally, Adhemar lands a lance directly on a helmet. It shatters and the knight's helmet is shredded off his head.<\/scene_description>\n    <character>ADHEMAR'S VOICE<\/character>\n    <dialogue>Three points are awarded for bearing the rider to the ground.<\/dialogue>\n    <scene_description>Adhemar at tournament. His lance lands high on the opposing knight's chest. The knight is borne into the air and lands flat on his back. Like diving into wet concrete. e VIP BOX Adhemar looks at her a beat.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>I myself Jocelyn, have never been unhorsed.<\/dialogue>\n    <character>JOCELYN<\/character>\n    <dialogue>Nor have I;<\/dialogue>\n    <character>ADHEMAR<\/character>\n    <dialogue>Also should you bear the rider to the ground, you win his horse. You can ransom it back to him or keep as you see fit.<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>A knight handing over GOLD to buy back his horse.<\/dialogue>\n    <character>LISTS - DAY<\/character>\n    <dialogue>JOCELYN'S VOICE<\/dialogue>\n    <scene_description>What of the horse? It wears armor as well. You don't strike the horse, do you? (-..\\_\\_\\_, ADHEMAR'S VOICE '\\, \/<\/scene_description>\n    <character>'<\/character>\n    <dialogue>Its armor is to protect it from<\/dialogue>\n    <scene_description>\u00b7-&lt;\\_ splinters only. You lose a point if you strike the horse. We see an example of this, judges raising black flags, knight's cursing their own incompetence.<\/scene_description>\n    <character>JOCELYN<\/character>\n    <dialogue>And do men die in the joust?<\/dialogue>\n    <character>ADHEMAR<\/character>\n    <dialogue>The lances are tipped with coronels. This blunts the tip, makes the lance non-lethal.<\/dialogue>\n    <character>LANCE MAKERS<\/character>\n    <dialogue>Sawing the lance tip flat, hammering on blunt iron coronels.<\/dialogue>\n    <character>ADHEMAR'S VOICE<\/character>\n    <dialogue>Of course, accidents happen.<\/dialogue>\n    <character>ADHEMAR IN THE LISTS<\/character>\n    <dialogue>His larice shatters on impact. A huge splinters breaks free and penetrates the slit in the opposing knight's visor. The body reacts, then slumps, no way he survived it.<\/dialogue>\n    <dialogue>Adhemar flips up his own visor, watches without pity.<\/dialogue>\n    <character>ADHEMAR<\/character>\n    <dialogue>Fall, goddamn you ...<\/dialogue>\n    <scene_description>The dead knight falls from his horse to the ground. Adhemar looks to one of his varlets.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>Retrieve his horse ...<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>VIP BOX - DAY<\/dialogue>\n    <character>ADHEMAR<\/character>\n    <dialogue>Some men call it sport. Myself: an exercise to stay limber for the more noble pursuit of war.<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>VILLAGE - DAY<\/dialogue>\n    <scene_description>A not so noble Adhernar leading his blood-soaked men on a rape and pillage run through a defenseless little town.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VIP BOX - DAY<\/stage_direction>\n    <character>JOCELYN<\/character>\n    <dialogue>Why doesn't anyone stay limber for poetry?<\/dialogue>\n    <scene_description>Adhemar smiles, allows himself a moment to look her over.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>What a splendid gown you wear.<\/dialogue>\n    <character>JOCELYN<\/character>\n    <dialogue>There's been criticism I believe of the cut below the neck.<\/dialogue>\n    <scene_description>Germaine is here to get his attention. Adhemar looks over.<\/scene_description>\n    <character>GERMAINE<\/character>\n    <dialogue>You wanted to be informed, lord, should the tri-phoenixed knight appear on your horizon.<\/dialogue>\n    <scene_description>Adhemar follows Germaine's gaze below to where William rides in. Jocelyn sees him as well, can~t help but smile.<\/scene_description>\n    <character>GERMAINE<\/character>\n    <dialogue>If he wins this tilt, he'll face you for the championship.<\/dialogue>\n    <scene_description>THE LISTS A SKINNY HERALD drones on listing the lineage of William's formidable opponent, THOMAS COLVILLE Dreadful, boring stuff. Scanning the crowd, William grips Chaucer's arm.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Geoff -- It is my lady ...<\/dialogue>\n    <scene_description>Chaucer follows William's gaze up, spots Jocelyn.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>Jesu. . . You a-im high, William.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>If there's another way to aim, I don't know it.<\/dialogue>\n    <character>SKINNY HERALD<\/character>\n    <parenthetical>(finishing)<\/parenthetical>\n    <dialogue>Sir Thomas Colville!<\/dialogue>\n    <scene_description>Applause for crimson-clad Colville and the exhaustive listing of lineage. Chaucer gives William a wink. I:<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>Get ready. I have something special in mind ...<\/dialogue>\n    <parenthetical>( steps forward)<\/parenthetical>\n    <dialogue>My lords, my ladies, my gracious. I am the Herald with the best job in the tournament! For I have the privilege, the pride and the pleasure of introducing a knight sired by knights. A knight who<\/dialogue>\n    <scene_description>I I. can trace his lineage back beyond \/i Charlemagne! I met him praying on a mountain top near Jerusalem. Asking God's forgiveness for the Saracen blood on his sword. He amazed me in Italy where he saved a fatherless beauty from the would be ravishings of her uncle. In Greece he spent a year in silence so to better understand the sound of a whisper! (medieval Jimmy Lennon) And so I give you the Seeker of Serenity, Protector of Virginity, Enforcer of the Lord God ... Sir Ulllricccchh von Lichtenstein!<\/scene_description>\n    <character>VIP BOX<\/character>\n    <dialogue>Adhemar looks at Germaine; I never \u00b7had an intro like that.<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>As the crowd cheers, h~ steps back over to William.<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>That got their attention. Now. you win their hearts.<\/dialogue>\n    <scene_description>William nods, but his eyes remain fixed on Jocelyn. The only heart he's interested in.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>Adhemar sits with Jocelyn. They watch William and Sir<\/dialogue>\n    <character>VIP BOX - DAY<\/character>\n    <dialogue>Thomas Colville shatter their lances simultaneously. The impact is awesome. The crowd roars.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Returning to his end. One thing on his mind. To Chaucer:<\/dialogue>\n    <scene_description>\/'~-----, WILLIAM<\/scene_description>\n    <character>\u00b7.,<\/character>\n    <dialogue>I, 1 Was she watching!<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>Did she see me!<\/dialogue>\n    <parenthetical>(glancing up)<\/parenthetical>\n    <dialogue>She sees you ...<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>VIP BOX<\/dialogue>\n    <scene_description>They watch as they hurtle again. Again both lances shatter. The crowd erupts. Adhemar looks back to Jocelyn's brother behind him.<\/scene_description>\n    <character>BROTHER<\/character>\n    <dialogue>Colville has perfect technique. Yet I've never seen him before.<\/dialogue>\n    <character>ADHEMAR<\/character>\n    <dialogue>Nor I, but this Lichtenstein. His technique rudimentary. Style pon- existent. Still, he is fearless.<\/dialogue>\n    <character>JOCELYN<\/character>\n    <dialogue>Fearless. How so?<\/dialogue>\n    <character>BROTHER<\/character>\n    <dialogue>The slit in the helmet visor is narrow, but splinters can penetrate it. Most knights raise their chins at the last instant. You lose sight of your opponent, but you protect your eyes.<\/dialogue>\n    <parenthetical>(re: William)<\/parenthetical>\n    <dialogue>He doesn't. He keeps his eye on the target till the end.<\/dialogue>\n    <character>JOCELYN<\/character>\n    <parenthetical>(aside to maid)<\/parenthetical>\n    <dialogue>As I said. A true hunter ... And you, Count Adhemar? Do you raise your chin at the last? To protect yourself.<\/dialogue>\n    <character>ADHEMAR<\/character>\n    <dialogue>Of course. My style and technique are impeccable. I don't need my eyes at the end. And would prefer to save them so I may look on you.<\/dialogue>\n    <scene_description>A little round of applause from the surrounding nobles in appreciation of this 'gallantry.' LIST BARRIER As Colville and William pass each other on their way back to position one. Colville reins up. He lifts his visor. Beard, mustache. Blood runs from both nostrils.<\/scene_description>\n    <character>COLVILLE<\/character>\n    <dialogue>(breath labored} Sir Ulrich, I'm through. But I've never not finished before. I wish to keep my honor in tact. William smiles, nods he understands.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VIP BOX-\u00b7 DAY<\/stage_direction>\n    <scene_description>The flags are up. It's tied: two points to two. Upon the signal the two knights start toward each other, but with none of the usual fury.<\/scene_description>\n    <character>JOCELYN<\/character>\n    <dialogue>They're slower.<\/dialogue>\n    <scene_description>The lances are lowered from 45\u00b0 to level. But neither William nor Colville try to hit each other. They pass completing the joust. As the match is announced a tie and Colville is helped down heavily from his horse.<\/scene_description>\n    <character>BROTHER<\/character>\n    <dialogue>A draw. And Colville is hurt.<\/dialogue>\n    <scene_description>Colville 1 s HERALD drapes white over Colville's banner.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>Colville withdraws. Ulrich advances. But why didn't Ulrich finish him?<\/dialogue>\n    <character>JOCELYN<\/character>\n    <dialogue>He shows mercy ...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LISTS - DAY<\/stage_direction>\n    <scene_description>William hurries over to where they tend to Colville, pulling off his armor to ease the pressure on his ribs.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Are you alright, Colville?<\/dialogue>\n    <character>COLVILLE<\/character>\n    <dialogue>I'm fine. Thank you.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I'm late to the sword ring. They've called me twice already.<\/dialogue>\n    <character>COLVILLE<\/character>\n    <parenthetical>(calling after them)<\/parenthetical>\n    <dialogue>Good luck, Ulrich ... ! Good God. Someone fetch my surgeon.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SWORD RING - DAY<\/stage_direction>\n    <scene_description>Where a knight with a FLEUR-DE-LIS badge wails away his ten strokes on William. He swings expertly. William blocks well. Still, when it's over FOUR WHITE FLAGS are raised. William goes to his corner (Roland, Wat and Chaucer) examining a dent in the armor by his shoulder.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>That farris did well. I bend but I do not break.<\/dialogue>\n    <character>ROLAND<\/character>\n    <parenthetical>(re: fleur-de-lis)<\/parenthetical>\n    <dialogue>He shuffles left when ,striking. He'll shuffle right blocking. Step into your blows, to his right. He'll lose balance.<\/dialogue>\n    <scene_description>William nods, claps Roland on the shoulder for the advice. He turns, across from fleur-de-lis, awaiting the signal.<\/scene_description>\n    <character>WAT<\/character>\n    <dialogue>Five strokes does it.<\/dialogue>\n    <scene_description>They drop the signal to start. As William steps forward:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ADHEMAR'S PAVILION - DAY<\/stage_direction>\n    <scene_description>His attendants, varlets and squires wait silently, as Adhemar considers a half dozen sets of glistening armor.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>The suit from Seville. For the mobility at the waist.<\/dialogue>\n    <scene_description>As they go about fetching it, Germaine arrives bowing.<\/scene_description>\n    <character>GERMAINE<\/character>\n    <dialogue>I spoke to one of the varlets. Colville could not continue, but Sir Ulrich agreed to a lanceless pass. For Colville's honor.<\/dialogue>\n    <scene_description>I: .J:<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>Interesting. His heart is his strength. And ... His weakness.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WILLIAM IN THE SWORD RING - SUPER SLOW MO<\/stage_direction>\n    <scene_description>\"Sirius\" by the Alan Parsons Project plays. As William moves, whirls and strikes, he becomes something abstract, something beautiful. This is personal expression; this is catharsis; this is substantiation; this is identity. And the flags go up: one, two, three, four,. five and six. Return to speed as the CROWD CHEERS! Wat and Chaucer embrace. Roland steps over to his old friend, grinning.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>You've done it! You're champion!<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Of the sword ...<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>That's why we're standing here, isn't it? Now off to the lists!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LISTS - DAY<\/stage_direction>\n    <scene_description>Adhemar rides into position. In jet black armor on a jet black horse, he looks quite awesome. Across the way, with Roland.standing alongside, William watches.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Count Adhemar. I don't think I've ever seen him lose. You?<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>No. But defeat him and you'll see it firsthand.<\/dialogue>\n    <scene_description>Chaucer steps over with Jocelyn's maid (Christiana) in tqw. She carries a diaphanous scarf sewn with pearls.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>Sir Ulrich, this is Christiana.<\/dialogue>\n    <character>MAID<\/character>\n    <dialogue>My lady Jocelyn bids you wear this token.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Yes, but what is it a token of?<\/dialogue>\n    <character>MAID<\/character>\n    <dialogue>Her appreciation. Of your eyes.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>My eyes?<\/dialogue>\n    <character>MAID<\/character>\n    <dialogue>You keep them on the target.<\/dialogue>\n    <scene_description>As William smiles, takes it from her. COUNT ADHEMAR Mounted. Receives a lance from one of his varlets. He hefts it, casts it to the ground.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>Heavier.<\/dialogue>\n    <scene_description>At once they have another one for him to heft. He nods, satisfied with the weight. With eyes slit toward William:<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>By God and my arm, this Gelder- lander will know he was struck.<\/dialogue>\n    <scene_description>WILLIAM Mounted. Scarf fluttering from the top of his helmet. He looks across at an imposing Adhemar then down at Roland.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>He has no weakness, William, no bad habit to exploit. Just aim it dead center and hang on.<\/dialogue>\n    <scene_description>GERMAINE Stepping up in his finest finery, bowing grandly to the stands. Then, with the utmost self-importance:<\/scene_description>\n    <character>\u00b7GERMAINE<\/character>\n    <dialogue>My lord the Count Adhemar son of Philipe de Vitry, son of Gilles of Champagne. Master of the Free Companies! A .shining example of chivalry and manhood!<\/dialogue>\n    <scene_description>Healthy applause. More for Adhemar's prowess then the stiff introduction. Chaucer passes Germaine, whispers:<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>You're not fit to be herald to a wood chopper.<\/dialogue>\n    <scene_description>....~\"'K ...... The crowd quiets to listen as Chaucer moves down the line .<\/scene_description>\n    <character>\\, '<\/character>\n    <dialogue>\u00b7\u00b7-&lt; CHAUCER<\/dialogue>\n    <scene_description>I cannot look upon my lord for I weep to see his shining face! Sir Ulrich is a gift to your 1 eyes for you shall not see his like upon this earth again. Chaucer dramatically lowers his head. Several moment pass:<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>I would list his lineage if it served to honor him. Most men here look to the past to prove their worth. They look to deeds of their father's. Sir Ulrich has great ancestors, make no mistake. Sir Shilhard von Rechberg, Duke Guelph of Saxony, Wendish fourth Earl of Brunswick. But his great ancestors pale in comparison to him. I don't list them to honor him; I list him to honor .them!<\/dialogue>\n    <scene_description>The crowd loves how clever Chaucer is. We particularly see a recovering Colville enjoying himself. ~ -~~,..<\/scene_description>\n    <character>,.<\/character>\n    <dialogue>As Adhemar glares at Germaine.<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>And so without further gilding the lily. I give you, the Keeper of the Flame of Aragon! First man through the breach at Bethlehem! Seeker of Serenity, Protector of Italian Virginity, Enforrrcerrr of the Lord God ... Sir Ullriccchh von Lichtenstein!<\/dialogue>\n    <scene_description>The crowd goes crazy. Chaucer walks back past William.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>It's up to you now ...<\/dialogue>\n    <character>THE START FLAG<\/character>\n    <dialogue>Suspended for a fluttering instant. As it ripples down:<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Eyes clear and on target, he urges his horse forward. Clods of dirt rip up under its hooves.<\/dialogue>\n    <scene_description>I<\/scene_description>\n    <character>I<\/character>\n    <dialogue>l J \/'--, ADHEMAR I<\/dialogue>\n    <scene_description>'\u2022,,&lt; I One with his horse whose haunches ripple with power.<\/scene_description>\n    <character>JOCELYN<\/character>\n    <dialogue>Holding her breath.<\/dialogue>\n    <character>GRANDSTANDS<\/character>\n    <dialogue>Kate the farris here to see if her handiwork will hold up.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>&amp;<\/dialogue>\n    <scene_description>This shot is why the two-point-four-zero format was invented. Fucking Adhemar hurtling forward from one end of the frame; goddamned William pounding in from the other. And the best dolly grips and camera operator in the world keeping them edged as we hurtle in, T-boning right into ... The point of impact! Both lance are reduced to shards. Roland and Wat cover up under the spray of splinters. William's horse veers hard left under the impact. Adhemar's horse rears back. The reins wrapped around his left hand the only thing keeping-him from tumbling off. The crowd detonates! A collective release of everything that brought them here in the first place.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Roland and Wat arrive. The wind's been knocked out of him.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Ugh -- Can't breathe<\/dialogue>\n    <scene_description>As they loosen the straps on his armor.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>Trying not to scream. Clutching at his left shoulder.<\/dialogue>\n    <character>ADHEMAR<\/character>\n    <dialogue>For pity's sake, ease me ...<\/dialogue>\n    <scene_description>One of the varlets reaches up into the arm pit, pulls back a thin, bloody three inch sliver of lance. That eases him. Adhemar looks back through watering eyes toward William. It's been a long time since he met his match.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>No style whatsoever ... But neither has an anvil.<\/dialogue>\n    <scene_description>WILLIAM Breathing easier, looking back toward Adhemar.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>He hits like a hammer. Amazing.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>But not perfect. He aims high on the chest. Roll back your right shoulder as you strike and his blow may glance to \u00b7your right.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Only if he strikes on the right. If he strikes on the left, I'll be obliterated.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>I didn't say it wasn't a gamble.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LISTS - THE SECOND PASS - DAY<\/stage_direction>\n    <scene_description>Ground \u00b7zero. William commits his lance, twists his right shoulder back. Adhemar's lance glances off William's armor to the left. William's lance breaks! As they gallop past each other ... ADHEMAR Looks down at the lance in his hand. Unbroken. He looks back see a second white flag raised for William to his one. To see William being congratulated by Roland and Wat; Chaucer strutting along the stands like a rooster. Then back to his lance: Unbroken. And it rocks his world ... VIP BOX Her brother looks from William to Jocelyn. She beams.<\/scene_description>\n    <character>BROTHER<\/character>\n    <dialogue>Well, there may be some technique there after all.<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>As they ride back past each other, Adhemar reins up.<\/dialogue>\n    <character>LISTS - DAY<\/character>\n    <scene_description>~ A word with you, Sir Ulrich. 'I<\/scene_description>\n    <character>I WILLIAM<\/character>\n    <dialogue>Certainly, Count Adhemar.<\/dialogue>\n    <scene_description>There is no rancor in William. He considers Adhemar a highly worthy opponent. Adhemar breathes hard.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>I heard of the mercy you showed<\/dialogue>\n    <scene_description>I i to the knight Colville. If the circumstances were similar, could I rely on the same, graciousness? William claps Adhemar on the shOulder, nods. Adhemar watches him go, breath returning to normal, Pulse under 60. I WILLIAM Riding past Wat and Roland, speaking low.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>He's through. The last pass is for show and honor. We've won.<\/dialogue>\n    <scene_description>Wat and Roland clasps hands. THE START FLAG comes down.<\/scene_description>\n    <character>THE LISTS<\/character>\n    <dialogue>Adhernar and William start forward, but under reduced speed, their lances are at 45\u00b0 angles. As they lower them, William holds his dead ahead, never crossing the barrier. As they approach, at nearly the last instant, Adhemar spurs his big black horse. At its burst of speed, Adhemar swings his lance across the barrier. Cheater! The coronel just kisses William's helmet an instant before shattering. The helmet is literally ripped right off his shoulders, his head lucky to stay behind. Roland and Wat rush to William who's barely conscious. The flags go up for Adhernar: two for striking the helm. Adhernar has won 3 strikes to 2!<\/dialogue>\n    <scene_description>so. I---...\\_\\_I Adhemar rides back past, pausing, his horse trampling I Jocelyn's scarf underfoot.<\/scene_description>\n    <character>\u00b7\u00b7&lt; ADHEMAR<\/character>\n    <dialogue>Is he aware?<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>Aware?<\/dialogue>\n    <parenthetical>(rushing forward)<\/parenthetical>\n    <dialogue>I'll fong you in the hole of your arse! Fong you till you're aware of your knees!<\/dialogue>\n    <scene_description>The black horse takes a step back as Wat hits the barrier, starts to scale it to get at Adhemar. Chaucer swoops in from nowhere to restrain Wat in a headlock.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>Pardon, my Lord Adhemar. He isn't right in the.head and losing twists in his bowels.<\/dialogue>\n    <scene_description>Adhemar visibly decides not to kill Wat, abruptly rides away.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <parenthetical>(fierce; to Wat)<\/parenthetical>\n    <dialogue>See to Ulrich.<\/dialogue>\n    <scene_description>Chaucer reaches under the barrier, retrieves the tattered scarf. He looks up into the vip box, but Jocelyn is gone. DISSOLVE TO:<\/scene_description>\n    <character>WILLIAM - IN THE PAVILION<\/character>\n    <dialogue>Sits beaten on a bench, a towel over his head. Hunched over a steaming bowl of herbs set down before him. Wat, Chaucer and Roland stand helplessly nearby.<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>Treacherous lying scum. A true nobleman to be sure.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>The whole of the tournament will know before my lips are through.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <parenthetical>(from under towel)<\/parenthetical>\n    <dialogue>No ... You will tell no one.<\/dialogue>\n    <scene_description>William looks up. His cheeks puffy, both eyes black.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>I am a knight. I take what comes, .good or bad, without complaint. I will not cheapen his victory nor my own defeat with words. Words that won't<\/dialogue>\n    <scene_description>! change the outcome regardless. He says it with finality and sadness. Pulling the towel back over, he lowers his head. Roland whispers to Chaucer:<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>Now he thinks he's a knight.<\/dialogue>\n    <scene_description>Chaucer looks at William. After a beat:<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>He is ...<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>Where prizes are being given out in order of prestige.<\/dialogue>\n    <character>ROUEN LISTS - DAY<\/character>\n    <dialogue>MASTER OF ARMS<\/dialogue>\n    <scene_description>For long spear on foot: Pandolf Malatesta!. PANDOLF receives a small gold helmet.<\/scene_description>\n    <character>MASTER OF ARMS<\/character>\n    <dialogue>For halberd on foot: Folgore di San Gimignano.<\/dialogue>\n    <scene_description>FOLGORE receives a medium gold helmet, stands by Pandolf.<\/scene_description>\n    <character>MASTER OF ARMS<\/character>\n    <dialogue>For sword on foot: Ulrich von Lichtenstein!<\/dialogue>\n    <scene_description>A big increase in applause as William steps up. He's given a large gold helmet. As he receives it, he scans the crowd, does not see who he's looking for. Jocelyn ...<\/scene_description>\n    <character>MASTER OF ARMS<\/character>\n    <dialogue>And finally, for the mounted joust and tournament champion. Adhemar, Count of Anjou!<\/dialogue>\n    <scene_description>The same applause as William got. Adhemar receives an extra-large gold helmet with a jewel-encrusted, gold peacock feather on top. He stands alongside William smiling as though nothing wrong happened. The crowd stomps its feet, cheers as the four champions take a bow. Smiling at the crowd, William asides:<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>The next time I face you, Adhemar, you will look up at me from the flat of your back.<\/dialogue>\n    <character>ADHEMAR<\/character>\n    <dialogue>Please ...<\/dialogue>\n    <parenthetical>(dismissive)<\/parenthetical>\n    <dialogue>You have been weighed, you have been measured, and you have been found wanting.<\/dialogue>\n    <scene_description>Adhemar strides away, leaving William in a foul, prideful mood. He steps over where's he's congratulated by a very pleased trio of Chaucer, Roland and Wat.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>Keep winning the sword and we'll be rich.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I won't compete in the sword again!<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>But it's your best event.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Exactly. I will concentrate on the joust. I will be tournament champion or nothing at all!<\/dialogue>\n    <character>CUT<\/character>\n    <dialogue>INT.<\/dialogue>\n    <character>TO:<\/character>\n    <dialogue>PAVILION - DAY<\/dialogue>\n    <scene_description>William, Roland, Wat and Chaucer stand across from the summoner and pardoner. Kate waits to one side. Holding the gold helmet under his arm, William wrenches at the helmet's visor, finally tears it loose.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Ten florins. That should do.<\/dialogue>\n    <scene_description>William tosses it to the summoner who looks it over, nods.<\/scene_description>\n    <character>SUMMONER<\/character>\n    <dialogue>It's sixes and sevens tonight, Chaucer. Do you feel lucky?<\/dialogue>\n    <character>PARDONER<\/character>\n    <dialogue>Do you wear enough clothes?<\/dialogue>\n    <scene_description>,<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction> 53 .<\/stage_direction>\n    <scene_description>(r~ CHAUCER \\ , Begone. I'm through with you. ' \u00b7\u00b7&lt; Except to exact my revenge. PARDONER What could you possibly do to us?<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>I'll eviscerate you in fiction. Every last pimple, every last flaw of character. You two will be 'naked' for eternity.<\/dialogue>\n    <scene_description>Laughing at the absurdity, the pardoner and summoner move off. William hands the rest of the helmet to Kate.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Here. Take what we owe you.<\/dialogue>\n    <scene_description>Kate has metal shears, is about to cut up the helmet when:<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>The armor you wear, it was not made for you.<\/dialogue>\n    <scene_description>Is she suspicious of them. They exchange looks.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>So what of it?<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>I could make such armor, you wouldn't even know you wore it.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>How much would that cost me?<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Take me with you. Make me part of this.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Part of what? We are nothing, farris. Take your gold and go.<\/dialogue>\n    <scene_description>Pissed, Kate chops off a piece, tosses the helmet back at him and stomps off. William's in a foul mood; no one wants to make it worse. He gives the tattered helmet to Roland.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Get what you can. The rest of us will pack camp.<\/dialogue>\n    <scene_description>&lt; Pack camp?<\/scene_description>\n    <character>WAT<\/character>\n    <dialogue>Why, William?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>We're leaving. The tournament at Lagni-sur-Marne starts in a week. Leave now and we can walk most. of the way and save the horse.<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>What about the banquet tonight? The dance? You won the sword. You have to make an appearance.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>So Adhemar can have another laugh? I think not!<\/dialogue>\n    <scene_description>Roland is suddenly clearing his throat, gesturing as Jocelyn's maid (Christiana) stands at the pavilion entrance. As they all smile at her, she addresses Roland.<\/scene_description>\n    <character>CHRISTIANA<\/character>\n    <dialogue>My lady would know the color of your lord's tunic tonight?<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>His tunic?<\/dialogue>\n    <scene_description>e CHRISTIANA Yes. So that my lady may dress to match him.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>We regret to inform your lady that we won't be attending the<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Herald. Do not answer questions you don't know the answer to.<\/dialogue>\n    <parenthetical>(to Roland)<\/parenthetical>\n    <dialogue>Squire, answer her. What, ah, color is my tunic tonight?<\/dialogue>\n    <scene_description>Roland looks about, spots the green of the pavilion tent.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>Green.<\/dialogue>\n    <parenthetical>(spots black edging)<\/parenthetical>\n    <dialogue>Green with black trim.<\/dialogue>\n    <scene_description>Christiana curtsies, smiles at Roland and starts off. As Roland watches after her, interest growing ...<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Och ... This is a disaster.<\/dialogue>\n    <scene_description>Roland feels the cloth side of the pavilion fabric.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>No, William, i t ' l l tunic up very nicely. Wat, your dagger.<\/dialogue>\n    <character>I'<\/character>\n    <dialogue>WILLIAM<\/dialogue>\n    <scene_description>No, that's not the disaster. I i\" i<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>(as they all stare} I don't know how to dance! STABLES - SUNSET<\/dialogue>\n    <scene_description>CUT TO: Where dance-master Geoff Chaucer, pounding a beat on the floor with the end of a stick, walks William, Roland, Wat and the horses through the steps of an elaborate courtly dance They smash into each other, walk into the rear ends of the horses. It's hilarious.<\/scene_description>\n    <character>STABLE DOOR<\/character>\n    <dialogue>Kate enters carrying a heavy load of new horseshoes. She spots dance class, moves quietly for a closer look.<\/dialogue>\n    <scene_description>I ~ .,... -:<\/scene_description>\n    <character>..........<\/character>\n    <dialogue>As Chaucer and Roland separate, William and Wat step in between them, take each other's hands and start to twirl .<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>No, Wat doesn't lead! He follows!<\/dialogue>\n    <scene_description>Kate bursts out LAUGEING. They all stare at her for a moment, but it takes awhile for her to stop.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>And you can do better?<\/dialogue>\n    <character>INT. STABLE<\/character>\n    <dialogue>Chaucer dances with Kate, Wat with William.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>And on the up-beat.<\/dialogue>\n    <scene_description>They switch. Kate dancing with William, Wat with Chaucer:<\/scene_description>\n    <character>WAT<\/character>\n    <dialogue>In fact, she does much better than you, Master Mumblemouth.<\/dialogue>\n    <scene_description>Off to the side, Roland sews. William's green tunic with black trim is almost done. ,,.,r&gt; ......, EXT. ROUEN STREET - NIGHT ( \\ '\u2022-&lt; Wat, Roland, Chaucer and Kate walk William to the banquet.<\/scene_description>\n    <character>WAT<\/character>\n    <dialogue>Remember not to belch, William.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>And don't pick your teeth with your knife.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>And don't wipe your hands on the tablecloth or your tunic.<\/dialogue>\n    <scene_description>1il<\/scene_description>\n    <character>WAT<\/character>\n    <dialogue>You can't do that either?<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>No. And you eat in pairs, sharing the wine cup. You must wipe the edge clean after each sip. And put the meat scraps in the voider, not back on the serving dish.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Right, right, got it.<\/dialogue>\n    <scene_description>~\u00b7:<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Here. Hold still.<\/dialogue>\n    <scene_description>They stop by the entrance. Kate, some goop in the palm of her hand, wipes a thumb of it under each of William's eyes.\u00b7 Both of his black eyes essentially disappear.<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>There. You're perfect.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>If only it could loosen my tongue. Geoff, give me an opening line. For Jocelyn.<\/dialogue>\n    <scene_description>Chaucer thinks, whispers something low to William. William smiles, nods, then looks to them all.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Well ... Wish me weil.<\/dialogue>\n    <scene_description>They all do, watching like proud parents sending their son off to the prom as William heads in. Finally:<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>I'll drink any man here under the table.<\/dialogue>\n    <scene_description>It sounds good to them.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>Let's get piss-eyed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUILD HALL - DAY<\/stage_direction>\n    <scene_description>William is met at the door by a PAGE. The page walks William in past pyramids of exotic fruit, trays of . elaborately prepared and colored illusion foods, fountains bubbling up red and white wine. There's something sexual about it all. Then the long elaborate series of tables. William spots Jocelyn seated at one end. \"Above the salt\" as it were. He unhappily is being led to the opposite end. But they keep going, around the far end and then back behind the table, back toward the way they came. Finally, William finds himself being seated right beside Jocelyn. She wears a dress of green cendal silk trimmed in black samite. This is the one they show in the best costume design ads in the trades. William can't believe his eyes.<\/scene_description>\n    <character>JOCELYN<\/character>\n    <dialogue>Sir Ulrich. You look well.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Jocelyn... You look... You, um, remind me of the Bible.<\/dialogue>\n    <scene_description>That gets the attention of all the women sitting nearby.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <parenthetical>(unsure.)<\/parenthetical>\n    <dialogue>When God stopped the sun in the sky at Gibeon to give Joshua more time to defeat the Amorites.<\/dialogue>\n    <scene_description>The hell's he talking about? Is this what Chaucer told him?<\/scene_description>\n    <character>JOCELYN<\/character>\n    <dialogue>I don't understand.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>If I could ask God for a favor, it would be to stop the moon. To stop the moon and make this night and your beauty last forever.<\/dialogue>\n    <scene_description>Oohs and ahhs from the other women. Jocelyn melts a little before our eyes. And then Count Adhemar is here, being shown to the seat on the other side of Jocelyn. \/~<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>Lady Jocelyn, what fortune to be<\/dialogue>\n    <scene_description>'\u2022&lt; seated beside you.<\/scene_description>\n    <character>JOCELYN<\/character>\n    <dialogue>Count Adhemar, do you know, Sir Ulrich?<\/dialogue>\n    <character>ADHEMAR<\/character>\n    <parenthetical>(a perfect gentlemen)<\/parenthetical>\n    <dialogue>Yes, we met in the lists. Congratulations on your vi\\_ctory with the sword.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <parenthetical>(perfect as well)<\/parenthetical>\n    <dialogue>And on yours in the joust.<\/dialogue>\n    <scene_description>Enough of that. Adhemar looks Jocelyn up and down.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>You look ...<\/dialogue>\n    <scene_description>Adhemar is unaware, but anticipation is high all around.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>e Great.<\/dialogue>\n    <scene_description>He may as well have shit himself. full attention to William. As Jocelyn turns her<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>Blackbirds take wing from steaming pies. Mounted servitors<\/dialogue>\n    <character>GUILD HALL - NIGHT<\/character>\n    <dialogue>bring platters to the table on horseback. Serving the cockatrice: the uppers of a baked chicken sewn to the nethers of a roast pig. Jocelyn takes a cup of wine, drinks. She wipes where her lips were and sets it down on the table. William follows suit. Something amazingly charged about it. And then a MONK is there. In fact, several. They go from table to table. Some bear large wooden platters bearing scraps of food, others small wooden bowls for coins. Mostly silver or copper. It's a banquet tradition.<\/dialogue>\n    <character>MONK<\/character>\n    <dialogue>For the poor gathered outside. For the poor.<\/dialogue>\n    <scene_description>Most people scrape a few of the scraps on their plates onto the platters; several drop a few coins in the bowl. (,,---.....,,. William is the most generous by far, three gold florins. \\ ---,. i ADHEMAR Well, they won't be poor anymore when Ulrich is through emptying his pockets.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>No, there will always be poverty, Adhemar. It's the one possession the poor have that no one would envy or take from them.<\/dialogue>\n    <scene_description>An odd answer for a noble. No one quite knows what to think. Jocelyn is inspired to take off a gold bracelet, drop that in the bowl as well. She says sincerely:<\/scene_description>\n    <character>JOCELYN<\/character>\n    <dialogue>You're wrong, Sir Ulrich, the poor have something that I envy greatly. They can marry for love while we cannot.<\/dialogue>\n    <scene_description>Adhemar makes a show of dropping not one, two or three, but four gold florins into the bowl.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>Marry for money, lady, and the love will follow.<\/dialogue>\n    <scene_description>Laughs all around. This is more the frothy banter everyone appreciates. And then: PIPE &amp; TABOR MUSIC. It's time to boogie'. As the nobles and knights and ladies rise: ..<\/scene_description>\n    <character>DANCE FLOOR<\/character>\n    <dialogue>Several people cry out to the DANCE MASTER which dance to play. Suddenly, Adhemar steps forward.<\/dialogue>\n    <character>ADHEMAR<\/character>\n    <dialogue>Sir Ulrich. Give of us a dance of your country. Give us a dance of Gelderland.<\/dialogue>\n    <scene_description>Horrified, William tries to beg off, but the crowd loves the idea, insists that he show them. Nowhere to hide.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>It's like a galliard, but ... with some differences.<\/dialogue>\n    <scene_description>The dance master nods, strikes up the band. William does a few of the steps he learned in the barn, then adds an odd spin, a hop, a hand clap to one side, then to the other. Count Adhemar was hoping to embarrass him, but it's got an interesting rhythm to it. Jocelyn steps out with William, partners with him on the moves. Then it gets weird ... The music morphs from 13th Century flute into 20th Century electric guitar. The pipe &amp; tabor band sound like K.C. &amp; the Sunshine Band. And because of a very talented choreographer, the steps seem to match in both centuries.<\/scene_description>\n    <character>K.C.<\/character>\n    <dialogue>... and do the things that we like to do. Do a little dance, make a little love, get down tonight ...<\/dialogue>\n    <scene_description>Soon the whole joint is jumping. Only Adhemar is not dancing. He watches after William and Jocelyn a moment. As we move in on him, we get inside his head. For him, the bottom drops out of the music. It's discordant, arrhythmic. Finally, Adhemar turns and heads out. As the music returns:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. REAR OF THE GUILD HALL - NIGHT<\/stage_direction>\n    <scene_description>The music drifts out behind him as Adhemar exits. Maybe 250 people have gathered back here in the courtyard. The fabled 'POOR' everyone have been talking about. Only now they have faces; now they are people. GUILD HALL GUARDS keep order as the monks prepare to pass out the food and money. It's very quiet. The head of the order looks over at Adhemar.<\/scene_description>\n    <character>HEAD MONK<\/character>\n    <dialogue>You're not dancing, lord?<\/dialogue>\n    <character>ADHEMAR<\/character>\n    <dialogue>I don't enjoy or understand music. It sounds like children fighting to me. A physician said I was deaf to the tones. Blind to the color of the instruments.<\/dialogue>\n    <character>HEAD MONK<\/character>\n    <dialogue>Some say music is a sin ... I enjoy it.<\/dialogue>\n    <character>ADHEMAR<\/character>\n    <dialogue>Then we're an odd pair, sir monk. For I enjoy helping the poor.<\/dialogue>\n    <parenthetical>(re: food platters)<\/parenthetical>\n    <dialogue>May I?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUILD HALL - NIGHT<\/stage_direction>\n    <scene_description>Where the dancing is in full swing. William still partnered with Jocelyn. He holds her hands, moves around the floor with her. As the music ends, it feels very intimate between them. They may as well be alone.<\/scene_description>\n    <character>JOCELYN<\/character>\n    <dialogue>The drummers are very good.<\/dialogue>\n    <scene_description>She reaches out, presses her palm to William's chest, feels his heartbeat.<\/scene_description>\n    <character>JOCELYN<\/character>\n    <dialogue>They pound away like mad men.<\/dialogue>\n    <scene_description>William gently turns Jocelyn's hand, feels the pulse on her wrist with his fingertips.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>But they know to play softly as well ...<\/dialogue>\n    <scene_description>There's something wholly sexy about it. As music resumes:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GUILD HALL - DAY<\/stage_direction>\n    <scene_description>Adhemar has the platter up on the rail. He looks down on those gathered just below.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>Your empty bellies sent you! So fill them!<\/dialogue>\n    <scene_description>Adhemar flings a handful of food scraps into the crowd. Some-people\u00b7 are hungry enough to scramble after them. Some are confused by this act of contempt. Others are angered. Laughing, Adhemar flings another handful, then dumps the platter into the dirt below.<\/scene_description>\n    <character>HEAD MONK<\/character>\n    <dialogue>Lord, what do you do?!<\/dialogue>\n    <scene_description>Adhemar shoves him away, grabs the bowl of coins. He runs his hands through them, sifting them for everyone to see.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>Is this what you want?! Is this why you're here?!<\/dialogue>\n    <scene_description>The crowd shouts for the money. The few guild guards here look at each other nervously. Adhemar retrieves his own four florins, pockets them. Then, holds a single florin up for everyone to see\u00b7. He throws it into the crowd. Several surge to that spot. A scratching scramble before one man comes up with it. The anger is being replaced by want. People in the crowd cry out for Adhemar to toss out more. He makes several false throws, moving them about like a puppet master. The crowd feels dangerous. An empty gleam in Adhemar's eyes, as he whips out a handful of coins to one end of the . courtyard, then another. The people dash for it. The ones that fall are trampled. As the screams go up ...<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>There. That sounds better.<\/dialogue>\n    <scene_description>Adhemar flings the entire bowl glittering up into the air.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUILD HALL - NIGHT<\/stage_direction>\n    <scene_description>As the screams take over the music. William stops short to listen a beat. Then, he's dashing out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GUILD HALL - NIGHT<\/stage_direction>\n    <scene_description>As Adhemar enjoys the sight, William rushes out. William jumps down to vainly try to stop the panic and disaster going on. Over the cries and screams, we PAN UP to heaven. No one's listening up there tonight. As the sounds fade ... THE BOY WILLIAM At twilight. He slings two big bundles of straw over his shoulder, starts up the ladder of a half-constructed BARN. Halfway up the ladder, he turns at the drum of hoofbeats. Beyond, riding down from a CASTLE is the LOCAL LORD. He's followed by a HENCHMAN carrying a torch. They rein up.<\/scene_description>\n    <character>LOCAL LORD<\/character>\n    <dialogue>Boy! Fetch the thatcher!<\/dialogue>\n    <scene_description>Young William continues up, slowed by his load.<\/scene_description>\n    <character>LOCAL LORD<\/character>\n    <dialogue>Move, boy!<\/dialogue>\n    <scene_description>A strong hand grabs the boy's shoulder and hauls him firmly up to the roof. William's father. Imposing, he stands at roof's edge, looking down at the local lord. (~ \\ ,' I am the thatcher.<\/scene_description>\n    <character>'\u00b7\u0080\ufffd\u00b7~~\\~<\/character>\n    <dialogue>LOCAL LORD<\/dialogue>\n    <scene_description>The sun sets. Why aren't you finished?! We see the roof behind him, about 3\/4s thatched.<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>It will be finished tomorrow noon, lord.<\/dialogue>\n    <parenthetical>(looks up; shrugs)<\/parenthetical>\n    <dialogue>There is no rain in the sky.<\/dialogue>\n    <character>LOCAL LORD<\/character>\n    <dialogue>Don't look to the sky, thatcher. Look to my roof. It will be finished tonight o~ I won't pay .<\/dialogue>\n    <scene_description>. A beat as William's father, a proud man, stares. Finally:<\/scene_description>\n    <character>THATCHER<\/character>\n    <dialogue>Tonight. Yes.<\/dialogue>\n    <scene_description>The local lord heads off with a snort. William's father unslings the straw from his son's shoulders. He falls to, thatching on hand and knee. William notices something on his own shoulder. Where he was hauled up. BLOOD.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Father.<\/dialogue>\n    <scene_description>William crouches down, turns his father's hands. The palms are cut, bloody from the long day. His father smiles.<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>It won't kill me, William.<\/dialogue>\n    <scene_description>He goes back to work. William watching, in love with him.<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>Don't watch me, boy. I won't have you learn to thatch.<\/dialogue>\n    <scene_description>William leans back, looks up into the sky. As the light fades the stars have begun to burn through.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Father, look. The stars.<\/dialogue>\n    <scene_description>His father turns, looks up to the twinkling stars. Then looks to his son. He's just as in love. (,,.,......\\_,, FATHER I \\ ! l Change them, William. Change '\u2022\u00b7--~ yours. As young William smiles at the thought. We hear more drumming of hooves. But these are much heavier, and: CUT TO: l I<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>LISTS - DAY<\/dialogue>\n    <scene_description>A new fierce urgency about him, William's lance shatters. SUPER: Tournament grounds. Lagni-sur-Marne. Having defeated another knight, he rides back toward Roland and Wat. The horse stumbles, comes up lame. William dismounts as Wat takes a foreleg, checks the hoof.<\/scene_description>\n    <character>WAT<\/character>\n    <dialogue>He won't last another run.<\/dialogue>\n    <scene_description>William pats the horse on the side of the neck.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>The plow for you, old chops.<\/dialogue>\n    <parenthetical>(to Roland)<\/parenthetical>\n    <dialogue>How much money do we have left?<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>Not enough for a good horse. And we've ten minutes to find one.<\/dialogue>\n    <scene_description>As they all think, Chaucer steps up.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>Is there a problem?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>STABLES - DAY<\/dialogue>\n    <scene_description>Like a used car lot. WAR HORSES are lined up. Prospective buyers check hooves, teeth, etc ... The PROPRIETOR finishes haggling with one group, turns to Chaucer.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>My lord would buy a horse.<\/dialogue>\n    <scene_description>Chaucer points back to where William stands an \"I don't haggle\" distance away.<\/scene_description>\n    <character>PROPRIETOR<\/character>\n    <dialogue>Gertainly. I've a very nice animal right here.<\/dialogue>\n    <scene_description>They take a few steps over to a big BROWN GELDING.<\/scene_description>\n    <character>PROPRIETOR<\/character>\n    <dialogue>Several have been champion on his back. Twenty-five florins.<\/dialogue>\n    <scene_description>As William looks him over.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>I'll have to take him for a ride. Perhaps around this square of buildings here.<\/dialogue>\n    <character>PROPRIETOR<\/character>\n    <dialogue>Of course. Be my guest.<\/dialogue>\n    <scene_description>William hops up, guides the gelding out, barely riding past a walk. Chaucer and the proprietor watch him go.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>Twenty-five seems a nice price.<\/dialogue>\n    <scene_description>The proprietor smiles as William disappears ... AROUND THE CORNER The instant he's out of sight, William digs his heels in and takes off. Galloping hard down the street. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LISTS - LAGNI-SUR-MARNE - DAY<\/stage_direction>\n    <scene_description>William rides it to the starting position. Wat and Roland smile at the impatient looking .MASTER-Of-ARMS. William's opponent waits at the end of the list astride a magnificent looking CHESTNUT with a white face.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Look at that horse .<\/dialogue>\n    <character>. ROLAND<\/character>\n    <dialogue>Knock him off. It will be ours and our worries will be over.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Who's the knight?<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>Piers Courtenay.<\/dialogue>\n    <parenthetical>(winks at Wat)<\/parenthetical>\n    <dialogue>Raised the taxes on his land three times in the last year to raise money for tournament.<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>His people starve while he sits at banquet.<\/dialogue>\n    <scene_description>Furious, William drops his visor, takes his lance from Wat.<\/scene_description>\n    <character>WAT<\/character>\n    <parenthetical>(low; to Roland)<\/parenthetical>\n    <dialogue>It's probably true.<\/dialogue>\n    <scene_description>As they move off to position, the start flag comes down. William flies down the list. Lowering the lance, leaning into it. SMASH! As Courtenay is violently removed from the back of his horse. ~<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STABLES - DAY<\/stage_direction>\n    <scene_description>Chaucer and the Proprietor watch as William trots the gelding back around the corner. As he hops down ...<\/scene_description>\n    <character>PROPRIETOR<\/character>\n    <dialogue>Well?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Not interested. He pulls to the left.<\/dialogue>\n    <scene_description>William and Chaucer head off. As the proprietor looks suspiciously at the foam on the gelding's neck.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FORGE - DAY<\/stage_direction>\n    <scene_description>Sparks fly as Kate makes a suit of armor: sturdy, light, with just enough ornamental fluting to make.it beautiful. Kate engraves her trademark on a shoulder piece. It will look amazingly like the Puma logo if New Regency produces. WILLIAM Wearing the armor. It gleams. He looks more like a knight in it then any knight we've seen. Kate adjust the straps, measures. He pivots at the waist, moves from side-to-side.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Kate, it's amazing.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>What did you expect it to be?<\/dialogue>\n    <scene_description>,,--\"; Roland looks at Kate's marks ' , \\ ,<\/scene_description>\n    <character>-&lt;\\_ ROLAND<\/character>\n    <dialogue>What are these marks?<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>The marks of my trade. Should another knight admire the armor.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>LISTS - LAGNI-SUR-MARNE - DAY<\/dialogue>\n    <scene_description>William, Chaucer, Wat and Roland in the stands. Spectators as Germaine announces Adhemar in the lists below.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>Watch his hands. There's something there to.exploit.<\/dialogue>\n    <scene_description>As Adhemar's opponent is announced.<\/scene_description>\n    <character>SKINNY HERALD<\/character>\n    <dialogue>... Sir Thomas Colville!<\/dialogue>\n    <scene_description>Crimson Colville, the knight William showed mercy in Rouen.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Colville looks fit again. He'll give Adhemar a go of it.<\/dialogue>\n    <scene_description>The start flag is raised. It'll drop any moment when, suddenly, below: Germaine rushes forward waving Adhemar's banner. He speaks a moment to the master-of-arms. Suddenly, three white flags go up on Colville's side.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Adhemar has withdrawn.<\/dialogue>\n    <scene_description>Adhemar salutes Colville with his lance, then turns and rides away. Remarkable.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>A withdrawal like that can only mean one thing.<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>Royalty ...<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>You face him next, William. I'll see what I can find out.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LISTS - DAY<\/stage_direction>\n    <scene_description>Lance in hand, William sits on his beautiful chestnut in shining new armor. Wat and Roland stand by. At the other end Colville arrives. Chaucer rushes up, breathless.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>I found out who Colville is.<\/dialogue>\n    <scene_description>Edward, the Black Prince of Wales, heir to England's throne.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Jesu ... He disguised himself so he could compete.<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>He has never met the enemy without victory, never attacked a town he did not take; he is feared as another Hector by Pagans and Christians alike<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>\u00b7 We're English, Geoff; we know<\/dialogue>\n    <scene_description>who he is!<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>You must withdraw, Will.<\/dialogue>\n    <scene_description>William nods, looks to Chaucer.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Make it brief.<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>Sir Ulrich van Lichtenstein!<\/dialogue>\n    <scene_description>Colville is in position. So is William. We move in on William's face. The word pride stamped on his forehead. The white flag is raised. Chaucer starts forward with the banner to withdraw. William spurs his horse. He's going! The banner drops. Colville goes. CLOSE ON WILLIAM The whole run. Grit, determination and never surrender etched. As the lances shatter ... LISTS Both knights wheel around to go return to the starting position. As William arrives:<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>Are you mad?! You knowingly endanger a member of the royal family!<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>He knowingly endangers himself!<\/dialogue>\n    <scene_description>Wat hands him a new lance. He wheels to position. The flag comes up, goes down. WILLIAM &amp; COLVILLE As both their lances shatter again. CHAUCER, ROLAND &amp; WAT Watching.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>We'll say William didn't know.<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>But the Prince of Wales own herald told me.<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>We'll say you didn't tell us.<\/dialogue>\n    <scene_description>WILLIAM &amp; COLVILLE Meeting for the third time. Both lances shattering for the third time. They're both credited with three white flags.<\/scene_description>\n    <character>MASTER OF ARMS<\/character>\n    <dialogue>The match is a draw!<\/dialogue>\n    <scene_description>The Black Prince (Colville) rides over across from William.<\/scene_description>\n    <character>THE BLACK PRINCE (COLVILLE)<\/character>\n    <dialogue>Well fought as it was in Rauen, Sir Ulrich.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>And you as well, Prince Edward.<\/dialogue>\n    <scene_description>The Black Prince lifts his visor, looks at Will.<\/scene_description>\n    <character>THE BLACK PRINCE<\/character>\n    <dialogue>The word is out then?<\/dialogue>\n    <parenthetical>(William nods)<\/parenthetical>\n    <dialogue>Fie! There'll be no more sport for me. Till I dream up a new identity. Just as well ...<\/dialogue>\n    <scene_description>The Black Prince pulls off the false beard he wears.<\/scene_description>\n    <character>THE BLACK PRINCE<\/character>\n    <dialogue>It itched like the devil.<\/dialogue>\n    <scene_description>(as William smiles) . You knew me and still you rode?<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>It's not in me to withdraw.<\/dialogue>\n    <character>THE BLACK PRINCE<\/character>\n    <dialogue>Nor me. Though it happens.<\/dialogue>\n    <scene_description>The Black Prince salutes William, turns and rides away.<\/scene_description>\n    <character>CUT TO:<\/character>\n    <dialogue>A 3-FOOT LONG GOLDEN LANCE<\/dialogue>\n    <dialogue>Being presented to William.<\/dialogue>\n    <scene_description>C LOCAL EARL The winner of the mounted joust and tournament champion: Ulrich von Lichtenstein! William holds the trophy up over head to cheers of the \u00b7crowd. MOVE WITH him as he walks off into the wings. He tosses the lance grimly to the waiting Roland who stands with Kate and Wat.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Here. Melt it down. Sell it. Do whatever you do.<\/dialogue>\n    <character>ROLAND<\/character>\n    <parenthetical>(sarcastic)<\/parenthetical>\n    <dialogue>Yes, your majesty.<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>You're champion, William.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I'm not champion till I defeat Adhemar! And Adhemar withdrew!<\/dialogue>\n    <scene_description>Chaucer arrives, ever the source of news. \/,,.,..\\ CHAUCER J I have word. Adhemar was called \\\\_'\"&lt; i back to the Free Companies. The Black Prince commanded it. He may be gone for the rest of the season. William takes the news hard. Eyes smoldering, he strides away. As they all follow after him, the music comes up. 11 Gimme Some Lovin 111 by the Spencer Davis Group. CUT TO:<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>TOURNAMENT GROUNDS - DAY<\/dialogue>\n    <scene_description>Three quick shots of William riding from three different directions as he breaks three different lances on three different knights SUPER: Bordeaux.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>BANQUET HALL - DAY<\/dialogue>\n    <scene_description>William stands across from the LOCAL DUKE who holds a jewel-encrusted GOLDEN BOAR TUSK.<\/scene_description>\n    <character>LOCAL DUKE<\/character>\n    <dialogue>The winner of the mounted joust and tournament champion: Ulrich von Lichtenstein!<\/dialogue>\n    <scene_description>William nods glumly to the cheers, then starts to walk off.<\/scene_description>\n    <character>LOCAL DUKE<\/character>\n    <dialogue>Sir Ulrich!. Your prize.<\/dialogue>\n    <scene_description>William looks back. He forgot the boar's tusk. As he goes back to get it, Wat and Roland exchange a concerned look. CUT TO:<\/scene_description>\n    <character>A KNIGHT<\/character>\n    <dialogue>As William's lance nearly takes his head off. The knight tumbles off the back of his horse, unconscious.<\/dialogue>\n    <dialogue>INSERT: Venice.<\/dialogue>\n    <dialogue>Riding back, William scans the appreciate crowd in the stands. Watching him, Roland turns to Chaucer.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>Still he looks for Adhemar.<\/dialogue>\n    <scene_description>I,--.\\_\\ CHAUCER i. He's looking for someone, but \u00b7(\\_ it's not Adhemar.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>Jocelyn ...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>STOCKS - DAY<\/dialogue>\n    <scene_description>As a rotten zucchini is flung into the face of a KNIGHT IN THE STOCKS. You may recognize him as Roger lord Mortimer, one of the knights William defeated at Rouen. Mortimer's face is swollen from the beating he's taken in the stocks. Not to mention, his pride broken. INSERT: Prague. William, Wat, Roland, Chaucer and Kate watch from a distance.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>His patents of nobility were questioned. Everything was as he claimed except a third generation on his mother's side was false. And so, stocks and humiliation.<\/dialogue>\n    <scene_description>Sobering news indeed. AS they consider the implications:<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>I wonder how my father would've felt if he could have heard me introduced as another man's son.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>He would've been proud, William. Proud of what you've done.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>As the crowd chants his name: Ulrich! Ulrich! Roland<\/dialogue>\n    <character>LISTS - PRAGUE - DAY<\/character>\n    <dialogue>looks to Wat, amazed. The legend grows. Across from them, William's opponent, a knight with a GRYPHON BADGE, looks to his identically badged HERALD. Holy cow! It's Eustace: Sir Ector's herald from Flanders!<\/dialogue>\n    <character>GRYPHON KNIGHT<\/character>\n    <dialogue>Good God ... Who is this knight?<\/dialogue>\n    <scene_description>Eustace shrugs. But then as he looks closer. Recognition! CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK ALLEY - PRAGUE - DAY<\/stage_direction>\n    <scene_description>Where Wat and Roland complete fencing off another prize. The golden statue of a knight. As they count their sizable amount of gold coins.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>William! Wat! My long lost companions!<\/dialogue>\n    <scene_description>They look up, see Eustace standing there. This isn't good.<\/scene_description>\n    <character>EUSTACE<\/character>\n    <dialogue>How goes it with you?<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>We're well, Eustace. And you?<\/dialogue>\n    <character>EUSTACE<\/character>\n    <dialogue>Oh, very, very well. And William? How goes it with William? Or should I say Lord Ulrich.<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>Say a word and you're dead.<\/dialogue>\n    <character>EUSTACE<\/character>\n    <dialogue>For all your talk, Wat, murder was never in you.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>EUSTACE<\/character>\n    <dialogue>My five florins are long spent. I miss them. I've missed you. I want back in the partnership.<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>Go hang yourself.<\/dialogue>\n    <character>EUSTACE<\/character>\n    <dialogue>If that's how you feel.;. Look for your Lord Ulrich tomorrow. In the stocks.<\/dialogue>\n    <scene_description>Eustace starts away. Roland cuts him off.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>Alright, damn your eyes. What do you want?<\/dialogue>\n    <character>EUSTACE<\/character>\n    <dialogue>My entitlement. One quarter of all winnings from here in.<\/dialogue>\n    <parenthetical>(re: coins)<\/parenthetical>\n    <dialogue>You can start with that lot. To make up for prizes I've missed.<\/dialogue>\n    <scene_description>Exchanging a glance with Wat, Roland holds out the coins. As Eustace cups his hands to receive them, Roland drops them on the ground. Eustace just laughs.<\/scene_description>\n    <character>EUSTACE<\/character>\n    <dialogue>It makes no matter how I get it. So long as I do get it.<\/dialogue>\n    <scene_description>As Eustace bends down to pick up the coins, Wat clubs him over the top of the head. As Eustace drops out cold ... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VLTAVA RIVER - PRAGUE - NIGHT<\/stage_direction>\n    <scene_description>Roland and Wat hand gold to a CAPTAIN of a ship loaded with cargo including PILGRIMS. A long bundle rests nearby.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>It's the strangest vow any pilgrim has ever taken. To not move or speak again until he reaches Jerusalem.<\/dialogue>\n    <scene_description>The Captain looks from Roland, to the gold, then down at the bundle. EUSTACE: bound, gagged and unconscious. He motion to TWO of his CREW. As they load Eustace aboard:<\/scene_description>\n    <character>CAPTAIN<\/character>\n    <dialogue>Jerusalem it is.<\/dialogue>\n    <scene_description>The captain boards as well. As they throw the lines.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>No need to worry Ulrich with this.<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>None at all.<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STABLES - DAY<\/stage_direction>\n    <scene_description>Kate shoes horses. They now have four. Roland embroiders a new phoenix badge. Wat polishes the armor. Chaucer, meanwhile, is at work writing notes. Everyone content.<\/scene_description>\n    <character>WAT<\/character>\n    <dialogue>What do you scribble, Geoff? A list of your debts?<\/dialogue>\n    <scene_description>r\"'\u2022.., ( 1\u00b7 GEOFF \\, ....\\_(' Tales of knights and nobles. In Latin of course. I call them the Bristol Tales. It's one of the reasons I travel, Wat. To observe higher human activity. William strides in with purpose.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Geoff!<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>Yes, sire!<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I need to write a letter.<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>Alright ... To who?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Jocelyn. Make it, Dear Jocelyn. Then put in a bit about her beauty, how her eyes are amazing and then a poem or two.<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>A love letter then?<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>No, a bill for lodgings and beer!<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Finish it with a bit to bring a tear and melt her heart, alright?<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>No. I won't. Not a love letter.<\/dialogue>\n    <scene_description>Chaucer goes back to his notes leaving William incredulous.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>Because. Your love letter must come from your heart, not mine.<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>William. If you like, I'll kick master Geoff until he agrees.<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>Kick me, fong me, I won't do it.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Fine. I'll do it. Will you scribble it for me at least?<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>William sets a clean piece of parchment in front of him.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>On parchment?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>What else?<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>Vellum. Parchment is for edicts, decrees and death warrants. Vellum is for bibles, pardons and love letters. Scented of course. I have one sheet.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Good. Vellum. My dearest Jocelyn ... I miss you.<\/dialogue>\n    <scene_description>Chaucer frowns, but dips his pen and prepares to write.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Hold! Is that wrong?<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>Your letter. It's up to you.<\/dialogue>\n    <scene_description>Desperate\u00b7not to make a mistake, William looks to the others. Wat and Roland both shrug.<\/scene_description>\n    <character>WAT<\/character>\n    <dialogue>Say something about her bosom.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>Yes, you miss her bosom.<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>Look above her bosom, William.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I miss her throat?<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>Higher! To the heavens.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>The moon at least. Her bosom was not that impressive.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>The moon. Hmm ... It is strange to think ... I haven't seen you since a month. I have seen the new moon ... but not you. I have seen sunsets and sunrises, but nothing of your beautiful face.<\/dialogue>\n    <scene_description>He looks at them. They're stunned. Finally:<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>Very good, William.<\/dialogue>\n    <scene_description>As Chaucer begins to write it down ...<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>I once knew a girl who broke my heart. I used to say that the pieces were so small that ...<\/dialogue>\n    <scene_description>A PARAPET SOMEWHERE With a verdant countryside as a backdrop, Jocelyn reads the letter to herself. Messenger Wat stands watching.<\/scene_description>\n    <character>JOCELYN'S VOICE<\/character>\n    <parenthetical>(finishes Roland's words)<\/parenthetical>\n    <dialogue>... the pieces of my shattered heart could be passed through the eye of a needle.<\/dialogue>\n    <scene_description>Jocelyn, affected, looks across at Wat.<\/scene_description>\n    <character>JOCELYN<\/character>\n    <dialogue>He writes as though I had died.<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>Yes, madame ... He dies as well.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STABLES - DAY<\/stage_direction>\n    <scene_description>Still letter writing. Wat relates his own broken heart.<\/scene_description>\n    <character>WAT<\/character>\n    <dialogue>She used to cook for the Duke of York and I missed her like the sun misses the flower.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARAPET - DAY<\/stage_direction>\n    <scene_description>Jocelyn reading. Her voice then replaced by William's. ,,~r-., ( \\ \\, ~ Like the sun misses the flower in the depths of winter.<\/scene_description>\n    <character>WILLIAM 1 S VOICE<\/character>\n    <dialogue>Instead of beauty to direct its light to, the heart hardens like the frozen world your absence has banished me to.<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>The muse is in William's heart now.<\/dialogue>\n    <character>STABLES - DAY<\/character>\n    <dialogue>WILLIAM<\/dialogue>\n    <scene_description>I next compete in the city of Paris. I will find it empty and in winter if you're not there.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <parenthetical>( scribbling)<\/parenthetical>\n    <dialogue>I like it. Now to finish it ...<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>'with hope. The first man who<\/dialogue>\n    <scene_description>ever made my acquaintance told me something I never forgot.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>Jocelyl\\]. reading.<\/dialogue>\n    <character>PARAPETS - DAY<\/character>\n    <dialogue>JOCELYN 1 S VOICE<\/dialogue>\n    <scene_description>Hope guides me; i~ is what gets me through the day and especially the night. The hope that after you're gone from my sight, it will not be the last time I look upon you. Tears well in her eyes taking us back to:<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>Chaucer looks William, Wat, Roland and Kate over with<\/dialogue>\n    <character>THE STABLES - DAY<\/character>\n    <dialogue>newfound respect. '<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>You're poets. All of you.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <parenthetical>(moved himself)<\/parenthetical>\n    <dialogue>Finish it: With all the love that I possess ... William.<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>You mean Ulrich.<\/dialogue>\n    <scene_description>William looks at him, regretting the name with each use.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARAPET - DAY<\/stage_direction>\n    <character>JOCELYN<\/character>\n    <dialogue>(aloud} With all the love that I possess, I remain yours, the knight of your heart. Jocelyn holds the letter to her belly. Beneath it all, an unabashed romantic. Wat waits a discreet beat. Then:<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>My master hoped you might have something to send to in return.<\/dialogue>\n    <scene_description>As Jocelyn looks over at him:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KING OF ARMS RING - PARIS - DAY<\/stage_direction>\n    <scene_description>Chaucer has presented William's patents. He touches the shield indicating that Ulrich will compete in the joust. INSJ;:RT: Paris. William, Roland and Kate wait nearby. William looks at the emblem displays of knights already registered to compete.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>No Adhemar.<\/dialogue>\n    <scene_description>They turn at the sounds of hoofbeats, shouting. Wat rides up on the palfrey, jumps down.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Did you see her? Did she read the.letter?<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>Yes and yes.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>And?<\/dialogue>\n    <scene_description>I:<\/scene_description>\n    <character>WAT<\/character>\n    <parenthetical>(grinning)<\/parenthetical>\n    <dialogue>Yes. She's coming to Paris.<\/dialogue>\n    <scene_description>William wants to scream out in happiness, but he suppresses it, just manages to hold it in.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>And did she give you anything in return? A letter? A token?<\/dialogue>\n    <scene_description>Wat suddenly doesn't want to talk about it; he nods glumly.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Well ... ? Give it to me, Wat!<\/dialogue>\n    <scene_description>Cursing himself, Wat leans in, kisses William on the lips. William stands blinking a moment. She sent a kiss!<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Yes! Yes! Hell, yes!<\/dialogue>\n    <scene_description>William pumps his fist in the air in exultation. Wat spits on the ground. Roland sympathy spits. Watching, the Paris King-of-arms hands the patent papers back to Chaucer.<\/scene_description>\n    <character>PARIS KING-OF-ARMS<\/character>\n    <dialogue>His patents are impeccable. As for the rest of him ... It's not for me to decide.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TAVERN - PARIS - DAY<\/stage_direction>\n    <scene_description>Roland, Wat and Kate stand in a corner opposite THREE FRENCH SQUIRES. Chaucer mediates in the middle.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>The wager they wish to make is that a Frenchman and not Ulrich will win the tournament. The amount is fifty florins.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>That's all we've got.<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>Yes. If we had sixty, the bet would be sixty.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>Even money, but Ulrich against every Frenchmen here?<\/dialogue>\n    <scene_description>--- I: \/ ......-.\"'\\, CHAUCER Our lord Ulrich has won four ---( tournaments in a row. And Adhemar once again is not here.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>I check shields, too. John Beaumont is here. Count Theobald of Chartres. Philip of Burgundy. All three are French champions.<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>It's a good bet, Roland. Win and I could buy my own tavern.<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>I could write full time.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>And a forge for me.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>Well I only wish to go home and I already have enough to make the trip a hundred times!<\/dialogue>\n    <character>FRENCH SQUIRE ONE<\/character>\n    <dialogue>An Englishman will not win this French tournament! English legs are unsteady on French soil.<\/dialogue>\n    <character>FRENCH SQUIRE TWO<\/character>\n    <dialogue>Yes, and because French wine is too much for English stomachs.<\/dialogue>\n    <character>FRENCH SQUIRE THREE<\/character>\n    <dialogue>And most importantly, because the Pope himself is French!<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>Well, the Pope may be French, but Jesus is English. You're on!<\/dialogue>\n    <parenthetical>(to the phoenixes)<\/parenthetical>\n    <dialogue>He won't lose. Not with the princess here watching him.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>NOTRE-DAME CATHEDRAL - DAY<\/dialogue>\n    <scene_description>William waits, watches the people going into the cathedral. A nearby RELIC SELLER holds up a chicken leg to passerbys.<\/scene_description>\n    <character>RELIC SELLER<\/character>\n    <dialogue>Buy the foot of\u00b7 the cock! Withered in despair! Three times did St. Peter hear it crow!<\/dialogue>\n    <scene_description>Then, there she is. Jocelyn! With Christiana in tow. As they disappear inside, William hurries after them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTRANCE - NOTRE DAME - DAY<\/stage_direction>\n    <scene_description>Jocelyn and Christiana both dip their fingers in the HOLY WATER basin, cross themselves before continuing inside. William rushes in, sliding to a stop across the stone floor. He steps back, dips his fingertips in the water, then holds his hand only to his heart. LEFT AISLE - NOTRE-DAME Jocelyn pauses, framed by a magnificent stained glass window. William steps up quietly behind her.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>You favor cathedrals.<\/dialogue>\n    <scene_description>Jocelyn recognizes his voice, but doesn't turn.<\/scene_description>\n    <character>JOCELYN<\/character>\n    <dialogue>I come for confession-.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>And the glass. A riot of color in a dreary gray world.<\/dialogue>\n    <parenthetical>(look to window)<\/parenthetical>\n    <dialogue>Don't you think?<\/dialogue>\n    <scene_description>William stays focused on the side of her face.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>It's beautiful ...<\/dialogue>\n    <scene_description>Christiana has the good sense to tiptoe away.<\/scene_description>\n    <character>JOCELYN<\/character>\n    <dialogue>A riot ... I feel the same way about the letter you sent.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I'm glad.<\/dialogue>\n    <character>JOCELYN<\/character>\n    <dialogue>Speak to me. Speak those words.<\/dialogue>\n    <scene_description>Unfortunately, William picks the wrong ones.<\/scene_description>\n    <character>JOCELYN<\/character>\n    <dialogue>Then you do not love me!<\/dialogue>\n    <scene_description>Every eye in Notre Dame is on them. They stand there like two tigers. Finally, furious, William turns and strides away. Jocelyn turns and strides the other way.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARIS LISTS - DAY<\/stage_direction>\n    <scene_description>Chaucer finishing his intro of William. The crowd is very enthusiastic. This knight's reputation has preceded him.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>Keeper of the Flame of Aragon! The lance that thrilled France! The harrasser of Paraser! Enforcer of the Lord God! Sir Ullriccchh von Lichtenstein!<\/dialogue>\n    <scene_description>Big cheers from the French crowd. As Chaucer walks past the other herald, he shows a sheathed dagger.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>Would you kill yourself, or do you actually mean to follow that?<\/dialogue>\n    <scene_description>Beyond, Roland and Wat attach William's helmet. He scans the crowd, spots a resplendent Jocelyn in the box seats. As Roland lowers the visor on William's dark countenance: JOCELYN Sitting with Christiana, still pissed.<\/scene_description>\n    <character>JOCELYN<\/character>\n    <dialogue>His horses flanks!<\/dialogue>\n    <character>CHRISTIANA<\/character>\n    <dialogue>Oh my lady ...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARIS LISTS - DAY<\/stage_direction>\n    <scene_description>William mounted on the chestnut, in\u00b7position, lance in hand. Chaucer, moving back, winks at Roland and Wat.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>To wealth.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>\/--\\ EXT. SCORER'S BOX - DAY<\/stage_direction>\n    <scene_description>&lt; ) \u00b7--\u00b7&lt; Anticipation huge as the start flag goes up. Then down!<\/scene_description>\n    <character>WILLIAM'S OPPONENT<\/character>\n    <dialogue>Spurs his massive horse forward.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>Starts to run to follow William. But he runs past William who just sits there on his horse. Frozen like a statue.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>What are you doing?!<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Losing!<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>I don't understand.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Neither do I!<\/dialogue>\n    <character>JOCELYN<\/character>\n    <dialogue>Rising from her seat at the sight of William motionless, making no move to attack or defend himself.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>SMASH! His opponent breaks his lance on William's chest.<\/dialogue>\n    <character>JOCELYN<\/character>\n    <dialogue>As a smile blossoms. She grips Christiana's hand.<\/dialogue>\n    <character>JOCELYN<\/character>\n    <dialogue>He loves me.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>As his opponent goes back to his starting mark, he just sits there. Chaucer rushes out to join Roland and Wat.<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>Are you blind? The flag.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I saw .it, Geoff!<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>I know! You want to drop behind for a more dramatic victory!<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Jocelyn said that I should lose to prove my love.<\/dialogue>\n    <character>CHAUCER<\/character>\n    <parenthetical>(floored)<\/parenthetical>\n    <dialogue>I would rather you were blind.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>Don't be foolish, Will. Each woman wants proof. That's all.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Proof of what?<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>Proof that their legs have not been uncrossed for nothing.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>But 1\u00b7 haven't uncrossed her legs.<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>So why in the name of st: Swithin are we doing this!?<\/dialogue>\n    <character>WILLI.AM<\/character>\n    <dialogue>Because ...<\/dialogue>\n    <scene_description>WHACK! The approaching opponent knight's lance \u00b7shatters across William's chest. As he continues past.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>I love her.<\/dialogue>\n    <scene_description>Music starts: \"Get Ready\" by Rare Earth. \"Never met a girl who makes me feel the way that you do ... You're all right!\" A SERIES OF SHOTS As William gets the shit kicked out of him. Knight after knight breaks a lance on his chest on his helmet. As he just sits there, taking the battering with silent stoicism. WAT Trying to attack Chaucer. Restrained by Roland and Kate.<\/scene_description>\n    <character>WAT<\/character>\n    <dialogue>I'm going to lose everything!<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>That's why it's called gambling!<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>It is very romantic though.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>What are you, Kate, a woman or a blacksmith?!<\/dialogue>\n    <scene_description>JOCELYN Watching William's battering. Smiling. Wincing. For all her beauty, never has a man done this for her.<\/scene_description>\n    <character>CHRISTIANA<\/character>\n    <dialogue>He loses all pride.<\/dialogue>\n    <character>JOCELYN<\/character>\n    <dialogue>And at the same time it swells till it exceeds Achilles himself.<\/dialogue>\n    <scene_description>CUT TO: INCOMPETENT KNIGHT Trying to balance his lance. The start flag drops; he rides. The target of William grows closer. Out of control, Incompetent lowers his lance. Too low, it catches the ground, 'pole vaults' him out of the saddle. He crashes into the barrier like a car at the third turn at Indy. Wat and Roland look at each other in amazement.<\/scene_description>\n    <character>WAT<\/character>\n    <dialogue>We win the horse!<\/dialogue>\n    <scene_description>As they rush out to retrieve the animal, William simply slips from his saddle, drops to the ground below. A draw after all. As Wat and Roland move to help him ... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEDICAL PAVILION - PARIS - DAY<\/stage_direction>\n    <scene_description>Looks like an NFL training room. Knights sit with dislocated elbows and knees, muscle pulls, you name it. (\\ William lays on a bench stripped to the waist, his lower \\&lt; armor still on as Wat and Roland tend to his black &amp; blue body. Chaucer and Kate look on.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>I checked with the scorer. No one knight has distanced himself with victories yet. If you were to win your remaining matches and some of the others took key losses, who knows? You could make the semis, even the f.inals.<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>Have you proven your love yet?<\/dialogue>\n    <scene_description>Worn out, William shakes his head.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Remember church as a boy, Wat? The fear, the passion? She makes me feel that. I say my rosary to Jocelyn and no one else.<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>William, that's blasphemy.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Then may I burn in hell.<\/dialogue>\n    <character>ROLAND<\/character>\n    <parenthetical>(can 1 t take it anymore)<\/parenthetical>\n    <dialogue>Withdraw! Lose that way! But don 1 t take this beating!<\/dialogue>\n    <scene_description>A beat. Then they're suddenly aware that Christiana is standing there watching them. Roland composes himself, tries to look a little better.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>Yes, m1 lady?<\/dialogue>\n    <character>CHRISTIANA<\/character>\n    <dialogue>My lady sends this token.<\/dialogue>\n    <scene_description>She hands William a lock of Jocelyn's hair. A big deal in those days. But William doesn 1 t actually think so at this moment. He's at wit 1 s end and doesn't even look up.<\/scene_description>\n    <character>CHRISTIANA<\/character>\n    <dialogue>She says that if you love her --<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I know, I know. Lose. Isn't she watching?<\/dialogue>\n    <character>CHRISTIANA<\/character>\n    <dialogue>She says that if you love her, you will not lose another match. My lady says that if you love her you will win this tournament.<\/dialogue>\n    <scene_description>A beat. William slowly raises his head. Beat to hell, but he suddenly has the eyes of a winner. Sometimes, and this is one of those times, William can burn like the lighthouse at Cape Hatteras. I love this guy ...<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Tell her not to take her eyes from me.<\/dialogue>\n    <scene_description>It's a charged moment and it leaves Christiana breathless.<\/scene_description>\n    <character>CHRISTIANA<\/character>\n    <dialogue>I will tell her exactly that.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>William rides up into position.<\/dialogue>\n    <character>LISTS - PARIS - DAY<\/character>\n    <dialogue>Chaucer joins him.<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>Love is a wonderful, cruel thing.<\/dialogue>\n    <parenthetical>(gesturing to stands)<\/parenthetical>\n    <dialogue>But there she is. The embodiment of love, your Venus.\u00b7 \u2022<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Yes ... How I hate her. HAW!<\/dialogue>\n    <scene_description>As the flag drops, William spurs his horse forward leaving Chaucer scratching his head. CUT TO:<\/scene_description>\n    <character>A SERIES OF THREE KNIGHTS<\/character>\n    <dialogue>Each built like brick shithouses, 240 pounds plus of muscle, sinew and bone. They look smart and fierce as well. INSERT: Count Theobald of Chartres. William shatters a lance across his chest. INSERT: John Beaumont. William knocks his helmet off. INSERT: Philip of Burgundy. William knocks Philip flat across the back of his horse.<\/dialogue>\n    <scene_description>\\ \\ CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANQUET HALL . - NIGHT<\/stage_direction>\n    <scene_description>Prizes are awarded. Wat, Kate, Roland and Chaucer stand with William. Chaucer and Roland are actually holding him up. As Wat snatches a pastry off a passing tray:<\/scene_description>\n    <character>PARIS MASTER OF ARMS<\/character>\n    <dialogue>And finally, for the mounted joust and tournament champion. Ulrich von Lichtenstein!<\/dialogue>\n    <scene_description>Wild applause. Chaucer and Roland rel~ase him, hope for the best. Stiff, but hiding his pain, William steps up, receives a crystal studded GOLDEN SADDLE. $$$. He holds it over his head. Ouch! As he pivots, showing himself to the crowd, he makes eye contact with Jocelyn. Electricity between them. Finally, he rejoins his team.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <parenthetical>(low; to Roland)<\/parenthetical>\n    <dialogue>My ribs have come apart again. Shove them back.<\/dialogue>\n    <scene_description>Roland reaches under William's tunic, discreetly adjusts his ribs. We hear the crack, cartilage crinkle. As William tries to \u00b7stay conscious and smile at the same time.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Get me to the surgeon.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PAVILIONS - NIGHT<\/stage_direction>\n    <scene_description>\u00b7Chaucer receives payment from three grumpy French squires.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>... 49, 50. Nice doing business with you. Look us up at the World Championships in London.<\/dialogue>\n    <scene_description>MOVE WITH Chaucer as he walks off. Happily humming. Fat with cash. Ahead, William's tent, tri-phoenix on the sipe. As Chaucer nears, he stops short, steps back in a shadow. The caped FIGURE OF A WOMAN slips in past the folds. Chaucer watches her candle-lit form against the canvas. Sees the shadow of the cape drop to the floor, then the shadow of a second garment, leaving just the shadow of a nude woman. As the candle within is snuffed out: darkness.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>Guinevere comes to Lancelot ... Bed her well, Sir William.<\/dialogue>\n    <scene_description>Smiling, Chaucer moves off another direction.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INNER CHAMBER - WILLIAM'S PAVILION - NIGHT<\/stage_direction>\n    <scene_description>A curtain separates the tent in two. William lies in a featherbed, a poultice on one eye, chest wrapped in bandages. Blood seeps from the bandage on his left forearm. Three fingers on his right hand are in splints. A shadow slips into the room. William stirs, smells the air around him. As he grows aware.<\/scene_description>\n    <character>JOCELYN'S VOICE<\/character>\n    <dialogue>We missed you at banquet, Sir Ulrich.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>We?<\/dialogue>\n    <character>JOCELYN'S VOICE<\/character>\n    <dialogue>I. Jocelyn. Your prize.<\/dialogue>\n    <scene_description>William catches a glimpse as she slips between shadows.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>I am not worthy ...<\/dialogue>\n    <character>JOCELYN'S VOICE<\/character>\n    <dialogue>Then who is? My maid says that sometimes your varlets cal'l you William.<\/dialogue>\n    <scene_description>William doesn't answer. Another glimpse of her.<\/scene_description>\n    <character>JOCELYN'S VOICE<\/character>\n    <dialogue>Is this so, Sir Ulrich?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Yes. It's so .<\/dialogue>\n    <character>. JOCELYN'S VOICE<\/character>\n    <dialogue>Your name makes no matter to me. So long as I can call you my own.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I am your own.<\/dialogue>\n    <scene_description>Sifting through the shadows, she's slides under the blanket, into bed with him. She leans in, kisses him.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <parenthetical>(in pain)<\/parenthetical>\n    <dialogue>Arghh ! Damn, woman ...<\/dialogue>\n    <scene_description>She pulls back, sees what a mess he is. Bruised bruises.<\/scene_description>\n    <character>JOCELYN<\/character>\n    <dialogue>You need a surgeon.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>He's been. He says I will live, though it doesn't feel that way.<\/dialogue>\n    <scene_description>She leans in to gently kiss his bruises, face, neck, body. His initial winces gives way to little smiles of pleasure.<\/scene_description>\n    <character>JOCELYN<\/character>\n    <dialogue>This pain. It's my doing.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>My father always taught -me to take the bad with the good.<\/dialogue>\n    <scene_description>It hurts, but he leans up to kiss her back.<\/scene_description>\n    <character>JOCELYN<\/character>\n    <dialogue>This good you speak of. It will be my doing as well.<\/dialogue>\n    <scene_description>She leans in. The kiss is long, soft and lingering. And as we leave it to them and our imagination.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FLAT BOAT - RIVER - DAY<\/stage_direction>\n    <scene_description>Socked in with thick fog, neither bank is visible. Half a\u00b7 dozen horses stamp nervously as misty tendrils cling at them. TWO MEN pull at a rope running down the side, ferrying the passengers across a river. The passengers are Chaucer, Roland, Wat, Kate and off to the side, William. All the baggage bears the tri-phoenix badge. It's a long way from nothing. William stares at one of the ferrymen. About 40, missing the three middle fingers on his right hand. It doesn't stop him hauling.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>How long since any of you've been back? I 1 ve only been gone four months.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Two years for me.<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>Three for my eyes.<\/dialogue>\n    <scene_description>.i<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>!,...,...\\_\\_\\_\\_, Five. Five long years. ( )<\/dialogue>\n    <character>\",' --~--'<\/character>\n    <dialogue>William still stares at the man 1 s\u00b7hand.<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>William?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Eighteen years.<\/dialogue>\n    <scene_description>And as he says this ... The man pulling the rope is suddenly in his early 20's. William is now young William, maybe 10. His father stands beside him carrying a bedroll.<\/scene_description>\n    <character>'TWO FINGERS'<\/character>\n    <parenthetical>(to father; re: William)<\/parenthetical>\n    <dialogue>He's to be apprenticed then?<\/dialogue>\n    <scene_description>William's father looks at Two Fingers, finally nods.<\/scene_description>\n    <character>'TWO FINGERS'<\/character>\n    <dialogue>How long then?<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>Seven years.<\/dialogue>\n    <scene_description>Two Fingers nods, .spits over the side. It is what it is. As they near the far shore, a KNIGHT waits with his retinue. They all wear a LEAPING WHITE STAG as a heraldic badge. If you remember, it's the device William wore in the opening.<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>Sir Ector?<\/dialogue>\n    <character>KNIGHT (SIR ECTOR)<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>I'm the thatcher. I spoke to you on the London Bridge.<\/dialogue>\n    <character>SIR ECTOR<\/character>\n    <dialogue>Yes, of course. This is the boy?<\/dialogue>\n    <scene_description>William's father looks at his son, then nods again.<\/scene_description>\n    <character>SIR ECTOR<\/character>\n    <dialogue>You've got most of your teeth?<\/dialogue>\n    <scene_description>William pulls back his lips in a grimace, shows his teeth.<\/scene_description>\n    <character>.... SIR ECTOR<\/character>\n    <dialogue>I'll show you a great wide world. If you can pack a horse, lead it?<\/dialogue>\n    <scene_description>Frightened, William nods that he can. Sir Ector points to a palfrey with gear piled before it.<\/scene_description>\n    <character>SIR ECTOR<\/character>\n    <dialogue>Say goodbye to your father and get started.<\/dialogue>\n    <scene_description>Sir Ector steps off to tend to something else.<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>He's a real knight, William. Watch and learn all you can.<\/dialogue>\n    <scene_description>William nods solemnly. His father sets down the bedroll, gets on one knee, embraces the boy. He chokes up.<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>It's all I can do for you, son. Now, go change your stars and live a better life than I have.<\/dialogue>\n    <scene_description>William's father stands, steps back on the ferry. Two fingers pulls away. William watches, tears on his face.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Father, I'm afraid!<\/dialogue>\n    <scene_description>Several of the varlets let out not-so-sympathetic laughs.<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>Of what?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>That I won't remember how to get home!<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>Don't be foolish, William! You just follow your feet!<\/dialogue>\n    <scene_description>William's father waves good-bye, disappears into the fog.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FLAT BOAT - RIVER - DAY<\/stage_direction>\n    <scene_description>Where eighteen years later the same ferryman is bringing William back, as the fog clears, to:<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>London ...<\/dialogue>\n    <scene_description>There they are, the white walls of the tower, the urban sprawl of 'the city'. Kate nudges Chaucer, points out William who wipes tears from his face.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>(~\u2022 Up, down, up, down. He's like a \\ ,<\/dialogue>\n    <scene_description>... \/ bucket in a well. CUT TO:<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>TOURNAMENT GROUNDS - LONDON - DAY<\/dialogue>\n    <scene_description>Located between St. Paul's and Cheapside. Construction still wrapping on parts of the grandstands. They are massive. They'll hold 10,000 people easy. INSERT: London. THEN BENEATH THAT: The World Championships. Knights sign up for events, presenting patents of nobility. As Chaucer does this for William, the LONDON KING-OF-ARMS hands the patents back without looking at them.<\/scene_description>\n    <character>LONDON KING-OF-ARMS<\/character>\n    <dialogue>No need to introduce Sir Ulrich. A more noble knight we haven't seen. In fact, I 1 ve got my money on him. How's his health?<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>Physically or emotionally?<\/dialogue>\n    <scene_description>As the King-of-arms tries to figure the answer out, Chaucer stops short, spots the emblem of an entered knight: a BOAR.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>Count Adhemar is entered?<\/dialogue>\n    <character>LONDON KING-OF-ARMS<\/character>\n    <dialogue>This morning.<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>Bet everything you've got.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>PARADE ROUTE - LONDON BRIDGE - DAY<\/dialogue>\n    <scene_description>Like the Rose Bowl Parade. Each knight, armored but sans helmets, rides his finest horse, accompanied by his retinue of squires and varlets. The crowd cheers, vendors hawk.<\/scene_description>\n    <character>RELIC PRIEST<\/character>\n    <dialogue>Found in Turin! The shroud which covered our Christ in the tomb! Only two left!<\/dialogue>\n    <scene_description>William rides. Kate, William and Wat on foot around him. Crowd favorites; wearing their finest tri-phoenixes livery. A panoramic view of the city opens before them as they near the end of the bridge. The 14th Century Tower and St. Paul's dominate. Emotion for William as he waves at a BOY who stands on the rump of a horse. Just like he once did.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <parenthetical>(rushing up)<\/parenthetical>\n    <dialogue>News! News! Adhemar is here! He's entered!<\/dialogue>\n    <scene_description>William clenches his fist. Yes! They slow as they come off the bridge, allowing others retinues to pass.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>He must've grown bored with whatever war they're fighting.<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>No. The Black Prince forced him to disband his army. They were pillaging town after town. Mercenaries waging an undeclared war for booty. Reveling the night, robbing, murdering ...<\/dialogue>\n    <character>ADHEMAR<\/character>\n    <parenthetical>(finishing it)<\/parenthetical>\n    <dialogue>Committing the oldest sins in the newest ways.<\/dialogue>\n    <scene_description>They all look back to where Adhemar rides up. Corning alongside William, he bumps Chaucer away with his horse, almost knocking the herald on his ass. Still riding:<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>Sir Ulrich, at last we have the chance to face each other again.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>As I promised you before, Adhemar. You'll see me from the flat of your back.<\/dialogue>\n    <character>ADHEMAR<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>Let the past die. You've done well in my absence. On the field and off I'm told. Winning trophies, horses, women ...<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Do you put them in that order?<\/dialogue>\n    <character>ADHEMAR<\/character>\n    <dialogue>Generally. With a few exceptions.<\/dialogue>\n    <scene_description>Adhemar looks to the reviewing stand by St. Paul's. The Black Prince is there with his wife, the stunning JOAN OF KENT. Other nobles as well. And Jocelyn. The exception.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>Beautiful. A real thoroughbred trophy. Don't you think?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>You talk about Jocelyn like she's a target.<\/dialogue>\n    <character>ADHEMAR<\/character>\n    <dialogue>Isn't she?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>No. She's the arrow.<\/dialogue>\n    <scene_description>Jocelyn sees William. Her smile is for him.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>I've entered negotiations with her father. I aim to make her my wife. She will be saddled and placed on my mantle.<\/dialogue>\n    <scene_description>William looks at him a long beat, unable to respond. Adhemar pulse is, as always, under 60 as:<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>Target or arrow, it makes no difference; I will have her.<\/dialogue>\n    <scene_description>He says it with a simple, detached conviction that makes it frightening. Having said it, Adhemar spurs his horse away, nearly trampling Wat. As Roland and Kate restrain Wat from following, Chaucer looks at a very troubled William.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>Armor vincit omnia, William. Love conquers all .<\/dialogue>\n    <character>. WILLIAM<\/character>\n    <dialogue>Does it? Well, hatred doesn't do a bad job either.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRANDSTANDS - LISTS - LONDON - DAY<\/stage_direction>\n    <scene_description>William vs. The Duke of Beaumont. William breaks his lance on Beaumont's helmet. Beaumont stays in the saddle, but he's out. The flags go up. William has won four to one. Above, Adhemar watching with an old RETIRED KNIGHT. ,,,,---.,\\<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction> ' So that's the Ulrich that's torn<\/stage_direction>\n    <scene_description>\u00b7-&lt;' up the tour ... Magnificent.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>What is his weakness?<\/dialogue>\n    <character>RETIRED KNIGHT<\/character>\n    <dialogue>I can't see one. Except youth.<\/dialogue>\n    <character>ADHEMAR<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>RETIRED KNIGHT<\/character>\n    <dialogue>That I'm glad I 1 m old. His youth means no one expects me to take the field against him.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>GRANDSTANDS - LISTS - DAY<\/dialogue>\n    <scene_description>William vs. Maris Montacute. William's lance shatters on Montacute 1 s chest. William's won three flags to none. Ahove, Adhemar watching with Jocelyn's brother from Rouen.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>It seems he leans to the left.<\/dialogue>\n    <character>BROTHER<\/character>\n    <dialogue>No. It was only a reaction to Montacute's committing his strike to the right. This Ulrich has had us.<\/dialogue>\n    <character>ADHEMAR<\/character>\n    <dialogue>How do you mean?<\/dialogue>\n    <character>BROTHER<\/character>\n    <dialogue>He obviously hid his talent at the beginning of the season, so that he could win more money betting on himself.<\/dialogue>\n    <character>ADHEMAR<\/character>\n    <dialogue>But how would you beat him?<\/dialogue>\n    <character>BROTHER<\/character>\n    <dialogue>With a stick while he slept. But on a horse? With a lance? That man has become unbeatable.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTYARD - DAY<\/stage_direction>\n    <scene_description>Germaine stands watching with an UNKNOWN MAN as: Stripped to the waist, physically awesome, Adhemar trains. Armed with a club, ringed by varlets holding shields, he whirls and swings furiously, landing one heavy blow after another. For no particular event, he's just getting off. Straining against their shields, the varlets exchange glances. They don't like this. Adhemar finishes by side- stepping a shield and swinging the club into one of the varlet's leg. Breaking it. As the man howls ...<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>Tend to him.<\/dialogue>\n    <scene_description>Wiping his brow, he joins Germaine and the unknown man.<\/scene_description>\n    <character>GERMAINE\u00b7<\/character>\n    <dialogue>Count Adhemar, I present Arnold van Gennep, a merchant visiting us from faraway Gelderland.<\/dialogue>\n    <scene_description>Adhemar looks him over. Chubby, middle-aged, a merchant.<\/scene_description>\n    <character>GERMAINE<\/character>\n    <dialogue>Tell the Count what you told me.<\/dialogue>\n    <character>MERCHANT<\/character>\n    <dialogue>Happily. In Gelderland we have many fine jousters. But I have never heard tell of one Ulrich von Lichtenstein.<\/dialogue>\n    <scene_description>The words hang heavy in the air. Finally:<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>I'd like to have our noble Ulrich watched. Pick someone discreet.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PAVILIONS - NIGHT<\/stage_direction>\n    <scene_description>William, Roland, Kate and Wat walk, sharing a laugh. Roland stops short, places a beefy hand across the chest of the others to stop them short. As they follow his gaze: Ahead, Chaucer hurries through the moonlight, naked except for an apple in his hand. Their chronic gambler disappears inside a tent. Disgusted, they hurry after him.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>TENT - NIGHT<\/dialogue>\n    <scene_description>As William, Roland, Kate and Wat charge in.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Chaucer, how much did you lose!?<\/dialogue>\n    <scene_description>Naked Chaucer turns from the foot of a cot.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>Gambling. Your clothes even!<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>Npt a penny. There lie my clothes.<\/dialogue>\n    <scene_description>Indeed, Chaucer's clothes are heaped on the floor.<\/scene_description>\n    <character>WAT<\/character>\n    <dialogue>Then why are you out naked?<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>If you must know, she was hungry.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Who?<\/dialogue>\n    <scene_description>CRUNCH ... The sheet pulls down just enough to reveal a slender, freckle-faced REDHEAD munching on an apple.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>I'd like you all to meet my wife: Philippa Chaucer.<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>You lying shite.<\/dialogue>\n    <character>PHILIPPA<\/character>\n    <dialogue>You must be Wat. Your Roland. Kate. And you? Will -- Ulrich. Geoff's told me all about you.<\/dialogue>\n    <scene_description>They all stand there blinking. Philippa holds out the apple. Beautiful enough to be Eve in the garden.<\/scene_description>\n    <character>PHILIPPA<\/character>\n    <dialogue>Anyone like a bite?<\/dialogue>\n    <scene_description>Chaucer takes it from her. CRUNCH ... He holds it out to the others, raises his eyebrows as if to ask, \"Anyone?\" \/<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>,,,,-.....\\ WILLIAM<\/stage_direction>\n    <scene_description>Sorry to barge in, Mrs. Chaucer. \\ ... ~ As they make their apologies and exits ...<\/scene_description>\n    <character>PHILIPPA<\/character>\n    <dialogue>So much nicer than the pilgrims you traveled with last year.<\/dialogue>\n    <parenthetical>(he just looks at her)<\/parenthetical>\n    <dialogue>What is it?<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>Paradise, my dear, stands formed in your eyes.<\/dialogue>\n    <character>PHILIPPA<\/character>\n    <dialogue>Come to bed, Geoff.<\/dialogue>\n    <character>EXT.<\/character>\n    <dialogue>William, Roland, Kate and Wat continue, laughing at their<\/dialogue>\n    <character>PAVILIONS - DAY<\/character>\n    <dialogue>mistake. Then they stop short again. There ahead, in the moonlight, Jocelyn stands with Christiana.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Good night, Roland. Good night, Wat. Kate.<\/dialogue>\n    <scene_description>William moves off to his right, Jocelyn to her left. As they meet, he takes her hand and they slip into the trees. Christiana still stands there.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>Good night, Wat.<\/dialogue>\n    <scene_description>Roland meets up with her. They head off. Wat and Kate are now all alone. Wat looks at her, smiles. A beat as Kate reaches into her pouch, pulls out a pastry dripping with clotted cream and honey. She hands it to Wat, then walks quickly away. Alone, Wat considers the pastry. He smiles.<\/scene_description>\n    <character>WAT<\/character>\n    <dialogue>Hello, beautiful ...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>GROVE - NIGHT<\/dialogue>\n    <scene_description>All is a whirl as William and Jocelyn stand ringed by trees, exchanging tender kisses.<\/scene_description>\n    <character>JOCELYN<\/character>\n    <dialogue>If I could I'd move the trees. Set them dancing around us. And when they clapped their hands, leaves would fall about us.<\/dialogue>\n    <scene_description>She does a slow whirl around him, clapping her hands, dancing for him. It ends in another kiss.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>And I would move the stars.<\/dialogue>\n    <character>JOCELYN<\/character>\n    <dialogue>You already have. You took them away from my eyes and made me see you.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Then I should move them back.<\/dialogue>\n    <character>JOCELYN<\/character>\n    <dialogue>Because of Adhemar?<\/dialogue>\n    <parenthetical>(William nods)<\/parenthetical>\n    <dialogue>You could talk to my father as well.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Hmmm ...<\/dialogue>\n    <character>JOCELYN<\/character>\n    <dialogue>Or you could joust him for me.<\/dialogue>\n    <scene_description>William just grunts again. Jocelyn laughs. But she stops when she sees just how far he is from joining her. She slips a hand behind his neck.<\/scene_description>\n    <character>JOCELYN<\/character>\n    <dialogue>Don't be sad, William.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>No. You know what Chaucer says? He says amor vincit omnia.<\/dialogue>\n    <character>JOCELYN<\/character>\n    <dialogue>Love conquers all ... Do you believe it?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I don't know. Do you?<\/dialogue>\n    <scene_description>Jocelyn looks at him a beat, then shrugs. She doesn't know either. As they look on each other beneath the moon ... WILLIAM Galloping the list. Inexorable. A wall of flames behind him. The phoenix. And we're back to reality as ... Roger V'Lereon is the umpteenth knight to have William's lance shatter across his chest. As he gasps for breath ... William wins three flags to two. GERMAINE'S SPY Reports in to Adhemar. We can't hear what he's saying, but as he grabs at the air, pumps his pelvis to signify sex, we get the idea. So does Adhemar who backhands him. COUNT ADHEMAR Lowering his lance. Lest we forget the formidable jouster he is. It sounds like a crack of THUNDER as Adhemar knocks his opponent clear off the back of his saddle.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STORM CLOUDS - ABOVE GRANDSTANDS - DAY<\/stage_direction>\n    <scene_description>Lightning zigzags across the sky. And the deluge starts. As spectators flee the deluge. The rain comes in buckets.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LISTS - DAY<\/stage_direction>\n    <scene_description>Where wet tournament officials measure the mud, shake their heads. This won't work. Various knights \u00b7and their squires and varlets wait.<\/scene_description>\n    <character>OFFICIAL<\/character>\n    <dialogue>That's it, gentlemen! We're rained out for the day. All results to this point stand!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STABLES - DAY<\/stage_direction>\n    <scene_description>Where the stable boys watch the rain drip down from the thresholds. In a stall, William saddles the chestnut. As he leads it out, Roland arrives.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>Didn't you hear? We're canceled.<\/dialogue>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>You'll have to win the championship tomorrow.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I'm going riding.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>In this?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <parenthetical>(mounts up)<\/parenthetical>\n    <dialogue>In this.<\/dialogue>\n    <scene_description>William rides out. As Roland watches him go.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LONDON BRIDGE - DAY<\/stage_direction>\n    <scene_description>London Bridge isn't falling down, but the rain is. William rides slowly down the bridge, his mood matching the weather. Looking about, a thousand memories flooding in. He rides past shops, each with a dwelling above. But only thpse who have to be are out. Until ... William reaches a spot where CHILDREN play the game of the day: TWO BOYS, facing each other, hang by their hands from a beam protruding out over the river. The children cheer. One boy screams defiance at the other who hangs silently. The screaming boy finally lets go, dropping down into the water below. William leans out, sees that the boy is swimming for shore. As William leans back up, he finds himself looking at a LONE BOY, crouched under an awning to stay dry.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>LONE BOY<\/character>\n    <parenthetical>(in awe)<\/parenthetical>\n    <dialogue>You're -- you're Sir Ulrich von Lichtenstein.<\/dialogue>\n    <scene_description>William looks at his tunic's tri-phoenix, back to the boy.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Yes ...<\/dialogue>\n    <character>LONE BOY<\/character>\n    <dialogue>You're my favorite knight, Sir. When we joust I always say I'm you.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>r\"-, : ! Do you win? \\&gt;~-&lt;\\_<\/dialogue>\n    <character>LONE BOY<\/character>\n    <dialogue>Of course, Sir. I couldn't say it if I didn't. But what are you doing here on London Bridge? There's no parade today.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Can you keep a secret?<\/dialogue>\n    <scene_description>The lone boy nods solemnly.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>I was born on London Bridge.<\/dialogue>\n    <parenthetical>(pointing)<\/parenthetical>\n    <dialogue>Right over there.<\/dialogue>\n    <character>LONE BOY\u00b7<\/character>\n    <dialogue>Truly, Sir Ulrich?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Truly.<\/dialogue>\n    <scene_description>Amazed, the boy points a little further down.<\/scene_description>\n    <character>LONE BOY<\/character>\n    <dialogue>I only live just there.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>How old are you?<\/dialogue>\n    <character>LONE BOY<\/character>\n    <dialogue>Nine and one half.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I wonder if you remember a man? Though he may have died before you were born. Tall as a knight. His name was John Thatcher.<\/dialogue>\n    <character>LONE BOY<\/character>\n    <dialogue>Of course I remember him.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>You do?<\/dialogue>\n    <character>LONE BOY<\/character>\n    <dialogue>Well, yeah. He lives there still.<\/dialogue>\n    <scene_description>The words hit William like a ton of bricks.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>John Thatcher. You're sure?<\/dialogue>\n    <scene_description>,,,,,....\\_\\_\\_\\ LONE BOY The fish monger's wife looks \\,,&lt;\\_ after him. Sometimes we see him sitting in the window, but no one knows why.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>LONE BOY<\/character>\n    <dialogue>He's blind, sir ...<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Take me to him.<\/dialogue>\n    <scene_description>The boy starts off with William following on the chestnut. Six doors down, watching out of earshot, is Germaine's spy. CUT TO:<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>STAIRS - LONDON BRIDGE APARTMENT - DAY<\/dialogue>\n    <scene_description>Twisting, no building codes here. The boy leads William up. They stop below an open door at the top. William gives the boy a gold florin. His eyes go wide.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Look after my horse.<\/dialogue>\n    <character>LONE BOY<\/character>\n    <dialogue>Yes, sir ...<\/dialogue>\n    <scene_description>The boy bounds down the steps. And for the first time in a long time, William is scared. He stands there, until:<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Just follow your feet ...<\/dialogue>\n    <character>THE SOLAR<\/character>\n    <dialogue>William's father, very old at 60, sits, his eyes milky with cataracts. Working by feel, he loops twine into a FISHING NET. This is how he gets by. He suddenly hesitates.<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>Is someone there?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Aye. May I come in?<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>If you're here for the net, I haven't finished yet.<\/dialogue>\n    <scene_description>I I\\_<\/scene_description>\n    <character>.<\/character>\n    <dialogue>{remembers)<\/dialogue>\n    <scene_description>'\u2022\u2022&lt; There's no rain in the sky.<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>Certain there is. Who are you?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>A knight. My name is ... Ulrich.<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I have word, Master Thatcher. Word of your son.<\/dialogue>\n    <scene_description>The only sound is water dripping from a leak in the roof.<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>Of my William? Come in, sir.<\/dialogue>\n    <scene_description>William enters. His father staring even though he's blind.<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>What word? Does he live?<\/dialogue>\n    <scene_description>William places his hand on his father's shoulder.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Oh yes. He's very well. He wanted you to know ... he changed his stars after all.<\/dialogue>\n    <scene_description>William's father covers his face with his hands. It takes him a long time to find his voice again.<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>And has he found his way home at last?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>Yes ...<\/dialogue>\n    <scene_description>William's father reaches up, blindly touches William's chest, traces the emblem on his tunic, reaches up and touches his son's face.<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>Oh, William. Oh my boy ...<\/dialogue>\n    <scene_description>And he cries. And just for a minute William is ten years old again. And as he melts into his father's arms ... DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>(,.,....\\_\\_\\_\\_, EXT. WINDOW - THE SOLAR - NIGHT<\/stage_direction>\n    <scene_description>:\\ ,; '\"&lt;. The rain falls. A warm glow shines from inside. No more crying. We hear laughter. Joy has shown its other face.<\/scene_description>\n    <character>FATHER I S VOICE<\/character>\n    <dialogue>I should like to meet this Wat. And Roland, as well.<\/dialogue>\n    <character>WILLIAM'S VOICE<\/character>\n    <dialogue>You will, father. You will.<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>THE SOLAR - NIGHT<\/dialogue>\n    <scene_description>William smiles to see his father laugh. Candles burn. There's food all around. Wine.<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>And what of women?\u00b7 Is there a certain one or many?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>There is a certain one.<\/dialogue>\n    <scene_description>A quiet beat. William looks up to the ceiling where the rain drips down.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>But this leak won't do, father! Not in the chamber of a thatcher.<\/dialogue>\n    <character>FATHER<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>For a blind thatcher it's quite fitting.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>LANE - LONDON BRIDGE - NIGHT<\/dialogue>\n    <scene_description>Germaine's spy rides up, stops in the shadows. Count Adhemar rides up, stopping alongside him. The spy point~ up toward the lit window of the solar.<\/scene_description>\n    <character>SPY<\/character>\n    <dialogue>Up there, M' lord. .All day long.<\/dialogue>\n    <scene_description>As Adhemar wonders, they see William climb out of the window, pull himself easily up onto the roof. Curiosity raging, Adhemar gives the spy his reins, dismounts.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>Wait here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRS - LONDON BRIDGE APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Adhemar makes his way up. He reaches the top, looks in ... THE SOLAR Where William's father sits alone. Drip, drip. Seeing he's blind, Adhemar enters. His feet creak on the floor.<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>William ...<\/dialogue>\n    <scene_description>William's father holds out his hand ...<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>Give me your hand, son.<\/dialogue>\n    <scene_description>Adhemar steps over, places his hand in the old man's.<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>They're strong. But not scared like a thatcher's. Truly, you've the hands of a knight.<\/dialogue>\n    <scene_description>A creak overhead and then the dripping stops. Then:<\/scene_description>\n    <character>WILLIAM'S MUFFLED VOICE<\/character>\n    <dialogue>I think I did it, father!<\/dialogue>\n    <scene_description>William's father lets go, draws his own hands back.<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <scene_description>Adhemar smiles to himself, then quietly slips away out the door. William's father reaches out, but only touches air.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKY OVER LONDON - MORNING<\/stage_direction>\n    <scene_description>Dead gray and then a break in the clouds. Sunlight streams down like God himself was reaching down. Maybe he's got tickets to the tournament.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRANDSTANDS - LONDON LISTS - DAY<\/stage_direction>\n    <scene_description>Flourishing fanfares from the trumpeters as spectators fill the seats. A glorious day for sport.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTYARD GARDEN - DAY<\/stage_direction>\n    <scene_description>Seen from above. Jocelyn walks silently among the blooms. In love. She smells one flower, puts another in her hair and twists the stem of a third between her fingertips. Christiana enters with Adhemar in tow. She presents him with a half-apologetic shrug. Jocelyn smiles and dismisses her. As Christiana leaves, Adhemar begins to speak. Serious, his best heavy-hearted news look on his face as he tells Jocelyn something. Her smiles fades as she listens. The flower slips from her hand, falls to the ground. She looks for a moment, like her knees are going to buckle. Adhemar steps forward, places a hand on her shoulder. His foot crushing the flower as he does so. The lip readers in the audience will be able to make out: \"I'm sorry.\" The fire returns to her eyes as \u00b7she looks back at him. And she slaps him! Hard enough to turn his face. Adhemar looks back; she slaps him harder. This girl's got an arm on her. Jocelyn turns and walks out of the garden. Adhemar dabs at th~ blood running from his nose. So it goes for messengers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAVILION - DAY<\/stage_direction>\n    <scene_description>Kate nails a horseshoe onto the chestnut's hoof. Wat and Roland get an ebullient William's armor on and cinched, can't help but grin as he tells them:<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Alive! Can you imagine. And I thought he was dead, which is mad. He was always.the strongest man on the bridge. Always! I remember once --<\/dialogue>\n    <scene_description>Chaucer enters with Jocelyn. They both look terrible.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Geoff. Jocelyn. This day just gets better!<\/dialogue>\n    <scene_description>They just stand there; neither can bring themselves to tell him. As William catches the vibe, so does Roland:<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>Did someone die?<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>Sir Ulrich van Lichtenstein. They'll bury him any moment now.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JOCELYN<\/character>\n    <dialogue>Adhemar followed you last night. To London Bridge. He says he saw your father.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>He may have. I don't know.<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>I was asked for your patents. They're waiting at the lists. They're going to arrest you.<\/dialogue>\n    <scene_description>William says nothing. He's eerily calm.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>I saw them myself. A dozen royal guard. They'll take you to the stocks in Cheapside.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>But I face Adhemar. In five minutes time.<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>No. It's a forfeit. They've already marked it.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>Saddle the horses! They can arrest your baggage, not you.<\/dialogue>\n    <scene_description>As Wat and Kate begin to move:<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Hold!<\/dialogue>\n    <parenthetical>(turns to Jocelyn)<\/parenthetical>\n    <dialogue>What do you think? Now that you know what I am.<\/dialogue>\n    <character>JOCELYN<\/character>\n    <dialogue>To know what you are, William, would take a lifetime. One I am most willing to give. But right now, you must run. What else is there to do? Run and I'll run with you.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I cannot run. I am a knight. I will put myself to the hazard.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>A knight in your heart, but not on paper. And paper is all that matters to them.<\/dialogue>\n    <scene_description>He just shakes his head, still can believe this.<\/scene_description>\n    <character>JOCELYN<\/character>\n    <dialogue>William, I love you. I love you. And I won't see you led away. Bound. For the stocks.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>But you would see me run? No.<\/dialogue>\n    <character>JOCELYN<\/character>\n    <dialogue>Goddamn your pride! You won't see you run.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>My pride is the only thing they can't take from me.<\/dialogue>\n    <character>JOCELYN<\/character>\n    <dialogue>Oh but they can. And will. It's love they cannot take.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>And where will we live?! In my hovel, with the pigs inside for the winter so they won't freeze?<\/dialogue>\n    <scene_description>The tears on her cheek are heartbreaking.<\/scene_description>\n    <character>JOCELYN<\/character>\n    <dialogue>Yes. With the pigs, by God, with the pigs!<\/dialogue>\n    <scene_description>(then softly} The poor can marry for love. WILLIAM You speak of what you don't know. There's more money in the dress you wear than we would see in a year. The poor don't have time to love; they're too busy trying to stay alive.<\/scene_description>\n    <character>JOCELYN<\/character>\n    <parenthetical>(raw: open)<\/parenthetical>\n    <dialogue>William, I beg you. Please.<\/dialogue>\n    <scene_description>He can't face her on that one; he turns to Roland.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Roland, you would have me run?<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>(choked up} Yes. WILLIAM And, Geoff? You? CHAUCER I beg it as well. With all the<\/dialogue>\n    <scene_description>pieces of my heart. William turns to the toughest one of the bunch.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Wat? Run? Are we runners now?<\/dialogue>\n    <scene_description>The tough little nut is actually crying.<\/scene_description>\n    <character>WAT<\/character>\n    <dialogue>Aye, Will. Today we are.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Run, William.<\/dialogue>\n    <scene_description>They're all in agreement, except:<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>I will not runl For nothing! For no one!<\/dialogue>\n    <scene_description>Furious, William fastens the last strap on his chest armor himself. Mounting his horse, he rides out. Roland, Chaucer and Wat exchange a look, a sig~, then hurry after him. Jocelyn watches him go.<\/scene_description>\n    <character>JOCELYN<\/character>\n    <dialogue>I want to fly away from him. But if he didn't follow, I think I would die.<\/dialogue>\n    <scene_description>Kate puts a comforting hand on Jocelyn's shoulder, then hurries after William herself. Leaving Jocelyn all alone. HERO SHOT William riding toward us, flanked by Chaucer, Roland, Wat ' and Kate. They look grim. They also look as noble as the Royal family itself. And as they ride out onto the list ... LONDON KING-OF-ARMS Turning, watching with contempt, then moving to intercept William as he takes the starting position. Accompanied by another official and soon after the DOZEN ROYAL GUARDSMEN.<\/scene_description>\n    <character>LONDON KING-OF-ARMS<\/character>\n    <dialogue>You will remove yourself from this position of honor.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I am here to compete.<\/dialogue>\n    <character>LONDON KING-OF-ARMS<\/character>\n    <dialogue>You are here to be arrested.<\/dialogue>\n    <scene_description>The king of arms takes hold of the reins. William shoves him back. It ends less than nobly, with half the royal guard hauling William from his horse, the other holding Wat and Roland and Kate back as William is taken forcibly away.<\/scene_description>\n    <character>CUT<\/character>\n    <dialogue>INT.<\/dialogue>\n    <character>TO:\u00b7<\/character>\n    <dialogue>CELL - DAY<\/dialogue>\n    <scene_description>William alone. Arms bound to a wooden pole that runs across his back. The cell door opens. Adhemar enters. Carryi~g a wooden club, Adhemar picks up a piece of straw off the cell floor, holds it out for William to see.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>He that strives to touch a star, oft stumbles at a simple straw.<\/dialogue>\n    <scene_description>Adhemar waits for an answer. William looks away, is going to give as little satisfaction as he possibly can.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>You have been weighed.<\/dialogue>\n    <scene_description>WHUMP as Adhemar swings the club into William's side.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>Measured.<\/dialogue>\n    <scene_description>WHUMP! He swings it in again.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>And found wanting.<\/dialogue>\n    <scene_description>A final swing drops William to the ground. Finally Adhemar's pulse is over 60. As he turns, exits ...<\/scene_description>\n    <character>CUT<\/character>\n    <dialogue>115.<\/dialogue>\n    <character>TO:<\/character>\n    <dialogue>EXT.<\/dialogue>\n    <dialogue>An ugly, albeit boisterous, crowd has gathered. Most have<\/dialogue>\n    <character>STOCKS - CHEAPSIDE - DAY<\/character>\n    <dialogue>something in hand to throw. As William is placed hands and head in the stocks, a STREET CORNER PRIEST announces:<\/dialogue>\n    <character>S.C. PRIEST<\/character>\n    <dialogue>From the devil he came and to the devil he will go!<\/dialogue>\n    <scene_description>The crowd cheers. William looks broken more in spirit than body. The guardsmen step away. He's fair game now. But there's a rhythm to it. First come the taunts. The sad thing is, they're going after one of their own. Standing to one side FIVE HOODED MONKS stop to check it out. One exuberant youth rushes out of the crowd, cuffs William on the ear then dashes back. He's applauded. But as he rushes back to do it again, he bounces off Roland's chest. Roland has stepped out in front of the stocks, a HEAVY CLUB in his hand. He's anything but a big, gentle seamstress now. The youth scrambles back to the safety of the mob. Suddenly, Roland just howls at them. As they quiet ...<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Leave me, Roland, I won't have it.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>God love you, William. So do I.<\/dialogue>\n    <scene_description>A YOUNG MAN flings a rock. Reacting instinctively, Roland swings the club, WHACK!, sending a line drive over their heads which smashes through a window. As Roland considers the club, amazed, Wat appears ballistic.<\/scene_description>\n    <character>WAT<\/character>\n    <dialogue>Go! Disperse! Or I will fong each and every one of you, as Jesus Christ the Nazarene and his mother the most Holy Virgin Mary are my witnesses, I will fong each and every one of you up the hole of your arse!<\/dialogue>\n    <scene_description>A BEHEMOTH steps from the crowd, looms, eclipsing Wat.<\/scene_description>\n    <character>BEHEMOTH<\/character>\n    <dialogue>What was that?<\/dialogue>\n    <scene_description>Wat socks his nose. Behemoth covers it with both hands. ,, --( BEHEMOTH You broke my nose ... '~\\ WAT i\\. &lt;\\_ Good. Then you won't feel this. Wat kicks him in the balls for all he's worth. ANOTHER ANGLE as Behemoth falls away to reveal the little mixer. Chaucer appears alongside William And Kate is here as well, a forge hammer in either hand.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>It may be, William, that the purpose of your life is to serve as a warning to others.<\/dialogue>\n    <scene_description>The crowd is really starting to feel dangerous now. It's two hundred vs. four as Wat, Roland, Chaucer and Kate link arms, form a human shield in front of William. The crowd closes. A hunk of rotten vegetable sails overhead, splats on a wall beyond. A stick pinwheels by after it. But our four stand firm; it's all for one time.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>Listen to me! Listen! We're cut from the same cloth you and us!<\/dialogue>\n    <scene_description>A hunk of some old food sails in, splats across Chaucer's chest. The crowd laughs with a kind of killer instinct. Chaucer dabs at his chest, takes a taste, looks up.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>Mother? Is my mother here?! I'd recognize that taste anywhere.<\/dialogue>\n    <scene_description>That gets a genuine laugh from the crowd. Chaucer seizes it. As he pretends to search for her ...<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>You at least go home, mum! I'll tell you tonight how, it turns out!<\/dialogue>\n    <scene_description>Another laugh, even the five hooded monks seem to chuckle.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>I hope it's good news, mum! I hope I can tell you that I convinced these good people to leave my lord William unharmed! Or at least not to hurt him any worse than he already is. For I have never seen a heart like the one that beats inside this man! Great it is with all the virtues risen of pride! Forthright and<\/dialogue>\n    <scene_description>free! Courageous and constant! And most of all filled with hope! At least until today. And what fills it now? I don't know for he won't speak of it. Chaucer looks back at William who finally looks up from the ground to one who has proven to be a most loyal herald.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>I ask! What makes a man noble? His lineage or his heart?!<\/dialogue>\n    <character>VOICE IN THE CROWD<\/character>\n    <dialogue>His heart!<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>Of course! Thank you, mother! You can go home now!<\/dialogue>\n    <scene_description>Warm laughter. Chaucer has them in the palm of his hand.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>And what are the knightly virtues? And who may possess them!? My Lord was born poor! On London Bridge! But he is as true as steel! No truer! For he is like gold to me and to all who truly know him.<\/dialogue>\n    <scene_description>Affirmative nods from William's assembled body guards.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>And you people would come here and see him rust. For shame. For shame. For if gold would rust, what should iron do?<\/dialogue>\n    <scene_description>The words echo across the silence. Indeed, they do feel shame. Chaucer may have saved him.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>Leave him now. Leave him to his sorrow. Isn't that en~ugh?<\/dialogue>\n    <character>VOICES IN CROWD<\/character>\n    <dialogue>Ulrich! Ulrich!<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>His name is William!<\/dialogue>\n    <scene_description>\"William!\" it is. Another voice takes up his name and soon they're chanting it, stomping their feet, like they did in the grandstands. Wat steps to Chaucer, embraces him. And then ... The five monks start forward, one in the lead. He flings off his cowl and cape with a flourish. It's Edward the Black Prince! The other four: knights of his household. A BUZZ runs the crowd as he's recognized. He looks at them all, finally resting his eyes on William.<\/scene_description>\n    <character>THE BLACK PRINCE<\/character>\n    <dialogue>What a pair we make. Both trying to hide who we are. Both unable to do so ... Your men love you. If I knew nothing else about you, that it would be enough.<\/dialogue>\n    <parenthetical>(to guard)<\/parenthetical>\n    <dialogue>Release him.<\/dialogue>\n    <scene_description>William is unlocked from the stocks. The Black Prince motions him over.<\/scene_description>\n    <character>THE BLACK PRINCE<\/character>\n    <dialogue>Please.<\/dialogue>\n    <scene_description>William steps over, moving like a man recently beaten with a club. The Black Prince looks to the crowd, wings it.<\/scene_description>\n    <character>THE BLACK PRINCE<\/character>\n    <dialogue>He may appear to be of humble origins, but my personal historians have discovered he is descendent from an ancient royal line! This is my word and as such is beyond contestation!<\/dialogue>\n    <scene_description>The Black Prince draws his sword, looks to William.<\/scene_description>\n    <character>THE BLACK PRINCE<\/character>\n    <dialogue>If I may repay the kindness you once showed me. Take a knee.<\/dialogue>\n    <scene_description>It hurts, but William manages to get to one .knee.<\/scene_description>\n    <character>THE BLACK PRINCE<\/character>\n    <dialogue>By all the witnesses here, I dub thee ... Sir William!<\/dialogue>\n    <scene_description>Edward touches his sword flat to both William's shoulders, knighting him. He then gives William a hand to his feet.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Thank you, lord.<\/dialogue>\n    <character>THE BLACK PRINCE<\/character>\n    <dialogue>Can you joust?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>THE BLACK PRINCE<\/character>\n    <dialogue>There's my tournament to finish. Now are you fit to compete or shall the forfeit stand?<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>I'm fit.<\/dialogue>\n    <character>THE BLACK PRINCE<\/character>\n    <dialogue>I'll have your opponent informed of it. To the lists!<\/dialogue>\n    <scene_description>As William turns in disbelief to Wat and Roland ...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LISTS - WORLD CHAMPIONSHIPS - LONDON - DAY<\/stage_direction>\n    <scene_description>S-R-0. The place is rocking. The Black Prince takes the royal box. At one end of the list Germaine introduces ... COUNT ADHEMAR As Germaine drones, Adhernar is on foot conferring with his squire and varlets. They're in a circle examining a lance. Adhernar looks at the coronel on the tip.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>Are you sure?<\/dialogue>\n    <character>VARLET<\/character>\n    <dialogue>Aye. It's nothing but spun sugar and boot black.<\/dialogue>\n    <scene_description>Adhernar puts.his fist around the coronel. It turns to dust in his hand revealing a lethal-looking point. Adhemar casually snaps off the tip so no one sees.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>Bring me another.<\/dialogue>\n    <scene_description>As Adhemar mounts his remarkable black horse ... WILLIAM Staring up in the stands. The seats Jocelyn usually occupies are empty. She's not here. William tries to get up on the chestnut, but it hurts. As Wat and Roland get him into the saddle ... Chaucer hands him his lance.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>It's a small target, Will, but aim for his heart.<\/dialogue>\n    <scene_description>COUNT ADHEMAR Given his lance as well. We just see him smile at his cruel secret before lowering his visor. THE BLACK PRINCE Nods at ... A Tourney official who drops the start flag. LISTS And we're overhead, dropping down as the two riders hurtle for the point of impact. William's lance deflects unbroken off Adhernar's armor, even as Adhemar lance penetrates William's armor. William howls as the lance shatters, leaving the last two feet sticking out of William's right shoulder. As William corkscrews off to the left ... One flag goes up for Adhemar, none for William. Wat and Roland catch up to William. He's in agony although it doesn't look lethal.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>I'll fetch the surgeon, Will.<\/dialogue>\n    <character>W;\\[LLIAM<\/character>\n    <dialogue>No. You're the surgeon now.<\/dialogue>\n    <parenthetical>(Roland hesitates)<\/parenthetical>\n    <dialogue>Be quick.<\/dialogue>\n    <scene_description>Roland reaches up, wrenches the head of the lance free. William shudders, but holds. Roland touches a fingertip to the bloody, very sharp point. Wat looks back over his shoulder to where Adhemar waits back in position one.<\/scene_description>\n    <character>WAT<\/character>\n    <dialogue>Dirty sonuvabitch ...<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>To one. Get me to one or I forfeit.<\/dialogue>\n    <scene_description>As Roland leads William back to the starting point, Wat rushes over to a FIELD OFFICIAL.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ADHEMAR - LISTS - DAY<\/stage_direction>\n    <scene_description>The field official steps over to Adhemar who waits, 2nd lance in hand.<\/scene_description>\n    <character>FIELD OFFICIAL<\/character>\n    <dialogue>I'm sorry, Count Adhemar, but your opponent has bid me examine your coronal.<\/dialogue>\n    <scene_description>With disdain, Adhemar lowers his lance. The field official grabs hold, tries to wrench it off. Legitimate, it doesn't budge. As the \u00b7field official waves the protest off ... WILLIAM Receives his lance from Wat. They set the end in the cradle. But as William tries to grip, he winces in pain.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>I can barely grip it.<\/dialogue>\n    <scene_description>Wat and Roland don't know what to say. With the shoulder wound, the arm is barely functional. TOURNEY OFFICIAL Drops the flag. LISTS The two knights ride at each other. As.William lowers his lance, he can't control it. As it pitches wildly ... SHATTER! Adhemar's lance breaks squarely, cleanly, and most of all, heavily across William's chest. Once again Wat and Roland rush over. William's armor is caved in. He pulls off his helmet, in great discomfort.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Can't breathe. Can't<\/dialogue>\n    <scene_description>Wat and Roland reach up, undo the straps to remove the breast plate. William's tunic is bloody on the right side. It's two flags to none as Adhemar reins up across the list.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>If you'd like to keep your honor, I'll ride the third pass clean so you won't have to withdraw.<\/dialogue>\n    <scene_description>I: ,.,,....,,..-,\"\"\"' Only his eyes give away that he's mocking. But then, i ' Chaucer is there. &lt;...{\\_<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>William. She's here!<\/dialogue>\n    <scene_description>Chaucer points: Jocelyn makes her way down to her seats with Christiana. Between them, they lead William's father!<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>She bids you wear this token.<\/dialogue>\n    <scene_description>Chaucer holds up a short surcoat. Embroidered in the middle: a HEART with a CROWN over it. Beneath it the words: armor vincit omnia. Love conquers all. William looks at Adhemar.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Let's dance you and I.<\/dialogue>\n    <scene_description>Adhemar nods, wheels, starts back to one.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>{re: surcoat)<\/dialogue>\n    <scene_description>Help me with it. They get it on him. It' looks good. And it hides the blood. As Wat leads the horse back to one.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>It's two lances to none. You must unhorse him or kill him. That's the only way to win.<\/dialogue>\n    <character>WILLIAM'S POSITION ONE<\/character>\n    <dialogue>As William turns to face Adhemar.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>My lance!<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>Your breastplate first.<\/dialogue>\n    <character>WILLIAM<\/character>\n    <dialogue>No. I can't move in it.<\/dialogue>\n    <scene_description>Wat gives the lance to William who nearly drops it.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>Lash it to my arm ... Do it.<\/dialogue>\n    <scene_description>Wat and Roland exchange an awful look. As Roland nods, William closes his hand around it. As they start to bind a long strip of rawhide around his hand and forearm ... ADHEMAR Sits on his horse. His squire slides a piece of wood into a slot in the back of the saddle. It raises the back six inches. No way Adhemar's getting knocked off this horse. IN THE GRANDSTANDS The crowd is going crazy as Chaucer steps before it.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>Lords! Ladies! People! I've been remiss in my introduction! May I present my lord! Born on London Bridge and here before you now! William Thatcher! Son of John Thatcher!<\/dialogue>\n    <scene_description>Jocelyn takes William's father's hand in hers. LISTS William hadn't expected it. Invigorated by the words, he rides to his start position under big applause. TOURNEY OFFICIAL He raises the flag. Trumpets blow and.down it comes! ADHEMAR Digs in, heaves forward. Ready to crush any living thing. WILLIAM Riding. His helmet jostling. He flings it off with his left hand, continues. His life flashes by with each stride. A flash of the boy watching the parade from the back of the horse is superimposed for a moment.<\/scene_description>\n    <character>YOUNG WILLIAM'S VOICE<\/character>\n    <dialogue>Someday I'll be a knight.<\/dialogue>\n    <scene_description>,\"\\ TOOTHLESS' VOICE \\ ) The son of a thatcher? You might \u00b7\u00b7\u00b7&lt;.. as well try to change the stars. A flash of William, Wat and Roland at the crossroads.<\/scene_description>\n    <character>ROLAND'S VOICE<\/character>\n    <dialogue>God love you, William. No one\u00b7 else will.<\/dialogue>\n    <scene_description>A flash of Jocelyn, the first time William saw her in the streets of Rouen.<\/scene_description>\n    <character>WILLIAM'S VOICE<\/character>\n    <dialogue>She makes me feel like a poet.<\/dialogue>\n    <scene_description>William grits his teeth, leans into his lance.<\/scene_description>\n    <character>CHAUCER'S VOICE<\/character>\n    <dialogue>Enforrrcerrr of the Lord God ...<\/dialogue>\n    <scene_description>A flash as for a moment William is a ten year old boy on horseback, lance and all.<\/scene_description>\n    <character>YOUNG WILLIAM'S VOICE<\/character>\n    <dialogue>Father, look. The stars.<\/dialogue>\n    <character>FATHER'S VOICE<\/character>\n    <dialogue>Change them, William. Change yours.<\/dialogue>\n    <scene_description>And the boy is a man again, his lance exploding across Adhemar's chest. It's that zen thing about the archer actually aiming at himself.<\/scene_description>\n    <character>ADHEMAR<\/character>\n    <dialogue>Villains get their comeuppance in movies at least. As the back of his saddle snaps off and he tumbles head over heels off the rump of his horse. He falls in slow motion as we flash forward to the near future where Wat leans over him.<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>You have been weighed.<\/dialogue>\n    <scene_description>Roland leans over him. The smile is huge.<\/scene_description>\n    <character>ROLAND<\/character>\n    <dialogue>You have been measured.<\/dialogue>\n    <scene_description>Chaucer leans over him.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>And you absolutely have been found wanting.<\/dialogue>\n    <scene_description>Finally William. Only now Adhemar is locked in the stocks.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>God save you if it is right that he should do so.<\/dialogue>\n    <scene_description>Return to real speed as Adhemar connects with the tournament ground like a 200 pound sack of potatoes. THREE WHITE FLAGS Go up for William. He's won! THE CROWD Goes nuts! THE BLACK PRINCE Smiles, laughs to himself. WILLIAM Rides back, high fives Roland and Chaucer and Kate with his\u00b7 left hand while Wat cuts the lance handle off his right. Then he turns and rides toward the grandstands. Chaucer shares a monumental decision with Wat and Roland.<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>I will not write my tales in Latin. But in English! Write them about common people as well as knights and nobles.<\/dialogue>\n    <character>ROLAND<\/character>\n    <dialogue>The hell are you talking about?<\/dialogue>\n    <character>CHAUCER<\/character>\n    <dialogue>Don't you see, Roland? All human activity lies within the artist's scope. All of it!<\/dialogue>\n    <character>WAT<\/character>\n    <dialogue>What he's saying is, there's no translation in Latin for: I'll fang you up the hole in your arse.<\/dialogue>\n    <scene_description>126 . .:<\/scene_description>\n    <character>CHAUCER<\/character>\n    <dialogue>Exactly.<\/dialogue>\n    <scene_description>STANDS William reaches in from his horse to embrace his father. Then he looks to Jocelyn, gravely, humbly.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <dialogue>To know you would take two life- times. Could you ride with me now so that I may begin to\u00b7 learn?<\/dialogue>\n    <character>JOCELYN<\/character>\n    <dialogue>Of course. But I'm really quite simple.<\/dialogue>\n    <scene_description>Then he pulls Jocelyn onto his horse, kissing her forever. And as they ride across the length of the list to the cheers of the adoring crowd, what else? Gary Glitter's \"Rock and Roll #2.\" Freeze Frame. Roll Credits. The End.<\/scene_description>\n  <\/scene>\n<\/script>","summary":"At a jousting tournament in 14th-century Europe, squires William Thatcher, Roland, and Wat discover that their master, Sir Ector, has died. With one more pass, he could have won the tournament. Destitute, William wears Sir Ector's armour to impersonate him, taking the prize. Although only nobles are allowed in tournaments, William is inspired to compete and win more prizes. Roland and Wat would rather take their winnings and leave, but William convinces them to stay and help him train. While traveling, they encounter a young Geoffrey Chaucer, who is also destitute and agrees to forge a patent of nobility so William can enter, assuming the name of \"Sir Ulrich von Liechtenstein\" from Gelderland. But William is brought before Simon the Summoner and Peter the Pardoner: Chaucer has a gambling problem and is in their debt. William demands Chaucer be released and promises payment. During the competition, William's armour is badly damaged; he goads Kate, a female blacksmith, into repairing it without payment. He wins the tournament's sword event, enabling him to pay Chaucer's debt. In the joust, he faces Sir Thomas Colville, who withdraws from the tournament after being injured by William, though they exchange a ceremonial pass so that Colville can retain the honour of never having failed to complete a match. The proceedings are observed by Jocelyn, a noblewoman with whom William has become infatuated, and Count Adhemar of Anjou, a rival both in the joust and for Jocelyn's heart. In the final joust, Adhemar defeats William. William vows revenge, but Adhemar taunts him, \"You have been weighed, you have been measured, and you have been found wanting.\" Kate joins William's party and forges new lightweight armour. In the following tournament, Adhemar and William are both assigned to tilt against Sir Thomas Colville, but they learn that he is actually Prince Edward, the heir apparent to the English throne. Unwilling to risk harming him, Adhemar withdraws; but William chooses to joust against Edward anyway and then addresses him by name, further earning his respect. Adhemar is called away to the Battle of Poitiers, and William achieves several victories in his absence. William proves his love for Jocelyn by complying when she first asks him to deliberately lose (in contrast to knights who promise to win \"in her name\"), and then, just before he would be eliminated, to win the tournament after all. The group travels to London for the World Championship. William recalls leaving his father to squire for Sir Ector and learn to become a knight, hoping to \"change his stars\". Adhemar has also arrived in London and announces that he is in negotiations with Jocelyn's father for her hand in marriage. William dominates at the tournament, but is seen visiting his now-blind father. Adhemar alerts the authorities to William's true identity. William is arrested and placed in the pillory, but is defended from the hostile crowd by his friends. Just as the mob reaches its frenzy, Prince Edward reveals himself. He acknowledges William's honour and an ability to inspire his friends' dedication that is in the best traditions of knighthood. Edward then announces that William is in fact descended from an ancient noble family, and knights him \"Sir William\". He asserts that as Prince-royal, his declaration is \"beyond contestation\". William returns to the tournament to face Adhemar in the final match, but Adhemar cheats with an illegally sharpened lance, seriously injuring William. Entering the final pass, William is losing by two lances and must unhorse Adhemar to win. He demands to be stripped of his armour while Chaucer buys time by performing the introduction of William that he omitted earlier. William, unable to hold the lance due to his injuries, asks Wat to strap it to his arm. Finally, he tilts against Adhemar, with his father and Jocelyn in attendance. Bellowing his true name as he charges, he knocks Adhemar to the ground with a crushing blow; Adhemar experiences a vision of William and his friends mockingly telling him that he has been \"weighed, measured, and found wanting\". With this final blow, William wins the world championship. In the ensuing celebration, as Jocelyn and William embrace, Chaucer remarks that he should write an account of these events."}
{"movie_name":"I Know What You Did Last Summer_1997","imdb_id":"tt0119345","script":"<script>\n  <scene>\n    <stage_direction>EXT. <\/stage_direction>\n    <scene_description>Camera pan over the ocean and around reapers curve . Camera zero 's in on a man sitting on top of reapers curve holding a silver medallion that says `` I love you '' . The man is drinking . Fireworks are set off , it 's the 4th of july .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - The croaker parade<\/stage_direction>\n    <scene_description>Floats are up and down the street and people are cheering .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. The Croaker queen contest.<\/stage_direction>\n    <character>MC<\/character>\n    <dialogue>That's got to be the prettiest girl we've ever had in this competition, I tell you. Now let's welcome back our six finalist on stage, come on back out girls. There they are, pretty as can be I tell ya. were proud of you girls. you've worked hard.<\/dialogue>\n    <scene_description>On the balcony . Barry Cox , Julie James and Ray Bronson are cheering on Helen Shiver .<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>Look at her she was born for this.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>I never knew her breasts were so, ample.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>She does these exercises to pump'em up.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Guys, I'm on sexist overdrive as it is, kill the commentary.<\/dialogue>\n    <scene_description>Back on stage<\/scene_description>\n    <character>MC<\/character>\n    <dialogue>Now in the spirit of Mother Teresa what will be your comtribution to your community and the world at large?<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Well Bob, at summers end I plan to move to New York City where I will pursue a career as a serious actress, it's my goal to entertain the world through artistic expression, through art, I shall serve my country.<\/dialogue>\n    <scene_description>Back to the balcony<\/scene_description>\n    <character>Ray<\/character>\n    <dialogue>Do you believe all this shit?<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Work it babe. Their eating it up, look she's incredible.<\/dialogue>\n    <scene_description>Back to stage<\/scene_description>\n    <character>MC<\/character>\n    <dialogue>And now. this years Croaker Queen is. Miss Helen Shivers<\/dialogue>\n    <scene_description>The crowd cheers as the announcers gives Helen her crown and septor .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>That's my girlfriend, yeah!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. The streets of SouthPort<\/stage_direction>\n    <scene_description>On the street the song My Baby 's Got The Strangest Ways is being preformed live by Southern Culture on the skids a hundreds of locals are parting . Helen and Julie walk in .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>How's my hair?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Hurricane proof.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Hey, it's all about the hair do n't you forget that. especially when you become some big hot shot laywer those professional women types thinks its all about brains and ability and compleatly ignore the do'.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>So the do's vital, got it.<\/dialogue>\n    <scene_description>Helens sister Elsa appears .<\/scene_description>\n    <character>Elsa<\/character>\n    <dialogue>Hey you riding with me?<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>No tell mom I'll be home late.<\/dialogue>\n    <character>Elsa<\/character>\n    <dialogue>Ah is little miss Croaker getting sauteed tonight?<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Oh a twit with a wit.<\/dialogue>\n    <character>Elsa<\/character>\n    <dialogue>Eat me.<\/dialogue>\n    <scene_description>Max runs up to Julie<\/scene_description>\n    <character>Max<\/character>\n    <dialogue>Hey Julie, I brought you a shooter on the house.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Oh thanks Max but I have this mental block, ca n't get past the slime.<\/dialogue>\n    <character>Max<\/character>\n    <dialogue>How about I take you out before you leave town, you know kind of a bon voyage.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Ah you know, I do n't think so.<\/dialogue>\n    <character>Max<\/character>\n    <dialogue>We've been friends since forever, now you cant just leave without farewell right?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Right.<\/dialogue>\n    <scene_description>Barry and Ray walk up . Barry takes the shooter from Max .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>A toast to us, to our last summer of immature, adolecant decandence.<\/dialogue>\n    <scene_description>He drinks the shooter<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>Somebody's buzzed.<\/dialogue>\n    <character>Barry<\/character>\n    <parenthetical>( To Max . )<\/parenthetical>\n    <dialogue>Yo chumbake, take a hike.<\/dialogue>\n    <scene_description>Barry then pushes Max to the ground and a fight breaks out . Ray pulls them apart .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>Barry their just friends.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Okay Ray just taking care of your girl like I promised.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>Thanks, Buddie, now lets blow.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Yeah okay, lets beem down to Dawson's beach. Enjoy a ride?<\/dialogue>\n    <character>Julie<\/character>\n    <parenthetical>( To Max . )<\/parenthetical>\n    <dialogue>Bye.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. Reapers curve<\/stage_direction>\n    <scene_description>Driving along the highway , driving very dangerously .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SouthPort beach<\/stage_direction>\n    <scene_description>The four friends are on the beach .<\/scene_description>\n    <character>Ray<\/character>\n    <dialogue>So the boy and girl are making out right? When they hear over the radio that this lunatic killer's escaped from an insane asylum, he gots this long sharp hook for a hand.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>No, you're telling it wrong.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>Shut Up! So the girl, she gets all scared right? And the boy, all hot and bothered, he gets pissed and peels out.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>No, no, no no. That's not the way it goes, okay the boy goes for help and the girl stays in the car and she hears this scratching sound.<\/dialogue>\n    <character>Helen<\/character>\n    <parenthetical>( interupting . )<\/parenthetical>\n    <dialogue>It's not a scratching sound, it's a drip, drip, drip.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>No. its scartching because the guys been hung from a tree limb and his feet are scratching on the roof of the car.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>No, he's been decapitated and it's the blood for his severed neck that's dripping on the car going drip, drip, drip.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>No he was n't decapitated, he was gutted with a hook. That's the way I heard it.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>You're all wrong, they get back to the girls house and find the lunatics bloody hook in the car door. Now that's the original story, that's the way it really happened.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Hey, hey none of it really happened, it's a bullshit ghost story to begin with.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>No it's not, it's true.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Yeah I do n't think so Ray<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>I swear it.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Please, it's a fictional story created to warn young girls of the dangers of having premarital sex.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>Well actually honey, you know how terrified I am of your IQ but it's an urban legend, american folklore and they all usually originate from some real life incident.<\/dialogue>\n    <scene_description>Ray smiles . Some time has passed on the beach and Helen is running around while Barry is laying on the ground .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>So by that time, I will just be finishing my two year contract on Guiding Light, coinciding with your first year as starting quaterback for the steelers.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Cowboys!<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Whatever. Then we can elope in Europe or the Caymans or wherever where I will let you impregnate me with the first of thrre children, before you head off to rehab and then we can live hapily.<\/dialogue>\n    <scene_description>Another part of the beach . Julie is walking alone on the beach calling out for Ray .<\/scene_description>\n    <character>Ray<\/character>\n    <parenthetical>( running behind her . )<\/parenthetical>\n    <dialogue>I'm gon na hook you!<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Hey Ray you do n't really believe all that crap do you?<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>That's true.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Please, it's really a phallic symbol.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>Oh really?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Yeah ultimatly castrated. God I'm gon na miss you.<\/dialogue>\n    <scene_description>They sit down on the sand .<\/scene_description>\n    <character>Ray<\/character>\n    <dialogue>You do n't have to, you can always ditch this Boston thing and come to New York with me.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Yeah well we ca n't all sit in the village coffee house and ramble esoterically on our laptops. There just is n't enough room.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>See, no one gets me the way you do.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>I understand your pain<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>Precisely.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>I hate this. I really hate this. You're gon na go off and fall for some head shaving - black wearing - tattoo covered - body peircing philosophy student.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>That sounds attractive.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>And I'll never see you again.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>Hey, did you know the success rate of high school sweetheart realationships is higher than any other type of relationship?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Yeah? Name your source.<\/dialogue>\n    <scene_description>Ray then puts his hand on his heart . Julie begins to remove her jacket .<\/scene_description>\n    <character>Ray<\/character>\n    <dialogue>Are you sure?<\/dialogue>\n    <scene_description>Julie nods yes . Music comes up and the two begin to kiss as they lay on the ground . Cut to - Helen and Barry at Barry 's car . Barry wa n't the keys to his car .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>Okay manmeat give me the keys.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Who's car is this? Nobody drives my car but me.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>I know that baby but the Croaker Queen has to get home now.<\/dialogue>\n    <scene_description>Helen then grabs the keys from Barry .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Julie and Ray walk up .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>Hey you two.<\/dialogue>\n    <scene_description>Helen tosses the keys to Ray .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>Give me my fuckin' keys.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>You're trashed pal.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Come ride in the back with me, I'll let you do things to me.<\/dialogue>\n    <character>Barry<\/character>\n    <parenthetical>( to Ray . )<\/parenthetical>\n    <dialogue>Nobody drives my car but me you got that shit smear?<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>Loud and clear. Get in the car.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. Barry's car.<\/stage_direction>\n    <scene_description>Ray is driving , Julie is in the passanger seat and Barry and Helen are in the back seat making out . The car shifts and Barry sits up . Barry - You ca n't drive for shit you know that ?<\/scene_description>\n    <character>Julie<\/character>\n    <parenthetical>( to Barry . )<\/parenthetical>\n    <dialogue>Can you say Al - co - hol - ic?<\/dialogue>\n    <scene_description>Sappy music is playing on the radio .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>What the hell is this crap?<\/dialogue>\n    <scene_description>Barry then puts on some thrash music and climbs out the sunroof while swilling back the booze and screaming . Barry then drops his bottle on Ray and the car starts to slide .<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>You asshole.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>What's wrong with you?<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>WATCH OUT!<\/dialogue>\n    <scene_description>The car hits something hard and skids off the road .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>What was that?<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Is everybody okay?<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Yeah<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>Maybe it was an animal<\/dialogue>\n    <scene_description>Barry comes down through the sunroof .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>Oh my god you're bleeding.<\/dialogue>\n    <scene_description>Barry wipes the blood of his face .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>It's not mine.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>It must have been a dog or something.<\/dialogue>\n    <character>Barry<\/character>\n    <parenthetical>( screaming . )<\/parenthetical>\n    <dialogue>Jesus Christ, my fuckin' car.<\/dialogue>\n    <scene_description>They all hop out and look at the smashed up car .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>Fuck! Ca n't you see where you're going?<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>Look, it came out of nowhere, I did n't see it.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>A dog could n't have done that.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Yeah well a fucking deer could.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>You dropped your bottle, I was just.<\/dialogue>\n    <character>Barry<\/character>\n    <parenthetical>( interupting . )<\/parenthetical>\n    <dialogue>My dad is gon na freak on my ass.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>It was an accident leave him alone.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Where is it? If it was a deer then where is it?<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>Maybe it ran off.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>I hope so, I hope we did n't kill it.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Fuck that. Lets go.<\/dialogue>\n    <scene_description>Julie sees a mans boot on the side on the road with blood on it .<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>Oh my god.<\/dialogue>\n    <scene_description>She runs and picks it up .<\/scene_description>\n    <character>Ray<\/character>\n    <dialogue>No way.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Oh my god.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>But I thought.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>I did n't see it.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>No there's no way.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Oh my god this is n't happening.<\/dialogue>\n    <scene_description>Barry runs and gets some flashlights out of the trunk of the car . They begin looking .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>You check that side.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Come on Helen.<\/dialogue>\n    <scene_description>Julie screams in horror , there is a body laying on the side of the road .<\/scene_description>\n    <character>Ray<\/character>\n    <dialogue>I could n't see him, I swear.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Is he dead?<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>I do n't know<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Check his pulse.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>No way<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>You're the one who rammed him.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Just do it.<\/dialogue>\n    <scene_description>Ray goes towards the body and checks his pulse .<\/scene_description>\n    <character>Ray<\/character>\n    <dialogue>I think he's dead.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>SHIT. FUCK!<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Who is he?<\/dialogue>\n    <scene_description>Ray - I ca n't tell , his face is all messed up .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>What the hell was he doing out here?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>We've got to call the police and get an ambulance out here.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Hey hey what's your hurry? The guys dead.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>You're not a doctor you do n't make that descison.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Use your brain Julie, we call the police and were fucked.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>It was an accident.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>Look, lets think about this a minute.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Think about what? Think about what? He was crossing the road in the middle of the night okay it was an accident, you were n't drinking or speeding.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>There's liquor all over the car.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>But you're sober.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>They will never believe I was driving.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>It's my car, they'll nail my ass.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>That's not true.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Are you kidding? Look at me, I'm drunk as shit, I'm fucked.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>So we'll call the police, just tell them the truth, they'll believe us.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>It's manslaughter. We're gon na fry no matter who takes the fall.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Then we leave right now.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>No way are you crazy?<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>The grills busted, there's blood everywhere.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>We can clean it up, come on.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Listen to yourselves, NO we are going to the police.<\/dialogue>\n    <character>Barry<\/character>\n    <parenthetical>( still screaming . )<\/parenthetical>\n    <dialogue>We do n't have time for your shit, you understand? we've got to move fast.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>Hey, now lets try to stay calm. Focus.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Do n't you get it? If there's some of him on the car, there's some of the car on him, their gon na trace it back to you, you're looking at a hit and run.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Then we dump the body.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>You've lost it.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Like just pretend we were never here.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>We could drag him into the water and dump him in, they would n't find the fucker for weeks by that time all the evidence would be washed away.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>If they found him at all. The currents are strong, the undertow could carry him out to sea.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>I wo n't be any part of it.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>Look I'm scared Julie, I'm not like the rest of you, I do n't have the family or the money to get me out of this. Please.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>This is your future Julie, think about it, college, your schloarship. The guy's already dead, if we go to the police we're dead too.<\/dialogue>\n    <scene_description>A truck starts coming down the road towards them .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>Fuck.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>What do we do?<\/dialogue>\n    <character>Barry<\/character>\n    <parenthetical>( to Ray . )<\/parenthetical>\n    <dialogue>Help me.<\/dialogue>\n    <scene_description>Barry and Ray pick up the body and carry him over to the other side of the guardrail .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>Shit, they're slowing down. Who is it?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>It's Max.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Get rid of him.<\/dialogue>\n    <scene_description>Max stops the truck .<\/scene_description>\n    <character>Max<\/character>\n    <dialogue>Julie? What you got car trouble?<\/dialogue>\n    <scene_description>Max and Julie look over to the guardrail where Barry is pretedning he is vomiting .<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>Actually, it's barry, he's had way too much to drink and were trying to keep the up - chuck out of the new car.<\/dialogue>\n    <scene_description>Max looks back at the smashed up car .<\/scene_description>\n    <character>Max<\/character>\n    <dialogue>Does n't look so new anymore<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Yeah, do n't drink and drive.<\/dialogue>\n    <character>Max<\/character>\n    <dialogue>Daddy's gon na be mad.<\/dialogue>\n    <scene_description>Ray comes over to the truck .<\/scene_description>\n    <character>Ray<\/character>\n    <dialogue>What can I do for you Max?<\/dialogue>\n    <character>Max<\/character>\n    <dialogue>You can wipe that `` my shit do n't stink grin off your face''.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>Okay Max, will do. Have a goodnight.<\/dialogue>\n    <character>Max<\/character>\n    <dialogue>You almost got that rich boy act down Ray.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>We'll be seeing you Max.<\/dialogue>\n    <character>Max<\/character>\n    <dialogue>Yup. Take care Julie.<\/dialogue>\n    <scene_description>Max drives away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. Down at the docks.<\/stage_direction>\n    <scene_description>Barrys car is arriving , they get out and open the trunk and Barry and Ray start dragging the body down to the water .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>Even if his body washes ashore in the next couple of weeks, he'll be eaten by crabs and small fish. Maybe we'll get lucky with a shark. Take him to the side.<\/dialogue>\n    <scene_description>they start to lower him on to the side of the wharf .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>Put him down.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>Easy, that's it.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Lets do it.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Wait.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Should we check his wallet and see who he is?<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>I do n't know okay, just to know.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>I do n't want to know.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Let's just pretend he's some escaped lunatic with a hook for a hand and we're doing everybody a favor. Ray help me.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>I do n't think I can Barry.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Shit, we agreed<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>God, come on Barry it's not too late.<\/dialogue>\n    <character>Barry<\/character>\n    <parenthetical>( screaming . )<\/parenthetical>\n    <dialogue>You, shut up just shut up.<\/dialogue>\n    <character>Helen<\/character>\n    <parenthetical>( wanting to get it over with . )<\/parenthetical>\n    <dialogue>Christ already I'll do it.<\/dialogue>\n    <scene_description>Helen and Barry start to move the body towards the water when all of the sudden the man wakes up and grabs Helens crown , they all scream and push him in the water .<\/scene_description>\n    <character>Helen<\/character>\n    <parenthetical>( Hystrical . )<\/parenthetical>\n    <dialogue>My crown, he's got my crown.<\/dialogue>\n    <scene_description>Barry jumps in the water after the crown and swims to the bottom where the man has landed with the crown in his hand . Barry reaches for it and as his hands touches the crown the mans eyes pop open and Barry beats the crown away from him while screaming his head off and swims back to the top leaving the man underwater .<\/scene_description>\n    <character>Ray<\/character>\n    <dialogue>Over here.<\/dialogue>\n    <scene_description>Barry slams the crown to Helen and walks towards the car .<\/scene_description>\n    <character>Ray<\/character>\n    <dialogue>Let's get out of here.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>We're going home now and never, ever, under any circumstances known to God speak about this again is that clear? It is now mearly a futural therapy bill agreed?<\/dialogue>\n    <character>Barry<\/character>\n    <parenthetical>( Screaming . )<\/parenthetical>\n    <dialogue>Helen?<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>I'll never mention it again.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>We make a pact, right here and now we take this to our grave.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>Agreed.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Julie?<\/dialogue>\n    <scene_description>Julie nods her head in agreement .<\/scene_description>\n    <character>Barry<\/character>\n    <parenthetical>( livid . )<\/parenthetical>\n    <dialogue>Do n't you nod your head you fuckin say it.<\/dialogue>\n    <character>Julie<\/character>\n    <parenthetical>( somber . )<\/parenthetical>\n    <dialogue>Yeah okay.<\/dialogue>\n    <scene_description>Barry runs and grabs Julie by the neck pushing her against the car .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>We take this to our grave, let me hear it.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>Let her go Barry.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>you fucking say it!<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Okay Barry, we take this to the grave.<\/dialogue>\n    <scene_description>Barry gets in the car wet and furious .<\/scene_description>\n    <character>Ray<\/character>\n    <parenthetical>( to Julie . )<\/parenthetical>\n    <dialogue>It will be okay.<\/dialogue>\n    <scene_description>Julie begins to cry . And they all get in the car and leave . Camera pans in on the ground where a silver medallion that says `` I love you '' is laying . ONE YEAR LATER<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. Julies college.<\/stage_direction>\n    <scene_description>Students are running around on campus .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. Julies dormroom.<\/stage_direction>\n    <scene_description>Julies roommate Deb walks in .<\/scene_description>\n    <character>Deb<\/character>\n    <dialogue>Yo, it's time to go.<\/dialogue>\n    <scene_description>Julie turns around from her computer revealing that the last year has sure taken its toll on her .<\/scene_description>\n    <character>Deb<\/character>\n    <dialogue>Come on, move your tired ugly ass girl we're late.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>I changed my mind, I'm not going.<\/dialogue>\n    <character>Deb<\/character>\n    <dialogue>Julie, get your white as death, chalky corpse in the car now.<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>Deb<\/character>\n    <dialogue>I said come on. Julie you're going home for the summer and you're going to get a tan on that pasty pale tail of yours.<\/dialogue>\n    <scene_description>They both giggle .<\/scene_description>\n    <character>Deb<\/character>\n    <dialogue>Let's go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - Julies house - Deb is pulling the car into the driveway. Julie takes her<\/stage_direction>\n    <scene_description>bag from the backseat .<\/scene_description>\n    <character>Deb<\/character>\n    <dialogue>Remember, sun and fun.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Deb drives off leaving Julie home , where she does n't want to be .<\/scene_description>\n    <character>Mrs. James<\/character>\n    <dialogue>Julie? Welcome home dear.<\/dialogue>\n    <scene_description>Julie turns around to see her mother who she has n't seen since last summer .<\/scene_description>\n    <character>Mrs. James<\/character>\n    <dialogue>I missed you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - Julies Kitchen - Julie and her mother are eating.<\/stage_direction>\n    <character>Mrs. James<\/character>\n    <dialogue>How's the snapper?<\/dialogue>\n    <scene_description>Julie just fakes a smile .<\/scene_description>\n    <character>Mrs. James<\/character>\n    <dialogue>I really wanted monkfish but it's been a bad season.<\/dialogue>\n    <scene_description>Julie sits stonefaced .<\/scene_description>\n    <character>Mrs- James<\/character>\n    <dialogue>Are you on drugs?<\/dialogue>\n    <scene_description>Julie is surprised by the question .<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>Mrs. James<\/character>\n    <dialogue>I just wanted to surprise you, I want an honest reaction.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>No. No mom no drugs.<\/dialogue>\n    <character>Mrs. James<\/character>\n    <dialogue>Well than what is wrong? I mean you look like death.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Yeah well I've had a rough year.<\/dialogue>\n    <scene_description>Julies mom clears the table and Julie gets up and walks towards the living room looking at old awards and pictures of her father . Julies mother walks in .<\/scene_description>\n    <character>Mrs. James<\/character>\n    <dialogue>You got some mail, a letter came today, not your report card though, that came last week.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Mom I know it looks bad but the summer session went really well.<\/dialogue>\n    <character>Mrs. James<\/character>\n    <dialogue>Well it would have to because acording to the dean you only have one more chance.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>It's not that serious really.<\/dialogue>\n    <character>Mrs. James<\/character>\n    <dialogue>What happened to my daughter? I mean you went away and you do n't call and you do n't visit.<\/dialogue>\n    <scene_description>Mrs. James begins to walk out of the room .<\/scene_description>\n    <character>Mrs. James<\/character>\n    <dialogue>Your father must be turning over in his grave.<\/dialogue>\n    <scene_description>Julie begins to cry as she opens the plainly marked envelope so see the words written boldy in black marker `` I KNOW WHAT YOU DID LAST SUMMER '' she looks at it terrified as she begins to cry harder .<\/scene_description>\n    <character>Julie<\/character>\n    <parenthetical>( Holding back the tears . )<\/parenthetical>\n    <dialogue>Who sent this? There's no postmark or return address.<\/dialogue>\n    <character>Mrs. James<\/character>\n    <dialogue>Your guess is as good as mine why what does it say?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <scene_description>Julie runs up the stairs to her bedroom . She sits on a sofa looking at the letter all night long wondering who could have sent it . She hears a noise outside and runs to shut her window and curtains . She is scared .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - The streets of southport<\/stage_direction>\n    <scene_description>Julies car drives up to the store named Shivers .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - Shivers<\/stage_direction>\n    <scene_description>Back entrance Elsa is talking to some guys unloading merchandise . A man drops one of the boxes .<\/scene_description>\n    <character>Elsa<\/character>\n    <dialogue>Guys, easy. It's called glass, it breaks.<\/dialogue>\n    <scene_description>She walks into the main part of the store greeting some shoppers and begins to arrange some things . Julie walks into the store .<\/scene_description>\n    <character>Elsa<\/character>\n    <dialogue>Well well look what the cat drug in.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Elsa, hi. You know what? I need to talk to Helen and I was wondering if you could give me her New York number?<\/dialogue>\n    <character>Elsa<\/character>\n    <dialogue>Her New York number?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Yeah I need to talk to her.<\/dialogue>\n    <character>Elsa<\/character>\n    <dialogue>Fact check Julie, Helen does n't have a New York number, if you need to speak to her I suggest you go to womens fragrances, 10 feet to your left.<\/dialogue>\n    <scene_description>Camera pans off to show Helen who is arranging some bottles of perfume .<\/scene_description>\n    <character>Elsa<\/character>\n    <dialogue>Frightning is n't it?<\/dialogue>\n    <scene_description>Helen looks up and sees the friend that she has n't seen in a year and smiles .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>Julie?<\/dialogue>\n    <scene_description>Julie walks over to her .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>When did you get home?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Yesterday.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>It's good to see you.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>What happened to New York.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>I went for a while and it did n't really work out.<\/dialogue>\n    <scene_description>Julie pulls the letter from her pocket .<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>Somebody sent this to me.<\/dialogue>\n    <scene_description>A look of fear crosses Helens face .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>Oh my God.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Somebody knows Helen.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>How?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Julie we were so carefull.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Were we? Were we? What if somebody saw us? What if somebody else was there that night?<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Who? It's been a year.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Has Barry seen this?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - Barrys lawn<\/stage_direction>\n    <scene_description>Helen and Julie are walking towards the house .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>Do you ever see Barry at school?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>It's a big campus. Are you sure he came back?<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Saw his car the other day at the gym.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Did you guys break up?<\/dialogue>\n    <scene_description>Barry walks out on to the patio not pleased at seeing the two of them again . Barry -LRB- not excited to see them -RRB- - Hey . What are you two doing here ?<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>Hi Bare.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - Barrys patio<\/stage_direction>\n    <scene_description>they are discussing the letter .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>This is nothing. I know what you did last summer? Oooh, what a crock of shit.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>We need help.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Yeah I'll say, you know what? You guys should check out a mirror once and a while, you two look like shit run over twice.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>You're a prick.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>We ca n't just ignore it.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Come one Julie, how do you know this is even related? You did a lot of things last summer.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Yeah well only one murder comes to mind.<\/dialogue>\n    <scene_description>Barry is extremly pissed that she mentions that night again .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>You shut the hell up! We did n't murder anyone.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>He was still alive when we dumped him in the water.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Do we have to rehash this? It was an accident, the guy was in the middle of the road.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>His name was David Egan.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>David Egan. He was found three weeks after we. his body was caught in a shrimp net not far from millers dock. It was in the paper, I think the police called it an accidental drowning. You can call it an accident all you want but he died because of us that's certain.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>What about Ray? Have you showed this letter to him? What does he think?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>I have n't seen Ray since last summer, we broke up and last I heard he was working up north.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Okay let's supposed someone was there that night, why send the letter one year later? Probably some crack fucking around. Max.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Max? You think?<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Who else? He was there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - Fish Plant<\/stage_direction>\n    <scene_description>Julie , Helen and Barry are walking towards the building .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>You two wait here.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>What are you gon na do?<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>I know what I'm doing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - Fish Plant<\/stage_direction>\n    <scene_description>Max is working with some lobster pots . He notices Barry walking in .<\/scene_description>\n    <character>Max<\/character>\n    <dialogue>Well go figure, I was just thinking to myself what ever happened to that Barry Cox?<\/dialogue>\n    <character>Barry<\/character>\n    <parenthetical>( being very polite . )<\/parenthetical>\n    <dialogue>Hey Max. Hey listen can we talk for a sec? In private?<\/dialogue>\n    <character>Max<\/character>\n    <dialogue>Oh what this is n't private enough for you?<\/dialogue>\n    <scene_description>Barry smirks and walks out back and Max follows him .<\/scene_description>\n    <character>Max<\/character>\n    <dialogue>Yeah what?<\/dialogue>\n    <scene_description>Barry then grabs Max and pushes him into a block of ice holding him down .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>Look you shit we got your little letter.<\/dialogue>\n    <character>Max<\/character>\n    <dialogue>What the hell are you talking about?<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Do n't fuck with me Max, you saw us that night.<\/dialogue>\n    <character>Max<\/character>\n    <dialogue>What the fuck are you on huh?<\/dialogue>\n    <scene_description>Barry grabs a large fish hook that was sitting on a block of ice and holds it up to Maxs face .<\/scene_description>\n    <character>Max<\/character>\n    <dialogue>Jesus Christ.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Listen I'm gon na say this once, I'll fucking kill your ass, I got no problem with that.<\/dialogue>\n    <character>Max<\/character>\n    <dialogue>Oh get the fuck off me.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>You understand me?<\/dialogue>\n    <character>Max<\/character>\n    <dialogue>Get off of me.<\/dialogue>\n    <scene_description>Max struggles with Barry and Barry cuts Max 's arm with the hook and then walks away putting the hook back where he got it from . Max is laying on the floor wondering what just happened . He gets up and he is angry and grabs the hook yelling at Barry who is leaving .<\/scene_description>\n    <character>Max<\/character>\n    <dialogue>Mother fucker. Do n't you test me mother fucker, I'll call the cops on your college quaterback ass.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - Back on the street<\/stage_direction>\n    <scene_description>Barry is walking out where Julie and Helen have been waiting .<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>So did he admit to the letter?<\/dialogue>\n    <scene_description>Barry keeps walking .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>He wo n't bother you anymore.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>What did you do?<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>I took care of it okay?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>How?<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>I scared the shit out of him alright?<\/dialogue>\n    <scene_description>Stepping up from out of a boat is Ray . The old group of friends are reunited .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>Well I'll be damned.<\/dialogue>\n    <character>Ray<\/character>\n    <parenthetical>( to Julie . )<\/parenthetical>\n    <dialogue>Hi.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>So Ray grew up to be a fisherman huh?<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>Yeah, almost a year now, I work on that one over there on the end.<\/dialogue>\n    <scene_description>Barry does not look where Ray has just pointed .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>That's nice. Have a nice life guys, I'm out of here.<\/dialogue>\n    <scene_description>Barry leaves .<\/scene_description>\n    <character>Ray<\/character>\n    <parenthetical>( to Julie . )<\/parenthetical>\n    <dialogue>You got a minute?<\/dialogue>\n    <scene_description>Helen does n't want to be intrude .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>I got ta get back to work, call me, we can get togeather.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Yeah okay.<\/dialogue>\n    <scene_description>Helen leaves Ray and Julie alone to talk .<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>We need to talk.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - Fish Plant<\/stage_direction>\n    <scene_description>Ray and Julie are walking in discussing the letter .<\/scene_description>\n    <character>Ray<\/character>\n    <dialogue>You think Max sent it?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Barry does. I do n't know.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>Well, you know how Max feels about you guys, look he's probably just screwing around, he does n't have much else to do you know?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Yeah maybe.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - On the wharf<\/stage_direction>\n    <scene_description>Ray and Julie are talking while he is working .<\/scene_description>\n    <character>Ray<\/character>\n    <dialogue>So, how's school?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>So you're a fisherman?<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>Yeah prophecy fullfilled right? I've become my father.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>I thought you did n't know your dad?<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>Ah he worked the boats, that's all I do know about him.<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>Ray<\/character>\n    <dialogue>Look I thought a lot about last summer, I know you hold me responsible for what happened.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>I do n't hold you responsible, no I'm responsible for my own actions and I do n't blame you. But I do n't want to know you either.<\/dialogue>\n    <scene_description>She runs away from a confused Ray leaving him there all alone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - Fish Plant - Max is cooking lobsters. he burns his finger and goes to get<\/stage_direction>\n    <scene_description>gloves . He sees a shadow through the steam from the boiling water and looks closer to see what it is and sees someone in a black slicker coming towards him and then the hook goes through his throat and dragging him across the table .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT - SouthPort street<\/stage_direction>\n    <scene_description>Barry is pulling up to the South Port Muscle .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - Southport Muscle.<\/stage_direction>\n    <scene_description>Barry is working out , punching and kickboxing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - Locker Room<\/stage_direction>\n    <scene_description>Barry is taking tape off his hands and sees a shadow .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>Hello?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - Shower<\/stage_direction>\n    <scene_description>Barry is showering after his workout , he sees a shadow go past the door .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>Hello?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - Locker Room<\/stage_direction>\n    <scene_description>Barry sees a ploaroid picture sticking out of his locker , he looks at it , it 's a picture of his car which is parked outside with `` I Know '' written on the picture . He looks in his locked and his jacket is missing .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>My fucking jacket.<\/dialogue>\n    <scene_description>He quickly gets dressed and runs out into the lobby where an old man working is reading the newspaper .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>Who else is here? anybody else working out?<\/dialogue>\n    <character>Worker<\/character>\n    <dialogue>Just you and me pal.<\/dialogue>\n    <scene_description>Barry runs outdoor to see his car is being backed out of the parking lot , he chases after it .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>Hey! Hey! Fucker.<\/dialogue>\n    <scene_description>The car back into the end of the street with Barry chasing it , the car stops , Barry is looking directly at it .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>Max, you're fucking dead.<\/dialogue>\n    <scene_description>The headlights of the car come on and starts speeding towards Barry , he starts to run away but the car is right behind him . He is backed up against an old deserted building with nowhere to go , he is looking at the car trying to think of something to do , the car pauses and then rams into Barry who flips up onto the windsheild and the car pushes him through the building . The car stops and someone in a slicker gets out and is looking down at an injured Barry . Barry is screaming for help .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>Help me! help me! somebody. What do you want?<\/dialogue>\n    <scene_description>The slicker - clad madman pulls out a big fishing hook .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>I'm sorry, I'm sorry, I swear we did n't mean it, please do n't.<\/dialogue>\n    <scene_description>Screen fades to black .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - Southport hospital - Julie is getting off the elevator and sees Ray.<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - Barrys hospital room - the four former friends are all in there talking<\/stage_direction>\n    <scene_description>about what just happened .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>No for the fortieth fucking time I could n't see his face.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>We have no choice here okay? Somebody tried to kill you last night, we have to go to the police.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>No he was n't trying to kill me last night, if he wanted me dead he could've done it, he's just fucking with us.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Who is?<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>I do n't know, some guy in a slicker.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>Well that narrows it down, this being a quaint little fishing village and all.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Since you bring it up, we all know you have a slicker.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>You are not going to throw this on me.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Come on you guys please do n't do this.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>This is n't getting us anywhere.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>Look, maybe we should just come clean.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>No. No. We made a pact and we're keep it.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Yeah but this is insane now Barry look at us, this secret's killing us.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>I'm not going to the police and you're not either.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Barry please, we could put an end to it and maybe salvage some small fraction of a life.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>And how do we do that? Huh? There was no accident Julie it was murder, your words remember? Murder. I say we find the fuck who's doing this and have a little one on one.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>What like last night Bare?<\/dialogue>\n    <scene_description>Barry jumps to a sitting position in his bed .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>Fuck you man.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>No Barry's right, whosever doing this is n't going to the police, we could this guy, talk to him.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>How do we find him?<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Well it's got to be a friend or a family member of the guy we hit. What was his name?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>David Egan.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Right. David Egan.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - Hospital<\/stage_direction>\n    <scene_description>Julie , Ray and Helen are walking through the hall ready to leave and they are discussing what they should do .<\/scene_description>\n    <character>Ray<\/character>\n    <dialogue>Look I do n't think we should give up on Max, it could still be him.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Then find him Ray, prove Barry wrong, that's what you want is n't it?<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>No, no, what I want is for you and me to just.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Listen to me Ray okay, I want you to get something, there is no you and me.<\/dialogue>\n    <scene_description>Julie takes off down the stairs instead of waiting for the elevator . Ray and Helen look at each other and Helen follows Julie .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - Julies house - Julie and Helen are looking up articles about David Egan<\/stage_direction>\n    <scene_description>on the internet .<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>Okay I can access the local library online, I think we can cross - refrence and pull up all we need to know.<\/dialogue>\n    <scene_description>She finds what she is looking for and types in her querey .<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>Egan, David.<\/dialogue>\n    <scene_description>A bunch of articles pop up on the screen .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>All these articles are about David Egan?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Yeah or at least mention him, it should pull up anything with his name.<\/dialogue>\n    <scene_description>Julie - Wait , July 5th two years ago , what 's this ? Julie start reading one outloud .<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>Susie Willis died of drowning, she was trapped in a car after it skided out of control on the reefs near Dawsons beach, the driver David Egan was unharmed.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>I remember that wreck two summers ago.<\/dialogue>\n    <character>Julie<\/character>\n    <parenthetical>( still reading . )<\/parenthetical>\n    <dialogue>Susie was engaged to David, they were gon na be married. Wait a second I remember he had her name tattooed on his arm, I saw it.<\/dialogue>\n    <scene_description>Julie pops up another article .<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>Survived by his mother Claire and sister Melissa Egan of Marible County.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>They live in the sticks, what do you think?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Whadda we got to lose?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - Marible County Road<\/stage_direction>\n    <scene_description>Julie and Helen are driving to the Egan house . Helen is reading a map .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>Turn right.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Back there.<\/dialogue>\n    <scene_description>They back the car up to get to the road they are looking for and turn down it .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>What exactly is the plan? I mean are we just gon na ring the doorbell and say we killed your son and we were in the neighborhood so.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Look I thought we would scope it out then play it by ear.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Do n't you think we should have some sort of a plan? Angela Landsbury always had a plan.<\/dialogue>\n    <scene_description>The car stops at a mailbox that has `` Egan '' written is bold letters .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - The Egans driveway<\/stage_direction>\n    <scene_description>Julie and Helen are walking towards the house .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>What if they're waiting for us? What if they recognize us? They could have a gun and shoot us dead.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>It's been a year Helen, they could have done that already.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Yeah, Jodi Foster tried this and a skinner of a serial killer answered the door.<\/dialogue>\n    <scene_description>They get to the house and knock on the door twice and no one answers .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>Well it was a good try.<\/dialogue>\n    <scene_description>Julie is not satisfied , she walks around the side of the house and looks in a window .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>Adding breaking and entering to our crime spree?<\/dialogue>\n    <scene_description>A womans image appears in a old mirror that is sitting next to the house . The woman is Missy Egan .<\/scene_description>\n    <character>Missy<\/character>\n    <dialogue>Can I help you?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Oh, hi, our car stalled down the road and we were just wondering if maybe we could use your phone?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - The Egan house<\/stage_direction>\n    <character>Missy<\/character>\n    <dialogue>Phone's over there.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Oh thanks. Jody, will you call triple A?<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>You got it, Angela.<\/dialogue>\n    <scene_description>Helen turns to go to the telephone and her face walks into a black fishing slicker and she screams . Julie just laughs to not look suspicious . Helen composses herself and goes to the phone .<\/scene_description>\n    <character>Missy<\/character>\n    <dialogue>My name's Missy Egan. Are you girls from Mirable?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>No, Southport.<\/dialogue>\n    <character>Missy<\/character>\n    <dialogue>Oh I went to Southport High.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Yeah I knew you looked fimiliar, what year?<\/dialogue>\n    <character>Missy<\/character>\n    <dialogue>Ah class of' 88.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Your name, Egan, it sounds very fimiliar, do you have a brother or something?<\/dialogue>\n    <character>Missy<\/character>\n    <dialogue>I did but he was younger than me, David, younger.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>What class was he?<\/dialogue>\n    <character>Missy<\/character>\n    <dialogue>Ah'92 but he's dead, he died last july.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>I'm so sorry.<\/dialogue>\n    <character>Missy<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Do you ah, do you live alone?<\/dialogue>\n    <character>Missy<\/character>\n    <dialogue>Yeah, ah well my daddy died a long time ago and my mama she's in a home you know in Aurora because she did n't take, take too well to what happened with David. Things just have n't been the same since he died.<\/dialogue>\n    <scene_description>A long pause and then Helen walks over after her phone call .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>They're on their way.<\/dialogue>\n    <character>Missy<\/character>\n    <dialogue>I could make you guys a cup of tea while you're waiting.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Yeah thanks, that's nice of you.<\/dialogue>\n    <scene_description>Missy smiles and walks into the kitchen . Helen and Julie are looking at pictures of David and Missy in happier times .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>You know I think I remember David, he had a friend right? what was his name?<\/dialogue>\n    <character>Missy<\/character>\n    <parenthetical>( from the kitchen . )<\/parenthetical>\n    <dialogue>Who?<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Did n't he hang out with this guy, I mean they were really close, god what was his name.<\/dialogue>\n    <character>Missy<\/character>\n    <dialogue>Oh, I do n't know, I did n't know too many of Davids friends<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Oh<\/dialogue>\n    <character>Missy<\/character>\n    <dialogue>But there, there was one guy, one guy, he stopped by not too long after Davids death and and he came to pay his respects.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>Missy<\/character>\n    <dialogue>Oh, yeah he was a really nice guy, he was cute and smart. And well we were sweet on each other for about two minutes, but it did n't work out you know. He never really said it but I think it hurt him to be around me.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Where is this old friend now?<\/dialogue>\n    <character>Missy<\/character>\n    <dialogue>Oh I do n't know.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Do you remember his name?<\/dialogue>\n    <character>Missy<\/character>\n    <dialogue>Billy.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Did he have a last name?<\/dialogue>\n    <scene_description>Missy is looking up remembering her time with Billy Blue .<\/scene_description>\n    <character>Missy<\/character>\n    <dialogue>Blue. Billy Blue<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Well you know what? We should probably wait back at the car.<\/dialogue>\n    <character>Missy<\/character>\n    <dialogue>No do n't be ridiculous, why do n't. ah stay.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>No, I do n't want to miss triple A.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>We apreciate the phone.<\/dialogue>\n    <scene_description>The begin to leave , Missy yells as they are leaving .<\/scene_description>\n    <character>Missy<\/character>\n    <dialogue>Anytime you know, I do n't get too many knocks on my door nowadays.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.- Julies Car<\/stage_direction>\n    <scene_description>They have just left Missys house and Julie is upset .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>I wigged out I'm sorry. But being in his house and seeing his sister. God do you see what we've done?<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>It was an accident.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Helen we killed a man and then ruined the lives of everyone he knew.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>I do n't think we're that powerful Julie, You're giving us way too much credit.<\/dialogue>\n    <scene_description>Missy runs up along side of the car and pounds on the window making Julie and Helen jump .<\/scene_description>\n    <character>Missy<\/character>\n    <dialogue>Hey! You forgot your cigarettes.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>Missy<\/character>\n    <dialogue>Well I see you got this car started did n't ya?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Yeah damndest thing, it started right up.<\/dialogue>\n    <character>Missy<\/character>\n    <dialogue>Funny how that happens.<\/dialogue>\n    <scene_description>Julie drives away as Missy is still talking leaving Missy with a sinister look on her face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - Helens house<\/stage_direction>\n    <scene_description>Julie and Helen are in the car still , Julie is dropping Helen off .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>So what now?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Now we try and locate this Billy Blue.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Maybe he wanted to die.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>David Egan. His girlfriend was killed on that same road july 4th one year earlier,. Maybe he blammed himself, maybe he was sitting in the road waiting for us to hit him.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Yeah if that'll help you sleep at night.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>What happened between us? We used to be best friends.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>We used to be a lot of things.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>I miss you.<\/dialogue>\n    <scene_description>No response from Julie . Helen sees that the feeling is n't mutual .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>Yeah. Well.<\/dialogue>\n    <scene_description>She gets out of the car and Julie drives away without saying a word .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - Helens house - Helen walks into the living room and sees her father<\/stage_direction>\n    <scene_description>sitting watching TV .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>Hey Dad.<\/dialogue>\n    <scene_description>Her father is too wrapped up in the ball game to notice his daughter . She walks into the kitchen and pours a glass of diet coke while the killer is sneaking in the front door and working his way up the stairs . Helen finishes her drink and goes up to her bedrooom just in time to miss seeing who just went up before her . She gets to her room but no one is there . She changes into her night clothes and looks at the crown that she will have to give back the next day . Suddenly a hand is moving towards her and touches her on the arm , she jumps and turns around , it 's Elsa .<\/scene_description>\n    <character>Elsa<\/character>\n    <dialogue>Hey is the washed up, dried out, has - been having a moment?<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>Elsa<\/character>\n    <dialogue>We're doing inventory at the store tomorrow and I need you there by ten.<\/dialogue>\n    <scene_description>Helen sits on her bed brushing her hair .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>I ca n't, I'm in the parade tomorrow.<\/dialogue>\n    <character>Elsa<\/character>\n    <dialogue>Well dad put me in charge of the store and I want you there by ten.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>The outgoing queen has to ride in the parade prior to the padgent, it's tradition, there's nothing I can do about it.<\/dialogue>\n    <character>Elsa<\/character>\n    <dialogue>You and your hair, it's so pathetic.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>You can leave now.<\/dialogue>\n    <character>Elsa<\/character>\n    <dialogue>So very pathetic.<\/dialogue>\n    <scene_description>she says while shutting the door . Helen gets in bed and shuts the lights out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - Helens bedroom<\/stage_direction>\n    <scene_description>Helen is just waking up . She feels her crown on her head and begins to take it off , bunches of her hair come off with it . She starts to freak out and runs to the mirror and sees the word `` SOON '' written in bold letters on it and she screams loudly and smashes the mirror .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - Julies house<\/stage_direction>\n    <scene_description>Julie picks up a ringing telephone .<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>short pause .<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>Oh my god.<\/dialogue>\n    <scene_description>She runs out of the house and jumops in her car and takes off . In the car she hears a noise coming from the back seat , there is nothing there , she stops the car and opens the trunk and sees the rotting corpse of Max being eaten by crabs , he is wearing Barrys jacket . She screams and slams the trunk thinking what to do and then takes off running .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - Helens bedroom<\/stage_direction>\n    <scene_description>Barry is comforting Helen after her hellish ordeal . Julie runs in the room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - Julies car<\/stage_direction>\n    <scene_description>Barry , Helen and Julie are walking towards the car .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>Are you sure he was dead?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Do n't ask me that again, he was dead okay? I saw him with these. with these crabs.<\/dialogue>\n    <scene_description>Julie passes the keys to Barry .<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>You do it.<\/dialogue>\n    <scene_description>Barry opens the trunk and sees that it is empty and very clean looking . Julie is upset .<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>No do n't, do n't even, he was there god dammit and he was wearing your jacket Barry.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Where'd he go? Did the crabs carry him away?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>I swear to god.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>I believe you Julie.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>He took the body, he came and he took the body.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Why would he do that?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>I do n't know Barry okay? Why would he try to run you over? Why'd he make coleslaw in Helens head? He's fucking with us.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Come on Julie let's go back to the house?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Where's your jacket Barry? Do n't you see? He's got us now, okay this is exactly what he wants, we ca n't go to the police, not now, he's made sure of that. He's just out there and he's watching us and waiting.<\/dialogue>\n    <scene_description>She turns and looks around and starts screaming .<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>What are you waiting for huh? What are you waiting for?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - Helens house<\/stage_direction>\n    <scene_description>The three are walking towards the house and Ray is walking towards them .<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>I've been looking everywhere for you guys.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>You're gon na die.<\/dialogue>\n    <scene_description>Barry walks up and punches Ray in the face with his fist which is still in a cast .<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>Hey, hey stop it.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>What are you going?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Stop it.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>I did n't do anything.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>You're fucking lying. He's lying.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Leave him alone Barry, get a grip.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>No wake up Julie, he's behind this. How many fucked up fishermen are out there?<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>Look, he's after me too. I got a letter.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Oh you got a letter? I got run over. Helen gets her hair chopped off. Julie gets a body in a trunk and you get a letter? That's balanced?<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>What body? What are you talking about?<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Drop the act. You killed Max, you took my jacket.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>Max is dead?<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>What is it with you Ray? You were dogging us from the start were n't you? Always wanting to be our friend, always wanting to be one of us but you were too fucking jealous to handle it<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>Fuck you!<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Stop it! Look, we have to stick togeather alright? We have to help each other.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Okay so if it's not fisherboy here then who is it and how do we find him?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>We think his name is Billy Blue.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>How do you know that?<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Missy, said there was a friend named Billy Blue.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Who probably went to school with David Egan so according to sis that would make him class of' 92.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Elsa was class of' 92. Maybe there's something in her yearbook.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - Helens bedroom<\/stage_direction>\n    <scene_description>They are all looking through the yearbook at David Egans picture .<\/scene_description>\n    <character>Ray<\/character>\n    <dialogue>So that's him huh? Hard to believe that's the guy.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Yeah his face is n't splattered all over the road dumbass. Maybe Blue's not his real name.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>That's right, he could have easily lied to Missy, we did.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Maybe we should bring the yearbook to Missy, if she had it in front of her.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>She could point him out.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>I'm not going anywhere. High school mugshots, what?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>I'll go, you've got that parade today.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Forget it.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>No you need to be there in case he shows up.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>I do n't want him to show up.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Helen this could be our chance, we could catch him. I'll go to Missys, Barry you go to the parade with Helen and do n't let her out of your sight, if he shows up.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>I'll pound his ass.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>Listen to yourselves, you sound like a bunch of vigulanties.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>It's july 4th Ray. Okay? This is his day. Whatever he's planned in going to happend today unless we stop him.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>Come on Julie, do n't you see? It's that moment where we have to make a decision, let's make the right one this time.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>I'm not interested in what's right anymore Ray I wan na do what's smart.<\/dialogue>\n    <scene_description>Ray - Then let 's get the hell out of here , we can leave town , disapear .<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>I've already disapeared, okay? Now I want my life back. Look we have to face this, what's it gon na be Ray?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - The parade<\/stage_direction>\n    <scene_description>Helen is riding the float and Barry is sitting on the side . Both of them are looking all over the place for the man in the slicker . Helen sees a man in a black slicker and yells to Barry .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>Barry. Barry! Over there!<\/dialogue>\n    <scene_description>Barry looks over and sees the man in the slicker walking away . Barry chases him screaming at people to move and get out of the way untill he finally tackles the man to the ground and removes the hat . It 's an old man who looks like Barry has given him a heartattack .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>Shit! Where the hell is he?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - Missys house - Julie is just pulling into the driveway. she gets out and<\/stage_direction>\n    <scene_description>knocks on the door .<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>Missy? Hello?<\/dialogue>\n    <scene_description>She starts to walk around the house to look for Missy when she sees Missy coming at her with a knife .<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>Please! Missy? Missy do you remember me from the other day? You know the car trouble?<\/dialogue>\n    <character>Missy<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - The parade<\/stage_direction>\n    <scene_description>Helen is on her float looking around trying to find Barry , she looks up and sees a man standing on a building looking at her , he is wearing a slicker and he pulls his big hook , it 's the killer . Helen is scared .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - Missys house<\/stage_direction>\n    <scene_description>Missy and Julie are talking out by an old shed . Missy is cutting up some rotten looking fish . Julie - Please we need to talk . I need to find your brothers friend Billy Blue , I need to talk to him and I was thinking that maybe you could look through this yearbook ?<\/scene_description>\n    <character>Missy<\/character>\n    <dialogue>Now what's this all about?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Well it's too crazy to explain but it has to do with your brother and last july 4th.<\/dialogue>\n    <character>Missy<\/character>\n    <dialogue>What about it?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>What happened to your brother was n't an acident, there's more to it than that.<\/dialogue>\n    <character>Missy<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>You know what?<\/dialogue>\n    <character>Missy<\/character>\n    <dialogue>Well he killed himself.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>He what?<\/dialogue>\n    <character>Missy<\/character>\n    <dialogue>Yeah he went up there to die that night that's where Susie died. See the whole town blammed him for her death so he blammed himself.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>But how do you know it was a suicide?<\/dialogue>\n    <character>Missy<\/character>\n    <dialogue>He left a note.<\/dialogue>\n    <scene_description>Missy walks over to the decaying tool shed and gets out the note .<\/scene_description>\n    <character>Missy<\/character>\n    <dialogue>I had to keep this hidden from the insurance company cause they would n't pay me the money if it was suicide. That do n't much matter anymore cause the money's been spent. That's it.<\/dialogue>\n    <scene_description>She passes the note to Julie which says `` I WILL NEVER FORGET LAST SUMMER '' .<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>This is n't a suicide note. This is a death threat.<\/dialogue>\n    <character>Missy<\/character>\n    <dialogue>What are you. What are you talking about?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Your brother did n't kill himself Missy, I saw him, I was there and whoever sent this was there too.<\/dialogue>\n    <character>Missy<\/character>\n    <dialogue>What do you mean you saw him? Where? Where did you see him?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>He was crossing the road, we hit him, it was an accident.<\/dialogue>\n    <character>Missy<\/character>\n    <dialogue>No! My brother drowned.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>I saw him, he has Susie tattooed on his arm.<\/dialogue>\n    <character>Missy<\/character>\n    <dialogue>Tattoo? He does n't have a tattoo on his arm.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>I saw it on his right forearm.<\/dialogue>\n    <scene_description>Missy is getting upset at what Julie is saying .<\/scene_description>\n    <character>Missy<\/character>\n    <dialogue>You did n't seeanything, get out of here. Get out of my house.<\/dialogue>\n    <scene_description>Missy puts the letter away and disapears .<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>Oh my god, it was n't your brother.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - Croaker Queen stage<\/stage_direction>\n    <scene_description>The crew is setting the stage up getting ready for the event . Barry and Helen are backstage , she is upset at having just seen the killer . Barry is trying to comfort her .<\/scene_description>\n    <character>Barry<\/character>\n    <dialogue>Stay calm. I'll be up in the balcony.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>He had a hook Barry. I saw it, it was a big huge hook.<\/dialogue>\n    <character>Barry<\/character>\n    <dialogue>Everything's gon na be alright. I'm not gon na let anything happen to you.<\/dialogue>\n    <scene_description>Cut to A little while later The contest has started . Everyone is on stage .<\/scene_description>\n    <character>MC<\/character>\n    <dialogue>Very nicley done ladies. And now let's meet last years winner, Miss Helen Shivers.<\/dialogue>\n    <scene_description>Helen walks out to a cheering crowd , she looks up in the balcony focusing on Barry . A girl is very horribly singing a very horrible song . Helen laughs and looks up at Barry who is also laughing . She looks back at the girl then back up at Barry to see the killer coming up behind him and pulls him back . Helen goes crazy , she starts screaming and running towards the balcony but the crowd is in an uproar and she ca n't get through . A cop stops her . And the killer is slashing Barry to death with his hook .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>HELP HIM. PLEASE. BARRY!<\/dialogue>\n    <character>Cop<\/character>\n    <dialogue>Excuse me. What's the problem?<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Help him he's gon na kill him.<\/dialogue>\n    <character>Cop<\/character>\n    <dialogue>Who's killing who?<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Up in the balcony.<\/dialogue>\n    <character>Cop<\/character>\n    <dialogue>Okay everybody stay calm.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Get off of me!<\/dialogue>\n    <scene_description>There is a lot of commotion going on and everyone is talking over each other . Helen follows the cop up into the balcony .<\/scene_description>\n    <character>Cop<\/character>\n    <dialogue>Mame stay behind me okay?<\/dialogue>\n    <scene_description>They look around but find no one or no trace that anyone had ever been there .<\/scene_description>\n    <character>Cop<\/character>\n    <dialogue>There's nobody up here. I got ta tell ya, this is really not my idea of a funny joke.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>He was here.<\/dialogue>\n    <character>Cop<\/character>\n    <dialogue>Who? Who was here?<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>The fisherman, he killed Barry.<\/dialogue>\n    <character>Cop<\/character>\n    <dialogue>Barry who? Who are we talking about? There's nobody up here, come on let's go back downstairs, come one, come on, there's nobody up here.<\/dialogue>\n    <scene_description>As they are walking dowstairs they do n't see the blood dripping from the edge of the balcony . After the Croaker queen contest Helen is still sitting there looking at the floor . Almost everyone has left , the cop comes up to her .<\/scene_description>\n    <character>Cop<\/character>\n    <dialogue>Mame, I'm gon na take you home, your parents are really worried about you.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>You have to believe me.<\/dialogue>\n    <character>Cop<\/character>\n    <dialogue>Why do n't you let me take you home okay?<\/dialogue>\n    <scene_description>She gets up to leave with him and the MC grabs at her crown .<\/scene_description>\n    <character>MC<\/character>\n    <dialogue>Excuse me, we'll be needing this.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - Julies house<\/stage_direction>\n    <scene_description>Julie is on her computer looking for articles on Susie Willis .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - Police car<\/stage_direction>\n    <scene_description>Cop is driving Helen home .<\/scene_description>\n    <character>Cop<\/character>\n    <dialogue>So then he killed him with a fish hook?<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>Cop<\/character>\n    <dialogue>Did this fisherman guy use the same hook to cut all your hair off?<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>No, he used scissors asshole. Look, okay I know I sound delusional but it's true.<\/dialogue>\n    <character>Cop<\/character>\n    <dialogue>Yeah I've heard this story before except the way I heard it it was n't a fisherman, it was an escaped mental patient and he had a hook for a hand. We're gon na have to take the alley.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Look, you little shitstick mayberry ass regect, there's been a murder and you're gon na fry in hell if you ignore it.<\/dialogue>\n    <character>Cop<\/character>\n    <dialogue>Alright, I'll tell you what I'll do, okay I'll contact Barry's parents and put out a search for him alright? He was probably just playing a prank on you.<\/dialogue>\n    <scene_description>The cop sees a man standing under the hood of his car .<\/scene_description>\n    <character>Cop<\/character>\n    <dialogue>Oh jesus, listen I'm just gon na be a minute alright, I'm gon na see if this guy needs help.<\/dialogue>\n    <scene_description>He gets out of the car and walks over to the man . Helen can tell who it is .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>That's him.<\/dialogue>\n    <character>Cop<\/character>\n    <dialogue>What's the trouble?<\/dialogue>\n    <scene_description>Helen starts yelling to the cop .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>That's him, behind you, BEHIND YOU!<\/dialogue>\n    <scene_description>The cops turns back to the man who then sticks his hook in the cops stomach , bloods runs from the cops mouth . Helen screams , she tries to get out but she is in the back which is locked from the outside , the killer starts coming towards the car , she kicks the glass out of the window and crawls out and starts running , he is following her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - Julies House<\/stage_direction>\n    <scene_description>Julie is still looking at articles about Susie Willis on the internet . She is reading outloud .<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>Susie Willis killed, trapped in car, driver unharmed, survived by her father, Benjamin, a local fisherman.<\/dialogue>\n    <scene_description>With that , Julie runs out the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - On the streets<\/stage_direction>\n    <scene_description>the killer is still chasing Helen , she see the store that her family owns , Elsa is inside closing up for the night . Helen runs towards the store screaming for Elsa .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>ELSA, ELSA, OPEN THE DOOR, ELSA, OPEN THE DOOR, PLEASE, JESUS CHRIST HURRY.<\/dialogue>\n    <scene_description>Elsa is slow in getting to the door , she finishes putting plastic over some items and then goes to get the keys .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>ELSA WHAT ARE YOU GOING? ELSA, PLEASE, OPEN THE DOOR, JESUS CHRIST NOW!<\/dialogue>\n    <character>Elsa<\/character>\n    <dialogue>I'm coming<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>ELSA, ELSA, PLEASE.<\/dialogue>\n    <scene_description>Elsa finally opens the door , Helen runs in and slams the door behind her .<\/scene_description>\n    <character>Elsa<\/character>\n    <dialogue>You could have walked around the Arch Tree entrance it's open.<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>I'm being attacked.<\/dialogue>\n    <character>Elsa<\/character>\n    <dialogue>You're what?<\/dialogue>\n    <scene_description>They look outside and see no one .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>Lock the other door, I'll call the police.<\/dialogue>\n    <character>Elsa<\/character>\n    <dialogue>What is going on?<\/dialogue>\n    <character>Helen<\/character>\n    <dialogue>Just do what I say god dammit.<\/dialogue>\n    <scene_description>Helen runs upstairs to use the phone , Elsa goes to the back entrance to lock the door . The door is swinging shut just before she walks in , she begins to lock it when she sees a reflection in the door , she turns around to see the man in a slicker standing looking at her with his face covered , she ca n't move or speak . His reflection passes through her glasses and she screams as the large hook slashes her throat . Helen hears the scream and hangs up the phone slowly moving down the stairs .<\/scene_description>\n    <character>Helen<\/character>\n    <dialogue>Elsa? Elsa? Elsa where are you?<\/dialogue>\n    <scene_description>No response , she gets paranoid and tunrs around looking closley at a mannequin that is covered in plastic , it is very silent then all of the sudden he jumps out from under the plastic and tackles her to the ground , she escapes and runs up the stairs , she passes by the bathroom and sees Elsa dead laying on the floor , she screams and keeps running and hops onto an old hand operated elevator , the killer is following her , she gets on the elevator and starts pulling the rope , he ca n't get on it but he swings his hook at her legs , she finally gets up to the attic and the killer has used the stairs and is also up there , she runs over to the edge of a window , he comes for her , she jumps out landing in a dumpster full of wood and other garbage . In a daze she looks up to the window and sees the killer is gone . She takes off running down the street , through alleys to try and find someone who can help her , fireworks go off and she sees that the parade is still going on , she runs towards them and hears a noise , she turns around and there is nothing , she turns back towards the parade , the killer is standing behind her , he grabs her and throws her into a stack of tires and he slashes her to death .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - On the streets<\/stage_direction>\n    <scene_description>Julie is looking for her friends and sees the boat Ray works on , she runs towards the boat .<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>Ray? Ray? Ray?<\/dialogue>\n    <scene_description>Rays head pops up from below the boat . Ray - Julie , what are you doing here ?<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>We did n't kill David Egan, it was someone else on the road that night.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>I think it was Susies father, Ben Willis, he's a fisherman.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>But they found Davids body in the water.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Yeah I know but I think Ben Willis killed David Egan.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>Wait a second. You think this Willis guy killed David then we killed him?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Yeah but what if he did n't die Ray? What if he's still alive?<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>This is crazy. Come aboard. Come inside.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>No we've got ta find Helen and Barry.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>We will, we will.<\/dialogue>\n    <scene_description>He holds out his hand and she reaches for it and sees the name of his boat is `` Billy Blue '' . She pulls her hand back .<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>You. Oh my god it's you.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Billy Blue. You went to Missys, your, your the friend, your the fisherman.<\/dialogue>\n    <scene_description>She runs faster than she has ever ran in her life , Ray yells behind her .<\/scene_description>\n    <character>Ray<\/character>\n    <dialogue>I can explain. Julie wait, Julie.<\/dialogue>\n    <scene_description>He is running in back of her , she runs into a locked door .<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>Wait.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Stop it.<\/dialogue>\n    <scene_description>He keeps chasing her when all of the sudden an man sticks his arm out sending Ray to the ground . Julie screams .<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>Oh, oh please help me please.<\/dialogue>\n    <character>Man<\/character>\n    <dialogue>East child.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Please I need to call the police.<\/dialogue>\n    <scene_description>Ray starts to get up .<\/scene_description>\n    <character>Man<\/character>\n    <dialogue>On the boat, inside, hurry.<\/dialogue>\n    <scene_description>She runs onto the boat , the man leaves Ray on the ground and walks onto the boat too , he removes the anchor . Julie looks around and sees pictures of herslef and her three friends all over the place . The man walks in .<\/scene_description>\n    <character>Man<\/character>\n    <dialogue>You in some kind of trouble child?<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Yes, yeah I'm in a lot of trouble.<\/dialogue>\n    <scene_description>The man flips a silver medallion that says `` I Love You '' .<\/scene_description>\n    <character>Man<\/character>\n    <dialogue>That's a shame, being it's forth of july and all. Kids like you should be out having fun, drinking, partying, running people over, getting away with murder, things like that.<\/dialogue>\n    <scene_description>A shocked look comes over Julies face , what is going on ?<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>You? Ben Willis?<\/dialogue>\n    <character>Man<\/character>\n    <dialogue>Good, I see you've been doing your homework too.<\/dialogue>\n    <scene_description>She runs out the door looking for somewhere to go . He follows her back and forth playing cat and mouse . Ray has gotten up , he is looking at the boat that has started drifting from shore . Julie finds a gun used to signal for help in case of emergancy , he is steering the boat now and jives it sending the signal gun over the edge . They have a state - down then he comes after her . She crawls down a cubbyhole below deck that is covered by a mesh grate , she pulls down on it from below as he is trying to pull it open with his hook . Ray is now climbing over the side of the boat and comes face to face with Ben .<\/scene_description>\n    <character>Ben<\/character>\n    <dialogue>Welcome aboard Ray.<\/dialogue>\n    <scene_description>He moves his hook through the air tauntint Ray with it then starts swinging it at him . Julie is below deck still looking for a way to get out , she clibs up a ladder and sees Ben and Ray fighting , she screams to Ray , he turns his head and Ben hits him with his hook which sends him flying off the voat into the water , he is dragging along underwater holding onto a net . Julie runs down below again , Ben is following her , she shuts the door and blocks it with a oil drum .<\/scene_description>\n    <character>Ben<\/character>\n    <dialogue>Open the door Julie. You got no place to hide<\/dialogue>\n    <scene_description>She is looking for somewhere to go , she opens up a shut door , it is hard to open so she uses her shirt , she gets it open and ice spills out , she crawls in and starts pushing more ice down so Ben ca n't get in . She breaks apart a crate filled with ice , the body of Helen comes falling down with the ice , Julie screams and moves over and feels something , she moves her hand and Barrys frozen face and underneath of it , she screams again . Ray has made his way back onto the boat . Ben opens a trap door and he is looking down at Julie who screams in terror . Ray is watching what Ben does , waiting for the right moment to pounce . Ray then swings down a big hook attached to a rope which hits Ben in the face throwing him to the ground . Ray runs over and looks down at Julie . Julie screams expecting it to be Ben .<\/scene_description>\n    <character>Ray<\/character>\n    <dialogue>Come on Julie.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Ray.<\/dialogue>\n    <scene_description>He sticks his hand out and pulls her out of the ice pit . Ben jumps up , Julie screams , Ben knocks Ray to the ground .<\/scene_description>\n    <character>Ben<\/character>\n    <dialogue>Happy fourth of july Julie.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Please, it was an accident.<\/dialogue>\n    <character>Ben<\/character>\n    <dialogue>I know all about accidents and let me give you some advice, when you leave a man for dead, make sure he's really dead.<\/dialogue>\n    <scene_description>He then sticks his hand up in the air which is holding the hook , he is ready to slash Julie with it when all of the sudden his hand gets caught in a rope , Ray sees this and hits something which pulls Ben up into the air and hand gets chopped off in the pully , he falls halfway down again and the rope catches which then sends him flying off into the cold ocean .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - Wharf<\/stage_direction>\n    <scene_description>Julie and Ray and a bunch of police and doctors are around . Ray and Julie are hugging . The ordeal is over .<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>We never killed anyone, this whole year was fake.<\/dialogue>\n    <character>Ray<\/character>\n    <dialogue>I know. The guilt was killing me, I had to know who he was, that's why I went to see Missy. I'm sorry I did n't tell you but I wanted you back, I could n't lose you again. I love you Julie. No one gets me the way you do.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>I understand your pain.<\/dialogue>\n    <scene_description>The sheriff walks over .<\/scene_description>\n    <character>Shreiff<\/character>\n    <dialogue>Do you have any idea why this man would want you dead?<\/dialogue>\n    <character>Julie and Ray<\/character>\n    <dialogue>None.<\/dialogue>\n    <scene_description>They have dragged the ocean and are pulling up what they have found .<\/scene_description>\n    <character>Operator<\/character>\n    <dialogue>Here it comes.<\/dialogue>\n    <scene_description>All that is in the net is Bens hand with the hook still in it .<\/scene_description>\n    <character>Sheriff<\/character>\n    <dialogue>Ah do n't worry, the body will turn up, they usually do.<\/dialogue>\n    <scene_description>ONE YEAR LATER<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - Julies College<\/stage_direction>\n    <scene_description>People are walking around outside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - Womens locker room<\/stage_direction>\n    <scene_description>Julie is on the phone with Ray .<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>Yeah well I made the deans list. Thank you very much. I know I miss you too but I'm going to see you in a couple weeks, god I can not wait, I love New York. No of course I love you more. Yes I do, I love you and you know that but you know what? I've got to take a shower or I'm gon na be late.<\/dialogue>\n    <scene_description>Julies roommate Deb is outside the showers .<\/scene_description>\n    <character>Deb<\/character>\n    <dialogue>Hey Julie you got some mail.<\/dialogue>\n    <character>Julie<\/character>\n    <dialogue>Oh thanks Deb.<\/dialogue>\n    <scene_description>Back to the phone<\/scene_description>\n    <character>Julie<\/character>\n    <dialogue>A towel. Ray do n't you start with me, you mister can ravage me in two weeks. Yes I love you too. Okay bye.<\/dialogue>\n    <scene_description>She hangs up the phone and goes out to get her mail , a look of terror crosses her face , a plain envelope with her name written on it in bold letters . She looks around then opens the letter that says `` KBR POOL PARTY '' She smiles and goes back to the showers , walking through the steam she sees written on the shower door `` I STILL KNOW '' . She looks around and sees nothing , she turns back to the shower door and something black jumps out at her . THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"On the Fourth of July 1996 in Southport, North Carolina, Julie James and her friends Ray Bronson, Helen Shivers, and Barry Cox drive to the beach after attending a party. While driving along a coastal byway, they accidentally hit a pedestrian. Julie's friend Max passes by them on the road. Julie reassures Max that everything is all right, and he leaves. After some arguing, the group decides to dispose of the body, dumping it in the water. They agree to never discuss the incident again. A year later, Julie returns home from her college in Boston for the summer. Since the incident, the friends have gone their separate ways. Julie receives a letter with no return address, stating, \"I know what you did last summer!\" Disturbed, Julie tracks down Helen, who has returned to Southport to work at her family's department store after a failed attempt at an acting career in New York City. The girls take the note to Barry, who immediately suspects Max as he was the only person there that night. They confront Max on the docks, and Barry threatens him with a hook, even though Max claims he has no idea what Barry is talking about. Julie meets Ray, who is now working as a fisherman; he unsuccessfully tries to reconcile with her. Later, Max is killed by a figure in a rain slicker wielding the same hook. Barry discovers a note in his gym locker saying, \"I know.\" He is then ambushed by the same assailant driving Barry's car. Meanwhile, as Ray still suspects Max, Julie researches newspaper articles which lead her to believe the man they ran over was a local named David Egan. Helen and Julie go to visit with David's sister Missy at her home. Missy explains to them that their family was devastated by David's death; she also mentions that a friend of David's named Billy Blue also visited her to pay his last respects. Later that night, the killer sneaks into Helen's house, cuts off most of her hair while she sleeps, and writes \"Soon\" in lipstick on her vanity mirror. The following morning, Julie finds Max's corpse wearing Barry's stolen jacket in the trunk of her car. When she calls the others, the body is missing. Julie, Helen, and Barry confront Ray about the recent events. Ray claims to have received a threatening letter as well. Julie goes back to visit Missy, while Barry and Helen go to participate in the Fourth of July parade. Missy reveals David allegedly committed suicide out of guilt for the death of his girlfriend Susie in a car accident and shows David's suicide note to Julie. As the writing matches that of the note she received, Julie realizes it was not a suicide note, but a death threat. At the Croaker Beauty Pageant, Helen witnesses Barry being murdered on the balcony. She rushes upstairs with a police officer but finds no sign of the killer or Barry. A police officer escorts Helen home, but the killer lures him into an alley and murders him. Helen flees to her nearby family store, where her sister Elsa is closing for the night. The killer enters the store and murders Elsa. Helen is chased to the third floor of the building and escapes through a window, falling to a long alleyway. She manages to run toward the street, but the killer stops her and slashes her to death, her screams being drowned out by the sound of the oncoming parade. Julie finds an article mentioning Susie's father, Ben Willis, and realizes that Ben was the man they ran over, moments after he had killed David to avenge his daughter. She then goes to the docks to tell Ray, but he refuses to believe her. Julie notices Ray's boat is called Billy Blue and runs away. Ben appears, knocking Ray unconscious, and invites Julie to hide on his boat. On the boat, she finds photos and articles about her friends and her, and pictures of Susie. Ben's boat leaves the docks, and he begins tormenting Julie, chasing her below deck; there, she uncovers the bodies of Helen and Barry in the boat's ice box. Ray regains consciousness and steals a motorboat to rescue Julie. He ultimately uses the rigging to sever Ben's hand and send him overboard. When Julie and Ray are questioned by the police, they deny knowing why Ben attempted to kill them, but they are relieved not to have actually killed anyone the previous summer, and reconcile. A year later, Julie is in college in Boston. As she enters the shower, she notices the words \"I still know\" on the mirror. Moments later, the fisherman crashes through it as Julie screams in horror."}
{"movie_name":"The Killing of a Sacred Deer_2017","imdb_id":"tt5715874","script":"<script>\n  <scene>\n    <scene_description>The Killing of a Sacred Deer by Yorgos Lanthimos and Efthymis Filipou<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - OPERATING THEATRE - MORNING<\/stage_direction>\n    <scene_description>STEVEN, a cardiothoracic surgeon, around 45 years old, MATTHEW, an anesthetist of around 55, and three SURGICAL NURSES are leaning over the chest of a patient. They are performing open heart surgery. We follow the surgical instruments as they explore the patient's internal organs. The surgeon's movements are precise, considered. The procedure unfolds in perfect synchronicity. No one misses a beat. The only sounds are the clink of metal instruments, the doctors' breathing, and the electronic beep of the heart monitor. BLACK SCREEN - OPENING CREDITS<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - SURGERY PREPARATION ROOM - MORNING<\/stage_direction>\n    <scene_description>Steven and Matthew stand at a sink, washing their hands. Their scrubs are splattered with blood. The overhead lighting is harsh. The anesthetist takes his watch out of his pocket and puts it on. The surgeon takes the anesthetist's hand and studies his watch. Steven Nice watch. Matthew Thanks.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>What's the water resistance?<\/dialogue>\n    <character>MATTHEW<\/character>\n    <dialogue>200 metres.<\/dialogue>\n    <scene_description>Steven It also has a date display.<\/scene_description>\n    <character>MATTHEW<\/character>\n    <dialogue>Yes, it does.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I might have gone for a metal strap instead of a leather strap.<\/dialogue>\n    <character>MATTHEW<\/character>\n    <dialogue>Oh, really?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Yes. I think I'd prefer a metal strap. I've had this one for years and it's as good as new.<\/dialogue>\n    <scene_description>He shows Matthew the watch he's wearing, which has a metal strap. Matthew studies it carefully.<\/scene_description>\n    <character>MATTHEW<\/character>\n    <dialogue>What's the water resistance?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>100 metres.<\/dialogue>\n    <character>MATTHEW<\/character>\n    <dialogue>How long have you had it?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Nine years. I'm a bit bored of it, actually. I've been thinking about getting a new one for a while now.<\/dialogue>\n    <character>MATTHEW<\/character>\n    <dialogue>Think about it. We can go together to the place where I bought it. If I tell them you're a colleague of mine, a friend, they'll definitely give you a better price. Both the owner and his father have been patients of mine, so I know them quite well. Think about it.<\/dialogue>\n    <scene_description>Steven looks at Matthew's watch again. He smiles almost imperceptibly and with a nod assures Matthew that he will think about it. The anesthetist leaves the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - STEVEN'S OFFICE - AFTERNOON<\/stage_direction>\n    <scene_description>Steven unlocks the door to his office. A small room with two chairs, a two-seater sofa, and a metal locker. He opens the locker, takes off his white coat and hangs it up. He puts on a blazer and picks up his leather briefcase.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BURGER KING - AFTERNOON<\/stage_direction>\n    <scene_description>Steven sits in a Burger King, waiting for someone. He sips a soft drink. There are barely any customers, it's a slow time of day. On the table in front of him is a small piece of apple pie. MARTIN, a teenage boy, rushes over to Steven's table. His face is flushed and his T-shirt is patchy with sweat. Martin, around 15, is dressed like a typical teenager. He has a nondescript face, not particularly likeable but not unlikeable either.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Sorry to keep you waiting. Did you eat?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I've just had some apple pie.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Do you mind if I grab something to eat before we go? I'm starving.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Sure. No problem.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Are you sure you don't want anything? Chicken wings?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>No, thank you. I'm fine. Do you have money? I can give you some.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>No, I've got money, thanks. I'll be right back.<\/dialogue>\n    <scene_description>The boy leaves. Steven's mobile phone rings. He switches the ringer to silent and ignores the call. He watches the boy as he waits for his order. Martin comes back. Steven watches Martin while he eats. The boy eats very methodically. He folds his napkin neatly and puts it to one side.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Did you get a haircut?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Yes. Do you like it?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>It looks great.<\/dialogue>\n    <scene_description>A beat of silence.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Aren't you going to eat your chips?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>I'm saving them 'til last.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>I really like chips. I always save them for last.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I do that too.<\/dialogue>\n    <scene_description>Martin finishes his burger then starts eating his chips. He leaves half of them untouched and pushes his plate away.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Shall we go?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>I've got French class in an hour. Will I be back in time?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Yes, definitely. Don't worry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SEASIDE ROAD - AFTERNOON<\/stage_direction>\n    <scene_description>Steven and Martin are standing beside the car. It is parked near the sea. The weather is fine, the sea calm. A few people are swimming. The boy takes off his jacket.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Sorry I was late today, Steven.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>It doesn't matter.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>I was at a friend's house. He got a new motorbike and I wanted to check it out. He took me for a ride, that's why I was late.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>It's fine.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>He even let me ride it for a bit.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I hope you were wearing helmets.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Yes, of course we were. We weren't going very fast anyway.<\/dialogue>\n    <scene_description>A beat of silence.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>I got you a present.<\/dialogue>\n    <scene_description>Steven hands Martin a small box. The boy opens the box. Inside is a new watch. It's the same one the anesthetist was wearing.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>I don't know how to thank you. It's really nice. Thank you so much. Can I give you a kiss?<\/dialogue>\n    <scene_description>The doctor nods. The boy kisses him and strokes his cheek. He slips the watch onto his right wrist.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Thank you so much.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>It's water resistant up to 200 metres.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Fantastic. Does this come off? I'd prefer a leather strap.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>It comes off, yes. You can put on any strap you like. But metal ones are more hard-wearing, that's why I got you the metal strap. It's more expensive too.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Yes. Thank you so much.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STEVEN'S HOUSE - GARDEN - NIGHT<\/stage_direction>\n    <scene_description>A detached suburban house. Steven is sitting at the garden table with his two children: KIM, a girl of 14, and BOB, a 12 year old boy. A hush hangs in the air. The garden is perfectly manicured and the flowers are well tended. The doctor's wife brings out a dish with meat and starts to serve everyone. She is around 40, rather beautiful. Her name is ANNA.<\/scene_description>\n    <character>KIM<\/character>\n    <dialogue>Dad, do you remember Claire, my friend from school?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>It's her birthday and she's having a party in two weeks. At her place. She's invited most of the class. Can I go?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>We'll see.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>Dad, if Kim goes can I go with her?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I don't know, darling. Your mother and I will discuss it and we'll see.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I say they can go. Claire is a very nice girl. She's the girl we met at the mall with her parents who asked you about becoming a doctor. The one who wants to be a cardiologist.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Yes, I remember.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>How was work today?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Fine. How about you?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I've decided to make a few changes at the clinic. I'm going to get it painted, buy a new sofa. I'm thinking of doing it now before my receptionist goes on leave. Did I tell you she's pregnant?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Yes. Good for her.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Yes. She finally succeeded. She's thrilled.<\/dialogue>\n    <parenthetical>(Looking at her son.)<\/parenthetical>\n    <dialogue>Look at you, all hunched over. You'll strain your back like that, how many times do I have to tell you? And your hair is practically trailing in your food.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Bob, you promised me you'd get a haircut and you still haven't done it.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>I'll get a haircut.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Tomorrow.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>Not tomorrow, Dad. After the party.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I like his hair long. He has lovely hair.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>What about mine?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>You have lovely hair too. We all have lovely hair. And darling, you have to go to the dentist. It's been over six months, it's time to get your teeth cleaned again. I'll book an appointment for Friday afternoon. Is Friday afternoon all right? Do you have any appointments at the hospital?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>No. Friday after five is fine. Thank you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Anna is sitting in front of the mirror, removing her make-up. Steven is lying in bed in his pajamas, looking at something on his phone. The room is dimly lit.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>I bought that dress you liked. I can wear it tomorrow. I can't show it to you now, it needed some alterations. I'm picking it up tomorrow.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>The black one?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>It was the black one you liked, wasn't it?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Yes. The other one looked great on you too, but I think the black one was perfect.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I'm worried it's a bit too short. I'd like it better if it was below the knee.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>You've got great legs. You've got the most beautiful legs of any ophthalmologist anywhere in the world.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Let me think, yes, of all the cardiologists in the world, there's no doubt at all, you are most definitely the biggest flatterer of them all.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Is that a problem?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>No, that's not a problem. And that's why tomorrow I'm going to bake a lemon cake and nobody's going to eat any of it, but you.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Not even the kids?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Not even the kids. Did I tell you about my receptionist?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>If Kim was a bit more dependable, she could help arrange the appointments at the clinic until Christina gets back.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Kim could handle that just fine.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I don't know. I hope so. Did I tell you, Bob announced me the other day he wants to be an ophthalmologist.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Yes, you did. Bob would be a coal miner if you were one too. Do you mind if I turn the light off?<\/dialogue>\n    <scene_description>Anna gets up and kisses him on the mouth for a long time.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>They carry on kissing with the lights on. Anna pulls Steven's pajama bottoms off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - STEVEN'S OFFICE - MORNING<\/stage_direction>\n    <scene_description>Steven is examining a PATIENT. There is a knock at the door. Steven's SECRETARY enters.<\/scene_description>\n    <character>SECRETARY<\/character>\n    <dialogue>Excuse me, Doctor. There's a boy for you outside. He says it's urgent.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I'll be out in five minutes. Tell him to wait.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - CORRIDOR - MORNING<\/stage_direction>\n    <scene_description>Steven sees Martin waiting for him in the corridor. He takes him to one side.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Look I've told you, it's best not to come to the hospital without calling me first.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>You're right. I'm sorry. I just wanted to thank you again and show you the new strap I got for my watch. I swapped the metal strap for a leather one. I'm sorry, I didn't mean to put you in an awkward position. Bye.<\/dialogue>\n    <scene_description>The boy walks away.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Martin. Come here. What kind of strap did you get?<\/dialogue>\n    <character>MARTIN<\/character>\n    <parenthetical>(Without turning his head)<\/parenthetical>\n    <dialogue>Brown leather.<\/dialogue>\n    <scene_description>The doctor hurries after the boy and catches up with him.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Show me.<\/dialogue>\n    <scene_description>Martin hesitates at first, then shows him the watch.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>It's very nice.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Do you really think so? Or are you just being polite?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I really like it. Next time you want to come here, please call me first. You have my number. It's for your own good. I might be with a patient or in surgery or in a meeting. There's no point you waiting around if I can't see you. I'm telling you for your own good.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Matthew walks past, holding a patient's file. He comes over to Steven and puts on his reading glasses.<\/scene_description>\n    <character>MATTHEW<\/character>\n    <dialogue>Good morning.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Good morning, Matthew.<\/dialogue>\n    <character>MATTHEW<\/character>\n    <dialogue>Could you please take a quick look at this.<\/dialogue>\n    <scene_description>He shows Steven the file.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Of course, Matthew. Please leave it on my desk. I'll have a look in a minute.<\/dialogue>\n    <scene_description>Martin looks at the anesthetist.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>We've got the same watch.<\/dialogue>\n    <scene_description>The anesthetist turns to look at Martin, who shows him his watch.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Let me introduce you. This young man is one of my son's classmates. I ran into Martin and his parents at the mall last week. He told me he's very interested in medicine. He wants to be a cardiologist. I suggested he drop by some time, so he can see what being a doctor is really about. Martin, this is Matthew, a great friend of mine and an excellent anesthetist.<\/dialogue>\n    <character>MATTHEW<\/character>\n    <dialogue>That's great. Nice to meet you.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Nice to meet you too. Steven, I'm going to leave it on your desk. Let me know when you're ready.<\/dialogue>\n    <scene_description>The anesthetist walks off.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>I've got to go back in now. We'll talk on the phone to arrange our next meeting. All right?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Okay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - KIM'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Steven, dressed in a suit and bow tie, sits opposite Kim. She is doing voice exercises. She exhales slowly, controlling her diaphragm, then takes a deep breath and runs through a series of vocal scales. Bob has just had a shower and is combing his hair very thoroughly and very slowly. Steven watches his daughter with pride, holding her gaze as she performs her vocal drills. When she finishes, Steven claps, stands up, and kisses her on the cheek.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>I think your breathing has really improved over the last few months.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>That's what the choirmaster said too.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Did you tell him to move you closer to the front?<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>Yes, I did. He said he'll see what he can do.<\/dialogue>\n    <scene_description>Steven turns to Bob.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Did you water the plants, Bob?<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>Mum said she was going to water them.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Your mother works very hard. That's why we said it would be nice to help her as much as we can, and we agreed that Kim would take care of walking the dog and you would take care of the plants.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>I'll do the dog and Kim can do the plants.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>You're too young to be wandering around at night by yourself.<\/dialogue>\n    <scene_description>Bob gives the comb to Kim.<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>Thanks for the comb.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>You're welcome.<\/dialogue>\n    <scene_description>Bob leaves the room. The door opens and Anna walks in.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>We've got to go.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Tell Bob to water the plants now that the sun has gone down.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I've watered them already. Come on, we're going to be late.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARDIOLOGY CONFERENCE - HALL - NIGHT<\/stage_direction>\n    <scene_description>Steven is at the podium giving a speech. The conference hall is quite evidently full of doctors.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>A full 22 years have passed since the German cardiologist Andreas Gruentzig performed the first coronary angioplasty, on 16 September 1977. Today, that first patient is still alive and well. Dr. Gruentzig, however, had an unfortunate accident and met with an untimely end. In short, he is one of those rare cases where one can say: \"The operation was a success, but unfortunately the doctor didn't make it.\"<\/dialogue>\n    <scene_description>Scattered laughter in the audience. The doctor chuckles and takes a sip of water before he continues.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>In the two decades that have passed since that first coronary angioplasty, many things have changed. The indications for angioplasty are more widespread, alternatives to the classic balloon method have been developed, and an angioplasty during the acute phase of a heart attack is practically a routine operation nowadays.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>But now let's touch upon the importance, both for us doctors and for our patients, of the development and use of the stent.<\/dialogue>\n    <scene_description>Anna watches her husband with pride. Matthew, sitting next to her, gets up.<\/scene_description>\n    <character>MATTHEW<\/character>\n    <dialogue>I'm going for a cigarette. I'll be at the bar. Come find me when it's over.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Okay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARDIOLOGY CONFERENCE - PARTY - NIGHT<\/stage_direction>\n    <scene_description>Steven is talking to Anna, Matthew and an ELDERLY MAN, who is holding a flamboyant cocktail.<\/scene_description>\n    <character>ELDERLY MAN<\/character>\n    <dialogue>The guy who made it told me what was in it. I can't remember now but it's very refreshing. Would you like one?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>No, thank you.<\/dialogue>\n    <character>ELDERLY MAN<\/character>\n    <dialogue>Try it. It's really delicious. Use this straw, I haven't touched it.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>He hasn't had a drink in three years. High GGT and elevated transaminases.<\/dialogue>\n    <character>ELDERLY MAN<\/character>\n    <dialogue>Good on you for not drinking.<\/dialogue>\n    <scene_description>Steven smiles.<\/scene_description>\n    <character>MATTHEW<\/character>\n    <dialogue>Well, I wouldn't say no to a cocktail, if you're still offering.<\/dialogue>\n    <character>ELDERLY MAN<\/character>\n    <dialogue>Of course. I'll get you one right away.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I think we should go soon.<\/dialogue>\n    <character>MATTHEW<\/character>\n    <dialogue>It's early.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>He's got surgery in the morning and he needs to get some sleep.<\/dialogue>\n    <character>MATTHEW<\/character>\n    <dialogue>It's still early.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>We've got surgery in the morning.<\/dialogue>\n    <character>MATTHEW<\/character>\n    <dialogue>Fine, okay. How are the kids?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>They're doing very well. Bob started piano lessons and the teacher says he's really talented. Now we need to buy him one so that he can practise at home, but I haven't got round to it. I'm renovating the clinic. I'm on the phone all day.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Our daughter started menstruating last week.<\/dialogue>\n    <character>MATTHEW<\/character>\n    <parenthetical>(awkwardly)<\/parenthetical>\n    <dialogue>Great.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Yes. She was a little scared, but she's okay now. You haven't seen her in ages.<\/dialogue>\n    <character>MATTHEW<\/character>\n    <dialogue>Not since last summer. At that school choir concert.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>You'll have to come over for dinner one night. You really shouldn't stay late either. Just drink that cocktail you ordered and get yourself home. You have to be at the hospital in six hours. Shall we go, darling?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Yes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SEASIDE ROAD - AFTERNOON<\/stage_direction>\n    <scene_description>Steven is eating an ice cream with Martin. The doctor stares at the boy's wrist as he eats his ice cream.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>You're not wearing your watch.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Yes, I took it off to take a shower and left it at home.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>It's water resistant up to 200 metres.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Oh, that's right. I forgot.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>If you don't like it, we can go back to the shop and you can choose one that you do like.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>No, I really like it. I just took it off to take a shower and forgot to put it back on, that's all.<\/dialogue>\n    <scene_description>Martin carries on eating his ice cream. It's quite clear that the subject is closed.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Do you have many friends?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Not that many. I don't think people can have a lot of friends. I mean, it's difficult. The important thing in life is to have good friends, not lots of friends. That's what my dad used to tell me.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Your father was absolutely right.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Yes, I know. I have a very good friend from school who plays basketball. We go and play together sometimes. And a friend who lives in France. I don't see him very often. He usually comes in the summer with his family. He's a great guy, very polite, lots of hobbies. I really miss him. I also consider my mum to be a friend.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>I know it might sound strange, but ever since my dad died we've become very close, me and my mum. We talk about things, lots of things. She helps me as much as she can with a lot of stuff. And I help her too.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I'd like to ask you a favour. Only if you want to of course, I don't want you to feel any pressure or obligation. It just seemed to me like a good idea, so I thought I'd ask.<\/dialogue>\n    <scene_description>He hesitates for a moment.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>I'd like you to come by my house one day. To meet my wife and children. I think you'd all get along really well, especially with Bob. They're both lovely kids, I think you'll get along great. What do you think? Like I said, I don't want to pressure you, come only if you'd genuinely like to.<\/dialogue>\n    <scene_description>Martin looks at him for a few seconds without saying anything.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Are you serious? I'd love to come to your house.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STEVEN'S HOUSE - AFTERNOON<\/stage_direction>\n    <scene_description>Martin enters the front garden of Steven's house. He is carrying a bunch of flowers and a plastic bag. He rings the doorbell. Anna opens the front door.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Good afternoon. You must be Martin.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>That's right. These flowers are for you.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Thank you very much, Martin. Come on in.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STEVEN'S HOUSE - GARDEN - AFTERNOON<\/stage_direction>\n    <scene_description>Martin goes out into the back garden with Anna. Steven walks over to greet him.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Hi, Martin. Did you find the house all right?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Yes, it was very easy.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>You've met Anna. Now let me introduce you to my children. This is Bob. And this is Kim.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Very nice to meet you. I've brought you some little gifts.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>That's very kind of you.<\/dialogue>\n    <scene_description>Martin takes two small boxes out of his plastic bag and gives them to Bob and Kim. They start unwrapping the presents.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>It's a key ring with a musical note on it for Kim, because I know she likes music. And one with a smiley face for Bob.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>What lovely key rings. Now let's get a move on and eat before the food gets cold. Are you hungry, Martin?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Yes, I'm starving.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - KIM'S BEDROOM - AFTERNOON<\/stage_direction>\n    <scene_description>Martin is sitting on the edge of the bed. Bob is sitting next to him. Bob is staring at Martin's shoes, which are identical to his own - probably another gift from Steven. Kim is standing by the wardrobe. Martin stares at a photograph of Kim, lying on a beach in a swimsuit. A child's leg, probably Bob's, is also visible beside her in the picture.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>How long have you been in the choir, Kim?<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>Two years. Since I was 12. Do you like singing?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>I love it. But I haven't got a very good voice.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>How old are you?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>BOB<\/dialogue>\n    <scene_description>Have you got hair under your arms yet?<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>I just got my first period.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Do you mind if I light a cigarette?<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>You'd better not.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>It's all right. Just go over by the window.<\/dialogue>\n    <scene_description>Martin goes over to the window and smokes a cigarette.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Can you sing us something?<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>What, now?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Yes. Anything you like.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>Not right now.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>She's embarrassed.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>No I'm not. I just don't feel like it. When did you start smoking?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Eight months ago. I was over at a friend's place, it was a party actually, and we'd had way too much to drink and a girl offered me a cigarette and I said \"why not\" and lit up. That was a mistake. I regret it, but it's too late now. I'm addicted.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>Can you show me the hair under your arms?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>Martin shows Bob his underarm hair.<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>You haven't got that much. Have you seen how hairy my dad is?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>He's got three times more hair than you do.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>You've got a great body.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>An awkward pause.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Do you want to go out for a walk? It's a really nice day.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>I'd rather stay here and listen to music.<\/dialogue>\n    <scene_description>Bob picks up his headphones and an MP3 player.<\/scene_description>\n    <character>KIM<\/character>\n    <dialogue>Is that my MP3 player or yours?<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>Mine. You've asked me a million times. And don't you dare take this one and lose it as well, because Dad said he's not going to buy us new ones.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>What kind of music do you listen to?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>All kinds.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>I'm into metal and punk. What about you?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>I think all kinds of music are worth listening to. It depends on my mood and what I'm doing\u2026<\/dialogue>\n    <scene_description>Bob puts his headphones on before Martin can finish his sentence.<\/scene_description>\n    <character>KIM<\/character>\n    <dialogue>I'll come for a walk, if you like. We can take the dog with us. If you don't mind.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>I'd rather it was just the two of us. I always get nervous around dogs, in case they get into a fight with another dog. Separating dogs that are fighting scares me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - AFTERNOON<\/stage_direction>\n    <scene_description>Martin and Kim are walking along the road. There is an awkward distance between them and they both stare straight ahead. Martin has one hand in his jacket pocket and a cigarette in the other. Kim walks a few steps behind him, watching him. She picks up her pace and catches up with Martin. She undoes her ponytail and shakes out her hair.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARK - AFTERNOON<\/stage_direction>\n    <scene_description>Martin is sitting on a bench watching Kim. She stands facing him, singing a song. Martin nods his head in time with the music. Kim sways as she sings, not quite dancing. She holds a lit cigarette in one hand.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - LIVING ROOM - AFTERNOON<\/stage_direction>\n    <scene_description>Martin is sitting on the sofa. Kim sits next to him. Anna, opposite them, is serving lemonade. On the table is a plate with some carrot cake. The dog is staring at the cake. Bob still has his headphones on.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Is this homemade lemonade?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>It's amazing. My mother makes lemonade too. But she hasn't made it in a while. I'll ask her to make some. I love lemonade.<\/dialogue>\n    <scene_description>He drains his glass of lemonade and refills it.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>The kids' rooms are amazing. So big and bright. I told Bob to put a pull-up bar in his bedroom doorway. I've got one and I do a few pull- ups every time I walk past.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>That's a great idea.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>I don't think so. Pull-up bars in doorways are dangerous. You might fall.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>If you attach it to the door frame properly, you won't fall.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>Okay. If we get one, we'll ask you to come help us put it up.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>With pleasure. You know this whole house is really amazing.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>You're welcome to spend the night, if you like. We can easily fit a mattress on the floor next to Bob's bed. You can play together in the morning and I'll drop you back home tomorrow afternoon.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Thank you very much, but I'd rather go home tonight. I don't like leaving my mother by herself. She wouldn't mind if I told her I was spending the night here, but I'd better not.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Whatever you like.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Can I have a piece of cake please?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Of course you can. What about you guys?<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Bob doesn't respond.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - BEDROOM - NIGHT.<\/stage_direction>\n    <scene_description>Anna is in the en-suite bathroom, flossing her teeth. Steven is already in bed.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>What a charming boy.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Isn't he?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Yes, very. How did his father die?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Car crash.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>You should tell him to come round again.<\/dialogue>\n    <scene_description>The doctor's mobile phone rings. He ignores it.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>I will. He'll be great company for Bob. I thought next time I could take them both out somewhere, for a bike ride.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Darling, you should get that. It might be the hospital.<\/dialogue>\n    <scene_description>Steven answers his phone. It's Martin. Steven gets up and leaves the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Steven goes out into the corridor. He tries to speak quietly.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Hello. How are you?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I'm fine, Martin. Has something happened?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>No. I just called to tell you I had a wonderful time today.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I'm very pleased to hear that.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Yes. I thought I should return the favour, so I'd like to invite you to dinner. At my house. My mother will be delighted to see you. She hasn't seen you in two years, not since the hospital.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>I asked her if she'd like you to come for dinner one day and she said she'd like that very much. She'll bake a meat pie.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>That's very kind of you. We'll do that someday.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Tomorrow night. I told her already. I've asked her to make meat pie and lemonade. I'll be home by eight- thirty. Around nine?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>All right. Around nine.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>I can buy some non-alcoholic beers, if you like.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>No, there's no need.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>I'll buy four and if you don't drink them it doesn't matter. My mother will drink them, or some other guest another day. So I'll see you tomorrow at nine. Good night and sorry to disturb you. Are Kim and Bob asleep?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>I'm going to sleep now, too. Good night.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Good night.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - SURGERY PREP ROOM - MORNING<\/stage_direction>\n    <scene_description>Steven pulls off his bloodied surgical gloves. He washes his hands and then applies steriliser. Matthew, standing beside him, takes off his disposable hat, gloves, and surgical mask and throws them in the bin.<\/scene_description>\n    <character>MATTHEW<\/character>\n    <dialogue>A friend of mine brought me a huge steelhead the other day. I thought I'd barbecue it. Do you and Anna want to come over for lunch on Saturday?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I'd love to. I'll talk to Anna tonight to check we can make it and let you know.<\/dialogue>\n    <character>MATTHEW<\/character>\n    <dialogue>Does Anna eat fish?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Yes, she does.<\/dialogue>\n    <character>MATTHEW<\/character>\n    <dialogue>I'm only asking because she seems like quite a picky eater.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>No, she isn't. She loves fish.<\/dialogue>\n    <character>MATTHEW<\/character>\n    <dialogue>Perfect. Then you must come. Tell her I'll be offended if you don't.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL CAR PARK - EVENING<\/stage_direction>\n    <scene_description>Steven approaches his car. The car park is fairly dark. Steven gets into his car and switches on the engine. As he pulls away, he sees a figure moving behind some parked cars. It looks like Martin. He's wearing the same jacket as Martin, but we can't see his face. As Steven drives towards him, the figure runs towards the fire escape, opens the door, and disappears.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARTIN'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Steven, Martin and MARTIN'S MOTHER have just finished dinner. Martin's mother is around 45 years old, a little plump, and has a beautiful face. She is dressed rather formally and is heavily made up. The living room is spacious and decorated in a conventional style. Everything is just so. Martin drains a glass of lemonade. His mother clears away the dishes and takes them into the kitchen.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Did you come to the hospital today?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>No. I was at school, then I went to the gym and my French class. Weren't you at the hospital today?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I was, but I was really busy. I just wondered whether you came by and couldn't find me.<\/dialogue>\n    <scene_description>Martin's mother returns.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>I'd like us to watch a film together, if you don't mind.<\/dialogue>\n    <character>MARTIN'S MOTHER<\/character>\n    <dialogue>I'd gladly watch a film.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I'm afraid I have to be getting home soon. I can't be out too late. I didn't tell my wife I'd be late tonight and she might get worried.<\/dialogue>\n    <character>MARTIN'S MOTHER<\/character>\n    <dialogue>You could call her. In any case, if you feel tired we can stop the film, you can go home and we can watch the rest next time you come.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Please. We've rented my favourite film. It was my father's favourite film too.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARTIN'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Steven, Martin, and Martin's mother are sitting on the sofa watching the film. She looks rapt. Martin yawns.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>I think I'll go to bed. I'm tired. Besides, I've got to get up early tomorrow to finish my homework. I'm sorry I can't watch the end of the film with you.<\/dialogue>\n    <scene_description>He gives them both a kiss and hug.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Good night.<\/dialogue>\n    <character>MARTIN'S MOTHER<\/character>\n    <dialogue>Good night.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Good night.<\/dialogue>\n    <scene_description>Sitting on the sofa side by side, Steven and Martin's mother carry on watching the film for a while.<\/scene_description>\n    <character>MARTIN'S MOTHER<\/character>\n    <dialogue>He really loves you, you know. He talks about you a lot.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I love him too.<\/dialogue>\n    <character>MARTIN'S MOTHER<\/character>\n    <dialogue>Have you been married long?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>16 years.<\/dialogue>\n    <character>MARTIN'S MOTHER<\/character>\n    <dialogue>You have lovely hands.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>MARTIN'S MOTHER<\/character>\n    <dialogue>Most doctors have beautiful hands. So white and soft and clean.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>MARTIN'S MOTHER<\/character>\n    <dialogue>Yes. I remember your hands from back when I used to visit my husband at the hospital. In fact, I even told him about your hands and he agreed. \"You're right, he has beautiful hands,\" he said.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Thank you very much.<\/dialogue>\n    <character>MARTIN'S MOTHER<\/character>\n    <dialogue>Do you remember me coming to the hospital?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>MARTIN'S MOTHER<\/character>\n    <dialogue>I was a bit heavier then. And my hair was brown.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>MARTIN'S MOTHER<\/character>\n    <dialogue>I got tired of it. I dyed it about a month ago. Did you prefer me with brown hair? Like it was back then?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I think it's nicer now.<\/dialogue>\n    <character>MARTIN'S MOTHER<\/character>\n    <dialogue>Yes. I agree. Do you like the film?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Yes, it's good.<\/dialogue>\n    <character>MARTIN'S MOTHER<\/character>\n    <dialogue>It gets better. You'll see. Would you like some dessert?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>No, thank you.<\/dialogue>\n    <character>MARTIN'S MOTHER<\/character>\n    <dialogue>Maybe later, then. You did eat a lot.<\/dialogue>\n    <scene_description>She moves closer to him.<\/scene_description>\n    <character>MARTIN'S MOTHER<\/character>\n    <dialogue>Can I have a closer look at your hands?<\/dialogue>\n    <scene_description>Steven looks embarrassed. Reluctantly, he extends a hand. Martin's mother looks at the doctor's hand. She kisses it momentarily, almost reverently. Then again and again, all over. She sticks his whole thumb in her mouth. He stands up.<\/scene_description>\n    <character>MARTIN'S MOTHER<\/character>\n    <dialogue>Don't be afraid. He's definitely asleep. There's nothing to be afraid of. In any case, he wants this as much as I do, you know.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I have to go. It's late. Thank you for dinner. I have to go. Have a good night.<\/dialogue>\n    <character>MARTIN'S MOTHER<\/character>\n    <dialogue>I'm sorry if I made you feel awkward. I didn't mean to. But I won't let you leave until you've tried my tart. I made it for you specially.<\/dialogue>\n    <character>MARTIN'S MOTHER<\/character>\n    <dialogue>It's a caramel tart with custard cream. I'll bring you some now. Please, sit down.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I'm afraid I really have to go. Good night.<\/dialogue>\n    <scene_description>The doctor gets his coat and bag and walks out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - STEVEN'S OFFICE - MORNING<\/stage_direction>\n    <scene_description>Steven walks into his office. Martin is there, sitting in a chair. The doctor is startled to see him. He stands in the doorway holding his bag. Martin smiles at him.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Good morning.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>What are you doing here? Why aren't you in school?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>My heart aches.<\/dialogue>\n    <scene_description>The boy takes off his T-shirt.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>I'm in pain. It's my chest, my heart. I'm worried.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>There's no reason for you to be worried.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>I'm worried because it's hereditary.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>You're too young to be worried.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>That's what you said about my father. And he didn't smoke, he ate a very healthy diet, he went swimming almost every day. He should have come out of that surgery alive but he died. I also smoke. I started smoking recently.<\/dialogue>\n    <parenthetical>(Touching his chest.)<\/parenthetical>\n    <dialogue>It hurts here. I hardly slept at all last night.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>My mother was terribly worried. I slept in her bed.<\/dialogue>\n    <scene_description>Steven attaches some electrodes to the boy's chest.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - STRESS TEST ROOM - MORNING<\/stage_direction>\n    <scene_description>Martin is running on a treadmill. Wires are attached to his body. Steven measures Martin's blood pressure while he runs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - STEVEN'S OFFICE - MORNING<\/stage_direction>\n    <scene_description>Martin removes the electrodes from his body and puts his T- shirt back on.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>If I had hair on my chest and stomach, how would you attach these?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>We'd shave the hair off first.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>How long does it take for the hair to grow back?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I don't know. About a month, I suppose.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Your son told me you have loads of hair under your arms, three times more than I do. And that you have a hairy belly and a hairy back.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I probably do have a bit more hair than you do because I'm older than you. But you'll soon have more hair too. It's all down to hormones.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Can I see? Please. Take off your shirt and show me, please.<\/dialogue>\n    <scene_description>The doctor hesitates, but eventually complies. Martin stares at his body.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Okay, you do have more than me. But not three times more.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Mum and I thought it would be nice if you came for dinner with us tonight, then we can watch the rest of the film. Is nine good for you?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Thank you very much, but I'm afraid I can't make it tonight. I need to be home.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Can't you get away for a couple of hours?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I'm afraid not. Some other time.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>My mother will be upset. I'll tell you a secret, but don't tell her I told you. I think she likes you. I mean she's attracted to you. She says that's not true, but I'm sure of it. And to be honest, I think you're perfect for each other. You'd make a great couple. She's got a great body, you've seen that for yourself. She lost weight and now she's has a really lovely figure.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Your mother is very beautiful, but the idea that she and I could ever be together is ludicrous.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Let me remind you that I'm a married man and I love my wife very much, and my kids, and that we are very happy together.<\/dialogue>\n    <scene_description>The boy looks at Steven, half sad and half angry. Tears well up in his eyes.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>And for your information, you're absolutely fine. There's nothing wrong with you. But you really should stop smoking. Do you promise?<\/dialogue>\n    <scene_description>Martin stands up.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>So we're okay? There's nothing wrong with me?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>You couldn't be healthier. Now you'd better go because I'm late for my rounds. Let's talk tomorrow or the day after and arrange to meet again.<\/dialogue>\n    <scene_description>Steven heads towards the door.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>I want you to buy me a motorbike. A white Honda CRF250. Will you?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>We'll talk about it next time we meet.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MATTHEW'S HOUSE - KITCHEN - DAY<\/stage_direction>\n    <scene_description>Steven and Matthew are standing over the steelhead trout. Matthew is gutting the fish. Steven watches him, drinking ginger beer from a bottle.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BURGER KING - AFTERNOON<\/stage_direction>\n    <scene_description>Martin is sitting by himself. He has finished his meal and is staring out the window. The doctor is clearly late. The boy checks his watch. He stares out the window again. His phone rings.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Yes. Where are you? I called you a hundred times, didn't you see my calls? Yes I'm here, I've eaten already. Sorry I didn't wait for you but I was starving. What do you mean? What do you mean you can't? I got you an apple pie. At least come for a bit. You have to come. I've been waiting for over half an hour. Come for a bit. I can come closer to where you are. Where are you? Are you at the hospital? I'll bring you the apple pie.<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>What's so important? An operation? Are you at the hospital? What sort of incident? Not tomorrow, now. Not tomorrow. I can't tomorrow, I have to study. Now. Listen to me. Just a minute. Where are you?<\/dialogue>\n    <scene_description>Another beat. Martin hangs up the phone. He looks annoyed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MATTHEW'S HOUSE - GARDEN - DAY<\/stage_direction>\n    <scene_description>Matthew is grilling pieces of trout on the barbecue. The garden is immaculate. At the back of the large, suburban house is a wooden deck. Anna is helping the anesthetist's wife, MARY, a woman of around 55, to set the table. Steven emerges from the house and sits in a chair. He looks ill at ease. He picks up a glass of wine and holds it in his hand, but doesn't drink.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Where were you?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I was inside, making a phone call.<\/dialogue>\n    <character>MATTHEW<\/character>\n    <dialogue>The fish is almost ready. Pass me a plate.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Do you need a hand?<\/dialogue>\n    <character>MATTHEW<\/character>\n    <dialogue>No, that's okay. I forgot to tell you. I saw that boy yesterday. Your son's friend.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Martin?<\/dialogue>\n    <character>MATTHEW<\/character>\n    <dialogue>Yes, right. Martin. I couldn't remember his name.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Where did you see him?<\/dialogue>\n    <character>MATTHEW<\/character>\n    <dialogue>At the hospital. He was hanging around beside your car. It looked like he was waiting for you. I said hello, but he pretended not to see me.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>That's impossible. It can't have been him.<\/dialogue>\n    <character>MATTHEW<\/character>\n    <dialogue>Maybe I was mistaken. But it looked a lot like him.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>You should go see Anna and get your eyes checked. Take my piece off the grill, will you? I don't like it overdone.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - LIVING ROOM<\/stage_direction>\n    <scene_description>- NIGHT Steven is sitting on the sofa, stroking the dog. He is eating a sandwich. He feeds the dog some ham. The door opens and Kim walks in.<\/scene_description>\n    <character>KIM<\/character>\n    <dialogue>Hi, Dad.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Hello, darling. Where have you been?<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>Choir practice.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Have you eaten?<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>Yes, I ate earlier.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>You don't have to take the dog for a walk. I took him out already. We got back a little while ago.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>She puts her bag down by the door.<\/scene_description>\n    <character>KIM<\/character>\n    <dialogue>Dad, do you know who I saw today?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Who, darling?<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>Martin.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Martin who?<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>Martin. That boy who came over the other day, the son of your ex- patient. He brought me back from choir practice on his friend's motorbike. He's really funny. I laughed so hard my ribs hurt.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Yes, he is very funny. Kim, I don't want you riding on motorbikes without a helmet.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>I was wearing a helmet. He gave me his.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Why didn't you ask him to come in?<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>I did, but he was in a hurry. He had to get home. Where's Mum?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>She's taking a shower. Is there something you need?<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>I'm going up to bed.<\/dialogue>\n    <scene_description>She kisses Steven and leaves.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Good night.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STEVEN'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Martin is standing on the pavement opposite Steven's house. He watches the house with a blank expression that betrays no emotion. He is holding a helmet under his arm. His friend's motorbike is parked beside him. It's a red HONDA CRF. The light in the living room goes off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - KITCHEN - MORNING<\/stage_direction>\n    <scene_description>Steven, Anna and Kim are having breakfast. Bob is not there. Steven seems agitated.<\/scene_description>\n    <character>KIM<\/character>\n    <dialogue>\"Good evening. Anna Murphy Eye Clinic, how may I help you?\"<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>\"Good evening. I'd like to make an appointment.\"<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>\"When for?\"<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>\"Certainly. Of course. When would you like to come in?\"<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>\"Certainly, when would you like to come in?\"<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>\"Today. It's urgent.\"<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>\"Today is impossible.\"<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>\"Please describe your symptoms.\" Then you come and talk to me and I tell you whether it's urgent or not. Meanwhile, you ask them to hold while you check to see whether any appointments are available.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Did you wake up Bob?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I did. He just likes lying in bed for a bit before he gets up. Leave him be. Should I squeeze some more orange juice?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>He'll be late. Have you seen the time? The school bus will be here any minute.<\/dialogue>\n    <scene_description>Steven gets up and goes to get Bob out of bed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - BOB'S BEDROOM - MORNING<\/stage_direction>\n    <scene_description>Bob is sitting on the edge of his bed. As soon as his father enters the room, Bob turns to look at him. His face is pale. He looks a little frightened.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Robert, do you have any idea what time it is? Get up and get dressed.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>I can't get up.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>You have ten minutes to get washed, dressed and eat your breakfast. I'm not going to drive you to school and neither is your mother.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>I can't get up.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Bob. Get up and get dressed and stop messing about.<\/dialogue>\n    <scene_description>Steven goes to leave the room.<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>Dad. My legs. They're numb. I can't move them. I can't stand up.<\/dialogue>\n    <scene_description>Bob is on the verge of tears.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - GARAGE - MORNING<\/stage_direction>\n    <scene_description>The garage door opens automatically. Steven lifts his son into the car. Anna helps him. She closes the back door of the car and then gets into the driver's seat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOSPITAL ENTRANCE - MORNING<\/stage_direction>\n    <scene_description>Steven lifts Bob out of the car. He puts a hand around his shoulder and practically carries his son into the hospital. Anna follows them inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - NEUROLOGIST'S OFFICE - MORNING<\/stage_direction>\n    <scene_description>DR. ANDREW NICHOLS, a neurologist, is examining Bob. The boy is lying on a hospital bed. His shoes are off. Steven is sitting in a chair, watching the whole procedure. He tries to crack a joke to reassure his son.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>I hope you washed your feet yesterday, Bob, because Dr. Nichols punishes boys who don't wash between their toes. He gives them injections with big fat needles.<\/dialogue>\n    <character>DR. NICHOLS<\/character>\n    <dialogue>Bob's feet are just fine and he has lovely hair and he is very brave. He's all grown up now. You know I had long hair when I was little, too. Just like Bob.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I didn't know that. Really?<\/dialogue>\n    <character>DR. NICHOLS<\/character>\n    <dialogue>Yes, really. Only mine was curlier. Now then Bob, I want you to tell me where you are.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>I'm at the hospital. In the neurology department.<\/dialogue>\n    <character>DR. NICHOLS<\/character>\n    <dialogue>That's absolutely right. And what day is it today?<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>Thursday.<\/dialogue>\n    <character>DR. NICHOLS<\/character>\n    <dialogue>Okay then. With this pin, I'm going to touch the soles of your feet and all your toes. I want you to tell me if you can feel it. Don't be scared, I'm not going to prick you, I'm just going to touch you. Okay?<\/dialogue>\n    <scene_description>Bob nods.<\/scene_description>\n    <character>DR. NICHOLS<\/character>\n    <dialogue>Perfect.<\/dialogue>\n    <scene_description>Bob can feel the pin under all his toes.<\/scene_description>\n    <character>DR. NICHOLS<\/character>\n    <dialogue>Perfect. Now, look directly into my eyes for this one. As soon as you see a finger move, point to it.<\/dialogue>\n    <scene_description>The neurologist spreads out his hands and fingers. Bob looks him in the eye without moving his head. Dr. Nichols moves a finger on the left, then a finger on the right, then both fingers together. Bob points to the correct fingers every time.<\/scene_description>\n    <character>DR. NICHOLS<\/character>\n    <dialogue>Okay, good. Now I'm going to test your sensations. I want you to tell me if this feels the same on both sides.<\/dialogue>\n    <scene_description>He touches Bob on the left and right cheek, the left and right ear, the left and right temple. Bob nods each time.<\/scene_description>\n    <character>DR. NICHOLS<\/character>\n    <dialogue>Now close your eyes as tight as you can. Okay. Show me your teeth. Okay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL CORRIDOR - MORNING<\/stage_direction>\n    <scene_description>Anna is waiting in the corridor. Steven and Bob go up to her. Bob is limping a little, but he can walk.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Everything is absolutely fine. Andrew gave him a thorough neurological examination and he passed with flying colours. It's nothing. You two go home and we'll talk tonight. I won't be late, my schedule is pretty light today. Okay?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Maybe he should have an MRI.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>There's no need to bother with all that. He just got scared, that's all. He's absolutely fine. You're absolutely fine, aren't you?<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I think there was probably some test at school today that we weren't very well prepared for.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Yes, and he preferred to spend his day at the hospital with Andrew and us. Let's go.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>Dad, aren't you going to show me your office?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Another time, darling. I have to go down to the operating theatre right away.<\/dialogue>\n    <scene_description>Steven kisses his son and walks away.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>I've have to go. See you tonight. Call me if you need anything. Bye bye.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Bye, darling.<\/dialogue>\n    <scene_description>Anna leads Bob away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ENTRANCE - MORNING<\/stage_direction>\n    <scene_description>Anna and Bob are walking towards the exit. The moment they step outside, Bob collapses to the ground. His mother bends down and tries to lift him up. She calls for help and two NURSES rush over. They lift Bob into a wheelchair.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - MRI SCANNER ROOM - MORNING<\/stage_direction>\n    <scene_description>Bob is lying inside an MRI machine. Steven and Anna watch from behind a glass window. Dr. Nichols is taking notes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - PATIENT'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Bob is sleeping. Anna sits beside him. Steven stands talking to Matthew. There is a second bed in the room, but it is empty.<\/scene_description>\n    <character>MATTHEW<\/character>\n    <dialogue>You don't have to operate tomorrow. Cancel everything.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>No. Why would I cancel? The schedule would go haywire. There's no need. Anyway, it's nothing.<\/dialogue>\n    <scene_description>The door opens and Dr. Nichols walks in.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Any news, Andrew?<\/dialogue>\n    <character>DR. NICHOLS<\/character>\n    <dialogue>MRI and MRA both fine. Blood work came back good. Cardiogram, chest X- ray and carotid ultrasound all clear.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I told you. I knew it.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Thank goodness for that.<\/dialogue>\n    <character>DR. NICHOLS<\/character>\n    <dialogue>Has he been under any psychological stress lately? Exams at school maybe?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>No, he wasn't stressed, he was just fine. He's always a bit anxious, but that's just the way he is.<\/dialogue>\n    <character>DR. NICHOLS<\/character>\n    <dialogue>In my opinion, he should stay in tomorrow as well so that we can keep an eye on him.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Maybe we should give him a PET scan?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I don't think there's any need for that, do you Andrew? Tomorrow he'll be well enough to walk all the way home.<\/dialogue>\n    <character>DR. NICHOLS<\/character>\n    <dialogue>Yes, I don't think that's necessary at this point. Let's see how things are tomorrow and take it from there. There's nothing to worry about, in my opinion. You go home and we'll speak tomorrow. I'll be here all day. Anna, it was great seeing you, even under these circumstances.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>And you, Andrew. How's your daughter?<\/dialogue>\n    <character>DR. NICHOLS<\/character>\n    <dialogue>She got married last year. I'm a grandfather now.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Give her my love.<\/dialogue>\n    <character>DR. NICHOLS<\/character>\n    <dialogue>I will. Good night.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Goodbye, Andrew. Thanks for everything.<\/dialogue>\n    <character>MATTHEW<\/character>\n    <dialogue>Do you want me to let them know that you won't be operating tomorrow?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I said no. Don't go on about it.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>That won't be necessary, Matthew. I'll come in the morning. I won't go in to the clinic. I'll bring him those cinnamon doughnuts he loves so much.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Yes, I'm sure he'll be thrilled.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - NIGHT<\/stage_direction>\n    <scene_description>Martin is riding his friend's motorbike. Kim sits behind him, holding on tight. Neither of them are wearing helmets. Martin focuses all his attention on the road. Tears are streaming down Kim's face, but it's impossible to tell whether it's from the wind or if she's crying for some other reason.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STEVEN'S HOUSE - GARDEN - NIGHT<\/stage_direction>\n    <scene_description>Anna is watering the plants. Kim comes out into the garden.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Where were you?<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>At Claire's. Is Dad asleep?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>How's Bob?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Bob is absolutely fine. They've just kept him in as a precaution.<\/dialogue>\n    <scene_description>Kim looks at her mother for a while without saying anything.<\/scene_description>\n    <character>KIM<\/character>\n    <dialogue>How are you?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I'm fine. How do you mean?<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>I mean are you tired?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I'm absolutely fine. A little tired, that's all.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>See you in the morning. Oh, and while Bob's in the hospital, you'll be responsible for watering the plants. Okay?<\/dialogue>\n    <scene_description>Kim walks away without answering.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - CORRIDOR - MORNING<\/stage_direction>\n    <scene_description>Steven, dressed in his white doctor's coat, and Anna, holding a box of doughnuts, are walking down the corridor. It is rush hour at the hospital. They both greet various people as they walk along.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Did he go to the toilet? Did he get up?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>He hadn't when I passed by about an hour ago. He didn't want to.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>He didn't want to pee or he hadn't got up?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>He didn't want to pee.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Could he get up?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>He was asleep. I didn't want to drag him out of bed.<\/dialogue>\n    <scene_description>They stop outside the door to Bob's room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - PATIENT'S ROOM - MORNING<\/stage_direction>\n    <scene_description>Steven and Anna enter Bob's room. Martin is already there, sitting next to Bob's bed. Martin stands up.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Good morning, Doctor. How are you Mrs. Murphy? I just came by to see Bob. Kim told me what happened.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Hello, Martin. How nice of you. Hi darling, good morning. Did your friend Martin come to see you?<\/dialogue>\n    <scene_description>Bob does not reply.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>I'll leave you alone now so that you can spend time with him too. I have to go anyway. I'll come by and see him again some other time, for sure. I offered to help him go to the toilet but he didn't want me to and he wet the bed. I brought some lemonade. Mum made it yesterday.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Try it and let me know what you think.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Thank you very much.<\/dialogue>\n    <scene_description>Anna goes over to Bob.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Darling, do you know what's in this box?<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Cinnamon doughnuts, that's what.<\/dialogue>\n    <scene_description>Martin goes over to Steven. Anna pulls off the sheets and folds them up.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>I'll be in the canteen. Come whenever you can.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I don't think I'll have time today, as you might imagine. We'll talk some other time.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>No. Today. Come to the canteen. Just for ten minutes. Don't stand me up like last time. Goodbye Mrs. Murphy. Bye, Bob.<\/dialogue>\n    <scene_description>Martin leaves. We hear Anna saying goodbye as we watch him go.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL CANTEEN - AFTERNOON<\/stage_direction>\n    <scene_description>Martin is waiting in the hospital canteen. Steven appears. The canteen is packed with doctors, nurses and patients, seated at the tables.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Coffee? Apple pie?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I've only got ten minutes. I have to be back upstairs in ten minutes max.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Okay. I'll get straight to the point. I've brought you a present.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>You've given me so many presents and I've never given you anything. I thought that was rude of me. So I decided to make amends. Close your eyes.<\/dialogue>\n    <scene_description>Steven does not close his eyes.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Please close your eyes.<\/dialogue>\n    <scene_description>Steven, losing patience, closes his eyes. Martin places a small box in his hand. Steven opens his eyes and sees the box.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>It's a Swiss army knife.<\/dialogue>\n    <scene_description>The boy puts his hand over his mouth, mortified.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>I shouldn't have told you that. I messed it up. I ruined the surprise. I'm sorry.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Thank you very much, Martin.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>What an idiot.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>It doesn't matter. Thank you very much.<\/dialogue>\n    <scene_description>A PARAMEDIC approaches the doctor.<\/scene_description>\n    <character>PARAMEDIC<\/character>\n    <dialogue>Good afternoon, Doctor.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Hello, Justin.<\/dialogue>\n    <character>PARAMEDIC<\/character>\n    <dialogue>I got the car. Second-hand, but still. Blue. I couldn't find it in silver.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>That's great. You'll have to take me for a ride in it soon.<\/dialogue>\n    <character>PARAMEDIC<\/character>\n    <dialogue>Yeah, sure. See you later.<\/dialogue>\n    <scene_description>The paramedic walks away.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>That reminds me, did you do anything about that motorbike I wanted?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Martin, I have to get back upstairs.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>All right. I won't keep you much longer, even though you are devoting less and less time to me lately. But that's okay, I understand. I just wanted to say one more thing. I'm really sorry about Bob.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>It's nothing serious.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>No, it is. That critical moment we both knew would come someday, well, here it is. The time is now. You'll see, things will be better for us all after this. You know what I mean.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>No, I don't. Listen, Martin, I don't have time for this. I have to be upstairs.<\/dialogue>\n    <scene_description>Steven stares at Martin in silence. The boy looks around to make sure nobody can hear them, that nobody is sitting too close.<\/scene_description>\n    <character>MARTIN<\/character>\n    <parenthetical>(speaking fast, almost without catching his breath)<\/parenthetical>\n    <dialogue>Okay, I'm going to tell you this as quickly as I can so that I don't hold you up since I get that you don't have much time and you have to go back up to the ward. I will make myself as clear as possible. Yes, it's exactly what you think. Yes. That's it. Just like you killed a member of my family, now you have to kill a member of your own family. To balance things out, understand? I'm not going to tell you who to kill of course, that's for you to decide. But if you don't do it, they all die. Bob will die. Kim will die.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>And so will your wife. They will all get sick and die. One: paralysis of the limbs, two: refusal of food to the point of starvation, three: bleeding from the eyes, four: death. One, two, three, four. You're not going to get sick, don't worry. You just have to stay calm, that's all. There, I said it. As quickly as I could. I hope I haven't kept you too long.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Oh and one more thing, but I'll be very quick. You only have a few days to decide who to kill. Once stage three kicks in - remember what stage three is? Bleeding from the eyes, that's stage three - once the bleeding starts, they die in a matter of hours. Well, don't let me keep you. I have nothing more to say. Unless you have any questions.<\/dialogue>\n    <scene_description>Steven stares at Martin in silence. He is clearly furious. He picks up his mobile phone and keys.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Get up and get out of here and don't you dare come back or call me ever again. Now. Before I hit you.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>All right, I'll go. I have to go anyway, I have French class to get to. I was leaving anyway. But don't get angry. There's really no point getting mad at me. I told you. This will do us all good. You'll see.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>If you ever come anywhere near me, my wife, or my children again I will kill you, I swear.<\/dialogue>\n    <character>MARTIN<\/character>\n    <parenthetical>(loudly)<\/parenthetical>\n    <dialogue>But how will you kill me? Oh wait, I have an idea. Why don't you operate on me?<\/dialogue>\n    <scene_description>Several people turn and stare at the doctor. Steven gets up and leaves. Martin calls after him.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Do you know if Kim's going to come by today?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>If she does, tell her I'll be outside, at the main entrance. I'm going for a cigarette.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ENTRANCE - AFTERNOON<\/stage_direction>\n    <scene_description>Two security guards escort Martin out of the building. He heads towards the exit without putting up a fight. He glances over his shoulder and then walks out, zipping up his jacket and smoothing down his hair.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - PATIENT'S ROOM - EVENING<\/stage_direction>\n    <scene_description>Anna is sitting on the empty bed next to her son's bed. She is reading him a book. Steven comes in and sits in a chair. He is restless.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Has he eaten?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>No, he's not hungry.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>What do you mean he's not hungry?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>He's not hungry.<\/dialogue>\n    <scene_description>Steven takes a doughnut out of the box. He reaches over and puts it near his son's mouth.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Come on, darling. Eat a doughnut.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>I don't want it, dad.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>You do, but you're afraid that your mother and I will tell you off for eating doughnuts. Come on, eat it. You have my permission. You have our permission. It's okay for him to eat a doughnut, isn't it Anna?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>You heard your mother. Eat it.<\/dialogue>\n    <scene_description>He prises Bobs lips open and shoves the whole doughnut into his mouth. Anna gets up and pulls Steven away from their son.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Leave him alone. He doesn't want it now. He'll eat it later.<\/dialogue>\n    <scene_description>Steven does not back down. He gestures for Anna to sit back down.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>That's right. Chew it a bit. Now swallow.<\/dialogue>\n    <scene_description>Bob spits the doughnut out.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Leave him alone. He said he doesn't want it now.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>He is going to eat it right now. He is completely run down, that's why he keeps falling over and crawling around on all fours. He's going to eat them, all of them. In five minutes flat, I want to see this whole box empty.<\/dialogue>\n    <scene_description>Steven storms out of the room, slamming the door behind him as he goes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - DIRECTOR'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Steven, Anna, Dr. Nichols and the HOSPITAL DIRECTOR are discussing Bob's case. A FEMALE DOCTOR is standing beside them, along with Matthew. They have spread all of Bob's test results out on the desk. The Hospital Director studies the test results thoroughly, in silence.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>He stopped eating today. He keeps vomiting.<\/dialogue>\n    <scene_description>The Hospital Director looks up at Anna and then looks back at the test results.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Some of the tests need to be done again, in my opinion. They haven't found anything, it's not possible.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>It's been less than a day since his last tests. I don't think the results will be any different.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>To be honest, I think what we have here is a clear case of some psychosomatic disorder.<\/dialogue>\n    <character>HOSPITAL DIRECTOR<\/character>\n    <dialogue>I'm inclined to agree with Anna.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>What do you mean? Shouldn't we rule out all possible causes before we resort to the easy option of a psychosomatic disorder?<\/dialogue>\n    <character>DR. NICHOLS<\/character>\n    <dialogue>We already have ruled out everything else.<\/dialogue>\n    <character>HOSPITAL DIRECTOR<\/character>\n    <dialogue>I think with psychiatric treatment and psychological support everything will be fine. He will walk again and eat just fine.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Of course he will.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Anna, if Bob was short-sighted or had a cataract or glaucoma, then your opinion really would be valuable. But thankfully Bob's eyesight is perfect. And I can honestly say that if he ever needed glasses, you'd be the first person I'd consult. But right now the boy can't eat and is paralysed in both legs, so I'm afraid I'm not remotely interested in your medical opinion.<\/dialogue>\n    <scene_description>Nobody says a word. Anna opens the door and leaves the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>Kim puts on lipstick and brushes her hair in front of the mirror. She then sprays herself with a little too much perfume.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - KIM'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Kim and Martin are sitting on the bed, kissing. The bedroom lights are on. Music is playing on the computer. Kim's bed is made. Martin touches her breast.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Are you on your period?<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>No. If you're hungry we can order something later.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>My parents will be home late and they've left me some money.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>I'm not hungry.<\/dialogue>\n    <scene_description>Kim stands up, strips down to her underwear and lies on the bed, beneath her swimsuit picture. Martin smiles.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>You are the prettiest girl I've ever met. Your mother is making a big mistake not trusting you to work at the clinic. A huge mistake.<\/dialogue>\n    <scene_description>They kiss.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>I'm afraid I have to go.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>Why? Stay a bit longer. We can listen to some music.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>I can't, Kim. It's late.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>Are you mad at me because of my dad?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Don't be stupid. I'm not mad at you at all. And I thought I'd made myself clear - I don't feel angry at him, I feel sorry for him. I have to go because it's late, that's all. It's as simple as that. Don't be annoying, I thought you understood.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>I'm sorry. Martin, I love you so much.<\/dialogue>\n    <scene_description>He hugs her but does not say it back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>Anna is marching angrily down the corridor. Steven follows her, holding a file of papers.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>I'm sorry about what happened in there.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>It doesn't matter.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I'm just so exhausted and stressed and...<\/dialogue>\n    <character>ANNA<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>It's okay.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>You go home. I'm staying here.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I'm going to give him all the tests again. Every single one of them. I'm staying here. Go home.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Let's go home and we'll talk it over again tomorrow.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Just go. Go to Kim, she's by herself. I'll come later. Go.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Good night.<\/dialogue>\n    <scene_description>Anna stands there watching Steven as he goes back towards the patients' ward.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>Steven pushes Bob along in a wheelchair. Bob looks groggy. He's half asleep. Steven marches manically up and down the hospital corridors.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - BLOOD TEST ROOM - NIGHT<\/stage_direction>\n    <scene_description>Steven takes blood from Bob. He gives the blood sample to a nurse.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - MRI SCANNER ROOM - NIGHT<\/stage_direction>\n    <scene_description>Bob is lying inside the MRI machine. He disappears into the machine as Steven watches.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - ULTRASOUND ROOM - NIGHT<\/stage_direction>\n    <scene_description>Tired but wired, Steven stands next to a doctor who is giving Bob an abdominal ultrasound.<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>Take a deep breath and hold it for a few seconds. Good.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>Steven pushes Bob back to his room in the wheelchair. Bob is shattered, so is Steven. Abruptly, Steven stops pushing the wheelchair, lifts Bob up with both hands, puts his arms around him and walks him down the corridor, with the drip trailing behind them. Steven lets go of Bob and he falls to the floor. Steven picks him up again. He kneels down in front of his son.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Bob, why don't we play a game?<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>What game?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I'll tell you a secret, something I've never told you before, and then you'll tell me one. And whoever tells the best secret wins. Okay? When I was your age I'd just started masturbating and I'd only just started ejaculating. Only a little, barely a drop.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I was worried that I had some kind of problem because at school I'd heard all sorts of stories. Then one day when my father had had a lot to drink and my brothers were out and he was sleeping in the bedroom, I crept inside, put my hand on his penis and started stroking it until he ejaculated. The sheets got covered in sperm. I got scared and ran out. I've never told anybody that before. Now it's your turn to tell me a secret.<\/dialogue>\n    <scene_description>Bob stares at his father, dumbstruck. An awkward silence.<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>I don't know. I don't have one.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>That's impossible, you must have one.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>I don't.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Bob, if all this is just an act, you should know that if you tell me now, I won't punish you and neither will your mother. We won't be angry with you either.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>It's not an act.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>But if it is an act and you don't stop this stupid joke right this minute, your punishment won't just be no TV for a month. I will take my electric shaver and I will shave your head and I will make you eat your hair. I mean it, I will literally make you eat your hair. I'm not kidding.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>It's not an act.<\/dialogue>\n    <scene_description>Steven puts Bob back into the wheelchair in silence.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S OFFICE - HOSPITAL - MORNING<\/stage_direction>\n    <scene_description>Steven is asleep at his desk. His hair is tousled and his tie is undone. The door opens and Anna walks in. Steven wakes up. Anna hands him a takeaway coffee. They don't say anything. Steven has nothing to report.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>I brought you a clean shirt.<\/dialogue>\n    <scene_description>She takes a shirt out of her bag and hangs it up inside the locker where Steven keeps his lab coat.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Anything to tell me?<\/dialogue>\n    <scene_description>Steven shakes his head.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Hungry? Want me to bring you something to eat?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>No, thank you. Maybe you were right. Maybe it's all psychological.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Everything will be all right, you'll see. Trust me. We're in this together and everything will be all right. Let's go and get you something to eat and some fresh air and then we'll go up and see the little one.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL - REHEARSAL ROOM - DAY<\/stage_direction>\n    <scene_description>Kim is singing in the choir. A middle-aged man, the CHOIRMASTER, is conducting the orchestra. Suddenly, Kim falls down. At first, everybody around her carries on singing. As fear ripples through the choir, everyone gradually falls silent and the music stops. The choirmaster rushes over to see what has happened.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - CORRIDOR - AFTERNOON<\/stage_direction>\n    <scene_description>Anna is sitting outside Bob's room, crying. Matthew hugs her. A nurse comes out of the room, pushing a food trolley.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - PATIENT'S ROOM - AFTERNOON<\/stage_direction>\n    <scene_description>Kim and Bob are lying in adjacent beds. Steven is feeding Kim pieces of fruit. Kim spits them out. Bob watches them, slowly opening and closing his eyes. He looks as if he has just woken up. Their dinner plates lie untouched on trays.<\/scene_description>\n    <character>KIM<\/character>\n    <dialogue>Dad, I don't want any fruit.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Just one bite. For me.<\/dialogue>\n    <scene_description>Kim chokes and her face flushes. She spits out the piece of apple that Steven has fed her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - PATIENT'S ROOM - EVENING<\/stage_direction>\n    <scene_description>A nurse inserts nasogastric feeding tubes into the noses of both children. Kim has calmed down, but looks exhausted.<\/scene_description>\n    <character>KIM<\/character>\n    <dialogue>I want to sleep.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>All right, darling. What are you going to wear to Claire's party, did you decide yet?<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>No. I'm tired, Dad. Switch off the light.<\/dialogue>\n    <scene_description>Steven goes to turn the light off. He spots a new MP3 player on the bedside table.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Where did you get this? Did Mum give it to you?<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>No. Martin did. He made me a playlist with some songs that he likes. That we both like.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>When did he give you this?<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>I don't remember. Good night, Dad.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Good night.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - NIGHT<\/stage_direction>\n    <scene_description>Steven sits in his car, thinking. He opens the car door, gets out, and walks quickly and angrily across the road. He is outside Martin's house. He sees a light on in the living room. The TV is blaring. Steven goes up to the front door and rings the doorbell frantically. Nobody answers. He bangs on the door with his fists.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Open the door. I know you're in there. Open the door or I will smash it down. Martin. Open the door or I will smash it down and I will fuck you and your mother just the way you wanted.<\/dialogue>\n    <scene_description>Steven tries to break in through the balcony doors, but doesn't succeed.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>If anything happens to my kids or my wife, you'll die in prison, do you hear me? You'll die in prison.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOSPITAL GROUNDS - NIGHT<\/stage_direction>\n    <scene_description>Anna is sitting on the steps outside the hospital. Steven stands beside her. He appears rather sheepish and speaks in a low voice. He avoids looking Anna in the eye.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>How old was his father when he died?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>ANNA<\/dialogue>\n    <scene_description>Had you been drinking that day?<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>He had an arrhythmia, a stroke, and that was it.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I asked whether you'd been drinking, not how he died. How long has this been going on? How long have you been seeing this boy?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>About six months.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Where were you meeting?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>What does it matter?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Where were you meeting him?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>At a Burger King, then we'd drive to the seaside. He's got issues, serious psychological issues. He always did. I knew he acted weird sometimes, but now he's lost it completely, he's become dangerous. We have to take precautions. Go to the police and take some precautions.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>You're not going to the police. You're not going to tell anyone. There's no point. We'll wait and see. Had you been drinking when you operated on his father?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Only a little. That had nothing to do with the outcome. A surgeon never kills a patient. An anesthetist can kill a patient, but a surgeon never can. For example, Matthew has made mistakes that led to the death of a patient, but I never have.<\/dialogue>\n    <scene_description>Anna turns her head away. She doesn't say anything.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>I think Bob is a little better today. He seemed in a better mood and he wasn't so pale.<\/dialogue>\n    <scene_description>Anna does not respond.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Why didn't you tell me you were seeing him?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>At first I didn't see him that often, it was only recently that we started meeting more regularly.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I was going to tell you at some point. I felt sorry for him. I gave him some money. His mum is out of work.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I'm going upstairs.<\/dialogue>\n    <scene_description>Anna gets up and leaves. Steven stands there for a while, alone with his thoughts. Then he follows his wife into the hospital.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE- BATHROOM - DAY<\/stage_direction>\n    <scene_description>Steven takes a shower.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - BEDROOM - DAY<\/stage_direction>\n    <scene_description>Steven sits on the edge of his bed, naked and numb. His gaze is vacant - he looks completely blank. The room is relatively dark. The curtains are drawn. Steven stands up and hurriedly gets dressed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STEVEN'S HOUSE - FRONT DOOR - DAY<\/stage_direction>\n    <scene_description>Steven emerges from the front door of his house and finds an envelope on the doormat, with his name written on it. He opens the envelope. Inside is the watch he had given Martin, with a note. One of the watch straps is missing. Snapped off. Steven looks inside the envelope for the missing piece of leather, but it is not there. The note, written in very neat handwriting, reads: \"Time shows no mercy. By the way, you were right. Metal straps are better. Leather straps break.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - PATIENT'S ROOM - DAY<\/stage_direction>\n    <scene_description>Anna is sitting next to Bob's bed. Kim is lying on her back on the other bed. She is playing a game on her mobile phone. Her legs are covered from the knees up with a sheet. Her toes are pointed. Exhausted, Anna rests her head on the metal bed frame. She strokes Bob's legs.<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>When are we going home?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Tomorrow or the day after. We'll get all our tests done and when the doctors say so, we can go home.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>But you are doctors too. Tell them we can go home.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>We'll tell them, darling.<\/dialogue>\n    <scene_description>Kim interrupts the conversation.<\/scene_description>\n    <character>KIM<\/character>\n    <dialogue>Mum, did Martin come by while I was sleeping?<\/dialogue>\n    <scene_description>Anna stands up and looks at her daughter.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>Can you turn me onto my side, please?<\/dialogue>\n    <scene_description>Anna goes over, turns Kim onto her side and returns to her chair. Kim has her back to her mother now. They cannot make eye contact.<\/scene_description>\n    <character>KIM<\/character>\n    <dialogue>What time is it?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Nine.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>Is Dad here?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>No, he'll be here soon. Would you like me to fetch you some juice?<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>No. Don't go anywhere. Stay here.<\/dialogue>\n    <scene_description>Silence. Kim's phone rings. She picks it up.<\/scene_description>\n    <character>KIM<\/character>\n    <dialogue>Good morning. How are you? Aren't you coming by? Okay. Just my mum, my father will be here soon. Yes. You're here? I can't.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>Are you coming up to see me?<\/dialogue>\n    <parenthetical>(Kim laughs)<\/parenthetical>\n    <dialogue>You really think that's possible? Well, let's see. Okay. Okay.<\/dialogue>\n    <scene_description>Kim's toes uncurl. Her legs slowly start to move. Kim pulls herself up and sits on the bed. She then stands up and walks over to the window.<\/scene_description>\n    <character>KIM<\/character>\n    <dialogue>Martin? Yes, I stood up. Yes, thank you. Can you see me? Yes, I'm at the window, I'm standing at the window. Can you see me?<\/dialogue>\n    <scene_description>Kim waves with her right hand. Then she smoothes her hair down with both hands.<\/scene_description>\n    <character>KIM<\/character>\n    <dialogue>I can't see you, can you see me? I'm waving at you. Can you see me waving? Great. Yes.<\/dialogue>\n    <scene_description>Anna gets up and walks over to the window.<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>Mum, I want to stand up like Kim. Why can she get up and I can't?<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>All right. I'm going back to bed now. I'm lying down now. Okay. Thank you. Me too. Next time you come, call me first so that I'm not sleeping. I'll tell them. Me too. Bye.<\/dialogue>\n    <scene_description>As Kim lies down, her legs seize up again and her toes curl back into the soles of her feet. Anna looks out of the window. She scans the people in the street, but she cannot see Martin. Bob falls out of bed.<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>Mum, I'm coming over to the window.<\/dialogue>\n    <scene_description>Anna rushes over, picks Bob up, and puts him back into bed.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>You'll be able to soon, my darling. Kim is older than you, that's why she can do it. Soon you'll be strong enough to stand up too.<\/dialogue>\n    <scene_description>Anna turns to look at Kim, who has her back to them and her face pressed up against the window.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Who were you talking to?<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>Martin. He sends his regards.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I don't want you talking with him ever again.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Because I said so.<\/dialogue>\n    <scene_description>Kim does not respond.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Did you hear what I said?<\/dialogue>\n    <character>KIM<\/character>\n    <parenthetical>(under her breath)<\/parenthetical>\n    <dialogue>Fuck you.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>What did you say?<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>I didn't say anything.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Yes you did. What did you say, Kim?<\/dialogue>\n    <scene_description>Anna grabs her daughter with both hands and shakes her hard. Kim cries out in pain.<\/scene_description>\n    <character>KIM<\/character>\n    <dialogue>Mum, let go, you're hurting me. I didn't say anything.<\/dialogue>\n    <scene_description>Anna lets Kim fall abruptly back down on the bed.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>I'm not like your father. You better watch your mouth. If that's the way you want it, I'm confiscating your phone right here and now. That'll teach you to be rude to your mother.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>Give me my phone back. Please.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>You can forget it.<\/dialogue>\n    <scene_description>A long beat of silence.<\/scene_description>\n    <character>KIM<\/character>\n    <dialogue>Don't be scared, mum. Don't get hysterical. It's not that tragic. Sometimes your body hurts from not moving and you can't sleep, that's all. The important thing is to make sure you have everything you need within reach. That's all. You'll see. You won't be able to move either, but you'll get used to it.<\/dialogue>\n    <scene_description>Anna stares at her speechless and her anger morphs into fear.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - CORRIDOR - AFTERNOON<\/stage_direction>\n    <scene_description>Anna is talking to Steven. She is upset. He hugs her and tries to calm her down.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>You're tired. Go home and rest. I'm here now.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I'm not tired. I'm telling you the truth, I really saw it happen.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>It was just a coincidence.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>How can it be a coincidence? How come neither of them have been able to get up and walk until now?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Darling, listen to yourself.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I saw it.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Okay. It just means things are getting better. That's all it means. That Kim is getting better. Go home and rest for a bit. Please.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>They're not better. They're worse.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>This afternoon there' ll be an emergency meeting of the medical board. Andrew and I took the initiative of inviting two outstanding specialists from the Presbyterian University Hospital of Columbia. They've already arrived from New York and I'm meeting them this afternoon to brief them about the case. One of them is actually a personal friend of the director. Dr. Johnston. You must have heard of him. He's the best there is when it comes to paralytic disorders.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Yes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANNA'S CAR - AFTERNOON<\/stage_direction>\n    <scene_description>Anna is driving. We can sense that contradicting thoughts are going through her mind.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARTIN'S HOUSE - AFTERNOON<\/stage_direction>\n    <scene_description>Anna pulls over outside Martin's house. She looks at the house, trying to figure out whether anyone is home. She takes a deep breath and gets out of the car. She hesitates for a moment, looks around, then carries on walking up to the front door of Martin's house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARTIN'S HOUSE - AFTERNOON<\/stage_direction>\n    <scene_description>Martin opens the front door. He is home alone. He is wearing a T-shirt and boxer shorts and holding a plate of spaghetti. His hair is wet and freshly combed.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Good evening. I'm not sure if you remember me.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Of course I remember you. How are you? Come in.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Thank you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARTIN'S HOUSE - LIVING ROOM - AFTERNOON<\/stage_direction>\n    <scene_description>Anna sits on the sofa. Martin brings her a glass of iced water.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Thank you very much. I'd like to have a talk with you. I won't take up much of your time.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Of course. I've only got ten minutes because I have to get to my French class. What's up?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>My husband told me about you and your father.<\/dialogue>\n    <scene_description>Martin puts his plate of spaghetti down on the table. He looks at Anna and smiles faintly.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Did he also tell you about my mum?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>I'm sorry, then maybe I'm not the one you should hear it from. Ever since your husband killed my father, he's been flirting with my mother constantly. To be honest, she has feelings for him too. She really likes your husband's hands and the truth is he does have very beautiful hands. All doctors have nice, clean hands. You see, now that we only have each other, my mother and I are friends and we tell each other everything. So I told her that I have no problem if she wants to go ahead with it, and anyway, he seems like a nice guy. Why would I stand in the way of her trying to get her life back on track? I mean, I'll be gone in a few years. I'll get a job and I'll be gone.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Look, if my husband made a mistake, if out of negligence or I don't know what he somehow caused this tragic thing to happen, I don't understand why my children and I have to pay the price.<\/dialogue>\n    <scene_description>Martin picks up his plate of spaghetti.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Not long after my dad died, someone told me that I eat spaghetti in exactly the same way he did, told me what an extraordinary impression this fact had made on him. \"Look how the boy eats spaghetti,\" he said. \"Exactly the same way his father did. He sticks his fork in and twirls it around and around until the spaghetti is all twisted up and then he puts it in his mouth.\" At the time, I thought I was the only one who ate spaghetti like that. Only my dad and me. I realised later, of course, that everyone eats spaghetti that way. They all stick their fork in and twirl it around.<\/dialogue>\n    <scene_description>Martin stands up.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>I was really upset when I realised that, maybe even more upset than when they announced to me that he was dead. I don't know if what is happening is fair, but it's the closest thing to justice I can think of. But enough chit chat, time's getting on and if I'm late for class I'm done for. You have a good day.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - MEETING ROOM - NIGHT<\/stage_direction>\n    <scene_description>The medical council is underway. Anna, Steven, Matthew, the Hospital Director and Dr. Nichols are all present, as are the VISITING CONSULTANTS. Anna looks defeated. She sits in a chair with her arms folded and watches the proceedings without saying a word. We cannot hear what is being said. We watch the scene unfold through a window.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOSPITAL ENTRANCE - NIGHT<\/stage_direction>\n    <scene_description>The Hospital Director is saying goodbye to the visiting consultants. Steven and Anna also say goodbye. The consultants get into a car and drive off. The Hospital Director gives Steven a hug and pats him on the back.<\/scene_description>\n    <character>HOSPITAL DIRECTOR<\/character>\n    <dialogue>So, I don't see any reason for the children to stay in hospital.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>You mean you think you've done everything you can?<\/dialogue>\n    <character>HOSPITAL DIRECTOR<\/character>\n    <dialogue>Yes, Steven, I believe we have done everything we can.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Sorry, but if I was running this hospital I would feel like a complete failure. A loser. I wouldn't be able to sleep at night.<\/dialogue>\n    <scene_description>The Hospital Director looks at Steven then walks away.<\/scene_description>\n    <character>HOSPITAL DIRECTOR<\/character>\n    <dialogue>Good night, Anna.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Good night, Ed.<\/dialogue>\n    <scene_description>Anna looks at her husband.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>I suggest you sign the release forms tomorrow and then they can go home.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>Anna marches angrily along the corridor. Steven follows, trying to catch up. Suddenly, Anna falls over. Steven panics. Anna gets back up.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>I tripped. It's nothing. My shoelace was undone. I tripped.<\/dialogue>\n    <scene_description>She gets up and carries on walking, leaving Steven standing there. She is almost running.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFETERIA - MORNING<\/stage_direction>\n    <scene_description>Anna is sitting at a table, waiting. The cafeteria is almost empty. It doesn't seem like the kind of place where Anna would normally choose to go. She is well dressed, but looks drained. Matthew comes over to the table. He kisses Anna on the cheek and sits opposite her. She wavers for a moment before she starts speaking.<\/scene_description>\n    <character>MATTHEW<\/character>\n    <dialogue>Good evening, Anna.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Good evening, Matthew. Sorry to bother you.<\/dialogue>\n    <character>MATTHEW<\/character>\n    <dialogue>It's no bother, really.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>As I said on the phone, I'd rather Steven didn't find out about us meeting like this.<\/dialogue>\n    <character>MATTHEW<\/character>\n    <dialogue>He won't. I'm listening.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Four years ago, you were operating as a team, weren't you? I mean four years ago, you were the anesthetist on some of Steven's operations?<\/dialogue>\n    <character>MATTHEW<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Were you the anesthetist for Jonathan Lang?<\/dialogue>\n    <scene_description>Matthew leans back in his chair and pretends rather unconvincingly that he is trying to place the patient's name. The waiter arrives with the coffee that Anna has ordered. Their conversation is interrupted.<\/scene_description>\n    <character>MATTHEW<\/character>\n    <dialogue>A gin and tonic, please.<\/dialogue>\n    <scene_description>The waiter leaves.<\/scene_description>\n    <character>MATTHEW<\/character>\n    <dialogue>Who's Jonathan Lang?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Male, 46 years old, one of Steven's patients. He died on the operating table.<\/dialogue>\n    <character>MATTHEW<\/character>\n    <dialogue>Anna, there have been so many patients over the years, so many operations. I don't remember him, I'm afraid. I'm sorry.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Can you find his file in the records and bring it to me, please? I'll give it straight back to you. I just want to have a look at his medical history. And the cause of death.<\/dialogue>\n    <character>MATTHEW<\/character>\n    <dialogue>I don't think that will be possible. I'm sorry, Anna. I can't just take a file from the hospital. Why do you need it?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Please.<\/dialogue>\n    <character>MATTHEW<\/character>\n    <dialogue>Look, I can't bring you the file but I can tell you a couple of things about the case. I remember him now, I put him under. But what do I get in return?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>What you didn't get that day we came for lunch.<\/dialogue>\n    <character>MATTHEW<\/character>\n    <dialogue>When?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Now. Had Steven been drinking?<\/dialogue>\n    <character>MATTHEW<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Can it be considered his mistake?<\/dialogue>\n    <character>MATTHEW<\/character>\n    <dialogue>Yes. It definitely wasn't mine, that's for sure.<\/dialogue>\n    <character>MATTHEW<\/character>\n    <dialogue>You know an anesthetist is never to blame for the bad outcome of an operation. The surgeon is responsible. He'd had two drinks that morning before we went in to prepare. Luckily none of the others realised, I was the only one who knew. But that wasn't exactly unusual back then.<\/dialogue>\n    <character>MATTHEW<\/character>\n    <dialogue>You know that. He was drunk during almost every operation.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Do you remember Lang's case history?<\/dialogue>\n    <scene_description>Matthew leans forward in his chair again and rests his arms on the table.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERTED ROAD - MORNING<\/stage_direction>\n    <scene_description>Matthew's car is parked on a deserted road on the edge of town. There are no pedestrians and very few cars. Anna stares straight ahead as she jerks off the anesthetist. He pushes his seat back to the reclining position. As soon as he comes, he pulls the chair forward, starts the engine, and they drive off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STEVEN'S HOUSE - FRONT DOOR - AFTERNOON<\/stage_direction>\n    <scene_description>The front door is open. The children are being carried into the house with the help of two paramedics. Steven seems fairly optimistic as he manically rushes about, supervising the procedure.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KIM'S BEDROOM - AFTERNOON<\/stage_direction>\n    <scene_description>Kim's bedroom has been rearranged to accommodate both the children's beds. The room is bright, the curtains have been pulled back to let in the sunlight. Anna changes the feeding solution in Bob and Kim's Levin tubes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Steven and Anna are having dinner. He is the only one eating. Anna toys with the wedges of potato on her plate with her fork. Steven watches her intently, trying to get a reaction, but she remains stubbornly silent. Steven fills Anna's glass with wine. She does not say thank you.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>This meat is delicious.<\/dialogue>\n    <scene_description>His wife does not respond.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>You were right after all. The children are much better off here. I was even thinking we might take them to the beach house for a few days. A little fresh air and a change of scenery might do us all good.<\/dialogue>\n    <scene_description>Anna looks up and stares at her husband, as if she were observing him for the first time.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>One of these days you're going to have to go in to their school and excuse their absence. They want you to sign some papers. They've called lots of times.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I will. You know what I've been craving? Mashed potatoes. Why don't you make some tomorrow?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>You've got beautiful hands. I'd never noticed before. Everyone's been telling me lately what beautiful hands you have and now I can see it for myself. Nice and clean. But so what if they're beautiful? They're lifeless. Sometimes, Steven, you're just an incompetent man with hands that don't move who just goes on and on, saying stupid things. \"Let's do a scan, let's do a gastroscopy, let's make mashed potatoes, let's wear brown socks, let's go to the beach house.\"<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Our two children are dying in their beds but yes, I can make you mashed potatoes tomorrow.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Please don't talk to me that way.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>If you don't like it why don't you go and live with Martin's mother, I bet she'd talk to you nicer.<\/dialogue>\n    <scene_description>Steven does not take the bait.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>You wanted the kids to come home and they're home. What else do you want me to do?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Do something to put an end to all this, that's what.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>That's what I want. Can you do that? You do realise Steven that we've ended up in this situation because of you?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>So what do you suggest? Tell me. Oh, wait, I know, I've got it. There is a way that we can put a stop to all this. All we need to do is find the tooth of a baby crocodile, the blood of a pigeon, and the pubes of a virgin and then we just have to burn them all before sunset. Let me see, do we have any spare teeth lying around?<\/dialogue>\n    <scene_description>Steven starts opening cupboards and flinging packets of food onto the floor.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Teeth, pubes, nope, nothing in here, or here. Nothing in this box either. Where are they? I was sure they were here somewhere. I put them here myself. Who keeps moving things around? Unbelievable. I don't supposed you've got any pubes I could have, by any chance?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Oh I forgot, you don't have any left. We don't have any of the things we need. Well, that's a shame. I guess there's nothing I can do.<\/dialogue>\n    <scene_description>Steven stalks out of the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Steven is setting the alarm clock.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>There's no need for us to argue. Everything's so difficult already, there's no point making it worse.<\/dialogue>\n    <scene_description>Anna does not respond. She lies down on the bed without covering herself up and turns her back to Steven.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>If he was telling the truth, wouldn't you be sick too? Wouldn't you be paralysed already? How do you explain that?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Yes, you're right. Let's wait a bit longer until we're all dead and then we'll see what you can do about it. There's really nothing to worry about.<\/dialogue>\n    <scene_description>A short, awkward beat of silence.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Go to the hospital tomorrow and pick up some feeding formula for the children. We're almost out.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Steven turns to look at his wife. Anna turns out the light. Steven lies beside her in the darkness with his eyes wide open.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Steven is standing in the middle of the room, smoking. He is alone. He sits in an armchair. After a few moments, he stands up again. Taking care not to make any noise, he picks up his car keys and coat and quietly shuts the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - BEDROOM - MORNING<\/stage_direction>\n    <scene_description>Anna is lying in bed with her eyes open. Steven enters the room. He stands beside her. He sits on the edge of the bed and takes her hand. She does not react.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Good morning.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Good morning.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Did you get any sleep?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>What time is it?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Ten past eight. Get up and come with me for a moment.<\/dialogue>\n    <scene_description>Anna gets up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - BASEMENT - MORNING<\/stage_direction>\n    <scene_description>Steven and Anna head down to the basement. Steven unlocks the door. They enter a fairly large room full of random garden furniture. It is dark and dirty. The light goes on - a small bulb that faintly illuminates the space - and we see Martin huddled in a corner. He is sitting in an old armchair. His feet are bound together with gaffer tape and he is chained to a pipe in the corner of the room. His hands are tied in front of him. Martin's face is bloodied and swollen. There is a rifle on the table. Anna looks at Martin and then walks over to the table. She turns to face Steven. Anna does not move. She looks at Martin. Martin looks up and holds her gaze. It's hard to tell whether he is angry or afraid. He raises his hand and wipes some blood off the side of his mouth.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>You remember Martin, don't you? He came over for a play date, but I told him the kids are feeling a little unwell, so he'll just have to wait here until they get better. Anna, go upstairs and make me some of that lemonade he likes so much, would you? I'll stay here and keep him company. Off you go.<\/dialogue>\n    <scene_description>Anna hesitates and then leaves. She closes the basement door behind her. We hear her footsteps on the stairs.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Let me go. My mother will be worried sick.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Do you think your mother is proud of you, Martin? Do you think she is happy that her beloved son is a murderer?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Murderer. There's no need for such a dramatic, sensational, old- fashioned word. But if you insist, the murderer, both in my father's case and our current situation, is not me.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Stop talking.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Don't you understand that you're wasting time? You don't have much time left.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I said stop talking.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Steven, you'll feel better once it's done. You can start over, a clean slate, don't you get it? Sometimes I think you might just be a fool who can't understand the significance of the gift I am offering. Sometimes I think you're naive. But you can't be. You're a good scientist, you can't be an idiot.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>If I'd only just met you I'd seriously question the depth of your judgement.<\/dialogue>\n    <scene_description>Steven strikes the boy across the face. Martin grabs his hand and holds it tight.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Don't move. I just want to give you an example, that's all. I'll give you one little example so that you understand what I mean.<\/dialogue>\n    <scene_description>Martin bites Steven's arm. Blood trickles down his hand. Steven screams.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Should I apologise? No. Should I stroke your wound? No way. That would probably hurt even more, touching an open wound. No. There's only one way to make you and me both feel better.<\/dialogue>\n    <scene_description>Martin bites his own arm and spits out a small piece of flesh. His face is contorted with pain but he doesn't scream. He tries to remain composed.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Do you understand? It's metaphorical, my example. A metaphor. I mean, it's symbolic.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STEVEN'S HOUSE - GARDEN - MORNING<\/stage_direction>\n    <scene_description>Anna is scrubbing the blood from the back seat of Steven's car. The dog watches her but she doesn't pay him any attention. We hear a muffled gunshot. The dog starts to bark.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - BASEMENT - MORNING<\/stage_direction>\n    <scene_description>Anna opens the door. Steven has shot Martin in the leg. He is still holding the gun and pointing it at Martin. The boy writhes in agony.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Shut the door, Anna. Now Martin, you'll see what it's like to die. What it's like when your head cracks open and your brains are blown out.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Steven, don't shoot him.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>And then?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Shut up.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Shoot me. Then what? Answer me.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I'll bury you in the garden and you'll decompose. That's what.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>You won't be able to explain it. You won't understand how it could have happened. You'll say - \"But I only killed one person, how come four people are dead? I only shot one.\" You'll get confused and you'll start counting again: one, two, three. But the numbers still won't add up. If you dig a hole in the garden, better make it a big one.<\/dialogue>\n    <scene_description>Steven walks over to Martin and puts the gun to his head. Anna walks up behind Steven and tries to take the gun out of his hands. At first Steven doesn't let go, but Anna whispers something in his ear and he releases the gun. Anna calmly takes the gun and walks out of the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - KIM'S BEDROOM - MORNING<\/stage_direction>\n    <scene_description>Bob is lying in bed. Kim is sitting in a wheelchair, looking out the window. She lights a cigarette and smokes it. She coughs a little. Bob winces in pain.<\/scene_description>\n    <character>KIM<\/character>\n    <dialogue>Does it hurt?<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>No. Just a little.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>Just be patient. Dad's bringing us some painkillers.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>He didn't kill him.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>How do you know?<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>I just do. Anyway, he did the right thing. Otherwise it would have been like killing four people with a single shot. Wouldn't that be tragic? I'm going to live with Martin.<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>KIM<\/character>\n    <dialogue>I want you to know that I'm really sorry, Bob. I really love you. We all do. Dad does too. But he's in a really difficult position and he doesn't have much of a choice. It's not because he doesn't love you.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>They've bought me a piano. Mum told me it'll be here next month. They didn't tell you so you wouldn't get scared.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>Bob, something terrible happened yesterday. I lost the MP3 player that Martin gave me. I don't know what's gotten into me, I've lost two MP3 players in ten days. So I'd like to ask you a favour. Can I have your MP3 player when you're dead? Please. Please. Please.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - KIM'S BEDROOM - MORNING<\/stage_direction>\n    <scene_description>Bob drags himself over to the desk. He struggles to open the drawer and takes out a pair of scissors.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - KITCHEN - MORNING<\/stage_direction>\n    <scene_description>Steven gives the dog some food and water and watches him eat. He notices some blood on his hands and goes over to the sink to rinse them. Bob enters the room. He drags himself along the floor. He has cut his own hair. His face and hands are covered in hair. A Levin tube is inserted into his nose and he is holding a bag of feeding solution. The dog starts to bark as soon as he sees Bob. Bob Look, dad. I cut my hair like you wanted me to.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Good boy, well done.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>I'm sorry I didn't listen to you and get a haircut right away. I don't know what I was thinking all this time. I would get so hot and I had to comb it all the time. It was a total hassle. I should've listened to you and cut it off sooner.<\/dialogue>\n    <scene_description>Bob drags himself over to the French windows and tries to open the door.<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>Do you want me to water the plants?<\/dialogue>\n    <scene_description>Steven goes to him and hugs him.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>No, darling. I watered them this morning. Tomorrow.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>Dad, I've been thinking about it and I've decided I want to be a cardiologist, not an ophthalmologist. I lied to mum because I didn't want her to get upset. I think I prefer what you do, it's far more interesting and challenging.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>That's true, Bob. But some people find ophthalmology more interesting.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>No. Not to me it isn't.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - STEVEN'S HOUSE - KIM'S BEDROOM - EVENING<\/stage_direction>\n    <scene_description>Steven lays his son in his bed. He tucks him in and strokes his hair.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STEVEN'S HOUSE - GARDEN - NIGHT<\/stage_direction>\n    <scene_description>Steven is huddled behind some flowers. He is sobbing. Eventually, he pulls himself together, wipes his eyes, and walks towards the house. He closes the French windows and switches off the living room light.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL - CORRIDOR - MORNING<\/stage_direction>\n    <scene_description>Steven is waiting outside the Headmaster's office. The HEADMASTER'S SECRETARY ushers him inside. Steven gets up and enters the office.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL - HEADMASTER'S OFFICE - MORNING<\/stage_direction>\n    <scene_description>Steven is sitting in a chair, signing some papers. He gives them to the HEADMASTER.<\/scene_description>\n    <character>HEADMASTER<\/character>\n    <dialogue>Sorry for the trouble, dragging you down here. It's all just a formality, but it has to be done.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>That's quite all right. I understand.<\/dialogue>\n    <character>HEADMASTER<\/character>\n    <dialogue>All the staff and I personally hope that all this is only temporary and that the children will soon be back at school in good health.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Thank you very much. They're already much better now that they're back home. They are having daily physio, we go for walks together every day, they walk slowly of course but they are walking, and they've already started eating properly. However, I must inform you that they will need to be off school for a little while longer.<\/dialogue>\n    <character>HEADMASTER<\/character>\n    <dialogue>Whatever you think is best. If you feel they are not in a position to attend class yet, very well.<\/dialogue>\n    <character>HEADMASTER<\/character>\n    <dialogue>However, do bear in mind that in cases like this it's generally best for children not to disrupt their daily routine for too long. Attending even some of their classes might do them good. Of course, it's ultimately your decision. All I can do is share my thoughts with you.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Thank you very much. But as you know both my wife and I are doctors, and we are quite able to judge when our children are ready to return to school.<\/dialogue>\n    <character>HEADMASTER<\/character>\n    <dialogue>Of course. I hope everything works out well.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I'm very optimistic. Everything will be fine.<\/dialogue>\n    <character>HEADMASTER<\/character>\n    <dialogue>That's the spirit.<\/dialogue>\n    <scene_description>Steven gets up to go.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Generally speaking, if you had to compare the two children for some reason, which of the two would you consider the better student?<\/dialogue>\n    <character>HEADMASTER<\/character>\n    <dialogue>Well. The boy is very good at maths and physics. Kim on the other hand, apart from her natural aptitude for music, is pretty good at literature and history, areas in which Bob lags behind. She wrote a brilliant essay on the tragedy of Iphigenia which she read out in class. A+.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>What about their behaviour in class?<\/dialogue>\n    <character>HEADMASTER<\/character>\n    <dialogue>They're both a little restless, equally so. I mean I've had the occasional complaint from their teachers about some minor misdemeanors, but they've never been rude to any of the staff.<\/dialogue>\n    <character>HEADMASTER<\/character>\n    <dialogue>In any case, if they had ever acted in an inappropriate way we would have informed you about it.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Do you especially like one of them more than the other? If you had to choose between them, which would you say is the best?<\/dialogue>\n    <character>HEADMASTER<\/character>\n    <dialogue>That's a difficult question. I'm not sure I can give you an answer.<\/dialogue>\n    <scene_description>The Headmaster considers his response for a long time. He doesn't know what to say. Steven has put him in an extremely uncomfortable position. Steven stares at the Headmaster intently, as if his response has enormous significance.<\/scene_description>\n    <character>HEADMASTER<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <scene_description>He thinks about it some more.<\/scene_description>\n    <character>HEADMASTER<\/character>\n    <dialogue>I don't know what to tell you.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Never mind. Have a good day.<\/dialogue>\n    <character>HEADMASTER<\/character>\n    <dialogue>Goodbye.<\/dialogue>\n    <scene_description>Steven leaves the Headmaster's office.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - BASEMENT - MORNING<\/stage_direction>\n    <scene_description>Anna unlocks the door and enters the room, holding Bob in her arms. Kim drags herself along beside them. Anna has brought some gauze and disinfectant to change the wound dressing on Martin's leg. She washes off the dried blood, then kisses both his bare feet. Martin just looks at her. The children watch the procedure from a distance.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Thank you for bringing them down. I really wanted to see them. I really wanted to see you. Hi Kim. Hi Bob. Come over here and let me give you a kiss.<\/dialogue>\n    <scene_description>Kim hobbles over to Martin. He kisses her on the lips. Bob doesn't move.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Bob, aren't you going to come over and give me a kiss? No?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Bob?<\/dialogue>\n    <scene_description>Bob struggles towards the door.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>It doesn't matter, I understand. You're a man, you are the man of the house now that your father isn't home. Now go back to bed. Don't trouble yourselves any more for my sake. Take them away.<\/dialogue>\n    <scene_description>Anna carries the children out. She leaves the door open.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Anna. If you're going to do something, you need to do it fast. The boy is about to die.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Anna emerges from the bathroom, wearing her bathrobe. She lies on the bed next to Steven, revealing parts of her naked body. She kisses Steven's hand.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>You do have beautiful hands.<\/dialogue>\n    <scene_description>Steven does not react.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Steven, please don't kill me. Deep down I know you won't do that because you love me, but I'm saying this now because you're upset and might make the wrong decision. If you have to kill someone, the logical thing, no matter how harsh this may sound, is to kill a child. Because we can have another child. I still can and so can you. And if you can't, we can try IVF. But I'm sure we can.<\/dialogue>\n    <scene_description>Steven says nothing. He switches off the bedside lamp.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Go to sleep.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - BASEMENT - NIGHT<\/stage_direction>\n    <scene_description>Martin is lying in a corner of the basement. The key turns in the lock. The door opens and Kim drags herself into the room on all fours.<\/scene_description>\n    <character>KIM<\/character>\n    <dialogue>They're all asleep. We can go now and nobody will notice. All you have to do is help me walk again. My legs hurt after all this time and I feel weak. But it's okay, it doesn't matter. I knew at some point this would all be over and you would come.<\/dialogue>\n    <scene_description>Martin looks at Kim, but doesn't say anything.<\/scene_description>\n    <character>KIM<\/character>\n    <dialogue>I thought we could take your friend's motorbike and go away together. But you have to make me well first. Okay? I'll untie you if you promise I'll get better and we can run away. Okay?<\/dialogue>\n    <scene_description>Martin continues to stare at her in silence. Kim tries to stand up, but can't.<\/scene_description>\n    <character>KIM<\/character>\n    <dialogue>It's not working. I still can't walk. You have to try harder.<\/dialogue>\n    <scene_description>Martin turns his gaze away from Kim.<\/scene_description>\n    <character>KIM<\/character>\n    <dialogue>Martin, I'm talking to you. Are you deaf? I'm telling you, you have to try harder.<\/dialogue>\n    <scene_description>Kim grabs at whatever is in reach and starts throwing random objects at Martin.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>The noise wakes Steven up. He turns on the light and gets out of bed. He rushes out of the bedroom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - KIM'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Steven comes in to check on Kim. Her bed is empty. She has removed her feeding tube. Her mobile phone is on the desk. Bob is asleep in the other bed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Steven and Anna search for Kim all over the house, both indoors and outdoors.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - BASEMENT - NIGHT<\/stage_direction>\n    <scene_description>Steven notices the basement door is open. He goes into the basement and looks around. He goes over to Martin and hits him.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Where is she?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>She's gone.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Where is she? What did you do to her?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>I didn't touch her. I don't know where she is.<\/dialogue>\n    <scene_description>Steven runs out of the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - NIGHT<\/stage_direction>\n    <scene_description>Anna is driving very slowly along the road. Steven walks in front of the car. The high beam headlights illuminate the road. They scan the street for any sign of Kim. Steven is anxious, out of breath. He glistens with sweat. They find Kim dragging herself along the pavement. She tries to cross the road. Her hands and knees are covered with blood.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Steven is treating his daughter's wounds. He puts disinfectant on her cuts. He sews up a gash on her knee. Anna, standing beside him, passes Steven the medical instruments.<\/scene_description>\n    <character>KIM<\/character>\n    <dialogue>I'm sorry for what I did tonight. I don't know what came over me, I don't know what I was thinking. I was only thinking about myself, noone else. That was wrong of me. I was frightened. Terrified. I shouldn't have been. Let me be the one who atones for your sins, Dad. Kill me right here, in front of your eyes so you can be sure that I die, in case some fate spares me at the last moment. Kill me right here in front of you and give me the ultimate joy of saving my own mother and my beloved brother from certain death.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>A joy that may take the form of death but has none of death's bitterness, of its chill or darkness. Please Dad, take these scissors and do me the honour. Mum, tell him. Dad, please. I would do anything for you, I would even die for you. And I'm ready to prove it. You gave me life and you, only you have the right to take my life away. That makes perfect sense. You are my lords, my masters and I am just someone who lives to obey your wishes. I love you so much, don't forget that. Remember that when I'm in my grave, unable to tell you that I love you.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>I love you more than anything in the world, you and my brother.<\/dialogue>\n    <scene_description>Steven finishes dressing his daughter's wounds. He kisses her almost on the mouth and caresses her. Anna leaves the room, taking the bloodied gauzes and cotton wool with her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - KITCHEN - MORNING<\/stage_direction>\n    <scene_description>Anna is sitting in a chair. In front of her is a glass of water. She takes a sip and then puts the glass back on the table. Classical music plays from a radio on the kitchen counter. Steven walks into the room.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Where have you been?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I went to the hospital. I got the feeding formula. Have you checked on him? Did you give him the sedatives?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I let him go.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>He's not downstairs. I let him go.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Why would you do that?<\/dialogue>\n    <scene_description>He hits Anna around the head.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Why did you let him go? Tell me. Are you a complete idiot?<\/dialogue>\n    <scene_description>Anna walks away. The dog follows her. She stops and turns to face Steven.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>It wouldn't have made any difference, Steven. It wasn't going to solve anything. We both know that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - CHILDREN'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Anna sits on the edge of Bob's bed. She has a washbowl next to her and cleans Bob's limbs with a cloth. She has her back to Kim, who is sitting on her wheelchair beside the bed. Kim is holding her drip. She starts reciting the phrases that her mother has taught her to say when she answers the phone at the clinic.<\/scene_description>\n    <character>KIM<\/character>\n    <dialogue>Please describe your symptoms. I see. Would you be so kind as to hold the line while I check the doctor's availability? Yes, sorry to keep you waiting. The earliest the doctor can see you is next Thursday. Are mornings or evenings more convenient for you? Mornings are better, I see. Next Thursday at eleven then. We'll be expecting you. Good day. (Pause). Anna Murphy Eye Clinic, how may I help you?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Kim, I'm trying to rest. Can you please be quiet?<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>Mum, do you remember when I was rude to you at the hospital that day?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>Did you tell Dad about it?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Of course I told him, Kim.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>I didn't mean it, Mum. Maybe it was a side effect of the drugs or something.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Kim, please. I'm trying to rest.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>Do your legs hurt? Do they feel numb? Does your back hurt? Has it started?<\/dialogue>\n    <scene_description>Anna gets up and slaps Kim. She wheels her out of the bedroom and closes the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - BEDROOM - MORNING<\/stage_direction>\n    <scene_description>Anna is asleep. Steven is sitting on the edge of the bed. He stares at the wardrobe for a long time. Then he gets up and goes over to his wife. He stands over her. He looks at her. His gaze is fixed on her. Wondering whether he should kill her or not, whether she should give her life to save the children or not. He takes a step backwards. He looks at her for a few more moments.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - CHILDREN'S BEDROOM - AFTERNOON<\/stage_direction>\n    <scene_description>Bob is listening to music on his MP3 player. His eyes start to bleed. Blood trickles down onto the pillow. Bob wipes the blood from his face. We hear his sister's voice, but we cannot see her.<\/scene_description>\n    <character>KIM<\/character>\n    <dialogue>Dad, quick! Bob's dying.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - CHILDREN'S BEDROOM - AFTERNOON<\/stage_direction>\n    <scene_description>Bob is lying on his bed. Steven wipes the blood from his face and removes the blood-stained pillow case.<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>Dad, who's your best friend?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>I don't know, Bob.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>Is it Matthew?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Yes, Matthew is a very good friend of mine.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>I have three. Two boys and a girl from my class.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>That's great, Bob. It's good to have lots of friends.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>I think Mum considers Matthew a very good friend too.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Yes, that's right.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>He used to call Mum a lot. Once he called the house and I picked up and he said: \"I'd like to speak to Anna, please.\" I recognised his voice, but I didn't say: \"Hi, Matthew\". I just said: \"She's not here right now, can I take a message?\" He came over to the house one time too when you and Kim were out, so I guess you wouldn't remember.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - KIM'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Steven undresses Kim. He then dresses her up in the outfit she had chosen to wear to Claire's party. Lying in bed, unable to help with this awkward procedure, Kim avoids her father's gaze. Bob is already dressed up. He sits in his wheelchair, watching them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Steven enters the bedroom. Anna is frantically making their bed. She doesn't seem to notice him. Steven approaches Anna and stands in front of her. She stops startled.<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Bob is bleeding. Come to the living room.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Now?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Yes. Now.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Steven?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Where are the children?<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>They're already there.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I think I'll wear that black dress you like.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Wear whatever you like. Just hurry.<\/dialogue>\n    <scene_description>Steven leaves the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVEN'S HOUSE - LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Kim is sitting in a chair in a corner of the room. Anna is standing by the wall, near the French windows. Bob is on the sofa. He can barely sit up. They all look terrified. Their feet are tied with rope and their mouths are taped. Steven is standing in the middle of the room. He looks at each of them in turn. They form a triangle around him. He puts on a black balaclava that covers his entire face, so that he can't see anything. He raises the rifle. Steven starts spinning round on the spot. He fires a shot. He stops. Silence. The other three are trying to not make a sound. They struggle to stifle their instinctive reactions. He hasn't hit anyone. The bullet has lodged itself in a cabinet full of crystal tableware. Steven starts spinning around again. He fires another shot. Anna screams. Steven pulls off the balaclava. He sees Bob, hit in the chest. Motionless. Blood is splattered across the couch. Kim stares, frozen. Steven puts down his rifle.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BURGER KING - DAY<\/stage_direction>\n    <scene_description>Steven is sitting in a Burger King with Anna and Kim. Martin walks in, limping from the bullet wound. He stares at them as he walks past and sits at a table nearby. Steven and Anna watch Martin out of the corner of their eye. They both look haggard. Kim puts ketchup on her chips and starts wolfing them down. She looks healthy. Her parents watch her eat. When Kim has finished eating her chips, they put on their jackets and go to leave. Kim stands up, takes a quick look at Martin and then follows her parents. She is walking normally.<\/scene_description>\n    <character>THE END<\/character>\n  <\/scene>\n<\/script>","summary":"After performing an open heart surgery, Steven Murphy, a cardiothoracic surgeon in Cincinnati, goes to a diner to meet 16-year-old Martin Lang, whose father died a few years earlier. Steven then goes home to his wife, Anna, and their children, Kim, who is 14, and Bob, who is younger. Steven invites Martin to meet his family, and Martin gets along with everyone, especially Kim. That night, Martin calls to say he has already told his mother that Steven is coming to dinner the next day. After dinner, Martin insists Steven stay to watch a movie, but Martin leaves partway through to go to bed, leaving Steven alone with his mother. Martin's mother begins to fixate on Steven's hands, saying that all surgeons have beautiful and clean hands. She continues to flirt with Steven, and upon his rejection of her, she says that Martin \"wants this\" as much as she does. Steven leaves. Martin visits Steven's office, complaining of chest pain he worries is caused by the same condition that killed his father. The cardiac stress tests Steven runs show nothing wrong, and Martin invites Steven over again, saying his mother finds Steven attractive, but Steven refuses, reminding him that he already has a family. Afterwards, Martin's demands for Steven's attention grow increasingly frequent and desperate, and Steven stops responding. He is troubled when Kim tells him that Martin gave her a ride home. One morning, Bob says he cannot move his legs, so Steven and Anna rush him to the hospital. Martin visits Bob and tells Steven that, to \"balance things\" for his father, who died while Steven was operating on him, Steven must kill a member of his own family, or else, within a few days, they will all die after becoming paralyzed, refusing to eat, and bleeding from the eyes. Steven has Martin escorted from the hospital and is troubled to see Bob refusing to eat. This leads him to force food into his son's mouth. Bob's condition does not improve, but no cause can be found. Kim, who has fallen in love with Martin, collapses while singing in the choir and is also hospitalized. She chokes on a piece of apple and is unable to eat too. Thus Kim and Bob are given feeding tubes. Steven admits his true history with Martin to Anna, as well as that he had been drinking before operating on Martin's father. After witnessing Kim stand up when Martin tells her to do so over the phone and become paralyzed again when he hangs up, Anna is convinced that Martin has some sort of power, so she visits him to ask why she and her children should suffer for Steven's mistake. He says it is the closest thing to justice that he can think of, since he believes Steven killed his father. Eventually, Kim and Bob are sent home. When Anna chastizes Steven for his passive way of dealing with the situation, he kidnaps Martin and ties him up in his basement. He beats Martin and shoots him in the leg, but Martin is not intimidated. Rather he bites Steven's hand and to be equal bites his own hand too. The children argue over whom their father will choose to kill and try to curry his favor. Steven asks the school principal which of his children is \"best\". (The principal tells Steven that Bob excels in maths and sciences. Kim strives in literature and history, citing her excellent essay on Iphigenia.) But at the end he says it is impossible to point out the best. Back home, Anna tends to Martin's wounds and brings the children to see him but fails to elicit any sympathy. She then tells Steven that he should kill one of the children, not her, because she can have another child. Kim fails to persuade Martin to heal her so they can run away together and then tells Steven how much she loves her family and offers her life to save theirs. Finally, hopeless, Anna releases Martin. When Bob begins bleeding from his eyes, which Martin said would happen a few hours before death, Steven places him, Kim, and Anna in a circle, bound with duct tape, and covers their heads. Steven pulls a woolen hat over his face, spins around, and repeatedly fires a rifle. He narrowly misses Kim and Anna, but the third shot kills Bob. Some time later, Martin, his face still somewhat bruised, enters the diner where he and Steven used to meet. The remaining Murphys are inside and promptly leave. Martin watches as they go. Steven avoids his gaze, Anna shoots him an icy glare, and Kim, who is healed, glances back before walking out of the door."}
{"movie_name":"Ticker_2001","imdb_id":"tt0196158","script":"<script>\n  <scene>\n    <stage_direction>EXT.   METROPOLITAN CITY - DOWNTOWN - LATE NIGHT<\/stage_direction>\n    <scene_description>Hot summer night . The flesh district - hookers working the sidewalks , stopping cars . MIKE REILLY , 20s , paces a corner , restless , looking for action . wet hair , three - day beard , trenchcoat , sneakers , heat - seeking weary eyes . He flashes a wad of bills in an effort to get some attention . no one notices . Across the street , BILL RICE , 50 's , a ragged transient , strolls over .<\/scene_description>\n    <character>RICE<\/character>\n    <dialogue>Know what the problem is, kid? You're too ugly to get propositioned.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Look who's talking, old man.<\/dialogue>\n    <character>RICE<\/character>\n    <dialogue>C'mon, it's a quiet night.<\/dialogue>\n    <scene_description>Rice starts away . Reilly pauses , then trudges after him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   SIDESTREET - NIGHT<\/stage_direction>\n    <scene_description>Rice and Reilly pull donuts and coffee out of a bag , talk with their mouths full as they walk .<\/scene_description>\n    <character>RICE<\/character>\n    <dialogue>Next week we work the park.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>I got ta get back on top. Get off the sleaze detail.<\/dialogue>\n    <character>RICE<\/character>\n    <dialogue>You will, one day at a time. I'll be old and grey when it happens.<\/dialogue>\n    <scene_description>They share a grin , pass a BAG LADY who wears a pie - tin crown , holding her hand out to a PIMP getting into a Cadillac .<\/scene_description>\n    <character>BAG LADY<\/character>\n    <dialogue>A small gift, sir, for the Queen.<\/dialogue>\n    <scene_description>The Pimp ignores her , screeches off . The Bag Lady pulls out a pad , adds his license number to a list , glances up at Rice and Reilly .<\/scene_description>\n    <character>BAG LADY<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>I keep a record, see? They do n't pay, I do n't forget.<\/dialogue>\n    <scene_description>Rice fishes some change out of his pocket .<\/scene_description>\n    <character>RICE<\/character>\n    <dialogue>Here you go, your Highness.<\/dialogue>\n    <character>BAG LADY<\/character>\n    <dialogue>Thank you, officer.<\/dialogue>\n    <scene_description>She pushes her shopping cart away . Rice and Reilly look at each other , crack up , surprised she knew he was a cop .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>So what'll you do? After they give you the gold watch.<\/dialogue>\n    <character>RICE<\/character>\n    <dialogue>Hell, I got a gold watch. it just do n't work. Maybe they'll give me a new fishing pole, or something useful.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>You do n't fish.<\/dialogue>\n    <character>RICE<\/character>\n    <dialogue>How hard can it be? The grand kids been buggin' me about taking them camping.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>You outta the city. that's a fish out of water. What's with all this family talk lately, anyway?<\/dialogue>\n    <character>RICE<\/character>\n    <dialogue>One of these days you're gon na get tired of fighting the shit. When that happens, you'll wish you had family.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>No thanks. I got close but it never woulda worked.<\/dialogue>\n    <scene_description>They stop beside a dirty , beat - up Studebaker parked in the alley , climb in , Reilly behind the wheel . INSIDE THE STUDEBAKER Cluttered with debris - clothes , boxes , personal items . Reilly jiggles the ignition - the engine coughs and sputters , finally turns over .<\/scene_description>\n    <character>RICE<\/character>\n    <dialogue>Why do n't you just shoot it and put it out of its misery?<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>What are you talking about, it's purring like a kitty.<\/dialogue>\n    <character>RICE<\/character>\n    <dialogue>I thought you said what's - her - name's brother was going to fix it.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>She did n't work out, had to cut her loose.<\/dialogue>\n    <character>RICE<\/character>\n    <dialogue>What was it this time?<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>She wanted to cook me breakfast.<\/dialogue>\n    <scene_description>The White Van appears up ahead and turns into a seemingly deserted building 's garage . Reilly and Rice exchange a glance as they wait to see lights come on in the building . They do n't . Two flashlight beams criss cross through the windows of the building briefly , then disappear . They hear a brief heated argument , that is cut short abruptly . Then silence .<\/scene_description>\n    <character>REILLY<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>C'mon, let's check it out.<\/dialogue>\n    <character>RICE<\/character>\n    <dialogue>We're vice, I did n't see no pimps or hookers in that van. But if you're so gung - ho, we'd best call it in for some back - up.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Nah, let's just take a look - see.<\/dialogue>\n    <scene_description>Reilly jumps out and heads for the building . Rice rolls his eyes , follows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   BUILDING - NIGHT<\/stage_direction>\n    <scene_description>A huge , old , battered machine shop . Spooky darkness , dead quiet . Moonlight filters in through dirt - smeared windows . The door CREAKS as Reilly and Rice slip in , stop , eyes scan . Nothing . Just rows of glistening machines . Rice gestures for Reilly to spread out . They head in , footsteps echoing , shadows washing over them . Still nothing . deeper , deeper . then , glancing over , Reilly sees a shape hiding behind a machine . He steps towards it . The shape whirls - a beautiful spitfire of a GIRL with piercing blue eyes . She tries to bolt . Reilly grabs her . She struggles , pulls a knife , slashes his arm , drawing blood through his trenchcoat .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>Ow! Son - of - a - bitch.<\/dialogue>\n    <scene_description>He punches her full force in the face - she collapses , knocked out cold . Rice rushes over .<\/scene_description>\n    <character>RICE<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Yeah, just a nick.<\/dialogue>\n    <scene_description>Then , over Reilly 's shoulder , Rice sees a dark SILHOUETTE emerging from behind a machine . Rice draws his pistol .<\/scene_description>\n    <character>RICE<\/character>\n    <dialogue>Freeze! Police!<\/dialogue>\n    <scene_description>As Reilly whirls , the Silhouette raises a Mac - 11 . Rice shoves Reilly aside as the Silhouette OPENS FIRE . Diving for cover , Reilly flings back his trenchcoat , whips out his 9mm and RETURNS FIRE at the Silhouette , blowing the shit out of windows behind , sparks showering off machines . Silence for an instant , Reilly looks for Rice and finds him bleeding to death on the floor nearby - he is completely exposed to the line of fire . The Silhouette and another FIGURE OPEN FIRE on Reilly . SWAN , 40s , crazy - brilliant , manic eyes . and one of his men , pale , sweaty , wearing an EARRING , 30s , continue the barrage . Swan fires ONE SHOT at a time at Rice , deliberately aiming not to kill him , trying to flush Reilly out . Rice screams as BULLETS RIP into his legs . Reilly tries to reach him but ca n't , shots forcing him back . A dark - eyed man with a BEARD appears in the b.g. and stealths towards Reilly from behind . Reilly ' face is in agony as Rice moans in pain . He glances urgently from the gunmen to the exit behind them , to The Girl lying next to him - what 's keeping them there ? Obviously The Girl . She stirs . Desperate , Reilly grabs her by the hair , shoves his 9mm to her head . Using her as a shield , he drags her in front of Rice to protect him .<\/scene_description>\n    <character>REILLY<\/character>\n    <parenthetical>( to gunmen . )<\/parenthetical>\n    <dialogue>Drop it!<\/dialogue>\n    <scene_description>Swan 's eyes flare . He steps out into the open , gun aimed at Rice , eyes locked murderously on Reilly .<\/scene_description>\n    <character>SWAN<\/character>\n    <dialogue>Let her go.<\/dialogue>\n    <scene_description>Reilly cocks his hammer , fingers trembling . The Girl stiffens , terrified . Beard emerges behind Reilly . Deadly silent , he raises an automatic , trying to get a clear shot between machines .<\/scene_description>\n    <character>SWAN<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>No, the girl!<\/dialogue>\n    <scene_description>Reilly whirls , sees Beard , shrinks back to stay covered .<\/scene_description>\n    <character>EARRING<\/character>\n    <parenthetical>( to Swan . )<\/parenthetical>\n    <dialogue>We got ta get outta here!<\/dialogue>\n    <character>REILLY<\/character>\n    <parenthetical>( to Swan . )<\/parenthetical>\n    <dialogue>Tell them to drop it - now!<\/dialogue>\n    <scene_description>A deadly stalemate . Faraway SIRENS WAIL .<\/scene_description>\n    <character>SWAN<\/character>\n    <dialogue>You have no idea how sorry you're going to be.<\/dialogue>\n    <parenthetical>( to The Girl . )<\/parenthetical>\n    <dialogue>Do n't worry.<\/dialogue>\n    <scene_description>Beard smolders , Earring sweats . Keeping their guns up , the three men grab tool bags , work their way to the alley door and slip out . The moment they 're gone , Reilly quickly handcuffs The Girl to a machine , kneels , cradles Rice .<\/scene_description>\n    <character>RICE<\/character>\n    <dialogue>Mike.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Do n't talk.<\/dialogue>\n    <character>RICE<\/character>\n    <dialogue>Take your time. one day at a time, kid.<\/dialogue>\n    <scene_description>Rice takes Reilly 's hand and pats it on his wristwatch .<\/scene_description>\n    <character>RICE<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>It's all I got. it's yours.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>It do n't work -<\/dialogue>\n    <character>RICE<\/character>\n    <parenthetical>( grinning . )<\/parenthetical>\n    <dialogue>Ai n't that a shit -<\/dialogue>\n    <scene_description>Rice 's eyes go blank , he exhales his last breath . Reilly winces , eyes welling up . His gaze moves at the Girl . The Girl stares uncomfortably , a blink of sympathy stealing past her hard exterior .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   POLICE HEADQUARTERS - MORNING<\/stage_direction>\n    <scene_description>Looking numb , out of place , Rice 's blood still on his trenchcoat , Reilly walks in , weaves through a chaos of ringing phones , overworked cops , suspects being booked . Cops look up , whisper about him . Turning a corner , Reilly bumps into a bulldog of a cop , HARRY , hustling The Girl out of a booking room . She 's got a shiner where Reilly hit her . The Girl and Reilly make eye contact , intimate somehow , a flash of vulnerability and fear in The Girl 's face .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>Hey, Reilly, Captain's looking for you.<\/dialogue>\n    <scene_description>Reilly snaps out of it , continues on . Reilly nods as Harry hustles the girl away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   CAPTAIN'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Behind his desk , a work - weary captain , WINTERS , 50s , sucks coffee as he grills ARTIE PLUCHINSKY , 40s , a slick suit - and - tie homicide detective .<\/scene_description>\n    <character>WINTERS<\/character>\n    <dialogue>Prints?<\/dialogue>\n    <character>PLUCHINSKY<\/character>\n    <dialogue>Nothing so far.<\/dialogue>\n    <character>WINTERS<\/character>\n    <dialogue>What about the ballistics report?<\/dialogue>\n    <character>PLUCHINSKY<\/character>\n    <dialogue>Lab's backed up, we're still waiting for it.<\/dialogue>\n    <scene_description>Reilly walks in .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>Captain.<\/dialogue>\n    <character>WINTERS<\/character>\n    <dialogue>Reilly, what the hell happened out there? Why did n't you call for back - up?<\/dialogue>\n    <character>REILLY<\/character>\n    <parenthetical>( at a loss , sad . )<\/parenthetical>\n    <dialogue>Sir, I -<\/dialogue>\n    <scene_description>Reilly looks at his watch -LRB- we notice he 's now wearing Rice 's watch -RRB- . He taps it , listens to see if it 's ticking .<\/scene_description>\n    <character>WINTERS<\/character>\n    <parenthetical>( cont\u00edd . )<\/parenthetical>\n    <parenthetical>( softening . )<\/parenthetical>\n    <dialogue>Dammit, Rice was a good man,<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>I want to work this.<\/dialogue>\n    <character>PLUCHINSKY<\/character>\n    <dialogue>You're vice, not homicide. Besides, you do n't have the experience and you're too personally involved.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>But sir -<\/dialogue>\n    <character>WINTERS<\/character>\n    <dialogue>You know the rules. You're off the street ` til I.A.D. clears the investigation. Now go home and clean yourself up, get some rest.<\/dialogue>\n    <scene_description>Harry barges in , dumps a bag of personal effects on the desk .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>She wo n't talk. Look at this shit, no I.D., nothing.<\/dialogue>\n    <scene_description>Reilly picks up a twisted plastic - wire bracelet .<\/scene_description>\n    <character>PLUCHINSKY<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Bracelet she was wearing.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Looks like the stuff my dad used to use to blow up tree stumps back in Scranton.<\/dialogue>\n    <character>PLUCHINSKY<\/character>\n    <dialogue>Maybe she knows your old man.<\/dialogue>\n    <scene_description>Reilly sears into Pluchinsky .<\/scene_description>\n    <character>WINTERS<\/character>\n    <dialogue>Take it down to the Bomb Squad, Artie -<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>I'll do it.<\/dialogue>\n    <scene_description>Winters eyes him for a beat , relents .<\/scene_description>\n    <character>WINTERS<\/character>\n    <dialogue>Okay, kid. Run this down to the Cave.<\/dialogue>\n    <scene_description>Reilly spins and exits quickly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   POLICE STATION - BASEMENT - DAY<\/stage_direction>\n    <scene_description>Emerging from a dingy back staircase , Reilly enters a hallway and moves to a door a door marked `` BOMB SQUAD . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   POLICE STATION - \"THE CAVE\" - DAY<\/stage_direction>\n    <scene_description>Reilly enters into another world - a dungeon cluttered with bomb paraphernalia , defusing equipment , a dog house , ping - pong table , Sheryl Crow pin - up , Chicago Bears posters , Yassir Arafat dartboard , a photo - shrine to dead Bomb Squaders . A plain , fresh - faced assistant , BEV , 30s , looks up from her computer station .<\/scene_description>\n    <character>BEV<\/character>\n    <dialogue>May I help you?<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>I'm looking for the Bomb Squad.<\/dialogue>\n    <character>BEV<\/character>\n    <dialogue>They're not here.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Where are they?<\/dialogue>\n    <character>BEV<\/character>\n    <dialogue>And you are?<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Officer Reilly, vice.<\/dialogue>\n    <character>BEV<\/character>\n    <dialogue>There out on a call, perhaps I can help you -<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>- Where?<\/dialogue>\n    <character>BEV<\/character>\n    <dialogue>2600 block of Lakefront. A limousine. But, I -<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Reilly sprints out . Bev tries to finish but he 's gone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   CITY STREETS - DAY<\/stage_direction>\n    <scene_description>The Studebaker coughs and smokes in and out of traffic .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   LAKEFRONT STREET - DAY<\/stage_direction>\n    <scene_description>A young , uniformed police OFFICER stops Reilly in front of a cordoned - off section of the street .<\/scene_description>\n    <character>REILLY<\/character>\n    <parenthetical>( flashes badge . )<\/parenthetical>\n    <dialogue>Bomb Squad.<\/dialogue>\n    <scene_description>The Officer nods and moves the barricade out of the way , Reilly hits the gas , rumbles through . The Studebaker swings past a fire truck , an ambulance , and two squads cars . Two OFFICERS stand near a building with a worried BUSINESSMAN and his CHAUFFEUR . Reilly parks 50 yards from a limo stopped in the middle of the street . A Bomb Squad van and sleek black Harley Davidson parked beyond it . Reilly hops out , heads cautiously for the limo POOCH , 50s , a barrel - chested ex - football player is on his hands and knees looking under the limo . Red rubber ball in hand , Hawaiian shirt half - tucked in , he leads around an equally scruffy Labrador Retriever , SCHNOZ .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Smell anything, Schnoz? Me, neither.<\/dialogue>\n    <scene_description>T.J. , 20s , a country boy inspects the open trunk . GLASS , 40s , clean - cut , straight - laced , easy - going smile , brilliant leader of the team , steps lightly around the open driver 's door .<\/scene_description>\n    <character>POOCH<\/character>\n    <parenthetical>( cont\u00edd ; cont . )<\/parenthetical>\n    <dialogue>Schnoz, come here, boy.<\/dialogue>\n    <character>T.J.<\/character>\n    <dialogue>Shhh, I hear something.<\/dialogue>\n    <scene_description>Reilly stands off 25 feet . Glass notices him .<\/scene_description>\n    <character>GLASS<\/character>\n    <dialogue>Who the heck're you?<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>You the Bomb Squad?<\/dialogue>\n    <character>T.J.<\/character>\n    <dialogue>No, we're terrorists, stay back or we'll blow.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>We're a bit busy at the moment, I'll give you a statement in a few minutes if we're still alive.<\/dialogue>\n    <character>REILLY<\/character>\n    <parenthetical>( flashes badge . )<\/parenthetical>\n    <dialogue>Reilly, Vice. I -<\/dialogue>\n    <character>T.J.<\/character>\n    <dialogue>Quiet!<\/dialogue>\n    <scene_description>Glass and Pooch step lightly to the rear of the limo where T.J. has discovered a shoebox wedged next to the spare tire . T.J. leans down , puts his ear to it , nods .<\/scene_description>\n    <character>T.J.<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>Ticker.<\/dialogue>\n    <scene_description>Pooch lifts up Schnoz and holds him over the trunk . Schnoz sniffs the shoebox , whines .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Schnoz says it's loaded. Good boy, Schnozzie.<\/dialogue>\n    <scene_description>Pooch lowers Schnoz back to the ground throws him the red ball , and trots back to the van , climbs up inside and sits , watching .<\/scene_description>\n    <character>GLASS<\/character>\n    <dialogue>Alright boys, look close. Let's assess.<\/dialogue>\n    <scene_description>Glass , Pooch and T.J. take a beat just to look at the shoebox . Then , Glass nods for Reilly to move away . Reilly takes a few steps back , watching as the team works together - Glass in charge - a psychic connection between them as they pass tools back and forth like surgeons .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Whadaya think, `` boy'' or `` girl''?<\/dialogue>\n    <scene_description>Glass puts on magnifying spectacles - precise , organized , a detail freak as he uses a wooden probe to test the box for wires , sensors . As the others watch , Glass rubs his fingertips ritualistically and carefully eases the top off the box . He reaches in . Grabs something . Slowly pulls it out . It 's a Mickey Mouse alarm clock doll , a clump of unlit firecrackers taped between Mickey 's legs . The Bomb Squaders whoop and howl - all except Pooch who pulls out a pack of Tums , shoves half of it in his mouth .<\/scene_description>\n    <character>GLASS<\/character>\n    <dialogue>It's a `` girl''!<\/dialogue>\n    <scene_description>They all crack up , hysterical . Reilly stares in disbelief - these guys are nuts ! MOMENTS LATER - AT THE BOMB SQUAD VAN In the b.g. , the Officers finish getting a statement from the Businessman as the still - worried Chauffeur inspects the limo . T.J. and Pooch load their equipment into the van as Glass fills out paperwork .<\/scene_description>\n    <character>T.J.<\/character>\n    <dialogue>That guy's wife must be pretty pissed off to play a trick like that.<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>No shit. I better send Meg flowers just in case.<\/dialogue>\n    <scene_description>T.J. and Pooch share a laugh as Reilly approaches .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>Who's in charge here?<\/dialogue>\n    <scene_description>Pooch points to Schnoz .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>He is!<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Look, it's important.<\/dialogue>\n    <character>T.J.<\/character>\n    <dialogue>Make an appointment.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>It's about this.<\/dialogue>\n    <scene_description>Reilly holds up the bracelet . Glass takes it , frowns .<\/scene_description>\n    <character>GLASS<\/character>\n    <dialogue>Where did you get this?<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Off a girl's wrist. A suspect.<\/dialogue>\n    <character>T.J.<\/character>\n    <dialogue>P.E.T.N.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>High - grade det cord. This girl, either she's got strange taste in jewelry or she's into serious demolition.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <scene_description>Glass whips out a blasting cap from his utility belt , cuts off a piece of the bracelet , plugs it in .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Fire in the hole!<\/dialogue>\n    <scene_description>Glass tosses it into a sewer drain . A beat , then a small EXPLOSION , smoke billows out of the gutter drain . The nearby Officers jump , alarmed . The Bomb Squad guys laugh . Glass waves to the Officers .<\/scene_description>\n    <character>GLASS<\/character>\n    <dialogue>Sorry about that.<\/dialogue>\n    <parenthetical>( to Reilly . )<\/parenthetical>\n    <dialogue>That's an inch of the stuff, imagine what the whole thing'd do.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>He grabs back the bracelet , turns to leave .<\/scene_description>\n    <character>GLASS<\/character>\n    <dialogue>Hey wait a minute -<\/dialogue>\n    <scene_description>Reilly jogs back to his Studebaker , climbs in and roars off in a cloud of dirty smoke .<\/scene_description>\n    <character>T.J.<\/character>\n    <dialogue>Vice. Jesus.<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>That'd be some explosive pussy he's got his hands on.<\/dialogue>\n    <scene_description>Pooch and T.J. share a laugh as Glass shakes his head , climbs on his Harley . The others pile into the van . Glass kicks - starts his hog and rumbles away , van following .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   BAR - DAY<\/stage_direction>\n    <scene_description>Thin crowd of day - time drinkers . Earring walks in , moves to a booth where Swan and Beard are eating . Earring pulls out a Gallois -LRB- French -RRB- cigarette , lights up from a book of matches .<\/scene_description>\n    <character>EARRING<\/character>\n    <dialogue>They're holding her downtown.<\/dialogue>\n    <character>SWAN<\/character>\n    <dialogue>What about the cop?<\/dialogue>\n    <scene_description>Earring shrugs .<\/scene_description>\n    <character>BEARD<\/character>\n    <dialogue>If you'd let me waste him.<\/dialogue>\n    <character>EARRING<\/character>\n    <dialogue>What if she talks?<\/dialogue>\n    <character>SWAN<\/character>\n    <dialogue>She wo n't.<\/dialogue>\n    <character>BEARD<\/character>\n    <dialogue>I say we split town. Come back to this job when things cool. We've got other contracts - Denver, Seattle.<\/dialogue>\n    <scene_description>Swan slams his fist down , spilling food . No one in bar even looks up from their drink .<\/scene_description>\n    <character>SWAN<\/character>\n    <dialogue>I want her back and we do the job.<\/dialogue>\n    <character>BEARD<\/character>\n    <dialogue>I thought we agreed, the personal ca n't interfere with the professional.<\/dialogue>\n    <character>EARRING<\/character>\n    <dialogue>Besides, we're on a schedule and the cops wo n't let her go.<\/dialogue>\n    <character>SWAN<\/character>\n    <dialogue>Unless we make them.<\/dialogue>\n    <character>EARRING<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>Earring stares uneasily . Swan and Beard look up , freeze . A pair of PATROL COPS are heading directly towards them . Earring reaches under his jacket . Swan grabs Earring 's arm , calming him . The Cops keep coming , then at the last moment , they veer left and slide into a booth . Swan nods , they get up and casually slip outside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   POLICE STATION - SQUAD ROOM - DAY<\/stage_direction>\n    <scene_description>Reilly hurries in , interrupts Winters and Pluchinsky talking over Pluchinsky 's desk .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>Captain -<\/dialogue>\n    <scene_description>An OFFICER shouts from across the room , holding up a phone .<\/scene_description>\n    <character>OFFICER<\/character>\n    <dialogue>Captain, line one!<\/dialogue>\n    <character>WINTERS<\/character>\n    <parenthetical>( to Reilly . )<\/parenthetical>\n    <dialogue>I thought I told you -<\/dialogue>\n    <character>OFFICER<\/character>\n    <dialogue>He says it's important, something about the Rice shooting.<\/dialogue>\n    <scene_description>Winters snatches up the nearest phone .<\/scene_description>\n    <character>WINTERS<\/character>\n    <dialogue>Winters.<\/dialogue>\n    <scene_description>He listens , facial expression changing , getting tight .<\/scene_description>\n    <character>WINTERS<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <scene_description>He punches an intercom button - the whole room stops , looks up , as Swan 's voice comes over the squawk box .<\/scene_description>\n    <character>SWAN'S VOICE<\/character>\n    <dialogue>I said release the girl or alot of people are going to die.<\/dialogue>\n    <scene_description>Winters signals frantically for the call to be traced - cops spring into action .<\/scene_description>\n    <character>SWAN'S VOICE<\/character>\n    <parenthetical>( cont\u00edd ; cont . )<\/parenthetical>\n    <dialogue>It's exactly two o'clock. If she's not released in one hour, people die.<\/dialogue>\n    <character>WINTERS<\/character>\n    <dialogue>Wait, what do you mean -?<\/dialogue>\n    <scene_description>Click , the line goes dead . Winters slams down the phone - no chance of a trace .<\/scene_description>\n    <character>WINTERS<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>Shit!<\/dialogue>\n    <character>PLUCHINSKY<\/character>\n    <dialogue>What the hell was that?<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>A ticking bomb.<\/dialogue>\n    <character>WINTERS<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>REILLY<\/character>\n    <parenthetical>( holds up bracelet . )<\/parenthetical>\n    <dialogue>It's detonation cord, for a bomb.<\/dialogue>\n    <character>PLUCHINSKY<\/character>\n    <dialogue>It's a bluff. The guy's full of crap.<\/dialogue>\n    <character>WINTERS<\/character>\n    <dialogue>We ca n't take the chance. Ring down to the Bomb Squad. I want them on alert.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>I'll do it.<\/dialogue>\n    <character>WINTERS<\/character>\n    <dialogue>Goddamit, Reilly -<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Look, I saw these guys, I can i.d. them.<\/dialogue>\n    <character>WINTERS<\/character>\n    <dialogue>I know you're anxious to get back but. just stay out of homicide's way or I'll have you classifying fingerprints, understand?<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <scene_description>Reilly takes off , Pluchinsky glares .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   THE CAVE - DAY<\/stage_direction>\n    <scene_description>T.J. is hunched over a twisted mess of wires , untangling them . Pooch taste - tests dog biscuits for Schnoz , then feeds them to him , as he talks to his wife on the phone . Glass is dissecting the Mickey Mouse clock .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>No, honey, I'm fine. Yeah, well, you're welcome. You deserve flowers more often.<\/dialogue>\n    <scene_description>Bev glances longingly at T.J. as she gives Glass a neck rub .<\/scene_description>\n    <character>GLASS<\/character>\n    <dialogue>Bev, you're the greatest.<\/dialogue>\n    <character>T.J.<\/character>\n    <dialogue>Hey, I'm next.<\/dialogue>\n    <scene_description>T.J. winks as Bev turns away , hard to get . Reilly bursts in .<\/scene_description>\n    <character>BEV<\/character>\n    <dialogue>Hey, that's the guy -<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>We just got a bomb threat upstairs.<\/dialogue>\n    <scene_description>This gets everyone 's attention .<\/scene_description>\n    <character>REILLY<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>A cop was killed last night interrupting a robbery. One of the gang was grabbed, a girl. The one I told you about with the detonation cord. Well, her friends just called in, they're threatening to waste people unless she's released in the next hour.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Alright, let's check it out.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>We can start in the area where the robbery occurred.<\/dialogue>\n    <character>T.J.<\/character>\n    <dialogue>Vice cop on a homicide?<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Captain assigned me to assist you.<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>Assist? What the hell you know about tickers anyway?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Easy, guys.<\/dialogue>\n    <parenthetical>( to Reilly . )<\/parenthetical>\n    <dialogue>Look, nothing personal, but you ca n't just waltz in here and expect to join the team.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>What're you talking about?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>When you need us, you love us, when you do n't, we're shunned by the rest of the department.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>We've got one hour. Are you coming or not?<\/dialogue>\n    <scene_description>The Squad just stands there .<\/scene_description>\n    <character>REILLY<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>Okay, fuck you.<\/dialogue>\n    <scene_description>Reilly walks out . The guys look at each other . Glass frowns at the bracelet .<\/scene_description>\n    <character>T.J.<\/character>\n    <dialogue>Those vice cops, around all that pussy, so pent up.<\/dialogue>\n    <scene_description>Bev smirks at T.J. 's language , he lowers his eyes .<\/scene_description>\n    <character>POOCH<\/character>\n    <parenthetical>( to Glass . )<\/parenthetical>\n    <dialogue>What do you think?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Call upstairs, see what you can find out.<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>GLASS<\/character>\n    <parenthetical>( re : bracelet . )<\/parenthetical>\n    <dialogue>T.J., run a trace on this, see if you can pin down where it came from. Whoever these people are, let's hope they're all talk.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   ALLEY - DAY<\/stage_direction>\n    <scene_description>Reilly 's Studebaker is parked next to the machine shop building .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   BUILDING - MACHINE SHOP - DAY<\/stage_direction>\n    <scene_description>Reilly enters and slowly re - walks his steps from the shoot - out , pausing over the chalk outline of Rice 's body . Two FORENSICS OFFICERS silently comb over the crime scene . Reilly pauses , sadness overwhelming him . One of the Officers nods at him , he has to turn away as the emotions come .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   SUNCREST MOTEL - ROOM - DAY<\/stage_direction>\n    <scene_description>Sophisticated detonation equipment and weapons cover the beds . Beard scowls , Earring sweats as Swan puts the finishing touches on a computerized briefcase bomb .<\/scene_description>\n    <character>SWAN<\/character>\n    <dialogue>What time is it?<\/dialogue>\n    <character>EARRING<\/character>\n    <dialogue>Twenty after.<\/dialogue>\n    <character>BEARD<\/character>\n    <dialogue>Swan, it's no use. Look, we can still make Houston -<\/dialogue>\n    <character>SWAN<\/character>\n    <dialogue>Shut up!<\/dialogue>\n    <scene_description>He sets a timer , closes the briefcase , smiles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   SUNCREST MOTEL - DAY<\/stage_direction>\n    <scene_description>Sleazy area . Briefcase in hand , Earring slips out and blends into pedestrian traffic .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   BUSY STREET - DAY<\/stage_direction>\n    <scene_description>Earring walks on , just a man with a briefcase .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   ANOTHER STREET - DAY<\/stage_direction>\n    <scene_description>Earring slows and passes a bus stop where a group of giggly TEENAGE GIRLS are waiting . He notices a raven - haired KNOCKOUT going into the pub up ahead . He grins and follows her in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   PUB - DAY<\/stage_direction>\n    <scene_description>A trendy Irish Pub , a sparse lunch crowd . Earring enters , spots the Knockout ordering a drink at the bar , slides onto a stool next to her , and deposits the briefcase on the floor .<\/scene_description>\n    <character>EARRING<\/character>\n    <dialogue>Hey, beautiful, can I buy you some bangers and mash? Pint of Guiness?<\/dialogue>\n    <scene_description>She gives him a once - over , turns up her nose , nods a ` thanks ' to the Bartender delivering her white wine . Earring 's smile does n't change .<\/scene_description>\n    <character>EARRING<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>Last chance. You know, even the smallest choices in life could change everything.<\/dialogue>\n    <character>KNOCKOUT<\/character>\n    <dialogue>Fuck off, pal.<\/dialogue>\n    <scene_description>Earring grins and shrugs an ` oh well ' . He slides off the stool , steps back , and exits . leaving the briefcase behind .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   BAR - DAY<\/stage_direction>\n    <scene_description>Earring walks out and strolls off . He checks his watch , picks up the pace . He disappears around a corner . Cars pass . People stroll by . Nothing happens . An ordinary scene on an ordinary day . The silence is screaming . Suddenly - the bar EXPLODES . A FIREBALL BURSTS OUT the front window , showering the street with wood and BROKEN GLASS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   BAR - DAY - LATER<\/stage_direction>\n    <scene_description>Chaotic aftermath of the bombing . sirens , flashing red lights . Police hold back onlookers , Firemen clean up , Paramedics carry corpses and moaning Victims out of the charred , smoking ruins , into waiting ambulances . A black - and - white tears up . Capt. Winters leaps out , pushes through to a dirt - covered FIRE CHIEF .<\/scene_description>\n    <character>FIRE CHIEF<\/character>\n    <dialogue>Eight dead, so far.<\/dialogue>\n    <scene_description>Winters looks grim . AT THE BARRICADE Reilly SCREECHES up in his Studebaker , jumps out , pushes through , flashes his badge , enters the police zone . He stops as he sees a bloody FEMALE VICTIM being loaded into an ambulance . Suddenly a voice snaps him out of it .<\/scene_description>\n    <character>PLUCHINSKY<\/character>\n    <dialogue>What're you doing here?<\/dialogue>\n    <scene_description>Reilly faces him .<\/scene_description>\n    <character>PLUCHINSKY<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>You're offsides. Beat it.<\/dialogue>\n    <scene_description>Reilly ignores them , starts towards the ruins . Pluchinsky shoves him back .<\/scene_description>\n    <character>PLUCHINSKY<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>I said get the fuck outta here.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>You touch me again and -<\/dialogue>\n    <character>PLUCHINSKY<\/character>\n    <dialogue>And what, you'll shoot me? Hey, do n't mistake me for one of your partners, I'd like to make retirement in one piece.<\/dialogue>\n    <scene_description>Pluchinsky starts to laugh as Reilly pops him once hard in the face . Pluchinsky staggers backwards , grasping his bleeding nose . Reilly is ready for more as Pluchinsky starts at him . They exchange a few body shots before several cops swarm in and pull them apart . Winters hustles over .<\/scene_description>\n    <character>WINTERS<\/character>\n    <dialogue>What the hell's going on?<\/dialogue>\n    <character>PLUCHINSKY<\/character>\n    <dialogue>Son - of - a - bitch. my nose. This fuck - up is interfering with -<\/dialogue>\n    <character>WINTERS<\/character>\n    <dialogue>Reilly, what're you doing here?<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Sir.<\/dialogue>\n    <character>WINTERS<\/character>\n    <dialogue>I thought I told you -<\/dialogue>\n    <character>GLASS<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>He's with us.<\/dialogue>\n    <scene_description>They all turn . Glass and T.J. stand there , soot - smeared , wearing utility belts .<\/scene_description>\n    <character>GLASS<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>We asked him to come.<\/dialogue>\n    <character>T.J.<\/character>\n    <dialogue>Yeah, he's helping us work up a profile on this thing.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Hope you do n't mind, Captain, might help us catch these guys that much sooner.<\/dialogue>\n    <parenthetical>( to Reilly . )<\/parenthetical>\n    <dialogue>Coming?<\/dialogue>\n    <scene_description>Reilly looks at the Captain awkwardly .<\/scene_description>\n    <character>WINTERS<\/character>\n    <dialogue>Go ahead, kid.<\/dialogue>\n    <scene_description>Reilly marches after Glass and T.J. , leaving Pluchinsky fuming , holding closed his bloody nose .<\/scene_description>\n    <character>PLUCHINSKY<\/character>\n    <dialogue>I'm filing charges against that mother -<\/dialogue>\n    <character>WINTERS<\/character>\n    <dialogue>Can it, Pluchinsky. And shove some cotton up your nose.<\/dialogue>\n    <scene_description>ANGLE - ON THE BOMB SQUAD Reilly follows Glass and T.J. , bewildered .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>What was -? Why?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>That cop who bought it. you did n't tell us he was your partner.<\/dialogue>\n    <character>T.J.<\/character>\n    <dialogue>We've lost brothers too, we know what that's like.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Let's get something straight. We're doing you a favor. You're not exactly a guy we want around explosives.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>This is n't bumper cars, it's brain surgery. You wan na work with us, you do it our way, understand?<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Now wait just a fucking -<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Be cool around my men, they do n't trust strangers. And try not to swear so much, it's unattractive.<\/dialogue>\n    <scene_description>Reilly glares , tongue - tied , as they walk past the Bomb Squad van and Glass ' Harley , enter the wreckage .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   PUB - DAY<\/stage_direction>\n    <scene_description>Smoky hell . Two Firemen drag out a fire hose . Glass , T.J. and Reilly approach a taped - off area where Pooch is on his hands and knees , wet and dirty as he searchs for clues . Schnoz sits nearby , red ball in his mouth .<\/scene_description>\n    <character>GLASS<\/character>\n    <dialogue>By the way, I'm Glass. This is T.J., and Pooch.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Mike Reilly.<\/dialogue>\n    <character>T.J.<\/character>\n    <parenthetical>( offering dirty hand . )<\/parenthetical>\n    <dialogue>Uh - huh.<\/dialogue>\n    <scene_description>Reilly avoids the hand .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>That there's Schnoz, mascot and ace bomb sniffer. Say hi, Schnozzie.<\/dialogue>\n    <scene_description>Schnoz ignores them , sniffing a charred beam in a corner . T.J. points out burn patterns to Glass .<\/scene_description>\n    <character>T.J.<\/character>\n    <dialogue>Flame racer, partial P.C.L. See this wave pattern? Definitely self - contained.<\/dialogue>\n    <scene_description>Pooch sniffs dirt , tastes it .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Nitro, dash of Semtrex, vegetable oil.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>What kind of bomb was it?<\/dialogue>\n    <character>T.J.<\/character>\n    <dialogue>Device.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>We do n't use the b - word. Bad luck.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>So you're the `` Device Squad''. and you defuse `` devices''?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Treat. We treat devices.<\/dialogue>\n    <character>REILLY<\/character>\n    <parenthetical>( amused . )<\/parenthetical>\n    <dialogue>Anything else I should know?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Do n't push it, slick.<\/dialogue>\n    <scene_description>Schnoz whines and paws at something under the beam . They scramble over .<\/scene_description>\n    <character>T.J.<\/character>\n    <dialogue>Pooch, can you move it?<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <scene_description>Pooch positions himself like a weight - lifter preparing to dead - lift . He growls as he strains to lift the beam out of the way . Glass and T.J. jump in and go to work with toothbrushes and tweezers . As Reilly watches , fascinated , they uncover a scorched fragment of a briefcase handle .<\/scene_description>\n    <character>T.J.<\/character>\n    <dialogue>Yes, baby, yes.<\/dialogue>\n    <scene_description>Pooch throws Schnoz the red ball .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Good boy, Schnoz. Daddy loves you.<\/dialogue>\n    <character>T.J.<\/character>\n    <dialogue>Scorch marks. looks like they used silly putty.<\/dialogue>\n    <scene_description>Reilly looks to Glass for an explanation .<\/scene_description>\n    <character>GLASS<\/character>\n    <dialogue>C4, plastic explosive.<\/dialogue>\n    <character>T.J.<\/character>\n    <dialogue>Helluva fuck factor.<\/dialogue>\n    <scene_description>Reilly again looks for an explanation .<\/scene_description>\n    <character>T.J.<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>Do n't worry, you'll pick it up.<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>Hey, check this out?<\/dialogue>\n    <scene_description>Something glitters in the ashes . Pooch picks it up with tweezers . A tiny chip . The guys stare at it , puzzled .<\/scene_description>\n    <character>GLASS<\/character>\n    <dialogue>Lem me see that.<\/dialogue>\n    <scene_description>Glass takes it , puts on his magnifying spectacles , holds it up to the light , frowns .<\/scene_description>\n    <character>GLASS<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>Hardware.<\/dialogue>\n    <character>T.J.<\/character>\n    <dialogue>Computer device?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Unlikely. Probably, cash register or something.<\/dialogue>\n    <scene_description>Pooch and T.J. go back to searching .<\/scene_description>\n    <character>GLASS<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>What can you tell us about the girl with the exploding jewelry?<\/dialogue>\n    <scene_description>Glass turns to see Reilly on his way out .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>I'll get back to you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   POLICE HEADQUARTERS - DAY<\/stage_direction>\n    <scene_description>Phones are ringing off the hook . Reilly bursts in , notices Winters directing an army of cops setting up sophisticated tracing equipment .<\/scene_description>\n    <character>WINTERS<\/character>\n    <dialogue>Let's go, we got ta jump on him the second he calls again.<\/dialogue>\n    <scene_description>Reilly discreetly crosses the room but is intercepted by Pluchinsky .<\/scene_description>\n    <character>PLUCHINSKY<\/character>\n    <dialogue>You were lucky today, vice boy. Captain said to leave it alone, but just remember, I'm watching you.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>I'm sorry, detective, but you're just not my type.<\/dialogue>\n    <scene_description>Pluchinsky 's face turns red with rage as . An OFFICER holds up a phone urgently .<\/scene_description>\n    <character>OFFICER<\/character>\n    <dialogue>Captain, it's him!<\/dialogue>\n    <scene_description>The room scrambles into action as Winters grabs the phone . Swan 's voice crackles over the squawk box .<\/scene_description>\n    <character>WINTERS<\/character>\n    <dialogue>Winters here.<\/dialogue>\n    <character>SWAN'S VOICE<\/character>\n    <dialogue>Do n't make me send another.<\/dialogue>\n    <character>WINTERS<\/character>\n    <dialogue>Look, we're prepared to talk, what do you want -?<\/dialogue>\n    <scene_description>Click , dial tone .<\/scene_description>\n    <character>WINTERS<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>Hello? Hello?<\/dialogue>\n    <scene_description>Winters slams down the receiver . Cops pull off their tracing headphones , glance at each other uneasily .<\/scene_description>\n    <character>WINTERS<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>Section commanders, in my office, now.<\/dialogue>\n    <scene_description>As the room erupts , Reilly turns to the BOOKING OFFICER .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>Where's the girl? The one I brought in.<\/dialogue>\n    <character>BOOKING OFFICER<\/character>\n    <dialogue>Upstairs, interrogation.<\/dialogue>\n    <scene_description>Reilly takes off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   POLICE STATION - INTERROGATION VIEWING BOOTH - DAY<\/stage_direction>\n    <scene_description>Wearing headphones connected to a tape recorder , a BORED COP flips wearily through a comic book in front of a one - way mirror . Through it can be seen a bare interrogation room where The Girl sits stubbornly at a table across from Harry . Stubbing a butt into an overflowing ashtray , Harry rubs the back of his neck , gets up and goes through a door , into the viewing booth . The Bored Cop looks up , shuts off the tape recorder .<\/scene_description>\n    <character>BORED COP<\/character>\n    <dialogue>Three hours. She's tough.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Tough? Tough is `` Fuck you, where's my lawyer?''. This chick does n't say boo.<\/dialogue>\n    <scene_description>The outer door opens , Reilly walks in .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>Any luck?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Bupkiss. Sorry about Rice.<\/dialogue>\n    <scene_description>Reilly nods , accepts the condolence .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>Captain said I could give it a crack.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>She ai n't no hooker. This is a murder investigation.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>She was my collar. Maybe I'll get lucky. But, if you got a problem with that, talk to the Captain.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>I'll be in the can.<\/dialogue>\n    <scene_description>Harry exits . The Bored Cop eyes Reilly suspiciously as Reilly crosses to the other door , yanks it open .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   INTERROGATION ROOM<\/stage_direction>\n    <scene_description>As Reilly enters , The Girl stiffens at the sight of him .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>You remember me.<\/dialogue>\n    <scene_description>Reilly shuts the door , she does n't respond . The Girl catches a glimpse of his 9mm under his trenchcoat , she 's unfazed . He paces , circling her .<\/scene_description>\n    <character>REILLY<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>You know, your boyfriend just killed a ten year old at a bus stop, blew her head clean off.<\/dialogue>\n    <scene_description>The Girl puts up a good front but we can see she 's listening .<\/scene_description>\n    <character>REILLY<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>You're scared. You're just caught in the middle. But, we've got a guy out there wasting people just to get you back. Why? It ca n't be because of your looks. So, I'll be honest with you -<\/dialogue>\n    <scene_description>Reilly goes to the table , flicks off the mic .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   VIEWING BOOTH<\/stage_direction>\n    <scene_description>The Bored Cop does n't notice , he 's engrossed in his comic .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   INTERROGATION ROOM<\/stage_direction>\n    <scene_description>Reilly sits , the Girl eyes him like a trapped prey . They 're enemies , yet there 's a strange chemistry between them .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>Let me be very clear about this. The police wo n't let you go. When your boyfriend realizes this, I have a feeling a lot of innocent people are going to die. Kids, families. I know you do n't want that to happen.<\/dialogue>\n    <scene_description>She stares , eyes dark , barely registering any emotion at all . A flicker of fear , indecision . Her lips part , fighting it , then she looks away , letting the fear win . Reilly flushes with anger , frustration .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   THE CAVE - DAY<\/stage_direction>\n    <scene_description>Glass squints through a microscope . Pooch sniffs and fumbles dirt samples . T.J. rocks to a Walkman as he inspects the charred briefcase handle fragment . Bev is at her computer searching luggage websites on the Net . Reilly comes in , still frustrated .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>We missed you, where'd you go?<\/dialogue>\n    <scene_description>Before Reilly can answer , T.J. rips off his headphones .<\/scene_description>\n    <character>T.J.<\/character>\n    <dialogue>Fuckin A, I think I got two partial prints here!<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>Awright! How bout you, Glass, how's that chip shaking?<\/dialogue>\n    <scene_description>They all look over . Glass stares back darkly .<\/scene_description>\n    <character>T.J.<\/character>\n    <dialogue>Glass, what is it?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>I was wrong. this did n't come from any cash register.<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>Whadaya mean?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>It's from an IRA.<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>Oh shit.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>A what?<\/dialogue>\n    <character>T.J.<\/character>\n    <dialogue>IRA - instant retirement account.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>I.R.A. device. Deadliest class of tickers in existence. Computerized, multiple sensors, booby traps, the works. First showed up in a series of I.R.A. bombings in London couple years ago. One of their boys tripped it on himself and they went back to a less complicated timers. The Girl, is she Irish?<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>She's not talking. But, she could be. So, obviously, you've seen one of these devices before?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Only once, at Redstone.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>T.J.<\/character>\n    <dialogue>That's one more time than any of the rest of us have seen it.<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>Shit. We're fucked.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Relax, Pooch, it's just a ticker, it's not personal.<\/dialogue>\n    <character>T.J.<\/character>\n    <dialogue>Let's face it, we all knew it would happen sooner or later. The guy who can build a mousetrap that's better than we are.<\/dialogue>\n    <character>BEV<\/character>\n    <dialogue>Stop it.<\/dialogue>\n    <character>T.J.<\/character>\n    <parenthetical>( points to Reilly . )<\/parenthetical>\n    <dialogue>And what's he doing to help?<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>Shut up, T.J!<\/dialogue>\n    <character>BEV<\/character>\n    <dialogue>Be nice Pooch!<\/dialogue>\n    <scene_description>They all explode into a SHOUTING MATCH -LRB- except Glass who is in his own world inspecting the microchip an inch from his eyes -RRB- . A moments mayhem until -<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>All of you, shut the fuck up!<\/dialogue>\n    <scene_description>They all go silent , stare at Reilly -LRB- except Glass -RRB- .<\/scene_description>\n    <character>REILLY<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>No wonder the rest of the department does n't want to work with you. You're nothing but a bunch of. punks.<\/dialogue>\n    <scene_description>Reilly walks out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   POLICE PARKING LOT - AFTERNOON<\/stage_direction>\n    <scene_description>Reilly goes to his Studebaker , climbs in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   STUDEBAKER<\/stage_direction>\n    <scene_description>As he starts it up , the passenger door rips open . Glass jumps in , slams the door , furious .<\/scene_description>\n    <character>GLASS<\/character>\n    <dialogue>Nice performance back there. Where'd you learn that, Mike Ditka Sensitivity Seminar?<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Hey, look -<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>No you look, mister! First, you do n't go calling my men names. It's bad for morale. Second, us `` punks'' happen to know a heck of alot more about police work than any vice cop ever did.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Oh yeah? Prove it.<\/dialogue>\n    <character>GLASS<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Drive.<\/dialogue>\n    <scene_description>Glass glares , a challenge . Glaring back , Reilly guns the engine , screeches away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   ALLEY - AFTERNOON<\/stage_direction>\n    <scene_description>The Studebaker rumbles up to the machine shop , parks in the same haunting spot as the night before . Glass and Reilly climb out of the car , flashlights in hand . Reilly glances around , bad memories stirring up .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>The place has already be combed. Forensics pulled over a hundred sets of prints inside.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Then let's go see what they missed.<\/dialogue>\n    <scene_description>Pulling out a tool kit , Glass quickly picks the door lock , yanks open the door , ducks inside . Reilly follows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   MACHINE SHOP - AFTERNOON<\/stage_direction>\n    <scene_description>Nearly pitch dark inside , shafts of late afternoon sunlight glistens on the battered machines . Shadows wash over Reilly and Glass as they retrace the path Reilly and Rice took the night before , Glass searching intensely , Reilly getting more and more uncomfortable .<\/scene_description>\n    <character>GLASS<\/character>\n    <dialogue>So what were they doing here?<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>I do n't know. You tell me?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>An abandoned machine shop. nice place to build devices. Low rent, too. But, you and Rice ruined their perfect hideout.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>You mentioned something called Redstone.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Redstone's the army training center in Alabama where they send the cream of the crop to learn about tickers.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Cream of the crop, huh? You?<\/dialogue>\n    <character>GLASS<\/character>\n    <parenthetical>( nods . )<\/parenthetical>\n    <dialogue>Top of my class at West Point, thank you very much. Then off to Redstone. First half of the course we learned how to build devices. second half, we'd take them apart. Everything from firecrackers to hydrogen bombs.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Sounds like terrorist heaven.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>There were a few guys in my class with names like John Smith, Bill Jones. I'd see them up ahead in the hall, call their name, but they would n't turn around. C.I.A. Funny thing, they'd always disappear after the first half of the course.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Just how easy is it to build a. device?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>With a little training, you could go into a house and just from stuff in the bathroom and kitchen make something that'd finish off that alleged car of yours. Heck, did n't you ever watch MacGyver?<\/dialogue>\n    <scene_description>Reilly looks at Glass strangely until he realizes they 've stopped where Rice died .<\/scene_description>\n    <character>GLASS<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>So this is where it happened.<\/dialogue>\n    <scene_description>Reilly fights the memory . eyes well up , his hand trembles ever so slightly as he points out .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>Girl was here. The guy in charge was over there with one of his men, the other one was back there.<\/dialogue>\n    <scene_description>Glass gets down on his hands and knees , scans the floor . Reilly talks to distract himself .<\/scene_description>\n    <character>REILLY<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>Bombers, what kettle of fish are they?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Typical profile, usually losers, nobodies that're afraid to confront their victims. They like scaring people. That's why they call in their threats. Same mentality as obscene phone callers.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Except they'll blow you up if you do n't play along.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>No, ninety - ninety percent of them are full of baloney. They're into the power trip, not the damage. What scares me is that this guy is so sophisticated he could blow up whatever he wants, then disappear. The worst of the bunch, they love the challenge of creating the wildest device ever. and they love the carnage.<\/dialogue>\n    <scene_description>Glass lays out flat on his stomach and searches deep under a machine , picks up a half - smoked cigarette butt with tweezers , pulls it out , kneels .<\/scene_description>\n    <character>GLASS<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>Hello.<\/dialogue>\n    <scene_description>Glass straightens it out , reads the brand name , `` Gallois '' .<\/scene_description>\n    <character>GLASS<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>French. Doubt somebody who worked here smoked it. Only half gone, put it out in a hurry.<\/dialogue>\n    <parenthetical>( glances around . )<\/parenthetical>\n    <dialogue>Figuring the length, assuming it was one of these guys, odds are. it was lit outside.<\/dialogue>\n    <scene_description>Glass takes off . Reilly follows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   MACHINE SHIP - GARAGE - AFTERNOON<\/stage_direction>\n    <scene_description>Glass and Reilly search the area . Glass moves on his knees , aiming the flashlight .<\/scene_description>\n    <character>GLASS<\/character>\n    <dialogue>This is where the van was parked.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Yep.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Then, it's got ta be here somewhere.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Look, it's a longshot.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Bingo!<\/dialogue>\n    <scene_description>Glass pinches something with his tweezers , holds it up triumphantly . a used match . CLOSE UP - MATCH UNDER MICROSCOPE A jungle of giant fibers teeming with strange molecules .<\/scene_description>\n    <character>T.J.<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>No question, it was definitely the one used to l - light the butt. Finger pressure suggests a male, average build, height. no prints, trace of nylon fiber. he wore a glove.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   THE CAVE - AFTERNOON<\/stage_direction>\n    <scene_description>T.J. punches keys on a computer , peers through the microscope as Glass , Reilly , Pooch and Bev stand by .<\/scene_description>\n    <character>T.J.<\/character>\n    <dialogue>This is strange.<\/dialogue>\n    <scene_description>Two computer screens - one displays the magnified match from different angles , the other spills out a stream of formulae and chemical breakdowns .<\/scene_description>\n    <character>T.J.<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <parenthetical>( reading info . )<\/parenthetical>\n    <dialogue>Three foreign particles. vulcanized rubber. resin. nitro - cellulose.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Nitro - cellulose. What is that, some kind of explosive?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Industrial wood oil. Separately, any one of these things could lead in several directions, but together.<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>Ka - Boooom.<\/dialogue>\n    <character>BEV<\/character>\n    <dialogue>They make bowling balls out of vulcanized rubber.<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>Resin.<\/dialogue>\n    <character>T.J.<\/character>\n    <dialogue>Lane oil.<\/dialogue>\n    <character>GLASS<\/character>\n    <parenthetical>( beat , proud of his team . )<\/parenthetical>\n    <dialogue>A bowling alley.<\/dialogue>\n    <scene_description>At an adjacent computer , Bev runs a scan program on the match , comparing it against an endless stream of match types on file . Schnoz howls awake from a nap as T.J. stabs the screen as a match is made , specifications filling the screen .<\/scene_description>\n    <character>T.J.<\/character>\n    <dialogue>Got it! Ace Match Company, Flint, Michigan.<\/dialogue>\n    <character>REILLY<\/character>\n    <parenthetical>( amazed . )<\/parenthetical>\n    <dialogue>You mean you just -? You keep a record of. matches?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Hey, matches are a very big thing in our line of work.<\/dialogue>\n    <character>POOCH<\/character>\n    <parenthetical>( smirks at Reilly . )<\/parenthetical>\n    <dialogue>`` Punks'', huh?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Bev, give ` em a call, find out what bowling alleys they supply in this area.<\/dialogue>\n    <character>BEV<\/character>\n    <dialogue>Right!<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Pooch, why do n't you e - mail your buddies at Langley and on the other side of the pond, see if any IRAs been popping up lately?<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>You got it.<\/dialogue>\n    <character>GLASS<\/character>\n    <parenthetical>( to Reilly . )<\/parenthetical>\n    <dialogue>We work fast enough for you?<\/dialogue>\n    <scene_description>Reilly mouth is opened , duly impressed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   BOWLING ALLEY - LATE AFTERNOON<\/stage_direction>\n    <scene_description>The Studebaker and Harley swerve up to a run - down , windowless bowling alley , park in a red zone . Reilly and T.J , climb out of the clunker , Glass off his bike . T.J. checks his hair in the side mirror , sniffs his underarms .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>T.J., what're you doing?<\/dialogue>\n    <character>T.J.<\/character>\n    <dialogue>My first undercover assignment. I got ta look good, right?<\/dialogue>\n    <scene_description>Reilly and Glass exchange a grin , they drag T.J. inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   BOWLING ALLEY - LATE AFTERNOON<\/stage_direction>\n    <scene_description>A busy Saturday afternoon crowd . Rock music blasts , reverberating with the echo of crashing balls and pins . The lanes are teeming with sweating bodies . Sexy waitresses in skimpy outfits deliver drinks . T.J. ogles women as they wander through .<\/scene_description>\n    <character>T.J.<\/character>\n    <dialogue>So what're we looking for?<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Someone who smokes French cigarettes.<\/dialogue>\n    <character>T.J.<\/character>\n    <dialogue>In this crowd? It's gon na be Marlboros, Camels, and maybe a few Kools.<\/dialogue>\n    <scene_description>Reilly and Glass nod , knowing it 's a longshot . Reilly directs Glass and T.J. to split up to case the place . They move through the rowdy crowd , eyes catching every smoker .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOWLING ALLEY - POOL ROOM\/BAR - LATER<\/stage_direction>\n    <scene_description>The music is more redneck - rock , the crowd as well . Glass and T.J. are in the midst of game of pool , nursing bottles of Root Beer . They continue to play while eyeing those coming and going . Reilly enters from the alley , catches Glass ' eye and shakes his head . He goes to the bar and orders a coke . He takes the drink and moves over next to Glass as T.J. lines up a shot .<\/scene_description>\n    <character>GLASS<\/character>\n    <dialogue>How long are we going to stay?<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>` Til we get a better lead.<\/dialogue>\n    <scene_description>Reilly 's attention is drawn to a crowded booth in the corner where a few bowling alley girls block the view of the entire booth . Glass nudges Reilly , they look over to see Pooch entering the bar . He sees them and moves to the bar . T.J. sinks his shot and lines up another as Reilly and Glass move to meet Pooch . Pooch produces a printout from his jacket , opens it up .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Unsolved bombings in the last year. Boston, New York, Philadelphia. but no real match<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Insurance?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Political.<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>Exactly my thinking. Except, none of the targets can actually be linked to government, political or special interest concerns. They seem to be just unrelated industrial companies. Some insured, some not. But there's traces of C4 and assorted inflammatory additives found in each case. The only common denominator is the detonators all had circuitry consistent with our micro - chip.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Not bad for Bomb squad, eh?<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>What not bad. You've got a series of bombs, devices, that may or may not be connected, set by one or many nutjobs, who may or may not be linked.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Well. it's more than we had ten minutes ago.<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>I got a friend over at Scotland Yard who's gon na try and reach out to a undercover guy who would know if any of the rightwingers are circulating over here. Bev's following up on the briefcase manufacturers, too.<\/dialogue>\n    <scene_description>T.J. comes over .<\/scene_description>\n    <character>T.J.<\/character>\n    <dialogue>Pooch, you're up. Rack ` em.<\/dialogue>\n    <scene_description>They look over to the pool table to see only the cue ball left .<\/scene_description>\n    <character>T.J.<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>Boss, you're buying the next round.<\/dialogue>\n    <scene_description>T.J. sets his empty Root Beer bottle on the bar .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>How're you guys doing?<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Still waiting for a miracle. Go ahead.<\/dialogue>\n    <scene_description>Pooch and T.J. head back to the pool table where two comely Gals have begun putting the balls back onto the table . T.J. turns on his smile and chats them up .<\/scene_description>\n    <character>REILLY<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>Quite a team you've got, where'd you find them?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>It's a small fraternity, everyone knows everyone. I'm always recruiting. Pooch is ex - D.O.D., military expert. claymores, grenades. He played linebacker at Boston College, worked a K - 9 unit - that led him to the Bomb Squad. great nose, lousy fingers, we try to keep him away from the tickers. T.J. is a heck of chemist, Texas A&amp;M engineering degree. Found him in a Militia chat room - turns out we were both monitoring the same groups. Bev is the natural born hacker, we stole her from dispatch. She had the Cave reorganized and ultra - high - tech in two months. Captain has no idea how much hardware she's `` found'' for us.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>You guys seem pretty tight.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>We've got ta be. In this business, you do n't exactly make alot of outside commitments.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Why do you do it?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>I do n't know, it's strange. it's not the best career path, but when you get the bug, there's nothing you can do about it. See, when you beat one of these things. there's that one second when you realize you saw something you were n't supposed to see. this beautiful naked woman. Death. and then the rush comes, the high, cuz you realize you got away with it.<\/dialogue>\n    <scene_description>T.J. returns , shrugs .<\/scene_description>\n    <character>T.J.<\/character>\n    <dialogue>Lesbians.<\/dialogue>\n    <scene_description>Pooch is still with the girls , showing one of them how to line up a shot .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>Looks like Pooch's doing okay.<\/dialogue>\n    <character>T.J.<\/character>\n    <dialogue>He's married, he do n't even know what a lesbian is.<\/dialogue>\n    <scene_description>T.J. waves over the Bartender . He and Glass orders fresh drinks as Reilly eyes pretty Blonde across the bar . She picks up two beers and grabs a pack of matches off the bar . She turns and moves to the booth in the corner . The bodies part and Reilly catches a glimpse of Earring . Reilly nearly chokes on his coke as Earring takes the matches from the Blonde . Earring checks his watches , rises . He looks up and catches Reilly 's eye - he smiles - then bolts . Reilly coughs up his drink and tries to get a word out , pointing as Earring slips out the exit door next to the booth . Glass pats Reilly 's back as he gags , eyes blazing . Finally .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>There he goes. He was here the whole time.<\/dialogue>\n    <scene_description>Reilly pushes his way through the crowd with Glass on his heels . T.J. rushes over and grabs Pooch away from the Girls at the pool table . Reilly runs into a pair of enormous Rednecks , spilling their beer on them . The Rednecks grab him by the collar and prepare to fight as Pooch arrives and body - blocks the Rednecks away from Reilly . Reilly is released and he continues after Earring as Pooch and the Rednecks mix it up . A brawl breaks out with Pooch and T.J. in the middle as Reilly and Glass make it to the exit door . Reilly flies out - but Glass FREEZES dead in his tracks . He spins back to look at the corner booth . THE SHOPPING BAG sits on the floor under the table . Glass tenses . The fight escalates quickly , but Pooch employs his linebacker skills and cuts down his assailant . and T.J. a natural streetfighting - rabbit - puncher . They quickly dispatch the Rednecks , leaving them bruised and bloodied . they rush for Glass and the doorway - then lock on Glass ' reaction and stop .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Reilly runs out into the middle of the street . At the end of the block , Earring is rushing for the corner . Reilly draws his 9mm , aims thru the pedestrian - and fires . Earring is blown off his feet . He hits the pavement hard .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   BAR<\/stage_direction>\n    <scene_description>Reilly enters and sees Glass , TJ and Pooch gathered around the booth in back .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>Say, thanks for the back up -<\/dialogue>\n    <scene_description>The bomb squad ignores Reilly , who now realizes something is wrong . He pushes his way through the bar patrons to the booth . Glass glances up at Reilly .<\/scene_description>\n    <character>GLASS<\/character>\n    <dialogue>He set one, the son - of - a.<\/dialogue>\n    <scene_description>TJ and Pooch exchange looks - they 've never heard Glass so close to swearing before . T.J. notices a small crowd starting to gather around the booth .<\/scene_description>\n    <character>T.J.<\/character>\n    <parenthetical>( calmly . )<\/parenthetical>\n    <dialogue>Clear the area, please.<\/dialogue>\n    <scene_description>Nobody moves .<\/scene_description>\n    <character>REILLY<\/character>\n    <parenthetical>( loudly . )<\/parenthetical>\n    <dialogue>You heard him, get the fuck away, it's a bomb!<\/dialogue>\n    <scene_description>That does it , the crowds shriek and scatter . Rolling eyes at each other , the Bomb Squaders turn their attention to the shopping bag sitting on the floor .<\/scene_description>\n    <character>GLASS<\/character>\n    <dialogue>Alright. Let's assess.<\/dialogue>\n    <scene_description>The team eyes the package for a moment . Glass makes a determination , whips out a knife , slashes the bag open , revealing a computerized nightmare of a bomb inside . T.J. rubs his temples with dread .<\/scene_description>\n    <character>TJ<\/character>\n    <dialogue>IRA.<\/dialogue>\n    <scene_description>Glass puts on his magnifying spectacles , starts to probe . Reilly returns . Pooch tests hinges with his tweezers . T.J. hands Glass a crimp . Pooch pries off a back panel , fingers shaking , lifts it every so slightly , sees complex circuitry inside , the red glow of a digital readout counting down .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Oh shit.<\/dialogue>\n    <character>T.J.<\/character>\n    <dialogue>Fuck factor ten.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Okay, I'm going in, nobody breathe.<\/dialogue>\n    <scene_description>Synchronizing his chronometer to the counter , Glass begins disengaging sensor switches .<\/scene_description>\n    <character>GLASS<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>Altimeter. choking coil. mercury switch.<\/dialogue>\n    <scene_description>He clips off circuits and booby traps with bloodcurdling care , peeling away layer after layer of death . shakes his head with awe , respect , fear .<\/scene_description>\n    <character>GLASS<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>Triple V.O.M. brilliant. this guy's a master.<\/dialogue>\n    <scene_description>Finally he comes to the heart of the bomb , a pair of tiny wires leading to the blasting cap , one yellow , one red . Precious seconds tick away .<\/scene_description>\n    <character>GLASS<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>It's one of these wires.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>So cut both.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>One shuts it down, one turns arms it.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Which one's which?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>I do n't know. There's an old saying, when in doubt, cut the yellow wire.<\/dialogue>\n    <scene_description>Reilly gulps . The device teeters , slightly , alarming T.J. and Pooch . Glass nods . T.J. and Pooch each grab a corner of the device to steady it . Reilly follows their lead and kneels , goes to reach for a corner as well , one hand starts to tremble .<\/scene_description>\n    <character>GLASS<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>You can go back to the van if you like.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>No, I'm with you.<\/dialogue>\n    <scene_description>Reilly focuses and wills his hands to steady . He grabs a corner and closes his eyes , mind over matter . Sweat streams as he concentrates like never before . Pooch and T.J. stare at the wires with intensity . 15 seconds , 14 , 13 , . Glass pulls out a clipper . 12 , 11 , 10 . He eases the clipper into position . 9 , 8 , 7 . He draws in a breath . Closing his eyes , he clips the yellow wire . Reilly 's eyes snap open . The counter stops on 4 - no explosion . Pooch and T.J. whoop and hug like drunk madmen . Glass steps away , stone - faced . Reilly follows him , wobbly .<\/scene_description>\n    <character>REILLY<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>You okay?<\/dialogue>\n    <character>GLASS<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Is this a great job or what?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   STREET - MOMENTS LATER<\/stage_direction>\n    <scene_description>Two squad cars have appeared , Officers cordon off the crime scene . Glass watches Reilly kneeling over Earring 's body digging through Earring 's pockets , finding nothing but cash , cigarettes and matches .<\/scene_description>\n    <character>REILLY<\/character>\n    <parenthetical>( at Glass . )<\/parenthetical>\n    <dialogue>Nothing. Nothing traceable.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT BAR<\/stage_direction>\n    <scene_description>Pooch and T.J. have the device on the ground a few feet away from the Earring 's body . They delicately continue to take it apart so it can be transported safely . Schnoz sits nearby , watching . Pooch is on the phone with his wife .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>I do n't know, honey. I'll see. No, everything's fine, it was nothing.<\/dialogue>\n    <scene_description>As he says this , he lifts a chunk of C4 and sets it aside . Pooch hangs up his phone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT STREET<\/stage_direction>\n    <scene_description>Pooch and TJ exit the bar , moving to Glass and Reilly .<\/scene_description>\n    <character>POOCH<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>You guys hungry? The wife's got a heap of lasagna leftover.<\/dialogue>\n    <character>T.J.<\/character>\n    <parenthetical>( at Reilly . )<\/parenthetical>\n    <dialogue>What do ay say?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Meg's lasagna. Good eats, Reilly. C'mon.<\/dialogue>\n    <scene_description>Glass notes Reilly 's hands .<\/scene_description>\n    <character>GLASS<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>Good meal would go a long way to steady your system.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Got work to do, do n't we?<\/dialogue>\n    <scene_description>Pooch scribbles down an address on a scrap of paper from the device 's shopping bag , hands it to Reilly , offering a smile .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>In case you change your mind.<\/dialogue>\n    <scene_description>Reilly looks at it awkwardly , then walks away as a News van arrives on the scene .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. DOWNTOWN - STUDEBAKER - EARLY EVENING<\/stage_direction>\n    <scene_description>Reilly cruises into the bowels of downtown . Makes a few turns and parks . In the shadows of a burned out building , Reilly observes several JUNKIES getting a fix from their CONNECTION . Reilly watches with scared , tempted eyes . He looks at his hands . they 're trembling . catches his reflection in the rear view mirror . Checks Rice 's watches on his wrist , taps it . Still not ticking . Ashamed , he screeches away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - OFFICE - NIGHT<\/stage_direction>\n    <scene_description>A quiet Squad Room . Reilly bangs out something on a computer terminal . He blazes away , typing as fast as he can . He holds out his hands . Almost steady . He takes a drink from a Protein Shake , returns to typing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   WINTERS' OFFICE - NIGHT<\/stage_direction>\n    <scene_description>A weary Winters looks up from coffee and paperwork as Reilly knocks , walks in . Reilly drops a sheaf of papers on his desk .<\/scene_description>\n    <character>WINTERS<\/character>\n    <dialogue>What's this?<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Report on the case so far.<\/dialogue>\n    <character>WINTERS<\/character>\n    <dialogue>You know after a shooting I would normally take your badge and weapon, but Glass called in already and confirmed it was clean.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <character>WINTERS<\/character>\n    <dialogue>But from now on, any leads on this case go to Pluchinsky. He's primary investigator and you are unofficially assigned to the Bomb Squad. you and your new friends are not to be playing detective any more. Got it?<\/dialogue>\n    <scene_description>Reilly nods , accepting .<\/scene_description>\n    <character>WINTERS<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>I imagine as soon as they find out one of their's is dead, we'll be getting another call. So get some sleep, alright.<\/dialogue>\n    <scene_description>Reilly nods , turns and exits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   SUNCREST MOTEL - ROOM - NIGHT<\/stage_direction>\n    <scene_description>TIGHT on a TV - a pretty Reporter reports live from the scene .<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>To recap, a gunman carrying what police described as a phony bomb was shot and killed less than an hour ago.<\/dialogue>\n    <scene_description>THE ROOM Swan watches the TV report with Beard , eyes narrowing as he sees Reilly in the crowd behind the Reporter .<\/scene_description>\n    <character>REPORTER<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>While the man's motives and identity remain a mystery, police are denying the incident is related to the explosion that ripped through a bar earlier today, killing 15 and wounding more than 30.<\/dialogue>\n    <scene_description>Swan kicks in the TV , destroying it .<\/scene_description>\n    <character>BEARD<\/character>\n    <dialogue>She talked.<\/dialogue>\n    <scene_description>Swan flips open a suitcase full of bomb - making materials and begins to sort through .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   POOCH'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Quiet , cozy , middle class . The Harley and the Bomb Squad van are parked out front . Also the Studebaker .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   POOCH'S HOUSE - HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Reilly exits the bathroom , returns to the dining room where the Bomb Squad is laughing , hoeing and haying over dessert . Pooch 's faithful wife , MEG , pours coffee . TOMMY and JANIE , Pooch 's kids , sit on Pooch 's and T.J. 's knees , in their pajamas .<\/scene_description>\n    <character>MEG<\/character>\n    <dialogue>More coffee, T.J?<\/dialogue>\n    <character>T.J.<\/character>\n    <dialogue>No thanks, Meg. Hawed Pooch ever get so lucky?<\/dialogue>\n    <character>MEG<\/character>\n    <dialogue>Mr. Reilly?<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Mike. No thanks, I'm fine.<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>Time for bed, kiddos. Say goodnight.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Can Uncle Teej tuck us in?<\/dialogue>\n    <character>T.J.<\/character>\n    <dialogue>C'mon, champ, I'll even give you a piggyback.<\/dialogue>\n    <character>JANIE<\/character>\n    <parenthetical>( to Glass , Reilly . )<\/parenthetical>\n    <dialogue>Goodnight Uncle Charlie, goodnight Uncle Mike.<\/dialogue>\n    <scene_description>Janie surprises Reilly with a shy kiss , scurries upstairs with after Pooch , T.J. and Tommy .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>` Night.<\/dialogue>\n    <scene_description>Meg clears the dishes , Schnoz is asleep on the floor . Glass and Reilly are left alone . Reilly takes a sip of coffee , hand trembles ever so slightly .<\/scene_description>\n    <character>GLASS<\/character>\n    <dialogue>How long were you hooked?<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>You do n't have to talk about it.<\/dialogue>\n    <scene_description>Reilly stares , then opens up slowly .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>Pittsburgh, two years ago. Partner died, no back - up, I was too gung - ho. As usual.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Take a tip from the Bomb Boys, always assess, if only for a second.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>I know. I was working a drug ring, deep cover. Played the part too well. When they pulled me out, I was n't a cop anymore. My fiance had dumped me. Next thing I knew, I was out here on the street, doped up, auditioning for the morgue when this tough old vice cop found me, cleaned me up, gave me a second chance. He promised Captain Winters he'd look out for me.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Your partner?<\/dialogue>\n    <character>REILLY<\/character>\n    <parenthetical>( nods sadly . )<\/parenthetical>\n    <dialogue>I guess I did n't realize how much I needed him. He kept me straight. It's been tough every second since.<\/dialogue>\n    <scene_description>Reilly holds up his wristwatch .<\/scene_description>\n    <character>REILLY<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>This was his. Does n't work for shit, but it's keeping me straight.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Let me see.<\/dialogue>\n    <scene_description>Reilly gives him the watch . Glass pulls out a mini tool kit , pries off the back of the watch examines the works .<\/scene_description>\n    <character>GLASS<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>Main spring's stuck. All you have to do is free the palate and realign the balance wheel. Here, you try.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>I terrible with mechanical things.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>No you're not, you just do n't understand them. Here, do what I tell you.<\/dialogue>\n    <scene_description>He holds out the mini - kit . Reilly takes it uncertainly , but follows Glass ' instructions .<\/scene_description>\n    <character>GLASS<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>Okay, first push the pin back with this. Good. Now while you keep it there, stick this in here and turn it slowly. Easy, that's it. Now let the pin go and line up the wheel. That should do it.<\/dialogue>\n    <scene_description>Reilly gives it a tweak , looks at the watch , surprised .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>It's working.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Congratulations, you just built your first ticker.<\/dialogue>\n    <scene_description>Reilly throws Glass a surprised look .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   POOCH'S HOUSE - EARLY MORNING<\/stage_direction>\n    <scene_description>Sunrise breaking . Reilly and Glass have their heads under the hood of the Studebaker , covered in grease , tools everywhere . T.J. sits behind the wheel . Pooch and Schnoz stumble out of the house to watch .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>Okay, hit it.<\/dialogue>\n    <scene_description>T.J. guns the engine , the Studebaker purrs like a tiger .<\/scene_description>\n    <character>GLASS<\/character>\n    <dialogue>Alright!<\/dialogue>\n    <character>T.J.<\/character>\n    <dialogue>We've created a monster.<\/dialogue>\n    <scene_description>Glass glances at Pooch .<\/scene_description>\n    <character>GLASS<\/character>\n    <dialogue>Any word?<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>Nothing. Maybe they gave up, split town.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Do n't bet on it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE STATION - MORNING<\/stage_direction>\n    <scene_description>Bustling activity .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CAVE - MORNING<\/stage_direction>\n    <scene_description>Reilly enters to find Glass , Bev , T.J. and Pooch busy at work at each of their work stations . Glass moves over to watch Bev 's computer screen .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>How's the print coming?<\/dialogue>\n    <character>BEV<\/character>\n    <dialogue>One partial from the handle matches the suspect from last night. Name's Carl Taylor. Long record of arson, assault, the works. The other print - we got nothing from our data base or the FBI or CIA. still waiting for Interpol.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Damn.<\/dialogue>\n    <scene_description>Bev enters another command . the computer goes to work as she turns to Reilly .<\/scene_description>\n    <character>BEV<\/character>\n    <dialogue>Coffee, Mike?<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>No thanks, Bev.<\/dialogue>\n    <scene_description>She smiles warmly . He smiles back , T.J. eyes them , slightly jealous of the moment . A phone rings . Bev answers it .<\/scene_description>\n    <character>BEV<\/character>\n    <dialogue>Yes, sir. He's here. I'll tell him.<\/dialogue>\n    <scene_description>Bev hangs up the phone .<\/scene_description>\n    <character>BEV<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>Mike, Captain wants to see you right away.<\/dialogue>\n    <scene_description>Reilly heads for the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   POLICE HEADQUARTERS - MORNING<\/stage_direction>\n    <scene_description>A strange , uncomfortable silence hangs over the squad room as Reilly weaves past cops smoking , drinking coffee , waiting . They all stare at him . Especially Pluchinsky .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   WINTERS' OFFICE - MORNING<\/stage_direction>\n    <scene_description>Reilly walks in . Winters gestures for him to take a seat as he talks on the phone .<\/scene_description>\n    <character>WINTERS<\/character>\n    <dialogue>Yes. no, of course not but. yes, sir, I understand.<\/dialogue>\n    <scene_description>Winters hangs up .<\/scene_description>\n    <character>WINTERS<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>I got a call from upstairs. They say you questioned the girl.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <character>WINTERS<\/character>\n    <dialogue>She's refused to say a word to anyone. What made you think you could get her to talk?<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>I did n't. But I had to try.<\/dialogue>\n    <character>WINTER<\/character>\n    <dialogue>Reilly, I think I've shown that I'm a patient man. Rice was your biggest fan and I've tried to honor him by giving you some slack. But you are very close to running out of slack.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <scene_description>Winters lets this sink in , then holds up Reilly 's report .<\/scene_description>\n    <character>WINTERS<\/character>\n    <dialogue>I read your report. Impressive. I'd say it's got detective written all over it. But. you cross the line one more time. you're gone. Are we clear?<\/dialogue>\n    <scene_description>Reilly , nods , shifts uncomfortably .<\/scene_description>\n    <character>WINTERS<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>Now, that out of the way. The girl wants to talk to you, alone.<\/dialogue>\n    <scene_description>Reilly is shocked .<\/scene_description>\n    <character>WINTERS<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>So get going, let's close this thing.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <scene_description>Reilly bolts off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   POLICE STATION - INTERROGATION ROOM - DAY<\/stage_direction>\n    <scene_description>Reilly enters to find Harry and the Girl waiting for him . Harry looks the Girl over , nods at Reilly .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>I'll be outside.<\/dialogue>\n    <scene_description>Reilly nods , Harry exits . Reilly sits down at the table opposite her .<\/scene_description>\n    <character>THE GIRL<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>THE GIRL<\/character>\n    <parenthetical>( MARY . )<\/parenthetical>\n    <dialogue>My name is Mary Jordan. We were hired to take out some industrial sites. Insurance.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>But they were n't all insured.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Cover.<\/dialogue>\n    <parenthetical>( slowly , ashamed . )<\/parenthetical>\n    <dialogue>It was suppose to be abandoned buildings, y' know. No one was suppose to get hurt. The night you busted us. We were checking to make sure there were n't any vagrants around. Scare them away.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Who is he?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Alex Swan. My brother. The other two are called Taylor and Leveau.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Taylor's dead.<\/dialogue>\n    <scene_description>She seems relieved .<\/scene_description>\n    <character>REILLY<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>Where are they, Mary?<\/dialogue>\n    <scene_description>Mary takes a deep breath , eyes welling .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>There is a motel downtown, near the Machine Shop. the Suncrest. Room 138.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>He's my brother.<\/dialogue>\n    <scene_description>Reilly rises and moves to her . Their eyes linger a moment , a bond between them .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>Then why tell me?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>People are dying.<\/dialogue>\n    <scene_description>Reilly nods and touches her shoulder , a light squeeze . He turns and exits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   SUNCREST MOTEL - ROOM 138 - DAY<\/stage_direction>\n    <scene_description>An army of cops and squad cars out front , Pluchinsky silently directs a SWAT team to the door . Reilly and the Bomb Squad watch from a distance as they break down the door . SHOUTING , mayhem as the team floods into the room . Pluchinsky brings up the rear . After a beat , Pluchinsky re - emerges , shaking his head . AT THE FAR END OF THE MOTEL Swan and Beard watch from behind a car . Beard gives Swan a dirty look and they quietly move off around the corner . AT THE BOMB SQUAD VAN Reilly and Glass are visibly disappointed . As the others grumble about it , Reilly notices someone across the street - the Bag Lady with the pie - tin crown , holding her hand out to a MAN getting into his car . The Man ignores her , screeches off . The Bag Lady scribbles down his license number in her pad . Glass follows Reilly 's stare .<\/scene_description>\n    <character>GLASS<\/character>\n    <dialogue>Ex - girlfriend?<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Be right back.<\/dialogue>\n    <scene_description>Reilly crosses the street , intercepts the Bag Lady as she 's pushing her cart away .<\/scene_description>\n    <character>REILLY<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>Excuse me. I'm looking for two men who were staying at the hotel over there - one has a beard, the other's tall, thin. You would n't happen to have seen them, would you?<\/dialogue>\n    <character>BAG LADY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>No, of course not. well, thanks anyway. Here you go, Your Highness.<\/dialogue>\n    <scene_description>He fishes some change out of his pocket , hands it over , starts away .<\/scene_description>\n    <character>BAG LADY<\/character>\n    <dialogue>On second thought, maybe I did.<\/dialogue>\n    <scene_description>He turns back . The Bag Lady flips through her pad , stabs an entry with her finger .<\/scene_description>\n    <character>BAG LADY<\/character>\n    <dialogue>Lem me see. yeah, here it is, 11:18 this morning. Very disrespectful. He used to drive a van, but he got a new car. You want the license number?<\/dialogue>\n    <scene_description>She tears off the page , holds it out .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>You're beautiful!<\/dialogue>\n    <scene_description>Reilly gives her a big kiss , races back to the Bomb Squad who 've been watching .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>We're back in business!<\/dialogue>\n    <scene_description>They all look at him like he 's nuts .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   POLICE SQUAD ROOM - DAY<\/stage_direction>\n    <scene_description>Buzzing with action . Harry and Pluchinsky attack Winters with printouts .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>Ran the license plate - car was rented early this morning from a Hertz office downtown.<\/dialogue>\n    <character>PLUCHINSKY<\/character>\n    <dialogue>Alex Swan - demolitions expert, trained at Redstone, dropped out, freelanced in the middle East for awhile, then disappeared, no criminal record. The other one, Leveau, is French Canadian, he's a mercenary, record in half a dozen countries.<\/dialogue>\n    <character>WINTERS<\/character>\n    <dialogue>Get out an APB, now!<\/dialogue>\n    <scene_description>Harry moves off to the DISPATCHER as a fax machine comes to life on the desk next to PLUCHINSKY . A fax spews out . `` WINTERS . LET HER GO NOW . OR A BOMB 'S COMING CLOSE TO HOME . ''<\/scene_description>\n    <character>WINTERS<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>Jesus. Pluchinsky, get four squad cars out to my house, get my family out of there, tell my wife I'm on my way.<\/dialogue>\n    <character>PLUCHINSKY<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   POLICE STATION - DAY<\/stage_direction>\n    <scene_description>Cops race to their cars . An armada of black - and - whites scream out of the parking lot . Winters appears and jumps into his Ford Sedan and tears out .<\/scene_description>\n    <character>DISPATCHER<\/character>\n    <parenthetical>( V. 0 . )<\/parenthetical>\n    <dialogue>suspects driving a dark green Ford Grenada, license number one Two Eight Michael Vincent Edward.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBS - DAY<\/stage_direction>\n    <scene_description>Squad cars roar up and down the streets . Two cars are parked out in front of one house in particular .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - SQUAD ROOM - DAY<\/stage_direction>\n    <scene_description>In the squad room , Pluchinsky and some men wait anxiously by phones , computer - consoles , radio switchboard .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE STATION - DAY<\/stage_direction>\n    <scene_description>Reilly idles in his Studebaker . T.J. and Pooch come out of the parking lot in the Bomb Squad Van , Glass motors along side Reilly . He guns the bike and takes the lead , followed by Reilly , then the van . They pull out into traffic and head towards the suburbs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>Beard drives , Swan rides shotgun . A briefcase lies on the seat between them . As he makes a left , Beard notices the Bomb Squad Van coming the other direction .<\/scene_description>\n    <character>BEARD<\/character>\n    <dialogue>We've got company.<\/dialogue>\n    <scene_description>Swan whirls , pulls a gun as Glass and Reilly pass them . Reilly double - takes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STUDEBAKER<\/stage_direction>\n    <scene_description>Reilly grabs his radio mic , yells into it .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>Glass, there they are. Pooch right in front of you, you got ` em, you got ` em.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>Reilly SKIDS to a dead stop . Glass , up ahead tries to maneuver around slowing cars as . The Grenada speeds down a street right in front of the Bomb Squad Van . Pooch cranks into a turn and gives chase . Reilly and Glass are pinned in by other cars . They both finally squeeze out of their jams in different directions .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. ANOTHER STREET - BOMB SQUAD VAN - DAY<\/stage_direction>\n    <scene_description>An excited T.J. jumps on the radio .<\/scene_description>\n    <character>T.J.<\/character>\n    <dialogue>Dispatch, this is Bomb Squad. Suspects sighted on Fern Street, two blocks from HQ. In pursuit.<\/dialogue>\n    <character>DISPATCHER<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>Roger that. All available units.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>Beard speeds around another corner , the lumbering Van has difficulty keeping up and loses sight of the Grenada for a moment .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANOTHER STREET - DAY<\/stage_direction>\n    <scene_description>The Grenada speeds up , heading towards the Police Station up ahead . The Bomb Squad Van appears and speeds up . ON THE SIDEWALK Swan stands discreetly in a phone booth , watching as . ON THE STREET Beard steers towards a parked Squad Car next to the Station - on collision course . At the last second , Beard dives from the moving car , hits the pavements and rolls . The Grenada CRASHES into the Squad Car . but no explosion . The Bomb Squad Van SKIDS to a stop as two uniformed Officers rush out of the Station . Beard has rolled to his feet and is now sprinting off down the street . Pooch and T.J. jump out of the Van -LRB- leaving a BARKING Schnoz inside -RRB- and sprint towards the Grenada , guns drawn . Pooch is quickly huffing and puffing . T.J. continues after Beard as Pooch moves towards the Grenada . The uniforms follow T.J. Glass on his Harley appears from behind the Van . At the far end of the street the Studebaker rumbles into view , followed by a Squad Car , lights flashing . Everyone closing in on Beard . T.J. aims and yells at Beard .<\/scene_description>\n    <character>T.J.<\/character>\n    <dialogue>Police, freeze!<\/dialogue>\n    <scene_description>Beard whirls around , SPRAYING automatic weapon FIRE at T.J. and the Uniforms - they hit the pavement . A few nearby Pedestrians SCREAM and drop to the ground . Reilly jumps out of his Studebaker as Beard turns his FIRE on him , BLOWING OUT his windshield . Back at the Grenada , Pooch ducks for cover by the open driver 's door . Glass runs his Harley behind a parked car . The Squad Car behind Reilly SKIDS to a stop and as Beard shifts his aim , T.J. and Reilly each PUMP TWO SHOTS into Beard 's torso . Beard spins around , drops - dead silence on the street . Relief all around . Everyone stands back up . T.J. 's jaw drops at the sight of actually having hit the suspect with his bullets . AT THE GRENADA Pooch exhales in relief , then hears BEEPING coming from the front seat of the car . He looks in to see the briefcase open , countdown ticking away .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Oh. damn.<\/dialogue>\n    <scene_description>KA - BOOOOOM ! The Grenada explodes in a massive FIRE - BALL , throwing nearby Glass off his feet . Everyone else drops back to the ground , covering their heads . DOWN THE STREET - AT THE PHONE BOOTH Swan grins and walks away down an alley . We can hear the CRY of Schnoz , WAILING from the front seat of Van .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   POLICE STATION - WINTERS' OFFICE - EARLY EVENING<\/stage_direction>\n    <scene_description>Reilly stares off into space . Surreal silence , like a dream . Reilly looks at his watch , keeps his eyes low as he steals a glance at Glass in the other chair , face wracked with pain , loss . They both look through the glass office at the squad room outside , the sounds of reality fade in . phones ringing , voices shouting . a tense , chaotic emergency atmosphere . Reilly and Glass rise as Winters walks in , closes the door . He sits behind his desk , lights a cigarette .<\/scene_description>\n    <character>WINTERS<\/character>\n    <dialogue>Glass, sorry about Pooch, he was a good man. We do n't have time to give you a break right now, we're going ahead and -<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>My God, you're going to use her, are n't you?<\/dialogue>\n    <character>WINTERS<\/character>\n    <parenthetical>( ignoring Reilly . )<\/parenthetical>\n    <dialogue>Glass, you're to stand by with your team.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>I promised her she'd be safe.<\/dialogue>\n    <character>WINTERS<\/character>\n    <dialogue>It's our only option.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>It wo n't work, he'll know it's a trap.<\/dialogue>\n    <character>WINTERS<\/character>\n    <dialogue>Reilly, you're done for now. What the hell were you thinking directing the Bomb Squad Team into hot pursuit. They had no business -<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>WINTERS<\/character>\n    <dialogue>You've been at the center of two suspect fatalities and two Police Officer fatalities. I'll need your badge and your weapon.<\/dialogue>\n    <scene_description>Reilly looks at Glass , there 'll be no stepping in this time . He glares at Winters , reaches into his jacket , pulls out the badge and tosses it on Winter 's desk . He pulls out his 9mm , pops out the clip and open the chamber , sets it down .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - SQUAD ROOM - EARLY EVENING<\/stage_direction>\n    <scene_description>Reilly and Glass trudge out , both profoundly disturbed as they head across the squad room . Glass veers off .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>Glass -!<\/dialogue>\n    <scene_description>Reilly stares , eyes wet , watching him disappear . Glancing over , he notices Bev and T.J. sitting with Meg down the hall , Tommy and Janie asleep in her lap . Schnoz walks up to Meg , whimpering . Bev wraps her arm around her . T.J. puts his hand on Bev 's shoulder . Pluchinsky brushes roughly past Reilly , snapping him out of it . He turns , walks dejectedly out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   POLICE STATION - REAR ENTRANCE - EARLY MORNING<\/stage_direction>\n    <scene_description>An armored van screeches up . Doors fly open . Metro SWAT Team jumps out with equipment , helmets , rush into the building .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   POLICE STATION - SQUAD ROOM - MORNING<\/stage_direction>\n    <scene_description>Thundering silence . Winters and his men wait by phones . Their watches tick . So does the clock on the wall . Nothing . SWAT Team Captain BENSON , huddles with his men . A phone rings , shattering the quiet . Harry answers it , holds it up urgently .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>It's him!<\/dialogue>\n    <scene_description>Winters takes it . A new high - tech TRACER flicks on a new piece of equipment .<\/scene_description>\n    <character>WINTERS<\/character>\n    <dialogue>Winters here.<\/dialogue>\n    <scene_description>Swan 's voice comes over the squawk box , growling low .<\/scene_description>\n    <character>SWAN'S VOICE<\/character>\n    <dialogue>You motherfuckers, you do n't learn, do you?!<\/dialogue>\n    <character>WINTERS<\/character>\n    <dialogue>We're prepared to talk -<\/dialogue>\n    <character>SWAN'S VOICE<\/character>\n    <dialogue>Shut up! Shut up!<\/dialogue>\n    <scene_description>The Tracer homes in on the signal .<\/scene_description>\n    <character>TRACER<\/character>\n    <dialogue>15.<\/dialogue>\n    <character>SWAN'S VOICE<\/character>\n    <dialogue>You have exactly thirty minutes to release the girl where you found her.<\/dialogue>\n    <character>TRACER<\/character>\n    <dialogue>Twelve.<\/dialogue>\n    <character>SWAN'S VOICE<\/character>\n    <dialogue>Thirty minutes.<\/dialogue>\n    <character>TRACER<\/character>\n    <dialogue>Nine.<\/dialogue>\n    <character>WINTERS<\/character>\n    <dialogue>How do we know you'll keep your word?<\/dialogue>\n    <scene_description>Click , dial tone . Winters flashes a look at the Tracer . The Tracer yanks off his headphones in utter frustration .<\/scene_description>\n    <character>WINTERS<\/character>\n    <parenthetical>( to his men . )<\/parenthetical>\n    <dialogue>Okay, let's move!<\/dialogue>\n    <scene_description>The room erupts into action . Benson and the SWAT Team are the first ones out the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   ALLEY - DAY<\/stage_direction>\n    <scene_description>Hauntingly familiar . An unmarked police car pulls up and stops behind the machine shop .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. ALLEY - CAR<\/stage_direction>\n    <scene_description>Harry sits behind the wheel . Mary sits in the back , handcuffed to Pluchinsky . Pluchinsky unlocks the cuffs . Mary 's eyes flare<\/scene_description>\n    <character>PLUCHINSKY<\/character>\n    <dialogue>Get out and go to the machine shop -<\/dialogue>\n    <scene_description>Mary steps out of the car . She glances around - then heads in the opposite direction of the Machine Shop . Pluchinsky curses . He starts to go after her , but realizes he 'd better clear the area . He peals out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>Undercover Men in various disguises track her from cars , and on foot , communicating by hidden mics . A WINO eyes her carefully , lifts a bottle to his mouth and whispers .<\/scene_description>\n    <character>WINO<\/character>\n    <dialogue>She's out of the bag.<\/dialogue>\n    <scene_description>Mary exits the alley onto the street , searching where to go . She turns down the street and moves fast , eyes darting about .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET<\/stage_direction>\n    <scene_description>The SWAT van is tucked into an alley . INSIDE THE SWAT VAN Winters , Benson and Team monitor the radio communication .<\/scene_description>\n    <character>WINO<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <parenthetical>( on the radio . )<\/parenthetical>\n    <dialogue>Position Four. Turning on Elm.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ELM STREET - DAY<\/stage_direction>\n    <scene_description>Mary crosses the street , a Camero nearly clips her . She makes it safely to the sidewalk and passes a TRUCK DRIVER eating a hot dog . After she moves off .<\/scene_description>\n    <character>TRUCK DRIVER<\/character>\n    <parenthetical>( speaks into sleave . )<\/parenthetical>\n    <dialogue>Six. She's crossing to Main.<\/dialogue>\n    <scene_description>Mary looks around quickly , blends into a crowd coming out of a store and ducks inside .<\/scene_description>\n    <character>TRUCK DRIVER<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>She just went into a department store. She's out of sight.<\/dialogue>\n    <scene_description>INSIDE THE SWAT VAN Winters grabs the mic .<\/scene_description>\n    <character>WINTERS<\/character>\n    <dialogue>Seal the building!<\/dialogue>\n    <parenthetical>( to Benson . )<\/parenthetical>\n    <dialogue>Let's move.<\/dialogue>\n    <scene_description>The SWAT van RUMBLES to life .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEPARTMENT STORE - DAY<\/stage_direction>\n    <scene_description>Mary bolts through the store , ducks through a service door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEPARTMENT STORE - SERVICE ENTRANCE - ALLEY - DAY<\/stage_direction>\n    <scene_description>Mary bursts out , runs like a spooked horse . As she dashes to the mouth of the the alley , she runs smack into the Camaro that almost hit her . It SCREECHES to a stop . The passenger door flies open . Mary leans down and looks in , flushes . It 's Swan . He reaches over and yanks her inside , TEARS away . The Truck Driver runs into the other end of the alley . He starts to give chase as Swan tosses a small package out of the car . The Truck Driver dives for cover as . KA - BOOOOM ! A dumpster EXPLODES . The Truck Driver jumps to his feet .<\/scene_description>\n    <character>TRUCK DRIVER<\/character>\n    <parenthetical>( into sleave . )<\/parenthetical>\n    <dialogue>We have contact. Black Camaro -<\/dialogue>\n    <scene_description>INSIDE THE SWAT VAN The Van SPEEDS up as we hear .<\/scene_description>\n    <character>TRUCK DRIVER<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>- license number HQW - 256.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY STREETS - DAY<\/stage_direction>\n    <scene_description>From every direction , unmarked cars , squad units and the SWAT Van converge on the area .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   CAMARO - MOVING<\/stage_direction>\n    <scene_description>Swan drives with deadly confidence , glances at Mary tenderly .<\/scene_description>\n    <character>SWAN<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Alex -<\/dialogue>\n    <character>SWAN<\/character>\n    <dialogue>I know. I warned them.<\/dialogue>\n    <scene_description>He swerves left , then right , pulling a transmitter out of his pocket .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>What is that?<\/dialogue>\n    <character>SWAN<\/character>\n    <dialogue>Security.<\/dialogue>\n    <scene_description>He sets a dial to 10 , pushes a button . The transmitter counts down . 9 , 8 , 7 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY - DAY<\/stage_direction>\n    <scene_description>The Camaro tears down a one - way alley going the wrong way . INTERCUT WITH TRANSMITTER COUNTDOWN - 6 , 5 , 4 . Undercover vehicles race after the Camero , seconds behind . 5 , 4 , 3 . They swerve into the alley . Then just as Swan whooshes out , a charge EXPLODES a stack of 55 gallon drums . They fall down into the path of the pursuers who crash into the FLAMING DRUMS . The lead car EXPLODES .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. STREET - CAMERO - MOVING - DAY<\/stage_direction>\n    <scene_description>Mary looks back in horror as she 's whisked away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   DOWNTOWN BAR - DAY<\/stage_direction>\n    <scene_description>Dark , filthy , last stop to nowhere .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   BACK HALLWAY<\/stage_direction>\n    <scene_description>Drunk , dejected , looking like shit , Reilly waits for a fix with a couple other JUNKIES . The TV in the bar drones in the background . The Dealer appears and gestures to Reilly .<\/scene_description>\n    <character>DEALER<\/character>\n    <dialogue>C'mon, cowboy, you're next.<\/dialogue>\n    <scene_description>Reilly trudges over .<\/scene_description>\n    <character>DEALER<\/character>\n    <dialogue>Okay, what's it gon na be? I got China White, Snow Flake, Ivory Pearl.<\/dialogue>\n    <scene_description>Reilly looks up sharply as he hears the TV , visible through the doorway .<\/scene_description>\n    <character>REPORTER ON TV<\/character>\n    <dialogue>We're coming to you live near the scene of that latest, explosion that ripped through a downtown alley less than half an hour ago.<\/dialogue>\n    <scene_description>Something clears behind Reilly ' eyes .<\/scene_description>\n    <character>DEALER<\/character>\n    <parenthetical>( impatient . )<\/parenthetical>\n    <dialogue>Hey, asshole.<\/dialogue>\n    <character>REPORTER ON TV<\/character>\n    <dialogue>Despite growing fears and talk of a coverup, police have sealed off the area and are refusing to comment about fatalities, or the rumor that terrorists may be involved.<\/dialogue>\n    <scene_description>Reilly 's eyes shift , mind racing .<\/scene_description>\n    <character>DEALER<\/character>\n    <dialogue>Hey, I'm talking to you -<\/dialogue>\n    <scene_description>Suddenly himself again , Reilly bolts up , sending the Dealer and his equipment scattering , and streaks off . He bursts out of the front door of the bar into the glare of sunlight . we can hear SIRENS not too far off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   STUDEBAKER - MOVING - DAY<\/stage_direction>\n    <scene_description>Driving like a maniac as usual , Reilly grabs the radio mike with one hand , pulls his back - up .357 out of the glove - box . He listens out the window for the SIRENS , he looks up at the sound of approaching HELICOPTERS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   GAS STATION - DAY<\/stage_direction>\n    <scene_description>In the service bay , a MECHANIC raises the black Camaro on a hydraulic lift , out of sight from the street . Out front , Swan pays an ATTENDANT , climbs into an orange U - Haul truck with Mary , drives off . A beat , a squad car and an unmarked speed past the Gas Station .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT.   STREETS - U-HAUL - MOVING<\/stage_direction>\n    <scene_description>Swan brushes Mary 's hair from her face .<\/scene_description>\n    <character>SWAN<\/character>\n    <dialogue>You hungry? We could get something to eat.<\/dialogue>\n    <scene_description>Mary shakes her head , scared .<\/scene_description>\n    <character>SWAN<\/character>\n    <dialogue>What's the matter?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Nothing. just tired.<\/dialogue>\n    <scene_description>She forces a smile . Swan frowns suspiciously as he turns down a service road , pulls into .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SELF-STORAGE WAREHOUSE - DAY<\/stage_direction>\n    <scene_description>Swan pulls up to the loading dock of the warehouse . INSIDE THE TRUCK CAB<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Why are we stopping here?<\/dialogue>\n    <character>SWAN<\/character>\n    <dialogue>We're moving' on. I have to pick up the supplies. Just two little boxes.<\/dialogue>\n    <scene_description>Mary turns white .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>No. No more killing.<\/dialogue>\n    <character>SWAN<\/character>\n    <dialogue>Stay here.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Alex, please.<\/dialogue>\n    <character>SWAN<\/character>\n    <dialogue>Stay in the truck.<\/dialogue>\n    <scene_description>He gets out , disappears into the building . Mary glances around desperately , sees a phone booth at the corner . She looks back at the warehouse , the phone again , terrified . LOADING DOCK Yanking her door open , Mary dashes to the booth , searches her pockets . Empty . She dials zero . it rings and rings , then finally .<\/scene_description>\n    <character>OPERATOR<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>Operator.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Get me the police!<\/dialogue>\n    <character>OPERATOR<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>Is this an emergency?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Yes! Please, hurry!<\/dialogue>\n    <scene_description>Mary 's back is to the warehouse as she waits forever .<\/scene_description>\n    <character>SERGEANT'S VOICE<\/character>\n    <dialogue>Police, Sergeant Doyle speaking.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Please, I need help, my name is -<\/dialogue>\n    <character>SERGEANT DOYLE'S VOICE<\/character>\n    <dialogue>Whoa, slow down, lady. Now what's that again?<\/dialogue>\n    <scene_description>Suddenly Mary sees the reflection of a face in the phone booth glass . She whirls - Swan is standing behind her !<\/scene_description>\n    <character>SWAN<\/character>\n    <dialogue>Who are you calling, sis?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>What? Nobody, I -<\/dialogue>\n    <scene_description>She tries to hang up . Swan grabs the receiver .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Alex, please -<\/dialogue>\n    <character>SWAN<\/character>\n    <dialogue>Shut up!<\/dialogue>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Who is this?<\/dialogue>\n    <character>SERGEANT DOYLE'S VOICE<\/character>\n    <dialogue>Sergeant Doyle, Metro P.D. Look, what's going on -?<\/dialogue>\n    <scene_description>Swan 's eyes turn cold , SLAMS down the phone .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Help!<\/dialogue>\n    <scene_description>Swan grabs Mary , dragging her with him . A pair of TEENAGE BOYS on skateboards notice , veer over .<\/scene_description>\n    <character>BOY<\/character>\n    <dialogue>Hey -?<\/dialogue>\n    <scene_description>Swan whips out his Mac - 11 . The Boys skate for cover as Swan drags Mary back to the U - Haul . The open back door reveals a number of 55 gallon drums , some boxes and two milk crates of C4 . He SLAMS down the sliding door , moves around front and shoves Mary inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   STUDEBAKER - MOVING - DAY<\/stage_direction>\n    <scene_description>Caught in traffic , map spread out in his lap , Reilly slams on his horn .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>C'mon, move it.<\/dialogue>\n    <scene_description>His police radio crackles .<\/scene_description>\n    <character>DISPATCHER VOICE<\/character>\n    <dialogue>All units, 211 reported at 8th and Sycamore. Suspect is a Caucasian male, armed with an automatic weapon, last seen heading east with female hostage in a U - Haul truck.<\/dialogue>\n    <scene_description>Reilly perks up , checks his map . Jamming the wheel , he crashes out of traffic , ripping the bumper off the car in front of him , and rockets away . He grabs his mic , thinks , disguises his voice .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>Dispatch, this is Reilly.<\/dialogue>\n    <character>DISPATCHER VOICE<\/character>\n    <dialogue>Go ahead.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Patch me through to the Bomb Squad.<\/dialogue>\n    <character>DISPATCHER VOICE<\/character>\n    <dialogue>Are n't you on suspension?<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Just do it.<\/dialogue>\n    <character>DISPATCHER VOICE<\/character>\n    <dialogue>Hang on.<\/dialogue>\n    <scene_description>Reilly runs a red .<\/scene_description>\n    <character>T.J.'S VOICE<\/character>\n    <dialogue>T.J. here.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>T.J., it's Reilly, put Glass on!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. STREET - BOMB SQUAD VAN - MOVING - DAY<\/stage_direction>\n    <scene_description>T.J. is in the passenger seat , Bev sits in the back with Schnoz , Glass drives . Glass takes the mic .<\/scene_description>\n    <character>GLASS<\/character>\n    <dialogue>What's up?<\/dialogue>\n    <scene_description>INTERCUT WITH REILLY<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>Where you guys at?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Driving in circles, waiting for -<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Catch that alert? That's him in the U - Haul.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>How do you know?<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Cuz he got the girl, now he's leaving town.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Should we head for the Interstate?<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Would you?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>No, I'd slip out past the hotel district, behind Greyhound.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Me, too.<\/dialogue>\n    <scene_description>Reilly hangs up , fishtails around a corner , map blowing out the window .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS - DAY<\/stage_direction>\n    <scene_description>Patrol cars , unmarked and the SWAT Van criss - cross the streets in confusion .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANOTHER STREET - DAY<\/stage_direction>\n    <scene_description>T.J. speeds by in the Bomb Squad van .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   STUDEBAKER - MOVING - DAY<\/stage_direction>\n    <scene_description>Reilly swerves onto 8th Street , eyes searching desperately . Rounding the rear of a huge glass luxury hotel , Reilly catches a glimpse of orange disappear around a corner . Reilly bangs a hard right to go around the block .<\/scene_description>\n    <character>REILLY<\/character>\n    <parenthetical>( into mic . )<\/parenthetical>\n    <dialogue>Glass, Eighth Street, alley behind Grand Hotel. Cut him off.<\/dialogue>\n    <character>GLASS<\/character>\n    <parenthetical>( 0.C . )<\/parenthetical>\n    <parenthetical>( on radio . )<\/parenthetical>\n    <dialogue>You got it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANOTHER STREET - DAY<\/stage_direction>\n    <scene_description>The Bomb Squad accelerates .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   STUDEBAKER - MOVING - DAY<\/stage_direction>\n    <scene_description>Reilly changes channels on the radio .<\/scene_description>\n    <character>REILLY<\/character>\n    <parenthetical>( into mic . )<\/parenthetical>\n    <dialogue>All units, suspect spotted heading down alley behind Grand Hotel.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>We need back - up, now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. STREET - SWAT VAN - MOVING - DAY<\/stage_direction>\n    <scene_description>Winters is shocked at the sound of Reilly 's voice .<\/scene_description>\n    <character>WINTERS<\/character>\n    <parenthetical>( into mic . )<\/parenthetical>\n    <dialogue>Reilly, what the hell are you -?<\/dialogue>\n    <character>REILLY<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <parenthetical>( on radio . )<\/parenthetical>\n    <dialogue>Fire me later. Close in and we got the bastard.<\/dialogue>\n    <character>WINTERS<\/character>\n    <dialogue>Pull back. You're only an observer.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. STREET - STUDEBAKER - MOVING - DAY<\/stage_direction>\n    <scene_description>Reilly throws down his mic , aims at the alley ahead and speeds up , then cranks into the alley , SCREECHES to a stop .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY - DAY<\/stage_direction>\n    <scene_description>The U - Haul barrels down the alley . Swan sees Reilly up ahead get out of his car and aim his .357 Swan SLAMS on the brakes . Throws the vehicle into reverse . Checks his mirror to see the Bomb Squad Van appear at the end of the alley . He 's completely pinned in . Glass and T.J. jump out , they are in bullet - proof vest , aiming shotguns , using the van as a shield . Bev jumps out with Schnoz and slips behind the van entirely . AT THE STUDEBAKER Reilly 's radio CRACKLES .<\/scene_description>\n    <character>WINTERS<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>Reilly, what's happening? Reilly! Reilly! Do not engage. We're five minutes -<\/dialogue>\n    <character>REILLY<\/character>\n    <parenthetical>( into mic . )<\/parenthetical>\n    <dialogue>We'll keep him pinned in, you guys hurry up!<\/dialogue>\n    <scene_description>Reilly throws done the mic , takes aim again . THE U - HAUL idles . Swan 's rage erupts . He climbs out with Mary in tow . ALLEY Reilly aims carefully . Swan keeps his Mac - 11 to Mary 's head . Reilly is frozen by the move . Swan backs to the rear of the van . He slides up the door , revealing the drums and explosives to the Bomb Squad . He reaches in and grabs a remote control . SIRENS are coming closer , only a block or two away . AT THE BOMB SQUAD VAN Glass and T.J. drop their jaws . They see Swan depress the remote , arming the explosives .<\/scene_description>\n    <character>T.J.<\/character>\n    <dialogue>Jesus.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Reilly! He's loaded!<\/dialogue>\n    <scene_description>ALLEY<\/scene_description>\n    <character>REILLY<\/character>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>Glass, you guys take cover, goddammit!<\/dialogue>\n    <character>SWAN<\/character>\n    <dialogue>I want out, right now. Or the whole city block is gone.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Reilly, he's got enough to do it.<\/dialogue>\n    <scene_description>Reilly leaves the cover of his car and scurries along the side of the alley , escaping Swan 's view . Swan rages . He moves around the van , pulling Mary along . Swan SPRAYS a FLURRY of bullets over Reilly 's head . Reilly dives for cover as bullets rip the alley wall inches from his face . Swan whirls and SPRAYS the Bomb Squad Van , dropping T.J. with a shot to the leg . Bev drops to his aid . Glass grimaces , having been hit in the shoulder . Reilly moves forward about to take the shot .<\/scene_description>\n    <character>GLASS<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>Reilly, do n't. He's got a pressure switch. He releases it, we're done for.<\/dialogue>\n    <scene_description>Swan turns back to Reilly , rams his Mac - 11 to her throat .<\/scene_description>\n    <character>SWAN<\/character>\n    <dialogue>Drop it.<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>( to Reilly . )<\/parenthetical>\n    <dialogue>Take him!<\/dialogue>\n    <scene_description>Mary jerks away from Swan . Reilly fast FIRES . Swan takes Reilly 's SHOTS in the chest . He smiles as he starts to fall , his hand starts to open up to release the detonator . Mary dives onto Swan and grabs at the remote , clasping it in her hands . Swan collapses , Mary on top of him . Reilly and Glass sprint at the U - Haul , reaching a trembling , bleeding Mary . She clinches her jaw , fighting the grief , holding on to the remote . Reilly reaches Mary first and puts his hands over her 's - she looks up into his eyes - distraught .<\/scene_description>\n    <character>GLASS<\/character>\n    <dialogue>Hold on to that thing tight.<\/dialogue>\n    <scene_description>Glass goes to the explosives and looks over the set - up .<\/scene_description>\n    <character>GLASS<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>Jesus Fucking H. Christ.<\/dialogue>\n    <scene_description>Reilly has never heard Glass swear before .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>Fuck factor?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Off the scale.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>What do we do?<\/dialogue>\n    <scene_description>Glass turns to Mary .<\/scene_description>\n    <character>GLASS<\/character>\n    <dialogue>Can you hold it?<\/dialogue>\n    <scene_description>She nods . Reilly releases her gently , joining Glass at the van .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>Talk to me. Let's assess.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Right.<\/dialogue>\n    <scene_description>Glass stares at the digital read - out on the device anchored in one of the C4 crates . It reads : `` 1:30 , 1:29 . ''<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>C'mon, talk to me! We can do it!<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>He has a timer going as back - up, in case we got a hold of the remote.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Okay. first, run your fingers along the edges, feel for a sensor.<\/dialogue>\n    <scene_description>Reilly does it the way he saw Glass do it before .<\/scene_description>\n    <character>GLASS<\/character>\n    <dialogue>Good, now the other side.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Okay, let's go in.<\/dialogue>\n    <scene_description>1:18 , 1:17 , 1:16 . Reilly feels around , finally finds an access hole . Reilly works the hole bigger .<\/scene_description>\n    <character>GLASS<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>Not enough time. got ta go for the blasting cap. Only one chance. hand entry.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Keep talking.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Close your eyes, feel your fingertips. Tell me everything you feel.<\/dialogue>\n    <scene_description>Reilly ' hand disappears into the hole . CLOSE - UP - INSIDE THE BOMB His fingers snake through complex circuitry as he describes each layer .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>Wires. metal, cold. something soft.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Do n't touch that.<\/dialogue>\n    <scene_description>BACK TO SCENE The red digital numbers keep counting down : 0:38 , 0:37 , 0:36<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>More metal. sharp edge.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Stay to your left.<\/dialogue>\n    <scene_description>Deeper , deeper . AT THE BOMB SQUAD VAN The SWAT Van and a unit arrive , Winters and Benson jump out , the SWAT Team is about to follow -<\/scene_description>\n    <character>T.J.<\/character>\n    <dialogue>Get outta here, Swan's down, but they're chilling a device.<\/dialogue>\n    <scene_description>Winters looks to the action at the U - Haul , sees Reilly and Glass busy at work . He nods at Benson . 0:30 , 0:29 , 0:28 . Finally Reilly ' fingers touch a button object . We hear the SWAT Van and the unit retreat at the end of the alley .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>Something round, two wires.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>That's the blasting cap - good! Okay, now grab it by the base and pull it straight up. No, Wait.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>What's wrong?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Too easy. There's got ta be something else in there, another cap maybe.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Make up your mind, trigger.<\/dialogue>\n    <scene_description>0:19 , 0:18 , 0:17 .<\/scene_description>\n    <character>GLASS<\/character>\n    <dialogue>Ease your thumb over to the right - feel anything?<\/dialogue>\n    <scene_description>Reilly eyes shift as his hidden fingers feel around .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>Yeah, another round thing.<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>Okay, one of the caps turns it on, the other shuts it down.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Which one's which?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>When in doubt, pull the yellow wire.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>How the hell do you feel yellow?<\/dialogue>\n    <character>GLASS<\/character>\n    <dialogue>No excuses, just do it!<\/dialogue>\n    <scene_description>10 . Reilly glares at Glass . 9 . His face is dripping with sweat . 8 . His fingers shift back to the first cap . 7 . They close over it , ready to pull . 6 . But then they stop . 5 . Reilly frowns . 4 . Glass stabs him with a look . 3 . 2 . Lightning - quick , Reilly ' fingers fly back and yank the second cap out of its base . The counter stops . 0:01 . Reilly and Glass and stare at it , holding their breath , hardly daring to believe it 's true . They whoop and explode with relief . It 's over . it 's finally over .<\/scene_description>\n    <character>GLASS<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>Not bad, for a rookie.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Reilly and Glass turn to Mary who has lost consciousness but is still holding the remote tightly . Glass looks up to see T.J. and Bev peeking from around their van .<\/scene_description>\n    <character>GLASS<\/character>\n    <dialogue>All clear, but we need an ambulance!<\/dialogue>\n    <scene_description>Bev jumps into the van to make the call as T.J. starts limping towards the U - Haul . Schnoz yelps and drops from the van and runs for the U - Haul . Reilly cradles Mary in his lap as Glass kneels and removes the remote - the red light stops flashing , then turns off . T.J. arrives and looks down at Reilly and Mary , then at the device in the U - Haul .<\/scene_description>\n    <character>T.J.<\/character>\n    <dialogue>Nice work.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION -SQUAD ROOM - DAY<\/stage_direction>\n    <scene_description>The room is back to its usual bustling activity .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - WINTER'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Winters is going through reports on his desk as Reilly enters . Reilly is cleaned up , shaven , haircut , new suit . a new man . Winters look up , impressed with the change .<\/scene_description>\n    <character>WINTERS<\/character>\n    <dialogue>Mayor loves a hero.<\/dialogue>\n    <scene_description>Winters hands Reilly an envelope and a new badge .<\/scene_description>\n    <character>WINTERS<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <dialogue>Just want you wanted. Your promotion, and transfer.<\/dialogue>\n    <character>REILLY<\/character>\n    <dialogue>Thank you, Captain.<\/dialogue>\n    <scene_description>Winters nods and goes back to his paperwork .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CAVE - DAY<\/stage_direction>\n    <scene_description>T.J. and Bev work closely together on a mock - device . T.J. is teaching her the job . They smile warmly at each other . Glass is on the computer . Reilly enters .<\/scene_description>\n    <character>BEV<\/character>\n    <dialogue>Hey, you look great.<\/dialogue>\n    <scene_description>T.J. flinches , but she winks at him to calm him down . T.J. smiles . no longer threatened . Glass does n't look up from his computer .<\/scene_description>\n    <character>GLASS<\/character>\n    <dialogue>You're late.<\/dialogue>\n    <scene_description>Glass points to the work station next to him where a Bomb Squad Protocol Program is waiting on the screen . Reilly smiles and he sits next to Glass , hands him the transfer papers envelope .<\/scene_description>\n    <character>GLASS<\/character>\n    <parenthetical>( cont . )<\/parenthetical>\n    <parenthetical>( softening . )<\/parenthetical>\n    <dialogue>Welcome to the family.<\/dialogue>\n    <scene_description>Glass accepts the papers and shakes Reilly 's hand .<\/scene_description>\n    <character>REILLY<\/character>\n    <dialogue>Nice to be here.<\/dialogue>\n    <character>T.J.<\/character>\n    <dialogue>That feeling wo n't last long.<\/dialogue>\n    <scene_description>T.J. , Glass and Bev start laughing . After a beat , Reilly joins in heartily . FADE OUT .<\/scene_description>\n  <\/scene>\n<\/script>","summary":"A SWAT team converges on the house of a United States Senator, who is being held hostage. The bomb squad arrives; Frank Glass (Steven Seagal) finds a bomb in the basement and works to disarm it while the SWAT team is in a shootout with the hostage takers. Glass disarms the bomb but deems it too easy, believing it was designed to mislead him. The real bomb detonates, killing everyone inside. A year later in San Francisco, narcotics cops Ray Nettles (Tom Sizemore) and partner Art \"Fuzzy\" Rice (Nas) arrest a suspect on drug charges. Ray lets a woman go who pleads for her and her child; Fuzzy tells Ray to get some help for his \"demons\" - he has never mourned the car bombing death of his wife and son. They see people entering a warehouse late at night and investigate. Ray apprehends a woman and three men converge on him; Fuzzy is shot by their leader (Dennis Hopper) and the three men flee. Ray arrests the woman, Claire (Jaime Pressly), but she refuses to say anything about the men. She is wearing an odd-looking bracelet which Nettles takes to the bomb squad for Glass to look over. The bracelet is found to contain detonation cord and Semtex explosive. The leader tells the police they have one hour to release Claire; when they do not, he bombs a bar. Ray takes Glass back to the warehouse where they find a French cigarette and matchbook from a jazz club.  They go to the club and kill one of the bombers, disarming his bomb.  Ray questions Claire again; she reveals the bomber's names - Alex Swan, the leader, and Vershbow, the surviving member.  She claims that no matter what happens, she will be killed for getting caught, and has decided to cooperate.    Swan intends to plant a bomb at the police station, but Vershbow gets cold feet and forces Swan to give him the bomb at gunpoint.  The police corner him and Glass apparently prevents the detonation, but Swan detonates several more bombs using a pay phone. Swan arranges a massive bombing with a crew led by Vincent Cruichshank (Ice-T). Ray convinces the police to release Claire, hoping to avert another bombing, and they give her a tracking device.  Once she meets up with Swan, however, she disables the tracker and works with him.  They discuss their upcoming \"masterpiece,\" and Claire goes to a phone booth to activate the bomb.  She detonates a car bomb in Swan's car, instead.  Confused, Glass tells Ray they must both be dead.  Seeing City Hall on TV, Ray remembers Claire's story about her husband and realizes she was the mastermind all along.  They rush to City Hall and split up - Ray goes to the basement and Glass to the roof.  Ray is forced to disarm a bomb with advice over the radio from Glass, who coaches him to relax and forget his grief, but the device is a decoy.  Glass disarms the real bomb on the roof."}
{"movie_name":"Judas and the Black Messiah_2021","imdb_id":"tt9784798","script":"<script>\n  <scene>\n    <scene_description>Rev. 10\/21\/19 (Yellow) Rev. 10\/28\/19 (Green) Rev. 10\/31\/19 (Goldenrod) Rev. 11\/15\/19 (Buff) Rev. 11\/24\/19 Conformed to Final Cut<\/scene_description>\n    <character>JUDAS AND THE BLACK MESSIAH<\/character>\n    <dialogue>Screenplay by<\/dialogue>\n    <scene_description>Will Berson &amp; Shaka King Story by Will Berson &amp; Shaka King and Kenny Lucas &amp; Keith Lucas This script is the confidential and proprietary property of Warner Bros. Pictures and no portion of it may be performed, distributed, reproduced, used, quoted or published without prior written permission.<\/scene_description>\n    <character>FULL PINK DRAFT<\/character>\n    <dialogue>October 16, 2019<\/dialogue>\n    <scene_description>(Macro) Red Zone Pictures, Inc. \u00a9 2019 4000 Warner Boulevard WARNER BROS. ENT. Burbank, California 91522 All Rights Reserved<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NONDESCRIPT OFFICE - DAY (1989) 10 \\*<\/stage_direction>\n    <scene_description>THIRTY-NINE-YEAR-OLD WILLIAM O'NEAL, dapper in a suit, \\* sits in a chair sweating profusely. \\*<\/scene_description>\n    <character>VOICE 1 (O.S.) \\*<\/character>\n    <dialogue>Keep it rolling, we'll just get a \\* bonus one of these. \\*<\/dialogue>\n    <scene_description>O'Neal shifts in his chair. \\*<\/scene_description>\n    <character>VOICE 2 (O.S.) \\*<\/character>\n    <dialogue>(re: O'Neal) \\*<\/dialogue>\n    <scene_description>Will somebody wipe him down? \\* A slate comes into frame. \\*<\/scene_description>\n    <character>VOICE 3 (O.S.) \\*<\/character>\n    <dialogue>Eyes on the Prize 2, March 3rd, \\* 1989. Bill O'Neal interview. \\*<\/dialogue>\n    <character>INTERVIEWER (O.S.) \\*<\/character>\n    <dialogue>Looking back on your activities in \\* the late 60s, early 70s, what \\* would you tell your son about what \\* you did then? \\*<\/dialogue>\n    <scene_description>O'Neal looks off camera. \\*<\/scene_description>\n    <character>STOCK FOOTAGE MONTAGE: \\*<\/character>\n    <dialogue>- BLACK CITIZENS point to a nearby burning building. \\*<\/dialogue>\n    <dialogue>- An article reads \"MARTIN LUTHER KING SLAIN\" \\*<\/dialogue>\n    <dialogue>- FIRES burn over a city. \\*<\/dialogue>\n    <dialogue>- An article reads \"Army troops in capital as Negroes \\* riot\" \\*<\/dialogue>\n    <dialogue>- ARMED SOLDIERS march toward a group of BLACK CIVILANS. \\*<\/dialogue>\n    <dialogue>- A BLACK MAN speaks at a microphone. \\*<\/dialogue>\n    <character>MAN (V.O.) \\*<\/character>\n    <dialogue>Those are not riots. Those are \\* rebellions. The people are \\* rebelling because of the \\* conditions and not because of \\* individuals. No individual creates \\* a rebellion. It is created out of \\* the conditions. \\*<\/dialogue>\n    <scene_description>CONTINUED: - A WHITE POLICE OFFICER charges at an unarmed BLACK MAN. \\* - WHITE POLICE march toward a group of BLACK CITIZENS. \\* - A BLACK MAN holds up a fist as he's harassed by police. \\* A musical chant rises: \\*<\/scene_description>\n    <character>VOICES (O.S.) \\*<\/character>\n    <dialogue>(singing) \\*<\/dialogue>\n    <scene_description>Revolution is the only solution. \\* Revolution is the only solution. \\* - A group of BLACK PANTHERS do pushups near a lake. \\* - A group of BLACK PANTHERS stand united together, and \\* raise their fists as one. \\* - A BLACK MAN holds a \"Free Huey\" flag. \\* - ANGELA DAVIS holds up a picture of Huey P. Newton in \\* front of a class of Black children. \\*<\/scene_description>\n    <character>ANGELA \\*<\/character>\n    <dialogue>Okay. Who's this? \\*<\/dialogue>\n    <character>CHILDREN \\*<\/character>\n    <dialogue>Huey P. Newton. \\*<\/dialogue>\n    <character>ANGELA \\*<\/character>\n    <dialogue>And where's Huey? \\*<\/dialogue>\n    <character>CHILDREN \\*<\/character>\n    <dialogue>In jail. \\*<\/dialogue>\n    <scene_description>- HUEY P. NEWTON sits in a jail cell. \\*<\/scene_description>\n    <character>ANGELA (PRE-LAP) \\*<\/character>\n    <dialogue>The first thing that the Black \\* Panther party did of course in \\* Oakland was to set up an armed \\* patrol... \\*<\/dialogue>\n    <scene_description>- Angela speaks to an offscreen INTERVIEWER. \\*<\/scene_description>\n    <character>ANGELA \\*<\/character>\n    <dialogue>In order to ensure that Black \\* people were not harassed and \\* intimidated by the local police \\* department. \\*<\/dialogue>\n    <scene_description>- Huey stands in his cell and speaks to an interviewer \\* O.S. \\* CONTINUED: (2)<\/scene_description>\n    <character>HUEY \\*<\/character>\n    <dialogue>And the police arrested the \\* individual. We followed him to the \\* jail and bailed the individual \\* out. Whether he was a panther or \\* not. \\*<\/dialogue>\n    <scene_description>- A map of the United States shows CARTOON BLACK PANTHERS \\* popping up all over the U.S. \\*<\/scene_description>\n    <character>VOICE (O.S.) \\*<\/character>\n    <dialogue>The Panthers are the vanguard, \\* man. We're talking about... \\*<\/dialogue>\n    <scene_description>- A MAN stands in front of an audience giving a speech. \\*<\/scene_description>\n    <character>MAN \\*<\/character>\n    <dialogue>A non-capitalistic state. That's \\* what we're talking about. \\*<\/dialogue>\n    <scene_description>- A MAN speaks into a microphone. \\*<\/scene_description>\n    <character>MAN \\*<\/character>\n    <dialogue>Yeah we armed, we're an armed \\* propaganda unit. But we spend most \\* of our time working with these \\* programs. Serving the people. \\*<\/dialogue>\n    <scene_description>- A Black Panther AMBULANCE moves past. \\* - CHILDREN receive food at a free breakfast program. \\* - A MAN speaks to a crowd. \\*<\/scene_description>\n    <character>MAN \\*<\/character>\n    <dialogue>Free medical clinic. Free \\* breakfast for children program. \\* The inter-communal institute and \\* liberation schools, free legal aid \\* and education for the community. \\*<\/dialogue>\n    <scene_description>We reveal footage of the MAN is on a screen in an FBI \\* AUDITORIUM. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HEADQUARTERS - AUDITORIUM - DAY 1 \\*<\/stage_direction>\n    <scene_description>J. EDGAR HOOVER (73) marches across the stage, addressing \\* an audience of FBI AGENTS. \\* \\*: CONTINUED:<\/scene_description>\n    <character>HOOVER<\/character>\n    <dialogue>The Black Panthers are the single \\* greatest threat to national security. More than the Chinese, even more than the Russians. Our \\* counterintelligence program must prevent the rise of a black messiah from among their midst -- \\*<\/dialogue>\n    <scene_description>ROY MITCHELL (34), white, beefy with a crew cut watches \\* Hoover intently. \\*<\/scene_description>\n    <character>HOOVER \\*<\/character>\n    <dialogue>One with the potential to unite \\* the Communist, the anti-war, and \\* the New Left movements. \\*<\/dialogue>\n    <scene_description>Behind Hoover, the slide changes revealing footage of \\* FRED HAMPTON. \\*<\/scene_description>\n    <character>FRED \\*<\/character>\n    <dialogue>We don't fight fire with fire, we \\* fight fire with water. \\*<\/dialogue>\n    <character>HOOVER \\*<\/character>\n    <dialogue>This man. \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>We don't fight racism with racism. \\* We're gonna fight racism with \\* solidarity. \\*<\/dialogue>\n    <character>HOOVER \\*<\/character>\n    <dialogue>Frederick Allen Hampton.<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>We ain't gonna fight capitalism \\* with Black capitalism, we're gonna \\* fight capitalism with socialism. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEON'S POOL HALL - NIGHT<\/stage_direction>\n    <character>SUPERIMPOSE:<\/character>\n    <dialogue>CHICAGO -- 1968<\/dialogue>\n    <scene_description>We TRACK BEHIND a billowing raincoat. WILLIAM O'NEAL (18), dressed like a G-man in a Stetson fedora, slows to a stop as he reaches a shiny red ragtop Pontiac GTO. He inspects it, also taking note of where it's parked: outside a South Side pool hall. A \"CLOSED\" sign hangs in the window. A2 INSIDE - O'NEAL'S POV A2 Five young black men cluster around a pool table in the back. Several wear green berets: the calling card of the Crowns, Chicago's most notorious gang.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>B2 EXT. LEON'S POOL HALL - CONTINUOUS ACTION B2<\/stage_direction>\n    <character>O'NEAL<\/character>\n    <dialogue>Fucking Crowns... Of course.<\/dialogue>\n    <scene_description>O'Neal lights a cigarette and silently deliberates his next move, wondering if it's worth the risk. He glances back at the car... and enters the establishment.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEON'S POOL HALL - CONTINUOUS ACTION<\/stage_direction>\n    <character>BARTENDER<\/character>\n    <parenthetical>(addressing O'Neal)<\/parenthetical>\n    <dialogue>We're closed.<\/dialogue>\n    <scene_description>An older man nurses a drink at the bar. O'Neal withdraws from his pocket a badge.<\/scene_description>\n    <character>O'NEAL<\/character>\n    <parenthetical>(imitating Joe Friday)<\/parenthetical>\n    <dialogue>Alright. Playtime's over. Everybody grab a fucking wall. \\*<\/dialogue>\n    <character>BARTENDER<\/character>\n    <dialogue>What the hell is this? I just \\* paid O'Mally last week.<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>You hear me? Do I look like some \\* two-bit shakedown artist to you? What the fuck does this say? The \\* initials? \\*<\/dialogue>\n    <scene_description>O'Neal shoves his badge in the Bartender's face.<\/scene_description>\n    <character>BARTENDER<\/character>\n    <parenthetical>(incredulous)<\/parenthetical>\n    <scene_description>FBI?<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>FBI. That's right big guy. Ay, \\* where you going? Come back here, \\* clown. Everybody, hands on the \\* fucking table. Come here! \\*<\/dialogue>\n    <scene_description>CONTINUED: O'Neal roughly grabs CARDIGAN-CLAD Crown by the collar \\* and rifles through his pockets as he marches him to the back. The Crowns reluctantly line up against the pool table. \\*<\/scene_description>\n    <character>TEX<\/character>\n    <dialogue>We in here minding our own business. Ain't nobody causing no trouble.<\/dialogue>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Yeah, spread 'em open. \\*<\/dialogue>\n    <character>TEX \\*<\/character>\n    <dialogue>Fuck off me, pig. Y'all \\* motherfuckers ain't got shit to do \\* tonight? \\*<\/dialogue>\n    <scene_description>O'Neal withdraws a switchblade from Tex's pocket. \\*<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Ah, you just minding your own \\* business right? What's this? \\* What's that? Fuckin' idiot. \\*<\/dialogue>\n    <scene_description>LATER, the Crowns' pockets are emptied on the pool table. \\*<\/scene_description>\n    <character>VOICE (O.S.) \\*<\/character>\n    <dialogue>I swear to God there ain't no pig \\* worse than a nigga with a badge. \\*<\/dialogue>\n    <scene_description>O'Neal discovers a car key with the Pontiac logo \\* engraved. He grabs a CARDIGAN CLAD TEEN. \\*<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>Alright Big Man, you're going \\* downtown. \\*<\/dialogue>\n    <character>CARDIGAN-CLAD<\/character>\n    <dialogue>What?!<\/dialogue>\n    <character>O'NEAL<\/character>\n    <parenthetical>(re: keys)<\/parenthetical>\n    <dialogue>That GTO out there? The red one, \\* it belong to you? \\*<\/dialogue>\n    <character>CARDIGAN-CLAD<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>It was reported stolen two months ago. Let's go. \\*<\/dialogue>\n    <scene_description>CONTINUED: (2) O'Neal tries to push Cardigan out but he resists. Tex obstructs his path.<\/scene_description>\n    <character>CARDIGAN-CLAD<\/character>\n    <dialogue>Hell, naw! That's my car!<\/dialogue>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Easy. You're under arrest for \\* grand theft auto. \\*<\/dialogue>\n    <character>CARDIGAN-CLAD \\*<\/character>\n    <dialogue>I got papers on it and everything! \\*<\/dialogue>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Tell it to the judge.<\/dialogue>\n    <scene_description>O'Neal pulls Cardigan-Clad around Tex, almost using him as a shield.<\/scene_description>\n    <character>TEX<\/character>\n    <dialogue>Say man, what the fuck is the FBI \\* doing looking for a stolen car, \\* huh? Y'all run outta niggas to \\* assassinate?<\/dialogue>\n    <scene_description>Cardigan-Clad thrashes, inadvertently headbutting O'Neal, \\* who loses his hat. He starts to pick it up, then has second thoughts. Tex gets a clear look at O'Neal for the first time. He looks like a kid. Suspicious, Tex grabs his knife off of the pool table.<\/scene_description>\n    <character>TEX<\/character>\n    <dialogue>You ain't no fucking cop, nigga. \\*<\/dialogue>\n    <scene_description>He unsheathes his blade and takes a step forward.<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Stay the fuck back! \\*<\/dialogue>\n    <scene_description>O'Neal shoves still-cuffed Cardigan to the floor and makes a break for the exit with the Crowns on his heels.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEON'S POOL HALL - MOMENTS LATER<\/stage_direction>\n    <scene_description>O'Neal slides over the hood of the GTO and keys into the driver's side as his pursuers tumble out of the bar. Tex tries to kick in the driver's-side window.<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Stay the fuck back! \\*<\/dialogue>\n    <scene_description>His friends follow suit as O'Neal starts the engine and \\* reverses, smashing into the parked car behind him. CONTINUED: Tex mounts the roof of the car and slashes a hole in the \\* ragtop.<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Stay the fuck back! \\*<\/dialogue>\n    <scene_description>Tex tries to slice O'Neal's throat but before he can, \\* O'Neal grabs his wrist and bites his hand. \\*<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Get the fuck off my shit! \\*<\/dialogue>\n    <scene_description>O'Neal mashes his foot on the gas. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A4 EXT.\/INT. PONTIAC (MOVING) - CONTINUOUS ACTION A4<\/stage_direction>\n    <scene_description>Tex loses balance and tumbles off the roof of the car. O'Neal pants, his fear rapidly turning into excitement, as the adrenaline junkie revels in his victory.<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Motherfucker! \\*<\/dialogue>\n    <scene_description>It's short-lived, though. Blue lights flash behind \\* O'Neal as he speeds through the intersection. His face falls. SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COOK COUNTY JAIL - INTERVIEW ROOM - SAME NIGHT<\/stage_direction>\n    <scene_description>Alone, O'Neal sits in a metal chair, hands cuffed behind his back, a nasty gash above his right eye. After a moment, the door is opened by a cop who grants FBI Agent Mitchell entry. He drags a table over to O'Neal and takes a perch on top.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <parenthetical>(producing his badge)<\/parenthetical>\n    <dialogue>Special Agent Mitchell, FBI.<\/dialogue>\n    <scene_description>O'Neal tries to hide how impressed\/intimidated he is.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Almost as spiffy as yours.<\/dialogue>\n    <scene_description>Mitchell tosses O'Neal's fake badge onto the table.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Now, tell me, why the badge? Why \\* not just use a knife or a gun like \\* a normal car thief?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>A badge is scarier than a gun.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Would you mind explaining that for \\* me? \\*<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>Any nigga on the street can get a \\* gun, man -- sir. But a badge?... \\* It's like you got the whole damn \\* army behind you.<\/dialogue>\n    <scene_description>Mitchell considers his point -- and intelligence. He scoops the badge back up.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>I'd better hold on to this, then.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Were you upset when Dr. King was murdered?<\/dialogue>\n    <scene_description>O'Neal is caught off guard by Mitchell's sudden pivot.<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Were you upset when Dr. King was murdered?<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>I dunno...<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>You can be honest. \\*<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>A little bit. \\*<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>What about Malcolm X?<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>I never thought about all that. \\*<\/dialogue>\n    <character>MITCHELL<\/character>\n    <parenthetical>(disbelieving)<\/parenthetical>\n    <dialogue>You just never thought about it? \\*<\/dialogue>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>No. \\*<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>MITCHELL \\*<\/character>\n    <dialogue>You're looking at eighteen months \\* for the stolen car and five years \\* for impersonating a federal \\* officer. Or, you can go home. \\*<\/dialogue>\n    <scene_description>O'Neal looks up at Mitchell, shocked. \\*<\/scene_description>\n    <character>SUPERIMPOSE:<\/character>\n    <dialogue>TITLE CARD -- JUDAS AND THE BLACK MESSIAH<\/dialogue>\n    <scene_description>6-8 OMITTED 6-8<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WRIGHT JUNIOR COLLEGE - LECTURE HALL - NIGHT 19 \\*<\/stage_direction>\n    <scene_description>The medium-sized hall is packed with students: about 90% \\* black. Many wear dashikis, headwraps, and traditional \\* African garb. FRED HAMPTON (20) sits onstage behind a \\* COLLEGE STUDENT (18), black, female, who addresses the \\* crowd from a podium. Rush, Harmon, Palmer, and Winters \\* stand at attention just off the stage. \\*<\/scene_description>\n    <character>COLLEGE STUDENT \\*<\/character>\n    <dialogue>...That reflected the population \\* and culture of an 80% black \\* student body. So they're bringing \\* in Dr. Charles Hurst from Howard \\* University to be president... and \\* they're gonna call it Malcolm X \\* College from now on! \\*<\/dialogue>\n    <scene_description>There's big applause and affirmations. Fred smirks. \\*<\/scene_description>\n    <character>COLLEGE STUDENT \\*<\/character>\n    <dialogue>It's in this spirit of activism \\* and on behalf of the Wright Junior \\* College Black Caucus that I'm \\* proud to introduce Fred Hampton, \\* Deputy Chairman of the Illinois \\* Chapter of the Black Panther \\* Party! \\*<\/dialogue>\n    <scene_description>Fred takes her spot in front of the dais. \\* DEBORAH JOHNSON (17), Afro'd, watches intently, jotting \\* notes in a compact journal. \\*<\/scene_description>\n    <character>FRED \\*<\/character>\n    <dialogue>I don't need no mic -- Can y'all \\* hear me? \\*<\/dialogue>\n    <scene_description>AD LIBBED \"Yes-es\" from the crowd. Fred smiles. \\* CONTINUED:<\/scene_description>\n    <character>FRED \\*<\/character>\n    <dialogue>Malcolm X College? I can dig it. \\* Dr. Charles Hurst, direct from \\* Howard! Right on... So, what? \\* You think the students over there \\* gon' be free now? \\*<\/dialogue>\n    <scene_description>Some of the students' joy begins to ebb. \\*<\/scene_description>\n    <character>FRED \\*<\/character>\n    <dialogue>Oh, they'll let you change the \\* name of your college, or your own \\* name. Throw on a dashiki. 'Cause \\* guess what? They still gon' drag \\* your black ass to Vietnam to shoot \\* a poor rice farmer or get shot \\* your damn-self. That's the \\* difference between revolution and \\* the candy-coated facade of gradual \\* reform. Reform is just the \\* masters teaching the slaves how to \\* be better slaves. Under reform, \\* you could take the motherfucking \\* masters out, and the slaves 'still \\* be doing all the work for 'em! \\*<\/dialogue>\n    <scene_description>The crowd listens, rapt. \\*<\/scene_description>\n    <character>FRED \\*<\/character>\n    <dialogue>There's a man called a capitalist. \\* Don't matter what color he is. \\* Black, white, brown, red -- don't \\* matter. Because the capitalist \\* has one goal: that is to exploit \\* the people. He can have a three- \\* piece suit or a dashiki. Because \\* political power doesn't flow from \\* the sleeve of a dashiki. \\* Political power flows from the \\* barrel of a gun! We in the Black \\* Party don't believe in no culture \\* except revolutionary culture. What \\* we mean by that is a culture that \\* will free you! Don't give me no \\* five-and-dime costume of some \\* medicine man or witch doctor or \\* whatever you think the motherland \\* looks like. Give me the righteous \\* threads of a Mozambican FRELIMO \\* fighter! Give me an AK-47 or some \\* bandoliers like they got in \\* Angola. Gimme some Colt .45s, of \\* the folks that are trying to free \\* themselves! \\*<\/dialogue>\n    <scene_description>CONTINUED: (2) The crowd applauds. A MAN rises to his feet and walks out \\* of the audience. \\*<\/scene_description>\n    <character>FRED \\*<\/character>\n    <dialogue>A dashiki ain't gon' help you when \\* they come up in here wit' some \\* tanks like they did in Henry \\* Horner! You need tools, brother! \\* And we got the tools down at 75th \\* and Madison! \\*<\/dialogue>\n    <scene_description>A19 SAME SCENE - LATER A19 \\* Winters and Palmer stand just outside the door with \\* COLLECTION BUCKETS. Deborah Johnson approaches Fred, \\* journal in hand. \\*<\/scene_description>\n    <character>DEBORAH \\*<\/character>\n    <dialogue>Hi. \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>Evening. \\*<\/dialogue>\n    <character>DEBORAH \\*<\/character>\n    <dialogue>I thought your speech was \\* really... interesting. \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>Thank you, sister. \\*<\/dialogue>\n    <character>DEBORAH \\*<\/character>\n    <dialogue>... Do you like poetry? \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>I mean, it's cool but as Che \\* Guevara said, 'Words are beautiful \\* but action is supreme,' you dig? \\*<\/dialogue>\n    <character>DEBORAH \\*<\/character>\n    <dialogue>I dig. Right on... But you were \\* up on that stage using words. So \\* maybe next time choose them a bit \\* more carefully instead of tearing \\* down the folk you call yourself \\* recruiting -- just 'cause they \\* demonstrate a little black pride. \\*<\/dialogue>\n    <scene_description>(off of his surprised \\* look) \\* But just so you know, you are a \\* poet. \\* She departs before he can offer up a response. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLACK PANTHER HEADQUARTERS - CLASSROOM - DAY<\/stage_direction>\n    <scene_description>Fred strikes and lights a match, bringing it to the tip \\* of his cigarette, the epitome of confident cool.<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>Somebody define war for me.<\/dialogue>\n    <character>ANOTHER ANGLE<\/character>\n    <dialogue>BOBBY RUSH (22) distributes photocopies to a classroom of about ten Panthers including JIMMY PALMER (21), JAKE WINTERS (19), DOC SATCHEL (19), and JUDY HARMON (20), the sole woman present, always wearing combat boots. Written behind Fred on the chalkboard -- \"War vs. Politics.\" Winters enthusiastically waves his hand in the air. Palmer calls out --<\/dialogue>\n    <character>PALMER<\/character>\n    <dialogue>War is violent conflict between two or more parties.<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Would you say we at war with the \\* pigs, Comrade Palmer? \\*<\/dialogue>\n    <character>PALMER<\/character>\n    <dialogue>Chairman, I'd take it a step further and say that every ghetto across the nation should be considered occupied territory.<\/dialogue>\n    <scene_description>His assertion is greeted with scattered \"right on's.\"<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>Right on. How 'bout politics? \\*<\/dialogue>\n    <scene_description>Fred addresses a waving Winters.<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>How would you define politics, brother?<\/dialogue>\n    <character>WINTERS<\/character>\n    <dialogue>Uh, y'know... elections...<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Elections can be a part of politics, certainly. But we in the party ascribe to Chairman Mao's definition of politics.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>He said war is politics with \\* bloodshed and politics is war \\* without bloodshed. Say it with \\* me, y'all.<\/dialogue>\n    <character>GROUP<\/character>\n    <dialogue>War is politics with bloodshed and \\* politics is war without bloodshed. \\*<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>What that mean? It mean every \\* time the pigs shoot down an unarmed brother or sister in the street, Mayor Daley pulled the trigger. It mean Tricky Dick \\* Nixon is the fattest, most filthy pig in the pen!<\/dialogue>\n    <scene_description>The group laughs.<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>So how do we win this war? What's our most lethal weapon? Guns? Grenades? Rocket launchers?<\/dialogue>\n    <scene_description>Tucked deep in the back of the classroom we REVEAL O'Neal; above his eye, a two-week old patch of bloodstained gauze.<\/scene_description>\n    <character>O'NEAL<\/character>\n    <parenthetical>(excitedly whispering to himself)<\/parenthetical>\n    <dialogue>These niggas got rocket launchers? \\*<\/dialogue>\n    <scene_description>O'Neal looks confused when Fred writes the answer on the blackboard: \"The People.\"<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>There's strength in numbers -- \\* power anywhere there's people. And in order to overthrow this racist, fascist, nefarious U.S. Government, it's gonna take everybody. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LATINO NEIGHBORHOOD - DAY 15 \\*<\/stage_direction>\n    <scene_description>POV viewed FROM ACROSS the street, we observe Fred \\* pitching papers with zeal. Doc sells papers on the same \\* side of the street at the opposite end of the block. \\*<\/scene_description>\n    <character>FRED \\*<\/character>\n    <dialogue>Black Panther paper! Free your \\* mind for just a quarter! \\*<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>COACHMAN \\*<\/character>\n    <dialogue>Sorry, I'm on my way to work. \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>I'm at work, sister. I work for \\* you. \\*<\/dialogue>\n    <scene_description>Fred walks alongside the woman, BETTY COACHMAN, \\* persisting until she parts with a quarter. \\*<\/scene_description>\n    <character>FRED \\*<\/character>\n    <dialogue>Information is raw material for \\* new ideas. You got kids? Your \\* friends got kids? \\*<\/dialogue>\n    <character>COACHMAN \\*<\/character>\n    <dialogue>Yeah. \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>We got a breakfast program feeds \\* near 100 kids a week. \\*<\/dialogue>\n    <scene_description>REVEAL: The POV is O'Neal's. He shivers, a bundle of \\* Black Panther newspapers in his hands. \\*<\/scene_description>\n    <character>FRED (V.O.) \\*<\/character>\n    <dialogue>Because we've grown so accustomed \\* to being poor that we think it's normal for our kids to go to school hungry. We think it's normal for us to go to the hospital with a runny nose and come home in a body bag.<\/dialogue>\n    <character>INT. BLACK PANTHER HEADQUARTERS - CLASSROOM - DAY \\*<\/character>\n    <dialogue>Fred at the front of the classroom, as before. \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>So our job as the Black Panther Party is to heighten the contradictions. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BETTER BOYS FOUNDATION - CAFETERIA - MORNING 13 \\*<\/stage_direction>\n    <scene_description>Pacing, Fred leads fifty kids in \"The Black Child's \\* Pledge\" while Winters and others serve breakfast. Deep \\* in the b.g., a sour, sleepy O'Neal dumps heaping \\* spoonfuls of grits into plastic bowls. \\*<\/scene_description>\n    <character>FRED \\*<\/character>\n    <dialogue>I pledge allegiance. \\*<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>KIDS \\*<\/character>\n    <dialogue>I pledge allegiance. \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>To my black people! \\*<\/dialogue>\n    <character>KIDS \\*<\/character>\n    <dialogue>To my black people! \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>I pledge to develop. \\*<\/dialogue>\n    <character>KIDS \\*<\/character>\n    <dialogue>I pledge to develop. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLACK PANTHER HEADQUARTERS - SUPPLY CLOSET - DAY 11 \\*<\/stage_direction>\n    <scene_description>O'Neal shifts some cereal bags out of the way. \\*<\/scene_description>\n    <character>FRED (V.O.) \\*<\/character>\n    <dialogue>My mind and body to the greatest \\* extent possible. \\*<\/dialogue>\n    <character>INT. BETTER BOYS FOUNDATION - CAFETERIA - MORNING \\*<\/character>\n    <dialogue>Fred speaks to the kids, as before. \\*<\/dialogue>\n    <character>KIDS \\*<\/character>\n    <dialogue>My mind and body to the greatest \\* extent possible! \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>I will learn all that I can. \\*<\/dialogue>\n    <character>KIDS \\*<\/character>\n    <dialogue>I will learn all that I can. \\*<\/dialogue>\n    <character>INT. BLACK PANTHER HEADQUARTERS - SUPPLY CLOSET - DAY \\*<\/character>\n    <dialogue>O'Neal plugs a hole in the wall and plasters it shut. \\*<\/dialogue>\n    <character>INT. BETTER BOYS FOUNDATION - CAFETERIA - MORNING \\*<\/character>\n    <dialogue>Fred serving breakfast, as before. \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>In order to give my best to my \\* people in their struggle for \\* liberation! \\*<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>KIDS \\*<\/dialogue>\n    <scene_description>In order to give my best to my \\* people in their struggle for \\* liberation! \\* The kids struggle to say the mouthful in unison. \\*<\/scene_description>\n    <character>INT. BLACK PANTHER HEADQUARTERS - CLASSROOM - DAY \\*<\/character>\n    <dialogue>Fred lectures in front of the class, as before. \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>So the people can decide whether \\* they want to overthrow the government. Or not. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A33 INT. BLACK PANTHER HEADQUARTERS - GROUND FLOOR - DAY A33 \\*<\/stage_direction>\n    <scene_description>Fred enters a bustling HQ from outside. As he walks by \\* the reception desk, BETTY COACHMAN (17), who we watched \\* purchase a paper from Fred, hands him an envelope as well \\* as several slips of paper. Fred opens it as Coachman \\* addresses him. \\*<\/scene_description>\n    <character>COACHMAN \\*<\/character>\n    <dialogue>These two people are waiting to \\* see you from Vista. Also Brother \\* Cohran called. He wanted to know \\* if you willing to speak at a \\* fundraiser for the theater. And \\* someone named Stanley Uhuru? Said \\* he wanted to speak with you about \\* a credit union? \\*<\/dialogue>\n    <scene_description>Doc wheels medical equipment through HQ, aided by several \\* Panthers. \\*<\/scene_description>\n    <character>FRED \\*<\/character>\n    <dialogue>(addressing Doc) \\*<\/dialogue>\n    <scene_description>What's that? \\*<\/scene_description>\n    <character>DOC \\*<\/character>\n    <dialogue>EKG machine. For the clinic when \\* we get it up and running. \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>Mhm. \\*<\/dialogue>\n    <scene_description>As Fred continues on, he removes from the envelope a \\* letter, the contents of which cause him to smirk \\* dismissively. \\* A33 CONTINUED: A33 As he folds it closed, he's distracted by a familiar \\* face: Deborah Johnson, the student who chastised him \\* earlier. She's seated at a desk, typing. Fred pauses \\* and smiles -- \\*<\/scene_description>\n    <character>FRED \\*<\/character>\n    <dialogue>(teasing) \\*<\/dialogue>\n    <scene_description>...The poet. What a pleasant \\* surprise. \\*<\/scene_description>\n    <character>DEBORAH \\*<\/character>\n    <dialogue>(tongue-in-cheek) \\*<\/dialogue>\n    <scene_description>I saw your ad in the paper looking \\* for a new speechwriter, so... \\* figured I'd lend a hand. \\* Fred grins. \\*<\/scene_description>\n    <character>FRED \\*<\/character>\n    <dialogue>That musta been a misprint. See, \\* I don't write speeches, sister. I \\* just get up on stage and speak \\* truth to the people. \\*<\/dialogue>\n    <character>DEBORAH \\*<\/character>\n    <dialogue>Oh, it shows... the lack of \\* preparation, that is. \\*<\/dialogue>\n    <scene_description>Fred shrugs. \\*<\/scene_description>\n    <character>FRED \\*<\/character>\n    <dialogue>It got you here. \\*<\/dialogue>\n    <scene_description>There is a flash of sexual tension between the two. Fred \\* heads on back, this time getting the last word. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PANTHER HEADQUARTERS - CLASSROOM - DAY 16 \\*<\/stage_direction>\n    <scene_description>The political education class has more than doubled in size, most of the attendees women. Coachman reads from \\* The Black Panther Ten Point Platform:<\/scene_description>\n    <character>COACHMAN<\/character>\n    <dialogue>'We want land, bread, housing, education, clothing, justice, and peace.'<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Housing, justice, peace... Life, liberty, happiness... It's all right there in the Declaration of Independence.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>But when poor people demand it, it's a contradiction. It's not democracy. It's socialism, dig?<\/dialogue>\n    <scene_description>Fred spies O'Neal whispering to TRACY RANDLE (20s). \\*<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>O'Neal, stand up! \\*<\/dialogue>\n    <scene_description>O'Neal doesn't budge. Fred stares daggers for a moment. And when that doesn't get the desired result, to O'Neal's surprise, Fred sits next to him.<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>What is the party line in regard \\* to our sisters, Comrade? \\*<\/dialogue>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Um... \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>Anybody? \\*<\/dialogue>\n    <scene_description>\\*:<\/scene_description>\n    <character>DOC \\*<\/character>\n    <dialogue>'Do not take liberties with women.'<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>Liberties? C'mon, I wasn't --<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>These aren't just your sisters, they're your sisters-in-arms. Act like it. Twenty pushups for discipline...<\/dialogue>\n    <scene_description>O'Neal squirms in his chair, then abruptly gets up and walks to the front of the room.<\/scene_description>\n    <character>FRED<\/character>\n    <parenthetical>(as O'Neal heads to the front)<\/parenthetical>\n    <dialogue>Captain Harmon... count 'em out.<\/dialogue>\n    <scene_description>Harmon walks over to O'Neal who starts doing pushups.<\/scene_description>\n    <character>HARMON<\/character>\n    <dialogue>What's wrong, O'Neal? Down to the \\* ground. \\*<\/dialogue>\n    <parenthetical>(counting them out)<\/parenthetical>\n    <dialogue>You're scared of a little dirt? I \\* could have the sister lay down a \\* towel for you. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COOK COUNTY POLICE STATION - INTERROGATION ROOM -<\/stage_direction>\n    <character>NIGHT<\/character>\n    <dialogue>Mitchell sits on the edge of the table across from \\* O'Neal. \\*<\/dialogue>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Comrade, answer a question for me. \\* 'Does a tiger brush its teeth?' \\* 'If you want knowledge, you've got \\* to eat the peach. And when you eat \\* the peach, then the peach give \\* you the knowledge from the \\* beautiful frutitiousness of said \\* peach because \"Power where there's \\* people. Comrade.\" \\*<\/dialogue>\n    <scene_description>O'Neal, delighted with the sublime ridiculousness of this last nugget, just stares triumphantly at Mitchell.<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>You didn't tell me it was gon' be \\* like this. These mufuckas ain't \\* terrorists. They're terrorizing me.<\/dialogue>\n    <scene_description>Mitchell practices patience.<\/scene_description>\n    <character>MITCHELL \\*<\/character>\n    <dialogue>What can I do to help? The goal is to get close to Hampton, right? So think... what does he need that maybe your Uncle Sam might be able \\* to help you provide? \\*<\/dialogue>\n    <scene_description>As O'Neal considers his question he has to suppress the urge to grin.<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>A car.<\/dialogue>\n    <scene_description>(off Mitchell's \\* laughter) \\* Fred don't drive no more. The pigs -- the, uh... police --<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>No, that's good. You're becoming a Panther.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>O'NEAL<\/character>\n    <parenthetical>(laughs; then)<\/parenthetical>\n    <dialogue>The pigs were always following him \\* around, giving him bullshit \\* traffic violations so if you want \\* me to get close to Fred? Get me a car...<\/dialogue>\n    <scene_description>Mitchell considers his request.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. O'NEAL'S CAR\/GENE'S DELI - NIGHT<\/stage_direction>\n    <scene_description>O'Neal rounds the block, peacocking in a shiny new Buick, matchstick in his jaw. He feels like the man. He pulls up to Gene's Delicatessen. Waiting out front \\* are Fred, Harmon, Palmer, and Winters. They finish off a few Red Hots and climb in the car. \\*<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Say Chairman, that wasn't no \\* Goddamn pig you was eating out \\* there, was it? \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>Somebody gotta show the pigs who's \\* boss, man. \\*<\/dialogue>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Alright, you all ready to split? \\* Huh? \\*<\/dialogue>\n    <scene_description>The car pulls off. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. O'NEAL'S CAR (MOVING) - LATER 23 \\*<\/stage_direction>\n    <character>FRED<\/character>\n    <dialogue>Y'all got any weapons, give 'em here.<\/dialogue>\n    <scene_description>Palmer pulls out a .38. Harmon pulls out of her boot a switchblade.<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Judy, is that your rabbit ass maw? \\* Get your motherfuckin' boot off my \\* shit? \\*<\/dialogue>\n    <scene_description>Winters pulls out a .38, .45, and small Derringer. O'Neal \\* laughs. \\* CONTINUED:<\/scene_description>\n    <character>O'NEAL<\/character>\n    <parenthetical>(impressed)<\/parenthetical>\n    <dialogue>Yo, Winters, how many pistols you \\* got man? \\*<\/dialogue>\n    <scene_description>He shrugs. \\* He hands them over to Fred who eyes O'Neal expectantly.<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>Mine's in the glove box.<\/dialogue>\n    <scene_description>Fred opens the glove box, where O'Neal's .38 rests, and places the weapons inside.<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>Park as close to Leon's as you can in case we gotta haul ass outta there.<\/dialogue>\n    <character>HARMON<\/character>\n    <dialogue>Chairman, that's the Crowns' pool \\* hall.<\/dialogue>\n    <scene_description>O'Neal's hackles raise. It can't be the same place...<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>Exactly. Stay sharp. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A23 EXT. LEON'S POOL HALL - NIGHT A23 \\*<\/stage_direction>\n    <scene_description>O'Neal parks across the street from the same pool hall he almost lost his life outside of a few months back. He does not want to get out of that car.<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>Say Chairman, what are we doing \\* here? \\*<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Getting the Crowns' attention.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEON'S POOL HALL - NIGHT<\/stage_direction>\n    <scene_description>Old-timers observe from tall chairs. Teens, many wearing green berets, mill about; Fred and company enter. O'Neal tries to hang back but Fred directs everyone to fan out and start selling papers. O'Neal avoids eye contact with any and all. Fred and Harmon amble over to a cluster of young men and women by the bar. CONTINUED:<\/scene_description>\n    <character>FRED<\/character>\n    <parenthetical>(handing out fliers)<\/parenthetical>\n    <dialogue>Evening, brothers and sisters. I \\* wanted to hip y'all to a new free \\* breakfast program opening on the South Side next week. Free for the babies. All you gotta do is drop your little ones off and we'll take care of the rest. Stop on by to St. Andrews and check us \\* out. And if you're on the West Side or got family on the West Side, we at the Better Boys Club \\* Monday through Friday.<\/dialogue>\n    <scene_description>Fred expands his message to the pool hall at large. O'Neal lingers in a corner, hidden in the shadows.<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>The Illinois Black Panther Party has a mandate to feed every hungry kid in Chicago. And I'm not talking 'bout handing out turkeys on Thanksgiving. That's charity. Save that for the pushers and the preachers who call themselves doing you a favor after they done sucked you dry. Fuck charity. The Black Panther Party believes in progression. Now what that \\* mean? That means first you have free breakfast, then you have free healthcare, then you have free education, and next thing you know, you look up and you done freed your motherfucking self!<\/dialogue>\n    <scene_description>There's laughter and \"right on's\" among the group as Fred continues. FOCUS ON: O'Neal, who observes ROD COLLINS (17) whispering to a young man in a green beret who eyes Fred menacingly. The teen takes off his T-shirt and starts gathering pool balls in it. O'Neal's eyes widen. Collins intones --<\/scene_description>\n    <character>COLLINS<\/character>\n    <dialogue>You know where you at, motherfucker? This is Crowns territory.<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>We don't want no trouble, brother. We just passing through. \\* 'Sides... the rap we on is a political one. It shouldn't really concern y'all.<\/dialogue>\n    <scene_description>CONTINUED: (2) O'Neal watches the teen with the pool ball-stuffed T- shirt gesture to another man, also in a green beret, who flips his pool cue around, weaponizing it. They creep towards Fred. O'Neal grabs a pool stick and moves quickly.<\/scene_description>\n    <character>COLLINS<\/character>\n    <dialogue>Nigga, don't lecture me on \\* politics. The Crowns protected \\* Martin Luther King when he was \\* here in 1966. \\*<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>And he got his head split open! Damn near killed by a mob of crackers throwing Irish confetti. Bang-up job y'all did.<\/dialogue>\n    <scene_description>Just then, the teens make their move to strike but O'Neal \\* pushes Fred aside and, swinging his pool stick wildly, creates a perimeter.<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Hey! Hey! Get the fuck back! \\*<\/dialogue>\n    <scene_description>Collins pulls a pistol from his waistband and trains it \\* at O'Neal. Everyone freezes.<\/scene_description>\n    <character>FRED<\/character>\n    <parenthetical>(showing his palms)<\/parenthetical>\n    <dialogue>No need for that, brother. We on our way. But dig... I got a message for the big man. Tell 'em \\* the Panthers want to sit down with the Crowns. Imagine what we could accomplish together...<\/dialogue>\n    <scene_description>Fred coolly leads his cohorts out...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. O'NEAL'S CAR (MOVING) - MOMENTS LATER<\/stage_direction>\n    <scene_description>Excited, AD LIBBED shit-talk about the fracas that almost was. Then --<\/scene_description>\n    <character>WINTERS<\/character>\n    <dialogue>You sure you wanna go sit down \\* with the Crowns, Chairman?<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Hell, yeah. Imagine the Panthers, the Stones, the Crowns, man, the \\* Disciples fighting under one revolutionary army. Them pigs \\* ain't ready for that.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>PALMER<\/character>\n    <dialogue>Tell you all one thing... I'm \\* bringing my motherfucking pistol to that Goddamn meeting. \\*<\/dialogue>\n    <parenthetical>(addressing Winters)<\/parenthetical>\n    <dialogue>You hear me Chairman? Shit. \\*<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>All you need is a pool stick. Ain't that right, O'Neal?<\/dialogue>\n    <scene_description>There's laughter.<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>You see him swinging that thing around?<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>Hey don't you underestimate my \\* skills, Goddamnit. None of y'all. \\*<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Nah, you got heart, Bill. You wild but you got heart.<\/dialogue>\n    <scene_description>Though subtle, it's evident that O'Neal is affected by Fred's praise. Harmon chuckles --<\/scene_description>\n    <character>HARMON<\/character>\n    <dialogue>Wild Bill...<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Wild Bill! Wild Bill! Tell me they \\* ain't call you that in Maywood!<\/dialogue>\n    <character>O'NEAL<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>Nah man, they ain't called me \\* nothing. \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>Nah? \\*<\/dialogue>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Shit, I mighta heard it once or \\* twice. \\*<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>See, I knew it! I knew it! Wild \\* Bill. \\*<\/dialogue>\n    <scene_description>The group laughs. And maybe for the first time... O'Neal feels like one of them. CONTINUED: (2)<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Goddamnit, Harmon, you and all \\* these... \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>Pool stick to a gun fight! \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. O'NEAL'S WEEKLY ROOM RENTAL - NIGHT<\/stage_direction>\n    <scene_description>O'Neal keys into a hovel-like one-room flat, takes off his jacket, tosses it on the bed. \\*<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Wild Bill. \\*<\/dialogue>\n    <scene_description>GUNSHOTS ring out offscreen. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. MITCHELL'S HOUSE - ENTRANCE - DAY 31 \\*<\/stage_direction>\n    <scene_description>Mitchell opens the door for O'Neal, holding a sleeping \\* infant. \\*<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Come on in, make yourself at home \\* in the den. This is Samantha. \\*<\/dialogue>\n    <character>INTERVIEWER (PRE-LAP) \\*<\/character>\n    <dialogue>What made you think you could \\* trust Roy Mitchell? \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NONDESCRIPT OFFICE - DAY (1989) 32 \\*<\/stage_direction>\n    <scene_description>O'Neal's interview -- \\*<\/scene_description>\n    <character>O'NEAL (V.O.) \\*<\/character>\n    <dialogue>I rode around in his car. Had \\* dinner with him at his dinner \\* table. You know he was, at one \\* point for me he was like a role \\* model. When I didn't have one. We \\* had very few role models back \\* then. We had Martin Luther King, \\* Malcolm X, Muhammad Ali... I had \\* an FBI agent. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A31 INT. MITCHELL HOUSE - DEN - DAY A31 \\*<\/stage_direction>\n    <character>\\*<\/character>\n    <dialogue>O'Neal and Mitchell smoke cigars in silence for a bit. \\*<\/dialogue>\n    <scene_description>A31 CONTINUED: A31<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Y'know, I investigated the Schwerner, Chaney, and Goodman murders, down in Mississippi in '64. You familiar?<\/dialogue>\n    <parenthetical>(as O'Neal isn't)<\/parenthetical>\n    <dialogue>A couple kids. Trying to register Negroes to vote, that's all they were doing. Got arrested on bogus speeding charges by the sheriff's deputy, who hand-delivered them to the Klan. They shot 'em, of course. Cut off Chaney's penis. This? What you and I are doing is \\* the other side of that coin. Don't \\* let Hampton fool you. The Panthers and the Klan are one and the same. Their aim is to sow hatred and inspire terror. Plain \\* and simple. Now, I'm all for civil \\* rights, but you can't cheat your way to equality. And you certainly \\* can't shoot your way to it. \\*<\/dialogue>\n    <scene_description>Mitchell tries to get a read on O'Neal. It's impossible.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Anyway... I'm going to go get \\* those dogs going.<\/dialogue>\n    <scene_description>Mitchell rises. O'Neal starts to join him.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>No, no. Sit down. You're a guest. \\*<\/dialogue>\n    <scene_description>He grabs his coat.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>If you want a taste of the good stuff, there's a bottle of Scotch in the bottom cabinet. Help yourself.<\/dialogue>\n    <scene_description>Mitchell's about to exit when...<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Hey, how much money you make, man? \\*<\/dialogue>\n    <scene_description>Mitchell is struck by his forwardness. He bristles ever so slightly before settling.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>It's a... It's a living. \\*<\/dialogue>\n    <scene_description>A31 CONTINUED: (2) A31<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>Say I get you like some good \\* information. Something nobody else \\* knows -- Is there a bonus or \\* something? \\*<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>I'm counting on it, Bill. But to \\* answer your question... you \\* scratch my back, I'll scratch \\* yours. Make yourself at home. \\*<\/dialogue>\n    <scene_description>Mitchell EXITS towards the BACK PORCH. O'Neal puffs the \\* cigar. Taking in his surroundings, he savors the house's comparative opulence and the feeling inside of having made it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FEDERAL BUILDING - CARLYLE'S OFFICE - DAY (THE PAST) 33 \\*<\/stage_direction>\n    <scene_description>Mitchell, SPECIAL AGENT CARLYLE (40s) and AGENT #2 (30s), both white, are gathered around a typewriter at Carlyle's desk, chortling. Carlyle spikes their coffee with bourbon. When specified, they read from a document that's still in the process of being typed up.<\/scene_description>\n    <character>CARLYLE<\/character>\n    <dialogue>He tell you when this meeting's taking place?<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>No. Just that Hampton wants to unify the black gangs. He'd probably help us write the darn thing for a couple more bucks. \\*<\/dialogue>\n    <character>CARLYLE<\/character>\n    <dialogue>What fun would that be?<\/dialogue>\n    <character>AGENT #2<\/character>\n    <parenthetical>(reading from letter)<\/parenthetical>\n    <dialogue>I'm pretty sure it's actually just \\* 'Dig.' Not 'Dig in.'<\/dialogue>\n    <character>CARLYLE<\/character>\n    <dialogue>What the fuck do you know? I know \\* I've definitely heard them say \\* 'Dig in' before.<\/dialogue>\n    <character>AGENT #2<\/character>\n    <dialogue>Oh really? Use it in a sentence. \\*<\/dialogue>\n    <scene_description>Carlyle gestures towards Agent #2 who begins typing as Carlyle speaks, gesticulating exaggeratedly. CONTINUED:<\/scene_description>\n    <character>CARLYLE<\/character>\n    <dialogue>These Crowns ain't nothing but a \\* bunch of jive sissies. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. FIRST PRESBYTERIAN CHURCH - NIGHT 34 \\*<\/stage_direction>\n    <scene_description>BOOM BOOM BOOM -- We hear the sound of a knock on a heavy door. An eye slot opens, revealing Fred flanked by about twenty members of the party.<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>Deputy Chairman Fred Hampton and the Illinois Black Panther Party.<\/dialogue>\n    <scene_description>The slot is shut, several locks disengaged, and the heavy door swung open. A34 SAME SCENE - MOMENTS LATER A34 Awaiting the Panthers in the dark church vestibule are ten Crowns, wielding rifles and pistols. Collins and a cluster of Crowns lead the Panthers up a darkened staircase. They're trailed by more armed Crowns. The lights are off and it's hard to see, only adding to the Panthers' sense of discomfort. They reach the MAIN FLOOR and approach a lone figure sitting on the edge of a raised stage, STEEL (19). He loads a machine gun, while smoking a cigarette. The Crowns who led the Panthers upstairs take the front of the room with Steel, including Collins and... Tex! The Crown who almost cut O'Neal's throat! O'Neal doesn't notice, focused not just on Steel's machine gun, but the other machine gun wielding Stones populating the balcony above them.<\/scene_description>\n    <character>STEEL<\/character>\n    <dialogue>Fred Hampton -- The great orator of the West Side... Your name's been ringing out, blood.<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>It's your world, Brother Steel.<\/dialogue>\n    <character>STEEL<\/character>\n    <dialogue>So. What can I do for you? \\*<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>I want to know what we can do for \\* each other. Y'all are doing some \\* great work mobilizing young brothers on the South Side.<\/dialogue>\n    <scene_description>A34 CONTINUED: A34<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>But we're part of a national organization, dedicated to the \\* liberation of oppressed people's everywhere --<\/dialogue>\n    <character>STEEL<\/character>\n    <dialogue>Woo-wee! This nigga got some \\* million-dollar words, don't he? They wasn't lying. \\*<\/dialogue>\n    <scene_description>The Crowns laugh. \\*<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>We're more than just talk, brother. Our breakfast program \\* feeds over 300 kids a week --<\/dialogue>\n    <character>STEEL<\/character>\n    <dialogue>Motherfucker, the Crowns feed more babies than General Mills. Now who \\* you think employs their mamas and their daddies?<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Right on, brother. Right on. Question is... Can you do even more? There's over 5,000 Crowns \\* in Chicago. Between your man- power and the Panthers' political platform... we can heal this whole \\* city. And if we take over, \\* Chicago -- shit... Come on, man. \\*<\/dialogue>\n    <scene_description>Steel sizes him up for a moment.<\/scene_description>\n    <character>STEEL<\/character>\n    <dialogue>... You mind if I read you something, Brother Hampton? Somebody dumped a bunch of these pamphlets all over our front yard the other day and I just thought \\* they might be of interest you...<\/dialogue>\n    <scene_description>Steel withdraws from his pocket a newsletter, which he unfolds. Tex's gaze falls on O'Neal. Steel clears his \\* throat and begins to read.<\/scene_description>\n    <character>STEEL<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>Word on the street is that the Crowns got more rats than a Cheese Factory. Where you think they get all their money from. The pigs run their whole operation! Well lemme tell you what, chump.<\/dialogue>\n    <scene_description>A34 CONTINUED: (2) A34<\/scene_description>\n    <character>STEEL<\/character>\n    <dialogue>When you lie with pigs you don't just get flies. You get Panthers itching to blow your big, Uncle Tom, watermelon head off.<\/dialogue>\n    <scene_description>Fred can't believe his ears. \\* O'Neal, feeling Tex's gaze, locks eyes with him. His \\* face falls. \\*<\/scene_description>\n    <character>INT. PONTIAC - NIGHT - FLASHBACK \\*<\/character>\n    <dialogue>Tex tries to slice O'Neal's throat but before he can, \\* O'Neal grabs his wrist and bites his hand. \\*<\/dialogue>\n    <scene_description>\\*:<\/scene_description>\n    <character>STEEL<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>Because what's a rat to a Big Black Jungle Cat? When the Panthers are done with the Crowns, shit...they won't have a watermelon head left to wear a crown on. Dig in? \\*<\/dialogue>\n    <scene_description>Steel looks up at Fred. \\*<\/scene_description>\n    <character>STEEL \\*<\/character>\n    <dialogue>That's you. It's your work.Dick \\* Tracy!<\/dialogue>\n    <scene_description>He fixes a wide-eyed O'Neal with a sinister grin.<\/scene_description>\n    <character>TEX<\/character>\n    <dialogue>I see you traded in your badge for a beret!<\/dialogue>\n    <scene_description>Everyone eyes O'Neal suspiciously, Harmon especially. Collins swiftly approaches Tex and backhands him across \\* the mouth.<\/scene_description>\n    <character>COLLINS<\/character>\n    <dialogue>Nigga, you know better than to speak outta turn. \\*<\/dialogue>\n    <character>TEX \\*<\/character>\n    <dialogue>It's the mothafucka that stole \\* Ant's car. \\*<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>COLLINS \\*<\/character>\n    <dialogue>Shut up. Apologize. \\*<\/dialogue>\n    <character>TEX<\/character>\n    <parenthetical>(under his breath)<\/parenthetical>\n    <dialogue>Sorry.<\/dialogue>\n    <character>COLLINS<\/character>\n    <dialogue>Speak up.<\/dialogue>\n    <character>TEX<\/character>\n    <parenthetical>(louder)<\/parenthetical>\n    <dialogue>Sorry.<\/dialogue>\n    <scene_description>O'Neal can't help but smile. Harmon clocks it, still eyeing him suspiciously.<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>If that was us murder mouthing where our guns at, huh? We came to y'all headquarters unarmed.<\/dialogue>\n    <scene_description>Steel finishes cleaning\/loading his gun and hops off stage, approaching Fred.<\/scene_description>\n    <character>STEEL<\/character>\n    <dialogue>...So who do you think wrote it \\* then?<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>The pigs! Who else?<\/dialogue>\n    <character>STEEL<\/character>\n    <dialogue>The pigs don't write, blood.<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>The Feds do! They did the same shit to Martin and Malcolm!<\/dialogue>\n    <character>STEEL<\/character>\n    <dialogue>Uh-huh. And what happened to them?<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>...Same thing that's gonna happen to all of us... At least they died \\* for the people. We should be so \\* lucky. \\*<\/dialogue>\n    <scene_description>Steel nods, his respect for Hampton growing. But he isn't quite ready to step alongside him into the crosshairs. Not yet. He offers up his machine gun as a gift.<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>STEEL<\/dialogue>\n    <scene_description>You're gonna need this. Tread \\* lightly, blood. \\* With a whistle, he gets the Crowns to part, forming an aisle for the Panthers to proceed on their way. Fred looks disappointed but takes it in stride as he leads the Panthers out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIRST PRESBYTERIAN CHURCH\/STREET - CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>The Panthers spill out, relieved to be alive, but visibly frustrated. Harmon gives her car keys to Rush as they have a brief exchange with Palmer.<\/scene_description>\n    <character>WINTERS \\*<\/character>\n    <dialogue>Hey, Chairman. Chairman. I'll take \\* it off your hands. \\*<\/dialogue>\n    <scene_description>Winters takes the machine gun from Fred as the group makes its way over to a caravan of parked cars.<\/scene_description>\n    <character>RUSH \\*<\/character>\n    <dialogue>Maybe the disciples will be more \\* receptive. \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>You can bet the Disciples got one \\* of those Fed letters too. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A35 EXT.\/INT. O'NEAL'S CAR - CONTINUOUS ACTION A35<\/stage_direction>\n    <scene_description>O'Neal is surprised when Harmon climbs in the passenger seat.<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>So what, you riding with me? \\*<\/dialogue>\n    <character>HARMON<\/character>\n    <dialogue>You got your piece on you, comrade?<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>Yeah, it's in the glove box. Why? \\* What's up? \\*<\/dialogue>\n    <scene_description>Harmon opens the glove compartment and in a flash has the gun trained on O'Neal. Palmer hops in the backseat behind him.<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>What the -- \\*<\/dialogue>\n    <scene_description>A35 CONTINUED: A35 Harmon places a finger to her lips. PALMER pats O'Neal down vigorously. He tears his shirt open, looking for a wire. There is none.<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>C'mon, Judy, you know I -- \\*<\/dialogue>\n    <scene_description>A flash of LIGHTNING transitions us to -- \\* \\*: \\*: \\*:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PANTHER HEADQUARTERS - BACK LOT - LATER<\/stage_direction>\n    <scene_description>O'Neal's car pulls into the lot and the engine shuts off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. O'NEAL'S CAR - CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>As before --<\/scene_description>\n    <character>HARMON<\/character>\n    <dialogue>What was all that shit about a \\* badge?<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>Badge? \\*<\/dialogue>\n    <scene_description>Palmer grabs a fist full of O'Neal's hair.<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>Alright. Alright. Calm down. Calm \\* the fuck down. Can I talk to her? \\* Can I talk to her? Y'all ain't \\* gon' believe me but... I used to pretend to be a Fed sometimes -- \\* when I boosted cars.<\/dialogue>\n    <scene_description>They eye him in disbelief.<\/scene_description>\n    <character>HARMON<\/character>\n    <dialogue>What kinda fucking sense does that make? A pig boosting cars.<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>What I'd do is I'd show 'em a fake \\* badge and then I'd say, Your car \\* was reported stolen. Then I'd hop \\* in and I'd just ride. I'd just go. \\* And before anybody knew the \\* difference, I was in the wind. \\* Dig what I'm saying? \\*<\/dialogue>\n    <parenthetical>(off their looks)<\/parenthetical>\n    <dialogue>You'd be surprised.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>I'd throw on a trench coat, one of them Humphrey Bogart... \\*<\/dialogue>\n    <character>HARMON<\/character>\n    <dialogue>You steal this car?<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>No -- Well, yes. Off a pimp.<\/dialogue>\n    <character>HARMON<\/character>\n    <dialogue>And a pimp believed you were a fed? What kinda amateur-hour macks you be knowing out here?<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>I hotwired the shit, alright? \\* Alright? \\*<\/dialogue>\n    <scene_description>Harmon places the gun barrel under his chin.<\/scene_description>\n    <character>PALMER \\*<\/character>\n    <dialogue>Do it again.<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>HARMON<\/character>\n    <dialogue>You say you hotwired the shit, so do it again.<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>Okay look I... I don't have the \\* tools on me to do it right this \\* second... \\*<\/dialogue>\n    <character>HARMON<\/character>\n    <parenthetical>(addressing Palmer)<\/parenthetical>\n    <dialogue>Comrade, reach in my boot.<\/dialogue>\n    <scene_description>Palmer does as told and retrieves Harmon's switchblade. He offers it up to O'Neal, who hesitates a moment before taking the knife and using it to pry open the ignition on the steering column. Then separates the wire bundles, strips insulation off the battery wires, twists them together, and does the same with the starter wire. He touches them together... nothing. He works the wires again... same result. Palmer and Harmon share a look.<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Alright, give me a second. Give me \\* a second. \\*<\/dialogue>\n    <scene_description>O'Neal tries once more and -- finally -- there's a SPARK. He REVS the engine. CONTINUED: (2)<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>Happy?<\/dialogue>\n    <scene_description>Harmon lowers the gun but Palmer furrows his brow as something strikes him --<\/scene_description>\n    <character>PALMER<\/character>\n    <dialogue>How you get keys to a hot car? \\*<\/dialogue>\n    <scene_description>The obviousness of the implication surprises Harmon -- and momentarily stuns O'Neal. But not for long:<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>You think I'm'a pick up a stone fox in this ride, and start the shit with a screwdriver? I had my boy replace the lock! C'mon, now!<\/dialogue>\n    <scene_description>O'Neal starts to laugh. \\*<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Can you get that motherfucker off \\* me now? \\*<\/dialogue>\n    <scene_description>Harmon turns the gun away from him. \\*<\/scene_description>\n    <character>HARMON<\/character>\n    <dialogue>Wild Bill.<\/dialogue>\n    <scene_description>O'Neal looks out the window, his face etched with a blend of fear and excitement at the thrill of outsmarting his interrogators.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PANTHER HEADQUARTERS - CLASSROOM\/LIBRARY - SAME<\/stage_direction>\n    <character>NIGHT<\/character>\n    <dialogue>CLOSEUP: A record needle drops on a twelve-inch --<\/dialogue>\n    <character>WIDER ANGLE<\/character>\n    <dialogue>Fred smokes a cigarette listening to MALCOLM X recording. \\*<\/dialogue>\n    <character>MALCOLM X (V.O.)<\/character>\n    <parenthetical>(on vinyl)<\/parenthetical>\n    <dialogue>They don't attack me because I'm a \\* Muslim, they attack me because I'm \\* Black. They attack all of us for \\* the same reason. All of us catch \\* Hell from the same enemy. \\*<\/dialogue>\n    <scene_description>Fred heads over to a desk and briefly jots notes on the legal pad. He begins to RECITE ALONG WITH the speech, building to a full-on Malcolm X IMPRESSION: CONTINUED:<\/scene_description>\n    <character>MALCOLM X (V.O.)\/FRED<\/character>\n    <parenthetical>(on vinyl)<\/parenthetical>\n    <dialogue>We're all in the same bed, in the \\* same boat. We suffer political \\* oppression, economic exploitation, \\* and social degradation. All of our \\* brothers the same enemy. The \\* government has failed us. You \\* can't deny that. Anytime you're \\* living in the 20th century, 1964, \\* and you walk around singing \"We \\* shall overcome,\" the government \\* has failed us. \\*<\/dialogue>\n    <scene_description>He turns to discover Deborah watching him from the doorway. Fred grows embarrassed as he quickly lifts the needle off the record --<\/scene_description>\n    <character>DEBORAH<\/character>\n    <dialogue>Keep going!<\/dialogue>\n    <character>FRED<\/character>\n    <parenthetical>(suddenly shy)<\/parenthetical>\n    <dialogue>Mm-mm. \\*<\/dialogue>\n    <character>DEBORAH<\/character>\n    <dialogue>Do you know his speech 'The Black \\* Revolution'??<\/dialogue>\n    <character>FRED<\/character>\n    <parenthetical>(doing a spot-on Malcolm X imitation)<\/parenthetical>\n    <dialogue>Sometimes, when a person's house is on fire and the person to whom \\* the house belongs is asleep, if \\* someone comes in yelling fire, instead of the person to whom the \\* house belongs being thankful, they \\* make the mistake of charging the \\* one who awakened him with having set the fire. \\*<\/dialogue>\n    <character>FRED\/DEBORAH<\/character>\n    <parenthetical>(in unison)<\/parenthetical>\n    <dialogue>I hope that this... \\*<\/dialogue>\n    <character>DEBORAH \\*<\/character>\n    <dialogue>Little conversation tonight about \\* the Black revolution won't cause \\* many of you to accuse us of... \\*<\/dialogue>\n    <character>FRED\/DEBORAH \\*<\/character>\n    <dialogue>(in unison) \\*<\/dialogue>\n    <scene_description>Igniting it when you find it at \\* your doorstep. \\* CONTINUED: (2) Deborah and Fred smile at one another. There's an intense moment of attraction between the two. \\*<\/scene_description>\n    <character>FRED \\*<\/character>\n    <dialogue>You gotta do the voice. \\*<\/dialogue>\n    <character>DEBORAH \\*<\/character>\n    <dialogue>When you find him at your \\* doorstep. \\*<\/dialogue>\n    <character>DEBORAH \\*<\/character>\n    <dialogue>I listen to him every morning. I \\* feel like he never lets folks put \\* words in his mouth, and no matter \\* what he doesn't get flustered or \\* angry. I'd like to be like that \\* some day. \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>Right on. \\*<\/dialogue>\n    <character>DEBORAH \\*<\/character>\n    <dialogue>Right on. Anyway. I didn't mean to \\* interrupt. \\*<\/dialogue>\n    <scene_description>She turns to leave. \\* \\*:<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>You want some coffee? \\*<\/dialogue>\n    <scene_description>Deborah turns back. \\*<\/scene_description>\n    <character>DEBORAH<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>How do you take it?<\/dialogue>\n    <character>DEBORAH<\/character>\n    <dialogue>Black... and sweet.<\/dialogue>\n    <scene_description>Fred returns to her desk with two coffees. \\* They stare at one another intensely. Deborah smiles.<\/scene_description>\n    <character>FRED \\*<\/character>\n    <dialogue>What? \\*<\/dialogue>\n    <character>DEBORAH \\*<\/character>\n    <dialogue>I did not expect you to be shy. \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>I'm not shy. \\*<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>DEBORAH<\/character>\n    <dialogue>Okay. \\*<\/dialogue>\n    <scene_description>Fred steps toward Deborah, and they passionately kiss. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. YOUNG PATRIOTS HQ\/O'NEAL'S CAR - DAY<\/stage_direction>\n    <scene_description>O'Neal's car pulls up across the street from a ramshackle storefront whose windows are obscured by metal grates. As he shuts off the engine, Fred takes the temperature of the car. His comrades, Rush and PALMER in particular, seem on edge.<\/scene_description>\n    <character>RUSH \\*<\/character>\n    <dialogue>We ain't talking about some \\* hippies playing bongos in the \\* park. These are the same \\* motherfuckers that hit Dr. King \\* with a brick. \\*<\/dialogue>\n    <character>PALMER \\*<\/character>\n    <dialogue>I don't know how I feel about \\* going up there with no pistol. \\*<\/dialogue>\n    <scene_description>All eyes turn to PALMER. \\*<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>Right on... Best you stay behind, then.<\/dialogue>\n    <scene_description>Fred exits, followed by all but a disgruntled Palmer. \\*<\/scene_description>\n    <character>FESPERMAN (PRE-LAP) \\*<\/character>\n    <dialogue>...Displace maybe two three times \\* as many of us! \\*<\/dialogue>\n    <scene_description>\\*:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A41 INT. YOUNG PATRIOTS HQ - MAIN ROOM - CONTINUOUS ACTION A41<\/stage_direction>\n    <scene_description>A large Confederate flag decorates the wall. A community \\* meeting is in progress. FESPERMAN (20s) addresses a \\* crowd of poor Appalachians from the pulpit at the front of the room.<\/scene_description>\n    <character>FESPERMAN<\/character>\n    <dialogue>Well, they might think it's easy \\* to throw out the white trash... but they'd better fucking burn it!<\/dialogue>\n    <scene_description>The Panthers quietly enter and line up in the back of the \\* room. \\* As Fesperman eyes his new guests, the crowd follows his gaze. The room grows quiet. A41 CONTINUED: A41<\/scene_description>\n    <character>FESPERMAN \\*<\/character>\n    <dialogue>You're Fred Hampton. \\*<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>And you must be the Preacherman. \\*<\/dialogue>\n    <scene_description>Palmer enters and takes his place beside the other \\* Panthers. \\*<\/scene_description>\n    <character>FESPERMAN (PREACHERMAN)<\/character>\n    <dialogue>I'm a fan of y'all's paper. The \\* funnies, especially.<\/dialogue>\n    <character>PALMER<\/character>\n    <dialogue>That flag is some motherfucking \\* bullshit. \\*<\/dialogue>\n    <character>RUSH<\/character>\n    <dialogue>Comrade. Take it easy, comrade. \\*<\/dialogue>\n    <character>FESPERMAN \\*<\/character>\n    <dialogue>That's just up there to remind us \\* of our Southern heritage.<\/dialogue>\n    <character>PALMER<\/character>\n    <dialogue>When I look at that, I don't see \\* no flag hanging. I see my uncle hanging from a tree. And a bunch \\* of white devils like y'all smiling \\* around his -- \\*<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Who the fuck you think you're talking to? You're in our house --<\/dialogue>\n    <scene_description>Fred looks to Fesperman, curiously, comfortable with \\* confrontation and wanting to hear his perspective. He \\* coolly lights a cigarette. Alex stands. \\*<\/scene_description>\n    <character>FESPERMAN<\/character>\n    <dialogue>Cool it! Cool it! \\*<\/dialogue>\n    <parenthetical>(addressing Palmer)<\/parenthetical>\n    <dialogue>Look, we oppressed your people for a long time --<\/dialogue>\n    <scene_description>JAMES (20s), white, shoots out of his chair. \\*<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I didn't oppress shit! My folks grew up poor. They were sharecroppers.<\/dialogue>\n    <character>PALMER<\/character>\n    <dialogue>AKA the overseer.<\/dialogue>\n    <scene_description>A41 CONTINUED: (2) A41<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>And what if the overseer had banded with the slaves and cut the master's throat? What then, comrade?<\/dialogue>\n    <scene_description>Fred starts to make his way towards the front of the room.<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>We might not be in this funky-ass ghetto right now. And I'm not talking 'bout no West Side or the \\* South Side; I'm talking about this filthy-ass motherfucker right here. Shit, we almost got into it with a rat over a parking space!<\/dialogue>\n    <scene_description>There are scattered chuckles.<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>I bet y'all babies getting the same bullshit education, y'all paying the same taxes to get your heads whooped in by the same motherfucking pigs... Ain't that a \\* trip? We pay them. We pay the pigs to run us off our corners.<\/dialogue>\n    <scene_description>Fred is now at the front of the room.<\/scene_description>\n    <character>FRED (V.O.)<\/character>\n    <dialogue>Lemme ask y'all something. If this building caught fire right now, what would y'all worry about?<\/dialogue>\n    <scene_description>The crowd is rapt with attention. He's starting to pull them in.<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>Water and escape. If somebody \\* were to ask you 'What's your \\* culture during this fire, brother?' 'Water, that's my \\* culture.' 'How 'bout your politics?' 'Water and escape.'<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>B41 EXT. CHURCH (LINCOLN PARK) - DAY B41<\/stage_direction>\n    <scene_description>A mass of Puerto Rican funeral mourners spills out of a church, carrying a casket to a hearse. Among them, JOS\u00c9 \"CHA CHA\" JIM\u00c9NEZ (20) and members of the YOUNG LORDS: a Puerto Rican gang donning purple berets.<\/scene_description>\n    <character>FRED (V.O.) \\*<\/character>\n    <dialogue>Well guess what? America is on \\* fire right now. And until that \\* fire is extinguished, don't \\* nothing else mean a Goddamn thing! \\*<\/dialogue>\n    <character>\\*<\/character>\n    <dialogue>Cha Cha looks across the street. A contingent of Panthers march forward in formation. \\*<\/dialogue>\n    <scene_description>OMITTED A43 SAME SCENE - MOMENTS LATER A43 \\* O'Neal, the only black diner, eats a steak across from Mitchell who jots notes in his book.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <parenthetical>(incredulous)<\/parenthetical>\n    <dialogue>So... Rednecks and Puerto Ricans? \\* In Chicago?<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>That mufucka Fred, man... he could sell salt to a slug. \\*<\/dialogue>\n    <scene_description>Mitchell slides five twenties across the table to O'Neal. FOCUS ON: Mitchell's book. Written inside \"Panthers + Patriots + Lords = ???\"<\/scene_description>\n    <character>MITCHELL \\*<\/character>\n    <dialogue>Nice work, Bill. \\*<\/dialogue>\n    <character>FRED (V.O.)<\/character>\n    <parenthetical>(pre-lap; over megaphone)<\/parenthetical>\n    <dialogue>Chicago is the most segregated city in America...<\/dialogue>\n    <scene_description>OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE PRECINCT - DAY<\/stage_direction>\n    <scene_description>Fred stands on the precinct steps next to Cha Cha, Fesperman, and a coalition of PANTHERS, PATRIOTS, and YOUNG LORDS. A mass of protesters gather before them, carrying signs that read \"Justice For Manny!,\" \"Strength In Unity,\" and images of a pig with an \"X\" drawn through it. Riot cops with helmets and batons bar the entrance. Fred addresses the crowd.<\/scene_description>\n    <character>FRED<\/character>\n    <parenthetical>(on megaphone)<\/parenthetical>\n    <dialogue>...Not Shreveport. Not \\* Birmingham. But we're here to change that. The Black Panthers, the Young Lords, and the Young Patriots are forming a Rainbow Coalition of oppressed brothers and sisters of every color! Cha Cha, tell 'em why we're gathered here today.<\/dialogue>\n    <scene_description>Fred hands Cha Cha the megaphone.<\/scene_description>\n    <character>JIM\u00c9NEZ<\/character>\n    <parenthetical>(on megaphone)<\/parenthetical>\n    <dialogue>Last week, our brother, Manuel Ramos, was shot in the head and killed by an off-duty pig. So we -- caught the pig, and turned him over to his fellow pigs. And for some reason we expected justice. Well, let's see what they do now \\* that we're in front of the pigpen \\* and we demand an independent \\* investigation!<\/dialogue>\n    <scene_description>A cheer emanates from the crowd. Fesperman takes the megaphone and leads a call and response.<\/scene_description>\n    <character>FESPERMAN<\/character>\n    <dialogue>No more pigs in our community!<\/dialogue>\n    <character>CROWD<\/character>\n    <dialogue>Off the pigs!<\/dialogue>\n    <scene_description>As Fred takes in the mass of protesters, he can't help but feel a small semblance of progress if not victory. He and Deborah lock eyes and share a clandestine moment of genuine connection.<\/scene_description>\n    <character>FESPERMAN<\/character>\n    <dialogue>No more pigs in our community!<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>CROWD<\/character>\n    <dialogue>Off the pigs!<\/dialogue>\n    <character>FESPERMAN \\*<\/character>\n    <dialogue>No more pigs in our community! \\*<\/dialogue>\n    <character>CROWD \\*<\/character>\n    <dialogue>Off the pigs! \\*<\/dialogue>\n    <character>FESPERMAN \\*<\/character>\n    <dialogue>No more pigs in our community! \\*<\/dialogue>\n    <character>INT. FRED AND DEBORAH'S APARTMENT - BEDROOM - DAY \\*<\/character>\n    <dialogue>Fred and Deborah lie in bed together. \\*<\/dialogue>\n    <character>DEBORAH \\*<\/character>\n    <dialogue>Your feet are cold. Why your feet \\* so cold? \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>My feet cold? Your feet are cold. \\* That's socialism, man. You gotta \\* warm 'em up. How you think Mao did \\* the long march? Chinese warming \\* these feet left and right. \\*<\/dialogue>\n    <scene_description>Deborah laughs. \\*<\/scene_description>\n    <character>DEBORAH \\*<\/character>\n    <dialogue>You saying I'm a foot capitalist? \\* You really done call me a foot \\* capitalist, Chairman? \\*<\/dialogue>\n    <scene_description>CUT TO BLACK:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>C46 INT. NONDESCRIPT OFFICE - DAY (1989) C46<\/stage_direction>\n    <scene_description>O'Neal's interview --<\/scene_description>\n    <character>INTERVIEWER (O.S.)<\/character>\n    <dialogue>So... Summer of '69. The Rainbow \\* Coalition is in full swing. Fred's influence is growing. What happens next?<\/dialogue>\n    <character>INT. FBI HEADQUARTERS - AUDITORIUM - DAY \\*<\/character>\n    <dialogue>Hoover stands in front of the projector. \\*<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>HOOVER \\*<\/dialogue>\n    <scene_description>I want him off the street! Charge \\* him with something! Anything! But \\* get his Black ass off the street! \\* Mitchell sits in the audience, listening. \\* \\*: SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>D46 INT. BETTER BOYS FOUNDATION - LARGER CAFETERIA (1969) D46<\/stage_direction>\n    <scene_description>The breakfast program has expanded to close to 60 kids. OFFICER MARONEY (30s), white, plainclothes and OFFICER \\* CAPLE (30s), black, plainclothes, handcuff Fred. \\* Harmon holds Deborah back. \\*<\/scene_description>\n    <character>DEBORAH<\/character>\n    <dialogue>Y'all don't see there's kids in here? Huh? Course you're gonna go \\* to a free breakfast program, pull \\* something like this. Bunch of \\* cowards. You disgust me. \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>Show some discipline. Tell Rush to \\* get me a lawyer. \\*<\/dialogue>\n    <scene_description>Fred allows himself to be cuffed. Several of the kids are crying as he's escorted out.<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>Don't worry, y'all, I'll be right \\* back.<\/dialogue>\n    <scene_description>Deborah and most of his comrades follow Fred outside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NONDESCRIPT OFFICE - DAY (1989)<\/stage_direction>\n    <scene_description>O'Neal's interview --<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>Ice cream... He was accused of taking seventy-something dollars' \\* worth of ice cream.<\/dialogue>\n    <character>INT. MENARD STATE PENITENTIARY - PRISON CORRIDOR - DAY \\*<\/character>\n    <dialogue>A WHITE GUARD walks Fred down a prison corridor. \\*<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>O'NEAL (V.O.) \\*<\/dialogue>\n    <scene_description>And I think he got 2-5 for that, \\* if I'm not mistaken...<\/scene_description>\n    <character>INTERVIEWER (V.O.) \\*<\/character>\n    <dialogue>How did Fred going to prison affect the party? \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PANTHER HQ - ALLEY\/BACK ENTRANCE - NIGHT (1969)<\/stage_direction>\n    <scene_description>O'Neal's car rolls down the alley and pulls into the lot behind Panther HQ.<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>... How didn't it? Membership \\* decreased, donations started \\* dwindling... Because I was so good \\* at installing alarms and buzzers \\* and things like that... Rush \\* decided to promote me to security \\* captain. \\*<\/dialogue>\n    <character>SUPERIMPOSE:<\/character>\n    <dialogue>JULY, 1969<\/dialogue>\n    <scene_description>O'Neal exits the car, now wearing reflective aviators. He's pinned stars on his beret, signifying his new stature within the party. He keys inside and is startled to find HERMAN HICKS (22) pointing a shotgun at him from atop the steps.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>AA48 INT. PANTHER HEADQUARTERS - BACK STAIRS - CONTINUOUS AA48<\/stage_direction>\n    <character>ACTION<\/character>\n    <dialogue>O'NEAL<\/dialogue>\n    <scene_description>Whoa! Dammit man, what the fuck \\* are you doing? \\*<\/scene_description>\n    <character>HICKS<\/character>\n    <dialogue>We got a visitor -- Brother on the run from the pigs. Can't be too careful.<\/dialogue>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Alright, alright, God damn it. Put \\* that shit down. Gotta watch that \\* shit, man. \\*<\/dialogue>\n    <scene_description>O'Neal climbs the STAIRS and enters --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A48 INT. PANTHER HEADQUARTERS - CLASSROOM - CONTINUOUS ACTION A48<\/stage_direction>\n    <scene_description>-- emerging in the OUTER OFFICE, where Winters and Palmer are gathered around GEORGE SAMS (23), who quiets as O'Neal approaches --<\/scene_description>\n    <character>SAMS<\/character>\n    <dialogue>Who is that? \\*<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>Security Captain Bill O'Neal, \\* motherfucker. Who are you? \\*<\/dialogue>\n    <character>SAMS<\/character>\n    <dialogue>George Sams -- Security Captain of the New Haven chapter. Pardon the paranoia --<\/dialogue>\n    <character>WINTERS<\/character>\n    <dialogue>We got a rat!<\/dialogue>\n    <scene_description>O'Neal tries to quell the distress roiling inside of him.<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>WINTERS<\/character>\n    <dialogue>They smoked one out. In New Haven.<\/dialogue>\n    <character>O'NEAL<\/character>\n    <parenthetical>(barely calming down)<\/parenthetical>\n    <dialogue>How? How? \\*<\/dialogue>\n    <character>PALMER<\/character>\n    <dialogue>Put the squeeze on that \\* motherfucker, that's how. \\*<\/dialogue>\n    <character>SAMS<\/character>\n    <dialogue>I didn't say that. I said, the brother got some discipline, in \\* the areas of the nose and mouth. \\* And the brother started to show \\* cowardly tendencies. So... we \\* boiled some water and gave him a little more discipline.<\/dialogue>\n    <parenthetical>(off O'Neal's horror)<\/parenthetical>\n    <dialogue>We held a trial first. \\*<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>Shit, where he at now? \\*<\/dialogue>\n    <character>SAMS<\/character>\n    <dialogue>He's at the bottom of the river \\* with the rest of the trash. \\*<\/dialogue>\n    <scene_description>A48 CONTINUED: A48 Sams laughs, inspiring the others to mirth -- O'Neal's is clearly forced, belying his growing panic.<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Shit, I would've killed that \\* motherfucker too. Killed him dead. \\* I'd have beat the shit outta that \\* nigga too. Boy. I woulda shot that \\* nigga, stabbed his ass. Man, y'all \\* lucky I wasn't there. I woulda... \\* boy... bitch motherfucker. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. MITCHELL'S CAR - DAY 49 \\*<\/stage_direction>\n    <scene_description>Mitchell smokes a cigar, parked. After a moment, O'Neal's car pulls up next to his. O'Neal hops out and climbs inside Mitchell's car.<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>Does anybody else know about me? \\*<\/dialogue>\n    <character>MITCHELL \\*<\/character>\n    <dialogue>No. \\*<\/dialogue>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>From the Bureau. \\*<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>No.<\/dialogue>\n    <parenthetical>(off of his mistrustful look)<\/parenthetical>\n    <dialogue>My superiors know I have a man on the inside. But... \\*<\/dialogue>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Huh? \\*<\/dialogue>\n    <character>MITCHELL \\*<\/character>\n    <dialogue>My superiors know I have a man on \\* the inside but that's it. No one \\* knows your identity. \\*<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>Are you sure? \\*<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>I swear on my kids. Okay? What's \\* got you all spooked?<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>This Panther from New Haven came \\* down. He talkin' about they caught \\* an informant, and they tortured \\* him, and they killed him, Roy. \\*<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Who did? \\*<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>His name is George Sams. \\*<\/dialogue>\n    <scene_description>Mitchell pulls out his notebook and begins jotting notes.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>And who's the fella they killed, this informant?<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>His name's Alex Rackley. Out of \\* New York. I don't know, I never \\* met him. Shit. \\*<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Where's Sams hiding now? \\*<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>He's hiding at the office. Saying \\* he's gonna skip town and, you \\* know, get out of here. \\*<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Okay, I need you to draw me up a \\* floor plan of the office. With this intel, I can get authorization for a raid.<\/dialogue>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>What? \\*<\/dialogue>\n    <character>MITCHELL \\*<\/character>\n    <parenthetical>(off of O'Neal's uneasiness)<\/parenthetical>\n    <dialogue>Don't worry; I'll give you a heads- up so you can make yourself scarce.<\/dialogue>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Roy, are you fucking listening to \\* me right now? They poured boiling \\* water all over this motherfucker. \\* You hear me? \\*<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Yes I understand. I'm not \\* surprised. What'd I tell you? No different than the Klan. Now you see.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>... You're gonna have to come up with some serious fuckin' dough \\* for this, alright? \\*<\/dialogue>\n    <scene_description>Mitchell bristles at O'Neal's tone. But he checks his ego for the moment.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>I'll make sure you're properly compensated.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ (CHICAGO) - CARLYLE'S OFFICE - DAY 50 \\*<\/stage_direction>\n    <scene_description>Mitchell enters Carlyle's office, excited: \\*<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>A Panther on the run from Connecticut is hiding out here in Chicago. Says he was part of a group that killed another Panther -- an informant --<\/dialogue>\n    <character>CARLYLE<\/character>\n    <dialogue>George Sams. A warrant's being written up as we speak. We're \\* going in on Wednesday.<\/dialogue>\n    <scene_description>Mitchell eyes him in shock.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>How'd you know?<\/dialogue>\n    <character>CARLYLE<\/character>\n    <dialogue>Sams is one of our guys. The warrant is just pretense.<\/dialogue>\n    <scene_description>Mitchell is genuinely lost.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>So, Sams is the informant? So he \\* didn't really kill -- \\*<\/dialogue>\n    <parenthetical>(checking notebook)<\/parenthetical>\n    <dialogue>-- uh, Alex Rackley?<\/dialogue>\n    <character>CARLYLE<\/character>\n    <dialogue>No, he did. Well, he claims two \\* other guys were the trigger-men, but what's he gonna say? \\*<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Forgive me, I'm confused. So this \\* Rackley kid was labeled an informant and then killed...<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>by an actual FBI informant?<\/dialogue>\n    <parenthetical>(as Carlyle nods yes)<\/parenthetical>\n    <dialogue>And we're just letting him walk? For murder?<\/dialogue>\n    <character>CARLYLE<\/character>\n    <dialogue>It's beautiful. He's on the lam, \\* right? So, every time he shows up at a Panther office, we get a warrant for harboring a fugitive. He's in the interview room right now, working with our liaison guys planning the next stop on his \\* little 'tour.' \\*<\/dialogue>\n    <scene_description>Mitchell's still in shock. \\*<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>(judge-mental) \\*<\/dialogue>\n    <scene_description>Wow. That's uh... \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILLINOIS PANTHER HEADQUARTERS - GROUND FLOOR - DAY 51 \\*<\/stage_direction>\n    <scene_description>Panthers survey the ransacked space. O'Neal holds a burning cigarette in his hands, calculating.<\/scene_description>\n    <character>CARLYLE (POST-LAP) \\*<\/character>\n    <dialogue>It takes a thief to catch a thief, \\* Roy. \\*<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>We got a snitch. \\*<\/dialogue>\n    <scene_description>The group eyes him in shock.<\/scene_description>\n    <character>PALMER<\/character>\n    <dialogue>What the fuck is you talking \\* about? \\*<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>How the fuck did the pigs know \\* Sams was even here? Y'all ever \\* think about that?<\/dialogue>\n    <character>PALMER<\/character>\n    <dialogue>That motherfucker run his mouth so \\* much, he probably outed his damn \\* self. \\*<\/dialogue>\n    <scene_description>We clock Deborah, appearing in acute physical discomfort. CONTINUED:<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>No nigga because they took the \\* donor rolls but left the rest of the goddamn binders here. You \\* understand what I'm saying? They \\* went straight for the safe, then \\* they went straight to the weapons \\* cabinet which is right in the \\* motherfucking slop closet. It's \\* like they knew where everything was.<\/dialogue>\n    <character>PALMER<\/character>\n    <dialogue>Smarten up, brother.<\/dialogue>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>What? \\*<\/dialogue>\n    <character>PALMER \\*<\/character>\n    <dialogue>You're falling right into the pigs' \\* trap --<\/dialogue>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>What the fuck are you talking \\* about, man? You know, Jimmy, maybe \\* you a Goddamn pig. You ever think \\* about that? \\*<\/dialogue>\n    <scene_description>\\*:<\/scene_description>\n    <character>PALMER \\*<\/character>\n    <dialogue>Fuck you, nigga, maybe it's you!<\/dialogue>\n    <scene_description>O'Neal SHOVES Palmer, who LUNGES back at him. But their TUSSLING is quickly broken up. Suddenly, Deborah retches, throwing up. \\*<\/scene_description>\n    <character>RUSH<\/character>\n    <dialogue>Cool it! Both of y'all! Show some discipline! \\*<\/dialogue>\n    <scene_description>Harmon rushes to Deborah. \\*<\/scene_description>\n    <character>HARMON<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>DEBORAH<\/character>\n    <parenthetical>(brushing her off)<\/parenthetical>\n    <dialogue>I'm fine. I'm fine.<\/dialogue>\n    <scene_description>Harmon eyes her warily. O'Neal suddenly calls out -- CONTINUED: (2)<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>It's a goddamn rat in here, Bobby, \\* and when I find him I'm gonna \\* smoke him out. You mothafuckers \\* hear me? I'm gonna smoke him out. \\* You thought New Haven was bad? You \\* keep fuckin' with me. You keep \\* fuckin' with me... \\*<\/dialogue>\n    <character>RUSH \\*<\/character>\n    <dialogue>Cool it! Cool it O'Neal! \\*<\/dialogue>\n    <scene_description>O'Neal storms out. \\*<\/scene_description>\n    <character>O'NEAL (O.S.) \\*<\/character>\n    <dialogue>Goddammit! \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PANTHER HEADQUARTERS - FRONT ENTRANCE\/O'NEAL'S CAR -<\/stage_direction>\n    <character>MOMENTS LATER<\/character>\n    <dialogue>O'Neal slams the car door behind him and catches his breath, reeling. Alone, he breaks character. A slight smile crosses his lips, a part of him reveling in his mischief-making. O'Neal revs the engine and PEELS OFF --<\/dialogue>\n    <character>INT. MENARD STATE PENITENTIARY - PRISON CORRIDOR - DAY \\*<\/character>\n    <dialogue>A WHITE GUARD slowly paces down the corridor. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MENARD STATE PENITENTIARY - FRED'S CELL - CONTINUOUS 62 \\*<\/stage_direction>\n    <character>ACTION \\*<\/character>\n    <dialogue>Fred sits on the floor, writing on a piece of toilet \\* paper, his face laden with cuts and bruises. He's \\* recovering from a bad beating. \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>Dear Comrade Deborah. \\*<\/dialogue>\n    <character>INT. FRED AND DEBORAH'S APARTMENT - KITCHEN \\*<\/character>\n    <dialogue>Deborah stands in front of the sink. \\*<\/dialogue>\n    <character>FRED (V.O.) \\*<\/character>\n    <dialogue>I dreamt of you the other night, \\* and for a second, I thought I was \\* home. \\*<\/dialogue>\n    <scene_description>Rush watches Deborah from the other room. Doc approaches \\* Rush with a paper to sign. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MENARD STATE PENITENTIARY - FRED'S CELL - CONTINUOUS 62 \\*<\/stage_direction>\n    <character>ACTION \\*<\/character>\n    <dialogue>Fred writes, as before. \\*<\/dialogue>\n    <character>FRED (V.O.) \\*<\/character>\n    <dialogue>Pardon the delay in writing you. \\* It's not by choice. \\*<\/dialogue>\n    <scene_description>C.O.! C.O.! \\* Fred's ears prick. He stops writing and hides the letter \\* under the bed. \\*<\/scene_description>\n    <character>FRED (V.O.) \\*<\/character>\n    <dialogue>The pigs do everything in their \\* power to keep us isolated. \\* Because they know the day we get \\* organized, it's over for their \\* asses. \\*<\/dialogue>\n    <scene_description>When the guard walks past Fred's cell, he's in the midst \\* of doing push-ups. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MENARD STATE PENITENTIARY - CAFETERIA - DAY 64 \\*<\/stage_direction>\n    <scene_description>The men eat in total silence. Fred looks around at the \\* despondent faces before him. \\*<\/scene_description>\n    <character>FRED (V.O.) \\*<\/character>\n    <dialogue>Not having books I find myself \\* playing old speeches in my head. I \\* keep coming back to this line from \\* Dr. King. Let us not wallow in the \\* valley of despair. Because make no \\* mistake, Comrade. \\*<\/dialogue>\n    <scene_description>Fred locks eyes with one prisoner who doesn't eat. The \\* man's nose wound, oozing puss. \\*<\/scene_description>\n    <character>FRED (V.O.) \\*<\/character>\n    <dialogue>This is the fucking valley. But \\* where some see despair, I see \\* ground zero for the revolution. \\* 2,000 brothers who know who the \\* enemy is. Who don't need the \\* contradictions to be heightened, \\* because in Menard, the \\* contradictions don't get more \\* Black and white. \\*<\/dialogue>\n    <scene_description>Fred gives the man a nod and rises to his feet along with \\* the other prisoners. \\* CONTINUED: He furtively withdraws the letter he's been writing from \\* inside his waistband and tucks it underneath his tray \\* before exiting in single file. \\*<\/scene_description>\n    <character>FRED (V.O.) \\*<\/character>\n    <dialogue>A lot of these brothers came here \\* politicized too. They just need \\* organizing. \\*<\/dialogue>\n    <scene_description>As the men file out, it is revealed that the man with the \\* nose injury is naked and chained to a chair; carved into \\* his chest the words \"RABBLE ROUSER.\" He watches DENNIS \\* COMPTON (39), part of the clean up crew, who picks up \\* Fred's tray, retrieves the letter, and continues bussing \\* trays. \\* 65 OMITTED 65 \\* 66 OMITTED 66 \\* \\*:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MENARD STATE PENITENTIARY - CORRIDOR - DAY 63 \\*<\/stage_direction>\n    <scene_description>The inmates are lined up in front of their cells. \\*<\/scene_description>\n    <character>FRED (V.O.) \\*<\/character>\n    <dialogue>By the time I'm through, I might \\* fuck around have the pigs reading \\* Fanon. \\*<\/dialogue>\n    <scene_description>A C.O. attacks Fred, and he fights back, punching the \\* C.O. in the face. Fred is forced to the ground. \\*<\/scene_description>\n    <character>INT. FRED AND DEBORAH'S APARTMENT - LIVING ROOM - NIGHT \\*<\/character>\n    <dialogue>Deborah opens an envelope from Fred. \\*<\/dialogue>\n    <character>FRED (V.O.) \\*<\/character>\n    <dialogue>I have so many questions about how \\* you're doing. About how the \\* party's doing. But ain't no way \\* you're getting a kite to me in \\* this Hellhole. \\*<\/dialogue>\n    <scene_description>But there's no letter inside. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FEDERAL BUILDING - MITCHELL'S OFFICE - DAY 68 \\*<\/stage_direction>\n    <scene_description>FOCUS ON: Fred's handwritten letter, placed on top of a \\* photocopier. \\*<\/scene_description>\n    <character>FRED (V.O.) \\*<\/character>\n    <dialogue>God forbid one of the party \\* members get sent on, they could \\* let me know how y'all are faring. \\* But I'd rather be left in the \\* dark. The last thing I want is \\* y'all up in here with me. Or \\* worse. \\*<\/dialogue>\n    <scene_description>The copier closes and turns on. REVEAL: Mitchell \\* standing above it. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET CORNER NEAR A DELI (WEST SIDE) - NIGHT<\/stage_direction>\n    <scene_description>Palmer smokes a cigarette. \\*<\/scene_description>\n    <character>FRED (V.O.) \\*<\/character>\n    <dialogue>Tell the comrades to be careful. \\* Especially when they're out \\* patrolling the pigs. \\*<\/dialogue>\n    <scene_description>He spots a group of COPS entering a deli. \\*<\/scene_description>\n    <character>FRED (V.O.) \\*<\/character>\n    <dialogue>Brother who just got in told me \\* they've been vamping extra heavy \\* since the summer started. \\*<\/dialogue>\n    <scene_description>Palmer storms down the block. \\*<\/scene_description>\n    <character>FRED (V.O.) \\*<\/character>\n    <dialogue>Y'all stay safe. In revolutionary \\* love, Chairman Fred. \\*<\/dialogue>\n    <scene_description>Palmer reaches the deli.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A53 INT. DELI - CONTINUOUS ACTION A53<\/stage_direction>\n    <scene_description>Inside, the police have lined up a HALF-DOZEN mostly older black men.<\/scene_description>\n    <character>PALMER<\/character>\n    <dialogue>Officers? Now what crime have \\* these brothers perpetrated? \\*<\/dialogue>\n    <scene_description>Valentino whirls around, a hand on his pistol. \\* A53 CONTINUED: A53<\/scene_description>\n    <character>VALENTINO<\/character>\n    <dialogue>Get the fuck outta here.<\/dialogue>\n    <scene_description>Palmer places his hand on the .38 in his waistband.<\/scene_description>\n    <character>PALMER<\/character>\n    <dialogue>No, see I live here. Now y'all get \\* the fuck outta here.<\/dialogue>\n    <scene_description>Valentino looks at Hester in astonishment. Valentino suddenly draws his pistol and shoots Palmer in \\* the abdomen. Palmer FIRES back, striking Valentino, who spins around, clutching the side of his head. Hester draws his weapon, but before he can fire, Palmer SHOOTS him in the shoulder. Palmer takes a moment to assess his wounds. He's bleeding from the stomach. Unbeknownst to him, Valentino isn't seriously wounded. He shoots Palmer in the shoulder, causing him to fall on his back. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A68 INT. HOSPITAL - STAIRCASE - DAY A68 \\*<\/stage_direction>\n    <scene_description>Winters, carrying several books under his arm, climbs the \\* steps of the hospital where he spots REG (30s) operating \\* a dust mop. \\*<\/scene_description>\n    <character>REG \\*<\/character>\n    <dialogue>Jake! \\*<\/dialogue>\n    <character>WINTERS \\*<\/character>\n    <dialogue>Hey, Reg. \\*<\/dialogue>\n    <character>REG \\*<\/character>\n    <dialogue>The fuck you doing up in here? I \\* sure as shit know a square like \\* you ain't got the clap. \\*<\/dialogue>\n    <character>WINTERS \\*<\/character>\n    <dialogue>Nah, man. Comrade Palmer got shot \\* by the pigs. I'm looking in on \\* him. \\*<\/dialogue>\n    <character>REG \\*<\/character>\n    <dialogue>(somewhat uneasy) \\*<\/dialogue>\n    <scene_description>Alright, Blood. Be careful. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CERMAK HOSPITAL - CONTINUOUS ACTION 69 \\*<\/stage_direction>\n    <scene_description>Winters walks down the hallway carrying several books \\* under his arm. He reaches a hospital room with a \\* HOSPITAL POLICE OFFICER (50s) seated next to the \\* entrance, reading a newspaper. The door is closed. \\* CONTINUED: Winters opens his mouth to address the cop but before he \\* can -- \\*<\/scene_description>\n    <character>HOSPITAL POLICE OFFICER \\*<\/character>\n    <dialogue>No visitors allowed. \\*<\/dialogue>\n    <character>WINTERS \\*<\/character>\n    <dialogue>The nurse told me visiting hours \\* aren't 'til 10 PM. \\*<\/dialogue>\n    <character>HOSPITAL POLICE OFFICER \\*<\/character>\n    <dialogue>Not for your pal, here. \\*<\/dialogue>\n    <character>WINTERS \\*<\/character>\n    <dialogue>Can I at least leave him the \\* books? \\*<\/dialogue>\n    <character>HOSPITAL POLICE OFFICER \\*<\/character>\n    <dialogue>You may not. \\*<\/dialogue>\n    <scene_description>Winters fumes. Refusing to be stymied, he opens up a \\* paper and begins READING ALOUD to Palmer on the other \\* side of the door. The cop looks up from his paper for \\* the first time. \\*<\/scene_description>\n    <character>WINTERS \\*<\/character>\n    <dialogue>(reading) \\*<\/dialogue>\n    <scene_description>If we must die, let us not be like \\* hogs. \\*<\/scene_description>\n    <character>HOSPITAL POLICE OFFICER \\*<\/character>\n    <dialogue>C'mon, kid. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A69 INT. HOSPITAL - ROOM - CONTINUOUS ACTION A69 \\*<\/stage_direction>\n    <scene_description>Palmer sits up in bed. He's worse for wear, but on the \\* mend. \\*<\/scene_description>\n    <character>PALMER \\*<\/character>\n    <dialogue>Winters. \\*<\/dialogue>\n    <character>INT. CERMAK HOSPITAL - CONTINUOUS ACTION \\*<\/character>\n    <dialogue>The cop shuts his paper and stands up. Just then -- \\*<\/dialogue>\n    <character>WINTERS \\*<\/character>\n    <dialogue>Jimmy?! How you holding up, man? \\*<\/dialogue>\n    <character>HOSPITAL POLICE OFFICER \\*<\/character>\n    <dialogue>Kid, you got five seconds to fuck \\* off. One, two, three, alright \\* that's it... \\*<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>WINTERS \\*<\/dialogue>\n    <scene_description>Alright. \\* Winters backs away from the doorway, laughing. \\*<\/scene_description>\n    <character>WINTERS \\*<\/character>\n    <dialogue>Ay, I'mma get with you Jimmy! \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A69 INT. HOSPITAL - ROOM - CONTINUOUS ACTION A69 \\*<\/stage_direction>\n    <scene_description>70 Palmer laughs and coughs. 70 \\* \\*:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PANTHER HEADQUARTERS - DAY 71 \\*<\/stage_direction>\n    <scene_description>Two cop cars are parked across the street from HQ. Their occupants lean against them, drinking beers, giggling. OFFICER CARCETTI (30s) harasses pedestrians and tells jokes over the loudspeaker, directing them towards the second floor of Panther HQ.<\/scene_description>\n    <character>CARCETTI<\/character>\n    <dialogue>Hey, Williams, is that Harriet \\* Tubman? Oh I'm sorry, it's Aunt \\* Jemima. I love the pancakes Miss! \\*<\/dialogue>\n    <scene_description>Folks on the street eye the cops with disdain. OFFICER WILLIAMS (20s) takes note.<\/scene_description>\n    <character>WILLIAMS<\/character>\n    <dialogue>'Sup, guys. \\*<\/dialogue>\n    <character>CARCETTI \\*<\/character>\n    <dialogue>I just want you all to know you \\* can thank the Black Panther party \\* for the increased police presence \\* in your neighborhood. A glorious \\* group of cop killers. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PANTHER HEADQUARTERS - THE ARMORY - HARMON'S POV -<\/stage_direction>\n    <character>DAY<\/character>\n    <dialogue>The cops continue in their racist revelry.<\/dialogue>\n    <character>CARCETTI (O.S.) \\*<\/character>\n    <dialogue>I'm about to fuckin' move in over \\* there. \\*<\/dialogue>\n    <scene_description>A72 INSIDE A72 Harmon peers out of the window. A nervous, sweaty O'Neal smokes a cigarette. A72 CONTINUED: A72 Also in the room, Deborah and White (a rank-and-file Panther we've seen before). Hicks enters the room.<\/scene_description>\n    <character>HARMON \\*<\/character>\n    <dialogue>Is the back clear? \\*<\/dialogue>\n    <character>HICKS<\/character>\n    <dialogue>Clear. \\*<\/dialogue>\n    <character>HARMON<\/character>\n    <dialogue>You got a whistle?<\/dialogue>\n    <scene_description>Hicks touches the pistol on his hip.<\/scene_description>\n    <character>HARMON<\/character>\n    <dialogue>Escort Comrade Deborah out the \\* back to the safe house. \\*<\/dialogue>\n    <character>DEBORAH<\/character>\n    <dialogue>Why? \\*<\/dialogue>\n    <scene_description>Harmon, realizing that to answer that question truthfully would mean spreading Deborah's personal business, hesitates a beat.<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>I'll take Deborah. Come on. \\*<\/dialogue>\n    <character>HARMON \\*<\/character>\n    <dialogue>You don't even know where it is. \\*<\/dialogue>\n    <character>DEBORAH \\*<\/character>\n    <dialogue>I ain't going nowhere. \\*<\/dialogue>\n    <scene_description>Harmon gestures for Deborah to follow her into the hallway. As they walk --<\/scene_description>\n    <character>DEBORAH<\/character>\n    <parenthetical>(emphatic)<\/parenthetical>\n    <dialogue>... I can protect myself.<\/dialogue>\n    <scene_description>B72 PANTHER HEADQUARTERS - HALLWAY - CONTINUOUS ACTION B72<\/scene_description>\n    <character>HARMON<\/character>\n    <parenthetical>(gently)<\/parenthetical>\n    <dialogue>I know you can... But you don't got just yourself to think about -- \\* anymore.<\/dialogue>\n    <scene_description>She gestures towards Deb's belly. There's a discernible shift in Deborah, who suddenly feels like she's under surveillance. B72 CONTINUED: B72<\/scene_description>\n    <character>HARMON \\*<\/character>\n    <dialogue>I didn't want to have to say it \\* like this but I recognize what \\* you're going through with the \\* Chairman being locked up and \\* everything and I just... does he \\* know? \\*<\/dialogue>\n    <scene_description>Harmon feels it, and is instantly struck with guilt. She starts to reach out to touch her comrade but Deborah immediately tenses up, causing Harmon to stop short.<\/scene_description>\n    <character>HARMON \\*<\/character>\n    <dialogue>Deb, I... \\*<\/dialogue>\n    <scene_description>Remorseful, Harmon heads back inside the armory, leaving Deborah isolated in the hallway. A mix of emotions run through her: resentment at the insinuation that she's \\* helpless, guilt at the thought of abandoning her comrades, and the validity of Harmon's concern.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>C72 INT. PANTHER HEADQUARTERS - THE ARMORY C72<\/stage_direction>\n    <scene_description>As Harmon heads for the gun closet, O'Neal tenses up.<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>You know this ain't nothing but a \\* couple drunk-ass pigs. Probably \\* gonna leave here and get some \\* donuts or some shit.<\/dialogue>\n    <character>HARMON<\/character>\n    <dialogue>Maybe. I'll tell you what they definitely not gon' do, though. And that's come up in here. Not again.<\/dialogue>\n    <scene_description>Harmon tosses O'Neal and White shotguns.<\/scene_description>\n    <character>HARMON<\/character>\n    <parenthetical>(addressing Panther)<\/parenthetical>\n    <dialogue>White, you guard the rear.<\/dialogue>\n    <character>CARCETTI (O.S.) \\*<\/character>\n    <dialogue>Hey, Panthers, you really give a \\* fuck about the people down here \\* you'll come down. You \\* motherfuckers think it's cool to \\* shoot a cop? \\*<\/dialogue>\n    <character>HARMON \\*<\/character>\n    <parenthetical>(addressing Hicks in hushed voice)<\/parenthetical>\n    <dialogue>Make sure she gets home safe.<\/dialogue>\n    <scene_description>C72 CONTINUED: C72 Deborah reluctantly allows Hicks to escort her out. O'Neal freaks out at the prospect of getting in a shoot- out with the police.<\/scene_description>\n    <character>CARCETTI \\*<\/character>\n    <dialogue>Today's the day. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PANTHER HEADQUARTERS - DAY<\/stage_direction>\n    <scene_description>Carcetti calls up to the Black Panther headquarters. \\*<\/scene_description>\n    <character>CARCETTI \\*<\/character>\n    <dialogue>Today's the fuckin' day. Either \\* you fucks come down, or we're \\* coming up. \\*<\/dialogue>\n    <scene_description>Harmon opens the window, holding her SHOTGUN. \\*<\/scene_description>\n    <character>COP (O.S.) \\*<\/character>\n    <dialogue>Gun! \\*<\/dialogue>\n    <scene_description>Carcetti and his partners dive behind their cars. \\* Williams speaks into his walkie. \\*<\/scene_description>\n    <character>WILLIAMS \\*<\/character>\n    <dialogue>10-1, we need backup. Black \\* Panther headquarters. \\*<\/dialogue>\n    <character>CARCETTI \\*<\/character>\n    <dialogue>Hey, kid! Clear the fucking \\* sidewalks! \\*<\/dialogue>\n    <scene_description>The barrel of the shotgun slowly pokes through the \\* cracked window. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PANTHER HEADQUARTERS - THE ARMORY - CONTINUOUS<\/stage_direction>\n    <character>ACTION<\/character>\n    <dialogue>Harmon's gun is aimed, locked and loaded. But to her surprise, O'Neal backs away from the window.<\/dialogue>\n    <character>HARMON<\/character>\n    <dialogue>What the fuck you doing? \\*<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>I'm gonna cover you from the roof. \\*<\/dialogue>\n    <character>HARMON<\/character>\n    <dialogue>O'Neal, where are you going? \\*<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>Trust me, it'll make better sense \\* when they call for backup. And \\* they're gonna call for backup!<\/dialogue>\n    <scene_description>Harmon grits her teeth as O'Neal exits. He enters the --<\/scene_description>\n    <character>HALLWAY<\/character>\n    <dialogue>and peeks downstairs over the banister to see if he can sneak out the back. But White is positioned by the door.<\/dialogue>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Hey. \\*<\/dialogue>\n    <character>WHITE \\*<\/character>\n    <dialogue>What's up? \\*<\/dialogue>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>I'm gonna go secure the roof, \\* alright? \\*<\/dialogue>\n    <character>WHITE \\*<\/character>\n    <dialogue>Right on. \\*<\/dialogue>\n    <scene_description>O'Neal runs up to the ROOF. \\*<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Fuck. \\*<\/dialogue>\n    <character>EXT. PANTHER HEADQUARTERS - STREET - DAY \\*<\/character>\n    <dialogue>Carcetti and the cops aim their weapons at the Black \\* Panther headquarters. \\*<\/dialogue>\n    <character>CARCETTI \\*<\/character>\n    <dialogue>Watch your back! \\*<\/dialogue>\n    <character>COP 1 (O.S.) \\*<\/character>\n    <dialogue>Look at that window. \\*<\/dialogue>\n    <character>CARCETTI \\*<\/character>\n    <dialogue>Hold your positions! \\*<\/dialogue>\n    <character>COP 2 (O.S.) \\*<\/character>\n    <dialogue>You guys see any weapons besides \\* those? Any visuals? \\*<\/dialogue>\n    <character>COP 1 (O.S.) \\*<\/character>\n    <dialogue>Nothing, nothing. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PANTHER HEADQUARTERS - ROOF - DAY<\/stage_direction>\n    <scene_description>O'Neal bursts outside and looks around. There's no accessible adjacent roof to jump to. SIRENS WAIL. \\* A75 ANOTHER ANGLE A75 O'Neal peers over the edge at THREE APPROACHING COP CARS careening down the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PANTHER HEADQUARTERS - STREET - DAY<\/stage_direction>\n    <scene_description>Williams spots O'Neal on the roof, shotgun at his side.<\/scene_description>\n    <character>WILLIAMS<\/character>\n    <dialogue>Sniper!<\/dialogue>\n    <scene_description>He fires the first shot... at O'Neal.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A76 EXT. BLACK PANTHER HEADQUARTERS - ROOF - CONTINUOUS A76<\/stage_direction>\n    <character>ACTION<\/character>\n    <dialogue>O'Neal ducks behind the brick facade. Bullets scatter bits of brick and dust everywhere. The sound of O'Neal's comrades returning fire is heard from below. He scuttles back to the roof entrance and ducks inside --<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>B76 INT. BLACK PANTHER HEADQUARTERS - STAIRWELL - CONTINUOUS B76<\/stage_direction>\n    <character>ACTION<\/character>\n    <dialogue>O'Neal starts to run down the stairs. White, previously manning the back entrance downstairs, runs up to join his comrades in the firefight. O'Neal hides in the shadows.<\/dialogue>\n    <dialogue>He creeps downstairs past the Panthers, their muzzle flashes lighting up the room. As O'Neal makes his way to the first floor, we REMAIN ON the second floor and TRACK INTO the room, UP TO the window. White and Harmon crouch on the floor as wood splinters and glass breaks around them. Ten cops are visible outside the window.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PANTHER HEADQUARTERS - BACK ENTRANCE - CONTINUOUS<\/stage_direction>\n    <character>ACTION<\/character>\n    <dialogue>O'Neal emerges, tosses his shotgun, and speed-walks nonchalantly along the back street.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PANTHER HQ - FRONT - DAY (LATER)<\/stage_direction>\n    <scene_description>Close to twenty cops TRADE SPORADIC GUNFIRE with the Panthers, the windows of the second floor totally blown out. A CROWD has assembled around the periphery to watch, including Deborah, Hicks, and several other Panthers who cheer their comrades on. Deborah can't help but think about what would have happened had she remained inside that building.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A78 INT. PANTHER HEADQUARTERS - ARMORY - CONTINUOUS ACTION A78<\/stage_direction>\n    <scene_description>Harmon and White take cover and fire. As Harmon digs into a box of shells and reloads, she observes that they're rapidly running out of ammo. White is shot in the shoulder. \\*<\/scene_description>\n    <character>HARMON \\*<\/character>\n    <dialogue>White! You okay? \\*<\/dialogue>\n    <scene_description>Her and White share a concerned glance. \\*<\/scene_description>\n    <character>HARMON \\*<\/character>\n    <dialogue>I'm out! \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>B78 EXT. PANTHER HEADQUARTERS - FRONT - CONTINUOUS ACTION - B78<\/stage_direction>\n    <character>DAY<\/character>\n    <dialogue>White's jacket WAVES from the blown-out window -- \\*<\/dialogue>\n    <dialogue>CAPTAIN JAMES BYRNE (30s), white, takes a BULLHORN -- \\*<\/dialogue>\n    <character>BYRNE<\/character>\n    <parenthetical>(on bullhorn; addressing his officers)<\/parenthetical>\n    <dialogue>Cease fire! Cease fire! Goddamn \\* it! Goddamn it, cease fire! \\*<\/dialogue>\n    <parenthetical>(as the cops stop shooting)<\/parenthetical>\n    <dialogue>Come out with your hands up!<\/dialogue>\n    <scene_description>The Panthers anxiously await for their comrades to exit the building. After a tense beat, Harmon and White emerge, hands raised, miraculously unharmed. B78 CONTINUED: B78<\/scene_description>\n    <character>HARMON \\*<\/character>\n    <dialogue>We're comin' out! We're comin' \\* out, don't shoot! \\*<\/dialogue>\n    <character>BYRNE \\*<\/character>\n    <dialogue>Cease fire! \\*<\/dialogue>\n    <scene_description>The crowd lets out a cheer that immediately turns to screams of anguish as the two Panthers are assailed by rifle butts and boots.<\/scene_description>\n    <character>DEBORAH \\*<\/character>\n    <dialogue>No! \\*<\/dialogue>\n    <scene_description>The bulk of the cops storm the office while the rest attempt to calm an increasingly unruly crowd, now throwing bottles and rocks. A cop pulls one such thrower from the crowd and beats them savagely. Winters forces his way to the front, having just shown up, mouth agape.<\/scene_description>\n    <character>WINTERS<\/character>\n    <dialogue>What the fuck happened?<\/dialogue>\n    <scene_description>A cop marches towards the building with a gas can. Deborah observes the scene that's about to unfold. Harmon is forced into the back of a police truck. \\*<\/scene_description>\n    <character>DEBORAH<\/character>\n    <dialogue>They're gonna burn it down! No... \\* No!<\/dialogue>\n    <scene_description>She tries to run past the blockade but Winters prevents \\* her.<\/scene_description>\n    <character>DEBORAH \\*<\/character>\n    <dialogue>Get off of me! Get off of me! \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>C78 INT. BLACK PANTHER HEADQUARTERS - GROUND FLOOR - C78<\/stage_direction>\n    <character>CONTINUOUS ACTION<\/character>\n    <dialogue>Cops go berserk, destroying everything in sight. A match is lit. WOOSH. A fireball engulfs the space as the cops run outside.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>D78 EXT. BLACK PANTHER HEADQUARTERS - GROUND FLOOR - D78<\/stage_direction>\n    <character>CONTINUOUS ACTION<\/character>\n    <dialogue>The crowd screams, shouts, cries angry tears. The Panthers stare at the burning building in disbelief. \\*<\/dialogue>\n    <scene_description>CUT TO BLACK.: D78 CONTINUED: D78<\/scene_description>\n    <character>OVER BLACK<\/character>\n    <dialogue>WE HEAR THE SOUND OF A METAL SLOT OPENING.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MENARD STATE PENITENTIARY - THE BOX<\/stage_direction>\n    <scene_description>It's so dark we can barely make out Fred, naked, sitting on the floor, knees to his chest.<\/scene_description>\n    <character>WARDEN (O.S.)<\/character>\n    <dialogue>It's over.<\/dialogue>\n    <scene_description>After a beat, the Warden sticks a folded piece of paper through the slot. It takes Fred a moment to crawl over to it, as disoriented as he is. He unfolds the paper, in his hands a news clipping: a photograph of the scorched Panther headquarters beneath the headline \"Cops Torch Terrorist Haven.\" He eyes it in disbelief, fighting back the tears welling in his eyes. \\* Unconvinced, he unfolds the paper frantically and peers \\* at the photograph closely but it's too dark to see. He finds the sole sliver of light and tries to determine the image's authenticity. FOCUS ON the charred signage in the windows of HQ. The Emory Douglas posters. A whimper escapes Fred. He tries to fight it, but the pain is too much. \\* 80\/81pt INT. FBI HQ (CHICAGO) - MITCHELL'S OFFICE - DAY 80\/81pt Mitchell eats a pastrami sandwich, making a mess at his desk. As he's about to take a bite, his phone RINGS and \\* he answers. \\*<\/scene_description>\n    <character>MITCHELL \\*<\/character>\n    <dialogue>Mitchell. \\*<\/dialogue>\n    <character>O'NEAL (V.O.)<\/character>\n    <parenthetical>(on phone; frantic)<\/parenthetical>\n    <dialogue>Hey listen Roy, I'm out. I'm out, \\* man. \\*<\/dialogue>\n    <character>MITCHELL<\/character>\n    <parenthetical>(on phone)<\/parenthetical>\n    <dialogue>Calm down. Calm down, Bill -- \\*<\/dialogue>\n    <character>INTERCUT WITH:<\/character>\n    <dialogue>81\/80pt EXT. PAY PHONE NEAR DELI - DAY 81\/80pt<\/dialogue>\n    <scene_description>O'Neal is in the phone booth. A duffel bag sits just outside of it.<\/scene_description>\n    <character>O'NEAL<\/character>\n    <parenthetical>(on phone)<\/parenthetical>\n    <dialogue>Don't tell me to fucking calm down, alright! I was almost \\* killed! Now Fred's in jail. I \\* did the damn job. And I'm out! \\*<\/dialogue>\n    <scene_description>\\*:<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>That's not how it works --<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>'Fuck you mean that's not how it \\* works? Gimme one good reason why I \\* don't just book it outta here \\* right now? \\*<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Because, as I've mentioned, it's a \\* year and a half for the stolen car and five years for impersonating a federal officer. And if you run, I \\* will hunt you down -- \\*<\/dialogue>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Man, shut the fuck up. \\*<\/dialogue>\n    <scene_description>O'Neal slams the phone down, to Mitchell's surprise. \\* FUCK! \\*:<\/scene_description>\n    <character>RUSH (PRE-LAP) \\*<\/character>\n    <dialogue>What do we need? \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PANTHER HEADQUARTERS - POST-FIRE SECOND FLOOR - DAY<\/stage_direction>\n    <scene_description>The entire floor has been burned to a crisp. Rush, Winters, Deborah, and Hicks sort through the ruins. When O'Neal enters, Hicks and Deborah eye him in shock.<\/scene_description>\n    <character>RUSH \\*<\/character>\n    <dialogue>You the handyman. Oakland says \\* rebuild immediately. What do we \\* need?<\/dialogue>\n    <scene_description>O'Neal laughs. CONTINUED:<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>We need a Goddamn white flag, \\* Bobby. You don't see this shit? \\*<\/dialogue>\n    <scene_description>TWO KIDS enter from outside. \\*<\/scene_description>\n    <character>YOUNGEST KID<\/character>\n    <dialogue>Goddamn. They burnt the shit out this motherfucker.<\/dialogue>\n    <character>OLDEST KID<\/character>\n    <dialogue>Watch your mouth, man. \\*<\/dialogue>\n    <parenthetical>(addressing the Panthers)<\/parenthetical>\n    <dialogue>Y'all need help?<\/dialogue>\n    <scene_description>Rush shoots O'Neal a look like, \"This is how we rebuild.\" O'Neal scoffs as Rush digs in his pocket for a few bills.<\/scene_description>\n    <character>RUSH<\/character>\n    <dialogue>Yeah, little brother. Run down to the store and get us a couple of \\* trash cans... That's how you \\* rebuild, Comrade. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PANTHER HEADQUARTERS - SECOND FLOOR - DAY<\/stage_direction>\n    <scene_description>Headquarters has been gutted to the beams and is in the process of being rebuilt by people from the community, including Rainbow Coalition members. O'Neal finishes framing a wall and has a cluster of folks help him erect it. Older women distribute trays of cookies and punch to the laborers. Rod Collins (the Crown Fred debated in the pool hall) enters with a contingent of Crowns in tow. The Panthers, O'Neal especially, bristle.<\/scene_description>\n    <character>O'NEAL<\/character>\n    <parenthetical>(addressing Collins)<\/parenthetical>\n    <dialogue>Hey! Can I help y'all? \\*<\/dialogue>\n    <character>COLLINS<\/character>\n    <dialogue>Came to ask y'all that. Got some \\* bodies if you need 'em. I know \\* y'all got an army and all that but \\* figured you could use some \\* reserves. \\*<\/dialogue>\n    <character>DOC \\*<\/character>\n    <parenthetical>(surprised)<\/parenthetical>\n    <dialogue>Right on.<\/dialogue>\n    <scene_description>CONTINUED: A shocked O'Neal finds himself delegating repair tasks to the Crowns.<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Y'all know how to use a tape \\* measure? This needs measuring \\* right here. And then that dry wall \\* right there needs to be measured \\* out and flush. The rest of y'all \\* can grab some of these paper rolls \\* and help them with that wall. \\* Right there. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ (CHICAGO) - CARLYLE'S OFFICE - DAY 84 \\*<\/stage_direction>\n    <scene_description>Mitchell has joined Carlyle and Hoover at the desk. \\*<\/scene_description>\n    <character>HOOVER \\*<\/character>\n    <dialogue>(gesturing towards \\* homicide photos) \\*<\/dialogue>\n    <scene_description>Los Angeles leaders Bunchy Carter \\* and John Huggins. Former leaders. \\* Chalk marks. All that's left. \\* (re: surveillance \\* photo) \\* Our friend Mr. Cleaver, on the lam \\* in Algeria: a gift from our \\* friends in Langley. \\* (re: Bobby Seale mug \\* shot) \\* Look who's here. Our old friend \\* Bobby Seale. You recognized this \\* from the evening news, all bundled \\* up. It must be very cold in that \\* Chicago courtroom. Speaking of \\* Seale, if the Seale verdict \\* doesn't fall our way, we've got a \\* witness who'll testify he ordered \\* a hit in Connecticut. I believe \\* you're familiar with George Sams, \\* Agent Mitchell? \\*<\/scene_description>\n    <character>INT. PANTHER HEADQUARTERS - CLASSROOM - FLASHBACK \\*<\/character>\n    <dialogue>George Sams laughs as he smokes a cigar. \\*<\/dialogue>\n    <character>INT. FBI HQ (CHICAGO) - CARLYLE'S OFFICE - DAY \\*<\/character>\n    <dialogue>Mitchell tries to hide his discomfort. \\*<\/dialogue>\n    <character>MITCHELL \\*<\/character>\n    <dialogue>Yes, sir. \\*<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>HOOVER \\*<\/character>\n    <dialogue>Very well. Have a seat, Gentlemen. \\*<\/dialogue>\n    <scene_description>Hoover shuts the binder and gestures for the men to have a seat. They do as told.<\/scene_description>\n    <character>HOOVER<\/character>\n    <dialogue>How are the boys? Jack and Tyler?<\/dialogue>\n    <scene_description>Mitchell reacts with a mix of flattery and suspicion, clearly surprised that Hoover knows his son's names.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Good, sir. Thank you. Tyler just \\* started Little League. Kid's got quite an arm on him. \\*<\/dialogue>\n    <character>HOOVER<\/character>\n    <dialogue>And your daughter, Samantha? She \\* must be... What, eighteen months \\* now, is it?<\/dialogue>\n    <character>MITCHELL<\/character>\n    <parenthetical>(even more unnerved)<\/parenthetical>\n    <dialogue>That's right. She's... growing \\* fast. Every day. \\*<\/dialogue>\n    <character>HOOVER<\/character>\n    <dialogue>They always do, don't they? Tell \\* me, what will you do when she brings home a Negro?<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>When she brings home a negro...? \\*<\/dialogue>\n    <character>HOOVER<\/character>\n    <dialogue>Your daughter, Samantha. What will you do the day she brings home a young Negro male --<\/dialogue>\n    <character>MITCHELL<\/character>\n    <parenthetical>(growing angry)<\/parenthetical>\n    <dialogue>She's an infant, sir.<\/dialogue>\n    <character>HOOVER<\/character>\n    <dialogue>I'm well aware. And that's not an \\* answer to my question.<\/dialogue>\n    <scene_description>Mitchell realizes there's no way out of this line of questioning.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>...She won't. \\*<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>HOOVER<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>MITCHELL<\/character>\n    <parenthetical>(flustered)<\/parenthetical>\n    <dialogue>Because...<\/dialogue>\n    <scene_description>As Mitchell struggles to find a diplomatic answer his face turns red. Hoover enjoys watching him thrash for a moment.<\/scene_description>\n    <character>MITCHELL \\*<\/character>\n    <dialogue>Respectfully, Director Hoover, why are we talking about my daughter?<\/dialogue>\n    <character>HOOVER<\/character>\n    <dialogue>You killed in Korea.<\/dialogue>\n    <character>MITCHELL \\*<\/character>\n    <dialogue>Yes. \\*<\/dialogue>\n    <character>HOOVER \\*<\/character>\n    <dialogue>Not for country. Maybe that's why \\* you enlisted. But you killed for survival. You would have done anything to get back home safe to \\* your family, wouldn't you? Of \\* course. Think of your family now, \\* Agent Mitchell. When you look at \\* Hampton, think of Samantha because \\* that's what's at stake if we lose this war. Our entire way of life. Rape, pillage, conquer, do you \\* follow me?<\/dialogue>\n    <character>MITCHELL<\/character>\n    <parenthetical>(fuming)<\/parenthetical>\n    <dialogue>I do, Sir. Hampton's in Menard \\* doing five -- \\*<\/dialogue>\n    <character>HOOVER<\/character>\n    <dialogue>Hampton's getting out while the \\* State Supreme Court considers his appeal...<\/dialogue>\n    <parenthetical>(off of his shock)<\/parenthetical>\n    <dialogue>...In the interim, your CI is our \\* best chance at neutralizing him, \\* Agent Mitchell. \\*<\/dialogue>\n    <scene_description>Mitchell appears wary and unsettled, reeling from Hoover's interrogation and the sudden news of Fred's freedom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. O'NEAL'S CAR\/MENARD STATE PENITENTIARY - DAY<\/stage_direction>\n    <scene_description>O'Neal sits in the driver's seat, Rush next to him, both grinning wide as they watch Fred emerge.<\/scene_description>\n    <character>HOOVER (POST-LAP) \\*<\/character>\n    <dialogue>Maybe it's time to speak to O'Neal \\* more creatively. \\*<\/dialogue>\n    <character>SUPERIMPOSE:<\/character>\n    <dialogue>OCTOBER, 1969<\/dialogue>\n    <scene_description>Fred exits a massive castle-like prison. Deborah awaits in the parking lot. The pair embrace. Deborah whispers something in his ear. Fred's eyes grow wide. He steps back and peers down at her belly. She opens her sweater, revealing a slight bump and looks up at Fred with a hopeful smile. He laughs in disbelief. The gravity of the moment only amplifies his happiness.<\/scene_description>\n    <character>FRED \\*<\/character>\n    <dialogue>You look beautiful, you know that? \\*<\/dialogue>\n    <scene_description>He kisses her tenderly, then takes her by the hand and leads her to O'Neal's idling CAR.<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Woo! You all save that shit 'til \\* you get back to the house. \\*<\/dialogue>\n    <scene_description>They climb in the backseat. Fred greets O'Neal and Rush \\* with warm hands on their shoulders. \\*<\/scene_description>\n    <character>RUSH<\/character>\n    <dialogue>You look good, Chairman.<\/dialogue>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>How you feeling? \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>I missed y'all motherfuckers, man. \\*<\/dialogue>\n    <scene_description>Fred waves him off. Everyone laughs.<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>So where you wanna go? You hungry? \\* What you want? \\*<\/dialogue>\n    <character>FRED<\/character>\n    <parenthetical>(slightly somber)<\/parenthetical>\n    <dialogue>Headquarters.<\/dialogue>\n    <scene_description>O'Neal shares a sly smile with Rush.<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>Headquarters it is, boy. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLACK PANTHER HEADQUARTERS - GROUND FLOOR RENOVATED -<\/stage_direction>\n    <character>SAME DAY<\/character>\n    <dialogue>Rush leads Fred, Deborah, and O'Neal inside the newly renovated Panther offices. Fred can't believe his eyes.<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>How? I... it was burnt down. I saw it --<\/dialogue>\n    <character>RUSH<\/character>\n    <dialogue>The whole neighborhood came out. The pushers, the grannies, the Crowns... Everybody. \\*<\/dialogue>\n    <scene_description>(re: O'Neal) \\* This one, especially. He led the charge.<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>Nah...<\/dialogue>\n    <character>RUSH<\/character>\n    <dialogue>Don't be modest, brother. You practically lived here.<\/dialogue>\n    <scene_description>Fred touches the walls, almost trying to make sure they're real.<\/scene_description>\n    <character>FRED<\/character>\n    <parenthetical>(growing emotional)<\/parenthetical>\n    <dialogue>Power... anywhere there's people... Power. \\*<\/dialogue>\n    <scene_description>Fred looks at O'Neal and nods in deep appreciation.<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Right on. \\*<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Thank you, brother.<\/dialogue>\n    <scene_description>Winters leads a mass of Panthers burst inside from the back door, mobbing Fred.<\/scene_description>\n    <character>WINTERS \\*<\/character>\n    <dialogue>Chairman! \\*<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>I was wondering why it was so quiet! I was, like, these mufuckas must be out here feeding these babies overtime if they not \\* gon' welcome a brother home, Goddammit! Come on, man. I missed \\* y'all motherfuckers, man. \\*<\/dialogue>\n    <scene_description>CONTINUED: There's laughter and AD LIBBED celebratory chatter. There's a group hug. \\*<\/scene_description>\n    <character>WINTERS \\*<\/character>\n    <dialogue>Alright let me out of here, let me \\* out of here! \\*<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A90 INT. BLACK PANTHER HEADQUARTERS - GROUND FLOOR RENOVATED - A90<\/stage_direction>\n    <character>ONE HOUR LATER<\/character>\n    <dialogue>The radio has been turned on. Cups of soda are poured and passed around. Doc is on the phone. \\*<\/dialogue>\n    <character>DOC \\*<\/character>\n    <dialogue>Black Panther Party headquarters. \\*<\/dialogue>\n    <scene_description>He hangs up. \\*<\/scene_description>\n    <character>DOC \\*<\/character>\n    <dialogue>Rush? \\*<\/dialogue>\n    <scene_description>Rush joins him. \\* Fred, who's speaking to a WOMAN, notices. \\*<\/scene_description>\n    <character>FRED \\*<\/character>\n    <dialogue>'Scuse me, sister. \\*<\/dialogue>\n    <scene_description>He walks over to Doc and Rush. \\*<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>What's up?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>...Jimmy Palmer died. \\*<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>What? How?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>He was shot... while you were gone --<\/dialogue>\n    <character>WINTERS<\/character>\n    <parenthetical>(overhearing)<\/parenthetical>\n    <dialogue>Who was shot?<\/dialogue>\n    <scene_description>Doc hesitates a moment, understanding Winters' sensitivity to the matter. Someone turns down the radio. A90 CONTINUED: A90<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>Jimmy Palmer.<\/dialogue>\n    <character>WINTERS<\/character>\n    <dialogue>He's fine, y'all know that. \\*<\/dialogue>\n    <scene_description>Fred looks to Doc to explain.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>...He died, Jake... last night. \\*<\/dialogue>\n    <character>WINTERS<\/character>\n    <dialogue>...Nah... That's impossible. I \\* just talked to him the other day. \\* Anybody got the number for \\* Loretto? \\*<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>He was moved. To the County Hospital. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A84 INT. CERMAK HOSPITAL - HALLWAY - DAY A84 \\*<\/stage_direction>\n    <scene_description>Jimmy Palmer wakes from a drugged slumber, surprised to \\* find his gurney on the move. Wheeling him are two cops \\* wearing shit-eating grins. Palmer tries to sit up but \\* he's cuffed to the gurney. \\*<\/scene_description>\n    <character>PALMER \\*<\/character>\n    <dialogue>Get these fucking... Get this shit \\* off of me. Hey, motherfuckers! \\*<\/dialogue>\n    <character>INT. BLACK PANTHER HEADQUARTERS - GROUND FLOOR RENOVATED \\*<\/character>\n    <dialogue>Fred wilts. \\*<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>They killed him. They fucking \\* killed him. \\*<\/dialogue>\n    <scene_description>Winters' eyes fill with bitter tears. He bursts out of the room.<\/scene_description>\n    <character>RUSH<\/character>\n    <dialogue>Jake! Jake!<\/dialogue>\n    <scene_description>The revelry ceases as the Panthers reflect on their fallen comrade. Even O'Neal is emotionally affected. \\*<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>AUDIENCE (V.O.)<\/dialogue>\n    <parenthetical>(pre-lap)<\/parenthetical>\n    <dialogue>Chairman Fred! Chairman Fred!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PEOPLE'S CHURCH - LATER THAT AFTERNOON<\/stage_direction>\n    <scene_description>Fred's largest, most diverse audience yet. They clap and stomp, chanting his name. In addition to the Young Patriots, there are a significant number of white people present, including Mitchell in a disguise of sorts: bell- bottomed jeans, a turtleneck, and longshoreman's cap. \\* Fred emerges from the church's rear and strides down the aisle to thunderous applause. Flanking him in the front and rear are O'Neal and members of the security cadre. They stand below the stage, a stoic contrast to the \\* frenzied crowd. Hanging behind them is a banner that reads \"WELCOME HOME CHAIRMAN FRED!\" Deborah looks on near the front row.<\/scene_description>\n    <character>FRED<\/character>\n    <parenthetical>(taking the mic)<\/parenthetical>\n    <dialogue>I'm free...<\/dialogue>\n    <scene_description>The crowd goes wild. Fred smiles wide.<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>I'm free, y'all. I need everybody \\* to repeat after me -- I am! \\*<\/dialogue>\n    <character>AUDIENCE<\/character>\n    <dialogue>I am!<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>A revolutionary!<\/dialogue>\n    <character>AUDIENCE<\/character>\n    <dialogue>A revolutionary!<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>I am!<\/dialogue>\n    <character>AUDIENCE<\/character>\n    <dialogue>I am!<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>A revolutionary!<\/dialogue>\n    <character>AUDIENCE \\*<\/character>\n    <dialogue>A revolutionary! \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>I am! \\*<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>AUDIENCE \\*<\/character>\n    <dialogue>I am! \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>A revolutionary! \\*<\/dialogue>\n    <character>AUDIENCE \\*<\/character>\n    <dialogue>A revolutionary! \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>I am! \\*<\/dialogue>\n    <character>AUDIENCE \\*<\/character>\n    <dialogue>I am! \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>A revolutionary! \\*<\/dialogue>\n    <character>AUDIENCE \\*<\/character>\n    <dialogue>A revolutionary! \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>I am! \\*<\/dialogue>\n    <character>AUDIENCE \\*<\/character>\n    <dialogue>I am! \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>A revolutionary! \\*<\/dialogue>\n    <character>AUDIENCE \\*<\/character>\n    <dialogue>A revolutionary! \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>I am! \\*<\/dialogue>\n    <character>AUDIENCE \\*<\/character>\n    <dialogue>I am! \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>A revolutionary! \\*<\/dialogue>\n    <scene_description>O'Neal remains stoic but echoes Fred's call.<\/scene_description>\n    <character>O'NEAL\/AUDIENCE<\/character>\n    <dialogue>A revolutionary!<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Drummer, lemme hear the people beat!<\/dialogue>\n    <parenthetical>(as live drumming starts)<\/parenthetical>\n    <dialogue>This is what we call the people's beat, started in 1966 by Huey Newton and Bobby Seale. \\*<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>It's the beat that manifests in you, the people. They can't never stop the Party unless they stop the people! Ain't you high? Ain't you high? I'm high... off the people!<\/dialogue>\n    <scene_description>The Audience joins in the following call-and-response, half chant\/half singsong, which grows louder and LOUDER:<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>I'm high!<\/dialogue>\n    <character>AUDIENCE<\/character>\n    <dialogue>I'm high!<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>I'm high! \\*<\/dialogue>\n    <character>CROWNS<\/character>\n    <dialogue>I'm high!<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>High-high-high-high-high!<\/dialogue>\n    <character>AUDIENCE<\/character>\n    <dialogue>High-high-high-high-high!<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Off the people!<\/dialogue>\n    <character>AUDIENCE<\/character>\n    <dialogue>Off the people!<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>So, if you're asked to make a commitment at age twenty and you say, I'm too young to die'... \\* you're dead already. If you dare to struggle, you dare to win. If you dare not struggle, then, Goddammit, you don't deserve to win!<\/dialogue>\n    <scene_description>Raucous applause. A contingent of Crowns, including Rod Collins and Steel, \\* are revealed to be standing in the crowd. \\*<\/scene_description>\n    <character>FRED<\/character>\n    <parenthetical>(raising his fist)<\/parenthetical>\n    <dialogue>Put a fist in the air for comrade Jimmy Palmer.<\/dialogue>\n    <scene_description>CONTINUED: (3) Most of the audience members raise their fists in the air, Mitchell not among them. He grows cross as he looks at the same blonde white girl he eyed before, her fist raised enthusiastically. Fist in the sky, O'Neal nods vigorously with every proclamation Fred makes. Something is happening to him in this moment. Something unexpected and jarring. Maybe it's Palmer's death, or the experience of rebuilding headquarters, or Fred putting an arm around him earlier. But for the first time, the Chairman's words are penetrating O'Neal's cold soul.<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>Jimmy Palmer died a revolutionary death! He stood face-to-face and toe-to-toe with pig Daley's henchman, and made the greatest sacrifice one can ever make!<\/dialogue>\n    <scene_description>The crowd cheers. \\*<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Right on! \\*<\/dialogue>\n    <scene_description>O'Neal zeros in on the few audience members whose fists aren't in the air. He locks eyes with Mitchell. His jaw almost hits the floor. His handler is in this very moment looking him in the eyes, a witness to this sudden ideological conversion.<\/scene_description>\n    <character>FRED \\*<\/character>\n    <dialogue>I don't believe I was born to die in a car wreck; I don't believe I'm going to die slipping on ice...<\/dialogue>\n    <character>ON DEBORAH<\/character>\n    <dialogue>unsure how to feel about what she's hearing.<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>... I don't believe I'm gonna die because I got a bad heart. I believe I'm going to die doing what I was born for. I believe I'm going to die high off the people. I'm gonna die for the people 'cause I live for the people. \\*<\/dialogue>\n    <scene_description>The crowd cheers. \\*<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>I live for the people 'cause I love the people.<\/dialogue>\n    <scene_description>CONTINUED: (4)<\/scene_description>\n    <character>AUDIENCE<\/character>\n    <dialogue>Right on!<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>And as for them bloodthirsty, \\* murderous pigs -- some of you might be in the audience right now, sitting on a tape recorder, gun in your hair -- lemme make it plain...<\/dialogue>\n    <scene_description>O'Neal almost melts under Mitchell's intense gaze.<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>...Kill a few pigs and get a \\* little satisfaction.<\/dialogue>\n    <scene_description>Mitchell reacts. \\*<\/scene_description>\n    <character>FRED \\*<\/character>\n    <dialogue>Kill some more and you get some \\* more satisfaction. Kill 'em all and you get complete satisfaction!<\/dialogue>\n    <scene_description>The crowd cheers. \\* \\*:<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>It's not a question of violence or non-violence. It's a question of resistance to fascism or non- existence within fascism. You can murder a liberator, but you can't murder liberation; you can murder a revolutionary, but you can't murder a revolution; you can murder a freedom-fighter, but you can't murder freedom!<\/dialogue>\n    <scene_description>The diverse crowd bursts into raucous applause. \\*<\/scene_description>\n    <character>FRED \\*<\/character>\n    <dialogue>I say I am! \\*<\/dialogue>\n    <character>AUDIENCE \\*<\/character>\n    <dialogue>I am! \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>A revolutionary! \\*<\/dialogue>\n    <character>AUDIENCE \\*<\/character>\n    <dialogue>A revolutionary! \\*<\/dialogue>\n    <scene_description>CONTINUED: (5)<\/scene_description>\n    <character>FRED \\*<\/character>\n    <dialogue>I am! \\*<\/dialogue>\n    <character>AUDIENCE \\*<\/character>\n    <dialogue>I am! \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>A revolutionary! \\*<\/dialogue>\n    <character>AUDIENCE \\*<\/character>\n    <dialogue>A revolutionary! \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>I am! \\*<\/dialogue>\n    <character>AUDIENCE \\*<\/character>\n    <dialogue>I am! \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>A revolutionary! \\*<\/dialogue>\n    <character>AUDIENCE \\*<\/character>\n    <dialogue>A revolutionary! \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>I am! \\*<\/dialogue>\n    <character>AUDIENCE \\*<\/character>\n    <dialogue>I am! \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>A revolutionary! \\*<\/dialogue>\n    <character>AUDIENCE \\*<\/character>\n    <dialogue>A revolutionary! \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>Drummer let me hear the people \\* beat! Let me hear the people beat. \\*<\/dialogue>\n    <scene_description>The crowd erupts with chants of \"Chairman Fred!\" Fred \\* takes a moment to survey the crowd. What once seemed impossible suddenly feels within his grasp: a united people's revolution.<\/scene_description>\n    <character>FRED \\*<\/character>\n    <dialogue>Put your fist in the air! \\*<\/dialogue>\n    <scene_description>OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A93 EXT. REG'S HOUSE - NIGHT A93<\/stage_direction>\n    <scene_description>Winters sits outside Reg's trailer home. Reg, the \\* janitor from the hospital, arrives carrying a coke. \\*<\/scene_description>\n    <character>REG<\/character>\n    <dialogue>Winters? The fuck you doing here? \\*<\/dialogue>\n    <character>WINTERS<\/character>\n    <dialogue>... Looking for some answers.<\/dialogue>\n    <character>REG \\*<\/character>\n    <dialogue>Answers to what? \\*<\/dialogue>\n    <character>WINTERS \\*<\/character>\n    <dialogue>Remember I saw you not too long \\* ago? At the hospital? \\*<\/dialogue>\n    <character>REG \\*<\/character>\n    <dialogue>Yeah. \\*<\/dialogue>\n    <character>WINTERS \\*<\/character>\n    <dialogue>The pigs took my man outta there -- \\*<\/dialogue>\n    <character>REG<\/character>\n    <dialogue>I don't know about that. \\*<\/dialogue>\n    <scene_description>He starts going inside. Winters follows him up the steps of the house.<\/scene_description>\n    <character>WINTERS<\/character>\n    <dialogue>...I was thinking maybe you could \\* ask a couple questions --<\/dialogue>\n    <character>REG<\/character>\n    <dialogue>And fuck my money up? Nigga, do \\* you have any idea how treacherous them crackers is down there? I \\* want no parts of that. \\*<\/dialogue>\n    <character>WINTERS<\/character>\n    <dialogue>Reg, Reg, please man. \\*<\/dialogue>\n    <character>REG \\*<\/character>\n    <dialogue>Look man. I'm cold and I'm hungry. \\* Now get out of my way. \\*<\/dialogue>\n    <scene_description>Reg steps toward the building but Winters stops him. The \\* men look one another in the eye, a confrontation brewing.<\/scene_description>\n    <character>WINTERS<\/character>\n    <dialogue>Come on, brother. \\*<\/dialogue>\n    <scene_description>A93 CONTINUED: A93<\/scene_description>\n    <character>REG<\/character>\n    <dialogue>I ain't your brother. Now get the \\* fuck off my porch before you end up like your boy there. \\*<\/dialogue>\n    <scene_description>That does it. Winters tries to stop Reg from going \\* inside but Reg is stronger and angry. Reg shoves Winters \\* hard to the ground, which causes the rifle previously hidden beneath his coat to fall to the ground. Reg's eyes grow wide. As Winters bends down to retrieve it, Reg slams the door shut.<\/scene_description>\n    <character>WINTERS<\/character>\n    <dialogue>I just want to know what happened - \\* - Reg! Ay! Reg! I just want to \\* know what happened to my friend! \\* Reg! \\*<\/dialogue>\n    <scene_description>A frustrated Winters backs away from the door.<\/scene_description>\n    <character>REG (O.S.) \\*<\/character>\n    <dialogue>(on phone) \\*<\/dialogue>\n    <scene_description>Across the street from the oil \\* refinery. Londale and 45th. Yes. \\* He's got a gun. A big one. \\* Winters scrambles down the hill. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRED AND DEBORAH'S APARTMENT - BEDROOM - NIGHT 94 \\*<\/stage_direction>\n    <scene_description>Fred retrieves a cigarette and lighter from his pants. \\* He's about to spark when he notices a small journal on the floor with a collage of black, feminine, revolutionary images culled from magazines\/newspapers taped to the front. He glances in the direction of the bathroom before opening the book. He flips through it. More collage work. A photo of Betty Shabazz. And then a journal entry titled: \"Are you a bad motherfucker? Or just a bad mother?\"<\/scene_description>\n    <character>DEBORAH (O.S.)<\/character>\n    <dialogue>What are you doing? That's \\* private. \\*<\/dialogue>\n    <scene_description>Fred looks up to discover Deborah back in the room. \\*<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>You think you're gonna be a bad \\* mother?<\/dialogue>\n    <character>DEBORAH<\/character>\n    <dialogue>...It was a question. \\*<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>Why you gotta ask yourself then? \\*<\/dialogue>\n    <character>DEBORAH<\/character>\n    <dialogue>I don't know. Maybe the fact that I'm bringing a child into a war zone? These aren't considerations you have to make. You get to go up there and talk about dying a revolutionary death and how your body belongs to the revolution because you don't have another \\* person growing inside your body.<\/dialogue>\n    <scene_description>Fred considers her point.<\/scene_description>\n    <character>FRED<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>So you regret it? \\*<\/dialogue>\n    <character>DEBORAH<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Having my baby?<\/dialogue>\n    <scene_description>The question startles her.<\/scene_description>\n    <character>DEBORAH<\/character>\n    <dialogue>Do you? \\*<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>When I dedicated my life to the \\* people... I dedicated my life. You dig? Wasn't 'til Menard I \\* realized what that meant. 'Cause \\* in order to survive in there... a part of me had to die, man. You \\* couldn'ta told me that when I got \\* out... That I had had every reason \\* to live.<\/dialogue>\n    <parenthetical>(off of her look)<\/parenthetical>\n    <dialogue>So do you regret it?<\/dialogue>\n    <scene_description>Deborah retrieves her journal and flips through it. \\*<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>Do you?<\/dialogue>\n    <character>DEBORAH<\/character>\n    <dialogue>I want to share something with \\* you. \\*<\/dialogue>\n    <scene_description>CONTINUED: (2) She finds the entry she was looking for.<\/scene_description>\n    <character>DEBORAH<\/character>\n    <dialogue>Like the masses I was in awe\/When I first laid eyes on everything you are\/I heard that speech and when that indent pierced your cheek\/I knew we'd make noise, I \\* just thought it'd be in the streets\/ What magic a philistine and a poet could create -- \\*<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>A philistine? Who you calling a philistine?<\/dialogue>\n    <character>DEBORAH<\/character>\n    <dialogue>You're seriously interrupting me right now?<\/dialogue>\n    <scene_description>Fred grumbles.<\/scene_description>\n    <character>DEBORAH<\/character>\n    <dialogue>What magic a philistine and a poet could create\/However \\* contradictory, it would seem that it's fate\/We educate, we nurture, we feed and we lobby \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A94 EXT. OIL REFINERY - NIGHT A94 \\*<\/stage_direction>\n    <scene_description>Taking heavy gunfire, Winters cocks his gun, pops out and \\* FIRES. The cops fire back. \\*<\/scene_description>\n    <character>DEBORAH (V.O.) \\*<\/character>\n    <dialogue>Perhaps we're here for more than \\* just war with these bodies. \\*<\/dialogue>\n    <scene_description>Many of Winters' bullets find their marks. Cops go down. \\* Winters takes cover, crawling to an open doorway as \\* gunfire is returned his direction. \\*<\/scene_description>\n    <character>DEBORAH (V.O.) \\*<\/character>\n    <dialogue>(pre-lap) \\*<\/dialogue>\n    <scene_description>Will my comrades think me \\* treasonous? \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRED AND DEBORAH'S APARTMENT - BEDROOM - CONTINUOUS 96 \\*<\/stage_direction>\n    <character>ACTION \\*<\/character>\n    <dialogue>As before -- \\*<\/dialogue>\n    <scene_description>\\*: CONTINUED:<\/scene_description>\n    <character>DEBORAH \\*<\/character>\n    <dialogue>Can it please have your \\* dimples?\/Will my chairman look at me differently?\/Will its eyes have your twinkle?Will our child be the \\* apple of his eye?\/Or constantly get the compromise?\/The rata-tat- tat of gunfire, the clink of a jail cell -- lullabies\/We scream and we \\* shout and we live by this anthem... But is power to the people, really worth the ransom? \\* Because that's what a mother does - \\* - gives the world the most precious things she loves\/And I love you and I love our baby \\* too\/And there's nothing more \\* radical than seeing that through\/Born pure to the blood, with the heart of a panther<\/dialogue>\n    <scene_description>Fred's eyes well with tears. \\* DISSOLVE TO:<\/scene_description>\n    <character>EXT. REFINERY - FENCE - NIGHT<\/character>\n    <dialogue>DEBORAH (V.O.) \\*<\/dialogue>\n    <scene_description>(post-lap) \\* No regrets... \\* Winters limps toward a fence, mulling hopping it. Then he turns back towards the police, rage in his eyes.<\/scene_description>\n    <character>DEBORAH (V.O.)<\/character>\n    <parenthetical>(post-lap)<\/parenthetical>\n    <dialogue>...I know my answer. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. REFINERY - NIGHT<\/stage_direction>\n    <scene_description>Officer Rappaport (20s) creeps through the oil drums, tracking Winters, or so he thinks. THROUGH a series of holes in the drums we observe the Winters tracking Rappaport and, as quickly as we see him, he disappears. Rappaport reaches the rounded edge of an oil drum. He hesitates before peeking around the corner. The shooter steps from behind a different drum and shoots Rappaport in the abdomen. As he writhes on the ground, the shooter approaches and stands over him.<\/scene_description>\n    <character>RAPPAPORT \\*<\/character>\n    <dialogue>Please. Please. Please. \\*<\/dialogue>\n    <scene_description>CONTINUED: Rappaport begs for his life as the shotgun is placed to his cheek.<\/scene_description>\n    <character>RAPPAPORT \\*<\/character>\n    <dialogue>Please, no. \\*<\/dialogue>\n    <scene_description>REVEAL: Winters standing above him. He fires the gun. His face is spattered with blood. A barrage of bullets greets him. CUT TO BLACK.:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BLACK PANTHER HEADQUARTERS - CONTINUOUS ACTION 55 \\*<\/stage_direction>\n    <scene_description>O'Neal's car screeches to a halt outside of headquarters. \\* He hops out and keys inside. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLACK PANTHER HEADQUARTERS - GROUND FLOOR - 56 \\*<\/stage_direction>\n    <character>CONTINUOUS ACTION \\*<\/character>\n    <dialogue>O'Neal bursts inside and is surprised to find it empty. \\*<\/dialogue>\n    <dialogue>CLICK -- O'Neal freezes at the sound of a cocked gun, the \\* barrel pressed to the back of his head. Trembling, he \\* raises his hands in the air slowly and tries to peek \\* behind him at the gunman. It's him -- dressed in his G- \\* man outfit. \\*<\/dialogue>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Whoa whoa whoa. Hey, don't shoot \\* me. Please don't kill me. I'm not \\* a rat. I'm not a rat, I swear. \\*<\/dialogue>\n    <scene_description>Fed O'Neal shoots Panther O'Neal in the head. \\* \\*:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. O'NEAL'S WEEKLY ROOM RENTAL - NIGHT (REALITY) 57 \\*<\/stage_direction>\n    <scene_description>O'Neal wakes up, sweat-drenched. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MRS. WINTERS' HOUSE - KITCHEN - DAY 109 \\*<\/stage_direction>\n    <scene_description>The PHONE RINGS. MRS. WINTERS (40s) pours a cup of \\* coffee and carries two cups over to the kitchen table \\* where Fred awaits. \\*<\/scene_description>\n    <character>FRED \\*<\/character>\n    <dialogue>Thank you. \\*<\/dialogue>\n    <scene_description>CONTINUED: The PHONE CONTINUES TO RING. Fred looks in its direction \\* curiously. \\*<\/scene_description>\n    <character>MRS. WINTERS \\*<\/character>\n    <dialogue>You welcome. \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>Do you want me to get that? \\*<\/dialogue>\n    <character>MRS. WINTERS \\*<\/character>\n    <dialogue>It's probably one of them crank \\* callers. As if it ain't bad \\* enough I'll never see my son \\* again. You think the mothers of \\* those police officers that killed \\* the Soto brothers are getting \\* harassed like this? Please. \\*<\/dialogue>\n    <scene_description>Fred wilts. \\*<\/scene_description>\n    <character>FRED \\*<\/character>\n    <dialogue>...I know what you gonna say but -- \\*<\/dialogue>\n    <character>MRS. WINTERS \\*<\/character>\n    <dialogue>No. Stop. Stop that. \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>I'm sorry, Mrs. Winters. \\*<\/dialogue>\n    <scene_description>She quells the agitation before it can bubble up. \\*<\/scene_description>\n    <character>MRS. WINTERS \\*<\/character>\n    <dialogue>Let's talk about something else. \\* How's Deborah? \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>...Tired of being pregnant. \\*<\/dialogue>\n    <scene_description>They laugh. \\*<\/scene_description>\n    <character>MRS. WINTERS \\*<\/character>\n    <dialogue>Yeah. Yeah. Tell her cherish it. \\* All of it. Those early days \\* are... \\*<\/dialogue>\n    <scene_description>(smiling wistfully) \\* You know even when I think about \\* Jake in my mind he's always seven. \\* That's how I remember him. My \\* little boy. I remember one time \\* in church, he said, 'Mama, can I \\* be excused?' I said, 'Why, Jake?' \\* You know, figuring he was bored or \\* something. And he goes, 'Mama, I \\* have to pass gas.' \\* CONTINUED: (2) They laugh. \\*<\/scene_description>\n    <character>FRED \\*<\/character>\n    <dialogue>Sound like Jake. \\*<\/dialogue>\n    <character>MRS. WINTERS \\*<\/character>\n    <dialogue>So well-behaved. \\*<\/dialogue>\n    <scene_description>(beat) \\* Those folks, they trying to paint \\* my Jake as some cold-blooded \\* killer. He did that. He did that. \\* But that ain't all he did... Tell \\* 'em about my Jake, Chairman. \\* Please. \\* Fred places a sympathetic hand on hers, wishing there was \\* something he could do. \\*<\/scene_description>\n    <character>FRED \\*<\/character>\n    <dialogue>Yes. \\*<\/dialogue>\n    <character>MRS. WINTERS \\*<\/character>\n    <dialogue>It don't seem fair that that's his \\* legacy. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRED AND DEBORAH'S APARTMENT - CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>O'Neal, Rush, and Fred stand outside. \\* O'Neal opens his car trunk. Inside: several bricks of C- \\* 4.<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Here. C-4. We got enough there we \\* could blow up city hall, some more \\* shit. \\*<\/dialogue>\n    <character>RUSH \\*<\/character>\n    <dialogue>Fuck is wrong with you? \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>Calm down, Comrade. Calm down. \\*<\/dialogue>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>What do you mean what's wrong with \\* me, man? Y'all fucking crazy? \\* We're not gon' win this war. So we \\* gotta do something big and we \\* gotta do it now. \\*<\/dialogue>\n    <character>\\*<\/character>\n    <dialogue>FRED<\/dialogue>\n    <scene_description>You out of your mind. \\* CONTINUED:<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>...Complete satisfaction. Ain't \\* that what you told me? Kill 'em \\* all, complete satisfaction... \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>I didn't mean it like that. \\*<\/dialogue>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>I call you comrade 'cause we at \\* war! You the one that gave me the \\* game, man. Jimmy Palmer. Alright \\* you remember Little Bobby? Franko \\* Diggs, Thomas Lewis, Bunchy Carter... Jake Winters -- \\*<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>All you're looking to do is add more names to that list. You bomb \\* city hall, they gonna bomb us! \\*<\/dialogue>\n    <character>O'NEAL<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I'm ready to die for the people, comrade. How 'bout you?<\/dialogue>\n    <scene_description>Fred lunges for O'Neal but is restrained.<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Is it a Goddamn revolution or \\* what? Huh? What are we doing this \\* shit for? \\*<\/dialogue>\n    <scene_description>Fred lunges for O'Neal again, but again Rush holds him \\* back. \\*<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>Get the fuck out of here! Get this \\* shit the fuck out of here, you \\* fucking idiot! Get the fuck on, \\* man. \\*<\/dialogue>\n    <scene_description>O'Neal eyes him with a combination of shock and hurt.<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>Well then fuck it then, I'm out! \\* This whole shit gonna crumble! \\* Motherfucker. Fuck is you talking \\* 'bout, nigga? \\*<\/dialogue>\n    <scene_description>O'Neal slams his trunk and climbs in his car as the Panthers escort Fred back towards the apartment. He starts the engine and peels off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A102 INT.\/EXT. O'NEAL'S CAR (MOVING) - DAY A102<\/stage_direction>\n    <scene_description>As O'Neal drives, his agitation gives way to relief as he realizes --<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>Goddamn it! \\*<\/dialogue>\n    <scene_description>Relief gives way to regret, to relief again. He rips the previously concealed wire off of his bare chest and tosses it on the passenger seat. He then rolls down the window, takes off his Panther beret, and tosses it out... finally free. \\* OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI HQ (CHICAGO) - CARLYLE'S OFFICE - DAY<\/stage_direction>\n    <character>SECRETARY (V.O.) \\*<\/character>\n    <dialogue>F.B.I., how may I direct your \\* call? \\*<\/dialogue>\n    <scene_description>A smiling Mitchell and Carlyle huddle around Carlyle's desk, enjoying cigars. Carlyle is on speakerphone.<\/scene_description>\n    <character>CARLYLE<\/character>\n    <dialogue>Special Agent Carlyle for Director \\* Hoover. \\*<\/dialogue>\n    <scene_description>There's BEEP. \\*<\/scene_description>\n    <character>HOOVER \\*<\/character>\n    <dialogue>Hello. \\*<\/dialogue>\n    <character>CARLYLE \\*<\/character>\n    <dialogue>Director Hoover, good afternoon \\* sir. I am calling with good news, \\* with great news. Two hours ago the \\* Illinois Supreme Court denied Hampton's appeal. He's going back \\* to Menard.<\/dialogue>\n    <character>HOOVER \\*<\/character>\n    <dialogue>I know. \\*<\/dialogue>\n    <character>CARLYLE \\*<\/character>\n    <dialogue>Well that's what we want, right? \\*<\/dialogue>\n    <character>HOOVER (V.O.)<\/character>\n    <parenthetical>(over phone)<\/parenthetical>\n    <dialogue>...Prison made Huey Newton a \\* celebrity.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>HOOVER (V.O.)<\/character>\n    <dialogue>It made Eldridge Cleaver a \\* bestselling author. Prison is a \\* temporary solution. \\*<\/dialogue>\n    <scene_description>Silence hangs in the air. The two men look at each other, coming to comprehend Hoover's unspoken directive.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A108 INT. FRED AND DEBORAH'S APARTMENT - DINING ROOM - A108 \\*<\/stage_direction>\n    <character>CONTINUOUS ACTION \\*<\/character>\n    <dialogue>Deborah enters in her nightgown, rubbing the sleep from \\* her eyes. Fred sits at the dining room table, several \\* open boxes of old newspapers and magazines at his feet. \\* He stares at a clipping in his hands, absorbed in his \\* thoughts. Deborah startles him. \\*<\/dialogue>\n    <character>DEBORAH \\*<\/character>\n    <dialogue>What you doing? \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>Going through old shit. \\*<\/dialogue>\n    <scene_description>Deborah takes the clipping from his hands. It is of \\* Emmett Till -- the famous side-by-side photo of his \\* smiling, beatific face next to his mangled carcass. \\*<\/scene_description>\n    <character>FRED \\*<\/character>\n    <dialogue>My mom used to babysit him, \\* y'know... Not all the time but \\* his family lived across the street \\* so every now and then she'd watch \\* him. We didn't go to the funeral. \\* It was too much for her. I don't \\* even think I saw the photo 'til \\* months later. But I remember when \\* I did, thinking, 'There's people \\* in this world that want to do that \\* to me. Or my brother? Or my \\* sister?' That's when I knew I had \\* to protect them. Looking at that \\* photo, how could you not feel that \\* way? Now here I am. About to go \\* to Menard. Where I won't be able \\* to protect anybody... Not even my \\* own son. \\*<\/dialogue>\n    <scene_description>Deborah touches Fred's face. \\*<\/scene_description>\n    <character>DEBORAH \\*<\/character>\n    <dialogue>The party will protect him. You \\* hear me? The people will protect \\* him. \\*<\/dialogue>\n    <scene_description>A108 CONTINUED: A108 Deborah places her arm around Fred and embraces him. His \\* mood turns somber as he rests his head on her nine-month- \\* pregnant belly. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOLDEN TORCH RESTAURANT (DOWNTOWN CHICAGO) - DAY<\/stage_direction>\n    <character>(1969)<\/character>\n    <dialogue>Mitchell eats a bloody steak. He looks up to see O'Neal, dressed in a suit, turtleneck, and sunglasses ensemble, strolling into the restaurant. \\*<\/dialogue>\n    <dialogue>Mitchell regards this latest incarnation of O'Neal with a \\* cynical smirk.<\/dialogue>\n    <character>O'NEAL<\/character>\n    <parenthetical>(sitting down)<\/parenthetical>\n    <dialogue>Hey. Roy Boy. How are you? Look \\* man. Sorry, I'm late. I just... \\* you know. How's it going? It's \\* groovy, right? \\*<\/dialogue>\n    <scene_description>Silence. O'Neal removes his shades -- \\*<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>What can I do for you, Roy? \\*<\/dialogue>\n    <scene_description>O'Neal's hubris both amuses and annoys Mitchell.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>You been to Hampton's apartment, right?<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>Right. \\*<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>A lot of guns there?<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Good. I need you to draw me a blueprint of the place.<\/dialogue>\n    <character>O'NEAL<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>You must not uh... Fred's going \\* back to Menard. I think it's his \\* appeal getting revoked. Something \\* like that. \\*<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>No, I'm aware. \\*<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <parenthetical>(more confused)<\/parenthetical>\n    <dialogue>Alright, well if you're aware, I \\* don't understand... \\*<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>You don't have to understand, \\* Bill. You just gotta draw me the \\* blueprint.<\/dialogue>\n    <scene_description>O'Neal hesitates. Something seems off. Mitchell has never been this cold and evasive.<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>Listen, Roy. \\*<\/dialogue>\n    <scene_description>It's clear to O'Neal that his words aren't penetrating.<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>...You got him, man. You... You \\* won... What more do you want? \\*<\/dialogue>\n    <scene_description>Mitchell says nothing. Just shoves meat in his mouth.<\/scene_description>\n    <character>O'NEAL<\/character>\n    <parenthetical>(concerned)<\/parenthetical>\n    <dialogue>...You gonna kill him, Roy? Huh? \\*<\/dialogue>\n    <scene_description>Silence. \\*<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>I saw you, y'know.<\/dialogue>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>What? \\*<\/dialogue>\n    <character>MITCHELL \\*<\/character>\n    <dialogue>That day at the speech? I watched \\* you. I remember thinking to \\* myself, 'Either this guy deserves \\* the Academy award, or he really believes this shit.'<\/dialogue>\n    <character>O'NEAL<\/character>\n    <parenthetical>(growing angry)<\/parenthetical>\n    <dialogue>Hey come on, man, I was doing my \\* Goddamn -- I was doing the job you \\* told me to do. I was doing what \\* the fuck you said. 'The fuck you \\* talking about man? \\*<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Tell you what, Bill -- Let's say \\* I put a call into New Haven PD.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Get them to send me a few snapshots of your friend Alex Rackley after they dragged him from the river, cigarette burns all over his body, skin peeling off from where the Panthers poured \\* boiling water all over his cock. \\*<\/dialogue>\n    <parenthetical>(off of his look)<\/parenthetical>\n    <dialogue>If they did that to Rackley, imagine what they'll do when they find out their security captain is \\* a fucking rat. A fucking rat. \\*<\/dialogue>\n    <scene_description>Mitchell slides his notebook and pen in front of O'Neal who remains frozen in disbelief. \\* O'Neal slams on the table. After a beat, he reluctantly \\* opens the notebook and starts drawing. FOCUS ON: NOTEBOOK.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SWANKY BAR - NIGHT<\/stage_direction>\n    <scene_description>The place is dead. WAYNE, 50s\/60s, who clocked O'Neal in \\* the bar earlier, sits near the entrance flirting with \\* DARLENE, forties, black, a chain-smoking alcoholic but \\* she'll catch you slipping before you catch her.<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>They name all these ships like \\* Apollo and all that, right like \\* Black people but there ain't no \\* Black astronauts, right? \\*<\/dialogue>\n    <scene_description>She laughs. \\*<\/scene_description>\n    <character>WAYNE \\*<\/character>\n    <dialogue>I like seeing you smile. How 'bout \\* we continue this at my pad? \\* Nightcap? \\*<\/dialogue>\n    <character>DARLENE \\*<\/character>\n    <dialogue>Please. \\*<\/dialogue>\n    <character>WAYNE \\*<\/character>\n    <dialogue>I've got more than enough alcohol, \\* you know. \\*<\/dialogue>\n    <scene_description>She stands and walks to a stranger seated alone at the \\* opposite end of the bar: O'Neal, several drinks in the bag, a near-empty glass of whiskey on the bar.<\/scene_description>\n    <character>DARLENE<\/character>\n    <parenthetical>(addressing O'Neal)<\/parenthetical>\n    <dialogue>Hi. I'm Darlene. \\*<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Hey. Bill. \\*<\/dialogue>\n    <scene_description>One gets the sense maybe O'Neal wants to be alone. But \\* not Darlene. \\*<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>What brings you out so late, Bill? \\*<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>You know. It's quiet. And nobody \\* knows who the hell I am. \\*<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>Mysterious. So what do you do, \\* Mystery Man? \\*<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>I used to work for the FBI. \\*<\/dialogue>\n    <scene_description>Darlene emits a raspy CACKLE before polishing off her gin and tonic with one final draw.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>Top me off while I run to the \\* ladies', Eliot Ness.<\/dialogue>\n    <scene_description>She departs. The moment she's GONE --<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Shit, they letting niggas work for \\* the FBI now? Is that right? Why \\* don't you get me an application, \\* brother? Mr. FBI Man? \\*<\/dialogue>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Hey, man, would you shut the fuck \\* up? \\*<\/dialogue>\n    <scene_description>Wayne grabs his newspaper from the bar and rises off his \\* stool, making his way towards him. \\*<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Hey hey hey hey. \\*<\/dialogue>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Goddamnit. \\*<\/dialogue>\n    <character>WAYNE \\*<\/character>\n    <dialogue>Mitchell warned me about you. \\*<\/dialogue>\n    <scene_description>O'Neal's blood runs cold as the man plops next to him, occupying Darlene's space. CONTINUED: (2)<\/scene_description>\n    <character>WAYNE \\*<\/character>\n    <dialogue>Yeah. \\*<\/dialogue>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>What? \\*<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Look here, just relax. We're \\* hiding in plain sight, nobody know \\* we're here. \\*<\/dialogue>\n    <scene_description>The man deftly unfolds his newspaper, REVEALING a SMALL UNMARKED ENVELOPE --<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Check this out, I got this article \\* I want you to read, right? \\* Article in this paper. Very \\* important. \\*<\/dialogue>\n    <parenthetical>(closing newspaper back)<\/parenthetical>\n    <dialogue>I need you to let the Chairman \\* read it tomorrow night. Put that \\* in his drink.<\/dialogue>\n    <scene_description>He slides the paper in front of O'Neal --<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>I don't know what the fuck you \\* talking about, man. Fuck outta \\* here with that shit. \\*<\/dialogue>\n    <scene_description>The man smiles, staring at O'Neal like, \"You sure that's how you want to play it?\" After a long beat --<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>My mistake.<\/dialogue>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Articles and shit, man. \\*<\/dialogue>\n    <character>WAYNE \\*<\/character>\n    <dialogue>Nah, that's my mistake. Guess I \\* had the wrong guy. Sorry about \\* that. I'll get outta here. \\*<\/dialogue>\n    <scene_description>The man gets up and EXITS without the newspaper. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SWANKY BAR - NIGHT 107 \\*<\/stage_direction>\n    <scene_description>O'Neal follows Wayne out of the bar. \\*<\/scene_description>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>HEY! Hey, who are you man? \\*<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>WAYNE \\*<\/character>\n    <dialogue>Hey, don't worry about it, Slick. \\* Just get back inside. \\*<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>Nigga, I'm not gonna poison him. \\* You hear me? You fuckin' hear me? \\*<\/dialogue>\n    <character>WAYNE<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>Come on, man. You watch too many \\* movies. All it's gonna do is make \\* him sleepy. You want him to go \\* easy, right?<\/dialogue>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Who the fuck are you man? Tell me \\* your fuckin' name. Did Roy send \\* you? \\*<\/dialogue>\n    <scene_description>The man enters his car.<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>If you a Fed, show me your fuckin' \\* badge. Hey! Show me your fuckin' \\* badge man, please. \\*<\/dialogue>\n    <scene_description>The man smiles, digs in the glove compartment, and tosses a small wallet to O'Neal. He starts the engine and pulls off, leaving O'Neal rattled to his core. The old badge case feels strangely familiar in his hands. O'Neal opens it slowly -- revealing HIS OLD FAKE FBI BADGE! CUT TO BLACK. \\*:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRED AND DEBORAH'S APARTMENT - VARIOUS LOCATIONS - 111 \\*<\/stage_direction>\n    <character>NIGHT<\/character>\n    <dialogue>IN THE KITCHEN: Rush is in the doorway. Fred leans \\* against the counter, smoking a cigarette. He holds in his hands a fat envelope of money, ruminating about what to do. Collins stands across from him.<\/dialogue>\n    <character>COLLINS<\/character>\n    <dialogue>Consider it a gift from the Crowns. Ain't no shame in running. It's not like they giving you a choice.<\/dialogue>\n    <character>RUSH<\/character>\n    <dialogue>Maybe -- maybe he's right, \\* Chairman. Go overseas. \\*<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>RUSH<\/character>\n    <dialogue>Start an international proletariat \\* revolution. At least that way you're still in the fight.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. O'NEAL'S CAR - NIGHT 110 \\*<\/stage_direction>\n    <scene_description>The car is parked. O'Neal sits in the shadows, staring \\* out the windshield. He stares at Fred's apartment across \\* the street. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A112 INT. FRED AND DEBORAH'S APARTMENT - LIVING ROOM A112 \\*<\/stage_direction>\n    <scene_description>O'Neal enters, visibly rattled. He tries to ignore the stares from the other diners and stands across the room \\* from Fred. \\*<\/scene_description>\n    <character>COLLINS (O.S.) \\*<\/character>\n    <dialogue>Cuba's not an option? Why not? \\*<\/dialogue>\n    <character>RANDLE (O.S.) \\*<\/character>\n    <dialogue>Algeria. \\*<\/dialogue>\n    <character>COLLINS (O.S.) \\*<\/character>\n    <dialogue>Shit, even better. \\*<\/dialogue>\n    <scene_description>MARK CLARK (22) is seated next to O'Neal. \\*<\/scene_description>\n    <character>CLARK<\/character>\n    <parenthetical>(offering hand for a shake)<\/parenthetical>\n    <dialogue>Mark Clark. Deputy Minister of Defense, Peoria Chapter. Central ordered me to come down and check out how y'all do things here in \\* the Windy City. \\*<\/dialogue>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Yup. \\*<\/dialogue>\n    <character>CLARK<\/character>\n    <dialogue>And your name, comrade?<\/dialogue>\n    <character>O'NEAL<\/character>\n    <dialogue>Oh -- Bill.<\/dialogue>\n    <character>CLARK<\/character>\n    <dialogue>What cadre you in, Bill?<\/dialogue>\n    <scene_description>O'Neal glances over at Fred, who's listening intently to the conversation taking place at the other end of the table. A112 CONTINUED: A112<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>Man, I'm not even in no... \\*<\/dialogue>\n    <character>CLARK<\/character>\n    <dialogue>Thinking 'bout joining up? Right on. Right on, Bill. I started \\* out in the NAACP myself. Then I \\* had to leave. Them Negroes move \\* too damn slow for me... \\*<\/dialogue>\n    <scene_description>O'Neal's attention is clearly elsewhere. Clark drops it. At the opposite end of the room: \\*<\/scene_description>\n    <character>COMPTON \\*<\/character>\n    <dialogue>I know a guy, kites up checks, passports, driver's licenses, things of that nature.<\/dialogue>\n    <character>DEBORAH<\/character>\n    <dialogue>Yeah but, how far we gon' get when \\* one of us is thirty-seven weeks pregnant?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You could be in Havana in less than twenty-four hours. And they have some of the best doctors in the world.<\/dialogue>\n    <character>RANDLE<\/character>\n    <dialogue>Okay, let's just hope that's not \\* the day that Nixon decides to nuke \\* that motherfucker.<\/dialogue>\n    <parenthetical>(off laughter)<\/parenthetical>\n    <dialogue>Look, Algeria, they've got \\* Minister Eldrige. Not to mention bungalows by the sea.<\/dialogue>\n    <scene_description>At the mention of bungalows there's a slight shift in Fred's demeanor. He takes a drink of Kool-Aid from his amber-tinted glass.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Cuba got ocean for days. You know how long it'll take to get to Algeria? Cuba's a hop and a skip away.<\/dialogue>\n    <character>RUSH<\/character>\n    <dialogue>There is a network of safe houses \\* heading south. I could put a call into Central --<\/dialogue>\n    <scene_description>A112 CONTINUED: (2) A112<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>Y'all spending all this time talking 'bout me going to Algerian \\* bungalows when we need to be \\* talking about how we gonna build \\* this motherfucking medical clinic. \\* Is the party about me or is it \\* about the people? Hm? \\*<\/dialogue>\n    <character>COLLINS \\*<\/character>\n    <dialogue>Chairman... \\*<\/dialogue>\n    <scene_description>Off of their looks, some confused, others mildly embarrassed, Fred reaches behind his waist and grabs the \\* envelope of cash given him by Rod Collins. Collins can't \\* believe it.<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>It's five years. You know how \\* many people we could save in five years? With a medical clinic? In \\* the middle of the West Side? Far \\* as I'm concerned, that's an easy decision. Doc, you run it.<\/dialogue>\n    <scene_description>Fred hands the envelope to Doc. \\*<\/scene_description>\n    <character>FRED \\*<\/character>\n    <dialogue>Name it after Jake. So when \\* people hear the name Jake Winters, they think about healing. And loving. Like he loved us.<\/dialogue>\n    <scene_description>The mood grows somber.<\/scene_description>\n    <character>FRED<\/character>\n    <parenthetical>(rubbing Deborah's belly)<\/parenthetical>\n    <dialogue>And when I get out... me and Deb can have our second...<\/dialogue>\n    <parenthetical>(off of her look)<\/parenthetical>\n    <dialogue>And third, and fourth...<\/dialogue>\n    <character>DEBORAH<\/character>\n    <dialogue>Okay, easy now. \\*<\/dialogue>\n    <character>ANOTHER ANGLE<\/character>\n    <dialogue>Everyone laughs except O'Neal, who's crying. He catches Mark Clark staring at him and quickly wipes away his tears, fearing a witness to his betrayal. But instead, Clark nods respectfully, almost moved to tears himself, albeit for drastically different reasons.<\/dialogue>\n    <scene_description>A112 CONTINUED: (3) A112<\/scene_description>\n    <character>FRED<\/character>\n    <dialogue>I was gonna cap it at five, baby. Five's a good number, right?<\/dialogue>\n    <character>DEBORAH<\/character>\n    <dialogue>Let's see how you do with the one.<\/dialogue>\n    <scene_description>There's laughter and chatter among the assembled.<\/scene_description>\n    <character>RUSH \\*<\/character>\n    <dialogue>Speaking of children, Chairman, \\* I'm gonna go ahead and get back to \\* my family. \\*<\/dialogue>\n    <character>FRED \\*<\/character>\n    <dialogue>Take care, Comrade. \\*<\/dialogue>\n    <character>RUSH \\*<\/character>\n    <dialogue>Alright. See you in the morning, \\* Comrade. \\*<\/dialogue>\n    <scene_description>Rush exits. \\* Suddenly, O'Neal stands. Before he knows it, he's \\* approaching Fred. He stands over him, sweat beading his brow. Fred looks up at him expectantly. O'Neal opens his mouth. Is he going to confess? Nothing comes out --<\/scene_description>\n    <character>FRED<\/character>\n    <parenthetical>(concerned)<\/parenthetical>\n    <dialogue>What's up? \\*<\/dialogue>\n    <scene_description>O'Neal takes a nervous gulp of air.<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>Can I get another drink... you \\* want a refill, Chairman? \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRED'S APARTMENT - NIGHT 113 \\*<\/stage_direction>\n    <scene_description>O'Neal stands atop the stoop, peering up and down the block for any signs of the cops or FBI. But the street is dead quiet. He heads down the steps, crosses the street, and enters his car. He glances up at the apartment window one more time, starts the car, and pulls off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRED'S APARTMENT - VARIOUS LOCATIONS - LATER<\/stage_direction>\n    <scene_description>In the LIVING ROOM, Compton sleeps in the middle of the floor. Hicks and Randle share a twin bed, sleeping head- to-foot, next to a SHOTGUN. CONTINUED: Clark sits near the door, flicking a LIGHTER on and off. \\* Shadows of feet moving are visible beneath the door. \\* Whispers emanate from the other side. He slowly closes \\* the lighter... \\*<\/scene_description>\n    <character>CLARK<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Hey. Hey. Wake up. \\*<\/dialogue>\n    <scene_description>Compton sits up.<\/scene_description>\n    <character>COMPTON \\*<\/character>\n    <dialogue>(to Hicks) \\*<\/dialogue>\n    <scene_description>Hey. Hey. Wake up. Somebody at \\* the door. Hey, Tracy. \\* Tracy and Hicks wake. They follow Clark's gaze to the \\* door. The light from the vestibule, visible just beneath the door, GOES OUT. Hicks gets to his feet. \\*<\/scene_description>\n    <character>HICKS<\/character>\n    <dialogue>I'ma go wake the Chairman.<\/dialogue>\n    <scene_description>Hicks RACES DOWN THE HALLWAY on his tiptoes. Compton drifts down the hall after him. The doorknob TURNS; an attempt is made to push the door open but it's locked. KNOCK-KNOCK: Clark slowly rises to his feet. \\*<\/scene_description>\n    <character>CLARK<\/character>\n    <dialogue>I'm coming -- \\*<\/dialogue>\n    <scene_description>Suddenly, he's SHOT (through the door) in the heart and \\* his shotgun goes off reflexively, BLASTING the ceiling. \\* Officer Caple (who previously arrested Fred) kicks the door down and shoots Randle as she reaches for the SHOTGUN at the foot of the mattress. SERGEANT BLART (40), white, shoots her a second time. An officer with a TOMMY GUN FIRES CEASELESSLY at the south wall, inches above Harris, COVERING HER WITH DRYWALL. AS HE SPRINTS DOWN THE HALLWAY, Compton observes a gun butt SHATTER the KITCHEN window. He ducks into the SOUTH BEDROOM as Officer Maroney (who previously hit Harmon with a flashlight) and his team pour in, firing at Fred's bedroom from the other direction. IN THE NORTH BEDROOM, Doc, Collins, and Coachman huddle on the floor, CAUGHT IN THE CROSSFIRE. Bullets TEAR through the walls, beds, and paint cans. They SCREAM, ALL SHOT MULTIPLE TIMES. CONTINUED: (2) IN THE SOUTH BEDROOM: Hicks and Deborah try to wake Fred. \\* Deborah tries to climb on top of Fred and protect him but Hicks tugs her down.<\/scene_description>\n    <character>DEBORAH \\*<\/character>\n    <dialogue>Chairman! Chairman, wake up! \\* Wake up! Chairman! Chairman, wake \\* up! Wake up! Wake up! \\*<\/dialogue>\n    <scene_description>Fred lifts his head a few inches off the mattress, eyes rolling back, then plops it right back down. Bullets SPLINTER furniture, SHATTER the window, even VIBRATE the bed. BULLETS RIP THROUGH WALLS from both directions. IN THE LIVING ROOM, the shooting STOPS.<\/scene_description>\n    <character>CAPLE<\/character>\n    <dialogue>Turn on the fucking lights! \\*<\/dialogue>\n    <character>DOC (O.S.) \\*<\/character>\n    <dialogue>We can't... we've been shot...<\/dialogue>\n    <character>CAPLE<\/character>\n    <dialogue>Turn on the light or you'll be \\* shot more! \\*<\/dialogue>\n    <scene_description>In the north bedroom, Doc struggles to his feet and flips \\* the light switch, revealing the carnage in the bedroom. \\*<\/scene_description>\n    <character>CAPLE<\/character>\n    <dialogue>Get the fuck up!<\/dialogue>\n    <scene_description>The three victims, covered in BLOOD and SPATTERED PAINT, make it to their feet. They stagger to the door where Foreman SHOVES them down the hall. Caple heads the OTHER WAY, past several stationed cops --<\/scene_description>\n    <character>HICKS (O.S.)<\/character>\n    <dialogue>We're coming out! We're coming \\* out! \\*<\/dialogue>\n    <scene_description>Outside the SOUTH BEDROOM, Hicks has stuck both hands out beyond the doorframe. One cop, already pressed defensively against the wall, GRABS a wrist and VIOLENTLY TUGS Hicks out, forcing him to the floor in the KITCHEN, where he KICKS him repeatedly. There's another volley of SHOTS into the SOUTH BEDROOM, and then:<\/scene_description>\n    <character>COMPTON (O.S.)<\/character>\n    <dialogue>Stop shooting, stop shooting! We got a pregnant sister in here, \\* Goddamnit! \\*<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>BLART<\/character>\n    <dialogue>Everybody out, now! I said now! \\*<\/dialogue>\n    <character>COP \\*<\/character>\n    <dialogue>Keep those hands up! \\*<\/dialogue>\n    <scene_description>Compton and Deborah EMERGE, hands up. They're immediately grabbed, Deborah by her hair, and shoved down the HALLWAY, through a gauntlet of cops. Maroney JAMS his pistol in Deborah's pregnant belly --<\/scene_description>\n    <character>MARONEY<\/character>\n    <dialogue>Whaddaya know, we got a broad here.<\/dialogue>\n    <scene_description>IN THE SOUTH BEDROOM, Blart, Caple, and Maroney stare down at Fred, still \"sleeping\" in the same position. \\*<\/scene_description>\n    <character>BLART<\/character>\n    <dialogue>...Looks like he's gonna make it. \\*<\/dialogue>\n    <scene_description>Caple LEVELS his .38 SNUB-NOSE. AT FRED'S HEAD. IN THE KITCHEN, FOCUS ON Deborah: She dare not emit so much as a whimper, her back to the SOUTH BEDROOM. She FLINCHES as she hears TWO SHOTS. Then --<\/scene_description>\n    <character>MARONEY (O.S.)<\/character>\n    <dialogue>He's good and dead now.<\/dialogue>\n    <scene_description>CUT TO BLACK.:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. O'NEAL'S CAR - NIGHT<\/stage_direction>\n    <scene_description>O'Neal retrieves his .38 from the glove box and sticks it down the small of his back. He takes a moment to consider what he's about to do.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOLDEN TORCH RESTAURANT - BAR - NIGHT<\/stage_direction>\n    <scene_description>O'Neal enters and spots Mitchell drinking alone at a table. Before making his way over, he gives the room a glance. Everywhere he looks, eyes surveil him. The place is crawling with feds, he's certain. The bar is empty. He heads over to Mitchell who doesn't rise to greet him.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Bill. Good to see you. Come on \\* in. \\*<\/dialogue>\n    <scene_description>CONTINUED: Mitchell offers O'Neal a chair. \\*<\/scene_description>\n    <character>MITCHELL \\*<\/character>\n    <dialogue>Hey. Relax. It's just us. I \\* know you don't trust me but it's true.<\/dialogue>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>Why'd you call me here, man? What \\* do you want? \\*<\/dialogue>\n    <scene_description>Mitchell withdraws from his pocket an envelope almost \\* identical to the one containing the powder. He offers it to O'Neal, who's frozen.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Take it.<\/dialogue>\n    <scene_description>O'Neal hesitates.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>You don't have to if you don't want to. But I think you'll be glad you did.<\/dialogue>\n    <scene_description>O'Neal trepidatiously accepts the envelope and takes a peek inside: $300 in cash and a pair of keys.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <parenthetical>(off of O'Neal's confusion)<\/parenthetical>\n    <dialogue>They're for a gas station -- in Maywood. It's yours. There's a \\* lot of money in gas. Consistent \\* money. Legal money. You own your \\* own business now, Bill. You're \\* free. What do you need, you need \\* a drink? \\*<\/dialogue>\n    <character>O'NEAL \\*<\/character>\n    <dialogue>No, I don't need a... \\*<\/dialogue>\n    <character>MITCHELL \\*<\/character>\n    <dialogue>You need a drink? Excuse me, can \\* you get this man a scotch? \\*<\/dialogue>\n    <character>CLOSEUP ON O'NEAL'S FACE<\/character>\n    <dialogue>as he eyes the money in his hand, a wave of disparate emotions coursing through him.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>MITCHELL \\*<\/character>\n    <parenthetical>(after a moment)<\/parenthetical>\n    <dialogue>So... Where are things with the \\* party? Any news?<\/dialogue>\n    <scene_description>O'Neal looks up at Mitchell in disbelief.<\/scene_description>\n    <character>O'NEAL<\/character>\n    <dialogue>...Fred's dead, man. I ain't no \\* Goddamn Panther no more. \\*<\/dialogue>\n    <scene_description>Mitchell takes a sip of his drink.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <parenthetical>(not asking)<\/parenthetical>\n    <dialogue>You sure about that?<\/dialogue>\n    <scene_description>O'Neal considers the envelope in his hand as he contemplates Mitchell's query... then he puts it in his pocket.<\/scene_description>\n    <character>SUPERIMPOSE:<\/character>\n    <dialogue>William O'Neal remained an active member of the Black \\* Panther Party and a paid FBI informant until the early \\* 1970s, earning today's equivalent of over $200,000. \\*<\/dialogue>\n    <dialogue>In 1989, he gave his first and only on-screen interview \\* for the docu-series \"Eyes on the Prize 2.\" \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NONDESCRIPT OFFICE - DAY (1989) (FOOTAGE)<\/stage_direction>\n    <character>THE ACTUAL ARCHIVAL FOOTAGE --<\/character>\n    <dialogue>INTERVIEWER (O.S.) \\*<\/dialogue>\n    <scene_description>What would you tell your son about what you did then?<\/scene_description>\n    <character>O'NEAL (V.O.)<\/character>\n    <dialogue>I think I'll let your documentary put a cap on that story. I don't \\* know. I don't know what I'd tell \\* him other than I was part of the struggle. That's the bottom line. I wasn't one of those armchair revolutionaries. One of those people that want to sit back now and judge the actions or inactions of people when they sat back on the sideline and did nothing. At least I had a point of view. I was \\* dedicated. And then I had the courage to get out there and put it on the line. And I did.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>O'NEAL (V.O.)<\/character>\n    <dialogue>I think I'll let his -- let history speak for me.<\/dialogue>\n    <scene_description>FADE TO BLACK.:<\/scene_description>\n    <character>OVER BLACK<\/character>\n    <dialogue>SUPERIMPOSE:<\/dialogue>\n    <dialogue>\"Eyes on the Prize 2\" premiered on PBS January 15th, \\* 1990, Martin Luther King Day. \\*<\/dialogue>\n    <dialogue>Later that evening, William O'Neal committed suicide. \\*<\/dialogue>\n    <dialogue>At the time of his assassination, Fred Hampton was only \\* 21 years old. Mark Clark, also slain, was 22. \\*<\/dialogue>\n    <dialogue>During the raid the Chicago Police fired 99 shots. The \\* Black Panthers fired 1. Nevertheless, the seven \\* survivors faced numerous charges, including attempted \\* murder. \\*<\/dialogue>\n    <character>EXT. AA RAYNOR &amp; SONS FUNERAL SERVICE - DAY - ARCHIVAL \\*<\/character>\n    <dialogue>FOOTAGE \\*<\/dialogue>\n    <dialogue>Hundreds of men and women stand outside a funeral home. \\*<\/dialogue>\n    <character>INT. FUNERAL HOME - DAY - ARCHIVAL FOOTAGE \\*<\/character>\n    <dialogue>Men and women pay their respects. \\*<\/dialogue>\n    <dialogue>A WOMAN gives a speech. \\*<\/dialogue>\n    <character>WOMAN \\*<\/character>\n    <dialogue>Remember this. Prayer is good. \\* If Fred could be murdered while he \\* slept, remember what can happen to \\* you while you're on your knees \\* facing that. \\*<\/dialogue>\n    <character>EXT. CHICAGO STREET - DAY - ARCHIVAL FOOTAGE \\*<\/character>\n    <dialogue>Citizens carry a banner reading \"AVENGE FRED HAMPTON.\" \\*<\/dialogue>\n    <dialogue>A CHANT sounds celebrating Fred. \\*<\/dialogue>\n    <scene_description>CUT TO BLACK: \\*: CONTINUED: In 1970, the survivors of the raid along with Hampton and \\* Clark's mothers filed a $47.7 million lawsuit alleging a \\* conspiracy among the FBI, Chicago Police Department, and \\* State's Attorney's Office to assassinate Fred Hampton. \\* After 12 years of fighting for justice, the case was \\* settled for $1.85 million, at the time the longest civil \\* trial in US history. \\* 25 days after the assassination, Deborah Johnson gave \\* birth. \\* She remained an active member of the Black Panthers until \\* the Illinois chapter's dissolution in 1978. \\* Today Johnson, now known as Akua Njeri, serves on the \\* Advisory Board of the Black Panther Party Cubs, a \\* revolutionary organization continuing the ongoing fight \\* for the self-determination of Black people. \\* Fred Hampton Jr. is the party's Chairman. \\* SUPERIMPOSE: \\* An IMAGE of Mama Akua Njeri and Chairman Fred Hampton Jr. \\*<\/scene_description>\n    <character>FRED (PRE-LAP) \\*<\/character>\n    <dialogue>We always say in the Black Panther \\* party, they can do anything they \\* want to us. We might not be back, \\* I might be in jail, I might be \\* anywhere, but when I leave you \\* remember I said, the last words on \\* my lips were, \"I am.\" \\*<\/dialogue>\n    <character>CROWD \\*<\/character>\n    <dialogue>I am! \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHICAGO - DAY - ARCHIVAL FOOTAGE \\*<\/stage_direction>\n    <scene_description>Footage of the real Fred Hampton. \\*<\/scene_description>\n    <character>FRED \\*<\/character>\n    <dialogue>A revolutionary! And you're gonna \\* have to keep on saying that. \\* You're going to have to say that I \\* am the proletariat. I am the \\* people. I'm not the pig. You've \\* got to make a distinction. \\*<\/dialogue>\n    <scene_description>CUT TO BLACK. \\*: \\*: \\*: \\*: CONTINUED: \\*: \\*:<\/scene_description>\n    <character>THE END<\/character>\n  <\/scene>\n<\/script>","summary":"In 1968, 19-year-old petty criminal William O'Neal is arrested in Chicago after attempting to steal a car while posing as a federal officer. He is approached by FBI Special Agent Roy Mitchell, who offers to have O'Neal's charges dropped if he works undercover for the bureau. O'Neal is assigned to infiltrate the Illinois chapter of the Black Panther Party (BPP) and its leader, Fred Hampton. O'Neal begins to grow close to Hampton, who works to form alliances with rival gangs and militia bands while extending community outreach through the BPP's Free Breakfast for Children Program. Hampton's persuasive oratory skills eventually help to form the multiracial Rainbow Coalition along with the Young Lords and Young Patriots Organization. Hampton also falls in love with Deborah Johnson, a fellow BPP member. O'Neal begins to relay intel to Mitchell, who in return compensates him with money. After Hampton is arrested and imprisoned for allegedly stealing $71 worth of ice cream bars, O'Neal begins to rise through the ranks and is promoted to security captain. When a shootout between the Chicago Police and the BPP occurs at the chapter office, O'Neal sneaks out as the police bomb the office. Outraged that he could have been killed himself, O'Neal attempts to quit being an informant, but Mitchell refuses. Three months later, Hampton is released from prison while appealing his charges and he reunites with Deborah, now pregnant with his child. BPP member Jimmy Palmer, who was hospitalized with non-life-threatening injuries after being shot by a police officer, dies unexpectedly while being transferred to another hospital. Assuming police have murdered Jimmy, fellow member Jake Winters engages in a shootout with police, killing several officers before being gunned down himself. After Hampton's appeal is rejected, FBI Director J. Edgar Hoover orders Hampton be \"neutralized\" before he returns to prison. Mitchell corners O'Neal into helping with the plan by warning him that the BPP will retaliate against him if they find out he's an informant, and O'Neal reluctantly agrees to help. O'Neal is later handed a vial of sedatives and ordered to drug Hampton's drink with it by another undercover FBI collaborator, who hands O'Neal his old fake FBI badge. The next evening, BPP members gather at Hampton's apartment before he must depart for prison. An allied gang leader offers Hampton money to flee the country, but he turns it down and instead orders a clinic to be established with the money under Jake's name. As the evening progresses, O'Neal reluctantly drugs Hampton's drink and departs soon after. Hours later, officers and agents raid the apartment and assassinate Hampton after shooting or injuring the other Black Panthers, while Deborah is arrested. Later, O'Neal meets with Mitchell, who gives him money and a pair of keys to a gas station he now owns. O'Neal attempts to quit again but reluctantly accepts the money and keys and puts them in his pocket. Archive footage is shown of Hampton's speeches, including his funeral procession, and an interview O'Neal gave in 1989. The title cards state that O'Neal continued to work as an informant within the BPP before committing suicide in 1990. A lawsuit was filed against the FBI in 1970 and 12 years later was settled for $1.85 million. As of the film's release, Fred Hampton Jr. and his mother serve as chairman and board member of the Black Panther Party Cubs."}
{"movie_name":"Clockers_1995","imdb_id":"tt0112688","script":"<script>\n  <scene>\n    <scene_description>I \"t<\/scene_description>\n    <character>CLOCKERS<\/character>\n    <dialogue>ONE MILLIONTH DRAFT tnchard Price<\/dialogue>\n    <character>212-605-2852<\/character>\n    <dialogue>September 1, 1993<\/dialogue>\n    <scene_description>FOREDUCA\u00b7nor\u00b7:<\/scene_description>\n    <character>...<\/character>\n    <dialogue>\\,\\_<\/dialogue>\n    <character>I .. PURPOSES<\/character>\n    <character>INT:<\/character>\n    <dialogue>CLOSE ON CAl&lt;E<\/dialogue>\n    <character>NO NAME BAR -<\/character>\n    <dialogue>'being carried out:of the kitchen, carried 'by two plainclothes COPS. Cake reads \"Rocco Klein -- 20 IN\" and is decorated by a pair of handcutfs made out ot blue icing. WETRACK<\/dialogue>\n    <scene_description>the journey ot the cake through a parting sea of \u2022' COPS: unitonied, plainclothes, jacket and tie ' detectives, and ZERO IN ON its destination-~- A round table, the circlllllferance of which is edged with a perfect wheel of maybe one hW\\dred shot glasses alternately filled with vo.na (clear) and ~catch (dark). ROCCOl':LEIN, 44, red-faced, slightly bozoed in jacket and tie, sits at that table and as the caX\u2022 ZOOMSIN he opens his mouth wide as if to take a bite betore it lands inside the rim of shot glasses. We hear scattered applause. ANGLE - THE BAR Everyone facing Rocco, who stands over the cake with a .\/ raised shot glass.<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Gentle111en . . . to God \u2022 \u2022 \u2022 because the guy had to been a fuckin' an,ius to invent this Job, It's been a twenty-year ticket to the greatest show on earth \u2022\u2022\u2022 May He grant ma the lungs and legs tor<\/dialogue>\n    <scene_description>another five ..\u2022 Everybody throws back a shot, Rocco lifts a second shot glass, belches into his !ist, ROCCO(contd) Md to God's Clowns, the Yamortz ...<\/scene_description>\n    <character>EXT:<\/character>\n    <dialogue>CLOSE ON FIVE BL.ACKTEENAGERS perched Rocco's<\/dialogue>\n    <character>HOUSINGPR03ECTS BENCH- SAMETIME<\/character>\n    <dialogue>or draped ~n the bench as we hear toast in voi~e-over:<\/dialogue>\n    <character>ROCCO(VO)<\/character>\n    <dialogue>.. . they 9.2. make my day ...<\/dialogue>\n    <scene_description>\u2022<\/scene_description>\n    <character>ANGLE<\/character>\n    <dialogue>l} A white kid in construction boots, heavy metal t-shirt, comes up to a black kid (HORACE}on the sidewalk and extends twenty dollars. 2} Horace looks to another black kid perched on the top of the bench (S'l'RIJ:a:) who looks to third kid on the corner (PEANUT), the lookout, Peanut reverses the chain\u00b7\u00b7 of glances so that Strike nods OK and the money is taken,<\/dialogue>\n    <scene_description>,, I Horace turning to an apart=ent building and yelling out I \"2-0l\" 3) The dope-mule, STAN, emerges from a building, drops a crw11pled paper bag in a garbage can, 4) The white kid snatches the bag and splits. 5) Peanut, the lookout, wheals to the benc::h, hisses 115-01\" as a beat up Plymouth FUry screeches up, plainclothes cops (knockos) saunter out. 6) The white c:11stomer walking away, oblivious to his close call. 7) Th\u2022 bench. The kids sitting there impassive as the .J knockos casually descend on the bench.<\/scene_description>\n    <character>8)<\/character>\n    <dialogue>STRIKE ' S POV<\/dialogue>\n    <scene_description>A) A set of empty windows in one of the apartment buildings. B) A 12-year-old boy, TYRONE, gawking at him from a loop ot chain near the benches. C) BIG CHIEF, the head knocko, towering over him, throwing him in shadow.<\/scene_description>\n    <character>BIG CHIEF<\/character>\n    <parenthetical>(casual growl)<\/parenthetical>\n    <dialogue>Gimme that doi,e<\/dialogue>\n    <scene_description>Strike (nineteen, skinny, fretful, cleanly-dressed) wearily, routinely, rises from his perch, holding a Yoo- Hoo and exten~ing his ax-ms :o~ yet another frisk. BIC CHIEF (contd) (doing a pat-down) GillllUe them vials ... \u0080\ufffd:<\/scene_description>\n    <character>FUTON<\/character>\n    <parenthetical>(Strike'&amp; lieutenant, 9ettinq frisked by another knocko, 'I'HUMPER)<\/parenthetical>\n    <dialogue>~. T~Wllper, cold, cold \u2022\u2022\u2022 uh-oh! Gettin'\u00b7um now, Dmer \u2022\u2022\u2022<\/dialogue>\n    <character>BIG CHIEF<\/character>\n    <dialogue>Open your mouth there, strik\u2022 \u2022\u2022\u2022<\/dialogue>\n    <scene_description>Strike does as he's told as Big Chief searches his skull\u00b7\u00b7 ,, for hidden dope. ' t<\/scene_description>\n    <character>STJUD'S<\/character>\n    <dialogue>WE SEE SJ,QW MOT!QNan orange Cadillac roll bY with<\/dialogue>\n    <character>POV<\/character>\n    <dialogue>Garfields suckered onto the windows. The driver is JS, black, gold shades, rela~ed hair, athletic. Thi&amp; is RODNl:Y, Strike'&amp; boss. As the cadillac rolls by, Rodney shakes his head in disgust, moves on.<\/dialogue>\n    <character>OLDER MAN<\/character>\n    <parenthetical>(projects resident)<\/parenthetical>\n    <dialogue>You checking that boy's teeth like a 1l1va owner.<\/dialogue>\n    <scene_description>BIG CKIEl' (barely acknowledging) Shut the fuck up \u2022\u2022\u2022 (to strike) OK, drop your drawers there, Strike, dicky check. Strike, livid, ashamed, powerless, unzips.<\/scene_description>\n    <character>THUMPER<\/character>\n    <dialogue>What's a matter, strike? You look depressed. Are you depressed?<\/dialogue>\n    <scene_description>Strike ignores him as Big Chief checks inside his BVD's.<\/scene_description>\n    <character>ANGLE- STRIKE'S POV<\/character>\n    <dialogue>'l'hose windows again -- this time there's an elder woman looking down.<\/dialogue>\n    <character>THUMPER<\/character>\n    <parenthetical>(111ock-sincere)<\/parenthetical>\n    <dialogue>Strike, can I ask you something? Do you think I'm an effective deterrent in the war on drugs?<\/dialogue>\n    <scene_description>Strike looks aw~y while zipping up, sees that 12-year-old .) Tyrone is gawking at him again. THUMPER(contd) or do you think I'm just a big asshole ..\u2022<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(barely controlled rage)<\/parenthetical>\n    <dialogue>You gotta do what you gotta do.<\/dialogue>\n    <character>THUMPER<\/character>\n    <dialogue>Yeah? You think that?<\/dialogue>\n    <scene_description>I ' I BIG CHIEF \u2022. (thrusting his hand down Stan the dope\u2022mule's pants and grabbing vials) Ho!<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>(getting cuffed)<\/parenthetical>\n    <dialogue>That ain't mine!<\/dialogue>\n    <scene_description>THIJMPEJ.'t Awright, hon \u2022\u2022\u2022 (he gives strike a hard proprietary pat on his cheek, almost a slap) I'll call you from work ... Have a<\/scene_description>\n    <character>)<\/character>\n    <dialogue>nice day.<\/dialogue>\n    <character>THUMPER' S POV<\/character>\n    <dialogue>A paranoid SCANof the windows and terraces. Some hostile or at least unreadable faces looking down to the scene. Thwnper hoists a FOUR\u2022YEAR-OI.Don his shoulders (a human shield against thrown objects) and heads tor the car.<\/dialogue>\n    <character>THUMPER<\/character>\n    <parenthetical>(to the kid)<\/parenthetical>\n    <dialogue>Walk 111e, yo \u2022.\u2022<\/dialogue>\n    <scene_description>CLOSEON STRIKE - AtONt ON THt BENCK seething with rage, slightly rocking. ANGLE - ROCCOAND MAZILLI exiting from their car at the scene of the raid. Rocco is holding the uneaten half of his cake, his name still intact on the icing. j THUMPER (with kid on his shoulders) Hey ... how was the party?<\/scene_description>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>ROCCO<\/dialogue>\n    <parenthetical>(slightly dl:'llnk, wearing sunglasses at 7:00 P.H.)<\/parenthetical>\n    <dialogue>Good , , .. You want some cake?<\/dialogue>\n    <scene_description>'l'HtJMPER I just ate.<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(to kid on ThWllper's .. t t shoulders)<\/parenthetical>\n    <dialogue>Whath up, B?<\/dialogue>\n    <scene_description>The kid jyst stares at him. ROCCO (contd) (to Big Chief, coming up with Stan in cufts) Donny, .. you want some cake?<\/scene_description>\n    <character>BIG CHIEF<\/character>\n    <dialogue>Ko, thanks, How was the party?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Good. Hey! It's Stan the Man. Goin' in to see your brother? Tell him Rocco says hello.<\/dialogue>\n    <character>:<\/character>\n    <dialogue>ROCCO'S POV<\/dialogue>\n    <dialogue>strike on the bench about thirty feet away.<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(to Strike)<\/parenthetical>\n    <dialogue>Hey, yo ...<\/dialogue>\n    <scene_description>Rocco starts to offer him cake, then thinks better of it. strike ignores .him anyhow. ROCCO'S POV A gaggle of little kids. big-eyed, inching forward.<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(holding it out to them)<\/parenthetical>\n    <dialogue>Y'all wan~ ~ome eake?<\/dialogue>\n    <scene_description>The kids want some, but they're scared by the loud cop in shades. They stay put. ROCCO(contd) (enticing sing-song) ,J Come and get it .. , Rocco holds the cake over a wire trash can. ROCCO(contd) C'mon ... going ... going \u2022\u2022\u2022 'l'he kids stay where they are. CLOSEON CAD<\/scene_description>\n    <character>ROCCO(VO)<\/character>\n    <parenthetical>(disappointed growl)<\/parenthetical>\n    <dialogue>Ahhh \u2022\u2022\u2022<\/dialogue>\n    <scene_description>I I Th\u2022 cake ia dropped into the trash, ' EXT: BENCHES - FIVE MINUTES IA'rn<\/scene_description>\n    <character>CLOSEON RODNEY'SIMPASSIVEFACE<\/character>\n    <dialogue>framed by his car window as he listens to Strike.<\/dialogue>\n    <scene_description>STlUF:E (OS) (rantinq) I mean I just don't sr.iX\u00a7.a fuck no more. I can't~ it no more, I don't got the ~ach no more,<\/scene_description>\n    <character>RODN!:Y' S POV \u0080\ufffd STRIKE<\/character>\n    <dialogue>swigging his Yoo-Hoo.<\/dialogue>\n    <scene_description>STRIJa: I don't got the heart no more .\u2022\u2022 so -- Rodney cuts Strike off.<\/scene_description>\n    <character>ROONEY<\/character>\n    <parenthetical>(to a girl, sliding shyly alongside his car)<\/parenthetical>\n    <dialogue>'What~ lookin' at?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>I like them Gar-fields.<\/dialogue>\n    <character>ROONEY<\/character>\n    <dialogue>Oh yeah? What's your name?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Charise.<\/dialogue>\n    <character>RODNEY<\/character>\n    <dialogue>Charise? How you spell that?<\/dialogue>\n    <scene_description>Strike, disgusted, despairing, walks back to the benches. ) RODNEY(contd) (calling out) Where you going?<\/scene_description>\n    <character>STRID<\/character>\n    <parenthetical>(walking backwards, hand on gut)<\/parenthetical>\n    <dialogue>I can't~ it no more.<\/dialogue>\n    <character>RODNEY<\/character>\n    <parenthetical>(with coy significance)<\/parenthetical>\n    <dialogue>Maybe you don't~ to take it no more.<\/dialogue>\n    <scene_description>strike stands there waiting tor more. Rodney rolls off.\u00b7\u00b7 EXT: STREETSOF DEMPSEY- FIVE MiffOTESt.A'l'ER Rocco pulls up to the front of Mazill1-Klain Deli- Liquors, a funky storefront on a funky street. ROCCO and Mazilli eKit the car. There's a BI.ACXTEEN on a pay phone in front of the store, two others flanking him, Rocco, still wearing sunglasses, marches up to him, grabs the receiver and hangs it up. The kids starts to beef, sees it's Rocco and backs away.<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>( in his face)<\/parenthetical>\n    <dialogue>Hey! What I tell you about working this corner ...<\/dialogue>\n    <character>KID<\/character>\n    <dialogue>I ain't workin'!<\/dialogue>\n    <parenthetical>(turns his pockets inside out)<\/parenthetical>\n    <dialogue>I'm calling my girlfriend, man!<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(l)acking him up still)<\/parenthetical>\n    <dialogue>tlliok your girlfriend, you E.T.- lookin' motherfucker. I~ you. This is m:t corner. You want to hustle your shit7 over there ...<\/dialogue>\n    <parenthetical>(Rocco points to the corner across the street)<\/parenthetical>\n    <dialogue>That's your corner. llU there \u2022\u2022\u2022<\/dialogue>\n    <scene_description>~occo &amp;nd H~z1iii ~arch up the stepa to the store.<\/scene_description>\n    <character>KID<\/character>\n    <parenthetical>(muttering, semi-detiant)<\/parenthetical>\n    <dialogue>Ain't no phone over there ..\u2022<\/dialogue>\n    <scene_description>Rocco stop~, turns on the steps. <\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Oh yeah?<\/dialogue>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>Rocco walks towards them. They're braced to bolt but he<\/dialogue>\n    <scene_description>f heads past them right to the pay phone which he violently W.ll rig~t off its mounting, . ROCCO (contd) (heading back to the store) Ain't no phone here, neither, IN'l': \"MAZILLI-KLEIN DELI\u2022LIQUORS\" ' I It's an old general store that sells booze on one side I and cold cuts on the other -- The clientale:is from the neighborhood -- poor, non-white. one black kid is behind the liquor counter and another is behind the deli counter making a sandwich. There's four black teenagers waiting for their toed, along with two white cops waiting for theirs. Without a word, Mazilli and Rocco take off their jackets and move behind opposing counters,<\/scene_description>\n    <character>MAZII.I.I<\/character>\n    <parenthetical>(fr0111 the liquor counter)<\/parenthetical>\n    <dialogue>Who's next ...<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(from deli counter)<\/parenthetical>\n    <dialogue>Who's next<\/dialogue>\n    <character>INT:<\/character>\n    <dialogue>RODNEY'S PLACE (CANDYSTORE) - SAME TIME<\/dialogue>\n    <scene_description>strike enters. very small. candy counter with cash register, super Mario game and a smaller than regulation pool table. The store is full-up with younger teenagers (lJ-15) dressed poorly, Loud, childish, the vibes more like a rec room in a boys' club than a place of business. The stock on the shelves is skimpy and seemingly random.<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(to overweight girl behind the counter)<\/parenthetical>\n    <dialogue>Where's he a,:.?<\/dialogue>\n    <scene_description>The girl shrugs, staring past Strike. Rodney enters the store carrying two cases of soda in a sweaty duck-walk and abruptly the store explodes with his presence, every kid in there jerking towards him like the father-surrogate that he is. drops the sodas l:ly a refrigerator R,,A,;-J~- and as they bellow in his ear he briskly unloads the cans as if he's working a speed bag. KID fl \u00b7(holding a tipless cua stick) Yo, Rodney! Rodney! Darron say Chuckie could kill fU.!ldY, man.<\/scene_description>\n    <character>KID 12<\/character>\n    <dialogue>Gillh-damn chuckle tuck Freddy up, Rodney, he just fuck him up!<\/dialogue>\n    <scene_description>KID t3 Yo, Rodney, i1.1.sonbe the baddest, right? 'Cause Jason l:le dead already, so you can't kill him, right? I&lt;ID t2 (bellowing) Freddy dead ~I Freddy dead .t,Qg,!<\/scene_description>\n    <character>ROONEY<\/character>\n    <dialogue>{wincing, straightening up<\/dialogue>\n    <scene_description>from his chore) Yeah well, I tell you who the baddest is. The baddest i~ u \u2022cause I'm for llll ... So why don't y'all go out to the van and get the rest a them sodas l:lefore I drop some heavy x..i,Qlence on your ass. The kids spill out the door to do Rodney's bidding,<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(in the sudden quiet)<\/parenthetical>\n    <dialogue>'What do you mean maybe I don't~ to take it no more?<\/dialogue>\n    <character>EXT: JFK BOULEVARD - NIGHTTIME<\/character>\n    <dialogue>Main drag of Dempsey - 8:Jo P.M. It's funky, raucous and bubbling with neon: bodegas, smoke shops, video stores and bars.<\/dialogue>\n    <scene_description>IN~: RODNEY'S CADI~l.AC strike in the shotgun seat. ROONEY'S POV Rodne, r-\\_-:.\u2022 \u2022 : \u00b7.\u2022 1 the Boulevard. Halt-dozen teenagers on a corner hai~ hi~, yell out banter. One ot his other dope crews. He's like a general reviewing his troops \u2022<\/scene_description>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>ANGLE<\/dialogue>\n    <dialogue>Rodney pulling into the parking lot ot Ahab's, a fast- food drive-through dominated ~ya thirty\u2022toot\u2022high revolving plaster AHABcomplete vith harpoon. Rodney parks in a way that they have a clear view of the people inside. CI,0S\u00a3 ON STRID<\/dialogue>\n    <scene_description>' II<\/scene_description>\n    <character>I<\/character>\n    <dialogue>sitting in the car watching the restaurant manager through the glass, a tall gangly kid in a tricot jersey.<\/dialogue>\n    <character>RODNEY<\/character>\n    <dialogue>You know what you looking at?<\/dialogue>\n    <character>STRI:KE<\/character>\n    <parenthetical>(shrugging)<\/parenthetical>\n    <dialogue>Yeah \u2022 . . Darryl.<\/dialogue>\n    <character>RODN!:Y<\/character>\n    <parenthetical>(looking angry, ~t calm)<\/parenthetical>\n    <dialogue>You looking at the portrait of a thiet \u2022\u2022\u2022<\/dialogue>\n    <scene_description>strike says nothing. RODNEY(contd) (growing livid) That boy do nothing but lay back, pass some Baggies, rake in the dough. Nice indoor work, clean, safe \u2022\u2022\u2022<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(shocked, jealous)<\/parenthetical>\n    <dialogue>You got Darryl sellin' ounces? How come you picked h.il!I, man? How come you didn't pick mg for this ..\u2022 ?<\/dialogue>\n    <character>RODNEY<\/character>\n    <dialogue>'Cause you're like my .\u00a7.2.ll, man.<\/dialogue>\n    <character>STRIKE<\/character>\n    <dialogue>I'm your son? so how come you got me on the sereet?<\/dialogue>\n    <character>RODNEY<\/character>\n    <dialogue>I had this dream last night? I was in the desert and I had all the kids, my biology kids and all ..the kids from the store? They was all laid out in front of me like a<\/dialogue>\n    <scene_description>,\/ APY and God came up, man, and he pointed to you, and he said to me, RODNEY(contd) \u2022This one's gonna be your sword. This one's goMa be your staff.n ggst said that ... pointed right at l::2!,l. (beat) Darryl wasn't even in that dream 'cause the nigger's a thi9f, so\u2022\u2022\u00b7 Strike stares at Rodney. Rodney stares at Darryl.<\/scene_description>\n    <character>STRIU<\/character>\n    <dialogue>,,t (after a stuMed beat) I<\/dialogue>\n    <scene_description>Why don't you get Errol for this?\u00b7<\/scene_description>\n    <character>RODNEY<\/character>\n    <parenthetical>(miming shooting a needle in his ani, whispering)<\/parenthetical>\n    <dialogue>Errol done gave himself the Virus.<\/dialogue>\n    <scene_description>strike winces in horror. RODNEY(contd) Besides, can you see Errol in there selling ounces? H.I. can't deal with the public.<\/scene_description>\n    <character>--\u00b7.<\/character>\n    <dialogue>EX'l': AHAB'S LOT - 10:00 P.M. Strike is in the parking lot, pacing muttering pWllping himself up. He's freaked -- can he do it? Should he do it? STRil.&lt;E'S POV The interior of Ahab's fluorescently lit like a glowing stage, Darryl moving in and out of Strike's view. No customers, just Darryl. Strike talking to himself, going out of his mind. He turns as if to go through with it, turns again to flee, to .Ahab's, to flee, spinning, spinning, what to do ... STRIIa:'S POV<\/dialogue>\n    <dialogue>Across the lot is a strip of take-out joints, bars and mini-marts. includi~~ Rudy'$ (in neon). INT: RUDY'S 8AA Strike enters into a reddish dampness, not many patrons, those that are there are slumped on their stools like their spines have melted. Strike looks tentative -- he's not a bar person and if he was, this place is too depressing and hospital-like.<\/dialogue>\n    <scene_description>STltIXE (to the bartender) You got X252-Hoohere?<\/scene_description>\n    <character>BARTENDER<\/character>\n    <dialogue>.(squinting, incredulous)<\/dialogue>\n    <scene_description>Got~? some people at the bar stare at him -- older, harmless people scoping him out, expressionlessly,<\/scene_description>\n    <character>VOICE (OS)<\/character>\n    <dialogue>Hey-y.<\/dialogue>\n    <scene_description>strike turns and sees VICTOR, one of the llllllps at the bar, black kid, 21 years old.<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(to himselt, aggrieved)<\/parenthetical>\n    <dialogue>Gahd-slUID.\u2022<\/dialogue>\n    <scene_description>{to Victor, weakly) Hey \u2022 \u2022 \u2022 They clasp hands. Victor's not that drunk, just at the dreamy, shiny-eyed stage. He's dressed in street clothes; a hooded sweatshirt like strike. on the bar is a gym bag, the bright orange polyester of a tast-food uniform peeking out. He's doodling on a wet cocktail napkin. STRIKE (contd) ( hal t'heartedl y) Yeah, I was just thinking about you.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Yeah? Me to0,<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(anxious, wired)<\/parenthetical>\n    <dialogue>Yeah? Good, good.<\/dialogue>\n    <scene_description>Victor looks up at hi~, he's picked up on Strike's vibes. Strike stares at him helplessly for a second, then blurts out: STRIKE (contd) You know that Ahab's there (points across the street)<\/scene_description>\n    <character>VICTOR<\/character>\n    <parenthetical>(doodling on his napkin, wry)<\/parenthetical>\n    <dialogue>Yeah, that's the compeution,<\/dialogue>\n    <character>STRIKE<\/character>\n    <dialogue>You know that guy Darryl in there?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Darryl?\u00b7<\/dialogue>\n    <character>STRID<\/character>\n    <dialogue>He's some bad people.<\/dialogue>\n    <character>BARTENDER.<\/character>\n    <parenthetical>(pops a ean of Coco Lopez mix)<\/parenthetical>\n    <dialogue>\u2022 Try this ... it'\u2022 sweet. I<\/dialogue>\n    <character>VICTOR<\/character>\n    <parenthetical>(mild)<\/parenthetical>\n    <dialogue>Oh yeah? Bad people how?<\/dialogue>\n    <scene_description>strike ponders saying more, his mouth working for a beat as he eyes the other barflies. VICTOR (contd) (cool, doodling, downing a shot) Bad people bow?<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(blurty, desperate bullshit)<\/parenthetical>\n    <dialogue>He -- he beat up this girl Charise, man. This girl come in for a ism interview. He took her into the back office, he told her if she want the job she got to give it up an' she wouldn't so he beat her up, man. She's like fourteen, thirteen and like she don't got no father or brother or nobody to, you knew ... so I don't know, he's just some bad people,<\/dialogue>\n    <character>VICTOR<\/character>\n    <parenthetical>(wry, like he knows Strike's lying)<\/parenthetical>\n    <dialogue>A woman-beater.<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(helpless)<\/parenthetical>\n    <dialogue>I guess so.<\/dialogue>\n    <character>VICTOR<\/character>\n    <parenthetical>(fucking with him)<\/parenthetical>\n    <dialogue>A dope-dealing woman-beater.<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(paranoid, freaked)<\/parenthetical>\n    <dialogue>I don't know nothin' about that .<\/dialogue>\n    <character>\u00b7------\u00b7\u00b7-. ... --\u00b7--\u00b7\u00b7\u00b7\u00b7-<\/character>\n    <dialogue>...- \u00b7-\u00b7\u00b7\u00b7--\u00b7 \u00b7----\u00b7 \u2022 \u00b7\u00b7-\u00b7\u00b7-----\u00b7\u00b7--\u00b7-\u00b7<\/dialogue>\n    <scene_description>.......:<\/scene_description>\n    <character>VICTOR<\/character>\n    <parenthetical>(like he can see througn Strike)<\/parenthetical>\n    <dialogue>A woman-beatin' dope-dealer.<\/dialogue>\n    <scene_description>STlll&lt;E (sweating, not lcZ'lowingwhat \u2022 he's doing or saying now) Her mother's all worked-up, man. She -- she'd like to see him~' man.<\/scene_description>\n    <character>VICTOR<\/character>\n    <parenthetical>(ironic, pounding his fist in \u2022' mock-indignation)<\/parenthetical>\n    <dialogue>Got to be got.<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(aquiniing)<\/parenthetical>\n    <dialogue>Yeah, well\u2022\u2022\u2022<\/dialogue>\n    <character>VICTOR<\/character>\n    <parenthetical>(mockingly)<\/parenthetical>\n    <dialogue>Gon' peel l'lis s.,m \u2022\u2022\u2022<\/dialogue>\n    <scene_description>Strike stands there squirming, fuming, VICTOR (contd) (in same tone) Buckshot to the~!<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(growing more annoyed than tense)<\/parenthetical>\n    <dialogue>Man, why you talking this shit?<\/dialogue>\n    <character>VICTOR<\/character>\n    <parenthetical>(as in A-K 47)<\/parenthetical>\n    <dialogue>A to the motherfuckin' ,K!<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(growing angry, frustrated, low hiss)<\/parenthetical>\n    <dialogue>I'm tryin' to lll.t to you about something.<\/dialogue>\n    <character>VICTOR<\/character>\n    <parenthetical>(soberly)<\/parenthetical>\n    <dialogue>Yeah? What's that?<\/dialogue>\n    <scene_description>Strike balks. It's a goo~ question.<\/scene_description>\n    <character>STRIKE<\/character>\n    <dialogue>--.. (fed-up,<\/dialogue>\n    <scene_description>c:l.ean) wiping the slate Nothin' ... I got to go.<\/scene_description>\n    <character>VICTOR<\/character>\n    <parenthetical>(distant, an announcement)<\/parenthetical>\n    <dialogue>.121vishing \u2022..<\/dialogue>\n    <scene_description>STRilCE (thrown) What?<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>I was workin' in New York today? I do security in this ladies' clothing<\/dialogue>\n    <scene_description>'I II store? I got this 2tb9~ job too, now, so I was standing there and. this lady, she just come out of the dressing room wearing nothing but this shorty kimono. She come up to me, she says, \"HOWdo I look?\" YOU know what I said? I got all flustered so I said, \"Davishing.\" Victor shakes his head in disgusted amazement at himself. ANQLE - CI,OSE ON STRIKE staring at Victor -- absorbing his sodden, self-pitying state.<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(more gentle)<\/parenthetical>\n    <dialogue>I got to go.<\/dialogue>\n    <character>VICTOR<\/character>\n    <parenthetical>(out of the blue)<\/parenthetical>\n    <dialogue>I miss my .!sis!.i, man.<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(tight, grim)<\/parenthetical>\n    <dialogue>So go home, then ..\u2022<\/dialogue>\n    <scene_description>Strike heads out of the bar. HOLD ON Victor -- downing another shot and doodling.<\/scene_description>\n    <character>VICTOR<\/character>\n    <parenthetical>(after a beat)<\/parenthetical>\n    <dialogue>Javishing<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>strike exits bar, heads across th\u2022 street towards Ahab's.<\/dialogue>\n    <character>RUDY'S BAR<\/character>\n    <dialogue>He puts his hood up, hunches down, hands in sweatshirt muff --<\/dialogue>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>CLOSEON STRIKE<\/dialogue>\n    <dialogue>gripping a .25 auto in tbe muff of his sweatshirt. IN'l': AHAB'S Greasy blindinq overheads in a white and chrome interior. Strike trying to be invisible, hands deep in the muff of his sweatshirt, He's all eyes under his hoed.<\/dialogue>\n    <scene_description>' I<\/scene_description>\n    <character>VOICE (OS)<\/character>\n    <dialogue>What's up, money?<\/dialogue>\n    <scene_description>Strike wheels to see oanyl beaming at him from behind the counter. DAlUlYL (friendly) What~ doin' here, black? {giving him the up and down) I thought you din't ~ this shit ...<\/scene_description>\n    <character>CLOSE ON STRIXE<\/character>\n    <dialogue>Speechless, moving fer the side exit, INT: MAZILLI-KLEINDELI-LIQUORS - 11:00 f.M. CLOSEON BLACKTEEN at Mazilli's counter, struggling for breath, Rocco's forearm wrapped around his throat.<\/dialogue>\n    <character>MAZILI.I<\/character>\n    <parenthetical>(building two heros)<\/parenthetical>\n    <dialogue>What the fuck .. ,<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(pulling out six chapsticks from the kid's pocket)<\/parenthetical>\n    <dialogue>Hey-y, it's Suzy Chapstick!<\/dialogue>\n    <scene_description>MAZit.LI (slapping the kid with a slice of bologna) schveinh1,;ndt.!<\/scene_description>\n    <character>.KIO<\/character>\n    <dialogue>This ain't even my pants!<\/dialogue>\n    <scene_description>Rocco then digs out a dozen crack vials and a bundle of heroin packets,<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(to Mazilli)<\/parenthetical>\n    <dialogue>1,00k at this .\u2022\u2022<\/dialogue>\n    <parenthetical>(to kid)<\/parenthetical>\n    <dialogue>You're even du=er than me \u2022\u2022\u2022<\/dialogue>\n    <character>JCII)<\/character>\n    <parenthetical>(strangling)<\/parenthetical>\n    <dialogue>This ain't\u00b7 even my pants!<\/dialogue>\n    <scene_description>The door jingles and in walks a uniformed COP for a ' I I sandwic:h,<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Hey-y! Perf\u2022c:t timinq!<\/dialogue>\n    <character>COP<\/character>\n    <parenthetical>(reading the situation, baclcing out)<\/parenthetical>\n    <dialogue>Hey, fuc:k you ... no Ji!ll, Rocco, no ~-<\/dialogue>\n    <scene_description>Mazilli and aoc:c:o whine and curse after him, then, realizing that they would have to process the arrest themselves, they exchange disgusted shrugs, settle for frontier justice. aocco rel\u2022ases his chokehold,<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(to the kid)<\/parenthetical>\n    <dialogue>lever see your face in here again I'll fuc:kin' l.muinate you, you understand me?<\/dialogue>\n    <scene_description>Rocco gives the kid a brutal, abrupt two-handed shove in his chest, which knocks him halfway out tha front door. Suddenly Roccois beeper goes off,<\/scene_description>\n    <character>MAZILLI<\/character>\n    <parenthetical>(gesturing to the untouched heroes)<\/parenthetical>\n    <dialogue>Aw please \u2022\u2022\u2022<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(peering at the number coming up on his hip)<\/parenthetical>\n    <dialogue>Shit<\/dialogue>\n    <character>INT\/EXT:<\/character>\n    <dialogue>- TEN MINU'l'ESLATER<\/dialogue>\n    <character>ROCCO'SPLYMOUTH<\/character>\n    <dialogue>They're rolling along JFK Boulevard, both cf them eating big hero sandwiches.<\/dialogue>\n    <character>MAZILLI<\/character>\n    <parenthetical>(bitching)<\/parenthetical>\n    <dialogue>It's probably a fuckin' triple header outdoors in the mud, sixty cas;ings spread around and a big herd-of moulies steppin' all over everything, Tell me I'm wrong.<\/dialogue>\n    <scene_description>WE $EE coming up, towering over the low-rise buildings of the Boulevard, the revolving harpoon-wielding plaster Ahab statue beckoning, like an Angel of Death. ' b I Thar' she 1:Jlows.<\/scene_description>\n    <character>EXT:<\/character>\n    <dialogue>It's a real block party. craning necks, squinting,<\/dialogue>\n    <character>\"AR<\/character>\n    <dialogue>Eveeybody looking forward, shouting to friends, laughing,<\/dialogue>\n    <scene_description>etc. WE SEE M~zilli split to the perimeter and Rocco slide into the rear of the crowd, craning his neck and acting as open-mouthed dopey as everybody else. ROCCO ( contd) (talking to nobody in particular) What the fuck happened? l&lt;IO (not looking at Rocco, answering by reflex) That cl' boy got shot im, man<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(not looking at kid)<\/parenthetical>\n    <dialogue>Hb2 did ...<\/dialogue>\n    <scene_description>The kid turns to Rocco, makes him as a cop.<\/scene_description>\n    <character>KIO<\/character>\n    <dialogue>Yeah, well I don't want to cast out no false cricicisms per ll, you kl'low?<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(S~~~i not mck~n9 eye con~a~~, figh~ing down a grin -- it's ano~her of God's Clowns)<\/parenthetical>\n    <dialogue>Hey, I wouldn't want you to \u2022\u2022\u2022<\/dialogue>\n    <character>CLOSE OH.ROCCO<\/character>\n    <dialogue>He slips the kid his card down low at hip level \u2022<\/dialogue>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>YELLOWCRIMESCtNE TAPE ringing th\u2022 building, keeping the crovd from something b,o~dy under a sheet by th\u2022 side door. Rocco breaJcs through the crowd, slips under the tape. He's holding a steel forensics suitcase.<\/dialogue>\n    <scene_description>BAR'l'OCCI Hey-y, Rocco's Rocketship, \u2022' ROCCO ' Vinny B, What you got? .\u2022\u2022<\/scene_description>\n    <character>BARTUCCI<\/character>\n    <parenthetical>(checking his notes)<\/parenthetical>\n    <dialogue>we got us a male dead man, Darryl Adams, twanty-one\u2022two, night manager. The kid was out here by the door talking to a male in a hooded sweatshirt, pop pop poppity<\/dialogue>\n    <scene_description>pop, Adams goes down, shooter's in the wind running south.. You got four casings by the body and that's, more or less, all she vrote,<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>so what do you think, robbery?<\/dialogue>\n    <character>BARTUCCI<\/character>\n    <dialogue>Too fast.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Drugs?<\/dialogue>\n    <scene_description>Bartucci shrugs, ROCCO (contd) (nodding to the body) was he a scumbag?<\/scene_description>\n    <character>BARTUCCI<\/character>\n    <dialogue>I never heard of him.<\/dialogue>\n    <character>CLOSE ON A RING OF EXPRESSIONLESS COP FACES<\/character>\n    <dialogue>sport jackets and unifor111s, all looking down at something, the whirling Ahab over their heads. CLOSE ON ROCC:0 in a squat, gingerly sliding off the bloody sheet,<\/dialogue>\n    <scene_description>j introducing Darryl Adams to the ~oys.<\/scene_description>\n    <character>CLOSE ON D~YL'S<\/character>\n    <dialogue>half-cpan,<\/dialogue>\n    <character>EYES<\/character>\n    <dialogue>melancholy,<\/dialogue>\n    <character>ANGLE<\/character>\n    <dialogue>Rocco slips on a pair of rul)ber gloves, and pops a few rw:,ber bands in his mouth (a nervous ritual for him), noisily c:runching them as he begins to process the body.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>.,I (gently sliding one eyelid a\\_ll<\/dialogue>\n    <scene_description>the way open) Hello dare .\u2022. Rocco touchas a bullet dent on a gold medallion still hanging around the kid's neck, than tracas an invisible path with a delicately extended pinkie from the ruined medallion to the small entry woWld under the kid's chin, then indicates a bud of brains sprouting from Darryl's head -- the exit wound. ROCCO(contd) Ricochet Rabbit\u2022\u2022\u2022 DETECTIVE fl (OS) coed thing he wore that medallion. DETECTIVE t2 (OS) I still think it was the food here. Rocco opens the kid's zippered running suit, finds an entry wound on the solar plexu&amp;, a little welt \u2022\u2022\u2022<\/scene_description>\n    <character>ROCC::O<\/character>\n    <dialogue>Door numl:ler two .\u2022\u2022<\/dialogue>\n    <scene_description>He picks up the kid's hand, displays an entry wound in the center of his palm. DETECTIV!: fl (OS) Maybe it's just stigmata\u2022\u2022\u2022 OtTECTIVZ J4 (OS) Who's tha shooter, ~nnie Oakley?<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(srni:i~g at the voice)<\/parenthetical>\n    <dialogue>Hey, Mike, my man, we need blood and prints of! this door here.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>.,I Fuck me ... we'll get half the yo\u2022s<\/dialogue>\n    <scene_description>in the~ off that door \u2022 \u2022<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Rocco continues his probe ot the body. He conducts a rude penetrating scalp massage with all ten fingers, pulls down tha.kid's pants, prob\u2022\u2022 groin, a:t111pits, printing up the kid with bloody coins. ROCCO (contd) (muttering, crunching l:'Ul)ber bands) ffllere\u2022s the fourth entrance? ... \u2022' Gral)bing the clothes, Rocco rolls over the \u00b7body face down, pull\u2022 up the back ct the shirt, notes gaping wound. ROCCO(contd) That's an exit -- but, where's that (he probes the buttocks, the calves) c\u2022mon, motherfucker, wher\u2022 you at? Shit , .. Rocco abruptly spits out the rubber bands: a vaguely hostile gesture, then rises, wincing, Kis knees pop, his back is killing him. Ma.z:illi comes in from the shadows .. ROCCO (contd) (holding his bloody-gloved hands away !rem his sports jacket) What the drums say?<\/scene_description>\n    <character>MAZILI.I<\/character>\n    <dialogue>We keeps our ears to the grindstone<\/dialogue>\n    <scene_description>was he a scuml)aq? ROCCO shrugs neutrally. MAZILLI (contd) You do the pockets? Mazilli rolls the body over vith his foot, the face staring up at him. MAZILLI (contd) Hey, tha~\u2022s Darryl Adams ...<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>MAZILLI<\/dialogue>\n    <scene_description>J He used eo work in Rodney's candy store last year. I used to see him all the time in there.<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>working fer Rodney \u2022\u2022\u2022 was he c:loc:king?<\/dialogue>\n    <character>MAZILLI<\/character>\n    <parenthetical>(mildly)<\/parenthetical>\n    <dialogue>Probal)ly .\u2022\u2022<\/dialogue>\n    <scene_description>Mazilli straddles the body and does the pockets, pulls out a fat wad of cash, MAZILt.I ( contd) ... definitely, AMBULANCE A'l\"ttNDAN'r (he's got a bright orange body bag like a serape on his shoulder, smokes a cigarette) You guys finished? MAZILt.I Ho! Rocco looks down at the body. Mazilli has squeezed the cheeks to expose the teeth. There's a bullet trapped in the gums. Entry wound #4, MAZILLI- (contd) Marvello the Magician. Catch a bullet with his teeth.<\/scene_description>\n    <character>ANGLE<\/character>\n    <dialogue>Rocco, forensics case in hand, is heading for the yellow tape again. ROCCO'S POV A hysterical young black woman is being held at bay by a young cop.<\/dialogue>\n    <character>WOMAN<\/character>\n    <parenthetical>(sounding both reasonable and c=azed, trying to wriggle free Qf th~ cops' ~rasp)<\/parenthetical>\n    <dialogue>I just wan~ to see my-brother<\/dialogue>\n    <character>COP<\/character>\n    <parenthetical>(uncomfortable)<\/parenthetical>\n    <dialogue>No you don't.<\/dialogue>\n    <scene_description>J WOMAN Why can't I see my brother?<\/scene_description>\n    <character>COP<\/character>\n    <dialogue>\u2022cause you can't.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>. (bellowing)<\/dialogue>\n    <scene_description>Dar-ml<\/scene_description>\n    <character>COP<\/character>\n    <dialogue>Lady, please ..\u2022<\/dialogue>\n    <scene_description>I WOMAN \"I (reasonable-sounding again) I'm OK, I just \u2022.. suddenly she vomits all over th\u2022 cop, then drops to her knees, sobbing. WOMAN(contd) (heartbroken bellow) oar-al!<\/scene_description>\n    <character>COP<\/character>\n    <parenthetical>(shaking out his shirt)<\/parenthetical>\n    <dialogue>Mother.f.y\u00a3ker!<\/dialogue>\n    <scene_description>Tha crowd laughs at the cop.<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(heading out -- indicating the sobbing woman to Bartucci)<\/parenthetical>\n    <dialogue>Vinny ... get her down to me, oK?<\/dialogue>\n    <character>BARTUCCI<\/character>\n    <dialogue>So Rocco, how was your party?<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(ducking under the tape)<\/parenthetical>\n    <dialogue>Good. The dancer? She said to tell you the test came out \u2022\u2022\u2022<\/dialogue>\n    <scene_description>Walking backwards, he bu~ps into Strike who stands before him as it in shock, ROCCO (contd) (not really seeing Strike) Bcep-b&lt;!ep Rocco tries to get past Strike but every time Rocco shifts, Strike shif~s. It's almost comic, or maybe it's Strike unconsciously blocking his way out. Strike looks stunned. J ROCCO (contd) (still not really even looking at him) c\u2022mon, kid.<\/scene_description>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>ROCCO finally breaks through.<\/dialogue>\n    <character>CLOSE.ONSTRIKE<\/character>\n    <dialogue>He stands at the tape. He sees Darryl's body getting zipped into the orange body bag. Hears Darryl's sister's heartbroken cawing.<\/dialogue>\n    <character>SISTER<\/character>\n    <dialogue>oar-ryl!<\/dialogue>\n    <scene_description>Strike quickly wheels and wal)(s away from tt,e crowd.<\/scene_description>\n    <character>SISTER (OS)<\/character>\n    <dialogue>Dar-ryl!<\/dialogue>\n    <scene_description>Clear of the crowd, hiding himself in the shadows, Strike takes out his Yoo-Hoo, t~kes a quick swig, wipes his mouth. SISTER (OS contd) oar-ryl! Strike suddenly jackknifes in pain. Drop to one knee clutching his gut.<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(stunned whisper)<\/parenthetical>\n    <dialogue>God ...<\/dialogue>\n    <character>SISTER (OS)<\/character>\n    <dialogue>Dar-ryl!<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>Strike buggy.<\/dialogue>\n    <character>RODNEY'S PLACE - 1:30 A.H.<\/character>\n    <dialogue>exits<\/dialogue>\n    <character>MAU VOICE (VO)<\/character>\n    <parenthetical>(flat murmur)<\/parenthetical>\n    <dialogue>Give me forty dollar \u2022\u2022.<\/dialogue>\n    <scene_description>Specked, Strike turns to see ERROL BARNES leaning against Strike's car. Errol isn't even looking at him, just standing there, arins folded, scowling at the sidewalk. Errol is scrawny bu~ his faee is dead, all slits, no mercy. The butt of a pistol is peeking up fro~ behind his belt buckle. Strike, \u2022thinking he's imagining<\/scene_description>\n    <character>-<\/character>\n    <dialogue>things;,, turns back to<\/dialogue>\n    <scene_description>Rodney's store. ) ERP.OL {VO contd) You heard me ..\u2022 Strike freezes. INT: RODNEY'SPLACE Rodney is lecturing three rapt teenagers who sit thigh to thigh on Rodney's tucked up pool tal)le. Rodney holds a cue stick as a visual aid\/pointer. strike enters the store looking !reaked, Rodney ignores\u00b7 him. RODllEY Charles\u2022 man, hew many pair sneakers you got?<\/scene_description>\n    <character>CHAJU.ES<\/character>\n    <parenthetical>(hesitatinq)<\/parenthetical>\n    <dialogue>six<\/dialogue>\n    <scene_description>STlU'KE<\/scene_description>\n    <character>RODNEY<\/character>\n    <dialogue>Six ... Now how many~ you got, see what I'm sayin'? You all just throw the money away. Make ten dollars go out and buy a tan-dollar ring. Nigger does that wakes up broke every day of his life. Every day cf his m2t-damn lite. Nov, if y'all come work for u ...<\/dialogue>\n    <scene_description>STRil(E (wild-eyed) Bm1ney! Rodney wheels and glares at Strike. EXT: STREETCORNEROUTSIDERODNEY'SPLACE Strike and Rodney calmly watching the nighttime street dealing, fighting, bullshitting along the boulevard,<\/scene_description>\n    <character>STRIKE<\/character>\n    <dialogue>So you hear about it, right?<\/dialogue>\n    <character>RODNEY<\/character>\n    <dialogue>I ain't heard nothin' about nothin'.<\/dialogue>\n    <character>STRIKE<\/character>\n    <dialogue>Aw man, you ...<\/dialogue>\n    <scene_description>J<\/scene_description>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>ROONEY<\/dialogue>\n    <parenthetical>(drowning him out)<\/parenthetical>\n    <dialogue>All's l hear is that Ahab's? They lookin ,\\_-tor a new night manager.<\/dialogue>\n    <scene_description>strike tall&amp; silent, disoriented, miserable. RODNEY ( contd) Yeah, we're qoMa wait a week or two, let shit die down a little, work out of the candy store for now, keep you on the benches, bu-t; Ahab's is the place, because this thing we got pulls in a lot of traffic and this way it blends in with the~ traffic, see? If I ran this full-time out of u store? we're talking white people, black people, all kinds of people, out of state license plates, anybody standing across the street for thirty minutes and half a brain, they're goMa dial 911. And me with u jacket? I got to be .w.il of this. I got to have me a front up fron;. strike stares at him. RODNEY(contd) (shouting across the street) Hey, Davis! Keep your hands off her! (laughing) She's a~. motherfucker!<\/scene_description>\n    <character>EXT: SUBURBAN\/RURAL<\/character>\n    <dialogue>STREET - 12:30 A.M.<\/dialogue>\n    <scene_description>Rocco rolls into his ranch house driveway. IN'l': ROCCO'SHOUSE Comfortable, slightly claustrophobic decor. TV on. MARISSA,. a pre-pubescent 12-13, is working a Nintendo joystick, eyes transfixed on the TV,<\/scene_description>\n    <character>MARJ:SSA<\/character>\n    <parenthetical>(f!.a~)<\/parenthetical>\n    <dialogue>Ki, Oadd:,\u00b7.<\/dialogue>\n    <character>ROC:CO<\/character>\n    <dialogue>(heading for a wet bar, his back to Marissa&gt; ) Don't you got a game tomorrow?<\/dialogue>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>MARISSA<\/dialogue>\n    <scene_description>Sunday. As Rocco fixes a little cocktail for himself we hear a toilet flush and see a 12-year-old black kid, BRIAN, emerge from the john, Both he and Rocco stop in their tracks on seeing each other, but just for a split-second,<\/scene_description>\n    <character>BRIAN<\/character>\n    <parenthetical>(shyly)<\/parenthetical>\n    <dialogue>Hi<\/dialogue>\n    <scene_description>' ti I Brian gingerly joystick moves to the couch, picks and joins in on the qame. up a second Rocco, unsmiling but quiet, fusses with his drink, hi&amp; back to the couch, then \u2022\u2022\u2022<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(squinting at his watch)<\/parenthetical>\n    <dialogue>What is it, 12:30? or 1:30?<\/dialogue>\n    <character>BRIAN<\/character>\n    <parenthetical>(to Rocco's back)<\/parenthetical>\n    <character>12:30.<\/character>\n    <parenthetical>(then after a beat)<\/parenthetical>\n    <dialogue>can I call my brother to come pick me up?<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(finally turning, affable)<\/parenthetical>\n    <dialogue>Hey, don't bother, I'll drive you home. What's your name?<\/dialogue>\n    <character>BRIAN<\/character>\n    <dialogue>Brian.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Brian. Where you live, in the \u2022\u2022\u2022<\/dialogue>\n    <character>BRIAN<\/character>\n    <dialogue>On Dover Street? Near Michelle Avenue?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>.QQver? Oh great, that's like, that's like, two minutes from here<\/dialogue>\n    <scene_description>... good ... good ...<\/scene_description>\n    <character>EXT: PROJECTS BENCHES - NEXT AFTERNOON<\/character>\n    <dialogue>CLOSE ON STRIKE'S FACE<\/dialogue>\n    <dialogue>Haggard, distant, taut. All the other kids are milling around, looking at catalogues; F.A.O. Schwarz, Hold Everything, Hammacher<\/dialogue>\n    <scene_description>Schlemmer ... They're poring over them, open-mouthed, like s\u2022x books, Even Strike has one in his lap, although he's in too bad a mood to lose himself. STRIXE'S-POV That damn kid Tyrone is still staring at him.<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>( casual nasty)<\/parenthetical>\n    <dialogue>Who you lookin' at \u2022\u2022\u2022<\/dialogue>\n    <scene_description>suddenly Strike is grabbed from behind in an anonymous bear hug.<\/scene_description>\n    <character>DEEP VOICE (VO)<\/character>\n    <dialogue>s-o say t';:ee;e!<\/dialogue>\n    <scene_description>strike squawks in panic, splashing himself with his Yoo- Hoo. All the kids look up and laugh as Strike springs to his feet with knotted fists and turns to stare at AHDU TH\u00a3 GIANT, a big goateed knocko who is full of good cheer at the panic he's caused. ANDRt ... What you up to, mastermind? Andre leans across the top of the bench and finger-walks Strike's clothes in a casual frisk, strike'&amp; beeper goes off and Andre briskly clips it, reads the number coming in. ANDRE {contd) (tight, dry) Who's that, your boss?<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(familiar, weary)<\/parenthetical>\n    <dialogue>You tell me.<\/dialogue>\n    <character>ANDRE<\/character>\n    <parenthetical>(re~urning to his frisk of StriKe)<\/parenthetical>\n    <dialogue>Y'all hear about Darryl?<\/dialogue>\n    <scene_description>A chorus of sad noises. ANDRt (contd) Yeah, I had to tell his gran'ma last night. She liked to die on me right in the doorway. ANDRt ( contd) (wincing) Makin' notifications ..\u2022 I hate that mo:c'e'n anything, man. Fl.l'rON (wincing in empathy) Man, I couldn't s!,Qthat. Andr6 steps back from his !:c\"isk: St:c\"ike's clean as always. ' t\u2022 I<\/scene_description>\n    <character>ANDRE \u00b7-<\/character>\n    <dialogue>to Tyrone on the chain)<\/dialogue>\n    <scene_description>(turning Little Man ... wbat you doin' down here with these knuckleheads \u2022\u2022\u2022 (to the others) I'm watchinq all you \u2022.\u2022 CLOSE ON STRIKE imploding. INT: MAZILI.I\u2022l&lt;LEINDELI\u2022LIQOORSTORE- SAMETIME Rocco is ringing up a can of beer at the liquor counter. Mazilli is smoking a cigarette behind th\u2022 deli counter. As the customer exits with his beer, Rodney barges into the store, counting bills off a tat roll ~f cash. He's limping,<\/scene_description>\n    <character>ROONEY<\/character>\n    <dialogue>Hey, fellas, how you fixed for Tampax? I'm all out by me.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>What's wrong with your leg?<\/dialogue>\n    <character>ROONEY<\/character>\n    <parenthetical>(wincing)<\/parenthetical>\n    <dialogue>Rain's comin'.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Oh yeah? ror a minute I thought ErrQl Barnes winged one at you, too.<\/dialogue>\n    <character>RODNEY<\/character>\n    <dialogue>Say what?<\/dialogue>\n    <character>MAZILLI<\/character>\n    <dialogue>Yeah, last night we go to bring in Clarky Lovejoy for a talk on that<\/dialogue>\n    <scene_description>... \u00b7\u00b7-\u00b7\u00b7\". \u00b7-\u00b7\u00b7- \u2022\u2022\u2022\u2022 \u00b7-\"t'\u00b7 MAZILLI (contd) Ahab's shooting? The kid's got the best alibi in the world. He's layin' up in Christ the King with a slug in. his thigh.<\/scene_description>\n    <character>RODNEY<\/character>\n    <parenthetical>(mock-wincing -- counting his money)<\/parenthetical>\n    <dialogue>That must mu:r.\u2022\u2022\u2022<\/dialogue>\n    <character>MAZILLI<\/character>\n    <dialogue>Yeah, you best put a leash on that<\/dialogue>\n    <scene_description>,, ' fucking psycho. I<\/scene_description>\n    <character>RODNEY<\/character>\n    <parenthetical>(shru99in9)<\/parenthetical>\n    <dialogue>It's a free country, last I hear.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Not if you're in county, it ain't.<\/dialogue>\n    <character>RODNEY<\/character>\n    <dialogue>I bear that,~.<\/dialogue>\n    <character>MAZILLI<\/character>\n    <parenthetical>(moving to the stockroom)<\/parenthetical>\n    <dialogue>Tampa:.c?<\/dialogue>\n    <character>RODNEY<\/character>\n    <parenthetical>(shouting after him)<\/parenthetical>\n    <dialogue>An' some Chore Boys ... two cases if you got it,<\/dialogue>\n    <parenthetical>(to Rocco)<\/parenthetical>\n    <dialogue>I hate this llin shit.<\/dialogue>\n    <scene_description>aocco Makes you kinda blue, hUh? Mazilli comes back, lugging cases of Chore Boy and Tampax.<\/scene_description>\n    <character>1-'.AZILLI<\/character>\n    <dialogue>So Rodney, what do~ hear about Ahab's?<\/dialogue>\n    <character>ROONEY<\/character>\n    <dialogue>What, yo~ mean that boy that got<\/dialogue>\n    <scene_description>shot up?<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>He used to work for you, no? In the store?<\/dialogue>\n    <character>... , . .. .. . . \u00b7-\u00b7 --\u00b7\u00b7\u00b7\u00b7.<\/character>\n    <dialogue>ROONEY .<\/dialogue>\n    <parenthetical>(a little uncomfortable)<\/parenthetical>\n    <dialogue>Yeah, Darryl, he was OK.<\/dialogue>\n    <character>MAZILLI<\/character>\n    <dialogue>He w.ss 01&lt;, hub?<\/dialogue>\n    <character>ROONEY<\/character>\n    <dialogue>{antsy)<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>we found like twenty-five hundred dollars on him.<\/dialogue>\n    <character>RODNEY<\/character>\n    <parenthetical>(now in a crossfire between the two counters)<\/parenthetical>\n    <dialogue>Maybe they was wantinq to take him off with the store receipts.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Then they panicked.<\/dialogue>\n    <character>HAZILLI<\/character>\n    <dialogue>You think so?<\/dialogue>\n    <character>RODNEY<\/character>\n    <parenthetical>(turning in a gimpy pirouette)<\/parenthetical>\n    <dialogue>You got me.<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(do@le-edged)<\/parenthetical>\n    <dialogue>We got you?<\/dialogue>\n    <scene_description>The store is quiet for a beat, Rodney caught in a crossfire of stares, unconsciously spinning, doing a bonqo riff on the cartons. ROCCO ( contd) (calmly) can you work on it for me?<\/scene_description>\n    <character>ROONEY<\/character>\n    <parenthetical>(d~opping his cash, gathering up cartons)<\/parenthetical>\n    <dialogue>his<\/dialogue>\n    <scene_description>Yeah, al~ight, I'll get my people on it. :~=ea day or two. MAZit.LI (sweetly) You need a hand with that? Rodney doesn't answer, just exits fast.<\/scene_description>\n    <character>,-. ROC:C:O<\/character>\n    <parenthetical>(to the banging door)<\/parenthetical>\n    <dialogue>'Bye, now.<\/dialogue>\n    <character>R.:;.<\/character>\n    <dialogue>..:.:.:, and Hat.ill!. exchange a glance -- they got a live<\/dialogue>\n    <scene_description>one, EXT: PROJECTS .BENCHES- ONE HOURLATER Strike is alone, rubbin9 his aching gut. I STRIL&lt;E'S POV I . I m SEE Tyrone, still perched on his slump of chain as strike is perched on his bench slat. CLOSE ON TYRONE tingling with self-consciouaness. strike, towering over him now, plucks a nappy clump of his ragged haircut.<\/scene_description>\n    <character>STRIKE<\/character>\n    <dialogue>What the fuck is this \u2022\u2022. What's your name, ~heat?<\/dialogue>\n    <scene_description>INT: BARBERSHOP - THIRTY HINU'l'ES LATER Fake wood panelling -- funky neighborhood place. ANGU: - TYRONE'S MIRROREDIMAGE He stares at himself in the barber chair as the barber adjusts the neck-cuff. Strike hovers over the ~ction.<\/scene_description>\n    <character>STRII&lt;E<\/character>\n    <parenthetical>(plucking Tyrone's nap)<\/parenthetical>\n    <dialogue>Get all that out of there bring it down like this.<\/dialogue>\n    <scene_description>Strike pats his own tightly groomed crop. Fluffs it with an Afro pik, VARIOUS ANGLES: 1) ELECTltIC SH~~s grooming the edges of his hairline. 2) FINER SHEARS shaving a diagonal 3-inch slice-part in his c:rop. .--. INTERCUT with Tyrone's big-eyed stare flicking from himself to Strike to himself via the mirror.<\/scene_description>\n    <character>---- -\u00b7 .. \u00b7----\u00b7 -\u00b7. - \u00b7---\u00b7- ..\u00b7\u00b7\u00b7----\u00b7<\/character>\n    <dialogue>\u00b7\u00b7-\u00b7---\u00b7\u00b7-\u00b7\u00b7\u00b7\u00b7-\u00b7\u00b7---\u00b7<\/dialogue>\n    <character>...<\/character>\n    <dialogue>The barber moves for the hair gel but Strike stays his hand,<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(to the barber)<\/parenthetical>\n    <dialogue>You're \u00b7.done.<\/dialogue>\n    <character>CLOSE ON TYRONE<\/character>\n    <dialogue>FrJzi=n, vith his new haircut.<\/dialogue>\n    <scene_description>J suddenly his face is illuminated by the flash of a camera, a .booming \"POP,\" \" I REV'E~Si: ANGLE- TYRONE'S PIC'l'tmE ejecting into his lap from the barber's hand-held Instamatic. Ct,OSE ON THE PHOTO developing on his tricot-covered lap. \"l'h\u2022 new Tyrone emerges; solemn, handsome -- II.ti!\u2022 CLOSE ON BI.ACKHANDS lifting the photo and push-pinning it into place among the gallery of flat-faced profiling customers. EXT: DRIVEWAYIN FRONT OF AN OLI) LADY'S HOUSE - THIRTY MINUTES LATER Strike parking, INT: THE CAR Strike turning off the ignition. They sit for a beat in total silence.<\/scene_description>\n    <character>STRIKE<\/character>\n    <dialogue>Damn, don't you ever say thank you?<\/dialogue>\n    <character>TYRONE<\/character>\n    <parenthetical>(looking at Strike with thunder struck yet mute emotion -- the words coming out in a strangled se!f-conscious mutter)<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Strike takes his own Afro pik, sticks it in the muff of Tyrone's swaatshi~t.<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(half disgusted, half gentle)<\/parenthetical>\n    <dialogue>Awright, get on out the car.<\/dialogue>\n    <scene_description>strike alone, watching Tyrone walk away via the REARVIEW mirror, the kid half turning every five feet on his way oa~x to the benches as if he can't bear the idea of strike being out of his sight. EXT: THE SKY AT DUSK storm clouds gathering, a menacing ruml:)le is heard. (~~dl\\ey's limp was a true barometer.) EXT: THE BENCH - FIVE MINtJ'l'ES AFTER STRIJl:E IN CAR STIU.lCE'S POV FUton, Peanut and the others busy clocking, pumping bottles to customers. People seem hyped by the impending storm. STRIDS POV He scans the action, sees Tyrone back on his chain perch. Ha walks past Tyrone.<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>{almost a whisper)<\/dialogue>\n    <scene_description>Hi. Strike purposefully ignores him, Suddenly there's a thunderous crack and it starts to pour. Everybody on the benches makes a dash for a nearby breez.eway. strike is running too but then stops as he sees through the steaming rain across the projects, a lone figure, visible primarily because whoever it is is wearing bright orange. The figure is walking quickly to a parked car. STRIKE shifting gears, running now in the direction of the oran9e ~i&lt;Jl.lr\u2022, c~~shing into Tyrone who was following hig into the shelter, knocking Tyrone into a puddle and, oblivious, charging on towards the man in orange.ANGLE- VICTOR wearing a brown and orange Hambones unifor,n, shoulders hunched against the rain, is walking around to the driver's side of his car.<\/scene_description>\n    <character>. '.. . . . . . .. ' ...... ~<\/character>\n    <dialogue>VICTOR'S POV<\/dialogue>\n    <dialogue>ft SEE strike sprinting towards him, screeching to a stop on the passenger side of the car.<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(desperate)<\/parenthetical>\n    <dialogue>I got to~ to you al:lout something.<\/dialogue>\n    <scene_description>' VICTOR b (shivering, dripping, distracted) I I'm l.lll\u00b7<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(freaked, angry, but also supplicating)<\/parenthetical>\n    <dialogue>I .I.IJJi, I got to Wk to you.<\/dialogue>\n    <character>VICTOR.<\/character>\n    <dialogue>(distracted, fWll))ling with the<\/dialogue>\n    <scene_description>car keys) I'm llll ...<\/scene_description>\n    <character>-<\/character>\n    <dialogue>.,....<\/dialogue>\n    <scene_description>Victor unlocks the driver's door, slides in and ignoring Strike, revs up the engine. VICTOR'S POV - STRIKE'S FACE looming in the rain-streaked passenger's window, a palm pressed to the glass.<\/scene_description>\n    <character>STRI~<\/character>\n    <parenthetical>(muffled by the window)<\/parenthetical>\n    <dialogue>What you think, I'm lillin' here?<\/dialogue>\n    <scene_description>strike yanks open the passenger door just aa Victor starts to peel out. The abruptly opened door smashes into a street pole and Victor reflexively slams on the brakes.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>What you do to my car!<\/dialogue>\n    <scene_description>Str1Ke takes adv~n~o~c of the mome~tary halt to jump into the passenger seat and close the dented door behind him. OVERHEADVIEW - TH~ CAR sticking out of the parking space like a broken bone, the rain beating down. We are not privy to the conversation -within.<\/scene_description>\n    <character>EXT: PROJECTSOVERVIEW<\/character>\n    <dialogue>- SUNDAY<\/dialogue>\n    <character>MORNING<\/character>\n    <dialogue>- 11:00 A.M.<\/dialogue>\n    <scene_description>Projects is lifeless, still, almost deserted. sunny day. CLOSEON IRIS Tyrone's mother. She's heavy-set, furious-looking. She'~ holding TYrone by a clWllp of his new haircut and gl,o,L' .u\\g at\u00b7 ...<\/scene_description>\n    <character>REVERSE ANGLE - STRII&lt;E AND THE BOYS<\/character>\n    <dialogue>Sullen and immobile on the bench.<\/dialogue>\n    <character>IRIS<\/character>\n    <dialogue>Wbo did this.,, Who gave my kid this dainn .11.1.iJ:cut\u2022\u2022\u2022<\/dialogue>\n    <scene_description>TYrone looks suicidally eml:llarrassad, Th\u2022 wall of silence remains -- no one even dares make a derisive face -- 1:his lady is scary, IRIS (contd) You all a bunch a' no good death- dealin' 1J.1Qbish and if I ever find out who's been messin' with my son I'm gonna cut your fuckin' ll.tAg off. (beat) I'm gonna find me And;;e \u2022\u2022\u2022 She steams off into the projects dragging Tyrone with her, At the last minute, Tyrone twists free of her, stands his ground. She marches on alone.<\/scene_description>\n    <character>EXT: SUBURBAN<\/character>\n    <dialogue>SOCCERFIELD - SAMETIME<\/dialogue>\n    <scene_description>Rocco and his wife, KIM, are on the sidelines with all the parents watching. Although the girls' league game is directly in front of them, their unsmiling attention is mostly on FOURBLACKMALETEENS about thirty yards down the sidelines. Rocco emerges from the parents' group, strolls down the sidelines to confront the kids.<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(friendly, but with an undercurrent of complete control and power)<\/parenthetical>\n    <dialogue>Hey, fellas ... you guys soccer fans?<\/dialogue>\n    <scene_description>------\u00b7 . .. --~-~-\u00b7~\u00b7 \u00b7\"'--:..::\u00b7-:..:.:\u00b7-\u00b7-\u00b7<\/scene_description>\n    <character>\u00b7\u00b7::::\u00b7--'-'-<\/character>\n    <dialogue>-\"'\u2022\u2022:.,.,\u00b7-'-\"\u00b7\u00b7\u00b7'-'\u00b7 \u00b7\u00b7-\u00b7\u00b7 \u2022\u2022\u2022\u2022 \u00b7--\u00b7\u00b7\u00b7\u00b7. \u00b7----. \u00b7\u00b7-\u00b7 \u2022\u2022\u2022 \u2022\u2022<\/dialogue>\n    <character>TALLESTKID<\/character>\n    <parenthetical>(not fooled by Jtocco's cheeriness -- sounding slightly 111.uttery -- insulted)<\/parenthetical>\n    <dialogue>We jus~ watching our sister.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Cleaning forward, making a big<\/dialogue>\n    <scene_description>show of cupping his ear, a physically intimidating gestui-e) Ex~ 111.e? '?ALI.EST J.at&gt; I Di.Ii, we're watching our .I.liter ROCCO'S POV - THE FIELD WESEE one black girl playing.<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Who ... Mai-go? You're Ma~o\u2022s brothers?<\/dialogue>\n    <scene_description>They stare at him, resentful at this affable beating they're getting.<\/scene_description>\n    <character>BRIAN<\/character>\n    <parenthetical>(the youngest brcthar -- sounding wounded and bewildered -- not as savvy and subtle as his older sibs)<\/parenthetical>\n    <dialogue>I was just in your house! You drove me home!<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(squinting)<\/parenthetical>\n    <dialogue>Brian? Brian, right? Hey \u2022\u2022\u2022 there you are .\u2022.<\/dialogue>\n    <parenthetical>(then, completely relaxed)<\/parenthetical>\n    <dialogue>Well great, why don't<\/dialogue>\n    <scene_description>you guys come down to the others, you can't see nothin' from this angle ..\u2022 join us<\/scene_description>\n    <character>OLDEST BROTHER<\/character>\n    <parenthetical>(tight)<\/parenthetical>\n    <dialogue>That's OK<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>OLDEST BROTHER<\/dialogue>\n    <parenthetical>(flat)<\/parenthetical>\n    <dialogue>Thanks ...<\/dialogue>\n    <character>\u00b7--\u00b7---\u00b7\u00b7-<\/character>\n    <dialogue>As Rocco walks back to the parents nodding to them that everything is OK, we hear:<\/dialogue>\n    <character>BRIAN (VO)<\/character>\n    <dialogue>- I was just in his house!<\/dialogue>\n    <scene_description>ANGLE ~Y THE COACH,chewing out Marissa on the sidelines.<\/scene_description>\n    <character>LARRY<\/character>\n    <dialogue>Marissa! 'What did we ~tic\u2022 all week, mm.? 'What did we put hours. into, all nll\u2022 All ot us \u2022 \u2022 \u2022 -<\/dialogue>\n    <character>MARISSA<\/character>\n    <parenthetical>(holding back tears)<\/parenthetical>\n    <dialogue>I was ~ing to \u2022..<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>Hour~! Hours! Hour1t<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(getting in the coach's face, gently pushing him backwards, speaking softly)<\/parenthetical>\n    <dialogue>Larry ... what are you yellin' at her for ... it'5 a SUll!!!t \u2022\u2022\u2022 it's bullshit ... they're little kids<\/dialogue>\n    <scene_description>let them play the game.<\/scene_description>\n    <character>LARRY<\/character>\n    <parenthetical>(apoplectic)<\/parenthetical>\n    <dialogue>Rocco ... you don't know the hours ...<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>It's a~. you fucking maniac.<\/dialogue>\n    <character>MARISSA<\/character>\n    <parenthetical>(teary)<\/parenthetical>\n    <dialogue>I bAli my life.<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(undertoned, making her walk backwards, cut of earshot of the others)<\/parenthetical>\n    <dialogue>~? You~? Wha~ are you, kidding roe? How'd you like to live in the projects, hUh? How'd you like a drug addict for a parent? You want something to c-ry about? Come into work with me, I'll show you~ to cry about. You bate your life? You con't ~. Marissa \u2022\u2022\u2022<\/dialogue>\n    <character>. ...\u0080\ufffd. , .<\/character>\n    <dialogue>KIM<\/dialogue>\n    <parenthetical>(from the sidelines)<\/parenthetical>\n    <dialogue>Will you lay off with that?<\/dialogue>\n    <character>R.OCCO<\/character>\n    <parenthetical>(pointing, louder)<\/parenthetical>\n    <dialogue>You're another one. Nobody hare's got ~in' to cey about.<\/dialogue>\n    <character>KIM<\/character>\n    <parenthetical>(heard it all before)<\/parenthetical>\n    <dialogue>Bull~ \u00b7\u2022\u2022<\/dialogue>\n    <character>MARISSA<\/character>\n    <dialogue>Why does everything happen tc u , \u2022\u2022<\/dialogue>\n    <scene_description>At which point Rocco's beeper goes off. aocco (checking the number coming up, scowling, to himself) Mother~er \u2022, \u2022 (to Marissa) No ... no ... everything doesn't happen to ~ . . . everything happens to M\u2022 INT: FIRST BAPTIST CHtmCH - l.: 00 P. M. WIDE SHOT It's a vast, white chalet style interior -- airy and clean. The church is deserted, save for three black men sitting bunched together way down in the front blonde-wood pew, their backs to us. CLOSEON THE THREEMEN, their backs to us. REVDSE ANGLE Rocco looking down at them, the minister and an ex-cop parishioner flanking victor, who's sporting church-going slacks arid sweater, slwnped between the ether two older bigger man like a human comma of despair.<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>So, Victor ...<\/dialogue>\n    <parenthetical>(beaming down at him, friendly)<\/parenthetical>\n    <dialogue>you want to take a -ride?<\/dialogue>\n    <scene_description>The Reverend stands up as if to intercept Rocco's offer.<\/scene_description>\n    <character>~ND<\/character>\n    <dialogue>(anguished} can I talk to y0u? ANGLE - ROCCO AND\u00b7.THE REVDE!ID strolling around the churcb, apeaking in whispers. REVEllND<\/dialogue>\n    <scene_description>That boy got tl:!2 jobs, .tlf2 kids, comin' into church ~very Sunday for , a~, never been in D2 trouble H ... you hear what I'm sayin'? This don't make 112 sense at all \u2022\u2022\u2022<\/scene_description>\n    <character>ROCCO'S POV - MAZILLI<\/character>\n    <dialogue>is coming up the aisle towards them, escorting Victor, then pasaes them heading for the door.<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(walking bacJtwards, talking shit)<\/parenthetical>\n    <dialogue>Look, there's probcly an explanation, you know a predicament or something \u2022\u2022\u2022 I'll do what I can, OK?<\/dialogue>\n    <character>EX-COP PARISHIONER<\/character>\n    <parenthetical>(spiffed for church in J-pieee suit, chest hanky, extending a triangular wedge of silver foil to Rocco)<\/parenthetical>\n    <dialogue>Don't forget this \u2022\u2022\u2022<\/dialogue>\n    <scene_description>Rocco, momentarily confused by~\u2022 offering, unpeels the foil. It's a .25 automatic.<\/scene_description>\n    <character>REVEREND<\/character>\n    <parenthetical>(anquis.hed)<\/parenthetical>\n    <dialogue>No sense at all .\u2022\u2022<\/dialogue>\n    <character>INT\/EXT:<\/character>\n    <dialogue>Rocco driving,<\/dialogue>\n    <character>ROCCO'S CAR<\/character>\n    <dialogue>Mazilli<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(looking at Victor via the rea~ view mi~ror)<\/parenthetical>\n    <dialogue>Victor, you ever been arrested be.fore?<\/dialogue>\n    <scene_description>VlCTOll --. (sullenly staring out the window) It got thrown out .<\/scene_description>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>ROCCO<\/dialogue>\n    <scene_description>Geed. What was the charge?<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>~-contact.<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(grinning)<\/parenthetical>\n    <dialogue>That's a new one \u2022\u2022\u2022<\/dialogue>\n    <character>VICTOR<\/character>\n    <parenthetical>(muttering)<\/parenthetical>\n    <dialogue>It's an gJJi one .\u2022 ,<\/dialogue>\n    <scene_description>Rocco shrugs. They'll get into it later. EXT: PROJECTS BENCH!:S- SAMETIME Tyrone on his slwnp of chain, holding a Yoo-Hoo just like strike. TYRONE'S POV - ANDRt looming over him, gently touching his hair, smiling.<\/scene_description>\n    <character>ANDU<\/character>\n    <dialogue>I like that ha.il,:cut, Little Man. Where'd you get that haircut?<\/dialogue>\n    <scene_description>Tyrone stares straight ahead. ANDRt ( contd) (turning to the boys on the \u00b7oench) Where'd this boy get his haircut? A wall of silence. Andre turns back to Tyrone, reaches down, takes the vanilla Yeo-Koo tram him ... That's all tha evidence he needs, Andra tums and glares at strike. EX'l': KAI,LWAY HOMICIDEOFFICE - THIRTY MINUTESLATER CLOSE ON VICTOR SEEN THROUGHa wi=e ~esh window set in the door of the interrogation room. He's alone at a bare desk, ANGU: - ROCCO pQlling away from the window, speaking low to Mazilli, and flicking a twenty dollar bill.<\/scene_description>\n    <character>\u0080\ufffd \u00b7--\u00b7.<\/character>\n    <dialogue>. --\u00b7 - ... -\u00b7\u00b7\u00b7-.. \u00b7\u00b7-..<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>A twenty says I wrap this up in an hour ..\u2022<\/dialogue>\n    <character>CLOSEON HAZII.I.I'S WATCH<\/character>\n    <dialogue>1:30 P.M.<\/dialogue>\n    <character>MAZILI.I<\/character>\n    <dialogue>Go,<\/dialogue>\n    <scene_description>J It INT: IN'l'ERROGATION ' Rocco and Victor sit across from each oth\u2022r in a tiny room -- hard chairs, card table, out of date calendar on the wall featuring two kittens wrestling with a ball of yarni nothing else,<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>(writing} so where'd you get the gun? VICTOR (heavily) l found it under a chair in the restaurant one night when we was<\/dialogue>\n    <scene_description>cJ.eaning up.<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Did you always carry it?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Yeah, it made me feel safe,<\/dialogue>\n    <character>. ANGLE\u0080\ufffd ROCCO'S POV<\/character>\n    <dialogue>The wall clock reads 1:35.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>So tell me what happened \u2022\u2022\u2022<\/dialogue>\n    <character>VICTOR<\/character>\n    <parenthetical>(eyes averted, playing with his sock lint)<\/parenthetical>\n    <dialogue>Well, like I said, I had a few drinks ot ~udy'B, you know, the bar, like I always de \u2022.\u2022\u2022<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>A !ew ...<\/dialogue>\n    <character>...- ..<\/character>\n    <dialogue>VICTOR<\/dialogue>\n    <scene_description>Like three, maybe two,<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Like you always do ...<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>I go in th\u2022ra after work most<\/dialogue>\n    <scene_description>nights.<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>How long were you in there, from when to when?<\/dialogue>\n    <scene_description>I VICTOR \"' \u2022 Bout eight-thirty to about tan .\u00b7.\u2022 \u2022 see, my shift at the Hllllll:lone don't end till ten usually, but I wasn\u2022t feeling good &amp;o I left early that night.<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>You weren't feeling good so you went to a bar?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>It wasn't like a going -- type of not feeling good.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>What was it, an argument? A headache?<\/dialogue>\n    <character>VICTOR<\/character>\n    <parenthetical>(long pause)<\/parenthetical>\n    <dialogue>3ust, you know, tired \u2022\u2022\u2022<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(after a beat)<\/parenthetical>\n    <dialogue>G'head, So ...<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>So after the bar, I was like walking home, shortcutting through the Ahab's lot and the guy like \u2022\u2022\u2022<\/dialogue>\n    <parenthetical>(Victor crunches his face)<\/parenthetical>\n    <dialogue>like ... he like jumped at me and I got scared and I, you know, I like<\/dialogue>\n    <scene_description>Victor becomes enmeshed again in extracting lint balls off his sock. VICTOR (contd) Like .... ~ hia ..\u2022 HO.Ul FOR A BEAT ON Rocco staring expressionless at Vie~or, who avoids Rocco's eyes \u2022<\/scene_description>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>ANGLE- ROCCO'S 'POV<\/dialogue>\n    <dialogue>The wall clock reads 1:55. EXT: PRCJEC'l'SBENCHESAaEA - Sl\\MBTIME CLOSE ON YOO-HOOBOT?LE slowly being whacked against a bench slat like a metronome1 the bottle held by a thick finger plugged into\u00b7<\/dialogue>\n    <scene_description>, the mouth. \"I PIJU, BACKTO SEE Andre nose to nose with st~ilte. Strike sits on his bench top and Andr\u2022 leans into him, his hands gripping the top slat on either side of Strike'&amp; hips. Andre has him boxed in. ANDRt You used to have a good head on you.<\/scene_description>\n    <character>STIUKE<\/character>\n    <parenthetical>(defiant, off-balance)<\/parenthetical>\n    <dialogue>I still do.<\/dialogue>\n    <scene_description>Andre says nothing, just eyeballs him for a beat. STRIKE (contd} (unsteadily) I s;till do . .ANDRt Ronnie? I had my hand out to you since you was a little boy. You didn't want to take it, that's your parr09ative. But I'm gonna tell you something ... if I~ see you so much as legt at that kid 'l'yrone? I'm gonna tuck you up so bad you gonna lid.ah I just threw you back in jail. Do we understand each other? Andre remains nose-to-nose, head coclted, waiting for Strike's confirmation. INT: IN'l'EUOGATIONROOM- SAMETIME CLOSE ON WALLCLOC~ - 2,15 P.M.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>ave~eed; nervous (eyes and angry)<\/dialogue>\n    <scene_description>I~ you already ... The guy came ~ at me and r wasn't even thinking. Just, ,, you know, BAM. Then I got scared and ran.<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>You mean 5AM:BAMBAMBAM.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>ROCCO<\/dialogue>\n    <scene_description>There were four bullets in his body. Vic:tor goes back to playing with his sock. ' \" (shifting ROCCO(contd) gears) The gun, where were you carrying it?<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>In my gy11 bag,<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>What else do you carry in your gy11 bag?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>My HamDones uniform , , , s0111eti111es like a sandwich from home \u2022\u2022\u2022 1 can't eat that \u2022\u2022\u2022<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(cutting him off)<\/parenthetical>\n    <dialogue>ox ... the guy jumped at you, so you stepped back, fished around in your gy11 bag with the uniform, the sandwiches, found the gun, aimed it and shot him four times. That's what I'm getting from you so far. Is that correct?<\/dialogue>\n    <scene_description>Rocco waits on Victor ROCCO ( contd) Victor? Vietor is unravelling his socks, furiously avoiding Rocco's expectant eyes. ROCCO'S FOV The wall clock reads 2:JS.<\/scene_description>\n    <character>ROCCO'S<\/character>\n    <dialogue>POV<\/dialogue>\n    <scene_description>, Mazilli grinning in the wire mesh window, rubbing his fingers together to signal that he just won twenty bucks \u2022<\/scene_description>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>EX'l': PROJECTS BENCHES - SAHE TIME.\u00b7<\/dialogue>\n    <dialogue>Strika's crew has returned, the kids deep into horseplay and slap-boxing, no blatant business going on, Strike on bis perch seems withdrawn, still brooding on his encounter with Andr6. Suddenly the Fury pulls up for another raid but the boys are clean and as ThWllper and company rise from the car, instead of going dead pan, strike's crev breaks into a good-natured spontaneous chant.<\/dialogue>\n    <scene_description>'I ti<\/scene_description>\n    <character>THE SOYS<\/character>\n    <dialogue>s-.2,1 s-~! s-~!<\/dialogue>\n    <scene_description>The cops join in, while simultaneously frisking the kids (the whole thing's a fucking joke anyhow), Thumper gesticulating like the conductor of a choir.<\/scene_description>\n    <character>KIDS ANDCOPS<\/character>\n    <dialogue>s-.2,1 s-.2,! s-.2,1<\/dialogue>\n    <scene_description>Strike is the only one not playing, and as the chant gets louder WE ZOOMIN ON his trouble-streaked face. \u00b7INT: INTERROGATION<\/scene_description>\n    <character>ROOM- SAMETIME<\/character>\n    <dialogue>ROCCO<\/dialogue>\n    <parenthetical>(sullen at losing twenty dollars, tired)<\/parenthetical>\n    <dialogue>OK ... So when was the last time you were in Ahab's?<\/dialogue>\n    <scene_description>Victor throws him a death's-head smirk. ROCCO(contd). (grimly, ackrlowladging the dumD question) Be~ that ...<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Never.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Npver? You live so close, you never wa:ked by on a hot day with your ki:ls and just steppe~ in there for a so:la?<\/dialogue>\n    <character>VICXOR<\/character>\n    <dialogue>{eye contact, finally,<\/dialogue>\n    <scene_description>ignition on) J With my .!s.il!\u00a7.? I never~ kids! I'm always ~ing. my da111n Then I<\/scene_description>\n    <character>{MORE)<\/character>\n    <dialogue>VICTOR (contd)<\/dialogue>\n    <scene_description>get home, I'm so tired I'm alwaya slaepin'. My~ ... Hell, I'm gonna take my kids for a soda, I'll take .' elil to my .9Jm dlllllln restaurant. I say to my wite, \"Bring the kids to the restaurant,w she says \"You can see the kids at home.\" I say, \"I come home, I'm like exhausted to I death.\" (addressing Rocco directly \u2022 now, beseechingly) You know tha~ feeling you get sometimes, you come home, you so damn tired it's like the sound of your cwn kids is like thie ~or sound? Rocco keeps a neutral face, letting Victor run this out, see where he's heading. VICTOR (contd) I try to tell her that, she says, \"So~ a job, you got~-\" see, she don't understand, man, you know, I'm trying to get us out ot the projects and where you gonna go if you don't got it saved up? I mean, you got to make it while you \u00a3An, wnile you~. because ...<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(cutting him off)<\/parenthetical>\n    <dialogue>Victor, Victor ... OK .\u2022\u2022 OK. Listen to me, listen to me.<\/dialogue>\n    <scene_description>Rocco slides around the table, goes kn\u2022\u2022 to knee, fingers on Victor's leg, boxing him in; a tactic, ~occo (contd) Listen to me ... You're a good, decent, hard-working kid, and if you pulled the trigger you must've had some 9Amllgood reason other than s.Jlil man jumping out at you u~axpectedly, because I have to aslc myself 1,1hy -- .!dlY did tnat m.an ... it wasn't to~ you ... why would the manager try to rob someone in his own parking lot? sol have to think it was something R\u00a7.l:sonal that went down. I have to think ...<\/scene_description>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>VICTOR.<\/dialogue>\n    <scene_description>{cutting him off) I never seen that guy before in my life! He just,,.<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>{cutting him off)<\/dialogue>\n    <scene_description>He just :iJ,umed you. And you~ hi:m. He didn't \u2022.. ' II (cutting hill off) I don't want to talk to you no more,<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>{calming}<\/dialogue>\n    <scene_description>Victor .\u2022.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>I don't want to talk to you no more ... I gave you the gun, so \u2022\u2022\u2022<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(getting ever physically closer)<\/parenthetical>\n    <dialogue>Victor ... it this man ill something to you, to your tuily, if ha threatened you ... if he in .AJ1X ~ made your life miserable, this helps~\u2022<\/dialogue>\n    <scene_description>Victor gasps for air, eyes bulging. Rocco is almost on top of him. ROCCO (contd) You could have been beside yourself with n,ga, you could have been unable to \u00a7leep. to~- This all helpa ~- In eg\u00b5rt. C'mon, Victor, help me help you. What did that prick do to you? Rocco is almost embracing Victor now, Victor twisting his head away, almost in tears. Rocco is alert, waiting, here it comes<\/scene_description>\n    <character>VICTOR<\/character>\n    <parenthetical>(mouth working like a fish, grasping at something, then \u2022 \u2022 \u2022 .)<\/parenthetical>\n    <dialogue>It was self-defense.<\/dialogue>\n    <scene_description>Vic~or seems as disappointed in his own words as Rocco. Sighing, Rocco pulls open a small drawer in the desk and takes out a barber's hand Mirror.<\/scene_description>\n    <character>)<\/character>\n    <dialogue>ROCCO<\/dialogue>\n    <scene_description>Self-defense, huh?<\/scene_description>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>Remaining seated, he crab-walks his chair on its casters\u00b7 over to victor's side of the table.<\/dialogue>\n    <scene_description>ROCCO ( contd) (lightly) I want to see what you see ... Rocco puts his arm around Victor and leans his head so that thay\u2022re cheek to cheek, J IJ I He holds out the mirror so that his own fac\u2022 is centered in its oval. ANGLE\u2022 ROCCOIN '1'JU:MIRROR<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>You know something? I disagree. I don't think I 11,Qlook that fucking stupid ...<\/dialogue>\n    <scene_description>EXT: DRIVE-DOWN RN(P HEADING INTO TH!! IN'l'I.D CENTER OF THE COUNTY<\/scene_description>\n    <character>JAIL - TWOHOURSLATER<\/character>\n    <dialogue>Rocco is waiting for the gate to roll up as he sits behind the wheel of his Plymouth, frowning at his nails,<\/dialogue>\n    <character>I<\/character>\n    <dialogue>in the back seat The gate rises, the Plymouth<\/dialogue>\n    <character>CLOSE ON VICTOR<\/character>\n    <dialogue>with descends<\/dialogue>\n    <scene_description>swallowed up by the system. INT: HALLWAYIN MUNICIPAL COURT - NOON \u2022 NEXT DAY Bustling with cops, lawyers, bad guys, etc. Rocco in the hallway talking to a group of cops including the Fury,<\/scene_description>\n    <character>MALE: (OS)<\/character>\n    <dialogue>Rocco!<\/dialogue>\n    <scene_description>Rocco turns to see FRANKDiNARDO, the county prosecutor, wave him over .. DiNardo is very short, with a neat beard and a Napoleonic don't fuck with me manner, He's: ten years Rocco's junior. OiNARDO (holding up the transcript ot Victor's confession) What t.l'le fuck is this \u2022.\u2022 \"he jWDped out at me so I snot him\"?<\/scene_description>\n    <character>)<\/character>\n    <dialogue>.ROCCO<\/dialogue>\n    <parenthetical>(cavalier)<\/parenthetical>\n    <dialogue>Frank, I did everything but stick my tongue down his throat.<\/dialogue>\n    <scene_description>\u2022 (vinkS to the other cops) The kid wouldn't budge. so fuck him. DiNAIUlO You mean fuck zm, 'cause when a useless piece of shit like this lands en my desk I e0uldn't get a\u00b7 conviction on 11,Uler.<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>{slightly angry, emllarrassed}<\/dialogue>\n    <scene_description>C'mon, I wa&amp; like all~ with him. OiNABDO What a waste of a nice Sunday, hub? You knov what \"havin' it made\u2022 means, Rocco? rt means getting paid for doing next to nothing.<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(so livid he can't even address Frank\u2022- h\u2022 addresses ,j his friends, the walls, etc.)<\/parenthetical>\n    <dialogue>Who th\u2022 fuck is he talking to?<\/dialogue>\n    <scene_description>OiNAROO I'm talking to~-<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Hey! Do you have Am:.idea how many good confessions I got for this office? I was locking people up when you were still, \u2022\u2022<\/dialogue>\n    <scene_description>OiNARDO (crossing his arms) Oh wha~ ,,. you're gonna tell me l!!ll: st-~ies now? Creat. Another twenty-year cop with J!!AJ::stories. C'mon, tell me some war stories, It's noc :ike I ~an prepare for a trial (holding up the confession) or nothin', so what the fuck, let's hear some~ stories. Rocco is rad-faced, mute with humiliati0n and rage. J<\/scene_description>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>DiNAimO (contd)<\/dialogue>\n    <parenthetical>(finger-stabbing)<\/parenthetical>\n    <dialogue>You~ the kid was throwing you a line ot shit and you let it S1Q \u2022\u2022\u2022 you said~ it, and let me tell you, .. with investigators like you, these mutts .don't even need lawyers.<\/dialogue>\n    <parenthetical>(turns and walks off)<\/parenthetical>\n    <dialogue>Thanks for the help.<\/dialogue>\n    <scene_description>I ti Rocco is left there among his friends. He's caught I between laughing and barking like a dog. b keepa mak~nq short aimless movements as if he's about.to storm off or punch a wall but he's been nailed and can't do shit about it. EXT: PROJECTS BENCH - TWO HOURS LATER CLOSEON NEWSPAPER<\/scene_description>\n    <character>ARTICLE- \"DEMPSEY<\/character>\n    <dialogue>MANHELDIN FAST<\/dialogue>\n    <character>FOODSLAYING\"<\/character>\n    <dialogue>PULL BACKTO SEE Strike reading the bad news,<\/dialogue>\n    <character>HORACE<\/character>\n    <dialogue>Victor din't do this, man, This is bullshit. That ol' boy got like three jobs, right?<\/dialogue>\n    <character>PEANUT<\/character>\n    <dialogue>Yeah, I heard it was like a frame-up.<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(hot, in his face)<\/parenthetical>\n    <dialogue>Frame-up! You ain't heard .mia a.bout no frame-up. Where the fuck you hear that. ...<\/dialogue>\n    <character>PEANUT<\/character>\n    <dialogue>I can't say.<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(agitated)<\/parenthetical>\n    <dialogue>You can't say ... You gossip more than a fuckin' bitch. you pretzel- eared mo~herfucker.<\/dialogue>\n    <scene_description>l\"UTON (hco;J H)lil you call ~e?<\/scene_description>\n    <character>HORACE<\/character>\n    <dialogue>. - .. (looking out to the street)<\/dialogue>\n    <scene_description>Ho, lookit They all look.<\/scene_description>\n    <character>REVERSE ANGLE<\/character>\n    <dialogue>WE SEE Rocco and .Mazilli getting out of the Plymouth. ANGLE - THE BENCH<\/dialogue>\n    <dialogue>They all stare silently at the approaching cops. strike w vanished. ANGLE - HALLWAY<\/dialogue>\n    <character>OF BUILDING WHERESTRID<\/character>\n    <dialogue>\u2022<\/dialogue>\n    <character>IS HIDING<\/character>\n    <dialogue>CLOSE ON TYRONE,<\/dialogue>\n    <scene_description>sta.nding rigid, looking out to the bench. Strike hides behind hi.Ill. WE SEE tro~ THEIR POV - ROCCOAND MAZII..LI head into the projects.<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(Whispering, his chin over Tyrone's shoulder)<\/parenthetical>\n    <dialogue>Tell me where they go.<\/dialogue>\n    <scene_description>Tyrone stands frozen for a beat. STRIKE (contd) Si2! Tyrone flies out of the building on his first mission. INT: ANOTHERBUILDING HALLWAY- FIVE MINU'l'i:S IATER Rocco, Mazilli and Tyrone stand vaiting for the elevator. ANGLE - INSIDE THE ELEVATOR- SLOWLYRISING The three ot them in silence. Rocco, suspicious, studies Tyrone, who in turn studies the floor.<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Where Y.QYgoing, B?<\/dialogue>\n    <scene_description>T'fRONl: (hoarse, whispering) My friend's house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>. - .. ROCCO<\/stage_direction>\n    <scene_description>You didn't push his floor. Tyrone hesitates, sees \"11\" lit up on the board, and pushes \"10.\"<\/scene_description>\n    <character>INT:<\/character>\n    <dialogue>Rocco and Mazilli furniture-crowded Two kids ar\u2022 asleep SHARON, Victor's the TV, victor's MO'l'HERstands in the archway to the tiny<\/dialogue>\n    <character>VICTOR'S APARTMENT<\/character>\n    <dialogue>sitting living in an opened convertible wife, kitchen<\/dialogue>\n    <scene_description>I with her back to the living room. She's ironing. ~ I EVerybody is acting like the two homicide cops aren't there.<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(addressing the room)<\/parenthetical>\n    <dialogue>Did you )(now he had a gun?<\/dialogue>\n    <scene_description>Sha Ron shrugs, eyes on '1;11. ROCCO(contd) Did he have a drinking probl-?<\/scene_description>\n    <character>SHA RON<\/character>\n    <dialogue>He only drank at night,<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Oh yeah? Me, toe ..\u2022 How about drugs?<\/dialogue>\n    <scene_description>Sha Ron shrugs, eyes on TV. ROCCO(contd) Did he nave any new friends recently? You know, hang out with new peopl\u2022? Sha Ron barely shrugs, the mother keeps ironing. Mazilli gives Rocco a look, as in -- Let's go, Rocco rises, wanders over to the window. ROCCO'SPOV - THE BENCHES,ANDSTRIKE'S CRSW This is the window strike is always looking up to.<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(turning to the room)<\/parenthetical>\n    <dialogue>Look, I'm trying to help here. You got to unders-tand as far as the Prosecutor's Office is concerned the case is closed,<\/dialogue>\n    <character>,I<\/character>\n    <dialogue>But I'm sitting here, I see he'\u2022 got a nice home, kids \u2022\u2022\u2022<\/dialogue>\n    <character>MOTHER<\/character>\n    <parenthetical>(still not facing them, still ironing)<\/parenthetical>\n    <dialogue>He has a stomach condition.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>\u2022( expectant)<\/dialogue>\n    <scene_description>Yeah?<\/scene_description>\n    <character>MOTHER<\/character>\n    <parenthetical>(back still turned)<\/parenthetical>\n    <dialogue>They gonna give him bis medicine in<\/dialogue>\n    <scene_description>' I I there?<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(rolling his eyes at Mazilli)<\/parenthetical>\n    <dialogue>I'm sure if he told them, they'll take care of it.<\/dialogue>\n    <scene_description>Rocco finally rise~, fed up, to leave. ROCCO (contd) o:r;, then ..\u2022 Rocco pauses at an etagere, eyes family photos, picks up one of a male teenager in a two-toned dinner jacket, ROCCO {contd) Ron) (t0 Sha Can I borrow this picture? I got to go around, retrace his steps the other night, I'd rather not show people this, you know what I mean? Rocco shows Sha Ron a mug shot of Victor, Sharon flinches, then nods to the photo an the etagere,<\/scene_description>\n    <character>SHA RON<\/character>\n    <dialogue>Why you want~ one?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>'Cause it looks like the nice guy I<\/dialogue>\n    <scene_description>know he is.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>!fh2 is? that ain't Victor,<\/dialogue>\n    <scene_description>tha.'C'~ St';'ika ... Mazilli leans in, squints at the picture.<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(pocketing Strike's picture)<\/parenthetical>\n    <dialogue>strike? Who' s ..\u2022<\/dialogue>\n    <character>SKA RON<\/character>\n    <dialogue>B.2Dald, Kis brother.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Oh yeah? This Ronald, is he around?<\/dialogue>\n    <character>SKA RON<\/character>\n    <dialogue>He don't live here no more.<\/dialogue>\n    <character>MOTHER(VO)<\/character>\n    <dialogue>:lAgamet<\/dialogue>\n    <scene_description>\"''<\/scene_description>\n    <character>ROCCO'S<\/character>\n    <dialogue>POV<\/dialogue>\n    <scene_description>WE SR the mother's face for tha first time in this scene. She stands at the ironing board like she's defending it from attack, Her eyes are glassy with tears.<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>He smt to Mn his Taqamet.<\/dialogue>\n    <character>INT:<\/character>\n    <dialogue>EI..EVATOR - FIVE MINUTES LATER<\/dialogue>\n    <scene_description>Rocco and Mazilli descending,<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(derisive)<\/parenthetical>\n    <dialogue>\"~amet.\"<\/dialogue>\n    <character>MAZILI.I<\/character>\n    <dialogue>Strike ...<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>the picture)\u00b7<\/dialogue>\n    <scene_description>(holding You know hi111? MAZILI.l He used to work in Rodney's store last year, same as Darryl. Now he runs that crew down by where we left the car.<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>( pe :: l': 1 :,g up J He worked ~ith Darryl for Rodney? If we see this Strike out there, I want to ~~ing him in. MAZILLI .\/ What for? The Victor kid gave it<\/dialogue>\n    <scene_description>Im, do you want to talk to his !.U)Cle, too? He came J.n on it, OK? \u0080\ufffd:<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>You lcnow what I want to do? I wanna grab one of those you out there, beat the living .illil. out af him, find out what r\u2022ally happened on this job, ~ the tucking transcript and shove it right up oiNardo's ass.<\/dialogue>\n    <character>. MAZILLI<\/character>\n    <dialogue>Aw-w, he broke~ balls, so now<\/dialogue>\n    <scene_description>\"'I you're gor-~a break~?<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(gone)<\/parenthetical>\n    <dialogue>Right im there.<\/dialogue>\n    <character>INT: KAI.I.WAYWHERE STRIKE IS HIDING<\/character>\n    <dialogue>CLOSE ON TYRON\u00a3<\/dialogue>\n    <dialogue>staring out at Rocco and Kazilli walking back to car. Tyrone stares out at the benches, strike pacing in the shadows behind him.<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>Forty Dumont, the eleventh floor.<\/dialogue>\n    <character>STRIKE<\/character>\n    <dialogue>Shit! Did they say anything to you?<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>Unh-uh.<\/dialogue>\n    <character>STRIKE<\/character>\n    <dialogue>You sure?<\/dialogue>\n    <scene_description>Tyrone doesn't answer, just stares straight ahead, self- conscious, excited, scared. STRIKE (contd) (relenting) Awright, get out of here. Go play or somethi:ig. Tyrone hesitates, lingering ne~r his idol, than runs out of the hallway, past the now deserted benches. Strike stands there for a beat, when WHOMP! A heavy hand is laid on his shoulder and he spins, gasping, and faces<\/scene_description>\n    <character>. - ..<\/character>\n    <dialogue>Andre.<\/dialogue>\n    <character>ANDRE<\/character>\n    <dialogue>What y'all so jumpy for?<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(clutching his stomach)<\/parenthetical>\n    <dialogue>Please, Andre ... I didn't \u2022\u2022\u2022<\/dialogue>\n    <scene_description>ANDRt How you feel about your brother?<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(tense)<\/parenthetical>\n    <dialogue>Hey, I don't know nothin' a~ that.<\/dialogue>\n    <scene_description>,,' t AND.Rt (squinty) I didn't AU if you Js.nti! somethin', I asked how you fil.Sj,.<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(looking at Futon)<\/parenthetical>\n    <dialogue>It's ... I dUMO \u2022\u2022\u2022 it's~-<\/dialogue>\n    <scene_description>Strike walks of!, Andre studying him. INT: RUDY'S BAR- 10:30 P.M. OVERHEA!&gt;SHOT OF AU. THE PEOPL! leaning in to study a\\_photo on the bar. ANGLE- ROCCOFACINGBARTENDER across the l:uu:\u00b7.<\/scene_description>\n    <character>BARTENDER<\/character>\n    <parenthetical>(squinting at the photo)<\/parenthetical>\n    <dialogue>Yeah ... he was in here once.<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(thrown -- victor was a ragular)<\/parenthetical>\n    <dialogue>gna?<\/dialogue>\n    <scene_description>The bartender passes the picture to the regulars who all .squint and nod.<\/scene_description>\n    <character>BARTENDER<\/character>\n    <parenthetical>(contd)<\/parenthetical>\n    <dialogue>Friday. he was in here Friday \u2022\u2022\u2022 he had like one drink, din't even s.it &lt;1own.<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(Vic~or said he had a few)<\/parenthetical>\n    <dialogue>One drink? So he wasn't drunk or anything?<\/dialogue>\n    <character>BARTENDER<\/character>\n    <dialogue>\u2022<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>was he with anybody?<\/dialogue>\n    <character>. BARTENDER<\/character>\n    <dialogue>He cama in by hisselt ..\u2022 he might have.held conversation but I can't swear to it.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>You rememl:ler that shooting across the street?<\/dialogue>\n    <character>BARTENDER<\/character>\n    <dialogue>l:1.1.U.,yeah ... who you thi'llk called th\u2022 police?<\/dialogue>\n    <character>BARFLY<\/character>\n    <parenthetical>(pointing to th\u2022 bartender)<\/parenthetical>\n    <dialogue>BA did ... called on that phone riqht there.<\/dialogue>\n    <character>BARTENDER<\/character>\n    <parenthetical>(tace lightening)<\/parenthetical>\n    <dialogue>&amp;m ..\u2022 that's who you lookin' for?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>would you happen to rememl:ler if the kid was in here befgu or Att\u2022r that ...<\/dialogue>\n    <character>BARFLY<\/character>\n    <dialogue>He was in here be.f9.al,. You know how I know? \u2022cause I was watehin' him all the time \u2022cause I never saw hi\u25a0 before in here an' he was so jumpy -- like 1 thought h\u2022 was. getting pW11pedup tom us or something, so I was 1:a.11glad when he left.<\/dialogue>\n    <scene_description>The barfly spins the picture across the bar so that it lands in front of Rocco.<\/scene_description>\n    <character>BARTENDER<\/character>\n    <dialogue>{looking down at the picture)<\/dialogue>\n    <scene_description>So this t.he guy \u2022\u2022\u2022 Rocco follows the bartender's eyes to the bar and for the first time looxs at the picture he's offered. CLOSE ON ROCCO J ROCCO (whispering) Jesus Christ ...<\/scene_description>\n    <character>CLOSE ON THE PHOTO<\/character>\n    <dialogue>It's Strike. Rocco tossed down Che wrong picture. He's asked all the right questions about the wrong suspect.<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(in epiphanic sbock, fumbling with victor's mug shot)<\/parenthetical>\n    <dialogue>How about ;thia\u00b7kid?<\/dialogue>\n    <scene_description>r CLOSEON BOTHSTRid ANDVICTORON THE BAR, I ' looking up at us, DR'l'ENDER (VO} (mild) Oh yeah, him. He's in here All the time. What bA co?<\/scene_description>\n    <character>INT:<\/character>\n    <dialogue>Strike<\/dialogue>\n    <character>RODNEY'S CAR - SAM&amp;TIME<\/character>\n    <dialogue>in tront<\/dialogue>\n    <scene_description>over the headrest,<\/scene_description>\n    <character>RODNEY<\/character>\n    <dialogue>--. Ho~ come you din't tell :mayour<\/dialogue>\n    <scene_description>brother did it?<\/scene_description>\n    <character>STRII&lt;E<\/character>\n    <parenthetical>(eyes forward, evasive)<\/parenthetical>\n    <dialogue>You said you din't want to know nothin' a~ it.<\/dialogue>\n    <character>RODNEY<\/character>\n    <dialogue>Is he gonna keep his mouth shut?<\/dialogue>\n    <character>STRID<\/character>\n    <parenthetical>(eyes forward, flat sing-song)<\/parenthetical>\n    <dialogue>I don't lcnCW \u2022\u2022\u2022<\/dialogue>\n    <scene_description>. . Rodney takes Strike by the jaw in a light but firm grip, 4t~ turn\u2022 his head so that they're eye to eye.<\/scene_description>\n    <character>-.,,<\/character>\n    <dialogue>ROONEY<\/dialogue>\n    <scene_description>I'm gonna ask that again, \u2022\u2022 Is he gonna keep his mouth shut? INT: Buru:AU OF CRIMINAL IDENTIFICATION - THIRTY MINUTES LATER Gloomy, 75-year-old, pre-computer era doclllllent center in<\/scene_description>\n    <character>..-.<\/character>\n    <dialogue>the basement of a court building.<\/dialogue>\n    <scene_description>Rocco approaches the waist-high wainscoted counter, hails the cop on duty who's eating a sandwich \u2022<\/scene_description>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>ROCCO<\/dialogue>\n    <scene_description>Mister Bobby ..\u2022 give me a look-up on a ... (checking his notes) .Bml.ald Dunham.<\/scene_description>\n    <character>COP<\/character>\n    <parenthetical>(finger-walking the wooden file boxes as he continues to eat)<\/parenthetical>\n    <dialogue>Moniker?<\/dialogue>\n    <scene_description>' ROCCO \" I Strike \u2022\u2022\u2022 TN'l': ROMTCtDE OFFICE - ll;JO P.M, ,.,,.j;;.i;; &gt;1 VIC?0R AND STP.IlCE' S PHOTOS laid out on a desk. Rocco covers Victor's mug shot with his palm, leaving strike staring up at them.<\/scene_description>\n    <character>ROCCO (VO)<\/character>\n    <parenthetical>(talking about Strike)<\/parenthetical>\n    <dialogue>Came in one time only on th\u2022 night ot the shooting, extremely jWllpY, never sat down, left be.f2m the shooting, left sober. Kid's got a three-year jacket-possession, possession with intent, possession of an unlicensed firearm, and as3au1t \u2022\u2022\u2022<\/dialogue>\n    <scene_description>WESEE Hazilli's hand lift Rocco's palm off.Victor's picture and place it on strike's picture, which leaves victor looking up at us now.<\/scene_description>\n    <character>HAZI.LLI (VO)<\/character>\n    <parenthetical>(talking about Victor)<\/parenthetical>\n    <dialogue>Has a few schnorts over his limit, gets his brain all rad, walks out of the bar with that mmin the gym bag, pops the first guy who steps on his foot. Comes in on it and we got a closed by arrest. Finito, And by the way -- don't forget hll sheet.<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(wav:.~g it off)<\/parenthetical>\n    <dialogue>He got i~~~ a shoving match with ThWDper last year. Big fuckin' deal. They .4il do, -<\/dialogue>\n    <parenthetical>(shif~ing gears)<\/parenthetical>\n    <dialogue>,I Don't you see what they're trying<\/dialogue>\n    <scene_description>to pull, these tvo? This Victor ROCCO(contd) kid says he's the shooter, walks in here with M record,~ jobs, deep roots in the community \u2022\u2022\u2022 and M says it was self-defense. Who's to say no? The other brother, this strike? If h!l tried that? He's a known sc-uml)ag. They'd throw away the key. No ~der that confession sounded like horseshit, This ~tor kid wasn't even there. He's just taking the wai9ht for his brother. MAZII.l.I (exasperated, laughing) out of~ ... brotherly love? Fear? For money?<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(amazed, outraged, but also pumped)<\/parenthetical>\n    <dialogue>They ran a~ on me, these two, 'cause~ cocksucker<\/dialogue>\n    <parenthetical>(Rocco taps Victor's picture)<\/parenthetical>\n    <dialogue>is an innocent man.<\/dialogue>\n    <character>MAZILLI<\/character>\n    <parenthetical>(talking to a crazy man)<\/parenthetical>\n    <dialogue>Listen, I found out what was going on with OiNardo. He's in deep shit with the I.R.S. His job's hanging by a thread. He was just taking it cut on you this morning.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>{transported by the hunt --<\/dialogue>\n    <scene_description>OiNardo is irrelevant -- to the photos) see, but what 1 wanna know is, where the fuck did these two moulies get the 0alls big enough to even think they could get this one past me.<\/scene_description>\n    <character>MAZILLI<\/character>\n    <dialogue>(calmly} Did you hea~ what I just said about DiN~r4g? ROCCO You want to play games. mother-<\/dialogue>\n    <scene_description>fuckers? Let's play soma games \u2022 \u2022 \u2022 \/ EXT: PROJECTS BENCHES- NEXTNIGHT Strike and company on the bench.<\/scene_description>\n    <character>FUTON<\/character>\n    <dialogue>Yeah, I heard it was like a ha, like a professional thing, 'cause<\/dialogue>\n    <scene_description>\u2022 Darryl !\\ad all this msmey and they didn't to\u00b5eh it, on him so like ...<\/scene_description>\n    <character>STRID<\/character>\n    <parenthetical>(rising, grinning, enraged, paranoid)<\/parenthetical>\n    <dialogue>See, there you 90 again. How come<\/dialogue>\n    <scene_description>I you always talk about shit like you \u2022\u2022 I ~tually ~ something? FtlTON (rising, in Strike'&amp; face) \u2022cause maybe I sl2 \u2022\u2022\u2022<\/scene_description>\n    <character>PEANTJT<\/character>\n    <dialogue>c\u2022mon, man, y'all friends so why don't \u2022\u2022\u2022<\/dialogue>\n    <scene_description>Poanut stops talking, as all eyes turn to someone approaching. CLOSEON STRIKE .-\u00b7- .. He's got oh-shit eyes.<\/scene_description>\n    <character>REVERSE ANGLE - ROCCO<\/character>\n    <dialogue>abruptly (bang!) standing before them.<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(amiable, hands in pockets)<\/parenthetical>\n    <dialogue>How ya doin', fellas?<\/dialogue>\n    <parenthetical>(beat, zeroing in on Strike)<\/parenthetical>\n    <dialogue>Hey, are you Ronnie Dunham?<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(tense)<\/parenthetical>\n    <dialogue>BgDald ...<\/dialogue>\n    <scene_description>ANGLE - aocco AND STRIKE about twenty feet frorn the bench.<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(confidential, intimate)<\/parenthetical>\n    <dialogue>Listen, I'm working the Darryl Adams job and ah ... how's your brother doing in there?<\/dialogue>\n    <character>STRIKE<\/character>\n    <dialogue>(tense} I haven\u2022~ seen him yet. ROCCO 'tP.ah? (wincing) That's a rough joint, County. You<\/dialogue>\n    <scene_description>ever be.en in there?<\/scene_description>\n    <character>STRIKE:<\/character>\n    <dialogue>~ust overnight on a confusion.<\/dialogue>\n    <scene_description>Strike's eyes focus on someone over Rocco's shoulder and Rocco turns to see ERROLBAJUa:S,leaning aqainst a car, holding a package.<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(waving)<\/parenthetical>\n    <dialogue>How you doing?<\/dialogue>\n    <scene_description>Errol just stares. ROCCO(ccintd) He waitin' for you?<\/scene_description>\n    <character>STRIKE<\/character>\n    <dialogue>No.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I don't know.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>This'll be a minute \u2022.. I just got to tell you I'm not too happy about the arrest, you know? I mean he gave it up, Victor, but, ah, you know what he told us?<\/dialogue>\n    <character>STRI!&lt;E<\/character>\n    <dialogue>How would I know? I wasn't there.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Wasn't where?<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(contemptuous of the qame)<\/parenthetical>\n    <dialogue>Where he told you.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Well, le~ ~e ask you .\u2022\u2022 What do ~ think happened?<\/dialogue>\n    <character>STRIKE<\/character>\n    <dialogue>I don't know ...<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>You think there was something between him and Darryl Adams?<\/dialogue>\n    <character>STRIKE<\/character>\n    <dialogue>Whatever he told you ...<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Do~ know Darryl Adams?<\/dialogue>\n    <scene_description>STRIKE' S POV - ERROL ON THE CAR<\/scene_description>\n    <character>STRI:KE<\/character>\n    <dialogue>No,<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(spinninq in a slow circle-~ lie 11)<\/parenthetical>\n    <dialogue>You didn't know Darryl Adams?<\/dialogue>\n    <character>STRID<\/character>\n    <parenthetical>(trapped -- knowing he just fucked up)<\/parenthetical>\n    <dialogue>Unh-unh,<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>When was the last time you sav your brother?<\/dialogue>\n    <character>STRIKE<\/character>\n    <dialogue>Not like, not for a while.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>A week? A month? Two months?<\/dialogue>\n    <character>STRID<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>What?<\/dialogue>\n    <dialogue>Two 111onths.<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(spinning casually, lie 12)<\/parenthetical>\n    <dialogue>Two 111onths.<\/dialogue>\n    <scene_description>A beeper sounds. ROCCO (con~d) (smirking) You wanna get that?<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(SIDirking)<\/parenthetical>\n    <dialogue>It ain't mine.<\/dialogue>\n    <scene_description>Rocco looks down on his hip -- it's his \u2022<\/scene_description>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>........<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(grinning)<\/parenthetical>\n    <dialogue>How 'bout that .. , OK ... look, I just thought there was some insight you could give me on this ... because ... he's got those little kids and all ...<\/dialogue>\n    <scene_description>STlUKE I (stricken, bluntly) I I Maybe the guy was like a .QABhead.<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(attentive)<\/parenthetical>\n    <dialogue>Who Darryl? Where'd you hear this?<\/dialogue>\n    <scene_description>STRil&lt;E Nowhere ... I mean, you know, I'm sayin' like maybe.,. but you know ... I don't know.<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Huh ... OK, look.,. here's my card ,,. you think of something, you<\/dialogue>\n    <scene_description>.- -.. hear something .<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(quickly)<\/parenthetical>\n    <dialogue>Yeah, aw:ri9ht.<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(watching him twist)<\/parenthetical>\n    <dialogue>OK . , . good.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'll be seeing you, Ronnie.<\/dialogue>\n    <scene_description>Rocco walks away. ROCCO (contd) (to \u00a3r~ol, still on the car) Heyy how you been keepin' yourself? Errol ignores the q,Jestion, looks at strike. \u00a3AAOL'S POV - STRIKS standing alone, wr~~~ing and knotted. STRIKE'S POV - ROC~~ IN HIS CAR Rocco drives off, t~rows Strike a wave.<\/scene_description>\n    <character>ERROL<\/character>\n    <dialogue>\u00b7What he want?<\/dialogue>\n    <character>STRIKE<\/character>\n    <dialogue>Nothing ... it's a1:&gt;outmy brother n' shit.<\/dialogue>\n    <character>ERROL<\/character>\n    <dialogue>Strike the package<\/dialogue>\n    <parenthetical>(handing he was holding)<\/parenthetical>\n    <dialogue>Thi; from Rodney ... he say whack it up for ounces, he'll bang you on it later.<\/dialogue>\n    <character>INT:<\/character>\n    <dialogue>f<\/dialogue>\n    <character>NARCOTICS UNIT SQUAD ROOM - ON!: HOUR LATER<\/character>\n    <dialogue>'' They're<\/dialogue>\n    <scene_description>shit. processing a half dozen drug arrests.- -- petty<\/scene_description>\n    <character>IN A<\/character>\n    <dialogue>ROCCO<\/dialogue>\n    <character>CHAIR<\/character>\n    <dialogue>You know Rodney Little?<\/dialogue>\n    <character>JO-JO<\/character>\n    <parenthetical>(squat, Santa-looking with white full beard, red face, Hawaiian shirt)<\/parenthetical>\n    <dialogue>sure<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>He's got this kid, Strike\u2022\u2022\u2022<\/dialogue>\n    <character>JO-JO<\/character>\n    <dialogue>Skinny little prick? LOoks like he hasn't shit in a week?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>I'm working on something and I need this kid to talk to me \u2022\u2022\u2022<\/dialogue>\n    <parenthetical>(Rocco takes out a few more business cards)<\/parenthetical>\n    <dialogue>do you think you can lay a card on him for me?<\/dialogue>\n    <scene_description>Jo-Jo peers down at ~he card on his desk. ROCCO (contd) I just need him a little stressed out now.<\/scene_description>\n    <character>JO-;JO<\/character>\n    <dialogue>(play~ul} What are you gonna do for me? j ROCCO Nothin' you couldn't do for yourself ...<\/dialogue>\n    <character>INT:<\/character>\n    <dialogue>Ct.ci,E ON STRIKE, tense-faced,<\/dialogue>\n    <character>COUNTY JAIL<\/character>\n    <dialogue>a correction&amp;<\/dialogue>\n    <scene_description>.bicep. STRIKE'S POV - THE BUSY VISITORS' ROOMIN COUN'I'Y He's standing in th\u2022 doorway looking across the room to a\u00b7 eorrP-sponding doorway where another corrections officer<\/scene_description>\n    <character>J<\/character>\n    <dialogue>holds Victor in the same grip.<\/dialogue>\n    <scene_description>\u00b7,'<\/scene_description>\n    <character>ST1UKE'S CORRECTIONS OFFICER<\/character>\n    <dialogue>Chair six<\/dialogue>\n    <character>ANGLE- VICTOR ANDSTRIKE<\/character>\n    <dialogue>staring at each other ever a chest-high divider. Victor looks fucked up -- nappy-haired, wild, He's got a cut on the side of his mouth and he's wearing what looks like a pajama top.<\/dialogue>\n    <character>VICTOR<\/character>\n    <parenthetical>(wincing)<\/parenthetical>\n    <dialogue>Somebody burned my elbow with a lighter.<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(awkward, distracted)<\/parenthetical>\n    <dialogue>How you doin' in here.,.<\/dialogue>\n    <character>VICTOR<\/character>\n    <parenthetical>(angry)<\/parenthetical>\n    <dialogue>I just~ you! some.body burned my elbow with a lighter,<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(stupidly, helplessly, guiltily)<\/parenthetical>\n    <dialogue>You can't let ~hem g\\_g that, man \u2022\u2022\u2022<\/dialogue>\n    <character>VICTOR<\/character>\n    <parenthetical>(laughing, angry)<\/parenthetical>\n    <dialogue>Yeah, 01&lt; \u2022\u2022\u2022<\/dialogue>\n    <scene_description>STRlla: So what's your bail<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Fifty thousand.<\/dialogue>\n    <character>STRIKE<\/character>\n    <dialogue>.l2\u00a7mJl... no cash option?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>MY lawyer says neX1: week they're gonna give me the ten percent thing \u2022\u2022\u2022<\/dialogue>\n    <character>STRIKE<\/character>\n    <dialogue>so it'll be !in thousand, right?<\/dialogue>\n    <scene_description>(beat} Did mommycome see you? VICTOR Yeah, but I don't want her to come ,, no more, her asthma gets all backed I up and shit ..\u2022<\/scene_description>\n    <character>STRIKE<\/character>\n    <dialogue>(latching onto a righteous tone} What you worried about~ for, 'll!an? ~ the one in jail, VICTOR (staring right at him, in a<\/dialogue>\n    <scene_description>tremulous sing\u2022song) 'l'hat's right \u2022\u2022\u2022<\/scene_description>\n    <character>STRID<\/character>\n    <parenthetical>(miserable, evasive)<\/parenthetical>\n    <dialogue>You be out soon.<\/dialogue>\n    <parenthetical>(begging)<\/parenthetical>\n    <dialogue>Just hang in, awright?<\/dialogue>\n    <character>CLOSE<\/character>\n    <dialogue>looking like he's<\/dialogue>\n    <character>ON VICTOR<\/character>\n    <dialogue>about<\/dialogue>\n    <scene_description>VlC'l'OR I ain't built for this, Ronnie \u2022\u2022\u2022 HOLDON Victor as we hear OS:<\/scene_description>\n    <character>ROCCO (VO)<\/character>\n    <dialogue>Victor Dunham, you remecer him? You locked him up last year tor assault on an officer.<\/dialogue>\n    <character>EXT: REAR ENTRANC~TO MUNICIPALCOORT\/BUR!:AO<\/character>\n    <dialogue>OF<\/dialogue>\n    <character>IDENTIFICATION BUI~~:NG - SAM~TIME<\/character>\n    <dialogue>Rocco is lounging t~ere talking to Thwnper as a sporadic parade of arrestees are herded into the building.<\/dialogue>\n    <character>THUMPER<\/character>\n    <parenthetical>(smoking)<\/parenthetical>\n    <dialogue>Wlu1t al:lout hiin?<\/dialogue>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>ROCCO<\/dialogue>\n    <scene_description>What happened with that \u2022.\u2022 I'm tryin' to put this kid together.<\/scene_description>\n    <character>. THDMPER<\/character>\n    <parenthetical>(shrugginc;)<\/parenthetical>\n    <dialogue>Ah ... that was fucked up.<\/dialogue>\n    <character>FLASIUIACK<\/character>\n    <dialogue>EXT: PROJECTSDRt.TG<\/dialogue>\n    <scene_description>BENCHES\u2022 CREWANDLOOKOt.T'l'<\/scene_description>\n    <character>.REACTING<\/character>\n    <dialogue>AS THOMPER'SSQUADDOESA ROU.\u2022OP \u2022 ONE YEAR.AGO<\/dialogue>\n    <scene_description>THtJMPER (VO) Between me and you? That was fucked up ... we were doing a roll- up on the benches and first, the re911lar raiser does a 5\u20220 \u2022\u2022\u2022 'HE SEE a kid M&amp;ke a quick warning 9esture to the crew, furtive and discreet. TJMiPER (VO contd) But then, this ~u kid does it too .... WE SEE Victor in his orange uniform next to the real raiser. Victor imitates his ge&amp;ture.<\/scene_description>\n    <character>VICTOR<\/character>\n    <parenthetical>(looking directly at Thlllllpar)<\/parenthetical>\n    <dialogue>s-o!<\/dialogue>\n    <scene_description>Thlllllpar jW11ps out of the car, walks Victor backwards to the f.ence.<\/scene_description>\n    <character>THUMPER(VO)<\/character>\n    <dialogue>\u2022\u2022\u2022 Right in my fuckin' face<\/dialogue>\n    <character>THUMPER<\/character>\n    <parenthetical>(to Victor while doing a rough pat-down)<\/parenthetical>\n    <dialogue>You raisin' up on me?<\/dialogue>\n    <character>VICTOR<\/character>\n    <parenthetical>( .,~,inned)<\/parenthetical>\n    <dialogue>Hbil?<\/dialogue>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>Naw, man, I was gggtin'<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>- . THUMPER<\/stage_direction>\n    <scene_description>(angry) Unzip your pants. ..---. 'l'HIJMPER (\u00b7VO) \u2022 I mean, Rocco, right in my tace, no fear, no respect .\u2022\u2022<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>\u00b7(outraged, unzipping)<\/dialogue>\n    <scene_description>I got to get to work! Thumper does a dicky check, makes Victor take otf his &amp;hoe&amp;, shakQs out his socks. t\u2022 'l'HIJMPER. t You drop something? What you droP.? Don'tfuckin' ~\u2022 ThW11per shoves Victor flat against the fence then goes down on all fours looking for ditched drugs,<\/scene_description>\n    <character>VICTOR<\/character>\n    <parenthetical>(angry, unbelieving)<\/parenthetical>\n    <dialogue>This is J;mllshit, man. I got to get to~!<\/dialogue>\n    <character>THTJMPER (VO)<\/character>\n    <dialogue>Meanwhile, the peoples be startin' to come around \u2022.\u2022<\/dialogue>\n    <scene_description>A crowd for111s, curious, angry, bored.<\/scene_description>\n    <character>VOICES<\/character>\n    <parenthetical>(cautious)<\/parenthetical>\n    <dialogue>Yo Thwnper, that's yj&amp;tor, man \u2022\u2022\u2022 He's a ~in' man, Thumper \u2022\u2022\u2022 Thumper, this ain't right \u2022\u2022\u2022<\/dialogue>\n    <character>CLOSE ON VJ:CTOR<\/character>\n    <dialogue>VICTOR<\/dialogue>\n    <parenthetical>(getting panicked)<\/parenthetical>\n    <dialogue>I'm gonna be~!<\/dialogue>\n    <character>THUMPER (VO)<\/character>\n    <dialogue>I'm tellin' you, Rocco, it was like an gven ~~at day, right? And like, I'm on a:l fours in the garbage, in the grass, t'm humid, I'm sweating, I got a \u00b7\u2022\u00b7:lole fu,;kin' ,ooulie chgir on my ha~~s, and then like out of the blue ...<\/dialogue>\n    <scene_description>in his bare feet, muttering to h.imself, WE: SEE: Victor<\/scene_description>\n    <character>-.<\/character>\n    <dialogue>just w3lk off.<\/dialogue>\n    <scene_description>\/ and pulls him back into the Thumper jumps to his feet fence.<\/scene_description>\n    <character>THUMPER<\/character>\n    <parenthetical>(nose to nose)<\/parenthetical>\n    <dialogue>You fuckin' move again, you're s!llsi,<\/dialogue>\n    <scene_description>Thumper goes back to his search,<\/scene_description>\n    <character>THUMPER (VO)<\/character>\n    <dialogue>I mean, I got a tuckin' Jll!lience on my hands and this nigger's ~in' on me?<\/dialogue>\n    <character>CHORUS<\/character>\n    <parenthetical>(angrier)<\/parenthetical>\n    <dialogue>Thumper -- that's tucked mt! He got a ism, Thlllllperl Victor's all riqht. ThUlllper!<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>I'm gonna be l.ill.9.1<\/dialogue>\n    <character>THUMPER'S POV<\/character>\n    <dialogue>Victor, in a daze, just starts walking away again, going off to work in his bare feet,<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>,<\/stage_direction>\n    <scene_description>THtlMPER (VO) It got bughouse real quick \u2022.. I didn't like, !ljJ. him, alls I did was Thumper comes up behind Victor and swats the back of his head. THUMPER(VO contd) Just a little headslap, you know, to get his attention? But than, like ..\u2022 Victor, frustrated, enraged, wheels aroWld and gives Thumper a shove. Victor's teeth are clenched and he has tears in his eyes. Thumper's reaction is brutal and swift. He snaps Victor's head back in a flat-handed upthrust to the chin and whack; him behind ~he knees with a lead and leather sap. In a blink, victor is down on his stomach, ThWDper sitting on his back and pulling his head ~p by grabbing ~is hair. The rest of Thwnper's squad comes flying in, protecting ThWDper and securing the prisoner as the cro~d goes crazy.<\/scene_description>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>CHORUS<\/dialogue>\n    <parenthetical>(riot-level)<\/parenthetical>\n    <dialogue>Leave him alone, motherfucker!<\/dialogue>\n    <scene_description>.z.i.g mo~erfuckerl You're gug, ThW11per!<\/scene_description>\n    <character>CLOSEON VICTOR<\/character>\n    <dialogue>at ... he bottom of a police pileup -- enraged, crying, handcuffed.<\/dialogue>\n    <scene_description>I \u2022 I<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>I sat to ~ to :!!f!2UI<\/dialogue>\n    <scene_description>Thumper and the other cops hoist up the prisoner and hustle him to their car, the crowd following, Victor's socks and shoes abandoned by the fence as we hear \u2022\u2022\u2022 'l'HtlHPER (VO) I don't know, the kid wa\u2022 legit, I quess ... but what could I do?<\/scene_description>\n    <character>EXT:<\/character>\n    <dialogue>ROCCO AND THUMPER IN THE PRZSENT<\/dialogue>\n    <character>THUMPER<\/character>\n    <dialogue>.-\u00b7 I had six hundred niggers watching<\/dialogue>\n    <scene_description>in\u2022 like a biUit ... Right or wrong, if I cut that kid some slack after what he put me though? I'm t!!!ned. There wouldn't be a brain-dead moulie in all the projects who would ever respect me again. (beat} So what else is new, right? EXT: BENCHES - NIGHT CLOSEON - H11.ai1,- STRIKE'S FACE mashed into a brick wall -- Held there by Jo-Jo as he begins a pat-down from the rear, bear hug style.<\/scene_description>\n    <character>JO-JO<\/character>\n    <parenthetical>(in strike's ear)<\/parenthetical>\n    <dialogue>What's up, Strike? What's happenin\u2022?<\/dialogue>\n    <character>ST.RIKE<\/character>\n    <dialogue>(stu~~ed, contuse~)\u00b7<\/dialogue>\n    <scene_description>Nothin', sir.<\/scene_description>\n    <character>JO-JO<\/character>\n    <dialogue>Call me Jo-Jo.<\/dialogue>\n    <character>, STRIKE<\/character>\n    <dialogue>Jo-Jo.<\/dialogue>\n    <character>JO-JO<\/character>\n    <dialogue>strike, the reason I come by I just wanted to tell you tomorrow night's Knock night. We'r\u2022 gonna com\u2022 down on the projects like a fuckin' broom, oJC? So it I wa\u2022 you I'd take my boys, say nine o'clock? Take \u2022em out for soma Yoo-Hoos, come back eleven, eleven-thi~y, OK?<\/dialogue>\n    <character>STRI1&lt;E<\/character>\n    <dialogue>OK.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <character>JO-JO'S HENCHMAN<\/character>\n    <parenthetical>(to a few curious people)<\/parenthetical>\n    <dialogue>Get the fuck outa here.<\/dialogue>\n    <character>JO-JO<\/character>\n    <parenthetical>(in Strike'&amp; ear still)<\/parenthetical>\n    <dialogue>From now on I'll tell you wben shit's comin' down, OK? Week in week out.<\/dialogue>\n    <character>STRIKE<\/character>\n    <dialogue>Yeah, OK.<\/dialogue>\n    <character>JO-JO<\/character>\n    <dialogue>I'm your friend.<\/dialogue>\n    <character>STRIKE<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>JO-JO<\/character>\n    <dialogue>Are you m:t friend?<\/dialogue>\n    <character>STRII&lt;E<\/character>\n    <parenthetical>(hesit.ating)<\/parenthetical>\n    <dialogue>Yeah, uh-huh.<\/dialogue>\n    <character>JO-JO<\/character>\n    <parenthetical>(beard in Strike's ear)<\/parenthetical>\n    <dialogue>What are you gonna do for me?<\/dialogue>\n    <character>STRIKE<\/character>\n    <dialogue>crace s~ill =aehad into brick)<\/dialogue>\n    <scene_description>Five hund:-ed?<\/scene_description>\n    <character>JO-JO<\/character>\n    <dialogue>That's beautiful, strike, that's flawless. I'm gonna send somebody<\/dialogue>\n    <scene_description>.. back here in about an hour to collect, OK?<\/scene_description>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>STRIKE<\/dialogue>\n    <scene_description>Yeah, OK,<\/scene_description>\n    <character>JO-JO<\/character>\n    <dialogue>week in.week out, friends for eriends, man ..\u2022<\/dialogue>\n    <dialogue>A'-'d.ght,<\/dialogue>\n    <scene_description>Jo-Jo ftr.~: :y steps back, pats strike on the shoulder. strike removes himself from the wall, shake~ himself out.<\/scene_description>\n    <character>JO-JO<\/character>\n    <dialogue>You OK?<\/dialogue>\n    <character>STRID<\/character>\n    <parenthetical>(muttering, stunned)<\/parenthetical>\n    <dialogue>I'm OK,<\/dialogue>\n    <character>JO-JO<\/character>\n    <parenthetical>(warm)<\/parenthetical>\n    <dialogue>Good, .. me too.<\/dialogue>\n    <scene_description>Jo-Jo bends down, picks up a calling card, JO-JO ( contd) I think you dropped this, Strike takes the card without looking at it. Jo-Jo retreats with his boys to their van, JO-JO (contd) Be well. Strike, vitlrating, livid, looks down at the card in his hand. CLOSEON THE CARD: ROCCO KLEIN<\/scene_description>\n    <character>DEMPSEY COUNTY<\/character>\n    <dialogue>PROSECUTOR'SOFFICE<\/dialogue>\n    <scene_description>Strike looks up. Tha van rolls off. Another car across ~he street starts up, pulls out, drives off -- Rocco at the wheel -- not looking at strike but making little effort to conceal himself. EXT: STRIP OF STORES - COLUMBUS AVENUE - SAME TIME \/ Centered by Japanese bric-a-brac shop, \"To Bind An Egg.\" INT: TO BIND AN EGG CLOSEON VICTOR standing at parade rest, framed by kimonos and kites. Ha's wearing a jacket and tie. STOREOWNER (laKI) (VO) We got this pUl)lic high school like two blocks from here? The kids, they got these sticky fingers, so I hired Victor, put in the buzzers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>.'<\/stage_direction>\n    <scene_description>I W\u2022 hear the insistent buzzer. CLOSEON BLACKTEENAGER at the door. C:I,OSE ON KIKI Petite, perky, nodding \"no way,\" CLOSEON VICTOR coming out of parade rest posture.<\/scene_description>\n    <character>KIKI (VO)<\/character>\n    <dialogue>Victor was my screener, It's not an easy job, there's so much --<\/dialogue>\n    <parenthetical>('beat)<\/parenthetical>\n    <dialogue>\"sensisjJ!ity\" out there \u2022\u2022\u2022 like, one ti111e ..\u2022<\/dialogue>\n    <character>VICTOR<\/character>\n    <parenthetical>(opening the door i:iut standing in the doorway. Calll, implacable)<\/parenthetical>\n    <dialogue>What you want ...<\/dialogue>\n    <character>BLACK TEEN<\/character>\n    <parenthetical>(defiant, a little off-balance)<\/parenthetical>\n    <dialogue>I want to come in ... what the fuck you think I want.<\/dialogue>\n    <character>VICTOR<\/character>\n    <parenthetical>(Moun~ Rushmore)<\/parenthetical>\n    <dialogue>What you ~anna buy?<\/dialogue>\n    <scene_description>What?<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>.-\u00b7\u00b7. \u2022cause maybe ~e don't have it.<\/dialogue>\n    <scene_description>The teenager steps back, outraged \u2022 \u0080\ufffd:<\/scene_description>\n    <character>TEEN<\/character>\n    <dialogue>Who the fuck are you, the security nigger?<\/dialogue>\n    <scene_description>QU!Cle ANGLE- KIKI' IN THE SHADOWS<\/scene_description>\n    <character>OF THE STORE<\/character>\n    <dialogue>tense, watching Victor do her dirty work,<\/dialogue>\n    <character>VICTOR<\/character>\n    <parenthetical>(unprovoked)<\/parenthetical>\n    <dialogue>t\u2022m just tryin' to save you some time,<\/dialogue>\n    <scene_description>' I I flli.k my time. They st.i,1tl alaost nose to nose, until the kid finally steps back, reaches in his pocket, pulls out a hundred dollar bill, snaps it crisp and flat, then crumples it up in a tight ball, TEEN (contd) This is what I think of :\u00a32lil\u2022 He flicks it in Victor's face. The money bounces of~ Victor's nose, rolls in the street, TEEN (contd) (walking backwards) There's your salary-, nigger. (walks further -- shouts now) Next time I come back I'm gonna put a 1:m.11.in your chest \u2022.\u2022 and my word is~-<\/scene_description>\n    <character>CLOSEON CRUMPLED<\/character>\n    <dialogue>BILL IN THE STREET<\/dialogue>\n    <character>KIKI (VO)<\/character>\n    <dialogue>A hundred dollars ... What was that, his allowance?<\/dialogue>\n    <scene_description>ANGLE\u2022 VlCTOR at parade rest in the store, stone-faced. Kiki behind her counter, stressed but silent.<\/scene_description>\n    <character>KIKI ('110)<\/character>\n    <dialogue>Victor even look at it<\/dialogue>\n    <scene_description>wo~ldn't two days ?ay just laying in the street ... It lay there for an hour. WE SEE TWOKIDS high-fiving through the glass door as they discover the money.<\/scene_description>\n    <character>CLOSEON VICTOR<\/character>\n    <dialogue>~~~ting a peripheral glance at the celebration outside the door.<\/dialogue>\n    <character>KIKI (VO)<\/character>\n    <dialogue>When\u00b7somebody finally picked it up \u2022\u2022\u2022<\/dialogue>\n    <scene_description>1,E ,;::E Victor. His body seems to held its height, yet slump at the same time. He vigorously rubs an eye with a s\u2022:.iff finger as if he's trying to poke a hole in his 'I head, then comas back to his self-possessed natural state. WE SE\u00a3 Rocco, Mazilli and Kiki in the PRESEN'l'.<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>You ever see that kid again?<\/dialogue>\n    <scene_description>lCIJ.a It was just talk , \u2022\u2022 ANGLE- VICTOR'S UPLACEHEN'l' stone-faced Hispanic kid in the identical jacket and tie.<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(studying the new guard)<\/parenthetical>\n    <dialogue>So you never had any ... he was a good worker, victor?<\/dialogue>\n    <dialogue>The best ...l&lt;IKI<\/dialogue>\n    <character>EXT: STOREFRONT<\/character>\n    <dialogue>Mazilli and Rocco on Columl:lus.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>See? What did I tell you?<\/dialogue>\n    <character>MAZILLI<\/character>\n    <parenthetical>(shrugging)<\/parenthetical>\n    <dialogue>So what ...<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>You know so~a~imas you got this \u2022\u2022\u2022 this :aded thing in you .\u2022. it goes all the way around to naive again,<\/dialogue>\n    <character>MAZILLI<\/character>\n    <dialogue>. \u00b7- \u00b7. ~ naive? You think just because<\/dialogue>\n    <scene_description>) a guy's gor. a job and a bank book he can't be a shooter? Who's fuckin' \u2022 naive here, Rocco? Me or you? tNT: STR!KE'S BEDROOM - Sl\\METIME Tyrone watches as Strike weighs out an ow,ce of coke, then spoons in laxative from a br0WJ1 bottle, mixing it onto a triple-beam scale.<\/scene_description>\n    <character>STRID<\/character>\n    <parenthetical>(eyes on his operation)<\/parenthetical>\n    <dialogue>The protit's in the cut \u2022\u2022\u2022 always rememtler that.<\/dialogue>\n    <scene_description>' II Tyrone looks big-eyed, uptight. STRID (contd) I ever see you play with this? Put it up your nose? or in~ pipe? strike reaches under the bed mattress, pulls a small .25 automatic, snows it to Tyrone in an unthreatening way. STltll(E ( contd) Shit, I'll kill you my l1AJm aelt. strike chops up some rocks to make another ounce, puts the gun between them. STR'IKE (contd) You probably asking yourself, how come he sellin' it than? Strike waits, Tyrone is riveted by the gun. STRtJa: ( contd) 'Cause mas sellin' it, ain't gonna stop nothin' out there but my own personal cash flow. (beat) Let me ask you something \u2022\u2022\u2022 put you to the test ..\u2022 My boss buys him a ki tor twenty-two that bottles up in~o thirty-five hundred ten-dollar boeeles. He takes sixty percent of ~he seventeen thouQand profit, leaves us seven thousand dollars, !ifty percent of which is 1!!.in\u00a7., is h~w ~uch ~oney for me? -- let me see how s~art you are \u2022\u2022\u2022<\/scene_description>\n    <character>TYRONE<\/character>\n    <parenthetical>(sta\"~ng at the gun)<\/parenthetical>\n    <dialogue>Thirty-five hundred.<\/dialogue>\n    <scene_description>\u0080\ufffd:<\/scene_description>\n    <character>STRIKE<\/character>\n    <dialogue>Yeah, that's right -- are you good in school? I bet you good in school ... I best not ever see you play in'\u00b7. hockey \u2022\u2022\u2022<\/dialogue>\n    <scene_description>Tyrone doesn't answer, He's transfixed by the qun. (contd) S'l'RIKE You ever shoot a gun be~ore?<\/scene_description>\n    <character>.',<\/character>\n    <dialogue>I<\/dialogue>\n    <scene_description>Strike places -ryrone stares the gun in Tyrone's at it, frightened, palm \u2022 t\\_ascinatac:\\~ STRIKE (contd) (going back to ba9gin9 and cutting) Yeah, I got ma cash longer'n train smoke but this here dopa? Me and my boss gonna be sellin' this by the ounce. This gonna make me a millionaire, what you think ot that? Tyrone is still staring at the gun in his palm. Ha I doeQn't even hear the question. I - STRI~ (contd) What you think ot that? Huh?<\/scene_description>\n    <character>EXT: STREETO'UTSIDERODNEY'SSTORE- NEXTAFTERNOON<\/character>\n    <dialogue>CLOSE ON S'nIKE<\/dialogue>\n    <scene_description>dropping dope in a garbage can and passing four white teens as ha heads to Rodney's store across the street. INT: RODNEY'SSTORE WE SEE the white kids retrieve the dope, get in their car and peel out VIA RODNEY'SFRONTWINDOW, Strike and Rodney are watchinq a small TV that's propped on top ot the cash register -- the reception is awful. ROONEYis holding his INFANTSONagainst his shoulder.<\/scene_description>\n    <character>RODNEY<\/character>\n    <dialogue>(to the TV} Errol told me you talked to that Homicide cop. (beat) Kow'd tha\"t. go? --\u2022 .. STRIKE<\/dialogue>\n    <parenthetical>(sipping Yoo-Hco, locking pained)<\/parenthetical>\n    <dialogue>He just wanted to knew about my l::ircther:'n shit.<\/dialogue>\n    <character>ROONEY<\/character>\n    <dialogue>Oh yeah? What else ...<\/dialogue>\n    <scene_description>S'l'Ril&lt;E (staring at TV) ' h Nothin'.<\/scene_description>\n    <character>RODNEY<\/character>\n    <dialogue>{gives Strike a long stare,<\/dialogue>\n    <scene_description>$hifts gears) I ever tell you about the first time I killed somel)ody? Errol made ma do it, 'cause it was three guys burned us on soma dopa and he already done killad the other two, and we got this third. guy, baggin' and shit, and Errol ha turns to ma says, 11You got tc cap him or~ gonna c:ap ~\" ... see, Errol d.in't want me walkin' around knowin' what he d.ona\u00b7, without nothin' personal hangin' ever l!!Y head t.2.e, otherwise I might give him BR someday, you understand?<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(eyes burning into the TV)<\/parenthetical>\n    <dialogue>Uh-huh.<\/dialogue>\n    <character>RODNEY<\/character>\n    <dialogue>see, that's why I wanted you a littl- bloody on the Darryl thing.<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(staring at the 'I'V)<\/parenthetical>\n    <dialogue>Uh-huh ..<\/dialogue>\n    <character>RODNEY<\/character>\n    <dialogue>Yeah, ol' ::?:\"rol<\/dialogue>\n    <parenthetical>(Ro~~ey draws a bead on Strike)<\/parenthetical>\n    <dialogue>ha~ this~~\u2022 sowed-o~f ~i9h~ in ~y ~ ... =.y best friend, t00,<\/dialogue>\n    <scene_description>Strike burps, presses his fist to his mouth. CLOSE ON STRIKE'S FACE He's burped up some blood \u2022<\/scene_description>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>RODNEY<\/dialogue>\n    <parenthetical>(smelling the kid's shitty diapers, to son)<\/parenthetical>\n    <dialogue>You a baby or a elephant?<\/dialogue>\n    <parenthetical>(to strike, coolly)<\/parenthetical>\n    <dialogue>YOUor?<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>PROJECTS SIDEWAI.K<\/dialogue>\n    <scene_description>Strike steaming for the benches in a heads-down muttering\u00b7 funk, counting the money. ' II STRID . t (to himself, mocking Rodney)\u00b7 YOU OK? You OK? You OK? BOOM -- he's crashed into someone, then falls back on his ass. STRIU!'S POV He's in front cf the bench\u2022~\u00b7 I.coking up, he.sees Rocco, grinning and ottering hi\u2022 hand.<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>-' YOU OK?<\/dialogue>\n    <character>ANGLE - ROCCO AND STRIKE:<\/character>\n    <dialogue>in the same spot twen~y yards from the bench as their last conversation.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Well, it's just, remember you said to me that Darryl had like a mg problem? so like, I ran with that, you know? And ... you know what? Everybody I asked said the same damn thing ... Darryl? Ke was clean, he was pure, his body was the temple, ~erybody \u2022 \u2022 \u2022 But ~<\/dialogue>\n    <scene_description>said the guy ~as a ~head.<\/scene_description>\n    <character>STRIKE:<\/character>\n    <parenthetical>(e1\"~~hing his stomach)<\/parenthetical>\n    <dialogue>l was jus~, like ~ulating.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Yeah, well that's some nasty-ass speculating,<\/dialogue>\n    <scene_description>STRIJ&lt;l: (burps some more blood into the side of his fist) Naw ... like ... I was just \"thinki~g on my feet, you know?<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(circling him now like Andre did)<\/parenthetical>\n    <dialogue>Yeah? Are you SU you didn't .know this guy?<\/dialogue>\n    <scene_description>I I (jumpy -- eyeinCJ the bench, - which is eyeing him) Naw . . . well yeah, but just by !!U<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(s~elling blood, pumped but restrained)<\/parenthetical>\n    <dialogue>Just by eye. so yo~ ngver had a beef with him.<\/dialogue>\n    <character>STRID<\/character>\n    <parenthetical>(wheeling to follow Rocco's circling)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <character>--.<\/character>\n    <dialogue>ROCCO<\/dialogue>\n    <scene_description>so there's no way that Victor could have been cutting through that lot in the dark and Darryl would've mistook him for~. like, there's that motherfucker strike \u2022\u2022\u2022<\/scene_description>\n    <character>STRIKE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>'Cause you and your brother in the dark, you guys probably look like tw0. peas in a pod, you know that, right?<\/dialogue>\n    <character>STRIKE<\/character>\n    <dialogue>(dry} So what you tryin' to say, it's hard to tell black people apart in t.he ni9ht~i.me\"? ROCCO<\/dialogue>\n    <parenthetical>(grinning)<\/parenthetical>\n    <dialogue>Hey, I can't even tell you guys<\/dialogue>\n    <scene_description>. ...... apart in the daylight \u2022<\/scene_description>\n    <character>I<\/character>\n    <dialogue>Strike finds himself laughing at Rocco's candidness.<\/dialogue>\n    <scene_description>ROCCO(contd) (going With the laughter) So anY\"'a.ys, are you guys close? . S'l'lUJa: . (staring at ~one) Not really.<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Yeah, I forgot. You guys haven't seen each other in a lon9 time,<\/dialogue>\n    <scene_description>,,' right? How long has it been? ' S'rlUD (hesitating) A month.<\/scene_description>\n    <character>ROCCO .<\/character>\n    <dialogue>A month? Gee, last time we talked I thought you said~ months.<\/dialogue>\n    <character>ST1UD<\/character>\n    <parenthetical>(flashing fire, drawin9 focus)<\/parenthetical>\n    <dialogue>If you re~ered that, bow come you pskadme then?<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(grinning)<\/parenthetical>\n    <dialogue>You know what Alzheimer's is?<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(strong contempt)<\/parenthetical>\n    <dialogue>some kind of beer?<\/dialogue>\n    <scene_description>There's a heat flash in Rocco's face at this dig, but he reins it in -- too much to lose by getting confrontational\u00b7.<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(shifting gears)<\/parenthetical>\n    <dialogue>You get to visit your brother yet?<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(stomach wince)<\/parenthetical>\n    <dialogue>Yeah, uh-huh ...<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Can I tell you something? Ma to you? He's claiming self-defense.<\/dialogue>\n    <parenthetical>(Roc::o winces)<\/parenthetical>\n    <dialogue>He goes to trial with that? ~hose kids of his? By the time he gets<\/dialogue>\n    <scene_description>! out, they'll be goin' in,<\/scene_description>\n    <character>STRIKE:<\/character>\n    <parenthetical>(stricken)<\/parenthetical>\n    <dialogue>You aver think maybe he didn't do it?<\/dialogue>\n    <scene_description>Rocco gees slightly rigid with alertness, like a hunting deg.<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>( take mildness)<\/parenthetical>\n    <dialogue>What do you mean?<\/dialogue>\n    <scene_description>' 1, STRll&lt;E I (shrugging, trapped, wiping a little blood trom his lips) Maybe somebody UK did it.<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Oh yeah?<\/dialogue>\n    <parenthetical>(tense beat)<\/parenthetical>\n    <dialogue>Like who?<\/dialogue>\n    <scene_description>strike do@lea over, clutching his stomach, views th\u2022 boys on the bench at a crazy angle. ROCCO(contd) Like~. Ronnie?<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(trying to straighten up)<\/parenthetical>\n    <dialogue>I'm just sayin', but I don't know \u2022\u2022\u2022<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>You oK?<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(sinking to one knee as it Rocco is going to knight him)<\/parenthetical>\n    <dialogue>Yeah ... but, but I got to go.<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(mildly)<\/parenthetical>\n    <dialogue>ox ... here's my card,<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(not taking it, rising again)<\/parenthetical>\n    <dialogue>Yeah, l al~eady got two.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>TWO? Jesus, it must be that Alzheimer's ~. I guess.<\/dialogue>\n    <parenthetical>(Rocco sticks his card in J Strike's sweatshirt mu!t)<\/parenthetical>\n    <dialogue>Take care of yourself, Ronnie. I'll be seeing you ...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>..--<\/stage_direction>\n    <scene_description>Rocco walks off,. strike doubles over again, then looks up to see tbe craw and Tyrone staring at him with fascination,<\/scene_description>\n    <character>STRIKE<\/character>\n    <dialogue>The fuck you lookin' at.<\/dialogue>\n    <scene_description>Strike stands up straight for a second then crumples to the ground like a puppet with cut strings. S'l'Ril!:E'S POV - SHUFF~INGFEET He hears a tussling confused chorus standing over him.<\/scene_description>\n    <character>VOICES (OS)<\/character>\n    <dialogue>What the fuck? .Ko shit .\u2022\u2022<\/dialogue>\n    <character>VOICE (OS)<\/character>\n    <parenthetical>(harsh, interrogatory)<\/parenthetical>\n    <dialogue>What's the matter with you? You pipe up today? HUh? You hit the peace pipe?<\/dialogue>\n    <scene_description>CLOSEON RUBBERGLOVEDHANDS grasping his shoulders. Strike screams in pain as he's rolled over and put on a stretcher. INT: AMBULANCE Tight, claustrophobic. TWOMEDICSworking over strike with a stooped, brisk manner under the low ceiling. MEOIC fl (putting on b.p. cuff) You pipe up today? Mama~ you not to do them drugs, right? Now look where you're at \u2022\u2022\u2022<\/scene_description>\n    <character>MEDIC #2<\/character>\n    <dialogue>Where do you live?<\/dialogue>\n    <character>STRIKE<\/character>\n    <dialogue>Please<\/dialogue>\n    <character>MEDIC #1<\/character>\n    <dialogue>Eighty pa~;:i.<\/dialogue>\n    <character>MEDIC #2<\/character>\n    <dialogue>I Get the pressure pants ...<\/dialogue>\n    <parenthetical>(to Strike)<\/parenthetical>\n    <dialogue>Where's it hurt?<\/dialogue>\n    <scene_description>MEDICil Talk to me, yo ... where you live. ANDRt (VO) (to the medic) I'll give you all that. STRIJCE'S POV - WE S!!E ANtlRt leaning into the aml)ulance, looking at Strike with a mixture cf reproach and concern. \"I<\/scene_description>\n    <character>STRID<\/character>\n    <parenthetical>(pleading whisper)<\/parenthetical>\n    <dialogue>Andre \u2022\u2022.<\/dialogue>\n    <scene_description>MEDIC fl Straighten out, homea. The medic forces Strike's legs straight and Strike screams \u2022<\/scene_description>\n    <character>. INT: ROCCO'S CAR. - SAME TIME<\/character>\n    <dialogue>Rocco driving, teeth clenched, pumped, muttering to himself.<\/dialogue>\n    <character>ROC:CO<\/character>\n    <dialogue>Like who? Like who, Ronnie? Like ):!)lg,, motherfucker \u2022\u2022\u2022<\/dialogue>\n    <scene_description>There's an insistent honking from behind Reece's car. ROCCO'S POV - THE REARVIEW A car pulls out from behind him and comes abreast. It's Frank DiNardo.<\/scene_description>\n    <character>ANGU:<\/character>\n    <dialogue>Rocco in his parked car, DiNardo hunched over his driver's side window.<\/dialogue>\n    <scene_description>DiNARDO Look ... I been having some problems, nothing wi~h you, and \u2022.\u2022 I was out of line ... way out of line.<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(grinning)<\/parenthetical>\n    <dialogue>.---. Hey, I been there me-self, many a time \u2022\u2022\u2022<\/dialogue>\n    <character>I<\/character>\n    <dialogue>DiNARDO<\/dialogue>\n    <scene_description>Roc~o, you're a good man, and \u2022\u2022\u2022<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>(hands up} .c'mon ... I don't know ~ody doesn\u2022t.\"need a good smack now and then, You said what had to be said. That's why you're tha man. DiNARDO<\/dialogue>\n    <parenthetical>(offers his hand)<\/parenthetical>\n    <dialogue>r<\/dialogue>\n    <scene_description>Would you shake my hand? I I ROCCO (heartily) .U you insist \u2022\u2022\u2022<\/scene_description>\n    <character>EXT: AHAB'S PMUCING LOT - SAME TIME<\/character>\n    <dialogue>Under the rotating harpoonist, the four white kids who bought the dope are scarfing down fresb burgers in their tricked out car -- horse-laughing, etc, CLOSEON REll LICENSE PLATE- \"Dl!:t.AWARE\" ANGLE - JO-JO AND TWO OF HIS GUYS<\/dialogue>\n    <dialogue>standing behind the car smiling at the out-of-state<\/dialogue>\n    <scene_description>, plates, then strolling around the car making adsirin9 noises. ANGLE- INSIDE TKE CAR the kids getting Uh-oh eyes. Jo-Jo leans in the window, nods to the car phone.<\/scene_description>\n    <character>JO-JO<\/character>\n    <dialogue>Nice<\/dialogue>\n    <character>CLOSEON EYE CONTACTBETWEEN<\/character>\n    <dialogue>THE KIDS<\/dialogue>\n    <scene_description>They know they're fucked. INT: HOSPITAL COl:UlIDOR- 7:00 A,M. Sickly yellow light of a hallway which is lined with gurneys; beds tor whicn there were no rooms. Strike lies in cne of these roosless gurney beds. He's be\u2022n there all night. STRIKE' S POV He looks up into the face of a stern Indian doctor \u2022 \u0080\ufffd:<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>you know how much blood we took out of your stomach?<\/dialogue>\n    <scene_description>Strike doesn't answer. stares at the drip bag hanging over his head, DOc::TOR(contd) TWO liters.<\/scene_description>\n    <character>STRIKE<\/character>\n    <dialogue>,,' What's a liter? I<\/dialogue>\n    <scene_description>OOC'l'OR Do you know what a perforated ulcer is? Do you have ADx.idea what's been going on inside you?<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(dazed)<\/parenthetical>\n    <dialogue>Ulcer?<\/dialogue>\n    <scene_description>EXT: HOSPITAI..EN'rRANCE:\u2022 10:00 A.M. Strike, shaky, weak, exits the hospital into the harsh sunlight. He holds a bag of medicine and is still wearing the plastic hospital I.D. bracelet.<\/scene_description>\n    <character>..I<\/character>\n    <dialogue>As he steps off the curb, Rodney's Cadillac screeches out of nowhere, rocks to a s~op. Rodney leans over, and opens the passenger door. INT: RODKEYDRIVING, STRID IN THE PASSENGER SEAT Rodney clrives with one hand, rifles strike'\u2022 medicine pag with the other. He takes one of strike's medications and throws it in his glove compartment.<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(nervous)<\/parenthetical>\n    <dialogue>Was you waitin' out there all night?<\/dialogue>\n    <character>RODNEY<\/character>\n    <dialogue>Hey, you\u2022~e like my .Gn, don'tyou know that? Didn't I tell you to see my doctor? Get yourself all boiled up on tha~ bench top, worryin' about this, wor~yin' about that, suckin' on that Yoo-Hoo shit ... You a smart kid, but you stupid, too \u2022\u2022\u2022 Hey \u2022\u2022\u2022 1 heard that !::!.2l!!icide came back on<\/dialogue>\n    <scene_description>. --. you yesterday .<\/scene_description>\n    <character>.I<\/character>\n    <dialogue>Strike shrugs noncollll1littally.<\/dialogue>\n    <scene_description>RODNEY(contd) (with oblique menace) What's he .\u2022. like your mtriend, now? INT: HALLWAYOUTSIDE STRIKE'S COOR Strike stands there as Tyrone struggles with strike's keys. Na.., \u2022\u2022. that's<\/scene_description>\n    <character>STRID<\/character>\n    <dialogue>the ax key ... It's<\/dialogue>\n    <scene_description>the~ one. IN'l': STRID' S BEDROOM CLOSE ON STRID opening the bottom dresser drawer. It's filled with color-coded baggies. Tyrone is all eyes.<\/scene_description>\n    <character>STRIKE<\/character>\n    <dialogue>Don't forget what color I ask you for. An like when you leave? You best lock the door, you rememl:&gt;ar that? And don't .nm nowhere ... and don't mess up my house ... just in an' out \u2022\u2022\u2022 like et~ient.<\/dialogue>\n    <scene_description>Tyrone tlops on to strike's bed, STRila! (contd) And dgn't jump on m.y damn bed \u2022\u2022 \u2666 Strike takes Tyrone by the wrist, pulls him to his feet, lifts the mattress to show the kid the gun hidden underneath. STRIKE (contd) 'Lest you want to get shot in the ass. INT: RODNEY'SSTORE- THIRTYMINtJTESLATER Rodney horse-laughing with a FAT WHITE GUY. Strike silent at his side, Rodney nods to Strike, who exits.<\/scene_description>\n    <character>EXT: SIDE STREET NEAR STORE<\/character>\n    <dialogue>Strike coming up on Tyrone, who's sitting on the fender of S't.rike's car.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>.-.<\/stage_direction>\n    <character>STRIKE<\/character>\n    <dialogue>Man, don't be sitting en the car.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Awrigh~, two ~ \u2022\u2022 ,<\/dialogue>\n    <scene_description>The kid tears off, STRIKE (contd} .I said don't .J::YD \u2022\u2022\u2022 Jesus \u2022\u2022\u2022 ,, strike stares after the kid, his face twisting with I remorse as we hear in VO \u2022\u2022\u2022<\/scene_description>\n    <character>HECTOR (VO)<\/character>\n    <dialogue>You see these antique~ prints here? The plants? 'l'ha old-time style ceiling fans?<\/dialogue>\n    <scene_description>nrr: HAMBONES RESTAURANT ('WHERE VICTOR WORKED) - AN HOUR LATER The restaurant is full-up with PEOPLE -- clamorous, smoky, a chaotic mess. Through this chaos WE SEE in srpw MOTION. Victor walking, holding a tray with three jumbo sodas. His face is grim, intent, solemn -- his gait in this slo-mo seems both ) ceremonial and determined. WE WATCHVictor's journey through th\u2022 room as we hear, \u2022\u2022<\/scene_description>\n    <character>HECTOR (VICTOR'S PARTNER)(VO)<\/character>\n    <dialogue>That's all Victor's ideas. He said we got to make this place feel like somebody's~. like people are comin' into somebody's two ... See, he treated everybody with respect -- the kids in the kitchen, the customers, shit, even the clockers ... Like, o~, you asked me about last Friday night?<\/dialogue>\n    <character>ANGLE<\/character>\n    <dialogue>THREE YOUNGCLOCKERSsitting<\/dialogue>\n    <character>A TABLE ACROSSTH~ ROOM<\/character>\n    <dialogue>there,<\/dialogue>\n    <character>HE:CTOR. (VO)<\/character>\n    <dialogue>We got ~~ese three motherfuckers trying to set~~ shop out there -- I'm goin' for my ~~~king~. but Victor, he's like \"Yo Hector, wait up, wait up.\"<\/dialogue>\n    <scene_description>Victor approaches with the sodas, puts the tray in front of them, takes a seat as ~e hear \u2022\u2022\u2022 HECTOR (VO contd) He sits down, says like, \"Yo brothers, y'all ain't clpck1n' in here, are you? 'Cause this is like a family place, you Jcnow?R victor hands out the sodas. WE SEE the clockers having an eye conference. victor crosses his legs, clasps his hands on the taDle, digging in to say what he has to say to them. \u2022' I And I'd appreciate<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>it if you'd do:<\/dialogue>\n    <scene_description>your business off the ~erty \u2022\u2022\u2022<\/scene_description>\n    <character>ANGLE \u0080\ufffd HECTOR<\/character>\n    <dialogue>The narrator -- 30, beefy, Hispanic -- watching rrom the counter area. His face is mottled with fuey, He's got a baseball bat partially hidden.<\/dialogue>\n    <scene_description>HEe'l'OR (VO) See, usually that's all it takes but \u2022\u2022\u2022<\/scene_description>\n    <character>ANGLE- THE TABLE<\/character>\n    <dialogue>CLOSE ON KID'S KAND<\/dialogue>\n    <dialogue>going into a pocket -- moment of menace -- gun? Knife? The kid pulls out a wad of cash.<\/dialogue>\n    <character>HECTOR(VO)<\/character>\n    <dialogue>This ol' boy pulls out this .szll, says 11my boss says he'll pay you three hundred dollars a week if you let us set up.\"<\/dialogue>\n    <character>CLOSE ON VICTOR'S FACE<\/character>\n    <dialogue>fREEZE on him -- angry, constricted, controlled.<\/dialogue>\n    <character>ROCCO (VO)<\/character>\n    <parenthetical>(on victor's face)<\/parenthetical>\n    <dialogue>What he say?<\/dialogue>\n    <character>HECTO!{ (VO)<\/character>\n    <parenthetical>(iro~~=. bitter)<\/parenthetical>\n    <dialogue>see, Victor puts please and thank you in every sentence around here because he says \"courtesy breeds teamwork,\" ' so it was either 11no, please, thank you\" or it was \"please, no thank you.R<\/dialogue>\n    <character>J<\/character>\n    <dialogue>INT: \u2022 Tim PRESENT<\/dialogue>\n    <character>HUGESTEAMYKITCHENOF HAMBONES<\/character>\n    <dialogue>It's a sea cf clatter and grease. Rocco is talking to Heeter. Mazilli a silent presence.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>so was that why be left early Friday night? Ka told me he wasn't feeling wall,<\/dialogue>\n    <character>HECTOR<\/character>\n    <parenthetical>(nasty laugh)<\/parenthetical>\n    <dialogue>Wasn't ,Wling well? Yeah, well.,.\\_let me tell you, fer what we're gettin' paid in here? That shit can gn to you, man.<\/dialogue>\n    <character>EXT: PROJECTSBENCHAREA- MIDNIGHT<\/character>\n    <dialogue>CLOSE ON STRIKE' S FACE\u2022<\/dialogue>\n    <dialogue>set in cement.<\/dialogue>\n    <character>HECTOR (VO)<\/character>\n    <dialogue>That shit can make you &amp;J.a<\/dialogue>\n    <scene_description>Pt1LL BACXTO SEE Strike laaninq into the bench at a 45\u2022 angle, enduring a close quarters body\u2022search by Thumper. Strike's pant$ are down by his ankles. There's a crowd, some giggling.<\/scene_description>\n    <character>THUMPER<\/character>\n    <parenthetical>(slightly drunk)<\/parenthetical>\n    <dialogue>All dona ...<\/dialogue>\n    <scene_description>Strike, enraged, slowly pulls up his pants. THUMPER(cont4) Hey, Strike? Thwnper extends his arms, his hands clenched. THUMPER(contd) Pick a hand ... any hand Thumper opens both palms to reveal two of Rocco's business cards.<\/scene_description>\n    <character>THUMPER(VO)<\/character>\n    <dialogue>You best llll ~o that man ...<\/dialogue>\n    <scene_description>EXT: P\"ROJ'EC'l'SBENCHES- NEXT MORNING Strike and the crew hanging out, some low key sales going j on. Strike is on his perch, holding a new bottle of Mylanta. STR!l&lt;E'S POV WE SEE Tyrone walking towards him. He's holding a small brown paper bag. T'mONE (tiny voiced) Strike.<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(side of mouth)<\/parenthetical>\n    <dialogue>Get out ot here.<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>But ...<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(side of :mouth)<\/parenthetical>\n    <dialogue>I ain't doin' that shit with you no more, so just get yourself some lciddy-friend$.<\/dialogue>\n    <character>TYRONE<\/character>\n    <dialogue>...<\/dialogue>\n    <character>TY~ONE' S POV<\/character>\n    <dialogue>WE SEE Strike sit up, eyes widening, then leaping free of th\u2022 bench as Iris comes barreling through, swinging and missing him by a mile. In shock, Strike dances lika a boxer, but keeps his distance.<\/dialogue>\n    <character>IRIS<\/character>\n    <dialogue>You stay the fuck away from my son!<\/dialogue>\n    <scene_description>A CROWOinstantly fonns. CLOSE ON TYRONE ha\u25a0 a heart-attack of embarrassment.<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>( S~Ul\".~ed)<\/parenthetical>\n    <dialogue>Don't you ~ve, put your hands on ~y face!<\/dialogue>\n    <character>IRIS<\/character>\n    <dialogue>I'll put ~y goddamn hands anywhere I want! You stay~ from him!)<\/dialogue>\n    <scene_description>Tyrone runs back to his building, horrified. Iris and strike are surrounded -- it's a verbal\u2022 cockfight\u2022<\/scene_description>\n    <character>STRIKE<\/character>\n    <dialogue>I don't even know what the fuck you talking' about, you crazy bitch! Get out my fuckin' face!<\/dialogue>\n    <character>IRIS<\/character>\n    <dialogue>Yeah, I'll get out. I'll get me Andreget :\u00a3mi out, you stringy-<\/dialogue>\n    <scene_description>,,r assed dope-dealin' faggot! I Iris lungea for Strike, misses and keeps moving in the direction that Andre always comes from.<\/scene_description>\n    <character>STIUKE<\/character>\n    <parenthetical>(calling after her)<\/parenthetical>\n    <dialogue>Yeah, you get anybody you~- Maybe l!.ll call the ILQlic\u2022 ~. get ~ locked up for aspault.<\/dialogue>\n    <scene_description>CL0SE ON STRilCE as ha turns from saying this, whaelinq, then jumping. as WE SEE Rocco right in his face.<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(stony -- hiding behind sunglasses)<\/parenthetical>\n    <dialogue>Hey Ronnie ... have I been a hard- on to you out here?<\/dialogue>\n    <character>STRIKE<\/character>\n    <dialogue>ROCCO<\/dialogue>\n    <scene_description>Have I not treated you like a 1llilD out here? Talked to you with ra3pect? With ~esy? Strike looks to the boys on the bench staring at this, the crowd is still there, too. ROCCO ( contd} Huh?<\/scene_description>\n    <character>STRIKI:<\/character>\n    <parenthetical>(flinching)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>So why are you trying to make a fucking fool out o! me?<\/dialogue>\n    <scene_description>\u0080\ufffd:<\/scene_description>\n    <character>STRI~<\/character>\n    <dialogue>What are you ~ing about?<\/dialogue>\n    <scene_description>Strike eyes the immediate world of the projects as if from a merry-go-round: a half-mad vision vhirling, circling around him.<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>What am I talking about? You told m\u2022 you didn't know Darryl Adams.<\/dialogue>\n    <scene_description>I I'm ruMing around like a horse's \" ass on that, and now I find out not only ill you know the guy, but you: worked like a whole year vitll him in Rodney's grocery store. Why the fuck didn't you tell \u2022\u2022 th.at?<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(eyebrows doing jW11ping jacks)<\/parenthetical>\n    <dialogue>Yeah, no, see, I got contused. I thought you meant another guy ... this other Darryl I know.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>H1l!1other Darryl? And if you knew some other Darryl, you still should 've said \"yeah, I know him,\" right? I don't get it.<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(eyes the crowd)<\/parenthetical>\n    <dialogue>Well, I only know that other Darryl by name so ...<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(cutting him off)<\/parenthetical>\n    <dialogue>Explain something else to me. You said you didn't see your brother in two months, got~ kinds of pissed off at ~e, because I didn't remember you said that, right? I go into Rudy's, the bar where your .brother was drinking before the shooting? Guess what ... the .bartender I,D.'ed ~ in there that night ... He even ::e~ernbered the drink he made to:::,-:;:.:. Pifta cola.Sa straight out of the =an. Does this ring a bell?<\/dialogue>\n    <scene_description>Strike is speechless, looks up to his mother's windows. ) ROCCO (contd) .Why'd you lie to me, Ronnie?<\/scene_description>\n    <character>STRIKE<\/character>\n    <dialogue>It's my brother,<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>What's your brother, your brother :made you lie?<\/dialogue>\n    <scene_description>STllKE No ... I':m just ... you know, I'm tryin' to~ hi:m,<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>I don't get it. EXPlain to me how lying to!!!!!., helps hiJ!l. I mean, he's locked up, so who ara you helping? I don't get it \u2022\u2022\u2022<\/dialogue>\n    <scene_description>strike, eyes fluttering, can't answer. ROCCO (contd} Talk to me, Ronnie.<\/scene_description>\n    <character>STRIKE<\/character>\n    <dialogue>What are you saying, l did it?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>I didn't say that. :1,Qll said that. I just asked you why you were throwing me a line of shit.<\/dialogue>\n    <parenthetical>(narrow-eyed beat)<\/parenthetical>\n    <dialogue>Why'd :i.Slll. say that?<\/dialogue>\n    <character>STRIRE<\/character>\n    <dialogue>I didn't say that. I just said \u2022\u2022\u2022<\/dialogue>\n    <parenthetical>(winded beat as strike tries to unscrallll:Jle his brains)<\/parenthetical>\n    <dialogue>You got :me saying shit in a~, man. You twisting me up.<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(touching his own chest)<\/parenthetical>\n    <dialogue>(laughing with disbelief)<\/dialogue>\n    <scene_description>. who's t1.1is~ing who here, Rennie? Alls I'm asking is why did you play me like 5u;h o jer~ on this. What's in~~ for you? Strike scans the c~owd, takes a slug of Mylanta.<\/scene_description>\n    <character>STRIKE<\/character>\n    <dialogue>{more in control)<\/dialogue>\n    <scene_description>Hey look, why don't you stop fuckin' with me, OK? You want to arrest me?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>\u00b7-.<\/stage_direction>\n    <scene_description>Strike puts out his hands as if for handcuffs.<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(eyeing the crowd)<\/parenthetical>\n    <dialogue>Ronnie,\u00b7 I just want to know wnat you know \u2022\u2022\u2022<\/dialogue>\n    <character>STRIKE<\/character>\n    <dialogue>Am I under arrest or ~ \u2022\u2022 ,<\/dialogue>\n    <scene_description>,, J ROCCO Hey, Ronnie, I just want to know ' what ... S'l'lUJa: Alll I under arrest or !ma.l:! PAN of crowd CtJT with Rocco's growing nervousness CUT with Strike's freaked out resolve, his hands still extended for cuffs,<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Fuck, no ... If I arrest you I can't talk to you.<\/dialogue>\n    <character>STRID<\/character>\n    <dialogue>Then I ain't goin' ~where with you.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Fine. You don't have to do shit. But if you want to continue to do business out here without ~-Jo, without 'fh\u00b5mper, without anybody else I can think of, puttin' a hand in your pocket every~ 3econds, I would rea11y thin&gt;t about taking a ride, right fucking nm,,.<\/dialogue>\n    <scene_description>Strike, pacing, the crowd getting hotter, people glaring at Rocco, glaring at Strike. ROCCO (contd) (ready to split with or without him) Are you comin' or what?<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(dead cold)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <character>STR:IKE'S<\/character>\n    <dialogue>POV<\/dialogue>\n    <character>I<\/character>\n    <dialogue>He seas Andre and Iris staaminq towards the bench from the interior of the projects, Andre looks pissed.<\/dialogue>\n    <scene_description>Strike l00ks from Rocco to Andr6 to Rocco to Andr~ to Rocco. EX'I'\/INT: ROCCO'S CAR - TEN MINUTES IA'nll Rocco driving, Strike in the passenger seat. Rocco pulls into parking lot of the Prosecutor's Office.<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>You want a sandwich or something?<\/dialogue>\n    <scene_description>Strike, mute, stoney, then \u2022\u2022\u2022<\/scene_description>\n    <character>STJUKE<\/character>\n    <parenthetical>(staring at the building)<\/parenthetical>\n    <dialogue>I ain't goin' in there \u2022\u2022\u2022<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(swallowing rage)<\/parenthetical>\n    <dialogue>No?<\/dialogue>\n    <character>STRID<\/character>\n    <dialogue>I ain't got nothin' to say to you.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>{shifting gears)<\/dialogue>\n    <scene_description>Gee, that's too bad .\u2022\u2022 I was hoping you could help me out here because to tell you the truth, I've come completely around to~ way of thinking on this, you &gt;cnowthat?<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(paranoid)<\/parenthetical>\n    <dialogue>'What's my way of thinking?<\/dialogue>\n    <scene_description>Rocco just stares. STRIKE ( contd) What's my way of thinking?<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Hey, I~ your brother is an innocent man, just like~ do, And if he was~ brother? And I kne~ wha~ l:!.Q.11 know? EVery day of my life ~ould be a living Jlil.ll,<\/dialogue>\n    <scene_description>strike, stunned, hal:-levitates out of the car. ROCCO (contd) (leaving the car too) oo you think there's anything we could~ about that, Ronnie? \u2022 . -\u00b7. \u00b7-- ..... \u00b7-\u00b7.<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(talking across the car root)<\/parenthetical>\n    <dialogue>What \u2022\u2022\u2022<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Hey ... me, you, your brother, we All know who shot Darryl Adams.<\/dialogue>\n    <character>STRIKE<\/character>\n    <dialogue>Who \u2022 \u2022 \u2022<\/dialogue>\n    <scene_description>' t,<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Who do you think, Ronnie?<\/dialogue>\n    <scene_description>Strike stays mute, riveted. ROCCO(contd) (c0111pletely losing it, screaming) l'.ml\u00b7 l'.Qll did it, you little fuck! 1 know it, ~ know it, your t?;rotne:c: knows it, What was the theory behind this, he'd get oft on self-defense because he's got no record? Wall, his life ia ~, and I )SD.2K it's rough out there, but you're the fucking Kinq snake, you're a cold-blooded evil junkyard nigger like I never seen in my l..i.t!l \u2022\u2022\u2022 What you do, offer him money? Who the fuck are you kidding? You're not th\u2022 Mafia, you're not even Rodney Little \u2022\u2022\u2022 you're a skinny ass snake motherfucker, nobody to nothing piece of \u00a7treet shit.<\/scene_description>\n    <character>STRID<\/character>\n    <dialogue>You don't know ncthin' atiout itl You just a pig-faced motherfuckin' R51.-lice who don't know nothin' about what's mu;.there, nothin' ahout u and nothing about what ~ened!<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(rushing around the car, nose to nose)<\/parenthetical>\n    <dialogue>So tell me!<\/dialogue>\n    <scene_description>Strike presses his palm~ into his eyes as i! to soothe or heal or staunch tears. Rocco waits breathlessly \u2022\u2022\u2022<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(sounding dead)<\/parenthetical>\n    <dialogue>You want to talk to me you get me a lawyer.<\/dialogue>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>ROCCO<\/dialogue>\n    <parenthetical>(kissing close -- pickin9 his words with seethinq distinctiveness)<\/parenthetical>\n    <dialogue>Listen to me ... I talked to all your brother's people and you know what? He's one of the decent ones. And m,:;.bablY, in his de~ed decency, he thinkS he's doing a noble thin; with you here, but you know what else? I don't give a ~ a.bout him, I don't give a<\/dialogue>\n    <scene_description>' t, shit about~- I don't even give a shit a.bout Darryl Ada.a... : (baet) But you and Victor playing JIii. tor a patsy? laing ~e? (passionate controlled fury) I read you like a tuckin' billboard, I bean inside your bead since before you were l:!,QJ:D \u2022\u2022\u2022 twenty fuckin' y~~ti \u2022\u2022\u2022 (bellowing) You don't play a! I play~! Rocco steps back and flips his card at Strike's feet. ROCCO(contd) I'll be seeing you, my man \u2022\u2022\u2022<\/scene_description>\n    <character>EXT:<\/character>\n    <dialogue>MINUTESLATER<\/dialogue>\n    <character>ROADLEADINGAWAYFROMPROSECUTOR'SOFFICE - TWO<\/character>\n    <dialogue>ROCCO'S POV<\/dialogue>\n    <dialogue>WE SEE, about a hundred yards down th\u2022 pot-holed road, Strike l0pin9 furiously away from his interrogation, Wt SEE Rodney's Cadillac roll down from the opposite direction, pull up alongside him. CLOSE ON ROCC:0 watching this through squinting eyes.<\/dialogue>\n    <character>ROCCO'S POV<\/character>\n    <dialogue>w\u00a3 SE\u00a3 strike's firs~ reaction upon seeing Rodney come unannounced to pick ~~m up -- an involun~AJ:'l' backinq away from the Cadillac. W'E SE.E Rodney pop o\u2022.;-: on the driver's side -- say<\/dialogue>\n    <scene_description>-. something, gesture ~o Strike to get in.<\/scene_description>\n    <character>MAZILLI (VO)<\/character>\n    <dialogue>You want to make yourself crazy goin' after somebody else on this, Chere's your man \u2022\u2022\u2022<\/dialogue>\n    <scene_description>'WESEE Strike hesitate for a second, then do what he's told..<\/scene_description>\n    <character>ROCCO(VO)<\/character>\n    <dialogue>Rodney. This kid thinks he can<\/dialogue>\n    <scene_description>.fl.l\u00a3lr. out$mart me? He's 901n' 4mm ... I II I WE SEE the Cadillac roll off. EX'l'\/INT: RODNEY'SCAlt - SAMETIME Rodney driving, strike in the shotgun seat.<\/scene_description>\n    <character>ROONEY<\/character>\n    <dialogue>You was supposed to be by my store an hour ago.<\/dialogue>\n    <character>STRIKE:<\/character>\n    <dialogue>Yeah, well, what was I supposed to do, tell this cop I had to bag ounces?<\/dialogue>\n    <character>RODNEY<\/character>\n    <dialogue>Did he arrest you?<\/dialogue>\n    <scene_description>STRI!a: No.<\/scene_description>\n    <character>ROONEY<\/character>\n    <dialogue>Then you should.a told him to go fuck himself,<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>What he want?<\/dialogue>\n    <scene_description>S'l'Ril&lt;E Ncthin'.<\/scene_description>\n    <character>RODNEY<\/character>\n    <dialogue>Did he ask about me?<\/dialogue>\n    <scene_description>STRil(E Unh-uh.<\/scene_description>\n    <character>RODNEY<\/character>\n    <dialogue>\u2022cause I never said nothin' to you about shooein' nobody. Alls 1 said is if you want Darryl's job you got<\/dialogue>\n    <scene_description>.- -.. to go get it yourself and shit, I i didn't even say~ \u2022\u2022\u2022<\/scene_description>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>strike stares at Rodney, incredulously -- the balls on h.im,<\/dialogue>\n    <character>STRIKE<\/character>\n    <dialogue>{dry-mouthed laugh, shaking<\/dialogue>\n    <scene_description>his head} Fuck you, Rodney. P~dney reaches cut, grabs Strike by the hair and yank$ nis head down into his crotch so that Strike's POV is \\QQking straight up at the steering wheel and Rodney's I nostril-flaring, enraged face. \u2022 I<\/scene_description>\n    <character>STIUXE 'S<\/character>\n    <dialogue>POV - RODNEY<\/dialogue>\n    <scene_description>driving one-handed pulls the car otf tb\u2022 road and as if by magic Rodney's .38 is pressed against Strike's nose, Rodney's bulging eyes blazing down at him, ANGLE- STRIKE laid out on the seat, head in Rodney's lap, sneakers flat on the passenger's side window, STRIKE'S POV - RODNEY'S EYES OVER THE CON<\/scene_description>\n    <character>RODNEY<\/character>\n    <dialogue>liJl2 you talking to like that. liJl2 ... I ain't one of your little~ boys, motherfucker. You watch your tuckin' mouth or I'll peel your tuckin' SAR, you understand? film?<\/dialogue>\n    <scene_description>strike manages to nod, RODNEY (contd) And I'm gonna tell you something else, If I~ hear about you talking to that Homicide one more time, if I~ hear my name coma up on this at ill, I'm gonna Jtnow xsmsaid it an' I'll kill you before you can blink. I swear before !:i.2Sl, any po-lice come up on me for this? I'm gonna know it was~. and you are killed, you understand? Strike nods. ROONEY(contd) Word is~ on this, you got that?<\/scene_description>\n    <character>EXT: AERIALSHOTOF HIGHWAY<\/character>\n    <dialogue>Rodney's Cadillac pulled over at a crazy angle.<\/dialogue>\n    <scene_description>WE SEE the car pull back into the traffic, disappear into the slipstream. INT: JO\u2022JO'S SQUAD ROOM- SAME TIME The four white kids from Delaware stand in the center of the room. Jo-Jo and three of bis men stare at them, Jo-Jo takes an envelope out of his drawer. Me e:ic1:racts a fat wad of bills. Jo-Jo hands the phone to one of the I kids but does the dialing hi111Self, \" I<\/scene_description>\n    <character>JO-JO<\/character>\n    <dialogue>Tall him you want five ounces.<\/dialogue>\n    <character>KID<\/character>\n    <parenthetical>(scared)<\/parenthetical>\n    <dialogue>Is Rodney there?<\/dialogue>\n    <parenthetical>(looking at Jo-Jo)<\/parenthetical>\n    <dialogue>Who's this, Errol?<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>CLOSE ON ERROL'S FACE looming<\/dialogue>\n    <character>STRIKE'S<\/character>\n    <dialogue>down --<\/dialogue>\n    <character>REVERSE ANGLE - TYRONE<\/character>\n    <dialogue>terrified, bent backwards over the rear of Strike's car, Errol leaning over him. Tyrone is still holding that brown paper bag. Rodney rolls up across the street.<\/dialogue>\n    <character>RODNEY<\/character>\n    <dialogue>What's ~. now \u2022\u2022\u2022<\/dialogue>\n    <scene_description>Tyrone slides away, out of his car-and-Errol sandwich and runs away down the block. Ct.OS\u00a3 ON STRIKE looking pained, confused. ANCLE - S'l'R:I!CE sitting in his own car in the driveway. Rodney and Errol talking along&amp;ide the car, Rodney's Cadillac parked behind strike's rear. WE SEE Errol take a package out ot his jac~et, hand it to Rodney,<\/scene_description>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>Rodney leans in Strike's passengarvindow, drops the package on the seat.<\/dialogue>\n    <character>RODNEY<\/character>\n    <dialogue>so you got a bAll there. I want you to whack up lik\u2022 five ounces with a three cut on it, bring it down to the store, awright?<\/dialogue>\n    <scene_description>strike nods, eyes straight ahead. j ' RODNEY (c1:1ntd) And listen. (be11.t) You best lose that little boy Tyrone.<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(firm)<\/parenthetical>\n    <dialogue>I ain't even talkin' to him no more.<\/dialogue>\n    <character>RODNEY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <parenthetical>(almost laughing)<\/parenthetical>\n    <dialogue>Yo~ best lose him before his momma tear you a new asshole ..\u2022<\/dialogue>\n    <character>- THIRTYMINUTESI.ATER<\/character>\n    <dialogue>STRIKE'S BEDROOM<\/dialogue>\n    <dialogue>PAN of all cutting and weighing apparatus laid out to step on Rodney's five ounces. strike, sitting on the floor, stares in disbelief at his bed. The mattress is upturned. The gun is gone.<\/dialogue>\n    <character>STRIKE<\/character>\n    <dialogue>What the fuck .\u2022\u2022<\/dialogue>\n    <character>INT:<\/character>\n    <dialogue>Rodney and Strike behind the counter.<\/dialogue>\n    <character>ROONEY'S STORE<\/character>\n    <dialogue>There's a whole<\/dialogue>\n    <scene_description>bunch of young TEENAGERS bellowing around the pool table. The door jangles open and in walk the four whits kids from Delaware.<\/scene_description>\n    <character>RODNEY<\/character>\n    <parenthetical>(bellO\\ling)<\/parenthetical>\n    <dialogue>Uh-oh! Uh-oh! ~ster Time!<\/dialogue>\n    <scene_description>The tour kids throw him seasick grins, do hiqh-tives. RODNEY( contd) (distracted by all the ruckUs in his candy store) What you guys~ down there, a tnnchise? They all explode in laughter that's too quick, too fluttery. And soon as Rodney turns his head, the Delaware boys lose\u00b7 their smiles. J \" ::LOS\u00a3 ON STRIKE watching them -- Something stinks, but \u2022\u2022\u2022 EXT\/INT: ROCCO DRIVING ALONGJnt BOULEVARD Gliding past rubble-strewn lot in which six black kids are lined up on their knees, hands clasped behind their necks. Jo-Jo's squad's got them covered, Mood is casual,<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(rolling up)<\/parenthetical>\n    <dialogue>What's this, the Mekong Delta?<\/dialogue>\n    <character>JO-JO<\/character>\n    <parenthetical>(coming to the car window)<\/parenthetical>\n    <dialogue>Cood enough for the Cong, good enough for them. How you doin' with your boy'?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Comin' along.<\/dialogue>\n    <character>JO-JO<\/character>\n    <dialogue>The kid could be unemployed soon. I got his boss selling weight to an undercover.<\/dialogue>\n    <scene_description>Jo-Jo show Rocco an arrest warrant for Rodney, which Rocco briefly scans.<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>a thoughtful<\/dialogue>\n    <parenthetical>(af~e~ beat)<\/parenthetical>\n    <dialogue>Jo-Jo, wo~~~ ycu par111it me to do yo~ a favo\" here?<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>LATER strike across<\/dialogue>\n    <character>STREET ACROSS :ROM RODNEY'SSTORE - TWENTYMINUTES<\/character>\n    <dialogue>drops an ounce of coke in a garbage the street to the store \u2022<\/dialogue>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>As Strike hits the curb, Mazilli and Rocco pull up, almost running him over. stri~e steps back, as Rocco struggles out ot the car.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Hey! -Look who's hare \u2022\u2022\u2022<\/dialogue>\n    <scene_description>s \u25ba ri~e, not knowing whether it's better to split or go into the store, opts, after a little dancing, to split. I ROCCO(contd} \u2022I (calling atter him) See you around, Ronnie.<\/scene_description>\n    <character>INT:<\/character>\n    <dialogue>RODNEY'S<\/dialogue>\n    <scene_description>Deserted, save tor Rodney and his baby son. Rodney's got the kid on a bar stool behind the counter. Rodney's holding a co= and scissors, ready to give the kid a haircut, Mazilli and Rocco enter.<\/scene_description>\n    <character>RODNEY<\/character>\n    <dialogue>Hey, Rocco, what you need?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>I needs :t2l,l, brother.<\/dialogue>\n    <character>RODNEY \u0080\ufffd<\/character>\n    <parenthetical>(starting to snip away&gt; What for? ROCCO I gots me a warrant. RODNEY (casual)<\/parenthetical>\n    <dialogue>search?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Arrest.<\/dialogue>\n    <character>ROONEY<\/character>\n    <dialogue>Arrest for 1o1hat.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>You must have sold to an undercover, you dopey bastard. What are you, so desperate you're selling i~ yourself?<\/dialogue>\n    <character>ROD.NEY<\/character>\n    <parenthetical>(his face going dark and dangerous)<\/parenthetical>\n    <dialogue>Wh0 set me up?<\/dialogue>\n    <scene_description>\u0080\ufffd:<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(affable, pro to pro)<\/parenthetical>\n    <dialogue>~\u2022mon, I can't tell you that \u2022\u2022\u2022<\/dialogue>\n    <scene_description>l:NT: STRiltE'S BEDROOM - TBI:R'l'YMINUTESI.ATER<\/scene_description>\n    <character>PAN OF THE ROOM<\/character>\n    <dialogue>-- dresser drawer has been emptied of all dope paraphernalia and the safe is empty. on the floor is a thirty-nine gallon hefty bag filled with scales,<\/dialogue>\n    <scene_description>' I laxative, filled tapes, all the shit.. 'l'hara\u2022\u00b7s an envelope with money, addressed to Strike's mother on top of the dresser and another stack of money next to that, Strike enters, stuffs the money in his pocket, takes the envelope, yanks the garbage bag over his shoulder and leaves the room. After a beat ha re-enters the room, pulls up the mattress and\u00b7 scowls, thinking of the missing gun.<\/scene_description>\n    <character>STRID<\/character>\n    <parenthetical>(dropping the mattress)<\/parenthetical>\n    <dialogue>FUCk it.<\/dialogue>\n    <scene_description>He leaves the room.again, intending to leave this life. INT: or CRIMINALIDENTIFICATION<\/scene_description>\n    <character>BUREAU<\/character>\n    <dialogue>Mazilli, Rocco and Rodney are at the fingerprinting station. Rocco holds Rodney's infant son as Rodney fingerprints himself. CI.ClSE ON RODNEY<\/dialogue>\n    <dialogue>rolling his own fingers on an I,D. card.<\/dialogue>\n    <scene_description>RODNE\"t (muttering) Who served me up, Mazilli. Mazilli shrugs.<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(speaking to the baby)<\/parenthetical>\n    <dialogue>Alls X know is, your mommybest show in the next five minutes or you be goin' over to Family services.<\/dialogue>\n    <character>RODNEY<\/character>\n    <dialogue>reah, you best D.2l;. tell me. Save me from a homicide charge.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>aey, don't tell us in adyance. It takes all the fun out of the investigation.<\/dialogue>\n    <character>EXT:<\/character>\n    <dialogue>Strike is heading fer his car. He passes an open garbage<\/dialogue>\n    <character>STUET - SAME TIME<\/character>\n    <dialogue>can and drops in the hefty bag, INT: MUNICIPAL STAIRWELL- TEN MINUTESI.ATER<\/dialogue>\n    <scene_description>' t, Wiping his inkY fingers with a Buy Wipe, Rodney leads Rocco and Mazilli (still holding the baby) down the stairs. A WHITE WOMAN with teased metallic hair and a pissed off race is coming ll.R the stairs.<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>I'm Carol Iacone froa Youth Services ... this the kid?<\/dialogue>\n    <character>:RODNEY<\/character>\n    <parenthetical>(grinding his teeth)<\/parenthetical>\n    <dialogue>Shit<\/dialogue>\n    <scene_description>Suddenly, at the base of the stairs is the kid's mother, DAWN, 22, chunky. RODNEY(contd) Where the .tY.S..t. were you! oawn, glaring at Rodney, marches up the stairs, purposefully shouldering the very pissed off social worker who shoulders her right back, The two women face off, Rocco still holding out the baby.<\/scene_description>\n    <character>DAWN<\/character>\n    <parenthetical>(grabs ner kid, speaks to Rodney)<\/parenthetical>\n    <dialogue>Yeah, you~ 90 to jail.<\/dialogue>\n    <scene_description>Dawn marches out of ~he building,<\/scene_description>\n    <character>ROONEY<\/character>\n    <parenthetical>(bel!~wing after her)<\/parenthetical>\n    <dialogue>Yeah, I'll go to jail, I'll go ~here, get away from~-<\/dialogue>\n    <scene_description>The procession proceeds down the stairs, Rodney ranting and raving bloody oa~hs against one an~ all,<\/scene_description>\n    <character>\u0080\ufffd ............ . .. \u00b7\u00b7---- ....... .<\/character>\n    <dialogue>.---. EX'l': PROJECTS - PLAYGROUND~ - TEN MINUTES U.TER<\/dialogue>\n    <scene_description>WE SEE basketball courts, handball courts, Sha Ron, Victor's wife, is playing catch against the wall by herself, Her youngest is in a stroller watching his mother play in her clU111sybeavy way. There'\u2022 something terribly lonely and sad in Sha Ron's silent awkwardness.<\/scene_description>\n    <character>STRIIIE (VO)<\/character>\n    <dialogue>Sha Ron.<\/dialogue>\n    <scene_description>' I Sha Ron stops playing, turns to the voice. I WE SEE Strike, who's watching through a chain link fence around the court.. Sha Ron approaches, mute and expressionless.<\/scene_description>\n    <character>STRIKE<\/character>\n    <dialogue>(eyeing the stroller vith a pained remorseful look} Who's that, Ivan? SHA RON Mark. \u00b7\u00b7\u00b7-<\/dialogue>\n    <character>STRI.KE<\/character>\n    <dialogue>Victor get his bail down yet?<\/dialogue>\n    <character>SHA RON<\/character>\n    <dialogue>Yeah, uh-huh.<\/dialogue>\n    <scene_description>STRita: Five thousand? Sha Ron nods. Looking furtively around the playground, Strike squeezes the envelope through the fence. STRIKE (contd) You give this to my mother, awright? Get Victor out. Sha Ron takes the envelope, stares at him in her depressed expressionl~\u2022\u2022 way. STRIKE (contd) Tell my mother I'm not clockin' no more .... Tell her I'ID sorry. They stare at each other for another beat.<\/scene_description>\n    <character>SHA RON<\/character>\n    <dialogue>What about me?<\/dialogue>\n    <character>INT:<\/character>\n    <dialogue>JAIL INTAI&lt;ECENTER- TEN MINOTESLATER<\/dialogue>\n    <character>COUNTY<\/character>\n    <dialogue>Crowded, stinky., glazed tile room centered by long intake desk, cater-corner from each other are two bullpens; overnight holding cells, jam-packed with prisoners. ANGU:- CELL DOOROPENING<\/dialogue>\n    <scene_description>' Rodney ushered in. Door closing, I'<\/scene_description>\n    <character>.<\/character>\n    <dialogue>Rodney t~s to see Mazilli and Reece standing outside the bars.<\/dialogue>\n    <character>RODNEY<\/character>\n    <parenthetical>(black death in his eyes)<\/parenthetical>\n    <dialogue>Who served me up, Mazilli?<\/dialogue>\n    <character>MAZILLI<\/character>\n    <dialogue>Sorry, chief ...<\/dialogue>\n    <scene_description>Rocco waits tor Hazilli to leave then leans into the bars, beckons Rodney close enough to kiss.<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>( intima-r.e)<\/parenthetical>\n    <dialogue>Who do you think. you dumb shit \u2022\u2022\u2022<\/dialogue>\n    <scene_description>Rodney steps back, strike's name coming into his eyes. ROCCO (contd) . Kid'\u2022 under a rock \u2022\u2022\u2022 you know how it is ...<\/scene_description>\n    <character>EXT: PROJECTSBENCH- THIRTYMINUT!;SLATER<\/character>\n    <dialogue>Strike approaching the benches. All his crew sit there motionless, staring at him,<\/dialogue>\n    <scene_description>STRil&lt;E (uneasy) What you sittin' around for?<\/scene_description>\n    <character>FUTON<\/character>\n    <dialogue>They ai~\u2022~ no dope. Rodney got locked up.<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(freaked)<\/parenthetical>\n    <dialogue>What he ge~ locked up tor?<\/dialogue>\n    <scene_description>No one answers .<\/scene_description>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>STRil&lt;E'S FOV Ha sees Tyrone, pacing behind the bench area, patting his gut as if the gesture is some kind of signal, as he desperately tries-to catch Strike's eye.<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(wincing)<\/parenthetical>\n    <dialogue>Rodney's in ;iw?<\/dialogue>\n    <scene_description>WE SEE.Tyrone throw up his bands in frustration, march I into his building, I I<\/scene_description>\n    <character>ROCCO (VO)<\/character>\n    <dialogue>Hey, ~ni\u2022<\/dialogue>\n    <scene_description>Strike turns to face Rocco, who's got a bi~ happy grin on his puss. Rocco extends his hand.<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(warmly)<\/parenthetical>\n    <dialogue>Hey, Ronnie, man \u2022\u2022\u2022<\/dialogue>\n    <scene_description>o!f-balance, Strike accepts Rocco's handshake. CLOSE ON THE KAN~SHAJCE then up to Strike's face, wincing, trapped.<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(low and nasty)<\/parenthetical>\n    <dialogue>so ... you wanna fuck with me? Let ma show you what fucking's all about.<\/dialogue>\n    <character>STRI:KE<\/character>\n    <dialogue>~? What are you ,alting about \u2022\u2022\u2022<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Nothing . . . just . . . you know \u2022\u2022\u2022 we tossed your boss in county last night and I just came by to thank you for your .l:lfil.Q on that \u2022\u2022\u2022<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(eyeing his crew on the bench)<\/parenthetical>\n    <dialogue>Hey, fuck you, man. I don't know nothin' about that.<\/dialogue>\n    <scene_description>- .. Strike stnigqles to free his hand.<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(not letting go)<\/parenthetical>\n    <dialogue>Oh, no? Yeah well, let me tell you. Rodney? He makes bail tomorrow.? Gets back out on the street, people start gassin' up his head?.<\/dialogue>\n    <scene_description>:i\"!'Rir ;:-'S POV Srar ~t the canyon walls of Roosevelt, millions of winduws, people watching here and there.<\/scene_description>\n    <character>ROCCO (VO)<\/character>\n    <dialogue>I wouldn't know ld1G the fuck I'd do if I was you. Probably the best thing? I'd run down to the Prosecutor's Office to-night, work something out to get my\u2022\u2022\u2022 protected, I mean, if you're half as smart as you think you are.<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(pleading, thrashing)<\/parenthetical>\n    <dialogue>Man, I ain't even 5kllin' no more \u2022\u2022\u2022<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(steamrolling)<\/parenthetical>\n    <dialogue>Get yourself in a room with me, tell me what really happened on that Ahab's thing, how Rodney pressured you into capping that guy ..\u2022<\/dialogue>\n    <scene_description>Strike doubles over with an attack of cramps, but Rocco still won't let go. :ROCCO( contd) I mean nobody wants l!a on this. ~ou had no choice, everybody knows that. Rodney had you scared to death, right? Right? Rocco moves his head to keep up eye contact with Strike.<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(suddenly cal~ -- full of hate and despair)<\/parenthetical>\n    <dialogue>Man, you just got me killed over nothin' 'cause you don't even know what the tuck you ~in' about.<\/dialogue>\n    <scene_description>Rocco lets go of Strike's hand, stands there giving the ~uildings the up-and-down . \u2022<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>mien I was your age? I used to have a girlfriend lived in this projects, Rathy Doogan, She's a doctor n.ow, This used to be a pretty decent place to live,,, you know, 'back then,<\/dialogue>\n    <scene_description>Roe,\u00b7\u00b7 stuffs yet another card into Strike's sweatshirt. ROCCO( contd) Watcb your back, now, \u2022\u2022 \"'I Rocco walks off. strike tw:ns, faces<\/scene_description>\n    <character>-<\/character>\n    <dialogue>the hanging judges<\/dialogue>\n    <scene_description>on the bane:!\\. SftIXE Yo listen up, I din't say 112thin' to that .. ,<\/scene_description>\n    <character>FUTON<\/character>\n    <parenthetical>(mocking)<\/parenthetical>\n    <dialogue>Yo listen up \u2022\u2022\u2022<\/dialogue>\n    <scene_description>strike moves to face off with Futon, Futon rises People and they come instantly eml:irace in a violent rollaround. .- .. running to ring the action.<\/scene_description>\n    <character>ANGLE:<\/character>\n    <dialogue>Rocco in his car, double-parked, watching the fight. EXT: comrrY JAIL - 4:00 A.M. Deathly still street under pre-dawn lighting.<\/dialogue>\n    <dialogue>INT: BULLPEN Alli. Deathly still save for two guards, one reading a book. ANGLE- DEEP INTO ONE BULLPEN ZOOMING past twenty prisoners sleeping on prison-issue pallets, WI: SEE Rodney sitting up against the rear Yall, CLOSEON RODNEY'SSMOULDERING<\/dialogue>\n    <character>EXPRESSION<\/character>\n    <dialogue>ANGLE- FIVE MINUTESLATER- TWENTY<\/dialogue>\n    <scene_description>D01,LARBil.L dangling from Rodney's fingers through the bars, CLOSE ON A GUARD<\/scene_description>\n    <character>!<\/character>\n    <dialogue>eyeing the money over the top of his book.<\/dialogue>\n    <character>ANGLE \u0080\ufffd ROONEY<\/character>\n    <dialogue>on a pay phone in a corner of tbe intake center.<\/dialogue>\n    <character>. RODNEY<\/character>\n    <parenthetical>(sott, low)<\/parenthetical>\n    <dialogue>Errol ...<\/dialogue>\n    <character>INT;<\/character>\n    <dialogue>Rocc~,<\/dialogue>\n    <character>ROCCO'S SUBURBANBACK YARD\u0080\ufffd SAME TIME<\/character>\n    <dialogue>drink<\/dialogue>\n    <scene_description>' II soccer ball, humming something.<\/scene_description>\n    <character>RODNEY(VO)<\/character>\n    <dialogue>Errol ...<\/dialogue>\n    <character>INT:<\/character>\n    <dialogue>strike, wide awake, laying on his bed, staring moving bars of car lights traversing his walls.<\/dialogue>\n    <character>STRID'S<\/character>\n    <dialogue>at the<\/dialogue>\n    <character>ROONEY (VO)<\/character>\n    <dialogue>Errol ... It's me.<\/dialogue>\n    <character>EXT: PROJECTSBENCH- 2:00 P.M. - NEXTDAY<\/character>\n    <dialogue>Strike, red-eyed, comes upon the bench, only Peanut there.<\/dialogue>\n    <character>STRIKE<\/character>\n    <dialogue>Man, this shit is fucked up,<\/dialogue>\n    <character>PEANUT<\/character>\n    <parenthetical>(coldly)<\/parenthetical>\n    <dialogue>Errol find you yet?<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(blood-drained)<\/parenthetical>\n    <dialogue>Errol?<\/dialogue>\n    <character>PEANUT<\/character>\n    <dialogue>Yeah, he come by asking where you was.<\/dialogue>\n    <scene_description>STRI!a: What for?<\/scene_description>\n    <character>ANGLE<\/character>\n    <dialogue>-<\/dialogue>\n    <scene_description>coming out of his building. Still holding that brown paper bag, he marches straight to Strike, bag extended.<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(to Peanut, repeating)<\/parenthetical>\n    <dialogue>What for?<\/dialogue>\n    <scene_description>Befcre Peanut can answer, strike\u00b7@ruptly wheels on Tyrcne, hunches down and yells in his face. STRIKE (contd) Will yo~ please get out my mother fuckin' ~? Pl\u00a7t!ill\u2022 Gah-amDl stunned, Tyrone staggers baclcWards, trots away. strike turns to Peanut, not giving Tyrone another thought. \"' I PEANtl'l' {in a cold sing-song) I don't .!msmwhat tor. I guess you'll find out when he finds you, right?<\/scene_description>\n    <character>ANGLE- STRIKE<\/character>\n    <dialogue>marching off in his crazed funk. He's heading down the street to the old ladies' driveway where his car is parked.<\/dialogue>\n    <character>STRIKE'S POV<\/character>\n    <dialogue>From fifty yards off he sees his car. Errol Barnes is leaning against the door, that big ~n-butt of his sticking up out of his waist as if he just doesn't give a shit who sees it. strike ducks down behind a parked car, hissing his panic.<\/dialogue>\n    <scene_description>STRll&lt;E1 S POV Marching from the benches and heading towards Strike's car is Tyrone, unawares that Errol is there instead. He's still gripping that wrinkled brown paper bag.<\/scene_description>\n    <character>TYRONE<\/character>\n    <parenthetical>(imitating his mother)<\/parenthetical>\n    <dialogue>... If every time I try to earn some money I have to worry about youuin' to me about where you was, lyin' to~. to your Sllll'mot~e~. to everybody who lovgs ~g~ ~n ~h-\u2022 wo~ld, and I just want to know ...-nat: kind of ~ you are \u2022\u2022\u2022 \u2022<\/dialogue>\n    <scene_description>Tyrone marches out of earshot, eyes to the ground. S'l'RlKE'S POV Strike watches as Tyrone almost walks chest-first into Errol, then steps back in fear. Errol takes two steps<\/scene_description>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>tcwards the boy, reaching out, then suddenly a ,SHQl is hea.rd. Errol and 'l'Yrone stand there staring at each other for a beat, then \u2022\u2022\u2022<\/dialogue>\n    <character>STRIKE<\/character>\n    <dialogue>Oh God.<\/dialogue>\n    <scene_description>WE SEE Errol collapse. Tyrone, in shock, starts turning in absent circles. He is holding strike's missing gun. r I I We hear the old lady in the window above the:car scream t:or Jesus. S'l'RilCE (contd) Oh God, Tyrone continues to wander about th\u2022 driveway, dazed, stepping on Errol's corpse as the lady keeps calling tor Jesus. EXT: JUVENIL\u00a3 ANNEX - THIRTY MINUTES LATER ESTABLISHING SHOT of the rear entrance of one of the local precinct houses -- overhead sign, \"JUVENIL\u00a3 ANNEX.\" INT: JUVENILE HALL Gloomy wooden room with two cages and three detective's desks, There's TWOTEENAGERSin the cage and ONE DETEC'l'IVE typing behind his desk. ROCCO'S POV WE SEE on a bench running along a far wall, l..i.:i., tear- streakad, sitting with Tyrone. Tyrone is curled on his side as if cold, his head in his mother's lap. Rocco stops in his tracks as he recognizes both the kid and the mot.her, Suddenly Andrg ~gmez up alon9side Roc~o.<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Hey, Andre, what's up?<\/dialogue>\n    <scene_description>Andre shows Rocco a small brown bag. ANGLE- INSIDE WESEE THE GUN A ,25 auto. ANDRt can J; talk to you? ANGLE- TIGHT CORNER<\/scene_description>\n    <character>OF THE JUVENIU: HALL<\/character>\n    <dialogue>Andr6 speaks to Rocco in a cracked whisper, no-bullshit -\u00b7 tone.<\/dialogue>\n    <scene_description>ANDRt I just want to tell you that that- ~ in there, Ty~? l'. know him since he was a~- I know his whole family, they All decent people and like, whatever happened it must've been some serious misllkJl because that boy never bean in troullle ~\u2022 I mean he'a in something like the eighty-fifth percentile on this national education test they give? And you bow, whatever happens from now on in, that kid's life is ruined but what 1.!J1sayin' is, is that I would appreciate it if you would help him on his $tat9ment, you lcnow what I'm sayin'? Rocco shrugs -- no problem. ANGLE - THE: BENCH Tyrone, in shock, stares straight ahead.<\/scene_description>\n    <character>IRIS<\/character>\n    <parenthetical>(weepy, terrified)<\/parenthetical>\n    <dialogue>He goin' to jail?<\/dialogue>\n    <scene_description>Rocco squats down to be on eye-level with her,<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(gently)<\/parenthetical>\n    <dialogue>Look, I got to find out what happened, Would you perll1it me to talk with him?<\/dialogue>\n    <character>CLOSE ON ANDRE<\/character>\n    <dialogue>nodding his reassurance ~o Iris.<\/dialogue>\n    <character>IRIS<\/character>\n    <parenthetical>(with a wild hopelessness)<\/parenthetical>\n    <dialogue>If he talks to you, can I take him home? Does he have to go to jail?<\/dialogue>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>CLOSEON R.OCCO<\/dialogue>\n    <dialogue>ataring at her ki~dly, offering her nothing. INT: INTERVIEW CUBICLE - FIVE MINUTES LATER<\/dialogue>\n    <dialogue>Rocco sits facing Iris and Tyrone. Tyrone still has his ho.\\ci s,n his mother's lap. Andr\u2022 loiters outside, halt- visi~te.<\/dialogue>\n    <scene_description>I<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>\u2022' (gently) ' Tyrone, you know what you did,<\/dialogue>\n    <scene_description>don't y0u? Tyrone doesn't respond, his mother caressing the side of his head in har lap.<\/scene_description>\n    <character>IRIS<\/character>\n    <dialogue>He knows.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>You know that it was wrong?<\/dialogue>\n    <character>IRIS<\/character>\n    <dialogue>He knows.<\/dialogue>\n    <character>ROCCO \u00b7<\/character>\n    <dialogue>OK ... y0u know what you<\/dialogue>\n    <scene_description>now ... did was wrong, but you couldn't help it, You were scared, right? -ryron\u2022 nods, eyes unfocused.<\/scene_description>\n    <character>IRIS<\/character>\n    <dialogue>Oh, he was scared, he was,<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Look, Tyrone, you're a good kid, but you got all these people around, rough tough kids, drugs, everybody putting pressure on you, coming down on you for not being like them, and alls you want to do is go to school, be with your family, protect your family. So you 9e~ yo~r~elf a &lt;;JU~ -- but not to hur~ anybody, just for protection, just for protection \u2022\u2022\u2022<\/dialogue>\n    <scene_description>Rocco hesitates -- ~his scenario tie's building sounds to him like Victor. Iris, rapt, nodding yes, yes, yes. ROCCO (contd) Did you know that man you shot? Tyrone stares at him, not answering but at least his eyes are focusing on the speaker now. ROCCO (contd) That was Errol Barnes. He was a stone killer, did you know that? (beat) Well, you know that nmt, right?<\/scene_description>\n    <character>IRIS<\/character>\n    <parenthetical>(nodding avidly)<\/parenthetical>\n    <dialogue>Yes, Lord .\u2022\u2022<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>OK ... so ... there you were, just walking down the street minding your own business, you got a gun that you're not supposed to have, but you're not bothering anybody either \u2022\u2022\u2022<\/dialogue>\n    <scene_description>Tyrone finally rises from his mother's lap, his head on her shoulder now. ROCCO (contd) All of a sudden there's Errol Barnes coming up right in your face, coming right at you. Rocco's really getting into it now, his audience leaning slightly forward. ROCCO (contd) And he's get this ~ibl\u2022 l,P.2k in his eyes and you see him going for that thirty-eight in his waist and you~ he's gonna hurt you, maybe even till, you, and who would protect your ~other it you were in the hospital? or in th~ grave? Both mother and son are unconsciously nodding in agreement, eyes on Rocco. ROCCO (con~d) And you never fired that gun before but Errol had you so scared that you started seeing stars. Tyrone makes a guttural noise \u2022 \u2022 ROCCO( contd) (with relish) You were so scared that you didn't even know where you ware, but that ~, it's coming at you, coming at you, you don't even know~. you don't even know what you sli.'1, just coming at you, coming at you, and the next thing you know \u2022\u2022\u2022 ~! \u2022\u2022\u2022 Iris and Tyrone almost levitate out of their seats. ,,' ROCCO ( contd.} ' (calmer, softeri a coda) And you don't even know how the damn thing got into your hand. Tyrone bursts into tears, hugs his mother across her shoulders, and utters his first words since the murder.<\/scene_description>\n    <character>TYRONE<\/character>\n    <parenthetical>(shivering, wild-eyed)<\/parenthetical>\n    <dialogue>Mommy, that's what happened.<\/dialogue>\n    <character>I.RIS<\/character>\n    <parenthetical>(sobbing)<\/parenthetical>\n    <dialogue>Pra:ise Jesus.<\/dialogue>\n    <scene_description>Rocco leans back, satisfied, throws Andr\u2022 a quick wink.<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>That's what happened .\u2022\u2022 And when I. aak you about it with the tape recorder going? That's what you're going to tell n, right? And you're going to tell me that because it's the tnith.<\/dialogue>\n    <scene_description>Both mother and son nod avidly. ROCCO (c:ontd) Now ... there's one last thing we need to go ever, and on this, Tyrone, l want you to answer me direct ... Where'd you get the gun?<\/scene_description>\n    <character>TYRONE<\/character>\n    <parenthetical>(hQa~~ down, lying)<\/parenthetical>\n    <dialogue>'I found~'!'...<\/dialogue>\n    <scene_description>Roc:co and An~re exc~ange glances.<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>I (grim, now)<\/dialogue>\n    <scene_description>Where? \u0080\ufffd:<\/scene_description>\n    <character>TYRONE<\/character>\n    <dialogue>In the bushes.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>~\\_bushes?<\/dialogue>\n    <scene_description>T\u00a5rtONE By my house. Rocco leans back, sighing. The kid can't meet his eyes. ,, I Rocco looks slgnificantlY at Iris, asking h\u2022r help. I Iris firmly pushes Tyrone away from her so she could see his eyes. Tyrone tries to bury his chin in his chest.<\/scene_description>\n    <character>IRIS<\/character>\n    <parenthetical>(in a scary, no-nonsense tone)<\/parenthetical>\n    <dialogue>Give it ..\u2022<\/dialogue>\n    <character>TYRONE<\/character>\n    <parenthetical>(muttering, ashamed)<\/parenthetical>\n    <dialogue>I borrowed it by accident from Strike.<\/dialogue>\n    <character>ANDRE (VO)<\/character>\n    <dialogue>Mother~er !!<\/dialogue>\n    <scene_description>All turn as Andre punches the wall and stomps out of the Juvie hall.<\/scene_description>\n    <character>ROCCO ..<\/character>\n    <parenthetical>(be still my beating heart)<\/parenthetical>\n    <dialogue>Strike? No kidding ... From the benches?<\/dialogue>\n    <character>TYRONE<\/character>\n    <parenthetical>(teary, wretched)<\/parenthetical>\n    <dialogue>I was trying to give it w.ls to him, \"but he won't !,ill to me no more \u2022\u2022\u2022 I tried~ cf times.<\/dialogue>\n    <character>EXT: STRIKE ON A PAY PHONE- SAMETIME<\/character>\n    <dialogue>In the foreground WE SEE Strike's car, Errol's blood and<\/dialogue>\n    <scene_description>fingerprint powder clearly visible on the quarter panel.<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(into the phone)<\/parenthetical>\n    <dialogue>Molllllly... it's Ronald \u2022\u2022\u2022<\/dialogue>\n    <parenthetical>(sad, scared)<\/parenthetical>\n    <dialogue>I'm leavin' for a while \u2022\u2022\u2022 can I co~e up? I want to say goodbye to you ... awright ... awright \u2022\u2022\u2022 awright.<\/dialogue>\n    <scene_description>EXT: PROJECTS BENCHES - 'l'EN MINUTES I.ATER STR!KE'S 'POV goes from ~e stony hanging judges on the bench to the eleventh floor windows of his mother's apartment, strike starts the long walk from his car past the benches to the building. Right as he comes closest to his former crew, he sees everybody's eyes go big, staring at something, someone coming up behind him. Strike turns to see Rodney jump out of bis Cadillac, He's got a baseball bat down one leg and he moves towards Strike with a skippy brisk stutter-elk. He brings up the bat and ... With the bat cocked, Rodney's eyes travel over Strike's shoulder and what he sees makes him bring the bat down to his leg again and briskly return to his car.<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(in a daze)<\/parenthetical>\n    <dialogue>Hey Rgd \u2022\u2022\u2022<\/dialogue>\n    <scene_description>suddenly WE SEE strike raised off the ground by a hand between his legs. STRil&lt;E'S POV WE SEE the buildings and people around him tilt and careen, then SEE the ground come rushing up, exploding into a momentary blackness. ANGLE- WE SEE STRil&lt;E tac\u2022 down on the cement, Andre, livid, adrenalized, standin~ over hi~. They are surrounded by an open- mouthed, riveted erowd. Andre lifts strike by the back of his shirt and runs him into the bench; his own bench, his own throne. strike's nose is 'broken. STRIKE'S POV - THE MUTECROWD staring at him, the buildings still tilting slightly. We hear Strike make gagging noises -- Andre is pushing his throat into the top bench slat via a huge hand on the back of Strike's head,<\/scene_description>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>ANDRt<\/dialogue>\n    <parenthetical>(lips in Strike's ear)<\/parenthetical>\n    <dialogue>You are S.Q!l.l from here, gone from these houses, gone from these stre,;s, gone from this~ \u2022\u2022\u2022<\/dialogue>\n    <character>STRIICE:'S POV<\/character>\n    <dialogue>Through a reddish veil he looks up at his mother's windows and u.t,i her, looking down,<\/dialogue>\n    <scene_description>r ANDRt (contd) II I (in a whisper} I ever see\u00b7you again, I'm gonna lS.ll.l you, I'll kill you and put a gun in your hand, say you throwed down on me for this beating you just got. You understand that?<\/scene_description>\n    <character>STRI.KE<\/character>\n    <parenthetical>(gagging)<\/parenthetical>\n    <dialogue>Yo -- Ah - Andre.<\/dialogue>\n    <character>VO'ICEIN THE CROWD<\/character>\n    <dialogue>Yo, Andre, ease up, man, ease up.<\/dialogue>\n    <character>OTHE~VOICE<\/character>\n    <dialogue>,\u00b7 Nah, t,ill his ass<\/dialogue>\n    <character>ANDRE<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>You ruined that little boy's UU, and now you are~ trom here.<\/dialogue>\n    <character>ANGLE\u0080\ufffd ANDRE<\/character>\n    <dialogue>yanks strike up off the bench slat, then holding him by the back of his shirt and the nape ot his neck, races him through the crowd and nu him into the door of his own car. we hear a sharp crack -- Strike'\u2022 Jenee hitting the car-door. A group wincing sound is heard cut with<\/dialogue>\n    <scene_description>laughter. Strike on the ground, looks up to his car. Parked right behind him is Rodney in his Cadillac, his face stony -- waiting tor w tu~n at Strike. EXT\/INT: STRIKE DR!VING - FIVE MINUTESI.ATER Strike's nose is s\u00b7.,,ollen. Ke loo.ks in his rear view mirror -- there's Rodney's Cadillac, Rodney's eyes meeting his in the mirror -- \"Whither thou goest \u2022\u2022\u2022 \" Strike is now the Flying Dutchman -- hope he doesn't run out of gas.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>-.<\/stage_direction>\n    <character>INT: HOMICIDE<\/character>\n    <dialogue>OFFICE - SAMETIME<\/dialogue>\n    <character>CLOSEON WAJU!ANT<\/character>\n    <dialogue>being typed by Roeeo. WESEE Strike'&amp; name. WESEE the charge&amp; -- Illegal Possession of a Firearm. WE SEE the name of the complaining officer -- Rocco Klein. Rocco yanJ:s the warrant from the typewriter; marches through the office heading for the street to get a judge's signature. ANGLE- ROCCOAT THE GLASSDOORSOF THE BUILDINGENTRANCE Rocco pushing through warrant in hand, grashes into Strike coming~ the building to seek out Rocco and sanctuary.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>{not missing a beat)<\/dialogue>\n    <scene_description>Key-y -- lock who's here. (flourishing the warrant) I was just coming to get you. Rocco notices Strike's face,-his limp. ROCCO (con~d) The fuck happened to you? Without answering, strike almost pushes Rocco out of the way in his anxiousness to get inside. ROCCO'S POV WE SEE in the parking lot about twenty-thirty yards away Rodney standing there, arms crossed over his chest, glaring at Strike.<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>{waving, friendly)<\/dialogue>\n    <scene_description>Row's it hangin'? Rodney doesn't move. I.NT: INTERROGATION<\/scene_description>\n    <character>ROOM<\/character>\n    <dialogue>Strike is holding his knee and rocking in his seat -- he is alone. PULL BACKTO SEE Mazilli looking at him through the small grilled door-window.<\/dialogue>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>Rocco paces like an expectant father behind Mazilli.<\/dialogue>\n    <character>MAZILLI<\/character>\n    <dialogue>What the. hell's he doin' here?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Sittin' in the erosshairs.<\/dialogue>\n    <character>MAZILI.I<\/character>\n    <parenthetical>(disgusted)<\/parenthetical>\n    <dialogue>The crosshairs \u2022\u2022\u2022<\/dialogue>\n    <scene_description>,, ' ' ROCCO (focused on Strike) We got the wrong brother.<\/scene_description>\n    <character>MAZIU.I<\/character>\n    <parenthetical>(walking off)<\/parenthetical>\n    <dialogue>The fuck we do.<\/dialogue>\n    <character>INT:<\/character>\n    <dialogue>ROOM- TWOMINUTESLATER<\/dialogue>\n    <character>INTERROGATION<\/character>\n    <dialogue>Now it's Rocco versus Strike acres\u2022 the table against the barren backdrop of the bare walls, strike holds his head in a brace of fingertips.<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(remorseful)<\/parenthetical>\n    <dialogue>What he do it for?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Tyrone?<\/dialogue>\n    <parenthetical>(shrugging)<\/parenthetical>\n    <dialogue>Ky guess? He was protecting~- Rodney's not gonna get blood on his hands. He sent Errol after you, and this poor kid stepped into the breach like David and Goliath and now he's a twelve-year-old murderer. way to go, strike \u2022\u2022\u2022<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(ang::::-::\", freaked)<\/parenthetical>\n    <dialogue>\u2022 Don't you :ay that shit on y.<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(acid)<\/parenthetical>\n    <dialogue>Don't lay~~ on you, huh?<\/dialogue>\n    <scene_description>STRil&lt;E (rapid burst, angry, pleading) Why'd you have to come up and shake ~y hand in frQnt of the ~le like STRIKE (contd) that for . . . ~ of this woulda happened, man, I ~ you \u2022\u2022\u2022<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(exploding, realizing his part in this.)<\/parenthetical>\n    <dialogue>And I told you not to ew me! Did I not lill you that?<\/dialogue>\n    <scene_description>' I (shaking his head in refusal, I almost talking to himself) : I ain't taking the weight for this. Rocco looks away, nailed, trying to shift gears and move on.<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Nah, why should you, you're a hell of a guy, look at all the people that went down trying to protect you, your brother, Tyrone \u2022\u2022\u2022 a hall of guy ... But you know what? They all went down protecting you from the same guy ..\u2022 and he's $till gi,at there.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Except you got one ally left.<\/dialogue>\n    <scene_description>Rocco solemnly points to himself. ROCCO (contd) (beat) Now, you tell me how Rodney pressured you into doing Darryl Adams, we'll work out some kind of deal for you and drop Rodney down a hole, (beat) Alls you got to do is tell ma the truth ... righ~ now. Strike massages his knee, rocks. Rocco takes a deep, shuddery breath, p~aying that he successfully deceived Strike into confession. ROCCO (oontd) So, let ~e just ask you, just to get it out of the way. (beat: l Did you shoot Darryl Adams \u2022\u2022\u2022 STRIKE (after a beat) Unh-uh ... No .<\/scene_description>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>Rocco slowly bares his teeth, tries to control his rage.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>.OK \u2022 \u2022 \u2022 who gig \u2022\u2022\u2022<\/dialogue>\n    <scene_description>S'I'JtID (after a beat) Victor ...<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>{nodding, his face curdling<\/dialogue>\n    <scene_description>I ' with anger) I victor . ,. Rocco, fr0111 total stillness, suddenly flies at Strike and begins to clrag him off his chair to the door,<\/scene_description>\n    <character>STRID<\/character>\n    <dialogue>What you ggin'?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>{bughouse)<\/dialogue>\n    <scene_description>I'll fuckin' hand-feed you to Rodney myself, you motherfucker, you fuckin' ... Strike and Rocco struggle. Strike pushes himself away from Rocco's grasp, staggering backwards into a corner. He's come up with Rocco's gun which he points at Rocco with a tremk&gt;ling hand, Strik\u2022 is on the verge of tears. Rocco stands hi5 ground, struggling with his fear. ROCCO (contd) (hoarse) Ronnie . . . whoa.<\/scene_description>\n    <character>STRID<\/character>\n    <dialogue>{with desperation and rage)<\/dialogue>\n    <scene_description>You motherfucker ..\u2022 nigger says he didn't do nothin' you don't believe him. Nigger says he did it, you seill don\u2022~ believe him! My brother did it. He !.2.1.dyou that. 1 didn't! What the fuck I got to do to get you gn to that!<\/scene_description>\n    <character>ROCCO'S<\/character>\n    <dialogue>POV<\/dialogue>\n    <scene_description>The small door-window. No one there. No one knows Strike's got his gun.<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(gently)<\/parenthetical>\n    <dialogue>OK \u2022\u2022. OK ... Just tell me \u2022..<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(cutting him oft)<\/parenthetical>\n    <dialogue>Tell you what ... you get him in county .. What you want me to say, \"Yeah, he did it, OK \u2022\u2022\u2022 \"<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(hands up, palms out)<\/parenthetical>\n    <character>OX<\/character>\n    <dialogue>I 11<\/dialogue>\n    <character>OK \u0080\ufffd\u0080\ufffd\u0080\ufffd<\/character>\n    <dialogue>STRIKE Hbil ... you think I'm teyin'<\/dialogue>\n    <scene_description>' let him go~ for 111.a? You think I'm afraid of jail? Strike puts the gun to his own head, tapping his temple with the muzzle. STRIKE (contd} You think this ain't like iAil up in here? You think you tDmt 111.a? You don't. I didn't tW. nobody! Rocco moves forward a step, eyes on his gun still at Strike's temple. STRIKE (contd) (going off) I didn't have the hear~ ... Victor's all like , \"got 1:0 be got, \" \"peel his cap.\" He was drunk. talking soma drunk ~shuck in that Qill:, I din't even know he was strapped.<\/scene_description>\n    <character>FLASHBACK<\/character>\n    <dialogue>CWSE ON GYMBAG<\/dialogue>\n    <dialogue>at Victor's feet in Rudy's. BACKTO ROCCOANDSTRIK~<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(gingerlr)<\/parenthetical>\n    <dialogue>Ronnie ... you're gettin' in pretty<\/dialogue>\n    <scene_description>deep here ...<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(ignoring him)<\/parenthetical>\n    <dialogue>How was I supposed to know?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>,I (saying anything)<\/dialogue>\n    <scene_description>Hey, you couldn'1: ... Why don't you give me the gun? Strike reacts to this by pointing the gun at Rocco again.<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(bitter)<\/parenthetical>\n    <dialogue>say 11.I don't know yo11.\u2022<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(humoring him)<\/parenthetical>\n    <dialogue>OK ... I don't know you.<\/dialogue>\n    <scene_description>' STRita: ' (angrier) You don't know~!<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(gently but alere)<\/parenthetical>\n    <dialogue>Ok ... I don't ..\u2022<\/dialogue>\n    <parenthetical>(suddenly caught up in his mission again-slightly shiftinq gearsi 'What don't I know, Ronnie? \u2022\u2022\u2022 c\u2022mon ... (tilting his chin to the gun)<\/parenthetical>\n    <dialogue>You're the man ... what don't I lcnOW , , \u2022<\/dialogue>\n    <parenthetical>(soothing but insistent)<\/parenthetical>\n    <dialogue>what don't I know \u2022\u2022\u2022<\/dialogue>\n    <character>CLOSE ON STRIKE<\/character>\n    <dialogue>faltering, overwhelmed by his own half-knowledge of things it's time.<\/dialogue>\n    <character>ROCCO (VO)<\/character>\n    <dialogue>Tell me ...<\/dialogue>\n    <character>FLASHBACK<\/character>\n    <scene_description>VIEWOF PAIN-BATTERED:<\/scene_description>\n    <character>CAR<\/character>\n    <dialogue>the day after the shooting. INT: VICTORANDSTRIKE IN THE CAR Both dripping, shivering. Victor silent in his orange uniform, staring at hi~ oVl'I hands on the steering wheel.<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(punching Victor blindly inhis exasperation)<\/parenthetical>\n    <dialogue>What the !.l:U;.t did you s!Q! I didn't say for you ...<\/dialogue>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>VICTOR<\/dialogue>\n    <parenthetical>(calm, dazed)<\/parenthetical>\n    <dialogue>Rennie ... it was like a dream \u2022\u2022\u2022<\/dialogue>\n    <character>FLASHBACK- VIC'J'OR SHOOTINGDARRYL<\/character>\n    <dialogue>VICTOR (VO)<\/dialogue>\n    <scene_description>He went down so .l:IAm, Vietor firing blindly at Darryl. Four shots. Darryl I If 11ca.tching\" a bullet in his palm, jerking back, floating I down, then Victor's tranced-out shocked face., staring down at Darryl. Victor fleeing, BACR TO VICTOR ANO STRIKE IN THE CAR<\/scene_description>\n    <character>ROCCO (VO)<\/character>\n    <dialogue>VICTOR<\/dialogue>\n    <parenthetical>(to strike, calmly)<\/parenthetical>\n    <dialogue>I cou1dn't w\\k2 it no mora \u2022\u2022\u2022 I couldn't \u2022\u2022\u2022<\/dialogue>\n    <parenthetical>(directly to strike)<\/parenthetical>\n    <dialogue>somebody had to pay.<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(to Victor} For~? BACKTO STRID IN THE PRESENT gesticulating with the gun. STRIKE (to Rocco, beseechingly)<\/parenthetical>\n    <dialogue>Pay for what<\/dialogue>\n    <character>CLOSE ON ROCCO,<\/character>\n    <dialogue>torn between absorbing St~ike's testimony and concentration on the gun.<\/dialogue>\n    <character>FLASHBACK<\/character>\n    <dialogue>Victor as security ~-.1ard having the crumpled hundred dollar bill thrown::-: llis race. The actiol'I is. in excruciating SLOW-~:7:oN, the money moving towards his face like floating s?ace debris.<\/dialogue>\n    <character>STRIKE: (VO)<\/character>\n    <dialogue>.- .. What he do it for?<\/dialogue>\n    <character>FLASHBACK<\/character>\n    <dialogue>VICTORON HIS STOMACH<\/dialogue>\n    <dialogue>getting cutfed by Thumper, his head pulled up by the hair, chin to the\\_ sky, his throat bowed out in a painful arc. BACJCTO ftOCCO<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(eyes on the qun, gently)<\/parenthetical>\n    <dialogue>Maybe he was fed-up with things \u2022, \u2022<\/dialogue>\n    <scene_description>I \u2022 STRIICE (bitter, distraught) Fed-up with things, h\\ll:l? Naw ... .thi.&amp;. ... is fed-up with things strike puts the gun to his temple again, eyelids fluttering. Rocco makes his move, grabbing for the gun as strike fir9s. Strike gets shouldered into the wall, then drops to the floor as Rocco stands over him, shaken, freaked, the gun in his hand. The interrogation door gets kicked in, three cops sweeping the room in shooters' crouches.<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(hands high, gun at the ceiling)<\/parenthetical>\n    <dialogue>Ho! Easy! Easy!<\/dialogue>\n    <scene_description>The cops nervously, tentatively, stand down. ROCCO ( contd) (grinning, shrugging) My fault, my fault \u2022\u2022\u2022 They stare at Strike on the floor then back to Rocco. ROCCO (contd) (winking) I was giving him a hearing test \u2022\u2022\u2022 he passed The cops hesic0te, ROCCO(contd) (hands up) It's OK ... i~'s OK.<\/scene_description>\n    <character>DETECTIVE<\/character>\n    <dialogue>Jesus, Rocco ...<\/dialogue>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>They retreat, ANGLE<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(struggling for a casual tone -- standing over strike)<\/parenthetical>\n    <dialogue>C'mon, get up .\u2022.<\/dialogue>\n    <character>STRIKE<\/character>\n    <parenthetical>(near tears, on the !loor)<\/parenthetical>\n    <dialogue>Victor didn't know what he was doin' ... He din't ... you gotta ,tna him, man ... He never did ~in' \u2022\u2022\u2022 but it's just like you said \u2022\u2022\u2022<\/dialogue>\n    <parenthetical>(Strike points to a wall signifying Rodney outside)<\/parenthetical>\n    <dialogue>Rodney's behind it All, so why don't you just snatch him up, just \u2022\u2022\u2022<\/dialogue>\n    <character>ROCCO<\/character>\n    <parenthetical>(casual, not looking at strike)<\/parenthetical>\n    <dialogue>Get up . , .<\/dialogue>\n    <scene_description>As strike rises to his feet, Rocco without warning backhands him ar;ross the room. FXT: STEPS LEADINGOUT OF THE PROSECUTOR'SOFFICE Strike, limping and swollen, descends, Rocco behind him. Suddenly Strike stops.<\/scene_description>\n    <character>STRIKE<\/character>\n    <parenthetical>(hissing in tear and awe)<\/parenthetical>\n    <dialogue>.!iAh4.\u2022\u2022<\/dialogue>\n    <scene_description>WI:SEE Strike's car -- Rodney has done a major job on it -- the front window is shattered, there's gouges, dents ... it's like it was hit by a meteor. Rocco massages Strike's shoulders as he talks low in his ear.<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>Let me ask you ... Do you think 1',odney \u2713 s. -:~inking, \u2022\u2022Now we' re even?\" o:.- do you think ha's<\/dialogue>\n    <scene_description>thinking \"This is just a taste.\"<\/scene_description>\n    <character>STRIKE<\/character>\n    <dialogue>Gahd.<\/dialogue>\n    <scene_description>I<\/scene_description>\n    <character>ROCCO<\/character>\n    <dialogue>S0, what do you think we should do about this, Ronnie? What ...<\/dialogue>\n    <scene_description>Abruptly, in a blur of violent speed, Rodney bulls into them separating them and then WE SEE a flash of silver as Rodney swings his aluminum softball bat at Strike, missing as strike falls on his ass. Rocco, recovering, shoves Rodney backWards and plants himself between Rodney and the cowering Strike. \" ROONEY (cocking the bat) Get the~ out my way! Rocco stands there, moving parallel to Rodney, blocking him. He flips out his Prosecutor's Office badge so that it hangs over his chest like an a.mulet. RODNEY( contd) Get the fuck ...<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(tapping the symbol of his job)<\/parenthetical>\n    <dialogue>Yo street smart ..\u2022 how smart All you<\/dialogue>\n    <character>RODNEY<\/character>\n    <parenthetical>(bug-eyed, cocking the bat)<\/parenthetical>\n    <dialogue>I'll take you out,~, motherfucker.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Kow smart ll.!t you \u2022\u2022\u2022<\/dialogue>\n    <scene_description>Rodney stands there livid, trying to ignore Rocco, see his way to Strike. ROCCO(contd) How smart are you? Rodney looks like he's going to take off Rocco's head bu~ Rocco doesn't budge, chanting \u2022\u2022\u2022 ROCCO(contd) (ges~~ring to the sky, ~o :;;;ee~oia) You l.il,g ~~ ou~ here? Add it up. Add it up ... Rodney, although s~~ll brandishing the bat, still seeking Strike behind the human shield, seems to slightly ,I sul:lside, to hear Rocco's chant.<\/scene_description>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>Still bug-eyed, he lowers the bat ignoring Rocco\u00b7, finding Strike's eyes.<\/dialogue>\n    <scene_description>ROCCO {contd) Add it up. Defeated by his \u00b7own survival instincts, Rodney in a last gesture of menace points the bat at Strike as if to say \"next time.\" As Rodney finally turns, giving strike and Rocco his back, WE SEE Mazilli on the prosecutor's steps, calmly \"'t aiming his .38 at Rodney, the implication being that all Rodney would have had to do a minute ago is swing at Rocco, and Mazilli would have shot him.<\/scene_description>\n    <character>RODNEY<\/character>\n    <dialogue>{sneering at the gun)<\/dialogue>\n    <scene_description>Fuck you too, Mazilli. Rodney dismisses all three of them with a wave and walks to his car. EX'l'\/IN'l': ROCCO'S CAR - HOLLAND TUNNEL<\/scene_description>\n    <character>STRIKE<\/character>\n    <dialogue>.. ,, . {cautiously)<\/dialogue>\n    <scene_description>Where you takin' ma?<\/scene_description>\n    <character>.ROCCO<\/character>\n    <dialogue>Your brother's pleading salt- defense. Somebody gets ahold of you, Victor's gonna have a big problem with that.<\/dialogue>\n    <parenthetical>(looking at strike)<\/parenthetical>\n    <dialogue>You understand what I'm saying?<\/dialogue>\n    <scene_description>Strike steals a peek into his front pocket, WE SE\u00a3 the edge of his stake. That fat wad of cash -- $5,000, not a hell of a lot to start a new life, but it's something.<\/scene_description>\n    <character>STRIKE<\/character>\n    <dialogue>Tyrone, does he got a bail?<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>There's no bail on juveniles. Kis mother's got him until the trial,<\/dialogue>\n    <character>STRI~<\/character>\n    <dialogue>{outburst)<\/dialogue>\n    <scene_description>I can't carry the weight for that, man, I just can't.<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(freaked)<\/parenthetical>\n    <dialogue>Shut up!<\/dialogue>\n    <scene_description>strike bows his head to his knees, half antsiness, half prayer. EXT: N,Y. EXIT OF THE HOLLANDTUNNEL Rocco's car ejecting into the Manhattan traffic. EXT: PORT AUTHORITY- EIGHTH AVENUEENTRANCE- TWENTY MINUTES I.ATER Rocco's car pulls up to the curb.<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(ha.rd)<\/parenthetical>\n    <dialogue>You got enough money for a ticket soll!ewheres?<\/dialogue>\n    <character>STRIKE<\/character>\n    <dialogue>I guess.<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>Hey, Darryl Adams ... remember him layin' there in all that blood and brains?<\/dialogue>\n    <scene_description>Strike says nothing. ROCCO (contd) That could've been you ..\u2022 your brother could've just as easily peeled~ fuckin' cap that night. (beat) You knQl!l that, right? Strike turns his head away. ROCCO (contd) If I ever see you again, I'll book you for criminal solicitation and conspiracy to collll!lit murder. I'll pick up Rodney on the same charges and I'll ~~ke sure you two draw the sall!e tie~. same fu~kin~ .1.2.sl, you unders-:ar.:!. me? Strike nods mutely. A beeper goes off in ~he car. ,I<\/scene_description>\n    <character>STRIKE<\/character>\n    <dialogue>It ain't mine ...<\/dialogue>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>Rocco peers at the number coming up on his hip. he looks up -- Strike is out of the car and halfway towards the terminal,<\/dialogue>\n    <character>ROCCO<\/character>\n    <dialogue>\u00b7 (muttering to himselt)<\/dialogue>\n    <scene_description>You're welcome, motherfucker<\/scene_description>\n    <character>INT:<\/character>\n    <dialogue>I<\/dialogue>\n    <character>PORT AUTHORITY<\/character>\n    <dialogue>strike at the Trailway ticket window, looking<\/dialogue>\n    <scene_description>\"' ot America lined with bus routes,<\/scene_description>\n    <character>STRIKE<\/character>\n    <dialogue>Washington, D.~.<\/dialogue>\n    <scene_description>He drops some cash on the counter, and the clerk moves to his console, STRIKE (contd) No . . . no . . . wait up, wait up ... Philall.!ll.Phia ... Philagglphia. The clerk pauses, gives him a look.<\/scene_description>\n    <character>CLERK<\/character>\n    <dialogue>You~?<\/dialogue>\n    <character>STRIKE<\/character>\n    <dialogue>Yeah ... no ... hold it, .. hold it.<\/dialogue>\n    <scene_description>Strike looks up at the map, lips moving, hand out over his money, STRIKE (contd) Give me a second here, just one more second ...<\/scene_description>\n    <character>EXT: JERSEY EXIT OF THE HOLLAND<\/character>\n    <dialogue>TUNNEL- FIF'rEEN MINUTES<\/dialogue>\n    <character>I.ATER<\/character>\n    <dialogue>IN'l': ROCCO'S CAR Rocco driving. His beeper goes off again. Rocco keeps his eyes on the road. FLASHBACK<\/dialogue>\n    <dialogue>Victor trance-walking to the dope dealers inside Hambones. Re's carrying that tray with Cokes. Rocco's beeper provides the soundtrack for this moment.<\/dialogue>\n    <character>,<\/character>\n    <dialogue>INT: ItOCCO'S CAR Rocco, coming off this vision, checks the nwal:Jer display on his be~per, rubs his face, drives on. l:NT: TRAILWAY BUS - l:N THE BUS BAY Strike in his seat looking out his window at the people burdened with bags who are toddling onto the bus. CLOSE ON STR.IKE'S KANO He holds a fistful ct bus tickets -- the See merica package, a half dozen cities held like a fan. The bus jerks into reverse, backing out of its bay. strike closes his eyes, holds the tickets to his forehead.<\/dialogue>\n    <scene_description>STJ'iII&lt;E {like a whispered prayer) Help me \u2022\u2022\u2022 EXT: ANOTHER CRIME SCENE - TWENTY Hl:NUTES LATER Wl: SEE a street party ringing a shot-up male body on the ; sidewalk bordered by yellow tape. WE SEE Mazilli and another detective process the scene. WE SEE Rodney in the crowd, laughing, putting the moves on some girl. WE SEE the other detective ring the body in a series of flash pops. ANGLE - ROCCO IN HIS CAR watching all this. Rocco hesitates as it pondering his options, then, with great effort, he opens the car door, rises to his feet. ANGLE- TOWARDS<\/scene_description>\n    <character>THE SACKOF THE RAUCOUS<\/character>\n    <dialogue>CROWD<\/dialogue>\n    <scene_description>WE SEE Rocco in his customary starting position -- just one gC the rubbe=nec~e~s.<\/scene_description>\n    <character>ROCCO<\/character>\n    <parenthetical>(to no one)<\/parenthetical>\n    <dialogue>Ke was a nice guy, right?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I Who would've shot him?<\/dialogue>\n    <scene_description>No one answers, and in slow-motion WESEE Rocco work his way through the crowd and head for the yellow tape. 'Im SEE hjm lift the tape and enter the inner sanctWII of yet another urban tragedy -- which is his job, his life. EXT: OPEN HIGHWAYAT TWILIGHT The Trailway bus shooting West, or South, or North. We hear strike in a voice-over as the bus rockets him to a new destiny.<\/scene_description>\n    <character>STRIKE (VO)<\/character>\n    <parenthetical>(like a prayer)<\/parenthetical>\n    <dialogue>Help me . , .<\/dialogue>\n    <scene_description>\u2022<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In a Brooklyn housing project, a group of clockers \u2014 street-level drug dealers \u2014 sells drugs for Rodney Little, a local drug lord. Rodney tells Ronald \"Strike\" Dunham, one of his lead clockers, that another dealer, Darryl Adams, is stealing from him and that he wants Strike to kill him. Strike then meets with his brother, Victor, and asks if he knows someone who could kill Darryl. Homicide detectives Rocco Klein and Larry Mazilli, riding to the scene of Adams' murder, receive a phone call from another detective who says a man has confessed at a local church to killing Adams. The police meet Strike's older brother Victor at the church and take him in for questioning. In the interrogation room, Victor tells Rocco that he shot Adams in self-defense. Rocco finds holes in this story and starts looking into Victor's background, which includes two jobs, a wife, two children, no criminal record, and aspirations to move out of the projects, and concludes that Victor is covering for his younger brother. Rodney discusses Darryl's death with Strike. Later, Rodney tells Strike a story of a younger Rodney and Errol, where Errol threatened Rodney at gunpoint to kill a dealer, which he did. Back in the present, he tells Strike the reason Errol forced him at gunpoint to do so was so that Errol could hold something over him if he ever decided to tell on Errol, which was why he told Strike to kill Darryl Adams. Strike and Rodney have a falling-out after Rodney denies telling Strike to kill Darryl. Rocco pressures Strike, but Victor sticks to his story, so Rocco convinces Rodney that Strike has confessed and informed on Rodney's drug ring. Rocco arrests Rodney and then implicates Strike in front of his crew. Strike tries to play it off and deny that he was involved in Rodney's arrest, but his crew begins to turn on Strike, leading to them labeling him a snitch. Rodney, calling Errol to notify him that he is in jail, puts a hit out on Strike. Strike then gets together some money and decides to leave town. As Strike walks to his car, he sees Errol sitting on his car, deducing that Errol is there to kill him. Strike hides behind a fence, but a younger boy who admired Strike, Tyrone, rides up to Errol on a bike and shoots him dead with Strike's gun. Later, Tyrone is taken into custody. With Rocco, Tyrone's mother and Andre listening, Tyrone confesses that he got the gun from Strike. Andre storms out of the interrogation room and proceeds to look for Strike. Andre angrily beats Strike in front of the whole project, and with a gun threatens the onlooking bystanders to stay back. As Andre threatens to kill Strike if he ever talks to or even looks at the young boy again, Rodney pulls up, which leads to Strike jumping in his own car and driving to the precinct, with Rodney following. Strike runs into Rocco, who now has an arrest warrant for Strike, and runs into the precinct just as Rodney pulls up. Rocco tries to intimidate Strike into confessing to the murder, but he loses his composure when Strike continues to change his story. When Rocco grabs Strike and throws him against the wall, Strike's mother walks in with Mazilli and Victor's wife. She advises Rocco that Victor confessed to the murder immediately when he got home, and how Victor was physically unable to leave his bed. Strike asks his mom what happened to the bail money he gave Victor's wife, which leads to Strike's mother angrily throwing the money in Strike's face. Meanwhile, Rodney proceeds to damage Strike's car, going as far as breaking the windows, damaging the doors and urinating in the car. Left with no other options and unable to go home, Strike asks Rocco to drive him to Penn Station. As they are sitting in a car, Rocco threatens Strike that if he ever sees him again he will arrest him, let Andre beat him down again, then arrest Rodney on the same charges and make sure that Rodney and Strike share a cell and a bed in prison. Strike boards a train and leaves town. While Tyrone is playing inside his apartment with the train set that Strike gave him, outside the apartment, Rocco and Mazilli respond to the homicide of Scientific, one of the guys in Strike's old crew. The film ends with a shot of Strike looking outward on a moving train somewhere in the New Mexico desert, apparently far away from the city."}
{"movie_name":"Wind Chill_2007","imdb_id":"tt0486051","script":"<script>\n  <scene>\n    <stage_direction>INT. UNIVERSITY LECTURE HALL - DAY<\/stage_direction>\n    <scene_description>A GIRL 'S FACE fills the screen , twenty - one years old , pensive , pretty . Camera lingers on her in CLOSE UP , noticing details : hair worn stylishly messy , no makeup , double - pierced ears -LRB- though no earrings today -RRB- , the corner of her bottom lip a little frayed where she 's been chewing it ruminatively . She 's the kind of beauty who can withstand such bad lighting : institutional lighting , florescents HUMMING overhead , joining the chorus of ambient noises : a COUGH , papers RUSTLING , the SCRIBBLE of a pen , someone SHIFTING in their chair , etc. . The shot lingers until it becomes uncomfortable , invasive , scrutinizing this unhappy girl in an unguarded moment , then - A new sound breaks her reverie , a muted BUZZING o.s. , and her eyes cut down to - HER CELLPHONE skittering sideways across the closed cover of her blue final exam book , like a bug . She has an INCOMING TEXT MESSAGE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNIVERSITY LECTURE HALL - ESTABLISHING - DAY<\/stage_direction>\n    <scene_description>Our GIRL is just one of two hundred other STUDENTS filling a big auditorium - style lecture hall . Around her , classmates sit grim - faced , scribbling to beat the clock . OUR GIRL traps the buzzing cellphone before it skitters right off the edge of the half - desk , looks at the display . INSERT CELLPHONE DISPLAY - u done ?! BACK TO SCENE Our girl leans back a little in her seat , gives a little nod to her friend seated across the lecture hall . Types a reply . INSERT CELLPHONE DISPLAY - yes . INTERCUT : CELL PHONE DISPLAY \/ OUR GIRL She looks down as her friend text - messages : how r u getting home ? Typing . bus . She sends the message , a moment later the reply appears : sux 4 U . She glances up , sees her friend shoot her a sympathetic look .<\/scene_description>\n    <character>PROCTOR<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>That's it, people! Wrap it up!<\/dialogue>\n    <scene_description>There 's a collective GROAN and the sound of two hundred panicked asses twisting in their seats . Our girl feels her phone buzz , looks down to see a final text message from her friend : y do n't u check the ride board ? A slow smile lights up her face at the idea , as all around her students rise and begin stampeding out .<\/scene_description>\n    <character>PROCTOR<\/character>\n    <parenthetical>( O.S. ; cont 'd . )<\/parenthetical>\n    <parenthetical>( shouting to be heard . )<\/parenthetical>\n    <dialogue>Test results will be posted on the Philosophy Department's web site in two weeks. Enjoy your break and have a Happy New Year.<\/dialogue>\n    <scene_description>She gathers her things , begins to make her way down the stairs when -<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>- she 's JOSTLED from behind by a CLASSMATE bolting past her . She hands in her exam book , waves to her friend , and exits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW ENGLAND UNIVERSITY - VARIOUS SHOTS - DAY<\/stage_direction>\n    <scene_description>Campus is a ghost town , most students having already left for the holidays : the DORMS abandoned , the LIBRARY STACKS empty , the LABS silent , the DINING HALLS eerie . Our GIRL hurries across the deserted college green dotted with little hillocks of snow from an earlier storm . She passes a forlorn pine tree decorated with CHRISTMAS LIGHTS , on her way to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNIVERSITY - QUAD - DAY<\/stage_direction>\n    <scene_description>She arrives at a large , partially - enclosed KIOSK covered with dozens of student - made notices , printed in a rainbow of eye - catching computer fonts and colors . A sign at the top reads : RIDE BOARD . She scans the posted notices . One catches her eye : torn hastily from a spiral notebook , on which is scrawled a handwritten message : NE1 Need a Ride 2 Delaware 12\/23 ? Call 607 - 154 - 9835 . A gust of wind riffles the notice . DECEMBER 23 , 3:12 P.M.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNIVERSITY - STUDENT PARKING LOT - DAY<\/stage_direction>\n    <scene_description>Our girl wheels her suitcase across a largely - empty parking lot . It 's late afternoon , and already dark enough for the sodium vapor streetlights to have come on . A few snowflakes swirl in their sickbed glow . We follow her to . A beat - to - shit 1988 OLDSMOBILE idling in the middle of the lot . An unbroken dusting of snow indicates it 's been the only vehicle here for some time . An underclassman GUY , 19 , is asleep behind the wheel of the Oldsmobile . He 's skinny , dressed in thrift - shop clothes , has the complexion of someone who does n't get out in the sun much . His car is filled with all of his earthly possessions : books , CD 's in plastic milk crates , dirty laundry , etc. . She knocks on the driver 's side window , startling him awake . He stirs , blinks uncomprehendingly at the empty parking lot .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>Do you think you could have parked any further from the entrance?<\/dialogue>\n    <scene_description>The sight of her quickly snaps him awake . He scrambles out .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( still a little groggy . )<\/parenthetical>\n    <dialogue>There were still cars when I got here. I thought we were going to get an early start to stay ahead of the snow?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>What time is it?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Quarter past three.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>I'm two hours late?! Shit. Sorry. You should've just left without me. That's what I would've done. Hurry up and pop the trunk so I can stow my shit.<\/dialogue>\n    <scene_description>He does . She walks back to the trunk , which is stuffed to capacity with more of his things : CLOTHES , a bag of GROCERIES , etc. .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( calling to him . )<\/parenthetical>\n    <dialogue>Jesus, I'm just going home for Christmas. What are you doing? Pulling up stakes and movin' your Oakie family to Californey?<\/dialogue>\n    <scene_description>She starts rearranging the trunk , making room for her bag .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>I'm kinda getting kicked out of my apartment. I did n't have time to find someplace new before exams.<\/dialogue>\n    <scene_description>She takes out some of his things . Puts them on the ground .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Here, let me help you with that -<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Why do n't you just get the engine started and put the heat on? I can handle this.<\/dialogue>\n    <scene_description>He watches her rearrange his things , a little flummoxed .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( smiling . )<\/parenthetical>\n    <dialogue>Well? What are you waiting for? I thought you wanted to stay ahead of the snow?<\/dialogue>\n    <scene_description>He hurries back to the driver 's seat . Starts the engine . She hurriedly crams everything back in and slams the trunk . Then runs around to the passenger side and pulls on the door handle . Stuck . Now it 's her turn to look impatient . She jerks on the handle again , until he leans over to open the door from the inside .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Sorry. it sticks.<\/dialogue>\n    <scene_description>She rolls her eyes , climbs in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLDSMOBILE - DAY<\/stage_direction>\n    <scene_description>She climbs in , tries to power her window all the way to the top . It keeps getting stuck , leaving a half - inch gap . She shoots him a look : `` What the hell ? ''<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>That's as far as it goes. Sorry.<\/dialogue>\n    <scene_description>She rolls her eyes , never once interrupting her phone conversation . He puts the car in gear and they set out on their six hour roadtrip .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNIVERSITY - STUDENT PARKING LOT - THAT MOMENT<\/stage_direction>\n    <scene_description>As they drive off , reveal : a forgotten bag of GROCERIES , still sitting on the ground .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLDSMOBILE - DAY<\/stage_direction>\n    <scene_description>They leave campus . He eavesdrops as she rattles on .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( on her cell . )<\/parenthetical>\n    <dialogue>Where are you?<\/dialogue>\n    <parenthetical>( listens . )<\/parenthetical>\n    <dialogue>No, we're just rolling out.<\/dialogue>\n    <parenthetical>( listens . )<\/parenthetical>\n    <dialogue>. Believe me, I tried, but I could n't get a flight. It's my own fault for waiting ` til the last minute.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. OLDSMOBILE - DUSK<\/stage_direction>\n    <scene_description>She looks out at the passing landscape as they cruise south on the interstate . The road is wet , though the snow has n't yet started to stick .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( laughs ; on her cell . )<\/parenthetical>\n    <dialogue>What, are you kidding? I'm bored to tears. No, we're still on the highway. how should I know, all highways look exactly alike.<\/dialogue>\n    <scene_description>She looks up , catches him shooting irritated looks her way .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>You going to be on that thing the whole -<\/dialogue>\n    <scene_description>He does n't finish the thought , just chokes back whatever he was about to say . Focuses on the highway ahead .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( on her cell . )<\/parenthetical>\n    <dialogue>Uh oh, somebody's upset. I better call you back.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Who do you think? Ride Board Guy. Okay, ` bye.<\/dialogue>\n    <scene_description>She hangs up , aims the camera phone lens his way , and snaps another digital picture of him . She puts the cellphone away , looks up to see him glaring at her .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>( blurting . )<\/parenthetical>\n    <dialogue>This is n't cool. If I have to drive, you have to talk to me.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>What, I'm the in - flight entertainment?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>That's how this ride - sharing thing works. Division of labor. We split everything fifty - fifty. Get it?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>I've got news for you, I do n't get much more entertaining than when I'm on the phone.<\/dialogue>\n    <scene_description>He darkens , mutters under his breath :<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( sarcastic . )<\/parenthetical>\n    <dialogue>This is turning out great.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>What's that mean?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Forget it.<\/dialogue>\n    <scene_description>They ride in silence for a moment . She tries to strike up a conversation , by way of extending an olive branch .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>So you're from Wilmington, huh?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Where'd you go to school?<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>( falters for a second . )<\/parenthetical>\n    <dialogue>Um. Saint Vitus Academy.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>St. Vitus? You're making that up.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>You're acquainted with every school in the area?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Pretty much, yeah.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Including all the Catholic ones? Because that's where I went. Saint Vitus Academy for Catholic Boys.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Okay, fine.<\/dialogue>\n    <scene_description>They drive for a few moments in silence .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>We had a class together, you know.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Intro to Modern Philosophy.<\/dialogue>\n    <scene_description>He looks at her expectantly , as if she should remember him .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>What? There were about a million people in that class. It was like Woodstock. Did you ever see so many Eastern religion types?<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>So, what's your major?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Eastern religions.<\/dialogue>\n    <scene_description>She hoots with laughter . But he 's not kidding . He seems surprised by her response .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You are n't majoring in philosophy?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>No. Why?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I do n't know. I just assumed.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Why would you assume anything about me? We just met.<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>( a little defensive . )<\/parenthetical>\n    <dialogue>I do n't know. I guess you just. look like a philosophy major.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Try engineering.<\/dialogue>\n    <scene_description>She enjoys the pained look of surprise on his face , lets him twist for a second before explaining :<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I only took Philosophy because I need a humanities credit. I heard it was an easy ` A.'.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>Hey, that reminds me. What'd you put for the extra credit question on the final?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Nietzsche's theory of eternal recurrence.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Which is basically reincarnation, right?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>No, they're not really the same thing. Reincarnation is when you come back as something different and eternal recurrence is when you live the same life over and over again.<\/dialogue>\n    <scene_description>He looks out at the road , reciting Nietzsche from memory :<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>The eternal hourglass of existence is turned over and over, and you with it, a grain of dust.<\/dialogue>\n    <scene_description>She looks at him as if he 's nuts . A beat , then :<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>He died of syphilis, you know.<\/dialogue>\n    <scene_description>He stares grimly at the road ahead , biting back a comment .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>High school and philosophy. Pretty much covers everything, do n't you think? Guess that concludes the entertainment portion of today's flight.<\/dialogue>\n    <scene_description>She turns on the radio , finds a station with Christmas music . 5:15 P.M.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INTERSTATE - EVENING<\/stage_direction>\n    <scene_description>The Oldsmobile passes slower - moving VEHICLES and zooms by . Its interior light is on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLDSMOBILE - EVENING<\/stage_direction>\n    <scene_description>Her bare feet are propped on the dash , as she removes the old nail polish . Widen . She 's turned the front seat into a nail salon . Cotton balls , emery boards , bottles of clear and colored varnish are strewn everywhere . She picks a bottle , opens it , begins painting her nails .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( concentrating . )<\/parenthetical>\n    <dialogue>Next gas station you see, do me a favor and pull over. I got ta pee.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Okay, I'll keep my eyes peeled.<\/dialogue>\n    <scene_description>She looks up from her feet , giving him a funny look .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>GIRL<\/character>\n    <parenthetical>( resumes painting . )<\/parenthetical>\n    <dialogue>That phrase. ` Keeping your eyes peeled.' It's kind of creepy, if you think about it.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Huh. Actually, yeah, it is sorta.<\/dialogue>\n    <scene_description>His eyes linger on her freshly painted toes on the dashboard . She catches him staring . He blushes , embarrassed . Says :<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Speaking of peeling eyeballs. Did you know that's how they do that corrective eye surgery?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>They use a laser.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Well, yeah, they do. But there's definitely peeling involved too. I saw it on Discovery Health. If more people knew about the peeling part they might think twice before going under the knife.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Laser.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Right, laser.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>I'm having corrective eye surgery over the break.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>An awkward beat .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>It's okay. I'm not really worried.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>I'm not worried?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>You're getting it done.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Because I hate wearing glasses.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>But they look good on you.<\/dialogue>\n    <scene_description>She frowns .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>How do you know? I do n't wear them outside my dorm.<\/dialogue>\n    <scene_description>He gets a cornered look .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>You sure? You never. to class or anything? Because I could swear I -<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Never.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Huh. Weird. I wonder why I thought -<\/dialogue>\n    <scene_description>He breaks off , saved by the sight of a gas station up ahead .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Hey, look! Here's your gas station!<\/dialogue>\n    <scene_description>She looks at him across the dark front seat , suspicious .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PENN-WAY QUICK MART - NIGHT<\/stage_direction>\n    <scene_description>A florescent oasis in the gathering dark . A tow truck and several old wrecks rusting in the weeds surrounding it . The Oldsmobile pulls off the highway and up to a gas pump .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PENN-WAY QUICK MART - GAS PUMP \/ OLDSMOBILE - MINUTES LATER<\/stage_direction>\n    <scene_description>He starts the pump . Notices her still seated in the car . He knocks on her window . She opens the door .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>I thought you had to pee?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>I did n't expect us to find a bathroom so soon. My nails are n't dry.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>He looks over the roof of the car , sizing up the distance across the slushy parking lot .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Well if you want, I can carry you.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>That's okay, they'll be dry in just a second.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Come on, I'm good at this.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>You are not carrying me inside.<\/dialogue>\n    <scene_description>He opens her door , pulls her legs around , and crouches down between them .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Hold on.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>What are you doing?! Wait -<\/dialogue>\n    <scene_description>Suddenly he 's rising and she throws her arms instinctively around his neck . Unsettling as the deeply - weird moment is , she decides it 's best to just humor him . But first -<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I need my purse.<\/dialogue>\n    <scene_description>He crouches a little so she can reach to retrieve it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PENN-WAY QUICK MART - NIGHT<\/stage_direction>\n    <scene_description>The door JINGLES as he enters , carrying her . His face is red from effort , hers from embarrassment .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>He just stands there . She taps him on the shoulder .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>You can let me down now.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>He crouches so she can slide off . She gives him a look , slips on the pair of flip - flops she 's brought with her , then heads off in search of the ladies bathroom . Meanwhile , our guy saunters up toward the front of the convenience store . He nods to the twitchy CLERK , 20s , engrossed in a tattoo fetish magazine behind the counter .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PENN-WAY QUICK MART - BATHROOM - THAT MOMENT<\/stage_direction>\n    <scene_description>The toilet is gross , tiled a queasy green , graffiti - covered . Our girl finishes peeing , gets up from the toilet , uses her foot to flush and her elbow to turn on the faucet . She washes her hands , holding them under the automatic dryer . Broken . She wipes her hands dry on her jeans . Is about to exit when she catches sight of her reflection in the dirty mirror . On impulse she takes out her glasses from her purse . Slips them on . Checks herself out in the mirror . Cool ? Sexy ? With her glasses on she notices something scratched into the dirty mirror . CLOSE ON MIRROR Where we see :<\/scene_description>\n    <character>\"J.C.R. 12-24-88 R.I.P.\"<\/character>\n    <dialogue \/>\n    <scene_description>She frowns , slips her glasses back in their case and moves to exit . But when she grips the doorknob she finds it LOCKED . She frowns . Rattles the doorknob a few times . A look of panic crosses her face , and she starts rattling the doorknob harder . Did someone lock her in ? Suddenly the doorknob comes off in her hand . She pounds on the door with the heel of her palm , shouts :<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>HEY. HEY, I'M LOCKED IN HERE!<\/dialogue>\n    <scene_description>Nothing . She turns , scanning the filthy bathroom , notices something . A VENT above the sink , near the ceiling . BACK TO SCENE She puts a foot up into the sink , testing it to see if it can take her weight . Then climbs up and straightens on wobbly legs , until her face is near the filthy dust - clogged vent .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( calling into vent . )<\/parenthetical>\n    <dialogue>HEY. CAN ANYBODY HEAR ME?! HEY!<\/dialogue>\n    <scene_description>Her voice ECHOES weirdly . When the echoes die down she hears something from the vent that makes her scowl : LAUGHTER . As if our guy and the clerk are having a good laugh at her expense . Pissed off now , she climbs back down , and attacks the broken doorknob with renewed urgency . And finally succeeds in getting the door to open .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PENN-WAY QUICK MART - OUTSIDE BATHROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>As she exits she sees the CLERK and our guy talking quietly , as if they know one another . She hesitates for a second , spying on them around a display of chips . Suspicious . She strides up as the guy pays for the gas and a couple bottles of water .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>Did n't you hear me banging in there?<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>( startled ; puzzled smile . )<\/parenthetical>\n    <dialogue>When?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>You think it's funny? Me locked in?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Locked in where?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>You're telling me you did n't just hear me banging on the door?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I do n't know what you're -<\/dialogue>\n    <character>GIRL<\/character>\n    <parenthetical>( cuts him off . )<\/parenthetical>\n    <dialogue>Forget it. Let's just get on the road.<\/dialogue>\n    <scene_description>He gathers up the bottled water , heads toward the door . The clerk calls to him :<\/scene_description>\n    <character>CLERK<\/character>\n    <dialogue>Remember, highway's your best bet -<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>( dismissive . )<\/parenthetical>\n    <dialogue>Do n't worry about it man, I got it all covered.<\/dialogue>\n    <scene_description>She frowns , following him to the exit .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>Are we lost or something?<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>( quickly . )<\/parenthetical>\n    <dialogue>No, I've made this drive a million times.<\/dialogue>\n    <scene_description>He holds the door for her , then follows her outside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PENN-WAY QUICK MART - CONTINUOUS<\/stage_direction>\n    <scene_description>As they exit and start toward the car she offers him a twenty . He looks at the money , as if he 's never seen U.S. currency before .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>What's that for?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>My half of the gas.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Keep it.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>What do you mean? Is n't that how ride - sharing works? - We split everything fifty - fifty?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I do n't take money from friends.<\/dialogue>\n    <scene_description>Since when are they friends ? They separate , walking around to their respective sides of the car . She tries the passenger door handle , only to find it stuck . She rolls her eyes , waits for him to open it from the inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLDSMOBILE - NIGHT<\/stage_direction>\n    <scene_description>She stares out at the road ahead , lulled by the sound of the windshield wipers sweeping snowflakes from side to side . A nondescript exit comes up fast for a side road . Which would n't be cause for alarm or even interest except - He suddenly turns the wheel sharply , taking the exit .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OLDSMOBILE - THAT MOMENT<\/stage_direction>\n    <scene_description>The car veers off the interstate onto a much smaller two - lane road marked with a simple sign , paint - on - wood , faded to illegibility : Scenic Route 606 . The tires crunch across an old chain which had once prevented access to the road but is now half - buried in the snow . Attached to it is a diamond - shaped warning sign of a more modern vintage reading : Rough Road .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLDSMOBILE - THAT MOMENT<\/stage_direction>\n    <scene_description>She falls against him , bracing herself against the dash .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>What the hell are you doing!?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Scenic detour.<\/dialogue>\n    <character>GIRL<\/character>\n    <parenthetical>( panicking . )<\/parenthetical>\n    <dialogue>No way! Get back on the highway.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Relax, I checked it out on the map. It looks interesting.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>I mean it, get back on the highway right now! This is not going to happen!<\/dialogue>\n    <scene_description>He looks a little pissed she 's questioning his judgment .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Will you chill. It's a shortcut. We'll be back on the highway before you know it.<\/dialogue>\n    <scene_description>Hard to argue with a shortcut . Nonetheless , she glances back with a look of trepidation OUT THE BACK WINDOW at the highway receding into the distance .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCENIC ROUTE 606 - NIGHT<\/stage_direction>\n    <scene_description>The Oldsmobile cruises by , the only car on the two - lane scenic highway . As it leaves FRAME camera PANS to the dead grass on the roadside where it finds a sad little SHRINE half - buried in the snow : two homemade crosses , candle stumps , a rotting stuffed bear , deflated Mylar balloons . Scrawled on the crosses are : Sean , Dec - 24 - 03 . Amanda , Dec - 24 - 03 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLDSMOBILE - NIGHT<\/stage_direction>\n    <scene_description>She watches him suspiciously out of the corner of her eye . His face is eerie in the green light of the dashboard . He scans the radio dial for something other than static .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Not many radio stations out here.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>We're in a valley. FM radio waves travel in a straight line. They ca n't penetrate big obstacles like hills. Try AM.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Where were you when I was flunking freshman physics?<\/dialogue>\n    <scene_description>He switches over to AM . Finds a low - wattage mountain station broadcasting Bobby Helms ' 1957 `` Jingle Bell Rock . '' Then he drives in silence . Still stewing over her most recent digs .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>So. Does your family do the whole traditional Christmas thing?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>No, my grandparents are Dutch, so I was raised on salted licorice and Sinterklaas.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>How's that different from the regular Santa Claus?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Instead of the North Pole, he lives in Spain. And instead of elves he's got an enforcer named Black Pete. Basically he's like your Santa, only scarier.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Charming.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>What's your Christmas like?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>My folks split my freshman year, so I spend the holidays racing between them. Two trees. two turkey dinners. two sets of presents to return for store credit. So normally I can deal, but this year mom decided to rent a condo at the beach. Which is like, what? Two hours away.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I do n't know. The beach can be sort of nice in the winter. Romantic.<\/dialogue>\n    <scene_description>She gazes out the window at night overtaking the landscape .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>So were you a Rehobeth beach family or Stone Harbor?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Stone Harbor.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>We always went to Rehobeth. Year in and year out. Jesus, I've never been more bored in my life. I was always so jealous of my friends who spent summers at the Jersey shore.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Me too.<\/dialogue>\n    <scene_description>She turns from the window to look at him , scowling .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>Stone Harbor is the Jersey shore.<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>( evasive . )<\/parenthetical>\n    <dialogue>Hm? Oh, yeah, I know. What I meant was -<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>You are n't from Delaware, are you?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Well, see, it's kind of complicated -<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Who are you?!<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I'm exactly who I said I was, am, it's just -<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>What the hell's going on here?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Nothing's going on -<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>WHAT THE HELL IS GOING ON HERE!?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Look, just calm down. I can explain -<\/dialogue>\n    <scene_description>HEADLIGHTS suddenly appear up ahead , blindingly bright .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What the hell?<\/dialogue>\n    <scene_description>She turns to look ahead , momentarily forgetting their fight as the oncoming headlights cross the median into their lane .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>You think he does n't see us?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>How can he not?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROUTE 606 - THAT MOMENT<\/stage_direction>\n    <scene_description>From a high angle overlooking the road we watch the two cars racing toward one another , headed on a collision course .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLDSMOBILE - AS BEFORE<\/stage_direction>\n    <scene_description>For the time being their fight has taken a back seat to the oncoming car playing chicken with them .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>Pull over and let this asshole by.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Over where? There's no shoulder.<\/dialogue>\n    <scene_description>He 's right . On the passenger side the road abuts a steep wooded hillside . Opposite that it drops off into a ravine . They are both too distracted by the ONCOMING HEADLIGHTS to notice the Christmas SONG that 's just come on the RADIO : Brenda Lee 's 1958 hit `` Rockin ' Around the Christmas Tree . ''<\/scene_description>\n    <character>BRENDA LEE<\/character>\n    <dialogue>Rockin' around, the Christmas tree, at the Christ - mas par - ty hop.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROUTE 606 - THAT MOMENT<\/stage_direction>\n    <scene_description>The distance between the SPEEDING CARS is closing rapidly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLDSMOBILE - AS BEFORE<\/stage_direction>\n    <scene_description>The kids faces go white in the glare of the oncoming lights .<\/scene_description>\n    <character>BRENDA LEE<\/character>\n    <dialogue>Mistletoe hung where you can see, Ev'ry couple tries to STOP. Rockin' around, the Christmas tree, have a happy hol - i - day. Later we'll have some pumpkin pie, and do some car - rol - ing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROUTE 606 - THAT MOMENT<\/stage_direction>\n    <scene_description>The OTHER CAR continues barrelling toward the OLDSMOBILE . The game of chicken fast approaching the point of no return .<\/scene_description>\n    <character>BRENDA LEE<\/character>\n    <dialogue>You will get a sen - ti - men - tal fee - ling when you hear. Voices singing `` Let's be jolly, DECK the halls with boughs of holly''.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLDSMOBILE - AS BEFORE<\/stage_direction>\n    <scene_description>Relief turns to dread as they realize the other car is n't slowing .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>He's not stopping!<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Hold on!<\/dialogue>\n    <scene_description>He jerks the wheel hard , sending the Oldsmobile fishtailing out of control . The OTHER CAR skids over a small bridge and drops out of sight . They spin out in the opposite direction . Skid off the road and SLAM into a snowbank with a bone - shuddering CRASH .<\/scene_description>\n    <character>BRENDA LEE<\/character>\n    <dialogue>Rockin' around, the Christmas tree, Have a happy hol - i - day. Everyone's dancing mer - ri - ly in the New. Old. Fash - ioned. Wa - a - ay!<\/dialogue>\n    <scene_description>6:23 P.M.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STRANDED OLDSMOBILE - NIGHT<\/stage_direction>\n    <scene_description>The Oldsmobile has ended up on the opposite roadside facing the wrong way , its driver 's side jammed into a snowbank . Snow boils in its headlights .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRANDED OLDSMOBILE - NIGHT<\/stage_direction>\n    <scene_description>The interior is dark . The girl has been thrown under the dash . It 's hard to tell in this light whether she 's still breathing . Finally she stirs , disoriented . She climbs back into her seat , piecing together where she is . It takes her a beat to remember him . She looks over slowly . He 's not moving , though thanks to his seatbelt he 's still upright behind the wheel . His head rests limply against the driver 's window , which now looks out on nothing but snowbank . A link of blood trickles down the glass . Dead ? She 's not taking any chances . Without a sound she slips into her shoes , coat . Gropes for her cellphone among the detritus at her feet . Suddenly he stirs , groaning . She freezes . The seconds ticking by on the DASHBOARD CLOCK . When he does n't wake , she resumes fumbling for her cell . Finds it . Then eases open the creaky passenger door . And launches herself into the frigid night .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STRANDED OLDSMOBILE \/ ROADSIDE - NIGHT<\/stage_direction>\n    <scene_description>She hurries down the road away from the car . Breath clouding in the frigid air . Punches in numbers on her cell phone . INSERT CELLPHONE SCREEN - No SIGNAL BARS . She 's starting to freak now . She hits the REDIAL button .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>please. please. please.<\/dialogue>\n    <scene_description>Suddenly , from behind -<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>What are you doing?<\/dialogue>\n    <scene_description>She screams , spins around . He 's standing right behind her , his face in silhouette .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>C - Calling 9 - 1 - 1. Or trying to.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Any luck?<\/dialogue>\n    <character>GIRL<\/character>\n    <parenthetical>( shakes head ` no ' . )<\/parenthetical>\n    <dialogue>Ca n't. I ca n't get a signal here.<\/dialogue>\n    <scene_description>He receives this news with a strange calm .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What about yours?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I do n't have a cell.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>How can you not have a cell?<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>( ignoring her . )<\/parenthetical>\n    <dialogue>How're you doing? You all right?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>I. yeah, I'm okay. Nothing broken. What about you?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I do n't know. Think I hit my head.<\/dialogue>\n    <scene_description>He puts his hand to the left side of his skull and pushes on it . Like someone testing a melon for ripeness . Come to think of it , his speech is a little wooden . She watches as he turns and takes a few aimless steps away .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What happened to the, uh, the guy?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Asshole who ran us off the road.<\/dialogue>\n    <scene_description>She 's completely forgotten all about the other vehicle until now . She turns to look , puzzled . There 's no sign of the other vehicle anywhere . They 're alone .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>I do n't know. I guess maybe he decided just to hit and run.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>So where are his tire tracks?<\/dialogue>\n    <scene_description>She looks , sees an unbroken expanse of fresh white snow .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>In case you have n't noticed, it's coming down pretty hard.<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>( points . )<\/parenthetical>\n    <dialogue>Yeah, but you can still see our tracks.<\/dialogue>\n    <scene_description>The mystery of the missing tracks seems to have penetrated his post - accident fog , bringing him back into sharper focus . She watches as he walks out in front of the Olds ' headlights to the middle of the road , where the other vehicles track 's should be .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What the hell?!<\/dialogue>\n    <scene_description>He walks back to the Olds and opens the passenger door -LRB- the only access into or out of the stranded car , thanks to the snowbank -RRB- . He begins searching the glove compartment for a flashlight . ANGLE ON HER Deliberating whether to seize this moment of distraction to make a break for it . She looks back down the long dark road . Looks back at him bent over rummaging in the Oldsmobile . Too risky . Curiosity getting the better of her , she walks out to the middle of the road to have a look for herself . No tracks . Just an expanse of fresh powder and a few of his footprints .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( to herself . )<\/parenthetical>\n    <dialogue>This does n't make any sense.<\/dialogue>\n    <scene_description>At that moment he emerges from the car with a flashlight . He spokes it , sweeps the strong beam over their surroundings . The left side of the road falls off into a darkness so deep even the flashlight 's beam ca n't penetrate it . A precipice . He cups his hand and calls out at the top of his lungs .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( calling . )<\/parenthetical>\n    <dialogue>HELLO!<\/dialogue>\n    <scene_description>She jumps at the sound of his voice , her nerves frazzled .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( calling . )<\/parenthetical>\n    <dialogue>ANYBODY OUT THERE!? ANYONE?! HEY!<\/dialogue>\n    <scene_description>His voice is swallowed by the dark . After the echoes subside the only sound in the hush is the SIZZLE of falling snow and a weird otherworldly HUM . He snaps off his flashlight , thrusts it into his coat pocket .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>What now?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I guess we see how bad we're stuck.<\/dialogue>\n    <scene_description>They trudge back to the car , boots crunching in the snow .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You steer, I'll push.<\/dialogue>\n    <scene_description>He holds the passenger door for her while she scrambles in , scooting over into the driver 's seat . He leaves the door open so they can communicate . He walks back to the rear of the stranded Oldsmobile . He 's pulling on gloves when something half - buried in the snow nearby catches his eye . He takes out the flashlight , shines it at the roadside . Little wooden crosses . Just two this time . Another sad shrine , to a different set of anonymous victims of Route 606 . Their proximity to the stranded Olds obviously unsettles him .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( calling . )<\/parenthetical>\n    <dialogue>Ready?<\/dialogue>\n    <scene_description>He bends with a little wince and braces his shoulder against the rear bumper .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( calling . )<\/parenthetical>\n    <dialogue>Ready!<\/dialogue>\n    <scene_description>The tail lights come on as she turns the ignition . He hears her crank the starter motor . Cranking . cranking . cranking . Finally turning over . She slips the Oldsmobile in gear , and he starts pushing . The rear tires spin , throwing slush ; but car wo n't budge .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( calling . )<\/parenthetical>\n    <dialogue>Give it more gas!<\/dialogue>\n    <scene_description>She floors it ; the tires SCREAMING . He puts everything he 's got into pushing , but it 's no use . Suddenly his face contorts in pain and he clutches his side . He drops out of view , disappearing in a cloud of red exhaust . A beat later he pulls himself up , pounds on the trunk .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Stop!<\/dialogue>\n    <scene_description>The tires stop spinning .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRANDED OLDSMOBILE - NIGHT<\/stage_direction>\n    <scene_description>She 's sitting in the driver 's seat of the idling car when she hears the crunch - crunch - crunch of his approaching footsteps . In that moment she makes a decision . Scrambles across the front seat , pulls the door shut hard .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. STRANDED OLDSMOBILE - THAT MOMENT<\/stage_direction>\n    <scene_description>He arrives at the passenger side door handle just as the power locks all go THUNK . He 's locked out .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Hey, open up.<\/dialogue>\n    <scene_description>He tugs at the handle a few times . Knocks on the window .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You wan na pop the locks?<\/dialogue>\n    <scene_description>When there 's no response from her he puts his lips to the half - inch gap at the top of the stuck window .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You gon na unlock the door or what?<\/dialogue>\n    <scene_description>She sees him cup his hands and peering in through the window . She keeps her eyes down , focuses on her shaking fingers as they frantically dial her cellphone . No signal .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Hey, c'mon, it's freezing out here!<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Better get used to it, asshole.<\/dialogue>\n    <scene_description>He rattles the door handle , starting to get panicked now .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>What the hell is wrong with you? What did I do?<\/dialogue>\n    <scene_description>But she 's in full - blown paranoid mode now , near hysterics .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>You drove us here, that's what you did! What the hell did you think you were doing!?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I thought I was driving you home.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>You're not driving me home because one, you do n't live near my home and two, this piece of shit is n't driving anywhere. Now what are we doing here? Why did you get off the highway?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I told you, this is a shortcut. Anyway, you were the one who said she was so bored on the highway. This used to be called ` Scenic 606' because there's an amazing view of the valley -<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>One, you've never been anywhere near here before so do n't pretend you knew it's a shortcut, and two, there's an amazing view of shit BECAUSE IT'S PITCH BLACK OUT!<\/dialogue>\n    <scene_description>He stands there as she freaks out .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Let me get this straight. You think I intentionally arranged for us get stranded out here?! It was an accident! You saw the other car. You think he was in on it, too?<\/dialogue>\n    <character>GIRL<\/character>\n    <parenthetical>( raving . )<\/parenthetical>\n    <dialogue>Maybe! Maybe he's like your Black Pete or something! Why the hell did you tell me that story anyway?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>You're crazy.<\/dialogue>\n    <character>GIRL<\/character>\n    <parenthetical>( lying . )<\/parenthetical>\n    <dialogue>Anyway, I've got news for you. I got through to a friend's voicemail while you were supposedly unconscious. I'm sure she's called the cops by now.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Would you listen to yourself? What kind of psycho do you think I am?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Exactly.<\/dialogue>\n    <scene_description>He straightens , exasperated , puts a hand to his injured head . She looks at him standing there , hugging himself against the sub - zero cold , his teeth chattering . He does n't look like an ax - murderer . She does n't know what to do . There 's a long beat . Finally , he throws up his hands in disgust , decides to go to Plan B.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>I'm gon na walk back to the gas station for help. You've got the heater and the radio, so you should be all right here. Though I really think you should consider coming with me.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>I bet you do.<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>( pissed . )<\/parenthetical>\n    <dialogue>Fine. Whatever. If you feel a draft and you want to patch this.<\/dialogue>\n    <scene_description>Sticking his fingertips through the half - inch gap at the top of the stuck passenger side window .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I keep duct tape in the back.<\/dialogue>\n    <character>GIRL<\/character>\n    <parenthetical>( sarcastic . )<\/parenthetical>\n    <dialogue>I bet you do.<\/dialogue>\n    <scene_description>He looks in at her one last time , exits . She listens to the crunch of his footsteps until she ca n't hear them anymore . Suddenly there 's a loud BANG against the passenger side window . She jumps .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>BUT IT'S MY CAR!<\/dialogue>\n    <scene_description>He goes crazy on the stranded Olds : punching the roof , jerking the door handle , kicking the door , screaming at her the whole time . She cowers inside , scared to death . Finally he gives up , and with a final BANG to the roof , exits . He turns and heads back down the road . We watch through the rear window as he trudges robotically away , his boots crunch - crunch - crunching in the snow . He stops . Leans his weight against a tree . Looks back at the car . Whatever it is he 's doing , he 's clearly not walking to the gas station . He straightens , and continues on until he 's out of sight .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STRANDED OLDSMOBILE \/ ROADSIDE - NIGHT<\/stage_direction>\n    <scene_description>The stranded Oldsmobile sits on the roadside , engine running , hood and windshield covered in white . The interior lights are on , giving it an enchanted look , like a cottage in a Grimm 's fairytale .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRANDED OLDSMOBILE - NIGHT<\/stage_direction>\n    <scene_description>She 's in the back seat ransacking his suitcase and other possessions , looking for the duct tape . Despite the heater it 's cold enough in the car -LRB- thanks to the gap in the window -RRB- to see her breath . A PUBLIC SERVICE ANNOUNCEMENT plays on the car 's radio .<\/scene_description>\n    <character>RADIO PSA<\/character>\n    <dialogue>The National Weather Service has issued a Winter Storm Warning for the entire Eastern Seaboard.<\/dialogue>\n    <scene_description>Boxer shorts . Socks . Box of condoms . A copy of the Tibetan Book of the Dead . A cheap Radio Shack TELEPHONE wrapped in its cord . A CROW BAR , which she tosses up to the front seat .<\/scene_description>\n    <character>RADIO PSA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Carbon County residents can expect snow accumulations of four to six inches.<\/dialogue>\n    <scene_description>Suddenly we see - A BLUR OF MOVEMENT outside the car 's foggy REAR WINDOW . But she 's too busy searching through the junk in the back seat to notice . Finally she finds what she 's looking for : silver DUCT TAPE . Also a PAIR OF SCISSORS . She holds the scissors like a dagger , clearly thinking they could come in useful if she needs to defend herself . She climbs up front , rips off a three - foot length of tape . Again , in the b.g. - MORE MOVEMENT outside the car . But she 's too busy sealing the passenger 's side window against the frigid draft to notice that someone 's outside .<\/scene_description>\n    <character>RADIO PSA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>State and local officials are urging residents to remain indoors, as wind chills plunge to fifteen below overnight.<\/dialogue>\n    <scene_description>Finally - She glimpses MOVEMENT outside the passenger window . She gasps , ducking out of sight below the car 's dashboard . She does n't move , listening , her eyes bright with fear . After a long beat she risks a peek over the steering wheel . The windshield is fogged , so she wipes a peephole in the condensate . It 's too dark to see much beyond the car 's hood . She reaches shaking fingers toward the steering column . Flicks on the headlights . A STRANGER is walking away down the middle of the dark road . She screams , reaches instinctively to check the power locks . The stranger , a black man dressed in a dirty suit , walks with hunched shoulders . Snow swirling around him in the darkness . Who the hell takes a stroll in the middle of a snowstorm ? Over her initial shock now , she reaches for the door handle .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROUTE 606 - ROADSIDE - NIGHT<\/stage_direction>\n    <scene_description>She gets out of the car , clutching the SCISSORS in both hands like a dagger . She stands behind the protection of the open car door and calls out to the stranger moving down the middle of the snowy road a dozen yards ahead . There 's a weird HUMMING noise in the air she ca n't place .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>No reaction from the stranger .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Hello? Do you live around here?<\/dialogue>\n    <scene_description>Again , nothing . Maybe he 's deaf ? She moves out from behind the safety of the car door and starts after the stranger , keeping her distance as she calls :<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>We had an accident. My friend went for help. He'll be back any second.<\/dialogue>\n    <scene_description>The stranger 's dapper suit is more than dishevelled . It 's soaking wet , caked in motor oil or some other dark slime .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Kinda crappy night for a walk, do n't you think?<\/dialogue>\n    <scene_description>And there 's something definitely `` off about his shuffling . It 's like he 's crippled , or injured . In fact he seems to be CRYING . -LRB- Or is it moaning ? -RRB-<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Hey, wait!<\/dialogue>\n    <scene_description>But the stranger just keeps shuffling toward the shoulder of the road , headed in the direction of the DARK STAND OF TREES beyond . Soon he moves beyond the reach of the headlights and disappears into the gloom .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What the hell -!?<\/dialogue>\n    <scene_description>Spooked , she begins to back toward the stranded Oldsmobile . Backs into -<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>She SCREAMS .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Jesus! Calm down. It's just me.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Stay away from me!<\/dialogue>\n    <scene_description>She brandishes the SCISSORS . He puts up two hands defensively .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Whoa! Take it easy. What's wrong?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>You! Everything! The guy -<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>What guy?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>I do n't know, it was weird. I saw some guy walking down the road.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Where did he go?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>I do n't know. Into the woods.<\/dialogue>\n    <scene_description>Her eyes keep cutting back and forth between him and the woods where the stranger disappeared , as if not sure which is the greater threat .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Look. It's freezing out here. Let's just get in the car and you can tell me what happened.<\/dialogue>\n    <character>GIRL<\/character>\n    <parenthetical>( paranoid . )<\/parenthetical>\n    <dialogue>What are you doing back so soon? What about hiking to the gas station?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>It was closed. I was going to leave a note, but I did n't. You know. Have anything to write with.<\/dialogue>\n    <scene_description>She clutches the scissors tighter , not believing a word .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>But those places are supposed to stay open 24\/7! Why was n't it open?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>How the hell should I know?! Independent operator. Look, can we continue this conversation in the car, ` cause I'm freezing my balls off standing out here.<\/dialogue>\n    <character>GIRL<\/character>\n    <parenthetical>( shrieks . )<\/parenthetical>\n    <dialogue>I'm not getting into the car with you, you psycho!<\/dialogue>\n    <scene_description>He closes his eyes and shakes his head , beyond frustrated .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Fine. Whatever. I'm getting in. You're welcome to join me.<\/dialogue>\n    <scene_description>He turns and trudges back to the Oldsmobile , climbs in , and pulls the door shut after him . Leaving her there in the snowy road , clutching the scissors , her teeth chattering . She stands there , shivering , looking very small and alone . HOLD on her as she weighs her options : stay out here and freeze . Or risk seeking shelter with a stalker . Not much of a choice .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRANDED OLDSMOBILE - MOMENTS LATER<\/stage_direction>\n    <scene_description>He looks over as the door wrenches open and she climbs in . She pulls the door shut behind her , then huddles against it . Eyeing him warily . He starts to reach toward her and she brandishes the scissors -<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Relax.<\/dialogue>\n    <scene_description>- and switches off the overhead interior lights , explaining :<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>We need to conserve the battery.<\/dialogue>\n    <scene_description>With the interior light off the car fills with an otherwordly blue glow reflected off the snow . She pulls her knees up as if trying to make herself as small as she can , to position herself as far away from him as is humanly possible on a bench seat . Her eyes cut to the DASHBOARD CLOCK . She frowns .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>That's not right. The clock.<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>( checks watch . )<\/parenthetical>\n    <dialogue>Huh? No, it's not. It should read.<\/dialogue>\n    <scene_description>He frowns , looking down at his watch . He holds it to his ear .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>My watch stopped. Oh well. Guess we'll just have to rely on my precisely calibrated body clock.<\/dialogue>\n    <scene_description>He tosses his useless watch over his shoulder into the back seat . Suddenly she notices a trickle of blood coming from his head .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>You're bleeding.<\/dialogue>\n    <scene_description>He touches two fingers to the left side of his head . They come away bloody . As he lifts his watch cap we see the left side of his head is matted with frozen blood , now beginning to melt . The collar of his coat is soaked with it .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>It's nothing.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>It does n't look like nothing.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Scalp wounds bleed a lot. Head wounds in general. That's why, if you're ever in a bar fight, the thing to do is pick up a bottle and smash the other guy across the bridge of his nose. It'll make his eyes fill with blood and snot, and buy you enough time to run away.<\/dialogue>\n    <character>GIRL<\/character>\n    <parenthetical>( softening , amused . )<\/parenthetical>\n    <dialogue>That's really useful, thanks.<\/dialogue>\n    <scene_description>A tense silence fills the car . He closes his eyes and leans his head back , as if trying to catch a few Z 's .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>So where are you from, really?<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>( eyes closed . )<\/parenthetical>\n    <dialogue>Place called Glens Falls.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>That's not in Delaware.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>That's, like, in the complete opposite direction!<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>That's like twenty minutes from school!<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>All right, all right, so I lied. Obviously.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Why?<\/dialogue>\n    <scene_description>Eyes still closed , he answers in a flat uninflected voice .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>I just thought you seemed cool. I do n't have a line or a ` game' or whatever the hell it's called. So when I saw a chance to get you alone for six uninterrupted hours, I took it.<\/dialogue>\n    <scene_description>She ponders this for a beat , one piece still not clicking .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>But how did you know where I lived?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Asked around.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Which explains how you found out I was from Delaware. But not how you knew I needed a ride home. I mean, I always fly. How could you possibly know that for, like the first time in my college career, I was planning on going Greyhound -<\/dialogue>\n    <scene_description>Just then her eyes go wide , as it suddenly dawns on her . A SERIES OF QUICK CUTS revisits events from earlier that day . - The text message , `` y do n't u check the ride board ? '' - Her looking up , smiling . - Sitting behind her , reading the message : OUR GUY . - Who bolts from his seat the instant class is dismissed . - Who turns out to be the one who jostled her on his way out . - He races across the empty quad , scribbling on the run . - Tears the improvised notice out of his spiral notebook . - Slaps it up on the RIDE BOARD just in the nick of time . - As she enters and sees : `` NE1 Need a ride 2 Delaware 12\/23 ? ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRANDED OLDSMOBILE - AS BEFORE<\/stage_direction>\n    <scene_description>She looks at him , the pieces all finally falling into place . He makes no effort to explain . Does n't even open his eyes .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( bitter . )<\/parenthetical>\n    <dialogue>Forgive me for attempting a romantic gesture.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Romantic? Try stalkerish.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Not if things worked out between us. I would've told you everything eventually, and then it would n't be stalkerish. It would just be this sweet funny story we'd have.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>We?!<\/dialogue>\n    <scene_description>He sits up sharply , temper boiling over , glaring at her .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Okay, you've made your point! I'm a creep who gets off on chauffeuring women under false pretenses. Can we drop this already?<\/dialogue>\n    <parenthetical>( changing subject . )<\/parenthetical>\n    <dialogue>Christ. I'm starving. You hungry?<\/dialogue>\n    <scene_description>He leans over the seatback , begins rummaging in the back .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Did you see a bag of groceries in the trunk?<\/dialogue>\n    <scene_description>At mention of groceries she temporarily drops the topic of the gas station . Remembers :<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>No. Oh, shit. I think I might've left it in the parking lot.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>What?!<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>I'm sorry. It was an accident -<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Shit! I spent sixty bucks on this gourmet crap you like! Saint Andre's cheese and Carr's crackers and those stupid little French pickles, I forget what they're called -<\/dialogue>\n    <character>GIRL<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>Cornichons. I love cornichons.<\/dialogue>\n    <scene_description>He sighs , slumps back behind the steering wheel , defeated .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>I know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROUTE 606 - ROADSIDE - NIGHT<\/stage_direction>\n    <scene_description>The wind blows . In between gusts it 's quiet , except for the strange HUM .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRANDED OLDSMOBILE - NIGHT<\/stage_direction>\n    <scene_description>She 's still huddled up front , still holding her scissors . He 's in the back seat , scouring the car for anything edible , scrounging Tic Tacs , stale pretzel nibs , a candy bar , etc. .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>I think I remember losing pack of Big Red down the back seat cushions last week.<\/dialogue>\n    <scene_description>He thrusts his hand between the seat cushions like a scuba diver feeling for lobster under a coral reef . His hand fumbles in the dark space below the seat cushions , among the seatbelts , lost nickels and dimes , lint . BACK TO SCENE Suddenly his eyes go wide as something lurking under the seats seizes his hand and jerks him in hard . She GASPS . His face contorts in agony . Then changes to a smile , as he pulls his hand free , unhurt , holding a stick of gum .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Kidding.<\/dialogue>\n    <scene_description>She looks at him in mute fury and disbelief . He shrugs , unwraps a stick of Big Red and pops it into his mouth .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>Asshole.<\/dialogue>\n    <scene_description>Suddenly his hand shoots out and seizes her wrist holding the scissors . Her eyes go wide in terror and she starts to resist , but his grip is too strong .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( gritted teeth . )<\/parenthetical>\n    <dialogue>Let go, goddamnit.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Give them to me!<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>With his free hand he reaches over and wrenches the scissors away from her , his eyes flashing . She gives a little terrified whimper as he pulls her close , brandishes the scissors .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>I need these.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRANDED OLDSMOBILE - LATER<\/stage_direction>\n    <scene_description>With the blade of the open scissors he divides a stale candy bar , divvying it up . He closes the scissors . Serves up the two halves of candy bar on napkins with a side of stale pretzel nibs .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>I still ca n't believe you left all our food in a stupid parking lot.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Look, I'm sorry, okay? I'll write you a check for sixty bucks if it will make you get off my case. I do n't know what else I can say.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Let's just eat.<\/dialogue>\n    <scene_description>They eat in silence , each chewing the unappetizing `` dinner . ''<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>Story of my life. Never fails.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>You. Girls. Women. You seem cool at first.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>What the hell are you talking about?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>You should all come with a warning, like car mirrors : `` Objects in belly shirts are flakier than they appear.''<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>You want to talk about fake? How about guys who pretend to be from Delaware to meet girls?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>How about we just stop talking altogether.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>That's perfect. Because now that I'm not some Nietzche - spouting sexbot, suddenly I'm not worth knowing. And who's fault is that?<\/dialogue>\n    <scene_description>He does n't answer , only withdraws into himself , sulking . All of a sudden the Oldsmobile gives a SHUDDER . And then the engine DIES .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STRANDED OLDSMOBILE \/ ROADSIDE - NIGHT<\/stage_direction>\n    <scene_description>They leap out to investigate , dropping down on all fours to shine the flashlight under the chassis . Under the car . The beam illuminates a yellow crater of melted snow beneath the car 's undercarriage . BACK TO SCENE She reaches under to scoop up some of the yellow snow . Retrieves it so she can hold it under her nose and sniff .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Well?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Gas.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Oh shit.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Fuel tank must've been ruptured in the accident.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Can you fix it?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Not unless you have a welding rig in all that shit of yours. And even if you did, it would n't matter. We're out of gas.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>But we still have the battery, right?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>As long as we use it sparingly, it should last the night. Question is, will we?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <scene_description>She gives him a sober look , as the storm rages around them .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>No engine. no heat.<\/dialogue>\n    <scene_description>He looks at her , a look of grim determination on his face . He marches to the car , pops the trunk . Retrieves her suitcase .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRANDED OLDSMOBILE - NIGHT<\/stage_direction>\n    <scene_description>He dumps her suitcase in front . She climbs in after it . Slams the door .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Layers.<\/dialogue>\n    <scene_description>He rolls into the back , fishes his suitcase out of the mess .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Only thing that's gon na get us to sun - up. So put aside fashion sense and start layering everything you brought.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>But I did n't bring anything.<\/dialogue>\n    <scene_description>He raises an eyebrow , leans over the front seat to unzip her suitcase and see for himself . Christmas gifts , skimpy tees , panties and bras , a bikini .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Ah, Jesus.<\/dialogue>\n    <character>GIRL<\/character>\n    <parenthetical>( defensive . )<\/parenthetical>\n    <dialogue>I'm sorry, but who could prepare for something like this?! I've got a complete winter wardrobe, it's just in Delaware. And no, that does n't make me a flake!<\/dialogue>\n    <scene_description>He unzips his suitcase . Starts pulling out Ragg socks , long - sleeve pullovers , etc. . He shoves a ball of clothes into her hands without a word .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRANDED OLDSMOBILE - NIGHT<\/stage_direction>\n    <scene_description>The kids have retreated to the front - and back seats for privacy while they change . Not an easy proposition in the cramped quarters . She strips down to bra and panties as demurely as possible . Puts on his insulated underwear and the rest of their things . He slips on his woefully inadequate shirts and pants . It 's obvious he gave the warmest stuff to her . Also that he took the backseat because it 's more cramped than the front . Once they 're finished dressing he reaches up , switches off the interior light . They lie in the blue darkness for a few moments of silence , watching their breath plume in the cold air . -LSB- Note : from this point on , their breath will always be visible in the car . -RSB- He hears her sigh , restless .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>What's the matter?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>I'm freezing. I ca n't feel my toes.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Me neither.<\/dialogue>\n    <scene_description>Nothing much they can do about it . They fall silent again .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You know, there is a better way for two people to conserve body heat -<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Dream on.<\/dialogue>\n    <scene_description>But we see her smiling a little in the dark front seat . They lie in silence for another beat as she tries every position possible to get comfortable . Finally she sits up .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Got ta pee.<\/dialogue>\n    <scene_description>She starts to climb over into the cramped front seat , intending to go outside . He winces when she puts a hand on his chest to steady herself as she climbs over him .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( testy . )<\/parenthetical>\n    <dialogue>Why did n't you go before, when we were outside?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Because it's freezing out. We're talking about an arctic air mass out of Canada.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>It's still freezing out -<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Yeah, but now I've got to go. Promise not to look.<\/dialogue>\n    <scene_description>She pops the door and exits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STRANDED OLDSMOBILE \/ ROADSIDE - NIGHT<\/stage_direction>\n    <scene_description>She climbs out into the bitter cold , hunched against the howling wind , and moves off as far as she dares from the car . She fumbles with the buttons and zippers of her multiple layers , turns her back to the car , squats to pee . Her teeth chatter as she does her business , one wary eye peeled to catch the guy peeking . Suddenly , out of the gloom appears - A DARK FIGURE , moving by very near her . She GASPS . Tumbles back onto her ass . As she 's struggling to pull up her pants - MORE DARK FIGURES appear , moving in the same direction . As the figures enter the woods their leader turns so she glimpses his face : elderly and unremarkable at first glance , then for an instant CHANGING into a twisted ashen deathmask . Her SCREAM brings our guy BOLTING out of the car .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>What?! What happened?!<\/dialogue>\n    <scene_description>But it all happened so fast she does n't believe her eyes . She gestures at the procession of DARK FIGURES disappearing ahead .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( still in shock . )<\/parenthetical>\n    <dialogue>- Did you see? - They were right here! -<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Why did n't you stop them?! Maybe they have a phone!<\/dialogue>\n    <scene_description>Our guy ducks back into the car , retrieves a flashlight from the glove compartment . He eases the door shut , carefully so it does n't latch and accidentally lock them out . The he starts off running after the figures . Scared as she is , she decides to follow rather than remain at the car by herself .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROUTE 606 - FURTHER DOWN ROAD \/ TOP OF A RAVINE - NIGHT<\/stage_direction>\n    <scene_description>The two kids arrive at the place on the road - top of a ravine disappearing thirty feet below - where the dark figures seemed to be headed . Only to find NO ONE THERE .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>Where'd they go?!<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>There!<\/dialogue>\n    <scene_description>She looks where he 's pointing with the flashlight - On the wooded slope on the opposite slope of the ravine are SEVERAL TALL OLD MEN IN DARK COATS , dispersing through the woods . As if whatever somber occasion that brought them to the ravine has ended .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( calling . )<\/parenthetical>\n    <dialogue>Hey! Wait! We need help here!<\/dialogue>\n    <scene_description>Climbing down into the ravine seems too treacherous , so the kids are forced to backtrack to a place several yards away where they can follow the DARK FIGURES into the :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - NIGHT<\/stage_direction>\n    <scene_description>They follow the bobbing beam of the flashlight through the trees , in pursuit of the OLD MAN in black coat and fedora . Our guy falls behind , winded .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Got ta - just a sec - catch my -<\/dialogue>\n    <character>GIRL<\/character>\n    <parenthetical>( still unnerved . )<\/parenthetical>\n    <dialogue>Maybe we should go back to the car.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>No! There must be a house or something. Keep going. I'll catch up.<\/dialogue>\n    <character>GIRL<\/character>\n    <parenthetical>( reluctantly . )<\/parenthetical>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>She trudges on ahead , her footsteps growing FAINTER , finally fading entirely . He 's alone now . He leans against a tree to catch his breath , wincing in pain . For an instant it seems like he 's going to be sick . But then he just hocks up phlegm and spits into the pure white snow . Blood . Though still winded , he pushes on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLTOP - NIGHT<\/stage_direction>\n    <scene_description>A few minutes later he trudges into view . Looks around . No sign of our girl .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Hello? Hello?<\/dialogue>\n    <scene_description>He arrives at the top of the hill . Silhouetted against the night sky . Treeless . His flashlight finds the few vertical objects still standing . A RUINED BUILDING Windowless and long - abandoned , its ceiling and walls caved in around a large stone chimney . He crunches inside and examines the black maw of the large stone fireplace , now stuffed with trash and dead leaves . His flashlight beam finds a SMALL IRON DOOR built into the side of the chimney . A FIREBOX . He kneels in the snow and tugs the little iron door open . Gingerly slips his arm inside the firebox . Retrieves a bunch of OLD NEWSPAPERS . He stuffs them inside the front of his jacket . Continues rummaging around in the firebox . As he rises he winces in pain , one hand going to his side . He takes slow breaths until the pain subsides . He turns in a slow circle . His flashlight sweeps over the interior of the abandoned ruins , the beam picking out what look like branches - HUMAN HANDS frozen into claws , reaching from . A FROZEN BODY . It 's lying on the bare springs of a metal bedframe : teeth clenched in a terrible rictus , icicles dripping from nose , clawlike fingers , eyes . He 's so startled he nearly drops the flashlight . The wayward light finding ANOTHER FROZEN CORPSE in a nearby bed mere feet away : another rictus grimace , clawlike fingers seeming to reach for him . And then another . And another . All OLD MEN . Frozen in their death throes , like the bodies from Pompeii . ONE OF THE BEDS is EMPTY . Our guy sweeps the flashlight beam to the side and finds the bed 's occupant : frozen sitting upright in an old wooden wheelchair . Eye to eye with him . He reels in horror , trips , LOSES THE FLASHLIGHT as he goes sprawling . Then recovers , snatching the flashlight up again and sweeping it back in the direction of the frozen bodies - And sees NOTHING : No beds . No old men . Just his footprints in the snow .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STRANDED OLDSMOBILE \/ ROADSIDE - THAT MOMENT<\/stage_direction>\n    <scene_description>Our girl emerges from the trees , having decided to give up the chase and return to the safety of the car . Just as she 's reaching for the door handle she GASPS - As a FIGURE suddenly appears out of the darkness . It 's the black STRANGER from earlier , shuffling and mumbling . This time he 's close enough for her to make out some of the words he 's muttering :<\/scene_description>\n    <character>STRANGER<\/character>\n    <dialogue>please, officer, please do n't.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Wait!<\/dialogue>\n    <scene_description>Determined not to let him vanish again , she takes off in pursuit , coming alongside him and keeping pace as he shuffles down the middle of the road .<\/scene_description>\n    <character>STRANGER<\/character>\n    <dialogue>do n't put me in the river.<\/dialogue>\n    <scene_description>Suddenly she glances down , sees why he 's shuffling so oddly . His ankles above his sodden dress shoes are bound with BALING WIRE , as are his wrists .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( shocked . )<\/parenthetical>\n    <dialogue>Oh my god! Who did this to you?!<\/dialogue>\n    <character>STRANGER<\/character>\n    <dialogue>please, officer, just take the booze and let me go.<\/dialogue>\n    <scene_description>She reaches toward him . The instant her hand nears him the wind HOWLS DEAFENINGLY . She experiences a sudden powerful JOLT , almost as if she 's grabbed a live wire . only instead of electric heat she feels a terrible otherwordly cold . Frostbite . The jolt stuns the stranger out of his daze , and for the first time he becomes aware of her . He raises his frightened eyes to her slowly , and in doing so reveals his face . A scream builds in her throat at sight of him . The stranger 's face is bloodless , bloated , swollen with rot . A sludgy gargling noise comes from his throat and his mouth moves , as if he 's trying to speak . But instead of words emerging , his throat suddenly bulges . Something 's in there , fighting its way up his esophagus . She watches in horror as it emerges , blind and wriggling like a blood - fattened leech . Forcing its way out through his lips to land at his feet with a wet PLOP . It lies there writhing in the fresh snow . A river eel . She SCREAMS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - THAT MOMENT<\/stage_direction>\n    <scene_description>POV of our guy running blindly through the woods , FLASHLIGHT BEAM throwing weird bouncing shadows across the trees , boots CRUNCHING in the snow , sound of his GASPING BREATHS . He stops , wracked with pain , and doubles over with hands on knees to catch his breath . In the silence he hears her SCREAM coming from ahead . He stands , and though still winded , starts running again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STRANDED OLDSMOBILE \/ ROADSIDE - NIGHT<\/stage_direction>\n    <scene_description>Our guy emerges from the woods still carrying the newspapers he found in time to find our girl white with shock and SCREAMING . He grabs her by the shoulders , shakes her .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>It's okay! You're okay! It's okay!<\/dialogue>\n    <scene_description>Her screams give way to hyperventilating sobs . *<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue \/>\n    <scene_description>* Where were you ? *<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue \/>\n    <scene_description>* I was looking for those guys . I * did n't see anyone - * . -LRB- hesitating at the memory . -RRB- * - there 's nobody up there . What 's * wrong , what 's wrong ? Did you see * someone ?<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue \/>\n    <scene_description>* I . there was another guy . * She starts to tell him , then stops , not sure if she believes * it herself . * Suddenly he looks down , notices her blackened mitten on her right hand . The palm is blistered and raw . He takes her hand gingerly , examines it . She winces in pain . *<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>What happened to you!? This looks like. oh jesus. like frostbite!<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>I tried to. touch him. it burns.<\/dialogue>\n    <scene_description>He raises his eyes from her frostbite , looks at the dark * silent stand of dense woods surrounding them . They exchange * a look of knowing concern . *<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue \/>\n    <scene_description>* Let 's get back in the car . They start back in the direction of the stranded Oldsmobile . Pan down to the road , where something moves weakly under the fresh powdering of snow . The RIVER EEL , in its death throes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRANDED OLDSMOBILE - LATER<\/stage_direction>\n    <scene_description>They climb back inside . He pulls the old newspapers out from inside his jacket , tosses them on the dashboard . She pulls the passenger door shut . The duct tape has come loose , allowing a cold draft in through the cracked window . She notices the NEWSPAPERS on the dash , grabs them .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>Where'd these come from?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>There's the ruins of an old house or something back in the woods.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Oh. Give me the duct tape.<\/dialogue>\n    <scene_description>He hands it to her , and she starts using the tape and old newspapers to seal out the draft . When she 's finished , he starts to climb over into the back .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Wait.<\/dialogue>\n    <scene_description>She looks at him , too embarrassed to ask him to hold her . It takes him a beat to understand . Then he crawls over to her , and they spoon together in the front seat , finding their best fit . Any awkwardness quickly passes . They lie there , too frightened to sleep . 11:17 P.M.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRANDED OLDSMOBILE - NIGHT<\/stage_direction>\n    <scene_description>Our kids lie awake , him spooning her , listening to the RADIO quietly playing Christmas music : -LRB- segu\u00e9 into Brenda Lee 's `` Rockin ' Around the Christmas Tree . '' -RRB-<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Are you awake?<\/dialogue>\n    <character>GIRL<\/character>\n    <parenthetical>( teeth chattering . )<\/parenthetical>\n    <dialogue>Uh - huh. D - Do n't want to sleep.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Because I'm afraid I wo n't wake up. That's what they say happens. When you freeze to death. It's like going to sleep.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>There are worse ways to go.<\/dialogue>\n    <scene_description>KNOCK KNOCK KNOCK - Someone is outside , knocking on the Oldsmobile 's window . They both jump , startled . He glances up into the rearview mirror , sees HEADLIGHTS behind them and a RED FLASHING LIGHT .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>A cop!<\/dialogue>\n    <scene_description>She cranks down the icy passenger side window , revealing the silhouette of a HIGHWAY PATROLMAN standing just outside : 40s , wearing a trim - fitting uniform and a stiff - brimmed trooper 's hat .<\/scene_description>\n    <character>HIGHWAY PATROLMAN<\/character>\n    <dialogue>Everything all right in there?<\/dialogue>\n    <scene_description>The kids speak over one another in their relief to see him .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>Thank God! You do n't know how glad we are to see you.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>you wo n't believe what's been happening.<\/dialogue>\n    <scene_description>The cop listens without comment , shining his flashlight over the car 's interior .<\/scene_description>\n    <character>HIGHWAY PATROLMAN<\/character>\n    <dialogue>Having car trouble, huh?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Someone ran us off the road.<\/dialogue>\n    <scene_description>He shines the flashlight directly in our girl 's eyes .<\/scene_description>\n    <character>HIGHWAY PATROLMAN<\/character>\n    <dialogue>There's no parking here.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>What are you talking about? We're not parking here. Did n't you hear what she said? Someone ran us off -<\/dialogue>\n    <character>HIGHWAY PATROLMAN<\/character>\n    <dialogue>Of course I might be willing to let you off with a warning this time. if we can come to some sort of arrangement.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>What are you talking ab -<\/dialogue>\n    <scene_description>The girl , quicker to catch on than the guy , puts a hand on his arm .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( whispers . )<\/parenthetical>\n    <dialogue>It's a shake - down. He's probably partners with the guy who ran us off the road. Would n't be surprised if he has a deal with the tow guy, too.<\/dialogue>\n    <scene_description>He turns to her , says in an angry whisper -<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>You think this whole thing was a scam? Jesus, he could've killed us!<\/dialogue>\n    <scene_description>But she 's already digging cash out of her purse .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( fierce whisper . )<\/parenthetical>\n    <dialogue>How much cash do you have on you?<\/dialogue>\n    <scene_description>He looks at her in disbelief . Sees that she 's serious . He digs out his wallet , starts to climb over her to exit . She stops him .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>How many speeding tickets have you sweet - talked your way out of?<\/dialogue>\n    <scene_description>He concedes her point silently . She plucks the money from his hand . Opens the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STRANDED OLDSMOBILE \/ ROADSIDE - NIGHT<\/stage_direction>\n    <scene_description>She exits the stranded car into the frigid cold . The cop waits , facing away , in the spotlight - like glare of his IDLING PATROL CAR 's headlights . She walks back toward him , finds him mopping the back of his neck with a handkerchief .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>This is all we have.<\/dialogue>\n    <character>HIGHWAY PATROLMAN<\/character>\n    <dialogue>Some weather we're having.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Yeah, it's really coming down.<\/dialogue>\n    <parenthetical>( indicating the money . )<\/parenthetical>\n    <dialogue>So what do you say? How ` bout a little Christmas spirit here?<\/dialogue>\n    <character>HIGHWAY PATROLMAN<\/character>\n    <parenthetical>( still facing away . )<\/parenthetical>\n    <dialogue>You know, this is one bad stretch of road. All kinds of trouble going on up here : Kids drag racing. Niggers hauling booze across the state lines. Lady drivers breaking down, no - one ever hears from them again.<\/dialogue>\n    <scene_description>Her bravado begins to flag . This is n't the kind of police officer she 's used to dealing with . She glances worriedly back in the direction of the Olds .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>We just want to get out of here, so if you could just -<\/dialogue>\n    <scene_description>She holds out the money , but he ignores it .<\/scene_description>\n    <character>HIGHWAY PATROLMAN<\/character>\n    <dialogue>Let me tell you, I've seen a lot of fatalities on this road.<\/dialogue>\n    <scene_description>He takes off his hat so he can mop his brow . As he turns , she gets a first good look at his face : handsome but hard , with cruel snake charmer 's eyes looking back at her .<\/scene_description>\n    <character>HIGHWAY PATROLMAN<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You're lucky I came along when I did. So why do n't we get in my car.<\/dialogue>\n    <scene_description>She 's scared now . She looks past him to where the HIGHWAY PATROL car sits idling in a red plume of exhaust fumes .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( backing away . )<\/parenthetical>\n    <dialogue>I think maybe I just want to go back -<\/dialogue>\n    <character>HIGHWAY PATROLMAN<\/character>\n    <dialogue>YOU'RE NOT GOING ANYWHERE!<\/dialogue>\n    <scene_description>She startles as if slapped , too horrified to parse his meaning . She continues backing away until she 's backed up against the trunk of the Olds .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>The cop is advancing toward her when suddenly he catches sight of something high on the hillside behind her that makes him stop . She glances over her shoulder to see what he 's looking at : A LIGHT on the hilltop , where the burned - out ruins stand . And weirder still , there 's a FIGURE in silhouette standing nearby . Someone watching . The cop darkens , enraged by this unwanted audience . His face contorts , fury building in him until he trembles with it . He rests his hand on the butt of his service revolver , says to her in a low urgent voice :<\/scene_description>\n    <character>HIGHWAY PATROLMAN<\/character>\n    <dialogue>Get in the damn patrol car.<\/dialogue>\n    <scene_description>She starts walking toward the parked patrol car ahead of him . The highway patrolman 's boots CRUNCHING behind her . The patrol car 's HEADLIGHTS are blinding . She moves towards them , squinting , as if moving down a tunnel of light .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( terrified ; beginning to cry . )<\/parenthetical>\n    <dialogue>Please. just let us go.<\/dialogue>\n    <character>HIGHWAY PATROLMAN<\/character>\n    <dialogue>Hurry up. we've got an audience.<\/dialogue>\n    <character>GIRL<\/character>\n    <parenthetical>( begging . )<\/parenthetical>\n    <dialogue>But we did n't do anything! Please! We wo n't tell anybody if you let us -<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Get away from her you bastard!<\/dialogue>\n    <scene_description>Suddenly the guy appears brandishing a CROWBAR . He swings it in a lethal arc toward the patrolman 's head . The cop 's head crumples inward . The cop 's expression of FURY suddenly STUTTERS , like film slipping in the projector - As two worlds that should never intersect , do , violently - For an instant , the cop 's face appears . charred . Like a human face projected onto a scorched and melting balloon . The image flickers - And on an ear - splitting HOWL we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRANDED OLDSMOBILE - NIGHT<\/stage_direction>\n    <scene_description>Suddenly , jarringly , the kids are seated BACK INSIDE THE CAR . As if someone hit RESET .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( stunned . )<\/parenthetical>\n    <dialogue>What just. out there?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>GIRL<\/character>\n    <parenthetical>( unsure . )<\/parenthetical>\n    <dialogue>But it did happen, right? Or not.<\/dialogue>\n    <scene_description>Our guy winces in pain . TILT DOWN to reveal : HIS HANDS Frostbitten , still clutching the crowbar . She tries to take it out of his bloody , blackened hands and he GASPS in agony .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Oh Jesus. OK. Hold on.<\/dialogue>\n    <scene_description>She pours water from a plastic bottle over his palms to try and break the seal between the fused skin and metal .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>OK, hold on, this is going to hurt.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Do it.<\/dialogue>\n    <scene_description>She fights her own gag reflex as she pulls the crowbar free . It comes away with several long black strips of dead skin still attached . His palms are bloody pulps . He fights to hold himself together as she ministers to him . The pain is so bad it brings tears to his eyes . His teeth chatter ; he 's teetering on the edge of shock .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>How bad?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Frostbite, second and third - degree.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>How do you know? You take a first aid course or something?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Ski camp, seventh grade.<\/dialogue>\n    <parenthetical>( off his look . )<\/parenthetical>\n    <dialogue>Do n't make fun. What else do you have going on when you're thirteen?<\/dialogue>\n    <scene_description>She stretches herself out alongside him in the back seat . Tugs up her layers of sweaters to expose her stomach .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( weak . )<\/parenthetical>\n    <dialogue>I'm kinda not in the mood anymore.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>We have to rewarm your hands. You have ice crystals in your blood. If we do n't get circulation restored you could lose your fingers.<\/dialogue>\n    <scene_description>She takes his frostbitten hands and gingerly as possible presses them against the warm skin of her belly , rewarming them . They lie there in silence for a beat , faces inches apart .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What just happened to us out there?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>What do you mean? You were there.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>I know, but who was he? Where'd he go? It's like one minute there's a, a gun to my head and the next all the lights go out and he's gone, like a, like a -<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Ghost.<\/dialogue>\n    <scene_description>Her eyes cut to his , afraid , resistent to the very idea .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Yes. And the old guys we chased -<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>What then? How do you explain -<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>I do n't know! This is crazy! I ca n't be having this conversation.<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>( forceful . )<\/parenthetical>\n    <dialogue>You're having it.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>I do n't want to!<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>You think I do?! Jesus. I'm just as freaked by what's happening as you. But we have to deal with it, ` cause like it or not, it is happening.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Then how do we make it stop?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I do n't know. They do n't cover this in Philosophy 101.<\/dialogue>\n    <character>GIRL<\/character>\n    <parenthetical>( casting for ideas . )<\/parenthetical>\n    <dialogue>What about that book, in the back?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>What book?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Something Book of the Dead.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Tibetan. It's not a How - to manual. It's an 8th century Buddhist guide on death and dying.<\/dialogue>\n    <character>GIRL<\/character>\n    <parenthetical>( despairing . )<\/parenthetical>\n    <dialogue>God. Why is this happening to us?<\/dialogue>\n    <scene_description>He does n't have an answer . They fall silent for a beat .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( hands on her belly . )<\/parenthetical>\n    <dialogue>I can feel your stomach rumbling.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>I know. God, I'd give anything for some of those Carr's crackers right now.<\/dialogue>\n    <scene_description>Trying to take their minds off the grim situation .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>So what else was in the grocery bag I forgot?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Um, let's see. Duck liver pat\u00e9 with truffles.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Oh no.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Some olives, the normal kind and also some of the little shrivelled black ones. A bottle of white wine.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Mmmmm.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>And for dessert, anisette biscotti and a thermos of espresso.<\/dialogue>\n    <character>GIRL<\/character>\n    <parenthetical>( ecstacy . )<\/parenthetical>\n    <dialogue>Ohhhh.<\/dialogue>\n    <scene_description>She closes her eyes , imagining the meal that might 've been .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>That's pretty much the exact meal I'd order for my last day on earth. I swear to god, if we ever get out of here I'm going to have to get a restraining order against -<\/dialogue>\n    <scene_description>If they ever get out of here . Her eyes brim , tears spilling down her cheeks . He tries to sound optimistic .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Ca n't be too much longer until dawn. Someone's bound to come along then. A snowplow or something. Right?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>How are your hands?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Starting to burn.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>That's good. It means the circulation's coming back.<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>( winces . )<\/parenthetical>\n    <dialogue>Yeah, but I mean really burn.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Hang on. I think I have a few Tylenol - with - codeine in my purse.<\/dialogue>\n    <scene_description>She climbs into the front seat and searches through her purse for the prescription bottle . With the poor light and without her contacts she has trouble finding it . She takes out her glasses and , a little embarrassed , slips them on .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>What's taking so long, nurse -<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>I just -<\/dialogue>\n    <scene_description>She 's about to climb back when something catches her eye . INSERT OLD NEWSPAPER - The one used to patch the small gap in the passenger window . There 's a faded PHOTOGRAPH of a group of ELDERLY PRIESTS gathered around a MANGLED ` 55 FORD CROWN VIC . We recognize one of them , glancing back over his shoulder at the camera , as the LEADER of the mysterious procession of DARK FIGURES from earlier . INTERCUT OLD NEWSPAPER \/ GIRL &amp; GUY<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Oh my god. I think I know who our old guys are. I mean, were.<\/dialogue>\n    <scene_description>Below the accident scene photo are HIGH SCHOOL YEARBOOK PORTRAITS of TWO TEENAGE BOYS with crewcuts and letter jackets bearing a distinctive team insignia `` The Cougars . '' Across the top of the paper is a torn headline : `` North Granville Youths Killed In Joy Riding Accident '' and below it `` Cougars Coach Mourns Loss . ''<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( reading . ) ''<\/parenthetical>\n    <dialogue>. first to arrive at the scene were Roman Catholic priests from St. Christopher's Home for Retired Clergy.''<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Priests!<\/dialogue>\n    <scene_description>Suddenly , the interior light fizzles out , making her jump . She reaches up and taps on it until it flickers back on .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>. Hearing the crash on nearby Route 606, they braved inclement weather to administer Last Rights.''<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>That must be what we saw them doing!<\/dialogue>\n    <scene_description>She skim - reads ahead , trying to glean more information .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>. also killed was State Highway Patrolman. continued on page seven.''<\/dialogue>\n    <scene_description>She tears the brittle top pages of the newspaper away . Finds there is no page seven .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( gritted teeth . )<\/parenthetical>\n    <dialogue>You got that Tylenol?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Coming.<\/dialogue>\n    <scene_description>She climbs over into the back seat , feeds him two of the Tylenol with a sip of water from a bottle . Then stretches out alongside him again .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>We should take turns keeping watch. In case he comes back.<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>( eyelids heavy . )<\/parenthetical>\n    <dialogue>Okay.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>I'll go first. You get some sleep.<\/dialogue>\n    <scene_description>He drifts off to sleep . 2:32 A.M.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRANDED OLDSMOBILE - NIGHT<\/stage_direction>\n    <scene_description>Both kids are asleep in the back seat . She 's dreaming , her eyes roving behind closed lids . All of a sudden she stirs , eyes fluttering open in the dark . Shivers . Woken by a cold draft . She shivers , sits up , disentangling herself from the guy snoring quietly beside her in the cramped back seat . She locates the source of the draft . The STUCK PASSENGER WINDOW up front , where the duct - tape - newspaper patch has come loose . She shivers as a gust of wind blows a few snowflakes in . She grabs the roll of duct tape , climbs up into the front . Tears off a fresh strip of tape off to replace the old one . She smooths it in place , her teeth chattering between yawns . Just then the radio SNAPS on by itself .<\/scene_description>\n    <character>BRENDA LEE<\/character>\n    <dialogue>Rockin' around, the Christmas tree, at the Christ - mas par - ty hop.<\/dialogue>\n    <scene_description>She freezes . Her eyes cut to the backlit radio dial as the song continues .<\/scene_description>\n    <character>BRENDA LEE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Mistletoe hung where you can see, ev'ry couple tries to STOP -<\/dialogue>\n    <scene_description>The radio SHUTS OFF mid - song . She holds still , scared to move , scared to even breathe . Her eyes cut to the interior light as it starts flickering in a weird staccato way that 's more Morse Code than loose wire . After a few seconds it stops . The seconds creep by on the dashboard clock . She peeks over the front seat looking out the back window , wondering where his highway patrol car is . Which is when a gloved fist PUNCHES THROUGH THE WINDOW and hauls her kicking and screaming out of the Oldsmobile . NIGHTMARE - EXT. ` 57 CHEVY \/ ROADSIDE - NIGHT -LRB- 1958 -RRB- . and into a sweltering summer night in the late 1950s . What follows is brutal and hallucinatory : a SERIES OF SHOTS that thrust us into the sickening first person POV of a BLONDE young woman , 19 , in the final moments of her life . The RASP of CICADAS in the treetops provide the only soundtrack to the assault , as we see : - CLOSE ON their feet , high heels and boots , doing a violent two - step as he drags her along the gravel road shoulder - HANDHELD footage as she 's dragged toward his idling patrol car - POV of a FULL MOON in the tree - tops , dispassionate spectator to the assault going on on this lonely stretch of road - CLOSE UP of the COP 'S MOUTH , twisted with lust as he whispers something obscene we can not hear . - CLOSE ON his HAND working it 's way up to her throat , forcing his thick hairy thumb between her lips and making her suck . - POV underneath his patrol car , as his boots kick her feet apart , and take up position between them - The brim of his hat lifting to reveal him looking up with a scowl of surprise - And the cop 's scowl curdles into a look of outrage at sight of - - SILHOUETTES of old men watching on the hilltop , roused by the commotion down on the road below - - The cop wrenches open the back door of the car , hurls her in , slams the door shut . - He shoots a warning look in the direction of the SILHOUETTES ON THE HILLTOP that says , `` Do n't fuck with me . '' - Then he climbs behind the wheel of his car and drives off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRANDED OLDSMOBILE - NIGHT<\/stage_direction>\n    <scene_description>OUR GIRL 's face as her eyes snap open and she bolts upright in the backseat , scaring the shit out of our guy .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Thank god! You were having some kind of seizure or someth -<\/dialogue>\n    <scene_description>He does n't get to finish his sentence : Her eyes roll back in her head and she collapses again , as if yanked down by an undertow . She starts violently CONVULSING in the cramped confines of the back seat , limbs flailing , feet kicking windows , etc. . Our guy tries everything to wake her : shaking her shoulders , slapping her face hard . But it 's no use : the nightmare has her again . He sits back , helplessly looking on . Suddenly the radio SNAPS ON mid - song , scaring the crap out of him .<\/scene_description>\n    <character>BRENDA LEE<\/character>\n    <dialogue>You will get a sen - ti - men - tal fee - ling when you hear. Voices singing `` Let's be jolly, DECK the halls with boughs of holly''.<\/dialogue>\n    <scene_description>The car 's rear window brightens with APPROACHING HEADLIGHTS of a highway patrol car , it 's strobe light flooding the Oldsmobile 's interior with RED . From our girl 's eyes going crazy in R.E.M. - pattern we - NIGHTMARE - EXT. . WOODS - NIGHT -LRB- 1958 -RRB- In a SERIES OF HALLUCINATORY SHOTS we see the BLONDE 'S LIFELESS BODY - shoeless , dress torn - being dragged through the undergrowth and left in a secluded wooded spot . The COP kicks leaves and dirt over the body , then exits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRANDED OLDSMOBILE - AS BEFORE<\/stage_direction>\n    <scene_description>CLOSE ON the RADIO , midway through `` Rockin ' Around the Christmas Tree . '' Our guy listens to the CRUNCH CRUNCH CRUNCH of the cop 's boots outside in the snow , circling the snowbound Oldsmobile . Whistling along with the song that always accompanies him . Suddenly the dashboard air vents all OPEN SIMULTANEOUSLY . A gust of supernaturally frigid cold blows in , like the icy breath of Old Man Winter himself . White frost spreads with time - lapse velocity from the air vents across the dashboard . Our guy scrambles up front , slapping the air vents closed . Begins ripping off strips of duct tape to plaster over the vents to keep out the lethal chill . CLOSE ON OUR GIRL as her nightmare becomes even more violent - NIGHTMARE - EXT. . WOODS \/ STREAM - NIGHT -LRB- 1956 -RRB- Another night , and a different victim . In a SERIES OF SHOTS we see : the black STRANGER pleading for his life as his WRISTS and ANKLES are bound roughly with baling wire by the COP . Ignoring the stranger 's desperate pleas , the cop drags him by the bound wrists through the woods and shoves him down a muddy incline . He splashes facedown in a shallow stream .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRANDED OLDSMOBILE - AS BEFORE<\/stage_direction>\n    <scene_description>And our girl finally surfaces from the dream as if coming up for air , with a huge GASP and eyes wild with fear . Only to find herself in a waking nightmare . The car interior flooded with red . Our guy terrified .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>What's happening!?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>It's him! Hurry! Help me!<\/dialogue>\n    <scene_description>She climbs up front to help our guy frantically taping over the vents . A shadow moves by the WINDSHIELD and she gasps - As another shadow goes by in a blur past the BACK WINDOW and he gasps - The assault coming from everywhere at once now , the cop an elemental force , like the storm itself . Skittering along the undercarriage one moment , across the metal roof the next . Even appearing - fleetingly , impossibly - in the snow on the blocked driver 's side window . All the electronics in the car start going crazy , power locks opening and closing , the interior light flickering , the dashboard clock hands spinning wildly , the windshield wipers sweeping back and forth , etc. . Then stop all at once . Even the radio SNAPS OFF . Dead silence for a beat . Then an odd SCUTTLING SOUND underfoot , something crawling along the undercarriage of the car . Our guy sits there frozen with fear , too scared to move , to even breathe . Likewise , the girl sits nervously , watching her breath in the cold . Her eyes happen to wander to the rear view mirror - A blue - faced DEAD BABY stares back at her from the rear window ledge . She SWINGS around , looks back at the window . But nothing 's there . She turns back , he looks at her with concern . Unsure of her own senses , she shakes him off . Exhales slowly . Beat . Suddenly the scuttling noises outside EXPLODE into to a full - blown assault . There 's the shriek of RENDING METAL , the thing outside begins HAMMERING at the car 's hood , doors , etc. . The car gives a violent shudder side - to - side tosses our kids around like plastic flakes in a snow globe . The radio snaps back on : the saxophone solo in the Brenda Lee song , accompanying the violent CLANGS and GROANS of metal being torn asunder as the thing under the car rips away muffler , brake lines , wrenches the handles from the doors , etc. .<\/scene_description>\n    <character>BRENDA LEE<\/character>\n    <dialogue>Rockin' around, the Christmas tree, Have a happy hol - i - day.<\/dialogue>\n    <scene_description>Our guy claps hands over his ears so he ca n't hear the sound of the cop 's rage as he attacks the car , fury growing and growing until it 's indistinguishable from the HOWLING wind outside . The attack ends . The red police light in the rear window FADES . Leaving them sitting there in the dark in stunned silence .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I think. he's gone. I guess when he could n't get in he gave up.<\/dialogue>\n    <parenthetical>( suddenly grinning . )<\/parenthetical>\n    <dialogue>I told you these ` 88 Olds were built like tanks!<\/dialogue>\n    <scene_description>He turns around in the front seat to shake a bandaged fist at the rear window .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( nervous relief . )<\/parenthetical>\n    <dialogue>HAH! Next time pick on someone driving a Hyundai -<\/dialogue>\n    <scene_description>She claps a hand over his mouth .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>Shhh! How do you know it's not a trick! He could still be out there waiting -<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>He's not! Listen!<\/dialogue>\n    <scene_description>They sit in silence , listening , but hear only the wind .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>But what if he comes back?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>We just have to stay in the car until morning. Then we'll be safe. That ca n't be more than, like, a few more hours. Someone's bound to come along once the sun comes up. Someone human I mean. Think you can hold on until then?<\/dialogue>\n    <character>GIRL<\/character>\n    <parenthetical>( shy . )<\/parenthetical>\n    <dialogue>What if, you know. We have to pee?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>We can use the empty water bottles. From this point on, the back seat is a co - ed bathroom. Sound like a plan?<\/dialogue>\n    <scene_description>Sounds like a plan .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Why do n't you try to get some sleep? I'll take the next watch.<\/dialogue>\n    <scene_description>She shakes her head , eyes full of fear .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>I do n't want to sleep.<\/dialogue>\n    <scene_description>He nods , understanding . So they just hunker down in the front seat , staring at the snow covered windshield , and start the long wait to morning . 4:58 A.M.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STRANDED OLDSMOBILE \/ ROADSIDE - NIGHT<\/stage_direction>\n    <scene_description>The snow is slacking off . The stranded Oldsmobile is now completely snowbound , a car - shaped hillock of white on the roadside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRANDED OLDSMOBILE - NIGHT<\/stage_direction>\n    <scene_description>The interior of the car is eerily QUIET , cocooned in snow . The kids sit in silence in the front seat , fighting to stay awake . His face is pale , skull visible beneath the skin . She stares at the black , snow - covered windshield .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>I got ta pee.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Again?!<\/dialogue>\n    <scene_description>She climbs over into the back seat and crouches down , urinating as demurely as possible into an empty bottle .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( teasing . )<\/parenthetical>\n    <dialogue>I swear, I never met anyone who had to go so much.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Stop talking.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>You should ask Santa to bring you a bigger bladder.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>I'm serious! It's hard enough doing this in front of you.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>What, are you one of those people who ca n't pee with the bathroom door open?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>No. But it's not something I usually do until much later in a relationship.<\/dialogue>\n    <scene_description>She catches herself at the last second , but it 's too late : the word `` relationship '' hangs in the air . Beat . Finished peeing , she twists the cap on the water bottle . Sets it on the floor with the other URINE - FILLED BOTTLES . Noticing ONE BOTTLE that does n't look like the others . She climbs over into the front to confront him with the urine bottle , which is tinged with PINK . Blood .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What the hell is this? Is this blood?<\/dialogue>\n    <scene_description>No answer .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>How badly were you hurt in the crash?<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>No big deal. Just your average day in the NHL.<\/dialogue>\n    <scene_description>But she sees through his tough - guy facade . He 's frightened .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>How long have you known?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Since I tried hiking back to the gas station. You were right, I never got anywhere near it. I started hurling blood, so I turned around and came back.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Why did n't you tell me?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I did n't want to scare you -<\/dialogue>\n    <scene_description>Suddenly he goes rigid in pain , his teeth clenched . She looks on helplessly .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>We've got to get you some help now. You wo n't make it to morning. I'm going to try and hike back to the gas station -<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>How far do you think you'd get out there before running into Mr. Freeze?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>I'm not going to just sit here and watch you die!<\/dialogue>\n    <scene_description>They sit there a moment in silence . She digs out her cellphone and checks for a signal : NO SIGNAL BARS .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( to herself . )<\/parenthetical>\n    <dialogue>Damn it! We need a land line.<\/dialogue>\n    <scene_description>A long beat . Then she 's struck by an idea . She switches on the wipers to clear snow from the windshield . Wipes at the foggy glass until she 's got enough of a peephole to peek out .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>What are you looking at?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Telephone poles. They must have a junction box or something to test the lines. There! See that one?<\/dialogue>\n    <scene_description>She indicates a TELEPHONE POLE twenty yards up from them . There 's a SMALL GREY STEEL JUNCTION BOX near the top .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>So?<\/dialogue>\n    <scene_description>She turns , leaning over the seatback to rummage among his junk in the back . She retrieves his old wall TELEPHONE , examines the jack at end of its cord .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>So maybe there's some way I can. I do n't know. jack into it or something. Try and call for help.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>You want to climb a telephone pole?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Of course I do n't want to! But it's got rungs. Ca n't be any harder than the climbing wall at my gym. Big fat repair guys do it all the time, right? Right?<\/dialogue>\n    <scene_description>Trying to convince herself .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>But you're forgetting one thing.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>He's out there.<\/dialogue>\n    <scene_description>They both go quiet . She sits there with the phone in her lap , brooding on this . Until something clicks .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>The song! That old Christmas song on the radio. It always comes on just before he shows up.<\/dialogue>\n    <scene_description>She switches on the RADIO . They hear Elvis Presley 's 1957 `` Blue Christmas '' playing .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Keep listening. If ` Rockin' Around the Christmas Tree' comes on, yell like hell.<\/dialogue>\n    <parenthetical>( trying to convince herself . )<\/parenthetical>\n    <dialogue>Hopefully I'll have enough time to get back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE \/ TELEPHONE POLE - HIGH ANGLE - NIGHT<\/stage_direction>\n    <scene_description>Looking down at the stranded Oldsmobile from the top of the telephone pole . The grey JUNCTION BOX in the foreground . The weird HUMMING is louder here .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRANDED OLDSMOBILE - NIGHT<\/stage_direction>\n    <scene_description>He watches her prep for her mission out into the bitter cold . She disconnects the TELEPHONE RECEIVER from it 's base , wraps it in its chord , stows it for safekeeping under her sweater . She 's ready .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( weak . )<\/parenthetical>\n    <dialogue>I've been thinking.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>What about?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Eternal recurrence. Maybe it would n't be so bad.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>What would n't?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Repeating this life. Over and over. Exactly the same each time.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Even the last twenty - four hours?<\/dialogue>\n    <scene_description>He shows a weak smile . Even the last twenty four hours .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Yeah, but it's even nicer to think maybe we get a chance to fix all the things we screwed up the first time around, do n't you think?<\/dialogue>\n    <scene_description>They fall silent , both thinking about this .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Know what I'd do different? Next time I'd just to walk up to you after class. and say `` Hey.''<\/dialogue>\n    <character>GIRL<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>You should. Definitely. Do that.<\/dialogue>\n    <scene_description>She uses her sweater cuff to make clean spot on his cheek . Kisses him tenderly . The kiss working it 's way to his mouth , lingering a beat . Their lips part . He catches her arm as she reaches for the power window switch , holds tight .<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>( urgently . )<\/parenthetical>\n    <dialogue>Do n't let me die out here -<\/dialogue>\n    <scene_description>She looks at him with fierce eyes full of determination . The look calms him , at least a little . She keys the ignition , lowers the passenger side window . The duct tape rips away as the window glides down , admitting a mini - avalanche of powdery snow and a frigid blast of cold . She climbs out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE \/ TELEPHONE POLE - NIGHT<\/stage_direction>\n    <scene_description>Viewed from high atop the telephone pole she looks small and vulnerable as she climbs out of the Oldsmobile - shaped igloo .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE - NIGHT<\/stage_direction>\n    <scene_description>An eerie HUSH has fallen , snow muffling sound except for the occasional forlorn wailing of the WIND through the trees . She sets out through deep powder toward the TELEPHONE POLE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRANDED OLDSMOBILE - NIGHT<\/stage_direction>\n    <scene_description>Teeth chattering , he watches through the windshield as she begins her long trek across the MOONLIT EXPANSE OF WHITE . He turns up the VOLUME on the radio , which is now playing a funereal church - organ instrumental of `` Silent Night . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE - NIGHT<\/stage_direction>\n    <scene_description>The deep powder makes her trek difficult , and she 's soon winded . Her breath plumes in the frigid arctic cold .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRANDED OLDSMOBILE - NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON THE BACKLIT RADIO DIAL as `` Silent Night '' concludes . In between STATIC we hear a pre - recorded PUBLIC SERVICE ANNOUNCEMENT .<\/scene_description>\n    <character>RADIO PSA<\/character>\n    <dialogue>The State Weather Bureau has issued an extreme cold warning.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE - NIGHT<\/stage_direction>\n    <scene_description>She leans into the wind as it gusts , the cold bringing tears to her eyes . She puts her head down and soldiers on .<\/scene_description>\n    <character>RADIO PSA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Residents of Carbon County are advised to seek shelter as sub - zero temperatures produce wind chills in excess of twenty below.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE \/ TELEPHONE POLE - NIGHT<\/stage_direction>\n    <scene_description>Arriving at the base of the telephone pole , she peers up at the grey JUNCTION BOX high above . From here the top of the telephone pole looks much higher than it did from the car . And the iron rungs look a lot narrower , too . She 's losing her nerve . She glances back to check no police lights are coming . Steels herself . Then puts her foot on the first rung and hauls herself up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRANDED OLDSMOBILE - THAT MOMENT<\/stage_direction>\n    <scene_description>CLOSE ON THE RADIO , where , between increasingly long snatches of STATIC we can just discern Gene Autry 's version of `` Here Comes Santa Claus . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE \/ TELEPHONE POLE - AS BEFORE<\/stage_direction>\n    <scene_description>The rungs are icy , forcing her to climb slower than she would like . She keeps her eyes forward , never once looking down . When the wind gusts she pauses and waits for it to subside . She 's midway to the top when her foot SLIPS on an icy rung . She clutches the pole tightly , wind whistling in her ears . She waits until her heart slows and she 's recovered from her near fall . Then looks up to gauge the distance left to the JUNCTION BOX . Keeps climbing . She reaches the last rung at the TOP OF THE TELEPHONE POLE . It 's noisy up here , thanks to the WIND and the icy telephone wires , source of the mysterious HUMMING she 's been hearing . She tries the little metal door of the grey JUNCTION BOX . Locked .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>She fumbles in her coat , takes out the SCISSORS , uses them to try and pry open the junction box -LRB- which turns out to be frozen shut , not locked after all . -RRB- It finally yields , opening . Revealing a rat 's nest of multicolored WIRES and PHONE JACKS . Hurrying now , she tugs her glove off with her teeth , and with her bare hand retrieves the cord - wrapped RECEIVER from inside her sweater . In her effort to juggle all these items she loses her grip on the SCISSORS . Which drop all the way down to disappear in the snow below . She concentrates now on the receiver . But her fingers are so clumsy from the cold , she fumbles it . And the receiver FALLS too . Then jerks to a STOP a few feet below as it reaches the limit of its cord . Which she 's managed to catch . She winds the receiver up by its cord , finally plugs the jack - end into the junction box . Hears a DIAL TONE .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( stunned she did it . )<\/parenthetical>\n    <dialogue>Oh my god!<\/dialogue>\n    <scene_description>Teeth chattering she thumbs `` 0 '' for the operator .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( as it rings . )<\/parenthetical>\n    <dialogue>Please please please please please -<\/dialogue>\n    <scene_description>On the third ring an OPERATOR answers .<\/scene_description>\n    <character>OPERATOR<\/character>\n    <parenthetical>( filtered . )<\/parenthetical>\n    <dialogue>Nine - one - one emergency response.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Thank god! Hi! Hello! We need help!<\/dialogue>\n    <character>OPERATOR<\/character>\n    <parenthetical>( filtered . )<\/parenthetical>\n    <dialogue>What's that? Can you repeat -<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>We're on highway 606! Oh god, please hurry! We need help! My friend is hurt -<\/dialogue>\n    <character>OPERATOR<\/character>\n    <dialogue>Can you repeat your -<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Hello? Hello?<\/dialogue>\n    <scene_description>The connection SPARKS and she feels a small shock that makes her drop the phone . When she retrieves it and holds it back to her ear the line is DEAD . No way of knowing if her message got through . It 's a moment of such soul - crushing despair she shuts her eyes and leans her head against the pole , as if wanting to just quietly die up here thirty feet above the earth .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRANDED OLDSMOBILE - THAT MOMENT<\/stage_direction>\n    <scene_description>CLOSE ON THE RADIO playing nothing but STATIC now .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE \/ TELEPHONE POLE - AS BEFORE<\/stage_direction>\n    <scene_description>Her eyes open , and she commences climbing back down to earth . She reaches the second set of rungs from the bottom and drops the last several feet . The snow does little to cushion her fall and she goes sprawling , lays there for a dazed moment . She starts crawling on all fours back toward the stranded Olds . Suddenly she stops as she comes upon - A WOMAN 'S BARE FEET standing in the snow , veins visible through gravid skin . A thick spatter of mud lands on the bare foot . Our girl raises her eyes to see - A DEAD WOMAN It 's the blonde we saw raped and murdered in the summer of 1958 . Her dress is in tattered ruins , coated in leaves and dirt like someone recently exhumed from a shallow grave . Her head is twisted at an unnatural angle on a broken neck . Our girl GASPS and scrambles to her feet , fleeing . Only to stop dead in her tracks as she nearly collides with - TWO DEAD TEENAGE BOYS The joyriding teens killed on Christmas Eve 1958 . Both wear blood - soaked letterman jackets bearing the DISTINCTIVE COUGAR INSIGNIA and stand in a post - accident haze . One 's chest is concave , stove - in by the impact with the steering wheel . The other 's teeth are visible where his cheek has been torn away . She reels away in horror , forced to take the long way back to the Oldsmobile . She runs the last few yards to the car where we can hear the eerie sound of STATIC emanating from the radio as she hurls herself -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRANDED OLDSMOBILE - NIGHT<\/stage_direction>\n    <scene_description>Inside . Safe ! She sits there , out of breath . She glances over quickly at our guy , gravely pale , slumped unconscious behind the steering wheel . She chafes her hands to get the circulation going again . She turns down the volume on the radio .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( chattering teeth . )<\/parenthetical>\n    <dialogue>- I did it - got through - but I do n't know how much she understood - the operator I mean -<\/dialogue>\n    <scene_description>He does n't respond .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>- Just have to hope - maybe - they can trace the line -<\/dialogue>\n    <scene_description>When this too gets no response from him she looks over , frowning . She scoots a little closer across the front seat toward him . Which is when WE SEE - HIS GHOST standing outside the car , slack - expressioned and staring . He stands there a beat , then drifts off into the night .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Hang in there, ca n't be much longer.<\/dialogue>\n    <scene_description>She reaches to jostle him awake . One touch confirms her worst fears . She reaches up to switch on the INTERIOR LIGHT , to get a better look at him .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Oh god!<\/dialogue>\n    <scene_description>Her reaction is so sudden and violent and overwhelming it seems for a moment she 's going to be sick . She covers her mouth , muffling a cry of raw - throated terror . Then shakes him again , harder this time , desperate to wake him .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>No! Please! Do n't leave me alone!<\/dialogue>\n    <scene_description>Tears spill down her cheeks as she fights hysteria . She shakes him harder . His inert body spills to one side , slumping against her . Her grief turns to something else , instinctive and immediate : revulsion , at the feel of his cold dead weight against her . She scrambles across the front seat to put as much distance as she can between herself and the corpse . Cowers against the passenger door . The INTERIOR LIGHT flickers out as the battery finally dies .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STRANDED OLDSMOBILE \/ ROADSIDE - MOMENTS LATER<\/stage_direction>\n    <scene_description>The door opens and she backs out , hauling the dead body after her . Her face is red , tear - streaked .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( crying . )<\/parenthetical>\n    <dialogue>Sorry. sorry. I'm sorry.<\/dialogue>\n    <scene_description>She strains to move his dead weight . Her feet slip on the ice and she lets go of him , catching herself on the open door . She grabs the body under the armpits , hauls with all her strength . Drags him a few yards away from the Oldsmobile . His boot heels ploughing twin gouges in the snow . Behind her , gravity pulls the heavy car door shut with a soft THUNK . Suddenly her feet go out from under her as she hits a patch of ice . She goes down hard on her ass , sprawling . Sits there a beat , as - HEADLIGHTS appear on the dark horizon . We see them a split - second before she does . He 's coming . When she glimpses the oncoming headlights out of the corner of her eye she turns her head slowly in their direction , and for an instant it almost seems as if they do n't register . Then her eyes widen in terror , she lets out a small whimper , and leaps into action . She scrambles to her feet and makes a mad dash toward the Oldsmobile - Only to find when she tugs on the handle that it 's STUCK . She yanks on it harder , getting frantic now , as - The HEADLIGHTS get brighter , bearing down , close enough now that we can hear the ROAR of the oncoming engine . She kicks the handle , tugs with all her might , rocking the car but not succeeding in getting the door open . As the headlights become BLINDING . Suddenly there 's the sound of BRAKES being engaged , and the headlights slow to a stop just a few yards shy of where she 's standing in the middle of the road . She shields her eyes with an upraised hand . It 's a SNOWPLOW . The SNOWPLOW DRIVER , 50s , sticks his head out the window .<\/scene_description>\n    <character>SNOWPLOW DRIVER<\/character>\n    <dialogue>You kids okay?<\/dialogue>\n    <scene_description>She 's too stunned to speak . 5:43 A.M.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SNOWPLOW \/ ROADSIDE - NIGHT<\/stage_direction>\n    <scene_description>The snowplow driver is a hale townie dressed like a high school principal on a hunting trip . He and our girl transfer our guy 's lifeless body to the BACK SEAT of the snowplow .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SNOWPLOW - CONTINUOUS<\/stage_direction>\n    <scene_description>Inside the cab it 's blessedly warm . The dashboard panel , GPS and CB radio are lit up like a Christmas tree . While the snowplow driver tests the front tire chains , our girl checks on our guy 's body . The snowplow driver climbs up behind the wheel , gives her a sympathetic look . Picks up the C.B. microphone .<\/scene_description>\n    <character>SNOWPLOW DRIVER<\/character>\n    <parenthetical>( to C.B . )<\/parenthetical>\n    <dialogue>Dispatch, come in.<\/dialogue>\n    <character>DISPATCH<\/character>\n    <parenthetical>( RADIO . )<\/parenthetical>\n    <dialogue>Go ahead.<\/dialogue>\n    <character>SNOWPLOW DRIVER<\/character>\n    <dialogue>I'm out at the site of that reported accident on 606. One of them did n't make it. I'm taking the other directly to the trauma unit in Hadleyville.<\/dialogue>\n    <character>DISPATCH<\/character>\n    <parenthetical>( RADIO . )<\/parenthetical>\n    <dialogue>Copy that.<\/dialogue>\n    <scene_description>The driver puts the snowplow in gear and sets off driving . Her eyes cut to the - SIDEVIEW MIRROR Where she sees the STRANDED OLDSMOBILE receding in the distance .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROUTE 606 - NIGHT<\/stage_direction>\n    <scene_description>The snowplow cruises along , its plow blade throwing twin white rooster 's tails of ice and snow to either side .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SNOWPLOW - NIGHT<\/stage_direction>\n    <scene_description>She stares blankly out the window at the snow swirling in the headlights . The snowplow driver makes small - talk to help pass the time .<\/scene_description>\n    <character>SNOWPLOW DRIVER<\/character>\n    <dialogue>Been some real bad accidents on this road over the years. When I was growing up, there was a family from New York City found out here froze solid -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STRANDED VOLVO - DAY (1970)<\/stage_direction>\n    <scene_description>Three blue CORPSES sit in the car : mother , father , infant . Their gaping mouths frozen open in a silent rictus scream .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SNOWPLOW - AS BEFORE<\/stage_direction>\n    <scene_description>The snowplow driver shakes his head at the eerie memory .<\/scene_description>\n    <character>SNOWPLOW DRIVER<\/character>\n    <dialogue>fire department had to hose them down with hot water for two hours to thaw them out. I remember back in high school there was a stupid rumor going around if you went driving out here on moonless nights and looked up in your rearview, you might see the dead baby in your backseat.<\/dialogue>\n    <scene_description>She frowns at this , reminded of her earlier vision .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>What about those ruins up on the hill? The retirement home for old priests?<\/dialogue>\n    <character>SNOWPLOW DRIVER<\/character>\n    <dialogue>Tragic story. Winter of ` 61 they were all found froze to death in their beds.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DORMITORY - NIGHT (1960)<\/stage_direction>\n    <scene_description>ELDERLEY PRIESTS lie motionless in their beds , FACES frozen in blue rictus deathmasks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SNOWPLOW - AS BEFORE<\/stage_direction>\n    <scene_description>The snowplow driver squints out at the murky horizon ahead .<\/scene_description>\n    <character>SNOWPLOW DRIVER<\/character>\n    <dialogue>Must've been a pilot on the boiler went out, or something.<\/dialogue>\n    <scene_description>CLOSE ON our girl , processing this . She has her suspicions the truth is n't as simple as a pilot light blowing out .<\/scene_description>\n    <character>SNOWPLOW DRIVER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Actually, there's no big mystery why this is such a bad stretch of road for motorists. You got low - lying fog that gets trapped in the valley, reduces visibility to -<\/dialogue>\n    <scene_description>Just then BRIGHT HEADLIGHTS appear out of the pre - dawn gloom .<\/scene_description>\n    <character>SNOWPLOW DRIVER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Who in the hell is out driving in this mess?<\/dialogue>\n    <scene_description>He scowls , raising a meaty hand to shield his eyes . A dread look of d\u00e9j\u00e0 vu crosses our girl 's face . She knows .<\/scene_description>\n    <character>SNOWPLOW DRIVER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Must be Tom McClintic. Only fellow I know who lives way out here.<\/dialogue>\n    <scene_description>He reaches for the C.B. mike , thumbs the switch .<\/scene_description>\n    <character>SNOWPLOW DRIVER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( into microphone . )<\/parenthetical>\n    <dialogue>Tom, is that you?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>It's not Tom.<\/dialogue>\n    <scene_description>And as the ONCOMING HEADLIGHTS OF THE HIGHWAY PATROLMAN get brighter , she calmly buckles her seatbelt .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROUTE 606 - THAT MOMENT<\/stage_direction>\n    <scene_description>The ONCOMING CAR roars down the middle of the pickup 's lane , the distance between the speeding vehicles closing fast . The game of chicken is fast approaching the point of no return .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SNOWPLOW - AS BEFORE<\/stage_direction>\n    <scene_description>They watch the ONCOMING HEADLIGHTS .<\/scene_description>\n    <character>SNOWPLOW DRIVER<\/character>\n    <dialogue>Does n't this stupid son of a gun realize we're bigger than him?! No way he's going to win this fight!<\/dialogue>\n    <scene_description>He blasts his horn , but the HEADLIGHTS just keep coming . She braces for impact . At the last possible moment the snowplow driver jerks the wheel hard to the right .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROUTE 606 - NIGHT<\/stage_direction>\n    <scene_description>- The snowplow fishtails out of control , its plow blade slicing through snow and ice until metal bites blacktop , throwing up SPARKS . - The 1950s HIGHWAY PATROL CAR -LRB- the HIGHWAY PATROLMAN behind the wheel -RRB- veering off in the opposite direction . - The snowplow flipping ASS - OVER - TEAKETTLE - Inside the snowplow the world somersaults , our guy 's body thrown halfway out of the shattered windshield onto the hood . - The highway patrol car skidding off the side of the road and dropping from sight , crashing with a SPLASH somewhere in the darkness . - As the snowplow comes to a rest right - side up on its tires as we - SMASH TO BLACK<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRECIPICE \/ RAVINE - LATER<\/stage_direction>\n    <scene_description>The WRECKED SNOWPLOW has ended up on the edge of the ravine where the highway patrol car disappeared . There 's a metallic GROAN of hinges as the snowplow 's driver 's side door opens and the SNOWPLOW DRIVER , dazed but unhurt , climbs out . He calls down into the gloom below , where we hear the faint sounds of the highway patrol car 's RADIO playing `` Rockin ' Around the Christmas Tree . ''<\/scene_description>\n    <character>SNOWPLOW DRIVER<\/character>\n    <dialogue>Hang on, officer, I'm coming.<\/dialogue>\n    <scene_description>Then he begins to make his way down .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WRECKED SNOWPLOW - THAT MOMENT<\/stage_direction>\n    <scene_description>Our girl rouses from her post - accident daze . Sees the body of our guy thrown through the windshield . She eases it back inside and onto the seat beside her . She looks up in time to see through the windshield - The SNOWPLOW DRIVER making his way down the steep slippery ice - and - leaf - covered embankment . Her eyes go wide as she suddenly realizes where he 's headed .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>She unbuckles her seatbelt , throws open the passenger door , exits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SNOWPLOW \/ ROADSIDE - NIGHT<\/stage_direction>\n    <scene_description>The instant she sets foot outside she stops dead , the blood rushing from her face and her eyes going wide in disbelief . PAN 360 - DEGREES to reveal a landscape she knows all - too - well : The stranded ` 88 Oldsmobile . The telephone pole she climbed . They have n't gone anywhere . No time to puzzle it out . The sound of the snowplow driver making his way down the embankment O.S. stirs her to action .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RAVINE - CONTINUOUS<\/stage_direction>\n    <scene_description>She starts down the steep snowy embankment after the snowplow driver , who is now far enough below to be out of sight .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( calling down . )<\/parenthetical>\n    <dialogue>Wait! Do n't go down there! Stop!<\/dialogue>\n    <scene_description>Suddenly the snowy leaves gives way under her and she SLIPS . Lands hard and SLIDES the rest of the way down on her ass .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOTTOM OF RAVINE - CONTINUOUS<\/stage_direction>\n    <scene_description>She comes to a stop thirty feet below at the bottom of the ravine beside the surprised SNOWPLOW DRIVER . And the HIGHWAY PATROL CAR . It 's resting on its roof in the snow at the bottom of the ravine , wheels in the air . It looks like an overturned beetle . Something moves in its front seat . The snowplow driver calls to the TRAPPED HIGHWAY PATROLMAN .<\/scene_description>\n    <character>SNOWPLOW DRIVER<\/character>\n    <dialogue>Hang on, officer! We'll get you out!<\/dialogue>\n    <scene_description>She catches his arm to stop him .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>No! Do n't go near it!<\/dialogue>\n    <character>SNOWPLOW DRIVER<\/character>\n    <dialogue>What!? We have to get him out of there.<\/dialogue>\n    <scene_description>Smoke rises from the car 's gas tank , a small FIRE burning .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>Does n't matter! He's already dead!<\/dialogue>\n    <character>SNOWPLOW DRIVER<\/character>\n    <dialogue>What the hell are you talking about?<\/dialogue>\n    <scene_description>Inside the overturned car the trapped HIGHWAY PATROLMAN struggles . His hat has fallen off and floats in the icy water flooding the car , threatening to short the radio . Which is playing the same song as Christmas Eve fifty - seven years earlier . `` Rockin ' Around the Christmas Tree . '' Despite being pinned upside - down and in pain from injuries sustained in the accident , he chuckles at his predicament . We realize he 's been drinking . As he struggles to free himself the cop looks in the direction of the snowplow driver and our girl .<\/scene_description>\n    <character>HIGHWAY PATROLMAN<\/character>\n    <dialogue>Should've known you vultures would turn up.<\/dialogue>\n    <character>SNOWPLOW DRIVER<\/character>\n    <dialogue>Try not to move, officer, you might have a neck injury.<\/dialogue>\n    <scene_description>But the cop continues to struggle , pain sobering him .<\/scene_description>\n    <character>HIGHWAY PATROLMAN<\/character>\n    <dialogue>What are you waiting for, a letter from the Bishop?<\/dialogue>\n    <scene_description>Suddenly it dawns on our girl that he is n't talking to them . Also that they are n't alone . Widen to reveal - A DOZEN ELDERLY PRIESTS in black winter coats and fedoras are standing all around them on the snowy embankment , faces grim . The residents of St. Christopher 's Home for Retired Clergy . Suddenly there 's a WHOOSH as the engine fire spreads across the car 's undercarriage , moving toward the FUEL TANK . The priests exchange a look , reaching some silent decision . The LEADER of the elderly priests comes forward .<\/scene_description>\n    <character>HIGHWAY PATROLMAN<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Hurry it up, I smell gas.<\/dialogue>\n    <scene_description>The snowplow driver stands there , confused by what he 's witnessing . The old priest crouches down , reaches through the open window past the trapped highway patrolman . Rips out the chattering TWO - WAY RADIO by its cord . The cop 's face registers disbelief , then fury , as he realizes the priests are n't going to help him . Are in fact condemning him for years of crimes committed on this stretch of road .<\/scene_description>\n    <character>HIGHWAY PATROLMAN<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( struggling . )<\/parenthetical>\n    <dialogue>Oh no you do n't! You bastards have no right to sit in judgement of me. I know what you're thinking but I had nothing to do with that drunk girl's disappearance. I saw her home safely. Just ask the County investigators. And anything else you think you saw? All of it was lawfully done!<\/dialogue>\n    <scene_description>He sputters as gasoline drips on his face from above . Another WHOOSH , blue flames spreading out from the fuel line . The cop smells smoke , a pleading note entering his voice now .<\/scene_description>\n    <character>HIGHWAY PATROLMAN<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Please, father. For the love of Christ have mercy on a poor sinner!<\/dialogue>\n    <scene_description>There 's a SMALL EXPLOSION , and the inside of the car starts filling with FLAMES and black smoke . The trapped highway patrolman begins burning alive , cursing .<\/scene_description>\n    <character>HIGHWAY PATROLMAN<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Goddamn you filthy bastards! You think you'll be rid of me!? You'll never be rid of me! I'll be your worst nightmare! I'll be -<\/dialogue>\n    <scene_description>The rest is lost in a second larger EXPLOSION . Flames flicker on the elderly faces of the priests gathered here to bear mute witness . They watch the burning patrol car for a moment longer , then one by one climb the embankment .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE - NIGHT (1958)<\/stage_direction>\n    <scene_description>Christmas , 1958 . The crash scene we saw depicted in the news clipping . The wrecked ` 55 CROWN VIC . PRIESTS administering last rights two the two TEENS in letter jackets : one already dead , the other breathing his last breaths .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOTTOM OF RAVINE - AS BEFORE<\/stage_direction>\n    <scene_description>Our girl and the rattled snowplow driver stand there in the silence and the flickering firelight from the burning car .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>Come on. We can go now. It's over.<\/dialogue>\n    <scene_description>The snowplow driver , stunned , speechless , can only stand there and nod . Suddenly - The COP launches himself out of the window of the overturned car at them . Skin peeled and blackened , he starts crawling over the rocks , dragging his paralyzed lower body after them . The snowplow driver 's eyes go wide and he stands rooted in place , unable to move . She grabs him by the arm , pulls him away .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>MOVE!<\/dialogue>\n    <scene_description>He comes to his senses , staggers up the embankment after her . He loses his footing on the icy rocks and goes sprawling . As the cop seizes him around the legs , and starts crawling up the length of his body . We hear the sizzle of instant FROSTBITE , the frost spreading with time - lapse speed up the snowplow driver 's limbs as he shrieks in agony . Until even his shriek is FROZEN IN HIS LUNGS . ANGLE ON OUR GIRL As she begins scrambling up the snowy slope away from the horror below . Suddenly she loses her grip and starts to slide back down on her belly toward the cop a dozen feet below . She whimpers , fingers clutching at anything . Finally she succeeds , manages to haul herself up the steep embankment , climbing with everything she 's got left in her until she reaches the road .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOP OF THE RAVINE \/ WRECKED SNOWPLOW - NIGHT<\/stage_direction>\n    <scene_description>She hauls herself up from the gloomy abyss , wrenches the driver side door open and scrambles inside -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WRECKED SNOWPLOW - CONTINUOUS<\/stage_direction>\n    <scene_description>She pulls the door closed , twists the key in the ignition . Nothing .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( urgently . )<\/parenthetical>\n    <dialogue>Come on, come on!<\/dialogue>\n    <scene_description>She tries again . And again . But the engine is dead . Just then she notices the `` power '' light glowing on the C.B. . She ducks under the dashboard , retrieves the microphone , sits up again - The cop . Unscathed . Standing right outside the snowplow , restored to his former glory , grinning at her . Then the smile curdles . He reaches through the shattered window . Grabbing for her . She scrabbles just out of reach . Pins herself against the opposite door . Cornered . Suddenly -<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Get away from her, you bastard!<\/dialogue>\n    <scene_description>And OUR GUY 'S GHOST appears out of the gloom . He swings a CROWBAR into the cop 's skull . And , just like before , there 's a VIOLENT FLASH OF light and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRANDED OLDSMOBILE - NIGHT<\/stage_direction>\n    <scene_description>It 's like someone pressed RESET . She 's back inside the STRANDED OLDSMOBILE , seated beside the body of our guy . Her panicked breathing turns into hyperventilation as she realizes all efforts to escape the road are futile . Suddenly she spots something through the windshield that causes her breath to catch - OUR GUY 'S GHOST heading down the road toward the trees . She gasps . Starts sobbing . Throws open the door and scrambles out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STRANDED OLDSMOBILE    - CONTINUOUS<\/stage_direction>\n    <scene_description>The sky is showing the first signs of approaching dawn . She watches OUR GUY 'S GHOST moving into the woods , back toward the direction from which they came . She stands there , exhausted , spent . Suddenly - A familiar SONG begins to chime on her cellphone RINGTONE :<\/scene_description>\n    <character>CELLPHONE<\/character>\n    <parenthetical>( `` Rockin Around the X - mas Tree . ''<\/parenthetical>\n    <parenthetical>. )<\/parenthetical>\n    <dialogue>Ding - da - da DING, da - DING da - DING.<\/dialogue>\n    <scene_description>Her eyes widen in terror . She fumbles out the cellphone . Stabs the `` off '' button with her thumb . She instinctively starts back to the stranded Oldsmobile - Stops - Looks at the ghost . And in that moment decides , for better or worse , to follow him . She takes off down the road . We follow as she hurries to catch up with our guy 's ghost .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( crying ; breathless . )<\/parenthetical>\n    <dialogue>Wait!<\/dialogue>\n    <scene_description>She 's close enough now to hear that he 's MUMBLING something .<\/scene_description>\n    <character>GUY'S GHOST<\/character>\n    <dialogue>I would've told you everything eventually.<\/dialogue>\n    <scene_description>Exhausted , she 's having trouble keeping up with him .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>GUY'S GHOST<\/character>\n    <dialogue>then it would n't be stalkerish.<\/dialogue>\n    <character>GIRL<\/character>\n    <parenthetical>( out of breath . )<\/parenthetical>\n    <dialogue>I know!<\/dialogue>\n    <character>GUY'S GHOST<\/character>\n    <dialogue>It would just be this sweet funny story we'd have.<\/dialogue>\n    <scene_description>But it 's no use . She stops trying to keep up and pauses briefly , devastated , catching her breath . Then she pushes on in the direction he went . It 's almost light out now , and SHE 'S ALONE , staggering along the road as quickly as her exhausted state allows . It 's like running in a dream , never fast enough to outdistance an unseen pursuer . But then she hears it - THE HIGHWAY . She ca n't believe she 's made it back to civilization . FADE TO BLACK .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PENN-WAY QUICK MART - MORNING<\/stage_direction>\n    <scene_description>The gas pumps are crowded with EMERGENCY VEHICLES and PERSONNEL . The morning calm is broken by the BEEP BEEP BEEP of trucks backing up , the BLEET of arriving ambulances , the constant CHATTER of two - way radios . OUR GIRL is seated in the back of an open ambulance with a blanket draped around her shoulders , allowing EMTs to treat her frostbite . She watches ATTENDANTS from the county morgue zip the bodies of our guy and the snowplow driver into BODYBAGS . Suddenly she remembers her cellphone , and takes it out . INSERT CELLPHONE DISPLAY - It 's the DIGITAL PICTURE OF OUR GUY when she first met him , asleep behind the wheel of the ` 88 Olds in student parking . BACK TO SCENE She closes her cellphone . The EMT helps her into the passenger seat of the ambulance . As the ambulance drives off we CRANE UP to see . In the distance , the haunted road snaking through the white forest . END FILM ROLL CREDITS<\/scene_description>\n  <\/scene>\n<\/script>","summary":"A female student (\"the girl\") at a Pennsylvania university uses the campus ride share board to find a ride home to Wilmington, Delaware for Christmas. She joins a male student (\"the guy\"), who is driving home to Wilmington. His older car is in poor condition, with the trunk full of his possessions as he has been kicked out of his apartment. It soon becomes apparent that she is arrogant and anti-social. He seems to know quite a lot about her, stating that they have a class together, although she has never noticed him. They stop at an isolated gas station, as the girl wants to use the bathroom. As the girl has just applied her pedicure, the guy offers to piggyback her to the store. While in the restroom, the girl is locked in and hears the guy and the clerk talking about how they hear her banging the door. After the girl manages to unlock the restroom door, she angrily scolds him for not helping her. Both the guy and the clerk are left puzzled over the girl's rant. The girl simply dismisses their responses and proceeds to ask the guy to leave. Before they leave, the girl hears the guy asking the clerk for directions, although he claimed to have driven the route many times. Setting off, he soon turns off the main highway down Route 606, a lonely snow-covered road through a wooded ravine which he claims is a short cut. She tells him to return to the main highway, but he refuses because in the earlier scenes, the girl while talking on the phone claimed she was bored driving on the highway hence the guy decided to drive through a scenic detour - the infamous route 606 where crosses, apparently roadside memorials, can be seen on either side of the road. As night falls, headlights come towards them in the middle of the road. The oncoming driver does not slow down, causing the guy to swerve, half burying their car in a snow drift. The guy observes that the oncoming car, which did not stop, has left no tire tracks in the snow. While the guy walks back to the gas station, the girl sees a dark figure stagger past the car. She calls out, but it ignores her. The guy returns, saying the gas station is closed, but she does not think he has been gone long enough. Huddling in the car, the guy reveals that he had been watching her for some time. As he didn't have \"a line or a game\", and even though he just lives ten minutes away from campus, when he saw a chance to get her alone for 6 uninterrupted hours after he saw her texting about the ride share in class, he took it. He saw the car ride as a romantic gesture, leading him to post the notice offering a ride to Wilmington. In the car, they notice a number of black-clad figures walking past the car and call after them, but they do not stop. Their faces are white and dead-looking. The guy follows them up the slope into a ruined building where they disappear. He finds frozen corpses half buried in the snow inside and also a newspaper. Meanwhile, the girl sees the lone figure again and when she touches it, burning her hand, it turns round to reveal a bloated corpse. They think help has arrived when a Pennsylvania Highway Patrol cop knocks on their window. He does not seem to understand their predicament, choosing instead to believe they were \"parking\". He takes the girl to the back of his patrol car, which is clearly not a modern vehicle. When he violently pushes her into the car, the guy hits the cop with a tire iron. They jerk awake, thinking it was all a dream, to find that the guy has the tire iron frozen to his frostbitten hands. The girl realizes that he was badly injured in the crash when she sees a bottle of pee with blood in the backseat. She proceeds to question the guy and he admits that he realized that himself en route to the gas station. He further admits he did not reach the gas station because he started spitting up blood. The newspaper from the ruined building is dated 23 December 1953, telling of an accident in which a young couple and a cop were killed when their cars crashed into a ravine on this road. Retired priests from a nearby home gave them the last rites. They realize that the cop is a ghost, the black-clad figures are the dead priests and the speeding car which caused them to swerve was driven by the ghostly cop. The cop keeps reappearing, always heralded by Brenda Lee's \"Rockin' Around the Christmas Tree\" on the car's radio. The girl drifts in and out of consciousness, becoming in her dreams the many other people the cop has killed. She proposes an idea to the guy to use his telephone,from his trunk of belongings, to call for help from the junction box on a nearby telephone pole. The guy seems resistant as he is concerned over her safety and they agreed on a warning system: when song appears on the radio he will honk the horn and she'll return. Before she leaves, he says \"You know what I'll do different? ... Next time I will just walk up to you after class and say hi\". She smiles and replies, \"You should, definitely do that\". They kiss before he calls out \"Wait....\" as the girl reassures him \"I will be right back\" and she leaves. She climbed up the telephone pole, connects the telephone and reaches 911, but is not sure they could hear her. Returning to the car, she finds that the guy has died. She cries out \"You knew I was coming back\" as she had him in her arms for the final time as a black figure is seen walking past the car. The girl then carries the guy out of the car and leaves him along a side the road. From afar the girl sees headlights approaching her. Thinking that it is the same car (i.e. driven by the ghostly cop) she hurriedly attempts to open the faulty car door but to no avail. Turns out a snow-plow driver came in response to the girl's reported incident (i.e. the 911 call went through). The girl heaves a sigh of relief as the snow-plow driver puts the guy's body on the back and calls her to get in the vehicle. While driving he tells the girl that, in the early 1950s, a corrupt cop murdered people on this stretch of road and their bodies were never found. In 1953 he ran a young couple off the road, but lost control and also died in the ravine. Frequently, around this time of year, more people die on this road. In 1961, the priests were found frozen to death in their beds. The plowman sees headlights and believes more help has arrived. Instead, the ghostly cop runs them off the road, causing the plowman to swerve in order to avoid him. The girl knew what was going to happen and she prepares for it by buckling her seat belt. True enough the swerve causes the snow-plow truck to tumble. In spite of that, the truck is not stuck; but, despite the girl's pleas, the driver gets out to help the ghostly cop not knowing who he is dealing with. The girl follows him and the pair see the two burning cars from 1953 down the ravine. They see the priests walk down to the trapped cop, but instead of helping him they pull the microphone from his police radio, leaving him to burn to death. His burned body crawls out and touches the plowman, who instantly freezes to death. She runs towards the truck and tries to start the truck, but the ghostly cop reappears. The ghost of the guy appears and hits him with a tire iron, saving her. As dawn breaks, she jerks awake and realized she is back in the car, with the guy's body next to her and there is no sign of the truck. She screams in despair but moments later the guy's ghost appears and leads her up the hill as he says, \"I would have told you everything eventually... It will be okay, it will just be a sweet funny story we have\" referencing back to the conversation they had while he confessed his motive for driving the girl back to Delaware. The guy leads the girl through the ruined priests' home and to the gas station, where he disappears. The girl finds herself back at the gas station. Ending scene - fire trucks, ambulance, police cars and the girl are back at route 606. The coroners are loading the guy's body on the coroner van as the girl wrapped in a blanket watched from the ambulance. A paramedic is attending to her hand injuries. She takes out her phone, looking at a picture of the guy she took earlier after he had gotten angry (because she complained over the phone about her boredom and the long journey ahead). Tears began forming in her eyes - screen turns black."}
{"movie_name":"The Last Boy Scout_1991","imdb_id":"tt0102266","script":"<script>\n  <scene>\n    <stage_direction>THE LAST BOY SCOUT<\/stage_direction>\n    <scene_description>Bang bang bang , Down you go . It 's just a job I do . Genesis , Just a Job to Do . You wan na be a detective ? Here 's what you do : Take a trusted friend , and imagine the worst thing , the most despicable thing , the thing it would never even cross their minds to do . Then assume they 've already done it twice . Joseph R. Hallenbeck , Private Investigator . When you consider that a career in pro foot - ball means maybe ten years , after which you got no legs left , and during which you 're a painkiller drug addict , a million a year sounds about right . So when people bitch at me about the money I made , I have a pat response : Go fuck yourself . James Alexander Dix , Former quarterback , L.A. Stallions . THE LAST BOY SCOUT .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARK BEDROOM<\/stage_direction>\n    <scene_description>The only light , that of a flickering TV screen . A big MAN lies , shirtless , on the bed . Watching a sports program . We hear :<\/scene_description>\n    <character>SPORTS FIGURE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( on TV . )<\/parenthetical>\n    <dialogue>Eliminating the draft? Worst thing ever happened to pro football. Already you got Eric Dickerson, no team's good enough for him. You got Dion Sanders, this guy, Bosworth, bunch of peacocks. Nagurski, I saw him play for 25 bucks a game. And he woulda played for free, you get me? He loved the game. Nowadays? Forget about it.<\/dialogue>\n    <scene_description>The TELEPHONE SHRILLS in the stillness . The Man On the Bed answers it . Speaks haltingly .<\/scene_description>\n    <character>MAN ON BED<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>MALE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Hello, Billy. Do you know who this is?<\/dialogue>\n    <scene_description>Silence .<\/scene_description>\n    <character>MALE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Kid from Ohio is looking real good, Billie.<\/dialogue>\n    <scene_description>The Man 's hand unclenches . A container of pills spills over the blanket . He stammers :<\/scene_description>\n    <character>MAN ON BED<\/character>\n    <dialogue>I'm. I'm gon na. try real hard.<\/dialogue>\n    <character>MALE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>No, Billy. What you're gon na do. is rush for 150 yards against Chicago.<\/dialogue>\n    <character>MAN ON BED<\/character>\n    <dialogue>That's. too much. I ca n't.<\/dialogue>\n    <character>MALE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>You can. And you will. This is a business, Billy. You do n't make one fifty, you're history, the kid steps in. No more job. and no more pills, Billy.<\/dialogue>\n    <character>MAN ON BED<\/character>\n    <dialogue>Please. Just give me time.<\/dialogue>\n    <character>MALE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>One hundred and fifty yards. Goodbye.<\/dialogue>\n    <scene_description>The PHONE CLICKS off . NFL running back Billy Cole stares straight ahead , mouth working spastically . AERIAL SHOT - SNOWSTORM OVER Chicago , Illinois , as the CAMERA SPIRALS DOWN TOWARD a teeming football stadium . We hear crowd noise and marching band music , deafeningly loud , as we SUPERIMPOSE the legend : SOLDIER FIELD , CHICAGO NOVEMBER 14<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANNOUNCER'S BOOTH<\/stage_direction>\n    <scene_description>The BROADCAST TEAM huddles inside the quilted jackets , squinting through the snow . Speaking into headset mikes .<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <dialogue>Good afternoon and welcome to Soldier Field, Chicago, site of today's confrontation between the L.A. Stallions and the Chicago Bears. This is Vern Lindquist with Terry Bradshaw, and, yes, my friends, it is that cold.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCKER ROOM - SAME TIME<\/stage_direction>\n    <scene_description>Billy Cole sits , alone , in front of his locker . Eyes glazed . Face bathed in sweat . He takes a bottle of pills from the locker . Pops three . Hisses a stream of air through his teeth as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOOTBALL FIELD - DAY (FOURTH QUARTER)<\/stage_direction>\n    <scene_description>A deafening CRUNCH as a defensive back hammers a wide receiver , nearly decapitates him . The ball rolls free . The back recovers it .<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Big Ray Walton puts a devastating hit on Bricmont, so Chicago turns over the ball with a minute and forty seconds left.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIDELINES - SAME TIME<\/stage_direction>\n    <scene_description>The injured player goes by on a stretcher , moaning . Cheerleaders jump and frolic . BILLY COLE gets up off the bench . The rest of the offensive unit sprints onto the field . Cole walks . Straight ahead , eyes front . Like a robot . His HEARTBEAT THUDS on the soundtrack .<\/scene_description>\n    <character>COLOR MAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And so L.A. has a chance to ice the game, no pun intended. And you got ta be thinking, give the ball to Billy Cole. He has had an outstanding day, racking up 138 yards against a tough defense.<\/dialogue>\n    <scene_description>DOWN ON FIELD The huddle breaks . The L.A. team trudges through the snow to the line of scrimmage . Cole adopts a three - point stance . Everything happens in hyper - real SLOW MOTION : The snow falls . The receivers breeze past , in motion to begin their patterns . Moving like gazelles . Cole 's fingers paw the cold earth . Gouging it . He is like a spring . Coiled and ready . The ball is snapped . Turf and snow . Erupting . A firecracker series of POPS as linemen collide . Legs churning . The ball floats through the snowy air . Pitch - out to Cole . He takes it on the run . Tucks it under his arm . Behind him , the quarterback bites the dust , leveled . Cole turns the corner . Picks up a blocker . Feet pounding . Arms pumping . Up ahead , the free safety barrels toward him . Low and hard . Cole does not blink . He reaches beneath his jersey . Pulls out a GUN . Pumps THREE SHOTS into the free safety 's head . The bullets go straight through . On the back of his helmet . A mixture of blood and fiberglass . Cole keeps going , jogging for the end zone . Around him , sound . Fury . Impact . Confusion . Another defensive back . Straight ahead . Reacts with almost comical terror . Dives to one side . Cole FIRES . Blows out the guy 's knee . Ends a career . Keeps going . We are now in full - scale panic . The players are fleeing the field . Shouts . Pandemonium . A few brave men gather around the fallen players . POLICE are on the field now . Running full out . They 've got riot guns , cocked and locked . Sprinting through the snow . Cole crosses the goal line . Touchdown . Drops the ball . Turns , facing the cops . His eyes are insane . The crowd is screaming . People are running back and forth like extras in the Keystone Cops . The first TWO BLASTS from the cops ' RIOT GUNS go high and wide . One SHOT BLOWS APART the base of the goalpost . The forty - foot - high monument pitches over , collapsing like a wounded giant . Lands in a shower of snow and ice . Cole is oblivious to the bars crashing around him . He smiles and says :<\/scene_description>\n    <character>COLE<\/character>\n    <dialogue>I'm going to Disneyland.<\/dialogue>\n    <scene_description>Puts the GUN to his helmet . FIRES .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. L.A. STREET - IN SHADOW OF FREEWAY - MORNING<\/stage_direction>\n    <scene_description>We SUPERIMPOSE the legend : WEST LOS ANGELES , CALIFORNIA DECEMBER 20 . Good morning , Mr. and Mrs. America , and all the ships at sea . Welcome to another lackluster morning in Southern California . Palm trees limp . Windless silence . 80 degrees at 8:00 AM . CAMERA CRANES DOWN PAST a huge , rotting billboard . On the billboard , a girl in tight jeans . Grabbing her own butt . A surprised look on her face . Yes , honey , that 's your butt . MOVE IN ON a tiny , weather - beaten bungalow . In the shadow of the 405 Freeway . A shingle hangs from a wrought iron post : JOSEPH R. HALLENBECK , CONFIDENTIAL INVESTIGATIONS . On the lawn , a late - model Plymouth . The sprinkers come to life . Fling water across the car . ANOTHER ANGLE Inside the car , a lone man is asleep , arms akimbo . Sprawled across the seat . Half - empty bottle of Seagrams V.O. RADIO on , playing tinny JAZZ music . Picture the tiredest , meanest , grouchiest son of a bitch self - hating loser you can . Now give him a two - year - old suit from C &amp; R Clothing . Such is the aforementioned HALLENBECK . ANOTHER ANGLE THREE neighborhood KIDS have gathered around the car . Enjoying the spectacle of a sleeping drunk . One tosses a baseball from hand to hand . One picks his nose .<\/scene_description>\n    <character>KID #1<\/character>\n    <dialogue>Dude's trashed.<\/dialogue>\n    <character>KID #2<\/character>\n    <dialogue>Shit, we should do something to him.<\/dialogue>\n    <scene_description>Kid # 3 continues mining for nose eggs . It looks like his entire fist is up there . Pause , then :<\/scene_description>\n    <character>KID #3<\/character>\n    <dialogue>I know where there's a dead squirrel.<\/dialogue>\n    <scene_description>ANOTHER ANGLE - BUNDLE OF PAPER TOWELS - SOME MINUTES LATER with a tail sticking out . The youngest Kid holds it aloft reverently . Looks in the open car window at Hallenbeck . Still snoozing . Dead to the world .<\/scene_description>\n    <character>KID #1<\/character>\n    <dialogue>Do it.<\/dialogue>\n    <scene_description>They heave the squirrel into the car and run away . A pause . Another pause . The sprinkler goes round . Nothing happens . ANOTHER ANGLE Hallenbeck snores . The mashed squirrel perches on his chest . A shadow falls across him as - KIDS return , scratching their heads . Staring in at him .<\/scene_description>\n    <character>KID #2<\/character>\n    <dialogue>Goddamn. Dude's trashed.<\/dialogue>\n    <character>KID #3<\/character>\n    <dialogue>Take his bottle.<\/dialogue>\n    <scene_description>Kid # 1 smiles nervously . Reaches in with infinite patience . Trembling hand inches closer and closer - And closes on the bottle as , without warning - HALLENBECK sits bolt upright and grabs the Kid and stuffs a .38 revolver in the Kid 's face and cocks it .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Hey, motherfucker.<\/dialogue>\n    <scene_description>The Kid , of course , shrieks . And the light of sanity dawns in Hallenbeck 's eyes . He sucks in a deep breath . Releases the struggling Kid . Swears under his breath . Watches the boys flee in terror . Notices a dead squirrel in his lap . Scowls . Heaves it out the window . Pumps a Camel into his mouth . Lights it . Rescues the bottle of Seagrams . Thus begins his morning . He opens the car door . The sprinkler douses him . He gets out . Stands on the lawn . One of the Kids , the toughest one , is standing on the sidewalk .<\/scene_description>\n    <character>KID #3<\/character>\n    <dialogue>I'm not scared.<\/dialogue>\n    <scene_description>Hallenbeck scowls .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>You're on my property, kid.<\/dialogue>\n    <character>KID #3<\/character>\n    <dialogue>Sidewalk belongs to the government.<\/dialogue>\n    <scene_description>Hallenbeck stares at him . Smiles weakly .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Excuse me.<\/dialogue>\n    <scene_description>He leans over and vomits on the lawn . One hand gripping the car fender . The sprinkler goes round and round .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MALIBU BEACH FRONT - MORNING<\/stage_direction>\n    <scene_description>A redwood beach house , mellow in the morning sun . There was a party here last night . Banners . Balloons and streamers . Tawdry in the light of day .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEACH HOUSE - SAME TIME<\/stage_direction>\n    <scene_description>A plush bedroom . Sun streams in the window . A YOUNG MAN sits , straddling a backwards chair . Bare - foot , bare - chested . Blond hair , perfect tan . He is nursing a beer . Smoking and staring at - BED where a tawny golden girl lies , serene and innocent . Like a sleeping kitten . Rumpled sheets , one breast exposed . No tan line . The man takes a drag off the cigarette , studies the sleeping girl . Meet Jimmy Dix . Twenty - seven years old , former National League heartthrob . He shakes his head and mutters :<\/scene_description>\n    <character>JIMMY<\/character>\n    <parenthetical>( YOUNG MAN . )<\/parenthetical>\n    <dialogue>Jesus, kid, if only you were n't so damn ugly.<\/dialogue>\n    <scene_description>He gets up and goes into the head . Pulls out a glass vial . Dips a coke spoon with practiced ease . Sucks it up a nostril . For one moment , he catches his own eye in the mirror . FLASHBACK - FOOTBALL FIELD Seventy thousand people screaming . Jimmy in the middle . Younger Jimmy . Fresher Jimmy . It 's a night game at the Coliseum . He 's the quarterback . The snap . Jimmy fakes the draw . Rolls right . Around him , all is impact . Sound and fury . He targets a receiver and unleashes a rocket . Sixty - yard toss , hits the guy between the numbers . JIMMY 'S FACE Covered with dirt and mud . Blood , too . Young and proud . Seventy thousand voices tell him he 's alive . He makes a difference . BACK TO PRESENT Alone in the bathroom . leaning on the counter . Head down . A voice calls softly from the bedroom :<\/scene_description>\n    <character>SLEEPY VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Jimmy, are you still here?<\/dialogue>\n    <scene_description>Pause , then :<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <scene_description>He looks up at his reflection . Glazed eyes , beard stubble . Crows ' feet around the eyes .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Yeah. I guess I am.<\/dialogue>\n    <scene_description>He sniffs , clearing his nose .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEST L.A. BUNGALOW - MORNING<\/stage_direction>\n    <scene_description>Hallenbeck opens the door and shambles in . Dark . Depressing . Sprawl of furniture . Stack after stack of sports magazines . Drop all your belongings out of a plane . They will land like this . He flicks on the light . Crosses to the couch and flops down . Plucks a bottle of aspirin from an end table . Next to the bottle , we see - TWO FRAMED PHOTOGRAPHS side by side . In one , younger Hallenbeck is kissing younger bride . Smiling . In the other , the President of the United States presents Hallenbeck with a medal . They are both smiling beneath the Presidential Seal . BACK TO SCENE Hallenbeck scowls and chews three aspirin . Swallows . The PHONE RINGS . He groans . Chain - lights another smoke , stubs out his old one . Chins the receiver and says :<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Hallenbeck Investigations.<\/dialogue>\n    <character>MALE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Hey, Joe, Mike Miller over at Swerdlow. You got a minute?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Mmmmm.<\/dialogue>\n    <character>MALE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Mmmmm? What's mmmmm? Jeez, you sound fucking terrific. What'd you do last night?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Sat in the car. Looked at the sky. Got hammered.<\/dialogue>\n    <character>MALE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>How bad?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>I killed a squirrel and do n't even remember.<\/dialogue>\n    <character>MALE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>That's bad, Joe.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Tell me about it. Look, I crawled out of a perfectly good bottle to answer the phone, what the fuck do you want?<\/dialogue>\n    <character>MALE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Still takin' charity?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>No pride here. What ` cha got?<\/dialogue>\n    <character>MALE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Stripper in West Hollywood. Lives alone. Very hot. A three on my finger scale. Means I'd cut off three of my fingers if God would let me sleep with her.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Make her a one on your nose scale. Improve your looks.<\/dialogue>\n    <character>MALE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Eat me. Deal is this : She's got a psycho, threatens her over the phone. I'm gon na rape you, cut you, the usual crap. She thinks he's following her. I'm up to here, you got plans?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>I was gon na smoke some cigarettes.<\/dialogue>\n    <character>MALE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Can you postpone?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>These are really good cigarettes.<\/dialogue>\n    <character>MALE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>She goes onstage at seven. It's two hundred bucks, Joe.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( sighs . )<\/parenthetical>\n    <dialogue>Gimmee the address.<\/dialogue>\n    <character>MALE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Terrific. And, Joe, big favor, okay? Try to. fix yourself up, if you can manage it. Look the part. Not like the last time, okay?<\/dialogue>\n    <scene_description>Hallenbeck catches his reflection in the mirror over the TV . His face is ashen grey . Hollow eye sockets . Blotchy skin .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Gimmee the address.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUNGALOW - MORNING<\/stage_direction>\n    <scene_description>Hallenbeck emerges into the blinding glare . His tie is crooked . His cuffs are too short . He looks like a grouchy bear . He looks up at the girl on the billboard .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>` Morning, gorgeous.<\/dialogue>\n    <scene_description>Gorgeous does not respond : Coy . Very coy . Hallenbeck slides behind the wheel of his Plymouth . KEYS the IGNITION . Phil Woods ' SAXOPHONE fills the air . He looks at himself in the mirror .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Nobody likes you. Everybody hates you. You're an asshole and you're stupid. You're gon na lose.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Smile, you fuck.<\/dialogue>\n    <scene_description>He stretches his mouth into a grimace . Pulls out into the street . Off he goes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MALIBU BEACH HOUSE - MORNING<\/stage_direction>\n    <scene_description>Jimmy Dix leaves the bedroom . Pads barefoot down a hall littered with beer cans , food wrappers . A sleeping guy . Stops at a door , peeks in : all - night poker game in progress . Four bleary - eyed men . Unshaven . Stack of wrinkled money on a card table .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>` Morning, boys.<\/dialogue>\n    <scene_description>They all grunt . One of them , name of HENRY , looks up at him . Holds out a half - smoked doobie :<\/scene_description>\n    <character>HENRY<\/character>\n    <dialogue>Hey, Jimmy. You want some of this?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>No, man. Why do you think they call it dope?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Henry, did I do anything last night that I should know about?<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>You puked a couple times. Pointed at some lady's tits. Chased a dog for a half an hour. Fucked a congressman's daughter, shit on someone's car.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>No, man, I meant something bad, that I should know about.<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>Mmmm. Nope.<\/dialogue>\n    <parenthetical>( frowns . )<\/parenthetical>\n    <dialogue>My ass hurts, I think I had gay sex last night. I do n't remember. When are you gon na come look at my gun collection?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Soon, Henry.<\/dialogue>\n    <scene_description>One of the other PLAYERS looks up , says :<\/scene_description>\n    <character>PLAYER<\/character>\n    <dialogue>Are you Jimmy Dix? Played for the Stallions?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>'86 and' 87, that was me.<\/dialogue>\n    <character>PLAYER<\/character>\n    <dialogue>Hell, I think the league gave you a raw deal.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Thanks. What the hell, shit floats. I'll be back.<\/dialogue>\n    <character>PLAYER<\/character>\n    <dialogue>I hope so.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>I'll be back.<\/dialogue>\n    <scene_description>Everyone plays cards . No one looks at him . He frowns . Leaves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - MINUTES LATER<\/stage_direction>\n    <scene_description>Jimmy is seated in the devastated living room . Putting on shoes . He hears a COMMOTION outside : A woman scream - ing . Water splashing . He frowns , puzzled . Gets up . Pads out onto a redwood deck .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. REDWOOD DECK - SAME<\/stage_direction>\n    <scene_description>A six - foot behemoth is seated in a jacuzzi at the far end of the deck . He is dunking a terrified female head under the water and laughing . Jimmy clears his throat .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Ho. Ray.<\/dialogue>\n    <scene_description>The MAN looks up , annoyed .<\/scene_description>\n    <character>RAY<\/character>\n    <parenthetical>( MAN . )<\/parenthetical>\n    <dialogue>What the fuck you want, Jimmy?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>What's with the girl?<\/dialogue>\n    <scene_description>She surfaces , sputtering and screaming . Ray thrusts her beneath the surface again .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Bitch wo n't blow me.<\/dialogue>\n    <character>JIMMY<\/character>\n    <parenthetical>( pause , then . )<\/parenthetical>\n    <dialogue>Too early in the morning, Ray. Let her go.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Fuck you. She's not coming up till she starts blowing.<\/dialogue>\n    <scene_description>Jimmy swallows hard . Says :<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Ray. Let her go.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Fuck you, loser. What are you doing at a league party, asshole? You and ol' Dex Manley should get together, swap stories about gettin' booted.<\/dialogue>\n    <scene_description>Jimmy controls himself with an effort .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Ray, she's gon na drown.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Not if she blows me.<\/dialogue>\n    <scene_description>Jimmy 's eyes are smoldering . He steps to the right . Casually scoops up a football lying on the deck .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Last chance, Ray.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Go spit.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <scene_description>Jimmy turns , as if to walk away . Instead , he spins back and launches the football . It sings , that 's how hard he throws it . And when it smacks Ray in the face , something breaks . It ai n't the ball . The big man howls . Clutching his flattened nose . The girl comes up for air . Gagging and choking . Jimmy is at her side instantly . Pulls her out of the water .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Get out of here. Go.<\/dialogue>\n    <scene_description>She goes . He leans over and grabs Ray by the hair . The guy is bleeding . Delirious . Jimmy yanks until their faces are inches apart .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Best arm in the National League, you son of a bitch. Remember that.<\/dialogue>\n    <scene_description>He lets go . Ray sags , semi - conscious . The poker players come running as Jimmy walks back inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COAST HIGHWAY - DAY<\/stage_direction>\n    <scene_description>Jimmy gets into the car . Takes out his vial . Spoons some powder , sucks it up . A voice in the background : `` Hey , someone shit on my car ! ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN NEIGHBORHOOD - DAY<\/stage_direction>\n    <scene_description>Joe Hallenbeck slides his Plymouth to the curb in front of a cozy stucco dwelling . Gets out , crosses the lawn . A fat NEIGHBOR is watering shrubs next door . He waves .<\/scene_description>\n    <character>NEIGHBOR<\/character>\n    <dialogue>` Morning, Joe, how's it going?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>My ears are burning, Andy. Even as we speak, someone, somewhere is calling me an asshole.<\/dialogue>\n    <character>NEIGHBOR<\/character>\n    <dialogue>You're funny.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>I'm playing Tahoe on the 15th.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLENBECK'S HOUSE - SAME TIME<\/stage_direction>\n    <scene_description>Hallenbeck enters and crosses the living room . A woman , forty - ish , once beautiful , appears in the bedroom doorway . Wearing a terry cloth robe . This is Joe 's wife SARAH .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>I thought you were in Las Vegas.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>I was.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Where did you sleep?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Office.<\/dialogue>\n    <scene_description>He brushes past her and crosses to the bed . On the pillow , a big stuffed cat toy smiles benignly .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Hey, Furry Tom.<\/dialogue>\n    <scene_description>He sits on the bed . Lights a cigarette . Opens the night stand and removes a speedloader for his .38 . Starts to load the gun .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>How much did you lose?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>I was n't there to gamble. I was doing a skip trace.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>How much did you lose?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Fifty bucks.<\/dialogue>\n    <scene_description>He suddenly notices a sheet of paper on the night stand . A crayon sketch . He picks it up , frowns :<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>What's this?<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Darian's class drew holiday pictures. That was hers. Her teacher wants to see us, Joe.<\/dialogue>\n    <scene_description>CLOSE ON DRAWING It 's a picture of Santa Claus , except this Santa has long , stringy hair , bloodshot eyes , and grotesque talons . A little girl 's severed head is clutched in one hand . Underneath , in block capitals , is written : SATAN CLAUS . BACK TO SCENE<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Satan Claus. Kid's got some talent, do n't you think?<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>It's hideous.<\/dialogue>\n    <scene_description>Her voice is ice cold . Joe turns and regards her levelly .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>You okay, Sarah?<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>I'm tense. I could n't get to sleep last night.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Hmmmm. Well, I think the kid will be fine. Boys still tease her about the headgear?<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Are you kidding? Brace Face, that's the latest. Little bastards.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( under his breath . )<\/parenthetical>\n    <dialogue>She'll be fucking them by the time she's fourteen.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Watch your Goddamn mouth, Joe.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Well, Christ, you let her wear enough makeup. The kid looks like a goddamn raccoon. She comes in late at night, I think, ` Christ, a burglar.' I almost shot her twice.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>You're not funny. All the girls at that school wear makeup.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Yeah, but they do n't apply it with a paint sprayer. And for your information, our neighbors think I'm very funny.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Go live with them.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Do n't tempt me.<\/dialogue>\n    <scene_description>He tosses the holstered .38 on the bed . Stalks into the bathroom .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM<\/stage_direction>\n    <character>HALLENBECK<\/character>\n    <dialogue>Damn raccoon.<\/dialogue>\n    <scene_description>He sighs , tosses his cigarette butt in the toilet . Walks back out into the bedroom .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM<\/stage_direction>\n    <scene_description>He kneels , looks under the bed . Frowns . Straightens and says , very conversationally :<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Who's the guy in the closet?<\/dialogue>\n    <scene_description>Sarah stops dead . Spins and stares at him .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( frowns . )<\/parenthetical>\n    <dialogue>Oh, that's right, you sometimes forget that I'm a detective.<\/dialogue>\n    <parenthetical>( lights a cigarette . )<\/parenthetical>\n    <dialogue>See, first I noticed how tense you were, but I let that pass. Then I noticed there was steam in the shower like someone was just in there, but meanwhile your hair is completely dry, you follow? So. Why the steamy shower Because someone else was in there, right, and since he's not under the bed you must have stuck him in the closet when you heard my key in the door a day early. Tah - dah. Please, no applause.<\/dialogue>\n    <scene_description>A silence hangs between them . Sarah just stares . Shakes her head .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Well, nothing changes. You're still a lunatic.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Mmmmm. I'm sorry, honey, I do n't enjoy being observant, but someone's got ta do it.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>What's his name?<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Please leave. I have to get dressed.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>It's okay, I've seen you naked. So, apparently, has someone else. What's his name?<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>You want me to open the closet, Joe? Huh? You want me to indulge your fucking paranoia, I'll throw the door open, is that what you want me to do?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Is this a trick question?<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>I'll do it, Joe. Okay? And then we'll both know you're a psycho, is that what you want? Huh?<\/dialogue>\n    <scene_description>An awkward pause . Finally Hallenbeck scowls and says :<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>No. We wo n't open the door.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( sighs . )<\/parenthetical>\n    <dialogue>Nope. Door stays shut. Instead, what I'm gon na do is.<\/dialogue>\n    <parenthetical>( he scoops up the .38 . )<\/parenthetical>\n    <dialogue>. I'm gon na count to three, and then I'm gon na put a bullet in there, and you can stop me anytime by speaking the truth. One.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>If you shoot up my house, Joe, I will make you eat that gun.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Two. The truth is a beautiful thing.<\/dialogue>\n    <scene_description>He cocks the hammer . Arm extended , hand rock steady .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Call your shrink, Joe. I still have the number. Call him and tell him you're losing it, I can not fucking deal with you like this -!<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Three. Last chance.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Joe, dammit -!<\/dialogue>\n    <scene_description>He sighs . Starts to pull the trigger . And Sarah screams -<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Jesus, no -!<\/dialogue>\n    <scene_description>And grabs the gun . Everything freezes . She looks at him . He looks at her . Understanding occurs . CLOSET DOOR swings slowly open , then . And out steps a man in a bathrobe . Compact . Wiry . Hair still soaking wet . None other than MIKE MILLER , Joe 's early morning phone call . We know this because Joe says :<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Hello, Mike. Keeping her warm for me?<\/dialogue>\n    <scene_description>The gun barrel does not waver . Not an inch .<\/scene_description>\n    <character>MILLER<\/character>\n    <dialogue>Easy, Joe. Do n't do nothing dumb.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>How as she, Mike? On your finger scale, how was my wife?<\/dialogue>\n    <character>MILLER<\/character>\n    <dialogue>It just happened, Joe. It just happened.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>You call me from here this morning?<\/dialogue>\n    <character>MILLER<\/character>\n    <dialogue>She said you were in Vegas. I was gon na leave a message on the machine.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>When you found out I was back. Why did n't you split?<\/dialogue>\n    <character>MILLER<\/character>\n    <dialogue>She said relax, he never stops home once he's in the office.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Normally I would n't.<\/dialogue>\n    <character>MILLER<\/character>\n    <parenthetical>( stares at him . )<\/parenthetical>\n    <dialogue>You knew?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>I suspected. So how about it, Mike? On a scale of one to ten. How was she?<\/dialogue>\n    <character>MILLER<\/character>\n    <dialogue>Joe, come on, how long we been friends, huh?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>How long? Mmm. I'd say roughly until you put your dick in my wife.<\/dialogue>\n    <character>MILLER<\/character>\n    <dialogue>You got ta understand -<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>I know, I know, it just happened. It was an accident. Sure. You tripped. You said, ` Whoops,' and accidentally fucked my wife. Gee, Mrs. H., I'm sorry, just is n't my week. Sure, Mike. Happen to anybody.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I do n't got ta understand anything.<\/dialogue>\n    <scene_description>Sarah speaks then . Head down . Eyes averted .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Put the gun down.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Hmmm? Oh, right, the gun.<\/dialogue>\n    <parenthetical>( sighs . )<\/parenthetical>\n    <dialogue>You're right, Sarah, I'm acting nuts.<\/dialogue>\n    <scene_description>He pulls the trigger . The SHOT is DEAFENING in the closed room . Mike Miller screams and clutches at himself . The bullet goes high and wide . Over his head . On the wall is a framed wedding photo . The twin of the one in Hallenbeck 's office . The bullet strikes it dead center . Blows it to pieces . Silence . The tinkle of glass hitting the floor . Hallenbeck turns . Regards his wife with hooded , lifeless eyes .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Where was Darian?<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>She stayed at Cindy's last night.<\/dialogue>\n    <scene_description>He nods . Turns and waves the gun at Miller .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Let's take a walk, Buddy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN STREET - DAY<\/stage_direction>\n    <scene_description>The two men come out the back door and cut through the hedge . Miller 's car , a Pontiac Sunbird , is parked at the curb . Hallenbeck stops in the middle of someone 's yard . Holsters his gun . A neighbor 's dog approaches , happily wagging its tail . Hallenbeck bends and ruffles its fur .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Where you want it, Mike? Head or gut?<\/dialogue>\n    <character>MILLER<\/character>\n    <dialogue>Listen, Joe, I -.<\/dialogue>\n    <parenthetical>( stops , sighs . )<\/parenthetical>\n    <dialogue>Gut.<\/dialogue>\n    <scene_description>Hallenbeck pats the dog . Straightens . Plants his back foot and spins . Punches like a sledgehammer , into Miller 's gut . Miller drops to his knees . Begins to retch . Hallenbeck takes out a cigarette . Lights it .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>If I see you again, I'll kill you.<\/dialogue>\n    <scene_description>Miller nods weakly . Gasping for breath .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>So. West Hollywood at seven, right?<\/dialogue>\n    <character>MILLER<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>The job. Seven o'clock, right?<\/dialogue>\n    <character>MILLER<\/character>\n    <dialogue>You still. want the job?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>It's two hundred bucks.<\/dialogue>\n    <character>MILLER<\/character>\n    <dialogue>Yeah. I guess it is.<\/dialogue>\n    <scene_description>He climbs to his feet , still doubled over .<\/scene_description>\n    <character>MILLER<\/character>\n    <dialogue>I'm sorry, Joe.<\/dialogue>\n    <scene_description>Hallenbeck says nothing . Miller turns and stumbles to his car . Hallenbeck 's face betrays nothing . A dead mask . He walks back toward the hedge . The neighbor 's dog runs up , a tennis ball in its mouth . Behind him , Mike Miller gets into the Sunbird . Hallenbeck takes the tennis ball . Throws it . The DOG BARKS and bounds after it . Mike Miller turns the key in the ignition . The CAR BLOWS to pieces . An ERUPTION OF FLAME . Flying glass and metal . The car becomes airborne . Engulfed in fire . Does a lazy spin . Comes down . The shockwave catches Hallenbeck . Slams him ass over teacups . Windows blow in up and down the street . Smoke and fire roll to the sky . The DOG cowers , HOWLING in fear . Beside it on the grass , the tennis ball is on fire . Hallenbeck rolls to his feet . Covered with twigs and leaves . Clothing scorched . Stares . Eyes glazed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN STREET - AN HOUR LATER<\/stage_direction>\n    <scene_description>A mobile crane hoists what 's left of Mike Miller and his Pontiac . Policemen direct traffic , curb bystanders . OFF TO ONE SIDE a UNIFORM COP questions Hallenbeck and Sarah , who stand stiffly . Not looking at each other .<\/scene_description>\n    <character>UNIFORM COP<\/character>\n    <dialogue>Why did Mr. Miller visit your home this morning, Mr. Hallenbeck?<\/dialogue>\n    <scene_description>Joe lies easily :<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>He came by to talk business. He had a case he was to busy to continue with, a routine surveillance. He farmed it out to me.<\/dialogue>\n    <character>UNIFORM COP<\/character>\n    <dialogue>I see. Is that all you talked about?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Yeah. That's all.<\/dialogue>\n    <scene_description>He looks the Officer in the eye . Betrays nothing . NAKED , GYRATING BODY Female , for the record . Signaling us that we are now :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \"BOTTOMLESS PIT\" CLUB - NIGHT<\/stage_direction>\n    <scene_description>Rowdy strip club in West Hollywood . Just like the name suggests ; if it 's a virus , you 're sitting on it . After three drinks , every girl on stage looks like your high school sweetheart . Was your sweetheart fat ? Did she have excessive body hair ? FUNK MUSIC , played LOUD . The Monday crowd stomps and claps . Onstage a stripper grinds away with an enthusiasm usually reserved for standing in line at the DMV . Jimmy Dix sits at the bar , hooting and whistling . Behind the bar , a black man in a wheelchair serves drinks . His name is HARP . Off to one side , a twenty - five - year - old BEANPOLE speaks into a microphone :<\/scene_description>\n    <character>EMCEE<\/character>\n    <parenthetical>( BEANPOLE . )<\/parenthetical>\n    <dialogue>Flash of green buys a flash of pink, gentlemen. So reach into your pockets if you are n't there already, and reward the lovely and talented Ms. Vixen!<\/dialogue>\n    <scene_description>The black man shakes his head .<\/scene_description>\n    <character>HARP<\/character>\n    <dialogue>My son. He writes his own material, he's proud of that. Some people are proud, they cured leukemia. Old guy stops beating off long enough to laugh, my son thinks he's Eddie Murphy.<\/dialogue>\n    <scene_description>Jimmy uncaps a beer and raises it in a toast .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Alex the astronaut.<\/dialogue>\n    <scene_description>Harp raises his own glass .<\/scene_description>\n    <character>HARP<\/character>\n    <dialogue>Alex the astronaut.<\/dialogue>\n    <scene_description>It seems to be a common ritual between them . Jimmy drinks , thumps the bottle down . Says , resolutely :<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>I've had it, Harp.<\/dialogue>\n    <character>HARP<\/character>\n    <dialogue>Had what?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>It, man. I've had it.<\/dialogue>\n    <parenthetical>( takes a swig . )<\/parenthetical>\n    <dialogue>I do n't remember what I did last night. I'm an idiot, Harp, I act like a complete dickhead. I do n't have friends. I drink too much. I fuck anything that's warm and breathing.<\/dialogue>\n    <character>HARP<\/character>\n    <dialogue>Stay on that side of the bar.<\/dialogue>\n    <character>JIMMY<\/character>\n    <parenthetical>( sighs . )<\/parenthetical>\n    <dialogue>I cheated on my girl friend again.<\/dialogue>\n    <character>HARP<\/character>\n    <dialogue>You cheated on her? You must be crazy.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Maybe so, Harp. Maybe so.<\/dialogue>\n    <scene_description>His gaze wanders across the crowded room , fixating on - SCANTILY - CLAD WAITRESS Who makes her way between the tables . She is beautiful . Stands out like a teamster at a gay rights rally . Supple body . Deep green eyes . Flaxen hair . Her name is CORY . She stops at a table against the wall . Puts down a Seagrams V.O. in a rocks glass . Seated at the table is a broad - shouldered man in a bad suit . The essence of boredom . Looks like he 's been there three days . A cloud of smoke hangs around his head . Mr. Joe Hallenbeck , no less .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>The police wo n't help you, huh?<\/dialogue>\n    <character>CORY<\/character>\n    <dialogue>Sure. After I'm dead they'll perform the autopsy.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Guess you do n't want to wait that long.<\/dialogue>\n    <character>CORY<\/character>\n    <dialogue>Guess not.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( scowls . )<\/parenthetical>\n    <dialogue>They only play this kind of music?<\/dialogue>\n    <character>CORY<\/character>\n    <dialogue>What did you expect?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Pat Boone? The Four Freshmen?<\/dialogue>\n    <character>CORY<\/character>\n    <dialogue>What are you, my father?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Yes, I'm your father. Get your clothes on.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I hate this funk shit. It's gon na be an extra hundred bucks.<\/dialogue>\n    <character>CORY<\/character>\n    <dialogue>You're hilarious. Sit next to the speaker, you'll get used to it. After a while you'll be screaming play that funky music white boy.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>The screaming part I believe.<\/dialogue>\n    <scene_description>She smiles and moves away . Hallenbeck sips his drink . Scans the crowd with shrewd eyes . ANOTHER ANGLE The lovely Cory approaches Jimmy at the bar . Harp looks on .<\/scene_description>\n    <character>CORY<\/character>\n    <parenthetical>( seductive . )<\/parenthetical>\n    <dialogue>Hello, handsome. How'd you like to buy me a bottle of champagne?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>How much for a bottle?<\/dialogue>\n    <character>CORY<\/character>\n    <dialogue>Forty dollars.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>No thanks. Nothing personal, my seventh grade teacher was killed by a drunk driver.<\/dialogue>\n    <character>CORY<\/character>\n    <dialogue>Tall guy? Sandy hair?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>That's the one.<\/dialogue>\n    <character>CORY<\/character>\n    <dialogue>I had to swerve three times to get him.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Ha - ha.<\/dialogue>\n    <character>CORY<\/character>\n    <dialogue>So no bottle, then?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>For forty bucks I'd rather drink my own piss.<\/dialogue>\n    <character>CORY<\/character>\n    <dialogue>That's extra.<\/dialogue>\n    <scene_description>And with that , she leans over and moulds her lips to his . Time passes . These two know each other , it would seem . Cory pulls away . Jimmy smiles .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Hi, Cory. Rough night?<\/dialogue>\n    <character>CORY<\/character>\n    <dialogue>Arrgh. I've had it to here.<\/dialogue>\n    <character>JIMMY<\/character>\n    <parenthetical>( grins . )<\/parenthetical>\n    <dialogue>I'll bet you have.<\/dialogue>\n    <scene_description>She slaps his face . He feigns innocence . Points to Hallenbeck .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Who's the stiff?<\/dialogue>\n    <character>CORY<\/character>\n    <dialogue>He's nobody.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I have to get ready to dance.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Come back soon. I want to buy you a drink.<\/dialogue>\n    <scene_description>She smiles and moves off , swishingly . Jimmy watches her go . His gaze wanders across the room to Hallenbeck . He frowns . ANOTHER ANGLE Near the stage , the would - be Eddie Murphy steps up to the mike and says :<\/scene_description>\n    <character>EMCEE<\/character>\n    <dialogue>You know, crowd, these ladies are fine, but let me tell you the three reasons men prefer sheep : they're always in the mood, they never bitch, and after you fuck'em you can eat'em.<\/dialogue>\n    <scene_description>A few chuckles . Some coughs . More coughs than chuckles .<\/scene_description>\n    <character>EMCEE<\/character>\n    <parenthetical>( plowing ahead . )<\/parenthetical>\n    <dialogue>And now, here's a lady that's always in the mood, put your hands together for the lovely and talented Ms. Cory!<\/dialogue>\n    <scene_description>Applause . A syncopated DRUM BEAT kicks in . AEROSMITH 'S LATEST erupts from the SPEAKERS . And then she comes on . And even Joe Hallenbeck must draw in a sharp breath . Her body is exquisite . She moves like breath . Her eyes can put you under . She is simply that beautiful . HALLENBECK sits with his drink untouched before him . Pats his suit pockets , searching for a smoke . Removes a crumpled , empty pack , as : JIMMY DIX saunters up , looking less than friendly . He looks at Hallenbeck . Hallenbeck does not look at him .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Hi. You're nobody.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Shhh. Do n't tell anyone.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>That's what Cory said. She said you were nobody.<\/dialogue>\n    <scene_description>Only Hallenbeck 's eyes move . He looks up , regards Jimmy coolly . They size each other up . Hallenbeck sighs .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Easy, Junior, I'm not raining on your parade. She's too young for me. I'm just keeping an eye on her for a few days.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>I see. What are you, some kind of bodyguard?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Something like that. You got a cigarette?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>No. Is Cory in trouble?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>I hope not. You tell me.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>She did n't mention anything to me.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Mmmm. That bothers you, does n't it?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Maybe.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Do n't sweat it. Women have secrets. Water is wet, the sky is blue, and women have secrets.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I'll buy you a beer. Sit down.<\/dialogue>\n    <scene_description>Jimmy remains standing .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>She hired you, huh? What, you in the phonebook?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Yeah. Actually, she hired my buddy Mike. I'm filling in.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Where's Mike?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>He died.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Sorry to hear it.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Do n't be. He was a lousy surveillance man.<\/dialogue>\n    <scene_description>Jimmy leans forward , palms flat on the table .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Look, friend, I do n't know who you are or what's going on. But Cory is my girl friend and if she's in trouble, I want to hear about it.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>That's client confidential.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Tell me anyway.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>I say two words to Cory and you do n't get paid, asshole.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Do it.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>You sure? I'm looking at your suit, you could use the dough.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>You do n't like my suit, guess what? I do n't like your money.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Good,'cause you're not getting any.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Story of my life.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>What is?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Not getting any.<\/dialogue>\n    <scene_description>They stare each other down . Hallenbeck calmly sips his bourbon .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>You could n't protect a cup of warm piss.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( nods . )<\/parenthetical>\n    <dialogue>Hit me.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Hit me. Bust me in the chops, chickenshit.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You're not afraid, are you, Jimmy?<\/dialogue>\n    <character>JIMMY<\/character>\n    <parenthetical>( freezes . )<\/parenthetical>\n    <dialogue>You know who I am?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>James Alexander Dix, L.A. Stallions,'86 and' 87. Barred from the N.F.L. on gambling charges. Allegations of point shaving to support a cocaine habit, never proven. Busted once for possession. You had the makings of a first class dumbshit.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Mister. You are now pissing me off.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>About fucking time.<\/dialogue>\n    <parenthetical>( extends his hand . )<\/parenthetical>\n    <dialogue>Joe Hallenbeck. I'm a private detective.<\/dialogue>\n    <character>JIMMY<\/character>\n    <parenthetical>( ignores the hand . )<\/parenthetical>\n    <dialogue>I do n't know, Joe. You look like a dumb wop to me.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>At least I did n't shit my talent away on coke, motherfucker.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Can I hit you now?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Absolutely.<\/dialogue>\n    <scene_description>Jimmy throws a short jab at Hallenbeck 's chin . It never gets there . Joe moves , lightning quick , and suddenly Jimmy 's fist is trapped . Dead stops . Fingers grinding into palm . Jimmy swears . Stumbles . Sits down hard . Hallenbeck releases him .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Please, have a seat.<\/dialogue>\n    <character>JIMMY<\/character>\n    <parenthetical>( gasping . )<\/parenthetical>\n    <dialogue>You think you're some kind of hot shit tough guy, huh?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>It's not a question of tough. I'm bigger than you, and I was trained. So I can take you. That's just the way it is. You can throw a better pass.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>How about that beer?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Piss off.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( signals the waitress . )<\/parenthetical>\n    <dialogue>You were a great quarterback, Jimmy. I watched you play at Washington State. Red shirt freshman in' 82. Followed you with the Stallions. Good scrambling ability, seventy percent completions from the pocket. You had the best gun in the N.F.L.<\/dialogue>\n    <scene_description>Jimmy looks at him , puzzled . Did n't they just swap punches ?<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Yeah. Thanks. I guess.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( big smile . )<\/parenthetical>\n    <dialogue>Hell. I'm a fan.<\/dialogue>\n    <scene_description>ANGLE ON STAGE Onstage , the MUSIC GRINDS TO a CLOSE as Cory dispenses with the last of her clothing . Strikes a pose to wild applause and we HOLD ON her radiant beauty and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINGY DRESSING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Cory and Jimmy are engaged in very hot sex . This is not a love scene ; this is a sex scene . Sigh . I 'm not even going to attempt to write this quote - unquote `` steamy '' scene here , for several good reasons : A -RRB- The things that I find steamy are none of your damn business , Jack , in addition to which - B -RRB- The two actors involved will no doubt have wonderful , highly athletic ideas which manage to elude most fat - assed writers anyhow , and finally - C -RRB- My mother reads this shit . So there . -LRB- P.S. : I think we lost her back at the Jacuzzi blowjob scene . -RRB- Suffice to say , they fog the screen . At last , Jimmy rolls over and pours champagne into two crystal glasses . Lifts one in a toast .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Alex the pediatrician.<\/dialogue>\n    <character>CORY<\/character>\n    <parenthetical>( giggles . )<\/parenthetical>\n    <dialogue>Alex the pediatrician.<\/dialogue>\n    <scene_description>They drink . And from this blissful affirmation of life we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACKSTAGE CORRIDOR - SAME TIME<\/stage_direction>\n    <scene_description>Joe Hallenbeck is pounding an already - dented cigarette machine . No dice . It has eaten his money . He shakes his head , muttering . Looks at his watch . Looks at the dressing room door . Shakes his head again . Walks to the end of the corridor . Goes through the fire door . Out into :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>Starry , moonlit night . A chill breeze . Joe draws a breath . In front of him , on the wall of the club , is a poster : BAYNARD FOR SENATE , it reads . Above the logo , a picture of a benevolent - looking gray - haired man . Hallenbeck regards it balefully .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>I did n't vote for you, you bastard.<\/dialogue>\n    <scene_description>He looks away , and suddenly notices something on the ground : A half - smoked cigarette butt . Just sitting there . Joe stares at it . Thinks it over . Starts to walk away . Stops .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>You're a fuckin' lowlife, Joe.<\/dialogue>\n    <scene_description>He bends to pick up the butt . A steel sap whistles over his head , missing by inches . Hallenbeck spins , startled . Reflexively lashes out with a flattened palm . Misses , chops the air . Two more men , behind him . Nowhere to go . A sap pops him behind the left ear . A sickening thud . The world spins out of focus . He goes down . Hits the pavement like a ton of bricks . Rolls over , staring up . Vision muddy , indistinct . HALLENBECK 'S POV Three silhouettes hover over him , backlit by streetlamps . Their voices are fuzzy .<\/scene_description>\n    <character>HITMAN #1<\/character>\n    <dialogue>That's him. He was with her.<\/dialogue>\n    <character>HITMAN #2<\/character>\n    <dialogue>Shit, he's packing. What should we do?<\/dialogue>\n    <character>HITMAN #3<\/character>\n    <dialogue>Get him away from here. Then kill him.<\/dialogue>\n    <character>HITMAN #2<\/character>\n    <dialogue>There's no contract for him.<\/dialogue>\n    <character>HITMAN #3<\/character>\n    <dialogue>Then do it for free. Just do it elsewhere.<\/dialogue>\n    <scene_description>The men disperse . One of them drags Joe to his feet . A stocky , crag - faced man . He jams a silenced pistol in Joe 's kidney and points him toward a vacant lot nearby .<\/scene_description>\n    <character>HITMAN #2<\/character>\n    <dialogue>Start walking. I'm right behind you.<\/dialogue>\n    <scene_description>ANOTHER ANGLE The two other Hitmen return to their gray , late - model sedan . Climb into the car and sit , watching the nightclub . Waiting .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VACANT LOT - NIGHT<\/stage_direction>\n    <scene_description>A rusty chain - link fence separates the lot from the boule - vard . Choked with weeds . Broken glass . A rusted - out car . A towering billboard looms overhead , inviting people to drink Scotch or get laid , it 's hard to tell . Hallenbeck staggers drunkenly across the lot . The crag - faced man follows behind him .<\/scene_description>\n    <character>CRAG-FACE<\/character>\n    <parenthetical>( HITMAN # 2 . )<\/parenthetical>\n    <dialogue>Wrong place at the wrong time, buddy, that's all it is. Just want you to know it's nothing personal.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>That's what you think. Last night I fucked your wife.<\/dialogue>\n    <scene_description>The gunman cracks up . Hallenbeck grins drunkenly .<\/scene_description>\n    <character>CRAG-FACE<\/character>\n    <dialogue>Oh, you did, huh? How'd you know it was my wife?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>She said her husband was a greaseball with bad breath.<\/dialogue>\n    <scene_description>The guy cracks up again .<\/scene_description>\n    <character>CRAG-FACE<\/character>\n    <dialogue>You're pretty cool for a guy gon na take a bullet.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>After fucking your wife, I'll take two.<\/dialogue>\n    <scene_description>The hitman wheezes laughter . Joe just grins .<\/scene_description>\n    <character>CRAG-FACE<\/character>\n    <dialogue>You're a funny guy. It's a shame to take you off. Here, kneel down.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Are you kidding? We barely know each other.<\/dialogue>\n    <scene_description>The hitman is now giggling , shaking his head .<\/scene_description>\n    <character>CRAG-FACE<\/character>\n    <dialogue>This is wild. I never shot no funny guy before.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>You need a special funny bullet.<\/dialogue>\n    <character>CRAG-FACE<\/character>\n    <dialogue>Come on, cut it out. Head or chest?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>That's what your wife said.<\/dialogue>\n    <character>CRAG-FACE<\/character>\n    <dialogue>Would you quit with the wife? Enough is enough.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Ask me how fat she is.<\/dialogue>\n    <character>CRAG-FACE<\/character>\n    <dialogue>How fat is she?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>She's so fat I had to roll her in flour and look for the wet spot. You wan na fuck her, you got ta slap her thigh and ride the wave in.<\/dialogue>\n    <parenthetical>( the hitman loses it . )<\/parenthetical>\n    <dialogue>Like the Pillsbury doughboy, except when you poke her in the stomach, she farts. I got a buddy he's an archaeologist, organized an expedition to her chin. They got lost in her nasal hair. But seriously, her eyes are like the streets of Paris : crossed. They're so crossed when she cries the tears run down her back. She's got back - tearia.<\/dialogue>\n    <character>CRAG-FACE<\/character>\n    <parenthetical>( ca n't stop laughing . )<\/parenthetical>\n    <dialogue>Oh, that's awful. Buddy, you're a fucking rio -<\/dialogue>\n    <scene_description>From a kneeling position , Hallenbeck flings a handful of gravel at the man 's eyes . The man cries out . Stumbles backward . And Hallenbeck moves like a coiled spring . Not drunk at all . He takes the broken bottle he 's been clutching and cuts the guy 's throat like a knife through butter . The hitman stands with a shocked look on his face . Blood bubbling . FIRES the GUN once , into the ground . Drops it from nerve - less fingers . Stares at Hallenbeck , aghast .<\/scene_description>\n    <character>CRAG-FACE<\/character>\n    <dialogue>Bastard.<\/dialogue>\n    <scene_description>Hallenbeck meets his gaze . A savage , feral gleam in his eye .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>And then some.<\/dialogue>\n    <scene_description>The guy pitches over dead . Hallenbeck kneels beside him . Retrieves his .38 , holsters it . Slips the hitman 's pistol into his waistband .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>I'm playing Tahoe on the 15th.<\/dialogue>\n    <scene_description>He takes off running .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STRIP CLUB - NIGHT<\/stage_direction>\n    <scene_description>Cory and Jimmy emerge from the club into the parking lot . She scans the area , shaking her head .<\/scene_description>\n    <character>CORY<\/character>\n    <dialogue>I ca n't believe it. The bastard split on me.<\/dialogue>\n    <parenthetical>( sighs . )<\/parenthetical>\n    <dialogue>I'm staying at a motel for a couple days. Will you follow me?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>He heads for his car . ANOTHER ANGLE The Hitmen wait in the darkened sedan . Watching Jimmy and Cory . The driver keys the ignition . Starts the car . In his lap is an automatic rifle .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOULEVARD - NIGHT<\/stage_direction>\n    <scene_description>Joe Hallenbeck is running full out . Headlong down the sidewalk . Gasping for breath .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Move!<\/dialogue>\n    <scene_description>He slams into a man . Knocks him flat . Groceries fly . Joe does n't care . He stumbles . Keeps going .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NIGHTTIME STREET - SAME TIME<\/stage_direction>\n    <scene_description>Jimmy Dix is behind the wheel of a silver Jag . Cory is driving a spanking new Ford Fiero . Jimmy follows behind Cory , watchdogging . Humming with JOE COCKER on the RADIO . Cory comes to a red light . Pauses . Turns right onto a sidestreet . Jimmy slows , pausing at the intersection . GRAY SEDAN passes Jimmy . Accelerating . ENGINE REVVING . Jimmy only gets one glimpse into the passing car . It 's enough : Everyone inside is armed to the teeth . The SEDAN ROARS around the corner , cutting in front of Jimmy .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Oh God. This is a hit this is a fucking hit!<\/dialogue>\n    <scene_description>GRAY SEDAN comes up behind Cory . Comes up fast . Rams her car . Metal crumples . Meanwhile : JIMMY frantically floors the pedal of his Jag , pops the clutch - And stalls out . He roars with anger . Flings open the door . Leaps out and runs forward , screaming :<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Cory, get out of there!<\/dialogue>\n    <scene_description>Too late . Cory is already out of her car , yelling :<\/scene_description>\n    <character>CORY<\/character>\n    <dialogue>Hey, ca n't you fucking drive?<\/dialogue>\n    <scene_description>Her eyes go wide with shock . The Hitmen burst from their car . OPEN UP on full auto . Cory is cut down . Blown backward over the hood of her Ford . Flung to the street .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Oh Gooood!<\/dialogue>\n    <scene_description>And without missing a beat , the Hitmen turn - And OPEN FIRE on Jimmy . He takes a running start . Clears the hood of his Jag in a single leap . BULLETS DICE the metal behind him . He lands , hard . Sucks the ground . Huddled behind his car , as : TWO HITMEN move toward him , triggering THREE SHOT BURSTS . The kid is dead meat . Or so it seems until , without warning - JOE HALLENBECK charges into the intersection . Screaming bloody murder . He 's got a GUN in each fist , and both are BLAZING . One Hitman dies immediately : Dances like a puppet , racked by gunfire . Bullets go through him . SHATTER the sedan 's WINDSHIELD . The second Hitman turns and OPENS UP on Hallenbeck . Too late . Joe rolls behind a mailbox . BULLETS chase him , blowing apart the metal box . The Hitman swears . Turns , running for the sedan . He knows when a getaway is in order . Just one problem . He forgot about Jimmy Dix . A SCREECH of TIRES . As Jimmy 's Jag slews around the corner , laying rubber . Rockets toward the Hitman , pins him in its headlights - The Hitman screams as Jimmy plows through him - And CRUNCHES into the gray sedan . Shatters the Hitman between the two cars . And holy Christ , the guy 's still alive . Pinned like a butterfly , legs broken . He raises his rifle , screaming . Jimmy dives flat on the front seat . The WINDSHIELD ERUPTS . The Hitman . Still pinned . Still screaming . He FIRES SHOT AFTER SHOT into Jimmy 's car . Hallenbeck walks up behind him . Puts a BULLET in his head . He stops screaming . JIMMY is still huddled on the front seat in a sea of broken glass . Hallenbeck walks up , leans in the window .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <parenthetical>( as Jimmy looks up . )<\/parenthetical>\n    <dialogue>Back up.<\/dialogue>\n    <scene_description>ANOTHER ANGLE Jimmy puts it in reverse . The car backs up . Steam pouring from the crumpled hood . The Hitman , now freed , collapses to the street . Like a sack of flour . Hallenbeck limps toward him , wheezing . He stops as : MOTEL MANAGER stands outside a door marked OFFICE . Holding a pump action shotgun leveled at Hallenbeck . Hallenbeck nods at the bodies in the street .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>It's all over, compadre.<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>Get off my property, mister.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( scowls . )<\/parenthetical>\n    <dialogue>Sidewalk belongs to the government.<\/dialogue>\n    <scene_description>He turns and looks at Jimmy . The kid is in pain . Staring at Cory 's bullet - riddled body . Eyes glazed . Hallenbeck says nothing . He crosses to the shattered Hitman . Kneels down , fishes through the guy 's coat pockets . Comes up with a bloody pack of cigarettes . Extracts one . Lights it . SIRENS fill the air . And Jimmy snaps out of it long enough to reach into his coat - Takes out the vial of coke . Ditches it . Drops it down a sewer grating , out of sight . No one sees him do it . POLICE CRUISERS come SQUEALING up , flashers turning . Surrounding Jimmy , who stands , head down and motionless - And Joe , who smokes and looks at the moon .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - NIGHT<\/stage_direction>\n    <scene_description>SERGEANT BENJAMIN BESSALO sits behind his desk , scanning a stack of typed pages . A tired - looking cop named McCASKEY lounges in the doorway . A Christmas tree in the corner sheds needles . Through the glass window , we can see Hallenbeck and Jimmy seated outside in the squad room proper . Bessalo stops reading . Sniffs the air . Frowns :<\/scene_description>\n    <character>BESSALO<\/character>\n    <dialogue>Something stinks in here.<\/dialogue>\n    <parenthetical>( widens his eyes . )<\/parenthetical>\n    <dialogue>My God, it's this statement!<\/dialogue>\n    <scene_description>He flings the paper onto his desk .<\/scene_description>\n    <character>McCASKEY<\/character>\n    <dialogue>Sarge?<\/dialogue>\n    <character>BESSALO<\/character>\n    <dialogue>It's shit. Hallenbeck is hiding something.<\/dialogue>\n    <character>McCASKEY<\/character>\n    <dialogue>How do you know?<\/dialogue>\n    <character>BESSALO<\/character>\n    <dialogue>I know how the bastard's mind works. Every lie has eighty percent truth to it. Guy scares me.<\/dialogue>\n    <scene_description>McCaskey is staring out the window at Hallenbeck .<\/scene_description>\n    <character>McCASKEY<\/character>\n    <dialogue>We lookin' at the same guy?<\/dialogue>\n    <character>BESSALO<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Go ahead. Tell me what you see.<\/dialogue>\n    <character>McCASKEY<\/character>\n    <dialogue>I see a guy, looks like he just slept in his suit.<\/dialogue>\n    <character>BESSALO<\/character>\n    <parenthetical>( nods . )<\/parenthetical>\n    <dialogue>Yep. That's what most people see.<\/dialogue>\n    <character>McCASKEY<\/character>\n    <dialogue>There's more?<\/dialogue>\n    <character>BESSALO<\/character>\n    <dialogue>Oh, yeah. There's more.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>A long time ago, that son of a bitch saved the President's life.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SQUAD ROOM - SAME TIME<\/stage_direction>\n    <scene_description>Outside the office Hallenbeck and Jimmy are perched side by side on a wooden bench . Jimmy is crumpling pieces of paper and tossing them at a wastebasket . He throws with unerring accuracy . Beside him Hallenbeck frowns , deep in thought . Finally , Jimmy speaks :<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>That stuff Cory fed you about a weirdo hassling her. That was all bullshit, was n't it?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Yeah. I do n't know what she was into, but those were professional hitters tonight. Mob style.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Tell me about Cory. What was she like?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>None of your fucking business.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Listen up, friend. I'm trying to get a handle on this. How was she fixed for money?<\/dialogue>\n    <character>JIMMY<\/character>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>I do n't know. Pretty strapped, I guess.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Always kept an eye out for work?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>No hooking, if that's what you mean.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>It is n't. Tell me what she did at the club, besides dance.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>The usual. Waitressing. Get a guy to buy you a bottle of champagne. Sit in a private booth, let the poor fuck spill his troubles. Used to say she'd make a great psychiatrist.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>She get many high rollers?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Sure. Even rich guys get lonely.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>So suppose one night, her ` guest' gets a little too drunk, and brags to her. reveals something about himself. Something that could hurt if it came out. What would she do?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>I do n't get it.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Would she blackmail him?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Jesus, I've had about enough of you -<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Would she consider the possibility of blackmail?<\/dialogue>\n    <character>JIMMY<\/character>\n    <parenthetical>( sighs . )<\/parenthetical>\n    <dialogue>She'd consider it. If she could get away with it. But she'd need hard evidence. Otherwise, it's' I never said that,' his word against hers.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Right. So what does she do?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>I do n't know. Follow the guy? Have him followed?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Bingo. Kid, this is making sense. She hires somebody to follow the mark and obtain blackmail evidence.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Who does she hire?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Ah. She hires my buddy Mike.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Right? Right. It makes sense. Except -<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Except you told me that Mike was a shitty surveillance man.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Exactly. He got spotted. They made him, and they killed him. Then they took out Cory.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Christ, what did the two of them stumble onto?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Whatever it was, it was way over their heads. They knew they were in trouble.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>How you figure?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Because Mike was scared. He bailed out and threw the case in my lap.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>He handed it to you. without telling you how dangerous it was?<\/dialogue>\n    <scene_description>Hallenbeck stares straight ahead . Sighs and says :<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>He was fucking my wife, Jimmy.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I die. He gets my wife.<\/dialogue>\n    <scene_description>Jimmy just looks at him . At that moment , McCaskey pokes his head out of Bessalo 's office .<\/scene_description>\n    <character>McCASKEY<\/character>\n    <dialogue>Okay, you guys are cleared to go. Pick up belongings at the property desk.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PROPERTY ROOM - NIGHT<\/stage_direction>\n    <scene_description>Hallenbeck is collecting his firearm from the property clerk . Jimmy lounges against the wall . Winks at a hooker as she goes by in the hall , followed by a patrol cop . Jimmy eyes his rumpled trousers . Ripped shirt .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Shit. This shirt cost me eighty bucks.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( holsters his gun . )<\/parenthetical>\n    <dialogue>Glad to see, at a time like this, at least you got your priorities straight.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Do me a favor and shut up. You think I do n't care that Cory's dead?<\/dialogue>\n    <parenthetical>( rubs tired eyes . )<\/parenthetical>\n    <dialogue>Christ, I feel like I been rode hard and put away wet.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Get some sleep.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Wow. What stunning advice. I was gon na go hiking.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Fuck you.<\/dialogue>\n    <scene_description>They start down the hallway , side by side .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>You know something, Joe, for a private eye, you sure do n't go in for snappy comebacks.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>How's this? Fuck you and the horse that looks like you.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Get some sleep.<\/dialogue>\n    <scene_description>A passing PATROLMAN stops . Eyes Jimmy thoughtfully . Frowns :<\/scene_description>\n    <character>PATROLMAN<\/character>\n    <dialogue>You look real familiar. Do I know you?<\/dialogue>\n    <scene_description>Jimmy grins , shrugs . Obviously flattered .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>You might. Some people recognize me.<\/dialogue>\n    <character>PATROLMAN<\/character>\n    <dialogue>Got it. Peanuts Morton. Used to sell hash in Crenshaw District.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>No, man. I played football. Jimmy Dix, L.A. Stallions.<\/dialogue>\n    <character>PATROLMAN<\/character>\n    <dialogue>What position?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Forget it.<\/dialogue>\n    <character>PATROLMAN<\/character>\n    <dialogue>Fuckin' football. Free agents ruined the damn game.<\/dialogue>\n    <scene_description>He walks away . Jimmy scowls . Grumbles to himself .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>We got ta cross the parking lot. You wan na borrow my sunglasses?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Fuck you.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Hey, snappy comeback. You a detective?<\/dialogue>\n    <scene_description>As the two cross the muster room toward the front doors , they pass the hooker we saw earlier . She is talking to her pimp . There is a heated exchange . The pimp slaps her . Hard . Suddenly , Jimmy lunges forward . Balling his fists .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>That son of a bitch!<\/dialogue>\n    <scene_description>He 's ready to clean the pimp 's clock when Hallenbeck grabs him , spins him bodily . Propels him out the front doors . Away from trouble .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE STATION - NIGHT<\/stage_direction>\n    <character>HALLENBECK<\/character>\n    <dialogue>What the fuck are you trying to do, Tarzan?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>He hit the chick.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>You do n't start a fight in a police station, dickhead. Are you really this stupid or did you take lessons?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Guy should n't treat a woman like that, is all I'm saying. He just should n't, okay?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Why? Because they're weak and need protecting?<\/dialogue>\n    <character>JIMMY<\/character>\n    <parenthetical>( pause , then . )<\/parenthetical>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>He 's serious . Hallenbeck starts to chuckle . Shakes his head , lights a cigarette . Laughs through the smoke . This may be the funniest thing he 's ever heard .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE IMPOUND LOT - SAME TIME<\/stage_direction>\n    <scene_description>Hallenbeck walks across the parking lot toward his car . Jimmy trots behind him .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Mind if I catch a ride with you?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>My car's fucked up, remember?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Take the bus.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Cut it out. Look, you sorta saved my life. Let me buy you a beer.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>I'm not thirsty. Good night.<\/dialogue>\n    <scene_description>He approaches his battered Plymouth . Jimmy scowls .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>That's it. Good night?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Go home. Get some sleep.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>What are you gon na do?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>I'm gon na get a message to the people who killed your friend.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>What's the message?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>That we're out of it. That whatever they're doing, they do n't have to worry about us.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>You're kidding.<\/dialogue>\n    <scene_description>Joe gets in the car . Says nothing .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>You're backing off, you're not gon na do anything? I watch T.V., what the fuck kind of private eye does n't do anything?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>The kind with a wife and kid. Look, it's over. My job is done.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Fuck you your job is done. We witnessed a murder, Joe!<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Yes, it was very exciting. Tomorow I'll take you to the zoo.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You wan na play hero, go ahead. When you die, I'll take your closet full of eighty - dollar shirts.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Look, until this is over, I'm sticking with you.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>The hell you are.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>I'm part of this. We do something, we do it together.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Have a ncie night.<\/dialogue>\n    <scene_description>He STARTS the CAR .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Do n't drive away, Joe.<\/dialogue>\n    <scene_description>Joe puts it in gear . Pulls away .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Joe -! I'll tell the cops, Joe.<\/dialogue>\n    <scene_description>Joe taps the brake . Stops . Leans out the window , says softly :<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Tell them what, Jimmy?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>That Mike Miller was fucking your wife.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Only reason you're not in the cooler, tough guy, is the cops got no motive for Miller's death. When they find out Mikey was dickin' your old lady, seems to me you become suspect numero uno. I'm scared, and I'm coming with you, got it?<\/dialogue>\n    <scene_description>Joe gets out of the car and advances on Jimmy .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>You little creep, I'm gon na beat the shit out of you.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Go for it. Then the cops'll really love my story.<\/dialogue>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>You do n't start a fight in a police station, dickhead.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>You and me is not a fight. You and me is a massacre.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Gosh, you're tough.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Get in the fucking car.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - DRIVING - NIGHT<\/stage_direction>\n    <scene_description>Hallenbeck is in a foul mood . Jimmy lights a cigarette and applies for a position as pep chairman :<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>You got any hobbies?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Mmmm. Used to be a pretty fair ventriloquist.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Ventriloquist, really? I hear Ps and Bs are the hardest.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Yeah, well, actually -<\/dialogue>\n    <character>JIMMY<\/character>\n    <parenthetical>( interrupts . )<\/parenthetical>\n    <dialogue>Hey, you got any tapes in here?<\/dialogue>\n    <parenthetical>( leans forward . )<\/parenthetical>\n    <dialogue>Man, what is this shit? Dick Haymes. Who the fuck is Dick Haymes? Jeez, you must be older than I thought.<\/dialogue>\n    <scene_description>Hallenbeck grimaces and shifts in his seat .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>What's the matter? Stomach problems?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Ear problems.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>What kind of ear problems?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>The kind that wo n't shut up.<\/dialogue>\n    <scene_description>He stops at a traffic light . Sees a torn poster on a nearby telephone pole : CALIFORNIA HAS A VOICE - BAYNARD FOR SENATE . He grumbles . Gives it the finger .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Baynard, huh? What's the matter, you got some kind of beef with the guy?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>You might say that.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>You wan na share with the class?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( sighs . )<\/parenthetical>\n    <dialogue>Bastard got me fired from my old job.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Yeah? What were you, cop or something?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Secret Service.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>You're high. Get outta here.<\/dialogue>\n    <parenthetical>( grins . )<\/parenthetical>\n    <dialogue>Really? You protected the man? Holy shit, you musta got laid every night.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>That's me. Every night.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Where did Cory live?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>She had an apartment on the West Side. Why?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>I want to check it out.<\/dialogue>\n    <scene_description>Jimmy stares at him , puzzled .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>I thought you were off the case.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( scowls . )<\/parenthetical>\n    <dialogue>Look, dipshit, I told you that to keep you out of my hair.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>My client's dead and I have n't earned my fee.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Whoa, back up. You mean, we're gon na nail these fuckers after all?<\/dialogue>\n    <parenthetical>( grins . )<\/parenthetical>\n    <dialogue>Damn. I knew there was a hero lurking beneath that gruff exterior.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Yeah, I'm a prince. Shut the fuck up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ADULT LIVING COMPLEX - NIGHT<\/stage_direction>\n    <scene_description>Jimmy and Hallenbeck make their way down a flagstone walk between tiny , palm - shaded cottages . The moon casts a pale glow .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Bet these places run a fortune.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Tell me about it. I'm paying the fucking rent.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>How charming. Sounds like a great girl. What else did you spring for? Clothes? Car payments?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Was n't like that. Cory could've had lots of rich guys. Me, she loved.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Oh. Love. Well, forget about it, then.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Let me guess. You do n't believe in love.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( lights a cigarette . )<\/parenthetical>\n    <dialogue>I believe in cancer. I believe in love.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>What, they're both diseases?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Something like that.<\/dialogue>\n    <scene_description>Jimmy shakes his head sadly .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Man, I do n't want to meet the bitch that fucked you up.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>I'm sure she'd love meeting you. Probably blow you on the front porch.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Little bitter, Joe?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Eat shit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOONLIT COTTAGE<\/stage_direction>\n    <scene_description>The two men approach the door . Jimmy takes out his key ring .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>The cops are gon na want to check this place out, so do n't disturb anything.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Yes, massah.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COTTAGE<\/stage_direction>\n    <scene_description>Jimmy opens the door . Flips on the lights . Stops in his tracks . The room has been systematically torn to pieces . A knife has been used to rip open the couch . Broken furniture , shredded clothing . Everywhere . It looks like a combat zone .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>I think someone disturbed some stuff, Joe.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Well, shit. Looks like somebody beat us to it.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Beat us to what?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Whatever evidence Cory was holding.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Assuming there was any. Stay here a minute.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Where you going?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Bathroom. You wan na come with me? Doctor said I should n't lift anything heavy.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>I'll pass.<\/dialogue>\n    <scene_description>Hallenbeck starts inspecting the wreckage .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLUTTERED BATHROOM<\/stage_direction>\n    <scene_description>Jimmy enters and shuts the door behind him . He scans the floor , covered with clothes , bottles , etc. . Picks up a carelessly discarded can of Right Guard deodorant . Turns it upside down , and unscrews the bottom . Inside , the can is hollow and empty . The perfect hiding place . Jimmy heaves a sigh of relief . Removes a little plastic Baggie filled with white powder . Stashes it in his shorts . Starts to replace the lid . Stops . Frowns . Reaches into the can a second time - And pulls out a yellow envelope . He looks at it , perplexed . Puts it in his pocket . Replaces the lid . Tosses the can on the floor . Flushes the toilet . Leaves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM<\/stage_direction>\n    <scene_description>Hallenbeck , meanwhile , is prowling the living room , looking at photographs on the walls . The girl in the photos seems young , beautiful , and naive . One shot depicts Cory and a friend in cheerleader outfits . On it is scrawled , GOOD LUCK IN HOLLYWOOD BABY ! LOVE , JANIS Hallenbeck gazes around the devastated cottage .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Looks like you made it, baby.<\/dialogue>\n    <scene_description>Jimmy emerges from the bathroom .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Find anything?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Yeah, there's some really nice rubble.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>I may have something.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Later. Let's get out of here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COTTAGE - NIGHT<\/stage_direction>\n    <scene_description>The two men emerge from the house . Joe heads for his car . Jimmy peels off toward a battered GMC Pacer parked at the curb .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Where the hell are you going?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>As long as we're here, I might as well take Cory's car.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>You got the keys?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Yeah. I'll follow you.<\/dialogue>\n    <scene_description>Hallenbeck starts to turn away . Jimmy gets in the car . Hallenbeck stops . Frowns .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Cory has two cars?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Yeah. This one's just sitting here until she can sell it.<\/dialogue>\n    <scene_description>The color drains from Hallenbeck 's features .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Jimmy, no!<\/dialogue>\n    <scene_description>He sprints across the sidewalk and yanks Jimmy out of the driver 's seat before he can key the ignition .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Ouch -! What's your problem?<\/dialogue>\n    <scene_description>ANOTHER ANGLE Hallenbeck kneels and peers under the car . Swears softly as he sees two thin copper wires , glinting in the moonlight .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>They used a car bomb on Mike, it figures they'd try it on her, too.<\/dialogue>\n    <parenthetical>( stands . )<\/parenthetical>\n    <dialogue>Except they wired the wrong car.<\/dialogue>\n    <scene_description>Jimmy pales noticeably .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Oh. Shit. Oh. Jeez.<\/dialogue>\n    <scene_description>Hallenbeck claps him on the back .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Easy, kid. No harm, no foul. We caught it in time.<\/dialogue>\n    <scene_description>He strolls toward his Plymouth , whistling . Cheerfully unaffected . Jimmy catches his breath . Swallows hard . Turns , and bumps into Hallenbeck , coming back the other way .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <scene_description>Hallenbeck brandishes a pair of wire - cutters .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Got ta disconnect the fucker.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Whoa. Hold on. Um, should n't we call the bomb squad or something?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Relax, Junior, I used to do this for a living.<\/dialogue>\n    <scene_description>He isolates one wire . Turns and offers the cutters to Jimmy .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>You wan na do it?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>No, man, I -<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Come on, chickenshit. Just snip the wire.<\/dialogue>\n    <scene_description>Jimmy hesitates , then takes the cutters . Reaches beneath the wheel well . Plucks at the wire tentatively . Cuts .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Oh, shit not that one!<\/dialogue>\n    <scene_description>Jimmy screams and stumbles backward . Lands on his ass . Hallenbeck is chuckling softly . Shakes his head as he walks around to release the hood .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>You're a fucking asshole!<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>And then some, Junior. And then some.<\/dialogue>\n    <scene_description>THREE STICKS OF DYNAMITE - ONE MINUTE LATER have been taped to the car 's ignition system . Hallenbeck removes the taped bundle . Holds it up for inspection .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>We'll hand this over to the cops. They can analyze it.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Great. So what now?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>You tell me, kid.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Give up? Flee? Go really far away?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>I got a better idea. Let's check in with my family.<\/dialogue>\n    <scene_description>They start walking toward Hallenbeck 's Plymouth . Hallenbeck tosses the car keys to Jimmy .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>I'm tired. You drive.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Sure. Family, huh? You got kids?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Yeah. Little girl.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Does she like you?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Not much, no. And she likes Prince, so go figure.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>I like Prince.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Great, you can marry my daughter. Or better yet, fuck my wife. I hear all it takes is a credit card and two valid I.D.'s.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Open the trunk.<\/dialogue>\n    <character>JIMMY<\/character>\n    <parenthetical>( indicating bomb . )<\/parenthetical>\n    <dialogue>You're just gon na stick that in your trunk?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( nods . )<\/parenthetical>\n    <dialogue>You're right. Let's leave it here for the neighborhood kids to play with.<\/dialogue>\n    <scene_description>Jimmy opens the trunk . As he does , however , a voice rings out suddenly from the darkness .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hold it right there, gentlemen.<\/dialogue>\n    <scene_description>They stop . Slowly they turn . TWO MEN are approaching from out of the trees . One holds a flashlight trained on Hallenbeck and Jimmy . The other carries a silenced Beretta .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Is it the cops?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>No, Jimmy. It's not the cops.<\/dialogue>\n    <scene_description>Working quickly , Hallenbeck tapes the bomb to the inside of the truck lid . Slams it shut . Turns , facing the new arrivals . The MEN wear tailored suits with matching ties . One is tall and lean . The other is a bruiser , short and stout . They both have the seasoned look of professional mob hitters . The Taller Man speaks , gun held rock steady .<\/scene_description>\n    <character>TALL MAN<\/character>\n    <dialogue>Good evening, gentlemen. Bit late for a stroll, do n't you think?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Yeah, you two better be getting home.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>The streetlights are on.<\/dialogue>\n    <character>TALL MAN<\/character>\n    <dialogue>That's amusing. How delightful to find such amusing men so late at night.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I do n't believe I've had the pleasure.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>No, I do n't believe you have.<\/dialogue>\n    <parenthetical>( to Jimmy . )<\/parenthetical>\n    <dialogue>He'd like to have the pleasure.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Tell him it's not for sale.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>He says it's -<\/dialogue>\n    <character>SHORT MAN<\/character>\n    <dialogue>What's your name, fuckface?<\/dialogue>\n    <scene_description>This from the Shorter Man , who is clearly not happy .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( shakes his head . )<\/parenthetical>\n    <dialogue>I'm asshole. He's fuckface.<\/dialogue>\n    <character>TALL MAN<\/character>\n    <dialogue>Jake, apprise Rodney Dangerfield here of his situation.<\/dialogue>\n    <scene_description>Jake slips on a pair of brass knuckles . Steps up and delivers a looping right to Hallenbeck 's face . A sickening crunch . A two inch gash streams blood . Jake relieves Hallenbeck of his gun .<\/scene_description>\n    <character>TALL MAN<\/character>\n    <dialogue>Perhaps we can dispense with the fun and games now, yes?<\/dialogue>\n    <scene_description>Jimmy rushes forward , snarling . The Beretta swivels . Jimmy stops , the gun aimed at his gut .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( gasping . )<\/parenthetical>\n    <dialogue>Easy. Jim. All they want is the evidence.<\/dialogue>\n    <character>TALL MAN<\/character>\n    <dialogue>The evidence. Very smart. See, Jake, he knows when a situation is untenable.<\/dialogue>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>You like that word?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Great word.<\/dialogue>\n    <character>TALL MAN<\/character>\n    <dialogue>It occurs to me that you may have the evidence in question.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( spits out blood . )<\/parenthetical>\n    <dialogue>Give up, Jimmy. We're dealing with geniuses.<\/dialogue>\n    <scene_description>Another fist to the head . Hallenbeck grunts . Spits more blood .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Leave him alone, you fuck!<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Back off, Jimmy.<\/dialogue>\n    <scene_description>The Tall Man turns and eyes Jimmy .<\/scene_description>\n    <character>TALL MAN<\/character>\n    <dialogue>Leave him alone?<\/dialogue>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>Whatever you say. Jake?<\/dialogue>\n    <scene_description>The Short Man steps away from Hallenbeck . Turns and launches a kick at Jimmy 's groin . Connects . The kid drops to the ground , retching .<\/scene_description>\n    <character>TALL MAN<\/character>\n    <parenthetical>( sighs . )<\/parenthetical>\n    <dialogue>Ah, my young friend. I neglected to tell you that Jake attacks his job with a certain. exuberance.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Christ. I'm being beat up by the inventor of Scrabble.<\/dialogue>\n    <character>TALL MAN<\/character>\n    <dialogue>He's still in a good mood, Jake. Kick him again.<\/dialogue>\n    <scene_description>Jake steps forward .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Wait!<\/dialogue>\n    <scene_description>Hallenbeck speaks through cracked , bloody lips :<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>You want the fucking evidence that the stripper had. I've got it. So we can play games, or I can hand it over.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>And then you'll let us go, right?<\/dialogue>\n    <character>TALL MAN<\/character>\n    <dialogue>Sure. We'll let you go.<\/dialogue>\n    <parenthetical>( to Hallenbeck . )<\/parenthetical>\n    <dialogue>Where is it?<\/dialogue>\n    <scene_description>Hallenbeck meets the Tall Man 's gaze . Speaks softly .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Hand me the car keys, Jimmy.<\/dialogue>\n    <scene_description>Jimmy stumbles to his feet . Looks at the Tall Man .<\/scene_description>\n    <character>TALL MAN<\/character>\n    <dialogue>Walk over and hand him the keys. Slow and easy.<\/dialogue>\n    <scene_description>Jimmy takes out the car keys . Crosses to Hallenbeck . Gives him the keys .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>The evidence is in the trunk.<\/dialogue>\n    <character>TALL MAN<\/character>\n    <dialogue>Open it. Slow.<\/dialogue>\n    <scene_description>Hallenbeck smiles . Shakes his head .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>I do n't think so.<\/dialogue>\n    <scene_description>He turns and throws the keys as far as he can . They fall out of sight behind a cottage .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Oops. I guess nobody gets it.<\/dialogue>\n    <character>TALL MAN<\/character>\n    <dialogue>You dumb bastard, you're going to pay for that. Jake, open the trunk.<\/dialogue>\n    <scene_description>Jake steps forward , drawing a .38 silenced pistol . He is going to shoot open the lock . ANGLE ON HALLENBECK This is what he 's been waiting for . He tenses , looking to one side : next to him is a sloping hillside , angling down and away . He grips Jimmy 's wrist , signalling to get ready . Jake raises the PISTOL . Take aim at the lock and FIRES . The SHOT is SILENCED . What follows is not . Because the bullet blows through the trunk - And hits three sticks of live dynamite . SERIES OF SHOTS Hallenbeck is already moving , pitching to one side , throwing himself and Jimmy down the hillside . The night lights up like a SUNBURST . A tower of fire . Climbs up and outward from the car . The TRUNK LID is BLOWN fifty feet in the air . The tires are pulped . GLASS SPRAYS for fifty yards in every direction . And , most importantly : both hitmen are engulfed in flame . SOUND . Fury . Flames , rolling skyward . TINKLE of raining GLASS . Bits of falling metal . All in all , a helluva blast , and meanwhile : JIMMY AND JOE continue to careen down the hillside . Bouncing like rag puppets . Out of control . Lurch to stop at the bottom . Covered head to toe with dirt . Bruised . Bloody . Alive . They lie side by side , sucking air - Until they both hear an odd noise : The sound of CRUMPLING METAL . The sound is GETTING LOUDER . They both crane their necks in time to see - The flaming car , tumbling end over end Coming down the hill . Heading straight for them .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Jesus fucking Christ!<\/dialogue>\n    <scene_description>They both dive for cover , out of the way . Barely make it . The CAR plows past them in a shower of dirt . CRUMPLING . Heaving . Spitting fire . Finally SLAMS to a halt against a palm tree . Burns . The night is filled with SHOUTS and CURSES . The sound of DOORS OPENING . The crackle of flames . ON GROUND Joe rolls over . Looks at Jimmy . Jimmy looks at Joe .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>You alive?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Do n't know yet.<\/dialogue>\n    <scene_description>They crawl to their feet , inspecting for broken bones .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>The dynamite?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Either that, or we're looking at a major factory recall.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Dead guys. do n't make bad jokes, right?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>So we're alive.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Yeah. Hooray.<\/dialogue>\n    <scene_description>He spits blood as SIRENS once more fill the night air , APPROACHING .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Go. Get out of here.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Get the fuck out of here, I'll take the heat on this one. Rent a car. Then go home and wait for my call. Do it.<\/dialogue>\n    <scene_description>Jimmy meets Joe 's eyes . Nods . Dashes off into the night .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. L.A.P.D. ROBBERY\/HOMICIDE DIVISION - NIGHT<\/stage_direction>\n    <scene_description>Sergeant Benjamin Bessalo is in the mood to kick things . A metal trashcan is booted across the room with a clang as he whirls , glaring at Joe Hallenbeck , who is seated before him .<\/scene_description>\n    <character>BESSALO<\/character>\n    <dialogue>Goddammit, this is a police matter, you son of a bitch! I'm sick and fucking tired of sweeping up your dead bodies, Joe, and the next time I see your ugly mug I'm puttin' a bullet in it. You got that? You are off the case, buddy. Is that clear?<\/dialogue>\n    <scene_description>Hallenbeck stares at him . Blows smoke . Says nothing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RENTAL CAR - DRIVING - NIGHT<\/stage_direction>\n    <scene_description>Jimmy 's at the wheel of a rented Subaru . Hallenbeck beside him . He hands Joe the envelope he found in Cory 's apartment .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>If you thought there was dynamite in the trunk, wait'll you see this.<\/dialogue>\n    <scene_description>Hallenbeck reaches into the envelope and extracts a photograph : Two men having lunch together on a secluded patio . Both are older , distinguished - looking . Joe suddenly looks very pale .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>The guy on the left is Connie Marcon, the owner of the L.A. Stallions.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Forget about him. Look at the guy on the right.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Sort of familiar. Who is he?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Senator Calvin Baynard.<\/dialogue>\n    <scene_description>Jimmy draws a sharp breath . Pause , then :<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Let's go back to the cops. I'm scared.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Take it easy, kid. It's not so bad.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Not so bad. Excuse me, did you just say the words not so bad? You do n't understand, Joe, see, if a guy vomits on the sidewalk, you do n't say, ` Oh, hey, it's not so bad, there's some ham in there.' It's fucking vomit, okay? This is bad.<\/dialogue>\n    <scene_description>Hallenbeck nervously lights a cigarette . Stares straight ahead through the windshield . Begins to talk :<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>When I was thirty, I was on the President's personal security force. Once night I was on the way home from a late session. I'm on the highway just outside of Georgetown when I see something up ahead.<\/dialogue>\n    <scene_description>MEMORY FLASH Another time . Another night . A younger - looking Hallenbeck . Rugged features . Clipped military haircut . He is driving . Down a turnpike , squinting through dense evening mist . Up ahead , a shape materializes out of the fog : WRECKED CAR is lying upside down in a pool of shattered glass . He SCREECHES to a stop . ANOTHER ANGLE In a dream - like SLOW MOTION , he approaches the overturned car . There are two dead bodies inside . A woman . A little boy . In the window , a stuffed Garfield doll clings with suction cups to the remaining glass . The furry cat is splattered with blood .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It was a high - speed collision. Both cars were totaled. The woman and the boy were dead. The driver of the other car was n't.<\/dialogue>\n    <scene_description>STAGGERING DRUNK is weaving toward Hallenbeck . Leaving behind his crumpled Mercedes . He wears an $ 800 suit . Tan Cordovan loafers . Silk tie .<\/scene_description>\n    <character>DRUNK<\/character>\n    <dialogue>Fuckin' bitch. She got in front of me, man. Shit. My fuckin' car. Stupid bitch wrecked my car.<\/dialogue>\n    <scene_description>He stumbles toward Hallenbeck , eyes attempting to focus .<\/scene_description>\n    <character>DRUNK<\/character>\n    <dialogue>Do you know who I am? I'm Louis Baynard, my father is Calvin D. Baynard, man. Call my father, he'll take care of it.<\/dialogue>\n    <scene_description>The man lurches to a stop in front of Hallenbeck . Clutching at Joe 's lapels . Wheezing liquor fumes . He presses a hundred dollar bill into Joe 's hand .<\/scene_description>\n    <character>DRUNK<\/character>\n    <dialogue>You'll tell'em what happened, right? Bitch swerved in front of me, man. Wrecked my fuckin' Mercedes. Right?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I could smell bourbon on him, big time. He was standing there, not a scratch on him. I went a little nuts. I hit him.<\/dialogue>\n    <scene_description>In SLOW MOTION , Hallenbeck backhands the rich drunk , with a head - snapping impact that bursts lips . Breaks teeth . We see the Drunk 's head slowly strike the asphalt . A sickening concussion .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>The blow was non - lethal. But when he fell, his head hit the pavement funny. Put him in a coma.<\/dialogue>\n    <scene_description>The younger Hallenbeck stands on the highway of eight years past , staring at the Drunk with fierce , blazing eyes as we - JIMMY AND JOE - BACK TO PRESENT Driving .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Even when he came out of it, he was never right in the head. His dad fixed everything with the cops. The accident report disappeared. A week later the police found half a kilo of crack cocaine planted in my house. Acting on an anonymous tip.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>The senator fucked your job.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>And my pension. And my marriage. Only reason I'm still licensed to carry a gun, the man himself made a few calls. Since then I'm just playing it out. Day by day.<\/dialogue>\n    <scene_description>Jimmy is silent for a moment . Then :<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Cory tumbled to some sort of deal between Marcon and the senator, and they had her killed.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>We got ta show this photo to the cops.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Not yet. I need more evidence.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I want Baynard, Jimmy. I want to bring him down. I could use your help.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Why should I help you?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Because if Baynard takes a fall, so does Marcon. The man who kicked you out of professional football.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PLUSH BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>A tall , thin , almost effeminate MAN is seated on a couch . High cheekbones . A shock of blond hair . Glittering , malignant eyes . He is directing a pornographic film . PRETTY GIRL is bound hand and foot to the posts of a lavishly appointed bed . Around her , the room is filled with Kleig lights . Reflectors . Camera equipment . The girl is scowling furiously . She speaks to the director :<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>I want the sheets changed, Milo.<\/dialogue>\n    <character>MILO<\/character>\n    <parenthetical>( MAN . )<\/parenthetical>\n    <dialogue>Of course you do, but we're running behind, dearest.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>I do n't give a shit. I'm an actress, not a piece of meat, and I want clean sheets!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Fine. It's done. Right after this next shot.<\/dialogue>\n    <scene_description>A strident BEEPER GOES OFF on Milo 's belt . He turns to the two - man crew and claps his hands for attention .<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Okay, let's do it.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Roll camera.<\/dialogue>\n    <character>CAMERAMAN<\/character>\n    <dialogue>Rolling.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>And. action!<\/dialogue>\n    <scene_description>The closet door opens . A hulking man emerges . He is carrying a chainsaw . The Girl on the bed stares , incredulous .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>Milo. What the fuck is this, some kind of joke?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Not at all, dearest. It's what's known as a snuff film.<\/dialogue>\n    <scene_description>The hulking man pulls the starter cord . The SAW ROARS to life .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>Oh God Milo please oh God oh no please Miloooo!<\/dialogue>\n    <scene_description>A smile twitches Milo 's upper lip .<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Easy, Pablo. She's not a piece of meat.<\/dialogue>\n    <scene_description>He exits . Closes a sound - proofed door behind him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WOOD-PANELED STUDY - CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>Milo enters , all business . Crosses to a telephone with a blinking light . Stabs a button . Scoops up the receiver .<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Yes, Mr. Marcon? How can I help you?<\/dialogue>\n    <character>MARCON<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Is this line secure?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>One hundred percent, sir. I would n't have used your name otherwise.<\/dialogue>\n    <character>MARCON<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Sid and Jake are dead, Milo. Killed in an explosion. Looks like we got a new player in the game.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Who is he working for?<\/dialogue>\n    <character>MARCON<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>From available information, he appears to be a free agent. Guy by the name of Joe Hallenbeck.<\/dialogue>\n    <scene_description>Milo sits and begins punching keys on a computer .<\/scene_description>\n    <character>MARCON<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Get me everything you can on this fucker, Milo. I want it on my computer screen in fifteen minutes.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Yes, sir. And then?<\/dialogue>\n    <character>MARCON<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And then you'll be handling it personally.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HALLENBECK HOME - LATE NIGHT<\/stage_direction>\n    <scene_description>Dawn is a ghost on the horizon as Jimmy parks the rental Subaru outside . The two men emerge . Head for the front door .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>So I get to meet your family, huh? What's your daughter like?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>She's like thirteen. And if you even look at her funny, I'll shove an umbrella up your ass and open it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLENBECK HOUSE - CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>As they come through the front door , Joe 's daughter , DARIAN , is slumped in a big Lazy - Boy , staring sullenly at a movie on TV . Cute kid , cursed to wear ridiculous - looking dental headgear . She does n't bother to look up .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>First things first. I'm starving.<\/dialogue>\n    <parenthetical>( notices Darian . )<\/parenthetical>\n    <dialogue>Hey, kiddo. Why are n't you in bed?<\/dialogue>\n    <character>DARIAN<\/character>\n    <dialogue>I'm watching television.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>I can see that.<\/dialogue>\n    <character>DARIAN<\/character>\n    <dialogue>I hate you. Leave me alone.<\/dialogue>\n    <scene_description>She still wo n't look at him . The two men cross to the kitchen . Hallenbeck opens the refrigerator , takes out some lunchmeat .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>She's pissed off because I would n't let her go out on a date with her friend Billy.<\/dialogue>\n    <character>DARIAN<\/character>\n    <dialogue>I missed the biggest party of the year.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Why could n't she go?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( incredulous . )<\/parenthetical>\n    <dialogue>Because she's thirteen, that's why.<\/dialogue>\n    <parenthetical>( to Darian . )<\/parenthetical>\n    <dialogue>I bought you some ice cream.<\/dialogue>\n    <character>DARIAN<\/character>\n    <dialogue>I'm not talking to you.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Gee, that's a shame. You always have such pleasant things to say.' I hate you, Dad.' I'm gon na miss that, darn it.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>It's chocolate chip, your favorite.<\/dialogue>\n    <character>DARIAN<\/character>\n    <dialogue>I do n't care. You're an asshole.<\/dialogue>\n    <scene_description>Without missing a beat , Hallenbeck opens the window and heaves the ice cream outside .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>That's for saying asshole. God, I hate wasting food. Wan na abuse me some more? Go ahead, shock me. You know, I hardly ever hear the word asshole.<\/dialogue>\n    <character>DARIAN<\/character>\n    <dialogue>Bullshit, I bet you get it all the time.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>All right, knock it off.<\/dialogue>\n    <character>DARIAN<\/character>\n    <dialogue>What're you gon na do, ground me some more?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Hey, you want it, you got it, lady.<\/dialogue>\n    <character>DARIAN<\/character>\n    <dialogue>Thank you, asshole.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>You're grounded for a week.<\/dialogue>\n    <character>DARIAN<\/character>\n    <dialogue>Yes, sir, asshole.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>That's two. You wan na play this game? I love this game.<\/dialogue>\n    <character>DARIAN<\/character>\n    <dialogue>Just leave me alone.<\/dialogue>\n    <parenthetical>( to Jimmy . )<\/parenthetical>\n    <dialogue>He thinks he's fuckin' Ward Cleaver.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>All right, that's it. You wan na be a gutter mouth? You wan na sound like your mother, well that's terrific. Christ, all day long I do n't take enough abuse, I got ta listen to shit from you!<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Hey, Joe, take it easy.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Do n't you tell me how to talk to my kid.<\/dialogue>\n    <character>DARIAN<\/character>\n    <dialogue>All I wanted was to go to a party, but Pop here thinks I'm out to get laid.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Go for it, kiddo. All the dirty words. Come on, shock me. Go ahead.<\/dialogue>\n    <character>DARIAN<\/character>\n    <dialogue>Sure thing, you dumb fuck - up.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>All right, I've had it. Go to your room. Or I will whip your behind.<\/dialogue>\n    <character>DARIAN<\/character>\n    <dialogue>You'd probably like it.<\/dialogue>\n    <scene_description>Hallenbeck takes her by the arm and drags her out of the chair . Toward her room .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Goddammit, you are my daughter and you will respect me, got that? You got it? You do n't ever call me a fuck - up.<\/dialogue>\n    <character>DARIAN<\/character>\n    <dialogue>Why should n't I, Mom calls you that all the time.<\/dialogue>\n    <scene_description>That stops him . He looks at her , stricken .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Your mother called me a fuck - up? When?<\/dialogue>\n    <character>DARIAN<\/character>\n    <dialogue>On the phone to Uncle Jay.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Uncle Jay? Ohh, Christ, I'm a fuck - up, but Uncle Jay, now there's a real stand - up guy. Shit, the bastard cheats on his tax form, I'm surprised he has n't done time! Why do n't you ask your mother why Mister Wonderful is n't in jail for tax evasion?<\/dialogue>\n    <character>DARIAN<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Because he does n't fuck up.<\/dialogue>\n    <scene_description>She goes into her room and shuts the door . Hallenbeck rubs his eyes . Leans against the wall , exhausted .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>You know, for fifty bucks you could get a guy to pull out her fingernails with a pair of pliers.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>No. Anything that much fun, I'd want to do myself.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>I think we could both use a drink.<\/dialogue>\n    <scene_description>Hallenbeck crosses to a cabinet , breaks out a bottle of Seagrams . Swigs . Hands it to Jimmy . As Jimmy drinks , he notices a photo on the wall : Hallenbeck shaking hands with George Bush .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>That's you?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Yeah. That's me.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>You look like the dad on ` The Brady Bunch.'<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Yeah, I was a regular Boy Scout.<\/dialogue>\n    <scene_description>Joe starts to fix a sandwich . Jimmy takes nips from the bottle .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>So. You gon na get a divorce?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Do n't know.<\/dialogue>\n    <scene_description>He bites into the sandwich . Not really tasting it .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>You do n't like women much, do you, Joe?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( mouth full . )<\/parenthetical>\n    <dialogue>Mike Miller was n't the first time. Sarah has cheated on me before. Twice. I never told her I knew. At first, my opinion of women took a real dip, yeah.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>And now?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Now I'm content if I like the guy she's fucking. This last one was my best friend.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Horseshit, he was a scumbag private eye.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>What am I, Jimmy?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>He tried to get you killed.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Friends ca n't be perfect.<\/dialogue>\n    <parenthetical>( sighs . )<\/parenthetical>\n    <dialogue>I wish the sky was n't blue. I wish water was n't wet. I wish I did n't still love my wife.<\/dialogue>\n    <scene_description>He eats in silence . Jimmy says :<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>You know what I did last night?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>I went to a party and shit on a car.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Damn. You, too?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>I'm a complete loser. Capital ` L.' All I ever wanted. was to be somebody's hero, you know it? Now I mostly sit around. Watch T.V. Get laid. I'm a fucking slug, throw salt on me I'd curl up. Life sucks.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>You're wrong.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Life does n't suck?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>No, life sucks. But you're not a loser. Cory loved you.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Yeah, and the last thing I did was cheat on her.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Why do people cheat, Joe?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Because it's easier than paying the tax, Junior.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Ooooooh. Very deep.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>So deep I do n't know what the fuck it means.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>It means another drink is required.<\/dialogue>\n    <scene_description>He raises the bottle .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Alex the accountant.<\/dialogue>\n    <scene_description>He drinks . Hallenbeck frowns , watching him .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Is Alex your accountant?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>No. But he could have been.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Alex was my son.<\/dialogue>\n    <scene_description>Hallenbeck stares at him .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>I was married at 19. Sweet young thing, looking to get out from under daddy's thumb. I did n't know she was a junkie. All during her pregnancy. Shooting up. There were complications. She died. Alex lived for seventeen minutes in the incubator. Fell asleep. Died before he woke up.<\/dialogue>\n    <parenthetical>( takes a drink . )<\/parenthetical>\n    <dialogue>He was born. He had time for one dream. and then he died. I wonder what his dream was about.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>I think about him a lot. I mean, who was this. guy? This little guy who only got seventeen minutes, who was he, Joe? What was he like?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>What would he have been?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>He would have been a great ball player. Like his dad.<\/dialogue>\n    <character>JIMMY<\/character>\n    <parenthetical>( shakes his head . )<\/parenthetical>\n    <dialogue>No. He had to die, Joe. Do n't you see?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Why did he have to die?<\/dialogue>\n    <character>JIMMY<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Because he came out of me.<\/dialogue>\n    <scene_description>He puts aside the bottle . Scowls .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>I'm gon na borrow your shower.<\/dialogue>\n    <scene_description>He exits . Hallenbeck watches him go . Says nothing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>Jimmy enters and shuts the door . Turns on the shower . Makes no move to undress . Instead , he reaches inside the waistband on his pants . Removes a vial of coke . Dips a spoon . The door opens . Hallenbeck is standing there with a handful of fresh towels . He stops . Staring at Jimmy . They freeze in tableau . Then Hallenbeck crosses the floor with two quick strides and slugs Jimmy with all his might . Decks him . The kid goes over backward into the shower , head striking the porcelain . He swerves . Claws his way out , drenched .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Not in my house, you dumb motherfucker.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Joe, man, you do n't get it -<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Shut up.<\/dialogue>\n    <scene_description>He picks up the vial of powder .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>This is what you went looking for in Cory's apartment, is n't it? You found this when you found that envelope.<\/dialogue>\n    <scene_description>He crosses to the toilet . Jimmy cries out .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Joe, please!<\/dialogue>\n    <scene_description>Joe drops the vial in the water . Flushes . Jimmy darts forward . Joe shoves him back .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>You stupid bastard, do you know what you've done? That was a thousand bucks' worth of shit!<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>You got it, son. I'm just mixing it in with all the other shit.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Get the fuck out of my house. Now.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>You do n't understand.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>I said, get out. I'll break your fucking neck, kiddo.<\/dialogue>\n    <scene_description>Jimmy glares at him . Coldly defiant .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Go ahead, tough guy. Go ahead.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I'm trying to survive, man. I use that stuff to get by, so fuck you.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>I do n't use it. I get by.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Oh, sure, Dudley fucking Do - Right, you stand there and judge me, and, meanwhile, you never had your old lady die on you, did you, pal? And your fucking kid? And I said to God, ` Hey, buddy, what gives? I go to church, I give to the United Way, what is this dead wife and kid shit?' And he did n't say nothin', Joe.<\/dialogue>\n    <scene_description>He grabs a towel . Scrubs savagely at his wet torso .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>And then I lose my job, my fucking life, okay, and why? You know why? Because I gambled. Whoa, hold on, stop the presses, Jimmy gambled, well shit, of course I gambled, everybody does, and the fucking league knows it!<\/dialogue>\n    <scene_description>He advances on Joe , trembling with anger .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Why, Joe? Why is there an injury report in pro football, huh? Nobody else has a fucking injury report, but the N.F.L. does, so the fucking gamblers will know the spread! Marcon. the commissioner. those fucking hypocrites. killed the last thing I could do, Joe! I ca n't do anything. anymore.<\/dialogue>\n    <scene_description>And suddenly he is crying .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>I could n't save my wife. She died screaming and I could n't do a Goddamn thing. And my baby came out. and he was so fuckin' small, Joe. He was too fuckin' small.<\/dialogue>\n    <scene_description>He collapses against the wall . Slides down to a sitting position . Huddled on the floor . Hallenbeck watches him . Says nothing . For a moment , he seems moved to compassion . Then his gaze hardens . He kneels next to Jimmy .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>When you're through feeling sorry for yourself, the front door's that way.<\/dialogue>\n    <character>JIMMY<\/character>\n    <parenthetical>( wipes his eyes . )<\/parenthetical>\n    <dialogue>You're a total bastard.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>You brought cocaine in my house. End of story.<\/dialogue>\n    <scene_description>Jimmy is silent . He stands . Exits into the hall . Joe 's daughter , Darian , is standing there .<\/scene_description>\n    <character>DARIAN<\/character>\n    <dialogue>You're Jimmy Dix, are n't you?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <scene_description>There is an awkward pause . Darian holds out a football card . Young , smiling Jimmy . The card is old . Tattered .<\/scene_description>\n    <character>DARIAN<\/character>\n    <dialogue>I'm sorry I acted like a bitch. Would you sign my card?<\/dialogue>\n    <scene_description>Hallenbeck steps forward .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>I told you to go to your room.<\/dialogue>\n    <character>DARIAN<\/character>\n    <dialogue>But, Dad -!<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Go to bed. This guy's not signing anything.<\/dialogue>\n    <character>DARIAN<\/character>\n    <dialogue>Aw, come off it.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Forget it, Darian.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>The guy's a loser. Big time.<\/dialogue>\n    <scene_description>Darian 's face is a mask of confusion . Jimmy walks past her to the front door . Stops with his hand on the knob . Turns .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>I never shaved points, Joe. I never did.<\/dialogue>\n    <scene_description>Joe is silent . Stone - faced .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>If you want my help, I'm at the Casa Loma Apartments on Ventura.<\/dialogue>\n    <scene_description>He exits . Shuts the door behind him . Darian goes into her room , fuming . Shuts the door . Joe is alone . He turns . Sees his reflection in the hall mirror .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Smile, you fuck.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASTER BEDROOM - DAWN<\/stage_direction>\n    <scene_description>The first light of day streams through the window . Hallenbeck pushes Furry Tom to one side . Sits on the bed . Regards his sleeping wife with hooded , lifeless eyes . She is peaceful . Serene . He reaches out to touch her . Stops . Withdraws his hand . Crushes out the cigarette . Stands . Leaves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARIAN'S ROOM - SAME TIME<\/stage_direction>\n    <scene_description>Hallenbeck enters . Crosses to Darian 's bed . She is asleep . She looks vulnerable . Helpless . He leans over and kisses her . She stirs in her sleep . Murmurs :<\/scene_description>\n    <character>DARIAN<\/character>\n    <dialogue>Billy.<\/dialogue>\n    <scene_description>Hallenbeck recoils . Stares at her . The DOORBELL RINGS . Startling him . He mutters under his breath . Stalks out of the room . ANOTHER ANGLE - FRONT DOOR Down the hall to the front door . Flings it open , pissed off .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Goddammit, Jimmy, I told you -!<\/dialogue>\n    <scene_description>It is n't Jimmy . Standing on the porch is a tall , thin man with blond hair . The man removes a TASER GUN from his overcoat .<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Good morning, Joseph.<\/dialogue>\n    <scene_description>He FIRES point - blank . The electrode hits Hallenbeck in the chest . A CRACKLE of electric current . Hallenbeck jerks spastically . The world spirals away . He plunges down into darkness .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLUTTERED APARTMENT - MORNING<\/stage_direction>\n    <scene_description>Jimmy looks bad . Sprawled out on a tangle of dirty sheets . Jeans . Bare feet . Smoking . Staring at a football card . A duplicate of the one Darian showed him . He swings his legs off the bed . Stands , crushes out his cigarette . Moves into the bathroom . The Baggie of coke is on the counter . He stares at it with bloodshot eyes . Swallows hard . Acts before he can think . Grabs the Baggie . Tosses it in the toilet . Flushes . Watches as it goes down the drain .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CASA LOMA APARTMENTS - MORNING<\/stage_direction>\n    <scene_description>Another Goddamned day . A chill drizzle . The palm trees look forlorn . AT CORNER NEWSSTAND Jimmy buys a paper . Trudges along Ventura Boulevard . Huddled against the chill . SLEEK , BLACK SEDAN slides to the curb in front of him . Two men get out : One is Pablo , who last we saw wielding a chainsaw in Milo 's snuff film ; the other is an ugly piece of hired muscle who we 'll call CHET . The two men flank Jimmy and walk alongside him . He looks up , startled .<\/scene_description>\n    <character>PABLO<\/character>\n    <dialogue>Good morning, Jimmy.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Who are you, and how the fuck do you know my name?<\/dialogue>\n    <character>CHET<\/character>\n    <parenthetical>( frowns . )<\/parenthetical>\n    <dialogue>This is the guy? You sure it's the guy?<\/dialogue>\n    <character>PABLO<\/character>\n    <dialogue>This is him.<\/dialogue>\n    <character>CHET<\/character>\n    <dialogue>The kid with the million - dollar arm?<\/dialogue>\n    <character>PABLO<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>CHET<\/character>\n    <dialogue>Shit. He do n't look like much. I would n't pay no million dollars for this bozo.<\/dialogue>\n    <character>PABLO<\/character>\n    <dialogue>Neither will anyone else, anymore.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>I'm growing whiskers here, guys. You got something to say, fucking say it.<\/dialogue>\n    <character>CHET<\/character>\n    <dialogue>Wow. Tough guy stuff. Must have caught it from his buddy Hallenbeck.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>PABLO<\/character>\n    <dialogue>Do n't play dumb, shithead. You were with him last night at the club.<\/dialogue>\n    <character>CHET<\/character>\n    <dialogue>Mr. Marcon sent us to teach you a lesson, Jimmy. Something about keeping your big coked - up nose out of his fucking business.<\/dialogue>\n    <character>PABLO<\/character>\n    <dialogue>Get ready, kid. This one's an E ticket.<\/dialogue>\n    <scene_description>And , with that , they grab Jimmy under the arms . Carry him across the sidewalk to a plywood fence .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Please, guys, do n't do this. Jesus Christ, I was just her boyfriend, I swear to God, please!<\/dialogue>\n    <scene_description>They toss Jimmy over the fence . ANOTHER ANGLE Not a terrible fate , under normal circumstances . In this case , however - A fifty - foot drop . Awaits him beyond the fence . A huge , looming pit dug into the earth . Foundation for a new parking garage . Jimmy plummets like a stone . Under normal circumstances , he 'd be dead . But since it rained last night , he 's got three feet of water to land in . He hits with a splash . Disappears beneath the water . Surfaces , screaming in pain . Thrashes in the muddy water , and only when he looks down does he notice the splintered bone jutting out of his skin at a crazy angle . His million - dollar arm . His throwing arm . He clutches at cracked ribs , screaming :<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Oh, God, my arm, my fucking arm, oh Jesus Christ!<\/dialogue>\n    <scene_description>He kneels in the muddy water , rocking back and forth . LONG SHOT - JIMMY Alone in the pit . Huddled in a pool of muddy water . His screams of pain ECHO in the chill , morning air .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAPD ROBBERY\/HOMICIDE DIVISION - DAY<\/stage_direction>\n    <scene_description>Ben Bessalo 's office , to be precise . Bessalo reclines grumpily at his desk . Scanning reports . McCaskey hangs up the phone and calls across the room :<\/scene_description>\n    <character>McCASKEY<\/character>\n    <dialogue>I got bad news and bad news.<\/dialogue>\n    <character>BESSALO<\/character>\n    <dialogue>Gimmee the bad news first.<\/dialogue>\n    <character>McCASKEY<\/character>\n    <dialogue>Bad news is, they just pulled Jimmy Dix out of a construction site on Ventura. He's busted up.<\/dialogue>\n    <character>BESSALO<\/character>\n    <dialogue>Okay, now gim me the bad news.<\/dialogue>\n    <character>McCASKEY<\/character>\n    <dialogue>I just got a call from Hallenbeck's neighbor.<\/dialogue>\n    <scene_description>Bessalo looks up , intrigued . McCaskey continues :<\/scene_description>\n    <character>McCASKEY<\/character>\n    <dialogue>Now, according to Hallenbeck, Mike Miller came to the house early that morning to talk about a case, right?<\/dialogue>\n    <character>BESSALO<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>McCASKEY<\/character>\n    <dialogue>Okay. So how come Hallenbeck's neighbor claims that Miller's car was parked there all night, in the same spot?<\/dialogue>\n    <scene_description>Bessalo sits bolt upright . Eyes glazed . Wheels turning .<\/scene_description>\n    <character>BESSALO<\/character>\n    <dialogue>He lied. Why did he lie?<\/dialogue>\n    <scene_description>Realization hits him like a thunderbolt .<\/scene_description>\n    <character>BESSALO<\/character>\n    <dialogue>Shit. Miller was fucking his wife.<\/dialogue>\n    <character>McCASKEY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>BESSALO<\/character>\n    <dialogue>That's why the car was there, Miller was fucking Hallenbeck's wife, Hallenbeck just got back from out of town, remember?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Christ, Joe wasted the bastard himself!<\/dialogue>\n    <scene_description>He stabs a button on the phone . Barks into the receiver :<\/scene_description>\n    <character>BESSALO<\/character>\n    <dialogue>I want an A.P.B. out on Joe Hallenbeck. Now. Find him and if he resists arrest, shoot the bastard.<\/dialogue>\n    <scene_description>He slams down the phone . Stares , stricken , at McCaskey .<\/scene_description>\n    <character>BESSALO<\/character>\n    <dialogue>I let him go, Mick. He wasted Mike Miller and waltzed right out of my office, I let him go, Goddammit!<\/dialogue>\n    <character>McCASKEY<\/character>\n    <dialogue>Relax, Ben. We'll bring him in. He's not that good.<\/dialogue>\n    <character>BESSALO<\/character>\n    <dialogue>You wan na bet?<\/dialogue>\n    <scene_description>And , with that , we promptly - JOE HALLENBECK 'S UNCONSCIOUS FACE Weathered . Sallow . Dark circles under the eyes . HAND comes INTO FRAME and slaps him . Hard . Rocks his head to one side .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEGANT BEACH HOUSE - LIVING ROOM - ANOTHER ANGLE<\/stage_direction>\n    <scene_description>Thick carpet . Polished , wood furniture . Window walls . Outside , the sea is angry and grey . PABLO AND CHET are standing over Hallenbeck , who is slumped in a chair . Both hitmen wear holstered sidearms . Chet leans over and slaps Hallenbeck again . The big detective begins to stir . His eyelids flutter .<\/scene_description>\n    <character>CHET<\/character>\n    <dialogue>I think he's awake.<\/dialogue>\n    <character>PABLO<\/character>\n    <dialogue>Make sure.<\/dialogue>\n    <scene_description>Chet 's hand flashes out for a third slap - And from nowhere , Joe Hallenbeck 's hand magically appears . Intercepts the blow . Clamps onto Chet 's hand and wrenches it . A cry of pain . Chet stumbles backward , cradling the wrist .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>I'm awake.<\/dialogue>\n    <scene_description>His eyelids creak open . He squints , adjusting to the light . Studies his captors .<\/scene_description>\n    <character>CHET<\/character>\n    <dialogue>You nearly broke my wrist, man.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Life's a bitch.<\/dialogue>\n    <scene_description>He starts pawing his coat pockets , looking for a cigarette . In the corner , Pablo chuckles :<\/scene_description>\n    <character>PABLO<\/character>\n    <dialogue>Milo warned us to watch out for this guy.<\/dialogue>\n    <scene_description>Chet is seething . He glares at Hallenbeck . Hallenbeck yawns .<\/scene_description>\n    <character>CHET<\/character>\n    <dialogue>Fuck that. Look at him. He's nothin'. Guy's a piece of shit.<\/dialogue>\n    <scene_description>Hallenbeck ignores him . Sits up . Rubs tired eyes .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Anybody got a cigarette?<\/dialogue>\n    <scene_description>Chet steps forward . Grins wickedly .<\/scene_description>\n    <character>CHET<\/character>\n    <dialogue>Sure, buddy. I got a cigarette.<\/dialogue>\n    <scene_description>He reaches into his shirt pocket . Extracts a Marlboro . Hands it to Hallenbeck . Takes out a lighter . Hallenbeck places the cigarette between his lips . Leans forward for a light - And Chet slugs him in the face . The cigarette goes flying . Hallenbeck 's head snaps back . Blood creeps from his lower lip .<\/scene_description>\n    <character>CHET<\/character>\n    <parenthetical>( guffaws . )<\/parenthetical>\n    <dialogue>Hey, baby, I thought you were tough. See, Pablo, he ai n't so bad.<\/dialogue>\n    <scene_description>Hallenbeck 's eyes glint fiercely . He takes a breath . Leans forward and says :<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>I seem to have dropped my cigarette. May I have another?<\/dialogue>\n    <scene_description>Chet turns , meets his gaze . The grin falters a bit .<\/scene_description>\n    <character>CHET<\/character>\n    <parenthetical>( unnerved . )<\/parenthetical>\n    <dialogue>Sure. Sure thing, buddy.<\/dialogue>\n    <scene_description>He hands Hallenbeck another smoke . Hallenbeck puts it between his lips .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>I need a light.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>And if you touch me again. I'll kill you.<\/dialogue>\n    <scene_description>A pregnant pause . The challenge hangs in the air . Slowly , Chet takes the lighter from his pocket . Pablo looks on , a smile twisting his features . Hallenbeck leans forward for a light . Chet extends his arm - And slugs Hallenbeck in the face again . Rocks him . Chet howls with laughter . Pablo grins .<\/scene_description>\n    <character>CHET<\/character>\n    <dialogue>Baby! Two for two!<\/dialogue>\n    <scene_description>The laughter continues . Hallenbeck takes a deep breath . Stands up . Strikes with a flattened palm . Breaks Chet 's nose . Drives it up into the brain . Chet stands , pole - axed . Blinks once . Pitches over dead . And suddenly Pablo is n't laughing . He stares at Hallenbeck , incredulous . Stares at Chet , lying on the carpet .<\/scene_description>\n    <character>PABLO<\/character>\n    <dialogue>Jesus Christ.<\/dialogue>\n    <parenthetical>( draws his gun . )<\/parenthetical>\n    <dialogue>You son - of - a - bitch. Jesus Christ!<\/dialogue>\n    <scene_description>He rushes to Chet . Kneels beside him . Hallenbeck calmly returns to his seat .<\/scene_description>\n    <character>PABLO<\/character>\n    <dialogue>You killed him! ` Fuckin' A, you killed him, he's fuckin' dead!<\/dialogue>\n    <scene_description>Hallenbeck says nothing . At that moment , a door opens , and Milo enters . Slick . Well - dressed . Utterly composed .<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Is there a problem?<\/dialogue>\n    <character>PABLO<\/character>\n    <parenthetical>( still dazed . )<\/parenthetical>\n    <dialogue>He killed Chet, Milo. The mother - fucker just killed him!<\/dialogue>\n    <scene_description>Milo looks toward Hallenbeck . Hallenbeck says nothing . Instead , he calmly leans forward and picks up Chet 's lighter from the carpet . Lights his cigarette . Blows smoke . A tense moment . and then Milo does something un - expected : He starts to laugh . Advances into the room , chuckling .<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Oh, my. Oh, Goddamn. Joseph, Joseph, you do n't disappoint me.<\/dialogue>\n    <scene_description>He draws a Walther PPK and approaches Hallenbeck . Smiling and cheerful .<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>You seem to have killed one of my men.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>I needed a light.<\/dialogue>\n    <scene_description>Milo nods as if this makes perfect sense .<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>You took an awful risk. Pablo here could have shot you dead.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>If you wanted me dead, you'd have already killed me.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Yes, that's true.<\/dialogue>\n    <parenthetical>( sits down . )<\/parenthetical>\n    <dialogue>I suppose introductions are in order.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( waves his hand . )<\/parenthetical>\n    <dialogue>Fuck it. You're the bad guy, right?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Yes. I'm the bad guy.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>And you've got the gun, and I'm supposed to tremble in fear, something like that?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Something like that.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Fine. I'll start trembling in a minute. Mind if I have a drink first?<\/dialogue>\n    <character>MILO<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>I do n't see why not. Pablo, please take Chet's corpse into the other room, and then fix Mr. Hallenbeck a drink.<\/dialogue>\n    <scene_description>Suddenly a voice rings out from the doorway :<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Make that two.<\/dialogue>\n    <scene_description>Hallenbeck turns toward the new arrival .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Hey, look who's here. Connie Marcon himself.<\/dialogue>\n    <scene_description>Sure enough , CONRAD MARCON saunters in , just like he owns the place . Which , by the way , he does . Tall , strong , Texas - tough . Dressed in a Saville Row suit . He frowns at Hallenbeck :<\/scene_description>\n    <character>MARCON<\/character>\n    <dialogue>Careful, son. Only my friends call me Connie.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>You got friends? When did this happen?<\/dialogue>\n    <character>MARCON<\/character>\n    <parenthetical>( chuckles . )<\/parenthetical>\n    <dialogue>I'll give you one thing. You're pretty calm for a man in your position.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>You're pretty calm for a man whose team is three and six on the year.<\/dialogue>\n    <character>MARCON<\/character>\n    <dialogue>They're having some problems.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>They stink.<\/dialogue>\n    <scene_description>Marcon 's composure falters , but only for a moment .<\/scene_description>\n    <character>MARCON<\/character>\n    <dialogue>I'm glad you're here, Joe. We got a few things to discuss.<\/dialogue>\n    <scene_description>He takes a moment to gather his thoughts .<\/scene_description>\n    <character>MARCON<\/character>\n    <dialogue>For starters, I'm sure you're aware that professional football is changing, and not for better.<\/dialogue>\n    <parenthetical>( lights a cigar . )<\/parenthetical>\n    <dialogue>Used to be, you went to the local stadium come Sunday, you saw heroes. Guys who fought for their hometown. Anymore, no one gives a shit. Ever since Sonny Werblin paid $ 400,000 to Joe Namath back in' 66, the sons of bitches just got greedier. Playing only for themselves. Giving nothing back to the game.<\/dialogue>\n    <scene_description>Pablo hands him a double bourbon .<\/scene_description>\n    <character>MARCON<\/character>\n    <dialogue>This year, the final blow : the N.F.L. votes to decertify the Players Organization. Eliminates the draft, reduces all athletes to free agents. Reduces football, once and for all, to commerce. To greed, you follow?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>When do I say the Pledge of Allegiance?<\/dialogue>\n    <scene_description>Marcon looks directly at Hallenbeck .<\/scene_description>\n    <character>MARCON<\/character>\n    <dialogue>Do you know how many ratings points Monday Night Football lost this year? Per week? An average of two point eight.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Oh, for Chrissake. You're telling me this whole thing is about TV ratings?<\/dialogue>\n    <character>MARCON<\/character>\n    <dialogue>People have stopped watching, Joe! Everybody's turning the channel, they're still looking for heroes, you follow? Guys like you. Milo here tells me you took a bullet for the President, jumped in front of a sniper rifle.<\/dialogue>\n    <scene_description>Hallenbeck reacts , startled . Looks at Milo .<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>We took the liberty of researching your background.<\/dialogue>\n    <character>MARCON<\/character>\n    <dialogue>How about it, Joe? Is it truth or hype?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>I got the rifle in my closet as a souvenir.<\/dialogue>\n    <character>MARCON<\/character>\n    <dialogue>There you go, that's what I'm saying. The public wants real heroes. Not a bunch of football prima donnas, jumping from team to team with their fancy lawyers.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>In fact, Joe, and this is my point, there's only one reason left nowadays to watch pro - football. Can you guess?<\/dialogue>\n    <scene_description>It begins to dawn on Hallenbeck .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Gambling.<\/dialogue>\n    <character>MARCON<\/character>\n    <dialogue>Exactly. Gambling.<\/dialogue>\n    <parenthetical>( puffs his cigar . )<\/parenthetical>\n    <dialogue>Just one problem : football gambling is illegal in all but two of the fifty states. And that, Joe boy, is where I come in.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( sudden realization . )<\/parenthetical>\n    <dialogue>Shit, that's what this is about! You're bribing United States senators. Paying them to pass legislation -<\/dialogue>\n    <character>MARCON<\/character>\n    <dialogue>- Legalizing football gambling in all fifty states. Exactly.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Attendance goes up again. TV ratings go up again.<\/dialogue>\n    <character>MARCON<\/character>\n    <dialogue>You got it, son. The networks are happy. I'm happy. Everybody's happy.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Before we get too fucking happy, let's get a couple things straight : first, I'm not your fucking son, and second. why am I still alive?<\/dialogue>\n    <scene_description>Marcon stops pacing . Sighs and sits down facing Hallenbeck .<\/scene_description>\n    <character>MARCON<\/character>\n    <dialogue>It's like this, Joe : everything was going great until a couple weeks ago, and then I hit a snag : Senator Calvin Baynard.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( takes a sip of bourbon . )<\/parenthetical>\n    <dialogue>I do n't get it. What's the snag?<\/dialogue>\n    <character>MARCON<\/character>\n    <dialogue>I offered him the bribe and he would n't take it.<\/dialogue>\n    <scene_description>Hallenbeck actually does a spit - take . Sprays bourbon .<\/scene_description>\n    <character>HALLEBECK<\/character>\n    <dialogue>Baynard? Are you nuts? The guy's so crooked he shits slinkies.<\/dialogue>\n    <character>MARCON<\/character>\n    <dialogue>Allow me to clarify : I offered him the bribe, and he turned it down because he wanted more money.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( sighs with relief . )<\/parenthetical>\n    <dialogue>Thank God. For a minute there I felt hell freezing over. Did he ask for more than a million?<\/dialogue>\n    <character>MARCON<\/character>\n    <dialogue>Does the Pope shit in the woods? He wants two million or he'll blow the lid off my whole plan. I do n't feel like paying no two mil, so basically that good ole' boy's got ta die.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Taking off a U.S. senator, that's pretty ballsy. Even for an asshole like you.<\/dialogue>\n    <character>MARCON<\/character>\n    <dialogue>Oh, I'm not going to kill Baynard, Joe.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Who is?<\/dialogue>\n    <scene_description>Marcon says nothing . Just looks at Hallenbeck and smiles .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Oh, shit.<\/dialogue>\n    <scene_description>He rubs tired eyes .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>I'm the perfect fall guy. Everyone and his uncle Max knows I hate Baynard.<\/dialogue>\n    <character>MARCON<\/character>\n    <parenthetical>( nods . )<\/parenthetical>\n    <dialogue>Anything goes wrong, all the heat lands on you, Joe boy. My hands are clean.<\/dialogue>\n    <scene_description>Hallenbeck scowls .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Any particular reason I should go along with this prize - winning scheme?<\/dialogue>\n    <character>MARCON<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Just one.<\/dialogue>\n    <scene_description>He motions to Milo , who disappears through a doorway . Reappears a moment later . He 's got Joe 's wife . ANGLE ON HALLENBECK He stands . Face contorting . Fists clenched . Rage courses through him like an electric current . Marcon cocks his gun .<\/scene_description>\n    <character>MARCON<\/character>\n    <dialogue>Sit down, Joe.<\/dialogue>\n    <scene_description>A moment . Joe stands , smouldering . On fire . Sarah speaks :<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Do what he says, Joe.<\/dialogue>\n    <scene_description>Joe sits . Breathing shallowly . Eyes locked on Milo .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Are you alright, Sarah?<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>That's a temporary condition, Joseph. As you may be aware, there are distributors in Mexico who positively crave snuff films. And unless you do every fucking thing Mr. Marcon tells you. your wife will make her motion picture debut.<\/dialogue>\n    <scene_description>He meets Joe 's murderous gaze . and smiles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL EMERGENCY ROOM - DAY<\/stage_direction>\n    <scene_description>Meanwhile , back at the ranch , Jimmy is seated , shirtless , on a metal examining table . His ribs are taped . His arm in a cast . Two men loom over him , sour expressions on their faces : Sergeants McCaskey and Bessalo . Jimmy shakes his head , exasperated :<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Look, I'll say it again for the cheap seats : I do n't know anything and I ca n't help you. Okay? Can I go now?<\/dialogue>\n    <scene_description>Bessalo grimaces in disgust .<\/scene_description>\n    <character>BESSALO<\/character>\n    <dialogue>Let me get this straight : you're walking along, minding your own business, when two guys you never met jump you and throw you in a ditch for no particular reason. Is that it?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>That's it.<\/dialogue>\n    <character>BESSALO<\/character>\n    <dialogue>You're full of shit, kid.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Tell me where Hallenbeck is.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>How the fuck should I know? Try his house.<\/dialogue>\n    <character>BESSALO<\/character>\n    <dialogue>We did. Where is he?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>For Chrissake, I just met the guy.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Look, Sergeant. I do n't give a shit about Joe Hallenbeck. I just busted my throwing arm and I'm in a real pissy mood, so you got two choices : either charge me with something or let me the fuck outta here.<\/dialogue>\n    <scene_description>He glares defiantly at Bessalo .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CASA LOMA APARTMENTS - DAY<\/stage_direction>\n    <scene_description>The grey day wears on . Jimmy trudges stiffly down the walk toward his apartment unit . Pulls up short , staring ahead - DARIAN HALLENBECK Slumped outside the door to his apartment . Asleep . A crumpled piece of paper clutched in her hand . He kneels beside her . Touches her shoulder .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Hey. Wake up.<\/dialogue>\n    <scene_description>She stirs . Awakens , looking at him . Her eyes are puffy and red from crying . Her hair is a tangled mess . She hands him the piece of paper , and promptly bursts into tears . Buries her head in his chest , sobbing . He cradles her with his good arm . Awkwardly unfolds the crumpled paper and reads : MOMMY AND DADDY ARE WITH US . CALL THE POLICE AND WE 'LL KILL THEM BOTH . He stares at the note , dumbstruck .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH HOUSE - DAY<\/stage_direction>\n    <scene_description>A savage wind sweeps in off the ocean . Gulls wheel overhead . FORTY FOOT YACHT is tethered to a wooden dock outside the beach house . Milo and his crew prepare to cast off . Meanwhile : PABLO approaches along the dock , looking lean and mean in an Izod shirt . He stops in front of Sarah and Joe Hallenbeck . They are seated on the dock . Each handcuffed to a metal railing . Pablo kneels and unfastens Joe 's cuffs .<\/scene_description>\n    <character>PABLO<\/character>\n    <dialogue>Get up.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Go fuck yourself.<\/dialogue>\n    <scene_description>Pablo delivers a savage kick to Hallenbeck 's ribs . Hallenbeck gasps in pain .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>I meant that. in a good way.<\/dialogue>\n    <scene_description>Pablo hauls him to his feet . Props him against the railing .<\/scene_description>\n    <character>PABLO<\/character>\n    <dialogue>Time for a little payback, Joe. Call it a service to dear departed Chet.<\/dialogue>\n    <scene_description>He slams a fist into Hallenbeck 's middle . Sarah cries out in alarm .<\/scene_description>\n    <character>PABLO<\/character>\n    <dialogue>How's that feel, fuckhead?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( weakly . )<\/parenthetical>\n    <dialogue>I'm asshole. she's fuckhead.<\/dialogue>\n    <scene_description>And with that , Pablo lets him have it . Rains punches on his chest and gut . Slams an elbow into his kidneys . Drives a knee into his groin . Joe hits the deck . Milo calls out from the boat :<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Easy, Pablo. I want him conscious.<\/dialogue>\n    <scene_description>Pablo is kicking Joe 's prone form .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Goddamn you, stop it! Oh, Jesus, leave him alone!<\/dialogue>\n    <scene_description>Pablo gives Joe a last swift kick . Spits on him . Hallenbeck vomits . Lies bleeding on the dock . Sarah crawls over to him . As far as the cuffs will allow . Cradles his head in her lap .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Do n't. look at me.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Shhh. It's okay, Joe. I'm here, it's okay.<\/dialogue>\n    <parenthetical>( strokes his hair . )<\/parenthetical>\n    <dialogue>I love you, Joe.<\/dialogue>\n    <scene_description>Hallenbeck looks at her like she 's just grown three heads .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>I get the shit beat out of me. puke all over myself. and now you love me?<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>I never stopped loving you, Joe.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Christ, you slept with three guys.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>You knew about the others?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>I knew.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>You never said anything.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Figured. you needed them.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Joe, Goddammit, why did n't you say something?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Like what? ` Fuck you, Sarah'?<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Yes. Fuck you, Sarah! Anything to show that you. that you had some pride left.<\/dialogue>\n    <scene_description>A pause . Then Hallenbeck heaves a sigh .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Sorry. I'm fresh out.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>I'm scared, Joe. Get me out of this.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Must be my trick ear. Sounded like you said, ` Get me out of this.'<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>You can take these guys, Joe.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>I've got cracked ribs and a concussion.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Save me, Joe. Be a hero.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>I do n't believe in heroes.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>That's no excuse.<\/dialogue>\n    <scene_description>He stares up at her for a moment . Then , through bloody lips :<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Fuck you, Sarah.<\/dialogue>\n    <scene_description>And he smiles . Just then , Milo signals from the boat . Seeing , this , Pablo approaches the couple again .<\/scene_description>\n    <character>PABLO<\/character>\n    <dialogue>All right, lovebirds, break it up.<\/dialogue>\n    <scene_description>He yanks Sarah to her feet . Lets his gaze roam up and down her body .<\/scene_description>\n    <character>PABLO<\/character>\n    <dialogue>Nice tits.<\/dialogue>\n    <scene_description>He rips open her blouse . Roughly fondles her breasts . Hallenbeck . On the ground . He growls with fury . Starts to push himself up .<\/scene_description>\n    <character>PABLO<\/character>\n    <dialogue>Stay down, fucker. Do n't you move.<\/dialogue>\n    <scene_description>At that moment , Milo comes striding down the dock . Whistling cheerfully .<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Careful, Pablo. We do n't want to get Mrs. Hallenbeck all excited in front of hubby.<\/dialogue>\n    <scene_description>He squats next to Joe .<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Hello, Joseph, guess what? Time to go, and remember : you follow orders, or the missus pays the price.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>You're gon na kill us both anyway.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Perhaps. But there are ways to die, and then there are. ways to die. Capisce? You determine your wife's fate.<\/dialogue>\n    <scene_description>He yanks Hallenbeck to his feet . Propels him toward the boat . As her husband is being led away , Sarah calls out :<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Joe!<\/dialogue>\n    <scene_description>He stops . Turns . Looks at her . Boys and girls , there is , within Joe Hallenbeck , a spark : Tiny . Fizzling . Almost gone . But now , looking at his wife , that spark unexpectedly kindles - And eight years melt away . Just like that . The old Joe Hallenbeck looks his wife in the eye and says , with deadly calm :<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>I'll be back.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>That's a promise.<\/dialogue>\n    <scene_description>Milo clubs Joe in the head with his pistol .<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>You're wasting my time, Joseph. Let's go.<\/dialogue>\n    <scene_description>Hallenbeck turns . Dirty . Tired . Unshaven . Bloody . He looks at Milo . and grins :<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>If you touch me again. I'll kill you.<\/dialogue>\n    <scene_description>They stare into each other 's eyes . Hallenbeck does not give an inch . Milo hits him again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOPANGA CANYON HOME - DAY<\/stage_direction>\n    <scene_description>Remember Jimmy 's friend , Henry , who we met briefly near the opening of the film ? Of course you do , you 're a highly - paid reader or development person . Well , Henry is seated in a big , lived - in den watching football films . The walls around him are adorned with hunting paraphernalia . Rifles . Trophies . There is a KNOCK at the door . He gets up . Crosses to the door . Opens it . And Jimmy Dix is there . He gets right to the point :<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>I need to borrow a gun, Henry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EXPENSIVE, WOOD-PANELED OFFICE - AFTERNOON<\/stage_direction>\n    <scene_description>Conrad Marcon sits behind a huge teak desk . Surrounded by football paraphernalia . Paintings . Trophies . The PHONE CHIRPS . He picks up the receiver . Stabs a button .<\/scene_description>\n    <character>MARCON<\/character>\n    <dialogue>Marcon.<\/dialogue>\n    <scene_description>ON SHIPBOARD - MILO<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>It's Milo, sir. We're now underway and should be lying off Catalina within two hours.<\/dialogue>\n    <character>MARCON<\/character>\n    <dialogue>Good boy, Milo. The commissioner's party starts at six. I'll put in a token appearance around six - thirty.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Very good, sir.<\/dialogue>\n    <character>MARCON<\/character>\n    <dialogue>Any problems with Hallenbeck?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>No, we're getting along famously.<\/dialogue>\n    <character>MARCON<\/character>\n    <dialogue>Glad to hear it. No fuckups, Milo. I want him deep - sixed.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>I assure you, neither he nor the senator will see another sunrise.<\/dialogue>\n    <character>MARCON<\/character>\n    <dialogue>Christ, Milo, how come you always have to talk like a fruit?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>If it annoys you, I could always adopt a Texas drawl, though I'm afraid I do n't know any stories about fucking pigs. Sir.<\/dialogue>\n    <character>MARCON<\/character>\n    <dialogue>Cows, Milo. Never pigs.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>I'll remember that, sir.<\/dialogue>\n    <scene_description>He hangs up . Marcon replaces the receiver and chuckles .<\/scene_description>\n    <character>MARCON<\/character>\n    <dialogue>Goddamn fruitcake.<\/dialogue>\n    <scene_description>He turns , and suddenly we realize he 's not alone in the room : a STRANGE MAN is seated in the shadows off to one side . His face is obscured . Marcon addresses him :<\/scene_description>\n    <character>MARCON<\/character>\n    <dialogue>So far, so good.<\/dialogue>\n    <scene_description>The Man in the corner nods , then speaks . As he does , we notice he has a speech impediment ; it sounds like he 's talking with his mouth full .<\/scene_description>\n    <character>STRANGE MAN<\/character>\n    <dialogue>We've worked too hard, Con. There's no margin for error.<\/dialogue>\n    <character>MARCON<\/character>\n    <dialogue>Take it easy, buddy. We're covered.<\/dialogue>\n    <character>STRANGE MAN<\/character>\n    <dialogue>You're using the first team, yes?<\/dialogue>\n    <character>MARCON<\/character>\n    <dialogue>Absolutely.<\/dialogue>\n    <parenthetical>( sighs . )<\/parenthetical>\n    <dialogue>Actually, I have no choice.<\/dialogue>\n    <character>STRANGE MAN<\/character>\n    <dialogue>How's that?<\/dialogue>\n    <character>MARCON<\/character>\n    <dialogue>Fuckin' Hallenbeck killed the second and third teams.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LONG BEACH BOAT YARD - AFTERNOON<\/stage_direction>\n    <scene_description>A sign reads , BOAT RENTALS : DAY AND WEEK . Jimmy moves briskly down a concrete ramp toward a Hatteras sport charter . He is obsessed . Determined . Darian trots along behind him . She 's holding up pretty well , considering .<\/scene_description>\n    <character>DARIAN<\/character>\n    <dialogue>What do you need a boat for?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>I'm gon na crash a party out on Catalina. Marcon will be there.<\/dialogue>\n    <scene_description>He swings a bag of gear onto the boat . Starts to store it .<\/scene_description>\n    <character>DARIAN<\/character>\n    <dialogue>Maybe. we should call the police.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>No, honey. Not now. There's some big shots involved in this mess, and it's my word against theirs. If I blab to the cops, your mom and dad will disappear and they'll never find the bodies.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I'm sorry, Darian.<\/dialogue>\n    <character>DARIAN<\/character>\n    <parenthetical>( about to cry . )<\/parenthetical>\n    <dialogue>So. what do we do?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>What I do. is confront Conrad Marcon and threaten to go to the cops, unless he gives them back.<\/dialogue>\n    <character>DARIAN<\/character>\n    <dialogue>Is that gon na work?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Beats me, but I think it's what your dad would do.<\/dialogue>\n    <character>DARIAN<\/character>\n    <dialogue>I'm scared.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Me, too, honey.<\/dialogue>\n    <scene_description>His gear stashed , he turns to Darian . Tries a smile .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>So. why'd you come to me, anyhow?<\/dialogue>\n    <character>DARIAN<\/character>\n    <dialogue>I do n't know. I thought you'd. know what happened, know what to do.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I mean, you were one of my dad's big heroes.<\/dialogue>\n    <scene_description>Jimmy almost chokes .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>DARIAN<\/character>\n    <dialogue>When I was little, he used to talk about you all the time. Best football player in the game. Great this. Wonderful that. You shoulda seen him when you got busted.<\/dialogue>\n    <scene_description>Jimmy stares straight ahead . Takes a deep breath .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>I'll get them back, kiddo. I'll get them back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CATALINA ISLAND - ESTABLISHING SHOT - NIGHT<\/stage_direction>\n    <scene_description>The island sits beneath a dark , cloud - filled sky . Fog nestles in the foothills , rolling in off the ocean . CATALINA FERRY slices through the murk , filled with light , laughter , MUSIC . ON SHORE Boats are arriving at a private dock . A steady stream of guests . Tuxedoes and evening gowns . A parade of phony hair and phony boobs . All mounting the stairs to a huge chalet . Inside , a dinner party is in progress .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OPULENT LIVING ROOM - PARTY<\/stage_direction>\n    <scene_description>in progress . People with six - figure incomes . Pretending they 're important . Mingling . Schmoozing . At a raised bar , Conrad Marcon bends the ear of a Japanese businessman . A lot of laughter . Back - slapping . A sudden commotion near the front door . FLASHBULBS POP . People crane their necks . Marcon turns to look , as : SENATOR CALVIN BAYNARD enters the party , surrounded by an entourage of men in Armani suits . Seeing this , Marcon 's face changes . Gone is the affable Texan . In his place , a ruthless murderer . He smiles . AUTOMATIC RIFLE as a thirty - shot clip is snapped into place .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORTY-FOOT YACHT - CABIN - NIGHT<\/stage_direction>\n    <scene_description>Milo is preparing the weapon . He works the action . Pumps a round into the chamber . Looks up at Hallenbeck , who is bound hand and foot . Seated across from him in the boat 's cabin .<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Your wife's very pretty.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Fuck you, cocksucker.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>My, my. Little testy this evening.<\/dialogue>\n    <scene_description>He pulls a switchblade out of his Windbreaker .<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>That's not very polite, you know, calling someone a cocksucker. A lot of hard Ks. Very abusive sounding.<\/dialogue>\n    <scene_description>Hallenbeck says nothing .<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>What would you do, Joseph, if someone called you that? Would you cut out one of his eyes?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>What would you do?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>I'd go off and suck some cock and leave him the fuck alone.<\/dialogue>\n    <scene_description>Milo studies Hallenbeck the way a museum curator might study a new species of fish .<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>It occurs to me, Joseph, that I would very much like to hear you scream.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Come again?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>You're so cool, are n't you? So. if you'll pardon the expression. hard - boiled. I'd like, just once, to hear you scream in pain.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Play some rap music.<\/dialogue>\n    <scene_description>Milo chuckles , shakes his head .<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Fascinating.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>When do I kill Baynard?<\/dialogue>\n    <character>MILO<\/character>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>Come now, Joseph, did you really think that I'd hand you a loaded gun?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You're not really going to kill anyone.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>I'm not?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>He leans forward .<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>You're going to be framed for the senator's murder. when they find your corpse at the scene of the crime.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRIVATE DOCK - NIGHT<\/stage_direction>\n    <scene_description>Boats , lots of them . Sportfishers . Yachts . Floating boats . Money , money , everywhere , and plenty of drinks to drop . HATTERAS SPORT BOAT PURRS quietly into the harbor . Jimmy at the rudder . Nudges up to the dock . In the chalet above , the party rages . SERIES OF SHOTS - JIMMY 'S PREPARATION Jimmy lashes the boat . Goes below . Grabs a tuxedo from the closet . Stands , dressed , in front of the mirror . Opens a box . Removes a 9 millimeter Baretta . Works the slide . Jacks a bullet into the cylinder . Stashes it in the waistband of his pants : In back . Concealed by the tuxedo . Studies his own grim face in the mirror .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Okay, hot shit, let's do it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DECK - NIGHT<\/stage_direction>\n    <scene_description>Jimmy emerges from the cabin . Heads for the rail . A voice calls out :<\/scene_description>\n    <character>DARIAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Nice tux.<\/dialogue>\n    <scene_description>He turns , and sees Darian Hallenbeck . Peeking her head out from under a tarpaulin .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Goddammit, I told you to go home!<\/dialogue>\n    <character>DARIAN<\/character>\n    <dialogue>Fuck you, I stowed away. They're my parents, okay?<\/dialogue>\n    <scene_description>Jimmy shakes his head . Exasperated .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Fine, whatever. Just stay here. With the boat.<\/dialogue>\n    <scene_description>Darian starts to protest . He throws her the keys .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Anything funny happens, get the fuck out of here.<\/dialogue>\n    <scene_description>Darian takes the keys . Frowns , says :<\/scene_description>\n    <character>DARIAN<\/character>\n    <dialogue>You look terrible.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>I feel terrible.<\/dialogue>\n    <character>DARIAN<\/character>\n    <dialogue>Are you really a drug addict?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>I was. I kicked the habit.<\/dialogue>\n    <character>DARIAN<\/character>\n    <dialogue>When?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>This morning. Stay here.<\/dialogue>\n    <scene_description>He swings over the side , onto the dock .<\/scene_description>\n    <character>DARIAN<\/character>\n    <dialogue>Do n't let them break your other arm.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Thanks, kid. You're a fuckin' inspiration.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILO'S YACHT - CABIN - SAME TIME<\/stage_direction>\n    <scene_description>Milo speaks to Hallenbeck . Clipped . Businesslike .<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>At eight - fifteen, Senator Baynard will leave the party, hopefully unobserved. He and his entourage will board a fast boat, and rendezvous with us at sea.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Jesus. He thinks he's geting his two - million - dollar payoff.<\/dialogue>\n    <scene_description>Milo nods . Points to two identical suitcases in the corner .<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Baynard will not leave his boat. One of his men will board us, and inspect the contents of the suitcase. This suitcast.<\/dialogue>\n    <scene_description>He opens one of the cases . Hallenbeck stares . HUNDRED DOLLAR BILLS Twenty thousand of them , to be precise . Neatly bundled .<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Then we pull a simple switch. When the man returns to his boat, he's carrying this suitcase.<\/dialogue>\n    <scene_description>He points to the identical twin .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Plastics?<\/dialogue>\n    <character>MILO<\/character>\n    <parenthetical>( nods . )<\/parenthetical>\n    <dialogue>Detonation upon opening. Enough to kill the passengers, not enough to sink the craft.<\/dialogue>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>And when we place your charred corpse amidst the wreckage, the police will draw the inevitable conclusion : a down - on - his - luck P.I. makes a suicide strike against the man who cost a career.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>That sounds lovely, but how is my body gon na get charred?<\/dialogue>\n    <scene_description>With a flourish , Milo pulls aside a tablecloth . Under the table is a five gallon can of gasoline .<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Maybe I'll get to hear you scream, after all.<\/dialogue>\n    <scene_description>Just then , one of Milo 's crew sticks his head in the door .<\/scene_description>\n    <character>CREW MEMBER<\/character>\n    <dialogue>You better get up here, we got a problem.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. YACHT - ON DECK - NIGHT<\/stage_direction>\n    <scene_description>Milo 's yacht is anchored about a half mile offshore . Island lights blink in the distance . Fog rolls in . Milo emerges from the cabin onto the deck . Crosses to the railing , looks down at : FISHING BOAT bobbing in the water about thirty yards away . A FISHERMAN is waving his arms . Hailing them . Beside him , his wife and seventeen - year - old son .<\/scene_description>\n    <character>FISHERMAN<\/character>\n    <dialogue>Hey! Buddy, I got a cracked engine casing, I'm dead in the water! Can I get a tow?<\/dialogue>\n    <scene_description>Milo swears under his breath . Calls out :<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>I'm sorry, sir. This boat is Island Security, we're under strict orders to stay within this sector.<\/dialogue>\n    <character>FISHERMAN<\/character>\n    <dialogue>Aw, shit! Look, it'll take ten minutes!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>I'm sorry, we ca n't help you.<\/dialogue>\n    <character>FISHERMAN<\/character>\n    <dialogue>Goddammit, now I got ta call the Coast Guard!<\/dialogue>\n    <scene_description>Milo 's crewman steps up to the rail . Speaks urgently :<\/scene_description>\n    <character>CREW MEMBER<\/character>\n    <dialogue>Milo, he's gon na bring the Coast Guard down on top of us.<\/dialogue>\n    <scene_description>Milo ponders for maybe three seconds . Then he calls out :<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Excuse me. Sir?<\/dialogue>\n    <scene_description>The Fisherman turns . His family beside him .<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Fuck you, sir.<\/dialogue>\n    <scene_description>He reaches under his Windbreaker . Pulls out an Ingram model MACHINE GUN . OPENS FIRE . The entire family is blown away . WOOD SPLINGERS POP and fly . GLASS SHATTERS . The bodies topple like broken toys . Milo ceases fire . Turns to his crewman .<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Problem solved. Get over there and put the bodies below where they ca n't be seen.<\/dialogue>\n    <scene_description>He saunters away as if nothing unusual has occurred .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARTY HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Jimmy is strolling along a hedge behind the house . Looking for a back entrance . He hears VOICES , approaching . Pulls up short . Ducks into the shadows . Senator Baynard goes by , with two bodyguards . Brisk . Businesslike .<\/scene_description>\n    <character>SENATOR<\/character>\n    <dialogue>Christ, I ca n't believe I agreed to this dog and pony show. Let's get it over with.<\/dialogue>\n    <scene_description>The head for the boats . Jimmy stares after them , mind racing . Makes a decision : heads for the boats . Following Baynard .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. JIMMY'S BOAT - NIGHT<\/stage_direction>\n    <scene_description>Jimmy casts off the lines . Heads for the cockpit . Darian is inside .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Gimmee the keys, kiddo.<\/dialogue>\n    <character>DARIAN<\/character>\n    <dialogue>Where are you going?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>The Senator's here, and he's leaving by the back door. I'm gon na follow him.<\/dialogue>\n    <scene_description>He keys the ignition .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Get off the boat.<\/dialogue>\n    <character>DARIAN<\/character>\n    <dialogue>Fuck you, man. No way.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Darian, Goddammit -<\/dialogue>\n    <scene_description>She runs below decks .<\/scene_description>\n    <character>DARIAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I'm not coming out!<\/dialogue>\n    <scene_description>Jimmy looks up : The Senator 's boat , a sleek , powerful Marlineer , is even now pulling out of the cove .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Okay. Shit. Okay. Easy. Shit.<\/dialogue>\n    <scene_description>He throttles forward . The Hatteras pulls away from the dock .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKY - NIGHT<\/stage_direction>\n    <scene_description>The sound of THUNDERING ROTORS , as a refitted Bell Cobra HELICOPTER cuts through the night sky over Catalina . Banks sharply , cruises offshore .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COCKPIT - SAME<\/stage_direction>\n    <scene_description>The PILOT works the stick while the CO - PILOT searches the water below through infra - red binoculars . He speaks into a microphone .<\/scene_description>\n    <character>CO-PILOT<\/character>\n    <dialogue>This is Air One, over.<\/dialogue>\n    <character>MALE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Roger, Air One, over.<\/dialogue>\n    <character>CO-PILOT<\/character>\n    <dialogue>The drop zone is clear, repeat, the drop zone is clear, over.<\/dialogue>\n    <scene_description>MILO 'S YACHT - SAME TIME Milo is at the other end of the connection . Beside him , two crewmen .<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Roger, Air One, over and out.<\/dialogue>\n    <parenthetical>( replaces the mike . )<\/parenthetical>\n    <dialogue>Up anchor, gentlemen, we have a go.<\/dialogue>\n    <parenthetical>( points to Hallenbeck . )<\/parenthetical>\n    <dialogue>Gag him and stash him.<\/dialogue>\n    <scene_description>As Milo goes topside , one of the men tapes Joe 's mouth . The other opens a cramped storage compartment . They stuff him inside . Shut and lock the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PACIFIC OCEAN - NIGHT<\/stage_direction>\n    <scene_description>About two miles offshore . The Senator 's Marlineer cuts through the waves , converging with Milo 's yacht . The two boats pull up alongside . The lines are made fast . One of Milo 's crewmen greets Senator Baynard 's AIDE , a slick - looking Italian in a $ 1,000 overcoat . Baynard 's man hops from one boat to the other . Boarding Milo 's yacht . Meanwhile -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OFFSHORE WATERS - IN FOGBANK<\/stage_direction>\n    <scene_description>Jimmy Dix is clearly lost . He bangs his fist in frustration .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Goddammit, I lost him. I ca n't see a fucking thing.<\/dialogue>\n    <character>DARIAN<\/character>\n    <dialogue>See if this boat has sonar.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Oh, yeah, little Miss Know - It - All.<\/dialogue>\n    <character>DARIAN<\/character>\n    <dialogue>Fuck you.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Watch your mouth.<\/dialogue>\n    <character>DARIAN<\/character>\n    <dialogue>Take a bath in my ass.<\/dialogue>\n    <scene_description>They 're clearly having no fun .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILO'S YACHT - CABIN - SAME TIME<\/stage_direction>\n    <scene_description>The payoff is in progress . One of Milo 's crewmen carries the suitcase over to the wall . Places it on a built - in counter . Underneath the suitcase is a half - finished jigsaw puzzle . Off to one side is a half - empty coffee container . The case is opened . Greenbacks galore . Baynard 's Aide whistles softly . Examines the stacks of bills . Nods , satisfied .<\/scene_description>\n    <character>AIDE<\/character>\n    <dialogue>Okay. We're cool.<\/dialogue>\n    <scene_description>Just then Milo enters the cabin . Adopts a harsh New York accent as he angrily barks :<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Hey! Any of you stupid fucks bother to frisk this goombah?<\/dialogue>\n    <character>CREWMAN<\/character>\n    <dialogue>No, sir, we did n't think -<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Exactly, you did n't think! Goddammit, that's two million bucks there, now frisk the fuckin' guy!<\/dialogue>\n    <character>AIDE<\/character>\n    <dialogue>Hey, baby, I'm clean, take it easy -<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Fuck easy. Against the wall, spread'em!<\/dialogue>\n    <scene_description>As Baynard 's man assumes the position - Milo hits a concealed button . It happen in less than a second : the built - in counter rotates into the wall , only to be replaced by an indentical counter . Identical half - finished jigsaw puzzle . Identical coffee cup . And , of course , the identical suitcase . The indignant Aide turns around , pat - down concluded .<\/scene_description>\n    <character>AIDE<\/character>\n    <dialogue>Okay? Satisfied?<\/dialogue>\n    <scene_description>Milo smiles apologetically .<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>We're cool, baby.<\/dialogue>\n    <scene_description>He hands over the suitcase . BACK TOPSIDE Baynard 's man emerges onto the deck , carrying the suitcase . Steps over the rail , crossing to the Senator 's boat . Gives a thumbs up to the men waiting there . They cast off the lines . Freeing the two boats .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILO'S YACHT - BRIDGE<\/stage_direction>\n    <scene_description>Milo watches , tense . As the lines are freed , he says :<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Hard to starboard, get us out of here. Back off a hundred yards and wait for the blast.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SENATOR'S CABIN - SAME TIME<\/stage_direction>\n    <scene_description>The go - between heads below deck , carrying the suitcase . Senator Baynard puts down his wine glass . Looks up , expectant . The Aide flashes an `` A - Okay '' grin . Sets the suitcase on a table . Meanwhile -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JIMMY'S SPORT BOAT - BRIDGE<\/stage_direction>\n    <scene_description>Jimmy has had about enough . He sighs with frustration . Stares ahead into the fog .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>All we're doing is burning gas. Sorry, kid, I'm turning back.<\/dialogue>\n    <scene_description>The words are barely out of his mouth when he hears a throbbing NOISE , growing louder . Darian looks up puzzled .<\/scene_description>\n    <character>DARIAN<\/character>\n    <dialogue>Do you hear that -?<\/dialogue>\n    <scene_description>And with that - AIR ONE bursts from the fog . Directly in front of them . Hovers like an avenging angel , TURBINES SCREAMING -<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Holy fucking shit!<\/dialogue>\n    <scene_description>Rotor wash sprays in every direction . The noise is deafening .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIR ONE - COCKPIT<\/stage_direction>\n    <scene_description>The PILOT grabs the mike and shouts into it :<\/scene_description>\n    <character>PILOT<\/character>\n    <dialogue>Code yellow, code yellow, we got a bogie, repeat, we got a bogie, over.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILO'S YACHT - BRIDGE<\/stage_direction>\n    <scene_description>Milo snaps his head to one side , hearing this . Grabs the mike :<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Air One, Air One, where the fuck is he?<\/dialogue>\n    <character>PILOT<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Nine o'clock, repeat, on your nine, and closing fast!<\/dialogue>\n    <scene_description>ANOTHER ANGLE Jimmy 's BOAT ROARS out of the fog . And suddenly he 's in a world of shit . Less than fifty yards to port is Milo 's yacht . Fifty years to starboard is the Senator 's Marlineer .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Oh, wow. We're fucked.<\/dialogue>\n    <scene_description>He GUNS the ENGINE . Spins the wheel , banks to port . AIR ONE screams past , cutting across the bow , nearly taking off the roof - Jimmy , wrestling the wheel , and meanwhile -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAYNARD'S CABIN<\/stage_direction>\n    <scene_description>The Senator actually has his hands on the suitcase to open it , when one of his MEN yells :<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>Shit! Something's going on.<\/dialogue>\n    <character>BAYNARD<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>Another boat. It's a fucking setup!<\/dialogue>\n    <character>BAYNARD<\/character>\n    <dialogue>Get us out of here, now!<\/dialogue>\n    <scene_description>The guy relays the order , and :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGH SEAS<\/stage_direction>\n    <scene_description>Baynard 's Marlineer surges forward . Full throttle , heading for shore , as -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MILO'S YACHT<\/stage_direction>\n    <scene_description>Milo skids out on deck , grabbing for his machine gun . Calls out :<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Who the fuck is he?<\/dialogue>\n    <scene_description>A crewman grabs a pair of binoculars . Meanwhile - INSIDE STORAGE COMPARTMENT Hallenbeck has no fucking idea what 's going on , but he can hear everthing that 's said , as : BACK ON DECK the Crewman lowers the binoculars in disbelief :<\/scene_description>\n    <character>CREWMAN<\/character>\n    <dialogue>Son of a bitch! It's Dix, the Goddamn quarterback!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STORAGE COMPARTMENT<\/stage_direction>\n    <scene_description>Hallenbeck 's face goes through various stages of shock . It 's nothing compared to when he hears :<\/scene_description>\n    <character>CREWMAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>There's a little girl with him!<\/dialogue>\n    <scene_description>With that , he goes berserk . Draws his legs back , thunders them against the compart - ment doors . Kicks with all his might . Over and over like a crazed horse , as : BACK TOPSIDE Air One does a flyby , circling , awaiting instructions . ON DECK Milo grabs the hand mike and says :<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Air One, Air One, follow the Senator, roger? I'll take the sport boat, you take Baynard, over.<\/dialogue>\n    <character>AIR ONE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>That's a roger. Over and out.<\/dialogue>\n    <character>MILO<\/character>\n    <parenthetical>( turns to his men . )<\/parenthetical>\n    <dialogue>Okay, let's go. Full throttle.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. YACHT - SAME TIME<\/stage_direction>\n    <scene_description>With a final , resounding crash , Hallenbeck kicks open the compartment . Topples out onto the cabin floor . Works his bound hands over his knees so they 're now tied in front of him . Everybody 's topside ; for the moment , at least , he is forgotten . He half crawls , half lurches over to the kitchen nook . Worms beneath the table . awkward , desperate . Drags out the can of gasoline . Tries to unscrew the top . No dice . Ca n't get a grip . Finally , in frustration , he tips the can on its side . Brings his legs up in the air - Slams them down on the can . Over and over until , with a metallic pop - ! it bursts . Floods gasoline over the carpet , meanwhile : BACK TOPSIDE Milo 's yacht is plowing ahead , gaining on Jimmy 's Hatteras . The crew members take up positions on the prow . OPEN FIRE . WITH JIMMY As he throws Darian to the deck , shields her with his body . The wheelhouse is RAKED by GUNFIRE . He grits his teeth . Reaches beneath his tux . Yanks out the BERETTA and returns FIRE , BAM - BAM - ! and meanwhile :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. YACHT CABIN<\/stage_direction>\n    <scene_description>Hallenbeck is opening a box of kitchen matches with his teeth . Dozens of matches fall scattered on the carpet . He releases the box . Bends . Picks up a single match in his teeth . Presses his face to the wall . Gives his neck a wrench - Lights the match . He drops the match on top of the GAS CAN . A WHOOSH of combustion . It bursts into flame . Joe swivels around . Balancing on his backside . Thrusts his legs into the fire . Strains . Pulls . Sweat runs in rivers . Until the ropes binding his legs snap . He lurches to his feet , lets free . Now there 's only one problem : He 's on fire . The legs of his pants are soaked with gas . Flames race up his legs . He plunges headlong up the stairs . ON TO DECK where he hurtles toward the rail , dives - into the sea , swallowed by the waves . A CREWMAN suddenly screams :<\/scene_description>\n    <character>CREWMAN<\/character>\n    <dialogue>Fire in the hole!<\/dialogue>\n    <scene_description>Fire , indeed . It 's a rapidly - spreading blaze . The pursuit is momentarily forgotten as the crew races to put out the fire , and meanwhile : HALLENBECK surfaces , gasping for air . Trying to swim with his hands tied . DARIAN spots him first . Sees her father bobbing like a cork in the ocean , screams :<\/scene_description>\n    <character>DARIAN<\/character>\n    <dialogue>Daddy!<\/dialogue>\n    <scene_description>Jimmy whirls around , startled .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Shit. I do n't believe it.<\/dialogue>\n    <character>DARIAN<\/character>\n    <dialogue>Do something! Hurry!<\/dialogue>\n    <scene_description>Jimmy spins the wheel . Banks hard to port . Brings the boat around in an arc . Yells to Darian :<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Keep the wheel like this! Do n't let it move!<\/dialogue>\n    <scene_description>She grabs the wheel . Jimmy bends down . Opens a compart - ment . Takes out the boat 's anchor . Metal hook , attached to seventy yards of chain . He hefts it like a grappling hook .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Third and long, baby, lets' go.<\/dialogue>\n    <scene_description>And , sure , his left arm is n't his good arm - But , boy , does he heave that anchor . It soars through space , chain playing out behind it . Hits water , thirty yards past Hallenbeck - Who turns , sees the anchor skimming toward him over the waves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MILO'S YACHT<\/stage_direction>\n    <scene_description>Milo , meanwhile , has also spotted Hallenbeck . He growls in rage . Hefts the Ingram machine gun , as : ANOTHER ANGLE Hallenbeck thrusts forward , hooks his bound hands around the passing anchor and whoosh - ! He is catapulted forward , jerked like a rag puppet . BULLETS CHOP the water where he just was . He skims over the waves . Bounced . Battered . Trailing behind Jimmy at fifty miles an hour . Jimmy and Darian begin to haul him in . Struggling . Straining . The boat rushing headlong , driverless . With a last , desperate surge of energy - They drag Hallenbeck over the side . Into the boat .<\/scene_description>\n    <character>DARIAN<\/character>\n    <dialogue>Dad!<\/dialogue>\n    <scene_description>She collapses , weeping , atop her father . Hugs him for all she 's worth .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>What the hell's she doing here?<\/dialogue>\n    <character>DARIAN<\/character>\n    <dialogue>I stowed away.<\/dialogue>\n    <scene_description>GUNFIRE splits the air . Reminds them they 're not out of the woods . MILO 'S YACHT is behind them again . The fire is out . The chase is on . It steadily cuts the distance . JIMMY 'S BOAT Hallenbeck staggers to his feet .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Get below, Darian. And stay there.<\/dialogue>\n    <scene_description>He stumbles into the wheelhouse . Dazed . Barely conscious .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Got any ideas?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Yeah. Go really fast and hope they do n't catch us.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Oh, shit.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Fog bank, dead ahead. Hang on.<\/dialogue>\n    <scene_description>Into the fog they go , and , folks - This is really scary . Because you ca n't see a foot in front of your face . They plunge through the fog at fifty miles an hour . Hallenbeck sweats , eyes glued to the windshield . And then a shape materializes off to port : Milo 's yacht . Running alongside . Drawing closer . Hallenbeck wrestles the wheel . No dice . The yacht draws ever closer . men on deck . machine guns . Joe looks over . and his face tells the story :<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>We're dead.<\/dialogue>\n    <scene_description>Except , just then , a strange thing happens : Milo 's yacht veers off to the left . Away from Hallenbeck . Jimmy stares , dumbfounded .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>What the fuck? They're peeling off. Why?<\/dialogue>\n    <scene_description>A pause . then it hits Joe like a thunderbolt :<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>'Cause they got sonar, that's why! Hard to port!<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Port?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Left, Goddammit.<\/dialogue>\n    <scene_description>The boat slews to the left , as , from out of the fog - The Catalina ferry looms right in front of them .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Shit fuck piss!<\/dialogue>\n    <scene_description>They almost make it . As it is , they avoid a head - on . Instead , they hit broadside . A sickening CRUNCH - ! Jimmy and Joe are thrown from their feet . A momentary glimpse of faces rushing past - Horrified tourists - And then the ferry is behind them . Jimmy gets up . Staggers to the controls . Pushes the throttle . The boat lurches forward - Then SPUTTERS . Fizzles . He swears violently .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>We're on half power, we lost an engine!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOG BANK - SAME TIME<\/stage_direction>\n    <scene_description>The crippled boat chugs through the mist . JIMMY swears again . Bangs his fist .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>We're sitting ducks. They got sonar. They can find us.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Kill the running lights and radio the Coast Guard.<\/dialogue>\n    <scene_description>Jimmy flicks off the lights . Grabs the mike . As he does , a VIBRATING RUMBLE fills the cockpit , causing him to pause . and then stare in shock as their boat emerges from the fog - And Air One hovers directly overhead .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Fuck me.<\/dialogue>\n    <scene_description>The two men watch , helpless , as the helicopter descends , the Co - Pilot taking aim with a LAWS rocket .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Get down!<\/dialogue>\n    <scene_description>They both hit the floor . Hands over their heads - And then the pilot makes a costly error : He descends right into the path of Milo 's yacht . With no warning whatsoever , the boat comes bursting out of the fog - PLOWS right INTO the HELICOPTER . Second number one : The boat pierces the chopper , rips it to shreds . Second number two : The whole boat - slash - chopper mix erupts in a shower of wood and fiberglass . Turns night into day . JIMMY AND JOE are still huddled on the floor . Pause . They look up . Bewildered . There was a big light . Big noise . Why are n't they dead ? ANOTHER ANGLE They move like sleepwalkers to the cockpit window . Stare in disbelief . Joe looks at Jimmy . Jimmy at Joe . Debris rains down .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CRASH SITE - MINUTES LATER<\/stage_direction>\n    <scene_description>Jimmy , Joe and Darian are on deck , chugging through the wreckage . Darian clings to her father 's arm , in shock . Hallenbeck sees something in the distance . Squints :<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <scene_description>Jimmy looks : A bright object . going in circles .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>That's Baynard's boat!<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( nods . )<\/parenthetical>\n    <dialogue>It can get us to shore faster than this one, do n't you think?<\/dialogue>\n    <scene_description>He starts to turn away . Notices something in the water . Speaks over his shoulder to Jimmy .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Hand me the pole.<\/dialogue>\n    <scene_description>Jimmy hands him a long , wooden pole with a hooked end . He fishes in the water . Snares a large , floating object . Swings it aboard . Drops it at Jimmy 's feet . The suitcase .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Birthday present.<\/dialogue>\n    <scene_description>He turns away . Jimmy bends to open the suitcase . Joe heads into the cockpit , Darian beside him . Steers the boat away from the crash site . Toward the senator 's boat . Chugs forward on half an engine . O.S. , Jimmy suddenly yells :<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Holy fucking shit!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAYNARD'S BOAT - SAME TIME<\/stage_direction>\n    <scene_description>The once - mighty Marlineer runs aimless circles in the mist . Half the cockpit is blown away , probably by a LAWS rocket . The Hatteras pulls up alongside , and Hallenbeck steps to the rail , carrying the Baretta .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Wait here.<\/dialogue>\n    <scene_description>He swings aboard the senator 's boat . Gun cocked . Ready .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SENATOR'S BOAT - COCKPIT<\/stage_direction>\n    <scene_description>Enters the cockpit . What 's left of the roof is bullet - pocked . The navigator is dead . Slumped over the controls . Joe pulls him off the panel . KILLS the ENGINE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAIN CABIN<\/stage_direction>\n    <scene_description>Joe bursts inside . Hard and fast . Gun leveled . No need . It 's a slaughterhouse . The walls are perforated . Baynard and his men are dead . The suitcase 's evil twin lies unopened on the table . Hallenbeck walks over to Baynard 's lifeless body . Stares into the wide - open eyes .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Sorry, Cal. Life in the big city.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LONG BEACH BOAT RENTALS - NIGHT<\/stage_direction>\n    <scene_description>The senator 's boat pulls up to the dock . No one is around .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOCK - SAME TIME<\/stage_direction>\n    <scene_description>Hallenbeck crouches next to Darian , looks her in the eye .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Listen carefully. I'm gon na go get your mom back, okay? You're gon na go in the Denny's restaurant and stay there. Talk to the waitress but do n't mention me. Mom and I will come pick you up later, got it?<\/dialogue>\n    <character>DARIAN<\/character>\n    <parenthetical>( crying . )<\/parenthetical>\n    <dialogue>They're gon na kill you!<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Are you kidding? I do this for a living.<\/dialogue>\n    <parenthetical>( hands her a twenty . )<\/parenthetical>\n    <dialogue>Buy me an ice cream. I'll be back.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I love you.<\/dialogue>\n    <scene_description>She throws her arms around him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RENTAL SUBARU - DRIVING - NIGHT<\/stage_direction>\n    <scene_description>All business now . Deadly serious . Jimmy and Joe stare ahead through the windshield . Grim . Tense . In the back seat sits the coveted suitcase .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Your prints are all over that boat. What happens when they find the bodies inside?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Quit being a fuckin' killjoy.<\/dialogue>\n    <scene_description>He cuts the headlights . Cruises to a stop behind a road - side dumpster .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Come on. We've got some things to pick up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HALLENBECK'S HOUSE (WEST L.A.) - NIGHT<\/stage_direction>\n    <scene_description>They creep across a suburban lawn , hugging the shadows . Across the street , Hallenbeck 's house is dark . Deserted . Truly a sight : Jimmy , in a white shirt and tuxedo pants , nursing a broken arm ; and Joe , drenched to the skin , pants hanging in scorched tatters . Joe suddenly puts up a restraining hand . They stop . Crouched behind a eucalyptus tree . Joe points : THEIR POV A late - model Buick is parked just up the street from his house . There is a man slouched inside . Smoking . BACK TO SCENE<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Shit. Someone's staking me out.<\/dialogue>\n    <character>JIMMY<\/character>\n    <parenthetical>( clears his throat . )<\/parenthetical>\n    <dialogue>Oh, I forgot to tell you. The police want you for killing Mike Miller.<\/dialogue>\n    <scene_description>Hallenbeck shoots him a withering look .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COASTAL WATERS - NIGHT<\/stage_direction>\n    <scene_description>A Coast Guard cutter is circling the site of the boat \/ chopper crash . A uniformed ENSIGN shines a light on the dark waters .<\/scene_description>\n    <character>ENSIGN<\/character>\n    <dialogue>I think I got someone! Four o'clock!<\/dialogue>\n    <scene_description>MILO is draped over a piece of wooden wreckage . Half his hair is burned away . His face is blistered . He looks up , pleading , at the Ensign , as : ANOTHER ANGLE He hides the Ingram beneath his body , cocked and ready .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PARKED BUICK - NIGHT<\/stage_direction>\n    <scene_description>The sour stakeout cop reaches for a job necessity : the pot to piss in . He undoes his fly . Pees into an old Maxwell House coffee can . Opens the door to dump it out . A hand reaches in , lightning quick . Grabs the can , throws it back in his face . As he jerks backward , blinded , the hand knocks him cold .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUICK - SAME TIME<\/stage_direction>\n    <scene_description>Hallenbeck drags the unconscious cop from the car .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Let's get him inside and tie him up.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Are you crazy? That's a cop! You do n't punch cops!<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>I forgot. Hurry up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLENBECK'S BEDROOM - MINUTES LATER<\/stage_direction>\n    <scene_description>The cop is bound and gagged in the corner . Unconscious . Hallenbeck moves hurriedly . Not a second to waste . Pulls a dark turtleneck from a drawer . Rips off the sleeve . Throws it to Jimmy .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Wear that.<\/dialogue>\n    <scene_description>He strips off his own shirt . Crosses to the closet .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>You know how to use a gun?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>The trigger's the little black thing.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Here.<\/dialogue>\n    <scene_description>He hands Jimmy a shotgun and a box of odd , black cylinders .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Use these. They're shredders. Equipped with an explosive charge. When you fire the gun, they spray on impact. Take out anything within ten yards.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>What are you gon na use?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>A little souvenir.<\/dialogue>\n    <scene_description>He reaches into the closet . Pulls out a sniper rifle . The rifle . The one responsible for the puckered scar on his chest .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Go bring the car around.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HALLENBECK'S HOUSE - SAME TIME<\/stage_direction>\n    <scene_description>Jimmy emerges , starts across the lawn . Pulls up short . Stares ahead at : HIS POV - TWO BLACK SEDANS parked at the curb . BACK TO SCENE He starts to cry out - And a dark figure looms behind him . Clubs him in the head .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLENBECK'S BEDROOM - SAME TIME<\/stage_direction>\n    <scene_description>Hallenbeck snaps a full magazine into the rifle . Stuffs extras into a black Windbreaker . Hears a NOISE . Looks up , expecting Jimmy - Draws a sharp breath : PABLO AND ASSORTED GOONS standing in the doorway . All of them have guns . Pablo grins , shakes his head :<\/scene_description>\n    <character>PABLO<\/character>\n    <dialogue>Face it, pal. You're fucked by God.<\/dialogue>\n    <scene_description>PAD AND PAPER as they 're placed in front of Hallenbeck . He is seated on the bed . Three guns covering him . Beside him sits Furry Tom , grinning his stuffed - toy grin .<\/scene_description>\n    <character>PABLO<\/character>\n    <dialogue>Are you a literate man, Joe?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>I got a subscription to Jugs magazine.<\/dialogue>\n    <character>PABLO<\/character>\n    <dialogue>That's good. See, Joe, what you're gon na do, you're gon na write a little story.<\/dialogue>\n    <scene_description>A GOON sticks his head in the door .<\/scene_description>\n    <character>GOON<\/character>\n    <dialogue>We've got Jimmy Dix in the trunk.<\/dialogue>\n    <character>PABLO<\/character>\n    <dialogue>Get him out of here. Take him to Mr. Marcon. I'll follow you as soon as my business here is finished.<\/dialogue>\n    <scene_description>The Goon departs , leaving Hallenbeck with Pablo and two others . He studies them . Calculates the odds . Verdict : Bad .<\/scene_description>\n    <character>PABLO<\/character>\n    <dialogue>Yeah, you're gon na write a little story, Joe. About how guilt - stricken you are over Senator Baynard's death, which is all over the air waves, by the way. Yeah. you're so guilty about paying those hitmen to kill him, that you're gon na kill yourself.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Hey, who's writing this story? You're doing all the good parts.<\/dialogue>\n    <character>PABLO<\/character>\n    <dialogue>Oh, and, Joe? Do n't forget to include how guilty you are over that cop you murdered.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>What cop?<\/dialogue>\n    <scene_description>Pablo draws his pistol . PUMPS TWO SHOTS into the unconscious cop in the corner .<\/scene_description>\n    <character>PABLO<\/character>\n    <dialogue>That one.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>You son of a bitch!<\/dialogue>\n    <scene_description>Pablo is making a big mistake , but he does n't know it . He is fueling Joe Hallenbeck 's rage . Pity the fool . Hallenbeck regards him with dead , lifeless eyes . A thoroughly unnerving stare . Then Joe does something very odd . He says , softly :<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>We do n't like Pablo very much, do we, Furry Tom?<\/dialogue>\n    <scene_description>There is a pause . And then , incredibly - Furry Tom answers . A high - pitched , squeaky stuffed cat voice .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( as Furry Tom . )<\/parenthetical>\n    <dialogue>No, Mr. Hallenbeck, we think Pablo is a motherless fuck who takes it up the ass.<\/dialogue>\n    <scene_description>Dead silence . Pablo is completely thrown ; so are we , for that matter . and then it hits us : Joe is doing ven - triloquism . And the funny thing is , he 's really good . Pablo overcomes his shock .<\/scene_description>\n    <character>PABLO<\/character>\n    <dialogue>Shit, is he doing that?<\/dialogue>\n    <scene_description>Hallenbeck 's face remains cold . Expressionless .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Furry Tom, tell Pablo what I'm gon na do to him.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( as Furry Tom . )<\/parenthetical>\n    <dialogue>You're gong to make Pablo eat all his teeth, Mr. Hallenbeck.<\/dialogue>\n    <scene_description>Pablo ca n't help it . He bursts out laughing .<\/scene_description>\n    <character>PABLO<\/character>\n    <dialogue>That's amazing, man!<\/dialogue>\n    <scene_description>Hallenbeck picks up Furry Tom . Inserts his hand , makes the furry head bob back and forth .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( as Furry Tom . )<\/parenthetical>\n    <dialogue>Hey, Mr. Hallenbeck, they're laughin' at me. That's not very nice.<\/dialogue>\n    <scene_description>By now , all three hoods are in hysterics .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Are you mad, Furry Tom?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( as Furry Tom . )<\/parenthetical>\n    <dialogue>I do n't get mad. I get even.<\/dialogue>\n    <scene_description>And , with that , Furry Tom 's mouth opens - And EXPLODES , showering stuffing . One of the goons is still laughing when he realizes half his throat is gone . And Furry Thomas BELCHES FIRE again , and the second goon goes down in a spray of blood , and if you have n't guessed already - Joe has a gun hidden inside Furry Thomas . Pablo is a little sharper . A little quicker . He dives forward , knocks the puppet from Joe 's hand . Joe drives upward , into Pablo 's gut . They reel across the room . Locked in combat . Lamps topple . GLASS BREAKS . Pablo slams Joe 's head into the wall . Leaves a dent . Does it again , a sickening impact . Starts to strangle Joe - And the truth is , Joe 's not thirty anymore . He 's not going to make it . The world swims away . Then , as if through a tunnel , Joe notices something beside him . something hanging on the wall . Fights to focus . Breath gone . Strength gone . Identifies the object : His Presidential Medal of Valor . Shiny medal . Shiny ribbon . His name . It hits him quite suddenly : The medal has sharp edges . With the last of his strength , he plucks it from the wall . Drives it into Pablo 's throat . The big man stumbles backward . Eyes wide . Gurgling . He thrashes , the red - white - blue ribbon flapping obscenely from his gushing neck . Drops to the dusty carpet . Dies . Hallenbeck takes a deep breath . Eyes wide . Insane . He is surrounded by corpses . He takes another deep breath . Picks up the sniper rifle . Slings it over his shoulder . Heads for the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONRAD MARCON'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Jimmy Dix is on the floor , and Marcon is kicking him savagely . Pointed alligator boots lashing out . Again and again .<\/scene_description>\n    <character>MARCON<\/character>\n    <dialogue>You know I do n't enjoy doin' this, Jim.<\/dialogue>\n    <scene_description>Jimmy curls up in a fetal ball . Marcon paces , shaking his head .<\/scene_description>\n    <character>MARCON<\/character>\n    <dialogue>I remember how much you hated the pain. You got hooked on Demerol, did n't you? I'll make a deal with you. Tell me who you talked to, and I'll give you all the painkillers you can swallow.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Nobody knows. Just. just me. and Hallenbeck.<\/dialogue>\n    <character>MARCON<\/character>\n    <dialogue>Now, see, I'd love to believe you. But we are talking about the future of my football team.<\/dialogue>\n    <scene_description>He crosses to the fireplace . Removes a poker .<\/scene_description>\n    <character>MARCON<\/character>\n    <dialogue>And ai n't nothin' more important than my ball club, ` cept maybe my collection of autographed footballs. Got one of yours, you know.<\/dialogue>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Who'd you talk to, Jimmy?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Nobody.<\/dialogue>\n    <scene_description>Marcon raises the poker . Brings it down on Jimmy 's broken arm .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOLLYWOOD HILLS - NIGHT<\/stage_direction>\n    <scene_description>Hallenbeck leaves the rented Subaru by the side of the road . He is dressed in combat black . Government issue . Rifle over one shoulder . Hunting knife in a hip scabbard . Like an angel of death , he moves into the brush . Heading down the canyon .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARCON'S HOME - SAME TIME<\/stage_direction>\n    <scene_description>An armed sentry patrols the grounds . Below him , nighttime L.A. stretches to the Pacific . Joe Hallenbeck emerges like a wraith from the trees . Clamps a gloved hand over the sentry 's mouth . Drives the hunting knife into his back .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - SAME TIME<\/stage_direction>\n    <scene_description>Marcon stirs the fireplace logs , stoking the blaze . Replaces the poker . Crosses to his desk and sits . Jimmy is on the carpet , delirious . Out of it . Marcon presses a button . An armed HARDGUY appears .<\/scene_description>\n    <character>HARDGUY<\/character>\n    <dialogue>Mr. Marcon?<\/dialogue>\n    <character>MARCON<\/character>\n    <dialogue>He's nothing, he ca n't hurt us. Take him somewhere and kill him.<\/dialogue>\n    <character>HARDGUY<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <scene_description>The Hardguy crosses the room . Grips Jimmy by the shoulders . With a soft SPIT of sound , his forehead blooms crimson . He collapses , lifeless . At his desk , Marcon whirls , stunned , as : JOE HALLENBECK steps through the French doors behind him . He resembles nothing human . A demon in black . Eyes burning . Gun held loosely . An extension of his arm . Marcon reaches for the button to summon help .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Do n't.<\/dialogue>\n    <scene_description>He jams the rifle barrel into Marcon 's throat , nearly crushing his larynx . Hisses :<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>The gun is silenced, I'll fuckin' kill you. Where's my wife?<\/dialogue>\n    <character>MARCON<\/character>\n    <dialogue>I. I do n't remember, I.<\/dialogue>\n    <scene_description>Joe shoves on the gun . The barrel chokes him .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>My wife.<\/dialogue>\n    <scene_description>Grabs a pen . Shoves it in Marcon 's hand .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>The address. Now!<\/dialogue>\n    <character>MARCON<\/character>\n    <dialogue>It's. Milo's film studio.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Write it down, dumbfuck.<\/dialogue>\n    <scene_description>He speaks over his shoulder :<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Jimmy, you okay?<\/dialogue>\n    <scene_description>Jimmy stirs .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Hurts like hell.<\/dialogue>\n    <scene_description>Marcon finishes writing . Hallenbeck snatches up the address . Stows it in his pocket .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Okay, Connie, you're gon na walk us out of here, nice and easy, got it?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Can you walk, Jimmy?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Yeah. I think so - Joe, behind you!<\/dialogue>\n    <scene_description>Too late . A revolver is cocked a foot from Joe 's head .<\/scene_description>\n    <character>STRANGE MAN<\/character>\n    <dialogue>Drop it.<\/dialogue>\n    <scene_description>It 's the same odd voice we heard earlier . The man with the speech impediment .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>You drop it, asshole, or I kill Marcon.<\/dialogue>\n    <scene_description>The Strange Man chuckles .<\/scene_description>\n    <character>STRANGE MAN<\/character>\n    <dialogue>Sorry, but that wo n't work. I do n't care if he lives or dies, now drop the gun.<\/dialogue>\n    <scene_description>A pause . Once more , Joe calculates the odds . No dice . He places the rifle on the desk .<\/scene_description>\n    <character>STRANGE MAN<\/character>\n    <dialogue>Walk over there by your friend, Joe.<\/dialogue>\n    <scene_description>Hallenbeck turns around . and , for once , his jaw drops . He 's looking at a man he never thought he 'd see again . A man who suffers from facial paralysis ever since his head bounced off the Georgetown turnpike eight years ago . LOUIS BAYNARD Son of the late senator . The right side of his face does n't quite match the left . The muscles do n't work . Hallenbeck recovers his composure . As Jimmy climbs to his feet , Joe walks over and stands next to him . Two gunmen appear behind them , covering the rear .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Well, Goddamn. How's the head, Lou?<\/dialogue>\n    <character>BAYNARD<\/character>\n    <parenthetical>( STRANGE MAN . )<\/parenthetical>\n    <dialogue>Aside from permanent facial neuralgia, just lovely.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Next time, Lou, just say no.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Shit. This is the drunk guy you slugged, look what you did to his face!<\/dialogue>\n    <scene_description>Marcon , meanwhile , is positively livid . He snaps at Baynard :<\/scene_description>\n    <character>MARCON<\/character>\n    <dialogue>You son of a bitch, you were gon na let him kill me!<\/dialogue>\n    <character>BAYNARD<\/character>\n    <dialogue>Nothing more or less than you'd do for me, Conrad.<\/dialogue>\n    <parenthetical>( turns . )<\/parenthetical>\n    <dialogue>I never thought I'd see you again, Joe.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Speaking of which, what the fuck are you doing here?<\/dialogue>\n    <character>BAYNARD<\/character>\n    <dialogue>Call it a financial partnership. For a price, I agreed to connect Mr. Marcon to the necessary people in Washington.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>In other words, you dropped your father's name a bunch of times.<\/dialogue>\n    <character>BAYNARD<\/character>\n    <parenthetical>( ignores him . )<\/parenthetical>\n    <dialogue>But imagine my delight this morning, Joe, when Mr. Marcon informed me of a golden opportunity : a chance to kill my father and frame you for the crime. What can I say, inherit a fortune and humiliate you in the bargain, who could resist?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Do I also have you to thank for dragging me into this mess?<\/dialogue>\n    <character>BAYNARD<\/character>\n    <parenthetical>( sighs . )<\/parenthetical>\n    <dialogue>It was I, unfortunately, who bought a forty - dollar bottle of champagne. spoke a little too freely to that hooker.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>She was n't a hooker, dickhead.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>He should know, Jimmy. With a face like that, he's got ta be paying for it.<\/dialogue>\n    <character>BAYNARD<\/character>\n    <dialogue>You can die fast or slow, so watch your mouth.<\/dialogue>\n    <scene_description>Jimmy chimes in :<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>We'd rather watch yours. It's goofy - lookin'.<\/dialogue>\n    <scene_description>Marcon has had enough . He pounds his fist on the desk .<\/scene_description>\n    <character>MARCON<\/character>\n    <dialogue>Kill them, Goddammit, waste'em both!<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Any bright ideas, Joe?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Gimmee a minute.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Excuse me, could you give him a minute? He's trying to think of a way out of this.<\/dialogue>\n    <scene_description>Behind them , the two hardguys COCK their GUNS . Jimmy sweats . He 's scared shitless underneath . Hallenbeck clears his throat :<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>You know of course, Connie, that you're a dead man.<\/dialogue>\n    <scene_description>Marcon holds up his hand .<\/scene_description>\n    <character>MARCON<\/character>\n    <dialogue>Wait.<\/dialogue>\n    <scene_description>The gunmen lower their weapons .<\/scene_description>\n    <character>MARCON<\/character>\n    <dialogue>Let's humor this asshole. What are you talking about?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>Nothing much, just that I made a phone call from the boat on the way in.<\/dialogue>\n    <character>MARCON<\/character>\n    <dialogue>You called the cops? Fuck it, they ca n't prove a thing.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Oh, but I did n't call the cops. I called the mob.<\/dialogue>\n    <scene_description>Marcon stares at him . Blinks .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>See, Connie, every year, the mob rakes in two and a half billion from football bookmaking. If you succeed in making gambling legal, all that money goes to the government.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I would n't be surprised if they put out a contract on you. Of course, I might be able to call it off.<\/dialogue>\n    <scene_description>Marcon stares him down . A pause . Then Marcon smiles :<\/scene_description>\n    <character>MARCON<\/character>\n    <dialogue>He's bluffing. He's not connected to the mob, what a load of horseshit. Nice try, asshole.<\/dialogue>\n    <parenthetical>( waves his hand . )<\/parenthetical>\n    <dialogue>Kill them.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( plowing ahead . )<\/parenthetical>\n    <dialogue>Then there's the matter of two million dollars. Or did n't you know that watertight suitcases float?<\/dialogue>\n    <scene_description>He once again looks Marcon in the eye .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>I've got your money, Connie. Stashed in the back of a rented Subaru. We'll take you to it.<\/dialogue>\n    <character>MARCON<\/character>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>Jesus, I do n't believe it. This guy's a riot.<\/dialogue>\n    <character>JIMMY<\/character>\n    <parenthetical>( sotto . )<\/parenthetical>\n    <dialogue>I do n't think it's working, Joe. Try another one.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Hell, I'm fresh out. You wan na try one, kid, go for it.<\/dialogue>\n    <scene_description>A pause . Then , without warning , Jimmy turns - And slugs Hallenbeck with his good arm . Decks him .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Fuck you, Joe, I'm not just gon na stand here and die. Mr. Marcon, he's lying. We do have the money, but it's not in a car, it's in a storage locker. I have the key on me. I' l hand it over if you let me go.<\/dialogue>\n    <scene_description>Hallenbeck stares in disbelief . The kid 's actually trying something .<\/scene_description>\n    <character>MARCON<\/character>\n    <dialogue>Where is the key, Jimmy?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>It's stashed in my shorts.<\/dialogue>\n    <character>MARCON<\/character>\n    <parenthetical>( nods . )<\/parenthetical>\n    <dialogue>All right. Slow and easy.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Sure. Slow and easy.<\/dialogue>\n    <scene_description>Jimmy reaches inside his jeans . Slowly , cautiously pulls something out , concealed in his fist . We see , but Marcon does n't : It 's a shredder shell . He holds it in his fist .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Promise you'll let me go.<\/dialogue>\n    <character>MARCON<\/character>\n    <dialogue>Hell with that, son. Hand it over or I'll have you kneecapped.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Oh, yeah? Well, that's too bad. See, it's one of those new plastic keys. The kind that melt?<\/dialogue>\n    <scene_description>And , with that , he hurls it into the fire . So fast that nobody can see just what he threw .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>I guess nobody gets the money.<\/dialogue>\n    <scene_description>The two hardguys rush to the fireplace .<\/scene_description>\n    <character>MARCON<\/character>\n    <dialogue>Pull it out of there!<\/dialogue>\n    <scene_description>One of them grabs a pair of tongs - and the SHREDDER EXPLODES . Sprays the two hardguys . Cuts them to ribbons . Then , several things happen at once : Everybody goes for a gun . Hallenbeck lunges , scoops up a fallen pistol - As Marcon draws his GUN and FIRES , missing - Joe RETURNS FIRE , BAM - BAM - ! Catches Marcon in the shoulder , and meanwhile - Baynard draws down on Jimmy , who picks up a flaming log and hurls it , knocks the SHOT wild , as : Marcon darts out the French doors , into the night , so Hallenbeck spins , FIRES at Baynard - Blows him backward in a bloody spray . Baynard sags against the mantel . Collapses , dead . ECHOES . Silence . Jimmy and Joe are alone with three corpses . Jimmy snatches up a pistol . Joe slings the sniper rifle over his shoulder . Stares at Jimmy :<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Plastic keys? The kind that melt?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Hey. Short notice, best I could do.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>You did fine, junior.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Learned it from a pro. Come on.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARCON'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>The wooden garage DOORS EXPLODE outward , bursting to splinters , as a Ford BRONCO DRIVES right THROUGH them , Conrad Marcon at the wheel . He careens off into the night . Makes a getaway .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARAGE - SAME TIME<\/stage_direction>\n    <scene_description>Jimmy and Joe come racing out of the house , just in time to see Marcon 's taillights disappearing up the canyon .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Son of a bitch!<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Forget about him. Let's get my wife.<\/dialogue>\n    <scene_description>He crosses to a parked Mercedes . SHOOTS open the door . Gets in . Pops the ignition package . Hotwires it . The CAR ROARS to life .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Get in.<\/dialogue>\n    <scene_description>He 's so slick , it 's scary .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARCON'S HOUSE - SAME TIME<\/stage_direction>\n    <scene_description>The Mercedes barrels out through the splintered garage doors . BURNS RUBBER down the hill .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - DRIVING<\/stage_direction>\n    <scene_description>They stare straight ahead . Tense . Breathless .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>On my way, honey, on my way.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOLLYWOOD HILLS - NIGHT<\/stage_direction>\n    <scene_description>Conrad Marcon , meanwhile , is rocketing along the winding road , heading up the canyon , when he sees something ahead : HIS POV - JOE 'S RENTAL SUBARU sitting abandoned in the roadside brush . BACK TO SCENE Acting on a sudden hunch , he SLAMS ON the BRAKES . Stops the car . Gets out , crosses to the rental . Peeks in . A two - million - dollar suitcase sits , pretty as punch , on the back seat .<\/scene_description>\n    <character>MARCON<\/character>\n    <dialogue>Shit, Joe Boy, you was n't bluffing.<\/dialogue>\n    <scene_description>He draws his gun . Blows out the glass . Reaches in . Opens the car door . Snatches up the briefcase .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTOWN HOLLYWOOD - NIGHT<\/stage_direction>\n    <scene_description>A block of seedy - looking brick buildings . Off Sunset . Not many people at this hour . MERCEDES slews around the corner races down the street , running without headlights . Lurches to a halt near the mouth of an alley . Jimmy and Joe burst from the car , guns in hand . Hellenbeck is grim , purposeful . Jimmy is nervous .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>I'm new at this, Joe. How do we do it?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>We get in, we get out. Shoot anyone who's not my wife. Check that : Do n't shoot me.<\/dialogue>\n    <scene_description>He jacks a fresh clip into his rifle . LOCKPICK inserted in the latch of a back door . Hallenback finds the tumblers . Springs the lock in seconds .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Jimmy and Joe . Side by side . Walking . Expressionless . They round a bend in the hall . SENTRY seated outside a wooden door . 38 special in a shoulder rig . Sees them , leaps to his feet , gun clearing leather - Joe blows him out of his socks . TWO - SHOT BURST . Silenced . Guy hits the wall . Paints it with blood . Flops , dead . Jimmy and Joe step over him . Joe braces himself . Draws back his foot . Kicks the door , as :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STUDIO - SAME TIME<\/stage_direction>\n    <scene_description>The door flies open . Does n't hit the wall . Something stops it . Joe does n't blink . He puts the rifle against the panel . FIRES three SHOTS through the wood . Keeps going . A body falls out from behind the door . Joe does n't even look . The body sits up . Not dead yet . Jimmy comes through the door . SHOOTS him . Follows Joe . One more door to go . Thick . Soundproofed metal . It is n't locked . Joe yanks it open . Steps inside . MOVIE SET Lights . Camera . The wrong kind of action . SARAH on a bed , naked . bright lights on her . Around her , a director . A cameraman . MAN with a chainsaw . and he 's standing right over her . Jimmy BLOWS down the two artistes . Joe takes the actor .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Cut.<\/dialogue>\n    <scene_description>He throws the hunting knife . It pierces the guy 's neck . The chainsaw clatters to the floor . He does the funny little dance peculiar to those with pierced necks . Falls . Dies . And then , mercifully , it 's over . Joe crosses to the bed , puts out an arm , and Sarah collapses against him , shaking with sobs . He strokes her hair . Speaking softly . Quietly . Speaking to the only woman he 's ever loved :<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>I'm here. it's all right. I'm here.<\/dialogue>\n    <scene_description>He cradles his wife in the middle of a slaughterhouse .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIDEWALK - NIGHT<\/stage_direction>\n    <scene_description>Sarah is now dressed , as Joe supports her across the sidewalk toward the stolen Mercedes . He turns to Jimmy . Hands him a set of keys .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Drive one of their cars. They wo n't be needing them.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Where do you want me to go?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>The two million bucks is still in the Subaru. Parked on Mulholland above Marcon's house. Go pick it up and bring it to the office. We're gon na go get Darian.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Yes, massah.<\/dialogue>\n    <scene_description>He moves off into the parking lot . Hallenbeck says to Sarah .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>I'll take you and Darian to the office. You can sleep there.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Why ca n't we go home?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>There's four corpses in the bedroom.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>It 's a very tiny `` oh . '' ESTABLISHING SHOT - JOE 'S OFFICE in the shadow of the freeway . The night wears on . From the billboard , Gorgeous continues to entice .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLENBECK'S OFFICE - SAME TIME<\/stage_direction>\n    <scene_description>Darian is asleep , cradled in her mother 's arms . Her mother is awake , cradled in Joe 's arms .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Jimmy should be here any minute. Then we got ta talk to the cops.<\/dialogue>\n    <scene_description>Sarah nestles into the crook of his arm .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Will the police catch Marcon?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Maybe. He's probably in some secret crash pad, packing to leave town.<\/dialogue>\n    <scene_description>A pause , then Sarah says :<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>I remember when we got married. My friends would talk about their husbands. They'd say, ` Oh, my husband is a big - time publisher,' or, ` My husband is a brilliant lawyer.' I used to say, ` My husband can stand over a shotgun victim and eat a ham sandwich without puking.'<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Do n't knock it. It's a skill.<\/dialogue>\n    <scene_description>She turns . Looks into his eyes .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>I want to try, Joe. Do you still want to try?<\/dialogue>\n    <scene_description>A pause . He leans in and kisses her tenderly . And , with typically swell timing , a set of headlights rakes across the window , accompanied by the strobing light of a police flasher .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Ahh, shit. Looks like the local constable has come to chat.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Shall we invite him in?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>No. Stay here. I'll deal with it.<\/dialogue>\n    <scene_description>He gets up , throws on a jacket .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JOE'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Joe exits the office , starts across the lawn toward the vehicle with the flashing light . Realizes with a sudden shock : something 's wrong .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>That's not L.A.P.D.<\/dialogue>\n    <scene_description>HALLENBECK 'S POV the insignia on the door panel reads LONG BEACH SHORE PATROL . In the same glance , he sees there 's a dead cop slumped in the passenger seat , and worse , much worse than that : Milo is in the driver 's seat . WIDER ANGLE Milo , who steps out of the car and promptly OPENS FIRE on Joe .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Son of a bitch!<\/dialogue>\n    <scene_description>He dives for cover , the turf erupting all around him , as :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE - SAME<\/stage_direction>\n    <scene_description>Sarah sits bolt upright . Eyes panicked . Terrified . Darian comes awake , screaming :<\/scene_description>\n    <character>DARIAN<\/character>\n    <dialogue>Mommy, what's happening?<\/dialogue>\n    <scene_description>Sarah leaps off the couch , cradling Darian and meanwhile -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OFFICE - SAME<\/stage_direction>\n    <scene_description>Hallenbeck spins behind one of the billboard support legs , as BULLETS CHOP it to splinters . MILO advances . changing clips . Methodical . Precise . Like a robot . He is obsessed . All vestige of sanity gone .<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>You fucked up my face, Joseph!<\/dialogue>\n    <scene_description>Joe starts to climb . Scales the wooden structure . Swings himself onto the raised platform . Flattens behind the billboard .<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Do n't try to hide, Joseph. I've got all night, you fucked up my face.<\/dialogue>\n    <scene_description>He sprays a BURST of GUNFIRE up at the billboard . HALLENBECK huddles behind the billboard as the bullets stitch upward . Through the wooden frame . A hot SLUG RIPS through Joe 's arm . An eruption of blood . He hisses in pain . Rolls away from the gunfire . Looks around . Desperate . Sees a painter 's bucket lying nearby . He counts to three . DOWN BELOW Milo calmly changes clips . Hallenbeck bursts from cover . Hurls the bucket down at Milo , dashes across the front of the billboard , hard and fast - BULLETS CHOPPING the board right behind him , blowing holes in Gorgeous 's derrierre - And then Joe does a risky thing : He sprints to the end of the billboard , running full tilt , and he leaps out into space , what the hell is he doing ? He 's trying to make the freeway . It 's a good fifteen feet . Try it sometime . He flies through open air - Milo 's GUN CHATTERING below , seeking him out - And just does make it . Hits the freeway surface and collapses forward , screaming as he rolls on his injured arm . Looks up - EIGHTEEN WHEEL TRUCK is headed straight for him , bearing down ! He rolls aside just in time . It THUNDERS past . Staggers to his feet , frantic - and Milo is climbing the billboard . Hallenbeck looks for a place to hide . There is n't any . He 's going to have to run through traffic . He shifts from foot to foot , searching for an opening , and meanwhile -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBARU - DRIVING<\/stage_direction>\n    <scene_description>Jimmy Dix is actually on the freeway , driving , when he looks across the center divider and sees Hallenbeck .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>I do n't fucking believe it.<\/dialogue>\n    <scene_description>He swerves over to the side and meanwhile HALLENBECK watches in dismay as Milo climbs onto the platform . Walks across the front of the billboard . Toward the freeway . Toward Joe . Snarling . Joe grabs a broken bottle off the ground . Heaves it . Milo puts up an arm , catches a glancing blow . Blood flows . All it does is piss him off .<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>You ruined my flesh!<\/dialogue>\n    <scene_description>Hallenbeck dives flat to the road as Milo opens up again , a chattering BURST of GUNFIRE . The muzzle flash is blinding . The windshield of a passing car SHATTERS - The driver panics , the car spins out of control - Slews across the road in the middle of traffic . COLLISIONS . CRUMPLING METAL . EXPLOSIONS of GLASS . SCREECHING TIRES . CAR slides straight toward Hallenbeck . He dives aside , rolls to his feet - And he 's right in Milo 's sights . My friends , the fat lady just sang . Except another lady says different : A single GUNSHOT SPLITS the air . Milo 's chest explodes with bubbling blood . He shrieks . Turns , staring in disbelief at SARAH HALLENBECK below , on the lawn . She aims Joe 's service revolver and says :<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>You just fucking die.<\/dialogue>\n    <scene_description>She FIRES again , and Milo reels backward . Leaves a bloody smudge on the billboard . She DROPS the HAMMER again and again . Empties the gun . Milo jerks and twitches . Racked by gunfire . Paints a bloody stripe across the billboard , making Gorgeous 's bloody buns even bloodier - Clutches himself . Looks over at Hallenbeck .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>She's something, is n't she?<\/dialogue>\n    <scene_description>Milo pitches forward . Falls to his death . HALLENBECK stares , dumbfounded at Sarah . She look up at him . A moment passes between them . Around Hallenbeck , a sea of crumpled cars . HORNS BLARING . Amidst it all , he stands . Beaten . Bloody . Bullet - scarred . Jimmy winds his way through the cars . Walks up to Joe . They stand in silence for a moment , then Jimmy says :<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>The car's over on the other side. C'mere, I want to show you something.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 405 FREEWAY - SOUTHBOUND LANE - NIGHT<\/stage_direction>\n    <scene_description>Jimmy and Joe stand in the breakdown lane next to the rented Subaru . Jimmy points to the shattered window .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Somebody broke in and swiped the suitcase from the back seat. Had to be Marcon, right?<\/dialogue>\n    <scene_description>There is a pause . They both stare at the car . Two million . Down the drain . Except , after a beat . they begin to laugh . First chuckling , then chortling . Now it 's go - for - broke . Jimmy hoots . Joe howls . Jimmy pulls out a key and opens the trunk - You can guess what 's inside .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Son of a bitch got the wrong one!<\/dialogue>\n    <scene_description>AUTOGRAPHED FOOTBALL on the dresser of a fancy penthouse suite . Signed by Joe Montana , no less . CONRAD MARCON bustles back and forth , shoves the last of his needed possessions into a travel bag . Hefts it . Puts it near the door . Crosses to the bed , where the other suitcase lies . Looks at it . Smiles , contented . Ca n't help himself . He reaches out . Flicks the latch . Opens it . There is a note taped to the inside :<\/scene_description>\n    <character>FUCK YOU<\/character>\n    <dialogue \/>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTOWN SKYSCRAPER - 32ND FLOOR - NIGHT<\/stage_direction>\n    <scene_description>Marcon 's flaming corpse is BLOWN OUT through the glass , along with his earthly possessions . He plummets like a meteor . EAST L.A. SIDESTREET - NIGHT Two ten - year - old black boys are walking down the street . Out strolling in the poverty that exists in the shadow of the skyscrapers . Quite suddenly , without warning - A football drops out of the sky . Hits and bounces , very high - Comes down . Settles . Rocks , back and forth . The kids look up , puzzled . Searching the sky . The ball sits there . Only slightly scorched . Tentatively , almost like he 's afraid of being caught , one of the boys bends down . looks both ways . Picks up the ball . Smiles . Then , as if by some unspoken agreement - The other boy starts to run . Slowly at first , then faster . faster still . A slant pattern , heading for the mailbox . And at 12 midnight on December 22nd , the San Pedro Street quarterback throws an absolutely perfect pass . Their laughter is joyful . Innocent . Fervid . They will grow up to be sports heroes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BESSALO'S OFFICE - L.A.P.D. - MORNING<\/stage_direction>\n    <scene_description>Hallenbeck sits impassively while Bessalo paces , fuming .<\/scene_description>\n    <character>BESSALO<\/character>\n    <dialogue>You got a lot of questions to answer.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>BESSALO<\/character>\n    <dialogue>You'll probably lose your license.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>Bessalo glares at him .<\/scene_description>\n    <character>BESSALO<\/character>\n    <dialogue>Do you care?<\/dialogue>\n    <scene_description>Hallenbeck smiles .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>My wife loves me.<\/dialogue>\n    <scene_description>Bessalo looks at him like he 's grown a tail . ESTABLISHING SHOT - JOE 'S OFFICE - UNDER THE FREEWAY Another blistering hot December day . Gorgeous looks on from her perch , cheerful as ever , despite the crusted brown stripe on her ass .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLENBECK'S OFFICE - DAY<\/stage_direction>\n    <scene_description>The suitcase sits on a table . Jimmy and Joe contemplate it over a bottle of Seagrams V.O.<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>So.<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>Yeah. So.<\/dialogue>\n    <character>JIMMY<\/character>\n    <parenthetical>( clears his throat . )<\/parenthetical>\n    <dialogue>You gon na keep it?<\/dialogue>\n    <scene_description>Hallenbeck nods .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Some of it.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>How much?<\/dialogue>\n    <scene_description>Hallenbeck frowns . Opens the case . Reaches in - And plucks out two crisp $ 100 bills . Stuffs them in a pocket . Jimmy stares at him .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>My fee.<\/dialogue>\n    <scene_description>He shuts the case . Shoves it toward Jimmy . Jimmy leans forward , eyeing the suitcase .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Shit, Joe. I got all the money I need.<\/dialogue>\n    <scene_description>He shoves it back into the center . Joe nods .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>I'm thinkin' I could use a partner.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Think you could handle that for awhile?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>I maybe could handle that. For awhile.<\/dialogue>\n    <scene_description>He pours a drink . Raises his glass on high :<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Alex the detective.<\/dialogue>\n    <scene_description>He drinks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CANCER RESEARCH CENTER - DAY<\/stage_direction>\n    <scene_description>A uniformed man is emptying the PLEASE GIVE jar when he notices a suitcase lying against the wall . Under a poster that says THE GOAL : A CURE IN OUR LIFETIME . He bends down . Opens the suitcase . When the money is counted , there will be $ 1,999,800 . A note is taped to the inside : SO HURRY UP ALREADY<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PALM-LINED L.A. STREET - DAY<\/stage_direction>\n    <scene_description>Jimmy and Joe walk side by side . Away from us . Slightly drunk . Palms wave lazily . A sweaty Santa rings a bell .<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>See, Jim, the thing is, life sucks. But you still ca n't be hangin' around Satan Claus, you know why?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>HALLENBECK<\/character>\n    <dialogue>'Cause someday, compadre. Satan Claus and Santa Claus are gon na have a big fight, and you know what?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Santa's gon na kick some royal ass.<\/dialogue>\n    <scene_description>He puts a fatherly arm around Jimmy 's shoulder , grins :<\/scene_description>\n    <character>HALLENBECK<\/character>\n    <dialogue>Hey. Smile, you fuck.<\/dialogue>\n    <scene_description>FADE OUT . THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"During halftime at a televised football game, L.A. Stallions running back Billy Cole (Billy Blanks) receives a phone call from a mysterious man named Milo (Taylor Negron), who warns him to win the game or he will be assassinated. Cole ingests PCP and, in a drug-induced rage, brings a gun onto the field, shooting three opposing players to reach the end zone. Cole then shoots himself in the head. Meanwhile, private investigator Joe Hallenbeck (Bruce Willis), a disgraced former Secret Service agent, who at one time was a national hero for saving the president from an assassination attempt, discovers that his wife Sarah (Chelsea Field) is having an affair with his best friend and business partner, Mike Matthews (Bruce McGill). Mike gives Joe an assignment to act as bodyguard for a stripper named Cory (Halle Berry). Mike is then killed by a car bomb outside Joe's house. Joe is approached by Cory's boyfriend, former Stallions quarterback Jimmy Dix (Damon Wayans), who was banned from the league on gambling charges and alleged drug abuse. After an argument between Joe and Jimmy, an annoyed Jimmy takes Cory from the stage while she is performing. Joe plans to wait outside, where he is knocked out by a team of hitmen. Jimmy and Cory leave the bar in separate cars while Joe is left to dispatch one of the hitmen. When Cory is struck from behind and stops to confront the other driver, she is killed by the hitmen. Jimmy is fired upon and pinned down, but is saved by Joe. At Cory's house, Jimmy and Joe find a taped phone conversation between Senator Calvin Baynard (Chelcie Ross), who is leading a congressional investigation into gambling in sports, and Stallions owner Sheldon Marcone (Noble Willingham). When the tape is ruined in Joe's faulty car stereo, Jimmy realizes that Cory tried using the tape against Marcone to put Jimmy back on the team, prompting Marcone to send the hitmen. Joe saves Jimmy from a second car bomb, and manages to trick two hitmen into blowing themselves up. Unfortunately, the explosion destroys the remaining evidence. Joe reveals to Jimmy that when he was in the Secret Service, he witnessed Baynard torturing a woman in a hotel room and assaulted the senator to thwart the attack. Baynard retaliated by having Joe fired from the Secret Service for refusing to cover up the incident. At Joe's house, Jimmy meets Joe's abrasive daughter Darian (Danielle Harris). When Joe catches Jimmy attempting to use illegal painkillers in the bathroom, Joe kicks him out. As Jimmy leaves, he is asked by Darian to sign a football trading card, stating that Joe was a fan of Jimmy's and never watched another game after he was banned from the league. He leaves her with the signed card, \"To the daughter of the last Boy Scout.\" Learning of Mike's affair with Sarah, detectives Bessalo (Joe Santos) and McCaskey (Clarence Felder) assume that he was killed by Joe and move to make an arrest. But Milo, Marcone's top henchman, captures Joe first and shoots McCaskey using Joe's gun. Marcone explains to Joe that he has been buying Senate votes to legalize sports gambling, but that Baynard tried to blackmail Marcone for $6 million. Being aware of Joe's history with Baynard, Marcone says that it would be cheaper to kill the senator and frame Joe for the murder. Joe is forced to hand a briefcase filled with money to Baynard's bodyguards, who switched it with a wired briefcase. Joe is rescued by Jimmy and Darian, and acquires both briefcases after running the bodyguards and Milo off the road. However, Milo survives and while Darian is left to wait for the police, he abducts her. Heading to the stadium to rescue Darian, Joe and Jimmy are captured and escorted to Marcone's office. Jimmy creates a diversion, allowing them to fight their way free. Realizing Milo will attempt to shoot Baynard, Joe goes after him while sending Jimmy to warn the senator. Grabbing the game ball, Jimmy throws it at Baynard, knocking him down just as Milo starts shooting. Joe knocks Milo to the edge of the stadium light platform, where SWAT officers shoot him several times. Milo then falls into the moving rotor blades of a police helicopter. The briefcase of money is recovered and Marcone, having escaped with the rigged briefcase, is killed when he opens it at his estate. The next day, Joe and Sarah reconcile, and Joe and Jimmy decide to become partners."}
{"movie_name":"Despicable Me 2_2013","imdb_id":"tt1690953","script":"<script>\n  <scene>\n    <character>DESPICABLE ME 2<\/character>\n    <dialogue>by<\/dialogue>\n    <scene_description>Cinco Paul &amp; Ken Daurio Universal\/ Illumination Entertainment 2230 Broadway Santa Monica, CA 90404 THIS MATERIAL IS THE PROPERTY OF ILLUMINATION ENTERTAINMENT AND IS INTENDED AND RESTRICTED SOLELY FOR ILLUMINATION PERSONNEL. DISTRIBUTION OR DISCLOSURE OF THIS MATERIAL TO UNAUTHORIZED PERSONS IS PROHIBITED. THE SALE, DISPLAY, COPYING OF REPRODUCTION OF THIS MATERIAL FOR ANY REASON IN ANY FORM, INCLUDING BUT NOT LIMITED TO DIGITAL OR NEW MEDIA, IS ALSO PROHIBITED. EXT: ARCTIC CIRCLE - DAY Snow and ice as far as the eye can see. What looks like a windowless MILITARY BASE surrounded by barbed wire fences sits in the middle of the wasteland. TITLE CARD: TOP SECRET RESEARCH LABORATORY. ARCTIC CIRCLE. At the GUARD GATE, two RUSSIAN GUARDS play poker using an overturned barrel as a table. Russian Guard 1 shows a five of diamonds... and four Aces. The other Guard folds. Russian Guard 1 LAUGHS and drags in the pile of coins. While he SPEAKS IN RUSSIAN and does a celebratory dance, the coins fly up into the air. Russian Guard 1 stops dancing and sees that the coins are gone. He accuses the other Guard of stealing them. Russian Guard 2 swears he didn't take them. Russian Guard 1 grabs a shovel and wields it menacingly, until it flies up into the air. They both look up to see where it's gone. Then the metal barrel they were using as a table flies up, knocking them over. Russian Guard 2 looks up to see a GIGANTIC MAGNET SHIP LOWERING DOWN FROM ABOVE AND HOVERING OVER THE LABORATORY. A watchtower guard shouts. A door below opens as a bunch of Guards run out and point their guns at the magnet ship. Then...WOOSH! All of their guns are pulled up towards the ship, including the guards themselves, who are strapped to their guns. A SNOWMOBILE lifts off the ground and flies up to the magnet. Other vehicles and small buildings begin to pull away from the ground. Then-- THE ENTIRE LAB STARTS TO GET PULLED UP OUT OF THE GROUND. CLANK! The lab makes contact with the ship. It flies up and down, shaking the scientists and guards off. They fall to the ground. The magnet ship flies away with their lab, vehicles, and weapons. The remaining guards and scientists are strewn across the snow with the remnants of the damaged base. We see a porta- potty door open. A Confused Guard is sitting on the can reading a newspaper, having missed the entire incident. He closes the door. MATCH CUT TO: INT: AVL HEADQUARTERS - NIGHT SECURITY FOOTAGE of the research station named PX LABS being carried away by the magnet ship plays on the screens at AVL Headquarters. We see the back of several heads watching the footage. There's a heavy sigh.<\/scene_description>\n    <character>SILAS<\/character>\n    <dialogue>Three weeks and we're still no closer to cracking this?<\/dialogue>\n    <scene_description>No response.<\/scene_description>\n    <character>SILAS<\/character>\n    <dialogue>Right... bring him in.<\/dialogue>\n    <character>LUCY (O.S.)<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <scene_description>EXT: SUBURBAN STREET - DAY Gru steps toward camera, holding some sort of menacing gun, which he loads and cocks. He pulls the trigger, which shoots out an inflatable unicorn balloon. Smiling, he ties it to the windowsill next to some others. EXT: GRU'S BACKYARD - DAY A banner reads: \"Happy Birthday Agnes!\" and a massive backyard party is in full swing. The yard is decorated with pink balloons and streamers, and a BOUNCY HOUSE shaped like a castle. AGNES and several other LITTLE GIRLS slide down a slide. They are all dressed as princesses, but Agnes is dressed as a princess riding a unicorn.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>This is the best party EVER!!!<\/dialogue>\n    <scene_description>Edith, dressed as a ninja, emerges from beneath a table and climbs across the monkey bars as a series of jousts, blades, and boxing gloves come up from the ground underneath her. She jumps down, narrowly avoiding a bear trap.<\/scene_description>\n    <character>EDITH<\/character>\n    <dialogue>Haha! Yeah!<\/dialogue>\n    <scene_description>Two LITTLE GIRLS fish in a small kiddie pool. One of the girls pulls up a toy duck and then razzes the other girl, but then a LIVE PIRANHA jumps out and eats the toy duck. A BOY and a GIRL sword fight. The Boy does a bunch of fancy moves. The Girl waits for him to finish and then pounds him on the head with a club. Two kids in the background are on a see-saw made of bombs. Agnes runs into the middle of the yard and points offscreen.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>Oh no! A dragon is approaching!<\/dialogue>\n    <scene_description>All of the kids turn and see KYLE dressed as a dragon. He GRUMBLES and then they SCREAM and huddle around Agnes. Then Margo enters wearing a SUIT OF ARMOR and wielding a SWORD.<\/scene_description>\n    <character>MARGO<\/character>\n    <dialogue>Fear not, for here come the gallant knights to save us!<\/dialogue>\n    <scene_description>She gestures to a group of minions wearing tiny suits of armor and wielding various MEDIEVAL WEAPONS. The Kids CHEER as the minions charge toward Kyle. One accidentally hits another with his sword. A fight ensues in which they use the medieval weapons on each other. One minion pounds another with a MACE. One Minion wanders off from the fight with his helmet on backwards, wildly swinging his mace. Across the yard, Gru is busy grilling burgers and talking on the phone. Not happy.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>No, no, no! What do you mean she's not coming?! I have a backyard full of these little girls who are counting on a visit from a fairy princess!<\/dialogue>\n    <scene_description>The mace-swinging Minion walks by and accidently, repeatedly hits Gru with the mace in the shin.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Ah! Hurts! Ah! Stop it!<\/dialogue>\n    <scene_description>Gru kicks the minion's helmet and chases him off with a spatula, sending him towards the party swinging his mace. Gru SIGHS and returns to the call.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Listen! I don't want a refund! I want a fairy princess... please! Please, I am begging you.<\/dialogue>\n    <parenthetical>(Resigned)<\/parenthetical>\n    <dialogue>You know what? I hope that you can sleep at night, you crusher of little girls' dreams!!!<\/dialogue>\n    <scene_description>Gru hits the phone with his spatula and hangs up. Turns and sees Agnes standing there.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>Ooh ooh! When's the Fairy Princess coming?<\/dialogue>\n    <scene_description>Gru stares down at Agnes' big excited eyes. He opens his mouth to tell her the truth, but can't do it.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Any minute now!<\/dialogue>\n    <scene_description>Agnes squeals with excitement and runs off.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>Yayyy!<\/dialogue>\n    <scene_description>Gru looks worried--what do I do now? He signals two minions.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Stall them.<\/dialogue>\n    <scene_description>EXT: BACKYARD - LATER A hand-painted piece of cardboard reading \"THE MAGIC SHOW\" is placed on an easel. Agnes and all of the little kids sit in a semicircle on the grass. Two minions dressed as magicians are doing a magic act with Edith as their assistant. One minion blows up a balloon and puts it in Edith's mouth. Then the other whips out a CHAINSAW and fires it up, heading toward her. Margo sees this and quickly intervenes.<\/scene_description>\n    <character>MARGO<\/character>\n    <dialogue>Whoa! Whoa! Okay, okay, alright. That's enough of the magic show!<\/dialogue>\n    <scene_description>The minions don't hide their disappointment.<\/scene_description>\n    <character>MINIONS<\/character>\n    <dialogue>Awwww.<\/dialogue>\n    <scene_description>Margo suddenly looks around as if she just heard something.<\/scene_description>\n    <character>MARGO<\/character>\n    <dialogue>Wait, did you hear that? It sounded like the twinkling sounds of magical fairy dust.<\/dialogue>\n    <character>AGNES<\/character>\n    <parenthetical>(gasps)<\/parenthetical>\n    <dialogue>It's the fairy princess! She's coming!<\/dialogue>\n    <scene_description>Margo gasps and points up to the sky.<\/scene_description>\n    <character>MARGO<\/character>\n    <dialogue>Look!<\/dialogue>\n    <scene_description>Edith spits out her magic balloon in horror and we follow it up to reveal-- Gru. Dressed in a PUFFY PINK DRESS, fairy wings, glittery eyelashes and tiara and magical wand. Up on top of Gru's house, the minions struggle to lower him down on a rope. Edith's balloon floats by and distracts them. They let go of the rope and Gru swings wildly, smashing into the wall of the house and crashing to the ground.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Aaaaaahh!<\/dialogue>\n    <scene_description>He stands up and tries to cover. Agnes SIGHS HAPPILY, in awe of the fairy princess.<\/scene_description>\n    <character>GRU<\/character>\n    <parenthetical>(in falsetto)<\/parenthetical>\n    <dialogue>It is I, Gru...zinkerbell! The most magical fairy princess of all! And I am here to wish Princess Agnes a very happy birthday!<\/dialogue>\n    <scene_description>Gru sprinkles the girls with glitter and they continue to stare, frozen. Then a LITTLE GIRL raises her hand and speaks with a lisp.<\/scene_description>\n    <character>LITTLE GIRL<\/character>\n    <dialogue>How come you're tho fat?<\/dialogue>\n    <scene_description>Gru grits his teeth, then forces a smile and speaks with a high-pitched, dreamy voice.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Because my house is made of candy and sometimes I eat instead of facing my problems.<\/dialogue>\n    <scene_description>The girl starts to ask another question.<\/scene_description>\n    <character>LITTLE GIRL<\/character>\n    <dialogue>How come you have-<\/dialogue>\n    <scene_description>Gru cuts her off with a puff of fairy dust to the face. She COUGHS.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Okay! Time for cake!<\/dialogue>\n    <scene_description>As the kids run to the table, Agnes approaches Gru.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>Thank you, Gru-zinkerbell. You're the best fairy princess ever!<\/dialogue>\n    <scene_description>Gru smiles.<\/scene_description>\n    <character>GRU<\/character>\n    <parenthetical>(in falsetto)<\/parenthetical>\n    <dialogue>You are welcome, little girl.<\/dialogue>\n    <scene_description>She runs off, but quickly returns.<\/scene_description>\n    <character>AGNES<\/character>\n    <parenthetical>(whispers in his ear)<\/parenthetical>\n    <dialogue>I know it's really you, Gru. I'm just pretending for the other kids.<\/dialogue>\n    <scene_description>She runs off again to join her friends. Gru watches her go. Couldn't be happier. Then he is approached by JILLIAN, a heavily-Botoxed mom.<\/scene_description>\n    <character>JILLIAN<\/character>\n    <dialogue>Hey there, Gru, Mr. Life of the Party!<\/dialogue>\n    <character>GRU<\/character>\n    <parenthetical>(forcing a smile)<\/parenthetical>\n    <dialogue>Hello, Jillian.<\/dialogue>\n    <character>JILLIAN<\/character>\n    <dialogue>Sooooo, I'm gonna go out on a limb here, but my friend Natalie is recently single, and...<\/dialogue>\n    <scene_description>In the background, a homely NATALIE leans against a buffet table and seductively raises her eyebrows at Gru. The table collapses to the ground beneath her.<\/scene_description>\n    <character>GRU<\/character>\n    <parenthetical>(realizes what's going on)<\/parenthetical>\n    <dialogue>No, no, no, get off of the limb right now. No limb.<\/dialogue>\n    <character>JILLIAN<\/character>\n    <dialogue>Oh, come on...she's a riot. She sings karaoke, she has a lot of free time, looks aren't that important to her...<\/dialogue>\n    <scene_description>In the background, Natalie inadvertently walks in front of a bottle pitch game, is struck by a ball, and falls to the ground.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>No, Jill's, that is not happening. Seriously. I'm fine.<\/dialogue>\n    <character>JILLIAN<\/character>\n    <parenthetical>(calling after Gru)<\/parenthetical>\n    <dialogue>Okay, fine. Forget Natalie. How about my cousin Linda?<\/dialogue>\n    <scene_description>Gru walks off, passing by Edith and Margo.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>JILLIAN<\/character>\n    <dialogue>Oh, oh! I know someone whose husband just died!<\/dialogue>\n    <scene_description>SPLASH! Suddenly Jillian is sprayed in the face with water. Reveal Gru holding a HOSE with a SPRAY NOZZLE.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>I'm sorry. I did not see you there.<\/dialogue>\n    <scene_description>SPLASH! He sprays her again. She falls down.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Or there.<\/dialogue>\n    <scene_description>He drops the hose and walks away, CHUCKLING softly. EXT: GRU'S HOUSE - DUSK Gru takes Kyle out to the front yard. CAMERA POV A camera with nightvision is watching them. The screen analyzes Kyle and a readout comes out as \"SPECIES: UNKNOWN.\" Kyle sniffs Gru's flowers.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Kyle... Kyle!<\/dialogue>\n    <scene_description>Then it analyzes Gru and the readout says \"TARGET ACQUIRED.\"<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Ky--Kyle! No, do not do your business on the petunias!<\/dialogue>\n    <scene_description>Kyle lifts up his leg next to Gru's flowers. He picks Kyle up and places him next to his neighbor's bush.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>There you go. Those are Fred's. Go crazy.<\/dialogue>\n    <scene_description>Kyle does and the bush immediately withers and dies. Gru CHUCKLES.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Good boy.<\/dialogue>\n    <character>VOICE (O.S.)<\/character>\n    <dialogue>Mr. Gru?<\/dialogue>\n    <scene_description>Gru turns and sees Lucy Wilde standing there.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Wha? I didn't... What... Yes?<\/dialogue>\n    <character>LUCY<\/character>\n    <parenthetical>(holds up her badge)<\/parenthetical>\n    <dialogue>Hi! Agent Lucy Wilde of the AVL.<\/dialogue>\n    <parenthetical>(realizes her badge is upside down)<\/parenthetical>\n    <dialogue>Oh. Whoops.<\/dialogue>\n    <parenthetical>(clears her throat, all business)<\/parenthetical>\n    <dialogue>Sorry, you're gonna have to come with me.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Oh, sorry, I--Freeze Ray!<\/dialogue>\n    <scene_description>Gru whips out his FREEZE RAY and fires it. A WALL OF ICE heads for Lucy. But before it gets to her, Lucy pulls out a retractable gun from her purse, which acts as a FLAMETHROWER. Melting the ice.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>You know you really should announce your weapons after you fire them, Mr. Gru. For example--<\/dialogue>\n    <scene_description>She pulls out a LIPSTICK. Fires it at Gru. The tip flies through the air and connects with his chest, latching on. ZZZZZAPPP! It tases him, which sends his body flailing in different funny poses before passing out.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Lipstick Taser! Oh, it works so good.<\/dialogue>\n    <scene_description>EXT: STREET - LATER Lucy tries to drag Gru to her car, but he's too heavy.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Man. Ugh. Large...person.<\/dialogue>\n    <scene_description>She gets an idea. Lucy gets into her car. In the background, we see Gru begin to come to, but he is struck by Lucy's car as she pulls back and is knocked out again.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Oh...sorry!<\/dialogue>\n    <scene_description>Closer now, Lucy gets out and stuffs his body into the trunk. Just then Tom and Stuart come out of Gru's garage and see their boss being loaded in. Lucy struggles to close the trunk.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Get...in...there...you...big...man!<\/dialogue>\n    <scene_description>SLAM! Lucy finally slams the trunk then quickly gets into the vehicle. Tom and Stuart exchange horrified looks.<\/scene_description>\n    <character>TOM AND STUART<\/character>\n    <dialogue>Boss!<\/dialogue>\n    <scene_description>They take off running after the car as it pulls away, running as fast as their tiny legs will carry them. They get right behind it and Tom LEAPS up onto the trunk. He reaches his hand out to Stuart, who is falling behind.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Koom ey lah!<\/dialogue>\n    <character>STUART<\/character>\n    <dialogue>Koom ey lah! Koom ey lah!<\/dialogue>\n    <scene_description>Stuart leaps for the bumper and Tom catches him by his overall straps. Tom holds on tight as Stuart dangles from the back of the car, his overall straps stretching way out.<\/scene_description>\n    <character>STUART<\/character>\n    <dialogue>Aaaaaaiiieeeaaaiiieeeaaaah!<\/dialogue>\n    <scene_description>As Lucy turns a corner, he slams into some garbage cans and ends up skiing behind the car in a cardboard box. Now in the box, Stuart continues to ride behind the car, and even starts to get the hang of that, too. He waves at Tom, and Tom waves back.<\/scene_description>\n    <character>STUART<\/character>\n    <dialogue>Woooo!<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Ooooh!<\/dialogue>\n    <scene_description>All is good until they go past a clothesline and a sheet gets stuck on Stuart. The sheet forms a parasail which lifts Stuart up into the air. He strikes a Superman flying pose. Then a flock of GEESE fly toward him and one actually slams into his face.<\/scene_description>\n    <character>STUART<\/character>\n    <dialogue>Quack quack!<\/dialogue>\n    <scene_description>It SQUAWKS at him as it flies off. Lucy spots the commotion in her side view mirror and slams on the brakes. SCREECH! Both minions fly forward-- INT: LUCY'S CAR - SAME Lucy sees this, drives forward, and opens the convertible top, causing the Minions to land right in the passenger's seat. They strike threatening karate poses.<\/scene_description>\n    <character>TOM AND STUART<\/character>\n    <dialogue>Hi-YAH!!<\/dialogue>\n    <scene_description>Lucy tases them and they pass out. She floors it. EXT: STREET - SAME Lucy's car continues driving until it reaches a crowded PIER. And doesn't stop. It drives right off the end of the pier. A confused fisherman leaps for his life.<\/scene_description>\n    <character>CONFUSED FISHERMAN<\/character>\n    <dialogue>What the-- Oh!<\/dialogue>\n    <scene_description>SPLASH! INT: OCEAN - SAME Lucy's car now transforms into an UNDERWATER VEHICLE. As the minions come to, one of them tries playing with the radio until Lucy slaps his hand away. They speed through the sea and an octopus slams into her windshield. She turns on the wipers, which hits the octopus in the face until he's had enough and swims off in a cloud of ink. She HONKS her HORN as she passes through a school of fish.<\/scene_description>\n    <character>MINIONS<\/character>\n    <dialogue>Whoa...<\/dialogue>\n    <scene_description>As the fish pass the Minions look ahead to see a shark heading for them with his mouth open. They SCREAM. Lucy quickly steers the car out of harm's way. They pass by several more sharks until they arrive at a GIANT SUBMARINE with the letters \"AVL\" on the side. A HATCH opens and Lucy's car goes inside. The hatch closes behind her. INT: AVL SUB - SAME The water drains out from the holding dock. A buffer and hair dryer come out to dry off the car. A squeegee wipes off the windshield. Then the platform the car is on lowers down. INT: AVL ROOM - DAY Lucy's car lowers into the center of the room as a large circular table assembles around it, effectively locking them in. Lucy and the Minions get out of the car. She pushes a button on her remote and Gru, with a starfish attached to his head, is ejected from the trunk.<\/scene_description>\n    <character>GRU<\/character>\n    <parenthetical>(groggily)<\/parenthetical>\n    <dialogue>Ugh...ooh...what...where...ah...oh, foot's asleep...ah...pins and needles...<\/dialogue>\n    <character>SILAS (O.S.)<\/character>\n    <dialogue>Good afternoon, Mr. Gru.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Ehhh...<\/dialogue>\n    <character>SILAS<\/character>\n    <dialogue>I apologize for our methods in getting you here.<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>I don't. I'd do it again in a heartbeat. I am not gonna lie--I enjoyed that. Every second of it. Gave me a bit of a buzz, actually.<\/dialogue>\n    <character>SILAS<\/character>\n    <dialogue>That's enough, Agent Wilde.<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Sorry, sir.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Okay, this is bogus!<\/dialogue>\n    <scene_description>Gru peels the starfish off his head and drops it onto Tom's. Stuart LAUGHS at him.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>I don't know who you people think you are, but--<\/dialogue>\n    <scene_description>A WAITER comes over with tea for Silas.<\/scene_description>\n    <character>SILAS<\/character>\n    <dialogue>We are the Anti-Villain League.<\/dialogue>\n    <scene_description>As Silas summons a map that shows all of the AVL offices around the world, Lucy's car drops out of the way. Stuart is trapped on the lowering platform and he scrambles to get back onto stable ground. Silas continues.<\/scene_description>\n    <character>SILAS<\/character>\n    <dialogue>An ultra-secret organization dedicated to fighting crime on a global scale. Rob a bank? We're not interested. Kill someone? Not our deal. But you want to melt the polar ice caps? Or vaporize Mt. Fuji? Or even steal the moon? Then we notice.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>First of all, you've got no proof that I did that. Second, after I did do that, I put it back!<\/dialogue>\n    <character>SILAS<\/character>\n    <dialogue>We're well aware of that, Mr. Gru. That's why we've brought you here.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I am the League's director, Silas Ramsbottom.<\/dialogue>\n    <scene_description>Upon hearing the name, Tom and Stuart start giggling.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Bottom.<\/dialogue>\n    <character>TOM AND STUART<\/character>\n    <dialogue>Heeheheeeeheeehee.<\/dialogue>\n    <scene_description>Silas bristles at this, and glances over at Lucy.<\/scene_description>\n    <character>SILAS<\/character>\n    <dialogue>Hilarious. Agent Wilde...<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Oh, me now...?<\/dialogue>\n    <scene_description>She continues the de-briefing, turning to the screens, which show an image of the Magnet Ship stealing the lab.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Um, recently an entire top secret lab disappeared from the Arctic Circle. Yeah, the entire lab. Just whoosh. Voom! Gone. Where did it go?<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>I don't care.<\/dialogue>\n    <scene_description>The screen shows FOOTAGE of a TINY LITTLE BUNNY in a scientific lab. Furry and adorable.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>The lab was devoted to experiments involving PX-41, a transmutation serum. What is PX-41, you ask? Mmmm, it's pretty bad... Look.<\/dialogue>\n    <scene_description>A LABCOAT TECHNICIAN approaches the bunny with a SYRINGE containing the purple liquid. Injects some in its butt.<\/scene_description>\n    <character>TOM AND STUART<\/character>\n    <dialogue>Aaah!<\/dialogue>\n    <scene_description>Instantly the bunny transforms into a HIDEOUS PURPLE MONSTER BUNNY. Gru and the Minions smile, impressed. Then it goes crazy and attacks the scientist. Gru covers his eyes and the Minions pass out.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Oh!<\/dialogue>\n    <scene_description>The bunny attacks the technician, then the camera...and the film is over.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Hmm, you usually don't see that in bunnies.<\/dialogue>\n    <character>SILAS<\/character>\n    <dialogue>As you can see, in the wrong hands, the PX-41 serum could be the most devastating weapon on earth.<\/dialogue>\n    <parenthetical>(struggles to get through the opening in the table)<\/parenthetical>\n    <dialogue>Fortunately it has a very distinct chemical footprint, and using the latest chemtracking technology, we found traces of it in the Paradise Mall.<\/dialogue>\n    <scene_description>On the screens we see images depicting a highly technical diagram of the shopping mall.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Ha! A mall?<\/dialogue>\n    <character>SILAS<\/character>\n    <dialogue>Precisely. And we believe that one of these shop owners is a master criminal.<\/dialogue>\n    <scene_description>Silas scrolls through pictures of the mall's shop owners.<\/scene_description>\n    <character>SILAS<\/character>\n    <dialogue>And that's where you come in. As an ex-villain, you know how a villain thinks, how a villain acts.<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>The plan is to set you up undercover at a shop in the mall, where hopefully you'll be able to--<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Okay, I see where this is going, with all the Mission Impossible stuff, but no. No! I am a father now. And a legitimate businessman. I am developing a line of delicious jams and jellies.<\/dialogue>\n    <scene_description>Silas shoots him a look. He CHUCKLES.<\/scene_description>\n    <character>SILAS<\/character>\n    <dialogue>Jams and...jellies?<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Oh, attitude! That's right! So thanks, but no thanks.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And here's a tip--instead of tasing people and kidnapping them, maybe you should just give them a call! Good day, Mr. Sheepsbutt!<\/dialogue>\n    <character>SILAS<\/character>\n    <dialogue>Ramsbottom.<\/dialogue>\n    <character>GRU<\/character>\n    <parenthetical>(chuckles)<\/parenthetical>\n    <dialogue>Oh, yeah, like that's any better!<\/dialogue>\n    <scene_description>Gru turns and heads for the door, followed by Tom and Stuart, who continue to GIGGLE about Ramsbottom's name. EXT: OCEAN - NIGHT Gru exits the AVL headquarters, which he now sees is on a SUBMARINE. Lucy leans out the door and taps him on the shoulder.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Look, I probably shouldn't be saying this, but your work as a villain was kind of amazing, so if you ever want to get back to doing something awesome--give us a call.<\/dialogue>\n    <scene_description>She hands Gru her BUSINESS CARD. Gru takes it and stares at it. EXT: OCEAN - LATER Gru rows back to shore as Tom yells to him like a coxswain. Gru GRUNTS with each stroke.<\/scene_description>\n    <character>TOM<\/character>\n    <parenthetical>(\"Stroke!\")<\/parenthetical>\n    <dialogue>Mack-oh! Mack-oh! Mack-oh!<\/dialogue>\n    <scene_description>INT: GRU'S HOUSE - NIGHT Gru carries a sleeping Agnes upstairs. INT: GIRLS' BEDROOM - CONTINUOUS Gru enters to find Margo and Edith not in bed. Margo is texting someone.<\/scene_description>\n    <character>GRU<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>Hey, I told you guys to get to bed.<\/dialogue>\n    <character>MARGO<\/character>\n    <dialogue>Oh, sorry.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>So when ya goin' on your date?<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>Remember? Miss Jillian said she was arranging a date for you.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Yeah, well, she is a nutjob. And I'm not going on any date.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>Why not? Are you scared?<\/dialogue>\n    <scene_description>Gru stares back at Edith. Gets a far-away look in his eyes. EXT: PLAYGROUND - FLASHBACK - DAY We flash back to LITTLE GRU on the school playground. He stares, lovesick, at a CUTE LITTLE BLONDE GIRL, named LISA.<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>(to her friends)<\/parenthetical>\n    <dialogue>Hey, did you guys see the moon landing on TV?<\/dialogue>\n    <character>GIRLS<\/character>\n    <dialogue>Yeah, I can't believe it. It's so cool...<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Yeah, and you know what--<\/dialogue>\n    <scene_description>Gru approaches her.<\/scene_description>\n    <character>LITTLE GRU<\/character>\n    <dialogue>Excuse me, Lisa?<\/dialogue>\n    <scene_description>But she doesn't notice him. He tries again.<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>(to her friends)<\/parenthetical>\n    <dialogue>I was talking to Billy the other day.<\/dialogue>\n    <character>GIRLS<\/character>\n    <dialogue>No way.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>He is so cute.<\/dialogue>\n    <scene_description>Gru clears his throat.<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>And I think he likes me.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Hey Lisa, I was wondering if you--<\/dialogue>\n    <scene_description>Gru reaches out and taps her shoulder with his pointer finger. Then one of the other little girls points to Gru's finger on Lisa's shoulder.<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>Ewww! Gru touched Lisa! Gru touched Lisa!<\/dialogue>\n    <scene_description>The other girls turn and squeal, horrified.<\/scene_description>\n    <character>GIRLS<\/character>\n    <dialogue>Eeeeewww!<\/dialogue>\n    <scene_description>A little buck-toothed red-haired girl shouts out to the entire playground.<\/scene_description>\n    <character>RED HAIRED GIRL<\/character>\n    <dialogue>Lisa's got Grooties!<\/dialogue>\n    <scene_description>The playground erupts with SCREAMS and everyone turns and runs away. Little Gru is left alone. Crushed. INT: GIRLS' BEDROOM - NIGHT Gru comes out of the flashback.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Scared? Of what? Women?! No, that's bonkers! I just-- I have no interest in going on a date, that's all. Case closed. I'm not scared-- of women... or dates... let's go to bed.<\/dialogue>\n    <scene_description>Gru gives each girl a goodnight kiss.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Goodnight, Edith.<\/dialogue>\n    <scene_description>Then he goes over to Margo, who's already in bed.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Goodnight, Margo.<\/dialogue>\n    <scene_description>She continues texting as he gives her a kiss.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Whoa, whoa, whoa, whoa! Well, hold the horses. Who are you texting?<\/dialogue>\n    <character>MARGO<\/character>\n    <dialogue>No one. Just my friend Avery.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Avery... Avery? Is that a girl's name or a boy's name?<\/dialogue>\n    <character>MARGO<\/character>\n    <dialogue>Does it matter?<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>No, no, it doesn't matter... Unless it's a boy!<\/dialogue>\n    <character>AGNES<\/character>\n    <dialogue>I know what makes you a boy.<\/dialogue>\n    <scene_description>Gru turns to Agnes, concerned.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Uh...oooh...you...do?<\/dialogue>\n    <character>AGNES<\/character>\n    <dialogue>Your bald head.<\/dialogue>\n    <scene_description>Gru nods, relieved.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Oh, yes...<\/dialogue>\n    <character>AGNES<\/character>\n    <dialogue>It's really smooth. Sometimes I stare at it and imagine a little chick popping out. Peep peep peep.<\/dialogue>\n    <scene_description>Gru sighs and gives her a kiss.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Goodnight, Agnes. Never get older.<\/dialogue>\n    <scene_description>Gru turns out the light and leaves the room. INT: LAB - DAY Gru rides the elevator tube down to his lab, passing minions in various stages of jelly making. A sign reading, JELLY TESTING AREA\" has been hastily pasted over a nuclear warning sign. A SUPERVISOR MINION checks his clipboard as the MINION next to him steals a banana from his pocket. He turns, but the Minion who stole the banana has hidden it in his mouth. We see the ends of the banana pushing out his cheeks.<\/scene_description>\n    <character>SUPERVISOR MINION<\/character>\n    <dialogue>Hey, oh! Me banana!<\/dialogue>\n    <scene_description>The Minion with the banana in his mouth shrugs. A single apple is passed down a line of Minions in the least efficient way possible. A few Minions mash fruits in large vats ala \"I Love Lucy.\" One wears a bunch of fruit on his head like Carmen Miranda and sings the CHIQUITA BANANA song. His supervisor comes over and tells him to get back to work. The Minion tries to get out of the vat of fruit, but slips and falls down into a large test-tube filled with mashed fruit. Then all of the mashed fruit is flushed down a large hole where it is injected into jelly jars passing by on a conveyor belt. The trapped Minion is injected into one of the jars. Gru enters the lab and greets the minions.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Hey, Tim, nice haircut!<\/dialogue>\n    <scene_description>He points at Tim.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Donnie, hang in there, baby! It's almost Friday.<\/dialogue>\n    <scene_description>Gru high-fives Donnie as he approaches Dr. Nefario.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>So, how's today's batch, Dr. Nefario?<\/dialogue>\n    <character>DR.<\/character>\n    <dialogue>I developed a allowed me to of berry into<\/dialogue>\n    <character>NEFARIO<\/character>\n    <dialogue>new formula which get every known kind one flavor of jelly.<\/dialogue>\n    <scene_description>Gru sticks his finger in and tastes the purple goo in the jar. Makes a disgusted face, then attempts a smile.<\/scene_description>\n    <character>GRU<\/character>\n    <parenthetical>(faking it)<\/parenthetical>\n    <dialogue>That tastes good...<\/dialogue>\n    <parenthetical>(gags)<\/parenthetical>\n    <dialogue>Love the flavor of that...<\/dialogue>\n    <character>DR. NEFARIO<\/character>\n    <dialogue>It's horrible, isn't it?<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>No! No! Oh, we're making great progress!<\/dialogue>\n    <parenthetical>(to the Minions)<\/parenthetical>\n    <dialogue>Here, try some of this.<\/dialogue>\n    <scene_description>He hands a jar to a minion, who tries it. He GAGS! Another minion tastes some and scrapes it off his tongue. They smash the jar and all the minions run away, disgusted.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Whoa... okay, just because everybody hates it doesn't mean it's not good.<\/dialogue>\n    <scene_description>Dr. Nefario hangs his head.<\/scene_description>\n    <character>DR. NEFARIO<\/character>\n    <dialogue>Listen, Gru. There's something I've been meaning to talk to you about for some time now.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>What? What's wrong?<\/dialogue>\n    <character>DR. NEFARIO<\/character>\n    <parenthetical>(clears his throat)<\/parenthetical>\n    <dialogue>I miss being evil. Sinister plots, large-scale crimes...It's what I live for! I mean, don't you think there's more to our future than jelly?<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Well, I'm also considering a line of jams...<\/dialogue>\n    <character>DR. NEFARIO<\/character>\n    <dialogue>Um...the thing is, Gru...<\/dialogue>\n    <parenthetical>(deep breath)<\/parenthetical>\n    <dialogue>I've had an offer of employment elsewhere.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Dr. Nefario! Come on, you're kidding, right?<\/dialogue>\n    <character>DR. NEFARIO<\/character>\n    <dialogue>It's a great opportunity for me, bigger lab, more evil, full dental...<\/dialogue>\n    <scene_description>Dr. Nefario presses a button and his stuff folds itself up into a traveling suitcase. Dr. Nefario hangs his head. Gru stares back at his old friend.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Very well. Let us give you the proper send-off.<\/dialogue>\n    <parenthetical>(calls off screen)<\/parenthetical>\n    <dialogue>Minions!<\/dialogue>\n    <scene_description>INT: GRU'S LAB - LATER Seven minions are lined up with seven fart guns. Dr. Nefario sits in his scooter.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>The highest honor awarded. To Dr. Nefario for your years of service. The twenty-one fart gun salute!<\/dialogue>\n    <scene_description>FART! FART! FART! Dr. Nefario COUGHS. His eyes are watering (and not only from the smell).<\/scene_description>\n    <character>DR. NEFARIO<\/character>\n    <dialogue>Uh, I counted twenty-two.<\/dialogue>\n    <scene_description>Dave CHUCKLES, guilty. Dr. Nefario fires up the scooter.<\/scene_description>\n    <character>DR. NEFARIO<\/character>\n    <dialogue>Farewell, my friends.<\/dialogue>\n    <scene_description>The minions CRY. Dr. Nefario pushes another button on the scooter, transforming it into flying mode. He GUNS the engine and it begins flying away. At the slowest pace possible. Everyone just stands there awkwardly.<\/scene_description>\n    <character>DR. NEFARIO<\/character>\n    <dialogue>This may take a while. Go about your business.<\/dialogue>\n    <scene_description>Everyone walks off.<\/scene_description>\n    <character>DR. NEFARIO<\/character>\n    <dialogue>I miss you already!<\/dialogue>\n    <scene_description>Gru examines Lucy's business card. Makes a decision. EXT: GRU'S HOUSE - NIGHT The shadow of a mysterious figure approaches Gru's front door. EXT: GRU'S FOYER - NIGHT A Minion wears a French Maid's outfit and SINGS as he vacuums the floor. The doorbell rings. The Minion opens the door to see who it is.<\/scene_description>\n    <character>FRENCH MAID MINION<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>A shadow falls across the terrified minion as something unseen abducts him. EXT: GRU'S FOYER - LATER The vacuum moves back and forth across the floor by itself. Another Minion walks by wearing a different Maid outfit. He doesn't see the other Minion and closes the door. Then he opens it again, cleans the doorknob, and closes it. INT: FAMILY ROOM - DAY It's morning at Gru's house. Margo and Agnes sit on the couch with a LAPTOP. Edith leans over the top of the couch, looking on.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>Are you sure we should be doing this?<\/dialogue>\n    <character>MARGO<\/character>\n    <dialogue>Yes, it's for his own good.<\/dialogue>\n    <scene_description>On the screen is a DATING WEBSITE (CREATE-A-DATE.NET)--the girls are creating a profile for Gru.<\/scene_description>\n    <character>MARGO<\/character>\n    <dialogue>Okay, we need to choose a picture.<\/dialogue>\n    <scene_description>Margo clicks through pictures of Gru. Each one is worse than the last.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>CLICK.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>Scary.<\/dialogue>\n    <scene_description>CLICK.<\/scene_description>\n    <character>EDITH<\/character>\n    <dialogue>Weird.<\/dialogue>\n    <scene_description>CLICK. The next picture is of Gru in a bathing suit. The girls react in horror.<\/scene_description>\n    <character>GIRLS<\/character>\n    <dialogue>Aaaaaah!!!<\/dialogue>\n    <scene_description>Margo covers Agnes's eyes.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>What is that?!<\/dialogue>\n    <scene_description>Gru enters the family room.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Good morning, girls! I have an announcement to make.<\/dialogue>\n    <character>MARGO<\/character>\n    <dialogue>Hey, what celebrity do you look like?<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Ummm...Bruce Willis.<\/dialogue>\n    <scene_description>The girls stare at him blankly.<\/scene_description>\n    <character>MARGO<\/character>\n    <dialogue>Mmmm...no.<\/dialogue>\n    <character>AGNES<\/character>\n    <dialogue>Humpty Dumpty!<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>Ooh, Gollum!<\/dialogue>\n    <scene_description>The girls LAUGH.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Okay, what are you doing?<\/dialogue>\n    <character>AGNES<\/character>\n    <dialogue>We're signing you up for online dating!<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Oh, okay...WHAT?! No, no, no, no, no, no, no, no, no.<\/dialogue>\n    <scene_description>Gru grabs the laptop away from the girls.<\/scene_description>\n    <character>EDITH<\/character>\n    <dialogue>Aw come on, it's fun.<\/dialogue>\n    <character>MARGO<\/character>\n    <dialogue>And it's time for you to get out there.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>No! Stop! No one is ever getting out there! Ever!<\/dialogue>\n    <scene_description>Gru hands a Minion the laptop, accidentally hitting him in the face.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Okay, now for the announcement: I have accepted a new job.<\/dialogue>\n    <character>MARGO<\/character>\n    <dialogue>Whoa--really?<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Yes, I have been recruited by a top secret agency to go undercover and save the world!<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>You're gonna be a spy?!<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>That's right, baby! Gru's back in the game! With gadgets and weapons and cool cars...the whole deal.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>Awesome!<\/dialogue>\n    <scene_description>Agnes looks up at him in awe.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>Are you really gonna save the world?<\/dialogue>\n    <scene_description>Gru looks at Agnes.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Yes. Yes I am.<\/dialogue>\n    <scene_description>He coolly puts on a pair of sunglasses. We pan to Dave mimicking Gru with a pair of sunglasses.<\/scene_description>\n    <character>DAVE<\/character>\n    <dialogue>Mocha!<\/dialogue>\n    <scene_description>And then to Kevin dressed in an Amish beard and tie.<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Cacao!<\/dialogue>\n    <scene_description>And then Stuart dressed as a little girl with pigtails.<\/scene_description>\n    <character>STUART<\/character>\n    <dialogue>Papadam?<\/dialogue>\n    <scene_description>EXT: MALL - DAY Establishing. INT: MALL - SAME Gru comes down the escalator wearing the sunglasses, with the three disguised Minions behind him. Stuart gets his dress caught in the escalator. It comes off and he hides in a nearby potted plant. Gru glances at a store called the \"EAGLE HAIR CLUB.\" He then arrives at a charming, pink CUPCAKE STORE. The sign reads, \"BAKE MY DAY\" Gru frowns and takes off his sunglasses.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Hm. \"Bake My Day.\" Blech.<\/dialogue>\n    <scene_description>INT: BAKE MY DAY - CONTINUOUS Gru unlocks the door and enters. JINGLE! BELLS on the door ring. The inside is sugary and clean and quaint. Gru takes it all in. Then turns to the minions.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Alright, here is the cupcake recipe I got off the internet.<\/dialogue>\n    <scene_description>The minions excitedly grab the recipe and head for the kitchen. Gru kicks Stuart, who is still staggering around in the potted plant.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>And don't go nuts with the sprinkles!<\/dialogue>\n    <scene_description>Gru is left alone. He looks around. Sees a BUNNY CUPCAKE in a glass cake dish. Then a SHARK CUPCAKE in the next cake dish. And in the next dish he sees Lucy's head. She makes a funny face. Gru SCREAMS, which causes Lucy to SCREAM and jump up, hitting her head on one of the shelves, sending all of the CUPCAKES flying. Lucy immediately goes into action, using incredible and frankly weird-looking MARTIAL ARTS MOVES to dispatch the cupcakes as they fly toward her.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Ha! Yaa! Ho! Ooof! Zaaa! Ay-ay- ay-ay-ay!<\/dialogue>\n    <scene_description>She successfully eliminates all of the cupcakes, then turns to Gru, out of breath.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Whoo. Wasn't expecting that.<\/dialogue>\n    <parenthetical>(strikes a martial arts pose)<\/parenthetical>\n    <dialogue>Or was I?<\/dialogue>\n    <scene_description>Gru has a cupcake stuck to the top of his head, frosting side down. Lucy gestures as if he's got a little food on his face.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Ooh... you got... You got... a little...<\/dialogue>\n    <scene_description>The cupcake slowly slides down, then falls to the floor. It leaves a long smear on Gru's face.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Here, I'll-- I'll get it.<\/dialogue>\n    <scene_description>Gru stands frozen as she tries to clean him up.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Oh, that's just spreading...um...<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Alright, alright. I got it. I got it!... Stop it!<\/dialogue>\n    <scene_description>Lucy backs off.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Oh! I'll let you get it.<\/dialogue>\n    <scene_description>Gru SIGHS and wipes the frosting off his face.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Yeah, what you just saw there was a little something new I've been working on. It's a combination of Jujitsu, Krav Maga, Aztec warfare, and krumping.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Okay, that's weird--why are you here?<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>On assignment from Silas. I'm your new partner. Yay!<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>What?! No, no \"yay.\" Ramsbottom didn't say anything about a partner.<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Well, seems that because of your checkered past, everyone else refused to work with you. But not me. I stepped up. And I'm new, so I kind of have to do what they tell me anyway.<\/dialogue>\n    <scene_description>Gru is about to respond when Dave the minion comes out the kitchen door. He carries a cupcake in the shape of a Minion.<\/scene_description>\n    <character>DAVE<\/character>\n    <dialogue>Walla!<\/dialogue>\n    <scene_description>Immediately Lucy moves with lightning-quick reflexes. She smashes his cupcake, flips him into the air, and pins him to the counter. Dave SCREAMS.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>You know this guy?<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Yes, he's one of my minions.<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Oh, I'm sorry. I should have known.<\/dialogue>\n    <scene_description>She releases him.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>You're free to go.<\/dialogue>\n    <scene_description>Dave stares at Lucy. Immediately smitten. A magical glow appears around her as romantic music plays. We go into Dave's fantasy. EXT: BEACH - DAY - FANTASY Dave and Lucy run along a beach together hand in hand. EXT: FIELD - DAY - FANTASY Dave and Lucy have a romantic picnic together. They toast each other with champagne. Dave drinks from the bottle. EXT: BRIDGE - NIGHT - FANTASY Lucy and Dave sit on the railing of a moonlit footbridge. Both fire ROCKETS into the air to create fireworks and are about to kiss when--<\/scene_description>\n    <character>GRU (V.O.)<\/character>\n    <dialogue>Dave...<\/dialogue>\n    <scene_description>INT: BAKE MY DAY - DAY Back to reality, where Dave is staring up at Lucy, lovestruck.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Earth to Dave! You can leave now.<\/dialogue>\n    <scene_description>Dave goes back into the kitchen, never taking his eyes off of Lucy. INT: MALL - DAY CLOSE ON the Giant Cupcake on top of the cupcake shop. The CHERRY on the Giant Cupcake rotates, revealing a CAMERA hidden inside. VZZZZZT! The lens zooms.<\/scene_description>\n    <character>GRU (O.S.)<\/character>\n    <dialogue>Now, what do we got? Who's on the list? Fire 'em at me.<\/dialogue>\n    <scene_description>INT: BAKE MY DAY - SAME Gru and Lucy stand next to each other under a domed lamp lowered from the ceiling. Inside the dome of the lamp, Gru and Lucy are uncomfortably close together looking at a video screen.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>First suspect...Hedda Blumentoft, proprietor of Mum's the Word Floral Shop.<\/dialogue>\n    <scene_description>The camera moves over to Mum's the Word Floral Shop and HEDDA BLUMENTOFT.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>No. Not her.<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Okay, moving on...<\/dialogue>\n    <scene_description>The camera moves over to the \"Stuff-A-Bear\" store. CHUCK KINNEY, a small perky man, holds up an empty teddy bear skin for a little boy.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Chuck Kinney, owner of \"Stuff-A- Bear.\"<\/dialogue>\n    <scene_description>Kinney shoves the teddy bear's butt onto a sharp metal tube. The bear inflates until it EXPLODES into a torrent of bear skin and stuffing. The little boy CRIES.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Ooh.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>I don't think so.<\/dialogue>\n    <scene_description>DING-A-LING-A-LING! The bell rings on the cupcake shop's front door, signaling a customer.<\/scene_description>\n    <character>EDUARDO (O.S.)<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Oh!<\/dialogue>\n    <scene_description>Gru and Lucy quickly hide their equipment, look up and see EDUARDO PEREZ at the door. They try to act natural.<\/scene_description>\n    <character>EDUARDO<\/character>\n    <dialogue>Buenos dias, my friends! I am Eduardo Perez, owner of Salsa &amp; Salsa Restaurant, across the mall. Now open for breakfast. And you are?<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Gru. And this is Lucy. And we are closed.<\/dialogue>\n    <character>EDUARDO<\/character>\n    <dialogue>This is just gonna take un momento. I am throwing a big Cinco de Mayo party, and I am going to need two hundred of your best cupcakes decorated with the Mexican flag. It looks something like this.<\/dialogue>\n    <scene_description>He rips open his shirt, revealing a TATTOO of the Mexican flag on his chest.<\/scene_description>\n    <character>EDUARDO<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <scene_description>He flexes and makes it wave. Gru hides his eyes.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Look away!<\/dialogue>\n    <scene_description>Lucy stares at it.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>You-- Whoa... Hooo...<\/dialogue>\n    <character>EDUARDO<\/character>\n    <dialogue>Anyway, I have to go. It's all settled! I pick 'em up next week! Have a good day. Come by if you get a chance, okay?<\/dialogue>\n    <scene_description>He exits. Gru GROANS, relieved. Finally! Then Eduardo pops back in.<\/scene_description>\n    <character>EDUARDO<\/character>\n    <dialogue>And welcome to the mall family!<\/dialogue>\n    <scene_description>Gru studies Eduardo's face and GASPS. He pictures Eduardo in a red luchador mask surrounded by flames. Eduardo turns and leaves. As soon as the door closes--<\/scene_description>\n    <character>GRU<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>El Macho.<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>But it couldn't be...<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Wha-- What? What couldn't be??<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>That guy looks exactly like a villain named El Macho. From about twenty years ago.<\/dialogue>\n    <scene_description>EXT: DESERT - DAY - FLASHBACK Classic Spaghetti western sepia-toned shot of El Macho looking menacing. He looks like the large Hispanic man from the mall, only younger and wearing a Lucha Libre outfit and mask (a mask which looks similar to the one Gru imagined). El Macho pushes the BARKEEP out of the way and grabs a large bottle from behind the bar.<\/scene_description>\n    <character>GRU (V.O.)<\/character>\n    <dialogue>He was ruthless. He was dangerous. And as the name implies, very macho.<\/dialogue>\n    <scene_description>El Macho pours himself a shot and then smashes the bottle over his own head. He reaches down and pulls up a rattlesnake from below the bar. He squeezes its head, squirting venom into the shot glass. He drinks it down and then eats the glass. He sticks the snake's fangs into a few dollars that he leaves on the bar, before breaking through the wall behind him, leaving an EL Macho-shaped hole. EXT: STREET - DAY - FLASHBACK El Macho head butts an armored truck and approaches the passenger side window.<\/scene_description>\n    <character>GRU (V.O.)<\/character>\n    <dialogue>He had a reputation for pulling off heists using only his bare hands.<\/dialogue>\n    <scene_description>When the ARMED GUARDS look over he punches through the bullet- proof glass, knocking them both out of the truck. Then he lifts the truck onto his back and runs down the street with it.<\/scene_description>\n    <character>GRU (V.O.)<\/character>\n    <dialogue>Ah, but sadly, like all the greats, El Macho was gone too soon.<\/dialogue>\n    <scene_description>EXT: SKY - DAY - PAST A bird, flying in the air, is suddenly struck by an airplane.<\/scene_description>\n    <character>GRU (V.O.)<\/character>\n    <dialogue>He died in the most macho way possible.<\/dialogue>\n    <scene_description>El Macho leaps out of the plane riding a SHARK, a ton of DYNAMITE strapped to him. He plummets toward the mouth of an ACTIVE VOLCANO.<\/scene_description>\n    <character>GRU (V.O.)<\/character>\n    <dialogue>Riding a shark with 250 pounds of dynamite strapped to his chest into the mouth of an active volcano.<\/dialogue>\n    <scene_description>He pulls two grenades from behind his back, yanks the pins, and holds onto them as he plunges into the volcano. There is a MASSIVE EXPLOSION.<\/scene_description>\n    <character>GRU (V.O.)<\/character>\n    <dialogue>It was glorious.<\/dialogue>\n    <scene_description>INT: BAKE MY DAY - DAY Lucy stares at Gru, confused.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Yeah, sounds like El Macho's pretty dead...<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>They never found the body. Oh no. All that was ever retrieved was a pile of singed chest hair.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But... that face. It has got to be El Macho.<\/dialogue>\n    <scene_description>Lucy gets an excited look on her face.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Then what do you say you and I break into his restaurant? Tonight.<\/dialogue>\n    <scene_description>Gru nods at Lucy's invitation.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Yes, that's good, because I'm telling you--if anybody in this place has the PX-41 serum...<\/dialogue>\n    <scene_description>Gru looks out the window and points at Eduardo riding up on the escalator, scratching his butt.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>...it's him.<\/dialogue>\n    <scene_description>INT: GIRLS' BEDROOM - NIGHT Gru enters and pushes the girls into their beds like a tour guide anxious to finish a tour.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Alright, alright, homework done, pajamas on, teeth brushed, time for bed.<\/dialogue>\n    <character>MARGO<\/character>\n    <dialogue>What's the big hurry?<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>I just... I have a lot of work to do.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>Work, what kind of work?<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Very important business. So...hugs, kisses...<\/dialogue>\n    <parenthetical>(hugs and kisses them)<\/parenthetical>\n    <dialogue>...good night, sleep tight, don't let the bedbugs blah-blah-blah-blah- blah--<\/dialogue>\n    <scene_description>Gru turns to leave, but Agnes is standing at the doorway.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>But you said you'd help me practice my part for the Mother's Day show!<\/dialogue>\n    <scene_description>Gru looks down at Agnes' puppy dog eyes. He SIGHS.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Fine, fine... Let me hear it. Quickly.<\/dialogue>\n    <scene_description>INT: GRU'S FAMILY ROOM - NIGHT On Agnes. She gives her lines.<\/scene_description>\n    <character>AGNES<\/character>\n    <parenthetical>(robotically)<\/parenthetical>\n    <dialogue>She kisses my boo-boos She braids my hair My mother is beyond compare We love you, mothers, everywhere!<\/dialogue>\n    <scene_description>Gru frowns.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Wow! That was...something else. I really liked the way you smiled at the end. Let's try this one more time, but a teensy bit less like a zombie, okay?<\/dialogue>\n    <character>AGNES<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <parenthetical>(still monotone)<\/parenthetical>\n    <dialogue>She kisses my boo-boos She braids my hair--<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Perfect! Time to go!<\/dialogue>\n    <scene_description>As he heads for the door--<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>I don't think I should do this.<\/dialogue>\n    <scene_description>This stops Gru.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Well, what do you mean? Why not?<\/dialogue>\n    <character>AGNES<\/character>\n    <dialogue>I don't even have a mom.<\/dialogue>\n    <scene_description>Ouch. But Gru tries not to let this affect him.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Well, you don't need one to do the show. I mean, you did the Veterans Day Pageant and you haven't been in combat.<\/dialogue>\n    <scene_description>Agnes looks up at Gru.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>This is different.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Okay, well, then...maybe you can just use your imagination.<\/dialogue>\n    <character>AGNES<\/character>\n    <dialogue>You mean I pretend I have a mom?<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Yes, right. You can do that, can't you?<\/dialogue>\n    <scene_description>Agnes smiles.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>Yeah! I do that all the time! Thanks, Gru!<\/dialogue>\n    <scene_description>She gives him a kiss and runs off. Gru watches her go, deep in thought. INT: REC ROOM - NIGHT TWO MINIONS raise their ice cream sundaes and clink them together!<\/scene_description>\n    <character>MINIONS<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>Pull back to reveal many minions singing and dancing. We move through the crowd, passing by the mace-wielding minion with his helmet still backwards and a smaller server minion with a tray of ice cream sundaes in mugs. We cut up to the rafters, where more minions are dancing and singing in formation, jumping and hopping all over the place in elaborate dance routines. Back on the floor, three arm-in-arm minions take the chorus. One of them clearly having had one too many sundaes is being held up by the other two. Another minion tries to carry empty mugs down a spiral staircase, but he's knocked off by a bunch of minions running up the other way. Several minions sit around a communal bowl of ice cream, lazily sipping at it through long straws. Gru enters and takes it all in. Other minions raid an ice cream cart, hanging from the canopy, drinking directly from the spouts.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Alright, hey, hey-- No, no, no, no! Hey, please!<\/dialogue>\n    <scene_description>The Minions stop singing.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Kevin, Jerry, watch the girls for me, okay?<\/dialogue>\n    <parenthetical>(points)<\/parenthetical>\n    <dialogue>Dave, Stuart--come this way. With me! Come on!<\/dialogue>\n    <scene_description>Dave downs a jar of maraschino cherries and sprays whip cream into his mouth before running after them, with a toothpick umbrella in his mouth for good measure.<\/scene_description>\n    <character>GRU (O.S.)<\/character>\n    <dialogue>Come on!<\/dialogue>\n    <scene_description>Once they are gone, the Minions go back to singing and laughing. INT: GIRLS' BEDROOM - NIGHT Margo, Edith and Agnes are fast asleep in their beds. Kevin and Jerry sing them a lullaby. Then smile and quietly close the door. INT: HALLWAY - SAME Kevin holds up a golf ball. Jerry happily jumps up and down.<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Hey, putt-putt?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Oh!<\/dialogue>\n    <scene_description>INT: LIVING ROOM - LATER Jerry puts the tee and ball in his mouth as Kevin stands on a dresser, preparing to take a swing. He asks Jerry if he's ready and Jerry gives a thumbs up.<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Una, doo--<\/dialogue>\n    <parenthetical>(laughs as he lowers the golf club to Jerry's head)<\/parenthetical>\n    <dialogue>CRASH! CLANG! A noise comes from the backyard. The minions exchange looks. What was that?<\/dialogue>\n    <scene_description>EXT: BACKYARD - NIGHT Kevin and Jerry step out into the yard and look around nervously, armed only with the golf club and tee.<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Boca!<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>(scared)<\/parenthetical>\n    <dialogue>Boca!<\/dialogue>\n    <scene_description>They walk over to the garbage cans. The cans begins to rattle. Kevin and Jerry SCREAM as a CAT pops up from one of the cans. The cat MEOWS. Kevin LAUGHS at him and imitates Jerry's scared face.<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Looka too!<\/dialogue>\n    <scene_description>Jerry slaps him. Kevin slaps him back. They start to slap fight until-- A SPOTLIGHT comes down from above, lighting up the terrified minions. Before they can scream... WOOSH! Jerry is sucked up into the air as if being abducted by aliens. Kevin grabs onto a flower, and then the cat to try and anchor himself down, but they both fly up into the air. The light goes out. A few seconds later the light comes back on and drops the cat back down. It turns off again and the Minions are gone. EXT: MALL - NIGHT The mall is dark and the parking lot is empty, except for two minions and Lucy's car. INT: MALL - SAME A lone SECURITY GUARD walks through the dark mall, listening to music on his headphones. He passes by Eduardo's Salsa &amp; Salsa. Shines his light inside. All clear. He moves on. Once the guard is gone, a floor tile is moved aside and Gru peeks out. After making sure the coast is clear, Gru calls down.<\/scene_description>\n    <character>GRU<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>We're stealth ninjas. We make no sound.<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Right. Gotcha.<\/dialogue>\n    <scene_description>INT: EDUARDO'S SALSA &amp; SALSA - LATER Lucy kicks the door open. She enters. Gru reacts.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Alright, El Macho, you're going down.<\/dialogue>\n    <scene_description>But before Gru takes a step, Lucy stops him.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Wait! Wait!<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>She produces a SPRAY CAN and sprays the air in front of her. Gru frowns.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>I'm checking for laser beam alarm triggers.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>It's a restaurant!<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>You never know what kind of booby traps this guy could have set. Huh? C'mon!<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>There are no booby traps!<\/dialogue>\n    <scene_description>Gru takes a step and kicks a TRIPWIRE attached to a tiny bell. TING-A-LING! Lucy points to the bell.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Ha! Booby!<\/dialogue>\n    <scene_description>Lucy GASPS as a door begins to creak open. She hides behind Gru. A tiny CHICKEN hops out. It CLUCKS. Lucy is confused.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Oh. There's a chicken. Are you lost little guy? You must be lost!<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Ha! Some guard dog.<\/dialogue>\n    <scene_description>Suddenly, the chicken leaps into the air and lands on Gru, pecking his bald head.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Aaaaaaaaaaaaaaaiiiigh!<\/dialogue>\n    <scene_description>Gru runs in circles, trying to get the chicken off.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Get it off of me! Get it off of me! Get it off of me!<\/dialogue>\n    <scene_description>Gru SCREAMS as the chicken goes up his shirt and bursts out of his sweater through the chest, \"Alien\"-style. He grabs it.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>I got you!<\/dialogue>\n    <scene_description>It pecks him on the head, escapes, and continues to attack him. Lucy thinks fast and grabs a tablecloth from a table. She lunges and covers the chicken with the table cloth.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>I got it! Ha!<\/dialogue>\n    <scene_description>She tightens the tablecloth around Gru's neck, trapping the chicken and Gru's head inside. A muffled scream comes from under the table cloth and Lucy realizes what she's done. Gru runs around trying to get the tablecloth off his head. Lucy does a karate flip\/body slam on Gru and the chicken. She removes the table cloth. Gru's head has been replaced by the chicken!<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Ha!<\/dialogue>\n    <scene_description>She goes to karate chop the chicken, but it flies off and she hits Gru in the face instead.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Oh!<\/dialogue>\n    <scene_description>The chicken regroups, CLUCKS, and attacks. Lucy acts fast and presses a button on her watch, squirting FOAM onto the chicken. FSSSSSSHT! The foam instantly hardens into a glass ball around the chicken. Only its head sticks out. It wobbles back and forth like a Weeble. Lucy turns to Gru.<\/scene_description>\n    <character>GRU<\/character>\n    <parenthetical>(dazed)<\/parenthetical>\n    <dialogue>Ugh...<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>What is wrong with that chicken?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Hey, that pollo? Es loco.<\/dialogue>\n    <scene_description>Gru is unimpressed.<\/scene_description>\n    <character>LUCY<\/character>\n    <parenthetical>(noticing Gru's wounds)<\/parenthetical>\n    <dialogue>No? Okay, let's go.<\/dialogue>\n    <scene_description>INT: KITCHEN - CONTINUOUS Gru and Lucy step into the kitchen. Lucy pulls out a HIGH- TECH SCANNING DEVICE and aims it around the kitchen.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>You getting anything?<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>No. Not yet. But hey, maybe you can find something with these x-ray goggles.<\/dialogue>\n    <scene_description>Lucy produces a pair of HIGH TECH goggles. Gru shakes his head.<\/scene_description>\n    <character>GRU<\/character>\n    <parenthetical>(skeptically)<\/parenthetical>\n    <dialogue>Bah...<\/dialogue>\n    <scene_description>Gru puts them on and looks around the kitchen. We now see the room from his X-RAY POV.<\/scene_description>\n    <character>LUCY (O.S.)<\/character>\n    <dialogue>How're they working? Tell me, tell me!<\/dialogue>\n    <scene_description>Gru turns to Lucy and sees her as a SKELETON.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Ahh! Ooof!<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>What's wrong? Something wrong?<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Oh, that's an image I'll never get out of my brain. Blagh!<\/dialogue>\n    <scene_description>Gru makes a face, disturbed. Then quickly turns away and spots something behind a painting on the wall...a safe. Sees something inside it--a METAL CANISTER. Smiles.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>I knew it!<\/dialogue>\n    <scene_description>He goes to the wall and removes the painting, revealing the SAFE.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>The serum is in here!<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Ooh, then let's get it!<\/dialogue>\n    <scene_description>He produces a SAFE-CRACKING DEVICE and places it over the combination wheel. Lights blink and it goes to work.<\/scene_description>\n    <character>GRU<\/character>\n    <parenthetical>(gleefully giggling)<\/parenthetical>\n    <dialogue>Oh, this is going to be good! Ahh...<\/dialogue>\n    <scene_description>CLICK. The safe opens, revealing--a JAR OF SALSA (\"EDUARDO'S SECRET RECIPE\").<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>A-ha!<\/dialogue>\n    <parenthetical>(registering it's not the serum)<\/parenthetical>\n    <dialogue>What? It's... salsa?<\/dialogue>\n    <character>LUCY<\/character>\n    <parenthetical>(disappointed)<\/parenthetical>\n    <dialogue>Awww man.<\/dialogue>\n    <scene_description>INT: RESTAURANT - SAME Eduardo enters the restaurant. Senses something isn't right. Frowns angrily.<\/scene_description>\n    <character>EDUARDO<\/character>\n    <dialogue>Oh... somebody's going to die tonight.<\/dialogue>\n    <scene_description>He cautiously walks through the restaurant. Sees the chicken in the ball of cement. Gasps.<\/scene_description>\n    <character>EDUARDO<\/character>\n    <dialogue>Pollito!<\/dialogue>\n    <scene_description>Eduardo runs over to Pollito and picks him up.<\/scene_description>\n    <character>EDUARDO<\/character>\n    <dialogue>What'd they do to you? Pollito? Can you hear me?<\/dialogue>\n    <character>POLLITO<\/character>\n    <dialogue>Boc!<\/dialogue>\n    <character>EDUARDO<\/character>\n    <dialogue>Who would do this to such a sweet little chicken? What? Who's there?<\/dialogue>\n    <scene_description>His eyes darken. INT: KITCHEN - SAME Gru and Lucy, who are ravenously eating the delicious salsa with chips, turn to the door. Uh-oh. INT: RESTAURANT - SAME Eduardo, carrying the chicken, makes his way to the kitchen. Grabs a LARGE KNIFE off of a table.<\/scene_description>\n    <character>EDUARDO<\/character>\n    <dialogue>You coming out?! Or am I gonna go in?!<\/dialogue>\n    <scene_description>INT: KITCHEN - SAME Gru and Lucy react to hearing Eduardo's voice. Gru pulls a LASER CUTTER out of his jacket. Aims it at the ceiling. TWEEEE! The LASER fires, cutting a hole in the ceiling. INT: RESTAURANT - SAME Eduardo approaches the kitchen, brandishing the knife. Ready to confront any intruders. He shoves open the door and sees chips and the salsa container sitting in the open wall safe. INT: KITCHEN - CONTINUOUS Eduardo enters the room, just in time to see a pair of legs disappear into the ceiling.<\/scene_description>\n    <character>EDUARDO<\/character>\n    <dialogue>Stop!<\/dialogue>\n    <scene_description>Lucy quickly pops down and hits him in the eyes with her foam- shooting watch.<\/scene_description>\n    <character>EDUARDO<\/character>\n    <dialogue>My eyes!<\/dialogue>\n    <scene_description>He rubs his eyes, dropping the chicken and cracking its encasement. INT: MALL - SAME Lucy and Gru quickly run through the mall.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Gru, call one of your munchkins!<\/dialogue>\n    <scene_description>Gru produces a communicator and calls into it.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>We've been spotted! Come get us!<\/dialogue>\n    <scene_description>INT: LUCY'S CAR - SAME One minion sits on the hood of the car. The other leans against a tire, toothpick in his mouth.<\/scene_description>\n    <character>DAVE<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <parenthetical>(to the other minion)<\/parenthetical>\n    <dialogue>Hey! Loo-koo-meow-plah!<\/dialogue>\n    <character>STUART<\/character>\n    <dialogue>Ah! Koom-kwat!<\/dialogue>\n    <scene_description>INT: MALL - SAME SMASH! The car crashes through the glass doors and speeds through the mall. They crash into a bunch of cleaning supplies being pushed by a janitor. Gru and Lucy watch them from the balcony above.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Hm. Subtle.<\/dialogue>\n    <scene_description>They both run over to meet the car at the escalators. The car heads for the escalators. As they reach the bottom, Gru and Lucy realize the minions are about to go up the other one!<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Over here, over here! Over... here.<\/dialogue>\n    <scene_description>Too late. The minions shake as they go up the bumpy stairs. Once they reach the top they take a left and start driving in circles around the balcony. Gru pulls out a grappling hook and aims for the balcony railing.<\/scene_description>\n    <character>GRU<\/character>\n    <parenthetical>(grabbing Lucy)<\/parenthetical>\n    <dialogue>Hold tight!<\/dialogue>\n    <scene_description>They shoot up and land right back where they started - at Salsa &amp; Salsa! The minions zoom by in the car and Gru SIGHS in exasperation. Just then, Eduardo emerges from the restaurant with fire in his eyes and a knife in his hand. Eduardo produces many more KNIVES and heads straight for them.<\/scene_description>\n    <character>EDUARDO<\/character>\n    <dialogue>I have you now!<\/dialogue>\n    <scene_description>BAM! Eduardo is struck unconscious by Lucy's car. Just in time. Lucy opens the car door. One of the minions holds a toothpick in his hand and leans on the steering wheel, seductively.<\/scene_description>\n    <character>DAVE<\/character>\n    <dialogue>Rawr, rawr!<\/dialogue>\n    <scene_description>The other minion revs the engine suggestively. Eduardo starts to wake up. The car zooms past him. EXT: MALL DOME - SAME CRASH! Lucy's car plummets towards the ground. Gru SCREAMS hysterically, but Lucy just hits a button and the car TRANSFORMS into a jet. They fly off into the night sky. EXT: GRU'S NEIGHBORHOOD - MORNING It's a beautiful morning. An ICE CREAM TRUCK makes its way down the street (playing the song the minions were singing earlier). It stops and a couple of CHILDREN run to meet it. Stuart opens Gru's front door, having heard the commotion. Two other minions approach as well. Stuart spots the ice cream truck and points to it, excited.<\/scene_description>\n    <character>STUART<\/character>\n    <dialogue>Oh! Oh! Gelato!<\/dialogue>\n    <scene_description>And then suddenly a MOB OF MINIONS appears running for the ice cream truck alongside the group of children. The minions shove the children aside and clamor around the truck holding out their money.<\/scene_description>\n    <character>MINIONS<\/character>\n    <dialogue>Gelato! Gelato! Gelato!<\/dialogue>\n    <scene_description>Stuart pushes himself to the top of the unruly pack and tries to maintain order.<\/scene_description>\n    <character>STUART<\/character>\n    <dialogue>Stopa! Stopa!!<\/dialogue>\n    <scene_description>A hush comes over the minions.<\/scene_description>\n    <character>STUART<\/character>\n    <parenthetical>(knocking on the truck)<\/parenthetical>\n    <dialogue>Hey-ho! Gelato!<\/dialogue>\n    <scene_description>Suddenly the ice cream cone on top of the truck transforms into a LARGE TUBE and extends itself above the minions. Stuart offers the tube a wad of cash and attempts to order gelato, but the it begins SUCKING the minions into it. ZUP! ZUP! ZUP! One by one the minions (dozens of them, including the minion with his head still trapped in the jelly jar) are sucked into the truck until there is only one left. He tries to make a break for it, but the truck lowers a popsicle in front of him. He licks it, his tongue sticks, and he is yanked back into the ice cream cone. The it closes and the truck drives away. The children look on puzzled. EXT: PARADISE MALL - DAY The hole that Lucy's car crashed through last night has been patched with plywood boards. INT: PARADISE MALL - DAY PULL BACK TO REVEAL that Gru is inside a GARBAGE CAN DISGUISE. Next to him is Lucy, also in a GARBAGE CAN DISGUISE, using binoculars.<\/scene_description>\n    <character>LUCY (O.S.)<\/character>\n    <dialogue>All right, there he is. Suspect #8: Floyd Eaglesan.<\/dialogue>\n    <scene_description>BINOCULARS POV Floyd Eaglesan attempts to entice a customer to visit his business, Eagle Hair Club.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Oh. Okay.<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>See if you can get closer. Go...go.<\/dialogue>\n    <scene_description>Gru quickly stands up, revealing his legs, and takes several steps toward Eagle Hair Club. Floyd looks over his shoulder, and Gru stops. Floyd enters Eagle Hair Club and Gru inches closer.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Alright, what do--<\/dialogue>\n    <scene_description>BINOCULARS POV Suddenly a MAN approaches the trash can with a steaming cup of coffee. The binoculars readout says \"WARNING! EXTREMELY HOT.\"<\/scene_description>\n    <character>GRU<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>Oh no. That's not good.<\/dialogue>\n    <scene_description>The man goes to throw the coffee in the trash and we see Gru's legs pop out from beneath the can. The man looks confused and tries again. Gru dodges and takes off running. The man chases after him. Gru accidentally knocks into a bent-over woman's rear end. Insulted, she turns around, sees the man with the coffee, and slaps him across the face. Unfortunately, Gru doesn't see the escalator ahead and goes tumbling down the moving stairs. CRASH! BANG! CLANG! Finally, Gru pops out of the trash can and lands at the bottom of the escalator with a THUD! Flat on his face, he hears a familiar voice call out.<\/scene_description>\n    <character>AGNES (O.S.)<\/character>\n    <dialogue>Hey Gru!<\/dialogue>\n    <scene_description>Gru looks up and sees Margo, Edith and Agnes.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Oh! Girls! What are you doing here?<\/dialogue>\n    <character>MARGO<\/character>\n    <dialogue>Well, we thought we'd come visit you at work.<\/dialogue>\n    <parenthetical>(looks at Gru and the trash can)<\/parenthetical>\n    <dialogue>So, you're saving the world in a garbage can?<\/dialogue>\n    <character>GRU<\/character>\n    <parenthetical>(sarcastically)<\/parenthetical>\n    <dialogue>Ha, ha, ha, ha, ha...funny.<\/dialogue>\n    <scene_description>Lucy arrives on the scene, joining them.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Hey, there you are. Oh, who's this?<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Lucy, these are my girls, Margo, Edith and Agnes. Girls, Lucy. Lucy, girls.<\/dialogue>\n    <character>MARGO<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>Agnes gazes lovingly at Lucy. A magical glow appears around Lucy, who smiles back.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>Are you single?<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Oh! Goodness...<\/dialogue>\n    <scene_description>Gru, immediately uncomfortable, claps his hands together.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Oh! Hey! I have an idea! Since Lucy and I have lots of work to do, why don't you girls go and explore the mall!<\/dialogue>\n    <scene_description>Gru quickly shuffles the girls away from Lucy, trying to get out of the uncomfortable situation. Gru pulls out his wallet.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Here is some money. Go buy some useless mall junk! Some headbands, and--<\/dialogue>\n    <character>AGNES<\/character>\n    <dialogue>Are you gonna marry Lucy?<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Are you out of your gourd? No! She just works with me.<\/dialogue>\n    <character>AGNES<\/character>\n    <dialogue>Plus you love her.<\/dialogue>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>You love her, you love her, you really really love her, and you're gonna get married, and I will be the flower girl, and--<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Okay, stop! That is a song of lies. I don't even like her!<\/dialogue>\n    <parenthetical>(points to mall)<\/parenthetical>\n    <dialogue>Now go have fun!<\/dialogue>\n    <scene_description>Gru SIGHS. The girls run off, but quickly return to hug Gru.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>Almost forgot! Hugs!<\/dialogue>\n    <character>MARGO<\/character>\n    <dialogue>Good luck saving the world. Bye!<\/dialogue>\n    <character>AGNES<\/character>\n    <dialogue>Bye, Gru!<\/dialogue>\n    <scene_description>Lucy watches the group hug. Smiles. Gru heads back over to Lucy, embarrassed by Agnes.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Ha, ha, ha! Kids...right? They're...funny.<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Those girls totally adore you. I bet you're a fun dad.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Huh.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I am pretty fun.<\/dialogue>\n    <scene_description>INT: SHOPPING MALL - DAY The girls are at the MALL FOUNTAIN. Agnes has her eyes closed and a very intense look on her face, as if she's really concentrating on something. There is something in her tightly clenched fist. She tosses a PENNY. Then opens her eyes, waiting for her wish to come true. Then Edith emerges from the water wearing a DIVING MASK AND SNORKEL, hands full of COINS.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>Is that stealing?<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>Not if my wish was that I would get a lot of free coins.<\/dialogue>\n    <scene_description>Margo is busy texting. Then something offscreen catches her eye. It's a boy. This is ANTONIO. Suave, cool, and a bit dangerous. We watch in SLOW MOTION as he strolls behind the fountain, and then disappears in its spraying water. Margo looks for Antonio. Backs into the fountain and nearly falls into it.<\/scene_description>\n    <character>MARGO<\/character>\n    <dialogue>Whoa!<\/dialogue>\n    <scene_description>Antonio catches her.<\/scene_description>\n    <character>ANTONIO<\/character>\n    <dialogue>Cool glasses.<\/dialogue>\n    <scene_description>Margo CHUCKLES nervously. He helps her back up.<\/scene_description>\n    <character>ANTONIO<\/character>\n    <dialogue>I'm Antonio.<\/dialogue>\n    <character>MARGO<\/character>\n    <dialogue>I'm...Margo.<\/dialogue>\n    <character>ANTONIO<\/character>\n    <dialogue>I was just going to get a cookie. Care to join me?<\/dialogue>\n    <character>MARGO<\/character>\n    <dialogue>Uh, sure. I'm...Margo.<\/dialogue>\n    <scene_description>They begin walking away together, then Margo is reminded of her sisters when Edith loudly clears her throat.<\/scene_description>\n    <character>MARGO<\/character>\n    <dialogue>Um...I'll catch up with you guys later. Bye!<\/dialogue>\n    <scene_description>She turns and runs after Antonio.<\/scene_description>\n    <character>EDITH<\/character>\n    <dialogue>Can I be the first to say...Ewwww!<\/dialogue>\n    <scene_description>Agnes grabs Edith and shakes her.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>We gotta go tell Gru!<\/dialogue>\n    <scene_description>EXT: EAGLE HAIR CLUB - DAY Gru approaches Eagle Hair Club.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>All right, I'm going in.<\/dialogue>\n    <character>LUCY (IN HEADPHONES)<\/character>\n    <dialogue>If it picks up any traces of the serum the sensor in your belt buckle--<\/dialogue>\n    <scene_description>Gru activates the high-tech scanning device on his belt buckle. INT: BAKE MY DAY - SAME Lucy is in the cupcake shop monitoring the scanning device results. She can hear him and see from his POV.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>--will make a sound like this-- MEE- MO-MEE-MO-MEE-MO!!!<\/dialogue>\n    <character>GRU<\/character>\n    <parenthetical>(annoyed)<\/parenthetical>\n    <dialogue>Okay! I get it! I get it!<\/dialogue>\n    <scene_description>INT: EAGLE HAIR CLUB - SAME Gru fumbles with the automatic door, then enters Eagle Hair Club.<\/scene_description>\n    <character>FLOYD (O.S.)<\/character>\n    <parenthetical>(chuckles)<\/parenthetical>\n    <dialogue>Welcome to Eagle Hair Club.<\/dialogue>\n    <scene_description>At the reception desk, a large chair shaped like an eagle spins around. Sitting in the chair is Floyd, looking sinister and petting a FURRY OBJECT that looks like a cat.<\/scene_description>\n    <character>FLOYD<\/character>\n    <dialogue>It's about time you showed up...Mr. Gru.<\/dialogue>\n    <scene_description>His pet BALD EAGLE perched next to him SQUAWKS.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>You...know my name?<\/dialogue>\n    <character>FLOYD<\/character>\n    <parenthetical>(chuckles)<\/parenthetical>\n    <dialogue>When someone moves into the mall who is follically challenged, I make it my business to know all about them. You are bald. And that is bad.<\/dialogue>\n    <scene_description>He strokes the furry object. Kisses it. Then places it on a MANNEQUIN HEAD. It's a TOUPEE.<\/scene_description>\n    <character>FLOYD<\/character>\n    <dialogue>There you go, my sweet.<\/dialogue>\n    <scene_description>INT: BAKE MY DAY - SAME Lucy monitors the chem-tracking device from inside the shop.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>I'm getting nothing so far. I think you need to move around.<\/dialogue>\n    <scene_description>INT: EAGLE HAIR CLUB - SAME Gru listens in on the headphones. He steps over to a wall on which hangs a PAINTING of Floyd flying with eagles.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Wow, this looks interesting. What is it?<\/dialogue>\n    <scene_description>Gru thrusts his hips at the painting. Floyd watches him, suspicious.<\/scene_description>\n    <character>FLOYD<\/character>\n    <dialogue>I take it you're an art lover?<\/dialogue>\n    <character>LUCY (IN HEADPHONES)<\/character>\n    <dialogue>No serum.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Yeah, not so much.<\/dialogue>\n    <scene_description>He walks over to a podium with a TROPHY. He thrusts his hips at that, too.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Oh, how about this impressive trinket?<\/dialogue>\n    <character>FLOYD<\/character>\n    <dialogue>I'd hardly call it a trinket, Mr. Gru.<\/dialogue>\n    <character>LUCY<\/character>\n    <parenthetical>(in headphones)<\/parenthetical>\n    <dialogue>Nothing.<\/dialogue>\n    <character>FLOYD<\/character>\n    <dialogue>The International--<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Yeah, I don't care.<\/dialogue>\n    <scene_description>Floyd GRUMBLES in frustration. Gru moves to a shelf filled with WIG SAMPLES. He straddles it.<\/scene_description>\n    <character>LUCY<\/character>\n    <parenthetical>(in headphones)<\/parenthetical>\n    <dialogue>MEE-MO-MEE-MO-MEE-MO!!! Hold on. I'm picking up something! Behind that wall!<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Ah! And what do we have here?<\/dialogue>\n    <scene_description>Floyd grabs a sample.<\/scene_description>\n    <character>FLOYD<\/character>\n    <dialogue>These are my trial wigs.<\/dialogue>\n    <parenthetical>(holds out wig to Gru)<\/parenthetical>\n    <dialogue>You should take one.<\/dialogue>\n    <scene_description>Gru sticks his head into the shelf to investigate.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>No thanks. So what's on the other side of the wall?<\/dialogue>\n    <character>FLOYD<\/character>\n    <dialogue>Here you are! Look at me! Focus!<\/dialogue>\n    <character>LUCY<\/character>\n    <parenthetical>(in headphones)<\/parenthetical>\n    <dialogue>Gru?<\/dialogue>\n    <character>FLOYD<\/character>\n    <dialogue>I promise that this wig will transform you from ugly to irresistible.<\/dialogue>\n    <scene_description>Gru stares at the wig. Clearly getting caught up in what Floyd's saying. Gru is about to respond when suddenly Edith and Agnes burst in, out of breath. MARGO HAS A BOYFRIEND! AND THEY'RE GOING ON A DATE! Gru stares at them.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Date??? Boyfriend???<\/dialogue>\n    <parenthetical>(yells at Floyd)<\/parenthetical>\n    <dialogue>What???<\/dialogue>\n    <scene_description>Floyd shrugs. INT: SHOPPING MALL - DAY Gru, Edith and Agnes race across the mall. Then Agnes points over to the salsa restaurant as Margo and Antonio walk in.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>There she goes!<\/dialogue>\n    <scene_description>INT: EDUARDO'S SALSA &amp; SALSA - DAY Gru enters to see Margo and Antonio sitting together in the back of the restaurant together. Margo laughs at something Antonio said.<\/scene_description>\n    <character>MARGO<\/character>\n    <dialogue>Oh, you're so funny...<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>Gross! Look, they're in love!<\/dialogue>\n    <scene_description>These words hit Gru like a smack in the face.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Oh, no, no, no! Do not say that they are...no no no, no!<\/dialogue>\n    <scene_description>He storms in. Edith and Agnes follow.<\/scene_description>\n    <character>ANTONIO (O.S.)<\/character>\n    <dialogue>...and my dream is to one day play video games for a living.<\/dialogue>\n    <character>MARGO<\/character>\n    <dialogue>Wow. You're so complicated.<\/dialogue>\n    <scene_description>Gru storms over to Margo. Attempts a smile.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Margo. What is going on here?<\/dialogue>\n    <character>MARGO<\/character>\n    <dialogue>Oh! Gru, se llama Antonio. Me llamo Margo.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Me llama-lama-ding-dong, who cares. Let's go.<\/dialogue>\n    <scene_description>SALSA MUSIC begins to play and a curtain opens across the room. WOOSH! Someone leaps out, spinning like a tornado, then lands in the middle of the restaurant with a flourish. It's Eduardo.<\/scene_description>\n    <character>MARGO<\/character>\n    <dialogue>Whoa!<\/dialogue>\n    <scene_description>Everyone in the restaurant cheers. Gru frowns. Not this guy! The music continues and Eduardo dances across the floor and out into the mall where he grabs a passing SHOPPER and pulls her into the restaurant. The confused woman holds on for the ride as Eduardo twirls and dances her all around the floor. He dips her and she melts, as do all of the women watching. Eduardo gazes into the woman's eyes and produces a business card.<\/scene_description>\n    <character>EDUARDO<\/character>\n    <dialogue>Kids eat free on Tuesdays.<\/dialogue>\n    <scene_description>The woman grabs the business card from his hand with her teeth. Then Eduardo flings her across the floor and she twirls back out into the mall where she knocks over her confused husband. Then the song comes to an end and Eduardo strikes a final pose. Everyone in the studio cheers.<\/scene_description>\n    <character>GIRLS<\/character>\n    <dialogue>Yeah! Wahoo! Cool! Awesome!<\/dialogue>\n    <scene_description>Everyone except Gru. Eduardo walks over to him and gives him a big warm hug.<\/scene_description>\n    <character>EDUARDO<\/character>\n    <dialogue>So good to see you again, mi compadre!<\/dialogue>\n    <scene_description>Gru tries to get out of the hug as quickly as he can.<\/scene_description>\n    <character>ANTONIO<\/character>\n    <dialogue>Oh, I see you have already met my father.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>What the-- Father?!<\/dialogue>\n    <character>EDUARDO<\/character>\n    <dialogue>Si! Look at this crazy small world we live in, eh? Come, sit, let me get you something.<\/dialogue>\n    <scene_description>Gru looks down and sees Eduardo's chicken glaring at him. It SQUAWKS. It's unsettling.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Oh... look at you.<\/dialogue>\n    <scene_description>Eduardo scoops the chicken up.<\/scene_description>\n    <character>GRU<\/character>\n    <parenthetical>(nervous)<\/parenthetical>\n    <dialogue>Haha. He likes me!<\/dialogue>\n    <scene_description>Gru tries to pet the chicken but Pollito lunges at him.<\/scene_description>\n    <character>EDUARDO<\/character>\n    <dialogue>Oh, oh, I'm sorry, Pollito is usually very friendly.<\/dialogue>\n    <parenthetical>(cradling Pollito)<\/parenthetical>\n    <dialogue>He had a rough night.<\/dialogue>\n    <scene_description>The chicken stares relentlessly. Gru CHUCKLES nervously.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Well, we really should be going. Girls, come on.<\/dialogue>\n    <scene_description>Gru tries to gather the girls, but Eduardo stops him, pushing Antonio and Margo closer together.<\/scene_description>\n    <character>EDUARDO<\/character>\n    <dialogue>That is a pity. Young love is beautiful, no?<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>No!<\/dialogue>\n    <parenthetical>(chuckling nervously)<\/parenthetical>\n    <dialogue>You know, they're not in love. They hardly know each other!<\/dialogue>\n    <scene_description>Eduardo suddenly lights up, having an idea.<\/scene_description>\n    <character>EDUARDO<\/character>\n    <dialogue>You are right, Cabeza de Huevo! They must get to know each other better. Antonio, why don't you invite your girlfriend and her family to our Cinco de Mayo party?<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>No, no, I am--<\/dialogue>\n    <character>GIRLS<\/character>\n    <dialogue>Si!<\/dialogue>\n    <scene_description>The girls are all thrilled at this, as is Antonio. As if on cue, MUSIC begins playing and they all begin dancing together. Antonio takes Margo's hand and twirls her across the floor. Gru stares at Antonio with a look that could kill. A waiter comes by to give Gru a party drink, and he promptly crushes the glass with his bare hands. His eye twitches. INT: AVL HEADQUARTERS - NIGHT Gru and Lucy sit across from Silas at headquarters.<\/scene_description>\n    <character>SILAS<\/character>\n    <dialogue>I'm sorry, El Macho? Hadn't we eliminated him as a suspect? After the whole salsa incident?<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Yes, but there has been a new development, and I'm telling you, this is the guy. You need to arrest him immediately. And his deviously charming son. I'm pretty sure that the son is involved, too. The son also. You've got to get the son.<\/dialogue>\n    <scene_description>Gru approaches Silas.<\/scene_description>\n    <character>GRU<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>I think that the son is the mastermind. There's a look. There's a devilish look in his eyes and I don't like it!<\/dialogue>\n    <character>SILAS<\/character>\n    <dialogue>Yes, but I don't really see any evidence for--<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Evidence schmevidence! I go with my gut, and my gut tells me that this guy is El Macho! Lock him up! Lock up the son. Don't forget about the son. The kid gives me the creeps!<\/dialogue>\n    <scene_description>Silas takes a deep breath and rubs his temples.<\/scene_description>\n    <character>SILAS<\/character>\n    <dialogue>Oh dear, oh dear, oh dear...<\/dialogue>\n    <scene_description>Lucy jumps in, trying to save the situation.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Uh, but, on the less...<\/dialogue>\n    <parenthetical>(whistles)<\/parenthetical>\n    <dialogue>...\"crazy\" side of things, uh, Gru discovered traces of the serum at Eagle Hair Club.<\/dialogue>\n    <character>SILAS<\/character>\n    <dialogue>Hm... Interesting...<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Yeah, and you know who made that happen? Huh?<\/dialogue>\n    <parenthetical>(points to Gru)<\/parenthetical>\n    <dialogue>This guy. Nailed it. Amazing, right?<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>No. I mean, sure, but it's not him. It is...<\/dialogue>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>...El Macho.<\/dialogue>\n    <character>SILAS<\/character>\n    <dialogue>Mr. Gru. Please--<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>No. It is him! And I will prove it!<\/dialogue>\n    <scene_description>And Gru storms out.<\/scene_description>\n    <character>LUCY<\/character>\n    <parenthetical>(calls after him)<\/parenthetical>\n    <dialogue>Gru, c'mon!<\/dialogue>\n    <scene_description>Once he's gone, Silas gives Lucy a look.<\/scene_description>\n    <character>LUCY<\/character>\n    <parenthetical>(laughs nervously)<\/parenthetical>\n    <dialogue>He really thinks it's El Macho. Can you tell?<\/dialogue>\n    <scene_description>Silas is not amused. EXT: BEACH - DAY The minion with the popsicle stuck to his tongue wakes up on a beach, disoriented. He slowly sits up-- --and sees hundreds of minions partying! This is where all the abducted minions were taken! There are minions sitting at a Tiki bar, being tended by a bartender minion...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..The French maid minion and a ukelele-playing minion are dancing in the sand. They wave at him...<\/stage_direction>\n    <scene_description>Meanwhile, Jerry approaches the popsicle minion with two bananas. He gives him one, does a Hawaiian dance with the other, then runs off for the water. Popsicle minion tears off his overalls and follows suit.<\/scene_description>\n    <character>POPSICLE MINION<\/character>\n    <dialogue>Koonga!<\/dialogue>\n    <scene_description>The Popsicle Minion, now nude, runs across the sand and jumps into a clear, blue ocean. We pull back to reveal that unbeknownst to any of the minions, this is all happening inside a large terrarium, and they are being watched by a mysterious figure in silhouette. INT: FAMILY ROOM - DAY Gru sits with his laptop. He's on the eVillain site. He clicks through various images of El Macho. Edith chases Kevin, who has the wig in his mouth. A minion sets a stack of magazines on the coffee table. Then \"YOU ARE NO LONGER CONNECTED TO THE INTERNET\" appears on Gru's screen. He grimaces and calls out.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Kevin, the wi-fi's out! Kevin?<\/dialogue>\n    <scene_description>He looks to the minion at the coffee table.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Hey, Lance! Where the heck is Kevin?<\/dialogue>\n    <scene_description>The minion just shrugs and walks away.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Alright, we need to revisit the number of vacation days you guys get. I can't find anybody anymore!<\/dialogue>\n    <scene_description>DING-DONG! Someone's at the door. Gru turns to it.<\/scene_description>\n    <character>JILLIAN (O.S.)<\/character>\n    <dialogue>Gru! It's Jillian!<\/dialogue>\n    <scene_description>Gru pretends to shoot himself.<\/scene_description>\n    <character>JILLIAN (O.S.)<\/character>\n    <dialogue>I've got good news!<\/dialogue>\n    <scene_description>EXT: GRU'S HOUSE - SAME Jillian and her artificially beautiful friend SHANNON stand outside on Gru's porch. Shannon texts on her phone, looking bored.<\/scene_description>\n    <character>JILLIAN<\/character>\n    <dialogue>I have my friend Shannon here with me! I was thinking you two could get some grub, you know, tear it up! See what happens!<\/dialogue>\n    <scene_description>INT: GRU'S HOUSE - CONTINUOUS<\/scene_description>\n    <character>JILLIAN (O.S.)<\/character>\n    <dialogue>Uhh, open up!<\/dialogue>\n    <scene_description>He sees Agnes walking by, singing softly and playing with her unicorn. He whisper-shouts to her.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Agnes! Agnes! Tell Jillian I'm not here!<\/dialogue>\n    <scene_description>Agnes turns to the door.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>Gru's not here!<\/dialogue>\n    <character>JILLIAN<\/character>\n    <dialogue>Are you sure?<\/dialogue>\n    <character>AGNES<\/character>\n    <dialogue>Yes! He just told me!<\/dialogue>\n    <scene_description>Gru, panicking, shakes his head and wags his fingers.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>I mean no, he didn't just tell me!<\/dialogue>\n    <character>JILLIAN<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>Agnes--where is Gru?<\/dialogue>\n    <scene_description>Gru makes the \"zip your lips\" gesture.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>He's putting on lipstick!<\/dialogue>\n    <scene_description>Gru waves his arms.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>He's swatting at flies!<\/dialogue>\n    <scene_description>Gru waves his hand around his throat, making a \"cut it off\" gesture.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>He's...chopping his head off!<\/dialogue>\n    <scene_description>Gru clenches his fists and grunts in frustration.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>He's...pooping?<\/dialogue>\n    <scene_description>Outside, Jillian and Shannon look confused.<\/scene_description>\n    <character>JILLIAN (O.S.)<\/character>\n    <dialogue>I know you're in there, Gru! There's no way you're getting out of this!<\/dialogue>\n    <scene_description>Kyle enters the room, carrying the bag with the wig in his mouth. EXT: RESTAURANT - NIGHT Establishing. INT: RESTAURANT - SAME Shannon sits at a table talking to Gru, who's offscreen. A waiter drops off a plate of spaghetti.<\/scene_description>\n    <character>SHANNON<\/character>\n    <dialogue>I have to tell you, I was so nervous about tonight. I mean there's just so many phonies out there!<\/dialogue>\n    <scene_description>CUT TO Gru sitting across from her. Wearing a ridiculous WIG from Floyd. And looking extremely uncomfortable.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Yes, I hear you.<\/dialogue>\n    <parenthetical>(awkwardly laughs)<\/parenthetical>\n    <character>SHANNON<\/character>\n    <dialogue>Oh, so do you work out?<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Well...<\/dialogue>\n    <character>SHANNON<\/character>\n    <dialogue>I mean, obviously, you don't, but would you consider it? Huh?<\/dialogue>\n    <character>SHANNON<\/character>\n    <dialogue>Physical fitness is very important to Shannon. As you can tell, right? Huh?<\/dialogue>\n    <scene_description>Shannon drops to the floor and starts doing push-ups.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Ah. I can tell.<\/dialogue>\n    <character>SHANNON<\/character>\n    <parenthetical>(mid-push-up)<\/parenthetical>\n    <dialogue>Solid.<\/dialogue>\n    <scene_description>She switches to one-armed push-ups.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>We are in a restaurant, you know.<\/dialogue>\n    <scene_description>Gru looks even more uncomfortable. Just then Lucy (unseen by Gru) enters the restaurant. She approaches the HOSTESS.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Hi. Takeout for Lucy?<\/dialogue>\n    <character>HOSTESS<\/character>\n    <dialogue>Sure, just a sec.<\/dialogue>\n    <scene_description>The Hostess leaves. Lucy looks around and then spots Gru. Sees him with the wig and Shannon who is now doing crunches on the floor. Lucy narrows her eyes, then has an idea. She presses a button on her watch, which transforms into a HIGH TECH EAVESDROPPING DEVICE, and puts it in her ear. Now she's able to hear Gru and Shannon talking. She watches them, intrigued. Shannon has returned to her seat.<\/scene_description>\n    <character>SHANNON<\/character>\n    <dialogue>Your accent is so exotic.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Ah. Well, thank you very much. I was--<\/dialogue>\n    <character>SHANNON<\/character>\n    <dialogue>I know someone who can fix that for you. And you'll be talking normal in no time.<\/dialogue>\n    <scene_description>Gru is starting to sweat.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Hahaha. Hoooo. Is it hot in here? Oof. How's the food?<\/dialogue>\n    <scene_description>He wipes his brow and accidentally shifts the wig on his head. Shannon stares at Gru's hair.<\/scene_description>\n    <character>SHANNON<\/character>\n    <dialogue>Wait a minute. Wait a minute. Are you wearing a wig?<\/dialogue>\n    <character>GRU<\/character>\n    <parenthetical>(really sweating it)<\/parenthetical>\n    <dialogue>What? Ah!<\/dialogue>\n    <parenthetical>(readjusts the wig)<\/parenthetical>\n    <dialogue>I don't think so.<\/dialogue>\n    <character>SHANNON<\/character>\n    <dialogue>I knew it. You're a phony. I hate phonies.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Oh. What? No. These locks are all mine...<\/dialogue>\n    <character>SHANNON<\/character>\n    <dialogue>No they're not! You know what I'm gonna do? I'm gonna rip that thing off your head and show everyone what a bald-headed phony you are.<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>I don't think so, Miss Lady.<\/dialogue>\n    <scene_description>Lucy presses a button on her watch and a target sight pops out. Gru watches in horror as Shannon reaches across the table for the wig. Quickly Lucy presses another button on her watch which fires a MINI-DART GUN at Shannon. PLIP. The mini-dart goes into Shannon's butt, knocking her out instantly. And saving Gru from certain humiliation. Gru stares at the now sleeping Shannon, confused.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Hello... Hello, are you...?<\/dialogue>\n    <character>LUCY (O.S.)<\/character>\n    <dialogue>Hey, Gru.<\/dialogue>\n    <scene_description>Gru quickly removes the wig.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Hello, Lucy, how you doin'...?<\/dialogue>\n    <character>LUCY<\/character>\n    <parenthetical>(noticing Shannon)<\/parenthetical>\n    <dialogue>Wow, looks like your date's out for the count. It's like she's been shot with a mild moose tranquilizer.<\/dialogue>\n    <scene_description>Shannon MOANS like a MOOSE, then passes out again.<\/scene_description>\n    <character>LUCY<\/character>\n    <parenthetical>(winks)<\/parenthetical>\n    <dialogue>Yeah, I'm winking 'cuz that's what actually happened.<\/dialogue>\n    <scene_description>AN ITALIAN WAITER approaches.<\/scene_description>\n    <character>ITALIAN WAITER<\/character>\n    <parenthetical>(re: Shannon)<\/parenthetical>\n    <dialogue>'Scusi, whassa happenin' here? She no like?<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Oh, she's just uh--<\/dialogue>\n    <parenthetical>(makes drinking gesture)<\/parenthetical>\n    <dialogue>The waiter nods and leaves.<\/dialogue>\n    <character>ITALIAN WAITER<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>Oh, oh, si, si...<\/dialogue>\n    <scene_description>Lucy turns to Gru.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Shall we take her home?<\/dialogue>\n    <scene_description>EXT: RESTAURANT - NIGHT Gru and Lucy carry an unconscious Shannon out of the restaurant. Her head gets stuck in the swinging doors on the way out. They try to dislodge her and accidentally end up throwing her headfirst into a lamp post. They pick her up between them, Weekend at Bernie's-style. They wave to a passing COP. The cop tips his hat. EXT: SUBURBAN STREET - LATER Gru and Lucy get in her car. But it's cramped with Shannon in there too. She doesn't really fit. EXT: SUBURBAN STREET - LATER Lucy's car drives down the street. Gru and Lucy now have plenty of room in the car. We boom up to see that Shannon has been strapped to the roof like a deer. EXT: SHANNON'S HOUSE - NIGHT Gru and Lucy arrive at Shannon's house. Lucy comes to an abrupt stop and Shannon flies off the roof and slams into the car in front of them. EXT: SHANNON'S HOUSE - LATER Gru and Lucy sit on the front steps of Shannon's house.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Well, I think you did it. You just officially had the worst date ever.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Huh, tell me about it.<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Don't worry--it can only get better from here, right? But if it doesn't, you can always borrow my dart gun. I've had to use it on one or two dates myself.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Yeah, you know, as far as dates go, I think I'm good with just the one.<\/dialogue>\n    <scene_description>Gru and Lucy exchange looks. He CHUCKLES NERVOUSLY. Time to go.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Well, good night, partner.<\/dialogue>\n    <scene_description>She pats his shoulder and walks toward her car. Gru gets up to walk beside her.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>This was fun.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Yes. Surprisingly, it was.<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Oh, and uh, just between you and me? You look much better bald.<\/dialogue>\n    <scene_description>They smile at each other, and she gives him a peck on the cheek and walks away.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>See you tomorrow!<\/dialogue>\n    <scene_description>Gru smiles a big smile. Shannon slumps over on the porch behind him. Could he be...falling in love? INT: GRU'S BEDROOM - SAME RIIIING! Gru's ALARM CLOCK goes off. He reaches out and turns it off. Ready to greet the day. INT: SHOWER - DAY Gru happily washes in the shower, acting out a puppet show with his rubber ducky.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Quack! Quack! Quack!<\/dialogue>\n    <scene_description>INT: BATHROOM - DAY Gru brushes his teeth with two toothbrushes. He jokingly arranges them in his mouth like walrus tusks, then BARKS like a seal. INT: KITCHEN - DAY HEART-SHAPED PANCAKES are served to the girls sitting at the table. Edith makes a face at getting hers.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>Yeah!<\/dialogue>\n    <character>MARGO<\/character>\n    <dialogue>So I take it the date went well?<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>No! It was horrible!<\/dialogue>\n    <scene_description>He laughs gleefully. The girls exchange looks. What? Then he skips out of the room, dancing with a minion in the kitchen. Agnes's face lights up. Yes! EXT: STREET - DAY Gru makes his way to work--on foot: --he strolls down the sidewalk. --he passes a MAILMAN and gives him a high five.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>High-five!<\/dialogue>\n    <scene_description>Then a POLICEMAN, with whom he exchanges mimed gunfire. Then a NUN, with whom he bumps rumps.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Bump it.<\/dialogue>\n    <scene_description>Seeing something offscreen, Gru GASPS. --he stops traffic so a happy family of DUCKS can cross the street. --he plays ultimate frisbee with a bunch of COLLEGE KIDS, balancing the spinning disc on his pointy nose. --he joins a group of OLD LADIES doing Tai Chi. --he \"air\" drums with a couple of BUCKET DRUMMERS on the curb. --he picks a flower, then walks by a MAN and a WOMAN sitting alone with their backs to each other at a cafe. He quickly turns their chairs around so they find each other and hands the man the flower for the woman. They smile and Gru goes his merry way. INT: SHOPPING MALL - DAY Gru continues happily dancing through the mall on his way to the cupcake shop. He shimmies with a FAT WOMAN on the escalator, then GAPS and stops suddenly upon seeing Eagle Hair Club closed. The MUSIC abruptly ends. Gru sees Silas speaking with an AVL AGENT. Gru approaches him.<\/scene_description>\n    <character>GRU<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>Mr. Ramsbottom?<\/dialogue>\n    <character>SILAS<\/character>\n    <dialogue>Oh, hello.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <character>SILAS<\/character>\n    <dialogue>We got him.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Got who?<\/dialogue>\n    <character>SILAS<\/character>\n    <dialogue>Floyd Eaglesan! Our agents located a secret room in his shop last night, and uh, discovered this!<\/dialogue>\n    <scene_description>He snaps his fingers and an AVL agent hands him a METAL CANISTER in a ziploc bag. Silas holds it up.<\/scene_description>\n    <character>SILAS<\/character>\n    <dialogue>It's empty, but we found traces of the PX-41 serum in it. He's our man. So somehow, in spite of your incompetence, we solved this one.<\/dialogue>\n    <scene_description>TWO AVL AGENTS carry Floyd away in handcuffs.<\/scene_description>\n    <character>FLOYD<\/character>\n    <dialogue>I was framed! You won't get away with this! Get your mitts off of me! I am a legitimate businessman!<\/dialogue>\n    <scene_description>Gru turns back to Silas. He is stunned by this.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Ah. Alright. So...what now?<\/dialogue>\n    <character>SILAS<\/character>\n    <dialogue>Well, now you're free to go back to your \"business.\" Mmmm. Jams and jellies. And it looks like Agent Wilde will be transferring to our Australian branch.<\/dialogue>\n    <character>GRU<\/character>\n    <parenthetical>(in shock)<\/parenthetical>\n    <dialogue>Australia...?<\/dialogue>\n    <character>SILAS<\/character>\n    <dialogue>Yes. But thank you--for everything. And by everything of course I mean...nothing.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Toodle pip and cheerio, Mr. Gru.<\/dialogue>\n    <scene_description>Silas walks away to join the AVL agents. Gru stares blankly, sadly. And then Lucy approaches him.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Hey there.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>So...we got him.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Yay. That's great.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And now you're going to Australia?<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Well, it's not definite yet. Still figuring it out. Already been working on my accent.<\/dialogue>\n    <parenthetical>(Australian accent)<\/parenthetical>\n    <dialogue>Wallaby. Diggeri-doo. Hugh Jackman.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>So...um. Pretty excited...<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Great. Well...good luck.<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Thanks. You too.<\/dialogue>\n    <parenthetical>(remembering)<\/parenthetical>\n    <dialogue>Oh. Here. I wanted to give you this.<\/dialogue>\n    <scene_description>She holds out her lipstick taser.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Your lipstick taser?<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Yeah, it's just a memento. Just, you know, from the first time we met.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Oh. Thank you, Lucy.<\/dialogue>\n    <scene_description>Gru accepts the lipstick taser.<\/scene_description>\n    <character>SILAS (O.S.)<\/character>\n    <dialogue>Agent Wilde!<\/dialogue>\n    <scene_description>Lucy ignores this and just waits, not wanting to leave. She and Gru stand there awkwardly.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Well... it looks like they need you, so...<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Yeah, I uh, I better go. Bye, Gru.<\/dialogue>\n    <scene_description>And she leaves Gru. He stands there. Completely miserable. EXT: STREET - DAY Gru walks back home, completely depressed. Walks past the college kids playing frisbee. Catches the frisbee and tosses it down the sewer. Walks past the group of bucket drummers. As he passes he KICKS one of the buckets. Walks past the old ladies doing Tai Chi. As they balance on one leg he pushes them all and they all fall over. EXT: GRU'S HOUSE - NIGHT It's pouring rain. Gru sits alone outside his house. Miserable. And then an UMBRELLA approaches him. It looks like it's traveling on its own. But when it gets closer it lifts up, revealing Agnes.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>I brought you an umbrella.<\/dialogue>\n    <scene_description>Gru takes the umbrella and Agnes joins him. They both huddle under it.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Ah, thank you.<\/dialogue>\n    <character>AGNES<\/character>\n    <dialogue>What're you doing out here?<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Remember when you said that I liked Lucy? Well, it turns out...you're right.<\/dialogue>\n    <scene_description>Agnes's face lights up.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Yes, but...well, she's moving away.<\/dialogue>\n    <parenthetical>(sadly)<\/parenthetical>\n    <dialogue>I'm never going to see her again.<\/dialogue>\n    <scene_description>Agnes's face falls. All her hopes and dreams shattered. But she tries to encourage Gru.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>Is there anything I can do to help?<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Oh, I don't--I don't think so, sweetheart.<\/dialogue>\n    <character>AGNES<\/character>\n    <dialogue>Well, is there anything you could do?<\/dialogue>\n    <scene_description>Gru thinks. INT: GRU'S OFFICE - DAY Gru is on the PHONE.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>\"Hello, Lucy. This is Gru. I know up to this point our relationship has been strictly professional, and you're leaving for Australia and all, but...\"<\/dialogue>\n    <parenthetical>(struggles to get it out)<\/parenthetical>\n    <dialogue>Okay, here is the question. \"Would you like to--to go out on a date?\"<\/dialogue>\n    <scene_description>PULL BACK TO REVEAL Dave the minion standing across from Gru, pretending to be on a cell phone on the other end of the line. And wearing a RED-HAIRED WIG. He shrugs.<\/scene_description>\n    <character>DAVE<\/character>\n    <dialogue>Eh, no.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Okay, that's not helping.<\/dialogue>\n    <scene_description>He hangs up.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>All right. Here we go. For real this time.<\/dialogue>\n    <scene_description>He stares at Lucy's card. Then turns to the phone. It's a stand-off. He does stretches and calisthenics to psych himself up. He SIGHS.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>I can do this.<\/dialogue>\n    <scene_description>He stares down the phone again. It sits there, taunting him. We cut back and forth between Gru and the phone, until finally--<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Agh! I hate you!<\/dialogue>\n    <scene_description>He produces a FLAMETHROWER and burns up the phone. Dave dives out of the way.<\/scene_description>\n    <character>GRU<\/character>\n    <parenthetical>(satisfied)<\/parenthetical>\n    <dialogue>Ah.<\/dialogue>\n    <scene_description>RIIIIIING !!! The FIRE ALARM goes off. CHOP! Suddenly AXES chop through the wall. Several minions in FIREMEN'S GEAR enter. Another minion imitates a siren through a bullhorn.<\/scene_description>\n    <character>SIREN MINION<\/character>\n    <dialogue>Beedo! Beedo! Beedo! Beedo!<\/dialogue>\n    <scene_description>One continues chopping everything in sight with his axe, then chops his way right through the wall of the house and falls outside. Another minion brings in a MASSIVE HOSE, turns it on, and goes flying around the room as it whips around like a snake. Dave tests out a fire extinguisher.<\/scene_description>\n    <character>SIREN MINION<\/character>\n    <dialogue>Beedo! Beedo! Beedo! Beedo!<\/dialogue>\n    <scene_description>Gru takes away the bullhorn from the Siren minion. But he keeps on making the noise.<\/scene_description>\n    <character>SIREN MINION<\/character>\n    <dialogue>Beedo! Beedo! Beedo!<\/dialogue>\n    <scene_description>Dave fires the extinguisher at the Siren minion. He makes the noise again and Dave sprays him with the fire extinguisher, sending him flying offscreen. INT: MINION BEACH HABITAT - DAY The minions enjoy another day at the beach. Kevin the Golf minion drifts out in the water on an inner tube. He fixes his coconut bra, then unpeels a banana and eats it. INT: CONTROL ROOOM - SAME A hand pulls a lever in a control room. INT: MINION BEACH HABITAT - SAME Suddenly a WHIRLPOOL appears in the water right next to him. He gets sucked into it. Kevin is pulled down to the bottom of the habitat and into a TUBE. INT: LAB - SAME Kevin pops out of the tube and lands in a waiting metallic chair. His hat follows him down the tube and lands on his head. CLICK! A metal strap fastens around his waist. He shrugs and continues to eat the banana.<\/scene_description>\n    <character>FRENCH MAID MINION (O.S.)<\/character>\n    <dialogue>Kevin?<\/dialogue>\n    <scene_description>Kevin looks over and sees the French Maid Minion strapped into a chair nearby. He has a banana too.<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Tom?<\/dialogue>\n    <scene_description>They raise their bananas in the air.<\/scene_description>\n    <character>KEVIN &amp; FRENCH MAID MINION<\/character>\n    <dialogue>Bello! Compai!<\/dialogue>\n    <scene_description>And then a GIANT DEVICE appears, looking like a huge, scary HYPODERMIC NEEDLE filled with purple liquid. The needle comes toward the French Maid Minion.<\/scene_description>\n    <character>FRENCH MAID MINION<\/character>\n    <parenthetical>(to the needle)<\/parenthetical>\n    <dialogue>Compai!<\/dialogue>\n    <scene_description>The needle is injected into him and administers the serum. The French Maid Minion starts to shake. Contorts. Then MORPHS into a PURPLE MINION.<\/scene_description>\n    <character>PURPLE FRENCH MAID MINION<\/character>\n    <dialogue>Blaaah!<\/dialogue>\n    <scene_description>Kevin points and LAUGHS at him. He doesn't see the needle come down behind him. It injects him with the serum as well.<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Oh...<\/dialogue>\n    <scene_description>EXT: EDUARDO'S HOUSE - DAY Gru's vehicle makes its way up the winding road to Eduardo's house. INT: GRU'S VEHICLE - SAME Gru drives the vehicle, looking deeply depressed. The girls sit in the back, dressed up for the Cinco de Mayo party.<\/scene_description>\n    <character>MARGO, EDITH &amp; AGNES<\/character>\n    <dialogue>Cinco de May-yay-yo! Cinco de May- yay-yo! Cinco de May-yay-yo!<\/dialogue>\n    <scene_description>Gru's expression doesn't change. They pull up to the front gate. EXT: EDUARDO'S HOUSE GATE - SAME Gru's vehicle pulls up in front of the open gate in front of Eduardo's house. His car almost knocks a bunch of parked cars off the cliff. The grounds are set up for the most elaborate and fun Cinco de Mayo party of all time. Sumptuous spreads of MEXICAN FOOD everywhere. LANTERNS hanging from trees. PEOPLE having a great time. Gru and the girls enter the compound.<\/scene_description>\n    <character>EDITH<\/character>\n    <dialogue>Whoa! This place is awesome!<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Okay. Let's party. Ah? But first let's go over the rules. Because what is fun without the rules?<\/dialogue>\n    <scene_description>On Agnes with her mouth and arms full of churros.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Agnes, easy on the churros.<\/dialogue>\n    <scene_description>On Edith, swinging her ninja sword.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Edith, try not to kill anyone.<\/dialogue>\n    <character>EDITH<\/character>\n    <dialogue>Hai!<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Margo--<\/dialogue>\n    <scene_description>As Gru turns to Margo he sees that she is holding hands with Antonio, face-to-face, almost close enough to kiss.<\/scene_description>\n    <character>ANTONIO<\/character>\n    <dialogue>Hello, Mr. Gru.<\/dialogue>\n    <scene_description>Gru furrows his brow.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Aghhh! Okay...<\/dialogue>\n    <scene_description>He grabs Antonio and drags him far away from Margo.<\/scene_description>\n    <character>MARGO<\/character>\n    <dialogue>Gru!<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>There must be the standard six feet of space between you and boys.<\/dialogue>\n    <parenthetical>(re: Antonio)<\/parenthetical>\n    <dialogue>Especially this boy.<\/dialogue>\n    <scene_description>Gru turns and sees that Antonio is back next to Margo.<\/scene_description>\n    <character>ANTONIO<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>You are a funny man. There are no rules, Se\u00f1or! It's Cinco De Mayo!<\/dialogue>\n    <parenthetical>(to girls)<\/parenthetical>\n    <dialogue>Come on! They're starting the dance!<\/dialogue>\n    <scene_description>He grabs Margo's hand and takes off. Edith and Agnes follow. Agnes explodes with delight.<\/scene_description>\n    <character>AGNES<\/character>\n    <parenthetical>(rolling her r like crazy)<\/parenthetical>\n    <dialogue>Arrrrrrrrrrrrrrrrrrrrrrrrrrrrrriba!<\/dialogue>\n    <scene_description>Gru watches them go. Frowns. EXT: EDUARDO'S HOUSE - LATER Gru, sneaking through the party, spots Antonio and Margo dancing. Gru sneaks up on Antonio, using the flashing strobe lights to cover his approach. Suddenly Antonio is gone and Gru is the one dancing with Margo, who has her back to him and is oblivious to what's going on. Antonio reappears and kicks Gru in the crotch from behind. He dances once again with Margo while Gru hunches over in pain. Gru then gets the upper hand and starts choking Antonio and shaking him. Margo turns around and sees this. Gru and Antonio see they are being watched by Margo and start casually dancing next to each other as if nothing is wrong. As the song ends, Margo takes Antonio's hand and pulls him away from Gru off the dance floor. Gru is defeated and all alone. INT: EDUARDO'S HOUSE - LATER Gru sits by himself in the corner, sulking and staring at Lucy's lipstick taser. A WAITER walks by and places a tortilla chip sombrero on his head with the rim filled with guacamole. He breaks off a piece, dips it, and eats it.<\/scene_description>\n    <character>EDUARDO (O.S.)<\/character>\n    <dialogue>So glad you could make it, mi compadre.<\/dialogue>\n    <scene_description>Gru looks up and sees Eduardo standing there. Gru quickly hides the taser.<\/scene_description>\n    <character>EDUARDO<\/character>\n    <parenthetical>(sensing something's wrong)<\/parenthetical>\n    <dialogue>Hey, what's wrong?<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Oh, nothing. Nothing is wrong. I'm just chilling with the guac...from my chip hat.<\/dialogue>\n    <scene_description>Gru takes another scoop of guacamole, smiles, and gives a thumbs up. A glob of guacamole falls from the sombrero. Eduardo puts his arm around him.<\/scene_description>\n    <character>EDUARDO<\/character>\n    <dialogue>Gru, please. I know that look all too well. It is the look of a broken heart.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>How did you know?<\/dialogue>\n    <character>EDUARDO<\/character>\n    <dialogue>Believe me, my friend, I too have spent many nights trying to drown my sorrows in guacamole.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>You?<\/dialogue>\n    <character>EL MACHO<\/character>\n    <dialogue>Yes. But we are survivors. There's much more to us than meets the eye. Enjoy the party.<\/dialogue>\n    <scene_description>Eduardo gives Gru a meaningful look. And then walks away. Gru watches him go. Deep in thought. Gru notices Eduardo suspiciously sneak away from the party and head into the house. Gru gets up from the table and follows Eduardo. As he walks through the party, several partygoers break tortilla pieces off his sombrero to eat. INT: EDUARDO HOUSE - CONTINUOUS Eduardo enters a dimly-lit room. Gru sneaks behind and peers through a crack in the door. INT: SECRET MAYAN ROOM - CONTINUOUS Eduardo stands in the center of a secret room, which is lined with Mayan-style totem poles. He dances on the tile floor, which lights up and plays \"La Cucaracha\" with each strategic step. The musical pattern is a code which opens a secret passageway through the largest totem's mouth. Eduardo enters and the mouth closes behind him. Gru tentatively enters the room. He pauses at the tile floor. He tries to replicate Eduardo's \"La Cucaracha\" code, but a glob of guacamole from his sombrero falls to the floor and hits the wrong tile. This activates a booby-trapped totem pole, which halves Gru's sombrero with a spear.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>What the--oh!<\/dialogue>\n    <scene_description>Gru observes the destroyed sombrero in his hands.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Huh.<\/dialogue>\n    <scene_description>Gru attempts the code again, but missteps. An axe from the wall swings at him and misses.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Oooh!<\/dialogue>\n    <scene_description>Gru missteps again and one of the totems lights up and spits fire at him, burning his face.<\/scene_description>\n    <character>GRU<\/character>\n    <parenthetical>(dazed)<\/parenthetical>\n    <dialogue>Aaaahhh...<\/dialogue>\n    <scene_description>He missteps again and a club whacks him over the head.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Oh!<\/dialogue>\n    <scene_description>One of the totems shoots darts at him, piercing his nose.<\/scene_description>\n    <character>GRU<\/character>\n    <parenthetical>(in pain)<\/parenthetical>\n    <dialogue>Aaaahhh!<\/dialogue>\n    <scene_description>Gru falls to the floor.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Oooohhh.<\/dialogue>\n    <scene_description>His head hits the correct tile, and the Mayan passageway opens. Gru walks to the door, pointing at the totems and gloating.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Aha! Ha ha ha--<\/dialogue>\n    <scene_description>The passageway doors slam on his arm.<\/scene_description>\n    <character>GRU<\/character>\n    <parenthetical>(in pain)<\/parenthetical>\n    <dialogue>Oh!<\/dialogue>\n    <scene_description>He pulls his crushed arm through the doors.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Ouch!<\/dialogue>\n    <scene_description>EXT: SKY - DAY A 747 jets through the sky. INT: AIRPLANE - SAME Lucy sits alone and stares out the window. Depressed. She SIGHS. She grabs an in flight magazine and opens it up to an ad for wristwatches. It reads; \"IN THE SKY, HE IS THE ONE MAN EVERYONE CAN TRUST\" and shows a picture of Gru giving the thumbs up in a cockpit.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Say what?<\/dialogue>\n    <scene_description>Lucy reacts, shakes her head, and now the picture is just a regular airline pilot in the cockpit. Lucy turns the page. It's another ad, saying simply \"Gru Now!\" and showing a picture of a muscular Gru diving from a waterfall. She GASPS and slams the magazine shut, then slowly reopens it to find the picture is really just a random muscular guy diving. It says \"GO NOW - TO HAWAII!\"<\/scene_description>\n    <character>FLIGHT ATTENDANT (O.S.)<\/character>\n    <dialogue>Would you like some peanuts or pretzels?<\/dialogue>\n    <scene_description>Lucy looks up from her magazine to see the flight attendant, who looks like Gru. She REACTS. Then looks across the aisle and sees a lady that looks and sounds like Gru, talking to another man who looks like Gru.<\/scene_description>\n    <character>FEMALE GRU PASSENGER<\/character>\n    <dialogue>Ha ha ha ha ha! That's a good joke.<\/dialogue>\n    <scene_description>Then Lucy looks behind her and sees the young mother looks like Gru. The baby turns around and also looks like Gru.<\/scene_description>\n    <character>GRU BABY<\/character>\n    <dialogue>I just did a boom boom.<\/dialogue>\n    <scene_description>The flight attendant tries to get Lucy's attention.<\/scene_description>\n    <character>FLIGHT ATTENDANT<\/character>\n    <dialogue>I really need you to make a choice, hon.<\/dialogue>\n    <scene_description>Close on Lucy as she has a moment of epiphany.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>I choose Gru.<\/dialogue>\n    <parenthetical>(to everyone)<\/parenthetical>\n    <scene_description>I CHOOSE GRU! Lucy runs to the exit door and flings it open. WOOSH! Air rushes throughout the cabin.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Thank you, Gru stewardess!<\/dialogue>\n    <scene_description>The flight attendant stands up, recovering from her twirl.<\/scene_description>\n    <character>FLIGHT ATTENDANT<\/character>\n    <dialogue>You're welcome!<\/dialogue>\n    <scene_description>The other passengers wave as the plane's oxygen masks fall from each overhead console. And with that, Lucy jumps from the plane, holding her purse. EXT: SKY - DAY As Lucy falls from the sky she presses a button on her purse and it transforms into a hanglider. She flies off with purpose. INT: TUNNEL - DAY Elevator doors open revealing EL MACHO'S UNDERGROUND LAIR. Gru stands in the doorway, pulling the dart out of his nose. The lair is a massive villainous complex that looks a lot like hell. Gru takes the place in. It's awesome and terrifying. The magnet ship is there!<\/scene_description>\n    <character>EDUARDO (O.S.)<\/character>\n    <dialogue>You have not lost your touch, my friend.<\/dialogue>\n    <scene_description>Gru turns around and sees Eduardo dressed in El Macho's old wrestling outfit, like we saw in the flashback.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Ha ha! I knew it! You are El Macho!<\/dialogue>\n    <character>EL MACHO<\/character>\n    <dialogue>That's right!<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Nobody believed me! Ho ho! But I knew you weren't dead!<\/dialogue>\n    <character>EL MACHO<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>Of course not. I merely faked my death, ha, ha!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But now it's time for me to make a spectacular return to evil! Doctor, I think it's time we showed Gru what we're up to here.<\/dialogue>\n    <scene_description>Standing in the middle of the lair's walkway is the one, the only...Dr. Nefario.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Dr. Nefario?<\/dialogue>\n    <character>DR. NEFARIO<\/character>\n    <dialogue>Nice to see you, Gru.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Whaaat? This-- So, this is your new job opportunity?<\/dialogue>\n    <character>DR. NEFARIO<\/character>\n    <dialogue>Absolutely. You're gonna like this.<\/dialogue>\n    <scene_description>Dr. Nefario pulls a lever. A platform rises with the Purple Minion version of Kevin strapped to a chair on it.<\/scene_description>\n    <character>EL MACHO<\/character>\n    <dialogue>Sorry--I had to borrow some of your minions, but it was for a worthy cause.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Oh! Kevin? Agh!<\/dialogue>\n    <character>EL MACHO<\/character>\n    <dialogue>No, he's not Kevin anymore. Now he is an indestructible, mindless killing machine!<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Blah!<\/dialogue>\n    <character>EL MACHO<\/character>\n    <dialogue>Just watch this!<\/dialogue>\n    <scene_description>He then presses a BUTTON. --a machine gun lowers and the purple minion's RIDDLED with BULLETS, but unhurt. --a FLAMETHROWER shoots fire at the purple minion, but he's completely unharmed. --an axe is swung at him, but he just eats it. --an atom bomb falls on him, but he just swallows it and it explodes harmlessly in his belly. --a POLICE CAR is dropped onto him, and he devours it whole. Gru stares, stunned.<\/scene_description>\n    <character>EL MACHO<\/character>\n    <dialogue>And here's the best part! I've got an ARMY OF THEM!<\/dialogue>\n    <scene_description>The lights come on above El Macho, revealing hundreds of caged PURPLE MINIONS. Gru can't believe his eyes. El Macho LAUGHS.<\/scene_description>\n    <character>EL MACHO<\/character>\n    <dialogue>Soon I will unleash them on the world--and if anyone, anyone, tries to stop them...YEOW! Their city gets eaten!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>We can do it together!<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Together?<\/dialogue>\n    <character>EL MACHO<\/character>\n    <dialogue>Together! I have admired your work for years, amigo. Stealing the moon?! Are you kidding?! We would be unstoppable! Men like you, men like me, we should be ruling the world!<\/dialogue>\n    <parenthetical>(excitedly)<\/parenthetical>\n    <dialogue>So, are you in?<\/dialogue>\n    <scene_description>Dr. Nefario pops a celebratory noisemaker in the background.<\/scene_description>\n    <character>DR. NEFARIO<\/character>\n    <dialogue>Woo-hoo!<\/dialogue>\n    <scene_description>El Macho eagerly awaits Gru's reply. Gru just stares at him. How does he get out of this?<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Uh...yeah...probably...<\/dialogue>\n    <scene_description>El Macho is taken aback.<\/scene_description>\n    <character>EL MACHO<\/character>\n    <dialogue>Probably?<\/dialogue>\n    <scene_description>Gru realizes he's in danger and quickly tries to backpedal.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>I mean, yes! Yes. Of course, yes, I just have a lot going on right now...I just need to get some things off my plate before we start taking over the world, that's all.<\/dialogue>\n    <character>EL MACHO<\/character>\n    <dialogue>'Scuse me?<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>No--no, forget it! One hundred percent! I am in!<\/dialogue>\n    <parenthetical>(pretending to hear something)<\/parenthetical>\n    <dialogue>I think--what is--do you hear that-- I do. That's Agnes calling me from on the surf--<\/dialogue>\n    <scene_description>Gru steps into the elevator and the door shuts. Then opens. He's frantically trying to press the button that will return him to the surface.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Totally in!<\/dialogue>\n    <scene_description>The doors close and Gru is gone. El Macho stares, deep in thought. Clearly suspicious.<\/scene_description>\n    <character>EL MACHO<\/character>\n    <dialogue>You know what? I am not so convinced that he is in.<\/dialogue>\n    <scene_description>El Macho presses a button that releases the Purple Minion.<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Blah!<\/dialogue>\n    <scene_description>EXT: EL MACHO'S HOUSE - SAME Edith knocks a pi\u00f1ata down with a BAT, then beats the crap out of it.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Edith! Agnes! Come on!<\/dialogue>\n    <scene_description>SMACK! Edith accidentally hits Gru in the face with the bat.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Ooof!<\/dialogue>\n    <scene_description>Edith takes off her blindfold.<\/scene_description>\n    <character>EDITH<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>We need to go home now! Where's Margo?<\/dialogue>\n    <character>AGNES<\/character>\n    <dialogue>But I didn't get a turn!<\/dialogue>\n    <scene_description>EXT: OTHER SIDE OF EL MACHO'S HOUSE - DAY Margo sits at a table alone and depressed, wearing the chip hat. She looks like she's been crying.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Margo!<\/dialogue>\n    <scene_description>Gru approaches her with the other girls in tow.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Come on, we're leav--hey, what's wrong?<\/dialogue>\n    <character>MARGO<\/character>\n    <dialogue>I hate boys.<\/dialogue>\n    <scene_description>Gru turns and sees Antonio dancing with a PRETTY GIRL. Gru frowns.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Yes...they stink. Sorry, honey, we've got to go.<\/dialogue>\n    <scene_description>He takes her hand and leads her offscreen before popping back into frame and firing the freeze ray at Antonio. We see he is now frozen in a block of ice. EXT: EL MACHO'S DRIVEWAY - DAY SCREEECH! Gru's car pulls out of the driveway and speeds down the mountain, just as Lucy's hang glider lands at Eduardo's. EXT: EDUARDO'S HOUSE - DAY Lucy looks around, but doesn't see Gru. She maneuvers her way through the crowd.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Oops, sorry!<\/dialogue>\n    <scene_description>She makes it through, but still no sign of Gru. Suddenly Pollito appears and exchanges looks with Lucy. He SCREECHES and flies towards her. She strikes a martial arts pose ready to defend herself. As she does, her purse falls to the ground. The attack never comes and she looks down to see Pollito pecking at her purse.<\/scene_description>\n    <character>EL MACHO (O.S.)<\/character>\n    <dialogue>Pollito! What's the matter?<\/dialogue>\n    <scene_description>El Macho appears and picks up the chicken, petting it.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Oh, hey! Eduardo!<\/dialogue>\n    <character>EL MACHO<\/character>\n    <dialogue>Lucia! I apologize. Pollito, he's usually not like this. The same thing happened the other day with... with Gru and...<\/dialogue>\n    <scene_description>El Macho drops off, deep in thought. Connecting the dots. Lucy is oblivious.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Oh, speaking of Gru...uh, have you seen him? I really need to talk to him.<\/dialogue>\n    <character>EL MACHO<\/character>\n    <dialogue>Yes, I think he's somewhere around here. You two are close, no?<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Oh, I don't know. I mean close... I wouldn't say we were close. Why, did he say we were close? Did he say that?<\/dialogue>\n    <character>EL MACHO<\/character>\n    <dialogue>It's more what he didn't say. For instance, he never mentioned...that you were both working for the Anti- Villain League!!!<\/dialogue>\n    <scene_description>Suddenly El Macho turns Pollito around revealing that he has her AVL credentials in his beak. El Macho grabs Lucy.<\/scene_description>\n    <character>EL MACHO<\/character>\n    <parenthetical>(threateningly)<\/parenthetical>\n    <dialogue>You're coming with me.<\/dialogue>\n    <scene_description>He leads her away.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>We see Dr. Nefario watching this, in shock. He's holding a drink and a Mexican flag cupcake.<\/scene_description>\n    <character>DR. NEFARIO<\/character>\n    <dialogue>Crikey.<\/dialogue>\n    <scene_description>EXT: GRU'S HOUSE - DAY The vehicle pulls into the driveway. INT: GRU'S HOUSE - CONTINUOUS Gru walks the girls into the family room. Two minions sit in front of the big screen TV playing a video game.<\/scene_description>\n    <character>EDITH<\/character>\n    <dialogue>So Eduardo's actually El Macho? Cool!<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>No, it is not cool. Plus, I pretty much knew it was him all along, so if anyone's cool, it's me.<\/dialogue>\n    <scene_description>The BIGSCREEN TV BEEPS. Gru and the others turn to look. It's Dr. Nefario. He's at El Macho's, whispering and looking anxiously around him from under a table.<\/scene_description>\n    <character>DR. NEFARIO (ON SCREEN)<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Gru!<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Well, Dr. Nefario...<\/dialogue>\n    <character>DR. NEFARIO (ON SCREEN)<\/character>\n    <parenthetical>(hurriedly)<\/parenthetical>\n    <dialogue>El Macho's on to you. He knows you're working for the AVL. And he's got your partner!<\/dialogue>\n    <scene_description>Gru is confused.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Lucy? Wha--that's impossible! She's on her way to Australia...<\/dialogue>\n    <character>EL MACHO (O.S.)<\/character>\n    <dialogue>Nefario!<\/dialogue>\n    <scene_description>Dr. Nefario looks nervously offscreen. El Macho's coming.<\/scene_description>\n    <character>DR. NEFARIO (ON SCREEN)<\/character>\n    <dialogue>Sorry, gotta go!<\/dialogue>\n    <scene_description>Nefario disconnects the camera. The screen goes blank. Agnes GASPS and turns to Gru.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>He's got Lucy?<\/dialogue>\n    <character>GRU<\/character>\n    <parenthetical>(determined)<\/parenthetical>\n    <dialogue>Not for long.<\/dialogue>\n    <scene_description>Gru begins to walk out of the room. He turns to the minions.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>We're getting her out of there.<\/dialogue>\n    <scene_description>Gru marches out of the room, fire in his eyes. A man on a mission. To save the woman he loves. The minions are visibly disappointed to leave their video game. One of them clutches the controller in his hand and continues to play until the moment he exits the frame. INT: GRU'S GARAGE - DAY Gru gets on his motorcycle. It's the GRUCYCLE, a Gru-style motorcycle, like Arnold in Terminator 2. EXT: GRU'S HOUSE - DAY A playhouse in Gru's front yard drops away, revealing a hatch in the ground. Out drives Gru. Two minions sit behind him holding on. He speeds down the road. Ready to kick some butt. EXT: EL MACHO'S COMPOUND - DAY The yard is now filled with ROCKET SHIPS. From behind, we watch El Macho emerge from his home to survey the troops. Some minions file into the rocket ships. El Macho watches them and LAUGHS maniacally. EXT: GRU'S HOUSE - DAY EVIL MINION POV: The evil minion Kevin runs down the street, nearing Gru's house. He is scared by his own reflection in a shiny parked car. He spots a tricycle and eats it. Then Kyle spots him and GROWLS. Kyle runs off and evil minion Kevin gives chase. He stops when he sees the front door. INT: GRU'S HOUSE - DAY Margo and Agnes sit on the floor playing a princess board game. Next to Agnes is her unicorn. They hear a SCRATCHING SOUND outside the window. Agnes looks scared.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>What was that?<\/dialogue>\n    <scene_description>Margo stands up. Makes her way toward the window, which is covered with drapes. Then reaches a nervous hand and pulls back the drapes.<\/scene_description>\n    <character>MARGO<\/character>\n    <dialogue>I don't see anything.<\/dialogue>\n    <scene_description>Suddenly, evil minion Kevin appears at the window, looking really scary! Margo SCREAMS. SMASH! Evil minion Kevin crashes through the window and lands in the family room surrounded by shattered glass and tangled up in the curtain. He turns to the girls, who slowly back away. He looks at Agnes and ROARS.<\/scene_description>\n    <character>MARGO<\/character>\n    <dialogue>Run!<\/dialogue>\n    <scene_description>Margo grabs Agnes and they run out of the room, accidentally dropping the stuffed unicorn behind. Agnes stops and runs back for it.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>My unicorn!<\/dialogue>\n    <character>MARGO<\/character>\n    <dialogue>Agnes, no!<\/dialogue>\n    <scene_description>Agnes stops and sees evil minion Kevin already has it in his mouth. Agnes screams a crazy HIGH-PITCHED SCREAM. It SHATTERS all the glass in the room, including the glass in evil minion Kevin's goggles. He spits out the unicorn. He is slowed him down for a bit, so Agnes safely grabs the unicorn, and Margo grabs Agnes's hand. They run for the elevator to the lower level, with the purple minion hot on their tails. The elevator drops just in time. Evil minion Kevin slams into the glass door. INT: GRU'S LAB - SAME Margo and Agnes run into the lab to find half a dozen minions milling about.<\/scene_description>\n    <character>MARGO<\/character>\n    <dialogue>C'mon! Hurry!<\/dialogue>\n    <character>AGNES<\/character>\n    <dialogue>Whoa!<\/dialogue>\n    <scene_description>Edith plays ping-pong with the minions using nun-chucks like Bruce Lee. Margo shuts the big iron door. Edith and the minions stare back at Margo.<\/scene_description>\n    <character>EDITH<\/character>\n    <dialogue>What's the matter?<\/dialogue>\n    <scene_description>CRASH! The purple minion has eaten its way through the ceiling!<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>Whoa!<\/dialogue>\n    <scene_description>It drops down into the lab and lands on a dazed yellow minion. The girls SCREAM as it jumps up and dashes towards them. Evil minion Kevin stomps toward the girls. They are backed into a corner. It's all over. Then suddenly a HYPODERMIC NEEDLE enters frame and injects evil minion Kevin. He falls over, writhing on the floor. Then he sits up and-- Has turned back into a YELLOW MINION. It's Kevin!<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Ooh-la-la! Pilatos?<\/dialogue>\n    <character>AGNES<\/character>\n    <dialogue>Kevin!<\/dialogue>\n    <scene_description>The other minions dog pile on him with friendly hugs.<\/scene_description>\n    <character>MARGO<\/character>\n    <dialogue>Dr. Nefario! You're back!<\/dialogue>\n    <scene_description>Reveal Dr. Nefario holding the needle.<\/scene_description>\n    <character>DR. NEFARIO<\/character>\n    <dialogue>In the flesh.<\/dialogue>\n    <scene_description>Nefario produces a VIAL filled with YELLOW LIQUID.<\/scene_description>\n    <character>DR. NEFARIO<\/character>\n    <dialogue>Behold, the antidote!<\/dialogue>\n    <scene_description>He walks over to a vat of the jelly.<\/scene_description>\n    <character>DR. NEFARIO<\/character>\n    <dialogue>Come on. Let's finally put this horrible jelly to some good use.<\/dialogue>\n    <scene_description>He pours the antidote into the vat. EXT: EL MACHO'S HOUSE - LATER Gru makes his way up the road leading to El Macho's house. He is wearing handcuffs, and being led at spear-point by Dave and Stuart, who have been painted purple to look like Evil minions. But they are goofing around and giggling. And they still have a few yellow spots.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Hey, guys. Come on! Stay focused here!<\/dialogue>\n    <scene_description>The minions somber up.<\/scene_description>\n    <character>MINIONS<\/character>\n    <dialogue>Okay, okay.<\/dialogue>\n    <scene_description>Gru covers a smeared yellow spot with purple paint. They approach the front gate, which is closed. Dave boosts himself onto a stray box and speaks gibberish into the intercom. He hears Evil Minion gibberish in response. He responds back in Evil Minion gibberish. The intercom buzzes and the gate begins to open. The gate opens and there are DOZENS of PURPLE MINIONS milling about. They eye Gru and his captors suspiciously. Dave and Stuart poke Gru with a spear.<\/scene_description>\n    <character>GRU<\/character>\n    <parenthetical>(attempting to act)<\/parenthetical>\n    <dialogue>Curses. Foiled again. These guys captured me.<\/dialogue>\n    <scene_description>The Evil Minions CHEER at seeing this. Gru, Dave and Stuart have to walk all the way to the house surrounded on all sides by evil purple minions. The painted yellow minions are very nervous. The purple minions eye them as they pass. They GROWL and the yellow minions attempt to GROWL back. It's extremely intense, but it looks like they're going to make it. Then one of the evil minions makes a slobbery raspberry at one of the painted ones. They get into a raspberry fight until the painted minion is grossed out and tries to rub the slobber off him. It rubs off the purple paint. One of the evil purple minions points and SCREAMS. They're exposed! All of the purple minions run towards Gru, Dave and Stuart. Teeth bared. Ready to chomp.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Run!<\/dialogue>\n    <scene_description>They take off running. EXT: EL MACHO'S BACKYARD - CONTINUOUS Gru and the yellow minions burst into El Macho's backyard. The Evil Minions give chase.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Up that tree! Hurry, hurry!<\/dialogue>\n    <scene_description>They climb a tree up to the roof of the house, only to be pursued by more minions up there. And the Evil Minions have devoured the tree so they can't go back that way either. With no escape, Gru and the minions run up a tower until they reach the top--a dead end. Here come the purple minions. They're trapped. Gru kicks them away and the yellow minions try to fight off the purple ones. But they are clearly doomed. And then Gru's ship appears hovering above them! Modified as a jelly-dispensing weapon and with Dr. Nefario at the controls! The minions hang on the sides holding JELLY BLASTERS. The ship opens fire on the evil minions, transforming them. POP! POP! POP! POP! One by one they transform back into yellow minions. One of the Minions wipes the horrible tasting jelly off his tongue. Dr. Nefario sticks his head out the side of the ship.<\/scene_description>\n    <character>DR. NEFARIO<\/character>\n    <dialogue>Hello, Gru!<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Hey, hey! Nice work, Dr. Nefario!<\/dialogue>\n    <scene_description>Gru leaps onto the ship.<\/scene_description>\n    <character>DR. NEFARIO<\/character>\n    <dialogue>I put an antidote in the jelly.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I mean, I'm happy to create an evil army to destroy the world, but nobody messes with my family.<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Thank you, Doctor! Now let's go get the--<\/dialogue>\n    <scene_description>Gru looks over to see Margo, Edith and Agnes onboard the ship, holding jelly blasters.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>Hi!<\/dialogue>\n    <scene_description>Gru is flabbergasted. He turns to Nefario.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>You brought the girls?<\/dialogue>\n    <character>DR. NEFARIO<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Oh. Was that wrong?<\/dialogue>\n    <scene_description>Gru's ship flies toward El Macho, blasting purple minions all along the way. From behind a large jelly gun Edith unloads round after round.<\/scene_description>\n    <character>EDITH<\/character>\n    <dialogue>Wooooo! Yeeeaaahhh!<\/dialogue>\n    <scene_description>El Macho witnesses his evil minions being converted back to regular ones.<\/scene_description>\n    <character>EL MACHO<\/character>\n    <dialogue>Oh no! What's happening to my minions?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Gru?<\/dialogue>\n    <scene_description>Gru turns to Nefario and the girls.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>You guys take care of the rest of the minions.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm going to find Lucy.<\/dialogue>\n    <scene_description>Gru leaps out of the ship down to the roof El Macho is on. He has two big jelly weapons in his hands. Meanwhile the ship flies off with its jelly blasters firing, and comes to land on the ground below. The minions and the girls start jumping from the ship. Agnes takes aim.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>Eat jelly, you purple freaks! Waaaaah!<\/dialogue>\n    <scene_description>Agnes' gun is a little too big for her and the kick sends her a bit out of control. But she still manages to hit a number of Evil Minions. The tide is turning. Meanwhile, Gru has gone ballistic on the evil minions. BLAM! BLAM! BLAM! BLAM! He takes the remaining few out. El Macho kicks an evil minion at Gru, but he manages to hit it with jelly and transform it back to yellow. Gru holds his gun up to El Macho and gives him a threatening look.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>It's over, El Macho. Now where is Lucy?<\/dialogue>\n    <character>EL MACHO<\/character>\n    <parenthetical>(chuckles)<\/parenthetical>\n    <dialogue>Let me show you.<\/dialogue>\n    <scene_description>He turns to a computer and pushes a button. A fountain stops spewing water and underneath it STEEL DOORS open from the ground. And out of them rises a ROCKET. Strapped to it is Lucy. Tied to a SHARK with TWO HUNDRED AND FIFTY POUNDS OF DYNAMITE strapped to her. Gru is horrified. He GASPS.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Oh, hey Gru! Turns out you were right about the whole El Macho thing, huh?<\/dialogue>\n    <parenthetical>(unconvincingly)<\/parenthetical>\n    <dialogue>Yay!<\/dialogue>\n    <scene_description>El Macho calls to Gru, brandishing a remote.<\/scene_description>\n    <character>EL MACHO<\/character>\n    <dialogue>One push of this button and I send that rocket straight into the same volcano where I faked my death. Only this time--it's for real!<\/dialogue>\n    <character>GRU<\/character>\n    <parenthetical>(horrified)<\/parenthetical>\n    <dialogue>No!<\/dialogue>\n    <scene_description>Dave swoops in on a rope and grabs the remote, Tarzan- style...<\/scene_description>\n    <character>DAVE<\/character>\n    <dialogue>Tally ho!<\/dialogue>\n    <scene_description>But unfortunately he smacks a roof support and drops the remote. It bonks a bunch of minions on the head and lands on the ground. El Macho stares down Gru. Fire in his eyes.<\/scene_description>\n    <character>EL MACHO<\/character>\n    <dialogue>We could've ruled the world together, Gru. But now--you're gonna die.<\/dialogue>\n    <scene_description>He pulls out a vial of PX-41 and drinks it. Gru GASPS. El Macho transforms into a giant, purple, furry creature. He ROARS. Gru pulls the trigger on his jelly gun, but he is out of ammunition. He then pulls out the FREEZE RAY and fires, encasing El Macho's fists in blocks of ice. El Macho GROWLS and slams his fists to the ground, shattering the ice and knocking Gru off the platform and onto a scaffolding. Gru SCREAMS. The scaffolding tips over. El Macho grabs the scaffolding and holds it above his head, ready to crush Gru. Suddenly Gru pulls out Lucy's lipstick taser and fires it at Purple El Macho! The jolt of electricity has him shaking and dancing and ultimately sizzling and smoking, until he finally collapses on the ground.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Lipstick taser!<\/dialogue>\n    <scene_description>Lucy smiles at this.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Aw...he copied me.<\/dialogue>\n    <scene_description>Gru runs off to save her. The minions surround El Macho, cocking their jelly guns.<\/scene_description>\n    <character>EL MACHO<\/character>\n    <parenthetical>(dazed)<\/parenthetical>\n    <dialogue>I am not afraid of your jelly guns.<\/dialogue>\n    <character>DR. NEFARIO<\/character>\n    <dialogue>Oh, this ain't a jelly gun, sunshine.<\/dialogue>\n    <scene_description>Dr. Nefario fires the Fart Gun directly into El Macho's face, causing him to pass out. The minions CHEER, firing their jelly guns into the air. One of the minions stands on top of El Macho and poses for a big game hunter-style photo. Dr. Nefario smiles for the camera as well. Gru runs toward the rocket.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Don't worry about me, Gru! I'll be fine. I have survived lots worse than this.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Okay, that's not entirely true. I'm actually kind of freaking out up here!<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>Don't worry--I will get you out of this!<\/dialogue>\n    <scene_description>Gru attempts to untie Lucy. And then sees Pollito has walked over to the remote. Gru and Lucy GASP. The chicken looks at Gru and Lucy, then pecks the button.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>I really hate that chicken.<\/dialogue>\n    <scene_description>The rocket blasts off into the air. The Minions and Girls watch in horror as Gru and Lucy fly off on the rocket. EXT: SKY - CONTINUOUS Gru uses his knife to cut Lucy's ropes. They SCREAM as the shark gets loose and falls down to a SUSHI BAR below where all of the CUSTOMERS and SUSHI CHEF CHEER. Meanwhile, on the rocket Gru rips a panel off the side, revealing a mess of WIRES inside.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Is there a red one? It's usually the red one.<\/dialogue>\n    <scene_description>Gru starts to pull out wires left and right. To no avail.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Gru, anytime now!<\/dialogue>\n    <scene_description>Gru GASPS, realizing they are approaching the VOLCANO. Time is running out. Death is imminent. He looks Lucy in the eyes.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Listen, Lucy--we may not get out of this alive, so I need to ask you a question.<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Uh, better make it quick!<\/dialogue>\n    <character>GRU<\/character>\n    <dialogue>If I'd asked you out on a date, what would you have said?<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Are you kidding me?! Yes!<\/dialogue>\n    <scene_description>Gru smiles. Then realizes that the rocket is still careening toward the volcano. He grabs Lucy.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>JUMP!!!<\/dialogue>\n    <scene_description>Gru and Lucy grab hands and leap off the rocket. The rocket plunges into the volcano. Gru and Lucy plummet through the air. KA-BLAAAAM!!! The volcano explodes in a massive tempest of fire and smoke and lava. The impact of the blast hits Gru and Lucy and sends them flying. SPLASH! They hit the water. BAM! BOOM! The volcano continues exploding. SPLASH! Gru emerges, soaking and out of breath. Fire and lava flying all around him. He can't find Lucy.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Oh! Lucy!<\/dialogue>\n    <parenthetical>(looks around, panicking)<\/parenthetical>\n    <dialogue>Lucy! Where are you?!<\/dialogue>\n    <scene_description>After a few moments, Lucy also emerges. Gru is incredibly relieved.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>Oh, Lucy!<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Gru!<\/dialogue>\n    <scene_description>Lucy smiles and hugs Gru. They both go underwater. Then come back up. Sputtering. And in love.<\/scene_description>\n    <character>LUCY<\/character>\n    <dialogue>Sorry...I guess you kind of need your arms to tread water, huh?<\/dialogue>\n    <scene_description>The Minions appear in the rowboat.<\/scene_description>\n    <character>TOM<\/character>\n    <parenthetical>(\"Stroke!\")<\/parenthetical>\n    <dialogue>Mack-oh! Mack-oh! Mack-oh!<\/dialogue>\n    <scene_description>But they pass right by them.<\/scene_description>\n    <character>GRU<\/character>\n    <dialogue>They'll be back...<\/dialogue>\n    <scene_description>TITLE CARD: 147 DATES LATER... Romantic music plays under the title card. EXT: HILLSIDE - DAY Four minions, dressed in matching suits, begin to sing a All- 4-One's \"I Swear,\" pronounced \"Underwear\" in Minionese. We are at Gru and Lucy's wedding reception. We PULL BACK to the WEDDING CAKE, and then to Gru and Lucy dancing. As they dance we see all of the wedding guests watching: Gru's Mom, Dr. Nefario, Silas, Jillian, Shannon, Natalie, etc. Gru dips Lucy and they attempt their kiss, but their noses keep bumping. They finally manage to kiss and the crowd CHEERS. We see the three girls watching in their beautiful bridesmaid dresses. Agnes can barely contain her glee. PAN OVER TO Edith, who makes a face.<\/scene_description>\n    <character>EDITH<\/character>\n    <dialogue>Can I be the first to say--ewwww!<\/dialogue>\n    <scene_description>The minions finish the song. The girls sit at their table. Agnes clearly has something on her mind. She SIGHS.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>She stands up on the table.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>Excuse me!<\/dialogue>\n    <scene_description>Looks out at the crowd, but they can't hear her.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>Um...hi! Excuse me!<\/dialogue>\n    <scene_description>She still doesn't have the crowd's attention, so Margo taps on her glass. Everyone looks to Agnes, who is visibly nervous.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>Uh...hi, everybody! I'd like to make some toast. Uh...<\/dialogue>\n    <scene_description>She looks out at the crowd. Is really nervous. Looks over at Gru. He smiles. Mouths \"okay.\" This helps, and Agnes pulls herself together and recites the Mothers Day poem from earlier.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>She um...she um, kisses my boo-boos. She braids my hair. We love you mothers, everywhere!<\/dialogue>\n    <scene_description>Agnes turns to Lucy and looks her right in the eyes.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>And my new mom Lucy is beyond compare.<\/dialogue>\n    <scene_description>Lucy smiles, melting. The crowd goes \"awwwww.\" Agnes and Lucy spin around in a hug. The crowd cheers and applauds. Gru, Margo and Edith join Agnes and Lucy in a group hug. The family is complete.<\/scene_description>\n    <character>AGNES<\/character>\n    <dialogue>To the bride and Gru!<\/dialogue>\n    <scene_description>A minion begins to spin The Village People's \"YMCA\" at the DJ table. The minions, several of whom are dressed as The Village People, begin to perform the song. The minion dressed as the Chiquita banana lady also joins in. Then the entire family boogies across the dance floor, including Dr. Nefario and Gru's Mom. I'M SO HAAAAPPPPYYYYYYY!!!! EXT: HILLSIDE - MOMENTS LATER A minion poses Gru, Lucy, and the girls for a formal picture. Everyone looks good. They all smile. CLICK! Another picture adds Gru's Mom, Dr. Nefario, and two minions to the group. CLICK! Another picture adds even more minions to the group. CLICK! An evil minion pops up and photobombs the last picture!<\/scene_description>\n    <character>EVIL MINION<\/character>\n    <dialogue>Blaaaaah!<\/dialogue>\n    <character>THE END<\/character>\n  <\/scene>\n<\/script>","summary":"A mysterious aircraft steals a highly potent mutagen known as PX-41 from a secret laboratory in the Arctic Circle. Silas Ramsbottom, director of the Anti-Villain League (AVL), sends agent Lucy Wilde to recruit former supervillain Gru. Gru is forcibly brought to the AVL headquarters and asked by Ramsbottom to help them track down the culprit and recover the mutagen. However, Gru refuses, claiming that he is now a legitimate father and owner of a jelly-producing business. Later, Dr. Nefario, Gru's friend and assistant, quits to accept a more villainous job offer; this causes a reluctant Gru to decide to work with the AVL after all. He and Lucy are stationed at the Paradise Shopping Mall, with a cupcake store as their front. Gru immediately suspects that Mexican restaurant owner Eduardo P\u00e9rez might be \"El Macho\", a supervillain who supposedly died by riding a shark into an active volcano with 250 pounds of TNT strapped to his chest. Gru and Lucy break into Eduardo's restaurant at night but find no evidence. Meanwhile, Gru's three adopted daughters, Margo, Edith, and Agnes, who dream of having a mother one day, believe that Gru will fall in love with Lucy. Gru denies it, saying his relationship with Lucy is only professional. Despite holding Eduardo as his prime suspect, Gru agrees to pursue other leads, including the shop of wig merchant Floyd Eaglesan, where Lucy discovers traces of PX-41. After witnessing Eduardo's son Antonio woo Margo, Gru renews his focus on Eduardo, who in turn invites the Gru family to his Cinco de Mayo party. Lucy helps Gru escape a blind date gone wrong, and the two begin to form a bond. The AVL arrests Floyd after finding an almost-empty jar of the mutagen in his shop. Silas closes the investigation and reassigns Lucy to Australia, leaving Gru heartbroken. At the Cinco de Mayo party, Gru follows Eduardo and discovers that he is indeed El Macho. Having faked his death, El Macho has hired Dr. Nefario, and had abducted most of Gru's Minions, using the stolen PX-41 mutagen to transform them into an army of indestructible and savage purple beasts. El Macho plans to launch rockets full of the evil Minions into major cities to dominate the world. He offers Gru the chance to team up with him, but the terrified Gru walks away with the girls. Suspicious, El Macho sends an evil Minion, Kevin, after them. Lucy, having decided to disobey orders and return home to Gru, arrives at the party right after Gru leaves. Realizing that Lucy and Gru are working for the AVL, El Macho kidnaps her. Dr. Nefario witnesses this and informs Gru of the situation. Gru infiltrates El Macho's fortress with two of his own disguised Minions, but the evil Minions see through the disguise and attack them. Meanwhile, Kevin breaks into Gru's house and attacks Margo and Agnes. They lure him to Gru's lab, where Dr. Nefario arrives with an antidote and reverses Kevin's transformation. Dr. Nefario puts the antidote in Gru's jelly reserves, and he and the girls hurry to Gru's aid. Gru, Dr. Nefario, the girls, and the surviving Minions use jelly guns to restore all the other evil Minions to their normal state. El Macho threatens to kill Lucy, and uses the PX-41 to become a monster himself, but is defeated by Gru and Dr. Nefario. Gru attempts to rescue Lucy from El Macho's TNT-loaded shark rocket, but El Macho's pet chicken Pollito launches it, sending them toward a volcano. Lucy accepts Gru's invitation for a date, and they jump into the ocean before the rocket explodes in the volcano. One hundred and forty-seven dates later, Gru and Lucy get married, giving Margo, Edith, and Agnes a mother."}
{"movie_name":"Little Athens_2005","imdb_id":"tt0417907","script":"<script>\n  <scene>\n    <stage_direction>INT. JERRY'S HOUSE, JERRY'S BEDROOM -- MORNING<\/stage_direction>\n    <scene_description>The room is dark and messy . JERRY , a soft , unshaven boy of about eighteen years , sits on the end of his bed in boxers and an old t - shirt . He has not quite woken up yet . Jerry pulls a huge , well - traveled SUITCASE from his closet and tosses it onto the bed . He begins grabbing articles of CLOTHING from the closet and tossing them into the Suitcase .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JERRY'S HOUSE, KITCHEN -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Jerry is in his kitchen , which is no brighter than his bedroom , and not much cleaner . Jerry takes another bite of his peanut butter and jelly SANDWICH . He chews mechanically , washing it down with a can of SODA . His lazy mind is somewhere else .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JERRY'S HOUSE, BATHROOM -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Jerry gargles with a generic brand of MOUTHWASH and spits into the sink . He catches a glimpse of himself in the medicine cabinet mirror - he is not very attractive . He grabs his TOOTHBRUSH and RAZOR , and exits the bathroom .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JERRY'S HOUSE, JERRY'S BEDROOM -- MOMENTS LATER<\/stage_direction>\n    <scene_description>The room has been stripped except for the bed minus its bedsheets , a naked pillow , a beat - up dresser with a small TV on top of it , an old POGO STICK propped against the wall near the GARBAGE CAN at the foot of the bed , and a few posters and scraps of trash . Jerry tosses his Toothbrush and Razor into his Suitcase next to a VIDEO GAME CONSOLE and several VIDEO GAMES , on top of which lies GRAND THEFT AUTO III . He has pitifully few belongings . He shuts the Suitcase .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JERRY'S HOUSE, LIVING ROOM -- MOMENTS LATER<\/stage_direction>\n    <scene_description>The living room is also a mess - the place is either a pig sty or a house full of bachelors . Jerry , now in sweatpants and sneakers , but still wearing the same t - shirt that he slept in , carries his Suitcase through the foyer to the front door . He about - faces to look at the interior of his home . He will not miss it . He turns to open the screen door - it 's stuck . He fiddles with handle until the screen door opens . He exits , letting the screen door slam shut behind him . Little Athens<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RESCUE SQUAD -- MORNING<\/stage_direction>\n    <scene_description>The old building is badly in need of a fresh paint job . A faded sign reading `` ATHENS RESCUE SQUAD '' stands in front .<\/scene_description>\n    <character>HEATHER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>You hear about your ex?<\/dialogue>\n    <character>ALLISON<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Jerry?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RESCUE SQUAD, KITCHEN -- CONTINUOUS<\/stage_direction>\n    <scene_description>The kitchen is empty except for HEATHER and ALLISON , both about nineteen and dressed in EMS uniforms with `` EMS '' stitched conspicuously on the back , seated on opposite sides of a wooden table . Heather is dark - haired , about 5 ' 9 '' and built like a lingerie model . Allison has blond hair , is several inches shorter than Heather , and although not overweight , she has a softer build than Heather . Heather has take - out PANCAKES and SAUSAGES in front of her , and she is putting it away like she is preparing for famine . Allison has a BAGEL and a PEACH , which remain hardly touched - she has a lot on her mind .<\/scene_description>\n    <character>HEATHER<\/character>\n    <dialogue>Yeah, asshole Jerry. He's moving to Middletown. He left this morning.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>No way. How do you know?<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Carter said. He got some job at some company, giving his uncle hand - jobs.<\/dialogue>\n    <scene_description>Having put away the last of her food , Heather lights a CIGARETTE and stands near the open window , careful to blow the smoke out the window .<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Does n't sound so bad.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>I got us tickets to see Adam tomorrow.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>I do n't want to go to a baseball game. You're going with Derek anyway.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Ally, I do n't want to go either, but Derek told Adam he'd go, and I'm not going by myself.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>I thought Adam was hurt.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>I wish.<\/dialogue>\n    <scene_description>Heather takes a drag of her Cigarette and exhales out the window .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JIMMY'S APARTMENT -- MORNING<\/stage_direction>\n    <scene_description>BRAD , in jeans with his t - shirt thrown over his shoulder , is standing in front of the door , waiting . MEGAN , in shorts , a t - shirt and a baseball cap , and AMY , in a sunskirt , look on . All in their late teens , they are unmade and worn - out , as if they had n't slept last night . Brad rings the doorbell twice and waits some more . Brad walks over to the window a few feet over from the door , trying to peer through the shades . Megan passes the time by pulling Jimmy 's MAIL out of the mailbox that hangs next to the door .<\/scene_description>\n    <character>BRAD<\/character>\n    <parenthetical>( banging on the window pane . )<\/parenthetical>\n    <dialogue>Hey! Jimmy!<\/dialogue>\n    <scene_description>The door opens and JIMMY answers , in his very late teens , about 5 ' 4 '' and thin , dressed in boxers , a t - shirt and bedroom slippers . Jimmy 's tired , but Brad 's a friendly face .<\/scene_description>\n    <character>BRAD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Finally!<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Office hours are nine to five.<\/dialogue>\n    <character>MEGAN<\/character>\n    <dialogue>You have a lot of credit card bills in there, Jimmy.<\/dialogue>\n    <character>JIMMY<\/character>\n    <parenthetical>( holding his hand out for the Mail . )<\/parenthetical>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>Megan hands Jimmy the Mail .<\/scene_description>\n    <character>MEGAN<\/character>\n    <dialogue>You're not mad that we're stopping by like this?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>It's no big deal, but let's hurry up. I got ta go to work.<\/dialogue>\n    <character>MEGAN<\/character>\n    <parenthetical>( explaining to Amy . )<\/parenthetical>\n    <dialogue>Jimmy's got like, six jobs.<\/dialogue>\n    <scene_description>Jimmy stands aside , allowing Megan and Amy into his apartment . Megan and Amy step inside , but Brad holds back . He needs to talk to Jimmy , and the girls do not need to hear .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Hey Jimmy, hold up a sec. Look, not for nothin', but you know Buggerin' Bobby Bales is askin' about you?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Askin'? Like how?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Like how you owe him money on the Dallas fiasco, those chokin' motherfuckers, and you have n't been returnin' his calls.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>How you hear this?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Yesterday. I was puttin' a twenty - timer on Indiana for tonight, and he up and out - of - the - blue asks about you. Jimmy, man. Goddam.<\/dialogue>\n    <character>JIMMY<\/character>\n    <parenthetical>( unconvincing . )<\/parenthetical>\n    <dialogue>It ai n't nothin'. He's just makin' conversation.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>It ai n't nothin'? That faggot juicehead's gon na make a playground outta your asshole like he's back in the joint, and it ai n't nothin'? And you heard all the stories I heard, about that horse - cock, and how he ca n't stop shootin' his mouth off about it too, like when he whipped it out at Tomlinson's party.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Alright Brad! Christ Jesus, I owe a little, shit, but I'll pay. Believe me, that guy wants his juice, his e, he comes to me. It's fine.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Put some cash on Indy tonight, Jimmy.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Yeah. Alright, come inside and let's do this thing. I got work.<\/dialogue>\n    <scene_description>Brad steps past Jimmy into the apartment , and Jimmy shuts the door after them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POOL -- MORNING<\/stage_direction>\n    <scene_description>The slender white board extends majestically over the glistening blue water . PEDRO , an unshowered , pot - bellied Hispanic , about twenty - three years of age and wearing cut - off jean shorts , is standing at the end of the board , looking down at the water below as if expecting an invitation . COREY , a late teenager covered with tattoos , with twigs for arms and legs , lies against the hard concrete while inserting the pool VACUUM HOSE into one of the many pool skimmer drains . Pedro begins to bounce on the board - up , down , up , down . Pedro launches forth as if the water called out to him and , but for his want of grace , the entry would be poetic . Instead , Pedro 's dive is as clumsy as it is painful .<\/scene_description>\n    <character>COREY<\/character>\n    <dialogue>Nice.<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>Fuck you, conjo. This is my shower.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Maybe back in Mexico that's a shower, in Athens that's just dirty.<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>Clean the pool, conjo, clean the pool.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>At least I'm paid to be here.<\/dialogue>\n    <scene_description>Pedro smiles as he paddles away from Corey , starting to enjoy his morning swim . A PAYPHONE hanging on the pool house starts ringing . Corey drops the Vacuum and runs toward the Payphone . In the background a number of enormous sand filters groan loudly .<\/scene_description>\n    <character>COREY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Wynwood Pool House, Corey speaking.<\/dialogue>\n    <scene_description>EMILY , the voice on the other end , is hushed and uncertain .<\/scene_description>\n    <character>EMILY'S VOICE<\/character>\n    <dialogue>It's me.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Emily?<\/dialogue>\n    <character>EMILY'S VOICE<\/character>\n    <dialogue>Some other girl would be calling you?<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>How'd you get this number?<\/dialogue>\n    <character>EMILY'S VOICE<\/character>\n    <dialogue>Do n't you work there?<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>EMILY'S VOICE<\/character>\n    <dialogue>I need you to come pick me up.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Are you kidding? Where are you?<\/dialogue>\n    <character>EMILY'S VOICE<\/character>\n    <dialogue>At home.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>What for?<\/dialogue>\n    <character>EMILY'S VOICE<\/character>\n    <dialogue>Just because. I need to stay with you for a couple days.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Emily, our place is tiny, we got no water. Our phone just got shut off, too. You'd be miserable like us. What for anyway?<\/dialogue>\n    <character>EMILY'S VOICE<\/character>\n    <dialogue>It's no big deal. Just come pick me up.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Fine, forget it then.<\/dialogue>\n    <character>EMILY'S VOICE<\/character>\n    <dialogue>Corey, come on! How many times have I called you since you left? I would n't ask, except I do n't have anywhere to go. Please.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Fine. Alright, fine. If you wan na stay in our little dump, fine.<\/dialogue>\n    <character>EMILY'S VOICE<\/character>\n    <dialogue>Fine. Thanks, then.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JESSICA'S APARTMENT -- MORNING<\/stage_direction>\n    <scene_description>JESSICA , about eighteen , wire - thin and plain , yet attractive in an unkept sort of way , with dirty - blond hair past her shoulders , lies on a couch sleeping . Her chokingly small living room is in a devastating state of disarray , with clothes and empty food containers flung in every direction . An ALARM on a table next to the couch begins blaring , and Jessica stretches out her arm to silence it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JESSICA'S APARTMENT, BATHROOM -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Jessica is standing in front of the mirror staring at herself , still half asleep . The bathroom is tiny like the living room - pathetic rather than endearing . She puts TOOTHPASTE on her TOOTHBRUSH .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JESSICA'S APARTMENT, LIVING ROOM -- CONTINUOUS<\/stage_direction>\n    <scene_description>JINA , Jessica 's mother , opens the front door and enters the living room wearing a grocery checkout clerk 's uniform . Jina drops her old , worn out purse onto the coffee table and enters the hallway . She opens the bathroom door and enters .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JESSICA'S APARTMENT, BATHROOM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Jessica is brushing her teeth when Jina enters .<\/scene_description>\n    <character>JINA<\/character>\n    <dialogue>Are n't you supposed to be watching Katie right now?<\/dialogue>\n    <scene_description>Jina reaches around Jessica and opens the medicine cabinet , grabs a bottle of ASPIRIN , and shuts it . Jessica continues brushing as if her mother were not there .<\/scene_description>\n    <character>JINA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Did you get my message?<\/dialogue>\n    <scene_description>Jessica shakes her head in the negative sense . Jina exits the bathroom and Jessica follows , still brushing her teeth .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JESSICA'S APARTMENT, LIVING ROOM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Jessica walks over to the ANSWERING MACHINE and hits a button . The Answering Machine clicks on as Jessica brushes unenthusiastically .<\/scene_description>\n    <character>ANSWERING MACHINE<\/character>\n    <parenthetical>( electronic voice . )<\/parenthetical>\n    <dialogue>You have one new message.<\/dialogue>\n    <parenthetical>( Jina 's voice . )<\/parenthetical>\n    <dialogue>Hi Jess, it's your mother, calling to say happy birthday, since you'll be gone when I get home. I'm driving your sister to school and I'm leaving the car for her, so I'll be taking the train back.<\/dialogue>\n    <scene_description>Jessica starts up as if she 'd been struck . She spins around to an open window near the couch , leans out , and spits out the toothpaste to the concrete sidewalk below . Her mother 's voice continues to pour forth from the Answering Machine .<\/scene_description>\n    <character>ANSWERING MACHINE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>By the way, you should call your sister and stop this not - talking nonsense.<\/dialogue>\n    <scene_description>Jessica finishes spitting the suds from her mouth and spins back towards the Answering Machine .<\/scene_description>\n    <character>ANSWERING MACHINE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Anyway, I know how you hate long messages, so I'll see you tomorrow.<\/dialogue>\n    <scene_description>Suddenly wide awake , Jessica turns to her mother .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>That's fucking bullshit.<\/dialogue>\n    <character>JINA<\/character>\n    <dialogue>Here we go again.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>What about my car?!<\/dialogue>\n    <character>JINA<\/character>\n    <dialogue>Jessica, your sister got into beauty school, and she's going. Now I've got about two hours sleep before I have to drive her all the way the hell up there.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Yeah, I heard that.<\/dialogue>\n    <character>JINA<\/character>\n    <dialogue>Jess, you're still living here for free.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>On the couch!<\/dialogue>\n    <character>JINA<\/character>\n    <dialogue>Jessica, it's still my car, and she needs it. Ca n't you be happy for your sister?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Oh yeah, I'm real happy. She gets my car, and I get shit. Thanks, Jina. Do me a favor and tell her how fucking happy I am for her.<\/dialogue>\n    <character>JINA<\/character>\n    <dialogue>If you're going to be like this, I'm just going to bed.<\/dialogue>\n    <scene_description>Jessica storms back into the bathroom and rinses her mouth out with water . Jessica returns to the living room wearing a t - shirt that reads `` Athens Youth Group '' in large letters along the front . Jina is gone . Jessica runs her hand through her hair , tossing it haphazardly . She grabs a pair of large SUNGLASSES off of the coffee table and places them over her eyes . She opens the door and exits the apartment .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RON'S GYM -- MORNING<\/stage_direction>\n    <scene_description>Jimmy 's PIECE - OF - SHIT hatchback is parked in front of the small bare - bones gym .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RON'S GYM, LOCKER ROOM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Jimmy now dressed in worn - out heavily - frayed khaki shorts and a short - sleeve button down shirt with a `` Ron 's Gym '' emblem on the pocket , stands before his locker twisting the combination lock with one hand while rotating steel CHINESE STRESS BALLS with his other hand . He opens the locker and pulls out a large brown LUNCH BAG propped prominently at the base .<\/scene_description>\n    <character>RON<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hey Jimmy. You fix the lat machine?<\/dialogue>\n    <scene_description>RON , the tall , well - built , forty - something owner of the gym , approaches . Jimmy turns toward Ron . The row of lockers serves as a backdrop .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>RON<\/character>\n    <dialogue>Jimmy, I'm just gon na say this, alright? I got ta let you go. I ca n't afford two employees.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>So you're keeping Melinda?<\/dialogue>\n    <character>RON<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Ron, that is totally fucked! I been here way longer than her!<\/dialogue>\n    <character>RON<\/character>\n    <dialogue>Yeah, but I'm running a business. There're guys who pay me dues just'cause she works here.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>But she does n't do anything! She just sits at the front desk all day.<\/dialogue>\n    <character>RON<\/character>\n    <dialogue>I know that.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Tell her to fix the fucking lat machine, she'll look at you cross - eyed.<\/dialogue>\n    <character>RON<\/character>\n    <dialogue>I ca n't afford two employees, and she attracts business. That's it.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Fucking great. Thanks.<\/dialogue>\n    <character>RON<\/character>\n    <dialogue>Jimmy, do n't take it personal. If you were built like her I'd keep you.<\/dialogue>\n    <scene_description>Ron exits and Jimmy sits on the bench in front of his locker , defeated . BUGGERIN ' BOBBY BALES , a.k.a. Bobby the Bookie , an enormous juicehead built like an old - school NFL linebacker , naked except for a towel around his neck , having just taken a shower , is leaning against the end of a row of lockers , waiting for his chance at Jimmy . Jimmy would rather that Ron stay .<\/scene_description>\n    <character>RON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Bales.<\/dialogue>\n    <scene_description>Bobby nods in response as Ron passes by on his way out . With the locker room empty , Bobby unconsciously changes demeanor . He 's tender , frighteningly tender , it 's so entirely genuine . Jimmy would prefer a beating - simple and final . Jimmy pulls his BACKPACK out of his locker and begins clearing his STUFF .<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>So where you been?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>What are you talkin' about? Nowhere. I been working.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>So you just do n't return my phone calls.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Look, they lost, I owe you some more, so what? I'll pay you. I want to put it on Indy tonight.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I ca n't take any more of your bets. I look like a spineless fucking fag.<\/dialogue>\n    <scene_description>Bobby shuts Jimmy 's locker and steps up to Jimmy so that Jimmy is now face to face with Bobby 's enormous organ - a terrifying sight for mortal men and reputable women . Jimmy is struck silent , savagely clenching his Chinese Stress Balls as he struggles for thought .<\/scene_description>\n    <character>BOBBY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What the hell am I supposed to do with you Jimmy? People are talkin'.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>I know they're talkin'!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You do n't know a fuckin' thing. Come by my apartment tonight, we'll figure this out.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>I ai n't like that.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Ai n't like what?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Nothin'.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You do n't know what I know. You'll see.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>I'm working tonight.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Jimmy, I ai n't about beggin'. I'm lookin' like a fool all on account' a you. You owe me. You owe me. I'm gettin' sick of it.<\/dialogue>\n    <scene_description>Bobby moves on to his own locker .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POOL -- CONTINUOUS<\/stage_direction>\n    <scene_description>WIDE across the width of the pool . COREY , wet , with GOGGLES on his head , holding a WRENCH and SCREW DRIVER , and BYSTANDER # 1 , stand over a young twenty - ish female VICTIM who lies passed out on the cement . A young female LIFEGUARD is kneeling beside the Victim , checking her pulse and breathing . The two SWIMMERS left in the pool are climbing out . PETE , a no - nonsense grounds - keeper in his late thirties , wearing cut - off shorts , a faded t - shirt and a tool belt , approaches to have a word with Corey .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Is she alright?<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>She fainted.<\/dialogue>\n    <character>LIFEGUARD<\/character>\n    <dialogue>Alright, I'm calling 911. Everybody stay out of the pool.<\/dialogue>\n    <scene_description>The Lifeguard stands and runs off toward the PAYPHONE .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Alright, well, quit horsing around. The Blandino's had a break - in. There's glass all over the patio.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>That's Jerry's unit.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Jerry moved to Middletown.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>He quit?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>He left a message. You got ta take care of all his stuff now, too.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Aw, come on, Pete! I need off tomorrow! I told you I got community service!<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>So you're gon na have to get everything done today then. Get going.<\/dialogue>\n    <scene_description>Corey tears the Goggles off his head , throws them into the pool , and about - faces toward the pool - house . As Corey leaves , a RED - HEADED IDIOT does a sloppy can - opener off the side of the pool .<\/scene_description>\n    <character>LIFEGUARD<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Keith, I told you to clear the pool!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EMPTY PARK -- MORNING<\/stage_direction>\n    <scene_description>Though the park is in a poor neighborhood , it is relatively clean . The park is quiet and unused this morning except for two young GIRLS making their way across it . Prominent in the background sits an old run - down yellow CAR that Jessica drove to the park . JESSICA is carrying KATIE , a plain , tiny seven - year - old girl , in piggy - back fashion , with Katie 's legs dangling out in front of Jessica . Katie holds Jessica tight around the collarbone .<\/scene_description>\n    <character>KATIE<\/character>\n    <dialogue>Does n't Carlos want his car back?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>He's letting me borrow it.<\/dialogue>\n    <character>KATIE<\/character>\n    <dialogue>Well then why were you late if you had his car?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>I slept late.<\/dialogue>\n    <character>KATIE<\/character>\n    <dialogue>Were you drinking last night?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>No. But thanks for asking.<\/dialogue>\n    <character>KATIE<\/character>\n    <dialogue>Were you doing drugs?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Katie, I told you, drugs are for losers.<\/dialogue>\n    <character>KATIE<\/character>\n    <dialogue>And you're not a loser.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>And neither are you.<\/dialogue>\n    <character>KATIE<\/character>\n    <dialogue>But it's okay to drink.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>When you're older it'll be okay.<\/dialogue>\n    <character>KATIE<\/character>\n    <dialogue>How old are you?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Old enough.<\/dialogue>\n    <character>KATIE<\/character>\n    <dialogue>But you're not twenty - one yet. The law says you have to be twenty - one.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Katie, can you not ask so many questions today? I've got too much to think about.<\/dialogue>\n    <character>KATIE<\/character>\n    <dialogue>Cause it's your birthday?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>KATIE<\/character>\n    <dialogue>Happy Birthday!<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Jessica begins walking faster , soon breaking into a crippled run , the weight of Katie bearing down on her . They reach their destination - a rickety old merry - go - round . Jessica turns her back to the merry - go - round , allowing Katie to step onto it .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hold on tight or you'll get hurt.<\/dialogue>\n    <character>KATIE<\/character>\n    <dialogue>I will.<\/dialogue>\n    <scene_description>Katie grabs a handle as Jessica begins to spin the machine . Katie sails around happily as Jessica steps back to watch , Katie 's youthful enthusiasm lulling Jessica into a nostalgic gloom .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMBULANCE -- MORNING<\/stage_direction>\n    <scene_description>HEATHER is driving the AMBULANCE , sirens blaring , a CIGARETTE hanging out of her mouth , with ALLISON riding shotgun . HARRY , mild - mannered , rotund , middle - aged and slightly balding , is in the back sitting on a bench extending from the side of the ambulance , adjacent to a stretcher . Harry sits expressionless , adjusting his spectacles as the ambulance shakes mildly from the driving .<\/scene_description>\n    <character>ALLISON<\/character>\n    <parenthetical>( pointing . )<\/parenthetical>\n    <dialogue>Turn left at the light.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD -- CONTINUOUS<\/stage_direction>\n    <scene_description>WIDE on the ambulance tearing through town , lights flashing . Heather is driving extremely fast in this emergency situation , recklessly passing both moving vehicles as well as stationary vehicles that have stopped to let the ambulance pass , on her way to running through a red light . In the rear of the ambulance , Harry whips back and forth on the bench , yet remains calm , as if unaware of Heather 's reckless driving .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POOL, PARKING LOT -- CONTINUOUS<\/stage_direction>\n    <scene_description>Within the parking lot , the ambulance comes to a screeching halt in front of a large picket fence encircling the pool . At the gate stands the LIFEGUARD . All three climb out of the ambulance . Harry rushes toward the Lifeguard . Heather takes a final puff of her Cigarette and flicks it aside before continuing in the same direction as Harry . Allison lags behind , pulling a BACKBOARD and a large FIRST AID KIT out of the ambulance .<\/scene_description>\n    <character>LIFEGUARD<\/character>\n    <dialogue>She's in here.<\/dialogue>\n    <scene_description>They enter the gate .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POOL -- CONTINUOUS<\/stage_direction>\n    <scene_description>Heather and Harry follow the Lifeguard into the pool area , where several BYSTANDERS have gathered around the VICTIM , BYSTANDER # 1 and PETE among them . Heather gets to the Victim first , but stops short - she recognizes the Victim . Harry brushes past Heather .<\/scene_description>\n    <character>HARRY<\/character>\n    <parenthetical>( to Bystanders . )<\/parenthetical>\n    <dialogue>Can you give us some room, please?<\/dialogue>\n    <scene_description>The crowd backs up a bit , and Harry checks for vitals .<\/scene_description>\n    <character>HARRY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( looking up to Heather . )<\/parenthetical>\n    <dialogue>She's breathing.<\/dialogue>\n    <scene_description>Harry looks the Victim over a bit .<\/scene_description>\n    <character>HARRY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( to Lifeguard . )<\/parenthetical>\n    <dialogue>What happened?<\/dialogue>\n    <character>LIFEGUARD<\/character>\n    <dialogue>I'm not sure. She just passed out, right where you see her.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Did you see her eat anything?<\/dialogue>\n    <character>LIFEGUARD<\/character>\n    <dialogue>Uh - uh.<\/dialogue>\n    <scene_description>Heather turns and walks back toward Allison coming through the gate carrying the Backboard and First Aid Kit - she wants a word with Allison . They talk in hushed tones .<\/scene_description>\n    <character>HEATHER<\/character>\n    <dialogue>I know her.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Yeah? How?<\/dialogue>\n    <scene_description>Allison hands Heather the First Aid Kit as they move back toward Harry .<\/scene_description>\n    <character>HEATHER<\/character>\n    <dialogue>When I was dating Steve, that slut fucked him.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>How do you know?<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>She started dating Steve right after we broke up. I mean right after. I asked him if there was another girl, and he never answered. He could n't answer, because he was fucking that slut.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>That does n't mean they fucked.<\/dialogue>\n    <scene_description>Heather gives Allison a disapproving look , as if to say `` do n't be stupid , stupid . '' As Heather and Allison approach the Victim , Harry looks up .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>Alright, she ai n't comin' around.<\/dialogue>\n    <scene_description>Allison lays the Backboard adjacent to the Victim , and the three place her on the Backboard . Heather is a bit rough .<\/scene_description>\n    <character>HARRY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( instinctively . )<\/parenthetical>\n    <dialogue>Whoa, easy.<\/dialogue>\n    <character>HEATHER<\/character>\n    <parenthetical>( without looking up . )<\/parenthetical>\n    <dialogue>I know what I'm doing.<\/dialogue>\n    <scene_description>Harry gives a concerned look to Allison , who returns the look , but the two say nothing . They place the Victim into the back of the Ambulance as Heather looks on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD -- MOMENTS LATER<\/stage_direction>\n    <scene_description>The Ambulance is moving along a near - empty single - lane road at a patient pace , with two CARS tailgating behind it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMBULANCE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Allison and Harry are in the back with the Victim , and Heather is again behind the wheel , moving her head ever so slightly , as if to music playing in her head . Heather 's moderate driving speed is in sharp contrast to the speed with which she responded to the scene . At the same red light that Heather recklessly ran earlier , Heather stops and looks in all directions before proceeding , even though there are no cars at the intersection .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>Uh, Heather, you want to step on it?<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>We'll get there.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>You do n't even know for sure if she slept with Steve!<\/dialogue>\n    <scene_description>Heather turns around in the driver seat , taking her eyes off the road .<\/scene_description>\n    <character>HEATHER<\/character>\n    <dialogue>Listen, fuck that slut, okay?! She can fucking rot in hell! I'm not rushing for her slut ass!<\/dialogue>\n    <character>ALLISON<\/character>\n    <parenthetical>( pleading . )<\/parenthetical>\n    <dialogue>Heather, c'mon, she's out cold! We got ta hurry!<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>I - do n't - fucking - care! That slut can kiss my ass!<\/dialogue>\n    <parenthetical>( to Victim . )<\/parenthetical>\n    <dialogue>You hear me, you fucking bitch?!<\/dialogue>\n    <scene_description>As Heather spins forward to look at the road , the Ambulance jumps as it hits a pothole .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COREY AND PEDRO'S HOUSE -- MORNING<\/stage_direction>\n    <scene_description>The Tow Truck has just pulled up into the driveway . Pedro climbs out and makes his way up the sidewalk to his front door , carrying a gallon of MILK . Emily climbs out and trails behind him , carrying her LAUNDRY BAG and PURSE . The house is very small , with a front yard that is not much bigger than the sidewalk , and neighboring houses not much more than a body length apart from each other . Pedro notices an EVICTION NOTICE on the front door , and that a brand - new lock has been placed on the otherwise run - down door . He tries unsuccessfully to open the door . He walks over and looks through the front window into his kitchen and sees his DOG . Pedro taps on the window . The Dog looks up at Pedro , wagging its tail . Pedro tries to open the window , but it 's locked . Pedro walks around to the side of the house . Emily throws her Laundry Bag over her shoulder and follows him , frustrated with the wait . He looks in the window on the pantry door . He backs up and looks toward Emily , blank . He looks back up at the house , frustrated . He about - faces , steps over to the side of the neighboring house , unzips his pants , looks both ways to make sure the neighbors are not around , and starts pissing . Emily shakes her head and heads back toward the truck , turned off by the whole situation .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PIZZA SHOP -- MORNING<\/stage_direction>\n    <scene_description>Jimmy parks his PIECE - OF - SHIT in front of a mom - and - pop pizza shop and exits . A sign that reads `` Poppy 's Pizzeria '' hangs above the pizza shop . He enters .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PIZZA SHOP -- CONTINUOUS<\/stage_direction>\n    <scene_description>Jimmy walks past a few tables where patrons are eating . PIZZA POP , a sixty - ish pot - bellied man standing behind the counter making a PIZZA , sees him .<\/scene_description>\n    <character>PIZZA POP<\/character>\n    <parenthetical>( heavy Italian accent . )<\/parenthetical>\n    <dialogue>Hey - a, Jimmy, you do n't hafta be here'till 2:00! What's up, eh? You hungry?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Nah. I'm gon na start early, if that's alright. I could use the cash.<\/dialogue>\n    <character>PIZZA POP<\/character>\n    <dialogue>Still paying offa those credit cards, eh Jimmy? I told you them things are - a trouble.<\/dialogue>\n    <parenthetical>( calling into the back . )<\/parenthetical>\n    <dialogue>Sweetheart! Do n't a worry about that! Jimmy's a here and he's a gon na take care of it!<\/dialogue>\n    <scene_description>In an arched entranceway to the back room we see PIZZA MOM back into view holding several PIZZA BOXES in insulated CARRYING BAGS .<\/scene_description>\n    <character>PIZZA MOM<\/character>\n    <parenthetical>( smiling . )<\/parenthetical>\n    <dialogue>Hey - a Jimmy!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARLOS' CAR -- MORNING<\/stage_direction>\n    <scene_description>Jessica is driving the old run - down yellow CAR we saw earlier in the parking lot of the park , the window down and the radio blasting . Her CELL PHONE rings and she picks it up .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>CARLOS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Where the hell are you?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Carlos?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONVENIENCE STORE -- CONTINUOUS<\/stage_direction>\n    <scene_description>CARLOS , a skinny Hispanic teenager , is walking out of the convenience store with a tray of NACHOS , talking on a CELL PHONE . We cut back and forth between Jessica and Carlos .<\/scene_description>\n    <character>CARLOS<\/character>\n    <dialogue>Why were n't you answering your phone?! You were supposed to bring my car back last night!<\/dialogue>\n    <character>JESSICA'S VOICE<\/character>\n    <dialogue>Yeah. Sorry.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>You bringing it or what? I need it for work!<\/dialogue>\n    <character>JESSICA'S VOICE<\/character>\n    <dialogue>Not'til this afternoon.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>What the hell, Jess?! You said I'd have it last night!<\/dialogue>\n    <character>JESSICA'S VOICE<\/character>\n    <dialogue>Alright, relax, I'll bring it.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Dammit! Where are you?<\/dialogue>\n    <character>JESSICA'S VOICE<\/character>\n    <dialogue>I'm getting on the Parkway.<\/dialogue>\n    <scene_description>The old run - down yellow Car passes Carlos and continues down the street . Carlos is dumbfounded .<\/scene_description>\n    <character>CARLOS<\/character>\n    <dialogue>What the hell?!<\/dialogue>\n    <scene_description>Carlos runs into the street and stands staring down the road at his Car speeding away from him .<\/scene_description>\n    <character>JESSICA'S VOICE<\/character>\n    <dialogue>What's the matter?<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Jess, you just passed me! In my car!<\/dialogue>\n    <scene_description>Carlos continues to look as his Car makes a right turn and disappears from view .<\/scene_description>\n    <character>CARLOS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Jess, this is bullshit! Bring back my car!<\/dialogue>\n    <scene_description>A horn honks , and Carlos steps toward the side of the road as a STATION WAGON passes right by him . He continues to stand in the street , although to the side .<\/scene_description>\n    <character>CARLOS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Jess, I know you're coming back here. I know you're not leaving me standing here.<\/dialogue>\n    <scene_description>Carlos waits impatiently . Jessica pulls up in the Car and comes to a stop alongside him - she had gone around the block to pick him up . He gets in the passenger - side door .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <scene_description>The Car pulls away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARLOS' CAR -- CONTINUOUS<\/stage_direction>\n    <scene_description>Carlos has a look of disgust on his face .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>I would have brought the car back, but I need it.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>So you ask.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>I said I'm sorry.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Yeah right. And why the hell are you still driving?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <scene_description>The Car stops , Carlos and Jessica climb out of the Car and pass in back of it without a word . Carlos climbs into the driver seat , and Jessica the passenger seat . Jessica grabs Carlos 's Nachos and starts munching them down , dipping each one into the CHEESE SAUCE that is on the side .<\/scene_description>\n    <character>CARLOS<\/character>\n    <dialogue>Where's the squirt?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>At my place watching TV.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>You left her alone?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Just for a minute. I left my novel at Aaron's.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>You need it now? Are n't you supposed to be watching her?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Yeah, I'm stuck with her all weekend. I'm just gon na get through these last few weeks like I promised, and I'm done, I did a good thing, and some other moron can take a turn being her big sister.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Do n't know why you wanted another sister when you hate the one you got.<\/dialogue>\n    <scene_description>Jessica needs to change the subject .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>What're you up to?<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Guess who stopped by.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Guess.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Mary Lynn.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Yes. Gigantic beast of a woman that she is.<\/dialogue>\n    <scene_description>Jessica is obviously delighting in this . She enjoys Carlos fighting off the affections of this very unattractive girl .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Aw Carlos, I think you should give her a shot. She's probably one of those personality girls.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Yeah, what you know about personality?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>I bet she'll give it up right away.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Now that's something you know about.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>You should go for it. Drain them pipes.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Fuck you, fuck you, fuck you.<\/dialogue>\n    <scene_description>Carlos reaches down and blasts the radio as the Car speeds down the road .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PIZZA SHOP -- MORNING<\/stage_direction>\n    <scene_description>Jimmy is carrying several full insulated pizza CARRYING BAGS , with several brown LUNCH BAGS full of food on top . Although the pile looks unwieldy , Jimmy has no trouble with it . He places the pile on the roof of his PIECE - OF - SHIT , opens the passenger door , and places the pile on the passenger seat . He closes the door , and pulls a DELIVERY LIST out of his pocket to examine while walking around to the driver 's side . Jimmy gets into the driver 's seat and pulls out his CELL PHONE .<\/scene_description>\n    <character>JIMMY<\/character>\n    <parenthetical>( into his cell phone . )<\/parenthetical>\n    <dialogue>Hey, Car, it's me. I got a delivery in the area so I'm stopping by a little early. See you in a little while.<\/dialogue>\n    <scene_description>Jimmy hangs up , starts his Piece - of - Shit , and pulls out of the parking lot .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTY ROAD -- MORNING<\/stage_direction>\n    <scene_description>A POLICE CAR is sitting off the road , positioned to surprise unsuspecting speeders . The lone occupant , DEREK , twenty , about 6 ' tall with athletic build , in his police - officer uniform , is reading the SPORTS SECTION of a newspaper .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEREK'S POLICE CAR -- CONTINUOUS<\/stage_direction>\n    <scene_description>OTS on Derek as he turns the page and continues reading the sports section . A young preppy high school PUNK speeds by in a CORVETTE - the RADAR GUN reads 93 m.p.h. . As he passes , the punk looks straight at Derek , mouth open , clearly surprised by Derek 's presence . Derek picks up his head and returns the stare of the surprised Punk as he passes .<\/scene_description>\n    <character>DEREK<\/character>\n    <dialogue>Whoa.<\/dialogue>\n    <parenthetical>( returning to the Sports Section . )<\/parenthetical>\n    <dialogue>Slow down, there, buddy.<\/dialogue>\n    <scene_description>Derek 's CELL PHONE rings . He reaches down , fumbles around , and brings it to his ear .<\/scene_description>\n    <character>DEREK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Yeah?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RESCUE SQUAD -- CONTINUOUS<\/stage_direction>\n    <scene_description>ALLISON is seated on a small wooden bench in the yard in front of the rescue squad . HEATHER is pacing back and forth in front of her , CELL PHONE to her ear . Both are smoking CIGARETTES . Heather is still heated from seeing Steve 's girl , and Allison is uncomfortable being around Heather , who may lash out at anything . We cut back and forth between Derek and Heather .<\/scene_description>\n    <character>HEATHER<\/character>\n    <dialogue>Are you seeing anybody else?<\/dialogue>\n    <character>DEREK<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>HEATHER<\/character>\n    <parenthetical>( louder . )<\/parenthetical>\n    <dialogue>Hello?! Are you seeing anybody else?!<\/dialogue>\n    <character>DEREK<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>You're not cheating on me?<\/dialogue>\n    <character>DEREK<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Be honest.<\/dialogue>\n    <character>DEREK<\/character>\n    <dialogue>You're startin' to annoy me.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>You're fucking annoying me!<\/dialogue>\n    <character>DEREK<\/character>\n    <parenthetical>( dismissive . )<\/parenthetical>\n    <dialogue>Fine.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Do n't you hang up!<\/dialogue>\n    <character>DEREK<\/character>\n    <dialogue>Then calm down. You told me to tell you when you're in one of your moods? Well guess what?<\/dialogue>\n    <scene_description>DEREK hears a click , hangs up , puts his Cell Phone down and goes back to reading the Sports Section .<\/scene_description>\n    <character>HEATHER<\/character>\n    <dialogue>See? That asshole's cheating.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Just because he wo n't move in with you does n't mean he's cheating.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Ally, he's a cheater. That's what he does - he cheats. Now it's my turn just like all the others.<\/dialogue>\n    <scene_description>Heather grabs her PURSE off the bench , replaces her Cell Phone , and pulls out her KEYS .<\/scene_description>\n    <character>HEATHER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Let's go.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Where?<\/dialogue>\n    <scene_description>Allison gets up and follows Heather toward the parking lot .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AARON'S HOUSE -- MORNING<\/stage_direction>\n    <scene_description>CARLOS has parked in front of an old house , which is in a high state of disrepair . JESSICA gets out of the CAR with Carlos ' NACHOS .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>You coming in?<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>No, but tell asshole I said hello.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>See ya.<\/dialogue>\n    <scene_description>Jessica shuts the door . As she walks away , Carlos can not take his eyes off of her - he is obsessed . Jessica walks up the steps and bangs on the screen door . PITT , African - American , medium build , in his late teens , with thick - framed glasses , walks up behind the screen door and holds it open for Jessica to walk in .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Aaron here?<\/dialogue>\n    <character>PITT<\/character>\n    <dialogue>No, he went to yer place lookin' fer you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AARON'S HOUSE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Jessica walks in . Pitt let 's the door slam shut .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Shit. I left my novel here.<\/dialogue>\n    <character>PITT<\/character>\n    <dialogue>You got no idea why he's lookin' for you, do you?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>What're you talkin' about?<\/dialogue>\n    <character>PITT<\/character>\n    <dialogue>You been fuckin' around.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>No I have n't.<\/dialogue>\n    <character>PITT<\/character>\n    <dialogue>Well, someone did somethin', cause Aaron caught somethin' an' he ai n't happy about it.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>He caught somethin'? What the hell did he catch?<\/dialogue>\n    <character>PITT<\/character>\n    <dialogue>Would n't say. Just said that he ai n't been with anyone, so it musta been you.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <character>PITT<\/character>\n    <dialogue>You humped someone, did n't you?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>I did n't do shit.<\/dialogue>\n    <character>PITT<\/character>\n    <dialogue>Well it musta been the immaculate infection, ` cuz he got somethin'. He's lookin' fer you.<\/dialogue>\n    <scene_description>Jessica throws the Nachos on the coffee table and sits on the couch , head in her hands , on the verge of tears .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Shit, shit.<\/dialogue>\n    <character>PITT<\/character>\n    <dialogue>Yeah, you did it.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Fuck you, Pitt.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POOL, MEN'S BATHROOM -- MORNING<\/stage_direction>\n    <scene_description>COREY is MOPPING the floor . He glances up as Pedro steps over to him . Corey and Pedro talk and argue like two kids on a playground .<\/scene_description>\n    <character>PEDRO<\/character>\n    <dialogue>Hey, mehn.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>What're you doing back?<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>I got your sister.<\/dialogue>\n    <parenthetical>( forming breasts with his hands . )<\/parenthetical>\n    <dialogue>She got big.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>That's my little sister.<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>She's hot, mehn. Esta buenisima.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Just take her back to our place!<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>I ca n't because we got no place. We got thrown out.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>He threw us out?!<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>Si! And all our shit's still in there! And Pancho, too!<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>That's illegal, is n't it?! He ca n't just lock us out!<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>Si, he sucks cock. I mean, I got ta go find a job, I smell like shit, I'm fucked!<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Maybe you should talk to your boss. Like, ask him to take you back.<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>No, fuck him, mehn! Just gim me Mr. Cocksucker's address.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>What for?<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>I take care of this.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Do n't do anything that'll get us into trouble.<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>Do you think I'm stupid, mehn? Do n't worry about this. I talk to him. But first I take care of business.<\/dialogue>\n    <scene_description>Pedro bangs on a stall door , with no response . Pedro pushes the door to the stall open .<\/scene_description>\n    <character>PEDRO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Okay, mehn. Good. Voy a cagar.<\/dialogue>\n    <scene_description>Pedro disappears behind the door of the stall . Corey leans his Mop against the wall and exits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAR'S HOUSE -- DAY<\/stage_direction>\n    <scene_description>JIMMY pulls his PIECE - OF - SHIT into the driveway of what appears to be a one - story house , next to a RANGE ROVER . He climbs out with the strap of his BACKPACK hanging over one shoulder and walks around the house to the back yard . The yard slopes significantly from the front yard to the back yard , and the view of the back of the house reveals two stories . As Jimmy turns the corner , he spots a black CAT walking up to him . He grabs the Cat .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR'S HOUSE -- CONTINUOUS<\/stage_direction>\n    <scene_description>WIDE on Jimmy holding the Cat behind a set of sliding glass doors , one door partially open . He enters and shuts the door behind him . Music is playing through stereo speakers , and a black - and - white movie is playing on the TV with the sound shut off . CAR , an Asian - American late - twenty - something , is sitting back on the couch facing the TV . Magazines , junk food , remote controls and a CORDLESS PHONE are spread out on the coffee table . If Car notices Jimmy enter the room , he shows no sign of it .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Saw your cat outside.<\/dialogue>\n    <scene_description>Jimmy tosses the Cat on the floor , and it scurries off to another part of the house . Jimmy sits in a recliner beside the couch , glad to take a load off . Jimmy takes a peak at the TV .<\/scene_description>\n    <character>JIMMY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I got ta get back to work. I got more pies in the car.<\/dialogue>\n    <scene_description>No response . The Cordless Phone starts ringing . Car remains perfectly still .<\/scene_description>\n    <character>JIMMY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Car?<\/dialogue>\n    <scene_description>No response . The Cordless Phone continues to ring . Jimmy leans over from his chair and waves a hand in front of Car . Nothing . Jimmy jumps up from his recliner . He stares at Car . He steps over , takes two fingers and checks Car 's pulse . He stands back , unsure of what to do . Hesitant , Jimmy walks over to a closet , opens the door , and slides a GYM BAG out into the room . He opens the Gym Bag and pulls out a large bag of MARIJUANA and a few jars of K . He throws them into his Backpack , zips up the Gym Bag , and puts it back into the closet . Jimmy exits through the sliding glass doors .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAR'S HOUSE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Jimmy shuts the doors behind him . He stops in his tracks just outside the doors , thoughts running through his mind .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR'S HOUSE -- CONTINUOUS<\/stage_direction>\n    <scene_description>WIDE on Jimmy through the doors as he about faces and stares into the house . He slides the doors open and re - enters . He picks up the Gym Bag and carries it to the front of the couch . He sets down Gym Bag and drops to his knees , all while noticing that Car appears to be staring at him . He unloads the remaining contents of the Gym Bag into his Backpack , including a few bags of PILLS , a few more jars of K , and two large bags of WHITE POWDER . He throws one strap of his Backpack over his shoulder and stands in front of Car . Jimmy stares at Car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAR'S HOUSE -- CONTINUOUS<\/stage_direction>\n    <scene_description>WIDE on Jimmy as he throws his Backpack into his trunk , climbs into his Piece - of - Shit , and sits , reflecting .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JIMMY'S CAR -- LATER<\/stage_direction>\n    <scene_description>Jimmy is driving through semi - busy traffic . Music is blaring from the radio , and the driver - side window is open , making the noise in the cockpit quite loud . Jimmy 's left hand is simultaneously wrapped around the steering wheel and the DELIVERY LIST , which is hanging down over the steering wheel so that he can read it . Jimmy 's CELL PHONE rings .<\/scene_description>\n    <character>JIMMY<\/character>\n    <parenthetical>( over the wind and music . )<\/parenthetical>\n    <dialogue>Yeah, it's Jimmy!<\/dialogue>\n    <character>MATT<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( barely audible . )<\/parenthetical>\n    <dialogue>Hey Jimmy, it's Matt. I need some K.<\/dialogue>\n    <scene_description>Jimmy turns off the radio and begins rolling up the driver - side window .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Matt?! Speak up, man, I can barely hear you!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MATT'S BEDROOM -- CONTINUOUS<\/stage_direction>\n    <scene_description>MATT , in his late teens , has a very short buzz - cut . He 's wearing an old t - shirt and faded cargo - shorts , and he 's sitting up on the edge of his unmade bed . Matt 's bedroom is a shithole , with dirty clothes piled everywhere . He 's talking into a CORDLESS PHONE , using his free hand to rub the back of his neck nervously .<\/scene_description>\n    <character>MATT<\/character>\n    <parenthetical>( semi - whispering . )<\/parenthetical>\n    <dialogue>I need some K, dude. I need it for tonight.<\/dialogue>\n    <scene_description>We cut back and forth between Jimmy and Matt .<\/scene_description>\n    <character>JIMMY<\/character>\n    <parenthetical>( still rolling up the window . )<\/parenthetical>\n    <dialogue>What?!<\/dialogue>\n    <character>MATT<\/character>\n    <parenthetical>( semi - whispering . )<\/parenthetical>\n    <dialogue>Jesus Christ, Jimmy! My folks are home! I need some K, dude!<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Alright, alright! I got it, man, got plenty! I'll see you tonight!<\/dialogue>\n    <scene_description>Jimmy hangs up and begins to roll down the window . The cell phone begins ringing again . Jimmy reverses himself and begins rolling the window back up .<\/scene_description>\n    <character>JIMMY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Yeah, it's Jimmy!<\/dialogue>\n    <scene_description>We cut back and forth between Jimmy and Matt . Matt is now pacing back and forth in his shithole room . His voice is hushed , although the sense of urgency in it is obvious . Jimmy 's still talking loud , as his Piece - of - Shit does not provide a quiet ride .<\/scene_description>\n    <character>MATT<\/character>\n    <dialogue>Jimmy! Jesus, man! Listen to me! I need one a' your special deliveries - I wo n't be around tonight!<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Alright, man, when do you need it?!<\/dialogue>\n    <character>MATT<\/character>\n    <dialogue>Like, now, dude! For tonight! I'm taking off!<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Matt, you're way out of the way, man! Wait for another delivery.<\/dialogue>\n    <character>MATT<\/character>\n    <dialogue>Look, I need it now, man! Now now now! I'm takin' off!<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>What's the rush?!<\/dialogue>\n    <character>MATT<\/character>\n    <parenthetical>( finally confiding . )<\/parenthetical>\n    <dialogue>Look, dude, I'm takin' out this girl - a friend of Setzer's. He said I could bang her easy if I had some K.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Really?!<\/dialogue>\n    <character>MATT<\/character>\n    <dialogue>Easy, dude, easy. Setzer's words - it's in the bag.<\/dialogue>\n    <scene_description>Jimmy 's eyes get very wide .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Jesus!<\/dialogue>\n    <scene_description>Jimmy slams on the breaks and cuts the wheel to the left . Too late . Jimmy rocks forward as the stress balls that were sitting on the passenger seat fly to the floor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAFFIC INTERSECTION -- CONTINUOUS<\/stage_direction>\n    <scene_description>Jimmy 's Piece - of - Shit has just rear - ended another CAR of equal value parked in front of a STOP SIGN in an otherwise empty intersection . The DRIVER of the forward Car stirs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JIMMY'S CAR -- CONTINUOUS<\/stage_direction>\n    <scene_description>Jimmy has his right arm draped over the Pizza Boxes in the passenger seat , protecting them from flying forward as a parent would have instinctively reached to hold back a child . His Cell Phone starts ringing again . He slowly begins to stir .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAFFIC INTERSECTION -- CONTINUOUS<\/stage_direction>\n    <scene_description>The driver , DAVE , a large , ripped , soft - spoken juicehead , gets out of the forward car holding the back of his neck . He slams the door shut with his free hand , pissed , and staggers towards Jimmy 's car . A twenty - something FEMALE PASSENGER is sitting motionless in the passenger seat . Dave glances up and sees Jimmy .<\/scene_description>\n    <character>DAVE<\/character>\n    <dialogue>Jimmy?<\/dialogue>\n    <parenthetical>( still dazed , but immediately friendly . )<\/parenthetical>\n    <dialogue>Hey, what's up, man?<\/dialogue>\n    <scene_description>Jimmy turns off the ringer on his Cell Phone and gets out of his vehicle .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Shit, Dave, sorry ` bout that. I was talkin' on the phone. I did n't see the stop sign, I guess.<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>Do n't sweat it.<\/dialogue>\n    <parenthetical>( regarding his Car . )<\/parenthetical>\n    <dialogue>I could give a shit about this thing. I was hopin' some rich doctor or lawyer or somethin' hit me.<\/dialogue>\n    <scene_description>Jimmy notices the Female Passenger in the passenger seat and walks toward her , with Dave following .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Holy shit, man, is she alright?<\/dialogue>\n    <scene_description>Jimmy and Dave both stand near the passenger side of the car . The window is completely open . The Female Passenger lies motionless , bleeding noticeably from the forehead .<\/scene_description>\n    <character>DAVE<\/character>\n    <dialogue>She'll be alright. You did n't hit us that hard - it's got ta look worse than it is.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>What're you, a fuckin' doctor? We need ta get her to a hospital.<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>Fuck that, you'll have all kinds' a problems if we do that. Cops, insurance and whatnot. You probably got drugs on you.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Dave, look at her fuckin' head! She's bleedin' all over the place!<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>Just give her a minute, she'll snap out of it. She's a stripper, for god - sake.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>That's retarded.<\/dialogue>\n    <scene_description>The Female Passenger begins to slowly stir . It is clear she is out of it - still very woozy .<\/scene_description>\n    <character>DAVE<\/character>\n    <dialogue>See? I told ya.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Dave, you're a sick fuck. I'm calling. Look at the blood!<\/dialogue>\n    <scene_description>Jimmy reaches for his Cell Phone , but Dave again objects .<\/scene_description>\n    <character>DAVE<\/character>\n    <dialogue>Put that shit away. I'll take her home and give her some K, she'll be fine.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>She needs a doctor. What the hell's K gon na do?<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>Jimmy, listen, she's gon na be fine. A guy like you should be avoidin' that kinda' attention.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>You should take better care of your girl.<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>Bro, she ai n't my girl. She plows through all my drugs, and I fuck her like a goddam whore. She's a whore.<\/dialogue>\n    <character>FEMALE PASSENGER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Fuck you, Dave, you asshole!<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>See, she's fine.<\/dialogue>\n    <scene_description>Dave lights a CIGARETTE .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Holy shit. You're fucked up.<\/dialogue>\n    <parenthetical>( seeing an opportunity . )<\/parenthetical>\n    <dialogue>Hey, you need any juice or anythin'?<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>No, man, I'm good.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>You sure? Look, man, I just got a buncha' stuff. Coke, e, K. I got ta sell it fast, you can sell it to your crackhead friends whenever.<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>You been placin' bets with Bobby the Bookie again?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>No. I'm just, I'm payin', like, twenty percent on my cards and shit, and it drives me fuckin' nuts, pissin' all my money away.<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>Sellin' drugs ta pay off the plastic, huh?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>You want it?<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>Look, I'm definitely interested in a little bit for myself, definitely, but I ai n't no dealer like you. Lem me think about it.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Hey, your nose is bleedin'.<\/dialogue>\n    <scene_description>Dave reflexively puts a finger to his nostril and examines it for blood .<\/scene_description>\n    <character>DAVE<\/character>\n    <dialogue>Seriously?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>No, just horsin' around.<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>Listen, I got ta get going. Patch her head up and shit.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <parenthetical>( regarding Dave 's Car . )<\/parenthetical>\n    <dialogue>Sorry, man.<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>Do n't even sweat it, man, I told ya.<\/dialogue>\n    <scene_description>Jimmy and Dave get in their respective cars and drive off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POOL, SWINGS -- DAY<\/stage_direction>\n    <scene_description>EMILY is seated on a swing off to the side of the gated pool area , smoking a CIGARETTE , looking in through the gate at the pool . She 's wearing an old , yet barely worn , BASEBALL CAP .<\/scene_description>\n    <character>COREY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>You smoke?!<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>Yeah, so? You do drugs.<\/dialogue>\n    <scene_description>Corey enters the frame , grabs the Cigarette and stomps it out , but Emily 's nonchalant demeanor remains .<\/scene_description>\n    <character>COREY<\/character>\n    <dialogue>How would you know?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>Everybody knows my brother does drugs.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>So you heard about that thing that happened?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>Yeah. Everybody knows about that, too.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>If you think so highly of me, what the hell are you doing here?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>I'm just saying. Why'd you try to put everything back in the house?<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>We ran outta of gas. We were right outside his house - what the hell else were we supposed to do? He was n't supposed to be home for another hour. At least he took it easy on us.<\/dialogue>\n    <character>EMILY<\/character>\n    <parenthetical>( changing the subject . )<\/parenthetical>\n    <dialogue>Here, I brought this.<\/dialogue>\n    <scene_description>Emily hands Corey the Baseball Cap . Corey is caught off - guard .<\/scene_description>\n    <character>COREY<\/character>\n    <dialogue>What for?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>Dad gave it to you, remember? You left it. I brought it for you.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Keep it. I do n't wear hats.<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>I do n't want it.<\/dialogue>\n    <scene_description>Corey has no desire to wear it , so he holds it .<\/scene_description>\n    <character>COREY<\/character>\n    <dialogue>You go to see him at all?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>In prison? No, not lately.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>So what's the problem? Vincent hitting you?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>Vincent? Vincent's gone. She's on Victor now.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>What happened to Vincent?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>He found out about Victor.<\/dialogue>\n    <character>PEDRO<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( to Corey . )<\/parenthetical>\n    <dialogue>Vamos, I need the address! I have a pen in the truck!<\/dialogue>\n    <scene_description>Pedro is standing at the gate .<\/scene_description>\n    <character>COREY<\/character>\n    <dialogue>So is Victor hitting you or what?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>What then?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>I do n't wan na talk about it. Forget it.<\/dialogue>\n    <character>PEDRO<\/character>\n    <parenthetical>( to Corey . )<\/parenthetical>\n    <dialogue>Hurry up, mehn!<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>You know he has porno magazines all over his truck.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>So?<\/dialogue>\n    <scene_description>Corey heads toward the gate and spots KEVIN , a young boy of about ten , sitting on the MOPED that was leaning up along the interior of the pool - area fence .<\/scene_description>\n    <character>COREY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hey, Kevin, get off my bike, alright?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>It's a moped.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Just lay off it.<\/dialogue>\n    <scene_description>Kevin gets off . Corey continues toward the gate .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POOL - PARKING LOT -- MOMENTS LATER<\/stage_direction>\n    <scene_description>The driver - side door of a TOW TRUCK is swung wide open , with `` ATHENS TOWING SERVICE '' written on side . Pedro is leaning one hand on the rolled down window and his other hand on the roof of the Tow Truck , watching Corey , who is leaning over the Tow Truck 's hood , writing Mr. Carson 's address on a piece of PAPER with a PEN .<\/scene_description>\n    <character>PEDRO<\/character>\n    <dialogue>Gracias.<\/dialogue>\n    <scene_description>Pedro throws the Paper and Pen into the Tow Truck .<\/scene_description>\n    <character>PEDRO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oye, do n't get mad, but would you be mad if I try to fuck your sister?<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>If you think you can.<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>Maybe you think you can talk to her for me?<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Pedro, she's fifteen!<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>No way, mehn.<\/dialogue>\n    <parenthetical>( forming breasts with his hands . )<\/parenthetical>\n    <dialogue>No con esas tetas.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>I'll have you sent to jail, man. I'm serious.<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>No way she is fifteen. She looks way older.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>She'll look a lot younger on the witness stand, with my mom sitting in the courtroom.<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>Bueno, tell her I say good - bye. I call you soon.<\/dialogue>\n    <scene_description>Pedro climbs behind the wheel as Corey holds the door open to talk to him .<\/scene_description>\n    <character>COREY<\/character>\n    <dialogue>So what're you gon na do?<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>I'm gon na find Mr. Cocksucker and say, `` Look, mehn, let us into our fucking home.''<\/dialogue>\n    <scene_description>Corey steps aside as Pedro shuts his door and turns the ignition .<\/scene_description>\n    <character>COREY<\/character>\n    <dialogue>Wait a second. Why are you still driving this thing? I thought you got fired.<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>Si, si, but I need it. How am I gon na drive without my truck. They fired me, mehn.<\/dialogue>\n    <scene_description>Corey watches as Pedro pulls out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE STATION -- DAY<\/stage_direction>\n    <scene_description>ESTABLISHING SHOT on the police station with a number of POLICE CARS parked neatly in front . Two middle - age MALE POLICE OFFICERS are standing in front of the entrance , talking . Heather and Allison 's AMBULANCE is parked in the lot across the street , facing the police station .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMBULANCE -- CONTINUOUS<\/stage_direction>\n    <scene_description>The engine is off . HEATHER is behind the wheel and ALLISON is slouched back on the passenger seat , both watching the two Male Police Officers standing in front of the building .<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>I hate this job.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>I should pick up one of them assholes.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Do n't you have an appointment with Dr. Cook?<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Five - thirty, and I'm not missing it.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Derek probably thinks you're sleeping with your doctor. There's nothing wrong with you.<\/dialogue>\n    <character>HEATHER<\/character>\n    <parenthetical>( holding the lower portion of her right ribcage . )<\/parenthetical>\n    <dialogue>Ally, I have a pain right here that has nothing to do with my head. My dad died of heart disease, and if that asshole taught me anything, it's better to be paranoid than dead.<\/dialogue>\n    <scene_description>A FEMALE POLICE OFFICER , a prim - and - proper plain - jane 5 ' 5 '' woman in her early twenties , exits the building and walks over to talk with the two Male Police Officers .<\/scene_description>\n    <character>HEATHER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>That's her. Tess.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>You're just guessing.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Ally, I know that's her. That's his type, too. That little slut.<\/dialogue>\n    <scene_description>Both Heather 's and Allison 's BEEPERS go off . They both look down at their Beepers and sit up in their seats .<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Harry's waiting.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Sorry if I snapped.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>You did n't snap.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>I mean this morning.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Oh. That's okay.<\/dialogue>\n    <scene_description>Heather starts the Ambulance and starts to pull out of the lot .<\/scene_description>\n    <character>HEATHER<\/character>\n    <dialogue>I'm just afraid its gon na be the whole thing all over again with Derek, and then I've got to find some other asshole, and do it all again. I'm sick of the whole cycle.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>So do something different.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>I'm trying, but he's fucking it all up.<\/dialogue>\n    <scene_description>As they pull out of the lot , the two Male Police Officers head toward their Police Cars and the Female Police Officer heads back inside the station .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AARON'S HOUSE -- CONTINUOUS<\/stage_direction>\n    <scene_description>JESSICA is on a PHONE , holding a bookmarked trash NOVEL in her hand . PITT is sitting on the couch watching TV .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Yeah, where are you?<\/dialogue>\n    <character>CARLOS' VOICE<\/character>\n    <dialogue>Right down the street, gettin' some more nachos.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Can you just come back and get me? Hurry up.<\/dialogue>\n    <scene_description>Jessica looks up to see TROY entering the house with AARON behind him . TROY is a shaggy , 5 ' 10 '' pothead slacker in his late teens , wearing beat - up jeans , a t - shirt with a faded logo on it , and light hair above his lip and on his chin . AARON , a burly mutt , about the same age and only slightly shorter , wearing cut - off cargo pants with one of the thigh pockets ripped off , a sleeveless shirt and a tattoo on his left shoulder . Troy notices Jessica immediately .<\/scene_description>\n    <character>TROY<\/character>\n    <dialogue>Holy shit.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Aaron, I do n't know how the hell you got.<\/dialogue>\n    <character>AARON<\/character>\n    <parenthetical>( interrupting . )<\/parenthetical>\n    <dialogue>Fucking bitch!<\/dialogue>\n    <scene_description>Aaron shoves Troy roughly out of the way as Jessica bolts out of the room .<\/scene_description>\n    <character>PITT<\/character>\n    <parenthetical>( to Jessica . )<\/parenthetical>\n    <dialogue>Use the back door, yo!<\/dialogue>\n    <scene_description>Jessica runs out the back door and around the front of the house . Aaron sees her turn the corner of the house , and he turns around to cut her off .<\/scene_description>\n    <character>AARON<\/character>\n    <parenthetical>( to Pitt . )<\/parenthetical>\n    <dialogue>Man, do n't be helpin' that bitch!<\/dialogue>\n    <character>PITT<\/character>\n    <dialogue>I do n't want to see you be hittin' no girl. Just calm your ass down.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Fuck you!<\/dialogue>\n    <scene_description>Aaron runs out the front door after Jessica .<\/scene_description>\n    <character>TROY<\/character>\n    <dialogue>He's gon na kill her.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AARON'S HOUSE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Aaron is out the front door , yelling at Jessica who is further down the street .<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Where you goin', bitch?!<\/dialogue>\n    <scene_description>Jessica runs to Carlos 's CAR , opens the door , throws the Novel in and jumps in after it . She throws on her seatbelt and rifles through her purse , looking for her pepper spray .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Drive!<\/dialogue>\n    <character>CARLOS<\/character>\n    <parenthetical>( starting the Car . )<\/parenthetical>\n    <dialogue>What's the deal?<\/dialogue>\n    <scene_description>Aaron , holding a ROCK slightly bigger than his fist , smashes the passenger - side window .<\/scene_description>\n    <character>CARLOS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What the fuck!<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Fucking drive!<\/dialogue>\n    <scene_description>Aaron reaches in and grabs Jessica 's hair and begins to rip her out of the car , cutting his own arm while doing so . Aaron growls , more in anger than pain , as he yanks with all his might . Jessica is holding onto the inside of the passenger door with one hand , and is scratching and clawing at Aaron to get Aaron to release her with her other hand . Jessica 's seat belt clearly is the only thing keeping her in the car . Carlos is pulling away slowly . Aaron releases one hand from Jessica 's hair and punches at the top of her head .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Fuck you!<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Fuck you, you filthy fuckin' whore!<\/dialogue>\n    <scene_description>Aaron repeatedly tries to hit Jessica with his free hand as Carlos pulls into the street . Aaron runs along with the car . Jessica reaches toward Aaron with a closed fist , where she is holding her PEPPER SPRAY . She sprays at Aaron but misses . Aaron grabs at her fist with his free hand and rips the Pepper Spray from Jessica . Jessica screams in pain as Aaron sprays away .<\/scene_description>\n    <character>AARON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You like that, bitch?! Huh?!<\/dialogue>\n    <scene_description>Carlos swerves violently to the side towards a parked CAR along the side of the road . Aaron is plowed along toward the Car , but releases Jessica at the last possible second , just avoiding a collision with the Car . Carlos was not fooling around . Aaron watches them tear down the street before he about - faces and walks briskly back toward the house , where Troy is standing on the front porch watching the action .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARLOS' CAR -- CONTINUOUS<\/stage_direction>\n    <scene_description>Jessica is still reeling from the pepper spray . She can barely stammer out her words .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Oh my God, my fucking eyes!<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Jesus, look at my car, Jess!<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>That fucking. asshole!<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Now I'm screwed too.<\/dialogue>\n    <scene_description>Carlos turns to look through the rear window of his car - all clear .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( practically sobbing . )<\/parenthetical>\n    <dialogue>I'm so sorry.<\/dialogue>\n    <scene_description>An otherwise believable apology , except that Carlos knows Jessica too well . Jessica does not want to be in this alone . Carlos cuts the wheel to the right and tears down a side street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LANDLORD'S HOUSE -- DAY<\/stage_direction>\n    <scene_description>Pedro pulls his TOW TRUCK and parallel parks on the street in front of the house . Pedro gets out of his Tow Truck and walks up to the front door . He rings the doorbell . There is no answer , so he rings the doorbell again , then knocks on the door . Again no answer , so he bangs on the door vigorously . He leans over and peers inside the window . As he does so , MR. CARSON opens the front door , apparently having just woken up .<\/scene_description>\n    <character>MR. CARSON<\/character>\n    <dialogue>Pedro? What're you doing here? Get the hell off my porch.<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>Hey, mehn, let me into my fucking apartment.<\/dialogue>\n    <character>MR. CARSON<\/character>\n    <dialogue>Either pay me or get off my porch.<\/dialogue>\n    <scene_description>Mr. Carson shuts the door . Pedro turns around and eyes the gray FORD TAURUS parked behind his Tow Truck . He walks back to his Tow Truck and grabs some tools . He begins hitching up the Ford Taurus to his Tow Truck . Mr. Carson parts the curtain behind his front window , eyes wide as he watches Pedro . The front door opens , and Mr. Carson comes storming out .<\/scene_description>\n    <character>MR. CARSON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Pedro! What the hell are you doing?!<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>I'm hitching up your car to my tow truck.<\/dialogue>\n    <character>MR. CARSON<\/character>\n    <dialogue>Let it down right now you psychotic sonuvabitch!<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>Let me in my fucking apartment, mehn!<\/dialogue>\n    <character>MR. CARSON<\/character>\n    <dialogue>Pay the damn rent!<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>I'm gon na pay, mehn! I got fired!<\/dialogue>\n    <character>MR. CARSON<\/character>\n    <dialogue>Bullshit! You never pay rent, and I know you've had a job! I'm sicka' this shit! Put down my car, or I'm callin' the cops to haul your ass outta here!<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>Listen, do n't be a cocksucker. It's not needed.<\/dialogue>\n    <character>MR. CARSON<\/character>\n    <dialogue>I'm done with it. Let my car down.<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>I need a job, mehn, then I pay you.<\/dialogue>\n    <character>MR. CARSON<\/character>\n    <dialogue>Margaret wants you out of the house anyway. Now let my car down.<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>You need some balls, mehn! Why do you let her slap you around?!<\/dialogue>\n    <character>MR. CARSON<\/character>\n    <dialogue>Nobody slaps nobody around.<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>Hay, por favor! I come by here to pay rent, I always hear her slapping your ass around.<\/dialogue>\n    <character>MR. CARSON<\/character>\n    <dialogue>I'm going inside to get the phone. If you're still here when I come back out I'm gon na dial the police with you standing right here next to me.<\/dialogue>\n    <scene_description>Mr. Carson proceeds inside . Pedro watches Mr. Carson proceed back into the house as he releases the Ford Taurus back down to the ground .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BASEBALL FIELD, PARKING LOT-- DAY<\/stage_direction>\n    <scene_description>The baseball field is empty . MATT is leaning against the driver - side door of his CAR , which is parked all by itself near a dumpster at the edge of the lot . JIMMY pulls his PIECE - OF - SHIT up and parks next to the driver - side door of Matt 's Car . Jimmy climbs out of his Piece - of - Shit .<\/scene_description>\n    <character>MATT<\/character>\n    <dialogue>Dude, what the hell?! I'm ready to go here! Where the hell were you?!<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>I got into a freakin' accident!<\/dialogue>\n    <scene_description>Matt starts walking to meet Jimmy at the rear of the cars .<\/scene_description>\n    <character>MATT<\/character>\n    <dialogue>Bullshit, man, fucking bullshit! You make me come all the way out here! I been waitin'!<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Look, you're pissin' me off now! Remember who's doin' fuckin' who the favor! I got shit I got ta do!<\/dialogue>\n    <scene_description>Matt pulls his WALLET out of his back pocket .<\/scene_description>\n    <character>MATT<\/character>\n    <parenthetical>( about to blow , then controls himself . )<\/parenthetical>\n    <dialogue>Fine, fine! Just give it to me.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>I did n't want to bring my bag to your house, with your fuckin' parents home.<\/dialogue>\n    <scene_description>Jimmy opens his trunk and pulls his BACKPACK out .<\/scene_description>\n    <character>JIMMY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Where's my Grand Theft Auto?<\/dialogue>\n    <character>MATT<\/character>\n    <dialogue>I lent it to Jerry.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>What'd you do that for? Get it back.<\/dialogue>\n    <character>MATT<\/character>\n    <dialogue>He moved down the shore. This morning.<\/dialogue>\n    <scene_description>Rushed , Jimmy blows it off and pulls a jar of K out of his Backpack .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Alright, sixty bucks.<\/dialogue>\n    <character>MATT<\/character>\n    <dialogue>What? Fer one freakin' jar?!<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Dude, stop your bitchin' and pay up. I told you this shit, I told you.<\/dialogue>\n    <character>MATT<\/character>\n    <dialogue>You said extra, I thought you meant, like, fifty!<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Asshole, fifty is the regular fuckin' price!<\/dialogue>\n    <character>MATT<\/character>\n    <dialogue>This is fuckin' extortion! Knowin' I'm meetin' this chick, so you jack up the price!<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Look! This is a pain in my ass, comin' way out here, and I said I'd charge you extra. I do n't give a shit if its ten over the regular price, or twenty - five over your fuckin' `` discount price,'' but you're payin' sixty bucks for this jar.<\/dialogue>\n    <character>MATT<\/character>\n    <parenthetical>( weakly . )<\/parenthetical>\n    <dialogue>Man, what the hell.<\/dialogue>\n    <parenthetical>( looks in his Wallet . )<\/parenthetical>\n    <dialogue>I need some cash for food and drinks, man! I'm takin' this girl out!<\/dialogue>\n    <character>JIMMY<\/character>\n    <parenthetical>( considering . )<\/parenthetical>\n    <dialogue>Gim me fifty even.<\/dialogue>\n    <character>MATT<\/character>\n    <dialogue>C'mon, man! I need as much cash as I can get! What if she wants to go somewhere?! And gas! Dude, just take forty - five!<\/dialogue>\n    <character>JIMMY<\/character>\n    <parenthetical>( breaking . )<\/parenthetical>\n    <dialogue>Fine, you cheap - ass fuckin' bastard.<\/dialogue>\n    <scene_description>Jimmy accepts the Forty - Five Dollars , and gives Matt the jar of K. Jimmy is pissed .<\/scene_description>\n    <character>JIMMY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Here, man, go fuckin' get high.<\/dialogue>\n    <character>MATT<\/character>\n    <parenthetical>( almost apologetic . )<\/parenthetical>\n    <dialogue>See ya.<\/dialogue>\n    <scene_description>Jimmy throws his Backpack back in the trunk and slams it shut .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POOL, CLUBHOUSE -- DAY<\/stage_direction>\n    <scene_description>COREY is on a PAYPHONE outside the restrooms , talking to PEDRO .<\/scene_description>\n    <character>PEDRO'S VOICE<\/character>\n    <dialogue>He said `` no,'' mehn. The cocksucker wo n't let us back in.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONVENIENCE STORE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Pedro is on a PAYPHONE . We cut back and forth between Pedro and Corey .<\/scene_description>\n    <character>COREY<\/character>\n    <dialogue>That's great.<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>Hey, this is n't my fault, mehn.<\/dialogue>\n    <scene_description>A short beat as Corey thinks .<\/scene_description>\n    <character>PEDRO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>Corey hangs up and puts more coins into the Payphone . Pete approaches , looking for Corey .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Corey.<\/dialogue>\n    <scene_description>Corey tries to phase out Pete 's voice .<\/scene_description>\n    <character>PETE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>The Blandinos just called again. The broken glass is still there.<\/dialogue>\n    <character>ROB'S VOICE<\/character>\n    <parenthetical>( via the Payphone . )<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>And the grass needs to be cut.<\/dialogue>\n    <character>COREY<\/character>\n    <parenthetical>( hurriedly to Pete . )<\/parenthetical>\n    <dialogue>Okay, I'll take care of it.<\/dialogue>\n    <character>PETE<\/character>\n    <parenthetical>( sarcastic . )<\/parenthetical>\n    <dialogue>Do n't forget to put gas in it.<\/dialogue>\n    <scene_description>Pete exits .<\/scene_description>\n    <character>COREY<\/character>\n    <dialogue>Rob? It's Corey Becker.<\/dialogue>\n    <character>ROB'S VOICE<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>You got any spare cash?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POOL -- MOMENTS LATER<\/stage_direction>\n    <scene_description>EMILY is laying back in a lounge chair . Corey enters the pool area from clubhouse carrying the BASEBALL CAP . He walks over to his MOPED chained to the gate , throws on his Baseball Cap , unlocks his Moped , and pushes it through the gate where resident KIDS are gathered around a ping pong table . Emily watches as he hops on the Moped and throws on his HELMET . KID # 1 , one of the younger kids at the table , spot Corey in the distance .<\/scene_description>\n    <character>KID #1<\/character>\n    <dialogue>Corey! Hey Corey!<\/dialogue>\n    <scene_description>Corey looks over as he starts his Moped .<\/scene_description>\n    <character>KID #1<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Gorski says he can beat you!<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Maybe he can.<\/dialogue>\n    <character>KID #1<\/character>\n    <dialogue>Yeah right! Get over here and whip his ass real quick!<\/dialogue>\n    <scene_description>Corey kicks the stand up on his Moped and rides off .<\/scene_description>\n    <character>KID #1<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( shouting after him . )<\/parenthetical>\n    <dialogue>Aw, c'mon! Corey!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RESCUE SQUAD -- DAY<\/stage_direction>\n    <scene_description>ESTABLISHING SHOT . The small wooden bench on which Heather and Allison were sitting earlier is empty .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RESCUE SQUAD, LOCKER ROOM -- CONTINUOUS<\/stage_direction>\n    <scene_description>HEATHER and ALLISON are changing back into their civies and putting away their EMS gear into their lockers .<\/scene_description>\n    <character>HEATHER<\/character>\n    <dialogue>Are you comin' with me to register tomorrow?<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>I dunno.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>My brother spent six thousand on tech courses and he's still painting houses.<\/dialogue>\n    <character>HEATHER<\/character>\n    <parenthetical>( looking at her watch . )<\/parenthetical>\n    <dialogue>I'm gon na be late.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Why do n't you just reschedule?<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>You know how booked he always is. I do n't wan na be referred to that quack Hengis. I do n't trust women doctors.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Dr. Hengis is fine. You're the quack.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Ally, I'm really feeling something. A deep ache, like someone's crushing me. This ca n't wait.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>You still feel like going out?<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Hell yes.<\/dialogue>\n    <scene_description>Heather shuts her locker .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD -- DAY<\/stage_direction>\n    <scene_description>JIMMY is driving his PIECE - OF - SHIT with a clear look of anger and frustration in his face . The windows are down , but the radio is no longer playing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JIMMY'S CAR -- CONTINUOUS<\/stage_direction>\n    <scene_description>Jimmy 's CELL PHONE rings . He answers .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Yeah, its Jimmy.<\/dialogue>\n    <character>PIZZA POP'S VOICE<\/character>\n    <dialogue>Hey - a Jimmy! Where are you?! We got two calls from 45 Smith Street wondering where their food is!<\/dialogue>\n    <character>JIMMY<\/character>\n    <parenthetical>( over the wind noise . )<\/parenthetical>\n    <dialogue>I got into an accident!<\/dialogue>\n    <character>PIZZA POP'S VOICE<\/character>\n    <dialogue>An accident?! Are you okay, Jimmy?!<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>I'm fine! My car's banged up, but I'm on my way!<\/dialogue>\n    <character>PIZZA POP'S VOICE<\/character>\n    <dialogue>Okay! Drive careful!<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Yeah!<\/dialogue>\n    <scene_description>Jimmy hits a button to hang up and shuts the Cell Phone , but the cell phone immediately rings again . Jimmy flips the cell phone open again . His eyes grow wide as he stares at the caller ID , which reads `` CAR LEE . '' Jimmy stares at the Cell Phone as it continues ringing and ringing . He hits a button and replaces the Cell Phone to his ear .<\/scene_description>\n    <character>JIMMY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <character>KWON'S VOICE<\/character>\n    <dialogue>Jimmy?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Who is this?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR'S HOUSE -- CONTINUOUS<\/stage_direction>\n    <scene_description>KWON , an Asian - American in his early twenties , holding to his ear the CORDLESS PHONE that was on the coffee table , is pacing in front of CAR , who is still seated on the couch in the exact position we saw him last . The GYM BAG that Jimmy emptied earlier is on the floor at his feet . We cut back and forth between Jimmy and Kwon .<\/scene_description>\n    <character>KWON<\/character>\n    <dialogue>You do n't have caller ID?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>I'm driving. Who is this?<\/dialogue>\n    <character>KWON<\/character>\n    <dialogue>Kwon.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Hey, Kwon. What's up? Where are you?<\/dialogue>\n    <character>KWON<\/character>\n    <dialogue>I'm on my cousin's phone.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Where's Car?<\/dialogue>\n    <character>KWON<\/character>\n    <dialogue>He's right here. He said you guys were supposed to meet.<\/dialogue>\n    <scene_description>Jimmy runs a yellow light that turns red while he 's still crossing the intersection .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>He did? Well, yeah, I stopped by this morning. Nobody was there.<\/dialogue>\n    <character>KWON<\/character>\n    <dialogue>You did n't come in?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>No. Nobody answered the door.<\/dialogue>\n    <character>KWON<\/character>\n    <dialogue>Well, you want to come by now? I'll be here. You can make your pick - up.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Ca n't do it now. I'm delivering on the other side of town.<\/dialogue>\n    <character>KWON<\/character>\n    <dialogue>Deliveries? Jimmy, fuck the pizza. Stop by and get your shit.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>I ca n't. What's the big deal?<\/dialogue>\n    <scene_description>Jimmy , very anxious , runs a red light . A CAR going the other way stops and honks .<\/scene_description>\n    <character>KWON<\/character>\n    <dialogue>Jimmy, my cousin's dead, and there's a shitload' a shit missing from our house.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Car?<\/dialogue>\n    <character>KWON<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <scene_description>The TRAFFIC in front of Jimmy slows , and Jimmy coasts to a standstill at the tail of the traffic and in the middle of a busy intersection .<\/scene_description>\n    <character>KWON<\/character>\n    <dialogue>I want you to come over here and tell me everything that happened when you stopped by.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Nothing happened, Kwon. I knocked and no one answered.<\/dialogue>\n    <character>KWON<\/character>\n    <dialogue>You did n't ring the doorbell?<\/dialogue>\n    <scene_description>Jimmy 's light turns yellow while he is still at a standstill in the middle of the intersection .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>That's what I meant.<\/dialogue>\n    <character>KWON<\/character>\n    <dialogue>And no one answered.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>No. No one answered.<\/dialogue>\n    <character>KWON<\/character>\n    <dialogue>You left a message on our house phone this morning. Why did n't you call our cells when you got here?<\/dialogue>\n    <scene_description>Jimmy 's light turns red , and he is still at a standstill in the middle of the intersection . A CAR at the head of the cross traffic inches up to Jimmy 's Piece - of - Shit and honks , but Jimmy does not seem to notice .<\/scene_description>\n    <character>JIMMY<\/character>\n    <parenthetical>( stumped . )<\/parenthetical>\n    <dialogue>Why did n't I call. Good question.<\/dialogue>\n    <character>KWON<\/character>\n    <dialogue>What the fuck do I care, you think it's a good question?! Are you fucking kidding me?!<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Look, I did n't think of it. I got a lotta shit on my mind right now.<\/dialogue>\n    <character>KWON<\/character>\n    <dialogue>Jimmy, do you have my drugs?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>The cross traffic honking grows louder , even though there is nowhere for Jimmy to go .<\/scene_description>\n    <character>KWON<\/character>\n    <dialogue>Alright. If you hear anything, you call me.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>I will. Sorry about Car.<\/dialogue>\n    <character>KWON<\/character>\n    <dialogue>Thanks, Jimmy.<\/dialogue>\n    <scene_description>Jimmy hangs up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INTERSECTION -- CONTINUOUS<\/stage_direction>\n    <scene_description>Cars are still honking at Jimmy as he continues to sit at a standstill in the intersection .<\/scene_description>\n    <character>JIMMY<\/character>\n    <parenthetical>( generally to the other drivers . )<\/parenthetical>\n    <dialogue>Fuck off!<\/dialogue>\n    <scene_description>Jimmy throws his Piece - of - Shit in reverse , then cuts left , through and out of the intersection .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JIMMY'S APARTMENT -- DAY<\/stage_direction>\n    <scene_description>JIMMY parallel parks his PIECE - OF - SHIT in front of his apartment and exits carrying his BACKPACK . He unlocks the door to his apartment , opens it , and steps one foot inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JIMMY'S APARTMENT -- CONTINUOUS<\/stage_direction>\n    <scene_description>Jimmy slides the Backpack into his apartment . TIGHT on the backpack as it slides across the hardwood floor , straight towards the camera , to a halt immediately in front of the camera . Jimmy steps back outside and shuts the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROB'S HOUSE -- DAY<\/stage_direction>\n    <scene_description>COREY is standing in the middle of an unkept lawn , watching ROB , about eighteen and wearing Corey 's HELMET , ride Corey 's MOPED in circles around him on the lawn . He 's treating the Moped rather roughly , pulling wheelies and kicking the tail end out repeatedly . Corey is watching impatiently , holding the BASEBALL CAP at his side . Rob jumps the Moped over the curb into the street , then turns up the driveway and pulls up alongside Corey . Rob removes the Helmet .<\/scene_description>\n    <character>ROB<\/character>\n    <dialogue>I'll take it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AARON'S HOUSE -- DAY<\/stage_direction>\n    <scene_description>AARON returns from the kitchen drinking from a can of SODA . TROY and PITT are on the couch , VIDEO GAME CONTROLLERS in their hands , waiting for the VIDEO GAME to load . Troy is lighting a CIGARETTE .<\/scene_description>\n    <character>AARON<\/character>\n    <parenthetical>( to Troy . )<\/parenthetical>\n    <dialogue>C'mon, let's go find her.<\/dialogue>\n    <character>TROY<\/character>\n    <dialogue>I'm not gon na go scouring the countryside lookin' fer her.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Gim me yer keys.<\/dialogue>\n    <character>PITT<\/character>\n    <parenthetical>( to Troy . )<\/parenthetical>\n    <dialogue>Do n't give him your keys.<\/dialogue>\n    <character>AARON<\/character>\n    <parenthetical>( to Pitt . )<\/parenthetical>\n    <dialogue>You want a smack? I am seriously gon na smack yer ass.<\/dialogue>\n    <character>PITT<\/character>\n    <dialogue>Do n't give me no attitude, just cause you got mushrooms growin' on your balls.<\/dialogue>\n    <character>AARON<\/character>\n    <parenthetical>( to Troy . )<\/parenthetical>\n    <dialogue>Let's go, man.<\/dialogue>\n    <parenthetical>( re Pitt . )<\/parenthetical>\n    <dialogue>Fuck this asshole.<\/dialogue>\n    <character>TROY<\/character>\n    <dialogue>No, man, I do n't wan na see you hittin' Jess neither.<\/dialogue>\n    <scene_description>The PHONE on the coffee table rings . Pitt picks it up .<\/scene_description>\n    <character>PITT<\/character>\n    <dialogue>Dominoes.<\/dialogue>\n    <parenthetical>( a beat , then to Aaron . )<\/parenthetical>\n    <dialogue>It's her.<\/dialogue>\n    <scene_description>Pitt tosses the Phone to Aaron .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEIGHBORHOOD STREET -- CONTINUOUS<\/stage_direction>\n    <scene_description>CARLOS has parked his CAR along the side of the street . JESSICA is in the passenger seat on her CELL PHONE .<\/scene_description>\n    <character>AARON'S VOICE<\/character>\n    <dialogue>Jess, come back here.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Yeah right.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AARON'S HOUSE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Aaron is walking into the kitchen , and although he is furious , he is keeping his voice down so that Pitt and Troy do not hear . Cut back and forth between Aaron in his house and Jessica in Carlos ' Car .<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Jess, I'm serious. We need to talk about this.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Is n't that what we're doing?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Fine! Who'd you fuck?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Nobody.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Bull - fuckin' - shit! I got bumps on my dick, and I never cheated!<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Maybe its just a rash,'cause I do n't have anything.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Why do n't we go to the doctor and get you checked out?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>I can go to the doctor by myself. And if I have it, I got it from you!<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>You're fuckin' fulla shit!<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Whatever. If you come after me again, I'm gon na find someone to kick your ass. I mean it.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I believe it, you fuckin' whore!'Cause it's probably the same dude you been bangin' behind my back!<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>I never cheated.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Tell Carlos I'm gon na kick his ass.<\/dialogue>\n    <scene_description>Aaron hangs up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARLOS' CAR -- CONTINUOUS<\/stage_direction>\n    <scene_description>Back to Jessica and Carlos in Carlos ' parked Car .<\/scene_description>\n    <character>CARLOS<\/character>\n    <parenthetical>( anxious . )<\/parenthetical>\n    <dialogue>What's up?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>He's pissed. Says he's gon na kick our asses.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Great. I got a baseball bat in the trunk.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Good.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>I got ta go to work in an hour.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Call in sick.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Yeah, maybe. You mean it when you said you were gon na find someone to kick his ass?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>You do n't know him. He graduated before us.<\/dialogue>\n    <scene_description>Jessica notices something , turning to look out the broken passenger - side window . She 's stares , interested .<\/scene_description>\n    <character>CARLOS<\/character>\n    <dialogue>He a big dude?<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( still staring out the window . )<\/parenthetical>\n    <dialogue>Not really, but he gets into fights all the time, at parties and stuff. And he knows a lot of people.<\/dialogue>\n    <scene_description>Through the window , we see that Carlos ' Car is parked across the street from Car 's house , and that a POLICE CAR and a CORONER 'S VAN are parked in front of it . Kwon is standing with a POLICE OFFICER , more distraught than the last time we saw him , answering questions . He 's oblivious to Jessica and Carlos .<\/scene_description>\n    <character>CARLOS<\/character>\n    <dialogue>Call him.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>I'd rather go over in person.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Why?<\/dialogue>\n    <scene_description>Jessica turns back to Carlos .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( not exactly confident . )<\/parenthetical>\n    <dialogue>I can be more. persuasive in person.<\/dialogue>\n    <scene_description>Jessica punches another number into her Cell Phone .<\/scene_description>\n    <character>CARLOS<\/character>\n    <parenthetical>( disappointed . )<\/parenthetical>\n    <dialogue>Swell.<\/dialogue>\n    <character>KATIE'S VOICE<\/character>\n    <dialogue>Hello, this is Katie Kinney!<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Katie, it's Jessica.<\/dialogue>\n    <character>KATIE'S VOICE<\/character>\n    <dialogue>Where are you?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Have you eaten?<\/dialogue>\n    <character>KATIE'S VOICE<\/character>\n    <dialogue>I'm starving!<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Okay, I'm going to be home in a little bit, okay?<\/dialogue>\n    <character>KATIE'S VOICE<\/character>\n    <dialogue>Alright.<\/dialogue>\n    <scene_description>Jessica hangs up and throws her Cell Phone on top of the dashboard .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Drive.<\/dialogue>\n    <scene_description>Carlos starts the Car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEIGHBORHOOD STREET -- CONTINUOUS<\/stage_direction>\n    <scene_description>ESTABLISHING SHOT on the Car pulling back out onto the street as Kwon continues talking to the Police Officer in the background .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LANDLORD'S HOUSE -- DAY<\/stage_direction>\n    <scene_description>ROB is riding his newly - acquired MOPED , with COREY on the back . Corey is holding Rob with one hand , his BASEBALL CAP with the other . He drops Corey off in front of Mr. Carson 's house . As Rob pulls a wheelie and exits the frame , Corey walks up to the front door of the house . He rings the doorbell , reaching into his pocket and pulling out a wad of BILLS as he waits . Mr. Carson opens the door .<\/scene_description>\n    <character>COREY<\/character>\n    <dialogue>Hey Mr. Carson. I got the rent.<\/dialogue>\n    <scene_description>Mr. Carson opens the screen door , and Corey hands him the Bills . Mr. Carson begins counting them .<\/scene_description>\n    <character>COREY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Can you let us back into our apartment now?<\/dialogue>\n    <character>MR. CARSON<\/character>\n    <dialogue>This is only one month. You boys owe three.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>That's all we have. We'll give you the rest later, as soon as we can.<\/dialogue>\n    <character>MR. CARSON<\/character>\n    <dialogue>When you get me the rest, I'll let you back in.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Mr. Carson, c'mon! This is just temporary. Pedro lost his job.<\/dialogue>\n    <character>MR. CARSON<\/character>\n    <dialogue>Bullshit. You're always late. You should spend less time trying to rob houses, and more time working.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Are n't you supposed to take us to court before you throw us out?<\/dialogue>\n    <character>MRS. CARSON<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Holy fuck, Shelby! Shut the goddam door already you stupid bastard! You're letting the cold air out!<\/dialogue>\n    <character>MR. CARSON<\/character>\n    <parenthetical>( suddenly in a hurry . )<\/parenthetical>\n    <dialogue>Tell it to my lawyer.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Aw, c'mon! Do n't be like that! We're doin' our best! We're gon na be homeless!<\/dialogue>\n    <character>MRS. CARSON<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Shut the goddam door!<\/dialogue>\n    <character>MR. CARSON<\/character>\n    <dialogue>Three months!<\/dialogue>\n    <scene_description>Mr. Carson slams the door .<\/scene_description>\n    <character>COREY<\/character>\n    <parenthetical>( banging on the door . )<\/parenthetical>\n    <dialogue>C'mon!<\/dialogue>\n    <scene_description>Corey stands and stares at the door a moment . He turns and leaves , resigned to a long walk back to the pool .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DINER, BACK-LOT -- DAY<\/stage_direction>\n    <scene_description>PEDRO is driving nonchalantly toward the back - lot . A song is playing on the car radio . WIDE on a parked MUSTANG , a couple empty parking spaces on the passenger side of it . Pedro 's TOW TRUCK backs up into the frame so that it 's back end is almost touching the front end of the Mustang . Pedro climbs out of his Tow Truck , leaving it on , and starts walking around to the back of it . Suddenly remembering , he doubles back and sticks his head in through the driver - side window , checking the gas gage . It 's more than 3\/4 full . Satisfied , Pedro proceeds toward the rear of the tow truck and hitches the Mustang to the back of it . An older couple pulls into the parking lot and parks one car length from the Mustang . OLDER MAN and OLDER WOMAN climb out of their CAR . The Older Man has taken an interest in what Pedro is doing .<\/scene_description>\n    <character>OLDER MAN<\/character>\n    <dialogue>Hey, can I park here?<\/dialogue>\n    <character>PEDRO<\/character>\n    <parenthetical>( very friendly . )<\/parenthetical>\n    <dialogue>Si, si, of course.<\/dialogue>\n    <parenthetical>( motioning toward the Mustang . )<\/parenthetical>\n    <dialogue>The transmission is broke. Transmissions on these cars suck.<\/dialogue>\n    <scene_description>Older Woman notices that the front passenger - side tire is flat .<\/scene_description>\n    <character>OLDER WOMAN<\/character>\n    <parenthetical>( pointing . )<\/parenthetical>\n    <dialogue>Oh, and the tire's flat, too.<\/dialogue>\n    <scene_description>Pedro steps around to the passenger side of the Mustang , surprised to see the FLAT TIRE .<\/scene_description>\n    <character>PEDRO<\/character>\n    <dialogue>Ah, si, but that's no big deal. That's fine, believe me.<\/dialogue>\n    <scene_description>Older Man and Older Woman begin walking toward the entrance to the diner .<\/scene_description>\n    <character>OLDER MAN<\/character>\n    <dialogue>Good luck.<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>Gracias!<\/dialogue>\n    <scene_description>As Older Man and Older Woman proceed toward the diner , Pedro opens the door to his Tow Truck , and reaches in to hit the control which lifts the Mustang .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DINER -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Through the window we see PATRONS eating . Pedro drives by in his Tow Truck with the Mustang hitched to the back .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DR. COOK'S OFFICE, EXAMINING ROOM -- DAY<\/stage_direction>\n    <scene_description>HEATHER is sitting on the examining table , topless , holding her breath as DR. COOK runs a STETHOSCOPE on different areas of her back . Heather 's BLOUSE and PURSE are lying on the examining table beside her .<\/scene_description>\n    <character>DR. COOK<\/character>\n    <dialogue>Breathe out.<\/dialogue>\n    <scene_description>Heather lets her breath out .<\/scene_description>\n    <character>DR. COOK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It's official. You're as healthy as you were last week, and last week you were as healthy as an ox.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Are you sure you're using that thing right? I feel this ache.<\/dialogue>\n    <parenthetical>( indicating her chest . )<\/parenthetical>\n    <dialogue>Right here, like I'm being crushed between two boards.<\/dialogue>\n    <character>DR. COOK<\/character>\n    <dialogue>Nobody's crushing you. Honest. I'm sure. It's all in your head. I know a couple quacks.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>I do n't need a head doctor!<\/dialogue>\n    <character>DR. COOK<\/character>\n    <dialogue>I was just kidding there.<\/dialogue>\n    <scene_description>Heather reaches into her PURSE and lights a CIGARETTE . Dr. Cook sighs - they 've had a discussion about Heather 's smoking before .<\/scene_description>\n    <character>DR. COOK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Heather, if you're going to insist on ignoring my rules, at least put your blouse on before you light up.<\/dialogue>\n    <scene_description>Heather hops off the bench and makes a sudden about - face . She is gesturing wildly , seemingly oblivious to the fact that she is half - naked .<\/scene_description>\n    <character>HEATHER<\/character>\n    <dialogue>Ca n't I be concerned about my health?! Is that so outrageous?!<\/dialogue>\n    <scene_description>Dr. Cook is clearly uncomfortable conversing with Heather while her breasts are exposed .<\/scene_description>\n    <character>DR. COOK<\/character>\n    <dialogue>Heather.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>I just do n't want to be walking around tomorrow and drop dead because my heart collapses, and so that makes me weird or paranoid.<\/dialogue>\n    <character>DR. COOK<\/character>\n    <dialogue>Heather, there's nothing wrong with being concerned about your health. Please put your blouse back on.<\/dialogue>\n    <scene_description>Heather grabs her Blouse from the table and puts it back on .<\/scene_description>\n    <character>DR. COOK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So I'll see you next week then.<\/dialogue>\n    <character>HEATHER<\/character>\n    <parenthetical>( suddenly friendly again . )<\/parenthetical>\n    <dialogue>Okay, yeah, see you next week.<\/dialogue>\n    <scene_description>Heather leaves and shuts the door behind her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEREK'S HOUSE -- DAY<\/stage_direction>\n    <scene_description>The sound of panting can be heard . Two people are having sex . There are no words , although the girl regularly lets out high - pitched groans , indicative of at least a little pain .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEREK'S HOUSE, BEDROOM -- CONTINUOUS<\/stage_direction>\n    <scene_description>LOW ANGLE MEDIUM on ALLISON bent over the bed , mouth agape . She buries her face in the mattress , revealing DEREK thrusting from behind . Derek climaxes . Allison pops up from below .<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>I'm two pounds heavier I think.<\/dialogue>\n    <scene_description>Derek lies back to put his head on the pillow .<\/scene_description>\n    <character>DEREK<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <scene_description>Allison lies on top , nestling her head in his chest .<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>It hurt. I knew it would hurt, but that was kinda worse than I thought. Does Heather. like it?<\/dialogue>\n    <character>DEREK<\/character>\n    <dialogue>She never let's me do it.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>She does n't? Why not?<\/dialogue>\n    <character>DEREK<\/character>\n    <dialogue>I do n't know. She does shave though. How come you do n't shave?<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>I do n't know. I do n't want to. Do you love her?<\/dialogue>\n    <character>DEREK<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>How can you not know?<\/dialogue>\n    <character>DEREK<\/character>\n    <dialogue>She's got problems.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>I do n't understand you. Why do you even cheat on her with me? She's so pretty. So much prettier than me.<\/dialogue>\n    <character>DEREK<\/character>\n    <dialogue>She's a nutcase. I'll tell you what, I do n't know why you do it. You should have a man of your own - we say it all the time, me and Heather.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Yeah, who? That slob you and Heather introduced me to last time?<\/dialogue>\n    <character>DEREK<\/character>\n    <dialogue>He outranks me. He's a good guy.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Like me, I'm a good girl, and the best I can do is a guy that looks like that?<\/dialogue>\n    <character>DEREK<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>You must think so. You tried to set me up with him.<\/dialogue>\n    <character>DEREK<\/character>\n    <dialogue>I thought it was a bad match. It was Heather's idea.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>So she thinks I ca n't do better.<\/dialogue>\n    <character>DEREK<\/character>\n    <dialogue>You know what she thinks better than me.<\/dialogue>\n    <scene_description>Allison climbs out of bed , and her mood changes from thoughtful to business - like . She begins putting her CLOTHES on .<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Let's get dressed, she'll be here.<\/dialogue>\n    <scene_description>Derek looks calmly over at the ALARM CLOCK on the nightstand .<\/scene_description>\n    <character>DEREK<\/character>\n    <dialogue>Let's let her walk in on us, and look surprised.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Hurry up.<\/dialogue>\n    <scene_description>Allison opens the door and walks out , a little bow - legged .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PIZZA SHOP -- DAY<\/stage_direction>\n    <scene_description>JIMMY walks through the front door . PIZZA POP spots him immediately from behind the counter . The PHONE rings , but Pizza Pop ignores it .<\/scene_description>\n    <character>PIZZA POP<\/character>\n    <dialogue>Hey - a Jimmy. Where you been?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Around. Deliverin'.<\/dialogue>\n    <character>PIZZA POP<\/character>\n    <dialogue>Hurry - sit down Anna eat something. We got more deliveries for you.<\/dialogue>\n    <scene_description>Jimmy walks around the counter , grabs a couple of SLICES and throws them in the oven . Pizza Pop picks up the Phone .<\/scene_description>\n    <character>PIZZA POP<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( into the Phone . )<\/parenthetical>\n    <dialogue>Poppy's!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JESSICA'S APARTMENT, LIVING ROOM -- DAY<\/stage_direction>\n    <scene_description>The door bursts open and JESSICA enters , followed by CARLOS . KATIE is watching TV .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Did your parents call?<\/dialogue>\n    <character>KATIE<\/character>\n    <dialogue>Nope! Where were you?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Out with Carlos.<\/dialogue>\n    <scene_description>Jessica disappears into the kitchen .<\/scene_description>\n    <character>KATIE<\/character>\n    <dialogue>The VCR is broken.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JESSICA'S APARTMENT, KITCHEN -- CONTINUOUS<\/stage_direction>\n    <scene_description>Jessica tosses a FROZEN DINNER into the microwave .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( yelling to Carlos in the living room . )<\/parenthetical>\n    <dialogue>` Los, are you hungry?!<\/dialogue>\n    <character>CARLOS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I guess.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JESSICA'S APARTMENT, LIVING ROOM -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Jessica places two Frozen Dinners , complete with a FORK apiece , down on the coffee table . Katie grabs her Fork .<\/scene_description>\n    <character>KATIE<\/character>\n    <dialogue>Are we going to have TV dinners all weekend?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>No. I promise. You want some milk?<\/dialogue>\n    <character>KATIE<\/character>\n    <dialogue>Can I have ice - tea?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <parenthetical>( to Carlos . )<\/parenthetical>\n    <dialogue>Can you make her some ice - tea?<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Are n't you gon na eat?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>I'm gon na take a shower.<\/dialogue>\n    <scene_description>Carlos is disappointed that Jessica wants to fix herself up to see Carter . Katie is already eating .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JESSICA'S APARTMENT, BEDROOM -- MOMENTS LATER<\/stage_direction>\n    <scene_description>We 're behind JESSICA as she removes her SHORTS and her SHIRT .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JESSICA'S APARTMENT, LIVING ROOM -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Katie now has a glass of ICE - TEA in front of her . Carlos is behind the TV and VCR , fiddling with the wires .<\/scene_description>\n    <character>KATIE<\/character>\n    <dialogue>Are you Jessica's new boyfriend?<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>KATIE<\/character>\n    <dialogue>I wish you were. I do n't like Aaron.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Neither do I.<\/dialogue>\n    <character>KATIE<\/character>\n    <dialogue>Do n't you like Jessica?<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Kind of, I guess. She's nice.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JESSICA'S APARTMENT, BATHROOM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Jessica showering , obscured by the semi - opaque glass shower doors .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEREK'S HOUSE, KITCHEN -- DAY<\/stage_direction>\n    <scene_description>HEATHER , ALLISON and DEREK are seated at the table with CHINESE TAKE - OUT in front of them . A NEWSPAPER opened to the classifieds lies near Derek 's place at the table . Derek and Allison are chowing down while Heather sits watching Derek . Derek is using a FORK .<\/scene_description>\n    <character>HEATHER<\/character>\n    <dialogue>Take a look at that paper. There's at least a half dozen apartments I circled that would be perfect.<\/dialogue>\n    <scene_description>Derek continues chowing down , not responding . Derek 's CELL PHONE rings , and he answers it .<\/scene_description>\n    <character>DEREK<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You're joking.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Alright, ten minutes.<\/dialogue>\n    <scene_description>Derek hangs up , stands up , and puts the Cell Phone in his pocket .<\/scene_description>\n    <character>HEATHER<\/character>\n    <parenthetical>( guessing at the purpose of the call , completely frustrated . )<\/parenthetical>\n    <dialogue>Great.<\/dialogue>\n    <character>DEREK<\/character>\n    <dialogue>That was Tess. Said I had to come back in.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Are you fucking Tess?<\/dialogue>\n    <character>DEREK<\/character>\n    <dialogue>What? No. Look, I got ta go. I'll see you at Carter's when I get off.<\/dialogue>\n    <scene_description>Derek takes another bite , gets up and heads for the door .<\/scene_description>\n    <character>HEATHER<\/character>\n    <dialogue>I'm not dropping this!<\/dialogue>\n    <character>DEREK<\/character>\n    <dialogue>Since when do you drop anything?<\/dialogue>\n    <scene_description>Derek exits as Heather 's eyes hang on him .<\/scene_description>\n    <character>HEATHER<\/character>\n    <dialogue>You see that? He practically said yes.<\/dialogue>\n    <scene_description>Heather gets up and walks in the direction of Derek 's bedroom . Allison instinctively rises and follows .<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>What're you doing?<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>I'm gon na look through his shit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEREK'S HOUSE, BEDROOM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Heather walks over to the bed and starts rifling through the mess on the nightstand . She picks up a tube of ASTROGLIDE and nonchalantly throws it on the bed .<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>You're finally flipping, I think.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>You're a lot of help, Ally. Really. Thanks.<\/dialogue>\n    <scene_description>Heather opens the nightstand drawer and immediately pulls out a box of CONDOMS , showing them to Allison .<\/scene_description>\n    <character>HEATHER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>See?! See?!<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>So what. Condoms.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Ally, I'm on the fucking pill. He has n't used condoms with me for weeks.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>So maybe those are left - overs.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Ally, these are not left - overs. He never used regular condoms with me.<\/dialogue>\n    <character>ALLISON<\/character>\n    <parenthetical>( caught off guard . )<\/parenthetical>\n    <dialogue>Why not?<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Because if he did, he took two fucking days to come. I always made him wear ultra - thin, ribbed, anything but this shit.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>He took too long for you?<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Ally, I'd be done, and I'd have to lie there like another hour'till he got off. I could n't fucking stand it. Why the hell do you think I started on the pill, Ally? Me. Putting that hormone shit in my body.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>How would I know?<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Well that's why.<\/dialogue>\n    <parenthetical>( remembering . )<\/parenthetical>\n    <dialogue>Anyway, that's neither here nor fucking there. That asshole is using.<\/dialogue>\n    <parenthetical>( re Condoms . )<\/parenthetical>\n    <dialogue>these things, and not on me.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Just call him and ask him.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>No, no, fuck that. We're going to go to the party, have some fun. When he's all good and drunk, you're going to ask him when I'm not around.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Yeah right.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Ally, I'm serious. If he's drunk and having fun, and you just work it in on him real casual, he may slip. He'll never admit shit to me.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>He wo n't to me either.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Ally! Just fucking try it!<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>I do n't wan na spy on him for you!<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Ally, look, he's cheating on me, I know it in my heart, but I want him to admit it, alright? Before I fucking flush what's left of this shithole relationship down the toilet, I want him to admit it.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Fine, I'll see.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Fine.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PIZZA SHOP -- DAY<\/stage_direction>\n    <scene_description>Jimmy is sitting in an alley behind the pizza shop , finishing a COKE with plenty of ice . Kwon emerges from the back door of the pizza shop . Jimmy sees Kwon , and hides his displeasure as best he can .<\/scene_description>\n    <character>KWON<\/character>\n    <dialogue>Hey, Jimmy.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>What's up.<\/dialogue>\n    <character>KWON<\/character>\n    <dialogue>I'm just looking for my stuff. Let's take a ride.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>KWON<\/character>\n    <dialogue>Your place.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Ca n't do it'til after work.<\/dialogue>\n    <character>KWON<\/character>\n    <dialogue>You're sitting here on your ass!<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>I got ta eat. I'm going back to work now. My boss needs me - I'm the only delivery guy.<\/dialogue>\n    <character>KWON<\/character>\n    <dialogue>Is that your piece - of - shit out front?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>KWON<\/character>\n    <dialogue>Let's check that out.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>I told you, I ai n't got your shit.<\/dialogue>\n    <character>KWON<\/character>\n    <dialogue>Hey! Until I find the drugs, everyone is a suspect!<\/dialogue>\n    <scene_description>Jimmy 's Cell Phone rings .<\/scene_description>\n    <character>KWON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( regarding the call . )<\/parenthetical>\n    <dialogue>Fuck that. Let's look in your car.<\/dialogue>\n    <scene_description>Jimmy reaches into his pocket , but instead of a cell phone , he pulls out his car KEYS , which he tosses at Kwon . Kwon storms off , and Jimmy grabs his CELL PHONE out of his other pocket and answers it .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Hey, it's Jimmy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAVE'S APARTMENT, KITCHEN -- CONTINUOUS<\/stage_direction>\n    <scene_description>Dave is standing in front of finishing up blending a PROTEIN DRINK , holding a CORDLESS PHONE to his ear . Cut back and forth between Jimmy and Dave .<\/scene_description>\n    <character>DAVE<\/character>\n    <dialogue>Hey man, it's Dave. I got happy news for you.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>You want the juice?<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>I told ya, I got plenty. But about the other stuff, I been thinkin' ` bout your problem, and I know a guy who could help you out. Buy a lot a' your shit all at once.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>The juice?<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>No, no. I'm talkin' ` bout the coke an' shit. I might know somebody.<\/dialogue>\n    <character>JIMMY<\/character>\n    <parenthetical>( lowering his voice in case Kwon comes back . )<\/parenthetical>\n    <dialogue>Who?<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>This spear - chucker from Manville. Sold me some fake D - ball once. I tied his brother's dog to my front bumper and we talked it out. Turned out to be an okay guy. I gave him a call and he's definitely lookin'.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>For how much?<\/dialogue>\n    <scene_description>Dave , having walked into the living room , takes a seat on the couch next to the FEMALE PASSENGER we saw earlier , her head now bandaged . She is snorting a line of COKE off of the coffee table .<\/scene_description>\n    <character>DAVE<\/character>\n    <dialogue>Well, he's pretty small time, but he's itchin' to move up a few notches.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>He's got money?<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>He talks so much shit it's hard to tell. You need to talk to him.<\/dialogue>\n    <scene_description>Jimmy considers , then pulls a PEN and his DELIVERY LIST out of his pocket . He turns the Delivery List over to write on the back .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Gim me his number, man.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PIZZA SHOP -- CONTINUOUS<\/stage_direction>\n    <scene_description>The doors of Jimmy 's PIECE - OF - SHIT are flung wide open . Kwon is hauling Jimmy 's spare TIRE out of the trunk .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Kwon, what the hell are you doing?<\/dialogue>\n    <scene_description>Kwon dumps the Tire on the ground and , seeing nowhere to hide anything , stands straight up and looks at Jimmy .<\/scene_description>\n    <character>KWON<\/character>\n    <dialogue>When you off work?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Do n't know. Maybe nine or nine - thirty.<\/dialogue>\n    <scene_description>Kwon tosses Jimmy his KEYS back , jumps in his BMW , and takes off . Jimmy becomes increasingly resolved as he watches him leave . Jimmy pulls out his Delivery List and his Cell Phone . He turns the Delivery List over to the number on the back and punches it into his Cell Phone . He paces as he talks .<\/scene_description>\n    <character>SINJIN'S VOICE<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Is this Sinjin?<\/dialogue>\n    <character>SINJIN'S VOICE<\/character>\n    <dialogue>Yeah, who's this?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>This is Jimmy. Juicehead Dave's friend.<\/dialogue>\n    <character>SINJIN'S VOICE<\/character>\n    <dialogue>Yeah, I know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POOL -- DAY<\/stage_direction>\n    <scene_description>PETE is on a ride - on LAWN MOWER . He spots COREY walking toward the gate to the pool area .<\/scene_description>\n    <character>PETE<\/character>\n    <parenthetical>( over the noise of the lawn mower . )<\/parenthetical>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>Pete shuts off the blade and steers the Lawn Mower over to Corey , stopping just short of him .<\/scene_description>\n    <character>PETE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Where the hell have you been!<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>I know, Pete. I'm real real sorry. I got things going on, you would n't believe it. My life is crazy right now.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>You have a job here, Corey! You ca n't just go taking off!<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>I know. I'm sorry. I mean, I know, the Blandino's. I'm going now.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>I already took care of that!<\/dialogue>\n    <parenthetical>( hopping off the Lawn Mower . )<\/parenthetical>\n    <dialogue>Just finish up what I'm doing, then take care of the fertilizer spill in the utility room.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Okay, alright, I will.<\/dialogue>\n    <scene_description>Corey hops on the Lawn Mower , turns on the blade , and picks up where Pete left off . Pete shakes his head in disgust and heads into the garage . Corey is wide - eyed as he turns the corner entering the last leg of his first lawn lap and spots PEDRO approaching in his TOW TRUCK with the MUSTANG hitched to the back of it . He shuts the blade off and steers the Lawn Mower over to the tow truck . Pedro parks as Corey hops off the Lawn Mower .<\/scene_description>\n    <character>COREY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You got your job back?<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>Que?<\/dialogue>\n    <character>COREY<\/character>\n    <parenthetical>( pointing at the Mustang . )<\/parenthetical>\n    <dialogue>What the hell is that?!<\/dialogue>\n    <character>PEDRO<\/character>\n    <parenthetical>( looking back at the Mustang . )<\/parenthetical>\n    <dialogue>Ah, el Mustang?<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Yeah!<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>That's our rent, mehn. We stole it.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Hey, uh - uh, no way! I did n't steal anything!<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>Do n't worry. We're going to sell it, mehn.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Seriously, are you out of your mind? To who?!<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>This guy I know.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>How do ya know he'll even buy it?<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>Do n't worry. He likes Mustangs, mehn. Vamos, I got a place for us to stay.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Jesus, Pedro! I told you I wan na stay out of trouble! I mean, this is big trouble!<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>No jodas, do n't worry about it. I stole it. But we need rent, mehn. I lost my job.<\/dialogue>\n    <scene_description>Corey looks over at Emily , laying down in a lounge chair .<\/scene_description>\n    <character>PEDRO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So you in or out?<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Hey, Emily! Get your stuff!<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>Asi me gusta, now you're being smart.<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>Where are we going?!<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Just get in the truck!<\/dialogue>\n    <scene_description>Corey heads toward the garage . Emily looks over at Pedro sitting in the Tow Truck . Pedro sticks his hand up to say hello to Emily , awkward . She ignores him and begins gathering her stuff .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POOL, GARAGE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Pete is sitting on the floor repairing a WEED - WACKER .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>You done already?<\/dialogue>\n    <scene_description>Corey hops off the Lawn Mower .<\/scene_description>\n    <character>COREY<\/character>\n    <dialogue>I got an emergency, Pete. I'll come in early tomorrow and finish.<\/dialogue>\n    <scene_description>He runs out the door .<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <character>COREY<\/character>\n    <parenthetical>( running out the door . )<\/parenthetical>\n    <dialogue>Sorry!<\/dialogue>\n    <scene_description>The door slams shut behind Corey .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE, BACK YARD -- EVENING<\/stage_direction>\n    <scene_description>Music is audible from inside the house . Carter 's house is an old dilapidated house , with a tiny front yard and huge back yard surrounded by trees , with rusty old cars scattered throughout . Just about everybody enters the house from the back . BERUBI , in his early twenties , very large and athletic , wearing mesh shorts and a beat - up t - shirt , and a MALE FRIEND , of a similar age with an average build and dressed lazily in khakis and an un - tucked shirt , are unloading a KEG from the bed of a PICK - UP TRUCK onto a dolly . HEATHER and ALLISON are standing on the back porch . Heather is holding a bottle of VODKA in her hand . Heather bangs on the screen door . CARTER approaches . In his early twenties , Carter is tough , with a modestly athletic build and a gruff voice , and possessing an appetite for greasy food and cheap beer . He 's a guy 's guy .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>What's up.<\/dialogue>\n    <scene_description>Heather tries to open the screen door - it 's stuck .<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Hey Carter.<\/dialogue>\n    <scene_description>Carter slams the handle from the inside - the door opens .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>What's up.<\/dialogue>\n    <character>HEATHER<\/character>\n    <parenthetical>( busting Carter 's chops with a mocking tone . )<\/parenthetical>\n    <dialogue>What's up.<\/dialogue>\n    <scene_description>As Heather passes , Carter mockingly shows Heather the back of his hand as if to smack her . Heather and Allison pass , and Carter holds the door open with his foot as he looks for something to prop it open .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S HOUSE, KITCHEN -- CONTINUOUS<\/stage_direction>\n    <scene_description>From the inside we can see that Carter 's house is the same house that Jerry moved out of this morning - Jerry was Carter 's housemate . Heather and Allison walk in as if they know their way around . Carter spots a large clay LAWN DWARF on the back porch . He reaches for it .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Stay outta my room.<\/dialogue>\n    <scene_description>Heather holds out the vodka .<\/scene_description>\n    <character>HEATHER<\/character>\n    <dialogue>Wan na shot?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Later. I wan na see how crazy it gets.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Skirt.<\/dialogue>\n    <scene_description>Carter props the screen door open with the Lawn Dwarf .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE, FRONT YARD -- EVENING<\/stage_direction>\n    <scene_description>PEDRO , EMILY and COREY , now wearing the BASEBALL CAP , are parked in the TOW TRUCK across the street from the front of Carter 's house . Porno magazines lie on the dashboard and the floor . BERUBI , walking along the side of the house from the back yard , spots Pedro behind the wheel . He approaches .<\/scene_description>\n    <character>EMILY<\/character>\n    <parenthetical>( to Corey , disapproving . )<\/parenthetical>\n    <dialogue>I ca n't believe you're doing this.<\/dialogue>\n    <character>COREY<\/character>\n    <parenthetical>( aside to Pedro . )<\/parenthetical>\n    <dialogue>Ya think it's a good idea we leave it out here on the street like this?<\/dialogue>\n    <character>PEDRO<\/character>\n    <parenthetical>( aside to Corey . )<\/parenthetical>\n    <dialogue>Forget about that, mehn.<\/dialogue>\n    <parenthetical>( referring to Berubi . )<\/parenthetical>\n    <dialogue>I'll talk to Berubi. I know what to say to this guy. Do n't worry.<\/dialogue>\n    <character>BERUBI<\/character>\n    <dialogue>Hey, Pedro, what's up with the Mustang?<\/dialogue>\n    <scene_description>Berubi motions to the MUSTANG hitched to the back of it .<\/scene_description>\n    <character>PEDRO<\/character>\n    <dialogue>Que? Ah, el Mustang?<\/dialogue>\n    <scene_description>Pedro starts to climb out of the Tow Truck .<\/scene_description>\n    <character>BERUBI<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>Nada. I'm doing a favor for a friend.<\/dialogue>\n    <character>BERUBI<\/character>\n    <dialogue>So you're driving around with his car hitched to your tow truck?<\/dialogue>\n    <scene_description>Pedro shuts the door to his Tow Truck and pulls up his shorts .<\/scene_description>\n    <character>PEDRO<\/character>\n    <dialogue>Bueno, he's a good friend.<\/dialogue>\n    <character>BERUBI<\/character>\n    <dialogue>Sounds good. Come on an' grab a beer.<\/dialogue>\n    <character>PEDRO<\/character>\n    <parenthetical>( to Berubi . )<\/parenthetical>\n    <dialogue>Hey, listen, can I sleep on your couch?<\/dialogue>\n    <character>BERUBI<\/character>\n    <dialogue>Kimmock's got couch.<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>Come on, mehn, we're in trouble here. We got thrown out of our home.<\/dialogue>\n    <character>BERUBI<\/character>\n    <dialogue>You got evicted?<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>Si. I went out to get a gallon of milk for my dog, I come back, my keys do n't work, and the cocksucker put an eviction notice on the door. He did n't even tell us! Now my milk's spoiling in my truck, Pancho's probably pissing all over the place, I'm fucked.<\/dialogue>\n    <character>BERUBI<\/character>\n    <dialogue>Hey, listen, if you want, you can crash in Jerry's room. He moved out.<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>He did?<\/dialogue>\n    <character>BERUBI<\/character>\n    <dialogue>Do n't park there. Park in back.<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>Si, si. No problem, mehn.<\/dialogue>\n    <character>BERUBI<\/character>\n    <parenthetical>( to Corey . )<\/parenthetical>\n    <dialogue>What's up, Becker.<\/dialogue>\n    <scene_description>Corey sticks his hand up to say hello .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARLOS' CAR -- CONTINUOUS<\/stage_direction>\n    <scene_description>Carlos 's CAR is parked in street in front of Carter 's house , just down the street from where Pedro has parked , but on the opposite side of the street and facing in the opposite direction . Through the windshield , we see Berubi head back toward the house as Pedro glances at Jessica , now showered and dressed in a yellow tank - top , before climbing back into the Tow Truck and pulling back out onto the road . Carlos has noticed Pedro , but Jessica , silent as she stares at the house , has not . Finally , Carlos speaks up .<\/scene_description>\n    <character>CARLOS<\/character>\n    <dialogue>Did you know he was having a party?<\/dialogue>\n    <scene_description>Jessica grabs the rear view mirror and aims it toward herself . She begins fixing her hair in the mirror . She pulls her LIPSTICK out of her PURSE and begins to apply it as Carlos watches . She puts her Lipstick away and stares at Carter 's house another moment . She checks to see that her SUNGLASSES are still hanging on the front of her shirt .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Let's go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE, FRONT YARD -- CONTINUOUS<\/stage_direction>\n    <scene_description>Jessica climbs out of the car and shuts the door . Carlos follows suit . They move around the side of the house toward the back porch . Jessica stops in her tracks and turns to face Carlos .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Wait here a second and let me talk to him.<\/dialogue>\n    <scene_description>Without waiting for a response , Jessica turns around and climbs onto the back porch , walking its length toward Carter , who is kneeling with his back to us as he puts a TAP on the KEG . Carlos stands watching , not sure what to do .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What're you doing?<\/dialogue>\n    <scene_description>Carter turns around , and seems disappointed to see her .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You need a hand?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I'm done.<\/dialogue>\n    <scene_description>Carter climbs to his feet and heads toward the back door , shaking off his hands , passing right by Jessica . Jessica pulls her Sunglasses from her shirt .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Carter, I brought your sunglasses back.<\/dialogue>\n    <scene_description>Carter turns and grabs the Sunglasses .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Those were Jerry's anyway.<\/dialogue>\n    <scene_description>Carter heads into the house . Jessica follows Carter , and we follow Jessica .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S HOUSE, KITCHEN -- CONTINUOUS<\/stage_direction>\n    <character>JESSICA<\/character>\n    <dialogue>Oh. You did n't tell me that. Is he pissed?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Who gives a shit? He moved out.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Carter, I got ta talk to you for a sec.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I got ta wash my hands.<\/dialogue>\n    <scene_description>Carter is just not interested in talking with Jessica , even if he did n't have other things on his mind . Carter enters bathroom , but Jessica follows persistently .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S HOUSE, BATHROOM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Carter turns on the sink and washes his hands .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>I got a problem.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>It's Aaron, that asshole. He's pissed at me.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>So what am I, a goddam marriage counselor?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>No, but Aaron hit me, and he's gon na do it again.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>He hit you?<\/dialogue>\n    <scene_description>Jessica sees that Carter has finally shown some interest .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Like, he slapped you?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>No, he punched me. With his fist, a bunch' a times.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Why? What'd you do?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>I did n't do shit.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Look, I ai n't gon na sit here all night. Tell me what happened. None' a your bullshit.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Aaron thinks I cheated on him.<\/dialogue>\n    <scene_description>This strikes Carter .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Why's he think that?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>It does n't matter.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <scene_description>Carter starts to walk out , but Jessica stops him .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Alright, alright. He caught something - he got a rash or something. He says I gave it to him.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>He's got a rash?! Are you fuckin' kiddin' me?! What the hell'd he catch?! Fuckin' herpes?!<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Carter!<\/dialogue>\n    <scene_description>Carter notices that the door to the bathroom is still open . Although music is blasting outside , and it is unlikely that anyone could hear their conversation , Carter closes the door and locks it .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>What the hell'd you give him?!<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Nothing! He's fulla shit! I did not cheat on him!<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Fuckin' A! You slept with me, like, three weeks ago!<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>That was the only time, that once, and there's no way he knows.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>And you have something?!<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>No! Are you fucking listening to me?! And you wore a condom anyway! What the fuck do you care!<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Whatever, Jess, what - the - fuck - ever. And I'm sure I'm the only one.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Look, do n't even get into the cheating thing,'cause you're seein' Rachel still. Do n't call me the slut.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Look, I'm not gettin' into it with you. I'm through with that bullshit.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Fine. Just, I need your help with Aaron. Just help me this one last time, that's it.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>He's probably gon na be here tonight, Aaron.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>You're kidding. You barely even know who he is!<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>No, but I know Troy real good. He said he'd be bringin' him. I ai n't got nothin' against Aaron, so I said `` what the hell.''<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Look, can you just kick his ass for me? Please?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Shit, Jess, I do n't wan na be fightin' no friend' a Troy's. Ca n't you just work this shit out?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Carter, he hit me! And sprayed me with pepper spray!<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>What the hell.<\/dialogue>\n    <scene_description>Carter contemplates , and Jessica realizes that the best thing to do is keep silent and let Carter 's good side take over .<\/scene_description>\n    <character>CARTER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Look, if he tries anything tonight, I'll do something.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>What'll you do?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Whadda you mean what'll I do?!<\/dialogue>\n    <parenthetical>( facetious . )<\/parenthetical>\n    <dialogue>I'm gon na dance with him! Fuckin' I'll beat his ass! I do n't wan na, but if he shows up tonight and makes like he's gon na hit you, I'll beat his ass.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>What if he does n't come?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Troy said he was bringin' him. If he does n't, call him or somethin'. But I'm not a fuckin' bounty hunter whose gon na chase Aaron across the goddam country.<\/dialogue>\n    <scene_description>Jessica is not completely satisfied , but Carter has decided what he 's going to do , and that 's that .<\/scene_description>\n    <character>CARTER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Alright?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Alright, fine.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>You're welcome.<\/dialogue>\n    <scene_description>Carter exits , leaving the door open , but Jessica does n't follow .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE, BACK YARD -- NIGHT<\/stage_direction>\n    <scene_description>JIMMY has parked his PIECE - OF - SHIT in the rear of the back yard behind all of the other CARS that have pulled in . He climbs out , slides his CHINESE STRESS BALLS into his pocket , and walks toward the house , his BACKPACK strapped over both shoulders like a schoolboy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S HOUSE, KITCHEN -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Jimmy steps through the open screen door into the kitchen .<\/scene_description>\n    <character>HEATHER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hey, there he is! Jimmy!<\/dialogue>\n    <scene_description>HEATHER and ALLISON are playing CARDS at the kitchen table with a male PARTYGOER . They jump up from the table and approach Jimmy . Jimmy pulls three small bags of MARIJUANA out of his BACKPACK . Allison pulls out some BILLS .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Thirty bucks.<\/dialogue>\n    <character>ALLISON<\/character>\n    <parenthetical>( counting Bills . )<\/parenthetical>\n    <dialogue>I only got ten.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>I do n't believe this shit.<\/dialogue>\n    <character>ALLISON<\/character>\n    <parenthetical>( finishing counting . )<\/parenthetical>\n    <dialogue>Nine.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>You got nine! Jesus Christ! You knew what you asked for!<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Jimmy, relax. My God.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>No, this is fuckin' ridiculous. What'd you call me for? I ai n't runnin' a goddam soup kitchen here.<\/dialogue>\n    <character>HEATHER<\/character>\n    <parenthetical>( mock seductive . )<\/parenthetical>\n    <dialogue>Ca n't you just take care of us for tonight?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Yes, for thirty bucks.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Here then, take nine for one.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>It's ten.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>You know what? You need to get laid, Jimmy. Maybe you'd relax a little.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Fine. Enjoy your night.<\/dialogue>\n    <scene_description>Jimmy as he stuffs the Marijuana back in his Backpack and heads into the hallway .<\/scene_description>\n    <character>HEATHER<\/character>\n    <dialogue>Well I'm not going to drop to my knees for a lousy dimebag, so fuck him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S HOUSE, BATHROOM -- NIGHT<\/stage_direction>\n    <scene_description>The door is shut . JESSICA is talking on her CELL PHONE .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( trying to muster a sweet voice . )<\/parenthetical>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>KATIE'S VOICE<\/character>\n    <dialogue>Watching TV.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Did your parents call?<\/dialogue>\n    <character>KATIE'S VOICE<\/character>\n    <dialogue>Yeah. I told them you were in the shower.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Okay. good. Thanks. Are you okay?<\/dialogue>\n    <character>KATIE'S VOICE<\/character>\n    <dialogue>Oh, hold on! This is my favorite part!<\/dialogue>\n    <scene_description>A cartoon becomes audible through Jessica 's Cell Phone - KATIE has put her phone up to the TV . Jessica listens impatiently .<\/scene_description>\n    <character>KATIE'S VOICE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Can you hear it?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Yeah, I can hear it.<\/dialogue>\n    <parenthetical>( hurriedly . )<\/parenthetical>\n    <dialogue>Katie?<\/dialogue>\n    <scene_description>But Katie has already put her phone up to the TV again . Jessica waits , turning to face the door , wondering what 's going on the other side of it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE, BACK PORCH -- MOMENTS LATER<\/stage_direction>\n    <scene_description>PEDRO and EMILY grab CUPS off the rusted washing machine that sits on the back porch . Corey takes notice of a ping pong table set up in the back yard , where BARNES is playing PING PONG PLAYER 1 . Barnes is skinny but attractive , and has an even more attractive BARNES ' GIRLFRIEND watching him play , along with PING PONG PLAYER 2 and various PARTYGOERS .<\/scene_description>\n    <character>COREY<\/character>\n    <parenthetical>( turning to grab a Cup for himself . )<\/parenthetical>\n    <dialogue>I do n't know about leaving the car out there in the open like that. You think we should, like, hide it somewhere?<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>Co\u00f1o ya! Do n't take this the wrong way, mehn, but you're like a girl. Bitch, bitch, bitch.<\/dialogue>\n    <scene_description>Pedro begins dispensing beer from the KEG .<\/scene_description>\n    <character>COREY<\/character>\n    <dialogue>Somebody could see it out there!<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>Si, si. Does your pussy hurt?<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>I'm serious, Pedro!<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>Who's gon na see it out there by the woods?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>Everybody who reads tomorrow's paper.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Shut up Emily.<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>No, you shut up! Do you know how embarrassing you are?!<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Look, it was bad luck as usual. So what?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>The car ran out of gas in the driveway!<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>The gage was busted!<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>Everybody at school makes fun of me!<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>And it was way down the block anyway.<\/dialogue>\n    <character>EMILY<\/character>\n    <parenthetical>( to Corey . )<\/parenthetical>\n    <dialogue>And then you try to put everything back! I mean, God, how stupid can you be?!<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Just shut up, alright?!'Cause you do n't know shit about anything!<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>The Herald had a picture of the owner laughing at you!<\/dialogue>\n    <scene_description>Corey drops his BEER and moves in aggressively , grabbing Emily by the wrists .<\/scene_description>\n    <character>COREY<\/character>\n    <dialogue>Listen, I'm sick of your shit!<\/dialogue>\n    <character>EMILY<\/character>\n    <parenthetical>( struggling to break free . )<\/parenthetical>\n    <dialogue>Get off me! You fucking loser!<\/dialogue>\n    <scene_description>Emily falls on her ass .<\/scene_description>\n    <character>COREY<\/character>\n    <dialogue>No wonder Victor tried to fuck you.<\/dialogue>\n    <scene_description>Emily stands up , turns around and heads toward the back door leading into the kitchen , storming past a TEENAGE BOY and TEENAGE GIRL passionately kissing each other against a tree in the back yard . We hang on the couple as Emily walks out of frame . As the boy works his way down to her neck , the girl 's eyes open for a moment and catch someone watching her . JIMMY is standing in the kitchen in front of the door looking out onto the back porch , staring at the couple making out , momentarily transfixed . Jimmy 's hand is in his pocket , turning his CHINESE STRESS BALLS over and over and over . The girl closes her eyes again , and Jimmy is forgotten , the moment lost . Jimmy is alone again , still , as usual .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S HOUSE, KITCHEN -- CONTINUOUS<\/stage_direction>\n    <scene_description>Jimmy scans the cramped kitchen . Partygoers are talking , laughing , carrying on , making out in the way that Partygoers will . Jimmy 's gaze wanders mechanically to anther part of the kitchen falls upon the entrance to the living room . The terribly familiar figure , BUGGERIN ' BOBBY BALES , stands tall , proud , talking to several Partygoers , the light behind him adding a regal air to his menacing frame - a transcendent silhouette for a hellish vision . Bobby towers easily over his peers . In his powerful hands he holds a tiny notepad on which he scribbles as his clients eagerly place their bets . RJ , a young African - American early - twenty - something , easily six feet tall , built like a powerlifter , his worn - out t - shirt doing little to hide his powerful frame , appears behind Jimmy .<\/scene_description>\n    <character>RJ<\/character>\n    <dialogue>You're Jimmy?<\/dialogue>\n    <scene_description>Jimmy turns around to face RJ .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>You're Sinjin?<\/dialogue>\n    <character>RJ<\/character>\n    <dialogue>RJ. Sinjin said you'd be wearin' a bookbag. They're back here.<\/dialogue>\n    <scene_description>JESSICA moves past RJ and Jimmy toward the back door . As RJ about - faces to lead Jimmy out of the kitchen and deeper into the house , we follow Jessica outside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE, BACK PORCH -- CONTINUOUS<\/stage_direction>\n    <scene_description>Jessica sees CARLOS standing against a post on the back porch drinking his BEER . He is surrounded by several PARTYGOERS , but is n't talking to any of them .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Where you been?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Talking to Carter.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Is he gon na help?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>He said he would.<\/dialogue>\n    <scene_description>Carlos pulls a pint of WHISKEY out of his back pocket .<\/scene_description>\n    <character>CARLOS<\/character>\n    <dialogue>Look. Wan na shot?<\/dialogue>\n    <scene_description>Jessica accepts the Whiskey and takes a long pull . She holds onto the Whiskey without saying anything , and Carlos does not object . She begins to take in the sights and sounds of the party , and notices COREY leaning against a rusty old washing machine near the KEG as PEDRO hands him another BEER . Jessica 's POV as Corey spots her standing next to Carlos . He continues to stare at Jessica , clearly taken by the sight of her , his eyes locking onto hers . The desperation of their individual struggles is lost for a moment .<\/scene_description>\n    <character>PEDRO<\/character>\n    <dialogue>You want me to talk to her?<\/dialogue>\n    <scene_description>The moment quickly passes as Corey turns his attention back to Pedro .<\/scene_description>\n    <character>COREY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>Si. So let's go fix the tire on the Mustang.<\/dialogue>\n    <scene_description>Corey attention is again drawn to the ping pong game , and Jessica takes note .<\/scene_description>\n    <character>CARLOS<\/character>\n    <parenthetical>( to Jessica . )<\/parenthetical>\n    <dialogue>You wan na play?<\/dialogue>\n    <scene_description>Carlos motions toward the large kitchen window . Jessica turns to look through it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S HOUSE, KITCHEN -- CONTINUOUS<\/stage_direction>\n    <scene_description>Jessica and Carlos are staring through the window at the CARD game taking place at the kitchen table . HEATHER and ALLISON are back at it with the male PARTYGOER they were playing with earlier , as well as CARD PLAYER , who has recently joined them . Heather is smoking a CIGARETTE . Card Player is dealing a round of asshole . All are visibly drunk .<\/scene_description>\n    <character>HEATHER<\/character>\n    <parenthetical>( examining her Cards . )<\/parenthetical>\n    <dialogue>What's dickhead doing? I knew he was lying.<\/dialogue>\n    <scene_description>Jessica turns toward the steps leading out onto the back yard , and Carlos follows . Heather and Card Player each place one card face - down on the table , exchanging one for the other .<\/scene_description>\n    <character>HEATHER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( to Card Player . )<\/parenthetical>\n    <dialogue>This is your best card?<\/dialogue>\n    <character>CARD PLAYER<\/character>\n    <dialogue>I ai n't happy about it.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Shut up and drink, asshole.<\/dialogue>\n    <parenthetical>( to Allison . )<\/parenthetical>\n    <dialogue>I should call him.<\/dialogue>\n    <scene_description>Card Player obeys and drinks .<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>He said he'll be here.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>He's probably got that Tess on all fours, fucking the shit out of her like the skank she is.<\/dialogue>\n    <parenthetical>( thinking about it . )<\/parenthetical>\n    <dialogue>No, you're right, fuck him.<\/dialogue>\n    <parenthetical>( throwing three fours down on the table face - up . )<\/parenthetical>\n    <dialogue>Drink. Fucking everyone drink.<\/dialogue>\n    <scene_description>All obey Heather .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S HOUSE, JERRY'S BEDROOM -- CONTINUOUS<\/stage_direction>\n    <scene_description>We recognize the room as Jerry 's old bedroom , empty except for a bed stripped of it 's sheets , a naked pillow , a beat - up dresser with a small TV on top of it , and a few posters and scraps of trash that have been left behind . JIMMY and RJ are looking across the room at SINJIN , a young African - American male about RJ 's age , with an average build , sharply dressed in a button - down , and sport coat . Sinjin has his back to Jimmy , and is bouncing up and down on a rusty old POGO STICK - his behavior constituting a sharp contrast to his stylish threads . LOUIE , an overweight , slobbish Caucasian male a few years older than Sinjin , sits in a rickety old WHEELCHAIR that might creak even more than Sinjin 's pogo stick - in Louie 's lap rests a BOWLING BALL BAG . Upon seeing Sinjin and Louie , Jimmy fondles his WATER BOTTLE nervously . He turns around to watch RJ closing the door behind them .<\/scene_description>\n    <character>LOUIE<\/character>\n    <dialogue>Sinjin!<\/dialogue>\n    <scene_description>Sinjin spins on the Pogo Stick and spots RJ and Jimmy standing at the entrance . Sinjin loses his balance and places a foot on the ground . He steps off the Pogo Stick and composes himself after his exhaustive venture .<\/scene_description>\n    <character>SINJIN<\/character>\n    <dialogue>Mr. Pizzaman! What's up?<\/dialogue>\n    <parenthetical>( referring to Jimmy 's BACKPACK . )<\/parenthetical>\n    <dialogue>Got any calzones in there?<\/dialogue>\n    <scene_description>Sinjin tosses the Pogo Stick aside .<\/scene_description>\n    <character>SINJIN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( re the Pogo Stick . )<\/parenthetical>\n    <dialogue>It's harder than it looks.<\/dialogue>\n    <scene_description>Sinjin turns the GARBAGE CAN over and sits on it while motioning to the bed .<\/scene_description>\n    <character>SINJIN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( comfortably , to Jimmy . )<\/parenthetical>\n    <dialogue>Sit down, man, sit down.<\/dialogue>\n    <scene_description>RJ walks over to lock the door as Jimmy inches closer into the room .<\/scene_description>\n    <character>RJ<\/character>\n    <dialogue>Yo, door do n't lock.<\/dialogue>\n    <character>SINJIN<\/character>\n    <dialogue>Well you got to stand your big muthafuckin' ass outside then,'cause ai n't nobody comin' in here.<\/dialogue>\n    <scene_description>Everybody looks at RJ .<\/scene_description>\n    <character>RJ<\/character>\n    <dialogue>I do n't give a shit.<\/dialogue>\n    <scene_description>RJ steps out and shuts the door behind him .<\/scene_description>\n    <character>SINJIN<\/character>\n    <dialogue>Alright. Jimmy, sit down, sit down.<\/dialogue>\n    <scene_description>Jimmy is clearly uncomfortable at the sight of these two .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>I like to stand usually.<\/dialogue>\n    <character>SINJIN<\/character>\n    <dialogue>Alright. I'm Sinjin. That legless waste is Louie.<\/dialogue>\n    <character>LOUIE<\/character>\n    <dialogue>I got legs little Massey muthafucka.<\/dialogue>\n    <character>JIMMY<\/character>\n    <parenthetical>( to Sinjin . )<\/parenthetical>\n    <dialogue>I thought it was gon na be just me an' you.<\/dialogue>\n    <character>SINJIN<\/character>\n    <dialogue>It is. Do n't be worryin' Louie - he's just here to have a good time.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE, FRONT YARD -- NIGHT<\/stage_direction>\n    <scene_description>EMILY is standing on the front steps , wondering whether to continue outside or head back inside . She 's completely out of place here among the older crowd . FEMALE PARTYGOER 1 and a PARTYGOER appear behind her in the doorway behind her .<\/scene_description>\n    <character>FEMALE PARTYGOER 1<\/character>\n    <dialogue>Excuse me.<\/dialogue>\n    <scene_description>Emily politely moves down to the bottom of the stairs and steps aside . She watches as Female Partygoer 1 and the Partygoer pass by her into the front yard .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE, BACK YARD -- NIGHT<\/stage_direction>\n    <scene_description>COREY and PEDRO climb off the back porch toward the ping pong table . BARNES and PING PONG PLAYER 1 are just finishing a point , which Barnes takes easily , as PING PONG PLAYER 2 waits his turn . Barnes is skinny but attractive , and has an even more attractive BARNES ' GIRLFRIEND watching him play .<\/scene_description>\n    <character>PEDRO<\/character>\n    <dialogue>What the hell are you doing? We got shit to do mehn, important shit.<\/dialogue>\n    <scene_description>Ping Pong Player 1 steps back and notes Corey approaching .<\/scene_description>\n    <character>PING PONG PLAYER 1<\/character>\n    <dialogue>Corey! Hey, come beat this asshole!<\/dialogue>\n    <character>BARNES<\/character>\n    <dialogue>Hey, nineteen - ten, let's go.<\/dialogue>\n    <character>PING PONG PLAYER 1<\/character>\n    <dialogue>Screw it, you won again. Play Corey.<\/dialogue>\n    <character>BARNES<\/character>\n    <dialogue>C'mon. Becker ca n't beat me.<\/dialogue>\n    <character>PING PONG PLAYER 1<\/character>\n    <parenthetical>( to Barnes ' Girlfriend , handing Corey his paddle . )<\/parenthetical>\n    <dialogue>Watch this.<\/dialogue>\n    <scene_description>Corey steps to the table opposite Barnes , confident , but unenthusiastic . Corey is not playing for the fun of it - somewhere deep down Corey wants to remind himself that he 's good at something . Barnes tosses the PING PONG BALL to Corey .<\/scene_description>\n    <character>BARNES<\/character>\n    <dialogue>You serve, Becker.<\/dialogue>\n    <scene_description>Corey 's first serve is wicked - fast and spinning wildly . Barnes has no chance .<\/scene_description>\n    <character>BARNES' GIRLFRIEND<\/character>\n    <dialogue>Not too good, baby.<\/dialogue>\n    <scene_description>Pedro stands alongside and watches silently , pensive , his mind distraught over their larger dilemma .<\/scene_description>\n    <character>COREY<\/character>\n    <dialogue>Go find Mitch.<\/dialogue>\n    <scene_description>Pedro leaves obediently .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE, BACK YARD -- NIGHT<\/stage_direction>\n    <scene_description>JESSICA takes another pull from the WHISKEY . CARLOS is watches attentively .<\/scene_description>\n    <character>CARLOS<\/character>\n    <dialogue>Take it easy. You got to go back and watch Katie.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Do n't remind me. Please.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>You signed up for it.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>It seemed like a good idea then! Give some crappy advice every once in a while. I did n't think it'd be this constant torture, always wanting to do something, go somewhere. I'm so sick of it.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Some big sister.<\/dialogue>\n    <scene_description>Jessica takes another drink and looks toward the ping pong table , where Corey is manhandling Barnes , as Ping Pong Player 1 , Ping Pong Player 2 , Barnes ' Girlfriend and various Partygoers look on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S HOUSE, KITCHEN -- NIGHT<\/stage_direction>\n    <scene_description>JIMMY walks in from living room looking for Bobby . He continues on toward the back door leading out onto the back porch .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S HOUSE, CARTER'S BEDROOM -- NIGHT<\/stage_direction>\n    <scene_description>A dense gathering of PARTYGOERS is packed tight within the confines of Carter 's room , rather small despite being the largest bedroom in the house . The collection of Partygoers are watching with religious fervor the basketball game playing from the modest TV in the room . CARTER , BERUBI , AARON and TROY are among the crowd . All those gathered here have an interest in the game , but none as much as BUGGERIN ' BOBBY BALES , who stands back against the far wall though the nobody in the congregation dares venture into his sightline of the television . Partygoers yell in unison at various events displayed on the screen . The door opens , and Pedro peeks into the room .<\/scene_description>\n    <character>BERUBI<\/character>\n    <dialogue>Shut the door!<\/dialogue>\n    <scene_description>Pedro shuts the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S HOUSE, LIVING ROOM -- CONTINUOUS<\/stage_direction>\n    <scene_description>HEATHER and ALLISON are sitting on a couch facing each other , very drunk and extremely happy . The coffee table in front of them is filled with plastic CUPS and LIQUOR BOTTLES , many of which are empty .<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Hey! Fuck. you! I would never!<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Alright, alright! You little slut! I got one for you!<\/dialogue>\n    <parenthetical>( pointing to someone off camera . )<\/parenthetical>\n    <dialogue>Right over there in front of the door!<\/dialogue>\n    <scene_description>Looking down the hallway outside Jerry 's bedroom we see RJ standing against the door . He does not notice the girls looking at him from the living room .<\/scene_description>\n    <character>ALLISON<\/character>\n    <parenthetical>( thoughtfully . )<\/parenthetical>\n    <dialogue>Well, he's got a nice body. He's a little scary looking. he scares me.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>You like it, too, you little slut!<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Whatever! You're the slut!<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>No! No! Alright, okay, yeah! Maybe!<\/dialogue>\n    <parenthetical>( grabbing a bottle of VODKA and a Cup . )<\/parenthetical>\n    <dialogue>Bring him a drink!<\/dialogue>\n    <scene_description>Allison grabs for the Vodka , but Heather does not let go .<\/scene_description>\n    <character>HEATHER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( motherly tone . )<\/parenthetical>\n    <dialogue>No, Ally, this one is for me. You take that handsome boy one of these other.<\/dialogue>\n    <parenthetical>( picking up and putting down various empty Liquor Bottles before finally grabbing a bottle of TEQUILA with a bit left . )<\/parenthetical>\n    <dialogue>. take him this!<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Do we have any yogurt left?<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>I think so.<\/dialogue>\n    <scene_description>Heather takes another hit of Vodka .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE, SIDE YARD -- NIGHT<\/stage_direction>\n    <scene_description>JIMMY has his CELL PHONE to his ear , waiting for voicemail , anxious .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Bobby, where the hell are you? I got ta talk to you. Call me back right away.<\/dialogue>\n    <scene_description>Jimmy hangs up and takes a moment to think about his options .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE, BACK YARD -- NIGHT<\/stage_direction>\n    <scene_description>COREY and BARNES are continue to play as PING PONG PLAYER 1 , PING PONG PLAYER 2 , BARNES ' GIRLFRIEND and various PARTYGOERS continue to watch . In the background , JESSICA paces back and forth as CARLOS sits on the ground indian - style watching the Partygoers on the back porch . Carlos takes a shot of WHISKEY .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE, FRONT YARD -- NIGHT<\/stage_direction>\n    <scene_description>EMILY stands against the garage door , keeping to herself .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S HOUSE, LIVING ROOM -- CONTINUOUS<\/stage_direction>\n    <scene_description>ALLISON has her head back on the couch as HEATHER lights a CIGARETTE . MITCH approaches the ladies with a BEER in his hand . Mitch is a staunch thirty - something mechanic with a beer - gut , dressed in Levis overalls , and wearing a backwards baseball cap and a beard that together hide much of his head .<\/scene_description>\n    <character>MITCH<\/character>\n    <parenthetical>( primarily to Heather . )<\/parenthetical>\n    <dialogue>Hey girls, what're you drinking?<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Vodka.<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>What're you mixing it with?<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Vodka.<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Really? A little girl like you. You think I might get you to share a little of that?<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>I do n't know. There's not much left.<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>If you do something nice for me, I might do something nice for you.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>I'm not that kind of girl.<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>No?<\/dialogue>\n    <parenthetical>( regarding Allison . )<\/parenthetical>\n    <dialogue>How about your friend here?<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Oh, now you want to talk to me?<\/dialogue>\n    <scene_description>While Mitch is searching for an answer , a familiar voice cuts over the background noise .<\/scene_description>\n    <character>PEDRO<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Mitch! There you are!<\/dialogue>\n    <scene_description>PEDRO is approaching from the kitchen carrying a nearly - full BEER . Mitch seems a bit disappointed to see him .<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>We're outside by the woods. We got the Mustang, mehn. It's beautiful.<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Yeah, I'll be out in a minute.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>I feel nauseous.<\/dialogue>\n    <character>MITCH<\/character>\n    <parenthetical>( to Heather and Allison , regarding Pedro . )<\/parenthetical>\n    <dialogue>This is Pedro. We worked together'til last week.<\/dialogue>\n    <character>PEDRO<\/character>\n    <parenthetical>( to Mitch . )<\/parenthetical>\n    <dialogue>Vamos, these girls are n't interested in you.<\/dialogue>\n    <character>MITCH<\/character>\n    <parenthetical>( dumbfounded . )<\/parenthetical>\n    <dialogue>Pedro. what the fuck.<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>Come on, mehn. Come check out the Mustang.<\/dialogue>\n    <scene_description>Pedro leaves and Mitch follows .<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Oh shit, I think I'm gon na be sick.<\/dialogue>\n    <scene_description>Allison plops down on all fours , and begins vomiting violently . Heather kneels down next to Allison and pulls her hair back so it does n't get hit by the vomit .<\/scene_description>\n    <character>HEATHER<\/character>\n    <dialogue>That's nasty.<\/dialogue>\n    <scene_description>Allison has a few more convulsions .<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Fuck you.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Wan na wash your mouth out?<\/dialogue>\n    <scene_description>Allison sits up , fixes her hair , then grabs the VODKA from Heather . Allison takes a mouthful , rinses , and spits . Allison then takes a drink .<\/scene_description>\n    <character>HEATHER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>My God, Ally.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE, BACK YARD -- CONTINUOUS<\/stage_direction>\n    <scene_description>PEDRO and MITCH make their way into the back yard towards the ping pong table . PING PONG PLAYER 1 , PING PONG PLAYER 2 , BARNES ' GIRLFRIEND and various PARTYGOERS are gathered around COREY and BARNES . Corey functions mechanically - his mind is not on the game . Barnes is openly frustrated as Corey finishes him off .<\/scene_description>\n    <character>BARNES<\/character>\n    <dialogue>One more.<\/dialogue>\n    <character>PING PONG PLAYER 2<\/character>\n    <parenthetical>( reaching for Barnes ' RACKET . )<\/parenthetical>\n    <dialogue>Let someone else play, Barnes.<\/dialogue>\n    <character>BARNES<\/character>\n    <parenthetical>( to Ping Pong Player 2 . )<\/parenthetical>\n    <dialogue>You guys suck - he'll be at the table all night.<\/dialogue>\n    <character>PING PONG PLAYER 1<\/character>\n    <dialogue>So let him beat someone else.<\/dialogue>\n    <scene_description>Corey notices Mitch standing next to Pedro .<\/scene_description>\n    <character>COREY<\/character>\n    <dialogue>You're Mitch?<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Nice ta meet ya.<\/dialogue>\n    <character>COREY<\/character>\n    <parenthetical>( tossing his RACKET to other side the table in front of Ping Pong Player . )<\/parenthetical>\n    <dialogue>Follow me.<\/dialogue>\n    <scene_description>Corey heads toward the Mustang , and Pedro and Mitch follow .<\/scene_description>\n    <character>PING PONG PLAYER 2<\/character>\n    <parenthetical>( wanting to play Corey . )<\/parenthetical>\n    <dialogue>Where you going Becker?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S HOUSE, CARTER'S BEDROOM -- NIGHT<\/stage_direction>\n    <scene_description>PARTYGOERS yell in unison at various events displayed on the screen . JIMMY is off to the side of the room talking to BOBBY .<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You know I do n't get involved with that shit. You sell your drugs and pay what you owe.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>That's what I'm doing! Bob, just listen to me! I'm selling, but it's Sinjin.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Sayeed's little brother?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Yes. And Louie and RJ. Fucking three guys.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>One of'em's a cripple. Do n't make such a big deal.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>A cripple'cause he got shot! All I want you to do is just sit there!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Fuckin' sit there and what? Pull my fuckin' cock.<\/dialogue>\n    <character>JIMMY<\/character>\n    <parenthetical>( interrupting . )<\/parenthetical>\n    <dialogue>And nothin'! Goddamit fuckin' Bob, I'll handle everything. Everything. You just sit your big fuckin' ass there, it'll be enough. They wo n't fuck with you, bein' in prison and shit.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Jimmy, I ai n't in a mood to help you right now. I really ai n't. You're wreckin' my livelihood. Soon no one pays me. And I fuckin' help you? You're a thorn in my balls.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Look Bobby, alright, I told'em I had a partner, that's you. You're gon na help me now or you're not. And if you do n't, I'm a little fucked.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What the hell's the matter with you? What the fuck is going on in your head? You comin' to me, knowin' I'm pissed at you, and what for.<\/dialogue>\n    <scene_description>Jimmy is losing it , his grip on reality . He 's drowning , grasping for anything that floats .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Jesus, Bobby, I'll owe you. Alright? I'll owe you. Just help me out here. Help me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE, FRONT YARD -- NIGHT<\/stage_direction>\n    <scene_description>EMILY is standing with her back to the garage door talking to MALE PARTYGOER 1 , an average size boy about Corey 's age .<\/scene_description>\n    <character>MALE PARTYGOER 1<\/character>\n    <dialogue>How come I have n't seen you before? Did you go to Athens?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>I still go there. I'm a freshman.<\/dialogue>\n    <character>MALE PARTYGOER 1<\/character>\n    <dialogue>Really? I graduated last year. You know anyone my year?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>My brother. Corey. Becker.<\/dialogue>\n    <character>MALE PARTYGOER 1<\/character>\n    <dialogue>Oh yeah, I know Becker. He dropped out our senior year, though. He's your bro?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>Unfortunately.<\/dialogue>\n    <character>MALE PARTYGOER 1<\/character>\n    <dialogue>Yeah, he's kind of a loser.<\/dialogue>\n    <character>EMILY<\/character>\n    <parenthetical>( defending her brother . )<\/parenthetical>\n    <dialogue>So what are you?<\/dialogue>\n    <scene_description>Changing the subject , Male Partygoer 1 pulls a couple of white TABLETS out of his pocket .<\/scene_description>\n    <character>MALE PARTYGOER 1<\/character>\n    <dialogue>Ever try this?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Male Partygoer 1 hands a Tablet to Emily , but she waits to see how Male Partygoer 1 take it , which he does by biting it in half and chasing it with his DRINK . Emily takes Male Partygoer 1 's Drink and does the same .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEREK'S POLICE CAR -- NIGHT<\/stage_direction>\n    <scene_description>DEREK is traveling on a busy road , with the sirens of his Police Car activated . CARS are pulling over to let him pass , but it is taking some time . He pulls out his CELL PHONE and punches in some numbers .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S HOUSE, KITCHEN -- CONTINUOUS<\/stage_direction>\n    <scene_description>The room is crowded with PARTYGOERS . The CORDLESS PHONE is ringing , and DRUNK PARTYGOER answers it , clearly drunk . We cut back and forth between Derek and Drunk Partygoer .<\/scene_description>\n    <character>DRUNK PARTYGOER<\/character>\n    <parenthetical>( yelling above the noise . )<\/parenthetical>\n    <dialogue>Who is this?!<\/dialogue>\n    <character>DEREK<\/character>\n    <dialogue>A friend' a Carter's.<\/dialogue>\n    <character>DRUNK PARTYGOER<\/character>\n    <dialogue>Oh, yeah, Carter! He's here! Somewhere!<\/dialogue>\n    <character>DEREK<\/character>\n    <dialogue>Tell him the cops are coming. There's been several noise complaints.<\/dialogue>\n    <character>DRUNK PARTYGOER<\/character>\n    <dialogue>What?!<\/dialogue>\n    <character>DEREK<\/character>\n    <dialogue>The cops are coming! Tell Carter!<\/dialogue>\n    <character>DRUNK PARTYGOER<\/character>\n    <dialogue>Oh yeah! Okay, I got it! Cops are comin'! Tell Carter! Who is this?!<\/dialogue>\n    <character>DEREK<\/character>\n    <dialogue>A friend' a Carter's!<\/dialogue>\n    <character>DRUNK PARTYGOER<\/character>\n    <dialogue>Oh yeah, you already said that!<\/dialogue>\n    <scene_description>Drunk Partygoer hangs up and turns over to a couple of other Partygoers .<\/scene_description>\n    <character>DRUNK PARTYGOER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( to Partygoers . )<\/parenthetical>\n    <dialogue>Cops are comin'! I'm tellin' Carter.<\/dialogue>\n    <scene_description>The other Partygoers are not impressed - they continue to sit and drink . Drunk Partygoer loses focus and rejoins them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE, BACK YARD -- NIGHT<\/stage_direction>\n    <scene_description>COREY and MITCH barter over the Mustang , though Mitch seems more interested in his BEER than the car . PEDRO is putting the last touches on putting on the NEW TIRE . He picks the FLAT TIRE up and tosses it in the trunk .<\/scene_description>\n    <character>COREY<\/character>\n    <dialogue>It's a good car.<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>It's alright. I'd have to ask Jeremy. What do you want for it?<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Make an offer.<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Twelve hundred.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Twelve hundred! That's nothing!<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Look, there's a lotta shit that Jeremy's got ta do with it. It's not like he can just switch the fuckin' plates and it's a go.<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>Co\u00f1o, we got thrown outta our apartment! We need more money!<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Steal some more cars. I'll see what I can do.<\/dialogue>\n    <scene_description>Mitch polishes off his Beer and holds the empty cup up .<\/scene_description>\n    <character>MITCH<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You want another?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE, BACK YARD -- NIGHT<\/stage_direction>\n    <scene_description>AARON and TROY step out onto the back porch and spot JESSICA and CARLOS . Upon seeing them , Carlos stands straight up .<\/scene_description>\n    <character>CARLOS<\/character>\n    <dialogue>Aaron's here.<\/dialogue>\n    <scene_description>Jessica , still pacing , stops in her tracks and turns around beside Carlos . It 's too late to gracefully exit , so Carlos stands there frozen . Jessica does not seem afraid . Aaron and Troy approach . It 's clear Troy does n't really want to be there .<\/scene_description>\n    <character>AARON<\/character>\n    <parenthetical>( to Carlos . )<\/parenthetical>\n    <dialogue>Hey guy.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>You like talking to my girl?<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Aaron, I did n't mean nothin'.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>No? Just friends?<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>What's the matter, do n't like her that way?<\/dialogue>\n    <scene_description>Carlos painfully does not answer . Jessica , unfazed , takes another hit of WHISKEY . Jessica is confident because of the booze and because of Carter 's promise . Jessica and Aaron begin arguing in calm `` I 'm above this '' mannerisms .<\/scene_description>\n    <character>AARON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( to Carlos . )<\/parenthetical>\n    <dialogue>Go ` head, take her home. Fuck ` er brains out. She'll give you a little surprise.<\/dialogue>\n    <scene_description>Carlos simply stands there , ashamed of his inability to act .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Fuck you, I'm clean. You're the cheatin' asshole with bumps on your cock.<\/dialogue>\n    <character>AARON<\/character>\n    <parenthetical>( to Troy . )<\/parenthetical>\n    <dialogue>Hold this.<\/dialogue>\n    <scene_description>Aaron hands his beer to Troy and then grabs the Whiskey Jessica is holding . Jessica flinches as if afraid Aaron would hit her .<\/scene_description>\n    <character>AARON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Better wipe this off good. You never know.<\/dialogue>\n    <scene_description>Aaron uses his shirt to vigorously rub the mouth of the bottle before taking a long pull . The Whiskey is almost gone . Jessica grabs back the Whiskey , wipes it off as Aaron did , and polishes it off .<\/scene_description>\n    <character>AARON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You're good at that. You ready yet to go bang some dude? Maybe Carlos here?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Fuck you. I'm going to get Carter, and he's gon na kick your ass.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Carter ai n't gon na kick shit.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>We'll see, right?<\/dialogue>\n    <scene_description>Jessica moves to leave , but Aaron grabs her arm .<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Hold on a minute.<\/dialogue>\n    <scene_description>Jessica smashes the bottle over Aaron 's head , knocking Aaron to the floor in a daze .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>That's for the pepper spray, asshole!<\/dialogue>\n    <scene_description>The PARTYGOERS in the back yard are now fixed on Jessica and Aaron . CARTER runs over , holding his CIGAR and a BEER . BERUBI is behind Carter , eager for a fight .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>What's goin' on?<\/dialogue>\n    <character>TROY<\/character>\n    <dialogue>She smashed a whiskey bottle over his head.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>He grabbed me! I'm not gon na sit and wait until he hits me again! He can just keep his fuckin' hands off me!<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>He grabbed her?<\/dialogue>\n    <scene_description>Troy shrugs his shoulders .<\/scene_description>\n    <character>TROY<\/character>\n    <dialogue>I guess so. It was n't a big deal.<\/dialogue>\n    <character>AARON<\/character>\n    <parenthetical>( recovering , to Jessica . )<\/parenthetical>\n    <dialogue>You're dead.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>See?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Jess, you hit him with a bottle?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Before he fucking hit me!<\/dialogue>\n    <character>AARON<\/character>\n    <parenthetical>( to Carter . )<\/parenthetical>\n    <dialogue>Look, I ai n't got no problem with you.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Fine. You touch her, and I promised her I'd beat the livin' piss outta you. I'll do it. Lay off.<\/dialogue>\n    <scene_description>Aaron sits up against a tree , his hands to his head . Carter starts to leave . Carlos feels even more ashamed that Carter stepped in and did something that Carlos did not have the courage to do himself .<\/scene_description>\n    <character>BERUBI<\/character>\n    <parenthetical>( to Aaron . )<\/parenthetical>\n    <dialogue>You're lucky.<\/dialogue>\n    <scene_description>Jessica grabs Carter by the shirt .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Carter, what the hell?! You said you were gon na kick his ass!<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I said I would step in if he hit you, and he's not gon na hit you.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>This is fuckin' bullshit!<\/dialogue>\n    <scene_description>Jessica winds up and stomps Aaron in the groin . Aaron growls in pain and doubles over .<\/scene_description>\n    <character>TROY<\/character>\n    <parenthetical>( in awe of Jessica 's ferociousness . )<\/parenthetical>\n    <dialogue>Woe, dude.<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>( to Jessica . )<\/parenthetical>\n    <dialogue>Jessica! What the fuck are you doing?!<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>If you're not man enough to do what you said, I will!<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Jess, I'm not gettin' into this! I'm sicka' this bullshit with you! You bring this shit on yourself!<\/dialogue>\n    <parenthetical>( to Aaron . )<\/parenthetical>\n    <dialogue>Do n't touch her.<\/dialogue>\n    <scene_description>Carter leaves , followed by Berubi . Jessica watches them leave . She turns down to Aaron .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>You know what? I do n't need Carter. What're you gon na do, tough guy?<\/dialogue>\n    <character>AARON<\/character>\n    <parenthetical>( still recovering . )<\/parenthetical>\n    <dialogue>Why do n't you give me a minute and see?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Fuck you, you had your minute.<\/dialogue>\n    <scene_description>Jessica storms toward Carlos ' CAR , and Carlos follows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S HOUSE, LIVING ROOM -- NIGHT<\/stage_direction>\n    <scene_description>ALLISON is lying on her back on the couch with her head in HEATHER 's lap . Heather is stroking Allison 's hair . They 're both obliterated and just stuttering away .<\/scene_description>\n    <character>HEATHER<\/character>\n    <dialogue>I'm all talk. I ca n't cheat on Derek. I love Derek. It's just that he makes me so mad. And that makes me a psycho. Every time a girl loses her temper, she's a fucking psycho. Ca n't I be upset without being a psycho? Ca n't I just be mad?<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>It's just every time you find a woman near Derek, you go absolutely nuts.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Let's not use the word nuts, alright?<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>You know what I mean.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Yeah, well, do n't say nuts.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Alright, you are mighty, mighty. not very nice when another girl is near your boyfriend.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Do n't say nuts, do n't say psycho, do n't -<\/dialogue>\n    <character>ALLISON<\/character>\n    <parenthetical>( interrupting . )<\/parenthetical>\n    <dialogue>I do n't say those things.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Yes you do! Yes you do!<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>What I meant, I do n't mean them. I meant that I do n't mean them. That I do n't mean to say them.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Well, what do you mean?<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>I do n't know. I mean, you get so angry, it's a little scary.<\/dialogue>\n    <scene_description>Allison sits up on the couch . Heather sits up directly facing Allison , her hands on Allison 's lap .<\/scene_description>\n    <character>ALLISON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I get scared when you get all angry. You get so mad sometimes, you start doing things, saying things to hurt people. Around you.<\/dialogue>\n    <character>HEATHER<\/character>\n    <parenthetical>( starting to cry . )<\/parenthetical>\n    <dialogue>Oh, I do n't mean to! I'd never say anything to hurt you, Ally!<\/dialogue>\n    <character>ALLISON<\/character>\n    <parenthetical>( also starting to cry . )<\/parenthetical>\n    <dialogue>I know. Deep down, I know. But you get so angry.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>I'm so sorry! Oh, you're right! I am a psycho! A rotten - bitch - psycho! I scare you - Ally - who would never hurt anyone or, or anything!<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>It's alright, I know you do n't mean it!<\/dialogue>\n    <scene_description>Heather hugs Allison , who hugs back . Both are bawling as they embrace .<\/scene_description>\n    <character>HEATHER<\/character>\n    <dialogue>I do n't mean it! You're my best friend! My sister! I love you so much!<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>No, maybe you should n't. Maybe I do n't deserve it!<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>You deserve it! You're so perfect!<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Do n't say that! I'm not, I'm not!<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Yes you are!<\/dialogue>\n    <scene_description>WIDE on Heather and Allison . The noise of the party drowns out their conversation . Allison is whispering forcefully into Heather 's ear . Heather is listening , but can not hear . We see her lips form the word `` what ? '' Allison continues whispering , and Heather 's face becomes furious . She pushes Allison back .<\/scene_description>\n    <character>HEATHER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You fucking slut!<\/dialogue>\n    <scene_description>Heather shoves Allison hard off the couch . As Allison stumbles roughly and attempts to recover , PARTYGOERS , mostly guys , gather around , cheering wildly . Heather kicks furiously at Allison , who is on all fours employing the turtle defense . We catch a glimpse of Allison 's face - she is in utter panic . Heather 's foot catches Allison square in the face , knocking her limp . Most of the crowd has stopped cheering . Heather continues to kick at Allison 's limp body , and two SKINNY GUYS pull Heather away . Heather shakes them off and leaves in a huff , while everyone is tending to Allison .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S HOUSE, HALLWAY -- MOMENT'S LATER<\/stage_direction>\n    <scene_description>HEATHER , visibly psychotic , and still very drunk , is making a beeline straight for RJ , who shows no sign of noticing Heather until she is directly in front of him .<\/scene_description>\n    <character>HEATHER<\/character>\n    <parenthetical>( pointing to Berubi 's bedroom . )<\/parenthetical>\n    <dialogue>Wan na take me in there and fuck my brains out?<\/dialogue>\n    <character>RJ<\/character>\n    <dialogue>Sure, I do n't give a shit.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Fucking great, let's go.<\/dialogue>\n    <scene_description>Heather heads towards Berubi 's bedroom , and RJ follows , passing JIMMY and BUGGERIN ' BOBBY BALES . Jimmy looks back at RJ as he passes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S HOUSE, JERRY'S BEDROOM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Jimmy reenters the room he retreated from earlier , with Bobby in tow . The room is empty .<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>What the fuck Jimmy?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Just hold on.<\/dialogue>\n    <scene_description>Jimmy steps further into the room and stands pensive as Bobby takes a seat . Bobby lights up a CIGARETTE .<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I ca n't figure you Jimmy.<\/dialogue>\n    <character>SINJIN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Where the fuck is RJ?<\/dialogue>\n    <scene_description>The door bursts open again with a violent thrash , and LOUIE fires into view on his WHEELCHAIR with SINJIN pushing from behind .<\/scene_description>\n    <character>LOUIE<\/character>\n    <dialogue>Take it easy you stupid motherfucker!<\/dialogue>\n    <scene_description>Sinjin kicks the door shut with the back of his foot and wheels Louie into the room . Louie is holding a half - full bottle of JACK DANIELS in his hand , the BOWLING BALL BAG still in his lap .<\/scene_description>\n    <character>SINJIN<\/character>\n    <dialogue>This your partner?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Where you been?<\/dialogue>\n    <character>SINJIN<\/character>\n    <dialogue>Just gettin' a drink, Jimmy. You took long enough.<\/dialogue>\n    <scene_description>Sinjin wheels Louie in a haphazard , indirect arc somehow closing on the center of the room . The doorknob rattles .<\/scene_description>\n    <character>SINJIN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( to Louie . )<\/parenthetical>\n    <dialogue>Thought that shit did n't lock.<\/dialogue>\n    <scene_description>Sinjin is staring at the door , but Louie is pre - occuppied .<\/scene_description>\n    <character>LOUIE<\/character>\n    <parenthetical>( to Bobby . )<\/parenthetical>\n    <dialogue>You're Buggerin' Bobby Bales.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Excuse me you cripple motherfucker?<\/dialogue>\n    <character>LOUIE<\/character>\n    <dialogue>Buggerin' Bobby Bales. Sayeed knows you.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Call me that again.<\/dialogue>\n    <scene_description>Louie takes a strong pull from the bottle of Jack .<\/scene_description>\n    <character>SINJIN<\/character>\n    <dialogue>Louie, shut the fuck up. Let's just do this.<\/dialogue>\n    <character>LOUIE<\/character>\n    <dialogue>Call you what again? What everyone calls you?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yeah. Call me that.<\/dialogue>\n    <character>LOUIE<\/character>\n    <dialogue>Buggerin' Bobby Bales.<\/dialogue>\n    <scene_description>Bobby stands , tosses his Cigarette aside , and marches toward Louie . Sinjin knowingly looses his grip on the Wheelchair and steps back .<\/scene_description>\n    <character>SINJIN<\/character>\n    <dialogue>Bobby, let's relax now. Louie may be a fool.<\/dialogue>\n    <scene_description>Bobby grabs Louie by the collar and throws him from the Wheelchair . Louis lands heavily on his crippled frame , dazed , the Bowling Ball Bag dribbling onto the floor near Sinjin . Bobby grabs the Wheelchair in both hands and begins smashing it against the wall and into the floor . As Jimmy and Sinjin watch , dumbfounded , the large clay LAWN DWARF we saw earlier bursts trough the window and lands in the center of the room . Everyone stops to stare at the Lawn Dwarf , including Bobby .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE, FRONT YARD -- NIGHT<\/stage_direction>\n    <scene_description>JESSICA storms through the yard toward Carlos ' CAR . CARLOS is right behind .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Where'd we park?<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Over here.<\/dialogue>\n    <scene_description>Carlos begins walking over to his CAR , and Jessica walks alongside . Jessica is clearly drunk . Passing by a now high EMILY backed up against a tree staring off into nowhere as MALE PARTYGOER 1 kisses her neck , they arrive at Carlos ' Car . Carlos walks over to the driver - side door , but Jessica walks immediately over to the trunk .<\/scene_description>\n    <character>CARLOS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What are you doing? Get in.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Open the trunk.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Jess, let's get out of here.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>I want your bat.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Screw that.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>I'm gon na finish what I started. I'm gon na knock his teeth out.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Let's just go home.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Carlos, open the trunk!<\/dialogue>\n    <scene_description>Carlos grudgingly obeys . He walks back to the trunk and inserts his KEY , then lifts up . Jessica reaches in and grabs a wooden baseball BAT . She shuts the trunk and looks over to the house . AARON walks through Carter 's front door and steps onto the porch , TROY right behind . Aaron is holding a bag of FROZEN VEGETABLES to his head in the area where Jessica hit him with the whiskey bottle . He spots Carlos and Jessica , and walks deliberately toward them .<\/scene_description>\n    <character>CARLOS<\/character>\n    <dialogue>Get in the car.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>I'm staying, and so are you, so shut up.<\/dialogue>\n    <scene_description>Carlos swallows his pride , too yellow to push the point . Aaron moves toward Jessica very quickly , but a look at the bat Jessica is holding makes Aaron keep his distance .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What's the matter? Are n't you gon na put me in my place?<\/dialogue>\n    <character>AARON<\/character>\n    <parenthetical>( calming down . )<\/parenthetical>\n    <dialogue>Why do n't you put that down.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Because I'm gon na use it to bash your head in.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>You really want to do that?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>You really wan na make me?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>You're gon na do what you're gon na do, like always.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>What the hell's that supposed to mean?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Let me show you something. Can I show you?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>AARON<\/character>\n    <parenthetical>( inching closer to Jessica and beginning to loosen his pants . )<\/parenthetical>\n    <dialogue>I just wan na show you something.<\/dialogue>\n    <scene_description>Jessica stands back and holds the bat in a cocked position .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>No more' a this shit, Aaron. Just stand back there. I'll bash you with this, I swear.<\/dialogue>\n    <scene_description>Aaron drops the Frozen Vegetables to the ground and loosens his pants .<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Look, just hold on. I wan na show you this. I got it a little while ago, for your birthday.<\/dialogue>\n    <scene_description>Aaron lowers the left side of his pants to reveal a scarring TATTOO , which is placed above and to the side of his groin . Jessica looks closer . Troy , uncomfortable and not wanting to be there , lights up another CIGARETTE .<\/scene_description>\n    <character>AARON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Can you see it?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>What the hell is it?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>It's J. H. C. I got it for your birthday.<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( not knowing what to say . )<\/parenthetical>\n    <dialogue>Bullshit.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Will you come closer and look? Troy, tell her.<\/dialogue>\n    <character>TROY<\/character>\n    <parenthetical>( to Jessica . )<\/parenthetical>\n    <dialogue>It's your initials. I told him it was stupid.<\/dialogue>\n    <scene_description>Jessica lowers the Bat and walks cautiously up to Aaron . She attempts to read the Tattoo , which is difficult because of the low light and the scarring .<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>You like it, do n't you? I knew you would.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>You're an idiot.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>Jessica touches the Tattoo .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Does that hurt?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>No. Try whacking it with the bat.<\/dialogue>\n    <scene_description>Jessica laughs as Aaron smiles . Troy is bored . Carlos is miserable . Jessica stands up in front of Aaron , holding the Bat loosely by her side , unsure of what to do . Aaron gently grabs Jessica around the elbows and pulls her close . He puts his arms around her and hugs her loosely .<\/scene_description>\n    <character>AARON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Can we just forget about this?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Aaron hugs Jessica tightly as she drops the Bat and hugs back .<\/scene_description>\n    <character>AARON<\/character>\n    <dialogue>Happy birthday.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Thank you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE, FRONT YARD -- NIGHT<\/stage_direction>\n    <scene_description>EMILY , her back up against a tree , continues making out with an aggressive MALE PARTYGOER 1 . As MALE PARTYGOER 1 comes up for air , we see that he has a hand down Emily 's pants , fingering her . Emily 's mind is somewhere else . Emily snaps back to reality and removes Male Partygoer 1 's hand and pushes him away from her - she wo n't become another slut in a town full of them .<\/scene_description>\n    <character>MALE PARTYGOER 1<\/character>\n    <dialogue>Hey, what's wrong?<\/dialogue>\n    <scene_description>Emily makes for the front door and into the house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE, BACK YARD -- NIGHT<\/stage_direction>\n    <scene_description>MITCH has refilled his BEER and patiently waits for a counteroffer from COREY .<\/scene_description>\n    <character>COREY<\/character>\n    <dialogue>How about two thousand even?<\/dialogue>\n    <scene_description>Impatient with the proceedings , PEDRO walks over to the passenger door of the Mustang , swings it open , and leans inside , struggling a bit .<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Ca n't do it.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>It's not economically.<\/dialogue>\n    <parenthetical>( searching for the word . )<\/parenthetical>\n    <dialogue>Good, right, sound, whatever.<\/dialogue>\n    <scene_description>Pedro reappears from the backseat , holding an expensive STEREO .<\/scene_description>\n    <character>PEDRO<\/character>\n    <dialogue>Okay, give us two thousand and I give you this nice stereo for free.<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Where the hell you get that?<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Yeah, what the hell is that?!<\/dialogue>\n    <character>PEDRO<\/character>\n    <parenthetical>( to Mitch . )<\/parenthetical>\n    <dialogue>It was in the car.<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>I do n't want a stereo.<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>You can have it for free, mehn.<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Where's the speakers?<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>In the back.<\/dialogue>\n    <scene_description>Corey walks over , opens the door and looks in the back . His gaze falls upon an item on the floor in the back seat area .<\/scene_description>\n    <character>PEDRO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>This stereo's a motherfucker, mehn, I'm telling you. I was gon na keep it myself.<\/dialogue>\n    <scene_description>Corey pulls out from the back seat of the Mustang holding a large red and blue POLICE LIGHT . He is dumbfounded . Corey looks to Pedro for an explanation .<\/scene_description>\n    <character>PEDRO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What's that?<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>I thought you'd tell me!<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>It looks like police cherries.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>It ca n't be.<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Look fellas, I'd like to help you out, but I'm not into buying stolen cop cars. It do n't seem right somehow.<\/dialogue>\n    <scene_description>Corey and Pedro struggle for an explanation , but are left speechless .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE, BACK YARD -- NIGHT<\/stage_direction>\n    <scene_description>JESSICA and AARON are leaning against a random partygoer 's CAR . They look very calm .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>I did n't cheat.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Fine, you say so, fine.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>That's it?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Well what the hell can I do? There's nothin'. I got your goddam initials tattoo'd next to my balls.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>It was a stupid thing to do.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>You do n't like it?!<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Well of course I like it! But what if we break up?<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Yeah, I thought about that. I'll say it's for Jesus H. Christ.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Great. Then you could start going to church.<\/dialogue>\n    <scene_description>Two POLICE CARS pull onto the lawn to break up the party , both cars flashing their red and blue lights . TROY approaches Jessica and Aaron .<\/scene_description>\n    <character>TROY<\/character>\n    <dialogue>Cops're here. I'm goin'.<\/dialogue>\n    <character>AARON<\/character>\n    <parenthetical>( to Jessica . )<\/parenthetical>\n    <dialogue>You need a lift?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Okay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S HOUSE, BACK YARD -- CONTINUOUS<\/stage_direction>\n    <scene_description>COREY , PEDRO and MITCH notice a POLICE CAR containing POLICE OFFICER and POLICE OFFICER 2 as it pulls into the back yard . Pedro is still holding the STEREO . PARTYGOERS carry on , barely concerned that the police are breaking up the party . Police Officer 2 spots the MUSTANG hitched to the TOW TRUCK , a look of knowing recognition on his face .<\/scene_description>\n    <character>POLICE OFFICER 2<\/character>\n    <dialogue>I'll be fucked.<\/dialogue>\n    <character>COREY<\/character>\n    <parenthetical>( staring at the lights . )<\/parenthetical>\n    <dialogue>Pedro, get in the truck.<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>Oh shit.<\/dialogue>\n    <scene_description>Police Officer 1 speaks into the C.B.<\/scene_description>\n    <character>POLICE OFFICER 1<\/character>\n    <dialogue>Hey Janice, tell Tim I found his car.<\/dialogue>\n    <scene_description>From far off , Corey understands from the manner that the police officers have focused on the Mustang that they 've been spotted .<\/scene_description>\n    <character>COREY<\/character>\n    <dialogue>Pedro, let's get the hell outta here!<\/dialogue>\n    <scene_description>Police Officer 2 rushes out of the car , followed by Police Officer . Pedro turns to Mitch .<\/scene_description>\n    <character>PEDRO<\/character>\n    <dialogue>Coge, keep this.<\/dialogue>\n    <scene_description>Pedro practically throws the Stereo into Mitch 's stomach . Mitch , completely shocked , drops his BEER and grabs the stereo out of instinct . Pedro darts for the passenger seat of the Tow Truck .<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>What the hell am I supposed to do with this?<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>Keep it, mehn! I got ta go!<\/dialogue>\n    <scene_description>COREY moves to the driver - side door of the Tow Truck and opens it , and climbs behind the wheel . Pedro climbs into the passenger seat .<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>You better bring that truck back! Harvey is pissed!<\/dialogue>\n    <scene_description>Corey starts the Tow Truck and tries to shift it into gear .<\/scene_description>\n    <character>COREY<\/character>\n    <dialogue>Where the hell is first?!<\/dialogue>\n    <scene_description>Pedro grabs the stick shift and throws it into first .<\/scene_description>\n    <character>PEDRO<\/character>\n    <dialogue>Drive, Pendejo!<\/dialogue>\n    <scene_description>Corey hits the gas , and the transmission screeches its disapproval .<\/scene_description>\n    <character>PEDRO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Mehn, use the clutch!<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Shit! Where!<\/dialogue>\n    <scene_description>The Tow Truck conks out .<\/scene_description>\n    <character>COREY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Goddammit!<\/dialogue>\n    <character>PEDRO<\/character>\n    <dialogue>We're fucked!<\/dialogue>\n    <scene_description>Pedro opens the door and jumps out . Corey remains seated , frozen , hands on the dashboard . POLICE OFFICER 1 quickly overtakes Pedro and throws him to the ground . POLICE OFFICER 2 rushes over to the Tow Truck and points his GUN at Corey .<\/scene_description>\n    <character>POLICE OFFICER 2<\/character>\n    <dialogue>Out of the truck, asshole!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S HOUSE, BERUBI'S BEDROOM -- NIGHT<\/stage_direction>\n    <scene_description>HEATHER and RJ are in Berubi 's bedroom . Heather is on top of RJ , and the sex is extremely rough . Heather notices the RED AND BLUE LIGHTS continue flashing on the curtains , staring , entranced by them . RJ looks up to see what she 's staring at .<\/scene_description>\n    <character>RJ<\/character>\n    <dialogue>What the fuck?!<\/dialogue>\n    <scene_description>Heather does not respond as she continues bouncing up and down on top of RJ .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE, BACK YARD -- NIGHT<\/stage_direction>\n    <scene_description>COREY gets out of the truck , hands in the air . POLICE OFFICER 1 HANDCUFFS PEDRO . POLICE OFFICER 2 takes out his HANDCUFFS , spins Corey around by his arm , and throws him roughly against the tow truck , cuffing his hands behind his back . In the background , MITCH quietly places the stereo on the ground and begins walking indiscreetly toward the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S HOUSE, JERRY'S BEDROOM -- CONTINUOUS<\/stage_direction>\n    <scene_description>POV on JIMMY , BOBBY , SINJIN and LOUIE staring at the wall opposite the door . Bobby is still holding what 's left of Louie 's WHEELCHAIR . Sinjin throws his hands up in disgust\/disbelief . We see what they 're staring at - KWON is climbing clumsily through the window . A large GUN falls heavily to the floor and KWON falls in after it .<\/scene_description>\n    <character>SINJIN<\/character>\n    <dialogue>Kwon! What the fuck are you doin'?<\/dialogue>\n    <scene_description>Kwon grabs his Gun and stands up , slightly out of breath from his climb .<\/scene_description>\n    <character>KWON<\/character>\n    <dialogue>Those are my drugs.<\/dialogue>\n    <scene_description>Jimmy watches , powerless .<\/scene_description>\n    <character>SINJIN<\/character>\n    <dialogue>I just bought these.<\/dialogue>\n    <character>KWON<\/character>\n    <dialogue>From who?<\/dialogue>\n    <parenthetical>( pointing his Gun at Jimmy . )<\/parenthetical>\n    <dialogue>Jimmy? I'm not here to argue. Just gim me my drugs.<\/dialogue>\n    <character>SINJIN<\/character>\n    <dialogue>Alright, hold on. Slow down a second. What is this shit, Jimmy?<\/dialogue>\n    <character>KWON<\/character>\n    <dialogue>Tell him, Jimmy.<\/dialogue>\n    <scene_description>From O.S. a CHINESE STRESS BALL hits Kwon in the forehead . Dazed , Kwon can only blink his eyes tries to gather his senses . Bobby stares at Kwon a moment before landing his large fist square on Kwon 's nose , knocking him empty - handed and on his ass beside Sinjin . Sinjin stands up to get between Bobby and Kwon .<\/scene_description>\n    <character>SINJIN<\/character>\n    <dialogue>Alright everybody calm the fuck down! This shit's gettin' outta hand -<\/dialogue>\n    <scene_description>BANG ! Everybody freezes as the sound and smoke of a gunshot lingers , then checks to make sure they were n't hit . As doorknob starts rattling with increasing intensity , everyone checks to make sure they were n't hit , then turns to the source of the gunshot . Louie is holding the Gun as he lays on his side , having scrambled to grab the Gun . The door bursts open - it 's RJ , out of breath .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE, BACK YARD -- CONTINUOUS<\/stage_direction>\n    <scene_description>POLICE OFFICER 1 is using one hand to hold onto PEDRO , still HANDCUFFED , by his upper arm , and the other hand to unlock and open the rear driver side door of his POLICE CAR . POLICE OFFICER 2 watches as he keeps hold of COREY by his HANDCUFFS .<\/scene_description>\n    <character>POLICE OFFICER 2<\/character>\n    <parenthetical>( to Police Officer 1 . )<\/parenthetical>\n    <dialogue>Holy shit, you hear that?<\/dialogue>\n    <scene_description>The two officers hasten their actions . Police Officer 1 lowers Pedro into the Police Car , then moves to the front seat of the vehicle and grabs the C.B.<\/scene_description>\n    <character>POLICE OFFICER 1<\/character>\n    <dialogue>This is Unit one five seven. Shot fired at 15 Saddlebrook. Repeat, shot fired at Saddlebrook. Request backup immediately.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE CAR -- CONTINUOUS<\/stage_direction>\n    <scene_description>Police Officer 2 shoves Corey into the POLICE CAR next to Pedro . Corey and Pedro sit in the rear of the police car , and Police Officer 2 slams the door . Through the windshield we see Police Officer 2 run toward the house as he draws his PISTOL . He moves up the porch past .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE, BACK PORCH -- NIGHT<\/stage_direction>\n    <scene_description>DEREK walks up the steps onto the back porch as PARTYGOERS move out of the house away from the sound of the gunshot . He notices POLICE OFFICER 2 behind him .<\/scene_description>\n    <character>DEREK<\/character>\n    <dialogue>You call that in?<\/dialogue>\n    <character>POLICE OFFICER 2<\/character>\n    <parenthetical>( moving up the porch and into the house . )<\/parenthetical>\n    <dialogue>We should get everybody out of the house.<\/dialogue>\n    <character>HEATHER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( friendly . )<\/parenthetical>\n    <dialogue>Derek?<\/dialogue>\n    <scene_description>Derek and Police Officer 2 turn to see HEATHER walking onto the back porch from the kitchen .<\/scene_description>\n    <character>DEREK<\/character>\n    <dialogue>Heather, go home. This is gon na get -<\/dialogue>\n    <scene_description>Heather interrupts Derek 's statement with a swift , unexpected knee to Derek 's groin . Derek doubles over , and Heather grabs him by the hair .<\/scene_description>\n    <character>POLICE OFFICER 2<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>Police Officer 2 shoves Heather to the ground , grabs Derek 's HANDCUFFS , and cuffs her hands behind her . Derek is still stunned from the assault .<\/scene_description>\n    <character>POLICE OFFICER 2<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Derek, you alright?<\/dialogue>\n    <scene_description>ALLISON , who had been standing back watching the assault , approaches Heather , who is getting up onto her knees . Allison gets on her knees and hugs Heather , who can not hug back because of the handcuffs . Allison is bawling .<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>I'm so sorry, Heather, I'm so sorry.<\/dialogue>\n    <scene_description>Heather is shutting her eyes extremely tightly , struggling not to cry . She does not attempt to pull away from Allison 's tight embrace .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S HOUSE, JERRY'S BEDROOM -- NIGHT<\/stage_direction>\n    <scene_description>SINJIN marches straight toward LOUIE , who wears the pathetic look of a child about to be disciplined .<\/scene_description>\n    <character>SINJIN<\/character>\n    <dialogue>Louie! What the fuck are you shootin' at?<\/dialogue>\n    <character>LOUIE<\/character>\n    <parenthetical>( pointing at BOBBY . )<\/parenthetical>\n    <dialogue>Him!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You missed.<\/dialogue>\n    <character>SINJIN<\/character>\n    <dialogue>Gim me that motherfuckin' gun.<\/dialogue>\n    <scene_description>Sinjin grabs the GUN from Louie . KWON is sitting up , still dazed , holding a HANDKERCHIEF to stem the flow of blood streaming out of his nose .<\/scene_description>\n    <character>RJ<\/character>\n    <dialogue>Cops're here.<\/dialogue>\n    <scene_description>Sinjin turns to inspect the room , contemplating the situation . He walks toward Jimmy 's BACKPACK .<\/scene_description>\n    <character>RJ<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>We should go, Sinjin.<\/dialogue>\n    <character>SINJIN<\/character>\n    <parenthetical>( facetious . )<\/parenthetical>\n    <dialogue>I'm not sure about that, RJ! Let's break out the chalk board, some X's and O's, an' make fer certain!<\/dialogue>\n    <parenthetical>( taking command . )<\/parenthetical>\n    <dialogue>Just toss Louie out the fuckin' window!<\/dialogue>\n    <character>KWON<\/character>\n    <dialogue>Sinjin, those are my drugs.<\/dialogue>\n    <character>SINJIN<\/character>\n    <parenthetical>( holding out the Backpack . )<\/parenthetical>\n    <dialogue>These are my drugs.<\/dialogue>\n    <parenthetical>( pointing at the BOWLING BALL BAG . )<\/parenthetical>\n    <dialogue>That's your money.<\/dialogue>\n    <character>LOUIE<\/character>\n    <parenthetical>( to RJ . )<\/parenthetical>\n    <dialogue>Easy motherfucker!<\/dialogue>\n    <scene_description>RJ drops Louie out the window like a sack of bird seed , Louie is followed by the remains of his wheelchair , then by RJ himself . Kwon stands up and grabs the bowling ball bag .<\/scene_description>\n    <character>KWON<\/character>\n    <dialogue>That's my gun, too.<\/dialogue>\n    <character>SINJIN<\/character>\n    <parenthetical>( heading out the window after RJ . )<\/parenthetical>\n    <dialogue>I'll send it UPS.<\/dialogue>\n    <scene_description>Sinjin disappears out the window . Bobby is about to follow , but turns back toward Jimmy .<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You owe me.<\/dialogue>\n    <scene_description>Bobby exits . Kwon stands over Jimmy .<\/scene_description>\n    <character>KWON<\/character>\n    <parenthetical>( foreboding . )<\/parenthetical>\n    <dialogue>I'll see you around, Jimmy.<\/dialogue>\n    <scene_description>Jimmy watches as Kwon exits out the window .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE, BACK YARD -- CONTINUOUS<\/stage_direction>\n    <scene_description>Most of the PARTYGOERS are clearing out of the house moving toward their cars , but some of the more curious STRAGGLERS are gathering around on the back porch , wondering what happened . POLICE OFFICER 1 is encouraging everyone to leave .<\/scene_description>\n    <character>POLICE OFFICER 1<\/character>\n    <dialogue>Everybody clear outta here.<\/dialogue>\n    <character>FEMALE PARTYGOER 2<\/character>\n    <dialogue>There was a gunshot.<\/dialogue>\n    <character>FEMALE PARTYGOER 3<\/character>\n    <parenthetical>( pointing back toward the bedrooms . )<\/parenthetical>\n    <dialogue>Over there.<\/dialogue>\n    <character>POLICE OFFICER 1<\/character>\n    <dialogue>We've got it. Clear outta here.<\/dialogue>\n    <scene_description>Police Officer 1 enters the house , passing CARLOS among the crowd making it 's way out of the house . He walks across the back yard with his KEYS in his hand . He glances down at his shoes a moment as he spots JESSICA , AARON and TROY approaching . JIMMY enters and moves across the frame toward his PIECE - OF - SHIT parked in the rear of the back yard .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( to Carlos . )<\/parenthetical>\n    <dialogue>Hey. What happened in there?<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>I just heard a gunshot and everybody's jettin'. Probably more cops'll be here soon.<\/dialogue>\n    <parenthetical>( regarding Aaron . )<\/parenthetical>\n    <dialogue>Are you goin' with him?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>TROY<\/character>\n    <dialogue>C'mon, let's get outta here.<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( to Carlos . )<\/parenthetical>\n    <dialogue>Are you alright? You okay to drive?<\/dialogue>\n    <character>CARLOS<\/character>\n    <parenthetical>( weakly . )<\/parenthetical>\n    <dialogue>Yeah, I'll be fine. I'm fine, I mean. I'll see you.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Call me tomorrow.<\/dialogue>\n    <scene_description>Carlos walks off toward his CAR , and Jessica , Aaron and Troy walk toward Troy 's CAR .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S HOUSE, JERRY'S OLD BEDROOM -- CONTINUOUS<\/stage_direction>\n    <scene_description>POLICE OFFICER 2 is looking through Jerry 's old bedroom , noticing the hole in the wall . We can hear POLICE OFFICER 1 knocking on the bathroom door in the hallway .<\/scene_description>\n    <character>POLICE OFFICER 1<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Anybody in there? Open up! This is the police! We're clearing everybody out!<\/dialogue>\n    <scene_description>We move past Police Officer 2 out into the hallway toward the noise .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S HOUSE, HALLWAY -- CONTINUOUS<\/stage_direction>\n    <scene_description>Policer Officer 1 is opening the bathroom door , gun raised , and is stopped dead in his tracks by what he sees .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S HOUSE, BATHROOM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Two legs are hanging out the side of the bathtub , belonging to a girl the rest of whose body is obscured from view . Police Officer 1 drops his gun to his side and steps into the bathroom , staring down into the bathtub . Police Officer 2 walks up into the bathroom , noticing the BULLET HOLE in the wall just beside the mirror .<\/scene_description>\n    <character>POLICE OFFICER 2<\/character>\n    <dialogue>Oh man.<\/dialogue>\n    <scene_description>We see what they do - EMILY is lying back across the width of the bathtub , eyes open but utterly vacant , a gunshot wound through her cheek just below her cheekbone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S HOUSE, HALLWAY -- MOMENTS LATER<\/stage_direction>\n    <scene_description>CARTER is moving from the living room toward the bedrooms . POLICE OFFICER 1 stops him .<\/scene_description>\n    <character>POLICE OFFICER 1<\/character>\n    <dialogue>You ca n't come back here.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Whadda ya mean I ca n't go back there. This is my house!<\/dialogue>\n    <scene_description>Carter is persistent , and Police Officer 1 puts his hands up against Carter .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S HOUSE, LIVING ROOM -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Some of the STRAGGLERS are still scattered throughout the side of the house opposite the bedrooms and bathroom . BERUBI is forcefully waving them out of the house .<\/scene_description>\n    <character>CARTER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Get your fucking hands off me!<\/dialogue>\n    <character>BERUBI<\/character>\n    <dialogue>Get the fuck out! Get the fuck out! Get the fuck out!<\/dialogue>\n    <scene_description>The Stragglers exit out the front door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE, FRONT YARD -- CONTINUOUS<\/stage_direction>\n    <scene_description>STRAGGLERS are heading out the front door , joining the other PARTYGOERS in looking for their cars .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE, BACK YARD -- CONTINUOUS<\/stage_direction>\n    <scene_description>STRAGGLERS are heading out the back door , joining the other PARTYGOERS in looking for their cars , and for their friends . A few Partygoers remain continue to loiter in groups scattered sparsely throughout the yard .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE -- NIGHT<\/stage_direction>\n    <scene_description>HEATHER is seated in the back of a POLICE CAR with her hands cuffed behind her back .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE CAR -- CONTINUOUS<\/stage_direction>\n    <scene_description>Heather 's body is contorted to her side to relieve the discomfort caused by the HANDCUFFS . Through the window facing Carter 's house we see a figure approaching . As the figure nears , we recognize DEREK , seemingly recovered from his earlier thrashing . Heather does not notice Derek as he nears the door . Derek opens the door . Heather looks up at him .<\/scene_description>\n    <character>HEATHER<\/character>\n    <dialogue>Get away from me.<\/dialogue>\n    <scene_description>Derek pulls Heather from the police car , and the exhausted Heather gives only nominal resistance . Derek unlocks her handcuffs . Heather turns around .<\/scene_description>\n    <character>DEREK<\/character>\n    <dialogue>You should get out of here before the other officers come back.<\/dialogue>\n    <character>HEATHER<\/character>\n    <dialogue>Fuck you.<\/dialogue>\n    <scene_description>Heather walks past Derek , and Derek does not turn to follow her . Heather notices ALLISON standing several car lengths away . Allison has her arms crossed across her body as if she were hugging herself for warmth , both her and Heather 's purses strapped over her shoulder , her KEYS dangling from her hand . Heather begins walking slowly towards Allison , passing by .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE, BACK YARD -- CONTINUOUS<\/stage_direction>\n    <scene_description>COREY and PEDRO are seated in the back of the POLICE CAR . Corey looks over at Pedro - the look of foolish optimism usually present on Pedro 's face has vanished . He looks down at the floor of the Police Car . Through the side window of the Police Car we see JESSICA , AARON , and TROY and climbing into Troy 's CAR . Troy is handing Aaron his KEYS before climbing into the back seat .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE, BACK YARD -- CONTINUOUS<\/stage_direction>\n    <scene_description>Aaron is behind the wheel sticking the Keys into the ignition . Jessica is in the passenger seat looking through her PURSE for her CIGARETTES . Troy sits in the back seat , spent .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>I left my novel in Carlos' car.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>You wan na get it?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>I'll get it tomorrow. We should just get out of here.<\/dialogue>\n    <character>AARON<\/character>\n    <dialogue>Alright.<\/dialogue>\n    <scene_description>Aaron starts the car as Jessica lights her Cigarette . Without warning , as Jessica takes a drag , Aaron punches Jessica square in the jaw . The lit Cigarette flies out of Jessica 's mouth , and Jessica falls out of view . Aaron reaches down , grabs the Cigarette and puts it in his mouth , still angry . He slowly pulls the car out of the back yard and toward the street , passing Jimmy 's PIECE - OF - SHIT parked in the opposite direction . The engine is still off . JIMMY is sitting still behind the wheel , hands down in his lap , staring straight ahead . PULL IN and HOLD on Jimmy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE, BACK YARD -- NIGHT<\/stage_direction>\n    <scene_description>ESTABLISHING SHOT with the house IN FOCUS in the background . A few STRAGGLERS remain in the backyard , smoking cigarettes , gossiping , staring back at the house , etc. . RACK FOCUS to a group of stragglers in the foreground to the right of the frame , STRAGGLER 1 and STRAGGLER 2 smoking CIGARETTES among them . Straggler 2 flicks his Cigarette and leads all of the group except Straggler 1 frame left toward the street . Straggler 1 glances back at the house before taking a final puff of his Cigarette . He stomps it out under his foot and exits frame left after his buddies . HOLD on the house OUT OF FOCUS . THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Little Athens follows a whirlwind day in the hapless lives of small town youth caught in a dead-end post-high school void. The journeys of four groups of late teens\/early twenty-somethings unfold through four different storylines, their separate trails converging at an explosive house party."}
{"movie_name":"22 July_2018","imdb_id":"tt7280898","script":"<script>\n  <scene>\n    <character>'22 JULY'<\/character>\n    <dialogue>Written by<\/dialogue>\n    <scene_description>Paul Greengrass Based on: \"One of Us\" by \u00c5sne Seierstad<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RURAL NORWAY - WHITE FARMHOUSE - DAY<\/stage_direction>\n    <scene_description>An isolated white farmhouse set within dense pine forest. CAPTION: 21 JULY 2011 V\u00c5LSTUA FARM. 145KM EAST OF OSLO CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE FARMHOUSE - GARAGE - CONTINUOUS<\/stage_direction>\n    <scene_description>A man (early 30s) fills industrial sacks with thick black powder. Diesel soaked fertiliser mixed with aluminium. Messy work. This is ANDERS BREIVIK and he is preparing for war. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - DUSK<\/stage_direction>\n    <scene_description>A small island on the eastern flank of LAKE TYRIFJORDEN. CAPTION: UT\u00d8YA ISLAND. 40KM WEST OF OSLO. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UTOYA ISLAND - FERRY DOCK - DUSK<\/stage_direction>\n    <scene_description>The early evening ferry from the mainland. Crowds of excited teenagers arrive for the annual summer camp run by Norway's ruling Labour Party. Among them: VILJAR HANSSEN (17), a striking young man and to all his friends a natural leader. With him, his younger brother TORJE (14). They are met off the boat by MOTHER UTOYA (45). She has run the camp for 20 years.<\/scene_description>\n    <character>MOTHER UTOYA<\/character>\n    <dialogue>Aww nice to see you!<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>The boys head on up to the centre of the island. Stopping at a check-in desk.<\/scene_description>\n    <character>VILJAR<\/character>\n    <dialogue>Hi, er.. Viljar Hanssen...<\/dialogue>\n    <character>BOY AT DESK<\/character>\n    <dialogue>Viljar...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. WHITE FARMHOUSE - VAN - EVENING<\/stage_direction>\n    <scene_description>BREIVIK loads the sacks into the white van. Next the detonator and charges - which he packs in with pieces of old mattress. Then he threads a long black wire from the sacks into the driver's compartment. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UTOYA ISLAND - DUSK<\/stage_direction>\n    <scene_description>VILJAR and TORJE arrive at the campsite. Make-shift signs: Oslo; Telemark...<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>(as the brothers approach)<\/parenthetical>\n    <dialogue>Hey Viljar!<\/dialogue>\n    <scene_description>VILJAR sees his best friends - SIMON and ANDERS (both 17).<\/scene_description>\n    <character>VILJAR<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>We saved a spot for you.<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>Perfect!<\/dialogue>\n    <scene_description>They hug and begin pitching their tents. All around: excitement at the weekend ahead. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. WHITE FARMHOUSE - EVENING<\/stage_direction>\n    <scene_description>BREIVIK loading a black peli-case: A Glock. A rifle. A shotgun. Thousands of rounds of ammunition. Grenades. He exits the farmhouse with the peli-case and drives away. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOVERNEMNT DISTRICT - PM'S OFFICE - EVENING<\/stage_direction>\n    <scene_description>Angle on PM's agenda.<\/scene_description>\n    <character>PM AIDE 3<\/character>\n    <dialogue>So on Saturday you go to the AUF summer camp on Ut\u00f8ya. Here's your schedule and attached is also a draft of your speech.<\/dialogue>\n    <scene_description>CAPTION: OFFICE OF THE PRIME MINISTER. GOVERNMENT CENTRE, OSLO PM reads draft.<\/scene_description>\n    <character>PM AIDE 2 OYSTEIN<\/character>\n    <dialogue>I've started with your personal connection to the island. How it inspired your activism, and then you push on to the issues...<\/dialogue>\n    <character>PRIME MINISTER<\/character>\n    <parenthetical>(scanning)<\/parenthetical>\n    <dialogue>Good. I think it needs to be a bit more personal. More about my memories from the island. And then I want to really address the challenge of youth unemployment.<\/dialogue>\n    <character>PM AIDE 2 OYSTEIN<\/character>\n    <dialogue>Yep. That's good.<\/dialogue>\n    <character>PRIME MINISTER<\/character>\n    <parenthetical>(to AIDE 3)<\/parenthetical>\n    <dialogue>And make sure we schedule enough time for me to really meet with the kids\u2026Two hours maybe?<\/dialogue>\n    <character>PM AIDE 2 OYSTEIN<\/character>\n    <dialogue>And the committee papers are in your briefcase. You should read them before Monday.<\/dialogue>\n    <character>PRIME MINISTER<\/character>\n    <dialogue>Got it. Well I think we're all set. Get some rest.<\/dialogue>\n    <character>PM AIDE 4<\/character>\n    <parenthetical>(handing him briefcase)<\/parenthetical>\n    <dialogue>You too, sir.<\/dialogue>\n    <character>PRIME MINISTER<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>PM walks away towards the door with AIDE 3.<\/scene_description>\n    <character>PM AIDE 3<\/character>\n    <dialogue>You have National Security at 10 in the morning, right?<\/dialogue>\n    <scene_description>They move out into a corridor.<\/scene_description>\n    <character>PRIME MINISTER<\/character>\n    <dialogue>Yes, I'll do it in the Residency. And bring the Justice Minister earlier.<\/dialogue>\n    <character>PM AIDE 3<\/character>\n    <dialogue>Yes of course<\/dialogue>\n    <character>PM AIDE 5 (O.O.V)<\/character>\n    <dialogue>Goodnight Prime Minister.<\/dialogue>\n    <scene_description>PM into lift.<\/scene_description>\n    <character>PRIME MINISTER<\/character>\n    <dialogue>See you back here after lunch.<\/dialogue>\n    <scene_description>The lift doors closes. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. OFFICE OF PM - PRIME MINISTER'S CAR - EVENING<\/stage_direction>\n    <scene_description>PM gets into a waiting car. The car pulls away. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NORWAY - MAIN ROAD - NIGHT<\/stage_direction>\n    <scene_description>BREIVIK on the road towards OSLO. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BREIVIK'S VAN - CONTINUOUS<\/stage_direction>\n    <scene_description>Takes the turning for Oslo City Centre. Outside - Oslo's busy streets. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OSLO STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>Breivik's van turns a corner, out of sight. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - NIGHT<\/stage_direction>\n    <scene_description>Wide of the island in the middle of the lake. Pick up the sound of singing... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - CAMPSITE - EVENING<\/stage_direction>\n    <scene_description>A campfire. Music, singing. VILJAR, TORJE, SIMON and ANDERS around a fire pit. SOMEONE strumming a guitar. We see LARA RASHID (16) and her sister BANO (18) too. VILJAR and LARA exchange glances. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEST OSLO - BREIVIK'S MOTHER'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>BREIVIK pulls up outside an apartment complex, in an up- market part of Oslo. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BREIVIK'S VAN - CONTINUOUS<\/stage_direction>\n    <scene_description>He stops the engine. Leans back in his seat. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BREIVIK'S MOTHERS APARTMENT - CONTINUOUS<\/stage_direction>\n    <scene_description>BREIVIK enters quietly. Goes into his room. In the kitchen his MOTHER listens. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BREIVIK'S BEDROOM - CONTINOUS<\/stage_direction>\n    <scene_description>BREIVIK picks up a key from the table and exits. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BREIVIK'S MOTHER'S KITCHEN - CONTINOUS<\/stage_direction>\n    <character>BREIVIK'S MOTHER<\/character>\n    <dialogue>Anders?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BREIVIK'S MOTHERS APARTMENT HALLWAY - CONTINOUS<\/stage_direction>\n    <scene_description>BREIVIK leaves without saying a word. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. MOTHER'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Angle from a window: Breivik loads the gun cases from the white van into a small Fiat Diablo. His MOTHER watches from behind the curtain, as he drives away in the Fiat. AMU PUTY IBN WIDE SHO0T OF FLAG<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UTOYA ISLAND - CAMPSITE - MORNING<\/stage_direction>\n    <scene_description>VILJAR, TORJE, SIMON and ANDERS walk across the campsite to the canteen.<\/scene_description>\n    <character>MOTHER UT\u00d8YA (OOV)<\/character>\n    <dialogue>Good morning!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UTOYA ISLAND - CANTEEN\/SEMINAR ROOM - DAY<\/stage_direction>\n    <scene_description>VILJAR takes off his coat. TORJE already seated. LARA and BANO enter and find their seats. VILJAR sees. She returns his look.<\/scene_description>\n    <character>MOTHER UT\u00d8YA<\/character>\n    <dialogue>So welcome to the first seminar for today. We are going to do an exercise, which I have called 'If I were Prime Minister.' One of the good things about Ut\u00f8ya is that you can meet friends, and you can play music and maybe stay up a bit late... Yeah?<\/dialogue>\n    <scene_description>Laughter in the crowd.<\/scene_description>\n    <character>MOTHER UT\u00d8YA<\/character>\n    <dialogue>But it's also an opportunity to think about your future. You grow up so fast, and one day it will be you who will be the leader of your community. Viljar, can you start?<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>Yeah, sure...<\/dialogue>\n    <scene_description>VILJAR laughs and then goes up to the stage.<\/scene_description>\n    <character>VILJAR<\/character>\n    <dialogue>So let's see... OK, so in Svalbard where I come from, everyone is welcome, regardless of nationality. We've got Norwegians, Russians, Chinese, Croatians. All living and working together. And we work really hard to integrate everyone.<\/dialogue>\n    <character>AUF MEMBER 1<\/character>\n    <dialogue>But in Svalbard it's only like two thousand people, how do you translate that to the rest of Europe?<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>It's the principle. Thats what's important and if I was Prime Minister, that's what I'd stand for.<\/dialogue>\n    <scene_description>See LARA smile. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BREIVIK'S BEDROOM - MOTHER'S APARTMENT - MORNING<\/stage_direction>\n    <scene_description>BREIVIK at his computer. See his email: Consider this my personal gift to all Europeans. Highlights a file: \"2083: A European Declaration of Independence.\" Presses \"Send all\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BREIVIK'S BEDROOM - MOTHERS APARTMENT - DAY<\/stage_direction>\n    <scene_description>BREIVIK dresses in a police uniform. Puts on a bullet proof vest. Takes a couple of pills. Loads his pistol. Stands back to admire himself in the mirror. He's ready.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BREIVIK'S MOTHER'S APARTMENT HALLWAY - CONTINOUS<\/stage_direction>\n    <scene_description>BREIVIK leaves as his MOTHER watches TV in the lounge.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL OSLO - DAY<\/stage_direction>\n    <scene_description>Aerial of the Government Centre<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOVERNMENT BUILDING - OFFICE OF PM - DAY<\/stage_direction>\n    <scene_description>Breivik's van enters the Government district. Parks behind the Office of the Prime Minister. Puts on his helmet. Lights the long wire protruding from the back of the van. As the fuse burns, he exits the van, locking the door gently. He calmly walks away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOVERNMENT OFFICE LOBBY - CONTINUOUS<\/stage_direction>\n    <scene_description>THE SECURITY GUARD sees the van on his CCTV screen. Watches the uniformed figure walk away.<\/scene_description>\n    <character>SECURITY GUARD<\/character>\n    <parenthetical>(picks up phone)<\/parenthetical>\n    <dialogue>We've got a white van parked out back. Is it one of ours?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UTOYA ISLAND - FOOTBALL PITCH - DAY<\/stage_direction>\n    <scene_description>VILJAR, LARA, SIMON and ANDERS play football. TORJE and BANO watch from the sidelines. MOTHER UT\u00d8YA marshals crowds of TEENAGERS. Laughter and excitement. VILJAR at the heart of it. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOVERNMENT DISTRICT STREET - DAY<\/stage_direction>\n    <scene_description>BREIVIK walks around a corner, and gets into the Fiat Diablo. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OSLO - MAIN ROAD NORTH - DAY<\/stage_direction>\n    <scene_description>BREIVIK drives out of Oslo. Turns on the radio. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OFFICE OF THE PRIME MINISTER - SAME TIME<\/stage_direction>\n    <scene_description>BREIVIK's white van parked... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOVERNMENT OFFICE LOBBY - SAME TIME<\/stage_direction>\n    <scene_description>SECURITY GUARD on the phone to the DVLA.<\/scene_description>\n    <character>SECURITY GUARD<\/character>\n    <dialogue>I'll check the number plate and I'll try to find the driver.<\/dialogue>\n    <scene_description>He glances over to CCTV screen, where another GUARD approaches the van. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOVERNMENT OFFICE REAR - SAME TIME<\/stage_direction>\n    <scene_description>A second SECURITY GUARD is approaching the van.<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>Can you check a number plate for me please?<\/dialogue>\n    <scene_description>Suddenly: BOOM. The van explodes in a massive fireball. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PM'S RESIDENCY - STUDY - SECONDS LATER<\/stage_direction>\n    <scene_description>PM goes to the window. Sees a huge tower of smoke rising in the distance. Suddenly:<\/scene_description>\n    <character>BODYGUARD 1<\/character>\n    <parenthetical>(enters at speed)<\/parenthetical>\n    <dialogue>Sir, follow me.<\/dialogue>\n    <scene_description>His SECURITY DETAIL drag him out of the room. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BREIVIK'S FIAT DIABLO - SAME TIME<\/stage_direction>\n    <scene_description>BREIVIK drives away, checking his rear-view mirror. CUT BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PM'S RESIDENCY - STUDY TO SECURE ROOM - SECONDS LATER<\/stage_direction>\n    <scene_description>PM through the residency by his BODYGUARD. More GUARDS responding. Shouting, sirens.<\/scene_description>\n    <character>BODYGUARD 2<\/character>\n    <dialogue>Come on! Move!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOVERNMENT OFFICE REAR - SAME TIME<\/stage_direction>\n    <scene_description>Government quarter devastated. Smoke, debris, paper cascading through the air. A gaping hole in the ground where Breivik's van was parked. And from every direction the sound of sirens and screaming. CUT BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRIME MINITER'S RESIDENCE. SAME TIME<\/stage_direction>\n    <scene_description>PM is led around a corner and through a set of doors and into a bare situation room. The lights turned on.<\/scene_description>\n    <character>BODYGUARD 1<\/character>\n    <parenthetical>(into radio)<\/parenthetical>\n    <dialogue>Prime Minister secure.<\/dialogue>\n    <scene_description>The doors close. The PM protected, but powerless. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOVERNMENT QUARTER - SAME TIME<\/stage_direction>\n    <scene_description>Burning buildings. Screaming. Bloody VICTIMS. Sirens. POLICE, PARAMEDICS and FIREFIGHTERS arriving on the scene. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. FIAT DOBLO\/TUNNEL - ROAD TO UT\u00d8YA - SAME TIME<\/stage_direction>\n    <scene_description>BREIVIK heading west out of the city. News of the explosion breaks on the radio. He listens. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOVERNMENT BUILDING - REAR &amp; LOBBY - SAME TIME<\/stage_direction>\n    <scene_description>Blood-stained VICTIMS emerge. PEOPLE screaming. BODIES on the ground. Receiving treatment. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PM'S RESIDENCY- SECURE ROOM - SAME TIME<\/stage_direction>\n    <scene_description>Chaos as the SECURE ROOM begins to fill with AIDES. The PM watches news coverage.<\/scene_description>\n    <character>PRIME MINISTER<\/character>\n    <dialogue>Call the cabinet. I want the Police Director, the Head of Defense and the PST.<\/dialogue>\n    <character>AIDE<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <character>PRIME MINISTER<\/character>\n    <dialogue>Inform the King: The Prime Minister is safe, government is functioning.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. FIAT DOBLO\/TUNNEL - ROAD TO UT\u00d8YA - SAME TIME<\/stage_direction>\n    <scene_description>BREIVIK's van still on the road. Radio coverage of the explosion continues. See BREIVIK. He looks down at his GPS. His destination: UT\u00d8YA ISLAND. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UTOYA ISLAND - CANTEEN - SAME TIME<\/stage_direction>\n    <scene_description>We follow VILJAR and TORJE into the crowded canteen. SIMON and ANDERS too. Across the room: LARA and her sister BANO.<\/scene_description>\n    <character>MOTHER UT\u00d8YA<\/character>\n    <dialogue>As you've probably heard, there's been an explosion in the government district Oslo. We don't have much information yet, but many of you have parents who work there okay, so you should probably call them, if you haven't already.<\/dialogue>\n    <scene_description>TORJE looks up at VILJAR.<\/scene_description>\n    <character>MOTHER UT\u00d8YA<\/character>\n    <dialogue>In the meantime, we will suspending activities until we get some more information. But for now, you go and call your parents.<\/dialogue>\n    <scene_description>VILJAR pulls out his phone. Starts to dial. As kids question MOTHER UT\u00d8YA.<\/scene_description>\n    <character>VILJAR<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Mum?<\/dialogue>\n    <character>CHRISTIN (OOV)<\/character>\n    <dialogue>Hi Viljar<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>Are you OK?<\/dialogue>\n    <scene_description>CUT TO: EXT STREET\/BUILDING - CENTRAL OSLO - SAME TIME VILJAR'S PARENTS, CHRISTIN and SVEINN (30) emerge from a hotel door. The sound of sirens in the distance. Ahead of them, PEOPLE hurrying towards government centre. POLICE CARS passing.<\/scene_description>\n    <character>CHRISTIN<\/character>\n    <parenthetical>(on phone)<\/parenthetical>\n    <dialogue>Hi, I'm fine. Dad's with me. We're at the hotel. We're fine.<\/dialogue>\n    <character>SVEINN<\/character>\n    <parenthetical>(looking at his phone)<\/parenthetical>\n    <dialogue>They're saying it's an explosion.<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>Dad says there's been some kind of explosion.<\/dialogue>\n    <character>VILJAR (OOV)<\/character>\n    <dialogue>Was it a bomb?<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>We don't know. Are you both OK?<\/dialogue>\n    <character>VILJAR (OOV)<\/character>\n    <dialogue>Yeah, we're fine...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UTOYA ISLAND - CANTEEN - SAME TIME<\/stage_direction>\n    <character>VILJAR<\/character>\n    <dialogue>Torje's a bit scared but I'll take care of him.<\/dialogue>\n    <scene_description>CUT BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - OSLO - SAME TIME<\/stage_direction>\n    <character>CHRISTIN<\/character>\n    <dialogue>Ok we'll call you when we know what's happened, OK?<\/dialogue>\n    <scene_description>CUT BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UTOYA ISLAND - CANTEEN - CONTINUOUS<\/stage_direction>\n    <character>VILJAR<\/character>\n    <dialogue>Bye.<\/dialogue>\n    <scene_description>Viljar hangs up.<\/scene_description>\n    <character>VILJAR<\/character>\n    <parenthetical>(to Torje)<\/parenthetical>\n    <dialogue>She's fine. She said they were nowhere near. Let's go, I need to change.<\/dialogue>\n    <scene_description>CUT TO: EXT STREET\/BUILDING - CENTRAL OSLO - SAME TIME CHRISTIN and SVEINN keep walking towards whatever has happened. More EMERGENCY VEHICLES pass by.<\/scene_description>\n    <character>CHRISTIN<\/character>\n    <parenthetical>(still on phone)<\/parenthetical>\n    <dialogue>Lena? Are you OK? Have you heard from Erik and the others? ...OK. Cancel all the campaign meetings. Call me when you hear anything.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BREIVIK'S FIAT DIABLO - ROAD TO UT\u00d8YA - CONTINUOUS<\/stage_direction>\n    <scene_description>BREIVIK driving. His phone rings: \"Mother\". He doesn't answer. Behind him Ut\u00f8ya Island comes into view. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BREIVIK'S MOTHERS APARTMENT - SAME TIME<\/stage_direction>\n    <scene_description>BREIVIK'S MOTHER calling his mobile. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BREIVIK'S FIAT DIABLO - ROAD TO UT\u00d8YA &amp; MAINLAND FERRY<\/stage_direction>\n    <scene_description>DOCK - CONTINUOUS Up ahead, a sign to UT\u00d8YA ISLAND. He takes the exit. Rounds a bend to reveal the beauty of LAKE TYRIFJORDEN. UT\u00d8YA ISLAND in the middle. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - CAMPSITE - SAME TIME<\/stage_direction>\n    <scene_description>VILJAR, TORJE, ANDERS and SIMON walk towards their tent. CUT BACK TO: IEX. MAINLAND FERRY DOCK - SAME TIME BREIVIK parks. Gets out. Sees a COUPLE of TEENAGE VOLUNTEERS in high-vis jackets, standing by the jetty.<\/scene_description>\n    <character>BREIVIK<\/character>\n    <parenthetical>(approaching)<\/parenthetical>\n    <dialogue>Hi, I'm Martin Nilsen from OSLO P.D. You heard about the bomb in the city?<\/dialogue>\n    <character>FEMALE VOLUNTEER<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>I've been sent to secure the island. Where's the ferry?<\/dialogue>\n    <character>FEMALE VOLUNTEER<\/character>\n    <dialogue>Oh, the ferry got cancelled.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>Get it over here. I need it now.<\/dialogue>\n    <character>FEMALE VOLUNTEER<\/character>\n    <dialogue>OK.<\/dialogue>\n    <scene_description>BREIVIK unloads the cases from the van.<\/scene_description>\n    <character>FEMALE VOLUNTEER<\/character>\n    <parenthetical>(into her radio)<\/parenthetical>\n    <dialogue>Monica? There's a policeman over here...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - CAMPSITE - SAME TIME<\/stage_direction>\n    <scene_description>MOTHER UT\u00d8YA listens to her radio.<\/scene_description>\n    <character>FEMALE VOLUNTEER (OOV)<\/character>\n    <dialogue>He says he needs the ferry immediately.<\/dialogue>\n    <character>MOTHER UT\u00d8YA<\/character>\n    <parenthetical>(into radio)<\/parenthetical>\n    <dialogue>Yeah, I'll be there...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAINLAND FERRY DOCK - SAME TIME<\/stage_direction>\n    <character>FEMALE VOLUNTEER<\/character>\n    <parenthetical>(to BREIVIK)<\/parenthetical>\n    <dialogue>It will be here soon.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>OK, good.<\/dialogue>\n    <scene_description>BREIVIK places his cases on the ground as he waits. Sees the FERRY in the distance leaving the island.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - FERRY TRAVELLING - SAME TIME<\/stage_direction>\n    <scene_description>MOTHER UT\u00d8YA on the foredeck. Sees the mainland.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAINLAND FERRY DOCK - MOMENTS LATER<\/stage_direction>\n    <scene_description>As the ferry ramp lowers, MOTHER UT\u00d8YA sees BREIVIK clearly for the first time. He's heavily armed and wearing what looks like a black combat suit.<\/scene_description>\n    <character>MOTHER UT\u00d8YA<\/character>\n    <dialogue>I'm Monica, I'm in charge here.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <parenthetical>(they shake hands)<\/parenthetical>\n    <dialogue>Hi. Martin Nilsen. Oslo Police Department. You heard about the explosion in Oslo?<\/dialogue>\n    <character>MOTHER UT\u00d8YA<\/character>\n    <dialogue>Is it bad?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>The whole Prime Minister's Office. Everything. I need you to take me to the island.<\/dialogue>\n    <character>MOTHER UT\u00d8YA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>Get everyone together and I'll give a debrief about the bomb.<\/dialogue>\n    <character>MOTHER UT\u00d8YA<\/character>\n    <dialogue>Everyone?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>Yeah, everyone. It's important.<\/dialogue>\n    <character>MOTHER UT\u00d8YA<\/character>\n    <dialogue>What's in the cases?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>Weapons.<\/dialogue>\n    <character>MOTHER UT\u00d8YA<\/character>\n    <dialogue>Well you have to cover them up. They will scare the children.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>They start back towards the island. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - CAMPSITE - SAME TIME<\/stage_direction>\n    <scene_description>TROND leaves the canteen.<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <character>TROND<\/character>\n    <dialogue>Don't worry - the police have arrived. It's fine.<\/dialogue>\n    <scene_description>TROND, walks down towards the dock. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FERRY - SAME TIME<\/stage_direction>\n    <scene_description>The ferry crosses the lake. Tight on BREIVIK. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - CAMPSITE - SAME TIME<\/stage_direction>\n    <scene_description>KIDS mill around the campsite, on their phones. Waiting for more news. Unaware and unprotected.<\/scene_description>\n    <character>VILJAR<\/character>\n    <parenthetical>(in his tent)<\/parenthetical>\n    <dialogue>Simon? Do you have my sweater?<\/dialogue>\n    <parenthetical>(to TORJE)<\/parenthetical>\n    <dialogue>Any news on the bomb?<\/dialogue>\n    <scene_description>SIMON throws the sweater.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Here you go.<\/dialogue>\n    <character>TORJE<\/character>\n    <dialogue>It hit the Prime Minister's Office<\/dialogue>\n    <character>ANDERS<\/character>\n    <dialogue>Yeah. The Department of Justice.<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>Was it Al-Qaida?<\/dialogue>\n    <character>TORJE<\/character>\n    <dialogue>It doesn't say.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UTOYA ISLAND - FERRY DOCK - MOMENTS LATER<\/stage_direction>\n    <scene_description>The ferry docks. MOTHER UT\u00d8YA and BREIVIK disembark. TROND approaches them.<\/scene_description>\n    <character>MOTHER UT\u00d8YA<\/character>\n    <parenthetical>(to Breivik)<\/parenthetical>\n    <dialogue>This is Trond Berntsen, our head of security.<\/dialogue>\n    <scene_description>BREIVIK shakes hands.<\/scene_description>\n    <character>BREIVIK<\/character>\n    <dialogue>Hi. Martin Nilsen. Oslo PD.<\/dialogue>\n    <character>TROND<\/character>\n    <dialogue>They only sent one officer? Why didn't anyone call?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>Everyone's needed in Oslo. It's chaos. They sent me to secure the island.<\/dialogue>\n    <scene_description>They start to walk up the hill.<\/scene_description>\n    <character>TROND<\/character>\n    <parenthetical>(something about this not right)<\/parenthetical>\n    <dialogue>Which precinct are you from?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>PST. Police Security Service.<\/dialogue>\n    <character>TROND<\/character>\n    <dialogue>So you must know J\u00f8rn. He works down at PST, doesn't he?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>J\u00f8rn? Yeah, sure. He's one of my superiors.<\/dialogue>\n    <scene_description>Breivik Is everyone gathered up there for the debrief? Monica Yes. We're calling them in now.<\/scene_description>\n    <character>BREIVIK<\/character>\n    <dialogue>We need to get on with this.<\/dialogue>\n    <scene_description>Trond stops. A moment between them. Who's lying here?<\/scene_description>\n    <character>TROND<\/character>\n    <dialogue>Actually, can I see your ID?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>Yeah, sure.<\/dialogue>\n    <scene_description>He goes to get his ID. MONICA's radio goes. Suddenly, BREIVIK pulls out the Glock. BANG! TROND falls. Then he turns the gun on MOTHER UT\u00d8YA. BANG! CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UTOYA ISLAND - CAMPSITE - SAME TIME<\/stage_direction>\n    <scene_description>VILJAR, TORJE, ANDERS, and SIMON turn in the direction of the noise.<\/scene_description>\n    <character>ANDERS<\/character>\n    <dialogue>What was that?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FERRY DOCK - SAME TIME<\/stage_direction>\n    <scene_description>BREIVIK shoots two more shots into TROND and MONICA's bodies. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UTOYA ISLAND - CAMPSITE - SAME TIME<\/stage_direction>\n    <scene_description>Back to Viljar and the others.<\/scene_description>\n    <character>VILJAR<\/character>\n    <parenthetical>(to ANDERS)<\/parenthetical>\n    <dialogue>Maybe you should go and check it out.<\/dialogue>\n    <character>ANDERS<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>And use your radio.<\/dialogue>\n    <character>ANDERS<\/character>\n    <dialogue>I will.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FERRY DOCK - SAME TIME<\/stage_direction>\n    <scene_description>BREIVIK unpacks his guns. Loads. Cocks them. Then heads up the slope. Towards the campsite. CUT BACK TO: EXT. Campsite - SAME TIME VILJAR and TORJE wait by their tent.<\/scene_description>\n    <character>VILJAR<\/character>\n    <dialogue>It's probably nothing.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SLOPE UP TO CANTEEN - SAME TIME<\/stage_direction>\n    <scene_description>BREIVIK still coming. Fast. Through the trees towards the campsite. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMPSITE - SAME TIME<\/stage_direction>\n    <scene_description>ANDERS walks up towards the canteen. Suddenly: More loud bangs. And the sound of screaming on the wind. A few PEOPLE start running. See VILJAR and TORJE. As... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SLOPE UP TO CANTEEN - SAME TIME<\/stage_direction>\n    <scene_description>BREIVIK approaches the top of the rise. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMPSITE - SAME TIME<\/stage_direction>\n    <scene_description>VILJAR sees in the distance screaming TEENAGERS running towards their car. And behind them, BREIVIK cresting the hill. A moment suspended in time... as he raises his gun.<\/scene_description>\n    <character>VILJAR<\/character>\n    <parenthetical>(realising)<\/parenthetical>\n    <character>RUN!<\/character>\n    <dialogue>VILJAR grabs TORJE and runs, as BREIVIK opens fire. They sprint across the campsite.<\/dialogue>\n    <dialogue>A few TEENAGERS are hit and fall.<\/dialogue>\n    <dialogue>BREIVIK firing relentlessly.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - CANTEEN - SAME TIME<\/stage_direction>\n    <scene_description>BREIVIK approaches the main building.<\/scene_description>\n    <character>BREIVIK<\/character>\n    <parenthetical>(Sees faces at the window)<\/parenthetical>\n    <dialogue>It's okay. Police. Stay away from the windows. Get down on the floor. And I'll come inside.<\/dialogue>\n    <character>KID AT WINDOW<\/character>\n    <dialogue>OK<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>OK?<\/dialogue>\n    <scene_description>He goes into the building. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - LOVER'S PATH - SAME TIME<\/stage_direction>\n    <scene_description>Back to VILJAR and TORJE, running into the woods. Panic. Hundreds of TEENAGERS. Gunfire, screaming behind them. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UTOYA ISLAND - CANTEEN CORRIDOR - CONTINUOUS<\/stage_direction>\n    <scene_description>BREIVIK down a corridor. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UTOYA ISLAND - CANTEEN - SAME TIME<\/stage_direction>\n    <scene_description>BREIVIK enters. Sees them.<\/scene_description>\n    <character>BREIVIK<\/character>\n    <dialogue>You will die today. Marxists. Liberals. Members of the elite.<\/dialogue>\n    <scene_description>Raises his gun. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UTOYA ISLAND - CANTEEN - SAME TIME<\/stage_direction>\n    <scene_description>The sound of gunfire and screaming from inside. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - FOREST - SAME TIME<\/stage_direction>\n    <scene_description>ANDERS, BANO, and OTHERS hide below a low crest of a hill.<\/scene_description>\n    <character>ANDERS<\/character>\n    <dialogue>Get down. Stay down.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UTOYA ISLAND - LOVER'S PATH - SAME TIME<\/stage_direction>\n    <scene_description>VILJAR and TORJE running. Looking for somewhere - anywhere - to hide. VILJAR sees a break in a fence.<\/scene_description>\n    <character>VILJAR<\/character>\n    <parenthetical>(to SIMON)<\/parenthetical>\n    <dialogue>Simon. This way.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Run!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UTOYA ISLAND - CANTEEN - SAME TIME<\/stage_direction>\n    <scene_description>BREIVIK leaves the canteen. Crosses the campsite. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UTOYA ISLAND - LEDGE - SAME TIME<\/stage_direction>\n    <scene_description>TORJE and VILJAR go through a break in a fence. They tumble down a muddy bank.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Get on to the ledge!<\/dialogue>\n    <scene_description>They scramble sideways onto a ledge. A dead end. Below them an 8ft drop to the lake. They're trapped. TORJE beginning to cry. Other TEENAGERS crawl onto the ledge behind them. VILJAR and TORJE crammed together on the ledge. The shooting getting louder. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - FOREST - SAME TIME<\/stage_direction>\n    <scene_description>TEENAGERS fleeing. BREIVIK firing. CUT BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEDGE - SAME TIME<\/stage_direction>\n    <scene_description>VILJAR, TORJE, SIMON and others cling on, listening. VILJAR take out his phone. Dials. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOVERNMENT DISTRICT STREET - SAME TIME<\/stage_direction>\n    <scene_description>Viljar's PARENTS, CHRISTIN and SVEINN, arrive at a corner just down from government centre. POLICE CARS, AMBULANCES. CROWDS milling around. Chaos.<\/scene_description>\n    <character>STREET POLICE OFFICER<\/character>\n    <dialogue>Please move back! Please move back!<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>Can you at least tell me which buildings have been hit?<\/dialogue>\n    <character>STREET POLICE OFFICER<\/character>\n    <dialogue>We don't know. You just need to move back. Please.<\/dialogue>\n    <scene_description>Suddenly her phone rings... The sound of screaming, running, and the phone being fumbled through hands.<\/scene_description>\n    <character>CHRISTIN<\/character>\n    <dialogue>Viljar?<\/dialogue>\n    <character>VILJAR (V.O.)<\/character>\n    <dialogue>Mum, they're shooting at us!<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>Viljar?? What's-<\/dialogue>\n    <scene_description>The phone line goes dead.<\/scene_description>\n    <character>SVEINN<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <parenthetical>(trying to call them back)<\/parenthetical>\n    <dialogue>It was Viljar. He said someone was shooting at them.<\/dialogue>\n    <character>SVEINN<\/character>\n    <dialogue>At them? Where?<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>And then he hung up.<\/dialogue>\n    <character>SVEINN<\/character>\n    <dialogue>He said... what did he say exactly?<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <parenthetical>(dialing)<\/parenthetical>\n    <dialogue>He said 'mom, someone's shooting at us.' It went really quickly, it was just like that.<\/dialogue>\n    <character>SVEINN<\/character>\n    <dialogue>Shooting at us?<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>Yes<\/dialogue>\n    <parenthetical>(listens)<\/parenthetical>\n    <dialogue>It's going to voicemail.<\/dialogue>\n    <scene_description>A look between them. Then: They push their way through the chaos and run to their car. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. H\u00d8NEFOSS POLICE STATION - CONTINUOUS<\/stage_direction>\n    <scene_description>HONEFOSS POLICEMAN #1 and his team scrambling to Ut\u00f8ya.<\/scene_description>\n    <character>POLICE DISPATCH (OOV)<\/character>\n    <dialogue>Multiple reports of gunfire on Ut\u00f8ya Island...<\/dialogue>\n    <character>HONEFOSS POLICEMAN #1<\/character>\n    <dialogue>Copy that. This is 05 responding. What's the RV? Over.<\/dialogue>\n    <character>POLICE DISPATCH (OOV)<\/character>\n    <dialogue>Please repeat.<\/dialogue>\n    <character>HONEFOSS POLICEMAN #1<\/character>\n    <dialogue>What's the RV? RV for Ut\u00f8ya? Over.<\/dialogue>\n    <character>POLICE DISPATCH (OOV)<\/character>\n    <dialogue>Standby<\/dialogue>\n    <character>HONEFOSS POLICEMAN #1<\/character>\n    <dialogue>Come on, come on<\/dialogue>\n    <character>POLICE DISPATCH<\/character>\n    <dialogue>RV is Stor\u00f8ya. We'll get back-up to you as soon as we can, but we have a major incident in progress in Oslo.<\/dialogue>\n    <character>HONEFOSS POLICEMAN #1<\/character>\n    <dialogue>Copy that, we're on our way.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PM RESIDENCY - SECURE ROOM - DAY<\/stage_direction>\n    <scene_description>Follow behind SECURITY OFFICIAL LARS on the phone as he approaches the PM - who is standing, watching news coverage, surrounded by several AIDES.<\/scene_description>\n    <character>SECURITY OFFICIAL LARS<\/character>\n    <parenthetical>(holding phone)<\/parenthetical>\n    <dialogue>Sir, we may have another attack. Reports of gunfire on Ut\u00f8ya.<\/dialogue>\n    <character>PRIME MINISTER<\/character>\n    <dialogue>What? The summer camp?<\/dialogue>\n    <character>SECURITY OFFICIAL LARS<\/character>\n    <dialogue>We're just getting details now.<\/dialogue>\n    <character>PRIME MINISTER<\/character>\n    <dialogue>But we have hundreds of kids there.<\/dialogue>\n    <character>PM AIDE OYSTEIN<\/character>\n    <parenthetical>(also on phone)<\/parenthetical>\n    <dialogue>Hold on, hold on. Local police are responding. But everything else, everything, DELTA, is in the city. Dealing with the bomb.<\/dialogue>\n    <character>PRIME MINISTER<\/character>\n    <dialogue>Get on to the Police Director. Tell him to get everything they can down to Ut\u00f8ya. Now!<\/dialogue>\n    <character>SECURITY OFFICIAL LARS<\/character>\n    <dialogue>Sir.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - FOREST - SAME TIME<\/stage_direction>\n    <scene_description>BREIVIK hunts more victims.<\/scene_description>\n    <character>BREIVIK<\/character>\n    <dialogue>Where are you?! Come out you Marxists!<\/dialogue>\n    <scene_description>Opens fire. Another VICTIM falls. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - LEDGE - SAME TIME<\/stage_direction>\n    <scene_description>VILJAR and the others still clinging on. TORJE crying, panicking.<\/scene_description>\n    <character>TORJE<\/character>\n    <dialogue>He's coming for us! He's coming!<\/dialogue>\n    <scene_description>More gunshots.<\/scene_description>\n    <character>VILJAR<\/character>\n    <parenthetical>(to TORJE)<\/parenthetical>\n    <dialogue>Look at me. It's going to be ok. I promise you.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - FOREST - SAME TIME<\/stage_direction>\n    <scene_description>ANDERS and BANO still hiding. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAINLAND - GOLF COURSE JETTY - DAY<\/stage_direction>\n    <scene_description>HONEFOSS POLICEMAN #1 arrives at RV point. DELTA UNITS arriving. The sound of distant gunfire throughout. A police RHIB is frantically deployed. But it's overloaded. The engine won't start.<\/scene_description>\n    <character>DELATE OFFICER 2<\/character>\n    <dialogue>Come on! Come on!<\/dialogue>\n    <character>HONEFOSS POLICEMAN #1<\/character>\n    <dialogue>Delta 2, you take the north side! We take the west side! Got it?<\/dialogue>\n    <character>DELTA 2<\/character>\n    <dialogue>Yeah! Got it!<\/dialogue>\n    <character>HONEFOSS POLICEMAN #1<\/character>\n    <dialogue>Go, go, go, go<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PM RESIDENCY - SECURE ROOM - SAME TIME<\/stage_direction>\n    <scene_description>The PM on a conference call. Grappling to make sense of the unfolding attack.<\/scene_description>\n    <character>SECURITY OFFICIAL ENDRE (OOV)<\/character>\n    <parenthetical>(on phone)<\/parenthetical>\n    <dialogue>I need an update on DELTA.<\/dialogue>\n    <character>PRIME MINISTER<\/character>\n    <dialogue>This is taking too long, right!<\/dialogue>\n    <character>SECUTIRY OFFICIAL LARS<\/character>\n    <parenthetical>(on phone)<\/parenthetical>\n    <dialogue>That's because there is no helicopter. No there is no helicopter at all.<\/dialogue>\n    <character>SECURITY OFFICIAL ENDRE<\/character>\n    <parenthetical>(on phone)<\/parenthetical>\n    <dialogue>Are they on the island yet?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OSLO STREETS - DAY<\/stage_direction>\n    <scene_description>CHRISTIN and SVEINN driving towards Ut\u00f8ya. CHRISTIN keeps trying Viljar's phone, listening to the radio.<\/scene_description>\n    <character>CHRISTIN<\/character>\n    <dialogue>Come on<\/dialogue>\n    <character>RADIO (V.O.)<\/character>\n    <dialogue>We're getting news of an attack at Ut\u00f8ya Island. Gunfire...<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>Oh God...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - FOREST - SAME TIME<\/stage_direction>\n    <scene_description>BREIVIK moves through the trees, searching.<\/scene_description>\n    <character>BREIVIK<\/character>\n    <dialogue>Hey?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - FOREST - SAME TIME<\/stage_direction>\n    <scene_description>ANDERS and BANO still hiding. ANDERS looks over the crest of the hill and sees BREIVIK coming.<\/scene_description>\n    <character>ANDERS<\/character>\n    <dialogue>Shhh.. He's coming<\/dialogue>\n    <scene_description>BANO looks over the hill<\/scene_description>\n    <character>ANDERS<\/character>\n    <dialogue>Get down, get down<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - FOREST - SAME TIME<\/stage_direction>\n    <scene_description>BREIVIK moves closer towards them. Notices something...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - FOREST - SAME TIME<\/stage_direction>\n    <scene_description>ANDERS wraps his arm around BANO. Closes his eyes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - FOREST - SAME TIME<\/stage_direction>\n    <scene_description>BREIVIK moves towards their hiding place... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - FOREST - SAME TIME<\/stage_direction>\n    <character>ANDERS<\/character>\n    <dialogue>Play dead, play dead...<\/dialogue>\n    <scene_description>As BREIVIK comes right for them...<\/scene_description>\n    <character>ANDERS<\/character>\n    <dialogue>Shhh...<\/dialogue>\n    <scene_description>Tight on BANO, lying face down in the mud. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - FOREST - SAME TIME<\/stage_direction>\n    <scene_description>BREIVIK finds them and shoots them. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - LEDGE - SAME TIME<\/stage_direction>\n    <scene_description>VILJAR and the OTHERS recoil at the gunshots. They're close.<\/scene_description>\n    <character>TORJE<\/character>\n    <parenthetical>(crying)<\/parenthetical>\n    <dialogue>Viljar<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>Shhh shhh...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UTOYA ISLAND - LOVERS PATH - SAME TIME<\/stage_direction>\n    <scene_description>BREIVIK down the path. Sees the gap in the fence ahead. Climbs through it. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - LEDGE - SAME TIME<\/stage_direction>\n    <character>BOY ON LEDGE<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>I can hear him, quiet..<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - CLIFFTOP ABOVE LEDGE - SAME TIME<\/stage_direction>\n    <scene_description>BREIVIK scans the beach below... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - LEDGE - SAME TIME<\/stage_direction>\n    <scene_description>VILJAR looking up... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - CLIFFTOP ABOVE LEDGE - SAME TIME<\/stage_direction>\n    <scene_description>BREIVIK hears something. Turns towards the ledge... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - LEDGE - SAME TIME<\/stage_direction>\n    <scene_description>VILJAR turns to see BREIVIK appearing on the cliffs above him. Sees them all clustered on the ledge. Lifts his gun... He opens fire. PEOPLE falling. Panic. Screaming. VILJAR and TORJE jump. They land on rocks at the water's edge and scramble for cover. BREIVIK shoots again. Simon hit. Two others as well. And then VILJAR is hit. He struggles back up, holding his shoulder. Another shot, he falls again. Another, still he keeps going. Desperately struggling to escape. And another. And then one last impact punctures his skull. TORJE turns back to see his brother on the ground.<\/scene_description>\n    <character>TORJE<\/character>\n    <parenthetical>(running back to him)<\/parenthetical>\n    <dialogue>Viljar! Viljar!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - CLIFFTOP ABOVE BEACH - SAME TIME<\/stage_direction>\n    <scene_description>BREIVIK reloads his gun.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - BEACH - SAME TIME<\/stage_direction>\n    <scene_description>VILJAR sees TORJE coming back for him.<\/scene_description>\n    <character>TORJE<\/character>\n    <dialogue>Viljar!<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>Go<\/dialogue>\n    <character>TORJE<\/character>\n    <dialogue>No, no, Viljar!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - CLIFFTOP ABOVE BEACH - SAME TIME<\/stage_direction>\n    <scene_description>BREIVIK prepares to open fire again...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - BEACH - SAME TIME<\/stage_direction>\n    <character>VILJAR<\/character>\n    <dialogue>GO!<\/dialogue>\n    <character>TORJE<\/character>\n    <dialogue>No! You have to come with me!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - CLIFFTOP ABOVE BEACH - SAME TIME<\/stage_direction>\n    <scene_description>BREIVIK takes aim... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - BEACH - SAME TIME<\/stage_direction>\n    <character>VILJAR<\/character>\n    <dialogue>Go! Go!<\/dialogue>\n    <scene_description>A gunshot hits the sand just next to TORJE's face. Forcing him to run away and find cover. Leaving VILJAR alone. BREIVIK stops firing. Scans the beach for movement. VILJAR's body still. BREIVIK leaves. VILJAR turns and looks up to the now deserted cliffs.<\/scene_description>\n    <character>VILJAR<\/character>\n    <dialogue>Simon! Anders!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DELTA 1 BOAT - MOMENTS LATER<\/stage_direction>\n    <scene_description>HONEFOSS POLICEMAN 1 and DELTA speed towards the island. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PM'S RESIDENCY - SECURE ROOM - SAME TIME<\/stage_direction>\n    <scene_description>PM waits for news. Pacing. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UTOYA ISLAND - VILJAR SHORE - SAME TIME<\/stage_direction>\n    <scene_description>VILJAR lying on the rocks. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - FOREST AREA 2 - SAME TIME<\/stage_direction>\n    <scene_description>BREIVIK moves through the trees. Searching.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UTOYA ISLAND - MAIN JETTY - DAY<\/stage_direction>\n    <scene_description>HONEFOSS POLICEMAN #1 and DELTA UNITS lands on the island.<\/scene_description>\n    <character>DELTA LEADER<\/character>\n    <dialogue>Move! Move! Move! Move! Move! Shield!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - FOREST - SAME TIME<\/stage_direction>\n    <scene_description>BREIVIK still on the move. Hears the police...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - PINE FOREST - DAY<\/stage_direction>\n    <scene_description>HONEFOSS POLICEMAN 1 and DELTA move through trees. Suddenly, a group of TEENAGERS burst out from bushes to his left, screaming.<\/scene_description>\n    <character>HONEFOSS POLICEMAN #1<\/character>\n    <dialogue>Get down! GET DOWN! Down! Stay hidden!<\/dialogue>\n    <scene_description>He bundles the terrified TEENAGERS past him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UTOYA ISLAND - VILJAR SHORE - SAME TIME<\/stage_direction>\n    <scene_description>VILJAR, going into shock, looks down at his wounded body.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD TO UT\u00d8YA (NEAR SOLLIH\u00d8GDA)- DAY<\/stage_direction>\n    <scene_description>CHRISTIN and SVEINN speeding to UTOYA. The lake comes into view. And a police roadblock. SVEINN slams on the brakes. They get out of car. The sound of gunfire in the distance.<\/scene_description>\n    <character>CHRISTIN<\/character>\n    <dialogue>Oh my god! Look at this!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - VILJAR'S SHORE - SAME TIME<\/stage_direction>\n    <scene_description>VILJAR lying helpless. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD TO UT\u00d8YA (NEAR SOLLIH\u00d8GDA)- DAY<\/stage_direction>\n    <scene_description>CHRISTIN and SVEINN run up the roadblock.<\/scene_description>\n    <character>ROADBLOCK POLICEMAN<\/character>\n    <dialogue>The road is closed! Please turn around.<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>You have to let me through! My children are on the island!<\/dialogue>\n    <character>ROADBLOCK POLICEMAN<\/character>\n    <dialogue>We can't, Ma'm.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UTOYA ISLAND - VILJAR SHORE - SAME TIME<\/stage_direction>\n    <scene_description>VILJAR uses his uninjured hand to touch the flesh of his exposed brain. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UTOYA ISLAND - FOREST AREA 4 - SAME TIME<\/stage_direction>\n    <scene_description>BREIVIK moves through the trees. Finally sees the police coming... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - CANTEEN \/ FOREST AREA 5 - SAME TIME<\/stage_direction>\n    <scene_description>HONEFOSS POLICEMAN #1 AND HIS UNIT move through the trees. Suddenly he spots movement. Sees a black uniformed figure. Raises his gun until he has BREIVIK in his sights. BREIVIK lowers his gun, and stands, open-armed. He starts to walk towards them.<\/scene_description>\n    <character>HONEFOSS POLICEMAN #1<\/character>\n    <dialogue>ARMS DOWN BY THE SIDE! COME<\/dialogue>\n    <character>FORWARD! COME FORWARD! STOP!<\/character>\n    <dialogue>BREIVIK lies down.<\/dialogue>\n    <character>HONEFOSS POLICEMAN #1<\/character>\n    <dialogue>DOWN ON YOUR KNEES! DOWN ON YOUR<\/dialogue>\n    <character>KNEES. ON YOUR STOMACH! ON YOUR<\/character>\n    <dialogue>STOMACH!<\/dialogue>\n    <parenthetical>(to his UNIT)<\/parenthetical>\n    <dialogue>GO, GO, GO! Cuff him, cuff him.<\/dialogue>\n    <parenthetical>(to BREIVIK)<\/parenthetical>\n    <dialogue>Look away. Look away from him.<\/dialogue>\n    <scene_description>DELTA OFFICERS bind his wrists with plastic strip cuffs. BREIVIK's head in the mud.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UTOYA ISLAND - VILJAR SHORE - SAME TIME<\/stage_direction>\n    <scene_description>DELTA OFFICERS finds the shore littered with dead. VILJAR among them, lying motionless. They check his pulse and administer first aid.<\/scene_description>\n    <character>DELTA OFFICER<\/character>\n    <dialogue>Casualties over here!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - BEACH - MOMENTS LATER<\/stage_direction>\n    <scene_description>The SECOND UNIT move through the woods, among the dead. Checking for any signs of life.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. UTOYA ISLAND - CANTEEN \/ MAIN HALL - DAY<\/stage_direction>\n    <scene_description>HONEFOSS POLICEMAN #1 walks into the main hall... Reveals a scene of utter horror. BODIES. Blood. Tight on him. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ULLEV\u00c5L HOSPITAL - HELIPAD - EVENING<\/stage_direction>\n    <scene_description>The air ambulance lands on the roof. VILJAR unloaded. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ULLEV\u00c5L HOSPITAL - OPERATING THEATRE - CONTINUOUS<\/stage_direction>\n    <scene_description>VILJAR into the trauma unit. DOCTORS cut through his bloody clothes.<\/scene_description>\n    <character>OTHER DOCTOR<\/character>\n    <dialogue>On me. One, two, three<\/dialogue>\n    <scene_description>The transfer VILJAR onto the surgical table.<\/scene_description>\n    <character>OTHER DOCTOR<\/character>\n    <dialogue>A young male, multiple gunshot wounds. Pressure dropping, 60\/30<\/dialogue>\n    <character>TRAUMA SURGEON<\/character>\n    <dialogue>OK, we have to tranfuse him.<\/dialogue>\n    <character>OTHER DOCTOR 2<\/character>\n    <dialogue>O minus, 6 units<\/dialogue>\n    <character>TRAUMA SURGEON<\/character>\n    <parenthetical>(examining)<\/parenthetical>\n    <dialogue>There is an injury here to his left shoulder...<\/dialogue>\n    <scene_description>A machine bleeps.<\/scene_description>\n    <character>OTHER DOCTOR<\/character>\n    <dialogue>We've got cardiac arrest, we're losing him.<\/dialogue>\n    <character>OTHER DOCTOR 2<\/character>\n    <dialogue>Starting chest compressions<\/dialogue>\n    <character>OTHER DOCTOR<\/character>\n    <dialogue>We're losing him<\/dialogue>\n    <character>TRAUMA SURGEON<\/character>\n    <dialogue>OK, put the pads on. Charge to 150.<\/dialogue>\n    <character>OTHER DOCTOR<\/character>\n    <dialogue>Charging 150<\/dialogue>\n    <character>TRAUMA SURGEON<\/character>\n    <dialogue>OK, clear!<\/dialogue>\n    <scene_description>VILJAR'S chest convulses, as the charge hits.<\/scene_description>\n    <character>OTHER DOCTOR<\/character>\n    <dialogue>Still V-fib<\/dialogue>\n    <character>TRAUMA SURGEON<\/character>\n    <dialogue>Come on, come on, go for 200...<\/dialogue>\n    <character>OTHER DOCTOR<\/character>\n    <dialogue>I got a pulse<\/dialogue>\n    <character>TRAUMA SURGEON<\/character>\n    <dialogue>OK, good. Let's continue. We have a gunshot here to his lower extremity on the right side. And there is another wound here to his right arm.<\/dialogue>\n    <scene_description>The machine bleeps again<\/scene_description>\n    <character>OTHER DOCTOR<\/character>\n    <dialogue>Guys, we're losing him again<\/dialogue>\n    <character>OTHER DOCTOR 2<\/character>\n    <dialogue>V-fib! Starting compressions.<\/dialogue>\n    <character>TRAUMA SURGEON<\/character>\n    <dialogue>Go for 200<\/dialogue>\n    <character>OTHER DOCTOR<\/character>\n    <dialogue>200, charging<\/dialogue>\n    <character>TRAUMA SURGEON<\/character>\n    <dialogue>Clear<\/dialogue>\n    <scene_description>VILJAR is shocked again.<\/scene_description>\n    <character>OTHER DOCTOR<\/character>\n    <dialogue>Got sinus rift, and a pulse<\/dialogue>\n    <character>TRAUMA SURGEON<\/character>\n    <dialogue>There is an entry wound to his right orbita. There is an exit wound here on the posterior.<\/dialogue>\n    <character>OTHER DOCTOR 2<\/character>\n    <dialogue>Blood pressure stable<\/dialogue>\n    <character>OTHER DOCTOR<\/character>\n    <dialogue>80 over 40<\/dialogue>\n    <character>TRAUMA SURGEON<\/character>\n    <dialogue>Do we have the bleeding under control?<\/dialogue>\n    <character>OTHER DOCTOR<\/character>\n    <dialogue>Yes<\/dialogue>\n    <scene_description>Adrenaline is inserted.<\/scene_description>\n    <character>TRAUMA SURGEON<\/character>\n    <dialogue>Ok, we have to go for surgery<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UT\u00d8YA ISLAND - EVENING<\/stage_direction>\n    <scene_description>Wide shot of the island. Helicopters hang in the air. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UTOYA ISLAND - WHITE BUILDING - EVENING<\/stage_direction>\n    <scene_description>POLICE lead BREIVIK to the white building down by the jetty. Ahead of them, more boats arriving. ARMED POLICE and PARAMEDICS. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UTOYA ISLAND - WHITE BUILDING - UPSTAIRS ROOM -<\/stage_direction>\n    <scene_description>DUTY DETECTIVE arrives and BREIVIK is sat in a chair. A dictaphone turned on.<\/scene_description>\n    <character>DELTA OFFICER<\/character>\n    <parenthetical>(to BREIVIK)<\/parenthetical>\n    <dialogue>OK, stand up<\/dialogue>\n    <scene_description>Photos are taken. DNA and fingerprints too.<\/scene_description>\n    <character>DUTY DETECTIVE<\/character>\n    <parenthetical>(to BREIVIK)<\/parenthetical>\n    <dialogue>I'm the duty detective from Honefoss Police Station. Who are you?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>My name is Anders Behring Breivik. This is a military operation. A coup d'etat.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>The bomb has removed the Government. And here I have liquidated a political camp.<\/dialogue>\n    <character>DUTY DETECTIVE<\/character>\n    <dialogue>Did anyone help you?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>I was selected for this mission. Now my brothers are waiting for my signal. To begin the third attack.<\/dialogue>\n    <character>DUTY DETECTIVE<\/character>\n    <dialogue>So you're telling me there's another attack planned?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>Oh yes.<\/dialogue>\n    <character>DUTY DETECTIVE<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>I can't go into details. But I'm authorised to negotiate.<\/dialogue>\n    <character>DUTY DETECTIVE<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>A complete ban on immigration. An end to enforced multiculturalism. And if the Prime Minister is still alive tell him if he fails to agree, the attacks will continue.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PM RESIDENCY - SECURE ROOM - DUSK<\/stage_direction>\n    <character>SECURITY OFFICIAL LARS<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>They've arrested the shooter. A white Norwegian. He says he wants you to know another attack is coming. But that he's willing to negotiate.<\/dialogue>\n    <scene_description>Hold on PM.<\/scene_description>\n    <character>PRIME MINISTER<\/character>\n    <dialogue>Keep him talking. Bring him to Oslo.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT \/ INT. OSLO POLICE STATION - NIGHT<\/stage_direction>\n    <scene_description>BREIVIK arrives in convoy into the rear entrance. We follow him as he is brought inside, and booked.<\/scene_description>\n    <character>DESK OFFICER<\/character>\n    <dialogue>Name?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>Anders Behring Breivik<\/dialogue>\n    <character>DESK OFFICER<\/character>\n    <dialogue>Arrested?<\/dialogue>\n    <character>POLICE OFFICER<\/character>\n    <dialogue>Ut\u00f8ya.<\/dialogue>\n    <character>DESK OFFICER<\/character>\n    <dialogue>Lawyer?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>Yeah, there's a particular lawyer that I would like to represent me. His name is Geir Lippestad.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIPPESTAD'S HOUSE - BEDROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>LIPPESTAD sat at his dining table. Watching the TV. Rolling news of the attacks.<\/scene_description>\n    <character>SIGNE LIPPESTAD<\/character>\n    <parenthetical>(to ANNA AU PAIR)<\/parenthetical>\n    <dialogue>Thank you so much Anna, for staying.<\/dialogue>\n    <character>ANNA AU PAIR<\/character>\n    <dialogue>Of course. Do you need anything?<\/dialogue>\n    <character>SIGNE LIPPESTAD<\/character>\n    <dialogue>Just keep the kids away from the television.<\/dialogue>\n    <scene_description>The phone rings.<\/scene_description>\n    <character>SIGNE LIPPESTAD<\/character>\n    <dialogue>And thank you so much.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <parenthetical>(answers phone)<\/parenthetical>\n    <dialogue>Hi, it's Lippestad<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>For me?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Breivik? I've never heard of him.<\/dialogue>\n    <scene_description>SIGNE looks to him.<\/scene_description>\n    <character>LIPPESTAD<\/character>\n    <dialogue>I understand.<\/dialogue>\n    <scene_description>He puts down the phone. Turns to SIGNE.<\/scene_description>\n    <character>SIGNE LIPPESTAD<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>The person they've arrested. He's asked for me.<\/dialogue>\n    <character>SIGNE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. SUNDVOLLEN HOTEL - NIGHT<\/stage_direction>\n    <scene_description>CAPTION: VICTIM RECEPTION CENTRE. 6KM NORTH OF UT\u00d8YA. CHRISTIN and SVEINN arrive at a hotel, now a makeshift crisis- centre. We follow them into the lobby is packed with MEDICS; VOLUNTEERS; REPORTERS; VICTIMS' FAMILIES; and TRAUMATISED SURVIVORS wrapped in towels and bathrobes. CHRISTIN, taking it all in. Suddenly:<\/scene_description>\n    <character>SVEINN<\/character>\n    <dialogue>Torje? Torje!<\/dialogue>\n    <scene_description>She pushes through the CROWD towards TORJE.<\/scene_description>\n    <character>CHRISTIN<\/character>\n    <parenthetical>(grabbing him)<\/parenthetical>\n    <dialogue>It's OK. It's OK, Torje.<\/dialogue>\n    <scene_description>SVEINN puts his arms around him too. TORJE sobs.<\/scene_description>\n    <character>SVEINN<\/character>\n    <dialogue>It's OK.<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>You're safe now.<\/dialogue>\n    <character>SVEINN<\/character>\n    <dialogue>Where's Viljar? Do you know where he is?<\/dialogue>\n    <character>TORJE<\/character>\n    <dialogue>We hid on the cliffs. But when he was shooting. We had to jump.<\/dialogue>\n    <character>SVEIIN<\/character>\n    <dialogue>Did Viljar jump?<\/dialogue>\n    <character>TORJE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <parenthetical>(he breaks down)<\/parenthetical>\n    <character>SVEINN<\/character>\n    <dialogue>Was he shot?<\/dialogue>\n    <scene_description>TORJE unable to reply. CHRISTIN hugs him tightly as he weeps.<\/scene_description>\n    <character>CHRISTIN<\/character>\n    <parenthetical>(to SVEINN)<\/parenthetical>\n    <dialogue>I'll go and check.<\/dialogue>\n    <scene_description>CHRISTIN leaves SVEINN looking after TORJE.<\/scene_description>\n    <character>SVEINN<\/character>\n    <dialogue>Oh my God<\/dialogue>\n    <scene_description>CHRISTIN walks back into the sea of desperate PEOPLE. She sees a VOlUNTEER surrounded by distressed parents.<\/scene_description>\n    <character>CHRISTIN<\/character>\n    <dialogue>Can you check for Viljar Hanssen? Viljar Hanssen. Can you check?<\/dialogue>\n    <character>VOLUNTEER<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>Viljar Hanssen.<\/dialogue>\n    <scene_description>She waits. Desperate moments. And then....<\/scene_description>\n    <character>VOLUNTEER<\/character>\n    <parenthetical>(checking list)<\/parenthetical>\n    <dialogue>He's not here.<\/dialogue>\n    <scene_description>She walks back to TORJE and SVEINN. Pulls out her phone.<\/scene_description>\n    <character>CHRISTIN<\/character>\n    <parenthetical>(to SVEINN)<\/parenthetical>\n    <dialogue>He's not here.<\/dialogue>\n    <character>SVEINN<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>He's not on any list. I'm calling the hospital now.<\/dialogue>\n    <scene_description>The phone connects.<\/scene_description>\n    <character>CHRISTIN<\/character>\n    <dialogue>Yes hello, I\"m looking for my son. Viljar Hanssen. He was on Utoya. Do you have any admissions by that name? OK, thank you.<\/dialogue>\n    <scene_description>She puts the phone down.<\/scene_description>\n    <character>CHRISTIN<\/character>\n    <parenthetical>(to SVEINN)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <parenthetical>(dials again)<\/parenthetical>\n    <dialogue>He was on Ut\u00f8ya. Do you have any admissions by that name? OK, thank you.<\/dialogue>\n    <parenthetical>(dials again)<\/parenthetical>\n    <dialogue>Yes, hello. I\"m looking for Viljar Hanssen....<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ULLEVAL HOSPITAL - OPERATING THEATRE - NIGHT<\/stage_direction>\n    <scene_description>VILJAR being operated on. Hovering, like Norway, between life and death. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - NIGHT<\/stage_direction>\n    <scene_description>BREIVIK is led from his prison cell. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OSLO POLICE STATION - NIGHT<\/stage_direction>\n    <scene_description>LIPPESTAD arrives at the police station.<\/scene_description>\n    <character>LIPPESTAD<\/character>\n    <parenthetical>(to OFFICER)<\/parenthetical>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>He is led down a windowless corridor. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - LIFT TO INTERVIEW ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>BREIVIK exits a lift, surrounded by OFFICERS. Is led into the interview room. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - CORRIDOR TO INTERVIEW ROOM - MOMENTS<\/stage_direction>\n    <scene_description>LATER LIPPESTAD waits as the cell door is opened, to reveal ANDERS BREIVIK.<\/scene_description>\n    <character>LIPPESTAD<\/character>\n    <parenthetical>(to a GUARD)<\/parenthetical>\n    <dialogue>Please remove the restraints. Then please give us the room.<\/dialogue>\n    <scene_description>BREIVIK extends his hand as the GUARDS leave. LIPPESTAD hesitates, then shakes it.<\/scene_description>\n    <character>BREIVIK<\/character>\n    <dialogue>Anders Behring Breivik.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>Geir Lippestad.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>Thank you for coming.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>So...how do you know who I am?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>I've seen your work before. Nine years ago. The Benjamin Hermansen Neo-Nazi case. We met during the trial.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>Did we?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>Yes. I knew I would need a lawyer one day.<\/dialogue>\n    <scene_description>See LIPPESTAD, dimly remembering.<\/scene_description>\n    <character>LIPPESTAD<\/character>\n    <parenthetical>(tries to take charge)<\/parenthetical>\n    <dialogue>Tell me Mr Breivik, what have you done today?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>I have started a war. To take back control. Of Norway. Of the West. And defending me will be the greatest thing you will ever do.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>I don't agree with what you have done Mr. Breivik. They were innocent. Children.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>They were traitors. Children of the elite. The leaders of tomorrow.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>My own children have been to Utoya. I'm an active member of the Labour Party. Does that make me a traitor too?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>You're my lawyer. You're an exception.<\/dialogue>\n    <scene_description>Hold on LIPPESTAD. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUNDVOLLEN HOTEL - NIGHT<\/stage_direction>\n    <scene_description>TORJE asleep. CHRISTIN holding him. Across the lobby, SVEINN talking to a group of DISTRAUGHT PARENTS. He hugs them. CHRISTIN watches SVEINN come back. He expression desolate.<\/scene_description>\n    <character>SVEINN<\/character>\n    <dialogue>Simon and Anders are dead.<\/dialogue>\n    <scene_description>CHRISTIN hangs her head. Cries. Moments pass. Her phone rings.<\/scene_description>\n    <character>CHRISTIN<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <parenthetical>(listens)<\/parenthetical>\n    <dialogue>Yes?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>He has a bad scar on his neck. A fire burn.<\/dialogue>\n    <parenthetical>(stands)<\/parenthetical>\n    <dialogue>OK, thank you.<\/dialogue>\n    <scene_description>Puts down the phone.<\/scene_description>\n    <character>CHRISTIN<\/character>\n    <parenthetical>(to SVEINN and TORJE)<\/parenthetical>\n    <dialogue>He's in the hospital. Let's go.<\/dialogue>\n    <scene_description>HARD CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OSLO POLICE STATION - CORRIDOR \/ INTERROGATION ROOM -<\/stage_direction>\n    <scene_description>NIGHT BREIVIK and LIPPESTAD are led into a small interrogation room. A one-way glass window. They're being watched. BREIVIK is uncuffed.<\/scene_description>\n    <character>BREIVIK<\/character>\n    <parenthetical>(to GUARD)<\/parenthetical>\n    <dialogue>Don't be afraid. I'm not operative.<\/dialogue>\n    <scene_description>He's led to a chair. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BREIVIK'S MOTHER'S HOME - NIGHT<\/stage_direction>\n    <scene_description>BREIVIK'S MOTHER watches the news. Her phone rings.<\/scene_description>\n    <character>BREIVIKS MOTHER<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Police. Open the door.<\/dialogue>\n    <character>BREIVIKS MOTHER<\/character>\n    <dialogue>Police?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - INTERROGATION ROOM - SAME TIME<\/stage_direction>\n    <scene_description>BREIVIK sits waiting. LIPPESTAD next to him. A WOMAN enters.<\/scene_description>\n    <character>FEMALE DETECTIVE<\/character>\n    <parenthetical>(as she sits)<\/parenthetical>\n    <dialogue>I'm Nina Anderson. I'm a detective at the Homicide and Serious Crimes Unit. Do you understand you've been arrested in connection with the explosion in Oslo, and the shootings on Ut\u00f8ya Island?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>Yeah, of course.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BREIVIK'S MOTHER'S HOME - NIGHT<\/stage_direction>\n    <scene_description>BREIVIK'S MOTHER goes to the door. Opens it to reveal: Dazzling light. Armed DELTA OFFICERS. They storm the apartment. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - INTERROGATION ROOM - SAME TIME<\/stage_direction>\n    <character>DETECTIVE ANDERSON<\/character>\n    <dialogue>Did anyone help you with it?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>I am just one cog in a network. The Knight's Templar. Named in honour of the Knights of the Crusade. We want Islam out of Europe.<\/dialogue>\n    <scene_description>DETECTIVe ANDERSON Can you give me any names?<\/scene_description>\n    <character>BREIVIK<\/character>\n    <dialogue>No. Of course not.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BREIVIK'S MOTHER'S APARTMENT - BREIVIKS ROOM - SAME TIME<\/stage_direction>\n    <scene_description>We follow DELTA into Breivik's bedroom. To his computer. On the screen: Breivik's manifesto. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - INTERROGATION ROOM - SAME TIME<\/stage_direction>\n    <character>DETECTIVE ANDERSON<\/character>\n    <dialogue>We have found your computer, at your mother's apartment. Can you tell me what's on it?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>My manifesto. I sent it out so people will understand what I've done. It's all there. 1500 pages.<\/dialogue>\n    <scene_description>A message on Nina's computer screen: Convince him to elaborate on further attacks.<\/scene_description>\n    <character>DETECTIVE ANDERSON<\/character>\n    <dialogue>We need to know if there are more attacks planned.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>Yeah, this is a war. Attacks can come at any moment. But you need to agree to my demands.<\/dialogue>\n    <character>DETECTIVE ANDERSON<\/character>\n    <dialogue>This isn't a negotiation.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>I don't believe you're in a position to dictate terms.<\/dialogue>\n    <character>DETECTIVE ANDERSON<\/character>\n    <dialogue>Is another attack coming?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <parenthetical>(to LIPPESTAD)<\/parenthetical>\n    <dialogue>Can we take a break?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>I've been trying to get medical attention ever since I was arrested.<\/dialogue>\n    <scene_description>He shows a small cut on his finger.<\/scene_description>\n    <character>BREIVIK<\/character>\n    <dialogue>I cut it on a piece of someone's skull when it shattered. And this might be infection if I don't get treatment.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>Yes. Can we pause the interview whilst my client is seen by a medic?<\/dialogue>\n    <character>PM AIDE OYSTEIN (V.O.)<\/character>\n    <dialogue>He could be bluffing, Sir...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PM'S RESIDENCY - SECURE ROOM - NIGHT<\/stage_direction>\n    <scene_description>The PM stands alone. Chaos all around. SECURITY OFFICIAL ENDRE approaches.<\/scene_description>\n    <character>PM AIDE OYSTEIN<\/character>\n    <dialogue>We just don't know.<\/dialogue>\n    <scene_description>Only the PM can make a call like this.<\/scene_description>\n    <character>PRIME MINISTER<\/character>\n    <dialogue>Tell him I'm listening. Tell him personally from me. I'm listening to him.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OSLO POLICE STATION - INTERROGATION ROOM - NIGHT<\/stage_direction>\n    <scene_description>BREIVIK eating pizza, being treated by a medic. A can of coke. DETECTIVE ANDERSON enters.<\/scene_description>\n    <character>DETECTIVE ANDERSON<\/character>\n    <parenthetical>(sitting)<\/parenthetical>\n    <dialogue>The Prime Minister has seen your demands. He can't accept your terms. But he wanted me to give you a message.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>Really? He said that?<\/dialogue>\n    <character>DETECTIVE ANDERSON<\/character>\n    <dialogue>It was a personal message from the Prime Minister. He said he wants you to know he's listening to you.<\/dialogue>\n    <scene_description>This lands. BREIVIK looks at the window, studying the dark glass.<\/scene_description>\n    <character>BREIVIK<\/character>\n    <dialogue>Is he in there? Watching us?<\/dialogue>\n    <character>DETECTIVE ANDERSON<\/character>\n    <dialogue>We need to know if there are anymore attacks planned.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <parenthetical>(eventually)<\/parenthetical>\n    <dialogue>Tell him I'm prepared to call off the attacks. For the moment.<\/dialogue>\n    <character>DETECTIVE ANDERSON<\/character>\n    <dialogue>And how do we know that we can trust you?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>Because you're all listening to me now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ULLEV\u00c5L HOSPITAL - LOBBY\/ICU ROOM - NEAR DAWN<\/stage_direction>\n    <scene_description>VILJAR'S FAMILY arrive. Go through the busy lobby. CAPTION: ULLEVAL HOSPITAL. CENTRAL OSLO.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OPERATING THEATRE. NIGHT<\/stage_direction>\n    <scene_description>VILJAR having brain surgery. Fragments of bullets pulled from his exposed brain tissue.<\/scene_description>\n    <character>TRAUMA SURGEON<\/character>\n    <dialogue>Ok, more of these patches please.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ULLEV\u00c5L HOSPITAL - LOBBY\/ICU ROOM - NEAR DAWN<\/stage_direction>\n    <scene_description>The FAMILY arrive on the ICU ward. A NURSE tells them to wait. Anxious moments. The TRAUMA SURGEON arrives.<\/scene_description>\n    <character>CHRISTIN<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>TRAUMA SURGEON<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <parenthetical>(shakes CHRISTIN's hand)<\/parenthetical>\n    <dialogue>I'm Dr. Tomas. I'm the trauma and Neuro surgeon.<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>Christin.<\/dialogue>\n    <character>TRAUMA SURGEON<\/character>\n    <dialogue>I don't know how much you know.<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>Very little.<\/dialogue>\n    <character>TRAUMA SURGEON<\/character>\n    <dialogue>Yeah. Viljar has very severe injuries. Gunshot wounds to both of his arms and to his lower extremity on the right side. But what concerns us most is that one of the bullets exploded in his head.<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>OK.<\/dialogue>\n    <character>TRAUMA SURGEON<\/character>\n    <dialogue>So I needed to do emergency surgery on him. It was complex. There are several bullet fragments close to his brain stem.<\/dialogue>\n    <character>SVEINN<\/character>\n    <dialogue>But what - what does this mean?<\/dialogue>\n    <character>TRAUMA SURGEON<\/character>\n    <dialogue>That means that if he survives, we will have to perform another surgery. But his condition is critical.<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>Can we see him?<\/dialogue>\n    <character>TRAUMA SURGEON<\/character>\n    <dialogue>Of course. Please.<\/dialogue>\n    <scene_description>He leads them into a bare hospital room. See VILJAR. No signs of life. Just the soft bleep of machines. CHRISTIN begins to weep, despite herself. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. PM'S RESIDENCY - SECURE ROOM 2 FRONT DOOR - DAWN 158<\/stage_direction>\n    <scene_description>The PM alone at the sink. On the phone.<\/scene_description>\n    <character>AIDE<\/character>\n    <parenthetical>(knocks)<\/parenthetical>\n    <dialogue>Sir? The Press are ready outside.<\/dialogue>\n    <character>PRIME MINISTER<\/character>\n    <dialogue>One moment.<\/dialogue>\n    <character>SECURITY OFFICIAL (OOV)<\/character>\n    <dialogue>We've got the final number... 8 dead in Oslo. 69 on Ut\u00f8ya.<\/dialogue>\n    <character>PRIME MINISTER<\/character>\n    <dialogue>Wounded?<\/dialogue>\n    <character>SECURITY OFFICIAL<\/character>\n    <dialogue>At least 200.<\/dialogue>\n    <character>PRIME MINISTER<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>The line cuts. Leaving the PM, alone with his reflection.<\/scene_description>\n    <character>PRIME MINISTER (V.O.)<\/character>\n    <dialogue>We are all shocked...<\/dialogue>\n    <scene_description>The door opens to reveal: a MASS OF CAMERAS. The PM faces them.<\/scene_description>\n    <character>PRIME MINISTER<\/character>\n    <dialogue>...This was an attack on our government, and on our children. We are a long way from understanding why.<\/dialogue>\n    <character>PRIME MINISTER<\/character>\n    <dialogue>But what is clear is that our nation has been attacked by someone who would see it changed...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ULLEV\u00c5L HOSPITAL - VILJAR'S ROOM - SAME TIME<\/stage_direction>\n    <scene_description>CHRISTIN sits down next to VILJAR. Holds his hand.<\/scene_description>\n    <character>PRIME MINISTER (V.O.)<\/character>\n    <dialogue>...He would see our democracy become tyranny. See our humanity fall... We must not give in to this terror. We must fight. But we must not become changed. Instead, we must strengthen our values. And fight this terror with the rule of law, not the barrel of the gun. Thank you.<\/dialogue>\n    <scene_description>It's a rousing call to arms.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ILA PRISON - DAY<\/stage_direction>\n    <scene_description>LIPPESTAD enters through the main gates. CAPTION: ILA DETENTION CENTRE. 12KM WEST OF OSLO.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA PRISON. BREIVIK'S CELL \/ CORRIDOR - DAY<\/stage_direction>\n    <scene_description>BREIVIK is taken out of his cell, towards a holding room.<\/scene_description>\n    <character>BREIVIK (V.O.)<\/character>\n    <dialogue>I had a very happy upbringing. I grew up in west Oslo. My parents divorced amicably when I was very young....<\/dialogue>\n    <character>GUARD<\/character>\n    <parenthetical>(having uncuffed BREIVIK)<\/parenthetical>\n    <dialogue>Sit down.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA PRISON - HOLDING ROOM - DAY<\/stage_direction>\n    <character>BREIVIK<\/character>\n    <dialogue>...I maintain a close relationship with my mother. My half-sister and I are not very close but we speak occasionally.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>What about your father?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>I haven't seen him since I was 16. We spoke a couple of years ago. But there was really no time to meet. I was focused on my career, my internet businesses. And he was living in France.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>How would you describe your relationship with your mother?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>My mother had nothing to do with this. She's really not relevant.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>It's all about understanding what led you to do this.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>How many children do you have, Mr. Lippestad?<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <parenthetical>(caught off guard)<\/parenthetical>\n    <dialogue>Five.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>And you love them?<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <parenthetical>(uncomfortable)<\/parenthetical>\n    <dialogue>Yes, of course.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>I wanted to hit them where it would hurt the most.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOVERNMENT BUILDING REAR - DAY<\/stage_direction>\n    <scene_description>The PM's car pulls into the government quarter. He gets out. Ahead of him: devastation. See the PM, lost in thought at the magnitude.<\/scene_description>\n    <character>PRIME MINISTER (V.O.)<\/character>\n    <dialogue>So he buys 900 kilos of fertilser...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PM'S RESIDENCY - LIVING ROOM (MEETING ROOM) - LATER<\/stage_direction>\n    <scene_description>The PM in his living room - hastily transformed into a make- shift office. A security meeting: The PST DIRECTOR, SECURITY OFFICIAL LARS, SECURITY OFFICIAL ENDRE, AIDE MARIT, AIDE OYSTEIN.<\/scene_description>\n    <character>PRIME MINISTER<\/character>\n    <dialogue>... and aluminum nitrate, and there were no red flags?<\/dialogue>\n    <character>HEAD OF PST<\/character>\n    <dialogue>Our focus has been on Islamist terror.<\/dialogue>\n    <character>PRIME MINISTER<\/character>\n    <dialogue>But we know the Far-Right is growing fast.<\/dialogue>\n    <character>SECURITY OFFICIAL LARS<\/character>\n    <dialogue>We can't stop every threat. We did the best we could, Sir.<\/dialogue>\n    <character>PRIME MINISTER<\/character>\n    <dialogue>We all know that this is not good enough.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I want to upgrade our national security. Intelligence. Defence. Policing. Everything. And I'm ordering a public inquiry. An inquiry into what happened and how we responded. Something went badly wrong. And we need to find out what. It's the only way we'll get through this.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ULLEVAL HOSPITAL - ICU WARD - NIGHT<\/stage_direction>\n    <scene_description>SVEINN on the phone.<\/scene_description>\n    <character>SVEINN<\/character>\n    <dialogue>Christin asked me to call. She's suspending the campaign...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ULLEVAL HOSPITAL - OPERATING THEATRE - NIGHT<\/stage_direction>\n    <scene_description>A surgical drill cuts into bone. VILJAR'S second operation.<\/scene_description>\n    <character>SVEINN (V.O.)<\/character>\n    <dialogue>...We're going to be staying here in Oslo with Viljar. And Torje's here with us, so he, I called the school, yeah. Yeah, they're operating on him right now.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ULLEVAL HOSPITAL - ICU WAITING ROOM - LATER<\/stage_direction>\n    <scene_description>SVEINN, TORJE and CHRISTIN wait in silence. The TRAUMA SURGEON enters.<\/scene_description>\n    <character>TRAUMA SURGEON<\/character>\n    <parenthetical>(shakes their hands)<\/parenthetical>\n    <dialogue>Nice to see you. I just came from the operating room. And I'm sorry that I don't bring better news than this. I tried to get the bullet fragments out, and I managed to take some of them out... but not all. Some of them were too close to his brain stem. It would have been too dangerous unfortunately.<\/dialogue>\n    <character>SVEINN<\/character>\n    <dialogue>So it's ...if he wakes up now, he's not the same as he was?<\/dialogue>\n    <character>TRAUMA SURGEON<\/character>\n    <dialogue>To evaluate his brain injury, we have to wait and see if he wakes up. It's up to him now. But we are trying to do everything to save Viljar's life.<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>The TRAUMA SURGEON exits. The FAMILY try to absorb the news.<\/scene_description>\n    <character>SVEINN<\/character>\n    <dialogue>This is, this is wrong.<\/dialogue>\n    <scene_description>He kicks the chair and exits. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIPPESTAD'S OFFICE - MEETING ROOM - DAY<\/stage_direction>\n    <scene_description>Boxes of police evidence on the table. LIPPESTAD, VIBEKE DEF. LAWYER, and TWO ASSISTANTS leaf through files.<\/scene_description>\n    <character>VIBEKE DEF. LAWYER (V.O.)<\/character>\n    <dialogue>It was a very dysfunctional family. Breivik's parents split acrimoniously when he was very young.<\/dialogue>\n    <scene_description>Insert: LIPPESTAD looks at ABB's SOCIAL SERVICES FILES.<\/scene_description>\n    <character>VIBEKE DEF LAWYER<\/character>\n    <dialogue>She wrote to Social Services asking for help. They had serious doubts about his mother's capacity to parent.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>And his father?<\/dialogue>\n    <character>VIBEKE DEF. LAWYER<\/character>\n    <dialogue>After the marriage collapsed, his father cut him off.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>What about his half-sister?<\/dialogue>\n    <scene_description>Insert: LIPPESTAD looks at a photo of YOUNG BREIVIK.<\/scene_description>\n    <character>VIBEKE DEF. LAWYER<\/character>\n    <dialogue>She emigrated to California. When he was about 16 I think.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>16? 17?\u2026 Yeah ok\u2026 Thank you.<\/dialogue>\n    <character>VIBEKE DEF. LAWYER<\/character>\n    <dialogue>It was just him and his mother after that.<\/dialogue>\n    <scene_description>Insert: LIPPESTAD looks at photos of TEENAGE BREIVIK.<\/scene_description>\n    <character>LIPPESTAD<\/character>\n    <dialogue>So he was obviously very isolated all the way into adulthood.<\/dialogue>\n    <character>LIPPESTAD ASSISTANT 2<\/character>\n    <dialogue>Not exactly the picture he painted.<\/dialogue>\n    <character>VIBEKE DEF. LAWYER<\/character>\n    <dialogue>No, no it's not.<\/dialogue>\n    <scene_description>INSERT: LIPPESTAD opens a file of crime scene photos. Photos of DEAD BODIES.<\/scene_description>\n    <character>LIPPESTAD<\/character>\n    <dialogue>So what are we talking about here? Developing insanity as a defense?<\/dialogue>\n    <character>LIPPESTAD ASSISTANT 2<\/character>\n    <dialogue>I think so.<\/dialogue>\n    <character>VIBEKE DEF. LAWYER<\/character>\n    <dialogue>How else do we explain it?<\/dialogue>\n    <scene_description>LIPPESTAD looks back at the desperate photos. Closes the file.<\/scene_description>\n    <character>LIPPESTAD<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BREIVIK'S MOTHER'S HOUSE - DAY<\/stage_direction>\n    <scene_description>LIPPESTAD pulls up outside. Enters the building.<\/scene_description>\n    <character>LIPPESTAD (V.O.)<\/character>\n    <dialogue>I've been appointed by your son to lead his defense...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BREIVIK'S MOTHER'S HOUSE - DAY<\/stage_direction>\n    <scene_description>LIPPESTAD opposite BREIVIK'S MOTHER.<\/scene_description>\n    <character>LIPPESTAD<\/character>\n    <dialogue>Now I know he doesn't have a relationship with his father. So I wanted to ask you some questions. What was Anders like as a child?<\/dialogue>\n    <character>BREIVIK'S MOTHER<\/character>\n    <dialogue>Oh he was a normal boy. Kind, clever. Lots of friends. He loved affection. Since his father left up, I was a single parent.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>Any mental health issues?<\/dialogue>\n    <character>BREIVIK'S MOTHER<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>Was he ever violent?<\/dialogue>\n    <character>BREIVIK'S MOTHER<\/character>\n    <dialogue>Never.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>Did he ever have any dealings with social services?<\/dialogue>\n    <character>BREIVIK'S MOTHER<\/character>\n    <dialogue>After his father left, I thought I needed their help, but I didn't. He was fine.<\/dialogue>\n    <scene_description>He sees her hands shaking. She's on the edge.<\/scene_description>\n    <character>LIPPESTAD<\/character>\n    <dialogue>And did you have any sense recently that Anders was having problems?<\/dialogue>\n    <character>BREIVIKS MOTHER<\/character>\n    <dialogue>No.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I told the police that I saw he had guns in his bedroom. But he told me he needed them for hunting. And I believed him.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>Would you consider testifying in Anders' defense?<\/dialogue>\n    <character>BREIVIKS MOTHER<\/character>\n    <dialogue>What would I say?<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>Just that there were problems, in his childhood. It would help him.<\/dialogue>\n    <character>BREIVIK'S MOTHER<\/character>\n    <dialogue>But then everyone will know who I am.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>Anders is entitled to a defense, just like everyone else.<\/dialogue>\n    <character>BREIVIKS MOTHER<\/character>\n    <parenthetical>(crying)<\/parenthetical>\n    <dialogue>I can't do it.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <parenthetical>(packing up)<\/parenthetical>\n    <dialogue>Thank you for your time.<\/dialogue>\n    <scene_description>LIPPESTAD goes to the door.<\/scene_description>\n    <character>BREIVIK'S MOTHER<\/character>\n    <dialogue>He's kind of right though, isn't he. The way the country's going. It's not like it used to be.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>These are difficult times.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ULLEV\u00c5L HOSPITAL - VILJAR'S ICU ROOM - NIGHT<\/stage_direction>\n    <scene_description>VILJAR still unconscious. CHRISTIN exhausted. Outside the TRAUMA SURGEON confers with SVEINN, obviously concerned.<\/scene_description>\n    <character>TRAUMA SURGEON<\/character>\n    <dialogue>His situation is still quite critical.<\/dialogue>\n    <scene_description>In Viljar's room, CHRISTIN and TORJE listen in.<\/scene_description>\n    <character>TRAUMA SURGEON<\/character>\n    <dialogue>He's fighting an infection....<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIPPESTAD'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>LIPPESTAD parks. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIPPESTAD'S HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>LIPPESTAD enters. SIGNE is asleep in front of the TV. Goes upstairs. Checks on their CHILDREN. The phone goes. He crosses the landing. Answers.<\/scene_description>\n    <character>LIPPESTAD<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>You fucking Nazi lover. I know where you live. I'm going to make sure you and your family rot in hell...<\/dialogue>\n    <scene_description>LIPPESTAD puts down the phone. He comes back down to the lounge. A furtive look out the window. As from the TV we hear: announcement of the PM's public inquiry:<\/scene_description>\n    <character>GJORV (ON TV)<\/character>\n    <parenthetical>(leaving PM's residency)<\/parenthetical>\n    <dialogue>I have just met with the Prime Minister. He has asked me to conduct a searching and independent inquiry into the attacks on 22 July. I have accepted and our work will begin immediately. Thank you.<\/dialogue>\n    <scene_description>He wakes SIGNE. As she gets up:<\/scene_description>\n    <character>PRIME MINISTER (ON TV)<\/character>\n    <dialogue>This public inquiry is of vital importance. Whatever went wrong we must confront it. If we fail to do so, the terrorist will surely win.<\/dialogue>\n    <character>SIGNE<\/character>\n    <dialogue>Who was that?<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>It's from the office.<\/dialogue>\n    <character>SIGNE<\/character>\n    <dialogue>It's the third one tonight.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OSLO - DAWN<\/stage_direction>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ULLEV\u00c5L HOSPITAL - VILJAR'S ICU ROOM - EARLY MORNING 175<\/stage_direction>\n    <scene_description>A tap at the door. CHRISTIN looks up. It's LARA.<\/scene_description>\n    <character>LARA<\/character>\n    <dialogue>I'm Lara\u2026<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>Hi Lara..<\/dialogue>\n    <character>LARA<\/character>\n    <dialogue>I was also on the island. I'm just here visiting survivors. How's Viljar?<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>He needs to wake up.<\/dialogue>\n    <scene_description>They both look down at VILJAR.<\/scene_description>\n    <character>LARA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>Are you OK?<\/dialogue>\n    <character>LARA<\/character>\n    <dialogue>My sister didn't make it so...<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <parenthetical>(hugging her)<\/parenthetical>\n    <dialogue>I'm so sorry. What was her name?<\/dialogue>\n    <character>LARA<\/character>\n    <dialogue>Bano.<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>She'd be so happy you're alive, Lara.<\/dialogue>\n    <scene_description>SVEINN enters with TORJE, fresh coffee. He looks exhausted. Sees LARA.<\/scene_description>\n    <character>CHRISTIN<\/character>\n    <dialogue>This is Lara. She was on the island. She wanted to see how Viljar was doing.<\/dialogue>\n    <character>LARA<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>SVEINN<\/character>\n    <dialogue>That's kind.<\/dialogue>\n    <character>LARA<\/character>\n    <parenthetical>(to TORJE)<\/parenthetical>\n    <dialogue>Hi, you ok?<\/dialogue>\n    <character>TORJE<\/character>\n    <dialogue>Hi. Yeah...<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>Do you know Viljar well?<\/dialogue>\n    <character>LARA<\/character>\n    <dialogue>I think everyone knows Viljar. I just played against him in the football.<\/dialogue>\n    <character>TORJE<\/character>\n    <dialogue>Yeah, he foaled you.<\/dialogue>\n    <character>LARA<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>Yeah<\/dialogue>\n    <scene_description>SVEINN smiles. An awkward silence.<\/scene_description>\n    <character>LARA<\/character>\n    <dialogue>But I will leave you.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Maybe I can come back when he wakes up?<\/dialogue>\n    <scene_description>It's a small but powerful gesture of faith.<\/scene_description>\n    <character>SVEINN<\/character>\n    <dialogue>Yes please, that would be very kind of you.<\/dialogue>\n    <character>LARA<\/character>\n    <dialogue>OK. See you.<\/dialogue>\n    <scene_description>She hugs Torje. A moment between them. Then leaves. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA PRISON - HOLDING ROOM - DAY<\/stage_direction>\n    <scene_description>LIPPESTAD opposite BREIVIK.<\/scene_description>\n    <character>LIPPESTAD<\/character>\n    <dialogue>My recommendation is that you plead insanity. The court will have you assessed by psychiatrists. They will give a diagnosis. And the court will then decide whether to accept it. If they do, you'll go to hospital for treatment.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>Not jail?<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>Not jail.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>People will be very angry.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>It's the law.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>Will I be able to address the court?<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>I will petition them and you will have the same rights as any other defendant.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ULLEV\u00c5L HOSPITAL - VILJAR'S ICU ROOM - MIDDLE OF NIGHT<\/stage_direction>\n    <scene_description>VILJAR unconscious. The soft bleep of intensive care machines. CHRISTIN and TORJE sleeping. SVEINN sitting. Angle on VILJAR'S hand. A slight movement. Suddenly: Viljar starts to choke.<\/scene_description>\n    <character>CHRISTIN<\/character>\n    <parenthetical>(waking)<\/parenthetical>\n    <dialogue>He's choking! Can't you help him?<\/dialogue>\n    <scene_description>A NURSE checks VILJAR.<\/scene_description>\n    <character>CHRISTIN<\/character>\n    <dialogue>Can you call someone?<\/dialogue>\n    <character>NURSE<\/character>\n    <parenthetical>(on phone)<\/parenthetical>\n    <dialogue>Can you come to Room 5? Quickly.<\/dialogue>\n    <scene_description>Still VILJAR chokes on the tube. TRAUMA SURGEON and ANOTHER DOCTOR arrives.<\/scene_description>\n    <character>TRAUMA SURGEON<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <character>NURSE<\/character>\n    <dialogue>He's reacting to the tube.<\/dialogue>\n    <character>TRAUMA SURGEON<\/character>\n    <dialogue>OK. That's good news. I think we should extobate him. His saturation is good.<\/dialogue>\n    <character>ANOTHER DOCTOR<\/character>\n    <dialogue>Viljar, I'm going to take this tube out of your throat. It's going to give slight discomfort. Are you ready?<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>We are here Viljar.<\/dialogue>\n    <scene_description>VILJAR gives a tiny nod. ANOTHER DOCTOR pulls out the tube. VILJAR coughs and gasps. See CHRISTIN.<\/scene_description>\n    <character>TRAUMA SURGEON<\/character>\n    <dialogue>Viljar? Do you hear me?<\/dialogue>\n    <scene_description>VILJAR moans.<\/scene_description>\n    <character>TRAUMA SURGEON<\/character>\n    <dialogue>Very good, Viljar. Can you raise your left arm?<\/dialogue>\n    <scene_description>With immense effort, VILJAR does.<\/scene_description>\n    <character>TRAUMA SURGEON<\/character>\n    <dialogue>Yes. Very good Viljar. Can you move the fingers of your right arm?<\/dialogue>\n    <scene_description>Viljar wiggles his fingers.<\/scene_description>\n    <character>TRAUMA SURGEON<\/character>\n    <dialogue>Unbelievable. Where are you from?<\/dialogue>\n    <character>VILJAR<\/character>\n    <parenthetical>(eventually)<\/parenthetical>\n    <dialogue>Svalbard.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OSLO - DAWN<\/stage_direction>\n    <scene_description>A wide shot over Oslo. Church bells ringing. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ULLEV\u00c5L HOSPITAL - VILJAR'S ICU ROOM - EARLY MORNING 179<\/stage_direction>\n    <scene_description>As the sun rises, VILJAR wakes again. He's highly medicated.<\/scene_description>\n    <character>VILJAR<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <scene_description>CHRISTIN looks at SVEINN, not sure what to say.<\/scene_description>\n    <character>SVEINN<\/character>\n    <parenthetical>(stepping in)<\/parenthetical>\n    <dialogue>It was a terrorist attack. You were shot. But it's alright, you're safe now.<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>Is Torje OK?<\/dialogue>\n    <character>TORJE<\/character>\n    <dialogue>I'm here.<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>Torje's fine, he's absolutely fine, Viljar.<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>There was so much shooting.<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>SVEINN<\/character>\n    <dialogue>There was just one man. Some kind of Right wing extremist.<\/dialogue>\n    <scene_description>VILJAR processes. His mind moving slowly with the drugs.<\/scene_description>\n    <character>VILJAR<\/character>\n    <dialogue>How many did he kill?<\/dialogue>\n    <character>SVEINN<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Simon and Anders are dead, Viljar. I'm so sorry.<\/dialogue>\n    <scene_description>VILJAR begins to cry. Desperate moments.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ULLEVAL HOSPITAL - VILJAR'S NEW ROOM - NIGHT<\/stage_direction>\n    <scene_description>VILJAR in bed. Sleeping fitfully. Bring up the sound of screaming and VILJAR's voice<\/scene_description>\n    <character>VILJAR (V.O.)<\/character>\n    <dialogue>Simon! Simon!<\/dialogue>\n    <scene_description>HARD CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UTOYA ISLAND - VILJAR SHORE - A FLASHBACK<\/stage_direction>\n    <scene_description>BREIVIK opening fire. VILJAR being shot. HARD CUT BACK: TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ULLEVAL HOSPITAL - VILJAR'S NEW ROOM - NIGHT\/DAY<\/stage_direction>\n    <scene_description>VILJAR wakes in panic. Later: his head bandages removed to reveal the scars.<\/scene_description>\n    <character>TRAUMA SURGEON (V.O.)<\/character>\n    <dialogue>It is clear that this is going to be a long recovery...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ULLEV\u00c5L HOSPITAL - EXAMINATION ROOM - MORNING<\/stage_direction>\n    <scene_description>VILJAR wheeled in by his PARENTS.<\/scene_description>\n    <character>TRAUMA SURGEON<\/character>\n    <dialogue>Two years. Or three years.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Of course there is brain damage and these bullet fragments that are close to the brain stem - these fragments could shift. And, that could be fatal.<\/dialogue>\n    <scene_description>CHRISTIN rubs VILJAR'S back.<\/scene_description>\n    <character>TRAUMA SURGEON<\/character>\n    <dialogue>So we're going to have to take it one day at a time.<\/dialogue>\n    <scene_description>On VILJAR, taking this in.<\/scene_description>\n    <character>TRAUMA SURGEON<\/character>\n    <dialogue>Do you have any questions for me Viljar?<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>No.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ULLEV\u00c5L HOSPITAL - VILJAR'S NEW ROOM - LATER<\/stage_direction>\n    <scene_description>VILJAR is wheeled back to his room.<\/scene_description>\n    <character>CHRISTIN<\/character>\n    <dialogue>OK, Viljar?<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>Can you give me a minute?<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>Yes, of course.<\/dialogue>\n    <scene_description>CHRISTIN and SVEINN leave the room. See VILJAR, alone. The pain, the fear, the shock. His fucked up body. Hitting him all at once. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA PRISON - ASSESSMENT ROOM - DAY<\/stage_direction>\n    <scene_description>BREIVIK chained like Hannibal Lector. Sat opposite him: DR HUSBY and DR SORHEIM.<\/scene_description>\n    <character>LIPPESTAD<\/character>\n    <parenthetical>(seeing the restraints)<\/parenthetical>\n    <dialogue>Is it necessary to restrain my client?<\/dialogue>\n    <character>DR. SORHEIM<\/character>\n    <dialogue>For the moment.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>So I imagine every psychiatrist in the world envies you right now.<\/dialogue>\n    <character>DR. SORHEIM<\/character>\n    <dialogue>Why do you say that?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>Because I am The Monster. And you get to look inside my head.<\/dialogue>\n    <character>DR. SORHEIM<\/character>\n    <dialogue>You think you are a monster?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>No. But I think you do.<\/dialogue>\n    <character>DR. HUSBY<\/character>\n    <dialogue>You can rad our minds?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>Within 70% of accuracy.<\/dialogue>\n    <character>DR. HUSBY<\/character>\n    <dialogue>Do you know or do you think you know?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>I know. And there's a difference.<\/dialogue>\n    <character>DR. HUSBY<\/character>\n    <dialogue>Do you think people can read your mind?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>Sometimes. I think they try.<\/dialogue>\n    <character>DR. HUSBY<\/character>\n    <dialogue>Did you feel like that before the attacks, or is it a new feeling?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>It's not new. But it got worse when I was planning the attacks.<\/dialogue>\n    <character>DR. SORHEIM<\/character>\n    <dialogue>Worse?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>Yeah. Much worse.<\/dialogue>\n    <scene_description>See LIPPESTAD watched BREIVIK. Wonders if this is all an act. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ULLEV\u00c5L HOSPITAL - VILJAR'S NEW ROOM - DAY<\/stage_direction>\n    <scene_description>A NURSE carefully removes VILJAR'S bandages on his shoulder. Revealing angry red wounds. CHRISTIN watches. Sees VILJAR is in pain.<\/scene_description>\n    <character>NURSE<\/character>\n    <dialogue>Take a deep breath now.<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <parenthetical>(to NURSE)<\/parenthetical>\n    <dialogue>Can we get him something for the pain?<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>No. No more morphine.<\/dialogue>\n    <character>NURSE<\/character>\n    <dialogue>Sure? OK. We're done now.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ULLEV\u00c5L HOSPITAL - VILJAR'S NEW ROOM - DAY<\/stage_direction>\n    <scene_description>VILJAR in his hospital bed. A knock at the door.<\/scene_description>\n    <character>LARA<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>Hi. What are you doing around here?<\/dialogue>\n    <character>LARA<\/character>\n    <dialogue>I live around here. We're checking on survivors. Can I come in?<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>Yeah sure.<\/dialogue>\n    <character>LARA<\/character>\n    <dialogue>How you feeling?<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>I'm OK. Are you?<\/dialogue>\n    <character>LARA<\/character>\n    <dialogue>Yeah. I was in the shower block when it started. So I managed to run and hide.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But I got separated from my sister Bano...<\/dialogue>\n    <character>LARA<\/character>\n    <dialogue>I'm sorry about Simon and Anders too.<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>It's shit.<\/dialogue>\n    <scene_description>It sits there. Survival is a strange land for both of them.<\/scene_description>\n    <character>LARA<\/character>\n    <dialogue>How's the food here? Is it OK?<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>That's shit too... Actually it's really shit.<\/dialogue>\n    <character>LARA<\/character>\n    <dialogue>If you want I can bring you something? Food or...<\/dialogue>\n    <scene_description>VILJAR shakes his head.<\/scene_description>\n    <character>VILJAR<\/character>\n    <dialogue>No, I'm fine. I don't have much appetite.<\/dialogue>\n    <character>LARA<\/character>\n    <dialogue>Do you want anything else? Cigarettes or?<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>That would be nice... Except I don't smoke.<\/dialogue>\n    <scene_description>He laughs. The first time since the attack. But then pain. He puts his right hand to his head.<\/scene_description>\n    <character>LARA<\/character>\n    <dialogue>Does it hurt?<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>No, it's just, I have to be careful.<\/dialogue>\n    <character>LARA<\/character>\n    <dialogue>It's going to take time.<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>That's what everyone keeps saying.<\/dialogue>\n    <character>LARA<\/character>\n    <dialogue>Yeah, that's what they say to me too.<\/dialogue>\n    <parenthetical>(a moment between them)<\/parenthetical>\n    <dialogue>I'll leave you in peace. But if you want I can come back and check on you again?<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>Yeah. That'd be nice.<\/dialogue>\n    <character>LARA<\/character>\n    <dialogue>OK. Take care.<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>You too.<\/dialogue>\n    <character>LARA<\/character>\n    <dialogue>Bye.<\/dialogue>\n    <scene_description>And she's gone - leaving VILJAR alone. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA PRISON - HOLDING ROOM - DAY<\/stage_direction>\n    <scene_description>LIPPESTAD watching BREIVIK reading his psychiatric report.<\/scene_description>\n    <character>LIPPESTAD<\/character>\n    <dialogue>It's only the diagnosis. It will be up to the court whether to accept it.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>What's their decision?<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>Paranoid Schizophrenia.<\/dialogue>\n    <parenthetical>(hands him a bundle of newspapers, letters)<\/parenthetical>\n    <dialogue>In the meantime, the judge has modified the terms of your detention. You're allowed to read newspapers. And you've got some mail.<\/dialogue>\n    <scene_description>BREIVIK scans the headlines - furious denunciations of his insanity plea.<\/scene_description>\n    <character>BREIVIK<\/character>\n    <parenthetical>(holds up paper)<\/parenthetical>\n    <dialogue>Geir, I told you they'd be angry.<\/dialogue>\n    <parenthetical>(opens letters)<\/parenthetical>\n    <dialogue>Fan mail...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I will be allowed to speak at the trial?<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>This hasn't been decided yet.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>That's very important. There are witnesses I need to cross-examine.<\/dialogue>\n    <parenthetical>(hands LIPPESTAD a list)<\/parenthetical>\n    <dialogue>LIPPESTAD scans a who's-who of Norway, starting with the King. Then the Prime Minister.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>Anders, you can't call the Prime Minister. Norway isn't on trial. You are.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>Are you sure about that?<\/dialogue>\n    <scene_description>CUT TO DARKNESS:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ULLEVAL HOSPITAL - PHYSIO ROOM - MORNING<\/stage_direction>\n    <scene_description>VILJAR trying to stand. A PHYSIOTHERAPIST assisting. His good hand pushes down hard into the bench. His legs shake as he forces his body up.<\/scene_description>\n    <character>PHYSIO<\/character>\n    <dialogue>Come on, come on... Yes very good. And the right leg. Come on, very good.<\/dialogue>\n    <scene_description>VILJAR takes a step.<\/scene_description>\n    <character>PHYSIO<\/character>\n    <dialogue>One more. That's good.<\/dialogue>\n    <scene_description>Then his legs buckle. The PHYSIO catches him.<\/scene_description>\n    <character>PHYSIO<\/character>\n    <dialogue>And breath.<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>I can't do this.<\/dialogue>\n    <character>PHYSIO<\/character>\n    <dialogue>Very good Viljar, come on.<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>No. It's not.<\/dialogue>\n    <scene_description>Close on VILJAR, all energy spent, angry and afraid.<\/scene_description>\n    <character>CHRISTIN (V.O.)<\/character>\n    <dialogue>I'm not enjoying this campaign...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ULLEVAL HOSPITAL - CORRIDOR TO MEETING AREA - DAY<\/stage_direction>\n    <scene_description>CHRISTIN pushes VILJAR in the wheelchair.<\/scene_description>\n    <character>CHRISTIN<\/character>\n    <dialogue>People are angry.<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>Shouldn't you be there?<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>I'm not leaving you.<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>So how will that work on election night?<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>I'll Skype.<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>Skype? Seriously?<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>A modern mayor. Maybe you could skype with me, if you feel up to it?<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>Only if you win...<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>I'll try.<\/dialogue>\n    <scene_description>Her phone goes.<\/scene_description>\n    <character>VILJAR<\/character>\n    <dialogue>Take it.<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>No, I'll call them later. It's ok.<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>Seriously take it. It's important. It's a fucking election.<\/dialogue>\n    <scene_description>A moment between them. She takes the call, leaving VILJAR. He looks around, uncertain in the BUSY corridor. Then he hears the sound of a TV. Wheels towards it...<\/scene_description>\n    <character>TV REPORT<\/character>\n    <dialogue>...the Norwegians Anders Behring Breivik who killed 77 people in July is criminally insane. Breivik who has admitted carrying out the attacks in Oslo and on Utoya Island has been diagnosed with paranoid schizophrenia that developed over a long period of time... The psychiatric evaluation may mean that he will not be sent to prison.<\/dialogue>\n    <scene_description>VILJAR turns a corner. Comes face-to-face with BREIVIK on the TV. Being led into court.<\/scene_description>\n    <character>TV REPORT<\/character>\n    <dialogue>Breivik was described as living in a delusional universe, governing his thoughts and acts. If the conclusions are upheld, he could be detained in a psychiatric unit instead...<\/dialogue>\n    <scene_description>See VILJAR panicking. CHRISTIN enters. Puts her hand on VILJAR shoulder.<\/scene_description>\n    <character>CHRISTIN<\/character>\n    <dialogue>Viljar? He can't get you. He's never going to get you.<\/dialogue>\n    <scene_description>She wheels him away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PM'S RESIDENCY - LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>The PM watching election results. Alone. The mood is sombre. The Labour Party retain power, but the Right have made striking gains across the country.<\/scene_description>\n    <character>TV REPORTER<\/character>\n    <dialogue>According to his critics, Prime Minister Stoltenberg has been accused of wasting a once in a lifetime economic boom. His Labour Party is still predicting to win the most votes, but polls suggest overall power will go to a coalition of centre-right parties. In many ways it's a peculiar shift. One change Norwegians may get as a result of this election is the Progress Party. It's a populist anti-immigration movement that mass- killed Anders Breivik used to be a member of.<\/dialogue>\n    <scene_description>Hold on the PM.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ULLEVAL HOSPITAL - VILJAR'S NEW ROOM - NIGHT<\/stage_direction>\n    <scene_description>CHRISTIN on her laptop. Her family around her.<\/scene_description>\n    <character>CHRISTIN<\/character>\n    <parenthetical>(to Skype camera)<\/parenthetical>\n    <dialogue>Hi, yeah everyone is there. That's great. And you can see me? Good. So OK.. I just want to say that I'm really honoured to become Mayor of Svalbard, and I want to thank everyone for being so understanding. As you know this has been a difficult time for us, but hopefully we will be home soon.<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>So yeah and Viljar has a message.<\/dialogue>\n    <scene_description>She adjusts the computer.<\/scene_description>\n    <character>VILJAR<\/character>\n    <parenthetical>(this is difficult)<\/parenthetical>\n    <dialogue>Hi, everybody! Hope you can hear me and... I don't look too scary!<\/dialogue>\n    <parenthetical>(he struggles, then)<\/parenthetical>\n    <dialogue>I just want to say that I'm very proud of my mum. Hopefully they'll let me out of this place soon and we'll all get home for Christmas.<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <parenthetical>(steps in)<\/parenthetical>\n    <dialogue>Thank you and maybe we could say goodbye?<\/dialogue>\n    <scene_description>SVEINN, TORJE and VILJAR wave into the camera.<\/scene_description>\n    <character>CHRISTIN<\/character>\n    <dialogue>Bye bye. See you soon.<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>Bye.<\/dialogue>\n    <character>SVEINN<\/character>\n    <dialogue>Bye.<\/dialogue>\n    <scene_description>She ends the call. The room subdued, the whole family strangely empty.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA PRISON. BREIVIK'S CELL - DAY<\/stage_direction>\n    <scene_description>BREIVIK in his cell.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ULLEVAL HOSPITAL GARDENS - DAY<\/stage_direction>\n    <scene_description>VILJAR and LARA sit in the hospital cafe. LARA looks over to a newspaper picture of BREIVIK.<\/scene_description>\n    <character>VILJAR<\/character>\n    <dialogue>They're saying he's insane. Do you think he's insane?<\/dialogue>\n    <character>LARA<\/character>\n    <dialogue>I don't know. Maybe.<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>I saw him. Like this close.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>He knew what he was doing. Definitely.<\/dialogue>\n    <character>LARA<\/character>\n    <dialogue>So, what are you going to do? When you get out?<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>I can't see the future. I just can't see it. It's like I'm still there on the rocks. Like I'm out in this no man's land. Do you know what I mean?<\/dialogue>\n    <character>LARA<\/character>\n    <dialogue>Yeah. But we survived. Right?<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>But what does that even mean?<\/dialogue>\n    <character>LARA<\/character>\n    <dialogue>I really don't know.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTHOUSE - DAY<\/stage_direction>\n    <scene_description>FAMILY LAWYER (female, 40s) METTE LARSEN, walkS towards court through a crowd of JOURNALISTS.<\/scene_description>\n    <character>REPORTER 1<\/character>\n    <dialogue>Ms Larsen, how do the families feel about Breivik's insanity plea?<\/dialogue>\n    <character>FAMILY LAWYER<\/character>\n    <dialogue>I can say on behalf of my clients, that they strongly oppose Mr. Breivik's psychiatric diagnosis, and as the coordinating lawyer for the families and the survivors of the 22nd July attacks, I will be petitioning the court today to order further assessments. We demand that Mr. Breivik faces justice and is held accountable. Thank you.<\/dialogue>\n    <scene_description>Flurry of flashlights. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTHOUSE - JUDGES CHAMBERS - NIGHT<\/stage_direction>\n    <character>JUDGE ARTNZEN<\/character>\n    <dialogue>Good afternoon. After careful consideration the Court has decided to allow further psychiatric assessment of Mr. Breivik.<\/dialogue>\n    <character>FAMILY LAWYER<\/character>\n    <dialogue>Your Honour, the families welcome this decision. And they thank you. We will of course be calling our own psychiatric experts. Thank you.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>Your Honour, the court has already had Mr. Breivik psychiatrically examined. Allowing further assessments has no precedent in law. Thank you.<\/dialogue>\n    <character>JUDGE ARTNZEN<\/character>\n    <dialogue>Mr, Lippestad, the court is trying to do what's best for Norway.<\/dialogue>\n    <scene_description>See LIPPESTAD. This is a reverse. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HANSSEN CAR - DAY<\/stage_direction>\n    <scene_description>VILJAR and FAMILY are driven through a vast snowy landscape. Arriving in a small town, nestled between the mountains and the Arctic Sea. CAPTION: SVALBARD, NORWAY. 2,000KM NORTH OF OSLO. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. SVALBARD - VILJAR'S HOME - DAY<\/stage_direction>\n    <scene_description>They pull up outside a small clapper-board home. A snow- mobile parked outside. VILJAR gets out of the car. He struggles to walk. They enter and CHRISTIN helps VIlJAR with his coat.<\/scene_description>\n    <character>CHRISTIN<\/character>\n    <dialogue>Do you want me to take your jacket?<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>TORJE goes ahead of him to his bedroom and shuts the door. SVEINN takes the cases upstairs.<\/scene_description>\n    <character>VILJAR<\/character>\n    <dialogue>OK, thanks.<\/dialogue>\n    <scene_description>Alone in his bedroom, VILJAR sees the life he once had. Smiling photos with his friends, his Arsenal poster, his skis. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SVALBARD - VILJAR'S HOME - LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Meanwhile upstairs, SVEINN unpacks. CHRISTIN looks around, lost in thought. See the whole FAMILY coming to terms with being home. TIME-LAPSE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAY SCHOOL - DAY<\/stage_direction>\n    <scene_description>Establisher of play-school. KIDS play outside.<\/scene_description>\n    <character>HEADMISTRESS (V.O.)<\/character>\n    <dialogue>Thank you so much for coming in...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PLAY SCHOOL - EMPTY CLASSROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>SIGNE and LIPPESTAD in a meeting with HEADMISTRESS.<\/scene_description>\n    <character>HEADMISTRESS<\/character>\n    <dialogue>This is very difficult. Some of the parents are unhappy. There have been complaints. Because you are defending such a dangerous man.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>Meaning?<\/dialogue>\n    <character>HEADMISTRESS<\/character>\n    <dialogue>They think the school might be a target.<\/dialogue>\n    <character>SIGNE LIPPESTAD<\/character>\n    <dialogue>Oh for God's sake.<\/dialogue>\n    <character>HEADMISTRESS<\/character>\n    <dialogue>I know it's very unlikely, but we have to think about what's best for everyone.<\/dialogue>\n    <character>SIGNE<\/character>\n    <dialogue>So what exactly are you saying?<\/dialogue>\n    <character>HEADMISTRESS<\/character>\n    <dialogue>We wonder if you should perhaps find another school. I'm sorry.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>That's OK.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAY SCHOOL - STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>LIPPESTAD and SIGNE leaving the school, with their DAUGHTER. AND WE CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA PRISON - HOLDING ROOM - DAY<\/stage_direction>\n    <scene_description>LIPPESTAD enters.<\/scene_description>\n    <character>LIPPESTAD<\/character>\n    <dialogue>Hi Anders.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>I want to change my plea.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>I'm not insane. I was playing a role.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>What role?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>I was playing the monster in a nightmare. But I'm not a monster. I'm a soldier in a war, doing my duty. A leader. And a leader does not give away his power. I've allowed the families to take control, but this is my trial. I decide how it ends. I have to prove these attacks meant something.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>You'll go to prison. For the rest of your life.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>I have to finish what I've started. And standing up in the court. That's the third attack. That's the whole point of this. That's why I surrendered. That is how I win.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ILA PRISON - NIGHT<\/stage_direction>\n    <scene_description>LIPPESTAD walks away from the prison.<\/scene_description>\n    <character>LIPPESTAD (V.O.)<\/character>\n    <dialogue>He wants to change his defense...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIPPESTAD'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Piles of files across every surface. LIPPESTAD looks tired.<\/scene_description>\n    <character>LIPPESTAD<\/character>\n    <parenthetical>(to his TEAM)<\/parenthetical>\n    <dialogue>He wants to plead guilty.<\/dialogue>\n    <character>LIPPESTAD ASSISTANT 1<\/character>\n    <dialogue>Has he given any reason? I mean, why?<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>He wants to stay in control.<\/dialogue>\n    <character>VIBEKE DEF LAWYER<\/character>\n    <dialogue>And he knows the consequences?<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>He wants to stand up and be accountable for his actions.<\/dialogue>\n    <character>LIPPESTAD ASSISTANT 2<\/character>\n    <dialogue>The psychiatric assessment was clear. And the Prosecution are legally obliged to stick with it. So how do we get around that?<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>Ok so we have to start again. And show that he knew what he was doing. Every step of the way. That only someone rational could have planned and executed something this complex. And then we have to look into the Far-Right. Find witnesses who share his beliefs. So we can show that he's not alone in his views. That's the only way we can do this.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SVALBARD - DAY<\/stage_direction>\n    <scene_description>Wide shot of Svalbard. Hemmed in by mountains on one side, and the Arctic Sea on the other. A pick-up pulls up at a remote building. SVEINN gets out. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SVEINN'S OFFICE - DAY<\/stage_direction>\n    <scene_description>SVEINN in his more spartan office space. A couple of computers. Science equipment, outdoor gear, charts tracking migration patterns across the Arctic Sea.<\/scene_description>\n    <character>SVEINN'S CO-WORKER<\/character>\n    <dialogue>Hi<\/dialogue>\n    <character>SVEINN<\/character>\n    <dialogue>Hi. It's good to be back.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SVALBARD MAYOR'S OFFICE - DAY<\/stage_direction>\n    <scene_description>CHRISTIN arrives in her new office.<\/scene_description>\n    <character>CHRISTIN'S CO-WORKER<\/character>\n    <dialogue>Welcome to Svalbard.<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>Thank you so much.<\/dialogue>\n    <character>CHRISTIN'S CO-WORKER<\/character>\n    <dialogue>How is Viljar?<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>Oh he's fine...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SVEINN'S OFFICE - DAY<\/stage_direction>\n    <scene_description>SVEINN at work. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHRISTIN'S OFFICE - DAY<\/stage_direction>\n    <scene_description>CHRISTIN sits at her new desk. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SVEINN'S OFFICE - DAY<\/stage_direction>\n    <scene_description>SVEINN at his. Trying to engage... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHRISTIN'S OFFICE - DAY<\/stage_direction>\n    <scene_description>CHRISTIN with her TEAM. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SVALBARD HOSPITAL - MRI UNIT - DAY<\/stage_direction>\n    <scene_description>VILJAR lying in an MRI tunnel. The screen showing his damaged brain. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SVALBARD HOSPITAL - EXAMINATION ROOM - DAY<\/stage_direction>\n    <scene_description>A SECOND DOCTOR carefully fits a prosthetic eye into VILJAR'S empty socket. Bright blue, but lifeless.<\/scene_description>\n    <character>SECOND DOCTOR<\/character>\n    <parenthetical>(as he fits eye)<\/parenthetical>\n    <dialogue>Just relax. OK. Does it hurt?<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>Does it look normal?<\/dialogue>\n    <character>SECOND DOCTOR<\/character>\n    <dialogue>Yeah. Would you like to have a look?<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Hands a mirror to VILJAR. VILJAR looks at his reflection. Bring up the sound of screaming and gunfire. He puts the mirror down. SECOND DOCTOR begins examining VILJAR's body.<\/scene_description>\n    <character>SECOND DOCTOR<\/character>\n    <dialogue>So Viljar, how are you?<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>My head hurts, all the time. My shoulder. I have a lot of phantom pains.<\/dialogue>\n    <character>SECOND DOCTOR<\/character>\n    <dialogue>OK phantom pains are normal when you have a serious head injury. The bullet fragments are sitting deeply in your brain, close to the brain stem, and if they move just the slightest bit...<\/dialogue>\n    <character>VILJAR<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>I know, I know what the fucking dangers are.<\/dialogue>\n    <character>SECOND DOCTOR<\/character>\n    <dialogue>I understand that you're frustrated. But you have to be careful.<\/dialogue>\n    <scene_description>Hold on VILJAR, anger rising... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SVALBARD HOSPITAL - CORRIDOR - CONTINOUS<\/stage_direction>\n    <scene_description>VILJAR, with a stick, walks slowly down the corridor. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SVALBARD - STREET - DAY<\/stage_direction>\n    <scene_description>VILJAR walking painfully back from the hospital. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SVALBARD - VILJAR'S HOME - BATHROOM - DAY<\/stage_direction>\n    <scene_description>VILJAR watches coverage of the upcoming trial on TV. Hold on VILJAR. No escape. As we track in, we feel his anger rising. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILJAR'S HOME - CONTINUOUS<\/stage_direction>\n    <scene_description>VILJAR slewing his snow mobile down the hill. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VILJAR'S HOME - SAME TIME<\/stage_direction>\n    <scene_description>TORJE runs out of his room and shouts up the stairs<\/scene_description>\n    <character>TORJE<\/character>\n    <dialogue>Mum, Dad! He's on the snow mobile!<\/dialogue>\n    <scene_description>CHRISTIN and SVEINN appear at the top of the stairs.<\/scene_description>\n    <character>CHRISTIN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>TORJE<\/character>\n    <dialogue>Viljar! He's on the snow mobile!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILJAR'S HOME - MOMENTS LATER<\/stage_direction>\n    <scene_description>CHRISTIN and SVEINN race out of the house. Speed away in SVEINN's pick-up truck.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SVALBARD - SNOW - SNOWMOBILE - NIGHT<\/stage_direction>\n    <scene_description>A POV at speed through dense snow. VILJAR on the snow mobile. Riding hard. Back to the POV again: Round a bend. See Viljar pushing on. Faster, faster. As if daring to crash. Now lights behind... SVEINN and CHRISTIN coming after him in a pick-up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SVEINN'S TRUCK - SAME TIME<\/stage_direction>\n    <character>SVEINN<\/character>\n    <dialogue>He's there.<\/dialogue>\n    <scene_description>They see VILJAR up ahead. Desperate to catch him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SVALBARD - SNOW - SNOWMOBILE - NIGHT<\/stage_direction>\n    <scene_description>VILJAR turns a sharp bend. Faster still. Another bend. And another. His PARENTS follow.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SVEINN'S TRUCK - SAME TIME<\/stage_direction>\n    <character>CHRISTIN<\/character>\n    <dialogue>What is he doing?<\/dialogue>\n    <scene_description>Ahead of them VILJAR drives the snowmobile across the road and across another snowy plain.<\/scene_description>\n    <character>SVEINN<\/character>\n    <dialogue>What the fuck is he doing?!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SVALBARD - SNOW - SNOWMOBILE - NIGHT<\/stage_direction>\n    <scene_description>See VILJAR, faster and faster. He ploughs into a snow drift. Is thrown off. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SVEINN'S TRUCK - SAME TIME<\/stage_direction>\n    <character>SVEINN<\/character>\n    <dialogue>Oh no, he's down.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SVALBARD - SNOW - SNOWMOBILES - NIGHT<\/stage_direction>\n    <scene_description>VILJAR gets to his feet. Staggers forward. In the distance behind him, the pick-up approaches. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT SVEINN'S TRUCK \/ SNOW - SAME TIME<\/stage_direction>\n    <scene_description>SVEINN pulls over.<\/scene_description>\n    <character>SVEINN<\/character>\n    <parenthetical>(out of the pickup)<\/parenthetical>\n    <dialogue>Viljar!!<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>Viljar!<\/dialogue>\n    <scene_description>He and CHRISTIN run over to him. VILJAR walking away.<\/scene_description>\n    <character>VILJAR<\/character>\n    <dialogue>Go away! I'm fine! I'm fine.<\/dialogue>\n    <character>SVEINN<\/character>\n    <dialogue>Viljar.<\/dialogue>\n    <scene_description>They reach him.<\/scene_description>\n    <character>VILJAR<\/character>\n    <dialogue>I can't live like this! Pretending everything is going to get better. It's not. It's all still here. In my head. And I can't get rid of it.<\/dialogue>\n    <scene_description>They get closer. He turns.<\/scene_description>\n    <character>VILJAR<\/character>\n    <dialogue>What the fuck am I supposed to do?<\/dialogue>\n    <character>SVEINN<\/character>\n    <dialogue>Come on<\/dialogue>\n    <character>VILJAR<\/character>\n    <parenthetical>(shrugging him off)<\/parenthetical>\n    <dialogue>Tell me!<\/dialogue>\n    <character>SVEINN<\/character>\n    <dialogue>I don't know. I just wish it had been me not you.<\/dialogue>\n    <scene_description>This lands.<\/scene_description>\n    <character>CHRISTIN<\/character>\n    <dialogue>Viljar...<\/dialogue>\n    <scene_description>She hugs him tightly.<\/scene_description>\n    <character>CHRISTIN<\/character>\n    <dialogue>Let's go home, OK.<\/dialogue>\n    <scene_description>They walk back to the truck. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EAST OSLO - EXTREMIST' HOUSE - DAY<\/stage_direction>\n    <scene_description>A part of Oslo we haven't seen before. Poorer, harsher. Neglected. LIPPESTAD parks outside a block of flats. A huddle of MUSLIM MEN on chairs outside a corner shop. LIPPESTAD heads for a tower block. Sees Far-Right graffiti. The Norwegian flag.<\/scene_description>\n    <character>LIPPESTAD (V.O.)<\/character>\n    <dialogue>My client writes about you in his manifesto...<\/dialogue>\n    <scene_description>He enters the block and gets into lift. Doors close.<\/scene_description>\n    <character>LIPPESTAD (V.O.)<\/character>\n    <dialogue>He obviously admires you...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EAST OLSO - EXTREMIST'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>LIPPESTAD sits in front of A WHITE MAN (40s).<\/scene_description>\n    <character>EXTREMIST<\/character>\n    <dialogue>Many people admire me. But it's not because of me. It's because of my ideas about what's going on in the world.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>Did you ever meet him?<\/dialogue>\n    <character>EXTREMIST<\/character>\n    <dialogue>He asked. But I'm careful who I work with. What I do. And he's not from round here you know. He's from your side of Oslo. But yes, we share the same vision for the world.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>He says a war is coming.<\/dialogue>\n    <character>EXTREMIST<\/character>\n    <dialogue>I'd say the war already started.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>Are you a member of the Knight's Templar?<\/dialogue>\n    <character>EXTREMIST<\/character>\n    <dialogue>There are many other organisations. We are very strong, all across Scandinavia. Northern Europe. Eastern Europe of course. Very strong in the UK. New groups forming all the time.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>How about America?<\/dialogue>\n    <character>EXTREMIST<\/character>\n    <dialogue>Stormfront. Growing fast. Very fast. And joining up with Europe.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You know Lippestad, there's a lot of fear and anger out there.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And that's why tomorrow is going to belong to us.<\/dialogue>\n    <scene_description>That hangs there.<\/scene_description>\n    <character>LIPPESTAD<\/character>\n    <dialogue>Will you testify in my client's defense?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SVALBARD - SVEINN'S OFFICE - DAY<\/stage_direction>\n    <scene_description>CHRISTIN drives to Sveinn's office. SVEINN loading caged birds onto his truck.<\/scene_description>\n    <character>CHRISTIN<\/character>\n    <dialogue>We just got an email from the lawyers. There's a briefing on the mainland. They want us to go. So we know what to expect from the trial.<\/dialogue>\n    <character>SVEINN<\/character>\n    <dialogue>You should go.<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>Sveinn. We both need to engage with this. It's important.<\/dialogue>\n    <character>SVEINN<\/character>\n    <dialogue>Engaging nearly cost our sons their lives.<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>They're still here.<\/dialogue>\n    <character>SVEINN<\/character>\n    <dialogue>Are they?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I don't care about Anders fucking Breivik and his trial.<\/dialogue>\n    <character>SVEINN<\/character>\n    <dialogue>I just want us to get on with our lives. That's it. That's all.<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SVALBARD - MAIN STREET - DAY<\/stage_direction>\n    <scene_description>VILJAR walking slowly along Longyearbyen's main street.<\/scene_description>\n    <character>LARA (V.O.)<\/character>\n    <dialogue>Hi... I haven't heard from you. I'm just wondering if you're okay...<\/dialogue>\n    <scene_description>He looks in through a cafe window. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SVALBARD - CAFE - CONTINUOUS<\/stage_direction>\n    <scene_description>VILJAR at a table alone. Putting away his phone.<\/scene_description>\n    <character>LARA (V.O.)<\/character>\n    <dialogue>...Call me if you want to talk.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SVALBARD - VILJAR'S HOME - LATER<\/stage_direction>\n    <scene_description>TORJE comes downstairs and heads for his room. VILJAR enters. Sees TORJE at the end of the corridor.<\/scene_description>\n    <character>VILJAR<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>TORJE<\/character>\n    <dialogue>Hey<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>Do you want to watch a movie or something?<\/dialogue>\n    <character>TORJE<\/character>\n    <dialogue>Maybe later. I'm just doing some music.<\/dialogue>\n    <scene_description>TORJE goes into his room. Closes his door. VILJAR goes to TORJE's door.<\/scene_description>\n    <character>VILJAR<\/character>\n    <dialogue>Torje, talk to me.<\/dialogue>\n    <character>TORJE (OOV)<\/character>\n    <dialogue>I'm fine.<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>No you're not. You know you can talk to me.<\/dialogue>\n    <character>TORJE (OOV)<\/character>\n    <dialogue>You're the one who got hurt. Not me.<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>You were there too.<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>Look, I'm sorry that Mum and Dad have been looking after me so much. I know it has been tough for you. But we're home now.<\/dialogue>\n    <character>TORJE (OOV)<\/character>\n    <dialogue>Yep.<\/dialogue>\n    <scene_description>See TORJE, remembering the island. Crying.<\/scene_description>\n    <character>TORJE<\/character>\n    <dialogue>Yep.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TROMSO ESTABLISHER (AIRPORT TOWN)<\/stage_direction>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TROMSO - HOTEL\/MEETING ROOM - DAY<\/stage_direction>\n    <scene_description>Follow CHRISTIN towards a room, crowded with PARENTS and their LAWYERS.<\/scene_description>\n    <character>FAMILY LAWYER (V.O.)<\/character>\n    <dialogue>So the court has decided that...<\/dialogue>\n    <scene_description>CHRISTIN crosses the lobby.<\/scene_description>\n    <character>FAMILY LAWYER<\/character>\n    <dialogue>Breivik can speak in his own defense.<\/dialogue>\n    <scene_description>PARENTS react angrily.<\/scene_description>\n    <character>FAMILY LAWYER<\/character>\n    <dialogue>I understand...<\/dialogue>\n    <character>ANGRY PARENT 2<\/character>\n    <dialogue>How can it be right that he's allowed to speak? How?<\/dialogue>\n    <character>FAMILY LAWYER<\/character>\n    <dialogue>The court has to preserve his rights.<\/dialogue>\n    <scene_description>CHRISTIN enters and slips into the back as the argument rages.<\/scene_description>\n    <character>ANGRY FATHER<\/character>\n    <dialogue>They are talking about the man who killed my son! I would hang him from a tree!<\/dialogue>\n    <character>ANGRY PARENT 3<\/character>\n    <dialogue>He shouldn't be allowed to turn this trial into propaganda!<\/dialogue>\n    <character>FAMILY LAWYER<\/character>\n    <dialogue>I agree, I agree, and I'm going to be there to make sure that doesn't happen. We are closing the trial with victims' testimonies. That's why it's important that those who survived speak about their experience to stand up against his defense. I think it will be a very very strong statement.<\/dialogue>\n    <character>ANGRY PARENT 3<\/character>\n    <dialogue>He gets to speak? My daughter's too scared to leave her bedroom!<\/dialogue>\n    <character>ANGRY MOTHER<\/character>\n    <dialogue>What about my daughter's voice?!<\/dialogue>\n    <character>FAMILY LAWYER<\/character>\n    <dialogue>They will be the voices of those who cannot speak. Because they were there. And we need to hear their stories.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SVALBARD - STREET - NIGHT<\/stage_direction>\n    <scene_description>VILJAR walks away from the house. Opens an envelope. Reads.<\/scene_description>\n    <character>CHRISTIN (OOV)<\/character>\n    <dialogue>They've sent Viljar a letter. They want him to testify at the trial.<\/dialogue>\n    <character>SVEINN (O.O.V)<\/character>\n    <dialogue>He doesn't have to do it. We can just get the doctor to excuse him...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SVALBARD - VILJAR'S HOME - KITCHEN - LATER<\/stage_direction>\n    <scene_description>SVEINN and CHRISTIN clear up after dinner.<\/scene_description>\n    <character>CHRISTIN<\/character>\n    <dialogue>Maybe he needs to do it.<\/dialogue>\n    <character>SVEINN<\/character>\n    <dialogue>What does that mean?<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>Maybe he needs to face it.<\/dialogue>\n    <character>SVEINN<\/character>\n    <dialogue>How do we know it won't set him back?<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>We don't.<\/dialogue>\n    <character>SVEINN<\/character>\n    <dialogue>So it's a hell of a risk.<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>It's his choice.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SVALBARD - STREET - BEDROOM - SAME TIME<\/stage_direction>\n    <scene_description>VILJAR gets out phone and dials.<\/scene_description>\n    <character>LARA'S VOICE<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>LARA'S VOICE<\/character>\n    <dialogue>I've worried about you.<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>I'm fine...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I just received a letter. They want me to appear. At the trial.<\/dialogue>\n    <character>LARA<\/character>\n    <dialogue>Yeah. Me too.<\/dialogue>\n    <scene_description>On Viljar, flash of relief.<\/scene_description>\n    <character>LARA<\/character>\n    <dialogue>Do you think you can face him?<\/dialogue>\n    <scene_description>Suddenly the sound of: gunfire. Screaming. Then a FLASHBACK: BREIVIK opening fire. VILJAR falling.<\/scene_description>\n    <character>LARA'S VOICE<\/character>\n    <dialogue>Are you still there?<\/dialogue>\n    <scene_description>VILJAR forces himself back.<\/scene_description>\n    <character>VILJAR<\/character>\n    <dialogue>Yeah. I'm here.<\/dialogue>\n    <character>LARA'S VOICE<\/character>\n    <dialogue>Do you think you can do it?<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>Well, I can't even walk down the fucking street.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ILA PRISON - DAY<\/stage_direction>\n    <scene_description>Breivik's white van convoy leaves through the prison gates. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTHOUSE - DAY 1 - DAY<\/stage_direction>\n    <scene_description>ANGRY CROWDS mass behind barriers. ARMED POLICE, SNIFFER DOGS. And the world's MEDIA too. CAPTION: OSLO DISTRICT COURTHOUSE. CENTRAL OSLO. Bring up the voice of the prosecution's opening statement, as LAWYERS enter the courthouse.<\/scene_description>\n    <character>PROSECUTION INGA<\/character>\n    <dialogue>Your Honour. On the 22 of July 2011, Anders Behring Breivik...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY 1 - DAY<\/stage_direction>\n    <scene_description>Follow LIPPESTAD into the courtroom.<\/scene_description>\n    <character>PROSECUTION INGA (V.O.)<\/character>\n    <dialogue>...carried out a dual-terror attack taking the lives of 77 innocent people. 100s more were injured and left forever scarred by his actions...<\/dialogue>\n    <scene_description>AND WE CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BREIVIK'S CONVOY - SAME TIME<\/stage_direction>\n    <scene_description>BREIVIK sits chained in the back of the van.<\/scene_description>\n    <character>PROSECUTION INGA<\/character>\n    <dialogue>The law is clear: if there is any doubt of the sanity of a person accused...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SVALBARD - VILJAR' HOME - SAME TIME<\/stage_direction>\n    <scene_description>VILJAR turns on the TV.<\/scene_description>\n    <character>PROSECUTION INGA (V.O.)<\/character>\n    <dialogue>...We are required by law to request treatment, not imprisonment. Given the court- ordered psychiatric diagnosis the Prosecution...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. COURTHOUSE - STAIRWELL - CONTINUOUS<\/stage_direction>\n    <scene_description>BREIVIK is led up through the building...<\/scene_description>\n    <character>PROSECUTION INGA (V.O.)<\/character>\n    <dialogue>...believes there is clearly significant doubt as to Anders Behring Breivik's...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>EVERYONE in the courtroom stands.<\/scene_description>\n    <character>PROSECUTION INGA (V.O.)<\/character>\n    <dialogue>...state of mind on the 22 July. Therefore we...<\/dialogue>\n    <scene_description>A ripple through the room as BREIVIK enters.<\/scene_description>\n    <character>PROSECUTION INGA<\/character>\n    <dialogue>...request the court to find him guilty, but sentence him to mandatory psychiatric treatment in a secure facility.<\/dialogue>\n    <scene_description>LIPPESTAD watches as he is uncuffed.<\/scene_description>\n    <character>LIPPESTAD (V.O.)<\/character>\n    <dialogue>We will not seek to deny the crimes committed on July 22nd. However, we will argue that Mr. Breivik was not psychotic during these attacks. Instead we say, he knew exactly what he was doing. His were political acts.<\/dialogue>\n    <scene_description>BREIVIK sits. Behind him the PARENTS.<\/scene_description>\n    <character>JUDGE ARTNZEN<\/character>\n    <parenthetical>(eventually)<\/parenthetical>\n    <dialogue>Mr Breivik.<\/dialogue>\n    <scene_description>BREIVIK goes to the witness stand. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SVALBARD - VILJAR'S HOME - CONTINUOUS<\/stage_direction>\n    <scene_description>VILJAR watches Breivik. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>BREIVIK turns to face the crowded courtroom. Looks at the parents. Going from face-to-face. Then turns and punches the air with a Nazi salute. The room recoils with shock. Cameras click. See LIPPESTAD, he knows the third attack is a call to arms. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SVALBARD - VILJAR'S HOME - CONTINUOUS<\/stage_direction>\n    <scene_description>VILJAR watches Breivik's salute. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>BREIVIK sits.<\/scene_description>\n    <character>BREIVIK<\/character>\n    <parenthetical>(his opening statement)<\/parenthetical>\n    <dialogue>Today I speak on behalf of Europeans who have been deprived of their ethnic, indigenous, cultural, and territorial rights.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>The Prosecution tell you I'm insane. They do this because they fear me. Because I have committed the most sophisticated, the most spectacular, political assassination in Europe since World War Two. And why? Because Norway, Europe. These are not real democracies. Is it democratic for a nation not to be consulted about whether it becomes multicultural?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SVALBARD - GYMNASIUM - DAY<\/stage_direction>\n    <scene_description>VILJAR at the edge of an empty gymnasium.<\/scene_description>\n    <character>BREIVIK (V.O.)<\/character>\n    <dialogue>To force them to become a minority in their own capital?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <character>BREIVIK<\/character>\n    <dialogue>Many will realise this in the coming decades and pick up arms. Just as I did.<\/dialogue>\n    <scene_description>FAMILY LAWYER LARSEN stands to object.<\/scene_description>\n    <character>FAMILY LAWYER<\/character>\n    <dialogue>The Defendant has said enough, Your Honour.<\/dialogue>\n    <character>JUDGE ARTNZEN<\/character>\n    <dialogue>You must hurry up, Mr. Breivik.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>I must be allowed to finish my statement.<\/dialogue>\n    <character>FAMILY LAWYER<\/character>\n    <dialogue>This is extremely upsetting for the families.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <parenthetical>(stands)<\/parenthetical>\n    <dialogue>Your Honour, the Defendant must be allowed to finish his statement. Thank you.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SVALBARD - GYMNASIUM - DAY<\/stage_direction>\n    <scene_description>VILJAR nearly in the centre of the hall. Behind him, a PHYSIOTHERAPIST watches.<\/scene_description>\n    <character>JUDGE ARTNZEN (V.O.)<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You may continue, Mr. Breivik.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SVALBARD - VILJAR'S HOME - LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Tight on VILJAR, still watching BREIVIK's testimony.<\/scene_description>\n    <character>BREIVIK (V.O.)<\/character>\n    <dialogue>When peaceful revolution is made impossible, then violent revolution is the only option...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <character>BREIVIK<\/character>\n    <dialogue>I demand to be acquitted because I acted in defense of my country.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SVALBARD - GYMNASIUM - DAY<\/stage_direction>\n    <scene_description>VILJAR stops. Turns around. Drops his stick.<\/scene_description>\n    <character>VILJAR<\/character>\n    <parenthetical>(to PHYSIOTHERAPIST)<\/parenthetical>\n    <dialogue>I've got eight weeks. I want to walk unassisted. No stick. No shaking. No breathlessness.<\/dialogue>\n    <character>SVALBARD DOCTOR<\/character>\n    <dialogue>You are still very weak.<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>Just tell me what I need to do.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INQUIRY HQ - EVENING<\/stage_direction>\n    <scene_description>The PM's car pulls into the basement of the anonymous government building.<\/scene_description>\n    <character>GJ\u00d8RV (V.O.)<\/character>\n    <dialogue>Thank you for coming today, Prime Minister...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INQUIRY HQ - INTERVIEW ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>The PM sits alone in front of the Inquiry panel, STAFF at tables to one side.<\/scene_description>\n    <character>GJ\u00d8RV<\/character>\n    <dialogue>I want to begin to explore to what extent Government was aware of the threat posed by Anders Behring Breivik prior to his attacks on 22nd of July.<\/dialogue>\n    <character>PRIME MINISTER<\/character>\n    <dialogue>That was obviously a question that concerned me greatly. The Security Services told me they had no warnings. That he operated completely out of sight.<\/dialogue>\n    <character>GJORV<\/character>\n    <dialogue>Prime Minister, our investigation suggests something different. We have discovered that Mr. Breivik's purchase of chemicals that he used in the construction of the bomb came to the attention of the customs services in January 2011. But this was not acted on.<\/dialogue>\n    <character>PRIME MINISTER<\/character>\n    <dialogue>That was not what I was told, Madam Chair.<\/dialogue>\n    <character>GJORV<\/character>\n    <dialogue>Can we turn now to the issue of physical security around the Government Quarters? You can turn to tab 3.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>It appears from the papers there were proposals discussed inside government to improve physical security around the Prime Minister's Office.<\/dialogue>\n    <scene_description>The PM reads.<\/scene_description>\n    <character>GJ\u00d8RV<\/character>\n    <dialogue>Were you aware of these discussions?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <character>BREIVIK<\/character>\n    <dialogue>The Knights Templar are a network. Patriots, who think the way I do and are willing take up arms just as I did, in order to defend their way of life.<\/dialogue>\n    <character>INGA<\/character>\n    <dialogue>Mr. Breivik, you told police that this organisation was set up in 2002. Is that true?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>Yes. After September 11th.<\/dialogue>\n    <character>INGA<\/character>\n    <dialogue>Did you attend this first meeting?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>I did.<\/dialogue>\n    <character>INGA<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>I was given my mission. This mission.<\/dialogue>\n    <character>INGA<\/character>\n    <dialogue>Mr. Breivik, the police have tracked your movements in 2002 and found no evidence that you attended such a meeting. Can you explain this?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>It was a covert meeting.<\/dialogue>\n    <character>INGA<\/character>\n    <dialogue>But now it is no longer a secret, so can you prove this meeting actually took place?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>No comment.<\/dialogue>\n    <character>INGA<\/character>\n    <dialogue>Can you tell me the names of those who attended the meeting?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>No comment.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SVALBARD - GYMNASIUM - DAY<\/stage_direction>\n    <scene_description>VILJAR in physio. Sweating hard. Battling the pain.<\/scene_description>\n    <character>RADIO REPORTER (OOV)<\/character>\n    <dialogue>The mastermind of Norway's suffering was led in, his hands cuffed. He seemed relaxed. Eager.<\/dialogue>\n    <character>RADIO REPORTER 2 (V.O.)<\/character>\n    <dialogue>Watching this man he is fascinating Robert, in a repulsive sort of way. There is a calmness. A serenity to him.<\/dialogue>\n    <character>RADIO REPORTER 3 (V.O.)<\/character>\n    <dialogue>When he first walked in, and I think we've seen the same again today, he looked as if he owned the place. And to some extent you know, he does. This courtroom was built specifically for this trial, costing 10 million pounds of tax- payers money...<\/dialogue>\n    <scene_description>Finally VILJAR's hits the wall. Unable to go on...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>LIPPESTAD is cross-examining BREIVIK now.<\/scene_description>\n    <character>BREIVIK<\/character>\n    <dialogue>Then I carefully began to assemble the components of the bomb. I did it very slowly of course, so that the authorities wouldn't see me.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>Turning to the attack. Did you feel empathy? For the victims?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Shall I make this easier for you all?<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>I will forego any appeal, any re- trial, I will spare the families all for this, if the court finds me sane.<\/dialogue>\n    <scene_description>On LIPPESTAD, watching BREIVIK holding the justice system hostage. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SVALBARD - GYMNASIUM - NIGHT<\/stage_direction>\n    <scene_description>VILJAR training hard. Pushing himself to the point of failing. Behind him his PARENTS watch. VILJAR buckles and falls. CHRISTIN walks over.<\/scene_description>\n    <character>VILJAR<\/character>\n    <parenthetical>(seeing them)<\/parenthetical>\n    <dialogue>I'm not ready.<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>That's okay. You don't need to do it.<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>It's not okay. I need to do it.<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>Then don't push yourself so hard. Just say a few words. That's all.<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>And say what?<\/dialogue>\n    <character>CHRISTIN<\/character>\n    <dialogue>What happened. The truth.<\/dialogue>\n    <scene_description>SVEINN starts to walk over to them.<\/scene_description>\n    <character>VILJAR<\/character>\n    <dialogue>That I cry in my sleep? That I can't talk to strangers? That I'm frightened of dying? I'd rather not go than let him hear that.<\/dialogue>\n    <character>SVEINN<\/character>\n    <dialogue>Then what is it you want?<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>I want to smash him into a bloody pulp. I want to smash his fucking face in. For what he did to everyone. For what he did to Simon and Anders, and Torje, and you. I want to make him see what he's done.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I just want to beat him.<\/dialogue>\n    <scene_description>Finally:<\/scene_description>\n    <character>SVEINN<\/character>\n    <dialogue>Then maybe this is your chance.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>LIPPESTAD cross-examines the FAR-RIGHT EXTREMIST. BREIVIK watching closely.<\/scene_description>\n    <character>LIPPESTAD<\/character>\n    <dialogue>Have you ever met the Defendant?<\/dialogue>\n    <character>EXTREMIST<\/character>\n    <dialogue>I met him online.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>Online?<\/dialogue>\n    <character>EXTREMIST<\/character>\n    <dialogue>Yes, online. In chat forums, attached to mythic, military games like World of Warcraft. Call of Duty. It's a place to train, it's a place to share ideas.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>Recruit?<\/dialogue>\n    <character>EXTREMIST<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>How did the defendant strike you?<\/dialogue>\n    <character>EXTREMIST<\/character>\n    <dialogue>He liked to lead missions online.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>Was he rational?<\/dialogue>\n    <character>EXTREMIST<\/character>\n    <dialogue>Perfectly.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>Was he a leader?<\/dialogue>\n    <character>EXTREMIST<\/character>\n    <dialogue>He certainly wanted to be.<\/dialogue>\n    <scene_description>INGA stands, to begin the Prosecution's cross-examination.<\/scene_description>\n    <character>INGA<\/character>\n    <dialogue>Was Mr. Breivik your leader?<\/dialogue>\n    <character>EXTREMIST<\/character>\n    <dialogue>No he was not.<\/dialogue>\n    <character>INGA<\/character>\n    <dialogue>You wouldn't follow Mr. Breivik?<\/dialogue>\n    <character>EXTREMIST<\/character>\n    <dialogue>I think others are better qualified than him.<\/dialogue>\n    <scene_description>See BREIVIK.<\/scene_description>\n    <character>INGA<\/character>\n    <dialogue>Better than Mr. Breivik?<\/dialogue>\n    <character>EXTREMIST<\/character>\n    <dialogue>Definitely.<\/dialogue>\n    <character>INGA<\/character>\n    <dialogue>Would they be capable of doing what Anders Behring Breivik did?<\/dialogue>\n    <character>EXTREMIST<\/character>\n    <dialogue>The Alt-Right. The Far-Right. Whatever you want to call us. We're deadly serious. About seizing power. About changing society completely. And a single man's violent acts won't help us to reach that goal.<\/dialogue>\n    <scene_description>See BREIVIK watching intently. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTHOUSE - HOLDING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>LIPPESTAD sitting. BREIVIK pacing.<\/scene_description>\n    <character>BREIVIK<\/character>\n    <dialogue>He's a coward. He's a fucking coward.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTHOUSE - CORRIDOR TO HOLDING ROOM - EARLIER<\/stage_direction>\n    <scene_description>BREIVIK is led by GUARDS into the holding room. LIPPESTAD waits for him inside.<\/scene_description>\n    <character>BREIVIK<\/character>\n    <dialogue>To betray me like that. You never betray a brother. Never.<\/dialogue>\n    <scene_description>The door closes. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTHOUSE - HOLDING ROOM - CONTINUOUS<\/stage_direction>\n    <character>BREIVIK<\/character>\n    <dialogue>There are millions of people out there who support me. And this is the best you can do?<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>He was the only one.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>I'm a commander in the Knight's Templar Europe.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>What about my mother? She could say I was normal.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>She won't do it either.<\/dialogue>\n    <scene_description>See BREIVIK. This lands.<\/scene_description>\n    <character>BREIVIK<\/character>\n    <dialogue>Pathetic. You know there's not once when I could rely on her. Not even once.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>Anders, there's not one single person who will agree to defend your actions.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>I don't need anyone.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SVALBARD - DAWN<\/stage_direction>\n    <scene_description>VILJAR walking up hill. One foot in front of the other. Behind him: the endless snows of Svalbard. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY 6 - SAME TIME<\/stage_direction>\n    <character>LARA<\/character>\n    <dialogue>We were refugees. We were running from war. It took a long time for Norway to feel like home. And some people were suspicious of us. They were angry that we were even here.<\/dialogue>\n    <scene_description>LIPPESTAD looks at BREIVIK. No reaction.<\/scene_description>\n    <character>LARA<\/character>\n    <dialogue>But my sister Bano, she really helped me. She told me that Norway, Norway's great. It could mean security for us, and freedom, and hope. And that exactly what I felt around the campfire on Ut\u00f8ya. The night before.<\/dialogue>\n    <parenthetical>(pauses)<\/parenthetical>\n    <dialogue>But the next day, when we were attacked - and when my sister died - I just lost all that...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SVALBARD. VILJAR'S BEDROOM - SAME TIME<\/stage_direction>\n    <scene_description>VILJAR watches Lara's testimony on TV.<\/scene_description>\n    <character>LARA (V.O.)<\/character>\n    <dialogue>I just had to live in a world of pain and fear. And so much anger...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - SAME TIME<\/stage_direction>\n    <character>LARA<\/character>\n    <dialogue>And I-sorry...<\/dialogue>\n    <parenthetical>(holding back her tears)<\/parenthetical>\n    <dialogue>I've just been feeling so guilty. I just keep on wondering how did I live when she died? And how do I face my parents? And what do I say to my brother? And I just couldn't understand why anyone would want to kill us.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I don't understand what's so frightening about me.<\/dialogue>\n    <scene_description>See BREIVIK, no reaction.<\/scene_description>\n    <character>LARA<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>FAMILY LAWYER<\/character>\n    <dialogue>Thank you Lara.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SVALBARD - VILJAR'S HOME - DAWN<\/stage_direction>\n    <scene_description>SVEINN and CHRISTIN head out to the car. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SVALBARD - VILJAR'S HOME - CONTINUOUS<\/stage_direction>\n    <scene_description>VILJAR stands alone. Coat on. Comes out into hallway. TORJE comes out too.<\/scene_description>\n    <character>VILJAR<\/character>\n    <dialogue>You OK?<\/dialogue>\n    <character>TORJE<\/character>\n    <dialogue>Yeah, I'm fine.<\/dialogue>\n    <scene_description>They head outside. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SVALBARD - VILJAR'S HOME - CONTINOUS<\/stage_direction>\n    <scene_description>Their car drives away from the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA PRISON - BREIVIK'S CELL - NIGHT<\/stage_direction>\n    <scene_description>BREIVIK sits alone. Track in on him. Feel his malignant force.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OSLO HOTEL - VILJAR'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>VILJAR in a hotel room. Oslo stretching out below him. He pulls out his phone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OSLO SQUARE - NIGHT<\/stage_direction>\n    <scene_description>VILJAR approaches a cafe. Looks inside. Sees LARA. LARA sees him. LATER: And now they're walking along a street.<\/scene_description>\n    <character>LARA<\/character>\n    <dialogue>You OK?<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>Yeah, I'll be fine.<\/dialogue>\n    <character>LARA<\/character>\n    <dialogue>It's nearly over.<\/dialogue>\n    <character>VILJAR<\/character>\n    <parenthetical>(covering)<\/parenthetical>\n    <dialogue>Definitely.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Look. I'm sorry I got lost. The last few months. I just...<\/dialogue>\n    <character>LARA<\/character>\n    <dialogue>It's OK. So did I.<\/dialogue>\n    <scene_description>They walk on.<\/scene_description>\n    <character>VILJAR<\/character>\n    <dialogue>How close is he? I couldn't tell from the TV.<\/dialogue>\n    <character>LARA<\/character>\n    <parenthetical>(holds her hands apart)<\/parenthetical>\n    <dialogue>He's really close.<\/dialogue>\n    <scene_description>See VILJAR.<\/scene_description>\n    <character>LARA<\/character>\n    <dialogue>You don't have to look at him, if you don't want to.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Do you know what you're going to say?<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>I've tried to think of things, but I get confused. I just don't want to be weak. That's all. Not in front of him.<\/dialogue>\n    <character>LARA<\/character>\n    <dialogue>You can be weak and still strong, you know that right.<\/dialogue>\n    <scene_description>See VILJAR. They hug.<\/scene_description>\n    <character>LARA<\/character>\n    <dialogue>You're going to be great.<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>LARA<\/character>\n    <dialogue>I should get back. See you tomorrow.<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>See you tomorrow.<\/dialogue>\n    <scene_description>VILJAR watches her walk away. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BREIVIK CELL - DAWN<\/stage_direction>\n    <scene_description>BREIVIK gets dressed. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OSLO HOTEL - VILJAR'S ROOM - DAWN<\/stage_direction>\n    <scene_description>VILJAR inserts his prosthetic eye. Looks at his reflection. His scars. It's time. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BREIVIK CELL - DAWN<\/stage_direction>\n    <scene_description>The cell door opens. BREIVIK is cuffed. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OSLO HOTEL - VILJAR'S ROOM - DAWN<\/stage_direction>\n    <scene_description>VILJAR looks out over Oslo. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTHOUSE - MORNING<\/stage_direction>\n    <scene_description>BREIVIK's convoy arrives at the courthouse. Passes an ANGRY CROWD. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTHOUSE - MORNING<\/stage_direction>\n    <scene_description>VILJAR AND FAMILY, on foot, arrive outside the courthouse. Moving through the CROWDS. Up the steps. See VILJAR, trying to keep his breathing steady. Goes inside. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>LIPPESTAD prepares for the session. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTHOUSE - UNDERGROUND CARPARK\/BASEMENT - DAY<\/stage_direction>\n    <scene_description>BREIVIK moves towards the courtroom. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTHOUSE - LOBBY - CONTINUOUS<\/stage_direction>\n    <scene_description>The FAMILY through the atrium. Wait outside the courtroom. VILJAR paces the lobby alone. TORJE goes over to him.<\/scene_description>\n    <character>TORJE<\/character>\n    <dialogue>You OK?<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>I'm fine.<\/dialogue>\n    <scene_description>TORJE hugs him.<\/scene_description>\n    <character>TORJE<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>A moment between them. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>BREIVIK is led in. See LARA. See CHRISTIN, SVEINN, and TORJE. The courtroom settles. VILJAR enters. He walks to the witness stand. Concentrating on keeping his breathing steady. His PARENTS watching. LARA too.<\/scene_description>\n    <character>JUDGE ARTNZEN<\/character>\n    <dialogue>Please, sit down Viljar.<\/dialogue>\n    <scene_description>VILJAR sits. Looks up at BREIVIK. Who's looking right at him. VILJAR looks away.<\/scene_description>\n    <character>FAMILY LAWYER<\/character>\n    <dialogue>Can you tell us what happened to you on Ut\u00f8ya, Viljar?<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <parenthetical>(begins to remember)<\/parenthetical>\n    <dialogue>He tried to... He tried to kill me. I remember seeing him. And running away. Trying to find somewhere to hide. And protecting my little brother. And I remember being shot.<\/dialogue>\n    <parenthetical>(using his right hand)<\/parenthetical>\n    <dialogue>Five times. When I was lying on the beach. I was... all alone. In a kind of pain I couldn't imagine.<\/dialogue>\n    <scene_description>BREIVIK looks up momentarily. Catches VILJAR's eye.<\/scene_description>\n    <character>FAMILY LAWYER<\/character>\n    <dialogue>But you're here now.<\/dialogue>\n    <scene_description>VILJAR steels himself, keeping his emotion at bay.<\/scene_description>\n    <character>VILJAR<\/character>\n    <dialogue>But everything is different. I've had to relearn how to use my body. Learn to walk again, how to feed myself again. I have little use of my left arm. And I'm blind in one eye - but that's... that's a relief.<\/dialogue>\n    <character>PROSECUTION<\/character>\n    <dialogue>A relief? How do you mean?<\/dialogue>\n    <character>VILJAR<\/character>\n    <dialogue>A relief. A relief in that at least now I don't have to look at him.<\/dialogue>\n    <scene_description>Sudden laughter. Breaking the spell. BREIVIK looks around the room. Sees EVERYONE laughing. Can't help but smile himself. And VILJAR sees it. Knows he's got through. LIPPESTAD sees too.<\/scene_description>\n    <character>VILJAR<\/character>\n    <dialogue>But of course it's not that simple, I have a fragment of his bullet lodged in my brain, that could kill me at any time.<\/dialogue>\n    <scene_description>His voice falters.<\/scene_description>\n    <character>VILJAR<\/character>\n    <dialogue>And I don't look like the person I used to anymore. My body. It's broken... And the worst is that he...<\/dialogue>\n    <parenthetical>(begins to cry)<\/parenthetical>\n    <dialogue>Killed Anders and Simon. My best friends. Stopping them from making their mark on the world. They would have made it a better place. And I miss them every day.<\/dialogue>\n    <scene_description>VILJAR stops, swallowing back his pain, trying to keep control. Head down. EVERYONE watching him.<\/scene_description>\n    <character>VILJAR<\/character>\n    <dialogue>I'm sorry, I didn't want to cry. I so much didn't want to cry in front of him. I wanted to stay strong. Because I do this for them. So they will not be forgotten.<\/dialogue>\n    <scene_description>VILJAR looks right at BREIVIK. Tears, but an unwavering stare.<\/scene_description>\n    <character>VILJAR<\/character>\n    <dialogue>When he shot them and left me alone on the beach, I didn't know if I was living or dying. And I've been stuck there ever since.<\/dialogue>\n    <scene_description>On BREIVIK, looking right back at him.<\/scene_description>\n    <character>VILJAR<\/character>\n    <dialogue>But now I realise that I got a choice. Because I still have family. And friends. And memories. And dreams. Hope. And love.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And he doesn't. He's completely alone. And he's going to rot in prison, whereas I...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I survived and I choose to live.<\/dialogue>\n    <scene_description>And at that moment, BREIVIK looks away. And VILJAR sees it. VILJAR knows he's won and BREIVIK knows it too.<\/scene_description>\n    <character>VILJAR<\/character>\n    <parenthetical>(to the JUDGE)<\/parenthetical>\n    <dialogue>I'm done.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Thank you Viljar.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTHOUSE - ATRIUM - LATER<\/stage_direction>\n    <scene_description>VILJAR is reunited with his FAMILY.<\/scene_description>\n    <character>SVEINN<\/character>\n    <dialogue>Let's go home.<\/dialogue>\n    <scene_description>They leave together. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOD - PM'S OFFICE - DAY<\/stage_direction>\n    <scene_description>PM alone, reading through the 22nd July Inquiry Report. The weight of it written into his face. He stands. Looks out the window. Oslo beyond. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOD - MEETING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>BEREAVED PARENTS sit waiting. The PM arrives. Hugs them.<\/scene_description>\n    <character>PRIME MINISTER<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <parenthetical>(tearful)<\/parenthetical>\n    <dialogue>It's good to see you.<\/dialogue>\n    <scene_description>The PM sits amongst them.<\/scene_description>\n    <character>PRIME MINISTER<\/character>\n    <dialogue>Thank you for meeting me. First of all, I want to say, I'm sorry.<\/dialogue>\n    <scene_description>His voice breaks.<\/scene_description>\n    <character>PRIME MINISTER<\/character>\n    <dialogue>We should have done better. I should have done better.<\/dialogue>\n    <scene_description>For a moment there is silence.<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>We all think that the responsibility lies with the terrorist. Only him. Not you.<\/dialogue>\n    <scene_description>See the PM, stunned by her grace.<\/scene_description>\n    <character>JUDGE ARTNZEN (V.O.)<\/character>\n    <dialogue>The verdict is unanimous...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - VERDICT - DAY<\/stage_direction>\n    <scene_description>BREIVIK standing.<\/scene_description>\n    <character>JUDGE ARTNZEN<\/character>\n    <dialogue>... The conclusion is as follows. The court finds Anders Behring Breivik guilty of all charges. And we judge him accountable for his actions. Anders Behring Breivik is therefore sentenced to indefinite solitary confinement. For as long as he remains a threat to society.<\/dialogue>\n    <scene_description>LIPPESTAD looks across at his colleagues. INGA and SVEINN for the Prosecution. FAMILY LAWYER for the families. And at the JUDGE. Knows they all played their roles, to ensure the system prevailed. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ILA PRISON - DAY<\/stage_direction>\n    <scene_description>LIPPESTAD drives to prison. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA PRISON - CORRIDOR \/ HOLDING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>LIPPESTAD is led through the prison by a GUARD. Into the holding room. He and BREIVIK meet for the last time.<\/scene_description>\n    <character>LIPPESTAD<\/character>\n    <dialogue>So now the trial is complete. Please sign here. Just some formalities. Thank you.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>Do you think you will you visit me?<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>I don't think so, Anders.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>So we're done.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>Yes. My job is finished.<\/dialogue>\n    <scene_description>BREIVIK holds out his hand. LIPPESTAD doesn't take it. As stands and he reaches the door:<\/scene_description>\n    <character>BREIVIK<\/character>\n    <dialogue>Geir? I'd do it all again if I could.<\/dialogue>\n    <scene_description>LIPPESTAD stops. Turns to face him.<\/scene_description>\n    <character>LIPPESTAD<\/character>\n    <dialogue>You didn't win, Anders. You failed.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <parenthetical>(beat and then)<\/parenthetical>\n    <dialogue>There will be others. To finish what I have started.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>We will beat you. My children, and their children. They will beat you.<\/dialogue>\n    <character>BREIVIK<\/character>\n    <dialogue>You can't even see us.<\/dialogue>\n    <character>LIPPESTAD<\/character>\n    <dialogue>Goodbye, Anders.<\/dialogue>\n    <scene_description>LIPPESTAD leaves. BREIVIK sits for a moment and then stands to be taken away by a GUARD.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ILA PRISON - CONTINUOUS<\/stage_direction>\n    <scene_description>LIPPESTAD exits the prison. Out into the sunshine.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA PRISON - CORRIDOR \/ CELL - DAY<\/stage_direction>\n    <scene_description>BREIVIK is led down the corridor by the GUARDS. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ILA PRISON - CONTINUOUS<\/stage_direction>\n    <scene_description>LIPPESTAD walks away. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA PRISON - BREIVIK'S CELL\/CORRIDOR - DAY<\/stage_direction>\n    <scene_description>As BREIVIK is unchained and put into his cell. The door closes. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SVALBARD - DAY<\/stage_direction>\n    <scene_description>Tight on VILJAR. Standing alone in the snowy wilderness.<\/scene_description>\n    <character>END<\/character>\n  <\/scene>\n<\/script>","summary":"On July 22, 2011, Anders Behring Breivik dresses in a police uniform, loads a van with home-made explosives, and drives to Regjeringskvartalet, the executive government quarter in Oslo, Norway. He leaves the van outside the office of Prime Minister Jens Stoltenberg. Moments later, it explodes, causing several casualties. On the island of Ut\u00f8ya in Tyrifjorden, Buskerud, teenagers have arrived for Workers' Youth League (AUF) summer camp, organised by the ruling Labour Party. When they learn of the bombing, one student, Viljar Hanssen, calls his parents to make sure they are unhurt. Breivik arrives at the ferry landing and informs staff that he is a police officer, sent to secure the island following the attack in Oslo. The camp director transports him to the island by boat. Breivik instructs the staff to gather the children in one location. When the head of security asks for ID, Breivik shoots him and the director dead. The children flee as Breivik opens fire, murdering dozens. Viljar and his brother Torje hide on a rocky embankment on the beach. Viljar calls his mother to tell her a shooting is in progress. Breivik finds the group and starts shooting. Viljar is shot multiple times, but Torje escapes unharmed. Breivik surrenders to a tactical team, and is brought inland for interrogation. Breivik claims he is the leader of a white nationalist group called the Knights Templar and that more attacks will happen on his signal. He requests the aid of lawyer Geir Lippestad, who defended a Neo-Nazi. Lippestad is morally conscientious of his client and professionally bonded by his ethics as a lawyer. Lippestad tries to argue an insanity defense for Breivik, which draws criticism as it means he will be institutionalized instead of imprisoned. With the help of various psychiatrists and psychologists, Breivik is initially diagnosed with paranoid schizophrenia. Breivik tells Lippestad he wants to be declared competent to legitimize his attacks. Viljar wakes from a coma with life-changing injuries and returns home with his family. He learns to walk again, but is haunted by memories of the attack. With the support of his mother, and another survivor of the attack on Ut\u00f8ya, he appears in court as a witness and delivers an account of the massacre. Breivik is sentenced to 21 years, that can be extended by a court if it is deemed he is still a danger to society."}
{"movie_name":"The Sessions_2012","imdb_id":"tt1866249","script":"<script>\n  <scene>\n    <stage_direction>EXT.   BERKELEY, CALIFORNIA.   DAY<\/stage_direction>\n    <scene_description>SUBTITLE Berkeley , California - 1981 - DISSOLVE TO ACTUAL TV NEWS FOOTAGE FROM 1981 A busy intersection near the UC Berkeley campus . A strange , self - propelled motorized gurney whirrs into view and makes its way over a pedestrian crosswalk . The passenger , MARK O'BRIEN , in his early 30s , is visible only from the neck up . The rest of him is covered by a blanket . He operates the gurney with a mouth control and a set of mirrors positioned around his head .<\/scene_description>\n    <character>NEWS REPORTER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Mark O'Brien has been going to UC Berkeley since 1978. That's O'Brien in the motorized gurney heading for class last week.<\/dialogue>\n    <scene_description>The gurney continues along a leafy promenade on the campus . Passers - by just go about their normal business .<\/scene_description>\n    <character>NEWS REPORTER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He had polio when he was 6 years old. The disease left his body crippled but his mind remained sharp and alert, and since he wanted to be a writer, Mark O'Brien entered Cal to major in English and learn his trade.<\/dialogue>\n    <scene_description>We hear a voice reciting a verse of poetry as we follow Mark in his contraption .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Graduation Today I hear the crowd's applause Receive congratulations from my friends Today I ask if I've found a place among the rest I hope you see a man upon this stage Who studied. read. wrote, and passed the test In cap and gown, diploma on my chair<\/dialogue>\n    <scene_description>THE SCENE CHANGES to the interior of a large auditorium . A graduation ceremony is in progress . Suddenly , everyone in the hall , GRADUATES , their FAMILIES , ACADEMICS and OTHERS , rise to their feet as Mark , in his gurney , buzzes across the stage , a mortar board hung on one of the handles .<\/scene_description>\n    <character>NEWS REPORTER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And so, Mark O'Brien graduates from Cal, one of 250 English majors to receive degrees today.<\/dialogue>\n    <scene_description>The DEAN steps forward , congratulates Mark and places a diploma on his blanket . The gurney makes its way across the rest of the stage to thunderous applause . THE SCENE CHANGES BACK to the campus exterior . The news reporter talks to camera .<\/scene_description>\n    <character>NEWS REPORTER<\/character>\n    <dialogue>If this report tells us anything, it is that a disability is not necessarily a handicap.<\/dialogue>\n    <scene_description>In the background , Mark 's family and friends are gathered round him in a jubilant mood .<\/scene_description>\n    <character>NEWS REPORTER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Mark O'Brien teaches us that courage and perseverance overcome obstacles. With Mark O'Brien at UC Berkeley, Bill Hillman, Channel Five Eyewitness News.<\/dialogue>\n    <scene_description>END OF NEWS FOOTAGE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAN FRANCISCO. NIGHT<\/stage_direction>\n    <scene_description>Classic shot of the illuminated Golden Gate Bridge . SUPER CAPTION : `` A FEW YEARS LATER ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   STREET OUTSIDE MARK'S.    NIGHT<\/stage_direction>\n    <scene_description>It is about 4.00 a.m. All is quiet . We follow a mean - looking alley cat to the front of a modest , ground - floor apartment . It pauses , then slinks round the side , onto a ledge and in through a partially - opened window .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.    MARK'S PLACE.    NIGHT<\/stage_direction>\n    <scene_description>The cat comes through the window , hops onto the floor and quickly finds a nice little plate of food scraps that has been set out specially . As it settles down to its meal , we become aware of a heavy and regular sound , like a ship 's pump , coming from somewhere close - by . In the center of the room is an object that looks like a prop from a ` 50s sci - fi movie . A human head protrudes from one end . The object is an iron lung , and its purpose is to keep its occupant , Mark O'Brien , breathing . Every 4.5 seconds , the pump mechanism creates a vacuum inside , forcing Mark 's chest to expand and suck in air . He is fast asleep .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Breathing Look you This most excellent canopy, the air, Presses down upon me At 15 pounds per square inch A dense, heavy, blue - glowing ocean. Teasing me with its nearness and immensity. And all I get is a thin stream of it. A finger's width of the rope that ties me to life.<\/dialogue>\n    <scene_description>Having now eaten its fill , the cat has a good scratch , then wanders over to the iron lung . It hops up onto the small platform that supports Mark 's head and slides itself along his face , once this way , once the other way , then jumps on top of the iron lung and walks its length . Through the portholes , we just make out the shape of Mark 's bent , undersize body . Suddenly , Mark 's nose twitches . He opens his eyes and grimaces .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Shit!<\/dialogue>\n    <scene_description>His face continues to contort as he tries to cope with the terrible itching . He shakes his head violently , then stops suddenly and closes his eyes . We hear his thoughts .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Okay, just focus. Now, scratch with your mind, okay, your mind, scratch with your mind.<\/dialogue>\n    <scene_description>After a couple more nose twitches , he settles down . It seems to have worked . In his peripheral vision , Mark can see the cat making itself comfortable in a corner chair , one of the only other pieces of furniture in the room . The first hints of dawn start to appear through the curtains . They illuminate a large framed portrait of the Virgin Mary hanging on the wall . Mark acknowledges it .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Good morning.<\/dialogue>\n    <scene_description>Sunlight streams in , making the picture look truly sacred .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   MARK'S PLACE.    DAY<\/stage_direction>\n    <scene_description>JOAN , a solid but slovenly woman in her late 30s , walks up to Mark 's front door , takes a key from her purse and lets herself in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   MARK'S PLACE.    DAY<\/stage_direction>\n    <scene_description>She comes in .<\/scene_description>\n    <character>JOAN<\/character>\n    <dialogue>Good morning.<\/dialogue>\n    <scene_description>Mark does not immediately acknowledge her .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>You're late.<\/dialogue>\n    <scene_description>A LITTLE LATER The center of the iron lung , basically a thin mattress , has been slid out , and Joan is in the process of giving Mark a bed bath . He is frail and helpless . There is a look of resentment in his eyes as this apparently unfeeling woman exercises total control over him , at least temporarily .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Joan I swear this was one crazy bitch Who'd swing me about enough to scare me, But careful enough so she could say : `` Now what was all the yelling about? You polios are screamers. Always were.'' I did n't say a word, but typed my skinny novel in my head, And thought about revenge.<\/dialogue>\n    <scene_description>In the course of washing his private parts , Mark has an involuntary erection . Joan gives him a shriveling look . He feels belittled and humiliated . A LITTLE LATER Mark is on his side , his trousers are on and she is buttoning up a bright red shirt . It is an awkward business . They do it in silence , avoiding eye contact as much as possible .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET OUTSIDE MARK'S PLACE.     DAY<\/stage_direction>\n    <scene_description>Joan pushes Mark along in a gurney , similar , but slightly different from the one in the news clip . There are no mirrors and no motor , just an oxygen tank , a tube and a mouthpiece just next to Mark 's mouth . Most of him is covered with a colorful blanket . The whole thing is a sports - coupe version of his iron lung .<\/scene_description>\n    <character>JOAN<\/character>\n    <dialogue>Would you mind if I asked you a favor?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>You need help moving furniture?<\/dialogue>\n    <scene_description>She has no apparent sense of humor .<\/scene_description>\n    <character>JOAN<\/character>\n    <dialogue>I need an advance on my pay, like two weeks. That's not a big ask, is it?<\/dialogue>\n    <scene_description>Mark looks rightfully shocked .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>What if you do n't last another two weeks?<\/dialogue>\n    <scene_description>He gives her a look , and means it . We hear his thoughts .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Joan never failed to put me in a crappy mood. It was also a drag that I was no longer allowed to use my other gurney, the self - propelled one. It had caused a couple of spectacular accidents.<\/dialogue>\n    <scene_description>They turn a corner and approach a church .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Basically, in spite of all the mirrors, I could n't see where I was going.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CATHOLIC CHURCH.     DAY<\/stage_direction>\n    <scene_description>Joan pushes Mark 's gurney into the sanctuary .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   CATHOLIC CHURCH.    DAY<\/stage_direction>\n    <scene_description>FATHER BRENDAN is giving a sermon . Mark listens with satisfaction . There are not many others there .<\/scene_description>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>The Apostle Luke tells us that when Elizabeth spoke to Mary, the baby in her womb leapt - `` For lo, as soon as the voice of thy salutation sounded in mine ears, the babe leaped in my womb for joy''. So Mary's fear and apprehension slowly gave way to pride and purpose. Elizabeth saw the greatness in Mary. `` Blessed art thou among women''. Elizabeth, pregnant herself with St. John, felt the power of this wondrous woman. It was Elizabeth, and her absolute faith, that gave Mary the courage she was lacking, and she gave thanks saying : `` My soul doth magnify the Lord, and my spirit hath rejoiced in God my Saviour''.<\/dialogue>\n    <character>May the spirit of the Lord be<\/character>\n    <dialogue>amongst you and remain with you always.<\/dialogue>\n    <scene_description>Mass is over . PEOPLE come up to Mark and place a hand on his head or chest and say , `` God bless you . '' In the background we can also hear Father Brendan .<\/scene_description>\n    <character>FATHER BRENDAN<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>May the peace of the Lord be with you.<\/dialogue>\n    <character>PARISHIONERS<\/character>\n    <dialogue>And also with you.<\/dialogue>\n    <scene_description>A LITTLE LATER<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIDE CHAPEL. DAY<\/stage_direction>\n    <scene_description>Mark waits alone in a tiny chapel off to the side of the church . He turns his head , takes a suck on the mouthpiece of his portable respirator , then looks around at the impressive stained glass windows . The expression on Mark 's face is that of a true believer .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I'm definitely a true believer. But I believe in a God with a sense of humor. A wicked sense of humor. One who created me in His own image.<\/dialogue>\n    <scene_description>Father Brendan enters . There is an awkward short moment when he realizes that there is no point in offering to shake hands . For no good reason , he nods instead .<\/scene_description>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Hello. I'm Father Brendan. I do n't think we've met.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>No, we have n't. I'm Mark O'Brien. I knew Father Seamus very well. I'm sorry that he's not here any more.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>As are many others. I'm going to do my best to fill his shoes. I understand you'd like me to hear your confession.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Yes, I would. By the way, I enjoyed Mass.. I liked your tone.<\/dialogue>\n    <scene_description>Father Brendan is not sure how to take this .<\/scene_description>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>You do n't believe absolute privacy is an essential part of the confessional, do you?<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>No, I do not. I believe sincerity is the most essential part.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I told my attendant to come back in half an hour. Is that okay?<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Yes, take your time. I'm in no rush.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Did Father Seamus say anything to you about me?<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>No one said anything to me about you.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I can be a bit time consuming, but I'm worth the trouble.<\/dialogue>\n    <scene_description>Father Brendan breaks a smile for the first time .<\/scene_description>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>I'm here for you Mark.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Look, this is not exactly a confession. I have n't yet done the deed. I was hoping to sort of get a quote in advance.<\/dialogue>\n    <scene_description>Father Brendan sits down .<\/scene_description>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Tell me what's on your mind.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>The most immediate thing on my mind would be my attendant, Joan. I'm thinking of getting rid of her. It's an evil thought, but I ca n't help it.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Is she dishonest, or incompetent?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>No, neither of those. She looks at me the wrong way. It's that you - need - me - more - than - I - need - you look. I'd like to show her she's wrong, just for the evil satisfaction it will give me. Is that a sin, Father?<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Well, it obviously troubles you.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Yes, it troubles me a lot. Because maybe it's really a power trip. Me against her. Me against the world.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>I really would n't worry too much about that. The question is whether you like having her around.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I ca n't stand her.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Then get rid of her. If I were in a position to choose, I'd get someone nice. Even it was a power trip.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Then I have your blessing to fire her?<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Unofficially, yes.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>That's good enough for me.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Please, if ever you feel I can be useful, do let me know. It was a pleasure talking with you.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Same here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.      MARK'S PLACE.    DAY<\/stage_direction>\n    <scene_description>We see a pencil eraser on the end of a stick slowly tapping the keys on an electric typewriter . At the other end of the stick , which is about a foot long , is Mark , manipulating it adeptly with his mouth . There is a white index card in the typewriter on which he is typing a job notice . We see the first word . `` POET ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   BERKELEY COLLEGE.         DAY<\/stage_direction>\n    <scene_description>A community notice board . A young female hand reaches in and takes an index card off the board . The card reads : POET\/JOURNALIST REQUIRES ASSISTANT WITH ADVANCED SENSE OF HUMOR We see Amanda 's face as she smiles . She is in her early 20s .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Amanda would have been a pretty girl to touch, to hold, to kiss, to take to bed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.      MARK'S PLACE.    DAY<\/stage_direction>\n    <scene_description>Mark is in his iron lung . Amanda sits in a stiff chair a few feet away , being interviewed . Rod is working in the kitchen . Mark 's poem continues .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Her perfect, pale skin, Her Tudor court face Her strong, fleshy legs Drove me into ecstasies of despair.<\/dialogue>\n    <scene_description>Mark asks a question .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Do you have any experience?<\/dialogue>\n    <character>AMANDA<\/character>\n    <dialogue>No, none at all.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>That sounds perfect.<\/dialogue>\n    <scene_description>Mark stares at her lovingly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.    MARK'S PLACE.     DAY<\/stage_direction>\n    <scene_description>From Mark 's POV , Amanda slides him out of the iron lung . It is her first time , and it is an awkward business .<\/scene_description>\n    <character>AMANDA<\/character>\n    <dialogue>How long can you stay out?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Three or four hours. Depends whether I'm having fun.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARK'S PLACE. DAY<\/stage_direction>\n    <scene_description>It is some time later . Amanda is giving Mark a massage . With enormous satisfaction , he feels her curvy parts moving around him and sometimes pressing against him . He also gets a bird 's eye view of her breasts .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>She'd count in French before lifting me, un, deux, trois, quatre! I'd scream Tugged by her athletic arms From the everlasting gravity.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   PARK.   DAY<\/stage_direction>\n    <scene_description>Mark , on a blanket , is on an outing with Amanda , Matt and another COUPLE . They are playing Scrabble .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>She took me on a picnic once, With her boyfriend and another couple. Lust crackled in the air between those twentyish people.<\/dialogue>\n    <scene_description>Amanda is clearly paying more attention to Mark than to Matt .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What did the boyfriend think? That I was in his way? I'm always in somebody's way, I thought, the sun in my eyes.<\/dialogue>\n    <scene_description>We sense Mark 's deep satisfaction as he closes his eyes and the sun warms his face .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>As she glided through crowds of lives She could n't leave me lying there Dried out bubble gum stuck on the underneath of existence.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   BATHROOM.   NIGHT<\/stage_direction>\n    <scene_description>Amanda and her boyfriend MATT , are sharing the tub .<\/scene_description>\n    <character>MATT<\/character>\n    <dialogue>Do you touch him?<\/dialogue>\n    <character>AMANDA<\/character>\n    <dialogue>I do everything. Any other questions?<\/dialogue>\n    <character>MATT<\/character>\n    <dialogue>You do n't have to be so defensive. I'm not about to get jealous.<\/dialogue>\n    <character>AMANDA<\/character>\n    <dialogue>Why not? He's a much nicer person than you are.<\/dialogue>\n    <scene_description>She gets out of the bath suddenly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.    MARK'S PLACE.      DAY<\/stage_direction>\n    <scene_description>Amanda is shaving Mark .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>What does your boyfriend think of me?<\/dialogue>\n    <character>AMANDA<\/character>\n    <dialogue>He's an asshole. It does n't matter what he thinks of you.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I'm interested in the opinion of an asshole.<\/dialogue>\n    <character>AMANDA<\/character>\n    <dialogue>He thinks you're some kind of Svengali, and that you're going to hypnotise me into your cult.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>He's right.<\/dialogue>\n    <character>AMANDA<\/character>\n    <dialogue>He says he can already see changes.<\/dialogue>\n    <scene_description>She finishes shaving him and cleans him up . His eyes feast on every detail of her face . Cut to somewhere at night , Amanda is giving Mark a pole dancing demonstration , complete with disco beat and mirror - ball lighting .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>So with her gentle fearless heart She took me in. I thrived in her garden And wanted more.<\/dialogue>\n    <scene_description>A16 EXT. . STREET NEAR CLOTHING STORE . DAY A16 Amanda wheels Mark towards a clothing store .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   CLOTHING STORE.    DAY<\/stage_direction>\n    <scene_description>Amanda is wheeling Mark in his gurney around the store , stopping from time to time to take something down from the shelf . She picks out a shirt .<\/scene_description>\n    <character>AMANDA<\/character>\n    <dialogue>This you must have.<\/dialogue>\n    <scene_description>As she leans over to show it to him , Mark does n't seem to be listening . He whispers to her .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>I love you.<\/dialogue>\n    <scene_description>She says nothing and gives the faintest of smiles , then puts the shirt back . They continue round the store in thoughtful silence and avoid eye contact with each other . We sense from the looks on their faces that this moment spells the end of a beautiful friendship .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIDE CHAPEL.   DAY<\/stage_direction>\n    <scene_description>Mark and Father Brendan are huddled together in the little chapel .<\/scene_description>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Did she reciprocate your feelings?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>She did n't seem to.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Sometimes people can be very shy about their emotions.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Well, in case she did n't get it the first time, I told her again that I was in love with her, and wanted to marry her, thinking it might swing things.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Did it?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Yes. She left.<\/dialogue>\n    <scene_description>They sit in silence for a while . Father Brendan seems to be at something of a loss .<\/scene_description>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>I wish I knew what to say. I mean, welcome to the human race. Every day someone breaks someone else's heart. And as I said, I'm here for you. I just wish I had something more useful to offer. All I have are these vague ideas about life and death that priests are equipped with. Have you ever thought of discussing your feelings with a therapist?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Not as yet. Father, I think I need a hug.<\/dialogue>\n    <scene_description>After a moment of surprise , Father Brendan rises to the occasion . He seems to know how to move Mark gently and efficiently . They hug .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   MARK'S PLACE.    DAY<\/stage_direction>\n    <scene_description>Rod is in the front yard picking up the newspaper . He sees VERA , Chinese , mid - 20s , a sensible type , approaching Mark 's front door .<\/scene_description>\n    <character>ROD<\/character>\n    <dialogue>Hi. Vera?<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>He offers his hand .<\/scene_description>\n    <character>ROD<\/character>\n    <dialogue>I'm Rod. I do four to twelve.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   MARK'S PLACE.    DAY<\/stage_direction>\n    <scene_description>Vera sits in the same spot where Amanda was interviewed , but without the same aura , although she is far from ugly .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Have you had any experience?<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>Some.<\/dialogue>\n    <scene_description>She is reserved and unsmiling . Mark seems disinterested in the whole process . The phone rings . They both look at it .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Would you get that, please.<\/dialogue>\n    <scene_description>Vera picks up the phone and answers a little hesitantly .<\/scene_description>\n    <character>VERA<\/character>\n    <dialogue>Hullo.<\/dialogue>\n    <scene_description>After a few moments , she turns to Mark .<\/scene_description>\n    <character>VERA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It's Sandy, from Pacific News Service.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Could you press that button and put it on the speakerphone.<\/dialogue>\n    <scene_description>She does as she is asked with perfect efficiency .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hi, Sandy.<\/dialogue>\n    <character>SANDY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Hi, Mark, how you doing?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I'm good. I have a new attendant. She answered the phone. Her name's Vera.<\/dialogue>\n    <character>SANDY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Welcome, Vera.<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>SANDY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Mark, we've gotten sponsorships to do a series on sex and the disabled and we'd like you to do some interviews in the Berkeley area. Could you do that? Say in the next week or so?<\/dialogue>\n    <scene_description>Mark is momentarily taken aback .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Why now?<\/dialogue>\n    <character>SANDY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>No particular reason. If you're working on something else, then we can talk about it later.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>No, now is fine.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARMEN'S DRIVEWAY.      DAY<\/stage_direction>\n    <scene_description>Vera wheels Mark towards his first interview . The more we see Vera , the more we like her .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>There was no denying it. A door had opened which I could not close, and in invisible writing it said : `` Do not enter''.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   CARMEN'S PLACE.    DAY<\/stage_direction>\n    <scene_description>We see the slowly rotating reels of a portable cassette recorder . We hear a female voice .<\/scene_description>\n    <character>CARMEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Some positions, like that one, are pretty much impossible.<\/dialogue>\n    <scene_description>Carmen , early 30s , is a paraplegic in a wheelchair . She is pretty and animated , and has full use of her hands .<\/scene_description>\n    <character>CARMEN<\/character>\n    <dialogue>I do n't know if you can quite visualize it. It's called a lateral, or sideways reverse cow - girl.<\/dialogue>\n    <scene_description>It is obvious that Mark can not visualize it . Although she does n't give much away , we sense that Vera can .<\/scene_description>\n    <character>CARMEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Do n't worry about it then. It's just a question of depth of penetration. To some people it's really important, like my partner, for example. It's not such a big deal for me. I get just as excited when he licks my nipples, if and when he bothers to do it.<\/dialogue>\n    <scene_description>Mark looks troubled .<\/scene_description>\n    <character>CARMEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I think the tape's about to run out.<\/dialogue>\n    <scene_description>At that very moment , there is a click , and the tape runs out . Vera flips the tape over , sets it running in record mode , and takes her place again behind Mark 's gurney .<\/scene_description>\n    <character>CARMEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Do you want to keep going?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Uh, I think I've actually got enough to work on. Thanks.<\/dialogue>\n    <character>CARMEN<\/character>\n    <dialogue>Get back to me if you need anything else. Oh, and let me give you Greg's phone number. He's full of stuff you would n't think was possible.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   MARK'S PLACE.     DAY<\/stage_direction>\n    <scene_description>Rod vacuums the floor while Mark taps away on his typewriter . Mark looks troubled .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GREG'S PLACE. DAY<\/stage_direction>\n    <scene_description>We hear voices .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Okay, shall we start?<\/dialogue>\n    <character>GREG<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>We hear the cassette recorder click on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GREG'S PLACE. DAY<\/stage_direction>\n    <scene_description>Greg is a handsome quadriplegic . Vera is there with Mark .<\/scene_description>\n    <character>GREG<\/character>\n    <dialogue>Oral sex is a matter of taste.<\/dialogue>\n    <scene_description>Mark does n't get it . Vera , as usual , is impassive .<\/scene_description>\n    <character>GREG<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And one thing that really works in my favor is that I smoke so much weed that my taste buds are pretty jaded. This gives me a great deal of stamina in the tongue department, and stamina is key in cunnilingus.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.    MARK'S PLACE.    NIGHT<\/stage_direction>\n    <scene_description>The alley cat creeps in through the open window . Mark watches it approach from his iron lung .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Who are these people? I feel like an anthropologist interviewing a tribe of headhunters.<\/dialogue>\n    <scene_description>The cat seems to understand .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   UNIVERSITY ADMIN BUILDING.    DAY<\/stage_direction>\n    <scene_description>A lady with a crisp voice answers the phone .<\/scene_description>\n    <character>LADY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Good morning. UCSF.<\/dialogue>\n    <scene_description>On the other end of the line , Mark tries to control the shakiness of his voice .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Uh, may I please speak to someone in the Center on Sexuality and Disability, please.<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>LADY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I'm sorry sir, the Center on Sexuality and Disability has been shut down.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.    MARK'S PLACE.    DAY<\/stage_direction>\n    <scene_description>Mark looks immensely relieved . He closes his eyes .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Thank God.<\/dialogue>\n    <character>LADY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Sir?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I'm sorry to have bothered you.<\/dialogue>\n    <character>LADY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It's no bother. Sir, before you go, I can give you a phone number for one of the therapists who used to work there. Would you like that?<\/dialogue>\n    <scene_description>Mark hesitates . He winces under the strain of having to make a decision .<\/scene_description>\n    <character>LADY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Sir, are you there?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   BUILDING.      DAY<\/stage_direction>\n    <scene_description>It is a typical , modern , multi - purpose office building . We hear the sounds of grunting , bumping and clanging .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.      LOBBY.    DAY<\/stage_direction>\n    <scene_description>There is something of a commotion going on at one of the elevators . Vera , and a small , well - meaning CROWD , are trying to get Mark and his gurney inside . It will not fit horizontally . As they angle it up , Mark begins to panic .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>It wo n't fit. It's not going to fit. Let's go back.<\/dialogue>\n    <scene_description>A muscular LATINO guy reassures him .<\/scene_description>\n    <character>LATINO<\/character>\n    <dialogue>Hey, it's fine. We got you. This is going to work just fine.<\/dialogue>\n    <scene_description>Vera guides him .<\/scene_description>\n    <character>VERA<\/character>\n    <dialogue>The top has to go over to the left.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I do n't feel so good about this. Let's forget it.<\/dialogue>\n    <scene_description>The Latino guy takes no notice . Vera is flushed and angry .<\/scene_description>\n    <character>VERA<\/character>\n    <dialogue>Look, do you want to see this woman or not?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>One more heave and the gurney goes in with a jolt .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Aah!<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>Well, it's too late.<\/dialogue>\n    <scene_description>The elevator doors close .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   LAURA'S OFFICE.   DAY<\/stage_direction>\n    <scene_description>Laura , a well - dressed , attractive woman in her late 30s , sits in a chair a few feet from Mark . His gurney takes up most of the available space in the room .<\/scene_description>\n    <character>LAURA<\/character>\n    <dialogue>Did you ever discuss sex with your parents?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>No. That would have been unthinkable.<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>That's the way they saw the world. It was n't just that polite people did n't think about sex. No - one did. It was never discussed. As far as they were concerned, there was nothing down there.<\/dialogue>\n    <scene_description>Laura listens . She is pretty in a dark , angular way . A phone on her desk rings .<\/scene_description>\n    <character>LAURA<\/character>\n    <dialogue>Sorry about that.<\/dialogue>\n    <scene_description>She walks over to it , pushes a button , then comes back . She has a noticeable limp .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>What's that from?<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>Cerebral palsy.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>You'd hardly notice.<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>People notice. It's not easy, the whole thing, attracting a guy, dating, sex, all very problematic.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I find that hard to believe in your case.<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>Well, you better believe it.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>So, what sort of chance do you give me?<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>Of achieving your romantic fantasy? Very small to minute.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Look, there's no need to pull any punches. You can be as direct as you like with me.<\/dialogue>\n    <scene_description>She smiles .<\/scene_description>\n    <character>LAURA<\/character>\n    <dialogue>Mark, I'm just a humble sex therapist. I try to help people with sex problems that can be addressed. Your problem, I understand, is that you have never had sex.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>That's correct.<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>Would I be correct in assuming you're unable to masturbate?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Correct.<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>Has anyone done it for you?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>Have you ever asked anyone?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Not specifically. I asked someone to marry me. She declined. Does that come close to masturbation?<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>You know, being with the person you love is not the only way of expressing yourself sexually. There are people called sex surrogates.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Oh?<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>Psychotherapists and psychiatrists are not allowed to have sex with their clients, even if it seems like a good idea. Sex surrogates do n't have that limitation.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Would this be covered by my medical benefits?<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>Unfortunately, no. You'd have to pay the full fee, whatever that was.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>So, basically, I would be paying for sex.<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>Yes Mark, you would be paying for sex. But the person you would be paying is not a hooker. She is a highly trained and sensitive professional, who is not motivated by money. Just as I'm not. In fact, you can think of a surrogate as an extension of me. Do I seem like a hooker to you?<\/dialogue>\n    <scene_description>Mark thinks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAURA'S OFFICE. DAY<\/stage_direction>\n    <scene_description>Mark comes back to reality .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>What sort of cost would I be looking at?<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>It depends how many sessions you need.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Say, one, just to try it and see if I like it.<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>I'm sorry, it does n't work that way. It's a process. You have to be patient with yourself. There can be quite a lot of talking involved.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I've set aside $ 500. Do you think that would cover things?<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>Oh yes, that's ample. So, what do you think?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH.   DAY<\/stage_direction>\n    <scene_description>Rod wheels Mark into the church .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIDE CHAPEL.    DAY<\/stage_direction>\n    <scene_description>Mark waits in the little side chapel . Father Brendan enters .<\/scene_description>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Hi, good to see you. How are things?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Things are sort of confusing at the moment. I would appreciate your advice, as a friend, if you know what I mean.<\/dialogue>\n    <scene_description>Father Brendan sits down on the end of a pew next to Mark .<\/scene_description>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Sure, and I understand what you mean.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Do you remember at one point you suggested I might see a therapist?<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Well, one way or another, it's a long story, I ended up seeing a therapist, a particular sort of therapist, a sex therapist.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Uh - huh.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>My penis speaks to me, Father Brendan. Sometimes I ejaculate during a bed bath in front of my attendant. All I feel is shame and mortification, while other men, apparently, get pleasure. I'm sorry if I sound angry.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Do n't worry about it. Go on.<\/dialogue>\n    <scene_description>Mark pauses to take a few breaths on his oxygen mouthpiece , then goes on .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>This therapist suggested I could work with a sexual specialist, have sex with someone known as a sex surrogate, who would be sensitive to my special needs. I've been giving it some thought.<\/dialogue>\n    <scene_description>Father Brendan interrupts him .<\/scene_description>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Hold on. What do you mean `` have sex''?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Well, I do n't really know how to describe.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Sorry, that was n't what. I mean, are we talking about sexual intercourse?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I think so.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Outside marriage?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I did do my best on the question of marriage.<\/dialogue>\n    <scene_description>Father Brendan shakes his head with concern .<\/scene_description>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>What is the difference between this sexual specialist and a common prostitute?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I do n't know, but I think there's a difference.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>How do you know she's not some hooker gussied up as a social worker, who's just going to rob you?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I trust what my therapist said about her.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>How old are you?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Thirty - eight.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Why exactly now?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I never had any spare cash before. That's a major factor, and I'm probably getting close to my use - by date.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>And this is what you want my advice about? Fornication?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Your advice as a friend.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>And do I have the casting vote, so to speak?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Let's say I value your advice just as much as I do the therapist's.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>You're serious, are n't you?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I think sex is a serious matter. It's one of the most persistent themes in the bible. So, is it possible for me to know a woman, in the biblical sense, and do I want to find out?<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>And you want my opinion?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Please.<\/dialogue>\n    <scene_description>Father Brendan contemplates for a few moments . He looks up at the statue of Jesus , then makes a decision .<\/scene_description>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>I know in my heart that He'll give you a free pass on this one. Go for it.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>I said, go for it.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>If you feel up to it. Do you feel up to it?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>To tell the truth, I'm scared.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Then we should pray.<\/dialogue>\n    <scene_description>Father Brendan and Mark pray together .<\/scene_description>\n    <character>FATHER BRENDAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Sweet Jesus, Mark and I sit at your feet and pray that You bless this little journey, this one small step for a man.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   STREET NEAR CARMEN'S.   DAY<\/stage_direction>\n    <scene_description>ROD is wheeling Mark along in his gurney .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>I really feel proud of myself, imposing on someone I hardly know, to fornicate in their home.<\/dialogue>\n    <character>ROD<\/character>\n    <dialogue>Get over it. It's perfectly normal.<\/dialogue>\n    <scene_description>They arrive at CARMEN 'S PLACE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   CARMEN'S PLACE.   DAY<\/stage_direction>\n    <scene_description>Carmen , in her electric wheelchair , is the woman Mark had earlier interviewed . She pushes a button on a remote control , which opens concertina double - doors , which reveal an adjacent bedroom .<\/scene_description>\n    <character>CARMEN<\/character>\n    <dialogue>Tada!<\/dialogue>\n    <scene_description>The bed itself is set at a perfect height for someone in a wheelchair or gurney . The room has been decked out with flowers , candles and incense .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Wow!<\/dialogue>\n    <scene_description>Carmen points to the bedside table .<\/scene_description>\n    <character>CARMEN<\/character>\n    <dialogue>There are all sorts of useful things in that drawer there, if you guys feel like exploring.<\/dialogue>\n    <scene_description>Mark does n't even begin to get it .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>No, I'll bring my own sheets, towels and anything else we need.<\/dialogue>\n    <character>CARMEN<\/character>\n    <dialogue>No, no. Everything will be provided. I'm honored that you asked me. It'll be great karma for the house.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   STREET NEAR CARMEN'S.   DAY<\/stage_direction>\n    <scene_description>Rod is wheeling Mark back home .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Great karma for the house. My God, the pressure, already. I ca n't stand it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET.   DAY<\/stage_direction>\n    <scene_description>We are outside an old - style wooden house with a Volvo wagon parked in front . A phone rings .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   CHERYL'S KITCHEN.    DAY<\/stage_direction>\n    <scene_description>We hear the sound of sneakers on a wood floor . TONY , an adolescent with a pony tail picks up the phone .<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>Hey, this is Tony.<\/dialogue>\n    <scene_description>He listens , then looks away from the phone and shouts .<\/scene_description>\n    <character>TONY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Cheryl!<\/dialogue>\n    <character>CHERYL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What is it?<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Phone!<\/dialogue>\n    <scene_description>He talks into the mouthpiece .<\/scene_description>\n    <character>TONY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>She's coming.<\/dialogue>\n    <scene_description>CHERYL arrives . She is in her mid - 30s . She grabs the phone , puts her hand over the mouthpiece and glares at Tony .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>I'm not your girlfriend. When someone calls, particularly someone you do n't know, you can use the word ` Mom'.<\/dialogue>\n    <scene_description>Tony glares back . Cheryl takes off her right earring .<\/scene_description>\n    <character>CHERYL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hullo, this is Cheryl.<\/dialogue>\n    <character>LAURA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Hi, it's Laura.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>I have n't heard from you in a while. How are you?<\/dialogue>\n    <character>LAURA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Pretty well. Look, I called to ask how you would feel about working with a severely disabled client.<\/dialogue>\n    <scene_description>Suddenly , Cheryl notices that Tony has opened the refrigerator and is drinking straight out of the orange juice bottle .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>Hold on a moment, please.<\/dialogue>\n    <scene_description>She covers the mouthpiece of the phone .<\/scene_description>\n    <character>CHERYL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hey, cut that out!<\/dialogue>\n    <scene_description>He takes no notice . She puts the phone down and moves towards him . He closes the fridge door and runs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   MARK'S PLACE.    DAY<\/stage_direction>\n    <scene_description>Mark is having a bed bath . His shoulders and neck are covered with soap suds . Rod is washing his back . The phone rings .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Would you get it please?<\/dialogue>\n    <character>ROD<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>Rod eases Mark back onto the rubber mattress and goes to answer the phone .<\/scene_description>\n    <character>ROD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hullo, Mark O'Brien's phone.<\/dialogue>\n    <scene_description>He switches it to speaker so Mark can hear .<\/scene_description>\n    <character>CHERYL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Hi, this is Cheryl Cohen - Greene. May I speak to Mark?<\/dialogue>\n    <scene_description>Rod holds the phone toward Mark like a question . Mark 's face looks drained of blood .<\/scene_description>\n    <character>ROD<\/character>\n    <dialogue>Just one moment, please.<\/dialogue>\n    <scene_description>Rod switches the phone off speaker .<\/scene_description>\n    <character>ROD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What am I doing here? Yes or no? Make up your mind.<\/dialogue>\n    <scene_description>Mark hesitates , then nods weakly . Rod puts the phone back on speaker .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Hullo, this is Mark.<\/dialogue>\n    <character>CHERYL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Hi, Mark. I'm Cheryl. Laura called to introduce you. I understand you'd like to meet. Is that right?<\/dialogue>\n    <scene_description>Mark can hardly speak . He eventually forces the sound from his throat .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Uh, yes.<\/dialogue>\n    <character>CHERYL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I could see you on the seventeenth, at eleven o'clock. Would that be any good for you?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Uh, yes, I think that would be fine for me.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Hey, where you from?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Boston. You?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Salem. Small world.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Would n't want to paint it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   CHERYL'S KITCHEN.     DAY<\/stage_direction>\n    <scene_description>Cheryl is on the phone , holding the receiver with one hand while she puts away groceries with the other .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>We'll be talking for a while to begin with. Then, if you agree, we can also start doing some body awareness exercises in your first session.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   MARK'S PLACE.   NIGHT<\/stage_direction>\n    <scene_description>The iron lung pumps away . Mark is alone . He stares at the picture of the Virgin Mary .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Holy Mother of God, what are `` body awareness exercises''?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.    STREET OUTSIDE MARK'S PLACE.    DAY<\/stage_direction>\n    <scene_description>Vera lets herself in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.    MARK'S PLACE.    DAY<\/stage_direction>\n    <scene_description>Vera holds up two shirts for Mark to see , a dark red and a light blue .<\/scene_description>\n    <character>VERA<\/character>\n    <dialogue>Which one?<\/dialogue>\n    <scene_description>Mark is lying on his side , shirtless . His face is even more grim than when we last saw it .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Does n't matter.<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>Will you stop acting as if you're going to your own execution.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I'm not acting.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   CARMEN'S DRIVEWAY.      DAY<\/stage_direction>\n    <scene_description>Vera wheels Mark to his doom .<\/scene_description>\n    <character>VERA<\/character>\n    <dialogue>Try and think of something else. Baseball, for example. That's what they usually tell boys to do.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Who are `` they''?<\/dialogue>\n    <scene_description>Vera rings the front doorbell . They wait .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>She's forgotten.<\/dialogue>\n    <scene_description>Vera says nothing . She rings the bell again .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>My God, she's forgotten, or she's gotten the date wrong. Okay, we might as well turn round and go back. Come on, let's go.<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>She has n't forgotten.<\/dialogue>\n    <scene_description>From inside the house , we hear the faint buzz of an electric wheelchair approaching . The door opens . Mark closes his eyes in despair .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   CARMEN'S PLACE.       DAY<\/stage_direction>\n    <scene_description>Vera eases Mark onto the bed , positioning him so that he can see the doorway . As a finishing touch , she dabs a little cologne behind his ears , then puts the mouthpiece of his respirator within easy reach . Carmen picks up her bag and wheels herself to the door .<\/scene_description>\n    <character>CARMEN<\/character>\n    <dialogue>Okay, I'm going. I'll be back some time after one. If I'm not here, just let yourselves out.<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>Bye.<\/dialogue>\n    <character>MARK<\/character>\n    <parenthetical>( weakly . )<\/parenthetical>\n    <dialogue>Bye.<\/dialogue>\n    <character>CARMEN<\/character>\n    <dialogue>Have fun.<\/dialogue>\n    <scene_description>She lets herself out .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>What's the time?<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>Twelve after eleven.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I think there's a strong possibility she's had second thoughts.<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>Mark, please calm down.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>And if she does arrive, she would be perfectly within her rights to turn around and run.<\/dialogue>\n    <scene_description>The doorbell rings . They stare at the door . Vera finally goes over and opens it . Silhouetted against the light is Cheryl with a substantial bag . She could be the Avon lady . She has a light blouse , light skirt and her long hair is loose .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>Hi, I'm Cheryl. I'm sorry I'm late.<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>No, that's fine. Come in. I'm Vera, I'm one of Mark's helpers.<\/dialogue>\n    <scene_description>Cheryl sees Mark . There is no noticeable reaction in her face , just a smile .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>Hi, Mark O'Brien.<\/dialogue>\n    <scene_description>Mark clears his throat with a little difficulty .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Hi, Cheryl Cohen Greene.<\/dialogue>\n    <scene_description>Vera is already at the front door .<\/scene_description>\n    <character>VERA<\/character>\n    <dialogue>I'll be back, say, in two hours?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Yes, two hours, that would be perfect.<\/dialogue>\n    <scene_description>She closes the door behind her . Mark feels totally abandoned .<\/scene_description>\n    <character>CHERYL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So.<\/dialogue>\n    <scene_description>Mark blurts out .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Your money's on the dresser.<\/dialogue>\n    <scene_description>Cheryl walks over to the dresser . When her back is turned , Mark screws up his face in self - disgust . She finds an envelope .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>She puts it in her bag . Mark eyes her carefully .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>That was the wrong way to start off.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Yes, it was. Shall we start again?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Please, you start.<\/dialogue>\n    <scene_description>She sits down on the bed and looks at him . It is a very frank stare . She is trying to take a lot in .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>Although the aim is for us to have sex, I'm not a prostitute and you do n't need to pay me up front. I've nothing against prostitutes, but there's a difference. We can talk about that later.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>The other thing is, there is a limit to the number of sessions we can have together. Did Laura mention that when you saw her?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I'm sorry, I do n't remember.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>The limit is six. But that gives us plenty of opportunity to explore. Now, I understand you are able to have an erection.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Yes, but not out of choice.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Do you know how many men there are on this planet who would give anything for a natural erection?<\/dialogue>\n    <scene_description>She looks around the room .<\/scene_description>\n    <character>CHERYL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Is this your place?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>No, it's a friend's. The only bedroom furniture I have at my place is an iron lung. I've sometimes thought about buying a futon, in case the need arose.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>It's worth thinking about.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I've got the space. It can be expensive though, a nice futon. I mean, how much do you think a good one would cost?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Mark, just take a deep breath, then let go.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Do I seem anxious?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>You do a little.<\/dialogue>\n    <scene_description>Cheryl lies down beside him .<\/scene_description>\n    <character>CHERYL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Laura told me you were a poet. What's it like to be a poet?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>It's a way of living inside your own head, which is where I spend most of my time.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>But not today. By the way, I like your shirt.<\/dialogue>\n    <scene_description>He smiles , genuinely flattered .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>So I need to ask you some basic questions. Okay?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>What is the iron lung for?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>It keeps me breathing. I can spend a few hours outside of it, with my portable respirator, depending on how I feel. But I work and sleep in the iron lung.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>How do you feel right now?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Out of my league.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>I meant your breathing.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Oh. fine. In fact, better than usual.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>That's great. Do you have any areas of unusual sensitivity? Any parts of your body you do n't want me to touch?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I have normal sensitivity all over. It's just that my muscles do n't work. You can touch me anywhere.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Shall we get undressed then?<\/dialogue>\n    <scene_description>Mark is taken by surprise by the suddenness of it . He hesitates momentarily .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>Cheryl starts to unbutton his shirt . Mark 's terror is visible in his eyes and she can also feel his heart palpitating . She starts to slowly extract one of Mark 's arms from his shirt - sleeve . Suddenly , he lets out a piercing scream .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Ow! Ow! Stop! It hurts!<\/dialogue>\n    <scene_description>She recoils , shocked .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>What's wrong?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Holy Mother of God!<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Tell me what's wrong.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>My fingers! They're caught!<\/dialogue>\n    <scene_description>She discovers that his fingers have been snagged in the fabric of the shirt and his fingers are being bent backward .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>Okay, okay, I've got it. Do n't worry.<\/dialogue>\n    <scene_description>She carefully frees his fingers and eases the sleeve off .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Be careful, please.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Mark, I'm going to be really careful with you. I do n't want to hurt or injure you in any way, but it's really not sexy when you yell at me. Okay?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I wo n't yell at you any more.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>But you'll tell me calmly the moment anything starts to hurt?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Now, let's do the other arm.<\/dialogue>\n    <scene_description>Little by little , she extracts the other arm . He grimaces his way through it , but more in fear than in pain . She finally sets his shirt down on the end of the bed .<\/scene_description>\n    <character>CHERYL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Nice shirt.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>You already said that.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Did I? I guess I'm a little anxious, too.<\/dialogue>\n    <scene_description>She undoes the top of his pants .<\/scene_description>\n    <character>CHERYL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Okay, I'm going to slide these down. Hold your breath.<\/dialogue>\n    <scene_description>She pulls . He screams , in fear more than pain .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Shit, fuck! No, do n't do that!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   BATHROOM.   DAY<\/stage_direction>\n    <scene_description>Cheryl sits down on the edge of the tub and takes a couple of deep breaths .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   CARMEN'S PLACE.   DAY<\/stage_direction>\n    <scene_description>Mark , his body now under the sheets , looks towards the bathroom door . He can hear the sound of water running . He looks at a wall clock and notes the passing of time .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   BATHROOM. DAY<\/stage_direction>\n    <scene_description>Cheryl turns off the tap . She has done a great job of pulling herself together , and is wrapped in a kimono , which she has brought herself .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   CARMEN'S PLACE.   DAY<\/stage_direction>\n    <scene_description>Cheryl emerges from the bathroom and starts to undress .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>Ready?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Cheryl continues undressing , Mark looks away .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>Okay, the difference between me and a prostitute is that I do n't want your return business. I'm here to help you communicate about your sexual feelings, so you can share them with a future partner.<\/dialogue>\n    <scene_description>She stands there for a few moments , but he keeps his eyes averted . She turns back the sheets , gets into bed beside him and he finally looks at her .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Whenever I'm naked, everyone else in the room is usually dressed. Now that I'm in bed with another naked person, I'm very confused.<\/dialogue>\n    <scene_description>She strokes his hair .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>So, why is it confusing?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I'd always expected that God, or my parents, would intervene to keep this moment from happening.<\/dialogue>\n    <scene_description>She slides her hand down . She can feel his heart thumping .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>Mark, close your eyes and focus on your sense of touch.<\/dialogue>\n    <scene_description>He closes his eyes .<\/scene_description>\n    <character>CHERYL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'd like you to tell me how it feels each time I touch a different part of your body. If something feels good, tell me. If something feels ticklish or bothers you, let me know. I do n't want you to tolerate anything. I'm going to start with the top of your head.<\/dialogue>\n    <scene_description>She strokes his hair .<\/scene_description>\n    <character>CHERYL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You have soft hair. It's nice to the touch. So you like it?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I do.<\/dialogue>\n    <scene_description>She moves her fingers round behind his ear , then the front of his ear .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>That feels weird.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Weird good? Or weird bad?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Just weird.<\/dialogue>\n    <scene_description>She moves her hand down his neck .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Good.<\/dialogue>\n    <scene_description>His shoulder .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>Still good?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Everything good so far, except the ear.<\/dialogue>\n    <scene_description>She moves her fingers along his side , very , very lightly . For Mark , so far , this is the best .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Are these the body awareness exercises?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>You're clever to have worked that out.<\/dialogue>\n    <scene_description>Her hands massage their way down his torso . Mark 's reactions are a little like shock waves .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>People tell me I'm very perceptive.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Would you like to see what I feel like?<\/dialogue>\n    <scene_description>She carefully takes his hand and caresses the fingers around one of her breasts , then puts his hand back . Cheryl 's hands move further down his body .<\/scene_description>\n    <character>CHERYL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Are you wearing cologne?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Mmm, my favorite brand. Okay, I'm going to move my hand along your stomach. and down to your pen.<\/dialogue>\n    <scene_description>The expression on Mark 's face changes to one of shock , then agony , then ecstasy .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Oh, oh.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   CARMEN'S PLACE.   DAY<\/stage_direction>\n    <scene_description>The clock on the mantelpiece says 12:48 . Cheryl is now fully dressed . She snaps open her briefcase , takes out a diary with a pen attached , then walks over to the bed , sits down beside Mark and flips through the pages .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>Next week, Friday the twentieth, same time?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>That's good for me.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Next time we'll start to work on intercourse.<\/dialogue>\n    <scene_description>She gathers her things together and gets up .<\/scene_description>\n    <character>CHERYL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Were you afraid at the thought of seeing me?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I was terrified.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>You can be proud of yourself. You did great. We've made real progress.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Can I ask you something?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Of course. What would you like to ask?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Anything, really. Tell me something about yourself. Anything.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Sure. I'm a very private person. I have a private life, I do need you to be aware of that, but that's about it. This therapy is about you.<\/dialogue>\n    <scene_description>There is a discreet knock at the front door and then a key turns in the lock . A few moments later , Carmen and Vera come in .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Welcome back.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Perfect timing.<\/dialogue>\n    <character>CARMEN<\/character>\n    <dialogue>I hope you guys kept the noise down.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   STREET NEAR CARMEN'S.   DAY<\/stage_direction>\n    <scene_description>Vera wheels Mark back the way they came . She is very discreet and they travel in silence for a while . Finally , curiosity overcomes her .<\/scene_description>\n    <character>VERA<\/character>\n    <dialogue>How do you feel?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Cleansed and victorious.<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>Does n't get any better than that.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Tell me about your first sexual experience.<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>Let me think. It was n't all that pleasant. I mean, it was consensual and everything, and I really was in love with the guy, but his dick seemed enormous to me, I did n't think it would fit. It was scary. But he was nice. I guess he could n't help it.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Was he Chinese?<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>Are you kidding? I only hung out with white guys at high school.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Why is that?<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>I do n't know. To stick it to my mum and dad, I suppose.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Are they happy now you've got a Chinese boyfriend?<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>They're happy. I'm happy.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>What's his dick like?<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>Perfect size.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Why do you call it a dick instead of a penis?<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>Penis sounds like some vegetable you do n't want to eat. Dick sounds like what it is.<\/dialogue>\n    <scene_description>They continue in silence for a little while .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>The thing is, it was all over so damn quickly.<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>Yes, tell me about it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   CHERYL'S PLACE.   NIGHT<\/stage_direction>\n    <scene_description>Cheryl 's car is parked outside . The house is mostly dark .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   CHERYL'S PLACE.   NIGHT<\/stage_direction>\n    <scene_description>Cheryl is at a tiny desk , dictating into a recorder .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>First session. Mark is the oldest of four children and raised Catholic. He was extremely nervous. He yelled a lot when I took off his shirt, but I think more out of fear than pain. He can not masturbate. Has only had the occasional kissing experience. He is capable of achieving an erection easily, but the unusual curvature of his body could be a serious obstacle to intercourse.<\/dialogue>\n    <scene_description>She puts the recorder away in a file drawer and locks the drawer with a key , which she keeps with her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHERYL'S BEDROOM.    NIGHT<\/stage_direction>\n    <scene_description>Cheryl gets into bed beside her husband JOSH , who is apparently asleep .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>This gentleman I just started working with. He spends most of his life trapped in a big metal box.<\/dialogue>\n    <scene_description>Her husband Josh turns over and mumbles something completely incomprehensible . She nudges him .<\/scene_description>\n    <character>CHERYL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Did you hear what I said?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Yes, I heard what you said. You're a saint.<\/dialogue>\n    <scene_description>He kisses her .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>Do n't forget to put the trash out in the morning.<\/dialogue>\n    <scene_description>She turns around and goes to sleep .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIDE CHAPEL.   DAY<\/stage_direction>\n    <scene_description>Mark is in the little side chapel with Father Brendan .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>I do n't know what I had envisaged it would be like, the first time I mean. But that was n't the image I had. I thought there would be more to it. Not that it was unpleasant. After all, I was in bed with a naked woman. She complimented me on my shirt and my hair. She held my penis. I have n't even seen my penis for over thirty years. Anyway, onward. Am I sharing too much?<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>No, I'm used to it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   MARK'S PLACE.      NIGHT<\/stage_direction>\n    <scene_description>Mark is in his iron lung . With his mouth stick , he turns the page of one of those anatomical instruction books on sex . There are the typical graphic cross - section diagrams of penises entering vaginas . Ravel 's `` Bolero '' plays quietly in the background as he reads to himself .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>`` Sometimes the head of the penis may be too large to penetrate the vaginal opening smoothly, in which case the application of lubricant is recommended to avoid possible.'' Oh, my God!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET OUTSIDE MARK'S PLACE. DAY<\/stage_direction>\n    <scene_description>This time Rod is wheeling Mark . He seems only slightly less anxious than the first time , but still noticeably anxious .<\/scene_description>\n    <character>ROD<\/character>\n    <dialogue>What's on the menu today?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>We're attempting intercourse.<\/dialogue>\n    <character>ROD<\/character>\n    <dialogue>Uh - huh. That's a big one.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>What do you think of it? Intercourse.<\/dialogue>\n    <character>ROD<\/character>\n    <dialogue>Overrated, but necessary. There's plenty of other ways of achieving the same result, but somehow you do n't feel you've actually done it till you've gone all the way in.<\/dialogue>\n    <scene_description>This does not help Mark 's state of mind .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   CARMEN'S PLACE.   DAY<\/stage_direction>\n    <scene_description>Cheryl takes off her clothes .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>I want you to look at me this time. Go on, lift your eyes, look at me.<\/dialogue>\n    <scene_description>He lifts his eyes . She pauses .<\/scene_description>\n    <character>CHERYL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Do you like watching me undress?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I do.<\/dialogue>\n    <scene_description>As she moves towards the bed , almost naked , the last thing she takes off is her bra .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>From now on.<\/dialogue>\n    <scene_description>She pulls back the bed covers and gets into bed with Mark .<\/scene_description>\n    <character>CHERYL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You're going to start to understand the signals from your body.<\/dialogue>\n    <scene_description>Their bodies touch . He looks blissful .<\/scene_description>\n    <character>CHERYL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>and learn how to control.<\/dialogue>\n    <scene_description>Then suddenly .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Oh God! Oh God!<\/dialogue>\n    <scene_description>Mark 's expression of bliss turns to one of anger and frustration .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Damn! Shit!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIDE CHAPEL.   DAY<\/stage_direction>\n    <scene_description>Mark is in the side chapel with Father Brendan .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>I did it again. This time, I ejaculated on her thigh.<\/dialogue>\n    <scene_description>Father Brendan winces .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I felt cursed, that the whole enterprise was cursed. It seemed like a totally just punishment. God was n't actually denying my sexuality. He was merely pointing out to me how useless it was.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>It's amazing to me how often God is brought into the sex act. I understand that even amongst non - believers, the most common expression of sexual ecstasy is `` Oh, God!''<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   CARMEN'S PLACE.    DAY<\/stage_direction>\n    <scene_description>Cheryl returns from the bathroom and slides back into bed .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>Okay, I do n't want to hear any more about God cursing you. I want the credit. It was my overpowering beauty that did it. It took you by surprise. Now, where were we?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>What do you mean, where were we?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>I'm going to touch you. I'm touching you. and when we both feel you're aroused, then I'm going to guide you into my vagina.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Is there anything I need to do?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Close your eyes, feel your body, that's all you need to do.<\/dialogue>\n    <scene_description>Mark closes his eyes . In his mind 's eye , he sees the saintly figures in the beautiful stained glass windows of the church with the afternoon sun blazing through . An equally saintly , but naked Amanda floats towards him , her arms beckoning . When he opens his eyes , Cheryl is straddling him , but in a Leaning Tower of Pisa sort of way . It is a struggle for her , but somehow she is managing to get Mark into a workable position for intercourse . Suddenly , he panics .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>It wo n't fit. It's not going to fit.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>No, Mark, it will fit just fine.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>No, it's dangerous. It's too big.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>It's not too big. Relax.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>It wo n't fit. It'll hurt. It's too risky.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Please, stop this. I promise you, nothing bad will happen. Now, let's try again while you're still hard.<\/dialogue>\n    <scene_description>She attempts to guide him in again . Mark grimaces , makes a strange noise . We realize that he has just ejaculated again involuntarily .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Shit!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   BATHROOM.   DAY<\/stage_direction>\n    <scene_description>Cheryl steps out of the shower .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   CARMEN'S PLACE.     DAY<\/stage_direction>\n    <scene_description>Cheryl gets into bed .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>I'm really sorry.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Stop being sorry. And stop reading those stupid sex manuals.<\/dialogue>\n    <scene_description>She snuggles up beside Mark .<\/scene_description>\n    <character>CHERYL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>We still have some time. We can talk, which you seem to like, or you can suck on my nipples, which you also seem to like. Or, which one would you like to do first?<\/dialogue>\n    <scene_description>Gradually , Mark is reassured .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   CHERYL'S PLACE.   NIGHT<\/stage_direction>\n    <scene_description>Cheryl 's Volvo is parked in its usual spot out front . There is one light on in the house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   CHERYL'S PLACE.   NIGHT<\/stage_direction>\n    <scene_description>Cheryl is at her desk , dictating her notes . She also has a notepad with some jottings .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>Mark seemed to be at his most relaxed when I sucked his penis. At the moment he is fixated on penis - vagina and his anxiety is focused around that. The root of his anxiety is his parents and his religion. He believes he does n't deserve sex. He believes he is responsible for his little sister's death at the age of seven, because his mother was too busy looking after him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   LAURA'S OFFICE.   DAY<\/stage_direction>\n    <scene_description>A copy of Cheryl 's notes comes through on Laura 's fax machine . We hear her familiar limp as she comes over to collect them . She reads the notes with interest .<\/scene_description>\n    <character>CHERYL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>We discussed his fantasies. They are mostly masochistic. Again, the idea of being punished. He has never seen female genitalia before and seems quite frightened by the idea.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   SIDE CHAPEL.       DAY<\/stage_direction>\n    <scene_description>Mark and Father Brendan are in the little chapel .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>I'm sorry to lay all this on you, Father. My worry now is that it's never going to happen. I'm never going to have intercourse with Cheryl, or any other woman. Maybe intercourse would prove I was an adult. Maybe I do n't want to cross that line. Maybe this was a bad idea.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Do you want to know what I think?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Please.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>I'd forget the psychobabble. I grew up on a farm. It even takes the animals a few times to get it right. Can I suggest you try and enjoy it more? Do n't worry about the technical stuff. You're a poet. Be romantic.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLOTHING STORE.        DAY<\/stage_direction>\n    <scene_description>Vera wheels Mark and his gurney to a rack in front of the store . She takes shirts and models them for Mark . He settles on a daring but beautiful silk shirt . A man in a pink unitard rides by on a unicycle .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.      MARK'S PLACE.     DAY<\/stage_direction>\n    <scene_description>Vera carefully does up the buttons on Mark 's new silk shirt . Mark looks thoughtful .<\/scene_description>\n    <character>VERA<\/character>\n    <dialogue>You nervous?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Only a little.<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>Would you like a shpritz?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Yes, of course I would.<\/dialogue>\n    <scene_description>Vera gets a bottle of cologne and gives Mark a couple of bursts behind the ears .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I have a good feeling about today, a very good feeling.<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>Great.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I had a terrible feeling it was never going to happen, but I think today's the day.<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>Can I make a suggestion?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Please.<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>Stop thinking about it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   CARMEN'S DRIVEWAY.   DAY<\/stage_direction>\n    <scene_description>Vera wheels Mark up to the front door .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>You could n't have wished for nicer weather.<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>You're not listening, are you? I said, stop thinking about it.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Beautiful weather.<\/dialogue>\n    <scene_description>She steps up to ring the bell , then hesitates . There is something of a hubbub coming from inside . Both she and Mark can hear it clearly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   CARMEN'S PLACE.    DAY<\/stage_direction>\n    <scene_description>The doorbell rings , amidst a loud background chatter . We reveal a ROOMFUL OF WOMEN , gathered for some intense group activity of some kind . Carmen buzzes her way to the front door in her wheelchair . She opens it . She has an expression of horror .<\/scene_description>\n    <character>CARMEN<\/character>\n    <dialogue>Oh, my God, I forgot! Oh, Mark, I'm so sorry.<\/dialogue>\n    <scene_description>The entire roomful of women stare at Mark and Vera . In the background we see Cheryl 's car pull up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   CARMEN'S PLACE.    DAY<\/stage_direction>\n    <scene_description>Cheryl , Mark and Vera are by the car . Mark looks grim .<\/scene_description>\n    <character>VERA<\/character>\n    <dialogue>She was very apologetic.<\/dialogue>\n    <scene_description>They are all shaking their heads . Cheryl has a thought .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>Look, it may not be exactly what we had in mind, but I noticed there's quite a nice motel just a couple of blocks from here. Maybe it's worth checking out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   MOTEL RECEPTION.    DAY<\/stage_direction>\n    <scene_description>Mark and Cheryl wait outside while Vera goes in .<\/scene_description>\n    <character>VERA<\/character>\n    <dialogue>Have you got anything on the ground floor?<\/dialogue>\n    <scene_description>The MOTEL CLERK is also Chinese . He looks at the rack of keys .<\/scene_description>\n    <character>CLERK<\/character>\n    <dialogue>I've got a single.<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>How much?<\/dialogue>\n    <character>CLERK<\/character>\n    <dialogue>Thirty - five plus tax.<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>My boss is the gentleman in the gurney. He's supposed to be having a therapy session right now, but the facility we normally use had a scheduling mix - up. We only need the room for two hours. Can you do it for twenty cash?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   MOTEL.   DAY<\/stage_direction>\n    <scene_description>The clerk leads them to the room and opens the door .<\/scene_description>\n    <character>CLERK<\/character>\n    <dialogue>There's a soda machine around the corner.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>CLERK<\/character>\n    <dialogue>And an ice machine, if you need it.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I'm sure it'll come in handy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   MOTEL ROOM.    DAY<\/stage_direction>\n    <scene_description>Cheryl , Vera and the gurney enter the room . The clerk watches in the background . Cheryl and Vera lower Mark onto the bed . Allowing for the gurney , there is not a lot of space left in the room .<\/scene_description>\n    <character>VERA<\/character>\n    <dialogue>Okay, I'll see you. I've got a book to read. I'll just hang around the reception if you need me.<\/dialogue>\n    <scene_description>Vera leaves . Mark looks around .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Very atmospheric.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Some people find motels exciting.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Do you think I could be one of those people?<\/dialogue>\n    <scene_description>She sits on the bed and starts to undo his shirt .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>Another nice shirt.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>As in racy and sophisticated?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>You took the words right out of my mouth.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   MOTEL RECEPTION.    DAY<\/stage_direction>\n    <scene_description>Vera is having coffee with the clerk .<\/scene_description>\n    <character>CLERK<\/character>\n    <dialogue>What's wrong with your boss?<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>Basically, he can only move his head.<\/dialogue>\n    <character>CLERK<\/character>\n    <dialogue>So what sort of therapy are they doing?<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>They're having sex.<\/dialogue>\n    <character>CLERK<\/character>\n    <dialogue>You're bullshitting me.<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>Okay, I'm bullshitting you.<\/dialogue>\n    <character>CLERK<\/character>\n    <dialogue>No, tell me for real, what are they actually doing?<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>Well, today, after some appropriate foreplay, they're going to try to achieve full penetration.<\/dialogue>\n    <scene_description>The clerk stares at her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   MOTEL ROOM.   DAY<\/stage_direction>\n    <scene_description>We see Cheryl from the breasts up . We hear violent coughing from down below .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I'm choking<\/dialogue>\n    <scene_description>Cheryl moves away . We realize she has been perched astride his face , more or less . The coughing continues . Mark looks a bit panicked .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>The mouth - piece.<\/dialogue>\n    <scene_description>Cheryl locates the mouth - piece to his oxygen supply and puts it between his lips . After a few breaths he is relatively relaxed . She lies down beside him .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>I guess that one's off the menu until further notice.<\/dialogue>\n    <scene_description>Mark finally lets go of the mouth - piece . He looks melancholy . She does not fail to notice .<\/scene_description>\n    <character>CHERYL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Come on, lighten up, will you.<\/dialogue>\n    <scene_description>Mark smiles . He seems to be lost in some memory .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Pony girl, Pony girl, Wo n't you be my pony girl?<\/dialogue>\n    <scene_description>He looks at Cheryl .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>That was what my father used to sing to my little sister, Karin. That was before she died. She was kind of a sad little girl. It did n't do much good. I'm really sorry that the last time I saw her, I fought with her. I made her cry.<\/dialogue>\n    <scene_description>Mark 's eyes begin to look teary .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>My parents could have left me in the nursing home, you know. They found out the average life expectancy for polios in nursing homes was 18 months. So they took me home. They gave me a life.<\/dialogue>\n    <scene_description>Cheryl props herself up on one elbow .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>Mark, I'm just going to go the bathroom for a quick pee. When I come back, we're going to achieve full penetration. But before I go, I want you to close your eyes.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Is this a game?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>No, it's not a game. Just do as I say. Close your eyes.<\/dialogue>\n    <scene_description>He closes his eyes .<\/scene_description>\n    <character>CHERYL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Picture yourself as a six year old boy at the beach. Can you do that?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Yes, very easily.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   BEACH.   DAY<\/stage_direction>\n    <scene_description>The scene has a hazy , dreamlike reality . We see the six - year old Mark , able - bodied and full of energy , running and playing in the sand with his dog .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   MOTEL ROOM.    DAY<\/stage_direction>\n    <character>CHERYL<\/character>\n    <dialogue>Describe some of your feelings.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I feel very exhilarated, running next to the Atlantic Ocean, feeling the wind and the wet sand between my toes.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Do you really feel like him?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Yes, I really feel like him.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>But can you really picture him?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I do n't understand what you mean. I said I can feel like him. Of course I can picture him.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>From the outside, I mean, as an adult, as you are now, looking at him with his crew cut and his little face?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>And are you mad at him? Do you blame him for getting polio? Was it his fault?<\/dialogue>\n    <scene_description>Cheryl gets up and goes to the bathroom . Mark is obviously affected by her question .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   SIDE CHAPEL.    DAY<\/stage_direction>\n    <scene_description>Mark has a faraway look .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>She either forgot to close the bathroom door, or did n't bother to close it.<\/dialogue>\n    <scene_description>Mark pauses as he hears some distant footsteps . Father Brendan looks over his shoulder . They finally pass . Mark continues .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I found the sound of her peeing incredibly erotic, and the sound of her tearing off toilet paper incredibly intimate. By the time she came back I had a terrific boner.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   MOTEL ROOM.    DAY<\/stage_direction>\n    <scene_description>Cheryl gets herself into position on top of Mark .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>I'm going to rub the tip of your cock around my vulva. When it's ready, I'll guide you in. Breathe slowly and think of something delicious.<\/dialogue>\n    <scene_description>Mark thinks . Through his mind 's eye , we see a succession of images . Fingertips stroking a cat 's fur . In the background , the sound of tom - toms . A tribal initiation rite . Drums , dancing , trances . Then Ravel 's `` Bolero '' . Clint Eastwood saying `` make my day '' . Suddenly , and with a big yell , Mark comes .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Aahh!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   MOTEL RECEPTION.      DAY<\/stage_direction>\n    <scene_description>Vera is still there , reading her book . The clerk looks at his watch .<\/scene_description>\n    <character>CLERK<\/character>\n    <dialogue>They've been in there a long time.<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>Yes, some people can do that.<\/dialogue>\n    <scene_description>He does not get it .<\/scene_description>\n    <character>CLERK<\/character>\n    <dialogue>Do you want another coffee?<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>No thanks.<\/dialogue>\n    <character>CLERK<\/character>\n    <dialogue>Do you live with your parents?<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>CLERK<\/character>\n    <dialogue>You at Berkeley?<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>Uh - huh.<\/dialogue>\n    <character>CLERK<\/character>\n    <dialogue>Doing what?<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>Architecture.<\/dialogue>\n    <character>CLERK<\/character>\n    <dialogue>You have a boyfriend?<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>Yes. Do you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   MOTEL ROOM.   DAY<\/stage_direction>\n    <scene_description>Mark and Cheryl are lying together . He has his eyes closed . There is something on her mind .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>You awake?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Uh - huh.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>To answer your earlier question, I grew up in Salem, brought up Catholic, like you, but the church did n't appreciate my attitude towards sex.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>You had an attitude towards sex?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Yes, I liked it. They like to think they threw me out, but I threw them out. So for years I did n't believe in anything, and now I'm converting to Judaism.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I guess it's good to have some kind of insurance.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>I did n't think of that.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Then why are you doing it?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>My husband asked me to do it before his grandmother dies. The idea is, if it makes her happy and him happy, then it will do the same for me. Our son is neutral on the subject, but theoretically, if it looks like it makes me happy, it'll make him happy too. That's the way my husband's family talks, and thinks. The fact that I'm happy already, does n't seem to be relevant.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>What's your son's name?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Tony. He's 14 years - old and very smart. You'd like him.<\/dialogue>\n    <scene_description>Cheryl and Mark lie together in contented silence for a while .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Does he know what you do?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>He knows I'm a sex therapist. There's a certificate on the wall. But he has n't had sex yet. So. How much can he really know? He's not a boy, he's not a man.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>How much do you want him to know?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Well, I want him to have some idea in his head. I hope it's a nice one.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>What does your husband do?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>He's a philosopher.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Wow! You mean, like, at a university?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>No, in his own mind. He runs the house, plays guitar, thinks a lot.<\/dialogue>\n    <scene_description>She notices the time .<\/scene_description>\n    <character>CHERYL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It's kind of late.<\/dialogue>\n    <scene_description>She gets up and starts to get dressed .<\/scene_description>\n    <character>CHERYL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hey, we did really good stuff today. You were fantastic. You're a fully fledged male homo sapiens endowed with a handsome and substantial penis which now has a proven track record. You should be pleased.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Was I really inside you?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>You were really and truly inside me.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>For how long?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Five or six seconds.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Is that all?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>That's a long time for some people. You were pretty excited. I do n't know what you were thinking about.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I'm sorry, I could n't tell one thing from another. It was all a jumble of sensations.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Well, you definitely achieved penetration. It was penis - vagina all the way. And you definitely get an A for orgasm.<\/dialogue>\n    <scene_description>She is ready to go . She comes over to Mark and kisses him on the cheek .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Did you come?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>No, Mark, I did n't.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Can we try for that next time?<\/dialogue>\n    <scene_description>She hesitates for a moment .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>If that's what you want.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Yes, that's what I want.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Okay then.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   LAURA'S OFFICE.    DAY<\/stage_direction>\n    <scene_description>Laura is on the phone to Cheryl .<\/scene_description>\n    <character>LAURA<\/character>\n    <dialogue>How's it going?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   CHERYL'S PLACE.    DAY<\/stage_direction>\n    <scene_description>Cheryl is at her desk .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>He reads too many books. He has it in his head that after meeting three times, we should be able to have penetrative sex which results in simultaneous orgasm. Boom! Just like that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   LAURA'S OFFICE.    DAY<\/stage_direction>\n    <character>LAURA<\/character>\n    <dialogue>That's very funny.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   CHERYL'S PLACE.    DAY<\/stage_direction>\n    <character>CHERYL<\/character>\n    <dialogue>I guess. Yes, it is.<\/dialogue>\n    <character>LAURA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What do you think of him?<\/dialogue>\n    <scene_description>Cheryl thinks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   LAURA'S OFFICE.    DAY<\/stage_direction>\n    <character>LAURA<\/character>\n    <dialogue>I said, what do you think of him?<\/dialogue>\n    <character>CHERYL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I like him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET OUTSIDE MARK'S PLACE. NIGHT<\/stage_direction>\n    <scene_description>Father Brendan approaches and arrives at the front door . He rings . Rod lets him in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.    MARK'S PLACE.    NIGHT<\/stage_direction>\n    <scene_description>Mark is in his iron lung . Father Brendan , wearing civilian clothes , comes in with a 6 pack of beer .<\/scene_description>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>I was in the neighborhood. How are you?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Still exhausted.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>So, on reflection, are you. Fulfilled?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>It was okay. I liked some of the other things just as much, or better, but I'm glad it's behind me.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Well, so am I. Congratulations.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>When this is all over, I'm going to write an article about it. After all, sex sells. Seriously.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>So you're really doing this for the money.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Absolutely.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Well, that makes me feel much better about the whole thing. Can I ask what she's like? Cheryl. You've never really said anything about her.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>She's the most wonderful person on the planet. I'm glad we finally had intercourse, because now I realize that everything I do with her feels just great.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   CHERYL'S PLACE.    NIGHT<\/stage_direction>\n    <scene_description>As usual , Cheryl 's car is out front .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   BEDROOM.   NIGHT<\/stage_direction>\n    <scene_description>Cheryl crawls into bed beside Josh . She lies there with her eyes wide open , unable to sleep , her mind full of thoughts . Although she has not yet noticed , Josh is also awake .<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>What's on your mind?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Oh, nothing.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Do n't believe you.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Okay, I've been thinking about the whole conversion thing.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Still do n't believe you.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Then, whatever it is, I guess I'm not in the mood for talking.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>What sort of mood are you in?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Another sort of mood.<\/dialogue>\n    <scene_description>They get into the business .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.    MARK'S PLACE.    DAY<\/stage_direction>\n    <scene_description>Mark is also awake , staring at nothing , his mind full of thoughts . As a distraction , he eventually turns and looks at the picture of the Virgin Mary .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>So, what do you think?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   CHERYL'S PLACE.    DAY<\/stage_direction>\n    <scene_description>The phone rings . We hear footsteps approaching . Cheryl answers it .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>Hullo, this is Cheryl.<\/dialogue>\n    <scene_description>She smiles .<\/scene_description>\n    <character>CHERYL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Mark?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.    MARK'S PLACE.    DAY<\/stage_direction>\n    <scene_description>Mark is in his iron lung .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Can we meet somewhere for a coffee? Somewhere nice. My treat.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   CHERYL'S PLACE.    DAY<\/stage_direction>\n    <character>CHERYL<\/character>\n    <dialogue>I do n't normally meet with clients outside of working hours, you know that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.    MARK'S PLACE.    DAY<\/stage_direction>\n    <character>MARK<\/character>\n    <dialogue>How could you possibly describe anything to do with me as normal?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   CHERYL'S PLACE.    DAY<\/stage_direction>\n    <character>MARK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>We do n't have to talk about business.<\/dialogue>\n    <scene_description>Cheryl smiles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   CAFE.   DAY<\/stage_direction>\n    <scene_description>A WAITER approaches Cheryl and Mark with two beautifully made cups of coffee . One of them has a straw accompanying it . He sets them down . Mark looks up at the waiter .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Could you put my cup right on the edge of the table there, and stick the straw in my mouth, please?<\/dialogue>\n    <character>WAITER<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>The waiter does exactly as asked .<\/scene_description>\n    <character>WAITER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Is that okay?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Perfect.<\/dialogue>\n    <character>WAITER<\/character>\n    <dialogue>Sir, I'd wait a couple of minutes. That coffee is pretty hot.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>WAITER<\/character>\n    <dialogue>You're welcome.<\/dialogue>\n    <scene_description>The waiter leaves . Mark and Cheryl look at each other .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>So, what shall we talk about?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>We do n't have to do much talking.<\/dialogue>\n    <scene_description>Cheryl smiles at him . She is looking gorgeous today .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>Then why are we here?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I just want to be seen with you in public. I find that as sexy as anything we've done so far.<\/dialogue>\n    <scene_description>He sips on his coffee and soaks her in with his eyes .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>I'm glad you enjoy looking, after all.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I want people to say `` Who's the guy with the blonde? How did he get so lucky?''<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Or so rich.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Okay, if some old girlfriend from school you had n't seen for years turned up suddenly, like right now, how would you introduce me? As your boyfriend?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>No, as my husband. Why not go all the way.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Does that shock you?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Then I guess it would shock her as well.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>My old school friend that's going to come along any moment.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>You really can picture me as husband material?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>As long as we're pretending, sure.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Would you write down your address for me, please?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   CHERYL'S PLACE.   DAY<\/stage_direction>\n    <scene_description>Josh walks unhurriedly to the letter box at the front gate and collects the mail . As he flips through the envelopes , he stops at one which is addressed to Cheryl , sniffs it , then opens it . It contains a sheet of paper on which is typed what seems to be a poem . He reads it with interest , which develops into mild shock .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   CHERYL'S PLACE.   DAY<\/stage_direction>\n    <scene_description>Cheryl and Josh are in the kitchen , arguing .<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>You said yourself, it's not supposed to get personal.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>That's another thing altogether. What I want to know is where do you get off opening my mail?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>It was scented. I assumed it was just junk mail.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Even less reason to open it. Where is it? Give it to me.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>You're not getting it.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>This is absolutely none of your fucking business.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>You're still not getting it. I threw it out.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>You did n't.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I fucking did.<\/dialogue>\n    <scene_description>Tony arrives home from school . As he comes in , his parents fall silent . He realizes he has walked in on an argument . He looks at both of them .<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>What's up?<\/dialogue>\n    <scene_description>A LITTLE LATER . The three of them are sitting round the dining table eating dinner in total silence . The hostility between Cheryl and Josh is palpable . When Josh finally does speak , he addresses Tony .<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Would you please ask your mother to pass the salt?<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Cheryl, would you please pass the salt?<\/dialogue>\n    <scene_description>Cheryl glares at Tony and goes on with her meal .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   CHERYL'S PLACE.    NIGHT<\/stage_direction>\n    <scene_description>Cheryl is at the dining table , with her recorder and file in front of her , plus a late - night snack .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>Mark appears to be indulging in typical transference behaviour. This is not unusual after first successful intercourse, but I think he is especially susceptible. He can not help seeing me as the multi - functional, all - purpose woman, mother, sister, schoolmistress, whore, lover and best friend. At the same time, his anxiety about sexual performance has diminished.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   BEDROOM.   NIGHT<\/stage_direction>\n    <scene_description>Josh crawls into bed with Cheryl . She is still awake . He snuggles up to her .<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>I'm sorry. I really upset you before.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>No, you did n't. I'm fine.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>You sure?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Yes, I promise.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Yes, I've come around to your point of view. You were right. You're generally right about these things.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>It was quite a nice poem. I mean, nothing astounding, but heartfelt, at least.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Josh, I need to go to sleep. Everything's good.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Okay. Good night.<\/dialogue>\n    <scene_description>They kiss .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   CHERYL'S PLACE.   NIGHT<\/stage_direction>\n    <scene_description>Cheryl rummages around in the kitchen garbage . She finds nothing . She storms off to the laundry , flings open a cupboard , pokes around and comes up with a flashlight .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   CHERYL'S BACK YARD.   NIGHT<\/stage_direction>\n    <scene_description>Cheryl makes her way to the end of the yard . Holding the flashlight between her teeth , she rummages around in the outdoor trash bin . Finally , she finds what she is looking for . An envelope . She takes the poem out of the envelope and reads it .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>Let me touch you with my words. For my hands lie limp as empty gloves.<\/dialogue>\n    <scene_description>She goes over to the back steps , sits down and continues reading . She puts it back in the envelope and walks back inside the house . She is visibly affected .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   STREET OUTSIDE MARK'S PLACE.   DAY<\/stage_direction>\n    <scene_description>From behind , we see Vera wheeling Mark in his gurney . ANOTHER FEMALE FIGURE creeps up beside Vera and whispers in her ear , all unbeknownst to Mark . The other female figure takes over from Vera , who trails along , a few feet behind . Mark remains unaware . He has a new and different - looking shirt , even more out there than the previous one ?<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Do you think she'll like the shirt?<\/dialogue>\n    <character>AMANDA<\/character>\n    <dialogue>I like it. Does that count?<\/dialogue>\n    <scene_description>Mark can barely believe it .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Amanda?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   PARK.   DAY<\/stage_direction>\n    <scene_description>They are stopped at a park bench . Vera is hovering in the background , out of earshot .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>It's been a while.<\/dialogue>\n    <character>AMANDA<\/character>\n    <dialogue>I know. I'm sorry. I'm going to Germany. I wanted to say goodbye to you before I left.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Why are you going to Germany?<\/dialogue>\n    <character>AMANDA<\/character>\n    <dialogue>To study German.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>For how long?<\/dialogue>\n    <character>AMANDA<\/character>\n    <dialogue>One or two years maybe. But we should keep in touch.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>But why go to Germany? It's the only place in the world where humor is actually forbidden.<\/dialogue>\n    <scene_description>She laughs , then smiles quietly , then touches him .<\/scene_description>\n    <character>AMANDA<\/character>\n    <dialogue>You could always make me laugh. I love you, Mark. I really do.<\/dialogue>\n    <scene_description>Mark 's face is a picture of anguish and confusion .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Really?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIDE CHAPEL.     DAY<\/stage_direction>\n    <character>MARK<\/character>\n    <dialogue>Yes, I love you, but not in that way. I love you, but I'm not in love with you. Blah, blah, blah. You know how it goes.<\/dialogue>\n    <scene_description>Mark lets out a deep , meaningful sigh . For a time , he and Father Brendan maintain a respectful silence .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   PARK.   DAY<\/stage_direction>\n    <character>AMANDA<\/character>\n    <dialogue>I think it's great what you're doing with this surrogate lady.<\/dialogue>\n    <scene_description>She leans over and kisses Mark on the lips .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>It could have been you.<\/dialogue>\n    <character>AMANDA<\/character>\n    <dialogue>It could have been, but it was n't.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   SIDE CHAPEL.    DAY<\/stage_direction>\n    <character>MARK<\/character>\n    <dialogue>I had this faint hope that she would show the merest hint of jealousy. It shows you how na\u00efve I am. The fact that I was no longer a virgin, that I was a ` made man', so to speak, made no difference to her at all.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   MOTEL.    DAY<\/stage_direction>\n    <scene_description>Cheryl 's car is in the parking lot . We see her draw the blinds .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   MOTEL RECEPTION.    DAY<\/stage_direction>\n    <scene_description>Clerk takes two beers from a mini - bar and hands one to Vera .<\/scene_description>\n    <character>VERA<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>CLERK<\/character>\n    <dialogue>You want to go out some time?<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>No, I do n't think so.<\/dialogue>\n    <character>CLERK<\/character>\n    <dialogue>What, your boyfriend?<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>CLERK<\/character>\n    <dialogue>Your parents?<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>No, I'm busy, that's all. What's wrong with this, anyway? We're having a nice time, are n't we?<\/dialogue>\n    <character>CLERK<\/character>\n    <dialogue>It's okay.<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>Or do you have things to do? I can go for a walk if you're busy and come back later.<\/dialogue>\n    <character>CLERK<\/character>\n    <dialogue>No, no, stay. Is this going to be a regular thing?<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CLERK<\/character>\n    <dialogue>The therapy.<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>I do n't know. I'm not the therapist.<\/dialogue>\n    <character>CLERK<\/character>\n    <dialogue>What sort of a therapist is she, really?<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>I told you the first time, she's a sex therapist.<\/dialogue>\n    <scene_description>The clerk looks at her closely . She appears to have a completely straight face .<\/scene_description>\n    <character>VERA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Today they're working on simultaneous orgasm.<\/dialogue>\n    <character>CLERK<\/character>\n    <dialogue>What's that?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   MOTEL ROOM.    DAY<\/stage_direction>\n    <scene_description>Mark and Cheryl are in bed , their faces close .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Boy, am I glad to see you.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Do n't you say that to all the girls?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Yes, but I always mean it.<\/dialogue>\n    <scene_description>They kiss . Then Cheryl 's head slides down and disappears from view .<\/scene_description>\n    <character>CHERYL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Remember about the breathing. Concentrate on breathing out rather than in. Think of anything neutral. Sky, water, trees, ships, music, nothing too dramatic.<\/dialogue>\n    <scene_description>Mark closes his eyes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   SIDE CHAPEL.    DAY<\/stage_direction>\n    <character>MARK<\/character>\n    <dialogue>The first time, I really did n't know what was going on. Technically it all happened, but nothing really happened in my head. This time it did, and my head has never experienced anything like it before. Of course, I ignored Cheryl's advice about having neutral thoughts.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOMEWHERE. NIGHT<\/stage_direction>\n    <scene_description>Amanda is giving Mark a pole dancing demonstration , complete with disco beat and mirror - ball lighting .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   MOTEL ROOM.    DAY<\/stage_direction>\n    <scene_description>Mark opens his eyes and looks up at Cheryl . She seems divine . His excitement increases . We hear the change in his breathing . Also in her breathing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   SIDE CHAPEL.    DAY<\/stage_direction>\n    <scene_description>The expression of elation on Mark 's face morphs dramatically into something else .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Then afterwards, there was this moment, this glimpse of an awful sadness to come.<\/dialogue>\n    <scene_description>Father Brendan closes his eyes and nods knowingly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   CHERYL'S PLACE.   NIGHT<\/stage_direction>\n    <scene_description>The Volvo is parked out front . The envelope is still on the dash .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   CHERYL'S PLACE.      NIGHT<\/stage_direction>\n    <scene_description>Cheryl is dictating .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>Mark achieved an erection as soon as I started to suck on him. He did the controlled breathing, as I had suggested, and I was able to get on top and guide him in quite easily.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   MOTEL ROOM.   DAY<\/stage_direction>\n    <scene_description>We see Mark 's face from Cheryl 's POV . His eyes are still closed .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Is it in? Is it really in?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Yes, it's really in.<\/dialogue>\n    <scene_description>We hear Mark 's thoughts .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( V. 0 . )<\/parenthetical>\n    <dialogue>I could n't believe it.<\/dialogue>\n    <scene_description>We hear the sound of typing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.    MARK'S PLACE.      DAY<\/stage_direction>\n    <scene_description>Mark is in his iron lung , typing . At the top of the page , we can see the title of the piece : `` On Seeing a Sex Surrogate '' Page 8 .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I was finally there. Too soon, I came. But she kept holding me inside her. Then a look of pleasure brushed lightly over her face.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   MOTEL ROOM.   DAY<\/stage_direction>\n    <scene_description>We see Cheryl 's face from Mark 's POV . It is as beatific as we have ever seen it .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>as though an all - day itch were finally being scratched. Letting me go, she put her hands down on the bed by my shoulders and kissed my chest. This act of affection moved me deeply.<\/dialogue>\n    <scene_description>Cheryl 's actions follow Mark 's description .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   SIDE CHAPEL.    DAY<\/stage_direction>\n    <scene_description>Mark is with Father Brendan .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>I almost wept. No - one had ever kissed me there before. It was so unexpected and so natural.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   MOTEL ROOM.    DAY<\/stage_direction>\n    <scene_description>Cheryl 's lips move away from Mark 's chest . She kisses him on the lips , light and lingering . As soon as there is enough space between them , he whispers to her .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>I love you.<\/dialogue>\n    <scene_description>She whispers back .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>I love you, too.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Did you come?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Yes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   CHERYL'S PLACE.       NIGHT<\/stage_direction>\n    <scene_description>Cheryl continues dictating .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>Mark is breathing well and learning to pace himself. There is no real physical impediment to a variety of sexual activities, given the right sort of partner. His deeper emotional needs are outside the scope of my potential involvement.<\/dialogue>\n    <scene_description>Cheryl pauses , then goes on .<\/scene_description>\n    <character>CHERYL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>As anticipated, this was the final session.<\/dialogue>\n    <scene_description>Tony appears . He seems to have some understanding of what is going on . He and Cheryl hug .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   MOTEL ROOM.    DAY<\/stage_direction>\n    <scene_description>They are still in the same intimate position .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>What happens when.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>What happens when what?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>When people become attached to each other.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>What people?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Just people. What's the chemistry of it all? When people are attracted to each other.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Are you attracted to me?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>We're just talking hypothetically.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Hypothetically, they write poems, they have sex.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>And what happens next?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>After poetry and sex? Nothing or everything. The rest is by negotiation, as it were.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>I mean, you can just leave it at love and attraction, or you can make things complicated. As most people do.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Have you?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Oh, yes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   MOTEL RECEPTION.   DAY<\/stage_direction>\n    <scene_description>The clerk looks bored . Vera looks at the time . She seems a little anxious .<\/scene_description>\n    <character>VERA<\/character>\n    <dialogue>Can I use that phone to call the room?<\/dialogue>\n    <character>CLERK<\/character>\n    <dialogue>Sure.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.    MOTEL ROOM.   DAY<\/stage_direction>\n    <scene_description>The phone rings , Cheryl picks it up . LATER Cheryl , already dressed , is getting Mark dressed . She does up every button of his shirt lovingly .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>What shall we do next time? Any requests?<\/dialogue>\n    <scene_description>Mark does n't answer .<\/scene_description>\n    <character>CHERYL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Mark?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I'm thinking.<\/dialogue>\n    <scene_description>She finishes buttoning him up in silence . A strange feeling , a kind of chill that Cheryl senses , pervades the atmosphere .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>We have two sessions left, is that correct?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>That's right. Or.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Or, what?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Or, we could stop now.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>You mean, make this the last session?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>There is a pregnant pause .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>What do you think we should do?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>It's not we, it's you, Mark. It's up to you.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I want to know how you feel.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>That does n't come in to it.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Yes, it does. I do n't just write poems to anyone.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Mark, what do you want me to say? How much I was touched by that? How special this has been to me? Is that going to help you? No, it's going to make things worse.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>You mean to say, come the sixth session that will be it?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Yes, that will be it. I explained that the first time we met.<\/dialogue>\n    <scene_description>Mark has a serious and painful moment .<\/scene_description>\n    <character>CHERYL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm sorry. If it's any consolation, it's also hard for me to think about it.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Then maybe we should pull the plug now.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>I think maybe we should. It's only going to get harder. I guess you might as well save the money. Maybe buy yourself a nice futon.<\/dialogue>\n    <scene_description>A LITTLE LATER . Cheryl is getting dressed . Mark watches pensively . She pauses and looks at him . He keeps a brave face . There is a knock on the door .<\/scene_description>\n    <character>CHERYL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Just a moment.<\/dialogue>\n    <scene_description>She and Mark make eye contact for the last time . They manage to smile at each other .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I desperately wanted to feel that because of Cheryl, my life had changed. But it had n't.<\/dialogue>\n    <scene_description>Apart from her usual things , she is also carrying a long mirror .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>Bye, Mark<\/dialogue>\n    <character>MARK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Bye.<\/dialogue>\n    <scene_description>As Cheryl goes out , Vera comes in .<\/scene_description>\n    <character>VERA<\/character>\n    <dialogue>Everything all right?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>He did great. See you. I'm sorry, I have to run.<\/dialogue>\n    <character>VERA<\/character>\n    <dialogue>See you.<\/dialogue>\n    <scene_description>Vera walks in and closes the door behind her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   MOTEL ROOM.    DAY<\/stage_direction>\n    <scene_description>Cheryl goes to her car and opens the trunk . As she is putting the mirror inside , the Chinese clerk , who is showing a COUPLE to their room , gives her an odd look . Cheryl takes no notice , gets in her car and starts the engine . Just then , Vera runs up and taps on her window . The window winds down . Vera hands Cheryl an envelope with money in it . At first , Cheryl just looks at it , then realizes what it is .<\/scene_description>\n    <character>VERA<\/character>\n    <dialogue>You forgot this.<\/dialogue>\n    <scene_description>Cheryl smiles .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>I knew there was a reason I came here today.<\/dialogue>\n    <scene_description>Vera waves goodbye as she goes and Cheryl sits contemplating the envelope in her lap . Then she tosses it onto the dash and drives away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   STREET OUTSIDE MARK'S PLACE.   DAY<\/stage_direction>\n    <scene_description>Vera wheels Mark home . They travel in silence .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   SIDE CHAPEL.    DAY<\/stage_direction>\n    <scene_description>Father Brendan and Mark are together in the chapel .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>I felt I'd just been through a ceremony that I did n't know the meaning of. I kept thinking, is that all there is? Just an empty hole at the end of it? A bigger hole than there was before?<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>I'm sorry Mark, you ca n't always trust your feelings. You've achieved a great thing. It may take you a while to realize that.<\/dialogue>\n    <scene_description>Time passes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   MARK'S PLACE.    NIGHT<\/stage_direction>\n    <scene_description>It is a moonlit night . On the opposite wall from the Virgin Mary is a picture of Amanda and Mark . Mark lies in his iron lung staring at it .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I wrote letters to Amanda in Germany. Five, six pages long A year passed, Heard nothing. Was it my fault? Of course it was. But the guilt is n't enough to patch over the rage. I pound the insides of my mind with words, such puny fists, And nobody hears.<\/dialogue>\n    <scene_description>The poem ends and we hear instead a RADIO BROADCAST of a Giants ' game . Mark is engrossed . Suddenly the broadcast stops . The digital read - out on the clock radio , which says 12:57 , disappears . A street light , visible through the window , goes out . The electric pump under Mark 's iron lung whirrs to a halt . We hear the sound of air escaping , then an eerie silence . Even the cat is motionless . For a few moments , Mark seems hypnotized . Then , he twists his head and clamps onto his mouth stick . He manoeuvres it over to the speaker button on the phone and manages to press it in the semi - darkness . We hear a dial tone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   ROD'S BEDROOM.    NIGHT<\/stage_direction>\n    <scene_description>There is an answering machine on a bedside table .<\/scene_description>\n    <character>ROD'S VOICE<\/character>\n    <dialogue>Hi, this is Rod. Leave a message, or not.<\/dialogue>\n    <character>MARK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Rod, it's Mark. I need help. The power's gone out, including the pump on the iron lung. I'd say I've got about three hours before I start to turn blue. I hope you get this in time.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.    MARK'S PLACE.    NIGHT<\/stage_direction>\n    <scene_description>Mark winces in frustration .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Okay. nine - one - one.<\/dialogue>\n    <scene_description>He swings the mouth stick over to the 9 button . As he presses it , he loses his grip and the mouth stick falls to the floor .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Shit!<\/dialogue>\n    <scene_description>At first , he seems panicky , but after a few moments he begins to control his breathing and gradually psyches himself into a strange calm .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So this is how it ends.<\/dialogue>\n    <scene_description>Time passes . We see Mark from a high angle . More time passes . We see Mark 's face as he slips into unconsciousness .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   MIKVAH (JEWISH RITUAL BATH-HOUSE).    DAY<\/stage_direction>\n    <scene_description>Cheryl enters the room wrapped in a white , terry cloth robe . The room is dominated by a small , beautifully tiled immersion pool with a hand rail and steps . The MIKVAH LADY gets up from her chair and approaches her .<\/scene_description>\n    <character>MIKVAH LADY<\/character>\n    <dialogue>Is this your first time?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Yes, it is. I'm converting.<\/dialogue>\n    <scene_description>She takes off her robe and hands it to the Mikvah Lady , who does not fail to notice Cheryl 's body .<\/scene_description>\n    <character>MIKVAH LADY<\/character>\n    <dialogue>So, what do you do?<\/dialogue>\n    <scene_description>Cheryl closes her eyes and thinks for a moment .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>I do n't think you'd understand.<\/dialogue>\n    <character>MIKVAH LADY<\/character>\n    <dialogue>You can try me.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Okay. I'm a housewife.<\/dialogue>\n    <character>MIKVAH LADY<\/character>\n    <dialogue>Why should n't I understand?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>I guess I was mistaken.<\/dialogue>\n    <scene_description>Cheryl steps towards the pool .<\/scene_description>\n    <character>MIKVAH LADY<\/character>\n    <dialogue>I see you're very comfortable with being naked.<\/dialogue>\n    <scene_description>She takes hold of the rail and puts her foot in the water .<\/scene_description>\n    <character>CHERYL<\/character>\n    <dialogue>That has never been one of my problems.<\/dialogue>\n    <character>MIKVAH LADY<\/character>\n    <dialogue>Sometimes new brides come with their mothers. Do I have to take this off? Can I please leave this on? They've never been naked before. No honey, it all has to come off.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>And it does?<\/dialogue>\n    <scene_description>Cheryl takes another step into the water .<\/scene_description>\n    <character>MIKVAH LADY<\/character>\n    <dialogue>And it does. They stand on the edge of that pool without anything to cling to but themselves. Nothing to hide behind. This is your body. This is the body that God crafted for you.<\/dialogue>\n    <scene_description>Cheryl immerses herself up to her chest .<\/scene_description>\n    <character>MIKVAH LADY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Immerse completely. Go completely under the water, without touching the walls or anything.<\/dialogue>\n    <scene_description>She immerses completely . We see her under the water . She hears a voice in the distance , her own voice . At the same time , there is a look of elation in her eyes .<\/scene_description>\n    <character>CHERYL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Okay Mark, you can open your eyes now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   MOTEL ROOM.   DAY<\/stage_direction>\n    <scene_description>Mark is on the bed alone . He opens his eyes .<\/scene_description>\n    <character>CHERYL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>This is your body.<\/dialogue>\n    <scene_description>A few feet in front of Mark , Cheryl is holding a full - length mirror . The angle is such that he can see all of himself . He is mesmerized by his own image . Flashes of light from the mirror flicker over his face .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>So this is the body that someone was able to love. Not quite as bad as I thought.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   HOSPITAL CORRIDOR.   DAY<\/stage_direction>\n    <scene_description>Overhead fluorescent lights flash by , as we observe the ceiling from Mark 's point of view . We also hear the sound of rapidly rolling rubber wheels , and a voice .<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Mark, can you hear me? Open your eyes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   HOSPITAL.   DAY<\/stage_direction>\n    <scene_description>Mark is in a regular hospital bed , with a temporary plastic cocoon over him in place of his iron lung . There is a volunteer called SUSAN in the room with him .<\/scene_description>\n    <character>SUSAN<\/character>\n    <dialogue>They'll be letting you go today. Whoever looks after you will leave the portable respirator switched on at night, fully charged, so you'll have at least one back - up system.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>How close was I?<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>To what?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>You know, to that tunnel thing and the light, and the voice saying do n't go near the light.<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>Is that what you remember?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>No. I assume I passed out. Before that, I remember feeling sorry for myself.<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>Do you feel relieved now?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>No. I mean, I'm relieved that Rod got to me in time, but I still feel sorry for myself.<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>I'm sure there's a cure for that. Would you like to talk to someone?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I feel comfortable talking to you.<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>I'm only a volunteer, not a therapist. I can refer you to someone if you like.<\/dialogue>\n    <scene_description>Mark breaks into a broad smile , then a chuckle .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>I'm sorry, I do n't mean to be rude. I'm just smiling at the idea that a therapist could do anything useful for me right now. My priest could n't.<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>Are you religious?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Yes. I would find it absolutely intolerable not to be able to blame someone for all this. Are you?<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>No, I do n't go to any church and I do n't think about God very much. But I believe there's a mysterious logic, or poetry to life. I guess that makes me a spiritual type.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Yes, that would count.<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>Would you like me to visit you?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Are you married?<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Do you have a steady boyfriend?<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Then please visit as often as you can.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   HOSPITAL.   DAY<\/stage_direction>\n    <scene_description>She smiles . Mark is loaded into an ambulance .<\/scene_description>\n    <character>SUSAN<\/character>\n    <dialogue>Bye. Take care.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>There's just one more thing I want to tell you.<\/dialogue>\n    <scene_description>She gets into the ambulance and squats down next to him .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm not a virgin.<\/dialogue>\n    <scene_description>She looks genuinely pleased to hear it .<\/scene_description>\n    <character>SUSAN<\/character>\n    <dialogue>So, are you in a relationship at the moment?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>No, it was a passing thing.<\/dialogue>\n    <scene_description>The driver is ready to shut the doors .<\/scene_description>\n    <character>SUSAN<\/character>\n    <dialogue>Thanks for sharing that with me.<\/dialogue>\n    <scene_description>She gets out of the ambulance and waves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   AMBULANCE.     DAY<\/stage_direction>\n    <scene_description>Mark is accompanied by an AMBULANCE OFFICER . We see clear blue sky through the back windows . The sun shines in and warms Mark 's face . He closes his eyes in contentment .<\/scene_description>\n    <character>AMBULANCE OFFICER<\/character>\n    <dialogue>Nice day, is n't it?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>The best.<\/dialogue>\n    <character>AMBULANCE OFFICER<\/character>\n    <dialogue>Good to be alive, huh?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOSPITAL.      DAY<\/stage_direction>\n    <scene_description>We see the disappearing figure of Susan from the point of view of the departing ambulance .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I met Susan five years before I died. She was the love of my life. We had the same priorities, baseball pretty much came first, and we wrote each other mushy poems. I never expected it, nor did she, but that's often the way things turn out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   MARK'S PLACE.        DAY<\/stage_direction>\n    <scene_description>Rod shows Father Brendan into Mark 's room . Father Brendan sits in a chair next to Mark 's iron lung .<\/scene_description>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>That was quite something. What do you propose to do for an encore?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Yep, I almost found out the big secret. But here I am, back with the living. If there is another place, then I think they took one look at me and decided to throw me back.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>And welcome back.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>And thank you for coming to visit.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>I know it's been awhile since we talked about this. About Cheryl. At the time, you seemed to feel so badly about her. or about it?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I no longer feel like that.<\/dialogue>\n    <scene_description>Father Brendan is rather taken by surprise .<\/scene_description>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Oh? That's good to hear. In the end, you're glad that you did it?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Yes, I am. In fact, at this point in time, I feel very blessed.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Blessed?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Yes, blessed. They put me on this new anti - depressant and now I can really see life from the cup half full rather than cup half empty point of view.<\/dialogue>\n    <scene_description>Father Brendan looks truly amazed .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It takes about six weeks to kick in, but when it does, you can really tell the difference.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Hey, that's great.<\/dialogue>\n    <scene_description>Mark grins .<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>I'm pulling your leg, Father. I'm not on drugs. I have a girlfriend.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>You're kidding me. A real girlfriend?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>A very real girlfriend. She adores me. She'll do anything for me. And I can get pretty kinky sometimes, believe you me. Her name is Susan.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>I'm flabbergasted. Is she pretty?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>She sure is.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Has she got a sister?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>As a matter of fact.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>I'm kidding.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>No, you're not. Anyway, we're starting a publishing company together.<\/dialogue>\n    <scene_description>Father Brendan smiles and shakes his head .<\/scene_description>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Here I was, all prepared to offer comfort to the forlorn - that's supposed to be my specialty - and now I can just throw away that little speech.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>No, no. Please make the little speech. I'd love to hear it.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Okay, but I'll try and keep it short.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Do n't make it too short.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>Okay, fine. Here goes. The meaning of love. Love is a journey.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I already like it.<\/dialogue>\n    <character>There is a pause.<\/character>\n    <dialogue>says.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <dialogue>That's it. That's all of I've got. I told you it's short. Love is a journey.<\/dialogue>\n    <character>Mark laughs.<\/character>\n    <dialogue>says.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARK'S PLACE.        NIGHT<\/stage_direction>\n    <scene_description>Father Brendan lets himself out and walks back the way he came . There is definitely a smile on his face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.      MARK'S PLACE.     NIGHT<\/stage_direction>\n    <scene_description>Mark also has a smile on his face as he lies awake .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Actually, I was on drugs, I was taking anti - depressants and they were helping a bit. At least I was able to see the cup - of - life metaphor as a useful tool. Of course, the two halves were never even. Not in my case, that's for sure. Look at all the years of unendurable crap I've had to put up with. That fills most of the cup. But in the little bit that's left, what do I have to show for myself? Journalism? Poetry? At the very least, three beautiful women who all loved me and will all show up at my funeral.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   CHERYL'S PLACE.       DAY<\/stage_direction>\n    <scene_description>Josh saunters out to the mail box . He retrieves the mail , sifts through it and pauses over a letter . He is tempted to open it , but thinks better of it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   CHERYL'S BACKYARD.          DAY<\/stage_direction>\n    <scene_description>Cheryl is planting stuff in the back yard . Josh approaches her with the letter .<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>It's from a Susan Fernbach.<\/dialogue>\n    <scene_description>She takes it and opens it uncertainly , somehow anticipating its contents .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   CHURCH.   DAY<\/stage_direction>\n    <scene_description>A full - blown Catholic funeral is happening . Meaningful hugs are exchanged . Eyes are dabbed . We hear Mark 's voice .<\/scene_description>\n    <character>MARK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Three Reasons to Live<\/dialogue>\n    <character>The mundane:<\/character>\n    <dialogue>O God, it was boring, but I did it got it out of the way<\/dialogue>\n    <character>The transcendent:<\/character>\n    <dialogue>We had this agreement - God gave me life for a while I gave Him gratitude for a while and it worked out OK<\/dialogue>\n    <character>The curious:<\/character>\n    <dialogue>You know how every day is different? I just wanted to see what would happen next<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   CHURCH.   DAY<\/stage_direction>\n    <scene_description>Father Brendan delivers a eulogy . We see members of Mark 's FAMILY , all teary - eyed .<\/scene_description>\n    <character>FATHER BRENDAN<\/character>\n    <parenthetical>( TO MARK . )<\/parenthetical>\n    <dialogue>Mark, I know you're watching. I'm sorry, my friend, but we have to do this. Just bear with me, and I think you might like it.<\/dialogue>\n    <character>FATHER BRENDAN<\/character>\n    <parenthetical>( TO THE CONGREGATION . )<\/parenthetical>\n    <parenthetical>( CONT'D. ) I 've been branching out lately , reading Native American stories about the character of the trickster .<\/parenthetical>\n    <parenthetical>Sometimes he shows up as a coyote , sometimes as a raven , but he always does the unexpected .<\/parenthetical>\n    <parenthetical>The trickster breaks the rules .<\/parenthetical>\n    <parenthetical>Mark O'Brien , whose life we 're celebrating today , was very much the trickster - anyone who knew him knew that .<\/parenthetical>\n    <parenthetical>Besides his irreverent humor and alarming honesty , he always did the unexpected .<\/parenthetical>\n    <parenthetical>In nearly every aspect of his life , Mark did the unexpected .<\/parenthetical>\n    <parenthetical>His was a dynamic voice in a paralyzed body , a full life lived long after he should have been dead .<\/parenthetical>\n    <parenthetical>He graduated from college , wrote and published articles and poems , and - against all odds , by his own admission - entered into the fully human experience of physical love .<\/parenthetical>\n    <parenthetical>In this way , Mark lived from day to day to day , from breath to breath to breath , for 49 years .<\/parenthetical>\n    <parenthetical>He loved , and he was loved and in his quiet voice , he spoke loud truths .<\/parenthetical>\n    <dialogue \/>\n    <scene_description>We see Rod , Vera and Laura the therapist in various rows . Also Amanda , holding a toddler in her arms and sitting next to a tall , boring - looking HUSBAND .<\/scene_description>\n    <character>FATHER BRENDAN<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Susan Fernbach will now read one of Mark's favorite poems.<\/dialogue>\n    <character>SUSAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>This is called Love Poem for No One in Particular.<\/dialogue>\n    <scene_description>We see SUSAN at the lectern , reading from a book .<\/scene_description>\n    <character>SUSAN<\/character>\n    <dialogue>Let me touch you with my words. For my hands lie limp as empty gloves. Let my words stroke your hair, Slide down your back and tickle your belly. For my hands, light and free - flying as bricks, Ignore my wishes and stubbornly refuse to carry out my quietest desires.<\/dialogue>\n    <scene_description>We see Cheryl , as deeply touched by the words as she was the first time .<\/scene_description>\n    <character>SUSAN<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Let my words enter your mind, bearing torches. Admit them willingly into your being So they may caress you gently within.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   MARK'S PLACE.    NIGHT<\/stage_direction>\n    <scene_description>In the middle of the room , moonlit , is Mark 's iron lung , empty and majestic , with the cat sitting on top . As we move around the eerie capsule , we hear the sound of the French Can - Can slowly fade up . It continues over END CREDITS .<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In Berkeley, California, in 1988, Mark O'Brien is a 38 year old poet who is forced to live in an iron lung due to complications from polio. Due to his condition, he has never had sex. After unsuccessfully proposing to his caretaker Amanda, and sensing he may be near death, he decides he wants to lose his virginity. After consulting his priest, Father Brendan, he gets in touch with Cheryl Cohen-Greene, a professional sex surrogate. She tells him they will have no more than six sessions together. They begin their sessions, but soon it is clear that they are developing romantic feelings for each other. Cheryl's husband, who loves her deeply, fights to suppress his jealousy, at first withholding a love poem that Mark has sent by mail to Cheryl, which she eventually finds. After several attempts, Mark and Cheryl are able to have mutually satisfying sex, but decide to cut the sessions short on account of their burgeoning feelings. One day sometime later, the power goes out in the building in which Mark lives, causing the iron lung to stop functioning and making it necessary for Mark to be rushed to the hospital. However, he survives and meets a young woman named Susan Fernbach. The film then cuts to Mark's funeral, held sometime later, and attended by four of the women he came to know and care for, including Cheryl. Father Brendan gives the homily and Susan reads the poem he had previously sent Cheryl."}
{"movie_name":"Stepmom_1998","imdb_id":"tt0120686","script":"<script>\n  <scene>\n    <stage_direction>INT. RACHEL'S BEDROOM - EARLY MORNING<\/stage_direction>\n    <scene_description>A billowy white screen . An alarm clock BLARES . As MAIN TITLES BEGIN , the lovely sleeping face of RACHEL KELLY rolls into frame . Then out of it . Alarm keeps BLASTING . Back she comes , pulling the sheets OVER her head . Motionless now , as we hear . the DEAFENING SILENCE of the alarm shutting off . A beat . Rachel SITS BOLTS UPRIGHT . LEAPS out of the room . From the back we see that she 's dressed only in a pair of men 's boxers . She makes it halfway down the hall , does a U TURN back into the bedroom , frantically YANKS a robe hanging from the door , taking the wall hook WITH her . She FLINGS her robe on as she RUNS down the hall , wall hook STICKING OUT of her back . BURSTING INTO .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEN'S ROOM - EARLY MORNING<\/stage_direction>\n    <character>RACHEL<\/character>\n    <dialogue>Ben! You overslept again damn it!<\/dialogue>\n    <scene_description>The room looks like a 6 -LRB- but I 'm almost 7 -RRB- year old exploded . Posters of MAGICIANS on all the walls . Rachel darts about the room mismatching the clothes she forgot to arrange the night before .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Get Up Get Up Get Up!<\/dialogue>\n    <scene_description>The LUMP under the cover does n't move .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Ben you're late. I'm serious. I'm wearing a very serious face. Do n't make me start counting ONE.<\/dialogue>\n    <scene_description>No movement . Rachel tugs the sleeve of a shirt hanging on a chair , and out comes a magician 's bouquet of FLOWERS .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>TWO.<\/dialogue>\n    <scene_description>She pulls a dirty handkerchief out of the pocket of the shirt - it 's an endless MAGICIAN 'S HANDKERCHIEF .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Do n't make me say three I'm about to say three.<\/dialogue>\n    <parenthetical>( a beat , then . )<\/parenthetical>\n    <dialogue>Three!<\/dialogue>\n    <scene_description>She RIPS the covers off and a blow - up DINOSAUR sleeps in Ben 's place .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Ben I'm not kidding around. You make yourself appear this instant!<\/dialogue>\n    <scene_description>A WHITE BUNNY saunters across her toes . Rachel SCREAMS - then gathers her wits and searches under the bed - under the bureau - she opens the closet doors and shoving clothes aside .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You might think this is funny but this is actually NOT funny.<\/dialogue>\n    <scene_description>Unseen by Rachel , six - year - old BEN sits , perched on the highest closet shelf , knees under his chin , holding his breath . His eyes gleeful as Rachel frantically closes the closet door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - EARLY MORNING<\/stage_direction>\n    <scene_description>Rachel hops over the Bunny , navigates through strewn toys and books STUBBING her baby toe . She limps in agony past a big picture of the kids with their daddy and heads towards a door with a KEEP OUT EVERYONE ! sign .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( bellowing . )<\/parenthetical>\n    <dialogue>ANNABELLE! WAKE UP!<\/dialogue>\n    <scene_description>ANNABELLE 'S BEDROOM - EARLY MORNING ANNABELLE , 10 years old , sits on the edge of her bed , fuming , all of her limbs crossed . She holds up a filthy purple tee shirt .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>You forgot to wash my purple shirt. I told you a hundred times it was Purple Day at school today.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I did n't forget. I was up all night thinking about it and I concluded you're too special to look like everyone else.<\/dialogue>\n    <parenthetical>( she grabs an orangey red tee shirt . )<\/parenthetical>\n    <dialogue>Orange Red. That's your color. Few can carry it off. Now please. Help me find your brother.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>You lost Ben?!<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Of course not. Does he look lost to you?<\/dialogue>\n    <parenthetical>( big breath . )<\/parenthetical>\n    <dialogue>BENNNNN!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBURBAN EXTREMELY WELL-STOCKED KITCHEN - EARLY MORNING<\/stage_direction>\n    <scene_description>Rachel , smoking a cigarette and drinking a diet coke , FLINGS open pantry doors , closet doors - looking for Ben - attempting to put stone hard butter on toast at the same time . She glances at the clock - 7:55 . Oh dear . Annabelle sits at the table , in a grumpy orangey red mood . Rachel hands her what was once a piece of toast .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>No. I told you. I like apple butter not butter butter.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( hands her an apple . )<\/parenthetical>\n    <dialogue>Here.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>Never mind. I'll just eat my lunch.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( forgot . )<\/parenthetical>\n    <dialogue>I'm almost done making it.<\/dialogue>\n    <parenthetical>( to the non - existent Ben . )<\/parenthetical>\n    <dialogue>Alright Ben - you deal with the tardy, you write yourself a note, your daddy told you he had an important case this morning and he had to leave early and we were AAAAGGGGHHHH!<\/dialogue>\n    <scene_description>She has opened a cupboard with a Lazy Susan that turns revealing BEN sitting there . Rachel screams AGAIN !<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Oh my God. That is so not funny. You're late. You're really late. Now get out here and have some cereal.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Fine! Eat in the cupboard.<\/dialogue>\n    <scene_description>She hands him a bowl of sugared cereal - puts two spoonfuls of instant coffee in Barney cup , and sticks it under the faucet .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>No! Cocoa Puffs on Top - Fruit Loops on the bottom.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <scene_description>Rachel grabs the bowl , turn it UPSIDE DOWN on the table reversing the order of the cereal . She SWEEPS it back in the bowl and quickly hands it back to him , the phone RINGS THROUGHOUT .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>You touched it.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Then have a donut -<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Alright starve.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>I'm gon na beep daddy at work.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>He's badgering a witness. Eat.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>But you told us to starve.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( picking up phone . )<\/parenthetical>\n    <dialogue>Hello? Duncan. The Ad Agency's already there? I'm out the door.<\/dialogue>\n    <parenthetical>( Ben flings a fruit loop at her . )<\/parenthetical>\n    <dialogue>Ben! Knock it off!<\/dialogue>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>It's gon na go beautifully.<\/dialogue>\n    <parenthetical>( another fruit loop . )<\/parenthetical>\n    <dialogue>Damn it Ben -<\/dialogue>\n    <scene_description>Rachel runs around absentmindedly loading out leftover pizza , Hoho 's , and Chips . She glances at the clock again - 8:00 .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>You swore. You owe me a quarter. Did you remember my egg carton? I told you I needed my egg carton for seed planting today.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Absolutely Duncan I'm on top of everything.<\/dialogue>\n    <scene_description>Rachel takes the eggs from the fridge , and dumps them - accidentally missing the sink . They SHATTER onto the floor . She hands the empty carton to Annabelle .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>EGGzactly. I'm putting on my coat -.<\/dialogue>\n    <parenthetical>( she hangs up , panicked . )<\/parenthetical>\n    <dialogue>We are late. We are seriously late. Which means Mister Ben we've got to get you dressed -<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>Ben races away but Rachel LUNGES And CATCHES him . He wiggles in her arms as she struggles to change his clothes . Just as she gets his bottoms off she drops his clothes in the pile of gooey eggs when we hear a loud KNOCKING at the kitchen door . Holding a half naked Ben in her arms , Rachel looks up at . JACKIE HARRISON . An immaculately dressed , intimidatingly intel - ligent , utterly beautiful woman staring at her with extreme disapproval .<\/scene_description>\n    <character>ANNABELLE AND BEN<\/character>\n    <dialogue>Mommy!<\/dialogue>\n    <scene_description>Annabelle and Ben RACE into their mother 's arms like little angels . Jackie shoots a fiercely protective glare at Rachel . They LOCK eyes . Enough wattage to light up all of Manhattan .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RACHEL'S LOFT, SOHO - MORNING<\/stage_direction>\n    <scene_description>Jackie and the kids exit Rachel 's building , onto a bustling Soho street . The kids clamber into the double - parked Volvo wagon . Jackie , still pissed , climbs behind the wheel . Drives off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKIE'S VOLVO STATION WAGON - EARLY MORNING<\/stage_direction>\n    <scene_description>Jackie drives the children down a tree - lined street in Englewood , New Jersey . Ben is banging Jackie 's sunglasses case against the window .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>it's really not so bad Annabelle - Red and Blue make purple.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <parenthetical>( yes she does . )<\/parenthetical>\n    <dialogue>I do n't care.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>I know you do n't, but if you had, chrom - atically you are in the purple family.<\/dialogue>\n    <scene_description>Jackie fishes through her purse . Finds a toy airplane for Ben . He stops banging her glasses case , starts banging the plane .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Why does Rachel wear Daddy's underpants? Does n't she have underpants of her own?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>I noticed a whopping pile of laundry sitting on the washer - perhaps Rachel's underpants are in there - Now where are your lunches?<\/dialogue>\n    <scene_description>As if by rote , they hold out their lunches . One is a plastic Vons bag and the other a crumpled Macy 's bag . She collects them and hands Ben and Annabelle two brightly colored lunch bags .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Annabelle sucked her thumb last night.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>I NEVER do that, you ALWAYS lie!<\/dialogue>\n    <scene_description>And SLUGS him .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Never say ` never' - it's not fair to say ` always' - and no name calling. Use your words.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>I hate when you say that.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Thank you. Those were all words. I hate the planet Uranus. Terrible name for a planet.<\/dialogue>\n    <scene_description>Annabelle and Ben look up at her curiously .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I hate snails and blue cheese. Especially together. Hate.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>I have lava.<\/dialogue>\n    <character>JACKIE<\/character>\n    <parenthetical>( reflects . )<\/parenthetical>\n    <dialogue>Lava's hateable. I never thought of that.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>I hate overly ripe bananas - they make me want to throw up.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Excellent point.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>I hate wax lips and red ants and pretzels without salt.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>I hate the crayon Burnt Sienna and people who spit when they walk.<\/dialogue>\n    <scene_description>Jackie nods sagely . Pulls up next to a school playground .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I hate to say goodbye. Eskimo Kiss.<\/dialogue>\n    <parenthetical>( they rub noses . )<\/parenthetical>\n    <dialogue>Russian Orthodox Wedding Kiss.<\/dialogue>\n    <scene_description>They bump foreheads and elbows . Ben runs toward the kindergarten playground ; Jackie watches concerned as Annabelle climbs the steps . The only orangey red dot in a sea of purple .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PHOTOGRAPHY STUDIO, TRIBECA - MORNING<\/stage_direction>\n    <scene_description>Taxi pulls up to a converted warehouse . Rachel BOLTS out , SPRINTING for the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHOTOGRAPHY STUDIO - DAY<\/stage_direction>\n    <scene_description>Black and white FILLS the frame . Like a checkerboard . We PULL BACK and realize we are seeing a group of PENGUINS waddling against a black and white backdrop . We see a WHITE WAITRE 'D in a BLACK TUXEDO holding glasses on a tray . A BLACK MODEL , IMAN , in a WHITE DRESS glides through it all . In the center the only dash of color is Rachel - who has just entered and starts expertly directing the action . She calls out to her assistant , COOPER . Perpetually hip . Perpetually young .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Cooper, back the fill off I do n't have enough shadow.<\/dialogue>\n    <character>COOPER<\/character>\n    <dialogue>You've got a fruit loop in your hair.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You say that like I do n't know that.<\/dialogue>\n    <character>COOPER<\/character>\n    <dialogue>I once threw an entire bowl of jello on my stepmother's head -<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>And when did that pass?<\/dialogue>\n    <character>COOPER<\/character>\n    <dialogue>Actually, never. They'll always hate you. There's a gene for it.<\/dialogue>\n    <scene_description>DUNCAN SAMUELS - Rachel 's boss , an elegant , edgy , Englishman interrupts them .<\/scene_description>\n    <character>DUNCAN<\/character>\n    <dialogue>Congratulations. Only forty minutes late. You're handling this promotion really well Rachel.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Duncan. My work is everything to me. This'll never happen again. Now stand back - this session's gon na make you remember why you hired me even though I would n't sleep with you - Cooper let's get these penguins dancing -<\/dialogue>\n    <scene_description>Duncan backs off , charmed by her ballsiness . The music BLARES just then , and a penguin JUTS forward and NIPS the model . The FLASH of the camera . We FREEZE for a second , seeing the photo Rachel just took . An Avedonesque portrait of a model being GOOSED by a penguin COLLIDING with a maitre 'd who SPILLS his tray and the penguins seem to be POINTING and LAUGHING uproariously . It 's an inspired photo .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL COUNSELOR'S OFFICE - 2:30 THAT DAY<\/stage_direction>\n    <scene_description>Jackie and LUKE HARRISON - ruggedly handsome man , mid - forties , charming , disarming , and smart as they come . They sit side by side on a couch across from RUTH FRANKLIN , an Elementary School Counselor<\/scene_description>\n    <character>MRS. FRANKLIN<\/character>\n    <dialogue>Mr. and Mrs. Harrison, while change is exhilarating for adults, it can be quite challenging for a child.<\/dialogue>\n    <scene_description>Luke 's beeper beeps . He ignores it ; focuses on Mr. Franklin .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>I wo n't get that. It's fine. Change. we were talking about change.<\/dialogue>\n    <character>MRS. FRANKLIN<\/character>\n    <dialogue>The fact that you two are remarrying obviously has Annabelle overjoyed.<\/dialogue>\n    <parenthetical>( they look at her , dumbfounded . )<\/parenthetical>\n    <dialogue>And she's very excited about your move to Switzerland.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>She said we're getting remarried?<\/dialogue>\n    <scene_description>Suddenly - a long bell rings - Jackie STANDS UP , startled .<\/scene_description>\n    <character>MRS. FRANKLIN<\/character>\n    <dialogue>Only a fire drill. My concern is that Annabelle seems apathetic towards her work knowing she's leaving before the end of the semester.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Mrs. Franklin we're not -<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Planning on getting -<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Remarried. There is no move.<\/dialogue>\n    <character>MRS. FRANKLIN<\/character>\n    <parenthetical>( trying to appear unfazed . )<\/parenthetical>\n    <dialogue>Really? Well then my concern for -<\/dialogue>\n    <scene_description>Luke 's beeper BEEPS again . They talk right over Mrs. Franklin .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Are you here?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>I'm here.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Because you do n't really seem here.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>I'm here. I've got a case where they're this close to sequestering the jury but have I answered the goddamn thing?!<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Something's up wi.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>You think I did n't get that?<\/dialogue>\n    <scene_description>She cuts a look at Mrs. Franklin .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Excuse him. He never learned how to turn the darn thing off.<\/dialogue>\n    <scene_description>And reaches . Does it for him .<\/scene_description>\n    <character>MRS. FRANKLIN<\/character>\n    <dialogue>I'm wondering if there's anything going on at home that could be intensifying Annabelle's need to create this fantasy?<\/dialogue>\n    <scene_description>Long pause . Then suddenly they both start speaking AT ONCE .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>I've been with someone for quite some time, and did n't feel it was appropriate for her to move in too quickly. But after a lot of thought and careful discussion with her - and the kids I might add - she moved in last month.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Since our divorce Luke has seen a number of different women in three short years and without a lot of warning for the kids, he's now living with a woman half his age -<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Rachel's not half my age.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>We're not discussing your age.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Well, we're not discussing Rachel's age either.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>They want to be with you Luke, they go to your house to be with their father.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Jackie, they come to be part of my life. Rachel is part of that life.<\/dialogue>\n    <character>MRS. FRANKLIN<\/character>\n    <dialogue>Mr. Harrison, I hear you talking about your life, your needs, but are you really in touch with what Annabelle needs?<\/dialogue>\n    <character>JACKIE<\/character>\n    <parenthetical>( suddenly fierce . )<\/parenthetical>\n    <dialogue>This man would walk thru fire for Annabelle, gladly, any day of the week.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Napalm.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Except for last Thursday when Rachel forgot to pick them up -<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Jackie, she was five minutes late -<\/dialogue>\n    <character>MRS. FRANKLIN<\/character>\n    <dialogue>I'm wondering if Annabelle is responding to the underlying hostility that exists between Rachel and Mrs. Harrison.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Of course she's responding to it. You think it's easy for any of us? You think it's easy for Jackie to watch her kids being looked after by someone who has half the experience she does? Of course she's going to be hostile, irrational, and defensive.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Thank you Luke.<\/dialogue>\n    <scene_description>Mrs. Franklin does n't quite know what to say . The bell RINGS .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Thank you Mrs. Franklin. Jackie?<\/dialogue>\n    <parenthetical>( they get up . )<\/parenthetical>\n    <dialogue>This has been very valuable for us. And I'll have a serious talk with Annabelle tonight.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>It's Wednesday night. She's at my house. I'll talk to her.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>I'll call from work. We can have a conference call.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>You tried that last week and we were on hold forty - five minutes.<\/dialogue>\n    <scene_description>And they 're out the door . You can hear the fight as it echoes down the elementary school hallway .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL, ENGLEWOOD, NEW JERSEY - MOMENTS LATER<\/stage_direction>\n    <scene_description>Jackie and Luke exit the pleasant suburban school . Head for the parking area .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>You ask me that counselor's making a mountain out of a molehill.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>I'm worried.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Me too.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Luke, I need to switch next Friday for Thursday, so why do n't you take the weekend.<\/dialogue>\n    <parenthetical>( pointedly . )<\/parenthetical>\n    <dialogue>. that way you'll be there, and I'll pick up Monday, Tuesday, and Wednesday.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Fine. But I wanted to take the kids to work with me on Wednesday so I'll take Wednesday, and you can pick up that Thursday, Friday after soccer, and Saturday before riding.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Easy enough.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Good. Well. Take care.<\/dialogue>\n    <scene_description>As if on automatic pilot they move in to kiss each other goodbye then stop . Each takes a step back . 15 years of hellos and goodbyes . A beat . A wave . They head their separate ways .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JACKIE'S HOME - NIGHT<\/stage_direction>\n    <scene_description>Establishing shot of Jackie 's lovely home on its lovely street . Old trees . Comfortable front lawns . Safe and happy . A place to grow kids , dogs , probably walruses , even . We PUSH toward the warm glow from within this home .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKIE'S HOME - NIGHT<\/stage_direction>\n    <scene_description>Jackie setting the table . Annabelle recording the moment with her omnipresent VIDEO CAMERA .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>I did n't say that. Why would I say that?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Well Daddy and I were thinking that sometimes people tell a story about what they wish would happen.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>I do n't want that to happen. Why would I want that to happen?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Well you're telling your teachers and your friends -<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>Mass hysteria.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Maybe you're upset that Rachel moved in.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>I'm not upset. Why would I be upset?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Look if the truth is you do n't feel like talking about this right now that's fine. But do n't look me in the eye with a big smile on your face and lie to me. Cause there are only so many lies you're allowed to tell before it starts showing on your face. You wind up looking like.<\/dialogue>\n    <scene_description>She stops . It 's just too horrible .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>Like who?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Well, he's not president anymore, so why be petty.<\/dialogue>\n    <scene_description>Ben enters in white gloves and Jackie 's scarf .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Pick a card. Any card.<\/dialogue>\n    <scene_description>Jackie picks a card .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>It just slipped out.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>It happens.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>What happens when he loves Rachel more than us?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>That will never happen.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>Never say never you always say that. I'll bet daddy's mad at me now.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Queen of diamonds.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Seven of clubs. Nobody's mad we just want to talk about it.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>I'm gon na call him.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Annabelle, daddy and I will always be there. That's one time always is always. You can call him after dinner but.<\/dialogue>\n    <scene_description>Annabelle RUNS out of the room . Jackie watches her sadly . Ben hits Jackie hard with his magic wand .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Poof! You're happy now.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Thank you Ben.<\/dialogue>\n    <parenthetical>( unhappily . )<\/parenthetical>\n    <dialogue>Annabelle!<\/dialogue>\n    <scene_description>Ben finds himself alone in the kitchen . He hits himself on the head , hard . Poof ! He begins to serve himself dinner . Alone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RESTAURANT, SOHO - NIGHT<\/stage_direction>\n    <scene_description>Rachel and Luke exit a neighborhood bistro . Stroll down the street .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( irritated . )<\/parenthetical>\n    <dialogue>Okay, if they're going to have a sauce, put something in it besides flour and chicken broth.<\/dialogue>\n    <character>LUKE<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>It was a veal stock, I thi.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Well, it was n't a reduction like you do it! Boiling down half a ton of bones.<\/dialogue>\n    <scene_description>Luke is thinking of something . She 's watching that .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>The way you cook. If you could make love, I'd marry you.<\/dialogue>\n    <character>LUKE<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>We have to talk.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( happy . )<\/parenthetical>\n    <dialogue>Uh - oh. I mention marriage, all of a sudden.<\/dialogue>\n    <parenthetical>( ominous Nazi Baritone . )<\/parenthetical>\n    <dialogue>Ve haff to ta.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>I did n't want to spoil our supper.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You'd rather spoil our walk home.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Yeh, it's cheaper.<\/dialogue>\n    <scene_description>Okay , what ?<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>I just found out I have to go to Boston to get a deposition. I might not be back until Saturday.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( mock horror . )<\/parenthetical>\n    <dialogue>So I'll have to order in?<\/dialogue>\n    <character>LUKE<\/character>\n    <parenthetical>( dropping the other shoe . )<\/parenthetical>\n    <dialogue>We have the kids this weekend, so.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Jesus.<\/dialogue>\n    <scene_description>He glances over .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I thought it was her weekend. Do I ever see you alone?<\/dialogue>\n    <scene_description>He draws a breath . The concern is behind his eyes .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Anyway, I thought. while I'm gone. maybe I'll hire in some help.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>For what?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Just a babysitter - I mean. you're working.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I can take them to work with me - I can shift things around -<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>You do n't need to. I do n't expect you to handle them yourself.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Ca n't handle them myself is what you mean. Ca n't.<\/dialogue>\n    <scene_description>Maybe she 's right . Because he does n't say anything .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You do n't trust me to be alone with them.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>I trust you of course I do but -<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>But? But what?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>But you're not good at this. Not yet. I'm sorry.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I know how responsible, caring adults parent children. I'm bribe'em. But'em a dog or something. Maybe a Doberman.<\/dialogue>\n    <scene_description>He loves her . But this problem is real .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Look. I know they hate me.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>They do n't hate you -<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>And what you're telling them is keep hating her - keep up the good work -<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Nobody's telling them to hate you -<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Really? Look in your ex - wife's eyes.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>It's complicated for Jackie. It's complicated for me. You do n't have kids - you do n't understand -<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( angry now . )<\/parenthetical>\n    <dialogue>Oh right. So it's just complicated for you and Jackie - for me it's pretty simple cause I just do n't understand.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>No you do n't. And I'm not gon na screw with my kids heads right now -<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You know I do n't need another person in this family making me feel like an idiot. your ex - wife's doing a bang up job and I have to face it every Tuesday and Thursday and every other goddamn weekend and I just do n't know how the hell you were married to her for so goddamn long! Jesus what did you see in her? I do n't get it - I just do n't get it.<\/dialogue>\n    <scene_description>They 've reached their building . As they enter .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>She's a great mother.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RACHEL'S AND LUKE'S LOFT - NIGHT<\/stage_direction>\n    <scene_description>The door of the freight elevator CLANGS open . As Rachel and Luke step out into their loft , the phone is RINGING . She looks to Luke . Then RUNS to SNATCH it up .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>INTERCUT : INT . ANNABELLE 'S CLOSET - JACKIE 'S HOUSE Annabelle with a phone in her closet . Hearing Rachel , she hangs up . A pink POST IT creeps under the door . CAN I JOIN YOU FOR DESSERT IN THE CLOSET ? VANILLA OR CHOCOLATE YOGURT . PLEASE CHECK ONE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RACHEL'S AND LUKE'S LOFT - FRIDAY NIGHT<\/stage_direction>\n    <scene_description>The most beautiful little puppy in the world - sitting in a puddle of pee on a hardwood floor .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Aw George. not again. who wants to help clean up this time?<\/dialogue>\n    <parenthetical>( overly zealous . )<\/parenthetical>\n    <dialogue>Annabelle?<\/dialogue>\n    <scene_description>She looks around - completely exhausted . It 's late . Annabelle is video taping the dog pee . Ben 's in the kitchen talking to himself . He pours and sprinkles , working intently on a MAGIC POTION .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>Why do you make that face when you talk to me?<\/dialogue>\n    <parenthetical>( she imitates Rachel . )<\/parenthetical>\n    <dialogue>And that voice you use. you think I'm deaf or something?<\/dialogue>\n    <scene_description>Ben ZAPS the magic potion theatrically with his fingertips .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( reaching for her . )<\/parenthetical>\n    <dialogue>I'm sorry, okay? Let's not fi.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>Do n't touch me! I'm allergic to you!<\/dialogue>\n    <scene_description>She starts sneezing furiously and scratching . Ben comes out of the kitchen carrying a steaming cup of potion .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>`` Those who travel far and near this will make you DISAPPEAR!''<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>I have to work on my video project! Do n't follow me! I can put myself to bed.<\/dialogue>\n    <scene_description>She races upstairs . Rachel follows . So does Ben . And George .<\/scene_description>\n    <character>BEN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Excuse me -<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( following into Annabelle 's room . )<\/parenthetical>\n    <dialogue>Annabelle let's get something clear.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>I do n't have to listen to you! You're not my mother.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Thank God for that!<\/dialogue>\n    <scene_description>She leaves the room SLAMMING the door behind her . Takes a breath , turns , and walks back in .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>What I meant and perhaps I did n't say it well was you have a great mom. You do n't need another one. But when you're at this house -<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>This is my daddy's house -<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>This is my house too!<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>And this is my room so get out!<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Excuse me.<\/dialogue>\n    <scene_description>Rachel throws open the door . Ben stands there innocently .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I made you some cocoa. See?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Thank you Ben. That was so sweet of you.<\/dialogue>\n    <parenthetical>( pointedly to Annabelle . )<\/parenthetical>\n    <dialogue>Goodnight Annabelle. Sweet dreams.<\/dialogue>\n    <scene_description>Rachel leads Ben to his room . With Rachel safe out of sight , Annabelle takes the puppy into her arms and cuddles it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEN'S ROOM - RACHEL'S AND LUKE'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Rachel , dead on his feet , reads `` Goodnight Moon '' to Ben .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>`` In the great green room there was a telephone and a red balloon.''<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Are n't you going to drink your cocoa? It's the good kind.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( faking a big sip . )<\/parenthetical>\n    <dialogue>Mmmm! Tasty. You're a master chef Ben. Just like your dad.<\/dialogue>\n    <scene_description>Ben points to the book - she ` reads ' skipping pages , a hundred miles an hour desperate to get to the end of the book .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>`` Goodnight moon, goodnight hush, goodnight mush, goodnight goodnight goodnight Gracie - Goodnight Ben!<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>No! You're cheating - you have to start from the beginning and you have to read the whole thing I ca n't sleep otherwise.<\/dialogue>\n    <scene_description>Ben 's eyes are glued to her . She lays down next to him , yawns .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>`` In the great green room there was a telephone and a red balloon.''<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>`` And a picture of the cow jumping over the moon.''<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( laying head down . )<\/parenthetical>\n    <dialogue>That's nice Ben.<\/dialogue>\n    <scene_description>Ben reads until Rachel 's asleep . He looks at her in AWE .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Rachel! Rachel!<\/dialogue>\n    <scene_description>No response . Rachel 's really asleep . He lifts her head . It flops down ! In HORROR he jumps off the bed and with a quick look back , races from the room , and . DARTS down the hallway , BUMPING into walls - He LEAPS inside Annabelle 's room , SLAMMING the door behind him .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>Ben! What's wrong?<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>( triumphantly . )<\/parenthetical>\n    <dialogue>I killed her!<\/dialogue>\n    <scene_description>Ben and Annabelle gape at one another , stunned .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JACKIE'S HOUSE - MORNING<\/stage_direction>\n    <scene_description>Rachel pulls up FAST in Luke 's Grand Cherokee . As she SCREECHES to a stop , the kids pile out with their gear . Rachel takes an anxious look toward Jackie 's place . Here we go .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKIE'S KITCHEN - MORNING<\/stage_direction>\n    <scene_description>The clock reads 8:10 . Rachel and the kids enter . Annabelle 's hair is brushed forward , hiding her face . Ben is ebullient . Jackie 's edgy , ready to snap .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>How do you hold down a job? It's 8:10. You were supposed to be here at 7:00. She's missed her sunrise Groom'n Ride.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>This is Friday, her riding lesson is on Tuesdays.<\/dialogue>\n    <parenthetical>( pulls out post it . )<\/parenthetical>\n    <dialogue>I got it right here.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Every Tuesday except the 3rd Tuesday of the month when it's switched to Friday except in April when she rides on Thursday. It's not that hard. Did n't you have a mother?<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( flinching . )<\/parenthetical>\n    <dialogue>Can I please have a cup of coffee?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>We do n't have any coffee.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>What is this? The Betty Ford Center?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Annabelle, how's your video rep.<\/dialogue>\n    <scene_description>Annabelle RUSHES past her . Ben saunters off after his sister . Jackie turns to Rachel , accusingly .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>What happened with Annabelle? Has nothing I said gotten through to you?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Maybe you could back off just a little bit -<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>What did you do?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Nothing. Look, I want to talk to you about. well. Luke said to ask you.<\/dialogue>\n    <scene_description>Jackie 's edge sharpened by Rachel 's unease .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>See, the place where I can connect with Annabelle is my photography. Because she loves video and all.<\/dialogue>\n    <scene_description>And ?<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>She's been talking about this little editing machine, it's only.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>a ridiculously expensive and inappropriate item, which her father and I have already told her she is far too young to own. But you apparently want to buy her forgiveness, with.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( had enough . )<\/parenthetical>\n    <dialogue>Forgiveness? For what, exactly?<\/dialogue>\n    <scene_description>Silence .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>How much time have you got? Let's start with this morning. Why did she run from this room?<\/dialogue>\n    <scene_description>Long beat . Then , Rachel looks dead on at Jackie .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Luke was in the shower this morning and Annabelle sort of walked in without knocking.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>I'm sure that did n't upset her. Everyone in our family takes showers.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I was in there in him.<\/dialogue>\n    <scene_description>The air is thick with tension .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Did you or Luke talk to her about it afterwards?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>No. I thought it might be uncomfortable for her -<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>You mean for you. A 10 - year - old girl is coping with the fact that her father is never coming back to live with his family. She sees her father naked with another woman for the first time. And you think it's best for her if every - one pretends it did n't happen?<\/dialogue>\n    <parenthetical>( turning away . )<\/parenthetical>\n    <dialogue>This is n't going to work out.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You're damn right. I'm gon na sick of your imperious bullshit. I never said I was Betty Fucking Crocker. If every time life hits her in the face you want to have a 12 hour talk every third Friday or the month - go ahead! I have a life!<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Oh and I do n't because I have a children?! The problem is you're too self - involved to ever be a mother.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Maybe the problem is your kids. Maybe they're spoiled, coddled brats!<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Get out!<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( holding up Post Its . )<\/parenthetical>\n    <dialogue>But it's not on the schedule!<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>You got to hell!<\/dialogue>\n    <scene_description>Jackie turns away , storming out of the room .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Ah Ah Ah! You owe me a quarter -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. YMCA KITCHEN - DAY<\/stage_direction>\n    <scene_description>Luke stands in an apron before Annabelle 's Girl Scout Troop , rolling out a large pie dough . They imitate his every move .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Now Ladies, the secrets to a great pie is the crust. And the secret to a great flaky pie crust comes from less flour and more. what?<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>Ice cold water.<\/dialogue>\n    <character>LUKE<\/character>\n    <parenthetical>( adoringly . )<\/parenthetical>\n    <dialogue>That's my girl.<\/dialogue>\n    <scene_description>Rachel watches from a corner .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Blueberry pie must be topped with vanilla Haagan Daz and\/or creme fraiche. now the secret to a great creme fraiche is.<\/dialogue>\n    <character>ALL THE GIRLS<\/character>\n    <dialogue>Orange peel!<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>which also is the secret to.<\/dialogue>\n    <character>ALL THE GIRLS<\/character>\n    <dialogue>French toast!<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Now do n't forget to teach your fathers that. Next week. apple brown betty!<\/dialogue>\n    <scene_description>He takes off his apron and walks toward Rachel as the girls file out .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>She said no.<\/dialogue>\n    <scene_description>He does n't even know what she 's talking about .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>The editing machine. I mean, Annabelle would have really loved it.<\/dialogue>\n    <scene_description>She looks down .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>It would have been great for us, so obviously, Jackie just.<\/dialogue>\n    <scene_description>Eyes down . Choosing her words .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>She's really a difficult person.<\/dialogue>\n    <scene_description>Looks up .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Best thing ever happened to you was her throwing you out on your butt.<\/dialogue>\n    <scene_description>An afterthought .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Not that I have a personal stake in it.<\/dialogue>\n    <scene_description>He comes and kisses her .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Get ready. To get really mad.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Uh. Annabelle's video report has been switched again.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Not yet.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Hey, I sold my body to Satan to clear Friday at two o'clo.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>We have the kids. Next weekend.<\/dialogue>\n    <scene_description>WHAT ?<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>And it's my call. I promised them water - skiing, instead o.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( quiet pain . )<\/parenthetical>\n    <dialogue>Our weekend. At that sweet little B &amp; B.<\/dialogue>\n    <scene_description>He puts his arms around her .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>And the evil part is. I am so stoked about the water - skiing. I ca n't wait.<\/dialogue>\n    <scene_description>He tastes her mouth . And again . A sweet , hot moment . Her fingers trace up his neck . To his hair .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>No, this is good. Celibacy is healthy. For a guy your age. You'll get used to it.<\/dialogue>\n    <scene_description>From the kiss that follows . He wo n't have to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKIE'S KITCHEN - DAY<\/stage_direction>\n    <scene_description>CLOSE ON an ANSWERING MACHINE . IT CLICKS , WHIRLS , and .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hi, it's the trophy bimbo. Annabelle's teacher called, and her video report is being moved up to 8:30 tomorrow. Sorry to deprive your step aerobics class of their role model.<\/dialogue>\n    <scene_description>Pause . PULL BACK to see .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Anyway. I'm sorry I lost my temper the other day. And I'm sure you are, too, so.<\/dialogue>\n    <scene_description>BEN , looming over the hardware . Fingers poised above the buttons , and he .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>no, apology necessa.<\/dialogue>\n    <scene_description>strikes ! Playing all the keys at once . Like chords on a baby grand .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLASSROOM - MORNING<\/stage_direction>\n    <scene_description>CLOSE on a small TV MONITOR , the angelic face of 10 - year - old TAMARA , practicing for the Miss America Diplomatic Interview , circa 2009 .<\/scene_description>\n    <character>TAMARA<\/character>\n    <dialogue>Well, I I had a million dollars. I would use it to. feed all the precious hungry children of the world. And bring about total world peace.<\/dialogue>\n    <scene_description>PULL BACK to see the class and teacher watching raptly . Filmmaker Annabelle in the seat of honor next to her proud father . Rachel in the back of the room , anxiously looking at the back door . While on screen . another face . JARED , bad as he wan na be .<\/scene_description>\n    <character>JARED<\/character>\n    <dialogue>A million big ones. Oh. I'd buy about a thousand babes. Not to do anything bad, I mean. Just to hang with.<\/dialogue>\n    <scene_description>Near the monitor , Annabelle 's eyes are also furtively cutting to the classroom 's back door . On screen now . the handsomest 10 - year - old since DiCaprio . BRAD the Dreamboat . Stares soulfully at the camera . Murmurs .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Well, first off, Annabelle. I'd give half of it. To you.<\/dialogue>\n    <scene_description>The class OOOOOS , WHISTLES . Annabelle flushes , but she clearly likes it . Brad grins a Redford grin her way . And through the back door BURSTS . a harried , disheveled JACKIE . Still in workout clothes . As on screen .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>There you have it. Now ask yourself. what would YOU do?<\/dialogue>\n    <scene_description>The screen goes BLACK . The class , teacher and especially Luke ERUPT with APPLAUSE . So does Jackie , who has locked eyes across the room with her mortally - wounded abandoned daughter . Then Jackie 's eyes CUT TO . Rachel , a deer in headlights . Death by Army ants would be too kind .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL HALLWAY<\/stage_direction>\n    <scene_description>Annabelle , Luke and Jackie GLARING at Rachel , who looks awkwardly at her feet . KIDS stream past , unaware of the gravity of the moment .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Machines do not EAT message.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Look, I.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Of all the cheap excuses. To break a child's heart.<\/dialogue>\n    <scene_description>The jury is in . There is no appeal . Jackie takes her daughter 's hand .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Do n't worry, sweetie, there's still the Harvest Pageant. And you are the lead vegetable.<\/dialogue>\n    <scene_description>Said with bottomless pride .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>And nothing. And no one. Can keep me away.<\/dialogue>\n    <scene_description>One laser look at Luke . This bitch is your responsibility . And she leads her baby off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JACKIE'S HOUSE - DAY<\/stage_direction>\n    <scene_description>A parked VAN , packed with SNOWBOARDS and ski gear . No people . PAN across the suburban lawn to . Luke , dejected , at Jackie 's door . Rachel nearby , still peers into the window of an unlit , empty house . A cellular phone RINGS . Luke WHIPS it out , like the Governor 's pardon hangs in the balance .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( O.S. , from carphone . )<\/parenthetical>\n    <dialogue>You paged us?<\/dialogue>\n    <character>LUKE<\/character>\n    <parenthetical>( distraught . )<\/parenthetical>\n    <dialogue>Where are you?<\/dialogue>\n    <scene_description>INTERCUT throughout . Jackie on her cellular , herding the kids toward a CIRCUS TENT .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Just outside the big top, we're almo.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>You're WHERE?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>At the Big Apple Circus, it's the only big top I know. I said I'd get'em back tonight.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Jackie, we were taking them water - skiing for the whole weekend!<\/dialogue>\n    <character>JACKIE<\/character>\n    <parenthetical>( innocent . )<\/parenthetical>\n    <dialogue>. until the plan changed, when Jessie's mom gave us these tickets. What, Rachel. ` forgot' I told her?<\/dialogue>\n    <scene_description>Luke 's eyes DART to an uncomprehended Rachel . She 's never seen him this angry .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Do n't tell me. Another machine ate another message? Boy, there's a lot of that going around! Put her on, huh?<\/dialogue>\n    <scene_description>A beat . He hands the phone to Rachel . She brings it to her ear .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Yeh?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Think twice. Before you ever pull that again.<\/dialogue>\n    <scene_description>CLICK . The line is dead . And so is Rachel .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL PARK CASTLE - DAY<\/stage_direction>\n    <scene_description>A glum Annabelle and Ben sitting on a bench watching Rachel at her photo shoot , George between them . A beautiful WOMAN appears in the turret - she lets down her hair - a modern day RAPUNZEL - her golden locks fall 17 feet - now a BURST of yellow - as a hundred YELLOW CANARIES fly out from her mane ! A beautiful MAN begins to CLIMB the hair . FLASH ! The man DANGLING in mid air surrounded by canaries . Rachel works with intense concentration . It 's been hours . Annabelle and Ben are completely bored .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( to Cooper . )<\/parenthetical>\n    <dialogue>The timing was off - I need this light.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <parenthetical>( to herself . )<\/parenthetical>\n    <dialogue>Just where I wan na be all Saturd.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( to everyone . )<\/parenthetical>\n    <dialogue>Hold lunch!<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>But we're hungry - and I have to pick up my costume for the pageant! It starts at seven!<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>It's only one o'clock. Why do n't you get another Fudgesicle - I'll be done soon - really soon.<\/dialogue>\n    <scene_description>Annabelle and Ben . Rolling their eyes . LATER . Annabelle asleep on the bench . Rachel stands over her , a canary on her finger .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Lunch time Sleeping Beauty. Where's Ben? Is he in the bathroom?<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>I do n't know. I feel like I'm gon na throw up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARK MEN'S ROOM<\/stage_direction>\n    <scene_description>Annabelle stands with Rachel by a line of empty urinals .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>What if he's kidnapped?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>He's not kidnapped he's - he's just hiding - he's just - BENNNN? GODDAMMIT!<\/dialogue>\n    <scene_description>Panicked , she grabs Annabelle 's hand .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>Do n't touch me! You bring bad luck!<\/dialogue>\n    <scene_description>Rachel . Starting to believe it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CASTLE TOWER - MOMENTS LATER<\/stage_direction>\n    <scene_description>Breathless , Annabelle and Rachel CLIMB the castle stairs when they hear WHIMPERING - Rachel follows the whimpering - RUNNING -<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Ben! Ben we're here! BEN!<\/dialogue>\n    <scene_description>In the corner of the tower we see GEORGE staring up at her . But Ben is NOWHERE to be found .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>He's gone forever and I'm gon na miss the pageant.<\/dialogue>\n    <scene_description>Rachel once more . Her life flashing before her eyes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE STATION, CENTRAL PARK - LATER<\/stage_direction>\n    <scene_description>Jackie BLASTS up in the Volvo , SLAMS to a stop in a non - spot , RACES into .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - DAY<\/stage_direction>\n    <scene_description>Jackie RUNS through the police station moving down corridors past desks until she sees BEN sitting with TWO POLICEMEN on a bench . She holds him to her chest , shaking .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Ben! Oh my Ben! Are you alright?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>I knew where I was all the time.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - THAT EVENING<\/stage_direction>\n    <scene_description>Ben sits between Jackie and Luke holding each of their hands . Rachel sits on the other side of Luke ; all waiting for the Harvest Pageant to begin . It 's horribly tense .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( sincerely . )<\/parenthetical>\n    <dialogue>Jackie? I am so sorry about today I really fucked up royalty. When you called Luke I was so goddamn relieved -<\/dialogue>\n    <scene_description>Luke elbows her with an `` We 're in an Elementary School '' elbow .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>No I did - I know I did - I screwed up. I feel like such an asshole.<\/dialogue>\n    <scene_description>Jackie lifts Ben onto her lap , holding him tightly . She turns and faces Rachel , claws bared .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Shhhhhh!<\/dialogue>\n    <scene_description>The lights go down . They sit pretending the other is not there . On stage - The class is dressed as the harvest PRODUCE . Annabelle is the CORN . Each FOOD DISH steps forward and introduces itself . Annabelle rehearing her line over and over .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>`` Hello! I am Maze. But you can call me Corn. Hello! I am.''<\/dialogue>\n    <scene_description>Inside her costume , her breathing is sharp . She stands very straight , very bold . A brazen ear of corn . She steps forward .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>`` Hello! I am.<\/dialogue>\n    <scene_description>Rachel POPS UP next to the stage with her huge PROFESSIONAL CAMERA and giant flash . Her camera FLASHES three times , quickly . After each flash , we see the picture for a split second , Annabelle . A TERRIFIED ear of corn . A LOST ear of corn .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <parenthetical>( blinks , disoriented . )<\/parenthetical>\n    <dialogue>Um. I'm. I'm. Oh.<\/dialogue>\n    <scene_description>In the audience , Jackie is willing her daughter a recovery . Sees instead , a completely DEVASTATED ear of corn .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <parenthetical>( exploding in tears . )<\/parenthetical>\n    <dialogue>Oh forget it!<\/dialogue>\n    <scene_description>She runs offstage amidst laughter and applause . Luke looks over at Jackie but she and Ben have already left their seats .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AUDITORIUM FOYER - NIGHT<\/stage_direction>\n    <scene_description>Jackie comforts Annabelle . Ben watches closely , getting caught up in his sister 's sadness . Luke and Rachel approach .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>I hate her. I really hate her.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>There you are!<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <parenthetical>( covering her face . )<\/parenthetical>\n    <dialogue>Do n't take my picture!<\/dialogue>\n    <scene_description>She starts to cry . Ben 's lip quivers , his eyes well up .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Annabelle does n't really want to talk to you right now.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I'm sorry I did n't mean to break your concentration. I thought it would be a nice moment to rememb.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>I do n't ever want to remember this!<\/dialogue>\n    <scene_description>A TURKEY approaches .<\/scene_description>\n    <character>TURKEY<\/character>\n    <dialogue>They're taking a picture of the Produce, we need the Corn. C'mon Annabelle.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>See? No one's laughing at you. Your friends want you to join them, Anna - belle. Corn is a very important part of the Harvest Produce. Now Ben, walk your sister over to the Yams.<\/dialogue>\n    <scene_description>Ben takes Annabelle 's hand . When they are gone .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Jackie, if I thought for one moment.<\/dialogue>\n    <character>JACKIE<\/character>\n    <parenthetical>( lighting into Luke . )<\/parenthetical>\n    <dialogue>You listen carefully because I am only going to say this once. That woman has nothing more to do with my children.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Our children.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Do you realize what could have hap - pened to your son today? How lucky we are the police found him before some lunatic did? He could have been.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>But he has n't. He wandered off. I know it's terrifying. I can imagine how you felt when that call came - But it happens.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Not to me.<\/dialogue>\n    <character>LUKE<\/character>\n    <parenthetical>( soft , reasonable . )<\/parenthetical>\n    <dialogue>Jackie, you've made mistakes - We all make mistakes -<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>I'm not gon na wait around to see the next one. I'm not gon na watch my kids fall through the cracks of this arrangement. I'm seeing a lawyer.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Jackie stop. We promised we never go there.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>We've broken a lot of promises, have n't we Luke?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Why are you taking this out on him?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Rache, get out of th.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( still to Jackie . )<\/parenthetical>\n    <dialogue>You have n't done one goddam thing to make any of this easier.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>I am not here to make it easier for you. These are my children. They do n't want to be with you.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Well, maybe they would if they thought it was okay, with y.<\/dialogue>\n    <character>JACKIE<\/character>\n    <parenthetical>( poking Luke 's chest . )<\/parenthetical>\n    <dialogue>A court order is gon na say that woman is never alone with my children! Ever again! Do you HEAR that?<\/dialogue>\n    <scene_description>All of New Jersey heard that . On the silence that follows , she stalks off . The mother lion . Doing what she has to do .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NORTH VALE STABLES - DAY<\/stage_direction>\n    <scene_description>Jackie and her children ride HORSES side by side through a perfect Fall afternoon . Our riders look about alertly , as if patrolling enemy territory .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>Guinevere, Godiva, I sense enemy sol.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>I do n't want to be Lady Godiva anymore, no matter how much I like chocolate. I want to be a stud.<\/dialogue>\n    <scene_description>In distance , a gaggle of GROUNDSKEEPERS . Jackie points these out to Ben , without missing a beat .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Lord Nelson, Napoleon's troops. I fear for the women and the property values.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>I'll ride ahead. Nelson, protect the Queen.<\/dialogue>\n    <scene_description>And she canters off , blood in her eye . Alone now with his mom , Ben has something serious on his mind .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Mommy? It's not Rachel's fault I ran away.<\/dialogue>\n    <character>JACKIE<\/character>\n    <parenthetical>( does n't turn . )<\/parenthetical>\n    <dialogue>No, that's your fault. It's her fault for not watching over my precious son, as if it were her priority. Which means, the most important job.<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>( thinks about this . )<\/parenthetical>\n    <dialogue>Rachel's job is she works.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Ben, mommies work too. They work very hard. Mommy works harder as a mom than she did when she was working. I just do n't get paid.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Does Rachel make a lot of money?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>People like Rachel who only think about themselves often do make a lot of money.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>I think she's pretty, Mommy.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Yes. if you like big hair.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Mommy?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>What honey?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>If you want me to hate her I will.<\/dialogue>\n    <scene_description>On Jackie . Stunned . Her lips part for an answer . But she has n't got one .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JACKIE'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Luke pacing around on the path through Jackie 's front lawn . Jackie exits the house , alone . Stands on the porch . And they stare at each other .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>You know, you can come inside the house.<\/dialogue>\n    <scene_description>He looks at the end of his rope . She walks down to him .<\/scene_description>\n    <character>LUKE<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>Did you see the lawyer?<\/dialogue>\n    <scene_description>Oh . Well .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Called him. We set an ap.<\/dialogue>\n    <character>LUKE<\/character>\n    <parenthetical>( almost a whisper . )<\/parenthetical>\n    <dialogue>Do n't do this.<\/dialogue>\n    <scene_description>So vulnerable . The air comes out of her . We see how much she still cares for this man .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>You're saying, do n't make the kids a football, do n't put them through a war. But I'm doing this for their well - being.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Partly. But partly, you're mad.<\/dialogue>\n    <scene_description>Staring . At each other .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>You know the kids are n't really in danger. This is about Rachel, and you're right, I'm disappointed in her learning curve, and.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Slugs. Have faster learning curves. Trees, even.<\/dialogue>\n    <scene_description>He takes a breath .<\/scene_description>\n    <character>LUKE<\/character>\n    <parenthetical>( here it is . )<\/parenthetical>\n    <dialogue>I'm afraid she's going to walk.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>And I'm supposed to care.<\/dialogue>\n    <scene_description>He reaches out . Takes her hands .<\/scene_description>\n    <character>LUKE<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>About me, yeh. Like I care about you.<\/dialogue>\n    <scene_description>She looks in his eyes .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Like you cared about me three years ago?<\/dialogue>\n    <scene_description>He shrugs . Looks saddened by that .<\/scene_description>\n    <character>LUKE<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Hey. You kicked me out.<\/dialogue>\n    <scene_description>And just this once . With all that 's happened . Jackie needs to say .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Maybe you should talk to your daughter, about why. She seems to have missed that part.<\/dialogue>\n    <scene_description>Now he looks ashamed . And sorry from his heart .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Forget I said that.<\/dialogue>\n    <scene_description>He has to tell her .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>This thing with Rache. I need this. I do n't want to lose her. And I will see to it that the kids do n't suffer. Help me, huh?<\/dialogue>\n    <scene_description>Help me .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>I'd do it for you.<\/dialogue>\n    <scene_description>Yes , he would . Despite everything , she knows that .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>One last chance, do n't make me regret it.<\/dialogue>\n    <scene_description>Her voice tried to be tough . But the tension showed through .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>or you will, too.<\/dialogue>\n    <scene_description>A last look . She walks slowly . Back toward the house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAR POOL LINE, ELEMENTARY SCHOOL - AFTERNOON<\/stage_direction>\n    <scene_description>The last cars are pulling away . No kids left , except the ones shooting hoops . Except . On the low brick ledge by the flag pole . Annabelle sits . Alone . Quietly freaking .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RACHEL'S STUDIO - AFTERNOON<\/stage_direction>\n    <scene_description>Rachel and Cooper sit on a bare floor SURROUNDED by countless PROOFS of FLYING CANARIES . An assistant brings a cell phone to Rachel , who holds it in place with her shoulder , as she frantically sorts through the prints .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>. no, no, that is not possible. You must have the wrong little gir.<\/dialogue>\n    <scene_description>Stops .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>. because Annabelle's mother never forgets, is never late, is never imperfect. So that's some other kid sitting on the curb by the car pool li.<\/dialogue>\n    <scene_description>Listen . All the air comes out . She looks around , sadly , at all the work surrounding her .<\/scene_description>\n    <character>COOPER<\/character>\n    <dialogue>May I remind you that Duncan has the client arriving at exac.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Sure. I was just doin' my nails.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RADIOLOGY LAB - AFTERNOON<\/stage_direction>\n    <scene_description>A cavernous sterile room . A horrible METALLIC HAMMERING sound . PAN to see that it comes from . a white cylindrical TUBE . Bare feet protrude . An MRI is in progress . The sound stops . The body SLIDES from the tube , a woman in a hospital gown . She is Jackie . She blinks at the light . Her eyes are drawn , a million miles away . A lot on her mind . A TECHNICIAN enters the room .<\/scene_description>\n    <character>TECHNICIAN<\/character>\n    <dialogue>Your paper went off during the procedure. Do you want the number?<\/dialogue>\n    <scene_description>Jackie turns , suddenly focusing .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Wait. what time is it?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRINCIPAL'S OFFICE - AFTERNOON<\/stage_direction>\n    <scene_description>Annabelle sits glumly , refusing to eat some chips from the bag in Rachel 's hand . Rachel 's voice is low , soothing . Dare we say , maternal .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Hey, sea salt and vinegar, I know this is your fave.<\/dialogue>\n    <scene_description>Annabelle keeps her eyes down . This is more than a sulk . She seems fairly unglued .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>C'mon, these are the Bomb, I prom.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>Now could she just. forget me!<\/dialogue>\n    <scene_description>Looks up . Eyes desperate .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>I mean, that's something you would do!<\/dialogue>\n    <scene_description>Rachel stares back . Eats a chip . Decides .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Tell ya the truth? I did.<\/dialogue>\n    <scene_description>The kid blinks . A non - compute .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Your mom had to. help a friend with this. emergency? And she called me. And we switched days. Then, I got stuck on my shoot, and.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>MOMMY!<\/dialogue>\n    <scene_description>Rachel WHIRLS to see JACKIE filling the doorway , Annabelle flying to her mother 's arms . The women 's eyes meet . How much did she hear ?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKIE'S BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>Jackie brushing out Annabelle 's hair . Jackie 's eyes are distant . Annabelle watching in the mirror .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>Are you worried about your friend? With the emergency?<\/dialogue>\n    <scene_description>Jackie 's eyes come back to focus . Hmmn ?<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Oh, I'm waiting on some news, that's all. Say. Can I ask you why you never asked me something you probably asked Daddy anyway?<\/dialogue>\n    <scene_description>And she smiles . Real carefree . So Annabelle smiles back .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>You can try.<\/dialogue>\n    <scene_description>More brushing . Gentler , slower strokes .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Daddy was washing Rachel. In the shower. What did you think that was about?<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>Sex. Of course.<\/dialogue>\n    <scene_description>Oh .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Well, not exactly s.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>Why does Rachel scream?<\/dialogue>\n    <scene_description>Does she mean what Jackie thinks she means ?<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Scream.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>During sex.<\/dialogue>\n    <scene_description>Oh . Again .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>How would you know sh.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>I live. In the same country.<\/dialogue>\n    <scene_description>Her mother laughs . Encouraged .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <parenthetical>( imitating . )<\/parenthetical>\n    <dialogue>Oh God oh God Oh God oh God oh God Oh.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>why do you think?<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>Because it feels really incredibly good.<\/dialogue>\n    <scene_description>Jackie moves around . Leans to stare in her eyes .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>So why are you asking me?<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>I like talking about it. At least, to you.<\/dialogue>\n    <scene_description>The look holds . Almost a bittersweet smile plays on Jackie 's lips . She leans to kiss her daughter 's head .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( a murmur . )<\/parenthetical>\n    <dialogue>Same here, huh?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RACHEL'S DARKROOM - MORNING<\/stage_direction>\n    <scene_description>TOTAL DARKNESS - Slowly an IMAGE APPEARS - Floating in a pool of water . It 's a photo of a child 's FEET . Only the wrong shoe is on the wrong foot . Suddenly , KNOCKING .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Hold on! Do n't let the light.<\/dialogue>\n    <scene_description>Jackie enters , leaving the door wide OPEN .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>in.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>I'm sorry. Look, I'm not real comfortable being here, but.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I do n't recall inviting you.<\/dialogue>\n    <scene_description>Silence .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I overhead what you told Annabelle. The lie.<\/dialogue>\n    <scene_description>Unreadable faces . What are they feeling ?<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I have a snoop.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>I did n't need you to take the blame for me, I'm quite.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( simply . )<\/parenthetical>\n    <dialogue>I did n't do it for you. Believe me.<\/dialogue>\n    <scene_description>And Jackie . Finds that interesting .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>She already hates me. You've seen to that.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>You're not terribly good at taking care of h.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I need practice.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Those are my children you're practicing on. They deserve first - rate care. Every minute. Of every night. And every day.<\/dialogue>\n    <scene_description>More silence .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>So why did y.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I did it for her.<\/dialogue>\n    <scene_description>Straight to her eyes .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Poor kid has to believe in someone. Even if it's you.<\/dialogue>\n    <scene_description>Nothing friendly about it . But Jackie has n't come seeking friendship .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I have an appointment this after - noon. I need someone to take them to the park.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>What? And have Federal agents jump out of the bushes with court orders? How many years do you get in this state for giving second - rate care to minors?<\/dialogue>\n    <scene_description>Hard looks . All around .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>However many. It's not enough.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I'm already on thin ice. Yesterday, I actually thought my boss was going to fire me.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Fine, forget it.<\/dialogue>\n    <scene_description>But neither of them wants her to . A Mexican Standoff . Until Jackie empties her huge purse on the counter .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Bandaids for cuts. Bandaids for new shoe blisters. Packet of Wash n Dri's. Kleenex. Sugar free lollipops, potty seat covers for public restrooms.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Why not just bring the whole toilet?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Ben likes to be read to. Do you know Dr. Seuss?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Not personally.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Do you have a word limit you need to hit every day or can I finish?<\/dialogue>\n    <scene_description>This silences Rachel . Jackie hands her a Post It .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Here's their schedule for this after - noon. I'll meet you at the park at five. All I ask is that they're alive when I get there.<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( dry . )<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>And scoops up the parenting paraphernalia .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( drier . )<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>And walks out the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STUDIO CORRIDOR - MORNING<\/stage_direction>\n    <scene_description>Jackie stands outside a door . Deciding . She knocks and enters . Duncan 's office . He sits behind his desk , across from a client . Both men looking up at this stranger .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Mr. Samuels? Forgive the intrusion, I'm Jacqueline Harrison, and.<\/dialogue>\n    <scene_description>The sweetest smile she 's got . Which is pretty good .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>well, I just wanted to thank you. For your generosity.<\/dialogue>\n    <character>DUNCAN<\/character>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>Gener.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>my daughter had a terrible emergency yesterday. My husband and I could n't be reached, and. your Ms. Kelly came to Annabelle's rescue.<\/dialogue>\n    <scene_description>Confides .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I'd hate to think what might have happened.<\/dialogue>\n    <scene_description>Shakes her hand .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>She told me that you were so suppor - tive, even at great inconvenience to your business, and.<\/dialogue>\n    <scene_description>An amazing smile .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>It's wonderful to see a successful man. With that sense of priorities.<\/dialogue>\n    <character>DUNCAN<\/character>\n    <parenthetical>( longer beat . )<\/parenthetical>\n    <dialogue>Well. under the circumstances.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>If I can ever repay your kindness. It would be my great pleasure.<\/dialogue>\n    <scene_description>Backing out the door .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>and your Ms. Kelly? A remarkable young woman.<\/dialogue>\n    <scene_description>The client is beaming .<\/scene_description>\n    <character>DUNCAN<\/character>\n    <parenthetical>( clearing his throat . )<\/parenthetical>\n    <dialogue>We think so.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOCTOR'S OFFICE - AFTERNOON<\/stage_direction>\n    <scene_description>CLOSE on Jackie , looking down . She seems to be staring at something in her lap .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( quiet anger . )<\/parenthetical>\n    <dialogue>I do n't even know what that means. Spread. That is very unclear.<\/dialogue>\n    <scene_description>but there is nothing there . Her lap is empty . Except for her unnaturally still hands .<\/scene_description>\n    <character>FEMALE VOICE<\/character>\n    <parenthetical>( O.S. , gently . )<\/parenthetical>\n    <dialogue>I means we found some cells. In your lymph nodes. In three of them.<\/dialogue>\n    <scene_description>The hands come together . Slowly , deliberately . Stating to anyone who would watch that there is no panic here .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>But the other time. You said you got it all. So you could be wrong again. One time, you say one thing, then.<\/dialogue>\n    <character>FEMALE VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>The other time. Was a year ago.<\/dialogue>\n    <scene_description>The air comes out of Jackie . In a thin , slow , precise stream . Everything , her very breath . Under complete control .<\/scene_description>\n    <character>FEMALE VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>That was a tiny lump in the breast. We radiated, we thought we had it all. We were hopeful. But there were no guarantees.<\/dialogue>\n    <scene_description>Silence . Jackie 's eyes stay on her folded , still , hands .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>But we can beat it.<\/dialogue>\n    <scene_description>PULL BACK to see the small , neatly kept office . DR. SWEIKERT is 50 , slender , elegant , kind . The doctor you want when you 're dying . Jackie looks up to her .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>People beat it, do n't they? All the time.<\/dialogue>\n    <character>DR. SWEIKERT<\/character>\n    <parenthetical>( straight . )<\/parenthetical>\n    <dialogue>Every day. More and more.<\/dialogue>\n    <scene_description>Jackie swallows . The confirmation of hope has allowed some of the fear to show .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>So we'll. radiate some more?<\/dialogue>\n    <character>DR. SWEIKERT<\/character>\n    <dialogue>At first. Then, after awhile, some chemo.<\/dialogue>\n    <scene_description>A blow . Jackie absorbs this .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>That's necessary, huh?<\/dialogue>\n    <character>DR. SWEIKERT<\/character>\n    <dialogue>Let's take our best shot.<\/dialogue>\n    <scene_description>Jackie nods . Staring at the woman . Then , to break the spell .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I guess a no - hair day beats a bad - hair day.<\/dialogue>\n    <scene_description>The doctor smiles . Jackie looks at her watch .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I have to get dressed. My ex - husband has asked me to dinner. God knows why, he was very mysteri.<\/dialogue>\n    <character>DR. SWEIKERT<\/character>\n    <dialogue>Have you still never told him?<\/dialogue>\n    <scene_description>A flash of the anger flickers .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Why would his worry? Or my children's worry. Or anyone's worry. Help the sit.<\/dialogue>\n    <character>DR. SWEIKERT<\/character>\n    <parenthetical>( very soft . )<\/parenthetical>\n    <dialogue>Sooner than later. You really need to.<\/dialogue>\n    <scene_description>That brings a silence . A shading of defiance to Jackie 's features .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>You do n't burden others needlessly. That's how I was raised, Doctor.<\/dialogue>\n    <scene_description>Hold the look .<\/scene_description>\n    <character>MR. SWEIKERT<\/character>\n    <dialogue>Maybe at dinner tonight. Think about it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKIE'S BATHROOM - DUSK<\/stage_direction>\n    <scene_description>Jackie is getting dressed in front of the mirror , her eyes distant , in spite of her attempts at control . Annabelle is watching her like a hawk . We see Ben in the BACKGROUND - sawing the BABYSITTER ALISE in half .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>Why are you going to a French restaurant?<\/dialogue>\n    <scene_description>Throughout , Annabelle is trying on Jackie 's jewelry , making a pest of herself . Jackie fights against rising irritation .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Because it's quiet. And he wants to talk. Alise - Once he saws you in half, it's bedtime.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>What are you gon na talk about?<\/dialogue>\n    <character>JACKIE<\/character>\n    <parenthetical>( applying mascara . )<\/parenthetical>\n    <dialogue>Probably you - your brother - school - The solar system. The usual.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>Then why are you putting on mascara?<\/dialogue>\n    <character>JACKIE<\/character>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>I'm a little tired and it's just a pick - me - up.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>But you only wore mascara when you and Daddy went on romantic dates.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Well Daddy and I are just friends now, and that's no reason not to wear mascara.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>Or blush. You look pale.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>A Country French place on the West Side . Classy , but inviting .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRENCH RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Jackie and Luke sit across from each other in the lovely restaurant . Jackie looks beautiful in the warm candlelight .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Maybe you do n't think three years is enough for a person to change but. things are different now Jackie. I'm different.<\/dialogue>\n    <scene_description>Jackie feels her heart beginning to race . They lock eyes for a moment . He unconsciously begins to eat off her plate . He eats her chicken , and in the dance they 've done a thousand times - she reaches for his uneaten vegetables . The WAITER approaches .<\/scene_description>\n    <character>WAITER<\/character>\n    <dialogue>Would you and your wife prefer still or sparkling water?<\/dialogue>\n    <scene_description>He does n't correct the waiter .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Still, please.<\/dialogue>\n    <character>JACKIE<\/character>\n    <parenthetical>( when the waiter leaves . )<\/parenthetical>\n    <dialogue>Annabelle showed me the new dress. She's amazing in it.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Getting so beautiful. she looks more like you every day.<\/dialogue>\n    <parenthetical>( Luke downs Jackie 's wine . )<\/parenthetical>\n    <dialogue>Jackie. I've really given this a lot of thought. A great deal of thought.<\/dialogue>\n    <scene_description>Their eyes lock for a moment . Here it comes .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>I'm gon na marry Rachel. I know you do n't think much of her but she's a special person - she really is. And I love her. This is a bridge we never wanted to cross but it's not helping her or the kids if I do n't really commit to that.<\/dialogue>\n    <scene_description>Jackie stares at him stonefaced .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>I did n't think a phone call was appropriate.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Tell me exactly how you're different from three years ago? The music sounds kind of the same from where I'm sitting.<\/dialogue>\n    <scene_description>He shifts in his chair . Wants this to sound as authentic as he feels it .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>I grew up, a little. I'm ready for a life that's built around commitm.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Just not to me.<\/dialogue>\n    <scene_description>The waiter returns with a bottle of red wine . It 's horribly quiet as he pours . Waits , obtrusively .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Thank you, it's fine.<\/dialogue>\n    <character>WAITER<\/character>\n    <dialogue>Would you like to taste it?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Can we please have less service, here?<\/dialogue>\n    <scene_description>The waiter leaves , taking his attitude with him . Luke sighs .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>It's going to be hard for the kids when I tell them. I'd like you to be there.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>To make it easier for them or you?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>It's a huge moment in their life -<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>You ca n't be an ` us' just when you want to. You ca n't play that card when it's convenient.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>We.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>WE are over.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>WE'RE still their parents for the next hundred years.<\/dialogue>\n    <scene_description>On this , Jackie looks down at her hands .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>You're still going to have to be dealing with me - with us. We should tell them together.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>No. You think this is going to help the kids then you do it. You're on your own.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RACHEL'S AND LUKE'S LIVING ROOM - THAT NIGHT<\/stage_direction>\n    <scene_description>Jackie sits next to Luke on the couch - looking lovingly towards the children , who sit across from them . Annabelle is taping this .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>The great thing about life is that things keep changing.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Remember when Mommy and Daddy got divorced?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>And we all went through that together?<\/dialogue>\n    <scene_description>ON Ben . OH MY GOD . He knew it ! ON ANNABELLE - Behind the video camera - Where 's this headed ?<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Well things are going to change again.<\/dialogue>\n    <scene_description>Ben LEAPS up from the couch and FLIES into Jackie 's arms .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I knew it! I knew it! I knew you guys were getting back together!<\/dialogue>\n    <scene_description>Jackie looks at Luke . Annabelle ZOOMS IN on their faces .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>No they're not.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Annabelle put down that camera.<\/dialogue>\n    <scene_description>She ZOOMS in on his face .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Put down that goddamn camera!<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>You owe me a quarter.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Look she's upset -<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>No I'm not. I do n't care. Why should I care? I mean nobody asked me when you got divorced. Nobody asked me if I wanted a new mother. Nobody even asked me if I like her. If you guys do n't care about our family staying together, why sh.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Daddy and I tried hard. We really did.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>No you did n't! All you guys did was name call! I heard you! You did n't even try and use your words!<\/dialogue>\n    <scene_description>Ben runs out of the room . Luke follows him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEN'S ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Ben pulls his cape over his head and hides in a bundle in the corner .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I'm disappearing. I'm almost invisible.<\/dialogue>\n    <character>LUKE<\/character>\n    <parenthetical>( holding him . )<\/parenthetical>\n    <dialogue>I'll find you wherever you go. my magic boy. I'm still your daddy. nothing will ever change that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Jackie moves to Annabelle who wo n't put down the camera .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Annabelle. Rachel's not taking my place as your mother - it's just Daddy's chance to be happy again. Is n't that what we all want for each other?<\/dialogue>\n    <scene_description>No answers . Jackie looks at this daughter she loves so much . Pats the seat beside her .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Come. Sit.<\/dialogue>\n    <scene_description>Something in the softening of the tone changes the atmosphere in the room . More real . More like equals .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Life is full of hard things. And we ca n't always have what we want, you know that.<\/dialogue>\n    <scene_description>Do n't you ? Annabelle nods , cautiously .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>But we do have a choice. To make it better. Instead of worse.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>Like how?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Like seeing the good side of Rachel. So she'll see the good side of us.<\/dialogue>\n    <scene_description>Annabelle 's stare is hard and questioning . She did n't expect this .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Because I'm looking ahead. And you know what I see?<\/dialogue>\n    <scene_description>Annabelle does n't . But she sure is listening .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Time will come. When we all need to be there. For each other.<\/dialogue>\n    <scene_description>Strokes her baby 's hair .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>That happens. To families.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <parenthetical>( straight back . )<\/parenthetical>\n    <dialogue>I'll be there for you.<\/dialogue>\n    <scene_description>Her mother 's eyes cloud with feeling . A murmured .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I'm counting on it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RACHEL'S AND LUKE'S KITCHEN - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Barely any light in the empty kitchen . PAN to see Ben , alone , in his cape . Carefully , he sets a cup of saucer atop a cloth napkin that lies across the butcher block table . He GRASPS the corners of the napkin . He looks scared . We get what 's about to happen . As he . YANKS the napkin , as FAST as he can , the cup and saucer , RATTLE and . stay put . Ben . Is astounded . And then he looks up . To a cabinet filled . With glassware and china .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RACHEL'S AND LUKE'S BEDROOM - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Rachel 's HAND as a beautiful ANTIQUE RING is slipped on her finger . She is asleep . Then , she . stirs , wakes . Stares at her hand in shock and delight .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Oh my God. Are you serious?<\/dialogue>\n    <character>LUKE<\/character>\n    <parenthetical>( tenderly . )<\/parenthetical>\n    <dialogue>I think so. What do you think?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I think so too.<\/dialogue>\n    <scene_description>They hold each other for a long time .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>It's forever you know.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( trying to read him . )<\/parenthetical>\n    <dialogue>Okay. Is that the good thing or the bad thing?<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Because I ca n't hurt anyone like this ever again.<\/dialogue>\n    <scene_description>She grins .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>How did you hurt someone? She threw you out, remember?<\/dialogue>\n    <scene_description>He does . She hugs him tight .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Everything's gon na work out. The kids and I. we're going to love each other.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Rache, it may take time.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>What's eight, ten years? Hell, you'll still be ambulatory. I think.<\/dialogue>\n    <scene_description>She 's counting on her fingers . He kisses her .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>It's inevitable. Look, I was defensive, I was insecure. I was afraid to love first.<\/dialogue>\n    <scene_description>Her incredible smile . Filling even Luke with confidence .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>But I'm not anymore.<\/dialogue>\n    <scene_description>A sudden horrific CRASHING sound . The breakage of the breakable . Their look holds .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I'll get this.<\/dialogue>\n    <scene_description>A quick kiss . And she 's gone . HOLD on Luke 's light smile . Maybe this will all work out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEN'S ROOM - LATE NIGHT<\/stage_direction>\n    <scene_description>Ben is cuddled up in his coverlet . Almost as if he 's hiding . She picks up some stray underpants . Actually , three of them .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Are you real mad?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>How could I be? We learned some magic.<\/dialogue>\n    <scene_description>She goes to his bed . Sits down .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I made all the pieces disappear.<\/dialogue>\n    <scene_description>Oh . She leans toward him .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>And you learned.<\/dialogue>\n    <scene_description>She kisses his forehead . Very sweetly .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>to make that trick disappear, huh?<\/dialogue>\n    <scene_description>He nods . Big time . She stands , smiles .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>A night. Of learning.<\/dialogue>\n    <scene_description>They share the smile . And Rachel leaves , into the darkened hall . Down it now , only to . stop . Open a door , so quietly . Silently enter .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANNABELLE'S ROOM - LATE NIGHT<\/stage_direction>\n    <scene_description>the room of a sleeping child . Rachel moves soundlessly to Annabelle 's side . Stares down . Listens to the soft breathing . She straightens the covers slightly , in a maternal way . Then , on impulse , reaches down . tenderly smooths back a strand of hair . One last look . And she . leaves frame . HOLD on Annabelle , as we hear the knob turn . The door close . Alone , now . Annabelle opens her eyes . She is thinking .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JACKIE'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Rachel dropping off Annabelle at Jackie 's door . They must be late , because Rachel is looking anxiously at her watch . Not even noticing that Annabelle has pulled out a tube of LIP GLOSS , turning the shaft to reveal a glittering golden - colored gloss . Then .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Uh. Put that away, hon, your mom w.<\/dialogue>\n    <scene_description>The door OPENS . Jackie is dressed for riding .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( sincere . )<\/parenthetical>\n    <dialogue>Sorry I'm late, I got lost dropping Ben off at Kevin's.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>It's okay, it's twenty minutes. The horse'll be there.<\/dialogue>\n    <scene_description>Rachel blinks . Is she on the right planet ?<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>Mom, look what Rache got me!<\/dialogue>\n    <scene_description>Uh - oh . The kid holds it up .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>It's not to wear around, or any - thing, I'm way too young. It's just for play.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>See, I.<\/dialogue>\n    <character>JACKIE<\/character>\n    <parenthetical>( taking it . )<\/parenthetical>\n    <dialogue>That is so pretty. You usually only see that color in people's teeth.<\/dialogue>\n    <scene_description>Annabelle has entered the house , to see on a table by the door a huge , brightly - wrapped PACKAGE .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>Wow. Who's that for?<\/dialogue>\n    <character>JACKIE<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>Well. It's for you.<\/dialogue>\n    <scene_description>The kid WHIRLS around . Really ?<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Just because. Just because I love you. Go ahead.<\/dialogue>\n    <scene_description>Annabelle starts to unwrap the present with Christmas - morning - care . Jackie looks at the glitter gloss .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I'm sorry, I just.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Hey. At least it's not an editing machine.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>No way. I told her two, three years, maybe, for such an expens.<\/dialogue>\n    <scene_description>And stops . Because the paper has come off . A giant deluxe model beginner 's VIDEO EDITOR . Annabelle is STUNNED silent . So 's Rachel .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <parenthetical>( tears in her eyes . )<\/parenthetical>\n    <dialogue>Oh, Mommy.<\/dialogue>\n    <scene_description>And JUMPS into Jackie 's arms , CRUSHING her with the hug mothers live for .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I hope it's the right kind.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>Are you kidding? It is so much better than the one Rachel showed me!<\/dialogue>\n    <scene_description>Jackie strokes her baby 's head .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Well, I thought. You know, why wait?<\/dialogue>\n    <scene_description>The child turns to Rachel , frozen in the doorwary .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>I told you I was big enough! Is my mom the greatest, or what?<\/dialogue>\n    <scene_description>Rachel swallows .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>The greatest.<\/dialogue>\n    <scene_description>HOLD on the look . The women share .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NORTH VALE STABLES - DAY<\/stage_direction>\n    <scene_description>Jackie and Annabelle riding . The kid is still on Cloud Nine . Jackie 's eyes are on her .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>I mean, she knows all the music, and pop stars, and clothes and stuff. She's like still a kid, herself.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Like a big sister.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>She knows every neat junk food place.<\/dialogue>\n    <scene_description>Looks to see if her mom is okay hearing .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>Actually. She's kind of cool, when you get to know her.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>I bet.<\/dialogue>\n    <scene_description>Annabelle studies her mom 's profile .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>And do n't tell her I told you.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Secret's safe with me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUKE AND RACHEL'S BEDROOM CLOSET - NIGHT<\/stage_direction>\n    <scene_description>Rachel sits cross - legged on the floor of the walk - in closet . Next to her , a glass and a botle of Stolie , getting toward the bottom . An ashtray filled with butts , and . a card board box . Dragged out of somewhere . Photo albums , loose snapshots . Vintage stuff . From her face , this is not a carefree romp down Memory Lane . She takes another hit on the Stolie . More than slightly intoxicated , weaving , squinting at . the next photo . Luke , young , straddling a Kawasaki . Jackie , just as young , holding him from behind . She wears a halter and shorts , and looks simply terrific . Rachel looks drunk and jealous . With an overlay of self - pity . Brings the photo closer . Squints harder .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>What the fuck is that?<\/dialogue>\n    <scene_description>Her worst fears confirmed .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>a tattoo?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - NEW YORK - DUSK<\/stage_direction>\n    <scene_description>The lights are coming on in The City . Jackie sits staring out the window , as an IV drips into her arm . She is alone , and down . And fighting the fear of what may come to pass . Her pager goes OFF . Jesus . She pulls a cell phone from her purse . Works it with one hand . Brings up . the smile . Showtime .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Hey, good - lookin', I was just thinking about calling y.<\/dialogue>\n    <scene_description>INTERCUT throughout : Ben on the phone in Rachel 's and Luke 's kitchen . He is alone . Staring through the glass window of the oven .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Rache says I have to eat lamb. I told her you're making me spaghetti!<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Honey, this is Thursday. I pick you up tomorrow, and we do big spaghetti.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>And many meatballs.<\/dialogue>\n    <scene_description>A nurse enters , and Jackie shoots her with a wave of her fingers .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>You'll be up to your armpits in meatballs, I'm flying them in from Sweden.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Is that like Luigi's?<\/dialogue>\n    <scene_description>She loves this kid so much .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Not a lot, sweetie. It's a country. Like Canada. Only smaller.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Where are you, anyway?<\/dialogue>\n    <scene_description>And the feeling comes straight to her eyes . She ca n't fight it .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I'm somewhere, thinking of you. And meatballs. And you know what?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Of course, you do. Being magic. Then you know I've got a flu bug, and I turn green and barf profusely when I even think about food. So, all the more meatballs for you. But you know what.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>I did. Do I have to eat lamb? Daddy did n't cook it, she did.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Do me a favor? Eat it, and then give me a secret report, okay? Pay particular attention to whether it's chewy and if it tastes more like chocolate or soup.<\/dialogue>\n    <scene_description>He laughs . And she can hear that . And her eyes fill . And she murmurs .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Hey, that's a world - class laugh you got there. Can I all you sometime? If I fell blue.<\/dialogue>\n    <scene_description>A silence . And for a heartbeat , the fear . Did he hear it in my voice ? But no .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Sure. You got my number.<\/dialogue>\n    <scene_description>And now she 's crying . But she ca n't . She ca n't . Gains control for a whispered .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>That I do. Always will.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Mom?<\/dialogue>\n    <scene_description>She sniffles .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I'm fine, ba.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Tomorrow? Can I have one butterscotch pudding for dessert?<\/dialogue>\n    <scene_description>See her relief . Secret still safe .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <scene_description>He 's crestfallen .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>We can only have two.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUPERMARKET - DAY<\/stage_direction>\n    <scene_description>Jackie is pushing her cart . Ben sits in it , pulling things off the shelves . On automatic she 's putting them back .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Mommy, if your real name's Jackie and I call you mommy ; and Rachel's real name's Rachel. Then when I see her do I say hi Stepmommy? And if my name's Ben, how come you do n't call me son?<\/dialogue>\n    <character>JACKIE<\/character>\n    <parenthetical>( lost in thought . )<\/parenthetical>\n    <dialogue>Thursday's fine.<\/dialogue>\n    <scene_description>Frustrated , Ben CLIMBS OUT of the cart and trails behind Jackie . He reaches for an apple off the BOTTOM of a huge display of Red Delicious , and the whole thing comes TUMBLING DOWN . Shaken , she looks around for Ben . He 's gone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUPERMARKET MANAGER'S STATION - DAY<\/stage_direction>\n    <scene_description>Jackie with a Store Manager and a Policeman stand at the front of the store near the Bakery . Jackie is totally distraught .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I looked away for one second. Just one second. he's. he's.<\/dialogue>\n    <character>POLICEMAN<\/character>\n    <dialogue>How would you describe him?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>He's my son! He looks like his father! His name is Ben - he answers to Harry -<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>Is he wearing a red shirt?<\/dialogue>\n    <scene_description>The manager POINTS to the frozen food bin . There , lying on his back atop dwindling stores of Breyer 's ice cream . is Ben . Hands and beaming face PRESSED to the underside of the glass . Jackie does the only reasonable thing .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>YYYAAAAAAAHHH!<\/dialogue>\n    <scene_description>and FLINGS OPEN Snow White 's glass coffin .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>ARE YOU CRAZY, YOU COULD SUFFOCATE IN THERE!<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Nope. I got my warm t - shirt.<\/dialogue>\n    <scene_description>Enough of a non - sequitur to make everybody blink , before Jackie YANKS him , roughly and tenderly , from the bin . She CRUSHES him in a violent , desperate hug .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>You found me cause I'm your priority, huh?<\/dialogue>\n    <scene_description>She kisses him fiercely . At the edge of tears . Whispers .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>You got that right.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOCCER FIELD - 3 O'CLOCK PRACTICE<\/stage_direction>\n    <scene_description>Luke coaching the girls team . Annabelle one of many who surround him for that final word of wisdom .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Alright my Little Warriors, remain calm ; trust that the ball will find you ; remember they're your opponent not your enemies - Not kick MAJOR butt!<\/dialogue>\n    <scene_description>In the bleachers , Jackie sits alone with Rachel . They are having a coaching session of their own . Rachel points down to the field , where . Annabelle pushes her hair over her eyes .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>She's gon na trip over her own feet, if she does n't get her hair out of her eyes.<\/dialogue>\n    <scene_description>Jackie casts a sidelong glance at Rachel . Decides to tell her .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Pushing her hair over her eyes. Means she's avoiding a confrontation.<\/dialogue>\n    <scene_description>Rachel looks over . Really ? Jackie decides to share more . Reading Rachel 's reaction to .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>If she's twirling it, she's playing something out in her mind. If she's stopped combing it, she might be depressed.<\/dialogue>\n    <scene_description>As Rachel listens she 's unconsciously twisting her hair .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>What about obsessively picking her split ends?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Anxiety.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Last week when she chopped her Barbie's bangs all to hell -<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>She was angry at herself.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Jackie?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>When I twisted hair like this it means I'm intimidated by you.<\/dialogue>\n    <scene_description>Jackie gives her the trace of a smile .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I'll keep it in mind, and use it against you.<\/dialogue>\n    <scene_description>She looks back down at the game . Rachel watching her profile . Finally .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You feeling all right?<\/dialogue>\n    <character>JACKIE<\/character>\n    <parenthetical>( does n't turn . )<\/parenthetical>\n    <dialogue>Not great. Plus, I've got things on my mind. You know.<\/dialogue>\n    <scene_description>Things . Rachel does n't know . Blurts .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Are you. seeing someone?<\/dialogue>\n    <scene_description>Jackie snorts a laugh . In spite of herself .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Yeh, that does tend to make me sick to my stomach. Actually, I'm, uh.<\/dialogue>\n    <scene_description>Thinking . Deciding if this is the time to say .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>thinking of going back to Random House. On a part - time basis.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Wowie. How wonderful!<\/dialogue>\n    <scene_description>But Jackie still has n't turned . Eyes glued to Annabelle , racing around with determination .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Well, I could do most of it from home. But, while I'm working it out with the head editor, I'd need to.<\/dialogue>\n    <scene_description>Sighs . Boy , this is tough . Tries for matter - of - fact .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>make some trips into the city. Sometimes, overnight.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Hey, any help you need, we'll cover.<\/dialogue>\n    <scene_description>Jackie nods . Appreciates that . But she still has n't turned to look Rachel in the eye .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Uh. Have you told Luke and the ki.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Let's. hold up for a bit. It may not happen. Our secret, okay?<\/dialogue>\n    <scene_description>A little strange . Particularly the hardness of Jackie 's eyes . Rachel watching her . Something 's up .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Sure, if you like.<\/dialogue>\n    <scene_description>Jackie looks away now . To the playground just beyond the bleachers . Kids rise swings , clamber over a jungle gym . But her eyes are routinely , automatically , zeroing in on one single kid . who is climbing his way UP a tall SLIDE . Crouched over as he inches up the shiny metal surface , using the side rails . Rachel follows Jackie 's eyes , just as . Ben reaches the top and STANDS UP , hands OVER his head , Jackie 's breath catching , Ben totters once and . FALLS fast , hitting the grass with a thump we can hear , lying crumpled , motionless , as our two women . SPRING up as one , SCRAMBLING down the bleachers , RUNNING toward the playground , Jackie initially in the lead , but Rachel out - sprints her , CLOSING on the child , as he rolls over grasping his leg , and reaching him first . some instinct makes her hold back , let Jackie RUSH past her , to kneel at Ben 's side . She lifts her baby in her arms . His pants are torn , his leg is bleeding . His own concern .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I can still go to Tucker's party, right?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EMERGENCY ROOM - DAY<\/stage_direction>\n    <scene_description>A full house of walk - ins with assorted needs , none of which appear to require George Clooney on an urgent basis . Across the room , an irritated Jackie finishes the last of the paperwork at the nurses station . Exchanges a less - than - pleasantry with the less - than - helpful duty nurse , and . heads off through the crowd , DOWN a hallway , TURNS a corner , to see . LUKE stands by a doorway . Smiling , as he gazes into a hospital room . Jackie comes to his side , looks in . Ben does n't see them . His back is turned , as he talks to Rachel , who sits on the side of his bed , feeding him the pudding she got from a vending machine .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>for Christmas, okay? Every magician needs a white dove, a real one, they do!<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Well, that's a long way off, sweetie. We'll talk to Mom and Dad.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Dad! You can talk him into anything!<\/dialogue>\n    <scene_description>Unseen by the two , Luke grins . Then , Ben snuggles into Rachel 's arms and kisses her . Jackie stares .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( singing softly . )<\/parenthetical>\n    <dialogue>` In the still. still of the ni - ight. I held you. held you so ti - ight'. take it, man.<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>( singing softly . )<\/parenthetical>\n    <dialogue>Doo - wop - doo - doo, doo - wop - doo - doo.<\/dialogue>\n    <scene_description>Jackie stands there . Her eyes are difficult to read . But she sure is watching .<\/scene_description>\n    <character>LUKE<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Nice, huh?<\/dialogue>\n    <scene_description>She steps back . Looks him in the eye .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>It is. It's about time.<\/dialogue>\n    <scene_description>He give her a goofy give - me - a - break FACE . She twists the corner of a smile .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>She's a charmer, you'll see. In fifty years, the kids'll love her ten percent as much as they love you.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Stop. You're making me insecure.<\/dialogue>\n    <scene_description>Now they 're smiling at each other . In the old way . A nice moment for them .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>You changed your hair.<\/dialogue>\n    <scene_description>And we notice . It does look different .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>It's temporary.<\/dialogue>\n    <character>LUKE<\/character>\n    <parenthetical>( grins . )<\/parenthetical>\n    <dialogue>It's good. You're not pulling a mid - life crisis on us, are you?<\/dialogue>\n    <scene_description>Her look holds . An odd extra beat .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Not the term I'd use.<\/dialogue>\n    <scene_description>He glances back through the doorway .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>You want us to take him tonight? Give you some private time with Annab.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Never stand between that kid and a meatball.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Yet another spaghetti night.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Yeh, better I should forcefeed him burnt lamb and. couscous, was it she made him? Boy, kids go wild for that.<\/dialogue>\n    <scene_description>She pats him on the shoulder .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I'll drop him at Tucker's party Saturday, if one of you guys can pick him up. I have to go into the City.<\/dialogue>\n    <scene_description>And breezes by him into the room . Ben wheels to see her .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>You know what happens to spaghetti when it waits around for you too long?<\/dialogue>\n    <scene_description>He really thinks . Actually .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Pray. We never find out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A PERFECTLY MANICURED TWO STORY HOME - DAY<\/stage_direction>\n    <scene_description>A door with balloons OPENS - STACY , the birthday boy 's mom , stands there - children running behind her in party hats , all with their conservatively dressed SUBURBAN MOMS . Rachel 's attire a sharp contrast .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Hi, I'm here to pick up Ben.<\/dialogue>\n    <character>STACY<\/character>\n    <dialogue>Does Jackie know this?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>No. I'm doing it behind her back.<\/dialogue>\n    <character>STACY<\/character>\n    <dialogue>In seven years Jackie's never missed one of Tucker's parties. Where is she?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Something came up. C'mon Ben! I've got a shoot at three.<\/dialogue>\n    <character>STACY<\/character>\n    <dialogue>Tucker has n't penned Ben's present yet - it wo n't be too much longer.<\/dialogue>\n    <scene_description>Rachel eyes the MOUND OF PRESENTS yet to be opened . DISSOLVE TO . FORTY - FIVE MINUTES LATER . Rachel , in a pointed party hat , sits schmushed on the couch in between all the other MOTHERS . A black jeans stranger in a strange peach land . She eyes that mound of presents . Not even a dent . She pulls out her cell phone , moves towards the hallway .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Hey Cooper. pull a number 64 steel blue gel on the back light. yeah I'm on my way but.<\/dialogue>\n    <scene_description>A piece of CAKE FLIES through the air and LANDS on Rachel .<\/scene_description>\n    <character>STACY<\/character>\n    <dialogue>Now Ben, let Tucker play with his Batcave.<\/dialogue>\n    <scene_description>Ben wo n't let go of Tucker 's presents . Tucker tries to take it . Ben is adamant . Rachel reaches for him , tousling his hair .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Hey Benjy boy - chill.<\/dialogue>\n    <parenthetical>( he shimmies away from her . )<\/parenthetical>\n    <dialogue>He's there already? No I do n't want to talk to him - Duncan? How are you.<\/dialogue>\n    <scene_description>The mothers are all too aware of Rachel on the phone . Two kids shoot water guns - Rachel gets drenched . Ben pulls at the toys .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I want it!<\/dialogue>\n    <character>STACY<\/character>\n    <dialogue>Ben I know you're angry and confused but it's Tucker's birthday party.<\/dialogue>\n    <scene_description>Ben and Tucker fight for it - the mothers all LOOK TO RACHEL .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Ben -.<\/dialogue>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Duncan I'm aware of that - Goddamn it Ben! Let go of it. NOW!<\/dialogue>\n    <scene_description>He stares at her . It looks like he 's gon na let go - On the mothers - impressed , not to mention surprised . When Ben suddenly HURLS the toy onto the floor SHATTERING IT ! A horrible SILENCE falls over the room . Broken only by the sound of Duncan SCREAMING from inside the phone .<\/scene_description>\n    <character>DUNCAN IN PHONE<\/character>\n    <dialogue>Rachel. This is a big bloody account - If you do n't show up in five minutes.<\/dialogue>\n    <scene_description>Rachel takes Ben and leads him into another room .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Ben I'm sorry. It's been a hard day. Now would you do us both a favor and take this phone and.<\/dialogue>\n    <scene_description>She SLAMS the phone SHUT . Hands it to Ben .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>make it disappear.<\/dialogue>\n    <scene_description>Okay . He SHOVES it down the front of his pants . The peach moms are taken aback . Rachel nods , you got it . Delighted , Ben turns , scampers off , as . his pants start RINGING . He stops dead . Looks down at them . Still RINGING . He turns around and waddles delicately back to Rachel , as if he 's carrying nitro in his shorts . She holds out her hand .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Breaks out the geiger counter, the man is radio - active!<\/dialogue>\n    <scene_description>He pulls the ringing phone from his pants . She grasps it without hesitation , while peach moms wince in disgust . SNAPS it open .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Get over it, Dunc.<\/dialogue>\n    <parenthetical>( stops . )<\/parenthetical>\n    <dialogue>. whoa, whoa, Annab.<\/dialogue>\n    <scene_description>Listens . While everybody watches .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Could it be, maybe. anywhere else? Like. another galaxy would be more convenient.<\/dialogue>\n    <scene_description>Listening , listening . Everybody really watching . Even Ben . Rachel oblivious .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( gently . )<\/parenthetical>\n    <dialogue>Okay, do n't cry. Flunking science is not happening. On my watch.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STACY'S YARD - LATER<\/stage_direction>\n    <scene_description>All the kids are running around crazily in a hypersugared frenzy . Peach moms drink diet sodas and chat . Rachel making a call by the phony little carp pond .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>just that her daughter left a science book somewhere at her house, and I need t.<\/dialogue>\n    <scene_description>INTERCUT throughout : a starchy , powerful , crisply intellectual SENIOR EDITOR , in her early fifties and her Jil Sander outfit . The East Side below her window .<\/scene_description>\n    <character>SENIOR EDITOR<\/character>\n    <dialogue>I'm sorry, Ms. Harrison is not here. I think I mentioned that. Twice.<\/dialogue>\n    <scene_description>Rachel nodding .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Well, she's been meeting with the head editor for the last few w.<\/dialogue>\n    <character>SENIOR EDITOR<\/character>\n    <dialogue>Miss, I am Senior Editor. Ms. Harrison left Random House eleven years ago. We have not had the pleas - ure of a visit from her in that time.<\/dialogue>\n    <scene_description>Rachel blinks .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Actually, she's going back to work with your company on a part - time basis.<\/dialogue>\n    <character>SENIOR EDITOR<\/character>\n    <dialogue>Excuse me. If Jackie Harrison were coming back to the editorial staff, I would be frankly delighted. And I. Would be the first. To know.<\/dialogue>\n    <scene_description>Silence . In the midst of hysterical children .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Thank you for your time.<\/dialogue>\n    <character>SENIOR EDITOR<\/character>\n    <dialogue>Do n't mention it.<\/dialogue>\n    <scene_description>And Rachel 's line . Is dead .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JACKIE'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Rachel alone at Jackie 's front door . Staring at the key in her hand . One last chance to back out .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( mutters . )<\/parenthetical>\n    <dialogue>What the hell.<\/dialogue>\n    <scene_description>OPENS the door . Enters the empty home . Walks slowly , self - consciously , down the hallway . Kitchen , kids ' rooms .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Now, if I were a science book, where would I.<\/dialogue>\n    <scene_description>And stops . At the doorway of the master bedroom .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Who am I kidding.<\/dialogue>\n    <scene_description>And goes straight to Jackie 's desk . Starts rummaging through the incredibly neat stack of papers .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Great, I'm leaving prints.<\/dialogue>\n    <scene_description>The open appointment book . Today 's date . Just says , NEW YORK . Nothing more . Opens a drawer . Stapler , clips , neatly - stacked stationery . Opens the bottom drawer , and . stops . She pulls out . AIRLINE TICKETS . Opens the folder . Continental Airlines . Newark to San Francisco . And tucked inside . a fax , neatly folded . Rachel opens it . The letterhead says , NORTH POINT PRESS , 134 Sutter Street , San Francisco , California . CHARLENE DRUMMOND , Editor .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( reads . )<\/parenthetical>\n    <dialogue>Jackie. Ca n't wait to see you here. I know you're anxious. But it's going to work out wonderfully, I promise. Til then. Charlie.<\/dialogue>\n    <scene_description>HOLD on Rachel . Trying to put this together .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKIE'S KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Jackie takes a kettle from the stove . Pours the water into a tea cup . Then , fills a second cup . Drops a tea bag into each . Carries both cups to . the kitchen table . Where Rachel is waiting . She looks more than tense . Actually , scared . Jackie taking this in , as she sets down the tea .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Okay, what is this? If you want to dump Luke on me, no sale. You're stuck with him.<\/dialogue>\n    <scene_description>And before she can sit .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I know your secret.<\/dialogue>\n    <scene_description>Jackie FREEZES . To stone . No one says anything . Two hearts beating at red - line .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I do n't know wh.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I was looking for Annabelle's book, and I found your tickets. And the note. From your new boss.<\/dialogue>\n    <scene_description>My what ? Jackie leans forward . Her hands resting on the back of the chair she never sat in .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>My boss.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You're not working at Random House, I talked to them.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>You WHAT?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You're taking the kids. And moving to San Francisco.<\/dialogue>\n    <scene_description>And Jackie has to laugh . Cold . Bitter .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Look, you've never liked me.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Do n't flatter yourself.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>And I know checking into your life was inexcusable.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Nobody likes a snoop.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>But I came here to.<\/dialogue>\n    <scene_description>All the air comes out of this young woman . so vulnerable , so real .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>to beg you. Not to do it.<\/dialogue>\n    <scene_description>And at this . A look of intense interest crosses Jackie 's face . Really ?<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I'd have thought this was the answer to your prayers. Lose the witch, and her two brats, in one swoop. Problems solved.<\/dialogue>\n    <scene_description>Rachel is clearly distraught . This is no act .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You ca n't take Luke's children away from him.<\/dialogue>\n    <scene_description>Jackie thinking . Reading this girl 's face .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Bi - coastal parenting. Happens every day. Luke gets the kids every other summer, every other holiday, it's not ideal, but people make it work, and.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( blurts . )<\/parenthetical>\n    <dialogue>We ca n't live like that.<\/dialogue>\n    <scene_description>And Jackie straightens . Cocks her head .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Did I hear the word.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Luke. Ca n't live like that.<\/dialogue>\n    <scene_description>Ah .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Then let him talks to me. We do n't need you to solve our prob.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>. it's my problem, too.<\/dialogue>\n    <scene_description>And Rachel 's eyes . Fill with tears . She hates that . Jackie wo n't take her off the hook . Stands waiting , until .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I got used to. thinking of them. As. my kids too.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Really. By what right? Six months of part - time screw - ups?<\/dialogue>\n    <scene_description>Rachel lifts her chin . Defiant and tender at once .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>No right at all. I just love them.<\/dialogue>\n    <scene_description>Now it 's Jackie 's eyes . That begin to fill . And she hates that even more .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( pleading . )<\/parenthetical>\n    <dialogue>There's so many publishing houses in New York. Surely, you could find a good one?<\/dialogue>\n    <scene_description>Jackie takes a step back . Shakes her head . Goddammit , life is full of surprises . She walks around in a little circle . Turns back .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Sure, I could. If I was looking for one.<\/dialogue>\n    <scene_description>Rachel 's turn to be surprised . Confused .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>You're a moron, kid. You guessed the wrong secret.<\/dialogue>\n    <scene_description>An odd , almost defiant look . Jackie reaches up to her own head , and . slowly , holding eye contact all the way , she slips the wig from her head . Her scalp covered by the partial regrowth that chemo - therapy has left her . You can hear Rachel 's GASP clear to Kansas .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( calmly . )<\/parenthetical>\n    <dialogue>Charlie Drummond used to be a colleague at Random House. I'm crashing at her place, while I take some new protein injections my oncologist recommended. I can only get them in San Francisco.<\/dialogue>\n    <scene_description>Rachel 's lips part . But no sound comes .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Life's a trade - off. You get cancer, your hair falls out, but you do get to smoke dope.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( please . )<\/parenthetical>\n    <dialogue>You're not dying.<\/dialogue>\n    <scene_description>The kid so painfully sincere .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>No such luck. I'm beating the shit out of this. Pardon my French.<\/dialogue>\n    <scene_description>Rachel ca n't find her breath . She is clearly the worse off of the two , in this moment . Then she starts to nod .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You bet you are.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>How the hell would you know?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I do n't, but.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>How would you know anything?<\/dialogue>\n    <scene_description>That was sharp . Rachel startles slightly .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I exercise, I eat the healthiest foods, you live on pork rinds and Ho - Ho's, and I've got cancer!<\/dialogue>\n    <scene_description>That leaves a silence .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>And cigarettes. I smoke, too.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>You are marrying the greatest guy who walks this earth. Who I have loved from my heart for twelveyears!<\/dialogue>\n    <scene_description>Listening ?<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>And you walk in. You smile that smile. You move that boy. And he's yours for free.<\/dialogue>\n    <scene_description>She sags back against the counter .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>And you. Love my kids. How fucking touching.<\/dialogue>\n    <scene_description>Comes forward . Stalks her .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>They came out of my body!<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>See, I know that.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>I have given them morelove and more care every fifteen minutes of their lives, than you could manage in the next fifty years!<\/dialogue>\n    <scene_description>Leans over the table . Rachel looks scared to death .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Okay, I'm undeserving.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Ironic, huh?<\/dialogue>\n    <scene_description>And staring in Rachel 's eyes , Jackie 's fierceness fades .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Ironic, that I'm gon na need you.<\/dialogue>\n    <scene_description>All the air comes out . Her heart as naked as her skull .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>To be a little less. Undeserving.<\/dialogue>\n    <scene_description>The look holds . And holds .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>Drink your tea while I go vomit.<\/dialogue>\n    <scene_description>And turns , goes to the door . Turns back .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>You love my kids, that's a start.<\/dialogue>\n    <parenthetical>( nods . )<\/parenthetical>\n    <dialogue>We'll work on it.<\/dialogue>\n    <scene_description>And gone . Hear her footsteps . Climbing stairs . Rachel lifts her cup . Looks at it .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( calling out . )<\/parenthetical>\n    <dialogue>This is very good tea!<\/dialogue>\n    <scene_description>Then tastes it . Makes a face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAR - EVENING<\/stage_direction>\n    <scene_description>A graceful stone building with arched windows . Gas lanterns on the exterior wall and burning dimly inside . Stone gargoyles smile down on those who enter the heavy , bright red wooden door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAR - EVENING<\/stage_direction>\n    <scene_description>Drinks hour . Upscale crowd . Dim lights , clink of glasses , the hum of private conversations side - by - side . Civilized as hell . And at the deuce by the window . the man 's head is down . We ca n't see Luke 's expression , as he stares at his clenched hands . We do n't need to .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I thought a phone call was inappropriate.<\/dialogue>\n    <scene_description>No one smiles at the irony . Not much to smile about .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I could have taken you to that restaurant, but it would have been a waste of money.<\/dialogue>\n    <scene_description>He loos up . She studies the pain .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>I know. I would n't know what to say. If it were you.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>We're going to win this.<\/dialogue>\n    <character>JACKIE<\/character>\n    <parenthetical>( straight back . )<\/parenthetical>\n    <dialogue>Walk in the park. And thanks for the ` we'.<\/dialogue>\n    <scene_description>Tears fill his eyes . None in hers .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>You're not alone in this. You're not alone. Jesus, you're not alone, okay?<\/dialogue>\n    <scene_description>Jackie swallows . Tries a smile that does n't get halfway there . Looks down .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>What happens next?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>I live or I die.<\/dialogue>\n    <scene_description>Looks straight in his eyes . We do n't need the bullshit . Not us .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Tell the kids together?<\/dialogue>\n    <scene_description>She thinks . A barely perceptible nod .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Want Rache someplace else?<\/dialogue>\n    <scene_description>On that one . She has to smile .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>My compliments. On your learning curve.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKIE'S KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Jackie carrying two steaming MUGS from her stove . These have marshmallows floating in them . She sets them down in front of her children . Ben starts plucking the marshmallows out of Annabelle 's mug . Annabelle does n't care , too busy video taping . her father . Who sits with this tender , compassionate , and therefore rather ominous smile . Does n't take a smart kid like his daughter to guess .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>So what's up? Who's marrying who this time?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Mommy's marrying Rache!<\/dialogue>\n    <scene_description>He 's happy . Jackie reaches and shuts OFF Annabelle 's camera . And the directness in her gaze keeps the child from complaining .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( simply . )<\/parenthetical>\n    <dialogue>Mommy's sick, guys.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>You have the WORST flu since.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>I have cancer. Do you know what that is?<\/dialogue>\n    <scene_description>He does n't . Someone else does .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <parenthetical>( real quiet . )<\/parenthetical>\n    <dialogue>It's what Grammy Lil died from.<\/dialogue>\n    <scene_description>Ben 's eyes WHIP OVER to his sister . He sees the cold fear in her face . BACK to Mom . She seems fine , calm , smiling even .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Grammy had a different kind. There are lots of kinds. Hers was very bad.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Is your bad?<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>Shut up. She's going to die.<\/dialogue>\n    <scene_description>But the anger in her eyes is n't for Ben . She is glaring . At her mom .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Actually, I'm getting better already.<\/dialogue>\n    <scene_description>Straight . As if to an equal , an adult .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I had a lot of treatments, and they were n't any fun, but the tests show the cancer got smaller.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>A lot smaller.<\/dialogue>\n    <scene_description>Annabelle cuts him an angry look . He 's on her shit list , too .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>So you're okay.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>I'm still sick, but I'm better.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>You lied to us when you nevertold us!<\/dialogue>\n    <scene_description>Ben had n't thought of that . Nods now , yeh .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>That's right. And you're mad.<\/dialogue>\n    <scene_description>Annabelle just glares with all the hatred she can turn her fear into .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I know how scared I get when you're sick. So I waited to tell you. Until it was getting smaller. I thought that was best, maybe I was wr.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>You lied. If you lied then, maybe you're lying now. I can never belive you again!<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Annabelle, never say ` nev.'<\/dialogue>\n    <scene_description>But Jackie 's raised her hand . Jump back , Jack . The eye contact with her daughter never breaks .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>We make mistakes. And we forgive each other. Because we love each other, very m.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>Where's Rache? It's Thursday, we get to be with Rache!<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>( the diplomat . )<\/parenthetical>\n    <dialogue>I'd rather be with Mommy.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>She's dying and Rache is your mother now!<\/dialogue>\n    <scene_description>She jumps up from the table . HISSES at her brother .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>You are so STUPID!<\/dialogue>\n    <scene_description>And she RUNS , halfway to the door .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>ANNABELLE!<\/dialogue>\n    <scene_description>She turns , STARTLED at the anger in that .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>You do NOT run out on your moth.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>YOU'RE WORSE THAN SHE IS! WHY DO N'T YOU JUST DIE, TOO?<\/dialogue>\n    <scene_description>And BOLTS from the room . In the silence she 's left behind .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Annabelle's worse than everybody.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUKE AND RACHEL'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Rachel and Luke cuddled in bed , watching a video in the darkness . At least , she is . Just now , he 's watching her .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Well, I think you should tell him you changed your mi.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>It's no biggie.<\/dialogue>\n    <scene_description>She 's still watching . It 's a French - language comedy . She can feel his eyes on her . Never turns .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>It's just an assignment.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>It's Anna Sui, you should be doing it.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Are you hungry? You could make us something?<\/dialogue>\n    <scene_description>She 's still never looked at him . He can see she 's getting irritat - ed . He says nothing .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>It's two solid months, around the clock, Jackie needs some cover - age, you're in a trial, what are we talking about? There'll be other assignments.<\/dialogue>\n    <scene_description>He kisses her hair and flinches slightly . Tries to pretend it 's because she 's concentrating on the movie .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>They're my kids.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Great, wallow in guilt, you sure you're not Jewish?<\/dialogue>\n    <scene_description>A long beat . He snuggles closer . They watch together .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>She's not gon na die.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I know that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKIE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Jackie and Ben cuddled in bed , watching a video in the darkened room . It is not a French Comedy . They are , however , eating popcorn . The door opens . Annabelle stands motionless , composed . Her face looks like she 's been crying . She clears her throat .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>I'm sorry you're sick.<\/dialogue>\n    <scene_description>From across the room . Jackie stares at her .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I ca n't hear you.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>THEN TURN OFF THE CARTOON!<\/dialogue>\n    <scene_description>Jackie cups her hand to her ear . Shakes her head , ca n't hear a thing . Waves , come on over . And slowly . Annabelle does . Crawls up into the bed , on the opposite side from Ben . Into her mother 's arms . Jackie kisses her head , strong . Big smile .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>I said.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>I'm not deaf, y' know.<\/dialogue>\n    <scene_description>They grin at each other . Like equals . Jackie picks up the remote , cuts OFF the sound . And when Ben turns to her .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>In the still. still of the ni - ight. I held you. held you so ti - ight.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>That's Rache's song!<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Sugar. I was slow dancing to that song before Rachel was even born.<\/dialogue>\n    <scene_description>Wow ? Really ? You bet . Annabelle chuckles .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>You think she's the Queen of Cool?<\/dialogue>\n    <scene_description>Jackie shakes her head . Pulls down the covers , pulls up her t - shirt .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Does she have a tattoo?<\/dialogue>\n    <scene_description>The butterfly . Just below her navel . Ben has seen this before , of course . Touches it , with his small hand .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>He would n't know. I saw her in the shower!<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>And?<\/dialogue>\n    <scene_description>Ben looks to his sister . For the verdict . Annabelle shakes her head . Nope .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>She is only the Princess of Cool. Mommy is the Queen!<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>She is but an arriviste.<\/dialogue>\n    <scene_description>A new word , apparently .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>A newcomer. She's still got a thing or two to learn.<\/dialogue>\n    <scene_description>Annabelle nods . You betcha .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( resumes singing . )<\/parenthetical>\n    <dialogue>I held you. held you so ti - ight.<\/dialogue>\n    <parenthetical>( to Annabelle . )<\/parenthetical>\n    <dialogue>You sing lead, you've got the voice.<\/dialogue>\n    <scene_description>She bumps head gently with Ben .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>The stud and I will doo - wop.<\/dialogue>\n    <scene_description>And as they doo - wop the back - up .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <parenthetical>( sings . )<\/parenthetical>\n    <dialogue>For I love. lo - ove you soooo. promise I'll never. Let you go.<\/dialogue>\n    <character>ANNABELLE\/JACKIE<\/character>\n    <parenthetical>( sing . )<\/parenthetical>\n    <dialogue>In the still of the ni - ight.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ELEMENTARY SCHOOL - NIGHT<\/stage_direction>\n    <scene_description>Parents streaming slowly in for a PTA night . They are chatty , tired , preoccupied . And 95 % female .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEMENTARY SCHOOL COMMON ROOM - NIGHT<\/stage_direction>\n    <scene_description>Folding chairs set in rows . Parents taking their seats with coffee and cookies . Up front , a table where a panel of speakers are beginning to gather . A faded banner says PTA - TENAFLY DAY SCHOOL . Jackie is nibbling at a single cookie , when . a figure slips into the seat beside her . Rachel is juggling a coffee and maybe nine cookies . Drops one . Picks it up . Dusts it off . Jackie is repelled , but has to smile .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Small world.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Luke's depo ran late. I promised I'd take notes.<\/dialogue>\n    <scene_description>To prove it , she balances the cookies on her thighs , and produces a notebook . Looks around , and in a conspiratorial near - whisper .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>So I have to tell you something in confidence.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>You're a cross - dresser.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>That. And. Annabelle is over her head. With Brad ` The Dreamboat' Kovitsky.<\/dialogue>\n    <scene_description>Does a Groucho eyebrow move .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>She has n't mentioned this.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>She was afraid you'd make a big deal out of it.<\/dialogue>\n    <scene_description>Jackie is hurt . Covers .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Moi?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Toi. They've been ` going out' for two weeks.<\/dialogue>\n    <scene_description>Rachel breathless and happy . Jackie attentive .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>As you may know, ` going out' in the six grade does n't mean shit. They do n't actually go to a movie or anywhere, they do n't even eat lunch together, it's just a declaration to the world that they're.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>going out, yeh. I had kids of my own, once.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Anyway. He walks up to her on lunch yard today. And tells her. publicly. that they're ` breaking up.'<\/dialogue>\n    <scene_description>Jackie 's mouth drops .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Oh, my God.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Right. Which is the whole point of this ` going out' thing, so one of them can dump the other one, and they can imitate the whole passionate adult soap opera tragedy, without ever having to actually date.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>She's devastated.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Does n't begin to describe it. I mean, you've got cancer, this is serious.<\/dialogue>\n    <scene_description>Rachel GRIPS Jackie 's arm .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>She spent an hour in the girls' bath - room, crying with eight of her closest friends, who are sending the message to every boy in the grade that Brad Kovitsky is yesterday's toast.<\/dialogue>\n    <scene_description>Devours an entire cookie in one gulp .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>So here's the point. I pick her up from soccer, she tells me the whole mess, and asks me what to do.<\/dialogue>\n    <scene_description>How about that ?<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>And you said?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Beats me. Ask your mom.<\/dialogue>\n    <scene_description>Oh .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>So she's gon na. Tomorrow.<\/dialogue>\n    <scene_description>Leans closer . Whispers .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Do n't fuck this up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKIE'S KITCHEN - DAY<\/stage_direction>\n    <scene_description>Jackie and Annabelle are sitting at the kitchen counter with maybe twenty hardboiled eggs . They are cracking the shells gently , and carefully peeling them .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Well, did you really think you'd meet someone at eleven that you'd spend the rest of your life with?<\/dialogue>\n    <scene_description>Annabelle keeps her eyes on her eggs . A craftswoman .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>No, but I thought till Thursday.<\/dialogue>\n    <scene_description>Oh .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>What's Thursd.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>A debate. Man's inhumanity to woman. He's pro women. I'm con. Ms. Flannery is twisted.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>I could help with the debate.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <parenthetical>( glum . )<\/parenthetical>\n    <dialogue>Great.<\/dialogue>\n    <character>JACKIE<\/character>\n    <parenthetical>( thinking it over . )<\/parenthetical>\n    <dialogue>Actually. I could only help him.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>Every time I'm on the lunch yard, and he's with twelve of his retarded dorkface little adoring out - crowd henchmen.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>You do n't like his friends.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>they all yell ` There goes the Virgin Queen' or the ` Ice Princess', or some really clever cut like that. Like it hurts my feelings.<\/dialogue>\n    <scene_description>They keep peeling eggs .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>You would n't kiss him, huh?<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>Not with my mouth open.<\/dialogue>\n    <character>JACKIE<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Good girl.<\/dialogue>\n    <scene_description>Annabelle 's eyes well up . She covers by concentrating all the harder .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>And what do you do wh.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>I call him a fartface or a pervert, or something equally lame.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>You have to ignore him.<\/dialogue>\n    <scene_description>And on this . Annabelle looks up .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>He's not even there. You do n't see him, you do n't hear him, you're just too much of a woman to bother with little boys.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>This is a joke, right?<\/dialogue>\n    <scene_description>Jackie shakes her head . Nope .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>All he wants is the attention. When he ca n't get to you, he'll try harder for a little while. Then, he'll give up. It'll be no fun.<\/dialogue>\n    <scene_description>The kid blinks .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>You think Rache would do that?<\/dialogue>\n    <scene_description>Takes Mom back a bit . Enough for her daughter to notice .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>It's just she's younger. Maybe she remembers how to do this.<\/dialogue>\n    <scene_description>Jackie shrugs . Maybe . Annabelle studies her .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>This'll work, huh?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Oh, yeh.<\/dialogue>\n    <scene_description>Annabelle takes heart from her mom 's confidence . Nods , with her trademark determination .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>How many devilled eggs can you eat?<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>Maybe twenty.<\/dialogue>\n    <scene_description>Jackie surveys the table .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>We can always go to the store, if w.<\/dialogue>\n    <scene_description>A sudden BANGING on the screen door . They turn to see . a breathless six - year - old TUCKER through the screen . The birthday boy at the recent party .<\/scene_description>\n    <character>TUCKER<\/character>\n    <dialogue>Mrs. Harrison?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Tucker, is something wr.<\/dialogue>\n    <character>TUCKER<\/character>\n    <dialogue>How tall is your tree? The really, really, really, REALLY big.<\/dialogue>\n    <character>JACKIE<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>Why?<\/dialogue>\n    <scene_description>Uh .<\/scene_description>\n    <character>TUCKER<\/character>\n    <dialogue>How bad would it hurt? If you fell off the top?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. YARD - DAY<\/stage_direction>\n    <scene_description>AERIAL VIEW of Jackie , Annabelle , Tucker and assorted neighborhood looky - loo kids from SEVENTY FEET in the air . Everyone looks like TINY DOTS running around the lawn . We realize that we are almost at the TOP of a giant EVERGREEN TREE . We see a patch of red . And now a blue stripe . The wind reveals more - It 's BEN CLIMBING to the very top of the tree . The calling of his name becoming more and more faint in the distance - His leg MISSES a branch - causing a cluster of PINE CONES to FALL in front of Jackie - she looks up screaming -<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>BEEEENNNNNN!<\/dialogue>\n    <scene_description>Jackie 's POV - Ben crouched at the top of the evergreen - as the wind sways the tree perilously back and forth .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Do n't move!<\/dialogue>\n    <scene_description>SMASH CUT TO LATER , as . An enormous CRANE moves through the sky . Jackie holds tightly onto JESSICA , a diminutive five - foot - tall Firewoman , as they soar skyward towards Ben . A slightly condescending tone to .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>That's quite a grip you have there Ma'am. Do we have an issue with heights?<\/dialogue>\n    <scene_description>Patronized the wrong gal . In a crisis .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( looking her up and down . )<\/parenthetical>\n    <dialogue>I do n't care if you're a dwarf, so long as you do your job. BEN! I'M COMING! STAY THERE! MOMMY'S COMING!<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Ma'am, my arm's going numb, maybe you could loosen your grip just a little.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>That's absolutely out of the question. BEN! I'M HERE!<\/dialogue>\n    <scene_description>The crane STOPS . Ben has climbed to the top branches of the trees ; they SWAY from side to side like a METRONOME .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Hello Ben. Your mother says you're real good at disappearing -<\/dialogue>\n    <scene_description>Ben tries to climb a little higher - Branches SNAP .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Ben! Mommy's so glad to see you - Now stop climbing!<\/dialogue>\n    <parenthetical>( He keeps climbing . )<\/parenthetical>\n    <dialogue>Ben listen to me.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>No! I have to get there.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Where Ben?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Before you.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Ben where do you have to get to?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Heaven. I have to tell him he's made a mistake. He should take Grammy Martha first. Or Grandpa Norman.<\/dialogue>\n    <scene_description>Jackie 's heart breaks , unable to speak .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Ben. God does n't like visitors.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>How do you know?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Ask her, she's a heroic Fireperson. She does this twenty times a day.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>Jessica begins to crawl out to him on the limb .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Oh yeh. It's in our official manual.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>That's right, Ben. That's why Firemen have giant ladders and climb up and down poles. They're like. messengers. carrier pigeons. between heaven and earth.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>That's good cause we need to hurry. My mom does n't have very much time left.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Then you know what we should do? We should go to the Fire Station together and ring the firebell to get God's attention.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Cause it's an emergency.<\/dialogue>\n    <scene_description>Ben opens his arms , teeters , and Jessica HAS him . She reaches him out , and . HANDS him to Jackie , alone in the cherry - picker . Jackie GRASPS Ben , pulling him FIERCELY to her arms in a death grip . From down below , the kids CHEER . The worst is over . HOLD on Jackie , clutching her baby for dear life . Knowing it is n't .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEN'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Jackie stands in the doorway watching her son - her baby boy - sleeping . She looks drawn , but even if her body would let her sleep she could n't .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( a whisper . )<\/parenthetical>\n    <dialogue>God. I will do anything. I will go through any amount of pain you give me. If you'll just let me see them grow up.<\/dialogue>\n    <scene_description>A slow ragged breath .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Is that asking so damn much?<\/dialogue>\n    <scene_description>She leaves the room soundlessly . Ben stirs . ANNABELLE 'S BEDROOM - LATER THAT NIGHT Annabelle sleeps soundly in the glow of a night light . Jackie appears , leaning down to rouse her gently .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Annabelle. wake up honey.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <parenthetical>( sleepy . )<\/parenthetical>\n    <dialogue>Mom? What's wrong?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Nothing sweetheart.<\/dialogue>\n    <scene_description>Jackie sits on the edge of the bed , stroking Annabelle 's head .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I got Ginny Weintraub to come stay with Ben.<\/dialogue>\n    <scene_description>Annabelle 's puzzled look . Why would you do that ?<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>How'd you like to go someplace special with me? Right now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NORTH VALE STABLES - NIGHT<\/stage_direction>\n    <scene_description>The light of the full moon illuminates the night and we see Jackie and Annabelle sitting on a horse . Annabelle in front , Jackie with a strong hold on her . Both have their nightgowns tucked into their jeans , coats over them .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Hold tight, sweetheart.<\/dialogue>\n    <scene_description>She KICKS the horse forward and they HEAD OFF toward the rolling hills in the distance . Jackie and Annabelle ride faster and faster along the trail . Jackie has one arm firmly around Annabelle 's waist and controls the horse with the other . Jackie closes her eyes for a moment , allowing the wind to wash over her . The smells and sounds of the night seem to free her , give her strength . Annabelle relaxes against her mother and giggles with delight . Jackie soon joins her , and the sounds of their laughter break the silence of the night . They come to a stop at the crest of a small hill and we now see the tears on Jackie 's face . Annabelle ca n't see , and stares out at the moonlit valley before them .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I'm never, never going to forget this.<\/dialogue>\n    <scene_description>Annabelle snuggles back . Happy .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>Never say never.<\/dialogue>\n    <scene_description>Jackie kisses the top of her baby 's head .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>You're old enough to learn the loophole. You can say ` never, never'. If you mean it enough. To say it twice.<\/dialogue>\n    <scene_description>Annabelle yawns . So content in her mother 's arms .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>I'll remember. Always, always.<\/dialogue>\n    <scene_description>So Jackie grips a little tighter . Breathes a single word , just loud enough to hear .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Promise.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JACKIE'S HOUSE - DUSK<\/stage_direction>\n    <scene_description>Rachel and Luke heading up the path to Jackie 's door . It is early winter . Stark trees , a light snow on the ground . Rachel pulls her coat tighter around her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKIE'S FRONT DOOR - DUSK<\/stage_direction>\n    <scene_description>Ben rumbling down the hall to the door . Stands in front of it , as the bell RINGS again .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>IS THAT YOU?<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>IT'S YOUR GIRLFRIEND, BIG GUY, OPEN UP.<\/dialogue>\n    <scene_description>So he does . Gives her a sweet hug .<\/scene_description>\n    <character>LUKE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hey. Remember me?<\/dialogue>\n    <scene_description>He enters behind her . SCOOPS his body in the air .<\/scene_description>\n    <character>LUKE<\/character>\n    <parenthetical>( John Wayne . )<\/parenthetical>\n    <dialogue>Listen up. That's a pretty big love you're givin' my best girl, pard.<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>( Clint . )<\/parenthetical>\n    <dialogue>Listen sideways. I love her and you love her. Now what are we gon na do about it?<\/dialogue>\n    <scene_description>They follow Rachel down the hall .<\/scene_description>\n    <character>LUKE<\/character>\n    <parenthetical>( Mister Rogers . )<\/parenthetical>\n    <dialogue>We'll share. Like good neighbors.<\/dialogue>\n    <scene_description>They enter the living room . Annabelle sits sullenly in front of the TV . Her overnight duffle and book bag and coat piled beside her .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Hey, gorgeous, where's Big Mama?<\/dialogue>\n    <scene_description>No answer . Annabelle worried about something .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>She still packing for her trip?<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>I killed my math quiz, A - minus.<\/dialogue>\n    <scene_description>They slap FIVE . Go through the ritual of a three - step black guy handshake .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>And. other things? At school?<\/dialogue>\n    <scene_description>Annabelle cuts a look in Luke and Ben 's direction . Please not in front of the menfolk .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>We'll talk. I'll go check on Mom.<\/dialogue>\n    <scene_description>Annabelle frowns at Mom 's name . Rachel strokes her . Heads down the hall . Knocks at the open door to Jackie 's bedroom , where Jackie is calmly , meticulously , laying out things beside her large open suitcase . She waves Rachel in , and keeps working .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( checking out the stuff . )<\/parenthetical>\n    <dialogue>It's gon na be cool, huh?<\/dialogue>\n    <scene_description>Bulky sweaters . Wool things .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I can never figure weather. Last trip, I made all the wrong choices.<\/dialogue>\n    <scene_description>Rachel and we have a better angle now . Jackie looks awful . Drawn , weak , masking pain with obvious courage .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Bad day?<\/dialogue>\n    <scene_description>Rachel sits on the edge of the bed . Jackie turns away , goes to her open chest of drawers .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Ca n't complain.<\/dialogue>\n    <scene_description>Even her voice is carefully under control . Awkward , Rachel looks around the room . A stack of photo albums , scrapbooks , open . Works in progress .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Can I look at the pictures?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>It's a mess, right now. That's my project when I get back.<\/dialogue>\n    <scene_description>So quiet , we can hear a clock TICKING nearby . Rachel 's gaze returns to the bulky sweaters . Holds there .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>See, I'm not going to Houston, after all.<\/dialogue>\n    <scene_description>Like you obviously figured out .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>There's this clinic in Montreal. We've studied their process, we like their success rate.<\/dialogue>\n    <scene_description>Two women nodding , in a calm , matter - of - fact way . As if discussing recipes .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>They combine some compounds that have been getting results in France, with vitamin injections. Seems to activate the chemo.<\/dialogue>\n    <scene_description>Silence .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>So. Hopeful.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>It's promising, this one. We're upbeat.<\/dialogue>\n    <scene_description>Rachel swallows . She 's out of words .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I really look like shit.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You look sick. But you look. together. Mentally tough.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Yeh, that's bull. I'm going for serene, they say some actually get there.<\/dialogue>\n    <scene_description>A shrug . The first bitterness to seep through .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Prob ` ly low percentage on mothers.<\/dialogue>\n    <scene_description>She sits , unceremoniously , right on the floor . Pantomimes a smoke . Rachel goes into her bag .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>You try to center on the big issues, y' know. What it's all about. What this whole trip has meant. But then, the really big issues keep swamping y.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Brad Kovitsky.<\/dialogue>\n    <scene_description>Tosses Jackie a pack . Matches next .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>You do n't have any pot, I s ` pose?<\/dialogue>\n    <scene_description>Rachel 's eyebrows head north .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>The primo stuff is great for pain.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I think my ` primo shit' got left in my ` bellbottoms.'<\/dialogue>\n    <scene_description>Jackie lighting up . Deep soulful drag .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>So. She ignores this little Kovitsky punk, takes the high moral ground.<\/dialogue>\n    <scene_description>Reading Rachel 's face . Who is already wincing .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( yeh . )<\/parenthetical>\n    <dialogue>He's relentless. A major asshole.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( nodding . )<\/parenthetical>\n    <dialogue>And you said.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>What else? Keep on keepin' on.<\/dialogue>\n    <scene_description>Oh . Rachel tries to hide her disappointment .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>She has to stick with it. Have the patience, the guts, to ignore the pain. You disagree?<\/dialogue>\n    <scene_description>Half a beat . Rachel shakes her head , nope .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Hey. You oughta know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUKE AND RACHEL'S DEN - NIGHT<\/stage_direction>\n    <scene_description>Luke sits with Ben , building a gigantic magic castle from a million Leggos . I 's architecturally interesting . Through the window behind them , a cold winter rain .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>God, sorry I'm so late.<\/dialogue>\n    <scene_description>She is entering , peeling off her jacket . Tired as hell .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Duncan is doing his Himmler imitation on this gig. I got yelled at for quitting at eight.<\/dialogue>\n    <scene_description>Under Luke 's patient exterior , the stress is showing . As Ben watches , he replaces a key piece of the turret .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Yeh, well, I'll be up all night on this brief. And then.<\/dialogue>\n    <scene_description>He shoots her a really sorry look .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>I've got a morning plane to Boston for the depo. Back Sunday night.<\/dialogue>\n    <scene_description>Wow . They lock eyes in the bond of ` what are we gon na do ? '<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>No problem.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>I made that paella you liked. It's on the stove.<\/dialogue>\n    <scene_description>She kisses Ben 's head , Luke 's mouth , that one lingering a little . Then , down the hall to . the kitchen . Annabelle sits with her homework stacked , untouched . Staring out the dark window . Clearly , this is worse than death .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Lem me guess. A bad hair day.<\/dialogue>\n    <scene_description>Annabelle TURNS like a hunted animal .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>She told me to keep ignoring him! So I did it!<\/dialogue>\n    <scene_description>Not a good result , huh ?<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>You know what that creep and his frogfaced footmen are calling me now? In front of the whole world? Frosty, the Snow Bitch!<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>That's so weak.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>Here's weak. Mom said she was gon na talk to the teacher and Brad's parents! Can you believe the humiliation?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Honey, she wo n't d.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I told her if she pulled that, I'd kill myself, and she could go to my funeral for a change!<\/dialogue>\n    <scene_description>For a change . That 's where this is coming from . Rachel reaches her arms around her .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( murmurs . )<\/parenthetical>\n    <dialogue>Hey. Hey. I've personally never gone to a funeral. And I'm not starting anytime soon.<\/dialogue>\n    <scene_description>The phone begins to RING .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( a whisper . )<\/parenthetical>\n    <dialogue>Specially not in this family.<\/dialogue>\n    <scene_description>Keep RINGING . Rachel checks her watch . Shit .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Nine o'clock. That could be your mom from Montreal. Now you need t.<\/dialogue>\n    <scene_description>But Annabelle BREAKS LOOSE from Rachel 's arms and BOLTS out of the room . Rachel watching in despair . Lifts the phone on the sixth ring .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( bright and soft . )<\/parenthetical>\n    <dialogue>Hi. How's the vitamins up there? Having big fun?<\/dialogue>\n    <scene_description>INTERCUT throughout : Jackie in a hospital gown . At the window of her room , rain pouring down on Montreal .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Eat your heart out. Is Annabelle there?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Yeh, she's. I'll get you Ben first, it's past his bedti.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>How's she doing with Brad?<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Can I say one thing? I mean, the last thing I want to do is inter - fere on the Brad thing, b.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Thanks, but it's under control.<\/dialogue>\n    <scene_description>A shorter beat .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Yah? Well, even the best mom in the world, the smartest, the wisest, whatever. Needs to know when to find a Plan B. Cos Plan A is not and will n.<\/dialogue>\n    <character>JACKIE<\/character>\n    <parenthetical>( tired , short . )<\/parenthetical>\n    <dialogue>It's covered, okay? I appreciate your concern. Can I talk to her?<\/dialogue>\n    <scene_description>And real quiet .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I'll get Ben.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANNABELLE'S ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Annabelle lies on her bed in darkness . Clutching her pillow . Lights streams in as Rachel enters . Sits on the bed , next to this furious child . Puts the cordless phone by the pillow .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Annabelle, I know you miss your mother. So why do n't you say hello.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>Why do n't you say hello?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Annabelle pick up the phone.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>Annabelle pick up the phone.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>That does n't bother me.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>That does n't bother me.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You think this is funny?<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>You think this is funny?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>No. I think it's ugly.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>You're just a stepmother. So stop bossing, cos nobody's listening!<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( even , in control . )<\/parenthetical>\n    <dialogue>June 3rd, God willing, I'll marry your Dad. And then I will be your stepmom. And right now, I'm not looking forward to th.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>Suits me fine!<\/dialogue>\n    <scene_description>Rachel cooks her head to one side , like she 's seen Jackie do .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Stepmother. You think that means you can step on me? Over me? That you're one step ahead of me? Well, you're not.<\/dialogue>\n    <scene_description>Strong voice . No smile at all .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You know when girls grow into women? When they have to. And this is your moment, kid. Ready or not.<\/dialogue>\n    <scene_description>Picks up the phone .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( low . )<\/parenthetical>\n    <dialogue>Your mama is in a hospital, far away. She needs you, right now. She needs you to be big. To put the kid aside, and help her get well. Now. Fucking. Do it!<\/dialogue>\n    <scene_description>CLICKS the phone ON . Hands it to her .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <parenthetical>( tears on her face . )<\/parenthetical>\n    <dialogue>Hi, Mom. How are you feeling?<\/dialogue>\n    <scene_description>As Rachel leaves , silently , we . INTERCUT throughout : Jackie at her clinic window . Cellular at her ear .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Darling, I've been thinking about our little Brad problem? And I think it's time we move to Plan B.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>You can not believe what he said, it was the worst instant of my total life on Earth!<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>I know. I know how rough life can be. And how unfair. So here's what we do. Tomorrow, on the lunch yard, you walk straight up to that little jerk.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>And bring my knees up, real hard, yeh?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>No, that never solves anything. You talk like the big girl you are. About what you feel. And how he's hurt you. You know? You tell the truth.<\/dialogue>\n    <scene_description>Nodding to herself . Knows this is right .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>You use your words.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBWAY CAR - DAY<\/stage_direction>\n    <scene_description>An actual SUBWAY CAR filled with PAIRS of animals , cats , rabbits , dogs , two horses peeking out a window , peacocks . Noah 's Subway , so to speak . Duncan and his client watch as Cooper assists Rachel , who SHOOTS the menagerie from low ANGLES . At last , she lowers her camera . Check her watch . Shoots Cooper a knowing look . And HANDS HIM the camera . WAVES to her subjects .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I love you guys. You're animals!<\/dialogue>\n    <scene_description>And starts WALKING OFF down the tunnel . Duncan looks at his watch , then JUMPS up , TEARS after Rachel , GRABBING her arm , SPINNING her around , he faces . someone ready for this .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>It's 1:45, I told you there's no one to pick up Annab.<\/dialogue>\n    <character>DUNCAN<\/character>\n    <dialogue>But you're not done!<\/dialogue>\n    <scene_description>She licks her lips . Stands her ground .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I've got it. It's in the can, Cooper can wrap th.<\/dialogue>\n    <character>DUNCAN<\/character>\n    <dialogue>We do n't KNOW if you've got it, we have n't SEEN it yet! Now go back and FINISH!<\/dialogue>\n    <scene_description>Her glare says do NOT fuck with me . The mother lion look we 've seen on Jackie .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Which part of no do n't you understand?<\/dialogue>\n    <character>DUNCAN<\/character>\n    <dialogue>Look, I will send a P.A. to pick up the children. There are agencies that supply sitters, nannies.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>They're losing one mother. They ca n't lose two.<\/dialogue>\n    <scene_description>The bottom line . He looks as freaked as she is determined .<\/scene_description>\n    <character>DUNCAN<\/character>\n    <dialogue>You're making a career decision here, I would strongly sugg.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Duncan. I've got an even better idea.<\/dialogue>\n    <scene_description>She leans forward . In his face . So she barely has to murmur .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I. Quit.<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>DUNCAN<\/character>\n    <dialogue>You ca n't do that, I wo n't let you!<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>No, no, no, this is a job that's hard to keep, not a job that's hard to lose, ca n't be both.<\/dialogue>\n    <character>DUNCAN<\/character>\n    <dialogue>Rachel, do n't do this, you will never forgive yourself!<\/dialogue>\n    <scene_description>She thinks that over . For half a second .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Actually. I just did.<\/dialogue>\n    <scene_description>And without further fond farewell . She is gone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAR POOL LINE, ELEMENTARY SCHOOL - DAY<\/stage_direction>\n    <scene_description>The last cars are pulling away . Some kids are still playing sports . And sitting on the ledge by the flag pole . two children . The little boy is reading his Garfield book for the three hundredth time . His big sister is simply crying , openly , for a disinterested world to see . A car SCREECHES up . The driver BLASTS out the door , RUNS to us . Then crouches slowly . At Annabelle 's feet .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Oh, baby, I'm so sor.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>IT'S NOT YOUR FAULT!<\/dialogue>\n    <scene_description>Rachel is dying inside . Reaches to brush at Annabelle 's tears , but the child SMACKS her head away .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Ben, go sit in my car right now, and I will bribe you big time.<\/dialogue>\n    <scene_description>Excited , he runs off .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>I did what she said. I used my words, I told him what I felt, and they.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>laughed, yeh. They laughed real hard.<\/dialogue>\n    <scene_description>Annabelle nodding BIG , gulping back tears .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>That's because men can be scum, your precious father excepted, may you live to find one like him, it is damn hard.<\/dialogue>\n    <scene_description>And wraps her arms around the girl .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( looking around . )<\/parenthetical>\n    <dialogue>Now is that little prick still here, because if he is, I'm gon na rip his fucking heart out!<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>No, his mother's always on time.<\/dialogue>\n    <scene_description>Great .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>And Mom says anger never, never solves anything. It makes every - thing worse.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>That's because your mother is a fine person, finer than I will ever be. Now, just this once.<\/dialogue>\n    <scene_description>Just this once .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>If I tell you what to do. Can we cut a deal?<\/dialogue>\n    <scene_description>Annabelle stops crying . This is what she has prayed for .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Tomorrow is Friday, your mom comes home. You tell her you did what she said. It did n't work yet. But you're gon na talk to Brad again on Monday.<\/dialogue>\n    <scene_description>Leans close .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>And youdo n't tell her. What you're going to say.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>Not use my words, please!<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( smile . )<\/parenthetical>\n    <dialogue>No, baby. You're gon na use my words.<\/dialogue>\n    <scene_description>The sun dawns . On a child 's face . Rachel brushes the tears away . They wo n't need them anymore .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Okay, let's start with looks. I know he's handsome, but the best - looking people are so vain, there's always something they're insecure about.<\/dialogue>\n    <scene_description>Annabelle shakes her head . Nothing .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Does he have zitz? We can call him Pizza Face.<\/dialogue>\n    <scene_description>Nope . None .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Help me here.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>Uh. He thinks his nose is too big. But it's not.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Great. Big ears, too?<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>No. But they stand out, a little. Like this.<\/dialogue>\n    <scene_description>Shows how .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Done. He's a dead man.<\/dialogue>\n    <scene_description>Rachel stands up . Walks in circle , thinking . Comes back . Strikes a pose .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Monday lunch, you walk up with attitude, you hear me?<\/dialogue>\n    <scene_description>Finger STABS out .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( as Annabelle . )<\/parenthetical>\n    <dialogue>Hey, Ear Boy!<\/dialogue>\n    <parenthetical>( does the ears . )<\/parenthetical>\n    <dialogue>Listen up, Rhino Face, because I'm saying this one time! So your pathetic, no - life, ass - kissing little groupies here, better take notes!<\/dialogue>\n    <scene_description>Annabelle is swooning with joy .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( as Annabelle . )<\/parenthetical>\n    <dialogue>I dumped you, limp dick, when I got a peek at your deformed unit, which is sadly microscopic!<\/dialogue>\n    <scene_description>Annabelle laughing , applauding .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( as Annabelle . )<\/parenthetical>\n    <dialogue>As for your pitiful knowledge of sex? I'm not wasting my time with some loser who does n't even know what snowballing is!<\/dialogue>\n    <scene_description>Annabelle raises her hand .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>Uh. What is it?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Oh. It's an incredibly disgusting, and not remotely sexy thing, that they described in a movie I'd never let you go to. But it's real. Does he have an older brother?<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>In high school.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>He'll be impressed. The clincher is, you walk away, then whip around.<\/dialogue>\n    <scene_description>Like this .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>The guy I see is in the eighth grade at Prep School, and he laughs his ass off every time we talk about you.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>But Rache.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>A suitable boy, will be at this flagpole, on Monday, with a very expensive bike, and he will be a stone FOX if I have to call an escort service!<\/dialogue>\n    <scene_description>The kid . Is breathless .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Now let's go stuff you full of junk food.<\/dialogue>\n    <scene_description>Wraps an arm around her .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I've had the worst day. Till now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEWARK AIRPORT - DAY<\/stage_direction>\n    <scene_description>Arriving PASSENGERS are filling through the gate . Last , is a female FLIGHT ATTENDANT , WHEELING a gray - faced Jackie in a collapsible wheelchair . The woman leans to her .<\/scene_description>\n    <character>FLIGHT ATTENDANT<\/character>\n    <dialogue>We'll get your bags, and the taxis are just.<\/dialogue>\n    <scene_description>Jackie GRIPS the wheel , STOPPING them . Stares , frozen , as across the way . three faces stare back .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( sheepish . )<\/parenthetical>\n    <dialogue>Surprise?<\/dialogue>\n    <scene_description>And Jackie LEAPS out of the wheelchair , RUNS across the distance , runs to SCOOP her babies in her arms .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>It's a miracle! I can walk!<\/dialogue>\n    <scene_description>Annabelle laughs . Ben covers Jackie with kisses . Rachel watches . From the crowd .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKIE'S HOME - DAY<\/stage_direction>\n    <scene_description>Rachel carrying the suitcase , Jackie has each kid by the hand , as they troop through the house to arrive at . Jackie 's bedroom . Where Jackie freezes . Her mouth OPEN . For Rachel has . HUNG striking black and white PHOTOS of the children all OVER the room . One is of Ben 's FEET , left shoe on right foot and vice - versa . Another glimpses Annabelle 's beautiful FACE hidden in her hair . Ben sitting in a cupboard . Annabelle a bold ear of corn . Ben sitting on the bottom limb of the huge evergreen . Annabelle kissing her horse 's muzzle . Jackie just stands . Trying not to cry .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Okay. These are good.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>I helped.<\/dialogue>\n    <scene_description>She know he did . Looks across the room at Rachel . No more words .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Let's go to the park!<\/dialogue>\n    <scene_description>Jackie sighs . Smiles down at him .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I've got a lot of medicine in me, sweetie. And I'm a little wobbly for driving or running ar.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Rache can do that part.<\/dialogue>\n    <scene_description>Jackie absorbs that . And all it portends .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Hon, maybe your mom would like t.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>go to the park. In the worst way.<\/dialogue>\n    <scene_description>Silence .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <parenthetical>( grins . )<\/parenthetical>\n    <dialogue>Well, with Rachel driving. That's how we'll go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARK - DAY<\/stage_direction>\n    <scene_description>LONG ANGLE . five swings in use . In four , the kids are pushed by moms or nannies . In the fifth , Ben is pushed by Annabelle . Guess who 's going the highest . PULL BACK to . two women on a bench . Under a starkly bare tree . Jackie is drinking in the air , the cold , the day . Rachel watching that .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Serene. You're getting the hang of it.<\/dialogue>\n    <scene_description>Jackie does n't answer for a beat . Almost as if she has n't heard .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Serene means you accept.<\/dialogue>\n    <scene_description>Shakes her head .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Part of me has n't quit yet. And the other part is still pretty outraged.<\/dialogue>\n    <parenthetical>( calmly . )<\/parenthetical>\n    <dialogue>When it's not terrified.<\/dialogue>\n    <scene_description>Watching the world of moms and kids . Who are not terrified .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I'm thinking. Do I know you well enough to really chew you out?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Jackie turns to her . Diamond laser glare .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Have you lost your mind?! You fought years for that job! And you quit?<\/dialogue>\n    <scene_description>Oh . That .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>It's just not the right time t.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Do what you've worked your whole life to do?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>It was just a job, there'll be plenty of others.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>You mean, after I'm dead?<\/dialogue>\n    <scene_description>Do you ?<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Hey, you have n't quit on you, I'm sure as hell not gon na. I just mean, I'm juggling a lot right n.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Juggle it! Move the darkroom into your house. You've got that room downstairs with the treadmill Luke never uses anyway. Do n't lose your confidence. Do n't lose your edge.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>It's the same choice you made.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Yes. I made the choice that was right for me. And I do n't regret it. But even for me, there were days when I felt so lost, so invis - ible. And then I'd hate myself for the kids not being enough.<\/dialogue>\n    <scene_description>Reading Rachel 's face .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( softer . )<\/parenthetical>\n    <dialogue>I know you, huh? The car pools, he measles, the PTA. It's not gon na be enough for you in the long run. You have to think long term.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I just want to spend time with them when I'm not rushing or on the phone or tired or.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>That's motherhood. That's the job, with or without a career. I'm telling you the biggest gift you can give them is your happiness. They need you to be happy.<\/dialogue>\n    <scene_description>Can you hear me ?<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Cause if you're not, the easiest person to blame is the guy sleeping next to you. And you'll push him away, and then hate him even more when he goes, until finally you have no choice but to leave. And that ca n't happen.<\/dialogue>\n    <scene_description>Rachel 's turn to wonder . She starts to say something , thinks better of it . Asks instead .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>That's the bottom line, is n't it? I ca n't make a mistake. Because it'll screw your kids.<\/dialogue>\n    <scene_description>Glances over .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>My advice to you? Do n't die.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Feeling the pressure?<\/dialogue>\n    <scene_description>Rachel 's eyes move across Jackie 's face . Then , out to Ben , on the distant swings .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Last time I pushed him? He said, ` Higher, Rache. It makes my penis sting.'<\/dialogue>\n    <scene_description>Thin smile . Now it 's Jackie watching Rachel 's profile .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I'm gon na buy him that white dove for Christmas. If I do n't, you'll get him a fucking eagle!<\/dialogue>\n    <scene_description>Jackie keeps watching her . And in a quiet voice .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Ben was born in two hours, went right to my breast and camped there for three days. Always with this. mischievous look.<\/dialogue>\n    <scene_description>Watches Rachel nodding , absorbing .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Somehow, his blanket always looked like a cape, even the nurse said that. He loves to hear that story, over and over. How he was born a magician.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( softly , never turning . )<\/parenthetical>\n    <dialogue>And her?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Took 28 hours. She just was n't sure about entering this world.<\/dialogue>\n    <scene_description>Watches the feeling well in Rachel 's eyes .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>The doctor wanted to go in and get her, but I knew she'd come in her own time.<\/dialogue>\n    <scene_description>Rachel nods . It fits .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>That's who she is. Do n't let anybody rush her.<\/dialogue>\n    <scene_description>Silence . A murmur .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I'll keep that in mind.<\/dialogue>\n    <scene_description>Rachel settles back . Her eyes now locked away somewhere private .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Rache smiles . That Jackie sensed something .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>It's not about the kids.<\/dialogue>\n    <scene_description>Looks over . Decides whether to ask .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>That thing you said before. Pushing the guy sleeping next to you away. Because of what you gave up for motherhood.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Is that what he told you?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>He wo n't discuss it. Just calls it history.<\/dialogue>\n    <scene_description>A trace of edge to Jackie 's smile . But no real anger .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Well, he got that part right.<\/dialogue>\n    <scene_description>Looking . Looking .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>So what's the part he got wrong?<\/dialogue>\n    <scene_description>An urgency in that .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I got all day.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTHOUSE STEPS - TWILIGHT<\/stage_direction>\n    <scene_description>Luke and his bulky briefcase , coming down the stone steps two at a time , until . he sees her . In her winter coat . Smoking as if it could keep her warm . And despite her tension , he grins , heads over .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>What a great surpri.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Hold your applause. We're not having fun, here.<\/dialogue>\n    <scene_description>And from her face . She means every word .<\/scene_description>\n    <character>LUKE<\/character>\n    <parenthetical>( concerned . )<\/parenthetical>\n    <dialogue>Is Jack okay?<\/dialogue>\n    <scene_description>Great . Just what she wants to hear .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Oh yeh, she was cracking me up. Dishing details of her sordid little divorce.<\/dialogue>\n    <scene_description>Ah . A beat . To assess the damage .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>And you freaked. A little.<\/dialogue>\n    <scene_description>Hey .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Just like to make sure. That your past. And my future. Are real different.<\/dialogue>\n    <character>LUKE<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>Well, they will be.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( hard and low . )<\/parenthetical>\n    <dialogue>Imagine my relief. So what's for dinner?<\/dialogue>\n    <scene_description>He sighs . Jesus .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Why in the world would she t.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You took a fishing trip with the boys. Liked it so much, you took another.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>I needed some time away.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>while she watched the kids. Then, you booked this flat in Paris for your family's summer. But she said.<\/dialogue>\n    <character>LUKE<\/character>\n    <parenthetical>( weary . ) '<\/parenthetical>\n    <dialogue>. the kids have camp. Their friends are here. Over there, I'll just be shopping in a language I do n't even know. My life, and the kids' lives, are n't here to service your mid - life crisis.' Did it go like that?<\/dialogue>\n    <scene_description>It did . People are passing them . They do not notice .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>She called it a fight. The fight.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>What do you call it? You told her you had doubts.<\/dialogue>\n    <scene_description>He looks around . People are moving on . Toward their drinks , their dinners , their lives .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Can we go sit somewhere?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Let me put it this way. Hell, no.<\/dialogue>\n    <scene_description>And takes out her cigarettes . Her fingers fumble slightly . It is n't the cold .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>I told her I loved her.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>By way of saying you were unhappy.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Restless.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Excuse me. ` Things are so confusing for me, Jack. Our life feels too comfortable, too safe, too predict - able. It's a partnership, it's juggling schedules. When I think of playing that out, every day, for the rest of my life.'<\/dialogue>\n    <scene_description>Dead at his eyes . And he nods . Once .<\/scene_description>\n    <character>LUKE<\/character>\n    <parenthetical>( softly . ) '<\/parenthetical>\n    <dialogue>. I do n't know if I can make it.' That's what I said. But I did n't leave.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>No, she threw you out. What a difficult woman.<\/dialogue>\n    <scene_description>Pulls out her box of matches .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>So now I get to wait.<\/dialogue>\n    <scene_description>A single match .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>For the first sign. The first fishing trip.<\/dialogue>\n    <scene_description>STRIKES it . Shields it from the wind .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>What do you figure, Luke? When am I too old to be exciting? When your daughter brings home her college roommate?<\/dialogue>\n    <scene_description>Lights her cigarette . As he watches .<\/scene_description>\n    <character>LUKE<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>That's a pretty ugly thing you just said.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>No, here's ugly.' I love you, babe. It's just our life together I'm not so sure about.'<\/dialogue>\n    <scene_description>Big draw . Never wavering from his eyes .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>` But keep dancing, and if you're lucky, I might just never leave, who knows?'<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>That's not us.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Because you've changed so much.<\/dialogue>\n    <scene_description>He puts his hands on her , gently . But she flinches . So the hands come away .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>You want me to show you the future. Well, I ca n't darlin'.<\/dialogue>\n    <scene_description>I ca n't . She searches the lovelight in his eyes . As if she could weigh it .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>We make our lives, one step at a time. We do the best we can. The truth about the future? A promise. Is only a hope.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>How about the promises we make to our kids? About their future. Do we shrug those off, just that easily?<\/dialogue>\n    <scene_description>That slows him down .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Maybe Annabelle deserves to find out who really broke up her family. While her mom is still around.<\/dialogue>\n    <scene_description>Stops him . Cold .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( quiet . )<\/parenthetical>\n    <dialogue>Hey. Just a thought.<\/dialogue>\n    <scene_description>Flips her cigarette to the gutter . Shrugs .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You got one less for dinner.<\/dialogue>\n    <scene_description>Takes a step back . Only one . But it registers .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Where you goin'?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I'm gon na get me a drink.<\/dialogue>\n    <scene_description>Nods , to herself .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>And I'm gon na drink it alone.<\/dialogue>\n    <scene_description>And she walks off . Slow .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAR POOL LINE, ELEMENTARY SCHOOL - DAY<\/stage_direction>\n    <scene_description>Ben alone in the back seat . Reading his beloved Garfield book . Shift ANGLE to see . the women standing by the car . Rachel looks a little anxious .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You really did n't have to come, you know. I'd have brought them straight t.<\/dialogue>\n    <character>JACKIE<\/character>\n    <parenthetical>( staring at something . )<\/parenthetical>\n    <dialogue>Who in the world is he?<\/dialogue>\n    <scene_description>See now , across the way . A gorgeous BOY , dressed cool , stands holding an expensive bike . And chatting happily with Annabelle . In the distance , other kids pretend they are n't watching .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Looks nice enough to m.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>He looks familiar. Did he do a Calvin Klein ad?<\/dialogue>\n    <scene_description>Across the way , the boy leans , kisses Annabelle sweetly on the cheek . Waves to her . Peddles off . In distance , kids are dying . Annabelle pretends not to know that . Just walks casually toward us , but as she approaches , she ca n't help breaking into a RUN , straight . into RACHEL 'S ARMS .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <parenthetical>( breathless . )<\/parenthetical>\n    <dialogue>It workeditworkeditworked! Omigod, you ca n't believe the look on his face!<\/dialogue>\n    <scene_description>SQUEEZING Rachel tight enough to crush her bones . And although Rachel hugs back , although she kisses Annabelle 's hair . Her eyes are locked to Jackie 's . Houston . We have a problem .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JACKIE'S YARD - DAY<\/stage_direction>\n    <scene_description>Rachel alone by the weathered redwood swing and slide set . She is pacing in a circle , looking like a kid waiting to see the principal . Sucking her cigarette like smoke was oxygen . She picks a bottle of beer off the grass . Twists the top . Settles awkwardly on the seat of the taller swing . HEAR the screen door open . Bang shut . Rachel takes a sip . Before she looks up .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( low , calm . )<\/parenthetical>\n    <dialogue>Now we're going to have a fight, you and I.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( barely audible . )<\/parenthetical>\n    <dialogue>Are we.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>And I'm going to win.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( straight to her eyes . )<\/parenthetical>\n    <dialogue>Do n't be too sure.<\/dialogue>\n    <scene_description>No anger in Jackie at this moment . The ferocity of that mother lion . The strongest face we 'll ever see .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Now, ` limp dick', I know. What. Is ` snowballing'?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>It does n't matter, I did n't tell h.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Because there'll be, oh, 20 or 30 mothers phoning me in the next hour or so. And they'll b.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Give'em my number.<\/dialogue>\n    <scene_description>Jackie on the prowl around this swing . Stalking her prey .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Actually. They'll want Annabelle's mother.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Is that what you're worried about? Looking bad at the PTA?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>You are defending what you did?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Right down to the ground. Let's get to it.<\/dialogue>\n    <scene_description>Not quite what Jackie expected .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>You put filth in my child's mouth.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Aw.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>You had her lie about that. that fancy - boy model!<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Worked. Like a charm.<\/dialogue>\n    <scene_description>Jackie can not even believe this .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>She was beaten, and bloodied, and it was going to go on, uni.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>So you became the hero. And I became the schmuck.<\/dialogue>\n    <scene_description>Straightening her spine .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>You taught my child that I am some limp dick loser. Who did n't care about her pain.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>That's not wh.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>You think I did n't have some dirty words for that little putz? You think I could n't figure out some low blows?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You were n't passing'em out.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Well, maybe your version of growing up is ` Just win, baby'.<\/dialogue>\n    <scene_description>Stalking . Closer . Fierce .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Mine. Is a little different.<\/dialogue>\n    <scene_description>Right there . At the swing . In her face .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>See, in that crisis, I saw an opportunity. For some real growth.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Oh please.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Shut the fuck up. I did n't go behind your back.<\/dialogue>\n    <scene_description>The one scored . Rachel sips her beer .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Doing the right thing. Knowing who you are, inside. Not caving to peer pressure, or lowering yourself to that level, steering your own course.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>She was n't steering her own course, she was steering yours.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Well, that's what parenting is about, little girl. They are pleading to know how they are supposed to do it. And you sure as hell showed her.<\/dialogue>\n    <scene_description>Silence .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>And there will come another moment. When the stakes are really there. And she will look back on this. And remember how good it felt. How easy it was.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>And she'll fight back again. God help me, what have I done.<\/dialogue>\n    <scene_description>Jackie 's voice drops . The softness makes it somehow more menacing .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>You've turned her into you. And I may not get another chance. To turn her back.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( suddenly fierce . )<\/parenthetical>\n    <dialogue>That's what it is. And that's all it is.<\/dialogue>\n    <scene_description>The hand with its cigarette STABS out .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You wo n't get the chance.<\/dialogue>\n    <scene_description>Jackie back on her heels . Thinking . A mile a minute .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>You've got a point there, for a change. Oh, yes you do.<\/dialogue>\n    <scene_description>HER finger stabbing out .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>You did n't get morning sickness for seven months, you did n't breast feed till your nipples fell off, you did n't spend every minute of every day thinking and planning and knowing that your decisions were shaping the people they were going to be.<\/dialogue>\n    <scene_description>And now Rachel . Has nothing to say .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>You are gon na be taking Ben's training wheels off. You are the one my little girl will confess her first love to. You will see them married, you will play with their babies, you fucking BITCH, I hate your GUTS!<\/dialogue>\n    <scene_description>The blast washes over Rachel . And in the silence .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Now you're talking sense.<\/dialogue>\n    <scene_description>She looks down at her beer .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>All year long, I've been watching how you do this. The worries, the sacri - fices, the signals you give them.<\/dialogue>\n    <scene_description>Thinks . Really thinks . Wants so much to say this right .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>And I admire you. More than you'll ever believe. And yet. this. thing. has been growing. Inside me.<\/dialogue>\n    <scene_description>Looks up . Straight to her eyes .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>For better or worse. I'm not you.<\/dialogue>\n    <scene_description>And so she stands up . The swing shimmies in her wake .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I ca n't live my life channeling the One True Mom after you're gone. I ca n't do it. I ca n't do it. I ca n't. Do it.<\/dialogue>\n    <scene_description>Sets the beer down . Stabs out her smoke .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>We have to deal with that.<\/dialogue>\n    <scene_description>And walks off , slowly . Across the yard .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INDOOR RIDING RING - TWILIGHT<\/stage_direction>\n    <scene_description>Huge indoor space . Wood - sided walls , dirt floor . High corrugated metal roof , with birds flying , roosting in rafters . A little GIRL , under the keen eye of her TRAINER , puts her mount through its paces . In the cold air , steam rises from the horse 's body . It 's late , no one else around . TRACK now . down a walkway . Toward the stables . A barn cat is crouched , stalking prey . We hear a soft voice , speaking . One we know .<\/scene_description>\n    <character>LUKE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>It was like telling her.<\/dialogue>\n    <scene_description>See him now . Standing awkwardly , against the side of a stall .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>that I did n't love her anymore.<\/dialogue>\n    <scene_description>See the horse , still steaming . Standing patiently .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>if I could be sure I'd always stay.<\/dialogue>\n    <scene_description>Circling the horse now , we see Annabelle 's back . She is slowly brushing out the sweat mark . Where the saddle used to be . Her movements are stiff , mechanical . The soft voice continues .<\/scene_description>\n    <character>LUKE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>She said, ` This thing you call a partnership. The schedules, the chores, all the things we have to work out.'<\/dialogue>\n    <scene_description>Our ANGLE CIRCLING to see at last Annabelle 's face .<\/scene_description>\n    <character>LUKE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( softer . ) '<\/parenthetical>\n    <dialogue>. for the kids.'<\/dialogue>\n    <scene_description>The tears that stand in her eyes . The set line of her small mouth .<\/scene_description>\n    <character>LUKE<\/character>\n    <parenthetical>( O.S . ) '<\/parenthetical>\n    <dialogue>. that's the life I dreamed of. And it's all I ever wanted it to be.'<\/dialogue>\n    <scene_description>She swallows . Because she will not cry .<\/scene_description>\n    <character>LUKE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>That's the kind of person your mom is. She's the best.<\/dialogue>\n    <scene_description>Annabelle says nothing . She drops to her knees . Begins to clean out one of her horse 's hooves with a metal pick . The only sound against the stillness . And her father watches . His heart pounding .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>I complained a lot, baby. We could n't travel, we'd lost our privacy, our chance to do things on the spur of the moment. To live for. ourselves. The way we'd started out.<\/dialogue>\n    <scene_description>He goes to her . The sound of his feet on the straw .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>And she said. Sounds like you'd be happier. If the kids were n't around.<\/dialogue>\n    <scene_description>Crouches down . Very close to his child .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>I said. I love them more than anything. But sometimes. I do miss what I've lost.<\/dialogue>\n    <scene_description>Annabelle stops working . Turns her faces away .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>She said she could never feel that way, not for one single second.<\/dialogue>\n    <scene_description>So he leans closer .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>She did n't want to be with someone. Who could.<\/dialogue>\n    <scene_description>Silence . He 's staring at the back of her head .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>You know, this horse smells really bad.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>There's worse things.<\/dialogue>\n    <scene_description>At least she can talk . If only just above a whisper .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Do you know why I never told you all this before?<\/dialogue>\n    <scene_description>A beat . She does n't look at him .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>Sure. You wanted me to blame her. Instead of you.<\/dialogue>\n    <scene_description>Waiting to hear .<\/scene_description>\n    <character>LUKE<\/character>\n    <parenthetical>( very softly . )<\/parenthetical>\n    <dialogue>That's right.<\/dialogue>\n    <scene_description>She hears honesty . And heartbreak . It makes her turn .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>How come you're telling me now?<\/dialogue>\n    <scene_description>He gets lost . Looking in those eyes .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>I do n't want to be wrong anymore.<\/dialogue>\n    <scene_description>I do n't .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>I want to say I'm sorry, because I am. And let you hate me. If you have to.<\/dialogue>\n    <scene_description>She swallows hard . Her eyes moving over his face .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>See that feeling? Where you feel two different things at once? That's a grown - up thing. It's not a lot of fun.<\/dialogue>\n    <scene_description>She shakes her head very slightly . And her eyes water .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Know why your mom never told you?<\/dialogue>\n    <scene_description>She does n't .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>She knew that you and her were so. solid. Nothing could rock that. But she did n't want to risk.<\/dialogue>\n    <scene_description>The hardest thing . He 's ever had to say .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>your hating me.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>Cos she loves you.<\/dialogue>\n    <character>LUKE<\/character>\n    <dialogue>Cos she loves you. She wanted you to have a daddy to love. Even if he did n't. completely. deserve it.<\/dialogue>\n    <scene_description>Now the tears in his eyes . And she 's watching that .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>You know how much love that is? That she has for you.<\/dialogue>\n    <scene_description>Do you .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>There's going to come a moment. When she'll really need you to give that back. And you're just the girl that can do it.<\/dialogue>\n    <scene_description>The way he says this . Makes her ask .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>Now do I know when?<\/dialogue>\n    <scene_description>He reaches . First time . Strokes her hair .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>That moment will come. And your heart is going to whisper, ` here it is'<\/dialogue>\n    <scene_description>Winds his fingers . Around her hand .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>And you'll come through.<\/dialogue>\n    <scene_description>She stares in his eyes . And dead straight .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>If I miss it, daddy? You clue me in.<\/dialogue>\n    <scene_description>Okay , he nods . That 's a plan .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAR - NIGHT<\/stage_direction>\n    <scene_description>The dimly chic bar . With its soft upscale buzz . Where Jackie told Luke she had cancer . Tonight , she waits alone . Watching the entrance . Nursing her drink . And then . Rachel comes into the place . Spots Jackie across the room . Weaves her way through the tables . And she is there . Slipping into her seat . Not knowing what to say .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Thanks for coming out.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Neutral ground. What's up?<\/dialogue>\n    <scene_description>Jackie stares evenly . Her chin rests across the back of her knuckles . She looks tired , but okay . Fueled by adrenaline .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Luke called. He says you're checking out. Of the Heartbreak Hotel.<\/dialogue>\n    <scene_description>The waitress appears . Rachel too locked into the moment to notice . So .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>She likes a Stolie, no ice.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Double.<\/dialogue>\n    <scene_description>As the woman leaves .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>What's this about? Because we fought?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Do n't flatter yourself.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I always liked that line.<\/dialogue>\n    <scene_description>Signs .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I love Luke, I love the children. But there is more to life than even love.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>No, there is n't.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>And I have looked down the road. At what my life will be. And I ca n't handle it.<\/dialogue>\n    <scene_description>Jackie unblinking . Focused , strong .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>What do you see? Down that road.<\/dialogue>\n    <scene_description>No answer . Then .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I never wanted to be a mom. Then, sharing it with you was one thing. Carrying it alone, the rest of my life.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Is scary. But you want it. Gim me some truth here.<\/dialogue>\n    <scene_description>The Stolie arrives . They wait a beat . The waitress disappears .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Well, it's the Jack Kennedy Syndrome, huh? You die young, you always look golden. Perfect. The memory kind of burnishes the image, and.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Come on, a wuss like me? The stiff who would n't help her own daughter fight back?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Maybe I was wrong on that one.<\/dialogue>\n    <scene_description>That sits there . In its sincerity .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Well, maybe you were n't.<\/dialogue>\n    <scene_description>And so does that . Tears are forming in Rachel 's eyes . Here , in this public place .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Look, when I said I could n't channel you. That did n't mean I would n't give my right arm to do just that.<\/dialogue>\n    <scene_description>Shakes her head .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Maybe I do n't want to be looking over my shoulder. Every day for twenty years. Knowing someone else would have done it right. The way I ca n't.<\/dialogue>\n    <scene_description>Jackie waits . Thinks .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Trade you a smoke. For a secret.<\/dialogue>\n    <scene_description>The way she said that . Something weighty behind it . So Rachel reaches into her purse .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>You know, I lost Ben awhile back? In a supermarket.<\/dialogue>\n    <scene_description>Rachel 's hand freezes . In mid - course .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You're lying.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>I lost him. I was panicked.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You are lying, you never lost that kid for 4 seconds, you could find him from a coma, there is no WAY!<\/dialogue>\n    <character>JACKIE<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>I was running around like a chicken with my head chopped off. Doing my imitation of you.<\/dialogue>\n    <scene_description>Rachel still not buying .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Ben never mentioned it.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>He only remembers I found him. My point is, telling you this story would have been the kindest, most helpful thing I could ever have done for you.<\/dialogue>\n    <scene_description>The smile fades .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Why did n't I?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Uh. You hate my guts?<\/dialogue>\n    <scene_description>Passing the cigarettes over .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>We were competing. Even then.<\/dialogue>\n    <scene_description>Yes we were .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Instead of being partners. Watch - ing each other's back. Seeing things were covered.<\/dialogue>\n    <scene_description>Pulls out a smoke . Offers the pack .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>You're not scared you'll think you do n't measure up. You're scared they'll think it. That's the JFK thing, yeh?<\/dialogue>\n    <scene_description>Rachel takes one . Eye contact holding .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>With good reason. They fucking worship you as it is.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>What do I have that you do n't?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Everything. You're. the Earth Mother incarnate.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>You're the hip and fresh.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You ride with Annabelle.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>You'll learn.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You know every story, every wound, every memory, their whole life's happiness has been wrapped up in you, every moment.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>I have their past.<\/dialogue>\n    <scene_description>STRIKES the match .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>You. Have their future.<\/dialogue>\n    <scene_description>Rachel stunned . By the simplicity of it all . Slowly , she leans to accept Jackie 's flame .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Do n't you get it? You look down the road to her wedding. You're in the room alone with her, fitting her veil, fluffing her dress. Telling her no woman was ever that beautiful.<\/dialogue>\n    <scene_description>Tears now . Standing in two pairs of eyes .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>And your fear is. She'll be thinking. I wish Mom were here.<\/dialogue>\n    <scene_description>Jackie lights her own .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>And mine is. She wo n't.<\/dialogue>\n    <scene_description>Her hand trembles as she takes a drag .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Now that's enough fear for either one of us to kill the other. And no jury in the world would convict.<\/dialogue>\n    <scene_description>Jackie raises her glass .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>We're guilty, girl. Of being human. And we ca n't forgive ourselves.<\/dialogue>\n    <scene_description>Holds it forward . In a toast .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>But I forgive you.<\/dialogue>\n    <scene_description>And slowly , Rachel lifts her own glass . CLICKS it with Jackie 's .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Do n't rush me. I'm deciding.<\/dialogue>\n    <scene_description>SLOW DISSOLVE TO .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKIE'S LIVING ROOM - CHRISTMAS MORNING<\/stage_direction>\n    <scene_description>White Christmas outside the window . Richly trimmed tree , presents everywhere , carols softly playing . The whole nine yards . Luke and Ben standing at a wrapped bird cage , where a dove is cooing inside . Annabelle is setting out the cocoa with a uniformed NURSE . Rachel enters . Kisses Annabelle 's head .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I'm gon na check on Mom.<\/dialogue>\n    <scene_description>Goes down the hall , every emotion in the world is playing across her face . Into .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKIE'S BEDROOM<\/stage_direction>\n    <scene_description>Jackie lies on her death bed . She is beautiful and near the end . Despite the IV tube , the monitor , she 's gotten to serenity after all . As close as any of us will ever get .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Hey, gorgeous. Time for the presents?<\/dialogue>\n    <scene_description>Jackie licks her lips . Pretty dry . Rachel takes a cotton lemon swab from the nightstand . Tenderly , cleans Jackie 's mouth .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Now Edna says you short - changed your last meds. You can do presents and be comfortable at the same time, y' know.<\/dialogue>\n    <character>JACKIE<\/character>\n    <parenthetical>( clears her throat . )<\/parenthetical>\n    <dialogue>Just want to be a little sharper. For a few minutes.<\/dialogue>\n    <scene_description>A few minutes .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Some things to say. To the kids, huh?<\/dialogue>\n    <scene_description>Smiles .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Then, bring in the presents. We'll have big fun.<\/dialogue>\n    <scene_description>Rachel ca n't really bear this .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You know, there's nothing you have to say. Because they know your heart. You do n't have t.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Just sit me up. Nice and tall. Bring Benjamin first.<\/dialogue>\n    <scene_description>Staring at each other . Then Rachel reaches her arms around Jackie , and as gently as she can manage , lifts her to a full sitting position .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Scrapbook.<\/dialogue>\n    <scene_description>Rachel brings the big book . Lays it on the bed . And goes . Jackie begins to turn the pages . Her life with these children passing before her eyes . No tears . No smile . Just full attention . Fingertips touch the one she was looking for , as . The door OPENS . Ben , hesitant , enters alone . His mother 's face is fine and strong and smiling .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Find the bird cage?<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>( standing there . )<\/parenthetical>\n    <dialogue>Rache says it's from you.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Well, do n't make him disappear before I see him.<\/dialogue>\n    <scene_description>Ben nods . Okay , I wo n't . She glances to the scrapbook .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Oh, look at this.<\/dialogue>\n    <scene_description>And forgetting his uneasiness , he runs over , climbs ONTO the bed . Jackie does n't wince , does n't even blink . Nothing for his memory bank but smiles . He looks at the photo . Jackie holding a spunky newborn .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>That's you and me. Our first photo as a couple.<\/dialogue>\n    <scene_description>He nods . Really staring at it .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Did you know I was good - looking right away?<\/dialogue>\n    <scene_description>She reaches to hold his face in her hand . Stares in his eyes .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>This good - looking. Was beyond my imagination.<\/dialogue>\n    <scene_description>She leans . Kisses his lips lightly . How many more times will she get to do this ?<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( a murmur . )<\/parenthetical>\n    <dialogue>So what do you think we're gon na talk about?<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>( straight back . )<\/parenthetical>\n    <dialogue>You dying.<\/dialogue>\n    <scene_description>She nods . Her smile is right there .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>The secret of it. That only magicians. Can ever understand.<\/dialogue>\n    <scene_description>His eyes brighten . The sadness pushed aside .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>See, when we die. Our body goes away. Our body. But we. we are not our body, are we?<\/dialogue>\n    <scene_description>He does n't know . Maybe he thought we were .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>If a soldier loses his legs in a war. Is he the same guy? Sure he is.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>But you can still see him.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Half. Of him.<\/dialogue>\n    <scene_description>This is so fucking hard . But her eyes stay dry .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Dying. Is where the whole body goes away. So you ca n't see any of it. But.<\/dialogue>\n    <scene_description>Rests her hand tenderly . On his hair .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>What do magicians know?<\/dialogue>\n    <scene_description>Leans forward . Here 's the secret .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Just because you ca n't see it. Does n't. Mean. It's gone.<\/dialogue>\n    <scene_description>Does it ? And Ben smiles . He is inside the secret .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>The world. Thinks I'm gone. But only the magician. Knows better.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>So where are you?<\/dialogue>\n    <scene_description>She was waiting for this . For a long time . She wraps her hand around his fist . And puts their hands against his heart .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( a whisper . )<\/parenthetical>\n    <dialogue>Right here. Right here. Inside the magician. Shhhh.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Can I talk to you? When you're there.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Always. Always. And you wo n't hear a voice. But in here. You'll know. What I'm saying.<\/dialogue>\n    <scene_description>Yes , you will .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>It's not good enough.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>No, it is n't. Because it is n't everything. And we want every - thing, do n't we?<\/dialogue>\n    <scene_description>He nods . They do .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>But God does let us keep the one best thing we have together. The one best thing we've always had. Know what it is?<\/dialogue>\n    <scene_description>He does n't . But he wants to .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I love you. And you love me.<\/dialogue>\n    <scene_description>Comes closer . Nose to nose .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>It's worth a lot. Will you keep it?<\/dialogue>\n    <scene_description>He answers . With a kiss .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Luke and Annabelle are doing a hugely complex jigsaw puzzle . Ben runs in , falls on his knees by the puzzle . Without looking at Annabelle , he tells her .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Your turn. It was n't bad.<\/dialogue>\n    <scene_description>Annabelle looks straight to her dad . There is a moment , a silence , that no one else could ever understand . She leans to him and whispers .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>Here it is?<\/dialogue>\n    <scene_description>His eyes water . He takes her in his arms . Whispers close to her ear , only the words .<\/scene_description>\n    <character>LUKE<\/character>\n    <dialogue>Here it is.<\/dialogue>\n    <scene_description>She smiles at hi . Fear gone , filled with resolve . Gives him a kiss . Rises , to . follow Rachel down the hall . Rache wraps an arm around her big girl . No words , except a murmured .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You can do this.<\/dialogue>\n    <scene_description>Voice cracking . She 's not as good at it as this girl 's mother .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You can do anything.<\/dialogue>\n    <scene_description>At the door . Open it , and .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKIE'S BEDROOM<\/stage_direction>\n    <scene_description>Annabelle enters alone . The door closes behind her . Her eyes lock with her mother 's . No words . Annabelle 's eyes filled with tears , and Jackie 's arms . REACH out , and Annabelle RUNS to them . They hold each other . For a forever moment .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>I do n't want to say goodbye.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Do n't. Take me with you.<\/dialogue>\n    <scene_description>And Annabelle looks up . Tears on her face .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Thank God. I got to see you. Grown up.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>I'm not.<\/dialogue>\n    <character>JACKIE<\/character>\n    <parenthetical>( very softly . )<\/parenthetical>\n    <dialogue>Let me be the judge of that.<\/dialogue>\n    <scene_description>And Annabelle climbs onto the bed . Their hands never stop touching each other . Saying I love you .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>There's an amazing thing when a woman has a daughter. One day you look up, and you see. a sister. Someone. You can say. Anything to.<\/dialogue>\n    <scene_description>Anything .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I wrote a whole lot of letters. To each of you. And the envelope says when to open it. Like, which birthday. Or. when you get your driver's permit. First time you see Rome. Things like that.<\/dialogue>\n    <scene_description>Things like that . Annabelle is beginning to lose it now . So Jackie says only .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Keep Ben's for awhile, okay? Until he's old enough to not open them all at once.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>Until he's old enough to read.<\/dialogue>\n    <scene_description>Tears on Annabelle 's face . Her mom wonders .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Are you afraid for me? Where I'm going.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Do n't be. I'm going. Where we all go. Now how can that be bad.<\/dialogue>\n    <character>ANNABELLE<\/character>\n    <dialogue>I'll miss you so much.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Good. That's very good.<\/dialogue>\n    <scene_description>She nods , yes it is .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>What you're grown - up enough to know. Is that people. Can do two things at once. Okay?<\/dialogue>\n    <scene_description>She brushes at her baby 's tears . Then tastes her wet fingertips . Mmmn , surprisingly good . Annabelle sort of smiles .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>You can miss me. And. Take me with you.<\/dialogue>\n    <scene_description>Hold the child 's face . In her hands .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>When you're in trouble. Have me there. When you fall in love. Have me there. You can.<\/dialogue>\n    <scene_description>Said with such absolute assurance .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>That's how we go on, you know. Forever. Because someone takes us along.<\/dialogue>\n    <scene_description>Annabelle swallows hard .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>On your wedding night. When your babies are born. I want to be there. Will you take me?<\/dialogue>\n    <scene_description>A straight question . It needs an answer .<\/scene_description>\n    <character>ANNABELLE<\/character>\n    <dialogue>Always, always. Always.<\/dialogue>\n    <scene_description>A sigh . A shared smile .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>You made my life wonderful.<\/dialogue>\n    <scene_description>You .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Take that with you, too.<\/dialogue>\n    <scene_description>Hold . On Annabelle .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKIE'S BEDROOM - LATER THAT MORNING<\/stage_direction>\n    <scene_description>The presents are here now , they fill up the room , spill over the bed , where both children sprawl . Ben RIPPING the shit out of wrappings like a wolverine , Annabelle carefully saving her gift paper as if she were going to hang it in the Louvre . She holds a tank top up to her chest , for her Mom 's approval . Jackie 's not sure . Rachel handing up more boxes , Luke in charge of bagging trash . Ben 's white dove , flying free around the room , zipping and diving . No one cares . It 's Christmas . HOLD . Hold . And CROSSFADE TO .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHAPEL - NIGHT<\/stage_direction>\n    <scene_description>Family and friends are leaving the wake , exiting the softly - lit chapel into a snowy night . They are saying goodbyes , kissing one another , going to their cars . And saying her last goodbye . Rachel turns to Luke . Whispers , close to his ear . He looks at her for a beat , then leads Annabelle and Ben toward the car , as . Rachel goes back into the chapel . Alone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FUNERAL PARLOR<\/stage_direction>\n    <scene_description>The room is nearly dark . One soft spot plays on a simple CASKET . No canned organ music , no sound at all . As Rachel enters . She goes to the casket . Stares down at it for a beat . And just above a whisper .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>See, I told you I'd do this.<\/dialogue>\n    <scene_description>Only .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Only. Now I do n't know what to say.<\/dialogue>\n    <scene_description>Her hand reaches out . A finger absently traces the edge of the wood . It seems a gesture of unconscious affection .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You'd have written it down, so you would n't blow it.<\/dialogue>\n    <scene_description>A slight smile . Here 's where the love shows .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Maybe we should change places.<\/dialogue>\n    <scene_description>Nods slightly . Maybe we should . She takes a step back now , to a waiting chair . Sits . Her hands folded in her lap . Thinks .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Well. We were less than friends, I guess. And more.<\/dialogue>\n    <scene_description>More .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>We were never. girlfriends, we never dished. That was n't. What we had.<\/dialogue>\n    <scene_description>No apology there . It 's just the truth .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>We had some battles, man, they were. world class, huh?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>And I do n't regret a one of them.<\/dialogue>\n    <scene_description>Sad little shrug .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I miss them.<\/dialogue>\n    <scene_description>Thinking . Of how much more she 'll miss .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>We've got our secrets, we have. And I'll keep'em if you will.<\/dialogue>\n    <scene_description>Crosses her arms . Lost in the moment .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>But I wish we had one more night. In that little bar, remember? Remember that toast? Sure, you do.<\/dialogue>\n    <scene_description>Her voice wavers . But the eyes are dry .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Know what? I forgive me, too. See? You're the magician.<\/dialogue>\n    <scene_description>A murmur .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Do n't worry, partner, I've got your back. We're covered.<\/dialogue>\n    <scene_description>It 's what she came to say . CROSSFADE TO .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BALLROOM - NIGHT<\/stage_direction>\n    <scene_description>Lights and music and laughter . They 're in black tie tonight . It 's a wedding party . Up on the stage , at the head table , some guy is finishing a toast , and as everyone ROARS and CLAPS .<\/scene_description>\n    <character>BEST MAN<\/character>\n    <dialogue>so TO THE BRIDE! Thank GOD she's more than he deserves!<\/dialogue>\n    <scene_description>Everybody shouts THE BRIDE . Everybody drinks champagne . And the bride stands up . In her white gown . In her hand , an envelope . She goes to the mike , and waits for the raucous cheers , the calls of SPEECH ! , to die down . Leans to the mike . Flushed and happy . And , oddly , nervous .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Now I know the tradition, so this is n't a toast. At least. not for me.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>The guest list is 114. But we all know there's one more here, tonight. Because.<\/dialogue>\n    <scene_description>Looks down the table at her children . Dressed to kill . Enjoying the party .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>my two sidekicks there always bring her along. Wherever they go.<\/dialogue>\n    <scene_description>Right ? Right .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>So Jackie and I were sitting around. On New Year's Eve. And she said, ` You're not gon na talk at my funeral, are you?'<\/dialogue>\n    <scene_description>And now . It is quiet indeed .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>And I said, ` I've never been to a funeral. I'm not sure I'll know how to act.'<\/dialogue>\n    <scene_description>Her sweet smile . Keeps the mood right .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>. but I'll prob ` ly sneak into where you are. Just before it's over.'<\/dialogue>\n    <scene_description>Nods to herself . Fights back the feeling of that moment .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>. say something. Just to you. Get the last word in, when you ca n't talk back.'<\/dialogue>\n    <scene_description>There is laughter in this room . Gentle , loving .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>So she says, ` No way.'<\/dialogue>\n    <scene_description>Holds up the envelope . Holds it tight .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>She wrote this. She sealed it up, I did n't see it. She made me promise to read it. At the wedding.<\/dialogue>\n    <scene_description>And slowly , Luke begins to CLAP . And others join . And when it stops .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I told her she'd better make it dirty, or make it funny. Because. no way. on my wedding.<\/dialogue>\n    <scene_description>No way in hell .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>could she make me cry.<\/dialogue>\n    <scene_description>APPLAUSE . They are loving it .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>She says, ` It's a deal'.<\/dialogue>\n    <scene_description>The band plays an impromptu FLOURISH . Rachel begins to carefully tear open the envelope .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Now, if it's too raunchy, we may have to excuse the kids.<\/dialogue>\n    <scene_description>SHOUTS from everyone , ESPECIALLY the children . She has it open . She looks at it . And everything . Stops . The world watches her sway , watches her eyes fill as she stares at the small card in her hand . She ca n't believe this .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( mouths to herself . )<\/parenthetical>\n    <dialogue>You promised.<\/dialogue>\n    <scene_description>The tears are welling . Everyone SCREAMS for her to read it . She leans to the mike , shaking her head .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>It's. no big thing, really. it's just. five words, it's.<\/dialogue>\n    <scene_description>The place goes happily UP FOR GRABS . A joyful RIOT of demand . Tears STREAMING now , Rachel fumbles to pull up her white beaded bag . As she puts the card inside , we alone can read the words . MY BABIES . ARE SO LUCKY . HOLD on this . And . FADE TO BLACK . ROLL END CREDITS .<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Jackie (Susan Sarandon) and Luke Harrison (Ed Harris) are a divorced New York City couple struggling to help their children Anna (Jena Malone) and Ben (Liam Aiken) be happy with this sudden change of lifestyle. Luke, an attorney, is living with his new girlfriend, Isabel Kelly (Julia Roberts), a successful fashion photographer several years his junior. Isabel tries hard to make Anna and Ben feel comfortable and happy with her, but Anna repeatedly rejects her overtures while Ben, who is generally kind to Isabel, adds extra complication with his mischievous nature. Isabel behaves with contempt tempered by caution around Jackie, believing she overcompensates for her divorce by spoiling her children. Jackie, a former publisher turned stay-at-home mom, gives Isabel a cold reception, seeing her as an overly ambitious career woman. She also continues to harbor malice towards Luke, as seen in a confrontation about Isabel. After a long string of arguments and hurt feelings involving Isabel, Jackie, and Anna, Luke proposes to Isabel, making her Anna and Ben's soon-to-be official stepmother. This causes even more friction. Jackie is diagnosed with lymphoma, which is discovered to be terminal. She experiences a range of negative emotions, angry at the woman who she feels was responsible for breaking up her family, and angry that after all of the sacrifices she made for her family, she will never see her children grow up. Jackie actively sabotages Isabel's effort to bond with the children even to the point of refusing to allow her to take Anna to see a rock band that she likes and then taking her to the same concert a few weeks later herself. Luke and Jackie later tell the children about the engagement, and Anna is furious. Jackie tells Luke and the children about her illness, resulting in Anna storming out. That night Jackie shows that she can be fun by dancing and singing with Anna and Ben. Isabel and Anna continue to clash. Isabel gets the children a golden retriever puppy, and Anna says that she is allergic to dogs. Surprised, Isabel apologizes and says that her father didn't tell her that. After another argument between the two, Anna takes the dog inside her room, indicating she lied about her allergy. Eventually, Isabel and Anna's relationship improves. They start to bond over painting, when Isabel teaches Anna how to paint trees. Jackie and Isabel disagree repeatedly, largely over Isabel's parenting. Ben goes missing on Isabel's watch and Jackie claims that she has never lost him, which she later admits to be untrue. When Anna has problems with a boy she once liked, the two women give opposite advice, causing more tension between Jackie and Isabel. They manage to establish a shaky truce, as they come to terms that Isabel will soon step into the role of a surrogate mother. The two women finally bond when Isabel reveals her admiration of Jackie's maternal instincts, while Jackie in turn praises Isabel's hipness as a means to connect with Anna. Isabel finally lets her guard down when she tells Jackie her biggest fear is that on Anna's wedding day, all Anna will wish for is her mother's presence. Jackie says her own fear is that Anna will forget her. Jackie explains to Isabel that, while Jackie will always have their past, Isabel will have their future. The film ends with the family celebrating Christmas. Jackie, who is bedridden, is visited in her room by Ben and Anna. Individually, Jackie tells her children that though she will die, she will remain with them as long as they remember her. Later that day, Isabel is taking a family portrait of Luke and Jackie with the children. Jackie demonstrates her acceptance of Isabel by inviting her to join them, stating \"let's get a photo with the whole family\". Isabel does, and as the closing credits begin, both women are shown happily in a photo side by side, finally at peace with one another and with future events ahead of them (Jackie's death and Isabel's marriage to Luke)."}
{"movie_name":"Bad Words_2013","imdb_id":"tt2170299","script":"<script>\n  <scene>\n    <scene_description>Bad\u00b7Words By Andrew C. Dodge<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL GYMNASIUM - MORNING<\/stage_direction>\n    <scene_description>KIDS and FAMILY mill about in front of an elevated stage bedecked with rows of folding chairs. A giant banner reads: \"SOUTHLAND DISTRICT'S 15TH ANNUAL REGIONAL SPELLING BEE... NEXT STOP, WASHINGTON D.C.!!!\" At the snack table, GUY DUNCAN, disheveled 30s, shoves donuts into the worn pockets of his shitty blazer.<\/scene_description>\n    <character>CRISPLY DRESSED DAD (O.S.)<\/character>\n    <dialogue>You must be so proud. I know I am.<\/dialogue>\n    <scene_description>Guy looks up to see a CRISPLY DRESSED DAD.<\/scene_description>\n    <character>CRISPLY DRESSED DAD<\/character>\n    <dialogue>Aren't kids amazing? Which one's yours?<\/dialogue>\n    <scene_description>Guy tears into a donut. An avalanche of powdered sugar falls down his blazer.<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>(full mouth)<\/parenthetical>\n    <dialogue>Are you fucking kidding me?<\/dialogue>\n    <scene_description>Guy shambles away, leaving the Dad confused.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GYMNASIUM, STAGE<\/stage_direction>\n    <scene_description>A PAUNCHY WOMAN in a SALMON COLORED PANTSUIT steps behind the microphone and dartles a smile out into the gymnasium.<\/scene_description>\n    <character>SALMON PANTSUIT<\/character>\n    <dialogue>OOOOKAY everyone! The Spelling Bee is about to begin so will all of our noble competitors please take their seats up on stage.<\/dialogue>\n    <scene_description>Parents take their seats down below as the students make their way up on stage. Guy sits between two students up on the stage in the back row. He looks at the OVERWEIGHT BOY, 12, sitting on his left.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Christ. Would it kill you to lose some weight? I barely have any room here.<\/dialogue>\n    <scene_description>The overweight boy self-consciously looks away. In front, Salmon Pantsuit notices Guy sitting up on stage.<\/scene_description>\n    <character>SALMON PANTSUIT<\/character>\n    <dialogue>I'm sorry, Sir?<\/dialogue>\n    <scene_description>Guy morosely looks up.<\/scene_description>\n    <character>SALMON PANTSUIT<\/character>\n    <parenthetical>(precious tone)<\/parenthetical>\n    <dialogue>These seats are for the competitors, only, so if you can just-<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I am a competitor.<\/dialogue>\n    <scene_description>Salmon Pantsuit chuckles just for a moment. But Guy doesn't. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GYMNASIUM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Guy stands outside with Salmon Pantsuit and the TWO OTHER JUDGES- a SMALL, BALD MAN, 70s, with huge eye GLASSES and a WOMAN, 50s, proudly wearing a BEDAZZLED DENIM VEST. Guys sucks on his teeth as all three scrutinize a shitty tattered PIECE OF PAPER. The Bald Judge puts his huge glasses on, making his eyes as big as planets, which startles Guy.<\/scene_description>\n    <character>BALD GLASSES<\/character>\n    <parenthetical>(old man forcefulness)<\/parenthetical>\n    <dialogue>Mr. Duncan, I'm not going to allow it. You are not eligible. In any fashion, way, shape, or manner!<\/dialogue>\n    <scene_description>The Bald Judge pulls his huge glasses off.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>NO, your Honor, YOU'RE OUT OF ORDER!<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Page thirty nine of the Scribbs National Spelling Bee rule book. Rule Twenty Four Sub point B. Quote: \"The speller must not have passed beyond the eighth grade on or before February 1, 2011.\" That, Sir, is a rule made by YOUR INSTITUTE, NOT MINE!<\/dialogue>\n    <parenthetical>(re: shitty tattered paper)<\/parenthetical>\n    <dialogue>You're looking at my transcript! Try not to wrinkle it any more than it is, okay? As you can see, I haven't passed beyond the eighth grade. Not on or before February 1, 2011! Not ever!<\/dialogue>\n    <character>BALD GLASSES<\/character>\n    <dialogue>That may be but-<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>-Page sixty nine of the Scribbs Institute National Spelling Bee rule book. Rule Fifty One Sub Point A: \"The speller must not have earned a high school diploma or the legal equivalent of a high school diploma.\" Guess what, chicken butts? I haven't! A total of 83 paragraphs, five hundred and eighty one lines of rules in your rule book and I am complying with every stupid one of them!<\/dialogue>\n    <character>BEDAZZLED JUDGE<\/character>\n    <dialogue>The Spelling Bee is meant for kids. Not adults who couldn't even graduate the 8th Grade.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>\"Couldn't?\" \"Couldn't?\" So now you're saying you won't let me participate because you think I'm stupid? Did you just call me fucking retarded?<\/dialogue>\n    <character>BEDAZZLED JUDGE<\/character>\n    <parenthetical>(flustered)<\/parenthetical>\n    <dialogue>That's not what I meant at all.<\/dialogue>\n    <character>SALMON PANTSUIT<\/character>\n    <dialogue>There's no need for such salty language, Mr. Duncan!<\/dialogue>\n    <character>SALMON PANTSUIT<\/character>\n    <dialogue>You don't have a sponsor present. Every speller must be sponsored by a nationally published newspaper.<\/dialogue>\n    <scene_description>JENNY WIDGEON, 30s, approaches.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Guy! There you are!<\/dialogue>\n    <parenthetical>(to Judges)<\/parenthetical>\n    <dialogue>Jenny Widgeon. Daily Probe- Guy's sponsor. Sorry I'm late.<\/dialogue>\n    <character>BALD GLASSES<\/character>\n    <dialogue>The Daily Pro- HA! That's not a newspaper.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Well let's not argue over semantics, shall we?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>They don't want to let me participate.<\/dialogue>\n    <character>JENNY<\/character>\n    <parenthetical>(feigning shock, gasps)<\/parenthetical>\n    <dialogue>They don't want to let you participate?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>And they called me a retarded.<\/dialogue>\n    <scene_description>Jenny pulls out her cellphone. Dials. Waits.<\/scene_description>\n    <character>JENNY<\/character>\n    <parenthetical>(into cellphone)<\/parenthetical>\n    <dialogue>You were right. Ok. Thanks.<\/dialogue>\n    <scene_description>Jenny slams her cell off.<\/scene_description>\n    <character>SALMON PANTSUIT<\/character>\n    <dialogue>What was that? Who did you just talk to?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Lead council of The Daily Probe's legal team.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>They're more like Piranhas with scorpion tails for dicks than actual lawyers.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>As you can guess, the Daily Probe is involved in its fare share of legal suits and boy do these guys know how to gum up the works! So, in about a half hour you will receive a Temporary Restraining Order and Preliminary Injunction prohibiting the continuation of this competition until we clear this whole legal matter up.<\/dialogue>\n    <scene_description>Jenny cringes, whispers.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <character>BEDAZZLED JUDGE<\/character>\n    <dialogue>Legal matter? This isn't a legal matter!<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>It is now. We're suing the three of you personally as well as The Scribbs Institute for discrimination and fraud for the amount of ten million dollars.<\/dialogue>\n    <scene_description>All the color drains out of the Judges' faces.<\/scene_description>\n    <character>BALD GLASSES<\/character>\n    <dialogue>How dare you try to hijack this spelling bee! You can't do that!<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Hmm. Maybe. Maybe not. Again. Semantics. But getting down to the bottom of that will take weeks. Months.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Until then, no spelling bee. Hey, can I at least stay to watch you tell that entire gymnasium full of kids and parents that they won't get their shot at the Nationals.<\/dialogue>\n    <scene_description>Salmon Pantsuit nervously looks at the other judges. She has no choice, it seems.<\/scene_description>\n    <character>SALMON PANTSUIT<\/character>\n    <parenthetical>(resigned)<\/parenthetical>\n    <dialogue>The rules are the rules, I guess.<\/dialogue>\n    <scene_description>Salmon Pantsuit eyeballs Jenny's phone.<\/scene_description>\n    <character>SALMON PANTSUIT<\/character>\n    <dialogue>So can you just...<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Oh, right. Yes. Certainly.<\/dialogue>\n    <scene_description>Jenny speed dials her cellphone.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Yep. Yep. Yeeep. Okay.<\/dialogue>\n    <scene_description>Jenny hangs up the phone.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Well, okay. Looks like we have a spelling bee to get to!<\/dialogue>\n    <scene_description>Salmon Pantsuit looks like she swallowed a wasp.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GYMNASIUM, JUDGE'S TABLE<\/stage_direction>\n    <scene_description>A crowd of concerned parents has bloomed around the table.<\/scene_description>\n    <character>SALMON PANTSUIT<\/character>\n    <dialogue>There's nothing we can do about the loophole he found. He's clearly an alcoholic or a drug tweaker. I think the least unpleasant option is to just humor his derangement a bit, let him participate, and when he loses, his pathetic reality of a life will sink in. The best child will win. I assure you. Social justice will prevail. Don't you all believe in your kids? I do!<\/dialogue>\n    <scene_description>The parents nod.<\/scene_description>\n    <character>SALMON PANTSUIT<\/character>\n    <dialogue>Then let's be the bigger people in this situation, mkay?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GYMNASIUM, STAGE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Brace-Faced girl stands behind the microphone. Bald Glasses is the proctor.<\/scene_description>\n    <character>BALD GLASSES<\/character>\n    <dialogue>Oleaginous.<\/dialogue>\n    <character>BRACES<\/character>\n    <dialogue>Oleaginous?<\/dialogue>\n    <character>BALD GLASSES<\/character>\n    <dialogue>Oleaginous.<\/dialogue>\n    <character>BRACES<\/character>\n    <dialogue>Oleaginous. Can I have the definition, please?<\/dialogue>\n    <scene_description>Bald Glasses shoots Guy a look.<\/scene_description>\n    <character>BALD GLASSES<\/character>\n    <dialogue>\"Having the nature or qualities of oil.\" Or \"Unctuous; fawning; smarmy.\" Oleaginous.<\/dialogue>\n    <scene_description>Guy subtly scratches his nose with his middle finger.<\/scene_description>\n    <character>BRACES<\/character>\n    <dialogue>Oleaginous. Can I have the language of origin?<\/dialogue>\n    <character>BALD GLASSES<\/character>\n    <dialogue>Latin.<\/dialogue>\n    <character>BRACES<\/character>\n    <dialogue>Oleaginous. Does it contain the Latin root \"olea\" meaning \"olive?\"<\/dialogue>\n    <character>BALD GLASSES<\/character>\n    <dialogue>That is correct.<\/dialogue>\n    <character>BRACES<\/character>\n    <dialogue>Oleaginous...<\/dialogue>\n    <scene_description>Brace-Faced Girl starts ghost-spelling the word in her hand.<\/scene_description>\n    <character>BRACES<\/character>\n    <dialogue>Oleaginous. Can you use it in a sentence?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Oh my God!<\/dialogue>\n    <scene_description>All the kids sitting around Guy squirm with discomfort.<\/scene_description>\n    <character>BALD GLASSES<\/character>\n    <dialogue>\"The oleaginous man knew he shouldn't attend the party, but came anyway.<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>(cough)<\/parenthetical>\n    <dialogue>Koughissmyass.<\/dialogue>\n    <character>BRACES<\/character>\n    <dialogue>Oleaginous.<\/dialogue>\n    <scene_description>Brace-Faced Girl ghost-spells it in her hand again.<\/scene_description>\n    <character>BRACES<\/character>\n    <dialogue>Oleaginous.<\/dialogue>\n    <character>BALD GLASSES<\/character>\n    <dialogue>Oleaginous.<\/dialogue>\n    <character>BRACES<\/character>\n    <dialogue>Oleaginous. Can you tell me the part of speech?<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>Adjective.<\/dialogue>\n    <scene_description>Guy turns to the Overweight Boy.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>No shit it's an adjective.<\/dialogue>\n    <scene_description>She ghost-spells it one more time.<\/scene_description>\n    <character>BRACES<\/character>\n    <dialogue>Oleaginous. Any other pronunciations?<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>BRACES<\/character>\n    <dialogue>Oleaginous. O-L-E-A-G-I-N-O-U-S. Oleaginous.<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>That is correct.<\/dialogue>\n    <scene_description>Everyone in the room applauds except Guy. Relieved, Brace Faced Girl sits back down. Next, a BOY, 11, with a HUGE MOLE on his cheek walks to the microphone. Guy leans over to the Overweight Boy.<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>(re: Mole)<\/parenthetical>\n    <dialogue>Hey, if he ever ends up in prison I know what his cell-wife will be aiming for every single time! Am I right? Am I right?<\/dialogue>\n    <scene_description>The Overweight Boy nervously shifts in his seat.<\/scene_description>\n    <character>PROCTOR<\/character>\n    <dialogue>Recidivism.<\/dialogue>\n    <character>MOLE<\/character>\n    <dialogue>Recidivism.<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>Recidivism.<\/dialogue>\n    <character>MOLE<\/character>\n    <dialogue>Recidivism.<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>Recidivism.<\/dialogue>\n    <character>MOLE<\/character>\n    <dialogue>Recidivism. Can I have the definition?<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>\"A tendency to lapse into a previous condition or pattern of behavior; especially, a falling back or relapse into prior criminal habits.\" Recidivism.<\/dialogue>\n    <character>MOLE<\/character>\n    <dialogue>Recidivism. Can I have the part of speech?<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>Noun.<\/dialogue>\n    <scene_description>Mole ghost spells it in his hand.<\/scene_description>\n    <character>MOLE<\/character>\n    <dialogue>Recidivism. Can you please use it in a sentence?<\/dialogue>\n    <scene_description>Guy turns to the Brace-Faced Girl.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Holy balls, who doesn't know this fucking word, huh? Jesus. You. Are. All. So. Lame.<\/dialogue>\n    <character>MOLE<\/character>\n    <dialogue>R-E-C-E-D-I-V-I-S-M. Recidivism.<\/dialogue>\n    <scene_description>Bedazzled Vest sadly hits a crude buzzer. The parents in the audience \"AWWWs\" but applauds with appreciation for the attempt. Guy's laughter erupts over it all. Mole lowers his head Charlie Brown style and walks off the stage. The applause dies down and everyone sits uncomfortably as Guy's laughter continues to ring through the gymnasium. Back in the seats, Jenny shakes her head from Guy's obnoxiousness. Finally, Guy finishes, dabs his eyes.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Oh, so pathetic. Hoo...<\/dialogue>\n    <scene_description>Guy notices everyone's waiting for him.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Oh, I'm up.<\/dialogue>\n    <scene_description>Guy moves to the mic. The crowd murmurs. Bald Glasses sighs.<\/scene_description>\n    <character>BALD GLASSES<\/character>\n    <dialogue>Absquatulate-<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>(impatient. Quick.)<\/parenthetical>\n    <character>A-B-S-Q-U-A-T-U-L-A-T-E.<\/character>\n    <dialogue>Guy turns and heads back to his seat.<\/dialogue>\n    <character>BALD GLASSES<\/character>\n    <parenthetical>(Horrified. Surprised.)<\/parenthetical>\n    <dialogue>That's- That's correct.<\/dialogue>\n    <scene_description>Nobody applauds. Just silent shock. Back at his seat, an evil smile creeps across Guy's face as he addresses the kids sitting around him.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>I hope all of your pillow cases are waterproof, because tonight they're gonna be soaked with lots of nerdy little snot tears! Boo hoo hoo...<\/dialogue>\n    <scene_description>TITLE: BAD WORDS<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GYMNASIUM, PARKING LOT - LATER<\/stage_direction>\n    <scene_description>GUY RUNS OUT WITH THE GIANT FIRST-PLACE TROPHY TUCKED UNDER HIS ARM. An ANGRY MOB of parents burst out after him, throwing coffee cups and donuts. Jenny screeches her car to a stop in Guy's path.<\/scene_description>\n    <character>JENNY<\/character>\n    <parenthetical>(half reluctant)<\/parenthetical>\n    <character>GET IN IF YOU WANT TO LIVE!<\/character>\n    <dialogue>Guy quickly piles in and slams down the lock.<\/dialogue>\n    <dialogue>A HOME BAKED MOM hawks an angry LOOGI on the window right level with Guy's face.<\/dialogue>\n    <dialogue>As the loogi drips down the window, the Crisply Dressed Dad rushes the car and screams:<\/dialogue>\n    <character>CRISPLY DRESSED DAD<\/character>\n    <dialogue>YOU ARE THE DEVIL!!!<\/dialogue>\n    <scene_description>The car peels out of the parking lot just as Crisply Dressed Dad launches a fold-up chair, smashing a tail light. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR, MOVING - LATER<\/stage_direction>\n    <scene_description>Guy slouches in the seat next to his trophy. Jenny drives like a bat out of hell's ass.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Did you see that back there?! Total Parentocalypse! You owe me a tail light!<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Just watch your driving, will you?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>\"Grown man goes to National Spelling Bee!\" by Jenny Widgeon. Oh, God. This is the only time I wished the nation's illiteracy rate was even higher.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I'm glad I could help.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Nonono. Thank you! Thank you for walking into the Probe and convincing my editors to help you pull off this craptastic stunt!<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>(mocking)<\/parenthetical>\n    <dialogue>Wah! I have integrity but the world won't let me show it. Wah!<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Hey! I am a real reporter, you get that? I've covered presidential elections! I've uncovered international corporate scandals! And if it wasn't for the collapse of the newspaper business I'd still be doing that.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Here's a headline for you: I DON'T GIVE A DANCING SHIT.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Packing for Washington D.C. is going to be simple for you, isn't it? Because you just stuff all of your clothes in the hole where your heart would be if you had one. You're your own carry on!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAR, MOVING - SAME TIME<\/stage_direction>\n    <scene_description>Jenny's car speeds away as we pan up to a PASSENGER PLANE FLYING OVERHEAD. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PLANE, FLYING - MUCH LATER<\/stage_direction>\n    <scene_description>Guy sits with his eyes shut tight. Jenny sits next to him. She lowers Guy's tray and places a tape recorder on it in front of him. Guy opens his eyes.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>...the fuck's this?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Time for a obligatory interview.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Not now. I'm getting my beauty rest.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Yeah, and it's really working for you. It is. I mean it. Alright. Where to begin? Hmm. I wonder. Oh yeah! Why are you doing this? Why have you decided, at this late stage in your life, to compete against children in the National Spelling Bee?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Sleepy time.<\/dialogue>\n    <scene_description>Guy points to his closed eyes.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>You gonna make this hard or easy?<\/dialogue>\n    <scene_description>Guy flips her the bird.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>I've had bigger challenges than you. Trust me.<\/dialogue>\n    <scene_description>Guy remains still, his eyes shut. Jenny impatiently snaps her recorder up.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Fine. I'm going to the bathroom. We'll settle this later.<\/dialogue>\n    <scene_description>Jenny gets out of her seat and storms up the aisle. Guy keeps his eyes closed. Suddenly, an INDIAN BOY, 12, CHAITANYA CHOPRA- as awkward as the day is long- pops up from the seat behind Jenny's.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>Hi. I'm Chaitanya Chopra.<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>(annoyed)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>My name.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Congratufuckinlations.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>What's your name?<\/dialogue>\n    <scene_description>Guy says nothing.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>What's your name?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Guy.<\/dialogue>\n    <scene_description>Chaitanya stares at Guy squeezing his eyes shut.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>\"Guy\" what?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Does it matter?<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>I'm going to the National Spelling Bee. My parents are up in first class. My Dad says that economy class builds character.<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>(who cares)<\/parenthetical>\n    <dialogue>Amazing.<\/dialogue>\n    <scene_description>Chaitanya leans over Guy a bit more, looks out of his window.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>You have a great view. I've gone to the National Spelling Bee twice before. I overheard you say you're going to the National Spelling Bee, too. You're the grown-up who's competing, huh?<\/dialogue>\n    <scene_description>Guy keeps his eyes shut. Says nothing.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>I heard about you. What was your winning word?<\/dialogue>\n    <scene_description>Nothing from Guy.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>Your word? Your winning word?<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>(annoyed)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>What was the word you spelled to win your regional? To get here? Mine was \"Intelligentsia.\"<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I don't fucking remember.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Come on, try to remember.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Shit, I don't know.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Think. You should remember. How can you forget? It's such a special word.<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>(tired)<\/parenthetical>\n    <dialogue>\"Autofellatio.\"<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>I've never heard of that word. What's it's origin?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Loneliness.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>No that can't be right...I know \"Auto\" is of Greek origin meaning \"self,\" right? Fellatio...fellatio fellatio... is that derived from the Latin \"fellare\" meaning to suck?<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>(incredibly annoyed)<\/parenthetical>\n    <dialogue>Listen, don't get your tits in a tangle. It's just a fucking word. Jesus!<\/dialogue>\n    <scene_description>Guy closes his eyes again.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>Hey, can I trade seats with you? I enjoy sitting next to the window on airplanes.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>(flustered)<\/parenthetical>\n    <dialogue>Because my seat is over an especially important part of the plane. I move and the plane won't be balanced and we'll all plummet and crash in a fiery nightmarish death.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <parenthetical>(unbelieving)<\/parenthetical>\n    <dialogue>What? Are you sure?<\/dialogue>\n    <scene_description>Across the aisle, A LITTLE BOY, 7, overhears this. He looks straight ahead and sits rigid, completely freaked out.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Shit. See what you did? Now I got to take an eight-ball piss.<\/dialogue>\n    <scene_description>Guy gets up.<\/scene_description>\n    <character>NOOO!<\/character>\n    <dialogue>I DON'T WANT TO DIE!!!<\/dialogue>\n    <scene_description>Guy walks up the aisle to the lavatory as FLIGHT ATTENDANTS rush past him to the screaming boy. CUT TO: ESPN INTRO Sweeping music rises as A Camera pans across an empty mid-western school auditorium. A COLLAGE of children's voices start spelling random letters, but all at once.<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>Can you hear the buzz of the bee?<\/dialogue>\n    <scene_description>Various shots of spellers in moments of victory and defeat.<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>The buzz that started long ago. We all have our memories of when we first heard it.<\/dialogue>\n    <scene_description>Various shots of chairs with numbers. Of dictionary pages flipping.<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>An old school-time competition is about to capture your imagination.<\/dialogue>\n    <scene_description>The music starts to swell.<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>We all have our hometown heroes. But the genius of these competitors is spellbinding.<\/dialogue>\n    <scene_description>Images of victorious kids pop up one after another.<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>And like bees to honey, our lust for competition leads us hungrily to the epicenter of this quest for greatness.<\/dialogue>\n    <scene_description>Images of one teen after another taking the giant check from SCRIBBS COO BILL BOWMAN, 60s- executively handsome for his age.<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>The prize is just a word away, and those who compete want to take that check from the Legendary Scribbs COO Bill Bowman. They've dreamed of it all their lives.<\/dialogue>\n    <scene_description>Images of teens holding up the spelling bee trophy...<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>And that's why it's the drama of \"The Bee.\" So, can you hear the buzz? Well, can you?<\/dialogue>\n    <scene_description>The images suddenly turn to MONDAY NIGHT FOOTBALL type graphics as the faint sound of bee buzzing morphs into the robotic WHUP WHUP WHUP of military helicopters as... TWO ROBOT WARRIOR BEES FLY IN FROM OPPOSITE SIDES OF THE SCREEN AND COLLIDE WITH A VIOLENT MECHANICAL EXPLOSION TO BLARING ELECTRIC GUITARS! Suddenly TWO YUCKITY YUCK ANNOUNCERS appear in the ballroom auditorium in front of the stage.<\/scene_description>\n    <character>CHUCK<\/character>\n    <dialogue>Welcome everyone to the 85th annual Scribbs Institute National Spelling Bee, I'm Chuck Wilde coming at you live from the Historic State Plaza Hotel here in the heart of our country's only capital, Washington D.C.!!!<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>And I'm Peter Yates. Chuck, over the years the popularity of the National Spelling Bee has grown to sick proportions and this year viewership promises to rival that of any championship sporting event.<\/dialogue>\n    <character>CHUCK<\/character>\n    <dialogue>You don't have to spell that out for me, Pete. What can we say? The world loves a good showdown and what. A. Showdown. It will be! Let's get to know some of this year's most noteworthy alphabet gladiators!<\/dialogue>\n    <scene_description>From here on out, all broadcast graphics of names will be produced by these violent mechanical bees blowing things up and shooting lasers with their stingers. Thunderous music plays over montages of pre-filmed, in-studio shots of competitors standing awkwardly for the camera. The insane graphics and production go totally against the grain of how nerdy they all actually are... JOYCE SACKS, 14 years-old with pigtails, acne and a crooked grin.<\/scene_description>\n    <character>PETE (V.O.)<\/character>\n    <dialogue>Joyce Sacks. A fourteen year old spelling assassin hailing from Plymouth Minnesota. Came in 8th last year but this year retreat is not an option. Word has it that she's been working with three different coaches- one for English, one for Greek and one for Latin- and she's ready to declare \"All your bases are belong to us!\"<\/dialogue>\n    <scene_description>Next, BAXTER FLOURNEY, 9, BRACES and a BOWL HAIRCUT complimented by uncomfortable glances at the camera.<\/scene_description>\n    <character>CHUCK (V.O.)<\/character>\n    <dialogue>That kid with braces stealing your soul with his death stare? Oh nothing, just nine year-old mind killer Baxter Flourney from Worcester, Massachusetts. His Dad crushed the National Spelling Bee in 1980 at the age of 9. Last year, his older brother Benjamin beheaded first place at the age of 9. And what does this mean? The Bee runs thick in his blood and he's about spill some of his competition's!<\/dialogue>\n    <scene_description>Next, Chaitanya, the boy from the airplane...<\/scene_description>\n    <character>PETE (V.O.)<\/character>\n    <dialogue>Some say that twelve year-old Chaitanya Chopra from Olathe, Kansas has ice for blood. Others say that if you opened up his skull you'd find Stephen Hawking AND Albert Einstein in a mixed martial arts fight. Whatever the truth is, Chaitanya has placed third for the last two years and he isn't going to take it anymore! He's focused. He wants it. And word on the street is he's gonna spine-rip anyone who gets in his way!<\/dialogue>\n    <scene_description>The graphics explode to reveal ERIC TAI, 14- weird is an understatement.<\/scene_description>\n    <character>CHUCK (V.O.)<\/character>\n    <dialogue>Don't let his virgin exterior fool you! Eric Tai from San Diego California is an absolute spelling bee Mongoose! Two years ago, he placed second. Last year, he lost by a syllable to Benjamin Flourney. One syllable! Now, Eric wants to proverbially pop out of the Mekong Delta with a knife in his mouth and disembowel the final round.<\/dialogue>\n    <scene_description>Next we see a montage of rough video footage of Guy constantly walking away from the camera and flipping the bird.<\/scene_description>\n    <character>PETE (V.O.)<\/character>\n    <dialogue>And finally, in what has been the strangest turn of events in Bee history, we have contestant Guy Duncan from St. Louis, Missouri. Oh, did we forget to mention? Guy's thirty four years-old! This man has made huge waves in the competitive spelling world by exposing and capitalizing on a loophole in the competition's rules, and OH MAMA! Have things been topsy-turvy! But he's here and the only way we're gonna get rid of him is if he loses!<\/dialogue>\n    <scene_description>Finally, we see quick footage cuts of Scribbs COO Bill Bowman all around the world: Spoon feeding a hungry African child, skydiving, Ostrich racing, climbing to the top of a human tower in Sardinia.<\/scene_description>\n    <character>CHUCK (V.O.)<\/character>\n    <dialogue>And all of this spelling bee action is constantly promoted, lauded, and endorsed by one of America's most charismatic COOs, Scribbs Institute's own Bill Bowman.<\/dialogue>\n    <scene_description>We cut to a LIVE SATELLITE FEED of Bowman, donning an X-Games helmet, being harnessed to a zipline that stretches beyond the fiery lip of a volcano!<\/scene_description>\n    <character>CHUCK (V.O.)<\/character>\n    <dialogue>We have Mr. Bowman joining us on a live feed right now to share a few words.<\/dialogue>\n    <character>BOWMAN<\/character>\n    <dialogue>Thanks Chuck, Pete. I'm sorry I'm not in town yet. I'm at the mouth of the Kilauea Volcano on the island of Kauai, as I zipline across all the major volcanos of the world in my ongoing attempt to raise awareness about the literacy epidemic in America. You know, it's a lot more dangerous than it looks- and I'm talking about our literacy rate, not the ziplining. But never fear, I'll make it to Washington in time to hand out first prize to our next National Spelling Bee champion. Who will be the next champion? I don't know.<\/dialogue>\n    <character>BOWMAN<\/character>\n    <dialogue>But I'll tell you this, you can't be a Bee champion, unless you've shown honor, sportsmanship and integrity. It's just impossible. As always, I can't wait to meet all of our noble competitors. Well, most of them. I'll be arriving with high hopes, as well as that much loved giant check!<\/dialogue>\n    <scene_description>Bowman turns away from the camera, gives the people around him a thumbs-up, and ZIPLINES OVER THE VOLCANO!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL HALL - DAY<\/stage_direction>\n    <scene_description>Guy and Jenny follow a crisply walking REGISTRATION REP down the hall. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL OFFICE - DAY<\/stage_direction>\n    <scene_description>Guy and Jenny enter the office to find NATIONAL SPELLING BEE DIRECTOR BERNICE DEAGAN, 40s, tall, peter pan hair, sitting behind the hotel manager's desk. Director Deagan motions toward the two seats before the desk.<\/scene_description>\n    <character>DIRECTOR DEAGAN<\/character>\n    <dialogue>Have a seat. I'm Bernice Deagan, Director of the National Spelling Bee.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Struthious.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>DIRECTOR DEAGAN<\/character>\n    <dialogue>S-T-R-U-T-H-I-O-U-S. Struthious. That was my winning word. 1973. National Champion. Just thought you should know that. If you didn't already.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>DIRECTOR DEAGAN<\/character>\n    <dialogue>Guy. I don't like you.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Listen-<\/dialogue>\n    <character>DIRECTOR DEAGAN<\/character>\n    <dialogue>Now you just shoosh!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You know, when I was a little girl, I was always picked last in P.E. I hated sports. That's probably what, thankfully, thrust me into the welcoming bosom of the spelling bee. Now, I'm proud to say, we are projected to have more viewers than the Superbowl. That feels kinda nice to say out loud. So how did I accomplish this? Elbow grease? Yes. Hard work? Maybe. Integrity? You betcha. But what I didn't do is use slimy gimmicks just as yourself!<\/dialogue>\n    <scene_description>Director Deagan pulls out a competitor number from her desk.<\/scene_description>\n    <character>DIRECTOR DEAGAN<\/character>\n    <dialogue>So I wanted to personally give you your number...<\/dialogue>\n    <scene_description>She moves around the table and hangs it around Guy's neck.<\/scene_description>\n    <character>DIRECTOR DEAGAN<\/character>\n    <dialogue>You think you're smart because you found a loophole- and you're taking advantage of it. B-R-A-V-O. But I know you're not smarter than even the poorest speller in this competition. So may this number serve as the noose you hang yourself by.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Wow. Thanks.<\/dialogue>\n    <character>DIRECTOR DEAGAN<\/character>\n    <dialogue>Don't mention it. Oh, and one other thing. I personally arranged your hotel accommodations for you. Just wanted you to know that.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>You shouldn't have.<\/dialogue>\n    <character>DIRECTOR DEAGAN<\/character>\n    <dialogue>But I did.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>So that all you got? Some sort of weird veiled threat? You could have done that in an e- mail. Jesus.<\/dialogue>\n    <scene_description>Guy gets up. Jenny follows.<\/scene_description>\n    <character>DIRECTOR DEAGAN<\/character>\n    <dialogue>I just thought it would mean more in person.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Not in this day and age!<\/dialogue>\n    <scene_description>Guy exits.<\/scene_description>\n    <character>DIRECTOR DEAGAN<\/character>\n    <parenthetical>(calling after him)<\/parenthetical>\n    <dialogue>I'm watching you.<\/dialogue>\n    <character>GUY (O.S.)<\/character>\n    <parenthetical>(calling back)<\/parenthetical>\n    <character>GOOD!<\/character>\n    <dialogue>The door slams behind Guy and Jenny.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATE PLAZA HOTEL LOBBY - MOMENTS LATER<\/stage_direction>\n    <scene_description>The place is packed with Bee parents and kids. Guy bulldozes his way through. Jenny keeps up.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Hey! Where are you going? The contestant ice cream social is that way!<\/dialogue>\n    <scene_description>Guy walks off, raising his middle finger as he goes.<\/scene_description>\n    <character>JENNY<\/character>\n    <parenthetical>(to herself)<\/parenthetical>\n    <dialogue>Wow. What a complete asshole.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR - MOMENTS LATER<\/stage_direction>\n    <scene_description>As the doors start to close, Guy sees Chaitanya running toward the elevator.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>Hold the door!<\/dialogue>\n    <scene_description>Guy doesn't budge, forcing Chaitanya to wrestle between the doors himself.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>Whew! I made it. Hey, I know you!<\/dialogue>\n    <scene_description>Guy doesn't answer.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>You're Guy, from the airplane.<\/dialogue>\n    <scene_description>Guy stays silent.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>No I'm not.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>I'm Chaitanya, remember? Cool. I like words. What's your favorite word?<\/dialogue>\n    <scene_description>Guy tries to ignore him.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>Come on. What's your favorite word in the whole wide world?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I don't-<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>-Favorite word?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I don't have a favorite word.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Mine is \"assassin.\" It just sounds so cool, you know? Assassin. Assassin. Assassin. Assassin. ASSasSIN. AssASSin.<\/dialogue>\n    <scene_description>Guy presses the button some more.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>What's yours?<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>(shut up)<\/parenthetical>\n    <dialogue>I. Don't. Have. One.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Of course you do. Everyone does. I bet you even Helen Keller had a favorite word. She was blind and deaf. Everyone's got a favorite word.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Well, I guess I'm a fucking oddball, then.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>I bet Abraham Lincoln had a favorite word. Mark Twain. Neil Armstrong. Charles Schultz. Bill Clinton. Charlie Chaplin...and he did silent films.<\/dialogue>\n    <character>NO SHIT!<\/character>\n    <dialogue>BUT I DON'T!<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Well, if you were to have one what would it be?<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>(gritted teeth)<\/parenthetical>\n    <dialogue>I don't.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Say you're on a desert island and this Gorilla comes out of the jungle and holds a gun to your head and says, \"HOO HOO! Tell me what your favorite word is!\" What would you say?<\/dialogue>\n    <scene_description>Guy gets flustered.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Listen, Chet...Chick...whatever the fuck your name is.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Chaitanya.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>STOP TRYING TO GET ALL UP IN MY<\/dialogue>\n    <character>FUCKING HEAD, SLUM DOG!<\/character>\n    <dialogue>CHAITANYA<\/dialogue>\n    <scene_description>Okay. The elevator door opens and Guy angrily pours out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - LATER<\/stage_direction>\n    <scene_description>Before Guy can open the door all the way, it hits the mattress, which is ON THE FLOOR.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>What the...<\/dialogue>\n    <scene_description>Guy fights his way in to see that the gray, tiny room is nothing but a mattress flanked by gray industrial shelves. On the other wall stands a deep, mildewed washbasin... AND NO BATHROOM. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Guy takes a close look at the door. He notices the faded indentation of the words \"Cleaning Staff Only\" underneath his polished brass room number. Guy clenches his teeth. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRONT DESK - MOMENTS LATER<\/stage_direction>\n    <scene_description>Guys stands before a BARBIE DOLL FRONT DESK CLERK, 20s.<\/scene_description>\n    <character>FRONT DESK REPRESENTATIVE<\/character>\n    <dialogue>Unfortunately, the hotel is completely sold out.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I don't have a bathroom!<\/dialogue>\n    <character>FRONT DESK<\/character>\n    <parenthetical>(patronizing)<\/parenthetical>\n    <dialogue>Yeah. Ouch.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I DON'T HAVE A BATHROOM.<\/dialogue>\n    <scene_description>The front desk clerk crinkles her nose. Guy storms away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATE PLAZA HOTEL, BAR - LATER<\/stage_direction>\n    <scene_description>A small, stylish bar. Guy stands out like a black-nailed thumb amongst this polished, smiling crowd. He spots Jenny sitting at the bar. The only open seat is right next to her.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Bartender. Old Fashioned.<\/dialogue>\n    <scene_description>If Guy wants booze, he has no choice. He sighs and sits down next to her.<\/scene_description>\n    <character>JENNY<\/character>\n    <parenthetical>(to Bartender)<\/parenthetical>\n    <dialogue>Make that two.<\/dialogue>\n    <parenthetical>(to Guy)<\/parenthetical>\n    <dialogue>No mini-bar, huh?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>No nothing.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I think the Queen Bee is sending you a message.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Damn Skippy.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Man. There are so many parents around here. This place is bursting in the seems with them.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>No shit.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Where are your parents?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Oh Jesus Christ. I just want to have a drink in peace. Is that too much to ask?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Listen, I'm trying to make the best out of my situation, okay? I'm supposed to cover you, so I'm going to do it the best way I know how. By asking questions. By starting with the basics. By getting to know you.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Well do me a favor and don't get to know me. Just report what you see, and leave it at that. Stop trying so hard.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>You're like an insolent child hiding secrets from his mother.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Heh, you don't amount to half the broad my mother was!<\/dialogue>\n    <scene_description>Guy realizes he just revealed a personal fact. He grimaces and curses at himself under his breath. Slugs his drink.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>I'm sorry. When did she die?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Fuck off.<\/dialogue>\n    <scene_description>Jenny flags the bartender.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>I'm gonna need another.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I'm gonna need two!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATE PLAZA HOTEL, BAR - LATER<\/stage_direction>\n    <scene_description>Now several empty glasses sit before Guy and Jenny...<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Look, it's my job! I'm just doing my job.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Is that how you justify being what you are?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>What I am? Look at you!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATE PLAZA HOTEL, BAR - LATER<\/stage_direction>\n    <scene_description>Now twice as many empty glasses litter the bar in front of them. They both stubbornly sit, tipsy and angry.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Look, screw you.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Whatever.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>SCREW YOU!<\/dialogue>\n    <character>JENNY<\/character>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - LATER<\/stage_direction>\n    <scene_description>With his pants around his ankles, Guy desperately humps Jenny on his mattress.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Yes. YES! Don't look at me. DON'T LOOK AT ME! DON'T LOOK AT ME.<\/dialogue>\n    <scene_description>Guys cranes his head away to the side as far as he can- his face practically presses against the nasty mop sink.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Jesus Christ okay I'm not looking at you!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - LATER<\/stage_direction>\n    <scene_description>Guy lies on the mattress on the floor as Jenny hurriedly puts her skirt back on.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Wow. That was a mistake.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>It was great for me, too.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I'll...I'll see you tomorrow.<\/dialogue>\n    <scene_description>Jenny leaves. Guy spots Jenny's forgotten underwear on the floor. He picks them up. Shoves them in his pocket. There's a KNOCK on the door. Guy gets up. Opens the door.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Yeah, if you're so together then why'd you forget your under-<\/dialogue>\n    <scene_description>Chaitanya standing there, holding a JAR OF NUTS.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>Sorry to bother you, but I heard you were still awake. Would you mind helping me open this jar of mixed nuts?<\/dialogue>\n    <scene_description>Chaitanya peers past Guy.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>Wow. Small room.<\/dialogue>\n    <scene_description>Guy slams the door in the boy's face. Chaitanya knocks some more.<\/scene_description>\n    <character>CHAITANYA (O.C.)<\/character>\n    <dialogue>Can you help me? I haven't had anything to eat all night. I was studying my words so hard I missed room service hours and this jar is too hard for me to open.<\/dialogue>\n    <scene_description>Guy opens the door.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Oh yeah well we all need something, don't we? Life is filled with disappointment!<\/dialogue>\n    <scene_description>Guy grabs the jar and SMASHES IT against the opposite wall. He slams the door shut. Guy listens to see if Chaitanya has left.<\/scene_description>\n    <character>CHAITANYA (O.C.)<\/character>\n    <dialogue>I...I was wondering if you wanted to be my friend.<\/dialogue>\n    <scene_description>Guy opens the door.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Listen Slum Dog, I dunno what makes you think that I want to be your friend but you better baba ghanoush that idea right out of your head!<\/dialogue>\n    <scene_description>Guy slams the door.<\/scene_description>\n    <character>CHAITANYA (O.C.)<\/character>\n    <dialogue>Okay. It's cool. I just thought it would be fun to study together before tomorrow. Drink soda pop from the mini-bar and stuff.<\/dialogue>\n    <scene_description>Guy opens the door.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Your room has a mini-bar?<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>What about your Mom...Dad?<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>My Dad believes that I should learn how to be my own man, and that means staying in my own hotel room myself this weekend.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>What...is he in the room next door?<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>He's staying at a fancier hotel a few blocks away.<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>(hell yeah)<\/parenthetical>\n    <dialogue>Bummer.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>It's kind of neat. I get to jump on the bed as much as I want. But tonight I messed up and missed room service.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHAITANYA'S HOTEL ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Chaitanya happily picks through the mixed nuts AND BROKEN JAR GLASS- now gathered in a wad of toilette paper- on the hotel room desk. Guy leans into the mini-bar and pulls out every bottle of booze there is.<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>(more focused on his drink)<\/parenthetical>\n    <dialogue>Careful of the fucking glass.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Okay. I will.<\/dialogue>\n    <scene_description>Chaitanya happily eats a nut.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>I think I know what your favorite word is.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Really.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>The \"F\" word.<\/dialogue>\n    <scene_description>Guy ponders this. Shrugs.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Maybe.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>You say it a lot.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Everyone should.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>My father says bad words. But I'm not allowed to. What about your dad?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I never knew my dad. But my mom said bad words a lot. You can say bad words. I don't give a shit.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>I shouldn't.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Do it. Who has the right to decide what is a bad word and what is a good word? Shouldn't it be that whatever word best expresses how you feel is a good word? Do it.<\/dialogue>\n    <scene_description>The very thought makes Chaitanya grin.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Stop acting like a little fucking Quaker and do it.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <parenthetical>(relishing every syllable)<\/parenthetical>\n    <dialogue>Mutherfucker.<\/dialogue>\n    <scene_description>Chaitanya laughs.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Did your soul burst into flames?<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Okay. All done.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>You're a real fucking weirdo, you know that?<\/dialogue>\n    <scene_description>Chaitanya shrugs. Guy pours a mini rum into his glass.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>Do you like rum?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I do.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>You can be like a pirate with your rum! And if you had a cigarette you could be a total butt pirate!<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Don't ever call me a butt pirate.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Why? You smoke, don't you?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>\"Butt Pirate\" has nothing to do with cigarettes.<\/dialogue>\n    <scene_description>Chaitanya blankly looks at him.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>You'll find out one day, I'm sure.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - MORNING<\/stage_direction>\n    <scene_description>Guy sits asleep in the desk chair with his head lolled back and a rope of drool stretching from his mouth. Chaitanya taps him on the shoulder.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>Hey. Hey!<\/dialogue>\n    <scene_description>Guy starts awake. Chaitanya's now in a pair of TRANSFORMER PAJAMAS. Guy looks him up and down.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>The fuck happened to you?<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>It's morning. You passed out last night and I was scared to wake you. My Dad will be here any minute, you should go.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Fine. Fuck. Yeah.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL HALLWAY - LATER<\/stage_direction>\n    <scene_description>Guy shuffles down the hallway. He passes an INDIAN MAN going the other way.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Solemn a lick 'em.<\/dialogue>\n    <scene_description>Guy keeps his head low and walks on. The Indian Man turns and looks after him. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL, HALLWAY - MOMENTS LATER<\/stage_direction>\n    <scene_description>Guy and Jenny speed-walk down the hall. Guy stumbles along, completely hung-over.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Did I leave my underwear in your apartment last night?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Who knows?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>You look like hell.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I don't have a shower.<\/dialogue>\n    <scene_description>An awkward beat.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Baxter Flourney's in your round. He comes from Bee royalty.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I'm so scared.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Maybe you should be. He's awesome.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Right.<\/dialogue>\n    <scene_description>Guy walks in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Stage lights instantly hit Guy as he enters. Everyone murmurs as he makes his way to the stage.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, BROADCAST BOOTH - SAME TIME<\/stage_direction>\n    <scene_description>Chuck and Pete are on the air.<\/scene_description>\n    <character>CHUCK<\/character>\n    <dialogue>AND HERE COMES OUR MAN OF MYSTERY!<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Pure drama, Chuck. Pure drama. Ladies and Gentleman of the world, we have all one hundred and fifty competitors, let the Bee begin!<\/dialogue>\n    <scene_description>Guy passes Director Deagan, who grimaces to herself in disappointment that he made it. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSEHOLD - SAME TIME<\/stage_direction>\n    <scene_description>A FAMILY gathers on the couch to watch the Spelling Bee...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEST BUY - SAME TIME<\/stage_direction>\n    <scene_description>Crowds of SHOPPERS cluster around the FLATSCREEN DISPLAY, which is turned to the Bee...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPORTS BAR - SAME TIME<\/stage_direction>\n    <scene_description>BAR REGULARS order rounds of beer and shush each other as they watch the Bee...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TENT, SOMEWHERE IN AFGHANISTAN - SAME TIME<\/stage_direction>\n    <scene_description>SOLDIERS huddle in a camouflage tent around a small TV that is tuned to the Bee. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, STAGE<\/stage_direction>\n    <scene_description>Guy finds his seat up on the stage right next to Baxter Flourney. A few rows up sits Chaitanya, who tries to get Guy's attention to wave at him, but fails. The PROCTOR and JUDGES sit facing them, and a crowd of uneasy parents watch from their seats. Jenny sits in the last seat in the last row.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, BROADCAST BOOTH<\/stage_direction>\n    <character>CHUCK<\/character>\n    <dialogue>First up, Ling Quan, 13 years old from Pleasanton, Oregon.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Chuck, Ling says when she grows up she wants to be president of the United States.<\/dialogue>\n    <character>CHUCK<\/character>\n    <parenthetical>(chuckling)<\/parenthetical>\n    <dialogue>Not a chance.<\/dialogue>\n    <scene_description>Pete shoots chuck a look.<\/scene_description>\n    <character>CHUCK<\/character>\n    <dialogue>...that...there is a single person who wouldn't vote for her. Let's go to the competition.<\/dialogue>\n    <scene_description>They both chuckle.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, STAGE<\/stage_direction>\n    <scene_description>An ASIAN GIRL LING, 13, BRACES, moves up to the microphone.<\/scene_description>\n    <character>PROCTOR<\/character>\n    <dialogue>Dactylogram.<\/dialogue>\n    <character>LING<\/character>\n    <dialogue>Dactylogram?<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>Dactylogram.<\/dialogue>\n    <character>LING<\/character>\n    <dialogue>Dactylogram.<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>Dactylogram.<\/dialogue>\n    <scene_description>Guy rubs his temples.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Oh God.<\/dialogue>\n    <scene_description>The Asian Girl ghost-spells in the palm of her hand.<\/scene_description>\n    <character>LING<\/character>\n    <dialogue>Can I have the definition, please?<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>A fingerprint.<\/dialogue>\n    <character>LING<\/character>\n    <dialogue>Dactylogram. Can I have the origin, please?<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>Dactylogram. From a Greek combination dactylos meaning \"fingers, toes.\"<\/dialogue>\n    <character>LING<\/character>\n    <dialogue>Dactylogram.<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>Dactylogram.<\/dialogue>\n    <scene_description>Ling ghost-spells in her palm one more time.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>I'm in hell.<\/dialogue>\n    <scene_description>Guy turns to Baxter.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Hey. Wassup. I'm Guy. You're Baxter, right?<\/dialogue>\n    <scene_description>Baxter snobbishly looks over at Guy.<\/scene_description>\n    <character>BAXTER<\/character>\n    <dialogue>I'm not supposed to talk to you.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>BAXTER<\/character>\n    <dialogue>Because my Dad says you're probably just some unemployed bum trying to steal the prize money that I deserve. And that you're a cheater.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>BAXTER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Guy chuckles at this slight. Baxter inches away. Guy puts his hands in his pocket and discovers he still has Jenny's underwear. Guy leans over to Baxter and nods out toward the audience.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Well, your Dad's kind of right. I don't blame him for being so angry. Do me a favor, will you?<\/dialogue>\n    <scene_description>Guy pulls JENNY'S UNDERWEAR out from his pocket. Wads it into Baxter's hand.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Can you give these back to your mom? She left them in my room last night. I'd do it myself but your Dad's around and who wants to deal with that. Good luck with the divorce, by the way. Divorces suck.<\/dialogue>\n    <scene_description>Baxter's snobbish look melts into shock.<\/scene_description>\n    <character>BAXTER<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Stunned, confused, Baxter takes the underwear, takes the news. The audience applauds as LING victoriously takes her seat.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Oh shit, you're up.<\/dialogue>\n    <scene_description>Not knowing what else to do, Baxter quickly shoves the underwear into his pocket. Blinking hard, Baxter walks up to the mic- the underwear bulging in his pocket. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, BROADCAST BOOTH<\/stage_direction>\n    <character>PETE<\/character>\n    <dialogue>Next up, probably the next Spelling Bee king, Baxter Flourney.<\/dialogue>\n    <character>CHUCK<\/character>\n    <dialogue>Pete, Baxter says he wants to be president of the United States when he grows up. And win a Nobel.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Well, shall we cast our votes now?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, STAGE<\/stage_direction>\n    <character>PROCTOR<\/character>\n    <dialogue>Noctivagant.<\/dialogue>\n    <scene_description>Baxter looks out to his parents. His FATHER watches sternly while his MOTHER offers a hopeful thumbs-up.<\/scene_description>\n    <character>PROCTOR<\/character>\n    <dialogue>Noctivagant.<\/dialogue>\n    <scene_description>Baxter blinks back to consciousness.<\/scene_description>\n    <character>BAXTER<\/character>\n    <dialogue>I'm sorry, can you say the word again?<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>Noctivagant.<\/dialogue>\n    <character>BAXTER<\/character>\n    <dialogue>Noct...<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>Noctivagant.<\/dialogue>\n    <scene_description>Baxter looks out at his parents again.<\/scene_description>\n    <character>BAXTER<\/character>\n    <dialogue>Noctivagant....definition?<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>\"Going about in the night; night- wandering.\"<\/dialogue>\n    <character>BAXTER<\/character>\n    <dialogue>Uh...Noctivagant. Can...can you use it in a sentence?<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>\"The noctivagant alley cat kept the entire neighborhood up all night by sitting on the fence, yowling out to her many suitors.\"<\/dialogue>\n    <scene_description>The audience chuckles off this playful sentence. Is Baxter's mother chuckling the most? Baxter tries hard to focus. He starts to ghost-spell in his hand, but he can't concentrate. He sweats. He breathes hard.<\/scene_description>\n    <character>BAXTER<\/character>\n    <dialogue>Noctivagant. Other pron... pronunciations?<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>I have just Noctivagant.<\/dialogue>\n    <scene_description>Baxter swallows hard.<\/scene_description>\n    <character>BAXTER<\/character>\n    <dialogue>Noctivagant. N-O-C-T-I-V-I-G-A-N- T. Noctivagant.<\/dialogue>\n    <scene_description>A delicate DESK BELL tings to alert everyone that Baxter spelled the word incorrectly! The crowd \"AWWs\" in disappointment. Some gasp. Baxter's parents erupt with surprise. Crushed, Baxter walks off the stage and down the isle. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSEHOLD - SAME TIME<\/stage_direction>\n    <scene_description>The MOTHER on the couch gasps and covers her mouth.<\/scene_description>\n    <character>CHUCK (TV)<\/character>\n    <dialogue>I CAN'T BELIEVE THIS! DOWN GOES<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, STAGE<\/stage_direction>\n    <scene_description>A smile creeps across Guy's face. Then he starts to laugh.<\/scene_description>\n    <character>PETE (O.S.)<\/character>\n    <dialogue>Well Chuck, not everybody is displeased by this shocker...<\/dialogue>\n    <scene_description>The camera zooms in on Guy's devilish grin. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, BROADCAST BOOTH<\/stage_direction>\n    <character>CHUCK<\/character>\n    <dialogue>Well, Chuck. Now that the room seems to have recovered from that shock, up next, something even weirder...Guy Duncan.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Guy said when he grows up he wants to be a...well, he's already grown up.<\/dialogue>\n    <character>CHUCK<\/character>\n    <dialogue>Most people believe that Guy is pulling a stunt, and he'll immediately strike out here, let's listen in and see.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, STAGE<\/stage_direction>\n    <scene_description>Guy heads to the mic.<\/scene_description>\n    <character>PROCTOR<\/character>\n    <dialogue>Frabjous-<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>(quick)<\/parenthetical>\n    <character>F-R-A-B-J-O-U-S.<\/character>\n    <dialogue>Guy turns around and sits back down. He turns to all the kids around him.<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>(ominous)<\/parenthetical>\n    <dialogue>Are you ready to get your shit pushed in?<\/dialogue>\n    <scene_description>The kids all look at Guy in shock. CUT TO: We pop around to televisions around the world as Guy easily spells his words throughout round one: On a television in a Barber shop...<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>(quick)<\/parenthetical>\n    <character>F-R-A-B-J-O-U-S.<\/character>\n    <dialogue>On a television in an executive's office...<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>SANG-FROID<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>(quick, unceremonious)<\/parenthetical>\n    <character>S-A-N-G DASH F-R-O-I-D.<\/character>\n    <dialogue>On a television in a retirement home...<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>EMOLUMENT.<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>(quick)<\/parenthetical>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE - LATER<\/stage_direction>\n    <scene_description>Director Deagan faces a CROWD of screaming, angry parents in her office. She holds up her hands to shush them, and has to shout them down.<\/scene_description>\n    <character>DIRECTOR DEAGAN<\/character>\n    <dialogue>Listen, LISTEN! WE ARE DOING ALL THAT WE CAN to find a happy resolution to this situation!<\/dialogue>\n    <character>RAGING MOTHER<\/character>\n    <dialogue>Aren't you embarrassed? This is going to go down in history as the most ridiculous national spelling bee ever! And it will be on your head.<\/dialogue>\n    <character>RAGING FATHER<\/character>\n    <dialogue>HE IS A GROWN MAN!<\/dialogue>\n    <character>BEET-RED FATHER<\/character>\n    <dialogue>DO YOU KNOW HOW MUCH MONEY I'VE<\/dialogue>\n    <character>SPENT ON GOD-DAMNED COACHES?!<\/character>\n    <dialogue>RAGING FATHER<\/dialogue>\n    <scene_description>He's a lunatic! He's infected!<\/scene_description>\n    <character>BEET-RED FATHER<\/character>\n    <dialogue>I swear on my child's life as God as my witness, this will be the last year you are Director of the Bee.<\/dialogue>\n    <character>DIRECTOR DEAGAN<\/character>\n    <dialogue>Look, Mr. Duncan doesn't possess the discipline and practice that all of your children have. I'm confident he's not going to make it much farther. I swear on all your children's lives that if he makes it to the final round, I'll step down as Director of the Bee. Immediately.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - LATER<\/stage_direction>\n    <scene_description>Guy lies on Jenny's bed, a mini rum bottle sticking out of his mouth.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>You're room is bigger than mine. Thanks for letting me shower. I'll get to it as soon as my buzz picks up.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Wow. You thanked me for something. Lemme ask you a question, what is the grammatical significance of the sentence, \"Why run from fire ants?\"<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>(barely thinking about it)<\/parenthetical>\n    <dialogue>I dunno. It contains all the vowels in the English language in reverse alphabetical order.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Yeah but that's a sentence, too bad there isn't a single word that contains all the vowels, but in alphabetical order.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Facetious.<\/dialogue>\n    <scene_description>Jenny stands up.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Son of a bitch.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>You are brilliant. No, really, you're a freaking genius!<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Fuck you.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Those questions I just asked you? From a test they give to geniuses. And I'd bet you have photographic memory, or something close to it.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I barely went to school. So your big conspiracy theory is shit.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Yeah, well I got hold of your school records. Guess what? Your eighth grade counselor made a note in your file right before you dropped out that you showed signs of genius.<\/dialogue>\n    <scene_description>Jenny tosses an old manila file onto Guy's chest. Guy picks it up. Reads it.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Fed-Ex was waiting for me at the front desk. I told you I'm good.<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>That fucking fucker. Mr. Leavenworth told me I was a useless loser. And then he secretly makes notes that he thought I was smart. I'm glad I slashed his tires. And let his prized beagle loose.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>You display all the social signs of a genius. Antisocial. Outsider. You think you're better than others. You just never had a chance to shine in school. You never had a chance to realize it.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Boo hoo, I had a bad childhood. Waaah. I never knew my Daddy Waaahfuckinaaaah. You' sound pretty fucking stupid, you know that?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Sometimes brilliance and photographic memory are inherited. Maybe your Mom was brilliant.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Not likely. She fucking hated it when I had books around.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>One time as a kid I tried to sign up for the local spelling bee and she completely lost her shit on me for it.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>So is that why you're here? To do something you weren't able to do while your mom was alive?<\/dialogue>\n    <scene_description>Guy realizes what Jenny's trying to do.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>I'm not talking anymore.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>You know what? You have problems. You can't open up!<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I have problems? Remember you last night? Now, that was a problem.<\/dialogue>\n    <character>JENNY<\/character>\n    <parenthetical>(self-concious)<\/parenthetical>\n    <dialogue>So? So?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Well you can stop worrying about it because its never happening again!<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Fucking good.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>GOOD!<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Perfect!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM, SHOWER - LATER<\/stage_direction>\n    <scene_description>Through the frosted glass we see Guy taking Jenny from behind, giving her dramatic thrusts.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Oh God...GOD yes YES...don't look at me. DON'T LOOK AT ME!<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I'M NOT LOOKING AT YOU THE WATER'S<\/dialogue>\n    <character>IN MY FUCKING FACE!<\/character>\n    <character>UGH!<\/character>\n    <dialogue>YES!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - LATER<\/stage_direction>\n    <scene_description>Guy gets dressed as Jenny lies on the bed. He heads for the door.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Guy?<\/dialogue>\n    <scene_description>Guy turns to Jenny.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>But what about your Dad?<\/dialogue>\n    <scene_description>Guy leaves. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL ROOM - LATER<\/stage_direction>\n    <scene_description>Guy gets to the door of his shitty hotel room, where he finds Chaitanya sitting on the floor waiting for him.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>Hey Guy! The hotel restaurant is still open. Wanna grab some alimentation for our hyperphagia!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm hungry.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Why don't you do yourself a favor and find some other pre- masturbaters like yourself to nerd out with, okay? This place is crawling with them it shouldn't be hard.<\/dialogue>\n    <scene_description>Chaitanya just gives him a blank look. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL RESTAURANT - MOMENTS LATER<\/stage_direction>\n    <scene_description>Guy slouches across the table from Chaitanya, completely lost in thought and fiddling with the salt shaker.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>Without salt, civilization would not be the same.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Where are your folks? Shouldn't you all be eating a dinner of chilled monkey brains or something?<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>My father rather enjoys the dinner provided in his own hotel. Plus, he encourages me to spend as much time as possible preparing for each round. You want to practice with me?<\/dialogue>\n    <scene_description>Chaitanya pulls out a HUGE THREE RING BINDER. Starts studying.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Listen, Slum Dog. I'm not here to be your fucking friend.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Then why'd you come with me?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I dunno. Because you look all pathetic and pussified and I can't stand it.<\/dialogue>\n    <scene_description>Guy watches Chaitanya happily study.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>I'm going to humiliate you up there. I'm going to beat you like a mule.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Not everything is about winning.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Right. You're not here to win.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>It's about the love of spelling. It's about fun.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Fun?<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Reading a bunch of fucking words and roots and all sorts of other wordy shit is fun?<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Don't you think so?<\/dialogue>\n    <scene_description>Guy scoffs.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Then, you've never really had real fun.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>One time, for breakfast I was eating waffles, and I thought to myself, \"Hmmm this looks like a scrabble board.\" So then, without my mother knowing, I opened up a can of alphabet soup and drained all the soup out...and used the letters to play scrabble...ON MY WAFFLES!<\/dialogue>\n    <scene_description>Chaitanya snickers gleefully.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>With who?<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Who did you play Scrabble on your waffles with? Against?<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Just myself! It was crazy!<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>You are a flaming nerd.<\/dialogue>\n    <scene_description>An ANGRY WOMAN walks up to Guy.<\/scene_description>\n    <character>ANGRY WOMAN<\/character>\n    <dialogue>Excuse me. I'm the mother of one of the competitors competing here.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>That's what competitors do, right?<\/dialogue>\n    <character>ANGRY WOMAN<\/character>\n    <dialogue>I just want to say what you're doing is an insult to every honest child who worked so hard to be here, including my son.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I have an idea. Why don't you take said son and shove him back up your rusty birth canal.<\/dialogue>\n    <character>ANGRY WOMAN<\/character>\n    <dialogue>How dare you?!<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>How dare YOU!<\/dialogue>\n    <character>ANGRY WOMAN<\/character>\n    <dialogue>HOW DARE YOU?!<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>No! HOW DARE YOU!<\/dialogue>\n    <scene_description>Speechless, the Angry Woman marches away. Guy looks at Chaitanya.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Fucking moms, right? Fuck 'em. Let's go get a fucking hot dog. This place is depressing me.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>I can't.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Why the fuck not?<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>My Dad doesn't want me to leave the hotel.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Your Dad is off having fun without you, like Dad's fuckin' seem to do, right?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Just running off, having their own wonderful lives. We're just going for a hot dog. Jesus.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>What if he calls to check up on me?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>So you miss his call. Say you were on the shitter. Or just say you went fucking out! What's he going to do? Pull you out of the National fucking Spelling Bee? Come on.<\/dialogue>\n    <scene_description>Guy leads Chaitanya out of the lobby. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COFFEE SHOP - LATER<\/stage_direction>\n    <scene_description>Jenny sits at a table with a cup of joe. JEREMY, 40s, HANDSOME CRISP SUIT sits down across from her.<\/scene_description>\n    <character>JEREMY<\/character>\n    <dialogue>Jenny Widgeon. How are you?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Jeremy. It's been a long time.<\/dialogue>\n    <character>JEREMY<\/character>\n    <dialogue>I'll say. I'm glad I was in town to catch your call.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Wow. You look really, really good.<\/dialogue>\n    <scene_description>Jenny grabs the sugar and starts pouring lots into her coffee.<\/scene_description>\n    <character>JEREMY<\/character>\n    <dialogue>Thanks. I've been staying away from sugar. Cold turkey.<\/dialogue>\n    <scene_description>Jenny self-consciously puts the sugar down.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Wow. It shows. How's the world's handsomest federal agent doing these days?<\/dialogue>\n    <character>JEREMY<\/character>\n    <dialogue>It's not as fun as it used to be. I miss you digging around where you shouldn't be.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Yeah, me, too. Listen, I need to call in \"the\" favor.<\/dialogue>\n    <character>JEREMY<\/character>\n    <dialogue>Oh! What a relief. I was hoping that's why you called. It's been hanging over my head like giant, Cancerous testicle for years. I like to keep a debt-free lifestyle.<\/dialogue>\n    <scene_description>Jenny slips Jeremy a napkin with \"GUY DUNCAN\" written on it.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Anything you can find would be appreciated.<\/dialogue>\n    <character>JEREMY<\/character>\n    <dialogue>That's it? Just a background run?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Yep.<\/dialogue>\n    <character>JEREMY<\/character>\n    <dialogue>I expected so much more. It doesn't seem like enough. You saved my ass...my career!<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>After this we're even steven.<\/dialogue>\n    <character>JEREMY<\/character>\n    <dialogue>Just this? No sex? I mean I'm married but I'll do it.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>JEREMY<\/character>\n    <dialogue>Or I dunno...I could frame somebody for drug possession...have their records wiped...a mysterious deportation of an annoying neighbor, maybe?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Nope. This is it.<\/dialogue>\n    <character>JEREMY<\/character>\n    <dialogue>Put someone on the most wanted list? It's really easy to do.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Not necessary.<\/dialogue>\n    <character>JEREMY<\/character>\n    <dialogue>Fill their facebook page with kiddie porn?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Really, no.<\/dialogue>\n    <character>JEREMY<\/character>\n    <dialogue>Well, I'll take it! A small price to pay. Thanks Jenny.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>No, thank you.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEN'S CHILI BOWL - LATER<\/stage_direction>\n    <scene_description>Sitting across from each other, Guy and Chaitanya chomp Chili Dogs. Chaitanya smiles with each bite, chili drips all over his mouth.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>This is the best hot dog I've ever had in my entire life!<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Slow down, Slum Dog. You've got fucking chili everywhere. You look like you've eaten out someone's ass.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Ha ha! Funny. You look like there was a person who pooped their underwear and then you paid them five dollars for their pooped underwear and then they sold it to you and then you used it for a bank robber mask and then you threw the pooped underwear away and forgot to wash your face!<\/dialogue>\n    <scene_description>Chaitanya takes a happy sip of his soda.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>You should really not try to insult people. You can't do it.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>This soda pop is so delicious.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Just call it \"soda\" okay? Otherwise you're asking to get raped.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Wow. I can't believe it. I am actually out in Washington D.C.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>I've never been out before.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Bullshit.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Really. My father says that seeing the sights would prove to be too big of a distraction.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Let me get this straight. This is the third year you've been to Washington D.C. and you've never left the fucking hotel? Ever?<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Well, doesn't that make you fucking mad?<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>As my father says, I'm here for the spelling bee, not to be a tourist. Plus, he always brings me back a souvenir.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Wait, while you bleed and shit all over your study words your dad goes and sees all the sights?<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>One time he got me this cool snowglobe with the Lincoln Memorial in it.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Listen to me. Your life has been total horseshit. You gotta see stuff to know stuff. You gotta really give it to your old man. Don't let him get away with this!<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Get away with what?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Being a selfish asshole.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>No he's not.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I call \"Horseshit.\" I call it! I'm saying it out loud right now. No wonder you're such a fucking oddball.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>I've always liked the word \"oddball.\" A useful synonym for that is \"heteroclite.\"<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>You. Are. A. Fucking. Heteroclit.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <parenthetical>(correcting Guy)<\/parenthetical>\n    <dialogue>\"clite.\"<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>No, I meant, clit, because that is how you are acting right now. Come on. Finish up. There's no time to waste. You gotta do shit.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Like what?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>How about being a little like a fucking kid, for starters.<\/dialogue>\n    <scene_description>CUT TO: MONTAGE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY STATION - NIGHT<\/stage_direction>\n    <scene_description>Guy and Chaitanya jump over a subway turnstile and dash into a subway car...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. REFLECTING POOL - LATER<\/stage_direction>\n    <scene_description>With his pant legs rolled up, Chaitanya wades across the pool and picks up as many coins as possible. Guy encourages him to pick up more... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HARDWARE STORE - LATER<\/stage_direction>\n    <scene_description>Guy and Chaitanya each dash out of the store with a spray paint can in hand...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEYWAY - LATER<\/stage_direction>\n    <scene_description>With his spray paint, Guy scrawls graffiti words \"COCK\" and \"DICK\" and \"ASS\" on the alley wall. With his can Chaitanya scrawls \"COPRAPHAGIA!\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. D.C. BAR - LATER<\/stage_direction>\n    <scene_description>Guy gives Chaitanya the \"Shhh\" signal as they sneak up on a LOBBYIST who is passed out on the sidewalk and take off his shoes. They run away before the Lobbyist comes-to.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. D.C. STREET - LATER<\/stage_direction>\n    <scene_description>After Guy ties the laces of the expensive looking stolen loafers together, he coaches Chaitanya on how to launch them up in the air to tangle them in the overhead power line. Chaitanya gives the shoes a throw, and they catch on the first try. The two high-five underneath the dangling shoes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIQUOR STORE - LATER<\/stage_direction>\n    <scene_description>Guy and Chaitanya are in the back by the refrigerators. Guy opens a glass door and pulls out a MICKEYS 40. He shoves it in Chaitanya's jacket. The two conspicuously walk out, but get away with it. END MONTAGE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LINCOLN MEMORIAL STEPS - LATER<\/stage_direction>\n    <scene_description>Guy takes a swig of the Mickeys. Hands it to Chaitanya. Chaitanya takes a swig. And chokes. COUGH! COUGH! COUGH!<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Easy there, Slum Dog.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Wow. I think that went all the way to my balls.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Hell yeah, it did.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>I said \"balls.\"<\/dialogue>\n    <scene_description>Guy takes another swig.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>I like having you as a friend.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I'm not your friend.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>I really don't have any friends at home. At first, I thought being good at spelling would get me friends, but kids just make fun of me more. I hate being picked on.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>You know, when I was a kid I moved a lot, running with my mom from credit collectors, ditching apartments to avoid the rent...I was never in one place long enough to have any friends.<\/dialogue>\n    <scene_description>Guy remembers, snickers... Chaitanya pulls a TOY TAXI CAB out of his pocket, rolls it on the step.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>What the fuck is that?<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <parenthetical>(sheepish)<\/parenthetical>\n    <dialogue>I grabbed it in the liquor mart.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Toys are fun to have when you can't play with other kids. What was your favorite toy as a kid?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I had a toy car once. It was this shitty little matchbox police car. It never left my pocket. But one night, as we were ditching this one apartment, it fell out of my pocket in the dark. I never saw it again. So yeah...no toys. No friends.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>I don't really have friends, either. It's hard to have friends when you're always studying.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Jesus. That wasn't my problem.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Well, I'm your friend now.<\/dialogue>\n    <scene_description>This catches Guy off guard and he needs to avoid it.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>So tell me, Chaiwala, you got a girlfriend? I was just joking. I know you don't have a girlfriend.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>You don't know that!<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Yes I do. If there's anything I know, it's that you don't have a girlfriend.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Well, maybe I don't have a girlfriend, but I've felt a girl up, before.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Oh yeah?<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Yeah!<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I'm not talking about hugs with grandma.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>No! Not my grandma, a real girl!<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Oh, a real fucking girl! I get it, now.<\/dialogue>\n    <scene_description>Guy points the Mickeys up at the statue of Abraham Lincoln.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>You know who that is, right?<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Lincoln.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>He fucking died so that you could feel up any type of girl you want.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Point is, you're Indian, right? But thanks to that guy, if you wanted to feel up, say, a white girl, they can't arrest you. Because you're fucking equal. Thanks, Lincoln!<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Thanks, Lincoln. Okay, I've never felt up a girl.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>No shit you haven't. Fucking liar.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>But one day I will.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I bet.<\/dialogue>\n    <scene_description>Guy takes another swig.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>I just hope I get one with nipples.<\/dialogue>\n    <scene_description>Guy chokes a bit.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>I just hope that the first girl I feel up has nipples.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Every girl has nipples.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Well, you must be very lucky then. But every girl does not have nipples. No.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Why in the fuck do you think that not all girls have nipples?<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Just look around at any girl walking by! Look at their shirts. On some you can see the little...nipples poking through their shirt. On others...there's nothing.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Oh sweet Jesus. You're in bad shape, you know that?<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Every time I think about it I get worried. I also worry that if I am lucky to get a girl with nipples, I hope they're round.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>You know what? Let me help you put your mind at ease. Come on.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Where we going?<\/dialogue>\n    <scene_description>Guy leads Chaitanya off the Memorial steps. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 5TH STREET - LATER<\/stage_direction>\n    <scene_description>Guy walks with Chaitanya.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>Where are we going?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Just fucking hold your horses. If my old man was around, I wish he did something like this for me.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Are we getting a sundae? I could really go for a sundae right now.<\/dialogue>\n    <scene_description>Guy pulls Chaitanya into an alley.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY<\/stage_direction>\n    <character>GUY<\/character>\n    <dialogue>Okay. Stay here. Don't fucking move.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Are you going to get ice cream cones?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Fucking NO with the ice cream! Just wait here.<\/dialogue>\n    <scene_description>Guy disappears out of the alley back onto the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 5TH STREET<\/stage_direction>\n    <scene_description>We follow Guy as he spots a PROSTITUTE standing directly under a sign that reads, \"PROSTITUTE FREE ZONE.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY<\/stage_direction>\n    <scene_description>Guy returns with the prostitute. Chaitanya, who was leaning against the wall, straightens up.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Slum Dog, I want you to meet Marzipan. Marzipan, Slum Dog.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>MARZIPAN<\/character>\n    <dialogue>You said he was sixteen!<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>He is sixteen, he just has a hydro- thyroid retentional problem. You know, like Gary Coleman.<\/dialogue>\n    <character>MARZIPAN<\/character>\n    <dialogue>Oh, jeez. God rest his sweet, funny soul.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Alright, Chaiwala. All I can say is, \"You're fucking welcome!\"<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>For what?<\/dialogue>\n    <scene_description>Marzipan PULLS UP HER SHIRT. Chaitanya's eyes go wide as wagon wheels as he stares at Marzipan's naked tits.<\/scene_description>\n    <character>MARZIPAN<\/character>\n    <dialogue>...three...four...five...six... seven...eight...nine...ten.<\/dialogue>\n    <scene_description>Marzipan lowers her shirt. Guy pulls out a ten dollar bill from his pocket. Hands it to her.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Here.<\/dialogue>\n    <character>MARZIPAN<\/character>\n    <dialogue>What, no tip?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Don't ask for the only ten I got and then I'll have something to tip you with next time. There's a tip.<\/dialogue>\n    <character>MARZIPAN<\/character>\n    <dialogue>Asshole.<\/dialogue>\n    <parenthetical>(to Chaitanya)<\/parenthetical>\n    <dialogue>Bye sweetie. Good luck with your glands and shit.<\/dialogue>\n    <scene_description>Marzipan leaves the alley. Chaitanya hasn't moved a muscle since the tit unveiling.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>I actually lied, I have a couple more bucks. You wanna get ice cream?<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Fuck the ice cream, I want to grow up right now!<\/dialogue>\n    <scene_description>They both leave the alley. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATE PLAZA HOTEL, LOBBY - LATER<\/stage_direction>\n    <scene_description>The sleepy DESK CLERK watches as Guy and Chaitanya drag their exhausted bodies across the lobby to the elevator. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR, MOVING - MOMENTS LATER<\/stage_direction>\n    <scene_description>Guy and Chaitanya both lean against the back of the elevator. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL HALLWAY - MOMENTS LATER<\/stage_direction>\n    <scene_description>Chaitanya stops at his door. Guy keeps shuffling on.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>Hey, Guy? This was like, the best night of my life. Are we friends now?<\/dialogue>\n    <scene_description>Without turning around, Guy flips Chaitanya the bird, and steels a small smile to himself, but keeps on walking to his room.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>Cool.<\/dialogue>\n    <scene_description>Chaitanya, opens his door, where we see his father, the Indian man from before, sternly waiting for him inside. He goes in and the door closes. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL HALL - THE NEXT DAY<\/stage_direction>\n    <scene_description>Jenny and Guy walk down the hall to the next round. Guy keeps looking at Jenny, but whenever she looks at him, he looks away.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Fuck it. Yes, it was just me and my mom growing up. Life sucked, and then she died last year. It's as simple as that.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I think you like me.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>What? Don't flatter yourself. You just suck at your job and I'm tired of watching you beg.<\/dialogue>\n    <scene_description>Chaitanya approaches them.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>Guy! I wanted to give you something before the round starts. For good luck.<\/dialogue>\n    <scene_description>Chaitanya hands Guy his toy taxi that has been crudely converted with black and red markers, into a police car. This is the first time we see Guy being touched by anything.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>I'm going to totally bust your nut.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>No, you don't mean that.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>I do!<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>The nut busting...It's not what you mean...I'm not...just say you're going to kick my ass.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Okay. See you in there!<\/dialogue>\n    <character>JENNA<\/character>\n    <dialogue>What was that all about?<\/dialogue>\n    <scene_description>Guy puts the toy car in his pocket.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Let's go spell some fucking words.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, BROADCAST BOOTH<\/stage_direction>\n    <character>CHUCK<\/character>\n    <dialogue>And welcome everyone who's tuned in to watch Round Two of the Scribbs Institute National Spelling Bee. I wonder what today will offer, Pete?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Ninety Nine problems, but I'm sure a misspelled bitch ain't one of them, Chuck.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM PROCTOR'S TABLE - SAME TIME<\/stage_direction>\n    <scene_description>Director Deagan leans over to the Proctor.<\/scene_description>\n    <character>DIRECTOR DEAGAN<\/character>\n    <dialogue>Sorry. There was an error with the randomization programming, I need to give you the fix before the round.<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Director Deagan inserts a USB stick into the Proctor's computer and uploads the program, with a devilish smile.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, STAGE - LATER<\/stage_direction>\n    <scene_description>Guy sits among the competitors, in his own personal hell, as Round two drones on. A KOREAN BOY with Cowlick Hair stands in front of the mic.<\/scene_description>\n    <character>COWLICK<\/character>\n    <dialogue>Rhapsodize... can I please have the definition?<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>\"To talk with extravagant enthusiasm.\" Rhapsodize.<\/dialogue>\n    <character>COWLICK<\/character>\n    <dialogue>Rhapsodize. Any other pronunciations?<\/dialogue>\n    <scene_description>Guy sees Joyce Sacks sitting in front of him. He taps her on the shoulder.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Excuse me.<\/dialogue>\n    <scene_description>Joyce turns.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>That's your Dad out there in the audience, right?<\/dialogue>\n    <character>JOYCE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Guy pulls a pair of HIS OWN UNDERWEAR out of his pocket.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>This is kind of embarrassing, but he left these in my room last night and I don't want to humiliate him by handing them back myself. It was just horseplay, I swear.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>He truly loves your mom.<\/dialogue>\n    <scene_description>With horror, Joyce takes the underwear and stares at it for a long beat. Tears well up in her eyes. Her lower lip quivers. Joyce stands up out of her seat. All eyes are directed at her as she points out into the audience at her father.<\/scene_description>\n    <character>JOYCE<\/character>\n    <parenthetical>(shrill)<\/parenthetical>\n    <character>I KNEW IT!!!<\/character>\n    <dialogue>Joyce storms off the stage. Guy smiles, pleasantly surprised. All the other kids remain seated, somewhat rattled.<\/dialogue>\n    <dialogue>Joyce's parents get up and run after her.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, BROADCAST BOOTH<\/stage_direction>\n    <character>PETE<\/character>\n    <dialogue>Annnnd end scene! Unbelievable! Joyce Sacks flames out without misspelling a single word!<\/dialogue>\n    <character>CHUCK<\/character>\n    <dialogue>Pete, she caved like a skull hit with a ball peen hammer, Pete.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>I'd hate to have a look in your freezer.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, STAGE<\/stage_direction>\n    <character>PROCTOR<\/character>\n    <dialogue>I, um, apologize for that.<\/dialogue>\n    <character>COWLICK<\/character>\n    <dialogue>It's okay. R-H-A-P-S-O-D-I-Z-E. Rhapsodize.<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>That is correct.<\/dialogue>\n    <scene_description>The audience applauds.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, BROADCAST BOOTH<\/stage_direction>\n    <character>CHUCK<\/character>\n    <dialogue>AND LEE PARK HITS A BULL'S-EYE!<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Maybe one day Lee Park will have a park named after him. The \"Lee Park Park.\" And then they can add a park and ride adjacent to it. The \"Lee Park Park Park and Ride.\" Something to be proud of, Chuck.<\/dialogue>\n    <character>CHUCK<\/character>\n    <dialogue>Yeeesss.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, STAGE<\/stage_direction>\n    <scene_description>It's Guy's turn. He turns to the kids as he gets up.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>I hope you're fuckin' ready, because I'm about to get all Optimus Prime on your asses.<\/dialogue>\n    <scene_description>Guy steps up to the mic. He watches as the Proctor's eyes go WIDE for a moment.<\/scene_description>\n    <character>PROCTOR<\/character>\n    <dialogue>PNEUMONOULTRAMICROSCOPICSILICO-<\/dialogue>\n    <character>VOLCANOCONIOSIS.<\/character>\n    <dialogue>The audience gasps. Guy pauses.<\/dialogue>\n    <character>PETE (O.S.)<\/character>\n    <dialogue>Can you spell Uh-oh, Chuck?<\/dialogue>\n    <character>CHUCK (O.S.)<\/character>\n    <dialogue>Chances are I can spell it better than that word!<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Damn it.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, AUDIENCE - SAME TIME<\/stage_direction>\n    <scene_description>Director Deagan smiles. Leans forward in her chair. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, STAGE<\/stage_direction>\n    <scene_description>Guy steps away from the mic for a moment. Paces. We think he's panicking. But then he spots something in the back of the auditorium.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Thank God. I was worried there for a second.<\/dialogue>\n    <scene_description>Guy waves to the back of the auditorium. Everyone turns around to find a wide-eyed WAITER from the hotel bar, holding a MARTINI.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Yeah, that's me...<\/dialogue>\n    <scene_description>Unsure, the waiter walks up the aisle to the stage.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, BROADCAST BOOTH<\/stage_direction>\n    <character>PETE<\/character>\n    <dialogue>UN. BELIEVABLE! Guy is pulling a Thurston Howell the Third right here at the Bee!<\/dialogue>\n    <scene_description>Director Deagan makes a B line to the Judges' table.<\/scene_description>\n    <character>CHUCK (O.S.)<\/character>\n    <dialogue>Looks like Director Deagan doesn't agree with Guy's methodology.<\/dialogue>\n    <character>PETE (O.S.)<\/character>\n    <dialogue>But I can tell you right now, Chuck, that Deagan's gonna come up dryer than Grandma's sex toy on this one. There is no rule that states a contestant can't drink during a round- because usually the contestants are under the legal age to drink.<\/dialogue>\n    <character>CHUCK (O.S.)<\/character>\n    <dialogue>Who's Afraid of Virginia Wolfe? Not this fella!<\/dialogue>\n    <scene_description>After quietly conferring with the Judges, Director Deagan throws her arms up in the air and storms back to her seat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, STAGE<\/stage_direction>\n    <scene_description>Guy watches Director Deagan go and then bends down to the waiter, takes the Martini.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>What's the damage?<\/dialogue>\n    <character>WAITER<\/character>\n    <dialogue>Eleven dollars.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>ELEV- there better be like, angel semen in this drink, or something.<\/dialogue>\n    <scene_description>The audience gasps as everything Guy's saying is being picked up by the mic. Guy plops his room cardkey in the waiter's hand.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Here, put it on the room account, and check back every once in awhile. I'm gonna dry out real fast.<\/dialogue>\n    <character>WAITER<\/character>\n    <dialogue>Yessir.<\/dialogue>\n    <scene_description>Guy leans into the mic.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Oh yeah. Sorry.<\/dialogue>\n    <parenthetical>(fast)<\/parenthetical>\n    <character>GUY<\/character>\n    <dialogue>P-N-E-U-M-O-N-OU-L-T-R-AM-I-C-<\/dialogue>\n    <character>R-OS-C-O-P-I-CS-I-L-I-C-OV-O-L-<\/character>\n    <dialogue>C-A-N-OC-O-N-I-O-S-I-S.<\/dialogue>\n    <scene_description>Guy unceremoniously returns to his seat with his drink.<\/scene_description>\n    <character>PROCTOR<\/character>\n    <parenthetical>(unbelieving)<\/parenthetical>\n    <dialogue>Correct.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, AUDIENCE - SAME TIME<\/stage_direction>\n    <scene_description>Director Deagan crosses her arms with a huff. MONTAGE We cut between Guy and the other competitors standing at the mic. Guy spells lightning fast every time, and simply turns back to his seat, cocktail in hand, knowing he spelled correctly. The others pause, ghost-spell in their hands, and spell with uncertainty. Angry viewers around the world boo and throw stuff at their TVs every time Guy is up...<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>H-E-P-A-T-I-C-OC-H-O-L-A-N-G-I-OC-H-<\/dialogue>\n    <character>O-L-E-C-Y-S-TE-N-T-E-R-OS-T-O-M-I-E-<\/character>\n    <dialogue>S.<\/dialogue>\n    <character>FRECKLE FACED BOY<\/character>\n    <dialogue>Can I have the root origin please?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>A-P-O-T-H-E-G-M.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Pertinacious. Can that be used in a sentence please?<\/dialogue>\n    <scene_description>As Chaitanya spells we see Guy very subtly spelling along with him...almost with encouraging enthusiasm.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>F-L-O-C-C-IN-A-U-C-I-N-IH-I-L-I-P-I-<\/dialogue>\n    <character>LI-F-I-C-A-T-I-O-N.<\/character>\n    <dialogue>CHUCK<\/dialogue>\n    <scene_description>This is amazing! The luck of the draw is not going Guy's way as it seems he's getting every mile-long word in the English language!!!<\/scene_description>\n    <character>CAMBODIAN GIRL<\/character>\n    <dialogue>Hagridden. H-A-G-R-I-T-T-O-N.<\/dialogue>\n    <scene_description>Ting! The girl's face falls.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>A-N-T-ID-I-SE-S-T-A-B-L-I-S-HM-E-N-<\/dialogue>\n    <character>TA-R-I-A-NI-S-M.<\/character>\n    <dialogue>SHAVED HEAD BOY<\/dialogue>\n    <character>...H-I-P.<\/character>\n    <dialogue>Ting! He's out. His lowers his head.<\/dialogue>\n    <dialogue>Ting! Another girl is out. She turns to walk off as her face sours into a big sob.<\/dialogue>\n    <dialogue>Ting! Another boy is out. He smacks his forehead and walks away.<\/dialogue>\n    <dialogue>Ting! And another. He turns and leaves.<\/dialogue>\n    <dialogue>Ting! And another. He turns and leaves.<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>(burp spells)<\/parenthetical>\n    <character>H-O-N-O-R-IF-I-C-A-B-I-L-IT-U-D-I-N-<\/character>\n    <dialogue>IT-A-T-I-B-U-S.<\/dialogue>\n    <character>PROCTOR<\/character>\n    <parenthetical>(horrified disappointed)<\/parenthetical>\n    <dialogue>That is correct.<\/dialogue>\n    <scene_description>One clap can be heard in the back. Coming from Chaitanya. Guy spells one word after another...with more physical flare each time. By his last word, Guy's busting ELVIS KARATE KICKS on his way back to his seat. END MONTAGE. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL LOBBY - EVENING<\/stage_direction>\n    <scene_description>The pack of angry parents surround Director Deagan as she fights her way through.<\/scene_description>\n    <character>ANGRY MOM<\/character>\n    <dialogue>He's in the final round!<\/dialogue>\n    <scene_description>Director Deagan looks to all the angry parents.<\/scene_description>\n    <character>DIRECTOR DEAGAN<\/character>\n    <dialogue>Okay, well, obviously I'm not going to resign. That would leave the Bee rudderless in this storm!<\/dialogue>\n    <character>ANGRY DAD<\/character>\n    <dialogue>BULLSHIT!<\/dialogue>\n    <scene_description>The crowd of parents grow loud with protest. Director Deagan, for the first time, looks like the pressure is getting to her. Elsewhere, Guy exits the ballroom amid very harsh stares. Chaitanya catches up with Guy.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>Alright! We're both in! Top twenty five!<\/dialogue>\n    <scene_description>Chaitanya tries to hi-five Guy but misses and hits his chest. Jenny approaches.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>I'm going to kick your ass. You want to eat dinner together? And then maybe study or something?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Yeah. I don't know, maybe.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Meet me in the lobby in like, an hour.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Yeah, alright.<\/dialogue>\n    <scene_description>Chaitanya saunters off.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Did I just see what I just saw?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>You have a friend?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Look. he's an incredibly annoying kid and the only way to keep him from driving me insane is to deal with him.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Do you have a little buddy?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Hey! It's none of your business, okay?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Okay! I was just joking. Have all the friends you want!<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I will! I gotta go study.<\/dialogue>\n    <scene_description>Guy storms away. Jenny calls after him.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>I know you're not studying you don't study! Have fun with your buddy!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATE PLAZA HOTEL, LOBBY - LATER<\/stage_direction>\n    <scene_description>Guy walks past the gift shop. Pauses. Turns to go in. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATE PLAZA HOTEL, GIFT SHOP - LATER<\/stage_direction>\n    <scene_description>Guy stands in front of the magazine stand. Contemplating. With a smile, Guy grabs a Playboy Magazine. Guy passes the freezer. Then returns to quickly grab a pint of ice cream. Guy plops them both down at the register. The OLD LADY CLERK, 80s, raises her eyebrows.<\/scene_description>\n    <character>OLD LADY CLERK<\/character>\n    <dialogue>Gettin' ready for a wild night, huh?<\/dialogue>\n    <scene_description>Guy slaps down money, sneers and leaves. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL ROOM - LATER<\/stage_direction>\n    <scene_description>Guy approaches Chaitanya's hotel room. The door is slightly ajar. He's about to knock when he hears Chaitanya's Dad.<\/scene_description>\n    <character>CHAITANYA'S DAD (O.S.)<\/character>\n    <dialogue>Just make sure he's locked in, okay?<\/dialogue>\n    <character>CHAITANYA (O.S.)<\/character>\n    <dialogue>Dad. He's totally locked in. He's took me around to see the sights last night! Something you've never done, by the way.<\/dialogue>\n    <character>CHAITANYA'S DAD (O.S.)<\/character>\n    <dialogue>Chaitanya, focus. This man is your enemy. Keep him close but don't forget that. Remember Donnie Brasco. You want to win? Do you?<\/dialogue>\n    <character>CHAITANYA (O.S.)<\/character>\n    <dialogue>Of course!<\/dialogue>\n    <character>CHAITANYA'S DAD (O.S.)<\/character>\n    <dialogue>Then make best friends with him! Get him so that he couldn't bear to beat you!<\/dialogue>\n    <character>CHAITANYA (O.S.)<\/character>\n    <dialogue>Dad, I got it, okay? No problem.<\/dialogue>\n    <scene_description>Guy's face falls. He walks away. Further down the hall we see Guy lean an arm against the wall for support. We see his shoulders heave once- and once only. Guy hurls the ice cream down the all, then continues on. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATE PLAZA HOTEL, LOBBY - NIGHT<\/stage_direction>\n    <scene_description>Guy waits in the lobby, with the bagged magazine in hand. Chaitanya approaches.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>WERE YOU PRETENDING TO BE MY FRIEND<\/dialogue>\n    <character>JUST TO TRY TO BEAT ME?<\/character>\n    <dialogue>CHAITANYA<\/dialogue>\n    <scene_description>What? No! No!<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Plying me with booze? Earning my trust? Huh?<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Listen, I can explain.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>And what about last night, huh? Thought you'd make me tired? Become best friends along the way so I wouldn't want to beat you?<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Listen, I know it's weird but-<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>You little shitwit just admit I was your damned mark!<\/dialogue>\n    <scene_description>Chaitanya hems and haws.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>-IT WAS MY DAD'S IDEA, OKAY?<\/dialogue>\n    <dialogue>He felt you were the biggest threat. The wild card. But I really like you.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Liar.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>It was the truth that I'd never left the hotel before last night. It was truth that you and I became friends!<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>All so that you could win.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>No. Yes. Well, no. The getting you to lose part was my Dad's idea but you're cool and I like you. You showed me my first boobs!<\/dialogue>\n    <scene_description>Guy turns away. Chaitanya scurries around to face him.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>Do you want to see a friend lose? My Dad will be so disappointed in me.<\/dialogue>\n    <scene_description>Guy takes out the toy cab\/police car Chaitanya gave him, drops it on the floor and crushes it with his heel.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Fuck you sideways, Chaiwala!<\/dialogue>\n    <scene_description>Guy storms out of the lobby. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATE PLAZA HOTEL - MOMENTS LATER<\/stage_direction>\n    <scene_description>Chaitanya chases after Guy.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>Guy! Guy!<\/dialogue>\n    <scene_description>As Guy walks off a MASKED ASSAILANT with a PIPE rushes Guy. WHAP! WHAP! WHAP! Right at the knee! Guy crumples to the ground, screaming. The masked assailant stands over Guy, then freaks and spins and dashes off- DIRECTLY IN FRONT OF AN ONCOMING TAXI CAB. The cab slams on its brakes, sending the Masked Assailant rolling over its hood. A crowd quickly gathers around the commotion. The cabbie gets out of the cab and approaches the Masked Assailant, now out cold on the street. The cabbie removes the mask. IT'S DIRECTOR DEAGAN! CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATE PLAZA HOTEL<\/stage_direction>\n    <scene_description>Police, paramedics, and looky-loos surround the scene. Director Deagan, now handcuffed on a gurney, is being lifted up into an ambulance.<\/scene_description>\n    <character>DIRECTOR DEAGAN<\/character>\n    <dialogue>He's the one you should be arresting! He's a bad man! A B-A- D M-A-N!<\/dialogue>\n    <scene_description>The ambulance doors close and the ambulance drives off. Jenny sits with Guy, who now has his knee wrapped in ice.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>I'm going to go talk to your buddy.<\/dialogue>\n    <scene_description>Guy's holding a death stare on Chaitanya, who stands off in the distance with his father, talking to the police.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>He's not my friend and don't go fucking talking to him!<\/dialogue>\n    <scene_description>Chaitanya nervously glances over at Guy. The moment is tense.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>I need to.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Do it and I'll go talk to ESPN. I'll totally open up.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>YOU WOULDN'T!<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Try me.<\/dialogue>\n    <scene_description>Guy limps away. Jenny's phone vibrates. She has an e-mail alert. It reads: \"Jenny- Guy Trippon info. We're even! Jeremy.\" Jenny opens up the e-mail on her phone. Reads. Her eyes go wide. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - LATER<\/stage_direction>\n    <scene_description>Chaitanya studies from his huge binder. His phone rings. He picks it up.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>FRONT DESK<\/character>\n    <dialogue>Yes, your father left a message saying he'll be waiting for you in the lobby in five minutes.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>Really? Thanks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL HALL - MOMENTS LATER<\/stage_direction>\n    <scene_description>Chaitanya walks out of his room. Before the door shuts completely, GUY silently limps inside from behind a nearby planter.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATE PLAZA HOTEL, LOBBY - MOMENTS LATER<\/stage_direction>\n    <scene_description>Chaitanya looks around the lobby. No father. Chaitanya freezes- a horrible thought has just crossed his mind. Chaitanya runs for the elevator.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL HALL - MOMENTS LATER<\/stage_direction>\n    <scene_description>Chaitanya runs as fast as he can to his room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Chaitanya scrambles inside...HIS BINDER IS GONE! Chaitanya notices a flickering reflection from his window. Chaitanya looks out his window to see Guy below in the parking lot, standing next to the BURNING BINDER! Guy looks up and flips Chaitanya the double bird. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - LATER<\/stage_direction>\n    <scene_description>There is a knock at Guy's door. Guy limps over to and opens it to face a PIZZA DELIVERY GUY holding TWENTY PIZZA BOXES.<\/scene_description>\n    <character>PIZZA DELIVERY GUY<\/character>\n    <dialogue>That will be two hundred and eighty dollars, not including tip.<\/dialogue>\n    <scene_description>Guy grits his teeth and slams his door.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Amateur.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - MUCH LATER<\/stage_direction>\n    <scene_description>There's a knock on Chaitanya's door. He opens it and is greeted by MARZIPAN.<\/scene_description>\n    <character>MARZIPAN<\/character>\n    <dialogue>Hey, Sugar!<\/dialogue>\n    <scene_description>Suddenly ANOTHER HOOKER APPROACHES.<\/scene_description>\n    <character>HOOKER<\/character>\n    <dialogue>What are you doin' here, bitch?!<\/dialogue>\n    <character>MARZIPAN<\/character>\n    <dialogue>I GOT THE CALL.<\/dialogue>\n    <character>HOOKER<\/character>\n    <dialogue>WELL SO DID I!<\/dialogue>\n    <character>MARZIPAN<\/character>\n    <dialogue>This is my hood, bitch!<\/dialogue>\n    <character>HOOKER<\/character>\n    <dialogue>WHO YOU CALLING BITCH, BITCH?<\/dialogue>\n    <scene_description>Chaitanya slams his door shut, completely freaked out as the two prostitutes wage war out in the hallway. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - MUCH MUCH LATER<\/stage_direction>\n    <scene_description>Guy jumps awake to his door being rapped hard.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>WHO IS IT?<\/dialogue>\n    <character>POLICE (O.S.)<\/character>\n    <dialogue>D.C.P.D. Open up, Sir.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Yeah, right! Nice try Chaiwala! Who'd you hire, the doorman?<\/dialogue>\n    <character>POLICE (O.S.)<\/character>\n    <dialogue>Sir, we've received a call that you're holding someone against their will in your room, open the door or we will open it for you.<\/dialogue>\n    <scene_description>Guy sits up in bed. Decides to play along.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>That's right, coppers! I've got a hostage! And I'll do her if you get any closer! Then, I'll fuckin' do myself, you hear?!<\/dialogue>\n    <scene_description>Guy listens, footsteps hurry away from his door.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Complete fucking amateur.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Guy lies asleep on his bed. BOOM! The door splinters open!<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Huh...whah?<\/dialogue>\n    <scene_description>A horde of SWAT stumble into the room and on top of Guy. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE STATION - DAWN<\/stage_direction>\n    <scene_description>Jenny walks out with Guy.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>That little fucking bastard!<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Hey, at least they didn't press charges.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>He knew I wouldn't believe it was the real cops. It's war!<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Guy. I gotta talk to you about something. I've been digging around and...I found out who your father is. Maybe...just stop walking for a second.<\/dialogue>\n    <scene_description>Jenny stops Guy. Looks into his eyes. Takes a deep breath.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>As incredible as this sounds, Guy, your father is Scribbs President Bill Bowman.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Yeah. I know.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Wait, what? You do?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>My mother told me when she was dying. He was a traveling encyclopedia salesman, she was a waitress at a diner he passed through all the time. When she got pregnant he stuck around for awhile or something, but once I was born, he headed for the hills and never looked back.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>So Bowman doesn't have any idea who you are-<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>-Not a fucking clue. And he's not going to until I finish making a mockery out of what he seems to love more than anything else, the spelling bee.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Guy! This is huge.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>It's not important to your story, if that's what you're trying to drive at.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Like hell it isn't! This is completely important. Everything else falls to the wayside for this.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>This is now the whole point of my article.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>No fucking way.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Look, not wanting me to get a quote from some kid is one thing, but you can't really tell me what to write.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I'm doing it right now.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I like you and I thought you liked me, but nothing gets in the way of me doing my job well.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Are you kidding me? Nothing gets in the way of your shitty little tabloid piece? Spare me. Why don't you knock off this professional reporter act. You write for a scabby rag that fat housewives wash down with a pint of ice cream every week.<\/dialogue>\n    <scene_description>Jenny's clearly stung by Guy's words.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>If you write one word about this, I'll never talk to you again!<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>FINE! THEN I GUESS THAT'S THE WAY<\/dialogue>\n    <dialogue>IT HAS TO BE! You just do what you have to do and I'll do what I have to do.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Whatever. You fucking ingrate!<\/dialogue>\n    <scene_description>Jenny scoffs. She's so enraged she's speechless. Jenny storms off. Guy watches her go, angry, yet torn by a tinge of regret. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, BROADCAST BOOTH<\/stage_direction>\n    <character>CHUCK<\/character>\n    <dialogue>And welcome everyone to the big tamale, the final countdown, where the eye meets the tiger! Pete, if you thought the going got weird during the Bee yesterday, just listen to what happened when the semi-final round was over. Reports have come in that National Spelling Bee Director Bernice Deagan has been arrested and charged with assault with a deadly weapon, on none other than Guy Duncan!<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>She tried to Tanya Harding him, Chuck. With a pipe. And a ski mask. Allegedly. Much to America's disappointment, Guy only suffered minor injuries and will be competing in the final round.<\/dialogue>\n    <character>CHUCK<\/character>\n    <dialogue>Un. Believable. This morning Scribbs COO Bill Bowman announced that Director Deagan has been removed from her position and that he himself will oversee the final round today. And we are fortunate enough to have Mr. Bowman with us, in Washington D.C., right now.<\/dialogue>\n    <scene_description>Bowman steps into frame.<\/scene_description>\n    <character>BOWMAN<\/character>\n    <dialogue>Thank you, Chuck. I would like to take the opportunity to address this unique situation to everyone watching out there. I regret the alleged actions of former Director Bernice Deagan. As you know, I myself am a former bee champ. Before I became one of the most influential and powerful executives in America, I learned first hand that the bee is about sportsmanship, not assault and battery. I look forward to moving past this ugly incident and am very excited to personally crown our next National Spelling Bee Champ, whoever that may be.<\/dialogue>\n    <character>CHUCK<\/character>\n    <dialogue>From your lips to God's ears. Pete, take it away.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>So let's get to it! The final round of this year's Scribbs Institute National Spelling Bee, where the last speller standing walks away with five hundred thousand dollars-<\/dialogue>\n    <scene_description>Bowman leans in to interject.<\/scene_description>\n    <character>BOWMAN<\/character>\n    <dialogue>-And a lifetime supply of dictionaries and encyclopedias-<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>-blah blah blah FIVE HUNDRED THOUSAND DOLLARS!!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, STAGE<\/stage_direction>\n    <scene_description>All twenty five competitors sit up on the stage as the judges and audience and Bowman sit before them. Disheveled and worse for the wear, Guy limps past Chaitanya, who's wearing a blazer that has one sleeve obviously longer than the other.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>What happened to the duds? Looks like a \"friend\" got hold of them.<\/dialogue>\n    <scene_description>Chaitanya's tired and grumpy.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>You got arrested.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I'm going to fucking end you.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <parenthetical>(through gritted teeth)<\/parenthetical>\n    <dialogue>Bring it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, BROADCAST BOOTH<\/stage_direction>\n    <character>PETE<\/character>\n    <dialogue>Looks like there's some harsh words being shared between two of the contestants down there, Chuck.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, STAGE<\/stage_direction>\n    <scene_description>Eric Tai walks up to the mic. He's super awkward, nearly savantish with his rocking back-and-forth.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, BROADCAST BOOTH<\/stage_direction>\n    <character>CHUCK<\/character>\n    <dialogue>This is Eric Tai. Quite the word Ninja.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Yes. If a Chinese person could be a Ninja.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, STAGE<\/stage_direction>\n    <character>PROCTOR<\/character>\n    <dialogue>Inchoate.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Inchoate.<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>Inchoate.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Can I have the definition, please?<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>Presenting favorable circumstances or conditions. Inchoate.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Inchoate. Part of speech, please?<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>Adjective.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Inchoate.<\/dialogue>\n    <scene_description>Eric ghost-spells in the palm of his hand.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Inchoate. I-N-C-H-O-A-T-E. Inchoate.<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>That is correct.<\/dialogue>\n    <scene_description>The audience goes wild. Eric pumps his fist in just about the nerdiest way possible, and returns to his seat. Next, Chaitanya comes up to the mic. Guy leans forward in his seat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, BROADCAST BOOTH<\/stage_direction>\n    <character>CHUCK<\/character>\n    <dialogue>Chaitanya Chopra, Chuck. Chaitanya has been here twice before and hopes three times is the charm.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Let's see if the genie's in his bottle, Pete.<\/dialogue>\n    <character>CHUCK<\/character>\n    <dialogue>That might have been a skosh culturally insensitive.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>No more than calling a Chinese kid a Ninja. Let's listen in...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, STAGE<\/stage_direction>\n    <character>PROCTOR<\/character>\n    <dialogue>Tmesis.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Tmesis. Definition?<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>\"In grammar and rhetoric, the separation of the parts of a compound word, now generally done for humorous effect; for example,'abso-bloody-lutely.'\"<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Is the origin from the Greek \"a cutting?\"<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Tmesis. T...<\/dialogue>\n    <scene_description>Chaitanya pauses. Guy leans forward even more.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>...M-E-S-I-S. Tmesis.<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>That is correct.<\/dialogue>\n    <scene_description>The audience applauds loudly. Guy skoffs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, BROADCAST BOOTH<\/stage_direction>\n    <character>PETE<\/character>\n    <dialogue>That was FAN DASH FREAKING DASH TASTIC!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, STAGE<\/stage_direction>\n    <scene_description>Chaitanya returns to his seat. Guy glares at him. A HARELIPPED GIRL, 14, approaches the mic.<\/scene_description>\n    <character>CHUCK (O.C.)<\/character>\n    <dialogue>This is Tamara Sweetzer.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>She has such a kind soul. So bright.<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>Zeitgeist.<\/dialogue>\n    <character>HAIR-LIP<\/character>\n    <dialogue>Zeitbeist?<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>Zeitgeist.<\/dialogue>\n    <character>HAIR-LIP<\/character>\n    <dialogue>Z-I-T-G-E-I-S-T. Zeitgeist.<\/dialogue>\n    <scene_description>Ting. The audience \"AWWWs.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, BROADCAST BOOTH<\/stage_direction>\n    <character>PETE<\/character>\n    <dialogue>Ouch. The wheels came off of that wagon. Too rushed. Wayee to rushed.<\/dialogue>\n    <character>CHUCK<\/character>\n    <dialogue>Pete, all the Bee veterans will tell you, \"Take your time. Even if you think you know it, ask those questions. Spell it out in your hand.\"<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>So right. You want to be the tortoise, not the hare.<\/dialogue>\n    <character>CHUCK<\/character>\n    <dialogue>Wow. That one was the most insensitive of all. I can't believe you went there.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>What? \"Hare\" as in rabbit, not \"hare\" as in...lip!<\/dialogue>\n    <character>CHUCK<\/character>\n    <dialogue>We should just drop it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, STAGE<\/stage_direction>\n    <scene_description>Tamara rushes off the stage in tears.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>She spelled it Zitgeist! What a retard!<\/dialogue>\n    <scene_description>Guy is next. As he approaches the mic there are boos and hisses.<\/scene_description>\n    <character>PROCTOR<\/character>\n    <dialogue>QUIET IN THE AUDIENCE PLEASE!<\/dialogue>\n    <character>CHUCK (O.C.)<\/character>\n    <dialogue>And here comes Guy Duncan.<\/dialogue>\n    <scene_description>The booing grows. Guy happily stands before his haters. Guy looks down at Bowman. Bowman looks up at him, with no idea what's going in Guy's head. This is the first time Guy has ever stood before his father. We see a slight change in Guy's face- almost a tinge of emotion.<\/scene_description>\n    <character>PETE (O.C.)<\/character>\n    <dialogue>Holy smokes! I don't think there's ever been booing at the Bee before, Chuck.<\/dialogue>\n    <character>CHUCK (O.C.)<\/character>\n    <dialogue>Well, there've been a lot of Bee firsts this year.<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>WITH DUE RESPECT THIS COMPETITION<\/dialogue>\n    <character>WILL NOT PROCEED UNTIL THERE IS<\/character>\n    <dialogue>QUIET IN THE AUDIENCE.<\/dialogue>\n    <scene_description>The crowd quiets down.<\/scene_description>\n    <character>PROCTOR<\/character>\n    <dialogue>Thank you. Condign.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Can I have the definition, please?<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>\"Wel-<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Just kidding C-O-N-D-I-G-N.<\/dialogue>\n    <scene_description>Guy mimes jerking off and blows raspberries in the mic, then returns to his seat. An explosion of boos erupt.<\/scene_description>\n    <character>PROCTOR<\/character>\n    <dialogue>That is corr-<\/dialogue>\n    <parenthetical>(over the boos)<\/parenthetical>\n    <character>THAT IS CORRECT!<\/character>\n    <dialogue>Guy turns to the BOY WITH A UNIBROW sitting to his right.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>They're fucking animals. Your parents are fucking animals.<\/dialogue>\n    <scene_description>Unibrow gets up. It's his turn.<\/scene_description>\n    <character>PROCTOR<\/character>\n    <dialogue>Slubberdegullion.<\/dialogue>\n    <character>UNIBROW<\/character>\n    <dialogue>Slubberdegullion.<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>Slubberdegullion.<\/dialogue>\n    <character>UNIBROW<\/character>\n    <dialogue>Slubberdegullion. Can I have the definition, please?<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>Yes. \"A dirty, wretched slob.\"<\/dialogue>\n    <scene_description>The Raging Mother from before stands up in the audience and points at Guy.<\/scene_description>\n    <character>RAGING MOTHER<\/character>\n    <dialogue>YOU MEAN LIKE THAT MAN!<\/dialogue>\n    <scene_description>The audience laughs and cat calls Guy.<\/scene_description>\n    <character>PROCTOR<\/character>\n    <dialogue>Ma'am. I'm going to have to ask you to leave.<\/dialogue>\n    <character>RAGING MOTHER<\/character>\n    <dialogue>Not until he does!<\/dialogue>\n    <scene_description>The Proctor nods and two security guards approach the Raging Mother. She goes limp and they have to drag her away. As she gets dragged out she starts chanting:<\/scene_description>\n    <character>RAGING MOTHER<\/character>\n    <dialogue>Take him out! Take him out!<\/dialogue>\n    <character>CHUCK (O.C.)<\/character>\n    <dialogue>Well, we promised fireworks, ladies and gentleman!<\/dialogue>\n    <character>PETE (O.C.)<\/character>\n    <dialogue>Is this a Spelling Bee or the G8 Summit?!<\/dialogue>\n    <character>CHUCK (O.C.)<\/character>\n    <dialogue>Zing! Zow! Petey's back!<\/dialogue>\n    <scene_description>Soon, everyone in the audience is chanting \"TAKE HIM OUT!\" Guy seems unaffected by all this. Guy leans in toward the rest of the contestants.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Get ready, mongoloids. This only makes me stronger...<\/dialogue>\n    <scene_description>We hold on the contestants up on the stage as Guy stands before the mic. Through quick cuts we see the number of contestants dwindle down, until finally there are only three. ERIC TAI, CHAITANYA, and GUY.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, BROADCAST BOOTH<\/stage_direction>\n    <character>CHUCK<\/character>\n    <dialogue>And then there were three. Eric Tai, Chaitanya Chopra and Guy Duncan. They will fight to the finish, when we come back!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, STAGE<\/stage_direction>\n    <character>PROCTOR<\/character>\n    <dialogue>You may stand and stretch your legs during this commercial break.<\/dialogue>\n    <scene_description>Guy looks at Eric Tai who has met his parents at the foot of the stage. His equally awkward father approaches to give him encouragement. Then Guy looks at Chaitanya who is now huddled with his parents. Guy watches as Chaitanya's mother rubs his back, his father gives him quiet words of inspiration. Guy looks across the auditorium to Jenny. She turns her back to him and interviews one of the angry parents. Guy sits completely alone up on the stage. He looks at Bowman, talking to the Proctor, then he turns back to Chaitanya with his parents again. Then back to Bowman. Guys blinks wearily. A change is happening inside of him.<\/scene_description>\n    <character>PROCTOR<\/character>\n    <dialogue>Okay everyone, ten seconds. The three finalists must now sit together.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, STAGE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Eric, Chaitanya and Guy all sit side by side. Eric Tai goes up to the mic. Guy glances at Chaitanya, thinking hard.<\/scene_description>\n    <character>PETE (O.C.)<\/character>\n    <dialogue>And here we go, what might be the final leg of the competition.<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>Kopophobia.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Kopophobia. Can I have the definition?<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>\"Fear of exhaustion. Otherwise known as \"Lexicographer's Curse.\"<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Is it derived from the Greek \"Kopos\" meaning \"fatigue?\"<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>K-O-P-O-P-O-B-I-A.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <character>NO!<\/character>\n    <dialogue>Ting! The crowd erupts with upset! Eric sadly leaves the stage.<\/dialogue>\n    <character>CHUCK (O.C.)<\/character>\n    <dialogue>OH THAT'S GOTTA HURT! Eric knew he left out the H. This has been a long day and it's clearly taken it's toll on Eric.<\/dialogue>\n    <character>PETE (O.C.)<\/character>\n    <dialogue>How ironic that fatigue made him misspell a word about fatigue.<\/dialogue>\n    <character>CHUCK (O.C.)<\/character>\n    <dialogue>That one will haunt him for life. And he's just a kid, so that's a long time to be haunted by something. Long time. And now, Guy Duncan.<\/dialogue>\n    <scene_description>Guy steps up to the mic, amidst boos.<\/scene_description>\n    <character>PROCTOR<\/character>\n    <dialogue>PARISOLOGY.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>P...<\/dialogue>\n    <scene_description>Guy stops. He turns to Chaitanya. Then back to the mic.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>P-A...<\/dialogue>\n    <scene_description>Guy takes a disgusted sigh. He's decided what he must do.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>P-A-R-I-S-A-L-O-G-Y.<\/dialogue>\n    <scene_description>Ting! The audience goes crazy with glee. Chaitanya looks at Guy with shock. Bowman applauds.<\/scene_description>\n    <character>CHUCK (O.C.)<\/character>\n    <dialogue>Well what do you know! For the first time this whole tournament, Guy Duncan has spelled a word incorrectly!<\/dialogue>\n    <character>PETE (O.C.)<\/character>\n    <dialogue>But, the rules of the final round dictate that because he's one of the final two remaining contestants, Guy remains on stage.<\/dialogue>\n    <scene_description>Guy sits back down. Looks at Chaitanya, who stares at Guy with amazement, all pretense of anger has washed away.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>I know how bad you want this. I get it. So take it. Fuck off.<\/dialogue>\n    <scene_description>Chaitanya slowly gets to the mic. The audience wildly cheers. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSEHOLD - SAME TIME<\/stage_direction>\n    <scene_description>The entire family screams for Chaitanya.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPORTS BAR - SAME TIME<\/stage_direction>\n    <scene_description>The bar goers all tense up while they watch Chaitanya at the mic. CUT TO:<\/scene_description>\n    <character>PETE (O.C.)<\/character>\n    <dialogue>All Chaitanya needs to do now is spell his next word correctly and he's the new champ.<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>Infinitesimally.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Infinitesimally. Can I have the definition?<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>Yes. \"Exceedingly small.\"<\/dialogue>\n    <scene_description>Chaitanya looks back at Guy. He knows this word. But we see on his face that he's feeling guilty.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>Infinitesimally. E-N-F-I-N-I-T-E-S- I-M-A-L-L-Y.<\/dialogue>\n    <scene_description>Ting! The crowd erupts with displeasure.<\/scene_description>\n    <character>CHUCK (O.C.)<\/character>\n    <dialogue>Oh my. Well, a spelling bee can't be won on an incorrect word, so 'round we go again.<\/dialogue>\n    <scene_description>Chaitanya sits down next to Guy.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Fuck you, Chaiwala.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>If you think everything I said was a lie, then I'll prove it to you. It's not about winning to me...anymore.<\/dialogue>\n    <scene_description>Guy goes to the mic.<\/scene_description>\n    <character>PROCTOR<\/character>\n    <dialogue>Rugose.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>R-U-G-O-S.<\/dialogue>\n    <scene_description>Ting! Guy sits back down. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TENT, SOMEWHERE IN AFGHANISTAN - SAME TIME<\/stage_direction>\n    <scene_description>The troops all cheer for Guy's misspelling. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, STAGE<\/stage_direction>\n    <character>CHAITANYA<\/character>\n    <dialogue>You know these words.<\/dialogue>\n    <scene_description>Chaitanya gets up to immense applause.<\/scene_description>\n    <character>PROCTOR<\/character>\n    <dialogue>Pejorative.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>P-E-J-O-R-A-T-E-V-E. Pejorative.<\/dialogue>\n    <scene_description>Ting!<\/scene_description>\n    <character>PETE (O.C.)<\/character>\n    <dialogue>It's almost as if they're misspelling on purpose! I don't think this has ever happened!<\/dialogue>\n    <character>CHUCK (O.S.)<\/character>\n    <dialogue>Chaitanya's not even taking his time. Something is up.<\/dialogue>\n    <scene_description>Chaitanya sits back down.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Just spell the fucking words. All you have to do is spell.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Same with you.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Eat shit, Chaiwala!<\/dialogue>\n    <scene_description>Chaitanya stands.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>FUCK YOU!<\/dialogue>\n    <scene_description>Guys stands.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>FUCK YOU!<\/dialogue>\n    <scene_description>Chaitanya kicks Guy in the BALLS! Guy instantly buckles form the pain, falling to his knees.<\/scene_description>\n    <character>AUDIENCE (O.S.)<\/character>\n    <dialogue>Oh!<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Oh God.<\/dialogue>\n    <scene_description>Without raising his head Guy SUPERPUNCHES Chaitanya in the BALLS with his FIST!<\/scene_description>\n    <character>AUDIENCE (O.S.)<\/character>\n    <dialogue>OH!<\/dialogue>\n    <scene_description>Chaitanya goes down. Overwhelmed with pain, they both roll on the stage floor for a beat.<\/scene_description>\n    <character>CHUCK (O.S.)<\/character>\n    <dialogue>OH MY GRAVY THIS HAS TURNED UGLY!<\/dialogue>\n    <character>PETE (O.S.)<\/character>\n    <dialogue>INDEED IT HAS, CHUCK!<\/dialogue>\n    <scene_description>Chaitanya leaps on top of Guy, raining wild haymakers down on him. Everyone watches in horror as they plow through empty fold-up chairs and off the stage to the floor.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>JUST TAKE IT!<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>YOU TAKE IT, JERK!<\/dialogue>\n    <scene_description>Bowman is joined by the Judges as he clambers into the scrum to pull Chaitanya and Guy apart. The audience screams in a frenzy.<\/scene_description>\n    <character>BOWMAN<\/character>\n    <dialogue>Knock it off! Both of you!<\/dialogue>\n    <scene_description>Chaitanya takes a final swing at Guy and mistakenly connects WITH BOWMAN'S NOSE! Blood erupts from his face and down his dapper suit.<\/scene_description>\n    <character>AUDIENCE (O.S.)<\/character>\n    <dialogue>OH!<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Oh shit! Sorry!<\/dialogue>\n    <scene_description>Judges force Guy and Chaitanya back in their seats, leaving them sitting next to each other, heaving from the brawl. Using his handkerchief to stop the blood, Bowman huddles with the judges.<\/scene_description>\n    <character>PETE (O.C.)<\/character>\n    <dialogue>I just, really don't know what to say, Chuck.<\/dialogue>\n    <character>CHUCK (O.C.)<\/character>\n    <dialogue>Well, right now, I'm sure President Bowman is looking to disqualify one or both of our finalists, Pete. Let's look at the replay of the inciting incident.<\/dialogue>\n    <scene_description>A SLOW-MO of Chaitanya winding up and kicking Guy in the balls replays over and over.<\/scene_description>\n    <character>CHUCK (O.C.)<\/character>\n    <dialogue>As you can see, Chaitanya really connected to Guy's scrotal theater of pain.<\/dialogue>\n    <character>PETE (O.C.)<\/character>\n    <dialogue>My theater hurts just watching the replay.<\/dialogue>\n    <scene_description>Bowman departs from the Judge's table and sits back down.<\/scene_description>\n    <character>PROCTOR<\/character>\n    <dialogue>Gentleman, it has been decided that neither one of you will be disqualified as you both-<\/dialogue>\n    <scene_description>The audience's boos become uproarious.<\/scene_description>\n    <character>PROCTOR<\/character>\n    <parenthetical>(shouting over boos)<\/parenthetical>\n    <character>-AS YOU BOTH APPEAR TO HAVE EQUALLY<\/character>\n    <dialogue>CONDUCTED YOURSELVES IN SHAMEFUL<\/dialogue>\n    <character>MANNER! NOW LET'S FINISH THE<\/character>\n    <dialogue>COMPETITION, PLEASE! THE AUDIENCE<\/dialogue>\n    <character>NEEDS TO BE SILENT!<\/character>\n    <dialogue>The audience quiets down.<\/dialogue>\n    <character>PROCTOR<\/character>\n    <dialogue>Now, can we please proceed?<\/dialogue>\n    <scene_description>Guy gets up with a huff. Walks to the mic.<\/scene_description>\n    <character>PROCTOR<\/character>\n    <dialogue>Unguent.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>A-N-G-U-E-N-T.<\/dialogue>\n    <scene_description>Ting! Guy sits back down with a \"fuck you\" face to Chaitanya. Chaitanya gets to the mic.<\/scene_description>\n    <character>PROCTOR<\/character>\n    <dialogue>Please consider carefully...for the love of God...the word...Bucentaur.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>B...<\/dialogue>\n    <scene_description>Chaitanya looks at Guy. The entire audience holds their breath. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEST BUY - SAME TIME<\/stage_direction>\n    <scene_description>Shopper stand frozen in front of the flatscreens.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSEHOLD - SAME TIME<\/stage_direction>\n    <scene_description>The wife squeezes the husbands hand in hopeful anticipation.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TENT, SOMEWHERE IN AFGHANISTAN<\/stage_direction>\n    <scene_description>The troops all lean in close to the small TV. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, STAGE<\/stage_direction>\n    <character>CHAITANYA<\/character>\n    <dialogue>B-U-C-I-N-T-A-U-R.<\/dialogue>\n    <scene_description>Ting! The crowd erupts with disappointment. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEST BUY - SAME TIME<\/stage_direction>\n    <scene_description>The shoppers all scream \"NOOOOOO!\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSEHOLD<\/stage_direction>\n    <scene_description>The wife beats her husband with a decorative pillow.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TENT, SOMEWHERE IN AFGHANISTAN<\/stage_direction>\n    <scene_description>The troops all stomp and kick with frustration. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, STAGE<\/stage_direction>\n    <scene_description>Guy sighs. Gets back up to the mic.<\/scene_description>\n    <character>PROCTOR<\/character>\n    <dialogue>Sisyphean.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>C-I-S-S-Y.<\/dialogue>\n    <scene_description>Guy sits back down.<\/scene_description>\n    <character>CHUCK (O.S.)<\/character>\n    <dialogue>That's not even complete! He just spelled Cissy!<\/dialogue>\n    <scene_description>Chaitanya gets back up to the mic. The audience cheers for him once again.<\/scene_description>\n    <character>PROCTOR<\/character>\n    <dialogue>Please. For the love of mercy, carefully, very carefully consider the word Callithump.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>C-A-L-<\/dialogue>\n    <scene_description>Guy's had enough, he gets up and walks over to Chaitanya.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>It's C-A-L-I-T-H-U-M-P.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>No, you forgot an L.<\/dialogue>\n    <scene_description>Guy stands back, knowing what's next.<\/scene_description>\n    <character>CHUCK (O.S.)<\/character>\n    <dialogue>Ruh-Roh.<\/dialogue>\n    <scene_description>Bowman storms onto the stage- his eyes already starting to \"raccoon\" from the broken nose.<\/scene_description>\n    <character>BOWMAN<\/character>\n    <dialogue>Stop! Stop. I'm sorry. Sir, you were trying to help a fellow competitor cheat, that is against the rules, you are disqualified.<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>(rote)<\/parenthetical>\n    <dialogue>But it doesn't matter, I spelled it wrong, anyway. He corrected me.<\/dialogue>\n    <scene_description>The audience boos.<\/scene_description>\n    <character>BOWMAN<\/character>\n    <dialogue>Which means that even though you tried to help him cheat, he wasn't cheating and he still technically spelled the word correctly on his own, WHICH MAKES HIM THE NEW CHAMPION!<\/dialogue>\n    <scene_description>The audience explodes with cheers. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSEHOLD - SAME TIME<\/stage_direction>\n    <scene_description>The wife french kisses her husband while the dog watches.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEST BUY - SAME TIME<\/stage_direction>\n    <scene_description>Employees and shoppers cheer and hug each other.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPORTS BAR - SAME TIME<\/stage_direction>\n    <scene_description>Bar goers cheer and order rounds of shots<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TENT, SOMEWHERE IN AFGHANISTAN - SAME TIME<\/stage_direction>\n    <scene_description>Soldiers cheers and hug and run out to fire their machine guns. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL AUDITORIUM, STAGE<\/stage_direction>\n    <scene_description>Chaitanya's parents run up on stage to hug and kiss him amongst the growing crowd as balloons shower down in the auditorium. A giant check and trophy table are whisked in from the wings as Guy quietly moves toward the exit. Chaitanya cranes his head to look for Guy.<\/scene_description>\n    <character>GUY!<\/character>\n    <dialogue>GUY!<\/dialogue>\n    <scene_description>Guy smiles, shrugs and flips him the bird. Chuck and Pete appear next to Chaitanya.<\/scene_description>\n    <character>CHUCK<\/character>\n    <dialogue>Well, it was a battle royal for the ages. And now it is over. Many have gone home defeated. And one grabbed the brass ring.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Hi, Chuck.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>And now the trophy ceremony. President Bowman?<\/dialogue>\n    <character>BOWMAN<\/character>\n    <dialogue>Chaitanya Chopra, it is my great honor to bestow upon you the first place trophy for this year's Scribbs National Spelling Bee, as well as a check for five hundred thousand dollars and a life-time supply of encyclopedias.<\/dialogue>\n    <scene_description>Everyone applauds. Bowman hands Chaitanya the giant check and trophy. Chaitanya, holds the spelling bee trophy up in the air.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Chaitanya, how do you feel now that you're champion?<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>I don't consider myself the champion. I consider myself a co- champion with Guy. I thought it was unfair to disqualify Guy. GUY! GUY! COME BACK! WHERE ARE YOU?!<\/dialogue>\n    <scene_description>Suddenly a spotlight finds Guy just as he's about to leave the auditorium. Guy turns around.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>Come back! Get up here!<\/dialogue>\n    <scene_description>Guy watches as Chaitanya pleads on stage. He heads back. Some people in the audience boo, but nobody cares. Guy tentatively gets back on stage.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>Guy is my friend. And I've decided to split the prize money with him.<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>(touched)<\/parenthetical>\n    <dialogue>Really?<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>That's what real friends do.<\/dialogue>\n    <scene_description>Chaitanya holds out his hand. Guy goes in for a shake.<\/scene_description>\n    <character>CHUCK<\/character>\n    <dialogue>That's pretty incredible. Among many many other things this year, I think we've all witnessed what true sportsmanship is here at the Bee. Sort of.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATE PLAZA HOTEL, LOBBY - LATER<\/stage_direction>\n    <scene_description>Guy exits the auditorium and spots Jenny at the check-out counter.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Jenny.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>What.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Come with me.<\/dialogue>\n    <scene_description>Guy leads Jenny to where Bowman stands, chatting to a cluster of people.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Bowman. I need to talk to you.<\/dialogue>\n    <scene_description>Bowman nods to the people and they depart. He uncomfortably looks at Guy.<\/scene_description>\n    <character>BOWMAN<\/character>\n    <dialogue>What can I uh...do for you?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>My mom, in her day, used to work in a diner in Kansas City. And every so often this business man would come through town, apparently. He started off as an encyclopedia salesman and finished by leaving her with a baby. That baby was me. I'm your son and I just want to say, FUCK YOU and this is a reporter friend of mine who is going to write an entire article about it whether you like it or not!<\/dialogue>\n    <scene_description>Mr. Bowman's face goes slack. Jenny is incredibly touched by Guy's gesture. Guy tensely waits to see what Bowman says next, preparing for the worst.<\/scene_description>\n    <character>BOWMAN<\/character>\n    <dialogue>Oh my. You...you have her eyes.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I'M NOT FUCKING LYING- what?<\/dialogue>\n    <character>BOWMAN<\/character>\n    <dialogue>I've only had one regret in life, and that was walking away from you and Bernice. I thought I had my reasons, but none of them really feel like good reasons, now. How is Berni-<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Dead.<\/dialogue>\n    <character>BOWMAN<\/character>\n    <dialogue>Oh. I'm sorry.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Yeah well...it's no skin off your back.<\/dialogue>\n    <scene_description>Guy turns to leave.<\/scene_description>\n    <character>BOWMAN<\/character>\n    <dialogue>Wait!<\/dialogue>\n    <scene_description>Guy stops.<\/scene_description>\n    <character>BOWMAN<\/character>\n    <dialogue>Look. I was supposed to be on a plane out of here today, but let me reschedule.<\/dialogue>\n    <character>BOWMAN<\/character>\n    <dialogue>Meet me at the bar in an hour. We'll talk. I want to talk.<\/dialogue>\n    <scene_description>Bowman sincerely hopes Guy says yes.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>BOWMAN<\/character>\n    <dialogue>Okay. Good. One hour.<\/dialogue>\n    <scene_description>Bowman puts his hand on Guy's shoulder and smiles reassuringly, then walks off.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>You can say that again.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Thanks for the scoop.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Jenny, I fuckin' like you.<\/dialogue>\n    <scene_description>Jenny smiles.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Good.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>And it looks like I have an hour before I meet back up with...Dad.<\/dialogue>\n    <scene_description>A sly grin spreads on Jenny's face. She knows what he's thinking. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - LATER<\/stage_direction>\n    <scene_description>Guy and Jenny hump passionately. Guy's face is turned away.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Okay...NOW!<\/dialogue>\n    <scene_description>Guy turns and locks eyes with Jenny. They both smile.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Holy shit that was easier than I thought...aahhhh YES! YES! YES! THIS IS SO HOT!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL - DAY<\/stage_direction>\n    <scene_description>The marquee outside reads \"CONGRATULATIONS TO CHAITANYA CHOPRA- NATIONAL SPELLING BEE CHAMP!\" We pan down as school lets out. Chaitanya walks along with his full backpack and armful of books. Three kids on bikes approach.<\/scene_description>\n    <character>KID 1<\/character>\n    <dialogue>HEY SPELLING NERD, CAN YOU SPELL<\/dialogue>\n    <character>DOUCHEBAG?!<\/character>\n    <dialogue>CHAITANYA<\/dialogue>\n    <scene_description>Of course. But not for you. The other kid SLAPS THE BOOKS OUT OF CHAITANYA'S ARMS, sending them everywhere. The three kids laugh and ride off. Nobody tries to help Chaitanya.<\/scene_description>\n    <character>GUY (O.S.)<\/character>\n    <dialogue>Hey, Slum Dog.<\/dialogue>\n    <scene_description>Chaitanya looks up to see a POLICE CAR pulled to the curb with Guy smiling behind the wheel. Chaitanya leaves his mess and walks over.<\/scene_description>\n    <character>CHAITANYA<\/character>\n    <dialogue>Wow!<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Right?<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Where'd you get this?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>It's an old movie police car. I got it at an auction with my half of the winnings. Worth every penny.<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Now you don't need the toy you have the real thing!<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>But only because of my good friend. So, you want to give it a whirl?<\/dialogue>\n    <character>CHAITANYA<\/character>\n    <dialogue>Who? Me?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Damn fucking straight. I just thought you might want to show it off to some of your...classmates.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - LATER<\/stage_direction>\n    <scene_description>The three bully kids casually ride their bikes down the middle of the sleepy street... SIRENS GO OFF BEHIND THEM. They spin around to see CHAITANYA BEHIND THE WHEEL.<\/scene_description>\n    <character>KID 1<\/character>\n    <dialogue>OH SHIT!<\/dialogue>\n    <scene_description>Chaitanya punches it as the three kids ride their bikes as fast as their feet can peddle. AERIAL POV: A high speed chase! As the police car tears after the three screaming kids on their bikes...through the streets, over lawns, through parking lots. And all the while we hear Chaitanya and Guy laughing together. Like friends do.<\/scene_description>\n    <character>THE END<\/character>\n  <\/scene>\n<\/script>","summary":"Forty-year-old misanthrope Guy Trilby discovers a loophole in the Golden Quill Spelling Bee which stipulates that participants must have not graduated from the eighth grade, allowing him to enter since he dropped out of middle school. He attends and wins a regional spelling bee, and progresses to the national competition after confrontations with both the parents of children and the spelling bee hosts. He is accompanied by Jenny Widgeon, a relatively unknown journalist hoping to make a story out of his participation in the bee. On the flight to the national spelling bee, Guy meets Chaitanya Chopra, a 10-year-old entrant in the bee who persistently attempts to befriend Guy. Upon his arrival in Los Angeles, Guy meets the director of the spelling bee, Dr. Bernice Deagan, who expresses anger at his participation in the bee and arranges for him to stay in a storage closet rather than a regular room. Guy learns that Chaitanya is staying in the same hotel, and takes him out one night to expose Chaitanya to the wilder side of life: stealing food, drinking, and hiring a prostitute to briefly \"flash\" Chaitanya. In the bee, Guy actively tries to distract and disconcert his fellow competitors, at one point insinuating that he was sleeping with another contestant's mother and another where he tricks a contestant into thinking that she had gotten her period by placing ketchup (that he had gotten the night before when hanging out with Chaitanya) on her chair. Despite Dr. Deagan's tampering with the word list to give Guy the most difficult words, he spells long, complicated words with relative ease, impressing and angering both parents and staff at the spelling bee, including the event's founder, Dr. William Bowman. However, the parents petition for his disqualification and the resignation of Deagan. While researching Guy's background, Jenny discovers that Bowman is Guy's father. She reveals this to him and he admits that his prime motivation for entering the bee was to embarrass his father in revenge for abandoning him and his mother when he was a child. Soon before the final stage of the bee, Guy overhears Chaitanya and his father discussing his strategy to win, which is to befriend Guy so that he will allow Chaitanya to win out of guilt. Guy storms into the room and ends his friendship with Chaitanya, despite Chaitanya's pleas that he genuinely wanted to be friends. They later sabotage each other: Guy burns Chaitanya's study book, \"Todd,\" and Chaitanya files a false police report, accusing Guy of kidnapping a young girl. Meanwhile, only ten competitors remain in the bee, and the pool is gradually reduced to just Guy and Chaitanya. When a contestant's mother attacks Guy verbally and is subdued by the police on live television, Bowman is forced to intervene, to his embarrassment. Having accomplished his goal, Guy deliberately misspells a word in an effort to let Chaitanya win. To prove his friendship, Chaitanya also misspells his word, and they soon begin to argue. This escalates into a physical fight, with Chaitanya first kicking Guy in his groin, much to the shock of the audience and when Bowman attempts to intervene, Chaitanya accidentally hits him with a chair. Although the bee is briefly halted, Bowman allows it to continue after deciding that both Guy and Chaitanya acted in an equally embarrassing manner. Their standoff of deliberately misspelling words continues until Guy intentionally misspells Chaitanya's word so that Chaitanya corrects him, thus causing Chaitanya to win the bee inadvertently. As Guy leaves, content, Chaitanya offers to give him half the winnings and names him co-winner of the bee. Guy writes a note to Bowman explaining his actions, which Bowman refuses to read until Guy reveals himself to be his son, and returns home. He resolves his conflict with Chaitanya by buying an old police car from an auction with his share of the winnings, and helping Chaitanya to chase down his school bullies."}
{"movie_name":"Downsizing_2017","imdb_id":"tt1389072","script":"<script>\n  <scene>\n    <character>DOWNSIZING<\/character>\n    <dialogue>by<\/dialogue>\n    <scene_description>Alexander Payne<\/scene_description>\n    <character>&amp;<\/character>\n    <dialogue>Jim Taylor<\/dialogue>\n    <scene_description>THIS MATERIAL IS THE PROPERTY OF PARAMOUNT PICTURES AND IS INTENDED AND RESTRICTED SOLELY FOR PARAMOUNT PICTURES PERSONNEL. DISTRIBUTION OR DISCLOSURE OF THIS MATERIAL TO UNAUTHORIZED PERSONS IS PROHIBITED. THE SALE, DISPLAY, COPYING OR REPRODUCTION OF THIS MATERIAL FOR ANY REASON IN ANY FORM, INCLUDING BUT NOT LIMITED TO DIGITAL OR NEW MEDIA, IS ALSO PROHIBITED.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAVE - NIGHT<\/stage_direction>\n    <scene_description>The rustic yet comfortable dwelling of a 16-PERSON CLAN. All are dressed in fur and leather, their hair long and braided. Small fires burn for warmth and cooking. Women clean up after a meal. Men smoke pipes and converse in a language at once foreign and familiar, a blend of Nordic tongues and English. Children chase one another and play with simple wooden toys. A young BOY intrudes on the adults to tug on the arm of TERGEHL, an elder of the clan.<\/scene_description>\n    <character>BOY<\/character>\n    <dialogue>Come, grandfather, tell us a story.<\/dialogue>\n    <scene_description>A weary Tergehl gently declines.<\/scene_description>\n    <character>BOY<\/character>\n    <dialogue>Please. Please tell us a story.<\/dialogue>\n    <scene_description>Tergehl soon finds himself surrounded by a riot of begging faces. The adults look on with amusement, quietly sharing the children's eagerness.<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>Yes, Tergehl, it has been many lochnars since we have heard one.<\/dialogue>\n    <parenthetical>(to all)<\/parenthetical>\n    <dialogue>Shall we hear a story?<\/dialogue>\n    <scene_description>All chime in vigorously -- \"Yes! Yes! A story!\"<\/scene_description>\n    <character>TERGEHL<\/character>\n    <dialogue>All right. I will tell a story. But then you must all promise to go to bed.<\/dialogue>\n    <scene_description>The adults chuckle, the children shriek in delight, and all vow to be good. LATER --- The clan have gathered around Tergehl, the children at his feet, eyes glimmering. Grasping a gnarled staff, Tergehl scratches his chin as if the story he knows so well were difficult to recall.<\/scene_description>\n    <character>TERGEHL<\/character>\n    <dialogue>Long, long ago, the world was very different. Giants walked the land. There were so many giants that you could not count them all even if you counted for your entire life.<\/dialogue>\n    <character>TERGEHL<\/character>\n    <dialogue>These giants had enormous brains. They could speak to one another across great distances. They taught themselves to fly and traveled wherever they wished, even to the moon and the stars. Yet despite these great powers, the giants were not happy. They spoke in different tongues, worshipped different gods, and fought bitterly against one another. No matter how much they ate, the giants always wanted more. They killed all the animals, chopped down all the forests, fished all the seas. And their fires warmed the entire world, making it unbearably hot.<\/dialogue>\n    <scene_description>As Tergehl continues, we are transported to --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EDVARDSEN INSTITUTE - DAY<\/stage_direction>\n    <scene_description>A small, tranquil \"campus\" of buildings.<\/scene_description>\n    <character>EDVARDSEN INSTITUTE<\/character>\n    <dialogue>Bergen, Norway<\/dialogue>\n    <character>TERGEHL (V.O.)<\/character>\n    <dialogue>But in one of their lands, there lived a clever wizard named Asborg\u00f6n.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LABORATORY - DAY<\/stage_direction>\n    <scene_description>DR. JORGEN ASBJ\u00d8RNSEN -- fifties, balding, closely trimmed beard -- works in his private lab, weary and alone.<\/scene_description>\n    <character>TERGEHL (V.O.)<\/character>\n    <dialogue>Saddened by his greedy fellow giants, Asborg\u00f6n wished to change their harmful ways and end their needless suffering. For years he labored with his powders and potions until one day...<\/dialogue>\n    <scene_description>Dr. Asbj\u00f8rnsen sedates a rat, then gives it an injection before placing it inside a stainless steel device the size of a microwave. He makes notes, flips a switch, and watches a timer count down to zero. DING! Long accustomed to failure, Dr. Asbj\u00f8rnsen opens the door of the device with little expectation. Today, however, his eyes widen in amazement.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - DAY<\/stage_direction>\n    <scene_description>Dr. Asbj\u00f8rnsen sprints down a corridor and into a stairwell.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ADMINISTRATIVE OFFICE - DAY<\/stage_direction>\n    <scene_description>Bypassing the secretary, Dr. Asbj\u00f8rnsen bursts into the inner office of institute director DR. ANDREAS JACOBSEN.<\/scene_description>\n    <character>DR. JACOBSEN<\/character>\n    <parenthetical>(Norwegian)<\/parenthetical>\n    <dialogue>Yes, Jorgen?<\/dialogue>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <dialogue>We've got it. It works.<\/dialogue>\n    <scene_description>Dr. Jacobsen rises from his desk. The men embrace.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ASBJ\u00d8RNSEN HOUSE - DAY<\/stage_direction>\n    <scene_description>Electric cars and bicycles are parked outside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ASBJ\u00d8RNSEN BACKYARD - DAY<\/stage_direction>\n    <scene_description>Thirty-five conscientious SCANDINAVIANS -- natural fibers, beards, Birkenstocks -- eat, drink and mingle on a crisp, sunny afternoon.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ASBJ\u00d8RNSEN KITCHEN - DAY<\/stage_direction>\n    <scene_description>Dr. Asbj\u00f8rnsen looks out the window at his happy guests. Unlike them, he seems troubled and uncertain. Handsome wife ANNE-HELENE approaches to place a comforting hand on his chest.<\/scene_description>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <dialogue>What if it's a mistake? A terrible mistake?<\/dialogue>\n    <character>ANNE-HELENE<\/character>\n    <dialogue>Don't be afraid, Jorgen. You know it's the right thing. We all do. You were born to make this happen.<\/dialogue>\n    <scene_description>Dr. Asbj\u00f8rnsen nods slightly. Summoning confidence, he takes Anne-Helene's hand and leads her outside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ASBJ\u00d8RNSEN BACKYARD - DAY<\/stage_direction>\n    <scene_description>Standing on the deck, Dr. Asbj\u00f8rnsen clinks a knife to a glass and speaks now in English.<\/scene_description>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <dialogue>Thank you, everyone. Thank you for coming today, but more importantly I want to thank you for your dedication and hard work these past many months.<\/dialogue>\n    <scene_description>Smiles and applause.<\/scene_description>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <dialogue>Now then. You have probably guessed that I have something very exciting to announce -- very exciting, indeed.<\/dialogue>\n    <parenthetical>(then --)<\/parenthetical>\n    <dialogue>It is time.<\/dialogue>\n    <scene_description>A moment of hushed jubilation.<\/scene_description>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <dialogue>No doubt the generations to come -- perhaps all of humanity -- will thank you for your bravery and commitment. But today each of you must ask whether you are truly ready to enter this new world, for there will be no turning back. So I ask you -- are you ready?<\/dialogue>\n    <character>THE GROUP<\/character>\n    <dialogue>Yes! Yes! We are ready!<\/dialogue>\n    <scene_description>PAN around the eager faces of all gathered.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAVE - NIGHT<\/stage_direction>\n    <scene_description>MATCHING PAN of the troglodytes.<\/scene_description>\n    <character>TERGEHL<\/character>\n    <dialogue>So Asborg\u00f6n cast a spell over his brave young warriors, and together they set out to live as none of them had ever lived before. These were the first of our kind.<\/dialogue>\n    <scene_description>The children look up at the elders, who nod knowingly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ISTANBUL - DAY<\/stage_direction>\n    <scene_description>A WIDE SHOT of the city.<\/scene_description>\n    <character>TERGEHL (V.O.)<\/character>\n    <dialogue>Seasons passed. The warriors thrived. And Asborg\u00f6n resolved to spread word of his great discovery to all of the giants in all of the lands.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONFERENCE CENTER - DAY<\/stage_direction>\n    <scene_description>This structure hosts exhibit halls, auditoria and meeting rooms. An electronic sign displays the name of the current conference -- GLOBAL SOLUTIONS: TECHNOLOGY FOR TOMORROW.<\/scene_description>\n    <character>MAN'S VOICE (PRE-LAP)<\/character>\n    <dialogue>For nearly a century the Edvardsen Institute has been one of the few truly visionary research organizations, working entirely without government or commercial sponsorship...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A14 INT. CONFERENCE CENTER - DAY A14<\/stage_direction>\n    <scene_description>Participants check-in at a REGISTRATION TABLE, sip coffee and mingle with their colleagues. OUTSIDE AN AUDITORIUM -- A sign announces one of many morning presentations:<\/scene_description>\n    <character>HUMAN SCALE AND SUSTAINABILITY<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - DAY<\/stage_direction>\n    <scene_description>The voice belongs to conference president DR. PAOLO PEREIRA, who addresses a crowded hall.<\/scene_description>\n    <character>DR. PEREIRA<\/character>\n    <dialogue>...and today I'm sure you will agree they have far exceeded even their many impressive achievements of the past. It gives me great pleasure to welcome the director of the institute and my old friend Dr. Andreas Jacobsen, along with his colleague, Dr. Jorgen Asbj\u00f8rnsen.<\/dialogue>\n    <scene_description>Dr. Jacobsen emerges carrying a wooden box which he sets atop the podium.<\/scene_description>\n    <character>DR. JACOBSEN<\/character>\n    <dialogue>Thank you, Dr. Pereira. Seventy-five years ago, Mrs. Nellie Edvardsen, overcome with guilt by the fortune her late husband's family had amassed producing mustard gas during World War I, founded our institute so that the wonders of science could instead be used to help mankind. Our mission is to combat poverty, disease, natural disasters and other calamities that arise over time. In the 1950s, the institute identified over-population as mankind's single greatest long-term threat, the source of all the catastrophes we are seeing today -- extreme climate and weather events, and the devastating impact on food and water security. Among the many solutions we conceived so many years ago, one which seemed then so ambitious, so outside our grasp, has at last borne fruit. Today we are proud to unveil what we fervently believe to be the only practical, humane and inclusive remedy to humanity's gravest problem. Dr. Jorgen Asbj\u00f8rnsen will now present his findings. Are you ready, doctor?<\/dialogue>\n    <character>DR. ASBJ\u00d8RNSEN (O.S.)<\/character>\n    <parenthetical>(muffled, distant)<\/parenthetical>\n    <dialogue>I am ready.<\/dialogue>\n    <scene_description>Jacobsen opens the front of the box to reveal -- DR. ASBJ\u00d8RNSEN, NOW JUST FIVE INCHES TALL. As this miniature human walks out onto the podium, gasps of astonishment ripple throughout the room. Many stand to get a better look.<\/scene_description>\n    <character>DR. JACOBSEN<\/character>\n    <dialogue>Everyone, please take your seats. Please!<\/dialogue>\n    <scene_description>As the audience quiets, Dr. Asbj\u00f8rnsen takes his place behind a tiny podium, dons reading glasses, and removes a speech from his jacket pocket.<\/scene_description>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <dialogue>Dr. Pereira, esteemed colleagues. Five years ago, building on the research of our predecessors at the institute, my team and I discovered a process by which all organic material can be reduced at the cellular level by a ratio of approximately 2,744 to one. Such a process converts a man of 1.8 meters to just 12.9 centimeters. A wide array of flora and fauna were subjected to this process and, with the exception of some fish and shellfish, absolutely no side effects were detected. Please lights.<\/dialogue>\n    <scene_description>The room dims. A GROUP PORTRAIT of the gathering at the Asbj\u00f8rnsen home appears on a screen above the stage -- the first image in a PowerPoint presentation.<\/scene_description>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <dialogue>Once the safety of the procedure was confirmed, thirty-six brave volunteers joined my wife Anne-Helene and me as the very first humans to undergo cellular reduction.<\/dialogue>\n    <scene_description>A NAKED SUBJECT poses before reduction, arms extended like Da Vinci's Vitruvian man. Next he shows off his new TINY BODY beside a metric a ruler held by enormous fingers.<\/scene_description>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <dialogue>The exact science behind reduction itself falls outside of our discussion today, but the process is short and painless, with only the mild discomfort of removal and replacement of dental and other prosthetics.<\/dialogue>\n    <scene_description>Now we see a RECOVERY ROOM where, wrapped in blankets, volunteers recline on miniature Le Corbusier lounges. One tiny man drinks from an enormous eye-dropper.<\/scene_description>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <dialogue>Subjects are placed under light sedation, and after a brief rest, perhaps some crackers and apples\u00e4ft, fully recover within an hour or two.<\/dialogue>\n    <scene_description>Now a normal-sized SHORT-HAIRED DOG on a leash. The next slide shows the same dog standing next to the ruler while a GIANT HAND restrains him with a tiny leash.<\/scene_description>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <dialogue>Of course, some of our community could not bear to leave behind their four-legged companions.<\/dialogue>\n    <scene_description>Now shots inside a WORKSHOP. Volunteers construct small houses and buildings. Others sew tiny clothes.<\/scene_description>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <dialogue>As the subjects of our own study, our aim was not only to confirm the long- term viability of the process but also to investigate the social and psychological implications. Thus we set about to live together in the world's very first self-sustaining community of the small.<\/dialogue>\n    <scene_description>The next images show the building of a small VILLAGE. Group members secure dollhouse-size dwellings onto foundations. Then we see the hoisting of a TRANSPARENT DOME over the new community.<\/scene_description>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <dialogue>Once complete, our little village, just seven meters by eleven meters, was placed inside a gas-permeable enclosure designed to protect us from the hazards of weather, animals and insects.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONFERENCE CENTER - DAY<\/stage_direction>\n    <scene_description>Learning of the exciting news, other CONFERENCE-GOERS clamor to gain access to the auditorium.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - DAY<\/stage_direction>\n    <scene_description>As Dr. Asbj\u00f8rnsen concludes his talk, a FINAL SLIDE shows the downsized group playing volleyball.<\/scene_description>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <dialogue>...and finally, my colleagues and I are happy to report new founts of energy and vitality. Future studies may support our suspicion that decreased mass and volume correlate directly to an increase in longevity.<\/dialogue>\n    <scene_description>As the lights come up, a beaming Dr. Jacobsen strides from the wings, holding aloft a half-full GARBAGE BAG.<\/scene_description>\n    <character>DR. JACOBSEN<\/character>\n    <dialogue>I hold in my hand all of the uncompostable waste produced by 36 people over four years!<\/dialogue>\n    <parenthetical>(holding for applause)<\/parenthetical>\n    <dialogue>In this afternoon's session, we will outline our proposal for a two- to three-hundred year transition for the world to transform from big to small. We believe that with a timely embrace of miniaturization, our seemingly unconquerable problems of over- population, climate change, and insufficient food and water can become a thing of the past, and human life may safely thrive for millennia to come.<\/dialogue>\n    <parenthetical>(motioning off-stage)<\/parenthetical>\n    <dialogue>Now we'd like you to meet some very special people.<\/dialogue>\n    <scene_description>As the pi\u00e8ce de r\u00e9sistance, a cart is wheeled out carrying the ENTIRE SMALL COMMUNITY smiling and waving. Among them, a MOTHER nurses an infant, while at her side stands her four- year-old son RONNI.<\/scene_description>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <dialogue>And look -- there's little Ronni, the first small baby ever born, and his new little sister Ulrikke.<\/dialogue>\n    <scene_description>All stand, applaud, and stamp their feet in unison -- an astounding reception. A MONTAGE as the news travels throughout the globe --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SRI LANKAN VILLAGE - DAY<\/stage_direction>\n    <scene_description>A small crowd watches the communal television.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BURKINA FASO VILLAGE - DAY<\/stage_direction>\n    <scene_description>Brightly-attired, barefoot locals watch the report.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERING STRAITS - DAY<\/stage_direction>\n    <scene_description>Aleuts pause in fish-drying to catch the news.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIYADH, SAUDI ARABIA - DAY<\/stage_direction>\n    <scene_description>Saudis glimpse TVs through the window of an appliance store.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A21 EXT. LA CASA RESTAURANT - OMAHA - DUSK A21<\/stage_direction>\n    <scene_description>Establishing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LA CASA RESTAURANT - DUSK<\/stage_direction>\n    <scene_description>A cozy eatery popular with older folks and hipsters alike. People crowd near the TV above the bar, among them PAUL SAFRANEK. His polo shirt bears a CON-AGRA insignia.<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>(to a random guy)<\/parenthetical>\n    <dialogue>Wow. That's wild, isn't it? Just wild.<\/dialogue>\n    <parenthetical>(to a waitress)<\/parenthetical>\n    <dialogue>Say, Holly? You can put in that take- out order now.<\/dialogue>\n    <character>TERGEHL (V.O.)<\/character>\n    <dialogue>In one of these lands, the land of Omaa, there lived a common laborer.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAVE - NIGHT<\/stage_direction>\n    <scene_description>Tergehl addresses the rapt children seated at his feet.<\/scene_description>\n    <character>TERGEHL<\/character>\n    <dialogue>Now, which of you knows his name?<\/dialogue>\n    <scene_description>The children wrack their tiny brains. An adult prompts one child, whispering into her ear.<\/scene_description>\n    <character>CHILD<\/character>\n    <dialogue>Safrap\u00fcl!<\/dialogue>\n    <character>TERGEHL<\/character>\n    <dialogue>That's right. It was Safrap\u00fcl the Good.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DUPLEX REAR ALLEY - DUSK<\/stage_direction>\n    <scene_description>Paul pulls into his parking spot and emerges from his car with the take-out food. He climbs the back porch steps of this modest duplex and opens one of two back doors.<\/scene_description>\n    <character>TERGEHL (V.O.)<\/character>\n    <dialogue>Safrap\u00fcl was not like the other giants. He was possessed of a kind and generous nature. Our tale tonight is the saga of Safrap\u00fcl -- his search for love, and the quest to fulfill his destiny.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUPLEX KITCHEN - DUSK<\/stage_direction>\n    <scene_description>Over the sound of a TV from the living room comes the voice of Paul's mother KAY.<\/scene_description>\n    <character>KAY (O.S.)<\/character>\n    <dialogue>Is that you?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>KAY (O.S.)<\/character>\n    <dialogue>Oh, goody.<\/dialogue>\n    <scene_description>Paul begins putting spaghetti onto a plate.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You hungry?<\/dialogue>\n    <character>KAY (O.S.)<\/character>\n    <dialogue>I had a Healthy Choice about an hour ago.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You knew I was bringing you food. I called and asked you specifically --<\/dialogue>\n    <character>KAY (O.S.)<\/character>\n    <dialogue>-- I know --<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>-- and then you go and eat?<\/dialogue>\n    <character>KAY (O.S.)<\/character>\n    <dialogue>Just a Sesame Chicken. I'm still hungry. Don't make me holler.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUPLEX LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Tethered to an oxygen tank, Kay Safranek sits in a recliner. Paul clears off a TV tray before setting down her food.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Did you see the news today?<\/dialogue>\n    <character>KAY<\/character>\n    <dialogue>You mean about the little Swedish man?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Norwegian.<\/dialogue>\n    <character>KAY<\/character>\n    <dialogue>Helen called to tell me to turn on the TV. What won't they think of next?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Unbelievable, isn't it? Biggest thing since landing on the moon. Bigger.<\/dialogue>\n    <character>KAY<\/character>\n    <dialogue>Well, I don't get it. Why would anybody want to do that to himself?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I don't know, I think plenty of people will want to do it. You know, the world's in pretty tough shape.<\/dialogue>\n    <character>KAY<\/character>\n    <dialogue>Bullshit.<\/dialogue>\n    <scene_description>Kay focuses on eating and watching TV.<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>(smelling)<\/parenthetical>\n    <dialogue>Did you have a cigarette?<\/dialogue>\n    <character>KAY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You know, with that oxygen tank, you're going to burn the place down. At least you'll save me the cost of cremation.<\/dialogue>\n    <character>KAY<\/character>\n    <dialogue>That's an awful thing to say. You shut up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRWAY - NIGHT<\/stage_direction>\n    <scene_description>Kay wheezes upstairs. Paul follows, toting her oxygen.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>They can shrink people down and fly to Mars, but they can't cure my fibromyalgia?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KAY'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Kay lies bent over the bed. Paul prepares a syringe and administers a shot.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>And all this fuss about the environment. As though the world's going to end tomorrow. I'm in pain. I can't breathe. Doesn't that matter?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Lots of people are in pain, Mom. In all sorts of ways.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DUPLEX FRONT PORCH - NIGHT<\/stage_direction>\n    <scene_description>Paul exits one side of the duplex and enters the other.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAUL'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Paul watches TV in a recliner of his own. The phone rings, and the machine picks up. It's Paul's on-again-off-again girlfriend AUDREY.<\/scene_description>\n    <character>AUDREY (ON MACHINE)<\/character>\n    <dialogue>Paul, it's Audrey. I know we're not supposed to be talking, but I thought you should know I had to put Bodie down today. His seizures came back a couple months ago, and I could have had him operated on, but they cut back my hours at work, and he was getting really old, and...<\/dialogue>\n    <parenthetical>(weepy)<\/parenthetical>\n    <dialogue>...I just feel so bad. Are you there, Paul? I really need to talk. I know you're there. Please, Paul. Please. I miss you so much. Pleeeease.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Fuck.<\/dialogue>\n    <scene_description>Paul picks up the phone but does not speak.<\/scene_description>\n    <character>AUDREY (ON PHONE)<\/character>\n    <dialogue>Paul?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I'm here.<\/dialogue>\n    <character>TERGEHL (V.O.)<\/character>\n    <dialogue>And so it was that Safrap\u00fcl wooed the maiden Oodreh and took her as his wife.<\/dialogue>\n    <scene_description>FADE OUT.:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LA CASA RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>This is the same establishment where we first met Paul. It's now --<\/scene_description>\n    <character>NINE YEARS LATER<\/character>\n    <dialogue>TALKING HEAD #1 (PRE-LAP)<\/dialogue>\n    <scene_description>Look, I'm worried about global warming as much as the next fellow, but let's not throw the baby out with the bath water.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LA CASA RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>The TV over the bar shows a Fox News-style debate.<\/scene_description>\n    <character>TALKING HEAD #1<\/character>\n    <dialogue>This whole downsizing thing is another example of runaway-train technology leading us down a blind alley. With all the holier-than- thou talk about saving the planet, we can't ignore the devastating economic impact that'll lead to more poverty, which'll lead to more downsizing, and then more poverty, and the whole world economy going right down the toilet. Billions of dollars in consumer spending are already starting to vanish -- construction and housing, the automobile industry, the airline industry, defense.<\/dialogue>\n    <character>TALKING HEAD #1<\/character>\n    <dialogue>And then all the political abuses -- Israelis shrinking Palestinians, African dictators shrinking rival ethnic groups --<\/dialogue>\n    <scene_description>As the opposing speaker interrupts, we realize he's SMALL.<\/scene_description>\n    <character>TALKING HEAD #2<\/character>\n    <dialogue>Look, Ron. Ron. In any major transformation of society, are there serious growing pains? You bet. But we have to focus on the long term. The fact is that at current mass and volume, human life on Earth just isn't sustainable, and dealing with that head-on makes good economic sense, no matter how you cut it.<\/dialogue>\n    <scene_description>We find a balder, paunchier Paul seated in a booth, enjoying happy hour with buddies KEVIN and TIM.<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>The one guy's got a point. This family on my block just moved away to get small, and their house is just sitting there. Making everybody's value take a dive is what they're doing. Just when I'm trying to refinance.<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>I don't know. Marlene thinks I should do it just to lose the weight.<\/dialogue>\n    <scene_description>Paul laughs politely, then gets a waitress's attention.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Say, Dee, is that take-out order about ready?<\/dialogue>\n    <character>DEE<\/character>\n    <dialogue>Coming right up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DUPLEX DRIVEWAY - NIGHT<\/stage_direction>\n    <scene_description>Paul again emerges from his car with take-out food and climbs the back porch steps. The place has been spruced up a bit since we last saw it. Graduate student RICH CHAVEZ pokes his head out from what used to be Paul's side of the duplex.<\/scene_description>\n    <character>RICH<\/character>\n    <dialogue>Hi, Mr. Safranek. How's it going?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Good, good. What's up?<\/dialogue>\n    <character>RICH<\/character>\n    <dialogue>Hate to say it, but that toilet's still running all the time.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Okay, I'll call the plumber again. Oh, and Rich, try to get your rent in on time, okay? I hate being the bad guy.<\/dialogue>\n    <character>RICH<\/character>\n    <dialogue>You got it.<\/dialogue>\n    <scene_description>Paul continues into what used to be his mother's side --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUPLEX KITCHEN - CONTINUOUS<\/stage_direction>\n    <scene_description>-- and we notice it has been redecorated.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Hey, honey, I brought food!<\/dialogue>\n    <character>AUDREY (O.S.)<\/character>\n    <dialogue>I'm not hungry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUPLEX LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Paul enters to find Audrey lying on the sofa.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>What's wrong?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I have a splitting headache. It was a super busy day at the store, and Carla was being a total bitch on wheels. I feel like I'm going to throw up.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Here, let me do the neck thing.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Yeah, do your little neck thing.<\/dialogue>\n    <scene_description>He stands at the end of the sofa, slips his hands underneath Audrey's head, rolls it from side to side.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Just relax, honey. Let me take all the weight.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CON-AGRA FACTORY FLOOR - DAY<\/stage_direction>\n    <scene_description>Food boxes emerge from a packaging machine. Paul approaches factory worker SANDY, who follows him away.<\/scene_description>\n    <character>TERGEHL (V.O.)<\/character>\n    <dialogue>Safrap\u00fcl was a compassionate giant and worked hard in service to others.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FACTORY OFFICE - DAY<\/stage_direction>\n    <scene_description>Paul manipulates Sandy's hand and forearm.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Okay, Sandy, now make a fist for me. I'm going to pull your arm down, and you try to stop me, okay? Still hurt?<\/dialogue>\n    <character>SANDY<\/character>\n    <dialogue>More like tingling.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You've been icing and doing the exercises, right?<\/dialogue>\n    <character>SANDY<\/character>\n    <parenthetical>(lying)<\/parenthetical>\n    <dialogue>Yeah.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I notice you're not wearing your brace.<\/dialogue>\n    <character>SANDY<\/character>\n    <dialogue>Could I get another one? I think I left it in my ex's car.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOE STORE - DAY<\/stage_direction>\n    <scene_description>Audrey comes out of the back carrying an armful of SHOEBOXES and heads toward a fussy CUSTOMER surrounded by many rejected options.<\/scene_description>\n    <character>TERGEHL (V.O.)<\/character>\n    <dialogue>Oodreh was a hard worker, too, helping the local cobbler provide shoes for the village.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Okay, I wasn't able to find a 6-1\/2 in the plum, so I brought out black and brown.<\/dialogue>\n    <character>CUSTOMER<\/character>\n    <dialogue>But I want plum. Do you have it in a seven?<\/dialogue>\n    <scene_description>Manager CARLA approaches.<\/scene_description>\n    <character>CARLA<\/character>\n    <dialogue>Say, Audrey, can you stay late tonight? Jill's kid is sick again.<\/dialogue>\n    <character>AUDREY<\/character>\n    <parenthetical>(tight smile)<\/parenthetical>\n    <dialogue>How late?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MCMANSION FOR SALE - DAY<\/stage_direction>\n    <scene_description>The Safraneks' car is parked outside.<\/scene_description>\n    <character>TERGEHL<\/character>\n    <dialogue>But life was difficult for Safrap\u00fcl and Oodreh. Like many dedicated to service, they were taken for granted and poorly rewarded.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCMANSION FOR SALE - DAY<\/stage_direction>\n    <scene_description>A REALTOR leads Paul and Audrey on a tour.<\/scene_description>\n    <character>TERGEHL (V.O.)<\/character>\n    <dialogue>And their great sadness was that their dwelling was too small and unfit for offspring.<\/dialogue>\n    <character>IN THE KITCHEN --<\/character>\n    <dialogue>Audrey admires the high-end appliances, the skylight, the view to the backyard. Paul hangs back, painfully aware the home is out of reach. Audrey turns to him, hope in her eyes.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Oh, don't get me wrong, it's awesome. I just think we should take another look at that place in Benson.<\/dialogue>\n    <character>AUDREY<\/character>\n    <parenthetical>(pulling him)<\/parenthetical>\n    <dialogue>Let's go see upstairs.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAUL AND AUDREY'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Audrey sleeps peacefully while Paul lies awake. He slips out of bed and tiptoes away. He pauses at the door, turning to look back at Audrey -- all she does to complete him, all she does to diminish him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUPLEX BASEMENT - NIGHT<\/stage_direction>\n    <scene_description>In boxers and T-shirt, Paul sits at a desk going through a pile of papers with an adding machine.<\/scene_description>\n    <character>TERGEHL (V.O.)<\/character>\n    <dialogue>Safrap\u00fcl lived his early life in humble obscurity, joyously devoted to others yet plagued by menial tasks of daily life. Until one day...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JESUIT HIGH SCHOOL PARKING LOT - EVENING<\/stage_direction>\n    <scene_description>Along with OTHER COUPLES emerging from cars, Paul and Audrey walk toward the high school, all dressed up. A banner reads, \"Welcome, Alumni.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JESUIT HIGH SCHOOL CAFETERIA - NIGHT<\/stage_direction>\n    <scene_description>Holding cocktails, Paul and Audrey chat with a COUPLE.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Anesthesiology, huh?<\/dialogue>\n    <character>ANESTHESIOLOGIST<\/character>\n    <dialogue>My wife says I put people to sleep even without the drugs.<\/dialogue>\n    <scene_description>Paul and Audrey offer courtesy chuckles.<\/scene_description>\n    <character>ANESTHESIOLOGIST<\/character>\n    <dialogue>I'm surprised you're still awake.<\/dialogue>\n    <character>ANESTHESIOLOGIST'S WIFE<\/character>\n    <dialogue>He uses that joke like twice a week.<\/dialogue>\n    <character>ANESTHESIOLOGIST<\/character>\n    <dialogue>So what's your field, Paul?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Occupational therapy.<\/dialogue>\n    <character>ANESTHESIOLOGIST'S WIFE<\/character>\n    <dialogue>Oh, like career counseling?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>No, it's just like physical therapy, just focused on workplace injuries and rehab -- repetitive stress, lower- back, stuff like that. A lot of shoulder problems. I'm in-house at a Con-Agra plant over in Council Bluffs.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Mostly he does paperwork.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Yeah, I get a little carpal-tunnel of my own sometimes.<\/dialogue>\n    <character>ANESTHESIOLOGIST<\/character>\n    <dialogue>Tell me about it. Medicine's all about covering your ass these days. Say, weren't you pre-med down in Lincoln?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Good memory. I got two years in, but my mom got real sick and I had to move back to Omaha. Plus, Organic Chemistry.<\/dialogue>\n    <character>ANESTHESIOLOGIST<\/character>\n    <dialogue>Yeah, that gets a lot of people.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I wanted to be a surgeon, actually. I have small hands, which they say is a real plus. Hey, we might have wound up working together. You could've been my anesthesiologist!<\/dialogue>\n    <character>ANESTHESIOLOGIST<\/character>\n    <dialogue>Hey, how about that?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Yeah. Wild.<\/dialogue>\n    <scene_description>LATER -- Dinner has not yet begun. There's still a fair amount of mingling, but many are finding their chairs. Seated at his table, Paul takes a moment to look around, and his eyes fall upon felt banners with inspirational sayings -- \"The door to happiness opens outward\" and \"The best way to find yourself is to lose yourself in service to others.\" NEAR THE ENTRANCE a flurry of excitement suggests someone special has arrived. It's just a GUY in his mid-20s, but judging from reactions -- gasps, pointing -- it's the ACRYLIC BOX he carries that's causing the commotion. The guy passes Paul and Audrey's table and, like everyone else, they gawk at what's inside the box -- A TINY COUPLE smiling and waving at old friends.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>That's Dave! Dave Johnson. And Carol. I heard he was coming but I had no idea... Man, I never would have pegged him for someone who'd go get small. Did you see that?<\/dialogue>\n    <character>AT A TABLE<\/character>\n    <dialogue>The guy carrying the box -- Dave Johnson's younger brother ANDY -- sets it down and removes the top and front.<\/dialogue>\n    <dialogue>Paul and Audrey join the onlookers, many of whom are taking photos with their phones.<\/dialogue>\n    <dialogue>Dave and Carol walk out onto the table and speak through little hand-held MEGAPHONES.<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>Hey, everybody! Hope we're not intruding!<\/dialogue>\n    <scene_description>Warm greetings all around. Dave places two tiny glasses where his brother can retrieve them.<\/scene_description>\n    <character>DAVE<\/character>\n    <dialogue>Andy, could you get Carol a... Honey, what're you having?<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Gin and tonic.<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>A gin and tonic, and for me... You know what? That sounds good. I'll have a gin and tonic, too.<\/dialogue>\n    <scene_description>Andy slides the impossibly small tumblers onto his palm and heads toward the bar.<\/scene_description>\n    <character>DAVE<\/character>\n    <dialogue>With lime!<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>How am I supposed to do that?<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>Just figure it out, okay?<\/dialogue>\n    <scene_description>As many migrate toward the new arrivals, a JESUIT turns on a mic at the podium.<\/scene_description>\n    <character>JESUIT<\/character>\n    <dialogue>Don't mean to break up the party, but the silent auction closes in fifteen minutes, and there are still some very attractive items with no takers.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRIENDS' HOUSE - NIGHT<\/stage_direction>\n    <scene_description>A nice, middle-class home.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRIENDS' HOUSE - NIGHT<\/stage_direction>\n    <scene_description>At this informal after-party for an extended group of old friends, the camera makes its way through the living room, where little Carol Johnson holds court, standing on a coffee table. Friends lean in to hear better.<\/scene_description>\n    <character>CAROL<\/character>\n    <dialogue>We weren't going to come at first, but then we started getting all the e- mails, plus my sister was having a lump removed. She's fine, thank God, but I still needed to see her.<\/dialogue>\n    <character>SOME FRIEND<\/character>\n    <dialogue>So what's traveling like? How'd you get up here from New Mexico?<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Oh, we flew. Airlines are getting more and more small-friendly.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>They make it really easy, and all the seats are first class...<\/dialogue>\n    <scene_description>We continue on to -- THE KITCHEN -- where Paul is amid a heart-to-heart with Dave, seated atop a box of Ak-Mak Crackers.<\/scene_description>\n    <character>DAVE<\/character>\n    <dialogue>So after a couple years in Florida, I moved out to Vegas and --<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I remember. I think that's about the last time we talked.<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>Yeah. Vegas wasn't such a good choice for me, as it turns out. Got into some real bad habits. Pretty much hit rock bottom.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Sorry to hear that.<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>Any other woman would have run for the hills, but Carol, man, she's a saint. She stuck with me. But I really had to come clean about everything. And I mean everything. You know, almost.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>And the decision to...<\/dialogue>\n    <parenthetical>(makes a shrinking motion)<\/parenthetical>\n    <character>DAVE<\/character>\n    <dialogue>Well, that's the thing. We both needed a change. You know, start all over.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>It must feel good knowing you're making a real difference, too.<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>You mean all that crap about saving the planet? Downsizing is about saving yourself. Takes the pressure right off, especially money pressure.<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>I'm just not, you know, driven and ambitious like the rest of my family. It's not who I am. Now Carol and I, we live like kings -- a hell of a lot better than my brothers and my sister, I'll tell you that. I send them pictures all the time, but they never respond.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Well, I'm still living in the same house I grew up in. Audrey's dying for us to move, but we're pretty strapped. Plus, my mom's end-of-life care really took a toll. I mean, shit, I just finished paying off my student loans.<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>Well, listen, if you ever start thinking about it seriously, here's my two cents. There are lots of small communities cropping up out there, but don't mess around. Leisureland's where you want to be. They are a little pricier, but they were the first, and they're still way ahead of the curve.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>They've sure got a big marketing budget.<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>Lots to brag about. Best houses, best appliances, best doctors, they book all the big concert tours, got all the great restaurants. The kids love Cheesecake Factory and Leisureland's got three of them. And I'm not just saying all this for the referral credit.<\/dialogue>\n    <parenthetical>(off Paul's laugh)<\/parenthetical>\n    <dialogue>Hey, sorry, could you back up a little? I think there's too much garlic in that salsa.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Oh, right.<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>Or floss or something. I don't know.<\/dialogue>\n    <scene_description>Suddenly a child's SCREAM. Alarmed, Paul heads into the living room, where he finds the HOSTS comforting their four- year-old DAUGHTER, who has wandered downstairs and is scared out of her wits by the sight of little Carol.<\/scene_description>\n    <character>HOST MOM<\/character>\n    <dialogue>It's okay, Katie. It's okay. She's a friend. She's just smaller than we are, that's all.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Hi, Katie! Hi! I won't bite.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUPLEX - NIGHT<\/stage_direction>\n    <scene_description>Paul and Audrey come in the door, exhausted but still buzzing about their unusual evening.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Well, that was sure interesting.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I'll say.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I liked little Carol. She's got a lot on the ball. She's reading all the books she always wanted to, and she's learning Italian. And she says she's never been fitter.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>They sure seem happy. Dave says he's getting pretty good on the drums.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Next year they're pulling the kids out of school to spend six months at a sister city in Tuscany. Cooking classes, yoga, wine-tasting, the whole nine yards.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>(checking his phone)<\/parenthetical>\n    <dialogue>Uh-oh. Honey?<\/dialogue>\n    <scene_description>Paul plays a message on speakerphone.<\/scene_description>\n    <character>VOICEMAIL<\/character>\n    <dialogue>Hi, guys. Milo here from Goodman Mortgage.<\/dialogue>\n    <character>VOICEMAIL<\/character>\n    <dialogue>Hate to say it, but your application at First National bounced back. The underwriter didn't like the adjustments in the appraisal. Like I said, the market for a hundred-year- old duplex with structural issues is pretty soft, and there are red flags from an underwriter's perspective. I can try somewhere else, but frankly I think you're going to need more cash up front if we want to get approved on the type of property you're looking at.<\/dialogue>\n    <scene_description>Paul and Audrey share a weighty, defeated look.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATE LINE - DAY<\/stage_direction>\n    <scene_description>The Safraneks' car zooms by a sign -- WELCOME TO NEW MEXICO, LAND OF ENCHANTMENT.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A50 INT. PAUL'S CAR - DAY A50<\/stage_direction>\n    <scene_description>As they drive --<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>I bet we'll be able to tell right away if it's for us or not.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Yeah, so let's not waste time. Maybe could get to Santa Fe earlier and get a massage.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Sounds good to me. Like we said, we're just checking it out. No harm, no foul.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PAUL'S CAR - NEW MEXICO HIGHWAY - DAY<\/stage_direction>\n    <scene_description>Paul and Audrey's car continues through the desert and passes a huge BILLBOARD.<\/scene_description>\n    <character>NEXT EXIT!<\/character>\n    <dialogue>Tony Dale's<\/dialogue>\n    <character>LEISURELAND ESTATES<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEISURELAND VISITORS CENTER - DAY<\/stage_direction>\n    <scene_description>Across an immense parking lot sits a commanding building that abuts a 20-foot-high WALL stretching in both directions, a wall that encircles and safeguards the city of Leisureland within. Long poles extending skyward from the wall support the city's protective overhead netting.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEISURELAND VISITORS CENTER - DAY<\/stage_direction>\n    <scene_description>The Safraneks walk in, already starting to feel small in this vast space. A huge banner shows an ecstatic couple -- \"It's like winning the lottery every day!\" A large circular INFORMATION DESK is staffed by EMPLOYEES in monogrammed golf shirts and khakis.<\/scene_description>\n    <character>AMONG THE EXHIBITS<\/character>\n    <dialogue>Audrey and Paul stroll through a maze of kiosks -- VACATION GETAWAYS, FINE DINING, RECREATION, INNOVATIONS IN EDUCATION, TRAVEL SERVICES, JOB OPPORTUNITIES, STAYING IN TOUCH, SELLING YOUR CURRENT HOME, WHAT ABOUT MY PET?, WHEN YOU NEED A DOCTOR.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEISURELAND THEATER - DAY<\/stage_direction>\n    <scene_description>Paul and Audrey sit watching a promotional movie.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH - DAY - MOVIE WITHIN THE MOVIE<\/stage_direction>\n    <character>IN A TIDE POOL<\/character>\n    <dialogue>A horseshoe crab scuttles along, silent and primordial, passing a pair of rubber boots. Then we see the charismatic man inside those boots.<\/dialogue>\n    <character>TONY DALE<\/character>\n    <dialogue>Hi, I'm Tony Dale. That horseshoe crab has remained unchanged for 250 million years. Same size, same shell, same ugly mug. But we humans are different. We're constantly evolving and adapting to new challenges. And today we find ourselves at the dawn of an exciting new chapter in human history.<\/dialogue>\n    <character>TONY DALE<\/character>\n    <dialogue>Each and every one of you can be among the lucky ones to take this great leap forward, enjoy the prosperity you deserve, and, most importantly, help protect our precious planet. Join me, won't you, as we take a look at the creation of the world's first luxury community designed entirely to make anyone's biggest dreams come true -- Leisureland Estates.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMALL PLANE - DAY<\/stage_direction>\n    <scene_description>In the copilot's seat, Tony turns around and speaks as though we're in the back.<\/scene_description>\n    <character>TONY DALE<\/character>\n    <dialogue>The first order of business was to find the perfect location -- not too cold in the winter, not too hot in the summer. No earthquakes, no tornados, no hurricanes. And no pesky mosquitoes. Yep, everything had to be just right.<\/dialogue>\n    <scene_description>The pilot points out something below, and Tony raises binoculars to take a look. INSERT - A MAP OF THE UNITED STATES ZOOM in on New Mexico.<\/scene_description>\n    <character>TONY DALE (V.O.)<\/character>\n    <dialogue>Our search led us to the ideal spot -- where we are right now -- ten square miles of high desert on New Mexico's Vasquez Plateau.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VASQUEZ PLATEAU - DAY<\/stage_direction>\n    <scene_description>Twine on surveyor's stakes winds through cacti and scrub. In work clothes and sun hat, Tony paces out a distance, then stops and points broadly at the ground, giving confident directions to offscreen crew.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONFERENCE ROOM - DAY<\/stage_direction>\n    <scene_description>ACADEMICS give a presentation with charts and graphs. Tony sits up front nodding thoughtfully.<\/scene_description>\n    <character>TONY DALE (V.O.)<\/character>\n    <dialogue>Next I gathered a team of top urban planners, architects and engineers from around the world to answer a simple question, \"How can we design the most efficient and innovative city the world has ever known?\"<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEISURELAND DESIGN BULLPEN - DAY<\/stage_direction>\n    <scene_description>ARCHITECTS AND ENGINEERS work at computers and drafting tables. Others build maquettes. ANOTHER ANGLE -- Wielding a pointer and surrounded by his team, Tony reviews an enormous tabletop model of Leisureland.<\/scene_description>\n    <character>TONY DALE (V.O.)<\/character>\n    <dialogue>Each dwelling would be a dream house, a genuine estate within anyone's reach. Mass transit would be free and efficient. The streets would be neat and orderly, offering easy access to shops, schools, parks, medical services, and of course all the recreation and entertainment you can imagine.<\/dialogue>\n    <scene_description>Now RENDERINGS of different neighborhoods -- Alpine Village, New Orleans Quartier, Fairway Manors, The Marina.<\/scene_description>\n    <character>TONY DALE (V.O.)<\/character>\n    <dialogue>Each neighborhood would accent our residents' interests, diverse lifestyles and hobbies.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TONY DALE'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Tony addresses us from behind his desk.<\/scene_description>\n    <character>TONY DALE<\/character>\n    <dialogue>But no matter how much care we put into designing Leisureland, it's really the people who make our community so special. So now I'd like to introduce you to some actual residents who are eager to tell you more.<\/dialogue>\n    <scene_description>As the movie ends, the screen begins to rise and Tony turns his gaze vaguely downward...<\/scene_description>\n    <character>TONY DALE<\/character>\n    <dialogue>Okay, folks, take it away!<\/dialogue>\n    <scene_description>..returning us to --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEISURELAND THEATER - DAY<\/stage_direction>\n    <scene_description>Stage lights illuminate, theme music begins, and a platform thrusts past the rising screen. On the platform sits a downsized MANSION with swimming pool and tennis court. Tanned sales professional JEFF LONOWSKI steps out of the front door wearing a headset mic, trailed by a tiny CAMERAMAN who transmits Jeff's image onto a large screen.<\/scene_description>\n    <character>JEFF<\/character>\n    <dialogue>Thanks, Mr. Dale. Welcome, everybody. I'm Jeff Lonowski, Senior Product Specialist and happy homeowner here at Leisureland Estates. Are you having a good time?<\/dialogue>\n    <parenthetical>(off initial response)<\/parenthetical>\n    <dialogue>Come on, guys. You're a heck of a lot bigger than I am. Make some noise! Are you having a good time?<\/dialogue>\n    <scene_description>Paul and Audrey join the enthusiastic response. \"Yes!\"<\/scene_description>\n    <character>JEFF<\/character>\n    <dialogue>That's more like it. So what do you think of my place? Pretty nifty, huh? It's the house of my dreams. Heck, I'd say it's the house of anybody's dreams. Why, an average guy like me might have to work twenty, thirty, even forty years to be able to afford a spread like this. And just wait until you see what's inside.<\/dialogue>\n    <scene_description>The house splits open to reveal the massive family room, enormous bedrooms, airy kitchen. In the master suite upstairs, and with a CAMERA GUY all her own, Jeff's \"wife\" LAURA sits in a bubble bath.<\/scene_description>\n    <character>LAURA<\/character>\n    <parenthetical>(headset mic)<\/parenthetical>\n    <dialogue>Jeff, you've got to stop inviting guests over without telling me!<\/dialogue>\n    <character>JEFF<\/character>\n    <dialogue>Sorry, Laura. I was only --<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>I mean, I finally got in the tub to relax after such a busy day.<\/dialogue>\n    <character>JEFF<\/character>\n    <dialogue>Busy doing what, sweetheart?<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>Oh, no end of things. First I took a tennis lesson and had a massage. Then after a gourmet lunch with the girls, we just couldn't help ourselves and popped into that new Loget's store downtown.<\/dialogue>\n    <character>JEFF<\/character>\n    <dialogue>Uh-oh, Loget's. What's that going to cost me?<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>Now, Jeff, you hush. I was really good. Just a diamond bracelet.<\/dialogue>\n    <scene_description>The cameraman zooms in for a close-up of the sparkling jewelry, eliciting admiring \"oohs\" from audience members.<\/scene_description>\n    <character>JEFF<\/character>\n    <dialogue>Just a diamond bracelet? That doesn't sound like you.<\/dialogue>\n    <character>LAURA<\/character>\n    <parenthetical>(pulling her hair back)<\/parenthetical>\n    <dialogue>And matching diamond earrings. And the matching diamond necklace.<\/dialogue>\n    <parenthetical>(as Jeff crosses his arms)<\/parenthetical>\n    <dialogue>Oh, Jeff, they look so good on me. Wait till you --<\/dialogue>\n    <character>JEFF<\/character>\n    <dialogue>How much, Laura?<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>Now, Jeff --<\/dialogue>\n    <character>JEFF<\/character>\n    <dialogue>I said how much?<\/dialogue>\n    <character>LAURA<\/character>\n    <parenthetical>(sheepish)<\/parenthetical>\n    <dialogue>Sixty-two dollars.<\/dialogue>\n    <character>JEFF<\/character>\n    <dialogue>Sixty-two dollars? Are you crazy? Why, that's practically our food budget for two whole months!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIEWING CORRIDOR - DAY<\/stage_direction>\n    <scene_description>The exit doors of the theater snap open. Along with the rest of the audience, Paul and Audrey step onto a wide walkway. Floor-to-ceiling windows offer a first glimpse at the actual city of Leisureland. The initial impression is both impressive and banal. It's partially like a miniature theme park and partially like any other mid-sized city. But a couple of unusual features stand out. One is a giant FERRIS WHEEL. Another is the CENTRAL TOWER, which functions both as a \"tent pole\" for the overhead netting and as the transfer station for an innovative and fanciful mass transit system -- GONDOLAS traveling on cables above the city. MOMENTS LATER -- Paul and Audrey peruse model homes ranging from one-story ranches through three-story McMansions -- \"The Regency,\" \"The Barrington,\" \"The Aristocrat,\" \"The Mediterranean,\" \"The Sportsman.\" At the top end, like a sumptuous Bel-Air estate, is \"The Versailles,\" boasting a sticker price of $129,999.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALES AREA - DAY<\/stage_direction>\n    <scene_description>A tracking shot through an ocean of sales desks ends on Paul and Audrey, where a chipper SALESPERSON walks them through a print-out of their finances.<\/scene_description>\n    <character>SALESPERSON<\/character>\n    <dialogue>So putting it all together, if you liquidate your current home, vehicles and other assets, and purchase a Regency-level estate -- that's a 12,000-square-foot-equivalent home on a 1.5-acre-equivalent lot -- at the base price of $63,000. Plus $4,500 for the Health and Fitness package. That's the gym, pool, sauna\/steam, hot tub, and tennis court. Then the medical procedure for two adults. That's $15,000.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Does insurance cover any of that?<\/dialogue>\n    <character>SALESPERSON<\/character>\n    <dialogue>No, but at Regency level you're already qualifying for a substantial discount. And don't forget the federal tax credit. So, figuring in your current debt, your retirement accounts and your savings, you're looking at approximately $152,000 in equity, which is a very comfortable number.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Comfortable? That doesn't sound like nearly enough.<\/dialogue>\n    <character>SALESPERSON<\/character>\n    <dialogue>You have to look at this column, Audrey. Equivalent value. You're solidly inside the Blue Chip zone. In Leisureland your $152,000 translates into around $12.5 million - - to live on, for life.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Hold on. If this is such a great thing, how come you haven't done it?<\/dialogue>\n    <character>SALESPERSON<\/character>\n    <dialogue>I would in a heartbeat, but my husband had a hip replacement, so he's ineligible. But look around you. If you come back in a month, you won't see most of my co-workers still here. People take jobs just for the discount. Did you see Jeff's little show upstairs -- the house that opens up? He used to sit right over there. Of course, he doesn't have to work anymore, but he's a real ham -- just loves the attention. Anyway, how's all this sounding? Would the Regency be your first choice? Or should we be looking at something a little more deluxe?<\/dialogue>\n    <scene_description>Audrey looks at Paul.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Honey, pick anything you like. I just want you to be happy.<\/dialogue>\n    <scene_description>She beams.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DUPLEX FRONT YARD - DAY<\/stage_direction>\n    <scene_description>Paul and Audrey oversee a RUMMAGE SALE of their belongings. Downsizing! Everything Must Go!<\/scene_description>\n    <character>SOME OLD GUY<\/character>\n    <dialogue>How much for the hot dog cooker?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Four dollars.<\/dialogue>\n    <character>SOME OLD GUY<\/character>\n    <dialogue>I'll give you a dollar.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Sold.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CON-AGRA PLANT - DAY<\/stage_direction>\n    <scene_description>Paul finishes working with a FACTORY WORKER with a bad arm.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Keep up those exercises. Don't get lazy. I laminated everything for you, so no excuses.<\/dialogue>\n    <character>FACTORY WORKER<\/character>\n    <dialogue>Thank you, Paul. Thank you so much. My wife and me, maybe someday we'll get small too and we'll visit you.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>That'd be great, but in the meantime...<\/dialogue>\n    <scene_description>Paul squeezes and unsqueezes his hand, reinforcing an exercise.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CON-AGRA BREAK ROOM - DAY<\/stage_direction>\n    <scene_description>CO-WORKERS throw Paul a small goodbye party. Atop the cake is a joke design in frosting about getting small.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CON-AGRA PARKING LOT - DAY<\/stage_direction>\n    <scene_description>An emotional Paul walks to his car carrying a box of belongings. It's the last time he'll ever see the place he's spent so many years.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>A perennially \"hip\" restaurant for the middle-aged.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>A farewell party occupies the back. Friends and family gather around four or five reserved tables. We catch snippets of conversations with different FRIENDS -- first up is GINA.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>I mean, sure, I was on the fence about it for most of the year. It's pretty scary when you think about it at first. But then when my college roommate Patty Loomis called to say she and her husband were doing it, and all the reasons why, I turned to Paul and said okay, you win. Let's go for it.<\/dialogue>\n    <character>GINA<\/character>\n    <parenthetical>(hugging her)<\/parenthetical>\n    <dialogue>I'm just going to miss you so much.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Oh, Gina, I'm going to miss you too. But, you know, it's not like we're dying. We're just relocating and changing things up a bit. We'll be back at least once a year. And you and Tim can come down and stay with us anytime. We have like five guest rooms. Open invitation. Stay as long as you like.<\/dialogue>\n    <scene_description>Gina laughs through tears at this joke. LATER -- BARRY talks with Paul and Audrey.<\/scene_description>\n    <character>BARRY<\/character>\n    <dialogue>And you guys didn't consider Treasure Island out in Palm Desert?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Yeah, we checked it out, but...<\/dialogue>\n    <parenthetical>(looking at Audrey)<\/parenthetical>\n    <dialogue>I mean, I liked it all right, but Audrey thought they were a little stingy with the amenities, especially for what they charge in monthly maintenance.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>And too hot. And really provincial -- everything is golf, golf, golf. And almost no diversity. Super white bread.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Yeah, no diversity.<\/dialogue>\n    <scene_description>LATER -- Audrey's father LARRY LUSTIG walks in. Audrey greets him with a big hug.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Hi, Dad.<\/dialogue>\n    <character>LARRY LUSTIG<\/character>\n    <dialogue>Your mother couldn't bring herself to come, but she sends her love. We're still expecting you tomorrow afternoon at the house.<\/dialogue>\n    <scene_description>Paul arrives, and the men exchange a respectful handshake.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Glad you made it, Larry.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>What can I get you, Dad?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Let me. You guys visit.<\/dialogue>\n    <character>LARRY LUSTIG<\/character>\n    <dialogue>Oh, just a beer. Any beer.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>(exiting)<\/parenthetical>\n    <dialogue>Comin' right up.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I wish Mom weren't taking it so hard.<\/dialogue>\n    <character>LARRY LUSTIG<\/character>\n    <dialogue>Well, you know your mother. To tell you the truth, I was pretty skeptical myself at first. You remember Jerry Gross. Well, I called him up the other day. He and Bev retired down there, did the whole shrinking thing you kids are doing. He says they're getting along just fine, never better. Says he feels younger every day, says one dollar buys a thousand dollars worth of stuff.<\/dialogue>\n    <character>LARRY LUSTIG<\/character>\n    <dialogue>Of course they need that with all the medication Bev takes. But yeah, they play nine holes every morning. Even taking a two-week cruise up to Alaska next month. First class stateroom, gourmet food, whole nine yards. Says the whole thing's costing around $150. No, I see the appeal. And apparently there's zero crime. That's what I keep telling your mother.<\/dialogue>\n    <scene_description>LATER -- The party has wound down, and Paul and Audrey enjoy a final nightcap with close friends, including Tim, a friend of Paul's we've met before. A DRUNK GUY wanders over.<\/scene_description>\n    <character>DRUNK GUY<\/character>\n    <dialogue>Hey, you guys are getting small, right?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>That's right. My wife and I.<\/dialogue>\n    <character>DRUNK GUY<\/character>\n    <dialogue>My friend over there has a question. No offense, but do you think if you're that small, you should still have all the same rights as the rest of us? Same right to vote?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Why wouldn't we?<\/dialogue>\n    <character>DRUNK GUY<\/character>\n    <dialogue>Well, let's see. You're not buying as many products, you're not paying as much income tax, not really participating in our economy. In fact, you're costing us money. And jobs.<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>Hey, hey. That's enough. We're all just having a good time here.<\/dialogue>\n    <character>DRUNK GUY<\/character>\n    <dialogue>I'm just asking a simple academic question. If anything, a quarter- vote. At most.<\/dialogue>\n    <character>TIM<\/character>\n    <parenthetical>(dragging him away)<\/parenthetical>\n    <dialogue>Come on, buddy. Let's take a hike.<\/dialogue>\n    <character>DRUNK GUY<\/character>\n    <dialogue>I'm going. Or maybe an eighth!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RESTAURANT PARKING LOT - NIGHT<\/stage_direction>\n    <scene_description>Standing by their cars in the nearly deserted lot, Audrey and Paul give their friends a final farewell hug.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAUL AND AUDREY'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>All that remains is a mattress on the floor. Audrey sleeps as Paul reads by the dreary light of a sconce. Without warning, she begins to cry.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Oh, honey.<\/dialogue>\n    <scene_description>Her shoulders convulse. Paul pulls off his reading glasses.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Honey, honey, I know. I know this is a big step. It's the biggest thing we'll do in our lives. I know, I know.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>You don't know anything! You did this! Why did you have to choose such a stupid career? Why did you have to be so... unambitious? Helping people? What about helping yourself? What about helping me? You're so goddamned stubborn! You did this!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Hey, hey, hey, that's completely unfair. You're the one who's never satisfied with anything. You're the one who says I spend too much time at work. You're the one who wants to live in a palace. You're the one who says we can't have kids until we're better off. You're the one who hates her job and hates the cold weather and --<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I know! Don't you think I know? Shut up! Shut up!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUPLEX LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>The room is bare. Audrey removes her necklace and places it inside their Leisureland KEEPSAKE BOX, a shoebox-sized container for those few small irreplaceable treasures -- family photographs, jewelry, baby spoons, etc. Audrey gets Paul's attention and points at her ring finger. Together they remove their wedding rings and place them on a velvet-covered stem inside the box.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPLANE - DAY<\/stage_direction>\n    <scene_description>Audrey leans her head against Paul's shoulder while he watches the clouds.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>I keep thinking I forgot something.<\/dialogue>\n    <scene_description>He kisses the top of her head.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALBUQUERQUE AIRPORT TERMINAL - DAY<\/stage_direction>\n    <scene_description>Carrying only their Keepsake Box, the Safraneks walk toward the Leisureland shuttle bus at the center island, where they join other NEW ARRIVALS with Keepsake Boxes of their own.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEISURELAND SHUTTLE BUS - MOVING - DAY<\/stage_direction>\n    <scene_description>Seated on one side, Paul steals glances at the acrylic containers locked in place across the aisle. Inside the containers are downsized TRAVELERS in rows of first- class airline seats. Just opposite the Safraneks are a MOTHER and her ADULT SON in sandals and Hawaiian shirts.<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>Moving to town, are ya'?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>How's that?<\/dialogue>\n    <character>MOTHER<\/character>\n    <parenthetical>(straining to be heard)<\/parenthetical>\n    <dialogue>I see you're moving to Leisureland.<\/dialogue>\n    <parenthetical>(off Paul's nod)<\/parenthetical>\n    <dialogue>You look like a nice young couple.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>Where you from?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Omaha.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>Spokane. Nervous?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>A little. You know.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>Don't be. It's the best thing you'll ever do. And the medical part is no big deal. Completely painless. Except if you have a lot of dental re- dos like my Dougie here. He had to keep going back because he'd waited too long to get a root canal while he was still big. I said, Dougie, those are your teeth. You only get one set. Anyway, you don't want to hear about that. We just got back from Turks and Caicos. Have you ever been to Turks and Caicos?<\/dialogue>\n    <character>PAUL AND AUDREY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>It's so pretty. Back in Spokane, we never went anywhere. But now it's so easy and so cheap. You get in this contraption down at the travel center, and you don't have to budge until you arrive at the hotel. And the best part is you don't have to take your shoes off in security. I don't like taking my shoes off once I have them on.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEISURELAND PARKING LOT - DAY<\/stage_direction>\n    <scene_description>The shuttle heads toward the TRANSITIONS CENTER, a building not far from the Visitors' Center.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COUNSELING ROOM - DAY<\/stage_direction>\n    <scene_description>Audrey and Paul sit across a desk from a pleasant and efficient \"final step\" ADMINISTRATOR. She sorts Audrey and Paul's papers, occasionally checking her computer screen to verify information.<\/scene_description>\n    <character>ADMINISTRATOR<\/character>\n    <dialogue>Okay. And your medical records are up to date. Very good. And you've had no food or water for at least twelve hours, right?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>We're starving.<\/dialogue>\n    <character>ADMINISTRATOR<\/character>\n    <dialogue>Oh, Audrey, you forgot to indicate if you want the clothes you're wearing sent to someone you know or donated to charity.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Charity.<\/dialogue>\n    <character>ADMINISTRATOR<\/character>\n    <dialogue>Great. Just one last thing we need to take care of.<\/dialogue>\n    <scene_description>The Administrator adjusts a camera mounted to the top of her computer monitor.<\/scene_description>\n    <character>ADMINISTRATOR<\/character>\n    <dialogue>Paul, could you scoot over a little? That's it. Perfect. With your permission I'm going to record your answers to the following questions. May I begin recording?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>ADMINISTRATOR<\/character>\n    <dialogue>Please state your full legal names.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Audrey Lustig Safranek<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Paul Norris Safranek.<\/dialogue>\n    <character>ADMINISTRATOR<\/character>\n    <dialogue>Do you, Paul Norris Safranek, and you, Audrey Lustig Safranek, understand that, of your own free will, you will undergo the permanent and irreversible medical procedure commonly known as \"downsizing?\" And that following this procedure your bodies will be approximately .0364% of their current mass and volume?<\/dialogue>\n    <scene_description>It's getting very real now.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ADMINISTRATOR<\/character>\n    <dialogue>And do you give full consent to Gateway Medical Services, a wholly owned subsidiary of TD Enterprises, to administer the medical procedure commonly known as \"downsizing?\"<\/dialogue>\n    <scene_description>They check in with each other again and join hands.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ADMINISTRATOR<\/character>\n    <dialogue>Do you understand that there exists an approximately one in 225,000 chance that the procedure could result in injury, permanent disability or death?<\/dialogue>\n    <character>PAUL AND AUDREY<\/character>\n    <dialogue>Yes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAITING ROOM - DAY<\/stage_direction>\n    <scene_description>Surrounded by other nervous CLIENTS, Paul and Audrey sit holding hands. A NURSE approaches.<\/scene_description>\n    <character>NURSE<\/character>\n    <dialogue>Paul Safranek?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>NURSE<\/character>\n    <dialogue>Come with me, please.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>We're together.<\/dialogue>\n    <character>NURSE<\/character>\n    <dialogue>Someone will escort you to the Women's Facility shortly. You will be separated for approximately five hours, and following the procedure you'll be reunited in the recovery room.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Okay. Well, honey, I guess this is it. I'll see you tonight. On the other side.<\/dialogue>\n    <scene_description>Audrey is so emotional she can barely speak. Paul takes her in his arms.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>I love you.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I love you, too.<\/dialogue>\n    <scene_description>Paul gives her one last squeeze. The nurse leads him away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TREATMENT ROOM - DAY<\/stage_direction>\n    <scene_description>Along with other men, Paul is shaved -- legs, back and shoulders, scalp and eyebrows. LATER --Paul is now completely HAIRLESS in a hospital gown and lying on a gurney. An IV is inserted into his arm. CLOSE on Paul as the anaesthetic takes effect.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLONIC THEATER - DAY<\/stage_direction>\n    <scene_description>Paul is wheeled into a large, bright room with rows of colon- cleansing stations. A TECHNICIAN rolls Paul onto one side, lubricates a tapered nozzle, and lifts the back of his gown.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DENTAL THEATER - DAY<\/stage_direction>\n    <scene_description>A still-sedated Paul is at a station in this large room with rows of dentists' chairs. His mouth is held open with a dental brace. A drill approaches. FILLINGS drop inside a metal pan.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWNSIZING CHAMBER - DAY<\/stage_direction>\n    <scene_description>Paul is wheeled inside a large stainless steel room, where he is one of some 20 SEDATED MEN. NURSES pull the IVs from the men's arms and remove their gowns, leaving them naked. A SUPERVISOR makes a final inspection -- looking in a mouth here, adjusting a head there -- before leaving the chamber and securing the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWNSIZING CHAMBER CONTROL ROOM - DAY<\/stage_direction>\n    <scene_description>A spinning red light. An alarm bell. A flipped switch.<\/scene_description>\n    <character>SUPERVISOR<\/character>\n    <dialogue>All clear!<\/dialogue>\n    <scene_description>A low hum begins, interrupted at intervals by a loud thunk, like an MRI. Nurses and orderlies wait for the process to complete. One offers another a piece of his Kit-Kat bar. A gauge registers progress by displaying smaller and smaller silhouettes of a man. The supervisor keeps an eye on things through a small window in the chamber door. BING! Everyone begins moving again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWNSIZING CHAMBER - DAY<\/stage_direction>\n    <scene_description>The door opens. In the center of each gurney lies a tiny naked man. Three nurses enter pushing carts, each bearing eight tiny gurneys on top. The nurses gingerly \"spatula\" each downsized man onto the small gurneys. As they work, we find Paul just as he is scooped up -- a bald, naked peanut.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWNSIZING CHAMBER STAGING AREA - DAY<\/stage_direction>\n    <scene_description>The nurses guide the carts to DOCKING STATIONS set into a wall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANOTHER STAGING AREA - DAY<\/stage_direction>\n    <scene_description>ORDERLIES, most of them West Indian, stand chatting and checking their watches. At the sound of an all-clear buzzer, they roll up a large garage-style door and --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOCKING STATION - DAY<\/stage_direction>\n    <scene_description>-- walk out onto the carts, revealing that they too are the same small size as the new arrivals. The orderlies begin unlocking the gurneys to roll them away.<\/scene_description>\n    <character>TINY ORDERLY #1<\/character>\n    <dialogue>Man, we got some real fatties this time.<\/dialogue>\n    <scene_description>A nurse from the other side pokes her enormous head in.<\/scene_description>\n    <character>BIG NURSE<\/character>\n    <dialogue>How's everybody doing today?<\/dialogue>\n    <character>TINY ORDERLIES<\/character>\n    <dialogue>Fine. Good. How are you today, Joyce?<\/dialogue>\n    <character>BIG NURSE<\/character>\n    <dialogue>Me? I'm great. Just getting ready for the weekend. We're driving up to Denver for my cousin's wedding.<\/dialogue>\n    <character>TINY ORDERLY #2<\/character>\n    <dialogue>Oh... that sounds nice!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEISURELAND DENTAL AREA - DAY<\/stage_direction>\n    <scene_description>DENTISTS and ASSISTANTS attend to the newly-downsized. One dentist compares Paul's open mouth against X-rays and charts on a computer screen.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RECOVERY ROOM - DAY<\/stage_direction>\n    <scene_description>CLOSE on Paul regaining consciousness. He lifts his head to examine his hands and arms. He gives his sore jaw a massage, then peeks under the sheet, relieved to find his \"equipment\" as it should be. A CHEERY NURSE opens the door.<\/scene_description>\n    <character>CHEERY NURSE<\/character>\n    <dialogue>I see you've decided to join us.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Is this... Is it over?<\/dialogue>\n    <character>CHEERY NURSE<\/character>\n    <dialogue>Welcome to Leisureland. Hungry?<\/dialogue>\n    <scene_description>She lugs in a normal-size two-pack of SALTINES, now comically large.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Oh, my God.<\/dialogue>\n    <character>CHEERY NURSE<\/character>\n    <dialogue>Isn't that cute? People just love that.<\/dialogue>\n    <parenthetical>(setting it aside)<\/parenthetical>\n    <dialogue>I'll bring you a little snack in a moment.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Thanks. Um, I think my wife was supposed to be here with me.<\/dialogue>\n    <character>CHEERY NURSE<\/character>\n    <dialogue>What's her name?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Audrey Safranek.<\/dialogue>\n    <character>CHEERY NURSE<\/character>\n    <parenthetical>(consulting a chart)<\/parenthetical>\n    <dialogue>Safranek, just like yours. Let me see. We do have an Audrey Safranek scheduled for today, but I don't show her transferred over yet.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Is something wrong?<\/dialogue>\n    <character>CHEERY NURSE<\/character>\n    <dialogue>No, no. She's probably just held up in dental. I'll go check.<\/dialogue>\n    <scene_description>LATER -- Paul sits up nervously jiggling one leg. The nurse comes back inside and offers him a telephone.<\/scene_description>\n    <character>CHEERY NURSE<\/character>\n    <dialogue>Mr. Safranek, you've got a call.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <parenthetical>(answering)<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <character>AUDREY (ON PHONE)<\/character>\n    <dialogue>Paul.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Audrey, thank God. Where are you, honey?<\/dialogue>\n    <character>AUDREY (ON PHONE)<\/character>\n    <dialogue>Don't be mad at me. Please don't be mad. It's hard enough as it is.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>What's hard? What are you talking about?<\/dialogue>\n    <character>AUDREY (ON PHONE)<\/character>\n    <dialogue>Oh, Paul, they shaved my head, then they started shaving off my eyebrows, and I just thought, what am I doing? I can't leave my family, all my friends. I can't do it. I'm sorry, Paul. I just can't. I'm not like you.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Where are you?<\/dialogue>\n    <scene_description>Silence. Then Paul overhears what sounds like a boarding announcement.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Are you at the airport?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALBUQUERQUE AIRPORT - NIGHT - INTERCUT<\/stage_direction>\n    <scene_description>Audrey is at a PAY PHONE, her bald head hidden under a hat, one eyebrow desperately drawn in with mascara.<\/scene_description>\n    <character>AUDREY<\/character>\n    <parenthetical>(beginning to sob)<\/parenthetical>\n    <dialogue>Don't hate me. Don't hate me.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Okay, okay. Take it easy. Just get in a taxi and come back so we can talk about this. Okay? We'll go back to Omaha and think this through together.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>(an ominous silence)<\/parenthetical>\n    <dialogue>Wait. You're not leaving me here.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Can't you understand how I feel? I feel terrible, Paul. I let you down, and I feel awful about it. But I realized I was just trying to make you happy. I should have been thinking more about myself.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Thinking about yourself? That's all you ever do! You know, you haven't even asked me how I am!<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Don't yell. Don't yell at me, or I'll hang up.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>(lower)<\/parenthetical>\n    <dialogue>Do you have any idea what I've just been through? Audrey, if you don't come back here right now --<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>And see you all small? I'm upset enough already.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>(losing it)<\/parenthetical>\n    <dialogue>You're upset? You're upset? I'm the one who's four fucking inches tall!<\/dialogue>\n    <scene_description>Click.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRANSITIONS CENTER LOBBY - DAY<\/stage_direction>\n    <scene_description>A combination of a hospital lobby and the arrivals area of an international airport. FAMILY MEMBERS wait with balloons and flowers, squealing when reunited with hairless loved ones. A gloomy, bald Paul walks toward the exit accompanied by sunny orientation volunteer MATT.<\/scene_description>\n    <character>MATT<\/character>\n    <dialogue>I was sorry to hear Mrs. Safranek couldn't make it today.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>(correcting his pronunciation)<\/parenthetical>\n    <dialogue>Safranek.<\/dialogue>\n    <character>MATT<\/character>\n    <dialogue>Safranek. Well, it's not a half- bad idea to scout things out and get everything ready for her.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRANSITIONS CENTER - DAY<\/stage_direction>\n    <scene_description>Paul and Matt walk out into the sunlight, and Paul takes his first look at his new city of residence.<\/scene_description>\n    <character>MATT<\/character>\n    <dialogue>The net blocks a lot of UV rays, but you still might want to put your hat on.<\/dialogue>\n    <scene_description>They head toward a cluster of \"Ride-Share\" vehicles that resemble a cross between a golf cart and a Smart car.<\/scene_description>\n    <character>MATT<\/character>\n    <dialogue>Any time you need to get somewhere, just hop in one these bad boys. And if they're in short supply, it's fun to share. I've met some super people that way. Just super.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RIDE-SHARE CAR - DAY<\/stage_direction>\n    <scene_description>Paul looks blankly out the window, absorbed in his own private agony.<\/scene_description>\n    <character>MATT<\/character>\n    <dialogue>Over to your right there, that big white oval building is one of our seven Sports Centers and the one that houses the largest indoor skiing facility in the world -- you know, relatively speaking. And over there is Lake Chester, named for Mr. Dale's dog.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PAUL'S BLOCK - DAY<\/stage_direction>\n    <scene_description>The car rolls down a street and stops in front of a house eerily like the one Paul and Audrey toured back in Omaha.<\/scene_description>\n    <character>MATT<\/character>\n    <dialogue>Look familiar?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>That's the one.<\/dialogue>\n    <character>MATT<\/character>\n    <dialogue>The Barrington. Good call. My sister's got one. Loves it. Loves it. Basically like the Regency but a lot more bells and whistles. I like the colors you picked out, too. Snazzy.<\/dialogue>\n    <parenthetical>(handing over a fob)<\/parenthetical>\n    <dialogue>Well, sir, here's the key to your kingdom. Welcome to the good life. They stock the kitchen with some standard items, but one thing I should warn you about is the dairy -- it takes a while for your stomach to adjust to milk and cheese, so go easy. Something about the bacteria. And careful with the hot water. It's all on one central system, and they keep it cranked up pretty high. I'm surprised they haven't had a lawsuit yet.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Thanks, Matt. You're a nice guy.<\/dialogue>\n    <scene_description>Paul gets out and trudges toward his new house.<\/scene_description>\n    <character>MATT<\/character>\n    <dialogue>You need anything, you call me. Anything at all. And Paul?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>MATT<\/character>\n    <dialogue>Thanks for helping the planet.<\/dialogue>\n    <scene_description>Paul gives a little wave and closes the front door as if sealing himself inside a tomb.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAUL'S LEISURELAND HOUSE - DAY<\/stage_direction>\n    <scene_description>Walking across the foyer and into the \"great room,\" Paul spots a bouquet, an oversized bottle of champagne, and a card. Paul and Audrey, Welcome Home! -- Tony Dale He walks to the windows and surveys his palatial back yard.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TENNIS COURT - DAY<\/stage_direction>\n    <scene_description>Paul wanders across.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSTAIRS HALLWAY - DAY<\/stage_direction>\n    <scene_description>Like Charles Foster Kane, Paul plods past huge mirrors, his diminishing image reflected into infinity.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASTER BEDROOM - DAY<\/stage_direction>\n    <scene_description>Paul inspects this expansive room decorated with a decidedly feminine touch.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAUL'S LEISURELAND HOUSE - DAY<\/stage_direction>\n    <scene_description>At a repeated doorbell ring, Paul opens the front door to find a MOVER with a clipboard.<\/scene_description>\n    <character>MOVER<\/character>\n    <dialogue>Safranek?<\/dialogue>\n    <scene_description>Paul nods. The mover turns toward his truck -- Paul and Audrey's keepsake box mounted to a cab.<\/scene_description>\n    <character>MOVER<\/character>\n    <dialogue>Okay!<\/dialogue>\n    <scene_description>Another MOVER walks toward the house carrying what look like two hula hoops -- his and Audrey's WEDDING RINGS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASTER BATHROOM - DAY<\/stage_direction>\n    <scene_description>Paul robotically removes his clothes, steps into the shower, and turns on the water. OWWWW!:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEDIA ROOM - DAY<\/stage_direction>\n    <scene_description>Paul sits in a recliner, watching TV and guzzling champagne. 107A ON TV - A NEWS REPORT 107A An ANCHOR speaks to camera, while behind him\/her a GRAPHIC depicts an open box with a Vietnamese flag on the side and question mark rising out of it.<\/scene_description>\n    <character>NEWS ANCHOR<\/character>\n    <dialogue>For years both the Department of Homeland Security and the INS have been warning about the ease with which downsized persons -- from illegal immigrants to potential terrorists -- could penetrate U.S. borders. Last week's discovery in Eugene, Oregon provided tragic new evidence to support that claim. Brian Fakler brings us up to date.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>107B EXT. COSTCO - DAY 107B<\/stage_direction>\n    <character>BRIAN FAKLER<\/character>\n    <dialogue>This Costco is just one of thousands of big-box stores around the country that import almost a million tons of goods weekly, most of it from Asia. Last week workers here in Eugene opened a suspicious TV box and discovered seventeen downsized stowaways from Vietnam, fourteen of them already dead, two more dying hours later at a local hospital.<\/dialogue>\n    <scene_description>107C INSERT - RECYCLED PRESS CONFERENCE FOOTAGE 107C POLICE display the BOX in question. One stained bottom corner is perforated with tiny holes punched out for air.<\/scene_description>\n    <character>BRIAN FAKLER (V.O.)<\/character>\n    <dialogue>On Friday, the lone survivor, a 45- year-old woman named Ngoc Lan Tran, was transferred to a hospital at Leisureland Estates in New Mexico, widely considered the country's top medical center for the small. Doctors were forced to amputate a portion of an infected leg, and today her condition is described as fair but stable.<\/dialogue>\n    <scene_description>107D INSERT - \"B-ROLL\" FOOTAGE 107D Ngoc Lan Tran is transferred from a helicopter to a medical team outside Leisureland.<\/scene_description>\n    <character>BRIAN FAKLER (V.O.)<\/character>\n    <dialogue>Yesterday, U.S. officials were able to question the woman for the first time. According to a statement from the Department of Homeland Security, Ms. Tran claims to have been jailed for her environmental and political activism and, along with dozens of other dissidents, was miniaturized against her will in a Vietnamese prison facility. If true, this would bolster accusations by human rights groups that repressive governments around the world are forcibly downsizing scores of prisoners and political undesirables.<\/dialogue>\n    <scene_description>107E DOLLY IN on Paul. PAN to reveal the wedding rings leaning 107E against a wall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAVE - NIGHT<\/stage_direction>\n    <scene_description>Tergehl continues his tale.<\/scene_description>\n    <character>TERGEHL<\/character>\n    <dialogue>Yes, Oodreh's mind was so bedeviled that she abandoned poor Safrap\u00fcl.<\/dialogue>\n    <scene_description>Some of the women in the clan dry their eyes.<\/scene_description>\n    <character>TERGEHL<\/character>\n    <dialogue>Can you imagine wishing to remain among the giants? With all of their fighting and all of their hunger? Trampling the ground with their huge feet?<\/dialogue>\n    <scene_description>To the children's squeals of delight, Tergehl mocks how a giant may have walked with unwieldy limbs.<\/scene_description>\n    <character>TERGEHL<\/character>\n    <dialogue>Yet, incredible as it seems, more and more of the giants began to fear and despise their smaller brethren. They already hated one another. Why would they not hate us even more?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOVERNMENT BUILDING - DAY<\/stage_direction>\n    <scene_description>A group of PROTESTORS hold sign saying things like, \"Downsizing Shrinks a Beating Heart\" and \"Horton was Wrong.\"<\/scene_description>\n    <character>PROTESTER<\/character>\n    <dialogue>The Bible doesn't say nothing about little people, and the constitution doesn't either.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE VATICAN - DAY<\/stage_direction>\n    <scene_description>The POPE speaks from his balcony.<\/scene_description>\n    <character>POPE<\/character>\n    <dialogue>As for the gift of science, as much as it helps combat famine and disease, it has no place interfering in God's design -- not in reproduction, not in genetic engineering, and not in altering the very dimensions of our divine being.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUXURY MALL - DAY<\/stage_direction>\n    <scene_description>Two wealthy OLDER WOMEN opine.<\/scene_description>\n    <character>WOMAN #1<\/character>\n    <dialogue>It's like a mouse. How little they are and run around on their little feet. You don't know which way they're going to go. They might run up your leg.<\/dialogue>\n    <character>WOMAN #2<\/character>\n    <dialogue>And they're dirty. They're too close to the ground.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOSCOW STREET - DAY<\/stage_direction>\n    <character>WOMAN<\/character>\n    <parenthetical>(in Russian)<\/parenthetical>\n    <dialogue>I just don't feel safe in my home. I think one of those small people is going to sneak in and watch me on the toilet. You can't trust them. They're too small.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <character>OLDER GUY<\/character>\n    <dialogue>All those people used to put in an honest day's work, and now they're running off to get little and sip their pi\u00f1a coladas. I went into a Target the other day, and wasn't nobody to help me. It was like a ghost town in there.<\/dialogue>\n    <character>TERGEHL (V.O.)<\/character>\n    <dialogue>In a way, the giants were right. There was much to fear from such a rapid exodus.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARMY BASE - STOCK FOOTAGE<\/stage_direction>\n    <character>TERGEHL (V.O.)<\/character>\n    <dialogue>Soldiers would abandon their posts.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHEAT FIELD - STOCK FOOTAGE<\/stage_direction>\n    <character>TERGEHL (V.O.)<\/character>\n    <dialogue>Crops would be left to rot.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FACTORY - STOCK FOOTAGE<\/stage_direction>\n    <character>TERGEHL (V.O.)<\/character>\n    <dialogue>Workshops would be abandoned and overrun by wolves.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COAL FURNACE - STOCK FOOTAGE<\/stage_direction>\n    <character>TERGEHL (V.O.)<\/character>\n    <dialogue>Who would tend their fires?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOMEN AT A RIVER - STOCK FOOTAGE<\/stage_direction>\n    <character>TERGEHL (V.O.)<\/character>\n    <dialogue>Who would wash their robes?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEISURELAND CONFERENCE ROOM - DAY<\/stage_direction>\n    <scene_description>CLOSE on Paul two years later. His hair and eyebrows have grown back.<\/scene_description>\n    <character>TERGEHL (V.O.)<\/character>\n    <dialogue>But what of Safrap\u00fcl? Far removed from the troubles of the world, he was leading a monastic life of poverty and chastity, purging himself of the past and unaware of the adventures that lay ahead.<\/dialogue>\n    <scene_description>WIDE -- Paul stands atop a table, pen in hand.<\/scene_description>\n    <character>LAWYER (O.S.)<\/character>\n    <dialogue>Do we need to review any of the terms of the settlement?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>No, it's all pretty clear.<\/dialogue>\n    <character>LAWYER (O.S.)<\/character>\n    <dialogue>I really wish you'd taken her first offer.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>LAWYER (O.S.)<\/character>\n    <dialogue>All right. Please step back a little. Don't want you to get hurt.<\/dialogue>\n    <scene_description>The LAWYER lays down a thick stack of normal-sized documents bristling with \"Sign Here\" flags. Paul steps up onto them.<\/scene_description>\n    <character>LAWYER (O.S.)<\/character>\n    <dialogue>Sorry, would you mind removing your shoes?<\/dialogue>\n    <scene_description>Paul dutifully slips off his shoes, walks to the signature line, kneels, and begins to sign.<\/scene_description>\n    <character>LAWYER (O.S.)<\/character>\n    <dialogue>As large as you can, please.<\/dialogue>\n    <scene_description>WIDER -- The normal-size lawyer watches Paul laboriously produce a deformed, oversized signature.<\/scene_description>\n    <character>LAWYER<\/character>\n    <dialogue>Nice weather down here. Turned real cold back in Omaha.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Uh-huh.<\/dialogue>\n    <character>LAWYER<\/character>\n    <dialogue>Wind chill.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAUL'S CONDOMINIUM - DAY<\/stage_direction>\n    <scene_description>A coffee-for-one brewer fills a travel mug. Paul hurries in from the bedroom of his humble, post-divorce dwelling, grabs his coffee, and hurries out the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE MARINA - DAY<\/stage_direction>\n    <scene_description>Paul exits this apartment complex overlooking a LAKE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOLL-FREE CALL CENTER - DAY<\/stage_direction>\n    <scene_description>Paul weaves his way glumly through a massive array of cubicles. A CO-WORKER gets his attention.<\/scene_description>\n    <character>CO-WORKER<\/character>\n    <dialogue>Hey, Paul, thanks. You were right. Raising my monitor really did the trick. My neck feels better and no more tingling in my arm. I never would have made the connection.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Glad to help.<\/dialogue>\n    <scene_description>At his cubicle, Paul takes a seat, dons his headset, and answers his first call of the day.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Hello and thank you for calling Land's End. My name is Paul. No, ma'am, I've never been to India. I'm in New Mexico. How can I help you? Sure, let me check.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GONDOLA - DAY<\/stage_direction>\n    <scene_description>Paul cradles a gift-wrapped box in his lap and gazes absently at the city far below.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAVE AND CAROL JOHNSON'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Paul plods toward a VERSAILLES, Leisureland's most extravagant home.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAVE AND CAROL JOHNSON'S BACKYARD - DAY<\/stage_direction>\n    <scene_description>Paul emerges through French doors and heads toward a birthday party for seven-year-old MADISON and twenty-five FRIENDS. Kids take pony rides and a magician performs. FROM A DISTANCE we watch Paul approach Dave and Carol, hearing only --<\/scene_description>\n    <character>CAROL<\/character>\n    <dialogue>Ciao, bello!<\/dialogue>\n    <scene_description>They exchange pleasantries, and Paul is instructed to place his present atop an obscene mountain of other gifts. LATER -- Paul observes the lavish goings-on. Dave wanders by.<\/scene_description>\n    <character>DAVE<\/character>\n    <dialogue>Hey, pal. Why the long face?<\/dialogue>\n    <parenthetical>(off Paul's shrug)<\/parenthetical>\n    <dialogue>Look around you, buddy. Life is good.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I made a mistake, Dave. Biggest mistake of my life. Should have stayed where I was.<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>Hey, hey, hey. I know divorce puts a pretty big dent in anybody's self-esteem, and what Audrey did to you was beyond the pale. I hate her. I barely know her, and you may not hate her, but I hate her. You just have to get back in the saddle, that's all.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Maybe some day.<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>If you want my advice, single moms are the way to go. They've got the whole kid thing out of their system, and they just want to party. A few of 'em here today.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>That's okay, I'm --<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>And if you're not ready for emotional connection, there're plenty of good times to be had down here, no strings attached. Just put it on your credit card.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Thanks, but I'm good. Really. In fact, I've started seeing someone.<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>Oh, yeah?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Single mom, actually.<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>Ho, ho. Now we're talking. Well, if that doesn't work out, or even if it does, there's this one chick, Stacy? Ouch. Like a Victoria's Secret model, only sluttier. The tricks she knows -- man, oh, man. Hey, first time's on me.<\/dialogue>\n    <scene_description>Paul's gaze drifts to Madison, giggling atop a pony.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAUL'S LIVING ROOM - DUSK<\/stage_direction>\n    <scene_description>The doorbell rings. Wiping his hands, Paul hurries from the kitchen and greets pleasant but stiff KRISTEN SWANSON, who holds a pie.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Hi, Kristen.<\/dialogue>\n    <character>KRISTEN<\/character>\n    <dialogue>Hi. I brought dessert. Apple- blueberry.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You didn't have to do that.<\/dialogue>\n    <scene_description>She spots a huge yellow ROSE in a vase.<\/scene_description>\n    <character>KRISTEN<\/character>\n    <dialogue>Wow, is that a real flower? Where'd you get that?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Full-Sized Flower Mart. Just opened. It's like you've never seen a flower before.<\/dialogue>\n    <character>KRISTEN<\/character>\n    <dialogue>It's beautiful.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I was tempted to get a lily, but, you know, it'd smell up the whole apartment. Plus the pollen.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAUL'S DINING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Paul and Kristen enjoy dinner.<\/scene_description>\n    <character>KRISTEN<\/character>\n    <dialogue>Paul, this is so good.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Thanks. The recipe called for chervil, but you can't get chervil here yet. I used dill.<\/dialogue>\n    <character>KRISTEN<\/character>\n    <dialogue>Well, whatever it is, it's super- yummy.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>It's the little things. I mean, except for no birds and insects you'd almost think we're in the normal world. Then something happens, and you realize we're not. Not that substituting dill for chervil's a big thing, but you know.<\/dialogue>\n    <scene_description>They smile and shake their heads. Life sure is strange.<\/scene_description>\n    <character>KRISTEN<\/character>\n    <dialogue>Like last month when my parents came down to visit Jonah and me --<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Uh-huh.<\/dialogue>\n    <character>KRISTEN<\/character>\n    <dialogue>-- and it's like this whole production with the carrying boxes, and Jonah gets freaked out by Grandma and Grandpa being so huge and scary. One night they took us for dinner at Fleming's, you know, real nice, and of course Jonah and I are sitting on the table in those special seats, and the big people wouldn't stop staring at us.<\/dialogue>\n    <character>KRISTEN<\/character>\n    <dialogue>Plus, the restaurant brags about how small people are welcome, but then they charge a huge minimum.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>They should be charging big people extra. They're the ones dragging the world down.<\/dialogue>\n    <character>KRISTEN<\/character>\n    <dialogue>I know. Big people look at us like we're the freaks. They're the freaks. I mean, sure, I brought Jonah here mostly for the schools, but I also know I'm at least trying to do something good. Oh, did you hear about all that gas being released in Antarctica? From the ice?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Haven't really been following the news much lately.<\/dialogue>\n    <character>KRISTEN<\/character>\n    <dialogue>Yeah, apparently it's a big deal. A lot of scientists are saying we're already way beyond --<\/dialogue>\n    <scene_description>Kristen is interrupted by a blast of EURO-DISCO thumping through the ceiling, followed by raucous LAUGHTER. Paul offers an apologetic grimace.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>My upstairs neighbor. For months I don't hear a peep -- I guess he wasn't even here -- then suddenly it's party, party, party. The other night I had to call Security.<\/dialogue>\n    <scene_description>He wipes his mouth and heads toward his balcony.<\/scene_description>\n    <character>KRISTEN<\/character>\n    <dialogue>Who is he?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Some Serbian guy. Businessman or something.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PAUL'S BALCONY - NIGHT<\/stage_direction>\n    <scene_description>Paul reaches the railing and yells up toward the balcony above.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Dusan!<\/dialogue>\n    <parenthetical>(pronounced \"Dushan\")<\/parenthetical>\n    <dialogue>Hey, Dusan!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A130 EXT. DUSAN'S BALCONY - PAUL'S POV - CONTINUOUS A130<\/stage_direction>\n    <scene_description>Euro-handsome DUSAN MIRKOVIC leans over the railing.<\/scene_description>\n    <character>DUSAN<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You mind turning down the music? Trying to have a quiet evening down here.<\/dialogue>\n    <scene_description>Dusan gives Paul a little wave of \"no problem.\" Dusan's French girlfriend MARIETTE peeks over the railing, too.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Thanks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAUL'S DINING ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>The volume of the music is lower than before, but not much. Paul and Kirsten continue with their meal. For the moment, neither can think of anything to say, so they simply eat and exchange smiles. The doorbell. Paul gets up to open it.<\/scene_description>\n    <character>DUSAN<\/character>\n    <dialogue>Hello, my friend.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Dusan.<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>May I come in?<\/dialogue>\n    <scene_description>Once inside, Dusan gives Paul's apartment a quick once-over.<\/scene_description>\n    <character>DUSAN<\/character>\n    <dialogue>I'm sorry I am disturbing your nice little dinner, but listen, Pete --<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Paul. And Kristen.<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>Hello, Kristen. Like I was saying, I'm having one more, you know, little party at my place tonight. Just a few friends. Not big like last time. Very small.<\/dialogue>\n    <parenthetical>(noticing)<\/parenthetical>\n    <dialogue>No! Is that a rose? A real rose? From where you get a real rose?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>New store. Full-Sized Flower Mart.<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>Here in Leisureland? Why did I not have such a brilliant idea? How much they are charging for this?<\/dialogue>\n    <character>MARIETTE (O.S.)<\/character>\n    <dialogue>Dusan!<\/dialogue>\n    <scene_description>Dusan steps out onto Paul's balcony and looks up.<\/scene_description>\n    <character>DUSAN<\/character>\n    <dialogue>Quoi, ma cherie?<\/dialogue>\n    <character>MARIETTE (O.S.)<\/character>\n    <parenthetical>(French)<\/parenthetical>\n    <dialogue>Dusan, what are you doing down there? The caterers just arrived with the food and are asking where to put everything. I told them in the kitchen. Now they're asking to be paid.<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>Oui, ma cherie. J'arrive.<\/dialogue>\n    <parenthetical>(back inside)<\/parenthetical>\n    <dialogue>Anyway, Paul, listen, if tonight noise disturbs you, just come upstairs and talk to me. Don't make big show like last time yelling like crazy man. We are neighbors. And neighbors are friends. What's better, come to the party.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Thanks, but like I said, we're just trying to have a nice, quiet dinner. So try to keep it down, okay?<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>Yes, darling. Of course.<\/dialogue>\n    <scene_description>Dusan puts a finger to his lips and makes a point of tip- toeing to the door, closing it without a sound.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Kind of a jerk, right?<\/dialogue>\n    <character>KRISTEN<\/character>\n    <dialogue>What's he even doing here? Aren't there like a ton of small cities in Europe?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAUL'S HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Their date at an end, Paul walks Kristen down the hallway. Booming bass notes penetrate through the ceiling.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Yeah, small party.<\/dialogue>\n    <parenthetical>(imitating)<\/parenthetical>\n    <dialogue>Just a few friends.<\/dialogue>\n    <scene_description>Arriving at the elevator --<\/scene_description>\n    <character>KRISTEN<\/character>\n    <dialogue>Well, thanks for a really nice time. Plus, cooking and all. Sorry I have to leave so early, but, you know, the sitter.<\/dialogue>\n    <scene_description>The elevator opens, and drunken SPANIARDS spill out.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>One floor up.<\/dialogue>\n    <scene_description>They disappear back into the elevator.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>So... Sunday. I was hoping we could bring Jonah. I'd like to meet him.<\/dialogue>\n    <character>KRISTEN<\/character>\n    <dialogue>Yeah. Maybe.<\/dialogue>\n    <scene_description>Paul leans in for a kiss. Kristen allows it, but her heart's not in it.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Is something wrong?<\/dialogue>\n    <character>KRISTEN<\/character>\n    <dialogue>No. I mean, you're a wonderful guy, Paul, and I've really enjoyed hanging out with you...<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>(face darkening)<\/parenthetical>\n    <dialogue>Uh-huh.<\/dialogue>\n    <character>KRISTEN<\/character>\n    <dialogue>...but if I'm honest about how I'm feeling, I just, well, I think it's still a little early for me to --<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Fine. I get it. Fine.<\/dialogue>\n    <scene_description>Paul smacks the \"down\" button and walks away.<\/scene_description>\n    <character>KRISTEN<\/character>\n    <dialogue>No, Paul, listen, I only meant, if we're bringing Jonah into it --<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Have a good night.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAUL'S CONDOMINIUM - NIGHT<\/stage_direction>\n    <scene_description>Paul slams the door behind him and surveys the remnants of dinner. He picks up the leftover pie and throws it away, plate and all. Music and laughter crescendo upstairs. Paul looks at the ceiling.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>!33 INT. DUSAN'S HALLWAY - NIGHT !33<\/stage_direction>\n    <scene_description>Now lugging the huge rose, Paul exits the elevator and heads toward the party.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUSAN'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Paul steps inside to find DOZENS OF PEOPLE -- various languages, fashionable eyewear, distinctive shoes. Dusan's chic apartment could not be more different from Paul's with its double-high ceilings, wide doorways, fireplaces, hip furnishings. Feeling instantly out of place, Paul is about to leave.<\/scene_description>\n    <character>DUSAN<\/character>\n    <dialogue>Paul! You came. And you bring the rose.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Peace offering.<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>Look, everybody. This is Paul, my neighbor. Look at what he brings me - - a real rose. A real fucking rose!<\/dialogue>\n    <parenthetical>(to Paul)<\/parenthetical>\n    <dialogue>Do you think any of these other ungrateful sons of bitches think to bring something to Dusan? Only you. I like you. What about your blonde American friend?<\/dialogue>\n    <scene_description>Paul shakes his head. Dusan nods in approval.<\/scene_description>\n    <character>DUSAN<\/character>\n    <dialogue>Why bring sand to the beach?<\/dialogue>\n    <parenthetical>(escorting Paul)<\/parenthetical>\n    <dialogue>Look, I know I said it was going to be a small party, but it's not my fault. I make two or three phone calls to close friends, and look what happens. Everyone comes. Nothing else to do in this fucking city after 10 o'clock. This I do not understand. It's not as if so many people have work in the morning. Is the worst trait of small people -- they are lazy. Not all, but most. Like this lazy guy. Konrad!<\/dialogue>\n    <scene_description>KONRAD is an older German in nautical attire -- turtleneck, double-breasted blazer -- helping himself to a splendid buffet of both normal-sized and small gourmet foods.<\/scene_description>\n    <character>KONRAD<\/character>\n    <dialogue>What's that you say about me? What lies are you telling?<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>Just that in the small world no one wants to work.<\/dialogue>\n    <character>KONRAD<\/character>\n    <dialogue>What did you expect? That is the wonderful thing about becoming small. You are immediately rich. Unless you are very poor. Then you are only small.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Actually, I wouldn't call myself poor, but I have a job --<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>Konrad is sea captain. Never more than ten meters from his boat.<\/dialogue>\n    <character>KONRAD<\/character>\n    <dialogue>I do like my boat. Come, I'll show you.<\/dialogue>\n    <scene_description>Locking arms with Paul and speaking with sudden intimacy, Konrad leads him onto --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A135 EXT. DECK - NIGHT A135<\/stage_direction>\n    <scene_description>Konrad points out a YACHT in the marina below.<\/scene_description>\n    <character>KONRAD<\/character>\n    <dialogue>There she is -- Sonja, my beauty. An exact replica of an English yacht from 1927. You see, I am from many generations, all the way to my grandfathers and my father - all sea captains. I remember very well I was seven years old when my grandfather took me for the first time on his boat. I will never forget the rocking of the waves, the sound of the wind, the blackness of the water. From that moment I knew I would be a sea captain too.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>What brings you to Leisureland?<\/dialogue>\n    <character>KONRAD<\/character>\n    <dialogue>Dusan. He even convinced me to become small, mostly for the women and the parties. And, frankly, my wife had all the money, so after she left, things became, let's say, tricky.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I can relate.<\/dialogue>\n    <character>KONRAD<\/character>\n    <dialogue>It's really quite wonderful to be small, don't you think?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I'd say it has its pluses and minuses.<\/dialogue>\n    <character>KONRAD<\/character>\n    <dialogue>I am here in your city about once a year, always with Dusan. Next week I will be in the Seychelles, and two weeks after that I'll meet friends for a month of sailing on Lake Titicaca. Can you believe I've never been to Lake Titicaca?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Wait, how do you get your boat from place to place? You can't sail it.<\/dialogue>\n    <character>KONRAD<\/character>\n    <dialogue>Fed-Ex, my boy. Sonja travels faster than I do.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SITTING ROOM\/BILLIARD AREA - NIGHT<\/stage_direction>\n    <scene_description>Paul wanders around the party, an amiable smile on his face. He moseys into another room, where a handsome YOUNG MAN holds court. A small group of party-goers surround him, hanging onto his every word and laughing at his jokes. Paul joins them, standing at the back.<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>(to a guy)<\/parenthetical>\n    <dialogue>Who is that?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Who's that? That's Little Ronni.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Little Ronni?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>The first small baby ever born. You know, back in Norway.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Little Ronni? Holy shit. That's Little Ronni?<\/dialogue>\n    <scene_description>Paul gathers his courage and makes his way over to Ronni.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>I'm sorry to interrupt, but are you really Little Ronni?<\/dialogue>\n    <character>LITTLE RONNI<\/character>\n    <dialogue>Well, maybe not so little anymore, but yes, that's me.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Wow. Would you mind if I got a picture?<\/dialogue>\n    <scene_description>Paul holds out his phone for a selfie. Little Ronni gamely puts an arm around Paul and pulls him hard into his chest. Big smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INDOOR SWIMMING POOL - NIGHT<\/stage_direction>\n    <scene_description>Paul wanders down the steps toward the pool area, where revelers DANCE. There he watches Dusan dancing with complete abandon, king of the party, sandwiched between Mariette, whom he kisses open-mouthed, and another woman. Paul is approached by a hippie-ish YOUNG WOMAN, like one might meet at a jam-band concert. Paul returns her enigmatic smile. She hugs him and whispers in his ear.<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>(above the music)<\/parenthetical>\n    <dialogue>Thanks. So are you.<\/dialogue>\n    <scene_description>The woman begins dancing. Paul gamely joins in.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>I'm Paul. I live downstairs.<\/dialogue>\n    <scene_description>She removes a pill from a tiny case and offers it to him.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <scene_description>She wiggles her eyebrows suggestively.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>I need to know what it is. Allergies.<\/dialogue>\n    <scene_description>She places the pill on her extended tongue, sweetening the offer. Paul demurs. She shrugs and turns away.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Wait.<\/dialogue>\n    <scene_description>Paul turns her around and kisses her, sucking her tongue and the pill deeply into his mouth. He assumes there's more fun in store, but she just nods approvingly, strokes his cheek and dances away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUSAN'S BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>Locking the door, Paul sticks his finger down his throat in an unsuccessful attempt to induce vomiting.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUSAN'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>A circle of people converse in Greek. Paul wanders by, eyes wide, smiling, just enjoying the sounds.<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>I'm going to take off my shoes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INDOOR SWIMMING POOL - NIGHT<\/stage_direction>\n    <scene_description>Paul is peaking -- eyes shut, arms overhead, dancing to a rhythm only vaguely related to the music. Dusan wanders by.<\/scene_description>\n    <character>DUSAN<\/character>\n    <dialogue>Having a good time?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I just realized... There's no reason to be unhappy. I mean, I'm here in Leisureland, but really I'm everywhere. I'm connected to everybody. Everything's... just the way it's supposed to be.<\/dialogue>\n    <scene_description>PAUL'S DRUG-INDUCED POV -- streaked and vibrant. Dusan laughs, looking directly into camera.<\/scene_description>\n    <character>DUSAN<\/character>\n    <dialogue>Yes, baby! As long as the world is going to shit, let's make a little money and let's have a good time.<\/dialogue>\n    <parenthetical>(in Serbian)<\/parenthetical>\n    <dialogue>You're about to enter whole new world!<\/dialogue>\n    <scene_description>FADE OUT.: UNDER BLACK -- The sound of a DOORBELL.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUSAN'S LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>CLOSE on Paul passed out on the floor, wedged between a sofa and a coffee table. The doorbell rings again, startling him awake. PAUL'S POV -- Dusan's hairy legs stagger toward the door, stop short, then approach him.<\/scene_description>\n    <character>DUSAN (O.S.)<\/character>\n    <dialogue>Who is that? Who is down there?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>It's me, Paul.<\/dialogue>\n    <character>DUSAN (O.S.)<\/character>\n    <dialogue>Paul who? Who is Paul?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>From downstairs. You know, Paul.<\/dialogue>\n    <scene_description>The doorbell again.<\/scene_description>\n    <character>DUSAN<\/character>\n    <dialogue>Enough with the fucking doorbell!<\/dialogue>\n    <scene_description>He opens the door.<\/scene_description>\n    <character>WOMAN'S VOICE<\/character>\n    <parenthetical>(unusual Asian accent)<\/parenthetical>\n    <dialogue>Good morning, Mr. Dusan. We come clean for you.<\/dialogue>\n    <scene_description>Paul watches the legs of a small cleaning crew enter, his interest piqued by one person's crude PROSTHETIC FOOT.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUSAN'S KITCHEN - DAY<\/stage_direction>\n    <scene_description>Paul shuffles in to find Dusan rooting around.<\/scene_description>\n    <character>DUSAN<\/character>\n    <dialogue>Fucking hyenas ate everything. I am surprised there is even still water when I turn on the sink.<\/dialogue>\n    <scene_description>Paul sits on a stool, and Dusan pours him coffee. From the next room comes the sound of vacuuming.<\/scene_description>\n    <character>DUSAN<\/character>\n    <dialogue>So you had fun last night, yes? You did not know you were so lucky to have exciting neighbor such as me.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Never been to a party like that. So many Europeans. Did you know Little Ronni was here? I mean, he's historic.<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>And boring. Good looking dumb Norwegian guy goes around the world having sex with everybody -- women, men, hermaphrodites, dogs, goats, monkeys. He'll be the first small baby to die of syphilis. But yes, okay, historic.<\/dialogue>\n    <scene_description>Glancing into the next room, Paul notices that the one-legged woman is the one steering the vacuum cleaner.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Apparently he still lives in the original colony, you know, over in Norway. I've always wanted to see that.<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>It's all right.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You've been there?<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>I go once or twice a year. Konrad, too. We make business there. Good business.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Man, that really must be something to see. You can't even find pictures of it online.<\/dialogue>\n    <scene_description>Dusan studies Paul.<\/scene_description>\n    <character>DUSAN<\/character>\n    <dialogue>Yes, my friend. The world is filled with things to see. I don't know you, Paul, but I like you. I like you very much. And my advice is to get out of your disgusting little fucking apartment and open your eyes. Don't be so American. Why you even are small if you live like that, like a rat in a cage? And that ugly woman.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Kristen? She's not ugly.<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>Only your furniture is more ugly. You are nice guy, Paul, but little bit pathetic guy. You need help -- you know, how to think about life. Last night you dance and you laugh, but inside you cry.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Hey, who are you to talk to me like that?<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>I am your neighbor, Dusan Mirkovic. And neighbors are friends. And friends tell friends the truth. Okay, maybe sometimes I'm a little bit asshole, but the world needs assholes. Otherwise where would shit come out?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUSAN'S LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Paul sits with Dusan on the sofa. Dusan smokes a cigar. At some point Konrad wanders by on his way to get coffee.<\/scene_description>\n    <character>DUSAN<\/character>\n    <dialogue>When I see big people becoming small, all the new small cities, I see opportunity. I ask myself, Dusan, why the people they become small? To help the environment? Please. They become small to have the things which until now were only for the rich, which, by the way, is the genius of the concept. So I say to my brother Srdjan -- I work with my brother. He's still big.<\/dialogue>\n    <parenthetical>(low)<\/parenthetical>\n    <dialogue>My wife, too, by the way.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>(also low)<\/parenthetical>\n    <dialogue>Your wife? How does that work?<\/dialogue>\n    <scene_description>Dusan gives a quick, furtive \"thumbs-up\" sign accompanied by a satisfied nod.<\/scene_description>\n    <character>DUSAN<\/character>\n    <dialogue>So I say, why not bring very special items, luxury items, to the small consumer? The things no one else is thinking to bring?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Such as?<\/dialogue>\n    <scene_description>Dusan holds up his cigar.<\/scene_description>\n    <character>DUSAN<\/character>\n    <dialogue>Cohiba Espl\u00e9ndido. Cuba. The best cigar in the world. How much you pay for this when you are big?<\/dialogue>\n    <parenthetical>(Paul shrugs)<\/parenthetical>\n    <dialogue>Forty-five, fifty dollars. But when you are small, I will sell you this cigar for one dollar.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Still seems like a lot. I mean, a pack of cigarettes is what, twenty cents, most of it tax?<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>Not if you remember paying fifty dollars for the same cigar. If now you pay only one dollar, you say, I am so happy to be small! And from one Cohiba, we make more than 2000 cigars. Okay, maybe the cigars are not actually made in Cuba. Maybe they are rolled by little Albanians in Podgorica, but who cares? And this is just the one thing. Also perfumes and colognes, wines Bordeaux and Burgundy, brandies and Port and Calvados, caviar, jam\u00f3n ib\u00e9rico, truffles. My brother and I are now in seven small cities. All around the world. Seven.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Is all that legal?<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>Baby, this is Wild West time. Who has time to chase after some fucking Serbian guy five inches tall over a few cigars and some wine? And listen, Paul, anything you want, I can get for you. Anything, anytime.<\/dialogue>\n    <scene_description>Again Paul notices with concern the one-legged cleaning woman as she hobbles upstairs on her way to another room.<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>(rising)<\/parenthetical>\n    <dialogue>Excuse me a minute.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUSAN'S BATHROOM - DAY<\/stage_direction>\n    <scene_description>Paul appears in the doorway and finds the woman rummaging through Dusan's medicine cabinet and putting some items into her smock.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <scene_description>She spins around, startled. We may recognize her from the news report -- Vietnamese dissident NGOC LAN TRAN. Her green cap reads \"Jade Palace Cleansing Service.\"<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Can I talk to you for a minute?<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>These medicine too old. Too old. I clean, take away for you.<\/dialogue>\n    <parenthetical>(holding out a bottle)<\/parenthetical>\n    <dialogue>Na-pro-shien. What this do?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Naproxen. That's an anti- inflammatory.<\/dialogue>\n    <parenthetical>(off her blank stare)<\/parenthetical>\n    <dialogue>It helps with pain and swelling.<\/dialogue>\n    <scene_description>She pockets the bottle and picks up another.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>And this one, what this one do?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>That's... Vicodin. That's also a pain killer, but it's, well, you want to be careful with that one.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <parenthetical>(pocketing it)<\/parenthetical>\n    <dialogue>Pain killer? Pain killer good.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You know, this isn't my apartment, and I know you're probably in a lot of pain, but I don't think you should be stealing pills.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>I no steal. They too old, no good. Mr. Dusan, he say me okay I take away things. Pills for sick friend.<\/dialogue>\n    <parenthetical>(closing the cabinet)<\/parenthetical>\n    <dialogue>Okay, I finish now. Bathroom clean.<\/dialogue>\n    <scene_description>She pushes past Paul, and he follows her into --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A144 INT. DUSAN'S SECOND FLOOR HALLWAY - CONTINUOUS A144<\/stage_direction>\n    <character>PAUL<\/character>\n    <dialogue>Well, whatever's wrong with your \"friend,\" I see you have a really, really bad prosthetic foot. I'm sure it's causing pain in your right hip and knee, probably both knees. Lower back.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>How you know these things? You doctor?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I'm an occupational therapist. Wait a second. I know you. You're that -- Oh, my God, you're that woman from a couple years ago, the dissident. From Thailand or someplace. What's your name?<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Tran Ngoc Lan. Vietnam.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Yeah, right, I remember you lost your leg below the knee. That's you? Wow.<\/dialogue>\n    <parenthetical>(to Dusan and Konrad downstairs)<\/parenthetical>\n    <dialogue>Hey, Dusan, do you know who this is?<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>Yes, of course, the famous Ngoc Lan Tran. Dramatic escape from Vietnamese prison and almost died so that now she can clean my house. America, big land of opportunity!<\/dialogue>\n    <scene_description>Dusan and Konrad share a big laugh.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUSAN'S DINING ROOM - DAY<\/stage_direction>\n    <scene_description>Ngoc Lan sits in a chair while Paul cups a kneecap and manipulates the foreleg, then repeats the process with the other leg. Dusan and Konrad watch, as do, from afar, the rest of the cleaning crew. Ngoc Lan submits to the exam but seems more interested in Paul himself than in what he's saying.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Okay, I'm going to push down and you try to push up. Mm-hm. You've got some pretty severe asymmetrical muscle compensation.<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>Paul, you are full of surprises. You can do this but you work shit job answering phones?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>When I moved here, I didn't think I'd be working, so I let my license expire. And to get a license now in a different state... it's a boring story.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <parenthetical>(to the other cleaners)<\/parenthetical>\n    <dialogue>Hey, you no look me! You work now. Trabajo! Trabajo!<\/dialogue>\n    <scene_description>As they scatter, Paul places Ngoc Lan's hand on her own knee and moves her foreleg up and down.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You feel that crunching? That's arthritis. It's already pretty bad.<\/dialogue>\n    <parenthetical>(releasing it)<\/parenthetical>\n    <dialogue>I hate to say it, but if you don't take care of it, pretty soon you're going to need a new knee. And that's just for starters. Maybe a new hip too. You should see a specialist as soon as you can and get a whole new foot.<\/dialogue>\n    <scene_description>Ngoc Lan says nothing. Does she understand?<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>In the meantime, I could make a few adjustments to your existing prosthetic and give you some pointers on how to walk better. I hate to see you suffer needlessly after all you've been through.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Okay, I finish work you come with me.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Great. I'll just grab some tools and we can do it right here.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>No. I say you before my friend sick, need pills. You come with me my house help her. You help her.<\/dialogue>\n    <scene_description>This situation is getting confusing and weird.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>I'm sorry, I guess I wasn't clear. See, I can help you with this, but I'm not a doctor. Your friend, whatever's wrong with her, should go to a clinic or hospital.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Clinic no good! I take her clinic wait too long time. Stupid doctor say no help for her, no do nothing. He no good stupid doctor in big world, now he small. You come with me! You come with me now!<\/dialogue>\n    <scene_description>Paul looks to Dusan for help, but Dusan just shrugs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GONDOLA - DAY<\/stage_direction>\n    <scene_description>Paul, now cleaned up, rides with Ngoc Lan in a crowded car. The other PASSENGERS, many in work uniforms, are mostly Latino.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GONDOLA STATION - DAY<\/stage_direction>\n    <scene_description>Ngoc Lan and Paul exit the station amid a flow of humanity.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You live near here?<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Still far.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Maybe we should grab a car.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>No car. This way.<\/dialogue>\n    <scene_description>Ngoc Lan limps past him, pointing toward a shuttle stop where three BUSES are taking on passengers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FAR SIDE OF LEISURELAND - DAY<\/stage_direction>\n    <scene_description>The bus drives away from central Leisureland and enters a very modest section of town -- smallish houses, LATINO CHILDREN playing in the streets.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS - DAY<\/stage_direction>\n    <scene_description>Ngoc Lan and Paul have found a seat, but the aisle is packed. Buoyant RANCHERA MUSIC on the speakers contrasts with the weary faces of the passengers.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>If you don't mind my asking, you were so famous a couple years ago. Everybody was talking about you. I would've thought you'd be writing books and making speeches. I mean, how'd you wind up cleaning houses?<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Need money for live. After TV box I stay hospital so long time, almost die. Then three host family, but too much problems. Leisureland peoples too selfish. Better I live only me, work job make money.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>But after all you've been through, I would have thought for sure Tony Dale would have been happy to --<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Don't say me Tony Dale!<\/dialogue>\n    <parenthetical>(mocking)<\/parenthetical>\n    <dialogue>Tony Dale. Tony Dale.<\/dialogue>\n    <parenthetical>(a sudden tirade)<\/parenthetical>\n    <dialogue>Everybody say Tony Dale so nice guy, help people. I say he bad man, make Leisureland people selfish. I say you why Tony Dale still big? Be careful you ask him this. He no like this question. I ask him, he say me, \"You go back Vietnam TV box, you talk like this.\" He say me, \"I save your life my hospital, make you better, now why you make bad PR for me.\" He say me ungrateful. He say me selfish. He say me female dog!<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Female dog okay Vietnamese, but female dog English very bad name call woman. Tony Dale.<\/dialogue>\n    <scene_description>Paul nods politely at the outburst. Glancing outside, he notes that the bus is now passing through --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NO MAN'S LAND - DAY<\/stage_direction>\n    <scene_description>An area of undeveloped lots and fields. One entire square block has been removed, the resulting hole surrounded by safety barriers. NORMAL-SIZED MEN in hard hats work down below, only their heads visible above ground.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS - DAY<\/stage_direction>\n    <scene_description>Paul now cranes his neck to look through the front windshield and discovers that the bus is headed directly toward THE WALL encircling Leisureland.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FAR SIDE OF LEISURELAND - DAY<\/stage_direction>\n    <scene_description>The bus disappears into the wall's shadow and heads toward a TUNNEL in the wall. Graffiti around the entrance has made it look like the pupil of a giant eye.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS - DAY<\/stage_direction>\n    <scene_description>The bus motors through the darkness of the tunnel, finally emerging into the light.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WORKERS' CITY - DAY<\/stage_direction>\n    <scene_description>The bus comes to a stop, and Paul follows Ngoc Lan off. This is essentially a BORDER TOWN. Here the protective overhead netting hangs much lower and is poorly maintained -- Paul notices the sagging weight of a BIRD CARCASS. As Ngoc Lan leads him, he continues to take in a world he had no idea existed. Most imposing is the sight of -- NORMAL-SIZED TRAILERS of the sort used for portable classrooms or construction offices. Here they've been re-purposed into apartment buildings, with rows of tiny windows and crisscrossed bootleg wiring. Ngoc Lan leads Paul up the entrance ramp to one particular trailer named ALONDRA, dodging Spanish-speaking CHILDREN tobogganing past on normal-size bottle caps.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALONDRA APARTMENTS - DAY<\/stage_direction>\n    <scene_description>Stepping inside, Paul pauses to absorb the extraordinary interior view. Like inside an Embassy Suites or a high- security prison, walkways on every floor surround an ATRIUM. On the ground floor, RESIDENTS watch a 26\" television, which in this context rises three stories tall. The sound of a garish Spanish-language program echoes throughout. Ngoc Lan heads toward a staircase and begins to climb, her speed impressive.<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>(catching up)<\/parenthetical>\n    <dialogue>Can I ask how high we're going?<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Seven floor.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Isn't there an elevator?<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Elevator broken. You walk with me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALONDRA SEVENTH FLOOR - DAY<\/stage_direction>\n    <scene_description>Paul arrives out of breath, but Ngoc Lan seems fine. As they proceed down the walkway, Paul and Ngoc Lan navigate around chatting NEIGHBORS and CHILDREN at play. Murals and graffiti adorn the walls, and the rickety railings are reinforced with dental floss.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NGOC LAN'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Ngoc Lan and Paul enter this tiny apartment decorated with improvised furnishings -- a table made from a spray can lid, chairs carved out of champagne corks, curtains fashioned from old handkerchiefs. Most striking are the images of BUTTERFLIES cut from normal- size magazines used to cover the walls. Ngoc Lan pulls back a curtain to reveal GLADYS, a barely conscious Salvadoran woman lying on a piece of foam.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>This lady Gladys. Gladys my friend. She very sick.<\/dialogue>\n    <parenthetical>(loudly)<\/parenthetical>\n    <dialogue>Gladys, how you feel? \u00bfC\u00f3mo est\u00e1? \u00bfC\u00f3mo est\u00e1? I bring food for you. I bring doctor. This man doctor. Hombre m\u00e9dico. M\u00e9dico.<\/dialogue>\n    <scene_description>Gladys offers Paul a weak, hopeful smile.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>This lady Gladys alone, no have nobody. Husband die Mexico when they make small. Stupid people forget take out gold from teeth, head explode.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Husband head explode. Head explode. From teeth. She come here alone, no money. I meet her she work maid first host family, rich Leisureland people. Now she sick, no more work.<\/dialogue>\n    <parenthetical>(pointing)<\/parenthetical>\n    <dialogue>Okay you take care for her.<\/dialogue>\n    <scene_description>As Ngoc Lan goes to fill a pail from a crude faucet, Paul has a wave of panic and pulls her aside.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>I can't do anything for her. That woman is really sick. She looks like she might die.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Oh yes she die soon. Cancer. Cancer all over stomach. I be with her die. Most bad thing die alone.<\/dialogue>\n    <scene_description>Ngoc Lan kneels at Gladys's side and gives her water.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <parenthetical>(loud whisper)<\/parenthetical>\n    <dialogue>Come on, be like doctor. Make her feel good.<\/dialogue>\n    <parenthetical>(to Gladys)<\/parenthetical>\n    <dialogue>Hombre m\u00e9dico.<\/dialogue>\n    <scene_description>Paul draws a deep breath and assumes the role he's been asked to play, squatting down and dredging up his medical Spanish.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Hola, se\u00f1ora. \u00bfD\u00f3nde le duele?<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>Ay, doctor, me duele todo, todo. Ya no me queda mucho tiempo en esta vida.<\/dialogue>\n    <scene_description>Ngoc Lan reaches into her sack and begins placing bottle after bottle of drugs onto a table.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>Which pill good for her? How much she take?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I have no idea.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>But you know things. One, two, five, what? Which one most strong?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>That one. Percocet.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <parenthetical>(opening it)<\/parenthetical>\n    <dialogue>Yes, Percocet. Very good for pain.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Try two.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Two? This lady very sick. Pills old. Give four.<\/dialogue>\n    <scene_description>Paul helps her administer the pills.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>These are for the pain.<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>Gracias, doctor.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You rest now.<\/dialogue>\n    <scene_description>Gladys closes her eyes.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Have you been moving her around? You know, like every few hours? You don't want her to get bed sores.<\/dialogue>\n    <scene_description>Ngoc Lan shakes her head.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Here. Let's move her.<\/dialogue>\n    <scene_description>He instructs Ngoc Lan with gestures, and they begin to roll Gladys onto her side.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>See? You know things.<\/dialogue>\n    <scene_description>LATER -- Gladys now lies in a narcotized state.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>Thank you Mr. Dusan friend. You help Gladys good.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Now let's make those adjustments for you.<\/dialogue>\n    <parenthetical>(reaching for his tools)<\/parenthetical>\n    <dialogue>I'll just need you to remove your foot.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Not now. I very tired. You go away. I stay with Gladys. You go away now.<\/dialogue>\n    <scene_description>With no further ceremony, Ngoc Lan goes and busies herself in the kitchen.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Well. Some other time, I guess. I just don't know when I'm going to see you again.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>You come Thursday, okay? Thursday morning you fix leg. You come ten o'clock.<\/dialogue>\n    <scene_description>At a loss, Paul opens the front door.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>My name's Paul, by the way. Paul Safranek.<\/dialogue>\n    <scene_description>Ngoc Lan glances up and gives a little nod. Paul takes a last look at this strange creature, then leaves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALONDRA APARTMENTS - NIGHT<\/stage_direction>\n    <scene_description>It's dark now. As Paul exits the building, his attention is drawn by whooping and shouting. A jubilant GROUP OF MEN have just rolled up a normal-sized can of TECATE BEER. On the count of \"Uno, dos, tres,\" they hoist it up and begin to spin it and shake it. Finally, they drop it on the ground, and with practiced ease one of them punctures the can with a screwdriver, sending a geyser of beer high into the air. They roll the can this way and that to guide the spray into their mouths. Others laugh as they are hosed down with beer. Paul watches, wistful at the spectacle of this simple pleasure.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOLL-FREE CALL CENTER - DAY<\/stage_direction>\n    <scene_description>Paul squints at his monitor, painfully aware of the senselessness of his job.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Let's see. Extra Large is still available in glacier, pebble, tulip, cayenne, moss and aubergine.<\/dialogue>\n    <character>WOMAN (ON PHONE)<\/character>\n    <dialogue>Cayenne, is that like red?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>More of a brownish red. Like brick.<\/dialogue>\n    <character>WOMAN (ON PHONE)<\/character>\n    <dialogue>I don't like brick. Do you think moss is pretty?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You know, I don't know, lady. Could you please just pick a color?<\/dialogue>\n    <character>WOMAN (ON PHONE)<\/character>\n    <dialogue>Don't be short with me.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>What did you say?<\/dialogue>\n    <character>WOMAN (ON PHONE)<\/character>\n    <dialogue>Oooh, I see. You're small. You're one of those disgusting little small people.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>That's right. And you're extra large.<\/dialogue>\n    <scene_description>Paul tosses his headset on his desk and walks away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALONDRA SEVENTH FLOOR - DAY<\/stage_direction>\n    <scene_description>Carrying a small canvas bag, Paul knocks on Ngoc Lan's door. Soon Ngoc Lan opens it and invites Paul in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NGOC LAN'S APARTMENT - CONTINUOUS<\/stage_direction>\n    <scene_description>Upon entering Paul notices that Gladys is gone.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Where's Gladys?<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>She die.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Oh, no. I'm so sorry.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>I think maybe I give her too much pills. Anyway, she die very happy smiling.<\/dialogue>\n    <scene_description>Appalled, Paul musters a strained smile. Ngoc Lan sits and loosens her leg.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>Okay, you fix my foot quick. You do quick. One hour. Must clean house soon.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I can't exactly fix it, but I can make a few adjustments, and I can give you some pointers on how to walk better. It's a process. And I think I found the right orthopedist for you.<\/dialogue>\n    <scene_description>Ngoc Lan slides the prosthesis off and hands it over. LATER -- Paul works on the crudely constructed foot, pushing and pulling on the hinges and springs. Now on CRUTCHES, Ngoc Lan manages to bring him a cup of tea.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Oh, thank you. Very nice.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>You finish soon okay? I very busy. Go work soon.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I'm getting there.<\/dialogue>\n    <scene_description>Ngoc Lan sits.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>I guess you like butterflies.<\/dialogue>\n    <parenthetical>(pointing at the walls)<\/parenthetical>\n    <dialogue>Butterflies.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Yes I like very much. When I little girl my father she take with my sister see butterfly. Near my village they come live trees. You know, fly from cold place to hot place every year. Live trees near village then go away come back.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Oh, migrating butterflies. Sounds beautiful.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Yes so many butterfly in tree very beautiful. I no forget. So many color.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>How do you say butterfly in Vietnamese?<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Con bu'\u00f3'm.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Kon booyem.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <parenthetical>(amused)<\/parenthetical>\n    <dialogue>Con bu'\u00f3'm.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You must miss your village.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>No more village. Government make people go away put water all over village, all over everywhere. Too much water.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Too much water?<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Big water make electricity.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>A dam.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Yes, dam. They make dam. Many villages no more. This why I go prison. Me my sister make big protest.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Huh. What happened to your sister?<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>She die prison. Too much cold. Chest fill up bad. She die.<\/dialogue>\n    <scene_description>A solemn moment passes. Then Paul applies extra force to a stubborn coupling and -- KKRCH! -- the joint pops apart and the entire prosthetic collapses in his hands.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>What happen?<\/dialogue>\n    <scene_description>Paul tries awkwardly to shield the broken foot from view.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Nothing, I think I just --<\/dialogue>\n    <scene_description>A spring and a bolt or two drop noisily onto the floor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALONDRA APARTMENTS - DAY<\/stage_direction>\n    <scene_description>Paul carries Ngoc Lan piggy-back down the stairs. She clutches her crutches.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>You stupid man! You say help me. This no help! You break my foot!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You're just lucky it didn't fail while you were walking down these stairs. You could've broken your neck!<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Many people depend for me! I okay before, walk around good. Even I forget I have no foot. Now you come, make my life more harder!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You needed a new foot anyway. We're going to get you a good one. Is that so hard to understand? Jesus!<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>No say Jesus bad way!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Now I'm supposed to watch my language? What am I, twelve? You're worse than my mother.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>I feel sorry for your mother! I sure she suffer too much for your fault.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUXURIOUS HOUSE LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>CLOSE on a vacuum cleaner. WIDE -- Paul is the one guiding it, now wearing a \"Jade Palace Cleansing Service\" cap. Ngoc Lan sits nearby.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>No do so fast! Vacuum cleaner need time same direction clean good.<\/dialogue>\n    <scene_description>He shoots her a resentful glance, then notices other CREW MEMBERS whispering to each other and laughing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUXURIOUS HOUSE KITCHEN - DAY<\/stage_direction>\n    <scene_description>Paul cleans the stove. Ngoc Lan sits on a chair helping the LADY OF THE HOUSE go through the refrigerator as they pull out leftovers and stack them in a box.<\/scene_description>\n    <character>LADY OF THE HOUSE<\/character>\n    <dialogue>And you can take this -- that's turkey casserole from a couple days ago. These avocados are a bit soft, but --<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Thank you, yes. I take all these.<\/dialogue>\n    <character>LADY OF THE HOUSE<\/character>\n    <parenthetical>(a Tupperware container)<\/parenthetical>\n    <dialogue>I think this one's leftover pasta. It might be a little too old.<\/dialogue>\n    <scene_description>Ngoc Lan peels open the lid and peers inside.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>In prison we die for such food.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. T.G.I. FRIDAYS - DAY<\/stage_direction>\n    <scene_description>Ngoc Lan waits in a car outside this downsized version of the familiar franchise. Accompanied by the manager ROGER, Paul exits the front door and heads toward the car. Both carry take-out food containers. Paul opens the trunk.<\/scene_description>\n    <character>ROGER<\/character>\n    <parenthetical>(to Ngoc Lan)<\/parenthetical>\n    <dialogue>Not too many leftover entr\u00e9es today, but I threw in lots of baked potato soup.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Thank you, Roger.<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>Finally got yourself a helper, huh, Ngoc Lan?<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>This Paul. He break my foot.<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>How'd you manage that, buddy?<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>He stupid.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Long story. We're sorting it out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALONDRA APARTMENTS LOBBY - NIGHT<\/stage_direction>\n    <scene_description>Ngoc Lan threads her way on crutches through TV VIEWERS in the atrium. Some call out warm greetings. Paul follows with trays of left-over food. They reach SE\u00d1OR CARDENAS, a frail old man dozing in a wheelchair. Ngoc Lan gives him a gentle nudge.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>Hola, Se\u00f1or C\u00e1rdenas. \u00bfHambre?<\/dialogue>\n    <character>SE\u00d1OR C\u00c1RDENAS<\/character>\n    <dialogue>Ay, s\u00ed, chinita. Gracias.<\/dialogue>\n    <scene_description>She places food from Paul's stack on the old man's lap.<\/scene_description>\n    <character>SE\u00d1OR C\u00c1RDENAS<\/character>\n    <dialogue>God will repay you.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>How's your lung? How's your lung?<\/dialogue>\n    <character>SE\u00d1OR CARDENAS<\/character>\n    <dialogue>A little better today, gracias.<\/dialogue>\n    <scene_description>Ngoc Lan nods approvingly.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>Okay over here next. This way.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANOTHER APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>A MOTHER lifts her nine-year-old SON's shirt to reveal red circles on his chest and back. The woman's HUSBAND looks on. Ngoc Lan looks to Paul for a verdict.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Ouch. Okay. That looks painful. Mucho dolor, verdad?<\/dialogue>\n    <character>SON<\/character>\n    <dialogue>S\u00ed.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>I give him baths and scrub him and put herbs, but nothing helps.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I bet that's ringworm. I don't know how to say that in Spanish.<\/dialogue>\n    <parenthetical>(thinking)<\/parenthetical>\n    <dialogue>Ringworm's a fungus, so... No ba\u00f1o. No ba\u00f1o. No agua. Seco. Seco.<\/dialogue>\n    <parenthetical>(to Ngoc Lan)<\/parenthetical>\n    <dialogue>Maybe I can find something at the drugstore and bring it for him tomorrow.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Yes, you bring.<\/dialogue>\n    <parenthetical>(to the woman)<\/parenthetical>\n    <dialogue>Ma\u00f1ana medicina.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Ma\u00f1ana medicina.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALONDRA SECOND-FLOOR CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>Ngoc Lan and Paul stand at an open door, distributing the last of the food to unseen recipients.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>That's it, right? Ready to go home?<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Now we go church pray Jesus.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PENTECOSTALIST CHURCH - NIGHT<\/stage_direction>\n    <scene_description>PARISHIONERS sing a hymn. Some shake tambourines. Trying to be a good sport, Paul stands next to Ngoc Lan, but he has never been more out of his element.<\/scene_description>\n    <character>HYMN (V.O.)<\/character>\n    <dialogue>Jesucristo es el Se\u00f1or. Jesucristo es el Se\u00f1or...<\/dialogue>\n    <scene_description>LATER -- The Spanish-speaking MINISTER shouts into a microphone, his words distorted by a cheap amp. The faithful sway back and forth, eyes closed, one hand raised, Ngoc Lan among them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALONDRA APARTMENTS - NIGHT<\/stage_direction>\n    <scene_description>Paul carries Ngoc Lan piggy-back upstairs.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>You come back tomorrow morning pick me up. Eight o'clock.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Yeah, okay. I'll be there.<\/dialogue>\n    <scene_description>Paul loses his balance for a moment.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>Careful!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I got you. Stop shifting around!<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUSAN'S HALLWAY - DAY<\/stage_direction>\n    <scene_description>CLOSE on a door and the sound of a familiar doorbell.<\/scene_description>\n    <character>DUSAN (O.S.)<\/character>\n    <dialogue>Okay, okay! I'm coming!<\/dialogue>\n    <scene_description>The door is opened by an unshaven, hungover Dusan, who looks into camera and dissolves into laughter. REVERSE ANGLE -- It's Ngoc Lan and her cleaning crew, among them a fully uniformed and humiliated Paul.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>Good morning, Mr. Dusan. We come clean for you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUSAN'S APARTMENT - CONTINUOUS<\/stage_direction>\n    <scene_description>As the crew enter and disperse to clean up the post-party mess, we see that Ngoc Lan now sports a PEG LEG. Dusan puts his arm around Paul's shoulder.<\/scene_description>\n    <character>DUSAN<\/character>\n    <dialogue>Answering phones was not dignified enough for you, I see. Now you progress to cleaning toilets. I love you, Paul. I really love you. You are such a funny guy.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Yeah. Hilarious.<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>Like I said, Paul, you are too much nice guy and little bit pathetic guy.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Well, I broke her damn foot! What am I supposed to do?<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>This is absolutely fantastic.<\/dialogue>\n    <parenthetical>(yelling)<\/parenthetical>\n    <character>DUSAN<\/character>\n    <dialogue>Konrad, Konrad! You must come see something! This is so fucking funny!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>It's just until she gets a new foot.<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>And how long will that be?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I don't know. The doctor said a month, maybe six weeks.<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>That's an eternity.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Meantime she's stuck with a peg leg, which is almost worse than nothing at all. She's waddling around like a goddamned pirate!<\/dialogue>\n    <character>NGOC LAN (O.S.)<\/character>\n    <dialogue>Paul! No talk with Mr. Dusan! You go upstairs with Ver\u00f3nica!<\/dialogue>\n    <scene_description>Paul is trained to obey but hesitates under Dusan's gaze.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>Paul!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I heard you!<\/dialogue>\n    <scene_description>As Paul trots off, Dusan doubles over.<\/scene_description>\n    <character>DUSAN<\/character>\n    <dialogue>Don't worry, Paul. Dusan will save you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUSAN'S KITCHEN - DAY<\/stage_direction>\n    <scene_description>Ngoc Lan sorts through leftovers, muttering to herself.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>This good... I take this...<\/dialogue>\n    <parenthetical>(smelling a box)<\/parenthetical>\n    <dialogue>Ooh, this throw away... This, I don't know what this is.<\/dialogue>\n    <scene_description>Dusan and Konrad enter behind her.<\/scene_description>\n    <character>DUSAN<\/character>\n    <dialogue>Yes, please, Miss Tran, take everything. Mr. Konrad and I are leaving day after tomorrow and don't know when we will be back.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Okay good. Thank you.<\/dialogue>\n    <scene_description>Dusan motions for Paul to join them.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>Paul, Mr. Dusan say I take food. You go find big box.<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>Yes, in a minute. First there's something very important to discuss.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <parenthetical>(turning around)<\/parenthetical>\n    <dialogue>Yes?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUSAN'S KITCHEN TABLE - DAY<\/stage_direction>\n    <scene_description>The four have gathered for a talk around the table.<\/scene_description>\n    <character>DUSAN<\/character>\n    <dialogue>Listen, here is the situation. I don't know exactly what, but something big -- very big -- is happening at the original small colony. You know, the one in Norway. They want me to go there right away with a very important delivery. Too complicated to explain. Top secret and very urgent. Most important they are offering us very big money.<\/dialogue>\n    <character>KONRAD<\/character>\n    <dialogue>Very big.<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>This means we need extra help to do this quickly and make them happy. And I'm sorry to say, we need the same excellent helper who is currently helping you.<\/dialogue>\n    <parenthetical>(pointing at Paul)<\/parenthetical>\n    <dialogue>Him.<\/dialogue>\n    <scene_description>The room falls silent as Ngoc Lan lets this sink in.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Yes, Ngoc Lan, I have to go to Norway with these guys.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>So... you say... Paul go with you Norway?<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>Yes, that is the situation. Emergency situation.<\/dialogue>\n    <character>KONRAD<\/character>\n    <dialogue>And deeply humanitarian.<\/dialogue>\n    <scene_description>Instead of arguing, Ngoc Lan remains subdued.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>Paul, you want go Mr. Dusan Norway?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>That's what I just said. I mean, look, Ngoc Lan, I'll still be able to help one-hundred-percent when I get home and when you get your new foot, and --<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>You leave Wednesday?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>And how long you go?<\/dialogue>\n    <scene_description>Paul looks to the men for help.<\/scene_description>\n    <character>KONRAD<\/character>\n    <dialogue>At least ten days. Maybe more.<\/dialogue>\n    <scene_description>Ngoc Lan performs mental calculations, then smiles.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>Yes, okay, Norway. I go Norway too.<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>No, no, no, not you. Only Paul.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>I go Norway too. Paul, you help me during trip.<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>But you're very busy here with humanitarian activities of your own. And your cleaning business.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Ver\u00f3nica and other ladies know every place. They do for me, I pay them good. No problem I go.<\/dialogue>\n    <parenthetical>(cheery now)<\/parenthetical>\n    <dialogue>Norway colony peoples invite me so many time but I never go. Feel so, so guilty. They so nice peoples.<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>What? Who invited you?<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>When I hospital so long time after TV box, people all over world send me happy card, flower, candy, make me feel good. So many letter. One letter very special I never forget. From Jorgen Asbj\u00f8rnsen.<\/dialogue>\n    <scene_description>Tears well up in her eyes. The men exchange panicked looks.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>Dr. Asbj\u00f8rnsen she write me say he feel so, so bad I suffer for his fault. He say he painful, he never think make small so bad for people. Dr. Asbj\u00f8rnsen letter make me feel so better. I write letter too, say now first time I proud be small. So good man. He say me make trip go Norway any day. But I too busy, always too busy. Now Jesus give me beautiful gift, go Norway. Thank you Mr. Dusan, thank you Mr. Konrad. Yes, yes, I go Norway. So happy.<\/dialogue>\n    <parenthetical>(crying)<\/parenthetical>\n    <dialogue>Thank you special time.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NORWEGIAN FJORD - DAY<\/stage_direction>\n    <scene_description>Stunning views of the lush valley of an ocean inlet. Radiant colors reflect off high, verdant cliffs. Konrad's yacht cruises up the fjord towing a barge loaded with cargo, including huge, normal-sized bottles of VODKA.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KONRAD'S YACHT - DAY<\/stage_direction>\n    <scene_description>Paul stands at the prow, the wind in his hair, Ngoc Lan beside him. Paul looks up at the wheel house, where Konrad is at the helm chatting with Dusan. Then he looks down at Ngoc Lan's PEG LEG. It's all so odd, so unexpected.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. REAR DECK - SUNSET<\/stage_direction>\n    <scene_description>From a distance, we see Paul, Ngoc Lan, Dusan and Konrad dining together, enjoying the splendid view. Dusan clowns to the delight of the others, and Ngoc Lan seems unusually relaxed and happy.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CABIN HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Paul helps Ngoc Lan down the steps to the sleeping area, and she opens the door to her cabin.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>Good night, Paul. I'm sure you have very much work to do with Dusan Konrad. Very important job only you can do.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Um, yeah. Well --<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>I know you no like cleaning. I too big boss, you try run away from me.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>No, no. That's not --<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>No good lie me. Jesus my friend. He always say me truth.<\/dialogue>\n    <scene_description>Paul squints at her. Is she for real? Then Ngoc Lan laughs -- an endearing honk.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Do you want help with your leg?<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>I take care myself. Good night, Paul.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Good night. Sleep well.<\/dialogue>\n    <scene_description>Paul watches her go, surprised by sudden pangs of longing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAUL'S CABIN - NIGHT<\/stage_direction>\n    <scene_description>Paul awakens when the engine suddenly cuts, and the boat slows to a stop. Voices and footsteps follow. Paul rises to peer out his tiny porthole. In the moonlight he makes out a SKIFF pulling alongside the yacht and TWO NEW PASSENGERS helped off the skiff and onto the yacht.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KONRAD'S YACHT - DAY<\/stage_direction>\n    <scene_description>An unshaven Paul emerges onto the deck and is about to head to the wheelhouse when he notices -- NGOC LAN and an ELDERLY MAN AND WOMAN seated on the rear deck, conversing. The woman leans forward to clasp one of Ngoc Lan's hands in empathy and consolation. Paul makes his way astern.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>Look, Paul. This Jorgen Asbj\u00f8rnsen. And her wife.<\/dialogue>\n    <scene_description>Upon meeting the Asbj\u00f8rnsens again, we see that the years of stress have not been kind.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Oh, my God. Jorgen Asbj\u00f8rnsen. Hello. This is such an honor.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>See, Paul? Jesus smile for me.<\/dialogue>\n    <parenthetical>(to the Asbj\u00f8rnsens)<\/parenthetical>\n    <dialogue>I say Paul I want visit Norway only meet you.<\/dialogue>\n    <character>ANNE-HELENE<\/character>\n    <dialogue>I'm Anne-Helene. Please, sit. Join us. We're watching the world go by.<\/dialogue>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <dialogue>You've no idea how terribly grief- stricken we were by Miss Tran's case.<\/dialogue>\n    <character>ANNE-HELENE<\/character>\n    <dialogue>Yes. Jorgen has lost so much sleep over all the abuses.<\/dialogue>\n    <parenthetical>(to Ngoc Lan)<\/parenthetical>\n    <dialogue>It's such a pleasure to meet you at last. I just can't tell you.<\/dialogue>\n    <scene_description>A few moments of quiet as all take in the surroundings.<\/scene_description>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <dialogue>It's humbling, no? Nature is such a patient sculptor -- grinding a tiny bit each day slowly, slowly for thousands of years to make such a supremely beautiful thing.<\/dialogue>\n    <parenthetical>(overcome with sadness)<\/parenthetical>\n    <dialogue>What a waste. What a dreadful waste.<\/dialogue>\n    <scene_description>Dr. Asbj\u00f8rnsen rises and shuffles away, muttering to himself in Norwegian.<\/scene_description>\n    <character>ANNE-HELENE<\/character>\n    <dialogue>You'll have to excuse Jorgen. These past few days have been especially hard. Such a big decision to make. And so quickly. Normally when we visit the Colony, we like to take the train and spend a few days in Narvik. But then the news came and, well, here we are, suddenly imposing on you. We scarcely had time to pack.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I'm sorry, but what news?<\/dialogue>\n    <character>ANNE-HELENE<\/character>\n    <dialogue>Why, the methane release. In Antarctica. You must know about the methane.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Sure... But that's not new, right? I mean --<\/dialogue>\n    <character>ANNE-HELENE<\/character>\n    <dialogue>New or old, it's the end. The end of everything.<\/dialogue>\n    <parenthetical>(rising)<\/parenthetical>\n    <dialogue>I'm sorry, I should check on Jorgen.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GALLEY - DUSK<\/stage_direction>\n    <scene_description>All aboard have gathered for dinner around a table and listen intently to the great man in their midst.<\/scene_description>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <dialogue>The Earth has already seen five major extinctions, and now there will be another. I didn't want to believe it, none of us did. But there we were in Helsinki, big and small -- climatologists, biologists, physicists, demographers, immunologists, 26 Nobel Prize winners among us. We built all the models, did all the math, and the conclusion was consistent. Homo Sapiens will soon vanish from the Earth. The only question is when. Some say 500 years. Some say sixty. Now with the terrible spike in methane release, it's out of our grasp. Regardless how the end will come -- unbreathable air, impotable water, incurable disease, environmental catastrophe, nuclear winter, likely a combination of them all -- relatively soon the Earth will indeed purge itself of human life, and God knows how many other species. It is now an actuarial certainty.<\/dialogue>\n    <scene_description>His mind reeling, Paul looks at Ngoc Lan. She has been listening quietly, but tears flow down her face.<\/scene_description>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <parenthetical>(pouring himself a drink)<\/parenthetical>\n    <dialogue>Not a very successful species, these Homo Sapiens, even with such great intelligence. Barely 200 thousand years. Alligator has survived 200 million years with a brain the size of a walnut.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Do you really mean extinction? What about downsizing?<\/dialogue>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <dialogue>Yeah, yeah, too little too late. Only 3% of the world has miniaturized. There simply isn't enough time. Yes, extinction is exactly the correct word.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DECK - DUSK<\/stage_direction>\n    <scene_description>Paul and Ngoc Lan lean against the railing, soothed by the stars and the wind.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>People have been predicting the end of the world for thousands of years, and now it's really happening. I guess somebody had to be right someday.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>So sad. Very sad.<\/dialogue>\n    <scene_description>They gaze at the moonlit landscape. The moment is ripe for love. Ngoc Lan looks at Paul, hoping he'll sense her need, but he seems oblivious, and she starts to walk away.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>Sleep now. Good night, Paul.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Good night, Ngoc Lan.<\/dialogue>\n    <scene_description>Surprised by her abrupt departure, Paul watches her go. Then she pauses, emitting a barely audible grunt of pain.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>I fine.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Maybe I should take a look.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Okay. Yes. You look.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NGOC LAN'S CABIN - NIGHT<\/stage_direction>\n    <scene_description>Ngoc Lan lies on the bed with one pant leg rolled up.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Yeah, that peg's making the socket chafe a little.<\/dialogue>\n    <scene_description>Paul squeezes lotion into his palm and begins to massage the tender skin of Ngoc Lan's stump.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You know, if someone had told me five years ago that one day I'd be four inches tall, divorced, helping a famous Vietnamese dissident get a new foot, and cruising up a fjord in Norway discussing the end of the world with Jorgen Asbj\u00f8rnsen, I would have said he was crazy.<\/dialogue>\n    <scene_description>Paul notices she hasn't been listening. Her eyes are closed, and her head is tipped back. She moans slightly. Paul stops massaging. Ngoc Lan opens her eyes just enough to give him a look, then closes them again. Summoning his courage, he lies down next to her and plants his lips on hers. She's stiff and unresponsive, so he stops.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>I'm sorry. I thought... Jesus, I'm such an idiot.<\/dialogue>\n    <scene_description>Ngoc Lan opens her eyes and gives Paul a look at once fierce and vulnerable.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>No. Please. I want.<\/dialogue>\n    <scene_description>Paul draws a deep breath, eases his way close again and gives her a few gentle kisses. Ever so slowly, she reciprocates. FADE OUT.: UNDER BLACK -- A STRANGE SOUND -- OOOOEEEEOOOOO.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KONRAD'S YACHT - MORNING<\/stage_direction>\n    <scene_description>Zipping up parkas as they emerge onto the deck, Ngoc Lan and Paul discover a different landscape. The walls of the fjord are narrower, the terrain even lusher.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHEEL HOUSE - MORNING<\/stage_direction>\n    <scene_description>As Paul and Ngoc Lan enter, Konrad and Dusan exchange a knowing look. There are no secrets on a boat. OOOEEEEOOOOOO!<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>What's that sound?<\/dialogue>\n    <character>KONRAD<\/character>\n    <dialogue>A greeting.<\/dialogue>\n    <scene_description>Konrad blasts the foghorn in response. When Ngoc Lan looks away, Dusan gives Paul a wink and makes a crude gesture. Paul responds with a glare that says, \"Cool it.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ISLAND IN THE FJORD - MORNING<\/stage_direction>\n    <scene_description>A tiny BEARDED MAN in rustic clothing stands on a cliff blowing into a lacquered SNAIL SHELL. OOOEEEEOOOOOO!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PORT - DAY<\/stage_direction>\n    <scene_description>Motoring into a bay, the boat approaches a loading dock. A few downsized fishing boats are moored in the harbor, their prows carved into dragon heads as an homage to Viking heritage. No dwellings are in sight -- just the dock, two cargo cranes, and a road leading away from port. HORSE-DRAWN CARTS with DRIVERS await the yacht's arrival.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KONRAD'S YACHT - DAY<\/stage_direction>\n    <scene_description>Dusan stands with Paul and Ngoc Lan at the railing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLSIDE ROAD - DAY<\/stage_direction>\n    <scene_description>Harnessed horses pull a wooden cart up a steep series of switchbacks. Paul, Ngoc Lan, Dusan and the Asbj\u00f8rnsens ride together in back. In the distance below, cranes unload the yacht's cargo.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CART - DAY<\/stage_direction>\n    <scene_description>Ngoc Lan is staggered by the immediacy and immensity of nature from a small perspective -- trees tall as mountains, leaves broad as sails. Paul shares the feeling but even more delights in watching Ngoc Lan.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>I think never in my life I will see some place so beautiful again.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLTOP - DAY<\/stage_direction>\n    <scene_description>The cart crests a hill and pauses to enjoy the remarkable view. A lush valley cradles a village surrounded by tiered fields. Near the village are larger, more modern buildings.<\/scene_description>\n    <character>ANNE-HELENE<\/character>\n    <dialogue>All this land -- everything you see -- belonged for centuries to the Edvardsen family. It was Nellie Edvardsen's granddaughter Solveig who arranged for us to use this place for our settlement.<\/dialogue>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <dialogue>Solveig will remind you of this many times.<\/dialogue>\n    <character>ANNE-HELENE<\/character>\n    <dialogue>Jorgen.<\/dialogue>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <parenthetical>(with distaste)<\/parenthetical>\n    <dialogue>Solveig.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>So that's it. The colony. And that's the original dome. Wow.<\/dialogue>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <dialogue>We use it now as a social hall and fitness center, but yes, this is where we started.<\/dialogue>\n    <character>ANNE-HELENE<\/character>\n    <dialogue>It was a wonderful time. Remember, Jorgen?<\/dialogue>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <parenthetical>(wistful)<\/parenthetical>\n    <dialogue>I remember.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLAGE - DAY<\/stage_direction>\n    <scene_description>The cart passes through a gate and into the settlement, a marriage between a traditional Scandinavian village and a modern eco-commune. The residents' appearance suggests a life of communal values and harmony with nature -- long hair, sandals, beards, ruddy cheeks, rustic garments. ALL RACES are represented. There's a sense of urgency among the villagers as they bustle about, but they're not too busy to cheer the Asbj\u00f8rnsens as they pass. The couple respond humbly with smiles and waves.<\/scene_description>\n    <character>CROWD<\/character>\n    <dialogue>Papa Jorgen! Mama Anne-Helene!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE SHED - DAY<\/stage_direction>\n    <scene_description>The cart stops near a large, weathered SHED built into the side of a hill. A small welcoming party of SCIENTISTS and ENGINEERS greet the new arrivals.<\/scene_description>\n    <character>SOLVEIG (O.S.)<\/character>\n    <dialogue>Jorgen, Anne-Helene! Oh, thank God you've arrived! Why didn't anyone tell me?<\/dialogue>\n    <scene_description>All turn to see SOLVEIG EDVARDSEN running toward them. A plus- sized Norwegian woman in her 60s, she's hiking up the hem of her long, flowing garments to avoid the mud.<\/scene_description>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <parenthetical>(smiling stiffly)<\/parenthetical>\n    <dialogue>Solveig.<\/dialogue>\n    <scene_description>Solveig makes a big show of embracing the Asbj\u00f8rnsens, drawing them into her ample bosom.<\/scene_description>\n    <character>SOLVEIG<\/character>\n    <dialogue>I love you. I love you both so much. Ever since the decision, I didn't feel right without you here. And you know how I am when I worry. I can't eat. I can't sleep. Ask anyone here, they'll tell you. My stomach has been so upset, like I want to throw up all the time, but can't. And I've had an awful headache that just won't go away. I know you know about my headaches. I love you so much. Thank God you're here -- I feel so much better now, like a big release.<\/dialogue>\n    <scene_description>A FELLOW SCIENTIST comes to the rescue.<\/scene_description>\n    <character>FELLOW SCIENTIST<\/character>\n    <dialogue>Sorry to interrupt, Jorgen, but we need your advice immediately.<\/dialogue>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <dialogue>Yes, yes. Excuse us, Solveig.<\/dialogue>\n    <character>SOLVEIG<\/character>\n    <dialogue>Of course, darling. You've got important things to do. I love you. You're a genius.<\/dialogue>\n    <character>ANNE-HELENE<\/character>\n    <parenthetical>(heading away too)<\/parenthetical>\n    <dialogue>You look wonderful, Solveig.<\/dialogue>\n    <character>SOLVEIG<\/character>\n    <dialogue>Really? I do? You really think so?<\/dialogue>\n    <character>ANNE-HELENE<\/character>\n    <dialogue>Wonderful.<\/dialogue>\n    <character>SOLVEIG<\/character>\n    <parenthetical>(grateful)<\/parenthetical>\n    <dialogue>Oh, honey.<\/dialogue>\n    <scene_description>Unplugged from the attention she craves, Solveig latches onto the other new arrivals.<\/scene_description>\n    <character>SOLVEIG<\/character>\n    <dialogue>Dusan, Dusan, dear Dusan. Bless you for coming so quickly. I love you.<\/dialogue>\n    <character>DUSAN<\/character>\n    <parenthetical>(kissing her cheeks)<\/parenthetical>\n    <dialogue>Solveig, my darling, I am always happy to help -- in difficult times, in easy times, in happy times. Is always a pleasure to visit you and your lovely village.<\/dialogue>\n    <character>SOLVEIG<\/character>\n    <dialogue>It is lovely, isn't it? I can't bear to think I won't see it again.<\/dialogue>\n    <parenthetical>(to Paul and Ngoc Lan)<\/parenthetical>\n    <dialogue>You know, I'm the one who made this colony possible in the first place. I've been coming since I was just a baby. Papa used to fly us here every summer in his float plane. I remember one time --<\/dialogue>\n    <parenthetical>(to Paul)<\/parenthetical>\n    <dialogue>Wait. I know you.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Me?<\/dialogue>\n    <character>SOLVEIG<\/character>\n    <parenthetical>(gripping his arm)<\/parenthetical>\n    <dialogue>I'm sure of it.<\/dialogue>\n    <character>SOLVEIG<\/character>\n    <dialogue>You were in my dream last night. I was a little girl, and I was afraid and lonely, but there you were, walking beside me.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Are you sure it was me? Because we've never --<\/dialogue>\n    <character>SOLVEIG<\/character>\n    <dialogue>You were a horse or a pony -- something very strong -- and I instantly felt better. Then I mounted you and rode you through a dangerous forest. And here you are. Right before we leave. Another miracle. You are coming with us, aren't you?<\/dialogue>\n    <character>DUSAN<\/character>\n    <parenthetical>(jumping in)<\/parenthetical>\n    <dialogue>Solveig, darling, listen, we love you, but my friends and I are just here for the delivery, and then we must go home.<\/dialogue>\n    <character>SOLVEIG<\/character>\n    <dialogue>That's really so sad. We'd love it if you'd join us.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I'm sorry, did you say you're leaving?<\/dialogue>\n    <character>SOLVEIG<\/character>\n    <dialogue>Oh. Yes. All of us. Didn't anyone tell you?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Where are you going?<\/dialogue>\n    <scene_description>Solveig points at the shed -- isn't it obvious?<\/scene_description>\n    <character>SOLVEIG<\/character>\n    <dialogue>In there. Would you like to see?<\/dialogue>\n    <parenthetical>(leading them, to Dusan)<\/parenthetical>\n    <dialogue>You did remember my hand cream, didn't you? I couldn't survive without it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE SHED - DAY<\/stage_direction>\n    <scene_description>Solveig escorts the group inside. To Paul and Ngoc Lan's surprise, they find that the rustic shelter conceals the entrance to -- A LARGE TUNNEL, disappearing into the mountain like a mine shaft.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>Where it go?<\/dialogue>\n    <character>SOLVEIG<\/character>\n    <dialogue>To China!<\/dialogue>\n    <parenthetical>(giggling)<\/parenthetical>\n    <dialogue>I'm sorry, forgive me. Sometimes I'm so silly. No, to the vault.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>The vault?<\/dialogue>\n    <character>SOLVEIG<\/character>\n    <dialogue>Oh, yes. We've been working on it almost since the very beginning. Actually, not many people know this, but it was my idea<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>Of course it was. You're always thinking ahead.<\/dialogue>\n    <character>SOLVEIG<\/character>\n    <dialogue>When Jorgen made his big discovery, I said, look, Jorgen, you're a genius, and downsizing is a genius idea. No one's questioning that. No one. But what if people don't accept it? What if it doesn't catch on in time? Look at me -- you know, it took me years before I did it. I had to sell my antiques and find homes for my cats. They're very old and one of them is diabetic, needs two shots every day. It was a complete nightmare. Anyway, this is what they came up with. On my suggestion.<\/dialogue>\n    <scene_description>Solveig leads Ngoc Lan and Paul toward TORVALD, an engineer seated at a control panel.<\/scene_description>\n    <character>SOLVEIG<\/character>\n    <dialogue>Torvald, be a sweetheart and give our friends a little tour.<\/dialogue>\n    <character>TORVALD<\/character>\n    <dialogue>The tunnel leads to a vault 1.6 kilometers inside the Earth's lithosphere and encased in a double layer of Inconel 625.<\/dialogue>\n    <scene_description>Torvald points at an array of MONITORS displaying high-angle views of streets, homes, farms and pastures.<\/scene_description>\n    <character>TORVALD<\/character>\n    <dialogue>In addition to maintaining a broad spectrum of biodiversity, the vault is equipped with fields for growing foods, forests for lumber, livestock for animal husbandry. The residential areas are spacious and easily expandable to provide for future generations.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Wait, that's not underground.<\/dialogue>\n    <character>SOLVEIG<\/character>\n    <dialogue>Of course it is! Our new size makes it possible. Otherwise we never could have dreamed of preserving so much of the world in a single safe place.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>This is brilliant.<\/dialogue>\n    <parenthetical>(to Ngoc Lan)<\/parenthetical>\n    <dialogue>Isn't this brilliant? Like Noah's Ark.<\/dialogue>\n    <character>SOLVEIG<\/character>\n    <dialogue>That's exactly what I told Jorgen. It's Noah's Ark!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>What kind of power are you using, nuclear?<\/dialogue>\n    <character>TORVALD<\/character>\n    <dialogue>No, no, 100% geothermal. Interoperable organic systems manage production of artificial sunlight, oxygen, CO2 elimination, water purification, and so forth.<\/dialogue>\n    <scene_description>As Paul soaks everything up, Ngoc Lan takes his hand.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>So how long will you stay down there?<\/dialogue>\n    <character>SOLVEIG<\/character>\n    <dialogue>What is it, Torvald? Eight thousand years?<\/dialogue>\n    <character>TORVALD<\/character>\n    <parenthetical>(lips pursed)<\/parenthetical>\n    <dialogue>Something like that. Until the surface environment stabilizes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMUNITY DINING HALL - NIGHT<\/stage_direction>\n    <scene_description>All the villagers -- perhaps 250 -- dine together at long wooden tables. Tonight the atmosphere is electric. Paul and Ngoc Lan sit near the Asbj\u00f8rnsens and other SCIENTISTS who, between chews, dispassionately explain the project at hand. Konrad and Dusan sit nearby.<\/scene_description>\n    <character>ONE SCIENTIST<\/character>\n    <dialogue>You know, it's not unprecedented what we are doing. Less than a hundred thousand years ago humans experienced a near-extinction. Maybe 2,000 survived. And from that handful came all the billions of people you see today.<\/dialogue>\n    <character>ANOTHER SCIENTIST<\/character>\n    <dialogue>Rebooting the species. Nothing new.<\/dialogue>\n    <scene_description>Glasses clink. Dr. Asbj\u00f8rnsen rises. Never a comfortable public speaker, he scans the faces turned his way.<\/scene_description>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <dialogue>My friends. Many years ago, when we discovered cellular miniaturization, the world which had seemed so doomed felt suddenly so full of possibilities. We knew we had found the portal to the next stage of man's evolution. So until very recently, I maintained hope that the contingency plan we embark upon tomorrow could remain simply that -- a plan.<\/dialogue>\n    <scene_description>He pauses, reigning in his emotions.<\/scene_description>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <dialogue>But history has spoken, and this is our final dinner in the place we've called home for so many years. And here, on this beautiful little island --<\/dialogue>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <parenthetical>(noticing Solveig's look)<\/parenthetical>\n    <dialogue>-- this island which Solveig Edvardsen had the vision and generosity to provide us...<\/dialogue>\n    <scene_description>Solveig nods proudly.<\/scene_description>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <dialogue>...the very survival of mankind rests in our hands. Yes, we are sad to leave, and terribly sad for the reasons why, but man is too beautiful, too improbable a life form to be allowed to disappear forever from the cosmos.<\/dialogue>\n    <parenthetical>(Norwegian)<\/parenthetical>\n    <dialogue>It is no shame to look into the warm spring sun and regret a lost limb.<\/dialogue>\n    <scene_description>The Norwegians present nod and murmur in agreement. Someone uses the moment to hand Asbj\u00f8rnsen a note.<\/scene_description>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <dialogue>Ah, yes. The kitchen staff wishes to remind everyone that after you scrape your plates, you should place them in the stacking carts, not the dish washing belts.<\/dialogue>\n    <parenthetical>(clearing his throat)<\/parenthetical>\n    <dialogue>Now then, I would like to ask the surviving members of the original colony to stand.<\/dialogue>\n    <scene_description>Twenty people solemnly rise. Most are in their fifties or older, but among them we recognize one handsome young man.<\/scene_description>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <dialogue>Look at him -- Little Ronni, how he's grown.<\/dialogue>\n    <scene_description>As Ronni smiles, we note a herpes sore on his upper lip.<\/scene_description>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <parenthetical>(addressing the originals)<\/parenthetical>\n    <dialogue>I ask you again as I asked you so many years ago. Generations to come - - perhaps all of humanity -- will thank you for your bravery and commitment. But you must ask yourself whether you are truly ready to enter a new world. For there will be no turning back. Are you ready?<\/dialogue>\n    <character>LITTLE RONNI<\/character>\n    <dialogue>I am ready!<\/dialogue>\n    <character>ORIGINAL COLONY MEMBERS<\/character>\n    <dialogue>Yes! I am ready! Yes!<\/dialogue>\n    <scene_description>Tears and embraces throughout the room.<\/scene_description>\n    <character>DR. ASBJ\u00d8RNSEN<\/character>\n    <dialogue>Is everyone ready?<\/dialogue>\n    <scene_description>Shouts of \"I am ready!\" coalesce into an ebullient group chant of \"We are ready.\" Konrad, Ngoc Lan and Dusan are moved to witness these momentous proceedings, but Paul's reaction is even more profound. Something deep inside him is awakening.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLAGE SQUARE - NIGHT<\/stage_direction>\n    <scene_description>Residents throw furniture into a BONFIRE. Drunken men sing Viking songs. A hypnotic drum beat inspires dancing.<\/scene_description>\n    <character>DUSAN<\/character>\n    <dialogue>Konrad, what do you think? Is the end of civilization really coming so soon?<\/dialogue>\n    <character>KONRAD<\/character>\n    <dialogue>Look here. My uncle used to say he was born during the Austro-Hungarian Empire, then outlived both the Third Reich and Communism, all three of which were supposed to last forever. In the 1930s they discovered a pyramid in Egypt -- a pyramid! -- when a camel stubbed its toe. How does one lose a pyramid? Or look up at the sky. So many of those bright, bright stars went dark before humans even existed -- we just don't know it yet. All things come to an end. Why shouldn't we? But look at the positive side -- if our world really is coming to an end, it's fascinating to be watching.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLSIDE ABOVE VILLAGE - NIGHT<\/stage_direction>\n    <scene_description>Paul sits alone, deep in thought, looking down at the tunnel entrance. The shed has been dismantled, and work lights illuminate a parade of carts heading inside loaded with supplies. Ngoc Lan approaches, struggling up the hill.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>Where you go? I look many place for you.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I've been here.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <parenthetical>(sitting)<\/parenthetical>\n    <dialogue>I talk with Dusan, he say fat lady pay, he ready go back. I happy for that. Too long time away from Se\u00f1or C\u00e1rdenas and Mrs. L\u00f3pez. I worry too much for them.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Ngoc Lan, you can't just be worried about a few little people thousands of miles away. You have to look at the big picture.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Why you say like this?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Because Mr. C\u00e1rdenas, Mrs. L\u00f3pez, they don't stand a chance, none of us do!<\/dialogue>\n    <parenthetical>(gesturing)<\/parenthetical>\n    <dialogue>All of this -- it's over. Can't you see what's going on? This is a defining moment in human history. More than that -- in the history of the universe. And for some reason you and I are here.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>You want go with them.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>And I want you to come with me.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>You crazy man! Always I know you stupid. Now I see you crazy too.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>How am I crazy? You heard them. This is the only chance for the survival of our species -- that's huge! You want to help people? These are the people you should be helping. The future of humanity is down that hole!<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Who you help down there? People here needs help, not down stupid hole!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLAGE SQUARE - NIGHT<\/stage_direction>\n    <scene_description>Ngoc Lan pulls Paul by the hand toward Dusan and Konrad, by now quite drunk.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>Dusan, Konrad, talk to crazy Paul. He say he want go down hole, me go with him.<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>Paul, Paul, Paul, Paul... Why would you do such a silly thing?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>Because you will live the rest of your life in a hole in the ground. Like a worm.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>These people are saving the human race, and I want to help.<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>Okay, fine, you want to help. Then do what I did -- give them a semen sample.<\/dialogue>\n    <character>KONRAD<\/character>\n    <dialogue>I did, too. That's a much more pleasant way to help.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>If I'm not supposed to be a part of this thing, then why am I here? I look at my life and I... I'm a nobody.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>But now I connect the dots and see it's all been leading me here. Why didn't I become a doctor? Why did I downsize? Why did my wife abandon me? Dusan, how did you just happen to be my neighbor? Ngoc Lan, why were you the only one to survive that box and just happen to be cleaning Dusan's place that day? And if you hadn't lost your leg, I wouldn't have tried to help you -- which, as usual, I screwed up. And why did I screw up? So I could wind up here at exactly the right time to go into that tunnel! I finally have the chance to do something that matters.<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>Paul, come on, you really are talking crazy. These people, they're wonderful, but --<\/dialogue>\n    <character>KONRAD<\/character>\n    <dialogue>It's like a cult.<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>It's like a cult. And the extinction's not happening for, you know, maybe few hundred years. Has nothing to do with you. Forget it. Have a drink. Besides, you think they won't behave as people always behave? They're all going to go insane down there and kill each other. They will go extinct long before we do.<\/dialogue>\n    <scene_description>Paul searches the faces of his three friends, seeing them as both allies and enemies. Then he turns and marches off into the night. Ngoc Lan watches him go, her heart breaking.<\/scene_description>\n    <character>DUSAN<\/character>\n    <dialogue>Don't worry, darling. He said it himself. Nothing he ever wants to do works out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD OUTSIDE VILLAGE - DAY<\/stage_direction>\n    <scene_description>The Bacchanal continues on a beautiful, sunny day. Around a pond, villagers sunbathe, picnic and skinny dip. Others siphon vodka from a bottle lying on its side. Now dressed in \"native\" loose-fitting clothes and clogs, Paul dances with a group near the drum circle. Ngoc Lan approaches shyly, stopping a few feet away. Paul notices and heads over.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Beautiful day, huh? Knowing it's the last time I'll see the real sun makes it so... vibrant.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>I ask you question. You say me truth. Okay?<\/dialogue>\n    <parenthetical>(he nods)<\/parenthetical>\n    <dialogue>Other night on boat... what kind of fuck you give me?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>What kind of fuck you give me?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>What kind? I don't... I have no idea what you're talking about.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>American peoples, eight kind of fuck.<\/dialogue>\n    <parenthetical>(counting on fingers)<\/parenthetical>\n    <dialogue>Love fuck, hate fuck, sex-only fuck, break-up fuck, make-up fuck, buddy fuck, drunk fuck, pity fuck.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Look, I don't know where you heard that, but --<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Third host family.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>That's just stupid. There's a whole spectrum of... emotions and... motivations. And you shouldn't say \"fuck.\" It's vulgar. Say \"make love\" or something. I don't know.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>So... was love fuck?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>No, I mean... What's this all about?<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>You look for me, you want help me, you make fuck with me, now you go down stupid hole. So I try to think what kind fuck you give me. I think maybe pity fuck. For leg.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>No, no, Ngoc Lan, I care about you deeply. You are an extraordinary human being, and I admire you so much. More than anything I want you to come with me.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Peoples always say me I strong. Okay, maybe Vietnam I organize many protest, survive two year prison and punish me make small. I only person survive TV box, everybody die. I walk around no foot, take care for other peoples. But I woman. Feelings.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I'm sorry. I really am. It's so easy for me to see who you are. But if I don't do this, who am I? I mean, really. Who am I?<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>You Paul Safranek. You good man.<\/dialogue>\n    <character>VILLAGERS (O.S.)<\/character>\n    <dialogue>Look! Look!<\/dialogue>\n    <scene_description>BUTTERFLIES, big as kites, flutter overhead.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Look, Ngoc Lan! Butterflies! Kon booyem! Kon booyem!<\/dialogue>\n    <scene_description>Even this miraculous sight cannot lift her sadness. LATER -- The villagers have amassed to watch the SUNSET. No one moves. No one speaks. A WOMAN atop a rock sings a haunting Viking song of farewell. SOLEMN FACES, many streaked by tears, are lit by the golden setting sun. Among them we see the Asbj\u00f8rnsens standing with great dignity, and Solveig, sobbing a bit too loudly. Despite wounded feelings, Ngoc Lan recognizes it's the last time she will see Paul, and she allows herself to slip her arm around his waist. He places an arm over her shoulder. The sun vanishes, its amber light now streaked by pinks, greens and blues. Spontaneous applause. Now the residents turn to walk slowly toward the tunnel.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TUNNEL - NIGHT<\/stage_direction>\n    <scene_description>The departure nears completion. The last of the carts disappear inside, the final residents following on foot. Torvald waits nearby, preparing to seal the tunnel. Ngoc Lan, Dusan, and Konrad stand with Paul.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>I guess this is it.<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>It seems so.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Konrad? Very nice to have met you.<\/dialogue>\n    <character>KONRAD<\/character>\n    <dialogue>Pleasure was mine. Good luck in there, Paul.<\/dialogue>\n    <scene_description>Paul turns to Dusan and pulls him into a firm embrace.<\/scene_description>\n    <character>DUSAN<\/character>\n    <dialogue>Take care of yourself.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I will. You too.<\/dialogue>\n    <character>DUSAN<\/character>\n    <dialogue>I will miss my funny neighbor.<\/dialogue>\n    <scene_description>Paul nods, then turns to face Ngoc Lan. At a loss, he tries hugging her, but she remains limp in his arms.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Ngoc Lan.<\/dialogue>\n    <scene_description>She places something into his hands.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Your bible.<\/dialogue>\n    <parenthetical>(off her nod)<\/parenthetical>\n    <dialogue>But it's in Vietnamese.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Words not matter. Remember me.<\/dialogue>\n    <scene_description>Paul leans in to kiss her, but she offers only her cheek. He looks at the tunnel, then back at Ngoc Lan, her eyes downcast.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>You go now.<\/dialogue>\n    <scene_description>Paul turns and heads resolutely toward the tunnel, clutching the bible and dragging his wheelie suitcase.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TUNNEL - NIGHT<\/stage_direction>\n    <scene_description>Lit by lights strung along the walls, a stream of villagers march silently and steadily toward their destiny. At the rear, Paul walks with an erect, dignified bearing. Nothing in his life approaches the magnitude of this moment. He feels many things at once -- pride, fear, excitement, regret. Soon the tunnel begins an incline, and Paul trots forward to speak with a fit Nigerian guy named TUNDE.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Excuse me. Why are we going up? I thought the vault was --<\/dialogue>\n    <character>TUNDE<\/character>\n    <dialogue>Prevents flooding.<\/dialogue>\n    <parenthetical>(offering his hand)<\/parenthetical>\n    <dialogue>Tunde.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Paul.<\/dialogue>\n    <character>TUNDE<\/character>\n    <dialogue>Just a few hours climb before we begin the descent to the vault.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>And how long is the whole walk?<\/dialogue>\n    <character>TUNDE<\/character>\n    <dialogue>Eleven hours. Something like that.<\/dialogue>\n    <parenthetical>(pulling ahead)<\/parenthetical>\n    <dialogue>See you down there. Stay hydrated.<\/dialogue>\n    <scene_description>Paul slows to a stop as the last villagers pass him by. Suddenly he hears a SIREN and senses a flashing RED LIGHT. He turns to look back at the tunnel opening, now 100 meters behind. Torvald is there, cranking the tunnel door shut.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEARBY HILL - NIGHT<\/stage_direction>\n    <scene_description>From a vantage point atop an incline, Dusan, Konrad and Ngoc Lan somberly watch the door closing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TUNNEL - CONTINUOUS<\/stage_direction>\n    <scene_description>The door is nearly shut, when from behind it comes a muffled, panicked cry.<\/scene_description>\n    <character>PAUL (O.S.)<\/character>\n    <dialogue>WAIT!<\/dialogue>\n    <scene_description>The door stops, then reopens slightly. Paul squeezes out.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Thanks, Torvald. Thanks.<\/dialogue>\n    <parenthetical>(jerking something)<\/parenthetical>\n    <dialogue>My bag. Do you think you could --?<\/dialogue>\n    <character>TORVALD (O.S.)<\/character>\n    <dialogue>Leave it.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>But --<\/dialogue>\n    <character>TORVALD (O.S.)<\/character>\n    <dialogue>You need to get away from here!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Okay, sure. Yeah.<\/dialogue>\n    <character>TORVALD (O.S.)<\/character>\n    <dialogue>Run!<\/dialogue>\n    <scene_description>Paul releases the bag and sprints away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEARBY HILL - NIGHT<\/stage_direction>\n    <scene_description>Dusan, Konrad and Ngoc Lan have taken cover behind rocks. Dusan peeks out and, breaking into a smile, invites the others to witness Paul scrambling up the hill in a panicked zig-zag.<\/scene_description>\n    <character>DUSAN<\/character>\n    <dialogue>What did I tell you? Nothing ever works out for this guy.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Paul!<\/dialogue>\n    <scene_description>Paul spots his friends runs straight into Ngoc Lan's arms.<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>(out of breath)<\/parenthetical>\n    <dialogue>I was thinking about what you said, and I... realized... you're right. I am Paul Safranek. And... what you were asking... It was a love fuck.<\/dialogue>\n    <scene_description>Ngoc Lan bursts into tears of happiness and embraces him tightly. KA-BOOM! An EXPLOSION above the tunnel entrance creates a landslide which tumbles down to conceal it forever. Our friends take cover, but they needn't have -- it's all small scale, so the dirt falls pathetically. Soon they emerge from behind the rocks.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>Okay, now we go back Leisureland. Okay, Dusan Konrad Paul? You promise. Nothing more here. We go now.<\/dialogue>\n    <scene_description>The three men stare at her, reminded once again what a monomaniac she can be.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KONRAD'S REAR DECK - DAYBREAK<\/stage_direction>\n    <scene_description>Paul, Dusan and Ngoc Lan watch the island recede as the yacht sails out of the harbor amid the rising sun.<\/scene_description>\n    <character>TERGEHL (V.O.)<\/character>\n    <dialogue>And so it was that Safrap\u00fcl the Good forsook salvation in order to return to Lohserlund with Princess Noc, to care for the sick and crippled of our ancestors.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAVE - NIGHT<\/stage_direction>\n    <scene_description>Tergehl has reached the end of the story and sits back to gauge its effect on his listeners.<\/scene_description>\n    <character>LITTLE BOY<\/character>\n    <dialogue>Then what happened?<\/dialogue>\n    <character>TERGEHL<\/character>\n    <dialogue>That is the end, little ones. There is nothing more to tell.<\/dialogue>\n    <character>TERGEHL<\/character>\n    <dialogue>We know nothing more of Safrap\u00fcl, nor of Princess Noc, nor of Drooshan the Cunning, nor of the sacrifices they made.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAVE - NIGHT<\/stage_direction>\n    <scene_description>Across a moonlit desolate landscape, we see the cave, high on a hill, illuminated by the fire within.<\/scene_description>\n    <character>TERGEHL (O.S.)<\/character>\n    <dialogue>But that is why, each year at the feast commemorating the Great Exodus, we leave an empty seat for Safrap\u00fcl, so that we remember all those who remained behind and suffered through the hell to come.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPLANE - DAY<\/stage_direction>\n    <scene_description>Paul looks out the window. He seems now genuinely clear- headed, aware, awake.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>To think, one day, all of this --<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Now maybe you understand little bit how I feel after survive TV box.<\/dialogue>\n    <scene_description>Paul looks at her, takes her hand.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>When you know death come soon, you look around things more close.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEISURELAND SHUTTLE - DAY<\/stage_direction>\n    <scene_description>A PORTER slides Ngoc Lan and Paul's carrier into place and locks it down. Paul glances over at MELANIE and CJ, a normal-size couple seated exactly where he and Audrey sat so many lifetimes ago. They look like nice people, honest and bright-eyed.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Hi there.<\/dialogue>\n    <character>MELANIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Hi there!<\/dialogue>\n    <character>MELANIE<\/character>\n    <dialogue>Hi back.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Moving to Leisureland, huh?<\/dialogue>\n    <scene_description>The woman exchanges a shy smile with her husband.<\/scene_description>\n    <character>MELANIE<\/character>\n    <dialogue>Yep. We're going for it.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Where you guys from?<\/dialogue>\n    <character>MELANIE<\/character>\n    <dialogue>Upstate New York.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Oh yeah?<\/dialogue>\n    <character>CJ<\/character>\n    <dialogue>East Aurora. Just outside Buffalo. How about you?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Omaha. Nervous?<\/dialogue>\n    <character>CJ<\/character>\n    <dialogue>Oh, a little skittish.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I can understand that.<\/dialogue>\n    <character>MELANIE<\/character>\n    <dialogue>We got cold feet and almost bailed out once or twice. But we sure like the idea of buying our first house. And starting a family... And it didn't feel right to stay big much longer. I guess we just want to help out, if we can.<\/dialogue>\n    <character>CJ<\/character>\n    <dialogue>Plus, you know, we didn't want to lose that deposit.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I hear you.<\/dialogue>\n    <character>MELANIE<\/character>\n    <dialogue>You only live once.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Yeah, you only live once.<\/dialogue>\n    <scene_description>Paul smiles, moved by these nice folks and the glimmer of hope they offer.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEISURELAND - DAY<\/stage_direction>\n    <scene_description>A MONTAGE of the city in the RAIN.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WORKERS' CITY - DAY<\/stage_direction>\n    <scene_description>The montage ends on a shot of water pooled in a slack part of the overhead netting. TILT DOWN to reveal the converted trailers many call home.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALONDRA APARTMENTS - DAY<\/stage_direction>\n    <scene_description>Paul and Ngoc Lan pull up in a car, both wearing rain slickers.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Wait here. I'll be right back.<\/dialogue>\n    <scene_description>Paul hurries to the rear, where he retrieves food containers.<\/scene_description>\n    <character>NGOC LAN<\/character>\n    <dialogue>I want go too. I want see Rosa new baby.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You can see the baby tomorrow.<\/dialogue>\n    <character>NGOC LAN<\/character>\n    <dialogue>Hurry. Don't forget we still need go Filipino man, take care for his arm!<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I know. Stop obsessing about it, will you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALONDRA APARTMENTS - NIGHT<\/stage_direction>\n    <scene_description>Paul comes down the stairs with one last container. He trots toward Mr. C\u00e1rdenas, parked as usual in front of the TV.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Buenas tardes, se\u00f1or C\u00e1rdenas.<\/dialogue>\n    <character>SE\u00d1OR C\u00c1RDENAS<\/character>\n    <dialogue>Hola, Paul.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>\u00bfHambre?<\/dialogue>\n    <character>SE\u00d1OR C\u00c1RDENAS<\/character>\n    <dialogue>Mucha. \u00bfQu\u00e9 me traes hoy?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Creo que es pollo.<\/dialogue>\n    <parenthetical>(opening it)<\/parenthetical>\n    <dialogue>S\u00ed, pollo.<\/dialogue>\n    <character>SE\u00d1OR C\u00c1RDENAS<\/character>\n    <dialogue>Gracias, Paul.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Hasta ma\u00f1ana, se\u00f1or C\u00e1rdenas.<\/dialogue>\n    <scene_description>Paul hustles toward the door and pauses. CLOSE on Paul turning to look back at the hunched figure in a wheelchair eating his only hot meal of the day.<\/scene_description>\n    <character>TERGEHL (V.O.)<\/character>\n    <dialogue>Perhaps one day we will learn the fate of Safrap\u00fcl the Good and Princess Noc. But for now, we can only hope they lived the rest of their days richly and in happiness.<\/dialogue>\n    <scene_description>Paul hears a honk, and, pulling the slicker over his head, dashes back out into the rain.<\/scene_description>\n    <character>THE END<\/character>\n  <\/scene>\n<\/script>","summary":"Searching for a way to address overpopulation and global warming, Norwegian scientist Dr. J\u00f8rgen Asbj\u00f8rnsen develops \"downsizing\", an irreversible process that shrinks organic material. He becomes part of the first group of human test subjects and is encouraged that the process reduces people to a height of approximately 5 inches (13 cm), drastically decreasing their consumption and waste. When the findings are revealed at a conference five years later, there is a global sensation. Ten years later, Paul and Audrey Safranek, a financially struggling married couple in Omaha, see Dave and Carol Johnson, who have downsized, at Paul's high school reunion. Rather than the touted environmental benefits, Dave argues the real reason to downsize is that one's money goes much further when one is small. Paul and Audrey decide to undergo the procedure and move to Leisureland, New Mexico, one of the fancier communities for small individuals. In a Leisureland recovery room after the procedure, Paul receives a call from Audrey, who says she backed out at the last minute and, because they are now different sizes, is leaving him. One year later, Paul signs his divorce papers. He has moved into an apartment, since he can no longer afford to live in the mansion Audrey picked, and is working as a customer service representative for Lands' End, since he let his occupational therapy license lapse because he had not expected to have to work after being shrunk, but has started dating someone. They break up, however, and Paul attends a wild party hosted by his shady but affable neighbor Dusan. The next morning, Paul recognizes one of Dusan's house cleaners as Ngoc Lan Tran, a Vietnamese political activist who was jailed and downsized against her will, escaped in a television box, barely survived being shipped to the United States, and was brought to Leisureland a year ago to have her leg amputated. Wanting to assist Ngoc Lan with her prosthetic leg, Paul goes to her apartment in the slums just outside the walls of Leisureland where the service workers of the community live. Paul had not thought about this part of the small economy, and is shocked by conditions in the slum. At her apartment, Ngoc Lan has Paul try to help her dying friend. When she finally lets him work on her prosthetic leg, he breaks it, so, until she can get a new one, he agrees to work for her cleaning service and also help her gather food from around the city to distribute throughout the slums. Dusan, upon learning what Paul is doing, attempts to release Paul from his obligation by taking him to deliver supplies to the original colony for small people, but Ngoc Lan unexpectedly decides to tag along, as she has a standing invitation to visit Dr. Asbj\u00f8rnsen, who had heard about her ordeal. In a Norwegian fjord, Dr. Asbj\u00f8rnsen and his wife board the boat piloted by Dusan's friend Joris Konrad. Dr. Asbj\u00f8rnsen announces it has just been determined conclusively that, due to the positive feedback of Antarctic methane emissions, the human race will soon become extinct. Paul asks if downsizing can save humanity, but Dr. Asbj\u00f8rnsen says the procedure came too late, as only three percent of the world has so far chosen to downsize. That night, Paul and Ngoc Lan have sex. At the colony, the travelers discover that, the next day, Dr. Asbj\u00f8rnsen is enacting a contingency plan: he and the other colonists are going to enter a large underground vault, and their descendants will emerge when the surface environment stabilizes in about eight thousand years. Dusan and Joris are skeptical of the cult-like plan and say the extinction will not happen for hundreds of years, while Paul is excited to enter the vault and help with this effort to ensure the future of mankind. He asks Ngoc Lan to join him, but she refuses, saying the people in need of help will be those left above ground. As the door of the vault is closing, Paul changes his mind and steps outside. Back in Leisureland, Paul continues to work with Ngoc Lan to serve the people of the slums, deriving contentment from things like bringing dinner to an old man."}
{"movie_name":"Overlord_2018","imdb_id":"tt4530422","script":"<script>\n  <scene>\n    <character>OVERLORD<\/character>\n    <dialogue>Written by<\/dialogue>\n    <scene_description>Billy Ray Bad Robot Paramount Pictures Producer - J.J. Abrams July 23, 2013 FADE IN... on a 16 mm. FILM PROJECTOR, circa 1944. We are:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FIELD TENT - LOCATION UNKNOWN - EVENING (JUNE, 1944)<\/stage_direction>\n    <scene_description>US ARMY MAJOR FURNISS mans the projector as he briefs 100 UNIFORMED MEN - Sergeants, Lieutenants - in a FIELD TENT:<\/scene_description>\n    <character>MAJOR FURNISS<\/character>\n    <dialogue>Gentlemen. The footage you're about to see was intercepted on its way to Berlin, intended for Himmler. Command is giving it highest priority.<\/dialogue>\n    <scene_description>Film feeds through the projector, then on to a screen-- ON THE SCREEN - We see a large LAB, location unknown. Facing the camera MOS is DOCTOR HUGO BRUEL: 50, beaming proudly.<\/scene_description>\n    <character>MAJOR FURNISS<\/character>\n    <dialogue>The doctor and his subjects are unknown. G-2 believes the lab is somewhere in Normandy.<\/dialogue>\n    <scene_description>ON THE SCREEN - Behind Bruel is a row of NAKED HUMAN SUBJECTS on HOSPITAL BEDS. Bruel, syringe in hand, approaches one-- REVERSE TO FURNISS' MEN - watching... as something on the screen shocks them. We drift along the rows in this tent, face after face - American soldiers, aghast, sickened. Then: We land on SERGEANT GUY RENSIN. He's a Jumpmaster, leather- tough, unflappable. But even he is tightening as he watches that screen - has to swallow hard to keep from gagging.<\/scene_description>\n    <character>MAJOR FURNISS<\/character>\n    <dialogue>Your men needn't know about this; liberating France is burden enough. But if you find that lab tonight, Command wants it and all of its assets SEIZED, including the Doctor.<\/dialogue>\n    <scene_description>We PUSH IN ON RENSIN - disgust on his face - as:<\/scene_description>\n    <character>MAJOR FURNISS<\/character>\n    <dialogue>His \"experiment\" could damn well mean our losing this war. And maybe the free world.<\/dialogue>\n    <scene_description>The 16 mm. film runs out. Rensin nods soberly. We CUT TO: Darkness. Silence. An uncomfortable stillness... Then the sound of BOOTS on gravel - as we SMASH TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIRFIELD - DEVONSHIRE, ENGLAND - NIGHT (JUNE, 1944)<\/stage_direction>\n    <scene_description>American boys, PARATROOPERS of the 82ND AIRBORNE, heading for death itself - eyes down, throats tight, no one talking - as they're herded toward idling C-47's on an English airstrip. Sgt. Rensin now stands at the CARGO DOOR of one of the C- 47's. On its nose is a drawing of a Betty Grable body and the words \"My Gal Val\". Rensin barks at us:<\/scene_description>\n    <character>JUMPMASTER RENSIN<\/character>\n    <dialogue>Let's move! Let's move! Keep up with your stick!<\/dialogue>\n    <scene_description>SUPER: \"Slapton Sands, Uppottery England. June 5, 1944\" THOUSANDS OF SOLDIERS marching toward HUNDREDS OF PLANES. Untested young men, here to save Europe from the Nazis - among them we find PFC. ED BOYCE. He's 24. And terrified. Boyce is from Des Moines, used to be a mechanic; his faith in God runs bone-deep. But he's just a boy, and he knows it. His face charcoaled black, his breaths shallow, he keeps pace with his \"stick\" - the 18 GUYS he'll be jumping with - each bearing 120 pounds of gear. It's nearly MIDNIGHT. They pass by BRITISH SOLDIERS of an ANTI-AIRCRAFT BATTERY who salute - a few of them crying; that gets Boyce's attention. He and his stick reach Rensin at the CARGO DOOR of that C-47. Every paratrooper needs to be pushed into the plane by fellow soldiers (the gear they carry is that heavy.)<\/scene_description>\n    <character>JUMPMASTER RENSIN<\/character>\n    <dialogue>In! In! In! Let's go! We're dropping in on Herr Hitler this evening!<\/dialogue>\n    <scene_description>Boyce arrives at the cargo door. The soldier who just climbed aboard in front of him turns with a confident grin:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Need a hand, Ed?<\/dialogue>\n    <scene_description>Meet CPL. LEWIS FORD, offering his hand as if he were helping us onto a trolley on Main Street. Ford is 27, from Brooklyn, matinee-idol handsome, unshakable - even now.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Thanks, Lew.<\/dialogue>\n    <scene_description>Ford is Boyce's idol, since Basic. Boyce takes his hand. Ford pulls. Two Soldiers behind Boyce push. Then:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. C-47 - FUSELAGE - CONTINUING (NIGHT)<\/stage_direction>\n    <scene_description>Boyce takes his seat on a bench lining the fuselage wall - among a dozen SILENT PARATROOPERS, so wedged in that nobody can move, each man bearing that same 120 pounds of gear: They carry grenades, mines, rifles, .45's, TNT, bayonets, rations, main and emergency parachutes, musette bags. Ford, beside Boyce, checks Boyce's gear. Boyce pale with fear.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Hey. This is what we came here for.<\/dialogue>\n    <parenthetical>(re: Boyce's gear)<\/parenthetical>\n    <dialogue>You're good. Me?<\/dialogue>\n    <scene_description>Boyce checks Ford's gear - including the DETONATOR on Ford's belt - but they both know he's good to go. MORE PARATROOPERS board. Ford casually taps the shoulder of PFC. JULIAN ROSENFELD (from Oak Park, Illinois).<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Rosenfeld. Cigarettes for chocolate?<\/dialogue>\n    <scene_description>Rosenfeld ponders it... as PFC TYLER GRIEB looks on, amused.<\/scene_description>\n    <character>GRIEB<\/character>\n    <dialogue>Ford, you must love chocolate.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>It's to win over the locals.<\/dialogue>\n    <parenthetical>(to Rosenfeld:)<\/parenthetical>\n    <dialogue>Deal?<\/dialogue>\n    <character>ROSENFELD<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>Done - cigarettes for chocolate. Boyce eyes them with wonder: \"How can you be so nonchalant?! We're about to DIE.\" Then-- A MEDIC stumbles clumsily aboard, his helmet falling off. This is D.F. GRUNAUER. He grabs the helmet, finds a seat... well aware that he's being stared at. By everyone. PFC. PETE GURKIN (23, from Houston) eyes Grunauer... then:<\/scene_description>\n    <character>GURKIN<\/character>\n    <dialogue>What happened to Briggs?<\/dialogue>\n    <character>GRUNAUER<\/character>\n    <dialogue>He fell outside the PX, broke his ankle. So they reassigned me. Name's D.F. Grunauer.<\/dialogue>\n    <scene_description>No one's saying, \"Welcome aboard!\" So Ford extends a hand:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Lew Ford.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Ed Boyce.<\/dialogue>\n    <scene_description>Grunauer shakes their hands, gratefully. But PRIVATE LYLE TIBBET, (24, from Cincinnati, an asshole), chimes in:<\/scene_description>\n    <character>TIBBET<\/character>\n    <dialogue>Hold it, hold it. We're jumpin' with a Medic from the JV team?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>It's okay. Just don't get shot.<\/dialogue>\n    <scene_description>Some tight laughs, even from Grunauer. The whole stick is aboard now. Jumpmaster Rensin climbs in - shouting:<\/scene_description>\n    <character>JUMPMASTER RENSIN<\/character>\n    <dialogue>In your seats, Ladies.<\/dialogue>\n    <character>GRUNAUER<\/character>\n    <dialogue>What's our target, Sarge?<\/dialogue>\n    <character>JUMPMASTER RENSIN<\/character>\n    <dialogue>Radio-jamming tower on top of a church in Cielblanc. Gotta knock it down so our planes can give air cover to the invasion forces comin' off the beaches. Command wants it destroyed by 0-900.<\/dialogue>\n    <scene_description>...as Ford pulls a SILK MAP from his coat, showing Grunauer the beaches of NORMANDY... Omaha, Juno... leading to ROAD 13... leading to a tiny dot: the village of CIELBLANC--<\/scene_description>\n    <character>PFC. DAWES<\/character>\n    <dialogue>Figures the Nazis'd put it on top of a church. Godless bastards. They outlawed Christmas, ya know.<\/dialogue>\n    <scene_description>That's MORTON DAWES, from Portland. Boyce shakes his head.<\/scene_description>\n    <character>JUMPMASTER RENSIN<\/character>\n    <dialogue>That tower is the lynchpin of the Jerries' local air-defense. If it<\/dialogue>\n    <character>JUMPMASTER RENSIN<\/character>\n    <dialogue>isn't down by the time our airstrikes begin at 0-900, the result is gonna be a lot of lost planes and dead G.I.'s never makin' it off those beaches. We can expect it to be defended aggressively. Understood?<\/dialogue>\n    <parenthetical>(no one speaks...)<\/parenthetical>\n    <dialogue>Synchronize your watches. It's exactly midnight on my mark... Mark.<\/dialogue>\n    <scene_description>Every paratrooper just synchronized his watch...<\/scene_description>\n    <character>JUMPMASTER RENSIN<\/character>\n    <dialogue>Gurkin, Grieb - you got your explosives?<\/dialogue>\n    <character>GURKIN\/GRIEB<\/character>\n    <dialogue>Yes, Sergeant!<\/dialogue>\n    <character>JUMPMASTER RENSIN<\/character>\n    <dialogue>Ford! You got your detonator?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Yes, Sergeant!<\/dialogue>\n    <character>JUMPMASTER RENSIN<\/character>\n    <dialogue>Rosenfeld! You got the spare?<\/dialogue>\n    <character>ROSENFELD<\/character>\n    <dialogue>Yes, Sergeant!<\/dialogue>\n    <character>JUMPMASTER RENSIN<\/character>\n    <dialogue>Keep a tight grip on it, Rosenfeld.<\/dialogue>\n    <character>PFC. DAWES<\/character>\n    <dialogue>Yeah, pretend it's your pecker.<\/dialogue>\n    <scene_description>Dawes and Rosenfeld are pals. So Rosenfeld chuckles, as:<\/scene_description>\n    <character>ROSENFELD<\/character>\n    <dialogue>If you wouldn't mind, I'm tryin' to win a war here.<\/dialogue>\n    <character>JUMPMASTER RENSIN<\/character>\n    <dialogue>Lemme hear your crickets.<\/dialogue>\n    <scene_description>The guys pull DIME-STORE METAL CRICKETS from their trousers - testing them out: CLICK-CLACK, CLICK-CLACK.<\/scene_description>\n    <character>JUMPMASTER RENSIN<\/character>\n    <dialogue>Everybody know the checkwords?<\/dialogue>\n    <scene_description>The guys nod. Rensin hands out a PILL to each guy.<\/scene_description>\n    <character>JUMPMASTER RENSIN<\/character>\n    <dialogue>These are for air-sickness. Take 'em.<\/dialogue>\n    <scene_description>The men look thrown, but they do as told - except for Ford, who crushes his pill under his boot - unseen by Rensin.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>You're not gonna take it?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>They make you sleepy. You wanna sleep through this?<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>The truth?<\/dialogue>\n    <scene_description>Ford smiles fondly. Rensin pulls a MEMO from his jacket:<\/scene_description>\n    <character>JUMPMASTER RENSIN<\/character>\n    <dialogue>From General Eisenhower: \"Soldiers, Sailors, and Airmen of the Allied Expeditionary Force! You are about to embark upon Operation Overlord, the Great Crusade toward which we have striven these many months. The eyes of the world are upon you. Good Luck! And let us beseech the blessing of Almighty God upon this great and noble undertaking.\"<\/dialogue>\n    <scene_description>That lands on the somber faces in here...as the C-47 lurches forward, bouncing noisily. Taxiing... Boyce lowers his head in prayer, his eyes shut tight (several of the men in here do likewise). Ford regards him, then:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Send up an extra one for me, will ya Ed? So I'm covered?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIRSTRIP - ABOVE THE C-47 - CONTINUING (NIGHT)<\/stage_direction>\n    <scene_description>We look down on the plane as it taxis, engines roaring. It comes to a stop, third in line for take-off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. C-47 - FUSELAGE - RESUMING<\/stage_direction>\n    <scene_description>ENGINE NOISE fills the air. The bench beneath us shakes as the plane in front of us takes off. Boyce keeps praying. Ford pulls a GREASE PENCIL from his trousers, leans forward, and writes something on the fuselage floor - as this bulky beast begins to move again, accelerating down the runway. Most of the paratroopers are praying now. We bounce around, catching glimpses of PFC. CHASE, Gurkin, and Rosenfeld:<\/scene_description>\n    <character>PFC. CHASE<\/character>\n    <dialogue>God, just let me hit the ground safely. I'll take it from there.<\/dialogue>\n    <character>GURKIN<\/character>\n    <dialogue>Lord, Thy will be done, but if I am to die tonight, please let me die like a man.<\/dialogue>\n    <character>ROSENFELD<\/character>\n    <dialogue>I'll be home soon, Ma.<\/dialogue>\n    <scene_description>Everything rumbling, bouncing, every paratrooper tight. We land on Boyce, as his eyes open... and he sees what Ford just wrote on the floor of this fuselage: \"82nd Airborne. We came to liberate France. June 5, 1944.\"<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Amen.<\/dialogue>\n    <scene_description>The C-47 hits lift-off speed. Boyce petrified. Ford's a rock. The C-47 lifts off. Loud and clunky. Men rock back. On each face: \"This is it - not a training run. The German Army's waiting out there.\" The C-47's walls now feel like paper.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Think it's time we made our swap.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Yeah, okay.<\/dialogue>\n    <scene_description>Boyce pulls a BULKY ENVELOPE from his jacket, addressed to \"Mr. &amp; Mrs. Irvin Boyce\" with an address in Des Moines. (The plane is rising now - 50 feet, 100 feet, 200 feet - LOUDLY.) Ford pulls out a bulky envelope that reads \"Mrs. Arthur Ford,\" with an address in Brooklyn. They exchange envelopes.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Threw my class ring in there, figured they'd want it. You?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>My Old Man's lighter. Promised my ma she'd get it back in one piece.<\/dialogue>\n    <scene_description>Boyce nods. Ford looks around... at the faces inside this plane - young boys scared out of their wits, grim as hell. It offends him, for reasons he can't even articulate. So:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Ya know what? Hell with this.<\/dialogue>\n    <scene_description>He grabs his own envelope back from Boyce, and hands the other envelope back to Boyce.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Nobody's dyin' tonight. I won't have it.<\/dialogue>\n    <scene_description>That's that. The C-47 climbs noisily, as:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. C-47 - ABOVE THE AIRFIELD - CONTINUING (NIGHT)<\/stage_direction>\n    <scene_description>\"My Gal Val\" takes its place in an ARMADA, filling the English sky: 432 planes in a V-OF-V's-FORMATION, tightly bunched, occupying 300 miles of airspace. We CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. C-47 - FUSELAGE - FLYING - LATER NIGHT<\/stage_direction>\n    <scene_description>Cold and drafty in here. Some guys sleep; most just stare.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Where ya from, Grunauer?<\/dialogue>\n    <character>GRUNAUER<\/character>\n    <dialogue>Miami. You?<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Des Moines, Iowa.<\/dialogue>\n    <character>GRUNAUER<\/character>\n    <dialogue>Oh yeah? You a farmer?<\/dialogue>\n    <scene_description>Ford chuckles every time Boyce has to answer that.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>No. Worked at a filling station.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>\"Biggest one in all Des Moines.\" Tell him, Ed; it's practically a landmark.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Darn right. What's D.F. stand for?<\/dialogue>\n    <scene_description>Grunauer hesitates. He's taken a lot of shit for his name.<\/scene_description>\n    <character>GRUNAUER<\/character>\n    <dialogue>...Derwin Frances.<\/dialogue>\n    <scene_description>A few guys snicker, Grunauer tightening - so:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Coulda been worse. Coulda stood for \"Der Fuhrer.\"<\/dialogue>\n    <scene_description>Grunauer laughs, Ford keeping it all light.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>I got a cousin in Miami. He--<\/dialogue>\n    <character>TIBBET<\/character>\n    <dialogue>Hey, Boyce. Why you always chattin' everybody up all the time? This ain't a cruise-ship.<\/dialogue>\n    <scene_description>Ford's reaction is instant: THE ICIEST GLARE OF ALL TIME: Do not mess with Boyce or you are messing with ME. It lands - Tibbet instantly retreating:<\/scene_description>\n    <character>TIBBET<\/character>\n    <dialogue>Chat away. See if I give a damn.<\/dialogue>\n    <scene_description>Ford is the Alpha in this stick. Silence hovers... until:<\/scene_description>\n    <character>PFC. DAWES<\/character>\n    <dialogue>Hey. Look at that:<\/dialogue>\n    <scene_description>Dawes just saw something, out the cargo door (it's open). A sight that takes everybody's breath away: 1,000 feet below us. The English Channel. Alive with wakes. ...because there are 6,000 ARMED VESSELS sailing across it. This is the D-DAY INVASION FLEET, the greatest (and largest) amphibious force ever assembled. Destroyers, gunboats, troop transports - blanketing the channel. And we see awe on the faces in here - a sense of being a part of something massive and historic. Pride too.<\/scene_description>\n    <character>DAWES<\/character>\n    <dialogue>Look out, Hitler!<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Hitler's dead.<\/dialogue>\n    <parenthetical>(everybody turns...)<\/parenthetical>\n    <dialogue>He just don't know it yet.<\/dialogue>\n    <scene_description>That sums it up. The men nod, encouraged.<\/scene_description>\n    <character>JUMPMASTER RENSIN<\/character>\n    <dialogue>We're gonna be the first G.I.'s on European soil since this dust-up began - so let's make an impression.<\/dialogue>\n    <character>JUMPMASTER RENSIN<\/character>\n    <dialogue>NO prisoners. You see ANYTHING German you fire on it.<\/dialogue>\n    <character>ROSENFELD<\/character>\n    <dialogue>Happy to.<\/dialogue>\n    <character>FORD<\/character>\n    <parenthetical>(as if making a note:)<\/parenthetical>\n    <dialogue>\"Fire at Germans.\" Got it.<\/dialogue>\n    <character>JUMPMASTER RENSIN<\/character>\n    <dialogue>Ford...<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Yes, Sarge?<\/dialogue>\n    <character>JUMPMASTER RENSIN<\/character>\n    <dialogue>Anything happens to me tonight, you'll be in command. I expect you to keep your temper in check.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Sure thing, Sarge - long as nobody ticks me off.<\/dialogue>\n    <scene_description>Rensin breathes out a laugh.<\/scene_description>\n    <character>JUMPMASTER RENSIN<\/character>\n    <dialogue>Just make sure that tower comes down.<\/dialogue>\n    <scene_description>Ford nods soberly. Then, that fast, everything goes GRAY. We just plunged into a CLOUD. Gray all around us, like being in a vaccuum. The men tighten, anxiety droning. Then, new sounds, in the distance. DEEP THUDS and the CRACKLE of TRACER-FIRE, which means we're crossing over the French border, where the Germans are. And they have been waiting:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. C-47 - FLYING - CONTINUING (NIGHT)<\/stage_direction>\n    <scene_description>The C-47 now plods into SEARCHLIGHT BEAMS from GERMAN ANTI- AIRCRAFT BATTERIES on the ground. That fast, 20 MM. SHELLS go shrieking into the sky, right at us.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. C-47 - FUSELAGE - FLYING - RESUMING<\/stage_direction>\n    <scene_description>BOOM. BOOM. Shells explode right outside this craft, jolting the beast back and forth. It creaks, it whines. The men keep their eyes down. Boyce too. No one talking.<\/scene_description>\n    <character>JUMPMASTER RENSIN<\/character>\n    <dialogue>Just a little chop, Ladies! Jerry saying hello, nothin' to write home<\/dialogue>\n    <character>JUMPMASTER RENSIN<\/character>\n    <dialogue>about. We sit tight until the jump- lights go on.<\/dialogue>\n    <scene_description>He's pointing to the LIGHTS above the CARGO-BAY DOOR. One's red, the other's green. Both are OFF now. Boyce eyes them.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>We stick together, awright?<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>You won't hafta look to find me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. C-47 - COCKPIT - FLYING - SAME<\/stage_direction>\n    <scene_description>LT. DAVE McKEAN, our pilot, looks right and left - can't see ANYTHING but gray. Neither can his CO-PILOT or NAVIGATOR. We're shuddering, bouncing, like flying inside a blender. Then a brilliant, horrible BLAST turns everything WHITE. It's FLAK from those German batteries, exploding all around us now. BURSTS of it erupt outside the cockpit window, jarring us badly. The C-47 shudders; noise fills the sky. Everything just ratcheted up in a hurry. McKean panicking:<\/scene_description>\n    <character>LT. MCKEAN<\/character>\n    <dialogue>What's our time to drop-zone?!<\/dialogue>\n    <character>NAVIGATOR (LT. GALLEY)<\/character>\n    <dialogue>I don't know, Skip! I can't get a fix!<\/dialogue>\n    <scene_description>On the dash is a button, the JUMP-LIGHT. It's got three settings: OFF, RED, and GREEN. McKean eyes it... then:<\/scene_description>\n    <character>LT. MCKEAN<\/character>\n    <dialogue>I'm breaking formation.<\/dialogue>\n    <scene_description>He DESCENDS 100 feet in a hurry and YOKES to the left, away (presumably) from the other planes in the V.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. C-47 - FUSELAGE - FLYING - RESUMING<\/stage_direction>\n    <scene_description>The beast jerks to the left - sending every man tumbling. Sound and fury shaking this crate like a toy, everyone's stomach dropping in the rapid descent. Then we level out... And 18 TERRIFIED GUYS stare at the JUMP-LIGHTS over the door. We can't see any other planes in our V, but we can hear them taking hits. The C-47 bounces violently, creaking in protest. Then another sound - like rocks shaken inside a tin can: It's 40 mm. fire from below - BLUE, GREEN, and RED TRACERS lighting up the sky. Lethal whizzing sounds, everywhere. Then 88mm. SHELLS start exploding. BAH-BOOM. Death itself. Each explosion concussive, jolting us: BAH-BOOM. BAH-BOOM. No one on this plane believes we're going to survive. Ford can see that in the tense faces, the white knuckles. So he does what leaders do - raising his voice, and:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Guys, tell me something. On the level. 'Cause I don't know if I'm gonna get another chance to ask.<\/dialogue>\n    <scene_description>Every head turns. He looks troubled, serious... until:<\/scene_description>\n    <character>FORD<\/character>\n    <parenthetical>(re: his front parachute)<\/parenthetical>\n    <dialogue>Does this make me look fat?<\/dialogue>\n    <scene_description>LAUGHTER erupts, big-time. Tension broken, just like that. Boyce eyes Ford with awe. Then: --suddenly, TAT-TAT-TAT: Bullets from the machine-guns on the ground pierce our fuselage from below. PFC RIX (holding a FLAMETHROWER) is hit in the rump; he falls forward, howling. ...as the RED JUMP-LIGHT above the cargo door pops ON. And:<\/scene_description>\n    <character>JUMPMASTER RENSIN<\/character>\n    <dialogue>On your feet! Stand up and hook up!<\/dialogue>\n    <scene_description>The men bounce up and hook the lines from their chutes to the ANCHOR LINE running along the ceiling of the fuselage, forming a line that stretches back from the cargo-bay door. We hear them calling out, \"Eighteen okay!\" \"Seventeen okay!\" \"Sixteen okay!\" ...as MORE FLAK explodes, knocking guys over. Ford keeps Boyce from falling as they approach the jump-line. Then a HUGE BURST knocks us sideways. Ford falls forward. A SECOND BURST hits our RIGHT-WING ENGINE; it DIES, belching smoke. The C-47 lurches violently to the right. More FLAK. More 40 mm. fire from below. Metal whizzing around us. It's like a Goddamn shooting gallery in here--<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>You hit?!<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Get to the line!<\/dialogue>\n    <scene_description>Boyce hooks himself to the ANCHOR-LINE, fifth from the door. Above it, that JUMP-LIGHT remains RED, the sky now a curtain of EXPLODING FLAK. Grieb, at the bay-door, stares, shaking.<\/scene_description>\n    <character>JUMPMASTER RENSIN<\/character>\n    <dialogue>In line! In line!<\/dialogue>\n    <character>GRIEB<\/character>\n    <dialogue>Sarge, there's nowhere to jump!<\/dialogue>\n    <character>JUMPMASTER RENSIN<\/character>\n    <dialogue>In line! Every man! We jump on GREEN!<\/dialogue>\n    <scene_description>Everybody staring at that RED LIGHT, and the death out there.<\/scene_description>\n    <character>ROSENFELD<\/character>\n    <parenthetical>(to Dawes)<\/parenthetical>\n    <dialogue>Promise me, okay? If it looks like I'm about to be captured, put a bullet in my back.<\/dialogue>\n    <character>DAWES<\/character>\n    <dialogue>Why would I do that?<\/dialogue>\n    <character>ROSENFELD<\/character>\n    <dialogue>I'd rather not find out how Nazis treat prisoners named Rosenfeld.<\/dialogue>\n    <character>DAWES<\/character>\n    <dialogue>You're assuming we're gonna survive the jump.<\/dialogue>\n    <scene_description>But Rosenfeld's look says, \"I'm not kidding.\" Dawes nods, a solemn promise - as Ford hooks up to the Anchor Line.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. C-47 - COCKPIT - FLYING - RESUMING<\/stage_direction>\n    <scene_description>We emerge from CLOUDS at 150 m.p.h., with the sky on FIRE. McKean, struggling with one working engine, reaches for the jump-light switch, the GREEN setting. Then, a horrible THUMP, on McKean's left. He looks out the window - and sees something that makes him blanch.<\/scene_description>\n    <character>LT. MCKEAN<\/character>\n    <dialogue>Good Christ...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. C-47 - FUSELAGE - FLYING - RESUMING<\/stage_direction>\n    <scene_description>Jumpmaster Rensin and Grieb are now staring at the same thing that McKean just saw... and it's awful: THEIR POV: THE LEFT WING - now draped by a PARACHUTE. ...still attached to a PARATROOPER. Poor guy must've jumped from a plane above us. Dead now, his body bucking in our prop- wash, fouled by the lines of his chute. Horrible. Grieb gags. Boyce, fifth in line from the door, just stares, horrified. But Rensin gathers himself, faces his men, and:<\/scene_description>\n    <character>JUMPMASTER RENSIN<\/character>\n    <dialogue>When you hit the ground, use your crickets to find the rest of your stick! Checkwords: \"flash,\" \"thunder,\" \"welcome.\" Anybody doesn't answer back, you FIRE! We're gonna be SOUTH of our target! Use your maps and compass - but get to that church and take out that Goddamn TOWER! It--<\/dialogue>\n    <scene_description>Then he's GONE - EVISCERATED mid-word by EXPLODING FLAK. A HUGE BOOM RIGHT OUTSIDE THE CARGO DOOR - blowing a hole in our flank and taking Rensin and Grieb with it. Boyce's eyes go wide. There's no red light to watch anymore; the Cargo Door is now a gaping HOLE. Everyone shocked. And-- ANOTHER HIT - our LEFT ENGINE NOW - it sputters, dying. And WE START TO DIVE. Sinking like a safe... Ford acts quickly, unhooking himself from the JUMP-LINE and:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Everybody out! GO GO GO!<\/dialogue>\n    <scene_description>He pushes guys out the door: Dawes, Tibbet, Rosenfeld, Chase; this is pure unrehearsed bravery. Grunauer, up next, stumbles to the floor. Ford rolls him out the door. Next up is Boyce - he hesitates, petrified.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Go! Go!<\/dialogue>\n    <scene_description>Boyce goes... but first he grabs Ford and pulls him out too-- They fall into the night; a BLAST of air smacks them, yanking Boyce's CHUTE open. The jolt rips Ford from Boyce's grasp as: A HUGE EXPLOSION ABOVE US. Our C-47 just disintegrated. Boyce is suddenly alone, mid-air. Death everywhere. PIECES OF THEIR PLANE now falling beside him - burning metal. A disaster...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKY - FALLING - CONTINUING (NIGHT)<\/stage_direction>\n    <scene_description>Boyce's eyes dart, trying to orient himself. Looking for Ford or other chutes as he plummets amid smoke, noise, terror... Exploding FLAK, BULLETS whistling by, a WALL of tracer fire to his left. Where is Ford's Goddamn chute? The fuzzy outline of LAND below. It crystallizes as it rushes up to meet us. Boyce braces himself for a THUD. Instead, a soggy SPLASH. And he VANISHES, just like that, in:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MERDERET RIVER - CONTINUING (NIGHT)<\/stage_direction>\n    <scene_description>WATER. He has fallen into a RIVER. It swallows him whole.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDER WATER - CONTINUING (NIGHT)<\/stage_direction>\n    <scene_description>He opens his eyes, shocked. Loaded with gear, fouled by his lines. I'm going to drown. Holy Hell. I need air! He feels for the river bed beneath his feet. There it is. He coils his legs, springs up. Above him is the surface. His head breaches for half a second, under his CHUTE. He gulps in a breath, then sinks like a stone again. Under water, he reaches for his TRENCH KNIFE. Grabs it-- And fumbles it. Shit! It sinks, fast. He drops down after it, hits bottom, searching and fumbling amidst RIVER SILT. No light down here at all - grasping urgently, blindly. ...but he finds it, holds on tight, pushes himself up again. ...another stolen GASP of air. Then down again. He starts sawing away at the straps of his CHUTE-HARNESS. He cuts through one, then the other, cuts his MUSETTE BAG loose, drops his mines, and - buoyant now - bounces up again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVERBANK - CONTINUING (NIGHT)<\/stage_direction>\n    <scene_description>His head clears the surface, then his chest. He drags himself onto the RIVERBANK. Drenched, gasping. --doesn't see anyone. But he can hear GUNFIRE in the woods. Overhead he sees C-47's, most of them laboring, some of them smoking. Parachutes in the distance. He gets to his feet. JUMP-CUTS: He assembles his RIFLE. Checks his ammo, grenades, COMPASS (north, go north). Then he rises - and moves toward:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOGGY PASTURE - MOVING - CONTINUING (NIGHT)<\/stage_direction>\n    <scene_description>He stays low - wet grass underfoot, gunfire in the distance. From his pants he extracts that DIME-STORE METAL CRICKET. He chirps it twice. CLICK-CLACK. CLICK-CLACK. No one replies. Up ahead, he sees a billow of WHITE against the dull earth: Another chute. Please be Lew. He heads toward it while chirping that CRICKET again. No reply. Two more tries. Again nothing. His hands squeeze his rifle tighter. He gets to the chute; there's a SHAPE under it. A body? He pulls the chute away. A PARATROOPER lies here, FACE DOWN. Boyce braces himself, turns the body over... It's Dawes - eyes closed. Boyce shakes him:<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Dawes. Dawes! You okay?<\/dialogue>\n    <scene_description>Dawes' eyes open. Disoriented - but instantly on mission:<\/scene_description>\n    <character>DAWES<\/character>\n    <dialogue>Where's Rosenfeld? You got him?<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>No. Are you hurt?<\/dialogue>\n    <character>DAWES<\/character>\n    <dialogue>No. Head's ringing a little.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Let's go. We gotta find everybody.<\/dialogue>\n    <scene_description>They move north, slowly, along the wet grass, chirping their metal CRICKETS. In the night we hear REPEATED BURSTS of GUNFIRE, mini-battles flaring up all through the woods. ...staying low, everything tensed, clicking their CRICKETS. Then they hear ANOTHER CRICKET chirp back. They pause.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Flash.<\/dialogue>\n    <character>UNSEEN G.I. (TIBBET)<\/character>\n    <dialogue>Thunder.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Welcome.<\/dialogue>\n    <scene_description>Tibbet emerges from behind a tree, relieved to see them.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Tibbet. Ya see anybody else?<\/dialogue>\n    <character>TIBBET<\/character>\n    <dialogue>No. How many of us made it out?<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>TIBBET<\/character>\n    <dialogue>Christ. Did Gurkin make it? He had the explosives.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>I don't know. Didn't see him.<\/dialogue>\n    <character>TIBBET<\/character>\n    <dialogue>Where's Ford? Thought you two were joined at the hip.<\/dialogue>\n    <character>DAWES<\/character>\n    <dialogue>Don't be an asshole, Tibbet.<\/dialogue>\n    <scene_description>More GUNFIRE in the distance. ABOVE US A STRICKEN C-47 SUDDENLY FALLS FROM THE SKY, on fire - right at us.<\/scene_description>\n    <character>TIBBET<\/character>\n    <dialogue>Hit it!<\/dialogue>\n    <scene_description>Boyce, Dawes, and Tibbet hit the dirt, covering their heads. The FLAMING C-47 crashes behind them, EXPLODING on impact. There's nothing left of it. Good God. But it throws enough FIRELIGHT to show us a PARACHUTE stuck in a NEARBY TREE that stands along a country lane, ROAD 13. The guys get to their feet and head for that tree. GUNFIRE echoes in the DISTANCE. They cross over Road 13, to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD 13 - TREE - CONTINUING (NIGHT)<\/stage_direction>\n    <scene_description>They look up at the PARACHUTE stuck in its upper branches - and a pair of LEGS dangling. Boyce whispers loudly:<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Flash.<\/dialogue>\n    <character>FORD (O.S.)<\/character>\n    <dialogue>Thunder!<\/dialogue>\n    <scene_description>Wait. That's Ford's voice. They look up:<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Lew!<\/dialogue>\n    <scene_description>Yep. It's Ford, stuck in this tree, 20 feet up, his left arm pinned at an odd angle by all his gear. He can't move it.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Ed. Jesus. Can someone get me down? My arm's pinned.<\/dialogue>\n    <character>BOYCE<\/character>\n    <parenthetical>(starts climbing)<\/parenthetical>\n    <dialogue>Yeah. Just hang on.<\/dialogue>\n    <character>TIBBET<\/character>\n    <dialogue>Did the detonator get banged up?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>It's fine. I'm fine too, by the way.<\/dialogue>\n    <character>TIBBET<\/character>\n    <dialogue>Make it fast - awright, Boyce?<\/dialogue>\n    <scene_description>Boyce climbs, his head on a swivel - feels awfully VISIBLE, but that's his buddy up there... More GUNFIRE in the night. Boyce keeps climbing. He's 15 feet off the ground, when:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Ed!<\/dialogue>\n    <scene_description>Boyce turns - and it happens in a flash: TWO WEHRMACHT SOLDIERS appear from the road. Boyce, clinging to that tree, grabs at his RIFLE. It falls. ...just as the Germans start firing. But-- Ford, suspended 20 FEET in the air, draws his SIDEARM with his right hand and FIRES - TWO SHOTS. And the Germans FALL, both of them. Just like that. Dead. Boyce doesn't move at first. It still feels unreal... Then:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Aw Christ...<\/dialogue>\n    <scene_description>Boyce looks down. Dawes is dead. HEAD-SHOT. Tibbet stands beside the body - unharmed but badly shaken.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>You okay, Tibbet?<\/dialogue>\n    <parenthetical>(Tibbet half-nods)<\/parenthetical>\n    <dialogue>Ed, get up here and cut me loose before anybody else drops by. Gotta take that tower out.<\/dialogue>\n    <scene_description>Boyce starts climbing again, so disappointed in himself.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOP OF THE TREE - CONTINUING (NIGHT)<\/stage_direction>\n    <scene_description>Boyce arrives at the top, Ford calm and ever-vigilant.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Good shooting.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Dumb luck. Get me outta here.<\/dialogue>\n    <scene_description>Boyce takes out his KNIFE, saws at the chute lines.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>I couldn't get to my rifle. Ya got a grip on that branch?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>'Kay. Here goes.<\/dialogue>\n    <scene_description>Boyce cuts another line, freeing Ford... But Ford didn't have a good grip on the branch - and he falls, straight down.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Lew!<\/dialogue>\n    <scene_description>Boyce catches him, Ford slamming into the TREE. The IMPACT causes something to shake from his belt - that DETONATOR. It's dense metal, canteen-sized, falling like an anvil toward Tibbet who is kneeling over Dawes to remove Dawes' dog-tag.<\/scene_description>\n    <character>FORD\/BOYCE<\/character>\n    <dialogue>Heads up!<\/dialogue>\n    <scene_description>Tibbet moves just in time, the detonator lands beside him.<\/scene_description>\n    <character>TIBBET<\/character>\n    <dialogue>Goddammit!<\/dialogue>\n    <scene_description>Boyce and Ford trade a look - two G.I.'s, hanging on - in the middle of the forest in the middle of the night in the middle of a war. Ford calmly reaches for the tree-trunk. ...and shimmies down. Boyce follows, speechless as ever at Ford's unflappable calm. They reach the ground.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD 13 - TREE - RESUMING (NIGHT)<\/stage_direction>\n    <scene_description>Dawes lies at their feet. 20 feet away lie the two Germans. The air above crackles with tracer fire, flak, dying C-47's. Ford eyes that DETONATOR, puts it back on his belt.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Good as new.<\/dialogue>\n    <character>TIBBET<\/character>\n    <dialogue>Almost took my damn head off.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Yeah, that woulda been a shame.<\/dialogue>\n    <scene_description>Tibbet doesn't reply. Ford takes Dawes' GRENADES and AMMO and unfolds his SILK MAP again.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Like to know where the hell we are.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Sarge said we were south of the--<\/dialogue>\n    <scene_description>Suddenly, Boyce FREEZES - MORE FOOTSTEPS COMING. Fainter. Lighter. Just one person now. But he's coming right this way. Ford, Boyce, and Tibbet hit the dirt - keeping their heads up and rifles ready. Silent... Waiting... The FOOTSTEPS getting closer... Closer... Hands push some branches aside - 20 feet from here... revealing: A girl of 19, coming from the road. This is CHLOE LAURENT. She's French, lovely, but hardened by war and loss - terror too. The G.I.'s stay low, invisible to her, as: She stops beside a nearby TREE, where we now see an ANIMAL TRAP, a dead SQUIRREL inside. Chloe opens the trap - it's heavy, rusty, but she's strong. She puts the squirrel carcass in a satchel, resets the trap. Then she spots the DEAD GERMANS, and moves toward them... With our guys watching, she starts rifling through their pockets. That fast she's taken pistols, ammo, gloves, scarves, rings, mess-kits. Chloe's a scavenger. Ford and Boyce silently eye one another... Then Chloe FREEZES - just heard something. She turns. ...to find THREE RIFLES pointing at her. Her hands go up.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Allemagne?<\/dialogue>\n    <character>CHLOE (FRENCH, SUBTITLED)<\/character>\n    <dialogue>Non! Non! Je suis--<\/dialogue>\n    <scene_description>The G.I.'s get to their feet. They're American. That changes everything. She exclaims, in accented ENGLISH:<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>You're here! My God!<\/dialogue>\n    <scene_description>That fast she starts sobbing, hard, as if she'd been freed from Dachau. She rushes over to hug them. Ford steps back...<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Where are we?<\/dialogue>\n    <parenthetical>(Chloe keeps sobbing)<\/parenthetical>\n    <dialogue>Where are we?<\/dialogue>\n    <character>CHLOE<\/character>\n    <parenthetical>(thru tears)<\/parenthetical>\n    <dialogue>Outside Cielblanc.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Is this Road Thirteen?<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Where's the coast?<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>Three kilometers, that way.<\/dialogue>\n    <scene_description>Ford and Boyce brush past her, moving some foliage aside: the town of Cielblanc is a tiny dot, nearly a mile from here.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>You seen any other G.I.'s out here?<\/dialogue>\n    <character>CHLOE<\/character>\n    <parenthetical>(so hopeful)<\/parenthetical>\n    <dialogue>This was your target? Cielblanc? You liberate us?<\/dialogue>\n    <scene_description>They don't answer. Overhead, more planes groan. Then Ford stiffens. Just heard something else: A VEHICLE, approaching. Ford and Boyce know that sound.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>German half-track. Shit...<\/dialogue>\n    <scene_description>A HALF-TRACK, and it's getting closer, lurching up Road 13. They reach for their GRENADES, looking for somewhere to hide--<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>No. Play dead.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Like Hell we will.<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>Please, listen to me. If they get you we'll never be free of them.<\/dialogue>\n    <scene_description>Ford whips around, looking for a hiding spot. Then he stops. Truth is there's no better option out here - and he knows it. So, although he HATES this plan... He leans back. Boyce and Tibbet too, their eyes SHUT. Ford turns his back to the road - his eyes OPEN - positioning his TRENCH-KNIFE like a mirror so he can see the road, as:<\/scene_description>\n    <character>FORD<\/character>\n    <parenthetical>(whispered, bitter)<\/parenthetical>\n    <dialogue>\"What'd you do in the war, Grandpa?\"<\/dialogue>\n    <scene_description>Boyce eyes him: \"Sssshhh.\" Ford goes stone-still. The HALF-TRACK pulls toward us - a truck with TANK TREADS in back, WHEELS up front, mounted MACHINE-GUNS. And SIX GERMAN SOLDIERS, scanning the ground for movement. Chloe, playing her part, rifles through Dawes' pockets like the scavenger she is. Her hands are shaking with fear. Boyce lies still, his eyes cracking open enough to see Ford-- ...who is watching Chloe while fingering the trigger on his side-arm. Boyce eyes the DEAD SQUIRREL poking out of Chloe's bag. A bad omen... The Half-Track getting closer, when... DISASTER: The HALF-TRACK STOPS. Right here. A SERGEANT hollers at Chloe in German. She replies meekly. He shouts again, ordering her. And Chloe rises... leaving the G.I. \"bodies\" behind - Ford, Boyce, and Tibbet completely abandoned now... The G.I.'s lie still. A LIGHT from the Half-Track sweeps the ground around them. Boyce and Ford holding their breath... Then the Half-Track passes. The G.I.'s wait a beat, then sit up... which is when they see what's behind the Half-Track: TWO AMERICAN POW's, hands over their heads. GERMAN SOLDIERS trail behind them, rifles up. One POW we don't recognize. The other is Rosenfeld. His face ashen.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Dammit!<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>They got Rosenfeld. Jeez.<\/dialogue>\n    <scene_description>Ford moves a branch, eager to start firing. But he can't. Boyce eyes him. The POW's march TOWARD CIELBLANC.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Let's move out, on their tail.<\/dialogue>\n    <scene_description>Just about to move out. Then a SOUND. They turn, rifles up. It's Chloe again. That tells Boyce something about her - but Ford isn't yet convinced. They lower their rifles.<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>I'm sorry. They ordered me away.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Get back to your house and stay inside. Anybody asks, you didn't see any G.I.'s out here tonight, okay? Let's move out.<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>I can help you.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>We're fine. Thanks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD 13 - APPROACHING CIELBLANC - MINUTES LATER (NIGHT)<\/stage_direction>\n    <scene_description>Ford, Boyce, and Tibbet trail the half-track at a distance. Chloe lags behind the G.I.'s.<\/scene_description>\n    <character>TIBBET<\/character>\n    <dialogue>What the hell's she doin' back there?<\/dialogue>\n    <parenthetical>(no one answers)<\/parenthetical>\n    <dialogue>Makin' me nervous...<\/dialogue>\n    <scene_description>Up ahead, the Germans on foot order the POW's to leave the road, pushing them past a CRUMBLING WALL that marks the entrance to CIELBLANC. Half-Track continues down the road. As the G.I.'s get closer, we get our first look at the town: 20 houses, a few barns, a well, a gallows... And, on a FOOTHILL overlooking the town, a Gothic CHURCH... It's BIG, rimmed by a tall GATE; a RADIO-JAMMING TOWER rises from the church's roof. Stained glass, flying buttresses. The G.I.'s trade looks. Behind them, Chloe checks ANOTHER TRAP. This one empty. The G.I.'s hurry toward that crumbling town-wall and take cover behind it...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CIELBLANC - AT THE CRUMBLING WALL - CONTINUING<\/stage_direction>\n    <scene_description>From here they see Rosenfeld and the other POW marching up a narrow road behind the town... and into that church on the foothill. Then we lose sight of them.<\/scene_description>\n    <character>TIBBET<\/character>\n    <dialogue>Now what?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>We get 'em outta there, then blow it up as ordered.<\/dialogue>\n    <character>TIBBET<\/character>\n    <dialogue>Yeah? With what for ordnance - your Zippo? Nobody knows where Gurkin is.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Then I guess we better FIND him, huh.<\/dialogue>\n    <scene_description>That shut Tibbet up. The moment hangs... as Chloe arrives.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>What can you tell me about that church?<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>Is that why you're here? The church?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Just tell me what's in there. How many soldiers?<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>Sometimes just a few. Sometimes more.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Any civilians in there? Clergy?<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>There was a priest; the Nazis hung him. You have more men coming?<\/dialogue>\n    <character>TIBBET<\/character>\n    <dialogue>Listen, Sister. Au revoir. Okay?<\/dialogue>\n    <scene_description>That stung her. Ford glares at Tibbet: I'll do the talking. Again, Tibbet backs down.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>What's your name?<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>Chloe Laurent. I live with my family, that house there. I can hide you until the rest of your men arrive. We have an attic.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Thanks. But we didn't come here to hide. G'night.<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>Then please, be careful for the other houses. There are collaborators here.<\/dialogue>\n    <parenthetical>(Boyce eyes Ford)<\/parenthetical>\n    <dialogue>It's the Nazis - they have poisoned this place... Good luck.<\/dialogue>\n    <scene_description>Ford nods. Chloe rises, heads home. The G.I.'s watch her go. ...until she has slipped quietly into her HOME. It has an ATTIC WINDOW that overlooks the town. Ford notes it.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>How ya enjoying France so far?<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>If she's France, I like France.<\/dialogue>\n    <parenthetical>(Ford shakes his head)<\/parenthetical>\n    <dialogue>You don't think she's pretty?<\/dialogue>\n    <character>TIBBET<\/character>\n    <dialogue>Sure. So's Eva Braun.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Let's move out. You two go find Gurkin; if he's dead, grab the explosives. And round up anyone else you can find. I'm gonna do a little recon on the church.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Maybe we shouldn't split up.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Cover twice the ground this way, and we still gotta knock that tower down. Stick together; we'll rendezvous in one hour, 4 a.m., right here. Okay?<\/dialogue>\n    <scene_description>They each click a button on their watches. Time to go.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Keep your head down.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>You too.<\/dialogue>\n    <scene_description>They part - Boyce and Tibbet heading North - towards forest. Ford watches them go, covering them... then:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CIELBLANC - TOWN SQUARE - MOVING - CONTINUING (NIGHT)<\/stage_direction>\n    <scene_description>Ford begins a slow, quiet advance through the square...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTSIDE CIELBLANC - SAME (NIGHT)<\/stage_direction>\n    <scene_description>Boyce and Tibbet move through PASTURE, looking for help while trying to be invisible. GUNS in the distance...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CIELBLANC - TOWN SQUARE - RESUMING (NIGHT)<\/stage_direction>\n    <scene_description>Ford passes the well and the gallows - quietly, any noise could kill him. Passing a HOUSE, when-- DISASTER: its BEDROOM WINDOW OPENS. Ten feet from us. Ford dives behind the nearest wall, as: A WOMAN - EVY LESNER - leans out her window, scanning the Square like a watchtower guard. She's a hard, war-ravaged 40. But there's something wrong with her face-- The skin on half of it is BLISTERED and COAL-BLACK, the flesh diseased, hanging limply. Her left eye is milky white. What the hell happened to this lady? Typhus maybe? Ford has no idea; he just stares from the shadows. Finally, Lesner shuts the window. Ford, shaken, moves on...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTSIDE CIELBLANC - FOREST - SAME (NIGHT)<\/stage_direction>\n    <scene_description>Boyce and Tibbet stay low - the town at their back. We hear odd ANIMAL CRIES in the night, distant FIREFIGHTS. The whole forest feels alive around us, creepy as hell. Boyce pulls out his METAL CRICKET. CLICK-CLACK, CLICK-CLACK. Tibbet does it too. Nothing. They keep moving, searching... Then, up ahead, SMOKE and METAL become visible--<\/scene_description>\n    <character>TIBBET<\/character>\n    <dialogue>Boyce!<\/dialogue>\n    <scene_description>It's a downed C-47, a DEBRIS FIELD of twisted metal, rubber, and glass. They wade in... Then Boyce sees it, at his feet - a piece of TIN FLOORING, used to be part of the FUSELAGE. It has words written on it: \"82nd Airborne. We came to liberate France. June 5, 1944.\" Good God. Their plane, in sections now. Sobering as hell, scary too. They start clicking their CRICKETS again - through the smoking pieces of a dead plane. Boyce finds its NOSE dug into dirt. \"My Gal--\" the rest of the name buried. He keeps moving, until: An ANIMAL SOUND startles him - growling, snorting. Boyce edges around the crippled nose of the C-47 to find: ...a WOLF, chewing the forearm of our dead pilot, McKean. Boyce hisses at the wolf. It backs off grudgingly, nearing another one of those ANIMAL TRAPS. Boyce hisses again. The wolf changes course, narrowly side-stepping the trap. Boyce turns back toward the fuselage... But SOMETHING GRABS HIS ANKLE. He turns, terrified-- At his feet is Gurkin, who lies stiff - a PROPELLER BLADE poking through his chest. Literally. But he's alive.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Gurkin! Tibbet, get over here!<\/dialogue>\n    <scene_description>Tibbet heads over. Boyce kneels beside Gurkin. The situation is hopeless, obviously - Gurkin's practically been torn in half - Boyce completely overwhelmed, but trying:<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>You just hang on, Gurkin. We're gonna get you to a Medic...<\/dialogue>\n    <scene_description>Tibbet arrives. Boyce shakily pulls out a CANTEEN.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Here. Take a sip...<\/dialogue>\n    <character>TIBBET<\/character>\n    <dialogue>Gurkin, ya got the explosives?<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Tibbet, give him a second.<\/dialogue>\n    <character>TIBBET<\/character>\n    <dialogue>Ya got 'em, Gurkin?<\/dialogue>\n    <scene_description>Gurkin nods. Tibbet reaches into Gurkin's trouser pockets - BLOOD SPURTING from Gurkin's chest onto Boyce's hands - as Tibbet extracts FOUR TETRYTOL BLOCKS (they look like C-4). Tibbet pockets them; Boyce just trying to compose himself.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Here, Buddy. Take a sip.<\/dialogue>\n    <scene_description>Gurkin waves away the water, reaching for something else: Boyce's side-arm; Gurkin wants to be put out of his misery. Boyce halts. Gurkin looks to him, begging, barely audible:<\/scene_description>\n    <character>GURKIN<\/character>\n    <dialogue>Please.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Listen, we're gonna get the medic--<\/dialogue>\n    <scene_description>Gurkin whispers it again. \"Please.\" The guy is in agony. Boyce eyes him, \"Really?\" Gurkin half-nods, pained... Boyce looks to Tibbet, who dodges it with:<\/scene_description>\n    <character>TIBBET<\/character>\n    <dialogue>I'm gonna find Grunauer.<\/dialogue>\n    <scene_description>And Tibbet backs away - leaving just Boyce and Gurkin. Gurkin's eyes are pleading. Boyce pulls out his sidearm, his hand shaking... aims the weapon at Gurkin's head. But he can't do it. No way. He shakes his head.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>I...<\/dialogue>\n    <scene_description>And Gurkin stops breathing. Dead. Eyes open. Boyce sags... then breathes out a \"Sorry\", shuts Gurkin's eyes, and takes one of Gurkin's Dog-Tags.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTSIDE THE LESNER BARN - NIGHT<\/stage_direction>\n    <scene_description>Ford passes by a BARN beside Lesner's home, then heads up the Foothill, noting the GUARDS at the front gate of the church. They're SS, black uniforms and all. That gets his attention.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST - RESUMING (NIGHT)<\/stage_direction>\n    <scene_description>Boyce follows Tibbet toward a dark stretch of woods. CLICK- CLACK, CLICK-CLACK. No reply. Boyce tries again... This time, we hear a CHIRP IN REPLY. Maybe 50 yards away.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Tibbet.<\/dialogue>\n    <scene_description>They turn. The sound came from the foothill below the church. They head over, staying low to the ground. We TRACK THEM...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS\/NEAR THE FOOTHILL - CONTINUING<\/stage_direction>\n    <scene_description>Boyce and Tibbet get to a patch of trees, and:<\/scene_description>\n    <character>TIBBET<\/character>\n    <dialogue>Flash.<\/dialogue>\n    <character>PFC. CHASE\/PFC. PENNER<\/character>\n    <dialogue>Thunder.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Welcome.<\/dialogue>\n    <scene_description>Chase, from our stick, emerges from behind a tree. Beside him is another paratrooper - PFC. PENNER. (Penner is new to us; he's got a FLAMETHROWER strapped to his back.)<\/scene_description>\n    <character>PFC. CHASE<\/character>\n    <dialogue>You see anybody else?<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Just Ford. He's up the hill.<\/dialogue>\n    <character>PFC. CHASE<\/character>\n    <dialogue>This is Penner, five-oh-eighth, B- Company. Lost his whole stick.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>What was your target, Penner?<\/dialogue>\n    <character>PFC. PENNER<\/character>\n    <dialogue>Radio-jammer on top of the church.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Ours too. But they got two captured G.I.'s inside.<\/dialogue>\n    <scene_description>Shit. They study the CHURCH from here - vast, Gothic.<\/scene_description>\n    <character>TIBBET<\/character>\n    <dialogue>What else they got in there, vampires? Places give me the creeps.<\/dialogue>\n    <character>PFC. CHASE<\/character>\n    <dialogue>Let's move out.<\/dialogue>\n    <scene_description>Just then, a NOISE - a RUMBLING SOUND coming this way.<\/scene_description>\n    <character>PFC. CHASE<\/character>\n    <dialogue>Hold it.<\/dialogue>\n    <scene_description>They HALT, and turn: it's a WEHRMACHT TRUCK, crossing pastureland, its HEADLIGHTS just about to hit us.<\/scene_description>\n    <character>PFC. CHASE<\/character>\n    <dialogue>Hit the dirt!<\/dialogue>\n    <scene_description>Down they go, ready for a firefight. Here comes the TRUCK. But it TURNS RIGHT, toward the FOOTHILL. They watch it go. It bounces over a bump, KER-CHUNK, an item nearly falling out of the back of the truck: A DEAD BODY. A fallen German soldier. This truck, they now see, carries DOZENS OF THEM. Huh? The G.I.'s eye one another. The truck keeps going. Oddly, about 50 yards from here it begins to DESCEND, as if it'd just turned down a slope, or a ramp.<\/scene_description>\n    <character>PFC. CHASE<\/character>\n    <dialogue>On me. Let's go.<\/dialogue>\n    <scene_description>Hugging the tree-line, they follow the truck. Boyce notes the back of Penner's flamethrower. It says \"Hitler Hunter.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CIELBLANC - FOOTHILL\/CHURCH GATE - SAME (NIGHT)<\/stage_direction>\n    <scene_description>Ford reaches the top of the FOOTHILL on the SOUTH SIDE of the CHURCH. The RADIO-JAMMING TOWER looms above it. That GATE, 12 feet high, surrounds the grounds. Ford finds a nearby BRANCH... uses it to climb the gate... gets to the top of the gate, scans the grounds: At the FRONT GATE, those two SS GUARDS (PVT. KIEBEL and PVT. WAFNER) eye the skies anxiously. All those planes. Then the church's FRONT DOOR OPENS - a DOCTOR in a LABCOAT emerges: DR. HUGO BRUEL, the man we saw in that 16 mm. FILM. He's 50, passionate about Nazism, a taskmaster... But Wafner and Kiebel fail to come to attention; that tells Ford something. Bruel has an odd tic, a neck-twitch that often snaps his head to the left by an inch. It infuriates him, always has. He yells at Wafner and Kiebel, gesturing to the PLANES overhead. They answer mechanically, \"Nein, Herr Doktor.\" and \"Jawohl, Herr Doktor.\" Bruel tics again and storms back inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOOTHILL - NORTH SIDE\/EARTHEN RAMP - MOMENTS LATER<\/stage_direction>\n    <scene_description>Boyce, Tibbet, Chase, and Penner reach the spot where the truck descended, and they STOP - just saw something odd:<\/scene_description>\n    <character>PFC. CHASE<\/character>\n    <dialogue>What the???<\/dialogue>\n    <scene_description>A WIDE RAMP has been BULLDOZED into the EARTH out here, like a driveway descending into an unseen garage, directly beneath the church. It's guarded by heavy BLAST-DOORS. ANCIENT STONES decorate the \"overpass\" above the ramp. On the stones are RUNIC SYMBOLS, (ancient letters). A large SWASTIKA has been added dead center, flanked by two SS INSIGNIAS. The truck awaits entry. Then the BLAST-DOORS open... and the truck's HEADLIGHTS show us where this ramp leads: darkness, a CAVERN. But we don't see any GUARDS - nothing moving. The truck rolls down the ramp. The blast-doors remain open. A beat. Chase thinking...<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Why would they be bringing dead bodies in there?<\/dialogue>\n    <character>PFC. CHASE<\/character>\n    <dialogue>I don't know - but I wanna take a look.<\/dialogue>\n    <parenthetical>(no one volunteers)<\/parenthetical>\n    <dialogue>Might be our best shot at getting inside the church.<\/dialogue>\n    <scene_description>Sounds like a horrible idea to Boyce, but he's silent.<\/scene_description>\n    <character>TIBBET<\/character>\n    <dialogue>You wanna be a hero, be my guest.<\/dialogue>\n    <character>PFC. CHASE<\/character>\n    <dialogue>You and Penner come with me. Boyce, you stay up top and cover our backs.<\/dialogue>\n    <character>TIBBET<\/character>\n    <dialogue>Hey! Why me?<\/dialogue>\n    <character>PFC. CHASE<\/character>\n    <dialogue>Why not you? Let's go.<\/dialogue>\n    <scene_description>Tibbet doesn't like it, but he follows Chase and Penner down the earthen ramp - just DARKNESS at the bottom of it. What the hell is down there? Boyce stands watch, 20 feet back. ...until Chase, Tibbet, and Penner enter the DARKNESS at the bottom of the ramp, gone from our view now. Boyce STOPS. SILENCE. Boyce spots something shiny at his feet. It's a DAGGER, decorated by a DEATH'S-HEAD and runic symbols and a SWASTIKA. And the letters SS. Boyce examines it. Why would the SS be out here? He pockets it. Then, suddenly-- RIFLE FIRE from the darkness of the cavern. Lots of it. Boyce drops to a knee - rifle slung, heart pounding. MORE RIFLE FIRE. He's all alone on this ramp... MORE SHOTS. He rises, takes a step down the ramp, when-- FLAMES pierce the darkness at the bottom of the ramp - we can't see their source - followed by a SCREAM from Penner - then MORE SHOTS, ANOTHER SCREAM - then Chase yelling:<\/scene_description>\n    <character>PFC. CHASE (O.S.)<\/character>\n    <dialogue>GO GO GO!<\/dialogue>\n    <scene_description>Boyce staring at those FLAMES in the DARKNESS - as: Chase and Tibbet race back up the ramp bearing their rifles - running for their lives, terrified. They sprint up the ramp, right past Boyce - it's all a BLUR:<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Chase, what was--<\/dialogue>\n    <character>PFC. CHASE<\/character>\n    <dialogue>Run! Run!<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Where's Penner? Is he hit?<\/dialogue>\n    <scene_description>They keep running. Chase hits the top of the ramp, into PASTURE. Tibbet right behind him. Boyce looks back - sees the reflection of FLAMES on a cavern wall. Then, behind him-- --at the edge of the pasture - BOOM - an EXPLOSION. Chase just hit a LANDMINE. We see pieces of him rain down. ...followed by a confused SILENCE. Boyce stunned. Then: A KLAXON SOUNDS, loud. A RED EMERGENCY LIGHT starts swirling in the darkness at the bottom of the ramp. Boyce's position completely exposed. He takes off up the ramp.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCH GATE - RESUMING<\/stage_direction>\n    <scene_description>Ford watches as the GUARDS out here react to the KLAXON. One races for a SEARCHLIGHT at the front gate. Then:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOOTHILL - EARTHEN RAMP\/PASTURE - RESUMING<\/stage_direction>\n    <scene_description>That SEARCHLIGHT BEAM slaps on, emanating from the CHURCH-- A shitstorm. Boyce running for cover. At the edge of the PASTURE he sees Tibbet, frozen in fear - a few feet from where Chase exploded. Boyce grabs Tibbet.<\/scene_description>\n    <character>TIBBET<\/character>\n    <dialogue>Landmines...<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>We gotta move, Tibbet!<\/dialogue>\n    <scene_description>Adrenaline pumping, Boyce pulls Tibbet behind a TREE - the SEARCHLIGHT BEAM just missing them. It lands on the body of Chase in the pasture. We hear GERMAN SOLDIERS, SHOUTING.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCH GATE - RESUMING<\/stage_direction>\n    <scene_description>Klaxon howling. Ford sees THREE SS GUARDS race out the front church gate, heading toward that RAMP on the hill. Now he's got an opening. He rolls off the gate, onto:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCH GROUNDS - CONTINUING<\/stage_direction>\n    <scene_description>12 FEET STRAIGHT DOWN. He lands, crosses the church grounds - to the building itself. Then he hears: A MAN'S SCREAM - sounds like TORTURE - coming from inside the church. Boyce hurries over, crouched, but can't see the source of the screams. Just heard another one. Shit. Then Ford hears SHOUTING in GERMAN - a voice coming this way: SS CAPTAIN LOTHAR MUELLER, 25, bursting out of the FRONT DOOR of the church, about to turn in this direction. Fuck. Ford has to get out of here. Now. He turns-- ...hurries to the BACK GATE, pulls himself up - and over:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEHIND THE CHURCH GROUNDS - RIDGELINE - CONTINUING<\/stage_direction>\n    <scene_description>He lands hard. Another scream from the church fills the night. Ford starts to slink around the back of the church.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OVERLOOKING THE EARTHEN RAMP - RESUMING<\/stage_direction>\n    <scene_description>KLAXON wailing. Boyce and Tibbet crouching low. From here they can see one of those SS GUARDS (PRIVATE RICHT) eyeing the remains of Chase in that field. The OTHER TWO SS GUARDS are in the cavern at the bottom of the RAMP. We hear a FIRE-HOSE, extinguishing the fire. Then... silence. The Klaxon is shut off. Only the searchlight remains. Pvt. Richt heads down the ramp. ...leaving Boyce and a very shaken Tibbet:<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>What the hell happened down there?<\/dialogue>\n    <character>TIBBET<\/character>\n    <dialogue>I don't know. I don't know! An SS guy, we put ten shots into him - he musta had body-armor on; guy just kept coming! He tore Penner apart!<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>What're you talking about?<\/dialogue>\n    <character>TIBBET<\/character>\n    <dialogue>I don't know! Chase gave the order to get outta there, I wasn't gonna argue.<\/dialogue>\n    <scene_description>At the bottom of the ramp, the BLAST-DOORS close. Christ...<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Let's go find Lew...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTSIDE THE CHURCH GATE - RESUMING (NIGHT)<\/stage_direction>\n    <scene_description>Ford heads down the foothill, careful not to make a sound. Then a horrible SNAP - the slamming shut of metal on metal. He just stepped on one of Chloe's ANIMAL TRAPS. His ANKLE SHATTERED, that fast. Blinding pain.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTSIDE CIELBLANC\/ROAD 13 - LATER (NIGHT)<\/stage_direction>\n    <scene_description>Boyce and Tibbet reach the rendezvous site, that CRUMBLING WALL. The SEARCHLIGHT BEAM sweeps and scans. And there's no sign of Ford. Tibbet, shaken, masks it with rancor:<\/scene_description>\n    <character>TIBBET<\/character>\n    <dialogue>4:10. Where's your buddy?<\/dialogue>\n    <scene_description>Boyce doesn't know. He wishes he did...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOOTHILL - MOMENTS LATER<\/stage_direction>\n    <scene_description>Ford sits up, perspiring with pain. He grabs that TRAP, opens it, extricates his leg from it, the foot hanging limply. Fuck. He starts CRAWLING down the foothill now...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTSIDE CIELBLANC\/ROAD 13 - LATER NIGHT<\/stage_direction>\n    <scene_description>Still no Ford. Boyce eyes his watch again, anxiously... and:<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>He's in trouble. Let's go.<\/dialogue>\n    <character>TIBBET<\/character>\n    <dialogue>Orders were to stay here, remember?<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Not if he's a half-hour late.<\/dialogue>\n    <character>TIBBET<\/character>\n    <dialogue>I got the ordnance. Guys carrying ordnance stay put.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Where'd ya read THAT?<\/dialogue>\n    <character>TIBBET<\/character>\n    <dialogue>You wanna risk your neck go ahead. I don't like the guy enough to get killed for him.<\/dialogue>\n    <scene_description>Tibbet's not moving. Boyce backs away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CIELBLANC - BEHIND A SILO - LATER (NIGHT)<\/stage_direction>\n    <scene_description>Boyce looks behind a SILO. No Ford. Panic building. The SEARCHLIGHT sweeps past. Boyce moves on...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CIELBLANC - BEHIND AN UNNAMED HOME - LATER (NIGHT)<\/stage_direction>\n    <scene_description>Boyce is walking, searching... Then he STOPS - just saw something at his feet that takes his breath away: The body of a DOG - bloody, dead... and HEADLESS. Just lying there on the ground, a headless canine. Good God. Who the hell would do that? And why? He's at a loss... until: MOTORCYCLE SOUNDS - startling him - followed by VOICES:<\/scene_description>\n    <character>UNSEEN GERMAN VOICES (O.S.)<\/character>\n    <dialogue>Hande hoch! Hande hoch!<\/dialogue>\n    <scene_description>Boyce instinctively puts his hands up... then turns - to see: HIS POV: the crumbling wall, where Tibbet is - SIX GERMAN SOLDIERS appear across the road, weapons aimed right at him. Boyce crouches down, his eyes peeled. The wall itself obscures our view - but Boyce can see those six Germans approach Tibbet... and his HANDS as they go up. ONE GERMAN takes Tibbet's rifle. Another offers him a smoke. A THIRD ONE FIRES AT HIM, POINT-BLANK. Goodbye, Tibbet. Boyce recoils, accidentally stumbling over the HEADLESS DOG, almost falling. That makes a noise. He FREEZES. The six Germans don't turn; they're too busy - throwing TIBBET'S BODY on the SIDECAR of a Zundapp motorcycle. One SOLDIER starts it up, noisily. Tibbet's body draped limply. Just like that, the motorcycle blows through the Square and up the narrow road - passing right by Boyce... ...and onto the CHURCH GROUNDS. Gates close behind it. Boyce is aghast, confused... and completely alone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BASE OF THE FOOTHILL - MOMENTS LATER (NIGHT)<\/stage_direction>\n    <scene_description>Boyce hides against a tree, trying to calm himself... It's impossible; the night's just too scary until, a whisper:<\/scene_description>\n    <character>FORD (O.S.)<\/character>\n    <dialogue>Ed!<\/dialogue>\n    <scene_description>Wait. That was Ford. Boyce sees a shape against the soil, crawling. And there he is, Ford. Thank God...<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Lew.<\/dialogue>\n    <scene_description>Huge relief. Boyce hurries over... But here comes the SEARCHLIGHT, ruining the reunion. Boyce and Ford duck behind a WIDE TREE. The Searchlight passes.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Was that Tibbet? I told you guys to stick together.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>I thought you might be in trouble.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Doesn't matter, Ed. It was an order.<\/dialogue>\n    <scene_description>Boyce tightens, his eyes flitting to the CORPORAL CHEVRON on Ford's uniform. Then he notices Ford's ankle.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>What happened to your leg?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Ankle's busted. Ya find our stick?<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Just Chase and a guy from Bravo Company; nobody else. Can you walk?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>No. Where are they?<\/dialogue>\n    <scene_description>Boyce now has to factor in the idea of Ford being hobbled. It's unsettling as hell--<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>They went down a RAMP under the church. I don't know what happened down there, but the guy from Bravo never made it out, and Chase ran over a landmine trying to get away. Tibbet said there was a Jerry down there with some kinda body armor.<\/dialogue>\n    <scene_description>Ford digests that, trying to come up with a plan--<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Okay. You gotta go round up the rest of the stick. Maybe closer to the road. I'll find someplace to hide 'til you're back.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Like Hell you will. There're Jerries all over the place. SS--<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>I can hide in a barn or something. I'll be fine. We only got four hours to take out the target, Ed.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>I'm not leaving you out here with a busted leg.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Well ya sure as hell can't bring me, and we need the rest of our stick.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Lew, we are the rest of our stick!<\/dialogue>\n    <parenthetical>(that lands)<\/parenthetical>\n    <dialogue>Listen to me. There's something wrong down there. A truck went in, carrying dead bodies. Why would they be doing that? Blast-doors, mines--<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Sarge told us the place would be heavily-defended. So what? They're torturing our guys in there--<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>I'm not leaving you--<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>I don't matter right now, ya got that? Just the mission! Now go find us some Goddamn help!<\/dialogue>\n    <scene_description>Boyce tightens again, hurt. The SEARCHLIGHT BEAM sweeps past again. That ZUNDAPP MOTORCYCLE, minus Tibbet now, leaves the church and heads for Road 13 again. Boyce watching...<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Well, I'm not leaving you down. You wanna take my stripe, take it.<\/dialogue>\n    <scene_description>Ford exhales, his face working... needs a plan... Then:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Okay. We'll do it ourselves.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>You up on the hill behind the church. Me, somewhere with a flat trajectory over those front gates. Something to smoke 'em out of the building, and it's a turkey shoot.<\/dialogue>\n    <scene_description>Wait. What? Boyce is pretty sure he's kidding. Has to be.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Then we level the place, like we were ordered to.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Lew, Tibbet had the explosives.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Then they're inside the church now, right? Just have to find them.<\/dialogue>\n    <scene_description>Boyce eyes the church. It looks big, imposing, impossible.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>The two of us.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>That's right.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>And you'll be firing from where?<\/dialogue>\n    <scene_description>Ford has an idea, we can tell. We SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEHIND THE LAURENT HOME - MOMENTS LATER (NIGHT)<\/stage_direction>\n    <scene_description>Ford and Boyce hide in shadow behind Chloe's house. Carrying more pilfered goods, she crosses through a vegetable patch to her BACK DOOR as-- Boyce and Ford emerge from the dark. Chloe jumps back, scared - then catches her breath, realizing it's them.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>That attic of yours.<\/dialogue>\n    <scene_description>She's about to answer when she sees Ford's ankle. Oh.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>It's busted. He can't walk.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>One of your Goddamn traps. You mighta warned us where you'd--<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>Please - not so loud. We don't want to wake my family.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Why? Are they collaborators too?<\/dialogue>\n    <scene_description>The SEARCHLIGHT BEAM blows by. They duck. Then it's gone.<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>They're just afraid.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Yeah? How afraid?<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>You'd understand if you lived here.<\/dialogue>\n    <scene_description>Just then, A SOUND - the front gate of the CHURCH opening.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Ed saw a ramp, leading under the church. What're they doing in there?<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>\"Experiments.\" They built a lab under the chapel. I'm sorry about your leg.<\/dialogue>\n    <scene_description>Ford reacts - a lab? - when they see Pvt. Kiebel descending the foothill, armed, approaching the town. Shit. Without a word, Boyce helps Ford toward the back door...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAURENT HOME - GROUND FLOOR - HALLWAY - CONTINUING<\/stage_direction>\n    <scene_description>Chloe leads Ford and Boyce inside this simple country home - the FLOORBOARDS in here creaking with every step. Agonizing. That SEARCHLIGHT BEAM drills through a window. Ford and Boyce duck into shadow - and they freeze there, Ford whispering:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>What kind of \"experiments\"?<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>Science. Torture. Depends who you ask. There's a doctor--<\/dialogue>\n    <scene_description>The beam moves on. Ford hobbles into:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAURENT HOME - GREAT ROOM - CONTINUING (NIGHT)<\/stage_direction>\n    <scene_description>A dining table, five chairs, a DOOR leading up to an ATTIC...<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>He comes around every morning.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>We won't be here in the morning.<\/dialogue>\n    <scene_description>He starts up the ATTIC STEPS. Chloe hands Boyce an OIL LAMP.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAURENT HOME - ATTIC STAIRS - CONTINUING (NIGHT)<\/stage_direction>\n    <scene_description>Ford hops up the steps, Boyce in tow, carrying that lamp.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>How ya doin', Lew?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Dandy.<\/dialogue>\n    <scene_description>The guy's in agony. They keep climbing, quietly, to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAURENT HOME - ATTIC - CONTINUING (NIGHT)<\/stage_direction>\n    <scene_description>Discards, trunks, a bench, a table, a tiny GLASSLESS WINDOW.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Help me to the window, would ya?<\/dialogue>\n    <scene_description>Boyce helps him over. Ford slides to the floor - looking down at Kiebel out there, patrolling the Town Square.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Whaddaya guess that gate is from here? Hundred-fifty yards?<\/dialogue>\n    <scene_description>Boyce looks out, to see a flat shooting trajectory from here to the church grounds. Treeline behind it.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Yeah. Are we gonna do something about your ankle?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Sure, ya got an axe handy?<\/dialogue>\n    <parenthetical>(Boyce gets the point)<\/parenthetical>\n    <dialogue>There's a ridge in the treeline behind the church - ya see it?<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>You're there. I'm here. On a signal you toss two grenades at the church. Boom-boom, Jerries come running out; we get 'em in the crossfire.<\/dialogue>\n    <character>BOYCE<\/character>\n    <parenthetical>(terrified)<\/parenthetical>\n    <dialogue>Nothin' to it.<\/dialogue>\n    <scene_description>Ford grins, keeping his eyes on Kiebel patrolling below - Boyce's eyes moving to the well, the gallows, the church...<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>I'm telling you, something's off. This whole place feels weird.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>'Course it does! It's a town full of French Nazis--<\/dialogue>\n    <scene_description>...this said just as Chloe appears at the top of the steps - bearing Iodine, cloth, and gauze.<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>Then maybe you could take us away from here?<\/dialogue>\n    <scene_description>Behind her is her brother PAUL, 7, shy, carrying a CIGAR BOX, gazing at Boyce and Ford as if they were movie stars.<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>My brother, Paul.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Oughtta get him outta here.<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>The only soldiers he's ever seen are Nazis. I wanted him to know better.<\/dialogue>\n    <scene_description>Chloe crosses to a junk-pile, pulls out a hand-made CRUTCH, carved from a tree-limb. She hands it to Ford.<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>Here, take this. It was my father's.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Was?<\/dialogue>\n    <scene_description>Chloe nods. Boyce about to dig deeper, when--<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>In other words, \"Au revoir.\" Chloe bristles a bit...<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>You make too much noise.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Sorry. I'll try to bleed more quietly.<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>Do you need anything else? Water?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>We're all set. Thanks.<\/dialogue>\n    <scene_description>He turns to the window, watching Kiebel exit the Town Square.<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>Vien, Paul.<\/dialogue>\n    <scene_description>Paul answers her - he wants to stay up here. She says it again, \"Vien.\" No dice. Pretty humiliating, being defied by your kid brother. And Ford is unamused.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Like I said...<\/dialogue>\n    <scene_description>She pulls on Paul's arm; he digs in, sitting on the attic floor, opening up his cigar box, pulling out some MARBLES.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Ya like chocolate, Kid?<\/dialogue>\n    <scene_description>Ford takes a CHOCOLATE BAR from his trousers, holds it up for Paul to see. The answer is a big yes. Ford dangles the chocolate bar... then tosses it down the steps: \"Fetch!\" Paul doesn't move. Ford shrugs. Chloe storms down the steps, angry at Ford and Paul. The ATTIC DOOR shuts. Now it's two G.I.'s and a kid playing with his marbles.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Maybe we could get them out of here.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Let's win the war first, awright? Got a mission planned for 18 men and only one-and-a-half men to do it.<\/dialogue>\n    <scene_description>Boyce nods, rebuked. Ford jumps back into mission-mode:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Use your flashlight to signal when you're in place, two clicks. Then hit 'em with the grenades. There'll be some smoke so be careful ya don't shoot anybody friendly.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>You too.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>You'll be fine. Get in there, get to our guys, and find out where that ordnance went. You remember how to set the charges?<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>I think so.<\/dialogue>\n    <scene_description>Ford pulls the DETONATOR from his belt.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Wires go to the terminal, plunger turns down and to the right.<\/dialogue>\n    <parenthetical>(Boyce nods)<\/parenthetical>\n    <dialogue>See? It's a milk-run.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Yeah, 'cept they have grenades too.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Way I hear it, half the German grenades are duds.<\/dialogue>\n    <parenthetical>(Boyce eyes him)<\/parenthetical>\n    <dialogue>That's a fact; you can look it up.<\/dialogue>\n    <scene_description>Boyce appreciates the effort - but he's scared to death.<\/scene_description>\n    <character>FORD<\/character>\n    <parenthetical>(at Paul)<\/parenthetical>\n    <dialogue>Hey Kid, whatsay ya tie a couple tin cans to your ankles and run around the Square drawing fire from the guards?<\/dialogue>\n    <scene_description>Paul, of course, didn't get a word of that. Ford shrugs.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Another collaborator. Go.<\/dialogue>\n    <scene_description>Boyce nods, turns to go. Then he STOPS, reaches into his jacket - and pulls out that bulky ENVELOPE addressed to his parents, the one he almost handed over on the plane.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Just in case...<\/dialogue>\n    <scene_description>Ford takes the envelope. Boyce can barely breathe, but he goes - stepping over Paul - then down the stairs, pure dread. Step, step, step, to the DOOR. Boyce nudges it open... into:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAURENT HOME - GREAT ROOM - CONTINUING (NIGHT)<\/stage_direction>\n    <scene_description>Chloe's here. To Boyce's left, a BEDROOM DOOR OPENS and-- --Instant JUMP-SCARE: Chloe's grand-mother ANNELISE, 70, emerging. Her eyes are a milky white. And the skin on her arms is gruesome - COAL BLACK up to the shoulders. Looks like the skin we saw on Madame Lesner's face, the flesh eaten by disease, or frostbite, or bacteria. Or all three. Necrotid tissue, bubbling with blisters. Boyce stiffens. Chloe's almost glad he got to see this--<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>You ask what they do in that lab?<\/dialogue>\n    <parenthetical>(re: Annelise's ARMS)<\/parenthetical>\n    <dialogue>This.<\/dialogue>\n    <scene_description>Boyce, pole-axed, just stares for a second.<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>They came for my father too. When he returned he couldn't walk anymore. His legs... Then they came back for him. This time he didn't come home at all.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>I'm sorry, Chole.<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>Every house in this village has a story like that.<\/dialogue>\n    <scene_description>If Boyce had time, he'd sit down and discuss it. But he doesn't. He heads for the window, then crouches low beside it, timing that SEARCHLIGHT out there. Chloe drifts over. On a table is a PHOTO, taken 5 YEARS AGO: Chloe-at-14, with what must be her mother and grandfather and Annelise, and Chloe's (now-dead) father, ALAIN, holding Paul (at 2). Boyce notes it, just for a second, then looks outside again.<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>Is there anything I can do to help? Anything you need?<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>An ambulance. An armored Division. A night of sleep.<\/dialogue>\n    <scene_description>Outside, the searchlight recedes. It's time to go. He steels himself, anxious as hell. Checks his gear: grenades, etc. - then heads for the back door - no goodbye... until:<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>You can't leave it standing. Okay?<\/dialogue>\n    <parenthetical>(Boyce half-turns...)<\/parenthetical>\n    <dialogue>The church. When you kill those men, you have to blow it up or burn it - but don't just leave it there. Can you do that? Can you bury it?<\/dialogue>\n    <scene_description>Boyce pauses - regards her and her grandmother - the tragedy of war right there on their faces. It touches him.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Sure. You bet.<\/dialogue>\n    <scene_description>Chloe smiles bravely - there's a connection here.<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>Merci.<\/dialogue>\n    <scene_description>He nods - almost past her, when--<\/scene_description>\n    <character>FORD (O.S.)<\/character>\n    <dialogue>Ed! We got company!<\/dialogue>\n    <scene_description>Ford, whispering loud and urgent from upstairs. Boyce's head snaps around to the window - Chloe's too - where they see: Dr. Bruel - labcoat, doctor's bag - approaching this house. Escorting Bruel is an SS-Guard, Pvt. Wafner. This is bad. Very. Chloe gasps. INSTANT TERROR--<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>They know you're here! They must know you're here!<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>What're you--<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>He never comes at night! And he never brings a guard with him!<\/dialogue>\n    <scene_description>She hurriedly translates for Annelise, who is instantly terrified. Boyce processing all that - fast...<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>Paul! Paul! Vite! Mama!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/INT. LAURENT HOME - ATTIC - CONTINUING<\/stage_direction>\n    <scene_description>Ford's at the glassless window. Paul on the floor.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Ed! Get up here, Dammit!<\/dialogue>\n    <parenthetical>(at Paul)<\/parenthetical>\n    <dialogue>You! Go!<\/dialogue>\n    <scene_description>But Paul's just shut down. Pure fear. He can barely make his mouth form the word \"Chloe?\" ...as Boyce flies up the Attic Steps, hurdling over him.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Whadda we do?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>They come up, we blast 'em.<\/dialogue>\n    <parenthetical>(Boyce nods tightly)<\/parenthetical>\n    <dialogue>Don't have time for this, Ed.<\/dialogue>\n    <scene_description>Boyce knows all too well. He drops to his belly at the TOP OF THE ATTIC STEPS, rifle pointed toward the room below. Ford lines up beside him, rifle ready. BACK TO CHLOE - she sits by the fire, trying to look utterly natural. Annelise too, as-- THE FRONT DOOR IS THROWN OPEN - and here's Dr. Bruel, flanked by SS Pvt. Wafner. Bruel twitches a bit, that tic of his. He nods to TWO BEDROOM DOORS, says something that must be \"Get them\". Chloe nods obediently. BACK TO THE ATTIC - There's a KNOTHOLE in the floor, through which Boyce and Ford can look down into the Great Room below - where they see Chloe, at that bedroom door:<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>Mama? Grandpere?<\/dialogue>\n    <scene_description>BACK TO THE GREAT ROOM - Two doors open. GUILLAUME, Chloe's grandfather, emerges from one. Loyal and silent, he stands beside Annelise. Then, from the other door, Chloe's MOTHER: This is MARIE-ELENA, pure steel, embittered by war. She mentions the lateness of the hour to Bruel, in French. He snaps back at her angrily. Marie-Elena eyes the floor. BACK TO THE ATTIC - Ford peeks through that knothole now... And sees Annelise for the first time. What the??? Boyce nods. DOWNSTAIRS - Annelise is silent, stoic. Wafner asks, in German, \"Where's the boy?\" Chloe tightens. If Wafner goes up those steps, WE'RE ALL DEAD. So, aloud:<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>Paul?<\/dialogue>\n    <scene_description>ATTIC - Paul remains frozen in place, too petrified to move. Ford eyes the kid, \"Get down there.\" Paul's so terrified he DROPS ONE OF THOSE MARBLES. It falls to the floor - a noise that feels concussive in this tense silence. Everyone tightens, every head turns.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..including Wafner's. And Bruel's. ...as the damn marble starts to roll down those steps - a waterfall of SOUND that feels endless:<\/stage_direction>\n    <scene_description>TAP-roll-TAP-roll-TAP-roll... Ford bracing now. Boyce watching Wafner and Bruel for a reaction. Paul trembling. TAP-roll... The Laurents frozen...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..until the marble hits the last step and rolls toward Chloe, and she puts her foot on it. Silence...<\/stage_direction>\n    <scene_description>Paul reappears at the bottom of the steps now. Chloe hands him his marble. He nods, thanks. Apologizes to Bruel. Then Paul and Chloe and the rest of the family STAND IN A LINE like soldiers at Roll Call, shoulder to shoulder. All eyes on Wafner and Bruel. A silent, agonizing moment...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..until Dr. Bruel opens his bag, pulls out a SYRINGE, and approaches Annelise, her arms coal-black and blistered.<\/stage_direction>\n    <scene_description>Boyce and Ford watching. Bruel drifts BEHIND her, kneels down, finds a suitable vein in the back of her knee. Her leg has bruises all over it, like a junkie. In goes the NEEDLE. Annelise silent.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..as he draws her blood - which is BLACK.<\/stage_direction>\n    <scene_description>Not red. Not dark red. BLACK. Boyce and Ford stare in disbelief. Oddly, Annelise's family doesn't react at all. Bruel calmly caps his syringe, takes out another...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..and moves on to Guillaume, who sticks out his arm - which is when we see that HIS FINGERTIPS ARE BLACK. Both hands.<\/stage_direction>\n    <scene_description>Bruel draws blood - also BLACK - from Guillaume's right arm. Boyce and Ford watching, dazed... Bruel caps syringe #2, uses a ruler from his bag to measure the BLACKNESS on Guillaume's right hand. A FINGERNAIL extends awkwardly. Bruel yanks it off. Guillaume doesn't feel it. But Ford and Boyce sure do, wincing. Then Bruel asks Annelise to stick out her right hand. That's impossible for her; the tissue is just dead. The arm won't move. Guillaume reaches over, lifts it for her. A gesture of great kindness, but sad as hell. Bruel examines her right hand. Taps on it. Once. Twice... And it falls off. Right there, on to the floor. Chloe gasps. Paul cries. Boyce and Ford stunned. WHAT THE FUCK?! But there it is, on the floor - her bloodless HAND, dead tissue. Guillaume fights back a tear. Marie-Elena too. Paul trembling. Annelise is stunned, but oddly unpained.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..as Bruel makes a dispassionate note in a NOTEBOOK, and mumbles something to them in French. Then he closes up his bag, and says to Wafner, in German, \"Let's go.\"<\/stage_direction>\n    <scene_description>Wafner says what must be \"I'll be along in a moment.\" Bruel shrugs, turns to go. Marie-Elena calls out to him with a question. Bruel brushes her off with:<\/scene_description>\n    <character>BRUEL<\/character>\n    <dialogue>Heil Hitler.<\/dialogue>\n    <scene_description>He grabs the hand, tosses it into his bag, and he's gone. No one speaks. Wafner says in German to Annelise, \"Poor luck for you, Grandma.\" Annelise is silent. BACK TO THE ATTIC - Ford looks to his WATCH, gestures to Boyce, \"WE HAVE TO MOVE\". Boyce nods; he knows. But: DOWNSTAIRS - Wafner tells Chloe's family members (but NOT CHLOE) to leave the room. They hesitate. He eyes them coldly, tells them again - this time with his SIDEARM unholstered. With looks of apology to Chloe, the family recedes, their bedroom doors shutting. Chloe's alone. Wafner smiles. ...then crosses to Chloe, stopping an inch away from her, his back to the attic steps. Now we understand: he puts a hand to her face, stroking it, Chloe frozen in place... Ford and Boyce watch, her face visible to them. Fuck... Then he lets his hand drop lazily down Chloe's neck, his nails grazing slowly over the outside of her blouse, tracing her breasts. Chloe tries not to shake. Or cry. Impossible. A tear starts to roll down her cheek. Ford is outraged, livid. Dying to shoot this bastard... Boyce eyes Ford as if to say, \"Don't, Lew. PLEASE.\" Wafner starts unbuttoning the top of her blouse... She shakes. Wafner finds that exciting. He whispers, in German: \"You're trembling. Shall I hold you?\" Pawing at her. And Ford's seen enough. He pulls the TRENCH-KNIFE from his belt - about to throw it. Boyce terrified. But just then, Wafner notices something at his feet - that CHOCOLATE BAR, G.I. ISSUE. He bends down, grabs it, looks to Chloe. Her eyes go wide. Wafner reaches for his WHISTLE-- No choice now - Ford lets the knife FLY. It buries itself in Wafner's back. He groans, pitches forward. Chloe stunned.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Get him, Ed!<\/dialogue>\n    <scene_description>Boyce, improvising, hurries down the steps, puts a PISTOL to Wafner's head and covers Wafner's mouth. Marie-Elena bursts out of her room. ...and sees Boyce, an American. She starts hissing at Chloe in French - a terrified \"How could you bring him in here?!\" ...as Boyce pulls a bleeding Wafner up the attic steps. It's all happening in a blur-- Chloe follows them up, Marie-Elena still berating her from below, Chloe hissing back. IN THE ATTIC - Wafner hits the top step. Ford puts the tip of his M-1 against Wafner's skull.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Tell him to put his hands up.<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>He speaks Eng--<\/dialogue>\n    <scene_description>But before she can finish the word, Wafner turns and ATTACKS - surprising them completely, he upends Ford and knocks Boyce's gun to the ground, fast. He reaches for his sidearm. Ford swipes at it with the crutch. The gun goes flying-- Wafner dives for his gun. Boyce too. Two strong young men locked up. Ford trying to get back on his feet. Marie-Elena horrified at the bottom of the steps, berating Chloe, as-- Wafner, strong as hell, pushes Boyce away and grabs the GUN-- --gets to his knees, about to fire at Boyce when-- THUMP. Ford, upright again, RIFLE-BUTTS Wafner in the back of the head. Wafner drops, half-conscious. And it's over. Silence... A breath...<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Tie this bastard up to that chair.<\/dialogue>\n    <scene_description>Boyce grabs Wafner, throws him onto a rickety CHAIR. Chloe spots some frayed ROPE, tosses it to Boyce, who ties Wafner's hands behind the chair. Marie-Elena still wailing from below.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Tell her to shut up. We'll be out of here as soon as we've done our job.<\/dialogue>\n    <scene_description>Chloe starts to translate into French. Her mom unmollified-- ...as Wafner, his fog clearing now, begins to HOLLER. Loud. Ford grabs a wad of BLOODY CLOTH from the table and jams it into Wafner's mouth, muffling him. An unrehearsed mess.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Tie his feet too.<\/dialogue>\n    <scene_description>Done. Now Wafner's truly stuck. Chloe, enraged, overloading, crosses toward him... and spits into his face, seething.<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>That's for my grandmother!<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>They did that to her in the lab?<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>They made her drink something, she said it was like tar. My father had to drink it too.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>Why do Nazis do anything?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Tell me about that doctor.<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>His name's Bruel. He delivered me, and Paul. Now he's more Nazi than the Nazis. Half the village has been in there.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>You too?<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>No. The Nazis have other plans for me.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Not anymore. Ya hear that, Fritz?<\/dialogue>\n    <scene_description>Wafner's silent. Ford, hobbled, pulls up a chair beside him.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Almost morning, Lew.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>I know what time it is.<\/dialogue>\n    <parenthetical>(at Wafner:)<\/parenthetical>\n    <dialogue>Start talking. How many soldiers are garrisoned in that church?<\/dialogue>\n    <scene_description>Ford pulls the BLOODY CLOTH from Wafner's mouth. Again, WAFNER SHOUTS OUT LOUD. Ford re-gags him, angrily--<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>If I wanted an opera I'd go to the Met. Talk, Dummy.<\/dialogue>\n    <character>WAFNER<\/character>\n    <parenthetical>(muffled)<\/parenthetical>\n    <dialogue>I don't know anything.<\/dialogue>\n    <character>FORD<\/character>\n    <parenthetical>(just snapped)<\/parenthetical>\n    <dialogue>'Course you don't.<\/dialogue>\n    <scene_description>Lightning-fast, he digs a TRENCH-KNIFE into Wafner's leg. Wafner's eyes roll back in pain, Boyce shocked. Ford LEAVES THE KNIFE THERE... and twists it - then:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Again. How many soldiers up there?<\/dialogue>\n    <scene_description>Wafner still doesn't answer. So Ford twists it again.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Where are your men stationed? Where are they keeping the POW's?<\/dialogue>\n    <scene_description>Wafner shuts his eyes. Ford twists it again. Boyce frozen--<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>No one's coming to help you, Adolf; they're all gonna be dead soon. If you co-operate with us we'll see that you're handed over to the US Army. If<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>you don't you're gonna die in this attic and rot like a bad French cheese. Understand?<\/dialogue>\n    <parenthetical>(another twist)<\/parenthetical>\n    <dialogue>Understand?<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>That knife belongs in his heart--<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>'Course it does. Just not yet.<\/dialogue>\n    <scene_description>Ford YANKS THE KNIFE OUT, un-gags Wafner, who spits something out in German at Chloe. She snaps back. Now Ford's irritated-- So he drives it into Wafner's OTHER LEG, deep. Instant agony. Wafner cries, his eyes rolling back - as Ford covers Wafner's nose and mouth with the bloody cloth, SUFFOCATING HIM. Boyce slack-jawed: \"Are we about to KILL this guy?\"<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Are you gonna talk? Are you gonna talk?<\/dialogue>\n    <character>WAFNER<\/character>\n    <parenthetical>(muffled)<\/parenthetical>\n    <dialogue>Yes!!!<\/dialogue>\n    <scene_description>Ford leans on the knife like the throttle of an airplane, pushing it in deeper - then lowers the cloth--<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Lew...<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>How many troops garrisoned there?<\/dialogue>\n    <character>WAFNER<\/character>\n    <dialogue>Four! Please take this out!<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Two POW's. Where are they?<\/dialogue>\n    <character>WAFNER<\/character>\n    <dialogue>In the lab! Please!<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>A dead G.I. was brought in on a motorcycle. Why?<\/dialogue>\n    <character>WAFNER<\/character>\n    <dialogue>I don't know. Experiments.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>What kind of experiments? He's dead.<\/dialogue>\n    <character>WAFNER<\/character>\n    <dialogue>Research! I don't know!<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Bullshit! He had explosives on him. Where are they?<\/dialogue>\n    <character>WAFNER<\/character>\n    <dialogue>In the lab! A cabinet! Please--<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Why the house call in the middle of the night? What's the rush?<\/dialogue>\n    <character>WAFNER<\/character>\n    <dialogue>The invasion! The doctor wants to complete his work before the town is overrun.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>What kind of work?<\/dialogue>\n    <character>WAFNER<\/character>\n    <dialogue>I don't know! We are told so little!<\/dialogue>\n    <parenthetical>(Ford pushes DEEPER)<\/parenthetical>\n    <dialogue>I don't interfere with him, I swear it! I just do as I'm told!<\/dialogue>\n    <scene_description>A sob suddenly bubbles from his throat - the guy's just in too much pain to go on. His head droops, whipped...<\/scene_description>\n    <character>WAFNER<\/character>\n    <dialogue>Please...<\/dialogue>\n    <scene_description>Ford yanks the knife out. Wafner sobs quietly. Boyce silent. Ford checks the time, reaches into Wafner's breast-pocket, pulls out the pack of CIGARETTES he knew would be there... And shoves one between Wafner's lips. Wafner appreciates it. Then Ford pulls the ENVELOPE from his own jacket - the one addressed to his mother in Brooklyn. He rips it open. Inside is a BRASS ZIPPO LIGHTER - looks like it's been through fire, literally; it's got SCORCH-MARKS on it. He lights Wafner's cigarette, as:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>See this? My Old Man ran into a burning house one day with this lighter in his pocket - died saving a<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>couple kids. Maybe they were relatives of yours, it's a German neighborhood. Madoc Avenue.<\/dialogue>\n    <parenthetical>(still no reply)<\/parenthetical>\n    <dialogue>I always hated that part of town.<\/dialogue>\n    <scene_description>He yanks the cigarette from Wafner's lips, pockets the Zippo.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Break's over. What else does my buddy here need to know?<\/dialogue>\n    <scene_description>Wafner sighs. Ford waves the lit end of that cigarette, ready to BURN Wafner's FACE with it. And Wafner relents--<\/scene_description>\n    <character>WAFNER<\/character>\n    <dialogue>One of the prisoners is dead already. The other is tied to a table. Your explosives are in the cabinet farthest from the door.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Thanks. You're a pal.<\/dialogue>\n    <parenthetical>(at Boyce:)<\/parenthetical>\n    <dialogue>Get going. You're late for church.<\/dialogue>\n    <character>WAFNER<\/character>\n    <dialogue>You'll hand me over to your Army, say I co-operated?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>He pounds Wafner in the temple with the butt-end of that knife, knocking Wafner unconscious... Then turns to Chloe:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Go downstairs. Tell your family not to move. I want them INSIDE.<\/dialogue>\n    <scene_description>She goes. Just Ford, Boyce, and an unconscious Wafner now.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Nice sleepy little French village. Jesus.<\/dialogue>\n    <parenthetical>(peers out the window)<\/parenthetical>\n    <dialogue>You're looking for four guards, plus the doctor. He might be armed. You--<\/dialogue>\n    <parenthetical>(stops himself--)<\/parenthetical>\n    <dialogue>Just get going, before they notice he's gone.<\/dialogue>\n    <scene_description>Boyce gathers his gear, heads down the stairs, then halts:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAURENT HOME - ATTIC STEPS - CONTINUING<\/stage_direction>\n    <scene_description>Chloe's waiting at the bottom - which means she heard all this. Boyce reaches her, thinking she's about to say \"Good Luck\" or something. But instead-- --she KISSES him; there's an urgency to it, a desperation. Her eyes wet - she whispers into his ear:<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>Please, please... take me away from here. I can't stand it anymore.<\/dialogue>\n    <scene_description>Boyce, his face flushed, can barely manage a half-nod. Chloe gathers herself... then opens the door--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAURENT HOME - GREAT ROOM - CONTINUING<\/stage_direction>\n    <scene_description>Chloe's family awaits. They note Boyce and his rifle... and for just a second, Boyce feels brave. A liberator. Then:<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You go to die for us?<\/dialogue>\n    <scene_description>Boyce deflates, just like that. Chloe reddening...<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Your English needs some work, kid.<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>He meant \"fight\" for us.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Let's hope so.<\/dialogue>\n    <scene_description>Chloe nods. Boyce goes out the back door. We STAY HERE - with Annelise, watching him go. Then:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/INT. LAURENT HOME - ATTIC - RESUMING<\/stage_direction>\n    <scene_description>Ford perches at that window, DAWN just breaking--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/EXT. BEHIND THE LAURENT HOME - SAME (DAWN)<\/stage_direction>\n    <scene_description>Boyce emerges, just as... A HUGE NOISE hits him - shaking the sky: HEAVY GUNS in the distance. Big ones. BOOM-BABOOM. Thunderous sounds-- And Boyce knows where they're coming from: US Destroyers (and German pillboxes). It's now June 6, 1944. D-Day. His watch says 5:45. BOOM-BABOOM. BACK TO FORD - The GUNS of Normandy echoing up here, played off of Ford's face - steely, determined... BACK TO CHLOE AND HER FAMILY - They hear it too. The Invasion! There's hope in Chloe's eyes. Paul's too. Then-- Behind them, Annelise asks Guillaume to open the front door for her. He does so. Annelise steps outside. BACK TO BOYCE - He sends up a silent prayer, D-DAY POUNDING in the distance. VERY LITTLE COVER between him and the church - a few barns, that's all. He steels himself... BACK TO FORD - He looks out the window, trying to spot Boyce. Instead Ford sees: ON THE FOOTHILL - The SS Guards from the church emerge now, looking with FIELD-GLASSES toward the GUNS on the Coast. AND THE PEOPLE OF CIELBLANC - They too step out of their homes, awakened by the heavy guns. 50 PEOPLE IN ALL. Women, children, older folks, no men. A few of these people aren't whole: an older man MISSING A LEG. A TEENAGER in a wheelchair. A LAME CHILD spasming in his mother's arms, his eyes milky white. Ford notes it all. Then, a surprise - visible right below this very window: Annelise walking to the center of the Square, minus one hand, both arms BLACK. But here she is, marching toward the well. The others regarding her in frightened silence... ...Ford watching, thrown, as:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/EXT. CIELBLANC - OUTSKIRTS - SAME<\/stage_direction>\n    <scene_description>Boyce ducking behind a barn. Every step is a danger. BACK TO THE TOWN SQUARE - Annelise stops at the well; every head turns. She's gruesome. What's she doing out here? Then, even stranger, she starts to sing. A LULLABY, her voice shaky. Singing, in the middle of the square, odd as Hell:<\/scene_description>\n    <character>ANNELISE (FRENCH, SINGING)<\/character>\n    <dialogue>Nous n'irons plus au bois\/Les lauriers sont coupes...<\/dialogue>\n    <scene_description>BACK TO FORD - confused at first, then he gets it. BACK TO ANNELISE - People staring at her now - all wondering why this old woman is singing. Here's why: She's turning all eyes in town onto herself. BACK TO BOYCE - he gets it too. With the villagers distracted, he exits the town for the brush of the foothill. BACK TO ANNELISE, singing, the villagers staring at her. From here, she can see Boyce scaling the foothill. Good... BACK TO FORD, in the attic, watching Boyce too, as: BOYCE SCALES THE FOOTHILL - ducking in and out of trees for cover. His breaths are shallow, anxious. ANNELISE - still at it. A rotting woman singing a lullaby. Madame Lesner, her face gruesome, leans out her window, barking in French at Annelise, \"Stop this.\" D-Day pounding.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/EXT. CHURCH - FRONT GATE - SAME<\/stage_direction>\n    <scene_description>Walking the church perimeter is Richt. He spots Annelise in the village below, and sights her with his rifle. BACK TO BOYCE - hurrying, trying to be invisible, as: ANNELISE - still singing. Lesner growing more irritated, shouting, \"Stop this! You're frightening everyone!\" BACK TO THE CHURCH - Richt has her lined up. He starts to squeeze the trigger... BACK TO CHLOE - she and her family watching the Square - Lesner is now YELLING at Annelise, who keeps singing. BACK TO BOYCE - moving in and out of trees... BACK TO THE CHURCH - Richt pulls the trigger -- just as Dr. Bruel appears, swiping angrily at Richt's rifle. BACK TO THE SQUARE - The SHOT rips through the air, missing its target but hitting the gallows. The villagers shocked. BACK TO FORD - every part of him tensing. BACK TO THE CHURCH - Bruel berates Richt, in German. \"Who gave you the right to interfere with my work here! You almost killed one of my subjects!\" BACK TO THE SQUARE - the villagers SCATTER back to their homes in fear, doors slamming. Lesner shuts her window... ...but Annelise just keeps singing. BACK TO CHLOE - Her family staring out at Annelise...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/EXT. FOOTHILL\/BEHIND THE CHURCH - RESUMING<\/stage_direction>\n    <scene_description>Boyce passes behind the REAR GATE of the church, unseen, heading for the TREELINE behind the church... He finds a ridge that looks DOWN on the church grounds. Perfect - he can do some killing from here. BACK TO ANNELISE - She sees him back there, sees Bruel in the foreground. Mission accomplished. She stops singing. ...climbs on to the lip of that WELL, her eyes on Bruel-- ...and throws herself in. Just like that. BACK TO BOYCE - Eyes wide, can't believe it. CHLOE AND HER FAMILY - They scream. Paul, distraught, springs up and runs for the attic steps. BACK TO BRUEL - He turns abruptly and heads back inside the church, leaving Richt alone out here. BACK TO THE TOWN SQUARE - utter silence and stillness. Not a sound from the bottom of the well... BACK TO FORD - He lowers his head, just for a moment.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Rest in peace, Lady.<\/dialogue>\n    <scene_description>Just then, Paul bursts into the attic, utterly unglued. He starts SHOUTING AT FORD in French, sobbing, his timing awful.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Listen, Kid. You gotta go.<\/dialogue>\n    <parenthetical>(Paul keeps shouting)<\/parenthetical>\n    <dialogue>I'm serious. Beat it.<\/dialogue>\n    <scene_description>BACK TO BOYCE - It's TIME. He eyes the RADIO-JAMMING TOWER while laying out his TRENCH KNIFE and GRENADES. Then he catches the sun on the KNIFE. Two REFLECTIONS. BACK TO FORD - With Paul still shouting and a bleeding Wafner across the room, Ford sees the signal-flashes from Boyce... and looks through the SCOPE of his rifle, as:<\/scene_description>\n    <character>FORD<\/character>\n    <parenthetical>(to downstairs)<\/parenthetical>\n    <dialogue>Hey! Get him outta here already!<\/dialogue>\n    <scene_description>BACK TO BOYCE. He sets the knife down, steadies himself... Then he pulls a pin on GRENADE #1 - hurls it at the church's back door. Pulls a pin on GRENADE #2 - hurls it on the ROOF. -as we MOVE IN TIGHT ON FORD, in the window, rifle sighted. -and TIGHT ON BOYCE, on the ridge, ready to fire... when:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/EXT. CHURCH - GROUNDS - RESUMING<\/stage_direction>\n    <scene_description>BOOM! Grenade #1 blows the BACK DOOR off its hinges. LOUD. BOOM! Grenade #2 blows a small hole in the roof. --AT THE CHURCH GATE - Richt races toward the blasts and-- --IN THE ATTIC - BANG. Ford FIRES, missing high. Re-aims. Squeezes off another shot - BANG. Paul STOPS YELLING as-- --BACK TO RICHT - hit in the back. He goes down... ...just as Kiebel and SS PVT. KOGAN emerge from the church, armed. Captain Mueller too. But: It's an AMBUSH: Boyce starts firing. POP-POP-POP-POP-POP... --Ford fires too. POP-POP-POP-POP. Paul just watching. --Kogan, Kiebel, and Mueller are shredded. They go down. And then it's over. Just like that. An eery silence. BACK TO BOYCE - perfectly still, low to the ground. BACK TO FORD - perfectly still, in the attic window, as-- BACK TO THE SQUARE - Every door stays shut. No one steps outside to see what happened. D-DAY still thumping from afar. BEHIND THE CHURCH - Boyce regards the bodies... four of them lying there - but no Dr. Bruel.<\/scene_description>\n    <character>BOYCE<\/character>\n    <parenthetical>(under his breath)<\/parenthetical>\n    <dialogue>Where are ya, Doc?<\/dialogue>\n    <scene_description>IN THE ATTIC - Ford's thinking the same thing. Paul drifts over, looks out the window... The bad guys are dead. BACK TO BOYCE - He hops down from the treeline, rifle slung.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCH GROUNDS - BEHIND THE CHURCH - CONTINUING (DAWN)<\/stage_direction>\n    <scene_description>Smoke wafts. Boyce enters the church warily, through the blown-out BACK DOOR, with D-DAY thumping in the distance... BACK TO FORD - He and Paul watch Boyce disappear inside. On Paul's face, a look of liberation. Awe. He opens that cigar-box of his, reaches inside, pulls something out: It's an old French WORLD WAR I MEDAL... for VALOR. With wordless ceremony, Paul extends it to Ford and pins it on him. Ford can't help feeling touched - as:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - GROUND LEVEL\/KITCHEN - CONTINUING<\/stage_direction>\n    <scene_description>Sunlight and smoke. The sound of RUNNING WATER. Boyce enters. No one's in here, just a running faucet. He crosses through, then edges into a SHADOWY HALLWAY. Not a sound. Then into:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - GROUND LEVEL\/SANCTUARY - CONTINUING<\/stage_direction>\n    <scene_description>Silence. Dust hovering, some glass shattered. Boyce passes the figure of Christ on the altar. No time to acknowledge it. He spots a door up ahead... approaches, then into:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - STAIRWELL - RESUMING<\/stage_direction>\n    <scene_description>Dimly-lit by a single blub. Boyce descends in silence - then through a door, to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - DOWNSTAIRS HALLWAY - SAME<\/stage_direction>\n    <scene_description>A long SUBTERRANEAN HALLWAY. Boyce walks. Half-open DOORS to his right and left. He pushes one open: The room's empty. A MILITARY RADIO sits on a table. Boyce eyes it, then continues down the hallway. Opens another door: An ARMORY: stacked RIFLES, ammo on shelves, two tall LOCKERS. Boyce backs out, drifting farther down the hall. Where is that damn Doctor? A DOOR up ahead. Boyce approaches silently. ...and nudges the door open with the tip of his rifle-- ...revealing an EMPTY PITCH-BLACK SPACE. Feels big. His hands fumble along the wall for a LIGHT-SWITCH. He finds it. CLICK:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - BASEMENT\/LAB - CONTINUING<\/stage_direction>\n    <scene_description>LIGHTS POP ON above us in a sequence. CH-CH-CH-CH-CH. Rows of them. It takes ten full seconds for them all to illuminate. This is the LAB we saw in that 16 mm. film. And it is HUGE. A CEILING-TO-FLOOR CURTAIN divides the lab in half. On this side of it we see endless rows of LAB-STATIONS, EQUIPMENT, sinks, burners, beakers. A pair of EYEBALLS in a jar... Oh, and 25 DEAD GERMAN SOLDIERS, on GRANITE SLABS. These are the BODIES Boyce saw trucked in; each has been stripped down to white BOXER SHORTS and rubbed with oil. ...but every gunshot wound, every hole left behind by an exploding shell, they're all evident. Boyce winces a bit. Covering the walls are RUNIC LETTERS and paintings of ANCIENT TEUTONIC KNIGHTS. Swastikas too. And two crossed CEREMONIAL AXES, right out of the Middle Ages. In a glass cabinet are 500 VIALS OF BLACK BLOOD. One sits on a GAS STOVE in a POT OF BOILING WATER. Boyce turns the stove off. And hears a MACHINE-LIKE SOUND: A pump, sounds like it's on the other side of that CEILING-TO- FLOOR CURTAIN. Boyce steps through it, rifle slung - and sees the OTHER HALF of this vast lab... It's a horror: FIFTEEN PEOPLE - \"SUBJECTS\" - barely human now, each of them TIED BY THEIR HANDS AND FEET TO HOSPITAL BEDS. They were villagers once. Now they look more like CREATURES. Their flesh is black and blistered, everywhere - necrotid tissue bubbling on their arms, faces, necks, torsos. Their eyes milky white, staring in a state of sustained torture. On each bed Boyce finds a \"PATIENT FILE\" complete with BEFORE AND AFTER PHOTOS - human decay, chronicled in German. Beside one of the beds, a 16 mm. CAMERA stands on a tripod... He drifts a bit closer, breathless. These people are barely alive, most of them unconscious, some of them vegetative; something is corroding them from the inside out: Connected to each villager is a machine of pumps and valves, an AUTOJECTOR, pumping a thick black substance - looks like TAR - into each subject, circulating it mechanically. On BOTH ARMS of every subject are BLOOD DRAWS, feeding black blood into bottles that sit on the floor. It's like a massive, gruesome dairy farm. But why??? Boyce drifts past each bed, shocked, speechless. Then, another shock - AUTOJECTOR #16 is connected by TUBES to a DISEMBODIED DOG'S-HEAD, which sits on a tray. Somehow, impossibly, the Autojector is keeping the head alive. Its MOUTH moves - just took in a breath. My God... Autojector #17 is hooked up to a HUMAN HEART, beating, suspended in air by STRINGS over the OPEN CHEST of Tibbet. Tibbet's EYES have been removed. Holy Hell. Boyce shaken. Then, behind him, labored BREATHING. He turns, rifle slung. In BED #3 is another villager\/creature, suffering, tied up, his body entirely BLISTERED and BLACK. His eyes crazed. Boyce stares - something drawing him toward this creature, when-- A JUMP-SCARE - it BOLTS UP - still tied to the bed but lunging at Boyce with such force that the bed actually TOPPLES OVER, slamming on its side to the floor. That fast. Boyce steps back, the Creature now pressed against the floor, its breaths rattling. Boyce not sure what to do, as:<\/scene_description>\n    <character>A VOICE (O.S.)<\/character>\n    <dialogue>Help... please.<\/dialogue>\n    <scene_description>That was barely audible, but AMERICAN. Boyce turns-- There's another CURTAINED-OFF SECTION up ahead. He gets there - pulls back the curtain...<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Rosenfeld!<\/dialogue>\n    <scene_description>Rosenfeld, his hands and feet TIED to the rods of his bed, turns, glassy-eyed. This man's been tortured. Mumbling:<\/scene_description>\n    <character>ROSENFELD<\/character>\n    <dialogue>I didn't talk. I didn't--<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>--where's the Doctor?<\/dialogue>\n    <parenthetical>(Rosenfeld doesn't know)<\/parenthetical>\n    <dialogue>Okay. We're gettin' you outta here.<\/dialogue>\n    <scene_description>He starts to untie Rosenfeld, anxiety pumping--<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>What the hell is all this? They--<\/dialogue>\n    <scene_description>Just then, ANOTHER SOUND--<\/scene_description>\n    <character>ROSENFELD<\/character>\n    <dialogue>Boyce!<\/dialogue>\n    <scene_description>Boyce turns - a BLUR behind him - and: Dr. Bruel emerges from shadow. He'd been hiding there. He RIFLE-BUTTS Boyce in the head. ALL GOES BLACK. We CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAURENT HOME - ATTIC - MORNING<\/stage_direction>\n    <scene_description>Ford sits at the attic window, awaiting any sign of Boyce. HIS POV - OUT THE WINDOW: Cielblanc is quiet. Normandy's beaches are not. BOOM-BABOOM.<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>That really ought to be looked at.<\/dialogue>\n    <scene_description>Chloe, at the top of the steps, gestures to Ford's blood- soaked pantleg. An uneasy tension between them. Ford shrugs, \"Go ahead.\" Chloe crosses past Wafner and sits. She unties Ford's boot; he keeps his eyes out the window - despite the searing pain. Mission, mission, mission. She pulls the boot off. AGONY. Ford just grits his teeth. Chloe pulls up his pantleg, pulls down his bloody sock - regarding what one of her traps did to a human leg.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Arky Vaughn had an ankle like that, a couple years back. Cost him half a season.<\/dialogue>\n    <scene_description>Chloe has no idea what he's talking about.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Brooklyn Dodgers? Baseball?<\/dialogue>\n    <parenthetical>(she's a blank)<\/parenthetical>\n    <dialogue>And they say we're uncultured.<\/dialogue>\n    <scene_description>She cleans the wound with Iodine...<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>I'm sorry - about your father.<\/dialogue>\n    <parenthetical>(Ford shrugs)<\/parenthetical>\n    <dialogue>He was a fireman?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>He was a house-painter.<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>Oh. Then why did he run into--<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>You done yet?<\/dialogue>\n    <scene_description>She holds up a BANDAGE, starts to roll it around his ankle. ...as he eyes that VALOR medal pinned to his jacket; it bothers him. He takes it off, shoves it in his pocket. Then he sees something horrible atop that foothill-- ON THE CHURCH GROUNDS - a door opens... and Bruel emerges. BACK TO FORD - Instant alarm: Ed's in trouble. Ford bolts up, grabbing his rifle and crutch, his foot unshod and bloody. BACK TO BRUEL - He eyes the bodies of Kiebel, Kogan, Richt, Mueller, and he sighs. Then he picks up the body of Kiebel... ...and carries it back inside the church. Just like that. BACK TO FORD - hobbling past Chloe, toward the attic steps...<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>You're leaving us?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Ed's in trouble.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAURENT HOME - GREAT ROOM - CONTINUING<\/stage_direction>\n    <scene_description>Ford descends noisily on his crutch - then emerges, Chloe right behind him. The Laurents turn.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>STAY INSIDE. The Kraut's tied up.<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>How can you help him on one leg?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>You just stay here.<\/dialogue>\n    <scene_description>He heads for the door. Marie-Elena mumbles something at him in accented English. Chloe reacts.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>What was that?<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>She said take the truck.<\/dialogue>\n    <parenthetical>(Ford thrown)<\/parenthetical>\n    <dialogue>Madame Lesner has a truck in her barn. That one, there. To move him if he is hurt.<\/dialogue>\n    <scene_description>Ford nods \"Thanks\". Marie-Elena nods back. He steps outside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CIELBLANC - TOWN SQUARE - CONTINUING<\/stage_direction>\n    <scene_description>Keeping his eyes on that church, he crutches his way across the square - aiming for Lesner's barn... as:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - BASEMENT\/LAB - SAME<\/stage_direction>\n    <scene_description>Boyce awakens in this huge space. Looks around, disoriented. He's on an OPERATING TABLE - his hands and feet tied to its legs. A nearby SURGICAL TRAY bears a SCALPEL and SYRINGES. Around him are the Villager-Creatures, tied to their beds, black tar being pumped through their veins by Autojectors-- ...black blood draining from them into bottles on the floor. Bed #3 remains toppled over, its patient still tied to it. The 25 GERMANS remain on their granite slabs across the lab. The GAS STOVE is on again, black blood boiling in a vial. Rosenfeld's bed is beside Boyce's. Their eyes meet. Then, a BANGING SOUND. Boyce turns: It's Bruel, using a MALLET to crush TWO US-ARMY DETONATORS. Shit. Bruel drops the mallet and turns, twitching slightly - his eyes on Boyce... Then Bruel grabs a SYRINGE. Boyce braces himself. Bruel finds a VEIN in Boyce's arm. In goes the needle... Bruel drawing blood, as:<\/scene_description>\n    <character>BRUEL<\/character>\n    <dialogue>So, Private. Why are you here?<\/dialogue>\n    <scene_description>Their eyes meet. Bruel's English is surprisingly unaccented.<\/scene_description>\n    <character>BRUEL<\/character>\n    <dialogue>It's the invasion - and yet you're sent to this tiny village. Why? This was a mission?<\/dialogue>\n    <parenthetical>(Boyce is silent)<\/parenthetical>\n    <dialogue>You were obviously intending to blow up something, Private; we found four blocks of tetrytol on one of your fellow soldiers - and you and your Hebrew friend here were carrying detonators. What was your target?<\/dialogue>\n    <scene_description>Again, no reply. Bruel produces the SS DEATH'S-HEAD DAGGER that Boyce found on the ramp, eyeing it fondly. Shit.<\/scene_description>\n    <character>BRUEL<\/character>\n    <dialogue>The tower on the roof? Was that it?<\/dialogue>\n    <parenthetical>(Boyce is silent)<\/parenthetical>\n    <dialogue>Was it something else?<\/dialogue>\n    <scene_description>Boyce just stares. We DRIFT DOWN to find his right wrist, tied to that table-leg. There's a tiny bit of play in the knot. So Boyce wiggles it, as invisibly as possible, while:<\/scene_description>\n    <character>BRUEL<\/character>\n    <dialogue>Were you perhaps sent to target me? This lab?<\/dialogue>\n    <scene_description>He studies Boyce for a reaction. None. Then he grabs a CRANIOMETER (standard German phrenology instrument), and begins to measure Boyce's skull with it, as:<\/scene_description>\n    <character>BRUEL<\/character>\n    <dialogue>Do you come from Nordic stock by any chance? Parents? Grandparents? Anyone in your bloodline Teutonic? We're always looking for candidates for our re-Germanization program.<\/dialogue>\n    <character>BOYCE<\/character>\n    <parenthetical>(re: Villager-Creatures)<\/parenthetical>\n    <dialogue>Are they being re-Germanized too?<\/dialogue>\n    <scene_description>At last, a response. Bruel breathes out a grin.<\/scene_description>\n    <character>BRUEL<\/character>\n    <dialogue>They are contributing to the war effort in ways you could hardly imagine.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>How?<\/dialogue>\n    <character>BRUEL<\/character>\n    <dialogue>I'll ask the questions, if you don't mind.<\/dialogue>\n    <scene_description>He tears Boyce's t-shirt away, lights his cigarette lighter.<\/scene_description>\n    <character>BRUEL<\/character>\n    <dialogue>Again. Why are you here?<\/dialogue>\n    <scene_description>He puts the blade of the SS dagger into the flame. The DAGGER glows red. Boyce tries not to react. Impossible.<\/scene_description>\n    <character>BRUEL<\/character>\n    <dialogue>It won't hurt, you know - telling me. But this...<\/dialogue>\n    <scene_description>Boyce prays for strength. Bruel grabs the CROSS hanging around Boyce's neck and YANKS IT FREE, tossing it away.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Why're you doing this? You're French.<\/dialogue>\n    <character>BRUEL<\/character>\n    <dialogue>Am I?<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>S'posed to be a doctor.<\/dialogue>\n    <character>BRUEL<\/character>\n    <dialogue>I am a soldier now! Ensuring the Thousand-Year Reich! Himmler's dug up half of Europe looking for the secret - and I've found it for him!<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Secret to what?<\/dialogue>\n    <character>BRUEL<\/character>\n    <dialogue>History.<\/dialogue>\n    <scene_description>He PRESSES THE RED-HOT BLADE FLAT ONTO BOYCE'S BELLY. Boyce howls - the pain unimaginable...<\/scene_description>\n    <character>BRUEL<\/character>\n    <dialogue>WHAT WERE YOUR ORDERS!? WHAT WERE YOU<\/dialogue>\n    <character>TOLD ABOUT MY WORK HERE!?<\/character>\n    <dialogue>Boyce keeps praying, but Bruel does it again, red-hot steel onto bare flesh. Rosenfeld cringing at the sight...<\/dialogue>\n    <character>BRUEL<\/character>\n    <dialogue>WHY ARE YOU HERE????<\/dialogue>\n    <parenthetical>(Boyce crying)<\/parenthetical>\n    <character>I'VE WON THE WAR FOR THEM, YOU<\/character>\n    <dialogue>UNDERSTAND? MY WORK! MY DISCOVERY!<\/dialogue>\n    <character>AND YOU WILL NOT TAKE THAT FROM ME!<\/character>\n    <dialogue>WHY ARE YOU HERE?!?!<\/dialogue>\n    <scene_description>Boyce in sheer agony, aching, crying... but he isn't talking. Behind Bruel, that POT BOILS OVER. He turns, irritated, then hurries toward it - giving Boyce a brief reprieve. At the stove, Bruel pulls the vial of black BLOOD from the boiling water. Then draws the blood into a SYRINGE. Ten feet away, Boyce begins to work the rope again. Urgently. Bruel, his syringe full now, turns. Boyce moans loudly, as if delirious with pain. Bruel, pleased, carries the syringe - not toward Boyce but instead toward one of those dead Boxer-Wearers on the slabs; this guy's name is\/was SCHERZER. Boyce goes back to work, struggling to loosen the rope, as: Bruel injects the hot blood into Scherzer's HEART. Boyce keeps working on the rope... Almost there... Bruel finishes the injection on Scherzer. Turns. ...Boyce's hand isn't free yet. Rosenfeld sees that, so:<\/scene_description>\n    <character>ROSENFELD<\/character>\n    <dialogue>Water...<\/dialogue>\n    <scene_description>Bruel pauses as if he'd misheard.<\/scene_description>\n    <character>BRUEL<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ROSENFELD<\/character>\n    <dialogue>WATER.<\/dialogue>\n    <scene_description>Bruel approaches Rosenfeld. Mutual, utter contempt.<\/scene_description>\n    <character>BRUEL<\/character>\n    <dialogue>Just like a Jew, demanding that to which you have no claim.<\/dialogue>\n    <scene_description>...which allows Boyce to keep working his wrist urgently, as:<\/scene_description>\n    <character>ROSENFELD<\/character>\n    <dialogue>Water. S'il vous plait.<\/dialogue>\n    <scene_description>Bruel backhands Rosenfeld across the face - just as Boyce's hand comes free. Rosenfeld keeps at it:<\/scene_description>\n    <character>ROSENFELD<\/character>\n    <dialogue>Okay, wine then. A nice French Bordeaux maybe--<\/dialogue>\n    <character>BRUEL<\/character>\n    <dialogue>Silence!<\/dialogue>\n    <scene_description>Bruel slugs him, hard - then turns to face Boyce... who continues to writhe as if delirious. Bruel stands over him... and draws that SS DAGGER again.<\/scene_description>\n    <character>BRUEL<\/character>\n    <dialogue>Smile, Private. There's no greater honor than dying for your country.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>'Least I have one.<\/dialogue>\n    <scene_description>...which is when Bruel notices an oddity - something's missing from the surgical tray - one ITEM, gone. --but just as Bruel realizes it, BOYCE STRIKES in a BLUR - JAMMING THAT SCALPEL into Bruel's neck. Bruel falls, gasping. Boyce frees his other hand. Sits up, frees his legs, grabs his RIFLE and fires a bullet into Bruel's chest.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Can you walk, Rosenfeld?<\/dialogue>\n    <scene_description>Rosenfeld shakes his head. Shit. There isn't much time.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/INT. LESNER BARN - RESUMING<\/stage_direction>\n    <scene_description>Ford enters the LESNER BARN. There's her TRUCK. He advances-- ...and is immediately CLUBBED FROM BEHIND by a SHOVEL. He staggers, falls, turns... Evy Lesner stands here, gruesome face and all. She grabs Ford's RIFLE, points it at him. --IN THE LAB - Boyce hurries to the LAST CABINET in a row. It's locked. He knocks the lock off with his rifle-butt. Inside, the four Tetrytol blocks. He grabs them, turns. On that STOVE: vials, more SYRINGES. He heads over-- --BACK TO THE BARN - Ford struggles to his feet, supported by that crutch. Lesner, rifle ready, hisses at him in French--<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Listen, Lady, I don't speak much French. Why don't you put that thing down before somebody gets hurt?<\/dialogue>\n    <parenthetical>(Lesner is unmoved)<\/parenthetical>\n    <dialogue>Friends, okay? Amie?<\/dialogue>\n    <scene_description>Lesner eyes him with contempt. He reaches into his pocket.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Chocolate?<\/dialogue>\n    <scene_description>He offers his spare BAR of it to her. She lowers the rifle. Then she FIRES IT - right into Ford's bad ankle. BACK TO BOYCE - At the stove. He hears the shot; it snaps his head around. BACK TO FORD - He drops to the ground, his leg a rag-doll. BACK TO BOYCE - panicked, he runs to Rosenfeld.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>That could be Lew! We gotta go!<\/dialogue>\n    <scene_description>Rosenfeld can't move. Boyce grabs him in a FIREMAN'S CARRY, and heads out, moving right past those GRANITE SLABS. On SLAB #1 is Scherzer, recipient of the hot-blood injection. He just blinked. BACK TO FORD - on his back. Lesner drifts over, reaches for his TRENCH-KNIFE, taking her eyes off Ford for just a second-- Big mistake. He grabs her hair and yanks her to the ground... That fast it's an ugly, feral wrestling match. Her BLACKENED FINGERS clawing at him. Hair is grabbed, faces gouged. He loosens her grip on the rifle and tosses it away... as:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - KITCHEN - SAME<\/stage_direction>\n    <scene_description>Boyce carries Rosenfeld through. Up ahead is the BACK DOOR that he blew open with that grenade. He heads toward it... BACK TO THE BARN - Ford and Lesner struggle on the floor like animals. Gouging, scratching, smothering, gasping...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/EXT. BEHIND THE CHURCH - YARD - SAME<\/stage_direction>\n    <scene_description>Boyce crosses the grounds, bearing Rosenfeld. BACK TO THE BARN - A primal struggle. Lesner rolls on top of Ford, her hand under his chin, trying to snap his neck. Ford's trying to snap hers. Both of them panting. Eyes locked, the sounds guttural. He's stronger, but she's got leverage on her side - gravity too. She growls as-- ...a single liquid SNAP... And Lesner's body sags on top of Ford's. Neck broken.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/EXT. CHURCH - FRONT GATE - SAME<\/stage_direction>\n    <scene_description>Boyce heads down the foothill, carrying Rosenfeld. BACK TO THE BARN - Ford pushes Lesner's twisted body away. It tumbles off of him like a mannequin. He tears her SHIRT off to tourniquet his gushing leg, as we:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT WITH\/EXT. CIELBLANC - TOWN SQUARE - SAME<\/stage_direction>\n    <scene_description>Boyce reaches the square, unaware that Ford's in the barn. BACK TO FORD - He crawls to his CRUTCH, gets to his feet, gathers his rifle, then to the barn door - in time to see: --BOYCE, lugging Rosenfeld into the Laurent home. BACK TO FORD - He hears a NOISE behind him - turns... and his jaw drops - utter shock and horror. ...as Lesner's body starts decaying, right before his eyes. Her SKIN-BLISTERS begin to BUBBLE, as if CORRODING from the inside. A SOUND comes from her, like a hissed death-rattle, spitting out of her lungs. The CORROSION continues-- ...eating not just her face now but every inch of her legs, her torso, her neck - they all decay, with Ford bearing witness - a sizzling sound as the flesh gives way... Soon she looks like a piece of burned paper. Then she's mere ASH inside clothing... Ford is awed, afraid. But he swallows it all.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAURENT HOME - GREAT ROOM - CONTINUING<\/stage_direction>\n    <scene_description>Boyce enters, lays Rosenfeld across the Dining Table.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Lew!? Lew!?<\/dialogue>\n    <scene_description>No reply from the attic. But Chloe emerges from her room:<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>This man needs help!<\/dialogue>\n    <scene_description>She nods. He hurries to the attic steps:<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Lew?! Lew?!<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>He went out - to help you!<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>What?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CIELBLANC - TOWN SQUARE - SAME (MORNING)<\/stage_direction>\n    <scene_description>Ford hobbles through the empty Square, to the Laurent home. The sounds of D-DAY thumping in the distance...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAURENT HOME - GREAT ROOM - RESUMING<\/stage_direction>\n    <scene_description>Boyce moves to the door, adrenaline rocketing through him.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Lew?!<\/dialogue>\n    <scene_description>He throws it open, just as Ford hobbles in. Instant relief:<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Thank God. You don't-- Christ, what happened to your leg?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>I got shot--<\/dialogue>\n    <parenthetical>(at Chloe)<\/parenthetical>\n    <dialogue>--your friend with the truck. Then she turned to ash. Was something wrong with the ordnance?<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Whaddaya mean she turned to ash--<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>I mean she shriveled up like a piece of burnt confetti.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>I don't--<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Yes or no? Was something wrong with the ordnance?<\/dialogue>\n    <scene_description>They study one another, Ford all-business.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>No. Nothin' wrong with it.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Then why's that tower still standing?<\/dialogue>\n    <scene_description>That sounded angry. Truth is, Ford's just reeling.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>I... I heard the gunfire, thought you might be in trouble.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>For the last time, it doesn't fucking matter if I'm in trouble! The mission is the tower! When're ya gonna get it through that hayseed head of yours?<\/dialogue>\n    <scene_description>That hurt, but Boyce doesn't fire back. He can't. Instead he just heads up the attic steps.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Where you going?<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Got a couple questions for our prisoner.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>It's 8:25 already.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>I know what time it is.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAURENT HOME - ATTIC - CONTINUING<\/stage_direction>\n    <scene_description>Boyce arrives, pulls out the SYRINGE he took from the lab - and a vial of BLACK BLOOD. He thrusts them at Wafner.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>What does this stuff do?<\/dialogue>\n    <parenthetical>(Wafner's silent)<\/parenthetical>\n    <dialogue>That doctor said it was gonna ensure the Thousand-Year Reich. What was he talking about?<\/dialogue>\n    <scene_description>Again, no reply. Boyce, rattled, puts a GUN to his head.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>You've got one minute. TALK.<\/dialogue>\n    <scene_description>Pretty aggressive move. Ford and Chloe appear at the top of the steps. They haven't seen this side of Boyce before.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>What's the black blood for?<\/dialogue>\n    <character>WAFNER<\/character>\n    <dialogue>You saw it. Don't you know?<\/dialogue>\n    <scene_description>Yes, Boyce knows - but he's silent. Wafner grins...<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>What's he talking about, Ed?<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>I dunno; they got a dozen villagers in there - like her grandma, but worse - tied up, bleeding into bottles. The doctor injected some of the blood into a...<\/dialogue>\n    <parenthetical>(reluctantly...)<\/parenthetical>\n    <dialogue>...dead guy.<\/dialogue>\n    <scene_description>Wafner smiles a knowing smile. Ford eyes him...<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Why would he do that?<\/dialogue>\n    <scene_description>Wafner enjoying every second of this--<\/scene_description>\n    <character>WAFNER<\/character>\n    <dialogue>You want a Thousand-Year Reich, you need a Thousand-Year Army. You see?<\/dialogue>\n    <scene_description>That lands with a THUD. Boyce and Ford silent... A beat... trying to digest the idea. It goes down hard...<\/scene_description>\n    <character>WAFNER<\/character>\n    <dialogue>It's been there for ages, you know. The tar. Ask her, she'll tell you. All we did was dig it up...<\/dialogue>\n    <character>FORD<\/character>\n    <parenthetical>(at Chloe)<\/parenthetical>\n    <dialogue>You knew all this?<\/dialogue>\n    <scene_description>All eyes on Chloe. She looks as lost as they are...<\/scene_description>\n    <character>CHLOE<\/character>\n    <parenthetical>(dazed...)<\/parenthetical>\n    <dialogue>We heard stories about it, my whole life. The black river under the hill. But they were just stories...<\/dialogue>\n    <scene_description>Silence - Ford and Boyce still processing all this...<\/scene_description>\n    <character>WAFNER<\/character>\n    <dialogue>Credit that doctor - there were so many failed attempts before he learned how to use it, but he's tireless. If his countryman had worked half as hard to defend France, we wouldn't be here today.<\/dialogue>\n    <scene_description>Boyce shakes his head. Ford just smoldering...<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>It can't be.<\/dialogue>\n    <character>WAFNER<\/character>\n    <dialogue>Think of it. An inexhaustible army.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>It can't be.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>There's a way to find out.<\/dialogue>\n    <scene_description>Huh? Ford grabs his TRENCH-KNIFE and approaches Wafner. ...whose smile suddenly VANISHES - just realized: This guy's about to kill me! He's right. Ford hobbles past Chloe, as--<\/scene_description>\n    <character>WAFNER<\/character>\n    <dialogue>But I told you everything!<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Hold it, Lew. What're you doing?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Playing doctor.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Why? Let's just blow up the tower and-<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Need to know what we're up against.<\/dialogue>\n    <parenthetical>(at Wafner)<\/parenthetical>\n    <dialogue>Don't we.<\/dialogue>\n    <character>WAFNER<\/character>\n    <dialogue>I don't-- I'm just a soldier!<\/dialogue>\n    <parenthetical>(Ford about to strike)<\/parenthetical>\n    <character>NEIN!!!<\/character>\n    <dialogue>THWUMP! Ford jams the dagger deep into Wafner's CHEST.<\/dialogue>\n    <dialogue>Silence hangs. Boyce can't fucking believe it.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Now you're an experiment.<\/dialogue>\n    <scene_description>Wafner's not breathing. Chloe and Boyce shocked-- Ford puts his head to Wafner's chest. Wafner's dead. Ford reaches for the SYRINGE. Boyce hands it over, speechless, as:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>\"Fire at Germans,\" remember?<\/dialogue>\n    <scene_description>He fills it with BLACK BLOOD from the vial. Boyce dazed:<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>...goes in his heart.<\/dialogue>\n    <scene_description>Ford jams it into Wafner's heart, hits the plunger... and nothing happens. A long beat. Wafner's just dead...<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>We killing P.O.W.'s now?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>You don't think the Nazis've killed any P.O.W.'s?<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Sure. That's what makes 'em Nazis. But we aren't like them, right?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Nobody ever won a war by saying please and thank you, Ed. He knew that.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Meanwhile it didn't get us anywhere. Look at him.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>I'm lookin'. My opinion, it's an improvement.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Point is, we don't do this.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>We do now.<\/dialogue>\n    <parenthetical>(studying Wafner...)<\/parenthetical>\n    <dialogue>Dose mighta been too small--<\/dialogue>\n    <scene_description>Then a SHOCK: WAFNER'S EYES FLY OPEN. HIS HEAD POPS UP. HIS CHEST EXPANDS. The blood from his wounds suddenly BLACK--<\/scene_description>\n    <character>WAFNER<\/character>\n    <dialogue>NEIN!!!<\/dialogue>\n    <scene_description>He just RE-SET TO THE EXACT MOMENT BEFORE HE WAS KILLED. Otherwise, he's okay. Breathing. Alive.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Lew...?<\/dialogue>\n    <scene_description>Boyce and Ford stare at each other in silence, awestruck. Ford - first time ever - doesn't know what to say. Chloe too.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Lew...?<\/dialogue>\n    <scene_description>Ford just shakes his head... ...as Wafner sees the KNIFE in his chest, the BLACK BLOOD around it... and the syringe in Ford's hand. And an awful realization hits. I was dead. He eyes Ford--<\/scene_description>\n    <character>WAFNER<\/character>\n    <dialogue>You... killed me?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Listen, Pal--<\/dialogue>\n    <scene_description>Wafner YANKS A HAND FREE, pulls the dagger from his chest, cuts his ROPES LOOSE - and RISES, his eyes murderous.<\/scene_description>\n    <character>WAFNER<\/character>\n    <dialogue>You killed me.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Well, yeah, but in all fairness I also brought you back. Now sit down.<\/dialogue>\n    <parenthetical>(Wafner doesn't)<\/parenthetical>\n    <dialogue>I said SIDDOWN, Asshole.<\/dialogue>\n    <scene_description>Every part of Boyce tensing. Wafner turns to them--<\/scene_description>\n    <character>WAFNER<\/character>\n    <dialogue>You see now? A Thousand-Year Army for a Thousand-Year Reich!<\/dialogue>\n    <scene_description>...as Wafner starts toward Ford--<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Listen, Pal - I wasn't that crazy about you the FIRST time around; don't make me kill you again.<\/dialogue>\n    <scene_description>Wafner smiles... then charges Ford - pushing Chloe aside-- In a blur, Ford fires at him - BANG, in the arm. Great... except Wafner keeps coming. Unaffected. Unharmed. And the BLOOD spurting from his arm is now as BLACK AS PITCH. Huh? Chloe screams. Boyce looks to Ford.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Lew!<\/dialogue>\n    <scene_description>Ford FIRES AGAIN. Hits Wafner in the CHEST. More BLACK BLOOD. And STILL NO EFFECT - Wafner just as shocked by all this as they are. Boyce swings that CHAIR at Wafner, striking him over the head with it. It shatters. Again, he's unaffected. So Ford SHOOTS HIM IN THE HEAD. That oughtta do it... But the wound bleeds BLACK. And Wafner, after a pause, shakes it off and keeps coming. Somehow. He starts RANTING now, in German. We don't understand a word of it but it sounds like something from a nazi rally. Boyce, dazed, looks at that SYRINGE on the floor... and he and Ford both come to the same horrible conclusion: They've just turned this German into something unkillable. And what he wants... is Chloe. In an ugly way. He grabs her, throws her over his shoulder.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Chloe!<\/dialogue>\n    <scene_description>Boyce jumps in Wafner's path, tries to pull Chloe away-- Wafner BULLS FORWARD, using Chloe like shoulder-pads, into Boyce. And there's nothing behind Boyce but those STAIRS. Boyce goes flying - tumbling - landing hard at the base of the attic steps. Ford gets to his feet. Wafner kicks him, knocking him down. ...and carries Chloe down those steps. She's shrieking, \"MAMA!!!\" And grabbing at the railing on each side of her, trying to slow him down. Can't be done. Ford scrambles to get another clean shot - his eyes meeting Chloe. He can't fire again without hitting her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAURENT HOME - GREAT ROOM - CONTINUING<\/stage_direction>\n    <scene_description>Boyce, at the base of the steps, sees Wafner coming, draws his SIDE-ARM, fires THREE SHOTS into Wafner's belly. BLACK BLOOD oozes from Wafner's gut. A mere annoyance. He steps OVER Boyce, heading for the door. Chloe screaming. Rosenfeld reaches for a sidearm - but doesn't have one. The rest of Chloe's family emerges now - to see Wafner head for the door. Chloe screaming. Boyce gets to his feet. --Ford thumping his way down the stairs-- Wafner reaches the door, opens it. An insane moment. He carries her away, Chloe screaming:<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>MAMA!!!!<\/dialogue>\n    <character>MARIE-ELENA\/PAUL<\/character>\n    <dialogue>Chloe!!!<\/dialogue>\n    <scene_description>Into the Square, her voice ringing in our ears, sheer terror. Ford hits the last step - but too late - Chloe's family in tatters, her SCREAMS still audible. Then: CRASH - a German grenade (called a \"POTATO-MASHER\") is tossed by Wafner through the window. Boyce scrambles for it-- --as Ford dives on top of Paul. --and Rosenfeld hits the deck. Boyce tosses it out of the room - it EXPLODES - loud. Destructive. But no one's hit. Boyce rushes to the window. Wafner is halfway up the hill. And here we are, in a house that's seen a grenade explosion and an abduction. Pure shock. Boyce and Ford trade a look.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>You got the charges?<\/dialogue>\n    <parenthetical>(Boyce half-nods...)<\/parenthetical>\n    <dialogue>Let's go. It's time to take out our Goddamn target and get Chloe the hell outta there.<\/dialogue>\n    <character>ROSENFELD<\/character>\n    <dialogue>What're you gonna use for a detonator?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Whaddaya mean?<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>The Doctor bashed both of 'em in.<\/dialogue>\n    <scene_description>Ford considers that... Then:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>I can get us a detonator.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>How?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Let's go. Still got thirty minutes before our planes are in the air.<\/dialogue>\n    <scene_description>D-Day pounding. They head for the door, Ford on his crutch...<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>On one leg?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>It's the mission, ain't it?<\/dialogue>\n    <scene_description>That had some edge. He nears the door. Boyce follows...<\/scene_description>\n    <character>MARIE-ELENA<\/character>\n    <dialogue>You help my daughter!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PASTURE - BEHIND CIELBLANC - MOMENTS LATER<\/stage_direction>\n    <scene_description>Boyce and Ford emerge from behind a barn. They're just about to approach the PASTURE - when Boyce STOPS Ford.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Mines. Watch your step.<\/dialogue>\n    <scene_description>Ford nods, thanks. We CRANE UP, Boyce leading a hobbled Ford through this mine-ridden PASTURE, toward that foothill... The church sits atop it. The guns of D-Day pounding. Then:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST - EARTHEN RAMP - MOMENTS LATER<\/stage_direction>\n    <scene_description>Boyce and Ford stand where Boyce stood last night: at the top of the EARTHEN RAMP leading into the FOOTHILL itself. The BLAST-DOORS are open. Boyce eyes them...<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Listen, I don't know what's down there. Could be more of 'em, could be anything.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Piece 'a cake.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Right. And half the German grenades are duds. We don't know how to kill these things, Lew...<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Keep it down. They might catch wise.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Yeah, then we'd really be in trouble.<\/dialogue>\n    <scene_description>Ford grins, about to march - when Boyce gags involuntarily - just barely stopped himself from vomiting. Ford eyes him.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Sorry. Shit.<\/dialogue>\n    <parenthetical>(a beat...)<\/parenthetical>\n    <dialogue>Don't you ever get scared?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>'Course. Everybody does. Know what scares me worse? Some guy on Omaha Beach buyin' it 'cause I didn't get my job done. Rather die right here. Wouldn't you?<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>I'm not so sure we're put together the same way. My old man wouldn't've run into a burning building to save five strangers. I don't think I would either.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Hey, forget what my old man did. It's too much to live up to, believe me.<\/dialogue>\n    <scene_description>That came out before Ford could stop it. Now it hovers...<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Screw this. It's D-Day. Let's go.<\/dialogue>\n    <scene_description>They descend down the ramp, toward DARKNESS. ...crossing under the ANCIENT RUNIC SYMBOLS and the SWASTIKA. One last look at the symbols, wondering what they mean. Then Ford and Boyce vanish into the pitch of the Cavern...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAVERN UNDER THE CHURCH - CONTINUING<\/stage_direction>\n    <scene_description>It's big. First thing we see down here is a burned-out TRUCK, the one that carried in all those German bodies. Beside it we find TWO CHARRED CORPSES. It's hard to say for sure, but one of them looks it was once a German soldier. The other looks like it might've been Penner. Gruesome. Ford and Boyce move around a corner... to find: A DERRICK, pumping something from a BIG HOLE IN THE GROUND. A HOSE from the derrick is connected to a large BARREL, which is OVERFLOWING with a thick black substance. Tar. Trouble is, there's a GERMAN standing beside the derrick-- It's Scherzer, the guy who received the injection from Bruel. Scherzer's still in his white boxers, his back to us, staring down into the HOLE from which that derrick is pumping... There's a GAPING WOUND across his back. Clearly, it's what killed him. But he's alive now, the BLOOD from that wound a calcified black. So how do we kill him??? Boyce and Ford trade a silent look. Boyce raises his rifle, aiming... but Ford stops him with a silent headshake. There's no point in trying to shoot this guy. Then Ford sees it... affixed to a wall: The FIRE HOSE. Boyce saw it used last night. Ford crutches toward it. Boyce follows. The hose is coiled around a WHEEL. Boyce starts to UNCOIL IT. It squeaks, LOUD. He stops. Scherzer, twenty feet away, doesn't turn - just staring into whatever is down there, obviously unsettled. Ford moves to the FAUCET - a red knob. He indicates to Boyce, \"When I turn this knob, you start RUNNING TO UNCOIL THE HOSE.\" Boyce nods. A moment, their eyes locked, then-- FORD TURNS THE RED KNOB - loud and squeaky. Scherzer turns at the sound-- Boyce starts running at him with the hose. Scherzer reaching for his RIFLE. Ford turning the knob harder - full blast. The hose UNCOILING off the wheel as fast as Boyce can run. WATER EXPLODING OUT OF THE NOZZLE - too hard - the burst actually knocking Boyce off his feet. Scherzer grabs the rifle, turns to fire, YELLING-- ...as Boyce gets to one knee, aiming the hose, and... BAM - it hits Scherzer in the chest - just as he FIRES. BANG - the bullet hitting a JUNCTION BOX a foot to Ford's left. Instantly, the POWER GOES OUT. And Scherzer is knocked off his feet, right into: ...the HOLE IN THE GROUND beside the derrick. Gone. A beat. Ford turns the water off. Boyce lowers the hose. And they move in, cautiously, toward the edge of the hole. Ford crutching his way there... Then he looks down to see-- ...a POOL OF BLACK GUNK below. Scherzer's HAND sticking out.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Now he knows what it tastes like.<\/dialogue>\n    <scene_description>A beat... Then Ford takes out his father's ZIPPO, lights it... and holds the flame to that overflowing barrel.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>What're you doing?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>If it'll burn, we gotta burn it. I wouldn't even want our side to know what this stuff can do.<\/dialogue>\n    <scene_description>That fast, the TAR in the barrel IGNITES, highly flammable. The flames dance across that HOSE, through the DERRICK, then down into the hole just as-- JUMP-SCARE: Scherzer reaches up out of the tar - gasping. But the tar-pool ignites - a MASSIVE WALL OF FLAME ERUPTING FROM IT, knocking Boyce and Ford on their asses. The FLAMES ROAR OUT... then suck back down again. Boyce and Ford crawl to the hole, look down - the CHARRED REMAINS OF SCHERZER seared into place among the flames.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Guess they burn too.<\/dialogue>\n    <scene_description>Boyce rises, offers his hand - just like Ford pulled Boyce onto that C-47 last night. Ford takes the hand, as-- A STAIRWELL DOOR OPENS, ten feet away. Here's Kiebel, another guy we killed once before - checking on that JUNCTION BOX-- But he sees Boyce, and Ford, and the FIRE. And he charges them - unarmed but roaring-- Boyce and Ford FIRE THEIR RIFLES out of instinct. It doesn't make a dent. Black blood spurting from his wounds, Kiebel barrels into them both. Ford falls hard. Boyce and Kiebel tumble together to the cavern floor, RIGHT BY THE SURGING FLAMES. Kiebel's on top of Boyce in a hurry, hands around Boyce's throat - trying to choke him out. Boyce can't stop him - the Nazi is undead and way too strong. The heat is scorching... Ford jumps on Kiebel's back, grabs Kiebel's head, pulling hard as Boyce gasps for breath. Ford TUGS. We hear that same single liquid SNAP we heard from Lesner when her neck broke. ...except Kiebel doesn't stop. With his HEAD now dangling at an unnatural angle, he keeps strangling Boyce. Ford, no choice, SLITS KIEBEL'S THROAT... Now black blood gushes from it onto Boyce. And STILL KIEBEL DOESN'T STOP. He's a monster, literally - his grip on Boyce's throat unrelenting. Barking in German. Ford, no moves left, pulls out his SIDE-ARM and fires it right into Kiebel's right WRIST. The bone shatters. Then the LEFT WRIST. That bone shatters too. His grip on Boyce loosens. Boyce sucks in a breath. Then one huge burst of energy - pushing Kiebel away and-- ...toward the edge of that hole, into the FLAMES. Kiebel's CLOTHES ignite. One MORE PUSH from Boyce and-- Kiebel vanishes down the hole, SCREECHING as he falls. And it's over. Ford and Boyce eye one another - Boyce now drenched in the black blood of a dead Nazi.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>See? Simple.<\/dialogue>\n    <scene_description>Boyce, soaked in black, just eyes him--<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Stairs're over there.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Twenty minutes.<\/dialogue>\n    <scene_description>Boyce nods. Ford follows him to the stairwell door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - STAIRWELL - MOMENTS LATER (DAY)<\/stage_direction>\n    <scene_description>They climb in darkness (the LIGHT BULB in here now useless). Ford struggling up the steps. They reach the DOOR leading to the basement. Boyce nudges it open with the tip of his rifle, revealing:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - DOWNSTAIRS HALLWAY - CONTINUING (DAY)<\/stage_direction>\n    <scene_description>We were here before. But now none of the LIGHTS are working. Rooms to our right and left. All dark now. Boyce is about to step into the hallway when-- A FLASHLIGHT BEAM whips past his nose. He moves back. ...to find Wafner hurrying past this door - heading AWAY from the LAB. No sign of Chloe. Wafner vanishes down the hall... Boyce follows. Ford stops him. And this is in WHISPERS:<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>He's got Chloe.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Chloe ain't the mission.<\/dialogue>\n    <scene_description>That landed. Boyce nods... then: They step into the dark HALLWAY, toward the LAB. Boyce nudges open the door to the ARMORY - pointing it out to Ford. Ford silently leans in, turns on his FLASHLIGHT-- Boyce alone in the hallway now, his head on a swivel-- Ford returns, bearing SIX GERMAN POTATO MASHERS. Gives three to Boyce, pockets three for himself. They continue along-- ...to the LAB DOOR. Boyce nudges it open.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - BASEMENT\/LAB - CONTINUING (DAY)<\/stage_direction>\n    <scene_description>BLACK. Boyce and Ford stay low. Boyce shines his FLASHLIGHT into the space - illuminating it for Ford in brief bursts: The creature\/villagers, tied to their beds. The autojectors. The CONCRETE SLABS where those 25 DEAD GERMANS WERE-- Whoops. FIVE OF THE SLABS ARE UNOCCUPIED... Boyce reacts, instantly shining his flashlight on the spot where he left Bruel's BODY. Bruel isn't there anymore.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Got six unaccounted for--<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Let's just get these charges set.<\/dialogue>\n    <scene_description>He heads for the back wall - Boyce watching.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Lew. Tower's up on the roof.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Tower ain't enough anymore, Ed. This whole place has to come down.<\/dialogue>\n    <scene_description>Boyce eyes the Villager-Subjects. Heads toward them-- Ford heads for the BACK WALL, passing by that SEVERED DOG- HEAD, kept alive by the Autojector. He can't resist:<\/scene_description>\n    <character>FORD<\/character>\n    <parenthetical>(at the dog-head)<\/parenthetical>\n    <dialogue>Stay.<\/dialogue>\n    <scene_description>The head, of course, doesn't move. Boyce begins to UNTIE THE CREATURE from Bed #1. A FEMALE, her face completely blistered-black. Boyce frees her hands.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Go. Allez.<\/dialogue>\n    <scene_description>She doesn't move. Maybe she can't. Maybe she's deaf. He unties her feet. Still no movement. Ford, at the back wall, removes a TETRYTOL BLOCK from his trousers, fixes it on the wall. Boyce moves to BED #2. A male, equally gruesome. Boyce starts to untie his wrists. The creature GROWLS like an animal. Boyce recoils a bit, but he finishes, then moves on. BED #3 is still toppled on its side, its tortured inhabitant stuck there. Boyce moves nearer, untying the guy: a semi- human nightmare under all that blistered flesh. Then, disaster: the LAB-DOOR OPENS. Two GERMAN SOLDIERS burst in. Boyce shuts his flashlight off. Ford too - but too late-- The GERMANS OPEN UP ON HIM, machine-gun fire. Ford spins away, falling to the floor. The machine-gun fire continues, the Germans HOLLERING at him. (They were on those slabs an hour ago - dressed in their uniforms now). Boyce drops - the Germans don't seem to know he's here. They start moving in on Ford's position, firing continually. He doesn't return fire. These guys are SCREAMING. Boyce, on hands and knees, scrambles toward them. He pulls a PIN on one of his POTATO MASHERS, slides it along the floor. It blows up at the FEET of the Germans - but they DON'T STOP, still firing at Ford, shouting. Now what? Boyce looks around, sees something, crawls to it-- There, those CEREMONIAL AXES, affixed to the wall. He gets to his feet, grabs one - the noise drowned out by the TORRENT of machine-gun fire. It lights up a corner of the room. Ford scrambling to get away. Germans shouting-- Boyce hurrying to a position behind the Germans now. Ford trying to crawl, but they're right on top of him. ...and they've just about spotted him, when-- THWACK - in the darkness - Boyce swinging that AXE, taking THE HEAD OFF OF GERMAN SOLDIER #1. It bounces to the floor. GERMAN SOLDIER #2 turns - THWACK - Boyce swings again, hitting the guy's right wrist, severing the arm there. The German's RIGHT HAND, still clutching the rifle, falls. He grabs for his SIDE-ARM, cursing Boyce loudly in German. Boyce takes another swing. THWOP - severing the guy's LEFT HAND. Now this German is really angry - howling at Boyce. Boyce moves in - the German unable to defend himself - Ford watching in semi-shock from a corner... One last swing. Boyce beheads him. Down he goes. Two headless Nazis, side by side. Crisis over. Ford slightly awed by what he just witnessed. A moment... then:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>They teach that move in Basic? I musta been sick that day.<\/dialogue>\n    <scene_description>Ford's way of saying, \"Nice work.\" It mattered a lot.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Are you hit?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>No. Go find Chloe, get her out of here. I'll set the charges.<\/dialogue>\n    <scene_description>Boyce nods, helps Ford to his feet-- As he does so, Ford slips something into Boyce's pocket, Boyce entirely unaware.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Ten minutes.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Then they notice: one of the two Nazi heads is still moving - twitching really - if only slightly. Ford sighs, Jesus... and brushes it aside. It bumps into a table leg.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Get going.<\/dialogue>\n    <scene_description>Boyce nods numbly, heads out. We STAY HERE WITH FORD-- ...making sure Boyce is gone. Then Ford lifts up his shirt. And we learn that he's been GUT-SHOT, bleeding badly. He sags back, grabs his crutch, willing himself to the back wall. ...where he sets the last TETRYTOL BLOCKS then SPLICES their four wires while checking his watch. His gut continues to bleed. He ignores it, wrapping those FOUR WIRES INTO ONE... then wrapping that ONE WIRE around the terminal of a GRENADE...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - GROUND FLOOR HALLWAY - CONTINUING<\/stage_direction>\n    <scene_description>Boyce emerges from the stairwell into the hallway, axe in hand... Again, not a sound. No one here. He enters:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - GROUND FLOOR - SANCTUARY - CONTINUING<\/stage_direction>\n    <scene_description>Rows of EMPTY PEWS. Boyce enters... Silence. Then, a SOUND - the sobs of a girl - coming from somewhere ABOVE him. Boyce turns, looks up: A BALCONY. The voice seems to be coming from a LOGE BOX up there. Yet we can't see Chloe. ...but we can see Wafner, entering the loge box, talking in German, a wicked smile on his face. Someone's at his feet, out of our view. Wafner takes his belt off-- Boyce wants to shoot the guy from here but there's no point. Instead, Boyce slinks across the sanctuary - to a set of STAIRS that will lead to the balcony... We RETURN TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - BASEMENT\/LAB - RESUMING<\/stage_direction>\n    <scene_description>Ford piles up FLAMMABLES in the center of the lab: SHEETS, etc., a big mound. He rips the NAZI FLAG off the wall, tosses it on the pile. It's stained with his blood now. He douses the pile with RUBBING ALCOHOL. But-- --hold it. We just saw a SHADOW drift across the floor. Ford's unaware of it...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - SANCTUARY - BALCONY - SAME<\/stage_direction>\n    <scene_description>Boyce reaches the Balcony. From here he can see-- Wafner, his back to us, unzipping his trousers... and Chloe, flat on her back, handcuffed to a railing. Crying. Wafner mocks her in German, unmoved by her cries for mercy. Boyce moves in. This'll be easy; Wafner's a clean target. Boyce drifts closer. Wafner beginning to lower himself on top of Chloe - his voice continuing to pour German filth into her ears. Chloe crying, begging him to stop. Then she sees Boyce, standing over Wafner. Thank God. Boyce lifts that AXE over his head. Wafner still unaware, when-- BANG - a shot fired from the SANCTUARY FLOOR below, knocking the axe from Boyce's hand-- Then TWO MORE SHOTS -- Boyce HIT in the SHOULDER. He drops down on his belly. Wafner springs up now, half-dressed. Looks over the railing. Kogan is down here, blasting away. Shouting at Wafner and pointing: there's an AMERICAN five feet from you! Now Wafner turns, sees Boyce. Wafner infuriated, coming at him. The axe is out of Boyce's grasp, and his SHOULDER is bleeding. Chloe terrified - Boyce too. Wafner five feet away.<\/scene_description>\n    <character>WAFNER<\/character>\n    <dialogue>You should have left me dead.<\/dialogue>\n    <scene_description>Boyce has a SIDE-ARM, but what good is it? Here comes Wafner - unkillable and angry. Fuck. He's about to strike-- Then Boyce gets an idea. He FIRES at Wafner's left eye. BINGO. Wafner one-eyed now. Boyce fires at his right eye. BINGO. Wafner blinded now, cursing Boyce loudly. Boyce gets to his feet. Wafner still coming. Boyce plows into the guy, that SHOULDER screaming in pain. But Boyce keeps CHARGING-- ...like a crazed linebacker, pile-driving the now-blind Wafner over the balcony railing-- Down, down... Wafner lands hard on the Sanctuary floor. He's still alive - but he's been neutralized for a moment. Kogan hasn't. He starts FIRING at Boyce again. Boyce drops down out of sight, a foot from Chloe. Their eyes meeting. He pulls the pin on a GRENADE. Then a second one. Tosses the first from his perch... then tosses the second. They arc lazily on their way down toward Kogan - who SCREAMS AT THEM. But just before they reach him-- BANG BANG. He fires - hitting them both in mid-air. TWO INSTANTANEOUS EXPLOSIONS, tearing up a portion of his face and ripping one of his hands off. But it's not enough to kill or stop him. Dazed, he reaches for his rifle, which he has to pry from his amputated hand. BOYCE - IN THE BALCONY - knows he has to move fast.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Turn away.<\/dialogue>\n    <scene_description>Chloe turns her head. He swings the axe at the CHAIN cuffing her wrist to the railing - just as Chloe squirms. He misses her face by half an inch. Misses the CHAIN too.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>What're you moving for?!<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>You just said turn away!<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Don't! Don't do anything!<\/dialogue>\n    <scene_description>She stiffens. He swings the axe. Her eyes squeezed SHUT. With a SPARK, the chain breaks-- But just then - BANG BANG BANG - Kogan firing up at them with his one remaining hand. Wafner firing too although BLIND - bullets everywhere. Madness.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Follow me!<\/dialogue>\n    <scene_description>He grabs Chloe, pulls her along the railing, ducking gunfire. All he's got is that AXE. She follows him into:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - HALLWAY - CONTINUING<\/stage_direction>\n    <scene_description>With Wafner and Kogan still howling, firing-- ...Boyce pulls Chloe toward the STAIRWELL DOOR. He tosses another GRENADE over his shoulder. It skitters past them - A loud BOOM - ineffectual.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - BASEMENT\/LAB - RESUMING<\/stage_direction>\n    <scene_description>Ford has set the CHARGES and piled the FLAMMABLES. Now, weak from blood loss, he eyes that GAS STOVE... and crosses to it. ...just enough strength to get there, barely. He yanks its MAIN LINE from the wall. Gas HISSING out now. He checks his watch again, his back turned to the rest of the lab, then-- He staggers forward, finally losing consciousness - as: ACROSS THE LAB - Bruel emerges from shadow. We RETURN TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - STAIRWELL - CONTINUING<\/stage_direction>\n    <scene_description>Boyce and Chloe burst in, racing down the steps. A DOOR OPENS one flight above them - Kogan leading the sightless Wafner into this stairwell. STILL FIRING, shouting-- Boyce leads Chloe out of the stairwell into--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - DOWNSTAIRS HALLWAY - RESUMING<\/stage_direction>\n    <scene_description>They emerge into the hallway, but - COMING AT THEM from 20 yards away - Mueller and Richt, reaching for their rifles-- Boyce and Chloe can't turn back - they've got Kogan and Wafner behind them. So we're TRAPPED. Mueller and Richt start FIRING. Boyce grabs Chloe's hand, leads her into the first reachable DOOR:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARMORY ROOM - CONTINUING<\/stage_direction>\n    <scene_description>Boyce shuts the door, leaving us in DARKNESS. Turns on his flashlight - illuminating all these RIFLES, useless to us.<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>We're going to die...<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>No we're not.<\/dialogue>\n    <scene_description>He grabs one of those lockers, pushes it up against the door as a barricade. Chloe holding up the flashlight for him. THUDS come from the other side of the door - four undead Nazis trying to get in. Chloe terrified. Boyce backing up against the locker to hold it. A BIGGER THUD - the door starting to give way. It jars the locker enough for the LOCKER DOORS to swing open. Things falling out now. The Nazis pounding away. Boyce tries to hold them back... but all four of these monsters are now pushing on that door. More ITEMS fall from the locker now, landing at Boyce's feet. One gets his attention - giving him an idea...<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Stand back.<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Stand back!<\/dialogue>\n    <scene_description>She moves to the corner. Boyce moves AWAY FROM THE LOCKER, backing up against the wall, in darkness. He grabs the flashlight from her, turns it off, as-- ONE LAST PUSH FROM THE NAZIS - the door bursts in. The LOCKER falls to the ground, slamming at Boyce's feet. And here they come - all four of them; Boyce has just let them in. Here's why: He now has PENNER'S FLAMETHROWER, the \"Hitler Hunter\"-- And he opens up with it, a spray of FLAME, illuminating the armory as it finds these four charging Nazis. Kogan, Richt, Mueller, Wafner - all of them engulfed. The heat unbearable. Chloe screaming. The Nazis shrieking, hissing. Their RIFLES FIRING. Kogan and Wafner drop and roll. Boyce douses them again. Mueller staggers into a wall, then to the ground. Richt runs down the hall, screeching. Boyce grabs Chloe's hand, leads her out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - DOWNSTAIRS HALLWAY - CONTINUING<\/stage_direction>\n    <scene_description>Flame everywhere, the Nazis burning noisily. Boyce douses Richt again. Richt drops. All good... until: Here come TWO MORE NAZIS, emerging from the stairwell. Boyce douses them. They catch fire... but we hear a CLICK. Hitler Hunter is empty. And these guys aren't fully engulfed. Boyce charges them with his BAYONET, drives it through both of them, then uses it to plow them into that ARMORY. They're burning too badly to defend themselves. He tosses a GRENADE in there, shuts the door behind him.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Fire in the hole!<\/dialogue>\n    <scene_description>BOOM - a HUGE EXPLOSION from inside the armory sends the door rocketing out at us. But it did the job. He eyes Chloe - roasting bodies smoking all around them.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Get out of here. Now!<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>I want to help you--<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Chloe, we're blowing this whole place up! Go!<\/dialogue>\n    <scene_description>End of argument. She turns to go. He opens the lab-door... And a SHOCK suddenly appears at his feet-- It's that CREATURE\/VILLAGER from Bed #3. Poor bastard must have dragged himself all the way to this door. Now he lies here, spent, barely alive, barely human. And Chloe just stares, speechless. She's never seen anything like this guy before - every inch of him diseased and black. Worse, his crazed eyes seem to be staring right at her... as: Her jaw drops, just saw something IMPOSSIBLE. She SCREAMS.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Go home.<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>I can't!<\/dialogue>\n    <parenthetical>(suddenly unraveling)<\/parenthetical>\n    <dialogue>It's my father...<\/dialogue>\n    <scene_description>Boyce pauses - maybe he heard wrong. Nope, that's what she said. He studies the face of the creature at their feet... and he sees it. This, once, was Alain Laurent. Chloe devastated, horrified, grateful - all at once.<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>Papa?!<\/dialogue>\n    <scene_description>Just then, a NOISE IN THE LAB reminds Boyce of his duty. He bends down, grabs the Alain-Creature by the arms, drags him out of the doorway, as:<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>Papa?!<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>You can't help him, Chloe. Just get as far away from here as you can.<\/dialogue>\n    <scene_description>She doesn't reply - and he doesn't have time to argue. He disappears into the lab, closing the door behind him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - BASEMENT\/LAB - RESUMING<\/stage_direction>\n    <scene_description>Boyce stands in DARKNESS. His instincts freeze him.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Flash.<\/dialogue>\n    <scene_description>There's no answer from the darkness. He tries again:<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Flash.<\/dialogue>\n    <scene_description>Again, no answer. Just a SOUND... a HISSING. Boyce turns on his FLASHLIGHT, tracking the sound to: That STOVE. Its main line sending GAS VAPOR into the air. Boyce can smell it. Then his flashlight BEAM finds-- That pile of FLAMMABLES in the center of the room, sheets, pillows, a Nazi flag, all doused with Rubbing Alcohol...<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Flash.<\/dialogue>\n    <character>FORD (O.S.)<\/character>\n    <dialogue>Thunder.<\/dialogue>\n    <scene_description>Ford's VOICE, at last. Boyce whips the beam toward it-- ...and he freezes, his blood just congealing-- Here's Ford - sitting on an exam table. BLACK BLOOD now spilling from the wound on his BELLY. Beside him is Dr. Bruel. Alive - a SYRINGE in his hand. He drops it to the floor. Boyce can't breathe. Or blink. Utterly stupified.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Lew?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <scene_description>Wait. That didn't sound like Ford; it had an ugliness to it. He hops off that table and starts toward us - walking on a shattered ankle, impervious to pain. And his RIFLE is slung, aimed right at us.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>What happened to you?<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>I died. Then I got better.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Whaddaya mean, you died?<\/dialogue>\n    <scene_description>Ford keeps coming. How is he walking on a shattered ankle? Bruel, behind him, watches with a sadistic delight. Boyce eyes the black blood on Ford's shirt - hoping he's wrong...<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>What'd he do to you, Lew?<\/dialogue>\n    <character>BRUEL<\/character>\n    <dialogue>I told you, Private - we make History in this lab!<\/dialogue>\n    <scene_description>Ford keeps coming, no light in his eyes. It's like he's turned into someone else - maybe just a darker version of himself. But Boyce just can't, or won't, accept that yet.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Why so quiet, Ed? Ya scared?<\/dialogue>\n    <scene_description>Now it's official. Ford is not Ford anymore. Boyce reeling.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Listen, let's just blow this place to Hell and get you to a medic, huh?<\/dialogue>\n    <parenthetical>(Ford keeps coming)<\/parenthetical>\n    <dialogue>Lew?<\/dialogue>\n    <scene_description>BANG. Ford fires at him. Just missing. Boyce spins away, horrified, dropping the flashlight. DARKNESS now. He stumbles back, knocks over a beaker. Ford FIRES at the sound. BANG. A spark-missile in the blackness.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Lew, it's me. Ed.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>I know who you are. You're the little sad-sack that hasn't left me alone since the first day of Basic.<\/dialogue>\n    <scene_description>That hurt, but before Boyce can address it - BANG. ANOTHER SHOT. Boyce diving out of the way. His own personal Hell - a hateful Ford trying to kill him.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Listen to me - this is not you. Your name is Lewis Ford. You're from Brooklyn. Corporal in the US Army. Put the rifle down, awright?<\/dialogue>\n    <scene_description>BANG. Up ahead, a SECOND DOOR. Boyce moving toward it. He gets to the door. IT'S LOCKED. Won't budge. BANG. Another shot, this one nicking his hand.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Your old man painted houses. Your ma's afraid of heights...<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>My memory's fine, Ed.<\/dialogue>\n    <scene_description>BANG. Another shot, this one grazing Boyce's ear.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Lew, don't!<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Sorry. You know that TEMPER of mine.<\/dialogue>\n    <scene_description>Ford, a foot away, pulls the trigger again. CLICK. Out of ammo. Annoyed, he tosses the rifle... but he keeps coming...<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>This is NOT you!<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>It's me.<\/dialogue>\n    <scene_description>Boyce backing away. Ford bearing down. GAS hissing from the stove. Boyce holds his rifle like an OAR, ready to strike--<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Don't make me do this, Lew. Don't make me do this--<\/dialogue>\n    <character>FORD<\/character>\n    <parenthetical>(keeps coming)<\/parenthetical>\n    <dialogue>Go ahead.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Goddammit!<\/dialogue>\n    <scene_description>He butt-ends Ford across the jaw with his rifle. It scrambles the wires in Ford's brain enough to slow him for a second.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Lew - please...<\/dialogue>\n    <scene_description>But Ford keeps coming. Boyce BASHES HIM again - this time breaking Ford's JAW. Black blood spurting--<\/scene_description>\n    <character>BRUEL<\/character>\n    <dialogue>You're wasting your time, Private! You can't stop him!<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>THIS IS NOT YOU! You're a US soldier!<\/dialogue>\n    <scene_description>Ford keeps coming. Boyce, crying now, bashes him again - this time breaking Ford's orbital bone...<\/scene_description>\n    <character>BRUEL<\/character>\n    <dialogue>The key to the whole war - and it was won with FRENCH BLOOD! Wait 'til they hear that in Berlin!<\/dialogue>\n    <scene_description>Still, Ford doesn't stop. Boyce swings that rifle like a BASEBALL BAT - right into the side of Ford's skull. CRACK.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>That who you wanna be, Lew? The guy who wins the war for the Nazis?<\/dialogue>\n    <scene_description>Ford grins, black blood on his teeth, his jaw now set at an unnatural angle - completely gruesome.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>What about the guys on Omaha Beach? We had a MISSION, remember?<\/dialogue>\n    <scene_description>They reach that MOUND OF FLAMMABLES now, not far from the GAS- HISSING STOVE. Their eyes locked.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>We're supposed to destroy this place. The radio-jamming tower! By nine...<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>You wanna complete the mission?<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Ford nods calmly... then bends down, grabs something off that pile of alcohol-soaked flammables, and holds it out to Boyce: His GRENADE... wired to the DET-CORDS of the TETRYTOL BLOCKS.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Then pull the pin.<\/dialogue>\n    <scene_description>Hold it. Time just stopped. Bruel drifts over, amused... The hissing of that leaking GAS suddenly sounds THUNDEROUS. Ford's smile is creepy as hell, his teeth cracked and blackened. And Boyce is speechless. He can complete the mission - but it'll cost him his life.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Well? What'll it be, Soldier? God and Country... or Cowardice?<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>This is not you, Lew.<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>I knew you wouldn't have the guts.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>This is not you!<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>PULL THE PIN, YOU COWARD!<\/dialogue>\n    <scene_description>Their eyes lock. Madness around them. Bruel starts to chuckle... And Boyce decides-- He pulls the pin. Then holds it up defiantly for Ford to see. This is it.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>We stick together, right?<\/dialogue>\n    <scene_description>Ford's surprised, impressed. Bruel is terrified. He starts to run away. Ford grabs Bruel by the collar, preventing him from leaving.<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>It's your party too, Doc.<\/dialogue>\n    <character>BRUEL<\/character>\n    <dialogue>No!!!!<\/dialogue>\n    <character>FORD<\/character>\n    <dialogue>Siddown!<\/dialogue>\n    <scene_description>Ford throws him to the ground, puts a boot on Bruel's chest. ...as the seconds tick down. Boyce not running - not even shutting his eyes.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Goodbye, Lew.<\/dialogue>\n    <scene_description>They're going to die. Right now. 3, 2, 1... ...but nothing happens. No explosion. Boyce deeply thrown... The grenade was a fucking DUD. Bruel opens his eyes, surprised as hell. Boyce's eyes never stray from Ford, who looks completely confused.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Like you said. German grenades.<\/dialogue>\n    <scene_description>No reply. Then, above them, a loud TICK. They look up-- It's a CLOCK - just struck 9 A.M. That, somehow, got Ford's attention. Boyce can see it.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Nine o'clock, remember? D-Day.<\/dialogue>\n    <scene_description>And something CLICKS in the back of Ford's brain. A memory, a flicker of the human being he used to be, just minutes ago-- He reaches into a pocket, removes his father's charred Zippo. Boyce reacts - his eyes going wide - but:<\/scene_description>\n    <character>FORD<\/character>\n    <dialogue>Go.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>FORD<\/character>\n    <parenthetical>(top of his lungs)<\/parenthetical>\n    <character>GET OUT OF HERE!!!<\/character>\n    <dialogue>Ford flicks open the lighter. All he has to do is spark it and this entire LAB will blow. That GAS hissing...<\/dialogue>\n    <dialogue>Boyce takes off, heading for the door.<\/dialogue>\n    <dialogue>Bruel gets the idea.<\/dialogue>\n    <character>BRUEL<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>Ford puts his boot on Bruel's THROAT now...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - DOWNSTAIRS HALLWAY - RESUMING<\/stage_direction>\n    <scene_description>Boyce, in a dead sprint, races into that STAIRWELL.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - STAIRWELL - CONTINUING<\/stage_direction>\n    <scene_description>He enters, finds Chloe trying to drag the near-lifeless body of her father up the stairs. Boyce dives on them both, to shelter them, as:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - BASEMENT\/LAB - RESUMING<\/stage_direction>\n    <scene_description>Ford eyes that Zippo... Then: He SPARKS IT UP - one little charge in all this GAS, and-- BOOOOOOM! A MASSIVE EXPLOSION knocks us sideways. The air itself seems to RIP IN HALF. All those CHARGES DETONATING. FIRE EVERYWHERE, Ford and Bruel and all the tortured villagers instantly eviscerated, the WALLS CRACKING, as:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - DOWNSTAIRS HALLWAY - SAME<\/stage_direction>\n    <scene_description>Fire ROARS into the hallway, WALLS FAILING here too.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - STAIRWELL - SAME<\/stage_direction>\n    <scene_description>It's like a massive EARTHQUAKE in here. Boyce trying to shelter Chloe and her father.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - SANCTUARY - SAME<\/stage_direction>\n    <scene_description>The FLOOR BUCKLES - this Sanctuary caving in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAVERN UNDER THE CHURCH - SAME<\/stage_direction>\n    <scene_description>The ceiling above us craters, rock and cement coming down like a waterfall, ONTO THE FLAMING DERRICK, crushing it--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCH ROOF - SAME<\/stage_direction>\n    <scene_description>The RADIO-JAMMING TOWER collapses in a heap...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - BASEMENT\/RUINS - RESUMING<\/stage_direction>\n    <scene_description>Half of the Sanctuary collapses into this lab. The church barely standing. The fire doused by the sheer volume of dust and debris. It's all a BLUR, over in mere SECONDS... Then... SILENCE. Just rubble and smoke and dust... We drift through it. Concrete slabs turned over. Operating tables twisted in half, CHURCH PEWS upended. ...and a lonely, charred Zippo. Then:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - STAIRWELL - RESUMING<\/stage_direction>\n    <scene_description>Rubble, stone, steel, dust. Beneath the pile we find BOYCE, face down. He isn't moving. We DRIFT IN ON HIM, and... FADE TO BLACK...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..over which, the sound of AIRPLANES. Lots of them. Fighters, bombers, an armada. Then we FADE UP again, on:<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LESNER BARN - DUSK<\/stage_direction>\n    <scene_description>Boyce awakens, his ears filling with all that sound. He looks around. Nine hours have passed. He's in the LESNER BARN-- ...which has now become a FIELD HOSPITAL. Around him, on cots, lie SEVEN WOUNDED SOLDIERS. We see I.V.'s, DOCTORS, the works. Lesner's TRUCK has been moved out. And the U.S. Army, clearly, has moved in. Boyce is shirtless. His shoulder's been bandaged, the burns on his abdomen field-dressed. He sits up, slowly... Rosenfeld lies on a nearby cot. Grunauer is tending to him. But there's no Ford, of course. And no Chloe. Boyce rises. First few seconds on his feet are pretty wobbly. His knees want to give way, but he makes them stiffen. And everyone around here is too preoccupied to notice. He takes a first halting step for the barn door - then notices something to his right, a STANDING CURTAIN, partitioning off one patient from the rest. He hears a familiar voice behind it. Marie-Elena. Boyce moves to the curtain. Grunauer notices:<\/scene_description>\n    <character>GRUNAUER<\/character>\n    <dialogue>Boyce! What're you--<\/dialogue>\n    <scene_description>Boyce steps around the curtain, to find a BED: Chloe is in it, wounded but alive, tended to by Marie-Elena. Paul sits in a corner.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Chloe?<\/dialogue>\n    <scene_description>She looks up, her eyes suddenly wet with tears. Boyce hurries to her side, feeling very lucky. He takes her hand.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>CHLOE<\/character>\n    <parenthetical>(nods then:)<\/parenthetical>\n    <dialogue>You?<\/dialogue>\n    <scene_description>Boyce breathes out a smile, Marie-Elena and Paul silent.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>I'm sorry about your father--<\/dialogue>\n    <character>GRUNAUER (O.S.)<\/character>\n    <dialogue>--Boyce.<\/dialogue>\n    <scene_description>Grunauer, standing by the curtain. Boyce turns.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Derwin Frances.<\/dialogue>\n    <character>GRUNAUER<\/character>\n    <dialogue>Back in bed.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Yeah, okay.<\/dialogue>\n    <scene_description>He turns to Chloe. She smiles bravely. Boyce gives her an assuring look, turns to go-- ...inadvertently putting his hand in his pocket, surprised to find something there. He extracts it. It's that WWI MEDAL... for VALOR. Ford's parting gift to him. Boyce breathes out a sad smile, eyeing the medal, starts to hand it back to Chloe.<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Here. This doesn't belong to me.<\/dialogue>\n    <scene_description>Chloe closes Boyce's hand around the medal...<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>Yes. It does.<\/dialogue>\n    <scene_description>She meant that, and it feels pretty good. So... He kisses her. A big one. She gives into it. The kiss lingers - the OTHER G.I.'s in here watching the silhouette of it through the hospital curtain... until:<\/scene_description>\n    <character>GRUNAUER<\/character>\n    <dialogue>Okay, Boyce. That'll do...<\/dialogue>\n    <scene_description>The kiss ends. Chloe beams; they've got a chance, these two.<\/scene_description>\n    <character>GRUNAUER<\/character>\n    <dialogue>Let's go.<\/dialogue>\n    <scene_description>Boyce nods. Grunauer tugs him away, leaving Chloe behind. They head back across the barn to Boyce's bed - a few G.I.'s now regarding Boyce as something of a celebrity...<\/scene_description>\n    <character>GRUNAUER<\/character>\n    <dialogue>Hey, I'm sorry about Ford. Guy saved my life up there.<\/dialogue>\n    <character>BOYCE<\/character>\n    <dialogue>Mine too.<\/dialogue>\n    <scene_description>They reach Boyce's cot.<\/scene_description>\n    <character>GRUNAUER<\/character>\n    <dialogue>Rest up, awright?<\/dialogue>\n    <scene_description>Grunauer heads toward an AILING PATIENT. Boyce about to climb back into his cot. But first he looks around-- ...at these seven G.I.'s, silent and tight, some badly- wounded, watching him. Rosenfeld too. Boyce regards them all. Ford would've done something to help these men, no doubt about it. So, after a long beat:<\/scene_description>\n    <character>BOYCE<\/character>\n    <dialogue>Guys, tell me something. On the level. 'Cause I don't know if I'm gonna get another chance to ask.<\/dialogue>\n    <scene_description>The WOUNDED G.I.'s wait. Boyce looks troubled, serious. Then:<\/scene_description>\n    <character>BOYCE<\/character>\n    <parenthetical>(re: stomach bandage)<\/parenthetical>\n    <dialogue>Does this make me look fat?<\/dialogue>\n    <scene_description>Instant laughs, from guys who could use one. Boyce sits, as we PULL BACK... out of this barn, to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CIELBLANC - TOWN SQUARE - CONTINUING (DUSK)<\/stage_direction>\n    <scene_description>This tortured village is now held by the U.S. Army: men, vehicles, movement. The EVENING SKY is filled with planes, all ours, soaring overhead with impunity. We drift through, as G.I.'s and vehicles cross our frame. Then we CRANE UP to take in all of Cielblanc: 20 houses, an empty gallows, a church in ruins. And a very toppled tower. One French village liberated, another few hundred to go. In the distance, the moon rises over the Normandy Coast. We...<\/scene_description>\n    <character>FADE OUT...<\/character>\n  <\/scene>\n<\/script>","summary":"On the eve of D-Day in an alternate 1940s where Executive Order 9981 is signed in 1944, a paratrooper squad, most of them in an integrated unit, is sent to destroy a German radio-jamming tower in an old church. Their plane is shot down and crashes, and most of the squad, including squad leader Sgt. Rensin, are killed either in the crash or by Nazi soldiers and landmines. Four survivors remain: second-in-command Corporal Ford, Pfc. Boyce, Pfc. Tibbet, and Pvt. Chase. The team continues onward and meets Chloe, a young woman from the village where the church is located. She lets them take refuge in her house. Chloe lives with her 8-year-old brother Paul and her aunt, who has been disfigured by Nazi experiments taking place in the church. After Tibbet and Chase depart to check the scheduled rendezvous site, a Nazi patrol led by SS Hauptsturmf\u00fchrer Wafner visits Chloe. Wafner sends his men away, and proceeds to coerce Chloe for sex, threatening to send her brother to the church to be \"fixed.\" Boyce cannot ignore this and interrupts the Nazi officer. Ford is forced to follow suit and restrains Wafner. Attempting to reach the rendezvous point to look for Tibbet and Chase, Boyce witnesses the Nazis burning disfigured village residents. He is chased by a dog and forced to hide in a truck carrying dead bodies into the church. Sneaking out of the truck, Boyce discovers an underground base that houses not only a radio operating room, but also a laboratory where the Germans perform various experiments on the villagers involving a mysterious serum and a large pit filled with black tar. Boyce takes a syringe containing the serum and rescues Rosenfeld, another member of the paratrooper squad, who was captured alive. They escape through the base's sewers. When Boyce and Rosenfeld get back to Chloe's house, Tibbet and Chase have already returned. Wafner refuses to explain what the serum does, even as Ford tortures him. As the squad prepares to attack the church, Wafner attempts to escape, and fatally shoots Chase. Boyce, having seen a dead man supposedly resurrected by the serum in the lab, injects Chase with the syringe. Chase is resurrected, but soon mutates and turns violent. A scuffle ensues, ending with Boyce bludgeoning Chase to death. A patrol responding to the carnage arrives, and a shootout erupts in which the patrol is killed and Ford blows half of Wafner's face off. Wafner escapes with Paul as a hostage and back at the lab, injects himself with two doses of the serum. Boyce proposes infiltrating the base and destroying the tower from the inside, which would also destroy the laboratory. The other privates support him, and Ford grudgingly agrees. Splitting up, Rosenfeld and Tibbet launch a frontal assault as a distraction, while Ford, Boyce, and Chloe enter the base using the sewers. Boyce and Ford plant the explosives, while Chloe looks for Paul. Chloe finds Paul, sends him back to the village, and successfully kills a mutated test subject who corners her. She returns to the village, where Tibbet and Rosenfeld are pursued by the base's defenders. Tibbet is wounded while shielding Paul from gunfire. Chloe kills the remaining Germans and treats Tibbet's wounds. Wafner, now mutated and possessing superhuman strength and resilience, overpowers Ford and impales him on a meat hook. Wafner reveals that the serum was made by using the villagers' bodies to distill the ancient power of the black tar, which had been running under the village for centuries. The aim was to create immortal and invincible soldiers to serve the Reich. As Boyce distracts Wafner, Ford pulls the hook out and injects himself with the serum to heal his wounds. He holds off Wafner long enough for Boyce to set off an oxygen tank, which sends Wafner falling into the tar pit. As he begins to mutate, Ford orders Boyce to leave him behind and detonate the explosives, believing neither side should possess the serum. Boyce complies, and narrowly escapes as the church and jamming tower collapse behind him, killing Ford, Wafner, and the test subjects. He joins the others as a radio announces that the D-Day invasion concluded in a victory for the Allies. In his report, Boyce credits Ford for the decision to plant the bombs inside the church. The commanding officer questions Boyce regarding rumors of an underground lab under the church. Boyce, sharing Ford's view, denies seeing anything worth digging up. The officer seemingly accepts his story, and informs him that they will be reassigned to C Company as the war continues."}
{"movie_name":"Mission: Impossible III_2006","imdb_id":"tt0317919","script":"<script>\n  <scene>\n    <character>MISSION: IMPOSSIBLE III<\/character>\n    <dialogue>Written by<\/dialogue>\n    <scene_description>Alex Kurtzman, Robert Orci, and J.J. Abrams FADE IN: THE FIRST IMAGE WE SEE IS THAT OF A MAN. EXTREMELY TIGHT ON HIS BRUTALIZED FACE. BREATHING HEAVY, BRUISES FRESH;: THE WOUNDS, GRIME AND SWEAT SPEAK OF AN EXHAUSTING,: DISORIENTING AND TORTURED JOURNEY.: WE'RE LOOKING AT ETHAN HUNT. WILDLY ALERT, HIS EYES TRAINED OFF-CAMERA. HE LOOKS ALL AT ONCE TERRIFIED, BLIND WITH RAGE, HEARTBROKEN. THEN, FINALLY, A VOICE:<\/scene_description>\n    <character>VOICE (O.S.)<\/character>\n    <dialogue>There's an explosive charge in your head.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Sound familiar?<\/dialogue>\n    <scene_description>The man speaking to Ethan is an imposing 37 year-old, cold eyes -- he stands a dozen feet away, pulling a PISTOL from a shoulder holster. This is OWEN DAVIAN. He cocks the gun. Standing behind him is a second man -- we'll simply call him BROWNWAY. Bandage on his nose.<\/scene_description>\n    <character>DAVIAN<\/character>\n    <dialogue>The Rabbit's Foot. Where is it.<\/dialogue>\n    <scene_description>Ethan, we now realize, is BOUND to a bolted-down chair. A barber's chair. A beat.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>I gave it to you.<\/dialogue>\n    <character>DAVIAN<\/character>\n    <parenthetical>(beat, cold as hell)<\/parenthetical>\n    <dialogue>Ethan? Where's the Rabbit's Foot.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Wh-- what are you saying, that-- was that not it? What I gave you, that-- was that not The Rabbit's Foot?<\/dialogue>\n    <character>DAVIAN<\/character>\n    <dialogue>I'm gonna count to ten. You tell me where The Rabbit's Foot is... or she dies.<\/dialogue>\n    <scene_description>Ethan's eyes flick back to where they were before -- and we DOLLY TO REVEAL that there's a fourth person here: 30 years old. BOUND TO A CHAIR, a length of DUCT TAPE plastered TIGHTLY across her mouth. Under normal circumstances you'd consider her confident, intelligent, athletic and kind. A natural beauty. These, clearly, are not normal times. Her name is JULIA. And Davian holds the gun to her head. Blind with fear, Julia just concentrates on not throwing up. On the verge of madness, Ethan says with love and strength:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Jules-- honey-- it's gonna be<\/dialogue>\n    <character>DAVIAN<\/character>\n    <dialogue>okay-- it's gonna be okay, d'you understand--? One.<\/dialogue>\n    <dialogue>Holy shit, the clock has started. Julia SQUEALS quietly, muffled from behind the tape. He begins relatively calmly:<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Listen to me: I got exactly<\/dialogue>\n    <character>DAVIAN<\/character>\n    <dialogue>what you asked for -- did you want something else? If there was a misunderstanding then I will FIX it-- I can<\/dialogue>\n    <dialogue>get it whatever you wa-- Two.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Hey man, I'm talking to you --<\/dialogue>\n    <character>DAVIAN<\/character>\n    <dialogue>put the gun down -- was that not The Rabbit's Foot? Did you want something else--? Just-- listen, talk to me.<\/dialogue>\n    <dialogue>We can talk, like gentlemen-- Three.<\/dialogue>\n    <dialogue>Ethan suddenly STRUGGLES LIKE MAD to extricate himself from his bonds -- but even in this adrenaline burst, his TIGHT HANDCUFFS only rip into his skin -- CLOSEUPS of the metal chair show that it's BOLTED to the floor. Watching Ethan desperate like this only makes Julia more afraid. Finally Ethan stops struggling. He switches gears:<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>All right. Of course I know where The Rabbit's Foot is -- I can help you --<\/dialogue>\n    <character>DAVIAN<\/character>\n    <dialogue>... the way you helped me on the airplane?<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Put the gun down. Let her go man, I am not telling you like this.<\/dialogue>\n    <character>DAVIAN<\/character>\n    <dialogue>That's up to you. Four.<\/dialogue>\n    <scene_description>Ethan knows he's got to try something else -- so:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>The Rabbit's Foot's in Paris -- you want to know where in Paris? Then you let her go -- 'cause you will never find it without me--<\/dialogue>\n    <character>DAVIAN<\/character>\n    <dialogue>It's not in Paris. Five.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>I can get it for you-- but you kill her? You do this? You get NOTHING -- and that's your choice.<\/dialogue>\n    <character>DAVIAN<\/character>\n    <parenthetical>(beat, then)<\/parenthetical>\n    <dialogue>Six.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>-- HEY, ARE YOU LISTENING TO ME?!<\/dialogue>\n    <dialogue>The only way you'll get what you want is for you to put that gun down!<\/dialogue>\n    <scene_description>SUDDENLY DAVIAN SHOOTS JULIA IN THE LEG. She SCREAMS behind the tape as Ethan YELLS -- ETHAN (cont'd) DAVIAN NO! YOU SON-OF-A-BITCH!!! YOU THINK I'M PLAYING?! YOU STOP!!! Jules-- oh God-- THINK I WON'T DO IT?! WHERE stay with me-- look at me-- IS IT?! WHERE THE HELL IS<\/scene_description>\n    <character>IT?! SEVEN!<\/character>\n    <dialogue>-- Ethan STRAINS MADLY again to break out, ROARING:<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>I WILL KILL YOU MYSELF, I SWEAR TO<\/dialogue>\n    <character>GOD!<\/character>\n    <dialogue>DAVIAN<\/dialogue>\n    <scene_description>Eight. -- Julia SOBS now, bleeding -- Ethan gives up on trying to break free as Davian SHOVES the gun into her temple, his finger TIGHTENING on the trigger -- Ethan going insane -- he can only make a desperate appeal, tears flooding his eyes --<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>-- please don't do this-- let<\/dialogue>\n    <character>DAVIAN<\/character>\n    <dialogue>her go -- I promise you, I used the plans Brassel sent you in Rome-- if that wasn't what you wanted then that's not my fault! I can figure out how to get whatever you want -- killing her gets you nothing! Please-- imagine -- Nine. someone you love-- there's gotta be someone you love-- imagine them with a gun to their head, please let her go -- don't just do this, I want to help you get whatever you want, but you have to do what's right, what you know is right! Please! NO--! -- Ten.<\/dialogue>\n    <scene_description>AND AS DAVIAN'S TRIGGER FINGER TIGHTENS --: PLEASE--!: SMASHCUT TO DARKNESS AND SILENCE. SUDDENLY: BRIGHT LIGHT -- WE'RE IN A REFRIGERATOR THAT'S JUST OPENED -- LOOKING OUT AS: A FACE PEERS IN AT US: IT'S JULIA. HAPPY, RADIANT. WE ARE:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - DUSK<\/stage_direction>\n    <scene_description>Ethan and Julia's home. Comfortable. Real. A PARTY in the house behind her as she grabs some lemons. Suddenly ETHAN is here, reaching for a beer. They're casual, intimate, sotto:<\/scene_description>\n    <character>JULIA<\/character>\n    <dialogue>-- what are you doing? -- oh God, Ethan, this is<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>-- your brother wants another one--<\/dialogue>\n    <scene_description>what I was talking about-- -- I know -- Jules: I'm -- but that's how it is with watching him, he's fine. Rick: he's fine, he's fine... -- I know... -- then suddenly he's naked and hugging everyone-- -- I will take full responsibility for Rick-- -- you will? Full? 'Cause that's a huge responsibility-- -- mostly full, yeah, I will. It's going well, right? (smiles) -- yeah, it's going well-- She kisses him, smiling. A woman, BETH passes by:<\/scene_description>\n    <character>BETH<\/character>\n    <dialogue>Julia, your sister's here--<\/dialogue>\n    <scene_description>And Julia stops -- this is clearly something she's nervous about -- but Ethan comforts her:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>It's gonna be okay.<\/dialogue>\n    <scene_description>A4 OMIT A4<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>B4 EXT. ETHAN AND JULIA'S HOUSE - DUSK (\\*USED TO BE SC. 5\\*) B4<\/stage_direction>\n    <scene_description>In a leaf-strewn street, Julia and Ethan greet RACHEL, Julia's six-month pregnant sister, and her HUSBAND, KEN. Hugs and AD-LIBBED, overlapping dialog such as:<\/scene_description>\n    <character>JULIA<\/character>\n    <dialogue>Oh my God, I can't believe you guys came to Virginia -- you look so beautiful --<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>What, like we'd miss your engagement party -- and look at this house!<\/dialogue>\n    <scene_description>we're still unpacking, so (seeing Ethan) it's a little, um... -- is this him?<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>This is him, I'm him. It's good to meet you, Rachel --<\/dialogue>\n    <scene_description>Ethan offers a hand, but Rachel just HUGS him, warmly -- Julia beams.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>C4 INT. LIVING ROOM - DUSK (\\*PT 2, USED TO BE SC. 6\\*) C4<\/stage_direction>\n    <scene_description>VARIOUS SHOTS of friends hanging out, eating, drinking, laughing... We go LOW and CLOSE on a DOG (BUSTER), surrounded by PEOPLE'S LEGS at the buffet. TRAVEL with the Dog to...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>D4 INT. SUN ROOM - NIGHT (\\*USED TO BE SC. 10\\*) D4<\/stage_direction>\n    <scene_description>... Ethan and one of Julia's friends, KEVIN. Buster sits dutifully beside Ethan, looking up at him. Two Women (one, ANNIE) are also here:<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>The Department of Transportation.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Yeah, I've been there almost ten years-- wow...<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>-- and what does that-- what do you do there?<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Study traffic patterns. Flow, parking control strategy, optimum speed limits -- and we develop plans of attack to eliminate the blockage-- when you hit the brakes for a second -- just tap them on the freeway, you can literally track the ripple effect of that action across a two hundred mile stretch of road -- and you know why? Do you know? Because traffic has a memory -- it's amazing, it's like a living organism --<\/dialogue>\n    <parenthetical>(takes Kevin's drink)<\/parenthetical>\n    <dialogue>-- lemme freshen that up for you-- vodka martini?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Yeah, thanks.<\/dialogue>\n    <scene_description>Ethan heads off, Buster follows. Kevin look to the women deadpan. After a beat, he pretends to SNORE. But apparently they don't agree:<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>I'd marry him.<\/dialogue>\n    <character>WOMAN #2<\/character>\n    <dialogue>-- I would, too.<\/dialogue>\n    <character>WOMAN #1 (V.O.)<\/character>\n    <dialogue>-- but what was he like?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>THREE WOMEN and TWO GUYS, late 30's, sitting comfortably near the fireplace:<\/scene_description>\n    <character>GUY #1<\/character>\n    <dialogue>-- you mean in high school? Ethan was just, you know-- he was very fat. At the time.<\/dialogue>\n    <character>WOMAN #1<\/character>\n    <dialogue>-- really?<\/dialogue>\n    <character>GUY #1<\/character>\n    <dialogue>Yeah, he was huge.<\/dialogue>\n    <character>WOMAN #1<\/character>\n    <dialogue>-- no he wasn't.<\/dialogue>\n    <character>GUY #1<\/character>\n    <dialogue>... no, he wasn't. But I wish he had been.<\/dialogue>\n    <parenthetical>(they're laughing now)<\/parenthetical>\n    <dialogue>-- my prom night would've had a happier ending, I think...<\/dialogue>\n    <scene_description>They all laugh and -- OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Ethan, at the bar, makes a martini. Buster still beside him, dutifully. His attention's drawn across the room to JULIA: through a door at the kitchen counter, assembling hors d'oeuvres with three friends: ASHLEY, MELISSA, ELLIE.<\/scene_description>\n    <character>ELLIE<\/character>\n    <dialogue>-- a three-week heliboarding honeymoon?<\/dialogue>\n    <scene_description>During the dialogue that follows, Ethan watches... rapt, almost mesmerized by how much he loves Julia... the way she laughs, talks to her friends... and our ANGLES start to reveal, slowly, that he's actually READING THEIR LIPS... INTERCUTTING:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT<\/stage_direction>\n    <character>ELLIE<\/character>\n    <dialogue>-- you mean like snowboarding where you're dropped from a...?<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>-- helicopter, yeah--<\/dialogue>\n    <character>MELISSA<\/character>\n    <dialogue>-- it's how they met, she doesn't know the-- tell her the story-- this was two years ago.<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>What, it w-- you say that like it's a good story-- there's no story--<\/dialogue>\n    <character>MELISSA<\/character>\n    <dialogue>No guy was ever good enough for Julia, adventurous enough, spontaneous enough, funny enough--<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>That's not true-- you make it sound like I never dated.<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>No one we liked.<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>Well that's true...<\/dialogue>\n    <scene_description>She smiles. In total synchronicity with her, Ethan, across the room, smiles too. As if he were right beside her...<\/scene_description>\n    <character>MELISSA<\/character>\n    <dialogue>Julia saves up all year for this exotic heliboarding trip-- so she goes and she gets on the chopper in that takes off from... that lake, what was--?<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>I dunno, Lake... Wonky?<\/dialogue>\n    <character>ETHAN (O.S.)<\/character>\n    <dialogue>Wanaka!<\/dialogue>\n    <scene_description>They turn -- Ethan's smiling, loving her -- finishes the martini, moves off --<\/scene_description>\n    <character>JULIA<\/character>\n    <dialogue>Wanaka! Thank you!<\/dialogue>\n    <character>MELISSA<\/character>\n    <dialogue>... He heard that?<\/dialogue>\n    <character>ELLIE<\/character>\n    <dialogue>-- how'd he hear that?<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>By the way, who goes to New Zealand and meets a guy from Virginia who's perfect...<\/dialogue>\n    <character>ELLIE<\/character>\n    <dialogue>I'm never gonna meet anyone. I'm afraid of helicopters and snowboarding. And New Zealand, for some reason.<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>The hospital's cool with you taking three weeks?<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>There actually are other nurses employed there, I'm not the only one-- and girl, I haven't had one sick day.<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>(sarcastic to Melissa)<\/dialogue>\n    <character>MELISSA<\/character>\n    <dialogue>(playing along)<\/dialogue>\n    <scene_description>Well that's totally Oh my God! You're perfect unexpected! Can you believe too? I didn't know that! that?<\/scene_description>\n    <character>JULIA<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>Shut-up! Do not listen to them.<\/dialogue>\n    <scene_description>As they LAUGH, PRE-LAP A GLASS CLINK-CLINK-CLINK! 8-11 OMIT 8-11 PAGES 7 - 8 DELETED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Rachel gives a toast. The MUSIC now QUIET.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>-- when Julia called and told me she was getting married, I thought one thing. That it was about time she accomplished something.<\/dialogue>\n    <scene_description>Guests LAUGH. Ethan and Julia stand together, smiling, his arms wrapped around her. Rachel gets teary as she says:<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>No, the one thing I thought... was that it was just too bad. That Daddy wasn't here to walk her down the aisle...<\/dialogue>\n    <scene_description>Ken leans in with a napkin; she dabs her eyes, recovers fast.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>-- thank you -- sorry-- and when Julia told me Ethan doesn't have his parents anymore either... I just started to get really sad.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But then it occurred to me, how this was about starting a new family. And how beautiful that was. And I just want to say I'm making Julia an aunt, and I expect the same treatment really soon.<\/dialogue>\n    <scene_description>HOLLERS, CLAPS and LAUGHS from the guests -- and on Ethan and Julia, who accept the toast -- Julia then moving to Rachel, embracing her. And the MUSIC PUMPS and we CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>VARIOUS ANGLES of PEOPLE DANCING to the MUSIC, having a blast. Ethan and Julia among them. Dancing. Loving each other. And we learn everything, just watching them here.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>LATER -- NEW SONG PLAYS in the background -- people still DANCING and having fun in the other room. Ethan, a little sweaty, piles food on a plate. A 23 year-old GUY (RICK, JULIA'S BROTHER) approaches, slightly toasted.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>Hey man, whatcha doing?<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Hey, Rick. I'm starving. I haven't eaten all day, I'm-- I guess I was nervous.<\/dialogue>\n    <scene_description>Rick moves close. Puts his arm around Ethan's neck. A drunken, too-intimate kinda move.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>I'm psyched. That you're gonna be my brother.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>The PHONE is RINGING.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>It's awesome. I mean it.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Thank you. Excuse me-- okay?<\/dialogue>\n    <parenthetical>(answers phone)<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>Rick heads off, holding up a beer bottle, pointing to it and silently mouthing \"you rock hard\". Ethan nods to him as:<\/scene_description>\n    <character>TELEMARKETER (V.O.)<\/character>\n    <dialogue>This is Ready-Travel Resort Services. We'd like to offer you the chance to win an all-expense paid trip to Mexico.<\/dialogue>\n    <character>ETHAN<\/character>\n    <parenthetical>(long beat, oddly)<\/parenthetical>\n    <dialogue>We're not interested, thanks.<\/dialogue>\n    <scene_description>He hangs up. PUSH IN TIGHTER -- only we see it, but something has changed -- he looks across the party at Julia -- HOLD ON HIM WATCHING HER. A guilty, silent agony. OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Ethan pulls a full ICE MACHINE BIN out of the freezer --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIDE OF HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Quiet. CRICKETS. Distant party SOUNDS. PUSH IN as the side door opens. Ethan leans out -- tosses the four pounds of ICE CUBES into the bushes. Returns inside, closes the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Julia sits, laughing with her friends as Ethan arrives:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>-- we're out of ice -- gonna make a quick run.<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>D'you check the freezer in the basement?<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Yeah-- I'll be back in ten minutes.<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>Okay--<\/dialogue>\n    <scene_description>A quick kiss and he's gone. She watches him go.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 7-ELEVEN - NIGHT<\/stage_direction>\n    <scene_description>LOW to the ground, in the middle of the wet parking lot, we PUSH IN to the fluorescent convenience store as Ethan's car arrives off the highway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 7-ELEVEN - NIGHT<\/stage_direction>\n    <scene_description>TRACK WITH ETHAN as he walks down the aisles, eyes casually searching. Heads to the back of the store, near beverage fridges and a MAN in suit and coat, back to us. Ethan turns to racks of snacks. The other Man turns, away from Ethan. It's MUSGRAVE. 40. IMF up-and-comer. They've risen in the ranks together -- Hunt as field op, Musgrave as policy maker. Scene takes place sotto voce, backs to each other. If anyone were watching, they would appear as two strangers. Musgrave seems particularly heavy-hearted, doing his best to cover it.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Musgrave, what's up.<\/dialogue>\n    <character>MUSGRAVE<\/character>\n    <dialogue>Couldn't decide what size Slurpee to get.<\/dialogue>\n    <scene_description>Ethan pulls a PRINGLES CAN from a rack, as he says:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>I always go for the nine-hundred ouncer.<\/dialogue>\n    <character>MUSGRAVE<\/character>\n    <dialogue>How's the party-- sorry about having to call--<\/dialogue>\n    <scene_description>As Ethan opens the Pringles, starts eating them:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>-- yeah, the party's good, you should've come.<\/dialogue>\n    <character>MUSGRAVE<\/character>\n    <dialogue>You should've invited me.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>You know I would have.<\/dialogue>\n    <character>MUSGRAVE<\/character>\n    <parenthetical>(sincere)<\/parenthetical>\n    <dialogue>Thanks.<\/dialogue>\n    <parenthetical>(then, re: Pringles)<\/parenthetical>\n    <dialogue>What, you guys aren't serving food?<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>-- yeah, food I wanna get back to-- what's going on?<\/dialogue>\n    <character>MUSGRAVE<\/character>\n    <parenthetical>(beat, increasingly sober)<\/parenthetical>\n    <dialogue>... it's Agent Farris.<\/dialogue>\n    <scene_description>TIGHT ON ETHAN as he stops, affected as well.<\/scene_description>\n    <character>MUSGRAVE (CONT'D)<\/character>\n    <dialogue>She was on an operation. Her first. She's disappeared. Been off-grid eleven hours.<\/dialogue>\n    <character>ETHAN<\/character>\n    <parenthetical>(beat, mind spins)<\/parenthetical>\n    <dialogue>... where?<\/dialogue>\n    <character>MUSGRAVE<\/character>\n    <dialogue>You know better than that. Details through channels only.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I'm sending in Search and Rescue-- I was hoping you'd want in.<\/dialogue>\n    <scene_description>Ethan, heartsick by the news, is now surprised at the unusual request. Typically they'd just disavow...<\/scene_description>\n    <character>MUSGRAVE<\/character>\n    <dialogue>Hey, I know we joke about it, but I am always this close to begging you to quit training our people and get your ass back in the field, but that's not what you do anymore and so I respect that choice, you know I do. Family's everything.<\/dialogue>\n    <parenthetical>(beat, hard, hopeful)<\/parenthetical>\n    <dialogue>Except I know you were close with Lindsey. So I figured... you might even want to lead the team.<\/dialogue>\n    <scene_description>Lost in thought, Ethan nods a regretful, single thank you. But then, just like that, he moves to the freezer, opens it, pulls out a bag of ICE. He's made a choice:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>You have good people for that operation.<\/dialogue>\n    <character>MUSGRAVE<\/character>\n    <dialogue>Yeah... yeah, that we do.<\/dialogue>\n    <parenthetical>(then...)<\/parenthetical>\n    <dialogue>Wheels up at sunrise if you have a change of heart.<\/dialogue>\n    <parenthetical>(then, an odd segue)<\/parenthetical>\n    <dialogue>It's for you.<\/dialogue>\n    <scene_description>A SLIGHT DOLLY reveals a small GIFT BAG sitting on the floor. Ethan turns to him, broken over the Lindsey news. Their eyes lock for the first time. Ethan, numb, elsewhere, realizing what this gift is.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>... thanks.<\/dialogue>\n    <scene_description>After a beat, Ethan turns to go, grabbing the bag as he does. Musgrave watches him exit. A look of concern.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A21 INT. HUNT GARAGE - NIGHT A21<\/stage_direction>\n    <scene_description>The moonlit garage. Muffled MUSIC and PARTY SOUNDS. And we're DOLLYING as HEADLIGHTS PLAY through the windows -- and we arrive at the side door, which Ethan enters now, carrying the ice and Musgrave's gift bag. 21-22 OMIT 21-22<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A23 INT. HUNT GARAGE - NIGHT (\\*USED TO BE SC. 33\\*) A23<\/stage_direction>\n    <scene_description>Ethan pulls out and unwraps the gift: a KODAK DISPOSABLE CAMERA. He opens it. Pulls out the camera and peers into the viewfinder. We see ETHAN'S POV, INTO THE CAMERA: a quick RETINAL SCAN, then WORDS: \"IDENTITY CONFIRMED: HUNT, ETHAN.\" Then VARIOUS BLACK AND WHITE IMF PHOTOS of LINDSEY FARRIS APPEAR.<\/scene_description>\n    <character>MUSGRAVE (V.O.)<\/character>\n    <dialogue>Ethan. Three days ago, Agent Lindsey Farris was captured while on a surveillance operation.<\/dialogue>\n    <character>VARIOUS SIZES OF A SINGLE, GRAINY, LONG LENS, BLACK AND WHITE<\/character>\n    <dialogue>SURVEILLANCE PHOTOGRAPHS of the same man we saw shoot Julia only minutes ago:<\/dialogue>\n    <character>MUSGRAVE (V.O.)<\/character>\n    <dialogue>This is the man she was tracking. His name is Owen Davian. Details are Eyes Only, but I can tell you that Davian's a black market trafficker. Extremely dangerous, and a priority for us.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>At fourteen-hundred today, a recon satellite ID'd a caravan of vehicles with plates matching those known to have been used by Davian's operatives. They stopped at a warehouse outside Berlin.<\/dialogue>\n    <scene_description>SATELLITE IMAGES of the German countryside, vehicles, close- ups of LICENSE PLATES. WE FAVOR ONE MAGNIFIED IMAGE of a SMALLISH FIGURE flanked by two larger ones as they get out of one of the vans:<\/scene_description>\n    <character>MUSGRAVE<\/character>\n    <dialogue>It appears they have a hostage -- we believe it's Agent Farris.<\/dialogue>\n    <scene_description>Back to MUSGRAVE:<\/scene_description>\n    <character>MUSGRAVE<\/character>\n    <dialogue>Your mission, should you choose to accept it, is to put together a team, find Lindsey and bring her home. Of course you know the drill: normally we would disavow. Except Lindsey may be the key to getting us closer to Davian.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>This message -- my excellent engagement gift -- will self- destruct in five seconds. Good luck, Ethan... and thanks again.<\/dialogue>\n    <scene_description>Ethan lowers the camera -- heart torn between concern for Lindsey and love for Julia -- and now we're on ETHAN'S BACK as a wisp of SMOKE rises, backlit by moonlight. Ethan then stands, dropping the camera into a garbage can. He stares at the HEAVY BAG hanging here... until SOUNDS FADE UP -- PUNCHES -- strong and constant... and we DOLLY PAST THE BAG, and when we come out the other side, we're:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMF TRAINING CENTER - SPARRING RING - DAY - FLASHBACK<\/stage_direction>\n    <scene_description>LINDSEY FARRIS, early 20's, blonde hair, beautiful eyes and a wicked punch. She SLAMS the bag as Ethan circles, provoking (there's something odd about these FLASHBACKS, an occasional, random time-shifting, hand-cranked camera feel):<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Keep hitting like that, you should go back to the Marines --<\/dialogue>\n    <scene_description>She PUNCHES harder, raw aggression -- then:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>She turns, out of breath -- but Ethan just tosses her an ESCRIMA FIGHTING STICK. He holds one too --<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Come at me.<\/dialogue>\n    <scene_description>-- tireless, Lindsey attacks -- fierce -- the two SPAR with the Escrimas -- KRAK! KRAK! KRAKKRAKKRAK! And though she's good, Ethan takes her down... until she makes a quick last- minute move and DROPS HIM. He laughs. CUT TO: OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARK TRAINING ROOM - DAY - FLASHBACK<\/stage_direction>\n    <scene_description>SEVEN SEMI-AUTOMATIC PISTOL PIECES TUMBLE into frame -- Ethan has just poured them here. Lindsey stands before him.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>You have twenty seconds.<\/dialogue>\n    <character>LINDSEY<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>Twenty seconds?<\/dialogue>\n    <scene_description>Ethan's got a stop watch -- he CLICKS it -- and she hurriedly begins-- but Ethan CLICKS the watch almost immediately:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Oh -- one more thing.<\/dialogue>\n    <scene_description>He pulls out a BLINDFOLD. A smile between them as he puts it on her. Then he pours A DOZEN OTHER GUN PIECES onto the table. She sighs: oh shit.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Nineteen seconds. Go.<\/dialogue>\n    <scene_description>CLICK -- and even BLINDFOLDED, she works it -- and it's remarkable, watching her precision work: finding the pieces she needs, rejecting the others -- metal piece SLAMMING into metal piece -- and Ethan studies her. Caring, impressed. Suddenly the gun's assembled, stock SLAMMED on the table:<\/scene_description>\n    <character>LINDSEY (V.O.)<\/character>\n    <dialogue>You asked to see me?<\/dialogue>\n    <scene_description>OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ETHAN'S OFFICE - DUSK - FLASHBACK<\/stage_direction>\n    <scene_description>Ethan looks up from his desk: it's Lindsey, arriving at his office door. Looking gorgeous in a party dress, putting on earrings. Ethan's taken aback. She's charming, awkward:<\/scene_description>\n    <character>LINDSEY<\/character>\n    <dialogue>Oh, I know, I'm-- going out tonight. So. Had to... look fancy, whatever.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>... well good, 'cause you've got something to celebrate. I made my recommendation to the council.<\/dialogue>\n    <parenthetical>(off her shock)<\/parenthetical>\n    <dialogue>This morning.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Congratulations, you're now officially in harm's way. Agent Farris.<\/dialogue>\n    <scene_description>She looks at him, emotional, caught wildly off-guard:<\/scene_description>\n    <character>LINDSEY<\/character>\n    <dialogue>... are you serious?<\/dialogue>\n    <scene_description>He tosses her an ID BADGE. Looking at it, she opens her mouth to say something. No words. Her eyes well...<\/scene_description>\n    <character>LINDSEY<\/character>\n    <dialogue>Am I... ready?<\/dialogue>\n    <scene_description>Ethan stares at her. Finally:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Yeah, you're ready.<\/dialogue>\n    <scene_description>And she smiles, just taken aback. And then, suddenly, horrifyingly, SPEED RAMPS as Lindsey is GRABBED BY A DARK FIGURE, HER HEAD SNAPPED BACK -- A SHARP KNIFE YANKED ACROSS HER NECK -- BLOOD SPLATTERS AS -- 28-32 OMIT 28-32<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM\/BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>Ethan looks off -- we think for a moment that he's staring at Lindsey, until we realize that we're in his and Julia's bedroom. He glances over -- sees, in their candlelit bathroom. Julia at the sink, washing her face. Ethan moves to her. Stands behind her. As she pats her face dry with a towel, she looks into the mirror, seeing him standing there. She gazes at his reflection. He puts his arms around her, on her body. Her eyes close, leaning back against him. Then she turns to him. They're close as she says:<\/scene_description>\n    <character>JULIA<\/character>\n    <dialogue>I loved our party.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Me too.<\/dialogue>\n    <scene_description>And she kisses him -- and we PUSH IN ON THEM as they kiss -- closer and closer -- until we CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A34 INT. ETHAN AND JULIA'S BEDROOM - NIGHT A34<\/stage_direction>\n    <scene_description>-- ETHAN IS STARTLED AWAKE, out of his nightmare. Breathes heavily. Julia, lying asleep beside him, outside the sheets. He's even woken her up, but just barely:<\/scene_description>\n    <character>JULIA<\/character>\n    <dialogue>... you okay?<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>... yeah. I'm sorry I didn't realize, I didn't tell you... that the office called, during the party. I have to go to Houston for a night. Metro's hosting a public transpo conference.<\/dialogue>\n    <scene_description>And we're TIGHT ON JULIA as her eyes open, suddenly awake. She stares off in the silent moment.<\/scene_description>\n    <character>JULIA<\/character>\n    <dialogue>... so last minute.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Someone I trained needs my help... I need to do what I can.<\/dialogue>\n    <scene_description>She snuggles beside him, her bare leg wraps around his, over the sheets. But she remains staring off... unnerved. And Ethan's eyes are on the ceiling, the SOUND OF A ROAR gets LOUDER and LOUDER, until we CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TARMAC - DAWN<\/stage_direction>\n    <scene_description>Ethan SPEEDING on his motorcycle -- dust kicked up like flame behind him. And he enters a GUARD-protected AIRFIELD, where he approaches a parked G4. A black VAN arrives at the same time. And Ethan gets off his bike as THREE IMF MEMBERS step out of the van. One of them we know: LUTHER. And he's got a brilliant smile. We'll get to know the other two soon, but suffice to say, their names are ZHEN and DECLAN.<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Well if it isn't Mr. Those Who Can't Do Teach! Back in the field!<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Hey, man...<\/dialogue>\n    <scene_description>And Luther bear-hugs him. Clearly, long time no see. Then, with an intimate smile:<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Don't look so worried. You know we'll get the girl. Or have you been away so long you've forgotten how good we are?<\/dialogue>\n    <scene_description>ON ETHAN, buoyed by his optimism, he actually SMILES. And then we HEAR, finally THE MISSION:IMPOSSIBLE THEME. That FLUTE TRILL getting our mojo working -- and as the MUSIC CRESCENDOS, we CUT TO: 34A A TITLE SEQUENCE -- A FLAME AND A FUSE -- IMAGES from the 34A story you're about to see -- and a POUNDING RENDITION of the THEME, and it BUILDS and BUILDS until we CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FACTORY - NIGHT<\/stage_direction>\n    <scene_description>THROBBING, suspenseful MUSIC over a SHOT of SMOKESTACKS -- but UPSIDE DOWN: it's a reflective RAIN PUDDLE. Suddenly BOOTS RUN THROUGH IT, and we're MOVING with the runner, FAST, LOW TO THE GROUND -- tracking TIGHT on black-panted LEGS. It's Ethan, and we have QUICK TIGHT SHOTS as he swiftly assembles a large REMOTE GUN -- and in the cuts, we got to LUTHER, who's arriving at another location, doing the same. Checking the rounds, the remote transmitters, and we don't know where we are yet... Ethan then runs along an old train, crossing it, and taking cover behind a rusted, abandoned automobile. He looks across a metal junkyard as Luther arrives, some twenty yards away. They give each other a nod, and Ethan runs off in one direction, Luther in the other. And we CRANE UP NOW, following Ethan as he races toward a giant, derelict FACTORY. SUPER: \"CITY OF KRIEGSBURG, GERMANY\".<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A36 EXT. VAN AREA - NIGHT A36<\/stage_direction>\n    <scene_description>TRACK WITH LUTHER as he runs past a series of derelict cars, toward a rusted junker of a TRUCK. Luther enters the truck --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>B36 INT. RUSTED TRUCK - NIGHT B36<\/stage_direction>\n    <scene_description>Inside, it's tricked out: multiple monitors receive satellite and data feeds. Four TURRET CONTROL UNITS face Luther, who, catching his breath, wears a headset:<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Raider One, this is Observer, what's your twenty.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>C36 EXT. FACTORY ACCESS AREA - NIGHT C36<\/stage_direction>\n    <scene_description>We're RACING past old trains and rusted structures with Ethan, as he takes cover behind a stack of steel slabs.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>In approach position-- d'you get confirmation?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>D36 INT. RUSTED TRUCK - NIGHT D36<\/stage_direction>\n    <scene_description>Luther uses TRACKBALLS to control the monitor cameras --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>E36 EXT. FACTORY - GUN ANGLES - NIGHT E36<\/stage_direction>\n    <scene_description>QUICK SHOTS of the REMOTE TURRETS ADJUSTING THEIR ANGLE AND PAN -- various OPTICAL TECH attached to the pivot head --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>F36 INT. RUSTED TRUCK - NIGHT (\\*USED TO BE SC. 39\\*) F36<\/stage_direction>\n    <scene_description>Luther uses DUAL TRACKBALLS, one for each hand, to rapidly target the rifles and optics -- it's a REAL-LIFE-DUAL GAME OF MISSILE COMMAND. Luther toggles between THERMAL, VASCULAR, RADAR, X-RAY and SONAR, revealing various images of the PEOPLE in the factory, including an IMAGE IN THERMAL: a BODY, a WOMAN in a chair. Luther performs a VASCULAR MATCH -- on a monitor we see the POSITIVE ID with LINDSEY Farris:<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>The Prize is on the sixth floor, one tango with her-- six more on the second floor, two on the fourth -- Groundhog, what's the status?<\/dialogue>\n    <scene_description>OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FACTORY - NIGHT<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDER THE STREET - NIGHT<\/stage_direction>\n    <scene_description>-- BELOW CRACKED STREET LEVEL TO REVEAL ZHEN TZE (20's, her street-primer was the Chinese Triads) working fast on JUNCTION BOXES with a TORCH:<\/scene_description>\n    <character>ZHEN<\/character>\n    <dialogue>I need two minutes. Which means you need me ready in one, right?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A39 INT. RUSTED TRUCK - NIGHT A39<\/stage_direction>\n    <scene_description>Luther, amused, as he sets up:<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Yeah, just about. Raider One, you're good to go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>B39 EXT. FACTORY ACCESS AREA - NIGHT B39<\/stage_direction>\n    <character>ETHAN<\/character>\n    <dialogue>Roger that, on the move --<\/dialogue>\n    <scene_description>Ethan runs in, passing a wall, revealing the MASSIVE SPACE -- OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FACTORY STAIRWELL\/CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>Ethan stealthily moves up a stairwell -- checks the view, then proceeds, moving fast against the wall, stopping silently, the massive steel yard visible behind him. With one hand, Ethan pulls out a MAGNETIC CYLINDER CHARGE -- he holds it to a rusted PIPE, activates it, it MAGNETICALLY ATTACHES. Then Ethan MOVES SILENTLY -- and we INTERCUT as the two do their thing: 41-44 OMIT 41-44<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RUSTED TRUCK - NIGHT<\/stage_direction>\n    <character>LUTHER<\/character>\n    <dialogue>So at some point we've gotta go over this whole \"getting married\" thing.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Negative, Observer, I don't respect you nearly enough to have that discussion.<\/dialogue>\n    <scene_description>Amused as he adjusts the controls, Luther spots a FIGURE MOVING UP A STAIRWELL NEAR ETHAN on vascular imagery:<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Raider, watch your twelve, up the stairs --<\/dialogue>\n    <scene_description>Ethan sprints toward the stairs just as one of Davian's MEN arrives at the top -- Ethan SLAMS his windpipe, fights brutally -- Luther watching the two VASCULAR IMAGES IN COMBAT -- within seconds, the guy's neck is snapped. Ethan drags him off, he spots two small temp SATELLITE DISHES, attached near a distant window. Ethan moves down the corridor, toward them -- their cables snaking across the floor, disappearing from view. Curious, Ethan follows them -- glances around a corner -- the cables run through a half-dozen door-less doorways -- inside a GLASSED CONTROL ROOM, two MEN sit at two RUGGEDIZED LAPTOP COMPUTERS. In the shadows, sotto:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>They've got communications gear, second floor northwest corridor. Groundhog, that's you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A46 INT. UNDER THE STREET - NIGHT (\\*USED TO BE SC. 52\\*) A46<\/stage_direction>\n    <scene_description>Zhen readies two SWITCH BOXES --<\/scene_description>\n    <character>ZHEN<\/character>\n    <dialogue>Copy: soon as we go hot I'll go in.<\/dialogue>\n    <scene_description>OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FACTORY AREAS - NIGHT<\/stage_direction>\n    <scene_description>As Ethan speeds up the stairs, snaking through the factory:<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>The hell do you see in her, anyway?<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Who, Julia? Brother, you've never met her.<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>Yeah, and the way things are, I probably never will.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDER THE STREET - NIGHT<\/stage_direction>\n    <scene_description>Zhen moves down the tunnel, holding two DETONATORS:<\/scene_description>\n    <character>ZHEN<\/character>\n    <dialogue>Another reason she's a lucky girl. I'm good to go.<\/dialogue>\n    <scene_description>49-52 OMIT 49-52<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FACTORY TORTURE ROOM - NIGHT<\/stage_direction>\n    <scene_description>Ethan moves past a twisted metal slide. He takes cover -- peers through the former factory floor: obscured by rusted machinery, hanging chains and shadow, LINDSEY FARRIS is slumped in the wheelchair, her back to us. A MAN, obscured, sits across from her. Talking casually. He leans forward and Ethan sees his face for the first time -- BUT ONLY WE RECOGNIZE HIM: IT'S OWEN DAVIAN -- THE MAN WE LEFT AT THE \\* OPENING, ABOUT TO KILL JULIA. As Davian talks, he lights a BUTANE TORCH. \\*<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Phoenix, I have visual on The Prize.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A54 EXT.\/INT. HELICOPTER - NIGHT A54<\/stage_direction>\n    <scene_description>LOW TO THE GROUND, PUSHING IN through the tall grass TO REVEAL a MILITARY CHOPPER parked motionless amid the German countryside. A stunning modern WIND TURBINE FARM dotting the distant hills, GIANT WHITE BLADES spinning in the moonlight --<\/scene_description>\n    <character>ETHAN (V.O.)<\/character>\n    <dialogue>We'll need touch down in less than three, you copy?<\/dialogue>\n    <scene_description>DECLAN (27, cocky, great) sits at the controls, chewing gum and cleaning the gauges with a cloth.<\/scene_description>\n    <character>DECLAN<\/character>\n    <dialogue>Please. When do I not copy, all I do is copy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>B54 INT. FACTORY TORTURE ROOM - NIGHT B54<\/stage_direction>\n    <scene_description>Ethan pulls down compact NIGHT VISION GOGGLES -- pulls out a metallic DETONATOR, extends the antenna, thumb on button:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Standby to go live --<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RUSTED TRUCK - NIGHT<\/stage_direction>\n    <scene_description>Luther at the monitors, both palms ROLLING THE TRACKBALLS, impressive, ambidextrous targeting, ready to rock --<\/scene_description>\n    <character>ETHAN (V.O.)<\/character>\n    <dialogue>-- impact on three --<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDER THE STREET - NIGHT<\/stage_direction>\n    <scene_description>PUSH IN on Zhen holding her DETONATORS, ready to go --<\/scene_description>\n    <character>ETHAN (V.O.)<\/character>\n    <dialogue>-- two --<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FACTORY TORTURE ROOM - NIGHT<\/stage_direction>\n    <scene_description>Davian GRABS Lindsey's hair, yanks her head back with one \\* hand, butane torch in the other -- EXTREME CLOSEUP ON ETHAN, who HITS THE TRIGGER, saying:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FACTORY STAIRWELL - NIGHT<\/stage_direction>\n    <scene_description>With one of Ethan's charges in the foreground, one of Davian's MEN walks past -- THE CHARGE BEEPS -- the guy turns as the CHARGE BLOWS! THE BLAST PROPELS THE MAN BACK--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RUSTED TRUCK - NIGHT<\/stage_direction>\n    <scene_description>-- Luther FIRES the TRACKBALL TRIGGER BUTTONS --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FACTORY - NIGHT<\/stage_direction>\n    <scene_description>THE SNIPER RIFLES BLAZE -- twin muzzles PIVOT, BLASTS ERUPTING and --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A60 INT. FACTORY BREAK ROOM - NIGHT A60<\/stage_direction>\n    <scene_description>-- the room EXPLODES IN BRICK, MORTAR and GLASS. Davian's men DIVE for cover, race out as the world collapses around them --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDER THE STREET - NIGHT<\/stage_direction>\n    <scene_description>-- and Zhen TRIGGERS HER DETONATORS -- the prepped junction boxes BLOW and --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FACTORY TORTURE ROOM - NIGHT<\/stage_direction>\n    <character>THE LIGHTS IN<\/character>\n    <dialogue>EVERYWHERE --<\/dialogue>\n    <character>THE FACTORY EXPLODE -- BULBS BURST, SPARKS<\/character>\n    <dialogue>WHIP PAN TO Brownway, who runs off, distressed -<\/dialogue>\n    <scene_description>- Lindsey too out of it to notice -- then WHIP PAN TO ETHAN, WHO STARTS TO RUN --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RUSTED TRUCK - NIGHT<\/stage_direction>\n    <scene_description>Luther, SLAMMING the trackballs, taking out enemies like a mad-ass lethal pinball wizard --<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Raider, you're clear, get in there!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FACTORY TORTURE ROOM - NIGHT<\/stage_direction>\n    <scene_description>Ethan sprints through a FIREWORKS OF SPARKS --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDER THE STREET - NIGHT<\/stage_direction>\n    <scene_description>TRACK FAST AND HARD with Zhen, who sprints to join the fray --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FACTORY - NIGHT<\/stage_direction>\n    <scene_description>TRACERS from Luther's GUNS SCREAM across the courtyard, HIT the factory --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FACTORY OFFICE AREA - NIGHT<\/stage_direction>\n    <scene_description>WHIP PAN to Brownway, who enters the space, YELLING over the DIN in German to another MAN who enters from across the space -- he yells back -- OVERLAPPING CONFUSION as one of Luther's ROUNDS STREAKS INTO THE ROOM BETWEEN THE MEN AND EXPLODES!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FACTORY CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>Pure MAYHEM: HANDHELD CAMERA catches MEN racing in the sparking corridors, wall plaster being BLOWN TO POWDER by Luther's weapons --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A69 INT. FACTORY TALL STAIRWELL - NIGHT A69<\/stage_direction>\n    <scene_description>Zhen runs in, takes cover, then RUNS UP a tall stairwell -- OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FACTORY OFFICE AREA - NIGHT<\/stage_direction>\n    <scene_description>Brownway, his face now BLEEDING (ergo the bandage later), rises from the rubble -- hurries off as:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FACTORY TORTURE ROOM - NIGHT<\/stage_direction>\n    <scene_description>CRASH!!! -- Ethan KICKS IN A DOOR to the area where Lindsey sits, bound to the wheelchair, barely breathing. GUNFIRE and SCREAMS in the distance, the place SHAKING from impact as Ethan rips off his night vision, SLASHES her bonds, frees her arms and legs -- brushes the hair back from her bruised face. Quick damage check: needle punctures, burn marks -- she's groggy, incredulous:<\/scene_description>\n    <character>LINDSEY<\/character>\n    <dialogue>... Ethan?<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>-- you're okay, I'm gonna get you home --<\/dialogue>\n    <scene_description>72-73 OMIT 72-73 Ethan preps a HYPODERMIC NEEDLE, Lindsey semi-conscious:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>It's adrenaline: you're gonna feel this.<\/dialogue>\n    <scene_description>-- she's just understanding what's about to happen when Ethan INJECTS her fast -- ON HER FACE as her EYES GO SUDDENLY WIDE - - she INHALES SHARP AND FAST --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FACTORY GLASSED CONTROL ROOM - NIGHT<\/stage_direction>\n    <scene_description>One of DAVIAN'S MEN frantically packs up gear as suddenly Zhen enters -- he turns -- she shoots -- she moves for the computers -- but another MAN is there -- he attacks her, they fight -- but she's fucking good, and suddenly he's down and out. She moves for the computers, but then she hears \"SHING!\" and looks -- the man she shot IS HOLDING A GRENADE IN ONE HAND -- ITS PIN IN THE OTHER! She turns and is thrown THROUGH THE GLASS as THE ROOM EXPLODES!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A76 INT. FACTORY TORTURE ROOM - NIGHT A76<\/stage_direction>\n    <scene_description>Ethan helps Lindsey to her feet, ushering her out --<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Observer, we're on the move, wrap out -- rendezvous at evac in ninety seconds!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>B76 INT. RUSTED TRUCK - NIGHT B76<\/stage_direction>\n    <scene_description>Luther abandons his guns, moves for the front seat, GUNNING the engine --<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>-- Roger that: Phoenix, get to the LZ now!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>C76 INT. CHOPPER - NIGHT C76<\/stage_direction>\n    <scene_description>-- Declan scrambles into action, the ROTORS WHINING TO LIFE --<\/scene_description>\n    <character>DECLAN<\/character>\n    <dialogue>Roger Observer, on my way!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FACTORY CUBICLES - NIGHT<\/stage_direction>\n    <scene_description>Ethan ushers Lindsey through the light-sparking factory as fast as possible --<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Hold onto me -- keep moving--<\/dialogue>\n    <character>LINDSEY<\/character>\n    <dialogue>-- I have to tell you<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>something -- -- later --<\/dialogue>\n    <character>LINDSEY<\/character>\n    <dialogue>--no, NOW -- just for you -- turn off your transmitter.<\/dialogue>\n    <scene_description>As they move, Ethan's confused eyes lock on hers -- she says, intense:<\/scene_description>\n    <character>LINDSEY<\/character>\n    <dialogue>DO IT.<\/dialogue>\n    <scene_description>But suddenly: GUN FIRE from up ahead -- Ethan AIMS AND FIRES, shooting as they run at the firing enemy -- but then Lindsey sees a MAN coming from behind them -- she grabs Ethan's holstered weapon and fires BEHIND THEM -- and it's madness as they run, firing in opposite directions -- and as they run, they SWITCH PLACES, and for a while Lindsey leads --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A77 INT. FACTORY DESCENT AREA - NIGHT A77<\/stage_direction>\n    <scene_description>Ethan and Lindsey race through an industrial doorway -- another MAN there, shooting at them -- but both Ethan and Lindsey open fire on the guy and he is BLASTED BACK, out the window --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>B77 EXT. FACTORY - NIGHT B77<\/stage_direction>\n    <scene_description>The man CRASHES through the window and drops six stories, landing with a horrible THUD on the wet asphalt -- RACK FOCUS TO the IMF VAN SCREECHING MADLY ON THE BLACK, SLICK PAVEMENT, Luther at the wheel -- OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FACTORY GLASSED CONTROL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Zhen, shaken, moves through the debris, into the destroyed control room -- she grabs the burnt laptops, throws them into her gear bag as --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FACTORY DESCENT AREA - NIGHT<\/stage_direction>\n    <scene_description>Ethan BREAKS away the remaining panes of window with a metal pipe, then attaches his descent rig, pulls out a magnetic charge and ACTIVATES IT just before he THROWS IT across the room -- the thing ARCS across the space, SLAMMING INTO an antique water tank with a tremendous GONG!<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Hold on tight, can you do that?!<\/dialogue>\n    <character>LINDSEY<\/character>\n    <dialogue>-- yeah --<\/dialogue>\n    <scene_description>-- they climb out the window -- 80-89 OMIT 80-89<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FACTORY - NIGHT<\/stage_direction>\n    <scene_description>Luther pulls the truck to a 90 degree stop, then BACKS UP FAST, slamming the truck into a loading dock -- WHIP PAN UP as Ethan and Lindsey begin a breakneck descent -- just DROPPING toward the truck -- but just a few feet before they hit, they come to a stop -- Ethan CUTS THE WIRE and they drop onto the roof of the truck --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A91 INT. FACTORY DESCENT AREA - NIGHT A91<\/stage_direction>\n    <scene_description>Three of Davian's MEN enter the area Ethan and Lindsey just left -- as BEEP!!! -- Ethan's charge announces itself -- AD LIB FRANTIC REACTIONS AND SCREAMS AS THE ROOM EXPLODES!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>B91 EXT. FACTORY - NIGHT B91<\/stage_direction>\n    <scene_description>The truck races away from the building as the WINDOWS EXPLODE SIX STORIES ABOVE THEM! OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A92 EXT. FACTORY - NIGHT A92<\/stage_direction>\n    <scene_description>Zhen jumps from a second-story window, onto a loading dock and then the asphalt as Luther drives toward her -- she jumps into the truck, which screams away -- On top of the truck, holding tight as Luther drives fast, Lindsey looks at Ethan in disbelief.<\/scene_description>\n    <character>LINDSEY<\/character>\n    <dialogue>So, uh... thank you.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Don't mention it.<\/dialogue>\n    <scene_description>Lindsey would laugh if it weren't all so scary... but then, suddenly, she WINCES PAINFULLY -- Ethan concerned --<\/scene_description>\n    <character>LINDSEY<\/character>\n    <dialogue>OW-- ETHAN, GOD, WHAT IS THAT-<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>-- what?<\/dialogue>\n    <character>-?! OH GOD, ETHAN, THAT<\/character>\n    <dialogue>SOUND, WHAT IS IT?!<\/dialogue>\n    <dialogue>Ethan looks, terrified for her -- as the SOUND OF A HELICOPTER GROWS --<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FACTORY - LZ - NIGHT<\/stage_direction>\n    <scene_description>Declan brings the chopper down as Luther speeds the truck, coming to a stop just twenty feet away from the bird. Luther and Zhen jump out, helping Ethan and Lindsey off the roof -- Lindsey's still in agony -- Luther and Zhen concerned as they help get Lindsey into the chopper:<\/scene_description>\n    <character>LINDSEY<\/character>\n    <dialogue>-- what is that sound?!<\/dialogue>\n    <parenthetical>(then, realizing)<\/parenthetical>\n    <dialogue>... Ethan, you don't hear that?<\/dialogue>\n    <scene_description>Ethan is strapping her in:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Lindsey, you're gonna be okay --<\/dialogue>\n    <scene_description>Zhen plants a charge on the TRUCK as suddenly BULLET HITS POCK-MARK the truck -- then BULLET HOLES APPEAR IN THE CHOPPER WINDOW:<\/scene_description>\n    <character>DECLAN<\/character>\n    <dialogue>HEY! THEY'RE HITTING OUR BIRD,<\/dialogue>\n    <character>LET'S GO!<\/character>\n    <dialogue>A speeding MOTORCYCLE appears, with a baddie FIRING at them -- but Zhen fires at him, taking him out -- the bike SPILLS as Luther grabs Zhen, pulling her back into the chopper:<\/dialogue>\n    <scene_description>DECLAN (cont'd) ETHAN Are we loaded?! Yeah, do it, let's move! But Declan sees something past Ethan -- Ethan turns to look -- AN ENEMY CHOPPER BANKS AROUND THE FACTORY BUILDING, COMING FOR THEM, FLYING UNDER FACTORY BRIDGES. Declan quickly works the controls and they LIFT OFF -- PUSH IN as the TRUCK CHARGE BEEPS, then EXPLODES -- and the enemy chopper FLIES THROUGH THE FIREBALL after Ethan and the team --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHOPPER - NIGHT<\/stage_direction>\n    <scene_description>The IMF TEAM straps themselves in as Ethan checks Lindsey, who still has the horrible migraine --<\/scene_description>\n    <character>LINDSEY<\/character>\n    <parenthetical>(wincing, LOUD)<\/parenthetical>\n    <character>-- PLEASE... TURN IT OFF, PLEASE!<\/character>\n    <dialogue>OH MY GOD... IT HURTS...!<\/dialogue>\n    <scene_description>Ethan goes to a GEAR BAG -- pulls out a small SWEEPING DEVICE -- runs it alongside Lindsey's HEAD -- Lindsey in brutal pain, crying --<\/scene_description>\n    <character>LINDSEY<\/character>\n    <dialogue>IT HURTS SO MUCH-- PLEASE! ETHAN!<\/dialogue>\n    <scene_description>Ethan sweeps her head: the device IDENTIFIES SOMETHING IN HER HEAD --<\/scene_description>\n    <character>DECLAN<\/character>\n    <dialogue>-- guys, their missiles are hot!<\/dialogue>\n    <scene_description>And Ethan turns to look out -- Luther too -- the enemy chopper has fucking AIR-TO-AIR MISSILES -- ONE OF WHICH LAUNCHES RIGHT NOW! Declan wild on the controls:<\/scene_description>\n    <character>DECLAN<\/character>\n    <dialogue>Incoming! HOLD ON!<\/dialogue>\n    <scene_description>Ethan covers Lindsey:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>I gotcha!<\/dialogue>\n    <scene_description>Declan banks the chopper and --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKY - NIGHT<\/stage_direction>\n    <scene_description>The chopper BANKS WILDLY --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHOPPER - NIGHT<\/stage_direction>\n    <scene_description>EVERYTHING SIDEWAYS: Ethan hugs the floor over Lindsey, as if trying to protect her -- the missile comes right for them -- the chopper almost at 90 degrees and the thing JUST PASSES over the rotors, lighting up Ethan's face! Declan YANKS the controls:<\/scene_description>\n    <character>DECLAN<\/character>\n    <dialogue>Okay, that was lucky -- we only get one of those!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WINDMILLS - NIGHT<\/stage_direction>\n    <scene_description>The missile SLAMS into the ground near a windmill, EXPLODING!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHOPPER - NIGHT<\/stage_direction>\n    <scene_description>As Ethan grabs a FLARE GUN.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>-- do we have a defibrillator? -- DO WE HAVE ONE?!<\/dialogue>\n    <character>ZHEN<\/character>\n    <dialogue>-- why?<\/dialogue>\n    <scene_description>Zhen UNCLIPS HER BELT -- moves to a MEDICAL BAG as Ethan hands the FLARE GUN to Luther, who leans out the open door:<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Bring it on!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WINDMILLS - NIGHT<\/stage_direction>\n    <scene_description>And our chopper DIVES into the GIANT WINDMILL FARM -- the enemy chopper in pursuit... as one of the WINDMILLS COMES CRASHING DOWN, FLATTENING A WORKHOUSE, revealing the mega- scale of these things --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A99 INT. CHOPPER - NIGHT A99<\/stage_direction>\n    <scene_description>As Zen gets the defibrillator:<\/scene_description>\n    <character>LINDSEY<\/character>\n    <dialogue>-- Ethan -- what is it? Did they-- put something inside my head?!<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Yeah. They injected you with a time-release charge-- do you remember that?<\/dialogue>\n    <character>LINDSEY<\/character>\n    <dialogue>-- no-- wh--what's a time-r--<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>An explosive -- they've activated it. It's gonna detonate unless we fry the circuit, which is what we're gonna do--<\/dialogue>\n    <scene_description>Zhen pulls out the defibrillator -- Ethan takes it, turns it on --<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>You zap her like that it's gonna stop her heart!<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Then I'll zap it again and bring her back!<\/dialogue>\n    <scene_description>Ethan looks to Lindsey, who remains strong through her fear:<\/scene_description>\n    <character>LINDSEY<\/character>\n    <dialogue>Do it.<\/dialogue>\n    <scene_description>Ethan looks at the defibrillator COUNTDOWN SCREEN: it needs TWENTY SECONDS to charge --<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>DAMNIT --<\/dialogue>\n    <scene_description>But there's more trouble: threatening BEEPS from the cockpit.<\/scene_description>\n    <character>DECLAN<\/character>\n    <dialogue>Guys, they're firing another one!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WINDMILLS - NIGHT<\/stage_direction>\n    <scene_description>The enemy chopper FIRES ANOTHER MISSILE -- Luther shoots a FLARE -- the flare shoots off as the missile follows and Declan YANKS the controls -- the chopper BANKS and Zhen, HOLDING THE DEFIBRILLATOR, goes falling -- grabbing onto a strap, HANGING OUT THE SIDEWAYS CHOPPER as the missile ZOOMS - - STRIKING A WINDMILL, EXPLODING -- SHATTERING THE BLADES -- a towering 15-by-40 foot section STABS IN THE MIDDLE OF A GROUP OF SHEEP -- THEY SCATTER as the choppers ROAR overhead.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHOPPER - NIGHT<\/stage_direction>\n    <scene_description>Declan rights the bird -- Ethan pulls Zhen back in -- a quick HOLY SHIT look between them as Ethan prepares to ZAP Lindsey - - TEN SECONDS LEFT:<\/scene_description>\n    <character>LINDSEY<\/character>\n    <parenthetical>(smiles through the pain)<\/parenthetical>\n    <dialogue>So this could be worse, right?<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>We're almost there.<\/dialogue>\n    <scene_description>102-103 OMIT 102-103<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WINDMILLS - NIGHT<\/stage_direction>\n    <scene_description>The IMF CHOPPER flies through the gigantic TURNING BLADES -- the ENEMY CHOPPER pursues -- both helicopters BOB AND WEAVE -- and all the while, the defibrillator's charging -- but just a few seconds before it's ready to use, Declan proves he's just a better pilot: the IMF chopper makes a move they can't and the ENEMY CHOPPER GETS SLAMMED BY A GIANT BLADE and CRASHES TO THE GROUND, a giant crushed can -- as the IMF CHOPPER RISES, safe --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHOPPER - NIGHT<\/stage_direction>\n    <scene_description>Declan in personal victory:<\/scene_description>\n    <character>HAHA!!!<\/character>\n    <dialogue>TOOK 'EM OUT!<\/dialogue>\n    <scene_description>-- but Ethan's eyes are on the defib: SEVEN SECONDS LEFT -- Lindsey looks to Ethan sweetly:<\/scene_description>\n    <character>LINDSEY<\/character>\n    <dialogue>... Ethan... thank you.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>-- just hold on--<\/dialogue>\n    <character>LINDSEY<\/character>\n    <dialogue>-- thank--<\/dialogue>\n    <character>BUT LINDSEY'S BODY SUDDENLY ARCHES IN SPASM AS THE WHITE OF<\/character>\n    <dialogue>HER LEFT EYE BLASTS HEMORRHAGE RED -- SPECKS OF BLOOD SPRAY<\/dialogue>\n    <character>ON ETHAN'S FACE AND SUDDENLY LINDSEY IS ABSOLUTELY STILL.<\/character>\n    <dialogue>Dead. LINDSEY'S DEAD.<\/dialogue>\n    <dialogue>Too late, the defibrillator BEEPS -- ready now -- but Ethan is frozen in time -- in shock -- all the team members stunned -- all of them except Declan, unable to get a bead on what's happened behind him --<\/dialogue>\n    <character>DECLAN<\/character>\n    <dialogue>-- the hell happened? Guys?!<\/dialogue>\n    <scene_description>But they're all just incredulous -- and Ethan pulls Lindsey's body into his arms, holding her, holding her close as ALL SOUND IN THE CHOPPER BEGINS TO FADE OUT... a surreal moment. OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - MORNING<\/stage_direction>\n    <scene_description>Julia enters the hallway from one end, Ethan from the other, some twenty feet away. At first, Julia is bright:<\/scene_description>\n    <character>JULIA<\/character>\n    <dialogue>Hey. How'd it go--?<\/dialogue>\n    <scene_description>And while he's doing everything to sell that it's all fine, she can see the trauma in his eyes.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Good.<\/dialogue>\n    <scene_description>She stands there, staring at him. Waiting for more. For the truth. But it doesn't come.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>I'm just tired.<\/dialogue>\n    <scene_description>She moves to Ethan... and embraces him. TIGHT ON JULIA as she holds her fianc\u00e9, deeply disturbed... TIGHT ON ETHAN as he fights everything to just keep it together. To not break down. And on this, we HEAR an odd BUZZING SOUND. It's a ZIPPER. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUTOPSY LAB - DAY<\/stage_direction>\n    <scene_description>TRACKING EXTREMELY CLOSE ON A BODY BAG ZIPPER. Bag pulled back. And there's LINDSEY'S FACE, under harsh fluorescent. Mouth open, one eye blasted. No dignity in death.<\/scene_description>\n    <character>VOICE (V.O.)<\/character>\n    <dialogue>I've read your training brief on Ms. Farris. The words you used were, \"beyond capable.\"<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMF CONFERENCE ROOM - DAY<\/stage_direction>\n    <scene_description>THE IMF COUNCIL: closed-door session, six MEN, two WOMEN. Ethan and Musgrave among them. All suits and grim faces. Speaking is THEODORE BRASSEL. Somewhere between Joe McCarthy and Wyatt Earp. Not in a good mood.<\/scene_description>\n    <character>BRASSEL<\/character>\n    <dialogue>That still stand, Mr. Hunt?<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Mr. Brassel, I--<\/dialogue>\n    <character>BRASSEL<\/character>\n    <dialogue>Does it stand.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Yessir.<\/dialogue>\n    <character>BRASSEL<\/character>\n    <dialogue>'Cause we've got a corpse downstairs says otherwise.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A110 INT. AUTOPSY LAB - DAY A110<\/stage_direction>\n    <scene_description>Angle on Lindsey... as a CORONER'S HANDS remove the remains of the SMALL PEA-SIZED CHARGE that blew inside her brain. The hands drop the charge into a small METAL TRAY, where it lands with a PLINK --<\/scene_description>\n    <character>BRASSEL (V.O.)<\/character>\n    <dialogue>Killed by a detonator implanted in her skull through the nasal cavity--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>B110 INT. IMF CONFERENCE ROOM - DAY B110<\/stage_direction>\n    <scene_description>They continue:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Mr. Brassel, it's not fair to judge Agent Farris's competence based on--<\/dialogue>\n    <character>BRASSEL<\/character>\n    <dialogue>-- doesn't seem fair that chocolate makes you fat, but I've eaten my share and guess what.<\/dialogue>\n    <parenthetical>(eyes the report)<\/parenthetical>\n    <dialogue>I approved Agent Farris for her surveillance op based on your evaluations of her training. Your evaluations. Of a woman who let herself get caught. Then you go back to get her, find a dozen men and you grab none of 'em.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Our objective was to recover Agent Farris -- intel suggests Owen Davian employs a cellular structure to his organization, these men were most likely uninformed of--<\/dialogue>\n    <character>BRASSEL<\/character>\n    <dialogue>And who's drawing these conclusions, you?<\/dialogue>\n    <character>MUSGRAVE<\/character>\n    <dialogue>I did, sir, based on th--<\/dialogue>\n    <character>BRASSEL<\/character>\n    <dialogue>I'm not on you yet.<\/dialogue>\n    <parenthetical>(back to Ethan)<\/parenthetical>\n    <character>BRASSEL<\/character>\n    <dialogue>You allowed Ms. Farris to board your chopper without a scan-- that explosive charge could've taken you all out. The one reason you're sitting before me today is luck. This operation was conceived poorly and executed worse.<\/dialogue>\n    <character>MUSGRAVE<\/character>\n    <dialogue>Two laptops were recovered that m--<\/dialogue>\n    <character>BRASSEL<\/character>\n    <dialogue>Yeah, I just talked to Tech Services. They doubt they can reconstitute those drives at all.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TECH SERVICES LAB - DAY<\/stage_direction>\n    <scene_description>QUICK, EXTREMELY TIGHT SHOTS: sterile environment. TECHNICIANS opening the battered and burned LAPTOPS. Dissembling them. Removing the fried HARD DRIVE PLATTERS. Dunking them in various solutions --<\/scene_description>\n    <character>BRASSEL (V.O.)<\/character>\n    <dialogue>\"Crispy\" they called 'em. Worthless.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMF CONFERENCE ROOM - DAY<\/stage_direction>\n    <scene_description>As Brassel continues, to Musgrave:<\/scene_description>\n    <character>MUSGRAVE<\/character>\n    <dialogue>Mr. Brassel, as Operations Manager of this office, I have the authority t--<\/dialogue>\n    <character>BRASSEL<\/character>\n    <dialogue>Did you just throw a title at me? Mr. Musgrave, I don't care how many times your daddy's played golf with the President -- this is intelligence and so far I don't see any. \"Should you be captured or killed, the Secretary will DISAVOW ALL KNOWLEDGE\" -- I've only been at IMF a little over a year, but when was the last time we sent in S and R?<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Agent Farris might have had information that--<\/dialogue>\n    <character>BRASSEL<\/character>\n    <dialogue>-- what is it with you two answering each other's questions? You think this op was \"worth the risk\", Mr. Hunt? What do you know about Owen Davian?<\/dialogue>\n    <scene_description>Ethan stares. Caught and not liking it.<\/scene_description>\n    <character>BRASSEL<\/character>\n    <dialogue>Well I'll tell you what: if you were a rogue nation or terrorist cell, Davian would be the only name you'd need on your speed dial. He was the surrogate who transferred gas centrifuge technology to Korea from Pakistan, he was the middleman who sold Toxin V to the Armahad Republic Jihad -- the man provides, like I've never seen in my career -- but he remains invisible. The Goddamn invisible man -- Wells, not Ellison, in case you wanna be cute again -- we can't find Davian and he knows it. He's emboldened by it. He's begun stealing technologies he shouldn't know about and selling it to sons-of- bitches I'd rather die than hand it over to. I've been working to take Davian down since the day I got here and you know what I've got for it?<\/dialogue>\n    <character>MUSGRAVE<\/character>\n    <dialogue>-- have we confirmed the Toxin V theft was Davi--?<\/dialogue>\n    <character>BRASSEL<\/character>\n    <dialogue>Don't interrupt me when I'm asking a rhetorical question, Mr. Musgrave. Your operation achieved only one thing. It reminded Davian that he's winning.<\/dialogue>\n    <parenthetical>(then, stands)<\/parenthetical>\n    <character>BRASSEL<\/character>\n    <dialogue>Excuse me, I've got to go tell Mr. and Mrs. Farris their baby girl was just killed in a head-on collision on I-95.<\/dialogue>\n    <scene_description>Brassel walks off. Off Ethan and Musgrave...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A112 EXT. CEMETERY - DAY A112<\/stage_direction>\n    <scene_description>Lindsey's funeral service underway. A MINISTER intones, a Lutheran cross above a wreath of flowers. At the back of the crowd, ETHAN watches the casket. Heartbroken. His eyes track over to an older couple sitting in the front row. LINDSEY'S devastated PARENTS. Musgrave, wearing dark glasses.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETERY - DAY<\/stage_direction>\n    <scene_description>Moments later. The crowd disperses. Ethan watching Lindsey's family and friends, hugging each other, comforting each other. Then a faint BUZZ: his CELL PHONE. He glances at his phone -- doesn't recognize the caller. He answers quietly:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Is this Mr. Kelvin?<\/dialogue>\n    <scene_description>An odd beat. Then surprisingly:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>... yes. Who is this?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>I'm calling from Arlington Shipping Service: Lindsey Farris rents a post office box here. She sent you a piece of mail, asked us to call you when it arrived. It came this morning.<\/dialogue>\n    <scene_description>Ethan's mind tumbles, his eyes falling upon the men dropping dirt into the open grave.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>... thank you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETERY - LATER<\/stage_direction>\n    <scene_description>Near a leaf-fallen tree, Ethan and Musgrave speak urgently, quietly:<\/scene_description>\n    <character>MUSGRAVE<\/character>\n    <dialogue>-- Ethan--<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>-- she sent me something. Lindsey -- she sent me a<\/dialogue>\n    <scene_description>-- what? What is it? message-- -- I don't know yet, I just got the call-- she used -- why would sh-- why Kelvin -- that's an abort wouldn't she make contact code name. through channels? -- there's something I didn't tell you-- something I didn't tell the council. When I got to Lindsey, she asked me to turn off my transmitter. In case I was broadcasting. She (pale, mind races) had something she didn't want ... she sent it to you? IMF to hear. Musgrave looks off, concerned, confused -- finally:<\/scene_description>\n    <character>MUSGRAVE<\/character>\n    <dialogue>I don't want you picking up that message -- I'm gonna send someone else. I've already got you into enough shit with Brassel -- that's my problem, not yours--<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Why didn't you tell Brassel we were going after Lindsey?<\/dialogue>\n    <character>MUSGRAVE<\/character>\n    <dialogue>I don't... understand him. I don't know anyone who does. But I know he's already talking to Washington about having me transferred off the force, and that's trouble you don't need. I'm not going to let y--<\/dialogue>\n    <scene_description>But Musgrave is overcome by emotion and Ethan just watches him... what the hell's wrong with Musgrave?<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>... what's going on?<\/dialogue>\n    <scene_description>Their eyes meet for a beat. Then, quiet, vulnerable:<\/scene_description>\n    <character>MUSGRAVE<\/character>\n    <dialogue>... Lindsey never told you.<\/dialogue>\n    <parenthetical>(then, finally)<\/parenthetical>\n    <dialogue>... about us.<\/dialogue>\n    <scene_description>And Ethan stares at him... as it lands that Musgrave and Lindsey had been involved. Surprised, uncomfortable:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>... no...<\/dialogue>\n    <scene_description>Musgrave nods, getting it together. Finally:<\/scene_description>\n    <character>MUSGRAVE<\/character>\n    <dialogue>I should've... I thought maybe you knew.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Thank you. For being a friend. But I can handle this myself.<\/dialogue>\n    <character>ETHAN<\/character>\n    <parenthetical>(beat, gently)<\/parenthetical>\n    <dialogue>... no. No, I'm going to take care of this for you.<\/dialogue>\n    <scene_description>Musgrave nods. Thanks. OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NORFOLK MAIL SERVICES - DAY<\/stage_direction>\n    <scene_description>CLOSE ON A POSTCARD. Totally blank except for a picture of Berlin. We pull back to reveal Ethan, in a postal service store. A WORKER at the counter.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>This is it?<\/dialogue>\n    <character>WORKER<\/character>\n    <dialogue>That's it.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Moving away from other customers, Ethan turns from the counter and moves to the window as he studies the postcard -- runs his fingers along the surface, not sure what he's looking for -- odd. Eyes shift to the corner now -- the POSTAGE STAMP... -- He carefully peels it back to REVEAL A SMALL DOT...<\/scene_description>\n    <character>LUTHER (V.O.)<\/character>\n    <dialogue>It's a microdot...<\/dialogue>\n    <scene_description>OMIT OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ETHAN'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Ethan with Luther -- a conspiratorial moment. Luther at a microscope:<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>A microdot... with nothing on it. This is unusual.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Lindsey wouldn't send me a blank microdot--<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>-- I'm telling you, man, there's no image.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Then you're not looking in<\/dialogue>\n    <scene_description>the right place-- -- where the hell am I supposed to look? There's not much square footage to -- why would she send me a this thing-- blank microdot? -- why would she leave you anything, man? You were her instructor, not her handler. -- I don't know. I don't know... Troubled, Ethan looks out at the IMF offices, lost in thought. Luther watches him. Suspicious for the first time. Finally:<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Listen. I don't wanna... cross a line here, but... was something... going on between you two? You and Lindsey?<\/dialogue>\n    <scene_description>Ethan turns to Luther, almost insulted.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Luther. She was like my little sister.<\/dialogue>\n    <scene_description>Luther accepts this. Ethan stares out again. A beat. Then:<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>And you never... you know, slept with your sister, right?<\/dialogue>\n    <parenthetical>(off Ethan's look)<\/parenthetical>\n    <dialogue>If I don't ask you, who will?<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>It could be magnetic.<\/dialogue>\n    <character>LUTHER<\/character>\n    <parenthetical>(considers)<\/parenthetical>\n    <dialogue>... that's old school, but if she was in a hurry and only had access to black market gear...<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Can you get the tools to read it?<\/dialogue>\n    <character>LUTHER<\/character>\n    <parenthetical>(sly)<\/parenthetical>\n    <dialogue>I might know a guy.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Magnetic means encrypted.<\/dialogue>\n    <character>LUTHER<\/character>\n    <parenthetical>(got it)<\/parenthetical>\n    <dialogue>It could take hours to break -- I'm on it --<\/dialogue>\n    <scene_description>Luther's already dialing as Ethan's phone BUZZES -- Ethan grabs it:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Yeah. Be right there --<\/dialogue>\n    <parenthetical>(hangs up, heads out)<\/parenthetical>\n    <dialogue>-- the laptops from the factory, Benji's got something-<\/dialogue>\n    <scene_description>-- and Luther follows as we CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A119 INT. IMF - DAY A119<\/stage_direction>\n    <scene_description>Ethan and Luther head through the office -- we get a sense of the whole place --<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>The thing about Lindsey is she was brand new. She was sweet. Remember when you were sweet? Can you even remember that far back?<\/dialogue>\n    <scene_description>Luther tries. Really tries.<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Barely.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Yeah. Me too.<\/dialogue>\n    <scene_description>Then Ethan stops, turns to him:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>In Germany you asked me what I see in Julia. It's the same thing. I mean Julia's no kid, she's been through some real... stuff...<\/dialogue>\n    <character>LUTHER<\/character>\n    <parenthetical>(getting it now)<\/parenthetical>\n    <dialogue>... but not like us.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>... no, not like us.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>What I see in Julia...? Is life before all this. And I'm telling you, it's good.<\/dialogue>\n    <parenthetical>(beat, then)<\/parenthetical>\n    <dialogue>I think she knows I'm not telling her everything.<\/dialogue>\n    <character>LUTHER<\/character>\n    <parenthetical>(oh, shit)<\/parenthetical>\n    <dialogue>Get out. Get out.<\/dialogue>\n    <scene_description>But Ethan just turns and walks off -- Luther follows him through a CLEAN ROOM --<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Ethan...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TECH SERVICES LAB - DAY<\/stage_direction>\n    <scene_description>BENJI, our IMF tech, talks to Ethan and Luther. Benji reviews PHOTOS of the destroyed drives:<\/scene_description>\n    <character>BENJI<\/character>\n    <dialogue>Despite the truly -- and look at these -- horrendous state of the hard drive platters -- scorched -- look -- completely through --<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>-- Benji -- d'you recover anything?<\/dialogue>\n    <character>BENJI<\/character>\n    <parenthetical>(types, calls up files)<\/parenthetical>\n    <dialogue>Yes -- despite aforementioned conditions, I was able to recover portions of two dozen e-mail files and make what I believe is an absolutely promotion-worthy breakthrough.<\/dialogue>\n    <parenthetical>(finds file)<\/parenthetical>\n    <dialogue>Your Mr. Davian, it seems, is scheduled to be in Rome day after tomorrow for a function at one Vatican City.<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>The hell's Davian doing at the Vatican?<\/dialogue>\n    <character>BENJI<\/character>\n    <dialogue>Has to do with the Rabbit's Foot.<\/dialogue>\n    <character>ETHAN<\/character>\n    <parenthetical>(huh?)<\/parenthetical>\n    <dialogue>The Rabbit's Foot?<\/dialogue>\n    <character>BENJI<\/character>\n    <dialogue>Codename for something he's selling to an unspecified buyer for a hundred and fifty million dollars. Unless it's not a codename, in which case it's just a rather pricey bunny appendage.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>You have no idea what it is.<\/dialogue>\n    <character>BENJI<\/character>\n    <dialogue>Well, interesting, I had a professor at Oxford -- Dr. Wickham - - hugely fat, enormous man -- taught Biomolecular Kinetics and Cellular Dynamics -- and he used to try and scare us underclassmen by saying that the world was undoubtedly going to be eviscerated by technology. That it was inevitable that a compound be created that he called the \"Anti- God.\" An accelerated mutator -- an unstoppable, horrific destroyer of everything. Parks and houses, restaurants, beaches, ice cream shops. So whenever a rogue organization is willing to spend this kind of money on a piece of mystery tech, I always assume it's Anti-God. End of the world, that sort of thing.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>No, I have no idea. That's just... speculation.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Have you briefed Musgrave on this?<\/dialogue>\n    <character>BENJI<\/character>\n    <dialogue>-- me? No, not yet --<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Don't. Don't tell anyone.<\/dialogue>\n    <parenthetical>(to Luther)<\/parenthetical>\n    <dialogue>If something goes wrong on this operation, I want Musgrave to have deniability. Great work.<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>-- what operation?<\/dialogue>\n    <scene_description>Ethan gives him a knowing look as he heads off. Luther, burdened, watches him go, calling out:<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>That look in your eye is a pain in my ass, you know that, right?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL HALLWAY - DAY<\/stage_direction>\n    <scene_description>Julia gets an ear-full from a doctor. He heads off. She looks up. Sees Ethan at the other end. She beams for a moment, then tempers it. He gestures to her: can you talk? She nods...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOSPITAL ROOF - DAY<\/stage_direction>\n    <scene_description>Ethan and Julia on the roof. He's selling something he knows she won't buy.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>I know I just got back. But I have to go away again. On business.<\/dialogue>\n    <scene_description>She's looking at him. Nodding. Scared.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Two days.<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>Two days.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Beat... finally, quietly:<\/scene_description>\n    <character>JULIA<\/character>\n    <dialogue>Ethan... what's going on?<\/dialogue>\n    <scene_description>On his face, the pain of note being able to tell her. Anything. And seeing this kills her. Tears come to her eyes.<\/scene_description>\n    <character>JULIA<\/character>\n    <dialogue>I keep thinking you just need time... to tell me whatever it is that--<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>... but nothing I can think of makes sense.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Ethan, what is it? What's wrong? Why are you going away?<\/dialogue>\n    <scene_description>And he looks down, struggling, dying to tell her, in pain at not being able to. And she's feeling this, just watching him. Finally:<\/scene_description>\n    <character>JULIA<\/character>\n    <dialogue>... what aren't you telling me?<\/dialogue>\n    <scene_description>But he looks up at her, the agony in his eyes breaks her heart.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>I need to ask you for something. The most...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Jules, I need you to trust me.<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>... am I ever going to understand what this is?<\/dialogue>\n    <scene_description>And she just looks at him... so lost, but so deeply in love... and it's killing him, too, and she sees it...<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>I need you to trust me... please.<\/dialogue>\n    <scene_description>And finally she says,<\/scene_description>\n    <character>JULIA<\/character>\n    <dialogue>Of course I trust you.<\/dialogue>\n    <scene_description>And he accepts this, grateful, but more furious than anything that he has put her in this position.<\/scene_description>\n    <character>JULIA<\/character>\n    <dialogue>I trust you.<\/dialogue>\n    <parenthetical>(long beat, then:)<\/parenthetical>\n    <dialogue>Just... tell me it's real. I mean... us. Is it real?<\/dialogue>\n    <scene_description>And he's just heartsick that she'd ask that --<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>-- Jules --<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>-- just tell me we're real--<\/dialogue>\n    <scene_description>And he holds her -- saying:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Follow me.<\/dialogue>\n    <scene_description>PAGES 48 - 49 DELETED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL CHAPEL - NIGHT<\/stage_direction>\n    <scene_description>Ethan and Julia stand before the somewhat paltry, older HOSPITAL PRIEST, who performs the wedding ceremony in what is essentially a crappy, small, pea green, office with framed religious posters. Not an ideal wedding site. Sally from the nurses' station is their only witness, and she quietly, sweetly cries. Ethan and Julia, meanwhile, smile. Borderline fight laughter.<\/scene_description>\n    <character>HOSPITAL PRIEST<\/character>\n    <dialogue>The vows you are about to take are not to be taken without careful thought and prayer. For you are committing yourselves to each other for as long as you both shall live. This love is not to be diminished by difficult circumstances, and it is only to be dissolved by death. Do you have the rings?<\/dialogue>\n    <scene_description>Ethan opens a GIFT BAG from the hospital sundries store -- pulls out a PANDA BEAR RING and a plastic YELLOW FLOWER one. Ethan laughs first, then Julia.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>-- yeah --<\/dialogue>\n    <scene_description>And Julia laughs -- Ethan follows --<\/scene_description>\n    <character>HOSPITAL PRIEST<\/character>\n    <dialogue>Repeat after me. I, Julia Anne Meade, hereby take Ethan Matthew Hunt to be my lawfully wedded husband.<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>I, Julia Anne Meade, hereby take Ethan Matthew Hunt to be my lawfully wedded husband--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL STORAGE CLOSET - DAY<\/stage_direction>\n    <scene_description>BAM: Ethan and Julia, rings on their fingers, fall into frame against the wall, kissing passionately -- laughing -- as the SONG ENDS, they're just blissful -- and we CUT TO: OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMF BRIEFING ROOM - DAY<\/stage_direction>\n    <scene_description>STEADICAM around Ethan and the team, a file photo of DAVIAN on twin plasma monitors --<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Tomorrow night may be the one and only time we can predict where Owen Davian's gonna be:<\/dialogue>\n    <scene_description>He taps a remote -- VATICAN IMAGES appear on the plasmas.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>A charity event at Vatican City. Our mission is to get in and kidnap Davian.<\/dialogue>\n    <scene_description>Declan and Zhen are skeptical, and Luther, still annoyed by this plan, addresses them:<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>I did remind the man that the Vatican is The Vatican. A one hundred-and-nine square-acre sovereign state in the middle of Rome surrounded by a sixty foot wall, which they monitor twenty- four hours a day with over two- hundred CCTV cameras.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>That's not even what makes this a challenge: getting Davian is good. Getting his buyers is even better. But if they realize he's been grabbed, they'll disappear.<\/dialogue>\n    <character>DECLAN<\/character>\n    <dialogue>So... I'm sorry -- what are you saying? No matter how we grab Davian, his buyer's are gonna know he's been taken?<\/dialogue>\n    <character>ETHAN<\/character>\n    <parenthetical>(cryptic smile)<\/parenthetical>\n    <dialogue>No they won't. Our point of access is here. One way street adjacent to the Vatican wall. I'll need thirty seconds... which means you and me in a truck.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VATICAN - CURVED ROAD OUTSIDE WALL - LATE AFTERNOON<\/stage_direction>\n    <scene_description>The GRILL OF A DHL VAN SCREECHES into lens, stops a perfect diagonal stop in the middle of the street, blocking traffic behind it -- PULL BACK and widen to reveal our Italian street and THE VATICAN WALL, ancient and towering -- Ethan, in a stone-colored jumpsuit, emerges from the Driver's side of the van; Declan from the passenger's -- they start \"fighting\" -- SUBTITLED ITALIAN:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>-- Damnit, I told you to check the carburetor --<\/dialogue>\n    <character>DECLAN<\/character>\n    <dialogue>-- it's a brand new van --<\/dialogue>\n    <scene_description>-- that's exactly why you -- I gave it a work up last check it -- week -- -- you did a great job -- -- screw you! Off some angry HONKS and YELLS from cars behind them, they both yell:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Hey, a little patience!! Gimme a break!! We know, the truck's broken!<\/dialogue>\n    <character>DECLAN<\/character>\n    <dialogue>We got it, we got it! We're in your way! It's a hassle for us too!<\/dialogue>\n    <scene_description>-- as they pop the hood, only WE see Ethan activate a small STEAM GENERATOR as a line of THIRTY CARS builds behind them --<\/scene_description>\n    <character>DECLAN<\/character>\n    <parenthetical>(low, English)<\/parenthetical>\n    <dialogue>'kay, now we've pissed off every Italian in Rome, go do your thing.<\/dialogue>\n    <scene_description>As the Italian drivers keep YELLING at them, Declan yells back and ETHAN MOVES OFF, like he's going to get help, around the corner and out of sight. He draws a C02 GUN, aims at the top of the wall and FIRES -- a small MAGNETIC DISK is shot, attaching to the camera's metal housing. Ethan hits a button on his watch -- a small LIGHT on the disc BLINKS TO LIFE --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VATICAN SECURITY ROOM - DAY<\/stage_direction>\n    <scene_description>SECURITY MONITORS, dozens of PERSONNEL in a large subterranean chamber -- one of the many WALL MONITORS goes SCRAMBLED. A SECURITY TECH notices the screen and grabs a walkie, makes a call as --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE VATICAN - VATICAN CITY<\/stage_direction>\n    <scene_description>Ethan removes a plug from the end of the gun and inserts a next-gen silenced GRAPPLING hook into the gun and FIRES -- the thing shoots an EXPANDING BOLT AND LINE INTO TOP OF THE WALL -- ETHAN CLICKS OFF THE REEL AND ATTACHES IT TO A WAIST- HIGH LOOP ON HIS JUMPSUIT. HE THEN ACTIVATES THE IN-TAKE REEL AS HE SPRINTS ACROSS THE STREET, LEAPING ONTO THE WALL AND RUNNING STRAIGHT UP THE NEARLY VERTICAL INCLINE, NOW PARALLEL TO THE GROUND! As he reaches the top, we see THE VATICAN on the other side. Ethan turns off the in-take reel, lies flat on his back atop the thick wall, slightly out of breath.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>And Humpty Dumpty sat on the wall.<\/dialogue>\n    <scene_description>Declan quickly turns off the steam and closes his hood, getting into his truck, smiling back and waving at all the Italian drivers -- telling them in PERFECT ITALIAN that everything's okay now. Suddenly content, they all wave back and call out, smiling. Back to Ethan: QUICK SHOTS as he pulls out a MINIATURE CAMERA, TAKES A PICTURE from the angle of the security camera, then, as he inserts it into a small PRINTER which spits out a PHOTOGRAPH that Ethan inserts it into a FRAME, attaching it to the security camera. Essentially hanging a photo in front it. He hits the button on his watch, deactivating the scrambler and --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VATICAN SECURITY ROOM - DAY<\/stage_direction>\n    <scene_description>The jammed monitor blinks back to life, FOCUSING on what we know to be the photograph. The Vatican Guard gets on his radio again, calling off the problem.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE VATICAN WALL - DAY<\/stage_direction>\n    <scene_description>Ethan uses the butt of his gun to hammer in a PITON, clamping in his cable as he says:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>I'm T-minus three minutes. Bravo, where are you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VATICAN - DAY<\/stage_direction>\n    <scene_description>A view from across the Tiber, taking in the majesty of the Vatican, but the CAMERA IS DROPPING during the shot --<\/scene_description>\n    <character>LUTHER (V.O.)<\/character>\n    <dialogue>Oh you know, just enjoying Rome.<\/dialogue>\n    <scene_description>-- and we SUDDENLY DROP BELOW THE WATERLINE INTO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TIBER RIVER - DAY<\/stage_direction>\n    <scene_description>-- SINKING FAST into the MURKY WATER, find Luther in a dry- suit moving swiftly, carrying a few BUNDLES, clenching a TECHNA PROPULSION DEVICE --<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>I still say I'll get there before you do.<\/dialogue>\n    <scene_description>133-136 OMIT 133-136<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE VATICAN WALL - DAY<\/stage_direction>\n    <scene_description>Ethan clips his rig to a HARNESS LOOP on his back, playful:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>-- not a chance of that--<\/dialogue>\n    <scene_description>And Ethan ROLLS OFF THE WALL, drops like a dead weight, the decelerator quietly SCREAMS -- a free-fall to death -- but just BEFORE IMPACT the AIR BRAKE ENGAGES and Ethan comes to a SUDDEN-BUT-SAFE stop. He SWINGS to his feet, taking cover behind a TOPIARY -- grabs his garb and TEARS IT OFF, wearing something BLACK beneath --so fast we don't see it -- QUICK SHOT CLOSEUP as Ethan hits a HANDHELD REMOTE TRIGGER: the DECELERATOR atop the wall REELS IN -- Back IN FRONT OF THE SHRUBBERY as a small bundle of clothes gets YANKED SPEEDILY to the top of the wall as a calm and cool PRIEST (ETHAN) casually walks into view, carrying a Bible and wearing a wooden cross. Passes another PRIEST:<\/scene_description>\n    <character>PRIEST<\/character>\n    <dialogue>Padre.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Padre.<\/dialogue>\n    <scene_description>The Priest turns back to give Ethan a second look as we PULL BACK, Ethan approaching a massive Vatican building...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A138 EXT. TIBER RIVER - DAY A138<\/stage_direction>\n    <scene_description>Luther finishes TORCHING ancient metal grating. Opens up enough of a hole for him to enter --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PIPELINE - DAY<\/stage_direction>\n    <scene_description>Luther now moves swiftly through the seemingly endless pipe, pulled by his propulsion unit --<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Alpha, we have breach: I'm in.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A139 INT. VATICAN ROTUNDA - DAY A139<\/stage_direction>\n    <scene_description>We find Ethan walking across the marble space, cautious as he moves, quickly, toward two enormous wooden doors --<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Roger that. Charlie team, report.<\/dialogue>\n    <character>DECLAN (V.O.)<\/character>\n    <dialogue>Nothing to report really...<\/dialogue>\n    <scene_description>And just as Ethan opens the doors, CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>B139 EXT. ST. PETER'S CATHEDRAL - DAY (\\*USED TO BE SC. 136\\*) B139<\/stage_direction>\n    <scene_description>The DHL VAN doors open. Declan jumps out, dressed in TOURIST WEAR, complete with SLR camera. Heads for the Vatican.<\/scene_description>\n    <character>DECLAN<\/character>\n    <dialogue>Except that I think I look really good right now. ETA two minutes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>C139 INT. VATICAN STAIRWELL - DAY (\\*USED TO BE SC. 142\\*) C139<\/stage_direction>\n    <scene_description>Ethan descends the spiral stairs fast --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ST. PETER'S CATHEDRAL - DAY<\/stage_direction>\n    <scene_description>WHIP PAN to a massive WIDE SHOT of St. Peter's -- we SNAP ZOOM in to where TOURISTS ENTER -- now we're TIGHTER as a Vatican Guard rummages through a TOURIST'S CAMERA BAG, then looks up and says in heavily-accented English:<\/scene_description>\n    <character>VATICAN GUARD<\/character>\n    <dialogue>No flash photography inside.<\/dialogue>\n    <scene_description>It's Declan, who replies in smiling, STILTED ITALIAN:<\/scene_description>\n    <character>DECLAN<\/character>\n    <dialogue>Yes, thank you! I will not be a photograph! Good night!<\/dialogue>\n    <scene_description>And Declan enters the Vatican's public entrance, his false smile revealing how annoyed he is at playing dumb American. 140-143 OMIT 140-143<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WATER PIPELINE - DAY<\/stage_direction>\n    <scene_description>Luther decelerates his techna as his watch's GPS arrives at ZERO POINT. He begins unpacking his bundles, assembling COMPOSITE PIECES -- BLOCKING OFF THE PIPE --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VATICAN CATACOMBS - DAY<\/stage_direction>\n    <scene_description>Move with Ethan down stairs to ancient TUNNELS. He passes by the SECURITY ROOM we've already seen -- glances in -- TIGHT ON HIS FACE as he scopes it out, never breaking stride as he continues past, leaving frame. Ethan then moves quickly to a DOORWAY -- he quickly pulls out a LOCK PICK from his collar, works it fast -- opens the door and enters --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VATICAN CONDUIT ROOM - DAY<\/stage_direction>\n    <scene_description>A mind-bending array of CIRCUIT BREAKERS, UTILITY and JUNCTION BOXES. Ethan opens his Bible -- WHICH HAS BEEN CUT OUT TO CONTAIN A PALMTOP COMPUTER AND VARIOUS TOOLS. Ethan fires up the palmtop and BUSTS open a junction box --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VATICAN MUSEUM AREA - DAY<\/stage_direction>\n    <scene_description>A remarkable CEILING PAINTING. Declan enters frame. He walks through the impressive gilded space, among other TOURISTS. He moves to an OPEN WINDOW and looks down -- ON THE COURTYARD AND PRIVATE PARTY UNDERWAY. He preps his camera, which we see is actually a PROJECTILE LAUNCHER. He looks through the lens -- ZOOMS IN to a MANHOLE COVER below --<\/scene_description>\n    <character>DECLAN<\/character>\n    <dialogue>... firing the tracer... now.<\/dialogue>\n    <scene_description>He hits a button: from the camera, a PROJECTILE FIRES HUNDREDS OF YARDS AND --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VATICAN - VALET PARKING - DAY<\/stage_direction>\n    <scene_description>-- THE PROJECTILE CLAMPS ONTO THE MANHOLE COVER, UNSEEN by GUARDS AND ARRIVING GUESTS -- among them a NAVIGATOR. From the front passenger door steps out SOROUSHI: female 34 year- old head of security, she scans the area as she opens a rear door -- two BODYGUARDS alight, followed by great-looking, tux- wearing, self-satisfied OWEN DAVIAN, then another BODYGUARD. Soroushi clears the way for the group --<\/scene_description>\n    <character>SOROUSHI<\/character>\n    <dialogue>Excuse us, thank you--<\/dialogue>\n    <scene_description>-- as they head into the FANCY GATHERING, which we now ESTABLISH for the first time...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VATICAN CONDUIT ROOM - DAY<\/stage_direction>\n    <scene_description>With the computer attached to junction box wires, Ethan toggles through dozens of VATICAN SECURITY FEEDS. He goes back one -- sees Declan, among other tourists.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>-- I see you, Charlie team... you do look good.<\/dialogue>\n    <scene_description>Ethan then runs a SUB-PROGRAM that LOOPS THE CAMERA FEEDS.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Video's looped: go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VATICAN TOURIST AREA - DAY<\/stage_direction>\n    <scene_description>Declan sufficiently behind the group of tourists, quickly vanishes through a corridor, hopping a VELVET ROPE --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRICELESS VATICAN HALL - DAY<\/stage_direction>\n    <scene_description>TRACK FAST with Declan as he hauls ass down the hall toward the NO ACCESS door --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VATICAN SECURITY ROOM - DAY<\/stage_direction>\n    <scene_description>With a Security Tech who watches the video image of the hall, no Declan in sight.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A153 INT. VATICAN CONDUIT ROOM - DAY A153<\/stage_direction>\n    <scene_description>Ethan types codes REMOTE-UNLOCKING THE HALL DOOR just as: 153-156 OMIT 153-156<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRICELESS VATICAN ROOM - DAY<\/stage_direction>\n    <scene_description>-- Declan hits the door, which OPENS -- he enters -- OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A159 INT. CRAWL SPACE - DAY A159<\/stage_direction>\n    <scene_description>A four-foot CRAWL SPACE between ancient STONE WALLS -- an large old PIPE is TORCHED FROM THE INSIDE -- a HOLE REMOVED. Luther climbs out of the pipe, carrying his gear:<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Alpha team: catacomb video taken care of?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CATACOMBS - DAY<\/stage_direction>\n    <scene_description>WHIP TO REVEAL ETHAN moving fast through the catacombs, peeling off his collar and jacket.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Roger that, we're good to go.<\/dialogue>\n    <scene_description>He turns a corner and --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHAPEL - DAY<\/stage_direction>\n    <scene_description>LOW and ROTATING FAST 360's around Declan, who quickly changes costume in this ancient, glorious chapel: FROM TOURIST TO VATICAN GUARD.<\/scene_description>\n    <character>DECLAN<\/character>\n    <dialogue>-- Delta team, you copy?<\/dialogue>\n    <character>ZHEN (V.O.)<\/character>\n    <dialogue>When do I not copy?<\/dialogue>\n    <character>DECLAN<\/character>\n    <dialogue>That's funny -- rendezvous in thirty seconds.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A161 EXT. ROME STREET - DAY (\\*USED TO BE SC.134\\*) A161<\/stage_direction>\n    <scene_description>A classic, twisted Roman street -- an ORANGE LAMBORGHINI driving toward us -- BOOM DOWN as it stops -- Zhen, dressed to the nines in the driver's seat:<\/scene_description>\n    <character>ZHEN<\/character>\n    <dialogue>See you in thirty.<\/dialogue>\n    <scene_description>And she drives off, ST. PETER'S visible in the distance --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CRAWL SPACE - DAY<\/stage_direction>\n    <scene_description>Luther unpacks a handheld RECEIVER --<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Bravo standing by to receive transmission.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CATACOMB ROOM - DAY<\/stage_direction>\n    <scene_description>Ethan quickly enters the crypt, removes his WOODEN CROSS, pulls off the top piece, revealing a METAL ANTENNA: it EMITS A FAINT BEEP, an LED PULSING, as he holds it up to the wall --<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Transmitting.<\/dialogue>\n    <scene_description>DIRECTIONAL INDICATORS on Luther's receiver tell him where to move it -- a shot of LUTHER AND ETHAN, THE STONE WALL SPLITTING THEM DOWN THE MIDDLE. Luther's receiver BEEPS:<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Gotcha -- mark it --<\/dialogue>\n    <scene_description>-- they both mark the wall with a piece of CHALK. Then Ethan pulls off his jacket and starts to peel from its interior a THIN COMPOSITE ADHESIVE PATCH, four feet square, as Luther begins attaching an EXPLOSIVE PATCH to the stone wall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VATICAN GUARD GATE - DAY<\/stage_direction>\n    <scene_description>The ORANGE LAMBORGHINI pulls up at the secure area. A GUARD moves to her (another Guard looks disapproving of her car). She holds up her Passport, says in PERFECT ITALIAN:<\/scene_description>\n    <character>ZHEN<\/character>\n    <dialogue>Ms. Onia Demea. I should be on the list. Thank you.<\/dialogue>\n    <scene_description>And the Guard checks his guest list. Reviewing it. She waits, impatient. Then, in SUBTITLED ITALIAN:<\/scene_description>\n    <character>VATICAN GUARD<\/character>\n    <dialogue>I'm sorry, your name is not here.<\/dialogue>\n    <character>ZHEN<\/character>\n    <dialogue>That must be a mistake, I was invited by Monsignor Divola's office this morning.<\/dialogue>\n    <character>VATICAN GUARD<\/character>\n    <dialogue>... no-- no, I'm sorry, your name is not here, you'll have to turn around--<\/dialogue>\n    <character>DECLAN<\/character>\n    <dialogue>Excuse me, Guard!<\/dialogue>\n    <scene_description>The Vatican Guard turns -- Declan arrives in Guard garb, holding a clipboard and SPEAKING FLAWLESS ITALIAN:<\/scene_description>\n    <character>DECLAN<\/character>\n    <dialogue>Ms. Demea?<\/dialogue>\n    <character>ZHEN<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>DECLAN<\/character>\n    <dialogue>Yes, I'm sorry, just a minute--<\/dialogue>\n    <parenthetical>(quietly, to the Guard)<\/parenthetical>\n    <dialogue>I just got my ass handed to me by Divola's office. She's supposed to be on the list, this was my fault -- trust me, don't make it yours. Trust me.<\/dialogue>\n    <scene_description>The Vatican Guard considers this... then concedes.<\/scene_description>\n    <character>VATICAN GUARD<\/character>\n    <dialogue>Turn right into the courtyard.<\/dialogue>\n    <character>ZHEN<\/character>\n    <dialogue>You're a sweetheart.<\/dialogue>\n    <parenthetical>(to Declan)<\/parenthetical>\n    <dialogue>... you are too.<\/dialogue>\n    <scene_description>And Declan actually looks at her, sensing that she was somehow serious just now. Sorta throws him. Zhen drives in -- Declan then makes a \"whew!\" face at the Guard as he heads off... still watching Zhen drive off... OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CRAWL SPACE - DAY<\/stage_direction>\n    <scene_description>Luther finishes attaching the explosive -- he steps back:<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Stand clear --<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A166 INT. CATACOMB ROOM - DAY A166<\/stage_direction>\n    <scene_description>Ethan moves to the side as the wall BUCKLES where the patch is -- a CONTROLLED BLAST -- and that section collapses onto the ground, mostly intact. Ethan helps Luther pile in the gear. Declan enters fast, whips off his Guard jacket:<\/scene_description>\n    <character>DECLAN<\/character>\n    <dialogue>She made it.<\/dialogue>\n    <scene_description>And we PRE-LAP A LAMBORGHINI ENGINE and CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VATICAN - VALET PARKING - DAY<\/stage_direction>\n    <scene_description>The LAMBORGHINI makes a grand entrance -- Zhen steps out, looking devastating. She heads for the party, blending in... and we HEAR APPLAUSE, which takes us to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VATICAN PALAZZO COURTYARD - DAY<\/stage_direction>\n    <scene_description>Standing PARTY-GOERS applaud the MONSIGNOR at a podium:<\/scene_description>\n    <character>MONSIGNOR<\/character>\n    <parenthetical>(Italian)<\/parenthetical>\n    <dialogue>Your Excellencies, Ladies and Gentlemen. This event is a happy tradition which affords me the joy of thanking you for your generous work that...<\/dialogue>\n    <scene_description>During this, Zhen moves through the event, spotting Owen DAVIAN, surrounded by bodyguards.<\/scene_description>\n    <character>ZHEN<\/character>\n    <dialogue>We've got a photo opportunity.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CATACOMB ROOM - DAY<\/stage_direction>\n    <scene_description>Gear unpacked, Luther types on a ruggedized LAPTOP, connected to an odd-looking INDUSTRIAL DEVICE, the size of a bread maker. Behind them, Declan begins removing the cover of a VENTILATION SHAFT. Luther finishes typing:<\/scene_description>\n    <character>LUTHER (V.O.)<\/character>\n    <dialogue>Delta, ready for upload.<\/dialogue>\n    <scene_description>Zhen pulls out a COMPACT and walks in an arc, TAKING PICTURES of Davian with it -- ONE, TWO, THREE, FOUR, FIVE, SIX -- and Luther RECEIVES THE IMAGES on his LAPTOP, as Ethan OPENS the mask machine, pulls from a duffel a BLANK, FACELESS SILICONE MASK HEAD. Ethan sets this into the machine. Luther works the computer, stitching Zhen's 2D images together -- extrapolating them into a 3D RENDERING OF DAVIAN'S HEAD, making Davian appear BALD and HAIRLESS:<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>So listen, man, I didn't mean to be cavalier the other day. About you getting engaged.<\/dialogue>\n    <scene_description>Ethan smiles, having locked the machine's casing --<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>I know that, thanks. Ready to cut.<\/dialogue>\n    <scene_description>Luther SENDS THE 3D DATA TO THE MACHINE -- and the CARVING MECHANISM BEGIN TO WORK, BACK AND FORTH, TOP TO BOTTOM, EATING AWAY AT THE BLANK MASK, tossing SILICONE SHAVINGS like rubber eraser dust. Meanwhile, Declan has unscrewed a vent cover, and climbs into the opening --<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>But a normal relationship is not viable for people like us.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>I don't agree with that.<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>Then I'm smarter than you.<\/dialogue>\n    <scene_description>Declan pulls off the vent and climbs in -- we follow him --<\/scene_description>\n    <character>DECLAN<\/character>\n    <dialogue>I'm going up -- and I agree with him. With Luther: we can't have real relationships. But, see, I love that.<\/dialogue>\n    <scene_description>Declan's the only one smiling. Finally he climbs up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A169 INT. BETWEEN VATICAN WALLS - DAY A169<\/stage_direction>\n    <scene_description>A miraculous sight: colored by stained glass, we're in a musty THREE-FOOT WIDE SPACE REACHING EIGHTY FEET HIGH -- Declan BEGINS CLIMBING THE STONE AND ANCIENT SCAFFOLDING.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>B169 INT. CATACOMB ROOM - DAY B169<\/stage_direction>\n    <scene_description>The mask machine carves as Ethan pulls off his shirt, then peels a VOCAL CHIP from its case, applies it to his neck.<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Twenty-three months. That's as long as it can last when you've got the baggage that we do -- the lifestyle we've got.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Really.<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>Yeah, really -- listen to me, man, I'm a living, breathing, single cautionary tale.<\/dialogue>\n    <scene_description>BEEP: the machine's done carving -- Luther SPRAYS THE MASK with a can of COMPRESSED AIR -- the shavings fly away, revealing a milky-white, hairless face mask of Owen DAVIAN -- a perfect CUT POINT to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PALAZZO COURTYARD - DAY<\/stage_direction>\n    <scene_description>Owen Davian -- as the speech continues, he receives a CELL PHONE CALL. He answers it. Says one word. Hangs up. Then he casually begins to walk. Across the party, Zhen watches as he moves toward two COLUMNS -- she observes him picking up something -- A BRIEFCASE. Sotto:<\/scene_description>\n    <character>ZHEN<\/character>\n    <dialogue>There was a dead drop. Davian just picked up a briefcase.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CATACOMB ROOM - DAY<\/stage_direction>\n    <scene_description>Now Ethan pulls on a PADDED SHIRT.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Can you ID who made the drop?<\/dialogue>\n    <character>ZHEN<\/character>\n    <dialogue>Negative -- we might need to move sooner than we thought --<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>We're going as fast as we can --<\/dialogue>\n    <scene_description>Luther sends PIGMENT INFO to the mask machine: A PRINT HEAD begins to SWIPE ITSELF OVER THE WHITE MASK, top to bottom, essentially an INK JET PRINTER painting the mask at 1440 DPI. 171-172 OMIT 171-172<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A173 INT. BETWEEN VATICAN WALLS - DAY A173<\/stage_direction>\n    <scene_description>Declan has climbed forty feet up to a VENT. He finishes UNSCREWING IT FROM THE BACK, now removing it. A MEN'S ROOM on the other side. Sotto:<\/scene_description>\n    <character>DECLAN<\/character>\n    <dialogue>We have access.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CATACOMB ROOM - DAY<\/stage_direction>\n    <scene_description>Ethan buttons his shirt as Luther finishes adding EYEBROWS to the mask, its eyes already cut out.<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>I've lived with women a few times -- and it doesn't ever make it to two years. You can't.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Thanks for the advice, but it's different for me than it is for you -- I never go out in the field anymore.<\/dialogue>\n    <character>LUTHER<\/character>\n    <parenthetical>(heavily sarcastic)<\/parenthetical>\n    <dialogue>Oh okay, here, put this mask on.<\/dialogue>\n    <scene_description>CAMERA CIRCLES as Luther pulls the mask over Ethan's head. Pushing, pulling it... it buckles and bends like rubber as Luther uses his fingers to secure it to Ethan's face.<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>In our job, there's always gonna be something between you and a woman, always: dishonesty. A dishonesty that poisons everything.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Luther, I --<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>Stop talking, man. This isn't just about you. Whoever this girl is, you're just gonna end up messing up her life, too. Don't do it.<\/dialogue>\n    <scene_description>And the mask is on now perfectly, as Ethan says:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Julia and I got married two days ago.<\/dialogue>\n    <scene_description>One of those wildly awkward pauses.<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Hey man, congratulations.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A175 EXT. PALAZZO COURTYARD - DAY A175<\/stage_direction>\n    <scene_description>As the Monsignor speaks, Davian starts off. Zhen sees this:<\/scene_description>\n    <character>ZHEN<\/character>\n    <dialogue>He's walking -- I'm going in.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CATACOMB ROOM - DAY<\/stage_direction>\n    <scene_description>Ethan finishes applying the wig, Luther helping him:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Roger that, on my way --<\/dialogue>\n    <scene_description>And Ethan\/Davian rushed to the vent --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A176 INT. BETWEEN VATICAN WALLS - DAY A176<\/stage_direction>\n    <scene_description>Ethan\/Davian climbs up the space at impressive speed -- toward Declan, who looks down on him from forty feet up:<\/scene_description>\n    <character>DECLAN<\/character>\n    <dialogue>Move it! Come on!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PALAZZO COURTYARD - DAY<\/stage_direction>\n    <scene_description>-- the speech is over. Zhen moves one way through the crowd, Davian another -- and suddenly she COLLIDES WITH HIM, SPILLING HER WINE onto his tuxedo shirt:<\/scene_description>\n    <character>ZHEN<\/character>\n    <dialogue>Oh! Look at that, I am so sorry, look how careless--<\/dialogue>\n    <character>DAVIAN<\/character>\n    <parenthetical>(angry, but charming)<\/parenthetical>\n    <dialogue>I-- no problem. I would've done it myself if you hadn't. Excuse me.<\/dialogue>\n    <scene_description>-- Davian and his entourage head off. Zhen watches through the crowd as Davian and his men head for the RESTROOMS --<\/scene_description>\n    <character>ZHEN<\/character>\n    <dialogue>-- tell me you're on your way --<\/dialogue>\n    <scene_description>177-178 OMIT 177-178<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM ADJACENT TO PALAZZO COURTYARD - DAY<\/stage_direction>\n    <scene_description>DOLLY RIGHT as Declan pulls the vent back on -- under the stalls, we see Ethan\/Davian's shoes as he steps up onto a toilet -- then DOLLY LEFT as Davian's Bodyguard enters. Checks under the \"empty\" stalls, opens the door wider for Davian to enter, then EXITS to stand vigil outside. Davian removes, hangs his jacket. Grabs towels and drenches them with water, dabbing at the wine stain. ANGLE ON HIS REFLECTION IN THE MIRROR as he suddenly STANDS INTO FRAME IN THE FOREGROUND -- that first reflection was Ethan\/Davian! Davian sees him STANDING BEHIND HIMSELF! Before he can gasp, ETHAN\/DAVIAN GRABS HIM HARD, JAMMING A PISTOL TO HIS THROAT --<\/scene_description>\n    <character>ETHAN\/DAVIAN<\/character>\n    <dialogue>Quiet.<\/dialogue>\n    <parenthetical>(holds out SMALL CARD)<\/parenthetical>\n    <dialogue>Read this -- slowly.<\/dialogue>\n    <scene_description>Davian, confused, angry, stares at the card -- Ethan then kicks Ethan\/Davian's feet out from under him -- Davian lands hard -- Ethan shoving the gun, holding the card:<\/scene_description>\n    <character>ETHAN\/DAVIAN<\/character>\n    <dialogue>Read it.<\/dialogue>\n    <scene_description>Clearing his throat, Davian reads from the card:<\/scene_description>\n    <character>DAVIAN<\/character>\n    <dialogue>The -- the pleasure of Buzby's company is what I most enjoy. He put a tack on Miss Yancy's chair when she called him a horrible boy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CATACOMB ROOM - DAY<\/stage_direction>\n    <scene_description>SOUND WAVEFORMS APPEAR on Luther's laptop as Davian speaks -- the program doing a VOICE ANALYSIS --<\/scene_description>\n    <character>DAVIAN (V.O.)<\/character>\n    <dialogue>At the end of the month he was flinging two kittens across the width of the room...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM ADJACENT TO PALAZZO COURTYARD - DAY<\/stage_direction>\n    <character>DAVIAN<\/character>\n    <dialogue>I count on his schemes to<\/dialogue>\n    <character>ETHAN\/DAVIAN<\/character>\n    <dialogue>reveal th-- what the hell is th--?! Finish. -- the way to escape my gloom.<\/dialogue>\n    <dialogue>Ethan FIRES A TRANQ into Davian's neck. He looks up as Declan pulls away the VENT -- Ethan\/Davian drags Davian toward the vent --<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BATHROOM ADJACENT TO PALAZZO COURTYARD - DAY<\/stage_direction>\n    <scene_description>Zhen sees Soroushi check her watch: it's been a while. She starting talking with the Bodyguard.<\/scene_description>\n    <character>ZHEN<\/character>\n    <dialogue>Alpha, you're about to have a visitor.<\/dialogue>\n    <scene_description>And sure enough, the Bodyguard heads into the bathroom --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM ADJACENT TO PALAZZO COURTYARD - DAY<\/stage_direction>\n    <scene_description>Ethan\/Davian spills a VILE OF WINE on his shirt as the Bodyguard enters, seeing \"Davian\", ALONE at the sink:<\/scene_description>\n    <character>BODYGUARD<\/character>\n    <dialogue>Sir, is everything all right?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CATACOMB ROOM - DAY<\/stage_direction>\n    <scene_description>Luther types furiously, says way fast:<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>-- everything is NOT all right: the Voicemask is still compiling, I need ten seconds.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM ADJACENT TO PALAZZO COURTYARD - DAY<\/stage_direction>\n    <scene_description>Ethan\/Davian launches into a COUGHING FIT -- awkwardly, the Bodyguard watches -- finally moving to pat his boss's back -- but Ethan\/Davian gestures not to touch him --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CATACOMB ROOM - DAY<\/stage_direction>\n    <character>LUTHER (V.O.)<\/character>\n    <dialogue>-- six seconds, I'm uploading --<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM ADJACENT TO PALAZZO COURTYARD - DAY<\/stage_direction>\n    <scene_description>Ethan\/Davian stops coughing, clears his throat -- an ODD, DIGITAL ADJUSTMENT TWEAK when he speaks -- then suddenly HIS VOICE IS DAVIAN'S:<\/scene_description>\n    <character>ETHAN\/DAVIAN<\/character>\n    <dialogue>I'm fine, I'm fine -- let's go.<\/dialogue>\n    <scene_description>Ethan\/Davian picks up the briefcase and heads off --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CATACOMBS - DAY<\/stage_direction>\n    <scene_description>TRACK FAST with Luther, who carries a crowbar. He turns a corner, arriving at a MANHOLE COVER -- opens it -- climbs in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BETWEEN VATICAN WALLS - DAY<\/stage_direction>\n    <scene_description>Declan strains as he carefully LOWERS THE UNCONSCIOUS DAVIAN, who is on a HARNESS and CLIMBING ROPE --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PALAZZO COURTYARD - DAY<\/stage_direction>\n    <scene_description>The crowd socializes. A RECEIVING LINE to the Monsignor. Davian's Bodyguards watch Ethan\/Davian, with the briefcase, move to the Monsignor, shaking hands in thanks. Once he's done, he turns. Zhen is there, smiling flirtatiously.<\/scene_description>\n    <character>ZHEN<\/character>\n    <dialogue>I'm sorry about your shirt.<\/dialogue>\n    <character>ETHAN\/DAVIAN<\/character>\n    <dialogue>(very flirty) -- not a problem --<\/dialogue>\n    <scene_description>-- My hotel has laundry service. I'll be happy to take care of it. -- And what're we gonna do -- I could always find while I'm waiting in your something else to spill wine hotel without a shirt? on. (then, smiles) Let me drive. A sexy stare holds, then Ethan\/Davian says to Soroushi:<\/scene_description>\n    <character>ETHAN\/DAVIAN<\/character>\n    <dialogue>Follow me to the hotel.<\/dialogue>\n    <character>SOROUSHI<\/character>\n    <dialogue>Would you like us to guard the case?<\/dialogue>\n    <character>ETHAN\/DAVIAN<\/character>\n    <parenthetical>(with attitude)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <scene_description>He heads off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEWER TUNNEL - DAY<\/stage_direction>\n    <scene_description>Luther, crouching, walks fast through a sewer tunnel, using a handheld LOCATOR as he goes -- turning a corner and heading for a beacon --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VATICAN - VALET PARKING - DAY<\/stage_direction>\n    <scene_description>The Bodyguards watch as Ethan\/Davian gets into the tinted- window LAMBORGHINI with Zhen.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. LAMBORGHINI - DAY<\/stage_direction>\n    <scene_description>Zhen turns on the BEACON FINDER on the dashboard as Ethan quickly REMOVES HIS SEAT, pulling back the REMOVABLE METAL PLATE in the floor. Zhen starts driving through the courtyard as the BEACON STARTS BEEPING -- SHE'S GETTING CLOSER... CLOSER -- the car about to drive over the TRACER that Declan shot onto the manhole --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEWER TUNNEL - DAY<\/stage_direction>\n    <scene_description>Luther's moving fast -- his beacon locator BEEPING TOO -- he stops -- a MANHOLE ABOVE HIM -- Ethan removes the manhole, seeing Luther:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>-- What's up. -- Nah.<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>Nothing, you?<\/dialogue>\n    <scene_description>Ethan and Zhen quickly slip into the sewer -- Davian's Bodyguards -- some in the limo now -- watch the stalled LAMBORGHINI, concerned, unsettled. One of them heads for the LAMBORGHINI -- just as Luther RECOVERS THE MANHOLE -- Zhen holds the trigger, hating to push the button:<\/scene_description>\n    <character>ZHEN<\/character>\n    <dialogue>... it's such a nice car.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>And yet... do it.<\/dialogue>\n    <scene_description>-- so she does, and --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VATICAN - VALET PARKING - DAY<\/stage_direction>\n    <character>THE LAMBORGHINI SUDDENLY DETONATES, BLOWING SKY-HIGH IN A<\/character>\n    <dialogue>FIREBALL -- the Bodyguard THROWN BACK -- OTHER CAR WINDOWS SHATTER -- party-goers SCREAM and RUN -- CHAOS -- people flee -- guards point, shout, scatter --<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CATACOMBS - DAY<\/stage_direction>\n    <scene_description>TRACK FAST with Luther, Zhen, and Ethan\/Davian as he RIPS OFF HIS DAVIAN FACE as he moves --<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>-- let's get outta here --<\/dialogue>\n    <scene_description>OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TIBER RIVER - DAY<\/stage_direction>\n    <scene_description>A speedboat SWERVES into frame, racing under a bridge. Visible on board is Ethan, Luther, Declan and Zhen -- they're smiles and cool as they talk amongst themselves, blasting along the Tiber -- and we CUT TO a WIDE SHOT as the boat speeds away, Vatican in the distance, black smoke rising...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMF CONFERENCE ROOM - DAY<\/stage_direction>\n    <scene_description>Musgrave in a meeting. Eight men. His PDA VIBRATES. He checks it. PUSH IN ON HIM as he checks it. HOLD ON MUSGRAVE as he reacts, with disbelief and apparent relief. He quickly gets up and leaves --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMF\/BRASSEL'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Musgrave heads down the hall, containing his optimism. Knocks on Brassel's open door. Brassel looks up:<\/scene_description>\n    <character>MUSGRAVE<\/character>\n    <dialogue>Ethan Hunt and his team just grabbed Owen Davian in Rome. They're headed back now, I thought you should know.<\/dialogue>\n    <character>BRASSEL<\/character>\n    <dialogue>Were you aware of this operation?<\/dialogue>\n    <character>MUSGRAVE<\/character>\n    <parenthetical>(oh shit)<\/parenthetical>\n    <dialogue>... yes I was.<\/dialogue>\n    <character>BRASSEL<\/character>\n    <parenthetical>(beat, hint of a smile)<\/parenthetical>\n    <dialogue>Then nice work.<\/dialogue>\n    <scene_description>Musgrave actually smiles at Brassel before he heads off. But we HOLD ON Brassel -- PUSHING IN ON HIM as he watches Musgrave leave, in thought...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKY - NIGHT<\/stage_direction>\n    <scene_description>A SHOT from its tail, a mammoth C-5B transport plane cuts through the sky -- OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. C-5B - CARGO HOLD - NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON OWEN DAVIAN, sitting, strapped to a chair, just as he starts to regain consciousness. Then REVERSE: Ethan sits across from him, staring steely-eyed. Takes a beat for Davian to focus. Sees Ethan. Sees the briefcase on the table in front of him.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>You're dead. There were witnesses.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>It's over.<\/dialogue>\n    <scene_description>Davian looks at him. Takes it in. Then, in a dark, quiet rage:<\/scene_description>\n    <character>DAVIAN<\/character>\n    <dialogue>It was you. In the bathroom.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>You're gonna tell us everything. Every buyer you've worked with, every organization --<\/dialogue>\n    <character>DAVIAN<\/character>\n    <dialogue>What the hell's your name.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>-- names, contacts, inventory lists --<\/dialogue>\n    <character>DAVIAN<\/character>\n    <dialogue>Because you know what I'm gonna do next?<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>It's up to you how this goes.<\/dialogue>\n    <character>DAVIAN<\/character>\n    <dialogue>You have a wife? Girlfriend?<\/dialogue>\n    <scene_description>Ethan opens the briefcase. Inside is a RED ENVELOPE.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>You were apprehended carrying details of the location something codenamed The Rabbit's Foot.<\/dialogue>\n    <character>DAVIAN<\/character>\n    <dialogue>I'm gonna find her. Whoever she is, I'm gonna find her and I'm gonna hurt her. I'm gonna make her bleed and cry and call out your name, but you won't be able to do shit, you know why?<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>What's the Rabbit's Foot.<\/dialogue>\n    <character>DAVIAN<\/character>\n    <dialogue>Because you're gonna be this close to dead.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>And who's the buyer?<\/dialogue>\n    <character>DAVIAN<\/character>\n    <dialogue>And then I'm gonna kill you right in front of her.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>I'm gonna ask you one more time.<\/dialogue>\n    <character>DAVIAN<\/character>\n    <dialogue>What's your name?<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>What's the Rabbit's Foot?<\/dialogue>\n    <character>DAVIAN<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>And who's the buyer?<\/dialogue>\n    <character>DAVIAN<\/character>\n    <dialogue>You have no idea what the hell's going on here, do you? You saw what I did to your little blonde friend at the factory -- didn't you? That was nothing. That was fun.<\/dialogue>\n    <scene_description>And Ethan HITS the table away, grabs the back of Davian's chair and DRAGS HIM TOWARD THE BACK OF THE PLANE -- he pounds a control button -- the UNDERSIDE CARGO DOOR BEGINS TO OPEN -- WIND and NOISE and Davian is suddenly terrified --<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>ETHAN!<\/dialogue>\n    <scene_description>Ethan TURNS Davian's chair, throwing it down into the now- open door on the floor of the plane -- the chair lands hard, getting JAMMED in the door, Davian face-down and horrified -- Ethan pulls out a KNIFE:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>WHAT'S THE RABBIT'S FOOT?!!!<\/dialogue>\n    <character>AND ETHAN BEGINS CUTTING ALL THE STRAPS, ONE AT A TIME!<\/character>\n    <dialogue>THWACK! THWACK! THWACK! THWACK! Each time Davian dropping -- falling a little more -- only a few straps left and Ethan just keeps CUTTING THEM --<\/dialogue>\n    <scene_description>ETHAN (cont'd) LUTHER<\/scene_description>\n    <character>TELL ME WHAT IT IS!!!<\/character>\n    <dialogue>WHAT IS IT?!<\/dialogue>\n    <character>ETHAN, STOP!<\/character>\n    <dialogue>One more slice and Davian's GONE --<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>WE CAN USE HIM! YOU KNOW THAT!<\/dialogue>\n    <character>DON'T DO IT! ETHAN, DON'T!<\/character>\n    <dialogue>Luther and Ethan's eyes LOCK. The truth of what Luther's saying registers...<\/dialogue>\n    <dialogue>Finally, Ethan YANKS DAVIAN BACK -- Davian slams onto the floor as Ethan hits the button -- the CARGO DOOR CLOSES. Ethan sits on the floor, staring at him, all out of breath. Relative quiet.<\/dialogue>\n    <character>DECLAN<\/character>\n    <dialogue>Damn, man.<\/dialogue>\n    <scene_description>Davian's breathing heavily... And Ethan stares, deep into his eyes... glaring death...<\/scene_description>\n    <character>DAVIAN<\/character>\n    <dialogue>What I'm selling... and who I'm selling to... is the last thing you should be concerned about. Ethan.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TARMAC - DAY<\/stage_direction>\n    <scene_description>MUSIC -- MOMENTUM -- QUICK SHOTS as the cargo plane lands, whipping past a waiting three-vehicle caravan: dark Navigator 4X4's surrounding an ARMORED TRANSPORT VEHICLE. A dozen ARMED OFFICERS as the REAR CARGO HOLD LOWERS -- the IMF team appears in SILHOUETTE, Ethan leading them down the ramp into the light, hand clamped to Davian's arm. Davian is placed into the heavy-armor TRANSPORT VEHICLE. We see Ethan greet a couple IMF AGENTS as they all get into the Navigators. The caravan pulls away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VIRGINIA ROADS - DAY<\/stage_direction>\n    <scene_description>The three Navigators and Transport Vehicle at the center streak along a highway road among pedestrian traffic...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NAVIGATOR - DAY<\/stage_direction>\n    <scene_description>Ethan and Luther in the back: Luther focused on his laptop, Ethan focused on the transport vehicle two cars ahead --<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Ethan, we got it! I checked my server. Lindsey's microdot....we broke the code. It's a video file.<\/dialogue>\n    <scene_description>Luther hands Ethan the laptop. A VIDEO WINDOW APPEARS on screen. An IMAGE, through a WIDE LENS. It's Lindsey. Her face haunts Ethan -- she's clearly holding the camera. She's in a dark place, scared but fighting to stay in control:<\/scene_description>\n    <character>LINDSEY<\/character>\n    <dialogue>Ethan, if you're watching this, I don't know what they've told you-- I don't know what you think... just listen to me.<\/dialogue>\n    <parenthetical>(voice trembling)<\/parenthetical>\n    <dialogue>I'm not coming back to IMF -- not until I know it's safe. They sent me to Germany to surveil an exchange -- to ID a man named Owen Davian. And I did it. I tagged his phone and intercepted a transmission -- Ethan, it came over an IMF frequency. And it was encoded. Which means it came from high up -- so I traced the encryption scheme. Ethan... it came from Brassel's office. It's Brassel -- I think he's a mole -- I think he's working with Davian.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>When you get this, please contact me through th--<\/dialogue>\n    <scene_description>BUT SUDDENLY A SURFACE-TO-AIR MISSILE STRIKES THE NAVIGATOR BEHIND THEM, JETTISONING IT SKYWARD IN A FIREBALL!!! The driver YANKS the steering wheel as --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHESAPEAKE BAY BRIDGE - DAY<\/stage_direction>\n    <scene_description>-- another MISSILE SLAMS INTO THE ROAD AHEAD OF THEM, BLOWING A HOLE IN THE ROAD! The TIRES RIP as the Driver hits the brakes but their vehicle TUMBLES as ANOTHER MISSILE hits at the other end of the bridge! Ethan's vehicle stops tumbling at the edge of the chasm. It's MAYHEM -- Ethan, upsidedown, sees people getting out of their cars, disoriented. Then, a SCREAMING SOUND -- he and Luther then turn to see a UAV SCREAM through the sky. They get out of the Navigator as a CHOPPER RISES FROM UNDER THE BRIDGE -- SIX COMMANDOS FLANKING. Ethan yells to the people out of the cars:<\/scene_description>\n    <character>GET BACK IN YOUR CARS!<\/character>\n    <dialogue>GET DOWN!!!<\/dialogue>\n    <scene_description>And the COMMANDOS START FIRING -- and Ethan and Luther take cover as their Navigator gets POCK-MARKED -- WINDOWS SHATTERING -- CIVILIANS GETTING HIT! Ethan and Luther SHOOT back at the chopper, which banks away --<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>There's a woman down!<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>I see her.<\/dialogue>\n    <scene_description>Luther runs to help the wounded as Ethan sprints toward the transport vehicle:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Open up! I need the prisoner.<\/dialogue>\n    <scene_description>The Drivers turn to Ethan, trying to understand him -- when suddenly THEY'RE KILLED IN A SPRAY OF BULLETS! Ethan, shocked, takes cover. He watches as Zhen helps a wounded DECLAN from their truck -- and a fellow IMF AGENT (from the tarmac) SHOOTS AT THE CHOPPER -- but in the distance, Ethan sees the UAV SHOOTING ANOTHER MISSILE! -- the IMF Agent sees the missile and runs -- but the thing EXPLODES BEHIND HIM, taking him and his vehicle out! PUSH IN ON ETHAN, enraged -- he FIRES at the chopper, but his gun's out of bullets! Ethan runs back to his SUV as the Commandos FIRE SMOKE BOMBS as cover. Ethan climbs into the back of the Navigator -- grabs the upside-down WEAPONS CASE as the Commandos ZIP-LINE down from the chopper and run to the transport vehicle -- the Commandos begin SPRAYING THE SIDE OF THE VEHICLE WITH AN ORANGE FOAM - 208-211 OMIT 208-211 Ethan's grabbing the gun as the chopper pilot sees him-- and sends the UAV toward him with a remote. Luther calls out:<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Ethan! Get outta there! The UAV's coming back!<\/dialogue>\n    <scene_description>Ethan sees it coming for him -- he slides the gun case onto the black top and races out of the SUV as the UAV FIRES A MISSILE! The Navigator EXPLODES as Ethan falls forward, onto another car! The Commandos HIT THE FOAM-COVERED TRANSPORT with a SLEDGE HAMMER, shattering the side of the truck -- KILLING the Guards inside --<\/scene_description>\n    <character>DAVIAN<\/character>\n    <dialogue>Move! Hurry!<\/dialogue>\n    <scene_description>They cut Davian's cuffs with BOLT CUTTERS and run out of the truck toward the chopper as Ethan puts the gun together -- he turns to shoot at the chopper, but a familiar SCREAM -- Ethan turns -- SHOOTS AT THE UAV -- one of its wings EXPLODES and the thing TUMBLES toward the chopper, which BANKS HARD, the missile JUST MISSING IT, but hitting the BRIDGE STRUCTURE! Ethan fires at Davian -- hitting one of the foam Commandos -- ORANGE FOAM COVERING THE SCREAMING, FALLEN MAN -- Davian and the others take cover! 213-215 OMIT 213-215 ETHAN WANTS TO GET CLOSER TO THE TRANSPORT VEHICLE, BUT<\/scene_description>\n    <character>WHERE THERE'S NO GAPING HOLE, THERE'S FIRE FROM THE CRASHED<\/character>\n    <dialogue>SUV -- SO ETHAN RUNS TOWARD THE HOLE, TOSSING THE GUN FIRST --<\/dialogue>\n    <character>HE JUMPS BETWEEN SEVERED SECTIONS OF THE BRIDGE -- GRABBING<\/character>\n    <dialogue>ASPHALT THAT JUST GIVES WAY LIKE WET SAND! ETHAN SLIPS --<\/dialogue>\n    <character>FALLS -- DROPS, GRABBING EXPOSED REBAR, HANGING ABOVE WATER<\/character>\n    <dialogue>AS DAVIAN'S HAULED INTO THE CHOPPER. ETHAN STRAINS AS HE<\/dialogue>\n    <character>DOES A CLIMBER MANEUVER AND PULLS HIMSELF UP, ONTO THE BRIDGE<\/character>\n    <dialogue>-- GRABS THE GUN AND FIRES -- PURGING AT THE CHOPPER AS IT<\/dialogue>\n    <character>FLIES OFF -- ETHAN JUMPS ONTO THE HOOD OF A CAR -- THE ROOF --<\/character>\n    <dialogue>FIRING AND FIRING UNTIL IT'S CLICKCLICKCLICK...<\/dialogue>\n    <dialogue>-- AND HIS EYES MEET DAVIAN'S, who, at an ever-greater distance, smiles at Ethan. And the most DREADFUL FEELING overtakes Ethan and we SMASH CUT TO:<\/dialogue>\n    <scene_description>217-218 OMIT 217-218<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHESAPEAKE BAY BRIDGE - MOMENTS LATER<\/stage_direction>\n    <scene_description>DOLLY FAST as Ethan runs past the dozens of now-abandoned cars -- IMF Agents helping the wounded -- and he jumps into a MANUAL SHIFT sports car, instantly SCREECHING AWAY --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPORTS CAR - DAY<\/stage_direction>\n    <scene_description>-- as Ethan speeds he dials on his CELL PHONE -- it RINGS --<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>-- comeoncomeoncomeon --<\/dialogue>\n    <character>JULIA (V.O.)<\/character>\n    <dialogue>Hi, it's Julia, I'm not avail--<\/dialogue>\n    <scene_description>-- Ethan hangs up -- Ethan passes a MASS OF POLICE CARS, his speedometer crossing 90MPH as he places another call --<\/scene_description>\n    <character>RICK (V.O.)<\/character>\n    <dialogue>Hunt\/Meade Residence?<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Rick, it's Ethan, is Julia there?!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ETHAN AND JULIA'S HOUSE - KITCHEN - DAY<\/stage_direction>\n    <scene_description>Rick makes a sandwich, has a beer.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>Please don't be mad I'm here, they're painting my apartment and I couldn't breathe th--<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>-- I'm not mad -- is Julia there?<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>No, sorry -- hey, did your friend find you?<\/dialogue>\n    <character>ETHAN<\/character>\n    <parenthetical>(dread)<\/parenthetical>\n    <dialogue>-- which friend?<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>I dunno, he sounded cool...<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Rick, what did you tell him?!<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>It's all good, said I didn't know where you were, that he should try Julia at the hospital --<\/dialogue>\n    <scene_description>Ethan suddenly SLAMS HIS BRAKES -- shoves the car into reverse and DRIVES BACKWARDS, OFF THE ON-RAMP, AVOIDING ON- COMING CARS! He throws the car into gear and SCREECHES onto an adjacent road, SPEEDING --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - CORRIDOR - DAY<\/stage_direction>\n    <scene_description>TRACK BACK as Julia enters the corridor, just through with a surgery. Pulls off her cap, walks with a female Nurse (Annie, who we met earlier). Two tired, good friends:<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>-- oh, you're too lucky. -- I'm half way through a<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>-- Me too lucky.<\/dialogue>\n    <scene_description>double shift. -- well that doesn't make me (laughs) lucky, it makes you unlucky. -- I'll see you Thursday. -- good luck. -- you too, Honey. Julia heads off...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. SPORTS CAR - DAY<\/stage_direction>\n    <scene_description>Ethan drives WILDLY FAST -- steering with one hand, DIALING another number with the other --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - BASEMENT CORRIDOR - DAY<\/stage_direction>\n    <scene_description>Julia exits the elevator, walks alone down an empty, creepy -- corridor. Low pipes and greenish-old-fluorescent lighting. She turns into a door marked DOCTORS' LOCKER ROOMS --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - NURSES STATION - DAY<\/stage_direction>\n    <scene_description>Crying BABIES, people waiting, doctors crossing, phones RINGING and Sally, harried, at the center:<\/scene_description>\n    <character>SALLY<\/character>\n    <dialogue>Sixth floor--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPORTS CAR - DAY<\/stage_direction>\n    <scene_description>Ethan, desperate at the wheel:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Sally, it's Ethan, I need Julia.<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>She just went downstairs, Honey, I'll transfer you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCKER ROOMS - DAY<\/stage_direction>\n    <scene_description>DOLLY PAST as Julia showers. A low, eerie voyeuristic quality to the moment. A PHONE RINGS -- our DOLLY LANDS US with the house PHONE IN THE FOREGROUND... RINGING.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>-- the sports car SHRIEKS around a corner, almost popping off the tires as it regains tread and ROARS toward the hospital --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - BASEMENT CORRIDOR - DAY<\/stage_direction>\n    <scene_description>Julia walks from the locker room, hair damp, adjusting her sweater. Approaching her is a MAN, 42. KIMBROUGH. An EMT pushing a gurney, an empty body bag on it. As they approach, he offers his file:<\/scene_description>\n    <character>KIMBROUGH<\/character>\n    <dialogue>Excuse me. I was wondering if you knew where I could find this patient.<\/dialogue>\n    <character>JULIA<\/character>\n    <parenthetical>(smiling, kind)<\/parenthetical>\n    <dialogue>Probably not, but I'll know who can.<\/dialogue>\n    <scene_description>-- and as she reaches for the file, he affixes a SMALL YELLOW DOT to her arm with his rubber-gloved hands -- how weird is this? She looks at him, curious -- amused --<\/scene_description>\n    <character>JULIA<\/character>\n    <dialogue>-- what is this?<\/dialogue>\n    <scene_description>-- but already, she's becoming faint -- and terrified --<\/scene_description>\n    <character>JULIA<\/character>\n    <dialogue>-- what--? Wh--<\/dialogue>\n    <scene_description>-- and we're WIDE as she collapses -- Kimbrough catching her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOSPITAL - ENTRANCE - DAY<\/stage_direction>\n    <scene_description>The sports car screech-stops LOUD AND FAST outside the hospital -- Ethan RUNS to the doors --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - DAY<\/stage_direction>\n    <scene_description>Kimbrough -- appearing to be an EMT -- pushes the gurney with the now-filled BODY BAG down the corridor -- crosses a busy hall just as ETHAN RUNS, RIGHT PAST HIM, into the STAIRWELL --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - NURSES STATION - DAY<\/stage_direction>\n    <scene_description>-- Ethan runs to still-busy Sally, desperate:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>-- Sally -- where's Julia?<\/dialogue>\n    <character>SALLY<\/character>\n    <dialogue>I don't know-- Honey, you okay?<\/dialogue>\n    <scene_description>-- but Ethan's already running -- OMIT OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOSPITAL - DAY<\/stage_direction>\n    <scene_description>Ethan bursts from the building, scanning the area, looking for anyone, any sign -- but of the few people here, there's no sign of Julia -- and it's a moment of loss and madness and our SCORE BUILDS until suddenly ETHAN'S CELL PHONE RINGS -- he checks the LCD: \"JULES CELL\" -- total relief, answering:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Jules, thank God --<\/dialogue>\n    <character>DAVIAN (V.O.)<\/character>\n    <dialogue>You hung me outside of an airplane.<\/dialogue>\n    <scene_description>And Ethan, breathing heavily, freezes.<\/scene_description>\n    <character>DAVIAN (V.O.)<\/character>\n    <dialogue>You can always tell someone's character by how they treat those they don't need to treat well.<\/dialogue>\n    <scene_description>Ethan wants to kill. But what comes out, intense and quiet:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>If you hurt Julia I will f--<\/dialogue>\n    <character>DAVIAN (V.O.)<\/character>\n    <dialogue>Threatening me would be a huge tactical error. Huge. The only way you can keep me from putting a bullet in Julia's head is by acquiring something for me.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>You have the specs I was picking up in Rome. The Rabbit's Foot. Ethan. Can I call you Ethan? Ethan: you had a watch on last time I saw you -- look at it now: you have forty-eight hours starting on my mark. Ready?<\/dialogue>\n    <scene_description>-- Ethan quickly synchronizes his watch: he activates a countdown from 48:00:00 --<\/scene_description>\n    <character>DAVIAN<\/character>\n    <dialogue>... now. Call me at this number when you have it. If you're even ten seconds late... ten seconds... it's all over. And tell no one about this. No one... or she dies.<\/dialogue>\n    <scene_description>CLICK. He stands there for a moment, numb -- just as: LOUD SCREECHES -- FOUR DARK SEDANS appear, surround him -- what the fuck is this?!! Seven suited AGENTS step out, guns aimed at him -- a panicked silence -- then:<\/scene_description>\n    <character>AGENT<\/character>\n    <dialogue>We need you to come with us.<\/dialogue>\n    <scene_description>He stares at the Agents, dumbstruck, heart pounding:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>... Pete... what the hell ar--?<\/dialogue>\n    <character>AGENT (PETE)<\/character>\n    <dialogue>-- sorry about this, Mr. Hunt. We were told to bring you in.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>... guys, you can't do this-- not now.<\/dialogue>\n    <parenthetical>(forces a smile)<\/parenthetical>\n    <dialogue>Tell them you came, that I ran--<\/dialogue>\n    <character>AGENT (PETE)<\/character>\n    <dialogue>Ethan. Get in. We don't want to use force here. And you know we will.<\/dialogue>\n    <scene_description>Ethan, heart pounding, nods. As if about to give in. But then he BOLTS -- leaps behind a car -- two Agents FIRE -- MINIATURE TASER BULLETS HIT THE CAR as Ethan RUNS, keeping low -- the Agents go after him -- Ethan leaps over a car hood as an Agent FIRES -- STRIKES ETHAN IN THE SIDE -- MID-JUMP the TASER SHOCKS ETHAN AND HE FALLS -- his face lands HARD on asphalt as electricity courses through his body -- then, using THICK BLACK RUBBER GLOVES, the agents remove the taser charge, flip Ethan over and CUFF him -- \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMF OBSERVATION ROOM - DAY<\/stage_direction>\n    <scene_description>BAM -- BOUND to a gurney, a MUZZLE MASK pulled tight over his face, Ethan is SLAMMED into this stainless steel room by two Agents. They lock the wheels and leave him here alone. Ethan, straining and heart-pounding, painfully cranes his neck to read his watch: 47:32:24 and counting down -- DAMNIT, HE'S GOT TO GET THE FUCK OUT OF HERE. Ethan, a wreck of anxiety, mind spinning a thousand escape scenarios, looks up as the door opens -- it's Brassel and Musgrave. And Brassel moves to Ethan, Musgrave standing by the closed door. Brassel looks down on Ethan with a judgmental gaze.<\/scene_description>\n    <character>BRASSEL<\/character>\n    <dialogue>I reviewed the transcript of your Berlin operation. Seems Agent Farris had information she wanted to share with you but not with this agency. Something you failed to report. You ordered the Vatican operation without sufficient approvals. That mission resulted in a catastrophic attack in which a felon escaped, civilians were wounded. And then you fled the scene.<\/dialogue>\n    <scene_description>Ethan breathing hard under the leather mask -- looking at Musgrave, his mind tumbling --<\/scene_description>\n    <character>BRASSEL<\/character>\n    <dialogue>I am no stranger to disrespect -- you don't get to where I am and not have skin thicker than that -- but what I won't stand for -- what I'll lose sleep over, and I love my sleep... is the idea of having an irresponsible -- rogue -- agent working in my office.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I'm slowing this thing way down until I can figure out what to do with you.<\/dialogue>\n    <scene_description>Ethan looks back at his watch: 46:30:46... SHIT!!! He looks back at Brassel, hatefully --<\/scene_description>\n    <character>BRASSEL<\/character>\n    <dialogue>You can look at me with those judgmental, incriminating eyes all you want -- but I bullshit you not, I will bleed on our flag to make sure the stripes stay red.<\/dialogue>\n    <scene_description>Brassel turns and leaves the room, passing Musgrave. Ethan watches Musgrave, who moves to him. Looks down on him.<\/scene_description>\n    <character>MUSGRAVE<\/character>\n    <dialogue>I don't know what to say to you. Look at me when I'm talking to you... Ethan.<\/dialogue>\n    <scene_description>Ethan is incredulous. Musgrave moves, his back to the MIRROR.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMF OBSERVATION ROOM - VIEWING AREA - DAY<\/stage_direction>\n    <scene_description>Three Agents, four video cameras observe Ethan in the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMF OBSERVATION ROOM - DAY<\/stage_direction>\n    <scene_description>Ethan's eyes bore into Musgrave like rock drills as Musgrave crosses to Ethan. Musgrave mouths the information to Ethan.<\/scene_description>\n    <character>MUSGRAVE<\/character>\n    <parenthetical>(mouthing)<\/parenthetical>\n    <dialogue>I back-traced your call, I know about Julia.<\/dialogue>\n    <parenthetical>(out loud for guards)<\/parenthetical>\n    <dialogue>...except that this is... so disappointing.<\/dialogue>\n    <character>MUSGRAVE<\/character>\n    <dialogue>Go to 43 Cheng Du Baei...apartment 1406.<\/dialogue>\n    <scene_description>Musgrave walks around the gurney. Ethan is shocked as Musgrave -- hidden from the viewing mirror's view -- PALMS A SMALL RAZOR INTO ETHAN'S HAND. TIGHT ON ETHAN as it hits him: HOLY SHIT, MUSGRAVE IS HELPING ME! Musgrave, feigning disgust, calling toward the mirror:<\/scene_description>\n    <character>MUSGRAVE<\/character>\n    <dialogue>I wish I could help you. Take him to a holding cell!<\/dialogue>\n    <scene_description>And Musgrave's gone. TIGHT ON ETHAN: WHAT THE HELL'S NEXT?!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. IMF CORRIDOR - DAY<\/stage_direction>\n    <scene_description>Ethan is being wheeled down the corridor by THREE IMF GUARDS. His mind spinning -- anticipating his move as they enter the CARGO ELEVATOR with Ethan...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARGO ELEVATOR - DAY<\/stage_direction>\n    <scene_description>Doors close. HOLD ON the Guards, who wait as the elevator moves -- and we're TIGHT ON ETHAN as he realizes: THIS IS IT. HE OPENS THE RAZOR, STRAINS TO CUT THE LEATHER STRAP HOLDING DOWN HIS RIGHT HAND -- AS THE ELEVATOR RISES, THE RAZOR SCRAPES THE STRAP -- BARELY CUTTING IT -- BUT ETHAN DOESN'T GIVE UP, THEN FINALLY: SLICE!!! IT'S CUT -- AND HE THROWS HIS ARM BACK TOWARD THE GUARD BEHIND HIM, USING THE LEATHER WHIP TO CRACK THE GUARD IN THE EYES -- HE GRABS THE GUARD'S TELESCOPING BILLY CLUB AND SLAMS THE GUARD TO HIS SIDE IN THE HEAD, THEN BACK AGAIN AT THE NOW-BLINDED GUARD BEHIND HIM -- HE THEN THROWS THE CLUB AT THE THIRD GUARD'S FACE -- THAT GUARD FALLS BACK -- ETHAN PUSHES HIMSELF -- AND THE GURNEY -- OFF THE ELEVATOR'S BACK WALL, CLOSER TO THAT GUARD, WHO ETHAN GRABS BY THE HAIR, THEN PUNCHES IN THE FACE -- ETHAN HITS THE \"STOP ELEVATOR\" BUTTON -- ALARM BELL BLARES. With only one arm free, Ethan's just rendered three Guards unconscious. He SLASHES the other leather straps -- grabs a Guard's GUN and WALKIE -- stands on the gurney, pushes off the elevator escape hatch -- JUMPS UP --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR SHAFT - DAY<\/stage_direction>\n    <scene_description>Ethan climbs to the top of the motionless elevator -- ALARM BELL LOUD, he grabs the cables and begins PULLING HIMSELF UP THE ELEVATOR SHAFT like a trapeze artist --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMF OFFICE - DAY<\/stage_direction>\n    <scene_description>TRACK FAST with IMF HEAD OF SECURITY, racing through the office -- WHIP PAN AHEAD to Brassel, in his office, on the phone, furious -- as the Head of Security enters:<\/scene_description>\n    <character>BRASSEL<\/character>\n    <dialogue>(on phone)<\/dialogue>\n    <character>HEAD OF SECURITY<\/character>\n    <dialogue>-- don't equivocate with me, you get him back-- -- Sir, Ethan Hunt overp-- -- I know what happened -- give me your radio.<\/dialogue>\n    <parenthetical>(into the walkie)<\/parenthetical>\n    <dialogue>This is Director Brassel: Ethan Hunt is attempting to escape the building from the west cargo elevator -- he must be stopped.<\/dialogue>\n    <character>HEAD OF SECURITY<\/character>\n    <dialogue>-- we're having the building surrounded, Sir, I have units p--<\/dialogue>\n    <character>BUT SUDDENLY: BRASSEL'S VOICE COMES FROM THE RADIO:<\/character>\n    <dialogue>BRASSEL'S VOICE<\/dialogue>\n    <scene_description>This is Brassel again -- I'm ordering a code six lockdown -- -- and Brassel's gonna have a fucking heart attack as --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEPARTMENT OF TRANSPORTATION - CRAWL SPACE - DAY<\/stage_direction>\n    <scene_description>-- Ethan scrambles FAST in a crawl space between floors of the building, talking on the radio, doing a great Brassel:<\/scene_description>\n    <character>ETHAN\/BRASSEL<\/character>\n    <dialogue>Hunt was flagged on sub-basement nine -- I want all security personnel down there now!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRASSEL'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Brassel tries to broadcast, but gets LOUD FEEDBACK --<\/scene_description>\n    <character>BRASSEL<\/character>\n    <dialogue>-- why the hell can't I broadcast?<\/dialogue>\n    <character>HEAD OF SECURITY<\/character>\n    <dialogue>-- Hunt must be... holding down the transmit button, Sir.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STORAGE CLOSET - DAY<\/stage_direction>\n    <scene_description>PUSH IN as Ethan quickly enters the cluttered, ubiquitous office supply closet through a ceiling hatch --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEPARTMENT OF TRANSPORTATION BUILDING - DAY<\/stage_direction>\n    <scene_description>Ethan hurries out, moving fast through this office, placing the walkie in front of a BOOM BOX sitting on a file cabinet -- currently playing \"WE ARE FAMILY\" by SISTER SLEDGE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRASSEL'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Brassel hears the music. Dark. Furious, he turns to the Head of Security with \"you're fired\" eyes --<\/scene_description>\n    <character>BRASSEL<\/character>\n    <dialogue>... you've gotta be kidding me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEPARTMENT OF TRANSPORTATION BUILDING - DAY<\/stage_direction>\n    <scene_description>Ethan RUNS like mad from the building -- crossing the street, almost getting hit -- he SPRINTS -- and we STAY ON HIM AS HE RUNS, the MUSIC FILLING THE SOUNDTRACK -- and we RAMP TO SLOW MOTION AS HE RUNS, DESPERATE, MUSIC SWELLING, AND WE CUT TO: 249-250 OMIT 249-250<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPORT - DAY<\/stage_direction>\n    <scene_description>See Ethan, someone else in FOREGROUND. Then Ethan moves, and we realize that wasn't Ethan at all -- the guy in FOREGROUND is, in long sideburns, mustache, long hair, wool cap and glasses. He inconspicuously checks his surroundings, heading off. We then find him at a ticket counter, showing his passport to a WORKER.<\/scene_description>\n    <character>WORKER<\/character>\n    <dialogue>Mr....<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>(smiles, in<\/dialogue>\n    <parenthetical>(reading passport) Czechoslovakian accent)<\/parenthetical>\n    <dialogue>Rudajev. Rudajev.<\/dialogue>\n    <scene_description>... Ruda-- Rudajev-- sorry-- so you're flying to Shanghai. Yes, thanks you.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHANGHAI - NIGHT<\/stage_direction>\n    <scene_description>Our SCORE SOARS as we find Shanghai -- the magnificent neon city exploding in color, just across the river. In the foreground, a TAXI appears. We find Ethan Hunt, looking very much like himself again, exiting the car.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FANGBANG ROAD - NIGHT<\/stage_direction>\n    <scene_description>An ancient neighborhood, the new city towering behind it. The warm glow of shops. VENDORS and PEDESTRIANS -- and Ethan, walking through it all, the only non-Chinese in sight. And he moves to an old woman, selling SHOES.<\/scene_description>\n    <character>ETHAN<\/character>\n    <parenthetical>(perfect Shanghaiese)<\/parenthetical>\n    <dialogue>I need a pair of shoes I can wear to the opera in the Springtime.<\/dialogue>\n    <scene_description>And the Woman looks at him for a solid beat. Then she nods. Moves off for a moment. Ethan checks his surroundings. She returns. Offers a shoebox. Ethan takes it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHANGHAI ALLEYWAY - NIGHT<\/stage_direction>\n    <scene_description>As he walks, Ethan rips the shoes out of the box, tosses the box -- holding only the left shoe, he rips open the inner sole -- pulls out a small manila envelope -- throws the shoe away as he pulls a white SMART CHIP card from the envelope --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NANJING ROAD - NIGHT<\/stage_direction>\n    <scene_description>A blaze of culture clash -- neon madness, where the East meets West -- a massive, crowded walk street, commerce everywhere. And there's Ethan, walking determined, moving to and entering an apartment building --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHANGHAI APARTMENT BUILDING - NIGHT<\/stage_direction>\n    <scene_description>Ethan moves to a door -- uses the key card and goes in --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHANGHAI SAFEHOUSE - NIGHT<\/stage_direction>\n    <scene_description>An apartment -- IMF safehouse. QUIET and DARK. It's a corner apartment -- with a taste of the neon from one side, and a view of the expansive city from the other. HANDHELD CAMERA as Ethan looks around, desperate. Room to room. A distant WAIL of a POLICE SIREN. Why the hell did Musgrave send him here? He expected something to be waiting, but-- -- then a SOUND. At the front door -- Ethan moves quickly to the front door, whips out the pistol and takes position behind the door, which opens -- AND JUST AS THE PERSON ENTERS, ETHAN AIMS THE GUN AT HIS HEAD AND -- it's Luther. He freezes, gun COCKED at his temple.<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>... don't... kill me.<\/dialogue>\n    <scene_description>Ethan, so relieved he could cry, lowers the weapon. Zhen and Declan enter behind Luther. Seeing them, Ethan is beyond relieved:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>...Musgrave sent you?<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>Yeah...we know about Julia. We're here to help.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHANGHAI SAFEHOUSE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Ethan, Luther, Zhen and Declan sit around the dining table, looking at the contents of the RED ENVELOPE. Blueprints, specs, pages of description, photographs.<\/scene_description>\n    <character>DECLAN<\/character>\n    <dialogue>There's a laboratory on the fifty- sixth floor of the HengShan Lu Building, which is a nightmare for just about every reason.<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>All we know is they're a Chinese military contractor, we have no pull, no details. The good news is, it sounds like The Rabbit's Foot's small, whatever it is, so we can steal it. The bad news is... we've gotta steal it.<\/dialogue>\n    <character>DECLAN<\/character>\n    <dialogue>From a thief's point of view this is worst-case-scenario: the guards are privately contracted former People's Liberation Army. Dozen full-time on the ground floor, all of it surveilled by a security force in the building.<\/dialogue>\n    <character>ZHEN<\/character>\n    <parenthetical>(re: documents)<\/parenthetical>\n    <dialogue>The only access to the lab from downstairs is a private elevator that can only be activated by personnel inside the lab.<\/dialogue>\n    <character>ETHAN<\/character>\n    <parenthetical>(shit... so:)<\/parenthetical>\n    <dialogue>What about the roof?<\/dialogue>\n    <character>ZHEN<\/character>\n    <dialogue>Four guards, full-time, two on each rooftop.<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>Langley was a cakewalk compared to this.<\/dialogue>\n    <scene_description>Ethan looks at Luther, feeling his warning. He then gets up and moves to the glass, looks out at the distant buildings.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>... that's the one...<\/dialogue>\n    <parenthetical>(then, considers)<\/parenthetical>\n    <dialogue>How tall's the building?<\/dialogue>\n    <character>ZHEN<\/character>\n    <parenthetical>(checks schematics)<\/parenthetical>\n    <dialogue>The highest point's a hundred and sixty-two meters, why?<\/dialogue>\n    <scene_description>Ethan goes to the desk. Grabs a grease pencil -- finds a ruler in the drawer. Goes back to the window and starts MARKING THE GLASS -- OUTLINING the buildings, writing a MATHEMATICAL EQUATION. Then rips a shoelace from his shoe, ties it to the pencil --<\/scene_description>\n    <character>ETHAN<\/character>\n    <parenthetical>(doesn't turn, working)<\/parenthetical>\n    <dialogue>-- how tall is that one -- on the left?<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>-- Ethan --<\/dialogue>\n    <character>ZHEN<\/character>\n    <parenthetical>(reads)<\/parenthetical>\n    <dialogue>It says two-hundred and twenty-six meters.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>What's the distance between buildings?<\/dialogue>\n    <character>ZHEN<\/character>\n    <dialogue>Forty-seven-point-five-five meters across.<\/dialogue>\n    <scene_description>Ethan holds the shoe lace at the top of the building to the left -- using the shoelace as a compass, he DRAWS AN ARC from that point to the target building --<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>-- Good, I think that's tall enough.<\/dialogue>\n    <character>DECLAN<\/character>\n    <dialogue>-- for what? --<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>-- a fulcrum.<\/dialogue>\n    <character>DECLAN<\/character>\n    <dialogue>-- waitwaitwait, you could bounce right off the roof.<\/dialogue>\n    <character>ETHAN<\/character>\n    <parenthetical>(I don't care, writing)<\/parenthetical>\n    <dialogue>-- yes, I could--<\/dialogue>\n    <character>ZHEN<\/character>\n    <dialogue>-- even if you made it to the roof-- took out the guards -- got the Rabbit's Foot -- what's your exit? Can't walk out the lobby.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Base jump off the top, use a chute.<\/dialogue>\n    <character>DECLAN<\/character>\n    <dialogue>Even at one-sixty-two you're<\/dialogue>\n    <character>ZHEN<\/character>\n    <dialogue>pushing minimum height for a -- chute opens from any lower jump -- than the roof, you're dead. -- and what are you going to do, land in the middle of Shanghai and hope no one notices.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>-- Central Park's two blocks away --<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>I'm not saying I have a<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>better idea, but there is a point where \"bold\" becomes \"stupid.\" We don't even know what this thing is -- you wanna hand it over to a guy Of COURSE I'm not suggesting \\* who provides known terrorists we just hand it over! We'd with-- tag the Rabbit's Foot so we \\*<\/dialogue>\n    <scene_description>can trace it, know where it is-- Ethan's opened a credenza, pulling back a hidden panel, revealing a great deal of SPY GEAR -- things any safehouse would offer: guns, tranqs, bugs, cameras, taggers --<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>We can get the gear to do this -- I'll deliver it myself, we'll contact Musgrave and have IMF trace the tag and order a raid, get it back and grab Davian -- if I get out with Julia then we win, if I don't, she's dead anyway and so am I -- GODDAMNIT, IT'S 8:12-- WE HAVE TWO HOURS BEFORE THEY KILL MY WIFE - - ARE YOU IN OR ARE YOU NOT?!<\/dialogue>\n    <scene_description>A powerful silence. Luther just stares. Gets it. Suddenly no argument -- almost optimistic:<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Of course we're in.<\/dialogue>\n    <scene_description>Our SCORE SOARS, we CUT TO: OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A260 EXT. SHANGHAI BUILDINGS - NIGHT A260<\/stage_direction>\n    <scene_description>An ESTABLISHING SHOT of the three buildings in question -- HELICOPTER MOVING around the central, angled roof target building -- Guard seen on top. We end behind Building #1, where Ethan can be seen, standing, looking down at the drop.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUILDING ROOF #1 - NIGHT<\/stage_direction>\n    <scene_description>In the wind, sixty stories above Shanghai on the satellite dish-dotted roof, the WINDOW WASHING RIG EXTENDS -- farther than it would ever need to go. And we see that Ethan, in black fatigues, checks the jump he's about to make.<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>You got eighteen minutes brotha.<\/dialogue>\n    <scene_description>-- and Ethan turns to Luther and LOADS A TRANQ GUN.<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>You're gonna make it over there, get to the lab, get the rabbit's foot, get back to the roof. When you're ready to make the jump, give me a call (radio me) and we're gonna come and get you.<\/dialogue>\n    <scene_description>Ethan looks at Luther, grateful. Scared.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Thanks for coming.<\/dialogue>\n    <scene_description>Luther just nods,<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>That's my job.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Let's play ball.<\/dialogue>\n    <scene_description>Luther exits to get ready, Ethan follows. Nearby, Luther peers through binocs to the DOUBLE-ANGLED ROOF BUILDING ACROSS THE STREET -- TWO GUARDS ON EITHER ROOF SECTION. Luther glances over to the angled roofs:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A261 EXT. HENGSHAN LU BUILDING ROOF - NIGHT A261<\/stage_direction>\n    <scene_description>ANGLE ON THE GUARDS as suddenly, from nowhere, a BASEBALL FALLS, lands on the angled roof and ROLLS OFF, dropping off the edge. The Guards turn to each other -- YELL something in Chinese -- try to figure it out -- but here comes another: SLAM! Then ANOTHER -- and ANOTHER -- FASTER -- and from their angle they can't see who's firing them, only the taller building they're coming from. The Guards from the second angled roof move to the top to see what's happening --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUILDING ROOF #2 - NIGHT<\/stage_direction>\n    <scene_description>Zhen and Declan use a BASEBALL PITCH MACHINE, LAUNCHING another one -- 262-264 OMIT 262-264<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUILDING ROOF #1 - NIGHT<\/stage_direction>\n    <scene_description>With the Guards distracted, Luther gestures to Ethan: YOU'RE ON -- and here's what happens -- and it's mind-blowing: ETHAN SPRINTS ACROSS THE EDGE OF THE ROOF, RUNNING FULL-BORE -- BUT NOT TOWARD THE HENGSHAN LU BUILDING -- NO, HE'S RUNNING IN THE OPPOSITE DIRECTION. AND WHEN HE GETS TO THE END HE JUMPS AS FAR AND POWERFULLY AS HE CAN -- AND ETHAN SAILS THROUGH THE NIGHT, A SEA OF LIGHTS STREAKING HUNDREDS OF FEET BELOW HIM.<\/scene_description>\n    <character>AS HE DROPS, HE BEGINS TO ARC DOWN -- AND THE ARC CONTINUES,<\/character>\n    <dialogue>BOTTOMING OUT AT 30 FLOORS, WHERE HE BEGINS TO ARC UP -- UP --<\/dialogue>\n    <character>UP -- UNTIL HE'S SAILING UPWARD, ON A TRAJECTORY TO LAND ON<\/character>\n    <dialogue>THE ROOF OF THE HENGSHAN LU BUILDING -- THAT'S WHEN HE CUTS<\/dialogue>\n    <character>THE BUNGIE CORD -- NOW ETHAN'S A SAILING PROJECTILE -- AND HE<\/character>\n    <dialogue>LANDS PAINFULLY ON HIS BACK, SLIDING DOWN THE ANGLED ROOF!<\/dialogue>\n    <character>THE GUARDS TURN, SHOCKED, AS ETHAN WHIPS OUT THE TRANQ GUNS<\/character>\n    <dialogue>AND FIRED DOUBLE-FISTED -- THE GUARDS REACH FOR THEIR GUNS<\/dialogue>\n    <character>BUT ETHAN'S FASTER: TWO SHOTS -- HE HITS THEM DEAD IN THE<\/character>\n    <dialogue>CHEST -- THEY CRUMPLE TO THE STAIRS AS ETHAN FALLS, GRABBING<\/dialogue>\n    <dialogue>ON TO SOME METAL, ROLLING TO A STOP JUST AT THE EDGE. He looks down. Then turns to Luther, watching him, and gives a scared thumbs up.<\/dialogue>\n    <dialogue>And into his walkie, so relieved he laughs:<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>He made it... he made it...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HENGSHAN LU BUILDING ROOF - NIGHT<\/stage_direction>\n    <scene_description>Ethan quickly moves to a Guard, grabs his walkie -- hiding out, he talks in CHINESE. One of the two baseball-perplexed Guards from the other roof section key something back to him on the radio. Ethan then grabs a Guard's SECURITY PASS KEY and runs to the roof access door, SWIPES the card, enters.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHANGHAI CENTRAL PARK - NIGHT<\/stage_direction>\n    <scene_description>TIME CUT: we're now in the PARK in the middle of Shanghai. Declan and Zhen sit in a 4x4, just waiting. They eye the HengShan Lu Building from here. After a horrible silence:<\/scene_description>\n    <character>ZHEN<\/character>\n    <dialogue>Twelve minutes. It's been twelve minutes.<\/dialogue>\n    <character>DECLAN<\/character>\n    <parenthetical>(half to himself)<\/parenthetical>\n    <dialogue>He's got five left. He doesn't call Davian in five, Julia's dead.<\/dialogue>\n    <character>LUTHER (V.O.)<\/character>\n    <dialogue>... anything?<\/dialogue>\n    <scene_description>Declan grabs his walkie, still staring through the binocs:<\/scene_description>\n    <character>DECLAN<\/character>\n    <dialogue>Negative. You?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHANGHAI CENTRAL PARK - LAKE - NIGHT<\/stage_direction>\n    <scene_description>Luther in another 4x4, peering up through his binoculars.<\/scene_description>\n    <character>LUTHER<\/character>\n    <parenthetical>(with dread)<\/parenthetical>\n    <dialogue>... nothing.<\/dialogue>\n    <scene_description>OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 4X4 - NIGHT<\/stage_direction>\n    <scene_description>Declan, tense, checks his watch. Then he raises the binocs to the HengShan Lu rooftop. Ethan's still not there.<\/scene_description>\n    <character>DECLAN<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <scene_description>Under her breath, Zhen begins reciting SOMETHING IN CHINESE. \\*<\/scene_description>\n    <character>DECLAN<\/character>\n    <dialogue>What is that.<\/dialogue>\n    <character>ZHEN<\/character>\n    <dialogue>... when I was little, I had a cat. It would run away. All the time. It's a prayer I used to say to bring him home.<\/dialogue>\n    <character>DECLAN<\/character>\n    <dialogue>Would it work?<\/dialogue>\n    <character>ZHEN<\/character>\n    <dialogue>Every time.<\/dialogue>\n    <character>DECLAN<\/character>\n    <dialogue>Then teach it to me, quick.<\/dialogue>\n    <scene_description>Zhen starts to say the prayer. Declan tries to follow -- and he's really trying, and she's teaching him -- and he's starting to get it -- she smiles -- and in the midst of it, suddenly ETHAN'S VOICE ERUPTS OVER THE COMMS:<\/scene_description>\n    <character>GUYS!<\/character>\n    <dialogue>I CAN'T GET TO THE ROOF!!!<\/dialogue>\n    <scene_description>PUSHING IN: Zhen beams in hope -- Declan grabs the radio:<\/scene_description>\n    <character>DECLAN<\/character>\n    <dialogue>THE HELL YOU MEAN YOU CAN'T<\/dialogue>\n    <character>ETHAN (V.O.)<\/character>\n    <dialogue>GET TO THE ROOF?! WHERE ARE (through GUNSHOTS) YOU?! LOOK UP!!! LOOKUPLOOKUP!!!<\/dialogue>\n    <character>DECLAN CRANES HIS NECK OUT THE WINDOW -- ZHEN TOO -- AND<\/character>\n    <dialogue>THAT'S WHEN THEY SEE IT: A LARGE GLASS PANE HALFWAY UP THE<\/dialogue>\n    <character>HENGSHAN LU BEING SHOT FROM WITHIN SUDDENLY EXPLODES OUTWARD -<\/character>\n    <dialogue>- ETHAN DIVES FROM THE SIDE OF THE BUILDING -- AS IF RUNNING<\/dialogue>\n    <character>IN THE AIR -- AND GUARDS APPEAR AT THE BROKEN GLASS FIRING<\/character>\n    <character>DECLAN<\/character>\n    <dialogue>-- aw, shit --<\/dialogue>\n    <character>ZHEN<\/character>\n    <dialogue>-- he's way too low--<\/dialogue>\n    <scene_description>Declan YANKS down the gearshift, the 4x4 PEELS OUT as --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MID-AIR BETWEEN BUILDINGS - NIGHT<\/stage_direction>\n    <character>ETHAN'S PARACHUTE OPENS -- DEAFENING WIND SHEER HITS -- YANKS<\/character>\n    <dialogue>HIM LATERALLY TOWARDS THE FACE OF THE BUILDING ACROSS FROM<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ADJACENT BUILDING - NIGHT<\/stage_direction>\n    <character>ETHAN CRASHES THROUGH THE GLASS, SLAMS ONTO THE FLOOR, ACROSS<\/character>\n    <dialogue>THE ROOM AND ONTO A DESK -- HE'S STUNNED -- ETHAN SEES: HE'S<\/dialogue>\n    <dialogue>STILL HOLDING The Rabbit's Foot CANISTER -- and then he sees the JANITOR, standing there, stunned. BUT JUST AS HE TAKES A BREATH THE BILLOWING PARACHUTE GRABS AIR AND HE'S SUDDENLY YANKED BACK OUT THE SHATTERED GLASS HOLE --<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHANGHAI BUILDINGS - NIGHT<\/stage_direction>\n    <character>ETHAN FREE-FALLS, THE NOW-SHREDDED PARACHUTE PROVIDING NO<\/character>\n    <dialogue>CRADLE -- AND HE PLUMMETS TOWARD THE TRAFFIC BELOW -- UNTIL<\/dialogue>\n    <character>THE PARACHUTE CATCHES ON AN OVERPASS AND THE CORD PULLS TAUT,<\/character>\n    <dialogue>AND ETHAN IS SUDDENLY YANKED TO A PAINFUL STOP, HANGING<\/dialogue>\n    <character>UPSIDE-DOWN, FIVE FEET ABOVE THE STREET, SURROUNDED BY<\/character>\n    <dialogue>WHIZZING TRAFFIC --<\/dialogue>\n    <character>ETHAN, SHAKEN, HEARS A STACCATO SCREECH AND LOOKS UP: A TRUCK<\/character>\n    <dialogue>JACK-KNIFES RIGHT FOR HIM, BRAKES LOCKED! ITS TIRES SCREAM<\/dialogue>\n    <character>AS ETHAN YANKS THE HARNESS RELEASE -- HE SUDDENLY DROPS,<\/character>\n    <dialogue>SLAMS HARD TO THE ASPHALT -- THE RABBIT'S FOOT CANISTER COMES<\/dialogue>\n    <character>LOOSE AND ROLLS AS THE TRUCK SHRIEKS OVER HIM -- ETHAN TURNS \\*<\/character>\n    <dialogue>HIS HEAD TO FOLLOW THE RABBIT'S FOOT --<\/dialogue>\n    <scene_description>The truck gone, Ethan SCRAMBLES AFTER THE CANISTER, running \\* through the street, CARS and MOPEDS BARELY missing him -- he finally GRABS the canister as a passing truck JUST MISSES HIM -- then ANOTHER SCREEEEECH! Ethan turns -- Declan and Zhen have just arrived in their 4x4:<\/scene_description>\n    <character>DECLAN<\/character>\n    <dialogue>GET IN, MAN, THEY'RE COMING!!!<\/dialogue>\n    <scene_description>Ethan turns -- down the street TWO SILVER HENGSHAN LU SECURITY SEDANS FLY ONTO THE STREET ROARING FOR THEM! Zhen jumps in the back as Ethan leaps into the passenger seat -- Declan SCREECHES OFF as we WHIP PAN: the HengShan Lu Security sedans SPEEDING in pursuit -- 274-275 OMIT 274-275<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DECLAN'S 4X4 - NIGHT<\/stage_direction>\n    <scene_description>Declan YANKS the steering wheel as Ethan pulls out the cell phone, quickly dialing --<\/scene_description>\n    <character>DECLAN<\/character>\n    <dialogue>-- how much time you got left?<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>LESS THAN A MINUTE!<\/dialogue>\n    <scene_description>SUDDENLY THE BACK WINDOW OF the 4x4 EXPLODES -- an unexpected SCREAM from Zhen as GLASS RAINS:<\/scene_description>\n    <character>DECLAN<\/character>\n    <dialogue>YOU OKAY?!<\/dialogue>\n    <character>ZHEN<\/character>\n    <parenthetical>(beat, furious)<\/parenthetical>\n    <character>NOT YET!<\/character>\n    <dialogue>-- and Zhen POPS UP, OPENS FIRE on the sedans, Declan SCREAMING the 4x4 around a corner, into:<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHANGHAI UNDERPASS - NIGHT<\/stage_direction>\n    <scene_description>-- a long concrete underpass -- and just as Ethan HEARS HIS PHONE CALL RINGING, THERE'S A STATIC BURST: THE PHONE LOSES SIGNAL!!!<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>DAMNIT!!! GET US OUTTA THIS TUNNEL, I DON'T HAVE A SIGNAL!!!<\/dialogue>\n    <character>DECLAN<\/character>\n    <dialogue>I'M ON IT I'M ON IT I'M ON IT!!!<\/dialogue>\n    <scene_description>OMIT DECLAN CARVES HIS WAY THROUGH THE UNDERPASS, PUTTING A TRUCK between them and the two sedans -- but a GUARD from the lead sedan leans out from the passenger window, FIRING A GUN at them as Ethan's eyes are laser-locked on the cell LCD SCREEN -- WAITING FOR THE SIGNAL BARS TO RETURN --<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>-- come on come on come on --<\/dialogue>\n    <scene_description>-- all this while Zhen TRADES GUNFIRE and suddenly BAM! She's hit in the shoulder and falls back in the truck, hard -- Ethan quickly climbs back to check on her:<\/scene_description>\n    <character>ZHEN<\/character>\n    <dialogue>-- damnit -- I'm sorry--!<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>You'll be okay!<\/dialogue>\n    <scene_description>Ethan hands the cell to Declan --<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>The second there's coverage,<\/dialogue>\n    <character>DECLAN<\/character>\n    <dialogue>you tell me! -- what are you doing?!<\/dialogue>\n    <dialogue>Ethan grabs Zhen's gun, then PULLS OUT THE LENGTH OF BACKSEAT SEATBELT -- then Ethan OPENS THE REAR DOOR AND LEANS OUT OF THE 4x4, QUICKLY LOWERING HIMSELF TO SPEEDING STREET LEVEL -- he aims his gun under the truck behind them to the tires of the pursuing sedans -- and WITH THE ASPHALT RIPPING BY INCHES FROM HIS HEAD, ETHAN FIRES TWO QUICK POPS!<\/dialogue>\n    <dialogue>The leading sedan's TIRES EXPLODE -- the car SWERVES OUT OF CONTROL AND CRASHES -- THE OTHER SEDAN CRASHING BEHIND IT -- just as there are SIGNAL BARS ON THE CELL PHONE:<\/dialogue>\n    <character>DECLAN<\/character>\n    <dialogue>YOU GOT A SIGNAL MAN!<\/dialogue>\n    <scene_description>Ethan PULLS HIMSELF back into the truck, closes the door and grabs the phone, DIALS --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHANGHAI - NIGHT<\/stage_direction>\n    <scene_description>Declan's 4x4 SCREAMS out of the underpass into the city -- OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DECLAN'S 4X4 - NIGHT<\/stage_direction>\n    <scene_description>Ethan hears the number he dialing RINGING -- finally DAVIAN ANSWERS:<\/scene_description>\n    <character>DAVIAN (V.O.)<\/character>\n    <dialogue>Five seconds to go, d'you realize that?<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>I just got it. The Rabbit's Foot, I have it.<\/dialogue>\n    <character>DAVIAN (V.O.)<\/character>\n    <dialogue>Pudong Nan Lu. Be there in ten minutes. Alone.<\/dialogue>\n    <character>CLICK.<\/character>\n    <dialogue>OFF ETHAN, EXHAUSTED.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMF - DAY<\/stage_direction>\n    <scene_description>Musgrave walks through the main tunnel -- his CELL RINGS -- he answers as he walks:<\/scene_description>\n    <character>MUSGRAVE<\/character>\n    <dialogue>-- yeah.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DECLAN'S 4X4 - NIGHT<\/stage_direction>\n    <scene_description>As Declan drives, fast. Zhen in the back, wounded but alive. Ethan on his cell -- he's opened a miniaturized TAGGING KIT from the safehouse -- APPLIES A PINHEAD-SIZED ELECTRONIC TAG DEVICE INTO A RECESSED SCREW HOLE ON The Rabbit's Foot.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Go secure?<\/dialogue>\n    <scene_description>Stops -- urgent, quiet:<\/scene_description>\n    <character>MUSGRAVE<\/character>\n    <dialogue>We are. Did you get it?!<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>I'm tagging it now -- you need to run a trace, make sure we have eyes on this thing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMF COMPUTER AREA - DAY<\/stage_direction>\n    <scene_description>Musgrave races past Analyzers at workstations, finding an empty, private desk -- he quickly logs in --<\/scene_description>\n    <character>MUSGRAVE<\/character>\n    <dialogue>What's the tag.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>6-3-9-6-4-1.<\/dialogue>\n    <scene_description>-- and Musgrave is entering this code into a tracer program -- which suddenly searches and satellite tracks the tag: A GPS MAP APPEARS on screen, moving through Shanghai. And just as Luther pulls a hard, fast left onto a street:<\/scene_description>\n    <character>MUSGRAVE<\/character>\n    <dialogue>Got it. I see you're on Luangtao Lu.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>If you don't hear from me in twenty- four hours, send an army after this thing.<\/dialogue>\n    <character>MUSGRAVE<\/character>\n    <dialogue>Good luck.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>... you too.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PUDONG NAN LU - NIGHT<\/stage_direction>\n    <scene_description>The magnificent, crumbled remains of an old neighborhood. The megacity in the distance. BOOM DOWN as Declan's 4x4 arrives -- and Luther's too. Ethan and Luther get out. A grim moment of truth.<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Ethan, man...<\/dialogue>\n    <parenthetical>(beat, hating this)<\/parenthetical>\n    <dialogue>You know they probably plan to kill you both.<\/dialogue>\n    <scene_description>The look holds between them; perhaps the last time these old friends will ever see each other. Ethan, as bruised and bloody now as when we first met him, forces a smile.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Then don't wait up.<\/dialogue>\n    <scene_description>His look is a deeply-felt thank you. Same to the rest.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSGRAVE'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Musgrave packs up his briefcase -- about to leave -- when Brassel enters, holding a redacted file:<\/scene_description>\n    <character>BRASSEL<\/character>\n    <dialogue>Mr. Musgrave.<\/dialogue>\n    <scene_description>Musgrave stops, his back to the enemy.<\/scene_description>\n    <character>BRASSEL<\/character>\n    <dialogue>It's come to my attention that yesterday afternoon you sent a team to the Far East.<\/dialogue>\n    <character>MUSGRAVE<\/character>\n    <parenthetical>(turns to him)<\/parenthetical>\n    <dialogue>We received intel that Hadaam Saleen Bahar was en route to Shanghai.<\/dialogue>\n    <character>BRASSEL<\/character>\n    <dialogue>Hadaam Saleen Bahar.<\/dialogue>\n    <character>MUSGRAVE<\/character>\n    <dialogue>... that's right.<\/dialogue>\n    <character>BRASSEL<\/character>\n    <dialogue>You know what I'd love? I'd love to see that intel.<\/dialogue>\n    <parenthetical>(a threat)<\/parenthetical>\n    <dialogue>I'll be in my office.<\/dialogue>\n    <scene_description>Brassel heads off -- Musgrave anxiously watches him go --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PUDONG NAN LU - DAWN<\/stage_direction>\n    <scene_description>The sun rises. Ethan stands in the rubble, the towering city in the distance. He's staring down at his finger. The PANDA RING on it. A faint smile... until he turns: a WHITE MERCEDES LIMOUSINE pulls up. A long beat. Ethan finally gets into the back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMOUSINE - DAWN<\/stage_direction>\n    <scene_description>Ethan sits. For a moment it's just quiet and weird. Then the tinted glass partition behind the driver LOWERS. Beside the driver is Kimbrough. \\*<\/scene_description>\n    <character>KIMBROUGH \\*<\/character>\n    <dialogue>No negotiations. Just drink it.<\/dialogue>\n    <scene_description>Ethan's eyes dart to a container of INDIGO LIQUID. What the hell can he do? So he takes the container. Opens it. And with his eyes trained on Kimbrough, he drinks. \\* And things begin to STUTTER -- SKIP and DIM -- Ethan's eyelids flutter -- focus impossible to maintain -- and just as ETHAN PASSES OUT JUST AS WE CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A290 INT. ROOM - DAY A290<\/stage_direction>\n    <scene_description>BLURRING in and out of focus... we are in ETHAN'S POV... can't discern our surroundings... so groggy... SUDDENLY: A HAND grab's Ethan's hair and YANKS HIS HEAD BACK -- Brownway -- holding a CO2 injector gun -- FIRES something up into Ethan's nose -- he RECOILS and again we GO: BLACK... until we fade back up on:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM - DAY<\/stage_direction>\n    <scene_description>ETHAN. EXTREMELY TIGHT on his brutalized face. Breathing heavy, bruises fresh; the wounds, grime and sweat speak of an exhausting, disorienting and tortured journey. Wildly alert, Ethan's eyes are trained off-camera. He looks all at once terrified, blind with rage, heartbroken. Then, finally, a VOICE:<\/scene_description>\n    <character>VOICE (O.S.)<\/character>\n    <dialogue>There's an explosive charge in your head.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Sound familiar?<\/dialogue>\n    <scene_description>The man speaking to Ethan is DAVIAN. He cocks the gun. Standing behind him is BROWNWAY. Bandage on his nose.<\/scene_description>\n    <character>DAVIAN<\/character>\n    <dialogue>The Rabbit's Foot. Where is it.<\/dialogue>\n    <scene_description>Ethan, we now realize, is BOUND to a bolted-down chair. A barber's chair. A beat.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>I gave it to you.<\/dialogue>\n    <character>DAVIAN<\/character>\n    <parenthetical>(beat, cold as hell)<\/parenthetical>\n    <dialogue>Ethan? Where's the Rabbit's Foot.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Wh-- what are you saying, that-- was that not it? What I gave you, that-- was that not The Rabbit's Foot?<\/dialogue>\n    <character>DAVIAN<\/character>\n    <dialogue>I'm gonna count to ten. You tell me where The Rabbit's Foot is... or she dies.<\/dialogue>\n    <scene_description>Ethan's eyes flick back to where they were before -- and we DOLLY TO REVEAL that there's a fourth person here: JULIA. And Davian holds the gun to her head. Blind with fear, Julia just concentrates on not throwing up. On the verge of madness, Ethan says with love and strength:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Jules-- honey-- it's gonna be<\/dialogue>\n    <character>DAVIAN<\/character>\n    <dialogue>okay-- it's gonna be okay, d'you understand--? One.<\/dialogue>\n    <dialogue>Holy shit, the clock has started. Julia SQUEALS quietly, muffled from behind the tape. He begins relatively calmly:<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Listen to me: I got exactly<\/dialogue>\n    <character>DAVIAN<\/character>\n    <dialogue>what you asked for -- did you want something else? If there was a misunderstanding then I will FIX it-- I can<\/dialogue>\n    <dialogue>get it whatever you wa-- Two.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Hey man, I'm talking to you --<\/dialogue>\n    <character>DAVIAN<\/character>\n    <dialogue>put the gun down -- was that not The Rabbit's Foot? Did you want something else--? Just-- listen, talk to me. We can talk, like gentlemen--<\/dialogue>\n    <scene_description>Three. Ethan suddenly STRUGGLES LIKE MAD to extricate himself from his bonds -- but even in this adrenaline burst, his TIGHT HANDCUFFS only rip into his skin. Watching Ethan desperate like this only makes Julia more afraid. Finally Ethan stops struggling. He switches gears:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>All right. Of course I know where The Rabbit's Foot is -- I can help you --<\/dialogue>\n    <character>DAVIAN<\/character>\n    <dialogue>... the way you helped me on the airplane?<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Put the gun down. Let her go man, I am not telling you like this.<\/dialogue>\n    <character>DAVIAN<\/character>\n    <dialogue>That's up to you. Four.<\/dialogue>\n    <scene_description>Ethan knows he's got to try something else -- so:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>The Rabbit's Foot's in Paris -- you want to know where in Paris? Then you let her go -- 'cause you will never find it without me--<\/dialogue>\n    <character>DAVIAN<\/character>\n    <dialogue>It's not in Paris. Five.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>I can get it for you-- but you kill her? You do this? You get NOTHING -- and that's your choice.<\/dialogue>\n    <character>DAVIAN<\/character>\n    <parenthetical>(beat, then)<\/parenthetical>\n    <dialogue>Six.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>-- HEY, ARE YOU LISTENING TO ME?!<\/dialogue>\n    <dialogue>The only way you'll get what you want is for you to put that gun down!<\/dialogue>\n    <scene_description>And OFF ETHAN, we CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIR FIELD - DAY<\/stage_direction>\n    <scene_description>PUSH IN as a newly-arrived airplane opens its door -- Luther, Zhen (bandaged) and Declan make their way down the stairs as they stop, realizing they're SURROUNDED by a dozen IMF AGENTS -- GUNS DRAWN. And standing there on the tarmac is Brassel.<\/scene_description>\n    <character>BRASSEL<\/character>\n    <dialogue>Seems we have a lot to talk about.<\/dialogue>\n    <scene_description>From Luther looking at the IMF Agents aiming GUNS at them to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM - DAY<\/stage_direction>\n    <scene_description>SUDDENLY DAVIAN SHOOTS JULIA IN THE LEG. She SCREAMS behind the tape as Ethan YELLS --<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>NO! YOU SON-OF-A-BITCH!!! STOP!!! Jules-- oh God-- stay with me-- look at me--<\/dialogue>\n    <character>DAVIAN<\/character>\n    <dialogue>YOU THINK I'M PLAYING?! YOU THINK I WON'T DO IT?! WHERE IS IT?! WHERE THE HELL IS<\/dialogue>\n    <character>IT?! SEVEN!<\/character>\n    <dialogue>-- Ethan STRAINS MADLY again to break out, ROARING:<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>I WILL KILL YOU MYSELF, I SWEAR TO<\/dialogue>\n    <character>GOD!<\/character>\n    <dialogue>DAVIAN<\/dialogue>\n    <scene_description>Eight. -- Julia SOBS now, bleeding -- Ethan gives up on trying to break free as Davian SHOVES the gun into her temple, his finger TIGHTENING on the trigger -- Ethan going insane -- he can only make a desperate appeal, tears flooding his eyes --<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>-- please don't do this-- let<\/dialogue>\n    <character>DAVIAN<\/character>\n    <dialogue>her go -- I promise you, I used the plans Brassel sent you in Rome-- if that wasn't what you wanted then that's not my fault! I can figure out how to get whatever you want -- killing her gets you<\/dialogue>\n    <dialogue>nothing! Please-- imagine -- Nine. someone you love-- there's gotta be someone you love-- imagine them with a gun to their head, please let her go -- don't just do this, I want to help you get whatever you want, but you have to do what's right, what you know is right! Please! NO--!<\/dialogue>\n    <scene_description>-- Ten. AND AS DAVIAN'S TRIGGER FINGER TIGHTENS --<\/scene_description>\n    <character>ETHAN<\/character>\n    <scene_description>AND THE MOST HORRIFIC THING HAPPENS: DAVIAN PULLS THE TRIGGER, SHOOTING JULIA IN THE HEAD. ETHAN GASPS IN WIDE-EYED SHOCK -- and suddenly it's quiet. Blood dripping from the bullet-burned temple of Ethan's wife. Slumped now, dead, in a chair. WIDE SHOT of Ethan, bound to the chair, staring, devastated, at the corpse of the woman he loves. HOLD ON THIS, longer than you want. DAVIAN just holsters the weapon and moves to the door as it OPENS, and a man enters. But Ethan is so in shock at the death of his wife that he doesn't look up... and the man exchanges a few words with Davian before Davian and Brownway exits. But Ethan can't take his eyes off Julia. Then the man pulls up a chair and sits, directly in Ethan's eyeline. We SLOWLY RACK FOCUS... THE MAN SITTING ACROSS FROM HIM IS MUSGRAVE. And Ethan stares -- shocked -- bewildered -- and Musgrave studies his eyes. Then says, regarding Julia:<\/scene_description>\n    <character>MUSGRAVE<\/character>\n    <dialogue>It's complicated. You can't just open the canister. We needed to be sure that you brought the real thing. The Rabbit's Foot. Now we know.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I'm here to offer you another chance, Ethan. Look --<\/dialogue>\n    <scene_description>Musgrave reaches toward Julia -- Ethan, in agony, not wanting him to touch her, cries out:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>-- NO -- DON'T YOU TOUCH HER--!<\/dialogue>\n    <scene_description>But Musgrave grabs the duct tape and RIPS IT OFF -- AND WHERE THE TAPE STUCK TO JULIA'S SKIN, HER FACE RIPS AWAY -- REVEALING THE SKIN -- HALF THE FACE -- OF ANOTHER WOMAN. THE UPPER HALF OF THE DEAD WOMAN'S FACE IS JULIA -- THE LOWER HALF BELONGS TO SOROUSHI, DAVIAN'S NOW-DEAD HEAD OF SECURITY. ETHAN, SHOCKED, REALIZES THAT THIS WAS NEVER JULIA.<\/scene_description>\n    <character>MUSGRAVE<\/character>\n    <dialogue>Davian's head of security. At the Vatican, she failed him.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Julia's alive, Ethan. Because of me, Julia's still alive. Davian wanted to kill you both, but I convinced him otherwise. Julia hasn't seen me -- she doesn't know anything, she's clean. And she'll get to go on with her life... as long as you tell me about Lindsey's message. That's why I'm here.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Did Lindsey know about me and Davian? Is that why she sent the message to you? Did you read the it? Did anyone else see it? Did she know anything about this? Ethan? You said, Brassel sent the plans to Rome....was that from Lindsey? Did she buy that?<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>... you told him...that's how Davian knew Lindsey was coming... you told him.<\/dialogue>\n    <character>MUSGRAVE<\/character>\n    <dialogue>When I found out Brassel had sent her in?<\/dialogue>\n    <parenthetical>(yes... then:)<\/parenthetical>\n    <dialogue>I had to be loyal to Davian and Lindsey. I thought you could get her back. That was... that wasn't easy. Lindsey...what was I suppose to do?<\/dialogue>\n    <parenthetical>(considers, then:)<\/parenthetical>\n    <dialogue>But I wasn't gonna let Brassel undo all the work I'd done. I took action, Ethan, on behalf of every working family in our country -- the armed forces, the White House -- I'd had enough of Brassel and his sanctimony. IMF Executive Director -- he's an Affirmative Action posterboy. You grab Davian like Brassel wanted? Then what? Davian's a weed. You cut him out, two more spring up like him the next day: Arrest him, you get nothing. Use him. Collaborate with him -- and it's Christmas.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>In eighteen hours the Rabbit's Foot will be delivered to its Middle Eastern buyer and we'll have credible intel to prove it. Actionable evidence. US Security Council will have the report by this time tomorrow -- we're talking a military strike within a week and when the sand settles, our country does what it does best: Clean up. Infrastructure. Democracy wins. You want to play the morality game or do you want to survive?<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Do you want Julia to survive.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Lindsey was a casualty of this operation. But Julia doesn't have to be.<\/dialogue>\n    <scene_description>Ethan stares -- mind cranking -- as he sees a hint of desperation, maybe even fear in Musgrave's eyes...<\/scene_description>\n    <character>MUSGRAVE<\/character>\n    <dialogue>What was Lindsey's message? Tell me... and Julia walks free. It's the only play you have left.<\/dialogue>\n    <scene_description>Ethan stares -- and finally appears to accept his fate. He nods. Says quietly:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>... not until I hear Julia's voice. Know she's alive.<\/dialogue>\n    <character>MUSGRAVE<\/character>\n    <dialogue>Of course....<\/dialogue>\n    <scene_description>Musgrave pulls a cell phone from his pocket and dials...<\/scene_description>\n    <character>MUSGRAVE<\/character>\n    <parenthetical>(into phone, quietly)<\/parenthetical>\n    <dialogue>Put her on.<\/dialogue>\n    <scene_description>Musgrave moves to Ethan, holds the phone to Ethan's ear. Ethan hears rustling -- disturbing sounds -- then:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>... Jules? Jules?<\/dialogue>\n    <character>JULIA (V.O.)<\/character>\n    <parenthetical>(scared, disoriented)<\/parenthetical>\n    <dialogue>Ethan?<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>When we met -- there was a lake near the mountain -- what was it called?<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>... Lake Wanaka.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Jules...<\/dialogue>\n    <scene_description>And just then Musgrave hits \"END\" -- but in the next instant, ETHAN SUDDENLY BITES DOWN ON MUSGRAVE'S HAND! LIKE A PIT BULL, HE PULLS MUSGRAVE TOWARD HIM AND HEADBUTTS HIM HARD, KNOCKING HIM OUT COLD! MUSGRAVE SLUMPS OVER ETHAN, WHO DIGS THROUGH MUSGRAVE'S SUIT POCKET -- GRABS A PEN -- SNAPS THE METAL CLIP OFF THE SIDE AND IN AN INCREDIBLE DISPLAY OF DEXTERITY, HE CONTORTS HIS WRIST TO LOCKPICK HIS CUFFED HAND - - ONE ARM FREE NOW, HE QUICKLY PICKS THE OTHER, THEN CUTS THE DUCT TAPE ON HIS LEGS -- Ethan goes to Musgrave and picks up Musgrave's CELL PHONE off the floor -- Ethan dials -- 293-295AOMIT 293-295A<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>295B INT. IMF - TECH SERVICES LAB - DAY 295B<\/stage_direction>\n    <scene_description>The phone on BENJI's desk RINGS -- he answers without looking down from his monitor:<\/scene_description>\n    <character>BENJI<\/character>\n    <dialogue>Benjamin Dunne.<\/dialogue>\n    <scene_description>INTERCUTTING -- As Ethan speaks from the barber shop, QUIETLY:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>-- Benji, it's me, I need you help.<\/dialogue>\n    <scene_description>Benji turns WHITE -- he knows Ethan's a wanted man, knows he's probably calling for help --<\/scene_description>\n    <character>BENJI<\/character>\n    <dialogue>-- what? No -- really?<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>I need a location trace on the last call that was made from the phone I'm calling you from.<\/dialogue>\n    <character>BENJI<\/character>\n    <parenthetical>(urgent whisper, terrified)<\/parenthetical>\n    <dialogue>-- no -- Ethan, they're after you -- d'you realize you've made Interpol's most wanted list? Which is -- by the way -- a spectacular list to be on --<\/dialogue>\n    <scene_description>As Ethan searches Brownway -- finds a gun -- checks it:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Damnit, it's me -- d'you think I'm a traitor? D'you think I'd turn against the IMF unless I was being set-up?<\/dialogue>\n    <character>BENJI<\/character>\n    <dialogue>I think I like my job. A lot -- you know they're taping this call.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>And you know you can erase it: I'm giving you the number, are you ready?<\/dialogue>\n    <character>BENJI<\/character>\n    <parenthetical>(grabs pen)<\/parenthetical>\n    <dialogue>Christ, I'm gonna lose my citizenship too, you realize that?<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>7-3-4-4-2-5-6-4-3-6-7.<\/dialogue>\n    <character>BENJI<\/character>\n    <dialogue>....hold The line, please.<\/dialogue>\n    <scene_description>Benji hangs up and crosses to his desk. Ethan quietly opens the door, looks down the hall, sees DAVIAN'S MEN, in a room at the end of the hall. The other way? Dead end. He re- enters the room. Checks the back way: stairs. He heads up --<\/scene_description>\n    <character>BENJI<\/character>\n    <dialogue>Are you there?<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>BENJI<\/character>\n    <parenthetical>(typing, paranoid)<\/parenthetical>\n    <dialogue>Maybe we'll share a cell together.<\/dialogue>\n    <parenthetical>(then, reluctantly)<\/parenthetical>\n    <dialogue>It's in Shanghai: there, I've aided and abetted an enemy of the state, fantastic.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>I need you to get me there. Use this phone to track my location.<\/dialogue>\n    <character>BENJI<\/character>\n    <dialogue>Oh, you're there too -- you're close--<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Get me there!<\/dialogue>\n    <character>BENJI<\/character>\n    <dialogue>Head north -- there's a bridge, you have to get to it and cross it, a quarter mile north -- what are you doing in Shanghai?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A296 EXT. XITANG - BARBERSHOP ROOFTOPS (LOCATION)- DAY A296<\/stage_direction>\n    <scene_description>Ethan BURSTS from the old building into daylight -- the ancient town below -- Ethan makes his way FAST along rooftops toward the compound -- LEAPING from building to building -- until he's out of sight of the perimeter guards -- DROPPING down to the street, MOVING FAST as Benji works his magic:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>I'll tell you when I see you.<\/dialogue>\n    <character>BENJI<\/character>\n    <dialogue>You mean when we're in prison together? We should have plenty of time.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>You're not going to jail.<\/dialogue>\n    <scene_description>Ethan rounds a corner -- comes to a stop in front of a VILLAGE HOSPITAL -- makes a mental note -- Benji watches him --<\/scene_description>\n    <character>BENJI<\/character>\n    <dialogue>Make a left -- good -- good, now turn right.<\/dialogue>\n    <scene_description>Someone walks past Benji, he smiles, pretends it's nothing, then:<\/scene_description>\n    <character>BENJI<\/character>\n    <dialogue>-- no, go back -- down the alley.<\/dialogue>\n    <scene_description>Ethan stops, frustrated, in front of a MEDICAL CLINIC -- then turns and heads back --<\/scene_description>\n    <character>BENJI<\/character>\n    <dialogue>Right up ahead, there should be a wall --<\/dialogue>\n    <parenthetical>(types)<\/parenthetical>\n    <dialogue>It's a private residence, I have no details on it, but the signal bearing's plus or minus three meters from the northeast corner --<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>I owe you.<\/dialogue>\n    <character>BENJI<\/character>\n    <dialogue>My life's over, you're welcome.<\/dialogue>\n    <scene_description>Ethan hangs up -- and quickly climbs the wall, enters the estate. B-C296 OMIT B-C296<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. XITANG MEDICAL CLINIC (STAGE SET) - DAY<\/stage_direction>\n    <scene_description>Ethan breaches the clinic, phone in hand, slowly taking in the maze of medical partitions and hallways. In the middle of the room, FOUR MEN play Mah Jong. One of them gestures toward a back room, casual conversation -- Ethan following pure instinct as he makes his way. Senses on high alert, Ethan stops -- hears a noise, turns -- it's one of Davian's men coming toward him. Ethan ducks down, but accidentally tips a tray of SUPPLIES -- The GUARD DRAWS HIS GUN, reacting to the noise -- moves slowly toward the source. Ethan has no choice -- goes on the offensive -- throws the medical supplies at the guard, giving Ethan the millisecond distraction he needs to take the guard down -- Ethan immediately gets hold of the GUARD'S GUN -- GUARD #2 hears the fight, enters the room through double doors -- as they swing back and forth, Ethan catches a MOMENTARY GLIMPSE OF JULIA -- determined, he SHOOTS GUARD #2 with Guard #1's gun, then finishes off Guard #1, still in his grip --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PATIENT ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Ethan bursts in, intense eyes softening as they fall on JULIA, MOUTH TAPED, in absolute shock -- and he reaches her -- she WHIMPERS through the duct tape --<\/scene_description>\n    <character>ETHAN<\/character>\n    <parenthetical>(heartfelt)<\/parenthetical>\n    <dialogue>-- Jules, Jules, it's gonna be --<\/dialogue>\n    <character>SUDDENLY ETHAN FALLS TO HIS KNEES IN PAIN, CLUTCHING HIS HEAD<\/character>\n    <dialogue>-- DAVIAN APPEARS BEHIND HIM HOLDING THE TRIGGER TO THE CHIP<\/dialogue>\n    <character>IN ETHAN'S HEAD -- HE KICKS THE GUN AWAY.<\/character>\n    <dialogue>DAVIAN<\/dialogue>\n    <scene_description>I've activated the charge in your head. He tosses the trigger to the ground.<\/scene_description>\n    <character>DAVIAN<\/character>\n    <dialogue>You have maybe four minutes left.<\/dialogue>\n    <scene_description>Ethan is in excruciating pain -- Julia breathing heavily, terrified, perplexed -- as Davian circles Ethan and KICKS HIM IN THE FACE --<\/scene_description>\n    <character>DAVIAN<\/character>\n    <dialogue>I told you she'd call your name.<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>Stop it! Don't -- Ethan!<\/dialogue>\n    <scene_description>She can only watch helplessly as Davian continues to THRASH an incapacitated Ethan.<\/scene_description>\n    <character>DAVIAN<\/character>\n    <dialogue>I told you I was going to kill you in front of her, but I'm going to kill her in front of you...<\/dialogue>\n    <scene_description>Davian drags Ethan now, who helplessly clutches at Davian's legs, Davian spins around and brutally clocks Ethan twice across the jaw. Ethan manages to lift his head up long enough to lock eyes with Julia, and it's all he needs -- Ethan rallies strength and focus from some impossible place -- As Davian picks up the gun, Ethan tackles Davian -- sending both men flying through a partition -- landing on the floor. Ethan gets up, smashes a stunned Davian into a cabinet. Davian crumples, struggling to pick himself up as Ethan does the same. Ethan rallies again, charging into Davian, sending them flying through glass doors, out onto the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - CONTINUOUS (STILL SC. 297)<\/stage_direction>\n    <scene_description>Davian rolls on top of a severely weakened Ethan, pinning him on the ground. Ethan looks up, holds Davian in a death grip. Davian looks up, horrified -- a sickening BAM! A truck hits him square on, sending him HURTLING off Ethan who leaps to his feet, races off --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. XITANG MEDICAL CLINIC- CONTINUOUS (STILL SC. 297)<\/stage_direction>\n    <scene_description>Back inside, almost blinded by the pain, Ethan stumbles his way back toward Julia. Grabs the first piece of equipment he can focus on and frees Julia from her cuffs. Julia sees him fighting incredible pain:<\/scene_description>\n    <character>JULIA<\/character>\n    <dialogue>Ethan, what's happening... are you okay... I don't understand...<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Just wait --<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>What do these men want? Why are we here? How did you find me?<\/dialogue>\n    <scene_description>Ethan scans the ground for the gun from one of the fallen guards -- finds it -- grabs an extra mag, then reels back with pain. Julia literally helps him stand. Ethan eagerly kisses her.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>I'll tell you everything... just stay with me!<\/dialogue>\n    <scene_description>Ethan leads Julia out of there, knowing he doesn't have long to live.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A298 INT. MEDICAL OFFICE WAITING &amp; HERBAL ROOM - CONTINUOUS A298<\/stage_direction>\n    <scene_description>Ethan searches a small cubicle.<\/scene_description>\n    <character>JULIA<\/character>\n    <dialogue>Ethan... what are you doing? We gotta get outta here --<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>-- Not yet.<\/dialogue>\n    <scene_description>He continues searching. Determined.<\/scene_description>\n    <character>HERBAL ROOM<\/character>\n    <dialogue>A mix of the old and the new, huge walls filled with jars containing every STRANGE HERB AND ROOT imaginable -- Ethan scans the room, never stopping --<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>They don't have one...<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>Have what?<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>A defibrillator.<\/dialogue>\n    <scene_description>And he's on the move again and out of the room.<\/scene_description>\n    <character>JULIA<\/character>\n    <dialogue>A defibrillator?<\/dialogue>\n    <scene_description>She follows after her husband, baffled.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANOTHER ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Ethan spots AN X-RAY MACHINE in the adjacent room. He quickly reaches and examines the machine. Flips the switch on a POWER BOX -- satisfied, he hands Julia a gun.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>This is a Barretta 92F.<\/dialogue>\n    <scene_description>He slides behind the machine, pulls out the wires as Julia holds the gun with trepidation.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Don't point it at me.<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>It's a very accurate close range weapon.<\/dialogue>\n    <scene_description>Ethan SMASHES the control box, pulling out the wires as he very calmly explains:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>It holds 15 rounds. When the mag's empty, the slide goes back like this --<\/dialogue>\n    <scene_description>His hands showing her hands what to do, he gives her the gun.<\/scene_description>\n    <character>JULIA<\/character>\n    <dialogue>How do you know so much about this?<\/dialogue>\n    <scene_description>Ethan finds a bowl -- fighting through the pain -- he sets the bowl on the machine and places the wires in it. What's he doing?!! Stumbling, he continues with Julia:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>This is how you reload... you push this button, the empty mag falls out, shove the other one in like the batteries in the flashlight in the kitchen... then hit the slide release.<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>Why give me a gun?<\/dialogue>\n    <scene_description>Ethan takes SALINE from the top of a cabinet, sending the TONGUE DEPRESSORS to the ground. He pours the water on the wires in the bowl.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>If you have to use this... stay low, identify your enemy... point and shoot... it's very simple... stand back...<\/dialogue>\n    <scene_description>He hits a switch. BAM! Sparks fly.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Good --<\/dialogue>\n    <scene_description>Ethan grabs the wires with both hands. He locks eyes with Julia.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>I have a charge in my head... I'm going to die unless you kill me --<\/dialogue>\n    <scene_description>He sits down, back against a cabinet.<\/scene_description>\n    <character>JULIA<\/character>\n    <dialogue>What?!<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Throw the switch on and off -- don't forget the off.<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>I can't do that.<\/dialogue>\n    <scene_description>She slowly walks back to the switch box.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>You can bring me back... I'll come back.<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>I can't --<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>You have to -- there's no time... now, please...<\/dialogue>\n    <scene_description>Ethan puts the tongue depressors in his mouth as Julia reaches to throw the switch.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Waitwaitwait...<\/dialogue>\n    <scene_description>He takes the tongue depressors out of his mouth.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>I love you.<\/dialogue>\n    <character>JULES<\/character>\n    <dialogue>I love you, too.<\/dialogue>\n    <scene_description>The depressors quickly go back in. Ethan braces himself. JULIA FLIPS THE SWITCH ON -- A HEART STOPPING CURRENT OF ELECTRICITY COURSES THROUGH ETHAN -- HIS WHOLE BODY TENSES -- JULIA FLIPS THE SWITCH OFF -- ETHAN FALLS DEAD TO THE GROUND. SUDDENLY, BULLETS RICOCHET ALL AROUND JULIA -- THE PURSUING GUARDS HAVE FOUND THEM IN THE CLINIC. Julia SCREAMS, quickly takes cover, shielding Ethan. The gun accidentally goes off. She looks at Ethan, eyes dead. With her heart in her throat, she moves to the cabinet. She looks around the corner, then slides up the wall, exposing herself. Scared as hell, she throws a bottle into the next room, flushing out the enemy. Nothing. Slides back down. She sees a reflection, calculates the moment, stands and TRADES GUNFIRE -- Julia fights the tears but stays strong -- firing, losing bullets fast but managing to hit the ATTACKER -- she glances at Ethan, lying there, DEAD -- tears streaming, she backs into the room... FAR BEHIND HER, ANOTHER FIGURE. We want to scream out for her -- to warn her -- save her -- The tension builds as wooden floorboards creak, just as the man behind her COCKS HIS GUN, about to shoot, JULIA, in a fucking killer move, WHIPS AROUND, GUN DRAWN AND FIRES FOUR TIMES -- HITTING THE MAN SQUARE IN THE CHEST -- IT'S MUSGRAVE! As he goes down, the Rabbit's Foot rolls from the briefcase Musgrave was holding. A last attempt, Musgrave FIRES a wild shot into the air -- he lays back-- DEAD -- TIGHT ON JULIA, shocked at her own action -- hands shaking, barely able to breathe -- then: ETHAN. In a frenzy, Julia straddles Ethan -- PUSHING on his chest with both hands -- trying desperately to revive him -- she COUNTS 'one-two-three' out loud... But he lies there, eyes wide -- she pinches his nose and BREATHES into his mouth -- nothing -- PUSHES his chest again, driven, nothing on earth can stop her...<\/scene_description>\n    <character>JULIA<\/character>\n    <dialogue>Come on, Baby, come on -- Come on, Baby, come on --<\/dialogue>\n    <scene_description>Ethan stares back at her through motionless eyes -- she starts POUNDING on his chest, manic, tears flowing --<\/scene_description>\n    <character>ETHAN!!<\/character>\n    <dialogue>BACK!!!<\/dialogue>\n    <character>YOU SAID YOU'D COME<\/character>\n    <dialogue>She BREATHES into his mouth -- anger rising.<\/dialogue>\n    <character>JULIA<\/character>\n    <parenthetical>(pounding his chest)<\/parenthetical>\n    <character>WAKE... UP!!!<\/character>\n    <parenthetical>(pounding some more)<\/parenthetical>\n    <character>WAKE... UP!!!<\/character>\n    <dialogue>Ethan suddenly LURCHES bolt-upright, GASPS for air and grabs the gun on instinct -- SWIVELS, AIMING AT NO ONE, frenzied, life and reality crash back to him -- and she EMBRACES HIM in tears and relief.<\/dialogue>\n    <dialogue>Ethan lowers his gun, taking her in his arms -- she's laughing, and crying, as she clings to him for dear life...<\/dialogue>\n    <dialogue>Ethan sees Musgrave, lying dead behind her.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>You did that?<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>I just did... what you said...<\/dialogue>\n    <character>ETHAN<\/character>\n    <parenthetical>(impressed, proud)<\/parenthetical>\n    <dialogue>Sorry... I missed that...<\/dialogue>\n    <scene_description>And we PULL AWAY from them, two figures hugging on the floor surrounded by pharmacy debris... OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. XIATANG - DAY (\\*USED TO BE EXT. DESERT\\*)<\/stage_direction>\n    <scene_description>Our score RISING as Ethan, holding The Rabbit's Foot in one hand, turns down an ancient road with Julia, heading off together.<\/scene_description>\n    <character>JULIA<\/character>\n    <dialogue>... I was just... thinking maybe you might wanna tell me why we're in China.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>... I know...<\/dialogue>\n    <scene_description>They cross a bridge revealing the small water village.<\/scene_description>\n    <character>ETHAN<\/character>\n    <parenthetical>(beat...)<\/parenthetical>\n    <dialogue>I work for an agency called IMF.<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>What does that stand for?<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Impossible Mission Force.<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>Shut-up.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>I'm not kidding -- understand that everything I'm telling you is top secret.<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>Okay. You can trust me.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>... I know.<\/dialogue>\n    <scene_description>And as he continues to explain it all, their arms wrapped around each other, they walk off, the DIALOG FADING, the MUSIC RISING -- OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMF INTERROGATION ROOM - DAY<\/stage_direction>\n    <scene_description>JULIA sits in front of an IMF INVESTIGATOR:<\/scene_description>\n    <character>JULIA<\/character>\n    <dialogue>I was a hostage. I knew that. This is gonna sound weird, but the stress felt familiar. It reminded me of surgery.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>As scared as I was, I just knew I'd get through it. That I'd see Ethan again, that I'd go home--<\/dialogue>\n    <scene_description>Suddenly Ethan enters:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>-- Sorry Jules that I took so long. Let's get out of here.<\/dialogue>\n    <character>IMF INVESTIGATOR<\/character>\n    <dialogue>Ethan my orders are for a full report--<\/dialogue>\n    <scene_description>Ethan grabs the microphone on table.<\/scene_description>\n    <character>ETHAN<\/character>\n    <parenthetical>(into microphone)<\/parenthetical>\n    <dialogue>This is Ethan Hunt....Larry is doing a terrific job...it's all my fault...this interview is over.<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>-- are you sure?<\/dialogue>\n    <scene_description>Ethan kindly ushers her out of the room -- Julia turns to the men, smiles awkwardly:<\/scene_description>\n    <character>JULIA<\/character>\n    <dialogue>Uh, bye -- thanks --<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>No...this way....<\/dialogue>\n    <character>\\*\\*\\*ALTERNATIVE\\*\\*\\*\\*\\*(PREFERRED)\\*\\*\\*\\*\\*<\/character>\n    <dialogue>JULIA sits in front of an IMF INVESTIGATOR:<\/dialogue>\n    <character>IMF INVESTIGATOR<\/character>\n    <dialogue>You killed your husband?<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>Yes. For awhile. (for a few minutes) (not for long)...but yes.<\/dialogue>\n    <character>IMF INVESTIGATOR<\/character>\n    <dialogue>How was that?<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>(The stress felt familiar. It reminded me of surgery) As scared<\/dialogue>\n    <dialogue>as I was, I knew he'd come back.<\/dialogue>\n    <character>IMF INVESTIGATOR<\/character>\n    <dialogue>How?<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>Because he said he would. And I trust him.<\/dialogue>\n    <character>IMF INVESTIGATOR<\/character>\n    <dialogue>Prior to this experience, had you ever fired a weapon?<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>No. Which is strange because I felt like I had done it before.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - DAY<\/stage_direction>\n    <scene_description>MOVING with them through IMF headquarters -- everything to Julia's still so new and interesting:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>-- I'm sorry about that -- the debrief's just protocol --<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>No, it's fine, he was nice--<\/dialogue>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>Ethan, I can't believe you work here...<\/dialogue>\n    <scene_description>Suddenly Benji is there, walking fast, carrying files:<\/scene_description>\n    <character>BENJI<\/character>\n    <dialogue>Ethan: first of all, cheers on surviving, that was brilliant--<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>This is Benji -- he's the reason we're alive -- thanks again--<\/dialogue>\n    <character>BENJI<\/character>\n    <dialogue>Oh, no, that's not--well, it's somewhat the case, but--<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>Julia. Nice to meet you-- nice to meet anyone -- thank you.<\/dialogue>\n    <character>BENJI<\/character>\n    <parenthetical>(hands Ethan a paper)<\/parenthetical>\n    <dialogue>No need to thank me: thank you-- I got the promotion.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>I know --<\/dialogue>\n    <character>BENJI<\/character>\n    <dialogue>I suddenly don't know what to do with my wealth and power.<\/dialogue>\n    <character>JULIA<\/character>\n    <dialogue>No, it's okay, this place is amazing...<\/dialogue>\n    <character>BENJI<\/character>\n    <dialogue>It is amazing-- you like it, you should work here--<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Benji.<\/dialogue>\n    <character>BENJI<\/character>\n    <dialogue>She has level three clearance, took me years to get that--<\/dialogue>\n    <scene_description>And they arrive at Luther, Declan and Zhen:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Benji! This is Luther, Declan and Zhen.<\/dialogue>\n    <scene_description>Julia hugs Luther:<\/scene_description>\n    <character>JULIA<\/character>\n    <dialogue>Nice to meet you... I've heard a lot about you -- thank you.<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>She's beautiful. Okay, see, now I understand.<\/dialogue>\n    <scene_description>Ethan smiles, Julia AD LIB greets Declan and Zhen, as:<\/scene_description>\n    <character>BRASSEL (O.S.)<\/character>\n    <dialogue>Mr. Hunt.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>I'll be right back.<\/dialogue>\n    <scene_description>Ethan turns, sees Brassel. He then excuses himself from his gang and moves to him. He hasn't had a good moment with this man yet... and there's so much to say here.<\/scene_description>\n    <character>BRASSEL<\/character>\n    <dialogue>I'd like to show my appreciation for your work.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>No need.<\/dialogue>\n    <character>BRASSEL<\/character>\n    <parenthetical>(offers an envelope)<\/parenthetical>\n    <dialogue>Reparations, if you will. For what we may have put you through.<\/dialogue>\n    <scene_description>A beat. Ethan takes it, opens it, reads the enclosed letter.<\/scene_description>\n    <character>BRASSEL<\/character>\n    <dialogue>In addition to the salary increase, I've spoken to the White House. There's a new job we'd like to talk to you about.<\/dialogue>\n    <character>ETHAN<\/character>\n    <parenthetical>(hands back the envelope)<\/parenthetical>\n    <dialogue>Sir, thank you. But with all due respect, I have a lot to think about -- and right now? We're going on our honeymoon.<\/dialogue>\n    <character>BRASSEL<\/character>\n    <dialogue>You're not considering quitting.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>I'm considering going on my honeymoon.<\/dialogue>\n    <scene_description>Brassel nods, gets it.<\/scene_description>\n    <character>BRASSEL<\/character>\n    <dialogue>Have fun.<\/dialogue>\n    <scene_description>Ethan stares for a beat. Then:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>There is one thing. The Rabbit's Foot. What is it?<\/dialogue>\n    <scene_description>And Brassel smiles.<\/scene_description>\n    <character>BRASSEL<\/character>\n    <dialogue>Promise me you'll stay and I'll tell you.<\/dialogue>\n    <scene_description>Ethan considers.<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>I'll send you a postcard.<\/dialogue>\n    <scene_description>Ethan turns -- moves to Julia -- Benji is there:<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>We gotta go... you understand --<\/dialogue>\n    <character>BENJI<\/character>\n    <dialogue>Seriously, if you'd like a job, I'm now in a position to hire people.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Benji.<\/dialogue>\n    <scene_description>Benji mouths \"CALL ME\" to Julia as Ethan and Julia move off --<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>They're going on their honeymoon!<\/dialogue>\n    <scene_description>IMF erupts in applause and cheers -- we watch, from a distance, Ethan and Julia walk off -- and we FADE TO WHITE -- WHITE as blank as a page -- the quiet sound of WIND. Then SHUSHING -- and then TWO TINY SPECKS APPEAR -- SLOWLY DROPPING FROM TOP OF FRAME -- and you realize this is a MASSIVE LONG SHOT of pristine SNOW -- a STEEP MOUNTAIN and those specks are FIGURES -- we are:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUNTAIN - DAY<\/stage_direction>\n    <scene_description>It's ETHAN AND JULIA -- heliboarding -- LONG LENS SHOTS CATCH THEM as they cut through the snow like they're flying -- an exhilarating ride -- just the two of them, against the mountain, against the world -- Husband and wife, no more secrets. And our FINAL SONG BEGINS, driving, pounding, lifting our spirits -- and as it SOARS, we... CUT TO BLACK.:<\/scene_description>\n    <character>THE END<\/character>\n  <\/scene>\n<\/script>","summary":"Ethan Hunt is strapped down on a chair, across from him, a man is holding a tied-up woman at gunpoint. The man requires the location of the \"Rabbit's Foot\", when it is shown that Ethan doesn't know, the gun fires. A few days earlier, Ethan has retired from IMF fieldwork. He trains recruits and has settled down with his fianc\u00e9e, nurse Julia Meade, who is unaware of his real job. He is approached by IMF Director of Operations John Musgrave about a special mission to rescue one of his prot\u00e9g\u00e9s, Lindsey Farris, who was captured while investigating arms dealer Owen Davian. Musgrave has already prepared a team for Ethan: Declan Gormley, Zhen Lei and old partner Luther Stickell. The team rescues Lindsey in Berlin and collects two damaged laptops. As they flee, Ethan discovers an explosive pellet implanted in Lindsey's head. Before he can disable it with a defibrillator, it detonates and kills her. IMF Director Theodore Brassel reprimands Ethan and Musgrave. Ethan learns that Lindsey mailed him a postcard before her capture and discovers a magnetic microdot under the stamp. IMF technician Benji Dunn recovers enough data from the laptops to determine Davian will be in Vatican City to obtain a mysterious biological hazard codenamed the \"Rabbit's Foot.\" Ethan plans an unofficial mission to capture Davian. Before leaving, he and Julia have an impromptu wedding at her hospital's chapel. The team successfully infiltrates the Vatican and captures Davian. On the return flight to the U.S., Davian is unfazed by Ethan's interrogation and responds by promising to kill everyone he cares about. After landing, Ethan learns that Lindsey's microdot contains a warning about Brassel and Davian. The convoy taking them across the Chesapeake Bay Bridge is ambushed by mercenaries who extract Davian. Realizing Julia is in danger, Ethan races to Julia's hospital to discover she has already been kidnapped. Davian calls Ethan and gives him 48 hours to deliver the Rabbit's Foot in exchange for Julia's life. Before he can move, Ethan is apprehended by the IMF and questioned about the loss of Davian. While in the room as part of Ethan's interrogation, Musgrave discreetly mouths that the Rabbit's Foot is located in Shanghai and assists Ethan in escaping. Ethan travels to Shanghai and meets his team, which Musgrave sent there under the guise of another operation. Ethan obtains the Rabbit's Foot and delivers it to Davian, who tranquilizes him and implants a micro-explosive similar to the one that killed Lindsey in his head. Waking up, Ethan sees Davian holding a gagged Julia at gunpoint. Davian tells Ethan that he's going to count to ten and shoot Julia if he doesn't tell him where the Rabbit's Foot is. Despite Ethan asserting that he brought the real Rabbit's Foot, Davian ignores him and continues to count, causing Ethan to snap at him. However, Davian once again ignores him and accuses Ethan of thinking that he's playing. Davian shoots Julia and leaves. Musgrave arrives and reveals himself as the actual IMF traitor. Julia is still alive, and the dead woman is actually Davian's translator, used to confirm the authenticity of the Rabbit's Foot. Musgrave was working with Davian to obtain the Rabbit's Foot so that the IMF would have cause to launch a preemptive strike against the terrorists Davian works for. Ethan knocks Musgrave unconscious, frees himself, and uses Musgrave's phone to obtain Julia's location. With Benji's help, Ethan locates Julia but encounters Davian, who arms the explosive in Ethan's head. Ethan fights and kills Davian before freeing Julia. He jury-rigs an impromptu defibrillator to deactivate the explosive, asking Julia to bring him back and teaching her how to shoot a gun. Julia kills a henchman, then Musgrave, who is carrying the Rabbit's Foot, before resuscitating Ethan. Ethan finally explains his IMF career to her. Back in the US, Brassel and others congratulate Ethan as he leaves for his honeymoon with Julia."}
{"movie_name":"A Nightmare on Elm Street 2: Freddy's Revenge_1985","imdb_id":"tt0089686","script":"<script>\n  <scene>\n    <stage_direction>EXT. SUBURBAN HOUSING DEVELOPMENT - DAY<\/stage_direction>\n    <scene_description>A big , yellow SCHOOL BUS pulls up to a corner and discharges a group of TEENAGERS . It 's one of those fantastic spring afternoons and the kids take to their freedom like they were just sprung from Leavenworth .<\/scene_description>\n    <character>KIDS<\/character>\n    <dialogue>G'night, Joe. Have a good weekend, etc..<\/dialogue>\n    <scene_description>The BUS DRIVER does n't answer but nods and smiles as they deboard . He is a pleasant looking elderly man , wearing a khaki work shirt , a matching cap and chewing on an unlit , twenty - five cent stogie . The DOORS fold shut , the GEARS GRIND and the bus continues along its route .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL BUS - DAY<\/stage_direction>\n    <scene_description>While there are only about a dozen kids on the bus , the noise level is deafening . GIRLS are yapping , GUYS are horsing around , someone is fiddling with a ghetto - blaster , trying to decide among several loud stations .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN STREET - DAY<\/stage_direction>\n    <scene_description>The bus turns a corner , taking them out of the development and past some older , less identical looking residences spaced more widely apart .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL BUS - DAY<\/stage_direction>\n    <scene_description>The Driver downshifts the old heap , pulls the wheel over to the curb and reaches over to push the door lever open . KIDS file out down he aisle , some of them wishing him well as they leave . ANOTHER ANGLE as the gears grind again and the bus pulls away . We see that there are only a few KIDS remaining : TWO GIRLS sit together toward the center and a lone , nerdy - looking BOY sits at the rear . The DRIVER is in front of an aluminum divider and , except for the top of his cap , can not be seen . END MAIN TITLE SEQUENCE ON THE THREE KIDS The two girls are pretty , teen - fashionable and just a little immature . One of them turns back to look over her shoulder . CLOSER ANGLE - THE BOY Poor kid . About 17 , four - eyes , bad skin , lousy posture and an obvious inferiority complex . He 's sweating profussely and he stands slightly to unlatch and lower the window . He pulls down on it with all his strength but it is hopelessly stuck . He sits back down and sighs . Suddenly , he feels the girl 's stare . he does n't turn but sends his eyes over to see who 's goggling at him . ON GIRLS - JESSE 'S POV The first girl turns back to her friend to whisper something . The friend turns around to see for herself .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS<\/stage_direction>\n    <scene_description>The boy stares forward now and catches her glance directly . The girls shift quickly in their seats to face forard and let out with an uncontrollable rush of mean giggles . The boy is clearly embarrassed now and looks down at the books in his lap . We hear the engine REVVING - the bus seems to be picking up speed . One of the girls stands , ready to get off . GIRL 'S POV OUT WINDOW : EXT. . STREET A MOTHER , her PRE - SCHOOL CHILD on a TRICYCLE and their DOG wait for the bus to discharge the girl .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET<\/stage_direction>\n    <scene_description>The bus speeds past the waiting group , to their amazement .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS<\/stage_direction>\n    <scene_description>The standind girl 's jaw drops open as they shoot by a familiar looking intersection and continue to pick up speed .<\/scene_description>\n    <character>FIRST GIRL<\/character>\n    <parenthetical>( to her friend . )<\/parenthetical>\n    <dialogue>Hey!<\/dialogue>\n    <parenthetical>( calling to driver . )<\/parenthetical>\n    <dialogue>Hey, that war our stop!<\/dialogue>\n    <scene_description>The bus turns a sharp corner and the first girl almost falls . The second girl grips onto the seatback and lifts herself to her feet .<\/scene_description>\n    <character>SECOND GIRL<\/character>\n    <parenthetical>( calling to the driver . )<\/parenthetical>\n    <dialogue>Hey, Joe! Our stop!<\/dialogue>\n    <scene_description>HER POV - THE FRONT OF THE BUS The unseen driver ignores the calls and continues picking up speed . We might notice that his hat has changed ; in place of the cap , we can see the top of a BATTERED OLD FEDORA .<\/scene_description>\n    <character>SECOND GIRL<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>Hey, let us off!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TWO-LANE STREET - DAY<\/stage_direction>\n    <scene_description>The sky has suddenly turned ; a wave of threatening clouds sweeps overhead and the WIND is churning a planting of roadside weeping willows into a tangled mess of yellow tendrils . The bus WHINES near the top end of third , all of its FLASHERS are going like the dashboard was having a major coronary . It passes the last house and heads into open terrain . IN THE BUS THE SECOND GIRL steps into the aisle and starts making her way toward the front of the coach .<\/scene_description>\n    <character>SECOND GIRL<\/character>\n    <parenthetical>( under her breath . )<\/parenthetical>\n    <dialogue>Deaf old fart.<\/dialogue>\n    <scene_description>She stops suddenly and GASPS as she watches THE DRIVER 'S ARM emerge to throw the floorshift into fourth . His hand is clad in a strange GLOVE that tip his fingers with a menacing set of RAZOR - SHARP , STEEL TALONS . His sleeve is charred and smoking . The bus SWERVES WILDLY as it skids around a corner , throwing its few passengers into collision courses with the walls and each other . A FLASH OF LIGHTNING crashes through the air .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT LANDSCAPE<\/stage_direction>\n    <scene_description>As the lightning subsides , the sky is dark . The BUS SCREAMS along , banging through rocks and ditches , CRASHING through a wall of overgrown brambles . Thick clouds of steam pour out from under he hood and stream back along toward the rear of the vehicle . ON THE BOY holding o to his seatback and watching out the window in terror as trees TEAR loose from the ground i the bus ` wake . We hear a LOUD RUMBLING and the bus begins to shake as if the planet itself is splitting in two . ON THE BUS Skidding across the desert landscape , being THROWN to and fro laterally , at the mercy of the shuddering landscape . ON A FRONT WHEEL as the tire smacks into a jagged boulder , SNAPPING the wheel from its axle . ON THE FRONT END BOUNCING to a violent halt , the bumer digging a long trench into the earth . IN THE BUS THE KIDS pick themselves up from the floor . It is very hot and smoky inside . They have moved closer together now , sweating , scared . Frantically , the boy tries to open a window , but it will not budge . He looks out the window and gasps .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POV FROM WINDOW<\/stage_direction>\n    <scene_description>THE GROUND below begins to SPLIT apart and tumble into a deep fissure that is encirling the bus . ON THE MOOR , THE BUS CENTER The land is IMPLODING all around it ; huge chunks of the earth 's crust are shearing themselves loose from the edges of the fissure and tumbling into oblivion . In moments , the bus is stranded on the narrow tip of a towering ridge of crumbling stone . The bus teeters precariously , tasting the smoky abyss in every direction . INSIDE THE SECOND GIRL is on al fours in the aisle . She looks up toward the driver 's seat .<\/scene_description>\n    <character>SECOND GIRL<\/character>\n    <parenthetical>( seeing something hideous . )<\/parenthetical>\n    <dialogue>Jesus!<\/dialogue>\n    <scene_description>She scrambles to her feet and begins backing off . The floor of the bus shifts dangerously , throwing the girl into the edge of one of the seats . ON THE DRIVER as he makes his way toward the back . We don ' g see his face but he is dressed in a filthy green and red sweater . In the B.G. , the dashboard instruments are sparking and sending thick black fumes toward the ceiling . SMOKE is rising off his body as if he just stepped out of some horrible fire . A small patch of skin on his hand sizzles and pops and drips a molten glob of flesh that burns a small hole in a seat cushion . His Razor - Talons sweep along the tops of the seat - backs CUTTING deep gashes into the green vinyl upholstery and SCRAPING horribly over the tubular steel support poles . ON THE BOY Terrified . Lookign first at the awful talons , then out the window at the DEADLY DROP and back at the bus driver . ON THE GIRLS Sweating , panicking . They back away , going from window to window , trying desperately to pull them down . They 're all locked tight . One reaches for the emergence door leer at the rear of the bus . It comes off in her hand . The kids huddle together , petrified , screaming , as the driver is upon her . CU : DRIVER He lifts the awful , talonned glove in f.g. Behind , obscured by smoke , we see , for an instant , his fce - the face of FREDDY . he raises his weapon arm higher and STRIKES .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WALSH HOUSE - KITCHEN - MORNING<\/stage_direction>\n    <scene_description>CLOSE on a steel blade cutting into red flesh . We PULL BACK and see that it is MOM , slicing a tomato at the kitchen counter . This is an all - American family ; along with a MOM , there 's a DAD and a kid sister named NGELA and they ll are having breakfast together . A moment later , there is a muffled , OFF - CAMERA SCREAM . Mom looks up . We can also make out the RINGING of an alarm clock in another part of the house . ANGELA jumps slightly at the scream . She 's a pretty little eleven - year old , genuinely cute , not precocious .<\/scene_description>\n    <character>ANGELA<\/character>\n    <parenthetical>( to Mom . )<\/parenthetical>\n    <dialogue>Why ca n't Jesse wake up like every - body else?<\/dialogue>\n    <character>MOM<\/character>\n    <parenthetical>( hushed . )<\/parenthetical>\n    <dialogue>Shhh. He must've had another night - mare.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WALSH HOUSE - JESSE'S ROOM - MORNING<\/stage_direction>\n    <scene_description>ON JESSE 'S BED . An alarm clock RINGS LOUDLY . JESSE WALSH -LRB- 17 -RRB- is sitting up in bed . He 's sweaty and scared and disoriented as he slams his hand down on the alarm and tries to shake the nightmare out of his head . We see that he 's the boy on the bus only he 's not half - bad looking - far from nerdy . he has no skin problems and he does n't wear glasses and his body 's in good shape . As he gets out of bed , still shaky from the dream , and we see that his bedroom is littered with cardboard cartons - most of them open and half - empty . He trips over a carton on his way to his jeans .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WALSH HOUSE - KITCHEN - MORNING<\/stage_direction>\n    <scene_description>Mom is at the stove cooking eggs for her family . She looks up , worried , as Jesse comes in and heads for the refrigerator .<\/scene_description>\n    <character>JESSE<\/character>\n    <parenthetical>( mumbles . )<\/parenthetical>\n    <dialogue>` Morning.<\/dialogue>\n    <character>MOM<\/character>\n    <parenthetical>( putting on a smile . )<\/parenthetical>\n    <dialogue>` Morning, honey.<\/dialogue>\n    <scene_description>Jesse pours himself a GLASS OF MILK from the fridge . He joins Dad and Angela family at the breakfast table .<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>You got your room straightened out yet?<\/dialogue>\n    <character>JESSE<\/character>\n    <parenthetical>( yawns . )<\/parenthetical>\n    <dialogue>It's getting there.<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>We've only been living here six weeks now. I want that room unpacked by tonight.<\/dialogue>\n    <scene_description>MOM comes over with some eggs for Dad .<\/scene_description>\n    <character>MOM<\/character>\n    <parenthetical>( to Jesse . )<\/parenthetical>\n    <dialogue>Want some eggs. Angela, what are you doing?<\/dialogue>\n    <scene_description>ON ANGELA She is struggling to put her hand deep into a box of FU - MAN CHEWS breakfast cereal .<\/scene_description>\n    <character>ANGELA<\/character>\n    <parenthetical>( frustrated . )<\/parenthetical>\n    <dialogue>I'm trying to get the Fu - Man Fingers!<\/dialogue>\n    <scene_description>Printed on the box is a cartoon caricature of the Oriental doctor pointing to a bowl of his product with one of his long , sharp fingernails . there 's a burst above the product name that reads : `` FREE INSIDE - FU - MAN FINGERS '' and shows a drawing of a hand wearing several extra - long , red plastic fingernails on its fingertips . Mom lets Angela go o with her search and turns back to Jesse , waiting for his answer .<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Jess?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>Eggs?<\/dialogue>\n    <scene_description>Jesse rubs his temples . He was away for a minute but he 's back now .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>Oh. uh, no, just some milk, Mom.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <scene_description>Dad eyes him suspicously .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>Yeah, I'm fine. Just really hot upstairs.<\/dialogue>\n    <character>MOM<\/character>\n    <parenthetical>( nods . )<\/parenthetical>\n    <dialogue>I know it's warm.<\/dialogue>\n    <parenthetical>( to Dad . )<\/parenthetical>\n    <dialogue>I wish you'd call someone to check out the air conditioning, Ken.<\/dialogue>\n    <character>DAD<\/character>\n    <parenthetical>( defensively . )<\/parenthetical>\n    <dialogue>I know what's wrong with the air coditioning - just needs a shot of freon, is all.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Dad's fixin' something again. Hit the deck!<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>Do n't be a smart ass.<\/dialogue>\n    <scene_description>A short silence as they all look back to their plates .<\/scene_description>\n    <character>MOM<\/character>\n    <parenthetical>( to Jesse . )<\/parenthetical>\n    <dialogue>So, school going alright?<\/dialogue>\n    <character>JESSE<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>Okay, I guess.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>Making friends?<\/dialogue>\n    <scene_description>Jesse is looking around for some escape - this interrogation is getting a little too personal .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>Yeah, you know how it is.<\/dialogue>\n    <scene_description>ON ANGELA She grabs onto the prize at the botto of the box and gives a yank . A bagful of Fu Man Fingers come out in her hand along with half the box of cereal . SOUND OVER : DOORBELL RINGING Mom turns to answer the door , but Jesse immediately jumps up and cuts her off .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>That's Lisa - I got ta get to school.<\/dialogue>\n    <character>DAD<\/character>\n    <parenthetical>( calling after him . )<\/parenthetical>\n    <dialogue>Who's Lisa?<\/dialogue>\n    <scene_description>But Jesse is gone ; just a kitchen door , swinging in his wake .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WALSH HOUSE - FOYER - DAY<\/stage_direction>\n    <scene_description>as JESSE opens the front door to LISA POLETTI -LRB- 17 -RRB- . She is facing the street and she turns around when she hears the door open . Not a knock - out but real pretty , with an intelligence and sweetness about her - she is truly lovely .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>She smiles and Jesse 's eyes light up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WALSH HOUSE - DAY<\/stage_direction>\n    <scene_description>They walk to JESSE 'S CAR - a beat - up , blue Falcon parked curbside .<\/scene_description>\n    <character>JESSE<\/character>\n    <parenthetical>( gratefully . )<\/parenthetical>\n    <dialogue>your timing was perfect - I was getting the third degree in there.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>How come?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Ah, nothing.<\/dialogue>\n    <scene_description>Jesse opens Lisa 's car door for her . She steps in and sits down . IN THE CAR The interior is worse than the body . The upholstery is torn to shreds , the dashboard is cracked and peeling and there 's a big hole where the radio used to be . A cheap , A.M. transistor radio hangs by its wrist strap from the rear - view mirror . Jesse hops in and shifts around to get comfortable , and reaches under the dash to pull out a couple of bare wires . Lisa watches him routinely twist the wires together , amused .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Are n't you afraid somebody could steal your car like that?<\/dialogue>\n    <character>JESSE<\/character>\n    <parenthetical>( preposterously . )<\/parenthetical>\n    <dialogue>Look at this car. Are you kidding?<\/dialogue>\n    <scene_description>He sits up again and reaches for a toggle switch that has been crudely drilled into the dash . He flicks the switch . Jesse moves his finger to another alien button in the dash and pushes it . The STARTER turns over slowly , the engine BACKFIRES and the car starts noisily . Jesse gives her the `` thumbs up '' as if he were a World War I Ace and puts the car into gear . It BUCKS and FARTS and rumbles up the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POOL - REAR, WALSH HOUSE - DAY<\/stage_direction>\n    <scene_description>DAD floats on a FOAM CHAIR in the middle of the rather run - down pool , sipping coffee from a MUG bearing the word `` DAD '' . He looks over his domain with satisfaction and inhales a deep breath of fresh , suburban sir . MOM comes out the back door . She looks just a bit worried .<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Ken, should n't you be getting to the office? It's almost nine.<\/dialogue>\n    <character>KEN<\/character>\n    <dialogue>As soon as i finish my coffee. I'm enjoying my pool right now.<\/dialogue>\n    <parenthetical>( sips his coffee . )<\/parenthetical>\n    <dialogue>I love our new house. Do n't you?<\/dialogue>\n    <character>MOM<\/character>\n    <parenthetical>( sighs heavily . )<\/parenthetical>\n    <dialogue>Of course I do, Ken.<\/dialogue>\n    <character>KEN<\/character>\n    <dialogue>What's the problem, Shirl?<\/dialogue>\n    <character>MOM<\/character>\n    <parenthetical>( pointing behind her . )<\/parenthetical>\n    <dialogue>It's just I'll be a lot happier when you finish taking down those bars.<\/dialogue>\n    <scene_description>CAMERA PANS UP AND ZOOMS IN to reveal BARS ON THE UPPER WINDOWS - this is the old Thompson house , replete with the security paraphernalia that kept Nancy Thompson prisoner five years prior .<\/scene_description>\n    <character>MOM<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>People that lived here before must have been truly paranoid.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGH SCHOOL - DAY<\/stage_direction>\n    <scene_description>Establishing shot of school , shot from parking lot with JESSE 'S CAR in f.g. School is in session , so the only students we see are TWO CLASS - CUTTERS leaning against a car passing a JOINT .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHT SCHOOL PRACTICE FIELD - DAY<\/stage_direction>\n    <scene_description>An intramural SOFTBALL GAME is in progress . COACH SCHNEIDER , a nasty looking ex - Marine , stands behind home plate as an umpire . JESSE is covering second base . RONNY GRADY , a tough - looking wise - ass type , steps up to the plate . He knocks the mud off his sneakers with his bat and takes his stance . ON JESSE He glances over to the adjacent field . HIS POV The GIRLS are in the middle of archery instruction . LISA is there , mighty tempting looking in her little , powder blue gym suit , a quiver strapped to her shoulder and a longbow in her hand . KERRY , a dizzy , Bloomingdale 's - punk , steps up alongside Lisa as the latter catches Jesse 's stare .<\/scene_description>\n    <character>SCHNEIDER<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>Strike!<\/dialogue>\n    <character>KERRY<\/character>\n    <parenthetical>( to Lisa , re Jesse . )<\/parenthetical>\n    <dialogue>He made any moves yet?<\/dialogue>\n    <scene_description>Lisa smiles and waves to Jesse .<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>( aside to Kerry . )<\/parenthetical>\n    <dialogue>I only know him a few weeks, Kerry.<\/dialogue>\n    <scene_description>ON JESSE He waves back . BACK TO LISA AND KERRY<\/scene_description>\n    <character>KERRY<\/character>\n    <dialogue>I think he needs a push start.<\/dialogue>\n    <scene_description>Lisa turns to face the target , slides an arrow into the nocking point , draws back the bowstring and lets the arrow go . ON THE TARGET It 's a bull 's - eye . CRACK ! GRADY gets hold of a perfect pitch and sends it flying over the head of the PITCHER . BACK TO JESSE BOOM ! The ball skids off the side of his head and the kid collapses . HIS TEAMMATES rush to his side and help Jesse to his feet . He 's more embarrassed than hurt and he waves away any over - attention . COACH SHNEIDER joins the circle of bodies around him .<\/scene_description>\n    <character>SCHNEIDER<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Yeah, I'm fine.<\/dialogue>\n    <character>SCHNEIDER<\/character>\n    <parenthetical>( walking away . )<\/parenthetical>\n    <dialogue>Well, pay attention, next time!<\/dialogue>\n    <scene_description>Jesse re - takes his position on the base .<\/scene_description>\n    <character>GRADY<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>Maybe you oughta try something a little more your speed, Walsh. Like knitting.<\/dialogue>\n    <scene_description>Jesse just now realizes that it was Grady who scored a double off his skull . He 's standing just off the bag , harassing Jesse while waiting to be hit home .<\/scene_description>\n    <character>JESSE<\/character>\n    <parenthetical>( flipping him the bird . )<\/parenthetical>\n    <dialogue>Knit this, Grady.<\/dialogue>\n    <scene_description>GRADY sneers and gives him the `` JACK - OFF '' sign . JESSE tosses an `` ITALIAN SALUTE '' , slapping one hand into the crook of his arm and throwing up `` THE FINGER '' for good measure . GRADY grabs his own crotch and points to it obscenely . ON THE PITCHER He sends one over the plate , the BATTER catches it dead - center and POUNDS it back to left field . GRADY makes a break for third , only to be forced back by teh LEFT FIELDER tossing the ball to the THIRD BASEMAN . ON JESSE His glove up to receive the throw as Grady STEAMS towards him . The ball snaps into Jesse 's mitt and Grady turns on his ankles to shoot back to third . Jesse and the third baseman toss the ball between , each time moving closer in toward Grady . Grady switches directions with the ball , trapped between them . GRADY dives into a HEAD - FIRST SLIDE , trying to sneak past Jesse . JESSE swoops down and tags him out . Thorougly aggravated , Grady rises to his feet by reaching out and grabbing onto Jesse 's gym shorts and yanking them down to his ankles , revealing jesse 's bare buns - in - a - jockstrap to the world . JESSE lunges for Grady , trips over his shorts and the two of them begin rolling around in the dirt , duking it out . ON THE GIRLS IN THE NEXT FIELD watching the wrestling match with ausement . ON LISA AND KERRY Lisa tries like hell to repress some laughter .<\/scene_description>\n    <character>KERRY<\/character>\n    <dialogue>Cut ass.<\/dialogue>\n    <scene_description>ON SCNEIDER pushing his way through a crowd of laughing , cheering SPECTATORS and jumping in to break up the scuffle . He lifts both boys up by their necks .<\/scene_description>\n    <character>SCHNEIDER<\/character>\n    <dialogue>Okay boys, assume the position!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COACH'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Schneider is at his desk . TWO BOYS carrying gym bags pass outside the Coach 's office . They wave to him through the WIRE - GLASS WINDOWS .<\/scene_description>\n    <character>BOYS<\/character>\n    <dialogue>` Night Coach.<\/dialogue>\n    <scene_description>Schneider gives them a cold glance . He checks his watch , gets up and goes to a window to look outside . HIS POV - THE PRACTICE FIELD JESSE and GRADY , side by side in the center of the baseball diamond . They are in `` front - leaning rest '' position , the cruel and painful frozen pushup that ends halfway to the ground with elbows bent . We do n't know how long they 've been out there but it 's probably hours . It seems just a little darker out and a lonely wind is blowing around their arms and legs . In the B.G. , KIDS are filing out of the building - some sop to look out at the two boys , point and snicker . We see LISA among the kids . She stops for a moment and views the scene with concern . ON JESSE AND GRADY They are dirty , their shirts are ripped and Jesse has a tiny bruise over his cheek . And they 're tired too . The muscles in their arms are twitching convulsively and they talk to each other between groans and through teeth clenched with pain . We hear the OFF - CAMERA SOUND of several busses pulling out .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>How much longer you figure he'll keep us out here?<\/dialogue>\n    <character>GRADY<\/character>\n    <dialogue>Could be all night.<\/dialogue>\n    <parenthetical>( nodding in the Coach 's direction . )<\/parenthetical>\n    <dialogue>Guy gets his rocks off like this. Hangs out in queer S &amp; M joints downtown. Likes prettyboys like you.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Get outa here.<\/dialogue>\n    <scene_description>Grady does n't pursue it . Instead , he looks around and tries to think of some small - talk .<\/scene_description>\n    <character>GRADY<\/character>\n    <parenthetical>( finally . )<\/parenthetical>\n    <dialogue>So, what about you and that Poletti girl?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>What about it?<\/dialogue>\n    <character>GRADY<\/character>\n    <dialogue>You two got a thing going, or what?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>She's a neighbor, I drive her to school.<\/dialogue>\n    <character>GRADY<\/character>\n    <dialogue>She giving you any carfare for the ride?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>You got a problem with me, Grady?<\/dialogue>\n    <character>GRADY<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>Naw. Just killing time.<\/dialogue>\n    <scene_description>SOUND OVER : A WHISTLE BLOWING ON THE COACH Dressed in his street clothes , crossing the field toward the faculty parking lot . He pulls the whistle from his mouth .<\/scene_description>\n    <character>SCHNEIDER<\/character>\n    <parenthetical>( to the boys . )<\/parenthetical>\n    <dialogue>Okay boys, hit the showers.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOYS LOCKER ROOM - DAY<\/stage_direction>\n    <scene_description>JESSE and GRADY stand at opposite ends of a row of lockers and change into their street clothes . Their movements are slow and cumbersome - like a pair of creaky old men .<\/scene_description>\n    <character>GRADY<\/character>\n    <parenthetical>( finally . )<\/parenthetical>\n    <dialogue>So, you live around here.<\/dialogue>\n    <character>JESSE<\/character>\n    <parenthetical>( sighs wearily . )<\/parenthetical>\n    <dialogue>Not too far. My folks bought a place over on Elm Street.<\/dialogue>\n    <scene_description>Grady stops buttoning his shirt and looks up at Jesse .<\/scene_description>\n    <character>GRADY<\/character>\n    <dialogue>Elm Street? You telling me you moved in to that big white house with the bars on the windows?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Yeah, why?<\/dialogue>\n    <scene_description>Grady shakes his head and tucks his shirtails in .<\/scene_description>\n    <character>GRADY<\/character>\n    <dialogue>Shit, you can tell your old man he's a real chump.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>What the hell are you talking about?<\/dialogue>\n    <character>GRADY<\/character>\n    <dialogue>They've only been trying to unload that dump for five years. That place is bad news. Some chick was locked in there by her mother and she went crazy. She watched her boyfriend get butchered by some maniac in the house across the street. Her poor drunken momma took her own life right inside your front door.<\/dialogue>\n    <scene_description>Jesse stares dubiously at Grady .<\/scene_description>\n    <character>JESSE<\/character>\n    <parenthetical>( with a nervous laugh . )<\/parenthetical>\n    <dialogue>You're full of shit.<\/dialogue>\n    <scene_description>Jesse pulls his knapsack from the locker shelf , slams the door shut and walks away . ON GRADY He smiles mischievously and shuts his own locker door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL PARKING LOT - DAY<\/stage_direction>\n    <scene_description>JESSE 'S CAR is parked among a handful of others . LISA leans against the front fender , waithing patiently . HER POV JESSE steps out of the building and spots her . he hurries across the lot . ON LISA as Jesse approaches .<\/scene_description>\n    <character>JESSE<\/character>\n    <parenthetical>( surprised to see her . )<\/parenthetical>\n    <dialogue>Hi! You did n't have to wait.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>That's okay, I wanted to.<\/dialogue>\n    <scene_description>He raises an eyebrow as he opens the door for her . He likes that . ANOTHER ANGLE as Jesse slides in beside her and STARTS the engine . She looks him over . He looks like he 's been through the mill a couple of times .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Yeah, yeah, sure.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Let me look at your eye.<\/dialogue>\n    <scene_description>Jesse lifts his chin to show off the tiny bruise over his cheekbone . He looks almost a little proud of it - like it 's an old war wound . Lisa touches it tenderly .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>You should n't be fighting with that jerk.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Who, Grady? Grady's alright, he's just a hothead.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>You mean a shithead.<\/dialogue>\n    <character>JESSE<\/character>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>He guns the engine and they pull away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WALSH HOUSE - ESTABLISHING SHOT - NIGHT<\/stage_direction>\n    <scene_description>It 's very late . The house is dark and even the crickets have hit the sack .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JESSE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>JESSE 's having trouble sleeping . He turns over on different sides and punches up his pillow a couple of times , stares into space and finally sits up . He gets out of bed , pulls on a pair of pants and exits . KITCHEN He enters . The room is lit only by the glow of a three quarter moon . He regains his composure and steps over to the sink to pull off an absurd length of paper toweling . We see it just when Jesse does ; a GROTESQUE FACE has been peering into the window all this time . It disappears from view on Jesse 's DOUBLE TAKE . Jesse stops for a moment to slow down his heart . He takes a deep breath and steps up to the back door . He opens the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIDE OF WALSH HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Jesse opens the gate and enters . It is really quiet ; not even night - sounds . He strains to see past the shrubbery that surrounds the house .<\/scene_description>\n    <character>JESSE<\/character>\n    <parenthetical>( hoarse whisper . )<\/parenthetical>\n    <dialogue>Grady?<\/dialogue>\n    <scene_description>He looks around .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>It better be you, you son of a bitch!<\/dialogue>\n    <scene_description>We hear an awful sound from somewhere - WOOD RIPPIGNG . Jesse makes his way cautiously along the side of the house . He notices a red - orange LIGHT is flickering from behind a cellar window . He gets down on his hands and knees to investigate . THE CELLAR - HIS POV An INTRUDER is bent over by the furnace , lit only by a raging fire in the fire - box . He puts his hand right into the flames and begins digging for something way in the back of the furnace . We ca n't see his face but he is dressed in a filthy green and red striped sweater and a battered hat . He pulls out a bundle of rags , sets it on top of the furnace and proceeds to unwrap it . ON JESSE<\/scene_description>\n    <character>JESSE<\/character>\n    <parenthetical>( petrified . )<\/parenthetical>\n    <dialogue>Holy shit.<\/dialogue>\n    <scene_description>He stands up and looks around frantically . He does n't know what to do .<\/scene_description>\n    <character>JESSE<\/character>\n    <parenthetical>( near tears . )<\/parenthetical>\n    <dialogue>Holy shit.<\/dialogue>\n    <scene_description>He hurries out the gate that leads to the front of the house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WALSH HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Jesse enters the house and scans the foyer . He heads toward the cellar door . It is ajar - the LOCKHAS BEEN SPLINTERED AS IF BY A HUGE WRECKING BAR - and we can hear the ROAR of the furnace from below . He sticks his head inside the cellar door and peeks down . HIS POV The SHADOW OF A FIGURE ; movement on the cellar walls . ON JESSE Breathing heavily . Brain whirring . SLAM ! He pulls the basement door closed and holds it shut tight , practically hyper - ventilating .<\/scene_description>\n    <character>JESSE<\/character>\n    <parenthetical>( screaming . )<\/parenthetical>\n    <dialogue>Dad!<\/dialogue>\n    <scene_description>He looks around frantically .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>DAD!<\/dialogue>\n    <scene_description>Something inside starts to pull the cellar door open . Jesse tries to hold it shut , but the inexorable force continues to inch it open . Jesse lets go and bolts toward the foyer . FREDDY is standing in his path , a sick smile on his scarred face . He flashes his razor - knives at Jesse .<\/scene_description>\n    <character>FREDDY<\/character>\n    <parenthetical>( sinisterly . )<\/parenthetical>\n    <dialogue>Daddy ca n't help you now.<\/dialogue>\n    <scene_description>Jesse tries to make a break for it but Freddy is too fast . His un - taloned hand gets an iron grip on Jesse 's shirt collar .<\/scene_description>\n    <character>FREDDY<\/character>\n    <dialogue>I've been waiting five years for you, Jesse. We got special work to do, you and me. Things are really gon na heat up.<\/dialogue>\n    <scene_description>Jesse struggles to get free . Freddy tightens his iron grip and fans his talons threateningly . Jesse 's head stretches back from the chocking pain .<\/scene_description>\n    <character>FREDDY<\/character>\n    <dialogue>We'll do real good together, you and me.<\/dialogue>\n    <scene_description>Freddy hurls Jesse against the wall .<\/scene_description>\n    <character>FREDDY<\/character>\n    <dialogue>You got the body.<\/dialogue>\n    <parenthetical>( doffs his hat . )<\/parenthetical>\n    <dialogue>I got the brains.<\/dialogue>\n    <scene_description>With that , Freddy removes his hat . There is no skull under there - just a pulsating mass of blody BRAIN MATTER . JESSE lets out an agonized SCREAM .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JESSE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>ON JESSE , still in bed but his entire body arched backwards over the mattress . His scream continues until he collapses back down into the sheets . ON HIS DOOR It flies open and DAD crashes into the room , followed by MOM . They go to his bedside and stare at him as he pants and coughs his way back to consciousness .<\/scene_description>\n    <character>MOM<\/character>\n    <parenthetical>( to Dad . )<\/parenthetical>\n    <dialogue>Maybe we should call a doctor.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>No. I'm okay.<\/dialogue>\n    <scene_description>He sits up to prove it .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>Really. Just a bad dream.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL BIOLOGY CLASSROOM - DAY<\/stage_direction>\n    <scene_description>A rather bored looking group of STUDENTS is listening with little interest to the droning of their teacher , MR ABLE , who is lecturing them from the front of the room .<\/scene_description>\n    <character>MR. ABLE<\/character>\n    <dialogue>So, to review, the solid waste, those nutrients that are not absorbed in the lining of the stomach, the large intestine, the small intestine - the alimentary canal - are passed out through the colon.<\/dialogue>\n    <scene_description>SOUND OVER : A FAKE FART LAUGHTER from the class . ABLE looks up crossly from his notes until the laughs trail off .<\/scene_description>\n    <character>MR. ABLE<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <parenthetical>( continues . )<\/parenthetical>\n    <dialogue>The liquid nutrients are then carried through an elaborate system of filtering, aided by the pancreas, liver and gall bladder.<\/dialogue>\n    <scene_description>TWO GIRLS at the back of the room look at each other . One puts her finger in her mouth and pretends to gag . As Able DRONES on in the B.G. , we 're ON JESSE He 's having a hell of a time keeping his eyes open . His head bobs intermittently as he starts to nod out . ON GRADY He nudges a CLASSMATE at the next desk to look over toward Jesse . They snicker . ON JESSE , THEIR POV nodding out BACK TO ABLE<\/scene_description>\n    <character>MR. ABLE<\/character>\n    <dialogue>Or collected in the bladder to be expelled at a later time. And this entire process is kept moving through `` the circulatory system'', the center of which is.<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>. the heart.<\/dialogue>\n    <scene_description>On the beat , he reaches under his lab table and plunks a BLOODY CALF 'S HEART down right in the center of it . We hear DISGUSTED GROANS from the class .<\/scene_description>\n    <character>MR. ABLE<\/character>\n    <dialogue>Four chambers, just like the human heart, really.<\/dialogue>\n    <scene_description>Able describes the path by sticking his index finger into each orifice .<\/scene_description>\n    <character>MR ABLE<\/character>\n    <dialogue>From the body, through the right auricle, to the right ventricle and out the pulmonary artery to the lungs.<\/dialogue>\n    <scene_description>BACK TO JESSE , ASLEEP A particularly ugly and ferocious looking SNAKE is wrapping itself around his arm , making its way toward Jesse 's face . CLOSE ON JESSE As he wakes up slowly and looks down groggily toward his arm . THE SNAKE opens wide and emitsa long demonic hiss . Jesse screams and hastily begins pulling the reptile away from him . ON ABLE Standing next to Jesse , he pulls the snake off his arm and drops it into a nearby tank .<\/scene_description>\n    <character>MR. ABLE<\/character>\n    <dialogue>If you want to play with animals, Mr. Walsh, join the circus.<\/dialogue>\n    <scene_description>GUFFAWS from the class . JESSE looks around , bewildered and embarrassed . He spots GRADY , grinning widely .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE WALSH HOUSE - LIVING ROOM - EARLY EVENING<\/stage_direction>\n    <scene_description>Comfortable and very suburban . A major color T.V. takes up the wall opposite a pair of His and Hers Barcaloungers . DAD is watching The Six O'clock News on the tube and fanning himself with a T.V. Guide . MOM sits on the couch with ANGELA , helping her with a jigsaw puzzle . TWO PARAKEETS are fluttering around inside a cage near the entry into the dining room . JESSE bounces down the stairway , a rolled towel tucked under his arm . DAD stares at him angrily then turns back to the game . JESSE CROSSES in front of the set on his way out of the room .<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>Where are you going?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Just out for a while.<\/dialogue>\n    <character>DAD<\/character>\n    <parenthetical>( shaking his head . )<\/parenthetical>\n    <dialogue>I told you I want that room unpacked.<\/dialogue>\n    <character>JESSE<\/character>\n    <parenthetical>( begging . )<\/parenthetical>\n    <dialogue>Oh, come on Dad.<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>No.<\/dialogue>\n    <parenthetical>( pointing toward the stairway . )<\/parenthetical>\n    <dialogue>Upstairs.<\/dialogue>\n    <scene_description>Jesse 's about to protest but Dad cuts him off .<\/scene_description>\n    <character>DAD<\/character>\n    <parenthetical>( firmly . )<\/parenthetical>\n    <dialogue>Now.<\/dialogue>\n    <scene_description>Jesse turns around , mumbles something under his breath and stomps back upstairs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LISA'S HOUSE - POOLSIDE -EARLY EVENING<\/stage_direction>\n    <scene_description>A pair of glass sliders lead from the house onto a stretch of patio that surrounds a gorgeous built - in swimming pool . The patio is dotted with all the amenities of backyard recreation : a gas bar - b - que grill , a wet - bar , plenty of pipe furniture and even a pair of free - standing cabanas . The entire set - up is contained by a six - foot , chain link security fence . LISA steps out of the cabana , wearing a swim suit . She tosses her towel onto a nearby chair and crosses to the diving board . ON THE BOARD She bounces lightly and jumps off , cutting gracefully through the water and coming up in the center of the pool . MRS. POLETTI , a pleasant looking woman in her late 40 's , slides open the patio doors and pokes her head out .<\/scene_description>\n    <character>MRS. POLETTI<\/character>\n    <parenthetical>( calling . )<\/parenthetical>\n    <dialogue>There's a Jesse on the phone.<\/dialogue>\n    <character>LISA<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>Okay. thanks.<\/dialogue>\n    <scene_description>LISA swims to the edge of the pool and hoists herself up . She throws the towel over her shoulders and picks up a wireless phone from a low table .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Jesse, hi.<\/dialogue>\n    <parenthetical>( a beat , diappointed . )<\/parenthetical>\n    <dialogue>Oh. that's okay. Sorry you ca n't make it.<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>No, I understand. Parents can be real pains. I'll see you in the morning, then.<\/dialogue>\n    <scene_description>She hangs up and frowns .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WALSH HOUSE - JESSE'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>JESSE stands at the foot of the bed , surveying the job unhappily and trying to figure out where to start . Finally , he pulls a SHOE BOX from inside a larger carton , places it on his desk and lifts the lid . It 's full of cassette tapes . He rifles through them , selecting one and popping it inot a PORTABLE CASSETTE PLAYER on the desk . He pushes the `` play '' button . The tape is ROCK AND ROLL . The music gets him moving a bit . He surveys the room , then goes to A CARTON NEAR THE BOOKSHELVES . He reaches deep into the near - empty carton and pulls out a stack of books which he plops on the shelves next to other books already unpacked . He tosses the carton aside . He 's getting into the music now as he spins around to face the bureau . He opens a SMALL POX on the bureau while be - bopping along and pulls out a PAIR OF SUNGLASSES which he puts on , practically dancing . He dumps the contents of the box haphazardly into a bureau drawer . JESSE opens a large bureau drawer . He grbs a nearby box and dumps it into the large drawer , smoothing it over perfunctorily with his hands . A Stetson cowboy hat is on top . He drops it on his head and pulls it down low over his eyes . ON A FULL LENGTH MIRROR Jesse steps into frame to get a look at himself . He likes what he sees as he mimes a guitar riff along with the music . In one smooth move , in rhythm with the music , he seings around and moves to the desk . He dumps a SMALL BOX OF PENCILS AND SUPPLIES into the desk drawer . As an afterthought , he grabs a couple of pencils out of the drawer and drums a few beats on the desk with them . He shoves the pencils up his nostrils , tucks his thumbs under his armpits and waves his elbows like he 's doing the `` Funky Chicken '' . Silly stuff that one owuld only do behind closed doors . He spins around , throwing his arms out and stopping ddead in his tracks . HIS POV LISA and MOM are standing in his doorway . Mom looks horrified . Lisa represses a giggle . Mom reaches over and knocks timidly on the open door . Jesse hastily pulls the pencils out of his nose and dives for the stereo to turn it off . Beet - red , he tosses the hat and sun glasses onto the bed and tries to look nonchalant .<\/scene_description>\n    <character>JESSE<\/character>\n    <parenthetical>( embarrassed . )<\/parenthetical>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>Jesse looks to Mom who takes the hint and turns to leave . Lisa takes a step into the room .<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>( when Mom is out of range . )<\/parenthetical>\n    <dialogue>I told her you invited me over. I guess I should have called, huh?<\/dialogue>\n    <scene_description>Behind the embarrassment , he 's glad to see her . He puts the pencils in the desk drawer and shuts it .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>No, that's okay. I was just. unpacking.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>Lisa casually steps over to a carton and peeks in .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>I figured you might like some help.<\/dialogue>\n    <character>JESSE<\/character>\n    <parenthetical>( pleasantly surprised . )<\/parenthetical>\n    <dialogue>Yeah?<\/dialogue>\n    <scene_description>JESSE 'S ROOM - LATER The room is shaping up nicely with only a few boxes remaining . Jesse pulls a bundle wrapped in newspapers from a carton . He tears away the paper , revealing a baseball trophy . He places it on a conspicuous corner of his dresser . Lisa reaches into the box , retrieves an aerosol can and looks at it . ON THE CAN A medicated spray for JOCK ITCH .<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>Where does this go?<\/dialogue>\n    <scene_description>JESSE grabs the can from her hand and puts it down on the dresser behind the trophy .<\/scene_description>\n    <character>JESSE<\/character>\n    <parenthetical>( mortified . )<\/parenthetical>\n    <dialogue>There's a box of sweaters over there if you want to put them up in the closet.<\/dialogue>\n    <scene_description>Lisa is anxious to pitch in . She nods good - naturedly and steps over to her assignment . INSIDE THE CLOSET As Lisa opens the door and pulls an overhead chain to switch on the light . ANOTHER ANGLE as she drags a chair over , lifts a pile of sweaters from an open box , steps up on the chair and stacks them on a shelf . She starts to step back down when something catches her attention in the back corner of the shelf . She reaches in and pulls out a small , red leatherbound book .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>What's this?<\/dialogue>\n    <scene_description>Jesse steps over to look at it . ON THE BOOK about two - thirds the size of an average paperback , it has a matching leather thong that snaps into a small latch on the front and opens the book .<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>( reading . )<\/parenthetical>\n    <dialogue>`` Nancy Thompson, 1428 Elm.''.<\/dialogue>\n    <parenthetical>( looking up at him . )<\/parenthetical>\n    <dialogue>Hey, this thing is five years old.<\/dialogue>\n    <scene_description>Jesse steps over and looks over her shoulder .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>You know her?<\/dialogue>\n    <character>LISA<\/character>\n    <parenthetical>( shaking her head . )<\/parenthetical>\n    <dialogue>Uh - uh. Before my time.<\/dialogue>\n    <scene_description>She turns a few pages .<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>( reading . )<\/parenthetical>\n    <dialogue>`` February 17th - My birtday. Daddy came by today with a big ol' stuffed bear for me. He took me to dinner and a movie and when we got back, he and Mother had another one of their fights. He left angry. I wish they would stop fighting.''<\/dialogue>\n    <scene_description>Jesse waves the diary away , uninterested . He crosses back to continue unpacking .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>I think it's sad.<\/dialogue>\n    <character>JESSE<\/character>\n    <parenthetical>( cynically . )<\/parenthetical>\n    <dialogue>Traumas of a ten - year old.<\/dialogue>\n    <scene_description>Lisa leafs through a few more pages , stops and begins reading with widening eyes . She glances at Jesse and smiles impishly .<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>( reading . )<\/parenthetical>\n    <dialogue>`` March 7th - Glen asked me to sleep with him again. I ca n't yet - I like him, I want to make him happy but I'm not sure that I love him. I ca n't sleep with someone I do n't love.''<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>That's typical. I hope she did n't expect to make the best seller list with this thing.<\/dialogue>\n    <scene_description>Lisa ignores him and scans the page .<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>( finding something . )<\/parenthetical>\n    <dialogue>Wow, listen to this!<\/dialogue>\n    <parenthetical>( reading . )<\/parenthetical>\n    <dialogue>`` Sometimes, when I'm lying here in bed, I can see Glen, in his window across the way, getting ready for bed. His body is slim and smooth and I know I should n't watch but that part of me that wants him forces me to. That's when I weaken. That's when I want to go to him.''<\/dialogue>\n    <scene_description>Jesse is suddenly interested . He walks over and Lisa hands him the diary with the page open to that entry . He reads it and quickly turns the page . He frowns and turns another , then another .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>That's it?<\/dialogue>\n    <parenthetical>( another couple of pages . )<\/parenthetical>\n    <dialogue>Wait, she skipped a week.<\/dialogue>\n    <parenthetical>( reading . )<\/parenthetical>\n    <dialogue>`` March 15 - he comes to me at night. Horrible. Ugly. Dirty. Under the sheets with me, tearing at my night - gown with his steel claw.''<\/dialogue>\n    <scene_description>Jesse 's voice trails off on `` claw '' and a chill of vague recognition goes through him . He checks the cover of te book and flips back a few pages . Lisa moves closer to read over his shoulder . Jesse composes himself and looks back at the book .<\/scene_description>\n    <character>JESSE<\/character>\n    <parenthetical>( reading . )<\/parenthetical>\n    <dialogue>`` His name is Fred and he keeps taking me to the boiler room. He wants to kill me.''<\/dialogue>\n    <scene_description>Jesse almost shivers . He turns the page , and he freezes .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <scene_description>ON THE DIARY Jesse shows her the page . There is one sentence scrawled across the next entry . Lisa reads it .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>`` Tina is dead.''<\/dialogue>\n    <scene_description>ON JESSE AND LISA They look at each other , spooked . He turns the page .<\/scene_description>\n    <character>JESSE<\/character>\n    <parenthetical>( reading . )<\/parenthetical>\n    <dialogue>`` Rod's been killed - he got Rod. Just Glen and me now. Ca n't fall asleep!''<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <scene_description>Jesse 's face turns ashen as he looks up at Lisa .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Are you okay.<\/dialogue>\n    <character>JESSE<\/character>\n    <parenthetical>( nodding ; covering . )<\/parenthetical>\n    <dialogue>Something Grady told me today about the people that lived here last. Girl went crazy - saw her boyfriend killed in the house across the street.<\/dialogue>\n    <scene_description>He is interrupted by Mom , poking her head into the room .<\/scene_description>\n    <character>MOM<\/character>\n    <parenthetical>( cheerfully . )<\/parenthetical>\n    <dialogue>How's it going?<\/dialogue>\n    <scene_description>Jesse instinctively hides the diary behind his back .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>She looks over the room , impressed at the progress .<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Looks great! Thought you might want to take a break - got some cold cider downstairs.<\/dialogue>\n    <scene_description>Jesse looks at Lisa to see what she wants to do . Lisa looks over at Jese 's alarm clock . THe time is 8 P.M.<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>( standing up . )<\/parenthetical>\n    <dialogue>No. thanks. I better get back.<\/dialogue>\n    <parenthetical>( to Jesse . )<\/parenthetical>\n    <dialogue>Got a major paper due the end of this week.<\/dialogue>\n    <character>MOM<\/character>\n    <parenthetical>( ducking back out . )<\/parenthetical>\n    <dialogue>Well, it's there if you change your mind.<\/dialogue>\n    <scene_description>Jesse waits for her to leave .<\/scene_description>\n    <character>JESSE<\/character>\n    <parenthetical>( to Lisa . )<\/parenthetical>\n    <dialogue>Are you sure?<\/dialogue>\n    <character>LISA<\/character>\n    <parenthetical>( nods sourly . )<\/parenthetical>\n    <dialogue>World History.<\/dialogue>\n    <parenthetical>( brightening . )<\/parenthetical>\n    <dialogue>But, I'll see you in the morning, right?<\/dialogue>\n    <scene_description>Jesse nods .<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>( pointing to the diary . )<\/parenthetical>\n    <dialogue>Hot stuff. Let me know how it turns out.<\/dialogue>\n    <scene_description>Jesse opens the door for her .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>I'll walk you downstairs.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WALSH HOUSE - LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>MOM wraps the night - cover over the BIRD CAGE . She steps past ANGELA on the couch and crosses in front of DAD , in his recliver , vegetating in front of the tube . SHe sits and loosens her collar a bit . ON DAD He shifts uncomfortably and wipes some beaded sweat from his upper lip .<\/scene_description>\n    <character>MOM<\/character>\n    <parenthetical>( to Dad . )<\/parenthetical>\n    <dialogue>A little warm in here, huh?<\/dialogue>\n    <scene_description>Dad gets up from his chair . His shirt is sticky with perspiration . Jesse steps in from the dining room , a glass of milk in his hand . ON ANGELA looking up at Jesse . She puts a finger to her lips .<\/scene_description>\n    <character>ANGELA<\/character>\n    <dialogue>Shhh. The birds are sleeping.<\/dialogue>\n    <scene_description>Jesse notices the intense heat in the room immediately . His eyes widen portentiously . ON DAD at the thermostat .<\/scene_description>\n    <character>DAD<\/character>\n    <parenthetical>( astounded . )<\/parenthetical>\n    <dialogue>It's 97 degrees in here!<\/dialogue>\n    <scene_description>He pulls off the coverplate and starts fiddling with the coil . Suddenly , a LOUD SQUAWK from the other side of the room makes everyone look up . Jesse puts his milk down on he T.V. and hurries over to the cage , ripping the cover away . ON THE BIRD CAGE Another series of HORRIBLE CRIES as one of the budgies proceeds to rip up the neck of the other one with his sharp beak . Jesse throws open the door and tries to pull the attacking bird off his victim . the vicious one continues the rabid attacks on Jesse 's hand , drawing blood . As Jesse pulls his arm out , the bird flies out into the living room , roaring a repetitive WAR - CRY that is eerie and unnatural for something that size . MOM and DAD jump to their feet . ANGELA starts screaming at the top of her lungs . ON THE BIRD It circles around the ceiling and then DIVES for Dad , cutting a deep gash under his eye . It seems much larger than it was before - maybe twice its original size .<\/scene_description>\n    <character>DAD<\/character>\n    <parenthetical>( screaming . )<\/parenthetical>\n    <dialogue>Get a broom or something!<\/dialogue>\n    <scene_description>ANGLE : LIVING ROOM Mom dashes out of the room . THE BIRD swoops down , heading for Angela but crashing into the shade of a table lamp , knocking it to the floor . It flutters to the ceiling and hovers near a light fixture . Its beak and most of its head is covered in blood and it opens its mouth to emit a gutteral growl . MOM returns with a broom and hands it to Dad . As Dad approaches and lifts the broom to his shoulder , the bird screams agai and dives for Jesse . Jesse throws his arm out to block the attack . The bird reverses direction and Dad swings in mid - air with the broom . He misses , demolishing the remaining table lamp instead . ON THE BIRD It hovers again in the air , seemingly without any means of support , PUFFING UP , GROWING ANGRIER , MORE DEMONIC . Then , just as it seems ready for a last lethal attack , there is a loud BANG and the bird literally EXPLODES into FLAMES in mid - air . The family looks at one another in horror and disbelief . The only sound in the room is ANGELA , attached to her mother 's leg and whimpering quietly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WALSH HOUSE - KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>CRASH ! DAD dumps an odd assortment of home handyan tools on the kitchen table . He picks through them , selecting a pipe wrench and a screw driver . He crosses to the stove . We see Mom in the B.G. , standing , not quite cowering , still in shock from the bird attack . Jesse is leaning on the counter , next to the range , watching his father 's determined moves . Dad leans into the appliance and attempts to pull it away from the wall , probably tearing six or seven ligaments in the process . After several tries , he stops and looks up at his son .<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>Help me with this thing!<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>It's not the gas, Dad!<\/dialogue>\n    <character>DAD<\/character>\n    <parenthetical>( angrily . )<\/parenthetical>\n    <dialogue>Do n't tell me it's not the gas!<\/dialogue>\n    <scene_description>He yanks on the stove with more vehemence .<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>Do n't tell me it's not the gas! Your mother thought she smelled gas.<\/dialogue>\n    <character>MOM<\/character>\n    <parenthetical>( timidly . )<\/parenthetical>\n    <dialogue>I was n't sure, Ken.<\/dialogue>\n    <character>DAD<\/character>\n    <parenthetical>( to Mom . )<\/parenthetical>\n    <dialogue>Alright then, what is it? Bird rabies? That cheap seed you've been buying?<\/dialogue>\n    <character>MOM<\/character>\n    <parenthetical>( resenting that . )<\/parenthetical>\n    <dialogue>Oh, please.<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>What is it then? There's got to be an explanation. Animals just do n't burst into flames for no reason!<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Well it sure is n't leaky gas pipes.<\/dialogue>\n    <scene_description>Dad stands up suddenly , CRACKING his head on the edge of the range hood .<\/scene_description>\n    <character>MOM<\/character>\n    <parenthetical>( concerned . )<\/parenthetical>\n    <dialogue>Ken!<\/dialogue>\n    <scene_description>As he groans in pain , he 's suddenly hit with a revelation . He points an accusatory finger at Jesse .<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>You set this all up, did n't you? One of your sick jokes?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>DAD<\/character>\n    <dialogue>You know what I'm talking about. What did you use, a fire cracker? A cherry bomb?<\/dialogue>\n    <scene_description>Jesse is angry now .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>I do n't have to listen to this!<\/dialogue>\n    <scene_description>He storms out of the kitchen .<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>Come back here!<\/dialogue>\n    <character>MOM<\/character>\n    <parenthetical>( upset . )<\/parenthetical>\n    <dialogue>Ken!<\/dialogue>\n    <scene_description>Dad looks blankly at the wrench in his trembling hand .<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>I do n't know. I do n't know, Shirl. He used to be a good kid.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JESSE'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Dark again , sleeping soundly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WALSH HOME - SECOND FLOOR HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Jesse emerges from his room and eases the door shut as quietly as possible . He stops to listen for any signs of his parents being awake . SOUND OVER : SNORES FROM BEHIND THEIR BEDROOM DOOR He steps lightly past their room adn toward the head of the stairs . WE FOLLOW Jesse as he descends the stairs into the darkened foyer . THE CELLAR DOOR Jesse stops there , momentarily losing his nerve . He finally turns the knob and opens the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WALSH HOME - CELLAR - NIGHT<\/stage_direction>\n    <scene_description>Jesse pulls an overhead chain , flooding the cellar with light . It 's just as he saw it in his dream but devoid of any intruders . he steps up the the furnace , squats down and opens the firebox door . He reaches in . To his horror , he feels something and pulls out an object , wrapped in rags . ON THE OBJECT as he unwraps it . An old , beat leather glove with a row of rusty knife blades protruding from the fingers . Suddenly , the furnace switches on with a ROAR . FLAMES are leaping out of the firebox .<\/scene_description>\n    <character>FREDDY<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <parenthetical>( laughingly . )<\/parenthetical>\n    <dialogue>Hot enough for you?<\/dialogue>\n    <scene_description>JESSE reels around . FREDDY is just across the room .<\/scene_description>\n    <character>FREDDY<\/character>\n    <parenthetical>( re : the glove . )<\/parenthetical>\n    <dialogue>Go ahead, Jesse. Try it on for size!<\/dialogue>\n    <scene_description>Jesse looks at the glove . The blades are no longer rusted but gleaming and sharp . he throws the weapon to the floor . Freddy moves in closer .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>FREDDY<\/character>\n    <dialogue>I need you to finish my work. Let me teach you, Jesse. We'll have fun. You like my little trick with the bird?<\/dialogue>\n    <scene_description>Freddy advances . Jesse steps behind a stack of cartons .<\/scene_description>\n    <character>FREDDY<\/character>\n    <dialogue>Kill for me.<\/dialogue>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>c'mon Jesse. Come to Freddy.<\/dialogue>\n    <scene_description>Jesse pushes over a stack of cartons in his path and dives for the steps . Halfway up he misses his footing and slips , tumbling back down . ANOTHER ANGLE As Jesse comes to at the foot of the cellar steps . The furnace has stopped and Freddy is gone . As he gets to his feet , he notices . THE GLOVE on te floor , where he dropped it as shiny and new as the day it was made .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WALSH HOUSE - KITCHEN - MORNING<\/stage_direction>\n    <scene_description>MOM , DAD , and ANGELA are all at the breakfast table , picking at their food ; none of them is particularly hungry this morning . JESSE enters and heads wordlessly to a coffee pot on the stove . he pours himself a cup and turns abound to face his family . Jesse and Dad are making an extra effort to avoid each other 's eye contact . ON ANGELA She 's still feeling bad , drawing little circles in a puddle of maple syrup with a corner of her waffle .<\/scene_description>\n    <character>JESSE<\/character>\n    <parenthetical>( to Dad , suddenly . )<\/parenthetical>\n    <dialogue>Why did it take them five years to sell this house, Dad?<\/dialogue>\n    <scene_description>Dad shrugs his shoulders uncomfortably .<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>I do n't know. COuld n't get the right price, I suppose.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>And you do n't know anything about a murder across the street and a crazy girl who lived here - who saw the whole thing?<\/dialogue>\n    <scene_description>Mom looks at Dad . This is all news to her .<\/scene_description>\n    <character>DAD<\/character>\n    <parenthetical>( testily . )<\/parenthetical>\n    <dialogue>I do n't know.<\/dialogue>\n    <parenthetical>( a beat , coming clean . )<\/parenthetical>\n    <dialogue>They told me something about it, yeah. What difference does it make?<\/dialogue>\n    <scene_description>He feels Mom 's stare and finally turns to her .<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>Oh, come on, Shirl, how'd you think we got such a good deal?<\/dialogue>\n    <parenthetical>( to Jesse . )<\/parenthetical>\n    <dialogue>Listen - all old houses have stories.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Did they tell you she went totally out of her mind - that they had to put her away? And that her mother killed herself in our living room?<\/dialogue>\n    <scene_description>ON ANGELA She slides up to Mom .<\/scene_description>\n    <character>ANGELA<\/character>\n    <dialogue>Mommy, I'm scared.<\/dialogue>\n    <character>MOM<\/character>\n    <parenthetical>( comforting her . )<\/parenthetical>\n    <dialogue>Shhhhh. Jesse and Daddy are just making believe, sweetheart.<\/dialogue>\n    <parenthetical>( to Jesse . )<\/parenthetical>\n    <dialogue>I do n't think we should be talking about this now.<\/dialogue>\n    <scene_description>Dad turns back to Jesse .<\/scene_description>\n    <character>DAD<\/character>\n    <parenthetical>( indicating Angela . )<\/parenthetical>\n    <dialogue>You see what you're doing? Now I do n't want to hear another word about it. There's nothing wrong with this house!<\/dialogue>\n    <scene_description>ON MOM he looks up from Angela and sniffs the air .<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Something burning?<\/dialogue>\n    <scene_description>Mom and Dad oth look toward the counter - top . THE TOASTER , THEIR POV GLOWING RED - HOT and then , not just smokey toast but FLAMES leaping out of the bread slots . Mom gasps and Dad jumps to his feet , grabs a dish - towel and begins beating out the fire . JESSE turns white as he watches the scene . Dad turns white as he watches the scene . DAD turns away from the smoldering toaster , tosses the towel aside and heads back toward the table .<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>Craziest damn thing I ever saw - was n't even plugged in.<\/dialogue>\n    <scene_description>Jesse puts his cut down hard on the counter and walks out . THe screen door slams behind him . Mom looks at Dad , horrified as Anglea clings to ehr side .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MC DONALD'S PARKING LOT - DAY<\/stage_direction>\n    <scene_description>IN JESSE 'S CAR As JESSE unrolls the bundle of rags he found the night before and lets the finger knives drop with a CLATTER on the seat between himself and LISA . On Lisa 's side of the dashboard we see the remnants of a big , fast - food breakfast ; Egg McMuffin , danish , orange juice and coffee . Jesse nurses a cup of joe as Lisa picks up the glove and examines it with interest .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>This is amazing! Your dream told you where this was?<\/dialogue>\n    <character>JESSE<\/character>\n    <parenthetical>( nods . )<\/parenthetical>\n    <dialogue>Only it was more like, you know, sleep - walking. All I know is I woke up on the cellar floor next to it.<\/dialogue>\n    <scene_description>He reaches into his knapsack and pulls out the diary .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>Forget about going back to sleep after that. I was up all night.<\/dialogue>\n    <parenthetical>( more intense . )<\/parenthetical>\n    <dialogue>I finished reading this. It gets real crazy towards the end, after all the death stuff. But then she said some - thing really freaky - about her mother taking her down to the basement to show her the glove.<\/dialogue>\n    <scene_description>ON LISA She 's totally sucked in to the story , wide - eyes and waiting for more . She offers a french fry to Jesse . He shakes his head . She pops it into her mouth and nods for Jesse to go on .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>That's when she started talking about Fred Krueger.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Fred Krueger. The guy in her dream who's coming to kill her. Seems he was a real guy, ten years before who went around kidnapping kids and killing them.<\/dialogue>\n    <scene_description>ON LISA She emits a long , windy whistle .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL CORRIDOR - DAY<\/stage_direction>\n    <scene_description>KIDS are at their lockers , taking off their jackets and getting together everything they 'll need for the day . ON JESSE AND LISA As they walk down the hall together .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Maybe you were having a premonition or something. You know, like those guys who help the police solve crimes and find missing people. You ever had anything like this happen before?<\/dialogue>\n    <scene_description>Jesse thinks about it .<\/scene_description>\n    <character>JESSE<\/character>\n    <parenthetical>( finally . )<\/parenthetical>\n    <dialogue>No. Never.<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>You think that's what it is?<\/dialogue>\n    <character>LISA<\/character>\n    <parenthetical>( thoughtfully . )<\/parenthetical>\n    <dialogue>I do n't know.<\/dialogue>\n    <scene_description>They stop in the middle of the corridor .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Can I look at that diary for a little while?<\/dialogue>\n    <scene_description>Jesse raises his eyebrows vaguely , reaches in his bag and hands over the book .<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>( taking it . )<\/parenthetical>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Before she can go on , they are interrupted by a squeaky voice to their side . At the sound of it , Lisa displays annoyed recognition .<\/scene_description>\n    <character>KERRY<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>Hi, guys.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Hi, Kerry.<\/dialogue>\n    <character>KERRY<\/character>\n    <parenthetical>( to Lisa . )<\/parenthetical>\n    <dialogue>I got your invitation yesterday. Thanks.<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>Any cute guys gon na be there?<\/dialogue>\n    <character>LISA<\/character>\n    <parenthetical>( tired sigh . )<\/parenthetical>\n    <dialogue>All of them.<\/dialogue>\n    <character>KERRY<\/character>\n    <dialogue>Yor dad picking the music again?<\/dialogue>\n    <character>LISA<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Mom's trying to keep him upstairs.<\/dialogue>\n    <scene_description>Jesse looks at Lisa quizzically .<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>( to Jesse . )<\/parenthetical>\n    <dialogue>Last party I had, Dad insisted on playing nothing but Benny Goodman records all night.<\/dialogue>\n    <scene_description>The class bell RINGS . Lisa leans over and kisses Jesse .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>I'll see you later, okay?<\/dialogue>\n    <scene_description>The kiss takes him by surprise as she walks off with Kerry .<\/scene_description>\n    <character>JESSE<\/character>\n    <parenthetical>( calling after her . )<\/parenthetical>\n    <dialogue>I may be late. Baseball practice!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGH SCHOOL PRACTICE FIELD - DAY<\/stage_direction>\n    <scene_description>The school TEAM has been split up into two sides . There 's an air of excitement about - like it 's a close game , drawing to an end . GRADY is on third , waiting to be hit home . The PITCHER winds and throws . ON THE BATTER A swing and a miss . SCHNEIDER calls him out . He tosses the bat aside , disgustedly . JESSE is on deck . As he approaches the plate :<\/scene_description>\n    <character>A TEAMATE<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>Last out. Up to you, Walsh.<\/dialogue>\n    <scene_description>ON GRADY He sneers like they might as well just concede the game now and go home early . The PITCHER sends one right down the middle . JESSE lets it go and Schneider calls a strike . He chokes up a bit on the bat and takes his stance . Another perfect pitch and Jesse lets it go again .<\/scene_description>\n    <character>SCHNEIDER<\/character>\n    <dialogue>Strike!<\/dialogue>\n    <scene_description>Grady slaps himself in the face and shakes his head pitifully . The PITCHER throws another . This time , Jese catches it perfectly , SLAMMING it down the middle for a solid hit . GRADY scores amid cheers and slaps on the back . JESSE holds up at first .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOY'S LOCKER ROOM - DAY<\/stage_direction>\n    <scene_description>JESSE is at the end of a row of lockers . He pulls off his shirt and tosses it in the locker , takes down a towel and sets it down on the bench next to him . Several BOYS pass by on their way to their lockers or the showers , giving Jesse the thumbs - up .<\/scene_description>\n    <character>BOYS<\/character>\n    <dialogue>Good game, Walsh. Way to go, Walsh. etc..<\/dialogue>\n    <scene_description>GRADY approaches and goes to his own locker , down a few from Jesse 's . Jesse plops down on the bench and slowly pulls off his sneakers . He stops to rub his aching shoulders .<\/scene_description>\n    <character>GRADY<\/character>\n    <parenthetical>( finally . )<\/parenthetical>\n    <dialogue>You hit that ball pretty good, Walsh.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>It was okay.<\/dialogue>\n    <character>GRADY<\/character>\n    <dialogue>Who told you to choke up that way?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>My Dad. He played in the minors for a while, when he got out of college.<\/dialogue>\n    <character>GRADY<\/character>\n    <parenthetical>( impressed . )<\/parenthetical>\n    <dialogue>No shit.<\/dialogue>\n    <scene_description>They continue undressing in silence . As Jesse speaks , COACH SCHNEIDER steps up behind them .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>Schneider should n't have called you out on that double.<\/dialogue>\n    <character>GRADY<\/character>\n    <dialogue>Yeah, well, Schneider's got a stick up his ass today.<\/dialogue>\n    <character>JESSE<\/character>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>Schneider's always got a stick up his ass.<\/dialogue>\n    <scene_description>Schneider smiles wickedly as he places his hands on the two boys ' shoulders .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ATHLETIC FIELD - DAY<\/stage_direction>\n    <scene_description>JESSE and GRADY trudge along at somewhere between a job and a stumble . They talk to each other with words that are punctuated by huffs , puffs and side - stitches .<\/scene_description>\n    <character>JESSE<\/character>\n    <parenthetical>( cautiously . )<\/parenthetical>\n    <dialogue>You remember your dreams, Grady?<\/dialogue>\n    <character>GRADY<\/character>\n    <dialogue>Only the wet ones.<\/dialogue>\n    <scene_description>Jesse shoots him a condescending sneer and decides not to pursue it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL PARKING LOT - DAY<\/stage_direction>\n    <scene_description>The lot is practically empty with most of the students on heir way home by now . Jesse 's car is parked in the center . LISA is leaning on the car , waiting with a stack of books at her side . She looks up as Jesse approaches .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>Sorry. Schneider id it to me again.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>I just got here myself. Went to the Public Library.<\/dialogue>\n    <parenthetical>( proudly . )<\/parenthetical>\n    <dialogue>Cut four classes!<\/dialogue>\n    <scene_description>He opens the door for her . She picks up the books and climbs in . Jesse runs around to the other side and slides in beside her .<\/scene_description>\n    <character>JESSE<\/character>\n    <parenthetical>( indicating the books . )<\/parenthetical>\n    <dialogue>What's all this.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Research.<\/dialogue>\n    <parenthetical>( she kisses him . )<\/parenthetical>\n    <dialogue>Hi.<\/dialogue>\n    <parenthetical>( an intriguing wink . )<\/parenthetical>\n    <dialogue>C'mon, let's go for a ride.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY - DAY<\/stage_direction>\n    <scene_description>The blue Falcon rolls down the highway . INSIDE JESSE is driving as LISA re - stacks some of the books on her lap and begins leafing through one .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>I'm convinced you've had a genuine psychic vision.<\/dialogue>\n    <scene_description>Jesse looks over at her inquisitively .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>At first I was n't sure because you said that you never had anyting like last night happen before. But I found out that most people have the potential for tuning in to `` the other world'' and neve do. It has something to do with the environment - like they have to be in a place that's sending signals.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Like a haunted house, right? I do n't believe in ghosts.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>You do n't have to. You just have to believe in energy.<\/dialogue>\n    <scene_description>She shifts in her seat to face him .<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>( intensely . )<\/parenthetical>\n    <dialogue>Look, you got electricity in your body, right?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Yeah, I know. synapses neurong.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>And heat and chemical reactions. Where does it all go when you die?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>I do n't know - into the air I suppose.<\/dialogue>\n    <character>LISA<\/character>\n    <parenthetical>( pointing up ahead . )<\/parenthetical>\n    <dialogue>Make a left at this corner.<\/dialogue>\n    <scene_description>Jesse turns at the intersection .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>What about `` essential energy'' the soul. Does that go into the air too? You think there's a good energy and a bab energy?<\/dialogue>\n    <character>JESSE<\/character>\n    <parenthetical>( confussed . )<\/parenthetical>\n    <dialogue>I do n't know.<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>Where are we going?<\/dialogue>\n    <character>LISA<\/character>\n    <parenthetical>( smiles mysteriously . )<\/parenthetical>\n    <dialogue>It's a surprise.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ABANDONED POWER PLANT - DAY<\/stage_direction>\n    <scene_description>An old generating plant , big enough to have served what was once a small town but rundown and obsolete now . the place is charred and the grounds are littered with rubble - as if there 'd been a fire there long ago . The entrance to the plant is boarded up and plastered with `` NO TRESPASSING '' signs . Many of the boards are missing , providing easy access for the scores of vandals who had torn through there at one time or another . There are no windows at ground level but the top of the building is lined with many multi - paned frames ; all of them are either cracked or missing . JESSE 'S CAR pulls into frame and he and LISA get out and look the place over .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>What is this place?<\/dialogue>\n    <character>LISA<\/character>\n    <parenthetical>( excidedly . )<\/parenthetical>\n    <dialogue>Remember in the diary - Nancy said that she kept finding herself in a boiler room? Fred Krueger worked here. It's an old power - plant - a steam generator!<\/dialogue>\n    <scene_description>She pulls out several papers and hands them to Jesse .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Here.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>What's this?<\/dialogue>\n    <scene_description>ON THE PAPERS Xeroxes of newspaper articles . The HEADLINE reads : `` SPRINGWOOD SLASHER ARRESTED ! ''<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>I did some reading up on our friend, Fred Krueger.<\/dialogue>\n    <scene_description>Jesse leafs through the papers . Each one is a front page from a local newspaper . HEADLINE : `` KRUEGER FREED ON TECHNICALITY ! D.A. RESIGNS '' HEADLINE : `` JUSTICE DONE - KRUEGER KILLED BY MOB ! SPRINGWOOD SLASHER DIES IN HELLISH INFERNO '' Jesse sucks in his breath .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTRANCEWAY, ABANDONED POWERPLANT - DAY<\/stage_direction>\n    <scene_description>Jesse and Lisa climb between a pair of boards and step inside . ON LISA She walks toward the center of the plant , fascinated .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POWERPLANT<\/stage_direction>\n    <scene_description>We can see the remnants of a large boiler room . Big steel pipes jut out of the floor in a tangle of elbows and valves and a clutter of debris . A one - story holdig tank rises above a concrete pit and is met on top by a mze of catwalks , just under the windows . Although most of the ceiling has burned away , the interior is surprisingly intact for a derelict building and the overhead light distracts form any intrinsic creepiness the place would possess after dark . Jesse steps in behind her .<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>( solemnly . )<\/parenthetical>\n    <dialogue>He kidnapped twenty kids and brought them all here to die.<\/dialogue>\n    <scene_description>She gives herself a chill but shakes it off and turns to Jesse .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>So, you feeling anything?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>I thought you might be able to make a connection.<\/dialogue>\n    <scene_description>Jesse shrugs his shoulders and puts his hands to the side of his mouth .<\/scene_description>\n    <character>JESSE<\/character>\n    <parenthetical>( calling . )<\/parenthetical>\n    <dialogue>Any ghosts in here?<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>C'mon, cut it out.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Well, what am I supposed to do?<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>I do n't know. Concentrate or some - thing.<\/dialogue>\n    <scene_description>Jesse shifts his legs and stares up at the ceiling . He closes his eyes .<\/scene_description>\n    <character>JESSE<\/character>\n    <parenthetical>( still concentrating . )<\/parenthetical>\n    <dialogue>I feel like a jerk.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Shhh. Just concentrate.<\/dialogue>\n    <scene_description>Jesse walks around in a small circle , keeping hsi head up and his eyes closed .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Anything?<\/dialogue>\n    <character>JESSE<\/character>\n    <parenthetical>( shakes his head . )<\/parenthetical>\n    <dialogue>Uh - uh.<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>Wait.<\/dialogue>\n    <scene_description>He walks slowly across the room , almost in a trance , until he comes to a board leaning up against the foot of the mesh - iron stairway that leads up to the catwalks . ON THE BOARD As his hand reaches over to touch it . ON LISA stepping over next to Jesse . ANOTHER ANGLE He pulls the board away . A LARGE RAT , in her nest , WITH HER YOUNG , SNARLS at him . Jesse and Lisa jump into each other 's arms .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ABANDONED POWERPLANT - LATE AFTERNOON<\/stage_direction>\n    <scene_description>JESSE and LISA walk along the outskirts of the building to a pretty cluster of shade trees nearby . Lisa hoists herself up on a boulder and looks at the building .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>Disappointed?<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>About what?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>About not finding any bogey men?<\/dialogue>\n    <character>LISA<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>I'll get over it.<\/dialogue>\n    <scene_description>She is disappointed - She wanted to find some bogey men . Jesse comes up close to her and they stare at each other .<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>( finally . )<\/parenthetical>\n    <dialogue>You are sensitive. I mean you sensed that the rat was there. And I can feel something about you. Sometimes I feel like I know what you're thinking.<\/dialogue>\n    <scene_description>Jesse moves in closer an puts his arms on her shoulders .<\/scene_description>\n    <character>JESSE<\/character>\n    <parenthetical>( suggestively . )<\/parenthetical>\n    <dialogue>Yeah?<\/dialogue>\n    <character>LISA<\/character>\n    <parenthetical>( ignoring the suggestion . )<\/parenthetical>\n    <dialogue>Maybe it only happens when you're sleeping - that's the way it was with Nancy, was n't it?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Now, there's an idea we can take off on. Maybe we should drive out to the beach tonight and lay out a couple of blankets and.<\/dialogue>\n    <parenthetical>( winks . )<\/parenthetical>\n    <dialogue>Until I fall asleep.<\/dialogue>\n    <character>LISA<\/character>\n    <parenthetical>( slyly . )<\/parenthetical>\n    <dialogue>Maybe we can do that. Strictly scientific, of course.<\/dialogue>\n    <scene_description>Jesse moves in until their lips are almost touching .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>Nancy went bonkers from this thing. You would n't be afraid of being out on the beach with a potential lunatic?<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Ghostbusters are fearless.<\/dialogue>\n    <scene_description>They kiss . Not little friendly pecks like before - this is the real thing . Jesse drops his arms to her waist and she opens her legs so that he can get in real close . Suddenly , Jesse groans in pain and stands upright , tearing from their embrace . For the briefest instant , we can see protrusions grow and subside on his forehead and the side of his face .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>What is it - What's wrong?<\/dialogue>\n    <character>JESSE<\/character>\n    <parenthetical>( holding his stomach . )<\/parenthetical>\n    <dialogue>Whoa!<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>I do n't know - a sharp pain.<\/dialogue>\n    <scene_description>Lisa watches his helplessly . Finally , the agony lifts from Jesse 's face . He straightens up .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>It's gone now.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Oh, Jesse.<\/dialogue>\n    <scene_description>Lisa puts her arms around him .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Jesse, this is no good. You've got to get some sleep, Jesse. You've got to get some sleep.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WALSH HOUSE - JESSE'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Jesse is in bed , tossing restlessly adn panting heavily . He is drenched with sweat and continues to perspire profusely as he sits up and turns on his bedside lamp . A thunderhead is RUMBLING somewhere nearby . The PLASTIC SHADE OF THE LAMP is melting . He scans the room picking out various indications of the intense heat that is surrounding him ; A CANDLE on his bookshelf collapses into a puddle of wax , the LAMINATED TOP OF THE NIGHT - TABLE is bubbling , an UNSHEATHED RECORD ALBUM hangs over the corner of the desk , his PORTABLE STEREO has caved in the center - a Daliesque tableau . SOUND OVER : SCRAPING Jesse gets out of bed , crossing to the desk . The scraping sound intensifes . CLOSE ON THE DRAWER as Jesse opens it . Inside , THE GLOVE , fingers moving , independently , unattached , scraping little cuts in the bottom of the drawer . ON JESSE slamming the drawer shut . SOUND OVER : A SWISHING SOUND , FOLLOWED BY A THUMP , AGAIN AND AGAIN UPSTAIRS HALLWAY JESSE , barefoot and wearing only a pair of jeans and an unbuttoned shirt , steps up to the door to Angela 's room . The sound is coming from inside . He opens the door . ANGELA is standing in the middle of the floor , in her nightgown , seemingly oblivious to the heat . She is jumping rope and chanting :<\/scene_description>\n    <character>ANGELA<\/character>\n    <dialogue>One, two, Freddy's coming for you.<\/dialogue>\n    <scene_description>ON JESSE , PETRIFIED<\/scene_description>\n    <character>ANGELA<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>Three, four, better lock your door.<\/dialogue>\n    <scene_description>ON ANGELA She sees her brother staring at her . She does n't stop jumping but smiles and continues her jingle :<\/scene_description>\n    <character>ANGELA<\/character>\n    <dialogue>Five, six, grab your crucifix.<\/dialogue>\n    <scene_description>Jesse SLAMS the door shut . KITCHEN Jesse enters , looks out the windows . A huge bolt of LIGHTNING RIPS through the night sky ; a multiple flash f blue light strobes through the kitchen followed by a CRACK of intense THUNDER . ANOTHER FLASH OF LIGHTNING cuts across the kitchen itself , SHATTERING SOME DISHES on the counter - top , leaving a plume of BLACK SMOKE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTOWN STREET - NIGHT<\/stage_direction>\n    <scene_description>The rain continues to come down in buckets . Jesse enters shot and walks , unprotected in his drenched jeans and shirt and seemingly without any knowledge of where he is going . The streets are totally empty .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DON'S PLACE - NIGHT<\/stage_direction>\n    <scene_description>A seedy tavern on a badly lit corner . JESSE steps into frame . He stares at the place before stepping up to he door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DON'S PLACE - NIGHT<\/stage_direction>\n    <scene_description>The toughest looking bar in the entire city . The place is packed with PROSTITUTES , PIMPS , TRAVELING SALESMEN , a couple of TRANSVESTITES and a generous delegation of the leather and chain contingency . Jesse enters and crosses to the bar amid a few stares . He sits on a stool . The bartender draws a cold beer and presents it to Jesse . As the bartender turns away , Jesse reaches for the glass . A HAND slaps down on his wrist and holds it tightly . He looks up . COACH SCHNEIDER is standing over him . He 's wearing a muscle shirt , a gold chain around his neck and he has a sick grin on his face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GYMNASIUM - NIGHT<\/stage_direction>\n    <scene_description>JESSE is barefoot , jogging arund the outer edge of the gym floor and looking as if he 's about to collapse from exhaustion . ON SCHNEIDER Leaning against a wall of the gym , watching Jesse run . As Jesse comes around for another lap , Schneider reaches out and grabs him , throwing him into a wall of folding wooden bleachers . Jesse is dazed , ready to drop .<\/scene_description>\n    <character>SCHNEIDER<\/character>\n    <parenthetical>( barking . )<\/parenthetical>\n    <dialogue>Hit the showers.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOYS LOCKER ROOM - SHOWER ROOM - NIGHT<\/stage_direction>\n    <scene_description>Jesse turns on one of the faucets and lets the hot water hit him full on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COACH'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>SCNEIDER turns to a huge , padlocked cabinet on the wall . He unlocks it and opens the doors . It is filled with a variety of athletic equipment : dumbbells , jump - ropes and volley balls , etc. . Schneider selects a pair of jump - ropes from the cabinet and sets them down on his desk . A distinct PING makes him look up . He goes to the door and looks out into the hall . SHOWER ROOM Jesse continues showering .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COACH'S OFFICE<\/stage_direction>\n    <scene_description>Schneider turns back to his office . There is ANOTHER PING . A TENNIS RACQUET hanging on the wall has two broken strings . TWO MORE STRINGS SMOKE , THEN SNAP with a ping . A BASKETBALL leaps off a shelf of the equipmnt cabinet and bounce on the floor at Schneider 's feet . Schneider bends down to pick it up and TWO MORE BALLS jump out onto the floor . A FOURTH BALL flies out and knocks over a TROPHY on his desk . Schneider hits the deck when a DUMBBELL streaks across the office and SLAMS into the window , cracking the thick wired glass . ON SCHNEIDER he makes his way to the cabinet by crawling along the floor as BASKETBALLS , VOLLEYBALLS , even a MEDICINE BALL fly over his head . He reaches up to close the cabinet doors . ANOTHER ANGLE A JUMP - ROPE on the desk unravels like a harpoon line and wraps an end of itself around Schneider 's wrist . The other end pulls hard and yanks Schneider off balance . He reaches up to close the cabinet doors . ANOTHER ANGLE A JUMP - ROPE on the desk unravels like a harpoon line and wraps an end of itself around Schneider 's wrist . The other end pulls hard and yanks Schneider off balance . As he reaches with his free arm to unwrap his wrist , the SECOND ROPE rockets off the desk top and secures itself to his other wrist . hThe office door opens by itself . The ropes drag Schneider screaming from the room . SHOWER ROOM JESSE turns as the shower head next to the one he is using , gurgles and suddenly comes on full . And suddenly , all the showers are on , spewing water and steam . We hear Schneider 's screams as he is dragged into the room , through great puddles of water and against the tiled wall opposite Jesse . The showers on this side are OFF . The boy watches in horror as the ropes shoot up to two adjacent shower nozzles and hoist the Coach into a helpless spread - eagle , facing the wall . His clothes shear from his body like sheets of tissue paper . A STACK OF TOWELS Comes to life , snapping in mid - air at Schneider 's butt and back . As they hit him , they draw blood . ON JESSE as the room fills with great clouds of steam until he is nearly obscured ; just a dark human form in the corner of the shower room . ANOTHER ANGLE ON SCHNEIDER as a figure in a green and red sweater and a battered fedora , cuts through the clouds , CACKLING and throwing his weapon - arm back like a World Series pitcher about to lob a fast ball . Schneider screams painfully as the knives cut four long tears in him , starting at the top of his naked back , cutting through his flesh . The weapon arm STRIKES AGAIN . Schneider screams , goes limp . WIDE - ANGLE : SCHNEIDER BLOOD begins to flow out of all the shower heads on Schneider 's side . Schneider hangs limply from the shower heads . ON THE MURDERER CAMERA DOLLIES IN FAST to reveal it is JESSE . He screams . Jesse lifts his hand into frame . He is wearing Freddy 's bloodied glove .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>No. Oh God, no.<\/dialogue>\n    <scene_description>He slowly drops to his knees , sloshing in a crimson puddle , and stares up to the heavens .<\/scene_description>\n    <character>JESSE<\/character>\n    <parenthetical>( screaming . )<\/parenthetical>\n    <dialogue>No!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WALSH HOUSE - FOYER - NIGHT<\/stage_direction>\n    <scene_description>We hear the DOORBELL RINGING repeatedly until the lights flick on and DAD hurries to the door , wrapping a robe over his pajamas . HIS POV AS HE OPENS THE DOOR TWO POLICEMEN in rain slickers stand on either side of Jesse . he is naked but is wrapped in a blanket . His hair is soaked and dripping over his face .<\/scene_description>\n    <character>1st POLICEMAN<\/character>\n    <dialogue>This belong to you?<\/dialogue>\n    <scene_description>Dad ca n't believe what he 's looking at . He just nods his head . The 2nd Policeman gives Jesse a slight push across the threshold . He stumbles into the house .<\/scene_description>\n    <character>1st POLICEMAN<\/character>\n    <dialogue>We found him wandering out on the Highway, naked. Keep a leash on him, will ya?<\/dialogue>\n    <scene_description>KITCHEN - A TEA KETTLE WHISTLING MOM takes the kettle from the stove and pours it into a mug . She steeps the teabag as she crosses to the table and JESSE Wide awake , holding the blanket tightly around his neck , takes the cup from his mother . DAD paces the floor angrily .<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>Okay, we're gon na put our cards on the table, here and now. There's not going to be any retribution - no fire and brimstone. I only have two questions and you'll answer them and we'll all go to bed, okay?<\/dialogue>\n    <scene_description>Jesse nods weakly .<\/scene_description>\n    <character>DAD<\/character>\n    <dialogue>Okay. What are you taking and who are you getting it from?<\/dialogue>\n    <scene_description>Jesse snorts and shakes his head ironically .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>I'm not taking drugs, Dad.<\/dialogue>\n    <parenthetical>( to Mom . )<\/parenthetical>\n    <dialogue>Can I go to bed now?<\/dialogue>\n    <character>MOM<\/character>\n    <parenthetical>( touches his cheek tenderly . )<\/parenthetical>\n    <dialogue>Sure. go ahead.<\/dialogue>\n    <scene_description>Dad tries to burn a hole through him with his eyes as Jesse gets up from the table and leaves the room . As the double - hinged doors slap clsoed behind him , Dad turns to Mom without a change of expression .<\/scene_description>\n    <character>DAD<\/character>\n    <parenthetical>( no question about it . )<\/parenthetical>\n    <dialogue>He's on something.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WALSH HOUSE - MORNING<\/stage_direction>\n    <scene_description>DAD is standing on a ladder , unbolting a set of security bars from the windows . He watches from above as JESSE runs out the door , followed by MOM .<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Jesse, please, let's talk about this!<\/dialogue>\n    <character>JESSE<\/character>\n    <parenthetical>( pleading . )<\/parenthetical>\n    <dialogue>I'm okay. Just leave me alone.<\/dialogue>\n    <scene_description>Jesse walks over to his car and climbs in . Mom turns to Dad who is watching the scene curiously .<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>He needs professional help. I think we should take him to a psychiatrist.<\/dialogue>\n    <character>DAD<\/character>\n    <parenthetical>( incensed . )<\/parenthetical>\n    <dialogue>Are you nuts or something? What the hell is that going to do?<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>I do n't know! I just know he needs help and we do n't know how to give it to him.<\/dialogue>\n    <scene_description>Dad shifts on the ladder and begins to protest .<\/scene_description>\n    <character>MOM<\/character>\n    <parenthetical>( squelching it . )<\/parenthetical>\n    <dialogue>Do n't fight me on this.<\/dialogue>\n    <scene_description>She stomps back toward the house .<\/scene_description>\n    <character>DAD<\/character>\n    <parenthetical>( calling after her . )<\/parenthetical>\n    <dialogue>He needs a kick in the but, is what he needs. He needs a methodone clinic!<\/dialogue>\n    <scene_description>She throws back a dirty look .<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Oh, blow it out your ass, Ken.<\/dialogue>\n    <scene_description>With that , Dad loses his footing on the ladder and drops down several rungs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - DAY<\/stage_direction>\n    <scene_description>Jesse 's car travels slowly and turns onto a tree - lined street . INSIDE JESSE drives silently with LISA looking over at him , upset .<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>( upset . )<\/parenthetical>\n    <dialogue>Will you stop and tell me what's wrong?<\/dialogue>\n    <character>JESSE<\/character>\n    <parenthetical>( staring straight ahead . )<\/parenthetical>\n    <dialogue>I'm fine. Nothing's wrong.<\/dialogue>\n    <character>LISA<\/character>\n    <parenthetical>( undeterred . )<\/parenthetical>\n    <dialogue>you did n't say more than two words to me the whole way here. You had another nightmare, did n't you?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>yeah, I had a bad night.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>You want to talk about it?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>My Dad thinks I'm on drugs, my Mom thinks I'm crazy and I'm not sure I do n't agree with her.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGH SCHOOL - DAY<\/stage_direction>\n    <scene_description>as Jesse 's car pulls into the lot . ANOTHER ANGLE as they turn a corner . Jesse jams on the brakes . THEIR POV - THE GYMNASIUM WING in the distance . A crowd of STUDENTS is gathered in a ring about three - deep outside the doors leading to the practice fields . IN THE CAR<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>Oh God.<\/dialogue>\n    <scene_description>He throws open the door , jumps out and runs toward the crowd . Bewildered , Lisa does likewise , running after him . As they get closer , they can see that the entire area is cordoned of with red plastic ribbons . SEVERAL POLICEMEN and OFFICIALS are coming in and out of the building . A TEACHER is trying to disperse the students , clapping his hands together and pushing through the rubber - neckers .<\/scene_description>\n    <character>TEACHER<\/character>\n    <dialogue>Okay gang, let's move along.<\/dialogue>\n    <scene_description>Jesse stops at the edge of the barricade cranes his neck to see what 's going on . GRADY spots Jesse and runs over to his side . Jesse is turning white as he watches the scene and listens to Grady 's recap :<\/scene_description>\n    <character>GRADY<\/character>\n    <dialogue>Holy shit, man. Where have you been? Fuckin' Schneider got wasted last night.<\/dialogue>\n    <scene_description>Jesse swallows hard to regain his composure . Lisa arrives at his side .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>Oh Jesus. I'm gon na be sick.<\/dialogue>\n    <character>GRADY<\/character>\n    <parenthetical>( ignores him . )<\/parenthetical>\n    <dialogue>He must've been working late and some fruitcake came in and sliced him up like a kielbasa. In the shower! Left bloody footprints all over the.<\/dialogue>\n    <scene_description>Jesse clamps his hand over his mouth and breaks for some bushes against the building . Grady looks at a horrified Lisa and gives a puzzled shrug .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL CAFETERIA - DAY<\/stage_direction>\n    <scene_description>ON THE FOOD LINE LISA and KERRY are on the lunch line , sliding their trays along the rails . Kerry is wearing a walkman with the volume truned way up - we can almost make out the song .<\/scene_description>\n    <character>KERRY<\/character>\n    <dialogue>That was something this morning, huh? About Schneider, I mean.<\/dialogue>\n    <scene_description>Lisa nods and takes a plate of macaroni and cheese from one of the KITCHEN STAFF . She does n't want to talk about it .<\/scene_description>\n    <character>KERRY<\/character>\n    <dialogue>Jesse sure took it bad, did n't he?<\/dialogue>\n    <scene_description>Lisa shrugs and moves her tray away from Kerry 's , toward the CASHIER . Kerry picks up a piece of cake from a shelf and slides ehr tray down until she 's next to Lisa again . IN THE DINING ROOM JESSE is sitting at a table , a tray of food in front of him , untouched . He glances up at GRADY as he sits down next to him and starts digging in .<\/scene_description>\n    <character>GRADY<\/character>\n    <parenthetical>( with his mouth full . )<\/parenthetical>\n    <dialogue>Look, I'm sorry about Schneider, man. I did n't know you were so close.<\/dialogue>\n    <scene_description>Jesse does n't qualify that with a response .<\/scene_description>\n    <character>GRADY<\/character>\n    <dialogue>You want to go out to a movie or something tonight? Get your mind off things?<\/dialogue>\n    <scene_description>Jesse shakes his head . Lisa comes over to the table with her tray and sits down next to Jesse . Kerry follows and sits next to Grady .<\/scene_description>\n    <character>KERRY<\/character>\n    <dialogue>Hi, guys.<\/dialogue>\n    <parenthetical>( to Grady , coquettishly . )<\/parenthetical>\n    <dialogue>Hi, Ronny. You going to Lisa's party tomorrow night?<\/dialogue>\n    <character>GRADY<\/character>\n    <parenthetical>( without looking up from his food . )<\/parenthetical>\n    <dialogue>I ca n't. I'm grounded.<\/dialogue>\n    <character>KERRY<\/character>\n    <dialogue>How come?<\/dialogue>\n    <character>GRADY<\/character>\n    <dialogue>For throwin' my grandmother down a flight of stairs.<\/dialogue>\n    <scene_description>Kerry , taking him seriously , nods gravely . Lisa looks at Jesse 's tray of untouched food .<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>( to Jesse . )<\/parenthetical>\n    <dialogue>You should eat something - you'll feel better.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>I'm not hungry.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>I wish you'd talk to me. We can figure it out, you know. We can figure it out together.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>There's nothing to figure out.<\/dialogue>\n    <character>GRADY<\/character>\n    <parenthetical>( to Lisa , disgustedly . )<\/parenthetical>\n    <dialogue>You're wasting your time, the guy's a basket case.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Shut up, Grady.<\/dialogue>\n    <scene_description>Grady pushes his tray aside .<\/scene_description>\n    <character>GRADY<\/character>\n    <dialogue>You want me to shut up? Fine, I'll shut up, that's fine. See you around, buddy.<\/dialogue>\n    <scene_description>Grady gets up and storms away from the table . Lisa , deeply pained , looks at Jesse . Jesse avoids her stare until he just drops his head into his hands and tries not to cry in front of his friends . He composes himself quickly and digs his fork into his lunch , choking down some macaroni .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LISA'S HOUSE - KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>LISA , her MOTHER and FATHER are sitting , eating dinner . Lisa 's mind is not at the table with her .<\/scene_description>\n    <character>MRS. POLETTI<\/character>\n    <parenthetical>( to Lisa . )<\/parenthetical>\n    <dialogue>Bought some nice strawberries at the farm today. We can have some short cake for your friends tomorrow.<\/dialogue>\n    <scene_description>Lisa looks up an dsmiles blandly .<\/scene_description>\n    <character>MRS. POLETTI<\/character>\n    <dialogue>I also wangled a promise out of your father.<\/dialogue>\n    <scene_description>ON MR. POLETTI He scowls slightly .<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>( politely . )<\/parenthetical>\n    <dialogue>What's that?<\/dialogue>\n    <character>MRS. POLETTI<\/character>\n    <dialogue>We're gon na stay out of your way tomorrow night.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>You're going out?<\/dialogue>\n    <character>MRS. POLETTI<\/character>\n    <dialogue>We're going to bed.<\/dialogue>\n    <scene_description>She looks at her husband .<\/scene_description>\n    <character>MRS. POLETTI<\/character>\n    <dialogue>Early.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WALSH HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Quiet . The lights inside are all out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WALSH HOUSE - BASEMENT - NIGHT<\/stage_direction>\n    <scene_description>We hear FOOTSTEPS and we TRAVEL with the sound along the floor to the foot of the basement steps . INTRUDER 'S POV as he climbs the steps and approaches the door to the main part of the house . THE CAMERA is moving faster now , leaping the top steps and CRASHING through the doorway and onto the foyer floor . It crosses the FOYER adn begins climbing the stairs to the bedroom level . It stops at Angela 's room and opens the door . ANGELA sleeps soundly , peacefully . It crosses over to the bed , a menacing SHADOW creeps over her form . The taloned glove pulls down on the blankets and she shifts position in the center of the bed , innocent and vulnerable . We see the SHADOW of the intruder on the wall . it moves in close to the sleeping child and emits a guttural , inhuman VOICE :<\/scene_description>\n    <character>INTRUDER<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>Wake up, little girl.<\/dialogue>\n    <scene_description>Her eyes flutter open . She looks up at the intruder and smiles .<\/scene_description>\n    <character>ANGELA<\/character>\n    <parenthetical>( sleepily . )<\/parenthetical>\n    <dialogue>What time is it?<\/dialogue>\n    <scene_description>ANOTHER ANGLE We now see that it 's JESSE standing over her . he 's in his underpants , drenched with sweat and hunched over as if all the muscles in his body were twisted around each other . The sound of Angela 's voice softens him . He slowly straghtens up and looks about the room as if wondering how he got there .<\/scene_description>\n    <character>JESSE<\/character>\n    <parenthetical>( himself again . )<\/parenthetical>\n    <dialogue>It's late. go back to sleep.<\/dialogue>\n    <scene_description>She nods and closes her eyes . Jesse starts to pull the covers back over her and stops suddenly . HIS POV His right hand is wearing the GLOVE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WALSH HOUSE - JESSE'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>The desk lamp and a late movie on the T.V. are the only sources of light in the room . We see that the bed is rumpled and empty and we PAN across the room , to JESSE , sitting on the floor in front of the door , knees up against his chest , trying with all his strength to stay awake . He has a mug of black coffee in his hand and a pot of java at his side . He tops off his cup and reaches into the breast pocket of his shirt , withdrawing a small vial of pills . A BOTTLE OF NO - DOZ He rips the cap off with his teeth and dumps half the bottle into his coffee .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WALSH HOUSE - MORNING<\/stage_direction>\n    <scene_description>A dark , dreary day . There are no morning sounds except for the SQUEAKING of an old rattle - trap bicycle as an overweight PAPER BOY swings by and lobs the morning edition over the lawn . The paper skids off the front steps and into the garden .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WALSH HOUSE - FOYER - MORNING<\/stage_direction>\n    <scene_description>JESSE walks down the steps . He looks ragged and exhausted and worse that ever . OUTSIDE THE KITCHEN He stops before going through the double - hinged door to push his hair back and forces a well rested , easy - going guise . IN THE KITCHEN DAD and ANGELA are sitting at the table . MOM is pouring some coffee into a couple of cups . JESSE enters .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>Morning.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>How'd you sleep, honey, okay?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <scene_description>Mom gives him a quick glance .<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>You're looking a little better today.<\/dialogue>\n    <scene_description>DAD looks at Jesse 's pale skin , the light stubble on his chin and his dark , bloodshot eyes and turns to Mom as if she 's nuts .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LISA'S HOUSE - POOLSIDE - NIGHT<\/stage_direction>\n    <scene_description>The entire pool area has been done up to the max . Japanese lanterns have been strung up above the fence , a long table , covered with festively arranged salads and condiments , stretches across the patio in front of the sliders and a Benny Goodman dance tune is blaring through some outdoor speakers . An all - too - bright underwater light makes the blue water shimmer crystal - clear . A score of nubile GIRLS in scanty swimsuits and athletic GUYS in cut - offs and trunks , scamper around , eating , swimming and horsing around . ON MR. POLETTI Standing over the gas grill , wearing a `` Kiss the Cook '' chefs hat and apron , cooking up a mess of hanburgers and hot dogs . ON MRS. POLETTI AND LISA stepping out of the house through the sliders , carrying more plates of food outside . A BOY bounces once on the diving board and CANNONBALLS into the center of the pool , SPLASHING everything within a fifteen foot radius including , MR. POLETTI who spins around from the grill , annoyed .<\/scene_description>\n    <character>MR. POLETTI<\/character>\n    <dialogue>Hey, watch it there!<\/dialogue>\n    <scene_description>LISA turns to her mother , mortified . Mrs. Poletti hands her the platter she is holding and gives Lisa a reassuring squeeze on the shoulder before leaving her side and crossing toward her husband . Lisa turns her attention to JESSE , at the far corner of the patio , sitting in a lounger , alone . He looks worried and detached . She looks back toward the grill . MRS. POLETTI is pulling her husband away , against his will . He finally relents and beckons a BOY over . He turns his spatula over to him , surrenders his chef 's hat and allows Lisa 's mom to escort him back toward the house . JESSE , LISA 'S POV He finally gets up and crosses toward the cabanas , going inside and shutting the door . BACK TO LISA as her mother and father approach .<\/scene_description>\n    <character>MRS. POLETTI<\/character>\n    <dialogue>We're going up to bed now.<\/dialogue>\n    <character>LISA<\/character>\n    <parenthetical>( gratefully . )<\/parenthetical>\n    <dialogue>Thanks, Mom.<\/dialogue>\n    <scene_description>Mr. Poletti clearly does n't like this arrangement . He looks behind him at all the horny young boys and turns back to Lisa .<\/scene_description>\n    <character>MR. POLETTI<\/character>\n    <parenthetical>( sternly . )<\/parenthetical>\n    <dialogue>Twelve - thiry, Miss.. No later.<\/dialogue>\n    <character>LISA<\/character>\n    <parenthetical>( nods agreeably . )<\/parenthetical>\n    <dialogue>Twelve - thirty. I promise.<\/dialogue>\n    <scene_description>Mrs. Poletti takes her husband by the arm again and leads him up to the sliders . He turns around before going through .<\/scene_description>\n    <character>MR. POLETTI<\/character>\n    <dialogue>And do n't forget to lock the gate.<\/dialogue>\n    <character>LISA<\/character>\n    <parenthetical>( nods . )<\/parenthetical>\n    <dialogue>Goodnight, Daddy.<\/dialogue>\n    <scene_description>Mr. Poletti is half - led , half - pushed through the doorway . mrs. Poletti pulls the slider closed behind them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CABANA - NIGHT<\/stage_direction>\n    <scene_description>A roomy dressing area with an open shower stall at the back . There 's a wide , wooden bench along one wall , covered with clothing and towels . JESSE stands in the center of the room , putting his pants on . He is shirtless and shoeless . SOUND OVER : A KNOCK ON THE DOOR<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Jesse?<\/dialogue>\n    <scene_description>Jesse hesitates , uncomfortable .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>Be out in a minute.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CABANA<\/stage_direction>\n    <scene_description>Lisa waits for Jesse . Finally , he unlatches the door . his shirt is on , unbuttoned . Lisa steps into the cabana .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CABANA<\/stage_direction>\n    <scene_description>Lisa shuts the door behind her . The two look at each other a moment . Then Jesse looks away and continues buttoning his shirt .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>I think I better go. I'm just not into it tonight. I'm sorry.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Why wo n't you talk to me?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Will you leave me alone? Please.<\/dialogue>\n    <scene_description>Jesse crosses to the bench and sits to put on his shoes .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>You're not being fair to me. I'm worried about you and I want to help you get through this thing.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>What are you gon na do? How are you gon na help? I'm losing my mind.<\/dialogue>\n    <parenthetical>( breaking down . )<\/parenthetical>\n    <dialogue>I do n't want to have you watch me fall apart.<\/dialogue>\n    <scene_description>Lisa goes to Jesse . She puts a comforting arm on his shoulder .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>It's okay, Jesse.<\/dialogue>\n    <scene_description>Jesse takes her hand and holds it tight . She sits beside him .<\/scene_description>\n    <character>JESSE<\/character>\n    <parenthetical>( choked . )<\/parenthetical>\n    <dialogue>I'm afraid to go to sleep, I'm afraid to stay awake - I'm ruining your party. They're gon na put me away for sure.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>We'll figure it out together. We'll stay up all night if we have to. I wo n't let anything happen to you.<\/dialogue>\n    <scene_description>They look into each others eyes . Lisa kisses him ever so gently , then again . he kisses her . Their kisses grow hungrier . Love conquers fear and they embrace fully , kissing passionately . POOLSIDE THREE BOYS are huddled together , looking up at the Poletti 's bedroom window .<\/scene_description>\n    <character>BOY ONE<\/character>\n    <dialogue>Any second, now.<\/dialogue>\n    <scene_description>THE BEDROOM WINDOW , THEIR POV The lights FLICK OUT .<\/scene_description>\n    <character>BOY ONE<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>Party time.<\/dialogue>\n    <scene_description>ON THE WET BAR Someone reaches over to the stereo , pops out the Benny Goodman cassette and flicks the radio on . Van Halen BLASTS out of the speakers . ON KERRY In the pool , up to her neck with a HUNK . They both look up as the music changes . The top of her bathing suit floats up to the surface .<\/scene_description>\n    <character>KERRY<\/character>\n    <dialogue>Oh, wow, Van Halen.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LISA'S HOUSE - THE POLETTI'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>At the sound of the music , Mr. Poletti sits up in bed , angrily . Mrs. Poletti puts an arm on his shoulder .<\/scene_description>\n    <character>MRS. POLETTI<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>Let them have their fun, Honey.<\/dialogue>\n    <scene_description>Mrs. poletti pulls out a pair of earplugs and hands them to Mr. Poletti , who grumbles , sticks them in his ear and drops back down into his pillow .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LISA'S HOUSE - POOLSIDE - NIGHT<\/stage_direction>\n    <scene_description>Somebody switches off the lights to general applause . BACK TO KERRY AND THE HUNK They are in a steamy embrace when the underwater lights go out . The rest of her suit pops up out of the water . ON SOME BUSHES as a COUPLE pulls out a red wagon , stashed in the shrubbery and loaded with beer .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CABANA - NIGHT<\/stage_direction>\n    <scene_description>JESSE and LISA rolling around on the floor , a lot of heavy petting ; not doing it but serious , heated stuff just the same . HIS HAND , wrapped around Lisa 's wrist , pinning it gently to the floor . ON LISA Her eyes closed ; feeling him - definitely feeling him . CLOSE TWO - SHOT , JESSE Jesse is about to take down Lisa 's swimsuit top when an ungodly long iridescent serpent - like TONGUE flicks a foot out of his mouth , wiggles and flicks back in . Jesse moans lasciviously , not his own voice . ANOTHER ANGLE Jesse pushes himself away from Lisa and scrambles to his feet . Lisa , unaware of what happened , is puzzled and upset . ON LISA sitting up on the floor .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>What's wrong?<\/dialogue>\n    <scene_description>Jesse tucks in his shirt and buttons his pants . he is visibly shaken .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>I'll see you.<\/dialogue>\n    <scene_description>Lisa just looks at him , helplessly . He slips out the cabana door and shuts it . ON LISA she gets up slowly . She 's profoundly worried .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRADY'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Grady is sleeping on his back , dead to the world . Suddenly , a hand clamps down over his mouth . A light flicks on . LONGER ANGLE : GRADY 'S BEDROOM It 's JESSE . A window is open in the B.G. , teh curtains in disarray . He lifts his hand from Grady 's mouth and Grady scrambles out of bed .<\/scene_description>\n    <character>GRADY<\/character>\n    <parenthetical>( hoarsely . )<\/parenthetical>\n    <dialogue>Jesus Christ, you scared the shit out of me!<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>GRADY<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>You got ta let me stay here tonight, Grady.<\/dialogue>\n    <character>GRADY<\/character>\n    <dialogue>Are you nuts or something?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Listen to me, Grady, this is serious. Something really weird is happening. It started out like just bad dreams but it's getting real bad.<\/dialogue>\n    <scene_description>Grady is tired and cranky and he does n't want ot hear this .<\/scene_description>\n    <character>GRADY<\/character>\n    <dialogue>Aw, will you get out of here! Go and take a sleeping pill or something.<\/dialogue>\n    <scene_description>He flops back down on his bed and puts his arm over his eyes .<\/scene_description>\n    <character>GRADY<\/character>\n    <dialogue>In fact, take a whole bottle and do the world a favor.<\/dialogue>\n    <scene_description>Jesse sits on the edge of the bed .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>I killed Schneider, Grady.<\/dialogue>\n    <scene_description>Grady lifts his arm from his eyes and stares at Jesse preposterously .<\/scene_description>\n    <character>JESSE<\/character>\n    <parenthetical>( nods . )<\/parenthetical>\n    <dialogue>Only it was n't me - I was there but it was like something inside of me, moving me around. Then last night it made me go into my sister's room and tonight, with Lisa in the cabana. We were. on the floor - I felt it happening again.<\/dialogue>\n    <scene_description>He grabs Grady 's arm .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>It wanted me to kill them, Grady!<\/dialogue>\n    <scene_description>Grady continues his dumbfounded stare .<\/scene_description>\n    <character>GRADY<\/character>\n    <parenthetical>( finally . )<\/parenthetical>\n    <dialogue>You're fucked in the head.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>I'm scared, Grady. I know it sounds crazy. But, there's something trying to get into my body.<\/dialogue>\n    <character>GRADY<\/character>\n    <parenthetical>( sneers . )<\/parenthetical>\n    <dialogue>The only thing trying to get into your body is female and waiting for you on a cabana floor. And you want to sleep with me. Go figure.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Look, I do n't care if you believe me or not.<\/dialogue>\n    <character>GRADY<\/character>\n    <dialogue>I believe you. You had some scary dreams, okay?<\/dialogue>\n    <character>JESSE<\/character>\n    <parenthetical>( frustrated . )<\/parenthetical>\n    <dialogue>No!<\/dialogue>\n    <parenthetical>( shakes his head . )<\/parenthetical>\n    <dialogue>I do n't know - everything's all mixed up.<\/dialogue>\n    <parenthetical>( suddenly angry . )<\/parenthetical>\n    <dialogue>What difference does it make? I'm in trouble here. I need your help.<\/dialogue>\n    <scene_description>Grady lets that sink in .<\/scene_description>\n    <character>GRADY<\/character>\n    <parenthetical>( softer . )<\/parenthetical>\n    <dialogue>Okay, schmuck. What do you want me to do?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Just watch me. If anything weird happens - like if I start dreaming weird or try to walk out of here, you got ta try to bring me out of it. his me over the head if you have to. Just do n't let me leave.<\/dialogue>\n    <scene_description>Grady looks down at the floor , sighs , and nods his head .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>And Grady.<\/dialogue>\n    <scene_description>Grady looks up .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>Do n't fall asleep!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LISA'S HOUSE - POOLSIDE - NIGHT<\/stage_direction>\n    <scene_description>The underwater lights are still off , the music has calmed down a bit and most of the KIDS are more into necking than swimming . TWO BODIES are rolled up in a blanket together . From a short SQUEAL , we can deduce that it 's KERRY and her HUNK . The BAR - B - QUE BOY has remained steadfast at his post although his GIRLFRIEND has joined him and he 's paying more attention to her than the hotdogs on the grill . ON LISA She sitting on one of the lounges , her eyes are red from crying . She 's being comforted by a girlfriend , PATTY .<\/scene_description>\n    <character>PATTY<\/character>\n    <dialogue>Why do n't you just call him?<\/dialogue>\n    <character>LISA<\/character>\n    <parenthetical>( tearfully . )<\/parenthetical>\n    <dialogue>He wo n't talk to me.<\/dialogue>\n    <character>PATTY<\/character>\n    <dialogue>Well, you're not doing him or yourself any good sitting here and worrying.<\/dialogue>\n    <scene_description>Lisa looks at her friend .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>I shoud go see him, but. I do n't know, the party and all.<\/dialogue>\n    <character>PATTY<\/character>\n    <parenthetical>( encouragingly . )<\/parenthetical>\n    <dialogue>Go ahead. I'll hold down the fort.<\/dialogue>\n    <character>LISA<\/character>\n    <parenthetical>( getting up . )<\/parenthetical>\n    <dialogue>Thanks, Patty. You're a pal.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRADY'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Grady is sitting up in bed , staring at the T.V. . He turns to JESSE , slumped in a nearby chair , asleep . Grady switches off the TV with the remote .<\/scene_description>\n    <character>GRADY<\/character>\n    <dialogue>Sweet dreams, buddy.<\/dialogue>\n    <scene_description>Grady turns off the READING LIGHT by the bed . He gives a final look at Jesse before he pushes the whole thing out of his mind with a disgusted wave of his arm and lays back down . ON JESSE Suddenly , his eyes open widely .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>Grady?<\/dialogue>\n    <scene_description>Grady MUMBLES an obscenity and turns over on his side to face Jesse .<\/scene_description>\n    <character>GRADY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>It's happening again.<\/dialogue>\n    <scene_description>Grady turns the reading light back on in time to see Jesse DOUBLE OVER and curl up in obviously incredible pain , falling to his knees . He flails out as if 1000 volts were going through his body and begins to choke on his tongue . Grady scrambles out of bed and dances around Jesse , not knowing what to do . ON JESSE 'S HAND as he raises it and his fingers spread widely apart . Four steel RAZOR - KNIVES tear out from withing the tips of Jesse 's fingers like long , bloody switchblades ! GRADY stands by helplessly as Jesse WRITHES . And then it is like some crazed beast in Jesse 's gut , tearing its way out of his skin like someone stepping through a thick , latex film . As his skin peels away , thousands of capillaries pull apart , spraying blood everywhere in a fine , almost powdery mist . The transformation is almost complete when FRED KRUEGER 's body steps out of the red cloud . All that is left of Jesse is his SCREAMING FACE , plastered like a grisly ruber mask over Freddy 's own disfigured features . Grady backs away toward the door .<\/scene_description>\n    <character>GRADY<\/character>\n    <parenthetical>( screaming . )<\/parenthetical>\n    <dialogue>No! No! No!<\/dialogue>\n    <scene_description>ON FREDDY He stands up with an evil smile , all there now , and puts on his battered hat . ANGLE : GRADY 'S BEDROOM Grady tries desperately to get out , but the door wo n't open . Freddy cackles evilly as he cuts off Grady 's screams by grabbing his throat with his unarmed hand . he pushes Grady up against the door and lifts him off the floor like he was hanging a picture . We hear MUFFLED CALLS from outside the door - the off - camera cries of concerned PARENTS . THE DOORKNOB RATTLES as they try to get in the room to check on their son . BOOM , BOOM , BOOM ! a fist , hammering against the door behind Grady 's head - his father trying to get in .<\/scene_description>\n    <character>MR. GRADY<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>What's going on? Open the door, Ronny!<\/dialogue>\n    <scene_description>FREDDY draws back his knife - hand and prepares to plunge it into Grady 's stomach like he was spearing a pot roast . OUTSIDE THE DOOR MR. and MRS. GRADY , in their nightclothes . Mrs. Grady stands with her hands over her mouth as Mr. Grady grabs the know again and BANGS his fist repeatedly against teh door . ON FREDDY Throwing force into his cutting arm . We CUT before impact to : OUTSIDE THE DOOR We hear Grady SCREAM as the steel blades cut through his body and poke out through the door like it was made of balsa . They wiggle slightly to pull free and are retracted with an ungodly SQUEAK . Mrs. Grady screams .<\/scene_description>\n    <character>MR. GRADY<\/character>\n    <dialogue>My God.<\/dialogue>\n    <scene_description>Mr. Grady throws his shoulder with all his might against the door . A second excruciating SCREAM inside , and the knives cut through the door , inches from Mr. Grady 's head . When they pull out , blood is soaking through the knife holes - it looks as if the door itself is bleeding . ON GRADY breathing his last few gasps . ON GRADY 'S PARENTS They watch in stunned horror . ON GRADY He sinks slowly to the floor , dead . Freddy watches as his victim slides into a heap on the floor . Only we see now that it is n't Freddy anymore but Jesse again , panting exhaustedly and dripping Grady 's blood from just under his elbow to the sharp points of the razor - tipped glove he wears on his hand . THE DOOR is budging open against Grady 's body - a little more with each crash of Mr. Grady 's shoulder against the other side . Jesse is coming to - himself again , and he views what he has done to his best friend with terror crazed eyes . is eye catches his own reflection in a full length mirror on the wall . The image reflected is of FREDDY .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>No!<\/dialogue>\n    <parenthetical>( backing away from the body . )<\/parenthetical>\n    <dialogue>No! No! No!<\/dialogue>\n    <parenthetical>( screaming toward the mirror . )<\/parenthetical>\n    <dialogue>You son of a bitch! You killed him!<\/dialogue>\n    <scene_description>Jesse hurls the glove at the mirror , cracking it . Freddy 's mocking image , however , remains . The last SOUND we hear is a demonic mix of Jesse 's own screams and Freddy 's cackling laugh .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LISA'S HOUSE - FOYER - NIGHT<\/stage_direction>\n    <scene_description>Lisa has changed into a white shirt and a pair of cut - offs . She hurries downstairs , buttoning up her shirt and crosses the foyer floor to the door . She opens the door and JESSE collapses in her arms . He is bloody , bruised and his clothes are torn and dirty .<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>( frenzied . )<\/parenthetical>\n    <dialogue>Jesse, God - what happened?<\/dialogue>\n    <character>JESSE<\/character>\n    <parenthetical>( hyperventilating . )<\/parenthetical>\n    <dialogue>I killed him! I killed him!<\/dialogue>\n    <scene_description>She draws him in close , trying to comfort him . She looks at his bloody arms .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Oh, Christ, you're hurt.<\/dialogue>\n    <character>JESSE<\/character>\n    <parenthetical>( weeping now . )<\/parenthetical>\n    <dialogue>I killed Grady. I killed Grady, Lisa. I killed Schneider. Oh my God, he's inside me.<\/dialogue>\n    <scene_description>Lisa looks around , frantically as she holds Jesse tightly against her body .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Who, Jesse?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>he's just waiting to take me. When I sleep.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Who? Who's doing this to you?<\/dialogue>\n    <scene_description>He looks at her as if she should know .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>Fred Krueger.<\/dialogue>\n    <parenthetical>( psychotically . )<\/parenthetical>\n    <dialogue>He's been trying to get hold of me, to use me. He needs me to get out of his world into ours. He's gon na take me again.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>No, Jesse. This is n't happening. It's got ta be everything you've taken in - Schneider and the diary and the glove - only it's all mixed up.<\/dialogue>\n    <scene_description>He pushes away from her , frustrated .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>No! Christ, how can I make you understand? He tried to make me kill Angela last night! Look at the blood on my hands!<\/dialogue>\n    <scene_description>He begins to sob .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>Oh, God. I did that to Grady.<\/dialogue>\n    <parenthetical>( suddenly coherent , realizing . )<\/parenthetical>\n    <dialogue>He owns me.<\/dialogue>\n    <scene_description>Lisa puts her arms around him . SHe strokes his head , trying to calm him .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>I'm not gon na let anyone take you from me. There's got to be a reason. We'll figure it out together.<\/dialogue>\n    <scene_description>Suddenly , something makes Lisa stop .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Wait a minute!<\/dialogue>\n    <scene_description>She leads Jesse toward the study entryway and opens the door .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Wait in here for me. I'll be right back.<\/dialogue>\n    <scene_description>Jesse goes into the study . Lisa hurries off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LISA'S HOUSE - POOLSIDE - NIGHT<\/stage_direction>\n    <scene_description>THE BAR - B - QUE BOY has left his post entirely . He is sitting on a nearby bench with his GIRLFRIEND on his lap and his chef 's hat askew on the back of his head . Suddenly , the girl points toward the grill .<\/scene_description>\n    <character>GIRLFRIEND<\/character>\n    <dialogue>Hey, look!<\/dialogue>\n    <scene_description>The kid looks over . HIS POV - THE GRILL A platter of hot dogs on an attached cutting board . The hot dogs are exploding , bursting into flames , one by one until the whole plate is engulfed .<\/scene_description>\n    <character>BAR-B-QUE<\/character>\n    <dialogue>Holy Shit!<\/dialogue>\n    <scene_description>He jumps up , picks up the flaming platter with his hands and tosses it like a hot potato onto the cooking grid , slamming the lid down with a CRASH . Some of the WITNESSES hoot and laugh and there 's a scattering of applause . Before Bar - b - que can take a bow for his bravery , his attention is drawn to the sound of rapid POPPING . HIS POV The WAGON OF BEER on the ground near some bushes . The pull tabs are popping off and geisers of brew are shooting up toward the sky .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LISA'S HOUSE - STUDY - NIGHT<\/stage_direction>\n    <scene_description>LISA opens up the DIARY . JESSE looks over her shoulder .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Something Nancy said - her last entry.<\/dialogue>\n    <parenthetical>( reading . )<\/parenthetical>\n    <dialogue>`` He is evil itself. I know now that I brought him into my world. We all did, gave him all the energy he needed. Our screams were all he needed. Now I will take it back - Deny him.''<\/dialogue>\n    <scene_description>She looks up at Jesse .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>She was n't crazy.<\/dialogue>\n    <parenthetical>( he holds up the book . )<\/parenthetical>\n    <dialogue>All this really happened.<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>You can fight him.<\/dialogue>\n    <scene_description>Jesse looks confussed .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Remember what I said? About good energy and bad energy? He thrives on bad energy. Hate, anger, fear. He is bad energy.<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>You've been afraid of him.<\/dialogue>\n    <scene_description>Jesse suddenly winces in painand puts his hand to his stomach .<\/scene_description>\n    <character>JESSE<\/character>\n    <parenthetical>( panicking . )<\/parenthetical>\n    <dialogue>Oh, God, he's coming back!<\/dialogue>\n    <parenthetical>( to Lisa . )<\/parenthetical>\n    <dialogue>Get out of here, Lisa!<\/dialogue>\n    <scene_description>The window SLAMS shut and LOCKS . LISA frightened , looks behind her and back to Jesse , frantically .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Fight it, Jesse!<\/dialogue>\n    <scene_description>FRONT DOOR , FOYER The deadbolt turns with a loud SNAP .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LISA'S HOUSE - THE POLETTI'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Their bedroom door LATCHES firmly . MR. POLETTI sits up with a start .<\/scene_description>\n    <character>MR. POLETTI<\/character>\n    <dialogue>What was that?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GATE - LISA'S HOUSE - POOLSIDE - NIGHT<\/stage_direction>\n    <scene_description>A large padlock swings around and SNAPS shut .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LISA'S HOUSE - STUDY - NIGHT<\/stage_direction>\n    <scene_description>JESSE is doubled over in pain . Lisa has her hands on his shoulders , shaking him , trying to bring him out of it . The heat has become intense in teh room ; they are both sweating profusely and their clothes cling to their wet bodies .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>You created him - you can destroy him. He lives off your fear. Fight him, Jesse!<\/dialogue>\n    <character>JESSE<\/character>\n    <parenthetical>( painfully . )<\/parenthetical>\n    <dialogue>I ca n't!<\/dialogue>\n    <scene_description>Tiny bubbles are rising to the top of the aquarium tank and the angelfish float on the surface of the water , poached .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LISA'S HOUSE - THE POLETTI'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>MR. POLETTI is standing inside the door in an open robe , tugging on the knob as MRS POLETTI joins him at his side . He , too is drenched with sweat and the heat has steamed up all the interior windows .<\/scene_description>\n    <character>MRS. POLETTI<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>MR. POLETTI<\/character>\n    <dialogue>The lock's jammed!<\/dialogue>\n    <scene_description>Suddenly , there is a BLAST OF MUSIC as a bedside CLOCK RADIO comes to life an immediatly begins melting in the center . The music GROANS to a stop after less than a bar and the amber dial - lamp dies .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LISA'S HOUSE - POOLSIDE - NIGHT<\/stage_direction>\n    <scene_description>KERRY and HUNK in the pool again . Steam is rising off the surface and the water seems a bit rough for a swimming pool . Kerry calls out to no one in particular .<\/scene_description>\n    <character>KERRY<\/character>\n    <dialogue>Hey, can somebody turn down the heater?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LISA'S HOUSE - STUDY - NIGHT<\/stage_direction>\n    <scene_description>JESSE is writhing on the floor as LISA jumps around him , helplessly .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>You're not afraid of him! He does n't even exist.<\/dialogue>\n    <scene_description>ON THE T.V. as it , too , comes to life with a BLAST OF SOUND , SPARKS violently and dies . ON THE AQUARIUM as the water comes to a boil , the glass SHATTERS and the carpeting is flooded with a wave of steaming water and dead marine life .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LISA'S HOUSE - POOLSIDE - NIGHT<\/stage_direction>\n    <scene_description>as the Japanese lanterns begin to brighten considerably - as if there 's a power surge in the line . Each of the bulbs begin to burst , scattering a group of screaming TEENAGERS from beneath them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STUDY<\/stage_direction>\n    <scene_description>ON LISA , JESSE 'S POV Horrified . ON THE DESK FRONT as a hand comes up into frame - FREDDY 'S hand . It scrapes up the wooden panel and grips the desktop , cutting four deep notches into the scrolled edge - molding . ON LISA She GASPS . FREDDY is standing in front of her .<\/scene_description>\n    <character>FREDDY<\/character>\n    <parenthetical>( laughting hideously . )<\/parenthetical>\n    <dialogue>He ca n't fight me.<\/dialogue>\n    <parenthetical>( raising his eyebrows . )<\/parenthetical>\n    <dialogue>I'm him.<\/dialogue>\n    <scene_description>Freddy approaches , flashing his razor - knives like a set of Tiffany rings . Lisa looks about the room for some escape . Freddy swings . Lisa counters by pulling an afghan from the back of one of the chairs and catching it in his blades . She reaches behind her for something to hit him with and comes up with a heavy brass lamp from the top of the desk . She SMASHES him over the head with it . The impact throws him back long enough for her to slip by him and run out of the study . She slams the door behind her . Freddy recovers quickly from the blow and , angry now , takes after her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LISA'S HOUSE - THE POLETTI BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Mr. Poletti is banging on the door and wrenching the knob .<\/scene_description>\n    <character>MR. POLETTI<\/character>\n    <dialogue>Lisa!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LISA'S HOUSE - FOYER - NIGHT<\/stage_direction>\n    <scene_description>as LISA runs through the room , rounds the newel post of the stairway and skids across the parquet floor to the front door . She grabs the knob and pulls . Locked .<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>( screaming for help . )<\/parenthetical>\n    <dialogue>Jesse!<\/dialogue>\n    <scene_description>Panic - stricken , she turns to run . FREDDY LEAPS across the room at LISA . She tries to run past him but collides with him instead . They both go down on the waxed floor . LISA tries to scramble away . FREDDY grabs her foot and sinks his teeth into her bare calf . She SCREAMS in pain . LISA kicks him in the head with her other foot . FREDDY strikes at her leg with his talons , but she twists away and he wedges the blades deep into the oak floor . She squirms free as Freddy pull s and pulls on his weapon to un - stick it from the floor . She runs toward the kitchen .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LISA'S HOUSE - POOLSIDE - NIGHT<\/stage_direction>\n    <scene_description>KERRY and HUNK in the middle of the pool . The surface is choked with steam and their bodies are lobster - red . They are trying to get to the stairway at the low end but the water has become even more turbulant and much hotter and randowm waves keep pushing them back , panting , toward the deep end . Kerry goes under and Hunk picks her up to hold her head up above the water .<\/scene_description>\n    <character>HUNK<\/character>\n    <dialogue>Help!<\/dialogue>\n    <scene_description>ON THE PATIO several BOYS rush to the fence to pull down a life - hook hanging there on a bracket . Other TEENS stand around , wondering what 's happening .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LISA'S HOUSE - KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>LISA is devastatingly frightened as she crashes through the doors and quickly scans the room . She runs to the sliding glass doors leading out to the pool area and hurls aside the draperies . ON the other side of the glass , FIVE KIDS tug frantically or the door and bang on the glass , trying to get in . BACK TO LISA She turns toward the counter and spots A WOODEN KNIFE - BLOCK a good selection of gourmet cutlery . FREDDY crashes into the room . ON LISA jumping toward the knives . She grabs for the thickest handle and unsheathes it from the block . This is one hell of a KNIFE - a fourteen inch long blade of carbon steel - all it needs is a blood - gutter to move it from the kitchen to the battlefield . THE SLIDERS The FIVE KIDS outside the glass doors stare , aghast . KITCHEN Freddy stops in the center of the room as she swings around , holding the knife in her fist defensively .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Jesse, help!<\/dialogue>\n    <character>FREDDY<\/character>\n    <dialogue>I'm Jesse now, Lisa.<\/dialogue>\n    <scene_description>He chuckles as he raises his own weapon and rhythmically clicks the blades together . he 's up for a feisty victim . Lisa tries to get up the courage to send the knife home . ON FREDDY His expression changes suddenly .<\/scene_description>\n    <character>FREDDY<\/character>\n    <parenthetical>( Jesse 's voice , pleading . )<\/parenthetical>\n    <dialogue>Kill me! Please kill me!<\/dialogue>\n    <scene_description>ON LISA She is devastated by teh sound of Jesse 's voice coming from within this monster . ON FREDDY himself again .<\/scene_description>\n    <character>FREDDY<\/character>\n    <parenthetical>( mockingly . )<\/parenthetical>\n    <dialogue>Go agead, Lisa. Kill him! Kill him!<\/dialogue>\n    <scene_description>He steps toward her and she swings with the knife . He jumps back , inches from the blade . He laughs and moves for her again . This time she swings and hits her mark , driving the knife deep into Freddy 's shoulder . She PLUNGES the blade in , again and again , pushing him back across the room . The knife cuts long gashes but they do not bleed and with each puncture of the blade , Freddy lets out a horrible laugh :<\/scene_description>\n    <character>FREDDY<\/character>\n    <parenthetical>( Jesse 's voice . )<\/parenthetical>\n    <dialogue>Lisa. Lisa. I love you. I love you!<\/dialogue>\n    <scene_description>Stunned , she steps back into the center of the room . She raises the knife again but she is crying hysterically and just does n't have it in her . Freddy catches her wrist with his bare hand and squeezes it with all his strength . Lisa begins quaking and her knees weaken . She closes her eyes .<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>( tearfully . )<\/parenthetical>\n    <dialogue>Please, God.<\/dialogue>\n    <scene_description>She drops the knife : it sticks into the linoleum . ON FREDDY He starts to mouth a parting death - word but suddenly stops . TWO SHOT - LISA AND FREDDY Lisa opens her eyes . He is stell standing there , poised for the kill but he is staring at her with an odd expression - perhaps a glint of recognition . Lisa stares back , wondering why she is n't dead yet . CLOSE ON FREDDY A frown of confusion distorts his ugly face and his lower lip quivers slightly . Suddenly , he throws her aside like a fisherman tossing acks an undersized flounder .<\/scene_description>\n    <character>FREDDY<\/character>\n    <parenthetical>( as Jesse . )<\/parenthetical>\n    <dialogue>Nooo.<\/dialogue>\n    <scene_description>ON LISA SMASHING into the wall with force . She slides down to the floor , semi - conscious . BACK TO FREDDY he emits an agonized SCREAM and LUNGES , not at her but DIVING through the glass doors to the pool area .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LISA'S HOUSE - POOLSIDE - NIGHT<\/stage_direction>\n    <scene_description>REVERSE ANGLE as the glass shatters into a million shimmering pieces and Freddy is gone - vanishing before our eyes . The pool has stopped swirling although it continues to simmer . KERRY , HUNK and LIFEHOOK BOY cough and shake as they are helped out of the water and wrapped in towels by some FRIENDS . Many of the TEENS are huddled in little groups . Some are crying , others just look at the remnants of the party in disbelief .<\/scene_description>\n    <character>TEENS<\/character>\n    <dialogue>What happened? Where'd he go. Etc..<\/dialogue>\n    <scene_description>Several BRAVE BOYS approach the shattered sliders with cautious curiosity .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LISA'S HOUSE - UPSTAIRS HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>MR. and MRS. POLETTI listen to the uncomfortable silence . they look at the door as it UNLATCHES with a soft SNAP . Wary , they do n't move .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LISA'S HOUSE - POOLSIDE - NIGHT<\/stage_direction>\n    <scene_description>One BRAVE BOY in the group kneels down and touches his hand on the patio , looking or some explanation for the shattered glass . ON THE TAPE DECK as the cassette pops itself in and switches on GLENN MILLER . BACK TO PATIO Everyone looks around , spooked . Suddenly , there is a huge RIPPING sound and FREDDY violently CRASHES up through the concrete ! ON THE KIDS Screaming at the sight of the monster . ON THE POOL as it begins to churn and boil . THE RAZOR - KNIVES fan open Brave Boy screams as Freddy swipes the knives toward his throat . Before contact , we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LISA'S HOUSE - FOYER - NIGHT<\/stage_direction>\n    <scene_description>as Mr. Poletti scrambles down the stairs with Mrs. poletti close behind .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LISA'S HOUSE - POOLSIDE - NIGTH<\/stage_direction>\n    <scene_description>as FREDDY grabs another teen and throws him into the overheated pool . he SCREAMS as he hits the water .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LISA'S HOUSE - KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>ON THE DOOR as MR. POLETTI bursts through , followed by his wife . She screams when she sees<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>( groggily . )<\/parenthetical>\n    <dialogue>He could n't do it, Momma.<\/dialogue>\n    <scene_description>MR. POLETTI looks up at the sound of the OFF - SCREEN SCREAMING . He rushes across the room to the sliders .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POOLSIDE<\/stage_direction>\n    <scene_description>Total CHAOS has taken over . KIDS are running in every direction , screaming as FREDDY lashes out indiscriminately . A SCREAMING GIRL is PUSHED INTO THE POOL by the stampeding kids and is SUCKED UNDER . TWO BOYS vault the WALL . One perches on top , holding a hand out to help HIS GIRL over .<\/scene_description>\n    <character>BOY<\/character>\n    <dialogue>Come on!<\/dialogue>\n    <scene_description>FREDDY races at them and SLASHES THE GIRL . She drops . The BOY clambers over the wall . ON A FLEEING KID THE FLEEING KID runs toward camera -LRB- no othe rkids in shot -RRB- . As he runs , he BEGINS TO SLOW DOWN , as if being held back by an invisible force . Suddenly , FREDDY APPEARS AND , AT NORMAL SPEED , SLASHES THE KID .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHAIN LINK FENCE - POOLSIDE<\/stage_direction>\n    <scene_description>SEVERAL KIDS breaks for the gate . The PADLOCK is secure . ONE KID grabs onto the chain - link fence to climb it . The links SMOKE AND SIZZLE , and the kid lets go with a scream . His HANDS are branded with the pattern of the steel links .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LISA'S HOUSE - KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Mr. Poletti turns whit , not believing his eyes . He backs away from the sliders .<\/scene_description>\n    <character>MR. POLETTI<\/character>\n    <dialogue>My God!<\/dialogue>\n    <scene_description>He backs off some more only taking his eyes off the scene to glance at his wife and daughter .<\/scene_description>\n    <character>MR. POLETTI<\/character>\n    <dialogue>Get her out of here!<\/dialogue>\n    <scene_description>MRS. POLETTI looks back at her husband , questioningly .<\/scene_description>\n    <character>MR. POLETTI<\/character>\n    <parenthetical>( urgently . )<\/parenthetical>\n    <dialogue>Get her out of here!<\/dialogue>\n    <scene_description>She starts to help Lisa to her feet . MR. POLETTI turns on his heels and runs through the kitchen doors .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LISA'S HOUSE - POOLSIDE - NIGHT<\/stage_direction>\n    <scene_description>Freddy stands in the center of the patio , swinging with his claw as a few DO - GOODERS circle him and try to calm him down like he was just some ordinary homicidal maniac . At Freddy 's feet , another hapless VICTIM . ONE DO - GOODER who 's watched too many police dramas on T.V. jockeys around Freddy and throws out some hostage control lines .<\/scene_description>\n    <character>DO-GOODER<\/character>\n    <dialogue>Now calm down - we want to help you.<\/dialogue>\n    <scene_description>Freddy displays his blades like a rabid cat , ready to strike .<\/scene_description>\n    <character>FREDDY<\/character>\n    <dialogue>Help yourself, fucker.<\/dialogue>\n    <scene_description>Behind them , a row of shrubs suddenly combusts . Freddy grabs him by the wrist , laughs and , swinging him around like he were throwing the Hammer , sends him with a bone - splitting CRASH into THE GAS GRILL The force of the impact shears the grill from its pedestal and causes a huge column of FIRE to shoot up into the heavens .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LISA'S HOUSE - STUDY - NIGHT<\/stage_direction>\n    <scene_description>MR. POLETTI swings one of the chairs into the gun case SHATTERING the glass door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LISA'S HOUSE - POOLSIDE - NIGHT<\/stage_direction>\n    <scene_description>The KIDS are trapped inside the pool area , frozen with fear , hysterical . With the gas - fire raging to one side , he screams out like an evangelist on angel dust .<\/scene_description>\n    <character>FREDDY<\/character>\n    <dialogue>You are all my children!<\/dialogue>\n    <scene_description>SOUND OVER : A SHOT RINGS OUT BLOWING AWAY a dish of potato salad on a table at Freddy 's side . Several teens dive for cover . ON MR. POLETTI standing in the frame of the shattered sliders . he is holding a pump - action shotgun . as he brings the gun down to give it a second pump .<\/scene_description>\n    <character>MR. POLETTI<\/character>\n    <dialogue>Shit!<\/dialogue>\n    <scene_description>He raises the weapon again , but LISA rushes out and pushes the barrel of the gun down . MR. POLETTI FIRES into the patio .<\/scene_description>\n    <character>MR. POLETTI<\/character>\n    <parenthetical>( furious . )<\/parenthetical>\n    <dialogue>What are you doing?<\/dialogue>\n    <scene_description>ON FREDDY he looks toward the doors and makes eye contact with Lisa . Suddenly , he turns on his hells and walks THROUGH THE BRICK WALL as if it were n't there . The very top of his head and his hat are higher than the top of the wall and remain solid as he moves through and out the other side . There is SMOKE AND SCORCH on the bricks where he passed . SILENCE and stunned faces . Frightened whimpers here and there .<\/scene_description>\n    <character>MR. POLETTI<\/character>\n    <dialogue>Where did he go?<\/dialogue>\n    <scene_description>ON LISA She puts her hand to her mouth - she knows . MRS. POLETTI has come onto the patio now and joins her daughter and husband . Lisa turns and runs into the house .<\/scene_description>\n    <character>MRS. POLETTI<\/character>\n    <dialogue>Where are you going?<\/dialogue>\n    <scene_description>Lisa is already gone .<\/scene_description>\n    <character>MR POLETTI<\/character>\n    <parenthetical>( calling her back . )<\/parenthetical>\n    <dialogue>Lisa!<\/dialogue>\n    <scene_description>JESSE 'S CAR - EXT. . POLETTI HOUSE - NIGHT LISA opens the door and gets into the driver 's seat . SOUND OVER : POLICE SIRENS APPROACHING<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JESSE'S CAR<\/stage_direction>\n    <scene_description>She looks at the make - shift switches and tries to remember how Jesse . She flicks the toggle and pushes the starter button . Nothing . She remembers the two wires under the dash and twists them together . She pushes the starter button . The starter GROANS . It does n't seem like it 's going to start . ON LISA<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>( frantically . )<\/parenthetical>\n    <dialogue>Please work, please.<\/dialogue>\n    <scene_description>The car back - fires and starts . She puts it into gear and pulls out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DARK HIGHWAY - NIGHT<\/stage_direction>\n    <scene_description>as the old FALCON tears down the highway .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JESSE'S CAR<\/stage_direction>\n    <scene_description>LISA is at the wheel , squinting through the darkness , trying to hold the road .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ABANDONED POWERHOUSE - NIGHT<\/stage_direction>\n    <scene_description>Lisa pulls up to the building and shuts the engine off . INSIDE She hastily tears a strip of cloth from her shirt and ties it around the wound on her leg . She gets out of the car . She steps up to the front of the building . HER POV The entrance is ringed by A PAIR OF MANGY WILD DOGS WITH EERIE , UNNATURAL FACES who growl threateningly as she approaches . She shows no fear as she steps right up to the enterance . THey snap at her hands but she does n't pull them out of the way . They part , allowing her to pass through .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POWERHOUSE - NIGHT<\/stage_direction>\n    <scene_description>LISA walks in cautiously . The powerhouse looks fare different than it did in daylight - mysterious , dangerous , brewing , almost alive . Steam is leaking from between rusty rivets and torn gaskets and we hear the POUNDING of ancient expansion tanks belching out rancid air . The interior is bathed in an electric blue light that intermittently washes pale as hot white arcs flash in distant corners of the building . She walks in deeper , carelessly touching her fingers to a large steam pipe and retracting her hand quickly from its blistering sting . She stops at the center of the room . Suddenly , a twinge of pain on her face and she looks down at ehr leg . now , serious pain as she bends over and frenziedly pulls up on the make - shift bandage . ON HER WOUND It is SWARMING with big , black , carpenter ants . She screams and brushes them away with her hands , quaking with disgust . As abruptly as they appeared , they are gone ; the blood - soaked bandage is intact , covering the wound . She bhacks away from teh sump and begins climbing the rusted metal stairway up to the catwalk . SOUND OVER : SCRAPING METAL She stops midway and looks around , frightened . A few seconds to regain her courage and she steps onto the walkway . A RAT - the one she met before - scurries at her . It stops , stares at her evilly , hisses unnaturally . Lisa screams . Suddenly , a CAT pounces on the rat . The cat looks up at Lisa with ONLY THE TAIL OF THE RAT STICKING OUT OF ITS MOUTH . Its eyes are demonic , its teeth crooked yellow fangs . It growls like a beast five times its size . The cat takes another chomp on the rat , and the rat 's tail disappears down its gullet . ANOTHER ANGLE LISA jumps down off the sairway onto the catwalk and starts to run . She CLANGS over the steel - mesh flooring . A section of the catwalk gives way beneath her feet and LISA plummets as if she were dropped through a trap door . Her arms flail over her head , but her hand manages to grab around a section of handrail that 's still solid . ANOTHER ANGLE we see the catwalk is intact - it looks as if her knees just gave out but she continues to hold on to the railing for dear life . She tests the flooring by feeling it before attempting to rise ore release her grip . She rises and turns around . FREDDY is there . Lisa SCREAMS .<\/scene_description>\n    <character>FREDDY<\/character>\n    <dialogue>Had your chance.<\/dialogue>\n    <parenthetical>( raising his talons . )<\/parenthetical>\n    <dialogue>Die now!<\/dialogue>\n    <scene_description>He slashes at her . She ducks and runs back toward the stairway . The STAIRWAY IS RED HOT , SMOKING . FREDDY closes in .<\/scene_description>\n    <character>FREDDY<\/character>\n    <dialogue>Come to me, Lisa - I'm waiting for you.<\/dialogue>\n    <scene_description>Lisa stops short , looks around desperately . There is nowhere to go .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Oh, God, Jesse - I know you're there! Stop him!<\/dialogue>\n    <character>FREDDY<\/character>\n    <dialogue>Jesse's dead, Lisa. Freddy's here.<\/dialogue>\n    <scene_description>Freddy strikes , cutting Lisa 's shoulder .<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>( screams . )<\/parenthetical>\n    <dialogue>Jesse!<\/dialogue>\n    <scene_description>Freddy closes in on her . She is trapped , finished .<\/scene_description>\n    <character>FREDDY<\/character>\n    <parenthetical>( smiles perversely . )<\/parenthetical>\n    <dialogue>Wan na join your little friend?<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Where's Jesse?<\/dialogue>\n    <character>FREDDY<\/character>\n    <dialogue>There is no Jesse. I'm Jesse now.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>I want him back. Jesse, talk to me. Jesse!<\/dialogue>\n    <scene_description>Freddy raises his talons for the kill . The sharp oints are within an inch of her eyes . Lisa , terrified , summons up all her energy , all her might , and looks Freddy in the eye .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>I love you, Jesse!<\/dialogue>\n    <scene_description>Freddy stares at ehr , talons frozen in mid - air . The horrible hand quivers , as if against an unseen force . And then - The wounds on Freddy 's shoulder and chest rip open . He looks down at them , surprised . They bleed real , human blood . LONGER ANGLE Lisa breaks past him and starts to run but stops suddenly , a few paces from Freddy . She turns to look at him leaning weakly against the railing , with an expression of confusion on his face that is almost pathetic . he touches his wounds , surprised . Lisa is no longer afraid - she 's angry now . She looks him straight in the eye . His razor - knives click together like they 're running low on batteries . Freddy beckons her over with the knife on his index finger .<\/scene_description>\n    <character>FREDDY<\/character>\n    <parenthetical>( Jesse 's voice . )<\/parenthetical>\n    <dialogue>Come and get me, Lisa.<\/dialogue>\n    <scene_description>Freddy laughs wickedly . LISA moves a step toward Freddy .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>I'm not afraid of you. You could n't kill me. He's in there and I want him back. I'm gon na take him away from you and you're going straight back to hell, you son - of - a - bitch!<\/dialogue>\n    <character>FREDDY<\/character>\n    <parenthetical>( getting angry . )<\/parenthetical>\n    <dialogue>Jesse's dead! I sliced ` im real good!<\/dialogue>\n    <scene_description>Lisa moves closer to Freddy .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Come back to me, Jesse.<\/dialogue>\n    <scene_description>She locks her gaze on Freddy 's eyes and looks right through him .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>I love you, Jesse. Come back to me.<\/dialogue>\n    <character>FREDDY<\/character>\n    <dialogue>He's dead, you bitch.<\/dialogue>\n    <scene_description>Freddy seems to be in a good deal of pain . He drops to one knee . Lisa moves closer . He tries to move away from her .<\/scene_description>\n    <character>FREDDY<\/character>\n    <parenthetical>( threateningly . )<\/parenthetical>\n    <dialogue>I'll kill you now.<\/dialogue>\n    <character>LISA<\/character>\n    <parenthetical>( ignoring him . )<\/parenthetical>\n    <dialogue>He ca n't hold you Jesse. He's losing his grip - you can get out.<\/dialogue>\n    <character>FREDDY<\/character>\n    <dialogue>He'll die with me!<\/dialogue>\n    <scene_description>She kneels beside Freddy , takes off his hat and begins to lovingly stroke his head . he seems to be writhing a bit and emits several frightened moans .<\/scene_description>\n    <character>FREDDY<\/character>\n    <dialogue>He'll die with both of us!<\/dialogue>\n    <scene_description>She gathers all her nerve and moves in closer . He lifts his deadly hand and presses it into her chest . She flinches in pain but continues to come in close until her mouth is almost touching his . he moves his blades onto her back , trying to push them into her flesh , but he is too weak to do much damage . TIGHTER ANGLE Locked in this strange embrace , she presses her lips against his with as much passion as she can muster and KISSES HIM . LONGER ANGLE : FREDDY &amp; LISA There is a moment of quiet . Then smoke starts to rise off of Freddy . He pushes her away with an excruciating SCREAM . The sound of the POUNDING machinery is becoming deafening . The electric FLASHES are firing more rapidly and arcing across the Power Plant . The room is RAPIDLY HEATING UP . A SMALL FLAME shoots along the railing . SMALL FIRES begin to break out on the catwalk around Freddy . ANGLE : PAINTED SURFACE The PAINT BEGINS TO SMOKE AND BUBBLE with the heat . As the heat increases it INTO FLAME . ON PIPES STEAM begins shooting up from every pipe joint . ANOTHER ANGLE : PIPES STEAM shoots out of the valves . heavy iron VALVE WHEELS SPIN OFF THEIR STEMS and roll down the FLAMING CATWALKS . ON LISA Surrounded by flames and smoke , she watches it all with fear and amazement . CLOSE ON FREDDY His flesh is starting to melt . LONGER ANGLE : FREDDY He bursts into DENSE , ALL - ENGULFING FLAME . The power plant is going crazy : the steaming , smoking , and flaming all reach their high peak . Pipes are bursting with steam : valve wheels flying off . Andthen everything begins to slow down , ease off . The flames are dying down around the charred corpse , and we can see it is no longer moving . The little fires around him are also dying down . And the smoke , the steam , and the deafening noise abate . ON FREDDY 'S CORPSE The fires are out now . there is only some smoke . And the terrible heat has turned to COOL BLUE LIGHT . The still smoldering corpse , with its back to us , begins to stir . LONGER ANGLE : CATWALK Lisa backs away , terrified . The corpse turns to her - it is Jesse , his clothes smoldering , his body singed and blackened with soot . But alive , coming around as if it were all just a bad dream . LISA moves to him and cradles him in her arms . FADE OUT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WALSH HOUSE - DAY<\/stage_direction>\n    <scene_description>A SHINY NEW SCHOOL BUS rolls down the street . It pulls up by the curb near the Walsh House . JESSE , his RIGHT ARM IN A SLING but otherwise fresh and happy , kisses MOM goodbye at the FRONT DOOR . He hurries down to the bus , gets in . The DOORS fold shut , the GEARS GRIND and the bus continues along its route .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL BUS - DAY<\/stage_direction>\n    <scene_description>There are about a DOZEN KIDS in the bus , playing radios , having a good time , etc. . LISA , in the back , waves to Jesse and smiles . She wears a BANDAGE on her shoulder where Freddy slashed her . Jesse , in the front smiles and waves back . Jesse makes his way down the aisle to Lisa , greeting a few kids , slapping a hand or two . ON JESSE &amp; LISA Jesse plops down next to her , gives her a quick kiss , puts his good arm around her .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>Lisa chuckles .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>What's so funny?<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>We must look like a couple of escapees from a veterans' hospital.<\/dialogue>\n    <scene_description>Jesse smiles and shakes his head .<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>I ca n't believe we actually -<\/dialogue>\n    <scene_description>Lisa puts a finger to her mouth to cut him off - no need to tell about unpleasant things . Jesse smiles again - she 's right . he kisses her . Jesse moves his head away from hers for the big kiss . Lisa 's eyes are closed , ready to receive it . She opens her eyes . They are pupil - less , blood - streaked , demonic . With an EVIL ROAR , a huge SERPENT TONGUE FLICKS OUT of her mouth and attacks Jesse who screams .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT LANDSCAPE - DAY<\/stage_direction>\n    <scene_description>The bus WHINES near the top end of third , all of its FLASHERS firing wildly . It races away through the desert in a cloud of dust . FADE OUT<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Five years after Freddy Krueger's apparent defeat, the Walshes have moved into the Thompsons' former home. Their teenage son, Jesse, has a nightmare about being stalked by a killer driving a school bus. He wakes up and attributes the dream to the unusual heat in the room. Jesse goes to school with his friend Lisa, whom he is interested in romantically, but is too shy to flirt with her. After getting into a fight with a boy named Grady during gym class, Coach Schneider has them stay after class and they become friends. Lisa comes to visit Jesse after school and they discover a diary from Nancy Thompson detailing her nightmares, which are strikingly similar to Jesse's. Small fires happen around the house, which culminates in the spontaneous combustion of their pet birds. Jesse's father accuses him of sabotage. The following night, Jesse has a nightmare where he encounters Freddy, who tells him to kill for him. The dreams grow more intense and Jesse unsuccessfully attempts different measures to keep himself awake. He eventually begins wandering the streets at night. One night, while dreaming, he is caught by Schneider ordering a drink in a gay bar and is made to run laps at school as punishment. After sending Jesse to the showers, Schneider is attacked by an unseen force that drags him to the showers. Jesse vanishes into the steam and Freddy emerges, killing Schneider by slashing his back. Later, Jesse is horrified to see the glove on his hand. He is escorted home by police after being found wandering the streets naked, and his parents begin to suspect that Jesse may be on drugs or mentally disturbed. Lisa takes Jesse to an abandoned factory where Freddy Krueger worked, but they find nothing there. The following night, Jesse goes to Lisa's pool party and kisses her in the cabana. Afterwards, his body begins to change and he leaves in a panic. He goes to Grady's house, confesses to killing Schneider, and instructs Grady to watch him as he sleeps and to stop him if he tries to leave. When Grady eventually falls asleep, Freddy emerges from Jesse's body and kills Grady. Freddy then changes back to Jesse, who finds himself looking at Freddy's laughing reflection in Grady's mirror. He flees before Grady's parents enter the room. Returning to Lisa's house, Jesse tells her what is going on. Lisa realizes that Jesse's terror is giving Freddy his strength, but he cannot stop fearing him and transforms again. He locks her parents in their bedroom and attacks Lisa, but realizes he cannot harm her due to Jesse's influence. He goes outside where he begins to slaughter the partygoers. Lisa's father emerges with a shotgun, but Lisa stops him from shooting Freddy, who escapes in a ball of flame. She drives to the factory, facing sudden nightmares and having to control her fear before confronting Freddy. She pleads with Jesse to fight Freddy, but Freddy's hold is too strong. When Lisa confesses her love for Jesse and kisses Freddy, Jesse begins to fight back. Freddy combusts and turns to ash, from which Jesse emerges. Later, as Jesse, Lisa, and Lisa's friend Kerry are taking the bus to school, Jesse begins to notice similarities to his original nightmare and panics. After Lisa calms Jesse down, Kerry says that it is all over just before Freddy's clawed arm bursts through her chest. Freddy laughs as the bus drives into the field, just as in Jesse's first nightmare."}
{"movie_name":"The Muppets_2011","imdb_id":"tt1204342","script":"<script>\n  <scene>\n    <scene_description>The Greatest Muppet Movie of All Time by Jason Segel and Nicholas Stoller 10-30-09 TITLE UP: THE FOLLOWING IS BASED ON A TRUE STORY FADE IN: A series of shots of a pristine, classic American small town. Something straight out of Pleasantville. --People walk down the street and say smiling goodmornings as they pass each other. --A milkman drops off milk to a white picket fenced house --Children ride their bikes to school -- People exit a bakery with fresh rolls. TITLE UP: SMALLTOWN, USA<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - MORNING<\/stage_direction>\n    <scene_description>We pan through a bedroom who's walls are covered with posters. Muppet posters. Muppet newspaper clippings. A framed photo of a Time magazine cover which features Kermit standing in front of the rest of the Muppets with a headline that reads \"Who's the funniest Muppet.\" There is also a row of framed photos, the first is of a young boy with a nondescript brown Puppet. We follow the row of photos as the boy grows progressively older, his puppet always by his side, ageless. We reach the last photo of the row and the boy is now thirty, arm around his puppet. We continue to pan and find the man, Gary, laying in bed peacefully asleep, a contented smile on his face. THE ALARM GOES OFF. Gary lazily wakes up.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>Walter! Wake up! Today's the day we go to Los Angeles!!!<\/dialogue>\n    <scene_description>We widen to reveal Gary's brown puppet asleep in a smaller bed next to Gary ala Ernie and Bert.<\/scene_description>\n    <character>WALTER<\/character>\n    <parenthetical>(waking excitedly)<\/parenthetical>\n    <dialogue>Los Angeles!!! I can't believe it!! We're gonna get to go to Muppet Studios right!? You promised!? You weren't pranking me right!!? If you were pranking me that's a really mean prank!!!<\/dialogue>\n    <character>GARY<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>No buddy! I would never prank you like that! You're my best friend! I know you love the Muppets!<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>Wooo hooo! Let's get ready! Los Angeles, here we come!!!!<\/dialogue>\n    <scene_description>Walter hops out of bed and begins dancing around the room. He is actually a pretty good dancer, if not a bit spastic.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GARY AND WALTER'S HOUSE - LATER<\/stage_direction>\n    <scene_description>Gary and Walter exit their small but charming house wearing matching Powder Blue suits and brown ties which are way too short with knots that are far too large. They each carry a suitcase, Walter's obviously is far smaller.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>Alright old buddy, let's go grab Mary at School and we're off to Los Angeles!<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>Los Angeles!<\/dialogue>\n    <scene_description>The two walk, a spring in their step, literally across the street to a charming and small schoolhouse which reads \"SMALLTOWN ELEMENTARY SCHOOL\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOLHOUSE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Gary and Walter enter the back of a small classroom where MARY (25) is teaching a class of 3rd Graders.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>So, I hope you all have an amazing spring vacation! Try to study your timetables in between having a whole lotta fun!!! Love you kids! See you in two weeks!!<\/dialogue>\n    <scene_description>The kids all rise and head out. One by one, they each hand Mary an apple until she is left with thirty or so apples. Gary approaches and gives her a small kiss.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>Hey, so you all ready for our big vacation?!<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>You bet! This is the best anniversary present ever! We are gonna have such a great time. I've always dreamt of seeing Los Angeles!<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>And the Muppet Studios!<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>You bet Walter! Now let me grab a sack for these apples and let's get going! To Los Angeles!!<\/dialogue>\n    <character>WALTER\/GARY<\/character>\n    <dialogue>To Los Angeles!!!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - LATER<\/stage_direction>\n    <scene_description>Walter, Gary and Mary wait excitedly at the Smalltown bus stop. Mary has her suitcase and a big sack of apples. After a moment an absolutely pristine, perfectly polished shiny silver old time greyhound bus pulls up with a sign that says \"LOS ANGELES\" They get on the bus. We watch as the bus pulls away, travelling only a few yards before it passes a sign which reads: \"NOW LEAVING SMALLTOWN, USA. WE'LL MISS YOU!!!\" As they leave Smalltown, USA the population sign drops from 102 to 99.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS - NIGHT<\/stage_direction>\n    <scene_description>We pan through the bus. Literally everyone is eating one of Mary's apples. We reach Gary, Mary and Walter towards the back of the bus.<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>I can't believe it! A tour of the Muppet Studios! Who knows, maybe Kermit will be there!<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>I wouldn't get your hopes up Walter. You know the Muppets broke up. I don't think they use the studios for anything but tours anymore.<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>I think that's just an internet rumor, like Global Warming.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Actually Global Warming is a very real---<\/dialogue>\n    <character>WALTER<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>Muppet Studios! I just can't believe it!<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>It'll be great. Now if you don't mind, I think we're gonna try to get some sleep buddy!<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>Sure, no problem!<\/dialogue>\n    <scene_description>MOMENTS LATER: Walter is sitting next to an old lady who is clearly trying to sleep.<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>And then there was an episode where Gonzo and Fozzie---<\/dialogue>\n    <character>OLD LADY<\/character>\n    <dialogue>If you don't mind, I'm trying to sleep.<\/dialogue>\n    <scene_description>MOMENTS LATER: Walter sits next to a ten year old kid.<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>And then one time, Miss Piggy was doing \"Pigs in Space\" and she---<\/dialogue>\n    <character>KID<\/character>\n    <dialogue>If you don't mind, I'm trying to sleep.<\/dialogue>\n    <scene_description>MOMENTS LATER: Tight on Walter talking.<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>And Rolph, man, Rolph could play piano like nobody else.<\/dialogue>\n    <character>MAN (O.S.)<\/character>\n    <dialogue>Listen kid, I'm trying to sleep.<\/dialogue>\n    <scene_description>Widen to reveal Walter is talking to the bus driver.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOLLYWOOD BLVD. - DAY<\/stage_direction>\n    <scene_description>The bus, which is now a regular, dirty, modern day Greyhound pulls up in front of the Mann's Chinese Theater. The doors open and our heroes get off and take in their surroundings, awestruck.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>I can't believe it. Los Angeles!!<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>We're really here!<\/dialogue>\n    <character>WALTER<\/character>\n    <parenthetical>(really excited)<\/parenthetical>\n    <dialogue>Oh my gosh!! It's Superman!!<\/dialogue>\n    <scene_description>A middle aged, unshaven man dressed as Superman approaches.<\/scene_description>\n    <character>SUPERMAN<\/character>\n    <dialogue>Want a Picture?<\/dialogue>\n    <character>WALTER<\/character>\n    <parenthetical>(thrilled)<\/parenthetical>\n    <dialogue>Please!!<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Thank you so much!!<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>(pulling out her camera)<\/parenthetical>\n    <dialogue>I'll take it!<\/dialogue>\n    <scene_description>She snaps a picture of the three of them.<\/scene_description>\n    <character>SUPERMAN<\/character>\n    <dialogue>Ten bucks.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Oh...um...I didn't realize...<\/dialogue>\n    <character>SUPERMAN<\/character>\n    <dialogue>You already took the picture. Ten bucks, now, or I break your camera.<\/dialogue>\n    <character>WALTER<\/character>\n    <parenthetical>(sotto to Gary)<\/parenthetical>\n    <dialogue>Gary, he's Superman, you better do what he says.<\/dialogue>\n    <scene_description>Gary hands over ten bucks. Superman walks away.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>Just... unbelievable. I can't believe we met Superman!!<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Guys, I don't think that was the real---<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>Superman! Unbelievable! So, when do we go to the Muppet Studios?!<\/dialogue>\n    <character>GARY<\/character>\n    <parenthetical>(checking his itinerary)<\/parenthetical>\n    <dialogue>Our tour isn't for an hour! Let's check out Los Angeles!!<\/dialogue>\n    <scene_description>The group cheers! BEGIN CHECKING OUT LOS ANGELES MONTAGE. MUSIC UP - I LOVE LA --- Our heroes go surfing --- Our heroes eat at Pink's Hot dogs --- Our heroes take a double decker bus tour --- Our heroes go skiing --- Our heroes ride a roller coaster --- Our heroes eat at Spago --- Our heroes watch a movie on the IMAX screen<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VENICE BOARDWALK - CONTINUOUS<\/stage_direction>\n    <scene_description>Our heroes are walking down the boardwalk. Gary checks his watch.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>Oh my gosh! We only have twenty minutes to get to the Muppet Studios! Let's go check into the motel, unpack our things, wash up, change, and get over there!!!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MUPPET STUDIOS LA BREA - DAY<\/stage_direction>\n    <scene_description>Our heroes come running up to the Muppet Studios out of breath, showered and changed. Walter is wearing a Kermit t- shirt. He takes a moment to admire the huge sculpture of Kermit which adorns the studio. He begins to tremble a bit. Mary puts her arm around him.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Don't be nervous Walter. It'll be great!<\/dialogue>\n    <character>WALTER<\/character>\n    <parenthetical>(shaking, growing agitated)<\/parenthetical>\n    <dialogue>But..but... What if I get to meet Kermit...and we reunite the gang to put on a show!!! And for a while it seems like I'll be too nervous to perform, but then at the last minute I overcome my fears! And then he asks me be a Muppet...<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Don't worry buddy, that's not gonna happen. I promise. You have nothing to worry about.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUPPET STUDIOS LA BREA - LATER<\/stage_direction>\n    <scene_description>Walter, Gary, Mary and three or four other really tourist looking visitors are taking a tour of the Muppet Studios, which has now been turned into a Paper Factory. It could not be more boring or corporate in appearance.<\/scene_description>\n    <character>TOUR GUIDE<\/character>\n    <dialogue>So, this used to be the building where all of the costumes were designed. Now its where American Paper Company punches the holes in their three hole punched paper.<\/dialogue>\n    <scene_description>The tour watches on bored. They walk to the next building.<\/scene_description>\n    <character>TOUR GUIDE<\/character>\n    <dialogue>This is where Dr. Bunsen Honeydew and his assistant Beaker developed almost all of their unique and wholly impractical inventions.<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>Can we go inside!?<\/dialogue>\n    <character>TOUR GUIDE<\/character>\n    <dialogue>I'm afraid not. Now its where trees are turned into mulch and pressed into colored construction paper. It's filled with toxic chemicals.<\/dialogue>\n    <scene_description>The tour guide continues walking. He passes a very small bungalow.<\/scene_description>\n    <character>TOUR GUIDE<\/character>\n    <dialogue>And this used to be Kermit's office, it's perfectly preserved inside, just as Kermit left it. You really should see it.<\/dialogue>\n    <parenthetical>(beat, then continues walking)<\/parenthetical>\n    <dialogue>Now this next building is where they put the lines on paper to make lined paper. Let's go inside and take a look.<\/dialogue>\n    <scene_description>The tour follows, all except for Walter, who lags behind staring at Kermit's office. He takes a sneaky look to the group, who all look extremely bored, and decides to make his move.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KERMIT'S OLD OFFICE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Walter opens the door to Kermit's office. There is dust and cobwebs everywhere, though everything seems to be untouched. There are framed photos on the walls of Kermit with all sorts of celebrities, including one with Jim Henson. He passes a shelf with many award statues: An Emmy, An Oscar, A Grammy, An NAACP Award, A Nobel Prize, An Olympic Medal. He is in awe, when SUDDENLY THE DOOR BURST OPEN. Walter ducks behind the desk for cover. In walk STATLER and WALDORF, who are giving a tour to a man in a suit and a cowboy hat. This is TEX RICHMAN, and for now, he seems nice enough. He is with several of his \"associates,\" including an unnatractive Bear puppet called Bobo.<\/scene_description>\n    <character>STATLER<\/character>\n    <dialogue>This is Kermit's old office.<\/dialogue>\n    <character>WALDORF<\/character>\n    <dialogue>Or so we've been toad.<\/dialogue>\n    <scene_description>The two share a trademark chuckle.<\/scene_description>\n    <character>TEX<\/character>\n    <dialogue>I've loved the Muppets since I was just a boy. And what better way sirs, to honor the Muppets than to make this beautiful studio a Muppet museum. A shrine if you will. I think I'll call this room -- The Kermit's Office Room.<\/dialogue>\n    <character>STATLER<\/character>\n    <dialogue>We don't care what you call it.<\/dialogue>\n    <character>WALDORF<\/character>\n    <dialogue>As long as the check clears.<\/dialogue>\n    <scene_description>Waldorf hands Tex a giant contract.<\/scene_description>\n    <character>WALDORF<\/character>\n    <dialogue>Here's the Standard Rich and Famous Contract Kermit signed twenty five years ago. This contract is absolutely, positively iron clad. With one exception that shouldn't be an issue for any logical reason, but I should let you know if the Muppets put on a show and get ten million viewers before this contract expires, we can no longer sell Muppet studios to you. The contract expires...<\/dialogue>\n    <parenthetical>(he uses a monocle to read the fine print.)<\/parenthetical>\n    <dialogue>.. in two weeks at which point this property is yours.<\/dialogue>\n    <character>STATLER<\/character>\n    <dialogue>If I didn't know better I'd say you were reciting some sort of important plot point.<\/dialogue>\n    <character>WALDORF<\/character>\n    <dialogue>I hope so. Otherwise I just bored the audience half to death.<\/dialogue>\n    <character>STATLER<\/character>\n    <dialogue>You mean half the audience is still alive?<\/dialogue>\n    <scene_description>Statler and Waldorf laugh and exit. IMMEDIATELY AFTER THE DOOR CLOSES, TEX'S TONE SHIFTS. HE SPEAKS MANICALLY TO HIS COHORTS.<\/scene_description>\n    <character>TEX<\/character>\n    <dialogue>There's oil under this studio, see!!! I can smell it. I can smell it in my wallet. Sweet sweet oil. In two weeks, we tear this place to the ground and start harvesting the sweet sweet oil under this waste of space. Muppets.<\/dialogue>\n    <parenthetical>(he spits)<\/parenthetical>\n    <dialogue>The Muppets ain't funny!!! No one is!! Least of all the Muppets! They've never made me laugh! Not once. The only way they could save the studio according to this contract is if they get back together and put on a show within the next two weeks that draws in 10 million viewers, but that ain't gonna happen. No sir. This studio is gone, see. And me, well I'm gonna be even richer than I already am. Maniacal Laugh. Maniacal laugh.<\/dialogue>\n    <scene_description>Walter listens in shock as Tex's cohorts begin laughing Maniacally. Oddly Tex Richman just keeps repeating \"Maniacal laugh\" as they all exit. Walter rises, looks around nervously, then sprints out of the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HENSON STUDIOS LA BREA - MOMENTS LATER<\/stage_direction>\n    <scene_description>Walter comes tearing out of the studio, past security, emitting a high pitched and frantic scream. Gary and Mary chase after him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS - MOMENTS LATER<\/stage_direction>\n    <scene_description>The entire bus stares silently at Walter who continues to let out his high pitched scream as he rides. Gary and Mary sit beside him, also just staring, confused.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Walter sits on the bed continuing to scream. Finally:<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>(to Gary)<\/parenthetical>\n    <dialogue>Gary, you've got to do something.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>I've tried everything I can think of.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>There's got to be something.<\/dialogue>\n    <scene_description>Gary considers.<\/scene_description>\n    <character>GARY<\/character>\n    <parenthetical>(to Walter)<\/parenthetical>\n    <dialogue>Sorry buddy.<\/dialogue>\n    <scene_description>And Gary SLAPS WALTER, sending him flying. WE'VE GOT TO FIND KERMIT!!!! AHHHHHH!!!!! WE'VE GOT TO SAVE THE STUDIO!!!! AHHHHHHHHHHHHH!!!!!! Walter runs over and SLAPS GARY sending him flying.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - DAY<\/stage_direction>\n    <scene_description>Gary, Mary and Walter drive through Los Angeles.<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>...then when he thought he was alone, he said \"There's oil under this studio, see! I'm gonna tear it the ground, see? Sweet sweet oil, see!\"<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>People still talk like that?<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>I know, it seemed kind of on the nose. He said the only thing that could stop him would be if the Muppets got back together and put on a show.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>That's impossible. The Muppets broke up. No one can get them back together.<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>They're just taking a break! Kermit can get them back together. Kermit can do anything!<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Yeah, but how do we find him? No one's seen Kermit in years. Not since he retired.<\/dialogue>\n    <scene_description>They drive past PINK'S HOT DOGS where a man with a STAR MAPS SIGN is set up in front. STOP THE CAR!!!!! Gary screeches to a halt.<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>I've got an idea!!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - LATER<\/stage_direction>\n    <scene_description>Gary, Mary and Walter drive while eating HUGE CHILLI DOGS.<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>So how are we gonna find Kermit?<\/dialogue>\n    <character>GARY<\/character>\n    <parenthetical>(mouth full)<\/parenthetical>\n    <dialogue>The hot dog guy told me he lives in Malibu. He's become some sort of a recluse. He never leaves his house, and nobody ever goes in.<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>So let's go to Malibu. We'll find him, I know we will. To Malibu!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - DUSK<\/stage_direction>\n    <scene_description>Our heroes drive slowly through Malibu, crestfallen.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>We've been driving for hours. I think it's time to call it a day.<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>(seeing something)<\/parenthetical>\n    <dialogue>Guys?<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>We can't give up Gary. We just can't. Even if it means searching for days and weeks --<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>I'm sorry. It's too late.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Guys!?<\/dialogue>\n    <character>WALTER\/GARY<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>She points out the window. Next to them is a GIGANTIC GREEN MANSION WITH KERMIT'S FACE ADORNING THE SECURITY GATES.<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>You think they know where Kermit is!?!?!<\/dialogue>\n    <scene_description>Gary and Mary just look at Walter.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KERMIT'S MANSION - LATER<\/stage_direction>\n    <scene_description>Our heroes stand at Kermit's gates, unsure as how to proceed.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>So what do we do now?<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>Throw me over.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>What if we...<\/dialogue>\n    <scene_description>GARY!! THROW ME OVER ALREADY!!! Walter jumps into Gary's arms. He balls Walter up and HURLS WALTER, but he doesn't quite make it over the fence. Instead he hits the top and gets ELECTROCUTED. OH MY GOSH!!!! WALTER!!! The electricity keeps Walter on the gates for an excruciatingly long time, until finally he falls, smoking, to the ground. Gary rushes to his side.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>Walter!!! Walter! Are you okay?!?<\/dialogue>\n    <scene_description>Walter, delirious, looks up at him.<\/scene_description>\n    <character>WALTER<\/character>\n    <parenthetical>(weak)<\/parenthetical>\n    <dialogue>Throw me again.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Guys, I have an idea...<\/dialogue>\n    <character>WALTER<\/character>\n    <parenthetical>(melodramatic)<\/parenthetical>\n    <scene_description>THROW ME AGAIN!!! Mary RINGS THE DOORBELL. ARE YOU CRAZY, WOMAN!? They wait in anticipation, finally a voice comes through the intercom. IT IS KERMIT THE FROG!!!<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>Hi ho.<\/dialogue>\n    <scene_description>A long beat. No one knows what to do. BUZZZZZ. Like a scene from the Wizard of Oz, Gary, Walter and Mary stand frozen as the huge gates open to Kermit's mansion. After a long beat, Kermit emerges from his front door and walks towards them. He looks the same physically, but he walks very slowly with a cane and wears a Hugh Hefneresque smoking jacket. As he limps towards them, our group takes in what is by any stretch, a sad sight. Kermit is old.<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>Oh my gosh. He's... he's... old.<\/dialogue>\n    <scene_description>As Kermit walks towards them, Walter begins to cry. Kermit sees this and stops.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>Are you crying? No, I was just...<\/dialogue>\n    <scene_description>He throws down his cane, does a perfect summersault, and begins tap dancing. The gang watches confused.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>I was just kidding. It's the whole Willy Wonka thing. I've just always wanted to do that. Come on in!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KERMIT'S MANSION - LATER<\/stage_direction>\n    <scene_description>Kermit, Gary and an EMBARRASSINGLY STAR STRUCK WALTER sit in Kermit's lavish living room.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>I thought you were a recluse?<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>No, not at all. I love people. After I retired, that rumor got started and then people just stopped coming by. It gets kind of lonely. I'm actually glad you came by. So, what brings you here?<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Well sir, my friend Walter heard some disturbing news today.<\/dialogue>\n    <character>KERMIT<\/character>\n    <parenthetical>(to Walter)<\/parenthetical>\n    <dialogue>Oh yeah, what's that?<\/dialogue>\n    <scene_description>All turn to Walter who just stares at Kermit, trembling.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>What's the matter, cat got your tongue?<\/dialogue>\n    <scene_description>Walter NODS vigorously. Kermit BENDS DOWN and grabs his cat.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>C'mon, Miss Fluffy. This is neither the time nor the place.<\/dialogue>\n    <scene_description>The cat SPITS OUT a puppet tongue. Kermit hands the tongue to Walter who reattaches it to his mouth. They watch for a painfully long beat as Walter starts shaking again, harder and harder. Finally:<\/scene_description>\n    <character>WALTER<\/character>\n    <parenthetical>(terrified)<\/parenthetical>\n    <dialogue>P...PP....PPPPPPP.....Peanut!!!<\/dialogue>\n    <scene_description>All look at Walter, confused.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>When he's nervous, peanut's the only thing he can say.<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>Peanut! I'm sorry. I'm nervous!!! Peanut!!!<\/dialogue>\n    <parenthetical>(growing more and more agitated)<\/parenthetical>\n    <dialogue>Peanut! Peanut! Peanutpeanutpeanutpeanut!<\/dialogue>\n    <scene_description>Walter stops to catch his breath.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>Oil Barron Tex Richman is gonna tear down the studio to drill for oil!?? And the only thing that'll save it is if we put on a show that gets ten million viewers within two weeks!?!?<\/dialogue>\n    <character>WALTER<\/character>\n    <parenthetical>(panting and nodding)<\/parenthetical>\n    <dialogue>Peanut.<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>Put on a show? I couldn't do that on my own.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Well, what about the rest of the Muppets?<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>I haven't been in touch with those guys in years.<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>You should get them back together!<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>It's easier said than done.<\/dialogue>\n    <scene_description>Kermit's face falls. SINGS \"I MISS THE MUPPETS\" SONG. As Kermit sings he walks down a hallway of photos and memories. When he reaches the end of the hallway, he awkwardly turns around and sings about the same memories he passed once again, however, this time he sings about how impossible it'll be to get back together because they all have gripes with each other now.<\/scene_description>\n    <character>KERMIT<\/character>\n    <parenthetical>(a song version of this)<\/parenthetical>\n    <dialogue>We would need someone to rally around, someone young and innocent and not specifically any one sort of animal or figure in particular. Someone like...well...<\/dialogue>\n    <parenthetical>(reaching Walter)<\/parenthetical>\n    <dialogue>...you.<\/dialogue>\n    <character>WALTER<\/character>\n    <parenthetical>(shaking)<\/parenthetical>\n    <dialogue>Me!?! But I'm not a Muppet.<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>You could be. You seem a little... Muppety. What's your talent?<\/dialogue>\n    <scene_description>Walter starts shaking.<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>I...I...I don't even have a talent!<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>Of course you do. Everyone does. You just have to find it.<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>But...I don't know where to look.<\/dialogue>\n    <character>KERMIT<\/character>\n    <parenthetical>(smiling sweetly)<\/parenthetical>\n    <dialogue>I don't know it's just sort of... in you. Don't worry, you'll find it. It's funny, but you sort of remind me of me when I was young.<\/dialogue>\n    <scene_description>Walter immediately faints.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>Now where were we? Ah yes, Muppets.<\/dialogue>\n    <scene_description>Kermit hits a button and his wet bar SPINS AROUND revealing a GIANT GREEN BUTTON.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>What... is... that?<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>It's the Muppet Emergency Put on a Show Beacon... to be pressed only in case we need to put on a show. I outfitted every Muppet with one of these.<\/dialogue>\n    <scene_description>Kermit shows our guys his green wristwatch.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>As soon as that's pressed, all the Muppets shall be alerted. Will you do the honors?<\/dialogue>\n    <scene_description>Walter walks over, lifts the glass shield and very tentatively hits the button. The button lights up BRIGHT GREEN. Suddenly SIRENS DROP DOWN all over Kermit's house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KERMIT'S HOUSE<\/stage_direction>\n    <scene_description>Batman-style SPOTLIGHTS with a M SHOOT into the NIGHT SKY.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KERMIT'S HOUSE<\/stage_direction>\n    <scene_description>Kermit starts RUNNING BACK AND FORTH with his arms in the air, doing a fulls scale MUPPET-PANIC.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>Ahhhhh!<\/dialogue>\n    <character>GARY<\/character>\n    <parenthetical>(panicked)<\/parenthetical>\n    <dialogue>What's happening?<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>It's an emergency! We have to panic!<\/dialogue>\n    <scene_description>After a beat, Gary, Kermit, Mary and Walter all start running back and forth with their arms up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAESAR'S PALACE<\/stage_direction>\n    <scene_description>A sign that says \"FOZZIE BEAR ROAST.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAESAR'S PALACE - CONTINUOUS<\/stage_direction>\n    <scene_description>A line of comedians including Bob Saget, Gilbert Gottfried, Jeff Garlin, Cloris Leachman, and Lisa Lampanelli roast Fozzie. Fozzie pulls his hat off and wipes his face with it. His watch goes off, and he runs offstage in a panic as Lisa continues, though all of her curse words are Meeped out with an oddly familiar MEEP...<\/scene_description>\n    <character>LISA LAMPANELLI<\/character>\n    <dialogue>This guy gets so few laughs he MEEP MEEP. Seriously, his laugh to groan ratio is MEEP MEEP MEEP MEEP. Waka waka? More like MEEP MEEP MEEP MEEP MEEEEEEP!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LABORATORY - CONTINUOUS<\/stage_direction>\n    <scene_description>We pull out of a television set into a sterile laboratory to reveal Bunsen and Beaker watching the Roast as their watches sound the beacon. Reveal it is BEAKER'S MEEP MEEPS which have been covering the curse words. Bunsen and Beaker run out of the room in a panic.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN TELEVISION SET - DAY<\/stage_direction>\n    <scene_description>Ominous music plays as we pan past a row of nervous looking amateur cooks.<\/scene_description>\n    <character>TELEVISION VO<\/character>\n    <dialogue>In the kingdom of cooking, there can be only one... King of the Kitchen!<\/dialogue>\n    <scene_description>We see a man in shadows throwing pasta and meatballs everywhere. The figure turns towards us into the light. It's the Swedish Chef! MOMENTS LATER the Swedish Chef stands before a contestant.<\/scene_description>\n    <character>HOST<\/character>\n    <dialogue>The Swedish Chef has tasted your flamed grilled salmon. Now let's see what he has to say.<\/dialogue>\n    <scene_description>Chef gets in the contestants face and screams ala Gordon Ramsey. The Contestant starts crying.<\/scene_description>\n    <character>SWEDISH CHEF<\/character>\n    <parenthetical>(very angry !)<\/parenthetical>\n    <dialogue>Bork Bork Bork bork bork!<\/dialogue>\n    <scene_description>The Swedish Chef's watch starts blinking. He looks at it.<\/scene_description>\n    <character>SWEDISH CHEF<\/character>\n    <dialogue>Holy blorky florky!<\/dialogue>\n    <scene_description>He panics, throwing his knives up in the air. Assistants and camera man scatter as the knives fall and he takes off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COPY CATZ - DAY<\/stage_direction>\n    <scene_description>Your basic mom and pop Kinkos that's run by cats. Inside we find ROWLF dressed like a cat wearing a Copy Catz smock. A CUSTOMER comes up to him. Perhaps the customer is Cat Stevens...<\/scene_description>\n    <character>ROWLF<\/character>\n    <parenthetical>(really uninterested)<\/parenthetical>\n    <dialogue>Welcome to Copy Catz. Purrfect copies every time.<\/dialogue>\n    <scene_description>Rowlf curls his paw like a cat. His CAT MANAGER comes out.<\/scene_description>\n    <character>CAT MANAGER<\/character>\n    <dialogue>What was that, Rowlf? If you want to be a Copy Cat you've gotta commit to being a cat! Show him, Precious.<\/dialogue>\n    <scene_description>REVEAL PRECIOUS, a cat who's clearly the Cat Manager's favorite.<\/scene_description>\n    <character>PRECIOUS<\/character>\n    <dialogue>Welcome to Copy Catz. Purrrrrrfect copies every time. How meeooow help you?<\/dialogue>\n    <scene_description>Suddenly Rowlf's wristwatch starts blinking. He turns to the Cat Manager and Precious and BARKS AT THEM. They back away and hiss. Rowlf RUNS OUT of the store.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLUB - NIGHT<\/stage_direction>\n    <scene_description>A tight shot of a dark stage where ELECTRIC MAYHEM IS ROCKING OUT!!! However, ANIMAL IS MISSING. As they jam, they grow more and more excited and begin smashing their instruments ala Pete Townsend. Their song's cut short when the lights are flipped on. The bartender calls out.<\/scene_description>\n    <character>BARTENDER<\/character>\n    <dialogue>Guys, I'm closing up. Nobody's coming.<\/dialogue>\n    <scene_description>The reverse angle reveals that Electric Mayhem is playing a COMPLETELY EMPTY BAR. They start to pack up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLUB - MOMENTS LATER<\/stage_direction>\n    <scene_description>The bar door opens and the gang exits into A COMPLETELY FROZEN TUNDRA!! White as far as the eye can see in every direction. They make their way through the snow storm towards their van when their watches start blinking. They PANIC and start running towards the forest. As they run they slowly slow down and freeze until they're covered in ice.<\/scene_description>\n    <character>SGT. FLOYD PEPPER<\/character>\n    <dialogue>Whaddya say we panic towards the van?<\/dialogue>\n    <scene_description>They slowly panic towards the van.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CELEBRITY ANGER MANAGEMENT CENTER - DAY<\/stage_direction>\n    <scene_description>A beautiful Santa Barbara campus for Anger Management. Birds chirp, fountains babble, and people walk around VERY SERENELY. ANGLE ON: A group of eight people sit in a circle on the grass while a MODERATOR with a BLACK EYE runs a group talk. Among them are SEAN PENN and ANIMAL.<\/scene_description>\n    <character>MODERATOR<\/character>\n    <dialogue>So, Sean, any latent desires to punch people in the face?<\/dialogue>\n    <scene_description>Sean Penn is chewing on a toothpick, a bit fidgety.<\/scene_description>\n    <character>SEAN PENN<\/character>\n    <dialogue>I try to stay away from people and that seems to do the trick.<\/dialogue>\n    <scene_description>Sean Penn pulls the toothpick from his mouth and gives the Moderator a threatening stare. The Moderator's scared.<\/scene_description>\n    <character>MODERATOR<\/character>\n    <dialogue>Um. Ok. And Animal, how about you? How have you been feeling?<\/dialogue>\n    <scene_description>Animal just stares at him with no emotion. His watch STARTS BLINKING. He looks at it and jumps up, panicking.<\/scene_description>\n    <character>SEAN PENN<\/character>\n    <dialogue>No one goes till session is over.<\/dialogue>\n    <character>ALEC BALDWIN<\/character>\n    <dialogue>He can go if he wants to.<\/dialogue>\n    <scene_description>BAAAAAMMMM! PENN DECKS BALDWIN!!! All of a sudden a HUGE FIGHT BREAKS OUT!!! The entire campus ERUPTS in anger and violence. Animal RUNS OFF.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKYCRAPER ROOF - NIGHT<\/stage_direction>\n    <scene_description>The spotlight \"M\" lights up the night sky. A figure, with a cape, turns into frame. It's Gonzo! Except he now has a potbelly and a little bit of gray hair. PULL BACK to reveal Christian Bale in full Batman costume standing next to him.<\/scene_description>\n    <character>CHRISTIAN BALE<\/character>\n    <parenthetical>(Batman voice)<\/parenthetical>\n    <dialogue>What are you doing here?<\/dialogue>\n    <character>GONZO<\/character>\n    <parenthetical>(imitating his deep voice)<\/parenthetical>\n    <dialogue>What are you doing here?<\/dialogue>\n    <character>CHRISTIAN BALE<\/character>\n    <dialogue>Why are you talking like that?<\/dialogue>\n    <character>GONZO<\/character>\n    <dialogue>Why are you talking like that?<\/dialogue>\n    <character>CHRISTIAN BALE<\/character>\n    <dialogue>And who's that?<\/dialogue>\n    <scene_description>REVEAL Camilla in a Robin-like outfit.<\/scene_description>\n    <character>GONZO<\/character>\n    <dialogue>This is my sidekick... Chicken.<\/dialogue>\n    <scene_description>Christian Bale JUMPS off the building and uses his batwings to fly down. Gonzo JUMPS after him. He opens his cape but it does nothing and he PLUMMETS to the ground with a resounding thud.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MYSTERIOUS ROOM - DAY<\/stage_direction>\n    <scene_description>The room's filled with green clothes of all kinds. We PAN TO the back where the green wristwatch sits, blinking, unobserved.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KERMIT'S HOUSE<\/stage_direction>\n    <scene_description>All the Muppets are gathered. It's total chaos as they all greet each other after all these many years. In the background we see Gonzo and Camilla playing tennis. Kermit and Fozzie SEE EACH other.<\/scene_description>\n    <character>FOZZIE BEAR<\/character>\n    <dialogue>I can't believe you called! I thought you were mad at me!<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>Why would you think that?<\/dialogue>\n    <character>FOZZIE BEAR<\/character>\n    <dialogue>Cause you stopped calling me!<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>I stopped calling you because you stopped calling me!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KERMIT'S MANSION\/FOZZIE'S HOUSE - SPLIT SCREEN-<\/stage_direction>\n    <scene_description>FLASHBACK Kermit in his kitchen next to a phone waiting. Fozzie sits at a desk next to a phone, waiting. They both wait for a long beat. Then, simultaneously, both pick up the phone and dial. Simultaneously, they both get busy signals. QUICK CUT: Fozzie's about to ring Kermit's doorbell. As he hits the buzzer, Kermit flips on a blender to make a smoothie. QUICK CUT: Kermit's about to knock on Fozzie's door. Fozzie's hosting a relay race in his backyard. As Kermit hits the doorbell, Fozzie blows an air horn at the exact moment Kermit knocks.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KERMIT'S MANSION<\/stage_direction>\n    <character>FOZZIE BEAR<\/character>\n    <dialogue>I missed you so much!<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>Me too!!!<\/dialogue>\n    <scene_description>They hug. Kermit JUMPS on a table and taps a glass.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>Hey, everyone. Hello. HELLO THERE!<\/dialogue>\n    <scene_description>Everyone quiets down.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>Alright, looks like we got everyone so we can start planning our emergency show.<\/dialogue>\n    <character>FOZZIE BEAR<\/character>\n    <dialogue>Well, not everyone.<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>Nope. I think we've got everyone.<\/dialogue>\n    <character>ROWLF<\/character>\n    <dialogue>Where's --<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>All good!<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>-- Miss --<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>All done here!<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>-- Piggy?<\/dialogue>\n    <scene_description>Beat. Kermit scrunches up his face.<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>Did I say something wrong?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KERMIT'S JET - CONTINUOUS<\/stage_direction>\n    <scene_description>The gang boards Kermit's bright green jet. SAM THE EAGLE is the captain.<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>Ohmigoshohmigoshohmygosh it's Sam the Eagle.<\/dialogue>\n    <character>SAM THE EAGLE<\/character>\n    <dialogue>You are stating the obvious, talking brown towel.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KERMIT'S JET - MOMENTS LATER<\/stage_direction>\n    <scene_description>Our gang's all strapped in on the jet.<\/scene_description>\n    <character>SAM THE EAGLE<\/character>\n    <dialogue>I'm your Captain, Sam the Eagle. Before we take off, please rise for \"God Bless America.\"<\/dialogue>\n    <scene_description>They all unstrap and stand up.<\/scene_description>\n    <character>SAM THE EAGLE\/GANG<\/character>\n    <parenthetical>(singing)<\/parenthetical>\n    <dialogue>God Bless America, Land that I love.\/Stand beside her, and guide her.\/Thru the night with a light from above.<\/dialogue>\n    <scene_description>As they sing, suddenly the plane taxis and takes off. Everyone, including Sam the Eagle in the cockpit, remains standing as they take off. Loose items in the plane, like beverage carts and luggage, fall every which way.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KERMIT'S JET - MOMENTS LATER<\/stage_direction>\n    <scene_description>Everyone is sitting in their seats.<\/scene_description>\n    <character>SAM THE EAGLE (V.O.)<\/character>\n    <dialogue>It's going to be a twelve hour flight to Paris, the city known primarily for freedom fries.<\/dialogue>\n    <character>FOZZIE BEAR<\/character>\n    <dialogue>France is pretty far.<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>Good point.<\/dialogue>\n    <parenthetical>(hitting a button)<\/parenthetical>\n    <dialogue>Sam, let's travel by map!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COCKPIT - DAY<\/stage_direction>\n    <scene_description>Sam opens a black box to reveal a \"travel by map\" button. He hits it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OLD TIMEY INDIANA JONES STYLE MAP OF THE WORLD<\/stage_direction>\n    <scene_description>The plane goes from the US to France along a dot trail.<\/scene_description>\n    <character>WALTER (V.O.)<\/character>\n    <dialogue>Wow, this is much faster.<\/dialogue>\n    <character>GARY (V.O.)<\/character>\n    <dialogue>Really a lot more economical.<\/dialogue>\n    <character>KERMIT (V.O.)<\/character>\n    <dialogue>Why don't we always travel by map?<\/dialogue>\n    <scene_description>BEAUTY SHOTS OF PARIS TO FRENCH MUSIC<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRENCH VOGUE MAGAZINE - DAY<\/stage_direction>\n    <scene_description>MISS PIGGY charges into the office. She walks past ANNE HATHAWAY and EMILY BLUNT and SLAMS HER COAT AND BAG on Anne Hathaway's desk.<\/scene_description>\n    <character>ANNE HATHAWAY<\/character>\n    <dialogue>Karl Lagerfeld, Agnes B and Michael Kors are waiting for you --<\/dialogue>\n    <scene_description>As she walks into the office --<\/scene_description>\n    <character>MISS PIGGY<\/character>\n    <dialogue>Coffee, bagel, donuts, cinnabon, pasta, pizza, omelette station, five minutes ago!<\/dialogue>\n    <scene_description>Miss Piggy SLAMS the door to her office shut.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MISS PIGGY'S OFFICE - CONTINUOUS<\/stage_direction>\n    <scene_description>MISS PIGGY holds court before KARL LAGERFIELD, MICHAEL KORS and AGNES B. They're looking at a line of dresses that are green. Anne and Emily bring in the pile of food Miss Piggy requested, including a chef and omelette station.<\/scene_description>\n    <character>MISS PIGGY<\/character>\n    <dialogue>What have I told you?<\/dialogue>\n    <character>KARL LAGERFIELD\/MICHAEL KORS\/AGNES<\/character>\n    <dialogue>You do not like green.\/No green couture.\/Pas de vert.<\/dialogue>\n    <character>MISS PIGGY<\/character>\n    <dialogue>And yet you still bring me green! Sacre bleu! Throw them in the closet I do not speak of!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MISS PIGGY'S GREEN CLOSET<\/stage_direction>\n    <scene_description>Couture is thrown into a closet filled with green clothes. We PAN OVER to find the blinking green watch.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MISS PIGGY'S OFFICE<\/stage_direction>\n    <character>MISS PIGGY<\/character>\n    <dialogue>Well, what are you waiting for? The dresses to make themselves!?<\/dialogue>\n    <scene_description>The designers leave. Miss Piggy dramatically collapses onto her chaise and looks wistfully out at the Eiffel Tower as she eats a cinnabon. Anne pokes her head in.<\/scene_description>\n    <character>ANNE HATHAWAY<\/character>\n    <dialogue>Mademoiselle Piggy...I have brought you a list of suitors who would be honored to escort you to the Paris fashion show tonight. It is quite a group. We have, Leonardo DiCaprio--<\/dialogue>\n    <character>MISS PIGGY<\/character>\n    <dialogue>Echh. Never. With his solar panels and his Electric Cars. Far too Green!<\/dialogue>\n    <character>ANNE HATHAWAY<\/character>\n    <dialogue>Zac Efron--<\/dialogue>\n    <character>MISS PIGGY<\/character>\n    <dialogue>No, too young. FAR too Green for me!!<\/dialogue>\n    <character>ANNE HATHAWAY<\/character>\n    <dialogue>Seth Green?<\/dialogue>\n    <character>MISS PIGGY<\/character>\n    <parenthetical>(furious)<\/parenthetical>\n    <dialogue>How many times have I told you!!!! TOO SHORT!!!! Now get out!!!<\/dialogue>\n    <parenthetical>(singing)<\/parenthetical>\n    <scene_description>MISS PIGGY SINGS A SONG CALLED \"I HATE GREEN! I LOVE GREEN!\" Suddenly the doors burst open and the gang steps through. The entire gang, with the exception of Kermit.<\/scene_description>\n    <character>MISS PIGGY<\/character>\n    <dialogue>What... who... how... where's...<\/dialogue>\n    <scene_description>The gang separates and Kermit walks in.<\/scene_description>\n    <character>MISS PIGGY<\/character>\n    <dialogue>Kermy!<\/dialogue>\n    <scene_description>Miss Piggy goes to hug Kermit.<\/scene_description>\n    <character>MISS PIGGY<\/character>\n    <dialogue>No! I promised myself I'd never go back! You must leave! At once!<\/dialogue>\n    <character>KERMIT<\/character>\n    <parenthetical>(very fast)<\/parenthetical>\n    <dialogue>Alright, we tried.<\/dialogue>\n    <scene_description>Kermit and all the Muppets start to leave.<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>Wait! You're the best Miss Piggy! We need you! The Muppets aren't anything without your beauty and talent and elegance and ohmigod I'm talking to Miss Piggy Peanutpeanpeanut!<\/dialogue>\n    <character>MISS PIGGY<\/character>\n    <parenthetical>(considering)<\/parenthetical>\n    <dialogue>I like you, pashmina with eyes.<\/dialogue>\n    <character>GARY<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>Nice work.<\/dialogue>\n    <character>WALTER<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>I know my Muppets.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE PARIS STREETS - DAY<\/stage_direction>\n    <scene_description>Piggy and Kermit walk along Parisian streets. This should feel like Before Sunset. Sad Woody Allen-esque music plays.<\/scene_description>\n    <character>MISS PIGGY<\/character>\n    <dialogue>The past is the past. What's meant to be was meant to be.<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>Memories are good, but they can also be a prison.<\/dialogue>\n    <character>MISS PIGGY<\/character>\n    <dialogue>A prison of our own making.<\/dialogue>\n    <scene_description>ANGLE ON MISS PIGGY. The movie has become black and white. Kermit looks at his black and white body confused.<\/scene_description>\n    <character>MISS PIGGY<\/character>\n    <dialogue>What did I do to scare you away? How I loved you.<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>I thought you weren't going to get all black and white on me.<\/dialogue>\n    <scene_description>The movie goes back to color.<\/scene_description>\n    <character>MISS PIGGY<\/character>\n    <dialogue>I can't help it when I'm around you! My dreams are filled with your earless, green head!<\/dialogue>\n    <scene_description>Miss Piggy goes to kiss him. Then pulls away.<\/scene_description>\n    <character>MISS PIGGY<\/character>\n    <dialogue>When you're young, you believe there'll be many pigs and frogs with whom you connect. Later you realize it only happens a few times.<\/dialogue>\n    <parenthetical>(then, passionate)<\/parenthetical>\n    <dialogue>Why didn't you come with me to Paris? Just tell me! I can hear it!<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>Because... the French... eat frog legs!<\/dialogue>\n    <character>MISS PIGGY<\/character>\n    <dialogue>Not all of them.<\/dialogue>\n    <scene_description>A bunch of FRENCH PEOPLE walk out of a restaurant.<\/scene_description>\n    <character>FRENCH PEOPLE<\/character>\n    <parenthetical>(in French)<\/parenthetical>\n    <dialogue>\\[Those frog legs were delicious\/I love frog legs!\/I could eat a dozen frog legs a day... oh, wait I do!\\]<\/dialogue>\n    <scene_description>They all laugh. PULL BACK TO REVEAL that every restaurant on the block they're standing on is a Frog Legs bistro.<\/scene_description>\n    <character>MISS PIGGY<\/character>\n    <dialogue>We're in the frog legs arrondissement. We shouldn't have taken our romantic walk in this neighborhood. My bad.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>If you had just supported me in my career then none of this would have happened!<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>Look Piggy, this is bigger than just us, it's about the whole gang! You have to come back with us. The Muppets studio is in trouble and if we don't put on a show it's going to be lost forever!<\/dialogue>\n    <scene_description>Piggy considers.<\/scene_description>\n    <character>MISS PIGGY<\/character>\n    <dialogue>I will return for the studio, I will return for the Muppets, but if I return, I will not be returning for you.<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>OK, great. Sounds good. Let's go.<\/dialogue>\n    <scene_description>Kermit starts walking.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KERMIT'S JET<\/stage_direction>\n    <scene_description>The whole gang is now on the jet. Miss Piggy and Kermit are sitting on opposite sides of the jet.<\/scene_description>\n    <character>MISS PIGGY<\/character>\n    <parenthetical>(dramatically into the middle distance)<\/parenthetical>\n    <dialogue>There is only one way to get to a frog's heart. Jealousy.<\/dialogue>\n    <character>GONZO<\/character>\n    <dialogue>Who are you talking to?<\/dialogue>\n    <character>MISS PIGGY<\/character>\n    <dialogue>Everyone. No one. Myself. NONE OF YOUR BEESWAX!<\/dialogue>\n    <scene_description>Miss Piggy SEES A FREE SEAT next to Gary who sits next to Walter and a sleeping Mary. Miss Piggy sits down next to him while looking at Kermit. Miss Piggy starts tickling Gary. Gary starts laughing. Miss Piggy THROWS HER HEAD back in FLIRTATIOUS LAUGHTER. Kermit sees Piggy and Gary laughing together and scrunches up his face in jealousy.<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>(half asleep, not opening her eyes)<\/parenthetical>\n    <dialogue>What's so funny?<\/dialogue>\n    <character>GARY<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>Just... Miss... Piggy! She was tickling me. Go back to sleep.<\/dialogue>\n    <parenthetical>(whispering to Piggy)<\/parenthetical>\n    <dialogue>Hey, what's the big idea?<\/dialogue>\n    <scene_description>Miss Piggy sees that Kermit has vacated his seat.<\/scene_description>\n    <character>MISS PIGGY<\/character>\n    <dialogue>Mission accomplished.<\/dialogue>\n    <scene_description>Everyone's talking to each other. Suddenly out from under the chatter, Walter says:<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>So, I don't mean to pry, but I've always wondered, why did you all decide to go your separate ways?<\/dialogue>\n    <scene_description>LONG SILENT BEAT. Rowlf and Fozzie ANGRILY LOCK EYES.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUPPET STUDIOS - FLASHBACK<\/stage_direction>\n    <scene_description>Fozzie is doing his routine on stage and people are starting to boo. Fozzie continues.<\/scene_description>\n    <character>FOZZIE BEAR<\/character>\n    <dialogue>I went to go see a doctor about why my mood was so erratic. He said I might be Bi-POLAR!! Wakka Wakka Wakka.<\/dialogue>\n    <scene_description>The crowd boos louder. Rowlf, sitting at his piano sees SWEETUMS REACHING FOR A LEVER BACKSTAGE. Rowlf motions Sweetums to wait. ROWLF BEGINS PLAYING Fozzie OFF, A LA A LONG ACADEMY AWARDS SPEECH, and the curtain closes on Fozzie mid performance. Just before the curtain has closed we see Fozzie give Rowlf an angry look. BACK TO THE JET: GONZO and CHEF LOCK EYES.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUPPET STUDIOS - FLASHBACK<\/stage_direction>\n    <scene_description>Chef is doing his cooking act on the Muppet Show.<\/scene_description>\n    <character>CHEF<\/character>\n    <dialogue>Florgy Borgy, Chicken Catchatory!<\/dialogue>\n    <scene_description>In one hand he holds a very sharp knife and in the other he holds up Camilla by the neck who looks terrified. GONZO RUSHES ON STAGE AND TACKLES CHEF! They begin to fight on the ground. The audience watches on in shock. BACK TO THE JET: ELECTRIC MAYHEM and KERMIT LOCK EYES.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUPPET STUDIOS - FLASHBACK<\/stage_direction>\n    <scene_description>Electric Mayhem is finishing their song and Animal ends with one of his wild drum solos. He gets more and more intense and begins eating and bashing his drums to smithereens. The crowd LOVES it. WE PAN TO BACKSTAGE where Kermit holds a bank statement that says \"Drum Budget: $0.00.\" Electric Mayhem finishes to a standing ovation and the curtain closes. Kermit goes up to Animal. The panting and still agitated Animal bounces over to Kermit.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>Animal, listen, we're running out of money in the drum budget. So I found a place that might be able to help you... calm down.<\/dialogue>\n    <scene_description>Kermit hands Animal a piece of paper. Animal takes the piece of paper and EATS it. BACK TO THE JET: KERMIT and MISS PIGGY LOCK EYES.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KERMIT'S JET - MOMENTS AGO - FLASHBACK<\/stage_direction>\n    <scene_description>Gary and Piggy laugh together. Kermit looks on jealously. BACK TO THE JET: ALL THE MUPPETS and KERMIT LOCK EYES.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUPPET STUDIOS<\/stage_direction>\n    <scene_description>The Muppets are lined up for a photo shoot. Just before the photographer takes a photo, Kermit runs up to him and raises his hand. The photographer snaps the photo. The photo turns into the cover of TIME magazine with a headline that reads \"Who's the Best Muppet?\" Kermit stands in the foreground raising his hand, while the rest of the Muppets sit in the background. BACK TO THE JET: It's incredibly silent and awkward. Animal pulls out his flute and plays a brief burst. Then it's silent again.<\/scene_description>\n    <character>WALTER<\/character>\n    <parenthetical>(like Woody Allen, pulling an invisible collar)<\/parenthetical>\n    <dialogue>Is it uhhh me or uhhh did it uhhh just get uhhh a little uhhh icy uhh in here?<\/dialogue>\n    <scene_description>REVEAL that everyone on the plane is frozen because Gonzo's opened the door.<\/scene_description>\n    <character>SAM THE EAGLE<\/character>\n    <dialogue>Close the door, Gonzo!<\/dialogue>\n    <character>GONZO<\/character>\n    <dialogue>Sorry! I had a great idea for a new stunt. But we're not high enough.<\/dialogue>\n    <scene_description>Gonzo closes the plane door. Fozzie turns to Walter.<\/scene_description>\n    <character>FOZZIE BEAR<\/character>\n    <dialogue>Like all great comedy teams, eventually, you develop professional rivalries.<\/dialogue>\n    <character>ROWLF<\/character>\n    <dialogue>You work together for years and you think you're the best in the group, the most popular.<\/dialogue>\n    <character>SAM THE EAGLE<\/character>\n    <parenthetical>(sticking his head out)<\/parenthetical>\n    <dialogue>I was the best. But certainly Rowlf was more popular than Fozzie.<\/dialogue>\n    <character>ROWLF<\/character>\n    <dialogue>I wouldn't say that. Although my piano jazz was pretty popular.<\/dialogue>\n    <character>FOZZIE BEAR<\/character>\n    <dialogue>You kidding? I'm funnier than Roberto BEARnini!! Your piano playing was un-BEAR-able! Wakawakawaka!<\/dialogue>\n    <character>MISS PIGGY<\/character>\n    <dialogue>No! They loved me for my beauty and fashionable-ness!<\/dialogue>\n    <character>GONZO<\/character>\n    <dialogue>You kidding? Me getting hit in the stomach with a cannonball while singing an aria from Carmen is like the most popular thing ever!<\/dialogue>\n    <scene_description>Suddenly the whole plane explodes in a fight over who was the most popular.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>Guys, stop fighting!<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>We were all the most popular.<\/dialogue>\n    <character>MISS PIGGY<\/character>\n    <dialogue>Easy for you to say! You always got all the credit!!!<\/dialogue>\n    <scene_description>The Muppets all ad-lib agreement.<\/scene_description>\n    <character>KERMIT<\/character>\n    <parenthetical>(hurt and defensive)<\/parenthetical>\n    <dialogue>That's just... I've told you, I never tried to...I can't help it if... you know what, nevermind.<\/dialogue>\n    <scene_description>Awkward silence on the plane. The Muppets stare forward not making eye contact. We see why they haven't kept in touch. A long and painful silence. WALTER starts singing softly.<\/scene_description>\n    <character>WALTER<\/character>\n    <parenthetical>(singing)<\/parenthetical>\n    <dialogue>Together again.\/Gee it's good to be together again.\/I just can't imagine that you've ever been gone\/It's not starting over, it's just going on.<\/dialogue>\n    <scene_description>The mood softens. Piggy joins in.<\/scene_description>\n    <character>MISS PIGGY<\/character>\n    <dialogue>Together again.\/Now we're here and there's no need remembering when.<\/dialogue>\n    <character>FOZZIE BEAR<\/character>\n    <dialogue>Cause no feeling feels like that feeling.<\/dialogue>\n    <character>ALL THREE<\/character>\n    <dialogue>Together again.<\/dialogue>\n    <scene_description>KERMIT LOOKS TO WALTER, GRATEFUL AND PROUD OF HIS YOUNG PROTEGE.<\/scene_description>\n    <character>BEAKER<\/character>\n    <parenthetical>(to the song)<\/parenthetical>\n    <dialogue>Meep meep meep meep meep!<\/dialogue>\n    <scene_description>All the Muppets are getting really into the song.<\/scene_description>\n    <character>ALL THE MUPPETS<\/character>\n    <dialogue>Cause no feeling feels like that feeling!\/Together-a!\/Together- a!\/Together-a!<\/dialogue>\n    <scene_description>All the Muppets are going crazy.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KERMIT'S JET<\/stage_direction>\n    <scene_description>The jet is shaking uncontrollably as they all jump up and down with extreme excitement.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KERMIT'S JET<\/stage_direction>\n    <character>ALL THE MUPPETS<\/character>\n    <dialogue>Together again!!!!!!<\/dialogue>\n    <scene_description>(TRULY THRILLED) LET'S SAVE THE STUDIO!!!!!!!! THE GROUP CHEERS!!!<\/scene_description>\n    <character>MISS PIGGY<\/character>\n    <dialogue>Yay! And just to be clear we're saving the studio cause we want to! Not cause you told us to.<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>Well, of course.<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>Yeah, I'm not doing anything for the Man.<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>I'm not the Man. First of all I'm a frog.<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>Then like, I'm not doing anything for the Frog.<\/dialogue>\n    <character>EVERYONE<\/character>\n    <dialogue>Down with the Frog! Down with the Frog!<\/dialogue>\n    <scene_description>Everyone starts fighting again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TEX RICHMAN'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Tex sits behind his desk reading a paper which reads \"MUPPETS GETTING BACK TOGETHER TO SAVE STUDIO FROM OIL BARRON TEX RICHMAN'S PLAN TO DRILL FOR OIL.\" He pushes the intercom.<\/scene_description>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>Bobo, evil cohorts, get in here, NOW!<\/dialogue>\n    <scene_description>Bobo enters with several cohorts.<\/scene_description>\n    <character>BOBO<\/character>\n    <dialogue>What is it boss?<\/dialogue>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>Seems some new kids on the block got the Muppets back together today to try to stop me from getting my tasty tasty Texas tea!<\/dialogue>\n    <character>BOBO<\/character>\n    <dialogue>Tea?<\/dialogue>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>Oil son! Oil! Tasty tasty oil!! And there ain't no way some wet behind the ears upstarts nobody's heard of and a gang of Un-FUNNY, never make people laugh fakers like the Muppets gonna sip up that tasty tea under my watch or my name isn't Tex Richman!<\/dialogue>\n    <character>BOBO<\/character>\n    <dialogue>It isn't?<\/dialogue>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>Of course it is. That's the point! It is my name, so they ain't gonna sip my tasty oil! I made a solemn pledge to buy up all the oil in the world and dangonit if I ain't gonna do it!<\/dialogue>\n    <character>BOBO<\/character>\n    <dialogue>Out of curiosity, how'd it make the news so fast?<\/dialogue>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>PappaRATzi.<\/dialogue>\n    <scene_description>INSERT OF THE PAPER: WRITTEN BY...A PICTURE OF RIZZO THE RAT<\/scene_description>\n    <character>TEX RICHMAN<\/character>\n    <parenthetical>(to Bobo)<\/parenthetical>\n    <dialogue>I want you to keep an eye on these un-funny Jokesters. Fuel up my jet. A little taunting from me and those Muppets will run home with their tails between their legs. Some of them literally.<\/dialogue>\n    <character>BOBO<\/character>\n    <dialogue>Isn't it possible taunting them might only galvanize the group?<\/dialogue>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>Galvanize!! I told you to stop making up words you dumb Muppet looking moron! Now git!<\/dialogue>\n    <scene_description>Bobo looks at him a bit hurt. He begins to leave along with the cohorts.<\/scene_description>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>Ain't you boys forgetting something?<\/dialogue>\n    <scene_description>They turn to him confused.<\/scene_description>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>Maniac laugh. Maniacal laugh. Maniacal laugh.<\/dialogue>\n    <scene_description>They all let out their Maniacal laughs and exit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>The cohorts and Bobo exit and stop laughing.<\/scene_description>\n    <character>COHORT<\/character>\n    <dialogue>Bobo, why does he always do that?<\/dialogue>\n    <character>BOBO<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>COHORT<\/character>\n    <dialogue>Say Maniacal laugh? Why doesn't he just laugh?<\/dialogue>\n    <character>BOBO<\/character>\n    <dialogue>He can't. He's never laughed. Not once. He's never found anything funny. That's why he hates the Muppets. If they can't make him laugh, then no one can.<\/dialogue>\n    <character>COHORT 2<\/character>\n    <dialogue>He doesn't think the Muppets are funny...that's crazy.<\/dialogue>\n    <scene_description>TEX RICHMAN'S VOICE COMES OVER THE INTERCOM.<\/scene_description>\n    <character>TEX RICHMAN (O.S.)<\/character>\n    <dialogue>Cohort #2, you're fired. Maniacal laugh. Maniacal laugh.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KERMIT'S MANSION - NIGHT<\/stage_direction>\n    <scene_description>The entire ragtag band of heroes sit in Kermit's living room. A long beat as everyone sits in silence, then:<\/scene_description>\n    <character>FOZZIE BEAR<\/character>\n    <parenthetical>(shocked)<\/parenthetical>\n    <dialogue>This is your house!?!?<\/dialogue>\n    <character>ROWLF<\/character>\n    <dialogue>Whoa, man!! I thought we split up the dough evenly!!<\/dialogue>\n    <character>RIZZO<\/character>\n    <dialogue>Seriously! I share a basement in Chicago with 123 other rats!!<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>Oh, well, I invested in Apple stock twenty years ago.<\/dialogue>\n    <character>FOZZIE BEAR<\/character>\n    <dialogue>I invested all my money with...BEAR Sterns. Waca Waca! Bad move. Seriously.<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>You guys are welcome to stay here whenever you want. I have twenty eight bedrooms.<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>Like, far out man!<\/dialogue>\n    <character>PEPE THE PRAWN<\/character>\n    <dialogue>Far out??? Come on, ok! This is ridiculous, ok!<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>Ridiculously far out!<\/dialogue>\n    <character>MISS PIGGY<\/character>\n    <dialogue>Well well. I see someone is still celebrating being the best Muppet.<\/dialogue>\n    <scene_description>REVEAL that on the wall, amidst all of Kermit's Muppet stuff is a framed Time cover that reads \"Who's the Best Muppet?\" Kermit stands in the foreground raising his hand, while the rest of the Muppets sit in the background.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>Not this again. Piggy, it's been ten years, why won't you let me explain!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TIME MAGAZINE PHOTO SHOOT - FLASHBACK<\/stage_direction>\n    <scene_description>The whole gang is lined up for the photo shoot.<\/scene_description>\n    <character>PHOTOGRAPHER<\/character>\n    <dialogue>Alright, on the count of three everyone say delicious flies. One, two...<\/dialogue>\n    <scene_description>Kermit raises his hand and runs up to the Photographer still with his hand up.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>I have to go to the little tadpole's room really badly. Where is it?<\/dialogue>\n    <scene_description>The Photographer TAKES the photo.<\/scene_description>\n    <character>PHOTOGRAPHER<\/character>\n    <dialogue>Down the hall, to the right.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KERMIT'S MANSION<\/stage_direction>\n    <scene_description>And we're back.<\/scene_description>\n    <character>MISS PIGGY<\/character>\n    <dialogue>I don't believe it!<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>I swear. The Photographer took the photo and used it without my permission. It was a simple miscommunication caused by my tiny amphibian-sized bladder!<\/dialogue>\n    <scene_description>TIGHT ON MISS PIGGY as we go into QUICK CUTS FLASHBACK -- Miss Piggy and Kermit in a line at the airport. Kermit is acting really antsy because he has to pee. -- Kermit and Miss Piggy are in a theater. Kermit's opening and closing his legs really fast because he has to pee so badly. -- Miss Piggy and Kermit are at the altar. Kermit holds up his finger and runs behind a bush.<\/scene_description>\n    <character>MISS PIGGY<\/character>\n    <parenthetical>(defeated)<\/parenthetical>\n    <dialogue>It is true. He does have to pee a lot.<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>That was kind of an unnecessarily personal flashback to share, dontcha think?<\/dialogue>\n    <character>FOZZIE BEAR<\/character>\n    <dialogue>Wow, I guess we really should have let you explain sooner!<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Sorry to interrupt guys, but if we're going to get a show on tv in time to save the studio, we really gotta shake a leg!<\/dialogue>\n    <parenthetical>(then, confused)<\/parenthetical>\n    <dialogue>What're you doing?<\/dialogue>\n    <scene_description>REVEAL all the Muppets are shaking their legs.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>I mean we gotta kick it into high gear!<\/dialogue>\n    <scene_description>REVEAL Gonzo's on a motorcycle changing into high gear.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>No! I'm just saying we're already playing catch up.<\/dialogue>\n    <scene_description>REVEAL all the Muppets are holding Ketchup bottles and hitting them with spoons. Mary puts her arm on Kermit's shoulder.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>You talk to them, Kermit.<\/dialogue>\n    <scene_description>Piggy takes notice of her hand.<\/scene_description>\n    <character>MISS PIGGY<\/character>\n    <dialogue>Eh-hem. Who's the chick...frog!?!?<\/dialogue>\n    <scene_description>Gary, who is next to Piggy speaks up.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>Oh, that's my girlfriend, Mary. She was on the plane with us. Remember?<\/dialogue>\n    <scene_description>Piggy eyes her skeptically, then puts her arm around Gary.<\/scene_description>\n    <character>MISS PIGGY<\/character>\n    <dialogue>Really? Hmm. I never would have guessed her for your type of species.<\/dialogue>\n    <scene_description>Mary now eyes Piggy, confused and offended.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>Mary's right! Let's get to the network before we run out of time!<\/dialogue>\n    <scene_description>ANGLE ON Chef who is holding an empty jar of Thyme.<\/scene_description>\n    <character>SWEDISH CHEF<\/character>\n    <dialogue>Too late.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TELEVISION EXECUTIVE OFFICES - DAY<\/stage_direction>\n    <scene_description>Several quick shots of the Muppets pitching their show.<\/scene_description>\n    <character>CBS EXECUTIVE<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>-- A FOX EXECUTIVE<\/scene_description>\n    <character>FOX EXECUTIVE<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>-- A UNIVISION EXECUTIVE.<\/scene_description>\n    <character>UNIVISION EXECUTIVE<\/character>\n    <dialogue>Lo siento, perro no.<\/dialogue>\n    <scene_description>The Muppets all act really excited.<\/scene_description>\n    <character>UNIVISION EXECUTIVE<\/character>\n    <dialogue>That means no.<\/dialogue>\n    <scene_description>Their smiles fade.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABC EXECUTIVE OFFICE - DAY<\/stage_direction>\n    <scene_description>Kermit sits across from an ABC executive who looks very uncomfortable. Most likely, this is because ALL OF THE OTHER MUPPETS ARE ALSO CRAMMED INTO THE ROOM. There is literally NO SPACE TO MOVE.<\/scene_description>\n    <character>ABC EXECUTIVE<\/character>\n    <dialogue>I don't get it. Why don't you just keep doing your internet movies?<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>What internet movies?<\/dialogue>\n    <scene_description>The Exec flips on her computer. They see Beaker's youtube \"Ode to Joy.\" Beaker guiltily leaves the meeting.<\/scene_description>\n    <character>ABC EXECUTIVE<\/character>\n    <dialogue>Listen Kermit, I like you, and so I'm gonna shoot straight. You guys aren't famous anymore.<\/dialogue>\n    <character>FOZZIE BEAR<\/character>\n    <dialogue>I wish he'd shot a little more curvy! Waca Waca.<\/dialogue>\n    <scene_description>The exec looks at Fozzie annoyed and motions to the door.<\/scene_description>\n    <character>ABC EXECUTIVE<\/character>\n    <dialogue>The answer is no. Not going to happen. Not today, not tomorrow.<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>So, like, Thursday then?<\/dialogue>\n    <character>ABC EXECUTIVE<\/character>\n    <dialogue>Guys...You're just not cynical enough or violent or ironic enough.<\/dialogue>\n    <character>ABC EXECUTIVE<\/character>\n    <dialogue>Look at the shows that are popular today. Robot Wars.<\/dialogue>\n    <scene_description>CUT TO two COMPUTER-ANIMATED ROBOTS DESTROYING EACH OTHER with a title that comes up that says \"Robot Wars.\"<\/scene_description>\n    <character>ABC EXECUTIVE<\/character>\n    <dialogue>Credit Card Club.<\/dialogue>\n    <scene_description>CUT TO FOUR EXTREMELY RICH LOOKING TEENAGERS WALKING THROUGH CENTRAL PARK dressed in head to toe designer clothes.<\/scene_description>\n    <character>RICH KID<\/character>\n    <dialogue>After the make-out party, you wanna go shopping?<\/dialogue>\n    <character>RICH KID 2<\/character>\n    <dialogue>Gucci-tastic!<\/dialogue>\n    <character>ABC EXECUTIVE<\/character>\n    <dialogue>And, of course, the hyper- educational Soyburger and Numbers.<\/dialogue>\n    <scene_description>A QUICK CUT OF NUMBERS and SOY PRODUCTS floating around a screen as a soothing voice speaks. (Baby Einstein spoof)<\/scene_description>\n    <character>SOOTHING VOICE<\/character>\n    <dialogue>How many letters are in the word Harvard?<\/dialogue>\n    <scene_description>BACK TO THE ABC EXECUTIVE.<\/scene_description>\n    <character>ABC EXECUTIVE<\/character>\n    <dialogue>I'm sorry, but you guys are no longer relevant.<\/dialogue>\n    <scene_description>Kermit rises to leave and heads for the door. Then he stops and turns back.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>Before I go...well, there's just something I want to say. I think children are smarter and better than all this junk. Sure, they'll watch that stuff if you don't offer them anything else, but we have a chance to make this world better and more fun! You're not going to do that by filling their heads with robots and violence or with rich kids shopping or with boring floating numbers, you're going to do it by filling their heads with laughter and friendship and hope.<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>I just think... well, I know we're not famous anymore but I want you to know I think you're making a big mistake.<\/dialogue>\n    <scene_description>Kermit nods, and reaches for the door handle to leave.<\/scene_description>\n    <character>ABC EXECUTIVE<\/character>\n    <dialogue>Kermit, wait.<\/dialogue>\n    <parenthetical>(Kermit turns back)<\/parenthetical>\n    <dialogue>You're right.<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>I am?<\/dialogue>\n    <character>ABC EXEC<\/character>\n    <dialogue>Yes. You're not famous anymore.<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>ABC EXECUTIVE<\/character>\n    <dialogue>My kids sit in front of the television watching Robot Wars all day, and I wonder why they can't stop beating each other up. My daughter wants a Louis Vuitton hand bag. She's three. I hate myself for selling this stuff and, so... I'm going to take a chance and broadcast your show.<\/dialogue>\n    <character>MUPPETS<\/character>\n    <dialogue>Yay!<\/dialogue>\n    <character>ABC EXECUTIVE<\/character>\n    <dialogue>I want you to know that if I get fired for this I'm taking you all down with me.<\/dialogue>\n    <parenthetical>(as they're leaving)<\/parenthetical>\n    <dialogue>I mean it. I go down. You go down.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUPPET STUDIOS<\/stage_direction>\n    <scene_description>Kermit and the Muppets enter the Muppet studios. Walter and Gary look around in amazement. Walter starts shaking uncontrollably.<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>Peanut!<\/dialogue>\n    <scene_description>REVEAL that the stage is still there, but quite run down and dirty. It's no matter. Walter is really excited.<\/scene_description>\n    <character>PEPE THE PRAWN<\/character>\n    <dialogue>I thought they turned this whole place into a paper factory, ok!?<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>Everything but the theater.<\/dialogue>\n    <character>DR. TEETH<\/character>\n    <parenthetical>(sniffing)<\/parenthetical>\n    <dialogue>I'm guessing they couldn't get rid of the smell.<\/dialogue>\n    <scene_description>We watch as SHEETS are pulled off the THEATER SEATS and the curtain's PULLED BACK. The stage is dusted by Beaker. Electric Mayhem PULLS a sheet off their instruments. Animal goes to touch the drums and then BACKS AWAY scared. Gonzo walks into his supply room and PULLS a sheet off his various stunts. He looks scared to even touch them. Chef walks onto his kitchen set and opens the fridge. It's filled with rotten food. He pulls a flamethrower and BURNS all the food to a crisp and smiles. He's back. Miss Piggy walks into her dressing room and uncovers a bunch of paintings and headshots that feature her. She then sees a photo of her and Kermit which she tosses in the trash.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAGE - DAY<\/stage_direction>\n    <scene_description>Kermit stands before all the Muppets.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>Alright, guys! It's time to practice! Let's start with our opening!<\/dialogue>\n    <scene_description>Electric Karma starts the Muppet Theme. There are no drums because Animal's playing the flute. None of the Muppets can keep time as they march in.<\/scene_description>\n    <character>ROWLF<\/character>\n    <dialogue>We can't keep time without drums.<\/dialogue>\n    <character>ANIMAL<\/character>\n    <dialogue>No drums! Sean Penn say no drums for Animal!<\/dialogue>\n    <character>SAM THE EAGLE<\/character>\n    <dialogue>I am a fighter, not a dancer.<\/dialogue>\n    <character>MISS PIGGY<\/character>\n    <dialogue>And by the way Kermit, why do you always get to open the show!<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>Because I'm the only one who can fit in the O.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUPPET STUDIOS - FLASHBACK<\/stage_direction>\n    <scene_description>We see a flashback of the the Muppet Show sign dropping with Fozzie in the \"O.\" The O breaks off and hangs by one screw. It then smashes to the ground. -- Miss Piggy in the \"O.\" She's holding on for dear life and screaming. -- Sweet Ums in the \"O.\" Or rather, only the bottom half of Sweet Ums. The top half of him is off screen. -- The Muppet Show sign is dropping. There's no one in the O. Suddenly the O CATCHES FIRE and Gonzo, in a motorcycle, FLIES THROUGH THE O. Or rather tries to fly through the O. He basically SMASHES right into the O. He and the rest of the sign catches on fire. Several Muppets put him out with fire hoses.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAGE - PRESENT DAY<\/stage_direction>\n    <character>KERMIT<\/character>\n    <dialogue>Look, guys, let's not argue. Maybe we're just jumping too far ahead. Let's see some acts!<\/dialogue>\n    <scene_description>CUT TO MOMENTS LATER:<\/scene_description>\n    <character>GONZO<\/character>\n    <dialogue>The Great Gonzo needs a fearless human volunteer willing to risk his life, or at the very least his cognitive capacity.<\/dialogue>\n    <scene_description>Everyone looks to Gary, the only human. He rises tentatively and Gonzo sits him in a chair and places a pin on his head. Camilla comes out and brings Gonzo a bowling ball.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>Oh, wait... NOT THE BOWLING BALL TRICK! No!! Don't do it Gary!!! He'll kill you!!!<\/dialogue>\n    <scene_description>The Muppets all turn and hush Kermit. Walter turns to Kermit.<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>What's wrong with the bowling ball trick?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUPPET STUDIOS - FLASHBACK<\/stage_direction>\n    <scene_description>Several quick shots of the young Gonzo flinging bowling balls at people with pins on their heads and NAILING THEM IN DIFFERENT PARTS OF THE BODY VERY VIOLENTLY, sending them flying off their chairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAGE - PRESENT<\/stage_direction>\n    <scene_description>And we're back. Now Walter looks terrified too. Gonzo begins swinging the bowling ball in a circular motion, round and round, building anticipation.<\/scene_description>\n    <character>KERMIT\/WALTER<\/character>\n    <dialogue>No!!! Please!!! Not again!!! Somebody stop this madness!!!!\/Get down from there Gary!<\/dialogue>\n    <scene_description>But it is too late. Gonzo releases the Bowling ball and it flies towards Gary's head, who closes his eyes in terror. The crowd gasps in fear as the bowling ball PERFECTLY KNOCKS THE PIN OFF Gary's HEAD! The group erupts in applause. HE DIT IT!!! (to God) THANK YOU!!!! Thank you!!!<\/scene_description>\n    <character>GONZO<\/character>\n    <parenthetical>(with a bow)<\/parenthetical>\n    <dialogue>You're welcome. Donations are gladly accepted. Just drop them in the collection cluckets.<\/dialogue>\n    <scene_description>A gaggle of CHICKENS walk through the group with buckets and some Muppets throw in money. Kermit runs onstage. Kermit looks down at his clipboard.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>Okay, next. Bunsen and Beaker!<\/dialogue>\n    <scene_description>Bunsen and Beaker pull back a curtain immediately behind Gonzo where they stand next to a mysterious device.<\/scene_description>\n    <character>DR. BUNSEN HONEYDEW<\/character>\n    <dialogue>The Bowling ball act is actually a group routine.<\/dialogue>\n    <character>GONZO<\/character>\n    <parenthetical>(embarrassed)<\/parenthetical>\n    <dialogue>Bunsen don't---<\/dialogue>\n    <character>DR. BUNSEN HONEYDEW<\/character>\n    <dialogue>Allow me to explain. This is my Temporal Displacement Machine. To the casual observer, Gonzo's stunt looks indeed miraculous. However, it is in fact my device that is truly astonishing.<\/dialogue>\n    <character>GONZO<\/character>\n    <dialogue>Dr.! NO!<\/dialogue>\n    <scene_description>Bunsen flips a screen around on the Machine and replays the stunt for the Muppets.<\/scene_description>\n    <character>DR. BUNSEN HONEYDEW<\/character>\n    <dialogue>You see at the moment of release, my faithful assistant Beaker--<\/dialogue>\n    <character>BEAKER<\/character>\n    <dialogue>Meep Meep.<\/dialogue>\n    <character>DR. BUNSEN HONEYDEW<\/character>\n    <parenthetical>(cont.)<\/parenthetical>\n    <dialogue>--- turns the temporal displacement dial...<\/dialogue>\n    <parenthetical>(pointing to a dial on the device)<\/parenthetical>\n    <dialogue>Slowing time to a near halt...<\/dialogue>\n    <scene_description>We watch on the screen as everything begins to move incredibly slowly. The bowling ball is clearly going to hit Gary in the crotch. We watch as Beaker walks on stage and literally guides the bowling ball directly to the pin on Gary's head, then casually walk out of frame.<\/scene_description>\n    <character>DR. BUNSEN HONEYDEW<\/character>\n    <dialogue>Time then resumes it's normal speed and the audience is none the wiser.<\/dialogue>\n    <character>GONZO<\/character>\n    <parenthetical>(guiltily)<\/parenthetical>\n    <dialogue>What? I don't want to kill someone! Again!<\/dialogue>\n    <scene_description>Kermit looks at the dial.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>Wait. The dial here says slow, slower and perfect pasta? Why the perfect pasta setting?<\/dialogue>\n    <character>DR. BUNSEN HONEYDEW<\/character>\n    <dialogue>You never know when you might need perfect pasta!<\/dialogue>\n    <character>KERMIT<\/character>\n    <parenthetical>(to Gonzo)<\/parenthetical>\n    <dialogue>Gonzo, you do stunts! That's what the people expect. The Muppets aren't about cheap tricks. We're about actual talent! Now you have to promise if you do this stunt, you won't be using that freezing time machine.<\/dialogue>\n    <scene_description>Gonzo nods and skulks off.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>Now, who's next?<\/dialogue>\n    <scene_description>MONTAGE OF MUPPETS PERFORMING THEIR ACTS. Everyone is terrible. -- Fozzie Bear does his stand-up act. In the BG, Scooter's on a pogo stick.<\/scene_description>\n    <character>FOZZIE BEAR<\/character>\n    <dialogue>What's the bear capital of the world? Koala Lampur!<\/dialogue>\n    <scene_description>Kermit looks at Rowlf and signals for him to play off Fozzie. Rowlf shakes his head \"no.\" -- Gonzo destroys another mannequin with his bowling ball. -- Camilla leads a bunch of chickens in a synchronized swim. They all run into each other. It turns into a chaotic chicken splash fight. In the BG, Rowlf is eating sushi. -- Sam the Eagle has his firework display. He lights it and stands proudly before it. One single sparkler lights up. -- Gonzo destroys a mannequin with his bowling ball. Then he accidentally whips another bowling ball behind him, destroying the wall. In the BG, Sweet Ums walks by on his hands. -- Animal's behind the drum set, still playing flute.<\/scene_description>\n    <character>ANIMAL<\/character>\n    <dialogue>Baby steps!!! Ahhhhhh!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAGE<\/stage_direction>\n    <scene_description>Kermit stands on the stage.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>Alright, now let's see Walter's act.<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>My... my act?<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>Yup.<\/dialogue>\n    <scene_description>Walter begins shaking and then runs offstage.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>Okay...let's see. Who else is left here?<\/dialogue>\n    <scene_description>All the Muppets look at Kermit. He realizes he's the last one to do an act.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MISS PIGGY'S DRESSING ROOM<\/stage_direction>\n    <scene_description>There's a knock at the door. Miss Piggy turns. Kermit pokes his head in. He notices a bottle of hair dye labelled: JUST FOR PIGS, but looks away respectfully.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>Ready to practice our duet?<\/dialogue>\n    <character>MISS PIGGY<\/character>\n    <dialogue>I was ready for the duet of life Frog, but that ship has sailed.<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>But Piggy, we have to. The audience expects it.<\/dialogue>\n    <character>MISS PIGGY<\/character>\n    <dialogue>Oh, Kermy... I might lie to get a job. I might lie to get out of a parking ticket. I might lie to get a free croissant. But I will never ever ever lie on stage.<\/dialogue>\n    <parenthetical>(then, making it up)<\/parenthetical>\n    <dialogue>Besides... I'm already doing a duet ... with Gary. Bring him to me!<\/dialogue>\n    <scene_description>Miss Piggy turns. Kermit, clearly jealous, leaves the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AUDIENCE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Gary watches the acts when Mary walks up smiling.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Hey, Gary, how's it going?<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Couldn't be going better!<\/dialogue>\n    <scene_description>Angle on Stage: Lou Zealand is hurling fish at Walter who is pinned to a target. They barely miss him, sticking like daggers in the target.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Wow, that looks dangerous.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>No, Lou is like, an expert.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Look, I don't mean to be weird but do you think Miss Piggy was a little...<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>A little what?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>I don't know, she didn't seem to like me very much. Not nearly as much as she liked you at least.<\/dialogue>\n    <character>GARY<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>Oh my gosh! You're jealous. That's so cute. Believe me babe, Miss Piggy is just a friend.<\/dialogue>\n    <scene_description>Kermit walks into the theater and approaches Mary and Gary.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>Hey, umm... sorry to interrupt, but Miss Piggy wanted to talk to you about something Gary. She's in her dressing room.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Oh... ok, I'll be right back.<\/dialogue>\n    <scene_description>He kisses Mary on the cheek, and Kermit and Mary look after him as he goes. Kermit sighs and walks off. Mary watches this concerned.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PIGGY'S DRESSING ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>A knock. Piggy calls out from behind her dressing screen.<\/scene_description>\n    <character>PIGGY<\/character>\n    <dialogue>Entre mon amour, s'il vous please.<\/dialogue>\n    <character>GARY<\/character>\n    <parenthetical>(entering)<\/parenthetical>\n    <dialogue>Hi. You wanted to see me?<\/dialogue>\n    <scene_description>Piggy walks out from behind the screen in a lovely dress.<\/scene_description>\n    <character>MISS PIGGY<\/character>\n    <dialogue>Could you help me with the zipper?<\/dialogue>\n    <scene_description>She turns revealing the dress is literally busting open in the back, this zipper is clearly not going up.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>Oh. Wow. Okay. Sure.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PIGGY'S DRESSING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Mary comes walking down the hallway towards the bathroom. However, as she passes Piggy's dressing room she hears:<\/scene_description>\n    <character>GARY (O.S.)<\/character>\n    <dialogue>I really don't think this will work.<\/dialogue>\n    <character>PIGGY (O.S.)<\/character>\n    <dialogue>We can make it work.<\/dialogue>\n    <character>GARY (O.S.)<\/character>\n    <dialogue>But Piggy, I'm only human.<\/dialogue>\n    <character>PIGGY (O.S.)<\/character>\n    <dialogue>Just try!!<\/dialogue>\n    <character>GARY (O.S.)<\/character>\n    <dialogue>Okay. I don't think it's a good idea, but I'll try.<\/dialogue>\n    <scene_description>Mary peeks inside the dressing room and sees GARY trying to zip up PIGGY'S DRESS!!!!! Mary looks hurt, and leaves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PIGGY'S DRESSING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Gary is pulling with all his might on the Zipper, and Piggy is clearly in a great deal of pain. Gary gives up and lets go, and Piggy is able to breath.<\/scene_description>\n    <character>PIGGY<\/character>\n    <parenthetical>(out of breath)<\/parenthetical>\n    <dialogue>When I find out who shrunk my dress-<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>I'm sure we can alter it!<\/dialogue>\n    <character>PIGGY<\/character>\n    <dialogue>Nonsense! We have to find a new, non shrunken dress!! And you're coming with me! We must discuss our duet!! Perhaps over a romantic candle lit all you can eat buffet. I'm starving. Go gather your things, I'll meet you on stage where Kermit can see us.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>I'm sorry, what?<\/dialogue>\n    <character>PIGGY<\/character>\n    <dialogue>Nothing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STAGE<\/stage_direction>\n    <scene_description>All the Muppets are on lunch break. Gary walks up to Walter.<\/scene_description>\n    <character>GARY<\/character>\n    <parenthetical>(Walter)<\/parenthetical>\n    <dialogue>Hey bud, you seen Mary?<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>She took off. Felt like she was \"hogging\" all your time.\"<\/dialogue>\n    <scene_description>Gary knows this is odd. As soon as Kermit enters, Piggy takes Gary's arm.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>Alright, everyone. Let's practice the opening again.<\/dialogue>\n    <scene_description>No one is listening to him. Kermit grabs a megaphone. WHAT DO YOU SAY WE PRACTICE THE OPENING AGAIN?<\/scene_description>\n    <character>FOZZIE BEAR<\/character>\n    <dialogue>Oh boy. Here we go again!!<\/dialogue>\n    <character>GONZO<\/character>\n    <parenthetical>(eating an Ultimate Baconator Cheeseburger)<\/parenthetical>\n    <dialogue>We're eating.<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>Oh. Okay, but let's eat up then, cause we really should get back to work. We don't have much time.<\/dialogue>\n    <character>MISS PIGGY<\/character>\n    <dialogue>You're not the boss of us!!<\/dialogue>\n    <character>ROWLF<\/character>\n    <dialogue>Well, he is the leader.<\/dialogue>\n    <character>RIZZO<\/character>\n    <dialogue>Says who?<\/dialogue>\n    <character>ROWLF<\/character>\n    <dialogue>It's just the truth.<\/dialogue>\n    <character>MISS PIGGY<\/character>\n    <dialogue>Well if that's the truth, does that mean that I'm a liar!<\/dialogue>\n    <scene_description>The group erupts into fighting again. A cacophony of arguing. A second later, TEX RICHMAN WALKS INTO THE THEATER WITH HIS COHORTS..<\/scene_description>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>Maniacal laugh, Maniacal laugh, Maniacal laugh. Lookie what we got here. We got a frog, a pig, a dog. Looks like a good old fashioned Korean BBQ to me. Muppets...<\/dialogue>\n    <parenthetical>(he spits)<\/parenthetical>\n    <dialogue>Can't even pull it together to unite against a common enemy... me, to save their studio. Pathetic.<\/dialogue>\n    <character>GONZO<\/character>\n    <dialogue>Now you listen here! We have united! We're just rehearsing our finale!!! The... the... cacophony of the Muppets!!!<\/dialogue>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>You can't fool me... thing. I'm a hunter, and I know when an animal is wounded.<\/dialogue>\n    <scene_description>ANGLE ON ANIMAL HOLDING HIS FLUTE<\/scene_description>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>And there ain't nothin' you can do now that can stop me from owning this here studio and the tasty tasty texas tea that runs underneath. I'm gonna bathe in this sweet sweet oil until my skin is as leathery as a baseball glove, see. That is, unless you can somehow get ten million viewers for your telethon, which we all know is impossible.<\/dialogue>\n    <character>MISS PIGGY<\/character>\n    <dialogue>We will get ten million viewers!<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>That's right! And even if we don't... even if somehow you do own the studio. It wouldn't matter. We're friends, and we'll keep on being the Muppets even if we need to find another place to perform!!!<\/dialogue>\n    <character>TEX RICHMAN<\/character>\n    <parenthetical>(\"don't make me laugh\")<\/parenthetical>\n    <dialogue>Make me laugh.<\/dialogue>\n    <scene_description>Pause.<\/scene_description>\n    <character>SGT. FLOYD PEPPER<\/character>\n    <dialogue>I believe the expression is \"don't make me laugh.\"<\/dialogue>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>I know what I said and I said what I meant. Why would I want you to \"don't make me laugh?\" You doin' that already. You Muppets never made me laugh, so I'm offering you a last chance. Make me laugh, I give you the studio.<\/dialogue>\n    <scene_description>Long Pause. Finally Fozzie steps up dramatically.<\/scene_description>\n    <character>FOZZIE BEAR<\/character>\n    <dialogue>A man walks into the doctors office. Doctor says, \"what's the problem?\" Man says, \"I have a terrible headache.\" Doctor says \"Well sir, I think you need to stop picking your nose.\" Man says \"Why?\" Doctor says \"Cause I'm trying to examine you.\"<\/dialogue>\n    <scene_description>Long long beat. Everyone waits. Tex Richman snaps his fingers. Bobo produces the standard rich and famous contract.<\/scene_description>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>This here is the Standard Rich and Famous contract you signed some thirty years ago, you remember? It's signed right here by one Kermit the Frog!?<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>Well maybe you shoulda read the fine print.<\/dialogue>\n    <scene_description>He holds a HUGE magnifying glass to some incredibly small fine print.<\/scene_description>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>See, in three days it's not just this studio you lose the rights to. It's the Muppet name itself. And not just that, but ALL characters under the Muppet name. See, I don't just own the studio. I own... THE MUPPETS. I own the loveable frog, the arrogant pig, the mediocre bear. I own em all!!! So enjoy your last few days together, cause after your failed telethon, you ever want to work together again.... You workin' for me. Maniacal laugh Maniacal laugh.<\/dialogue>\n    <scene_description>He and his cohorts exit. Pregnant pause.<\/scene_description>\n    <character>SCOOTER<\/character>\n    <dialogue>Ummm. Kermit. Did he just say that you signed a contract that sold not only the studio but also the rights to the Muppet name and our on-stage personalities which, incidently happen to also be our personal personalities.<\/dialogue>\n    <scene_description>Kermit gulps. All the Muppets move to pounce on Kermit. SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - LATER<\/stage_direction>\n    <scene_description>Kermit sits in the Witness chair. Our Muppets sit in the jury box, and Sam the Eagle presides as Judge. Janice and Scooter sit as Prosecution and Defense, and the rest of our Muppets sit in the pews and watch the proceedings.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>I swear, I had no idea. It was thirty years ago! I had never signed a contract before!<\/dialogue>\n    <scene_description>Janice stands.<\/scene_description>\n    <character>JANICE<\/character>\n    <dialogue>So like...why do I have this like signed contract dating two years before we ever went to Hollywood.<\/dialogue>\n    <scene_description>Kermit looks at it.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>That's not a contract, that's a receipt for my Banjo.<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>So you say. Like...so you say.<\/dialogue>\n    <scene_description>The Muppets mumble in agreement.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>I didn't have time to read the fine print! And besides, you all wanted me to sign...remember!?!?!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WORLD WIDE STUDIOS - FLASHBACK<\/stage_direction>\n    <scene_description>The Muppets stand before Orson Wells.<\/scene_description>\n    <character>ORSON WELLS<\/character>\n    <dialogue>Prepare the Standard Rich and Famous contract for Kermit the Frog and Company.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONFERENCE ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Kermit stands over the MASSIVE CONTRACT surrounded by the Muppets. He is glancing through it.<\/scene_description>\n    <character>MUPPETS<\/character>\n    <dialogue>Sign it. Sign it. Sign it. Sign it!!!<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>Don't you think we should read...<\/dialogue>\n    <scene_description>SIGN IT! SIGN IT! SIGN IT! SIGN IT!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - PRESENT<\/stage_direction>\n    <scene_description>The Muppets all mumble to each other.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>I swear, I would never have done this on purpose. Please, you've got to...<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>Sustained!<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>You're not supposed to say that.<\/dialogue>\n    <scene_description>The Muppets consider.<\/scene_description>\n    <character>JANICE<\/character>\n    <dialogue>One final question your honor.<\/dialogue>\n    <character>SAM THE EAGLE<\/character>\n    <dialogue>Proceed hippie.<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>Like, why do you have a courtroom in your house?<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>There's fifty rooms in this house, and I ran out of ideas, so I thought... how about a courtroom? Glad it finally came in handy.<\/dialogue>\n    <character>JANICE<\/character>\n    <parenthetical>(as though she got him)<\/parenthetical>\n    <dialogue>Like, so you say. I rest my case.<\/dialogue>\n    <scene_description>The Muppets all mumble to each other. Then, a small voice is heard from the back of the room.<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>Your fake honor, may I approach the fake bench?<\/dialogue>\n    <character>SAM THE EAGLE<\/character>\n    <dialogue>You may, flattened, miniature badger.<\/dialogue>\n    <scene_description>Walter, who was sitting next to Gary, heads to the front of the room and addresses the Muppets.<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>When I was just a little brown puppet I felt really all alone. Then I saw my first episode of the Muppet show and even though I didn't know any of you, I finally had something to hope for. That someday I could be a Muppet. You guys have the power to change people, to give kids hope, but the only way you can do it is if you work together to defeat this Tex Richman guy. Don't you get it! If you don't, you'll never get to perform together AGAIN!!! We can't let that happen. Now I know I'm not one of you, but maybe that's why I can see it all so clearly. You guys are being stupid! Like really stupid! Like super duper stupid! Now how about we cut it out and put on a show already!!!!<\/dialogue>\n    <scene_description>Silence. Finally, Janice stands.<\/scene_description>\n    <character>JANICE<\/character>\n    <dialogue>Your honor, like, in light of the soggy burnt poptart's speech... the Muppets would like to like, drop all charges and put on a show.<\/dialogue>\n    <scene_description>THE WHOLE ROOM ERUPTS IN CHEERS!!!!! THEY RUN OUT. Walter's following them.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>You stay here!<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>What? Why?<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>Cause if you're going to join the gang you gotta figure out your act! By tomorrow night!<\/dialogue>\n    <scene_description>He pats Walter on the back and leaves.<\/scene_description>\n    <character>WALTER<\/character>\n    <parenthetical>(nervous)<\/parenthetical>\n    <dialogue>Join the gang?.....Pppppeanut!<\/dialogue>\n    <scene_description>He turns to Gary who smiles and gives Walter the thumbs up.<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>But...but Gary... I don't have a talent. I'm... totally talentless. Remember when we auditioned for America's got talent?<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>Gary, remember...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMERICA'S GOT TALENT - DAY<\/stage_direction>\n    <scene_description>The early auditioning rounds of America's got Talent. Gary walks out on stage carrying Walter and they approach the mic.<\/scene_description>\n    <character>DAVID HASSELHOF<\/character>\n    <dialogue>So, what will you be doing for us today?<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Hi. My name is Gary and this is my friend Walter.<\/dialogue>\n    <scene_description>Walter just stares lifelessly at the panel.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>Say hi Walter.<\/dialogue>\n    <parenthetical>(long beat)<\/parenthetical>\n    <dialogue>Walter.<\/dialogue>\n    <character>WALTER<\/character>\n    <parenthetical>(shaking, whispered)<\/parenthetical>\n    <dialogue>Peanut.<\/dialogue>\n    <scene_description>Peirs hits his buzzer. So does Hasselhof.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>Buddy, please say something.<\/dialogue>\n    <scene_description>Sharon hits her buzzer.<\/scene_description>\n    <character>PEIRS<\/character>\n    <dialogue>Honestly, get off the stage. You are without a doubt the worst Ventriloquist I've ever seen.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>No... no I'm not a Ventriloquist. He's alive, he's my friend.<\/dialogue>\n    <scene_description>Sharon rises angrily from her chair. GET OFF THE STAGE!!!!!!!!!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - BACK TO PRESENT<\/stage_direction>\n    <character>WALTER<\/character>\n    <dialogue>We didn't even get to our song and dance.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Yeah. That's right. That was so bad I completely forgot it happened. Don't worry. There's no way something like that could ever happen twice in a row. You'll find your talent and it'll be great.<\/dialogue>\n    <scene_description>Gary exits, and Walter looks mortified.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUPPET STUDIOS\/KERMIT'S HOUSE\/ LOS ANGELES - MONTAGE<\/stage_direction>\n    <scene_description>A montage of the Muppets each practicing their acts in harmony. They are getting better.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUPPET STUDIOS STAGE<\/stage_direction>\n    <scene_description>Gary and Piggy rehearse \"I'm Your Puppet\" on stage. Kermit watches from off stage, jealously. Mary walks in and sees what's happening. She looks jealous and leaves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABC PRESIDENT'S OFFICE - DAY<\/stage_direction>\n    <scene_description>It's a gigantic office, like way, way too big with a giant oil painting of the ABC President right above his desk. The ABC Exec pokes her head in.<\/scene_description>\n    <character>ABC PRESIDENT<\/character>\n    <dialogue>What is this about a Muppet show? Nobody's heard from them in years.<\/dialogue>\n    <character>ABC EXECUTIVE<\/character>\n    <dialogue>I just thought --<\/dialogue>\n    <character>ABC PRESIDENT<\/character>\n    <dialogue>I don't pay you to think. You're a television executive.<\/dialogue>\n    <character>ABC EXECUTIVE<\/character>\n    <dialogue>But if we give them a chance --<\/dialogue>\n    <character>ABC PRESIDENT<\/character>\n    <dialogue>Fine. But if this doesn't work out, you're out on the street, no ifs, ands or buts.<\/dialogue>\n    <parenthetical>(then, friendly, pan to reveal a sundae bar)<\/parenthetical>\n    <dialogue>You want some ice cream? I just got this sundae bar installed to make me more approachable.<\/dialogue>\n    <character>ABC EXECUTIVE<\/character>\n    <dialogue>I'm good.<\/dialogue>\n    <scene_description>The ABC President shoots the ABC Executive a long look.<\/scene_description>\n    <character>ABC EXECUTIVE<\/character>\n    <dialogue>I would like butter pecan with sprinkles please.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STAGE<\/stage_direction>\n    <scene_description>Kermit gets a call. In the background we see Beaker spinning plates on sticks. SPLIT SCREEN BETWEEN HIM AND THE ABC EXECUTIVE.<\/scene_description>\n    <character>ABC EXECUTIVE<\/character>\n    <dialogue>Hey, so I was just checking to see how it's all going?<\/dialogue>\n    <scene_description>Beaker has a dozen plates spinning. He puts one final plate on top and the whole thing comes crashing down on him.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>It's going great! Really great!<\/dialogue>\n    <character>ABC EXECUTIVE<\/character>\n    <dialogue>So, who's going to be hosting?<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>I am. Like always.<\/dialogue>\n    <character>ABC EXECUTIVE<\/character>\n    <dialogue>That's adorable. No, seriously. Who's going to host it? We need a celebrity. Pronto. Otherwise I'm getting fired.<\/dialogue>\n    <character>ABC EXECUTIVE<\/character>\n    <dialogue>And just to reiterate, if I get fired you are all going down with me. I mean it. Get a star. Now. Also, have you booked an audience?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TEX RICHMAN'S LOS ANGELES OFFICE - CONTINUOUS<\/stage_direction>\n    <scene_description>Tex Richman and Bobo ride on the top of a double decker tour bus through Los Angeles. Bobo wears spy headphones and holds an antenna.<\/scene_description>\n    <character>BOBO<\/character>\n    <dialogue>They need to find a celebrity to host their show or ABC won't broadcast it!<\/dialogue>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>Perfect! All we gotta do is run a little interference! They're gonna have a harder time finding a real celebrity than dancing with the stars!!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOVIE PREMIERE AT MANN'S CHINESE - DAY<\/stage_direction>\n    <scene_description>This is a movie premiere for the film \"MICHAEL CLAYTON 2: THIS TIME IT'S LESS COMPLICATED AND HAS MORE ACTION.\" George Clooney poses for paparazzi on the red carpet. Dr. Teeth and Electric Mayhem are pretending to be paparazzi and cameramen.<\/scene_description>\n    <character>GEORGE CLOONEY<\/character>\n    <dialogue>It was really satisfying to revisit the role of Michael Clayton.<\/dialogue>\n    <character>JANICE<\/character>\n    <parenthetical>(posing as a reporter)<\/parenthetical>\n    <dialogue>So, like, is it true that due to your, like, total and complete love of charity you're going to be hosting the Muppet Benefit?<\/dialogue>\n    <character>GEORGE CLOONEY<\/character>\n    <dialogue>Wait a minute. You're not with Telemundo.<\/dialogue>\n    <character>JANICE<\/character>\n    <parenthetical>(batting her eyes at him)<\/parenthetical>\n    <dialogue>Like, que Senor Clooney?<\/dialogue>\n    <scene_description>Tex Richman, dressed like an AGENT, whispers something in Clooney's ear.<\/scene_description>\n    <character>GEORGE CLOONEY<\/character>\n    <dialogue>No can do. You're not famous anymore. It's just not good for my career.<\/dialogue>\n    <character>SGT. FLOYD PEPPER<\/character>\n    <dialogue>Didn't stop you from doing Leatherheads!!<\/dialogue>\n    <scene_description>George Clooney whispers something in Tex's ear.<\/scene_description>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>Security!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KERMIT'S MANSION<\/stage_direction>\n    <scene_description>QUICK CUTS of Walter trying to imitate different Muppet talents: Stunts like Gonzo, Piano like Rowlf, a fashion show like Piggy.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MR. CHOW'S - LUNCHTIME<\/stage_direction>\n    <scene_description>Jack Black, Ben Stiller, Mel Brooks and Steve Carell are all eating lunch. A plate arrives. The waiter takes the top off the dish revealing Pepe the King Prawn. REVEAL the Waiter is Sweetums.<\/scene_description>\n    <character>PEPE THE PRAWN<\/character>\n    <dialogue>You guys wanna be in a big Muppet benefit?<\/dialogue>\n    <character>STEVE\/BEN<\/character>\n    <dialogue>Uh no.\/Not in a million years.<\/dialogue>\n    <scene_description>A second plate is put down on the table. Jack lifts the hood off. Kermit's on the second plate.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>C'mon, Jack. You seem like someone who loves fun?<\/dialogue>\n    <character>JACK BLACK<\/character>\n    <dialogue>I'd do it if you were famous. Or if it would somehow benefit me personally.<\/dialogue>\n    <character>MEL BROOKS<\/character>\n    <dialogue>I'll do it. I love a live show.<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>Thanks a lot, mister, but we need big stars.<\/dialogue>\n    <scene_description>Mel Brooks motions to a waiter, Tex Richman IN DISGUISE and whispers in his ear. SECURITY!!!<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>I didn't realize Chinese restaurants had security.<\/dialogue>\n    <scene_description>A bunch of ninjas drop down and pull them away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KERMIT'S MANSION<\/stage_direction>\n    <scene_description>Walter tries playing saxophone. It sounds awful<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRESSING ROOM<\/stage_direction>\n    <scene_description>Sarah Jessica Parker is changing into couture when Miss Piggy slides in under the door.<\/scene_description>\n    <character>MISS PIGGY<\/character>\n    <dialogue>Hello lover.<\/dialogue>\n    <scene_description>SECURITY!!!! Tex Richman DRESSED AS SECURITY grabs Piggy.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAMBA JUICE - DAY<\/stage_direction>\n    <scene_description>Jon Favreau and Vince Vaughn sit having smoothies. Both are dressed very casually, Jon reads the paper and has a baby in a stroller next to him.<\/scene_description>\n    <character>VINCE VAUGHN<\/character>\n    <dialogue>I think there's pineapple in this Super Citrus Blast. I'm just saying, if there's pineapple, tell a guy. When I think of citrus, pineapple doesn't immediately jump to mind.<\/dialogue>\n    <scene_description>RIZZO THE RAT approaches dressed in a very \"swingers\" black suit and tie.<\/scene_description>\n    <character>RIZZO<\/character>\n    <dialogue>Smoothie, baby. Smoothie. It's me. Rizzo! C'mon! Rizzo the Rat baby! Remember, Swingers?! I'm just heading to Vegas, baby, yeah.<\/dialogue>\n    <character>JON FAVREAU<\/character>\n    <dialogue>I can't go to Vegas. Swingers was ten vears ago! I'm married now. I'm a director. I have two kids.<\/dialogue>\n    <character>VINCE VAUGHN<\/character>\n    <dialogue>I'll go to Vegas.<\/dialogue>\n    <character>RIZZO<\/character>\n    <dialogue>Vinnie, let me ask you, you wanna host our benefit show on Saturday?<\/dialogue>\n    <character>VINCE VAUGHN<\/character>\n    <dialogue>I can't, I'm gonna be in Vegas.<\/dialogue>\n    <character>RIZZO<\/character>\n    <dialogue>C'mon Jonny Boy! What do you say Big Man?<\/dialogue>\n    <character>JON FAVREAU<\/character>\n    <dialogue>Did you just call me big man? I'm on a juice diet now!! SECURITY!!!!!<\/dialogue>\n    <scene_description>REVEAL: Tex Richman making a smoothie. He snaps his fingers and JAMBA JUICE security swoop in and tackle Rizzo.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OFFICE BUILDING - DAY<\/stage_direction>\n    <scene_description>Gonzo and Camilla sit in a small Citroen with sunglasses on. Matt Damon walks out of the office. Gonzo gets out of the car and walks up to him.<\/scene_description>\n    <character>GONZO<\/character>\n    <dialogue>Mr. Damon! Interested in doing a benefit?<\/dialogue>\n    <scene_description>Matt Damon turns and TAKES OFF. Gonzo gives chase. Damon climbs up a nearby fire escape. Gonzo runs up it to. Suddenly we're in a full scale Bourne-style movie with crazy jump cuts. They get to the roof and start JUMPING from roof top to roof top. Damon, using elegant parkour, jumps down between two buildings and lands on the ground to be confronted by a SCREECHING CAR being driven by Camilla. Damon RUNS OVER the car. Gonzo jumps off the building and SPLATS on the ground. He shakes himself off and gives chase. Now suddenly WE'RE IN a Morocco-like place. Damon turns a corner to be confronted by Beaker and Honeydew on motorcycles. They DRIVE UP the stairs. Damon SMASHES through a window and turns to see Gonzo there.<\/scene_description>\n    <character>MATT DAMON<\/character>\n    <parenthetical>(out of breath)<\/parenthetical>\n    <dialogue>Security.<\/dialogue>\n    <scene_description>Tex Richman and several guards surround Gonzo.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COPY CATZ<\/stage_direction>\n    <scene_description>Scooter goes into Copy Katz to pick up the fliers.<\/scene_description>\n    <character>SCOOTER<\/character>\n    <dialogue>Hey, my name's Scooter. I just came to pick up our fliers.<\/dialogue>\n    <scene_description>The Copy Katz employee turns around to reveal a DISGUISED Tex Richman.<\/scene_description>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>Here's your sweet, sweet fliers. Meeeow help you with anything else? Maniacal laugh!<\/dialogue>\n    <scene_description>Scooter looks at him sceptically. Tex HANDS the box to Scooter. Scooter walks off, confused.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOLLYWOOD BLVD<\/stage_direction>\n    <scene_description>Scooter hands out the fliers to tourists, locals and a guy dressed in the dirty Spiderman costume.<\/scene_description>\n    <character>SCOOTER<\/character>\n    <dialogue>Come to see the Muppets reunited! This Sunday at 7PM!<\/dialogue>\n    <scene_description>People are taking the fliers. ZOOM IN on the flier. The fliers actually say \"Monday at 2AM at the Dubai International Convention Center.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NICE RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Mary and Gary sit across from each other at a fancy restaurant. Both are dressed up and look great.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>You look beautiful. I'm sorry I haven't been around lately but, well, happy anniversary.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>To you as well. So...how's your duet practicing going?<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Good...you know. Miss Piggy can be a bit of a handful but we're getting through it. I sure miss you though, I'll tell you that.<\/dialogue>\n    <scene_description>She smiles and they hold hands. The Maitre 'D approaches the table with a broken arm.<\/scene_description>\n    <character>MAITRE DE<\/character>\n    <dialogue>Welcome back, Sir. Out of curiosity, will Miss Piggy be joining you again? I only ask because I don't want to run out of truffles again.<\/dialogue>\n    <character>GARY<\/character>\n    <parenthetical>(caught)<\/parenthetical>\n    <dialogue>No. It's just the two of us. Actually, it's our anniversary.<\/dialogue>\n    <scene_description>He leaves. Mary stares at Gary.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>We were just picking up food for everyone. Then Piggy wanted to have some truffles and next thing I knew it was three hours later and the local supply of truffles had run dry.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>I don't know Gary. I didn't want to do this, especially not on our anniversary but... it just seems like you don't even think about me anymore. This was supposed to be our anniversary vacation and I feel like I've just disappeared for the last thirty minutes of the movie.<\/dialogue>\n    <scene_description>Gary looks a bit guilty.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>I understand. But, I mean...it's not like I wrote it.<\/dialogue>\n    <scene_description>Mary looks at Gary, who looks down guiltily.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>I understand. I just couldn't have anticipated any of this would happen. But I promise you, you are the number one thing in my life.<\/dialogue>\n    <scene_description>Tex Richman in disguise approaches holding a magazine.<\/scene_description>\n    <character>TEX RICHMAN IN DISGUISE<\/character>\n    <dialogue>Sorry to bother you, but I was hoping I could have your autograph.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Me. Sure, but...why?<\/dialogue>\n    <character>TEX RICHMAN IN DISGUISE<\/character>\n    <dialogue>You're Miss Piggy's new man!<\/dialogue>\n    <scene_description>He plops the tabloid mag down on the table which has a headline - MISS PIGGY'S NEW MAN!!! It has photos of Gary squiring Piggy around town to find a dress.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>I can explain!<\/dialogue>\n    <scene_description>His phone rings. He looks down and sees the caller ID reads LA COUNTY JAIL. He answers.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>Hello? PIGGY!?! What are you...you're where?!?! All of you? Okay I'll be right down!!<\/dialogue>\n    <scene_description>Gary hangs up and turns to Mary to explain, only to find that SHE IS GONE. She's left a present. Gary opens it. It's a framed photo of Mary, Gary and Walter.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAIL - NIGHT<\/stage_direction>\n    <scene_description>We pan down the hallway of the jail peering through the cells where our Muppets sit, dejected. We continue panning until we reach the final cell where CHARLES GRODIN sits, still incarcerated from \"The Great Muppet Caper.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAIL<\/stage_direction>\n    <scene_description>A guard walks down the hall.<\/scene_description>\n    <character>PRISON GUARD<\/character>\n    <dialogue>Alright, you're free to go. You've been bailed out.<\/dialogue>\n    <scene_description>The cell door is opened and our Muppets make their way out. Charles Grodin sees Piggy as she exits.<\/scene_description>\n    <character>CHARLES GRODIN<\/character>\n    <dialogue>It's you! Piggy! I never thought I'd see you again!!! Come back!<\/dialogue>\n    <character>CHARLES GRODIN<\/character>\n    <dialogue>We can still make bacon together!!! It's fate!!!<\/dialogue>\n    <scene_description>She sees him and quickly turns to the gang.<\/scene_description>\n    <character>MISS PIGGY<\/character>\n    <dialogue>Go. Move! Move it along!!!!!<\/dialogue>\n    <scene_description>AT LEAST I'M NOT A RAT!! Rizzo crosses back into frame.<\/scene_description>\n    <character>RIZZO<\/character>\n    <dialogue>I resent that!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KERMIT'S MANSION - NIGHT<\/stage_direction>\n    <scene_description>Our gang sits around looking to Kermit for inspiration.<\/scene_description>\n    <character>GONZO<\/character>\n    <dialogue>So we couldn't get any big stars, what do we do now Kermit?<\/dialogue>\n    <character>FOZZY BEAR<\/character>\n    <dialogue>Yeah Kermit! We need an idea fast!<\/dialogue>\n    <scene_description>Kermit rises. A long beat. He looks like he might cry.<\/scene_description>\n    <character>KERMIT<\/character>\n    <parenthetical>(sadly)<\/parenthetical>\n    <dialogue>We give up.<\/dialogue>\n    <scene_description>Everyone gasps in shock.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>We tried. We tried everything we could think of. I'm sorry if I let you guys down, but I guess... well I guess this is the end of the Muppets. I love you guys, but I don't know what else to do.<\/dialogue>\n    <scene_description>Kermit turns and walks out of the room, beaten.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KERMIT'S MANSION - CONTINUOUS<\/stage_direction>\n    <scene_description>Kermit walks out onto his patio and gazes out at the full moon sadly. Stars twinkle behind him. From behind, we watch Kermit wipe a tear from his eye.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KERMIT'S MANSION - CONTINUOUS<\/stage_direction>\n    <scene_description>Our dejected heroes sit in shock at their leader's surrender. A long moment of silence. Finally, Miss Piggy rises and walks out the glass doors onto the veranda.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KERMIT'S MANSION - CONTINUOUS<\/stage_direction>\n    <scene_description>Miss Piggy sees Kermit and walks towards him. She takes a place next to him and the two stand, backs to camera, framing the full moon. They stare at it in silence for a beat, then Miss Piggy turns to Kermit who continues gazing at the sky.<\/scene_description>\n    <character>MISS PIGGY<\/character>\n    <dialogue>Kermit. I have never seen you like this. It kills me to see you so sad. And do you know why? Because I love you Kermie, not just as a frog, but as a friend. And it's not just me. It's all of us. We look up to you. We need you. So don't give up. Because these past few days. Well they've been the best few days we've had since we've been apart. Kermit, you're the best thing I've ever known.<\/dialogue>\n    <scene_description>Kermit turns to Piggy and the two stand in profile. MUSIC UP: Marvin Gaye's version of \"I'm Your Puppet.\" Kermit and Piggy gaze into each others eyes. They should kiss. Then: YOU'RE RIGHT PIGGY!! WE'VE GOT TO SAVE THE STUDIO!!!!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KERMIT'S MANSION - CONTINUOUS<\/stage_direction>\n    <scene_description>Our dejected gang sits in the living room, as Kermit comes racing through and heads out the front door.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>It's time to get our big star and save the studio!<\/dialogue>\n    <scene_description>The gang all cheers and follows. Once the living room is empty, Piggy crosses frame after them, slowly and annoyed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JACK BLACK'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Kermit, alone, walks tentatively to the front door and rings the bell. Finally, the door opens revealing Jack Black in his pajamas with a Guitar Hero guitar around his neck eating a sandwich.<\/scene_description>\n    <character>JACK BLACK<\/character>\n    <dialogue>Kermit? What are you doing here?<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>I just wanted to talk to you about the benefit show --<\/dialogue>\n    <character>JACK BLACK<\/character>\n    <parenthetical>(cutting him off)<\/parenthetical>\n    <dialogue>---I'm sorry Kermit. I thought we discussed this. And as you can see, I'm kind of busy eating this sandwich. I gotta go.<\/dialogue>\n    <scene_description>NOW!!!!! We see that Miss Piggy, dressed like a cat burglar, is standing on the roof of Jack's house. She leaps off and lands on Jack Black, toppling him. ALL OF THE MUPPETS SWOOP IN ON ROPES, MOTORCYCLES AND JETPACKS, DRESSED IN ALL BLACK, and restrain JACK with ropes and a gag. THIS SHOULD BE AS VIOLENT AS OUR RATING WILL ALLOW!! Piggy leaves the fray and approaches Kermit as the gang subdues Jack.<\/scene_description>\n    <character>MISS PIGGY<\/character>\n    <dialogue>You did it Kermie!!<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>No, we...<\/dialogue>\n    <character>MISS PIGGY<\/character>\n    <dialogue>Shhhh.<\/dialogue>\n    <scene_description>MUSIC UP: I'M YOUR PUPPET (MARVIN GAYE) Piggy and Kermit stand face to face, framing the violent kidnapping of Jack Black. A long beat as they stare into each other's eyes. Piggy leans in for a kiss. KERMIT PANICS.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>Ummm..... PEANUT!!!!<\/dialogue>\n    <scene_description>He joins the fray, leaving Piggy standing alone, puckering.<\/scene_description>\n    <character>MISS PIGGY<\/character>\n    <parenthetical>(angry)<\/parenthetical>\n    <dialogue>That's it frog!!! Never again!!!! Never again!!!!!<\/dialogue>\n    <scene_description>She walks off and spots Gary sitting on the curb looking at something. She goes and sits next to him.<\/scene_description>\n    <character>MISS PIGGY<\/character>\n    <dialogue>He makes me so angry sometimes.<\/dialogue>\n    <scene_description>Gary looks at her sadly, then looks back at the framed photo of Mary in his hands. Miss Piggy takes this in and STEALS OFF without him noticing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMALL TOWN ELEMENTARY<\/stage_direction>\n    <scene_description>Mary is at her desk as her class takes a quiz when an invite is slipped under door. She opens the invite. It reads \"Ms. Mary Greggs and Her Class Are Invited to see the Muppets Perform as a guest of Gary Stevens.\" She opens the door. PIGGY IS STANDING THERE WAITING, DRESSED TO THE NINES.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Oh. Hello.<\/dialogue>\n    <character>MISS PIGGY<\/character>\n    <dialogue>May I come in?<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Um. Alright. Did you just slip this letter under the door?<\/dialogue>\n    <character>MISS PIGGY<\/character>\n    <dialogue>Perhaps.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>How did you get here?<\/dialogue>\n    <character>MISS PIGGY<\/character>\n    <dialogue>I may or may not have borrowed someone's jet without asking.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Kermit?<\/dialogue>\n    <character>MISS PIGGY<\/character>\n    <dialogue>Perhaps<\/dialogue>\n    <parenthetical>(she enters)<\/parenthetical>\n    <dialogue>Perhaps. I have come to talk to you about your boyfriend... what's his name again? Ah yes, that's it, Carey.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Gary.<\/dialogue>\n    <character>MISS PIGGY<\/character>\n    <dialogue>Gary. Indeed. Listen Carey, I think there has been a misunderstanding.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Mary.<\/dialogue>\n    <character>MISS PIGGY<\/character>\n    <dialogue>Piggy. Miss Piggy. And you see Carey, I know that you and Carey have been having some problems. And I know that I may be somewhat at fault for said problems so I just want you to know, I have no interest in Carey whatsoever.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Gary.<\/dialogue>\n    <character>MISS PIGGY<\/character>\n    <dialogue>Piggy. Listen dear, I know we got off on the wrong hoof, and I understand your jealousy, I really do, but if you must know, there is only one out there for me...<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Kermit?<\/dialogue>\n    <character>MISS PIGGY<\/character>\n    <dialogue>I can't say! But what I can say, Carey, is that Carey is a good man, and you must not let my beauty, fame or talent get in the way of the love you share. We are strong women you and I, and women like us must stick together. Perhaps this is best expressed in a female power anthem.<\/dialogue>\n    <scene_description>Insert \"Women in a Man's world\", a Dolly Parton-esque song between Piggy and Mary as the class watches on. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRESSING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Jack Black, in a tuxedo, is bound and gagged in a chair. Scooter enters enthusiastically.<\/scene_description>\n    <character>SCOOTER<\/character>\n    <dialogue>Five minutes to curtain Mr. Black!!!<\/dialogue>\n    <scene_description>Jack writhes in his chair and tries to yell through the gag.<\/scene_description>\n    <character>SCOOTER<\/character>\n    <dialogue>Can I get you anything?!?!<\/dialogue>\n    <parenthetical>(off Jack's grunts)<\/parenthetical>\n    <dialogue>Sounds great. Good luck out there!!!<\/dialogue>\n    <scene_description>Scooter exits.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WALTER'S DRESSING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Walter's getting make up done as Gary sits on the couch.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>So, are you good to go, buddy? What's your act gonna be! I'm dying to know!?! Are you excited!?!<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>Totally. I mean, there's going to be so many people out there, hundreds of people, but that'll just make it more fun, right? Right, totally.<\/dialogue>\n    <scene_description>Walter starts shaking.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>Are you shaking?<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>No. Just doing a little pre- performance loosening up. Probably should loosen up my teeth as well.<\/dialogue>\n    <scene_description>Walter's teeth start nervously chattering.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUPPET SHOW THEATER - AUDIENCE AREA<\/stage_direction>\n    <scene_description>ANGLE ON STATLER AND WALDORF IN THE BALCONY<\/scene_description>\n    <character>STATLER<\/character>\n    <dialogue>Well someone really cleared the room.<\/dialogue>\n    <character>WALDORF<\/character>\n    <dialogue>I wish we'd gotten the message!<\/dialogue>\n    <scene_description>PULL BACK to reveal there's no audience. The ABC Executive walks in and is horrified. She runs backstage.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACKSTAGE<\/stage_direction>\n    <scene_description>The ABC Executive walks up to Kermit and Scooter.<\/scene_description>\n    <character>ABC EXECUTIVE<\/character>\n    <dialogue>We have a problem. No audience.<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>Scooter, did you remember to pass out the fliers?<\/dialogue>\n    <character>SCOOTER<\/character>\n    <dialogue>Of course. We gave them all out.<\/dialogue>\n    <scene_description>Kermit looks at the flier.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>The time of the show... it's wrong! Dubai!! That's a totally irrational location for a Muppet Reunion!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUBAI ARENA - NIGHT<\/stage_direction>\n    <scene_description>Quick shot of a completely packed stadium in Dubai filled with Middle Eastern Muppet fans. People are getting restless.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUPPET STUDIOS LA BREA - BACK TO PRESENT<\/stage_direction>\n    <character>KERMIT<\/character>\n    <dialogue>It'll be OK. We'll think of something.<\/dialogue>\n    <character>ABC EXECUTIVE<\/character>\n    <dialogue>Hey, totally cool. Just keep in mind, I go down you go down.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAGE - BEHIND THE CURTAIN<\/stage_direction>\n    <scene_description>Kermit stands before all the Muppets.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>So we've encountered a tiny little totally not a big deal obstacle which is that we lack an audience.<\/dialogue>\n    <scene_description>The Muppets get upset, although Walter's relieved.<\/scene_description>\n    <character>FOZZIE BEAR<\/character>\n    <dialogue>Next time try sugarcoating it a little!<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>You guys still want to do this?<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>Putting on a Muppet show isn't about fame and fortune --<\/dialogue>\n    <character>MISS PIGGY<\/character>\n    <dialogue>Speak for yourself.<\/dialogue>\n    <character>FOZZIE BEAR<\/character>\n    <dialogue>It's about laughter --<\/dialogue>\n    <character>ROWLF<\/character>\n    <dialogue>And music --<\/dialogue>\n    <character>MISS PIGGY<\/character>\n    <dialogue>And being beautiful and glamorous --<\/dialogue>\n    <character>GONZO<\/character>\n    <dialogue>And setting fire to yourself --<\/dialogue>\n    <character>ANIMAL<\/character>\n    <dialogue>And smashing... flute --<\/dialogue>\n    <character>SAM THE EAGLE<\/character>\n    <dialogue>And waving a flag majestically --<\/dialogue>\n    <character>DR. BUNSEN HONEYDEW<\/character>\n    <dialogue>And advancing the cause of science -<\/dialogue>\n    <character>BEAKER<\/character>\n    <dialogue>Meep meep meep meep meep<\/dialogue>\n    <character>SWEDISH CHEF<\/character>\n    <dialogue>And Florgy borg borg --<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>So, what do you say?<\/dialogue>\n    <scene_description>The Muppets all look to each other considering. Smiles creep onto their faces. Scooter runs in.<\/scene_description>\n    <character>SCOOTER<\/character>\n    <dialogue>Some people just came in!<\/dialogue>\n    <scene_description>The Muppets POKE their heads out of the curtain to see Mary and her class sitting down. The rest of the audience is empty. Gary's eyes light up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARK AND GLOOMY BASEMENT ROOM - EVENING<\/stage_direction>\n    <scene_description>Scooter's on camera.<\/scene_description>\n    <character>SCOOTER<\/character>\n    <dialogue>And we've got three seconds till we air, and three, two, one --<\/dialogue>\n    <scene_description>PAN TO Kermit.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>It's the Best Muppet Show benefit Ever Made with our special guest, Jack Black!<\/dialogue>\n    <scene_description>WHIP PAN to Jack Black who's tied up in a chair.<\/scene_description>\n    <character>JACK BLACK<\/character>\n    <dialogue>I'm being held under duress! Please release me!<\/dialogue>\n    <scene_description>Mary and her class laugh.<\/scene_description>\n    <character>JACK BLACK<\/character>\n    <dialogue>Stop laughing! I'm not kidding! They've kidnapped me!<\/dialogue>\n    <scene_description>ANGLE ON STATLER AND WALDORF SITTING IN THEIR USUAL SEATS IN THE BALCONY.<\/scene_description>\n    <character>STATLER<\/character>\n    <dialogue>The only way you'd get me to watch this junk is if you kidnapped me as well!<\/dialogue>\n    <scene_description>MUPPET SHOW THEME STARTS PLAYING. The walls of the dark and gloomy basement room fall down revealing a stage. We see a shot for shot remake of the classic opening of the Muppet Show, except that Jack Black is tied up in every shot and there is no audience (except for Mary and her class).<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WALTER'S DRESSING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Walter watches the show on his monitor, much more confident now that there's no audience. Gary, in a tuxedo, checks in.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>You feeling a little better?<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>Yeah. I mean there's basically no audience. So I am ready to perform.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUPPET SHOW STAGE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Kermit stands center stage.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>And so once this graph --<\/dialogue>\n    <scene_description>Dr. Honeydew pulls a curtain revealing a GIANT LIGHT UP GRAPH SHAPED LIKE AN OIL FOUNTAIN.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>-- hits ten million viewers we get to keep the studio!!!<\/dialogue>\n    <scene_description>Mary and her class clap.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>Right now we're at five hundred viewers. Only 9999500 viewers left to go! And by the way... We have plenty of room here in the audience...<\/dialogue>\n    <parenthetical>(swing to empty audience)<\/parenthetical>\n    <dialogue>...so if you wanna come down and see the show live... well, we've got room for you!!<\/dialogue>\n    <scene_description>Kermit turns to Jack Black.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>So, Jack Black, are you excited or what?<\/dialogue>\n    <character>WALDORF<\/character>\n    <dialogue>Or what!<\/dialogue>\n    <scene_description>Waldorf and Statler laugh.<\/scene_description>\n    <character>JACK BLACK<\/character>\n    <dialogue>Please somebody, anybody call the police! This is real rope! I'm really tied up here!<\/dialogue>\n    <scene_description>Mary and her class laugh at his antics.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TEX RICHMAN'S SUPER HIGH TECH NERVE CENTER - NIGHT<\/stage_direction>\n    <scene_description>Tex Richman and his underlings sit before a bank of monitors. The graph of viewers watching the Muppet show is very low.<\/scene_description>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>Five hundred viewers?! If it stays that low, they won't air but five minutes. Turns out America don't care about talking felt!<\/dialogue>\n    <scene_description>Bobo looks hurt.<\/scene_description>\n    <character>BOBO<\/character>\n    <dialogue>Well, I'm technically talking felt.<\/dialogue>\n    <character>TEX RICHMAN<\/character>\n    <parenthetical>(sarcastic)<\/parenthetical>\n    <dialogue>Did I hurt feelings? Sorrry!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUPPET SHOW STAGE<\/stage_direction>\n    <scene_description>Gonzo walks on. A background drops that says in giant letters THE AMAZING GONZO.<\/scene_description>\n    <character>GONZO<\/character>\n    <dialogue>Prepare yourselves, ladies and germs, for Gonzo's most amazing feat next. Head bowling!<\/dialogue>\n    <scene_description>REVEAL that Jack has a pin on his head and Gonzo's holding a bowling ball.<\/scene_description>\n    <character>JACK BLACK<\/character>\n    <dialogue>I have not signed off on this!<\/dialogue>\n    <character>GONZO<\/character>\n    <dialogue>Drumroll please!<\/dialogue>\n    <scene_description>SFX: Animal plays the flute.<\/scene_description>\n    <character>GONZO<\/character>\n    <dialogue>And a one! And a two! And a...<\/dialogue>\n    <scene_description>Gonzo spins the bowling ball around and around.<\/scene_description>\n    <character>GONZO<\/character>\n    <dialogue>... three!<\/dialogue>\n    <scene_description>Jack flinches as Gonzo tries to let the bowling ball go. His arm is now spinning wildly around and around in a circle. Jack flinches. He remains flinched and then opens his eyes.<\/scene_description>\n    <character>GONZO<\/character>\n    <dialogue>My fingers got stuck. One sec.<\/dialogue>\n    <character>JACK BLACK<\/character>\n    <dialogue>Please make this end! Please!<\/dialogue>\n    <character>GONZO<\/character>\n    <dialogue>Here we go!<\/dialogue>\n    <scene_description>Jack flinches. Gonzo's arm continues to spin in circles.<\/scene_description>\n    <character>GONZO<\/character>\n    <dialogue>False alarm.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NORMAL AMERICAN LIVING ROOM<\/stage_direction>\n    <scene_description>A family stares bored at \"Soyburger and Numbers.\" The Mother starts channel surfing. She hits the Muppets. The LITTLE GIRL starts laughing joyfully at the antics.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TEX RICHMAN'S SUPER HIGH TECH NERVE CENTER<\/stage_direction>\n    <scene_description>The graph of viewers watching the Muppet show moves up.<\/scene_description>\n    <character>BOBO<\/character>\n    <dialogue>Sir, we have a problem.<\/dialogue>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>Just a commercial break. Nothing to worry about.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE CLOONEY'S MOD HOUSE - DAY<\/stage_direction>\n    <scene_description>George Clooney is watching television on an enormous flat screen and flipping through the channels. He lands on Gonzo spinning the bowling ball as Jack Black flinches. The entire audience laughs hysterically. George Clooney laughs and then looks angry. George Clooney picks up the phone and dials.<\/scene_description>\n    <character>GEORGE CLOONEY<\/character>\n    <dialogue>Why am I not a part of the Greatest Muppet Benefit Ever? Jack Black is killing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUPPET SHOW THEATER - AUDIENCE AREA<\/stage_direction>\n    <scene_description>People stream into the audience, filling it up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WALTER'S DRESSING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Gary pokes his head in. Walter could not be more relaxed.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>Great news! The theater's packed!<\/dialogue>\n    <scene_description>Walter instantly starts shaking, turns to Gary.<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>Oh. Great. You know, if you wouldn't mind, I think I just need a second alone? Just to get excited.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Of course, buddy. Everything will be great! And just so you know... I'm nervous too.<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>Who said anything about being nervous?<\/dialogue>\n    <scene_description>Walter tries in vain not to shake again. Gary smiles reassuringly and heads out. Walter starts to hyperventilate. Walter starts running around his dressing room in spazzy circles, dashes to the window, and crashes through it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUPPET SHOW STAGE<\/stage_direction>\n    <scene_description>Gonzo continues to spin his arm in a circle.<\/scene_description>\n    <character>JACK BLACK<\/character>\n    <dialogue>Just make it end already!<\/dialogue>\n    <scene_description>The audience laughs. Kermit steps in front of them.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>We'll get to see what happens with Head Bowling later in the show! And now FOZZIE BEAR!!!!<\/dialogue>\n    <scene_description>Jack and Gonzo get rolled off stage, Gonzo's arm still spinning, Jack still flinching. Fozzie comes onstage.<\/scene_description>\n    <character>FOZZIE<\/character>\n    <dialogue>So glad to see you all made it, especially with the traffic being so bad. You know what I do to get through traffic? Grin and bear it.<\/dialogue>\n    <scene_description>No one laughs except for the ABC Executive who's having an oddly great time. ANGLE ON Kermit getting nervous. He and Rowlf see Sweetums heading for the mysterious lever. He looks to Rowlf at the piano and gives him a nod to play him off, but again, Rowlf refuses. George Clooney suddenly walks past Kermit and onto the stage. ANGLE ON FOZZIE<\/scene_description>\n    <character>FOZZIE<\/character>\n    <dialogue>Is it me or is it getting hot in here? Wish I could take off my coat! Waca waca!<\/dialogue>\n    <scene_description>George Clooney heads onstage behind Fozzie. The audience cheers and laughs. Fozzie smiles, thinking his joke worked out. Then he turns.<\/scene_description>\n    <character>FOZZIE<\/character>\n    <dialogue>George Clooney! Oh my goodness! You made it!!<\/dialogue>\n    <character>GEORGE CLOONEY<\/character>\n    <dialogue>Just Bear-ily. Traffic was grizzly! Waca Waca Waca!!<\/dialogue>\n    <scene_description>The crowd erupts in laughter.<\/scene_description>\n    <character>FOZZIE<\/character>\n    <dialogue>Wait a minute, I just did almost the same joke! You'll laugh at his puns but not mine!?!<\/dialogue>\n    <character>GEORGE CLOONEY<\/character>\n    <dialogue>I'm a big star Fozzie, they'll laugh at anything I do.<\/dialogue>\n    <character>FOZZIE<\/character>\n    <dialogue>Not Leatherheads.<\/dialogue>\n    <scene_description>The crowd erupts in laughter, the ABC Exec chief among them.<\/scene_description>\n    <character>GEORGE CLOONEY<\/character>\n    <dialogue>Geez, will you lay off Leatherheads already?!<\/dialogue>\n    <character>FOZZIE<\/character>\n    <dialogue>What? You should be happy. That's the biggest laugh that movie ever got!<\/dialogue>\n    <scene_description>The crowd goes nuts. CUT TO A GRID OF CELEBRITIES in their various houses watching their television, including CHRIS ROCK, MARTIN SHORT, JON MEYER, NORAH JONES, SARAH JESSICA PARKER, HARRISON FORD, BEN STILLER and really whoever we think we can get, picking up their phones and calling their agents.<\/scene_description>\n    <character>CELEBRITIES<\/character>\n    <dialogue>Clooney's killing!\/Why am I not on this thing?\/I want in!\/I'm twice the talent of Clooney! He's just a pretty face!<\/dialogue>\n    <scene_description>PAN DOWN A ROW OF HOUSES IN THE SUBURBS AS WE SEE televisions flipping to the Muppet Show Benefit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TEX RICHMAN'S SUPER HIGH TECH NERVE CENTER<\/stage_direction>\n    <scene_description>The graph of viewers watching the Muppet Show goes higher.<\/scene_description>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>What? People are actually watching this. That can't be.<\/dialogue>\n    <parenthetical>(then, epiphany)<\/parenthetical>\n    <dialogue>I got it! Bobo! Check to see if I own the network!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUPPET SHOW STAGE<\/stage_direction>\n    <scene_description>GONZO is surrounded by Dr. Honeydew, Kermit, the ABC Executive and SEVERAL MUPPET DOCTORS who are trying to detach the bowling ball from his rapidly spinning arm. He KNOCKS a few of the doctors away. Jack is still tied up in his chair, flinching.<\/scene_description>\n    <character>JACK BLACK<\/character>\n    <dialogue>Could you at least move me away from the trajectory of the bowling ball? Please?<\/dialogue>\n    <scene_description>ANGLE ON THE CAMERAS as the camera men shut them down. Kermit runs up to them.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>What're you doing?<\/dialogue>\n    <character>CAMERAMAN<\/character>\n    <dialogue>The owner of the network, Tex Richman, wants us to shut down. Sorry. Let's go, boys.<\/dialogue>\n    <scene_description>The cameramen leave. The ABC Executive runs on.<\/scene_description>\n    <character>ABC EXECUTIVE<\/character>\n    <dialogue>Not to fear! I am personally turning them back on.<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>But if you go down --<\/dialogue>\n    <character>ABC EXECUTIVE<\/character>\n    <dialogue>-- then at least I'll have seen a great show.<\/dialogue>\n    <scene_description>Several Muppets run to the cameras and FLIP THEM BACK ON.<\/scene_description>\n    <character>PEPE THE PRAWN<\/character>\n    <dialogue>Do you know how to work one of these things?<\/dialogue>\n    <character>ABC EXECUTIVE<\/character>\n    <dialogue>I don't know how to make television. I'm just a TV executive, but we'll figure it out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Kermit REAPPEARS on the television. The camera work is terrible. Half Kermit's head is off screen.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>Sorry about that little technical difficulty! Now let's give a round of applause for Dr. Teeth and Electric Mayhem!!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TEX RICHMAN'S SUPER HIGH TECH NERVE CENTER<\/stage_direction>\n    <scene_description>Tex Richman and Bobo are in the nerve center.<\/scene_description>\n    <character>BOBO<\/character>\n    <dialogue>They're back on the air! And as hilarious as ever!<\/dialogue>\n    <scene_description>Tex shoots Bobo a look.<\/scene_description>\n    <character>BOBO<\/character>\n    <dialogue>I mean, and as annoying and terrible as ever.<\/dialogue>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>Only one thing to do now.<\/dialogue>\n    <scene_description>Tex PULLS OUT wire cutters.<\/scene_description>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>Get up on the roof and shut them down. Time to mothball these felt- brained morons.<\/dialogue>\n    <scene_description>Bobo looks upset. They LEAVE the high tech nerve center<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OSCAR MEYER WEINER MOBILE - CONTINUOUS<\/stage_direction>\n    <scene_description>-- and we reveal the high tech nerve center somehow fits inside an OSCAR MEYER WEINER MOBILE that's parked right outside the Muppet Studios.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MUPPET STUDIOS ROOF - NIGHT<\/stage_direction>\n    <scene_description>They get up to the giant antennae. Tex takes his giant wire cutters out and raises them like he's making a toast.<\/scene_description>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>To the end of Puppets, Muppets and Marionettes and to the sipping of tasty tasty Texas tea!!!!<\/dialogue>\n    <scene_description>Bobo grabs the wire cutters and tosses them away.<\/scene_description>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>What're you doing?<\/dialogue>\n    <character>BOBO<\/character>\n    <dialogue>Enough is enough, Tex.<\/dialogue>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>Enough is never enough, see!? And don't forget about the tea! The delectable black tea!<\/dialogue>\n    <character>BOBO<\/character>\n    <dialogue>It is true, Tex. I do love oil. But I am a Muppet in my heart. And I promise, you'll always remember how this \"felt!\"<\/dialogue>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>What does that mean?<\/dialogue>\n    <character>BOBO<\/character>\n    <dialogue>It's a pun!<\/dialogue>\n    <scene_description>Bobo HITS Tex off the roof.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUPPET MUSICAL STAGE - CONTINUOUS<\/stage_direction>\n    <scene_description>The band is about to play when JON MEYER, BRUCE SPRINGSTEEN and NORAH JONES join them.<\/scene_description>\n    <character>BRUCE SPRINGSTEEN<\/character>\n    <dialogue>Would you mind very much if we joined you?<\/dialogue>\n    <character>DR. TEETH<\/character>\n    <dialogue>If you have to. Animal, you sure you don't want to play drums?<\/dialogue>\n    <character>ANIMAL<\/character>\n    <dialogue>Can't... touch... drums. Drums Bad! Flute good!<\/dialogue>\n    <character>DR. TEETH<\/character>\n    <dialogue>They're here if you want 'em.<\/dialogue>\n    <parenthetical>(to Bruce, Jon and Norah)<\/parenthetical>\n    <dialogue>Just follow my lead. Keep the vocals tight and splashy. And a one, two, three go!!!<\/dialogue>\n    <scene_description>They start playing. INSERT SONG HERE BETWEEN JON MEYER, BRUCE SPRINGSTEEN AND NORAH JONES.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACKSTAGE - CONTINUOUS<\/stage_direction>\n    <scene_description>Fozzie comes up to Rowlf, still a tiny bit defensive.<\/scene_description>\n    <character>FOZZIE BEAR<\/character>\n    <dialogue>Well. You didn't have to play me off this time!<\/dialogue>\n    <scene_description>Rowlf walks over to the mysterious lever back stage.<\/scene_description>\n    <character>ROWLF<\/character>\n    <dialogue>I would never do anything to hurt you old friend. That's why I played you off that day. This lever opens a trap door to a shark tank. The network made us put it in back in the day for acts that weren't working.<\/dialogue>\n    <character>FOZZIE BEAR<\/character>\n    <dialogue>What? A shark tank? I don't believe you!<\/dialogue>\n    <scene_description>Fozzie hastily pulls the lever. ON STAGE OUT OF OUR VIEW WE HEAR PANIC: OH MY GOD!! BRUCE SPRINGSTEEN FELL INTO A SHARK TANK!!! Fozzie looks to Rowlf gratefully. With screaming in the background, they hug.<\/scene_description>\n    <character>NORAH JONES (O.S.)<\/character>\n    <dialogue>Ohmigod! Bruce is literally riding a shark! He can do anything!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOLLYWOOD BLVD - NIGHT<\/stage_direction>\n    <scene_description>Walter runs in a blind panic.<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>Ahhhhh!<\/dialogue>\n    <scene_description>He stops, out of breath, then starts running again.<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>Ahhhh!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUPPET SHOW STAGE<\/stage_direction>\n    <scene_description>MONTAGE OF ACTS CHINESE CHICKEN BALLET - Camilla, a bunch of chickens and Barysnikov dance in traditional Chinese costumes. HOMEMADE SALSA - The Swedish Chef dumps tomatoes, onion and hot peppers onto the floor. Then he and Rachel Ray do a sultry salsa dance over the ingredients. DINNER THEATER - The curtain rises to reveal a beautifully- set table filled with FOOD MUPPETS (a Muppet bread loaf, a Muppet roast with eyes, a Muppet basket of vegetables.) They begin performing Romeo and Juliet. ARNOLD SCHWARZENHEIFER AND HIS OPERATIC MUSSELS - The curtain rises to reveal a pig dressed like Arnold Schwarzenegger in a Terminator-style black leather jacket. He starts to sing an aria. He PULLS OFF his jacket to reveal he's covered in MUPPET MUSSELS, as in the shellfish. They all join in on the aria. ANGLE ON THE GRAPH: Muppet viewers go up and up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUPPET SHOW THEATER - AUDIENCE AREA<\/stage_direction>\n    <scene_description>Gary runs up to Mary and her class.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>What're you doing out here? Don't you still have to perform?<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>I wanted to thank you for coming.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Miss Piggy invited me. She explained everything. And then we sang about how hard it is to be a woman in a man's world. It was really inspiring.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>I love you.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>And I love you.<\/dialogue>\n    <scene_description>Mary and Gary kiss. ANGLE ON THE CURTAIN: Kermit, peering from behind the curtain, sees them kissing and realizes Gary's not dating Piggy.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACKSTAGE - CONTINUOUS<\/stage_direction>\n    <scene_description>Kermit looks from Mary and Gary kissing to Piggy who stares dramatically at a beautiful sunset and ocean vista as a wind gently blows her hair. Kermit NERVOUSLY GOES over to her. REVEAL that she's standing in front of an ocean vista set and that a fan is pointed her way.<\/scene_description>\n    <character>MISS PIGGY<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>Listen Piggy. I've been doing some thinking.<\/dialogue>\n    <character>FOZZIE BEAR<\/character>\n    <dialogue>Caw Caw.<\/dialogue>\n    <scene_description>REVEAL Fozzie standing there. Kermit and Piggy turn to him.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>What was that?<\/dialogue>\n    <character>FOZZIE BEAR<\/character>\n    <dialogue>A seagull. To increase the romantic atmosphere.<\/dialogue>\n    <scene_description>Kermit and Piggy stare at him until he leaves.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>And, well... I was just wondering if maybe, you might want to...<\/dialogue>\n    <character>MISS PIGGY<\/character>\n    <dialogue>I won't sing our duet. I just can't bare the heartache any longer.<\/dialogue>\n    <character>FOZZIE BEAR<\/character>\n    <parenthetical>(returning)<\/parenthetical>\n    <dialogue>I can bear it! Waca Waca<\/dialogue>\n    <scene_description>PRIVACY!!!\/ YOU ALREADY DID THAT JOKE!! Fozzie leaves again.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>It's not about the duet. I've missed all of you so much. But the person I missed the most is you. I'd rather be legless than not be with you.<\/dialogue>\n    <character>MISS PIGGY<\/character>\n    <dialogue>You'll move to Paris?<\/dialogue>\n    <scene_description>Kermit nods. PIGGY LEAPS UP EXCITEDLY!!! OH KERMIE!!! Music up: Opening strains of I'm Your Puppet. They gaze into each other's eyes. Kermit leans in and kisses Miss Piggy as the music begins to swell. Kermit extends his hand. Piggy throws off her rope revealing the most beautiful gown a pig has ever worn. She takes his hand. They walk a few steps hand in hand. Then:<\/scene_description>\n    <character>MISS PIGGY<\/character>\n    <parenthetical>(screaming)<\/parenthetical>\n    <scene_description>SORRY GARY! I'M DOING MY DUET WITH KERMIT!!! She smiles at Kermit and they walk out of frame together.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUPPET SHOW STAGE - NIGHT<\/stage_direction>\n    <scene_description>The curtain opens. Kermit's in a tux on a crescent moon piece with Miss Piggy in a chiffon bridal gown. The band starts playing, Animal still not at the drums. Miss Piggy and Kermit sing \"I'M YOUR PUPPET.\" The graph SPIKES TO 9.5 MILLION VIEWERS!!! The audience claps. Gary and Mary watch on smiling.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>I should go check on Walter! He's up next!<\/dialogue>\n    <scene_description>They peck and he heads backstage.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WALTER'S DRESSING ROOM<\/stage_direction>\n    <scene_description>Gary opens the door. Walter's gone, the window broken.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>Oh no.<\/dialogue>\n    <scene_description>Kermit arrives, excited.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>Alright!!! It's time for the big closer, is he ready??<\/dialogue>\n    <scene_description>Kermit sees the broken window and SCREAMS!!!<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>He must have gotten stage fright!<\/dialogue>\n    <character>KERMIT<\/character>\n    <parenthetical>(to Gary)<\/parenthetical>\n    <dialogue>We've got to find him! Let's split up! Go! GO!<\/dialogue>\n    <parenthetical>(Gary exits, then to Scooter)<\/parenthetical>\n    <dialogue>Find someone to fill! We've almost made it!!!<\/dialogue>\n    <character>SCOOTER<\/character>\n    <dialogue>But sir, we're running out of stars! We're really scraping the bottom of the barrel now!!!!<\/dialogue>\n    <scene_description>ANGLE ON BILL HADER about to go onstage.<\/scene_description>\n    <character>BILL HADER<\/character>\n    <dialogue>I heard that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUS STOP - NIGHT<\/stage_direction>\n    <scene_description>Walter stops running and stops in front of an electronics store with several televisions in the window playing the Muppet Benefit Show.<\/scene_description>\n    <character>GARY (O.S.)<\/character>\n    <dialogue>What're you doing, Walter?<\/dialogue>\n    <scene_description>Walter turns to find Gary running up to him.<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>How did you find me?<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>This is where people always go when they're running away from a personal challenge. See?<\/dialogue>\n    <scene_description>REVEAL that there's a woman dressed as the witch from Wicked, Conan O'Brien and a guy in a Jack in the Box uniform.<\/scene_description>\n    <character>WITCH FROM WICKED<\/character>\n    <parenthetical>(talking to herself)<\/parenthetical>\n    <dialogue>What if I forget all the lyrics? What then!?<\/dialogue>\n    <character>CONAN O'BRIEN<\/character>\n    <parenthetical>(talking to himself)<\/parenthetical>\n    <dialogue>I just don't know if I can do another show tonight and keep up the quality!<\/dialogue>\n    <character>JACK IN THE BOX GUY<\/character>\n    <parenthetical>(talking to himself)<\/parenthetical>\n    <dialogue>What if I can't master how to make the BBQ Bacon Sirloin burger?!<\/dialogue>\n    <scene_description>BACK TO WALTER.<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>I don't have an act! I can only go out there if you go with me!<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Are you sure? I mean this is your big chance...<\/dialogue>\n    <scene_description>WALTER JUMPS ONTO GARY'S ARM AND SLAPS HIM.<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>I can't handle the pressure!!!!! I can only do it if you're there with me!!! Please!!!!<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Anything you need buddy. You still remember our routine?<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>I'm pretty sure. Let's go!<\/dialogue>\n    <scene_description>Gary and Walter turn, revealing that the Muppet Studios are right behind them.<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>It felt like I ran way farther.<\/dialogue>\n    <scene_description>They run into the studio.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACKSTAGE - CONTINUOUS<\/stage_direction>\n    <scene_description>Scooter's off stage, panicked. Fozzie on stage looks to Scooter and gestures \"What now?\" Scooter looks around concerned, sees Chef walking by, grabs him and pushes him onstage.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUPPET STUDIOS STAGE - CONTINUOUS<\/stage_direction>\n    <character>FOZZIE BEAR<\/character>\n    <dialogue>And now, for an encore, the Swedish Chef!<\/dialogue>\n    <scene_description>Chef walks on stage tentatively, no act prepared. THE GRAPH IS HOLDING STEADY AT 9.5 MILLION. No phones ring. Chef looks around the stage. There's no cooking equipment set up. He stands there silently. The audience grows impatient. Angle on: Backstage the Muppets look around nervously. IN A FLASH BEAKER AND HONEYDEW QUICKLY WHEEL THE SLOW MOTION MACHINE ON STAGE RIGHT TO CHEF AND QUICKLY TURN THE DIAL TO \"PASTA.\" DELICIOUS SPAGHETTI AND MEATBALLS FLY EVERYWHERE AND CHEF GOES NUTS. FLURGY BURGY BURGY!!!!! The audience applauds. More silence. THE GRAPH HAS NOT MOVED. THEN: GARY RUNS ONSTAGE WITH WALTER ON HIS HAND AND NODS TO FOZZIE! Fozzie quickly runs to the microphone.<\/scene_description>\n    <character>FOZZIE BEAR<\/character>\n    <dialogue>Now get ready for the biggest event of the night, Gary and our newest Muppet, Walter!!!!!<\/dialogue>\n    <scene_description>Fozzie claps and walks offstage leaving Gary holding Walter like a puppet, like the act they did at the beginning of the movie in Venice. They're both in tuxes. The band begins playing.<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>We're friends...<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>Oh yes we're friends...<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Until the end...<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>The very end...<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>And nothing, no sir, nothing...<\/dialogue>\n    <scene_description>Without warning, Gary TOSSES Walter off his hand and onto the stage! IN SLOW MOTION, Walter flies through the air and gives Gary a \"what are you doing\" look. Walter lands, limp, on the stage. The audience lets out a SHOCKED GASP! A long silent moment.<\/scene_description>\n    <character>GARY<\/character>\n    <parenthetical>(sotto to Walter)<\/parenthetical>\n    <dialogue>C'mon, Walt. You can do it. This is your big chance, I'm not letting you pass it up.<\/dialogue>\n    <scene_description>Long beat. Then Walter sits up.<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>Can tear us apart!!!<\/dialogue>\n    <scene_description>Walter begins tap dancing... INCREDIBLY WELL. The audience applauds loudly.<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>I'm a dancer! That's it!!! MY MUPPET TALENT IS I CAN DANCE!!!<\/dialogue>\n    <scene_description>Gary smiles and slowly takes a step back to give Walter center stage. Walter is a brilliant and diverse dancer. He does ballet, then capoeira, then a somersault and a cartwheel. The audience is going nuts. As his dance solo comes to an end, Walter does a standing backflip and lands flawlessly RIGHT ON GARY'S HAND! It should look like a mix of Cirque de Soleil, Stomp and Crouching Tiger, Hidden Dragon.<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>No nothing! Nothing!<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Can tear!<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>Us!<\/dialogue>\n    <character>GARY\/WALTER<\/character>\n    <dialogue>Apart!!!!!<\/dialogue>\n    <scene_description>Gary tosses Walter up into a triple flip which really just looks like someone threw a puppet up into the air. He drops onto the ground on his feet. THE CROWD GOES NUTS! Phone's are ringing off the hook! The graph spikes to 9.9 Million viewers. The crowd rises to its feet in anticipation as the graph ticks closer to 10 million. Muppets run on stage exuberantly and hug Walter and Gary and each other. Gonzo, bowling ball still spinning in his arm dances around the stage. Suddenly the lights go out and house lights come on. Tex Richman HAS APPEARED on stage. He pulls a GIANT RIFLE OUT and points it at Kermit and Miss Piggy. THE GRAPH ABRUPTLY STOPS AT 9,999,999.<\/scene_description>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>I tried to negotiate. I tried to talk reason. But no, you all had to put on a show and make America fall in love with you all over again. Well how's this for a show, America?<\/dialogue>\n    <character>GONZO<\/character>\n    <dialogue>Somebody arrest him! He's got a gun!<\/dialogue>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>I'm aiming at a pig and a frog! What they gonna get me for, hunting without a license?!<\/dialogue>\n    <scene_description>Just as Tex is about to pull the trigger the movie FREEZES. DR. HONEYDEW appears.<\/scene_description>\n    <character>DR. HONEYDEW<\/character>\n    <dialogue>We here at Muppet Labs are aware that puppetry is not the most advanced form of entertainment.<\/dialogue>\n    <scene_description>His assistants PULL the Temporal Displace Machine on screen.<\/scene_description>\n    <character>DR. HONEYDEW<\/character>\n    <dialogue>Therefore we now present to you the top secret fourth setting of the Temporal Displacement Machine dial.<\/dialogue>\n    <scene_description>Dr. Honeydew flips the dial PAST PASTA to \"Bullet-Point-of- View-O-Matic.\"<\/scene_description>\n    <character>DR. HONEYDEW<\/character>\n    <dialogue>Bullet-Point-of-View-O-Matic. Once the fake Texan pulls the trigger, we will go into an exciting computer animated point of view of a slo mo bullet, thus bringing you the cutting edge of visual stimuli!<\/dialogue>\n    <scene_description>BACK TO THE ACTION.<\/scene_description>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>If I don't get my oil, then no one does.<\/dialogue>\n    <scene_description>Dr. Honeydew FLIPS ON THE DEVICE and then GOES OFFSCREEN. Tex Richman PULLS THE TRIGGER. We go to BULLET POINT OF VIEW ie. We're looking down the shaft of the rifle at Kermit and Miss Piggy. Everyone is now moving in slo-mo. The gun fires! And the bullet emerges... as a puppet bullet at the end of a stick with whooshing bullet noises made by the Muppet who's holding the stick. The Muppets are moving in slomo, but it should be clear that they're pretending to move in slomo. Fozzie walks in.<\/scene_description>\n    <character>FOZZIE<\/character>\n    <dialogue>What's going on guys?<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>Ixnay ormalnay eedspay!<\/dialogue>\n    <character>FOZZIE<\/character>\n    <dialogue>Oh, slo mo bullet pov! Sorry!<\/dialogue>\n    <scene_description>Fozzie goes into slo mo as well, blinking. He follows the bullet with his eyes, like a bad actor, mouth open, eyes super wide. The bullet continues on its trajectory towards Kermit and Miss Piggy. Tex is smiling evil-y when Gonzo's bowling ball suddenly FLIES OFF HIS FINGERS and BLOCKS the bullet! We RESUME NORMAL SPEED!<\/scene_description>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>What! No!<\/dialogue>\n    <scene_description>Tex pumps his gun and is about to fire again when Piggy KARATE CHOPS it out of his hands. ENOUGH OF YOU, MISTER! HAAAY-YAAA The audience cheers. But the graph does not move.<\/scene_description>\n    <character>FOZZIE BEAR<\/character>\n    <dialogue>What's happening, why did the graph stop?<\/dialogue>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>Looks like you've run out of viewers- and luck!! And just in time.<\/dialogue>\n    <scene_description>He motions to a clock on the graph as it ticks to midnight. A series of sad buzzer sounds go off and the graph flashes red NOOOOOOO!!!!!!!<\/scene_description>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>YEEEEE-HAAAAWWWWWWWWWW. The studio is mine see!!!! It's mine!!!! And so are the Muppets!!! You gaggle of misfits will never make anyone not laugh ever again!!!!!<\/dialogue>\n    <scene_description>The crowd and the Muppets are in stunned silence. Angle on Statler and Waldorf.<\/scene_description>\n    <character>STATLER<\/character>\n    <dialogue>Waldorf, I don't know what to say. I feel... sad.<\/dialogue>\n    <character>WALDORF<\/character>\n    <dialogue>I don't get it?<\/dialogue>\n    <character>STATLER<\/character>\n    <dialogue>It's not a sardonic joke, it's the truth.<\/dialogue>\n    <character>WALDORF<\/character>\n    <dialogue>Oh. Ummm. I guess I do to.<\/dialogue>\n    <scene_description>Waldorf begins to cry, followed by Statler. The audience also begins to cry. A series of quick shots of home viewers also crying. All of our celebrities back stage are crying. On stage, all of the Muppets begin to cry and comfort each other. Tex watches on pleased. Fozzie, determined, steps forward.<\/scene_description>\n    <character>FOZZIE BEAR<\/character>\n    <parenthetical>(holding back tears)<\/parenthetical>\n    <dialogue>Everyone stop crying! Don't give him the satisfaction! This isn't over!<\/dialogue>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>Oh it's as over as Barney the Dinosaur. Nothing you can do. The Muppets are done for good!!<\/dialogue>\n    <character>FOZZIE BEAR<\/character>\n    <dialogue>You might own the studio, and you might own the Muppets, but you don't own our friendship and as long as we got that... well we'll figure something out. I promise you, this ain't over! You messed with the wrong bear! So don't you worry Tex Richman, I guarantee \"oil\" be seeing you very soon!!<\/dialogue>\n    <scene_description>Long beat as Tex Richman stares at Fozzie. Something begins to happen to his face. He looks pained. It takes a long time, but finally a strange sound emerges from Tex... a laugh. It grows and he begins laughing hard.<\/scene_description>\n    <character>TEX RICHMAN<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>\"Oil\" be seeing you. I get it. Because it sounds like \"I'll be seeing you\", but instead you said \"Oil\", because of my obsessive, almost cartoonish love of Oil! I get it!!!! I'm laughing!!!! I'M LAUGHING!!!! HAHAHAHAH!! \"OIL!!!!!\" HAHAHAHAHAH<\/dialogue>\n    <scene_description>Tex falls to his knees crying he is laughing so hard. Everyone watches on confused.<\/scene_description>\n    <character>TEX RICHMAN<\/character>\n    <parenthetical>(through tears and laughter)<\/parenthetical>\n    <dialogue>You made me laugh!!! Finally!! Thank you!!! Keep it!!! You can keep the studio!!! It's yours!! Just keep making me laugh!!!<\/dialogue>\n    <character>FOZZIE BEAR<\/character>\n    <dialogue>Are you kidding, we're a \"barrel\" of laughs.<\/dialogue>\n    <scene_description>Tex immediately stops laughing and glares at Fozzie.<\/scene_description>\n    <character>FOZZIE BEAR<\/character>\n    <dialogue>A barrel!? Like a barrel of oil?<\/dialogue>\n    <scene_description>Tex thinks, then shakes his head no.<\/scene_description>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>Do the other one again.<\/dialogue>\n    <character>FOZZIE BEAR<\/character>\n    <dialogue>Oil be seeing you later?<\/dialogue>\n    <scene_description>Tex starts laughing hard again.<\/scene_description>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>Yes!!! That's the one!!! HAHAHAHA. It's yours, the studio is yours!!<\/dialogue>\n    <scene_description>EVERYONE GOES NUTS CELEBRATING! ALL THE HAPPY SOUND EFFECTS GO OFF IN THE THEATER!!!<\/scene_description>\n    <character>MISS PIGGY<\/character>\n    <dialogue>We did it, Kermy! We did it!<\/dialogue>\n    <character>KERMIT<\/character>\n    <dialogue>We did do it. And we did it together!!! WE'RE BACK!!<\/dialogue>\n    <parenthetical>(to the Muppets)<\/parenthetical>\n    <dialogue>And if it's okay with you guys.<\/dialogue>\n    <parenthetical>(to the audience)<\/parenthetical>\n    <dialogue>And if it's okay with all of you, well, we want to bring back The Muppet Show! I want to do this every week! With more acts, and more laughter and more fun! What do you say!?!<\/dialogue>\n    <scene_description>All the Muppets and the crowd erupts in cheers. Miss Piggy and Kermit hug. The Muppets go into a FINAL GIANT MUSICAL NUMBER. TOGETHER AGAIN!!!!!<\/scene_description>\n    <character>MUPPETS<\/character>\n    <parenthetical>(singing)<\/parenthetical>\n    <scene_description>TOGETHER AGAIN!!! AIN'T IT GOOD TO BE TOGETHER AGAIN!!!!! ETC..... The music ends. Except for the drums. ANGLE ON ANIMAL who is playing the drums.<\/scene_description>\n    <character>MUPPETS<\/character>\n    <parenthetical>(singing)<\/parenthetical>\n    <dialogue>Together again!<\/dialogue>\n    <scene_description>Animal won't stop playing the drums.<\/scene_description>\n    <character>MUPPETS<\/character>\n    <parenthetical>(singing)<\/parenthetical>\n    <dialogue>Ain't it good to be...!<\/dialogue>\n    <scene_description>Animal still won't stop playing.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>I think we're done here, Animal.<\/dialogue>\n    <character>DR. TEETH<\/character>\n    <dialogue>Don't touch him. He's working something out.<\/dialogue>\n    <character>ANIMAL<\/character>\n    <dialogue>Ah! Ahhhh! Drums taking hold!!!!<\/dialogue>\n    <scene_description>Animal's going crazy on the drums. Animal pounds on the drums so hard he starts to bash his way through the drums and into the ground. He's digging a hole with the drums.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>Someone stop him!<\/dialogue>\n    <scene_description>Mortar and bricks fly out of the hole as Animal digs himself deeper and deeper. Then silence...<\/scene_description>\n    <character>ANIMAL<\/character>\n    <dialogue>Uh oh.<\/dialogue>\n    <scene_description>There's an UNEARTHLY SHAKING and suddenly...<\/scene_description>\n    <character>ANIMAL<\/character>\n    <dialogue>Oil.<\/dialogue>\n    <scene_description>Animal SHOOTS OUT OF THE WHOLE on a FOUNTAIN OF OIL.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MUPPET STUDIOS - CONTINUOUS<\/stage_direction>\n    <scene_description>The fountain of oil SHOOTS THROUGH THE ROOF, Animal riding the top of it. AYAYAYAYAYAYAAAAAA!!!!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUPPET SHOW STAGE - CONTINUOUS<\/stage_direction>\n    <scene_description>The Muppets running this way and that. Oil fountains start BURSTING through the floorboards. Chaos.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOS ANGELES<\/stage_direction>\n    <scene_description>In our one or maybe two CGI shots in the entire film, we see a wide shot of Los Angeles, oil fountains exploding ridiculously high into the air under the Muppet Studio.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MUPPET STUDIOS - NIGHT<\/stage_direction>\n    <scene_description>The gang celebrate under the sweet, sweet oil.<\/scene_description>\n    <character>GEORGE CLOONEY<\/character>\n    <dialogue>I loved that whole kidnapping bit. How'd you think of it?<\/dialogue>\n    <character>JACK BLACK<\/character>\n    <dialogue>That was no bit. I was kidnapped. I was scared for my life.<\/dialogue>\n    <character>GEORGE CLOONEY<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>You are a crack up. You and your family should come out to Lake Como. We'll drink Chianti on jet skis.<\/dialogue>\n    <scene_description>WE PAN to Tex Richman in HANDCUFFS. A BUSINESSMAN comes up to him.<\/scene_description>\n    <character>BUSINESSMAN<\/character>\n    <dialogue>I represent the shareholders of Richman Oil. You are hereby relieved of your duties as CEO.<\/dialogue>\n    <character>TEX RICHMAN<\/character>\n    <dialogue>What? Why? All I live for is tasty, tasty oil!<\/dialogue>\n    <character>BUSINESSMAN<\/character>\n    <dialogue>Because instead of doing the work that being a CEO of a global multinational corporation requires, you spent all your time in disguise trying to get the oil that's under the Muppet studios. You realize there's only like twenty barrels down there?<\/dialogue>\n    <scene_description>As he says that the oil fountain immediately DRIES UP.<\/scene_description>\n    <character>BUSINESSMAN<\/character>\n    <dialogue>Good day, Tex.<\/dialogue>\n    <scene_description>ANGLE ON Walter, Gary, Piggy and Kermit.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>Terrific dancing, Walter. One of the best Muppet performances I've ever seen!! We'd be really happy if you wanted to join us on the Muppet Show!<\/dialogue>\n    <scene_description>Beat...<\/scene_description>\n    <character>WALTER<\/character>\n    <dialogue>Peaaaaaaaaaaaaa...almond!<\/dialogue>\n    <character>MISS PIGGY<\/character>\n    <dialogue>At least he's moved onto a different kind of nut.<\/dialogue>\n    <scene_description>Kermit and Miss Piggy head off. Mary shows up.<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>Amazing, guys. Really amazing.<\/dialogue>\n    <character>GARY\/WALTER<\/character>\n    <dialogue>It was all him.\/It was all him.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Walter, I have a friend I'd like to introduce you to. We met in the ladies room. She couldn't stop talking about your act.<\/dialogue>\n    <scene_description>From behind Mary steps a PINK REPLICA of Walter.<\/scene_description>\n    <character>PENELOPE<\/character>\n    <dialogue>Hi. I'm Penelope.<\/dialogue>\n    <character>WALTER<\/character>\n    <dialogue>Pleasure to meet you. I'm Walter.<\/dialogue>\n    <character>PENELOPE<\/character>\n    <parenthetical>(shaking)<\/parenthetical>\n    <dialogue>PPPPPP...Penelope! I'm a big fan. PPPPPP....Penelope!!<\/dialogue>\n    <scene_description>Against the full moon, Gary and Mary kiss. We PAN past them to Kermit and Miss Piggy kissing, to Gonzo and Camilla the Chicken kissing to the Swedish Chef and Rachel Ray kissing. A photographer runs in front of all the Muppets. We recognize him as the same photographer who took the fated \"TIME\" picture years ago.<\/scene_description>\n    <character>PHOTOGRAPHER<\/character>\n    <dialogue>Kermit! A picture!<\/dialogue>\n    <scene_description>Kermit shakes his head no.<\/scene_description>\n    <character>KERMIT<\/character>\n    <dialogue>Sorry sir. Not this time. Not without my friends.<\/dialogue>\n    <scene_description>The Muppets all look to each other and smile. They gather and put their arms around each other.<\/scene_description>\n    <character>RIZZO<\/character>\n    <parenthetical>(as he bites into some)<\/parenthetical>\n    <dialogue>Say CHEESE!!!!!<\/dialogue>\n    <scene_description>Flash. Our gang, together, smiling. PAPER UP: THE MUPPETS ARE BACK!!! Back to live: The Muppets hug and celebrate. We pull up for a final crane shot when the MAHNA MAHNA CREATURE jumps into frame and we pull back to closeup.<\/scene_description>\n    <character>MAHNA MAHNA<\/character>\n    <dialogue>Manamana!<\/dialogue>\n    <scene_description>The TWO SNOWTHS pop into frame.<\/scene_description>\n    <character>SNOWTHS<\/character>\n    <dialogue>Doo doo da da da!<\/dialogue>\n    <character>MAHNA MAHNA<\/character>\n    <dialogue>Manamana!<\/dialogue>\n    <character>SNOWTHS<\/character>\n    <dialogue>Doo doo doo doo!<\/dialogue>\n    <scene_description>We close with A MONTAGE OF EVERYONE in the film, Muppets, actors, celebrities, crew, etc. singing Manamana with Mahna Mahna. FADE OUT.:<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Walter, born a Muppet and a resident of Smalltown, is a lifelong fan of The Muppet Show. His older brother Gary intends to take his long-term girlfriend Mary on a vacation to Los Angeles. Mary wants Gary to propose to her, but feels his devotion to Walter distracts from their relationship. The trio tour the rundown Muppet Studios, where Walter sneaks into Kermit the Frog\u2019s office. There, he overhears oil magnate Tex Richman and his henchmen, Uncle Deadly and Bobo the Bear, intending to buy the Muppet Theatre from Statler and Waldorf. The old men state that the Muppets could repurchase the theatre if they raised $10 million before their original contract expires. However, in private, Richman reveals he intends to destroy the theatre to drill for oil. Walter informs Gary and Mary. They visit Kermit in his mansion, who realizes the Muppets would have to reunite and throw a telethon to raise the money. Though the Muppets have gone their separate ways, Kermit is convinced to reunite them. He convinces Fozzie Bear to join in, having been performing in Reno with the Moopets, a tribute band of uncouth Muppet impersonators. Gonzo, working as a plumbing magnate, at first refuses to join, but changes his mind. Animal attends a celebrity anger management clinic, sponsored by Jack Black, and refuses to play the drums. The other various Muppets are recruited via \"map montage\". The group travels to Paris to recruit Miss Piggy, who is an editor for Vogue Paris. At first she refuses to return, but later does so when her Moopet counterpart Miss Poogy is hired. The Muppets pitch their telethon to several networks. CDE network executive Veronica Martin agrees to air their show if they gain a celebrity host and The Muppets rebuild the theatre. Needing enough acts to fill the telethon's two-hour timeslot, Kermit encourages Walter to find a talent. With Gary helping Walter, Mary goes sightseeing alone and eventually returns to Smalltown. With time running out, a desperate Kermit tries to implore Richman to return the studio, but he refuses, revealing he will give the Muppets\u2019 trademarks to the Moopets. Kermit gives up, prompting Miss Piggy to rally the other Muppets to kidnap Jack Black to be the host. Gary discovers Mary has left and returns to Smalltown. The Muppets convince Kermit to participate in the telethon, which slowly gains both an audience and rising funds, thanks to telephone pledges from celebrity callers. Richman repeatedly attempts to sabotage the show, cutting the theatre's power, but Gary and Mary arrive to restore it. A guilt-stricken Uncle Deadly betrays Richman and stops his second attempt at sabotage. Kermit and Miss Piggy reconcile, leading the Muppets to perform a rendition of \u201cRainbow Connection\u201d. During this, Animal regains his love for drumming. Walter, with encouragement from Gary, performs a whistling act and earns a standing ovation. Richman, refusing to accept defeat, deliberately crashes Kermit's car into a telephone pole, cutting off the phone lines just short of the goal, and evicts the Muppets from the theatre. However, the group are met by adoring fans outside, Walter joining the Muppets. Gary proposes to Mary, and Richman, after being struck in the head by Gonzo's bowling ball, laughs for the first time and willingly returns the theatre to the Muppets."}
{"movie_name":"The Wrestler_2008","imdb_id":"tt1125849","script":"<script>\n  <scene>\n    <stage_direction>THE WRESTLER<\/stage_direction>\n    <scene_description>MUSIC : DEF LEPPARD - `` ROCK ROCK -LRB- TILL YOU DROP -RRB- '' Over OPENING CREDITS , a montage of OLD WRESTLING - MAGAZINE PHOTOS . Action shots of RANDY `` THE RAM '' ROBINSON taking on a keffiyeh - wearing heel named THE AYATOLLAH before 20,000 screaming fans at Madison Square Garden . The sounds of a SCREAMING , CHEERING CROWD overwhelm us . Over the images , RINGSIDE ANNOUNCERS boom commentary : - `` Oh , my ! Ram hit with a devastating piledriver ! '' - `` I 've never seen a guy get fired into a buckle that hard ! '' - `` The Ayatollah taking it to The Ram outside the ring ! '' - `` Ram absorbing tremendous punishment ! How much more can he take ? '' - `` Wait a minute . Look at this . The Ram is getting up ! '' - `` He 's coming back ! I do n't believe it ! '' - `` Suplex ! '' - `` Powerbomb ! '' - `` Randy The Ram Robinson giving absolutely everything he 's got ! This is the very definition of heart ! '' - `` Just listen to this crowd ! The entire Garden , 20,000 people , are on their feet ! '' - `` Ram climbing to the top rope . The crowd going wild . They know what 's coming . '' A PHOTO of Randy standing on the top rope , his bent arms pressed against the sides of his head like RAM 'S HORNS . - `` Uh - oh , the horns are out . Here it comes . '' We FREEZE on a final image of Randy FLYING HIGH ABOVE THE CANVAS , horns out , poised to crash down on The Ayatollah . - `` Ram Jam ! Lights out ! '' Over this , the sound of the crowd GOING CRAZY . The Def Leppard song rings out as we .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EAST WILMINGTON HIGH SCHOOL - LOCKER ROOM - NIGHT<\/stage_direction>\n    <scene_description>Present day . Post - match . Randy , pushing 50 , still with the same long , dyed - blond mane , sits on a bench in the boys locker room of a Wilmington , Delaware high school . CHYRON : 20 YEARS LATER He pulls off his purple spandex wrestling tights . Lime - green ram 's horns run up the sides . They 're the same kind of tights as in the ` 80s pics - and may well be the actual same pair . Naked except for a jockstrap , Randy takes a breath . Achy , sweaty , saggy , exhausted . A battered warrior . Scars all over his body . Despite the rough shape he 's in , it 's clear he 's just given it his all in the ring . He swigs down a few pills with a beer . Promoter SCOTT BRUMBERG , a heavyset man in a Mets jersey with BRUMBERG - 44 on the back , approaches .<\/scene_description>\n    <character>SCOTT BRUMBERG<\/character>\n    <dialogue>Great show, Ram. Ya turned it out.<\/dialogue>\n    <parenthetical>( a little sad . )<\/parenthetical>\n    <dialogue>As always.<\/dialogue>\n    <scene_description>He hands Randy some cash . Randy counts it . It 's not much .<\/scene_description>\n    <character>SCOTT BRUMBERG<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Sorry. I was sure the gate'd be bigger.<\/dialogue>\n    <scene_description>Randy just shrugs resignedly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EAST WILMINGTON HIGH SCHOOL - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy , changed into his street clothes , limps out of the school , each step labored and painful . Waiting near the entrance are TWO FANS , both men in their 30s .<\/scene_description>\n    <character>FAN #1<\/character>\n    <dialogue>Yo, Ram. Think you could?<\/dialogue>\n    <scene_description>Fan # 1 holds out a SHARPIE and an old WRESTLING PROGRAM from the ` 80s . On the cover is a shot of Randy wrestling CORPORAL PUNISHMENT , a heel in a drill instructor get - up . Randy takes the program , happy to oblige .<\/scene_description>\n    <character>FAN #1<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I was there.<\/dialogue>\n    <scene_description>Randy hands back the program . FAN # 2 hands him a MINI - POSTER . The faded , mid - '80s poster features Randy , biceps bulging , crushing a head of broccoli between his fists . Across the top , it says `` EAT YOUR VEGETABLES , PUNK ! ''<\/scene_description>\n    <character>FAN #2<\/character>\n    <parenthetical>( as Randy signs . )<\/parenthetical>\n    <dialogue>My first match ever was you versus Davey Diamond at the Spectrum.<\/dialogue>\n    <parenthetical>( NOSTALGIC . )<\/parenthetical>\n    <dialogue>1985.<\/dialogue>\n    <scene_description>Randy smiles a little . He remembers , too . He hands back the poster . Fan # 2 looks fondly at Randy , a part of his boyhood .<\/scene_description>\n    <character>FAN #2<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( vaguely sad . )<\/parenthetical>\n    <dialogue>You were awesome.<\/dialogue>\n    <scene_description>Randy nods , a bit uncomfortably . The two fans , muttering thanks , drift off into the Delaware night . Randy is left standing alone , still holding Fan # 1 's pen . He walks over to a beat - up old CONVERSION VAN and climbs in . Turns on the engine . Music starts up on the stereo mid - song . MUSIC : CINDERELLA - `` DO N'T KNOW WHAT YOU GOT -LRB- TIL IT 'S GONE -RRB- ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAN - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy is driving . On the dashboard is an old ACTION FIGURE OF HIMSELF from his WWF days . On the stereo , a different song plays , later in the same album . MUSIC : CINDERELLA - `` FIRE AND ICE '' Randy pulls into the entrance gate of PARADISE OAKS TRAILER PARK .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARADISE OAKS - RANDY'S TRAILER - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy parks in front of his TRAILER . He gets out and heads toward it . A dismayed look comes over his face . RANDY 'S POV : The door is PADLOCKED . He tugs on the lock . Tugs on the door . No dice . He violently kicks the padlock in a moment of rage .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RANDY'S TRAILER - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy resignedly climbs into the BACK OF HIS VAN .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACK OF VAN - LATER<\/stage_direction>\n    <scene_description>Randy lies on a scrunched - up mattress on the floor , unable to sleep . The van wall is decorated with a MINI - SHRINE Randy has built to himself . Old magazine and newspaper clippings , mini - posters , etc. . A few changes of clothes lie in a messy heap in the corner . He grabs a bottle of pills and pops a few , washing them down with a beer . He closes his eyes , trying to unwind .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACK OF VAN - NEXT MORNING<\/stage_direction>\n    <scene_description>Randy is asleep in his clothes from the night before . He 's STIRRED AWAKE by the sound of kids YELLING and BANGING on the outside of van .<\/scene_description>\n    <character>KID'S VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Ram!<\/dialogue>\n    <scene_description>He slowly sits upright , massaging his pain - wracked knees . Every inch of him feels like shit .<\/scene_description>\n    <character>ANOTHER KID'S VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Raaam!<\/dialogue>\n    <scene_description>RANDY 'S POV : Through the front windshield , TWO 8 - YEAR - OLD KIDS , boosted by TWO OTHER KIDS , are peering in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARADISE OAKS - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy is playfully tussling with the four kids . He picks one of them up and `` bodyslams '' him .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( announcer voice . )<\/parenthetical>\n    <dialogue>Oh, my. look out!<\/dialogue>\n    <scene_description>He picks up another one and fake - drops him on his head .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Suplex!<\/dialogue>\n    <scene_description>He slams a third one . The kids are squealing with delight .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Tombstone piledriver!<\/dialogue>\n    <scene_description>Randy sees a car drive up and park by the MANAGER 'S OFFICE . He watches it with interest .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Catch you maniacs later.<\/dialogue>\n    <scene_description>The kids moan with disappointment as Randy heads off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MANAGER'S OFFICE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Randy glares at Len , the trailer park 's MANAGER .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>C'mon, Len. Do n't be such a fuckin' ballbreaker.<\/dialogue>\n    <character>LEN THE MANAGER<\/character>\n    <dialogue>You'll get in when I get my rent.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>You know I'm good for it.<\/dialogue>\n    <character>LEN THE MANAGER<\/character>\n    <dialogue>Sure. You're good for it every time this happens.<\/dialogue>\n    <scene_description>Randy sigh - groans in frustration .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Can I at least park in back?<\/dialogue>\n    <scene_description>Len looks at Randy . A wave of pity comes over him .<\/scene_description>\n    <character>LEN THE MANAGER<\/character>\n    <dialogue>Twenty bucks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARADISE OAKS - IN BACK - EVENING<\/stage_direction>\n    <scene_description>Randy sits on a MILK CRATE by his parked van . On the ground in front of him is a BLENDER connected to an extension cord stretching to another TRAILER . He pours a protein - shake packet into the blender . The trailer door opens . A WOMAN comes out . Lighting a cigarette , she looks up at the cloudless , starry sky .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Thanks, Meg.<\/dialogue>\n    <scene_description>She gives Randy a small `` You got it '' wave .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHOP-RITE SUPERMARKET - DAY<\/stage_direction>\n    <scene_description>Randy enters a suburban Shop - Rite .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOP-RITE - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy sticks his head in a door marked MANAGER 'S OFFICE .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Hey, Wayne.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAYNE'S OFFICE - CONTINUOUS<\/stage_direction>\n    <scene_description>Sitting behind a desk is store manager WAYNE -LRB- 40 -RRB- . He looks up at Randy , irked .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Do we not know how to knock?<\/dialogue>\n    <scene_description>Wayne casually clicks a porn site closed on his computer .<\/scene_description>\n    <character>WAYNE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Let's try that again.<\/dialogue>\n    <scene_description>Randy steps out and closes the door behind him . He knocks .<\/scene_description>\n    <character>WAYNE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Come in!<\/dialogue>\n    <scene_description>Randy enters .<\/scene_description>\n    <character>WAYNE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oh, hi, Randy! What can I do for you?<\/dialogue>\n    <scene_description>Randy groans privately . He really hates Wayne .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Do you have any extra shifts you could throw my way?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>What's the matter, they raise the price of tights?<\/dialogue>\n    <scene_description>Randy is not amused . Wayne grabs a LOOSELEAF BINDER .<\/scene_description>\n    <character>WAYNE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Let's see what we got.<\/dialogue>\n    <scene_description>Wayne starts flipping through .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Pretty much anything weekday.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHOP-RITE - REAR LOADING DOCK - DAY<\/stage_direction>\n    <scene_description>Randy , working alongside some MEXICAN GUYS , lifts a STACK OF BOXES off the back of a BOAR 'S HEAD DELIVERY TRUCK . He carries the boxes through a RUBBER - STRIP CURTAIN , into a WALK - IN COOLER . He puts them down and heads back out again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OGDEN'S GYM - LOCKER ROOM - DAY<\/stage_direction>\n    <scene_description>Randy stands with GREGG , a huge bodybuilder who 's counting off some bills . Randy growls with displeasure at the small , liquid - filled GLASS BOTTLE in his hand . ANGLE ON bottle : The label says SUSTANON 250 . The rest of the label is in SPANISH .<\/scene_description>\n    <character>GREGG<\/character>\n    <dialogue>I'm tellin' ya, bro, it's identical to the German.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I tried Mexican sus once. Gave me bitch tits.<\/dialogue>\n    <character>GREGG<\/character>\n    <dialogue>Years ago, right? Mexican's way better now.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I do n't want this.<\/dialogue>\n    <character>GREGG<\/character>\n    <dialogue>Bro, it's the same.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I want my German.<\/dialogue>\n    <character>GREGG<\/character>\n    <dialogue>I do n't have any.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <scene_description>Randy steps in front of Gregg 's locker and starts ROOTING AROUND .<\/scene_description>\n    <character>GREGG<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <scene_description>Randy finds a bottle with GERMAN WRITING on it .<\/scene_description>\n    <character>GREGG<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>That's my own stash. That's my last one.<\/dialogue>\n    <scene_description>Randy puts the bottle of Mexican sustanon in the locker and walks off with the German .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Danke schoen.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCKER ROOM - TOILET STALL - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy , underwear pulled down , plunges a needle into his ass cheek .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GYM FLOOR - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy is BENCHPRESSING . He grunts loudly as he squeezes out one more rep , his SPOTTER urging him on .<\/scene_description>\n    <character>SPOTTER<\/character>\n    <dialogue>Push it out - you got this!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUNSATIONS TANNING SALON - LATER<\/stage_direction>\n    <scene_description>A strip - mall tanning salon . Randy breezes in , nodding hello to the FRONT - DESK WOMAN , who 's on the phone .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>How ya doin', Glor?<\/dialogue>\n    <character>FRONT-DESK WOMAN<\/character>\n    <parenthetical>( cupping phone . )<\/parenthetical>\n    <dialogue>Hey, babe. Four's open.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUNSATIONS TANNING SALON - SHORT TIME LATER<\/stage_direction>\n    <scene_description>ANGLE ON an upright tanning pod . INSIDE THE POD , Randy is standing naked , baking under the UV lights .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOOKING GOOD HAIR &amp; NAILS - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy sits in a chair as a KOREAN LADY wearing latex gloves BLEACHES HIS ROOTS . His hair is full of plastic clips .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Do n't leave it in too long. All those pieces broke off last time.<\/dialogue>\n    <character>KOREAN LADY<\/character>\n    <dialogue>Okay, okay, no problem.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAN - DAY<\/stage_direction>\n    <scene_description>MUSIC : GREAT WHITE - `` ONCE BITTEN TWICE SHY '' Randy is driving along Route 21 . `` Once Bitten Twice Shy '' is blasting on the stereo . One hand on the wheel , he bangs out the song 's piano riff on the dash with the other . He passes Cheetah 's , a STRIP CLUB . He keeps an eye on it as he drives past . The song fades out . He pops the tape out of the deck and tosses it on the passenger seat . On it is a messy pile of old cassettes . Skid Row . M\u00f6tley Cr\u00fce . AC\/DC . Guns ` N ' Roses . He sifts through the selection , one eye on the road .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAN - SHORT TIME LATER<\/stage_direction>\n    <scene_description>MUSIC : AC\/DC - `` BACK IN BLACK '' Randy is still driving . AC\/DC 's `` Back In Black '' cranks loud . He pulls into the parking lot of a VFW HALL and parks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PASSAIC VFW HALL - CAFETERIA - SHORT TIME LATER<\/stage_direction>\n    <scene_description>A makeshift locker room\/staging area . Randy and 20 or so other WRESTLERS stand before the event 's sleazy , tracksuit - clad promoter , NICK VOLPE .<\/scene_description>\n    <character>NICK VOLPE<\/character>\n    <dialogue>Listen up, only saying it once. Vic Storm, you're up first against D - Day. Second, Shawn McPride and Funkmaster Garry B. Slick. Third, Frankie Cirillo and Rob Dynamo versus J.T. Anvil and The Ultimate Freak. Fourth, Teddy Brewski and Lex Lethal. Intermission. Fifth, Samoan Savages versus the Disco Brothers. Sixth, the Irish Warrior and Vyper. Seventh, `` Sandman'' Steve Sambuca versus Hollywood. Last but not least, for the strap, Kid Loco versus Randy The Ram. Got it? Good.<\/dialogue>\n    <scene_description>Volpe walks off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFETERIA - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy sits alone a table toward the back . He takes a roll of athletic tape out of his supplies - filled WHEELIE TRAVEL BAG . He starts WRAPPING HIS KNEES AND ANKLES . He does it in a slow , methodical manner . It feels almost ritualistic .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFETERIA - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy is hashing out the match with his opponent , a wiry Puerto Rican kid whose shiny vinyl pants identify him as KID LOCO -LRB- 22 -RRB- .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Right there, you post me. Hard. I show color.<\/dialogue>\n    <scene_description>Kid Loco nods , listening closely , deferential to the legend .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You post me again. Again.<\/dialogue>\n    <parenthetical>( Kid Loco nods . )<\/parenthetical>\n    <dialogue>You're fuckin' whalin' on my ass.<\/dialogue>\n    <character>LEX LETHAL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Ram.<\/dialogue>\n    <scene_description>Randy turns and sees fellow wrestler LEX LETHAL sticking his head into the cafeteria door .<\/scene_description>\n    <character>LEX LETHAL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>There's some chick out here looking for you.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>LEX LETHAL<\/character>\n    <parenthetical>( SHRUGS . )<\/parenthetical>\n    <dialogue>Some chick.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Ring rat?<\/dialogue>\n    <character>LEX LETHAL<\/character>\n    <dialogue>I do n't think so.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - OUTSIDE CAFETERIA - MOMENTS LATER<\/stage_direction>\n    <scene_description>Randy emerges from the cafeteria . A look of PLEASED SURPRISE comes over his face .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>What's up, kiddo?<\/dialogue>\n    <scene_description>RANDY 'S POV : Standing there in an otherwise empty hallway is a plain - ish YOUNG WOMAN -LRB- 22 -RRB- . She looks at him with an unsmiling expression . This is STEPHANIE .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Long time no see.<\/dialogue>\n    <scene_description>Randy pulls her in for a hug . She does n't really hug back . She steps back , breaking off the hug . A brief , awkward pause .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Whatcha doing here? Here to root on your old man?<\/dialogue>\n    <scene_description>She shakes her head no .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>That's okay - as long as you're not rooting against me!<\/dialogue>\n    <scene_description>She is irked by his jokiness .<\/scene_description>\n    <character>STEPHANIE<\/character>\n    <dialogue>Is there someplace we can talk?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I'm on in a sec.<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>It wo n't take much of your time.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>What's up?<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>I'm here because.<\/dialogue>\n    <scene_description>Stephanie gathers herself . This is n't easy for her .<\/scene_description>\n    <character>STEPHANIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I came to make amends.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Amends?<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>I'm supposed to talk to people I've hurt.<\/dialogue>\n    <scene_description>Randy is puzzled for a moment . Then , it clicks in .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Ohh. 12 - stepper.<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <parenthetical>( NODS . )<\/parenthetical>\n    <dialogue>AA.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Good for you. That's great.<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>Thank you. I'm sure you mean that.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I do.<\/dialogue>\n    <scene_description>She smile - nods insincerely .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So's that it?<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>I need to apologize.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>For what?<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>For anything I've done or said over the years. All the anger at you.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>Like the last time I saw you. I'm sorry for what I said.<\/dialogue>\n    <character>RANDY<\/character>\n    <parenthetical>( dismissive wave . )<\/parenthetical>\n    <dialogue>Do n't worry about it.<\/dialogue>\n    <scene_description>Stephanie is irked by his lack of engagement . She looks at him with suspicion .<\/scene_description>\n    <character>STEPHANIE<\/character>\n    <dialogue>Do you even know what I said?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>What did I say?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>It was about your mom. And me.<\/dialogue>\n    <parenthetical>( vague , flailing . )<\/parenthetical>\n    <dialogue>Like, how I was bad.<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>You have no idea.<\/dialogue>\n    <character>MAN'S VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Raa - am!<\/dialogue>\n    <scene_description>Randy turns and sees TWO MEATHEAD FANS down the hall , headed his way .<\/scene_description>\n    <character>MEATHEAD #1<\/character>\n    <dialogue>Whassup, yo? Randy The Ram!<\/dialogue>\n    <scene_description>MEATHEAD # 1 gives Randy an excited high - five .<\/scene_description>\n    <character>MEATHEAD #2<\/character>\n    <dialogue>We gon na see some action tonight?<\/dialogue>\n    <character>RANDY<\/character>\n    <parenthetical>( sly grin . )<\/parenthetical>\n    <dialogue>Tonight's forecast calls for severe butt - whoopin's with a 100 percent chance of pain.<\/dialogue>\n    <scene_description>Psyched `` Yeah ! `` s from the meatheads . Stephanie is pissed at the interruption . And , even more , Randy 's embrace of it .<\/scene_description>\n    <character>MEATHEAD #1<\/character>\n    <dialogue>Could we get a picture?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>No problemo.<\/dialogue>\n    <scene_description>The two meatheads flank Randy , their arms around his broad shoulders . Meathead # 1 looks tentatively at Stephanie , holding up his DIGITAL CAMERA .<\/scene_description>\n    <character>MEATHEAD #1<\/character>\n    <dialogue>Think you could?<\/dialogue>\n    <scene_description>She coldly takes it .<\/scene_description>\n    <character>STEPHANIE<\/character>\n    <dialogue>No problemo.<\/dialogue>\n    <scene_description>She looks into the camera . The meatheads stick their tongues out and throw up devil signs . Randy flexes theatrically , making his best `` Aaargh ! '' wrestling face . Stephanie snaps a shot . Meathead # 1 takes back his camera . He and his buddy pat Randy heartily on the back .<\/scene_description>\n    <character>MEATHEAD #1<\/character>\n    <dialogue>Thanks a lot, yo. Kick some ass out there.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>You know it, broski!<\/dialogue>\n    <scene_description>The meatheads excitedly head off . Randy turns his attention back to Stephanie , who 's glaring at him with cold disgust .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>Same shit.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>They're fans.<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>Same old shit.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I hafta. It's work.<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>I'm in the middle of saying something important and you drop it for the fucking wrestling.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I did n't ask them to come over.<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>It's like I'm 10 all over again.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Are we almost done with this?<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>This what?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>This ATTACK.<\/dialogue>\n    <scene_description>She looks at him calmly . Sadly .<\/scene_description>\n    <character>STEPHANIE<\/character>\n    <dialogue>Yeah. We're done.<\/dialogue>\n    <scene_description>She walks off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE RING - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy SMASHING KID LOCO IN THE FACE with a flying drop - kick . Kid Loco falls to the canvas . Randy struts around the ring , exhorting the crowd , soaking up their cheers . Distracted , Randy does n't notice Kid Loco peeling himself off the mat . Kid Loco sneaks up behind Randy and SMASHES HIM IN THE HEAD . Randy goes down . Kid Loco lifts Randy up . They 're both on their knees , chest - to - chest . Kid Loco steps to his feet , lifting Randy with him . Kid Loco tightens around Randy 's arms , arches his back , presses out his chest and . WHAM ! He and Randy fly with a LATERAL DROP . Randy 's head hits the canvas hard as he slams down on his back . As Randy writhes on the mat , Kid Loco HEADS FOR THE TURNBUCKLE . RANDY 'S POV : Kid Loco is untying the turnbuckle 's padded cover . Randy , clutching his back , discretely reaches into the waistband of his tights and pulls out a RAZOR BLADE . He tucks the blade between two fingers in his cupped palm . Kid Loco heads back to Randy . He picks up him by the hair and drags him to the turnbuckle , throwing him HEAD - FIRST into the exposed metal post beneath . Randy , clutching his smashed head , discretely runs the blade along his hairline . No one sees it happen . BLOOD STREAMS DOWN Randy 's forehead . The crowd 's ELECTRIFIED . Kid Loco slams Randy 's head into the metal post again . Again . Randy slumps over the corner ropes . Kid Loco cockily struts around the ring .<\/scene_description>\n    <character>KID LOCO<\/character>\n    <dialogue>Look at this loser! How pathetic.<\/dialogue>\n    <scene_description>ANGLE ON Randy . The taunting stirs something in him . A look comes over him , like he 's Bruce Banner about to become the Hulk . Kid Loco saunters back over to Randy . He grabs his head for another post smash , but HE CA N'T . Randy 's neck and arm muscles bulge . His neck veins pop like he 's suddenly super - charged . A look of FEAR comes over Kid Loco . He knows the tide is about to turn . Randy reaches over his shoulder and grabs Kid Loco by the hair . He pulls him in close .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( under breath . )<\/parenthetical>\n    <dialogue>Let's go home.<\/dialogue>\n    <scene_description>Randy juts his hips back and bends over , gaining the leverage he needs for a throw . Kid Loco shakes his head , begging no . Randy straightens his legs , raises his lower back , and yanks down on Kid Loco 's head . Kid Loco 's feet fly off the canvas as his head gets BURIED INTO THE MAT . He gets stuck UPSIDE DOWN with his feet over the ropes . Randy , holding onto the top rope with both hands , thrusts his knee into Kid Loco 's stomach . Again . Again . Kid Loco somehow manages to untangle himself from the ropes . He scurries away . Randy goes after him . Randy hits Kid Loco with everything he 's got . Dropkicks . Elbows . Bodyslams . He pours it on , unstoppable . Randy drags Kid Loco into the middle of the ring . He looks out at the crowd . RANDY 'S POV : A trio of fans are chanting .<\/scene_description>\n    <character>TRIO<\/character>\n    <dialogue>Ram Jam! Ram Jam! Ram Jam!<\/dialogue>\n    <scene_description>Randy cups his hand to his ear . The chant quickly spreads .<\/scene_description>\n    <character>WHOLE CROWD<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>RAM JAM! RAM JAM! RAM JAM!<\/dialogue>\n    <scene_description>Randy `` mulls '' it over . He looks at his laid - out foe . He looks at the corner . He heads for the corner . Randy climbs to the top rope . He looks around at the crowd like he 's still undecided . RANDY 'S POV : The fans are cheering , wild with anticipation . Randy bends his arms , pressing them against the side of his head like ram 's horns . -LRB- Just like in the photo in the opening montage . -RRB- He LEAPS . The leap is not terribly high or graceful . He crashes down onto Kid Loco horns - first . Kid Loco 's whole body convulses . The fans lose it . This is what they wanted . The Ram Jam . The money shot .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFETERIA - LATER<\/stage_direction>\n    <scene_description>Randy , on a post - match high , sits on a cafeteria table enjoying a beer as a pseudo - MEDIC stitches up his hairline gash . Nick Volpe wanders over .<\/scene_description>\n    <character>MEDIC<\/character>\n    <dialogue>Ram, man, you popped that crowd.<\/dialogue>\n    <scene_description>Randy smiles contentedly . He sure did .<\/scene_description>\n    <character>NICK VOLPE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Yo, Ram. Got a sec?<\/dialogue>\n    <scene_description>Nick Volpe comes over .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>For you, needledick? Always.<\/dialogue>\n    <character>NICK VOLPE<\/character>\n    <dialogue>Do you realize what's coming up?<\/dialogue>\n    <scene_description>Randy looks at him , unsure .<\/scene_description>\n    <character>NICK VOLPE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>May 6th.<\/dialogue>\n    <scene_description>Randy racks his brains . He has no idea .<\/scene_description>\n    <character>NICK VOLPE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>20th anniversary of you and Ayatollah at the Garden.<\/dialogue>\n    <character>RANDY<\/character>\n    <parenthetical>( AMAZED . )<\/parenthetical>\n    <dialogue>Holy shit.<\/dialogue>\n    <character>NICK VOLPE<\/character>\n    <dialogue>I know. Time fuckin' flies.<\/dialogue>\n    <scene_description>Randy sees an excited smile creep across Volpe 's face .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Whatcha thinkin'?<\/dialogue>\n    <character>NICK VOLPE<\/character>\n    <dialogue>Two words : Re. Match.<\/dialogue>\n    <scene_description>Randy is instantly intrigued .<\/scene_description>\n    <character>NICK VOLPE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm doing a big Fanfest thing down in South Carolina that weekend. I wan na main - event it with you two.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>NICK VOLPE<\/character>\n    <dialogue>Ram - Ayatollah II. 20th anniversary. Hundreds, thousands of screaming fans watching you two make history for the second time.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Think Bob'd get back in there? He's pretty retired.<\/dialogue>\n    <character>NICK VOLPE<\/character>\n    <dialogue>For this?<\/dialogue>\n    <parenthetical>( cool , confident nod . )<\/parenthetical>\n    <dialogue>I bet he'd be willing to dust off the old turban.<\/dialogue>\n    <scene_description>Randy 's mouth is practically watering .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHEETAH'S - PARKING LOT - SHORT TIME LATER<\/stage_direction>\n    <scene_description>A spring in his hobbled step , Randy gets out of the van and heads toward Cheetah 's , the strip club he passed earlier . Manning the door is BIG CHRIS , a huge bouncer\/doorman .<\/scene_description>\n    <character>BIG CHRIS<\/character>\n    <dialogue>Whassup, Ram? How ya been?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Yo, Big Chris.<\/dialogue>\n    <scene_description>They chummily shake hands . Big Chris pulls Randy in tight .<\/scene_description>\n    <character>BIG CHRIS<\/character>\n    <parenthetical>( into Randy 's ear . )<\/parenthetical>\n    <dialogue>Hey, can you get me any more of that IGF - 1?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>What do I look like, some fuckin' two - bit street dealer?<\/dialogue>\n    <character>BIG CHRIS<\/character>\n    <dialogue>C'mon, hook a brother up. You get the family discount.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Swing by the mansion. Any day this week.<\/dialogue>\n    <character>BIG CHRIS<\/character>\n    <dialogue>You da man, Ram!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHEETAH'S - SHORT TIME LATER<\/stage_direction>\n    <scene_description>MUSIC : BIRDMAN &amp; LIL WAYNE - `` STUNTIN ' LIKE MY DADDY '' A crowded , not - very - glamorous Jersey strip club . Randy stands over by the bar . The female BARTENDER slides him a beer .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Thanks, hon.<\/dialogue>\n    <scene_description>Randy takes a swig , looking around the club .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Cassidy around?<\/dialogue>\n    <character>BARTENDER<\/character>\n    <dialogue>I think she's VIP - in'.<\/dialogue>\n    <scene_description>Randy , nodding , takes his beer and heads over toward the STAGE . He settles in at an open table . A YOUNG STRIPPER -LRB- 22 -RRB- works the pole , grinding lewdly to `` Stuntin ' Like My Daddy '' , a bass - heavy Dirty South rap song . Randy , watching her , quickly grows bored . He finds the stripper , like the song , crude and soulless .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHEETAH'S - MEN'S ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Randy is at the urinal . He flushes and heads over to the sink . He washes his hands , checking his look in the mirror . He primps a little .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHEETAH'S - MAIN ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Randy exits the bathroom and heads back toward the table . En route , he passes a curtained - off VIP ROOM .<\/scene_description>\n    <character>WOMAN'S VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Trust me, babe. You're gon na be happy.<\/dialogue>\n    <scene_description>Randy , hearing this , slows .<\/scene_description>\n    <character>DUDE #1<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>We said the other one.<\/dialogue>\n    <character>DUDE #2<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>The redhead. With the belly chain.<\/dialogue>\n    <scene_description>Randy peeks through the curtain . Inside , he sees CASSIDY -LRB- 36 -RRB- , a sexy , tattooed , aging rocker chick in a white spandex dress . With her are six hair - gelled , goombah - wannabe BACHELOR - PARTY DUDES -LRB- early 20s -RRB- . The BACHELOR is sitting in a chair in the middle .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>Sorry, guys, she's on break.<\/dialogue>\n    <character>DUDE #1<\/character>\n    <dialogue>Well, I'm sorry, but we do n't want you.<\/dialogue>\n    <character>DUDE #3<\/character>\n    <dialogue>How old are you, anyway?<\/dialogue>\n    <character>BACHELOR<\/character>\n    <dialogue>You're, like, my mom's age.<\/dialogue>\n    <scene_description>Stifled laughter from his buddies . Randy 's anger builds as he watches . Cassidy , trying to salvage the gig , straddles the bachelor .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>There's nothing like experience.<\/dialogue>\n    <parenthetical>( into his ear , seductive . )<\/parenthetical>\n    <dialogue>I've done things your little fiancee's never dreamed of.<\/dialogue>\n    <character>DUDE #2<\/character>\n    <dialogue>Yeah, like graduate in 1985.<\/dialogue>\n    <scene_description>This cracks his friends up . Randy BURSTS THROUGH THE CURTAIN .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( to Dude # 2 . )<\/parenthetical>\n    <dialogue>Apologize to this lady.<\/dialogue>\n    <scene_description>Everyone is taken aback , including Cassidy .<\/scene_description>\n    <character>DUDE #3<\/character>\n    <dialogue>Who the hell are you?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>You speak to her with respect.<\/dialogue>\n    <scene_description>Cassidy wedges herself between Randy and Dude # 2 .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>I got this. It's okay.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>No, it's not okay. This is definitely not okay.<\/dialogue>\n    <scene_description>He turns to the bachelor .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I guarantee this woman's 50 times hotter than whatever goombah skank you're about to marry.<\/dialogue>\n    <character>DUDE #4<\/character>\n    <parenthetical>( to Dude # 1 . )<\/parenthetical>\n    <dialogue>You hear what he just called Gina?!<\/dialogue>\n    <character>DUDE #1<\/character>\n    <dialogue>That's my fuckin' sister!<\/dialogue>\n    <scene_description>Dude # 1 steps to Randy , chest puffed out . Randy whips around and GRABS THE CHAIR OUT FROM UNDER THE BACHELOR . He wields it menacingly at Dude # 1 , who backpedals , terrified . Randy makes like he 's going to hit the guy with the chair . Instead , he FLINGS IT AT THE WALL .<\/scene_description>\n    <character>DUDE #2<\/character>\n    <dialogue>Jesus!<\/dialogue>\n    <character>DUDE #1<\/character>\n    <dialogue>What the FUCK!<\/dialogue>\n    <scene_description>The entire bachelor party rushes for the curtain . Just like that , they 're GONE . Randy looks at Cassidy , expecting a hearty thank you . Instead he gets a PISSED - OFF SHOVE .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>Thanks a lot. That was 200 bucks just walked out.<\/dialogue>\n    <scene_description>Randy is totally taken aback .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>I was just trying to help.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Did I ask for help?<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Did I need help?<\/dialogue>\n    <scene_description>Randy looks down , silent and sheepish .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Then do n't fuckin' help.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>You're right. I'm sorry.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>I'm sorry.<\/dialogue>\n    <scene_description>Cassidy calms down a little .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>That's okay.<\/dialogue>\n    <scene_description>She looks at him with a warm smile .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Good to see ya, man.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHEETAH'S - SHORT TIME LATER<\/stage_direction>\n    <scene_description>MUSIC : KHIA - `` MY NECK , MY BACK '' Randy is getting a LAPDANCE from Cassidy . She plants her hands against the mirrored wall behind him , her body just inches from his face .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>We're talking one of the historic matches in history. 20,000 people. Another million and a half watching at home on pay - per - view.<\/dialogue>\n    <scene_description>She turns , giving him a nice view of her writhing behind . On the small of her back is an AC\/DC TATTOO .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>We were going back and forth, just killin' each other for a half hour. Any wrestling fan, they know all about it.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Million and a half? Shit.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Yeah, it was big. So a rematch.<\/dialogue>\n    <parenthetical>( smiles , contemplating the PROSPECT . )<\/parenthetical>\n    <dialogue>History all over again.<\/dialogue>\n    <scene_description>Cassidy turns around again . Randy looks her body up and down , savoring her curves as she dances just for him .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Goddamn you are smokin'.<\/dialogue>\n    <scene_description>Cassidy smiles a little . This makes her feel good . `` My Neck My Back '' ENDS . Cassidy pulls back on her dress and casually sits down next to him . A new song comes on . MUSIC : PITBULL - `` UNA MANO LAVA LA OTRA '' They look toward the stage , where a PUERTO RICAN STRIPPER shakes her ass to the staccato , abrasive Latin rap song .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Who knows. I put on a good show.<\/dialogue>\n    <scene_description>Cassidy nods supportively , sincerely .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Could be the thing that gets me back on top.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>You never know who's in that crowd.<\/dialogue>\n    <scene_description>An ALARMED LOOK comes over Cassidy 's face .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Jesus.<\/dialogue>\n    <scene_description>Randy follows her eyes to his HAIRLINE .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You're bleeding.<\/dialogue>\n    <scene_description>A small amount of BLOOD is trickling down from his stitches . He grabs a COCKTAIL NAPKIN and casually dabs it .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Got cut tonight.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Ah, it's nothing.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <parenthetical>( small chuckle . )<\/parenthetical>\n    <dialogue>And they say wrestling's fake.<\/dialogue>\n    <scene_description>Randy proudly holds out his arm .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>How's this for fake?<\/dialogue>\n    <scene_description>CASSIDY 'S POV : A long - ish SCAR on Randy 's bicep .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>What's that from?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>1986. Denver Coliseum. Billy Bob Banjo hit me with his two - by - four. Loose nail tore the bicep open.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Ow. Fuck.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I got even better.<\/dialogue>\n    <scene_description>He pulls down his shirt collar , revealing a nasty COLLARBONE SCAR .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>1988. Orlando Arena. Mr. Magnificent tossed me out of the ring. Landed on my shoulder, clavicle snapped in half.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Does n't it hurt?<\/dialogue>\n    <character>RANDY<\/character>\n    <parenthetical>( BLISSFUL . )<\/parenthetical>\n    <dialogue>Not when they're going crazy for you.<\/dialogue>\n    <scene_description>Cassidy stands up and straddles him , gazing soulfully at the scar .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>`` He was pierced for our transgressions, He was crushed for our iniquities. The punishment that brought us peace was upon Him, and by His wounds we were healed.''<\/dialogue>\n    <scene_description>Randy contemplates the quote . He likes it .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>It's from `` Passion of the Christ''.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>You never seen it?<\/dialogue>\n    <scene_description>Randy shrugs no .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Dude, you got ta. It's amazing.<\/dialogue>\n    <scene_description>She sits down next to him again .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It's, like, so inspiring. They throw everything at Him. Whips, arrows, rocks. Just beat the living fuck out of Him for the whole two hours. And He just takes it.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Huh. I'll have to check it out.<\/dialogue>\n    <scene_description>Cassidy lightly traces a finger along Randy 's bicep scar .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>The sacrificial Ram.<\/dialogue>\n    <scene_description>The Pitbull song ends . A new song begins . MUSIC : MOTLEY CRUE - `` GIRLS GIRLS GIRLS ''<\/scene_description>\n    <character>CASSIDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Ah, shit.<\/dialogue>\n    <character>CLUB D.J.<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>And now, please welcome to the Cheetah's stage.<\/dialogue>\n    <scene_description>Cassidy stands up .<\/scene_description>\n    <character>CLUB D.J.<\/character>\n    <parenthetical>( O.S. ; CONT 'D . )<\/parenthetical>\n    <dialogue>the lovely Cassidy!<\/dialogue>\n    <scene_description>Randy reaches into a pocket and pulls out some bills .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>What do I owe?<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Just gim me for three.<\/dialogue>\n    <scene_description>Randy peels off three $ 20s and hands them to her .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You'll wait ` til I'm done?<\/dialogue>\n    <scene_description>Randy just smiles . She gives him a small peck on the cheek and heads off . Cassidy BURSTS ONTO THE STAGE . She owns it with rock ` n ' roll energy . ANGLE ON Randy 's face as he enjoys the dance .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAN - DAY<\/stage_direction>\n    <scene_description>Randy is driving over the Throgs Neck Bridge .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RESIDENTIAL STREET - SHORT TIME LATER<\/stage_direction>\n    <scene_description>The van pulls up to a TWO - FAMILY HOUSE in working - class Queens . Out steps Lex Lethal -LRB- from the Passaic VFW show -RRB- .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAN - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy heads down a highway entrance ramp , Lex Lethal riding shotgun .<\/scene_description>\n    <character>LEX LETHAL<\/character>\n    <dialogue>Thanks for the lift, bro.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>No prob. You're right on the way.<\/dialogue>\n    <scene_description>Randy merges into traffic on the Long Island Expressway .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So how big's this place?<\/dialogue>\n    <character>LEX LETHAL<\/character>\n    <dialogue>Nice. Two, two - fifty.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>You been there. The Ricky Whipsaw memorial benefit.<\/dialogue>\n    <character>RANDY<\/character>\n    <parenthetical>( PLEASED . )<\/parenthetical>\n    <dialogue>That place?<\/dialogue>\n    <character>LEX LETHAL<\/character>\n    <dialogue>Should get a good gate. DiFusco says he's gotten like 20 calls last two days alone.<\/dialogue>\n    <scene_description>Randy chuckles cynically .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>God bless hardcore.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOLLAR TREE - SHORT TIME LATER<\/stage_direction>\n    <scene_description>A Long Island strip - mall 99 - CENT STORE . Randy and Lex browse an aisle . Randy is holding a TIN CAKE PAN . He bangs it against his forehead , testing it out . It makes a LOUD CLANG .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Whatcha think?<\/dialogue>\n    <scene_description>Lex takes the pan , testing it against his own head .<\/scene_description>\n    <character>LEX LETHAL<\/character>\n    <dialogue>Cookie trays were better.<\/dialogue>\n    <scene_description>Lex spots something exciting on another shelf .<\/scene_description>\n    <character>LEX LETHAL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hell, yeah.<\/dialogue>\n    <scene_description>He grabs a pack of STEEL - WOOL PADS . Randy nods in approval . Lex tosses them into the SHOPPING BASKET Randy is holding . ANGLE ON basket . It 's full of all sorts of `` supplies '' : cookie trays , lightbulbs , thumbtacks , cheese graters , wire hangers , cutlery sets , pizza cutters , etc. .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Let's see if they got extension cords.<\/dialogue>\n    <scene_description>They head off in search .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NORTH BABYLON COMMUNITY CENTER - GYM - LATER<\/stage_direction>\n    <scene_description>MUSIC : AC\/DC - `` IF YOU WANT BLOOD -LRB- YOU GOT IT -RRB- '' Randy stands BEHIND A CURTAIN as his entrance song plays . He sneaks a peek through it . RANDY 'S POV : A ROWDY CROWD of about 150 fills a COMMUNITY - CENTER GYM . The vibe of the crowd is a bit rougher than previous events . A banner on the wall reads ECHW - EAST COAST HARDCORE WRESTLING . Pressed against the outside of the ring are a FOLDING TABLE and a 12 - FOOT METAL LADDER . An ANNOUNCER stands with a microphone .<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <dialogue>Ladies and gentlemen.<\/dialogue>\n    <scene_description>Randy stands quiet and peaceful , head lowered slightly .<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>From Elizabeth, New Jersey, weighing in at 218 pounds. The former WWF superstar and wrestling legend. The one, the only.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Randy `` The Ram'' Robinnnnsonnnnn!<\/dialogue>\n    <scene_description>Randy explodes into the gym , full of fire and showmanship . He does a lap around the outside of the ring . His hand is raised high in the air , index finger and pinky curled into a set of RAM 'S HORNS . Fans do the same . Kids rush toward Randy , reaching out for HIGH FIVES . He obliges as many as he possibly can . Fans hold out FOLDING CHAIRS in front of him . -LRB- Just like in the opening montage . -RRB- He `` rams '' each one with his forehead .<\/scene_description>\n    <character>AC\/DC<\/character>\n    <dialogue>If you want blood, You got it! \/ If you want blood, You got it!<\/dialogue>\n    <scene_description>He does a lap around the perimeter of the ring , enthusiastically head - butting chairs the whole way .<\/scene_description>\n    <character>AC\/DC<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Blood on the streets, Blood on the rocks \/ Blood in the gutter, Every last drop \/ If you want blood, you got it!<\/dialogue>\n    <scene_description>Randy climbs into the ring . He does a few neck rolls and knee bends , limbering up . The song fades down . A new song rises . MUSIC : CELTIC FROST - `` DOMAIN OF DECAY '' Ugly , plodding HARDCORE DEATH METAL .<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <dialogue>And his opponent : From Hampton, Virginia, weighing in at 295 pounds.<\/dialogue>\n    <scene_description>The boos begin to rain down .<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hellbilly Cannibaaaal!<\/dialogue>\n    <scene_description>Through the curtain , HELLBILLY CANNIBAL emerges . A huge , overalls - clad , mangy , wild - eyed masochist . Crumbs cling to his scraggly beard . He 's dragging a heavy CANVAS SACK . A TEENAGER in the crowd holds up a sign reading HELLBILLY CANNIBAL SUCKS A FAT DICK . Hellbilly Cannibal climbs into the ring with his sack and a folding chair . He heads to the center of the ring , where Randy awaits . They sit down on chairs facing each other . Under Hellbilly Cannibal 's chair is his canvas sack . Under Randy 's is his Dollar Tree plastic shopping bag . Hellbilly Cannibal punches Randy . Randy punches Hellbilly Cannibal . They take turns punching each other , each shot a little harder than the last . It 's like a violent game of `` slaps '' . After a stretch of this , Hellbilly Cannibal reaches into his sack and pulls out a can of BUG SPRAY . He SPRAYS it in Randy 's face . Randy falls off his chair . He staggers around the ring clutching his face , howling in agony . Hellbilly Cannibal smashes the blinded Randy over the head with his chair . Randy falls to his knees . Hellbilly Cannibal reaches into his sack and pulls out a FLUORESCENT LIGHT TUBE . Wielding it like a bat , he SMACKS RANDY in the face . The tube explodes with a pop . Grabbing a folding chair , Hellbilly Cannibal charges toward Randy . He takes a flying leap , riding the chair like a boogie board . Just as he 's about to crash down on Randy , Randy ROLLS OUT OF THE WAY . Hellbilly Cannibal 's spine gets a violent jolt as the chair hits the mat . Randy reaches into his Dollar Tree bag and pulls out an aluminum COOKIE TRAY . He smacks Hellbilly Cannibal in the face with it . The tray makes an awesomely loud METALLIC CLANG . Randy hits him a bunch more times . Randy is starting to get winded . His heart beats faster . He picks up Hellbilly Cannibal and flings him toward the ropes . Hellbilly Cannibal , bouncing off , ducks Randy 's awaiting forearm . He bounces off the opposite ropes and crashes into Randy knee - first . Hellbilly Cannibal grabs Randy by the hair and smashes his face into the corner post . He scoops him up and FLIPS HIM OVER THE TOP ROPE , out of the ring . Randy LANDS HARD on the concrete floor . Hellbilly Cannibal hops out of the ring with the folding chair . He WHALES RANDY IN THE FACE with it . Randy stumbles backwards toward the metal barricade between the ring and the fans . Hellbilly Cannibal kicks him in the chest . Randy flips over the barricade , into the crowd . Fans scatter in an exhilarated panic . Hellbilly Cannibal throws Randy into a row of empty chairs . Randy goes sprawling . Chairs fly everywhere . Randy gets up . His heart is beating LOUD . FAST . Randy , dazed , heads toward the SNACK - BAR AREA . Hellbilly Cannibal follows after him . Randy grabs a metal GARBAGE CAN and WHIPS AROUND WITH IT , smacking Hellbilly Cannibal square in the face . Hellbilly Cannibal goes down . Randy shakes out the can 's contents over Hellbilly Cannibal , showering him in trash . He shoves Hellbilly Cannibal 's head into the can and falls on it , ass - first . Randy grabs the ladder resting along the base of the ring . He POUNDS THE GARBAGE CAN with it , making an UNHOLY RACKET . With the can still over his head , Hellbilly Cannibal rises to his feet . He HEADBUTTS RANDY with the can . Randy , stumbling around , gets headbutted again . Hellbilly Cannibal throws off the can and drags Randy back to the ring by his hair , carrying the ladder in his other hand . Plopping Randy down on the mat , Hellbilly Cannibal sets up the ladder in the middle of the ring . He heads back out and grabs the folding table , setting it up by the ladder . He reaches into Randy 's Dollar Tree bag and pulls out a BOX OF THUMBTACKS . He scatters the tacks all over the table . Hellbilly Cannibal grabs Randy and pulls him up the ladder with him . They stand at the top , perched high above the table . Just as Hellbilly Cannibal is about to push off , Randy surprises him with a VICIOUS HEAD - BUTT . Hellbilly Cannibal is caught totally off guard . Randy headbutts him again . Randy grabs Hellbilly Cannibal and PUSHES OFF . In mid - air , Randy does a 180 twist , causing Hellbilly Cannibal to CRASH THROUGH THE TABLE with Randy on top of him . Hellbilly Cannibal rolls around the mat in a daze , his back bloodied and covered with tacks . He staggers to his feet . Randy hits him with a dropkick . Randy 's heartbeat is DEAFENING . All other sounds drop out . Randy pulls Hellbilly Cannibal off the mat . As he gears up for another dropkick , his KNEES BUCKLE . A look comes over his face . He DROPS TO HIS KNEES , one hand on the mat . Randy grabs his arm . He massages it . He FLOPS OVER , clutching his chest . He lies on his back gasping for breath , sucking at the air . RANDY 'S POV : The fans are unaware anything is wrong . They assume it 's part of the act . Hellbilly Cannibal sees a look of FEAR in Randy 's eyes . He knows this is real . He looks out at the crowd .<\/scene_description>\n    <character>HELLBILLY CANNIBAL<\/character>\n    <dialogue>Is there a doctor?<\/dialogue>\n    <scene_description>Few fans look around . Most of them still think this is a gag . Among those who sense it 's real is JERRY DIFUSCO , the event 's promoter . He climbs into the ring . Kneels over Randy .<\/scene_description>\n    <character>JERRY DIFUSCO<\/character>\n    <dialogue>Randy. You okay?<\/dialogue>\n    <scene_description>Randy is gasping . DiFusco turns to Hellbilly Cannibal .<\/scene_description>\n    <character>JERRY DIFUSCO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Call 911.<\/dialogue>\n    <scene_description>Lex Lethal and some of the other wrestlers climb into the ring . They huddle around Randy .<\/scene_description>\n    <character>JERRY DIFUSCO<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Let's get him up.<\/dialogue>\n    <scene_description>With no small effort , they lift Randy . They carry him to the ropes . They slow , unsure how best to get him through .<\/scene_description>\n    <character>LEX LETHAL<\/character>\n    <dialogue>Put him down.<\/dialogue>\n    <scene_description>They lower him to the mat . Lex hops out of the ring and grabs Randy 's ankles . Several of the other guys hop out of the ring , supporting Randy 's underside as they carefully , awkwardly pull him out . By now , the crowd realizes this is real . They surge forward as DiFusco and the wrestlers carry Randy toward the exit .<\/scene_description>\n    <character>JERRY DIFUSCO<\/character>\n    <dialogue>Get back, get back, get back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Randy is carried down a LONG HALLWAY , trailed by curious and concerned fans . Lex is closest to Randy 's head .<\/scene_description>\n    <character>LEX LETHAL<\/character>\n    <dialogue>You're okay, buddy. Hang on.<\/dialogue>\n    <scene_description>They reach a door and enter . The wrestler holding Randy 's feet shuts it behind them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCKER ROOM\/STAGING AREA - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy lies on a table , his eyes rolling back in his head . Lex squeezes his hand , trying to keep him conscious .<\/scene_description>\n    <character>LEX LETHAL<\/character>\n    <dialogue>Stay with us, bro. Help's coming.<\/dialogue>\n    <scene_description>EMS WORKERS come rushing in . FADE TO BLACK .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUFFOLK COUNTY HOSPITAL - POST-OP RECOVERY ROOM - NIGHT<\/stage_direction>\n    <scene_description>Randy lies unconscious . There 's a BREATHING TUBE in his mouth and ANOTHER TUBE going through his CHEST WALL . He 's hooked up to a MECHANICAL VENTILATOR . FADE TO BLACK .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POST-OP RECOVERY ROOM - NEXT DAY<\/stage_direction>\n    <scene_description>Randy lies asleep . The breathing tube is out . The chest tube is still in . His eyes slowly open . He looks around , disoriented . Woozy . Confused by all the wires on him , he starts PULLING THINGS OFF . Monitors BEEP . Nurses rush into the room , calming him down as they try to reattach the wires . He faints .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RANDY'S ROOM - NEXT DAY<\/stage_direction>\n    <scene_description>Randy , transferred to a regular hospital room , is watching `` All My Children '' on the wall - mounted TV . The chest tube is out , in its place a large bandage .<\/scene_description>\n    <character>MAN'S VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( slight Indian accent . )<\/parenthetical>\n    <dialogue>Mr. Ramovic.<\/dialogue>\n    <scene_description>Randy looks up . DR. TARACHANDANI -LRB- 40 -RRB- enters the room .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Call me Randy.<\/dialogue>\n    <scene_description>The doctor , nodding , looks down Randy 's folder .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So how we lookin', doc?<\/dialogue>\n    <character>DR. TARACHANDANI<\/character>\n    <dialogue>A lot better than before the bypass.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Great. So I'm all good.<\/dialogue>\n    <scene_description>From the doctor 's face , it 's not quite that simple .<\/scene_description>\n    <character>DR. TARACHANDANI<\/character>\n    <dialogue>Your heart. You're going to have to start taking much better care of it.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Like.<\/dialogue>\n    <character>DR. TARACHANDANI<\/character>\n    <dialogue>For starters, you must take your medication every day.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I could handle that.<\/dialogue>\n    <character>DR. TARACHANDANI<\/character>\n    <dialogue>No smoking.<\/dialogue>\n    <parenthetical>( Randy nods . )<\/parenthetical>\n    <dialogue>And no cocaine.<\/dialogue>\n    <character>RANDY<\/character>\n    <parenthetical>( defensive , offended . )<\/parenthetical>\n    <dialogue>I do n't do coke.<\/dialogue>\n    <character>DR. TARACHANDANI<\/character>\n    <dialogue>It's all over your blood work.<\/dialogue>\n    <character>RANDY<\/character>\n    <parenthetical>( sheepish , busted . )<\/parenthetical>\n    <dialogue>Maybe once in a while.<\/dialogue>\n    <character>DR. TARACHANDANI<\/character>\n    <dialogue>Well, it has to be never.<\/dialogue>\n    <scene_description>Randy gives him a reluctant nod .<\/scene_description>\n    <character>DR. TARACHANDANI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>As for exercise, it's still okay, as long as it's moderate.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>So, like, wrestling.<\/dialogue>\n    <character>DR. TARACHANDANI<\/character>\n    <dialogue>Not a good idea.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>What if I do it moderate? I could hold back on certain moves. There's always ways to fake -<\/dialogue>\n    <character>DR. TARACHANDANI<\/character>\n    <dialogue>Mr. Ramovic.<\/dialogue>\n    <character>RANDY<\/character>\n    <parenthetical>( edgy glare . )<\/parenthetical>\n    <dialogue>Randy.<\/dialogue>\n    <character>DR. TARACHANDANI<\/character>\n    <dialogue>Randy, a man with your heart should not be flying around a ring crashing into people.<\/dialogue>\n    <scene_description>Randy 's nostrils flare .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>With all due respect, Dr.<\/dialogue>\n    <parenthetical>( reads name tag , MISPRONOUNCING . )<\/parenthetical>\n    <dialogue>. Trachanani, I'd like a second opinion on that.<\/dialogue>\n    <character>DR. TARACHANDANI<\/character>\n    <dialogue>Of course. But I promise you, any doctor I showed your file would say the same thing.<\/dialogue>\n    <scene_description>Randy lets out a skeptical , sarcastic snort .<\/scene_description>\n    <character>DR. TARACHANDANI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You almost died. The next time, you wo n't be so lucky.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I want a second opinion.<\/dialogue>\n    <character>DR. TARACHANDANI<\/character>\n    <dialogue>Your heart's been through a lot. Even before the heart attack, it was significantly -<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I want a second opinion.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>I WANT A SECOND OPINION.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUFFOLK COUNTY HOSPITAL - ADMISSIONS DESK - MORNING<\/stage_direction>\n    <scene_description>Randy is checking out of the hospital .<\/scene_description>\n    <character>ADMISSIONS-DESK WOMAN<\/character>\n    <dialogue>This is your copy.<\/dialogue>\n    <scene_description>The ADMISSIONS - DESK WOMAN hands him some paperwork . He folds it up and stuffs it in a pocket .<\/scene_description>\n    <character>ADMISSIONS-DESK WOMAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>This was left for you.<\/dialogue>\n    <scene_description>She hands him a plain white ENVELOPE . Randy opens it . Inside is a NOTE : YOU EARNED IT DUDE . YOUR A WARRIOR ! REST UP , FEEL BETTER . - JERRY DIFUSCO PS . IF YOUR UP BY THE 23RD , I GOT SOMETHING IN YONKERS Randy looks into the envelope again and pulls out $ 300 . He looks at the money , chuckling ironically . It 's his biggest payday in years . He tucks it in a pocket .<\/scene_description>\n    <character>ADMISSIONS-DESK WOMAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You have somebody picking you up?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUFFOLK COUNTY HOSPITAL - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy steps out of the hospital into the bright light of day . He squints , his eyes adjusting . He stands there looking around , a lost animal .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NORTH BABYLON COMMUNITY CENTER - PARKING LOT - SHORT TIME LATER<\/stage_direction>\n    <scene_description>A CAB pulls up to Randy 's van , still parked in the community center 's lot . Randy steps out of the cab and limps to the van . He gets in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAN - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy sits in the van in the otherwise empty lot , pondering his next move .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CVS PHARMACY - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy roams an aisle , killing time , idly browsing the selection of deodorants .<\/scene_description>\n    <character>WOMAN'S VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Robin Ramovic?<\/dialogue>\n    <scene_description>Randy looks up . He heads down the aisle , toward the voice . He comes to the . A female PHARMACIST stands holding a small pharmacy bag .<\/scene_description>\n    <character>PHARMACIST<\/character>\n    <dialogue>Robin Ramovic?<\/dialogue>\n    <scene_description>Randy heads toward her .<\/scene_description>\n    <character>PHARMACIST<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Is that you?<\/dialogue>\n    <scene_description>He gives her a small , embarrassed nod , taking the bag .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PARADISE OAKS - MANAGER'S OFFICE - LATER<\/stage_direction>\n    <scene_description>Randy hands Len the manager a bunch of cash . Len notices he seems a little off .<\/scene_description>\n    <character>LEN THE MANAGER<\/character>\n    <dialogue>You alright?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RANDY'S TRAILER - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Len removes the padlock from Randy 's trailer door .<\/scene_description>\n    <character>LEN THE MANAGER<\/character>\n    <dialogue>Welcome home.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RANDY'S TRAILER - KITCHENETTE - SHORT TIME LATER<\/stage_direction>\n    <scene_description>A messy , junk - filled trailer . Randy stands at the kitchen counter with the CVS bag . He opens the bag and takes out FOUR PRESCRIPTION PILL BOTTLES . We catch a glimpse of the drug names on them : PLAVIX . COREG . LIPITOR , LISINOPRIL . He gazes at the patient name on all of them . RAMOVIC , ROBIN<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RANDY'S TRAILER - BATHROOM - LATER<\/stage_direction>\n    <scene_description>Randy is taking a shower . On his chest is a SURGERY BANDAGE . He soaps up , careful not to get the bandage wet .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RANDY'S TRAILER - LATER<\/stage_direction>\n    <scene_description>Randy collapses on the bed , exhausted .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RANDY'S TRAILER - DAY<\/stage_direction>\n    <scene_description>Randy lies on the bed , gazing off . Restless . Bored . Something catches his eye . RANDY 'S POV : On the floor , in front of the TV , is an old NINTENDO VIDEOGAME SYSTEM . The game cartridge in the console is WRESTLEJAM ` 88 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RANDY'S TRAILER - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy sticks his head out of his trailer . RANDY 'S POV : In front of the opposite trailer , ADAM -LRB- 8 -RRB- , one of the kids he was play - wrestling with , is idly throwing a tennis ball against a car .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Yo, Adam!<\/dialogue>\n    <scene_description>Adam turns and looks toward Randy .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Wan na play Nintendo?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RANDY'S TRAILER - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy and Adam sit on the floor playing WrestleJam ` 88 . Cyber - Randy is wrestling The Ayatollah at a packed Madison Square Garden . The graphics are late - '80s crude . Randy flies all over the ring , devastating his foe with a series of acrobatic leaps and kicks and flips . Randy wears a look of intense concentration . Adam makes a scrunched - up face at the screen .<\/scene_description>\n    <character>ADAM<\/character>\n    <dialogue>What's that square?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>What square?<\/dialogue>\n    <character>ADAM<\/character>\n    <dialogue>That you're hitting me with.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>It's a folding chair.<\/dialogue>\n    <character>ADAM<\/character>\n    <dialogue>That's a chair?<\/dialogue>\n    <character>RANDY<\/character>\n    <parenthetical>( PISSY . )<\/parenthetical>\n    <dialogue>Yes, it's a chair.<\/dialogue>\n    <scene_description>Randy grunts , annoyed . They play for a stretch in silence .<\/scene_description>\n    <character>ADAM<\/character>\n    <dialogue>This is old.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>1988 ai n't old.<\/dialogue>\n    <character>ADAM<\/character>\n    <dialogue>That was, like, 50 years before I was born.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Shut up and fight.<\/dialogue>\n    <character>ADAM'S MOM<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( outside trailer . )<\/parenthetical>\n    <dialogue>Ad - aam!<\/dialogue>\n    <scene_description>Adam looks toward the window . Randy hits PAUSE .<\/scene_description>\n    <character>ADAM<\/character>\n    <dialogue>Coming!<\/dialogue>\n    <scene_description>Adam turns back to the TV .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Ready?<\/dialogue>\n    <scene_description>Adam nods yeah . Randy un - pauses . Play resumes . Cyber - Randy drops The Ayatollah with a knee to the chest . And another . The Ayatollah GOES DOWN . Randy heads to a corner and CLIMBS TO THE TOP ROPE . He raises his arms , sticking his elbows out , pressing his fists to the sides of his head to form a SET OF RAM 'S HORNS . Randy JUMPS . He flies high in the air , soaring over the mat and crashing down on The Ayatollah horns - first . He pins The Ayatollah as the ref counts to three for the victory . The crowd goes wild . Randy does a little celebratory fist pump . He hits RESET .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>One more?<\/dialogue>\n    <character>ADAM<\/character>\n    <dialogue>I got ta go.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Do n't you wan na get even? I whipped your butt.<\/dialogue>\n    <character>ADAM<\/character>\n    <dialogue>That's okay.<\/dialogue>\n    <scene_description>Adam gets up and scampers out of the trailer . Randy , suddenly alone , looks at the TV . He gazes at the words on the screen : 1 PLAYER 2 PLAYER He selects 1 PLAYER . A new match begins . Randy plays without much enthusiasm . After a few halfhearted kicks and punches , he TOSSES THE CONTROLLER ASIDE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RANDY'S TRAILER - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy , standing in the middle of the trailer , does a JUMPING JACK . He does another . A few more . He feels himself getting winded . A little woozy . He sits down . He sits still , trying to slow his heart . He starts to CRY . Angry , bitter , frightened tears roll down his cheeks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHEETAH'S - NIGHT<\/stage_direction>\n    <scene_description>Randy enters the club . It 's crowded tonight . He looks around for Cassidy . He spots her in a corner offering a CUSTOMER a lapdance . The customer passes . She moves on . Randy heads over . She gives him a friendly little cheek peck .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>Hey, sweetie. You're back soon.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Ah, I was just in the neighborhood.<\/dialogue>\n    <scene_description>Cassidy nods oh .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( `` CASUAL '' . )<\/parenthetical>\n    <dialogue>Hey, feel like maybe grabbing a burger?<\/dialogue>\n    <scene_description>Cassidy finds the offer a little odd . This is n't how they operate .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>I'm working.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>How ` bout later, then?<\/dialogue>\n    <scene_description>She looks at him , puzzled . He seems off .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Can we talk for a sec?<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Sure. What's up?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Someplace more quiet.<\/dialogue>\n    <scene_description>Randy glances toward the door . Cassidy , catching his drift , looks at him , a little gravely .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>Randy, I ca n't leave with a customer.<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>I had a heart attack.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Shit. When?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I needed to talk to somebody.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>You ca n't talk here?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Just a couple minutes.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Randy, I do n't do that.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Please.<\/dialogue>\n    <scene_description>Cassidy looks at him , torn . She sees the need , the fear in his eyes .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>Where are you parked?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>In back.<\/dialogue>\n    <scene_description>Another pause of hesitation from Cassidy . This is big .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>Go to your car. I'll meet you out there in 15 minutes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHEETAH'S - REAR PARKING LOT - 15 MINUTES LATER<\/stage_direction>\n    <scene_description>Randy sits in the van , staring at the club 's rear EMERGENCY EXIT . Cassidy emerges , a jacket covering her dress . Randy waves . Spotting him , she comes over , climbing in the passenger side .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Thanks. I appreciate it.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>That's okay.<\/dialogue>\n    <scene_description>She looks at his vulnerable expression .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm sorry. That's fucked up, dude.<\/dialogue>\n    <scene_description>Randy nods .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>When was it?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Last week.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Yeah, yeah. Feelin' much better.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Good, good. What happened?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>It was while I was wrestling. I collapsed in the ring.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Oh, man. That's terrible.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Yeah, it was pretty fucked up.<\/dialogue>\n    <scene_description>He chuckles , a little perversely .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Tell ya, though, it was a big hit with the fans.<\/dialogue>\n    <parenthetical>( amused grin . )<\/parenthetical>\n    <dialogue>Promoter told me everybody was hanging around wondering if I was okay, they wound up buying up all of his T - shirts and shit. Whole merch table got cleaned out.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>That's funny.<\/dialogue>\n    <scene_description>Randy 's grin fades . His expression turns melancholy , fearful .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Doctor says I ca n't wrestle no more.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Damn. What are you gon na do?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I do n't know. I do n't know what to do. If I ca n't wrestle.<\/dialogue>\n    <scene_description>He loses himself in some bleak thought .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>It just happened. You do n't have to figure everything out this second. Give yourself some time.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Time's all I got. I just sit there all day.<\/dialogue>\n    <scene_description>He stares off bleakly again .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>You really should n't be alone right now.<\/dialogue>\n    <scene_description>He turns to her , looking her in the eye .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>That's why I came to see you.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <parenthetical>( a little unnerved . )<\/parenthetical>\n    <dialogue>Randy.<\/dialogue>\n    <scene_description>She looks at him with sympathy .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I feel bad what happened. But you and me. I ca n't go there.<\/dialogue>\n    <scene_description>Randy gives her a sour , disappointed look .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You should be with family now. You have a daughter, right? Where is she?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>We do n't really get along too good.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>It does n't matter. You need her.<\/dialogue>\n    <character>RANDY<\/character>\n    <parenthetical>( bitter chuckle . )<\/parenthetical>\n    <dialogue>She do n't need me.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Everybody needs a father. Trust me.<\/dialogue>\n    <scene_description>Randy shrugs , not so sure . Cassidy glances at the dashboard clock .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm sorry. I got ta get back in.<\/dialogue>\n    <scene_description>She puts a sympathetic hand on his knee .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You take care of yourself.<\/dialogue>\n    <scene_description>She gives him a peck on the cheek . He lingers there for a second . A weird , tentative moment .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You gon na be okay?<\/dialogue>\n    <scene_description>He nods , putting his brave face back on .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>I'm Randy The Ram. I've taken bigger bumps than this.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>I'm sure.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Maybe I'll give my daughter a call.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>You should.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Why the fuck not? I'm her father. A person only gets one father in this life.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Exactly.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Unless you're adopted.<\/dialogue>\n    <scene_description>Cassidy laughs . She gives him a friendly pat on the shoulder .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>You're gon na be just fine.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Definitely.<\/dialogue>\n    <scene_description>Cassidy climbs out of the van . Randy watches as she heads back into the club . His cheery expression fades . He is alone again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RANDY'S TRAILER - DAY<\/stage_direction>\n    <scene_description>Randy sits on his bed , sifting through a messy , junk - filled shoebox . He pulls out an OLD PHOTO . RANDY 'S POV : It 's a mid - '80s photo of Randy and his infant daughter Stephanie in front of the family Christmas tree . Randy , wearing a Santa cap , is smiling and laughing , Stephanie perched on his huge , steroid - pumped bicep . He flips the photo over . On the back are a bunch of scribbled PHONE NUMBERS . They 're all crossed - out except the last one . The numbers get progressively more faded from bottom to top , as if they 've been written down over the course of years .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARADISE OAKS - PAY PHONE - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy stands at a PAY PHONE with the photo , ringing phone cradled to his ear .<\/scene_description>\n    <character>STEPHANIE'S VOICE<\/character>\n    <dialogue>This is Stephanie, you know what to do.<\/dialogue>\n    <parenthetical>( answering machine BEEP . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Randy listens to the silence . He hangs up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAN - LATER<\/stage_direction>\n    <scene_description>Randy sits in his van by the curb of a modest , lower - middle - class house . He looks at the house , working up the nerve to approach .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STEPHANIE'S HOUSE - LATER<\/stage_direction>\n    <scene_description>Randy stands at the doorstep of the house . Steeling himself , he rings the bell . A WOMAN -LRB- 22 -RRB- appears at the door in a T - SHIRT and PANTIES .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( a little thrown . )<\/parenthetical>\n    <dialogue>Hey. Is Stephanie home?<\/dialogue>\n    <scene_description>The woman looks at Randy a little coldly , sensing who he is .<\/scene_description>\n    <character>THE WOMAN<\/character>\n    <dialogue>Who can I say it is?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Her father.<\/dialogue>\n    <scene_description>She disappears into the house . A few moments later , Stephanie emerges with a BACKPACK slung over her shoulder . In her hands is a TEXTBOOK . She heads straight down the driveway , blowing past Randy .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Where you going?<\/dialogue>\n    <scene_description>He goes after her .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Stephanie!<\/dialogue>\n    <scene_description>He catches up . She stops .<\/scene_description>\n    <character>STEPHANIE<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Can we talk?<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>Now's really not a good time.<\/dialogue>\n    <scene_description>She resumes walking , briskly .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Wait!<\/dialogue>\n    <parenthetical>( chasing after her . )<\/parenthetical>\n    <dialogue>Where ya going?<\/dialogue>\n    <scene_description>He looks at the textbook in her hands : PRINCIPLES OF CHILD DEVELOPMENT .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You in school? That's great.<\/dialogue>\n    <scene_description>She turns DOWN THE SIDEWALK . He continues following .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What school?<\/dialogue>\n    <scene_description>No answer .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What school?<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>Middlesex County Community.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Middlesex? That's kind of a hike. Where's your car?<\/dialogue>\n    <parenthetical>( no response . )<\/parenthetical>\n    <dialogue>You taking the bus? Lem me give you a lift.<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>That's okay.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>It's no problem.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Really. I'm parked right by.<\/dialogue>\n    <scene_description>Stephanie picks up the pace , trying to lose him .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You're walking pretty fast there. You running late?<\/dialogue>\n    <parenthetical>( no answer . )<\/parenthetical>\n    <dialogue>I could help you with that.<\/dialogue>\n    <parenthetical>( no answer . )<\/parenthetical>\n    <dialogue>Give you a ride.<\/dialogue>\n    <scene_description>She keeps right on walking .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>New Jersey Transit sucks!<\/dialogue>\n    <scene_description>And walking .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( O.S. ; CONT 'D . )<\/parenthetical>\n    <dialogue>The buses smell like piss!<\/dialogue>\n    <scene_description>She fights off an amused smile . She slows a tiny bit .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAN - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy is driving Stephanie .<\/scene_description>\n    <character>STEPHANIE<\/character>\n    <dialogue>Left at the second stop sign.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Yes, ma'am!<\/dialogue>\n    <scene_description>Randy drives . He slows at the second stop sign , which is at a bigger , FOUR - LANE STREET . He makes the left . They drive for a stretch in awkward silence . Randy seems a little nervous .<\/scene_description>\n    <character>STEPHANIE<\/character>\n    <dialogue>You gon na talk?<\/dialogue>\n    <scene_description>A pause as Randy gathers his words .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>There's something I wanted to tell you.<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I had a heart attack.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Last week.<\/dialogue>\n    <scene_description>He looks at her earnestly .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I wan na try to fix things.<\/dialogue>\n    <scene_description>Stephanie sits there in calm silence , processing all of this .<\/scene_description>\n    <character>STEPHANIE<\/character>\n    <dialogue>You are such an asshole.<\/dialogue>\n    <character>RANDY<\/character>\n    <parenthetical>( taken aback . )<\/parenthetical>\n    <dialogue>Why?<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>Now you wan na fix things. Now that suddenly you're all scared and alone from your heart attack.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>What? No. It's not like -<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>This is so fuckin' you. You only come around when you need something from somebody, when they can do something for you. Selfish fuck. Good. Be alone.<\/dialogue>\n    <scene_description>She suddenly OPENS HER DOOR as the van is moving . She HOPS OUT . Randy hits the brakes , alarmed .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <scene_description>Stephanie stumbles and falls . She gets up . Walks off in the direction they came from .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Stephanie!<\/dialogue>\n    <scene_description>She 's gone . He angrily punches the steering wheel .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RANDY'S TRAILER - NIGHT<\/stage_direction>\n    <scene_description>Randy lies on his bed , gazing off depressedly . On his chest is a well - worn DAY PLANNER , open to a marked - up page . ANGLE ON page . Scribbled in marker in one of the boxes is RAHWAY AUTOGRAF SHOW .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAHWAY RECREATION CENTER - GYMNASIUM - MORNING<\/stage_direction>\n    <scene_description>Randy , standing at a folding table in a gym , unzips a duffel bag . He pulls out a stack of 8x10 GLOSSIES of himself . It 's a high - flying , mid - air Ram Jam photo from the height of his '80s glory . He puts them on the table . Looks around the gym . RANDY 'S POV : He 's at an AUTOGRAPH SHOW that has n't started yet . Around the perimeter of the gym , TEN FOLDING TABLES are set up . At each one , a BEAT - UP , WORN - OUT OLD WRESTLER is laying out his wares - 8x10s , old match tapes , etc. .<\/scene_description>\n    <character>SCOTT BRUMBERG<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Did n't think I'd see you here.<\/dialogue>\n    <scene_description>Randy looks up and sees Scott Brumberg , the promoter from the beginning . He 's wearing the same `` BRUMBERG - 44 '' Mets jersey .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>SCOTT BRUMBERG<\/character>\n    <dialogue>Heard you collapsed at the DiFusco show. Sounded pretty scary.<\/dialogue>\n    <scene_description>Randy smiles coyly .<\/scene_description>\n    <character>SCOTT BRUMBERG<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Sold the shit outta that one.<\/dialogue>\n    <character>SCOTT BRUMBERG<\/character>\n    <dialogue>No way!<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I got ta give credit. DiFusco came up with the idea. We're setting up an angle for a grudge match.<\/dialogue>\n    <character>SCOTT BRUMBERG<\/character>\n    <dialogue>Wow. Dude, you are good.<\/dialogue>\n    <scene_description>Randy gives a proud `` Hey , what can I say ? '' shrug .<\/scene_description>\n    <character>SCOTT BRUMBERG<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I was sure I'd have to cancel the minivan.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>What minivan?<\/dialogue>\n    <character>SCOTT BRUMBERG<\/character>\n    <dialogue>The one I rented for Fanfest.<\/dialogue>\n    <scene_description>Randy looks at him , surprised .<\/scene_description>\n    <character>SCOTT BRUMBERG<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Me and a whole gang's driving down. Terry C., Caggiano, Fatback. I am so fuckin' psyched.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>You see the flyer?<\/dialogue>\n    <scene_description>Randy looks at him blankly . Brumberg walks over to a nearby table , where there 's a stack of BRIGHT - ORANGE FLYERS . -LRB- The same flyer can be seen scattered around the room on chairs , the floor , etc. -RRB- He grabs one and brings it back over .<\/scene_description>\n    <character>SCOTT BRUMBERG<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Volpe gave me an assload to pass out.<\/dialogue>\n    <scene_description>He hands it to Brumberg .<\/scene_description>\n    <character>SCOTT BRUMBERG<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>That is gon na be epic.<\/dialogue>\n    <scene_description>RANDY 'S POV : The flyer . `` LEGENDS OF THE RING '' FANFEST , MAY 5 - 6 , 2008 . GREENVILLE CIVIC AUDITORIUM - GREENVILLE , SOUTH CAROLINA THE MAIN EVENT . IN A 20TH ANNIVERSARY REMATCH OF THEIR LEGENDERY EPIC MAY 6 , 1988 WRESTLESLAM IV MATCH . RANDY `` THE RAM '' ROBINSON VS. THE AYATOLLAH . RDDIE RUCKUS , THE MORTICIAN , DEAN `` THE DREAM '' GIGUNDA , IVAN PETROV , THE SANDBAGGERS , BILLY BOB BANJO , J.T. SEXXY , CORPORAL PUNISHMENT , CHRIS COLUMBO . AND MANY MORE ! Randy nods vaguely at the flyer , his feelings hard to read .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Looks great.<\/dialogue>\n    <scene_description>Brumberg looks around the room as the wrestlers set up shop .<\/scene_description>\n    <character>SCOTT BRUMBERG<\/character>\n    <dialogue>Should get a pretty good crowd today.<\/dialogue>\n    <scene_description>Randy holds up his hand , wiggling his fingers for Brumberg .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>I'll start loosening up.<\/dialogue>\n    <scene_description>Brumberg walks off . Randy looks at the flyer again . A sour expression comes over his face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GYMNASIUM - SHORT TIME LATER<\/stage_direction>\n    <scene_description>The signing is underway . FIVE OR SO FANS mill about the room , drifting from table to table getting autographs and taking photos with the motley assortment of washed - up aging wrestlers . Randy is sitting behind his table , signing one of his 8x10s for a FAN . He hands it to the guy , who hands Randy a $ 5 bill .<\/scene_description>\n    <character>FAN<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>You got it, broski.<\/dialogue>\n    <scene_description>The fan walks off . Randy tucks the fiver into the FANNY PACK he 's wearing . There 's not much in there , just a meager few ones and fives . Randy zips up the fanny pack . He looks up , ready to sign more autographs - just as soon as somebody comes over .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GYMNASIUM - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy sits at his table , bored . There are NO TAKERS . He looks around the room at the other wrestlers . RANDY 'S POV : One is asleep . Another looks borderline homeless . Across from him is a 40 - SOMETHING WRESTLER in a WHEELCHAIR . Attached to his calf is a URINE BAG . A feeble stream of urine trickles into the bag . Randy looks down at the stack of Randy The Ram 8x10s on the table . He gazes numbly at the high - flying image of himself from 20 years earlier .<\/scene_description>\n    <character>SCOTT BRUMBERG<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Sorry, man.<\/dialogue>\n    <scene_description>Randy looks up and sees Brumberg .<\/scene_description>\n    <character>SCOTT BRUMBERG<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I was sure the turnout'd be bigger.<\/dialogue>\n    <scene_description>Randy shrugs resignedly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAN - LATER<\/stage_direction>\n    <scene_description>Randy pulls up to his trailer . He sits there with the engine idling , staring at his trailer , scared to go in alone . He pulls back out again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHEETAH'S - SHORT TIME LATER<\/stage_direction>\n    <scene_description>MUSIC - LIL ' KIM - `` HOW MANY LICKS ? '' Cassidy , roaming the room , approaches a CUSTOMER sitting near the stafe . She leans in to his ear , her hand on his arm .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>Would you like a lapdance, sweetie?<\/dialogue>\n    <character>CUSTOMER<\/character>\n    <dialogue>That's okay.<\/dialogue>\n    <scene_description>Cassidy moves along . She approaches a PAIR OF GUYS . She leans in to one of them .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>Would you like a lapdance?<\/dialogue>\n    <character>GUY #1<\/character>\n    <dialogue>Not right now.<\/dialogue>\n    <scene_description>She looks toward the other guy . Before she can even ask :<\/scene_description>\n    <character>GUY #2<\/character>\n    <dialogue>I'm good.<\/dialogue>\n    <scene_description>Cassidy heads off , rejected .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>She turns and sees Randy . She 's happy to see him after the string of no 's .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>Hey. How ya feeling?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Better. Good.<\/dialogue>\n    <scene_description>She leads him over to a table . They sit .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>How'd it go with your daughter?<\/dialogue>\n    <character>RANDY<\/character>\n    <parenthetical>( UNCONVINCING . )<\/parenthetical>\n    <dialogue>Good. Fine.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <scene_description>Randy dodges her eye contact .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You sure?<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Not too good, actually. She tore me a new asshole.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Shit. That sucks.<\/dialogue>\n    <scene_description>He nods dispiritedly .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It's tough. You ca n't give up. You got ta keep trying.<\/dialogue>\n    <scene_description>Another half - hearted nod . A brief conversational lull .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>I was thinking about maybe getting her a present.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>That's a great idea!<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>What's she into?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I'm not sure.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>How old is she?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>22, 23?<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>22.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>What kind of music does she like?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Is she into books? Cooking?<\/dialogue>\n    <scene_description>Randy just looks at her blankly .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>How could you not know? She's your daughter.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I'm a shitty fuckin' father.<\/dialogue>\n    <scene_description>Cassidy , feeling bad , is hit with an urge to help .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>She's 22? Okay.<\/dialogue>\n    <parenthetical>( RIFFING . )<\/parenthetical>\n    <dialogue>You should get her some clothes, some kinda clothes. All girls like that.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>That could work.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>I know the perfect place. This kick - ass little vintage shop in Westfield.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Saturday's the best time to go. That's when they get the new stuff in, all these boxes full of great shit.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Okay. Cool.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>I'll write it down.<\/dialogue>\n    <scene_description>Cassidy grabs a pen and a cocktail napkin off the bar .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm pretty sure it's on 28.<\/dialogue>\n    <scene_description>She scribbles down YESTERDAZE - WESTFIELD . Hands it to him .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Good tip. Thanks.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>You got it.<\/dialogue>\n    <scene_description>Cassidy starts dancing for him , as is their routine . Randy does n't seem into it .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>I'm gon na grab a drink at the bar.<\/dialogue>\n    <scene_description>Randy gets up and heads off toward the bar . She watches him go , feeling rejected . Cassidy gets up . CAMERA stays on her face as she does a lap around the club . She glances back toward the bar . CASSIDY 'S POV : Randy is sitting at bar . She scans the room . A CUSTOMER is looking her way . She starts to approach . Then , she STOPS . She looks back toward Randy again . He 's sitting at the bar alone . She heads over to him . He looks up from his drink .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>That was fast.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Listen.<\/dialogue>\n    <scene_description>Cassidy pauses , hesitant . She takes the plunge :<\/scene_description>\n    <character>CASSIDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>How ` bout I meet you there Saturday? Help you out.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>CASSIDY<\/character>\n    <parenthetical>( `` CASUAL '' . )<\/parenthetical>\n    <dialogue>I'm actually gon na be running around right in that area anyway, so it's not really a pain.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>All right. Thanks.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>No problem. You got it.<\/dialogue>\n    <scene_description>She gives him a chummy arm tap and walks off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOP-RITE - MORNING<\/stage_direction>\n    <scene_description>Randy knocks on Wayne 's door .<\/scene_description>\n    <character>WAYNE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Yeah?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAYNE'S OFFICE - CONTINUOUS<\/stage_direction>\n    <scene_description>Wayne looks up at Randy , mildly annoyed by the disruption . On his computer screen is an ONLINE POKER game .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Hey, Wayne. Got a sec?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Not really. What?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I was wondering if you had something more steady. Full - time.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Only thing I got right now's got weekends.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>That works.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Is n't that when you sit on other dudes' faces?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Deli counter.<\/dialogue>\n    <scene_description>Randy seems a little hesitant .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>So, like, working with customers?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>All day long, hot horny housewives begging for your meat.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>And prepared salads.<\/dialogue>\n    <scene_description>Randy thinks it over .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>That's the only thing you got?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>At the moment. You interested?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUNRISE SHOPPING PLAZA - PARKING LOT - DAY<\/stage_direction>\n    <scene_description>Randy stands alone in front of YESTERDAZE , a strip - mall vintage clothing store . He looks at his watch , almost thinking of leaving .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>Randy looks up . He seems slightly thrown by what he sees .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>RANDY 'S POV : It 's his first time seeing Cassidy in street clothes and in daylight . She 's not wearing makeup , and her hair is pulled back in a ponytail . She 's also a good three inches shorter out of her stripper heels . They shake hands , a bit awkwardly .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I almost did n't recognize you. You look all. clean.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>`` Clean''?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Like classy.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Gee, thanks.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Nah, nah, I do n't mean that bad. I like it.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>It's like in `` Grease'', where she turns into the hot rock ` n' roll chick at the end. Except backwards.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Oh - kaay.<\/dialogue>\n    <scene_description>Randy looks at her sneakers , a far cry from the clear heels he 's used to .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>So, uh. Should I call you Cassidy or Pam?<\/dialogue>\n    <scene_description>She gives the question genuine thought .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>Pam.<\/dialogue>\n    <parenthetical>( playful finger wag . )<\/parenthetical>\n    <dialogue>But do n't get used to it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. YESTERDAZE - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy follows Cassidy toward the back of the store . He looks around , taking in the array of funky ` 50s \/ '60s \/ '70s clothes .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>This is awesome.<\/dialogue>\n    <parenthetical>( rubs hands together , PSYCHED . )<\/parenthetical>\n    <dialogue>We are gon na find something great!<\/dialogue>\n    <scene_description>Cassidy is less loose and playful than Randy , much more in business mode . They come to the back where , against the wall , she finds what she 's looking for : a bunch of CARDBOARD BOXES bursting with a wildly eclectic assortment of tops , skirts , pants , etc. . She starts sifting through .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>Do you know her size?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>She's kinda skinny, a little shorter than you.<\/dialogue>\n    <scene_description>Cassidy spots a fun , multi - color MINI - SKIRT . She pulls it out .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>Could you see her in this?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Maybe.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Not really.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>I'm not sure.<\/dialogue>\n    <scene_description>Cassidy tosses it back in . She unearths a Flashdance - style SWEATSHIRT .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>What about this?<\/dialogue>\n    <scene_description>Randy makes a sour face . She tosses it back .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So like, what is she? Goth? Punk? Hippie?<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Preppy? Stoner?<\/dialogue>\n    <scene_description>Randy ponders the choices .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Not really.<\/dialogue>\n    <scene_description>Cassidy lets out a good - natured groan of frustration . Randy watches as she continues searching .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hey, Pam?<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Thank you very much.<\/dialogue>\n    <scene_description>Cassidy looks at him . She can feel his sincere appreciation .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>You're welcome.<\/dialogue>\n    <scene_description>She returns to searching . Sift , sift , sift , sift .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>I think she might be a lesbian.<\/dialogue>\n    <scene_description>Cassidy stops sifting . She looks up at him .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Does that help?<\/dialogue>\n    <scene_description>Cassidy leads Randy by the arm over to the . MEN 'S AREA : Cassidy heads to a RACK OF CLOTHES . She quickly zeroes in on a RETRO BOWLING SHIRT . She holds it up to Randy , who makes a scrunched - up face .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Ah, maybe she's just a friend.<\/dialogue>\n    <scene_description>Cassidy puts the bowling shirt back . As she does , something catches Randy 's eye .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What's that?<\/dialogue>\n    <parenthetical>( POINTING . )<\/parenthetical>\n    <dialogue>The green.<\/dialogue>\n    <scene_description>Cassidy holds up the item for Randy .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <parenthetical>( SURPRISED . )<\/parenthetical>\n    <dialogue>This?<\/dialogue>\n    <scene_description>An excited look comes over Randy 's face .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>It's perfect.<\/dialogue>\n    <scene_description>RANDY 'S POV : A satin - green ROLLER - DISCO JACKET . Embroidered on the left breast is a big `` S '' in purple script . It 's UGLY . Cassidy looks at the jacket . She clearly finds it awful . She looks at Randy , who 's beaming with excitement and pride . She finds it very endearing .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>I agree.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUNRISE SHOPPING PLAZA - PARKING LOT - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Yesterdaze bag in hand , Randy opens the door to his van . He and tosses the bag inside . He 's on a post - shop high , mission accomplished .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Thanks again.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>You found it.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I never woulda known about this place.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Okay, I'll give you that.<\/dialogue>\n    <scene_description>A tentative pause . Cassidy looks at him , ready to part ways .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Look, I.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Man, I worked up a pretty good thirst in there. What say we grab a beer?<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>I got ta get going.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>One beer! We got ta re - hydrate!<\/dialogue>\n    <scene_description>Cassidy seems torn .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>I really ca n't.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>I got a kid at home.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>You have a kid?<\/dialogue>\n    <scene_description>Cassidy nods . Yup .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I had no idea.<\/dialogue>\n    <scene_description>Cassidy shrugs casually .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Boy or girl?<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Boy. Daniel.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>How old?<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Nine.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Wow. I had no friggin' idea.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>It's not something I usually tell customers. Not exactly a turn - on.<\/dialogue>\n    <scene_description>Randy looks off at something by his van . An idea hits him .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Wait.<\/dialogue>\n    <scene_description>He unlocks the door . Leaning into the van , he TEARS THE RANDY THE RAM ACTION FIGURE OFF THE DASHBOARD . He proudly , excitedly holds it out to Cassidy .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Now both our kids got something.<\/dialogue>\n    <scene_description>She looks at the action figure , reluctant to take it .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You're gon na turn this down, too? Man, you're rough!<\/dialogue>\n    <scene_description>Cassidy chuckles a little . She takes it .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>That's very nice of you. Thank you.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Tell him to take good care of that. $ 300 bucks on eBay.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Nah.<\/dialogue>\n    <scene_description>Cassidy laughs a little . She ca n't help but be charmed by his sweetness and earnestness . After a pause .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>One beer.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCAL BAR - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy and Cassidy are having beers at the bar . He 's holding her CELLPHONE , looking at PICTURES of her son . He moves on to the next one .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>He's a good - lookin' kid.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>I think so.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I see where he gets it from.<\/dialogue>\n    <scene_description>Cassidy smiles , flattered .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>He sure does n't get it from his douchebag father.<\/dialogue>\n    <scene_description>Randy skips to the next pic . It 's a shot of an UNDER - CONSTRUCTION CONDO BUILDING .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Just this condo thing, down by Trenton.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>You moving there?<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Working on it.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>It's a great area. Way cheaper. And the schools are awesome.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>What about Cheetah's?<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>I'm done. I'm quitting.<\/dialogue>\n    <character>RANDY<\/character>\n    <parenthetical>( a little disappointed . )<\/parenthetical>\n    <dialogue>Oh.<\/dialogue>\n    <parenthetical>( nods to self . )<\/parenthetical>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>MUSIC : DEF LEPPARD - `` POUR SOME SUGAR ON ME '' Randy 's ears perk up at the song on the jukebox .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hell, yeah.<\/dialogue>\n    <scene_description>He stands up , reaching out for Cassidy 's hand . She does n't give it .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>C'mon. Let's dance.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Right here.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>This is n't a dance place.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Who cares? Fuckin' Def Lep!<\/dialogue>\n    <character>CASSIDY<\/character>\n    <parenthetical>( CHUCKLES . )<\/parenthetical>\n    <dialogue>I've danced to this plenty.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Fine. Then I'm dancing for you.<\/dialogue>\n    <scene_description>Randy starts DANCING in front of Cassidy , who 's sitting on a barstool . She smiles .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>Is this a lapdance I'm getting?<\/dialogue>\n    <scene_description>Randy goes into lapdance mode , `` seductively '' writhing for her , silly and self - aware .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Just sit back and enjoy.<\/dialogue>\n    <scene_description>He turns around , wiggling his ass a little for her . He runs his hands up and down her sides . He drapes his long blond mane over her shoulders , running it over her face . She laughs , charmed and amused . He gazes into her eyes intensely .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>The lapdancer has become the lapdanced.<\/dialogue>\n    <scene_description>Cassidy laughs . He continues dancing , totally unembarrassed .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>I think we can get you a shift.<\/dialogue>\n    <scene_description>Randy bobs his head along to the kick - ass Def Leppard tune , really loving it . The song builds to its chorus . Randy SINGS ALONG .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Take a bottle, shake it up \/ Break the bubble, break it u - up.<\/dialogue>\n    <parenthetical>( CHORUS . )<\/parenthetical>\n    <dialogue>Pour some sugar on me! In the name of love!<\/dialogue>\n    <scene_description>Cassidy , unable to resist the call of the Lep , joins in .<\/scene_description>\n    <character>CASSIDY AND RANDY<\/character>\n    <dialogue>Pour some sugar on me! C'mon fire me up!<\/dialogue>\n    <parenthetical>( pointing at each other . )<\/parenthetical>\n    <dialogue>Pour your sugar on me! I ca n't get enough.<\/dialogue>\n    <parenthetical>( eye contact , sultry . )<\/parenthetical>\n    <dialogue>I'm hot, sticky sweet \/ From my head to my feet yeah.<\/dialogue>\n    <scene_description>From here , the song veers off into a GUITAR PART . Randy nods along , savoring the awesome hair - metal riffing .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>They do n't make ` em like they used to.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Fuckin' eighties, man. Best shit ever.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Def Lep, Gunners.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>The Cr\u00fce.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Then that Cobain pussy had to come around and ruin it all.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Like there's something wrong with having a good time.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Fuckin' mopey douchebag.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>`` Ooh, look at me! I wear flannel! I'm all depressed!''<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>`` I'm from Seattle! I like rain!''<\/dialogue>\n    <scene_description>Randy shakes his head sourly .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Nineties fuckin' sucked.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>No shit.<\/dialogue>\n    <scene_description>Their EYES MEET . A moment of CHEMISTRY . Mutual attraction . Randy moves closer , his eyes locked on hers . He leans in for . a KISS . They MAKE OUT for a few seconds . Cassidy PULLS BACK . She gives Randy a playfully scolding FINGER WAG , masking her fear and discomfort with what just happened .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>No contact with the customers.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>You're right. My bad.<\/dialogue>\n    <scene_description>He keeps right on dancing , totally unaware of the shift that just occurred in her .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>What's up?<\/dialogue>\n    <character>CASSIDY<\/character>\n    <parenthetical>( glancing at watch . )<\/parenthetical>\n    <dialogue>I totally did n't realize the time.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>We just got here.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>I should get home.<\/dialogue>\n    <scene_description>She stands up . Randy is very disappointed .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>C'mon. You said one beer!<\/dialogue>\n    <scene_description>Randy points toward her ALMOST - FULL BEER on the bar . She picks it up and CHUGS the whole thing . She slaps the empty bottle on the bar .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>Good night.<\/dialogue>\n    <scene_description>She gives him an arm pat and walks out of the bar . Randy is impressed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOP-RITE - EMPLOYEE ROOM - MORNING<\/stage_direction>\n    <scene_description>It 's Randy 's first day of work . He slips into a DELI COAT . Tucks his hair into a hairnet . Pulls a Shop - Rite baseball cap over the hairnet . He walks over to a mirror to see how he looks in his new uniform . He feels a little silly .<\/scene_description>\n    <character>WAYNE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Here ya go.<\/dialogue>\n    <scene_description>He turns and sees Wayne , who hands him something . Randy looks at the item in his hand , vaguely bothered .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>I thought it was gon na say Randy.<\/dialogue>\n    <scene_description>ANGLE ON item , a Shop - Rite NAME TAG . The name on it is ROBIN .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Guess they got it off your W - 4.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Do I really even need to wear one?<\/dialogue>\n    <character>WAYNE<\/character>\n    <parenthetical>( SARCASTIC . )<\/parenthetical>\n    <dialogue>Are you gon na be interacting with our valued Shop - Rite customers?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Yeah, but I -<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Then yes.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Could they maybe re - do it?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Just wear the fucking thing.<\/dialogue>\n    <scene_description>Wayne walks off . Randy pins the name tag to his apron . He takes another look in the mirror , sighing unhappily . Randy looks up at the employee - room clock . It 's 8:59 AM . He heads toward a RUBBER - STRIP CURTAIN leading to the deli counter . Standing before the curtain , he pauses a moment , gathering himself like before a wrestling match . He steps through . Showtime .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DELI COUNTER - DAY<\/stage_direction>\n    <scene_description>About 10 CUSTOMERS hover in front of the deli counter with Take - A - Number tickets . Randy , manning the counter , hands an OLD GUY in a WWII VETERAN baseball cap a packet of roast beef . The guy shuffles off . Randy looks up at the Take - A - Number sign .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Seventeen.<\/dialogue>\n    <scene_description>A WOMAN -LRB- 60s -RRB- steps forward holding a 17 and a SHOP - RITE CIRCULAR . She carefully surveys the TURKEY - BREAST SELECTION in the case .<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>The Hudson Acres, are they all on sale or just the regular?<\/dialogue>\n    <scene_description>Randy looks clueless .<\/scene_description>\n    <character>WOMAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( holding up circular . )<\/parenthetical>\n    <dialogue>It's a little unclear.<\/dialogue>\n    <scene_description>She hands the circular to Randy to take a look . RANDY 'S POV : It says HUDSON ACRES TURKEY BREAST - $ 5.99 \/ LB . He still has no idea .<\/scene_description>\n    <character>WOMAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'd prefer the maple - glazed, but if it's full price.<\/dialogue>\n    <scene_description>Randy briefly catches eyes with another customer , a BIG - HAIRED , SEMI - HOT PARTY CHICK in her forties . The kind of woman Randy would hit on in a bar . He dodges her eye contact , embarrassed by the context .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( to circular lady . )<\/parenthetical>\n    <dialogue>Hang on, let me.<\/dialogue>\n    <scene_description>Randy picks up a phone behind the counter .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( into phone , over SPEAKERS . )<\/parenthetical>\n    <dialogue>Wayne, please come to the deli counter.<\/dialogue>\n    <scene_description>He cringes a bit as his voice booms over the store speakers . He hangs up and returns to the customer .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It'll just be a minute.<\/dialogue>\n    <scene_description>The woman , nodding , looks into the deli case again .<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Which in your opinion is the best smoked ham?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I guess it depends what you like.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>I tried the Apple Valley Farms once, and it was very salty. Do you find that?<\/dialogue>\n    <scene_description>Randy steals a self - conscious glance at the party chick .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DELI COUNTER - LATER<\/stage_direction>\n    <scene_description>ANGLE ON Take - A - Number sign . It says NOW SERVING : 46 .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Forty - six.<\/dialogue>\n    <scene_description>A WOMAN -LRB- 35 -RRB- in workout clothes steps forward with a 46 .<\/scene_description>\n    <character>WORKOUT WOMAN<\/character>\n    <dialogue>Could I get a half - pound of the pesto pasta salad?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>Randy grabs a plastic container .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Pesto change - o.<\/dialogue>\n    <scene_description>The woman smiles at Randy 's little offhand pasta pun . This pleases him . Randy scoops pesto pasta salad into the container . He puts the container onto the scale . It reads .51 LB .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Wow. I am good.<\/dialogue>\n    <scene_description>This gets Randy a small chuckle from the woman . Randy slaps a price tag on the container .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Can I get you anything else?<\/dialogue>\n    <character>YOUNG WOMAN<\/character>\n    <dialogue>Nope. That's it.<\/dialogue>\n    <scene_description>He hands her the container .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>You have yourself a nice day.<\/dialogue>\n    <character>YOUNG WOMAN<\/character>\n    <parenthetical>( friendly smile . )<\/parenthetical>\n    <dialogue>I will. You, too.<\/dialogue>\n    <scene_description>The woman heads off . Randy 's spirits are lifted by the exchange .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DELI COUNTER - LATER<\/stage_direction>\n    <scene_description>Randy looks up at the Take - A - Number sign : NOW SERVING : 57 .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>O - 57.<\/dialogue>\n    <scene_description>A HOUSEWIFE - TYPE steps forward with the number .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Bingo!<\/dialogue>\n    <scene_description>The housewife smiles .<\/scene_description>\n    <character>HOUSEWIFE<\/character>\n    <dialogue>What's my prize?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Anything in the case, sweetheart.<\/dialogue>\n    <character>HOUSEWIFE<\/character>\n    <dialogue>A pound of chopped liver and a half a pound of egg salad.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I think that can be arranged.<\/dialogue>\n    <scene_description>He grabs a plastic container and throws it in the air , catching it behind his back .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIDDLESEX COUNTY COMMUNITY COLLEGE - DAY<\/stage_direction>\n    <scene_description>Stephanie emerges from the Middlesex County Community College building . A look of surprise comes over her face . STEPHANIE 'S POV : Randy is standing there waiting for her by his van . Under his arm is a LUMPILY WRAPPED PRESENT , no box .<\/scene_description>\n    <character>STEPHANIE<\/character>\n    <dialogue>What are you, stalking me?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Do stalkers bring presents?<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>Sometimes.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Well, I ai n't a stalker. But.<\/dialogue>\n    <scene_description>He excitedly hands her the present . She looks at it warily .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Open it.<\/dialogue>\n    <scene_description>She opens it . Inside is the green satin jacket . She holds it up , trying to process .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>The `` S'' is for `` Stephanie''.<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>Oh. Okay.<\/dialogue>\n    <scene_description>She looks at the jacket . It 's nothing she would ever wear .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>I got it just for you.<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>I see that. What's it for?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>No reason. Just because. Do you like it?<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>I do. It's. shiny.<\/dialogue>\n    <scene_description>She looks at Randy . He is excited and proud .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>I was looking in this store and saw it, and I just said, `` That is it.''<\/dialogue>\n    <scene_description>Stephanie nods , smiling politely .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So what are you doing now?<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>What am I doing?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Got any time? I was thinking we could swing by our old favorite spot.<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>We have an old favorite spot?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>You'll remember when you see. Whaddaya say?<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>Now's not the best time. I've got some things to do.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>What kinda things?<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>Stuff.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>You ai n't got stuff!<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>C'mon, give an old man a break.<\/dialogue>\n    <scene_description>He giver her his biggest , most charming puppy - dog smile .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POINT PLEASANT BOARDWALK - LATER<\/stage_direction>\n    <scene_description>Randy and Stephanie walk along the boardwalk . It 's a charming little Jersey - shore boardwalk\/beach lined with Skee - Ball games , ice - cream parlors , T - shirt shops etc. . It 's a bit cold and not very crowded , still out of season .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>You really do n't remember?<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Guess you were pretty young.<\/dialogue>\n    <scene_description>They walk for a stretch in silence . He points to a spot .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>There used to be this funhouse.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>The Monster Motel.<\/dialogue>\n    <scene_description>Randy chuckles at the memory .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>They had this cheesy - ass skeleton that popped out of a coffin. You'd get so scared, you'd cry. Then you'd beg to go in again.<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <parenthetical>( chuckles to self . )<\/parenthetical>\n    <dialogue>Always was a glutton for punishment.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>You'd hop on my foot and wrap your arms around my leg. I'd have to walk you the whole way through like that.<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>I totally do n't remember.<\/dialogue>\n    <character>RANDY<\/character>\n    <parenthetical>( looks at her sweetly . )<\/parenthetical>\n    <dialogue>I do.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOARDWALK - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy and Stephanie sit on a bench facing the ocean eating mint - chocolate chip ice - cream cones . Randy is quiet and contemplative , not in his usual `` on '' mode . He takes a deep breath .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>I accept your apology.<\/dialogue>\n    <scene_description>She shoots him an irked look .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Not like that. I just mean. You made amends. I free you.<\/dialogue>\n    <scene_description>Her expression softens .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Anything you've ever done or said or thought, I forgive. You've done nothing wrong to me. And anything I've ever done.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>I'm sorry. Truly.<\/dialogue>\n    <scene_description>Stephanie is surprised by his emotion and sincerity .<\/scene_description>\n    <character>STEPHANIE<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I was young. My career was booming. All those lights, the fans, the crazy shit on the road. I was n't thinking about my kid. Or my wife.<\/dialogue>\n    <scene_description>Stephanie nods .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>My priorities were all fucked up. I know that. But now. I wan na try to make things right. I wan na try to get to know you.<\/dialogue>\n    <parenthetical>( lump in throat . )<\/parenthetical>\n    <dialogue>I just hope it's not too late.<\/dialogue>\n    <scene_description>Randy gazes off at the ocean , filled with fear and love and regret . A tear starts to gather in his eye . He wipes it away before it has a chance to form . Stephanie looks at him , moved .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOARDWALK ARCADE - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy and Stephanie play Skee - Ball side - by - side , father and daughter .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STEPHANIE'S HOUSE - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy stands with Stephanie in front of her house , dropping her off .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Hope that was n't too painful.<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>It was okay.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Well.<\/dialogue>\n    <scene_description>Randy , unsure what to do , extends his hand .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Bye.<\/dialogue>\n    <scene_description>They shake . He pulls her in for a brief , mechanical hug .<\/scene_description>\n    <character>STEPHANIE<\/character>\n    <dialogue>Bye.<\/dialogue>\n    <scene_description>Another pause .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>So. How about dinner sometime?<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>Dinner?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Maybe Tuesday?<\/dialogue>\n    <scene_description>Stephanie thinks it over .<\/scene_description>\n    <character>STEPHANIE<\/character>\n    <dialogue>I'm sorry. I do n't think so.<\/dialogue>\n    <character>RANDY<\/character>\n    <parenthetical>( nodding , `` casual '' . )<\/parenthetical>\n    <dialogue>Or not. That's cool, whatever.<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>Wednesday would work better.<\/dialogue>\n    <scene_description>Randy is surprised and happy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RANDY'S TRAILER - LATER<\/stage_direction>\n    <scene_description>Randy sticks the old Christmas photo of Stephanie and himself on the fridge .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARADISE OAKS - PAY PHONE - DAY<\/stage_direction>\n    <scene_description>Randy stands at the pay phone , ringing phone to his ear . In his hands is his day planner , open to a page marked up with upcoming gigs .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Yo, Miggy. Ram. How ya doin'?<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Good, good.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Listen, you're gon na have to count me out for Utica.<\/dialogue>\n    <parenthetical>( momentous pause . )<\/parenthetical>\n    <dialogue>I'm retiring.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PAY PHONE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Another call .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Hey, how ya doin', Frank?<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Good, good. Listen.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PAY PHONE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Another call . Randy is holding the Fanfest flyer .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Sorry, Volp. You know I'd kill to do it.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>I realize. I understand.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>No more. I'm done. I'm retired.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Positive. It's time to move on.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHEETAH'S - NIGHT<\/stage_direction>\n    <scene_description>MUSIC : WARRANT - `` CHERRY PIE '' Cassidy is up on stage , doing her thing for a sizable crowd . She slinks up to a customer who 's holding out a dollar bill for her . She pulls on her G - string band , snapping it shut on the bill . She moves over to another customer holding out a dollar and does the same .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hey. Over here.<\/dialogue>\n    <scene_description>She looks toward the voice , coming from another side of the stage . CASSIDY 'S POV : Standing there is Randy , holding out a PURPLE ENVELOPE . He looks toward her G - string , like he wants to put it in like a dollar bill . She takes it with her hand instead .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHEETAH'S - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy and Cassidy sit together at a table . Cassidy is holding the purple envelope , looking a little uncomfortable .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Open it.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>I'll do it later when it's quiet.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I wan na watch.<\/dialogue>\n    <scene_description>Reluctantly , Cassidy opens it . Inside is a GREETING CARD . CASSIDY 'S POV : On the card 's front , a cartoon monkey is holding a big bunch of bananas . Across the top , it says THANKS A BUNCH ! Randy watches excitedly as she reads the inside . She puts the it down after reading it .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>That's very sweet. Thank you.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Thank you. I could n't've done it without you.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>I'm glad I could help.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>It was fun, right? We had a good time.<\/dialogue>\n    <scene_description>She nods politely , reservedly , clearly trying to pull back .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( FISHING . )<\/parenthetical>\n    <dialogue>Shopping.<\/dialogue>\n    <scene_description>Another guarded nod .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hey, you ever been to Mother Kelly's?<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>On 46?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>They got this kick - ass cover band Tuesday nights. Play anything you can think of. What do you say we -<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Randy.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>I ca n't do this.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Do what?<\/dialogue>\n    <character>CASSIDY<\/character>\n    <parenthetical>( `` you and me '' gesture . )<\/parenthetical>\n    <dialogue>This.<\/dialogue>\n    <scene_description>Randy is confused and disappointed .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>I thought we had a little something going here.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>I think you're awesome. You're a great guy.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>But.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>You think I'm, like, this stripper, but I'm not. I'm a mom, with responsibilities. I do n't think you wan na get with that.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>What if I do?<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>I ca n't go there.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>What about the other day?<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>That was a mistake.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Why? How?<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>The club and the real world, they ca n't mix.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>What if we'd met someplace else?<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>We did n't.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>But what if we did?<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>We did n't.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>What if we did?<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>We did n't.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>You say I do n't know you, but you wo n't let me get to know you.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>You're a customer. You're just a fucking customer. That's it. Okay? Got it?<\/dialogue>\n    <scene_description>A long , wounded pause from Randy .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>I got it.<\/dialogue>\n    <scene_description>He takes a $ 20 out of his pocket , holding it out to her .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>What's that for?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>A lapdance.<\/dialogue>\n    <scene_description>He slides it across the bar to her . She slides it back .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You're refusing a customer?<\/dialogue>\n    <scene_description>He slides the $ 20 back to her .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Gim me a lapdance.<\/dialogue>\n    <scene_description>She slides it back again .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What? Am I a customer or not?<\/dialogue>\n    <scene_description>He waves the $ 20 tauntingly in her face . She pushes it away .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>Stop it.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>What's the matter?<\/dialogue>\n    <parenthetical>( no answer . )<\/parenthetical>\n    <dialogue>Not in the mood?<\/dialogue>\n    <parenthetical>( no answer . )<\/parenthetical>\n    <dialogue>So fake it. I'm just a stupid customer.<\/dialogue>\n    <scene_description>He tauntingly dangles the $ 20 in front of her again .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>Stop.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>It does n't mean anything.<\/dialogue>\n    <scene_description>She looks away , trying to ignore him .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>C'mon, give the customer a lapdance. Shake your tits. Smile.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Fuck off.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Pretend you like him.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Fuck off.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I want a lapdance.<\/dialogue>\n    <scene_description>She SWATS HIS HAND . The $ 20 falls to the floor . He picks it up and SLAMS IT on the bar .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I WANT A LAPDANCE!<\/dialogue>\n    <scene_description>People turn and stare . Randy storms out of the club , humiliated .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOP-RITE - DELI COUNTER - DAY<\/stage_direction>\n    <scene_description>About 10 CUSTOMERS hover in front of the DELI COUNTER clutching Take - A - Number tickets . Randy , manning the counter with a COWORKER , hands a WOMAN a packet of roast beef .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Can I help who's next?<\/dialogue>\n    <scene_description>An OLD LADY steps forward .<\/scene_description>\n    <character>OLD LADY<\/character>\n    <dialogue>Pound of German potato salad, please.<\/dialogue>\n    <scene_description>Randy grabs a container and starts scooping potato salad . He puts the container on the scale . It reads 1.06 LB .<\/scene_description>\n    <character>OLD LADY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>A little less.<\/dialogue>\n    <scene_description>Randy scoops out a little and weighs it again . The scale reads .96 LB .<\/scene_description>\n    <character>OLD LADY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>A little more.<\/dialogue>\n    <scene_description>Randy puts a little more in . The scale reads 1.03 .<\/scene_description>\n    <character>OLD LADY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>A little less.<\/dialogue>\n    <scene_description>Randy , trying to contain his aggravation , takes a tiny bit out . The scale reads 1.00 . The lady nods in approval . Randy slaps a price sticker on the container and hands it across the counter .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Have a nice day.<\/dialogue>\n    <scene_description>She shuffles off with her potato salad .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Can I help who's next?<\/dialogue>\n    <scene_description>A BLUE - COLLAR GUY -LRB- 40s -RRB- steps forward .<\/scene_description>\n    <character>CUSTOMER<\/character>\n    <dialogue>Yeah, could I get a.<\/dialogue>\n    <scene_description>The guy does a DOUBLE - TAKE , noticing Randy 's face .<\/scene_description>\n    <character>CUSTOMER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Do I know you from somewhere?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I do n't think so.<\/dialogue>\n    <scene_description>The guy studies Randy 's face , trying hard to place it .<\/scene_description>\n    <character>CUSTOMER<\/character>\n    <dialogue>You look so damn familiar.<\/dialogue>\n    <parenthetical>( racking his brain . )<\/parenthetical>\n    <dialogue>You Teamsters?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Sorry, man. What can I getcha?<\/dialogue>\n    <character>CUSTOMER<\/character>\n    <dialogue>Half pound of Virginia ham and a half pound of the Jarlsberg.<\/dialogue>\n    <scene_description>Randy reaches into the case and pulls out a ham . He brings it over to the slicer , his back turned away from the guy .<\/scene_description>\n    <character>CUSTOMER<\/character>\n    <parenthetical>( O.S. ; CONT 'D . )<\/parenthetical>\n    <dialogue>I know we've met someplace.<\/dialogue>\n    <scene_description>Slice , slice , slice , slice .<\/scene_description>\n    <character>CUSTOMER<\/character>\n    <parenthetical>( O.S. ; CONT 'D . )<\/parenthetical>\n    <dialogue>You play softball?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Nah.<\/dialogue>\n    <scene_description>Slice , slice , slice , slice .<\/scene_description>\n    <character>CUSTOMER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>You're not one of Mikey Bosch's buddies, are you?<\/dialogue>\n    <scene_description>Randy , shaking his head no , brings the sliced ham over to the weigh scale . The guy SNAPS HIS FINGERS .<\/scene_description>\n    <character>CUSTOMER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Wait a sec.<\/dialogue>\n    <scene_description>He looks at Randy , surprised and amazed .<\/scene_description>\n    <character>CUSTOMER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Randy The Ram?<\/dialogue>\n    <scene_description>Randy stands there frozen .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>CUSTOMER<\/character>\n    <dialogue>The old wrestler. From the'80s.<\/dialogue>\n    <scene_description>Randy , shrugging blankly , wraps up the ham and slaps a price sticker on .<\/scene_description>\n    <character>CUSTOMER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( forms Ram horns . )<\/parenthetical>\n    <dialogue>Ram Jam!<\/dialogue>\n    <scene_description>Randy grabs the Jarlsberg from the case and brings it over to the slicer . He starts slicing .<\/scene_description>\n    <character>CUSTOMER<\/character>\n    <parenthetical>( O.S. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Wow, that's freaky. You look just like the dude. Except older.<\/dialogue>\n    <scene_description>ANGLE ON the block of cheese as Randy slices . There 's only a SMALL CHUNK left . The chunk dwindles , getting smaller and smaller . The cheese separating Randy 's fingers from the blade grows thin . He almost seems tempted .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RANDY'S TRAILER - LATE NIGHT<\/stage_direction>\n    <scene_description>Randy , unable to sleep , sits shirtless on the couch , staring blankly at the TV . An NBA HIGHLIGHT CLIP of a FEROCIOUS DUNK . The crowd goes wild . The player roars as he runs back up court , full of macho swagger . Randy 's eyes drift downward toward his chest . He gazes at the still - fresh scar . Touches it tenderly . He takes a big swig of wine , polishing off a bottle . He pops a cassette into the BOOMBOX on the floor . GUNS ` N ' ROSES - USE YOUR ILLUSION II . Randy cranks up the volume and hits PLAY . MUSIC : GUNS ` N ' ROSES - `` GET IN THE RING '' The song begins with the sound of a ROARING STADIUM CROWD . A chant begins :<\/scene_description>\n    <character>CROWD<\/character>\n    <parenthetical>( ON THE SONG . )<\/parenthetical>\n    <dialogue>Guns! And! Roses! Guns! And! Roses!<\/dialogue>\n    <scene_description>Randy starts to prowl the floor like it 's a wrestling ring before a match . He waves his arms , exhorting the crowd on the song as if their cheers are for him .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( cups hand to ear . )<\/parenthetical>\n    <dialogue>What's that?<\/dialogue>\n    <scene_description>Randy works the crowd . He points at a fan in the back row . Flexes theatrically . Bangs his head on pretend chairs . Randy grabs the top rope and gives it a hard shake . Loosening up with some neck rolls and trunk twists , he heads to the center of the ring .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( ANNOUNCER - LIKE . )<\/parenthetical>\n    <dialogue>Folks, we are ready to rumble.<\/dialogue>\n    <scene_description>The song , which starts with a slow , bluesy guitar intro , kicks in . FAST , RAGING HARD ROCK . Randy stares down his invisible opponent . The opponent SUCKER PUNCHES him . Randy drops to the ground . Randy lies on the floor getting kicked and punched . He knocks his opponent down with a LEG SWEEP and pops up . Randy hits his opponent with a flurry of backhand chops .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I've never seen such determination!<\/dialogue>\n    <scene_description>Randy immobilizes his opponent in some sort of headlock .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Sleeper claw!<\/dialogue>\n    <scene_description>Randy flips his opponent upside down , his head between his knees . He drops him headfirst onto the bed\/mat .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Piledriver!<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Just listen to this place!<\/dialogue>\n    <scene_description>Randy scoops up his opponent again and SLAMS HIM TO THE MAT with another fancy move .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Powerbomb!<\/dialogue>\n    <scene_description>The song reaches its frenzied , chant - like CHORUS :<\/scene_description>\n    <character>GUNS `N' ROSES<\/character>\n    <dialogue>Get in the ring! Get in the ring! Get in the ring! Get in the ring!<\/dialogue>\n    <scene_description>Randy joins in , pumping his fist .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Get in the ring! Get in the ring! Get in the ring! Get in the ring!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NINTH INNING COLLECTIBLES - DAY<\/stage_direction>\n    <scene_description>A strip - mall sports - card\/comic - book shop . Tacked to the wall by the entrance are FLYERS for various events - card shows , autograph signings , etc. . Behind the counter is promoter Scott Brumberg , scarfing down a sloppy Subway sub . The door opens . He looks up , smiling .<\/scene_description>\n    <character>SCOTT BRUMBERG<\/character>\n    <dialogue>Ram!<\/dialogue>\n    <scene_description>Randy heads over and gives him a warm hello handclasp .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Yo, Brummy.<\/dialogue>\n    <scene_description>Brumberg pulls him in for a hug .<\/scene_description>\n    <character>SCOTT BRUMBERG<\/character>\n    <dialogue>How's tricks? Good to see ya, man.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Yeah, good, good.<\/dialogue>\n    <character>SCOTT BRUMBERG<\/character>\n    <dialogue>So what brings ya by?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Well. I was thinking about maybe doing a reffing gig.<\/dialogue>\n    <character>SCOTT BRUMBERG<\/character>\n    <dialogue>I thought you're retired.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>No wrestling, just reffing. Thought it might be fun. Shits ` n' giggles.<\/dialogue>\n    <scene_description>Brumberg , nodding , reaches down and grabs out a beat - up SPIRAL NOTEBOOK with old event flyers sticking out .<\/scene_description>\n    <character>SCOTT BRUMBERG<\/character>\n    <dialogue>See what we got.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRIDGEPORT NORTH HIGH SCHOOL - CAFETERIA - LATER<\/stage_direction>\n    <scene_description>A high - school cafeteria . Randy is slipping into a REFEREE UNIFORM . Along the wall hangs a vinyl banner reading CAPW - CONNECTICUT ALL - PRO WRESTLING .<\/scene_description>\n    <character>BOOKER D<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Randy The Ref!<\/dialogue>\n    <scene_description>Randy looks up and sees BOOKER D -LRB- 30s -RRB- , a big , black wrestler in FULL PIMP REGALIA . Though not a pro like Randy , he 's upper - tier indie circuit . Randy gives him a grin and handshake .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>` Sup, bro?<\/dialogue>\n    <character>BOOKER D<\/character>\n    <dialogue>Me and McPride was going over spots. We got this dope idea how to work you in.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I really ai n't lookin' to mix it up tonight.<\/dialogue>\n    <character>BOOKER D<\/character>\n    <dialogue>You're gon na love this. Check it out. So McPride -<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>That's okay. You guys do your thing.<\/dialogue>\n    <scene_description>Booker D looks at him , surprised and puzzled .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRIDGEPORT NORTH H.S. - GYMNASIUM - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Booker D lands on opponent SHAWN MCPRIDE with a BIG SUPLEX . He falls on top of McPride for the pin . Randy The Ref smacks the mat , counting .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>One! Two!<\/dialogue>\n    <scene_description>McPride kicks out . Booker D lifts up McPride . He hits him with a CHEST CHOP , sending him stumbling backwards into the ropes . Booker D goes after him . CAMERA STAYS ON RANDY 'S FACE as he watches them wrestle off - screen . Randy 's eyes are glued to the action . Punches . Kicks . Suplexes . Bodyslams . The crowd is going crazy . He is tempted . Salivating almost . More punches . More cheers . Bodies crash loudly against the mat . Randy 's temptation grows with each shot . He ca n't resist any longer . He . JUMPS IN . Randy pushes Booker D out of the way . He 's SMASHED IN THE FACE by a McPride - swung folding chair meant for Booker D. Randy goes down . A TRACE OF A SMILE is visible on his face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOYS' LOCKER ROOM - SHOWER AREA - POST-MATCH<\/stage_direction>\n    <scene_description>Randy , Booker D , and McPride are SHOWERING in the open shower area . They 're on a post - match high .<\/scene_description>\n    <character>BOOKER D<\/character>\n    <dialogue>What a screwjob.<\/dialogue>\n    <character>SHAWN MCPRIDE<\/character>\n    <dialogue>Crowd was pissed.<\/dialogue>\n    <scene_description>McPride gives Randy a `` We 're not worthy '' bow of respect .<\/scene_description>\n    <character>SHAWN MCPRIDE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>The master.<\/dialogue>\n    <character>BOOKER D<\/character>\n    <parenthetical>( wags finger , grins . )<\/parenthetical>\n    <dialogue>Just reffing, my ass. I knew you'd get in there.<\/dialogue>\n    <scene_description>Randy gives him a `` Hey , what can I say ? '' shrug .<\/scene_description>\n    <character>SHAWN MCPRIDE<\/character>\n    <dialogue>Y' all feel like grabbing a drink?<\/dialogue>\n    <scene_description>McPride and Booker D both look toward Randy . He 's the one they 're interested in hanging with .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOLIDAY INN BRIDGEPORT - HOTEL BAR - LATER<\/stage_direction>\n    <scene_description>A hotel bar , lively and hopping with a weekend crowd . Randy sits at the bar , holding court with Booker D and McPride . They 're all well on their way to being drunk .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>By the time Ruckus fixes the tire, we've had so many Nyquil coladas we do n't even realize we missed the damn gig!<\/dialogue>\n    <scene_description>Booker D and McPride CRACK UP .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Swear to God. Ca n't make stuff like that up.<\/dialogue>\n    <character>BOOKER D<\/character>\n    <dialogue>Yo, tell McPride shit - pit!<\/dialogue>\n    <character>SHAWN MCPRIDE<\/character>\n    <dialogue>Shit pit?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>You never heard that one?<\/dialogue>\n    <scene_description>McPride looks at him blankly .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oh, man, fuckin' classic.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>1990. Nashville Coliseum, Rage In The Cage II. I'm in the locker room shaving when behind me the stall door opens. I turn and there's Chris Columbo on the can taking a dump. He goes, `` This is for Petrov'', fuckin' wipes his ass, takes the shit - covered toilet paper and rubs it in his armpit. Five minutes later, he's in the ring with Petrov in a headlock, poor Petrov stuck there in CC's pit lookin' like he's gon na puke!<\/dialogue>\n    <scene_description>McPride and Booker D roar with delight .<\/scene_description>\n    <character>BOOKER D<\/character>\n    <dialogue>Fuckin' classic.<\/dialogue>\n    <scene_description>Randy beams proudly .<\/scene_description>\n    <character>BOOKER D<\/character>\n    <parenthetical>( O.S. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Uh - oh.<\/dialogue>\n    <scene_description>Booker D spots something intriguing by the bar entrance . Randy and McPride follow his gaze there . RANDY 'S POV : TWO WOMEN - late 30s , frosted hair , tight denim miniskirts - just walked in the bar . He catches the twosome stealing a glance in their direction .<\/scene_description>\n    <character>BOOKER D<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Ring rats, 12 o'clock.<\/dialogue>\n    <scene_description>Randy and McPride seem to agree with his assessment .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL BAR - LATER<\/stage_direction>\n    <scene_description>MUSIC : BLACK CROWES - `` HARD TO HANDLE '' The wrestlers are dancing with the women , MELISSA and ALYSSA , on the bar 's dance floor . Melissa is sandwiched between Booker D and McPride , shaking her ass for them like a 19 - year - old spring breaker . Alyssa is paired off with Randy , grinding her ass against him . She turns , facing him . Looks at him with a coy smile .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>I know who you are.<\/dialogue>\n    <scene_description>She slowly runs her hands up Randy 's sides .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>My brother used to have your poster on his door.<\/dialogue>\n    <scene_description>Randy smiles , pleased .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Dude's got taste.<\/dialogue>\n    <scene_description>Alyssa notices something intriguing over Randy 's shoulder . Randy turns to see what she 's looking at . RANDY 'S POV : Standing by the bar is a MAN . He turns back to Alyssa .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Who's that?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>A.J. My old coke dealer.<\/dialogue>\n    <scene_description>Randy nods oh . A slightly weird moment between them .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I do n't do that anymore.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Me neither.<\/dialogue>\n    <scene_description>They exchange a look .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WOMEN'S BATHROOM - SHORT TIME LATER<\/stage_direction>\n    <scene_description>A single - person bathroom . Randy and Alyssa are doing BUMPS OF COKE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WOMEN'S BATHROOM - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy is FUCKING Alyssa from behind over the bathroom sink . Alyssa MOANS LOUDLY .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Oh, Gawddd.<\/dialogue>\n    <scene_description>There 's a KNOCK at the door .<\/scene_description>\n    <character>WOMAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( through door . )<\/parenthetical>\n    <dialogue>Could you please fuck someplace else? I got ta piss.<\/dialogue>\n    <scene_description>BLACK SCREEN . RANDY 'S POV : His eyes slowly open . Staring down at him from a white stucco ceiling is a poster of a HUNKY , SHIRTLESS FIREMAN with a pair of suspenders stretched across his oiled - up six pack . Across the bottom it says FIVE - ALARM FIRE . Randy looks around , disoriented . He is NAKED in a strange bed in a strange bedroom . His clothes lie on the floor next to a LARGE GLASS BONG .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy , wearing only a pair of bikini briefs , staggers into the KITCHEN . A ROOMMATE -LRB- 23 -RRB- in a Tweety Bird nightshirt is pouring herself a bowl of Honey Nut Cheerios . She looks at Randy with a casual `` wassup '' head - nod .<\/scene_description>\n    <character>ROOMMATE<\/character>\n    <dialogue>Alyssa's in the shower.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. APARTMENT BUILDING - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy emerges from Alyssa 's building in the previous night 's clothes , squinting at the blinding sunlight .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RANDY'S TRAILER - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy enters his trailer , chuckling amusedly . He tosses his keys on the table . He heads over to the fridge and grabs a beer . As he closes the fridge , his expression changes . A look of DEEP DISMAY comes over his face . RANDY 'S POV : The old photo of him and Stephanie on the fridge door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STEPHANIE'S HOUSE - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy rings the bell . Stephanie 's `` friend '' answers the door .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>She stares at him coldly and unnervingly .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Is Stephanie home?<\/dialogue>\n    <scene_description>She goes into the house , closing the door behind her . Randy stands there awkwardly , unsure what that meant . He thinks about knocking but does n't . He carefully turns the knob , leaning into the house . From somewhere inside , he hears the MUFFLED SOUND of Stephanie and The Friend talking .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEPHANIE'S HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Stephanie and The Friend are arguing in the living room .<\/scene_description>\n    <character>THE FRIEND<\/character>\n    <dialogue>You do n't have to go out there. You do n't owe him shit.<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>I know that.<\/dialogue>\n    <character>THE FRIEND<\/character>\n    <dialogue>Then why would you even -.<\/dialogue>\n    <parenthetical>( looks up toward front DOOR . )<\/parenthetical>\n    <dialogue>Who said you could come in?<\/dialogue>\n    <scene_description>THE FRIEND 'S \/ STEPHANIE 'S POV : Standing there is Randy , gazing guiltily at Stephanie .<\/scene_description>\n    <character>STEPHANIE<\/character>\n    <dialogue>Please leave my house.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I'm so, so sorry. I completely, TOTALLY -<\/dialogue>\n    <character>THE FRIEND<\/character>\n    <dialogue>Get the fuck out of here!<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <parenthetical>( to The Friend . )<\/parenthetical>\n    <dialogue>I can handle this.<\/dialogue>\n    <character>THE FRIEND<\/character>\n    <dialogue>Obviously not.<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <parenthetical>( teeth gritted . )<\/parenthetical>\n    <dialogue>I can handle this, Jen.<\/dialogue>\n    <scene_description>The Friend , disgusted , grabs her coat and STORMS OFF out the front door . Randy and Stephanie are alone . She glares at him for what feels like a long time .<\/scene_description>\n    <character>STEPHANIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You're such a fucking asshole.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I feel horrible.<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>I waited in that restaurant two hours. Two fucking hours. Just in case you showed up late. `` Maybe he got stuck in traffic. Maybe I got the time wrong''.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Nope.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I know I fucked up. I fucked up bad.<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>You did n't fuck up. You are a fuck - up. A walking, living, breathing fuck - up.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I'm trying to change. Really. I ca n't stand when I -<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>Just please shut the fuck up. Because I ca n't even stand the sound of your voice.<\/dialogue>\n    <parenthetical>( SEETHING . )<\/parenthetical>\n    <dialogue>I thought about having a drink for the first time in 11 months last night. That's what you do to me.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>You asshole!<\/dialogue>\n    <scene_description>She grabs a SMALL POTTED PLANT off the table and THROWS IT AT HIM . It NARROWLY MISSES HIS HEAD , exploding against the wall .<\/scene_description>\n    <character>STEPHANIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Fucking piece - of - shit asshole!<\/dialogue>\n    <scene_description>She grabs a CAN OF SODA off the same table and THROWS IT . It NAILS HIM IN THE THIGH , exploding open on the floor . Soda sprays everywhere .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Jesus! Stop!<\/dialogue>\n    <scene_description>She looks around , half - crazed , searching for something else to throw . He rushes toward her , wrapping her up in his arms .<\/scene_description>\n    <character>STEPHANIE<\/character>\n    <dialogue>Get off me!<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Calm down!<\/dialogue>\n    <scene_description>He SQUEEZES TIGHTER . She THRASHES AROUND , fighting it .<\/scene_description>\n    <character>STEPHANIE<\/character>\n    <dialogue>GET THE FUCK OFF ME!<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Calm down!<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <parenthetical>( thrashing violently . )<\/parenthetical>\n    <dialogue>I HATE YOU!<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>You do n't mean that!<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>FUCKING HATE YOU!<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>YOU DO N'T MEAN IT!<\/dialogue>\n    <scene_description>Suddenly , she STOPS RESISTING . A STRANGE AND UNEXPECTED CALM washes over her .<\/scene_description>\n    <character>STEPHANIE<\/character>\n    <dialogue>I do n't mean it?<\/dialogue>\n    <scene_description>She is silent and still .<\/scene_description>\n    <character>STEPHANIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You're right. I do n't.<\/dialogue>\n    <scene_description>She shakes her head , placidly gazing off .<\/scene_description>\n    <character>STEPHANIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I do n't know why I got so hysterical. There's no reason. I do n't hate you. I do n't love you. I do n't like you. I was stupid to think you could change.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I can change.<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>I do n't care.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I know I can.<\/dialogue>\n    <character>STEPHANIE<\/character>\n    <dialogue>Does n't matter. I do n't care. I'm done.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>No more fixing it. It's broke. Permanently. I'm cool with it. It's better that way.<\/dialogue>\n    <scene_description>She turns and looks him in the eye .<\/scene_description>\n    <character>STEPHANIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I do n't want to ever see you again. I do n't wan na see you, I do n't want to hear you.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Done. You understand?<\/dialogue>\n    <scene_description>Randy does n't .<\/scene_description>\n    <character>STEPHANIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Actually, I do n't care if you understand.<\/dialogue>\n    <scene_description>She walks toward the front door . Opens it wide .<\/scene_description>\n    <character>STEPHANIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Goodbye.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STEPHANIE'S HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Randy steps out the front door . Stephanie 's cellphone rings . She looks at the caller ID and picks up .<\/scene_description>\n    <character>STEPHANIE<\/character>\n    <dialogue>You can come home.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>He's gone.<\/dialogue>\n    <scene_description>She closes the door on him , disappearing inside the house . Randy stands there alone on his daughter 's front step . Unsure what to do . He starts to CRY .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOP-RITE - DELI COUNTER - DAY<\/stage_direction>\n    <scene_description>ANGLE ON Take - A - Number sign . It reads NOW SERVING : 54 A crowd of AGGRAVATED CUSTOMERS stand waiting at the counter . A FAT GUY in a motorized cart clutching a 71 throws a fellow customer a `` Do you believe these morons ? '' eye roll . Behind the counter are Randy and a COWORKER . Randy is putting a block of Havarti onto the slicer . He moves lackadaisically , distractedly . Wayne , noticing as he roams past , heads over .<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Let's pick it up. Rush hour.<\/dialogue>\n    <scene_description>Wayne gives him TWO QUICK CLAPS and walks off . Randy adjusts the machine 's setting and begins to slice . He is n't moving much faster .<\/scene_description>\n    <character>CUSTOMER #1<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>While we're young.<\/dialogue>\n    <character>CUSTOMER #2<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Any year now.<\/dialogue>\n    <scene_description>Randy keeps right on slicing at his unhurried pace . He gets in a nice , meditative groove . Slice , slice , slice , slice , slice . He watches as his thumb inches closer to the spinning blade . He stares at his thumb . At the blade . His thumb . He JAMS HIS THUMB INTO THE BLADE . Blood squirts everywhere . On his coat . On the deli meat . Randy stares at the DEEP GASH , watching as blood pulses out in crimson surges . He smiles strangely at it . A customer GASPS . A commotion quickly spreads .<\/scene_description>\n    <character>WAYNE<\/character>\n    <parenthetical>( O.S. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Randy!<\/dialogue>\n    <scene_description>Randy turns and sees a shocked Wayne rushing toward him . Wayne takes Randy 's arm and tries to lead him into the back , out of view .<\/scene_description>\n    <character>WAYNE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( conscious of customers WATCHING . )<\/parenthetical>\n    <dialogue>Let's get that patched up.<\/dialogue>\n    <scene_description>Randy roughly SHOVES him away . Wayne stumbles backwards . Randy , turning toward the onlookers , raises his thumb to his face . He dramatically smears the BLOOD ACROSS HIS MOUTH . Customers GASP . A woman SHRIEKS . Randy drags the gash across his cheek . He SMEARS A LINE OF IT under each eye like WARPAINT .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( striking wrestling pose . )<\/parenthetical>\n    <dialogue>Let's get it onnn!<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Somebody call the cops!<\/dialogue>\n    <scene_description>Randy ROARS at Wayne . Wayne JUMPS BACK , frightened . Randy rumbles out of the deli area LAUGHING . Randy dashes down an aisle . He dodges a WOMAN PUSHING A SHOPPING CART , purposely `` over - dodging '' her so he CRASHES INTO THE SHELVES and sends stuff flying . He dodges ANOTHER SHOPPER , dramatically crashing into the shelves again . Randy charges past the CASHIERS , out of the supermarket .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAN - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy sits in the van in the Shop - Rite parking lot . He gazes at himself in the rear - view mirror , dried blood caked on his face . He likes it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARADISE OAKS - PAY PHONE - LATER<\/stage_direction>\n    <scene_description>Randy is on the pay phone .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Nick. Randy The Ram.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>I wan na do it.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Fanfest.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>I know, but I want back in.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>So call Bob, get the match back on.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Pay me? Do n't worry. Just cover my expenses. And pay Bob. Make sure he's there.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>I do n't give a shit. I just wan na wrestle.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RANDY'S TRAILER - DAY<\/stage_direction>\n    <scene_description>Randy is digging through a pile of clothes in a closet . He pulls out his WRESTLING TIGHTS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RANDY'S TRAILER - BATHROOM - LATER<\/stage_direction>\n    <scene_description>Randy , wearing rubber gloves and a towel around his neck , combs PEROXIDE through his hair .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RANDY'S TRAILER - BATHROOM - LATER<\/stage_direction>\n    <scene_description>Randy is SHAVING HIS CHEST . The hair has grown in since he last wrestled .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RANDY'S TRAILER - LATER<\/stage_direction>\n    <scene_description>Randy stands in the middle of the trailer in just a pair of bikini briefs . In his hands is a product called TAN IN A CAN . He gives the can a good shake and starts spraying his body .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RANDY'S TRAILER - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy puts a snacks - and - soda - filled plastic bag in the front of the van . He is surprised to see Cassidy pull up in her car . She gets out .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>How'd you find me?<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Big Chris. Cheetah's bouncer.<\/dialogue>\n    <scene_description>Randy nods oh .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Look, I'm sorry if I came off like a bitch. I did n't mean that stuff I said. You're not just a customer.<\/dialogue>\n    <scene_description>Randy nods . He heads toward his trailer . Cassidy follows .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm sure it seems retarded, but I got ta keep that line. It's how I've been able to live with myself the last 12 years.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RANDY'S TRAILER - CONTINUOUS<\/stage_direction>\n    <scene_description>Randy enters the trailer , Cassidy close behind .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>There's a place I'm trying to get to in my life. For me and my son.<\/dialogue>\n    <scene_description>Randy heads to his wheelie bag , open on the bed .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm leaving that world behind. And I ca n't bring anybody with me who -<\/dialogue>\n    <character>RANDY<\/character>\n    <parenthetical>( does n't really care . )<\/parenthetical>\n    <dialogue>Good for you. Quitting's hard.<\/dialogue>\n    <scene_description>He zips up his bag . Walks outside toward his van . She follows .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>Where are you going?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RANDY'S TRAILER - CONTINUOUS<\/stage_direction>\n    <scene_description>He gets in the van .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Got a match.<\/dialogue>\n    <scene_description>He grabs the Fanfest flyer off the passenger seat and hands it to her .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>See ya later.<\/dialogue>\n    <scene_description>He DRIVES OFF . She watches him go , the van kicking up dust in its wake . She looks at flier . A look of concern comes over her face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAN - EVENING<\/stage_direction>\n    <scene_description>MUSIC : SKID ROW - `` I REMEMBER YOU '' Randy is driving south on the New Jersey Turnpike .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CASSIDY'S APARTMENT - CONTINUOUS<\/stage_direction>\n    <scene_description>Cassidy grabs her purse and car keys off the kitchen table .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>In bed by 11. Do n't let him bargain.<\/dialogue>\n    <scene_description>The BABYSITTER -LRB- 15 -RRB- nods at the instructions . Cassidy heads toward the .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>Bye, monkey.<\/dialogue>\n    <scene_description>She is struck by what she sees . CASSIDY 'S POV : DANIEL -LRB- 9 -RRB- is on the floor , playing with the Randy The Ram doll . She watches as he makes the Randy doll climb up the couch 's armrest . The doll takes a FLYING LEAP off the couch , onto a STAR WARS FIGURE laid out on the floor below . Daniel makes an EXPLOSION SOUND as Randy slams down on his foe . Cassidy looks at the doll , worried .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHEETAH'S - LATER<\/stage_direction>\n    <scene_description>MUSIC : WARRANT - `` CHERRY PIE '' Cassidy is dancing onstage . She has a distracted , faraway look in her eye . She abruptly WALKS OFF mid - song . She heads toward the dressing room , disappearing through the curtain .<\/scene_description>\n    <character>CLUB D.J.<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Cassidy - where ya goin', baby?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRESSING AREA - CONTINUOUS<\/stage_direction>\n    <scene_description>Cassidy unlocks her locker . She throws everything in it into a duffel bag . She grabs the MASTER LOCK off the locker door and throws it into the bag , too .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHEETAH'S - MAIN ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Cassidy , wearing her coat , steps through the curtain with the bag .<\/scene_description>\n    <character>CLUB D.J.<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Pam.<\/dialogue>\n    <scene_description>She cuts across the empty stage , toward the exit .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHEETAH'S - CONTINUOUS<\/stage_direction>\n    <scene_description>Cassidy steps out of the club .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <parenthetical>( to self . )<\/parenthetical>\n    <dialogue>Pam.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. I-95 - LATER<\/stage_direction>\n    <scene_description>Randy stands at a ROADSIDE PAY PHONE , ringing phone cradled to his ear .<\/scene_description>\n    <character>STEPHANIE'S VOICE<\/character>\n    <dialogue>This is Stephanie, you know what to do.<\/dialogue>\n    <parenthetical>( answering machine BEEP . )<\/parenthetical>\n    <dialogue \/>\n    <character>RANDY<\/character>\n    <dialogue>It's me. I promise I wo n't call you ever again.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>I'm going back to the ring. You were right about me. Everything you said. Anyway. I just wanted you to know.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Your daddy loves you.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>That's all.<\/dialogue>\n    <scene_description>He hangs up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CASSIDY'S CAR - CONTINUOUS<\/stage_direction>\n    <scene_description>Cassidy is driving south on the New Jersey Turnpike . She 's on her cellphone . On the passenger seat is the Fanfest flyer .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>There's waffles in the freezer and some burritos if he wants for lunch. He knows where.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>I'm not sure what time I'll be headed back yet. I'll keep you posted as I go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. I-95 - SIDE OF THE ROAD - MIDNIGHT<\/stage_direction>\n    <scene_description>Randy 's van is pulled over on the side of the interstate .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACK OF VAN - CONTINUOUS<\/stage_direction>\n    <scene_description>Randy is catching a nap as 18 - wheelers barrel past .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAN - NEXT MORNING<\/stage_direction>\n    <scene_description>Randy pulls into the empty - ish parking lot of the GREENVILLE CIVIC AUDITORIUM .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCKER ROOM - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Randy enters the locker room with his wheelie bag .<\/scene_description>\n    <character>MAN'S VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Yeah, nah, business is rockin'. Just opened a third dealership.<\/dialogue>\n    <scene_description>Randy looks down a row of lockers . RANDY 'S POV : A huge , dark - skinned man in khakis and a BOB ZAYID PONTIAC polo is talking to SOME OTHER WRESTLER . This is THE AYATOLLAH -LRB- 52 -RRB- .<\/scene_description>\n    <character>THE AYATOLLAH<\/character>\n    <dialogue>That makes two in Columbus, one in Dayton. Next 12 months, I'd say Cincy's not out of the question.<\/dialogue>\n    <character>OTHER WRESTLER<\/character>\n    <parenthetical>( not too interested . )<\/parenthetical>\n    <dialogue>Wow.<\/dialogue>\n    <scene_description>The Ayatollah looks up and sees Randy looking at him .<\/scene_description>\n    <character>THE AYATOLLAH<\/character>\n    <dialogue>Ram - A - Lam.<\/dialogue>\n    <scene_description>Randy heads over .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( shakes Ayatollah 's hand . )<\/parenthetical>\n    <dialogue>What's up, Bob?<\/dialogue>\n    <parenthetical>( shakes other guy 's hand . )<\/parenthetical>\n    <dialogue>Yo, Carl.<\/dialogue>\n    <character>THE AYATOLLAH<\/character>\n    <dialogue>Good to see ya, bro. Did n't think we were gon na do this.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Yeah, well, I'm here.<\/dialogue>\n    <character>THE AYATOLLAH<\/character>\n    <dialogue>Thursday night, I get a call, `` It's on! He's back in!'' I'm like `` What?''<\/dialogue>\n    <scene_description>The Ayatollah chortles .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>When you get settled in, we should go over things.<\/dialogue>\n    <character>THE AYATOLLAH<\/character>\n    <dialogue>What things?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Y' know, the spots.<\/dialogue>\n    <character>THE AYATOLLAH<\/character>\n    <dialogue>Ah, we can just wing it.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>You do n't wan na hash it out?<\/dialogue>\n    <scene_description>The Ayatollah gives him a dismissive , cavalier wave .<\/scene_description>\n    <character>THE AYATOLLAH<\/character>\n    <dialogue>It'll be fine.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>We should have at least a basic plan.<\/dialogue>\n    <character>THE AYATOLLAH<\/character>\n    <dialogue>How's this : I'm the heel, you're the face. Done.<\/dialogue>\n    <scene_description>The Ayatollah chuckles . Randy walks off , highly annoyed .<\/scene_description>\n    <character>THE AYATOLLAH<\/character>\n    <parenthetical>( O.S. ; CONT 'D . )<\/parenthetical>\n    <parenthetical>( to other wrestler . )<\/parenthetical>\n    <dialogue>Anyway, if you're ever in Ohio, swing on by. I'll make you a nice deal on a G6.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GAS STATION - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Cassidy pulls into a gas station . She rolls down the window .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>Excuse me.<\/dialogue>\n    <scene_description>A GAS STATION ATTENDANT looks her way .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Do you know where the Civic Auditorium is?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GREENVILLE CIVIC AUDITORIUM - LOCKER ROOM - LATER<\/stage_direction>\n    <scene_description>The card is underway . Through a wall , we hear the muffled sounds of a MATCH IN PROGRESS : cheers , boos , crashes , etc. . Randy , sitting alone on a bench in just his jock strap , tapes up his legs . His focus and intensity builds .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GREENVILLE CIVIC AUDITORIUM - PARKING LOT - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Cassidy pulls into the lot . There 's a lot more cars than when Randy pulled in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GREENVILLE CIVIC AUDITORIUM - OUTER CONCOURSE - SHORT TIME LATER<\/stage_direction>\n    <scene_description>The building 's outer concourse . A handful of fans mill about at a CONCESSIONS STAND and a SOUVENIR TABLE . Cassidy , handing a ticket to an USHER , enters the building . She looks around the concourse , not quite sure where to go .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCKER ROOM - LATER<\/stage_direction>\n    <scene_description>Randy , suited up in his tights , paces the floor , gearing himself up for the match . The only other wrestler in the locker room at the moment is The Ayatollah , doing neck rolls nearby . Randy catches his eyes .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Ready to do this?<\/dialogue>\n    <scene_description>Through the wall , ARABIC MUSIC starts to play .<\/scene_description>\n    <character>THE AYATOLLAH<\/character>\n    <dialogue>Believe so.<\/dialogue>\n    <scene_description>The Ayatollah grabs a large IRANIAN FLAG leaning against the lockers . He heads toward an ENTRANCE CURTAIN , Randy close behind .<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( through curtain . )<\/parenthetical>\n    <dialogue>From the Islamic Republic of Iran, weighing in at 252 pounds. The Tehran Terror, the Beast Of The Middle East.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>The Ayaaa - tooo - laaaaaah!<\/dialogue>\n    <scene_description>The Ayatollah steps through the curtain , Iranian flag raised high . He is promptly greeted with LUSTY BOOS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OUTER CONCOURSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Cassidy is walking around the concourse with a mounting sense urgency . She spots a SECURITY GUY in a yellow windbreaker sitting by an UNMARKED DOOR . She heads toward him .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>Excuse me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCKER ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Randy is peering through the narrow gap in the curtain , watching The Ayatollah make his entrance .<\/scene_description>\n    <character>THE AYATOLLAH<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( faint , amidst the boos . )<\/parenthetical>\n    <dialogue>Death to America!<\/dialogue>\n    <character>CASSIDY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Randy.<\/dialogue>\n    <scene_description>Randy , turning , is surprised to see Cassidy standing there . She looks tired and worried and scared .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Do n't do this. This is dumb.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>This ai n't the best time to talk.<\/dialogue>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What about your heart?<\/dialogue>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'll be fine.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>I thought the doctor.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>They always say that. Whatever you got.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>You could really hurt yourself.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I know what I'm doing in there.<\/dialogue>\n    <parenthetical>( turns vaguely sad . )<\/parenthetical>\n    <dialogue>Out here's where I get hurt.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Out here's what counts. The real world.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Fuck the real world. Nobody gives a shit about me in the real world.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>I quit my job, drove 14 hours through the night to get here. What do you call that?<\/dialogue>\n    <scene_description>Randy looks away , unable to hold her gaze . Through the curtain , we hear the Arabic music DIE DOWN .<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( from auditorium . )<\/parenthetical>\n    <dialogue>And his opponent.<\/dialogue>\n    <scene_description>A new , familiar song rises on the auditorium speakers . MUSIC : AC\/DC - `` IF YOU WANT BLOOD -LRB- YOU GOT IT -RRB- '' The crowd roars .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( points to curtain . )<\/parenthetical>\n    <dialogue>Listen to them! This is where I'm great. This is where I belong.<\/dialogue>\n    <scene_description>Randy looks at the curtain . He looks at Cassidy .<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>From Elizabeth, New Jersey, weighing in at 219 pounds.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I got ta go.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <dialogue>Randy. Please.<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>I'll see you after the show.<\/dialogue>\n    <character>CASSIDY<\/character>\n    <parenthetical>( grabs him . )<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <scene_description>He pulls her off .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Enjoy the show.<\/dialogue>\n    <scene_description>He turns away from her , toward the curtain .<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>A true wrestling immortal, one of the greatest of all time.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>Randy `` The Ram'' Robinnnnsonnnnn!<\/dialogue>\n    <scene_description>He steps through .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - CONTINUOUS<\/stage_direction>\n    <scene_description>Randy bursts through the curtain to HUGE CHEERS . There 's probably 700 people there in the 2,200 - seat facility .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMENTATORS' TABLE - CONTINUOUS<\/stage_direction>\n    <scene_description>Seated at a ringside table are the match 's COMMENTATORS , a pair of wannabe Marv Alberts in their 20s . A sign taped to the table reads CAROLINA WRESTLING NETWORK . Next to the table is a VIDEOCAMERA on a tripod .<\/scene_description>\n    <character>COMMENTATOR #1<\/character>\n    <dialogue>There he is, folks! Randy The Ram!<\/dialogue>\n    <scene_description>Randy raises a set of ram 's horns high in the air . Fans do the same in tribute .<\/scene_description>\n    <character>COMMENTATOR #2<\/character>\n    <dialogue>History about to be made here at the Greenville Civic Auditorium.<\/dialogue>\n    <scene_description>Randy takes a long lap around the ring , ramming chair after chair . His head gets a little bloody . The fans eat it up . Randy climbs into the ring , where The Ayatollah awaits . The cheers continue . Loving , appreciative , sustained cheers . Randy stands there soaking it in , basking in their love . He grabs the microphone from the ring announcer . He looks around . A hush comes over the crowd .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>I just got one thing to say to you people.<\/dialogue>\n    <scene_description>Randy looks toward Cassidy , standing over by the entrance curtain . He looks out at the larger crowd .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>LOUD CHEERS . Randy takes a contemplative pause .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You take your lumps and bruises in this game. But you know what? It's all worth it. Because of you guys. Your cheers keep me young. They make me feel alive.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>In 1982, the year I wrestled my first professional match, I was six - foot - one. By 1993, I was five - foot - eleven. Three back surgeries in 11 years knocked two full inches off my height. I may be down to five - eleven, but performing in front of you people has always made me feel 10 feet tall. And that's the way it's always gon na be.<\/dialogue>\n    <scene_description>Randy looks toward Cassidy , who 's standing over by the entrance curtain . Their eyes meet .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Forever.<\/dialogue>\n    <scene_description>Randy lowers the mike , finished . The fans CHEER WILDLY , the loudest cheers yet . As Randy nods appreciatively at the crowd , The Ayatollah SNEAKS UP BEHIND HIM with a folding chair . Fans shout , trying to warn Randy about the sneak attack , but he does n't hear them . The Ayatollah SMASHES HIM OVER THE HEAD . Randy goes down . The match is on . The Ayatollah picks up Randy and throws him into the ropes . Randy bounces back toward The Ayatollah , who lazily puts up an elbow for Randy to run into . Randy practically has to lead his face to the elbow . Hitting the mat , Randy pops back up and grabs The Ayatollah . The Ayatollah , phoning it in , throws Randy into the ropes again . This time , The Ayatollah has a raised knee waiting for Randy . Randy runs into it , doing his best to sell the shot .<\/scene_description>\n    <character>RANDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( under breath . )<\/parenthetical>\n    <dialogue>You're workin' pretty light here.<\/dialogue>\n    <scene_description>Randy gets up and grabs The Ayatollah 's arms . With a nifty move , he flips The Ayatollah over his shoulder , SLAMMING HIM HARD into the mat . Randy falls on top of him , pressing The Ayatollah 's face into the canvas .<\/scene_description>\n    <character>THE AYATOLLAH<\/character>\n    <dialogue>Jesus. Relax.<\/dialogue>\n    <scene_description>Randy flips The Ayatollah over onto his back , pinning his shoulder blades . The REF swoops in .<\/scene_description>\n    <character>REFEREE<\/character>\n    <dialogue>One! Two!<\/dialogue>\n    <scene_description>The Ayatollah KICKS OUT . They both get up . The Ayatollah jogs toward the ropes . He bounces off . Randy braces for something good , but all he gets is a feeble CHEST SLAP . Randy grabs The Ayatollah and puts him in a headlock .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Anytime you wan na join in.<\/dialogue>\n    <scene_description>Randy scoops up The Ayatollah and drops him over his knee with a BACKBREAKER . The Ayatollah grimaces in pain as he hits the mat . Before he has a chance to get up , Randy hits him with a FLYING ELBOW DROP . The Ayatollah gets up , pissed at the rough treatment . Randy goes for a dropkick , but The Ayatollah catches his ankles in midair . He JERKS UPWARD on Randy 's legs , sending Randy CRASHING TO THE MAT on the back of his head . The Ayatollah falls on Randy 's throat with his knee . He grinds Randy 's face into the canvas as Randy did to him . Cassidy is cringing . It 's hard for her to watch this .<\/scene_description>\n    <character>THE AYATOLLAH<\/character>\n    <dialogue>That better?<\/dialogue>\n    <character>RANDY<\/character>\n    <dialogue>Much.<\/dialogue>\n    <scene_description>The Ayatollah picks up Randy and throws him into the ropes . Randy bounces back , flinging himself sideways at The Ayatollah . The Ayatollah catches him in mid - air , cradling him in his arms . The Ayatollah drops Randy onto his bent knee . Randy falls to the canvas , clutching his side . The Ayatollah falls on top of him .<\/scene_description>\n    <character>THE AYATOLLAH<\/character>\n    <dialogue>Forgot how much fun this is.<\/dialogue>\n    <scene_description>The ref swoops in .<\/scene_description>\n    <character>REFEREE<\/character>\n    <dialogue>One! Two!<\/dialogue>\n    <scene_description>Randy KICKS OUT . As Randy `` recovers '' , The Ayatollah jumps out of the ring and grabs a folding chair . The Ayatollah , climbing back in , props up the chair in a corner . He picks Randy off the mat and flings him at the chair . Randy VAULTS OVER IT , sailing through the ropes and OUT OF THE RING . He hits the concrete floor , CRASHING against the metal barricade . Cassidy winces . She starts to tear up a little . The Ayatollah hops out of the ring . He stands over Randy , kicking him repeatedly . He grabs his Iranian flag , waving it tauntingly at the crowd .<\/scene_description>\n    <character>FAN #1<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Camelfucker!<\/dialogue>\n    <character>FAN #2<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Fat piece of shit!<\/dialogue>\n    <scene_description>The Ayatollah looks down at Randy .<\/scene_description>\n    <character>THE AYATOLLAH<\/character>\n    <dialogue>Pathetic.<\/dialogue>\n    <parenthetical>( `` spits '' on Randy . )<\/parenthetical>\n    <dialogue>Pitiful godless infidel!<\/dialogue>\n    <scene_description>Boos rain down on The Ayatollah . The Ayatollah takes the butt end of his flag pole and JABS IT into Randy 's side . Randy grimaces in pain . The Ayatollah unties the flag from its pole and WRAPS IT around Randy 's neck . He JERKS UPWARD on the flag , lifting Randy off the mat by his neck . Randy THRASHES AROUND , fighting for breath . The Ayatollah releases Randy from the choke . Randy crumples to the ground , gasping for air . The Ayatollah picks up Randy by his hair and flings him back in the ring . The Ayatollah grabs the folding chair from the corner . He SMASHES RANDY OVER THE HEAD with it . Randy 's forehead is BLEEDING . The Ayatollah hits him again , taking dead aim at the forehead cut . MORE BLOOD . Randy crumples to the mat . Cassidy , alarmed , instinctively goes halfway toward the ring .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>Randy!<\/dialogue>\n    <scene_description>The Ayatollah scoops up Randy and BODYSLAMS him . He falls on Randy knee - first and starts punching him repeatedly .<\/scene_description>\n    <character>THE AYATOLLAH<\/character>\n    <parenthetical>( under breath . )<\/parenthetical>\n    <dialogue>Wan na take it home?<\/dialogue>\n    <scene_description>Randy 's eyes drift in Cassidy 's direction . RANDY 'S POV : Cassidy is CRYING .<\/scene_description>\n    <character>CASSIDY<\/character>\n    <dialogue>Stop it! Stop it, Randy!<\/dialogue>\n    <scene_description>Randy turns back to The Ayatollah .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>It's time.<\/dialogue>\n    <character>THE AYATOLLAH<\/character>\n    <dialogue>All you, bro. Lead the way.<\/dialogue>\n    <scene_description>Randy flips The Ayatollah over . Randy struggles to his feet . He picks up The Ayatollah and levels him with a dropkick .<\/scene_description>\n    <character>COMMENTATOR #1<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Dropkick!<\/dialogue>\n    <parenthetical>( a second one . )<\/parenthetical>\n    <dialogue>And another!<\/dialogue>\n    <parenthetical>( a third one . )<\/parenthetical>\n    <dialogue>And another!<\/dialogue>\n    <scene_description>His heart is POUNDING . The fans sense it 's near the end . A chant rises :<\/scene_description>\n    <character>CROWD<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Ram Jam! Ram Jam! Ram Jam!<\/dialogue>\n    <scene_description>Randy falls on top of The Ayatollah , putting him in a rest - move headlock .<\/scene_description>\n    <character>CROWD<\/character>\n    <parenthetical>( O.S. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Ram Jam! Ram Jam! Ram Jam!<\/dialogue>\n    <character>COMMENTATOR #2<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Just listen to this crowd!<\/dialogue>\n    <scene_description>The Ayatollah can hear how labored Randy 's breathing is .<\/scene_description>\n    <character>THE AYATOLLAH<\/character>\n    <dialogue>If you ai n't up to it.<\/dialogue>\n    <character>CROWD<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Ram Jam! Ram Jam! Ram Jam!<\/dialogue>\n    <scene_description>Randy looks around at the crowd , chanting , hungry for the Ram Jam . He looks The Ayatollah in the eye .<\/scene_description>\n    <character>RANDY<\/character>\n    <dialogue>Let's do this.<\/dialogue>\n    <scene_description>Randy gets up . He lifts The Ayatollah off the mat , locking up with him chest - to - chest . He arches his back and thrusts his hips . The Ayatollah 's feet fly off the canvas as his legs whip into the air . His body does a COMPLETE FLIP as he slams onto his back . Randy stays with him , his body contorting in a tight BACK FLIP as he CRASHES DOWN on top of him .<\/scene_description>\n    <character>COMMENTATOR #1<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Lateral drop!<\/dialogue>\n    <scene_description>Randy gets up . His HEART LURCHES . He lowers himself back down to his knees . Puts his hand to his chest . Something just happened . Randy looks out at the crowd . The whole place is on its feet .<\/scene_description>\n    <character>CROWD<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Ram Jam! Ram Jam! Ram Jam!<\/dialogue>\n    <scene_description>Randy 's heart LURCHES AGAIN .<\/scene_description>\n    <character>THE AYATOLLAH<\/character>\n    <dialogue>Y' okay?<\/dialogue>\n    <scene_description>The Ayatollah sees he 's clearly not .<\/scene_description>\n    <character>THE AYATOLLAH<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Just pin me.<\/dialogue>\n    <scene_description>Randy looks out at the crowd again . The fans are in a frenzy .<\/scene_description>\n    <character>CROWD<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>RAM JAM! RAM JAM! RAM JAM!<\/dialogue>\n    <character>THE AYATOLLAH<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Finish it. Pin me.<\/dialogue>\n    <scene_description>Randy is torn . He . GETS UP . Randy STAGGERS to the corner . His heartbeat is UNNATURAL AND DEAFENING . BA - BLOOM , BA - BLOOM , BA - BLOOM . Cassidy ca n't take any more . She turns and WALKS . Randy plants a foot on the bottom rope . He looks toward Cassidy . RANDY 'S POV : He catches a glimpse of Cassidy disappearing through the curtain into the locker room . Randy looks out on the crowd . Chanting , cheering . He starts to climb . Standing on the top rope , he looks again at the curtain . She 's gone . Cassidy exits the arena sobbing . The Ayatollah lies on the ground in pain . Randy raises his arms and sticks his elbows out , pressing his fists to the sides of his head to form a set of RAM 'S HORNS .<\/scene_description>\n    <character>COMMENTATOR #2<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Uh - oh, the horns are out.<\/dialogue>\n    <scene_description>Randy takes a long look around the auditorium , lingering on the fans ' faces , savoring their cheers . He SMILES .<\/scene_description>\n    <character>COMMENTATOR #1<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Here we go.<\/dialogue>\n    <scene_description>BA - BLOOM , BA - BLOOM , BA - BLOOM . He LEAPS . FREEZE on Randy in mid - air , glorious and immortal . THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Robin Ramzinski, better known by his ring name Randy \"The Ram\" Robinson, is a professional wrestler who became a celebrity in the 1980s. Now past his prime, Randy wrestles on weekends for independent promotions in New Jersey while working part-time at a supermarket under Wayne, a demeaning manager who mocks Randy's wrestling background. As a regular at a strip club, Randy befriends a stripper named Cassidy, who is older than those usual in her profession. After winning a local match, Randy agrees to a proposed 20th-anniversary rematch with his most notable opponent, \"The Ayatollah\", which could bring him back to stardom. Randy intensifies his training, which includes steroid injections. After wrestling in a hardcore match, Randy suffers a heart attack backstage and undergoes coronary artery bypass surgery. His doctor tells him that he nearly died and has to stop the steroids. Feeling that he is unable to wrestle in his present condition, Randy decides to retire and begins working a full-time shift at the supermarket's deli counter. At Cassidy's suggestion, Randy visits his estranged daughter Stephanie, whom he had abandoned when she was a child, but she rebuffs him. While helping Randy buy a gift for Stephanie, Cassidy reveals that she has a son. Randy makes romantic advances toward her, which she rejects on the grounds of her job. Later, Randy gives the gift to his daughter and apologizes for abandoning her. The two bond over a visit to a beachfront boardwalk (where he took her as a child) and agree to meet for dinner on the coming Saturday. Randy goes to Cassidy's strip club to thank her, but she once more rejects him, resulting in a heated exchange. Upset, Randy goes to see a wrestling match and finds solace in his wrestling friends. While at a bar with them, he gets drunk, snorts cocaine, has sex with a woman in the women's restroom then wakes up in her bedroom the next morning. Exhausted, he sleeps the entire next day and misses his dinner with Stephanie. He goes to her house to apologize, but she angrily tells him she never wants to see him again. At the deli counter, a patron recognizes Randy as the wrestler, though he denies it. The customer persists, which agitates Randy, who then cuts his hand on the slicer and goes into a rampage in the store, hurling abuse at Wayne and the customers. Spurred by the fan's recognition of him and with nothing left, Randy decides to return to wrestling and reschedules the rematch with The Ayatollah. He reconciles with Cassidy, though she begs him not to wrestle because of his heart condition. However, Randy disregards her advice and explains to her that he belongs in the ring with his fans and fellow wrestlers who, unlike the rest of society, love and respect him. As he wrestles, Randy begins to feel chest pain and becomes unsteady. The Ayatollah notices this and urges him to initiate the pin. Randy refuses, however, and climbs the top rope for his signature finishing move, a diving headbutt called the \"Ram Jam\". He looks over and sees Cassidy has left. With tears in his eyes he salutes his beloved fans one last time, and leaps from the top rope."}
{"movie_name":"The Sun Is Also a Star_2019","imdb_id":"tt6423362","script":"<script>\n  <scene>\n    <scene_description>The Sun Is Also A Star Written by Tracy Oliver Based upon the Novel by Nicola Yoon Draft Date: 12.10.17 FADE IN:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE BRONX - DAY - FANTASY<\/stage_direction>\n    <scene_description>WE OPEN on a montage of varied ETHNIC COMMUNITIES from the different boroughs of NEW YORK CITY. CARS, PEDESTRIANS and CITY SOUNDS intersect and blend with the beat of the music.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONCOURSE VILLAGE CO-OP - DAY - FANTASY<\/stage_direction>\n    <scene_description>A door opens and a pair of BEAT UP CONVERSE KICKS step outside. They belong to NATASHA KINGSLEY, 17, beautiful, with an enormous afro. The sun on her face makes her smile.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>I don't care what anyone says... New York's the best city in the world.<\/dialogue>\n    <scene_description>While on her phone, Natasha struts by local shops: a Pakistani restaurant with a line of CAB DRIVERS out the door, an Optimo cigar store, and a Taiwanese electronics store.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>It's a place where 8.5 million people coexist--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBWAY STATION - DAY - FANTASY<\/stage_direction>\n    <scene_description>Passengers rush down the stairs as she climbs up to the \"D\" train station at 167th. Thick Jamaican accents blend with Spanish and Haitian French. Natasha listens, smiles.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>It's a lot to take in.<\/dialogue>\n    <scene_description>A train whizzes by revealing her on the platform.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FORT WASHINGTON - DAY - FANTASY<\/stage_direction>\n    <scene_description>Natasha emerges from the \"A\" train at 175th. BEVERLY \"BEV\" RAMIREZ, 17, Dominican, waits anxiously. They're late. The girls rush off arm-in-arm.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>But with a little luck you can find a best friend.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE UNITED PALACE THEATER - DAY - FANTASY<\/stage_direction>\n    <scene_description>A number of SENIORS stand in line. \"Congratulations Class of 2019 - The Bronx High School of Science\" is on the marquee. Natasha and Bev squeeze in as the line moves forward.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>It's a city where hard work and determination are constants against unknown variables in the equation for success--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE UNITED PALACE THEATER - EVENING - FANTASY<\/stage_direction>\n    <scene_description>Inside the ornate auditorium, velvet seats are filled with FAMILY and FRIENDS. The STUDENTS, now dressed in graduation caps and gowns, enter single file to Pomp and Circumstance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAGE - EVENING - FANTASY<\/stage_direction>\n    <scene_description>PRINCIPAL and FACULTY on stage. Natasha's poised at the edge. Like a runner in blocks. Her name is barely called when she marches across the stage to claim her diploma.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>...And dreams can become tangible when you reach out and grab them.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATEN ISLAND BACKYARD - NIGHT - FANTASY<\/stage_direction>\n    <scene_description>A Caribbean-American Graduation Party in full swing. Lights strung from corner posts. A Jamaican flag stretched across the fence. Jerk chicken and fish on the grill. Dishes with curried goat, oxtails, plantains, peas and rice. ADULTS in traditional garb. And TEENS on a makeshift dance floor. Find Natasha and Bev in the middle. Dancing. Laughing.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>I wouldn't have wanted this perfect night to happen anywhere but here: the city I'm proud to call my home.<\/dialogue>\n    <scene_description>On Tasha's face, smiling as she looks at the night sky filled with fireworks and stars. Twinkling. It's truly magical. MATCH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATASHA'S APARTMENT - DAY - REALITY<\/stage_direction>\n    <scene_description>A NASA STAR MAP on a wall. Pull out to reveal Tasha in a small apartment, moving boxes everywhere.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>Or at least a city I used to call my home.<\/dialogue>\n    <scene_description>Behind her, a LITTLE HAND pulls back the bright blue curtain separating the room. REVEAL: PETER, 9 years old, chocolate with dreadlocks and a grin from ear to ear.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>Unless a cataclysmic blunder is corrected, the odds of me actually graduating with my friends are declining. Rapidly.<\/dialogue>\n    <scene_description>Peter whips the curtain closed, unseen.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>You see, I'm an illegal immigrant and my family is scheduled for deportation. Tomorrow.<\/dialogue>\n    <scene_description>WHOOSH - Natasha pulls back the curtain. Peter is juggling a soccer ball on his knees in the next room. ZOOM in on Peter.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Look, Tasha!<\/dialogue>\n    <scene_description>Peter fumbles with the ball. The ball gets away from him, bumping into a neat stack of Natasha's books.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>How many times do I have to tell you not to practice in our room?!<\/dialogue>\n    <scene_description>Peter picks his nose and examines what he dug up.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Ewww! Peter, stop it. You'll never get friends that way.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Doesn't matter. I'll make new friends in Jamaica!<\/dialogue>\n    <scene_description>Natasha sighs heavily, the weight of her family's struggles on her shoulders. A key RATTLES in the lock. MRS. KINGSLEY, Natasha's 40-ish, world-weary mother, drags in from work wearing a waitress uniform. She sees a kitchen full of dirty dishes. NOTE: Mr. And Mrs. Kingsley both speak with a heavy Jamaican accent and dialect.<\/scene_description>\n    <character>MRS. KINGSLEY<\/character>\n    <dialogue>Tasha. How many times I'm gonna have to tell you to clean the dishes before I come home?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>You haven't even closed the door yet and you're already yelling--<\/dialogue>\n    <character>MRS. KINGSLEY<\/character>\n    <dialogue>It's not enough to pick up dirty plates at work? I come home to pick up dirty plates too?!<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Mom, please. I'll do it now.<\/dialogue>\n    <scene_description>Mrs. Kingsley heads to her bedroom. Natasha goes into the kitchen, draws soapy water and washes the dishes. Mrs. Kingsley emerges from the bedroom wearing a bathrobe.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>You work too much.<\/dialogue>\n    <character>MRS. KINGSLEY<\/character>\n    <dialogue>Somebody gotta keep a roof over all our heads, child. Who else gonna do it?<\/dialogue>\n    <scene_description>REVEAL: MR. KINGSLEY, late 40s, small frame, sad eyes, sitting in front of the TV. We haven't noticed him until now. Mr. Kingsley watches as LAWRENCE OLIVIER performs a monologue from \"Othello\" on screen. He studies him intently.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>My father's an actor. At least, that's why he came to America. But that's not exactly how it's worked out.<\/dialogue>\n    <scene_description>PULL OUT: Mr. Kingsley performs the scene along with Olivier. He's in perfect sync with the actor on TV.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>It's his fault we're in this mess.<\/dialogue>\n    <scene_description>Natasha finishes the dishes. Mrs. Kingsley makes eggs.<\/scene_description>\n    <character>MRS. KINGSLEY<\/character>\n    <dialogue>You want breakfast?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I have an appointment at the Immigration Office this morning. It's at eight.<\/dialogue>\n    <character>MRS. KINGSLEY<\/character>\n    <dialogue>You don't think it's time for you to give up now, Tasha? You don't think what you're doing is futile?<\/dialogue>\n    <scene_description>Natasha grabs a piece of fruit off the table.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>There's still time, Mommy. We have today. And I'm going to use every last second. Can't give up yet.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Don't think of it as giving up. Think of it as embracing destiny.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I'd rather make my own.<\/dialogue>\n    <scene_description>Peter smiles, turns up Sister Nancy's \"Bam Bam\" and sings along. Natasha rolls her eyes. She grabs her headphones and her Physics textbook.<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>(re: textbook)<\/parenthetical>\n    <dialogue>We leaving, Tasha. You don't have to turn in homework. We're free!<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I'll be back later.<\/dialogue>\n    <character>MRS. KINGSLEY<\/character>\n    <dialogue>You have a lot to finish here. I still see open boxes in your room.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Mom, I really gotta go.<\/dialogue>\n    <scene_description>Natasha heads for the door, determined. She takes a deep breath, opens the door and steps outside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ELEVATED TRAIN PLATFORM - DAY<\/stage_direction>\n    <scene_description>Natasha stops at a specific spot on the platform and checks her phone: 6:55 AM. She looks down the track-- nothing.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Ugh. Come on. Not today.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DANIEL'S APARTMENT - BEDROOM - DAY<\/stage_direction>\n    <scene_description>DANIEL JAE HO BAE, 17, stands in front of a mirror sizing himself up in the suit he's wearing. He adjusts his red tie, clearly uncomfortable in what he's wearing.<\/scene_description>\n    <character>DANIEL (V.O.)<\/character>\n    <dialogue>Today's the day my whole life has led up to...<\/dialogue>\n    <scene_description>From outside the room, his mother, MIN SOO, 40s, calls out:<\/scene_description>\n    <character>MIN SOO (O.S.)<\/character>\n    <parenthetical>(in Korean)<\/parenthetical>\n    <dialogue>Daniel! I'm making you a special breakfast. Hurry down.<\/dialogue>\n    <character>DANIEL (V.O.)<\/character>\n    <dialogue>The day of my college interview for Yale.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Coming!<\/dialogue>\n    <character>DANIEL (V.O.)<\/character>\n    <dialogue>The day that decides my future.<\/dialogue>\n    <scene_description>Behind him, shelves full of the world's greatest poets: Shakespeare, Shelly, Frost, Poe, Plath, Angelou, Hughes.<\/scene_description>\n    <character>DANIEL (V.O.)<\/character>\n    <dialogue>Normally I'd write a two-page poem about something of this magnitude. At least a haiku. But today, my anxiety's holding me hostage.<\/dialogue>\n    <scene_description>Daniel grabs his writer's notebook, throws it into his satchel. Takes one final glance at himself.<\/scene_description>\n    <character>DANIEL (V.O.)<\/character>\n    <dialogue>Because I need every brain cell focused on nailing this interview.<\/dialogue>\n    <scene_description>Daniel takes one final glance at himself, then exits.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - DAY<\/stage_direction>\n    <scene_description>Daniel's mother steams frozen dumplings. Daniel pours a bowl of Cap'n Crunch. She shakes her head disapprovingly. Min Soo speaks with a heavy Korean accent.<\/scene_description>\n    <character>MIN SOO<\/character>\n    <dialogue>Too much sugar. You need a sharp mind today.<\/dialogue>\n    <scene_description>She grabs the bowl of cereal, replaces it with a plate of dumplings, and pours the dry cereal back into the box.<\/scene_description>\n    <character>DANIEL (V.O.)<\/character>\n    <dialogue>I'm pretty sure I inherited my mother's anxiety...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JFK AIRPORT - CUSTOMS - FLASHBACK<\/stage_direction>\n    <scene_description>YOUNG MIN SOO and YOUNG DAE HYN, nervous and afraid, present their paperwork to the CUSTOMS AGENT.<\/scene_description>\n    <character>DANIEL (V.O.)<\/character>\n    <dialogue>Which started the day she uprooted her whole life in Korea to come to America. For most immigrants, moving to a foreign country is an act of faith. What if you can't adapt? What if you're not welcomed? What if you lose all sense of your identity and culture?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOME - FLASHBACK - TWO YEARS LATER<\/stage_direction>\n    <scene_description>FAMILY and FRIENDS crowd the apartment. Min Soo holds her first born, CHARLIE, as ONE-YEAR-OLD DANIEL crawls toward various objects: a stethoscope, pen, basketball, etc. Each object represents a career or \"fate.\" THIS IS A KOREAN DOLJANCHI or \"DOL\" where the child \"chooses their destiny.\"<\/scene_description>\n    <character>DANIEL (V.O.)<\/character>\n    <dialogue>So when my brother and I were born, she gave us both an American name and a Korean name. So we would know where we were from. And where we were going.<\/dialogue>\n    <scene_description>The family cheers as Young Daniel nears the stethoscope, then grabs the PEN instead to his parents' dismay.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - PRESENT<\/stage_direction>\n    <scene_description>Min Soo interrogates her son between his bites of breakfast.<\/scene_description>\n    <character>MIN SOO<\/character>\n    <dialogue>How's your grade in math? You don't like math.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>B plus. But the rest are A's.<\/dialogue>\n    <character>MIN SOO<\/character>\n    <dialogue>Why no A in math yet, Daniel? Aigo! It's time you get serious...<\/dialogue>\n    <parenthetical>(then, in Korean)<\/parenthetical>\n    <dialogue>Don't be like your brother.<\/dialogue>\n    <scene_description>Right as she says this, Daniel's brother, CHARLIE, 19, walks into the kitchen. Pretends he doesn't hear this, but his resentful demeanor gives him away.<\/scene_description>\n    <character>MIN SOO<\/character>\n    <dialogue>I made mandu.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Awww. Daniel's \"special breakfast.\" I'll pass.<\/dialogue>\n    <scene_description>Charlie strokes Daniel's hair. Daniel slaps his hand away.<\/scene_description>\n    <character>DANIEL (V.O.)<\/character>\n    <dialogue>My brother, Charlie, is an asshole.<\/dialogue>\n    <scene_description>Charlie grabs the box of Cap'n Crunch, then pours cereal and milk into a bowl and sits. He chomps loudly with each bite.<\/scene_description>\n    <character>DANIEL (V.O.)<\/character>\n    <dialogue>He's been at home the past semester because he failed too many classes at BU. An epic screw up that my parents can't accept.<\/dialogue>\n    <character>MIN SOO<\/character>\n    <dialogue>Close your mouth when you eat.<\/dialogue>\n    <scene_description>Charlie ignores her then SLURPS the remaining milk from the bowl. He stands, looks down at Daniel.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Good luck with your day, little brother.<\/dialogue>\n    <scene_description>Charlie tries to touch Daniel's hair again and is batted away.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Wouldn't want to disappoint Mommy and Daddy if you don't get into an Ivy.<\/dialogue>\n    <scene_description>Charlie exits, leaving his dirty bowl on the table.<\/scene_description>\n    <character>DANIEL (V.O.)<\/character>\n    <dialogue>I should hate Charlie, but these days, I mostly feel sorry for him.<\/dialogue>\n    <character>MIN SOO<\/character>\n    <dialogue>I just don't understand what happened to your brother. Why he can't behave, like you.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Umma, give him a break.<\/dialogue>\n    <scene_description>Daniel finishes the last of the dumplings. Grabs his plate and hand washes it in the sink. Min Soo looks over her son, eyes honing in on his bun.<\/scene_description>\n    <character>MIN SOO<\/character>\n    <dialogue>You cut your hair before the interview.<\/dialogue>\n    <scene_description>Daniel groans, but Min Soo is not having it.<\/scene_description>\n    <character>MIN SOO<\/character>\n    <dialogue>Too long. You look like a girl.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>They let girls into Yale, too.<\/dialogue>\n    <scene_description>Min Soo scolds him with her eyes, then hands him a money pouch with deposit slips.<\/scene_description>\n    <character>MIN SOO<\/character>\n    <dialogue>Appa forgot this. You bring it to him. After you get a hair cut.<\/dialogue>\n    <scene_description>Daniel takes the pouch. Kisses his Mom on the cheek.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Alright, Umma. I'll get it cut.<\/dialogue>\n    <parenthetical>(off her skeptical look)<\/parenthetical>\n    <dialogue>I promise.<\/dialogue>\n    <scene_description>Daniel grabs his bag and heads for the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NORTHERN BLVD. - DAY<\/stage_direction>\n    <scene_description>Daniel makes his way through his busy Queens neighborhood, passing a slew of restaurants, bars and vendors, etc., all written in Korean.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. USCIS - WAITING ROOM - LATER<\/stage_direction>\n    <scene_description>Natasha frantically charges through the MULTI-CULTURAL RAINBOW of IMMIGRANTS. Heads over to the RECEPTIONIST. Sweating and short of breath.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Natasha Kingsley for Karen Whitney.<\/dialogue>\n    <scene_description>The Receptionist checks her appointment sheet, and shakes her head.<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>You're too late. You'll have to call the main USCIS line and make a new appointment.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>No, you don't understand. I can't reschedule!<\/dialogue>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>I'm sorry. You'll have to call the main line.<\/dialogue>\n    <scene_description>The Receptionist shrugs and looks down, dismissing Natasha. Natasha starts to panic.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>I don't have time for that. This is an emergency. The trains were delayed.<\/dialogue>\n    <parenthetical>(getting emotional)<\/parenthetical>\n    <dialogue>Just-- could you please call Ms. Whitney? She told me to come back.<\/dialogue>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>Your appointment was for 8 AM. It is now 8:15. She's seeing another--<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Please. Just call her. Now!<\/dialogue>\n    <scene_description>Natasha's now hysterical voice rings through the reception area. The other applicants stare in her direction.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>I guess 'desperation' translates into every language.<\/dialogue>\n    <scene_description>The Receptionist nods at a SECURITY GUARD standing by the door. He sets his jaw and turns toward Natasha. But before he can reach her, another door opens. A tall, thin, brown-skinned man beckons Natasha: LESTER BARNES, 40s.<\/scene_description>\n    <character>LESTER<\/character>\n    <parenthetical>(to the Receptionist)<\/parenthetical>\n    <dialogue>It's alright, Mary. I'll take her.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. USCIS - LESTER BARNES'S OFFICE - MINUTES LATER<\/stage_direction>\n    <scene_description>Natasha sits in front of an immaculately kept desk. Turns as Lester enters with a RED FILE in his hand.<\/scene_description>\n    <character>LESTER<\/character>\n    <dialogue>My name is Lester Barnes.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Hi, I'm--<\/dialogue>\n    <scene_description>He holds up a hand to silence her.<\/scene_description>\n    <character>LESTER<\/character>\n    <dialogue>Everything I need to know is in this file. Do yourself a favor and stay quiet while I read it.<\/dialogue>\n    <scene_description>Natasha falls silent. Reaches across his desk and pockets one of his business cards. After a beat, Lester finally looks up.<\/scene_description>\n    <character>LESTER<\/character>\n    <dialogue>Why are you here?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Karen--Ms. Whitney--told me to come back. She said maybe there was something--<\/dialogue>\n    <character>LESTER<\/character>\n    <dialogue>Yeah, well Karen's new. Your family's last appeal was rejected. The deportation stands as is. You and your family will have to leave tomorrow.<\/dialogue>\n    <scene_description>He closes the file and pushes a box of tissues toward her in anticipation of her tears. Natasha shakes it off.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>I didn't cry when my father told us about the deportation orders. I'm not going to start crying now.<\/dialogue>\n    <scene_description>Natasha gathers her things. Heads for the door. But she stops with her hand on the knob, swallows her pride. Turns around.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>So there's really nothing you can do to help me?<\/dialogue>\n    <scene_description>He taps the closed file with his fingers.<\/scene_description>\n    <character>LESTER<\/character>\n    <dialogue>Your dad's DUI--<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Is his problem. Why do I have to pay for his mistake?<\/dialogue>\n    <character>LESTER<\/character>\n    <dialogue>You're still here illegally.<\/dialogue>\n    <scene_description>Natasha nods, on the verge of tears. She heads for the door.<\/scene_description>\n    <character>LESTER<\/character>\n    <dialogue>I've been to your country. I've been to Jamaica.<\/dialogue>\n    <scene_description>He smiles at the memory as Natasha turns back to him.<\/scene_description>\n    <character>LESTER<\/character>\n    <dialogue>I had a nice time. Everything is irie there, man. You'll be alright.<\/dialogue>\n    <scene_description>Natasha glares at Lester.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Where did you go?<\/dialogue>\n    <character>LESTER<\/character>\n    <dialogue>Negril. Very nice place.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Did you leave the hotel grounds?<\/dialogue>\n    <character>LESTER<\/character>\n    <dialogue>I wanted to but my--<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>But your wife didn't want to because was she scared, right?<\/dialogue>\n    <character>LESTER<\/character>\n    <dialogue>No, it's just--<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>You listened to Bob Marley, and a bartender got you some pot and someone told you what irie means, and now you think you know something. That is not a country. That is a resort.<\/dialogue>\n    <scene_description>He holds up his hands, defending himself.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Don't tell me I'll be alright. I don't know that place. I've been here since I was eight years old. Now it's my senior year. I should be worrying about the same things my friends are-- like prom and graduation. But instead I'm worrying about being shipped to a country that's totally foreign to me. This is my home!<\/dialogue>\n    <scene_description>Natasha's tears finally pour out. Mr. Barnes slides the tissue box closer. She takes a handful, then heads to the door--<\/scene_description>\n    <character>LESTER<\/character>\n    <dialogue>Wait.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NORTHERN BLVD. - DAY<\/stage_direction>\n    <scene_description>Daniel leans against a street light, checking his phone. JUMPS as someone WHISTLES loudly in his ear. He turns--<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>What the--?<\/dialogue>\n    <scene_description>Reveal OMAR HASSABALA, 19, Middle Eastern, raised on Hip Hop.<\/scene_description>\n    <character>OMAR<\/character>\n    <dialogue>I thought you were going to wait until right before the meeting to put the stick up your ass.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Don't be mad because I'm going to be part of the one percent.<\/dialogue>\n    <scene_description>Omar checks out Daniel's suit, laughing.<\/scene_description>\n    <character>OMAR<\/character>\n    <dialogue>You look like a Lebanese insurance salesman.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>You're supposed to be making me feel better about going to Yale.<\/dialogue>\n    <character>OMAR<\/character>\n    <dialogue>That's what I'm doing. Easing your impending sense of doom with the use of comedy. It's a known tactic.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Well, try something else.<\/dialogue>\n    <character>OMAR<\/character>\n    <dialogue>You could just be like me and not go. How about that?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Unlike you, I actually care about what my parents think. And anyway, the interview's today. Too late to back out now.<\/dialogue>\n    <scene_description>Omar shrugs and leads the way down the subway stairs.<\/scene_description>\n    <character>OMAR<\/character>\n    <dialogue>You're supposed to wear black to a funeral by the way. Not gray.<\/dialogue>\n    <scene_description>Daniel playfully hits Omar and they descend into the subway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. USCIS - DAY<\/stage_direction>\n    <scene_description>Tasha stares at a business card and dials the number on it. A WOMAN answers the line.<\/scene_description>\n    <character>WOMAN (V.O.)<\/character>\n    <dialogue>Mr. Fitzgerald's office.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Hi, I'd like to make an appointment with Mr. Fitzgerald as soon as possible, please.<\/dialogue>\n    <character>WOMAN (V.O.)<\/character>\n    <dialogue>Who am I speaking with?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Natasha Kingsley.<\/dialogue>\n    <character>WOMAN (V.O.)<\/character>\n    <dialogue>Hi, Natasha. What issue can I help you with?<\/dialogue>\n    <scene_description>Tasha hesitates, afraid to say the words aloud. Silence.<\/scene_description>\n    <character>WOMAN (V.O.,<\/character>\n    <dialogue>Hello, ma'am? He does have a slot at 11 A.M. Can you tell me your issue?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I'm an illegal alien.<\/dialogue>\n    <scene_description>Tasha's heart races, afraid. We see the giant imposing federal buildings surrounding her as she sits on the steps.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY - DAY<\/stage_direction>\n    <scene_description>Daniel and Omar sit in the congested subway car. Daniel looks at his reflection in the shiny metal subway door. Turns so he can see his ponytail.<\/scene_description>\n    <character>OMAR<\/character>\n    <dialogue>You should just let me cut your hair. I brought my pocket knife.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>No, thanks.<\/dialogue>\n    <character>OMAR<\/character>\n    <dialogue>Your mom's right, you gotta lose the man bun. You don't want to be a virgin forever.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>You know, if this interviewer's so smart, he'll recognize a cool haircut when he sees one.<\/dialogue>\n    <character>OMAR<\/character>\n    <dialogue>Or at least a desperate attempt at cool.<\/dialogue>\n    <scene_description>The train COMES TO A SCREECHING HALT. The friends, along with the other PASSENGERS, wait patiently for a beat. THEN, a super CHIPPER VOICE over the loudspeaker...<\/scene_description>\n    <character>CONDUCTOR (V.O.)<\/character>\n    <dialogue>Looks like we got a slight delay, folks. Track work on 68th.<\/dialogue>\n    <scene_description>A collective GROAN from the passengers.<\/scene_description>\n    <character>CONDUCTOR (V.O.)<\/character>\n    <dialogue>I know you're all panicking, thinking that you're late...<\/dialogue>\n    <scene_description>but look on the bright side, maybe the universe is telling you something. GROANS again.<\/scene_description>\n    <character>OMAR<\/character>\n    <dialogue>I knew we should've taken the express.<\/dialogue>\n    <character>CONDUCTOR (V.O.)<\/character>\n    <dialogue>Happens to me all the time. Something goes off in my routine -- boom...must be the Universe. It's full of unexpected blessings.<\/dialogue>\n    <character>PASSENGER #1<\/character>\n    <dialogue>Usually the nut jobs are on the train, not driving it.<\/dialogue>\n    <character>CONDUCTOR (V.O.)<\/character>\n    <dialogue>Deli screws up my order. Universe... Maybe I shouldn't be eatin' deli sandwiches all the time. Guess what? I switched it up and lost twenty pounds. Thank you, universe.<\/dialogue>\n    <scene_description>The train does a collective eye roll in complete disbelief.<\/scene_description>\n    <character>OMAR<\/character>\n    <dialogue>This guy needs a drug test.<\/dialogue>\n    <scene_description>The Conductor goes quiet. After a few more seconds in the dark, the train finally pulls into Grand Central.<\/scene_description>\n    <character>CONDUCTOR (V.O.)<\/character>\n    <dialogue>We've reached the end of the line. Ladies and gentlemen, back to your regularly scheduled program.<\/dialogue>\n    <scene_description>Passengers breathe a sigh of relief as the DOORS OPEN.<\/scene_description>\n    <character>CONDUCTOR (V.O.)<\/character>\n    <dialogue>This train is now out of service. But remember: The universe is talking... So slow down and listen.<\/dialogue>\n    <scene_description>Omar rises from his seat and heads to the exit. Daniel SITS a beat, taking in the conductor's words.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRAND CENTRAL STATION - MAIN CONCOURSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Daniel and Omar emerge from the train to find themselves in the main concourse of Grand Central Station.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>How much time you got before work?<\/dialogue>\n    <character>OMAR<\/character>\n    <dialogue>'Bout an hour. Why?<\/dialogue>\n    <scene_description>Daniel looks to the walkways situated behind on the massive windows overlooking the terminal.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>It's been a while since we went up. Today's the perfect day.<\/dialogue>\n    <scene_description>Daniel starts to make his way through the diverse crowd of people rushing to their trains.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Come on!<\/dialogue>\n    <scene_description>Omar follows after Daniel, almost losing sight of him in the pedestrian traffic.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TASHA'S HIGH SCHOOL - DAY<\/stage_direction>\n    <scene_description>Tasha stands outside the fence of her school. Fighting tears.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>It's still hard for me to believe that after today I may never see this school again.<\/dialogue>\n    <scene_description>INSERT SHOTS: She and Bev sitting down at the courtyard outside laughing, walking the hallways, gossiping, etc. BACK TO SCENE: The real Bev walks up.<\/scene_description>\n    <character>BEV<\/character>\n    <dialogue>Please tell me you have good news.<\/dialogue>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>Bev's the closest thing I have to a sister. The longest time we've ever been apart is two weeks.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I wish. I was late, so they wouldn't let me see Ms. Whitney.<\/dialogue>\n    <character>BEV<\/character>\n    <parenthetical>(desperate)<\/parenthetical>\n    <dialogue>So what does that mean? You're leaving?! Isn't there someone else you can talk to?<\/dialogue>\n    <scene_description>Tasha pulls out the card.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>I've got one last shot. This guy Jeremy Fitzgerald. He's supposed to be some kind of immigration fixer.<\/dialogue>\n    <character>BEV<\/character>\n    <dialogue>Oh my God! That's amazing!<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Wait, why are you here? He should be \"fixing\" this! Go!<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I've got a few hours before my appointment with him.<\/dialogue>\n    <character>BEV<\/character>\n    <dialogue>You should come to Chem Lab and mess with Mr. Busby. He's got on his polyester mom jeans again.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>My appointment's uptown. I don't want to rush. I'm just gonna hit the record store. Kill some time.<\/dialogue>\n    <scene_description>The bell rings.<\/scene_description>\n    <character>BEV<\/character>\n    <dialogue>Text me the address. I'll skip out after my test and we can grab lunch.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Perfect.<\/dialogue>\n    <scene_description>They share a look. Bev heads back inside. Tasha puts her headphones on and queues up Major Lazer album. We hear GET FREE and see it carry her worries away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRAND CENTRAL STATION - GLASS WALKWAY - DAY<\/stage_direction>\n    <scene_description>Daniel and Omar chill behind the oversized windows of the main terminal, overlooking the bustling crowd below. All of Grand Central's architectural glory in perfect view.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>My life's gonna go one of two ways after today. If I don't get into Yale, it'll be Charlie all over again. And if I do...white jackets and picket fences from now until eternity.<\/dialogue>\n    <character>OMAR<\/character>\n    <dialogue>The American Dream.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Even if I win, I lose. What kind of future is that?<\/dialogue>\n    <character>OMAR<\/character>\n    <dialogue>If losing means you're rich, sign me up.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I just wish I could do something about it.<\/dialogue>\n    <scene_description>Daniel sighs. He turns over and lies face up on the walkway.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>There's gotta be something more to it all than this.<\/dialogue>\n    <scene_description>His gaze catches the gigantic mural of the Universe painted on the ceiling of the terminal.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>You ever notice that before?<\/dialogue>\n    <character>OMAR<\/character>\n    <dialogue>Notice what?<\/dialogue>\n    <scene_description>Off Daniel's look, Omar joins him on the ground, eyes up. The majesty of the mural is on full display. Several constellations are recognizable.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>It's a sign.<\/dialogue>\n    <character>OMAR<\/character>\n    <dialogue>Oh, see now, you're just making stuff up. We've passed this thing a million times.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Yeah, but have you ever seen it? It's like the conductor said on the train, maybe the universe is trying to tell me something.<\/dialogue>\n    <character>OMAR<\/character>\n    <dialogue>Yep. \"You're losing it, bro.\"<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I'm serious, Omar. Of all the days we've been here, today is the day that I notice the most amazing thing in all of Grand Central? It's not a coincidence.<\/dialogue>\n    <character>OMAR<\/character>\n    <dialogue>Okay, then let's suppose this conductor was right...the universe is talking. What's it saying?<\/dialogue>\n    <scene_description>Daniel sits up, looking out into the main terminal. People shuffle back through the concourse. He looks around, eyeing everything in sight...nothing. A train pulls in.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>I don't know yet.<\/dialogue>\n    <character>OMAR<\/character>\n    <dialogue>Go figure.<\/dialogue>\n    <scene_description>Daniel plops down on the ground, then... He spots HER in the crowd. A young, Black woman with an enormous, curly AFRO and almost-as-enormous PINK HEADPHONES. It's Natasha. Her eyes are closed as she sways to her music, in complete bliss. Omar notices Daniel's gaze and shakes his head.<\/scene_description>\n    <character>OMAR<\/character>\n    <dialogue>Now what?<\/dialogue>\n    <parenthetical>(looking out)<\/parenthetical>\n    <dialogue>It's just a cute girl, Daniel. Relax.<\/dialogue>\n    <parenthetical>(double take)<\/parenthetical>\n    <dialogue>Okay, she's real cute.<\/dialogue>\n    <scene_description>Natasha walks underneath them, moving her backpack to one shoulder REVEALING the back of her jacket. It reads: CARP\u00c9 DIEM. Daniel's completely struck.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Look at her jacket! Carp\u00e9 Diem.<\/dialogue>\n    <character>OMAR<\/character>\n    <dialogue>Carp\u00e9 wha--<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Carp\u00e9 Diem... \"Seize the Day.\"<\/dialogue>\n    <parenthetical>(off Omar, unfazed)<\/parenthetical>\n    <dialogue>It's gotta be a sign. C'mon on!<\/dialogue>\n    <scene_description>Daniel drags Omar off in the direction he last saw Natasha.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NYC STREET - MOMENTS LATER<\/stage_direction>\n    <scene_description>Daniel's eyes light up as he follows Natasha from a distance.<\/scene_description>\n    <character>OMAR<\/character>\n    <dialogue>This is stalker-ish, you know.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>No, it's not. I'm maintaining a non- creepy, half-block distance.<\/dialogue>\n    <scene_description>Tasha enters a record store. GALAXY RECORDS. Daniel stops in his tracks. Stares at Omar.<\/scene_description>\n    <character>DANIEL<\/character>\n    <parenthetical>(re: the store's sign)<\/parenthetical>\n    <dialogue>You gotta be shitting me! This is definitely a Sign.<\/dialogue>\n    <character>OMAR<\/character>\n    <dialogue>Okay. Definitely ironic. I'll give you that... And she is cute...<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I want to know where this leads.<\/dialogue>\n    <character>OMAR<\/character>\n    <dialogue>Hopefully not to jail. But if it does, don't call me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GALAXY RECORD STORE - DAY<\/stage_direction>\n    <scene_description>Natasha enters the record store, smiling anyway.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>If today were not today, I would spend all day here.<\/dialogue>\n    <scene_description>Tasha enters the \"Rap\" section. Then she sees a COUPLE making out next to a poster of Madonna's Like a Virgin. She frowns.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>Ugh. Of all the people to run into, on today of all days, why did I have to run into my ex? Why isn't he in school? This is my place!<\/dialogue>\n    <scene_description>These two are ROB, 17, and KELLY, 17. Kelly snakes her hand out and SNATCHES A RECORD. She slips it between their bodies and into her bulky jacket. Tasha shakes her head, appalled.<\/scene_description>\n    <character>DANIEL (O.S.)<\/character>\n    <dialogue>She's just going to steal that?<\/dialogue>\n    <scene_description>Tasha turns to find Daniel standing right behind her.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>I know! Doesn't anybody work here? Can't they see what's happening?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Shouldn't we say something?<\/dialogue>\n    <scene_description>Tasha shakes her head.<\/scene_description>\n    <character>NATASHA<\/character>\n    <parenthetical>(re: Rob and Kelly)<\/parenthetical>\n    <dialogue>No. I know them.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Sticky Fingers is your friend?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>She's my boyfriend's girlfriend.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>How does that work exactly?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I mean ex-boyfriend. He cheated on me. With her, actually.<\/dialogue>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>TMI, Tasha. I didn't need to volunteer that tidbit to a stranger.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Great pair.<\/dialogue>\n    <parenthetical>(beat, then)<\/parenthetical>\n    <dialogue>We should tell someone.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>No way! If I say something, it's going to look like I'm jealous and messing with them.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Are you?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>That's kind of a personal question, isn't it?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>We were having a moment.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Were we?<\/dialogue>\n    <scene_description>Rob pauses from making out, looks up to see Tasha and Daniel staring at them from a distance.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Jesus Christ bleeding on a popsicle stick...he saw me!<\/dialogue>\n    <scene_description>Rob gives Tasha a half-smile and a small wave. Tasha turns her back to him, facing Daniel instead.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Oh God...is he coming over here?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Yup.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Maybe we should make out or something. Like spies do in the movies.<\/dialogue>\n    <scene_description>Daniel blushes. Hard. Tasha notes his blush and leans back.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>I'm not serious. Obviously.<\/dialogue>\n    <scene_description>Rob approaches them.<\/scene_description>\n    <character>ROB<\/character>\n    <dialogue>Hey...<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Why are you and your girlfriend stealing things?<\/dialogue>\n    <scene_description>Rob holds his hands up and takes a step back.<\/scene_description>\n    <character>ROB<\/character>\n    <dialogue>Whoa, dude. Keep your voice down.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>This is an independent record store. That means it's family owned. You're stealing from real people. Do you know how hard it is for small businesses to survive when people like you just take stuff?<\/dialogue>\n    <scene_description>Tasha spots an EMPLOYEE approach Kelly.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Uh...don't look now, but I think your girlfriend just got busted.<\/dialogue>\n    <scene_description>Rob looks over at Kelly. EMPLOYEE #2 has now joined them. Rob shoves his hands into his pockets and walk-runs toward the front door.<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Rob!<\/dialogue>\n    <scene_description>But Rob doesn't stop. He bolts out, leaving her behind.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Damn, that was cold.<\/dialogue>\n    <scene_description>Kelly hands Employee Prince's \"Purple Rain\" from under her jacket. The employee snatches the record.<\/scene_description>\n    <character>EMPLOYEE<\/character>\n    <dialogue>Come back in here again and I will call the cops.<\/dialogue>\n    <scene_description>Kelly nods, then exits quickly.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Well, at least she has good taste.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Yeah, I guess if you're going to steal a Prince record, might as well be his best one, right?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I don't know if that's his best one. Solid top three, for sure.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Tell me, in your opinion, what is his best album?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Controversy. My mom used to play that song all the time when I was a kid.<\/dialogue>\n    <scene_description>Tasha smiles, impressed. Daniel stares at her, googly-eyed. Grinning.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Listen, Red Tie--<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Daniel. My name is Daniel.<\/dialogue>\n    <scene_description>He sticks out his hand for a shake. Tasha shakes it. He holds it a beat too long. A moment passes between them.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>It was nice meeting you, Daniel. But I really have to go--<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Well, maybe I can walk you--<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>No, I'm good. Take care, Daniel.<\/dialogue>\n    <scene_description>Tasha puts her headphones back on and starts walking for the door quickly, leaving Daniel standing there kicking himself.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NYC STREET - DAY<\/stage_direction>\n    <scene_description>Natasha walks out into the crowd and spots Rob and Kelly up ahead. Kelly cries as Rob gives his best half-ass explanation. Natasha moves past them unnoticed. Daniel, ear to his phone, eyes Tasha in the distance as he follows her.<\/scene_description>\n    <character>OMAR (V.O., ON THE PHONE)<\/character>\n    <dialogue>Why didn't you just get her number in the record store?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Because she wouldn't give it to me.<\/dialogue>\n    <character>OMAR (V.O.)<\/character>\n    <dialogue>I think that's clearly a sign, don't you?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>But it's not like she totally blew me off. She was nice. I'm telling you, there was a spark there.<\/dialogue>\n    <character>OMAR (V.O.)<\/character>\n    <dialogue>And following her like a serial killer is going to reignite that?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I'm not following her. She just happens to be going my way.<\/dialogue>\n    <scene_description>Natasha stops at the crosswalk ahead of Daniel.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Oh, shit, I'm getting close. She'd definitely think I was stalking her if she turned around now.<\/dialogue>\n    <character>OMAR (V.O.)<\/character>\n    <dialogue>Well, then whatever you do, don't --<\/dialogue>\n    <scene_description>Daniel hangs up in a panic. Strains, deciding whether to flee or say something as he approaches. Daniel takes a deep breath. He's about to veer off when-- A WHITE BMW flies down the avenue. The light turns red again and Natasha STEPS OFF THE CURB, not paying attention. SHE'S ABOUT TO GET HIT when Daniel YANKS her backwards by her arm. They fall backwards onto the sidewalk. Natasha lands half on top of Daniel as her phone and headphones CRASH AGAINST THE PAVEMENT. She looks down at the spider webs cracking across her phone's screen.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>What. The. Hell?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>That guy almost killed me.<\/dialogue>\n    <scene_description>She looks up the block as the BMW sits on the side of the road with its blinkers on. Then looks to her headphones.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Do you know how long I've had these?<\/dialogue>\n    <scene_description>Natasha cradles her broken headphones in her hands.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>I'll buy you another pair.<\/dialogue>\n    <scene_description>She shakes her head \"no.\"<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>It's the least I can do.<\/dialogue>\n    <scene_description>Tasha finally looks at him.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>You already saved my life.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>You wouldn't have died. A little maimed, maybe.<\/dialogue>\n    <scene_description>Natasha stares back at him, unfazed. Her eyes fill with tears.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>I'm having just the worst day.<\/dialogue>\n    <parenthetical>(a beat; realizing)<\/parenthetical>\n    <dialogue>Wait. Were you following me?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Man, I knew you would think that.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>You just happened to be right behind me?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Maybe it was meant to be.<\/dialogue>\n    <scene_description>Natasha exhales deep.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>I'm just gonna ignore that. Thanks for your help.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>At least tell me your name.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Natasha.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Nice name.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>So glad you approve.<\/dialogue>\n    <scene_description>Daniel stares at her, inquisitive.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Why are you staring at me?<\/dialogue>\n    <scene_description>Daniel blushes again. Natasha stares at his face. His hair.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>Observable Fact: The man-bun pushes him from cute to kind of sexy.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Now you're staring.<\/dialogue>\n    <scene_description>Tasha blushes, then clears her throat.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Why are you wearing a suit?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I have an interview later. Wanna go get something to eat?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>What for?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Yale. Alumni admission interview. I applied Early Decision.<\/dialogue>\n    <scene_description>Natasha shakes her head.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>No, I meant why do you want to get something to eat?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I'm hungry?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Hmmm. I'm not.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Coffee then? Or tea or soda or bottled water?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Why?<\/dialogue>\n    <scene_description>Daniel shrugs.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Why not? Besides, I'm pretty sure you owe me your life since I just saved it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOM AND POP COFFEE SHOP - DAY<\/stage_direction>\n    <scene_description>Daniel and Tasha sit across from each other at a cozy table. Tasha checks the time on her phone: 10:00 A.M.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Wait. Why aren't you in school?<\/dialogue>\n    <character>NATASHA<\/character>\n    <parenthetical>(lying)<\/parenthetical>\n    <dialogue>I have a doctor's appointment in an hour.<\/dialogue>\n    <scene_description>Tasha sips her coffee. Silence. Daniel fidgets nervously. Blows on his cappuccino so hard a little foam flies up on his face. Tasha chuckles. She then looks at his satchel, suddenly curious.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>What do you keep in there?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Not much. My notebook. I carry it pretty much everywhere I go.<\/dialogue>\n    <scene_description>Daniel pulls out a black notebook. Flips through it quickly. Tasha glances at it. Sees the handwritten blocks of text.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>You're not a poet, are you?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>No, I just kind of dabble in it. For fun. Next year I'll be pre-med.<\/dialogue>\n    <scene_description>Self-conscious, Daniel quickly puts the notebook back in his bag. Tasha notices, leans in.<\/scene_description>\n    <character>NATASHA<\/character>\n    <parenthetical>(flirting)<\/parenthetical>\n    <dialogue>So what are your poems about? Love?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Among other things. Yes, love.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I don't believe in love.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Well it exists, whether you believe in it or not.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Oh really? Can you prove it?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Thousands of love songs. Poetry. The institution of marriage.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Words on paper. Never mind the fact that eating large amounts of chocolate has the same effect on you as falling in love.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I love chocolate.<\/dialogue>\n    <scene_description>He laughs. Tasha laughs, too.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>You say it's just words on paper, but you have to admit all those people are feeling something.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>People just want to believe. Otherwise they would have to admit that life is just a random series of good and bad things that happen until one day, you die.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>And you're okay with believing that life has no meaning?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I'm okay believing in the things that science can make sense of. If love made sense, more than forty- eight percent of all marriages would make it.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Are your parents married?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Yeah, but if that's what marriage is, it's not for me.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>So no fate, no magic, no meant-to- be for you?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Boy, please. Quantum Physics is all the magic I need.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I don't think I've ever met anyone so charmingly deluded.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>And you find that appealing?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I find it interesting.<\/dialogue>\n    <parenthetical>(beat, then)<\/parenthetical>\n    <dialogue>What if I told you I could get you to fall in love with me scientifically? Without chocolate.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I would scoff. A lot.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I'm serious. It's a thing. The New York Times had an article about it. Researchers put a bunch of couples in a lab and had them ask each other a bunch of intimate questions. Also, they had to stare into each other's eyes for four minutes without talking.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>That sounds ridiculous.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>And yet, it's a real thing.<\/dialogue>\n    <scene_description>Daniel and Natasha stand in line at the register, waiting to pay. Daniel has his phone out.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>There are thirty-six questions. How about I choose ten randomly.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Knock yourself out. It's never going to happen.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Great. Question number one, what are the five key ingredients to falling in love?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I don't believe in love, remember?<\/dialogue>\n    <parenthetical>(off his look)<\/parenthetical>\n    <dialogue>Okay. Fine--mutual self-interest and socio-economic compatibility.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Do you even have a soul?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>No such thing.<\/dialogue>\n    <scene_description>He laughs at Tasha as if she's kidding, but she's not.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Well, my ingredients are friendship and chemistry.<\/dialogue>\n    <character>NATASHA<\/character>\n    <parenthetical>(patronizing)<\/parenthetical>\n    <dialogue>But, of course. Sorry, go on.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I think some kind of moral compass is important. And let's see... Physical attraction and the X factor.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>What's the X factor?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Don't worry. We already have it.<\/dialogue>\n    <scene_description>He smiles charmingly. A strand of Daniel's hair falls into his face. He puts it behind his ear.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>This quiz isn't going to make me fall in love with you, Red Tie.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>It's Daniel. And give me today.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Can't. I have a doctor's appointment.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Okay. I'll walk you there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NYC STREET - DAY<\/stage_direction>\n    <scene_description>Tasha leads the way, darting in and out of pedestrian traffic, as Daniel struggles to keep up.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>So, where are we headed?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I am heading to my appointment on the east side and you are, apparently, tagging along with me.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Yep. And while we're walking...<\/dialogue>\n    <scene_description>Daniel takes out his phone.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>You ready for more questions?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>You are relentless.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Persistent. Now, question number two: Would you like to be famous and how?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>You first.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I'd be a famous poet laureate.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>And you'd be broke.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Broke with money But rich with words.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>What does a poet laureate even do?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Offers wise and poetic counsel.<\/dialogue>\n    <scene_description>Tasha makes some gagging sounds.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Be cynical all you want, but many a life has been saved by poetry.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>You're not joking, are you?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>What about you? What kind of fame do you want?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Easy. I'd be a benevolent dictator.<\/dialogue>\n    <scene_description>Daniel laughs.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>You know, all dictators think they're benevolent. Even the ones holding machetes.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Nope. Pure benevolence from me. I would decide what was good for everyone and do it.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>But what if what's good for one person is not good for another?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Can't please everyone. As my poet laureate, you could comfort the loser with a good poem.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Touch\u00e9.<\/dialogue>\n    <scene_description>She glances at him, feeling a surprising connection. They stop at a corner, waiting for the light to change. We enter a MUSICAL MONTAGE of them walking through the city as they get to know each other. The urban sounds melt away as a wistful piece of music takes over. Natasha soaks up the city she's about to say goodbye to and Daniel continues to try and win her full attention. Daniel pulls out his phone again and begins scrolling through questions. Natasha watches him.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Tell me again why you're wearing a suit?<\/dialogue>\n    <parenthetical>(off his groan)<\/parenthetical>\n    <dialogue>Come on, I get to ask questions too.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Yale. Interview.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Really. Are you nervous?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I'm fine. My parents have only been prepping me for this my entire life.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>They're immigrants, huh?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Yup.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Mine too. Do you even want to go to Yale?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>It doesn't matter what I want.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>It's your life.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>And what about yours? You sound like you've got it all figured out.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I'm going to be a data scientist.<\/dialogue>\n    <parenthetical>(off his look)<\/parenthetical>\n    <dialogue>Data scientists analyze data and recommend actions based on the results. They're also very well- paid.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>That's so practical. Have you always known what you wanted to be?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Well, it wasn't predestined. I did research on growing fields in the sciences. I chose one, and tada.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>So, it's not something you're passionate about?<\/dialogue>\n    <scene_description>She shrugs.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>I don't want to have to rely on anyone or wind up working night shifts just to make ends meet. I can't live off of passion any more that I could off of love.<\/dialogue>\n    <scene_description>They climb some steps and walk along an elevated walkway.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>It's a long life to spend doing something you're only 'meh' about.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>It's a long life to spend chasing dreams that aren't real. Do you know how many people want to be actors or writers or rock stars? A lot. Ninety-nine percent of them won't make it. Zero point nine percent of those left will barely make any money doing it. Only the last zero point one percent make it big. Everybody else just wastes their lives trying to be them.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Are you secretly my father?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Ha ha. Look, when you're a happy doctor making lots of money, you'll thank him that you didn't become a starving artist dreaming pointlessly about making it big.<\/dialogue>\n    <scene_description>Tasha notices the disappointed look on Daniel's face.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Wait, you're not serious about the poetry thing, are you?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Honestly? If I had my way, yeah. This track I'm on is too predictable. Yale. Medical school. Residency. Marriage. Children. Retirement. Nursing home. Funeral home. Cemetery.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>People have big, beautiful brains! We invent things that fly. We are capable of anything under the sun. We are capable of big lives.<\/dialogue>\n    <scene_description>How great would it be if we all went after the things we actually believed in? Their eyes meet. She's inspired by his passion.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FITZGERALD'S BUILDING - DAY<\/stage_direction>\n    <scene_description>Tasha stops in front of a glass high-rise building on 1st Ave. Its corporate design contrasts with the illustrious UN building on the opposite side of the street. She looks up at the building, knowing it may be her last hope.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>So, this is me.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I can wait for you out here.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Daniel. You have an interview and I have this... thing. This is where we say goodbye.<\/dialogue>\n    <scene_description>Daniel falls silent for a beat.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Am I going to see you again?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>There are eight and a half million people in this city. Unless we just happen to run into one another, again the odds aren't in our favor.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Let's do that over. Do you want to see me again?<\/dialogue>\n    <scene_description>A beat. Neither one moves... Daniel doesn't wait for her reply.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Never mind. I can see that you're a little stressed by this appointment...like I was before I saw you. Let's try something.<\/dialogue>\n    <scene_description>Daniel raises his arms laterally, away from his body.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Lift your arms like this.<\/dialogue>\n    <scene_description>Natasha obliges, reluctantly. Daniel inches closer and closer to her, arms out.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Ummm. What are you doing?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>They say that something as simple as a hug can do wonders for stress.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Do they?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Mmmhmm, it's science.<\/dialogue>\n    <scene_description>Daniel stands face to face with Natasha, both of their arms outstretched, almost wrapping around one another. But they don't touch.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>If this is goodbye, then let this hug be my parting gift. Okay?<\/dialogue>\n    <scene_description>Tasha pulls him in. He holds her tight. Tasha lets her head drop onto his shoulder and her body relax into his arms.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>Go, Tasha. Time to go.<\/dialogue>\n    <character>DANIEL (V.O.)<\/character>\n    <dialogue>Let go, Daniel. Let her go.<\/dialogue>\n    <scene_description>Daniel releases her. Tasha pulls back, smiles at him.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Nice meeting you, Daniel. Good luck with your interview.<\/dialogue>\n    <scene_description>Daniel nods. Tasha heads to the building.<\/scene_description>\n    <character>DANIEL<\/character>\n    <parenthetical>(calling after her)<\/parenthetical>\n    <dialogue>You really don't think we'll see each other again, do you?<\/dialogue>\n    <scene_description>She turns back to Daniel.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>It's highly unlikely.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>The odds were that we'd never meet in the first place, you know. But we did.<\/dialogue>\n    <scene_description>Daniel looks to the sky. Cracks a smile.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Why are you smiling?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Because I know this isn't our last time together.<\/dialogue>\n    <scene_description>Daniel's na\u00efvet\u00e9 upsets Tasha. Tears gather in her eyes.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Goodbye, Daniel.<\/dialogue>\n    <scene_description>Tasha turns away from him so that he can't see her face. She walks through the large glass doors of the building.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUILDING - HALLWAY\/FITZGERALD'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Tasha opens a door to find a partially built office. The walls are half painted and bare bulbs hang from the ceiling. Sawdust and paint splotches cover the tarped floor. A woman, HANNAH, 30s, sits behind the desk. She smiles as Tasha approaches.<\/scene_description>\n    <character>HANNAH<\/character>\n    <dialogue>You must be Natasha.<\/dialogue>\n    <scene_description>Tasha nods.<\/scene_description>\n    <character>HANNAH<\/character>\n    <dialogue>I'm sorry, I have some bad news.<\/dialogue>\n    <scene_description>Tasha's stomach folds in on itself.<\/scene_description>\n    <character>HANNAH<\/character>\n    <dialogue>Jeremy-- Attorney Fitzgerald, was in a car accident an hour ago.<\/dialogue>\n    <scene_description>Hannah continues the story as Tasha listens.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>Turns out that BMW that almost hit me had already done its fair share of damage...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK STREET - EARLIER<\/stage_direction>\n    <scene_description>JEREMY FITZGERALD crosses the street.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>My attorney-to-be was crossing the street, and without his own personal Daniel to save him...<\/dialogue>\n    <scene_description>BOOM. The WHITE BMW cruises through a stoplight and KNOCKS JEREMY TO THE GROUND.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>A drunk and distraught insurance actuary hit him.<\/dialogue>\n    <scene_description>Jeremy crawls to the side of the street as other PEDESTRIANS help him up and call 911.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITZGERALD'S OFFICE - PRESENT<\/stage_direction>\n    <scene_description>Hannah continues talking to Tasha.<\/scene_description>\n    <character>HANNAH<\/character>\n    <dialogue>His wife says he's fine, just a few bruises. But he won't be back until later this afternoon.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>But that might be too late--<\/dialogue>\n    <character>HANNAH<\/character>\n    <dialogue>Didn't you hear what I said? He was hit by a car. He'll see you later.<\/dialogue>\n    <scene_description>Hannah pushes a sheaf of forms over to Tasha.<\/scene_description>\n    <character>HANNAH<\/character>\n    <dialogue>In the meantime, I need you to fill out these forms.<\/dialogue>\n    <scene_description>Hannah points Tasha to an adjacent desk. She fills most of it quickly. Then pauses at the back page. The prompt: \"PLEASE GIVE A FULL ACCOUNTING OF YOUR TIME IN THE UNITED STATES.\"<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>I have no idea what to write. So I give the facts: my family traveled to America on a tourist visa and we have not left the country since. We have committed no crimes, except for my dad's DUI.<\/dialogue>\n    <scene_description>Tasha jots this down quickly, then hands the papers back to Hannah. Hannah flips through it, then stops on the back page.<\/scene_description>\n    <character>HANNAH<\/character>\n    <dialogue>You need more here.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Like what?<\/dialogue>\n    <character>HANNAH<\/character>\n    <dialogue>What does America mean to you? Why do you want to stay?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Is that really--<\/dialogue>\n    <character>HANNAH<\/character>\n    <dialogue>Anything Jeremy can use to humanize you will help.<\/dialogue>\n    <scene_description>Tasha sits back down. The phone rings as she stares at the blank page. Struggling. Hannah talks as Tasha tries to focus. A second phone line rings as Tasha works on the forms. Hannah hangs up and grabs the second line before it can ring twice.<\/scene_description>\n    <character>HANNAH<\/character>\n    <dialogue>Oh my God, Jeremy. Are you alright?<\/dialogue>\n    <scene_description>As Jeremy responds, a relieved smile crosses Hannah's face.<\/scene_description>\n    <character>HANNAH<\/character>\n    <dialogue>Thank goodness, I was worried sick!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Yes, of course. I'll see you later.<\/dialogue>\n    <scene_description>Hannah hangs up the phone and comes back into the reception area, aglow with relief.<\/scene_description>\n    <character>HANNAH<\/character>\n    <dialogue>He's alright.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>That's great.<\/dialogue>\n    <scene_description>Hannah takes the forms from Tasha and reads through them.<\/scene_description>\n    <character>HANNAH<\/character>\n    <dialogue>I've seen lots of cases like this-- you'll be okay.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>You think so?<\/dialogue>\n    <character>HANNAH<\/character>\n    <dialogue>Jeremy never loses. I'm not supposed to say this...but just know there's hope.<\/dialogue>\n    <scene_description>Tasha exhales, a burden lifted.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITZGERALD'S BUILDING - LOBBY - MOMENTS LATER<\/stage_direction>\n    <scene_description>Tasha exits the elevator.<\/scene_description>\n    <character>VOICE (O.S.)<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>Tasha turns to the voice. It's Bev.<\/scene_description>\n    <character>BEV<\/character>\n    <dialogue>How'd it go?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Good. I think.<\/dialogue>\n    <character>BEV<\/character>\n    <dialogue>What does that mean?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Well, it's not official yet, but... there may be something other than resigned dread in my future.<\/dialogue>\n    <scene_description>Bev squeals, then squeezes Tasha tight in a hug.<\/scene_description>\n    <character>BEV<\/character>\n    <dialogue>That's amazing! Are you going to call your parents?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>And say what? A man who I don't know sent me to see another man I don't know. Then a paralegal, who is not a lawyer, whom I also don't know, says everything will be all right. What's the use in getting all our hopes up?<\/dialogue>\n    <character>BEV<\/character>\n    <dialogue>Hope seems like a good substitute to whatever you've been feeling.<\/dialogue>\n    <scene_description>Tasha smiles.<\/scene_description>\n    <character>BEV<\/character>\n    <dialogue>Don't tell me. Can you use the scientific method on it? Can you observe it, measure it, experiment with it and repeat your experiments?<\/dialogue>\n    <character>NATASHA &amp; BEV<\/character>\n    <dialogue>You cannot.<\/dialogue>\n    <scene_description>They both laugh.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>You know I can only take so much positivity.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But there is something measurable I have to tell you. I met a boy...<\/dialogue>\n    <character>BEV<\/character>\n    <dialogue>Um, what? When? Deets please!<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Okay, so I saw Rob up at Second Coming this morning...<\/dialogue>\n    <scene_description>As Tasha tells her story, INSERT FLASHBACK SHOTS of Daniel enhanced by her memory and favorable shades of lighting: - Beautifully backlit after he saved Tasha's life. - Getting foam on his nose at the coffee spot. - Lovingly looking at her as he says \"goodbye.\"<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>And as I gave Bev the full Daniel rundown, it hit me...<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I didn't even get his full name!<\/dialogue>\n    <character>BEV<\/character>\n    <dialogue>What a fail.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I know! I should've gotten his number.<\/dialogue>\n    <scene_description>Tasha looks down to her phone. It's 11:35.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>I mean, what if this immigration nonsense does resolve itself? How will I find him again?<\/dialogue>\n    <character>BEV<\/character>\n    <dialogue>Maybe he waited for you. Wouldn't that be romantic?<\/dialogue>\n    <scene_description>Bev looks around the lobby, searching.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Don't be ridiculous. He had an interview. He's not still here.<\/dialogue>\n    <scene_description>In spite of herself, Tasha starts to look around the lobby too. Hopeful. But she can't find him. Her shoulders slump.<\/scene_description>\n    <character>BEV<\/character>\n    <dialogue>Ha! You're disappointed.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>And how is that funny?<\/dialogue>\n    <character>BEV<\/character>\n    <dialogue>Because you really like this dude! I've never seen you like this.<\/dialogue>\n    <character>NATASHA<\/character>\n    <parenthetical>(still searching the lobby)<\/parenthetical>\n    <dialogue>Please. It's not like I think we were meant to be or anything ridiculous like that...just saying, it would've been nice--<\/dialogue>\n    <scene_description>Tasha finally sees Daniel. He's crossing the lobby, making a beeline for her. She covers her excitement.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Hey. What happened to your interview?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>No hug. No \"I'm so happy to see you\"?<\/dialogue>\n    <character>BEV<\/character>\n    <dialogue>You clearly don't know Tasha that well. Hi, I'm Bev. You must be \"the boy.\"<\/dialogue>\n    <scene_description>Tasha cuts her eyes at Bev, deadly.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Actually it's Daniel.<\/dialogue>\n    <character>BEV<\/character>\n    <dialogue>Nice to meet you, Daniel.<\/dialogue>\n    <parenthetical>(to Tasha)<\/parenthetical>\n    <dialogue>Okay. I'm out.<\/dialogue>\n    <scene_description>Bev hugs Tasha.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>I thought we were having lunch.<\/dialogue>\n    <character>BEV<\/character>\n    <dialogue>I think you've got other plans.<\/dialogue>\n    <scene_description>Bev grins from ear to ear as she trots off. She types Tasha a text: Call me later. PS, pls get the digits this time!!! Tasha turns to a smiling Daniel.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Your interview?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Oh, that old thing? I postponed it.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Are you insane? This is your life we're talking about.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I didn't burn the building to the ground, 'Tash. I just moved it until later.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>'Tash? We're doing nicknames already?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OFFICE BUILDING - DAY<\/stage_direction>\n    <scene_description>Tasha shivers a little and rubs her hands down her forearms from the cold. Daniel takes her jacket and helps her into it.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Did you postpone for me?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Absolutely.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>What makes you so sure I'm worth it?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Instinct. How did your thing go?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Fine. I have to come back at 3:30.<\/dialogue>\n    <scene_description>Daniel looks at his phone: 11:45 AM.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Looks like we have more time together.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Looks that way, huh?<\/dialogue>\n    <scene_description>The two of them exchange flirty smiles.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>So, what should we do now?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HARLEM - MLK BLVD DAY<\/stage_direction>\n    <scene_description>The Manhattan skyscrapers have been replaced by small, closely-packed stores with bright awnings. Harlem feels less like a city and more like a neighborhood. Almost everyone's black. Tasha and Daniel walk down the street, talking.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Your father owns a black hair care shop called \"Black Hair Care\"?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Yep. Not the most creative name in the world, I'll give you that.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Hmm. I guess when you said 'store,' that's not what I was expecting. How'd they get into that?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STILL PHOTO SEQUENCE - FANTASY<\/stage_direction>\n    <character>DANIEL (V.O.)<\/character>\n    <dialogue>My family didn't enter the Black hair care business by chance.<\/dialogue>\n    <scene_description>A STILL PHOTO OF DANIEL'S FAMILY COMES TO LIFE.<\/scene_description>\n    <character>DANIEL (V.O.)<\/character>\n    <dialogue>When Dae Hyun and Min Soo moved to New York, Dae Hyun's cousin gave them a loan to open a Black Hair Care store.<\/dialogue>\n    <scene_description>A photograph of a Korean plane suddenly moves, the plane lands in New York City. A photo of Dae Hyun's COUSIN springs into action as he hands Daniel's parents some cash. A Hair Care Store frozen in time suddenly bustles.<\/scene_description>\n    <character>DANIEL (V.O.)<\/character>\n    <dialogue>His cousin had a similar store and it was thriving. As were stores other South Koreans had opened up.<\/dialogue>\n    <scene_description>A wide shot reveals the cousin in front of a store, he goes inside. A dozen other Black Hair Care Stores are alive and thriving on the block.<\/scene_description>\n    <character>DANIEL (V.O.)<\/character>\n    <dialogue>And South Koreans didn't dominate the Black hair care industry by chance. In the 1960s wigs made with South Korean hair were insanely popular in the African-American community.<\/dialogue>\n    <scene_description>Various photographs of BLACK WOMEN come to life. As they walk down the street, wigs of every style are on display.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>So much so that the South Korean government banned the export of raw hair to ensure South Korean wigs could only be made in South Korea. That combined with the U.S. banning the import of wigs containing Chinese hair effectively solidified South Korea's dominance in the wig market. The wig business evolved to the more general Black hair care business. Of which South Koreans currently control 60-80%.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>BACK TO SCENE - EXT. HARLEM STREET - DAY<\/stage_direction>\n    <scene_description>They finally stop in front of his father's store. Posters of BLACK WOMEN in all styles--afros, weaves, braids, etc., adorn the windows.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>So this is it...<\/dialogue>\n    <scene_description>Daniel turns to Tasha, tugs his tie from side to side nervously.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>So, you should know that my dad's really...<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Daniel. It's fine. I get it. All parents are embarrassing.<\/dialogue>\n    <scene_description>Daniel averts his eyes. Tasha reaches out for the door, but he stops her.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Maybe you could just wait out here.<\/dialogue>\n    <scene_description>Tasha lets the door go, stunned. Daniel reaches for the door.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>I'll be right back.<\/dialogue>\n    <scene_description>He sees the hurt in Tasha's eyes, feels awful.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>I'm sorry, can I try that again?<\/dialogue>\n    <scene_description>Tasha gives him a big smile. Daniel opens the door for Tasha.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>After you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLACK HAIR CARE STORE - DAY<\/stage_direction>\n    <scene_description>A bell chimes as they enter. It's small and crammed with rows of metal shelves and products. Dae, DAE HYUN, 50s, is busy ringing up a customer at the register.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Well, this is it... You need to go to the bathroom or anything? There's one in the back.<\/dialogue>\n    <scene_description>Tasha shakes her head. He strangles the pouch with his hands. Nervous.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Want to show me around?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Not much to see. First two aisles are for hair.<\/dialogue>\n    <scene_description>Shampoo, conditioner, extensions, dyes, lots of chemical things I don't understand. Aisle three is make-up. Four's equipment. He glances at his dad, but he's still busy.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Do you need something?<\/dialogue>\n    <scene_description>Tasha touches her hair, suddenly insecure.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>I didn't mean a product. We have a fridge in the back with soda and stuff.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>They walk down the hair dye aisle. Tasha stops in front of some boxes with brightly colored dyes, picks up a pink one.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Pink?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Doesn't seem like your style.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Shows how much you know.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I think you would look beautiful with a giant pink afro.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>The whole thing wouldn't be pink. Maybe just the ends.<\/dialogue>\n    <scene_description>He reaches for the box and now they're both holding it and facing each other in an aisle that only has space for one.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>It would look like strawberry frosting.<\/dialogue>\n    <scene_description>Daniel pulls a few strands of Tasha's coils. He smiles. She smiles back. A small moment.<\/scene_description>\n    <character>CHARLIE (O.S.)<\/character>\n    <dialogue>Oh, look. My little brother's here.<\/dialogue>\n    <scene_description>Daniel jerks his hand from her hair. They both let go of the dye at the same time, and the box clatters to the floor. Charlie saunters down the aisle toward them, eyes filled with curiosity and a mischievous glee. Daniel hands the dye back to Tasha.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>What's up, Charlie?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>The sky is up, little brother.<\/dialogue>\n    <parenthetical>(then, re: Tasha)<\/parenthetical>\n    <dialogue>Who is this?<\/dialogue>\n    <scene_description>Charlie's eyes are on Tasha. Daniel takes a deep breath and readies himself to say something, but Tasha jumps in.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>I'm Natasha. A friend of your brother's.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Oh, I thought maybe he'd caught a shoplifter. We get a lot of those in a store like this. I'm sure you understand.<\/dialogue>\n    <scene_description>Tasha's eyes widen, stunned by his rudeness.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Jesus Christ, Charlie.<\/dialogue>\n    <scene_description>Daniel angrily takes a step toward his brother, but Tasha grabs his hand, pulling him back. Daniel stops, links his fingers with hers and squeezes. Charlie makes a big show of looking down at their joined hands and then back up at them.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Is this what I think it is?<\/dialogue>\n    <scene_description>He claps his hands together with a loud smack and does a laughing two-step dance.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>This. Is. Great. Yes. You know what this means don't you? All the heat will be off me.<\/dialogue>\n    <scene_description>When the 'rents find out about this I'll be a boy scout again. Fuck academic probation.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Wow. You're an asshole.<\/dialogue>\n    <scene_description>He smiles as if Tasha's paid him a compliment.<\/scene_description>\n    <character>NATASHA<\/character>\n    <parenthetical>(to Daniel)<\/parenthetical>\n    <dialogue>Do your thing and let's get out of here.<\/dialogue>\n    <scene_description>She squeezes his hand. They turn away and run right into his father. Tasha pulls her hand away, but it's too late.<\/scene_description>\n    <character>DAE<\/character>\n    <parenthetical>(in Korean)<\/parenthetical>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Mom said I had to bring you this.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Want me to help translate for your friend?<\/dialogue>\n    <character>DAE<\/character>\n    <parenthetical>(to Charlie)<\/parenthetical>\n    <dialogue>I thought you didn't understand Korean.<\/dialogue>\n    <scene_description>Charlie shrugs.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I get by.<\/dialogue>\n    <character>DAE<\/character>\n    <parenthetical>(in Korean)<\/parenthetical>\n    <dialogue>Is that why you failed out of school? You only get by?<\/dialogue>\n    <scene_description>Charlie's smile lessens. Embarrassment showing.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(to Tasha)<\/parenthetical>\n    <dialogue>Don't worry, he's not talking about you. Not yet at least.<\/dialogue>\n    <scene_description>Dae's face goes completely blank. He suppresses his anger and feigns a smile at Tasha.<\/scene_description>\n    <character>DAE<\/character>\n    <dialogue>You want something before you leave?<\/dialogue>\n    <scene_description>He clasps his hands, half-bends at the waist like he usually does for his customers.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>No, thank you, Mr.--<\/dialogue>\n    <character>DAE<\/character>\n    <dialogue>Yes. Yes. You're a friend of Daniel's. Take anything you want.<\/dialogue>\n    <scene_description>He pats at his pockets until he finds his glasses and peers at the bottles on the shelf.<\/scene_description>\n    <character>DAE<\/character>\n    <dialogue>Not this aisle. Come with me.<\/dialogue>\n    <scene_description>Natasha and Daniel follow him helplessly while Charlie snickers. Dae finds what he's looking for one aisle over.<\/scene_description>\n    <character>DAE<\/character>\n    <dialogue>Here. A relaxer for your hair. To make your hair not so big.<\/dialogue>\n    <scene_description>He pulls a tub from a shelf and hands it to her. Charlie laughs long and loud.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Thank you, Mr.--<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Bae.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Mr. Bae. I don't need any--<\/dialogue>\n    <character>DAE<\/character>\n    <dialogue>Your hair's too big.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I like it big.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Better get a different boyfriend.<\/dialogue>\n    <scene_description>Daniel glares at his brother.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>We're leaving.<\/dialogue>\n    <scene_description>Daniel practically flings the pouch at his father. Then he reaches for Tasha's hand and leads her toward the door.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Thank you, come again.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HARLEM - CONTINUOUS<\/stage_direction>\n    <scene_description>CHYRON: 12:15PM Daniel sighs as he tugs Tasha up the block. She shakes her head. Daniel finally stops, hangs his head.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <scene_description>Tasha's giggles turn into all-out laughter. She clutches her stomach as Daniel stares at her, unamused.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>I don't think that could've gone any worse. Racist dad. Racist and sexist older brother. And the store! I mean the ancient posters of those women and your dad offering me a relaxer.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I'm glad you think this is funny.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Come on. Tragedy is funny.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Are we in a tragedy?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Of course. Isn't that what life is? We all die at the end.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I guess so.<\/dialogue>\n    <scene_description>He steps closer, takes her hand and places it on his chest.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Seriously. I'm sorry. I'm sorry about my family. I'm sorry about everything, about the whole history of the world and all its racism and the unfairness of all of it.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>What are you even saying? It's not your fault. You can't apologize for racism.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I can and I do.<\/dialogue>\n    <scene_description>Tasha warms to his earnestness.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>I get it. It's hard to come from some place or someone that you're not proud of... But you're not your dad. Or your brother thankfully.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I feel like I need a palate cleanser now. What's your favorite place to go in the city?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Hmm. There's so many. But I guess if I had to pick one, I'd say the planetarium.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Really? Never been.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Are you serious? Not even the obligatory fourth grade field trip?<\/dialogue>\n    <scene_description>Daniel shakes his head. Tasha looks at her phone.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Then we have to go. There's a twelve-thirty show if we leave now, we can make it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY TRAIN - LATER<\/stage_direction>\n    <scene_description>Daniel and Tasha sit side by side.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>So, you ready for the next question?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Oh boy...are we back to that?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I'll take that as a yes.<\/dialogue>\n    <parenthetical>(searches)<\/parenthetical>\n    <dialogue>Alright, here we go. How do you feel about your relationship with your mother and father?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>You first.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Well. You met my dad...it's complicated. Of course I love him, but you can love someone and still have a not-so-great relationship with them, you know?<\/dialogue>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>Sometimes I feel like we're on opposite sides of a soundproofed, glass wall. We can see each other but we can't hear each other.<\/dialogue>\n    <scene_description>The train brakes suddenly and jostles them even closer together. She doesn't move away.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>And your mom?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Pretty good. She's kind of like me. She paints.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>So she's a delusional optimist too?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I guess so.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Now your turn.<\/dialogue>\n    <scene_description>Tasha rolls her eyes.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>I'll make it easy on you. You can just give me a thumbs up or thumbs down, okay?<\/dialogue>\n    <scene_description>She nods.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Mom?<\/dialogue>\n    <scene_description>Tasha gives the thumbs up.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Way up?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Let's not go overboard. I'm seventeen and she's my mom.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Dad?<\/dialogue>\n    <scene_description>Tasha gives the thumbs down.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Way down?<\/dialogue>\n    <character>NATASHA<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>It's hard to love someone who doesn't love you back.<\/dialogue>\n    <scene_description>Daniel and Tasha fall silent as a STREET MUSICIAN carrying a VIOLIN boards the car. She starts to play Prince's \"When Doves Cry.\" Daniel nudges Tasha.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>She's playing Prince. Kind of a coincidence, don't you think?<\/dialogue>\n    <scene_description>Tasha rolls her eyes. The Musician is so passionate and the tune is so infectious that an ELDERLY PASSENGER starts to loudly hum along. As the song goes on, OTHER PASSENGERS hum as well. Daniel smiles big at Tasha as he joins in.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>You're so goofy.<\/dialogue>\n    <scene_description>The Musician finishes with a flourish and the car breaks out in applause. A true New York subway Moment. The Musician takes a bow.<\/scene_description>\n    <character>STREET MUSICIAN<\/character>\n    <dialogue>Ladies and gentlemen, if you like what you heard, I do accept tips. Cash, credit or debit.<\/dialogue>\n    <scene_description>The Musician holds her hat in one hand and an iPhone with a card-reading square in the other as passengers head out. Tasha stops, pulls out a dollar and puts it in her hat. Daniel smiles and does the same.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSEUM OF NATURAL HISTORY - HALL OF METEORITES - DAY<\/stage_direction>\n    <scene_description>Tasha and Daniel wander through the minimal dark space. Spotlights shine on Meteorites. Natasha runs her hand across the metal-cold surface of a pockmarked rock and she closes her eyes, fingering the divots. Daniel comes close, watching her. She turns to him, her voice a whisper.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>This rock is 4.5 Billion years old. Almost as old as our solar system.<\/dialogue>\n    <scene_description>Daniel smiles.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Just think about that, before humans ever existed, this object was flying through the universe for billions of years!<\/dialogue>\n    <scene_description>Daniel pauses, taken aback by her.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>You're like a kid in a candy store.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Just think, humans have only been around for at most two-hundred- thousand years. This rock has been around for five-thousand times as long as all of human history combined.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>The way you talk about this stuff, you should be pursuing astronomy.<\/dialogue>\n    <scene_description>Natasha walks off into the darkness of the exhibition space.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>There's not a lot of jobs in astronomy. Not like the other sciences.<\/dialogue>\n    <scene_description>Daniel follows her, pauses in a pool of light.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>But this is what you love.<\/dialogue>\n    <scene_description>Natasha stands in the darkness, just outside the spotlight.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Cliche as it sounds, love doesn't put food on the table.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Isn't that why you're going to Yale?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I don't know how it is with your family, but in mine, my parents have a lot of power. And they've already decided my fate.<\/dialogue>\n    <scene_description>Daniel walks back into the blackness. Tasha follows him. She looks at her watch.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Show's about to start.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSEUM OF NATURAL HISTORY - PLANETARIUM THEATER - LATER<\/stage_direction>\n    <scene_description>The night sky is projected on an ENORMOUS SCREEN. Tasha and Daniel stare up at the stars, transfixed.<\/scene_description>\n    <character>NARRATOR (V.O.)<\/character>\n    <dialogue>The night sky... both beautiful and mysterious.<\/dialogue>\n    <scene_description>Images of the Milky Way galaxy appear.<\/scene_description>\n    <character>NARRATOR (V.O.)<\/character>\n    <dialogue>But the stars only tell part of the story. You see this denser band of stars? That's the Milky Way. It's our galaxy.<\/dialogue>\n    <scene_description>Daniel's eyes go wide as he takes in the spectacle. Tasha notes his reaction and smiles to herself.<\/scene_description>\n    <character>NARRATOR (V.O.)<\/character>\n    <dialogue>It's big. So big that even at the speed of light it would take 100,000 years to travel across it. And this galaxy of ours contains only about 100 billion stars.<\/dialogue>\n    <scene_description>The two of them are so caught up that everyone DISAPPEARS around them.<\/scene_description>\n    <character>NARRATOR (V.O.)<\/character>\n    <dialogue>Luckily the Milky Way is not the only galaxy in the Universe.<\/dialogue>\n    <scene_description>Many of the stars we see are actually in whole other galaxies very far away. Daniel eyes Tasha's hand on her lap.<\/scene_description>\n    <character>NARRATOR (V.O.)<\/character>\n    <dialogue>There are about 170 billion galaxies, comprised of hundreds of billions of individual stars.<\/dialogue>\n    <scene_description>Natasha's elbow lightly brushes Daniel's arm. She notices and they exchange a look, both embarrassed.<\/scene_description>\n    <character>NARRATOR (V.O.)<\/character>\n    <dialogue>There are more stars in the universe than grains of sand on all of Earth's beaches combined.<\/dialogue>\n    <scene_description>Daniel looks down longingly at her hand. Reaches his pinky slowly towards hers.<\/scene_description>\n    <character>NARRATOR (V.O.)<\/character>\n    <dialogue>Some may find this vastness, this unending darkness, proof of our insignificance. But I see it a little differently.<\/dialogue>\n    <scene_description>Daniel's pinky lightly touches her hand. A pause. Natasha freezes. Daniel withdraws his hand quickly. NEIL DEGRASSE TYSON appears on screen, as if he's standing in the middle of the universe. He's our narrator.<\/scene_description>\n    <character>TYSON (V.O.)<\/character>\n    <dialogue>The most astounding fact to me is the knowledge that the atoms that comprise life on earth, the atoms that make up our human bodies, are traceable to the stars.<\/dialogue>\n    <scene_description>Daniel takes a deep breath, slowly brings his hand towards Natasha's hand again.<\/scene_description>\n    <character>TYSON (V.O.)<\/character>\n    <dialogue>Stars that collapsed and then exploded, they became the ingredients for life itself.<\/dialogue>\n    <scene_description>Daniel's fingers lightly cover Natasha's fingers. A pause, his hand on hers.<\/scene_description>\n    <character>TYSON (V.O.)<\/character>\n    <dialogue>So when we look up at the night sky, we aren't drawn in merely for its beauty...we're drawn in because whether we know it or not, we are all part of this universe, we are all in this universe, but more importantly, the universe is in us...<\/dialogue>\n    <scene_description>Natasha reciprocates at last. She pulls her fingers around his and their hands intertwine. The tension building...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSEUM OF NATURAL HISTORY - PLANETARIUM THEATER - LATER<\/stage_direction>\n    <scene_description>The lights are up. Daniel's still blown away by what they just saw. Tasha's distant. Both of them remain in their seats.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>That was...really something.<\/dialogue>\n    <scene_description>Tasha doesn't hear him. She checks the time on her phone again: 1:01 PM. She slides her hand away from Daniel's.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Did I say something wrong?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>No, it's not you. Well, maybe it is...Don't you think it's weird that we've spent so much time together today? I mean, we just met. We're practically strangers.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Honestly, I don't think it's weird at all. Plus, you've met my family...we're definitely out of the stranger zone.<\/dialogue>\n    <scene_description>Natasha softens. At ease.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Yeah, I guess. It's just a lot to take in.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I don't know...I just feel connected to you.<\/dialogue>\n    <scene_description>A beat. Natasha's belly growls. Their laughter relieves the romantic tension.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>You like Korean food?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KOREAN MARKETPLACE - DAY<\/stage_direction>\n    <scene_description>Music plays as Daniel and Tasha make their way through the densely packed streets of Koreatown. Neon signs in Korean, street vendors, bicycles, and the smell of delicious food wafting in the air. Natasha sees Korean people exiting a building dragging big suitcases. She SIGHS, the weight of the world on her shoulders. Daniel notices. She brushes it off, moving on down the street. They take a quick SELFIE together as the music ends.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>So how come you call yourself Korean? Weren't you born here?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>People always ask where I'm from. I used to say here, but then they ask where are you really from, and then I say Korea.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I don't think you should say you're from Korea.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Because it's not true. You're from here.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I love how simple this is for you.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Well, your solution to everything is to tell the truth. I struggle with my identity and you tell me just to say what's true.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Why not? It's not up to you to help other people fit you into a box.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Do people do it to you?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Yeah, except I'm really not from here. We left Jamaica when I was eight. The first time I saw snow, I was in homeroom and I was so amazed I stood up to stare at it.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Oh no.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Oh yes.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Did the other kids--<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Yep. It wasn't pretty.<\/dialogue>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>But eventually this became home. I love it here. I could stay in New York for the rest of my life.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Well, you should.<\/dialogue>\n    <scene_description>Natasha deflects.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Well I'm not going to be around much longer... You know, if I don't get some food soon. Where are we going again?<\/dialogue>\n    <scene_description>Daniel stops in his tracks. Tasha follows his lead.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Turn around.<\/dialogue>\n    <scene_description>The pair stand at a nondescript doorway. Confused, Tasha looks to Daniel.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Trust me.<\/dialogue>\n    <scene_description>He takes her hand and they head inside, the sound of people greeting them in Korean \"Annyeonghaseyo\" echoes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KOREAN RESTAURANT - DAY<\/stage_direction>\n    <scene_description>Daniel and Tasha sit at a booth in a small hole-in-the-wall joint. Tasha looks over the menu.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I'll eat whatever you tell me to.<\/dialogue>\n    <scene_description>Daniel rings the little bell attached to the table and a WAITRESS appears almost instantly. She gives Natasha a quick look, turns to Daniel.<\/scene_description>\n    <character>WAITRESS<\/character>\n    <parenthetical>(in Korean)<\/parenthetical>\n    <dialogue>How can I help you?<\/dialogue>\n    <character>DANIEL<\/character>\n    <parenthetical>(in Korean)<\/parenthetical>\n    <dialogue>We'll have two seafood soon dubu, kalbi, and pa jun.<\/dialogue>\n    <scene_description>The waitress nods and then walks off.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>There's a bell?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Awesome, right? It takes all the mystery out of food service. When will my waiter appear? When will I get the check?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Do American restaurants know about this? Bells should be mandatory.<\/dialogue>\n    <scene_description>Daniel laughs.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>No, I changed my mind. Can you imagine some jerk just leaning on the bell demanding ketchup?<\/dialogue>\n    <scene_description>The Waitress returns and places the soup and two uncooked eggs on the table. She tosses paper-clad spoons and chopsticks into the center of the table.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Oh, can I have a fork, please?<\/dialogue>\n    <scene_description>The Waitress gives her a disapproving look, then walks off.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Does this mean she's not going to bring me a fork?<\/dialogue>\n    <scene_description>Daniel laughs.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Don't worry about her. Try this...<\/dialogue>\n    <scene_description>Daniel pulls the soup bowl towards him.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>This is soon dubu.<\/dialogue>\n    <scene_description>Tasha watches as he cracks the egg into the soup. She does the same, then dips her spoon in and takes a bite.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Mmm. It's delicious.<\/dialogue>\n    <scene_description>Daniel smiles as Tasha does a little happy dance. He watches her eat, amused. A stream of traffic flowing through a door in the rear of the restaurant catches Tasha's eye.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>What's going on back there? This some kind of Korean mafia joint?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Oh, no. That's the norebang.<\/dialogue>\n    <parenthetical>(off her look)<\/parenthetical>\n    <dialogue>Korean karaoke.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Then why don't I hear any music?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>They have private rooms. Koreans are all about embarrassing themselves in private.<\/dialogue>\n    <scene_description>A beat, then a mischievous look comes over Daniel's face.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Why are you looking at me like that?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NOREBANG - PRIVATE ROOM - NIGHT<\/stage_direction>\n    <scene_description>A small, dimly lit room. Plush, red leather couches. A large, square coffee table sits in front of the couch. On it, a microphone and a remote. Next to the door there's a large TV. Daniel pours over the thick song book, he's been flipping for a while, agonizing over it. Natasha watches him.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Just choose a song.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>This is norebang. You don't choose a song. A song chooses you.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>How poetic.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Isn't it?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I don't know, most poems I've read are about three things: love, sex, or the stars. You poets are obsessed with stars. Falling stars. Shooting stars. Dying stars.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Stars are important.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Sure, but why not more poems about the sun? The sun is also a star and it's the most important one. That alone should be worth a poem or two.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Being the most important star doesn't make it the most poetic. Who wants to write about something so domineering? I'd rather ruminate on the romantic underdogs that play in the night sky.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Domineering? You've got it all wrong. The sun is a benevolent star. A giver...it's also our greatest symbol of hope.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>How's that?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>The brightest stars that we see at night are often the light from stars that have already died.<\/dialogue>\n    <scene_description>It's sad, really. But the sun is different. Everyday it brings energy and life and hope to us. Without it, we'd all be lost. I think that's something worth writing about.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Hope, huh? I never pegged you to believe in something as intangible as hope.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Just a manner of speech. It only means that something is possible. The sun makes everything on earth possible.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>You know what? You're right. I will only write poems about the sun from now on...<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Good.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>And sex.<\/dialogue>\n    <scene_description>Natasha rolls her eyes. He winks. Then starts flipping through the book. He pulls the rubber hand from his hair and tosses it on the table. Tasha tries not to stare.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Are you a good singer?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Not gonna lie. I am kinda good.<\/dialogue>\n    <scene_description>He grabs the remote to key in his song choice. Tasha smiles. The music starts and Daniel slowly settles into a dramatic slump: feet planted wide, hair obscuring his bowed head and microphone held high in the air, ready to rock. The opening chords of \"Kiss\" by Prince fill the room. He puts a hand over his heart and croons the first verse. It's magnetic. As the song unfolds he embodies Princes' sexual power in a completely fun and charming performance. As Daniel's sings, Tasha's imagination takes over. BEGIN FANTASY MONTAGE: --Daniel and Tasha months down the road: lying in bed together laughing and eating cookies, Daniel playing Soccer with Tasha's brother, Daniel and Tasha wandering Ellis Island together holding hands. And then years down the road, Daniel on one knee holding a ring out to a glowing Tasha. Walking down the aisle, cooking breakfast pregnant, pushing a stroller down the streets of New York arm and arm. The fantasy is of a whole life with Daniel, a beautiful life. Daniel leans in while the songs plays without him and a cheesy guide track keeps crooning. They kiss. IN the middle of the cheesiest and most epic tiny room in the universe. ON CELL SCREEN: MEETING WITH FITZGERALD IN 30 MINUTES. She pulls away and stares intently at the message. It fills her with panic and dread. She's not going to marry anyone. She's not going to have kids with Daniel. This is all a sham. Her life is over, not starting. Daniel see her shift in attitude.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Everything okay?<\/dialogue>\n    <scene_description>Tasha stares at him with fear and protective anger in her eyes. She almost whispers.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>I gotta go.<\/dialogue>\n    <scene_description>She then bolts out of the room. Tasha runs down the crazy hallways filled with colored lights and crazy patterns. Neon flashing in her face as she wells up with tears.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Hey - what are you doing?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I'm sorry. I gotta go.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Woah! Wait! What are you sorry for?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I just have to go. This all has to stop Daniel.<\/dialogue>\n    <scene_description>Daniel chases her down the hall and she starts to run harder when she eyes a door at the end of a long hallway. She slams into the door at full speed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NOREBANG\/NEW YORK STREET - DAY<\/stage_direction>\n    <scene_description>Tasha and Daniel squint and shield their eyes as they crash out into the sunlight.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>God, it's bright out.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Back to reality.<\/dialogue>\n    <scene_description>With tears still in her eyes Tasha strides down the sidewalk clearly to get away from everything.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Wait, what just happened?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Nothing happened.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Bullshit. You're acting completely different. What changed?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Nothing's changed.<\/dialogue>\n    <scene_description>Daniel catches up to her and Tasha looks away.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>What are you so afraid of?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>There's something real here. I know you feel it too.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Oh, you know how I feel? Do you? You don't know shit Daniel.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>What's your problem?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>This. You and me. This thing. Well this can't happen. It's over ok.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Hey don't I have a say in this. I know there's something here.<\/dialogue>\n    <scene_description>Natasha leans in and speaks low, with intesity.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Oh, well do you know that I'm not a citizen? Huh? So you know that my family is being deported tomorrow? Huh do you know that? Do you know that all this - whatever it is. It NOT meant to be. Do you know that part?<\/dialogue>\n    <scene_description>Daniel stares, silent. Totally blindsided.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>What? You're leaving the country? Why didn't you tell me. It's like this is all a lie?!<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I didn't lie to you. I just didn't tell you everything.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I postponed my appointment because of you!<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I didn't ask you to do that.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>But you didn't say you'd be living in another country in less than twenty-four hours, either.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>It wasn't your business.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>And it is now?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Look, Daniel. I told you not to fall for me, okay? I tried.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>No, here's how you try. You open your mouth and you say the truth. Just say, \"Daniel, I'm leaving the country.\" \"Daniel, don't fall in love with me.\"<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>You think a few kisses mean something?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I think those kisses did.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Lets just end this. You have your plans and I have mine.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Sure. Whatever. I get it. Just like that. OK, Have a nice life.<\/dialogue>\n    <scene_description>Daniel grabs his jacket and strides away. Tasha watches him go.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLACK HAIR CARE STORE - DAY<\/stage_direction>\n    <scene_description>Daniel walks into the store visibly upset. His dad's busy with a customer. Charlie's face goes into a full asshole smirk as he sees Daniel is alone.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Where's your girlfriend? She dump you already?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Fuck you, Charlie.<\/dialogue>\n    <scene_description>Charlie stops smirking, takes a good look at Daniel, noting his tie and jacket are missing. Shirt untucked.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Why. Are. You. Here. Little. Brother. Shouldn't you be interviewing for Second Best School today?<\/dialogue>\n    <scene_description>A beat. Daniel stares at Charlie, disgusted.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Why are you such an asshole? Seriously. What'd I ever do to you?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Is that what you came back for? To whine about me being mean to you?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>So you don't have an answer? That's just the way you're made?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>That's right. I'm stronger. And smarter. And better than you.<\/dialogue>\n    <scene_description>Daniel glares at his brother, anger building.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>If you're so smart, what are you doing back here, Charlie? Big fish, small pond syndrome? Were you just a tiny douchebag fish at BU?<\/dialogue>\n    <scene_description>Charlie clenches his fists. He gets right in Daniel's face.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>You want to know why I don't like you? Because you're just like them. You and your mandu and perfect Korean. We're not even from the goddamned country!<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Wait. You're mad because I like dumplings and I speak Korean? That's your beef?<\/dialogue>\n    <scene_description>Charlie steps closer, gets in his face.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>No, my problem is you don't have a spine. You've always done what they've told you to. You're their little golden boy. It's pathetic.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Wow. I'm not even angry at you anymore. I just feel sorry for you.<\/dialogue>\n    <scene_description>Charlie sees the pity in Daniel's face. He grabs Daniel by the collar.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Fuck you. You think anybody's gonna care about that shit at Yale?<\/dialogue>\n    <parenthetical>(then, smirking)<\/parenthetical>\n    <dialogue>What? You think you're cool now because you brought some black girl in here--<\/dialogue>\n    <scene_description>Daniel PUNCHES Charlie in the eye socket, then recoils from the pain in his hand. Charlie stumbles back. Charlie's face turns from pain to surprise to rage. He punches Daniel in the stomach, then keeps coming. Daniel tries to block his face, but it's no use. Charlie's fist splits Daniel's lip. He rears back, ready to deliver another blow, but Daniel blocks his face and knees Charlie in the groin. Hard. Charlie falls to the ground in agony. Their dad runs over.<\/scene_description>\n    <character>DAE<\/character>\n    <parenthetical>(in Korean)<\/parenthetical>\n    <dialogue>What's going on here?<\/dialogue>\n    <scene_description>Their father eyes Daniel's disheveled clothes and busted lip.<\/scene_description>\n    <character>DAE<\/character>\n    <dialogue>Get some ice for your lip.<\/dialogue>\n    <scene_description>He turns to Charlie.<\/scene_description>\n    <character>DAE<\/character>\n    <dialogue>You hit your little brother? That's what you learn from America? To hit your family?<\/dialogue>\n    <scene_description>Daniel gets up and goes to the--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLACK HAIR CARE STORE - BACK ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Grabs a coke and presses it against his lip. He sits on the floor with his back against the door, breathing heavy. Looks to a mirror on the wall. A KNOCK on the door.<\/scene_description>\n    <character>DAE<\/character>\n    <dialogue>Daniel, come out here now.<\/dialogue>\n    <scene_description>Daniel puts the can back in the fridge and tucks his shirt in. He opens the door. His father is right there.<\/scene_description>\n    <character>DAE<\/character>\n    <dialogue>I don't care what your brother says. The only thing that matters is you go to school, you become a doctor, you be successful. You find a nice girl and have children and you have the American Dream. You don't throw your future away for temporary things you only want right now.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>But Appa, what if I don't want the same things you want?<\/dialogue>\n    <scene_description>His father holds up his hand, silencing him.<\/scene_description>\n    <character>DAE<\/character>\n    <dialogue>Doesn't matter what you want. If you don't go to Yale and become a doctor, then you're on your own.<\/dialogue>\n    <scene_description>A standoff. They hold eye contact. Neither budging. Finally Daniel grabs his crumpled suit jacket, throws it on and marches out the door. Busted lip and all.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JEREMY FITZGERALD'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Hannah greets Tasha as she enters.<\/scene_description>\n    <character>HANNAH<\/character>\n    <dialogue>Perfect timing, Miss Kingsley. Follow me, please.<\/dialogue>\n    <scene_description>Hannah leads Tasha into the back office, knocks lightly on the door. JEREMY FITZGERALD, 50s, opens the door, a small bandage above his eyebrow and another around his wrist.<\/scene_description>\n    <character>HANNAH<\/character>\n    <dialogue>Jeremy, Tasha Kingsley.<\/dialogue>\n    <character>FITZGERALD<\/character>\n    <dialogue>Come on in.<\/dialogue>\n    <scene_description>Jeremy smiles warmly at Tasha. Tasha enters hesitantly.<\/scene_description>\n    <character>FITZGERALD<\/character>\n    <parenthetical>(to Tasha)<\/parenthetical>\n    <dialogue>Sit, sit, sit, sit. Sorry for the delay. I reviewed your file. Please, tell me how this all came to pass.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I'm not sure where to begin...<\/dialogue>\n    <scene_description>Fitzgerald leans in.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>...so I start with the night my father ruined our lives.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATASHA'S APARTMENT - FLASHBACK - NIGHT<\/stage_direction>\n    <scene_description>Tasha, Peter and Mrs. Kingsley sit around the small kitchen table as Mr. Kingsley clears the Chinese take out and pulls an envelope out of his pocket.<\/scene_description>\n    <character>MR. KINGSLEY<\/character>\n    <dialogue>My family. Please do me the very great honor of coming to see me perform the role of Walter Lee Younger in the Village Troupe's production of \"A Raisin in the Sun.\"<\/dialogue>\n    <scene_description>He pulls out three tickets and proudly hands them out. But Mrs. Kingsley doesn't take hers.<\/scene_description>\n    <character>MRS. KINGSLEY<\/character>\n    <dialogue>You and your foolishness. You can keep your ticket. I'm not going anywhere.<\/dialogue>\n    <scene_description>Mrs. Kingsley storms out. A beat later a DOOR SLAMS down the hall. Peter slumps in his chair.<\/scene_description>\n    <character>MR. KINGSLEY<\/character>\n    <dialogue>Don't worry 'bout your mother. She don't mean it, man.<\/dialogue>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>But she did mean it. She didn't go with us. Said it was a waste of her hard-earned money.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFF BROADWAY THEATER - FLASHBACK - NIGHT<\/stage_direction>\n    <scene_description>Tasha and Peter sit front row with an empty seat between them. Stare up at the stage.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>I want to be able to say that my father was not good. That his talents were only mediocre. Mediocre would explain all the years of rejection...<\/dialogue>\n    <scene_description>ON STAGE Mr. Kingsley gives a command performance. The audience, including his children, are entranced.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>But he was excellent. Transcendent. He belonged on that stage more than he's ever belonged with us.<\/dialogue>\n    <scene_description>LATER - The actors bow, with Mr. Kingsley center stage, soaking it all in.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>I've never seen him happier. And I'm certain he will never be that happy again.<\/dialogue>\n    <scene_description>LATER STILL - Mr. Kingsley stands center stage, staring off into the empty theater - save for Tasha and Peter. Peter breaks his father's trance.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>You ready, Pops?<\/dialogue>\n    <scene_description>Mr. Kingsley looks down at them with far-away eyes.<\/scene_description>\n    <character>MR. KINGSLEY<\/character>\n    <dialogue>You children go on ahead. I'll see you later.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAR - FLASHBACK - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Mr. Kingsley drinks with his cast mates. They down shot after shot, enjoying the evening.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>So instead of coming with us, he went out drinking with his \"fellow actors.\"<\/dialogue>\n    <scene_description>Mr. Kingsley finally downs his last drink and stumbles toward the exit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - FLASHBACK - NIGHT<\/stage_direction>\n    <scene_description>QUICK CUTS: Mr. Kingsley drives down the street recklessly. A POLICE CAR turns the sirens on and pulls behind him. On Mr. Kingsley's face. Shit. He knows he messed up.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>And though he only had three beers, those three beers were enough to change everything.<\/dialogue>\n    <scene_description>The POLICE OFFICER approaches the window and asks for license and registration.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>In all the time he'd been here, he'd never had one run in with the law. But here he was, face to face with cops, without the proper paperwork to show.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITZGERALD'S OFFICE - PRESENT<\/stage_direction>\n    <scene_description>Fitzgerald's still listening. Now puzzled.<\/scene_description>\n    <character>FITZGERALD<\/character>\n    <dialogue>Can't believe he'd get behind the wheel like that with so much at stake.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I don't think he was thinking about anything but how happy... how free he was in that moment.<\/dialogue>\n    <scene_description>On Tasha's face. There's more to it than she's saying.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>That was part of it, but not the whole story...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATASHA'S APARTMENT - FLASHBACK - NIGHT<\/stage_direction>\n    <scene_description>Tasha leans her ear against the door of her parents' bedroom. INSIDE Mr. and Mrs. Kingsley argue.<\/scene_description>\n    <character>MRS. KINGSLEY<\/character>\n    <dialogue>When we met you said all my dreams would come true. You remember that, Kingsley? You're a good actor because you make me believe all the pretty things you say.<\/dialogue>\n    <character>MR. KINGSLEY<\/character>\n    <dialogue>I'm tired of your dreams. What 'bout mine? If it wasn't for you and the children, my life would be better. If it wasn't for you and the children I would have all the things I want. I'd be doing the thing God put me on this earth to do.<\/dialogue>\n    <scene_description>IN THE HALLWAY - Tasha slumps down as her father's words hit her heart.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>But I don't tell Fitzgerald that part-- that we are my father's greatest regret because we got in the way of his dreams.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITZGERALD'S OFFICE - PRESENT<\/stage_direction>\n    <scene_description>Fitzgerald sits silent, hands steepled as he thinks.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>I wonder how many stories like mine has Fitzgerald's heard over the years. How many hopeless cases he's had to sit through...<\/dialogue>\n    <scene_description>Fitzgerald looks over one of the forms then gets a yellow legal pad out of his desk drawer, then jots something down. Then he sits in silence for a long beat. His expression very hard to read. Tasha stares at him, nervously.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>Each moment of silence is soul crushing. I knew I shouldn't have listened to Hannah. Shouldn't have gotten my hopes up...<\/dialogue>\n    <scene_description>Then finally--<\/scene_description>\n    <character>FITZGERALD<\/character>\n    <dialogue>Miss Kingsley--<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>It's okay. I know I'm out of options. Thank you for your time.<\/dialogue>\n    <scene_description>Tasha moves to get up. But Fitzgerald waves her back down.<\/scene_description>\n    <character>FITZGERALD<\/character>\n    <dialogue>You're never out of options.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>What do you mean? Are you saying you can fix this?<\/dialogue>\n    <character>FITZGERALD<\/character>\n    <dialogue>I'm going to go see a judge friend of mine. He'll be able to get the Voluntary Removal reversed so at least you don't have to leave tomorrow. After that we can file an appeal with the BIA-the Board of Immigration Appeals...<\/dialogue>\n    <parenthetical>(checks his watch)<\/parenthetical>\n    <dialogue>Give me a couple of hours. I can make this happen. Just need to get the judge to file by six o'clock.<\/dialogue>\n    <scene_description>Tasha's taken aback.<\/scene_description>\n    <character>FITZGERALD<\/character>\n    <dialogue>I'll call you when it's all sorted out.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>But you think you can sort it out?<\/dialogue>\n    <character>FITZGERALD<\/character>\n    <dialogue>Yes. I've done it many, many times before. You'll be fine.<\/dialogue>\n    <scene_description>He smiles at her confidently. Tasha's eyes light up. She throws her arms around him in a big, impromptu bear hug.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Thank you. You have no idea how much this means to me. My family.<\/dialogue>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>I should call my parents and tell them, but right now, all I can think about is Daniel.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINER - DAY<\/stage_direction>\n    <scene_description>Daniel sits at an empty booth. Omar sees him and walks over, looks him up and down.<\/scene_description>\n    <character>OMAR<\/character>\n    <dialogue>Dude, what the hell happened to you? Did you get robbed?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>What?<\/dialogue>\n    <parenthetical>(then realizing)<\/parenthetical>\n    <dialogue>I got into a fight. With Charlie.<\/dialogue>\n    <character>OMAR<\/character>\n    <dialogue>Oooh! Finally! That dick's had it coming for a good ten years...<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>How'd your interview go?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Postponed it. For Tasha.<\/dialogue>\n    <character>OMAR<\/character>\n    <dialogue>Are you insane?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Yes. Probably. But then we got into it and now I've lost her, too--<\/dialogue>\n    <scene_description>Omar sits down across from Daniel.<\/scene_description>\n    <character>OMAR<\/character>\n    <dialogue>You're such a drama queen. It's just a girl, man. There's other girls.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>No. Not like her. I didn't even get her number.<\/dialogue>\n    <character>OMAR<\/character>\n    <dialogue>So Facebook her.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I don't know her last name.<\/dialogue>\n    <character>OMAR<\/character>\n    <dialogue>So? If it's in the stars, nothing can stop it. Even your clumsy, no- game-having ass, can't fuck up this good thing if it really was sent down from Zeus or whoever.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Am I supposed to sit here and wait for her to walk in the door?<\/dialogue>\n    <character>OMAR<\/character>\n    <dialogue>No, but you can retrace your steps. Or, better yet, Do you know where she might be headed?<\/dialogue>\n    <scene_description>Daniel thinks. Then jumps up from the booth and runs out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 52ND STREET SUBWAY - DAY<\/stage_direction>\n    <scene_description>Tasha walks down the platform and onto the UPTOWN train.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 52ND STREET SUBWAY - DAY<\/stage_direction>\n    <scene_description>Daniel sprints down the platform, barely making it onto the DOWNTOWN train as the door closes. We pull out to REVEAL Tasha and Daniel are in the same place heading in opposite directions. Natasha's on the UPTOWN TRAIN, back to the platform. Daniel's on the DOWNTOWN TRAIN facing it. The trains start moving in opposite directions.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLACK HAIR CARE STORE - DAY<\/stage_direction>\n    <scene_description>The bell on the door CHIMES with happy optimism as Tasha steps in. Looks behind the counter and sees Charlie on his phone. He barely looks up as Tasha approaches the counter.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>Charlie finishes with his text and finally looks up. His eye is red and swollen.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Wow! That thing's gonna be black and blue by morning.<\/dialogue>\n    <scene_description>Charlie raises his hand and touches his eye self-consciously. His knuckles are bruised too.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Daniel's not here.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I know. I was hoping you could help me find him. Do you have his cell phone number?<\/dialogue>\n    <scene_description>Charlie leans back in his chair.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>You two get into a fight?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Do you have it or not?<\/dialogue>\n    <scene_description>He flips his phone end over end.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>What's your deal? You got a Korean boy fetish or something?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Charlie. Please. I have something important I need to tell him.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Tell me why I should.<\/dialogue>\n    <scene_description>Tasha thinks...<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Well, think about how much trouble I'll cause for your brother. He's in love with me.<\/dialogue>\n    <scene_description>You give me his number, he chases after me and you can just sit back and enjoy the show while your parents freak out on him. It's like you said-- it'll take all the heat off you. Charlie throws his head back and laughs.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>That's a pretty decent pitch.<\/dialogue>\n    <scene_description>Charlie takes a beat, considers this. Then he pulls up the number and shows it to a surprised Tasha.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK STREET\/EXT. HARLEM STREET - MINUTES LATER<\/stage_direction>\n    <scene_description>INTERCUT AS NECESSARY: Daniel stares down at a number he doesn't recognize on his phone. Answers it anyway.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Is this Daniel?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Natasha?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Yes, it's me. Your brother gave me your number.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Charlie? Yeah, right. Who is this?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Daniel, it's me. It's really me.<\/dialogue>\n    <scene_description>Daniel stands up, moving away from Omar.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Why are you calling me?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Just give me a chance to explain.<\/dialogue>\n    <scene_description>Daniel is still hurt from their fight.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Are you sure I'm not a not a waste of time?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Come on, Daniel. It's complicated. Meet me somewhere. Please?<\/dialogue>\n    <scene_description>Off Daniel's look, he's softening.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 2ND AVE - MANHATTAN - DAY<\/stage_direction>\n    <scene_description>Montage of Natasha and Daniel walking and talking through the city. Natasha is explaining her deportation situation to Daniel. Quickly cut, this scene is set to a bittersweet musical theme. Daniel digests her story.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>And I thought my home life was complicated. What's the good news again?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Oh, a new lawyer thinks he can get the order reversed...<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Does that mean--<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I might not have to leave tomorrow.<\/dialogue>\n    <character>DANIEL<\/character>\n    <parenthetical>(beaming)<\/parenthetical>\n    <dialogue>What? Seriously? No way!<\/dialogue>\n    <scene_description>Daniel LIFTS Tasha off her feet and SPINS her around.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>He wasn't a hundred-percent sure, but there's a chance.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I can't believe it.<\/dialogue>\n    <scene_description>Daniel holds Tasha. Their eyes meet. Daniel tilts forward. Before he can kiss her, she pulls away with excitement.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>I got an idea.<\/dialogue>\n    <scene_description>She takes his hand and leads him towards...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOSEVELT ISLAND TRAM STATION - MANHATTAN - DAY<\/stage_direction>\n    <scene_description>The little Roosevelt Island tram car glides over the East River and into the station. Natasha and Daniel buy tickets.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOSEVELT ISLAND TRAM - DUSK<\/stage_direction>\n    <scene_description>The tram is empty but for Daniel and Tasha. All of New York is in view. A breathtaking panorama.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Last time I was on this thing was in second grade. And there was an old guy who smelled like tuna fish.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I hate tuna fish.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Right? Now I've got an idea.<\/dialogue>\n    <scene_description>Daniel scrolls a playlist on his phone and presses PLAY. We hear PURPLE RAIN by Prince: Tasha smiles. He's cute. His striking looks illuminated by the setting sun. She looks awkwardly at the floor, then out the window, laughs. He takes her hand, pulls her close. They dance slowly in the middle of the sky. The MUSIC PLAYS as We SWEEP around the car, all of New York City glimmering around them.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Is it gonna hurt if I kiss you?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>It'll be a good pain.<\/dialogue>\n    <scene_description>She pulls him in. Then, a kiss like no other. Sparks fly. Tasha opens her eyes. She pulls back.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>All our kisses aren't going to be like that are they?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Like what?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>You know. Insane.<\/dialogue>\n    <scene_description>Daniel smiles.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>I don't know... maybe we should try it again and see.<\/dialogue>\n    <scene_description>They kiss again, holding one another as the music continues to play. The entire city lit up at night. Lights twinkling in the surrounding skyscrapers, like stars in the sky.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOSEVELT ISLAND - DOCK - NIGHT<\/stage_direction>\n    <scene_description>Manhattan glows across the East River. Tasha rests on Daniel's chest, wrapped in his arms.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>It's getting late. Are your parents going to be worried about you?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>They're okay...told them I was with Bev tonight. What about your parents?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I'll deal with them later. Tonight's about us.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>In that case...got any more of those questions for me?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>You're not in love with me yet?<\/dialogue>\n    <character>NATASHA<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>Nope.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Don't worry. We've got time now.<\/dialogue>\n    <scene_description>Tasha nuzzles further into Daniel's warm body.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>How about the dinner guest question?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>You mean who I'd invite?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Yup.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Easy. Carl Sagan.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>You'd like him...a scientist and a writer. It was almost romantic how much he loved the universe.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>People think science is so cold, but it isn't true. It actually makes you appreciate your life.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Meaning...<\/dialogue>\n    <scene_description>Tasha smiles, shifts her gaze upward to the heavens.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Think about it...the universe is 99.99999% empty space. Nothing but rocks and burning stars spread out over a billion galaxies--and yet here we are, the two of us together, looking out at the universe. We won the cosmic lottery just by being born...the time we have on this earth is extraordinary. It's up to us to make the most of it.<\/dialogue>\n    <scene_description>Daniel is speechless. Charmed by her words. They lock eyes.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>I want to make the most of everything...with you.<\/dialogue>\n    <scene_description>Daniel's instincts take over. He kisses her. A SHOOTING STAR begins a TIMELAPSE of the night sky, ending as the sun rises above the New York skyline.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOSEVELT ISLAND - DOCK - DAY<\/stage_direction>\n    <scene_description>Tasha's already up, watching the sunrise. Daniel's ALARM goes off, waking him. Tasha greets him with a kiss.<\/scene_description>\n    <character>TASHA<\/character>\n    <dialogue>Good morning.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I could get used to waking up like this. How long have you been up?<\/dialogue>\n    <character>TASHA<\/character>\n    <dialogue>I wanted to see the sunrise. It's a perfect morning.<\/dialogue>\n    <scene_description>Daniel joins her. They look out to the city together. A beat. Then, a hint of dread on Daniel's face.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>I'd better go. My interview's in an hour.<\/dialogue>\n    <character>TASHA<\/character>\n    <dialogue>I'm coming with you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FITZGERALD'S BUILDING - MORNING<\/stage_direction>\n    <scene_description>Daniel hesitates at the entryway before going inside.<\/scene_description>\n    <character>TASHA<\/character>\n    <dialogue>Wait? What are we doing here?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>My interview's in the same building as your appointment. Looks like we've traded places.<\/dialogue>\n    <character>TASHA<\/character>\n    <dialogue>Really? What are the odds?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I keep telling you--<\/dialogue>\n    <character>TASHA<\/character>\n    <dialogue>Don't say it.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I won't rub it in this time. Will you wait for me?<\/dialogue>\n    <scene_description>Of course she will. Tasha steps closer, straightens his tie for him. Daniel dusts off his pants.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>How do I look?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Like a poet in a suit.<\/dialogue>\n    <scene_description>Tasha pecks him on the cheek.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>You got this!<\/dialogue>\n    <scene_description>Daniel takes a deep breath and heads in. Natasha hangs back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITZGERALD'S BUILDING - HALLWAY - MOMENTS LATER<\/stage_direction>\n    <scene_description>Daniel taps on the door. Silence. He tries the handle. Locked. Daniel SIGHS. Almost relieved. Then...<\/scene_description>\n    <character>FITZGERALD (O.S.)<\/character>\n    <dialogue>Daniel Bae.<\/dialogue>\n    <scene_description>Daniel presses his ear to the door. Checks the handle again.<\/scene_description>\n    <character>DANIEL<\/character>\n    <parenthetical>(into the door)<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <character>FITZGERALD (O.S.)<\/character>\n    <dialogue>Behind you.<\/dialogue>\n    <scene_description>PULL BACK to REVEAL Fitzgerald, watching Daniel talking to the door. Daniel looks back and straightens up.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Oh--Umm... Hi.<\/dialogue>\n    <character>FITZGERALD<\/character>\n    <dialogue>Jeremy Fitzgerald.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Mr. Fitzgerald. It's nice to meet you.<\/dialogue>\n    <scene_description>Fitzgerald unlocks the door and opens it wide.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Sorry...I thought--<\/dialogue>\n    <character>FITZGERALD<\/character>\n    <dialogue>No, I'm late. Come in and have a seat.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JEREMY FITZGERALD'S OFFICE - CONTINUOUS<\/stage_direction>\n    <scene_description>Fitzgerald looks over Daniel's application as he moves to his desk. Daniel sits and sees a file on the desk. \"Natasha Kingsley.\" Daniel stares, shocked.<\/scene_description>\n    <character>DANIEL<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>Are you an immigration lawyer?<\/dialogue>\n    <character>FITZGERALD<\/character>\n    <dialogue>I am. Why?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I think I know one of your clients.<\/dialogue>\n    <scene_description>Daniel picks up Tasha's file and Fitzgerald immediately snatches it back.<\/scene_description>\n    <character>FITZGERALD<\/character>\n    <dialogue>Don't touch that. It's privileged.<\/dialogue>\n    <scene_description>He pulls it as far away from Daniel as possible.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Sorry. You...you saved my life.<\/dialogue>\n    <character>FITZGERALD<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I met her-- Natasha-- yesterday. Just a handful of hours ago she said she was being deported, but then she met with you and you did your lawyer magic, and now she's going to stay.<\/dialogue>\n    <character>FITZGERALD<\/character>\n    <dialogue>And how did that save your life?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>She's The One.<\/dialogue>\n    <character>FITZGERALD<\/character>\n    <dialogue>Didn't you say you just met her yesterday?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Yup.<\/dialogue>\n    <character>FITZGERALD<\/character>\n    <dialogue>And you know she's the one?<\/dialogue>\n    <scene_description>Fitzgerald stares at Daniel skeptically.<\/scene_description>\n    <character>FITZGERALD<\/character>\n    <dialogue>Why are you here?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Um, I'm here for my admission interview?<\/dialogue>\n    <character>FITZGERALD<\/character>\n    <dialogue>No, really. Why are you here? You obviously don't care about this interview. You postponed it and now you show up here in wrinkled clothes, looking like you've been in a brawl. It's a serious question. Why did you come here?<\/dialogue>\n    <scene_description>Daniel takes a deep breath.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Honestly? My parents made me. So I guess I have to be here.<\/dialogue>\n    <character>FITZGERALD<\/character>\n    <dialogue>No, you don't. You can just get up and walk out that door.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I owe it to my parents.<\/dialogue>\n    <character>FITZGERALD<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>DANIEL<\/character>\n    <parenthetical>(sighs)<\/parenthetical>\n    <dialogue>My parents are immigrants. They work all the time so my brother and I can have the American Dream. Nowhere in the American Dream does it say you can skip college and become a starving artist.<\/dialogue>\n    <character>FITZGERALD<\/character>\n    <dialogue>It says whatever you want it to.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Not in my family it doesn't. If I don't do this, I get cut off. No funds for college. No nothing.<\/dialogue>\n    <character>FITZGERALD<\/character>\n    <dialogue>Would they really do that?<\/dialogue>\n    <scene_description>Daniel FLASHES BACK to the image of HIS FATHER'S FACE as he gives Daniel the ultimatum.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Yes. He would.<\/dialogue>\n    <character>FITZGERALD<\/character>\n    <dialogue>So I guess you have to be sure this artist life is worth it.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Haven't you ever done something only because you're obligated to? Just because you made a promise?<\/dialogue>\n    <scene_description>Fitzgerald's eyes drift away.<\/scene_description>\n    <character>FITZGERALD<\/character>\n    <dialogue>Meeting your obligations is the definition of adulthood, kid. And today, I have to make a call that I didn't want to have to make.<\/dialogue>\n    <scene_description>He pulls out Natasha's file.<\/scene_description>\n    <character>FITZGERALD<\/character>\n    <dialogue>I couldn't do it.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Do what?<\/dialogue>\n    <character>FITZGERALD<\/character>\n    <dialogue>Stop her deportation.<\/dialogue>\n    <parenthetical>(off Daniel's look)<\/parenthetical>\n    <dialogue>Your Natasha...she's going to be deported today. I'm sorry, kid.<\/dialogue>\n    <scene_description>Daniel stares down at the file, incredulous.<\/scene_description>\n    <character>FITZGERALD<\/character>\n    <dialogue>I tried everything--<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>You didn't try hard enough.<\/dialogue>\n    <character>FITZGERALD<\/character>\n    <dialogue>Listen, I know you're upset.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>It's not her fault her dad messed up. She's been here all of her life. America is her home!<\/dialogue>\n    <character>FITZGERALD<\/character>\n    <dialogue>I wish there was something I could do. I'm planning on calling her after you and I are done here.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>You're just going to call her and tell her over the phone?<\/dialogue>\n    <character>FITZGERALD<\/character>\n    <dialogue>Does it matter how she hears it?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Of course it matters. I don't want her to have her heart broken by someone she barely knows.<\/dialogue>\n    <scene_description>Daniel walks out, into the empty reception area. Fitzgerald follows.<\/scene_description>\n    <character>FITZGERALD<\/character>\n    <dialogue>So that's it? No more interview?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>You said it yourself. I don't really care about Yale.<\/dialogue>\n    <character>FITZGERALD<\/character>\n    <dialogue>Look, Daniel, Yale's a big deal. Going there could open a lot of doors for you. It did for me.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>And you're still not happy.<\/dialogue>\n    <character>FITZGERALD<\/character>\n    <dialogue>What's another half an hour to finish this interview?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Time counts, Mr. Fitzgerald... But you know that already.<\/dialogue>\n    <scene_description>Daniel storms off in search of Natasha.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FITZGERALD'S OFFICE BUILDING - DAY<\/stage_direction>\n    <scene_description>Daniel walks through the sliding glass doors. His face is grim. Tasha takes notice.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>I really love you.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Daniel, what's wrong?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>You don't have to say it back, but I really do. I just want you to know it.<\/dialogue>\n    <scene_description>Tasha's phone rings. It's Fitzgerald's office.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Don't answer it.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I have to--<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Please don't.<\/dialogue>\n    <scene_description>His tone alarms her. Tasha lets it go to voicemail.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>What happened in there?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>You can't stay here...<\/dialogue>\n    <parenthetical>(beat, then)<\/parenthetical>\n    <dialogue>My interviewer was your lawyer.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Fitzgerald?<\/dialogue>\n    <scene_description>Daniel nods.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>What did he say?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>He couldn't get the order overturned.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>But he said he could do it!<\/dialogue>\n    <scene_description>Daniel's squeezes her hand and tries to pull her in, but Tasha pushes him away.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Are you sure? Why were you even talking about me?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Your file was on his desk.<\/dialogue>\n    <scene_description>He grabs her hand again. Tasha pulls it back forcefully.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Stop. Just stop!<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Just tell me what he said. Exactly.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>He said the deportation order stands. You and your family have to leave. Today.<\/dialogue>\n    <scene_description>Tasha sits on the edge of the fountain. Daniel joins her.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>What are we going to do?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I should go home. Flight's this afternoon.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I'll go with you.<\/dialogue>\n    <parenthetical>(off her look)<\/parenthetical>\n    <dialogue>I mean to your house.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I don't think that's a good idea. My parents are there and I have too much to do. You'll just get in the way.<\/dialogue>\n    <scene_description>He stands up and holds out his hand for hers.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Here's what we're not going to do. We are not going to argue. We are not going to pretend that this isn't the worst thing on earth, because it is. I'm going with you to your parents' house. I'm going to look at the place where you sleep and eat and live and wish that I'd known just a little sooner that you were right here.<\/dialogue>\n    <parenthetical>(beat, then)<\/parenthetical>\n    <dialogue>Is that okay with you?<\/dialogue>\n    <scene_description>Tasha nods yes. They start walking toward the subway station.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATASHA'S BUILDING - HALLWAY - DAY<\/stage_direction>\n    <scene_description>Daniel fidgets with his suit. Tasha feigns a smile.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Should I take my jacket off? I feel like an idiot.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>You don't have to be nervous.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I'm going to meet your parents. Now's as good a time to be nervous as any.<\/dialogue>\n    <scene_description>He unbuttons the jacket but doesn't take it off.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>The good thing is, you can screw up all you want. You'll probably never see them again.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATASHA'S APARTMENT - CONTINUOUS<\/stage_direction>\n    <scene_description>Tasha cautiously steps in, followed by Daniel. Peter packs suitcases as he sways to loud dancehall music.<\/scene_description>\n    <character>MRS. KINGSLEY<\/character>\n    <dialogue>Turn that music off.<\/dialogue>\n    <scene_description>Peter does just that as Tasha's Mom sees her.<\/scene_description>\n    <character>MRS. KINGSLEY<\/character>\n    <dialogue>Lawd, 'Tasha. I been calling and calling you for--<\/dialogue>\n    <scene_description>Mrs. Kingsley notices Daniel and pauses.<\/scene_description>\n    <character>MRS. KINGSLEY<\/character>\n    <dialogue>Who's this?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>This is Daniel.<\/dialogue>\n    <scene_description>Mrs. Kingsley zeroes in. Examines Daniel more closely.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Sorry to meet you under these circumstances, Mrs. Kingsley.<\/dialogue>\n    <scene_description>Daniel shakes Mrs. Kingsley's hand, then Peter greets him.<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>(smiling wide)<\/parenthetical>\n    <dialogue>'Tasha's never brought a boy here before.<\/dialogue>\n    <scene_description>Mrs. Kingsley waves Tasha to the side.<\/scene_description>\n    <character>MRS. KINGSLEY<\/character>\n    <dialogue>'Tasha, I need to talk to you.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Is it about Daniel? Because if it is, we can just do it right here. He's my boyfriend.<\/dialogue>\n    <scene_description>Mr. Kingsley walks in as the words leave Tasha's lips.<\/scene_description>\n    <character>MR. KINGSLEY<\/character>\n    <dialogue>Since when do you have a boyfriend? That's what you been doing all day and night instead of helping your family pack up?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>No. What I was doing was trying to fix your mistakes.<\/dialogue>\n    <character>MR. KINGSLEY<\/character>\n    <dialogue>It don't look nothing like that to me.<\/dialogue>\n    <parenthetical>(turns to Daniel)<\/parenthetical>\n    <dialogue>You know the situation?<\/dialogue>\n    <scene_description>Daniel nods.<\/scene_description>\n    <character>MR. KINGSLEY<\/character>\n    <dialogue>Then you know that now's not the time for strangers to be here.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>He's not a stranger. He's my guest.<\/dialogue>\n    <character>MR. KINGSLEY<\/character>\n    <dialogue>And this is my house--<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Was your house. You weren't responsible enough of a father to keep it, remember? Or maybe you couldn't handle the responsibility of being a father at all...<\/dialogue>\n    <character>MR. KINGSLEY<\/character>\n    <dialogue>What's that supposed to mean?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I heard what you told mom after the play--<\/dialogue>\n    <character>MRS. KINGSLEY<\/character>\n    <dialogue>Baby. There's no point in rehashing all this now.<\/dialogue>\n    <character>MR. KINGSLEY<\/character>\n    <dialogue>No, man. No, man. I want hear what she has to say to me.<\/dialogue>\n    <scene_description>Just as father and daughter square off. Daniel interjects.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Tasha, you don't have to--<\/dialogue>\n    <scene_description>Mr. Kingsley pushes Daniel back.<\/scene_description>\n    <character>MR. KINGSLEY<\/character>\n    <dialogue>Say what you have to say, Tasha!<\/dialogue>\n    <scene_description>Tasha looks at Daniel, she wants to do this. She steps up to her father.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>I heard what you said about me and Peter... That we were your greatest regrets. How could you say that about your own children?<\/dialogue>\n    <scene_description>The steam comes out of Mr. Kingsley's engine. He searches futilely for words...<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>I'm sorry that life didn't give you all the things you wanted.<\/dialogue>\n    <character>MR. KINGSLEY<\/character>\n    <dialogue>I didn't mean it 'Tasha. It was just talk. All of it was just--<\/dialogue>\n    <scene_description>She holds up her hand to stop him. Tears pool in Mr. Kingsley's eyes.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Maybe you were right. Maybe you weren't meant to have us. Maybe you really were cheated.<\/dialogue>\n    <character>MR. KINGSLEY<\/character>\n    <parenthetical>(shaking his head)<\/parenthetical>\n    <dialogue>Was just talk 'Tasha. I really didn't mean nothing by it.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>It doesn't matter if you meant it or not. Hearing you say those words spoiled all the good memories I did have of us. Made me wonder, did you regret my existence when we were watching cricket matches together? Eating mint chocolate chip ice cream after school? What about the day I was born?<\/dialogue>\n    <scene_description>Tears stream from Natasha's face. Daniel holds her. She pulls free from him, continuing.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>But I decided, you don't get to regret us. People make mistakes all the time. Small ones, like getting in the wrong checkout line. And big ones like giving up... I saw the play. That night, on stage you were incredible. But in real life, all you've done is quit on your family. Leaving the rest of us to pick up where you left off.<\/dialogue>\n    <scene_description>Mrs. Kingsley's crying now too. Peter walks into her arms for a hug.<\/scene_description>\n    <character>MR. KINGSLEY<\/character>\n    <dialogue>'Tasha, I'm sorry. You should have never heard those words from my mouth. When we came here, it was supposed to be different... but America has never been what they said it was gonna be for me. I can't stand seeing your mother work her fingers to the bone day in and day out anymore than I can stand the holes in your brother's sneakers. We're immigrants, Tasha. How can I be a man when the rest of the world says that I am not?<\/dialogue>\n    <scene_description>Tasha wipes her brother's face. Comforts him. Replies.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>You decide who you are, that's how. That's why we came here, not for handouts, but to make our own lives.<\/dialogue>\n    <scene_description>Mr. Kingsley holds his head in his hands. Ashamed. Tasha approaches, gently laying a hand on his shoulder.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Dad, I know what it cost you to bring us here. But just because it got hard, doesn't mean we don't still need you. When we get to Jamaica, you can't give up. You can be a father. A husband. And an actor all at once. It's up to you.<\/dialogue>\n    <scene_description>She hugs him. Mrs. Kingsley and Peter join in.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>It wasn't exactly the ending I was hoping for this morning, but at least we were on our way to being a family again.<\/dialogue>\n    <scene_description>Tasha sniffs, then motions for Daniel. Together as one, they embrace.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. CAB - DAY<\/stage_direction>\n    <scene_description>Peter looks out from the back of a cab as it drives off with Tasha's family. On the curb, a CABBIE loads Tasha's suitcase into the trunk of another cab. Tasha finishes a FACETIME with Bev as Daniel climbs into the backseat.<\/scene_description>\n    <character>BEV (ON THE PHONE)<\/character>\n    <dialogue>I'm booking my flight now! Christmas in Jamaica is a thing, right?<\/dialogue>\n    <character>NATASHA (ON THE PHONE)<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>Yes, I believe so.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm so sorry, Bev. It all happened so fast.<\/dialogue>\n    <scene_description>The cabbie gets inside the car.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>I have to go. I'll call you soon as I land. Love you.<\/dialogue>\n    <scene_description>Tasha hangs up, then gets in the cab.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAB - DAY<\/stage_direction>\n    <scene_description>Natasha looks out the window, soaking up her Bronx neighborhood one final time. Then she lays her head on Daniel's shoulder.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Do you think we would've worked out if I stayed?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>No question. Do you?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Daniel smiles.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>How hard would it have been for your parents?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>It would take them a long time. Longer for my dad. I don't think they'd have come to our wedding.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I have something to tell you.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>You shouldn't go to Yale and be a doctor if your heart's not in it. If you want to be a poet and write your heart out, do that. There's still time.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>What about doing the practical thing?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Practicality is overrated.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Does that mean you don't want to be a data scientist anymore?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I don't know. Maybe not. You got me thinking. It'd be nice to do something I'm actually passionate about, like study the stars.<\/dialogue>\n    <scene_description>Daniel turns to her, surprised.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>What a difference a day makes.<\/dialogue>\n    <scene_description>They're silent for a long beat.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>So, how many more questions do we have left?<\/dialogue>\n    <scene_description>He takes out his phone.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Just one. And we still have to stare into each other's eyes for four minutes.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>We could do that or...we could just make out instead.<\/dialogue>\n    <character>CABBIE<\/character>\n    <dialogue>You guys know I can hear you, right?<\/dialogue>\n    <parenthetical>(through the rearview mirror)<\/parenthetical>\n    <dialogue>I can see you too.<\/dialogue>\n    <scene_description>He laughs. Tasha and Daniel join in.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Okay, last question. Of all the people in your family, whose death would you find the most disturbing, and why?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>My dad.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Why him?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Because he's not done yet. What about you?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Yours.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I'm not your family, though.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Yes, you are. In some other universe maybe we're married, with two kids, or maybe two cats.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>You always find the right words.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You'll make a great poet.<\/dialogue>\n    <scene_description>Daniel takes this in. The cab pulls to the curb.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIRPORT - DAY<\/stage_direction>\n    <scene_description>Tasha and Daniel stand at the curb, trying their best to keep it together. Prince's \"I Would Die For You\" starts playing on the radio inside the cab.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>You hear that?<\/dialogue>\n    <scene_description>Tasha cracks a somber smile.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Three times in one day...what are the odds?<\/dialogue>\n    <scene_description>Daniel winks. Tasha softens.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>So...are you ready for the finale?<\/dialogue>\n    <scene_description>Daniel sets his phone timer for FOUR MINUTES then takes both Natasha's hands in his.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>I'm not sure if we're supposed to hold hands during this part but -- why not.<\/dialogue>\n    <scene_description>The clock runs. They stare into each other's eyes, giggling a little at first. Tasha looks away but Daniel squeezes her hands just enough to get her to focus. As she stares in his eyes...<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>Daniel believes this is fate... that everything aligned for us to be in the right place at just the right time. I don't know that this is fate.<\/dialogue>\n    <scene_description>But I do know that a lot of events had to transpire for us to be standing here, right now, in the middle of this vast universe. That's amazing. They continue to stare, less self-conscious. Their smiles drift away as they catalog each other's face. Tasha relives all the moments that led them here:<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>Because if I hadn't been late to my appointment, I wouldn't have met Lester Barnes. And if he hadn't said the word 'irie,' I wouldn't have had a meltdown. And if I hadn't had my meltdown, I wouldn't have eventually met Daniel.<\/dialogue>\n    <scene_description>As she speaks, we see GLIMPSES of the day.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>And if I hadn't met Daniel, I may have never known this feeling that's taking over me right now. This feeling that can only be--<\/dialogue>\n    <scene_description>The phone timer BUZZES, bringing Tasha BACK TO REALITY.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Love.<\/dialogue>\n    <parenthetical>(beat, then)<\/parenthetical>\n    <dialogue>I love you, Daniel Bae.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I guess the questionnaire worked.<\/dialogue>\n    <scene_description>Tasha's phone RINGS. She looks down. It's her mom.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>You have to go...<\/dialogue>\n    <scene_description>She nods. But neither one of them moves.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>I don't know how to say goodbye.<\/dialogue>\n    <scene_description>Daniel's eyes mist.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Then don't...<\/dialogue>\n    <scene_description>On Tasha's face, she has to.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>This day can't be all there is. It just can't--<\/dialogue>\n    <scene_description>Before he can finish, Tasha pulls him into a long, final hug. Then she reluctantly lets him go.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Bye, Daniel.<\/dialogue>\n    <scene_description>Tasha turns and walks off, leaving Daniel looking on, heartbroken, as she disappears inside the airport.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAB - DAY<\/stage_direction>\n    <scene_description>Daniel gets in a cab and shuts the door. Slumps in his seat.<\/scene_description>\n    <character>CABBIE<\/character>\n    <dialogue>Where to?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I don't care. Just drive.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPORT - TICKET COUNTER - DAY<\/stage_direction>\n    <scene_description>Natasha and her family check their bags.<\/scene_description>\n    <character>MRS. KINGSLEY<\/character>\n    <dialogue>Get out your ID's.<\/dialogue>\n    <scene_description>Tasha searches her purse, absentmindedly. Her heart still with Daniel.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. AIRPORT - VARIOUS LOCATIONS - DAY<\/stage_direction>\n    <scene_description>The cab approaches two paths: one to exit the airport, the other to return to the terminals. Daniel looks back and forth between the two paths. Then suddenly sits up.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Can you please circle back?<\/dialogue>\n    <character>CABBIE<\/character>\n    <dialogue>Did you forget something?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Yes, sir. Something really important.<\/dialogue>\n    <scene_description>The cabbie takes the terminal exit and they circle back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPORT - CONTINUOUS<\/stage_direction>\n    <scene_description>Natasha and her family enter the long TSA security line. CLOSE ON her ticket. ONE WAY.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIRPORT - CONTINUOUS<\/stage_direction>\n    <scene_description>The taxi pulls up to Tasha's terminal. Daniel hands the cabbie a few bucks and then takes off running.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPORT - CONTINUOUS<\/stage_direction>\n    <scene_description>Daniel sprints through the airport, searching for Tasha. TICKETING AREA - CONTINUOUS Daniel panting heavily, hair in his face. No Tasha. He looks up... ON THE DEPARTURES BOARD Countries from all over the world. He finds the flight to Jamaica. Daniel notes the gate. DARTS off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TSA SECURITY CHECKPOINT - CONTINUOUS<\/stage_direction>\n    <scene_description>Tasha and her family wait their turn in the TSA line. ON DANIEL Searching the crowded line for her. No Tasha. Then finally... He spots a familiar AFRO in the crowd of people. He slows to a brisk walk, fixes his hair, then ducks under the stretched barriers, cutting the line. CLOSE ON NATASHA She's lost in her own world, head down. Forlorn. Then...<\/scene_description>\n    <character>DANIEL (O.S.)<\/character>\n    <dialogue>'Tasha!<\/dialogue>\n    <scene_description>She turns at the sound of her name. ANGLE ON DANIEL His eyes go WIDE... It's TASHA! She looks on at Daniel, in disbelief.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Marry me. Then you can legally stay.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Marry you? You can't be serious.<\/dialogue>\n    <parenthetical>(off his look)<\/parenthetical>\n    <dialogue>You are.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>You love me, right? Isn't that what you just said?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>I do, but--<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>So we'll elope and we'll move somewhere cheap... I'll get a crappy job and write at night... and you can finish school and graduate with your friends and then become a data scientist or-- an astronomer! You can do whatever you want, Tasha. Just stay.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Daniel... listen. I do really love you. But we have to be smart. We've only known each other for a day. A day. You keep saying we're meant to be, but what if we're not?<\/dialogue>\n    <scene_description>An ANNOUNCEMENT drowns her out.<\/scene_description>\n    <character>GATE AGENT (V.O.)<\/character>\n    <parenthetical>(loudspeaker)<\/parenthetical>\n    <dialogue>This is the boarding call for flight 436 to Jamaica...<\/dialogue>\n    <scene_description>Time's up. Tears gather in Tasha's eyes. She takes Daniel by the hand.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Right now, this is real life. The plane waiting on the tarmac to send me and my family back to Jamaica is very real. I tried to stay...<\/dialogue>\n    <scene_description>I tried everything and I failed, and now that's it. I have to go. Tasha lets a single tear fall down her face. Daniel wipes it off. They stand face-to-face in the security line.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>I don't want to lose you.<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>What happens next is up to us. We decide our fate. There's Facetime, emails, Skype... we'll figure it out. We're not going to give up, okay?<\/dialogue>\n    <scene_description>Tasha plants a final kiss on Daniel's cheek, then rejoins her family in the security line. Daniel looks on, distraught.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TASHA'S PLANE - DUSK<\/stage_direction>\n    <scene_description>Tasha stares out the window as the sun begins to set. Her mother pats her arm reassuringly.<\/scene_description>\n    <character>MRS. KINGSLEY<\/character>\n    <dialogue>It's going to be okay, Tasha. You'll see...<\/dialogue>\n    <scene_description>Tasha manages a small smile. The plane ascends into the night sky. Tasha looks out the window watching the city fade.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>From up here, the city lights look like earth-bound stars. And I know one of those stars is Daniel...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRTRAIN - DUSK<\/stage_direction>\n    <scene_description>Daniel sits on a train, watches a plane take off. Is it Tasha's? He takes out his notebook and starts to write.<\/scene_description>\n    <character>DANIEL (V.O.)<\/character>\n    <dialogue>You come to me from another world.<\/dialogue>\n    <scene_description>He looks out the window as the airport fades into the distance.<\/scene_description>\n    <character>DANIEL (V.O.,<\/character>\n    <dialogue>From beyond the stars and void of space. Transcendent. Pure. Of unimaginable beauty.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TASHA'S PLANE - DUSK<\/stage_direction>\n    <scene_description>Natasha looks out the window at the city below. The plane climbs higher and higher, into the clouds.<\/scene_description>\n    <character>DANIEL (V.O.)<\/character>\n    <dialogue>You are the master alchemist. You light the fire of love in earth and sky in heart and soul.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRTRAIN - DUSK<\/stage_direction>\n    <scene_description>Daniel gazes out the window at all the buildings lit up with people inside, in their homes.<\/scene_description>\n    <character>DANIEL (V.O.)<\/character>\n    <dialogue>Through your star... All opposites unite. More than a star.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TASHA'S PLANE - DUSK<\/stage_direction>\n    <scene_description>Natasha's face looking out at the horizon. The glow of the sun hits her face just as it sets.<\/scene_description>\n    <character>DANIEL (V.O.)<\/character>\n    <dialogue>You are my sun.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIRTRAIN - NIGHT<\/stage_direction>\n    <scene_description>Drone shot of the little train snaking through Queens at night. The Manhattan skyline glimmers in the background.<\/scene_description>\n    <character>DANIEL (V.O.)<\/character>\n    <dialogue>My mom's gonna be pissed when I get home. And that's fine. Because this time next year, I'll be someplace else. I don't know where, but not here. And not Yale either. Am I making a mistake? Maybe. But it's mine to make.<\/dialogue>\n    <scene_description>BEDROOM - NIGHT SPLIT SCREEN: The two share stories of their day via SKYPE.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>Over the next year, we tried hard to make it work...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KINGSTON HIGH SCHOOL - CLASSROOM - DAY<\/stage_direction>\n    <scene_description>Tasha's TEACHER hands her an exam back. It's an \"A.\" Her new JAMAICAN BESTIE sees the \"A\" and gives Tasha a smile. In her bag, her phone lights up. A missed call from Daniel.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>But time and distance are love's natural enemies.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HUNTER COLLEGE - DAY<\/stage_direction>\n    <scene_description>Daniel sprints from the building, hops on his bike and pedals furiously.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>And the days are full.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NYC RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Daniel runs in, throws on his waiter apron and gets ready for his shift. Nods to Omar who's taking a dish out into the dining room. In his bag, his phone rings. A Facetime request from Tasha that goes unanswered.<\/scene_description>\n    <character>DANIEL (V.O.)<\/character>\n    <dialogue>It's not that I wanted to let her go...I had to.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JAMAICAN TOWN - NIGHT<\/stage_direction>\n    <scene_description>Tasha and her NEW FRIENDS walk through a small town, having a good time. They're surrounded by little stores and merchants selling their wares. She laughs at a CUTE BOY'S joke.<\/scene_description>\n    <character>DANIEL (V.O.)<\/character>\n    <dialogue>It wasn't possible for her to live in two worlds simultaneously. Heart in one place, body in another.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOOKSTORE OPEN MIC - NIGHT<\/stage_direction>\n    <scene_description>Daniel, now in his early 20's, new hair cut, still sexy, stands at the mic, visibly nervous, reading his poem.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>You are the master alchemist. You light the fire of love in earth and sky in heart and soul.<\/dialogue>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>I let go of Daniel to avoid being ripped apart.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ASTROPHYSICS LAB - DAY<\/stage_direction>\n    <scene_description>Tasha, now in her early 20's, engages her CO-WORKERS in a passionate discussion at work.<\/scene_description>\n    <character>DANIEL (V.O.)<\/character>\n    <dialogue>And as more years passed, we both entered the adult world of practicalities and responsibilities...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DANIEL'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Daniel reads a rejection letter from a publishing company. He's heartbroken.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>When my mom died, I thought of him...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TASHA'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Later, still wearing her black funeral dress, Tasha looks at the norebang selfie of her and Daniel.<\/scene_description>\n    <character>NATASHA (V.O.)<\/character>\n    <dialogue>The magic of that day...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SECOND COMING RECORD STORE - DAY<\/stage_direction>\n    <scene_description>Daniel walks in.<\/scene_description>\n    <character>DANIEL (V.O.)<\/character>\n    <dialogue>...all the little coincidences it took to get us to meet and fall in love.<\/dialogue>\n    <scene_description>Daniel peruses the aisles.<\/scene_description>\n    <character>DANIEL (V.O.)<\/character>\n    <dialogue>Tasha often talked about the number of events that had to go exactly right to form our universe. She'd said falling in love couldn't compete.<\/dialogue>\n    <scene_description>Daniel picks up Lou Reed's \"Transformer,\" smiles.<\/scene_description>\n    <character>DANIEL (V.O.)<\/character>\n    <dialogue>But I've always thought she was wrong about that...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPLANE - NIGHT<\/stage_direction>\n    <scene_description>CHYRON: FIVE YEARS LATER A FEMALE FLIGHT ATTENDANT walks down the aisle checking on passengers. In the b.g., We SEE a pair of headphones atop a BIG CURLY AFRO that's been dyed PINK at the ends.<\/scene_description>\n    <character>DANIEL (V.O.)<\/character>\n    <dialogue>Maybe our Universe was just taking longer to form...<\/dialogue>\n    <scene_description>We MOVE IN. It's Natasha, sitting in the aisle seat. A LITTLE GIRL (6) colors in her book of the COSMOS next to her. The girl meticulously details an image of a STAR with a yellow crayon. We HEAR Prince's \"Purple Rain\" coming from Tasha's headphones. The Little Girl taps Natasha's shoulder.<\/scene_description>\n    <character>LITTLE GIRL<\/character>\n    <dialogue>What are you listening to?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Just something I like to play when I travel. Do you want to hear it?<\/dialogue>\n    <scene_description>The girl NODS. Tasha puts the headphones over her ears. Natasha HUMS along to the music. A YOUNG MAN seated in front of them turns around. He peers back at them, his face obscured by the seat. After a verse and a chorus or so, the Little Girl gives the headphones back to Tasha.<\/scene_description>\n    <character>LITTLE GIRL<\/character>\n    <dialogue>It's nice, but I prefer Beyonce.<\/dialogue>\n    <character>NATASHA<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>It reminds me of someone.<\/dialogue>\n    <scene_description>The CUTEST SMILE you've ever seen from the Little Girl.<\/scene_description>\n    <character>LITTLE GIRL<\/character>\n    <dialogue>Is it a boy?<\/dialogue>\n    <character>NATASHA<\/character>\n    <dialogue>Maybe...<\/dialogue>\n    <character>LITTLE GIRL<\/character>\n    <dialogue>Do you love him?<\/dialogue>\n    <character>YOUNG MAN (O.S.)<\/character>\n    <dialogue>Of course she does...<\/dialogue>\n    <scene_description>Tasha looks up. REVEAL Daniel Bae standing there, five years older, staring her right in the face.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Daniel?<\/dialogue>\n    <scene_description>Natasha smiles WIDE. Daniel smiles back.<\/scene_description>\n    <character>NATASHA<\/character>\n    <dialogue>Daniel.<\/dialogue>\n    <scene_description>Their eyes meet as both Tasha and Daniel keep beaming. Neither believing what they're seeing is real. But it is. Despite the odds, this was meant to be. It was in the stars. FADE OUT.:<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Illegal immigrant Natasha Kingsley lives in NYC with her parents and brother. The day before their deportation to Jamaica, she tearfully pleads their case in the immigration office. She is redirected to Jeremy Martinez, who does pro bono work for such cases. Korean teenager Daniel Bae is preparing for an interview for Dartmouth College. His parents expect him to become a doctor, while his brother, Charles, is dismissive and rude. Daniel and his friend Omar get on the same delayed subway car as Natasha. The conductor reassures the passengers and tells them about his friend who would have died in the 9\/11 attacks had he not missed a train that day. When Daniel and Omar get off at Grand Central Station, Daniel notices Natasha wearing a jacket that reads \u201cDeus ex machina,\u201d a phrase he had written in his notebook earlier, and decides to follow her. When Daniel sees a car crash into a cyclist, he saves Natasha from being hit. Shaken, they sit down and talk. She asks Daniel about his notebook, which he says is filled with poetry. Natasha dismisses love poems, as she doesn\u2019t believe in it. Daniel proposes he can make her fall in love with him in one day, then suddenly a call moves his interview ahead one day. Suddenly free, Daniel tells Natasha about a love experiment in which couples ask each other a series of intimate questions, then stare into each other\u2019s eyes in silence for four minutes. They agree to answer several questions from the study. Daniel escorts Natasha to Jeremy\u2019s office, in the same building where Daniel will have his interview. She is told by his assistant that he got hit by a car while biking (the same car that almost hit Natasha) and is in the hospital, so their meeting is pushed to 4:30. Natasha continues to hang out with Daniel. Stopping by Daniel\u2019s parents' black haircare shop, he's embarrassed by both his brother Charles and his father. They go to a planetarium and a Korean karaoke bar, where Daniel sings \u201cCrimson and Clover\u201d to her. Natasha imagines their life together, and they share their first kiss. Suddenly remembering her appointment with Jeremy, she rushes out, upset. Daniel chases after her, so she reveals their deportation. She meets with Jeremy, who offers to set up a new trial for their case for the next day. Daniel goes back to his parents\u2019 shop, getting into a fight with Charles. Shortly afterwards, Natasha enters and asks for Daniel\u2019s number. Seeing that she really likes him, Charles gives it to her. Natasha and Daniel reunite, take the cable car to Roosevelt Island, and spend the night outside together. The next morning, Daniel interviews for Dartmouth with Jeremy in his office. Natasha barges in for her case's verdict, and they realize his interviewer is her lawyer. She is told her case was rejected, and her whole family must leave the country that day, so she angrily leaves. Daniel cuts the interview short to go after her. He walks her home and meets her family before they head to the airport. There, Daniel and Natasha complete the last part of the experiment, staring deeply into each other's eyes for four minutes. As they are gazing, Natasha is shown returning to Jamaica and going to school, while Daniel attends Hunter College instead and works in a restaurant. When the time is up, Natasha tells Daniel she loves him. He tearfully says his experiment worked. Five years later, Natasha has returned to NYC on her way to San Francisco for grad school. She meets Jeremy in the same coffee shop where she'd been with Daniel. She learns Jeremy had married the doctor who treated him for his bicycle crash on the day they met. Natasha asks him about Daniel, but he hasn\u2019t seen him again. Jeremy leaves and Natasha prepares to go when she hears Daniel\u2019s voice, about to read a poem. She spins to see him, and he asks to spend time with her. Natasha tells Daniel she has only an hour, and they kiss."}
{"movie_name":"Inherent Vice_2014","imdb_id":"tt1791528","script":"<script>\n  <scene>\n    <character>INHERENT VICE<\/character>\n    <dialogue>screenplay by<\/dialogue>\n    <scene_description>Paul Thomas Anderson based on the novel by Thomas Pynchon This script is the confidential and proprietary property of Warner Bros. Pictures and no portion of it may be performed, distributed, reproduced, used, quoted or published without prior written permission.<\/scene_description>\n    <character>FINAL SHOOTING SCRIPT<\/character>\n    <dialogue>August 7, 2013<\/dialogue>\n    <scene_description>WARNER BROS. PICTURES INC. \u00a9 2013 4000 Warner Boulevard WARNER BROS. ENT. Burbank, California 91522 All Rights Reserved OVER BLACK A sweet, young woman's voice narrates.<\/scene_description>\n    <character>SORTILEGE (V.O.)<\/character>\n    <dialogue>She came along the alley and up the back stairs the way she always used to. Doc hadn't seen her for over a year. Nobody had. Back then it was always sandals, bottom half of a flower print bikini, faded Country Joe &amp; the Fish T- shirt. Tonight, she was all in flatland gear, hair a lot shorter than he remembered, looking just like she swore she'd never look...<\/dialogue>\n    <scene_description>FADE IN:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOC'S APARTMENT (GORDITA BEACH) - DUSK (1970)<\/stage_direction>\n    <scene_description>DOC SPORTELLO sits half awake on his couch. He looks up, notices someone standing at his door: SHASTA FAY HEPWORTH (20s).<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Is that you, Shasta?<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>Think you're hallucinating...?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>No... just the new package, I guess...<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>... I need your help, Doc.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Come in. (... you know I have an office now and everything? Just like a day job.)<\/dialogue>\n    <scene_description>She walks in, Doc gets a slow rising BONER in his pants... casually tries to cover it up.<\/scene_description>\n    <character>SHASTA<\/character>\n    <dialogue>I looked in the phone book and almost went over there, but then I thought better for everyone if this looked like a secret rendezvous.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Somebody keeping a close eye?<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>... I just spent an hour on surface streets trying to make it look good.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>How about a beer?<\/dialogue>\n    <scene_description>Doc moves to the fridge, Shasta looks around, they sit down at the kitchen table:<\/scene_description>\n    <character>SHASTA<\/character>\n    <dialogue>So there's this guy...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Gentlemen of the straightworld persuasion?<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>Okay, Doc. He's married.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>And the wife -- she knows about you?<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>But she's seeing somebody, too. Only it's not just the usual -- I think they're working on some creepy little scheme.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>To make off with the hubby's fortune? I think I've heard this one once or twice...<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>They want me in on it... they think I'm the one who can reach him when he's vulnerable, or as much as he ever gets.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Bare-ass and asleep?<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>I knew you'd understand.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Are you still trying to figure out if it's right or wrong?<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>Worse than that. How much loyalty I owe him.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I hope you're not asking me. Beyond the usual boilerplate, people owe anybody they're fucking steady...?<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>Dear Abby said the same thing.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Emotions aside, let's look at the money. How much of the rent's he been picking up?<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>All of it.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Pretty hefty?<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>For Hancock Park.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You're giving him IOUs for everything, of course...<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>You fucker, if I'd known you were still this bitter I wouldn't have come --<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Me? I'm just trying to be professional. How much are the wifey and boyfriend offering to cut you in for...?<\/dialogue>\n    <scene_description>BEAT...<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>So, this... this isn't just a couple of X-rated Polaroids, then. Dope planted in the glove compartment, nothin' like that.<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>It isn't what you're thinking, Doc.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Don't worry, thinking comes later, what else?<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>I'm not sure, but it sounds like they want to commit him to some kind of loony bin.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You mean legally? Or a snatch of some kind?<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>Nobody's telling me, Doc, I'm just the bait...<\/dialogue>\n    <scene_description>CLOSEUP - SHASTA'S FACE Looking at Doc. ANOTHER ANGLE He looks at her. Can't read her face.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Are you still taking those acting classes?<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>Thing is: I heard you're seeing somebody downtown.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Oh, you mean Penny. Seeing? Well. Nice flatland chick out in search of hippie love thrills, basically.<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>Also some kind of junior D.A.?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You think somebody there could stop this before it happens?<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>There's not too many places I could go with this, Doc.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Okay, I'll talk to Penny, see what we can see. So your happy couple. Do they have a names?<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>It's Mickey Wolfmann.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Mickey Wolfmann who's always in the paper? The real estate big shot?<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>You can't tell anybody about this, Doc.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I won't. Deaf and dumb. That's part of my job. You have any phone numbers you wanna share?<\/dialogue>\n    <scene_description>She gets a pencil, writes a number down, he watches her...<\/scene_description>\n    <character>SHASTA<\/character>\n    <dialogue>Try to never use it.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>How do I reach you?<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>You don't. I moved out of my old place. Staying where I can anymore...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You could stay here...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOC'S - STREET - EVENING<\/stage_direction>\n    <scene_description>He walks her down to her car, '59 CADILLAC EL DORADO BIARITZZ --<\/scene_description>\n    <character>SHASTA<\/character>\n    <dialogue>Don't come any further, somebody might be watching by now.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Well, call me or something...<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>You never did let me down, Doc.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Don't worry, I'll...<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>No, I mean really ever.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Oh, sure I did.<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>No... you were always true...<\/dialogue>\n    <scene_description>She backs away, gets in the CADILLAC and drives off into the night. MUSIC STARTS. He watches her go... HOLD WITH DOC. DENIS (rhymes with penis) walks up, says hi, they walk up towards town, away from the beach...<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Hey, Denis, you hungry?<\/dialogue>\n    <character>DENIS<\/character>\n    <dialogue>Like Godzilla sez to Mothra, man, 'let's go eat someplace.'<\/dialogue>\n    <character>SORTILEGE (V.O.)<\/character>\n    <dialogue>When Doc came in that night, it wasn't just the usual hungry-doper thing -- it was something else -- and with Neptune moving at last out of the Scorpio death-trip and rising into the Sagitarrian light of the higher mind -- it was bound to be something love-related and I thought I knew what it was...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PIPELINE PIZZA - NIGHT<\/stage_direction>\n    <scene_description>DOC and DENIS and a bunch of locals, eating pizza. Sitting here are some SURFERS, a friend named ENSENADA SLIM and a lovely young girl, our narrator: SORTILEGE (20s); she speaks in the flesh...<\/scene_description>\n    <character>SORTILEGE<\/character>\n    <dialogue>Was that Shasta's car I saw down the drive?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>She stuck her head in for a couple minutes...<\/dialogue>\n    <character>SORTILEGE<\/character>\n    <dialogue>Are you broken up?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Kind of weird seeing her again. Figured next time I did it'd be on the tube not in person...<\/dialogue>\n    <scene_description>SORTILEGE looks at DOC with sweetness, then at HIS HAIR:<\/scene_description>\n    <character>SORTILEGE<\/character>\n    <dialogue>Better do something about that.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Again?<\/dialogue>\n    <character>SORTILEGE<\/character>\n    <dialogue>I can't say it enough -- change your hair, change your life.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>What do you recommend?<\/dialogue>\n    <character>SORTILEGE<\/character>\n    <dialogue>That's up to you. Follow your intuition.<\/dialogue>\n    <parenthetical>(ETC. -- Pizza talk here.)<\/parenthetical>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOC'S APARTMENT<\/stage_direction>\n    <scene_description>He sits on his couch. THE MUSIC PLAYS. He's on the phone, it's ringing to no answer. His hair is rolled into plantation-style knots. He's rolling a joint.<\/scene_description>\n    <character>SORTILEGE (V.O.)<\/character>\n    <dialogue>There was an ancient superstition at the beach, something like the surfer belief that burning your board will bring awesome waves, and it went like this: Take a Zig- Zag paper and write your dearest wish, and then use it to roll a joint of the best dope you can find and smoke it all up, and your wish would be granted. Doc's wish was simple... (just that Shasta Fay be safe...)<\/dialogue>\n    <scene_description>He writes on the rolling papers a small note in pencil: \"To Shasta's Safety. With Love, Doc.\" Smokes it and calls his AUNT REET (50s) who lives down the street -- INTERCUT WITH:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUNT REET'S HOUSE<\/stage_direction>\n    <scene_description>She's applying ten tons of various makeups, spraying some on, applying with ten gallon brushes and dipping her face into other paints.<\/scene_description>\n    <character>AUNT REET<\/character>\n    <dialogue>Make it quick, Larry, I've got a live one tonight and a quarter ton of makeup to put on yet --<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Okay. Mickey Wolfmann, what can you tell me?<\/dialogue>\n    <character>AUNT REET<\/character>\n    <dialogue>Powerhouse in L.A. real estate from the desert to the sea -- Technically Jewish but wants to be a Nazi -- what's he to you?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Shasta... she came around... told me about a possible plot to snatch up Wolfmann by his wife and her boyfriend.<\/dialogue>\n    <character>AUNT REET<\/character>\n    <dialogue>And what is Shasta's role in all this?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Like how passionately does she feel about her flame Mickey? I didn't ask. 'I love him' is probably the answer, what else?<\/dialogue>\n    <character>AUNT REET<\/character>\n    <dialogue>Is she paying you?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Mmm...<\/dialogue>\n    <character>AUNT REET<\/character>\n    <dialogue>Pause. Silence. Big surprise. Listen, if Shasta can't pay you, maybe that means Mickey dumped her and she's blaming the wife and wants revenge.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Possible. But say I just wanted to hang out and rap with this Wolfmann?<\/dialogue>\n    <character>AUNT REET<\/character>\n    <dialogue>I wouldn't recommend your usual approach, he goes around with a dozen bikers, mostly Aryan Brotherhood alumni -- all court certified bad-asses.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Wait, wait, wait, I flunked social studies: Jews and Aryan Brotherhood. Isn't there something about hatred?<\/dialogue>\n    <character>AUNT REET<\/character>\n    <dialogue>Mickey's eccentric. More and more lately. I would say stoned out of his fuckin' mind, since he discovered drugs, no offense to you, Doc.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>So where would I find him accidentally?<\/dialogue>\n    <character>AUNT REET<\/character>\n    <dialogue>I promised my little sister that I'd never put her baby in the way of danger.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I'm cool with the Brotherhood, Aunt Reet, I know their secret handshake and everything.<\/dialogue>\n    <character>AUNT REET<\/character>\n    <dialogue>It's your ass -- try the Channel View Estates, his latest insult to the environment.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Channel View Estates. The one Bigfoot Bjornsen does the commercials for?<\/dialogue>\n    <character>AUNT REET<\/character>\n    <dialogue>That's the one. Maybe your old cop buddy's the one who should be taking care of your case.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I did think of going to Bigfoot but just as I reached for the phone, history and all, I thought, 'naaahhhhh.'<\/dialogue>\n    <character>AUNT REET<\/character>\n    <dialogue>Maybe you're better off with the Nazis. Call your mother once in a while so she knows you're alive...<\/dialogue>\n    <scene_description>Doc gets up and walks to the TV, switches the channel, finds: 5A INSERT - ON TELEVISION 5A The commercial for \"Channel View Estates\" comes on after a bad horror movie: It has LT. BIGFOOT BJORNSEN dressed as a \"hippie.\" He's wearing an ankle-length velvet cape in paisley, love beads, shades with peace symbols and an Afro wig. He's like Cal Worthington, except for live animals, he has a pack of SCREAMING KIDS that do cannonballs in the pool of a MODEL HOME that Bigfoot's showing off and listing details and financing options, etc... Bigfoot turns to the CAMERA:<\/scene_description>\n    <character>BIGFOOT (V.O.)<\/character>\n    <dialogue>Those li'l kids, wow, they're really something, huh!<\/dialogue>\n    <character>BACK TO SCENE<\/character>\n    <dialogue>Doc looks confused. Bigfoot, ON SCREEN seems to be looking STRAIGHT AT DOC... and DOC looks back... HOLD THEIR LOOK AT EACH OTHER.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>So what's all this now... Fucking Bigfoot. Well, wouldn't you know. Why does the LAPD need SAG cards?<\/dialogue>\n    <character>AUNT REET<\/character>\n    <dialogue>I have major liquid liner issues to deal with here, Larry -- I'm getting off now --<\/dialogue>\n    <scene_description>She hangs up. DOC doesn't notice and keeps talking. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LSD INVESTIGATIONS - DOC'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Doc comes into the office, greets PETUNIA...<\/scene_description>\n    <character>PETUNIA<\/character>\n    <dialogue>Morning, Doc. What's on your head?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Howdy, Petunia. Still married to what's his name?<\/dialogue>\n    <character>PETUNIA<\/character>\n    <dialogue>Oh, Doc. You've got somebody waiting for you...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOC'S OFFICE - THAT MOMENT<\/stage_direction>\n    <scene_description>A large, imposing black man: TARIQ KHALIL (30s, Black Panther style) is waiting for him:<\/scene_description>\n    <character>TARIQ<\/character>\n    <dialogue>Doctor Sportello?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>That's right...<\/dialogue>\n    <character>TARIQ<\/character>\n    <dialogue>Tariq Kahlil.<\/dialogue>\n    <scene_description>Doc collects himself, note pad, etc...<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Okay -- so how can I help you?<\/dialogue>\n    <character>TARIQ<\/character>\n    <dialogue>There's this white guy I was in the joint with. Aryan Brotherhood. We did some business, now we're both out. And he still owes me.<\/dialogue>\n    <character>TARIQ<\/character>\n    <dialogue>It's a lot of money. I can't give you details. I swore an oath I wouldn't tell.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>How about just his name?<\/dialogue>\n    <character>TARIQ<\/character>\n    <dialogue>Glen Charlock.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You know where he's staying now?<\/dialogue>\n    <character>TARIQ<\/character>\n    <dialogue>Only who he works for. He's a bodyguard for a builder named Wolfmann.<\/dialogue>\n    <scene_description>MOMENT. Doc writes: paranoia alert.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>If you don't mind my asking, Mr. Kahlil, how did you hear about me?<\/dialogue>\n    <character>TARIQ<\/character>\n    <dialogue>Sledge Poteet.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Wow. Blast from the past.<\/dialogue>\n    <character>TARIQ<\/character>\n    <dialogue>Said you helped him out of a situation back in '67.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>First time I ever got shot at. You guys know each other from the place?<\/dialogue>\n    <character>TARIQ<\/character>\n    <dialogue>That's right -- they were teachin' us both how to cook.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I remember him when he couldn't boil water. So if you don't mind an obvious question: You know where this Glen Charlock works now, why not just go over there, look him up directly?<\/dialogue>\n    <character>TARIQ<\/character>\n    <dialogue>Because Wolfmann is surrounded day and night with the Aryan Brotherhood Army and outside of Glen, I've never enjoyed the company of Nazis.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>So send some white guy in to get his head hammered.<\/dialogue>\n    <character>TARIQ<\/character>\n    <dialogue>More or less.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>When you were inside, were you in a gang?<\/dialogue>\n    <character>TARIQ<\/character>\n    <dialogue>Black Guerrilla Family.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>And you say you did business with the who now, the Aryan Brotherhood? Can you explain that to me...<\/dialogue>\n    <character>TARIQ<\/character>\n    <dialogue>We found we shared many of the same opinions about the U.S. government.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Alright, that racial harmony. I can dig it. There something else?<\/dialogue>\n    <character>TARIQ<\/character>\n    <dialogue>My old street gang. Artesia Crips. When I got out of Chino I went looking for some of them and found it ain't just them gone, but the whole turf itself.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>What do you mean 'gone'?<\/dialogue>\n    <character>TARIQ<\/character>\n    <dialogue>Not there. Grind up in little pieces. Seagulls all pickin' at it. Figure I must be trippin', drive around for a while, come back, everything's still gone.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Uh-huh.<\/dialogue>\n    <character>TARIQ<\/character>\n    <dialogue>Nobody and nothing. A ghost town except for this big sign, 'Coming Soon On This Site.' Guess who the builder is...?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Wolfmann again.<\/dialogue>\n    <character>TARIQ<\/character>\n    <dialogue>That's it.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Can you show me on the map?<\/dialogue>\n    <scene_description>They look at map.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>So you're, like, what again, Japanese?<\/dialogue>\n    <character>TARIQ<\/character>\n    <dialogue>How long you been doin' this?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Looks closer to Gardena than Compton is all I'm sayin'.<\/dialogue>\n    <character>TARIQ<\/character>\n    <dialogue>WW Two. Before the war, a lot of South Central was still a Japanese neighborhood. Those people got sent to camps, we come on in to be the new Japs.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>And now it's your turn to get moved along.<\/dialogue>\n    <character>TARIQ<\/character>\n    <dialogue>More white man's revenge. Freeway up by the airport wasn't enough.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Revenge for...?<\/dialogue>\n    <character>TARIQ<\/character>\n    <dialogue>Watts.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>The riots?<\/dialogue>\n    <character>TARIQ<\/character>\n    <dialogue>Some of us say, 'insurrection.' The Man, he just waits for his moment...<\/dialogue>\n    <scene_description>BEAT.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>If I can get ahold of your prison buddy, this Glen Charlock, will he honor his debt to you?<\/dialogue>\n    <character>TARIQ<\/character>\n    <dialogue>I can't tell you what it is. I swore an oath...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>No need.<\/dialogue>\n    <character>TARIQ<\/character>\n    <dialogue>And I can't give you nothin' up front.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Groovy with that.<\/dialogue>\n    <character>TARIQ<\/character>\n    <dialogue>Sledge was right: You are one crazy white motherfucker.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>How can you tell?<\/dialogue>\n    <character>TARIQ<\/character>\n    <dialogue>I counted.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Lemme look around -- I'll see what I see. Alright?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A8 INT. DOC'S CAR A8<\/stage_direction>\n    <character>DRIVING TO CHANNEL VIEW ESTATES.<\/character>\n    <dialogue>SORTILEGE (V.O.)<\/dialogue>\n    <scene_description>Long, sad history of L.A. land use -- Mexican families bounced out of Chavez Ravine to build Dodger Stadium, American Indians swept out of Bunker Hill for the Music Center and now Tariq's neighborhood bulldozed aside for Channel View Estates... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHANNEL VIEW ESTATES - DAY<\/stage_direction>\n    <scene_description>DOC drives down the street, past a bunch of BLACK PEDESTRIANS walking around, looking for their homes... it's like driving through lost cattle -- DOC pulls his DODGE DART into this UNDER CONSTRUCTION DEVELOPMENT. STREETS AREN'T PAVED, BUT THERE ARE STREET SIGNS, VARIOUS SUPPOSED TO BE SMALL SPANISH TYPE HOMES BEING BUILT... It's quiet. There's a MAKESHIFT MINI MALL erected for the construction crews. There's a BEER BAR, LIQUOR STORE, SANDWICH PLACE and a MASSAGE PARLOR called CHICK PLANET with a row of Harleys precision parked in a row out front. Doc parks and musters some courage, passes over the Harleys -- bathes himself in a white glow -- and enters the massage parlor...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHICK PLANET MASSAGE PARLOR - DAY<\/stage_direction>\n    <scene_description>Doc steps in... it's quiet and very dark. A sexy young Asian girl in a bikini: JADE (20s).<\/scene_description>\n    <character>JADE<\/character>\n    <dialogue>Hi, I'm Jade? Please take note of today's Pussy Eater's Special which is good all day till closing time?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Mmmm... how much is it?<\/dialogue>\n    <character>JADE<\/character>\n    <dialogue>$14.95.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Errr, not that $14.95 ain't a totally groovy price, but I'm really trying to locate this guy who works for Mr. Wolfmann?<\/dialogue>\n    <character>JADE<\/character>\n    <dialogue>Does he eat pussy?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Fella named Glen Charlock?<\/dialogue>\n    <character>JADE<\/character>\n    <dialogue>Oh, sure. Glen comes in here. He eats pussy. You got a cigarette for me?<\/dialogue>\n    <scene_description>He taps her out a smoke.<\/scene_description>\n    <character>JADE<\/character>\n    <dialogue>Ohhhh. Lock up style. Not much eating pussy in there, huh?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Glen and I were both in Chino around the same time... have you seen him today?<\/dialogue>\n    <character>JADE<\/character>\n    <dialogue>If you're a cop, you're entitled to a free preview of our Pussy Eater's Special.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>How about a licensed P.I.?<\/dialogue>\n    <character>JADE<\/character>\n    <dialogue>Hey, Bambi?<\/dialogue>\n    <scene_description>BAMBI comes out, wearing day-glo bikini. Jade reaches into Bambi's bikini bottom and before you know it -- They disappear below the reception desk. Doc watches... in a flash reflected behind him we see a BALD HEAD, SWASTIKA TATTOO AND THEN SOMETHING COMES DOWN ON DOC'S HEAD -- AND HE'S OUT. CUT TO BLACK.:<\/scene_description>\n    <character>OVER BLACK<\/character>\n    <dialogue>WE HEAR THE SOUNDS OF THE MOTORCYCLES FIRING UP AND<\/dialogue>\n    <scene_description>ANGLE - LATER Doc comes to... lump on his head... he steps outside, opens the door, CAMERA FOLLOWS HIM OUT TO REVEAL: CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHANNEL VIEW ESTATES - DAY<\/stage_direction>\n    <character>LAPD, DETECTIVES AND CORONER ARE ON SITE AT WHAT IS NOW A<\/character>\n    <dialogue>CRIME SCENE. A line of POLICE CARS AIM AT DOC led by DETECTIVE LT. CHRISTIAN F. \"BIGFOOT\" BJORNSEN, eating a chocolate-covered frozen banana and hollering through a bullhorn... Doc steps out, guns aim at him... A DEAD BODY ON THE GROUND BETWEEN HIM AND THE LAPD...<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Congratulations, hippie scum. And welcome to a world of inconvenience... Yes, this time it appears you have finally managed to stumble into something too real and deep to hallucinate your worthless hippie ass of -- without wishing to seem impatient -- anytime you'd like to join us, we'd so like to chat...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Bigfoot, what happened...! I remember massage parlor -- Asian chick named Jade and Anglo friend Bambi --<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Wishful figments of a brain pickled in cannabis fumes, no doubt.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Whatever it is, I didn't do it.<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>ANGLE - LATER Doc is in cuffs, sitting on the ground. THERE'S A CORPSE COVERED ON A GURNEY that is taken past. It is a bloody mess, body parts are falling out onto the ground -- Doc is getting sick at the sight of it.<\/scene_description>\n    <character>BIGFOOT<\/character>\n    <dialogue>I can almost pity your civilian distress. Though if you were more of a man and less of a ball-less hippie draft dodger, who knows, you might have seen enough over in the 'Nam to share even my own sense of professional ennui at the sight of one more stiff.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Who is it?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Was, Sportello. Here on Earth we say, 'was.' Meet Glen Charlock. Whom you were asking for by name only hours ago, witnesses will swear to that. Furthermore, on the face of it, you've chosen to ice a personal bodyguard of the rather well-connected Mickey Wolfmann. Name rings bell? Or in your case shakes tambourine? Ah, but here's our ride --<\/dialogue>\n    <character>A POLICE CRUISER COMES TO A SLIDING STOP NEXT TO DOC AND<\/character>\n    <dialogue>BIGFOOT.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Where's my ride?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Like it's owner, on its way to impoundment.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PARKER CENTER - DAY<\/stage_direction>\n    <scene_description>Doc in custody sitting across from Bigfoot.<\/scene_description>\n    <character>BIGFOOT<\/character>\n    <dialogue>So when you and Glen had your fatal encounter, when would you say that was in the series of events?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I told you the first time I ever saw him, he was dead.<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>His associates, then. How many of them were you already acquainted with?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Not normally guys I'd hang out with, Bigfoot, totally wrong drug profile.<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Potheads, you're so exclusive. Would you say you took offense at Glen's preference for barbiturates and amphetamines?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Yes. I was planning to report him to the Dope Fiend Standards and Ethics Committee next week...<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Now your ex-girlfriend Shasta Fay Hepworth is a known intimate of Glen's employer, Mickey Wolfmann. Do you think Glen and Shasta were --<\/dialogue>\n    <scene_description>Bigfoot slides his fingers around, makes a \"fucking\" sign.<\/scene_description>\n    <character>BIGFOOT<\/character>\n    <dialogue>How does it make you feel? Here you are still carrying the torch and there she is in the company of all those Nazi lowlifes?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Keep doing that, Bigfoot, you're givin' me a hard-on...<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Tough little wop monkey as my man Fatso Judson always sez.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Case you forget, Lieutenant, you and me are almost in the same business, except I don't get that free pass to shoot people all the time and so forth. But if I was in your seat, I guess I'd be acting the same way, maybe start in next with remarks about my mother.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Or I guess your mother, because you'd be me... Have I got that right?<\/dialogue>\n    <scene_description>Bigfoot pretends to read notes:<\/scene_description>\n    <character>BIGFOOT<\/character>\n    <dialogue>While suspect -- that's you -- is having alleged midday nap, so necessary to the hippie lifestyle, some sort of incident occurs in the vicinity of Channel View Estates. Firearms are discharged. When the dust settles, we find one Glen Charlock deceased. More compellingly for LAPD, the man Charlock was supposed to be guarding, Michael Z. Wolfmann, has vanished, giving local law enforcement less than 24 hours before the feds call it a kidnapping and come in to fuck everything up. Perhaps, Sportello, you could help forestall this by providing the names of the other members of your cult?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Cult.<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>No one would ever be stupid enough to attempt this alone, which suggests some kind of Mansanoid conspiracy, wouldn't you agree? I've been referred to more than once by the L.A. Times as a Renaissance detective, which means that I am many things-- and one thing I am not is stupid -- and purely out of noblesse oblige I extend this assumotion to cover you as well...<\/dialogue>\n    <scene_description>Enter DOC'S LAWYER, SAUNCHO SMILAX (30s).<\/scene_description>\n    <character>SAUNCHO<\/character>\n    <dialogue>Lieutenant! You know that you don't have any case here, so if you're going to charge him, you better, otherwise --<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Sauncho, remember who this is you're talking to, it's Bigfoot Bjornsen, renaissance cop.<\/dialogue>\n    <character>SAUNCHO<\/character>\n    <dialogue>Charge him or let him go, you have no case...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Bigfoot, don't mind him, he watches too many courtroom dramas.<\/dialogue>\n    <scene_description>BEAT. They all look at each other...<\/scene_description>\n    <character>SAUNCHO<\/character>\n    <dialogue>What's the beef here exactly?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>It doesn't have much to do with your speciality, which I understand is marine law.<\/dialogue>\n    <character>SAUNCHO<\/character>\n    <dialogue>There's plenty of crime on the high seas.<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>So far we have murder and kidnapping, we can work in pirates if that would make you more comfortable -- either way it's high profile.<\/dialogue>\n    <character>SAUNCHO<\/character>\n    <dialogue>Yes, but given your history with my client -- you know this is harassment, there's no case, this'll never make it to trial.<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>We probably could take this all the way to trial -- but with our luck the jury pool will be 99 percent hippie --<\/dialogue>\n    <character>SAUNCHO<\/character>\n    <dialogue>Sure, unless you got the venue changed to maybe, like, Orange County -- not as many hippies down there --<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Sauncho, who are you working for?<\/dialogue>\n    <character>SAUNCHO<\/character>\n    <dialogue>Clients pay for work.<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>I've decided I'm going to kick Mr. Sportello.<\/dialogue>\n    <character>SAUNCHO<\/character>\n    <dialogue>You're gonna kick him? That's assault!<\/dialogue>\n    <character>DOC<\/character>\n    <parenthetical>(I think it's police slang Sauncho. It means cut me loose.)<\/parenthetical>\n    <character>BIGFOOT<\/character>\n    <dialogue>I'll release the suspect at the impound garage...<\/dialogue>\n    <character>SAUNCHO<\/character>\n    <dialogue>... promise?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Promise. And I'll even give him a ride myself.<\/dialogue>\n    <character>SAUNCHO<\/character>\n    <dialogue>Alright, I'm glad we got this worked out then -- remember, Doc: This was like 15 billable minutes.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BIGFOOT'S EL CAMINO (MOVING)<\/stage_direction>\n    <scene_description>Driving in silence. Bigfoot suddenly makes a sharp U- turn --<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Where we going?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>To a nice, secluded spot that has 'shot while trying to escape' written all over it.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HILLS ABOVE VALLEY - DAY<\/stage_direction>\n    <scene_description>Bigfoot walks Doc deep into the mountainside. Finally sits him down, stands over him...<\/scene_description>\n    <character>BIGFOOT<\/character>\n    <dialogue>Are you aware of the dictum that dope will get you through times of no money better than vice versa... You'd be surprised how many in your own hippie freak community have found our Special Employee Disbursements useful.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>... what do you mean? You mean like 'Mod Squad'? Rat on everybody I ever met?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Right now there's fistfuls of greenbacks flowing at anything that even looks like local law enforcement.<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Federal funding as far as the eye can see... or we could certainly offer you compensation in a more inhalable form... Acapulco Gold. Panama Red. Michoacan Icepack. Our downtown evidence rooms got filled up long ago, Doc. Numberless kilos of righteous weed just for you. Just for trivial information we already have anyway. And what you don't smoke, improbable as that seems, you could always sell.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Are you married, Bigfoot?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Sorry, you're not my type. What does this look like? Or don't they have them on planet hippie?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You have kids?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>I hope this isn't some kind of veiled doper threat.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>It's just strange that here we both are with this mysterious power to ruin each other's day and we don't even know anything about each other.<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Aimless doper's drivel and yet you've just defined the very essence of law enforcement. So how about my offer?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Yours is the last wallet I'd want money out of, Bigfoot...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOC'S PLACE - LATER<\/stage_direction>\n    <scene_description>Doc's been released. He's watching BIGFOOT on TV from the newscast at CHANNEL VIEW ESTATES. DOC half watches, smokes the end of a joint and rolls another. The PHONE RINGS:<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>TARIQ (V.O.)<\/character>\n    <dialogue>I didn't do it.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Nobody said you did... Who is this?<\/dialogue>\n    <character>TARIQ (V.O.)<\/character>\n    <dialogue>If Glen was a target, then I am, too. Better not be in contact, man. This is not some bunch of fools like the LAPD. And if you don't mind a piece of free advice - - forget it all.<\/dialogue>\n    <scene_description>Dial tone... CLOSEUP - JOINT It's done. He's smoked it all. He lies on the couch. ANOTHER ANGLE THE PHONE RINGS AGAIN: It's Bigfoot.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>BIGFOOT (V.O.)<\/character>\n    <dialogue>So we sent some Police Academy hotshot over to the last known address of Shasta Fay Hepworth, just a routine visit and guess what?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Fuck, no, not this.<\/dialogue>\n    <character>BIGFOOT (V.O.)<\/character>\n    <dialogue>Relax -- don't be so sensitive -- all we know at this point is that she's disappeared now, too, just like her boyfriend Mickey... do you think there could be a connection? Maybe they ran off together?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Bigfoot, can we at least try and be professional about all this from now on.<\/dialogue>\n    <character>BIGFOOT (V.O.)<\/character>\n    <dialogue>I am being professional. There's certain things I can't tell you because you aren't on payroll.<\/dialogue>\n    <character>BIGFOOT (V.O.)<\/character>\n    <dialogue>If anything occurs to you about where they went -- don't forget to share that with me, will you?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>What's the last address you have?<\/dialogue>\n    <scene_description>Bigfoot has already hung up. The phone rings again.<\/scene_description>\n    <character>DOC<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <character>HOPE HARLINGEN (V.O.)<\/character>\n    <dialogue>Mr. Sportello?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>HOPE HARLINGEN (V.O.)<\/character>\n    <dialogue>I got your number at the head shop in Gordita Beach. It's about my husband. He used to be a close friend of your friend -- Shasta Fay Hepworth?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>And you're?<\/dialogue>\n    <character>HOPE HARLINGEN (V.O.)<\/character>\n    <dialogue>Hope Harlingen.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Okay. And he's...?<\/dialogue>\n    <character>HOPE HARLINGEN (V.O.)<\/character>\n    <dialogue>Dead.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A17 INT. DOC'S CAR A17<\/stage_direction>\n    <scene_description>Driving to Hope's house. CLEAN OF SORTILEGE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TORRANCE - SMALL HOUSE<\/stage_direction>\n    <scene_description>Inside this nice, little house, DOC sits at the breakfast table with a sweet faced young woman: HOPE HARLINGEN (20s). (NOTE: Still need a ref. to her false teeth\/calcium\/heroin.)<\/scene_description>\n    <character>HOPE HARLINGEN<\/character>\n    <dialogue>Inside the surf-sax category Coy passed for a towering figure, because he actually improvised once in a while instead of how second and third choruses get repeated note for note?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You're right. I love surf music -- but some of the worst blues work ever recorded will be showing up on karmic rap sheets of surf-sax players.<\/dialogue>\n    <character>HOPE HARLINGEN<\/character>\n    <dialogue>It was never his work I was in love with. Coy and I should have met cute but actually we met squalid, down at Oscar's in San Ysidro --<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Oh, boy.<\/dialogue>\n    <character>HOPE HARLINGEN<\/character>\n    <dialogue>I had just gone running into a toilet stall without checking first, had my finger already down my throat, to throw up the balloon of dope I'd just scored in Mexico and there Coy sat, gringo digestion, about to take a giant shit. We both let go about the same time, barf and shit all over the place, me with my face in his lap and to complicate things, he had this hard-on... Next thing we knew here came Amethyst, and pretty soon this is what we had her looking like...<\/dialogue>\n    <scene_description>She hands him SOME OLD POLAROID PICTURES. AAAHHHAHAH!!:<\/scene_description>\n    <character>HOPE HARLINGEN<\/character>\n    <dialogue>Everybody we knew helpfully pointed out how heroin was coming through in my breast milk, but who could afford to buy formula? It's a long way from my job now. I'm a drug counselor -- talking kids into sensible drug use...<\/dialogue>\n    <scene_description>Doc looks very confused for a moment. (What's that?) DOC CANNOT HELP BUT STARE AT HOPE'S TEETH AND MAKE FUNNY MOUTH MOVEMENTS WATCHING HER SPEAK...<\/scene_description>\n    <character>HOPE HARLINGEN<\/character>\n    <dialogue>You're staring at my teeth?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Huh? No? (Sensible drug use) Yes.<\/dialogue>\n    <character>HOPE HARLINGEN<\/character>\n    <dialogue>Heroin sucks the calcium out of your system like a vampire, use it at any length of time and your teeth go all to hell. And that's the good part.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>So... this thing that happened to your husband?<\/dialogue>\n    <character>HOPE HARLINGEN<\/character>\n    <dialogue>Whatever he took that killed him, wasn't California smack, for sure.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Who was the dealer?<\/dialogue>\n    <character>HOPE HARLINGEN<\/character>\n    <dialogue>El Drano in Venice.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Was Coy a steady customer?<\/dialogue>\n    <character>HOPE HARLINGEN<\/character>\n    <dialogue>Known him for years -- what does a dealer care? Overdoses are good for business --<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Sudden herds of junkies showing up at the door thinking it must be some really good shit? Something like that?<\/dialogue>\n    <character>HOPE HARLINGEN<\/character>\n    <dialogue>You got it. Mr. Sportello, I don't think Coy is really dead.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Did you I.D. the body?<\/dialogue>\n    <character>HOPE HARLINGEN<\/character>\n    <dialogue>No. Whoever called me said somebody from his band did that.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>It's supposed to be next of kin.<\/dialogue>\n    <character>HOPE HARLINGEN<\/character>\n    <dialogue>And this... this deposit showed up close to his disappearance.<\/dialogue>\n    <scene_description>She brings out a BANK STATEMENT book and shows it to him, points to a CREDIT. Doc raises his eyebrows at the amount.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Interesting sum.<\/dialogue>\n    <character>HOPE HARLINGEN<\/character>\n    <dialogue>He had no insurance policies that I knew about... Why would this big deposit suddenly appear in our account and be anonymous?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Is there a picture of Coy you could spare?<\/dialogue>\n    <scene_description>She hands him a BOX FULL OF POLAROIDS. Doc looks inside. We see: COY HARLINGEN. Coy with the baby, Coy cooking heroin, Coy tying off, Coy shooting up, Coy and Hope out at the beach, sitting in a pizza joint playing tug-of-war with the last slice, sticking his dick in his saxophone.<\/scene_description>\n    <character>SORTILEGE (V.O.)<\/character>\n    <dialogue>These were perilous times, astrologically speaking, for dopers -- especially those of high school age, who'd been born most of them, under a ninety-degree aspect, the unluckiest angle possible, between Neptune, the doper's planet, and Uranus, the planet of rude surprises. Doc had known it to happen that those left behind would refuse to believe that people they loved or even took the same classes with were really dead. They came up with all kinds of alternate stories so it wouldn't have to be true.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Okay if I take this one?<\/dialogue>\n    <character>HOPE HARLINGEN<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>AT THE DOOR - MOMENTS LATER Doc's on his way out. Just one more thing...<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>How did your husband know Shasta Fay?<\/dialogue>\n    <character>HOPE HARLINGEN<\/character>\n    <dialogue>She picked us up hitchhiking... I think Coy and her somehow stayed in touch... but I don't know for sure...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOC'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Getting outfit. Making call to Sloane Wolfmann scene. For poss. over V.O. Petunia here. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A20 INT. DOC'S CAR A20<\/stage_direction>\n    <character>DRIVING TO SLOANE WOLFMANN'S.<\/character>\n    <dialogue>Doc in his disguise...<\/dialogue>\n    <character>SORTILEGE (V.O.)<\/character>\n    <dialogue>Shasta had mentioned a possible laughing academy angle to Mickey Wolfmann's matrimonial drama and Doc thought it might be interesting to see how society page superstar Mrs. Sloane Wolfmann would react when somebody brought up the topic... If Mickey was currently being held against his will in some private nuthouse, then Doc's immediate chore would be to try and find out which one...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WOLFMANN MANSION (SANTA MONICA MOUNTAINS) - DAY<\/stage_direction>\n    <scene_description>DOC rings the doorbell. He's dressed in a disguise of a DOUBLE-BREASTED SUIT, SHORT HAIR WIG, LOAFERS. The door is opened by a sexy young Chicana: LUZ (20s).<\/scene_description>\n    <character>LUZ<\/character>\n    <dialogue>Who are you supposed to be?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Good afternoon, here to see Mrs. Wolfmann.<\/dialogue>\n    <character>LUZ<\/character>\n    <dialogue>She's hanging by the pool with all the police and them... come inside.<\/dialogue>\n    <character>LUZ<\/character>\n    <dialogue>So you're the shrink that called?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>That's right.<\/dialogue>\n    <character>LUZ<\/character>\n    <dialogue>Uh-huh...<\/dialogue>\n    <scene_description>Out back, by the pool, LAPD are set up in A COMMAND POST by the pool cabana. They're also swimming in the pool, making margaritas and playing Ping Pong. SLOANE WOLFMANN (40s, British, ex-showgirl) strolls towards the house wearing a black bikini, black shawl, black high heel sandals. She steps into the main living room to greet Doc... and stops, landing in what appears to be the MOST INSANELY GORGEOUS MOVIE STAR LIGHTING IN THE HISTORY OF THE WORLD.<\/scene_description>\n    <character>SLOANE<\/character>\n    <dialogue>Do you like the lighting?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Uh-huh.<\/dialogue>\n    <character>SLOANE<\/character>\n    <dialogue>Jimmy Wong Howe did it for us years ago. LUZ! The midday refrescos now, if you wouldn't mind?<\/dialogue>\n    <scene_description>They sit down. Luz comes in and pours drinks, shows her ass to Doc while pouring...<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Your husband was planning to endow a new wing for our facility -- he actually tendered us a sum in advance. But somehow it just didn't seem right to keep the money while so little was known of his whereabouts. So, we'd like to refund you the sum, and if, and as we all pray when, Mr. Wolfmann is next heard from, why then, perhaps the process can resume.<\/dialogue>\n    <character>SLOANE<\/character>\n    <dialogue>We did recently endow another facility, in Ojai... Chryskylodon Institute.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Kriskleddone? Errrr... yesss, uhhh...<\/dialogue>\n    <character>SLOANE<\/character>\n    <dialogue>An ancient Indian word that means, 'serenity.' Are you somehow a subsidiary...?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Perhaps one of our Sister Sanatoria?<\/dialogue>\n    <scene_description>Enter RIGGS WARBLING. Big, muscular and blond, spiritual coach, wearing a tiny swim shorts.<\/scene_description>\n    <character>SLOANE<\/character>\n    <dialogue>Mr. Riggs Warbling... my spiritual coach.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>How'd you do?<\/dialogue>\n    <character>RIGGS<\/character>\n    <dialogue>Pleasureable.<\/dialogue>\n    <character>DOC<\/character>\n    <parenthetical>(to Sloane)<\/parenthetical>\n    <dialogue>Maybe you can tell us where to send this refund and what form you'd like it in?<\/dialogue>\n    <character>RIGGS<\/character>\n    <dialogue>Small bills! Non-consecutive serial numbers!<\/dialogue>\n    <character>SLOANE<\/character>\n    <dialogue>Riggs. Enough. Always making with the tasteless jokes. Perhaps if one of your company officers simply endorsed Michael's check back to one of his accounts?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Of course!<\/dialogue>\n    <character>SLOANE<\/character>\n    <dialogue>Let me just find you a deposit form...<\/dialogue>\n    <scene_description>She gets up and walks over to a desk, revealing a low cut back and exposing her back...<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>You're a spiritual advisor, Mr. Warbling?<\/dialogue>\n    <character>RIGGS<\/character>\n    <dialogue>And a contractor.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You work for Mr. Wolfmann?<\/dialogue>\n    <scene_description>RIGGS looks back to SLOANE WOLFMANN, says to Doc:<\/scene_description>\n    <character>RIGGS<\/character>\n    <dialogue>If you can call it work...<\/dialogue>\n    <scene_description>... Riggs starts doing some weightlifting nearby and some practice hump-thrusts. LUZ stands in a corner watching...<\/scene_description>\n    <character>CLOSEUP - DOC<\/character>\n    <dialogue>watching this circus...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - MOMENTS LATER<\/stage_direction>\n    <scene_description>Luz walks Doc to the front door. She makes eyes at him.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>I forgot, I, uh, I have to use the bathroom?<\/dialogue>\n    <character>LUZ<\/character>\n    <dialogue>As long as you don't steal anything.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Muchas gracias, there, Luz. I won't be a minute.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALATIAL BATHROOM - THAT MOMENT<\/stage_direction>\n    <scene_description>DOC snoops around, goes into a cavernous WALK-IN CLOSET and notices: A RACK DEDICATED TO SOME STRANGE NECKTIES. VINTAGE SILK TIES, HAND-PAINTED WITH A DIFFERENT NUDE WOMAN ON EACH. ERECT CLITS, SPREAD PUSSY LIPS, EACH WOMAN IN A DIFFERENT POSE. HE COMES ACROSS ONE OF SLOANE. SUDDENLY, THERE'S A HAND AROUND HIS BACK.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>HOLY SHIT.<\/dialogue>\n    <character>LUZ<\/character>\n    <dialogue>I'm in there somewhere. Keep looking.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Huh huh huhuhuhuhu.<\/dialogue>\n    <character>LUZ<\/character>\n    <dialogue>There I am. Cute, huh? My tits aren't really that big, but it's the thought that counts.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Did you ladies all pose for these?<\/dialogue>\n    <character>LUZ<\/character>\n    <dialogue>A guy over in North Hollywood does custom work.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>How about that chick... what's her name? The one's been missing?<\/dialogue>\n    <character>LUZ<\/character>\n    <dialogue>Shasta. Yeah. She's in there someplace. Mickey always used to take me in the shower to fuck. I never got a chance to do anything on that groovy bed in there.<\/dialogue>\n    <character>LUZ!<\/character>\n    <dialogue>LUZ<\/dialogue>\n    <character>DONDE ESTAS, MI HIJATA??<\/character>\n    <dialogue>Another time, perhaps. You're not really a shrink are you?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>No. But I do have a couch.<\/dialogue>\n    <character>LUZ<\/character>\n    <dialogue>Piscodelico, ese!<\/dialogue>\n    <scene_description>She flashes her teeth. He hands her one of the FAKE BUSINESS CARDS with his real number on it. She leaves. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOLFMANN MANSION<\/stage_direction>\n    <scene_description>BIGFOOT\/DOC scene TBD. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUNCH SPOT (DOWNTOWN) - DAY<\/stage_direction>\n    <scene_description>DOC is sitting in a lunch spot downtown populated with an assortment of JUDGES, LAWYERS, all completely DRUNK at lunchtime. In walks DEPUTY D.A. PENNY KIMBALL (30s).<\/scene_description>\n    <character>PENNY<\/character>\n    <dialogue>This Wolfmann-Charlock case. Apparently, one of your old girlfriends is a principal?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I just heard that she skipped.<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Put it another way: How close were you and Shasta Fay Hepworth?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Well, now, I've been asking myself that very question. It was all over years ago. Months? If you hadn't come along, babe, who knows how bad it might've got?<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>True. You were a fucking mess when I met you.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>And how 'bout now?<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Old times aside, have you had any contact with Miss Hepworth, in, say, the last week or so?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Well, now, funny you should ask because she called me up a couple days ago before Mickey Wolfmann disappeared with a story about how his wife and her boyfriend were plotting to hustle Mickey<\/dialogue>\n    <dialogue>into the booby hatch and grab all his money. So I sure hope you guys, or the cops or whoever, are looking into that.<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>And with your years of experience as a P.I., would you call that a reliable lead?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I've known worse. Or are you all just gonna just ignore that? Some hippie chick with boyfriend trouble, brains all mushed up with dope, sex, rock and roll --<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>I've never seen you this emotional, Doc.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>'Cause the lights are out, usually. I've never had lunch with you before.<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>You didn't tell any of this to Lieutenant Bjornsen when he pulled you in at the crime scene? And Bjornsen seems to think you're as good a suspect as any --<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>'Seems to'?? You've been talking to Bigfoot? About me??<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Doc. Shhh. Please. Besides, maybe you did do it, has that crossed your mind yet? Maybe you just forgot? (Maybe you just conveniently forgot about it the way you do so often forget things and this peculiar reaction of yours is a typically twisted way of confessing the act?)<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Did do what?<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Kill Glenn Charlock.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Kill him? What? How would I forget something like that?<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Grass and who knows what else, Doc.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I'm only a light smoker.<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>How many joints a day do you smoke?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I... I'11 have to check the log book.<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>You can't remember?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I don't keep track.<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Or maybe you can't keep track.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I don't think my smoking has any link to the Wolfmann-Charlock, Shasta case --<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>... No? Why did Shasta Fay Hepworth dismantle your relationship?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>She had other fish to fry.<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Would you say you're still in love with her?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>No. Wait, what is this, I'm not --<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Hectic week ahead for me, so unless any of this heats up dramatically, I hope you understand.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Wouldn't it be nice...<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Walk me back to my office? I have to swing by the Federal Courthouse...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FEDERAL COURTHOUSE - DAY<\/stage_direction>\n    <scene_description>DOC and PENNY enter. She guides the way, into the waiting arms of: TWO FBI AGENTS BORDERLINE and FLATWEED... Penny keeps walking, having set him up...<\/scene_description>\n    <character>FLATWEED<\/character>\n    <dialogue>I am Agent Flatweed and this is Agent Borderline.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Did I miss an episode...?<\/dialogue>\n    <character>FLATWEED<\/character>\n    <dialogue>It's come to our attention that not too long ago you had a visit from a black prison militant calling himself Tariq Khalil. We naturally became curious.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FEDERAL COURTHOUSE - OFFICE - DAY<\/stage_direction>\n    <scene_description>In a tiny office.<\/scene_description>\n    <character>BORDERLINE<\/character>\n    <dialogue>We like investigating and spending energy on Black Nationalist hate groups...<\/dialogue>\n    <character>FLATWEED<\/character>\n    <dialogue>It's the chronology, really. Khalil visits your place of business.<\/dialogue>\n    <character>FLATWEED<\/character>\n    <dialogue>Next day, a known prison acquaintance of his, Glen Charlock, is slain, Michael Wolfmann disappears, and you get arrested and let go on suspicion.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>So what do you want with me?<\/dialogue>\n    <character>FLATWEED<\/character>\n    <dialogue>Ordinarily, we're the one's asking the questions.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Sure thing, fellas, except aren't we all in the same business?<\/dialogue>\n    <character>FLATWEED<\/character>\n    <dialogue>There's no need to be insulting.<\/dialogue>\n    <character>BORDERLINE<\/character>\n    <dialogue>Why don't you just share with us what Mr. Khalil had to say the other day when he visited you?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Because he's a client, so that's privileged is why.<\/dialogue>\n    <character>BODERLINE<\/character>\n    <dialogue>If it has a bearing on the Wolfmann case, we might have to disagree.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I wish I could help -- but what I can't figure is if your shop is really so focused on the Black Panthers and all that then what's with your interest in Mickey Wolfmann?<\/dialogue>\n    <scene_description>LONG PAUSE. No one says anything.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>... Are you guys figuring Mickey's kidnapping as a Black Panther operation? Did they put the snatch on Mickey to make a political point? A nice shot at some ransom money?<\/dialogue>\n    <scene_description>Flatweed and Borderline blink a lot and look nervous.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Maybe you've at least thought of putting that out there as a cover story for whatever did happen? Can I be frank for a minute?<\/dialogue>\n    <character>FLATWEED\/BORDERLINE<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Fly me to the moon... let me swing among those stars... Tell Penny how nice our time has been...<\/dialogue>\n    <character>FLATWEED<\/character>\n    <dialogue>As a COINTELPRO informant you could be making up to three hundred dollars a month, Larry. Consider that.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOC'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Doc comes walking up to his office and sees: JADE and BAMBI, from the Chick Planet Massage, running away from his office, hopping into a HARLEY EARLE IMPALA and peeling out... He walks over to PETUNIA who hands him a flyer for CHICK PLANET MASSAGE PUSSY EATER'S SPECIAL, shakes her head and looks sad:<\/scene_description>\n    <character>PETUNIA<\/character>\n    <dialogue>Oh, Doc. It's dark and lonely work, but someone has to do it?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I can explain this...<\/dialogue>\n    <scene_description>DOC turns it over, written across the back it reads:<\/scene_description>\n    <character>JADE (V.O.)<\/character>\n    <dialogue>'Heard they cut you loose. Need to see you about something. I'm working weeknights at Club Asiatique in San Pedro. Love and Peace, Jade. P.S. BEWARE THE GOLDEN FANG!!!'<\/dialogue>\n    <scene_description>Doc notices, out the window, across the parking lot: BIGFOOT'S EL CAMINO parked in the distance, engine fired up and watching Doc... DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLUB ASIATIQUE - NIGHT<\/stage_direction>\n    <scene_description>DOC sits with a cocktail. JADE, wearing a cocktail uniform, approaches DOC:<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>There you are.<\/dialogue>\n    <character>JADE<\/character>\n    <dialogue>See me outside, okay?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEHIND THE CLUB\/SAN PEDRO DOCKS - NIGHT<\/stage_direction>\n    <scene_description>Behind the club, on the docks, she speaks:<\/scene_description>\n    <character>JADE<\/character>\n    <dialogue>I can't stay here long. This is Golden Fang territory. And a girl don't necessarily want to get into difficulties with those folks.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>What is it? A band?<\/dialogue>\n    <character>JADE<\/character>\n    <dialogue>You wish. I just wanted to say how sorry I was. I felt shitty about what I did...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Which was what again?<\/dialogue>\n    <character>JADE<\/character>\n    <dialogue>I'm not a snitch. The cops told us they'd drop charges if we just put you at the scene, which they already knew you were -- so where was the harm? I'm like, so sorry, Larry...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Call me Doc. It's cool, Jade.<\/dialogue>\n    <character>JADE<\/character>\n    <dialogue>That copper?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Bigfoot?<\/dialogue>\n    <character>JADE<\/character>\n    <dialogue>He's a warped sheet of plastic.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>And was it Bigfoot who put me on the Buenos Noches Express? Or did he subcontract it?<\/dialogue>\n    <character>JADE<\/character>\n    <dialogue>I missed all that, man. Last thing I remember was eating Bambi's pussy -- and Puck Beaverton's tattoo -- like it was pulsating...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>What's a Puck Beaverton?<\/dialogue>\n    <character>JADE<\/character>\n    <dialogue>He's an asshole you don't want to meet. Me and Bambi, we're so freaked with the BadAss Brigade stomping in there we didn't stick around --<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>How about those jailhouse Nazis who were supposed to be covering Mickey's back?<\/dialogue>\n    <character>JADE<\/character>\n    <dialogue>All over the place one minute, gone the next. Like a raid, when people know it's gonna happen? They all cleared out except for Glenn.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Like someone forgot to tell him something?<\/dialogue>\n    <character>JADE<\/character>\n    <dialogue>Listen -- there's somebody who wants to talk to you. He thinks you can help each other out. He's a new face. I'm not even sure of his name but I know he's in some trouble.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Okay...<\/dialogue>\n    <scene_description>JADE motions over her shoulder... OUT OF THE MIST WALKS... COY HARLINGEN. DOC blinks a few times. JADE disappears.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Howdy, Coy.<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>I would've come to your office, man. But I thought there might be unfriendly eyeballs.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Is this safe enough for you. Out here?<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>Let's light this and pretend we came out to smoke.<\/dialogue>\n    <scene_description>They light a joint and pass it back and forth.<\/scene_description>\n    <character>COY<\/character>\n    <dialogue>I'm supposed to be dead.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>There's also a rumor that you're not.<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>That don't come as such great news. Bein' dead is part of my job image. Like what I do.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Are you working for these people here at the club?<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>I don't know. Maybe. It's where I come to pick up my paycheck.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Where are you staying?<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>House in Topanga Canyon. A band I used to play for, The Boards. But none of them know it's me.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>How can they not know it's you?<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>Even when I was alive, they didn't know it was me, man. 'The Sax Player.' The session guy. Plus, over the years, there's been this big turnover of personnel, like, The Boards I played with have most of them gone off by now and formed other bands. Only one or two of the old crew are left, and they're suffering with heavy doper's memory.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Story is you came to grief behind some bad smack. You still into that?<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>No. God. No. I'm clean these days. I spent my time rehabilitating up --<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>It's okay. I can't hear too good. And how can I talk about what I don't hear?<\/dialogue>\n    <dialogue>Coy is delicate now, sizing Doc up, looking around, words get more whispery:<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>The thing I wanted to see you about... Just wondering if you could check in on a couple of people. A lady and a little girl. See that they're okay -- and without bringing me into it. It's down in Torrance.<\/dialogue>\n    <parenthetical>(hands him address)<\/parenthetical>\n    <dialogue>Just see if they're still livin' there. What's in the driveway. Law enforcement in the picture, any details you find interesting --<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I'm on it.<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>I can't pay you right now.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>When you can. Unless maybe you're one of those folks who believe information is money, in which case, I could ask you something?<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>Bearing in mind that either I don't know or it'll be my ass if I tell you, what is it?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Ever heard of the Golden Fang?<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>Sure. It's a boat. A big schooner, somebody said. Brings stuff in and out of the country but nobody wants to talk about it...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Because?<\/dialogue>\n    <scene_description>COY turns and look out over his shoulder into the HARBOR. It's foggy... DOC squints through stoned eyes... Coy turns back to him:<\/scene_description>\n    <character>COY<\/character>\n    <dialogue>That was it.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>How do you know?<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>Saw it sail in. Got here the same time I did tonight.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I don't know what I just saw.<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>Me neither. Fact, I don't even want to know.<\/dialogue>\n    <scene_description>Doc blinks and like that... Coy's gone... Doc is left standing alone, very confused, and paranoid.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH\/SAND DUNE - DAY<\/stage_direction>\n    <scene_description>DOC looking through binoculars, SAUNCHO is here, over his shoulder. They're looking at a THREE-MASTED SCHOONER, GOLDEN FANG.<\/scene_description>\n    <character>SAUNCHO<\/character>\n    <dialogue>Meet the schooner Golden Fang, out of Charlotte Amalie.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Where is that?<\/dialogue>\n    <character>SAUNCHO<\/character>\n    <dialogue>Virgin Islands.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Bermuda Triangle?<\/dialogue>\n    <character>SAUNCHO<\/character>\n    <dialogue>Close enough.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Sizable vessel.<\/dialogue>\n    <character>SAUNCHO<\/character>\n    <dialogue>She has a tendency to show up in the middle of the night, no running lights, no radio traffic. See, the problem with this vessel is trying to find out anything. People back off, change the subject, get creepy and head for the toilet, never to reappear... the owners are listed as a consortium in the Bahamas.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FISH PLACE<\/stage_direction>\n    <scene_description>Doc and Sauncho at a disgusting restaurant.<\/scene_description>\n    <character>SAUNCHO<\/character>\n    <dialogue>Her name isn't really the Golden Fang.<\/dialogue>\n    <character>SAUNCHO<\/character>\n    <dialogue>Her original name was Preserved after her miraculous escape in 1917 from a tremendous nitroglycerin explosion in Halifax Harbor which blew away most everything else in it, shipping and souls. After World War II she was bought by Burke Stodger.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Burke Stodger, Burke Stodger. Burke Stodger, the actor? .45 Caliber Kiss Off -- Burke Stodger?<\/dialogue>\n    <scene_description>Sauncho motions to the wall -- a few 8xl0 headshots of film stars who have visited the Fish Place -- one of them is BURKE STODGER from his younger days in BLACK AND WHITE HEADSHOT...<\/scene_description>\n    <character>SAUNCHO<\/character>\n    <dialogue>... Burke Stodger got blacklisted for his politics, branded a communist and was forced to take the boat and split the country. Which is where the Bermuda Triangle comes in.....<\/dialogue>\n    <scene_description>Sauncho hushes up as the waitress arrives...<\/scene_description>\n    <character>SAUNCHO<\/character>\n    <dialogue>Ordinarily I'd have the Admiral's Luau -- but today I'll have the house anchovy loaf to start and the devil-ray filet. Can I get that deep fried in beer batter?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I'll have the jellyfish teriyaki croquettes and the eel trovatore.<\/dialogue>\n    <character>SAUNCHO<\/character>\n    <dialogue>And two tequila Zombies.<\/dialogue>\n    <scene_description>Waitress leaves, Sauncho back to whispers:<\/scene_description>\n    <character>SAUNCHO<\/character>\n    <dialogue>... so Burke's blacklisted, splits town on the boat... but somewhere between San Pedro and Papeete, the ship disappears, till one day, a couple years later, boat and owner suddenly reappear -- Preserved in the opposite ocean, off Cuba, and Burke Stodger on the front page of Daily Variety in an article reporting his return in a big budget major studio project called Commie Confidential. He followed that up with Squeal, Pinko, Squeal and I Was A Red Dope Fiend.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Soooooooooooo Burke's working again?<\/dialogue>\n    <character>SAUNCHO<\/character>\n    <dialogue>And his politics have miraculously changed. It's wrecking my appetite just talking about what's happened to this great ship -- they removed any traces of soul she once had...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You're emotionally involved? With a boat?<\/dialogue>\n    <character>SAUNCHO<\/character>\n    <dialogue>Not just a boat, Doc. Something much more. I know why I'm so interested, but why are you?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Some story I heard the other night. Maybe some kind of smuggling angle?<\/dialogue>\n    <character>SAUNCHO<\/character>\n    <dialogue>As attorney and client, this story you heard -- it didn't happen to include Mickey Wolfmann?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Not so far, why?<\/dialogue>\n    <character>SAUNCHO<\/character>\n    <dialogue>According to scuttlebutt, shortly before his disappearance -- everybody's favorite developer was observed going onboard the Golden Fang. What we call a three-hour tour and back again...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Was he accompanied by his lovely companion?<\/dialogue>\n    <character>SAUNCHO<\/character>\n    <dialogue>... Who?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>My ex-old Shasta Fay?<\/dialogue>\n    <character>SAUNCHO<\/character>\n    <dialogue>Thought you were done with all that sad bullshit.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>... Everybody make it back? No one pushed overboard? Nothin' like that?<\/dialogue>\n    <character>SAUNCHO<\/character>\n    <dialogue>Let's order you a boilermaker to go with the Zombie and you can start the whole sordid thing over again...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Just asking... anything else?<\/dialogue>\n    <character>SAUNCHO<\/character>\n    <dialogue>Word swirling around some of my friends at the Department of Justice says that maybe Mickey Wolfmann's not as missing as we think?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Like gone but not gone?<\/dialogue>\n    <character>SAUNCHO<\/character>\n    <dialogue>A rumor that these guys are trying to broker a Vegas deal with Wolfmann...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Doesn't compute. Say again. Vegas. Wolfmann.<\/dialogue>\n    <character>SAUNCHO<\/character>\n    <dialogue>It's FBI stuff. That's what they do in Vegas... apparently Wolfmann owned some property they wouldn't mind having...<\/dialogue>\n    <scene_description>The drinks arrive.<\/scene_description>\n    <character>SAUNCHO<\/character>\n    <dialogue>Mmmmmmmmmm. All this good eatin'.<\/dialogue>\n    <scene_description>CUT TO: 32-36 OMITTED 32-36<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOC'S PLACE - NIGHT<\/stage_direction>\n    <scene_description>DOC is on the couch, pretty stoned, watching PRESIDENT NIXON on TV at a Republican rally for a group known as VIGILANT CALIFORNIA. Nixon stands in front of a huge banner promoting them. A LONG-HAIRED GUY IN THE CROWD AT THE RALLY STARTS HECKLING NIXON... SCREAMING AND YELLING.<\/scene_description>\n    <character>WILD-EYED GUY (V.O.)<\/character>\n    <parenthetical>(on TV)<\/parenthetical>\n    <character>HEY, NIXON! TRICKY DICK! FUCK<\/character>\n    <dialogue>YOU! FUCK EVERYBODY AND THE FIRST<\/dialogue>\n    <character>FUCKIN' FAMILY! FUCK THE DOG!<\/character>\n    <dialogue>PENNY comes out of the bedroom, naked and smoking a joint, sees the TV and says...<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Hey... it's Chucky!<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>NIXON (V.O.)<\/character>\n    <parenthetical>(on TV)<\/parenthetical>\n    <dialogue>Better get him to a hippie drug clinic!<\/dialogue>\n    <scene_description>SECRET SERVICE come over and get him. DOC realizes that this WILD-EYED GUY is actually: COY HARLINGEN.<\/scene_description>\n    <character>PENNY<\/character>\n    <dialogue>That's no hippie! That's Chucky!<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Who is it? A friend of yours?<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Everybody knows him. When he's not hanging out at the Hall of Justice, he's at the Glass House.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>A snitch?<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Informant, please.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>And why's he yelling at Nixon like that again?<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Now he's been on TV. Instant and wide credibility. The police can infiltrate him into any group they want.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOPANGA CANYON HOUSE - AFTERNOON<\/stage_direction>\n    <scene_description>DOC, disguised as a REPORTER (ponytail, fedora hat, tape recorder) and DENIS as a PHOTOGRAPHER pull up to the house in Topanga Canyon where The Boards are staying. As they enter the huge mansion, a couple sexy young house GROUPIES come forward with leis and beads and put them around Doc and Denis...<\/scene_description>\n    <character>INSIDE<\/character>\n    <dialogue>Doc walks through the party...<\/dialogue>\n    <scene_description>ANOTHER ANGLE SMEDLEY (Spotted Dick band member) and his KEYBOARD. Doc interviews him, like he's a reporter...<\/scene_description>\n    <character>SMEDLEY<\/character>\n    <dialogue>This is Fiona...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>What do you and Fiona talk about?<\/dialogue>\n    <character>SMEDLEY<\/character>\n    <dialogue>Oh, what you'd expect. Association football, the war in Southeast Asia, where one can score, that sort of thing.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>And how's Fiona enjoying it here in Southern California?<\/dialogue>\n    <character>SMEDLEY<\/character>\n    <dialogue>Loves everything but the paranoia, man.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Paranoia, really?<\/dialogue>\n    <character>SMEDLEY<\/character>\n    <dialogue>This house...<\/dialogue>\n    <scene_description>SMEDLEY grows quiet as he notices road manager-types who may or may not be working undercover come near -- ANGLE - DOC Doc lurks around a hallway and runs into: JADE.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>What, you again?<\/dialogue>\n    <character>JADE<\/character>\n    <dialogue>I drove up with Bambi -- she heard Spotted Dick were staying here --<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>She's keen on the Dick, huh?<\/dialogue>\n    <character>JADE<\/character>\n    <dialogue>Tuneful and poetic. English, I guess. I had to come along to try and keep her out of trouble.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>If anybody asks, I'm a rock and roll reporter, okay?<\/dialogue>\n    <character>JADE<\/character>\n    <dialogue>I'll tell them about your Pat Boone cover article.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Have you seen the guy I was talking to at Club Asiatique the other night?<\/dialogue>\n    <character>JADE<\/character>\n    <dialogue>Yeah, he's here. Try the rehearsal rooms upstairs...<\/dialogue>\n    <scene_description>REHEARSAL STUDIO DOC makes his way to a SMALL REHEARSAL STUDIO UPSTAIRS. He steps inside and sees: COY, doing some recording with his SAXOPHONE... \"Donna Lee.\"<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Howdy! It's me again! Remember that chore you wanted me to do?<\/dialogue>\n    <scene_description>COY signals his thumb to a cloister of RECORDING EQUIPMENT.<\/scene_description>\n    <character>COY<\/character>\n    <dialogue>What was the, uh, make and model you looked at again?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>... You were asking about a older- type VW, flowers and bluebirds and hearts on it?<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>No new replacement parts?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>None I could see.<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>Street legal? No hassles with registration?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Seemed that way.<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>Well, thanks for looking into that, you know, I just wondered the way people do. I'll be in touch.<\/dialogue>\n    <scene_description>LIVING ROOM AREA DOC looks in another room, sees a big TEEPEE. He steps inside and suddenly, Coy is with him:<\/scene_description>\n    <character>COY<\/character>\n    <dialogue>So you got to see Hope?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>For a minute. She's okay. And it looks like she's been staying clean, too.<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>How'd she do it?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I don't know. She's back teaching is all she said. Public health, drug awareness, something like that.<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>-- You're not gonna tell me where?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Not even if I knew.<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>What -- you really think that I would ever start giving either of them shit?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I don't do matrimonials. I have a terrible history of putting in, and it's never ended well.<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>Don't matter. No way I can ever go back to them.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You can't go back, because if you did...?<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>It would be my ass and my family's, too. This is like a gang. Once you're in, you're in for life.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I'm not asking you to give away any secrets... But I think I just saw you on the tube at a rally for Nixon?<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>And your question is, is am I really one of them screamin' right- wing nutcases?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Somethin' like that.<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>I just wanted to get clean... and I thought it was something to do for my country. Stupid as it sounds. They saw something in me I didn't see. These people were the only ones who were offering me that. It looked like an easy call... But what they really want is to control the membership by making us feel we're never patriotic enough. My country right or wrong, with Vietnam going on? That's just fuckin' crazy. Suppose your mom was using smack.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>My, uh...<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>You wouldn't at least say something?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Wait, so the U.S. is somebody's mom, you're sayin'?... and she's strung out on... what, exactly?<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>On sending kids off to die in jungles for no reason. Something wrong and suicidal that she can't stop.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>... Uhhhhhh... and Vigilant California, or whoever you're workin' for, won't buy that?<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>I never got a chance to bring it up. Look at me around here. I'm lower than a groupie, fetching weed, opening beers, making sure there's only aqua jelly beans in the giant punch bowl in the parlor.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I do get the feeling you'd rather be someplace else --<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>Back where I was would be nice, but it's too late --<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Short of actual marriage counseling, if I did just run a fast check and happened to find some angle you maybe haven't thought of with this --<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>Nothing personal, man. But there's too much you haven't thought of. You want to run your check, I can't stop you.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I can dig you're tryin' to chase me off this, but look, whatever it is you're caught inside, I'm still out here, on the outside of it. I can move in ways you may not be able to...<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>The baby? How'd she look?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>A sweetie pie.<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>Any sign of them little kid blues?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I couldn't say...<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>... I've really blown this solo, man.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>The original call from these people, where did it come from?<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>It's like bein' stuck with a borrowed horn.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Just give me a glimpse here: Who set you up with these people?<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>When I first started snitching, I realized how often people ask questions they already know the answers to -- but they just want to hear it from another voice, like outside their head --<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Help me out...<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>You'd better find Shasta Fay.<\/dialogue>\n    <scene_description>Doc blinks and Coy disappears again --<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Now... what the fuck?<\/dialogue>\n    <scene_description>IN ANOTHER PART OF THE HOUSE DENIS has made his way into the kitchen... Denis sees Coy drift into the dining room to get something to eat... so he lifts his camera and snaps. Which sets off a bunch of people moving towards them: Doc runs into Jade:<\/scene_description>\n    <character>JADE<\/character>\n    <dialogue>Doc, can I get a ride, this place is freakin' me out --<\/dialogue>\n    <scene_description>They head out of the house -- CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOPANGA CANYON - NIGHT<\/stage_direction>\n    <character>A SINISTER-LOOKING WOODIE WITH BLACKED OUT WINDOWS IS<\/character>\n    <dialogue>FOLLOWING THEM... DOC drives faster and faster through the treacherous canyon road...<\/dialogue>\n    <character>SORTILEGE (V.O.)<\/character>\n    <dialogue>As if things weren't peculiar enough, Doc was managing to put himself on a full-scale paranoid trip about Shasta...<\/dialogue>\n    <scene_description>JADE and DENIS are in the backseat and start to strike up a conversation as Denis is rolling a joint...<\/scene_description>\n    <character>DENIS<\/character>\n    <dialogue>And what's, like, your name?<\/dialogue>\n    <character>JADE<\/character>\n    <dialogue>Ashley... do you eat pussy, by the way?<\/dialogue>\n    <character>CLOSEUP - DOC<\/character>\n    <dialogue>driving, paranoid, bad driver, lights in rearview mirror.<\/dialogue>\n    <character>SORTILEGE (V.O.)<\/character>\n    <dialogue>... and how she must have been using, all the time she and Doc were together, maybe since before they'd met, a devoted junkie taking every chance she could to slip out into the fine breezy nights and go someplace they'd've been looking after her outfit for her so she wouldn't have to hide it at home from Doc... just to be back for a while among the junkie fellowship, to have a break from this hopeless stooge she was already planning to split on and so forth.<\/dialogue>\n    <scene_description>JADE gets out of the car --<\/scene_description>\n    <character>JADE<\/character>\n    <dialogue>Thanks for the lift, boys.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Hey, Ashley?<\/dialogue>\n    <character>JADE<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I thought you said your name was Jade?<\/dialogue>\n    <character>JADE<\/character>\n    <dialogue>That's just my nom du Chick Planet Massage.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Alrighty, then -- while we're just talking here, is there anything else you wanna tell me about this Golden Fang?<\/dialogue>\n    <character>JADE<\/character>\n    <dialogue>They're an Indochinese heroin cartel. A vertical package. They grow it, bring it in, step on it, run stateside networks of local street dealers and take a separate percentage off of each operation.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>So... you're dealing smack?<\/dialogue>\n    <character>JADE<\/character>\n    <dialogue>No, but they use Chick Planet as a front to launder money. Should I have told you this earlier?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Maybe not.<\/dialogue>\n    <character>JADE<\/character>\n    <dialogue>See you around.<\/dialogue>\n    <character>(ALTERNATE)<\/character>\n    <dialogue>... just be advised boys, you'll want to watch your step, 'cause what I am is, is like a small- diameter pearl of the Orient rolling around on the floor of late capitalism -- lowlifes of all income levels may step on me now and then but if they do -- it'll be them who slip and fall and on a good day break their ass, while the ol' pearl herself just goes a- rollin'. Thanks for the lift.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. PARKER CENTER- DAY<\/stage_direction>\n    <scene_description>Doc walks up and in the building. Like being on another planet.<\/scene_description>\n    <character>SORTILEGE (V.O.)<\/character>\n    <dialogue>All this strange alternate cop history and cop politics -- cop dynasties, cop heroes and evildoers, saintly cops and psycho cops, cops too stupid to live and cops too smart for their own good -- insulated by secret loyalties and codes of silence from the world they'd all been given to control...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOMICIDE ROOM<\/stage_direction>\n    <scene_description>DOC comes into HOMICIDE ROOM. BIGFOOT is here, eating a frozen banana.<\/scene_description>\n    <character>BIGFOOT<\/character>\n    <dialogue>I hope this will not be another of those unabridged paranoid hippie monologues I seem obliged to sit through.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>What if someone died but was resurrected?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Not at first glance a matter for Homicide.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>So - who around here handles resurrections?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Bunco squad, usually.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Does that mean LAPD officially believes that every return from the dead is some kind of con?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Not always. Could be a mistaken or false I.D. type of problem.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>But not --<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>You're dead, you're dead. Are we talking philosophy?<\/dialogue>\n    <scene_description>ANOTHER ANGLE - LATER Doc and Bigfoot sitting together, Doc catching him up to speed on Coy's case. DOC gives him a PHOTO OF COY: It's like The Last Supper, Coy as Jesus grabbing food from table.<\/scene_description>\n    <character>BIGFOOT<\/character>\n    <dialogue>Just remind me why I give a shit again?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>He's worked for the Department as a snitch, he oughta be in your file...<\/dialogue>\n    <scene_description>BIGFOOT looks at Doc, then the picture: \"How much does Doc know?\"<\/scene_description>\n    <character>BIGFOOT<\/character>\n    <dialogue>Alright, I'll look into it personally.<\/dialogue>\n    <scene_description>He motions down a back corridor...<\/scene_description>\n    <character>BIGFOOT<\/character>\n    <dialogue>Just want to look in the freezer a minute... come with me.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR\/UTILITY ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Bigfoot leads Doc down a hall and into a room with a CORPSE-SIZE PROFESSIONAL FREEZER. Bigfoot opens it up: INSIDE ARE SEVERAL HUNDRED FROZEN CHOCOLATE COVERED BANANAS.<\/scene_description>\n    <character>BIGFOOT<\/character>\n    <dialogue>I'm down to a dozen a day now. The therapist says I've made amazing progress. Please, dig in, feel free. I'm told I have to share.<\/dialogue>\n    <scene_description>He puts the FROZEN BANANAS in the PNEUMATIC TUBE DISPENSER, sending chocolate frozen bananas hurling around Parker Center...<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Certainly a lot of these in here. Is the Department picking up the tab?<\/dialogue>\n    <scene_description>Bigfoot's FACE TURNS AND THE MOLECULES COMPLETELY CHANGE AS HE SEES SOMETHING OVER DOC'S SHOULDER... DOC looks scared stiff... realizes Bigfoot's looking past him, Doc turns -- DOWN THE CORRIDOR -- A FEW OFFICERS, DETECTIVES, VICE SQUAD MEMBERS ARE SAYING SOME KIND WORDS, SHAKING HANDS, LAUGHING WITH A STRANGE LITTLE MAN: ADRIAN PRUSSIA. Everyone's all smiles as they UN-CUFF ADRIAN...<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Is that Adrian Prussia? I remember him from my skip tracing days... he's the one with the bat... he beat up an old lady with a baseball bat. And why's he... I mean... why's he shaking hands and smiling and kissing babies with the Vice Squad boys again? Which part did I miss? And why's he walking this way???<\/dialogue>\n    <scene_description>ADRIAN walks over.<\/scene_description>\n    <character>ADRIAN<\/character>\n    <dialogue>This you're new partner, Bigfoot?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Here, Adrian... have a banana. Bend over and I'll stick it in for you.<\/dialogue>\n    <character>ADRIAN<\/character>\n    <dialogue>Fuck you. And fuck your banana.<\/dialogue>\n    <scene_description>Adrian exits. Bigfoot to Doc...<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>You guys go back, huh?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Where do you think Mickey Wolfmann is, Doc?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Now that's a good question. (You try Las Vegas yet?)<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>And where is that love of your life Shasta Fay Hepworth?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Play nice. (Mighty snotty, Bigfoot.)<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>And how much could she have really meant to him -- or him to her that he could just let this all get so fucked up?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Best question yet. (Is this multiple choice?)<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>There's places you don't want to go, Doc -- better get back to the beach, you smell like a patchouli factory.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. DOC'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Doc walks the long corridor towards his office... DOC walks into his office, is deep in thought, locks the door double and triple lock turns and SCREAMS AT THE SIGHT OF A SEXY YOUNG BIKER GIRL: CLANCY CHARLOCK.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>AHHHAHAHAHHA!!!! COOTIE FOOD!!<\/dialogue>\n    <character>CLANCY<\/character>\n    <dialogue>Remains to be seen...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>WHO ARE YOU?!??<\/dialogue>\n    <character>CLANCY<\/character>\n    <dialogue>Clancy Charlock.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Glen Charlock's?<\/dialogue>\n    <character>CLANCY<\/character>\n    <dialogue>Sister.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I'm sorry about your brother...<\/dialogue>\n    <character>CLANCY<\/character>\n    <dialogue>Glen was a shit and bound to have his series canceled sometime. But that don't keep me from wanting to know who his killer is.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You talk to the police?<\/dialogue>\n    <character>CLANCY<\/character>\n    <dialogue>They talked to me. Some smart-ass named Bjornsen. Can't say it was encouraging. But I guess he's a fan of yours... Would you mind not staring at my tits like that?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Sorry -- I was just reading your T-shirt. So now... you say... Lieutenant Bjornsen referred you to me?<\/dialogue>\n    <character>CLANCY<\/character>\n    <dialogue>He sounded a lot more concerned with Mickey Wolfmann's disappearance than Glen's murder, which I guess is no big surprise. Is that a joint? Can I smoke it?<\/dialogue>\n    <scene_description>DOC pulls out a freshly rolled one.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Here's a new one...\/Please...<\/dialogue>\n    <scene_description>She lights it and smokes half of it down in one suck before passing it back to Doc...<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>The theory downtown is that your brother tried to prevent whoever it was from putting the snatch on Mickey and got shot for doing his job.<\/dialogue>\n    <character>CLANCY<\/character>\n    <dialogue>Way too sentimental.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Then maybe he saw something he shouldn't have.<\/dialogue>\n    <character>CLANCY<\/character>\n    <dialogue>That's how Boris has it figured to.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Who's that?<\/dialogue>\n    <character>CLANCY<\/character>\n    <dialogue>Another member of Mickey's muscle patrol. They've all dropped out of sight, but last night, Boris called me late. We have some history. Right now, he's scared shitless.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>What of?<\/dialogue>\n    <character>CLANCY<\/character>\n    <dialogue>He said Mickey was in the deepest shit you could get in all because of this idea that came to him.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Which was?<\/dialogue>\n    <character>CLANCY<\/character>\n    <dialogue>All the money he ever made -- he was working on a way just to give it back.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Can I still get my name on the list?<\/dialogue>\n    <character>CLANCY<\/character>\n    <dialogue>That's what I said!<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Why, but why would he want to?<\/dialogue>\n    <character>CLANCY<\/character>\n    <dialogue>Wouldn't be the first rich guy on a guilt trip lately. He was doing a lot of acid and peyote and maybe it just got to a point... you must've seen that happen.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Once or twice, but it's more like calling in sick for a couple days, breakin' up with your old lady, nothing on that scale.<\/dialogue>\n    <character>CLANCY<\/character>\n    <dialogue>He said he felt bad about making people pay for shelter -- that all along he should have realized it should've been for free --<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>He told him that?<\/dialogue>\n    <character>CLANCY<\/character>\n    <dialogue>Boris heard him say it... he wanted to build a big place out in the desert where anybody could come and live for free -- called Arrepentimiento.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Yeah, okay, and what's that mean again?<\/dialogue>\n    <character>CLANCY<\/character>\n    <dialogue>Spanish for 'sorry about that.' The idea was if there was an open unit -- it was yours for free... anyone from anywhere can have shelter... are you gonna keep holding on to that joint or are you gonna marry it?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>And what about Mickey's ladies? Any of them object to his big giveaway?<\/dialogue>\n    <character>CLANCY<\/character>\n    <dialogue>Only one I've heard Boris say anything about is Shasta -- the one's gone missing.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>What'd he say?<\/dialogue>\n    <character>CLANCY<\/character>\n    <dialogue>Said Shasta was the only one that ever made any sense around there -- she was nervous about Mickey givin' away all his money -- which I guess caused some problems because it made him think that's all she was worried about was her meal ticket -- which I guess was really crazy cause she was in love with him. Deeply in love...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Shasta and I lived for a short while together and I can't say for sure how deep it went. How she really felt about me.<\/dialogue>\n    <character>CLANCY<\/character>\n    <dialogue>Well, I hope this ain't a bummer for you to be hearin'...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Clancy, I only look like an evil motherfucker... secretly, I'm as sentimental as any ex-old man.<\/dialogue>\n    <character>CLANCY<\/character>\n    <dialogue>You are a pretty dangerous hombre, I can see that... but, as one who's been down this particular exit ramp -- you can only cruise the boulevards of regret so far, and then you've got to get back up onto the freeway again.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Who else does he think was worried about Mickey's big giveaway? Business partners? The wife?<\/dialogue>\n    <character>CLANCY<\/character>\n    <dialogue>That cop friend of yours kept showing up at the house all the time warning Mickey...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Bigfoot? So he warned Mickey to what?<\/dialogue>\n    <character>CLANCY<\/character>\n    <dialogue>I don't know. (Mickey didn't listen to advice... maybe he said don't give away all your money? Stop doing peyote? Stop doing acid? You're the detective.)<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOC'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Clancy and Doc step out of the office. She has TWO BIKERS waiting for her...<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Anything else?<\/dialogue>\n    <character>THE BIKES FIRE UP LOUD.<\/character>\n    <dialogue>CLANCY<\/dialogue>\n    <character>CLANCY YELLS TO DOC:<\/character>\n    <dialogue>PUCK BEAVERTON.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>UH-HUH.<\/dialogue>\n    <character>CLANCY<\/character>\n    <dialogue>HE HAD THE DUTY TO GUARD MICKEY<\/dialogue>\n    <character>THAT DAY BUT CHANGED SHIFTS WITH<\/character>\n    <dialogue>GLEN AT THE LAST MINUTE...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>YOU THINK PUCK SET GLEN UP?<\/dialogue>\n    <character>CLANCY<\/character>\n    <dialogue>PUCK'S AN ASSHOLE.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>SOUNDS LIKE YOU DATED.<\/dialogue>\n    <character>CLANCY<\/character>\n    <dialogue>HIM AND HIS ROOMMATE EINAR.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>BOTH? (TWO AT A TIME?)<\/dialogue>\n    <character>CLANCY<\/character>\n    <dialogue>THAT'S MY PREFERENCE.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>KNOW WHERE I MIGHT FIND THIS<\/dialogue>\n    <character>MR. BEAVERTON?<\/character>\n    <dialogue>CLANCY<\/dialogue>\n    <character>PROBABLY OUT LOOKING FOR GIRLS TO<\/character>\n    <dialogue>TREAT LIKE SHIT -- PREFERABLY<\/dialogue>\n    <character>ONES THAT DON'T MIND. HAPPY<\/character>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A53 INT. DOC'S CAR - NIGHT A53<\/stage_direction>\n    <scene_description>After Clancy. Driving to get postcard... NO SORTILEGE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOC'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Doc walks up to his place... a FEW SHADOWS AND MOVEMENTS AROUND click him into a paranoia alert... He sees on the doorsill a POSTCARD... He carefully picks it up, looks it over... it's from some place deep in the Pacific Ocean.<\/scene_description>\n    <character>SHASTA (V.O.)<\/character>\n    <dialogue>I wish you could see these waves. It's one more of these places a voice from somewhere else tells you you have to be. Remember the day with the Ouija board? I miss those days and I miss you. I wish so many things could be different... Nothing was supposed to happen this way, Doc, I'm sorry...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOC'S APARTMENT<\/stage_direction>\n    <scene_description>He comes in, places the postcard down and lights a joint, SHASTA'S VOICE CONTINUES.<\/scene_description>\n    <character>SHASTA (V.O.)<\/character>\n    <dialogue>... you don't remember the Ouija board? Come on, Doc...<\/dialogue>\n    <character>SHASTA (V.O.)<\/character>\n    <dialogue>...go stumbling through that city dump of a memory... It had been one of those prolonged times of no dope, nobody had any, everybody was desperate and suffering lapses of judgment.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>FLASHBACK - INT. SORTILEGE'S HOUSE<\/stage_direction>\n    <scene_description>DOC and SHASTA with SORTILEGE and a OUIJA BOARD.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Hey! You think it knows where we can score?<\/dialogue>\n    <character>SORTILEGE<\/character>\n    <dialogue>Easy as pie, just do it all by yourself.<\/dialogue>\n    <scene_description>DOC and SHASTA put their hands on it. The PLANCHETTE TAKES OFF LIKE A ROCKET, SPELLING OUT AN ADDRESS AND A PHONE NUMBER. They furiously write this down. DOC picks up the phone and dials. It rings and a FEMALE VOICE RECORDING ANSWERS:<\/scene_description>\n    <character>FEMALE VOICE (V.O.)<\/character>\n    <dialogue>'Howdy, dopers! We've got whatever you need, and remember -- the sooner you get over here, the more there'll be left for you.'<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Who is this? Whom I talking to? Hey! She just hung up.<\/dialogue>\n    <character>SORTILEGE<\/character>\n    <dialogue>Did you hear what she was screaming at you: 'Stay away! I am a police trap!' You see the problem about Ouija boards --<\/dialogue>\n    <scene_description>DOC looks to SHASTA and they RUN OUT THE DOOR, IGNORING SORTILEGE. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUNSET (NEAR VERMONT)<\/stage_direction>\n    <scene_description>They arrive at the address in the rain. It's a HUGE, EMPTY, EXCAVATED LOT. Rain water fills it up... it... flows out into the street...<\/scene_description>\n    <character>ANOTHER ANGLE<\/character>\n    <dialogue>DOC and SHASTA stuff for here.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUNSET (NEAR VERMONT) (PRESENT)<\/stage_direction>\n    <scene_description>DOC walks over to the area where the vacant lot was... the hole in ground is gone... and in its place, a STRANGELY FUTURISTIC building. SMOOTH, NARROW, CONICAL -- A SIX-STORY-HIGH GOLDEN FANG. DOC walks back down the street.. DENIS is in the car, waiting for him...<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Denis, I'm gonna look around for a while, you want to wait in the car or come in and cover my back?<\/dialogue>\n    <character>DENIS<\/character>\n    <dialogue>I was gonna go try and find a pizza, if that's okay?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>And you remember that this is a stick, not automatic and so forth.<\/dialogue>\n    <character>DENIS<\/character>\n    <dialogue>Easy as pie, Doc.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOLDEN FANG ENTERPRISES H.Q. - THAT MOMENT<\/stage_direction>\n    <scene_description>It's quiet. Doc enters. A receptionist: XANDRA (Asian, British, 20s) and a sign that reads: \"Golden Fang Enterprises\/Corporate HQ.\"<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Hi, Xandra. This is the address they told me at the Club Asiatique in San Pedro? Just here to pick up a package for the management?<\/dialogue>\n    <scene_description>XANDRA reaches for a telephone, punches some numbers, murmurs into it. She hangs up.<\/scene_description>\n    <character>XANDRA<\/character>\n    <dialogue>Follow me.<\/dialogue>\n    <scene_description>She guides him down a hall... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE - THAT MOMENT<\/stage_direction>\n    <scene_description>She puts him in an empty office.<\/scene_description>\n    <character>XANDRA<\/character>\n    <dialogue>Dr. Blatnoyd will see you in a moment.<\/dialogue>\n    <character>SAME SCENE - MOMENTS LATER<\/character>\n    <dialogue>DR. RUDY BLATNOYD (50s) enters, wearing an eggplant velour double-breasted suit; high-energy. Blatnoyd flips open a three-ring binder, looks it over, then looks up at Doc:<\/dialogue>\n    <character>BLATNOYD<\/character>\n    <dialogue>So... you have some I.D., I imagine?<\/dialogue>\n    <scene_description>Doc goes into his wallet, pulls out a business card from a Chinese head shop.<\/scene_description>\n    <character>BLATNOYD<\/character>\n    <dialogue>I can't read this... it's in some... Oriental... what is this, Chinese?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Well... I figured that you, being Chinese.<\/dialogue>\n    <character>BLATNOYD<\/character>\n    <dialogue>What? What are you talking about?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>The... the Golden Fang...?<\/dialogue>\n    <character>BLATNOYD<\/character>\n    <dialogue>It's a syndicate. Most of us happen to be dentists. A syndicate of dentists. Set up long ago for tax purposes, all legit... Wait, where did you tell Xandra you were from again?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>... Uh...<\/dialogue>\n    <character>BLATNOYD<\/character>\n    <dialogue>Why, you're another one of those hippie dopefiends, aren't you? My goodness! Here for a little perking up, I'll bet --<\/dialogue>\n    <scene_description>He brings out a tall CYLINDER of BROWN GLASS.<\/scene_description>\n    <character>BLATNOYD<\/character>\n    <dialogue>Dig it! Just in from Darmstadt, lab quality, maybe I'll even have some with you --<\/dialogue>\n    <scene_description>He dumps the PHARMACEUTICAL COCAINE out on the table, arranges some lines, offers some to DOC.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>I try not to do dope I can't pay for, 's what it is.<\/dialogue>\n    <character>BLATNOYD<\/character>\n    <dialogue>Wooooo! No worries. It's on the house.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Well, just to be sociable, I guess...<\/dialogue>\n    <scene_description>XANDRA enters, seductively:<\/scene_description>\n    <character>XANDRA<\/character>\n    <dialogue>Doctor? I think there's a problem with the couch in your office. And bring that bottle...<\/dialogue>\n    <scene_description>Blatnoyd grabs the cylinder, runs after Xandra, unzipping his pants as he goes... DOC does some snooping... He goes to what looks like a closet door, he opens it -- CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HUGE ROOM - THAT MOMENT<\/stage_direction>\n    <scene_description>It's a pristine, long and narrow DENTAL OPERATION ROOM. ROWS OF DENTIST CHAIRS, EQUIPMENT ETC. A few chairs are occupied by clients (mostly hippie-types, cleaned up) There are DOCTORS and SEXY DENTAL ASSISTANTS wearing surgical masks. Some of them look up, see DOC, then go back to their patients. Doc takes this all in... BACK IN RUDY'S OFFICE Doc comes back in...<\/scene_description>\n    <character>JAPONICA<\/character>\n    <dialogue>Hi, Dr. Rudy... I'm back...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You're not Dr. Rudy...<\/dialogue>\n    <character>JAPONICA<\/character>\n    <dialogue>You're not Dr. Rudy...<\/dialogue>\n    <scene_description>A young girl has entered Blatnoyd's office: JAPONICA FENWAY (20). Doc recognizes her.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>That's at Japonica, ain't it? Japonica Fenway? Imagine meeting you here...<\/dialogue>\n    <scene_description>Doc walks slowly towards Japonica...<\/scene_description>\n    <character>SORTILEGE (V.O.)<\/character>\n    <dialogue>This was not a moment he'd been either dreading or hoping for, though now and then somebody would remind him of the ancient American Indian belief that if you save somebody's life, you are responsible for them from then on, forever, and he would wonder if any of that applied to his history with Japonica here... (more??)<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>So... what have you been up to?<\/dialogue>\n    <character>JAPONICA<\/character>\n    <dialogue>Oh. Escaping mostly? There's this, like, place my parents keep sending me to?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Escaping? Escaping what?<\/dialogue>\n    <character>JAPONICA<\/character>\n    <dialogue>Chryskylodon Institute.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Place up in Ojai...?<\/dialogue>\n    <character>JAPONICA<\/character>\n    <dialogue>You know it?<\/dialogue>\n    <scene_description>DR. BLATNOYD comes bursting back into the room, zipping up his pants --<\/scene_description>\n    <character>BLATNOYD<\/character>\n    <dialogue>Japonica? I thought we'd agreed never to --<\/dialogue>\n    <character>JAPONICA<\/character>\n    <dialogue>I escaped again, Rudy...<\/dialogue>\n    <character>BLATNOYD<\/character>\n    <parenthetical>(to Doc)<\/parenthetical>\n    <dialogue>What are you still doing here?<\/dialogue>\n    <scene_description>CUT TO: IN THE LOBBY - AT THAT MOMENT DENIS is walking around aimlessly looking for Doc. He's holding THE STEERING WHEEL from Doc's car and calling his name... Xandra is running behind him, zipping up her skirt...<\/scene_description>\n    <character>DENIS<\/character>\n    <dialogue>Doc? Doc? Where are you Doc?<\/dialogue>\n    <character>XANDRA<\/character>\n    <dialogue>No, no, no, where are you going? Come back here...!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DR. BLATNOYD'S OFFICE<\/stage_direction>\n    <scene_description>Denis enters into Blatnoyd's office --<\/scene_description>\n    <character>DENIS<\/character>\n    <dialogue>Hey, man... your ride's in a body shop.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>What is it this time?<\/dialogue>\n    <character>DENIS<\/character>\n    <dialogue>I sort of mashed the front end. I was looking at these chicks out on Little Santa Monica --<\/dialogue>\n    <character>XANDRA<\/character>\n    <dialogue>I told you you couldn't come up here!<\/dialogue>\n    <parenthetical>(to Japonica)<\/parenthetical>\n    <dialogue>Oh. How lovely. Smile Maintenance Chick.<\/dialogue>\n    <character>BLATNOYD<\/character>\n    <dialogue>Miss Fenway may seem a little psychotic today --<\/dialogue>\n    <character>DENIS<\/character>\n    <dialogue>Groovy.<\/dialogue>\n    <character>BLATNOYD<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Denis...<\/dialogue>\n    <character>BLATNOYD<\/character>\n    <dialogue>It's not 'groovy' to be insane. Japonica here has been institutionalized for it.<\/dialogue>\n    <character>DENIS<\/character>\n    <dialogue>They put those volts in your head?<\/dialogue>\n    <character>JAPONICA<\/character>\n    <dialogue>Volts and volts and volts.<\/dialogue>\n    <character>DENIS<\/character>\n    <dialogue>Bad for la cabeza.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Let's go, Denis, we gotta figure out a way to catch a bus back to the beach.<\/dialogue>\n    <character>JAPONICA<\/character>\n    <dialogue>If you need a ride, I'm heading that way --<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Cop-friendly? Everything cool with your ride, Japonica? Brake lights, license plates, so forth?<\/dialogue>\n    <character>JAPONICA<\/character>\n    <dialogue>A-okay.<\/dialogue>\n    <character>BLATNOYD<\/character>\n    <dialogue>Mind if I tag along with you people? Contingencies of the road and so forth?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Yes, yes. Okay. That's a good idea... and why don't we do a little bit more of that for the road --<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 1960 MERCEDES - EVENING<\/stage_direction>\n    <scene_description>PARKED. They all get in, DR. BLATNOYD pushes a MARKET BAG under the seat...<\/scene_description>\n    <character>DENIS<\/character>\n    <dialogue>What's in that bag you're stuffing under Doc's seat?<\/dialogue>\n    <character>BLATNOYD<\/character>\n    <dialogue>Pay no attention to that bag. It will only make everybody paranoid.<\/dialogue>\n    <scene_description>JAPONICA starts the car and pulls out into traffic -- CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 1960 MERCEDES (DRIVING)<\/stage_direction>\n    <scene_description>Japonica humming throughout --<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Ah, Japonica -- your lights? It'd be groovy, Japonica, really to have some lights working seeing's how Beverly Hills cops are known to lurk uphill on these different cross streets? Just waiting for minor violations like lights to pop folks on?<\/dialogue>\n    <character>BLATNOYD<\/character>\n    <dialogue>Everything all right, baby? Um, Japonica, dear? That was a red light?<\/dialogue>\n    <character>JAPONICA<\/character>\n    <dialogue>I don't think so... I think that was one of it's eyes.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Oh, well, yes, we can sure dig that, Japonica, but then again --<\/dialogue>\n    <character>BLATNOYD<\/character>\n    <dialogue>No, no, there's no 'it' watching you! Those are not 'eyes,' those are warnings to come to a full stop and wait till the light turns green, don't you remember learning that in school?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. STREET - MERCEDES - NIGHT<\/stage_direction>\n    <scene_description>They've been pulled over by the POLICE. Doc tries to calm everyone, etc... TWO ROOKIE COPS walk up to the car looking cautious and careful... GUNS RAISED and SHAKING VISIBLY... nervous as they approach the car.<\/scene_description>\n    <character>JAPONICA<\/character>\n    <dialogue>Are you the Great Beast?<\/dialogue>\n    <character>BLATNOYD<\/character>\n    <dialogue>No no no, that's a policeman, Japonica, who only wants to make sure you're all right.<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>You know you were driving without your headlights, miss?<\/dialogue>\n    <character>JAPONICA<\/character>\n    <dialogue>But I can see in the dark.<\/dialogue>\n    <character>BLATNOYD<\/character>\n    <dialogue>Her sister went into labor an hour ago and Miss Fenway promised she'd be there in time to see the baby born, so she might've been a little inattentive back there.<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>That case, maybe somebody else ought to be driving. And we'll need everybody's I.D.s, too.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Sure thing. What's it about, officer?<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>Every gathering of three or more civilians is now defined as a potential cult --<\/dialogue>\n    <character>DENIS<\/character>\n    <dialogue>What!? Charlie Manson again?<\/dialogue>\n    <character>NEXT COP<\/character>\n    <parenthetical>(to Cop)<\/parenthetical>\n    <dialogue>Did you hear that? He called him Charlie!<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>Shush -- Criteria including references to the book of Revelation, males with shoulder- length hair or longer and endangerment through automotive absentmindedness, all of which you folks have been exhibiting.<\/dialogue>\n    <character>DENIS<\/character>\n    <dialogue>Yeah, but we're in a Mercedes and it's only painted one color!<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Denis --<\/dialogue>\n    <scene_description>DOC notices that both COPS are very subtly SHAKING.<\/scene_description>\n    <character>COP<\/character>\n    <dialogue>We'll hand this all in, Mr. Sportello, and unless there's wants or warrants we don't know about, you won't hear any more on this...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEL AIR MANSION - NIGHT<\/stage_direction>\n    <scene_description>They've pulled up out front of a massive Bel Air home with a GATE AND A MOAT. BLATNOYD gets his BAG, climbs out of the car... goes to the INTERCOM on the gate, says --<\/scene_description>\n    <character>BLATNOYD<\/character>\n    <dialogue>Evening, Henrich.<\/dialogue>\n    <scene_description>-- and the gate opens... he says --<\/scene_description>\n    <character>BLATNOYD<\/character>\n    <dialogue>Won't be a minute.<\/dialogue>\n    <character>JAPONICA<\/character>\n    <dialogue>Aren't you the man you found me and brought me back to my dad that time?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I was only doing my job.<\/dialogue>\n    <character>JAPONICA<\/character>\n    <dialogue>Did he really want me back?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>He seemed like your standard worried parent.<\/dialogue>\n    <character>JAPONICA<\/character>\n    <dialogue>He's an asshole.<\/dialogue>\n    <scene_description>She's emotional. DOC gives her a card.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Here, this is my office number. I don't have regular hours, so you may not always find me in.<\/dialogue>\n    <character>JAPONICA<\/character>\n    <dialogue>If it's meant to be...<\/dialogue>\n    <character>FEMALE INTERCOM VOICE (V.O.)<\/character>\n    <dialogue>Dr. Blatnoyd wishes to inform you that he will be remaining as our guest and there is no further need for you to wait...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n    <character>SHASTA?<\/character>\n    <dialogue>Where's SHASTA? Reminder?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOC'S OFFICE - DAY\/NIGHT (NEXT NIGHT?)<\/stage_direction>\n    <scene_description>DOC walks up to his office, past PETUNIA, who tries to delay him. She isn't wearing underwear and she opens her legs...<\/scene_description>\n    <character>PETUNIA<\/character>\n    <dialogue>Oh, Doc, do you really have to go in right away?<\/dialogue>\n    <character>PETUNIA<\/character>\n    <dialogue>It's been ages since we had one of our interesting chats.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Petunia, are you trying to tell me I have visitors waiting?<\/dialogue>\n    <character>PETUNIA<\/character>\n    <dialogue>Not exactly.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Not exactly visitors?<\/dialogue>\n    <character>PETUNIA<\/character>\n    <dialogue>Not exactly waiting?<\/dialogue>\n    <scene_description>He opens up and looks inside: CLANCY CHARLOCK AND TARIQ KHALIL are on Doc's desk, fucking. TARIQ looks up.<\/scene_description>\n    <character>TARIQ<\/character>\n    <dialogue>Hey, Doctor Sportello, my man. This is all right, isn't it?<\/dialogue>\n    <scene_description>DOC closes the door, and looks at Petunia:<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Petunia, I know you have the soul of a matchmaker and normally I'm groovy with intimacy of all kinds, but not between elements in a case I'm working on. Too much information I end up never seeing --<\/dialogue>\n    <character>PETUNIA<\/character>\n    <dialogue>But it's too late, can't you see? They're in love! I'm just the karmic facilitator! I really have a gift for knowing who's supposed to be together and who's not and I'm never wrong. Love is the only thing that will ever save us!!!<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Who???!?!<\/dialogue>\n    <character>PETUNIA<\/character>\n    <dialogue>Everybody.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOC'S OFFICE - LATER<\/stage_direction>\n    <scene_description>DOC is making them some coffee. CLANCY is sitting by TARIQ, encouraging his sharing with Doc... PETUNIA here, too.<\/scene_description>\n    <character>TARIQ<\/character>\n    <dialogue>Alright... When I came here first time, I should've told you the whole thing. Too late now, but I still could've trusted you more...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Tell me what?<\/dialogue>\n    <character>CLANCY<\/character>\n    <parenthetical>(to Tariq)<\/parenthetical>\n    <dialogue>You need to tell him the whole thing...<\/dialogue>\n    <character>TARIQ<\/character>\n    <dialogue>Glenn didn't owe me money...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>... What did he owe you?<\/dialogue>\n    <character>TARIQ<\/character>\n    <dialogue>Guns. For my people at WAMBAM. Small arms... and some bazookas.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I can dig why you didn't want to get too specific... WAMBAM being?<\/dialogue>\n    <character>TARIQ<\/character>\n    <dialogue>Warriors Against The Man Black Armed Militia. Glen said he had friends who could score us guns and we're still waiting for our shipment as the revolution rolls on...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>And who were these 'friends' of Glen's that were arranging the arms deal?<\/dialogue>\n    <character>TARIQ<\/character>\n    <dialogue>Some bunch of honky dentists out on lower Sunset. Worked out of some weird-ass building look like a big tooth.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Uh-huh. Well. Maybe I can think of one or two places to look.<\/dialogue>\n    <scene_description>CUT TO: OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PLASTIC NICKEL DINER - NIGHT<\/stage_direction>\n    <scene_description>He's out to a dinner with Clancy and Tariq, who are both in the bathroom. THOMAS JEFFERSON's face is on a NICKEL emblem all over this restaurant. THOMAS JEFFERSON appears, sitting in a booth next to DOC, drinking coffee, says:<\/scene_description>\n    <character>DOC<\/character>\n    <parenthetical>(You look familiar -- are you the guy on the nickel?)<\/parenthetical>\n    <character>THOMAS JEFFERSON<\/character>\n    <dialogue>Thomas Jefferson. So. Guns and Opium. The Golden Fang not only traffic in enslavement, they peddle the implements of liberation as well.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Yeah... but as a founding father, don't you get freaked out a little with this revolution talk?<\/dialogue>\n    <character>THOMAS JEFFERSON<\/character>\n    <dialogue>The tree of liberty must be refreshed from time to time with the blood of patriots and tyrants. It is its natural manure.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Yeah, and what about when the patriots and tyrants turn out to be the same people?<\/dialogue>\n    <character>THOMAS JEFFERSON<\/character>\n    <dialogue>As long as they bleed is the thing.<\/dialogue>\n    <scene_description>Doc deep in thought...<\/scene_description>\n    <character>THOMAS JEFFERSON<\/character>\n    <dialogue>A nickel for your thoughts...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Glen Charlock... If Glen was tight with the Golden Fang, could they be the ones who took him out? Is he just another Rudy Blatnoyd, DDS who touched some acupressure point on the mysterious body of the Golden Fang so uncomfortably he had to be dealt with?<\/dialogue>\n    <character>THOMAS JEFFERSON<\/character>\n    <dialogue>Nobody trusted Glen -- the Aryan Brotherhood had him shitlisted as a traitor to his race, the Vigilant California was more than eager to help -- and the raid on Channel View Estates was a cover for the hit on Glen --<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>And so Mickey Wolfmann...?<\/dialogue>\n    <character>THOMAS JEFFERSON<\/character>\n    <dialogue>Mickey was a witness -- he walked in on something he shouldn't have the V.C. commandoes hustled him off -- Then the Feds found out, here's an acid-head billionaire ready to give away all his money -- and of course, they had their own ideas on how to spend it. As long time associates of the Golden Fang by way of scag-related activities, they got Mickey programmed into Ojai for a little brain work --<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Wait, wait, wait -- how do you know all this?<\/dialogue>\n    <character>THOMAS JEFFERSON<\/character>\n    <dialogue>I'm on the nickel. I'm everywhere. I see everything. Every time a hippie puts his hand out for loose change -- there I am.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>When you put it that way...<\/dialogue>\n    <character>THOMAS JEFFERSON<\/character>\n    <dialogue>Do you detect a common thread here, Lawrence?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I can trust any of these people?<\/dialogue>\n    <character>THOMAS JEFFERSON<\/character>\n    <dialogue>Excellent -- and what, if anything, are you gonna do about it?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Me? What can I do? I'm feeling pretty short on optimism right now, sir...<\/dialogue>\n    <character>THOMAS JEFFERSON<\/character>\n    <dialogue>Put it another way: What will nag you in the middle of the night, Lawrence?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>That little Amethyst... Coy Harlingen's daughter -- ... little kid blues... Amethyst. Amethyst: Coy Harlingen's little kid -- what's her future gonna look like without her dad? Mistakes aside, Coy certainly doesn't deserve to be without his daughter and his wife --<\/dialogue>\n    <scene_description>CLANCY arrives back to the table. DOC looks up:<\/scene_description>\n    <character>CLANCY<\/character>\n    <dialogue>Talking to yourself again? You need to find true love, Doc.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I'm happy for you and Tariq. But what happened to that two at a time?<\/dialogue>\n    <character>CLANCY<\/character>\n    <dialogue>Doc -- this guy is two at a time -- at least.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOC'S APARTMENT - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>... Doc is sitting up straight, sleeping. THE PHONE RINGS:<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Idiots Unlimited.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BIGFOOT'S HOUSE - SAME TIME<\/stage_direction>\n    <scene_description>His wife in the kitchen and his kids run around in the b.g.<\/scene_description>\n    <character>BIGFOOT<\/character>\n    <dialogue>I'm in an evil mood myself tonight. Dr. Rudy Blatnoyd, DDS?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Uh-huh...<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>... has perpetrated his last root canal, I'm afraid.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>What do you mean dead? Real life dead?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>We found him next to a trampoline in Bel Air with a fatal neck injury. So far we have no witnesses, no motives, no suspects apart from you --<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Not me. Why me?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Because you were observed in Blatnoyd's company, both of you riding in a vehicle full of drug crazed hippies.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Yeah, okay, well, the owner of that car? He's a very well- respected lawyer down in Palos Verdes, his daughter was driving... she offered me a ride? Cops never gave her a ticket? And Dr. Blatnoyd was her friend, not mine?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>I think it's time for one of our chats.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A75 INT. DOC'S CAR A75<\/stage_direction>\n    <character>DRIVING TO SEE BIGFOOT AT JAPANESE DINER.<\/character>\n    <dialogue>Sortilege watches him quietly -- (ALT: No Sortilege.)<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAPANESE COFFEE SHOP - DAY<\/stage_direction>\n    <scene_description>BIGFOOT has some PANCAKES that he eats with two forks.<\/scene_description>\n    <character>BIGFOOT<\/character>\n    <dialogue>I'd share these with you, but then you'd be addicted and it'd be something else on my conscience...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>.... you ever feel bitter you missed bein' up there at Cielo Drive? Stompin' around that famous crime scene?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>You want the truth?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Um. No?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Well, here it is anyway: Right now everyone is really scared.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Who? You? Me?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Odd, that fear should be running the town again as in days of old, like the Hollywood blacklist you don't remember and the Watts rioting you do -- it spreads, like blood in a swimming pool, till it occupies all the volume of the day. And then maybe some playful soul shows up with a bucketful of piranhas, dumps them in the pool, and right away they can taste the blood. They swim around looking for what's bleeding, but getting more and more crazy, till the craziness reaches a point. Which is when they begin to feed on each other.<\/dialogue>\n    <scene_description>BIGFOOT takes a BIG BITE.<\/scene_description>\n    <character>BIGFOOT<\/character>\n    <dialogue>This Coy Harlingen matter. On the face of it, just one more O.D., one less junkie, case cleared.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>So tell me what you've got...<\/dialogue>\n    <scene_description>Bigfoot presents some 3x5 INDEX CARDS... displays them like a card trick...<\/scene_description>\n    <character>BIGFOOT<\/character>\n    <dialogue>Pick a card... any card... These are Field Interrogation Reports... see if you find anything that looks familiar...<\/dialogue>\n    <scene_description>Doc picks the card that Bigfoot favors to him.<\/scene_description>\n    <character>BIGFOOT<\/character>\n    <dialogue>Puck Beaverton! Excellent choice. One of Mickey Wolfmann's bodyguards.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Interesting fellow, I hear...<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Sheriff's people happen to run into him at the Venice home of the very dealer who sold Coy Harlingen the smack that killed him.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>So what was Puck doing at Coy's dealer's place?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>The interesting thing about this overdose is that Leonard James Loosemeat, AKA El Drano, was known for this three-percent product... but the report says what killed him was Pure China White No. 4...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Like the kind you'd get from the whole-seller? Like whoever's bringing it in?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>I seem to recall that some years ago, just before he went into Folsom, Beaverton used to work for your best friend and loan shark Adrian Prussia...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Your best friend.<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>And this dealer El Drano also happened to be one of Prussia's steady customers. Maybe Puck was there on Adrian's behalf? What do you think?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I think you and Adrian have a history you're not sharing...<\/dialogue>\n    <scene_description>BIGFOOT screams to the Japanese WAITERS. CHOOTO, KENICHIRO! DOZO, MOTTO: PANNUKEIKU!:<\/scene_description>\n    <character>JAPANESE WAITER<\/character>\n    <dialogue>You got it, Lieutenant!<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <parenthetical>(to Doc)<\/parenthetical>\n    <dialogue>Pancakes aren't quite as good as my mother's -- what I really go for here is the respect.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Didn't get enough of that from your mom?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>You probably imagine I have a lot of status up in Robbery-Homicide. Who could blame you for thinking that... The reality, however... No Cielo Drive for Bigfoot. No TV movie rights or book deals for Bigfoot... even the extra work is drying up... God Help Us All. Dentists on trampolines.<\/dialogue>\n    <scene_description>Bigfoot is shaking his head slowly, Doc doesn't know how to deal with this...<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Okay, Bigfoot...<\/dialogue>\n    <scene_description>DOC writes something on a napkin...<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>It was dark, windy roads, couldn't make it back there if I tried in broad daylight --<\/dialogue>\n    <scene_description>He slides the napkin to him.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>That's the address where we dropped Dr. Rudy. It was about eleven.<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>That's just where we found him. This helps with the chronology. Hair and drug issues notwithstanding, I think you're being very professional about this...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Don't get sentimental on me, man, it fucks up your edge.<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>I can be even more emotionally irresponsible than that.<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>There are certain polygraph keys on this case that if I told you what they were, then the only ones who'd know would be Homicide, the killer and you.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Good thing you're not telling me.<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Suppose I tell you anyway?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Why should you?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Just so we know where we're 'at' as you people say.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>How about I put my fingers in my ears and scream if you try and tell me?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>You won't do that.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Really? Why don't I?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Because you're one of the few hippie potheads in this town that appreciate the distinction between childlike and childish. Besides... it's right up your alley -- we're officially calling it a neck injury --<\/dialogue>\n    <scene_description>DOC PLUGS HIS EARS AND STARTS TO MAKE NOISES \"blah, blah, blah.\" BIGFOOT SMACKS HIS HANDS AWAY.<\/scene_description>\n    <character>BIGFOOT<\/character>\n    <dialogue>Dr. Blatnoyd had puncture wounds on his throat, consistent with bites from canines of a midsize wild animal. That's what the coroner found.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Well, now that's mighty weird, Bigfoot. Because Rudy Blatnoyd was one of the partners in a tax dodge that calls itself the Golden Fang Enterprises. I don't suppose you had the SID test out those neck punctures for gold or nothin' like that?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>I shouldn't think there'd be much trace. Gold is all but chemically inactive, as you might have learned in chemistry class if you hadn't been ditching all the time to score dope.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>What happened to Locard's Exchange Principle? Every contact leaves traces? It would sure be ironic, man, is all I'm saying, if it turned out Blatnoyd was bit to death by a golden fang. Or even better, like two golden fangs.<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>I don't see why anything like that would be material?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Because it's the fucking Golden Fang.<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>The descendent's tax shelter. So what?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Not just a tax shelter, Bigfoot. Maybe something much more, more vast.<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>And this wouldn't be just more of your paranoid hippie bullshit, would it?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>And have the lab look for traces of copper. Not the kind that goes stumbling all over the crime scene contaminating evidence -- more like copper, the metal? See, gold teeth are never pure gold, dentists like to alloy it with copper? If you hadn't ditched forensics class to go steal hubcaps to plant on some innocent hippie, you might have known that.<\/dialogue>\n    <scene_description>Doc gets up and leaves.<\/scene_description>\n    <character>BIGFOOT<\/character>\n    <dialogue>Bet you almost feel like a cop now, Doc.<\/dialogue>\n    <scene_description>CUT TO: OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>R76 INT. DOC'S CAR (DRIVING) R76<\/stage_direction>\n    <scene_description>TO CHRYSKYLDON. Doc and Sortilege, driving in a canyon- type area...<\/scene_description>\n    <character>SORTILEGE<\/character>\n    <dialogue>... Where you off to?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Someplace up in Ojai called Chryskylodon.<\/dialogue>\n    <character>SORTILEGE<\/character>\n    <dialogue>Chryskylodon? Animal tooth?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Ancient Indian word means 'serenity.'<\/dialogue>\n    <character>SORTILEGE<\/character>\n    <dialogue>I minored in the classics at Stanford, that's not Indian, it's ancient Greek.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You went to Stanford?<\/dialogue>\n    <character>SORTILEGE<\/character>\n    <dialogue>It means 'Animal tooth made out of gold.'<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Have I told you lately how strong I think your morals are, Doc?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Thanks, 'Lege.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A77 EXT. GATES AT CHRYSKYLODON - DAY A77<\/stage_direction>\n    <scene_description>Doc goes through a security check. Patted down by security guards who are holding GUNS. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>B77 EXT. CHRYSKYLODON - DAY B77<\/stage_direction>\n    <scene_description>Doc drives up -- ESTABLISH SHOT... see building. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>C77 EXT. CHRYSKYLDON - DAY C77<\/stage_direction>\n    <scene_description>Arrival and greeting, handshakes outside... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM - DAY<\/stage_direction>\n    <scene_description>Doc walking through with DR. THREEPLY and staff...<\/scene_description>\n    <character>DR. THREEPLY<\/character>\n    <dialogue>This is our Administrative Lounge... Our Chenin Blanc comes from the Institute's own vineyard... Hand's steady as a rock today, Kimberly?<\/dialogue>\n    <character>KIMBERLY<\/character>\n    <dialogue>So happy you noticed, Dr. Threeply... more soup, Dr. Igor?<\/dialogue>\n    <character>DR. IGOR<\/character>\n    <dialogue>Thank you, Kimberly.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OTHER AREA - DAY<\/stage_direction>\n    <scene_description>Tour continues... picture of Sloane Wolfmann... sign under construction that partially reads, \"Made Possible Through The Selfless Generosity Of A Devoted Friend Of Chryskylodon.\"<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>What's in here?<\/dialogue>\n    <character>DR. THREEPLY<\/character>\n    <dialogue>A brand new wing for housing our Noncompliant Cases Unit...<\/dialogue>\n    <scene_description>Doc sees a bunch of kids cleaning the place... etc... Photo of Sloane, etc...<\/scene_description>\n    <character>SORTILEGE (V.O.)<\/character>\n    <dialogue>Doc was visited by the creepy feeling that somewhere close by, in some weird indeterminate space whose residents weren't sure where they were, inside or out of the frame, might indeed be some version of Mickey, not quite in the same way that the lady with the big check was a version of Sloane, but altered and -- he shivered -- maybe mentally or even physically compromised. If Sloane was endowing looney bins with Mickey's money, why not take some credit? Why be anonymous?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Nice.<\/dialogue>\n    <character>DR. THREEPLY<\/character>\n    <dialogue>Come, let's continue...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A79 INT. MOVIE THEATER - LOBBY\/HALLWAY - DAY A79<\/stage_direction>\n    <scene_description>Walking the hallway -- TWO VERSIONS -- with dialogue and without.<\/scene_description>\n    <character>STAFF ASSISTANT<\/character>\n    <dialogue>Have you been with us here before, Mr. Sportello? I know I've seen your face...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>First time I've been down here... normally I don't get much south of South City.<\/dialogue>\n    <character>DR. THREEPLY<\/character>\n    <dialogue>And ab-normally?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>DR. THREEPLY<\/character>\n    <dialogue>I only meant that with any number of qualified facilities in the Bay Area, why bother coming all the way down here to us?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I believe that just as chakras can be identified on the human body, so does the body Earth have these special places, concentrations of spiritual energy, grace, if you will, and that Ojai, for the presence of Mr. J. Krishnamurti alone, certainly qualifies as one of the more blessed of planetary chakras, which regrettably cannot be said for San Francisco or its immediate vicinity... Burke Stodger?<\/dialogue>\n    <character>DR. THREEPLY<\/character>\n    <dialogue>Part of our Burke Stodger marathon. All Burke, all day. 24 hours of Stodger. It's quite popular with our patients...<\/dialogue>\n    <scene_description>Doc and the tour poke their heads in... BURKE STODGER on the screen... Doc watches all the kids watching Burke Stodger... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEAM TUNNEL - DAY<\/stage_direction>\n    <scene_description>Doc and tour continue...<\/scene_description>\n    <character>DR. THREEPLY<\/character>\n    <dialogue>Come... see our Advanced Therapy Group...<\/dialogue>\n    <scene_description>Doc advances, sees a bunch of chanters in white robes... ... THE SOFT SOUND OF DISTANT CHANTING. A group of six or so in flowing robes\/hoods... Doc looks a little closer -- one of them is Coy Harlingen... A BIG ORDERLY is sitting in a nearby chair. He's rolling his TIE up under his chin, holding it there, then lifting his chin and letting the tie fall back down.....<\/scene_description>\n    <character>DOC'S POV<\/character>\n    <dialogue>THE TIE unrolls, revealing HAND PAINTED NAKED SHASTA WITH HER ASS STUCK OUT. Straight from Mickey's Tie Collection. The orderly rolls the tie back up to his chin... Doc's POV TILTS UP FROM the tie to see the SWASTIKA ON TOP OF THE ORDERLY'S HEAD... is this Puck Beaverton????<\/dialogue>\n    <character>BACK TO SCENE<\/character>\n    <dialogue>DR. THREEPLY<\/dialogue>\n    <scene_description>Any questions?<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Does that man have a swastika on his head?<\/dialogue>\n    <character>DR. THREEPLY<\/character>\n    <dialogue>No, he doesn't. That's an ancient Hindu symbol meaning 'all is well.' It brings good fortune, luck and well-being, what do you mean?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Only that it looks like a swastika to me...<\/dialogue>\n    <character>DR. THREEPLY<\/character>\n    <dialogue>He isn't a regular employee of the Institute, perhaps you should pay no attention to that man...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Ah-huh.<\/dialogue>\n    <scene_description>A MOMENT OF EYE CONTACT between ORDERLY\/PUCK and DOC... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY<\/stage_direction>\n    <scene_description>Doc continues on tour...<\/scene_description>\n    <character>DR. THREEPLY<\/character>\n    <dialogue>Next, we'll see the Institute's own Zen garden imported from Kyoto. Each pebble, each grain of white sand was transported and reassembled here exactly in place...<\/dialogue>\n    <character>A STAFF ASSOCIATE RUNS UP.<\/character>\n    <dialogue>STAFF ASSOCIATE<\/dialogue>\n    <scene_description>Doctor -- there's a problem with the volt generator in the Dungeon...<\/scene_description>\n    <character>(ALTERNATE)<\/character>\n    <dialogue>Doctor, there's a broken volt generator in the Dungeon...<\/dialogue>\n    <character>(ALTERNATE)<\/character>\n    <dialogue>Doctor -- the electroshock machine is acting fussy again...<\/dialogue>\n    <character>DR. THREEPLY<\/character>\n    <dialogue>Excuse me, Mr. Sportello...<\/dialogue>\n    <scene_description>He leaves. Doc goes snooping...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - DAY<\/stage_direction>\n    <scene_description>Kids cleaning hallways... Doc walks down... O.S. voice \"pssssssst.\" He goes into a --<\/scene_description>\n    <character>ROOM<\/character>\n    <dialogue>Coy is there...<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>Thinking of checking yourself in?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>More like lookin' for a way to get outta here. Couldn't afford it. I thought you were supposed to be clean these days -- what are you doing here?<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>Bi-monthly checkup.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Why can't you just leave, Coy?<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>It's part of the job, it's part of being dead...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You can't go back to your family, because if you did...?<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>It would be my ass. I've told you.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Or maybe you're as addicted to this as you were some other things...<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>This is a higher discipline. They saw something in me I didn't know I had.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You're a snitch, man.<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>I have a gift for projecting alternate personalities --<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>A spy and a weasel --<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>I have an addictive personality.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You're a stool pigeon, what about your girls, then? What about THAT?<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>Why are you mad at me?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I'm not mad at you...<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>What else was I gonna do? The baby was gonna die --<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>-- you made a choice, Coy --<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>I made the only one I had, man -- doesn't everybody wish they had a different life?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I'm not mad at you, Coy, I'm just -- what the fuck?<\/dialogue>\n    <scene_description>With that, COY is gone again... DOC hears CHANTING AGAIN... Something draws Doc to the window... he sees: PUCK BEAVERTON... leading the group of CHANTERS IN ROBES...<\/scene_description>\n    <character>SORTILEGE (V.O.)<\/character>\n    <dialogue>It was occurring to Doc now something someone said once about vertical integration... that if the Golden Fang can get its customers strung out, why not turn around and sell them a program to help kick? Get them coming and going, twice as much revenue and no worries about new customers... as long as American life was something to be escaped from, the cartel could always be sure of a bottomless pool of new customers.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A82 EXT. GROUNDS - DAY A82<\/stage_direction>\n    <scene_description>Doc follows Puck...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANOTHER AREA - DAY<\/stage_direction>\n    <scene_description>Doc follows Puck through the water... leads him to a BUNGALOW surrounded by FBI... Doc sees MICKEY WOLFMANN. Doc gets closer... and talks to Mickey... who's lounging on a patio\/deck area --<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Mickey...<\/dialogue>\n    <character>MICKEY<\/character>\n    <dialogue>... (Hello, little hippie... how are you?)<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>What are you doin' here?<\/dialogue>\n    <character>MICKEY<\/character>\n    <dialogue>They're helping me wake up from my bad hippie dream...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>What did you dream? Mickey... what did you dream?<\/dialogue>\n    <character>MICKEY<\/character>\n    <dialogue>I dreamed I gave away all my money... (I spent my whole life making people pay for shelter... ...when all along I didn't realize it should've been for free...)<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Who's brought you here?<\/dialogue>\n    <character>MICKEY<\/character>\n    <dialogue>My friends...<\/dialogue>\n    <character>DOC<\/character>\n    <parenthetical>(...)<\/parenthetical>\n    <character>MICKEY<\/character>\n    <dialogue>The bigger my setback, the bigger my comeback...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>... Mickey... where's Shasta?<\/dialogue>\n    <scene_description>Mickey gets emotional...<\/scene_description>\n    <character>FBI<\/character>\n    <dialogue>Step away from the subject...<\/dialogue>\n    <scene_description>CUT TO: 83, 84 OMITTED 83, 84<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI - HOLDING ROOM - DAY (VERSION 1)<\/stage_direction>\n    <scene_description>FLATWEED and BORDERLINE questioning DOC:<\/scene_description>\n    <character>FLATWEED<\/character>\n    <dialogue>You're making things awkward. This curiosity of the Michael Wolfmann matter is inappropriate.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Mickey? No longer even a active case for me, man, fact, I never even made a ticket on it, 'cause nobody was payin' me.<\/dialogue>\n    <character>FLATWEED<\/character>\n    <dialogue>Yet, you're up here.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Looking into something totally else. I can see how busy you fellows are, so rather than keep you, I think I'll just... LIKE, FUCKIN' RUN?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOLDING AREA (VERSION 2)<\/stage_direction>\n    <scene_description>FBI AGENT FLATWEED comes in...<\/scene_description>\n    <character>FLATWEED<\/character>\n    <dialogue>Your somewhat out on the probability curve and sure merits a closer look.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>How close is that, you're already upside my face here.<\/dialogue>\n    <character>FLATWEED<\/character>\n    <dialogue>I'd say you're the one who's too close. You recognized that subject, didn't you?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Elvis, was it?<\/dialogue>\n    <character>FLATWEED<\/character>\n    <dialogue>You're making things awkward. This curiosity of the Michael Wolfmann matter is inappropriate.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Mickey? No longer even a active case for me, man, fact, I never even made a ticket on it, 'cause nobody was payin' me.<\/dialogue>\n    <character>FLATWEED<\/character>\n    <dialogue>Yet, you pursue him all the way here.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I'm here looking into totally something else.<\/dialogue>\n    <character>FLATWEED<\/character>\n    <dialogue>Then you won't mind my sharing a thought. It's you hippies. You're making everybody crazy. We'd always assumed that Michael's conscience would never be a problem. After all his years of never appearing to have one. Suddenly he decides to change his life and give away millions to an assortment of degenerates -- Negroes, longhairs, drifters. Do you know what he said? We have it on tape. 'I feel as if I've awakened from a dream of a crime for I can never atone, an act I can never go back and choose not to commit.<\/dialogue>\n    <character>FLATWEED<\/character>\n    <dialogue>I can't believe I spent my whole life making people pay for shelter, when it ought to've been free. It's just so obvious.'<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You memorized all that?<\/dialogue>\n    <character>FLATWEED<\/character>\n    <dialogue>Another advantage of a marijuana- free life. You might want to try it.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I can see how busy you fellows are so rather than keep you, I think I'll just... LIKE, FUCKIN' RUN?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHRYSKOLODON - HOLDING AREA - LATER (VERSION 3)<\/stage_direction>\n    <scene_description>FLATWEED and BORDERLINE questioning DOC:<\/scene_description>\n    <character>FLATWEED<\/character>\n    <dialogue>You're somewhat out on the probability curve and sure merits a closer look.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>How close is that, you're already upside my face here.<\/dialogue>\n    <character>FLATWEED<\/character>\n    <dialogue>I'd say you're the one who's too close. You recognized that subject, didn't you?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Elvis, was it?<\/dialogue>\n    <character>FLATWEED<\/character>\n    <dialogue>You're making things awkward. This curiosity of the Michael Wolfmann matter is inappropriate.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Mickey? No longer even a active case for me, man, fact, I never even made a ticket on it, 'cause nobody was payin' me.<\/dialogue>\n    <character>FLATWEED<\/character>\n    <dialogue>Yet, you pursue him all the way here.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I'm here looking into totally something else.<\/dialogue>\n    <character>FLATWEED<\/character>\n    <dialogue>Then you won't mind my sharing a thought. It's you hippies. You're making everybody crazy.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>So you guys have your own ideas about how Mickey should be spending his money?<\/dialogue>\n    <character>FLATWEED<\/character>\n    <dialogue>Yes we do. There's better places it can go -- just look at Mr. Howard Hughes...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>... Howard Hughes...<\/dialogue>\n    <character>FLATWEED<\/character>\n    <dialogue>Bought the Desert Inn Hotel and Casino, a fine investment in the future of Las Vegas.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>... Las Vegas...<\/dialogue>\n    <character>BORDERLINE<\/character>\n    <dialogue>-- we'd always assumed Michael's conscience would never be a problem after all his years of never appearing to have one. Suddenly he decides to give away millions to Negroes, longhairs and drifters.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>My bad luck and lousy timing. Man sees the light, tries to change his life, my one big chance to rescue somebody from the clutches of the system, and I'm too late. I can see how busy you fellows are, so rather than keep you, I think I'll just... LIKE, FUCKIN' RUN?<\/dialogue>\n    <scene_description>CUT TO: 86, 87 OMITTED 86, 87 CLOSEUP - NEWSPAPERS \"MICKEY WOLFMANN RE-EMERGES! Opens New Casino in Las Vegas.\"<\/scene_description>\n    <character>SORTILEGE (V.O.)<\/character>\n    <dialogue>So in the never-ending battle between the FBI and the Mafia for control over Las Vegas... score one for the FBI... Mickey Wolfmann's money would be now spent a different way, opening the Kismet Hotel and Casino... no more acid-head philanthropist, no more Arrpentimiento... he was now back with Sloane and the kids and back to his greedy-ass ways...<\/dialogue>\n    <character>IMAGES INCLUDE A GROUNDBREAKING CEREMONY WITH MICKEY,<\/character>\n    <dialogue>looking reprogrammed. Sloane smiling. FBI lined up behind him... etc., etc., etc.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOC'S APARTMENT - DUSK<\/stage_direction>\n    <scene_description>Doc at home. Watching \"ADAM-12\" with Bigfoot doing some extra work. DOC LOOKS UP TO HIS DOOR.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Hi, Shasta.<\/dialogue>\n    <scene_description>REVEAL: INSIDE THE APARTMENT, in beach wear, T-shirt, flower print bikini bottom.<\/scene_description>\n    <character>SHASTA<\/character>\n    <dialogue>Hi, Doc.<\/dialogue>\n    <scene_description>Which is all it takes. He slides the newspaper casually down to conceal his hard-on.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Either I'm on the time machine or you're back.<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>I've been away.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>Up north. Family stuff. Anything been happening down here?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Your friend in the construction business?<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>Oh, that's all over...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You got a load of people out lookin' for you, Shasta...<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>Well, here I am.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>... he isn't back by any chance?<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>Some rumors. He's back with Sloane and the kids and so what? C'est la vie.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Que sera, sera?<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>Something like that...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I like your necklace...<\/dialogue>\n    <scene_description>CUT TO: ANOTHER ANGLE THE PHONE RINGS... Doc answers. Shasta mingles around the edges, gets a beer, smokes a joint, Doc watches her... INTERCUT WITH:<\/scene_description>\n    <character>INT. BIGFOOT'S HOUSE<\/character>\n    <dialogue>His kids screaming and killing each other in the b.g.<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Word is your girlfriend's back.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Oh, yeah? And her front's not so bad either.<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Where've you been?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>No place I'd recommend.<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Any developments on the Coy Harlingen matter? Any of them include young, what was his name again... Beaverton?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Any results on those Fang marks?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Nothing yet from Dr. Noguchi's people. They seemed very upset with me for suggesting lab work --<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Only thought it'd be a helpful tip to a fellow professional. Just trying save you some trouble down the line, is all.<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>How's that?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>When your own hearing comes up.<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>My, Sportello -- what are you suggesting?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>One county supervisor with a bug up his ass is all it takes to bring you down, Bigfoot --<\/dialogue>\n    <scene_description>TOTAL SILENCE.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Bigfoot?<\/dialogue>\n    <scene_description>An extension is picked up and we hear MRS. BIGFOOT get on the phone.<\/scene_description>\n    <character>MRS. BIGFOOT<\/character>\n    <dialogue>This is Mrs. Chastity Bjornsen, and if that is one more sociopathic 'special employee' of my husband, I'll thank you to stop harassing him on his day off --<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>There, there my little boysenberry. Sportello's only been indulging in his idea of humor.<\/dialogue>\n    <character>MRS. BIGFOOT<\/character>\n    <dialogue>Doc Sportello? The Doc Sportello? Mr. Moral Turpitude himself! Have you any idea of the therapist bills around here for which you are directly responsible?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>The Department picks up most of that, honey --<\/dialogue>\n    <character>MRS. BIGFOOT<\/character>\n    <dialogue>AFTER A DEDUCTIBLE THAT WOULD<\/dialogue>\n    <scene_description>DOC hangs up...<\/scene_description>\n    <character>SHASTA<\/character>\n    <dialogue>What kind of girl do you need, Doc? Maybe a thing for those Manson chicks?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Well, thing... that depends what you -- are you sure you wanna be doing that?<\/dialogue>\n    <scene_description>She's unbuttoned her shirt and is rubbing her nipples.<\/scene_description>\n    <character>SHASTA<\/character>\n    <dialogue>Submissive, brainwashed, horny little teeners who do exactly what you want before you even know what that is. You don't even have to say a word out loud, they get it all by ESP. Your kind of chick, Doc?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You the one that's been stealin' my magazines?<\/dialogue>\n    <scene_description>She slides out of her shirt and down on her knees, crawls over and grabs his hard-on...<\/scene_description>\n    <character>SHASTA<\/character>\n    <dialogue>Now, what would Charlie do?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Probably not this...<\/dialogue>\n    <scene_description>Doc lights a joint... he holds it for her to smoke...<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Look, I'm sorry about Mickey, but...<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>Mickey... Mickey could have taught all you swinging beach bums a thing or two. He was just so powerful. Sometimes he could almost make you feel invisible. Fast, brutal, not what you'd call a considerate lover, an animal, actually, but Sloane adored that about him, and Luz -- you could tell, we all did.<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>It's so nice to be made to feel invisible that way sometimes...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Yeah. And guys love to hear this shit like this.<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>He'd bring me to lunch in Beverly Hills, one big hand all the way around my bare arm, steering me blind down out of those bright streets into some space where it was dark and cool and you couldn't smell any food, only alcohol -- they'd all be drinking, tables full of them, in a room that could have been any size, and they all knew Mickey, they wanted, some of them, to be Mickey... He might as well have been bringing me in on a leash. He kept me in those micro minidresses, never allowed me to wear anything underneath... just offering me to whoever wanted to stare. Or grab. Or sometimes he'd fix me up with his friends. And I'd have to do whatever they wanted...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Why are you telling me all this?<\/dialogue>\n    <scene_description>She drapes herself over him and plays with her pussy.<\/scene_description>\n    <character>SHASTA<\/character>\n    <dialogue>Oh, I'm sorry, Doc. Do you want me to stop? If my girlfriend had run away to be the bought-and-sold whore of some scumbag developer? I'd just be so angry I don't know what I'd do. Well, no, I'm even lying about that, I know what I'd do. If I had the faithless little bitch over my lap like this --<\/dialogue>\n    <scene_description>And they're fucking. CUT TO: SAME SCENE - LATER Doc and Shasta together.<\/scene_description>\n    <character>SHASTA<\/character>\n    <dialogue>This doesn't mean we're back together.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>'Course not.<\/dialogue>\n    <scene_description>BEAT.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>You didn't get that necklace up north did you?<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>I went on a boat ride.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Like a three-hour tour?<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>They told me I was precious cargo that couldn't be insured because of inherent vice.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>I don't know... something on your mind?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I met a friend of yours...<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>Who's that?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Coy Harlingen. And he's clean.<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>Glad to hear it. Long may he wave.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>He's been working as a snitch for the LAPD, and I also saw him on the tube working undercover for this outfit called Vigilant California... and you don't look surprised enough, Shasta, he's meant to be dead...<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>Then I guess that one's on my ticket because it was me who introduced him to Burke Stodger and Burke who set him up with the Viggies...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Help me out here, how do you know Burke Stodger?<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>We were neighbors in Hancock Park.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Didn't think you liked those kindsa movies...<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>I saw him on a 'Brady Bunch' episode once. We walked our dogs at the same time each morning...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Which one?<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>Which one what?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Which episode?<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>Jan gets a wig. Gets tired of being a blonde.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Not the same thing as changing your politics, I guess.<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>I told him I had a friend who needed to kick drugs -- and he told me he knew a program that really worked... and then Coy just disappeared.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>... and were you seeing Mickey then?<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>... god, you're a nosy fuck, aren't you?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Put it this way... how did you and Coy's wife get along?<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>Was I running around on Mickey? What a thing to ask.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>When did I --<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>In case you haven't figured it out, I was never the sweetest girl in the business...<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>...but there was no reason for me to waste a minute on a sick junkie like Coy... he wasn't my charity project and if you stop to think about some of the girls you've hung out with...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Alright -- whatever you meant to do, Shasta, you ended up saving Coy's life... now he's a snitch for the LAPD and an undercover agent for the Viggies and maybe the Golden Fang -- the outfit, not the boat -- and there's a few stiffs so far that may or may not be on his karmic ticket.<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>I should be saying 'Coy's a big boy and he can take care of himself,' but the only thing is I don't think he can...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>But whatever these people are into, it ain't helping junkies get back on the straight and narrow... What did he think was gonna happen? That cover story about him being dead fell apart from the second he started using it? What the hell was he thinking?<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>... what do you think was gonna happen when you got into your whole P.I. trip?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Different situation.<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>Oh? Far as I can see, you and Coy, you're peas in a pod.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>How's that? I'm not working for them.<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>Cops who never wanted to be cops.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Yeah, but I'm not working for any of those folks...<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>Rather be surfing or smoking or fucking or anything else but what you're doing.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Yeah, but I'm not working for anyone, Shasta, I'm a force for the good.<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>You guys must've thought you'd be chasing criminals, and instead here you are both working for them.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Ouch.<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>Courage, Camile. You're still a long way from LAPD material... (Sorry... I'm just being actressy, Doc. I love those zingers, I can't resist 'em...)<\/dialogue>\n    <scene_description>CUT TO: BEACH (NOTE: see pg. 314. Shasta and Doc walking, etc...)<\/scene_description>\n    <character>SORTILEGE (V.O.)<\/character>\n    <dialogue>Could that be true? All this time, Doc assumed he'd been out busting his balls for folks who, if they paid him anything it'd be half a lid or a small favor down the line or maybe only just a quick smile, long as it was real. He began to run through the cash customers he could remember, starting with Crocker Fenway and going on through studio executives, stock market heroes of the go-go years, remittance men from far away who needed new pussy or dope connections, rich old guys with cute young wives and vice versa... It was sure a piss-poor record, not too different, after all, he guessed, from interests Coy had been working for. Forget who -- what was he working for anymore?<\/dialogue>\n    <parenthetical>(NOTE: Poss. actressy line here on beach, post-narr.)<\/parenthetical>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WASTE A PERP SHOOTING RANGE - DAY (OR INT. PHONE<\/stage_direction>\n    <character>CALL)<\/character>\n    <dialogue>Doc comes to see Bigfoot who's in the Chicano\/Negro\/Hippie section.<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Mrs. Bjornsen sends her regards.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Can I say something out loud, is anybody listening?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Everybody. Nobody. Does it matter?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Alright, then: Correct me if I'm mistaken, Bigfoot, but it's clear to me that you're desperate to have a word with Adrian Prussia but can't let on, because otherwise you're in deep shit with powers unnamed -- so you're using me instead -- have I got that more or less right?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>We're in sensitive territory here, Sportello.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Well, somebody's gonna have to be less sensitive for a minute and just wipe off their chin and stand up and deal with it. If there's something you need, just come on out and say it, how hard can that be?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Pretty hard. Internal Affairs has it all locked down.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Internal Affairs, what does Internal Affairs have to do with this?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Figure it out. Use what's left of your brain. The trouble with you people is that you never know when somebody's doing you a favor -- you think you're entitled because you're cute or something. Go look in the mirror sometime.<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>'Dig' yourself, 'man,' till you understand nobody owes you anything. Then get back to me.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALL OF JUSTICE - DAY<\/stage_direction>\n    <scene_description>DOC comes into see current girlfriend: PENNY KIMBALL. Her cubicle mate is a straight-looking DA RHUS FROTHINGHAM.<\/scene_description>\n    <character>RHUS<\/character>\n    <dialogue>Are you all right? Should I call security?<\/dialogue>\n    <character>PENNY<\/character>\n    <parenthetical>(to Doc)<\/parenthetical>\n    <dialogue>Am I?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Only wondering when you'd be free for dinner. Didn't mean to freak you out. I'll even spring for it.<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>I'm fine, Rhus, thank you.<\/dialogue>\n    <parenthetical>(as he leaves)<\/parenthetical>\n    <dialogue>Listen, would you mind if we just went back to my place?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Wait... what?<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>And we can pick up a pizza on the way.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>A pizza?<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>I can hear you getting a hard-on.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Well, okay, I'll see you back at your place -- no, no, no, wait a minute, I came here for a reason --<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I need to look at somebody's jacket. Ancient history, but it's probably under lock and key...<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>That's it? No big deal, we do that all the time.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>What, break into officially sealed records? And here I had all this faith in the system.<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Oh, Doc. Grow up. What's the name?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Adrian Prussia.<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Ewwwwwwww. Really?... that'd be an Internal Affairs file.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Internal Affairs? What does Internal Affairs have to do with this?<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Adrian Prussia has been booked on murder one charges more times than I can remember... and each time, he's walked...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>So what are you guys doing wrong?<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Last time was called a justifiable homicide of one of the LAPD's very own...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Your friend's partner...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>What's that? Which friend? Hang on.<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Bigfoot.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>What what now?<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Adrian's like the LAPD'S own personal hitman, doing deeds for them that they won't do themselves...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>And you know all this because...?<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Everyone does. State Attorney General's office has been after him for years but nobody can touch him, partly because of this interesting portfolio of<\/dialogue>\n    <dialogue>IOUs he has -- and that's always enough to guarantee obedience.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Obedience to who?<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Commanders. Controllers. The Department itself.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>So someone inside the LAPD ordered a hit on Bigfoot's partner?<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>You think it's all some monolithic fun fest down here, Doc? Nothing to do all day but figure out new ways to persecute you hippies?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Did you change your hair?<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Somebody talked me into seeing this hotshot on Rodeo Drive. He put these streaks in and called it the Surfer Chick Special --<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>For me?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Who else?<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Or maybe you'd go for Lynette Squeaky Fromme-type look?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Long and curly? Well, huh?<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Thing for those Manson chicks?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Wait a minute...<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Word around you go in for that sort of thing...<\/dialogue>\n    <scene_description>Doc is speechless.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Why was I here again?<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>You wanted to see a restricted file. (Adrian Prussia.)<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>So Adrian Prussia kills Bigfoot's partner with the apparent collaboration of elements within the Department. Everybody knows he did the deed but there's no back channel outcries in the paper, no vigilante revenge by horrified fellow officers... No, instead it's locked up tight for the next thirty years, everybody pretending it's another cop hero fallen in the line of duty. Forget about decency, or respecting the memories of all the real dead-cop heroes -- how can people be that fuckin' unprofessional?<\/dialogue>\n    <scene_description>Penny is tearing up... Doc sees she's human.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Penny?<\/dialogue>\n    <scene_description>CLOSEUP - DOC looking at Adrian Prussia's INTERNAL AFFAIRS FILE. He sees of picture of Adrian onboard the GOLDEN FANG...<\/scene_description>\n    <character>SORTILEGE (V.O.)<\/character>\n    <dialogue>What Doc was seeing now was something that made his heart hurt... that Bigfoot's pain was deep. That Adrian Prussia worked not only as a what seemed to be a personal loan shark for the LAPD but moon-lit as their own personal contract-killer -- doing deeds for them that they couldn't do themselves. Time after time, he was pulled in, questioned, arraigned, indicted, no matter -- somehow the cases never quite got to trial, each being bargained down in the interests of justice, not to mention Adrian, who invariably walked. And one of those deeds appeared to be<\/dialogue>\n    <character>SORTILEGE (V.O.)<\/character>\n    <dialogue>labeled 'the justifiable homicide' of one of the LAPD'S very own named Vincent Indelicato... Bigfoot's partner. Lieutenant Detective Christian F. Bigfoot Bjornsen... This was mourning all right, and it was deep. Bigfoot's air of possessed melancholy now made sense.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AP FINANCE - DAY<\/stage_direction>\n    <scene_description>Adrian Prussia Finance is somewhere between downtown and South Central and the Wash. Doc pulls up, parks, looks around... There's a BUNCH OF MEN LOITERING AROUND... Doc notices them, they notice him...<\/scene_description>\n    <character>SORTILEGE (V.O.)<\/character>\n    <dialogue>Doc knew he had needed to see Adrian Prussia at some point... he'd really been avoiding it, mostly because Bigfoot was pushing him towards it -- but here he is: looking for something he doesn't want to find and seeing someone he doesn't want to see -- (and where's the partner to watch Doc's back?)<\/dialogue>\n    <character>(ALTERNATE)<\/character>\n    <parenthetical>(wondering, 'where's the partner to watch my back?)<\/parenthetical>\n    <character>OFF IN THE DISTANCE<\/character>\n    <dialogue>Bigfoot watching...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AP FINANCE - DAY<\/stage_direction>\n    <scene_description>It's nondescript offices. A SECRETARY is here:<\/scene_description>\n    <character>SECRETARY<\/character>\n    <dialogue>May I help you?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I'm here to see Adrian Prussia, my name is Doc Sportello.<\/dialogue>\n    <character>SECRETARY<\/character>\n    <dialogue>Yes. May I tell him what it's regarding?<\/dialogue>\n    <character>DOC<\/character>\n    <parenthetical>(...)<\/parenthetical>\n    <character>SECRETARY<\/character>\n    <dialogue>What is it regarding?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Bigfoot Bjornsen.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ADRIAN'S OFFICE - MOMENTS LATER<\/stage_direction>\n    <scene_description>DOC is let in by the Secretary. He enters. It's covered... wall-to-wall with BASEBALL BATS... ADRIAN is sitting behind a desk...<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Afternoon...<\/dialogue>\n    <character>ADRIAN<\/character>\n    <dialogue>So, you here about... (Bigfoot)<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Good question.<\/dialogue>\n    <character>ADRIAN<\/character>\n    <dialogue>Wait-a-minute. This is bullshit, I remember you -- the kid from Fritz's shop out in Santa Monica, right? I lent you my special edition Carl Yastrzemski bat once, to collect from that child-support deadbeat you chased down the Greyhound and pulled him off of, and then you wouldn't use it.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I tried to explain at the time, it had to do with how much I've always admired Yaz?<\/dialogue>\n    <character>ADRIAN<\/character>\n    <dialogue>There's no place for that in this business. So what are you up to these days? Skip tracing or'd you go into the priesthood?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>P.I.<\/dialogue>\n    <character>ADRIAN<\/character>\n    <dialogue>They gave you a license? So who sent you here? Who you working for today?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>All on spec. All on my own time.<\/dialogue>\n    <character>ADRIAN<\/character>\n    <dialogue>Wrong answer. How much of your own time do you think you got left, kid?<\/dialogue>\n    <scene_description>Adrian presses a buzzer under his desk...<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>I was just about to ask...<\/dialogue>\n    <scene_description>ENTER: PUCK BEAVERTON.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Howdy... Puck...<\/dialogue>\n    <character>PUCK<\/character>\n    <dialogue>Do I know you? I don't think I do.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You look like somebody I ran across once. My mistake.<\/dialogue>\n    <character>PUCK<\/character>\n    <dialogue>Your mistake.<\/dialogue>\n    <character>ADRIAN<\/character>\n    <dialogue>I have a busy day ahead. And I know nothing of any of this.<\/dialogue>\n    <scene_description>PUCK sits at Adrian's desk and lights up A VERY LARGE JOINT. He takes a hit, hands it over to Doc... Doc notices PUCK wearing the same seashell necklace as Shasta.<\/scene_description>\n    <character>PUCK<\/character>\n    <dialogue>It helps to have a bad memory sometimes..... (You didn't take my advice.) So what can I help you with today?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I'm not sure. It's these cases I'm working on... wondering if you can shed some light on the winding out at Channel View Estates with Glen Charlock?<\/dialogue>\n    <character>PUCK<\/character>\n    <dialogue>Glen was the target all along. That outfit he was runnin' guns for didn't trust him anymore than the Brotherhood who shitlisted him for being a traitor to his race...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>And what about Mickey Wolfmann...<\/dialogue>\n    <character>PUCK<\/character>\n    <dialogue>Mickey just saw things he shouldn't've. The boys in the John Wayne outfits at Channel View panicked and hustled him away -- then the Feds found out -- here's an acid-head billionaire about to give away all his money -- and, of course, they had their own ideas on how to spend it -- then they programmed Mickey into Ojai for a little brain work.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>While we're just talking here -- did you know a detective named Vincent Indelicato?<\/dialogue>\n    <character>PUCK<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>He met an untimely end -- any ideas on what might have happened<\/dialogue>\n    <character>PUCK<\/character>\n    <dialogue>That was Adrian's. But I got to pull the trigger...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>... So who hired Adrian?<\/dialogue>\n    <character>PUCK<\/character>\n    <dialogue>It's cop-on-cop. Kind of a waste of time to try and figure out...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>... Why are you telling me all this?<\/dialogue>\n    <character>PUCK<\/character>\n    <dialogue>After faithful attendance at Ninja School in Boyle Heights, I have become a master in the technique known as false inhaling -- Acid invites you through a door. PCP opens the door, shoves you through, slams it behind you and locks it.<\/dialogue>\n    <scene_description>CUT TO BLACK.: OVER BLACK<\/scene_description>\n    <character>SORTILEGE (V.O.)<\/character>\n    <dialogue>So commencing a classic and memorable bummer...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM WITH WINDOWS<\/stage_direction>\n    <character>PCP TRIP.<\/character>\n    <dialogue>There are two Docs, one on each side of a window in a strange room.<\/dialogue>\n    <character>DOC #2<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You look just like you do in the mirror.<\/dialogue>\n    <character>DOC #2<\/character>\n    <dialogue>Groovy, because you don't look like anything, in fact you're invisible.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>How can you see me?<\/dialogue>\n    <character>DOC #2<\/character>\n    <dialogue>Because I'm lookin' right at you. How come you ask so many questions?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>That's my job. Like, what I do.<\/dialogue>\n    <character>DOC #2<\/character>\n    <dialogue>And perhaps you could get a fuckin' haircut.<\/dialogue>\n    <scene_description>Docs turn and look at another window. There's a LARGE BLACK-HOODED FIGURE WITH NO FACE.<\/scene_description>\n    <character>GOLDEN FANG<\/character>\n    <dialogue>As you may have already gathered -- I am the Golden Fang.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Like J. Edgar Hoover 'is' the FBI?<\/dialogue>\n    <character>GOLDEN FANG<\/character>\n    <dialogue>Not exactly... they have named themselves after their worst fear. I am the unthinkable vengeance they turn to when one of them has grown insupportably troublesome, when all other sanctions have failed.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Okay if I ask you something?<\/dialogue>\n    <character>GOLDEN FANG<\/character>\n    <dialogue>About Dr. Blatnoyd. Dr. Blatnoyd had a fatality for rogue profit sharing activities of which his coadjustors have taken a dim view.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>So you... ate him up?<\/dialogue>\n    <character>GOLDEN FANG<\/character>\n    <dialogue>Sunk these into him --<\/dialogue>\n    <scene_description>Doc walks towards the Golden Fang, unable to do anything else, it embraces him, and then EATS HIM ALIVE.<\/scene_description>\n    <character>VOICE (O.S.)<\/character>\n    <dialogue>He's freaking out...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Am not.<\/dialogue>\n    <scene_description>ANOTHER ANGLE - LATER Doc comes out of the PCP fog and realizes he's been HANDCUFFED to something. A bed? His gun is gone. He's in deep shit. He's able to peer out a window, he's on the second floor of someplace with a warehouse. There's a CAR and a MOTORCYCLE parked here... Puck is here ....<\/scene_description>\n    <character>PUCK<\/character>\n    <dialogue>Didn't know you were a weekend warrior... I could have gone cheap and used beer... Special treat for you today, Doc. We just got in a shipment of Pure Number Four, not a white guy's finger laid on it between the Golden Triangle and your own throbbin' vein, and there's worse ways to be removed forever from the major-pain-in-the-ass list. Just let me step out here and get you some. Don't go away now.<\/dialogue>\n    <scene_description>PUCK leaves... closes the door and locks it on the outside... DOC, still in a PCP fog... STARTS PULLING THE HANDCUFFS AROUND HIS WRIST THAT IS ATTACHED TO THE BED POST... BREAKS IT. LIKE AN ANIMAL HE TEARS THE BEDPOST APART. He stands up on the chair, unscrews the light bulb. It's pitch black. He waits. Puck opens the door... Doc whips the TOILET SEAT INTO HIS FACE, then instantly smashes his foot down into Puck's knee, bringing him down .... A TRAY AND NEEDLE AND DOPE FALL TO THE FLOOR FROM PUCK'S HANDS. Doc takes the syringe from the floor, draws up the dope and plunges it straight into Puck's jugular. He gets his gun off Puck...<\/scene_description>\n    <character>ADRIAN (O.S.)<\/character>\n    <dialogue>Puck? Puckie?<\/dialogue>\n    <scene_description>DOC gets his GUN off PUCK'S DEAD BODY... and goes into the hallway... Adrian FIRES A SHOT THAT HITS A GONG BEHIND DOC -- THAT RINGS OUT THROUGH THE REST OF THE SCENE. Doc crouches behind a sofa, takes off his SANDAL and throws it in the general direction of Adrian... THIS DRAWS A SHOT FROM THE PATIO FROM ADRIAN. MUZZLE FLASH. SMOKE... DOC trains his gun up... Waits until he sees a DENSE PATCH OF MOVING SHADOW AND FIRES OFF THREE ROUNDS... THERE'S A FAINT SOUND... AND THERE'S NO SOUND AFTER THAT. DOC WAITS UNTIL HE HEARS SOME INVISIBLE CRYING, BREATHING IN THE ROOM SOMEWHERE:<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>That you, Adrian?<\/dialogue>\n    <character>ADRIAN<\/character>\n    <dialogue>I'm fuckin' lunch meat... oh, shit...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Did I get you?<\/dialogue>\n    <character>ADRIAN<\/character>\n    <dialogue>You got me.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Fatal, I hope?<\/dialogue>\n    <character>ADRIAN<\/character>\n    <dialogue>Feels like it.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>How can I know for sure?<\/dialogue>\n    <character>ADRIAN<\/character>\n    <dialogue>Maybe it'll be on news at 11, asshole.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Stay there. Try not to croak, I'll call this in.<\/dialogue>\n    <scene_description>DOC gets into the KITCHEN AND CALLS AN AMBULANCE... BELOW THE KITCHEN, HE HEARS MOVEMENT IN THE GARAGE. He creeps down for a look, his pistol ready -- INSIDE THE GARAGE It's BIGFOOT, who's unloading a bunch of HEROIN PACKS from Adrian's Lincoln Continental and into a '65 Impala...<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Bigfoot? Bigfoot, what the fuck?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Take care of 'em okay, Doc?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You fuckin' lunatic. What is this?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>I'm in enough shit personally with the captain and I've seen you on the range... Nice work.<\/dialogue>\n    <scene_description>BIGFOOT puts the PARCEL into his car...<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>And that there, is that what I think it is?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Well... it's only one. There's more. Enough left for evidence.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Bigfoot, Bigfoot, I saw the movie, man, and as I recall, that character comes to a bad end.<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>I have obligations. Expenses.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>This is the Golden Fang you're about to rip off here, man. The fully fuckin' weird outfit that kills people --<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>That's according to your own delusional system --<\/dialogue>\n    <character>... COPS AND STUFF START TO APPROACH IN THE DISTANT<\/character>\n    <dialogue>B.G...<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Get in the car.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Fuck you, Bigfoot. You're a fucking lunatic.<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Get in the car.<\/dialogue>\n    <scene_description>Bigfoot gets Doc in the car. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BIGFOOT'S CAR (MOVING)<\/stage_direction>\n    <scene_description>They're driving. DOC is silent, he looks out the window that's open... wind blowing... Bigfoot's driving fast.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>You're the LAPD's own Charlie Manson... where are we going?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>We had to impound your car again.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CANOGA PARK TOW YARD - NIGHT<\/stage_direction>\n    <scene_description>DOC is waiting out front of the tow yard... filling out some paperwork... Bigfoot is around back... he takes a KILO out of his trunk and plants it in Doc's trunk... Bigfoot brings Doc's car around, hands him keys...<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Maybe I should take a small commission for doing your dirty work.<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>BUT THAT WOULD PUT YOU ON THE<\/dialogue>\n    <character>FUCKING PAYROLL, WOULDN'T IT?????<\/character>\n    <dialogue>Bigfoot gets in his car and drives off... Doc gets in his car...<\/dialogue>\n    <character>SORTILEGE<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>Doper's ESP, Doc... doper's ESP... listen to it...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DENIS' APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Doc has put the heroin into an CARDBOARD TV BOX. Denis is here with Jade... they hide it in Denis' apartment.<\/scene_description>\n    <character>DENIS<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>JADE<\/character>\n    <dialogue>A new TV!!!!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOC'S PLACE - MORNING<\/stage_direction>\n    <scene_description>It's the next morning. DOC is sitting on his couch. He's waiting for the phone to ring, drinking coffee. TV playing something... JOHN GARFIELD, He Ran All The Way. THE PHONE RINGS.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>MALE<\/character>\n    <dialogue>It's sure been a long time...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>And your name was...<\/dialogue>\n    <character>MALE<\/character>\n    <dialogue>This is Crocker Fenway.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Japonica's dad? Japonica's gone missing again?<\/dialogue>\n    <character>CROCKER FENWAY (V.O.)<\/character>\n    <dialogue>You have something that belongs to some people I represent and they'd like it back...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>So not that it's any of my business, but you're a principal in all this?<\/dialogue>\n    <character>CROCKER FENWAY (V.O.)<\/character>\n    <dialogue>It's only because of me and our small transaction over Japonica that you're still alive...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Ever so grateful, sir... so what do we do? I'd come to your house, but don't you live behind a gate in an already gated community?<\/dialogue>\n    <character>CROCKER FENWAY (V.O.)<\/character>\n    <dialogue>You people do humor?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Well... more like practicality.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RESTAURANT (LOCATION TBD) - LATER<\/stage_direction>\n    <scene_description>Doc is here, trying to keep it together. Crocker Fenway (50s, white, lawyer) slides into a booth with him and looks at him, orders a rum and Coke.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>... How's the family?<\/dialogue>\n    <character>CROCKER FENWAY<\/character>\n    <dialogue>Mrs. Fenway still looks like the Gross National Product and Japonica is fine, if that's what you mean.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Yeah, thought I saw old Japonica at my doctor's office just the other day... By the way, did you ever run into a dentist named Rudy Blatnoyd?<\/dialogue>\n    <character>CROCKER FENWAY<\/character>\n    <dialogue>Yes, I do seem to recall the name, perished in a trampoline accident, didn't he?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>The LAPD's not sure it was an accident.<\/dialogue>\n    <character>CROCKER FENWAY<\/character>\n    <dialogue>And you're wondering if I did it? What possible motive would I have? Just because the man preyed on an emotionally vulnerable child, tore her from the embrace of a loving family, forced her to engage in sexual practices that might appall even a sophisticate like yourself -- does that mean I'd have any reason to see his miserable pedophile career come to an end? What a vindictive person you must imagine me.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You know... I did suspect he was fucking his receptionist.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>But I mean, what dentist doesn't, it's some oath they all have to take in dentist school, and anyhow that's a long way from strange and weird sex. Isn't it?<\/dialogue>\n    <character>CROCKER FENWAY<\/character>\n    <dialogue>How about when he forced my little girl to listen to original cast albums of Broadway musicals while he had his way with her?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Japonica's legal age now, isn't she?<\/dialogue>\n    <character>CROCKER FENWAY<\/character>\n    <dialogue>In a father's eye, they're always too young.<\/dialogue>\n    <scene_description>BEAT. They look at each other.<\/scene_description>\n    <character>CROCKER FENWAY<\/character>\n    <dialogue>To the matter at hand.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>So I suppose you want your drugs back. And I also suppose you think I want some money -- but what if it didn't have to be in the form of money...<\/dialogue>\n    <character>CROCKER FENWAY<\/character>\n    <dialogue>Well, money would be a lot easier.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I've been more concerned about the safety of some people.<\/dialogue>\n    <character>CROCKER FENWAY<\/character>\n    <dialogue>... How much of a threat are they to my principles?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>There's a saxophone player named Coy Harlingen, who's been working undercover for different antisubversive outfits, including the LAPD. He's come to feel lately that he made the wrong career choice. It lost him his family and his freedom. Like you, he has an only daughter.<\/dialogue>\n    <character>CROCKER FENWAY<\/character>\n    <dialogue>Please.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Okay, well, anyway, now he wants out.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I think I can square it with the heat, but there's this other bunch called Vigilant California and... well, whoever's running them, of course.<\/dialogue>\n    <character>CROCKER FENWAY<\/character>\n    <dialogue>My guess is that they'd prefer he didn't disclose any confidential information.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Last thing he'd ever do.<\/dialogue>\n    <character>CROCKER FENWAY<\/character>\n    <dialogue>Your personal guarantee.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I'll go after him myself he tries anything.<\/dialogue>\n    <character>CROCKER FENWAY<\/character>\n    <dialogue>That's all you wanted. No money, now, you sure?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>How much money would I have to take from you so I don't lose your respect?<\/dialogue>\n    <character>CROCKER FENWAY<\/character>\n    <dialogue>People like you lose all claim to respect the first time they pay anybody rent.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>And when the first landlord decided to stiff the first renter for his security deposit, your whole fucking class lost everybody's respect.<\/dialogue>\n    <character>CROCKER FENWAY<\/character>\n    <dialogue>Ah, so you're looking for what? A refund? Plus how many years interest?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Course. Nothin' to you. Just a couple hundred bucks to roll up and snort coke through...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHOPPING MALL (ARTESIA AND HAWTHORNE) - MORNING<\/stage_direction>\n    <scene_description>It's Sunday morning. Empty parking lot. DOC has brought DENIS along. JADE is in the backseat... They sit in (some borrowed?) car and wait...<\/scene_description>\n    <character>DENIS<\/character>\n    <dialogue>... You should be getting something for your trouble...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I'm getting their word they won't hurt somebody.<\/dialogue>\n    <character>DENIS<\/character>\n    <dialogue>You believe that?<\/dialogue>\n    <character>JADE<\/character>\n    <dialogue>I thought I was naive.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Good people get bought and sold every day. Might as well trust somebody evil once in a while, it makes no more or less sense.<\/dialogue>\n    <scene_description>A '53 BUICK ESTATE WAGON carrying a BLOND FAMILY: MOTHER, FATHER, EIGHT-YEAR-OLD DAUGHTER AND SIX-YEAR-OLD SON. GOLDEN FANG OPERATIVES. The MOTHER is wearing a TENNIS OUTFIT, smoking a cigarette. The son has buzz cut and already looks like a Marine and stares Doc down. The Daughter looks like she has a future in drug abuse. The FATHER and DOC take the dope and put it in the back of the station wagon... MOTHER hands over something to DOC.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>What's this?<\/dialogue>\n    <character>DAUGHTER<\/character>\n    <dialogue>A credit card. Don't hippies have them?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I must have meant, why's your mom handing me this?<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>It isn't for you.<\/dialogue>\n    <scene_description>COY HARLINGEN's name on the card. They drive off. The Daughter gives Doc the finger. HOLD. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOPANGA CANYON HOUSE - DAY<\/stage_direction>\n    <scene_description>Doc is waiting in the car out front. There's a BUDDHIST PRIEST walking around the yard with some girl groupies ... he's performing an exorcism... Coy emerges from the house... looking a little paranoid and confused, walks to Doc, gets in the car...<\/scene_description>\n    <character>COY<\/character>\n    <dialogue>Everything's cool...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Drac's a part of the band? So... The Boards aren't so evil anymore?<\/dialogue>\n    <character>COY<\/character>\n    <dialogue>Maybe just confused now and then... you know a band that isn't? I'm officially off everybody's payroll. Burke Stodger called me personally...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COY\/HOPE'S HOUSE - LATER AFTERNOON<\/stage_direction>\n    <scene_description>Drops Coy off at his place. Coy just breathes, emotional...<\/scene_description>\n    <character>COY<\/character>\n    <dialogue>You know what the Indians say. You saved my life, now you've --<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Yeah, yeah, some hippie made that up. You saved your life, Coy. Now you get to live it.<\/dialogue>\n    <scene_description>Coy gets out, walks up to his house and is greeted at the door by HOPE and AMETHYST. Hope and Coy start making out... HOPE waves to DOC... DISSOLVE TO: FISH PLACE - DOC AND SAUNCHO - DAY<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Anything you can tell me about an inherent vice clause?<\/dialogue>\n    <character>SAUNCHO<\/character>\n    <dialogue>It's what you can't avoid.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Like... original sin?<\/dialogue>\n    <character>SAUNCHO<\/character>\n    <dialogue>Stuff Marine policies don't like to cover. Usually applies to cargo like eggs break -- chocolate melts -- glass shatters, that sorta thing... thinking of --<\/dialogue>\n    <scene_description>THE PHONE AT THE BAR RINGS, SAUNCHO RUNS FOR IT... he listens, then hangs up...<\/scene_description>\n    <character>SAUNCHO<\/character>\n    <dialogue>They got her --<\/dialogue>\n    <scene_description>Sauncho runs out as fast as he can -- Doc on his heels. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAN PEDRO - DAY<\/stage_direction>\n    <scene_description>Department of Justice and Coast Guard boats have taken hold of the Golden Fang... Doc and Sauncho watch from the shore...<\/scene_description>\n    <character>SAUNCHO<\/character>\n    <dialogue>If she could be brought back in, into some kind of safe receivership and the owners don't come and claim her within a year and a day -- then she's officially abandoned.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>And then what?<\/dialogue>\n    <character>SAUNCHO<\/character>\n    <dialogue>I don't wanna jinx anything -- everybody starts coming out of the woodwork -- multiple insurers; ex- old ladies -- maybe one of your lowlife millionaire friends will end up stealing her at auction -- but!... say there was a legal marine policy in force --<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>... you didn't happen to take out a policy yourself, Saunch...<\/dialogue>\n    <character>SAUNCHO<\/character>\n    <dialogue>If there's litigation -- I'll be on it.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Well... I hope it works out for you, man. That boat and you really do belong together...<\/dialogue>\n    <scene_description>Sauncho starts singing \"We Should Be Together,\" from Little Miss Broadway. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOC'S PLACE - DAY<\/stage_direction>\n    <scene_description>Doc is on his couch. LONG PAUSE, THEN: BIGFOOT'S FOOT SMASHES HIS DOOR DOWN... The door is shattered in a thousand pieces. Doc looks up scared shitless:<\/scene_description>\n    <character>BIGFOOT<\/character>\n    <dialogue>Don't get up...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Bigfoot. Bigfoot, man... smash down my door?!?! Come on, man...<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>After a long and busy day of civil rights violations, I found myself in the neighborhood and compelled to drop in... just to check and see the current state of affairs of my old stomping grounds. Seeing as your effort to keep lines of communications open with me have been limited to say the least...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I've been busy...<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Trying to figure out which side of the Zig-Zag paper is the sticky side?<\/dialogue>\n    <scene_description>Then... they both talk at the same time...<\/scene_description>\n    <character>DOC\/BIGFOOT<\/character>\n    <dialogue>Listen... I'm sorry about last night. You? Why should you be sorry?<\/dialogue>\n    <scene_description>The spell is broken.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Weird.<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Extraordinary...<\/dialogue>\n    <scene_description>Bigfoot looks over Doc's weed supply... BIGFOOT starts to EAT DOC'S WEED BAG AND JOINTS. HE SWALLOWS... BIGFOOT takes another BIG BITE OF DOC'S DRUGS... FINDS SOME PILLS, EATS THEM UP, TOO.<\/scene_description>\n    <character>BIGFOOT<\/character>\n    <dialogue>This fucking Gordita Beach has been cursed from the jump. I've been trying my whole life to get out of here. Indians lived here long ago, they had a drug cult, smoked toloache which is jimsonweed, gave themselves hallucinations, deluded themselves they were visiting other realities -- why, come to think of it, not unlike the hippie freaks of our present day.<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>Their graveyards were sacred portals of access to the spirit world, not to be misused. And Gordita Beach is built right on top of one.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Yeah? And these spirits, can you, like, catch them, Bigfoot?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>You plod along in pursuit, maybe only wanting to apologize and they fly away like the wind, and wait their moment...<\/dialogue>\n    <scene_description>He heads for the door and WALKS INTO THE WALL.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>You okay, brother?<\/dialogue>\n    <character>BIGFOOT<\/character>\n    <dialogue>I'm not your brother.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>No... but you could sure use a keeper.<\/dialogue>\n    <scene_description>Bigfoot walks out the door and falls over the balcony...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOC'S CAR (DRIVING) - NIGHT<\/stage_direction>\n    <scene_description>Doc driving on the freeway. Shasta is curled up in the passenger seat. A fog is rolling in on the Santa Monica Freeway. Headlights drift ahead and behind him...<\/scene_description>\n    <character>SHASTA<\/character>\n    <dialogue>Remember that day, the Ouija board set us off into that big storm?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>One of a couple things I never forgot -- don't know why.<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>This feels the same way, tonight. Just us. Together. Almost like being underwater. The world, everything gone someplace else.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Figured it was Sortilege just settin' us up.<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>No, she...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Her Ouija board...<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>She knows things, Doc... maybe about us that we don't know...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>This don't mean we're back together.<\/dialogue>\n    <character>SHASTA<\/character>\n    <dialogue>Course not.<\/dialogue>\n    <scene_description>She drifts -- off to sleep.<\/scene_description>\n    <character>SORTILEGE (V.O.)<\/character>\n    <dialogue>Doc fell into a car convoy, moving slowly, single lane through the fog. He figured if he missed the Gordita Beach exit, he'd take the first one whose sign he could read and work his way back on surface streets. He knew that at Rosecrans, the freeway began to dogleg east, and at some point, Hawthorne Boulevard or Artesia, he'd lose the fog, unless it was spreading tonight, and settled in region wide... Maybe then it would stay this way for days, maybe he'd have to just keep driving, down past Long Beach, down through Orange County, and San Diego and across a border where nobody could tell anymore in the fog who was Mexican, who was Anglo, who was anybody. Then again, he might run out of gas before that happened, and have to leave the caravan, and pull over on the shoulder, and wait. For whatever would happen. For a forgotten joint to materialize in his pocket. For the CHP to come by and choose not to hassle him. For a restless blonde in a Stingray to stop and offer him a ride. For the fog to burn off, and for something else this time, somehow, to be there instead.<\/dialogue>\n    <scene_description>FADE OUT.: THIS SCRIPT WAS PREPARED BY WARNER BROS. PICTURES SCRIPT PROCESSING DEPARTMENT<\/scene_description>\n    <character>(818) 954-4632<\/character>\n  <\/scene>\n<\/script>","summary":"In 1970, Shasta Fay Hepworth visits the beach house of her ex-boyfriend, Larry \"Doc\" Sportello, a private investigator and hippie in Gordita Beach, Los Angeles County. She tells him about her new lover, Michael Z. \"Mickey\" Wolfmann, a wealthy real estate developer, and asks him to help prevent Mickey's wife from abducting Mickey and committing him to an insane asylum. Doc meets with Tariq Khalil, a member of the Black Guerrilla Family, who hires him to find Glen Charlock, a member of the Aryan Brotherhood he met in jail, who owes him money and is one of Wolfmann's bodyguards. He visits Mickey's Channel View Estates project, entering the only business in the developing strip mall, a massage parlor, where he meets an employee, Jade. He searches the premises for Charlock, but is hit with a baseball bat and collapses. Doc wakes outside, lying next to Charlock's dead body and surrounded by policemen. Interrogated by LAPD detective Christian F. \"Bigfoot\" Bjornsen, he learns that Wolfmann has disappeared. His attorney, Sauncho Smilax, arranges for his release by the LAPD. Doc is hired by former heroin addict Hope Harlingen, who is looking for her missing husband, Coy. Although told that Coy is dead, she believes he is alive due to a large deposit to her bank account. Jade leaves Doc a message apologizing for setting him up with the police and telling him to \"beware the Golden Fang.\" He meets her in an alley, where she explains the Golden Fang is an international drug smuggling operation. Jade introduces Doc to Coy, who tells him he is hiding at a house in Topanga Canyon. In a later meeting, he explains he is a police informant and fears for his life, wanting only to return to his wife and daughter. Doc talks to Sauncho, who tells him about the suspicious boat, the Golden Fang, which the last time it sailed, Shasta was on board. Thanks to a postcard from her, Doc finds a large building shaped like a golden fang and meets dentist Rudy Blatnoyd. Bigfoot calls Doc and tells him that Blatnoyd has just been found dead with fang bites in his neck. Bigfoot decides to help Doc find Coy and tells him to search for Puck Beaverton in Chryskylodon, an asylum run by a cult connected to the Golden Fang. There, Doc finds Mickey, who is being watched by the FBI. Mickey tells him he felt guilty for the negativity his real-estate business caused and wants to give his money away, appearing to be a happy member of the cult. Doc also glimpses Puck and Coy. When Doc returns home to his beach house, he is greeted by Shasta, who has returned and is indifferent to the trouble her disappearance has caused. She tells him Mickey is back with his wife. Shasta confesses to having been on the Golden Fang with Mickey on a \"three-hour tour\" and says she was brought along to be used sexually by all of Mickey's friends. She brags about what she did on the boat to provoke Doc into sex, then tells him they still aren't back together. Penny, an assistant district attorney with whom Doc is having a fling, gives him confidential files from which he learns that the LAPD pays the loan shark Adrian Prussia to kill people and that one of his victims was Bigfoot's former partner. Prussia is tied to the Golden Fang, and Doc learns that Charlock was involved with a deal, which is why he was killed. Doc visits Adrian, noticing his obsession with baseball bats, but is abducted and drugged by his partner, Puck. He manages to escape, killing both Puck and Adrian. Bigfoot appears and rescues him, driving him home, but Doc discovers he has been set up: Bigfoot has planted heroin in his car (stolen from the Golden Fang as revenge for murdering his partner). Doc arranges for the drugs to be returned to the Golden Fang in exchange for Coy's freedom. Doc and Shasta drive off together, and he tells her this doesn't mean they are back together."}
{"movie_name":"Last Flag Flying_2017","imdb_id":"tt6018306","script":"<script>\n  <scene>\n    <character>LAST FLAG FLYING<\/character>\n    <dialogue>by<\/dialogue>\n    <scene_description>Richard Linklater<\/scene_description>\n    <character>&amp;<\/character>\n    <dialogue>Darryl Ponicsan<\/dialogue>\n    <scene_description>Based on the novel by Darryl Ponicsan October 30, 2016 Detour Filmproduction<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAL'S BAR &amp; GRILL - NIGHT<\/stage_direction>\n    <scene_description>A seedy neighborhood. LARRY \"DOC\" SHEPHERD, wearing a heavy windbreaker, stands idly on the street. An AWOL bag is on the sidewalk at his feet. A garment bag is slung over his shoulder. He studies the little working-man's bar across the street as the title \"DECEMBER 13, 2003\" comes up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAL'S BAR &amp; GRILL - NIGHT<\/stage_direction>\n    <scene_description>Small and dark. A pool table, a few booths, not much decor. SAL NEALON leans on his elbows on his side of the bar, doing a crossword. He's in his late 50s and wears a cropped mustache, going gray, like the sides of his short-cropped hair. He wears a black T-shirt, revealing a USMC tattoo on his arm. He smokes a cigar, chewing its end more than it needs. An edgy dude - you wouldn't want to fuck with him. At the other end of the bar, COPS is on a TV that hangs suspended from the ceiling. On the show, a nervous couple try to explain to a sarcastic cop what they are doing in the projects if not buying drugs. Sal's only customer, O'TOOLE, an old functioning alcoholic, is watching. At some point Doc enters, pausing near the door. O'Toole gives him a cursory glance. Doc hangs his garment bag on a hook on the stanchion and takes a stool. He puts his AWOL bag on another stool and settles down with a little uncertainty.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>I ask you, you ever see these cops catch a killer or a rapist on this show? Ever see them put the cuffs on some crooked CEO fuck?<\/dialogue>\n    <scene_description>Wanders over to Doc.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>What can I get you?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Beer.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>What kind?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Doesn't matter.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Bottle or draft?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Draft.<\/dialogue>\n    <scene_description>Sal walks back over and starts filling up a glass while he continues his conversation with O'Toole.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Nah, they're always just drug users and johns... just people hurtin', trying to find a little pleasure in life.<\/dialogue>\n    <character>O'TOOLE<\/character>\n    <dialogue>What have you got against cops?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Nuttin'. What I got something against is good ol' stupidity.<\/dialogue>\n    <scene_description>Sal wanders back to Doc and serves him the beer. Doc looks into a manila envelope and withdraws a five dollar bill and lays it on the bar.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>You comin' or goin'?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Passing through, kind of.<\/dialogue>\n    <parenthetical>(about money)<\/parenthetical>\n    <dialogue>Keep it.<\/dialogue>\n    <scene_description>Sal takes Doc's money, puts it in the register, and goes back to his crossword.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Good beer.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Yeah, it's from Pennsylvania.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>How long have you had this place?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Too long.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>It's real homey.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>You think so? Where the hell do you live?<\/dialogue>\n    <scene_description>Doc doesn't get Sal's wit.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>New Hampshire. Portsmouth.<\/dialogue>\n    <scene_description>Sal is back on his puzzle.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Home of the Navy prison.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I know the place.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>It's an okay town.<\/dialogue>\n    <parenthetical>(drinks)<\/parenthetical>\n    <dialogue>So you're Sal.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>That I am.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>So Sal, how do you suppose I knew that?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Name's on the sign outside.<\/dialogue>\n    <scene_description>Doc smiles, looks around, turns to O'Toole.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Not exactly a hot spot, huh?<\/dialogue>\n    <character>O'TOOLE<\/character>\n    <dialogue>Not anymore.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I like it, though. It's homey.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Yeah, you said that. That's why I was worried about where you lived.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You don't remember me, do you?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I don't remember half the women I fucked, and that's just the ones I didn't have to pay. How am I supposed to remember you?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Well, I remember you.<\/dialogue>\n    <scene_description>Sal looks at him more closely, squints. The cigar droops.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Can't be.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Could be.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>No way.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Way.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Sweet Jesus... Doc?<\/dialogue>\n    <character>DOC<\/character>\n    <parenthetical>(bemused)<\/parenthetical>\n    <dialogue>Doc... Nobody's called me that in a long, long time.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Fuck me. You made it, Doc.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>O'Toole, look at this. Old buddy from 'Nam. I saved his life once.<\/dialogue>\n    <character>O'TOOLE<\/character>\n    <dialogue>Then you must be some kind of fuckin' hero.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>He never saved my life.<\/dialogue>\n    <character>O'TOOLE<\/character>\n    <dialogue>Didn't think so.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>And now he's come to kick my ass.<\/dialogue>\n    <character>O'TOOLE<\/character>\n    <dialogue>Long overdue and well deserved. I'll hold his coat for him.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>No, I'm not here for that.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>You gotta excuse me, Doc. I'm shit for names.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Shepherd. Larry Shepherd.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Right. Shepherd. Nineteen year-old kid. Navy corpsman.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Once.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Yeah, well, we were all something once. Now we're something else.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>So you do remember me?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>'Course I do, you saved my fuckin' life.<\/dialogue>\n    <character>O'TOOLE<\/character>\n    <dialogue>I thought it was the other way around.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You heard, I got busted down to E- One?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Most unfair. The green weenie - they broke it off in you. What can I say, dear, after I say I'm sorry?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>How's Mueller?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Ol' Mueller the Mauler. Maybe he's alive. How should I know? Have another beer. On the house. Fuck, I'll have one with you.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You're not in touch with him?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Saw him medevacked out, and that's all she wrote.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Mueller got hit?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Oh, yeah, you weren't there by then... it was not pretty.<\/dialogue>\n    <scene_description>Sal now comes over closer to Doc.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>I still think I rate credit for a save.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Who? What?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>You, you fuck. I saved your life.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I don't remember anything like that.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Captain said, Doc is coming unhinged. He's gonna blow. Take him for two days to Pleiku. Show him around Disneyland.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I do remember Disneyland.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Hell yeah you do.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>But all I remember is gettin' laid and drunk.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Well, yeah... that's why it was there.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Mueller was with us.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I did that too. I said, Cap'n, Doc's too fucked up for one person to handle. Take Mueller, he said.<\/dialogue>\n    <character>DOC<\/character>\n    <parenthetical>(sarcastic)<\/parenthetical>\n    <dialogue>Oh, yeah, and things were much better after that.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>C'mon, Doc, we had a good time, didn't we? We had some fun.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Sure we did. Not sayin' we didn't.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>We did, the three of us.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Yeah. I laugh sometimes when I think about it.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Really? Do you?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Yeah, kind of.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Why not? You got to laugh at every- fuckin-thing. I laugh at my prostate gland, little son of a bitch, laugh every time the doctor gives me a fingerwave, two times a year.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>It's good you know how to do that. Wish I could do that.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>So what was it, three years?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Ended up about two, with good behavior.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>That's not so bad.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>It was pretty bad, but it was a long time ago.<\/dialogue>\n    <scene_description>BCD?<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Yeah, but at some point instead of calling it a Bad Conduct Discharge, I started calling it a better career decision.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Fuckin-A. You're alive and upright. So you got out, and then what? You stayed there?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Didn't really have anywhere else to go.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Fuck all. Listen here, how did you find my lonesome ass?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Easy. On the internet. You can find anybody on the internet these days.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>That's fucked.<\/dialogue>\n    <scene_description>Doc kind of laughs as O'Toole gives them fresh beers.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>So whaddaya do in Portsmouth, for a living?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Stocking clerk, at the Navy Exchange.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>You're shitting me.<\/dialogue>\n    <character>DOC<\/character>\n    <parenthetical>(old joke between them)<\/parenthetical>\n    <dialogue>I wouldn't shit you, you're my favorite turd.<\/dialogue>\n    <scene_description>3 LATER - O'Toole is asleep on the pool table. Doc is crawling into a booth. Sal is also finding a spot to lay down.<\/scene_description>\n    <character>DOC<\/character>\n    <parenthetical>(stretching out)<\/parenthetical>\n    <dialogue>Don't you go someplace when you close?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Like where?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I don't know, home?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>It'll be there tomorrow.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEN'S ROOM - MORNING<\/stage_direction>\n    <scene_description>A dreadful little space full of generational stains and graffiti. Sal washes his face, pulls out some paper towels and dries. He looks at his reflection in the mirror. This is the face he has earned. This is the place he has landed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAL'S BAR &amp; GRILL - MORNING<\/stage_direction>\n    <scene_description>Doc and O'Toole are still asleep. Sal draws a beer, starts eating a cold piece of pizza.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Reveille, reveille, drop your cocks and grab your socks. Reveille!<\/dialogue>\n    <scene_description>Sal has to stir Doc. Finally he wakes up and looks at Sal.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>You want a beer? This is the last of the pizza.<\/dialogue>\n    <scene_description>Doc shakes his head.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>I'm still a little fucked up from last night. I'm getting too old for this shit, frankly.<\/dialogue>\n    <character>DOC<\/character>\n    <parenthetical>(sitting up)<\/parenthetical>\n    <dialogue>What's the deal with the grill part of Sal's Bar &amp; Grill?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Gone to rust is the deal.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Too bad.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Used to put out a righteous burger. Serious meat with a nice slice of raw onion and nothin' else, except for mustard and ketchup, of course. No lettuce or pickles or any of that crap. But people lost their taste for honest hamburgers, so I let the grill go. Why? You hungry?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Just curious.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>There's Mexicans here now, so we can get some chorizo con huevos. Hell, we qualify for menudo. You got the balls for that?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>No, thanks. There's something I'd like to show you, though, if you're up for it.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I'm always up for it. Shoot.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You got a car?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I'm a fuckin businessman, of course I got a car.<\/dialogue>\n    <parenthetical>(stirs O'Toole)<\/parenthetical>\n    <dialogue>Yo, O'Toole, open up for me today, okay?<\/dialogue>\n    <scene_description>O'Toole nods his head, then goes back to sleep.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAL'S TAURUS - MORNING - MOVING<\/stage_direction>\n    <scene_description>Not much of a car. A 20-year-old Taurus Wagon. Sal drives through a light drizzle, on a rural road.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>I just fuckin' love it, you know? It's like priceless.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>What is?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>The Navy. They put the cock to you, then they let you work at the Navy fuckin' Exchange.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I got five people under me.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>You're a fuckin' inspiration.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You know what amazes me about you?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Could be anything. I'm a pretty amazing guy.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You turn over your bar to a customer, you get in your car, and you drive me to hell and gone, and you don't even know where we're going.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I didn't think it would take so fuckin' long.<\/dialogue>\n    <scene_description>Doc refers to a folded up MapQuest sheet of paper.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RURAL CHURCH - MORNING<\/stage_direction>\n    <scene_description>A humble building that might have been a barn once. It lacks a steeple and stained glass, but it makes up for it with the spirit we will encounter inside. We see the Taurus Wagon in the parking lot.<\/scene_description>\n    <character>SAL (O.S.)<\/character>\n    <dialogue>You gotta be kiddin' me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAL'S TAURUS - MORNING<\/stage_direction>\n    <scene_description>Sal looks at the place, doubtfully.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>C'mon, you're gonna love this. I promise.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I don't know, Doc, you seen one, you seen them all.<\/dialogue>\n    <scene_description>Doc grins as they start to get out of the car.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - MORNING<\/stage_direction>\n    <scene_description>A small black congregation, listening intently to a sermon. Sal and Doc enter, drawing some notice, but then space is made for them. A middle-aged preacher is at the pulpit with the aid of a cane. It is MUELLER.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>...Now remember, Jesus and Judas, they were friends...<\/dialogue>\n    <scene_description>As the sermon continues, Sal leans toward Doc, whispers:<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Oh. My. Fucking. God. Is that who I think it is?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I told you you'd like this.<\/dialogue>\n    <scene_description>Sal is wildly amused. He turns and looks around at the others, wanting to share his excitement.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>But, oh, how a good man can be laid low by a false friend, how havoc can follow the lying smile...<\/dialogue>\n    <character>CONGREGATION<\/character>\n    <dialogue>Amen!<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Amen, brother!<\/dialogue>\n    <parenthetical>(whispers to Doc)<\/parenthetical>\n    <dialogue>The dude was a world-class drinker, gambler and cocksman.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Shhhh.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>And likely a speed freak. How the hell did you find this place?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>The internet.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Oh, yes, in the spirit of friendship, have a drink... have a toke... have a snort... the devil has a friendly face and a winning way. But behind that smile, as behind the kiss of Judas...<\/dialogue>\n    <character>SAL<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>I think he's makin' this shit up just for us.<\/dialogue>\n    <scene_description>Reverend Mueller eventually finishes his sermon, looking closely at his two visitors... a long judgemental look. An echoing of Amens rolls wall to wall.<\/scene_description>\n    <character>SAL<\/character>\n    <parenthetical>(shouting out)<\/parenthetical>\n    <dialogue>Oh, Amen, brother! Amen!<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Thank you, brothers and sisters, and praise the Lord for our fellowship here today.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Praise the Lord!<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>I see we have some visitors among us today. Welcome to our Sunday services. Would you like to stand and introduce yourselves?<\/dialogue>\n    <scene_description>Sal needs no second invitation. He springs to his feet, snaps off a salute and sounds off:<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Salvatore Nealon, Sergeant, U.S. Marine Corps, retired.<\/dialogue>\n    <scene_description>Heads in the congregation turn. Whispers become a buzz that fill the church. The Reverend totters a bit at the pulpit, holding on. RUTH, Mueller's concerned wife, studies how her husband is responding. Doc tugs at Sal's sleeve, but Sal pulls him to his feet.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>And guess who this lad is.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PARSONAGE - AFTERNOON<\/stage_direction>\n    <scene_description>Mueller, Ruth and their two guests sit at a table laden with a ham and heaping bowls of vegetables and greens. Mueller sits rigidly, his eyes on Sal and Doc, wary.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Man, oh, man, southern ham, thank you, ma'am. Listen here, Ruth, I hope this old man appreciates you.<\/dialogue>\n    <character>RUTH<\/character>\n    <dialogue>Oh, I think he does.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>'Cause if ever he don't, just pack a bag and come live with Sal.<\/dialogue>\n    <character>RUTH<\/character>\n    <dialogue>You don't have a wife?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>No, ma'am, neither chick nor child. I do have a lady friend, but she don't cook worth a damn. She has other talents, if you know what I mean.<\/dialogue>\n    <scene_description>Embarrassed, she turns to Doc.<\/scene_description>\n    <character>RUTH<\/character>\n    <dialogue>And you, Mr. Shepherd? Are you single or married?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I married a wonderful woman, Mrs. Mueller.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Bet she don't cook like this.<\/dialogue>\n    <character>RUTH<\/character>\n    <dialogue>I get it, Mr. Nealon, you haven't been eating well.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Am now.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>The light of my life, my Mary. A heart as big as... anything. A real pretty girl, with a great big smile...<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Nice...<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>She had a little... slowness... because of a thing when she was born.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>What's that mean, she's retarded?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>No, she could do anything anybody else could, she was just kind of... delayed. A great mom, a great wife.<\/dialogue>\n    <character>RUTH<\/character>\n    <dialogue>What does she do?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Oh, no... I'm sorry. I lost her last January. Breast cancer.<\/dialogue>\n    <character>RUTH<\/character>\n    <dialogue>I'm so sorry.<\/dialogue>\n    <scene_description>Sal stops with fork in mid path.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Sorry, Doc. You know me, I didn't mean nothin'.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>We pay for the things we say, Salvatore.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Well, then you can add it to my tab.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>That's all right. You didn't know.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Your tab is long overdue, I suspect.<\/dialogue>\n    <character>RUTH<\/character>\n    <dialogue>Do you have any children, Doc?<\/dialogue>\n    <character>DOC<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>Just one, a son. Larry Junior.<\/dialogue>\n    <character>RUTH<\/character>\n    <dialogue>Richard and I have a boy and a girl, and we have four grandchildren.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Richard?<\/dialogue>\n    <character>MUELLER<\/character>\n    <parenthetical>(quickly)<\/parenthetical>\n    <dialogue>Honey, don't you have some coffee and pie for our visitors, before we send them on their way?<\/dialogue>\n    <character>RUTH<\/character>\n    <parenthetical>(rising)<\/parenthetical>\n    <dialogue>I have a peach cobbler for dessert.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Oh, man, peach cobbler... this is livin'!<\/dialogue>\n    <scene_description>Ruth goes to the kitchen, looks over her shoulder at her unusual guests.<\/scene_description>\n    <character>MUELLER<\/character>\n    <parenthetical>(to Doc)<\/parenthetical>\n    <dialogue>I'm glad to see you prevailing over your hardships.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Doin' my best.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>You, at least, seem to have turned out to be a decent man.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Try to be.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>I regret any role I played in all that foolishness that happened back in Vietnam.<\/dialogue>\n    <scene_description>Sal shakes his head, as if trying to defog his brain.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>What the hell did you do with Mueller the Mauler, preacher? He in the witness protection program or something? Where're you keepin' him?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>I grew up, Sal, and I found a purpose along the way.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You don't have to feel sorry.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>I always figured you for a lifer, Sal. Is that the way it worked out?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I re-upped, sure. I was expectin' all the dominoes to start fallin', like they said they would. I was all ready to kill commies in San Diego, but they never showed up - they just all kind of disappeared.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Can you believe people are now going to Vietnam on fuckin' vacations? They get their pictures taken where fifty-two thousand young Americans took their last dump. Fuck me.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>So you mustered out on principle.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I mustered out with a plate in my fuckin' head and one-hundred percent disability. That was the good news.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>How did that happen?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Fuck if I remember. Somebody hit me on the head with something. I believe drink was involved.<\/dialogue>\n    <scene_description>He laughs. The other two can't manage it. LATER - They sit in the living room having cobbler and coffee. Doc hasn't touched his, Sal digs into his, while practically flirting with Ruth.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>...I was on the shy side of insubordination most of the time, but I could get away with it because of my dashing good looks and my boyish charm.<\/dialogue>\n    <scene_description>Mueller snorts.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>I guess we're all just lucky to be alive, praise God.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I tell myself that.<\/dialogue>\n    <scene_description>Doc sits with his arms on his knees, head down, sinking down into himself. One by one they notice him. Sensing their attention, he raises his head.<\/scene_description>\n    <character>SAL<\/character>\n    <parenthetical>(nodding to the untouched cobbler)<\/parenthetical>\n    <dialogue>You gonna eat that?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>You okay, Doc?<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>What's wrong?<\/dialogue>\n    <scene_description>Doc shakes his head.<\/scene_description>\n    <character>RUTH<\/character>\n    <dialogue>It's best to talk, whatever it is that's bothering you.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>My son... because of my son, I came here, found you guys... Maybe I shouldn't have...<\/dialogue>\n    <character>RUTH<\/character>\n    <dialogue>Your son?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Larry Junior. A year ago he joined the corps.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Ooh-Rah.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>But two days ago they came and told me he had been killed.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Aw, shit, Doc. Why didn't you say anything earlier?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>He died in Baghdad. His convoy got ambushed, and they said he had unloaded his weapon on them and died with his bayonet in his hand.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>He's coming home tonight. They're gonna bury him at Arlington. Full honors. A hero.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Can you guys come with me?<\/dialogue>\n    <scene_description>LATER - Sal smokes a cigar out on the porch. He listens to what is being said inside, Mueller all over Doc with sympathy and God.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>... and I can promise you this: someday you will meet your wife and your son again, in a better place, and all of this will seem like a momentary separation.<\/dialogue>\n    <scene_description>That does it. Sal tosses his cigar and goes inside.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Oh come on... what better place did they go to? Las Vegas? Miami Beach?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Doc knows the place I speak of.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Well, then show him. Doc's got a map. Maybe he can find it on the internet.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Only when you see it will you know it, and in your case, Sergeant, it's odds-on you'll never get to see it.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Then I guess I won't miss it.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Oh, you will miss it dearly, every moment of eternity. Do you know how long eternity is?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>It ain't going to matter, but of all the billions of people floatin' around in your heaven, how come none of them ever got the word back to the rest of us?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>One of them did.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Oh, that guy... weak on exact details, if you ask me.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>I'm not asking you.<\/dialogue>\n    <character>SAL<\/character>\n    <parenthetical>(to Doc)<\/parenthetical>\n    <dialogue>Listen here, Doc, I'm sorry for your loss, but I ain't gonna blow a bunch of smoke up your ass. The worst thing that can happen to anybody has landed on you, and now you got to deal with it.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>You were a hazard when you were young, and now you're just an old fool.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I got your fool dangling, fool.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Fuck you.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>There he is! That's the Mueller I know!<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Please, c'mon, I didn't mean to cause trouble.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I'll help bury your boy. I might not be able to get you into heaven, but dammit, I can get you to Arlington.<\/dialogue>\n    <scene_description>Ruth opens the door from the kitchen, pauses, listens.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Mueller?<\/dialogue>\n    <character>MUELLER<\/character>\n    <parenthetical>(uncomfortable)<\/parenthetical>\n    <dialogue>I'd certainly like to help, but...<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Don't worry - he'll stay here and pray for you... very valuable.<\/dialogue>\n    <character>RUTH<\/character>\n    <dialogue>Richard, could I see you for a moment?<\/dialogue>\n    <scene_description>Mueller slowly gets up.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Please.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>I don't get around so well, as you can see.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>It's just in the car.<\/dialogue>\n    <scene_description>As Mueller leaves the room, Sal is all smiles.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Oh, he's comin' with. That's affirmative.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>But he said...<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Don't matter what he said. I guarantee his old lady's gonna shame him. Right now she's in there saying, \"You got to go with...\"<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - CONTINUOUS<\/stage_direction>\n    <character>RUTH<\/character>\n    <dialogue>... with that poor man, Richard. He needs you.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>He'll have qualified people there to counsel him.<\/dialogue>\n    <character>RUTH<\/character>\n    <dialogue>Yes, but who will protect him from that... Sal person?<\/dialogue>\n    <character>MUELLER<\/character>\n    <parenthetical>(chuckles)<\/parenthetical>\n    <dialogue>Well, I do know that a lot of shit can go sideways when Sal is around.<\/dialogue>\n    <character>RUTH<\/character>\n    <dialogue>What in the world has happened to your vocabulary?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Sorry, dear.<\/dialogue>\n    <character>RUTH<\/character>\n    <dialogue>You can't refuse friends in a time of need.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Friends? I haven't seen these guys in decades.<\/dialogue>\n    <character>RUTH<\/character>\n    <dialogue>You can't refuse anyone. You're a preacher.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>They were a bad time in my life, honey.<\/dialogue>\n    <character>RUTH<\/character>\n    <dialogue>The man lost his son, Richard.<\/dialogue>\n    <scene_description>They look at each other for a beat, the way long-married people can do.<\/scene_description>\n    <character>RUTH<\/character>\n    <dialogue>I'll pack you an overnight bag.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAL'S TAURUS - NIGHT - MOVING<\/stage_direction>\n    <scene_description>Sal leans forward over the wheel. Doc is next to him, and Mueller is in the back. Sal looks over to Doc.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>That seat goes back a little.<\/dialogue>\n    <scene_description>Doc starts to make the adjustment.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>I've had this car 17 years. She's been good to me. Technically it's a Taurus, but I call it, a cli- taurus...<\/dialogue>\n    <scene_description>Doc smiles, and Sal looks at Mueller in the rearview mirror, giving him nothing.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>You have to wear that collar everywhere you go?<\/dialogue>\n    <parenthetical>(no answer)<\/parenthetical>\n    <dialogue>Take it off, why don't you, and relax, Richard.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>I am relaxed.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Never knew that was your name. You ever go by Richie? Dick?<\/dialogue>\n    <character>SAL<\/character>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>You like Dick?<\/dialogue>\n    <scene_description>Mueller refuses to take the bait.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Never heard of any brothers named Richard. Didn't think they named them that.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Richard Pryor. Dick Gregory. Little Richard...<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Now he likes dick.<\/dialogue>\n    <scene_description>Even Doc laughs. The car suddenly fills with light. A semi is tailgating them.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>The fuck..?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Change lanes. Get over.<\/dialogue>\n    <scene_description>Sal gets pissed.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>All right fuck face, you want to play, I'll play.<\/dialogue>\n    <scene_description>The speedometer moves to 70, 80...<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>Pull off the road! Get to the side!<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Hold tight. I'm gonna jackknife this fucker!<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>You'll kill us all, you son of a bitch!<\/dialogue>\n    <scene_description>Sal slows down and pulls over a bit, lowers the window, and flips the semi the bird as the truck passes them. Mueller slaps the back of Sal's head.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>What the hell was all that?<\/dialogue>\n    <scene_description>Sal's loving this.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Seems like you're gonna hafta either tighten up your mouth or loosen up your collar.<\/dialogue>\n    <scene_description>Mueller tries to calm himself down. He's too steamed. He takes off the collar.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARLINGTON NATIONAL CEMETERY - NIGHT<\/stage_direction>\n    <scene_description>The car is parked in front of the cemetery on a drizzling Sunday night.<\/scene_description>\n    <character>SAL (O.S.)<\/character>\n    <dialogue>Where're we supposed to go, Doc?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAL'S TAURUS - NIGHT<\/stage_direction>\n    <scene_description>Doc shuffles through a pile of internet maps and papers.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Dover Air Force Base.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>That's in fuckin Delaware.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Right. Dover, Delaware.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>So why're we here?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>You said Arlington.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>That's what they said.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>But now you're saying Dover.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Yeah, I guess first... Dover. They got to fly in somewhere, so they fly to Dover.<\/dialogue>\n    <scene_description>Sal looks behind at Mueller, who looks away.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>All right, Doc. Dover it is. I'm guessing you got a map.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Looks like an hour and a half. You want me to drive?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INTERSTATE - NIGHT<\/stage_direction>\n    <scene_description>The Taurus Wagon rolls down the highway.<\/scene_description>\n    <character>SAL (O.S.)<\/character>\n    <dialogue>Mueller, my man, my mauling brother, can I axe you a personal question?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAL'S TAURUS - NIGHT - MOVING<\/stage_direction>\n    <scene_description>Doc drives. Sal is in the passenger seat while Mueller has the back.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>I suspect you're going to anyway, and since I'm stuck here in the backseat you might as well...<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>On a Saturday night, are you still up to giving your wife a good fuck?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>C'mon Sal, that's... that's...<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>What? I'm curious is all.<\/dialogue>\n    <scene_description>Mueller gives him an icy look.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>I don't discuss my sex life. It's called respect for your wife, but you wouldn't know anything about that.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Hold on, I respect your wife. Of course I do. I only wanted to know if you can still cut the mustard. Just makin' conversation on how the years have treated you.<\/dialogue>\n    <scene_description>Not taking the bait, Mueller just stares off into the night.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Now, Doc here, you don't even have to ask. He don't need no Viagra to fly the flag, do you, Doc?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I haven't had sex in two years.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Holy shit - why the hell not?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>My wife was sick.<\/dialogue>\n    <character>MUELLER<\/character>\n    <parenthetical>(to Sal)<\/parenthetical>\n    <dialogue>Weren't you even listening?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Yeah, but life goes on.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Don't it?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Apparently.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Remember your first time?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I told Mary all about that. I confessed to everything. I wanted no secrets from her.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Now that's just plain stupid. Never do that.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>It was never about you getting laid, Doc. It was about Sal getting you laid.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Duh.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>He had to show you a good time, and he only knew his way. Ignorant soul.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>As I recall, you was there too, partaking, how shall we say, fully.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Yes, and I didn't know any more than you did what a good time was, back in those days.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Those days? It hasn't changed much. A little whorin', a little drinkin', a little fightin', all things in moderation.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Sounds like the recipe for a wasted life.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>At least it's bullshit-free.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>You positive about that?<\/dialogue>\n    <scene_description>They fall silent, crossing the Severn River Bridge into Delaware.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOVER AIR FORCE BASE - NIGHT<\/stage_direction>\n    <scene_description>GATEHOUSE - the Taurus Wagon is parked off to the side as our three wait while the AIR PATROL GUARD finishes a phone call.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAL'S TAURUS - NIGHT<\/stage_direction>\n    <character>DOC<\/character>\n    <dialogue>Wonder if anything is wrong?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>He's a guard at a gate - he don't know nothing.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Wonder if there'll be an honor guard and all that?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>There'll be something - it'll be respectful. It's just not public - there's a blackout on all that stuff this time around.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Yeah, no pictures of coffins, no reminders to the public.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>People should know. Don't they owe it to the guys who've sacrificed?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>People are so ready to believe in anything once it's called a war.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Yep.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Call it war, you got their support. War on drugs, war on crime... it's all fake. War itself is fake.<\/dialogue>\n    <scene_description>Eventually the GUARD comes to the car, and makes the gesture of rolling down the window.<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>Gentlemen, the body is in transit. The plane's not due 'til 0800 tomorrow. Come back then and you'll be able to wait in the hangar.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Okay. Thank you.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>In transit. Somebody's always in transit, even...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KING'S COURT MOTOR LODGE - NIGHT<\/stage_direction>\n    <scene_description>A cheerless refuge from the rain.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KING'S COURT MOTOR LODGE FRONT DESK - NIGHT<\/stage_direction>\n    <scene_description>The guys are in mid check-in.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>I thought I'd have my own room.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Don't get cranky on us old man.<\/dialogue>\n    <scene_description>Doc takes cash out of his envelope.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Whoa... what's with the wad?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>They took up a collection at the Exchange, when they heard.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>See? You got lots of friends.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>They felt bad. They wanted to do something.<\/dialogue>\n    <scene_description>A HYPED-UP EMPLOYEE enters the front area and changes the channel on the TV that rumbles in the background.<\/scene_description>\n    <character>HYPED-UP EMPLOYEE<\/character>\n    <dialogue>You guys aren't watching this?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>HYPED-UP EMPLOYEE<\/character>\n    <dialogue>They got him!<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>HYPED-UP EMPLOYEE<\/character>\n    <dialogue>That sumbitch Saddam! They got him in a spider hole!<\/dialogue>\n    <scene_description>He finds a news station that is showing some footage of the captured Saddam Hussein, submitting to an inspection of body, etc.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KING'S COURT MOTOR LODGE ROOM - NIGHT<\/stage_direction>\n    <scene_description>Two queen beds, a TV going with the Hussein footage, and an empty pizza box at the foot of the bed. Doc already looks asleep, while Mueller lays on his bed, almost asleep.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>How's the rack, Padre?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>It's fine.<\/dialogue>\n    <scene_description>Here they are, but where are they? Nothing to do, nowhere to go. Sal just finishes the last piece of pizza and stares at more Saddam Hussein footage.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KING'S COURT MOTOR LODGE PARKING LOT - MORNING<\/stage_direction>\n    <scene_description>They make their way to the car and throw their bags into the trunk.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>I was wondering...you never went home, so how did you get to pack a bag?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I always keep one in the trunk. Sometimes a lady friend wants me to stay over. I hate to say no.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Is there one particular lady friend or are there more?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>One at the moment, but I'm always holding auditions.<\/dialogue>\n    <parenthetical>(slams down the trunk)<\/parenthetical>\n    <dialogue>Let's do this.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HANGAR - MORNING<\/stage_direction>\n    <scene_description>Cold and hollow and cheerless. A folding table has been set up with coffee and doughnuts. Only Sal partakes. Across the hangar is a MOTHER, weeping. Her eyes are red from crying. She holds a hanky against her face. Her HUSBAND is a large man, a working man, and he is angry.<\/scene_description>\n    <character>MOTHER<\/character>\n    <parenthetical>(through tears)<\/parenthetical>\n    <dialogue>I want him to look nice...<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>Irene, that ain't gonna be the boy that walked out of our house, that waved good-bye.<\/dialogue>\n    <scene_description>Another circle of four - mother, father, second wife, second husband - huddle together. One more circle of three waits - a mother, father and daughter. The hangar door slides open. An Army major and a Marine Lt. Colonel come in. Behind them are four coffins, each on a wagon, each covered with a flag and each with an enlisted man escort. They space out the coffins. The escorts stand at attention. Our three move toward the Marine. The COLONEL steps forward. He is ramrod straight, around 40, used to being feared. He addresses Sal in a lower voice suitable to the occasion.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Mister Shepherd?<\/dialogue>\n    <scene_description>Sal nods to Doc, who stands dumbly, his eyes on the flag- covered box that contains his son. The Colonel extends his hand. Doc shakes it.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Mr. Shepherd, I'm Colonel Willits. The President of the United States has asked me to express his deep regret that your son was killed in action.<\/dialogue>\n    <scene_description>Sal can't help himself and rolls his eyes.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>He died a hero in the service of his country. He was an inspiration to his fellow Marines.<\/dialogue>\n    <scene_description>WASHINGTON, the escort, stands at stony attention. He is a young black man, also a lance corporal. Something is wrong with his ear lobe. It is covered with tiny bumps and looks like it is rotting away. He is 20 and though taught to kill he gives off a sense of basic goodness.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Can I see him?<\/dialogue>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>Sir, that would be ill-advised. Trust me on this. You do not want to see him like that.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I don't know... I think I have to.<\/dialogue>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>Sir, Lance Corporal Shepherd was hit in the back of head. I can assure you he felt no pain... but the exit wound in such a case is devastating... to the face.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>They were behind him? They shot him from behind?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Take the Colonel's advice, Doc. Best to remember him as he was.<\/dialogue>\n    <scene_description>Doc thinks about it, looks to Sal.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>I'd have to see him, but that's me. The thing is, you don't have to listen to no colonels no more. Those days are gone.<\/dialogue>\n    <scene_description>The Colonel seems to recoil, his jaw tightens. Washington sees it and twitches.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>I'm gonna see my son.<\/dialogue>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>What you see you will not be able to un-see.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I understand... but I have to.<\/dialogue>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>As you wish. Lance Corporal Washington, escort these two gentlemen to the coffee mess.<\/dialogue>\n    <scene_description>Washington leads them away. At the table, they turn and watch Doc. Washington holds his attention stance.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Listen up, why don't you stand at ease, you're givin' me a stiff neck.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <parenthetical>(relaxing)<\/parenthetical>\n    <dialogue>Man, never heard anyone talk to the Colonel like that.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Colonels don't scare me, kid. Never have, never will.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>You a Marine?<\/dialogue>\n    <scene_description>Sal slides up his sleeve and reveals his tattoo.<\/scene_description>\n    <character>WASHINGTON<\/character>\n    <dialogue>I thought so.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I got more time in the chow line than you got in the corps.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <parenthetical>(to Mueller)<\/parenthetical>\n    <dialogue>You too?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Semper Fi, do or die. How do you think I got this cane?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Hey kid. The fuck's wrong your ear?<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>Baghdad boil.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Say what?<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>Baghdad boil. Everybody's got one. You get bit by a teeny sand fly. They say it'll go away. In a year or two.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>That's one ugly ear.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>This is a big mistake.<\/dialogue>\n    <scene_description>They look at Doc, who braces himself, then buckles at the knees when the coffin lid is lifted. Sal takes a step toward him, but Mueller gently stops him with the crook of his cane.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>Nothing you can do now. Or do you just want to out-tough a colonel?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I don't want nothin'. I'm just along for the ride.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Yeah right.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>So you were in 'Nam with Larry's dad?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>We were.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>You know what happened back then?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Naw, we were just pullin' triggers, killin' gooks.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>His dad wound up doing brig time behind it.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>That's all in the past.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>What do you know about that?<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>Sounded like he fucked up some dudes... or some dudes fucked him up.<\/dialogue>\n    <parenthetical>(nobody says anything)<\/parenthetical>\n    <dialogue>You them dudes?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>What exactly did he tell you?<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>Only some bad shit went down. I was Larry's best friend. No one else knew anything about it.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>You were with him in the ambush?<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>Ambush?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Yeah, an ambush and a fire fight, they said.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Okay?<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>If that's what they're saying it was, then that's what it was.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>You were there. What the hell happened?<\/dialogue>\n    <scene_description>Washington hesitates.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Spit it out, kid. It's just us, Marine to Marine.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <parenthetical>(nervous)<\/parenthetical>\n    <dialogue>It was fucked.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>Me and Shepherd and three other dudes were all day humping school supplies. Tablets, pencils, some new books. It was our last run, pissed-off mode, sand down our throats and up our asses. One guy said he wished he was in the fuckin' Navy. We started dissin' swabbies, calling them chickens of the sea, shit like that. Then Shep says, my old man was a swabby, a medical corpsman, wound up with the Marines in 'Nam. I asked him how long he put in, and Shepherd says about five years, but a couple of them in the brig. Anyway, we was always stoppin' at this little store we called Abdul's Haji Mart for Haji Cokes. It was my turn to make the run but Shep said he'd do it. So he gets out and we're bullshitting. Then this raghead comes up behind him, shouts out Ala Akbar or whatever, you know, God is great, and then he puts a cap in Shep's head.<\/dialogue>\n    <scene_description>This sinks in.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>What happened next?<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>Shit man, we went off. Lit 'em all up - that raghead, Abdul, and damn near the whole fuckin' hood.<\/dialogue>\n    <scene_description>Sal and Mueller just take this in.<\/scene_description>\n    <character>WASHINGTON<\/character>\n    <dialogue>We carried Larry back to the Hummer and went home. Fuck a whole bunch of school supplies.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>He's supposed to get a Bronze Star behind this.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>Oh, he'll get the Star. The more Stars the better, right?<\/dialogue>\n    <scene_description>They look over at Doc as the Colonel lowers the coffin lid. Doc still braces himself against it.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>We can't tell him about this.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>We can't?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Let him have his Bronze Star, his burial at Arlington with honors. Let him have his hero. Lord knows he's had little enough in his life.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>You mean, let him have the lie?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Yes. What's more important?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I don't know, but it's never the lie.<\/dialogue>\n    <scene_description>Sal walks toward the coffin, toward Doc and the Colonel. Mueller trails behind, slowed by his cane. Washington takes Mueller's arm and they move a little faster that way. As they get closer, they can overhear the Colonel.<\/scene_description>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>I'm sorry sir, but there is always a sound reason for my recommendations.<\/dialogue>\n    <scene_description>Doc is trembling, unable to speak. Sal puts a hand on his shoulder. Doc goes into his arms. Sal holds him awkwardly. These men are not used to hugs. He pats his back.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Sal... he don't have a face anymore.<\/dialogue>\n    <scene_description>All Sal can offer is the universal spine stiffener, God's blessing and curse combined:<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Gotta be a man.<\/dialogue>\n    <scene_description>Doc nods into his shoulder and stands back, running a handkerchief over his face. Sal takes a moment to stare down the Colonel.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>How'd this boy wind up dead, mister?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Sal...<\/dialogue>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>I beg your pardon?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Simple question. How'd it happen?<\/dialogue>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>The Lance Corporal acquitted himself with dignity and honor, and he died a hero.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Yeah, well, they're all heroes, ain't they?<\/dialogue>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>That they are, sir.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>All heroes, for sure. But how did it happen that he was shot in the back of his head, like a fuckin' dog?<\/dialogue>\n    <scene_description>Doc looks at the uneasy Colonel through teary eyes.<\/scene_description>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>He was a brave Marine, a credit to the corps, and he served his country well.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>So did we all - all of us here. And we still have to when we get the chance.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>What's going on, Sal?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I don't know. That's why I'm askin'.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Shouldn't we be making arrangements for the funeral. Isn't that why we're here?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Were you there, when it happened?<\/dialogue>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>No, I wasn't.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Where were you?<\/dialogue>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>With all due respect, that's none of your business.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>With all due respect, Doc here ought to get to talk to somebody who was. You weren't.<\/dialogue>\n    <parenthetical>(to Washington)<\/parenthetical>\n    <dialogue>Were you?<\/dialogue>\n    <scene_description>Washington hesitates, glances at the Colonel staring at him, but then reluctantly answers.<\/scene_description>\n    <character>WASHINGTON<\/character>\n    <dialogue>I was there, sir.<\/dialogue>\n    <scene_description>The Colonel doesn't like how this is going at all, but it's too late.<\/scene_description>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>Very well. Lance Corporal Washington, tell him what happened.<\/dialogue>\n    <scene_description>Washington takes a deep breath. LATER - Sal is at the coffee table. Mueller approaches from the hangar door. Doc is leaning back against the coffin, considering what to do. The Colonel and Washington stand on either side of him.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>Where are we with this?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Where we was, pretty much. He'd like his son's face back.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>I called my wife. I'm going home. I'll take the bus.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>You quittin'?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Quitting what?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>We'll know in a minute or two.<\/dialogue>\n    <scene_description>Sal sees the Colonel once again approaching Doc so he wanders over to him.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Yo, Doc.<\/dialogue>\n    <scene_description>Doc looks up.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>What's it gonna be here?<\/dialogue>\n    <scene_description>Doc stands up straight, looks the Colonel in the eye.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>I can't bury him in Arlington. Not now.<\/dialogue>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>He qualifies and he deserves that honor.<\/dialogue>\n    <scene_description>Doc digs out his wallet, rifles through it, and produces a photo of his son. He holds it out, in front of the Colonel's face.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Here, this is what his face looked like. He was a good-looking boy.<\/dialogue>\n    <parenthetical>(shows the photo to the others)<\/parenthetical>\n    <dialogue>See? The high school girls were all over him. He was a good-looking boy. I'm taking Larry home.<\/dialogue>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>I assure you that is a bad decision and you will come to regret it.<\/dialogue>\n    <scene_description>Doc tries to push the cart. Sal hands his cup to Mueller and joins him. They push together.<\/scene_description>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>Hold on. The Marines will transport the body, at no cost to you, anywhere you choose.<\/dialogue>\n    <scene_description>They keep on pushing.<\/scene_description>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>Gentlemen. I cannot release the Lance Corporal's body, except to a licensed mortician...<\/dialogue>\n    <scene_description>Mueller steps up.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>Or to a clergyman, isn't that the case?<\/dialogue>\n    <scene_description>The Colonel hesitates, as Mueller hands him Sal's cup and begins to put on his clerical collar.<\/scene_description>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>Correct.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>So I guess that would be me.<\/dialogue>\n    <scene_description>Using his cane, Mueller walks behind Doc and Sal as they push the coffin. Washington stands next to the Colonel, impressed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HANGAR PARKING LOT - MORNING<\/stage_direction>\n    <scene_description>Sal and Doc push the cart, Mueller trailing behind. They come to a stop, not before dinging the car.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Sorry about that.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Forget about it.<\/dialogue>\n    <scene_description>They stand silently, awkwardly for a moment. What now?<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>Now how you gonna get him home? Strap that coffin to the roof of Sal's car?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>We could do that. We'd need help liftin' it up. Maybe we...<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Don't be ridiculous.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Why not? Tell me a better way to be. You wish you could be ridiculous, but it's too late now.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Doc, let the government take care of the transport - that's the kinda thing they're good at.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I don't like the government right now.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>You don't have to.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I don't trust it any more.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Hell, we could rent a truck.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Yeah, let's do that. We'll stay here, and you can take the car and go find a truck. Pay for it out of this.<\/dialogue>\n    <scene_description>Doc gives him an envelope full of cash.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Consider it done. One truck, comin' up.<\/dialogue>\n    <character>MUELLER<\/character>\n    <parenthetical>(to Doc)<\/parenthetical>\n    <dialogue>I'll be going with Sal. He can drop me at the bus station. I think I'll be going back home now.<\/dialogue>\n    <scene_description>For a moment no one says anything.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>I understand, Mueller. I'm sorry for dragging you up here.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>I thought I could be of some help. I thought we were going to a funeral.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>We ARE going to a funeral, it just looks like it's going to take a little longer to get there.<\/dialogue>\n    <scene_description>Doc doesn't want to make this any harder than it is.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>It's okay, Mueller. I'm just glad I got to see you again.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>I'm sorry, lad.<\/dialogue>\n    <scene_description>A handshake and a hug, awkwardly trapping his cane against him.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>Glad I got to see you too. God bless you, Doc.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAL'S TAURUS - DAY - MOVING<\/stage_direction>\n    <scene_description>Sal drives, Mueller next to him. They maintain a silence, then -<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>We should stop and ask somebody where the bus station is.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>It's a small town, we'll run into it. Give you a few more minutes to enjoy my company.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Always a pleasure.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Before you bail on us.<\/dialogue>\n    <scene_description>Mueller stares straight ahead.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>So, what's on your agenda? Read the bible all the way home, leftover ham for supper, say a little prayer...<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Oh, I'll say a little prayer long before that. The bigger question is, what's on your agenda?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I feel I owe him one. Nothin' more, nothin' less.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Even though he says you don't owe him a thing?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>All the more reason.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>What would have happened, way back then, if we hadn't... you know?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Doc wouldn't have ended up doing two years in the brig, that's for sure. And we wouldn't have had to see what we did.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>What was that?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>You don't remember?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>I remember a lot of shit... what are you talking about?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>A certain platoon buddy, shot, writhing around on the ground dying, with nothing to help him cause we'd taken all the morphine for ourselves.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>He was going to die, anyway. He had no chance. Minutes.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Maybe.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>There was nothing we could do at that point.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Yeah, and we did nothin'. Sometimes you ought to do a little more.<\/dialogue>\n    <scene_description>Sal sees a Ryder agency and pulls to the curb.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. U-HAUL RENTAL AGENCY - DAY<\/stage_direction>\n    <scene_description>A nervous older WOMAN, smoking a cigarette, is behind the counter, dealing with Sal and Mueller.<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>I have a van that would work for you, but you might be happier with a truck that's got a hydraulic tail lift.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Ohhh, a hydraulic lift. I like it.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>What will you be hauling?<\/dialogue>\n    <character>SAL<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>Your truck with the lift'll handle it.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Will you be dropping it off back here or at another location?<\/dialogue>\n    <scene_description>It catches Sal short. He hadn't thought about that.<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Don'tcha know?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Guess I'm gonna return it here.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>And when will that be?<\/dialogue>\n    <scene_description>Again, Sal has to think about it. The agent's suspicions start to grow. She grows more nervous. Terrorists?<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>You don't know how long you'll need it?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Better give me a week.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Oh my, a week, he says.<\/dialogue>\n    <scene_description>Now she looks uneasily at Mueller as she taps her keyboard.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Now Mueller, it's outta your hands now.<\/dialogue>\n    <scene_description>At \"Mueller,\" the agent's head jerks slightly, not sure what she heard.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>... Just have a seat and take a load off. I'll handle this.<\/dialogue>\n    <scene_description>Mueller makes his way to a chair and sits. The woman is fretting inwardly.<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>I need to see your driver's license.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Yes, ma'am.<\/dialogue>\n    <scene_description>He empties one pocket of change and keys and a cigar cutter. The woman looks at that with apprehension. Out of the other pocket: cash, cards and hard candy. He finds the license.<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Norfolk, Virginia?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Gotta live somewhere.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>What brings you up here?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>With all due respect, that's none of your business.<\/dialogue>\n    <scene_description>Now she's really worried.<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Just trying to be friendly.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Really? Okay. Well, I'm here because of a death in the family.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>SAL<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>That's all right. It wasn't my family.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Will you be the only driver?<\/dialogue>\n    <scene_description>Again, he has to think about it.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>I'll have some help.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Then I'll need to see the other driver's license. Is it that gentleman there?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>His holiness? His holiness can't hardly walk, let alone handle a big rig with a hydraulic lift.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Whoever, I'll need their license.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I'll drive it myself.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>So you are the only driver?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Yes, ma'am. I be the wheelman.<\/dialogue>\n    <scene_description>Paranoia deepens.<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Insurance on the vehicle?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>What about it?<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Would you like to get some?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Not necessary.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>How will you be paying?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Cash.<\/dialogue>\n    <scene_description>He pulls out Doc's brown envelope.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>And get directions.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Oh, yeah, where's the bus station?<\/dialogue>\n    <scene_description>She can't wait to call the police.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET\/INT. U-HAUL TRUCK - DAY - MOVING<\/stage_direction>\n    <scene_description>Sal and Mueller are driving along in the rented truck.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Sixteen or sixty, put a dude behind the wheel of a big rig, got to feel like hot shit.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>It's a rented U-Haul with an automatic transmission.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Bigger than anything you ever handled.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Look Sal, Doc's boy is dead. Try not to forget that.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I haven't forgotten that. But we're still alive, right? With time tickin' fast away. If a minute comes up that's not too terrible, I'm gonna try to enjoy it. You used to be up for some fun.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Still am.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Really?!<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>As long it's right in God's eyes.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>'God's eyes?' God don't have no eyes.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Oh, He's got eyes. And ears too. He hears every insult you send His way. There will be a reckoning, Sergeant.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>A reckoning?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>I assure you of that.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Then great - then I reckon I'll take that opportunity to stand at attention and say to God, \"Hey, where were You when they were rapin' children or with the genocide and all that? Where were You when they flew airplanes into buildings, killin' thousands of folks just goin' to work, and the murderers shouting Your name, or You by some other name. Same difference. Where were You when Doc's kid was buyin' Cokes and some raghead blew his face off?\" You see, I ain't gonna explain myself to God, I'm gonna make Him explain Himself to me!<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>I'm going to pray for your soul.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>And I'm bettin' at the end of it, if the fucker even exists he'll say \"Get your ass in here, you're my kind of dude.\"<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>At least that's what I'm hopin'. If He's a tight-ass God, I'm fucked.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>It might be time for a lube job on that plate you got in your head.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Don't fuck with my plate, it's pickin' up WOR in New York.<\/dialogue>\n    <scene_description>Mueller just stares at him. Sal notices the radio.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Looky here.<\/dialogue>\n    <scene_description>He turns it on. Rap music. An Eminem song (something from \"The Eminem Show\").<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>Turn that shit off.<\/dialogue>\n    <character>SAL<\/character>\n    <parenthetical>(he doesn't)<\/parenthetical>\n    <dialogue>You've heard this stuff, right?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Now, I've been known to get in a face or two, but even I find some of this stuff offensive. And damn hard to dance to...<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>For once you and I agree on something.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Don't it make you a little ashamed to be an African American?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>No, not really.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Well, it ought to, dignified old gentleman like you, who'd be the first to agree just how far this stuff is from Motown.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Why should I feel ashamed? This dude is white.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>The fuck ...!?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>That's affirmative. White as rice.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>That's comin' out of a white mouth?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Yep - a white sewer mouth.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Then, by God, fuck me. I ought to feel ashamed myself. Only I never did much identify with the white race.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Oh really? Now I'm curious. What race do you identify with?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Green. The corps - that was the only culture ever made any sense to me.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You ever miss it?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Not for a minute.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I don't believe you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS STATION - DAY<\/stage_direction>\n    <scene_description>Sal carries Mueller's bag and waits while Mueller hobbles back with his ticket in hand.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>No problem?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Not unless being stuck on a bus for the next seven hours is a problem.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Busses are real nice now. Recliners, a shitter in the back. Maybe you'll meet some poor redneck and save his soul. How many points you get for that? Is it a point system?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>I'm just hoping I can sleep. I didn't sleep too well last night.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Me either. Remember when we could sleep in a hole in the ground, with bullets zinging just overhead?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>You can't go back, Sal.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Who'd want to?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>We can't redo the choices we made back then. All we can do is learn from them and try to do better in the future.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Yeah, I know that.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>But you're still gonna do it, aren't you?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>You're gonna take Doc and his dead son to Portsmouth and try to make it fun.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>You ought to come with.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Can't do that.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>All right. Well, I'd better get started.<\/dialogue>\n    <scene_description>He extends his hand and they share an affectionate shake.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>I still can't believe it, you of all people, a preacher.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Goddam right.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Think we'll ever bump into each other again? We're not that far away.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Never know. He moves in mysterious ways.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HANGAR - DAY<\/stage_direction>\n    <scene_description>The back of the parked truck is open and Doc pushes the coffin up to it as Sal joins him.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>This is a lot of truck.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Never go small, kid. Check this out.<\/dialogue>\n    <scene_description>He pulls a small lever and raises the lift up to the level of the coffin. Together they half-slide, half-lift it off the wagon and onto the lift. Sal leans back against the lift and lights a cigar.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>I was wondering, though. What would your kid have wanted?<\/dialogue>\n    <scene_description>Doc thinks about it for a beat.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>To drink beer with his friends. Chase girls. He was twenty-one, he wasn't thinking about dying.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>You can make this a lot easier on yourself.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I don't want to make it easier on myself.<\/dialogue>\n    <character>SAL<\/character>\n    <parenthetical>(chuckles)<\/parenthetical>\n    <dialogue>Yeah. Guys like you and me, we take all the shit 'til it's disaster, and then we're cool, the worst has happened, like we always knew it would.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>They sent him to a God-forsaken desert because... who knows why? It wasn't to protect America. It's like that jungle they sent us to. It wasn't a threat to us. And then they sent him back to me in this, with more lies... a hero, honors, Arlington. I ain't going to bury no Marine. I gotta bury a son.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HANGAR - DAY<\/stage_direction>\n    <scene_description>Washington stands outside the hangar, watching the U-Haul truck pull away, wistfully. Then he walks away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. U-HAUL TRUCK - DAY - MOVING<\/stage_direction>\n    <scene_description>Sal drives toward the gate.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Some rig, huh?<\/dialogue>\n    <scene_description>Doc doesn't answer but is looking out the window. Something's wrong. A DAFB Police Car pulls in front of them, slows, bringing them almost to a stop. Another Police Car blocks them from behind, trapping them. They come to a stop.<\/scene_description>\n    <character>BULLHORN VOICE (O.S.)<\/character>\n    <dialogue>Get out of the truck. Walk away, hands above your head.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS STATION - DAY<\/stage_direction>\n    <scene_description>Mueller sits in the waiting area, quietly reading his bible. A man in a cheap RAINCOAT is talking to the ticket agent, looking over at Mueller. Another man in a black ANORAK takes a seat next to him.<\/scene_description>\n    <character>ANORAK<\/character>\n    <dialogue>Taking a bus today?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Yes, to Richmond. And you?<\/dialogue>\n    <character>ANORAK<\/character>\n    <dialogue>Richmond, huh. That home for you?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>No, but it's getting close. Why?<\/dialogue>\n    <scene_description>Cheap Raincoat has walked over and is standing in front of Mueller.<\/scene_description>\n    <character>RAINCOAT<\/character>\n    <dialogue>You're the one they call the Mullah?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>The what?<\/dialogue>\n    <character>RAINCOAT<\/character>\n    <dialogue>Mullah.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>I'm waiting for a bus to Richmond, reading the scriptures.<\/dialogue>\n    <character>ANORAK<\/character>\n    <dialogue>What, the Bible? Checking out the competition?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Who are you two? What do you want from me?<\/dialogue>\n    <character>ANORAK<\/character>\n    <dialogue>That depends.<\/dialogue>\n    <character>RAINCOAT<\/character>\n    <dialogue>We're from Homeland Security.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>What?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KING'S COURT MOTOR LODGE ROOM - NIGHT<\/stage_direction>\n    <scene_description>Sal crushes an empty Bud can and tosses it the length of the room, missing the basket. As he grabs for a fresh one, Doc retrieves the empty and deposits it on top of the others in the plastic-lined wastebasket of the very same room they occupied the night before. Sal pops another can.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>It used to mean something. There used to be an esprit de corps, a unity, a well-earned pride, some goddamn common sense. I don't know what it means anymore.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Fuck 'em. Fuck 'em all.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Fuck 'em all! I spent the best years of my life defendin' this country.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I think your best years are still ahead of you, Sal.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Fuck you.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>It's true. It can be true.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Will you sit the fuck down? Look at me - all my future is behind me. I got a scrambled brain held together with a steel plate. And they look at me and what do they see? A fuckin' terrorist!<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>An apology would have been nice.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Oh they're sorry. Sorry they didn't smoke our asses.<\/dialogue>\n    <scene_description>A KNOCK on the door. They look at each other, like, what now? Sal eventually shrugs his shoulders and Doc cautiously opens the door. Mueller steps in and drops his bag. He stares down Sal. Sal gets off the bed he's been sitting on, Mueller's bed. He smooths it, and steps aside. Mueller lies down in his overcoat.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>You forget your toothbrush?<\/dialogue>\n    <scene_description>Mueller says nothing. He needs a moment. Then -<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>I called my wife from the police station. The damn police station. Only after they decided I was not a Muslim radical. And not a mullah, but an old preacher named Mueller.<\/dialogue>\n    <scene_description>Sal thinks this is hilarious.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Mullah the Mauler! Its all over - this country's fucked.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Was Ruth upset?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Oh yeah, she wanted me to come right home. But I told her that when times demand it, even old men should become threats.<\/dialogue>\n    <character>SAL<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>Fuckin' A right it is! It's like during the pinko scare....<\/dialogue>\n    <character>MUELLER<\/character>\n    <parenthetical>(icily)<\/parenthetical>\n    <dialogue>I believe I was talking.<\/dialogue>\n    <scene_description>Sal raises his hands - sorry and continue.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>I told my wife I was not coming home until we were done. Where's your boy?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>They've got him again.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Tomorrow we get him back and take him home.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KING'S COURT MOTOR LODGE DESK - MORNING<\/stage_direction>\n    <scene_description>Our three come into the lobby and are met by the Lt. Colonel and Washington.<\/scene_description>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>Good morning, gentlemen.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>What's the deal, colonel whatever your name is - where's Larry?<\/dialogue>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>Willits. Colonel Willits. I've been briefed on last night's snafu. Totally ridiculous, the rental agent apparently went off the deep end, but there it is and what's done is done.<\/dialogue>\n    <scene_description>He addresses Doc.<\/scene_description>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>I hope, given further time for reflection, that you can see that Arlington is a resting place that should not be refused in anger. There lie heroes. The details of the Lance Corporal's death are what they are, but make no mistake: his death was heroic. He was in a foreign and hostile land doing the decent thing. He deserves to lie beneath the sacred soil of Arlington. He would want that. I urge you to choose that for him.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Thank you. I'm gonna take my son home and bury him in New Hampshire. Not in his uniform. I'm going to bury him in his graduation suit.<\/dialogue>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>As you wish. Your government will fly the coffin, at no expense to you, to Portsmouth and a funeral director of your choice.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>No, we're taking him with us now.<\/dialogue>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>With all due respect, you're cutting off your nose to spite your face.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Take a look at these faces. Think any of them care about your fuckin' opinions? With all due respect.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>We can go by train.<\/dialogue>\n    <scene_description>They all kind of look at each other for a moment and arrive at a consensual \"why not?\"<\/scene_description>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>Okay, I'll make the arrangements.<\/dialogue>\n    <parenthetical>(punches out a number on his cell phone)<\/parenthetical>\n    <dialogue>Lance Corporal Washington here will be going with you.<\/dialogue>\n    <parenthetical>(in phone)<\/parenthetical>\n    <dialogue>Colonel Willits here. You are going to make a few things happen, ASAP.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Hold on, Colonel, we don't need no babysitter.<\/dialogue>\n    <character>COLONEL WILLITS<\/character>\n    <parenthetical>(in phone)<\/parenthetical>\n    <dialogue>Stand by.<\/dialogue>\n    <parenthetical>(to Sal)<\/parenthetical>\n    <dialogue>I wasn't implying you did. Washington's on TDY, escort duty. You don't want him, he goes right back to Baghdad.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Guys?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>We could use the help.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Does he pull per diem?<\/dialogue>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>Sal grins at Washington.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Then fall in, Washington!<\/dialogue>\n    <parenthetical>(to Colonel)<\/parenthetical>\n    <dialogue>But he takes his orders from us.<\/dialogue>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>He takes his orders from ME. But, he will accommodate you in any reasonable way you ask, because I just ordered him to. Is that clear?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Well, you're a fuckin' force of nature, ain't you? It would have been fun to run into you in the field in my younger days.<\/dialogue>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>You think so?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>One of us woulda got fragged.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HANGAR - MORNING<\/stage_direction>\n    <scene_description>Everybody is back at the hangar where the casket has been taken. They see six more flag-draped coffins being wheeled into the hangar. Their casket is loaded onto one carryall while the civilians pull away in another. Sal turns back to see Washington, in the distance, standing at attention with the Colonel in his face.<\/scene_description>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>I don't give a fuck what they say. The Lance Corporal is ours. He's a Marine until he goes into the ground, and he remains a Marine for the period he is under the ground, plus one hundred years. I will not have three over-the-hill veterans pissing on my corps. Is that understood?<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>Yes, sir!<\/dialogue>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>You're a Marine, and your mission is to see your brother home. You're in charge, and when IN charge, TAKE charge. Understood?<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>Yes, sir!<\/dialogue>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>There's going to be a mortuary affairs detail at every step of the trip. You will protect the dignity of that dead Marine, and see that he is buried with honors. In his uniform. Not in some pussy civilian graduation suit! Understood?<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>Yes, sir!<\/dialogue>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>And don't let that Sal asshole outflank you. He's old but he's dangerous. Don't let that happen - kill him first.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>Sir?<\/dialogue>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>That is not an order.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>And just because that crippled preacher reminds you of your father, don't trust him.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>I never knew my father, sir.<\/dialogue>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>Lance Corporal, do you have a personal problem?<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>No, sir!<\/dialogue>\n    <character>COLONEL WILLITS<\/character>\n    <dialogue>Then get on it.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>Yes, sir!<\/dialogue>\n    <scene_description>He jumps into the other carryall and it takes off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. RAILROAD STATION - DAY<\/stage_direction>\n    <scene_description>Alongside the train at the Wilmington, Delaware station, the \"mortuary detail\" of six service members, including Washington, carry the box containing the coffin. They eventually load the container onto a cargo car. Washington stands next to it in the car and salutes, as do the other five, before walking away. Doc stands back a little as Sal chats with the attendant, JOHN REDMAN, who also saluted.<\/scene_description>\n    <character>REDMAN<\/character>\n    <dialogue>I was there the first time. Gulf War, they called it then.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>You got back.<\/dialogue>\n    <character>REDMAN<\/character>\n    <dialogue>Yeah, and I'm not pissin' blood and my babies are all okay. Filthy little war. But righteous.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Oh yeah...<\/dialogue>\n    <character>REDMAN<\/character>\n    <dialogue>Can't let the big ones swallow up the little ones.<\/dialogue>\n    <scene_description>Redman turns to Doc and shakes his hand.<\/scene_description>\n    <character>REDMAN<\/character>\n    <dialogue>John Redman. Don't worry - I'll look after your boy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN - DAY - MOVING<\/stage_direction>\n    <scene_description>Sal and Doc sit next to each other, facing Mueller, who's reading his bible. Sal watches him read.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>When did you become so old?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>I think it happened over the past thirty years. Same as you.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I categorically deny it.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>You can deny it all you want to, but that ain't gonna stop the clock or turn it back.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>What do you make of that grunt, Washington?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>What about him?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I don't know, he don't say much, him and his Baghdad boil... that's some gnarly shit.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>What do you want to know about him?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I don't want to know nothin' about him.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Sounds to me like he is an individual heavy on your mind.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Nothin' heavy about it. Just wonderin'.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Go back and talk to him, if he's such a mystery to you.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Everything's a mystery to me... except you.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Please.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I think I'll go back and talk to him.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>I'm sure he'll enjoy that.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Tell him he can come sit up here with us.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I'll do an invite.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEN'S ROOM - DAY - MOVING<\/stage_direction>\n    <scene_description>Alone in the restroom, Sal takes a toke on a joint, waving away the smoke.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARGO CAR - DAY - MOVING<\/stage_direction>\n    <scene_description>Sal enters, slowly walking over to Washington, sitting next to the coffin.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>You're welcome.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>For what?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Are you on a train in Baghdad? No, you're not.<\/dialogue>\n    <scene_description>Washington just kind of nods as Sal finds a seat on some boxes.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>TDY. Sometimes it's fun, sometimes it's a bitch.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>I don't mind. He was my best friend.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>You didn't hang with the brothers?<\/dialogue>\n    <scene_description>Washington looks up at him.<\/scene_description>\n    <character>WASHINGTON<\/character>\n    <dialogue>There's no rule. I just liked the dude. He had my back and I had his. He was honest, said what he thought. Simple, in a good way. He never had an attitude.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Sounds a lot like his father.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>What about the honest part?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Doc is not a dishonest man.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>What about that brig time?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>That could have been any of us. He got fucked. I know things you don't.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Doc was a lot younger than us, a kid, and technically he was in the Navy. He wanted to be our friend and we took advantage of it. We'd done him a favor and now he was doing one for us. But then it all went to shit and someone had to take the fall. C'mon up with us for a while. Redman here will look after your friend.<\/dialogue>\n    <character>REDMAN<\/character>\n    <dialogue>No problem.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>That's all right.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>No, you have to get out of here for a while.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Come talk to Larry's father, say something nice.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>I don't know what I can say.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>You'll come up with something.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. PHILADELPHIA STATION - AFTERNOON<\/stage_direction>\n    <scene_description>The train pulls into the station.<\/scene_description>\n    <character>CONDUCTOR (V.O.)<\/character>\n    <dialogue>Philadelphia... Arriving Philadelphia.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN CAR - AFTERNOON<\/stage_direction>\n    <scene_description>Washington sits with the others, a bit uncomfortable. They look out the window at the people on the platform, waiting for the train, carrying shopping bags. Finally -<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Look at them.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Them. All the shit they bought. They don't have a clue.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Ordinary people, out for a day of shopping.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Fuckin' sheep is what they are.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>I wouldn't mind being one of them.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Well, yeah, it's better than being shot at.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>Rather be fighting them over there than in our own backyard.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Sound familiar?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Oh yeah...<\/dialogue>\n    <character>SAL<\/character>\n    <parenthetical>(to Washington)<\/parenthetical>\n    <dialogue>See, we fought the commies in 'Nam so we wouldn't have to fight them on the beaches of Malibu.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>Guess it worked.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>Marine's gotta be willing to die on order.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Yep - that's always been the mission, and it's a bunch of crap.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>There needs to be a reason. This time we were told there was an imminent danger. Arsenals of horrible weapons... a possible mushroom cloud.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Lies. It's always the same ol' shit: stay the course, if we pull out now, our heroes will have died in vain...<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>But I want to believe in our leaders, I want to believe in our country. We're a good country.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Yes we are, but when you catch your government lying to you, everything changes.<\/dialogue>\n    <scene_description>Passengers hurry on board. The doors shut and the train pulls away.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>So, how's the living over there?<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>It's all right. They got a shopping mall out near the airport. There's a new Burger King and Pizza Hut. We're livin' pretty good for a combat zone, but they sure hate us.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>We gotta be the only occupying force in histroy that expects people to like us.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>When you go out, you never know what's gonna happen. But coming from Oakland, I'm used to people dying all of a sudden.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>In high school, one of my best friends was killed by a stray bullet. My father was robbed on the street, and they put one in him. But I didn't even know who he was 'til he turned up dead.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Jesus, kid...<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>I'm only sayin'...<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>So you joined the Marines to get away from all that in Oakland?<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>No, sir. I wanted to strengthen my character. It was that way with Larry too. We wanted to test ourselves, to forge ourselves into the men we wanted to become.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>That's what we used to think. Every generation has their war. Men make wars, and wars make men... Never gonna end.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Maybe we need to try something else.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>When Larry was little, he played with toy soldiers. He dug trenches for them. He put them through basic training.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>Mr. Shepherd, Larry was where he wanted to be. He hated it. We all hate it. But it's where we were sent, and we'll do what we have to do. We signed up for it.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>He must have been embarrassed, me sitting out the last part of our war in the brig...<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>No, sir, Larry wasn't embarrassed - he loved you. You know what made him different from most of us in the unit?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>He had a happy childhood.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>He said that?<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>Yes, sir. He had a mother and father who loved him... and each other. Nice house to live in. Good food to eat. School... football... nice friends... on and on.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Mr. Shepherd, it was my turn to get the Cokes. That was my bullet, not Larry's. I should have been the one...<\/dialogue>\n    <scene_description>Mueller puts his hand on Washington's knee, letting him know it's okay and not to think like that.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>A gray car pulled up to the house... a Marine Lieutenant and a Navy chaplain. Shiny brass belt buckles. I kept looking at those shiny buckles. \"The President has asked me to express his deep regret...\" Killed in action. In action - nothing about shot in the back of the head buying Cokes for the guys. Nothing about killed trying to get the Baghdad school system up and running.<\/dialogue>\n    <parenthetical>(looks out the window, looks back)<\/parenthetical>\n    <dialogue>The school system in New Hampshire is in rough shape.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Why wasn't Larry back in New Hampshire delivering stuff to our own schools?<\/dialogue>\n    <scene_description>Nobody can say anything.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Is that a stupid question?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFE CAR - NIGHT - MOVING<\/stage_direction>\n    <scene_description>With two glasses of beer, Sal wanders from the bar over to the table where Doc and Mueller sit. Mueller has a cup of coffee, and Doc a beer. As soon as Sal sits he downs a glass in one gulp.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>Thirsty?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>That went down awfully fast.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Well I'm drinking for two, now that you've got all old and boring.<\/dialogue>\n    <scene_description>He starts to drink the other glass.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>Might be you're an alcoholic. I am. I recognized that and owned up to it. That's the first step.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>At least we're not drug addicts.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Not anymore, praise Jesus.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>We never were.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>We took the shit, didn't we?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>We needed the shit.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>If we needed it the corps would have issued it to us.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>In a way they did.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>That shit was meant for pain. All drugs are.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>So what's wrong with takin 'em then?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Morphine? It's kind of addictive.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>So's pain.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>We weren't the ones who were in pain, though.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>The fuck we weren't.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>That's a different kind of pain.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Pain is pain.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Back from the war less than a day, his best buddy in a coffin, and all he's talking about is a Burger King and Pizza Hut at the shopping mall.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>He just doesn't want to talk about it. We never did.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>You asked him.<\/dialogue>\n    <parenthetical>(new thought)<\/parenthetical>\n    <dialogue>Next stop I need to call Ruth.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>You need one of those mobile phones. You could be talking to her right now. Ten year-old kids have 'em. They've practically quit making pay phones.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAIN - NIGHT<\/stage_direction>\n    <scene_description>As the train speeds to New York, we hear all the guys in mid- conversation. This time, however, it is revved up and boisterous.<\/scene_description>\n    <character>MUELLER (O.S.)<\/character>\n    <dialogue>... So we ended up at Disneyland to resuscitate Doc, who was metaphorically drowning...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARGO CAR - NIGHT - MOVING<\/stage_direction>\n    <scene_description>The guys sit on improvised seats in the baggage car, bull- shitting.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>I got your metaphoricals - dangling! Stick to the story!<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>Wait a minute. They got a Disneyland in Vietnam?<\/dialogue>\n    <scene_description>Everybody laughs.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>That's what they called all the bars and houses of ill-repute that sprung up near the base.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>And it was the company fucking commander's doing! He's the one who told us to take a couple of days off and get Doc's ass over to Disneyland before he had a total meltdown.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I was having some problems...<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>He sure as shit was, and the biggest one was that it was time for him to get his cherry busted. How old were you, Washington, first time?<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>Thirteen.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I rest my fucking case! My point exactly. Doc was eighteen.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I was nineteen.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>One year worse. It was time.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>No, it wasn't. The right time was when I met Mary, and we committed to each other.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>I think thirteen is way too early, too, by the way.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Don't wreck my story. Believe me kid, he was ready. We killed some time in the bars then found the perfect little whorehouse.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>That's so uncool.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>Paying for sex. Whores and pimps... it's disgusting.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Jesus, what the hell has happened to your basic GI?<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>I just think some things shouldn't to be bought and sold.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Actually, it wasn't all that bad.<\/dialogue>\n    <scene_description>The others laugh. Mueller leans a little toward Washington.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>Jesus had not yet entered my life. I yielded to bad impulses.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Yielded to 'em? You smoked 'em, drank 'em, and fucked every impulse! Old Mueller the Mauler here would get the five dollars\/ five minute special - he was like a jackrabbit.<\/dialogue>\n    <scene_description>Sal makes a quick humping motion. Mueller fights a smile.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>Everything seems funny years later, but I don't care what anybody says, it was a dereliction of duty, pure and simple.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I got your dir'liction swinging, you old coot!<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>The whores I know, I don't want to be around.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>But this was like going to a friend's house... and then you end up having sex with the friend. And then you pay them.<\/dialogue>\n    <scene_description>They laugh again. In spite of everything, they are having a good time... a good moment at least.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Next day, I gotta admit, I was sick of hearing about that little Asian whore. Oh, Doc was quite proud of himself. Said he had a hard-on so big he couldn't bend his fingers or blink his eyes.<\/dialogue>\n    <scene_description>Another round of big laughs.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Fuck me... God, I really miss that, having a boner you can hang a towel on. My johnson used to stand up and watch me shave, now it watches me pull up my socks.<\/dialogue>\n    <scene_description>They all crack up.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>Don't encourage him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PENN STATION - NIGHT<\/stage_direction>\n    <scene_description>The train is grinding to a stop in Penn Station.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 8TH AVENUE - NIGHT<\/stage_direction>\n    <scene_description>Our three walk downtown, away from the station. Sal takes a deep breath.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>New York, New fucking York.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Let's not wander too far.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Just far enough to find the first Blarney Stone.<\/dialogue>\n    <scene_description>Which is right across the street. Sal turns and goes inside. The others have no choice but to follow.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLARNEY STONE - NIGHT<\/stage_direction>\n    <scene_description>They sit at the bar. Sal has escalated to a shot and a beer. Mueller has a ginger ale; Doc, a beer.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>How much time do we have?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Enjoy, old man. It's the Big Apple. We got the time.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>I have to call my wife.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>See? Again, you need a fuckin' wireless telephone. You could sit right here and dial her up and you wouldn't have to get off the stool and hobble the full length of this place and have to stand on your feet next to the shitter just to say, \"I miss you, dear, I hope you still love me, even though I used to fuck whores.\"<\/dialogue>\n    <scene_description>Though on his way, Mueller swings his cane around toward Sal's head, just missing as Sal ducks.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>I'm still too quick for you, floatin' like a butterfly.<\/dialogue>\n    <scene_description>Mueller continues on as Sal waves to the bartender.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>One more, please, before Grandpa Moses gets back.<\/dialogue>\n    <scene_description>The bartender pours another shot. Doc takes some money out of his brown envelope.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Drink up. Here's to duty and honor.<\/dialogue>\n    <scene_description>Sal knocks back the shot.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>I guess it woulda been an honor, the whole Arlington thing.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Sometimes the real honor is turning down the honor.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Wouldn't you be honored?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Don't matter to me. Drop me anywhere. You know what I put down when I have to write who to notify in case of emergency?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Your lady friend?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>County coroner.<\/dialogue>\n    <scene_description>LATER - Mueller has rejoined the group.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Request permission to have another, sir?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Ain't nobody gonna tell you you can't have a drink. Someday you're gonna have to tell yourself.<\/dialogue>\n    <scene_description>Sal signals the bartender to pour another.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Barkeep, I'm gonna have just one more drink... and then I'm gonna have another.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>You have a drinking problem.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>No problem, really. I think I got it down.<\/dialogue>\n    <parenthetical>(offers toast)<\/parenthetical>\n    <dialogue>Born in pain, live in fear, die alone.<\/dialogue>\n    <scene_description>He chugs it.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>Could you be any more Irish right now?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Nope, though my mom was half Italian. I got the best of both - I'm an Irish drinker and an Italian lover.<\/dialogue>\n    <scene_description>Doc has been watching the TV above the bar. It's the same footage of Saddam getting his physical exam, along with other shots, like the picture of his two sons displayed after they were killed.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>I lost one, he lost two.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I guess he thought it was worth it.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>It wasn't worth it. Not to me.<\/dialogue>\n    <scene_description>Now George Bush Jr. is on the TV, giving an interview.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Would it be worth his twin daughters? He's got twins, right?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Who? The cheerleader?<\/dialogue>\n    <scene_description>Sal gets up and goes over to the bartender.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>He was a cheerleader in college.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Would it be worth their lives? Even one of 'em?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Good luck gettin' that answered.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BLARNEY STONE - NIGHT<\/stage_direction>\n    <scene_description>The three of them come out, Sal and Doc none too steady. They go in one direction, stop to get their bearings, then go in another direction. Sal spots a phone shop across the street and attempts to cross in the middle. Mueller hooks him with his cane and pulls him back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHONE SHOP - NIGHT<\/stage_direction>\n    <scene_description>An overwhelming display of hi-tech. A CLERK is helping them.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>How many minutes do I get again?<\/dialogue>\n    <character>CLERK<\/character>\n    <dialogue>On this plan, five hundred.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Every month?<\/dialogue>\n    <character>CLERK<\/character>\n    <dialogue>Will that be enough?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Enough? How can anybody talk for more than five hundred minutes a month on a fuckin' telephone?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>We're gonna miss our train, sure as God made little green apples.<\/dialogue>\n    <scene_description>With a flourish, Sal slaps his MasterCard on the counter.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>This goes through, you got a sale young lady, and I go hi-tech.<\/dialogue>\n    <scene_description>LATER - as Sal signs the papers...<\/scene_description>\n    <character>CLERK<\/character>\n    <dialogue>You can call other people who use this same plan and it won't count against your minutes.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Get out. Now, that's a helluva deal.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>What do you care? Who do you know on this plan?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>You two fuckers! Get you some phones, right now.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Don't need one, don't want one.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I wouldn't mind having one, to tell you the truth. I've often thought about it.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Done! Barkeep, a couple phones for my partners here.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>So he and I can talk anytime, even though he's in Norfolk and I'm in New Hampshire and it don't cost us nothing, right?<\/dialogue>\n    <character>CLERK<\/character>\n    <dialogue>That's the deal.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>C'mon, Mueller. With three-way calling and all we can talk to each other at the same time.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Well, we're doing that right now, aren't we?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>C'mon, Mueller.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>What if I don't like it? Now I've got a contract for two years?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>What if you fall down? A real possibility with your gimpy knee. And you're in a ditch, and you can't get up, and nobody can see you, and it starts to rain, and the ditch fills up with water? Looks like you're gonna drown. Farewell, old Reverend Mueller.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Ah, but with your wireless phone you can call for help.<\/dialogue>\n    <character>CLERK<\/character>\n    <dialogue>And 9-1-1 calls do not count against your minutes.<\/dialogue>\n    <scene_description>Mueller looks like he is weakening.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Sold!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 35TH STREET - NIGHT<\/stage_direction>\n    <scene_description>Sal hurries on ahead of the other two, dialing a number on his new phone. He ducks into an enclave off the street and is momentarily out of sight. Mueller's phone rings and he fumbles to answer.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>SAL<\/character>\n    <parenthetical>(disguised voice)<\/parenthetical>\n    <dialogue>Is this Reverend Mueller?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>This is God. It don't count against your minutes to talk with me.<\/dialogue>\n    <scene_description>They've now caught up with Sal, who emerges with a big smile on his face.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>Don't be burning my minutes with foolishness.<\/dialogue>\n    <scene_description>He hangs up.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Call Redman back on the train.<\/dialogue>\n    <scene_description>They once again fall into pace together as Sal dials.<\/scene_description>\n    <character>SAL<\/character>\n    <parenthetical>(in phone)<\/parenthetical>\n    <dialogue>Hey, Redman, guess who this is! Right!<\/dialogue>\n    <parenthetical>(holds phone against chest)<\/parenthetical>\n    <character>SAL<\/character>\n    <dialogue>He knew it was me. Listen up, John, I'm calling you on my new wireless...<\/dialogue>\n    <parenthetical>(to Doc)<\/parenthetical>\n    <dialogue>What's my phone number?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>It's in the display.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>What display? There's no number.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>It comes on when you turn on the phone.<\/dialogue>\n    <scene_description>Sal turns it off and on. He takes a pen out of his pocket and writes the number on his palm.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>John? Shit, I lost him.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Well, you hung up on him.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>You don't even know how to use that thing.<\/dialogue>\n    <scene_description>He dials again.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>John Redman, sorry about that.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>What? Oh.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>What's he saying?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>They're on their way to Boston.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>The train's left without us?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Well, that's just outstanding. I warned your ass.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>We'll catch the next one. Redman says they'll wait for us.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PENN STATION - NIGHT<\/stage_direction>\n    <scene_description>The three of them seem to be wandering in different directions, getting information. Finally they come together.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Good news. We can catch the express, right to Boston.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>When?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Seven a.m.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Oh, jeez...<\/dialogue>\n    <scene_description>Mueller gives Sal a withering look.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAR - NIGHT<\/stage_direction>\n    <scene_description>They're having dinner at the bar. Sal has his phone on the bar. Mueller has put Doc between them. The bartender switches the TV to a basketball game.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Oh look, a show on black history. Is it that month already?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Very funny.<\/dialogue>\n    <scene_description>Back on the game, a player steals the ball, breaks away and goes airborne. He stuffs it.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Let me point out something to you. The butt-ugliest shot in basketball is the slam dunk. What does it mean, anyway? What does it say about the dude who stuffs it?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>That he's pretty darn tall.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Dudes were tall before. They didn't go around hammerin' the ball through the hoop every time down the court. Ugly fuckin' shot and now they're stuck with it. Hangin' on the hoop, all that shit. Now, you take the fade-away jump shot; a man is covered, fenced away from the basket, he goes up, drops back, arcs that puppy over the defense. Beautiful. Elegant. Earl-the-Pearl skillful.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Free throws are what win or lose the game.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Well, but they interrupt the fucking action. They're boring and there are too many of them. You're not supposed to be bangin' into each other. Fouls should be shameful, but, fuck, there ain't no shame anywhere anymore.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Look who's talking. Have you ever been ashamed about anything? Ever in your life?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Only once.<\/dialogue>\n    <scene_description>They fall silent, then resume their meal.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Boston was where he was from.<\/dialogue>\n    <scene_description>He expects someone to say something but no one does.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>I'm checking to see if he's got any family still there.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Because he's drunk.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>What does that have to do with it?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>This happen every time you drink?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Pretty much.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Then don't drink.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>It's what I got instead of God.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Okay, I get it. I found God, Doc did his time, and you got drunk.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>And maybe he got the best of the deal.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>He was gonna die anyway, Sal.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>But he didn't have to suffer. Not that much anyway.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Jimmy Hightower! We can't even say his name. We all feel guilty about how he suffered as he was dying, but did it ever occur to you that maybe nobody would have been shot at all, and everyone would still be alive if we'd all been doing our jobs instead of fuckin' around?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PENN STATION - NIGHT<\/stage_direction>\n    <scene_description>They make their way back to Penn Station.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>Now we only got, what, three more hours to wait.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>On the town - two old jarheads and a chicken of the sea.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Only we ain't dancing.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Fuck, we're hardly hobbling.<\/dialogue>\n    <scene_description>Even Mueller has to smile. Suddenly we hear the odd electronic tones of Raindrops Keep Falling on My Head. Sal jumps, spins around. The music is coming from his chest.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>The fuck...!?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>It's your fancy new phone.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>It does that?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Answer it, Sal. It must be John Redman.<\/dialogue>\n    <scene_description>Sal digs the phone out of his pocket.<\/scene_description>\n    <character>SAL<\/character>\n    <parenthetical>(answering)<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <character>FEMALE PHONE VOICE (O.S.)<\/character>\n    <parenthetical>(with Indian accent)<\/parenthetical>\n    <dialogue>Mr. Nealon...?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>FEMALE PHONE VOICE (O.S.)<\/character>\n    <dialogue>My name is Sharon. How are you this evening, Mr. Nealon?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Not all that great, frankly.<\/dialogue>\n    <character>FEMALE PHONE VOICE (O.S.)<\/character>\n    <dialogue>I'm sorry to hear that. I wanted to let you know that my manager will be in your area in the next few days and would love to show you how to make a twelve to twenty percent return by investing in international market funds.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Wait a minute... I don't even know my own fuckin' number, how the hell did you get it?<\/dialogue>\n    <character>FEMALE PHONE VOICE (O.S.)<\/character>\n    <dialogue>Have I called at an inconvenient time?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>What do you think, bitch?<\/dialogue>\n    <scene_description>He makes like he is going to throw the phone across the street, then smiles and tucks it away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PENN STATION - EARLY MORNING<\/stage_direction>\n    <scene_description>As the place comes to life, our three pull their aching bones off the benches and try to wake up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN #2 - MORNING - MOVING<\/stage_direction>\n    <scene_description>On the way to Boston, the three of them are half-asleep. Doc stares out of the window.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>What were their names?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>His sons. Saddam's. The ones they shot up and put on display like it was the old Wild West.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Fuck, Doc, it's too early in the day.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I was just thinking.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I don't know. Weird-ass A-rab names. Hugo and Queasy, like that.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>They were named Uday and Qusay. Fairly simple names.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Sure, if you're used to Leteesha and Kuamme.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>You're a racist as well as an alcoholic.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>You forgot sexist. Fair to everybody. What did you name your kids?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Otis and Sally.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Now that's nice. A kid should always be able to spell his own name. Named her after me, didn't you? Sally.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Say what?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>After old Sal. I ever have a kid I'll name him after you, Dick. First he'll be little Dick, then he'll grow up to be big Dick.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>What if it was a girl?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Look at him, Doc. Even if he had any left swimming in him, what woman of childbearing age is gonna spread her legs for him?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Your Sally, if you'll make the introductions.<\/dialogue>\n    <scene_description>Sal once again jumps out of range of Mueller's cane.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>I swear I'm gonna brain you, I don't care if there's already a plate in your head. I'll put another one 'em there.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Seriously though, padre, can I ask you a personal question?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>How come you married a black woman?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>What?!<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Don't you tell me you never had a white woman. It was the 70s.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>As I recall, white dudes finally admitted having an eye for black women.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Oh, yeah, I'm gaga for the sisters myself. And they dig me too. Well, a couple of 'em did... for a time... then I'd say somethin' stupid.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>No, you? Say something stupid to a black person?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>'Course I had a couple bouts of yellow fever too... and always did have a sweet tooth for the Latin babes. I got nothin' against white women, mind you. They're okay, some of 'em. But we were talkin' about you marrying a black woman.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>First of all, who I married is none of your business.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>That's why I'm being so polite about it.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>I'll tell you why. God told me to.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Whoa. To marry a black girl?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>No, to marry Ruth.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>He told you that?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>He did.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Like He told the Reverend Pat Robertson who was gonna win the election?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Pat Robertson is a complete phony.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>How come God never talks to me?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Because you can't listen. And he doesn't talk to Pat Robertson either.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>But He does talk to you?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>I didn't say that. I said He told me to marry Ruth and be a decent man and to preach the word.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>So he does speak to you.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>He didn't talk to me in words. He touched my heart.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Maybe it was Ruth who touched your heart.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Oh, it was. It was God through Ruth. I was down and out, and I didn't care about nothing. A recovering alcoholic with shot up legs. Then one day I found Jesus...<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Where was that, bump into him on the street?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>In my heart, the only place you can find Him. I went down there like it was a scary cave, which in a way it was, a dark, unexplored place.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Went down afraid and alone, came back up fearless and with Jesus at my side. Next Sunday I took myself to church...<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Hallelujah! And there was Ruth.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Right there, and everything came together for me.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>That's a beautiful story.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Sorry the fuck I asked.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>If God wants to keep holdin' out on me, I get it. But would it kill Him to pat me on the shoulder or shake my hand like a man? And if he'd also like to deliver a nice black girl with a great ass, so much the better.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOSTON STATION - DAY<\/stage_direction>\n    <scene_description>Walking just outside the Boston train station, Sal is in front of the other two, talking on his cell phone.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>What's he up to?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Look at him wheeling and dealing... Mr. Cellular Phone.<\/dialogue>\n    <scene_description>Sal hears them talking about him and turns toward them, still on the phone.<\/scene_description>\n    <character>SAL<\/character>\n    <parenthetical>(to Doc and Mueller)<\/parenthetical>\n    <dialogue>We've got an errand to run.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>We got enough time?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>MUELLER<\/character>\n    <parenthetical>(simultaneous)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I'm on with Redman. He and Washington just got to New Hampshire. We'll see 'em there.<\/dialogue>\n    <parenthetical>(to Redman)<\/parenthetical>\n    <dialogue>We'll see you there.<\/dialogue>\n    <scene_description>He closes his phone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A60 INT. DOVER, NH STATION - DAY A60<\/stage_direction>\n    <scene_description>Redman closes his phone and walks back over to the baggage car, where Washington and 5 other service members are starting to carry the box containing the coffin. Redman salutes as they walk away. We follow the mortuary affairs detail through the baggage\/storage area of the train station and down an elevator to the loading dock where a hearse, and the funeral director LELAND await.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI - DAY - MOVING<\/stage_direction>\n    <scene_description>The taxi is driven by a turbaned driver.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>She's been living with it all these years. What good's it gonna do her?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>We're long overdue, the way I figure. She ought to know the truth and we ought to be men enough to say it.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>How'd you find her?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I got O'Toole to call his granddaughter and have her look it up for us on the world wide web.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>What can we possibly say to her?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>The truth. If it'd a been me, I'd want the other guys to go see my family.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Where is your family?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>They're all dead. I think I have a cousin left, in Scranton.<\/dialogue>\n    <scene_description>The cab pulls up to a small house. They look at the place but say nothing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHTOWER HOUSE - DAY<\/stage_direction>\n    <scene_description>At the door: Mueller knocks with his cane. They wait. He knocks again.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Maybe nobody lives here anymore, maybe.<\/dialogue>\n    <scene_description>The door opens, revealing a woman in her 80s. She is wary.<\/scene_description>\n    <character>MRS. HIGHTOWER<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <scene_description>None of them seems able to speak.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Some time later, they're all sitting around in the living room. Mrs. Hightower directs them through a series of framed pictures and Christmas card photos that they pass around.<\/scene_description>\n    <character>MRS. HIGHTOWER<\/character>\n    <dialogue>This was the last picture we ever got from Jimmy. And this is Jimmy's little girl all grown up.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>So, how old was she when he died?<\/dialogue>\n    <character>MRS. HIGHTOWER<\/character>\n    <dialogue>Four months old. Her mom eventually remarried and they moved to San Diego. Here's my great-grandkids.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Look at that. He'd be a grandfather.<\/dialogue>\n    <character>MRS. HIGHTOWER<\/character>\n    <dialogue>I've never met them in person, but they call every now and then. So you three were with my Jimmy?<\/dialogue>\n    <scene_description>The old woman stares at him blankly.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Yes ma'am. We'd already fought us a long year, and most of us were still breathing. But that extension... that four more months they added on... some of us couldn't handle it, and, I think we didn't all...<\/dialogue>\n    <character>MRS. HIGHTOWER<\/character>\n    <dialogue>What was it all for?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>They said they knew, and we believed them. But now... we just came here to tell you what happened.<\/dialogue>\n    <character>MRS. HIGHTOWER<\/character>\n    <dialogue>Are you some of the men he saved?<\/dialogue>\n    <scene_description>Sal is just frozen. Doc and Mueller look at him wondering how he's going to respond.<\/scene_description>\n    <character>MRS. HIGHTOWER<\/character>\n    <dialogue>Thry told me he saved three or four of his buddies, before...<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Yes ma'am. We are.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>He was a great guy, Jimmy.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Yeah, we've never forgotten him.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>That's why we're here, ma'am. We owe him.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>We just wanted to come by and pay our respects.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Let you know he's still in our hearts.<\/dialogue>\n    <character>MRS. HIGHTOWER<\/character>\n    <dialogue>That is so sweet of you boys. I can't thank you enough.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHTOWER HOUSE - DAY<\/stage_direction>\n    <scene_description>The door opens as they exit. Sal gets the last hug in.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Take care of yourself.<\/dialogue>\n    <character>MRS. HIGHTOWER<\/character>\n    <dialogue>This makes my week. Please come back anytime.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Thank you, ma'am.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Bless you, Mrs. Hightower.<\/dialogue>\n    <character>MRS. HIGHTOWER<\/character>\n    <dialogue>You boys be careful out there.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>We will.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN #3 - LATE AFTERNOON - MOVING<\/stage_direction>\n    <scene_description>They sit in silence, not saying much. Even Sal stares out the window at the sunset.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOVER, NH STATION - NIGHT<\/stage_direction>\n    <scene_description>Washington waits for them, next to a hearse and Leland.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FUNERAL HOME LIMO - NIGHT - MOVING<\/stage_direction>\n    <scene_description>Washington sits next to Leland. In the back seat are Sal, Doc and Mueller. Outside the window are shells of abandoned plants and factories, lying idle. Sal just stares out the window.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Looks like things used to get made here.<\/dialogue>\n    <character>LELAND<\/character>\n    <dialogue>Used to.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Even morticians better watch out - they might be outsourcing undertakin' next.<\/dialogue>\n    <character>LELAND<\/character>\n    <dialogue>Never happen - American funeral directors are the best in the world.<\/dialogue>\n    <scene_description>Sal mutters a monologue... not that anyone is much listening at this point.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>So were the American factories. We could make anything, quality stuff. That's how we won two world wars. Don't be surprised if somebody figures out that it's cheaper to ship a body to Mexico and back than to do it up here. They'll ship it to China or India once they figure out it'll save 'em a buck. Don't matter how good you are.<\/dialogue>\n    <parenthetical>(new mumbly thought)<\/parenthetical>\n    <dialogue>Just a matter of time till they start outsourcing soldiering. Hell, get a bunch of starving young people from all over the world, put 'em in a uniform and tell 'em to try to stay alive. When their tour is over we ship 'em back to where they came from... no VA hospitals, or pensions. You lost an arm? You got PTSD? Tough shit, we're flushing you down...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOC'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>The limo pulls into the driveway. As the others get out, Sal quickly goes to the nearest bush in the yard to pee.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>If you had any more manners, you'd be a dog.<\/dialogue>\n    <scene_description>Sal continues peeing, emphasizing his relief.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Now I'm seeing God.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOC'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>In the small, dark den, embers glow in the fireplace. Washington lies awake on the sofa.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOC'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Mueller lies awake. He can't help but notice the pictures of Doc and his wife, Larry Jr, etc. Actually, it feels like Mary still lives there. It seems Doc's barely touched anything since last January.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LARRY'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Sal is laying on a trundle bed, pulled out from under Larry's bed, where Doc rests. The room is lit by moonlight. Now an as-he-left-it shrine to Larry, they're surrounded by the various photos of family and friends, sports mementoes, music posters, etc.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>You gonna want to stay on here, alone?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I don't know - haven't thought much about it.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Portsmouth? The brig right there. You might want to try another place. A fresh start.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>But Larry would be here. Mary, too.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>You could always come visit. You got close friends here?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Not too many. Not too close.<\/dialogue>\n    <scene_description>His voice trails, he's falling asleep. Sal jabs him in the ribs.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Move to Norfolk. You could work in my bar.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I never worked in a bar before.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Trust me - it ain't that hard.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Your place don't seem all that busy.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>That's my fault. I let it go. It needs new blood. We could get the grill part going again. I need a partner.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>A partner?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Yeah. The bar'd be half yours, and when I bite it, it'll be all yours.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>Sal... you don't owe me nothing.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>This ain't paying off no debt. I really do need a partner, and I got nobody to leave the place to. You could stay with me for a while, but then you'd have to find your own place, 'cause I like to pursue the ladies and, frankly, you'd cramp my style.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>You thinkin' about it?<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I am. I'm picturing it. It's kinda funny.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Might be time for another BCD in your life.<\/dialogue>\n    <scene_description>Doc smiles.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Better career decision...<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Yeah, and if nothin' else, it might be fun. What's wrong with that?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOC'S HOUSE - MORNING<\/stage_direction>\n    <scene_description>Sal, Mueller and Washington are in the kitchen having coffee. Sal punches some numbers in his cell phone, waits for an answer.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>You purely love that thing, don't you?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I can't get that fucker O'Toole to answer. The place could be burned down for all I know.<\/dialogue>\n    <scene_description>He puts the phone away. Doc comes in with a suit on a hangar.<\/scene_description>\n    <character>DOC<\/character>\n    <dialogue>Larry's graduation suit.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>Looks a little small.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>You think?<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>Yes, sir. Larry bulked up. That's gonna be way too tight on him.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I guess I could go down to Penny's and buy him something new.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>We still got his dress blues.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Remember how we used to call the dress blues the tuxedo? By law you could go to any formal function wearing that uniform.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Not that we ever got invited to one... or would have gone if we did.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Still, it was good to know you were always dressed for any occasion.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>No one ever forgets the first time you put it on and looked at yourself in the mirror - I'm in the U.S. Marine Corps, and I look pretty fuckin' good.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>I do remember that feeling.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>Yes, sir. I'm glad to know you never forget it.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Larry must have looked sharp.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>He did. He was proud as a peacock in that uniform.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>I know that for a fact.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Pride is the thing.<\/dialogue>\n    <parenthetical>(to Mueller)<\/parenthetical>\n    <dialogue>It's no sin.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>No, of course not. Not that kind.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I could bury him in his dress uniform, even if.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Yeah. It means you did something. You served. Fuck what the politicians did, you served. You didn't weasel out of it. You didn't think it was somebody else's job. You took it on, man, and you looked sharp doing it.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>I'm gonna. I'm gonna bury him in his uniform.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Good.<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>Never regret it, sir.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Fuckin' A.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FUNERAL HOME - MORNING<\/stage_direction>\n    <scene_description>Establishing shot.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FUNERAL HOME - MORNING<\/stage_direction>\n    <scene_description>Doc is in the background, talking to Leland about various details. Washington, forever on duty, stands next to the coffin. In the foyer, Sal and Mueller sit on opposing benches, waiting for Doc. Sal is studying Mueller, looking at him over his folded arms.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>Why're you looking at me like that?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I'm sizin' you up. I'm gonna buy you a new suit of clothes.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Say what?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I'm gonna dress you up for the occasion.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Why, may I ask?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Because I love you.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>I don't need a new suit of clothes. It's you needs some grooming.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>Neither of us is properly dressed. But we will be, you watch.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>The things that come into your head. And out of your mouth.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>The loving you thing rattled you, didn't it, old man?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>It's very disturbing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LARRY'S ROOM - DAY<\/stage_direction>\n    <scene_description>In close-ups: The ritual of a Marine putting on his uniform. Then we see it is Sal... and Mueller... putting on uniforms complete with the proper insignias.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Did I deliver or did I deliver?<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>The dude gave you these for nothing?<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>On loan. Tailor-mades. Once I told him why, no charge.<\/dialogue>\n    <scene_description>Now they each don the hats, positioning them just right. Looking good. Doc comes inside and is stopped cold. He looks at them, speechless. A flood of memories engulfs them all.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRAVESIDE - DAY<\/stage_direction>\n    <scene_description>Mueller's cane leans against an empty folding chair. Doc sits at the next chair. Friends and classmates of Larry have gathered behind him. Next to the graveside is the headstone of Doc's wife. Mueller stands at the head of the grave. Sal at the foot, in their dress uniforms. On the other side, Washington stands at attention as the minister backs away. They salute. Ceremonially, Sal and Mueller fold the flag into twelve tight triangular folds. Mueller takes Washington's arm and Sal carries the flag over to Doc. Sal then holds out the flag to Doc, whose eyes are red, his lower lip is quivering.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Doc, I don't know how grateful the nation is... or how much the President might regret your loss and all that... but here it is, your country's flag.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>Put it somewhere and let it remind you of what your son must have felt in his heart.<\/dialogue>\n    <scene_description>Doc nods.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOC'S HOUSE - DAY<\/stage_direction>\n    <scene_description>The post-funeral meal. A buffet is set up. The crowd of mostly young people mills about and speaks in soft tones. Sal, still in uniform, has a young pretty YOUNG WOMAN cornered.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Well... technically speaking I'm no longer on active duty... but if I was, well, look at me. Could you resist all this?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>It'd be hard.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAUNDRY ROOM - DAY<\/stage_direction>\n    <scene_description>Washington pulls down a pair of skivvies drying on a line in the shower. He folds them and puts them into his AWOL bag. The corner of an envelope is visible in a zippered pocket of the bag. He takes it out. Guilt-stricken. He sits on the toilet, looking at the sealed envelope.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK PORCH - DAY<\/stage_direction>\n    <scene_description>Doc and Washington. Doc holds the envelope.<\/scene_description>\n    <character>WASHINGTON<\/character>\n    <dialogue>Everybody wrote one, sir. I gave mine to Larry, he gave his to me.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>What does it say?<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <dialogue>I don't know, sir.<\/dialogue>\n    <character>DOC<\/character>\n    <dialogue>What did yours say?<\/dialogue>\n    <character>WASHINGTON<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I forget.<\/dialogue>\n    <scene_description>They look at each other. Washington finally lowers his head.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - DAY<\/stage_direction>\n    <scene_description>Mueller approaches Sal and the girl.<\/scene_description>\n    <character>MUELLER<\/character>\n    <dialogue>You have to come with me.<\/dialogue>\n    <character>SAL<\/character>\n    <dialogue>I'm in the middle of something, padre.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Bye, Sarge, nice talking to you.<\/dialogue>\n    <scene_description>She goes. He watches her longingly as she blends into the group. He sighs.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>Remember how it used to be?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK PORCH - DAY<\/stage_direction>\n    <scene_description>Doc is sitting on his back porch. Mueller sits across from him while Sal is still standing.<\/scene_description>\n    <character>SAL<\/character>\n    <dialogue>You gotta open it, Doc.<\/dialogue>\n    <character>MUELLER<\/character>\n    <dialogue>He wanted you to have it, so...<\/dialogue>\n    <scene_description>Doc looks from one to the other. He opens the envelope, unfolds the letter. As Doc reads silently, we soon see a series of images and we hear his son Larry's voice. On a shelf in the living room we pan through a series of photos on display: Larry Junior as a kid, and in his graduation suit. Mary, a smiling Larry and Larry Junior, a happy family portrait. The folded flag from the funeral.<\/scene_description>\n    <character>LARRY{V.O.)<\/character>\n    <dialogue>Dear Dad. If you are reading this, then you've been notified. I was always prepared to sacrifice my life for my country. You have to be ready to die defending what you love. I need you to understand that I am honored to die in this way. Don't feel bad that my life was so short. It was a good life. I know you never wanted me to join the Marines, but you supported me even so. I had the greatest father and I love you. Now I am with mom. We will both watch over you. Dad, I want you to bury me in my uniform, next to Mom. Your loving son, Larry.<\/dialogue>\n    <scene_description>Sal is now sitting next to Mueller. Doc looks up at them, saying nothing. FADE OUT.:<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In 2003, Larry \"Doc\" Shepherd visits the bar of Sal Nealon, a Marine veteran whom he served with in Vietnam. Sal joins Doc on an impromptu drive where Doc reveals that he has also tracked down another friend from Vietnam, now-Reverend Richard Mueller. Sal and Doc are invited to dinner with the Muellers, where Doc reveals he is recently widowed and just lost his only son in Iraq. He admits he tracked down Sal and Mueller in the hope that they would accompany him to collect the body of his son Larry Jr. and take him to his scheduled burial. Sal agrees, though Mueller is hesitant, claiming that Sal and Doc represent a dark period in his life. His wife urges him to do it, and he reluctantly agrees to accompany them. Along the way, Sal and Mueller clash over their differing philosophies and their mutual guilt over their past; both Sal and Mueller (nicknamed the Mauler) indulged in alcohol, drugs and prostitutes while on deployment, and on one occasion used up the entire supply of then-19-year-old Doc's painkillers, which led to a needlessly painful death for one of their fellow Marines and a bad conduct discharge for Doc. Sal, who has no social filter from a head injury from the war, continually gets under Mueller's skin for having found religion, whilst Mueller expresses frustration at Sal's lack of maturity. At Dover Air Force Base, Doc requests to view the maimed body of his son, against the advice of Mueller and LtCol Willits. During the viewing, LCpl Charlie Washington, Larry Jr.'s close friend, reveals to Sal and Mueller that Larry Jr. had been killed while shopping at an Iraqi market, contrary to the official story of dying while fighting heroically; Sal reveals the truth to a disillusioned Doc, who refuses the Arlington National Cemetery burial and insists on giving Larry Jr. a civilian burial. Willits orders Washington to accompany the body and coerce Doc into changing his mind about having his son buried in civilian clothing. Sal, Mueller and Doc begin a long road trip back home, waylaid by the Department of Homeland Security (alerted by their cash rental, vague destination and Mueller's praying) and a missed train in New York City. Over the course of the journey, the clashing becomes more good natured and Doc begins to boost in the company of his friends. Sal asks Doc to move to his town to run the bar with him, and the three purchase their first cell phones to stay in contact. Their trip takes them to Boston where Sal insists that they meet the mother of Jimmy Hightower, the fellow Marine who died painfully without morphine. When they arrive, they realise that Mrs. Hightower was given the same story about her son's heroism that Doc was given about Larry Jr.; Sal decides not to deny her the story and the trio pretend to have been the men that Hightower saved when he was killed in action. The group return to Portsmouth for Larry Jr.'s funeral, and where Washington persuades Doc that Larry's civilian suit will be too small and he should be buried in his dress blues. At the burial, Sal and Mueller wear their uniforms, and participate in the flag-folding ceremony. Back at Doc's house, Washington gives Doc a letter from Larry Jr., claiming not to have read it. Doc reads his wishes: to be buried beside his mother wearing his uniform. Doc smiles as Washington thanks him for being a great father."}
{"movie_name":"Chasing Amy_1997","imdb_id":"tt0118842","script":"<script>\n  <scene>\n    <stage_direction>INT. COMIC BOOK STORE - DAY<\/stage_direction>\n    <scene_description>A pile of COMIC BOOKS are on a shelf next to myriad others . The most prominent one is called BLUNTMAN AND CHRONIC ' . A hand reaches in and pulls one out of frame . HOLDEN opens the comic and flips through it He shakes his head . BANKY looks over his shoulder .<\/scene_description>\n    <character>BANKY<\/character>\n    <dialogue>Felt Like this fucking day would never come. Issue two - on the shelf.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Yippee.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Do n't start, alright! This is a cool moment, and I'd appreciate you not trying to ruin it. How often does a guy get the opportunity to purchase something with his name on it!<\/dialogue>\n    <parenthetical>( points to name on cover . )<\/parenthetical>\n    <dialogue>Banky Edwards - right!<\/dialogue>\n    <parenthetical>( points to the other . )<\/parenthetical>\n    <dialogue>Holden McNeil.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I know my name.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>C'mon, sour puss. We got the rest of our lives to be artists. But it's supply and demand. And right now, the unwashed masses demand this.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( off comic . )<\/parenthetical>\n    <dialogue>This is easy, alright! And right now it pays the bills. Just do n't forget that we're better than this.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>I'll tell you who we're better than : these two fags right here.<\/dialogue>\n    <scene_description>They approach the counter , where STEVE - DAVE , the store manager , and WALT the Fan - boy , play a card game .<\/scene_description>\n    <character>BANKY<\/character>\n    <parenthetical>( lays books on the counter . )<\/parenthetical>\n    <dialogue>Alright Old - Maid's - take a break from the Crazy - 8's marathon and ring us up.<\/dialogue>\n    <character>STEVE-DAVE<\/character>\n    <parenthetical>( not looking up . )<\/parenthetical>\n    <dialogue>Well, well, well, Walt Did you see who it is! The local celebrities. Quick - get them to autograph one of their books so we can sell it for triple it's value.<\/dialogue>\n    <character>WALT<\/character>\n    <dialogue>I'm not that in need of fifteen cents right now.<\/dialogue>\n    <scene_description>They snicker and high - five one another . Holden rolls his eyes .<\/scene_description>\n    <character>BANKY<\/character>\n    <dialogue>You guys operate the smallest, ladies' bridge circle I've ever seen.<\/dialogue>\n    <character>WALT<\/character>\n    <dialogue>For your information, we're playing Crimson Mystical Mages' - an overpower card game. Not that either of you would give a shit about something as advanced as this - there are no dick or poopie jokes involved.<\/dialogue>\n    <character>BANKY<\/character>\n    <parenthetical>( to Holden . )<\/parenthetical>\n    <dialogue>I do n't think they're fans.<\/dialogue>\n    <character>WALT<\/character>\n    <dialogue>No, we're not. You're both a couple of fucking no talents that got lucky.<\/dialogue>\n    <character>STEVE-DAVE<\/character>\n    <dialogue>And obviously your handlers or hangers - on convinced you that your first comic was good which it was not it was thoroughly mediocre with a few spiky bits of dialogue. And when you get your foot in the door of the business, what do you do! You turn out a piece of shit like Bluntman and Chronic'.<\/dialogue>\n    <character>WALT<\/character>\n    <dialogue>Tell him, Steve - Dave.<\/dialogue>\n    <character>STEVE-DAVE<\/character>\n    <parenthetical>( off comic . )<\/parenthetical>\n    <dialogue>Bluntman and Chronic'. Pah. What was that thing the little stoner pulled on the villain in the last issue!<\/dialogue>\n    <character>WALT<\/character>\n    <dialogue>The Stinky - palm.<\/dialogue>\n    <character>STEVE-DAVE<\/character>\n    <dialogue>Stinky - palm. You give comics a bad name I tell all my customers not to buy it, to spend their money on a real comic book.<\/dialogue>\n    <character>WALT<\/character>\n    <dialogue>Fucking one hit wonder, dime - store Frank Miller's.<\/dialogue>\n    <character>STEVE-DAVE<\/character>\n    <dialogue>This is the reality at Comic - Toast - you're not going to get your ass kissed here, because both me and Walt think you suck.<\/dialogue>\n    <character>WALT<\/character>\n    <dialogue>And me.<\/dialogue>\n    <character>STEVE-DAVE<\/character>\n    <dialogue>I said that.<\/dialogue>\n    <scene_description>Steve - Dave offers the boys his two middle fingers , then goes back to playing his game with Walt . Holden and Banky stare , shocked . Banky nudges Holden and they both exit Steve - Dave and the Fan - boy slap hands and go back to playing .<\/scene_description>\n    <character>WALT<\/character>\n    <dialogue>I've got a dragon card - forty power - ups and twelve life points! Ha! I get your elf card!<\/dialogue>\n    <character>STEVE-DAVE<\/character>\n    <dialogue>You're such a bitch! But thankfully, I've saved a dark forces Shaman card for just such an occasion.<\/dialogue>\n    <character>WALT<\/character>\n    <dialogue>You suck! Eighty six life - power points to my twenty two!<\/dialogue>\n    <character>STEVE-DAVE<\/character>\n    <dialogue>I schooled their asses, now I'm schooling your's.<\/dialogue>\n    <scene_description>Suddenly . A trash can crashes through the front window . Steve - Dave and Walt hit the deck like bitches , covering one another . They look up slowly . Steve - Dave leaps to his feet and looks at the shattered mess . He pulls something off the garbage can and reads it .<\/scene_description>\n    <character>WALT<\/character>\n    <dialogue>You know it was those two fucks! Let's call the cops and have them busted! I know where their studio is! Or better yet, let's sue! You can sue them, Steve - Dave!<\/dialogue>\n    <character>STEVE-DAVE<\/character>\n    <parenthetical>( still reading note . )<\/parenthetical>\n    <dialogue>That wo n't be necessary.<\/dialogue>\n    <character>WALT<\/character>\n    <dialogue>What?! Why the hell not!<\/dialogue>\n    <character>STEVE-DAVE<\/character>\n    <parenthetical>( holds up check . )<\/parenthetical>\n    <dialogue>Because this is a check for three times what that window cost.<\/dialogue>\n    <parenthetical>( reading note . )<\/parenthetical>\n    <dialogue>Dear critics - thanks for the insight. But like my grandmother always said - Fuck'em if they ca n't take a joke. and break their window.' Kiss it, Banky the Hack. P.S. - Your card game blows.<\/dialogue>\n    <character>WALT<\/character>\n    <dialogue>He said Kiss it!<\/dialogue>\n    <scene_description>CREDITS<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMIC BOOK: CONVENTION SIGNING BOOTH - DAY<\/stage_direction>\n    <scene_description>A physically large FAN - sweaty brow , tote bag bursting with comics - leans forward , smiling .<\/scene_description>\n    <character>FAN<\/character>\n    <dialogue>Could you sign it To a really big fan!<\/dialogue>\n    <scene_description>Holden sits at a table . Across from the barely - managing - to - stand Fan . He offers him a patronizingly kind , half - smile in return ,<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>You bet.<\/dialogue>\n    <scene_description>We 're at a Comic Book show , specifically at a book - signing . Behind Holden hangs a large banner , heralding HOLDEN McNEIL AND BANKY EDWARDS - CREATORS OF BLUNTMAN AND CHRONIC ' . Beside it is a large mock - up of the comic book cover which features two stoner super - heroes who bear a striking resemblance to a pair of very familiar friendly neighborhood drug dealers , Holden hands the book back to the Fan .<\/scene_description>\n    <character>FAN<\/character>\n    <dialogue>I love this book man! This shit's awesome. I wish I was like these guys - getting stoned, talking all raw about chicks and fighting supervillains! I love these guys! They're like Cheech and Chong' meet Bill and fed'!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I like to chink of them as Rosencrantz and Guildenstern' meet Vladimir and Estragon'.<\/dialogue>\n    <character>FAN<\/character>\n    <dialogue>Yeah!<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Who!<\/dialogue>\n    <scene_description>BANKY signs the book of another COLLECTOR .<\/scene_description>\n    <character>COLLECTOR<\/character>\n    <dialogue>So you draw this!<\/dialogue>\n    <character>BANKY<\/character>\n    <parenthetical>( signing the comic . )<\/parenthetical>\n    <dialogue>I ink it and I'm also the colorist. The guy next to me draws it. But we both came up with the characters,<\/dialogue>\n    <character>COLLECTOR<\/character>\n    <dialogue>What's that mean - you ink it'!<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Well. It means that Holden draws the pictures in pencil, and then he gives it to me to go over in ink<\/dialogue>\n    <character>COLLECTOR<\/character>\n    <dialogue>So you just trace!<\/dialogue>\n    <scene_description>Banky freezes up . He composes himself and continues signing .<\/scene_description>\n    <character>BANKY<\/character>\n    <dialogue>It's not tracing. I add depth and shading to give the image mere definition. Only then does the drawing really take shape.<\/dialogue>\n    <character>COLLECTOR<\/character>\n    <dialogue>You go over what he draws with a pen - that's tracing.<\/dialogue>\n    <character>BANKY<\/character>\n    <parenthetical>( hands book back to Collector . )<\/parenthetical>\n    <dialogue>Not really.<\/dialogue>\n    <parenthetical>( calling out . )<\/parenthetical>\n    <dialogue>Next!<\/dialogue>\n    <scene_description>A LITTLE KID steps up but the Collector lingers .<\/scene_description>\n    <character>COLLECTOR<\/character>\n    <dialogue>Hey man. If somebody draws something and then you draw the same thing right on top of it, not going out - side the designated original art what do call that!<\/dialogue>\n    <character>LITTLE KID<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>I do n't know. Tracing?<\/dialogue>\n    <character>COLLECTOR<\/character>\n    <parenthetical>( to Banky . )<\/parenthetical>\n    <dialogue>See?<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>It's not tracing.<\/dialogue>\n    <character>COLLECTOR<\/character>\n    <dialogue>Oh, but it is.<\/dialogue>\n    <character>BANKY<\/character>\n    <parenthetical>( to Little Kid . )<\/parenthetical>\n    <dialogue>Do you want Lour book signed or what?<\/dialogue>\n    <character>COLLECTOR<\/character>\n    <dialogue>Hey - do n't get all testy with him just because you have a problem with your station in life.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>I'm secure with what I do.<\/dialogue>\n    <character>COLLECTOR<\/character>\n    <dialogue>Then say it - you're a tracer.<\/dialogue>\n    <character>BANKY<\/character>\n    <parenthetical>( grabbing Little Kid 's book . )<\/parenthetical>\n    <dialogue>How should I sign this?<\/dialogue>\n    <character>LITTLE KID<\/character>\n    <parenthetical>( grabs book back . )<\/parenthetical>\n    <dialogue>I do n't want you to sign it, I want the guy that draws Bluntman and Chronic to sign it. You're just a tracer.<\/dialogue>\n    <character>COLLECTOR<\/character>\n    <dialogue>Tell him, Little Shaver.<\/dialogue>\n    <scene_description>Holden accepts a comic from another Fan .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <parenthetical>( off comic . )<\/parenthetical>\n    <dialogue>Who do I sign it to!<\/dialogue>\n    <scene_description>Before Holden can finish , a loud crash is heard . He looks to his left and freaks . Banky is throttling the Collector from across the table . The Collector attempts to fight him off . SECURITY GUARDS pull them apart . Holden grabs Banky .<\/scene_description>\n    <character>COLLECTOR<\/character>\n    <dialogue>Jesus! All I did was call him a tracer!<\/dialogue>\n    <character>BANKY<\/character>\n    <parenthetical>( to Collector . )<\/parenthetical>\n    <dialogue>I'LL TRACE A CHALK LINE AROUND YOUR DEAD FUCKING BODY, YOU FUCK?!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( to Security Guard . )<\/parenthetical>\n    <dialogue>Could you get him out of here!<\/dialogue>\n    <scene_description>The Security Guards drag the collector away .<\/scene_description>\n    <character>COLLECTOR<\/character>\n    <dialogue>Hey, wait a sec! He jumped me! And you're dragging me away!<\/dialogue>\n    <parenthetical>( exiting . )<\/parenthetical>\n    <dialogue>Fucking tracer!<\/dialogue>\n    <character>BANKY<\/character>\n    <parenthetical>( calling OC . )<\/parenthetical>\n    <dialogue>YOUR MOTHER'S A TRACER!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Can I explain the audience principle to you! If you insult and accost them, then we have no audience.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>He started it! Fucking cock - knocker! He's lucky I did n't put my pen through his thorax!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Need I remind you.<\/dialogue>\n    <parenthetical>( holds up watch . )<\/parenthetical>\n    <dialogue>Curtain's in ten minutes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMIC BOOK CONVENTION LECTURE HALL - DAY<\/stage_direction>\n    <scene_description>HOOPER fills the frame . He comes off like a typical , pro - black\/anti - white homeboy .<\/scene_description>\n    <character>HOOPER<\/character>\n    <dialogue>For years in this industry whenever an African - American character - hero or villain - was introduced usually by white artists and writers - they got slapped with racist names that singled them out as negroes : Black Panther, Black Lightning, Black Goliath, Black Mantra, Black Talon, Black Spider, Black Hand, Black Falcon, Black Cat.<\/dialogue>\n    <character>VOICE FROM CROWD<\/character>\n    <dialogue>She's white.<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>She is?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Well bust this - regardless.<\/dialogue>\n    <scene_description>We 're at a panel discussion . The room is full . Five creators sit at a long table , their names on placards in front of them . -LRB- One of them is a very striking Girl . -RRB- The banner behind them reads WORDS UP - MINORITY VOICES IN COMICS ' .<\/scene_description>\n    <character>HOOPER<\/character>\n    <parenthetical>( holds up comic . )<\/parenthetical>\n    <dialogue>Now my book, White - Hating Coon', does n't have any of that bullshit. The hero's name is Maleekwa, and he's a descendant of the black tribe that established the first society on the planet, while all you European mother fuckers were still hiding in caves and shit, all terrified of the sun. He's a strong role model that a young black reader can look up to, Cause I'm here to tell you - the chickens are comin' home to roost, ya'll : the black man's no longer gon na play the minstrel in the medium of comics and Sci - Fi\/Fantasy! We're keeping it real, and we're gon na get respect - by any means necessary!<\/dialogue>\n    <scene_description>During the speech , Holden and Banky enter and sit up front .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <parenthetical>( calling out . )<\/parenthetical>\n    <dialogue>Bullshit! Lando Calrissian was a black man, and he got to fly the Millennium Falcon!<\/dialogue>\n    <scene_description>Hooper whips his head around , looking for the source of the comment<\/scene_description>\n    <character>HOOPER<\/character>\n    <dialogue>Who said that?!?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( standing . )<\/parenthetical>\n    <dialogue>I did! Lando Calrissian is a positive black role model in the realm of Science Fiction\/Fantasy.<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>Fuck Lando Calrissian! Uncle Tom nigger! Always some white boy got ta invoke the holy trilogy'! Bust this - those movies are about how the white man keeps the brother man down - even in a galaxy far, far away. Check this shit. You got cracker farm - boy Luke Skywalker, Nazi poster boy - blond hair, blue eyes. And then you've got Darth Vader : the blackest brother in the galaxy. Nubian God.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>What's a Nubian?<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>Shut the fuck up! Now Vader, he's a spiritual brother, with the force and all that shit. Then this cracker Skywalker gets his hands on a light - saber, and the boy decides he's gon na run the fucking universe - gets a whole Klan of whites together, and they're gon na bust up Vader's hood the Death Star. Now what the fuck do you call that!<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Intergalactic Civil War!<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>Gentrification. They're gon na drive our the black element, to make the galaxy quote, unquote safe' for white folks.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>But Vader turns, out to be Luke's father. And in Jedi, they become friends.<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>Do n't make me bust a cap in your ass, yo! Jedi's the most insulting installment, because Vader's beautiful, black visage is sullied when he pulls off his mask to reveal a feeble, crusty white man! They're trying to tell us that deep inside, we all want to be white!<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Well is n't that true!<\/dialogue>\n    <scene_description>Hooper explodes , He pulls a nine millimeter from his belt , draws on Banky and fires . Banky goes down , falling forward into the crowd The crowd screams and starts to scatter , Hooper jumps over the table and raises his fists in the air .<\/scene_description>\n    <character>HOOPER<\/character>\n    <dialogue>BLACK RAGE! BLACK RAGE! I'LL KILL ANY WHITE FOLKS I LAY MY MOTHER FUCKIN' EYES ON!<\/dialogue>\n    <scene_description>The crowd - is gone . Holden sits in his chair , laughing . Hooper steps off the stage and picks Banky 's head up off the floor .<\/scene_description>\n    <character>HOOPER<\/character>\n    <parenthetical>( breaking character . )<\/parenthetical>\n    <dialogue>What's a Nubian!' Bitch, you almost made me laugh!<\/dialogue>\n    <scene_description>Hooper sounds different Actually , he sounds gay . Actually - he is . Banky smiles .<\/scene_description>\n    <character>BANKY<\/character>\n    <dialogue>Well what about you! You did n't tell me you were going to scream Black Rage'. I nearly pissed myself.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>How do you manage to get away with this all the time? Should n't cops be busting your head open right about now?<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Wrong coast.<\/dialogue>\n    <character>HOOPER<\/character>\n    <parenthetical>( off gun . )<\/parenthetical>\n    <dialogue>Well this right here - she full of blanks, okay. And Opiate gets all sorts of legal clearances before I go on.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Your publisher condones these theatrics!<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>Condones? Honey, they insist. I need to sell the image to sell the book Would the audience still buy the Black Rage' angle if they found out the book was written by a. a.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Faggot.<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>When you say if it sounds so sexy.<\/dialogue>\n    <parenthetical>( he kisses Banky full on the lips . )<\/parenthetical>\n    <dialogue \/>\n    <character>BANKY<\/character>\n    <parenthetical>( wipes his lips . )<\/parenthetical>\n    <dialogue>Hey, hey! I'll play your victim, but not your catcher.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>How is it that you sound like Minister Farakhan when you're on stage.<\/dialogue>\n    <scene_description>They turn to see . A beautiful , blonde , ruffled - haired angel swinging her purse in a circle . Her name is ALYSSA . She 's the striking Girl from the panel who did n't get to say much .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>and the King of Pop when you're nor.<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>Look out, boys - this kitten has a whip.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <parenthetical>( shoves and slaps him . )<\/parenthetical>\n    <dialogue>Always before I get to speak! I swear - the next con I attend and they ask me to be on the minority panel, if I see your name anywhere near the List, I'm passing.<\/dialogue>\n    <character>HOOPER<\/character>\n    <parenthetical>( defending himself . )<\/parenthetical>\n    <dialogue>Holden. Banky - this pile of P.M.S. is Alyssa Jones. She does that book Idiosyncratic Routine'. This is the fourth panel we've been on together, and even though she knows my publisher sets this up and pays for the event. She still gets mad when it ends with my act.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I just wish I was the one who gets to shoot you.<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>That's what my father said when I came - nay - leapt out of the closet.<\/dialogue>\n    <parenthetical>( off guys . )<\/parenthetical>\n    <dialogue>These boys do Bluntman and Chronic', which outsells both of our books put together, hence they're never on a panel with the likes of us. They slumming right now.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>I've read your book. It's cute. Chick stuff, but cute.<\/dialogue>\n    <scene_description>Holden hits him .<\/scene_description>\n    <character>BANKY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( shoots him a look ; to Alyssa . )<\/parenthetical>\n    <dialogue>Sorry about him. He's dealing with being an inker.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <parenthetical>( to Banky . )<\/parenthetical>\n    <dialogue>Oh. You trace!<\/dialogue>\n    <scene_description>Banky seethes .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <parenthetical>( shaking her hand . )<\/parenthetical>\n    <dialogue>I really enjoy your book I'm surprised we've never met at any other Con's before.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Lose the dick or change your skin tone and we can get to know each other on panel after panel while the Pink Black Panther here plays Chuck D. for the fanboys.<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>Hey, jealousy.<\/dialogue>\n    <parenthetical>( to the Boys . )<\/parenthetical>\n    <dialogue>I told Alyssa I'd buy her a post - rave drink. Do the Garden - Staters have to sprint to the Lincoln Tunnel, or can you stay for a round in the big, scary city!<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>We're gon na take off soon.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>We'll go.<\/dialogue>\n    <scene_description>Banky offers Holden a puzzled glance . Then he nods to Hooper .<\/scene_description>\n    <character>BANKY<\/character>\n    <dialogue>We'll go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT  BAR - NIGHT<\/stage_direction>\n    <scene_description>Holden , Banky , Alyssa and Hooper sir around a table drinking , talking , and smoking .<\/scene_description>\n    <character>BANKY<\/character>\n    <dialogue>Archie, alright! Archie and the Riverdale gang were a pure and fun - lovin' bunch. You ca n't find dysfunction in those comics, because they were just flat out wholesome.<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>Archie and Jughead were lovers.<\/dialogue>\n    <parenthetical>( sips his drink . )<\/parenthetical>\n    <dialogue \/>\n    <character>BANKY<\/character>\n    <dialogue>Shut the fuck up.<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>It's true. Archie was the bitch and Jughead was the butch - that's why Jughead wears that crown - looking hat all the time : he the king, of queen Archie's world.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Man, I feel a hate - crime coming on<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>He's got a point. Archie never did settle on Betty or Veronica.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Because he wanted them both at the same time, you assholes! He never chose one because he was trying to get both of them into a three - way!<\/dialogue>\n    <character>HOOPER<\/character>\n    <parenthetical>( pulls out a dollar and hands it to Banky . )<\/parenthetical>\n    <dialogue>Here. I want you to go down to the corner store and buy yourself a clue. Go on.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Eat it. Urkel.<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>I told you to watch it with that Urkel shit. Face it, girl - Archie's a sister.<\/dialogue>\n    <character>BANKY<\/character>\n    <parenthetical>( getting up ; to Hooper . )<\/parenthetical>\n    <dialogue>That's it. You.<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>Moi?<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>You are marching back across the street with me, and we're going to pick up a shit load of Archie books, I am going to prove to you - beyond the shadow of a doubt that Archie was all about pussy. Come on.<\/dialogue>\n    <character>HOOPER<\/character>\n    <parenthetical>( sliding out of booth . )<\/parenthetical>\n    <dialogue>This boy is conflicted, I shall play mother - therapist for him. You two sit tight. We shall return promptly.<\/dialogue>\n    <scene_description>Banky and Hooper exit , leaving Alyssa and Holden alone at the table .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Is he always Like that!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>For years now. Started back in third grade - a nun was teaching us about the Blessed Trinity. She's going on about the three persons in one God thing - Father, Son, Holy Spirit - and he just goes ballistic. I guess it was too big for him to grasp. They got into this huge fight.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Please. How bad could it have been!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>You ever seen a nun call a small child a fucking cunt - rag'? Was n't pretty, Shit like that's bound to happen when you make a kid wear a matching tie and slacks everyday.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>And your parochial school misadventures!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Limited to wine - tasting prior to mass. Turned me into a grade school alcoholic altar boy. I could n't tell you how many mornings after serous benders I'd wake up next to strange priests.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Are n't you the sharp wit!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Sharp! No. I'm just a fan of clergy - molestation humor. Probably why the extended family quit inviting me to First Communion parties.<\/dialogue>\n    <scene_description>Alyssa laughs . Holden smiles .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <parenthetical>( looking OC . )<\/parenthetical>\n    <dialogue>You play darts!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Not professionally. You know - only in bars.<\/dialogue>\n    <scene_description>AT THE DART BOARD A dart hits the board then , one hits the wall beside the board . Alyssa winds up with another dart . Holden watches . Her 's always hit . His never do .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>So your new book seems to be selling like mad.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>It goes back to something my grandmother told me when I was a kid. `` Holden,'' she said `` The big bucks are in dick and fart jokes.'' She was a church - goer.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Uh - oh - the cry from the heart of a real artist trapped in commercial hell - pitying his good fortune. I'm sure you can dry your eyes on all those fat checks you rake in.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I'm sorry - did I detect a note of bitter envy in there!<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Nope. I'm happy my stuff gets read at all. There's very little market for hearts and flowers in this spandex - clad, big pecs, big tits, big guns field. If I sell two issues, I feel like John Grisham.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( looking out window . )<\/parenthetical>\n    <dialogue>It's all about marketing. Over - or underweight guys who do n't get laid - they're our bread and butter. People like those two outside should be yours.<\/dialogue>\n    <scene_description>Through the window , we see a COUPLE making out on the hood of a car .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>And sadly, there are more of our core audience out there than yours.<\/dialogue>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Look at that, though - kind of gives you a little charge, to see two people in love. And all over Banky's car, no less. That car's seeing more action right now than it's seen in years.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Bubbly guy like that, it's hard to figure out why.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( still looking at OC Couple . )<\/parenthetical>\n    <dialogue>You've got ta respect that kind of display of affection. It's crazy, rude, self - absorbed - but it's love.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>That's not love.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Says you.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>That out there! That's fleeting.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Fleeting.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Uh - huh. You wan na hear about love! Oh, I'll tell you about love.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>A story?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>The story. The original love story.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>` Doctor Zhivago'.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Nope. My mother's uncle. He was a millionaire.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Get out.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I kid you not.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Explain.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>All through high school, he dated this one girl. They were inseparable. And when they graduated, she went off to Carnegie Mellon.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>In Pittsburgh.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I'm impressed. So he stays in the home town, and they begin their long - distance relationship. The plan is, on the third Sunday of every month, he'll train out, spend a week then train back They do this for four years.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>That is love.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Not nearly finished. Two months before she's going to graduate, he's got this job digging graves, and he comes across.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>A stiff.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>A steamer trunk containing silver ingots.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Get out of here.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Many, many silver ingots. Now, my mother's uncle being quite the ingenious chap - he buries the trunk again and heads up to the main office, where he proceeds to purchase a cemetery plot. Guess which one?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Clever.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>So now he owns the plot and all of its contents. Two days later, my mother's uncle is worth three million.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>At which time he marries the high school sweetheart and lives happily ever after.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Not even close. Inside the steamer trunk, stenciled into the wood, or something like that, is a curse.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Someone wrote ` Fuck' inside his new steamer trunk.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Not that kind of curse. A cryptic curse `` Great fortune means great loss'' it said.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>What kind of asshole writes that inside a steamer trunk!<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>The same kind of asshole that buries silver ingots. The day my mother's uncle is heading out to see the girl, he stops at his accountant's to grab some cash, and winds up missing his train. So he has to take the next one - which he does - and he gets there an hour later than his usual time of arrival, whereupon he sees lights.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>A hero's welcome for the new millionaire.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>It seems that while she was standing on the platform waiting that extra hour for my mother's uncle to show up, the girl was dragged into the bushes by an unknown assailant, raped and gutted.<\/dialogue>\n    <scene_description>Holden is silent Alyssa downs her drink .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>The assailant was never apprehended.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>That's a love story!<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Yes, and here's why : my mother's uncle rode that train every day for the rest of his life. One day up, the next day back. Did that'till the day he died. He donated the fortune he'd acquired to the train station in Pittsburgh, to have a well - lit terminal built. The train line let him ride for free after that.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I should hope so. Jesus, that's the saddest tale I've ever heard.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>That's my love story.<\/dialogue>\n    <scene_description>Alyssa tosses her last dart . Holden seems a bit dazed . He looks out the window .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>Those two are n't on the hood of Banky's car anymore.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I told you It was n't love.<\/dialogue>\n    <parenthetical>( grabs her purse . )<\/parenthetical>\n    <dialogue>I got ta split. It was really nice meeting you. I wish you the best of luck with your book.<\/dialogue>\n    <parenthetical>( shakes his hand . )<\/parenthetical>\n    <dialogue>Tell Hooper I'll call him later. And tell your friend to calm down.<\/dialogue>\n    <scene_description>Alyssa exits to the night . Holden stares after her . Two beats later , Hooper and Banky enter , holding an ` Everything 's Archie ' comic between them .<\/scene_description>\n    <character>BANKY<\/character>\n    <dialogue>You're insane. Archie is not fucking Mister Weatherbee!<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>Deny, deny, deny.<\/dialogue>\n    <parenthetical>( to Holden . )<\/parenthetical>\n    <dialogue>Where's Alyssa?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Huh! Oh. She left. She said she'd call you later.<\/dialogue>\n    <character>BANKY<\/character>\n    <parenthetical>( off comic . )<\/parenthetical>\n    <dialogue>He's just offering to help Archie with his homework!<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>Read between the lines.<\/dialogue>\n    <character>BANKY<\/character>\n    <parenthetical>( shoves book at him . )<\/parenthetical>\n    <dialogue>Fuck this.<\/dialogue>\n    <parenthetical>( to Holden . )<\/parenthetical>\n    <dialogue>Let's go. Traffic.<\/dialogue>\n    <parenthetical>( no response from Holden . )<\/parenthetical>\n    <dialogue>Holden!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( shaken . )<\/parenthetical>\n    <dialogue>What!<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Let's go.<\/dialogue>\n    <character>HOOPER<\/character>\n    <parenthetical>( looking out window . )<\/parenthetical>\n    <dialogue>D'jou see that dent in the hood of your car!<\/dialogue>\n    <character>BANKY<\/character>\n    <parenthetical>( looking out window . )<\/parenthetical>\n    <dialogue>What the! Son of a bitch!<\/dialogue>\n    <scene_description>Banky runs out Holden shrugs at Hooper .<\/scene_description>\n    <character>HOOPER<\/character>\n    <dialogue>Let me guess : you like her!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>Miss Alyssa Jones.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>She's alright.<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>As long as that's all.<\/dialogue>\n    <parenthetical>( finishes drink . )<\/parenthetical>\n    <dialogue>Maybe you can convince that partner of your's to drop me off downtown before you scurry out the tunnel!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Mister Weatherbee was n't really trying to fuck Archie, was he!<\/dialogue>\n    <scene_description>They begin exiting .<\/scene_description>\n    <character>HOOPER<\/character>\n    <dialogue>Hell no. Weatherbee was Reggie's bitch.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STUDIO - DAY<\/stage_direction>\n    <scene_description>We 're in Holden and Banky 's studio\/apartment . It 's a rented loft - style place with high ceilings , wood floors and sparse furnishings . There are posters on the walls , a sort of kitchenette , a hockey net , a big TV . -LRB- with all the trimmings - VCR , Laserdisc player , Sega , SNES -RRB- , a huge comfy couch , and two drawing boards with adjacent desks -LRB- littered with pencils , pens , coloring pencils , paints , erasers , etc. -RRB- - at which sit Holden and Banky . They 're working . Some music plays . C.U. OF HOLDEN PENCILING - over his shoulder , we see Holden sketching Chronic in mid - attack of his arch - nemesis - the Giggler . Holden erases a line and re - draws . C.U. OF BANKY INKING - over his shoulder , we see Banky outlining a pre - penciled page . He traces Bluntman swinging from a street light . The two work in silence . Then .<\/scene_description>\n    <character>BANKY<\/character>\n    <parenthetical>( not looking up . )<\/parenthetical>\n    <dialogue>This is one of the best street lights you've ever drawn.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>It's the one across from the post office.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Looks just like it.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>What do you wan na do tonight!<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Get a pizza. Watch ` Degrassi Junior High'.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( erases . )<\/parenthetical>\n    <dialogue>You got a weird thing for Canadian melodrama.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>I've got a weird thing for girls who say ` aboot'.<\/dialogue>\n    <scene_description>The phone starts ringing . Holden answers it , while still drawing .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>Bank - Hold - Up.<\/dialogue>\n    <scene_description>CROSSCUT between Holden and Hooper . He 's on a phone in a CLUB .<\/scene_description>\n    <character>HOOPER<\/character>\n    <dialogue>Hooper here. Listen, I know how you burb - fiends hate the city, but there's a club shindig going down that I think you'd get into.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Where is it?<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>Place called Her - sterectomy - I'm tempting as bar - keep.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I do n't know, Hoop. We're prepping the next issue, and we've got our big M - TV meeting in the morning.<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>I told her you would n't be interested.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Told who?<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>Alyssa.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Alyssa from last night Alyssa?<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>How do you begin and end a question with the same word like that? You got skill. Yes, that one. She asked me to invite you. Now here's the part where you say.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I'll be there.<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>Thought so. Ten o'clock. Later.<\/dialogue>\n    <parenthetical>( both hang up . )<\/parenthetical>\n    <dialogue \/>\n    <character>BANKY<\/character>\n    <dialogue>Who was that?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Hooper. He invited me to a club.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>When's that faggot going to learn - you like chicks.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( getting up . )<\/parenthetical>\n    <dialogue>Not that kind of a club.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>So when we leaving?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>` We'? You ca n't go. He's setting me up with Alyssa.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>And?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>And I do n't want you messing it up.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Like I care about your shit. Maybe I'll hook up myself.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( pulling on coat . )<\/parenthetical>\n    <dialogue>I just told you - it's not that kind of club.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>How does one man get to be so funny!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( throws him his coat . )<\/parenthetical>\n    <dialogue>How are you going to get home if I hook up!<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Like that'll happen.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Let me explain something to you, my witless chum the other night in that bar, we two - Alyssa and I shared a moment, alright!<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Oh, you had a moment!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( brings his two pointer fingers together . )<\/parenthetical>\n    <dialogue>We shared a moment. And in that moment, one thing was made abundantly clear : this girl loves me, my friend. Loves - me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HER-STERECTOMY - NIGHT<\/stage_direction>\n    <scene_description>It 's a club - people are mingling , a band is playing , it 's loud . But something 's fishy . Hooper 's tending bar . He hands a GUY a drink . The Guy sips it .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>This is so watered down. It's terrible. Why is it you can never get a decent drink in these places!<\/dialogue>\n    <scene_description>Hooper looks around in a very exaggerated fashion .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>What are you doing!<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>Trying to find you a tissue.<\/dialogue>\n    <scene_description>The Guy shoots Hooper an angry glare , Banky enters .<\/scene_description>\n    <character>BANKY<\/character>\n    <dialogue>Alright - bring on the free hootch.<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>As long as you do n't bitch about how little alcohol is in the drink.<\/dialogue>\n    <parenthetical>( hands Banky a drink ; to Guy . )<\/parenthetical>\n    <dialogue>You owe me five sixty.<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>( off Banky . )<\/parenthetical>\n    <dialogue>And I suppose you're going to make your friend here pay for his drink right!<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Hey, I befriended a guy in a position of authority so I could abuse that authority and get free shit. You want to do the same? There's a lonely Hindu works at the' 7 - ll' across the street. Get in tight with him.<\/dialogue>\n    <scene_description>The Guy angrily pulls out his money and slams it on the bar .<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>I work at that' 7 - 11'!<\/dialogue>\n    <parenthetical>( storms away . )<\/parenthetical>\n    <dialogue \/>\n    <character>BANKY<\/character>\n    <parenthetical>( calling after him . )<\/parenthetical>\n    <dialogue>Wan na be friends!<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>Where's your better half!<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Taking a piss. Guy's got a bladder like an infant.<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>That's funny - he says you're hung like an infant.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Must his mother tell him everything!<\/dialogue>\n    <scene_description>Holden enters .<\/scene_description>\n    <character>BANKY<\/character>\n    <dialogue>What'd you do - fall in love?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Where is she?<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>Over there.<\/dialogue>\n    <scene_description>ON THE DANCE FLOOR - in the middle of a thrall of people - dances Alyssa . She moves like a cat and she 's looking very sexy .<\/scene_description>\n    <character>OC HOOPER<\/character>\n    <dialogue>Been dancin' for an hour. Has n't stopped yet.<\/dialogue>\n    <scene_description>Hooper , Holden , and Banky stare OC .<\/scene_description>\n    <character>BANKY<\/character>\n    <dialogue>She ai n't no Denny Terrio, I'll say that.<\/dialogue>\n    <scene_description>Holden smacks Banky and moves to exit .<\/scene_description>\n    <character>HOOPER<\/character>\n    <dialogue>Wait. wait, wait - there's something you should know.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>She's got a boyfriend.<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>Well. no.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Then what's to know?<\/dialogue>\n    <scene_description>Holden exits ; They watch him go . Banky looks around .<\/scene_description>\n    <character>BANKY<\/character>\n    <dialogue>There're a lot of chicks in this place.<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>` Chicks'. You're such a man.<\/dialogue>\n    <character>BANKY<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>He did n't really say that about my dick, did he!<\/dialogue>\n    <scene_description>ON THE DANCE FLOOR - Holden slips into the crowd and dances up to Alyssa . He intentionally bumps into her .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <parenthetical>( fake rage , dancing . )<\/parenthetical>\n    <dialogue>Hey, hey, hey - you fucked up my cabbage - patch!<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Well, well, well - Bluntman himself. Or should I call you Chronic!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Call me flattered. I heard you sent me the invite to this little soiree'.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>From a former home - town girl, to Mister Home - Town himself.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>You're saying you're from the ` burbs!<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Middletown, N.J.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Get out of here! I'm from Highlands!<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I know. Hooper told me.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>How is it that we never ran into one another?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>You graduate from Hudson?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Yeah. Eighty eight.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I went to North. Also eighty eight.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>What a small fucking world. So you know the tri - town area!<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Quiz me.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Miller Hill?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I wrote my name on the wall.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Sandy Hook?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Lost my virginity there.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>This is so cool. The mall!<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Eden Prairie of Menlo Park!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Wait - here's the big test : Quick Stop!<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>My best friend fucked a dead guy in the back room.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>You know that girl!<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I did. Before she was committed.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>You know what this is! This is fate.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <parenthetical>( regarding her move . )<\/parenthetical>\n    <dialogue>No, this is the ` Rog'.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I was talking about us meeting - what are the chances!<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Pretty slim. I have n't been back to the ` burbs since my friend's funeral.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>The Quick Stop girl died!<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Another friend - Julie Dwyer. She died in the.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Y.M.C.A pool! Damn! You knew her too!<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>So well.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>One friend in an asylum, the other friend in the grave. You're a dangerous person to know.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>But I can tap.<\/dialogue>\n    <parenthetical>( does an impromptu tap dance . )<\/parenthetical>\n    <dialogue>That was the Buffalo Two - Step.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Very solid.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>That's what six years of tap lessons yields.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Two towns away from each other for years and we had to meet in New York.<\/dialogue>\n    <scene_description>The Sand stops playing . People clap .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Coulda been worse - we could have not met at all.<\/dialogue>\n    <scene_description>Holden looks at her .<\/scene_description>\n    <character>OC SINGER<\/character>\n    <dialogue>Thank you. Thanks.<\/dialogue>\n    <scene_description>The SINGER on stage speaks into the microphone .<\/scene_description>\n    <character>SINGER<\/character>\n    <dialogue>A long time ago, we used to have this bass player who took off one day to draw funny books or something. Maybe you've seen her stuff - it's called ` Idiosyncratic Routine''<\/dialogue>\n    <scene_description>The crowd applauds . Alyssa shakes her head , smiling . Holden pokes her .<\/scene_description>\n    <character>SINGER<\/character>\n    <dialogue>But what a lot of people do n't know is that she used to harbor these delusions that she could sing. And she used to subject us to these throaty renditions of Debbie Gibson tunes and shit, insisting that we let her front on a few numbers. Well, we did n't and she quit. and then she got famous, the bitch.<\/dialogue>\n    <parenthetical>( crowd laughs . )<\/parenthetical>\n    <dialogue>But she's here tonight, and I think if we all begged, or maybe offered her some X, she'd get up here and treat us to some of her vocal stylings.<\/dialogue>\n    <parenthetical>( crowd applauds . )<\/parenthetical>\n    <dialogue>What do you say, Alyssa?<\/dialogue>\n    <scene_description>Alyssa shakes her head no . The crowd urges her . Holden pushes her forward .<\/scene_description>\n    <character>SINGER<\/character>\n    <dialogue>She's shy.<\/dialogue>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>GET UP HERE AND SING, BITCH!<\/dialogue>\n    <scene_description>The crowd thunders . Alyssa offers the Singer an embarrassed half - smile . She looks at Holden , who claps along with the others and nods toward the stage . Alyssa shakes her head and relents , heading through the crowd Banky and Hooper stand at the bar .<\/scene_description>\n    <character>BANKY<\/character>\n    <dialogue>This is so queer.<\/dialogue>\n    <parenthetical>( he exits . )<\/parenthetical>\n    <dialogue \/>\n    <character>HOOPER<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You do n't know the half of it.<\/dialogue>\n    <scene_description>Alyssa jumps on stage , hugging the Singer . She takes the mic , shaking her head . The crowd is applauding .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>She is such a twat.<\/dialogue>\n    <scene_description>The crowd cheers . Alyssa laughs . She turns to the band and says something which they nod . She turns back to the crowd .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Alright. I should dedicate this, right?<\/dialogue>\n    <parenthetical>( thinks . )<\/parenthetical>\n    <dialogue>This is for that special someone our there.<\/dialogue>\n    <scene_description>Holden smiles . Banky joins him . Holden glances at him . Banky offers a mocking mimic of his smile . The band starts playing . Cross cutting begins . Alyssa launches into a torchy tune . The song is extremely sexy - as is Alyssa who works the mic , making direct eye contact with . Holden . Or does she ! Holden is smiling , being seduced , Banky rolls his eyes . Beside Holden , stands a pretty GIRL with a short haircut , who 's also riveted by Alyssa 's performance . Alyssa makes big - time eye contact with somebody out there . The song seems to be aimed at whoever she 's looking at . It 's more than obvious there 's a seduction going on , bur of whom ! At the end of the song , the crowd goes wild but Alyssa 's preoccupied . She points to someone in the crowd , and curls her finger back in a ` c ` mere ' fashion , urging whoever it is to join her . She jumps off the stage . Holden shakes his head sheepishly and looks downward , aw - shucks style . At that moment , the Girl beside him leaps forward . Banky 's eyes widen . Holden looks up and is suddenly taken aback . Alyssa and the Girl race into each other 's arms and fall into a way - to - passionate - to - mean - anything - else kiss . Holden 's eyes bug . Banky allows a smile to creep across his face . The crowd applauds . Banky looks around , and for the first time , we get the distinct impression that this is a lesbian bar . There are a lot of chicks in this place . Gay chicks . Banky looks at Holden and slaps him on the back .<\/scene_description>\n    <character>BANKY<\/character>\n    <dialogue>Now that, my friend, is a.<\/dialogue>\n    <parenthetical>( brings his fingers together , mimicing Holden . )<\/parenthetical>\n    <dialogue>. shared moment<\/dialogue>\n    <scene_description>Holden continues to stare - mouth agape . Alyssa and the Girl continue to kiss .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HER-STERECTOMY - LATER<\/stage_direction>\n    <scene_description>Banky , Holden , Alyssa and the Girl from the dance floor sit around a table . Alyssa and the Girl continue to make out . Holden and Banky casually watch , wide - eyed . Banky stares a little harder . Holden hits him .<\/scene_description>\n    <character>BANKY<\/character>\n    <dialogue>What?!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( under his breath . )<\/parenthetical>\n    <dialogue>That's rude.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Man, when are we ever going to get a chance to see this kind of shit live without paying for it?<\/dialogue>\n    <scene_description>Alyssa and the Girl break their kiss .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Uh - oh - better knock it off : we're getting a man excited.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Sorry. It's just. new to him.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Oh, and you're an old hand at this.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>No, I should apologize. I do n't usually get all mushy in public. But it's been awhile since I've seen Kim here.<\/dialogue>\n    <character>KIM<\/character>\n    <parenthetical>( formerly the Girl . )<\/parenthetical>\n    <dialogue>Tell me you did n't set that gross display up with the band just so you could nail me.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Like I'd have to go through that much effort<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>You know what! I want to dance.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Go ahead. I'll watch from here.<\/dialogue>\n    <character>KIM<\/character>\n    <parenthetical>( tugging at her arm . )<\/parenthetical>\n    <dialogue>No. I want to dance with you.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Do n't be such a rag. I have to sit here and work up the desire to fuck you later.<\/dialogue>\n    <character>KIM<\/character>\n    <dialogue>Please.<\/dialogue>\n    <scene_description>Kim exits . Banky is smiling ear - to - ear . Alyssa looks at him .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>You said ` fuck'. To that girl. You said you'd ` fuck' her.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>And?<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>How can a girl ` fuck' another girl! Were you talking about strap - ons or something?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( hits him . )<\/parenthetical>\n    <dialogue>Would you shut up!<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>What!? It's a valid question. You know the dyke stuff in the Penthouse Letters section is written by guys - this is our chance to get the inside scoop.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( to Alyssa . )<\/parenthetical>\n    <dialogue>I do n't know how many times I can apologize for him.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>It's okay. Secretly, all I really want is to be the center of attention.<\/dialogue>\n    <parenthetical>( to Banky . )<\/parenthetical>\n    <dialogue>I've never used a snap - on.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Then what's with saying ` fuck? Should n't you say ` eat her out' or at least modify the term ` fuck' with something like ` fist'?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Let me ask you a question - can men ` fuck' each other!<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Ask Hooper.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>In your estimation.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>So for you, to ` fuck' means to penetrate. You're used to the more traditional definition - you inside some girl you've duped, jack - hammering away, not noticing that bored look in her eyes.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Hey - I always notice the bored look in their eyes.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>` Fucking' is nor limited to penetration, Banky. For me it describes any sex when it's not totally about love. I do n't love Kim, but I'll fuck her. I'm sure you do n't love every girl you sleep with.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Some of them I downright loathe.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>But I'll bet it's different with the ones you love. I'll bet you go the full nine when it's not just a quick fix - like you go down on them longer or something.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Here we go.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>I do n't do that.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>What?!?!<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>I stopped dropping. It got to be too frustrating.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>As stupid as you usually come off during this diatribe of your's, you're going to come off ten times as stupid on this occasion.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>What?! I lost my tolerance for the bullshit baggage that comes with eating girls out. What's the big deal?!<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>If you say the smell, so help me, I'll slug you.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Not the smell - the smell is good. I'm talking about not being able to do it property. And my mother brought me up to believe that if I ca n't do something right I should n't do it at all. Of course, my father told me she gave lousy head, but that's beside the point.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>At least you blame yourself for your sexual inadequacies.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>No, I blame them. Chicks never help you out. They never tell you what to do. And most of them are self - conscious about that smell factor, and so most of the time they just lay there, frozen like a deer in the headlights, right? Not for nothing, but when a chick goes down on me. I let her know where to go, and what the status is. You got ta handle it like CNN and the Weather Channel - constant updates.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>You're such an idiot.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>No, he's got a point. That's how I was in high school - I was nervous, and inhibited about being eaten out. But by the time I got to college, that all changed. I loosened up. Not only did I learn to communicate - I learned to be bossy. I was like one of those guys at the airport with those big flash lights - waving them this way, directing them that way, telling them when to stop.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>And that's all I'm saying, it'd be different if chicks helped out - pointed a guy in the right direction. Then there'd be no bullshit, no wasted time, and no chance for permanent injuries.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Permanent injuries?<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Sure. You wan na see something permanent!<\/dialogue>\n    <parenthetical>( pulls our front tooth . )<\/parenthetical>\n    <dialogue>I got this from Nina Rollins, sophomore year. I'm going down on her, and out of nowhere, her cat jumps on her stomach. She does this big ol' pelvic thrust - cracks my tooth in half, sends it down my throat. I had to get a crown for the stub.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <parenthetical>( to Holden . )<\/parenthetical>\n    <dialogue>I got that beat.<\/dialogue>\n    <parenthetical>( to Banky . )<\/parenthetical>\n    <dialogue>I got that beat.<\/dialogue>\n    <parenthetical>( half - turns and lifts chin . )<\/parenthetical>\n    <dialogue>Sophomore year. I'm going down on Cynthia Slater in her dorm room after we went club - hopping. I'm totally drunk, and in the middle of it, I fall asleep - right there in her lap. She got so mad, she digs her heel into my back, right there.<\/dialogue>\n    <parenthetical>( points to scar . )<\/parenthetical>\n    <dialogue>That's permanent.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>You see this!<\/dialogue>\n    <parenthetical>( moves neck slightly right . )<\/parenthetical>\n    <dialogue>That's the farthest I can move my neck to the right Sophomore year, I'm going out with Maria Bennert, and for six months, I'm going down on her, and not a damn thing's happening. Then one night, I change a position, or vary my lapping - speed, and suddenly it's a whole new world. She's moving around, convulsing, breathing heavy. And her legs are pressing against my ears so tightly that I do n't hear her father come into the room. He grabs my hair.<\/dialogue>\n    <parenthetical>( grabs his own hair and pulls back . )<\/parenthetical>\n    <dialogue>. and he pulls me way back, hard.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <parenthetical>( throws up her leg , and rolls up pants . )<\/parenthetical>\n    <dialogue>Senior year. Spring Formal. I'm eating our Missy Kurt in her brother's car. She's laying across the back seat, and I'm half - hanging out of the car, my knees on the ground. She's flailing around, and she knocks the parking brake off. The car starts rolling down the hill, and my right knee is cut up all to shit like a kiddy's scissor class cut it up for paper dolls.<\/dialogue>\n    <scene_description>Banky and Alyssa laugh . Holden looks at a small scar on his arm and thinks better about mentioning it . Then Kim re - enters and plants a big kiss on Alyssa 's neck .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <parenthetical>( off Banky 's watch . )<\/parenthetical>\n    <dialogue>Holy shit, is that the time. We've got ta beat traffic.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>What traffic - it's one thirty in the morning!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( getting up . )<\/parenthetical>\n    <dialogue>And rush hour starts in six hours. Let's go.<\/dialogue>\n    <parenthetical>( to Alyssa . )<\/parenthetical>\n    <dialogue>Thanks for inviting us out. It was. educational.<\/dialogue>\n    <scene_description>Alyssa waves at him as he exits . Banky slides out of the booth .<\/scene_description>\n    <character>BANKY<\/character>\n    <parenthetical>( to Kim . )<\/parenthetical>\n    <dialogue>Since you like chicks, right. do you just look at yourself in the mirror all the time?<\/dialogue>\n    <scene_description>Holden reaches in and pulls Banky out . Alyssa watches them go , then turns and kisses Kim .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. M-TV EXEC'S OFFICE WAITING ROOM - DAY<\/stage_direction>\n    <scene_description>Holden looks preoccupied . Banky flips through magazines , biting off mini pieces of the gum he 's chewing . He sticks them between pages , presses the mag closed , picks up another one and then repeats the whole process . A Receptionist types .<\/scene_description>\n    <character>BANKY<\/character>\n    <parenthetical>( off Holden 's look . )<\/parenthetical>\n    <dialogue>You're still dwelling on the dyke, are n't you?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Lower your voice.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>What'd I tell you - she just needs the right guy. All every woman really wants - be it mother, senator, nun - is some serious deep - dicking.<\/dialogue>\n    <scene_description>The Receptionist stops typing and looks at Banky , shocked .<\/scene_description>\n    <character>BANKY<\/character>\n    <parenthetical>( off her look . )<\/parenthetical>\n    <dialogue>Do n't give me that look - I heard Adam Curry say worse.<\/dialogue>\n    <scene_description>The Secretary goes back to typing . Banky shrugs at Holden .<\/scene_description>\n    <character>BANKY<\/character>\n    <dialogue>That's why I ca n't buy lesbians. Everyone needs dick. See, I can buy fags. Bunch of guys that need dick - just plain need it? That I get. Dykes? Bullshit posturing. But - live and let live, I guess.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I'm sure the gay community appreciates your support.<\/dialogue>\n    <scene_description>JOHN SLOSS , the boy 's lawyer , joins them .<\/scene_description>\n    <character>SLOSS<\/character>\n    <dialogue>Please tell me you have n't blown this deal already.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Sloss like a mother fucker.<\/dialogue>\n    <parenthetical>( slaps his hand . )<\/parenthetical>\n    <dialogue \/>\n    <character>SLOSS<\/character>\n    <dialogue>Hey, every mother but your's - a shyster's got ta have his standards. Shall we?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. M-TV EXEC'S OFFICE - DAY<\/stage_direction>\n    <scene_description>The EXECS are a casual couple of guys , sitting on couches across from our trio .<\/scene_description>\n    <character>EXEC 1<\/character>\n    <dialogue>We just want to start off by saying that it's a pleasure to finally meet you. While it's been - shall we say - an experience dealing with Sloss here, one of the main reasons we started this whole thing was to meet the guys that do ` Bluntman and Chronic'.<\/dialogue>\n    <character>EXEC 2<\/character>\n    <parenthetical>( points at them . )<\/parenthetical>\n    <dialogue>` Snootchie Bootchies'.<\/dialogue>\n    <scene_description>The Execs and Sloss laugh . Holden and Banky politely join in . Banky shoots Holden a ` these guys are idiots ' look .<\/scene_description>\n    <character>EXEC 1<\/character>\n    <dialogue>Which brings us to our proposal : we are extremely interested in doing twelve, half - hour ` Bluntman and Chronic' cartoons. The age of Beavis is coming to a close, and we're looking for something. something.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Even more retarded and juvenile to sate the voracious, intellectually - challenged miscreants that make up your key demographic.<\/dialogue>\n    <scene_description>The Execs laugh hard . Sloss secretly shrugs to Banky and gives the thumbs up .<\/scene_description>\n    <character>EXEC 1<\/character>\n    <parenthetical>( composes himself . )<\/parenthetical>\n    <dialogue>So what do you say! Are we in business!<\/dialogue>\n    <scene_description>Banky leans back into the couch , wearing a thoughtful face . He looks to Holden , then to Sloss . Sloss nods in understanding .<\/scene_description>\n    <character>SLOSS<\/character>\n    <dialogue>Jim, Sean - could we have a few minutes!<\/dialogue>\n    <character>EXEC 2<\/character>\n    <parenthetical>( looks to Exec 1 . )<\/parenthetical>\n    <dialogue>Uh. absolutely. We'll just.<\/dialogue>\n    <character>EXEC 1<\/character>\n    <dialogue>Uh. wait outside<\/dialogue>\n    <scene_description>The Exec 's smile and head our , closing the door behind then . Sloss turns to Banky .<\/scene_description>\n    <character>SLOSS<\/character>\n    <dialogue>So? Did I do good?<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>You did better - you sold us out!<\/dialogue>\n    <scene_description>They clasp hands and quietly explode in ebullience .<\/scene_description>\n    <character>SLOSS<\/character>\n    <dialogue>Do you know how much you'll make on merchandising alone!<\/dialogue>\n    <character>BANKY<\/character>\n    <parenthetical>( as Simon Bar Sinister . )<\/parenthetical>\n    <dialogue>Money and Power, and Money and Power.<\/dialogue>\n    <character>SLOSS<\/character>\n    <parenthetical>( joins in . )<\/parenthetical>\n    <dialogue>Money dnd Power, and Money and.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( interrupting . )<\/parenthetical>\n    <dialogue>I do n't think it's a good idea.<\/dialogue>\n    <scene_description>Banky and Sloss freeze . They stare at Holden .<\/scene_description>\n    <character>BANKY<\/character>\n    <dialogue>What's not a good idea! Please do n't say the cartoon, please do n't say the cartoon.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>The cartoon.<\/dialogue>\n    <character>SLOSS<\/character>\n    <dialogue>What?!? Are you out of your fucking mind!<\/dialogue>\n    <character>BANKY<\/character>\n    <parenthetical>( getting up . )<\/parenthetical>\n    <dialogue>John, let me handle this.<\/dialogue>\n    <parenthetical>( to Holden . )<\/parenthetical>\n    <dialogue>You are out of your fucking mind, are n't you!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Is this how you want to be remembered! As the guy who created Bluntman and Chronic!<\/dialogue>\n    <scene_description>Banky sits at the Exec 's desk and starts rifling through the guy 's stuff .<\/scene_description>\n    <character>BANKY<\/character>\n    <dialogue>No, I'd like to be remembered as the filthy rich guy who created Bluntman and Chronic.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>But it'll be all glossy and main - stream. We'll lose any artistic credibility we ever had.<\/dialogue>\n    <character>SLOSS<\/character>\n    <parenthetical>( to Banky . )<\/parenthetical>\n    <dialogue>Is it me! I do n't see the problem.<\/dialogue>\n    <character>BANKY<\/character>\n    <parenthetical>( to Sloss . )<\/parenthetical>\n    <dialogue>He just has to get over this crush of his.<\/dialogue>\n    <character>SLOSS<\/character>\n    <dialogue>Oh God - not on Carrie Fisher again!<\/dialogue>\n    <parenthetical>( to Holden . )<\/parenthetical>\n    <dialogue>Holden - she's not really a Princess.<\/dialogue>\n    <character>BANKY<\/character>\n    <parenthetical>( opening drawer with a letter opener . )<\/parenthetical>\n    <dialogue>Not on her ; on Alyssa Jones - the chick that does that comic book ` Idiosyncratic Routine'. You ever seen it?<\/dialogue>\n    <character>SLOSS<\/character>\n    <dialogue>Please. Like I even read your comic, let alone anyone else's.<\/dialogue>\n    <parenthetical>( to Holden . )<\/parenthetical>\n    <dialogue>I'm not limited to offering you legal counsel only, my friend. I'm also learned in the ways of the heart, and can offer you this advice - nail her, get it out of your system, and move on. Like we say at Sloss Law - good fences make good neighbors.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>She'd never let him in her yard. The chick's gay.<\/dialogue>\n    <character>SLOSS<\/character>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>She's gay? You fell for a gay, comic - book writing chick? Holden, you poor, poor man!<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Wait a sec - does she have representation!<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Always working, you.<\/dialogue>\n    <parenthetical>( holds up a Polaroid of a naked woman . )<\/parenthetical>\n    <dialogue>Look at this - Mrs. M - TV Exec has a string of pearls hanging our of her ass,<\/dialogue>\n    <character>SLOSS<\/character>\n    <dialogue>Would you leave his stuff alone!<\/dialogue>\n    <parenthetical>( to Holden . )<\/parenthetical>\n    <dialogue>You can break her resolve, killer. All it takes is one good man. But if it takes two good men, do n't hesitate to call me. That being said, in regards to the more pressing issue, I suggest you leave art to the museums and grab on with both hands to the big, fat check.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I'll give it some thought<\/dialogue>\n    <character>BANKY<\/character>\n    <parenthetical>( holding up Polaroid . )<\/parenthetical>\n    <dialogue>I'm taking this as a precaution - just in case they give us any shit about pussy's decision delay.<\/dialogue>\n    <parenthetical>( glaring at Holden . )<\/parenthetical>\n    <dialogue>You'll ` give it some thought'. You're so retarded<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I'm retarded! This from the guy who only forty five minutes ago paid fifty bucks for what's supposed to be a boot - leg of ` March of the Wooden Soldiers' with a deleted scene of Stan Laurel wearing a French Tickler.<\/dialogue>\n    <character>SLOSS<\/character>\n    <dialogue>How'd you fall for that!<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>The guy who sold it to me had an honest face.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STUDIO - DAY<\/stage_direction>\n    <scene_description>There is a door . There 's a knock at the door . Holden opens it and Alyssa is standing there .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Somebody told me that they make comic books here, and I've got an idea for this story about a guy who comes to a club and high - tails it when he finds out this girl is pay. Any interest in a story like that!<\/dialogue>\n    <scene_description>Holden smiles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVERFRONT PARK - DAY<\/stage_direction>\n    <scene_description>Alyssa and Holden walk through the park , eating hot dogs .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>M - TV?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Twelve episodes.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>That's great, is n't it?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Banky seems to think so.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>But you do n't.<\/dialogue>\n    <scene_description>They come to a swing set and sit down on the swings .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>I do n't know if that's the perception I want people to have of our stuff. I know this sounds pretentious as hell, but I like to think of us as artists. And I'd like to get back to doing something more personal - like our first book.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Well when are you going to do that?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>As soon as we have something personal to say.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Do you know how pretty you are?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>You're a pretty man.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Uh. thanks.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Oh. I get it. I'm into girls, so I have to find all men repulsive or something.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I did n't say anything.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Are n't there some men that you find attractive? Granted, not enough to sleep with, but still - just handsome or something!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Sure. Harrison Ford. And our mail - man.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Well it's the same thing. I look at you and just find you really handsome. And you know, it has very little to do with your look, per - se. Your look is fine, do n't get me wrong. But it's more your outlook. The things you say, the way you see things. It's. I do n't know. attractive,<\/dialogue>\n    <scene_description>Holden looks away , embarrassed ,<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>I weirded you our the other night<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Huh! No, not really.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>It's just that we've. I mean, I've never seen that kind of thing up close and personal. It just took awhile to process, longer than usual.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Do you want to talk about it!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Um. If you want to.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I like you. I have n't liked a man in a long time. And I'm not a man - hater or something. It's just been some time since I've been exposed to a man that did n't immediately live - into a stereotype of some sort. And I want you to feel comfortable with me, because I want us to be friends. So if there are things you'd like to know, it's okay to ask me.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Why girls?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Why men?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Because that's the standard<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>If that's the only reason you're attracted to women - because it's the standard.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>It's more than that.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>So you've never been curious about men?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Curious about men? Well. I always wondered why my father watched ` Hee - Haw'.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>You know what I mean.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Why not!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>No interest.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Because?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Girls feel right.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>And that's how I feel. I've never really been attracted to men. I'm more comfortable with the idea of girls.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Wait, wait, wait - you're still a virgin?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>But you've only been with girls.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>You're saying a person's a virgin until they've had intercourse with a member of the opposite sex?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Is n't that the standard definition?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Again with the standards. I think virginity is lost when you make love for the first time.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>With a member of the opposite sex.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Why? Why only then?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Because that's the standard.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>So if a virgin is raped, then she's still a virgin?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Of course not.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>But rape is not the standard. So she's had sex, but not the standard idea of sex. Hence, according to your definition, she'd still be a virgin.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Okay, I'll revise. Virginity is lost when the hymen is broken.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Then I lost my virginity at ten, because I fell on a fence post when I was ten, and it broke my hymen. Now I have to tell people that I lost it to a wooden post I'd known my whole young life?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Second revision - virginity is lost through penetration.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Physical penetration or emotional?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Emotional?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Well, I fell in love hard with Caitlin Bree when we were in high school.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Physical penetration.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>We had sex.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Yeah, but not real sex.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I move to have that remark stricken from the record. On account of it makes you come off as completely naive and infantile.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Well where's the penetration in lesbian sex.<\/dialogue>\n    <scene_description>Alyssa holds up her hand .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>A finger? Come on. I've had my finger in my ass but I would n't say I've had anal sex.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Did I hold up a finger?<\/dialogue>\n    <parenthetical>( waves her hand . )<\/parenthetical>\n    <dialogue \/>\n    <character>HOLDEN<\/character>\n    <parenthetical>( beat ; then he gets it . )<\/parenthetical>\n    <dialogue>You're kidding?!?!<\/dialogue>\n    <parenthetical>( she nods . )<\/parenthetical>\n    <dialogue>How?!?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Our bodies are built to pass a child, for Christ's sake.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>But does n't it hurt?!<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Sure. But in a good way. And it's only a once - in - awhile thing - reserved for really special occasions.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>What about not - so - special occasions?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Tongue only.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>But how can that be enough? I mean, let's be real - how big can a tongue even get?<\/dialogue>\n    <scene_description>Alyssa swallows what she 's chewing and releases her tongue , which is just huge . Holden is transfixed . Alyssa wraps it back up and smiles , standing .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Let's go.<\/dialogue>\n    <scene_description>She exits . Holden remains in the swing . Alyssa comes back in .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Just. uh. just give me a moment.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT  AIRPORT - DAY<\/stage_direction>\n    <scene_description>Holden enters . Banky tries to balance way - too - much luggage .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>Look at you. It's a two day trip.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>I got the Sega in one bag, my clothes in the other, and two months worth of unread comics in this one.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>We're going to a convention, for the love of God. We'll be busy from ten'till eight each day. When are you possibly going to have time for any of that shit? In fact, fuck it - you're leaving some of this shit here in a locker. Come on - give me the two that are n't clothes.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Hold on.<\/dialogue>\n    <parenthetical>( starts rifling through one bag . )<\/parenthetical>\n    <dialogue \/>\n    <character>HOLDEN<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>I just have to get something.<\/dialogue>\n    <parenthetical>( pulls out a huge stack of porno books . )<\/parenthetical>\n    <dialogue \/>\n    <character>HOLDEN<\/character>\n    <dialogue>Who are you, Larry fucking Flynt? What are you going to do with all of those?<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Read the articles. What do you think I'm going to do with them? They're stroke books.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>You've got like thirty books there! We're only there for two days!<\/dialogue>\n    <character>BANKY<\/character>\n    <parenthetical>( leafing through mags . )<\/parenthetical>\n    <dialogue>Variety's the spice of life. I like a wide selection. Sometimes I'm in the mood for nasty close - ups, sometimes I like them arty and air - brushed. Some times it's a spread brown - eye kind of night, sometimes it's girl - on - girl time. Sometimes a steamy letter will do it, sometimes - not often, but sometimes - I like the idea of a chick with a horse.<\/dialogue>\n    <scene_description>A beeping sound is heard . Holden checks his beeper .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>Go check us in. I've got ta call Alyssa.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>His master's voice.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Put that stuff away.<\/dialogue>\n    <scene_description>Holden exits . Banky starts packing his mags up . A little KID enters , staring at him .<\/scene_description>\n    <character>KID<\/character>\n    <dialogue>What are those?<\/dialogue>\n    <character>BANKY<\/character>\n    <parenthetical>( looks at kid then books . )<\/parenthetical>\n    <dialogue>Do you Like horsies?<\/dialogue>\n    <scene_description>Holden finishes dialing the phone . Cross cut between him and Alyssa at home .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>I hope for the sake of the women you've dated that you're only this quick in returning calls.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>What's up? I'm about to get on a plane.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Ohhh. Why!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Last minute invite to the Dragon Con'.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>My sister's at my parents'. I was gon na go see her.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>The one that wrote the book?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Yeah. But I was staying all weekend, and I wanted to hang our with you. This sucks.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>You did n't get invited to the Con'?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I do n't do southern con's - all the chicks have that annoying drawl. You know how hard it is nor to laugh when someone moans `` Fuhhk me''?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Well this sucks.<\/dialogue>\n    <parenthetical>( thinks . )<\/parenthetical>\n    <dialogue>You know - both of us do n't have to go.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Yeah. Banky can go by himself. It's not like we're on a panel. It was just a signing appearance.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>If you come pick me up, I'll be your best friend.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Where's your apartment?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I'm not there. I'm at a friend's - in the Village. Corner of Houston and Mercer. Number eighty six, apartment 6 - D.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I'll be there in half an hour.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>You're so easy.<\/dialogue>\n    <scene_description>They hang up . Holden reacts to something OC and exits quickly . C11 . Banky points to pictures in the book . The kid looks on .<\/scene_description>\n    <character>BANKY<\/character>\n    <dialogue>And then Black Beauty could n't take it any longer, and he finally did some of his own mounting.<\/dialogue>\n    <character>KID<\/character>\n    <parenthetical>( off book . )<\/parenthetical>\n    <dialogue>Wow.<\/dialogue>\n    <scene_description>Holden grabs Banky 's arm and drags him away .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>BANKY<\/character>\n    <parenthetical>( waving to kid . )<\/parenthetical>\n    <dialogue>I think I want kids of my own one day. They're fun.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Listen to me - I'm not going. You're going to have to do this one by yourself.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>What? Why?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Alyssa's coming down for the weekend, so I want to hang out with her. You do n't need me for this.<\/dialogue>\n    <parenthetical>( taking his excess baggage . )<\/parenthetical>\n    <dialogue>Meantime, I'll take this stuff home. You can keep the filth. I'll pick you up at nine Sunday night, alright? Do n't forget to plug the Annual and do n't mention the t.v. show, okay? Call me if you get bored.<\/dialogue>\n    <scene_description>And he 's gone . Banky stands there , open - mouthed . A check - in FLIGHT ATTENDANT comes up to him . His name - tag reads ` Frank ' .<\/scene_description>\n    <character>FLIGHT ATTENDANT<\/character>\n    <dialogue>Checking in, sir!<\/dialogue>\n    <character>BANKY<\/character>\n    <parenthetical>( still watching Holden go . )<\/parenthetical>\n    <dialogue>Hunhh!<\/dialogue>\n    <parenthetical>( looks at F.A . )<\/parenthetical>\n    <dialogue>Yeah. But this is carry - on.<\/dialogue>\n    <character>F.A.<\/character>\n    <dialogue>Federal aviation security law requires me to ask if you've been given any strange gifts or parcels to carry - on since arriving at the airport today.<\/dialogue>\n    <character>BANKY<\/character>\n    <parenthetical>( thinks . )<\/parenthetical>\n    <dialogue>Not this trip. But one time, when I was using curb side check - in, this sky - cap gave me a cock ring and a set of anal ben - wa balls. I always thought that was pretty strange. He said his name was Frank.<\/dialogue>\n    <parenthetical>( looks closely at him . )<\/parenthetical>\n    <dialogue>Hey! You're name's Frank!<\/dialogue>\n    <scene_description>Banky storms away . The Flight Attendant watches him go .<\/scene_description>\n    <character>F.A.<\/character>\n    <dialogue>Fucking kids.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT  APARTMENT 6-D - DAY<\/stage_direction>\n    <scene_description>Holden knocks at the door . It opens . A WOMAN is standing in the doorway in her bra She looks Holden up and down and smirks .<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Let me guess - ` the right man'?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>You've got it in your head that Alyssa's not really into chicks - that she just has n't met the right man. And you believe you're it. You're going to treat her right, fuck her like a stud, and ` straight - jacket' her back from the land of the lost. And the sad truth is that you'll accomplish none of that and wind up as either an even more bitter misogynist or a reverse fag - hag.<\/dialogue>\n    <scene_description>Holden 's at a loss . Alyssa slips past the Woman , carrying an overnight bag .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Do n't mind her. That's just her way a saying hello.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Actually, it's just my way of saying `` Give it up.''<\/dialogue>\n    <character>ALYSSA<\/character>\n    <parenthetical>( to Woman . )<\/parenthetical>\n    <dialogue>You're such an asshole.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>When you file the date - rape charges, do n't say I did n't warn you.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( holding out hand . )<\/parenthetical>\n    <dialogue>I'm Holden, by the way.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>I'm the voice of reason that Miss Bitch is having such a hard time listening to.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Look, we're just friends.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>That's what every guy says before he tries purring your hand on his dick.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>And how do you know men so well?<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Because I lapdance for a living, dick - head.<\/dialogue>\n    <scene_description>She slams the door . Holden looks to Alyssa .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Ohhh - you look so cute!<\/dialogue>\n    <scene_description>She heads down the stairs .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>Who was that?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Just an occasional friend.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Why would you want to hang our with someone bitter as that?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <parenthetical>( stops . )<\/parenthetical>\n    <dialogue>Remember this!<\/dialogue>\n    <parenthetical>( sticks out huge tongue . )<\/parenthetical>\n    <dialogue>Her's is even bigger than that.<\/dialogue>\n    <scene_description>She smiles and continues on . Holden looks back up at the door . He sticks his own tongue our and sizes it with his fingers .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT  TURNPIKE - DAY<\/stage_direction>\n    <scene_description>The car sits in traffic .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT  CAR - DAY<\/stage_direction>\n    <scene_description>Holden sighs . Alyssa plays with the radio .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>You were raised Catholic, right?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Yeah. You?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Baptist.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Really? Did you have a strict upbringing?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Please There was no time to be bad - we were too busy saying ` Jesus'.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>You think your upbringing had something to do with your lifestyle choice?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Somewhere along the line. It's a gradual transition to make - from doing what the majority does to taking a leap of faith and doing what feels more natural. Everything helps - from the way you were handled as a kid, to the way the boys acted in third grade, to the shoes you wore at your freshman prom.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Shoes?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Well they were really tight.<\/dialogue>\n    <scene_description>HANGING OUT MONTAGE BEGINS With the requisite music , over which we hear a conversation between Holden and Alyssa . 1 -RRB- Holden and Alyssa sit in the DINER eating . Holden 's talking . The Waitress walks past and drops her pad . She bends over , to pick it up , hiking her mini - skirt up in the process . Alyssa stares at her ass . Holden stops talking and stares at her . Alyssa looks over at him and offers a caught smile . 2 -RRB- Holden pushes a shopping cart at the FOOD STORE , throwing various things into the basket . Alyssa comes up with a box of Tampons and throws them in . Holden glances at them , a bit flushed . Alyssa catches him , picks up the box , and pulls one out . She proceeds to demonstrate their usage , throwing one leg on the can and miming insertion . Holden puts up his hands in the `` I know , I know , '' fashion . 3 -RRB- In the Studio , Holden displays some of his artwork to Alyssa , during which she pulls out a cigarette and goes to light it . It 's a child - proof lighter , so she 's having trouble . Holden grows a little frustrated . Finally , he grabs the lighter and pulls the child proof tab out with his teeth . Alyssa stares at him a bit taken aback . Holden spits the tab out , and lights Alyssa 's smoke . He then continues with his display . 4 -RRB- Holden and Alyssa at the COMIC BOOK STORE . Steve - Dave and the Fan - Boy eye them suspiciously . Alyssa pays for a comic . Steve - Dave glowers at Holden . He gives Alyssa her change and they exit . Steve - Dave goes back to his card game with the Fan - Boy . Suddenly , a garbage can comes crashing through their window . Steve - Dave rips a check off the garbage can and punches the counter . The Fan - Boy rubs his back soothingly , 5 -RRB- Holden and Alyssa walk through a PARKING LOT , talking . She takes his hand and pulls his arm around her shoulder . Holden smiles to himself .<\/scene_description>\n    <character>HOLDEN V.O.<\/character>\n    <dialogue>Let me ask you something - we get along, right?<\/dialogue>\n    <character>ALYSSA V.O.<\/character>\n    <dialogue>Famously.<\/dialogue>\n    <character>HOLDEN V.O.<\/character>\n    <dialogue>We have a definite chemistry?<\/dialogue>\n    <character>ALYSSA V.O.<\/character>\n    <dialogue>So it would seem.<\/dialogue>\n    <character>HOLDEN V.O.<\/character>\n    <dialogue>But we're both into girls.<\/dialogue>\n    <character>ALYSSA V.O.<\/character>\n    <dialogue>I'm into women.<\/dialogue>\n    <character>HOLDEN V.O.<\/character>\n    <dialogue>But you were n't always gay.<\/dialogue>\n    <character>ALYSSA V.O.<\/character>\n    <dialogue>When I was nine I had a crush on Scott Baio.<\/dialogue>\n    <character>HOLDEN V.O.<\/character>\n    <dialogue>So If we'd met a long time ago, say in high school.<\/dialogue>\n    <character>ALYSSA V.O.<\/character>\n    <dialogue>I'd still be muff - diving, yes.<\/dialogue>\n    <character>HOLDEN V.O.<\/character>\n    <dialogue>Thought so.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT  STUDIO - DAY<\/stage_direction>\n    <scene_description>Holden and Banky play EA Sports Hockey on Sega . There 's a knock at the door .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>Come in.<\/dialogue>\n    <scene_description>Alyssa enters and stands besides them , smiling at their game .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>I read somewhere that guys who play hockey are merely making up for penile deficiencies by carrying big sticks.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>I thought you lived in the city? This is like the umpteenth time I've seen you here. Is n't that grounds enough for the little pink mafia to throw you out of their club?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( hits Banky ; to Alyssa . )<\/parenthetical>\n    <dialogue>I'll be ready in a second. I just have to school this mouthy second - stringer.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Bitch, you're schooling no one.<\/dialogue>\n    <scene_description>They play . Cut back and forth between the game and Banky , Holden , and Alyssa .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <parenthetical>( off game . )<\/parenthetical>\n    <dialogue>What? Do something!<\/dialogue>\n    <character>BANKY<\/character>\n    <parenthetical>( off game . )<\/parenthetical>\n    <dialogue>You fucking cock - teaser. I'll knock your fucking teeth out and pass all over your ass.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Look at how slow you are. Christ, you move like a geriatric.<\/dialogue>\n    <character>BANKY<\/character>\n    <parenthetical>( screaming at screen . )<\/parenthetical>\n    <dialogue>Fuck! You Fucking cock - sucker, man! These faggots wo n't do what I tell them to!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Oh. It's the controller, right? It's always the controller.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>No, it's these. fucking queers on blades that ca n't accept a fucking pass to save their lives! What period is this?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Final sixty of the third.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Fuck! Look at your fucking guys, they. FUCK!<\/dialogue>\n    <parenthetical>( whips controller . )<\/parenthetical>\n    <dialogue>FUCKING COCK SUCKER, MAN! I SWEAR TO GOD!<\/dialogue>\n    <scene_description>Banky storms away . Alyssa looks at Holden ,<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>Imagine if I'd only beaten him by one instead of thirty.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT  SKEE-BALL ARCADE - DAY<\/stage_direction>\n    <scene_description>Holden feeds a couple dollars into the change machine . Alyssa looks on .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Explain this again.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>How could you have grown up down the shore and never played skee - ball? What did you do with your youth?<\/dialogue>\n    <scene_description>They head toward the skee - ball runs .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Stayed out late, smoked pot, screwed around.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Not your grade school years ; your high school years.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <parenthetical>( off skee - ball run . )<\/parenthetical>\n    <dialogue>This looks complicated.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( Inserts coin and pulls lever . )<\/parenthetical>\n    <dialogue>The premise is very basic - you roll the ball up the ramp at varying speeds, in an effort to pop it into the score circles. The higher the score, the more prize tickets you get.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>What do you do with the prize tickets?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Trade them in for prizes that are n't worth nearly as much as you paid to play the game.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Then what's the point?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>It's fun.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>And you question my lifestyle.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Observe.<\/dialogue>\n    <scene_description>Holden rolls the ball . It pops into a twenty point circle .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>See? It's just that simple.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Why not just walk up there and put it in the fifty every time?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Where's the skill in that?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Oh, this is a skill? I'm sorry, I had no idea.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Just toss one.<\/dialogue>\n    <scene_description>Alyssa picks up a ball , squints to aim , and whips it overhand . It pops off one of the circles and shoots back at them , missing them as they duck . An OC knock and an `` OW ! '' is heard . Holden reacts as Alyssa laughs .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <parenthetical>( to OC guy . )<\/parenthetical>\n    <dialogue>I'm sorry, man. She's new at this.<\/dialogue>\n    <scene_description>Holden ducks as the ball comes sailing back at his head . He gets up .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <parenthetical>( to OC . )<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <parenthetical>( hands Alyssa another ball . )<\/parenthetical>\n    <dialogue>Underhand. Throw it underhand.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>This is where you take straight chicks on dates?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>It's like Spanish Fly. This'll probably be the first time I do n't score afterwards.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I do n't know. I'm starting to get a tingle in my bottom.<\/dialogue>\n    <parenthetical>( tosses a ball . )<\/parenthetical>\n    <dialogue>Ten.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( grabs a ball . )<\/parenthetical>\n    <dialogue>So what'd you do last night?<\/dialogue>\n    <parenthetical>( prepares to throw . )<\/parenthetical>\n    <dialogue \/>\n    <character>ALYSSA<\/character>\n    <dialogue>Got laid<\/dialogue>\n    <scene_description>Holden whips the ball in surprise . It ricochets off the ceiling and through the glass of an old pinball machine . Alyssa laughs . Holden looks around , nervously .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Some more of that skill you were telling me about?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Maybe we should just leave before somebody gets hurt.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>No way. I want a cheap prize.<\/dialogue>\n    <parenthetical>( throws a ball . )<\/parenthetical>\n    <dialogue>So your friend's quite the homophobe.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>He just feels left out, I think.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I'm not talking about his infantile hang - up with me. I'm talking about when you two were playing that game. Everytime he swore - when his players messed up, he called them cocksuckers, he referred to the players as queers, he called you a cock - teaser.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I thought he was talking to you.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I know you think it means nothing, and it may in fact be unintentional, but it's ugly all the same.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>He was just pissed he was losing.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>So he slams the gay community?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>C'mon. Do n't get all p.c. on me.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I'm not. But what is that saying?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>It says he gets too easily frustrated.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>It's passive\/agressive gay - bashing.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>How do you figure?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>How casually did it roll off his tongue? And that's how he expresses his anger? By calling people faggots?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I think you're reading too much into it.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I think you're just so used to it that it rolls off your back. I've heard the two of you play your little rank out game where one insists the other is gay.<\/dialogue>\n    <parenthetical>( as the boys . )<\/parenthetical>\n    <dialogue>`` You're a faggot. No, you're a faggot.'' It's cute and all to watch you go at it like grade - schooler, but it's also offensive - labeling and ducking the label of being gay as if it were the scarlet fucking letter.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>You're blowing this way out of proportion. We live in a more tolerant age now. You refer to yourself as a dyke. Hooper calls himself a faggot all the time.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Yeah, but that's what's known as empowerment\/disempowerment. I call myself a dyke so it's not too devastating when some throwback screams it at me as I'm leaving a bar at night. Same for Hooper - by calling himself a faggot, he steals the thunder away from the mouthy jerks of this world who'd like to beat him to it. But the difference between us having it and your friend saying it is miles wide. We say it to mask the pain - you say it for lack of a better expression at any given moment. No Holden, we do not live in a more tolerant age. And if you think that's the case, then you've been in the suburbs way too long to be resuscitated.<\/dialogue>\n    <scene_description>Holden kind of sulks . Alyssa notices .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>But you know what?<\/dialogue>\n    <parenthetical>( picks up his face . )<\/parenthetical>\n    <dialogue>I have more faith in you than that.<\/dialogue>\n    <parenthetical>( rips her tickets off . )<\/parenthetical>\n    <dialogue>Come on - I want my cheap prize.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT  STUDIO - NIGHT<\/stage_direction>\n    <scene_description>Holden enters . Banky 's still playing Sega . Holden sits next to him .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <parenthetical>( off screen . )<\/parenthetical>\n    <dialogue>How bad do you suck!<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>How was your pseudo - date?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Leave it alone.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>That chick bugs me.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( rubs his head ; in baby - talk . )<\/parenthetical>\n    <dialogue>Aww. Everyone bugs you.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Get off.<\/dialogue>\n    <parenthetical>( off game . )<\/parenthetical>\n    <dialogue>Fucking faggot! Did you see that?! Your dyke courting ass just got me scored on!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You know, you should watch that. If you're going to get all bent out of shape while playing the game, so much so that you need to curse the t.v., try not to gay - bash it, alright. You're nor that kind of guy.<\/dialogue>\n    <parenthetical>( gets up . )<\/parenthetical>\n    <dialogue>And do n't call her a dyke, alright? She's a lesbian.<\/dialogue>\n    <scene_description>Holden goes to his drawing table and takes off his coat . Banky sits there , shocked . He puts the controller down and crosses to the drawing table .<\/scene_description>\n    <character>BANKY<\/character>\n    <dialogue>What the fuck is going on here?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( pulling out pencil . )<\/parenthetical>\n    <dialogue>I'm starting a new page.<\/dialogue>\n    <character>BANKY<\/character>\n    <parenthetical>( smacking pencil away . )<\/parenthetical>\n    <dialogue>Not with this shit! With you. What the fuck is going on with you and that girl?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>We're friends.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>She's programming you.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I beg your pardon? Programming?<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Yeah. And apparently, you do n't even realize it. What does it matter if I refer to her as a dyke, or if I call the Whalers a bunch of faggots in the privacy of my own office, far from the sensitive ears of the rest of the world?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>It's passive\/aggressive gay - bashing ; and I know you're not really prejudiced at heart. You should just find some other way to express your anger, is all I'm saying.<\/dialogue>\n    <scene_description>Holden starts drawing . Banky stares at him . Then he grabs the pencil out of Holden 's hand and shoves him to the side . He starts drawing something .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>What the fuck are you doing!<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Bear with me here. I just want to put you through this little exercise.<\/dialogue>\n    <parenthetical>( drawing feverishly . )<\/parenthetical>\n    <dialogue>Okay, now see this? This is a four way road, okay?<\/dialogue>\n    <scene_description>Banky draws a four - way stop . He illustrates according to his voice - over .<\/scene_description>\n    <character>BANKY V.O.<\/character>\n    <dialogue>And dead in the center, is a crisp, new, hundred dollar bill. Now at the end of each of the streets, are four people, okay? You following? Up here, we got a male - affectionate, easy - to - get - along - with, no political agenda lesbian. Okay? Now down here, we have a man - hating, angry - as - fuck, agenda - of - rage, bitter dyke. To this side, we got Santa Claus, right? And over to this side - the Easter Bunny.<\/dialogue>\n    <scene_description>Banky finishes drawing . Holden 's shaking his head<\/scene_description>\n    <character>BANKY<\/character>\n    <dialogue>Which one's going to get to the hundred dollar bill first?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>What is this supposed to prove?<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>I'm serious. This is a serious exercise. It's like an S.A.T. question. Which one's going to get to the hundred dollar bill first - the male - friendly lesbian, the man - hating dyke, Santa Claus, or the Easter Bunny?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( beat ; then pissed . )<\/parenthetical>\n    <dialogue>The man - hating dyke.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Good. Why?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>BANKY<\/character>\n    <parenthetical>( wildly crossing out the other three . )<\/parenthetical>\n    <dialogue>BECAUSE THESE OTHER THREE ARE FIGMENTS OF YOUR FUCKING IMAGINATION!<\/dialogue>\n    <scene_description>Holden storms away . Banky follows .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>I do n't need this. I'm going home.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>She's fucking with your mind, man! She knows you've got this schoolboy crush and she's using it to sway your way of thinking!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>And why would she need to do that? What is she Mata fucking Hari?! What does she gain?<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Maybe she thinks you'll get her comic picked up by Contender. Or maybe she thinks you'll change the content of our book to something more political and message oriented. Or, gee - I do n't know - maybe because that's just what dykes like to do : fuck around with straight guys' heads, just so she can go back to her little rug - muncher club and have a good laugh with all her man - hating harpy cronies about how fucking stupid and easily duped men are!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>You're so out of line right now.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>You do n't even know this girl! Big deal, she's from Middletown and she went to North! All the girls at North were bitches and sluts anyway! And this one's got them beat by a mile because she's a bitch\/slut\/dyke!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Watch your fucking mouth, is all I'm going to tell you.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Oh why? Do you get my back when she bashes me? Because I know she does. And do you know why she does? Because I wo n't play her fucking game!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Sometimes your paranoia and suspicious bullshit is amusing. Sometimes it's just fucking annoying as piss!<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>What is it about this girl? You know you have no shot at getting her into bed! Why do you bother wasting time with her? Because you're Holden fucking McNeil - most persistent traveller on the road that's not the path of least resistance! Everything's got ta be a fucking challenge for you, and this little relationship with that bitch is a prime example of your fucking condition. Well I do n't need a fucking magic eight ball to look into your future ; you want a forecast? Here - will Holden ever fuck Alyssa.<\/dialogue>\n    <parenthetical>( shakes and looks at imaginary ball . )<\/parenthetical>\n    <dialogue>What a shock - `` Not fucking likely''! This relationship of your's is affecting you, our work and our friendship, and the time's going to come when I throw down the gauntlet and say it's me or her! And then what're you going to say?!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I think you should let this one go.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>No, what would you say? Would you trash twenty years of friendship because you've got some idiotic notion that this chick would even let you sniff her panties, let alone fuck her?!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Let it go.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>What the fuck. WHAT THE FUCK MAKES THIS BITCH ALL THAT IMPORTANT?!?!<\/dialogue>\n    <scene_description>Holden looks at Banky for a long beat .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>I'm in love with her, man.<\/dialogue>\n    <scene_description>Banky stares at him . Holden stares back . Banky looks into Holden 's eyes . Suddenly , he softens a bit . He drops his head .<\/scene_description>\n    <character>BANKY<\/character>\n    <dialogue>Fuck.<\/dialogue>\n    <scene_description>Banky walks away . Holden watches him go and exits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT  DINER - NIGHT<\/stage_direction>\n    <scene_description>Holden and Alyssa sit at a booth . Alyssa picks through her food . Holden looks at the check and pulls money from his wallet .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>I wish you were the one being pursued by M - TV.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Oh really?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Sure. Then you could sell our and maybe pick up the check once in awhile.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <parenthetical>( drops her fork and wipes her hands . )<\/parenthetical>\n    <dialogue>We're leaving!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Well it's not like this is a bed and breakfast,<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I've got a little business to conduct.<\/dialogue>\n    <scene_description>She grabs her bag and slides out of the booth . Holden watches her , then follows . A23 . Alyssa slides up to the cashier 's desk as does Holden , who offers a puzzled shrug . Alyssa offers the ` just wait ' finger . The CASHIER turns to her .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Are you an authorized deal - maker in this establishment? Do you have the power to negotiate.<\/dialogue>\n    <character>CASHIER<\/character>\n    <dialogue>You wan na haggle over the price of your French Dip?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I want to haggle over the price of fine art.<\/dialogue>\n    <character>CASHIER<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <parenthetical>( pointing OC . )<\/parenthetical>\n    <dialogue>There. By the kitchen. That painting.<\/dialogue>\n    <character>CASHIER<\/character>\n    <dialogue>What about it?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>The price tag says seventy five.<\/dialogue>\n    <character>CASHIER<\/character>\n    <dialogue>So!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( to Alyssa . )<\/parenthetical>\n    <dialogue>Tell me you're kidding!<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I'll give you fifty.<\/dialogue>\n    <character>CASHIER<\/character>\n    <parenthetical>( to OC . )<\/parenthetical>\n    <dialogue>Manuel! Bring, me the Dyksiezski off the wall.<\/dialogue>\n    <parenthetical>( to Alyssa . )<\/parenthetical>\n    <dialogue>All my years in the diner business, I've waited for this day - the day when someone wanted to buy one of the pictures.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <parenthetical>( holds out hand . )<\/parenthetical>\n    <dialogue>Alyssa Jones. Pleased to meet you.<\/dialogue>\n    <character>CASHIER<\/character>\n    <dialogue>You say you want to haggle, but you do n't know rule one about haggling, which you just broke : you never give your name. The name is power, and to give the opponent that piece of you is to give away victory.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I'm only trying to conduct a transaction. We're not opponents.<\/dialogue>\n    <character>CASHIER<\/character>\n    <parenthetical>( accepting painting from BUSBOY . )<\/parenthetical>\n    <dialogue>Oh, but we are - if you think I'm letting this beautiful piece go for fifty.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Ah - ha!<\/dialogue>\n    <parenthetical>( to Holden . )<\/parenthetical>\n    <dialogue>Now we're haggling.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT CAR - NIGHT<\/stage_direction>\n    <scene_description>It 's drizzling outside . Holden drives . Alyssa hugs her painting and pushes her bare feet against the windshield , making footprints .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>I've always wondered what kind of people buy those things. I ca n't believe you talked him down to twenty five!<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>It was looking shakey when he told me the artist was a blind cripple with a hump - back, but I held my ground. There's no room for sympathy in the buyer's market.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Where are you going to hang it?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I'm not. You are.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>You want me to hang it for you? You better hope it does n't get out to the girl - nation that you needed a man to help you hang a picture.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>You're going to hang it in your house. I bought it for you.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>Yeah, right.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <parenthetical>( looks at him . )<\/parenthetical>\n    <dialogue>I'm serious.<\/dialogue>\n    <scene_description>Holden stares at her .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Because it's captured the moment. It'll be a constant reminder - not just of tonight, but of our introduction, the building of our friendship, everything. Make no mistake about it my Friend - it's a gift to you, from me, so you'll always remember us.<\/dialogue>\n    <scene_description>Holden stares ahead . Then he swerves the wheel to the right .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT  ROADSIDE - NIGHT<\/stage_direction>\n    <scene_description>The car pulls to the side of the road . The rain is a bit heavier now .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT  CAR - NIGHT<\/stage_direction>\n    <scene_description>Holden throws the car into park<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Why are we stopping?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Because I ca n't take it.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Ca n't take what?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I love you.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You love me.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I love you. And not in a friendly way, although I think we're great friends. And not in a misplaced affection, puppy - dog way, although I'm sure that's what you'll call it. And it's not because you're unattainable. I love you. Very simple, very truly. You're the epitome of every attribute and quality I've ever looked for in another person. I know you think of me as just a friend and crossing that line is the furthest thing from an option you'd ever consider. But I ca n't do this any longer. I ca n't stand next to you without wanting to hold you. I ca n't look into your eyes without feeling that longing you only read about in trashy romance novels. I ca n't talk to you without wanting to express my love for everything you are. I know this will probably queer our friendship - no pun intended - but I had to say it, because I've never felt this before, and I like who I am because of it. And if bringing it to light means we ca n't hang out anymore, then that hurts me. But I could n't allow another day to go by without getting it out there, regardless of the outcome, which by the look on your face is to be the inevitable shoot - down. And I'll accept that But I know some part of you is hesitating for a moment, and if there is a moment of hesitation, that means you feel something too. All I ask is that you not suppress that - at least for ten minutes - and try to dwell in it before you dismiss it. There is n't another soul on this fucking planet who's ever made me the person I am when I'm with you, and I would risk this friendship for the chance to take it to the next plateau. Because it's there between you and me. You ca n't deny that. And even if we never speak again after tonight, please know that I'm forever changed because of you and what you've meant to me, which - while I do appreciate it - I'd never need a painting of birds bought at a diner to remind me of.<\/dialogue>\n    <scene_description>Holden stares at Alyssa . She stares back . Then she gets out of the car .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>Was it something I said?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT  ROADSIDE - NIGHT<\/stage_direction>\n    <scene_description>Holden gets out of the car . It 's raining pretty hard now . Alyssa 's hitching up the road . Holden reaches her .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Get back in the car and get out of here.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>You're going to hitch to New York?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Y' ep.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Are n't you at least going to comment?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Here's my comment fuck you.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>That was so unfair. You know how unfair that was.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>It's unfair that I'm in love with you?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>No, it's unfortunate that you're in love with me. It's unfair that you felt the fucking need to unburden your soul about it. Do you remember for a fucking second who I am?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>So? People change.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Oh, it's that simple? You fall in love with me and want a romantic relationship, nothing changes for you with the exception of feeling hunky - dorey all the time. But what about - me? It's not that simple, is it? I ca n't just get into a relationship with you without throwing my whole fucking world into upheaval!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>But that's every relationship! There's always going to be a period of adjustment.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Period of adjustment?!?<\/dialogue>\n    <parenthetical>( hitting him . )<\/parenthetical>\n    <dialogue>THERE'S NO ` PERIOD OF ADJUSTMENT' HOLDEN! I'M FUCKING GAY! THAT'S WHO I AM! AND YOU ASSUME I CAN TURN THAT AROUND JUST BECAUSE YOU'VE GOT A CRUSH?!?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>If this is a crush. then I do n't know if I could take the real thing if it ever happens.<\/dialogue>\n    <scene_description>She looks at him , rain drenching the pair . She shakes her head ruefully .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Go home, Holden.<\/dialogue>\n    <scene_description>She walks away . Holden stands there , at a loss . Then he turns and heads back to his car . As he reaches the door and turns to look back at her , Alyssa pounces on him , grabs his face and locks lips with him , big time . He drops his keys and embraces her . And there they stand , by the side of the road , drenched kissing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT  STUDIO - DAY<\/stage_direction>\n    <scene_description>Banky carries a bag in one arm and pulls out his keys with the other . He jams them into the lock , opening the door . He picks up the mail on the floor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT  STUDIO - DAY<\/stage_direction>\n    <scene_description>He closes the door behind him and shuffles to the kitchenette , passing by the blanket - covered , slumbering forms of Holden and Alyssa , who are out cold in each other 's arms . The place looks a mess - Like a couple of people were engaged in some tremendous fucking . Banky is oblivious . He sets the bag down on the counter and pulls out a chocolate milk . He opens it , sticks a straw into the top , and begins sipping and sifting through the mail . He comes to mail that 's Holden 's and tosses it onto the couch , near Holden 's head . He looks down at the sleeping couple , then back at the mail for a couple of beats . Then he freezes . He looks down again , and drops his jaw and his carton of choco . It hits the floor with a pop . Holden and Alyssa shoot straight up , eyes struggling to focus . They look at one another , then at the flabbergasted Banky . Banky blinks . Then he shuffles toward the door again and lets himself out .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <parenthetical>( off Holden 's reaction . )<\/parenthetical>\n    <dialogue>I take it that's not good.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( getting up . )<\/parenthetical>\n    <dialogue>Stay here.<\/dialogue>\n    <parenthetical>( he kisses her and exits . )<\/parenthetical>\n    <dialogue \/>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT  STREET - DAY<\/stage_direction>\n    <scene_description>Banky sits on a curb , staring into the distance , Holden saunters up and sits beside him . He follows Banky 's gaze .<\/scene_description>\n    <character>BANKY<\/character>\n    <dialogue>Catholic school girls.<\/dialogue>\n    <scene_description>Across the street , the Catholic High School is letting out . Teenage girls clad in uniforms and tight sweaters smoke , frolic , wait for their bus .<\/scene_description>\n    <character>BANKY<\/character>\n    <dialogue>The uniform is what does it for me. I wish I'd have went with more Catholic school girls when I was a kid. As it stands. I have no''. and then she unzipped her jumper.'' stories.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>You looked weirded out back there.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>That's my couch you were fucking on.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>I wanted to watch some TV. Hard to do when your best friend's wrapped around a naked rug - muncher on your couch.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>She had boxers on.<\/dialogue>\n    <scene_description>Banky shoots him a glare . He goes back to staring at the OC girls .<\/scene_description>\n    <character>BANKY<\/character>\n    <dialogue>This is all going to end badly.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>You do n't know that.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>I know you. You're way too conservative for that girl. She's been around and seen things we've only read about in books.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>But we have read about them. So we're prepared.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>There's no ` we' here. You're going to have to go through this alone. And it's one thing to read about shit, and something different when you're forced to deal with it on a regular basis. When you guys are walking in the mall and both your heads turn at a really nice looking chick, it's going to eat you up inside. You'll spend most of your time wondering when the other shoe's going to drop. Because for you, this is n't about cool weird sex stuff, it's about love.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Maybe it is for her as well.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Somehow I doubt it.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Everyone's not out to get someone in life. Bank.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Everybody has an agenda. Everyone.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Yourself?<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>My agenda is to watch your back.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>To what end?<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>To insure that all this time we've spent together, building something, was n't wasted.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>She's not going to ruin the comic.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>I was n't talking about the comic.<\/dialogue>\n    <parenthetical>( gets up . )<\/parenthetical>\n    <dialogue>I'm going to gel a bagel. Clean off my fucking couch so I can watch TV.<\/dialogue>\n    <scene_description>Banky walks away . Holden shakes his head .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT  ALYSSA'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>An all - girl gathering . TORY . NICA , DALIA and JANE help Alyssa finish an issue of ` Idiosyncratic Routine ' . Tory letters a page . Nica and Dalia lay - out the artwork . Dalia drinks wine . Alyssa paints the cover .<\/scene_description>\n    <character>DALIA<\/character>\n    <dialogue>From what I understand, when you sign with a publisher, someone else does all this work for you, and you just sit back and collect.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>And miss these last minute cram sessions with my nearest and dearest? Never.<\/dialogue>\n    <character>TORY<\/character>\n    <dialogue>I do n't know what she's bitching about. All she's done since we got here is pound Merlot.<\/dialogue>\n    <character>DALIA<\/character>\n    <dialogue>I'm sorry were n't you the one who misspelled ` receipt' on page eighteen? Yeah, you're a real help.<\/dialogue>\n    <character>NICA<\/character>\n    <dialogue>What I'd like to know is why we're here at all when we have n't seen Princess funny - Book in a month.<\/dialogue>\n    <character>JANE<\/character>\n    <dialogue>Yeah Alyssa - who've you been shacking up with?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>` Shacking up!' Please.<\/dialogue>\n    <parenthetical>( stops painting ; smiles wide . )<\/parenthetical>\n    <dialogue>I'm so in love!<\/dialogue>\n    <scene_description>Everyone aww 's . Alyssa buries her face , giggling .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>I know. I know - I feel like such a goon. But I ca n't help it - we have such a great time together.<\/dialogue>\n    <character>DALIA<\/character>\n    <dialogue>Who is it? Do n't even tell me it's Ms. Thing from the C.D. place. I'll kill you.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>It's not her. It's someone you guys do n't know.<\/dialogue>\n    <character>NICA<\/character>\n    <dialogue>That chick you left the restaurant with that night?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>They're not. From around here.<\/dialogue>\n    <character>TORY<\/character>\n    <dialogue>Do n't even tell me you met her down the shore!<\/dialogue>\n    <character>JANE<\/character>\n    <dialogue>Eww! Not a bridge - and - tunnel Jersey dyke!<\/dialogue>\n    <character>TORY<\/character>\n    <dialogue>With huge hair and acid - washed jeans!<\/dialogue>\n    <scene_description>They all cackle . Alyssa tries to laugh with them .<\/scene_description>\n    <character>DALIA<\/character>\n    <dialogue>Come on, Alyss - Hoboken Hussy or what?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>For your information, they do n't have big hair or wear acid wash.<\/dialogue>\n    <parenthetical>( goes back to painting . )<\/parenthetical>\n    <dialogue>They're from my home town.<\/dialogue>\n    <scene_description>Dalia stares at Alyssa , suspiciously .<\/scene_description>\n    <character>DALIA<\/character>\n    <dialogue>Why are you playing the pronoun game?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>What? What are you talking about? I'm not even.<\/dialogue>\n    <character>DALIA<\/character>\n    <dialogue>You are. `` I met someone.'' `` We have a great time. `` They're from my home town.'' Does n't this tube of wonderful have a name!<\/dialogue>\n    <character>ALYSSA<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Holden.<\/dialogue>\n    <scene_description>All four Girls stare at Alyssa , a bit horrified . She stops painting .<\/scene_description>\n    <character>JANE<\/character>\n    <dialogue>Oh, Alyssa - no. Not you.<\/dialogue>\n    <character>TORY<\/character>\n    <dialogue>You're dating a guy?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>He's not like a typical man. He's really sweet to me, and we relate so well. You guys'd love him, really.<\/dialogue>\n    <scene_description>They stare at Alyssa . Then Dalia gets up .<\/scene_description>\n    <character>DALIA<\/character>\n    <dialogue>I've got ta go to the store.<\/dialogue>\n    <character>JANE<\/character>\n    <dialogue>I'll go with.<\/dialogue>\n    <scene_description>They exit . Alyssa looks to Tory and Nica .<\/scene_description>\n    <character>TORY<\/character>\n    <parenthetical>( pouring wine . )<\/parenthetical>\n    <dialogue>Whelp - here's to both of you.<\/dialogue>\n    <parenthetical>( moves the glass to her lips . )<\/parenthetical>\n    <dialogue>Another one bites the dust.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT  HOLDEN'S BEDROOM -NIGHT<\/stage_direction>\n    <scene_description>Holden and Alyssa lie in each other 's arms , moonlight bathing them . She smokes .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>Can I ask you something?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Do n't even tell me you want to do it again.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Why me - you know? Why now?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Because you were giving me that look, and I got wet.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>You know what I'm talking about.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Why not You?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I'm a guy. You're attracted to girls.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I see you've been taking notes. Historically, yes that's true.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Then why this?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I've given that a lot of thought, you know? I mean, now that I'm being ostracized by my friends, I've had a lot of time to think about all of this. And what I've come up with is really simple : I came to this on my terms. I did n't just heed what I was taught, you know? Men and women should be together, it's the natural way - that kind of thing. I'm not with you because of what family, society, life tried to instill in me from day one. The way the world is - how seldom you meet that one person who gets you. it's so rare. My parents did n't really have it. There was no example set for me in the world of male\/female relation ships. And to cut oneself off from finding that person - to immediately half your options by eliminating the possibility of finding that one person within your own gender. that just seemed stupid. So I did n't. And by leaving my options open, I was branded ` gay', which to me was no big deal - labels are labels, you know? They define what you do, not who you are, I guess. But then you come along. You - the one least likely ; I mean, you were a guy.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Still am.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>And while I was falling for you, I put a ceiling on that, because you were a guy. Until I remembered why I opened the door to women in the first place - to not limit the likelihood of finding that one person who'd compliment me so completely. And so here we are, I was thorough when I looked for you, and I feel justified lying in your arms - because I got here on my terms, and have no question that there was someplace I did n't look. And that makes all the difference.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Shit.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Well, you took the luster our of it.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>What luster?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( joking - in case you did n't get it . )<\/parenthetical>\n    <dialogue>Of how I brought you back from the other side. How all you needed was the right man to turn you around.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>You're not the right man.<\/dialogue>\n    <parenthetical>( kisses him . )<\/parenthetical>\n    <dialogue>You're just the one.<\/dialogue>\n    <scene_description>She snuggles into him and closes her eyes . Holden stares at the ceiling .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>Can I at least cell people that all you needed was some serious deep - dicking?<\/dialogue>\n    <scene_description>She hits him with her pillow . THE BIG OL' FALLING - IN - LOVE MONTAGE BEGINS 1 -RRB- In Holden 's Apartment - Alyssa waves in various directions , shaking her head accordingly . Then she puts up her hands to stop . Cut to Holden , hanging the picture . Alyssa gave him . It hangs at a severely crooked angle . He looks back to her and shakes his head ` no ' . 2 -RRB- Holden and Alyssa try to play a video game . Banky plays as well . Holden instructs her in the ways of NHL '96 -LRB- turning her paddle right - side - up , pointing at things on the screen -RRB- . She presses the reset button , over and over . Banky gives Holden a ` What the fuck ? ' look . Alyssa sticks her tongue at him . 3 -RRB- At the Video Store - Holden picks up a Disney cartoon off the shelf . He goes to show if to Alyssa , who 's reading the back of ` Anything But Dick ' , an allchick porno . An old WOMAN stares at her . Holden nods to the old Woman and takes the tape out of Alyssa 's hands , putting it back on the shelf . He ushers her away . The old Woman waits until they 're gone and then picks up the tape herself , 4 -RRB- Holden carries Alyssa on his shoulders through the park , her crotch against the back of his neck . He 's talking . She taps him and he stops and looks up . She begins to maneuver around so her crotch is in his face . He pulls her off and put her down . She 's laughing . He 's flushed with embarrassment . The same Old Woman from the Video store passes by with her husband . Holden shrugs . 5 -RRB- In Holden 's Apartment again - Alyssa again with the waving , then putting up her hands to stop . Cut to Holden again , this time with the painting hung completely upside down . He looks at it , then offers her a bewildered gaze . 6 -RRB- In the Office Banky comes to his drawing table . There are penciled pages on it with a note that says `` Hanging out with Alyssa today . Holden '' . Banky crumples it up and throws it across the room . 7 -RRB- In Holden 's Apartment - Alyssa waves this way , then that way , then puts up her hands frantically to stop . She settles back against the wall , a satisfied smile crawling across her face , and closes her eyes . We pull back to reveal Holden on his knees in front of her , eating her out -LRB- no , we do n't see anything ! -RRB- .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT  OFFICE - DAY<\/stage_direction>\n    <scene_description>Holden draws . A book is thrown in front of him . He looks up . Banky stands there .<\/scene_description>\n    <character>BANKY<\/character>\n    <dialogue>Check out page forty eight.<\/dialogue>\n    <scene_description>Holden looks down at that book . It 's the Nineteen Eighty Eight yearbook from Middletown North . He shakes his head at Banky and flips it open . On the page is Alyssa 's Senior year photo . Under her name is another name in quotes that says ` Finger Cuffs ' .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <parenthetical>( looking up . )<\/parenthetical>\n    <dialogue>So?<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Did you see the nickname?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>` Finger Cuffs'.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>And?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>And. she had a weird nick - name. What's your point?<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Do you know why it's ` Finger Cuffs'?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I suppose you do.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>I do.<\/dialogue>\n    <parenthetical>( takes a seat . )<\/parenthetical>\n    <dialogue>You remember Cohee Lundin? Left Hudson and went to North our senior year?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Well, I ran into him at Food City the other day, and we got to talking, and I mentioned that you were dating Alyssa, and he said.<\/dialogue>\n    <scene_description>CUT TO COHEE LUNDON . In the PARKING LOT of FOOD CITY , addressing the camera .<\/scene_description>\n    <character>COHEE<\/character>\n    <dialogue>Alyssa Jones? Shit. I know Alyssa Jones. I mean, I know Alyssa Jones, you know what I'm saying? Me and Rick Derris used to hang our with her for awhile, right? Just hanging around her house after school, ` cuz her parents were like never home, and shit. And one day, Rick just whips it out, and starts rubbing it on her leg and shit ; chasing her around the living room - I was dying. But you know what the crazy bitch did? She fucking drops to her knees, and just starts sucking him off right in front of me! Like I was n't even there man! I almost died! But that's not the fucked up part - the fucked up part was Rick, man - right in the middle of it, he turns to me and he's pointing at her and he says `` Cohee.'' Just like that - `` Cohee.'' So I'm like I'll give it a shot. And I start pulling her pants down all slow, ` cuz I figure any second she's gon na turn around and belt me in the mouth, right? But yo, check this shit out - she's all into it man! She do n't try to stop me or nothing! She's all wet and shit, and I just went to work, know what I'm saying? Me and Rick are going to town on this crazy bitch, and she's just loving it, all moaning and shit! It was fucked up! So Rick's the one that came up with the nickname - ` cuz that day, she had us locked in tight from both sides - like a pair of goddamn Chinese finger cuffs!<\/dialogue>\n    <scene_description>BACK IN THE OFFICE - Holden stares at Banky .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>He's full of shit.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Cohee's a lot of things, but an exxagerator he's not. The dude's Catholic.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>She's never even been with a guy.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>That's what she says. But I say her on her hands and knees getting filled out like an application constitutes ` being with a guy'.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>He's pulling your chain. And the fact that you even bought it for a second makes you look like an idiot.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>I'm getting your back, asshole! People do n't forget shit like ` Finger Cuffs'. And if it got out that she's queer as well, how do you think it's going to make you look?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I give a shit what people think.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Alright, forget about that ; what if she's carrying a disease? That was just one story - what if there's more?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( grabs his coat . )<\/parenthetical>\n    <dialogue>You're such a fucking asshole.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>What? Oh, it's not possible that she's all crudded up? Cohee I can vouch for as clean - the dude never got laid in high school. But Derris is an arch fucking bush - man! Name me one chick in our senior class that Rick Derris did n't nail, for Christ's sake!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Would you let this go? I'm telling you - she's never even been with a guy, let alone those two zeroes.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>And I'm telling you, the bitch could be a bigger fucking germ farm than that monkey in ` Outbreak'!<\/dialogue>\n    <scene_description>Holden grabs Banky and pins him against the wall .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>Give it a rest! Do you hear me?! I'm tired of this shit! She's my goddamn girlfriend, do you understand?! Show her a little fucking respect! And if you ever even so much as mention that Alyssa looks a little peaked from now on, I'll put your fucking teeth down your throat!<\/dialogue>\n    <scene_description>He releases Banky . Banky brushes himself off .<\/scene_description>\n    <character>BANKY<\/character>\n    <dialogue>Maybe I'll put your fucking teeth down your throat.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( walking out . )<\/parenthetical>\n    <dialogue>Not bloody Likely.<\/dialogue>\n    <scene_description>Banky runs to the open door .<\/scene_description>\n    <character>BANKY<\/character>\n    <parenthetical>( calling after him . )<\/parenthetical>\n    <dialogue>I've been working out you know!<\/dialogue>\n    <parenthetical>( no response . )<\/parenthetical>\n    <dialogue>You better be ready to make that M - TV deal!<\/dialogue>\n    <scene_description>The downstairs door slams . Banky makes a muscle , then feels it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT  TOWER RECORDS - DAY<\/stage_direction>\n    <scene_description>Holden and Hooper peruse laser discs .<\/scene_description>\n    <character>HOOPER<\/character>\n    <dialogue>Where's that bitch partner of your's been?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Sulking. He's having a real problem with this Alyssa thing.<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>I think it's more like Banky's having a problem with all things not hetero right about now. And I'm just another paradigm of said aberration.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Banky does not hate gays, you know that.<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>But I do think he is a bit homophobic. And this latest episode between you and Ms. Thing has tapped into that. In his warped perception, he lost you to the dark side - which is she.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>You make it sound like me and him were dating.<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>Do n't kid yourself - that boy loves you in a way that he's not ready to deal with.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>He's been digging up dirt on Alyssa.<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>And just what has Mister Angela Lansbury uncovered about your lady fair?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>He heard some bullshit story that she took on two guys.<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>Really? Well then he's barking up the wrong we if he wants to split you up, is n't he? He's not going to make you see the error of your ways by pointing out how truly gay she's not.<\/dialogue>\n    <parenthetical>( holds up a disc . )<\/parenthetical>\n    <dialogue>This one?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Have it.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Actually, it's kind of gotten to me.<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>How so?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Banky's not known for believing misinformation. He's got a pretty good bullshit detector.<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>So, what if it is true? Would that bother you?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Sex with multiple partners?<\/dialogue>\n    <scene_description>Hooper lets our a faux - shock shriek .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>At the same time.<\/dialogue>\n    <scene_description>Again , even louder , hands slapped against his cheeks .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>Thanks for being so comforting.<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>So what do you care?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Well that's the thing, is n't it? I should n't. but it gets to me.<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>Kind of gal Alyssa is, you do n't think she's been in the middle of an all - girl group - grope?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>You see - that does n't bother me. But the thought of her and guys. Uh!<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>Oh Holden, I beg you - please do n't drop fifty stories in my opinion of you by falling prey to that latest of trendy beasts.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Which is?<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>Lesbian chic. It's oh - so acceptable to be a gay girl nowadays. People think it's cute, because they've got this fool picture in their heads about lipstick lesbians - like they all resemble Alyssa - while most of them look more like you.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Do I detect a little inter - subculture cattiness?<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>Gay or straight - ugly's still ugly. And most of those boys are scary.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I thought fags were all supposed to be super - supportive of one another.<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>Screw that ` all for one' shit. I got ta deal with being the minority in the minority of the minority, and nobody's supporting my ass? While the whole of society is fawning over girls - on - girls, here I sit - a reviled gay man, and to top that off, I'm a gay black man - notoriously the most swishy of the bunch.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Three strikes.<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>Hey, hey! There's a line.<\/dialogue>\n    <scene_description>A young BLACK KID approaches Hooper , holding a comic book .<\/scene_description>\n    <character>KID<\/character>\n    <dialogue>Are you Hooper X?<\/dialogue>\n    <character>HOOPER<\/character>\n    <parenthetical>( in militant mode . )<\/parenthetical>\n    <dialogue>A - salaam Alaikum, little brother.<\/dialogue>\n    <character>KID<\/character>\n    <dialogue>Could you sign my comic?<\/dialogue>\n    <character>HOOPER<\/character>\n    <parenthetical>( signing comic ; nods to Holden . )<\/parenthetical>\n    <dialogue>See that guy there? He's the devil, you understand? Never take your eye off the Man. Our people took their eyes off him one time, and he had us in chains in two shakes of his snake's tail.<\/dialogue>\n    <scene_description>The Kid offers Holden an angry look . Hooper gives him back his comic .<\/scene_description>\n    <character>HOOPER<\/character>\n    <dialogue>Fight the power, little ` G'.<\/dialogue>\n    <character>KID<\/character>\n    <dialogue>Word is bond<\/dialogue>\n    <scene_description>The Kid leaves , Hooper slips back into his real voice .<\/scene_description>\n    <character>HOOPER<\/character>\n    <dialogue>Look at what I have to resort to for professional respect. What is it about gay men that terrifies the rest of the world.<\/dialogue>\n    <parenthetical>( shakes his head . )<\/parenthetical>\n    <dialogue>As for this hang - up with Alyssa's past, maybe what's really bothering you is that your fragile fantasy might not be true.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>Holden - do n't even try to come off like you do n't know what I'm saying. Men need to believe that they're Marco fucking Polo when it comes to sex - like they're the only ones who've ever explored new territory. And it's hard not to let them believe it. I let my boys run with it for awhile - feed them some of that `` I've never done this before.'' bullshit, and let'em labor under the delusion that they rockin' my world, until I ca n't stand them anymore. Then I hit'em with the truth. It's a sick game. The world would be a better place if people would just accept that there's nothing new under the sun, and everything you can do with a person has probably been done long before you got there.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I can accept that.<\/dialogue>\n    <character>HOOPER<\/character>\n    <dialogue>Honey, that almost sounded convincing. Do yourself a favor - just ask her about her past, point blank. Get it out of the way, before it gets too big for both ya'll to move.<\/dialogue>\n    <parenthetical>( spotting something OC . )<\/parenthetical>\n    <dialogue>Oooh! ` Myra Breckinridge'!<\/dialogue>\n    <scene_description>Hooper trots off , Holden glances at the disc in his hands . Pictured on it are two gorgeous chicks , barely clad , making out . The title is ` Men Suck . and so do Girls - All XXX Action . '<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT  HOCKEY RINK - NIGHT<\/stage_direction>\n    <scene_description>On the ice , two teams clash , chasing the puck up and back , checking galore . In the bleachers , amidst a slew of fans , Alyssa watches the game with a large degree of enjoyment . Sitting beside her , Holden does n't seem to share her enthusiasm .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Since most of these people are rooting for the home team, I'm going to cheer for the visitors. I'm a big visitors fan - especially the kind that make coffee for you in the morning before they go.<\/dialogue>\n    <parenthetical>( smiles at Holden ; no response . )<\/parenthetical>\n    <dialogue>That was a joke. A little wacky wordplay?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>What do you mean, ` visitors'?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Was I being too obscure? The kind that - until recently - had no dicks and would spend the night.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>So that was until recently!<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Oh, yeah.<\/dialogue>\n    <parenthetical>( shouting ; to ice . )<\/parenthetical>\n    <dialogue>Hey - foul! Foul! He was traveling or something!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>So nobody bur me has stayed the night at your place since we got together?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Something on your mind, Holden?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>No, I was just wondering,<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>If I've been ` faithful' or something?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Look, I was just asking.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <parenthetical>( toucher his face . )<\/parenthetical>\n    <dialogue>Oh, sweetie. I only have eyes for you.<\/dialogue>\n    <parenthetical>( to ice . )<\/parenthetical>\n    <dialogue>CALL THAT FUCKING SHIT, REF! THE GUY ON THE SKATES TOTALLY SHOVED ONE OF MY GUYS!<\/dialogue>\n    <parenthetical>( to Holden . )<\/parenthetical>\n    <dialogue>I told you I was great at sporting events. Imagine what a bitch I could be if I knew what was going on?<\/dialogue>\n    <scene_description>ON THE ICE - Things heat up between two opposing PLAYERS . One snatches the puck away from the other and skates off . The other Player gives chase . Alyssa 's very into the game . Holden shakes his head<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>That'd make Banky half right.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>About what?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>He said all the girls from North were bitches and sluts.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Really. I'm sorry - you two left high school behind how many years ago?<\/dialogue>\n    <parenthetical>( grabs his face and kisses his cheek . )<\/parenthetical>\n    <dialogue>Can I put some of my books in your locker?<\/dialogue>\n    <parenthetical>( goes back to watching game . )<\/parenthetical>\n    <dialogue \/>\n    <character>HOLDEN<\/character>\n    <parenthetical>( under his breath . )<\/parenthetical>\n    <dialogue>How about your yearbook.<\/dialogue>\n    <scene_description>ON THE ICE - The Player giving chase slashes the Player with the puck . Alyssa jumps to her feet .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <parenthetical>( to ice . )<\/parenthetical>\n    <dialogue>IF YOU DO N'T START USING THAT WHISTLE I'M GON NA JAM IT STRAIGHT UP YOUR ASS!<\/dialogue>\n    <parenthetical>( to guy next to her . )<\/parenthetical>\n    <dialogue>Right?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>What's with ` Finger Cuffs'?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <parenthetical>( sitting back down . )<\/parenthetical>\n    <dialogue>` Finger Cuffs'?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Yeah. In your senior yearbook your nickname was ` Finger Cuffs'. What is that?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>It was? Shit, damned if I can remember. I'd look it up, but I threw all that shit our years ago?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Where'd you see a North yearbook?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Do you know Rick Derris?<\/dialogue>\n    <scene_description>ON THE ICE - The Players skid into the corner where Player One checks Player Two into the boards , hard . Player Two scrambles to his feet and throws down his gloves . The crowd around Alyssa and Holden go wild .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Rick? Sure. We used to hang out in high school.<\/dialogue>\n    <parenthetical>( to ice . )<\/parenthetical>\n    <dialogue>PUNCH HIM IN THE FUCKING NECK, NUMBER TWELVE!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Did you go out with him or something?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <parenthetical>( eyes on the ice . )<\/parenthetical>\n    <dialogue>Date Rick Derris? No. We just hung out a lot.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Just. you and him?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>No. Me, Rick, and. um. what was that guy's name?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Cohee?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Yeah! Cohee Lundin. God, I have n't thought about that name in years.<\/dialogue>\n    <scene_description>ON THE ICE - The Players square off . Player Two pulls Player One 's helmet off and punches him in the face . Holden looks as if he 'd Like to do the same to his companion . Alyssa 's into the game .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>I remember those guys'd come over almost everyday after school. They'd bug my sisters, look for porno tapes in my dad's closet, raid our fridge. They really took advantage of my parents never being home.<\/dialogue>\n    <scene_description>ON THE ICE - Player Two yanks at Player One 's jersey and gut punches him . Alyssa seems oblivious to Holden 's anger , so enthralled with the action is she .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <parenthetical>( starts laughing . )<\/parenthetical>\n    <dialogue>This one day. Rick pulled out his dick and chased me around the house with it! Right in front of Cohee! I could n't believe it! Guys are weird - I thought the whole size hang - up made you all terrified to show your dicks to each other?<\/dialogue>\n    <scene_description>ON THE ICE - Player One staggers a bit , then quickly rights his jersey and lunges at Player Two , landing a barrage of his own punches . Blood sprays across the ice . Holden 's face is reeeeeaaaally sour looking . Alyssa 's still in the game .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>Rick pulled his dick out? Really? What'd you do?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <parenthetical>( looks him dead in the eye . )<\/parenthetical>\n    <dialogue>I blew him while Cohee fucked me.<\/dialogue>\n    <scene_description>ON THE ICE - Player One delivers the kill shot , slamming his fist into Player Two 's nose . The blood shoots out like a geyser , and Two goes down hard . Holden stares at Alyssa , flabbergasted . The crowd around them stares not at the fight on the ice , but the fight in their midst , shocked . Alyssa fumes .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>Excuse me!?!<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>That's what you wanted to hear, is n't it? Is n't that what this little cross - examination of your's is about? Well try not to be so obvious about it next time, there are subtler ways of badgering a witness.<\/dialogue>\n    <parenthetical>( to Bystander . )<\/parenthetical>\n    <dialogue>Am I right?<\/dialogue>\n    <character>BYSTANDER<\/character>\n    <parenthetical>( to Holden . )<\/parenthetical>\n    <dialogue>Jeez, even I knew what you were getting at.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <parenthetical>( gathering her stuff . )<\/parenthetical>\n    <dialogue>If you wanted some background information on me, all you had to do was ask - I'd have gladly volunteered it. You did n't have to play Hercules fucking Poirot!<\/dialogue>\n    <scene_description>She storms away . Holden chases after her . The Bystander watches them go .<\/scene_description>\n    <character>BYSTANDER<\/character>\n    <parenthetical>( to companion . )<\/parenthetical>\n    <dialogue>I told you these were good seats.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT  RINK LOBBY \/ EXT PARKING LOT - NIGHT<\/stage_direction>\n    <scene_description>Alyssa marches quickly , pulling on her coat . Holden catches up to her . We track with them our into the parking lot .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>So it's true?!<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Yes Holden! In fact, everything you heard or dug up on me was probably true! Yeah, I took on two guys at once! You want to hear some gems you might not have unearthed - I took a twenty six year old guy to my senior prom, and then left halfway through to have sex with him and Gwen Turner in the back of a limo! And the girl who got caught in the shower with Miss Moffit, the gym teacher? That was me! Or how about in college, when I let Shannon Hamilton videotape us having sex - only to find out the next day that he broadcast it on the campus cable station?! They're all true - those and so many more! Did n't you know? I'm the queen of urban legend!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>How the hell could you do those things?!<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Easily! Some of it I did out of stupidity, some of it I did out of what I thought was love, but - good or bad - they were my choices, and I'm not making apologies for them now - not to you or anyone! And how dare you try to lay a guilt trip on me about it - in public, no less! Who the fuck do you think you are, you judgemental prick?!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>How am I supposed to feel about all of this?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>How are you supposed to feel about it? Feel what ever the fuck you want about it! The only thing that really matters is how you feel about me.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I do n't know how I feel about you now.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Why? Because I had some sex?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Some sex?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Yes, Holden - that's all it was : some sex! Most of it stupid high school sex, for Christ's sake! Like you never had sex in high school!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>There's a world of fucking difference between typical high school sex and two guys at once! They fucking used you?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I used them! You do n't think I would've let it happen if I had n't wanted it to, do you?! I was an experimental girl, for Christ's sake! Maybe you knew early on that your track was from point ` a' to ` b' - but unlike you I was n't given a fucking map at birth, so I tried it all! That is until we - that's you and I - got together, and suddenly, I was sated. Ca n't you take some fucking comfort in that? You turned out to be all I was ever looking for - the missing piece in the big fucking puzzle!<\/dialogue>\n    <parenthetical>( tries to calm down . )<\/parenthetical>\n    <dialogue>Look I'm sorry I let you believe that you were the only guy I'd ever been with. I should've been more honest. But it seemed to make you feel special in a way that me telling you over and over again how incredible you are would never get across.<\/dialogue>\n    <scene_description>She touches his face . He pulls back . She stares at him , hurt and pissed .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Do you mean to tell me that - while you have zero problem with me sleeping with half the women in New York City - you have some sort of half - assed, mealy - mouthed objection to pubescent antics, that took place almost ten years ago? What the fuck is your problem?!?<\/dialogue>\n    <scene_description>Holden 's eyes are downcast . Alyssa waits for a response .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>I want us to be something that we ca n't.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>And what's that?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>A normal couple.<\/dialogue>\n    <scene_description>Holden skulks off . Alyssa stares after him , and then starts kicking and punching a car beside her , finally slumping to the ground . She cries .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT  STUDIO - DUSK<\/stage_direction>\n    <scene_description>Holden sits on the couch , alone in the dark . The door opens and Banky enters . He stands there , sizing up Holden 's mood .<\/scene_description>\n    <character>BANKY<\/character>\n    <dialogue>The girl?<\/dialogue>\n    <scene_description>Holden nods . Banky nods back . He stands there for a beat . Then he sits beside Holden . He opens his arms . Holden shifts into his friend 's embrace and begins crying on his shoulder . Banky pats his back . Pull back on a man in pain and the comfort of a friend .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT  DINER - NIGHT<\/stage_direction>\n    <scene_description>Holden sits alone at a booth . He stirs his iced tea .<\/scene_description>\n    <character>OC VOICE<\/character>\n    <dialogue>Yo, look at this morose mother fucker here.<\/dialogue>\n    <scene_description>Holden looks up . JAY and SILENT BOB stand above him .<\/scene_description>\n    <character>JAY<\/character>\n    <dialogue>Smells like somebody shit in his cereal.<\/dialogue>\n    <scene_description>Holden offers a half - smile . The pair slide into the booth .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>What took you so long?<\/dialogue>\n    <character>JAY<\/character>\n    <dialogue>We were at the mall. You bring the salad?<\/dialogue>\n    <scene_description>Holden pulls an envelope out of his jacket and tosses it to Jay . Jay opens it and pulls out a thick wad of bills , along with the latest issue of ` BLUNTMAN and CHRONIC . '<\/scene_description>\n    <character>JAY<\/character>\n    <dialogue>Man, this likeness rights shit is more profitable than selling smoke.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>How'd a dirt merchant like you ever learn about likeness rights?<\/dialogue>\n    <character>JAY<\/character>\n    <parenthetical>( hands envelope to Silent Bob . )<\/parenthetical>\n    <dialogue>We deal to a lot of lawyers. Speaking of which.<\/dialogue>\n    <parenthetical>( pulls out a dime bag . )<\/parenthetical>\n    <dialogue>Little signing bonus and shit!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I'll pass. Take a look at the issue.<\/dialogue>\n    <scene_description>Silent Bob thumbs through the comic . Jay looks over his shoulder , as he begins rolling a joint .<\/scene_description>\n    <character>JAY<\/character>\n    <dialogue>Yeah. When you gon na get some pussy in that book, man! Throw some super - villain in with big fucking tits that shoot milk or something, and I just drink her dry, bust some moves on her.<\/dialogue>\n    <parenthetical>( demonstrates . )<\/parenthetical>\n    <dialogue>. and then she has to fuck me.<\/dialogue>\n    <parenthetical>( Silent Bob hits him . )<\/parenthetical>\n    <dialogue>Fuck us.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I'll see what I can do.<\/dialogue>\n    <scene_description>A WAITRESS joins them .<\/scene_description>\n    <character>WAITRESS<\/character>\n    <dialogue>What can I get you.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Nothing, thanks.<\/dialogue>\n    <character>JAY<\/character>\n    <dialogue>Yo Flo - tell Mel to whip me up a toasted bagel and cream cheese.<\/dialogue>\n    <parenthetical>( to Silent Bob . )<\/parenthetical>\n    <dialogue>You want one too?<\/dialogue>\n    <parenthetical>( Silent Bob nods . )<\/parenthetical>\n    <dialogue>Make that two. And kiss my grits. Noonch.<\/dialogue>\n    <parenthetical>( the Waitress leaves ; to Holden . )<\/parenthetical>\n    <dialogue>D'jever watch ` Alice'? That show's good as hell.<\/dialogue>\n    <parenthetical>( continues rolling . )<\/parenthetical>\n    <dialogue>So why the long face, Horse? Banky on the rag?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>When is he not? No - I'm just having some girl trouble.<\/dialogue>\n    <character>JAY<\/character>\n    <dialogue>Bitch pressing charges? I get that a lot.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>No. I'm just at a point where I do n't know what to do.<\/dialogue>\n    <character>JAY<\/character>\n    <dialogue>Kick her to the curb. Girls get to be too much trouble, there's always the ` band of the hand'.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Ca n't do it, g. I'm in love.<\/dialogue>\n    <character>JAY<\/character>\n    <dialogue>Ah, there ai n't no such thing. You got ta boil it all down to the essentials. It's like Cube says - life ai n't nothing but bitches and money.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Just what I needed - advice from the ` hood<\/dialogue>\n    <character>JAY<\/character>\n    <dialogue>Who is this girl?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I do n't think you know her.<\/dialogue>\n    <character>JAY<\/character>\n    <dialogue>Come on man - I'm people who know people.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>You sound like Barbra Streisand.<\/dialogue>\n    <character>JAY<\/character>\n    <dialogue>That's'cause I got this tubby bitch playing her greatest hits tape in my ear all the time. You should see him : she starts singing ` You Do n't Bring Me Flowers', this faggot starts crying like a little girl with a skinned knee and shit. It's embarrassing. I got the only muscle in the world with a weakness for ballads.<\/dialogue>\n    <parenthetical>( to Silent Bob . )<\/parenthetical>\n    <dialogue>You big fucking softie.<\/dialogue>\n    <parenthetical>( to Holden . )<\/parenthetical>\n    <dialogue>So what's this skirt's name!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I'm telling you, you do n't know her.<\/dialogue>\n    <character>JAY<\/character>\n    <dialogue>I ai n't playing. Tell me her name, Mysterio.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Alyssa Jones.<\/dialogue>\n    <character>JAY<\/character>\n    <dialogue>Finger Cuffs?<\/dialogue>\n    <scene_description>Holden rubs his eyes .<\/scene_description>\n    <character>JAY<\/character>\n    <dialogue>You're dating Finger Cuffs? Wait a minute I thought she was all gay and shit!<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>She is. Or was. I do n't know.<\/dialogue>\n    <scene_description>The Waitress returns with the order .<\/scene_description>\n    <character>JAY<\/character>\n    <dialogue>And you go out with her? Shit, man - you're a lucky dog. She bring other chicks to bed with you, get a little of that filet o' fish sammich going on?<\/dialogue>\n    <scene_description>The Waitress stares wide - eyed and offended at Jay .<\/scene_description>\n    <character>JAY<\/character>\n    <parenthetical>( off the Waitress ' look . )<\/parenthetical>\n    <dialogue>Yeah - you know what I'm talking about, baby.<\/dialogue>\n    <parenthetical>( Waitress leaves ; to Holden . )<\/parenthetical>\n    <dialogue>So - four tits, or what?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>It's not like that.<\/dialogue>\n    <character>JAY<\/character>\n    <dialogue>Well what's it like then?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Right now?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I do n't know. I love her. But she has a past<\/dialogue>\n    <character>JAY<\/character>\n    <dialogue>I'll say. Stuffin' two guys, eating chicks out. Yo - I heard one time, she had this dog.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Eat your fucking bagel already!<\/dialogue>\n    <character>JAY<\/character>\n    <parenthetical>( to Silent Bob . )<\/parenthetical>\n    <dialogue>Look at this touchy mother fucker right here.<\/dialogue>\n    <parenthetical>( to Holden . )<\/parenthetical>\n    <dialogue>So, if you're all in love with her, what's the problem?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>The problem is shit like that. It was one thing when it was just girls - that was weird enough. But now you throw guys into the mix - two guys at once, no less. All that experience. What am I supposed to think?<\/dialogue>\n    <character>JAY<\/character>\n    <dialogue>You think good ; because now she'll be all true blue and shit. The girl's tasted life, yo. Now she's settlin' for your boring, funny - book - makin' ass.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Settling. That's comforting, Jay. Thanks.<\/dialogue>\n    <character>JAY<\/character>\n    <dialogue>That's what I'm here for.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I'm lust having a problem with all of it I ca n't get it out of my head these visuals of her doing all this shit. And I do n't know why I ca n't let it go. Because I'm crazy about her, you know? I look at this girl, I see the future. I see kids. I see grand - kids.<\/dialogue>\n    <character>JAY<\/character>\n    <dialogue>You're scaring me.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I'm scaring myself. Because I think so much of her, and then I ca n't get over shit like ` Finger Cuffs'.<\/dialogue>\n    <parenthetical>( shakes his head . )<\/parenthetical>\n    <dialogue>I do n't know what I'm doing.<\/dialogue>\n    <scene_description>Holden looks out the window . Jay continues to roll his joint . There 's silence . Then .<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>You're chasing Amy.<\/dialogue>\n    <scene_description>Holden 's head snaps forward . He stares , wide - eyed at Silent Bob .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>What. what did you say?<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>You're chasing Amy.<\/dialogue>\n    <scene_description>Holden stares , shocked . He looks to Jay , who 's still rolling his joint .<\/scene_description>\n    <character>JAY<\/character>\n    <dialogue>What do you look so shocked for? He does this all the time. Fat bastard thinks just because he never says anything, that it'll have some huge impact when he does open his fucking mouth.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>Why do n't you shut up? Jesus! Always yap, yap, yapping all the time. Give me a fucking headache.<\/dialogue>\n    <parenthetical>( to Holden . )<\/parenthetical>\n    <dialogue>I went through something like what you're going through. Years ago. Same kind of thing with a girl named Amy.<\/dialogue>\n    <character>JAY<\/character>\n    <dialogue>When?<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>A couple of years ago.<\/dialogue>\n    <character>JAY<\/character>\n    <dialogue>What'd she ` Live in Canada' or something? Why do n't I remember this?<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>What you do n't know about me I can just about squeeze into the Grand fucking Canyon. Did you know I always wanted to be a dancer in Vegas?<\/dialogue>\n    <scene_description>Jay and Holden look at him . Silent Bob busts a move with his hands .<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>Hunhh? Bet you did n't know that?<\/dialogue>\n    <character>JAY<\/character>\n    <dialogue>Just cell your fucking story so we can get out of here and smoke this.<\/dialogue>\n    <character>BOB<\/character>\n    <parenthetical>( to Holden . )<\/parenthetical>\n    <dialogue>So there's me an Amy, and we're all inseparable, right? Just big time in love. And then about four months in, I ask about the ex - boyfriend. Dumb move, I know, but you know how it is - you do n't really want to know, but you just have to. stupid guy bullshit. Anyway she starts telling me all about him - how they dated for years, lived together, her mother likes me better, blah, blah, blah - and I'm okay. But then she tells me that a couple times, he brought other people to bed with them - menage a tois, I believe it's called. Now this just blows my mind. I mean, I'm not used to that sort of thing, right? I was raised Catholic.<\/dialogue>\n    <character>JAY<\/character>\n    <dialogue>Saint Shithead.<\/dialogue>\n    <scene_description>Silent Bob backhands him . Jay raises his fist as if to strike .<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>Do something.<\/dialogue>\n    <parenthetical>( to Holden . )<\/parenthetical>\n    <dialogue>So I get weirded out, and just start blasting her, right? This is the only way I can deal with it - by calling her a slut, and telling her that she was used - I mean, I'm out for blood I want to hurt her - because I do n't know how to deal with what I'm feeling. And I'm like `` What the fuck is wrong with you?'' and she's telling me that it was that time, in that place, and she did n't do anything wrong, so she's not gon na apologize. So I tell her it's over, and I walk.<\/dialogue>\n    <character>JAY<\/character>\n    <dialogue>Fucking a.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>No, idiot. It was a mistake. I was n't disgusted with her, I was afraid. At that moment, I felt small - like I'd lacked experience, like I'd never be on her level or never be enough for her or something. And what I did n't get was that she did n't care. She was n't looking for that guy anymore. She was looking for me. But by the time I realized this, it was too late, you know. She'd moved on, and all I had to show for it was some foolish pride, which then gave way to regret. She was the girl, I know that now. But I pushed her away.<\/dialogue>\n    <scene_description>Everyone 's silent Silent Bob lights a cigarette .<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>So I've spent every day since then chasing Amy.<\/dialogue>\n    <parenthetical>( takes a drag from his smoke . )<\/parenthetical>\n    <dialogue>So to speak.<\/dialogue>\n    <scene_description>They sit there for a beat . Jay pockets the rest of his dime - bag .<\/scene_description>\n    <character>JAY<\/character>\n    <dialogue>Enough of this fucking melodrama. My advice - forget her, dude. There's one woman in the world. One woman, with many faces.<\/dialogue>\n    <parenthetical>( to Silent Bob . )<\/parenthetical>\n    <dialogue>Get up, bitch.<\/dialogue>\n    <parenthetical>( to Holden . )<\/parenthetical>\n    <dialogue>We got ta book. We're catching a bus to Chi - town.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>What's there?<\/dialogue>\n    <character>JAY<\/character>\n    <dialogue>Business, yo. How many more of those phat envelopes do we got coming to us?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I do n't know. I do n't know if the book's going to be around much longer.<\/dialogue>\n    <character>JAY<\/character>\n    <dialogue>Yeah? Good. I'll be glad as shit when it's gone.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Are you kidding me? There's millions of people out there that'd love to see themselves in a comic book.<\/dialogue>\n    <character>JAY<\/character>\n    <dialogue>I know. I spend every fucking waking hour with one of them. But it ai n't like us at all - all slapsticky and shit - running around like dicks, saying. What's that shit you got me saying?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Snootchie - bootchies.<\/dialogue>\n    <character>JAY<\/character>\n    <dialogue>` Snootchie - bootchies'. Who talks like that? That's baby - talk.<\/dialogue>\n    <parenthetical>( slaps his hand . )<\/parenthetical>\n    <dialogue>It's a big world, g - but we're bound to run into you again. Until then - keep your unit on you.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I'll try.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>Do, or do not - there is no ay.<\/dialogue>\n    <character>JAY<\/character>\n    <parenthetical>( slaps him . )<\/parenthetical>\n    <dialogue>Knock it off! Get your fat ass moving - we got a bus to catch.<\/dialogue>\n    <parenthetical>( under his breath . )<\/parenthetical>\n    <dialogue>Jedi - bitch.<\/dialogue>\n    <scene_description>Exit Jay and Silent Bob . Holden remains in the booth , thinking . MONTAGE - AN UNCOMFORTABLE SILENCE 1 -RRB- Holden sits at his drawing table , tapping his pencil up and down . 2 -RRB- Alyssa sits in a club , getting talked at by some women . She 's not present in the conversation . 3 -RRB- Banky meets with Sloss at a restaurant Sloss shakes the contracts at him , and Banky makes the `` I know , I know , '' face . 4 -RRB- Holden stares at the picture Alyssa gave him . 5 -RRB- Alyssa with her ear to the phone . She hangs up , angrily . 6 -RRB- Holden sits in the park that he and Alyssa walked through . He 's staring at Alyssa 's yearbook picture . He closes the book and sighs . Then , an idea hits him . He jumps up and dashes out of the park .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT  STUDIO - NIGHT<\/stage_direction>\n    <scene_description>Banky and Alyssa sit on the couch . Holden paces in front of them .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>I know you're wondering why I asked you both here tonight, at the same time, knowing that we have shit to settle between us, separately.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>I just figured you wanted to kill two birds with one stone by telling her to fuck off with me here so you did n't have to go through the story again later on.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Fuck you.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Not even if you let me videotape it.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Enough!<\/dialogue>\n    <parenthetical>( they both look at him . )<\/parenthetical>\n    <dialogue>I've been going through things, over and over. And I dissected it all, and looked at it a thousand different ways. Banky - there's friction between us for the first time in our lives. You hate me dating Alyssa and you want me to sign off on this M - TV thing.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>How perceptive.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Alyssa - you and I hit a wall, because I do n't know how to deal with. your past, I guess.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>That's a nice way of putting it. I'd have said the whole double - stuff thing.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( right in his face . )<\/parenthetical>\n    <dialogue>I'm only going to say it once : shut up.<\/dialogue>\n    <parenthetical>( back to pacing . )<\/parenthetical>\n    <dialogue>Now - I know I'm to blame one way or the other on both accounts. With you, Alyssa - it's my fault because I feel inadequate. Because you've had so much experience, had such a big life ; and my life's been pretty small in comparison.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>That does n't matter to me.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Please. I have to get through this.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>And with you Banky - I know why you're having such a hard time with Alyssa, and it's something that's been obvious forever, but I guess I just did n't acknowledge it.<\/dialogue>\n    <parenthetical>( takes a deep breath . )<\/parenthetical>\n    <dialogue>You're in love with me.<\/dialogue>\n    <character>BANKY<\/character>\n    <parenthetical>( makes a face ; beat . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>You're attracted to me. Just as, in a way, I'm attracted to you. I mean, it makes sense - we've been together so long, we have so much in common.<\/dialogue>\n    <character>BANKY<\/character>\n    <parenthetical>( getting up . )<\/parenthetical>\n    <dialogue>Well, I've got to get home and catch the last few minutes of ` Babylon 5', so I'll be.<\/dialogue>\n    <scene_description>Holden grabs him , kisses him full on the lips , and pushes him back onto the couch Alyssa reacts . Banky - wide - eyed and speechless - looks away .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>It's something you're going to have to deal with. Bank. You may very well be gay, which explains your homophobia and why you're so jealous of Alyssa, and your sense of humor as well.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Just'cause a guy's got a predilection coward dick jokes.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Bank. Stop. Deal with it. You'll feel much better.<\/dialogue>\n    <scene_description>He grabs a chair from the side of the room .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>Now - at this point, you may be asking yourself the question that I've been going over and over in my head for the last few days : what does one have to do with the other?<\/dialogue>\n    <scene_description>Alyssa 's face drops . She subtly shakes her head .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <parenthetical>( under her breath . )<\/parenthetical>\n    <dialogue>Do n't.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>And when I did some serious soul - searching, it came at me from out of nowhere, and suddenly it all made sense - a calm came over me. I know what we have to do. And then you - Bank, you Alyssa, and I - all of us. can finally be. alright.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <parenthetical>( again , under her breath . )<\/parenthetical>\n    <dialogue>Please do n't say it.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( sits in the chair ; takes a long beat . )<\/parenthetical>\n    <dialogue>We've all got to have sex together.<\/dialogue>\n    <scene_description>The room is silent . Holden Lights a cigarette . Banky 's eyes nearly bug . Alyssa 's head drops .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>Do n't you see? That would take care of everything. Alyssa - I would n't feel inadequate or too conservative anymore. I'll have done something on par with all the experience you've had. And it'll be with you, which'll make it that much more powerful. And Banky - you can cake that leap that everyone else but you sees that you should take. And it'll be okay, because it'll be with me - your best friend for years. We've been everything to each other but intimates. And now, we'll have been through that together too. And it wo n't have to be a total leap for you, because a woman will be involved. And when it's over, all that aggression you feel toward Alyssa will be gone. Because you'll have shared in something beautiful with the woman I love. It'll be cathartic. A true communion. We have to do this. For me, for both of you. for all of our sakes. This will keep us together.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>What do you say?<\/dialogue>\n    <scene_description>Banky stares forward , wide - eyed . He leans back into the couch and lets out a huge sigh . Then shrugs .<\/scene_description>\n    <character>BANKY<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>Holden smiles at his friend . Then he looks at Alyssa .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>You know I need this. You know it'll help.<\/dialogue>\n    <scene_description>Alyssa looks at him , sadly .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Holden reacts , shocked Banky lets out a sigh of relief .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>No? I. I thought you'd be into this.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>You did? What does that say about me?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>But you've. you've done. stuff. like this. This should be no big deal for you.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>You do n't want this.<\/dialogue>\n    <parenthetical>( lights her cigarette . )<\/parenthetical>\n    <dialogue>You really do n't want this. Trust me.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I need this. This has to happen. Why ca n't you see that? And how can you not? What does that say about me? You can take it from two guys whose names you can barely remember, but I ask you to share an experience like it - where it's about intimacy - and you say no?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <parenthetical>( inhales from her cigarette , takes a beat . )<\/parenthetical>\n    <dialogue>I ca n't.<\/dialogue>\n    <scene_description>Holden moves to her side of the couch .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>You can. I'll be there. And when it's over, we'll be the strongest we've ever been because we got through some nasty shit together. And we'll finally be on the same level together. And then there'll be nothing we ca n't accomplish.<\/dialogue>\n    <scene_description>A tear rolls down her cheek She looks at him , sadly , and touches his face .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Oh Holden.<\/dialogue>\n    <parenthetical>( trying to compose herself . )<\/parenthetical>\n    <dialogue>That time is over for me. I've been there. I've done it. And I did n't find what I was looking for in any of it. I found that in you - in us. Doing this wo n't help you forget about the things you're hung up on. It'll create more.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>No it wo n't. I thought about all of that.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>No, it will. Maybe you'll see me differently from then on - maybe you'll despise me for going along with it, once you're in the moment. Maybe I'll moan differently and then you'll resent Banky, and become suspicious of us. Or you'll alienate him because of it, and then grow to blame and hate me for the deterioration of your friendship. Or what if - I sincerely doubt it, but what if - I saw something in Banky that I never saw before, and fell in love with him and left you. I've been down roads like this before ; many times. I know you feel doing this will broaden your horizons and give you experience. But I've had those experiences on my own. I ca n't accompany you on your's. I'm past that now.<\/dialogue>\n    <parenthetical>( touches his face ; stares to cry . )<\/parenthetical>\n    <dialogue>Or maybe I just love you too much. And I feel hurt and let down that you'd want to share me with anyone. Because I never wanted to share you.<\/dialogue>\n    <parenthetical>( holds it in ; gets up . )<\/parenthetical>\n    <dialogue>Regardless I ca n't be a part of this.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Or you. Not anymore.<\/dialogue>\n    <parenthetical>( hugs him . )<\/parenthetical>\n    <dialogue>I love you. I always will. Know that.<\/dialogue>\n    <scene_description>She releases him , then slaps him .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>But I'm not your fucking whore.<\/dialogue>\n    <scene_description>Alyssa storms away , stopping briefly to look Banky up and down .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>He's your's again.<\/dialogue>\n    <scene_description>She walks our of the studio . The door closes behind her . Banky and Holden stand there , silently . Cut to black .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT  COMIC BOOK SHOW - DAY<\/stage_direction>\n    <scene_description>It 's ONE YEAR later . We 're at another show , not unlike the one from the opening . A copy of ` Bluntman and Chronic ' enters the frame . The cover reads ` The Death Chronic ' , complete with a corresponding drawing .<\/scene_description>\n    <character>BANKY V.O.<\/character>\n    <dialogue>Blast from the past.<\/dialogue>\n    <scene_description>Banky sits at his own signing table . Behind him hangs a banner that reads ` BANKY EDWARDS - CREATOR Of BABY DAVE ' . A small line is formed in front of him . He talks with a FAN .<\/scene_description>\n    <character>FAN<\/character>\n    <dialogue>Do you know how much it's going for these days? One ten. You signing it will push that up even higher,<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>If you sell it, I want a kickback.<\/dialogue>\n    <parenthetical>( starts signing . )<\/parenthetical>\n    <dialogue \/>\n    <character>FAN<\/character>\n    <dialogue>I do n't know if this is true, but I heard once that there was going to be an animated series.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>There was going to be<\/dialogue>\n    <character>FAN<\/character>\n    <dialogue>What happened!<\/dialogue>\n    <character>BANKY<\/character>\n    <parenthetical>( off comic . )<\/parenthetical>\n    <dialogue>You're looking at it. No Chronic - no cartoon<\/dialogue>\n    <character>FAN<\/character>\n    <dialogue>That sucks man. That would've been awesome.<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>Tell me about it<\/dialogue>\n    <character>FAN<\/character>\n    <dialogue>Is that what happened to you and Holden McNeil? You got into a fight over the rights or something?<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>It was a little more involved than that.<\/dialogue>\n    <character>FAN<\/character>\n    <dialogue>Whatever happened to him?<\/dialogue>\n    <character>BANKY<\/character>\n    <dialogue>He quit the biz. I guess.<\/dialogue>\n    <character>FAN<\/character>\n    <dialogue>You guys do n't talk anymore?<\/dialogue>\n    <character>BANKY<\/character>\n    <parenthetical>( looks OC . )<\/parenthetical>\n    <dialogue>No. Not really.<\/dialogue>\n    <scene_description>Banky locks eyes with someone OC . His expression softens . Holden leans against a wall on the far side of the room . He smiles at Banky . Banky smiles back , and sort of nods . Holden holds up a copy of Banky 's new solo comic . He points to it and gives a thumbs up .<\/scene_description>\n    <character>OC FAN<\/character>\n    <dialogue>Probably should n't have killed off Chronic.<\/dialogue>\n    <scene_description>Banky smiles to OC .<\/scene_description>\n    <character>BANKY<\/character>\n    <dialogue>Guess not. Some doors just should n't be opened.<\/dialogue>\n    <scene_description>Banky looks in another direction , OC . He looks at Holden and points to it . Holden looks in the same direction , and then looks back at Banky and nods .<\/scene_description>\n    <character>OC FAN<\/character>\n    <dialogue>You do n't need that guy, anyway. You do great stuff without him.<\/dialogue>\n    <scene_description>Banky looks at Holden for a beat . Then he brings his pointer fingers together , mimicing Holden 's ` shared moment ' gesture . Holden shrugs slightly , then crosses his fingers - as if to say ` hopefully ' .<\/scene_description>\n    <character>OC FAN<\/character>\n    <dialogue>You were just carrying that guy, anyway.<\/dialogue>\n    <scene_description>Banky sort of smiles at the OC Holden . Then he offers his own thumbs up - as to say ` good luck ' .<\/scene_description>\n    <character>BANKY<\/character>\n    <parenthetical>( to fan , still looking OC . )<\/parenthetical>\n    <dialogue>You're so right.<\/dialogue>\n    <scene_description>Holden smiles back , nods ` bye ' , and walks off .<\/scene_description>\n    <character>OC FAN<\/character>\n    <dialogue>Well, keep up the good work, man. Love them dick jokes. Love'em. See ya.<\/dialogue>\n    <scene_description>The Fan Leaves , but Banky is watching Holden go .<\/scene_description>\n    <character>BXVKY<\/character>\n    <dialogue>Yeah. Bye.<\/dialogue>\n    <parenthetical>( shakes it off . )<\/parenthetical>\n    <dialogue>Okay. Who's next?<\/dialogue>\n    <scene_description>Alyssa sits at a separate signing table , with a line in front of her . A WOMAN behind her . Alyssa dashes off signatures in the copies of her comic .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <parenthetical>( to OC departing fan . )<\/parenthetical>\n    <dialogue>Thanks for reading it.<\/dialogue>\n    <scene_description>The Woman stands and rubs her shoulders .<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>I'm going to get a soda. You want anything?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I'm fine, thanks,<\/dialogue>\n    <scene_description>The Woman heads off . Alyssa starts rummaging through her bag .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <parenthetical>( not rooking up . )<\/parenthetical>\n    <dialogue>Okay, who's next!<\/dialogue>\n    <scene_description>A comic book drops on the table in front of her . It 's a comic book called ` Chasing Amy ' . She leafs through it , not looking up .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Um. This is n't one of mine.<\/dialogue>\n    <character>OC HOLDEN<\/character>\n    <dialogue>It's mine.<\/dialogue>\n    <scene_description>Alyssa looks up sharply . Holden stands before her , smiling .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>I saved you one.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>How've you been?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Good. Really good. Yourself?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Good.<\/dialogue>\n    <parenthetical>( beat ; off her own comic . )<\/parenthetical>\n    <dialogue>New issue's selling like crazy, for some reason.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>Because it's so good. I really liked it.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <parenthetical>( off comic . )<\/parenthetical>\n    <dialogue>I have n't even seen this yet. Did it just come out?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>A month ago. I did a really small run. Self - financed. Only about five hundred issues.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Will I enjoy it?<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>You might. It's familiar subject matter.<\/dialogue>\n    <scene_description>Alyssa leafs through it . Her eyes get somewhat misty .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Looks Like a very personal story.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I finally had something personal to say.<\/dialogue>\n    <scene_description>They look at each other for a beat<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>I'm going to go. I do n't want to hold up the line.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Yeah. I mean, it can get ugly. I just saw this nun in line call this small child a cunt - rag.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Read that, when you have a minute<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I will.<\/dialogue>\n    <character>HOLDEN<\/character>\n    <dialogue>I'd like to hear your thoughts about it. If you get a chance, give me a call.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>They look at each other for a beat .<\/scene_description>\n    <character>HOLDEN<\/character>\n    <dialogue>Nice seeing you again,<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Really nice to see you too.<\/dialogue>\n    <scene_description>He walks away . A few steps away , he turns and waves again . She waves back . And then he starts moving through the thrall of fan - boys . The Woman returns with coffee . She follows Alyssa 's gaze .<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>who was that?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Hmm! Oh. Just some guy I knew.<\/dialogue>\n    <scene_description>She watches him go for another beat , then .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <parenthetical>( to line . )<\/parenthetical>\n    <dialogue>Next.<\/dialogue>\n    <parenthetical>( to Woman . )<\/parenthetical>\n    <dialogue>So what do you want to do tonight?<\/dialogue>\n    <scene_description>And as they fall into conversation , the show goes on . END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Holden McNeil (Ben Affleck) and Banky Edwards (Jason Lee) are comic book artists and lifelong best friends. They meet fellow comic book artist Alyssa Jones (Joey Lauren Adams) at a comic book convention in New York City, where they are promoting their comic Bluntman and Chronic. Holden is attracted to Alyssa, but soon learns that she is a lesbian. The two begin spending time together, and a deep friendship develops. Eventually, Holden is no longer able to contain his feelings, and confesses his love to Alyssa. She is initially angry with him, but that night, the two sleep together and begin a romantic relationship. This new development worsens the tension between Holden and Banky, as Banky resents Alyssa for coming between him and his best friend. He investigates and uncovers dirt on Alyssa's past, and he reports to Holden that Alyssa participated in a threesome with two boys during high school, who gave her the nickname \"Finger Cuffs\". Holden is deeply upset by this revelation, having previously believed that he is the first man Alyssa had ever slept with. While attending a hockey game, he clumsily attempts to bait her into confessing, and in response she angrily boasts of having had the threesome in question, loudly enough for everyone within earshot to hear. During the argument that ensues, she tearfully tells Holden about her \"many\" youthful sexual experimentations, and refuses to apologize for her past. Holden leaves feeling disillusioned and furious. Later, during lunch with Jay and Silent Bob (Jason Mewes and Kevin Smith), Silent Bob reveals that he was once in a relationship similar to Holden's. Despite the fact that he was in love with his girlfriend, Amy, his neurosis about her adventurous sexual past led him to end the relationship. Later realizing that this was wrong decision, he says he has \"spent every day since then chasing Amy, so to speak.\" Moved by Silent Bob's story, Holden devises a plan to fix both his relationship with Alyssa and his estranged friendship with Banky. He invites them both over and tells Alyssa that he would like to get over her past and remain her boyfriend. He also tells Banky that he realizes that Banky is in love with him\u2014kissing him passionately to prove the point. Holden suggests a threesome. Though initially shocked, Banky agrees to participate, but Alyssa refuses, explaining to Holden that it will not save their relationship. Before leaving, she states that she will always love him, but she will not be his \"whore.\" Banky then leaves the room without saying a word. One year later, both Banky and Alyssa are busy promoting their own respective comics at a convention in New York. It is revealed that Holden and Banky dissolved their partnership on Bluntman and Chronic, the rights to which Holden now exclusively owns. Banky smiles sadly at seeing Holden, who silently congratulates him for his success on his own solo comic. Banky gestures over to a booth hosted by Alyssa, and provides wordless encouragement to Holden to go talk to her. He has a brief, quietly emotional conversation with Alyssa, and gives her a copy of Chasing Amy, his new comic based on their relationship. After Holden leaves, Alyssa's new girlfriend (Virginia Smith) arrives and asks who she was talking to. A shaken, misty-eyed Alyssa replies, \"Oh, just some guy I knew.\""}
{"movie_name":"Garden State_2004","imdb_id":"tt0333766","script":"<script>\n  <scene>\n    <scene_description>GARDEN STATE Written by Zach Braff<\/scene_description>\n    <character>IN BLACK:<\/character>\n    <dialogue>AIRPLANE PILOT (O.S.)<\/dialogue>\n    <parenthetical>(panicky; through crackly RADIO)<\/parenthetical>\n    <dialogue>Los Angeles Tower, this is Transworld two-two Heavy, we are going down! Repeat... Engines two and three are... L.A. Tower this is MaydayI Mayday!<\/dialogue>\n    <character>TOWER (O.S.)<\/character>\n    <parenthetical>(through crackly radio)<\/parenthetical>\n    <dialogue>2-2 Heavy, Pull upt Pull up! The RADIO NOISE is drowned out by the A CAPELLA, SOPRANO VOICE of a young Indian boy as he sings a melodic Hindi prayer.<\/dialogue>\n    <character>INT. AIRPLANE CABIN --- NIGHT<\/character>\n    <dialogue>THE WORST NIGHTMARE IMAGINABLE:<\/dialogue>\n    <dialogue>SLOW MOTION: The plane is going down fasts Everyone panics and screams in SLOW MOTION as the oxygen masks away like plastic pendulums. The SOPRANO VOICE continues the prayer.<\/dialogue>\n    <dialogue>ANDREW LARGEMAN (LARGE), 25, is the only passenger who remains unfazed. Even as the flames from the wing echo fiery reflections on his cheeks, even as the young mother seated next to him clutches her newborn and wails towards God, even as bags fall from the overhead compartment at half-speed and the beverage cart slides down the aisle, Andrew Largeman<\/dialogue>\n    <scene_description>sits peacefully; unaffected. He calmly reaches up and turns his air vent so it blows directly on him. He looks up to<\/scene_description>\n    <character>THE FASTEN SEAT BELT SIGN<\/character>\n    <dialogue>it BINGS as the light flashes on and off. The BINGING continues more and more frequently; at first in rhythm with the prayer and then it dissolves into the RING of an<\/dialogue>\n    <character>ELECTRONIC TELEPHONE.<\/character>\n    <dialogue>DISSOLVE TO:<\/dialogue>\n    <character>INT. BEDROOM -- MORNING<\/character>\n    <dialogue>Whiteness. Morning sun streams through a palatial picture window. THE PHONE continues to RING. A ceiling fan spins above stacks of scripts, a cell phone charging, bare walls and a small human figure dwarfed by the enormous white bed<\/dialogue>\n    <scene_description>in which he sleeps. HIS BYES bounce back and forth under their lids as he dreams like they're chasing each other in a game of tag. THE PHONE is finally answered by the machine. Large's eyes stop moving.<\/scene_description>\n    <character>VOICE ON MACHINE (0.S.)<\/character>\n    <dialogue>Andrew... This is your father. LARGE'S EYES slowly float open.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Hi, hello, it's uh. Look uh, you don't call me back so I don't know how to do this. If I can't... if you're not gonna return my calls then there's no way for us to communicate. So uh... '(starts to cry)<\/dialogue>\n    <dialogue>Look, I don't know how to do . this, but you're gonna need to come home now. Last night uh... Your mother died last night, Andrew. She uhh...<\/dialogue>\n    <scene_description>I'm sorry. I'm so sorry. But she uh... she drowned... last night she drowned in the bath... BEEP. The machine cuts the voice off. LARGE'S EYES processing. They elide slowly left, then back right as if scanning in data. He blinks. He blinks again slowly. His eyelids float closed. He falls back to sleep.<\/scene_description>\n    <character>FADE TO BLACK-'<\/character>\n    <dialogue>IN BLACK:<\/dialogue>\n    <scene_description>The RUSH OF WATER from the bathroom sink.<\/scene_description>\n    <character>INT. BATHROOM -- MORNING<\/character>\n    <dialogue>Large appears to stare directly at us. He's dazed. His body is there, but his mind seems absent. He reaches to the<\/dialogue>\n    <scene_description>middle of the frame, almost at us, and pulls open both doors of the mirror he's been staring into. His face and chest are immediately replaced with the two dozen orange prescription drug canisters that immaculately line the shelves of his medicine cabinet. He closes the mirror doors and stares at himself.<\/scene_description>\n    <character>MUSIC CUB., (\"DON'T PANIC\" BY COLDPLAY)<\/character>\n    <dialogue>EXT. CENTURY CITY PAVILION -- LATER<\/dialogue>\n    <dialogue>Large rushes through throngs of people on their lunch break. He manages to avoid eye contact with all of them as he tries to find an address while checking a piece of paper. He boards an outdoor escalator and starts climbing thL- stairs.<\/dialogue>\n    <scene_description>After a moment he looks to his right through a window into a gym where a man on a Stairmaster is walking alongside him. Large registers something: he isn't going anywhere. THE CAMERA PULLS BACK to reveal he's been walking up on the down side. He stands still and lets it bring him all the way down, where he moves to the \"Up\" one and rises towards the next level. His expression never changes.<\/scene_description>\n    <character>INT. CASTING OFFICE -- DAY<\/character>\n    <dialogue>A casting assistant sits behind stacks of headshots and manilla envelopes while the PHONE RINGS constantly. Large sits next to another actor that looks exactly like him; they're even dressed alike.<\/dialogue>\n    <character>ASSISTANT<\/character>\n    <dialogue>Casting, please hold. casting, please hold.<\/dialogue>\n    <dialogue>WE PULL BACK TO REVEAL: they are sitting beneath an eight foot photograph of \"Urkel\" wagging his finger at the camera. A slow 360 degree pan around the room reveals ten other actors identical to Large aggressively rehearsing their<\/dialogue>\n    <scene_description>lines to themselves. The ACTOR seated next to Large leans over to him.<\/scene_description>\n    <character>ACTOR<\/character>\n    <dialogue>We're whores. Large looks at him.<\/dialogue>\n    <character>ACTOR (CONT' D )<\/character>\n    <dialogue>\"I'm not a whore,\" you say. And to<\/dialogue>\n    <scene_description>that I say, \"If you would do this... that you would do ' this... you're a whore.\" 'But it pays the bills,\" you say; startin' to get a little pissed. And to that I say: \"how do whores, how do you think a hooker justifies what she does to her non-hooker friends?\"<\/scene_description>\n    <character>(BEAT)<\/character>\n    <dialogue>It pays the bills.<\/dialogue>\n    <character>(READING)<\/character>\n    <dialogue>\"Codey, an extreme, special-ope hacker with an edge.' What the fuck is an \"edge\"? Can you explain \"edge\" to me? Is it just messy hair?<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>Hey, wait. Aren't you the guy who booked the retarded quarterback?<\/dialogue>\n    <dialogue>An overweight casting assistant enters.<\/dialogue>\n    <character>ASSISTANT<\/character>\n    <dialogue>Lukas Fox?<\/dialogue>\n    <character>ACTOR<\/character>\n    <dialogue>Yeah, hey Sandy.<\/dialogue>\n    <character>ASSISTANT<\/character>\n    <dialogue>Leslie.<\/dialogue>\n    <character>ACTOR<\/character>\n    <dialogue>(under his breath) Fuck.<\/dialogue>\n    <character>ASSISTANT<\/character>\n    <dialogue>come on in. (to the room)<\/dialogue>\n    <dialogue>Hey guys, we're only doing the first scene okay; the \"I'll cut you!\" scene. Thanks.<\/dialogue>\n    <character>ACTOR<\/character>\n    <dialogue>Good talking with you, bro.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>Peace. We hold on Large as he swings his gaze to the actor on his other side aggressively running his lines to the air.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LARGE' S CAR -- DAY<\/stage_direction>\n    <scene_description>Hazy and claustrophobic in stopped traffic on the 405 freeway. Large stares absently out the window as BLARING SIRENS. compete with the obnoxious ramblings of L.A. TALK RADIO. Large suddenly squints his eyes and clutches his neck in pain.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FANCY HOLLYWOOD VIETNAMESE RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Large pulls his car into a parking spot, throws \"The Club\" on his steering wheel and heads towards the back door of the restaurant. But something catches his eye on the side of his car. THE CAMERA PULLS BACK TO REVEAL: a gasoline pump nozzle sitting in his gas tank with a foot of tattered hose ripped off at the end. He stares at it, trying to remember the last time he bought gas. He looks both ways and covertly pulls the nozzle from his tank. He walks towards the back door of the restaurant and throws the nozzle in an open dumpater.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FANCY HOLLYWOOD VIETNAMESE RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Large flings open the door and enters a long, dark corridor lined with stacked chairs. He passes a WAITER in a black TUNIC wearing eye make-up to make him look Asian.<\/scene_description>\n    <character>WAITER<\/character>\n    <dialogue>Dick head. You've got thirty-four and twenty-five seated and Taylor booked a pilot so he quit. You picked a bad night to be late.<\/dialogue>\n    <scene_description>Large glides through the chaotic environment unfazed by any of the stress. He rounds a corner to a time card machine and swipes his card. The machine BEEPS and displays the word, \"LATE\" in red. He crosses to a locker and quickly changes into a black tunic and pants. He moves through the kitchen which is whirling with over thirty people in white: chopping, frying, sauteing, YELLING. The Vietnamese chef wears a headset and BARKS ORDERS down the line. Large is met by a FRENCH WOMAN MANAGER. She walks with him as he weaves his way through the kitchen.<\/scene_description>\n    <character>FRENCH MANAGER<\/character>\n    <parenthetical>(FRENCH ACCENT)<\/parenthetical>\n    <dialogue>Ten resumes just today. They come in everyday from Idaho or Florida or Milwaukee and do you know what they want even more than a guest spot on \"Everybody Loves Raymond\"? They want your job. This will not happen again. This will never happen again. You have two tables. You are thirty minutes late; if I ever say this again, your job will<\/dialogue>\n    <character>GO TO:<\/character>\n    <dialogue>She pulls off the top resume from the bunch she's grasping; revealing a headshot on the other side.<\/dialogue>\n    <character>FRENCH MANAGER<\/character>\n    <dialogue>Todd Slauson from Duluth, Minnesota. During all this, Large remains calm and unphased. He takes a stick of eye make-up from the pocket of the tunic and paints his eyes to appear Asian. (As do all the white, good-<\/dialogue>\n    <scene_description>looking, male waiters.) He takes a small radio transceiver device from the pocket of the tunic and turns it on. He unwinds the ear piece, pulls it through the back of his jacket, out the neck and into his ear. Immediately we hear a VIETNAMESE MAN'S VOICE giving orders over the ear piece.<\/scene_description>\n    <character>VIETNAMESE VOICE (O.S.)<\/character>\n    <parenthetical>(accented, but monotone)<\/parenthetical>\n    <dialogue>Waiter number fifteen, your table number twenty-three is ready. Large takes a deep breath and pushes open the door into:<\/dialogue>\n    <character>INT. DINING ROOM -- CONTINUOUS<\/character>\n    <dialogue>A very fancy Hollywood Vietnamese restaurant filled to capacity with a Friday evening crowd. The energy is completely different from the other side of the door. SOFT ASIAN MUSIC' plays, the room is very dim and lit by candlelight.<\/dialogue>\n    <scene_description>VIETNAMESE VOICE (O.S.)<\/scene_description>\n    <character>(THROUGH EARPIECE)<\/character>\n    <dialogue>Waiter ten, you forgot the order of forty-one for table one-o-one. All waiters, eighty-six tuna special.<\/dialogue>\n    <dialogue>Large remains dead-pan as he crosses to a table with six young, hot Hollywood types.<\/dialogue>\n    <scene_description>YOUNG HOLLYWOOD GUY What the fuck, man? What are you on break? Large doesn't respond. YOUNG HOLLYWOOD GUY Don't worry about it; I'm just messin' with ya. Lemme get three Kettle Red Bulls arid...<\/scene_description>\n    <character>REELING GIRL<\/character>\n    <dialogue>Can I have a Kettle Cosmo with Red Bull, please. And some bread too. A- sap.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>We don't have bread.<\/dialogue>\n    <character>REELING GIRL<\/character>\n    <dialogue>What do you mean you don't have bread? How could you not have bread?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>We just don't have bread it's... we're a Vietnamese restaurant.<\/dialogue>\n    <character>REELING GIRL<\/character>\n    <dialogue>Well you're not Vietnamese.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>No, I'm not.<\/dialogue>\n    <character>REELING GIRL<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>Well something to chew on --fuck. Bamboo... whatever.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I'll see what I can find. He turns and walks off .<\/dialogue>\n    <character>VIETNAMESE VOICE (O.S.)<\/character>\n    <dialogue>Waiter number twelve, flight number 121 with non-stop service to Newark International will be departing from gate D-32.<\/dialogue>\n    <scene_description>ON LARGE'S FACE CLOSE as he closes his eyes and we:<\/scene_description>\n    <character>FADE TO BLACK:<\/character>\n    <dialogue>IN BLACK:<\/dialogue>\n    <scene_description>THE BLARE OF A JET LINER TARING OFF dissolves into<\/scene_description>\n    <character>INT. AIRPORT BATHROOM -- DAY<\/character>\n    <dialogue>THE RUSH OF WATER as Large washes his hands at the last Oink in a very long row. He grabs his neck while SQUINTING his eyes closed in pain for a brief second. A moment later he picks up his bag and heads down the line<\/dialogue>\n    <scene_description>of sinks. As he passes each sink, he unknowingly activates their motion sensors and each faucet SHOOTS a tiny burst of water. The NASALLY VOICE of a WOMAN SINGING an off key version of \"Once, Twice, Three Times A Lady\" with synthesizer accompaniment.<\/scene_description>\n    <character>EXT. CEMETERY - DAY<\/character>\n    <dialogue>A large group of people are gathered around a steel coffin. Atop the coffin site a framed picture of a tired looking woman in a wheelchair. This is SARAH LARGEMAN. We find SYLVIA LARGEMAN, the source of the music. CLOSE ON HER FACE as the assorted palette of colored make-up on her cheeks swirls together with tears until it collects on the<\/dialogue>\n    <scene_description>tip of her chin and drips like a leaky faucet onto: HER LYRICS SHEET as a rainbow of tears splatter the words \"ONCE and \"TWICE\". The song finishes and the rabbi begins a series of Hebrew prayers. Large squints through the mourners to see his father GIDEON LARGEMAN shovel a handful of dirt onto the casket. Behind him stands CYNTHIA DILLARD, 25, a beautiful young Black woman. HIS FOCUS RACKS TO REVEAL two young men seated on a rusty tractor smoking cigarettes about thirty yards behind the ceremony. WE JUMP CUT TO after the ceremony as Large weaves through the crowd and approaches the two men. We see now they are HA-RKs 26, good looking in a dirty way. And DAVE, 26. They are quite filthy, but each sports expensive jewelry and black yarmulkes. They look up as Large approaches.<\/scene_description>\n    <character>MARX<\/character>\n    <dialogue>HOLY SHITS<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>T'sup.<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>Holy shit!<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Largeman, what the hell are you doin' here?<\/dialogue>\n    <character>LARGE<\/character>\n    <parenthetical>(EMBARRASSED)<\/parenthetical>\n    <dialogue>Oh... uh that's my mom.<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>Fuck.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Puck. Sorry.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>Well... welcome home-<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Thanks. Yeah. How you guys doin'?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Same.<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>Same.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Nice. Silence.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Where the fuck you been, man? You're like still acting and shit, right?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>In LA right?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>That's cool. I hear that place is pretty tucked up, man. I got a cousin who's a writer out there. He says that place is mad crazy. Coke everywhere, parties, horny-ass bitches...<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>Which cousin?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Terry.<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>Terry's in LA? I thought he was gettin' his GED down in Newark.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>No bitch, he's in LA now. He's a writer. He's writin' a movie about snowboarders or some shit, X don't know. I should introduce you to him Largeman, maybe you guys could do something together.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Great.<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>So what are you doin' tonight, man?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Nothing... no plans. I'm just here for a couple days... nothing.<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>You should come out with us, we're gonna head over to the Gleason's house. He's having some huge fuckin' party tonight or something.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Supposedly.<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>Supposedly.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Yeah, he lives up on the hill. We're probably gonna head over<\/dialogue>\n    <scene_description>there right after we bury your mom.<\/scene_description>\n    <character>DAVE<\/character>\n    <dialogue>Well I gotta shower.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Same.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Okay, well... You know I'll have to see with all this... this.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>All right. Well, welcome back.<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>Peace. Large heads back to his car. The crowd has dispersed.<\/dialogue>\n    <character>INT. LARGEMAN HOUSE: LIVING ROOM - DAY<\/character>\n    <dialogue>TIGHT ON: An enormous portrait photograph that fills a<\/dialogue>\n    <scene_description>wall; in it, Large (as a young boy), Sarah (not yet in a wheelchair) and Gideon Largeman huddle together with a Black woman and her young daughter (Cynthia) against a white background. They all wear white t--shirts, blue jeans and no socks. Everyone but Sarah smiles widely into the lens. \"Shiva\" is in full swing as forty or so older suburban Jewish New Jersey'ites of every shape and size mingle over small food and small talk. The camera moves past several<\/scene_description>\n    <character>CONVERSATIONS:<\/character>\n    <dialogue>A heavy woman with gobs of make-up and lots of gold.<\/dialogue>\n    <character>WOMAN 1<\/character>\n    <dialogue>.Well you had to call her; she never called anyone. A woman in a white tennis outfit talking to a group.<\/dialogue>\n    <character>WOMAN 2<\/character>\n    <dialogue>This was a woman who never smiled. An older man in glasses with cream cheese all over his lips.<\/dialogue>\n    <character>MAN 1<\/character>\n    <dialogue>Somebody ate all the lox. THE CAMERA MOVES TO: Two very Jewish older ladies simultaneously telling the same story to a group of friends.<\/dialogue>\n    <character>LADY 1<\/character>\n    <dialogue>The new thing is \"Talk to the hand.\"<\/dialogue>\n    <character>LADY 2<\/character>\n    <dialogue>That's what they're doing.<\/dialogue>\n    <character>LADY 1<\/character>\n    <dialogue>But you got a hold it out like this.<\/dialogue>\n    <character>LADY 2<\/character>\n    <dialogue>Like you're saying...<\/dialogue>\n    <character>LADY 1<\/character>\n    <dialogue>\"I don't have the time for you.\"<\/dialogue>\n    <character>LADY 2<\/character>\n    <dialogue>\"So talk to my hand.\"<\/dialogue>\n    <character>LADY 1<\/character>\n    <dialogue>\"He's the only one with time...<\/dialogue>\n    <character>LADY 2<\/character>\n    <dialogue>Like you're saying...<\/dialogue>\n    <character>LADY 1<\/character>\n    <dialogue>\"I don't have the time for you.\"<\/dialogue>\n    <character>LADY 2<\/character>\n    <dialogue>\"So talk to my hand.\"<\/dialogue>\n    <character>LADY 1<\/character>\n    <dialogue>\"He's the only one with time...<\/dialogue>\n    <character>LADY 2<\/character>\n    <dialogue>\"Time for the nonsense that you're giving me. Large site on a couch in the den next to his Aunt Sylvia,<\/dialogue>\n    <scene_description>the singer from the funeral. Some young children play on the rug in front of them. Large stares off into space as she pets one of the children's heads and looks to Large for conversation.<\/scene_description>\n    <character>SYLVIA<\/character>\n    <dialogue>Did you know your mother redid the hallway bathroom? Large looks over, realizing she's talking to him.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>What? Sorry. Who?<\/dialogue>\n    <character>SYLVIA<\/character>\n    <dialogue>Since I met her she never showed an interest in anything. Then all of a sudden a month ago she wakes up and decides to redecorate a bathroom. I helped her.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>That's great. (trying his best) I'll bet it was... fun.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <dialogue>Well I sew. I made you something.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Me? Thank you. Did you... sew it?<\/dialogue>\n    <character>SYLVIA<\/character>\n    <dialogue>It's a shirt.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Great.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <dialogue>I made short sleeves... you know, for LA.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Great. I'll wear it.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <dialogue>Will you try it on nowt<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Now?<\/dialogue>\n    <character>SYLVIA<\/character>\n    <dialogue>Well just in case I have to fix it before you leave again and we don't see you for another nine years, I want to make sure it fits.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>oh. okay.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <dialogue>You're gonna love the material. I used the leftovers from your Mother's design. Gorgeous.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY BATHROOM -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Large flips the light on to reveal the entire bathroom is done in the same floral pattern; everything: wallpaper, towels, curtains. He looks down at the shirt; it's the same pattern. He slides his sweater off to reveal his pale, thin chest. He stares at himself in the mirror for a moment. He tilts his head to the right and stares at his body. He pulls the shirt on and buttons up the front. As he does his entire chest and person disappear into the design of the room. He looks at himself in the mirror; it looks like his head and forearms are floating in mid-air. Large almost smiles as he makes his forearms dance around in mid-air. TNT. GIDEON'S OFFICE -- CONTINUOUS GIDEON LARGENAN sits alone at his desk. Large enters.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>G IDEON<\/character>\n    <dialogue>HELLO-<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>How you doin'?<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>\"Well besides that tire. Lincoln, how was the show?\"<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>You know I'm not really sure what to say here, Dad, so I'm sorry.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>Mmnn.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>Did you see Cynthia?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>From afar at the cemetery.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>She's on call tonight; she volunteers as an EMT for the Rescue Squad. She's doing so well in med school.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah, she's amazing. I'm really happy that everything's working out so well for her. She deserves that.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>I have very fond memories of the two of you running around here when you were little kids like brother and sister. Silence.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>So how are you?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I'm okay.<\/dialogue>\n    <character>(SEARCHING)<\/character>\n    <dialogue>I've been getting these pretty bad headaches lately. It feels like a quick little lightning storm in my brain and then it's gone. I was thinking maybe you could set me up to get it checked out while I'm here.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>Go see Dr. Cohen first thing tomorrow morning. Re's a neurologist in my building. I'll call him and he'll fit you in. I'm sure it's nothing to worry about. Silence. Large nods.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>House looks great.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>Oh? That's nice. We've been... doing a lot of work on it.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>GTDEON<\/character>\n    <dialogue>Actually, no. I don't know why I just said that. We haven't done anything to it.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>We cleaned it for this; for this whole thing. Janice has been cleaning.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>The bathroom in the hall. I noticed someone redid that.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>Yeah. That's new. Did you eat? You should eat. Aunt Sylvia put this whole thing together out there. I think there's enough food out there for... everybody. I mean, more.than everybody... there's a lot of food out there.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>okay. I think I'll go have some..<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>There's dessert too.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Great. Okay.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>Cake or something.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Great. Large starts to leave.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>I'm glad you're here. Large stops in the doorway.<\/dialogue>\n    <character>GIDEON (CONT'D}<\/character>\n    <dialogue>Saying goodbye is important. I'm glad you could... fit it in.<\/dialogue>\n    <dialogue>They nod at each other. Large walks out.<\/dialogue>\n    <character>CUT TO :<\/character>\n    <dialogue>INT. LARGE 'S BEDROOM -- DAY<\/dialogue>\n    <dialogue>A tattered, vintage American Flag site framed above the bed.<\/dialogue>\n    <scene_description>Large eases past all the shelves; trinkets, nothing seems to mean anything and then<\/scene_description>\n    <character>A PICTURE<\/character>\n    <dialogue>Several people are seated amongst dozens of presents laughing. A. seven year old Large stands with his arm around a seven year old Cynthia. They both wear enormous \"chicken- foot\" slippers and smile from ear to ear. Large's POV: zooms into the face of the only person in the photo not smiling. This is Sarah Largeman. She stands; not yet requiring a wheelchair. He crosses to the bed and sits down. The surface sends waves ,towards the pillows throwing them off the bed, revealing<\/dialogue>\n    <scene_description>it's<\/scene_description>\n    <character>A WATERBED-<\/character>\n    <dialogue>A LOUD RING from a PHONE on the bedside table which appears to be made out of Legos. He answers it.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Hello?... Hey. No... Yes.<\/dialogue>\n    <character>INT. THE GARAGE - NIGHT<\/character>\n    <dialogue>Large pulls away a tarp to reveal a classic world War II<\/dialogue>\n    <scene_description>Army motorcycle with a sidecar. The corner of hie mouth raises and holds the idea of a smile.<\/scene_description>\n    <character>MUSIC CUE: \"REMY ZERO\"<\/character>\n    <dialogue>EXT. STREETS NIGHT<\/dialogue>\n    <dialogue>Large flies through the suburban sprawl without a helmet.<\/dialogue>\n    <scene_description>THE<\/scene_description>\n    <character>MUSIC BLASTS.<\/character>\n    <dialogue>The wind throws his hair back as Large whips through the<\/dialogue>\n    <scene_description>back roads. He's going really fast. He closes his eyes, flying by a COP CAR doing eighty before he opens them again. LIGHTS FLASH behind him as he pulls over.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>Fuck. The cop car stops behind him and blares him with the search light.<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>Hands on your head, please!<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>I said PUT YOUR MOTRERFUCKING HANDS<\/dialogue>\n    <character>ON YOUR FUCKING HEAD PLEASE!21<\/character>\n    <dialogue>Large does it. All we can see is a silhouette of a figure standing amidst the blaring lights and swirling blue and red colors.<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>Eighty-two in a twenty-five. Are you gonna tell me your late or just tired?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I didn't...<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>Shut the fuck up.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>You could have killed some little kid or a baby deer. He saunters closer.<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>You do have a license don't you. Large takes it. out and passes it behind him, squinting.<\/dialogue>\n    <scene_description>When the COP gets it, he steps finally into the 1 ght. He's a skinny kid, maybe 23, with a baby face!<\/scene_description>\n    <character>COP<\/character>\n    <dialogue>Largeman? Large squints?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Kenny?<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>Holy shit: How you doin' man?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Great!<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>Your mom just died.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>KFNW<\/character>\n    <dialogue>I mean that's why you're home.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah... yup.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>You're a cop, Kenny?!<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>I know, I know.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Why, Kenny?<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>I don't know; I couldn't think of anything better to do. And it's really cool though, man. People really listen to you. They have to. And check this shit out.<\/dialogue>\n    <dialogue>He pulls his gun out of his holster to show Large.<\/dialogue>\n    <character>KENNY<\/character>\n    <parenthetical>(POINTING)<\/parenthetical>\n    <dialogue>That's the safety. Plus the benefits; if I get shot I'm rich.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah but, I mean... Kenny, the last time I saw you, you were blowing coke lines off the top of a urinal.<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>I had to grow up now, man, I wasn't makin' shit at the fish market. No one knew who I was. I couldn't get laid. This is a much better situation for me. Speakin' of which, how did I do?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>I mean you know... how did I do?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>You mean like... as a... cop?<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I don't know. I mean I thought, you were a dick... so I guess that's good.<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>Ah fuck, man. I hear you're like some huge movie star; you played some big football player or something. I didn't nee it.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>IS<\/character>\n    <dialogue>KENNY<\/dialogue>\n    <scene_description>Fuckin' DeNiro and shit.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>fie ' s awe some .<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>Deer Hunter. We should talk, man; I have some good ideas for movies, and you could like play me and shit. \"Stories From the Force-\"<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah, definitely. They stand there; nodding.<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>So what are you doin' tonight?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>That depends, are you arresting me? Kenny laughs.<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>Shut the fuck upf Course not.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>But you got to put your helmet on, man; leading cause of death on the highway for males in our age bracket.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>Wanna see my kid. He shows Large a picture in his wallet.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>You got a kid, too? Wow.<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>Everybody's got kids now, man; they're great. It's like your own \"Mini-Me\"; way better than my cats,<\/dialogue>\n    <character>LARGE<\/character>\n    <parenthetical>(RE2 PICTURE)<\/parenthetical>\n    <dialogue>Cute. Gold teeth?<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>Wellthiswas Halloween. He was \"OL'DirtyBastard.\" Yeah, already likesraplike his dad. So what d'yousayyou were doin' tonight?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I think I'm gonna meet Mark and Dave over at some party.<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>The Gleasons?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah, I think.<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>can you believe that kids havin' a party at that house? His brother hung himself like two weeks ago in his bedroom.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>Cut him down myself. Seth. Did you know him?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I don't think so.<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>He tried like three times. Finally got what he wanted.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>Anyway... So okay, you get going, I'll see you over there in a bit.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Oh, you get off soon?<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>No. But we'll be by to bust it up by two. if it's crowded we might get to wear riot gear.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Oh, that would be great... to see that. So I guess I'll see you then.<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>Great seeing you, man.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah. You too. Benny gets in his car and pulls up alongside Large. He picks up the CB and the PA CRACKLES on:<\/dialogue>\n    <character>KENNY<\/character>\n    <parenthetical>(OVER PA)<\/parenthetical>\n    <dialogue>Pull over, the vehicle! Kenny nods his head up and down to Large like \"Isn't this cool?\" Large waves goodbye. Kenny floors the cop car and BLARES the SIREN with LIGHTS FLASHING as be SCREECHES away.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.GLEASON HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Largeweaveshis way through a raging, crowded high-school styleparty:LOUD MUSIC, smoky, sweaty drunk people, kege- Mostof thepeople are 18 to 21. TNT.GLEASON KITCHEN --- NIGHT A bunch of people are gathered around Mark as he tells a drunken story. The group laughs.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>holy chit look at this guy! Everyone looks to Large at the end of the line.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Get the fuck up here, bitch! This guy does not wait for a beer! This is a movie star! This is Jersey's DeNiro and shit.<\/dialogue>\n    <dialogue>Mark sloppily hugs Large. Others slap him five as Large awkwardly navigates between variations of hugs and handshakes.<\/dialogue>\n    <character>DRUNK<\/character>\n    <dialogue>What are you doin home? A beat as Large realizes he has to answer that question.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I uh...<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Press junket.<\/dialogue>\n    <character>DRUNK<\/character>\n    <dialogue>That's phat yo. Fuck yeah, Serpico and Shit...<\/dialogue>\n    <dialogue>The crowd quickly moves onto other things.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>(in a whisper) You like that? That's improvisation, bitch. You can use it.<\/dialogue>\n    <character>\u00c2\u0082\ufffd\u00a2<\/character>\n    <dialogue>INT. GLEASON HALLWAY - CONTINUOS<\/dialogue>\n    <dialogue>They walk through the crowd as Mark recruits cute girls to join them upstairs. They walk up the stairs past family pictures and school photos made crooked by drunken backs. Mark points to a photo of an awkward looking young man.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>You see this?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>in that him?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>That was him. Dug the hole myself.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Did you know him?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Nah. Ugly motherfucker though, huh? It pains Large to even try to respond to that.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>You want to see the most fucked up thing?<\/dialogue>\n    <dialogue>They arrive at the landing outside a door with a \"New Jersey Devils\" poster on it.<\/dialogue>\n    <scene_description>MARK This is the tucked up thing. Be swings the door to the bedroom open revealing the dark bedroom of your average teenage boy. A teenage couple drunkenly makes out on the bed. The mattress has no sheets.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Check that out. Mark points to a hole in the ceiling where a ceiling fan has been ripped out. Wires dangle. The fan lies next to the bed.<\/dialogue>\n    <scene_description>GUY HOOKING UP Hey, get the fuck outta herei<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Shut the fuck up. Who is that, O'Malley? I'll beat your aael<\/dialogue>\n    <scene_description>GIRL HOOKING UP Is that Andrew Largeman?<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>(squinting to see) Yeah, who's that?<\/dialogue>\n    <character>E<\/character>\n    <dialogue>GIRL HOOKING UP<\/dialogue>\n    <dialogue>Hey, it's Karen. Karen Dullia?<\/dialogue>\n    <character>LARGE<\/character>\n    <parenthetical>(NO IDEA)<\/parenthetical>\n    <dialogue>Oh, hey.<\/dialogue>\n    <scene_description>GIRL HOOKING UP You don't remember me? You fingered me at the Dinner Dance.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>oh hey, what's up.<\/dialogue>\n    <scene_description>GIRL HOOKING UP Nothing. I saw you on TV. GUY HOOKING Up okay, can you please get the fuck out now. GIRL HOOKING UP<\/scene_description>\n    <character>SHUT UPI<\/character>\n    <dialogue>Mark pulls the door closed.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I can't tell what's more disgusting; those two hooking up in that room, or those two hooking up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOLF ROOM CONTINUOUS<\/stage_direction>\n    <scene_description>Everything in the room is golf. it is one man's wood paneled shrine to the sport of golf: golf carpet, posters, autographs, etc. A group of people sit around the couch drinking beer,. passing joints. Smoky, dark. Large notices JESSE, a wiry 25 year old in thick glasses.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>Hey, what's going on, man?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>bargeman. They hug and pat each other on the back.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I heard you're kicking ass, man.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Yeah. You gotta come by my new place.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah, definitely.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Sorry... you know... I heard.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Oh, thanks... yeah - thanks.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>That's fucked up.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah... So I definitely wanna come by and check out your new pad. You gotta tell me what happened.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Basically, \"The Man bought my silent Velcro patent.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Well you knew I was an inventor right?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>No. But I haven't seen you since we<\/dialogue>\n    <character>WERE SIXTEEN-<\/character>\n    <dialogue>JESSE<\/dialogue>\n    <scene_description>Oh well yeah... I wasn't really an inventor yet. Anyway I developed this little item that's just like Velcro but doesn't make that annoying Velcro noise.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>now much did they buy it for?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>A lot.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Wow. So what are you doing now?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Nothing. They laugh.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Seriously.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Seriously. Absolutely nothing. I've never been so bored in all my life. The first month I bought a whole bunch of shit, but then that got boring. But I... nothing.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>That's so crazy. But I mean like, are you gonna travel or like what are you gonna do? Shouldn't you like help starving kids or something?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>I'm not really motivated to do much at all. It's kind of funny, I guess I had kind of planned on my whole life being about struggling to get money. But now that I've got more than I ever dreamed, I'm really not sure what to do with myself. I<\/dialogue>\n    <scene_description>stare at walls a lot.<\/scene_description>\n    <character>DAVE<\/character>\n    <dialogue>Can you believe that shit, Large? This guy has one idea and he's a trillionaire. I got a thousand ideas, but I gotta sit around and wait for all my relatives to die. They join the group. Mark blows coke off a large golf book. Dave has a young girl on his lap. Large begins to notice<\/dialogue>\n    <scene_description>that the girls in the room, although quite attractive, are pretty young; 17-19. As he pans the room, he lock eyes with a BEAUTIFUL YOUNG GIRL. They play chicken briefly to see who will break the stare first. Large does and looks to his right where someone has just passed him a joint- He hits it and passes it on.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Here, bro. He passes Large the golf book.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Oh no thanks, man.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Really? But you're like a movie star and shit.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>No, no thanks.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Well then here. Eat this. Jesse opens his palm to reveal a tiny hit of E with a SMILEY FACE on it.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Welcome home.<\/dialogue>\n    <character>\u00c2\u0082\ufffd\u00a2<\/character>\n    <dialogue>Large takes it in his hand and thinks about it. He looks<\/dialogue>\n    <scene_description>around at everyone else in the room eating them; including the cute girls.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>I guess I'll see youguyslater. He eats the hit. They laugh.<\/dialogue>\n    <character>DANA<\/character>\n    <dialogue>Should we play a game?<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>other than golf? They laugh.<\/dialogue>\n    <character>KELLY<\/character>\n    <dialogue>No, let's play Spin The Bottle. The idea is met with mixed reaction from the group.<\/dialogue>\n    <character>LARGE<\/character>\n    <parenthetical>(TO JESSE)<\/parenthetical>\n    <dialogue>I'm not playing Spin The Bottle; how old are we? or more importantly, how old are they? Jesse passes Large the joint.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>They're all legal. I think. He smiles a toothy grin. KELLY, a young hot girl with a<\/dialogue>\n    <scene_description>raspy voice takes control.<\/scene_description>\n    <character>KELLY<\/character>\n    <dialogue>Well we just ate all this fuckin' ex, what the hell else are we gonna do?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>The girl has a point.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Okay, how 'bout this. He holds up a bottle of Tequila with a ribbon around !.to neck.<\/dialogue>\n    <character>MARK (CONT'D}<\/character>\n    <dialogue>First let's finish Daddy's golf tequila. Then we can use this bottle. The group loves this idea- As they laugh and party the<\/dialogue>\n    <scene_description>CAIa.ERA FINDS ITS WAY to Large's face as he feels the weed and the beginning of his trip. His eyes and face navigate the ha3mnv start.<\/scene_description>\n    <character>THE REST OF THIS SCENE WILL VACILLATE BETWEEN REGULAR, SPED-<\/character>\n    <dialogue>UP AND SLOW MOTION.<\/dialogue>\n    <dialogue>The party seems to fast forward around Large; the MUSIC<\/dialogue>\n    <scene_description>FADES TO ONE LOW NOTE until it breaks with people calling his name.<\/scene_description>\n    <character>ALL<\/character>\n    <dialogue>Large! He snaps his attention to the game. The bottle is pointed directly at him.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Largeman, this is Dana. Large looks over to the sexy young girl whom he locked eyes with before. She smiles at him. Awkwardness fills the room.<\/dialogue>\n    <character>DANA<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>LARGE<\/character>\n    <parenthetical>(snapping out of it)<\/parenthetical>\n    <dialogue>Oh, who's up? They all laugh. She gets up and slowly walks over to the couch. She smiles nervously. Large stares at her. we see in his eyes he's feeling more fucked up every instant. She stands above him at the couch, then straddles him with her knees on either side of his legs; sitting on his lap. The MUSIC PLAYS. Everyone is speechless. she slowly leans in. Eye contact. They kiss softly enjoying every second. Its incredibly sexy.<\/dialogue>\n    <character>HIS FINGERS CLUTCH HER THIGH<\/character>\n    <dialogue>They stop and look at each other. She kisses him on the<\/dialogue>\n    <scene_description>cheek and gets up. Everyone reacts and some clap.<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>This is gonna be a good night. Everything SPEEDS-UP and SLOWS DOWN. A barrage of images: people hooking up, girls kissing girls, guys feeling girls up, joints being passed, one girl crying, Mark showing off his golf swing, Large trying to take deep breaths, Jesse and Dave hugging, two-figures moving quickly under a blanket. Kenny in full riot gear letting people take turns hitting<\/dialogue>\n    <scene_description>him in his helmet. FASTER : hands gripping each other, a nose on a neck, hands gripping a waist. Ecu s Largos face as his eyes swim in their eocketo s end the corners of his mouth lift with the idea of a smile.. The motion of the room is sped to a blur until finally:<\/scene_description>\n    <character>BLACKNESS.<\/character>\n    <dialogue>A BLARING LIGHT comes out of the darkness. Morning sun streams through a window revealing Large's face, full frame, eyes still closed. Across his forehead in thick black marker the word \"BALLS\" is written. His eyes open wide. He has no idea where he is. His eyeballs swing left, then right. As Large site up THE CAMERA pulls back to reveal we are<\/dialogue>\n    <character>INT. MARK'S LIVING ROOM -- MORNING<\/character>\n    <dialogue>Large site on the sofa covered in an afghan. White morning sunlight pries past the beach towels covering the windows to highlight the duet in the air. A NOISE in the kitchen pops Large' s eyes open. He has no<\/dialogue>\n    <scene_description>idea where he is. Large's POV into the kitchen reveals limited glimpses of a person walking around; like a hunter's amateur video of his Bigfoot sighting. He can only make out pieces: a sword, boots, then a cereal box. Then quickly the figure turns into perfect view: a medieval Knight in full regalia. They make eye contact for a second and Large slams his eyes shut. When he opens them again the knight is gone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN -- LATER<\/stage_direction>\n    <scene_description>Large and Mark sit with CAROL, mark's mother and TIN PAYTON, 25. Carol is mid-forties and always looks like she's got a cold or has just been crying. Tim is dressed as a Medieval Knight. Large and mark stare at Tim as he SLURPS down his cereal. Carol smokes a thin cigarette. Mark is shirtless. No one addresses the fact that it says \"Balls\" in black marker On Large's forehead. Silence but for the CLANKING of SILVERWARE and TIM'S SLURPING.<\/scene_description>\n    <character>CAROL<\/character>\n    <dialogue>it's good isn't it. No one responds, so Tim nods to be nice.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>i always try to save a couple of marshmallows for the very end, but I can never make it.<\/dialogue>\n    <character>2B<\/character>\n    <dialogue>My mind wanders and I'm left with flakes and pink milk. And yet each time I pour a bowl I tell myself that this time, this is gonna be the time I'm gonna save at least one.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>So, Tim, how long you been working at medieval Times?<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>Three years. But I've only been a knight for two. You have to pay your dues. I worked in the stables and helped in the kitchen.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>When I started he was making the coleslaw. It hasn't been the same since you got knighted.<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>I really just stirred it.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Don't be modest. Mr. Modesty won the joust last night.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Congratulations.<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>It's not that big a deal, it's fixed.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>What was it that happened to you in high school? You had a thing, but I forgot what it was.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>He got the shit kicked out of him.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>No he didn't.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>How do you know? He got the shit kicked out of him by Tyrell Freedmen.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I remember that. That was sofucked up. Why did he do that?<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>I fucked him up too.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>He knocked your teeth out.<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>He said I bit off him 'cause I got the same Jordans.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>That's right.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>Tyrell said I bit off him 'cause I got the same Jordans he did. But his were the red ones and mine were all white.<\/dialogue>\n    <character>MARX<\/character>\n    <dialogue>Yours were red too by the time he was done with you. Everybody laughs but Tim.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Air bloody tooth.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>So what are those, like fake teeth you got now?<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>He only chipped one tooth. So what are you up to now, Mark, digging graves?<\/dialogue>\n    <dialogue>Silence. A SPOON CLANKS on a plate.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Mark's getting into real estate. Silence. Mark FLICKS open his Zippo lighter and lights a cigarette.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Tim can speak Klingon.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>No, I can't.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Yes, you can.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>What the fuck is Klingon?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Like the Star. Trek guys?<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Yup. He can talk in their language.<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>She's kidding.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>No, I'm not. He's being shy. Are you being shy?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Don't be shy, Tim.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah let's hear it, man?<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>It's just made up. The guy who plays the wizard at work is a Trekky. I don't really...<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>He's being shy. Say what you said to me last night.<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>MARS<\/character>\n    <dialogue>Yeah, Tim. Say what you said to her last night.<\/dialogue>\n    <dialogue>Silence. Everyone stares at Tim.<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>I gotta get going anyway.<\/dialogue>\n    <character>MARK<\/character>\n    <parenthetical>(SHARP)<\/parenthetical>\n    <dialogue>Say what you said to her last night.<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>Kuntar peteeky maya. Al fook soo. They all stare at him. Then burst out laughing.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>You've got to be kidding me.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>It means, \"I like to mate after battle.\"<\/dialogue>\n    <character>TIM<\/character>\n    <parenthetical>(QUICKLY)<\/parenthetical>\n    <dialogue>That's not what I said.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>No, that wasn't the one I said. This one means \"kill Kirk\" and also 'hallelujah\" depending on the context.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>You must have gotten it confused with \"Pleej artulyah. Hagtooth pleep.\" Theylaugh.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>That was good, honey.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>You know what that means, Tim?<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>No I don't know the whole language, I just...<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>well I do. It means get the fuck out of my house before I chop your fuckin' head off.<\/dialogue>\n    <dialogue>Silence. Large stares at Mark in disbelief, then starts to LAUGH. They all start to join him except Mark. They stop laughing.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Mark, he's a knight.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>He's just a fast-food knight.<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>I should get going anyway. He gets up to leave. But his sword gets caught between his chair and the table. They all watch as he fumbles to undo himself. He's like John Ritter at his finest. Large and Mark just laugh.<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>Thanks for the cereal. By the way, it says \"balls\" on your face.<\/dialogue>\n    <dialogue>Carol follows Tim out. Large slides to the microwave door's reflection.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>YOU ASSHOLE:<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>My Mom did it.<\/dialogue>\n    <character>CUT TO:<\/character>\n    <dialogue>IT. MARK'S LIVING ROOM -- LATER<\/dialogue>\n    <dialogue>Mark and Large sit captivated by ALLIGATORS EATING ZEBRAS on TV. Large's forehead is now merely smeared with black ink. Mark leans forward to pull a bong hit from a blackened, colored tube. He coughs out his hit and reclines his bare back against the torn pleather couch. Carol enters and<\/dialogue>\n    <scene_description>stands next to them watching the TV.<\/scene_description>\n    <character>CAROL<\/character>\n    <dialogue>What's this? She finds a long, thin cigarette with lipstick on it in the ashtray and lights it.<\/dialogue>\n    <character>MARX<\/character>\n    <dialogue>What the fuck is that shit, Mom?<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Where's this? Gimme a hit of that.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Don't bring those fucking people here anymore, Mom. Or I'm leaving. I'm serious. No Medieval Times people in this house. He passes the bong to his Mom. She smokes it, then sits<\/dialogue>\n    <scene_description>down, forcing them both to slide over. Several cats surround her\\_<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>I'm declaring it. Now. It's declared, now. Thank you. No more.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Did you tell Large about the tapes?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>No, Ma. I'm not doin' the stupid tapes.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>what are the tapes?<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Real estate tapes. You can make up to a hundred thousand your first<\/dialogue>\n    <scene_description>year. You should have seen the boat this one Oriental had. Be even had his own game show in China he made so much money. I think Mark would be perfect at it.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Mom, shut-up about those fucking tapes. It's a scam.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>It's not a scam. They show you how to do it. It's not hard, honey. Then I could retire and we could have our own game show.<\/dialogue>\n    <dialogue>Carol and Large share a laugh.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>In China.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>In China is right.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>So... what, you like sell property?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>It's bullshit. You were just all baked,out and you thought it would be a good idea.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Well I'm doin' it. I'm savin' up for those tapes. 'Cause I know what you could be if you just applied yourself.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I do apply myself, Mom; everyday, I work my ass off burying dead people, okay? I'm only twenty-six, I'm not in any rush. What's your rush for? Just let me be, all right? I don't rush you.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Well then I'm gonna do them then.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Fine. Do'em.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>I will and then I won't let you come on my yacht. Large, you're welcome anytime, but leave your friend behind.<\/dialogue>\n    <dialogue>Large LAUGHS. She checks her watch.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Shit, I gotta go to my meeting. Okay.<\/dialogue>\n    <dialogue>She stands up and then leans over and kisses Mark on the top of his head.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Okay. Love you. Okay, bye Large good to see you.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah. Good to see you too. She gets to the door, then crosses back to Mark.<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Don't sit in here all day you guys; I took the batteries outta that carbon monoxide detector 'cause it was beeping all night. She slams the front door.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>She drives me crazy. She's gets all fried out and makes me feel like I gotta impress her all the fucking time. And you know what? I'm okay with being unimpressive; I sleep better.<\/dialogue>\n    <dialogue>Large site forward abruptly.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Oh not What time is it ?<\/dialogue>\n    <scene_description>IT. NEUROLOGIST'S WAITING ROOM - DAY Large rushes in to the counter. A female Hispanic RECEPTIONIST looks up.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>Hi, I'm Andrew bargeman. I'm sorry. i'mn a little late for my appointment.<\/dialogue>\n    <dialogue>She looks at her watch.<\/dialogue>\n    <character>RECEPTIONIST<\/character>\n    <parenthetical>(SLIGHT ACCENT)<\/parenthetical>\n    <dialogue>okay, Andrew. I'm going to need you to fill out this paperwork for me, and we'll call you when we're ready for you.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Okay, thanks. Sorry.<\/dialogue>\n    <scene_description>He site back down and begins filling out the form- The door opens and a blind woman with a seeing eye-dog enters. The Receptionist sees her and calls out:<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>Hi Mrs. Lubin.<\/dialogue>\n    <scene_description>MRS. LUBIN Oh, hello there.<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>Just have a seat and we'll be with you soon.<\/dialogue>\n    <character>MRS. LUBIN<\/character>\n    <dialogue>Thank you. She site. Large turns back to his paperwork. He fills out a line before he notices the \"seeing-eye-dog\" has wandered<\/dialogue>\n    <scene_description>over to him. Large looks at him.<\/scene_description>\n    <character>LARGE<\/character>\n    <parenthetical>(cold, disinterested)<\/parenthetical>\n    <dialogue>Hi, how are you? The dog looks both ways before mounting Large's leg and proceeds to thrust his groin to and fro. Large tries to shove him off. He looks back at the blind woman who stares off in the other direction. Large is about to say something to her but he stops himself.<\/dialogue>\n    <character>LARGE<\/character>\n    <parenthetical>(under his breath)<\/parenthetical>\n    <dialogue>Get off. Off. The dog thrusts away.<\/dialogue>\n    <character>LARGE<\/character>\n    <parenthetical>(TIGHT WHISPER)<\/parenthetical>\n    <dialogue>Stop it. Heel. No thrust.<\/dialogue>\n    <scene_description>Finally Large gives up and decides to just let it hump away- He tries to return to his paperwork. Someone BURSTS OUT LAUGHING. Large turns to see a cute 20 year old GIRL he hadn't seen sitting in the corner. She wears really big headphones.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>Got any suggestions?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Kick his balls.<\/dialogue>\n    <character>MRS- LUSTN<\/character>\n    <dialogue>Ready for me?<\/dialogue>\n    <scene_description>The girl and Large look to each other, the receptionist is gone.<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>(IMPERSONATING<\/dialogue>\n    <character>RECEPTIONIST)<\/character>\n    <dialogue>Not yet Mrs. Lubin. The dog humps away.<\/dialogue>\n    <dialogue>The girl comes over and sits one seat away from Large.<\/dialogue>\n    <character>GIRL<\/character>\n    <parenthetical>(SOFTLY)<\/parenthetical>\n    <dialogue>Kick his balls.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I don't want to hurt him.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>It's the only way to teach them. I have three Dobermans. If I didn't kick them in the balls regularly I'd never get anything done.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah, but I don't want to like destroy future generations of charitable dogs. Besides he's got to be close to finishing by now.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Not yet, here comes the lipstick. They sit and watch him go.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Oh, he's gonna be sore tomorrow. WIDE SIDE ANGLE ON: the whole waiting room. Everything still but the dog's thrusting pelvis.<\/dialogue>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>Mrs. Lubin?<\/dialogue>\n    <scene_description>MRS. LUBIN Yes.<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>We're ready for you.<\/dialogue>\n    <scene_description>MRS. LUBIN Okay. C'mon Arthur. Arthur immediately responds to her voice and returns to her side to lead her into the office.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>I feel so used.<\/dialogue>\n    <scene_description>She laughs. LARGE (CON2''D) Thanks for your help. Or at least your good intentions.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I recognize you.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Oh, did you go to Columbia High?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>No, not from high school, from TV. Didn't you play the retarded quarterback.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>(Wishing she'd go away) Yeah.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Are you really retarded? He stares at her.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>That's cool. Great job, man. You were- I mean I thought you were really retarded. You were just as good as that corky kid and he's really retarded. I mean if there's some kind of like retarded Emmy you could win. You'd kick Corky's ass.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I got to fill this thing out, but thank you for... that.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Oh, okay. Right on. My cousin's an actor. Jake Ryan Winters. I doubt you'd know him. He was on \"Sheena\" once as some gnome or something. I think that's great though.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Oh that last scene where you make that speech to the whole stadium and your Dad gives you the thumbs up; that was - it was emotional. I mean I didn't cry, but I think my Dad did.<\/dialogue>\n    <scene_description>I couldn't totally see, but he got up to go to the bathroom and I think I heard him sniffle. Could've been dander...<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>Well thanks. Thank you.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>So are you doing anything else?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>No. Not right now I'm just...<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Any other retarded roles? I'm sure you could definitely get more of those.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>No, I'm just auditioning and.,.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I can't believe you're not really retarded. Jake's not a very good actor. I mean on \"Sheens\" you couldn't really tell 'cause he was in a hairy gnome suit, but he used to put on these really low-budge renditions of Andrew Lloyd Webber musicals in our attic when we were kids and they were awful. It sucks 'cause there isn't a whole lotta work for little people, you know? Anyway sorry I talk too much, fill out your forms.<\/dialogue>\n    <dialogue>Large just stares at her. She's funny.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>What are you listening to?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>\"The Shins.\" You know them?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Oh are you kidding me? You gotta here this one song, it'll change your life I promise you. Oh but you have to fill out your forms. Conundrum.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>Well do it while you listen to<\/dialogue>\n    <character>THIS-<\/character>\n    <dialogue>She hands him her hugs earphones. The Shins' \"flew slang\" is playing.<\/dialogue>\n    <character>\u00c2\u0082\ufffd\u00a2<\/character>\n    <dialogue>He looks at Sam and she just Stares at him and nods smiling. After a moment, he takes the phones off and hands them back to her. The SONG CONTINUES SOFTLY from the headphones.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>That's cool. I like it.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>So what are you doing here?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Waiting for a friend. You?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I'm uh... there's a\\_..<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Fuck, that was nosey, I'm sorry. I didn't mean to be nosey. That was so nosey.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Its al=ight. I... I uh get headaches. So I just wanna have that checked out.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Cool.<\/dialogue>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>Andrew Largeman?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>We're ready for you.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Okay. He stands. He turns to Sam.<\/dialogue>\n    <character>LARGE (CON' ' D )<\/character>\n    <dialogue>It was nice meeting you.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You didn't. I'm Sam.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Andrew.<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>(DISAPPOINTED)<\/parenthetical>\n    <dialogue>Cool. well, bye. Good luck with your head.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>Don't worry Sam, we'll get to you next. Large turns to Sam. She looks away.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEUROLOGIST'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Large site alone in a barren office. He pans around the room staring at all the diplomas. His eyes follow them up from the base-board all the way up to the ceiling to reveal: there's actually one on the ceiling. The doctor enters.<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>Mr. Andrew Largeman.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yes - hi.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>There's absolutely nothing wrong with you. Large stares.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>I'm just kidding, how would I know that?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah. They shape hands.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>I'm Doctor Cohen. What can we do for you today, Andrew?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I've been having these really intense headaches. They only last for a split second and then they're gone. It's like a lightning flash; almost like a surge of electricity and then it's gone. He looks at the chart.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>You're Gideon's kid. I didn't even put the two together.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>I'm sorry about you're Mother.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah. Thank you.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>I must have missed you at Shiva last night.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>So how long have these headaches been going on?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Well I think I've had them in some form since I was a little kid. But they've been getting more and more frequent over the last year.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>(looking at chart) How long have you been on the Lithium?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Oh uh, I've been on some form of it since I was ten or so.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>And what about Paxil, Zoloft, Celexa, Depakote; did any of that ever help you?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>No. I mean I don't know. It's recently occurred to me that I might not even have a problem. only I'd never know it, because as far back as I can remember I've been medicated. I grew up on it. I left them in LA. This is the first time I haven't had it in my body since I can remember.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>Well it'll leave your body pretty fast. I'll write you a prescription.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Actually I. was thinking about taking a little vacation.<\/dialogue>\n    <character>\u00c2\u0082\ufffd\u00a2 42<\/character>\n    <dialogue>DOCTOR<\/dialogue>\n    <scene_description>Have you spoken to your psychiatrist about that?<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>E)h well, my psychiatrist is my Dad. So uh... he... I think he'd prefer me to stay on it. He likes to think it makes me happy. And I let him think that because he's sort of consumed by the idea of making everyone happy.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>Well look, I'll examine you and give you a Catscan just so you won't worry that it's anything serious. But to be honest, I think the headaches are something else. Our bodies do very funny things when they're consumed with stress and anxiety. Things you'd never expect. I found my ex-best friend's cuff links in my wife's puree and I couldn't get an erection for a year and a half.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>For example.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>But that doesn't really feel like it. I mean I don't feel stressed or really anxious at all.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>Well with all the Lithium he's had you on it's amazing you can even hear me right now\\_<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Oh, right.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>First of all, I do think you need to find a psychiatrist that isn't your father. That just's something that should have been remedied years ago. He knows better. Secondly, I'm not in a position to comment on whether or not you should stay on the meds or not; I don't know your story. But my opinion, since you're paying for it, is that those drugs may help as<\/dialogue>\n    <scene_description>a means to an end. But if you're not In any sort of therapy, sooner or later what's ever going on in your mind will find a way to peek it's little head out of the water. Just something to think about. ,beat) But, for now, let's have a look at you.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CATSCAN ROOM - LATER<\/stage_direction>\n    <character>MUSIC PLAYS<\/character>\n    <dialogue>AN OVERHEAD SHOT OF: Large staring at the wall as he lies on a white slab covered from the waist down by a white towel. AN OLD FEMALE NURSE straps him to the slab ignoring the OBSCENE WORDS and DRAWINGS in black marker that cover his chest. THE CAMERA CRANES DOWN to reveal Large and the slab being sucked.into the Catscan tunnel.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT -- DAY<\/stage_direction>\n    <scene_description>Large drives out of the parking lot. There, seated at the bus stop is Sam bobbing her head to music- She wears a backpack and holds an odd looking helmet in her hand. He pulls up alongside her.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>Why were you really there?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Charging. I'm a robot.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Do you lie a lot?<\/dialogue>\n    <character>SAN<\/character>\n    <dialogue>What do you consider a lot?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Enough for people to call you a liar.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>People call me lots of things.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Is one of them \"liar\"?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I could say \"no\", but how will you know I'm not lying.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Because I`ll choose to trust YOU.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You can do that?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I can try.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Who's bike is this?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>It was my grandfather's. It was the only thing he left to anyone in my family and he left it to me. And I like it.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>This is the point where you ask me if I'd like a ride home?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>It is?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Yup.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Would you like a ride home?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Fine, but I ' m not getting in that sidecar,<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Sidecars are for bitches. Anyone who gets in that thing is automatically your bitch. Thus, I will ride on the back.<\/dialogue>\n    <dialogue>She climbs on the back behind him.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>(re: the helmet) What are you like... a hanglider? They drive off.<\/dialogue>\n    <scene_description>EXT NJ STREET\/MOVING---DAY<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I thought my boyfriend was gonna pick me up on his bike, so I brought it... But then he couldn't so...<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>So what, it's like one of those tandem things?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>No, its a Ninja. Way faster than this thing.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>But what kind of helmet is that?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You can use it on a motorcycle. Anyway, how's your head?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I should live through the day.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Cool. Make a right here. They stop at a light.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Are you doing anything right now?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Can you elaborate on \"doing anything\"?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Well, I just had this idea. I promised this guy I'd stop by his house that's right up here, but I don't really wanna stay very long. So I was just thinking if you came with me I could say I have to take you home when I'm ready to go.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Wow. well that's pretty damn random of ya, Andrew.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>'Nice to meet you. May I use you?' That's the Hollywood in ya I guess.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>No, it's not like that, c'mon. It'll be fun. I promise.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>I'll tell you what. We'll have like a signal. When you pull on your ear that's the code and then I'll say,, \"Well I've got to get her home now.\" And then we'll go. She mulls it over.<\/dialogue>\n    <character>4\u00c2'\u00ac<\/character>\n    <dialogue>SAM<\/dialogue>\n    <scene_description>Can we have code names too?<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>If you'd like.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>okay. But don't try and like kidnap me or anything, because my step-uncle's a bounty hunter and I could have you tracked and killed.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Liar. The light changes and they drive off.<\/dialogue>\n    <character>EXT. JESSE'S MANSION'S FRONT YARD - DAY<\/character>\n    <dialogue>The poorly maintained backyard of a mansion: pools, fountains. Jesse stands shirtless and unshaven holding an enormous bow and arrow aimed at the sky. The end of the<\/dialogue>\n    <scene_description>arrow is on fire. A joint hangs from his lips. Sam and Large look terrified.<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>'Kay ready? He unleashes the arrow into the air and the three of them scramble around in terror trying to avoid wherever it will land. It plunges into the earth three feet from Sam's foot. Frozen, she yanks on her ear; hard.<\/dialogue>\n    <character>CUT TO:<\/character>\n    <dialogue>EXT. SAM'S HOUSE -- DAY<\/dialogue>\n    <dialogue>Sam and Large stand on the front porch of her working class house.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I'll be fine. Am I the first boy you've ever brought home?<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>(YES)<\/parenthetical>\n    <dialogue>No. But I lied about my boyfriend driving a t.inja.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>He doesn't drive a bike?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>No, I don't have a boyfriend.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>He might drive a bike; wherever he is.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Well we're off to a great start.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>okay so sometimes I lie. I'm weird, man. About random stuff too; and I don't even know why I do it. It's like a tick. I swear, sometimes I hear myself say something and then I think: \"Wow, that's not even remotely true.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>So how am I supposed to know what's real?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Well, I always feel bad and admit them when they're lies.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>Can you trust that?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Open the door.<\/dialogue>\n    <character>TNT. SAM'S HOUSE: FOYER -- CONTINUOUS<\/character>\n    <dialogue>She pushes the front door open and immediately three<\/dialogue>\n    <scene_description>enormous Doberman Pinchers BARK and CLIMB all over Large.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Down, Kevin! Mom! Kick their balls! Kick their balls! Anthrax, heel! Mom! Sam tries slapping them on their backs. OLIVIA, Sam's mother, comes rushing in clutching a hamster with a bloody nose.<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>Everybody downl Who wants to eat? Do you want to eat? Well then get the fuck off him! Kevin! Steven!<\/dialogue>\n    <character>GET OFF\\[<\/character>\n    <dialogue>She smacks their asses and they eventually retreat to the other room.<\/dialogue>\n    <character>OLIVIA (CONT' D)<\/character>\n    <dialogue>I'm so sorry, we just don't have the time to train' em. Who has time to train'em? When they were puppies it was cute, but now it's like having a herd of Clydesdales. It's just too much.<\/dialogue>\n    <scene_description>Kevin's the baby, he really just follows the others but last week Anthrax and Steven killed a dove and left him on the front porch. Or maybe it was a pigeon, he was grey. 'Member that, Samantha?<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Mom, this is .Andrew...<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>Welcome, welcome. The place is a wreck, I'm so sorry. You look very familiar.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>He's the retarded quarterback.<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>Shut up ! Oh my God ! You are the retarded quarterback. You were so good on that show. Now I'm really ashamed. Look at this place. And I'm wearing sweat pants. (to Sam, through her teeth, while nodding at<\/dialogue>\n    <character>LARGE)<\/character>\n    <dialogue>is he really retarded?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>Oh, tell me, what's that Alan Thicke like? I've heard he's a cocky son of a bitch.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>No, he's a really nice guy.<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>Oh. Well, welcome, welcome. Samantha I told you to take the wheel out of the hamster cage. She holds up a dead hamster.<\/dialogue>\n    <character>SAKI<\/character>\n    <dialogue>I forgot, Mom.<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>Well you forgot and now Jelly's dead. Luckily I got peanut Butter out in time.<\/dialogue>\n    <character>(TO LARGE)<\/character>\n    <dialogue>We have to get the only hamster on planet Earth that can't figure out a stupid hamster wheel. Now the rest of 'am can't even get a good sweat going.<\/dialogue>\n    <character>\u00c2\u0082\ufffd\u00a2<\/character>\n    <dialogue>There's a shoe box on the kitchen counter. You can do the honors. I have to run to work.<\/dialogue>\n    <dialogue>She sighs and absentmindedly pate her forehead with the hamster.<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>It was so nice to meet you... Andrew right?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>Samantha put the clothes in the dryer and bury Jelly.<\/dialogue>\n    <dialogue>She kisses Sam on the cheek and then she's gone. They stand there a moment to catch their breath. Then they both start laughing.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Come on in. They walk into the LIVING ROOM.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM -- CONTINUOUS<\/stage_direction>\n    <scene_description>Big couches with tattered afghans on them. A Christmas tree with the lights on in the far corner; a few unwrapped presents underneath. An enormous hamster labyrinth, a fish tank, three cats, a bird cage.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>So this is it.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>It's nice.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>No it's not. You don't have to say that just 'cause you can't think of anything else to say.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I'm not. It's really nice. It's very cozy. You guys are a little early on the tree, huh?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Yeah, well we never got around to taking it down, so when it got to be fall again we just figured we might as well leave it. Are you freaked out? You're totally freaked out aren't you?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>No, not at all. I like it.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Wanna see my room?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah, sure. They cross to the staircase and are met by TITEMBAY (Ti-TEM- bay) a handsome, young Black Man in a sweater carrying<\/dialogue>\n    <scene_description>books.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Titembay, this is my friend, Andrew. Andrew this is my brother, Titembay.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Hi, nice to meet you.<\/dialogue>\n    <character>T I T EMBAY<\/character>\n    <parenthetical>(SLIGHT ACCENT)<\/parenthetical>\n    <dialogue>Nice to meet you. I'm sorry about Jelly.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Oh, its okay.<\/dialogue>\n    <character>TITEMBAY<\/character>\n    <dialogue>I saved some mac and cheese for you. It's in the f ridge.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>TITEMBAY<\/character>\n    <dialogue>Anyway, I'm late for class, it was nice meeting you.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah, you too. They walk up the stairs.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAM'S BEDROOM -- CONTINUOUS<\/stage_direction>\n    <scene_description>We watch the locks turn as Sam uses a key from the outside. Music posters everywhere. Warm, cozy.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>This is it. She puts on a CD, (the song: \"I'm Doing Fine\" by Colin Hay).<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Nothing fancy, but...<\/dialogue>\n    <character>(OFF LARGE)<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Uhh... It's Titembay right?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Yeah, it's weird, huh? You're so freaked out right now, you're like running for the door. You can go, don't feel bad.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Stop doing that.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>That whole thing you just did. Don't do that. I want to be here, and I wouldn't be here if I didn't want to be, okay? Trust me, my family's way more fucked up then yours, okay?<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>Okay?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>So, Titembay.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Yeah, he's my brother.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Is he adopted?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Well kind of. My mom adopted him years ago from Sally Strothers. one of those: For the cost of a cup of coffee a day\" kind of things. where she's like, \"How can you sit there and not help the children?\" And we just couldn't. We couldn't sit there and not help those children. So we sent him letters and pictures for years and then I got really into ice skating and we kind of forgot about'em. Then one day the phone rang and it was Titembay and he was at the dry cleaners around the corner and he said that he was going to school at Rutgers and living in the dorms, but since he was used to living with his tribe he'd much rather live with his family.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Yeah and he's been here ever since. He's an amazing guy, you gotta hear some of his stories. I mean this guy struggled through so much because he wanted to learn. I think of what he's accomplished and I just feel so lazy. He's studying criminal justice at Rutgers right now and when he was a baby he was one of those kids with flies all over his face.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Wow. I mean that's great. It's a crazy story.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>That, my friend, is a true story. I'm not that good-<\/dialogue>\n    <dialogue>A pause. Sam sits on the bed. THE AWESOKE MUSIC PLAYS. She breaks the moment by pulling a small tattered piece of satin fabric off the bed.<\/dialogue>\n    <scene_description>SAM (CO13T'D) This is Tickle. Large sits down next to her.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>What is Tickle?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Tickle is my favorite thing in the whole world. It's all that's left of Nannie... my blanket.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>And Tickle is all that remains?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Was there a hurricane or something?<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>(LAUGHING)<\/parenthetical>\n    <dialogue>Shut-up. No, I mean I had it since I was born. it was the blanket they brought me home in from the hospital.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>It's like the Wailing Wall.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>The Wailing Wall. It's like the most holy place for Jews to go and pray in Israel. It's all that's left of this enormous temple that was destroyed by the Romans.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Wow, so you're like really Jewish? Large laughs.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Yeah, you are aren't you?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>No I'm not. I mean I'm Jewish, but I'm not really Jewish. I don't do anything Jewish. I don't go to temple or anything. But I don't know any Jews who go to temple. The<\/dialogue>\n    <scene_description>Jews I know only go on Yom Kippur. One day; the day of repentance. Did you know that most temples are designed with movable walls so that on the one day of the year when \u00e2\u20ac\u00a2 everyone comes to repent they can actually make the room big enough to hold everyone?<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I don't really believe in God.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Just tickle.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Oh, I believe in Tickle\\_ They laugh. A nice moment. They hold eye contact. THE<\/dialogue>\n    <scene_description>AWESOME MUSIC PLAYS.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>We're not gonna like make out or anything.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'm sorry, I just totally ruined the moment didn't I?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>No, I wasn't...<\/dialogue>\n    <character>\u00c2\u0082\ufffd\u00a2<\/character>\n    <dialogue>SAM<\/dialogue>\n    <scene_description>I just mean we're not gonna like make out.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>Okay. I hadn't planned on...<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I didn't mean to put that out there, that was lame. BLAAAAHRH. That was so dumb. You know what I do when I'm feeling completely unoriginal?<\/dialogue>\n    <dialogue>She stands up and does really weird gestures with her hands.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>LABA-LABA-LABA-LABAL<\/dialogue>\n    <scene_description>Large states. SAM (CONT ' D) I make a noise or I do something that no one has ever done. And then I feel like... unique again; even if only for a second.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>So no one has ever done that?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Not in this spot, no. You just witnessed a completely original moment in history. It's refreshing. You try one.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>No. Trust me yours was good enough for both of us.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Come on. What are you shy? This is your chance to do something that has never, ever been done before and will never be copied throughout human existence. If nothing else, you'll be remembered as the only person who ever did this.<\/dialogue>\n    <dialogue>He stares at her. She's not gonna let up. Large lifts his index finger in the air and twirlsa it.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>ZzzZzz. Be stares at her.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>How was that?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Oh, I've done that one before. She bursts out laughing. He smiles. SAM (CONT ' t3 )<\/dialogue>\n    <dialogue>So I got to bury this hamster before the dogs eat him. You warms help?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAWS BACKYARD-- DAY<\/stage_direction>\n    <scene_description>Rusty leaves fall on a backyard swallowed mostly by an empty above-ground swimming pool. Sam carries the shoe box as they walk around behind the pool to reveal A SMALL GATED PET CEMETERY About a dozen large rocks serve as tombstones for different pets.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I mean this is...<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I know. They stand in silence.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>It's not that we're bad pet owners or anything, it's just that we've had so many of them over the years.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>Besides some of these are fish.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>Not to say fish deserve less than other animals, but moat people just flush them, and we just don't believe in that. I mean the idea of flushing something that had life in it... it just makes me sad, you know?<\/dialogue>\n    <scene_description>You gotta honor something a little more than that, like \"Congratulations, man, you had life. Here's your trophy; a little spot in the ground to hang out in.\"<\/scene_description>\n    <character>(BEAT)<\/character>\n    <dialogue>Anyway, I'm gonna put Jelly right here next to \"Goliath\", the Rotweiler Titembay backed over during his driving exam.<\/dialogue>\n    <dialogue>She kneels down and begins to dig with a small shovel left nearby. Large sits down next to her and watches her dig. A brisk wind makes him hug his knees in for warmth.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>What are you thinking about?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Now?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Right now?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>No. A second ago before I asked.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Uh... Right now I was thinking... I was thinking that I've been going to a lot of these things lately.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>What, dates?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>No, not dates. This isn't a date. Is this a date? Funerals.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Oh. Who else died?<\/dialogue>\n    <character>LARGE<\/character>\n    <parenthetical>(EMBARRASSED)<\/parenthetical>\n    <dialogue>Uh... that's why I'm home actually.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>Yeah, I uh... I haven't even really told you that yet, but uh... yeah my Mom just died.<\/dialogue>\n    <dialogue>Sam stops digging and stares at him.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>God, it's weird to say that out loud: 'My Mom died\". And uh... eo that's why I'm home... now.<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>(SHOCKED)<\/parenthetical>\n    <dialogue>I'm so sorry. Oh, God I'm so sorry.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>And here I am putting you through another one. I mean not that Jelly's even comes close to your Mom's. .. Although we loved, Jelly-- But still... I'm so sorry. I didn't know.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>No, it's okay. It's okay actually. I'm all right with it. Anyway I think it's what she wanted so..,<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>How did she die? Large thinks about that.<\/dialogue>\n    <scene_description>SAM (CONT ' D) I'm sorry, I'm so nosey. Forget I asked, I'm sorry. I just need to shut--up sometimes.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>No, its okay. She uh... she drowned actually. Sam's jaw drops.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>My Mom was a paraplegic; she had uh... she was in a wheelchair. She was uh... taking a bath and then I guess she slipped or something. That's what they say. I don't know. But needless to say, she drowned. And so... that's how she died.<\/dialogue>\n    <dialogue>Sam is speechless. Tears well in her eyes.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>When?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>This was uh... Hmm... Sunday.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Oh my God. Tears roll down her face.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>(with a laugh) Why are you crying?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I don't know, I'm sorry, I'm not usually like this. It's just so sad. It's so tragic. Isn't it? It is. It's like real life tragedy or something.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Look, let's change the subject, okay? Let's really bring the focus back to Jelly. I mean what could be ruder than talking about someone else who died while you're in the act of burying a close friend.<\/dialogue>\n    <dialogue>Sam places the box in the hole she's dug.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>What should we do?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Well IIve only been to one of these things, (re: the other graves)<\/dialogue>\n    <dialogue>you appear to be the expert.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>We usually say something.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>okay, well I'll go first. I didn't really know you, Jelly. But from what I hear, you were a good pet. Had a little trouble with the wheel...<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>its not funny. Jelly you were a great pet.<\/dialogue>\n    <dialogue>Tears roll down her face.<\/dialogue>\n    <character>SAM (CONT'O)<\/character>\n    <dialogue>I'm so, so sorry I forgot to take the wheel out of the cage. I'm so sorry about that.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>Goodbye. I hope that you liked me. Tears stream down her face as she shovels dirt onto the tiny shoe box. THE PATTER of the SOIL HITTING the BOX is the only sound we hear as: THE CAMERA CRANES UP above them to a bird's-eye perspective settling on a final frame that looks down on the whole backyard: the above ground pool, the pet cemetery and in the bottom right corner, Sam burying as Large watches.<\/dialogue>\n    <character>INT. LARGEMAN MANSION: LIVING ROOM - DAY<\/character>\n    <dialogue>Once again Shiva is in full swing. Large passes through a doorway and begins to hear a COMPUTERIZED SEEPING to the tune of the \"Shma\u00c2\u00b0. (A Jewish prayer.) He looks to his left to see an electronic Mazooza<\/dialogue>\n    <scene_description>on the door frame. it says The Sharper image\" on the bottom. He moves his head back and forth past it's censor and each time it begins the BEEPING of the Shma anew.<\/scene_description>\n    <character>THE LIVING ROOM<\/character>\n    <dialogue>A tired looking man in his 50's eating a cookie.<\/dialogue>\n    <character>TIRED MAN<\/character>\n    <dialogue>Avi wants his Bar Mitzvah theme to be musicals. As in Broadway musicals. Can you believe that? Paul's kid's theme was the Meta; I got to do the Elora with Mookie Wilson. Miriam and I were at one last weekend at the Pierre; whole thing was like a winter wonderland... live penguins wearing yalmulkas. Now me, I got to lay out ten grand alone for some asshole to build a barricade of French garbage across the boccie lanes at my tennis club. THE CAMERA PICKS UP LARGE holding a plate of food: as he approaches Cynthia. She sits alone with a big photo album on her lap.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I was just thinking-<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>I was just thinking you spend you're whole life lusting for anything you don't have. You stress over money and your career, you set your clocks back, you exercise, you wait in line, you paint your house, get depressed, feel better, buy things, take your clothes to the dry cleaner, set your clocks forward and spend your whole life waiting for happiness to arrive in the mail. Then you die and people are really sad, they cry really hard...<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>and then they go eat lunch. Hetakes a bite of his bagel.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Oh please be a little more interesting than that.<\/dialogue>\n    <scene_description>Please don't be the brooding guy. That's so unoriginal. I'd rather hold onto who I imagined you'd become.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>Miss me?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>No. Me?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>She didn't like being alive. She got what she wanted. This should be a party. Instead we're supposed to mope. About what? She never did anything.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>She made you.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>some trophy. I do have to say I'm impressed with the turnout.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>What, you didn't think people would come?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Seems to me the only thing more depressing than a funeral is a funeral where no one shows up. Don't you ever think about who'll show up to yours?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>No. Right now I'm alive, so I think about living.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>It's one way to determine who your friends are. The people who'd show up at my funeral if it was held in their state, that's one level of friend. But my real friends, the people who really love me, they'd come if it was on the other side of the country.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>So where do I fall into that?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>You'd be there.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Oh you think so?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I do. I think you'd show up because the truth is, that you really did miss met you always thought of me as the brother you never had. But you've got too much pride to let me know that. You want to pout 'cause I don't return your calls.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>you're way more talkative than I remember.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Today I've been more talkative than I remember.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>What about mine?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Funeral? Honestly? I probably wouldn't travel for it- no. But don't worry, I'm sure you'll have a great turnout.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Why do you say that?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>'Cause there's also the guy who lives his life to insure a good turnout. I think that's how my Dad lives his-, like he's sort of writing his own eulogy as he goes and making life choices dependent on how it will sound in a speech.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Are you implying that that's why I'm going to med school or something?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I'm just saying a lot of people - not necessarily you - a lot of people try and accumulate accolades that will somehow justify their lives.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>It's said we spend ninety-five percent of our lives trying to look good.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Where do I sign up for not caring?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>How about sucking it up and really having it out with your Dad? That would be a tremendous step towards not needing to look good.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Wow, that was so clever how you did that. Is he grooming you to be a psychiatrist too? Med school's one thing, but please don't become him.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>He's one of the most caring people I've ever met.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>well you would say that; you're the son and daughter he never had. Hell, you're the family he never had. Has he got you on Lithium<\/dialogue>\n    <dialogue>yet? Wait till he does, you'll love him even more. He stands.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>I bet my Mom a dollar you were coming home with a message. I said after nine years, he's definitely<\/dialogue>\n    <scene_description>coming home with a message.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>i looked for a message; I got bored and became an actor. He leaves.<\/dialogue>\n    <character>INT. KITCHEN -- CONTINUOUS<\/character>\n    <dialogue>Large enters the kitchen where JANICE, 50's, Cynthia's Mom, is doing the dishes. He walks over to the counter near the sink and just stares off across the room. She dries her<\/dialogue>\n    <scene_description>hands and moves to Large. She opens her arms. After a beat he steps into her embrace. He rests his head on her shoulder and closes his eyes. Neither says a word.<\/scene_description>\n    <character>FADE TO BLACK:<\/character>\n    <dialogue>LARGE'S BEDROOM -- MORNING<\/dialogue>\n    <dialogue>Morning sun blasts the entire room. Large site on the edge<\/dialogue>\n    <scene_description>of his bed squinting at pictures:<\/scene_description>\n    <character>INT. MASTER BEDROOM -- CONTINUOUS<\/character>\n    <dialogue>Large peeks his head around the doorway.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>Dad? After shutting the door behind himself he' crosses to the dresser and lifts one perfume bottle out from a dozen. He smells the nozzle then brings the bottle with him as he<\/dialogue>\n    <scene_description>edges towards...<\/scene_description>\n    <character>INT. MASTER BATHROOM --- CONTINUOUS<\/character>\n    <dialogue>The bathroom is stark white. A large Jacuzzi tub sits at the far end of the room. The faucet drips.<\/dialogue>\n    <scene_description>THE MOUTH OF THE FAUCET as it wells with water and overflows to DRIP onto the drain. Large crosses to the tub and tries to tighten the faucet to stop it from dripping. It continues to DRIP. He stares at the empty tub. GIDEON (O.S.) Hi. Large jumps around and puts his hand to his chest.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>Holy shit, you scared the shit out of me. He covertly slips the perfume bottle into his pocket.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>Just wake up?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>Sleep all right?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah... fine.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>Mmmm.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>I haven't even really been in here for a while. I've been using the one in the hall. Shower pressures awful in there though. It's by no means as good a bathroom as this one is. This one is- well we redid all this. Its uh... (beat, catching himself) This is hard.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah. Silence. The FAUCET DRIPS. They avoid eye contact.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>Janice will make you some lunch.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah... good.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>Well I guess it's breakfast for you. What time is it?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah. Silence. DRIP. DRIP<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Look, I wanted to ask you... I mean if you don't want to talk about this its perfectly fine, but I'm just...<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>No I can. I know. I figured you would want to...<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>But we don't have to do it now. I mean you don't have to do that now. It's just at some point I would... I have some questions.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>I knew that you would. Silence.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>Occasionally she would hum.., your Mother. Always the same tune and I never knew what the song was. I don't even know if it was a song or if she just made it up - It's funny because it always struck me as so out of character for her and every time she did it... I just always liked it. But I never told her I could hear her because I knew if I ever did she would stop.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>She took a bath every night. And she was always very quiet.<\/dialogue>\n    <scene_description>The only thing I would ever hear when I'm in the bedroom was a little splashing of water when she was moving around. And every now and then, her humming.<\/scene_description>\n    <character>(BEAT)<\/character>\n    <dialogue>so anyway, then usually she would call me when she was done, so I could come and help her out. But this time, that night... she never called. And I just figured she was taking a longer bath or something, but when I called out to her, she didn't answer. So then I uh... When I came in, she was there.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>So she didn't yell or...<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>No. I didn't hear anything. The TV was on pretty loud. I always watch the weather report before I go to sleep.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>It's just weird.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I don't know, it's just that you'd think if someone was really drowning to death they would scream. I mean really scream from the terror of it all, you know? They would splash and scream I would think; I would have thought.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>I would have too, but no. Nothing. (off Large's look) What?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Don't take this the wrong way.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>What ?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I'm not reading into this, I'm just thinking out loud so don't get<\/dialogue>\n    <character>UPSET-<\/character>\n    <dialogue>GIDEON<\/dialogue>\n    <scene_description>What? No.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>Its not that.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I'm just saying did they check? I mean has someone ruled that out?<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>No. Because they know she drowned, Andrew.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I'm just saying the facts.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>And I suppose it doesn't even really matter. But I'd be curious to know. I would like to know if that's what happened; just for me. I mean would that surprise you?<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>No. Yee!<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>She made it very clear to everyone she knew that nothing was ever going to make her happy-<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>I know! Do you think I don't know?!<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>And c'mon let's be honest; she tried it before.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>Shut-up! .lust shut your fucking mouth.<\/dialogue>\n    <dialogue>Large is taken aback.<\/dialogue>\n    <character>GIDEON<\/character>\n    <parenthetical>(FIGHTING TEARS)<\/parenthetical>\n    <dialogue>If nothing else will you please just leave, her alone. She's gone. That's it. That's all you get. She died. We will never see her again. She tried very hard, but she just couldn't find it. She could never find it. And I think - I know that she's found it now. I know that. And I know there's a certain amount of guilt that you must feel for the way things unfolded, but it's too late now.<\/dialogue>\n    <scene_description>So I'm asking you, for me, not to do that. Don't... come here and do that.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>I think I deserve to know the truth.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>You want to make her crazy. Why? Does that make it easier for you? Tears stream down Gideon's face, He sits down on the toilet and cries.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>It's like you want to torture yourself or something! Why would you want to think that? That that happened. Why would you ever want to think that? Large moves closer to his father who SOBS with his head in his lap and his arms over his head. It takes everything<\/dialogue>\n    <scene_description>Large has to reach out his hand and almost touch his father's shoulder, but he doesn't make it and his hand lands on the sink next to him.<\/scene_description>\n    <character>GIDEON<\/character>\n    <dialogue>I just want everyone to be happy again.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>I dreamt last night that I had special powers. If I squeezed my eyes shut and clinched my fiats closed tight enough, we'd all wake up in paradise. (with a laugh through<\/dialogue>\n    <character>TEARS)<\/character>\n    <dialogue>I was like a superhero... and that was my power.<\/dialogue>\n    <character>FADE TO BLACK:<\/character>\n    <dialogue>EXT. CEMETERY - DAY<\/dialogue>\n    <scene_description>A giant rusted yellow tractor sits parked by an open grave- Large and Jesse lean against opposite tombstones facing each other. Mark stands in the open grave STEALING VALUABLES FROM AN OPEN COFFIN. A small PILE OF JEWELRY sits beside the grave.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>How could you leave all that Lithium? I was totally gonna hit you up for some.<\/dialogue>\n    <character>FB<\/character>\n    <dialogue>JESSE<\/dialogue>\n    <scene_description>This fuckin' guy. I'm glad you're back, man, because this town is so messed up. Everyone's got there drug of choice like in \"Brave New World\". Did you ever read that book? Who wrote that? Aldous something. Aldous-<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>I don't know. Jesse continues talking, but his voice distorts into WARBLED<\/dialogue>\n    <character>NONSENSE AS<\/character>\n    <dialogue>SLOW MOTION: LARGE STARES in shock as Mark drops a WEDDING RING into the PILE OF JEWELRY he's stealing off the corpse.<\/dialogue>\n    <scene_description>HOLD EYE CONTACT FOR AN UNCOMFORTABLE MOMENT. Large breaks it and looks away.<\/scene_description>\n    <character>REGULAR MOTION:<\/character>\n    <dialogue>JESSE (O.S.)<\/dialogue>\n    <dialogue>.and people are just like that here, man. Huxtable3 Aldous Huxtable. That's it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAM'S LIVING ROOM -- NIGHT<\/stage_direction>\n    <scene_description>Sam and Large are looking through a photo album. Olivia enters with an enormous Parrot on her shoulder.<\/scene_description>\n    <character>OLIVIA<\/character>\n    <dialogue>Andrew would you like to see Sam's ice skating tape?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Mom, no.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Absolutely.<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>She was so ahead of her time. She could have gone to the Olympics.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>No, I couldn't have.<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>Yes, you could have. Don't blame it on the epilepsy, you had a gift.<\/dialogue>\n    <dialogue>Large looks to Sam, but she avoids eye contact with him-<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>C'mon let me see it.<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>Let's just show him the \"Florida Stars of the Ice\" opening; the Gator costume.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Mom. I'm asking you seriously.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Don't be shy. Just let me see it.<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>Oh, she wants you to see it. How could you not want him to see how talented you are?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Were. They cross to the TV room where they find Titembay wearing rubber gloves, seated next to an open tool box, dusting the coffee table for fingerprints and referring to an open text book. White powder reveals fingerprints (and pawprints) everywhere, including the TV screen.<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>Honey what are you doing?<\/dialogue>\n    <character>TITEMBAY<\/character>\n    <dialogue>I'm dusting for prints.<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>Well do you think we could move the crime scene to the kitchen? I want to show Andrew Sam skating.<\/dialogue>\n    <character>TITEMHAY<\/character>\n    <dialogue>But someone's been pissing on my Gamecube and I'm about to close the case.<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>It wasn't me your honor.<\/dialogue>\n    <character>TITEMBAY<\/character>\n    <dialogue>The pawprints point to a canine.<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>Andrew come sit down here next to me.<\/dialogue>\n    <dialogue>Large sits next to Olivia on the couch between snoring Dobermans. He places his glass of water on the table. Sam stands in the doorway.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I can't believe you're showing him this.<\/dialogue>\n    <scene_description>THE SHAKY, AMATEUR VIDEO comes up on the screen: a person in a full alligator costume wearing white gloves skates onto the ice. The lights come down except for a spotlight on the alligator.<\/scene_description>\n    <character>OLIVIA<\/character>\n    <dialogue>There she is.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>You're the alligator?<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>You can tell by the hands. The alligator skates in and out of the white fingerprints on the TV screen to classical music. We begin to see that Sam<\/dialogue>\n    <scene_description>is a talented skater. In a very odd way, it's beautiful.<\/scene_description>\n    <character>TITEMBAY<\/character>\n    <dialogue>Here comes the Double Axle...<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>And... land! I mean come on. Isn't she good? Large, Titembay and Olivia APPLAUD. As they do, the LIGHTS<\/dialogue>\n    <scene_description>in the room SWITCH ON and OFF. Titembay CLAPS twice to turn them back on.<\/scene_description>\n    <character>OLIVIA<\/character>\n    <dialogue>LARGE<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>LARGE<\/dialogue>\n    <scene_description>That was so good. You're Mom's right you were amazing. Titembay has begun brushing white powder on Large's water glass revealing his fingerprints.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Okay this was great, but we have to go now.<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>All right, well I just wanted to show you how talented she is. My baby.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Mom.<\/dialogue>\n    <character>\u00c2\u0082\ufffd\u00a2<\/character>\n    <dialogue>\u00c2\u20ac\u00a2 1<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>Okay get out of here. Wait, Give me a hug.<\/dialogue>\n    <dialogue>Sam crosses to her mom. They hug.<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>I love you so much. I'm so proud of you.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I love you too. Olivia kisses Sam on her forehead.<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>Okay, have a good night. She pats Sam's butt as she walks toward the door.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Bye. Thank you so much for dinner.<\/dialogue>\n    <character>OLIVIA<\/character>\n    <dialogue>C'mon, you're giving me a hug too.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Mom.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I'll take a hug. They embrace.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Okay, good-night. (calling to Titembay) Night, Tim.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Good-Night.<\/dialogue>\n    <scene_description>TITEMBAY (0.5.) Rolla!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAR -- NIGHT<\/stage_direction>\n    <scene_description>Sam and Large sit in a booth of a local Irish pub drinki ng pints. They're buzzed.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>It was the only thing I ever really liked doing; pretending to be someone else.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>But I've been so out of it the only parts I ever get offered are to play handicapped people.<\/dialogue>\n    <scene_description>She tries to hold it together, but she bursts out laughing.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>It's not funny.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Oh c'mon. Don't ya see that it's a joke. If you can't laugh at yourself life's gonna seem a lot longer than you'd like.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>So what should we laugh at you about?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I lied again. I have epilepsy.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Which part are we laughing about?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I had a seizure in the law office where I work and they said their insurance would only cover me if I wore \"preventative covering\".<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Preventative covering?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>The helmet I was carrying. Large is silent.<\/dialogue>\n    <scene_description>SAM (CONT' D) Oh come on, that's funny. I'm the only person in the world wearing a helmet to work who isn't putting out fires or racing for NASCAR. But what do you do? I can't quit; their insurance is amazing. What can you do? You laugh. I'm not saying I don't cry a lot, but in between I laugh and realize how silly taking anything very seriously is. And plus, I look forward to a good cry. I just love the way it feels.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>I haven't cried since I was a little kid. I didn't cry at my mother's funeral. I wanted to-<\/dialogue>\n    <character>(A SMILE)<\/character>\n    <dialogue>I... tried. I thought of all the saddest things I could think of; things in movies, this image from Life magazine that haunts me... nothing came.<\/dialogue>\n    <scene_description>That actually made me sadder than anything; the fact that I felt no numb.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>MARK (O. S.)<\/character>\n    <dialogue>Vagina!<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Oh, no. Mark, Dave and Jesse appear with some others.<\/dialogue>\n    <character>LARGE \"<\/character>\n    <dialogue>Hey, guys, this is Sam. This is Mark, Dave and you met Jesse.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Hey. Nice to meet you.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>T'sup.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I'm sorry I yelled- 'vagina' just now, I didn't see you.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>It's okay.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Nice. Let's get fucked up. Off Large's smile we:<\/dialogue>\n    <character>DISSOLVE TO:<\/character>\n    <dialogue>EXT. JESSE'S POOL -- NIGHT<\/dialogue>\n    <dialogue>A palatial swimming pool in the backyard of Jesse's mans<\/dialogue>\n    <scene_description>ion. The Manhattan skyline twinkles far in the distance. Large, Sam, Mark, Dave, Jesse and a couple of high school girls from the bar stand in their underwear on the edge of the pool.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>One, two, three! Everyone jumps into the pool SCREAMING except for Large. He stands there staring at the water.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Hey! what are you doing?<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>Largeman, get the fuck in the pool.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>oh, it's so warm!<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Can you swim?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>'Course I can swim. JUMP CUT TO. Large in the shallow-end doing the most<\/dialogue>\n    <scene_description>pathetic doggy paddle you've ever seen. Everyone stares in disbelief.<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>Dude maybe you should stay on the steps; I don't know CPR.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>You look like a drunken beaver. They all laugh- Sam swims over to him sitting on the steps. She smiles at him.<\/dialogue>\n    <character>LARGE<\/character>\n    <parenthetical>(in a whisper)<\/parenthetical>\n    <dialogue>I never learned how to swim.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Fooled me. I thought you just had a cramp.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>Or two. He smiles.<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>(in a whisper)<\/parenthetical>\n    <dialogue>I can't whistle if it makes you feel any better.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>There's a handful of normal kid things I kinda missed.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>There's a handful of normal kid things I kinda wish I'd missed. She floats on her back beside him.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>So how long are you gonna stay here?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Probably till my fingers get wrinkly.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>(with a laugh) No, I mean in Jersey.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Oh. I think I'll probably head home the day after tomorrow. well, LA. That's not my home. Rer smile fades.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>You know that point in your life when you realize that the home you grew up in isn't really your home anymore? And all of a sudden, even though you have a place where you put your Shit, the idea of \"home', is gone.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I still feel at home in my house.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>You'll gee when you move out. It just kind of happens one day and it's gone. And you feel like you can never get it back. it's like you feel homesick for a place that doesn't even exist. But maybe it's like this rite of passage, you know? And you won't ever have that feeling again until you create a A new idea of \"home\" for yourself, for the family you start, for your kids. It's like this cycle.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>Maybe that's all a family really is; a group of people who miss the same imaginary place.<\/dialogue>\n    <dialogue>They hold eye contact. The SPLASH of a CANNONBALL swings their gaze to the others horsing around in the deep end. Sam leans her head over and rests it on his shoulder.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Maybe.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JESSE'S MANSION: LIVING ROOM -- LATER<\/stage_direction>\n    <scene_description>An enormous and desolate LIVING ROOM devoid of any furniture or decoration. Mark, Jesse, Sam and Large sit huddled under towels at the foot of a colossal fire place that houses a small blaze. They eat potato chips and drink canned beer. They are all pretty tipsy. Mark plays with a \"Silent Velcro\" sample.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>How 'bout some fucking furniture dude.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>I bought a chair but I didn't like it.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Where is it?<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Its keeping us warm.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Silent Velcro. Lucky motherfucker. I got an idea: loud tape, we'll make millions.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I feel like if I had showed up at school and presented the idea of silent Velcro they would have sent me away a whole lot sooner. They all laugh.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>So why did they send you away? She takes a sip of her beer.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Whoa, listen to this girl.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>They didn't send me away.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>You're the one who said they sent you away.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I mean they did, but... they sent me to boarding school. \"Sent me away\" implies I went to some asylum or something. There were no straps involved.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Why did they send you to boarding school?<\/dialogue>\n    <dialogue>Large looks to Jesse and Mark.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>They sent me to boarding school because uh... they thought I might be dangerous.<\/dialogue>\n    <character>(IMPERSONATING SAM)<\/character>\n    <dialogue>Oh are you freaked out? You're so freaked out right now.<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>(SARCASTIC)<\/parenthetical>\n    <dialogue>That's funny.<\/dialogue>\n    <character>(NORMAL)<\/character>\n    <dialogue>Why did they think you might be dangerous?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I'm dangerous and I didn't get to go to boarding school.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I was a kid and I was - they just... I was a teenager and they were depressed and it just wasn't a good combo.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>But obviously something happened. I mean there must have been an event.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>You're like a little detective.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I know. You and Titembay should go into business together; solve mysteries out of a van.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Am I being too nosey?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>No. No. I just... it's fine.. I just haven't ever really talked about it.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>To be honest, I never really knew either. I mean I heard stories.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>You wanna know?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Really, really?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>You're gay.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>No. Drumroll... I was the reason she was in a wheelchair.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>I pushed her.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>So there that is.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Shut up.<\/dialogue>\n    <character>MARX<\/character>\n    <dialogue>Fuck you.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>No, it's the truth.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>It was a complete freak accident. I mean its one of those things that you replay a million times in your head and you see so clearly what a freak thing it was. I... Say whole life she was depressed for no reason. Look at this picture.<\/dialogue>\n    <dialogue>He pulls the picture of he and Cynthia as children wearing chicken slippers out of his wallet.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Look at her face.. That's how, she. was every single day of her life. And one day... I was nine years old and I just really hated, her for that, and I pushed her.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>I mean it was innocent. I was just frustrated 'cause...<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You couldn't make her happy.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah. Fuck yeah. And any other time, she would have just yelled at me and sent me to my room, but this time, in that moment, the door of the dishwasher was open. The latch on it was broken and it would just randomly fall open. That fucking latch; it's funny how so much of my life hasbeendetermined by a quarterinchpiece of plastic. So she fellbackover the door and her neck hitthekitchen counter; paralyzing her from the waist down. Sam's eyes are wide in shock.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Oh my God.<\/dialogue>\n    <character>E<\/character>\n    <dialogue>LARGE<\/dialogue>\n    <scene_description>Still want to compare fucked up families?<\/scene_description>\n    <character>JESSE<\/character>\n    <dialogue>But your Mom was in the wheelchair long before you left.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Well I was nine. They sent me to therapy and my Father put me on these drugs that were supposed to \"curb my anger\". And I've been on some form of them ever since. My Mother who was clinically depressed before the accident, sank even lower to the point where she just ignored everyone but our housekeeper, Janice and her daughter, Cynthia. And when I was sixteen my psychiatrist Dad came around to the conclusion that it might not be the healthiest environment for me to be growing up in. So he sent me to boarding school. And I haven't been home since.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Until now.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>For her funeral.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Until now for her funeral. I'm off to a ripping start in this life, huh? Next time through I think I'll lay low out of the gate. He takes a sip of his beer.<\/dialogue>\n    <scene_description>LARGE (CONT ' D) The thing is though, when I think about it, I wasn't really abnormally angry at all. I mean it all happened so quickly; I got prescribed all these drugs for anxiety and depression and anger so I just kind of became what they are.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>It sounds like a punishment.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I think it was. So I left them in LA. I'm taking myself off punishment.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Please don't remind me.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>All he heard of that whole story was \"left drugs in LA\".<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Fuck you.<\/dialogue>\n    <character>JESSE<\/character>\n    <dialogue>Crackhead. A 19 year old girl from the pool comes around the corner<\/dialogue>\n    <character>DRIPPING WET\\_<\/character>\n    <dialogue>GIRL<\/dialogue>\n    <scene_description>Mark? Where's the sauna? Mark and Jesse look at each other. They race towards her tripping drunkenly on towels and pushing each other out of the way. Sam smiles at Large. Her face glowswarm from the fire.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You're \"in it\" right now aren't you?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>what do you mean?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>My Mom always says that when she can see I'm like working something big out she'll say, \"Are you in it right now?\" And I look at you, and you tell me this story and...<\/dialogue>\n    <dialogue>you're... you're definitely \"in it\" right now.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I think you're right. I'm \"in it\". But I'm so glad I'm \"in it\" 'cause I'm working it all out, you know? I haven't swallowed a pill in four days now and I can already feel this eerie clarity. It's probably the reason I just can't stop fucking talking; these.rusty cogs in my brain have started spinning... fast.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Maybe that's why you've been getting those headaches.<\/dialogue>\n    <character>N<\/character>\n    <dialogue>LARGE<\/dialogue>\n    <scene_description>Alright can we just forget about all that stuff please and talk about good etuff.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Good stuff?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah, glass half-full shit. What do you got?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I got a little buzz. That's what I've got. What do you got?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I got a little buzz going.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>And I like you. Sam smiles and looks away. A beat of silence. She tries to stifle her smile by pursing her lips as she turns back and looks him in the eyes. She's so cute.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>So... there's that. I got that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LARGEMAN SOUSE - KITCEEN -- MORNING<\/stage_direction>\n    <scene_description>Large with bedhead in his boxers hunches over into the refrigerator. He pulls out orange juice and closes the door to reveal Gideon standing there.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>Ah! Jesus, you scared the shit out of me. You're always doing that. Why are you always doing that?<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>I haven't seen you in awhile.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah I've been kind of catching up with people around here.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>Dr. Cohen called. There's nothing wrong with you.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah I think I'm starting to figure that out myself.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>when are you thinking of leaving?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I think probably tomorrow. I gotta lot of stuff I got to do back in LA. I'm gonna have to find a new job. So...<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>We need to talk.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah. How? I mean when?<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>what are you doing... now?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Well actually I was supposed to meet my friend Mark. But how about later tonight?<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>okay. And well talk. we owe that to each other.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>We owe it to her.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>Good.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>I'm sorry I scared you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARK'S BEDROOM -- MORNING<\/stage_direction>\n    <scene_description>Mark sits on his sheetlese mattress on the floor, playing classical guitar; impressively. His MUSIC scores the scene.<\/scene_description>\n    <character>MARX<\/character>\n    <dialogue>Don't mesa with all my shit; what are you. doing?<\/dialogue>\n    <dialogue>Large picks up a small brown egg wearing tiny clothes.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>You still have your egg baby? Mine broke the first day.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Don't you fail if it breaks?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah, well she gave us a C cause my partner fell on some ice. My-wife tell on some ice and killed our egg baby.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Jesse cooked his. They both laugh.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Why's it brown?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>'Cause my wife was Tanisha Lubin.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Oh. Large laughs at Mark's earnestness.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>You kept her little blue skirt on.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>He's a boy. His name's Shantel.<\/dialogue>\n    <character>\u00c2\u0082\ufffd\u00a2<\/character>\n    <dialogue>LARGE<\/dialogue>\n    <scene_description>It's a girl, she's wearin' a skirt.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>They're shorts.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Shorts?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Yeah, he's a boy, Shantel. They're shorts.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Oh. They laugh. Large flips through an album.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>You collect \"Desert Storm Trading Cards\"?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Fuck yeah, dude. Those are collectors items. Do you have any idea how much those things will be worth some day.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Hell yeah. That shit's like an investment. I have lots of little investments - all over the place. I'm gonna sel3. 'em all one day and just live off 'em.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>So like how much is this one worth?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Which?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>\"Night Vision Goggles.\"<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I don't know. Mint; maybe two, three.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Dollars?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Yeah. But it's too early. You don't sell'em yet. Don't you know anything about investing. I'm gonna live off that shit. That \"Schwarzkopf\" card is worth at least five something. And if you have the complete set it's worth like thousands.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>So do you have the complete set?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Almost. The corners are bent on my \"Friendly Fire\" and someone stole my \"Wolf Blitzer\".<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Someone stole it?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>One of my Mom's Medieval Times friends, man. Drug addicts.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>For drugs they sold it?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Wolf Blitzer.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>It doesn't matter if you're a rich house wife looking for your muscle relaxers or some crack head drying cars: people will do anything in<\/dialogue>\n    <scene_description>this town to get their drug money. Now look, what do you gotta do today? I gotta little going away present for you. But I kinds gotta track it down. So, can you give me a ride?<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>Yeah, sure I just...<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Nothing I just...<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Say it... speak.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Nothing I just, I told Sam I was gonna hang out with her today...<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>She can come, I don't care.<\/dialogue>\n    <character>EXT. SUBURBAN STREETS- DAY<\/character>\n    <dialogue>GREAT MUSIC PLAYS.<\/dialogue>\n    <dialogue>They drive the motorcycle through the Jersey suburbs; Sate<\/dialogue>\n    <scene_description>on the back and Mark in the sidecar wearing a lacrosse helmet and ski goggles. LARGE'S POV: A mother and her stroller. A huge group of Black teenagers coming home from school. An old crossing guard. An ambulance. Two powerwalkere.<\/scene_description>\n    <character>OMIT<\/character>\n    <dialogue>INT. HANDI-WORLD - LATER<\/dialogue>\n    <dialogue>They walk down an aisle.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>What are we doing in the mall. I don't wanna be in the fucking mall.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>We're making some money for your present. Just don't look so guilty.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>What do you mean, how do I look guilty?<\/dialogue>\n    <scene_description>VOICE (0.S.) Andrew Largeman? They turn. KARL BENSON, greasy hair wearing a wrinkled, red \"Nandi--World\" vest and dirty pants stands holding a small box.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Oh, no. Benson.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Oh, no.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Who's that?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Don't give him your number. Karl approaches.<\/dialogue>\n    <character>KARL<\/character>\n    <dialogue>Hey, what's up, man.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>KARL<\/character>\n    <dialogue>Holy shit, I haven't seen you since like junior year.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>KARL<\/character>\n    <dialogue>I thought you killed yourself.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>KARL<\/character>\n    <dialogue>I thought you killed yourself, that wasn't you?<\/dialogue>\n    <character>LARGE<\/character>\n    <parenthetical>(BEAT)<\/parenthetical>\n    <dialogue>No. That wasn't me?<\/dialogue>\n    <character>KARL<\/character>\n    <dialogue>Who killed themselves?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Just that Gleason kid. Oh, and Tina.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Tina who?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>You remember Tina. She was like anorexic. She did gymnastics...<\/dialogue>\n    <dialogue>Sam is horrified by this conversation.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>oh yeah, gymnastics Tina. How'd she do it?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I don't know. She wasn't Jewish, I didn't bury her.<\/dialogue>\n    <character>KARL<\/character>\n    <dialogue>I think sleeping pills. or that car in the garage thing. I forgot.<\/dialogue>\n    <dialogue>Sam is yanking on her ear for Large to see, but he doesn't notice.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>This is Sam. Sam this is Karl.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Listen I'm gonna go grab that thing. So just hang here and I'll be back.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Oh. He walks off.<\/dialogue>\n    <character>KARL<\/character>\n    <dialogue>He's such a dick.'<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Why'd you say that?<\/dialogue>\n    <character>KARL<\/character>\n    <dialogue>He stole my little brother's last dose of Ritalin and the little fucker glued his lips closed. Weren't you on TV or something?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah. Yeah I was. Just this thing. So you're like what, working here?<\/dialogue>\n    <character>KARL<\/character>\n    <parenthetical>(DISMISSIVE)<\/parenthetical>\n    <dialogue>Only for awhile I'm opening my own business. Actually, I should tell you about it. I'm looking for smart people like you, Large. I should get your number.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah, definitely.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>So what 'a in the box.<\/dialogue>\n    <character>KARL<\/character>\n    <dialogue>Oh, washers. I'm s'posed to count'em.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Washers?<\/dialogue>\n    <character>KARL<\/character>\n    <dialogue>(picking one out) You know these little round metal things you put between a bolt and a nut.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Oh, washers. I never use those. I never knew what they were for, so. I just always threw them away. I never used washers. Silence.<\/dialogue>\n    <character>KARL<\/character>\n    <dialogue>Oh, well listen, I want to talk to you both about a good opportunity. (like he's memorized it<\/dialogue>\n    <character>LAST NIGHT)<\/character>\n    <dialogue>For you and your loved ones. We all have dreams. I know I do. I know of an exciting opportunity that people are talking about.<\/dialogue>\n    <dialogue>Mark returns holding a box with a picture of steak knives on the side.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Hey. We gotta get going.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah, well it was great to see you, man. I'm sure I'll see you around.<\/dialogue>\n    <character>KARL<\/character>\n    <dialogue>Yeah, well let me get your number.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>oh, well we gotta run. I'm listed. Just call information. It's been so long since I've been home I don't even remember it.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Nice meeting you.<\/dialogue>\n    <character>INT. HANDI-WORLD CHECKOUT -- CONTINUOUS<\/character>\n    <dialogue>MARK<\/dialogue>\n    <scene_description>Why is it always the losers who get into the pyramid schemes? Why isn't it ever some charming hot girl nagging you incessantly to buy shit?<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>Oh, is that what it is?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Detergent or some shit. The thing I don't understand is, if it worked, why would he be working here. The guy's a freak; he pops Darvocet like it's Ritalin.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Why are you buying knives? I don't need knives. They arrive at the counter. A young Black woman with<\/dialogue>\n    <scene_description>enormous gold earrings and long fingernails stands at the register.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>I'd like to return these.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>You got a receipt.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Actually, no. It was a gift. She clicks her tongue. She begins filling out a form.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Why are you returning these?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>They're not sharp enough.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>They're not sharp enough?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>No. Not for what we need them for. They couldn't cut cans.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>You bought them to cut cans?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>No, but in the commercial they say that if I wanted to cut cans I could. But with these knives I can't.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Well it comes with a sharpener. Did you try it?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Yeah, they're just... I don't want them; not sharp enough.<\/dialogue>\n    <dialogue>She rings it into the register and counts out bills to Mark.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Thirty-nine, fifty-three. I hope we came in handy at Handi-World. Please come again.<\/dialogue>\n    <dialogue>They exit the store and enter the mall.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MALL - DAY<\/stage_direction>\n    <scene_description>They walk past stacks of lumber.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>A major loop-hole in the Handi- World return policy permits returns without receipts on items below forty dollars.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>So how often do you go?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I hit every employee once, then wait for them to. hire. new ones. Luckily, no one works at Handi- World for very long. Except Karl Benson.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>You know, Mark, it's my last day in town. I have money. I can give you some.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I don't need your money, I'm making my own right now.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Or fuck, take Jesse's - the guys a millionaire.<\/dialogue>\n    <scene_description>Mark stops and looks at Large in the eyes.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>i don't take anybody's money, Andrew. I make my own. Favors are bad news. And the only thing worse than a favor, is a favor involving money.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RESCUE SQUAD -- LATER<\/stage_direction>\n    <scene_description>The motorcycle pulls up behind two ambulances being cleaned with hoses. Large sees Cynthia changing the sheets on a stretcher. They climb off.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>This will only take a second.<\/dialogue>\n    <character>(TO CYNTHIA)<\/character>\n    <dialogue>Is Aaron here?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>LARGE<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>LARGE<\/dialogue>\n    <scene_description>This is Sam.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>LARGE `<\/character>\n    <dialogue>(re: the stretcher) Did he live?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>She... had an eight pound boy.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You delivered him?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>(TO LARGE)<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Mark's picking up something.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>He's as friendly as always. The three stand in awkward silence.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Help me with this. He stands at the other end of the stretcher as she gu des<\/dialogue>\n    <scene_description>him through making it.<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>Grab that one... over... once more... good. That side... crease the corner. . .under.. .good. Same thing on this one... Voila.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>So were you there?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Were you on the call to my uh... to the house?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Ch.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Do you wish I was?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>She loved you\\_ Mark exits carrying a large gym bag.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Got it, let's go.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Nice to meet you.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>You too. Sam leaves them alone.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I should go.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <parenthetical>(SOFTLY)<\/parenthetical>\n    <dialogue>Youknow, Andrew, the hour will comeone day when you atop avoiding allthe people that love you.And whenit does I sure hope youcome findme... 'cause I'd love toknow whoyou are. He backs away.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>You know me enough to know I'd travel for your funeral right? I was kidding yesterday; where ever it was... you know I'd be there right?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Yes. He backs away and mounts his bike. Cynthia turns to the stretcher and quickly uses her thumb to swipe a tear,welling in her eye.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOLIDAY INN EXPRESS\/ROUTE 22 --- MORNING<\/stage_direction>\n    <scene_description>Mark, Sam and Large enter the tacky lobby. Mark carries the gym bag. Large and Sam follow Mark down a corridor and into a vending machine room. He opens a door labeled \"Private\" into a kitchen area. They weave through the kitchen down another hall...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACK ROOM -- CONTINUOUS<\/stage_direction>\n    <scene_description>They arrive at a locked door. Mark knocks. After a beat it's opened by an Asian teenager with bad acne blasting his walkman. The far wall is entirely covered with a blown-up mural of a New Jersey Driver's License used for making fake ID's. The space where the face would go is missing, revealing an opening in the wall. They climb through.<\/scene_description>\n    <character>INT. SECRET HALLWAY -- CONTINUOUS<\/character>\n    <dialogue>DURING THE FOLLOWING SCENE, THE CHARACTERS WILL ONLY WHISPER<\/dialogue>\n    <scene_description>SAYING<\/scene_description>\n    <character>FROM SUBTITLES.<\/character>\n    <dialogue>They squeeze down a long dark corridor filled with graffiti. They come upon a young teen staring through a peep hole in the wall. Mark taps him on the shoulder. He turns his head and nods in recognition. When he pulls away from the peep hole, the LIGHT PROJECTS<\/dialogue>\n    <scene_description>THE<\/scene_description>\n    <character>IMAGE OF THE MOTEL ROOM ON HIS FACE .<\/character>\n    <dialogue>(Yes, that really happens.) As he looks at Mark, Sam and Large, his forehead is filled with the image of a BUSINESS MAN brushing his teeth. Mark leans into his ear.<\/dialogue>\n    <character>MARK<\/character>\n    <parenthetical>(SUBTITLED)<\/parenthetical>\n    <dialogue>Where's Diego?<\/dialogue>\n    <character>TEEN<\/character>\n    <parenthetical>(SUBTITLED)<\/parenthetical>\n    <dialogue>Down the hall. There's a hooker in room 112.. It's crazy down there. I figured I'd just chill with this. SLOW MOTION: Mark gestures for Large and Sam to follow him down the hall. The hall is strewn with young men staring into peep holes. As Mark, Sam and Large pass them, the<\/dialogue>\n    <scene_description>Peeping Tom's each turn to see who it is. As they turn, each one has the image of what they're watching projected on their face. We hear the ECHOES of the SOUNDS FROM the ROOMS. -- An old couple slow dancing projected on another teen. REGULAR MOTION: They arrive at the end of the hall where a group of six young guys are glued to the image being projected onto the wall opposite the peep hole. An old camera lens has been ducked taped to the peep hole causing the image to appear in perfect focus. The projection shows a very hot, YOUNG HOOKER getting taken from behind by an OLDER GREASEBALL. Her face is no more than three feet from the peep hole. The HOOKER'S MUFFLED MOANING can be heard from the other side of the wall. Everyone's eyes are glued to the wall. Large notices one kid has duct tape over his mouth, while another is sweating profusely. Sam's jaw is dropped open.<\/scene_description>\n    <character>GRBASESALL (0.5.)<\/character>\n    <dialogue>I'm fucking you! I'm fucking you. Large notices another kid lip-synching along with the Greaseball. Mark spots DIEGO, a Hispanic guy, 32, wearing a bell-hop uniform and gestures him closer.<\/dialogue>\n    <character>MARK<\/character>\n    <parenthetical>(SUBTITLED)<\/parenthetical>\n    <dialogue>T'sup dog? She's fuckin' hot.<\/dialogue>\n    <character>DIEGO<\/character>\n    <parenthetical>(SUBTITLED)<\/parenthetical>\n    <dialogue>This is the most exciting day of my life. We've never had anything close to this.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I've got that Nitrous tank for you, so can I get that info?<\/dialogue>\n    <character>\u00c2\u0082\ufffd\u00a2<\/character>\n    <dialogue>DIEGO<\/dialogue>\n    <scene_description>You're gonna have to wait a couple. The HOOKER MOANS.<\/scene_description>\n    <character>GREASEBALL (O.S.)<\/character>\n    <dialogue>Who's fuckin' you? Hub? Who's fuckin' you? The Lip-Synching Kid mouths, \"You are.\"<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Dude we're kind of in a rush.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>You can wait, he's about to cunt.<\/dialogue>\n    <character>GREASEBALL<\/character>\n    <dialogue>I'm gonna fucking cum! Diegogestures, \"Told you.\"<\/dialogue>\n    <character>HOOKER<\/character>\n    <dialogue>Cum on my back! The group responds in silent shock. Jaws drop, Diego grabs his hair with his fists. Just as they are about to climax,<\/dialogue>\n    <scene_description>we<\/scene_description>\n    <character>CUT TO:<\/character>\n    <dialogue>INT. OUTER ROOM --- DAY<\/dialogue>\n    <dialogue>Mark, Diego, Large, Sam and others rush out into the outer room.They speak in quiet whispers.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>HOLY SHIT3<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>That shit was hot! I got to go drop some knowledge on that ho.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>How do you know she's a hooker?<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>of course she's a fucking hooker. Girls that look like her do not<\/dialogue>\n    <scene_description>fuck guys that look like him unless it's for money, coke or fame.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Julia Roberts married Lyle Lovett.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Who the fuck are you?<\/dialogue>\n    <character>MARX<\/character>\n    <dialogue>Oh, this is Sam and Large.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>No offense.<\/dialogue>\n    <character>(TO MARK)<\/character>\n    <dialogue>Why are you bringing these people here?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>He's the guy who needs that thing. Look I brought you the tank, so can you just tell us where to go now?<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Tank come with balloons?<\/dialogue>\n    <character>MARX<\/character>\n    <dialogue>Am I a fucking birthday clown, Diego? No I don't have balloons. Suck it off the tap. And I need it back when you're done; the guy's holding my thirty-nine bucks.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>All right. Hold-up. Who here just saw some titties?! They all stare.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Raise your hand if you just saw some titties?!<\/dialogue>\n    <dialogue>They all raise their hands. (Including Sam.)<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Thank you. So everybody needs to calm the fuck down.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>we're in a hurry.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>All right. You know where Kiernan's Quarry is?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KIERNAN'S QUARRY -- LATER<\/stage_direction>\n    <scene_description>They pull up on the motorcycle. MARK (V . O . ) Down in Newark, right? DIEGO (V.0.) Yeah, its at the bottom of Hillside and Rivington. You can't really see it from the street, but it's there. Park your car at the gate and hop the fence. They do. DIEGO (V.O.) At the bottom of the quarry there's this Junkyard run by this guy named Albert. lie's the one that tracked down the piece you're looking for. I'll call him right now and tell him to expect you.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>Okay, stop. What the fuck are we doing?<\/dialogue>\n    <character>MARX<\/character>\n    <dialogue>Just be patient.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Dude, we've been patient all day, but it's my last day in town and you haven't told me what the fuck we're doing. I mean if you told me we were going on a six hour scavenger hunt for blow I would have passed.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Blow? Please. If I was gonna give you coke we'd have gone to the high school football practice and we'd a been reeling five hours ago.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Well I think we've corrupted this innocent girl enough for one afternoon.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'm not innocent.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>(getting worked up) Yes, you are. And that's what I like about you. And I don't want this fucking guy taking you to the bottom of a quarry in a sketchy-ass neighborhood to find some Pitbull's raping each other or... crack whore's huffing turpentine or whatever it is that you have us<\/dialogue>\n    <character>DOINGS<\/character>\n    <dialogue>MARK<\/dialogue>\n    <scene_description>Wow. That's the most worked up I've ever seen you.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>He was protecting me.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>So.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>He likes me.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Don't be cute.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You're my knight in shining armor.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Don't talk about knights in front of Mark. It's a sore subject.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I'm gonna kill that motherfucker.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Pun intended? Beat as Mark gets it. He comes after him.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>You're dead. They play wrestle as Sam watches.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KIERNAN'S QUARRY -- MOMENTS LATER<\/stage_direction>\n    <scene_description>The three of them reach the top of a small hill to reveal... AN ENORMOUS ABANDONED QUARRY Colossal old cranes and construction trucks loom in the distance like ancient dinosaurs frozen in rust and graffiti. The center of the quarry goes so deep they can't see the bottom. They stand on the edge. Rain clouds rapidly drift overhead. This glace is surreal.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I never even knew this was here.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I've heard about it. They were supposed to build a mall here I think.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Yeah I remember reading about it in the paper.<\/dialogue>\n    <character>\u00c2\u0082\ufffd\u00a2<\/character>\n    <dialogue>They were digging one day and they broke through into this like natural phenomenon. It's like an underground Grand Canyon or something. So now they're in some huge legal battle over whether they can build here or not.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Can you imagine the guy who's job it is to fight for the right to build his mall on some like geological phenomenon?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>They love their mall's here man. Okay let's just find this guy and get outta here.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>You're not gonna tell us what we're getting?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>It's a surprise, you'll see. Mark walks on ahead of them down a path that winds down alongside the abyss.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 1CTERNIAN'S QUARRY -- LATER<\/stage_direction>\n    <scene_description>Further down the path. Sam looks to Large. He uses an old mop handle he's found as a walking stick. As they continue along the path it begins to get continually cluttered with rusty junk. An old bedframe, a porcelain tub, remnants of a \"Jungle-Gym\", dirty broken toys. Further along down the path amidst the junk they see a THIRTY FOOT DILAPIDATED SOUSE BOAT perched on cement blocks that sits right on the edge of the cliff. It's windows glow warm and welcoming. Mark stands in front of the boat. This isn't what he expected. Rain begins to fall.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>I guess this is it.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>So... knock. Knock and barter for \"Dessert Storm Trading Cards\".<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Please don't tease me about my hobbies. I don't tease you about being an asshole. They stand in the pouring rain staring at the boat. Mark steps up and pounds his fist on the wooden hull.<\/dialogue>\n    <scene_description>After a moment, ALBERT, a very gentle looking man in his mid- thirties with a newborn baby asleep on his shoulder appears on the deck. He smiles warmly-<\/scene_description>\n    <character>ALBERT<\/character>\n    <parenthetical>(in a whisper)<\/parenthetical>\n    <dialogue>Mark?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Yeah. Are you Albert?<\/dialogue>\n    <character>ALBERT<\/character>\n    <parenthetical>(with a smile)<\/parenthetical>\n    <dialogue>Yes. Come on in out of the rain. Sam and Large look at each other, then follow Mark up an A- frame ladder that sits next to the hull.<\/dialogue>\n    <character>INT. ALBERT'S BOAT -- CONTINUOUS<\/character>\n    <dialogue>They step inside and the door closes behind them. It's very cozy and warm. GREAT MUSIC PLAYS. A wood burning stove heats the room and throws warm amber light onto a small LIVING<\/dialogue>\n    <scene_description>ROOM with deep cushy couches.<\/scene_description>\n    <character>ALBERT<\/character>\n    <dialogue>You guys must be freezing. Make yourselves warm by the fire. I'm just gonna go put her down. I'll be right out. The three of them huddle by the fire. They speak in quiet whispers.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I must say, I've been continually impressed today with how each new place you bring us manages to be weirder and weirder.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>What do you mean, this is nice.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>ah nothing, just hanging out in an old boat at the bottom of a quarry in Newark.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>It's hardly the bottom, dude. Did you see that cliff? Albert returns with FAYE, an equally gentle and caring looking woman in her early thirties.<\/dialogue>\n    <character>ALBERT<\/character>\n    <dialogue>This is my wife, Faye.<\/dialogue>\n    <character>ALL<\/character>\n    <dialogue>Hi. Hello.<\/dialogue>\n    <character>FAYE<\/character>\n    <dialogue>Hi. Welcome.<\/dialogue>\n    <character>ALBERT<\/character>\n    <dialogue>This is Mark and Sam and Large, right?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>YEAH\\_<\/dialogue>\n    <character>ALBERT<\/character>\n    <dialogue>Diego told me when he called. Please have a seat, make yourselves comfortable.<\/dialogue>\n    <character>FAYE<\/character>\n    <dialogue>Its really coming down out there, huh?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah, it just started pouring all of a sudden.<\/dialogue>\n    <character>ALBERT<\/character>\n    <dialogue>Well in a bad storm I like to pretend this old boat's my own private \"ark\". Unfortunately, if this is the apocalypse, I'm not quite sure it still floats.<\/dialogue>\n    <character>FAYE<\/character>\n    <dialogue>Would any of you like some tea?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'd love some tea. Large and Mark look at her.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>No thanks.<\/dialogue>\n    <character>MARX<\/character>\n    <dialogue>No.. thanks. Faye crosses to a small kitchen. They all sit there politely nodding at each other.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>What is it that you do here? What is this place?<\/dialogue>\n    <character>ALBERT<\/character>\n    <dialogue>Good question. We're calling it Kiernan's Fault. And no one's really quite sure what it is because they haven't been able to explore it. They're locked in a legal battle over who has the rights to the land.<\/dialogue>\n    <scene_description>So one of these days it will either be a national park or a shopping mall. But while their locked in litigation, I was hired to make sure no one comes inside.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>Oh. Wow.<\/dialogue>\n    <character>ALBERT<\/character>\n    <dialogue>What they don't know is that I'm a geologist working undercover for the preservation lobby. So, at night... I go down.<\/dialogue>\n    <character>FAYE<\/character>\n    <dialogue>He's documenting it to support their case.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Wow. So how deep does it go?<\/dialogue>\n    <character>ALBERT<\/character>\n    <dialogue>No one really knows. I've been in the furthest and that was about two miles down. But I like to pretend it's infinite.<\/dialogue>\n    <scene_description>Faye brings them tea.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>It's kind of an odd job isn't it? Guardian of an infinite abyss?<\/dialogue>\n    <character>ALBERT<\/character>\n    <dialogue>Yeah, I guess it is. We also trade and deal in antique jewelry. I suppose it's pretty odd for you that we live down here like this-<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Not at all.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Never crossed my mind.<\/dialogue>\n    <character>ALBERT<\/character>\n    <dialogue>But we think it's important.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Why? What do you think you'll find?<\/dialogue>\n    <character>ALBERT<\/character>\n    <dialogue>I don't know. It's exciting. New frontiers are hard to come by these days. I guess I just like the idea of discovering something.<\/dialogue>\n    <scene_description>Doing something completely unique that no one's ever done before. Large looks to Sam.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>Yeah. \"Albert's Abyss\".<\/dialogue>\n    <character>ALBERT<\/character>\n    <dialogue>Who knows? Maybe. But I used to think that was all that mattered. No matter what it was, as long as I could put my name on it. Like it would somehow justify the fact that I lived; that I was here. \"I did that. That's mine. I got this plate on my travels.\" But you know what? That's all ego; none of that stuff really matters. If at the end of the day I get to be with her, if I get to be with this person right here and the baby we created, then that's all I need. Just having felt that... If I die in an hour, I know I've lived.<\/dialogue>\n    <dialogue>Faye kisses his forehead.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>You know \"my whole life I've had that same anxiety that if I didn't discover something or... save something or...<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Save something from being discovered.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah. That I'll have somehow wasted my time here. And that somewhere, whatever force created us, would resent me for it.<\/dialogue>\n    <character>ALBERT<\/character>\n    <dialogue>Well I think that force would rather remind you that \"breathing's all it takes to be a miracle\".<\/dialogue>\n    <dialogue>He takes a deep breath. Large, Sam and mark stare at Albert; TRANSFIXED. He's like a sage.<\/dialogue>\n    <scene_description>GREAT MUSIC BEGINS.<\/scene_description>\n    <character>ALBERT<\/character>\n    <dialogue>Well i suppose you want what you came all the way down here for.<\/dialogue>\n    <character>MARX<\/character>\n    <dialogue>Yeah, that would be great.<\/dialogue>\n    <character>ALBERT<\/character>\n    <dialogue>It took me awhile to track this piece down. But I owe Diego huge. He pulls a small paper bag off the counter and hands it to Mark. Mark looks inside and nods his head.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>That's it. Thank you. They all stand.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Well thank you for the tea.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah, thanks.<\/dialogue>\n    <character>FAYE<\/character>\n    <dialogue>Okay, good luck in the rain. Would you like some garbage bags or something?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah, that would be great.<\/dialogue>\n    <character>EXT ALBERT'S HOUSE BOAT--DAY<\/character>\n    <dialogue>They open the door and venture into the, DOWN POUR in their garbage bag parkas.<\/dialogue>\n    <character>ALBERT<\/character>\n    <dialogue>Good-bye. Albert stands with his arm around Faye in their warm<\/dialogue>\n    <scene_description>doorway. As the three of them climb down the ladder and head up the path. Large turns back' around.<\/scene_description>\n    <character>LARGE<\/character>\n    <parenthetical>(yelling over the rain)<\/parenthetical>\n    <dialogue>r, Hey Albert l<\/dialogue>\n    <character>ALBERT<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Good luck exploring the infinite<\/dialogue>\n    <character>ABYSS1<\/character>\n    <dialogue>ALBERT<\/dialogue>\n    <parenthetical>(with a smile)<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>HEY\\]<\/dialogue>\n    <character>(BEAT)<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KIERNAN'S QUARRY -- CONTINUOUS<\/stage_direction>\n    <scene_description>THE GREAT MUSIC CONTINUES SLOW MOTION: Mark, Sam and Large in black garbage bag rain parkas head up the incline away from the trailer at half speed. Large leads them to an old yellow crane that's rusty arm hangs out over the 'edge. He climbs up onto it's base. REGULAR MOTION; Large SCREAMS as loud as he can, with everything he has, like he's emptying himself into the abyss. Sam and Mark look up at him and climb up alongside Large to join hint. The three of them, in their black parkas, with their hair drenched against their heads, SCREAM as loud as they can, with everything they have in the POURING RAIN. FREEZE FRAME: The three of them smiling. A release. A perfect moment. UNFREEZE: Sam locks eyes on Large. He stares back at her. They kiss. He wraps his hands around the back of her head and they kiss, in the pouring rain, on the edge of something.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARK'S HOUSE -- LATER<\/stage_direction>\n    <scene_description>The rain has stopped as Large's motorcycle pulls up in front of Mark's house. mark gets out of the sidecar.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>So I don't know if I'm gonna see you.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I know. Don't you wanna know what's in the bag?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>To be honest, I don't even care anymore.<\/dialogue>\n    <dialogue>Mark pulls out the bag. It practically falls apart it's 80 wet from the rain. He pulls out an ANTIQUE NECKLACE with a square pendant on it. He puts it in Large's wet hand.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>I'd be lying to ya if I told ya this was my plan all along.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>But I got it back. That's got to be worth something, right?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>This whole day was about this?<\/dialogue>\n    <character>MARK<\/character>\n    <parenthetical>(NODDING)<\/parenthetical>\n    <dialogue>And anyway you didn't want it down there with her. It's better for you to have it.<\/dialogue>\n    <dialogue>Large shakes his head; he's shocked. Mark backs away, still wearing his garbage bag parka.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Hey, if you ever need a Kato, you know where to find me.<\/dialogue>\n    <dialogue>Large sits back down on the bike into Sam's wet arms. He stares at the pendant in his hand.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>It's my Mom's favorite necklace.<\/dialogue>\n    <scene_description>FADE TO BLACK:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASTER BATHROOM -- NIGHT<\/stage_direction>\n    <scene_description>They sit, soaked from the rain in the empty bath tub where Sarah Largeman drowned,, cross-legged facing each other. Large wears the necklace around his neck. He plays with the pendant... EXTREME CLOSE-UP INSIDE TEE PENDANT: It's an antique game where you try to get three tiny lead balls to sit in three separate indentations.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>No. I don't want to play this game.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Why not? I'm curious. She's sitting here, across from you and you can say anything at all. All the things you never got a chance to say.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>No?<\/dialogue>\n    <character>I (BEAT)<\/character>\n    <dialogue>Well I don't want to push you. I just thought it might help. I mean isn't that what you came home for?<\/dialogue>\n    <dialogue>Re stops playing with the necklace and takes a deep breath.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>I would...<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>If she were sitting here.<\/dialogue>\n    <character>(REALLY THINKING)<\/character>\n    <dialogue>if my mother were sitting here I would tell her... Silence. The faucet DRIPS behind him.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I really don't wanna...<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>I would tell her that I'm sorry.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>I'm sorry that she wasn't happy. And I'm sorry I couldn't make her happy. And you know if I could have had anything I ever wanted to have happen in my life actually ever happen, it would have been that she would be happy. And... A tiny tear wells in his lid and. spills over.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Oh, my God, Large I think I see one.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Shut-up.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Yeah, I do. Don't move, we should save it or something. She finds a clear plastic cup.<\/dialogue>\n    <character>SAM (COUT' D)<\/character>\n    <dialogue>Here don't move, I'm gonna get it. She tries to coerce the- tear off his cheek into the cup,<\/dialogue>\n    <scene_description>like a child capturing an inch worm.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>I guess I could put it in my scrapbook, if I had a scrapbook. They wait.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Is that it?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I think so. I don't feel any more coming.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Well if you do, let me know and I'll grab the cup, okay?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>This was a good idea. Keep talking.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>It's funny; this thing reminds me of this really random memory of my mother. Its so weird, I haven't thought about this in so long, but this great memory I have where I was a little kid and I was crying for one reason or another and she was kind of holding me and rocking me back and forth. And I could see the little balls in this thing just rolling back and forth. And there was just snot dripping down my nose.<\/dialogue>\n    <character>(HE LAUGHS)<\/character>\n    <dialogue>And she just handed me her sleeve and told me to just blow my nose into it. And I remember thinking, even as a very little kid, \"Wow. This is love.\" More tears start to well and overflow from his eyes. He<\/dialogue>\n    <scene_description>tries to stifle them with a LAUGH. He cradles the pendant.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>This is love. And it just felt<\/dialogue>\n    <scene_description>so... good to be there. So safe. And I didn't feel safe very often, but at that moment... Tears are now streaming down his face as well as Sam's. She holds the plastic cup in her hand.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>oh, Large I'm never gonna be able to get all these.<\/dialogue>\n    <dialogue>They laugh. She moves closer, wrapping her legs around his waist to hug him close. She kisses his-'wet cheeks.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'm never gonna be able to get all these, am I?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>It's so funny isn't it? But I think that's the single most amazing moment I remember of my Mother. 'Cause she wasn't sad and she wasn't being prodded to be happy, she was just there.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>To be your Mom.<\/dialogue>\n    <scene_description>He node and tightens his lips; trying to hold in the faucet that his eyes have become; a monumental release. He almost looks like a different person. They stare directly into each other's eyes. He turns away; it's too vulnerable a place for him.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Look at me.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>Look at me. He does. And we see a vulnerable, lonely, little boy.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>(in a whisper) Let go. Listen to me. Just don't hang onto any of it anymore. You're holding on so tight and you just... you don't have to hang onto any of it anymore. Just let it all go.<\/dialogue>\n    <character>LARGE<\/character>\n    <parenthetical>(THROUGH TEARS)<\/parenthetical>\n    <dialogue>I just don't...<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Just let it all go. He cries with his elbow over his eyes.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>What do you feel? Describe it. That always helps me. My mom always says, \"What's the word that's burning in your chest...\"<\/dialogue>\n    <dialogue>She touches his chest with her hand.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>What is it? He looks away. Soared.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Look at me. He does.<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>(GENTLE)<\/parenthetical>\n    <dialogue>What is it?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>(in a whisper) I would say that it's Love.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>It's this Love that I have.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Yeah, it is.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>And you've got so much of it in you... God, you do. You've got so many years of it in you, pleading to come out.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>This fucking hurts.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I know. But that... that is life. if nothing else... (pointing to his chest) That is life. St's real. And sometimes it burns. But maybe... it might be all there is.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>Look at you. Look at you. You look like you just came back to life. He just stares at her.<\/dialogue>\n    <character>LARGE<\/character>\n    <parenthetical>(BAFFLED)<\/parenthetical>\n    <dialogue>who are you?<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>(SMILING)<\/parenthetical>\n    <dialogue>I'm your new friend, Sam. Holding up her sleeve.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Tissue? They both laugh; a release.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Fuck. I feel like I just get so much thrown at me; like there's so much speeding by me in a day that I feel like if I look up from the sidewalk, I'll get dizzy and fall down. So it's like I just... barrel through and don't look up, so I'll just never fall, you know? And that's really... and you know it's so sad to say this, but that's<\/dialogue>\n    <scene_description>really how I've been living my whole life.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Trying to barrel through.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Well it sounds like you were due to fall.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>(REALIZING)<\/character>\n    <dialogue>Yeah I was. (beat. Then with a laugh.) Thanks Mom. (beat, realizing) That's funny. The definition's always confused me, but I'm pretty sure that's irony. He smiles. He wipes his tears away with his own sleeve .<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Come here. She comes in for a tight embrace. He kisses her gently on<\/dialogue>\n    <scene_description>her cheek with his eyes closed, then rests his head on her - shoulder.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>How do you feel? On Large's face as he thinks about that question.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Safe.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>When I'm with you, I feel so<\/dialogue>\n    <scene_description>safe... like I'm Rome. A WIDE SHOT of the bathroom as Sam and Large embrace in the middle of the empty tub and the faucet continuee to DRIP.<\/scene_description>\n    <character>DISSOLVE TO:<\/character>\n    <dialogue>INT. LARGE'S BEDROOM -- LATER<\/dialogue>\n    <dialogue>Large's STEREO PLAYS: (\"I Just Don't Think I'll Ever Get<\/dialogue>\n    <scene_description>Over You\" by Colin Ray) Large and Sam lie naked in each other's arms. She's asleep. He lies wide awake resting his cheek on top of here. A SERIES OF DISSOLVES: of Large as he lies awake in different positions staring at the ceiling; processing. S am turns to him. He gets up out of bed and puts his clothes on.<\/scene_description>\n    <character>TNT. MASTER BEDROOM -- CONTINUOUS<\/character>\n    <dialogue>Large stands at the end of the bed staring at Gideon lying propped up with a book on his cheat, asleep. The EVENING<\/dialogue>\n    <scene_description>NEWS is on the TV.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>Dad? He sits up startled.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>Oh, hey, hey c'mon in. He finds his glasses on his chest and lifts the remote to turn off the TV.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Sorry to wake you.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>No, no, it's uh... I was just reading.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I've been on a pretty crazy little journey these last couple of days.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>You've been avoiding me.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>No, I just... maybe I have been.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>I'm sure you can find plenty of things in your life to be angry about, but what I don't understand is why you're so angry at me. All I ever wanted was for everybody to be happy again, Andrew. That's all I ever wanted.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>But when were we ever all happy, Dad? I mean you always say that, but when was that? When was this time that you have in your mind that you wish we could all get back to? 'Cause I don't have it in my memory. Maybe if I did I could help steer us back there. But we should...<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>You know... you and I need to work on being okay if that's not in the cards for us.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>Well we might have a shot at it if you could just forgive yourself for what you did.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>What I did? What I did?! You know what, Dad? I'm gonna forgive myself<\/dialogue>\n    <scene_description>for what I did right now: I was a little boy and somebody made a shitty latch. That's what I think now. And I'm not gonna... I mean I'm not gonna take all those drugs anymore. Because they've left me completely numb. I have felt so fucking numb to everything I have experienced in my life. And for that; I'm here to forgive you. Gideon site up against the headboard.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>You've always said you wanted us to have whatever it is we wanted. Well maybe what Mom wanted more than anything, was for it to all be over. And for me, what I really want more than anything, is for it to be okay with you for me to feel something again; even if it's pain.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>Going against your doctor's recommendation; that's a pretty weighty experiment to take on don't you think?<\/dialogue>\n    <character>LARGE<\/character>\n    <parenthetical>(with a chuckle)<\/parenthetical>\n    <dialogue>This is my life, Dad. This is it. I've spent twenty-six years waiting for something else to start. So no, I don't think it's too much to take on. Because it's everything there is.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>I see now it's all there is.<\/dialogue>\n    <character>GIDEON<\/character>\n    <dialogue>Perhaps the great tragedy of my life, will be that you both deserved more than I knew how to give?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>We deserved nothing more than you. And you deserved nothing more than us. Large puts his hand on the center of his father's bare<\/dialogue>\n    <scene_description>chest.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>You and I are gonna be okay. You know that, right?<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>We may not be as happy as you always hoped we'd be. But for the first time let's allow ourselves to be whatever it is that we are... and that'll be better. OK? I think that'll be better.<\/dialogue>\n    <character>DISSOLVE TO,<\/character>\n    <dialogue>INT. NEWARK AIRPORT STAIRCASE -- MORNING<\/dialogue>\n    <scene_description>Large sits next to Sam on a staircase between two escalators.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>I don't want to hurt you.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>No. Why? How can you... how could you... What's going on? What happened? We can figure out the long distance thing. Don't... this is a good thing, Large. Don't... you're gonna be... please don't do this. Shestarts crying.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Sam.<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>(THROUGH TEARS)<\/parenthetical>\n    <dialogue>You don't realize. This is good. This doesn't happen often in your life. We can figure this stuff out. I wanna help you. We need each other; I haven't even lied in two days.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Is that true?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Look at me. Sam, look at me. This is not over. I'm not putting a period at the end of this thing. I'm putting like... an ellipses on it. Because I'm worried that if i don't go figure myself out, if I don't go land on my feet and be okay on my own, I'm gonna fuck this up. And I don't want to do that . This matters too much to me.<\/dialogue>\n    <scene_description>He checks his watch. LARGE This isn't a conversation about this being over. It's about me needing time to... Look, I just fired my psychiatrist, I gotta go out and find a new one. He stares off. Decision time.<\/scene_description>\n    <character>LARGE<\/character>\n    <dialogue>- I gotta go. I'm gonna call you. As soon as I get there I'm gonna call you.<\/dialogue>\n    <dialogue>She nods; heartbroken.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Look at me. She doesn't. LARGE (CONT' t ) Look at me. She turns.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>You've changed my life, Samantha. And I've known you for four days. This is the beginning of something big. But right now I gotta go.<\/dialogue>\n    <dialogue>He kisses her on her mouth. As he pulls away she arcs her head to touch his lips for one more second.<\/dialogue>\n    <scene_description>FADE TO BLACK: ANCHOR (O.S.) Well Paul is off tonight, but we're lucky enough to have Ryan Walker here to tell us about our weather.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Gideon sits on the edge of the bed cutting his toe-nails. He's naked except for white underwear. The SOUND OF WATER running in the bathroom. ANCHOR (O.S.) Ryan, how's it lookin' out there? FEMALE VOICE (O.S.) Gideon?<\/scene_description>\n    <character>R<\/character>\n    <dialogue>Gideon doesn't hear the voice as he bends over and tries to pick each toenail he's cut out of the thick carpet.<\/dialogue>\n    <scene_description>RYAN (O.S.) Thank you, Dan. Well I have some good news. We are in for some gorgeous weather coming our way out of the northwest.<\/scene_description>\n    <character>FEMALE VOICE<\/character>\n    <dialogue>Gideon? A SCREAM and a BANG from the FEMALE VOICE in the other room! GIDEON'S FACE as it whips up into frame from his task on the floor.<\/dialogue>\n    <scene_description>FEMALE VOICE (CONT'A) GIDEON! SHE SCREAMS AGAIN THROUGH WATER! He darts up off the floor and races to the open bathroom doorl He is about to enter and then he's STOPPED ABRUPTLY.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>GIDEON I<\/dialogue>\n    <scene_description>SARAH IS DROWNING. Through the door we see SPLASHES OF WATER as they land on the bathroom floor. GIDEON'S FACE. he can't move; fro2en. His mind is racing; ADRENALINE. We can almost see how fast:his, mind is processing through his EYES. The WEATHER REPORT continues low in the background.<\/scene_description>\n    <character>SARAH<\/character>\n    <scene_description>GIDE... And then silence. GIDEON'S FACE; Wide-eyed in terror. HIS FINGERS as they slide down off the bathroom door frame. He backs away slowly to the bed and site down; staring blankly at the bathroom door. And then he starts to SOB. Quickly his whole body seems to surrender into it and he WEEPS hard. His whole back lurches upward with each SOH. RYAN (O.S.) So there you have it folks; get out the picnic baskets, push up those storm windows, 'cause it appears that Spring has arrived. Gideon looks up; lost. His face is covered with tears. He reaches down to the phone and dials 911.<\/scene_description>\n    <character>GIDEON<\/character>\n    <dialogue>I need an ambulance.<\/dialogue>\n    <scene_description>BLACK.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPORT BAGGAGE CLAIM AREA-- DAY<\/stage_direction>\n    <scene_description>Sam cries in a phone booth. A KNOCK on the glass spins her around to see Large. He opens the door.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Remember that idea I had about growing and working stuff out on my own and then finding you when I'd figured myself out?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>The ellipses?<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Yeah the ellipses. Its dumb. It's an awful idea. And I'm not gonna do it. Because like you said, this is it. This is life. And I'm in love with you, Samantha. (with a laugh)<\/dialogue>\n    <dialogue>I think that's the only thing I've .ever been really sure of in my whole life. I'm really fucked up right now, but I don't want to waste any more of my life without you in it. Okay?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>LARGE<\/character>\n    <dialogue>Because I think I can do this. I know I can. I want to. We have to. Yeah?<\/dialogue>\n    <dialogue>Tears stream down her face. She smiles her angelic smile.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>LARGE<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>LARGE<\/dialogue>\n    <scene_description>Okay. (beat, nodding) What do we do? He looks at her and smiles like we've never seen him smile;<\/scene_description>\n    <character>ALIVE; AWAKE; CHARGED!<\/character>\n    <dialogue>LARGE (CONT - D)<\/dialogue>\n    <dialogue>What do we do?<\/dialogue>\n    <dialogue>They pause for a moment, staring at each other, transfixed<\/dialogue>\n    <scene_description>by adrenaline and spontaneity. Slowly Large leans in and they kiss amidst an almost desolate baggage claim area. MUSIC CUE: Radiohead: \"Sulk\" As one lone bag circles an empty carousel waiting to be found.<\/scene_description>\n    <character>FADE OUT:<\/character>\n  <\/scene>\n<\/script>","summary":"Struggling actor Andrew Largeman wakes up from a dream\u2014in which he apathetically sits on a crashing plane\u2014to a telephone message from his father, telling Andrew that he needs to return home because his mother has died. Andrew leaves Los Angeles and returns home to New Jersey to attend the funeral. He recognizes the grave-diggers as old friends Mark and Dave, who invite him to a party that night. At home, Andrew's father gets him a doctor's appointment for headaches that he has been having. Later that night, Andrew goes to the party where he meets up with Mark, Dave, and Jesse, an old friend who has just earned a fortune after creating silent Velcro. After smoking marijuana and taking ecstasy at the party, he still remains detached. The morning after the party, Andrew proceeds to the appointment. In the waiting room, he meets a young woman named Sam, who is a pathological liar. She later explains that most times she does not know why she lies and will always admit to them afterward. In Andrew's meeting with his doctor, it is revealed that Andrew has been on lithium and other mood stabilizers, as well as antidepressants, since the age of 10, but has recently stopped taking them. He also says that his father, who is his psychiatrist, put him on the medications. Andrew finds Sam outside the office and offers her a ride home. Sam invites him into her house, where he meets her mother, who inadvertently reveals that Sam has epilepsy. Andrew tells Sam of his mother's death, and Sam tearfully eulogizes her hamster. After returning home, Andrew's father confronts him and is insistent that they have a talk before Andrew leaves. Later, Andrew and Jesse sit in the cemetery as Mark digs another grave. Andrew observes Mark stealing jewelry from the corpse he is burying. Andrew then returns to Sam's house, and the two spend the rest of the day together, joining his friends later at Jesse's mansion. Andrew tells Sam that he pushed his mother in frustration when he was nine years old, knocking her over a broken dishwasher and leaving her paraplegic; he says that his father blames him for his mother's paralysis and put him on medication to \"curb the anger\" he supposedly harbors. Sam listens, and Andrew admits his feelings for her. The next day, Mark tells Andrew that he needs help \"tracking down\" a going-away present for him. Sam, Andrew, and Mark spend the day together, ending it in a quarry in Newark where Mark talks to a man named Albert, who is employed in keeping intruders out of the quarry. The three discuss the reasons why Albert and his wife choose to live in the quarry. Albert explains that living there and exploring the quarry is \"doing something that's completely unique, that's never been done before,\" mirroring an earlier speech by Sam. Finally, Albert explains that what actually matters is living with his family. Andrew is inspired by the conversation, and outside in the rain, he climbs atop a derelict crane and screams into the quarry, joined by Sam and Mark. He and Sam then share a kiss. When Sam and Andrew look at the gift later on, it turns out to be Andrew's mother's favorite pendant, one of the items Mark stole from her grave, sold, and subsequently located. Andrew eventually talks with his father, and states that he was not to blame for his mother's accident and that he will live the rest of his life without medication. He forgives his father and says he wants to build a better relationship with him. The morning after, Andrew says his goodbyes to Sam at the airport while she begs him not to leave. He acknowledges that she has changed his life but also recognizes that he still has to fix his personal problems before continuing the relationship. Andrew boards the flight, and Sam is left crying in a telephone booth. Andrew, changing his mind, returns to Sam and says he does not want to waste any more of his life without her. He wonders what to do next, and the two then kiss."}
{"movie_name":"Guardians of the Galaxy Vol. 2_2017","imdb_id":"tt3896198","script":"<script>\n  <scene>\n    <character>GUARDIANS OF THE GALAXY VOL. 2<\/character>\n    <dialogue>Written by<\/dialogue>\n    <dialogue>James Gunn<\/dialogue>\n    <scene_description>Marvel Studios All rights reserved. Copyright \u00a9 2015 Marvel Studios, Inc. No portion of this script may be performed, published, reproduced, sold or distributed by any means, or quoted or published in any medium, including any website, without the prior written consent of Marvel Studios, Inc. Disposal of this script copy does alter any of the restrictions set forth above. \u00a9 Marvel BLACK: O.S. \"BRANDY\" by LOOKING GLASS PLAYS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FORD COBRA MUSTANG - DAY<\/stage_direction>\n    <scene_description>SUPER: MISSOURI EARTH OVERHEAD SHOT: A '79 Cobra winds alongside the Missouri River, past swaying loosestrife, vibrant sugar maples, and oily self-pump gas stations. A hazy sun glints off the hood of the Cobra which, like its descendant the Milano, is orange and teal. We MOVE DOWN AND IN on a fresh-faced girl of 18 in the passenger seat: MEREDITH QUILL. As \"Brandy\" blasts from the car stereo, she pushes her fine, feathered hair from her mouth, and sings along, out-of-tune -<\/scene_description>\n    <character>MEREDITH<\/character>\n    <dialogue>Do do do do do do do do do do do!<\/dialogue>\n    <scene_description>The driver, a MYSTERIOUS MAN in his 30's, dressed in sleek, mod attire, LAUGHS. Meredith LAUGHS too. She SINGS and dances with abandon in her seat. She's a lively goofball, and it's apparent where Peter Quill received much of his personality.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAIRY QUEEN\/WOODS - MOMENTS LATER<\/stage_direction>\n    <scene_description>The Cobra pulls beside this Dairy Queen in a desolate area.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS BEHIND DAIRY QUEEN - MOMENTS LATER<\/stage_direction>\n    <scene_description>The Mysterious Man helps Meredith down the steep hillside into the woods. \"Brandy\" continues to play on the car stereo in the lot behind them. Meredith GIGGLES.<\/scene_description>\n    <character>MYSTERIOUS MAN<\/character>\n    <dialogue>This way, my river lily.<\/dialogue>\n    <character>MEREDITH<\/character>\n    <dialogue>Where are you taking me?<\/dialogue>\n    <scene_description>The Mysterious Man shows her a STRANGE SPROUT nestled amongst the trees. A few inches tall and decidedly alien in nature, its delicate limbs twist and turn in a complex pattern. \u00a9 Marvel<\/scene_description>\n    <character>MEREDITH<\/character>\n    <dialogue>Oh. It's beautiful.<\/dialogue>\n    <scene_description>The Mysterious Man looks proudly at Meredith. With a perpetually excited glint in his eye, and the air of a self- empowerment guru, he is an intoxicating presence.<\/scene_description>\n    <character>MYSTERIOUS MAN<\/character>\n    <dialogue>I was afraid it wouldn't take to the soil, but it rooted quickly.<\/dialogue>\n    <scene_description>He nods toward the sky between the branches above.<\/scene_description>\n    <character>MYSTERIOUS MAN<\/character>\n    <dialogue>Soon it will be everywhere - all across the universe, fulfilling life's one true purpose.<\/dialogue>\n    <character>MEREDITH<\/character>\n    <dialogue>Which is what?<\/dialogue>\n    <character>MYSTERIOUS MAN<\/character>\n    <dialogue>Expansion.<\/dialogue>\n    <scene_description>The Mysterious Man takes her in his arms. He gazes into her eyes. She grows almost teary.<\/scene_description>\n    <character>MEREDITH<\/character>\n    <dialogue>I'm not sure what you're talking about. But I like the way you say it.<\/dialogue>\n    <character>MYSTERIOUS MAN<\/character>\n    <dialogue>My heart is yours, Meredith Quill.<\/dialogue>\n    <character>MEREDITH<\/character>\n    <dialogue>I can't believe I fell in love with a spaceman.<\/dialogue>\n    <scene_description>And they KISS, with passion, and love. \"DO DO DO DO DO DO DO DO DO DO DO!\" sings Looking Glass as SOURCE BECOMES SCORE and we TILT DOWN to the plant. It TWITCHES AND GROWS AND TWISTS. We PUSH IN ON IT, where we see the plant is made, not only of cellulose and leaves, but of a BRIGHT COSMIC LIGHT. And we KEEPING PUSHING IN, INTO THE PLANT ITSELF, more FLESH-LIKE than you'd imagine, where COLORFUL BACTERIA OVERCOMES US as \"BRANDY\" DISTORTS AND TRANSFORMS into something epic. O.S. A CRACK OF INTERDIMENSIONAL THUNDER SUPER: 34 Years Later \u00a9 Marvel<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE SOVEREIGN - OUTER SPACE<\/stage_direction>\n    <scene_description>An artificial, golden planet, made of interlocking orbs, revolves around a blue sun. We PUSH IN on THUNDEROUS INTERDIMENSIONAL CRACKS on one small patch of planet. SUPER: THE SOVEREIGN M49 5IOL339P21+H9LNI31<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. POWER STATION - DAY<\/stage_direction>\n    <scene_description>A DIMENSIONAL CRACK SNAPS in the sky overhead. PETER QUILL looks from it to an old MATTEL ELECTRONICS FOOTBALL GAME converted into a tracker. A RED DOT APPROACHES.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Showtime, a-holes! It'll be here any minute!<\/dialogue>\n    <character>GAMORA (O.S.)<\/character>\n    <dialogue>Which will be its loss.<\/dialogue>\n    <scene_description>Quill turns toward GAMORA, loading a rifle. DRAX, ROCKET, and BABY GROOT also ready themselves for battle in this grand, open-air power station. Dozens of BATTERIES are couched in conductor towers encircling them. Quill, Gamora, and Rocket wear flying rigs.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Is that a rifle?<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>You don't know what a rifle is?<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>I thought your thing was a sword.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>We've been hired to stop an interdimensional beast from feeding on those batteries' energy, and I'm going to stop it with a sword?<\/dialogue>\n    <character>QUILL<\/character>\n    <parenthetical>(mumbling to himself)<\/parenthetical>\n    <dialogue>Don't look at me like I'm stupid. You're the one being all inconsistent.<\/dialogue>\n    <scene_description>A LOUDER, LARGER CRACK: something seems to be fighting its way through the sky. \u00a9 Marvel<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>Drax, why aren't you wearing one of Rocket's aero-rigs?<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>It hurts.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>Hurts?<\/dialogue>\n    <character>DRAX<\/character>\n    <parenthetical>(muttering)<\/parenthetical>\n    <dialogue>I have sensitive nipples.<\/dialogue>\n    <scene_description>Rocket, who is working on a pair of speakers wired to Quill's Walkman, LAUGHS HARD at this. Drax points at him.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>What about him?! What's he doing?!<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>If I finish this, we can listen to tunes while we work.<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>How is that a priority?<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>Blame Quill! He's the one who loves music so much!<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>I agree with Drax. It's hardly important right now.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>Oh, sure, okayyyy, Quill.<\/dialogue>\n    <scene_description>Rocket WINKS at him.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>No, I really agree with him.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>Sure, I know.<\/dialogue>\n    <scene_description>Rocket WINKS some more.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>I can clearly see you winking.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>Damn. I'm using my left eye?<\/dialogue>\n    <scene_description>\u00a9 Marvel Rocket hears a small GROWL. He looks down and sees Baby Groot - newly unpotted, only nine inches tall or so - angrily THROWING ASIDE some foraging Orloni. Then he looks up at Rocket, explaining:<\/scene_description>\n    <character>GROOT<\/character>\n    <dialogue>I am Groot.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>They were not looking at you funny.<\/dialogue>\n    <scene_description>AN EVEN LARGER CRACK! Rocket swirls as a GIGANTIC BEAST - a hundred-foot-long Lovecraftian monstrosity - BREAKS THROUGH THE INTERDIMENSIONAL RIFT. THE ABILISK is the color of a pinkie mouse with kaleidoscopic and deadly SPLATTER MATTER pulsing from its maw.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>Well. That's intense.<\/dialogue>\n    <scene_description>Rocket, Quill, and Gamora JET-PACK OUT OF THE WAY, while they BLAST at the creature. Drax HOLLERS, CHARGING it with his twin blades. Quill TURNS ON his mask. But we FOCUS on baby Groot, who trots up to the stereo speakers and Walkman. He fiddles with two wires. They SPARK, the stereo POWERS UP, and \"MR. BLUE SKY\" by ELECTRIC LIGHT ORCHESTRA PLAYS as - THE CREDITS START Baby Groot DANCES IN-FOCUS in the foreground as the Guardians get PUMMELED by the beast OUT-OF-FOCUS in the background. Baby Groot's dancing is arrhythmic and many of his \"dance moves\" are nonsensical mixtures of trembling, swaying, and making weird faces. But it is joyous. As Groot struts, Quill comes ROLLING behind him. As he stands, he sees Groot dancing and looks at him, worried.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Groot, look - !<\/dialogue>\n    <scene_description>A TENTACLE FLIES IN FROM OFF-SCREEN, KNOCKING Quill OUT-OF- FRAME as Groot dances on, blissfully unaware. \u00a9 Marvel Groot, smiling, dances onward, as DRAX, in the clutches of a giant tentacle, is SLAMMED NUMEROUS TIMES BESIDE HIM. Groot arrives at GAMORA, who is blasting at the OFF-SCREEN BEAST.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>Get out of the way, Groot! You're going to get hurt!<\/dialogue>\n    <scene_description>Groot stops dancing. He WAVES at her.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>She AERO-JETS back into the fray. As Groot DANCES, Drax FALLS directly behind him. Groot FREEZES. Drax stares at him a moment, suspicious. Groot stays frozen. Drax LEAVES, and Groot COMMENCES THE DANCE where he left off. Groot sees an INSECT FLYING BY. Suddenly dancing is forgotten and GETTING THIS BUG is all- important. He CHASES it. He HOPS up and grabs it from the air... And starts EATING it. Rocket spots this and FLIES DOWN beside him, worried. He PRIES OPEN GROOT'S MOUTH with his fingers, frantically trying to get it out.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>Spit it out! Spit it out!<\/dialogue>\n    <scene_description>Groot COUGHS IT OUT. The bug FLIES crookedly away, one wing mulched. Rocket JETS OFF back toward the battle, muttering:<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>Disgusting.<\/dialogue>\n    <scene_description>Groot sees something else and becomes furious. We follow his line of sight to a GRAZING ORLONI. \u00a9 Marvel Groot SCREAMS A WAR CRY and ATTACKS IT. He GROWS HIS BRANCHES AROUND IT, and the terrified Orloni DARTS AWAY, DRAGGING GROOT WITH IT. Groot's anger becomes panic as he is DRAGGED AROUND BY THE ORLONI and can't let go. The Orloni DARTS around the power station and underneath the RAGING BATTLE, a CRYING Groot bouncing along behind it. Finally, he LETS GO and goes TUMBLING, ROLLING directly INTO THE CAMERA. And then stands up and, as if none of it happened at all, starts DANCING AGAIN. We PAN and see the speakers and Walkman beside him, and we realize Baby Groot has traveled around the entire Power Station and has arrived back where he started - When Drax is FLUNG by the beast into the stereo system, SMASHING it. Groot stops dancing. Angry that Drax has ruined his fun, he picks up a piece of the stereo and beats him with it. CREDITS END. Drax stands and glares at the ferocious beast as Rocket, Quill, and Gamora BLAST at it without effect.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>The beast's hide is too thick to be pierced from the outside. I must cut through it from the inside.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <scene_description>Drax HOLLERS, CHARGING the creature.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>Drax, no! That doesn't make -<\/dialogue>\n    <scene_description>The creature OPENS ITS ENORMOUS MOUTH, SCREECHING, and Drax LEAPS INSIDE IT, instantly swallowed up.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>What is he doing?!<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>He said the skin is too thick to be pierced from the outside, so he --<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>That doesn't make sense!<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>I tried to tell -- !<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Its skin is the same thickness from the inside as from the out!<\/dialogue>\n    <scene_description>I REALIZE THAT.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEAST'S STOMACH - DOESN'T MATTER<\/stage_direction>\n    <scene_description>Drax HOLLERS as he SLASHES AWAY inside the goo of the beast's stomach. To no avail.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. POWER STATION - DAY<\/stage_direction>\n    <scene_description>Quill reloads his pistol, thinking.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Gamora, there's a cut on its neck - Rocket, get it to look up.<\/dialogue>\n    <scene_description>Quill and Rocket JET UP HIGH up over the creature as they BLAST REPEATEDLY at it.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Hey, you giant Sea Monkey, up here!<\/dialogue>\n    <scene_description>Gamora's rifle is jammed. She tosses it down. PULLS HER SWORD. SNAPS IT OPEN. The beast SCREECHES at Quill and Rocket FLYING overhead. The colorful SPLATTER MATTER FLIES FROM ITS MOUTH, BATTERING ROCKET, BURNING his clothes. But its neck is exposed, where the skin is thinner, and there is a small wound. Gamora DASHES, LEAPING HIGH into the air, and she PLUNGES her sword directly into the wound. She holds tight to the hilt as she FALLS, SLICING AN INCISION down the length of the creature's neck. The beast WOBBLES, TOPPLES, and DIES. As it COLLAPSES, Drax SPILLS OUT of the wound. He raises his arms in victory.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>Ha ha! I have single-handedly vanquished the beast!<\/dialogue>\n    <scene_description>\u00a9 Marvel Quill SCOFFS. Rocket SNORTS. Gamora stares at him, dead-eyed. Baby Groot throws a rock at him.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>What?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. POWER STATION - MOMENTS LATER<\/stage_direction>\n    <scene_description>The Guardians de-rig by the Anulax batteries.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>What are they called again?<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Anulax batteries.<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>Harbulary batteries.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>That's nothing like what I just said. But they're worth thousands of units a piece. Which is why the Sovereign hired us to protect them.<\/dialogue>\n    <scene_description>Rocket pulls out one of the ANULAX BATTERIES, checking it out. Gamora, Drax, and Quill walk on. Rocket stays back a moment. Quill nods down the walkway, where GOLDEN SOVEREIGN CITIZENS stand at the edge of the station, gawking.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Just be careful what you say around these folks. They're easily offended and the cost of transgression is death.<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>Sounds judgmental for a bunch of golden morons.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>That's the kind of thing you might want to keep to yourself.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>I'll hold my tongue, as long as they deliver what was promised.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAIR OF THE HIGH PRIESTESS - MORNING<\/stage_direction>\n    <scene_description>An enormous golden palace in the shape of a globe, dappled by morning sunlight. \u00a9 Marvel<\/scene_description>\n    <character>AYESHA (O.S.)<\/character>\n    <dialogue>We thank you, Guardians, for putting your life on the line. We could not risk the lives of our own Sovereign citizens.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAIR OF THE HIGH PRIESTESS - DAY<\/stage_direction>\n    <scene_description>HIGH PRIESTESS AYESHA is stunningly beautiful with golden skin. Her CHAMBERMAIDS and other DENIZENS flutter throughout her luxurious lair, all of whom are equally perfect.<\/scene_description>\n    <character>AYESHA<\/character>\n    <dialogue>Every citizen is born exactly as designed by the community, impeccable, both physically and mentally. We control the DNA of our progeny, germinating them in birthing pods.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>I guess I prefer making people the old-fashioned way.<\/dialogue>\n    <character>AYESHA<\/character>\n    <dialogue>Well... perhaps someday you could give me a history lesson in the archaic ways of our ancestors... for academic purposes.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Yeah, I mean, if it's for research that could be pretty --<\/dialogue>\n    <scene_description>Quill sees Gamora staring at him.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Pretty repulsive. I'm not into that kind of casual -<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>Oh, please.<\/dialogue>\n    <parenthetical>(to Ayesha)<\/parenthetical>\n    <dialogue>Your people promised something in trade for our services. Bring it and we shall gladly be on our way.<\/dialogue>\n    <scene_description>Ayesha nods. Two SOLDIERS emerge with A WOMAN in a hood and cloak, her wrists bound by SHACKLES. They SHOVE HER TO HER KNEES and yank back her hood, REVEALING -- \u00a9 Marvel NEBULA. Her clothes are tattered. Her hand is now just a low- tech metal claw. She glares at Gamora. Gamora glares at her. Quill looks from one to the other, feeling the tension.<\/scene_description>\n    <character>QUILL<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Family reunion. Yaaaay.<\/dialogue>\n    <character>AYESHA<\/character>\n    <dialogue>I understand she is your sister?<\/dialogue>\n    <scene_description>Gamora roughly picks Nebula up, starts to go.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>She's worth no more to me than the bounty due for her on Xandar.<\/dialogue>\n    <character>AYESHA<\/character>\n    <dialogue>Our soldiers apprehended her attempting to steal the batteries. Do with her as you please.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Thank you, High Priestess Ayesha.<\/dialogue>\n    <scene_description>Quill starts to go.<\/scene_description>\n    <character>AYESHA<\/character>\n    <dialogue>What is your heritage, Mr. Quill?<\/dialogue>\n    <scene_description>Quill turns back towards her, uncomfortable with the question.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>My mother is from earth.<\/dialogue>\n    <character>AYESHA<\/character>\n    <dialogue>And your father?<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>He's... not from Missouri, that's all I know.<\/dialogue>\n    <scene_description>Ayesha stares at him as if she's eaten something foul.<\/scene_description>\n    <character>AYESHA<\/character>\n    <dialogue>I see it within you, an unorthodox genealogy. A hybrid that seems particularly... reckless.<\/dialogue>\n    <scene_description>Quill tries not to let this affect him, but it does. Rocket grins a huge, fake grin at Ayesha. \u00a9 Marvel<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>You know, they told me you people were conceited douchebags. But that isn't true at all.<\/dialogue>\n    <scene_description>Rocket turns to Quill and WINKS. The Guardians shift uncomfortably.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>Oh, shit, I'm using my wrong eye again, aren't I?<\/dialogue>\n    <parenthetical>(to Ayesha)<\/parenthetical>\n    <dialogue>I'm sorry. That was meant to be behind your back.<\/dialogue>\n    <scene_description>Drax YANKS Rocket away. Gamora and Quill head out of the lair. Drax and Rocket are a few paces behind.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>Count yourself blessed they didn't kill you.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>You're telling me. You wanna buy some batteries?<\/dialogue>\n    <scene_description>Rocket grins and shows Drax something hidden in his bag - TWO ANULAX BATTERIES. \"LAKE SHORE DRIVE\" by ALIOTTA, HAYNES, AND JEREMIAH PLAYS. Drax LAUGHS. Rocket SHUSHES him so Quill and Gamora don't hear.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOVEREIGN SPACE DOCK\/THE MILANO - MOMENTS LATER<\/stage_direction>\n    <scene_description>The Milano RISES into the blue sunset over the Sovereign Space Dock filled with golden, capsule-shaped ships. Rocket works the controls as they rise up. He speaks into the comm:<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>Let's get baldy back to Xandar and retrieve that bounty!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILANO LOWER FLIGHT DECK - OUTER SPACE<\/stage_direction>\n    <scene_description>Groot lies on the rear window peering out the back as they pass overhead. \u00a9 Marvel On the CASSETTE PLAYER AWESOME MIX VOL. 2 is playing; we PAN away from it, MOVING IN on Quill, looking perturbed as he takes off his jacket. Gamora is nearby, putting shackles on Nebula.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>You all right?<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>That stuff about my father. Who does she think she is?<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>I know you're sensitive about that.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>I'm not sensitive about it. I just don't know who he is.<\/dialogue>\n    <scene_description>Gamora nods.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Sorry if it looked like I was flirting with her. I wasn't.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>I don't care if you were.<\/dialogue>\n    <scene_description>Gamora pushes Nebula to the rear of the craft.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>I think you do care. That's why I'm apologizing.<\/dialogue>\n    <scene_description>Quill watches her go, somewhat longingly.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>Gamora is not the one for you, Quill.<\/dialogue>\n    <scene_description>Quill is startled to see Drax directly beside him.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>There are two types of beings in the universe. Those who dance, and those who do not.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Uh huh.<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>I first met my beloved at a war rally.<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>Everyone in the village flailed about, dancing. Except one woman. My Ovette. I knew immediately she was the one.<\/dialogue>\n    <scene_description>Quill nods, trying to be polite.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>The most melodic song in the world could be playing, and she wouldn't even tap her foot. She wouldn't move a muscle. One might assume she was dead.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Well, that is pretty hot, but--<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>It would make my nether regions engorge -<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>All right, okay, fascinating, don't need to hear it. I get your point, I'm a dancer and Gamora is not.<\/dialogue>\n    <scene_description>Drax smiles kindly, clutches Quill's shoulder.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>You just need to find a woman who is pathetic, like you.<\/dialogue>\n    <scene_description>At the rear of the ship, Gamora roughly restrains Nebula. Nebula notices a bowl of fruit.<\/scene_description>\n    <character>NEBULA<\/character>\n    <dialogue>I am hungry. Hand me some of that yaro root.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>No. It's not ripe yet. And I hate you.<\/dialogue>\n    <character>NEBULA<\/character>\n    <dialogue>You hate me?! You left me there while you stole that stone for yourself. Yet here you stand, a hero, a Garden of the Galaxy!<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>A what?<\/dialogue>\n    <scene_description>Nebula stares at her, confused. \u00a9 Marvel<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>'Guardians of the Galaxy.'<\/dialogue>\n    <character>NEBULA<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>Why would we be 'the Gardens of the Galaxy'?<\/dialogue>\n    <character>NEBULA<\/character>\n    <dialogue>I don't know. I thought it was stupid.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>Yeah, it would be.<\/dialogue>\n    <character>NEBULA<\/character>\n    <dialogue>It's still wordy.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>I wasn't the one who thought of it.<\/dialogue>\n    <character>NEBULA<\/character>\n    <dialogue>Your name doesn't matter. I'll be free of these shackles soon enough, and I'll kill you, I swear.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>No. You'll live out your days in a prison on Xandar, wishing you could.<\/dialogue>\n    <scene_description>WARNING LIGHTS FLASH.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. MILANO FLIGHT DECK - MOMENTS LATER<\/stage_direction>\n    <scene_description>Gamora MOVES UP from the stairs. Rocket and Quill are in the pilot seats. Drax is moving up from the back.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>We got an armed Sovereign fleet, approaching from the rear.<\/dialogue>\n    <scene_description>Gamora takes the center seat, sees a REARVIEW SCAN: Golden, capsule-shaped, Sovereign OMNICRAFT, with a video screen on front and a blaster on each side - getting closer.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>Why would they do that?!<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>Probably because Rocket stole some of their batteries.<\/dialogue>\n    <scene_description>Quill and Gamora look at Rocket, astounded. Rocket gawks at Drax, betrayed.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>Dude.<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>Oh, right. He didn't steal one of those. I don't know why they're after us. What a mystery this is.<\/dialogue>\n    <scene_description>THE SOVEREIGN FIRE UPON THE MILANO. Quill does his best to evade their blasts.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>What were you thinking?!<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>Dude, it was really easy to steal.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>That's your defense?<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>Come on. You saw how that high- priestess talked down to us! I'm teaching her a lesson!<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Oh! I didn't realize your motivation was altruism. A shame the Sovereign have mistaken your intentions and are trying to kill us.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>Exactly.<\/dialogue>\n    <scene_description>I WAS BEING SARCASTIC!<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>Oh no! You tricked me! You're supposed to use a sarcastic voice! Now I look foolish!<\/dialogue>\n    <scene_description>Drax points at Rocket and LAUGHS at him. \u00a9 Marvel<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>SHUT UP, DRAX! You knew! You should have told us!<\/dialogue>\n    <scene_description>Drax is aghast. He looks at Rocket.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>Did you tell him it was easy to steal?<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>Are you kidding me?<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>You never listen to anything!<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>None of you listens! Can we please just put the bickering on hold until after we survive the massive space battle?!<\/dialogue>\n    <scene_description>Rocket glances at Quill, nodding back at Gamora.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>Whoa. Somebody woke up on the wrong side of the bed this morning.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Do not try to bro down with me right now, dude. I will fricking punch you in your fricking face.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>Real nice! Resorting to violence.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>More incoming!<\/dialogue>\n    <scene_description>MORE SHIP FLY AT THEM from the front. GOOD! I WANT TO KILL SOME GUYS! They twist and turn between the oncoming ships as ROCKET FIRES AT THEM, SCREAMING. They EXPLODE. On the front of the Sovereign ships is the VIDEO IMAGE OF A PILOT. \u00a9 Marvel<\/scene_description>\n    <character>SOVEREIGN PILOT (ON SHIP)<\/character>\n    <dialogue>Bloody hell!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOVEREIGN PILOT BAY - DAY<\/stage_direction>\n    <scene_description>The same SOVEREIGN PILOT sits in a REMOTE POD. On a SCREEN in front of her we see ROCKET FIRING. The SHIP IS HIT and the SCREEN GOES STATIC. The Pilot SHOUTS in anger, like a kid who lost at a video game. High Priestess Ayesha surveys from a walkway above; ROWS OF PODS containing PILOTS, all flying their Omnicraft remotely.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. MILANO FLIGHT DECK<\/stage_direction>\n    <character>GAMORA<\/character>\n    <dialogue>You're not killing anyone. Those ships are all remotely piloted.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOVEREIGN PILOT BAY - DAY<\/stage_direction>\n    <scene_description>A SOVEREIGN ADMIRAL is beside Ayesha.<\/scene_description>\n    <character>AYESHA<\/character>\n    <dialogue>What is the delay, Admiral?<\/dialogue>\n    <character>ADMIRAL<\/character>\n    <dialogue>High Priestess, if we destroy their craft, we risk destroying the batteries. They're extraordinarily combustible and could, in turn, destroy the entire fleet.<\/dialogue>\n    <character>AYESHA<\/character>\n    <dialogue>We have thousands of batteries and thousands of ships. Our concern is their slight against our people. We hired them and they steal from us? It is heresy of the highest order.<\/dialogue>\n    <scene_description>The Admiral speaks into his comm.<\/scene_description>\n    <character>ADMIRAL<\/character>\n    <dialogue>All command modules -<\/dialogue>\n    <scene_description>A FRIGHTENED SOVEREIGN PILOT, on the outskirts of the battle, hears the Admiral in his headset.<\/scene_description>\n    <character>ADMIRAL (O.S.)<\/character>\n    <dialogue>Fire with the intent to kill.<\/dialogue>\n    <scene_description>\u00a9 Marvel A MEAN SOVEREIGN PILOT, FIRING at the Milano, smirks.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. MILANO FLIGHT DECK - OUTER SPACE<\/stage_direction>\n    <scene_description>THE MILANO'S WING IS STRUCK. The EMERGENCY SYSTEMS FLASH ON.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>What's the closest habitable planet?<\/dialogue>\n    <scene_description>Gamora dances her fingers over the UNIVERSAL NEURAL TELEPORTATION NETWORK, clicking through \"jump points\" until she finds one.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>It's called Berhert.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>How many jumps?<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>Only one. But the access point is 47 clicks away. And it's through that Quantum Asteroid Field over there.<\/dialogue>\n    <scene_description>Quill spots, to his side, a HUGE FIELD OF SMALL, GLOWING ASTEROIDS, SWIRLING IN RANDOM PATTERNS, DISAPPEARING OUT OF SPACE and EMERGING AGAIN a few feet or a few yards away. Quill ZOOMS SIDEWAYS toward the field.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>Quill, to make it through that, you'd have to be the greatest pilot in the universe.<\/dialogue>\n    <scene_description>Quill smirks.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Lucky for us -<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>I am.<\/dialogue>\n    <scene_description>Rocket FLIPS the pilot controls between them so that he's the one piloting the ship. Quill gapes at him. The Milano DIVES into the QUANTUM ASTEROID FIELD, SWOOPING in and around the SWIRLING ATOMIZED STONES, barely missing them. The Sovereign ships FOLLOW. They are not pilots on par with Rocket, so most of the ships are immediately PELTED WITH STONES AND DESTROYED. \u00a9 Marvel<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOVEREIGN PILOT BAY - DAY<\/stage_direction>\n    <scene_description>One after another the SOVEREIGN PILOTS screens go blank, and they FALL BACK, angry and upset. PUSH IN on Ayesha, barely containing her fury.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. MILANO FLIGHT DECK - OUTER SPACE<\/stage_direction>\n    <scene_description>Quill FLIPS the controls back, so he's piloting again.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>What are you doing?!<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>I've been flying this rig since I was ten years old.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>I was cybernetically engineered to pilot a spacecraft!<\/dialogue>\n    <scene_description>Rocket FLIPS the controls back to him.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>You were cybernetically engineered to be a douchebag.<\/dialogue>\n    <scene_description>Quill FLIPS the controls back to him.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>Stop it!<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>Quill, later on tonight you're gonna lay down in your bed and there's gonna be something squishy in your pillowcase and you're gonna be, like, 'what's this?' and it's gonna be because I put a turd in there.<\/dialogue>\n    <scene_description>Rocket FLIPS the switch back.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>You put your turd in my bed, I shave you.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>Oh it won't be my turd, it will be Drax's.<\/dialogue>\n    <scene_description>Drax LAUGHS cheerfully. Gamora glances at him. He explains: \u00a9 Marvel<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>I have famously huge turds.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>We're about to die, and this is what we're discussing?<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>They raise havoc with the pipes. That's why I do all the plumbing. I take responsibility for my actions. Unlike some people...<\/dialogue>\n    <scene_description>Drax eyes baby Groot.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Groot, he's right, you have to start aiming inside the box.<\/dialogue>\n    <scene_description>Groot looks ashamed. Quill FLIPS the controls back.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>Stop it.<\/dialogue>\n    <scene_description>Rocket SWITCHES it back. Quill SWITCHES it back. They're nearing the end of the Asteroid Field when both go to switch it at the same time and -- WHAM! A LARGE ASTEROID SMASHES THROUGH the stern of the Milano.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. MILANO LIVING AREA - OUTER SPACE<\/stage_direction>\n    <scene_description>A CHUNK OF THE REAR OF THE CRAFT DISAPPEARS. Nebula IS SUCKED toward the hole - but, fortunately, her arms are shackled to a post, so she doesn't fly out. Her face and body cover with frost.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. MILANO FLIGHT DECK - OUTER SPACE<\/stage_direction>\n    <scene_description>Everything FLIES AROUND THE SPACECRAFT, RUSHING THROUGH THE HOLE. Groot GOES FLYING, but Quill CATCHES HIM, and casually TOSSES him back to Drax -- So that he can punch in a code, causing - \u00a9 Marvel<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. MILANO LIVING AREA - OUTER SPACE<\/stage_direction>\n    <scene_description>A PROTECTIVE ENERGY SHIELD SLIDES UP in front of the hole. Nebula COLLAPSES to the floor. She yells upstairs --<\/scene_description>\n    <character>NEBULA<\/character>\n    <dialogue>Idiots!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. MILANO FLIGHT DECK - OUTER SPACE<\/stage_direction>\n    <scene_description>Everyone catches their breath, relieved.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>Well, that's what you get when Quill flies.<\/dialogue>\n    <scene_description>Gamora THROWS SOMETHING HARD at the back of Rocket's head.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>Ow!<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>There's still a Sovereign craft behind us!<\/dialogue>\n    <scene_description>The electronics FLICKER.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Our weapons are down!<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>Twenty clicks to the jump.<\/dialogue>\n    <scene_description>The Mean Pilot BLASTS at them from the sole Sovereign Craft, TAKING OUT another part of a wing. The Milano is TREMBLING. Drax starts climbing down into the living area.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Where's he going?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOVEREIGN PILOT BAY - DAY<\/stage_direction>\n    <scene_description>A group of pilots have gathered around the Mean Pilot, rooting him on, like kids at a video arcade.<\/scene_description>\n    <character>FRIGHTENED PILOT<\/character>\n    <dialogue>Come on, Zylak, you can do this.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. MILANO LIVING AREA - OUTER SPACE<\/stage_direction>\n    <scene_description>Nebula sees the bowl of yaro root has spilled in front of her. \u00a9 Marvel She reaches for a piece, but it's KICKED OUT OF HER WAY. She looks up to see Drax, grabbing a cable on a spool attached to the wall.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>It's not ripe.<\/dialogue>\n    <scene_description>Drax HOOKS the cable to his belt. A folder on the wall reads SPACESUITS FOR EMERGENCY and, below that, in Rocket's scrawl: OR FOR FUN. Drax pulls a small disk from the folder. He slaps it between his shoulder blades and a SHIMMERY SHEATH COVERS HIS ENTIRE BODY - a thin force-field spacesuit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. MILANO FLIGHT DECK - OUTER SPACE<\/stage_direction>\n    <scene_description>Gamora watches THE MAP leading to the jump point.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>Fifteen clicks.<\/dialogue>\n    <scene_description>Another BLAST from the Sovereign craft HITS them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOVEREIGN PILOT BAY - DAY<\/stage_direction>\n    <scene_description>The pilots rooting on the Mean Pilot erupt into CHEERS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. MILANO LIVING AREA - OUTER SPACE<\/stage_direction>\n    <scene_description>Drax grabs a huge rifle. He punches buttons on the wall. A SECOND PROTECTIVE SHIELD OPENS UP between him and Nebula, and THE FIRST PROTECTIVE SHEATH OPENS, exposing him to space --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOVEREIGN PILOT BAY - DAY<\/stage_direction>\n    <scene_description>The Mean Pilot watches in awe as Drax JUMPS OUT the back of the Milano.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. MILANO LIVING AREA - OUTER SPACE<\/stage_direction>\n    <scene_description>Drax smiles. The cable UNSPOOLS and SNAPS TAUT when it reaches its end. Drax is DRAGGED HAPHAZARDLY by the Milano like a water sled on a boat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. MILANO FLIGHT DECK - OUTER SPACE<\/stage_direction>\n    <scene_description>ON THE MAP, the jump point gets closer. \u00a9 Marvel<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>Ten clicks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. MILANO LIVING AREA - OUTER SPACE<\/stage_direction>\n    <scene_description>The Mean Pilot BLASTS WILDLY at Drax, missing him by mere inches. Drax brings the sight to his eye. Aims at the ship.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>Die, spaceship.<\/dialogue>\n    <scene_description>And he SHOOTS, BLASTING the Sovereign ship.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOVEREIGN PILOT BAY - DAY<\/stage_direction>\n    <scene_description>The Mean Pilot SCREAMS as his lights go out. The Frightened Pilot shakes his head in disgust.<\/scene_description>\n    <character>FRIGHTENED PILOT<\/character>\n    <dialogue>You suck, Zylak.<\/dialogue>\n    <scene_description>Zylak is really sad.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. MILANO FLIGHT DECK - OUTER SPACE<\/stage_direction>\n    <scene_description>As Quill and Rocket leave the asteroid field, it seems for a moment they're scot-free...<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>Five clicks!<\/dialogue>\n    <scene_description>Then DOZENS OF OMNICRAFT pull around them on both sides.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Son-of-a-! They went around the field!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOVEREIGN PILOT BAY - DAY<\/stage_direction>\n    <scene_description>Ayesha smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. MILANO FLIGHT DECK - OUTER SPACE<\/stage_direction>\n    <scene_description>It looks like the end of the road for the Guardians when - THERE IS A BLINDING BURST OF LIGHT AND ALL OF THE OMNICRAFT EXPLODE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOVEREIGN PILOT BAY - DAY<\/stage_direction>\n    <scene_description>Ayesha watches in shock as the screens in the pods go dead. \u00a9 Marvel<\/scene_description>\n    <character>ADMIRAL<\/character>\n    <dialogue>Someone destroyed all the ships.<\/dialogue>\n    <character>AYESHA<\/character>\n    <dialogue>What?! WHO?!<\/dialogue>\n    <scene_description>But the Admiral doesn't know.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. MILANO FLIGHT DECK - OUTER SPACE<\/stage_direction>\n    <scene_description>Rocket sees the BRIGHT WHITE LIGHT is emanating from an OVAL- SHAPED SPACECRAFT.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>What is that?!<\/dialogue>\n    <scene_description>Quill sees the FLICKERING framework of a JUMP POINT.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Doesn't matter! That's the jump point! GO! GO!<\/dialogue>\n    <scene_description>As they're about to reach the jump point, Rocket sees a MAN standing casually atop the oval ship, LIGHT BURSTING THROUGH HIS BODY and into the craft - the source of the explosion.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>It's a guy.<\/dialogue>\n    <scene_description>Quill doesn't see as the Milano DISAPPEARS INTO THE JUMP POINT.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. MILANO LIVING AREA\/DIRECTLY ABOVE BERHERT - DAY<\/stage_direction>\n    <scene_description>The ship POPS IN HERE, TELEPORTING directly above the earth- like planet. Because the ship is in such bad shape, parts of it TEAR OFF AND SPIRAL AWAY as it enters this new atmosphere.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. MILANO FLIGHT DECK - OUTER SPACE<\/stage_direction>\n    <scene_description>Gamora sees Drax being dragged in the REARVIEW MONITOR.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>Oh my God.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. MILANO LIVING AREA\/DIRECTLY ABOVE BERHERT - DAY<\/stage_direction>\n    <scene_description>Drax WHIPS WILDLY OUT of the back of the ship. The CABLE SPOOL on the wall is coming off -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. MILANO FLIGHT DECK\/BERHERT FOREST - DAY<\/stage_direction>\n    <scene_description>Quill sees a green forest APPROACHING UNBELIEVABLY FAST. \u00a9 Marvel He turns toward Gamora, but she's gone. Instead Baby Groot is sitting alone, happily munching on candies as if he's watching a movie.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Groot, put on your seat belt!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. MILANO LIVING AREA\/DIRECTLY ABOVE BERHERT - DAY<\/stage_direction>\n    <scene_description>The SPOOL DETACHES and FLIES toward the back, which would leave Drax in the upper reaches of the planet's atmosphere - But Gamora has made it downstairs - she GRABS ONTO THE SPOOL with one hand while CLUTCHING onto a secure part of the ship with her other. As it SNAPS TIGHT, it nearly wrenches her apart. She GROANS.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Prepare for a really bad -<\/dialogue>\n    <scene_description>The Milano HITS THE TREES, BARRELING OVER THEM. They PART and FLATTEN and SWAT at the windshield. Out back, Gamora HOLDS TIGHT despite searing pain, as Drax BOUNCES VIOLENTLY off the trees.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>Ow! Ow! Ow! Ow!<\/dialogue>\n    <scene_description>And, eventually, the Milano comes to an ABRUPT STOP. SUPER: BERHERT M20 22A4834126+306CA12 Drax pushes himself up in the dirt. He CHUCKLES. He glances back at Gamora like the madman he is.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>That was awesome.<\/dialogue>\n    <scene_description>Gamora nods, sure, yeah, okay, whatever, dude.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. CRASHED MILANO - CLEARING - MOMENTS LATER<\/stage_direction>\n    <scene_description>CRANE DOWN OVER THE SMOKING, BATTERED MILANO TO our heroes, and a still-shackled Nebula.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>Either one of you could have gotten us through that field, if you had flown with what's between your ears instead of what's between your legs!<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>If what's between my legs had a hand on it, I guarantee I could have landed this ship.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>It's not funny, Peter. We almost died. Because of your arrogance.<\/dialogue>\n    <character>QUILL<\/character>\n    <parenthetical>(re: Rocket)<\/parenthetical>\n    <dialogue>More like because he stoled Anulax batteries!<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>They're called Harbulary batteries.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>No, they're not!<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>You know why I did it, Star-Munch?<\/dialogue>\n    <scene_description>Quill fumes.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>Do you?<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>I'm not going to answer to 'Star- Munch.'<\/dialogue>\n    <scene_description>I DID IT BECAUSE I WANTED TO.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Dick.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>What are we even talking about this for? We just had a little man save us by blowing up fifty ships!<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>How little?<\/dialogue>\n    <scene_description>Rocket shows him with his finger and thumb.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>Like this.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>A little one-inch man saved us?<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>Well, if he got closer I'm sure he'd be much larger.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>That's how eyes work, you stupid raccoon.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>Don't call me a raccoon!<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Oh, I'm sorry, I meant to say 'trash panda.'<\/dialogue>\n    <scene_description>Rocket pauses, unsure, looks at Drax.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>Is that better?<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>It's worse.<\/dialogue>\n    <scene_description>YOU SON-OF-A-!! Rocket LEAPS, SNAPPING at Quill, when Nebula looks up into the sky.<\/scene_description>\n    <character>NEBULA<\/character>\n    <dialogue>Someone followed you through the jump point.<\/dialogue>\n    <scene_description>A HUGE SPACESHIP HOVERS overhead. The Guardians COCK THEIR WEAPONS as they FALL BACK-TO-BACK in tight formation.<\/scene_description>\n    <character>NEBULA<\/character>\n    <dialogue>Set me free. You'll need my help.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>I'm not a fool, Nebula.<\/dialogue>\n    <character>NEBULA<\/character>\n    <dialogue>You're a fool if you deprive yourself a hand in combat.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>You'll attack me the moment I let you go.<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>NEBULA<\/character>\n    <parenthetical>(mumbly, unconvincing)<\/parenthetical>\n    <dialogue>No, I won't.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>You'd think an evil supervillain would learn how to properly lie.<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>I bet it's the one-inch man!!<\/dialogue>\n    <scene_description>The SHIP LANDS, CRUSHING ALL OF THE TREES AROUND IT. A HATCH OPENS, and an adventurous, outer space frontiersman steps forward. He has grown hardened and haggard over the years, but he is definitely the MYSTERIOUS MAN from the beginning of the film. MANTIS, a creepy woman with antennae, emerges behind him. The Man smiles.<\/scene_description>\n    <character>MYSTERIOUS MAN<\/character>\n    <dialogue>After all these years, I've found you.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Who the hell are you?<\/dialogue>\n    <character>MYSTERIOUS MAN<\/character>\n    <dialogue>I figured my rugged good looks would make that obvious. My name's Ego. And I'm your Dad, Peter.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONTRAXIA - OUTER SPACE<\/stage_direction>\n    <scene_description>QUIET. A planet of mostly water and white icy patches of land, revolving around two overlapping suns. SUPER: CONTRAXIA M15 5127512731+X1955KX<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE IRON LOTUS - DAY<\/stage_direction>\n    <scene_description>SNOW FALLS GENTLY over this sleepy, pastel-colored town of wood and stone buildings. PUSH IN on the Iron Lotus, a robot brothel and saloon. ASSORTED RAVAGERS, including KRAGLIN, as well as some ROBOTIC COURTESANS, are drunk and GIGGLING, trying to catch snowflakes on their tongues. \u00a9 Marvel<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IRON LOTUS SUITE - DAY<\/stage_direction>\n    <scene_description>YONDU UDONTA is staring out the window as he puts on his pants. He looks utterly disconnected and alone. Behind him are three ROBOT COURTESANS. One pushes a button on her neck and she POWERS DOWN.<\/scene_description>\n    <character>TULLK (O.S.)<\/character>\n    <dialogue>Yondu! Come on down!<\/dialogue>\n    <scene_description>Yondu looks down at the street where an older Ravager, TULLK, drunkenly dances, waving for him to join.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IRON LOTUS - MOMENTS LATER<\/stage_direction>\n    <scene_description>Yondu exits his suite. Two bodyguards, BRAHL and HALF-NUT, salute and follow him as he descends the stairwell. At the bottom of the stairs a group of RAVAGERS in BLUE UNIFORMS LAUGH. A gruff, older warrior, STAKAR, and a man seemingly made of diamonds, MARTINEX are among them. Yondu stops when he sees them. He's struck. Stakar LAUGHS as he tells a story -<\/scene_description>\n    <character>STAKAR<\/character>\n    <dialogue>And I was like, Aleta, I love you, but you're crazy now, you always been -<\/dialogue>\n    <scene_description>Yondu approaches Stakar with trepidation.<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>Stakar.<\/dialogue>\n    <scene_description>Stakar is surprised to see him.<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>Been some time. I'd -<\/dialogue>\n    <character>STAKAR<\/character>\n    <dialogue>Seems like this establishment is the wrong kind of disreputable.<\/dialogue>\n    <scene_description>The blue-coats turn and walk away.<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>Stakar...<\/dialogue>\n    <scene_description>Stakar glances at the PROPRIETOR as he passes her. \u00a9 Marvel<\/scene_description>\n    <character>STAKAR<\/character>\n    <dialogue>There are a hundred Ravager factions, Sneeper. You just lost the business of ninety-nine by serving one.<\/dialogue>\n    <character>PROPRIETOR<\/character>\n    <dialogue>Please, sir! Sir!<\/dialogue>\n    <scene_description>Yondu stands there for a moment, hurt, as they head out the door. But, little by little, his hurt turns to rage and he FOLLOWS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. IRON LOTUS - DAY<\/stage_direction>\n    <scene_description>Yondu trots quickly toward Stakar and the others.<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>You all can go to hell! I don't care what you think of me!<\/dialogue>\n    <scene_description>Stakar swirls toward him, furious.<\/scene_description>\n    <character>STAKAR<\/character>\n    <dialogue>Then why you following us for?!<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>'Cause you'll listen to what I got to say!<\/dialogue>\n    <character>STAKAR<\/character>\n    <dialogue>I don't got to listen to nothing! You betrayed the code! Ravagers don't deal in kids!<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>I didn't know what was going on -<\/dialogue>\n    <character>STAKAR<\/character>\n    <dialogue>You didn't know 'cause you didn't want to know, 'cause it made you rich!<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>I demand a seat at the table! I wear the flames same as you!<\/dialogue>\n    <character>STAKAR<\/character>\n    <dialogue>You may dress like a Ravager but you won't hear no Horns of Freedom when you die, boy, and the Colors of Ogord will not flash over your grave!<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>STAKAR<\/character>\n    <dialogue>You think I take some pleasure in exiling you, you're wrong. You broke all our hearts.<\/dialogue>\n    <scene_description>Stakar and the others storm away. Martinex stays a moment, staring at Yondu, and then moves on too. Yondu is left alone, shaken as the WHITE SNOW FALLS GENTLY on his blue face. NEARBY, a MONSTROUS RAVAGER leans in toward Kraglin, Tullk, GEF THE RAVAGER, OBLO, and RETCH. As he eyes Yondu, he WHISPERS:<\/scene_description>\n    <character>MONSTROUS RAVAGER<\/character>\n    <dialogue>First Quill betrays us and Yondu just lets him go, scot-free. Now he's getting all riled over nothing. We followed him 'cause he was the one wasn't afraid to do what needed to be done. Seems like he's going soft.<\/dialogue>\n    <character>KRAGLIN<\/character>\n    <dialogue>If he's so soft why you whispering for?<\/dialogue>\n    <character>MONSTROUS RAVAGER<\/character>\n    <dialogue>You know I'm right, Kraglin.<\/dialogue>\n    <character>TULLK<\/character>\n    <dialogue>You best watch what you say about the Cap'n, Tay -<\/dialogue>\n    <character>RETCH<\/character>\n    <dialogue>Who the hell is that?!<\/dialogue>\n    <scene_description>Tullk stops when he sees High Priestess Ayesha approaching beside them. The Chambermaids ROLL OUT a LONG BLUE CLOTH so she doesn't touch unconsecrated ground. She STOPS at the carpet's end. Does her best to force a smile.<\/scene_description>\n    <character>AYESHA<\/character>\n    <dialogue>Yondu Udonta, I have a proposition for you.<\/dialogue>\n    <scene_description>Yondu looks at her.<\/scene_description>\n    <character>EGO (PRE-LAP)<\/character>\n    <dialogue>When your mother passed away, I hired Yondu to pick you up.<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMPFIRE\/CRASHED MILANO - NIGHT<\/stage_direction>\n    <scene_description>Quill sits around a campfire with Ego, Mantis and the others, eating. Ego indulges heartily.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>I would have done so myself, but I was in the midst of an outlandish adventure at the time, battling demonic forces to save this dimension or some such nonsense - I can't quite recall, it all bleeds together after awhile. But instead of returning you, Yondu kept you. I have no clue as to why.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Because I was a skinny kid who could squeeze into places adults couldn't, making thieving easier.<\/dialogue>\n    <character>EGO<\/character>\n    <dialogue>I've been trying to track you down ever since.<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>I thought Yondu was your father.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Drax stares at him.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>We've been together all this time and you thought Yondu was my actual, blood relative?<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>You look exactly alike.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>One's blue.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>He wasn't my father. Yondu was the guy who abducted me. He'd beat the crap out of me so I'd learn how to fight and he kept me in terror threatening to eat me.<\/dialogue>\n    <character>EGO<\/character>\n    <dialogue>Eat you?!<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>EGO<\/character>\n    <dialogue>That son-of-a-bitch.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>How'd you locate us now?<\/dialogue>\n    <character>EGO<\/character>\n    <dialogue>Even where I reside, out past the edge of what's known, we've heard tell of the man they call Star- Lord.<\/dialogue>\n    <scene_description>He stands, handing his dish to Gamora.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>Say we head out that way now? Your associates are welcome, even that triangle-faced monkey there.<\/dialogue>\n    <scene_description>Rocket, self-conscious, feels his nose.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>I promise you, it's like no place you've ever seen. And there I can explain your very special heritage, and finally be the father I've always wanted to be.<\/dialogue>\n    <parenthetical>(almost teary)<\/parenthetical>\n    <dialogue>'Scuse me. I gotta take a whizz.<\/dialogue>\n    <scene_description>Ego leaves. Quill looks at Gamora.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Not buying it.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>Peter, we need to take a walk.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMPFIRE\/CRASHED MILANO - NIGHT<\/stage_direction>\n    <scene_description>Ego is WHISTLING \"BRANDY\" and PEEING into the bushes. Mantis looks at Drax. She GRINS, or at least her best attempt at grinning. It's kind of creepy.<\/scene_description>\n    <character>MANTIS<\/character>\n    <dialogue>I am Mantis.<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>MANTIS<\/character>\n    <dialogue>Smiling. I hear it is the thing to do to make people like you.<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>Not if you do it like that.<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>Oh. I was raised alone on Ego's planet. I do not understand the intricacies of social interaction.<\/dialogue>\n    <scene_description>She points at Rocket.<\/scene_description>\n    <character>MANTIS<\/character>\n    <dialogue>Can I pet your puppy? It is adorable.<\/dialogue>\n    <character>DRAX<\/character>\n    <parenthetical>(mischievous)<\/parenthetical>\n    <dialogue>Yes...<\/dialogue>\n    <scene_description>She goes to pet Rocket: startled, he SWIRLS and SNAPS at her. AHH! She pulls back her hand. Drax LAUGHS, heartily.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>That's called a practical joke!<\/dialogue>\n    <scene_description>She GIGGLES.<\/scene_description>\n    <character>MANTIS<\/character>\n    <dialogue>I liked it very much!<\/dialogue>\n    <scene_description>They both LAUGH together. Nebula shakes her head with disbelief.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BESIDE CRASHED MILANO - MOMENTS LATER<\/stage_direction>\n    <scene_description>Quill and Gamora enter this private spot; the campfire flickers through the trees beyond them.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Give me a break! After all this time, and he just expects to be my Dad all of the sudden!<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>I hear you.<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>I mean, this could be a trap - the Kree purists, the Ravagers, now the Sovereign - they all want us dead.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>I know, but -<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>But what?<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>What was that story you told me about Zardu Hasselfrau?<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>The wonderful television-singer man. He had a magic boat.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>David Hasselhoff?<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>He had a talking car, not a magic -<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>Why did it talk again?<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Just to be a good friend, I guess.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>And as a child you carried his picture in your pocket, and you told the other children he was your father, but he was out of town --<\/dialogue>\n    <character>QUILL<\/character>\n    <parenthetical>(embarrassed)<\/parenthetical>\n    <dialogue>Shooting Knight Rider or touring with his band in Germany. Why are you bringing this up now? I was drunk when I told you that.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>I love that story.<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>I don't. It's just sad! I was so sad because I'd see the other kids off playing catch with their dads, and I wanted that, more than anything in the world.<\/dialogue>\n    <scene_description>Gamora takes Quill's hands in her own.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>My point is, maybe this man is your Hasselhoff. I know it's a long shot. But I lost my father as a child. I'd give anything...<\/dialogue>\n    <scene_description>Quill nods, grudgingly.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>If he ends up being evil, we'll just kill him.<\/dialogue>\n    <scene_description>Quill CHUCKLES.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>What's funny?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. CRASHED MILANO - SUNRISE<\/stage_direction>\n    <scene_description>Inside the ship, \"THE CHAIN\" BY FLEETWOOD MAC PLAYS on the cassette player. Nebula is angry.<\/scene_description>\n    <character>NEBULA<\/character>\n    <dialogue>You're leaving me with that fox?!<\/dialogue>\n    <scene_description>Rocket is SOLDERING the ship.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>He's not a fox.<\/dialogue>\n    <scene_description>Gamora glances at Rocket as she grabs her outer-space- adventurer version of luggage.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>Shoot her if she does anything suspicious. Or if you feel like it.<\/dialogue>\n    <scene_description>Rocket GRUNTS. Gamora looks at a sad Baby Groot.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>It will just be a couple days. We'll be back before Rocket's finished fixing the ship.<\/dialogue>\n    <scene_description>\u00a9 Marvel Gamora steps out. Rocket sees Groot, who is ABOUT TO CRY as he watches them go. Drax and Quill come from the back of the ship.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>What about your spool of songs?<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>I have clones.<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>What if the Sovereign come?<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>There's no way for them to know they're here.<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>I am uncertain about parting ways.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>You're like an old woman.<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>Because I am wise?<\/dialogue>\n    <scene_description>Quill turns to Rocket as Drax and Gamora head toward the ship. He starts to say something nice - perhaps something conciliatory but --<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>Hope daddy isn't as big of a dick as you, orphan boy.<\/dialogue>\n    <scene_description>Quill just shakes his head and SNICKERS.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>So what's your goal here? To get everyone to hate you? 'Cause it's working.<\/dialogue>\n    <scene_description>Quill turns back around with Gamora and Drax and walks away. Rocket looks at the others leaving as THE SONG BECOMES SCORE: I can still hear you saying you will never break the chain. Rocket watches them move away. IN SLOW-MOTION, Quill, Drax, and Gamora approach the oval ship. The slit opens. Ego, with Mantis, is waiting inside. Ego smiles and CLASPS his hand on Quill as he enters. \u00a9 Marvel<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EGOS SHIP. SUNRISE<\/stage_direction>\n    <scene_description>Quill sits back against the wall, alone, nervous. He looks across the way at a SLEEP CHAMBER, where Mantis helps Ego lie down on a slab. She places her hand on his forehead with her hand: her antennae ALIGHT. And he drifts off to sleep. Quill takes a small, folded piece of paper out of his pocket. It's the PHOTO OF DAVID HASSELHOFF. He looks at it, then looks at Ego. Quill's eyes fill with cautious hope. And the SONG ENDS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERHERT - MOMENTS LATER<\/stage_direction>\n    <scene_description>Ego's ship rises, blocking out the sun.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EGO'S SHIP - OUTER SPACE<\/stage_direction>\n    <scene_description>The Orb moves through a rainbowish funnel of space and time; technology beyond what even the Guardians know.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EGO'S SHIP - OUTER SPACE<\/stage_direction>\n    <scene_description>Quill and Drax are drinking tea and LAUGHING with Mantis.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Can I ask you a personal question?<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>Oh, no one has ever asked me a personal question!<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>The antennae, what are they for?<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>Their purpose?<\/dialogue>\n    <scene_description>Gamora ENTERS, pouring herself some tea.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>Yes, Quill and I have a bet.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>You're not supposed to say that.<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>I say that if you are about to go through a doorway that is too low, your antennae will feel this, and stop you from being decapitated.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Just making clear - if it's anything else - any other answer - I win?<\/dialogue>\n    <scene_description>Gamora smiles, warmed by the good-natured, by-now-familiar bickering between Quill and Drax.<\/scene_description>\n    <character>MANTIS<\/character>\n    <dialogue>They are not for feeling doorways.<\/dialogue>\n    <character>DRAX<\/character>\n    <parenthetical>(bummed)<\/parenthetical>\n    <dialogue>Damn. I just lost my entire life's savings.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Three pairs of pants.<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>I think they have something to do with my empathic abilities.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>What are - ?<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>If I touch someone I can feel their feelings -<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>You read minds?<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>No. Telepaths know thoughts. Empaths feel feelings. Emotions.<\/dialogue>\n    <scene_description>She looks at Quill.<\/scene_description>\n    <character>MANTIS<\/character>\n    <dialogue>May I?<\/dialogue>\n    <scene_description>Quill doesn't stop her. Mantis, cautiously, touches him. Her hand quivers as his emotions shoot through her and her antennae ALIGHT. She is moved.<\/scene_description>\n    <character>MANTIS<\/character>\n    <dialogue>You feel love.<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Yeah, I guess, yeah, I have sort of a general, unselfish love for everyone.<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>No, romantic, sexual love.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>No. No, I don't.<\/dialogue>\n    <scene_description>Mantis nods at Gamora.<\/scene_description>\n    <character>MANTIS<\/character>\n    <dialogue>For her.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Gamora is embarrassed. Drax starts LAUGHING UPROARIOUSLY.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>She just told everyone your deepest, darkest secret, Quill! HAHAHAHAHAHA!!!<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>What the hell, dude? That's a total overreaction.<\/dialogue>\n    <scene_description>Drax SLAPS HIS CHEST. DO ME! DO ME! Mantis touches Drax. She grins brightly.<\/scene_description>\n    <character>MANTIS<\/character>\n    <dialogue>I have never felt such humor!<\/dialogue>\n    <scene_description>She starts GIGGLING and before long both she and Drax are LAUGHING HYSTERICALLY.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>You got to be kidding me.<\/dialogue>\n    <scene_description>Drax and Mantis both point at Quill, clutching onto each other and FALLING OVER WITH LAUGHTER. Quill's humiliated.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>That's so incredibly uncool.<\/dialogue>\n    <scene_description>Mantis wipes the tears from her eyes, composing herself. She goes to touch Gamora, who grabs her wrist though her clothes. \u00a9 Marvel<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>Touch me. And the only thing you're going to feel is a broken jaw.<\/dialogue>\n    <scene_description>Mantis smiles, nods, backs away.<\/scene_description>\n    <character>MANTIS<\/character>\n    <dialogue>I can also alter emotions, to some extent.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Like what?<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>If I touch someone who is sad I can ease them into contentment, for a short while. I can make a stubborn person compliant. But I mostly use it to help my Master sleep. He lies awake at night, thinking about his progeny.<\/dialogue>\n    <scene_description>Quill looks at her, struck by this.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>Do one of those on me!<\/dialogue>\n    <scene_description>Mantis touches him. He grins expectantly.<\/scene_description>\n    <character>MANTIS<\/character>\n    <dialogue>Sleep.<\/dialogue>\n    <scene_description>Drax COLLAPSES, INSTANTLY ASLEEP. Mantis smiles at the others, hoping she has pleased. Quill and Gamora look at Drax, SNORING. They're surprised.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>Is that real?<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>It's kind of like someone put a baby's head on a big, muscular body, isn't it?<\/dialogue>\n    <scene_description>FADE TO BLACK.: O.S. ALIEN INSECTS CHIRP<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CRASHED MILANO - NIGHT<\/stage_direction>\n    <scene_description>Four moons shine over the forest. The campfire CRACKLES beside the Milano, and \"SOUTHERN NIGHTS\" BY GLENN CAMPBELL emerges from the cassette player within. \u00a9 Marvel The Monstrous Ravager and Kraglin lead a group of Ravagers up over a ravine. Dozens of M-Ships quietly lower behind them. Kraglin nods toward the sounds of Glenn Campbell in the distance. They raise their weapons. OVERHEAD SHOT: dozens and dozens of Ravagers come from different directions, surrounding the Milano. One Ravager cluster, lead by Half-Nut, CREEPS close enough to the Milano that they see the lights within the vehicle and can hear Rocket inside HUMMING along to the song. Half-Nut licks his lips in anticipation, closing in for the kill, when he steps on a small pedal. It CLICKS. A HUNDRED DARTS FLY AT THE GROUP from traps set in trees. They STICK INTO THE RAVAGERS' BODIES, knocking them instantly unconscious. As one Ravager FALLS, a GUNSHOT is discharged.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CRASHED MILANO - NIGHT<\/stage_direction>\n    <scene_description>Nebula is awakened by the SHOT. She sees a frightened Groot, peering through a hole at the bodies falling. PULL BACK TO REVEAL, beside him, a futuristic walkie-talkie with ROCKET'S HUMS emerging.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CRASHED MILANO - PERCUSSIVE BOMB TRAP - NIGHT<\/stage_direction>\n    <scene_description>Rocket is crouched on a limb in shadows above the Milano, smiling and HUMMING to \"Southern Nights\" into his comm. He spots A LARGER GROUP OF RAVAGERS APPROACHING THE MILANO from the other side, led by Retch. Rocket LEAPS TOWARD THEM, from one tree limb to another like a squirrel. The GROUP enters a clearing close to the ship. A TALL RAVAGER looks up and spots Rocket LEAPING OVER THEIR HEADS.<\/scene_description>\n    <character>TALL RAVAGER<\/character>\n    <dialogue>There!<\/dialogue>\n    <scene_description>The Ravagers BLAST at Rocket, following him. He HOPS from tree to tree as BULLETS WHIZZ PAST HIM, leading them right where he wants them. He stops in a tree at the end of the run. He holds a device with two buttons. He presses one of them. A PERCUSSIVE BOMB at the feet of the Ravagers BURSTS, sending half of them FLYING UP into the air. \u00a9 Marvel As the confused group on the ground watches, Rocket presses the second button and a second BOMB BURSTS. They FLY UP INTO THE AIR as well. Rocket SNICKERS, as he continues pushes the buttons and the two groups of Ravagers FLY UP and DOWN until the bombs are depleted of energy. Retch looks up from the ground, to see the little animal hopping away in the tree limbs overhead.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CRASHED MILANO - STICKY DISK TRAP - NIGHT<\/stage_direction>\n    <scene_description>An EVEN LARGER GROUP OF RAVAGERS walk beneath the branches, MOONLIGHT FLICKERING ON THEIR FACES. TILT UP TO REVEAL ROCKET'S SILHOUETTE on a gnarled limb. He's clutching an armful of small discs. He breathes shallowly, waits. As soon as the last Ravager is passing beneath him, he LEAPS onto his back. Rocket JUMPS FORWARD FROM ONE MAN TO THE NEXT, SLAPPING A STICKY-DISC to each of their heads - SLAP! SLAP! SLAP! SLAP! And then he LEAPS from the Ravager at the front of the line BACK UP INTO THE TREES. The men are confused. They bring their fingers to the sticky discs on their bodies. Rocket smiles in the tree as he flicks a trigger. The STICKY- DISCS SEND ELECTRICITY COURSING THROUGH ALL OF THE MEN'S BODIES. They CONVULSE for a moment, then COLLAPSE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CRASHED MILANO - CLEARING - NIGHT<\/stage_direction>\n    <scene_description>Rocket LEAPS to the ground in a crouch. He sees Brahl approaching in front of him, and then another RAVAGER approaching from behind. They train their weapons on him.<\/scene_description>\n    <character>BRAHL<\/character>\n    <dialogue>Ain't so tough now without all your toys, are you?<\/dialogue>\n    <scene_description>Rocket LEAPS up onto Brahl's face. He PUNCHES HIM IN THE THORAX so hard he can't breathe. The other Ravager SHOOTS at him, but Rocket BACKFLIPS over the SHOT so Brahl is STRUCK instead. \u00a9 Marvel Rocket LANDS on the back of the shooter's neck and RAPID-FIRE PUNCHES HIM in the head, until the man CRUMPLES to the ground, unconscious. As Rocket lands, he HEARS WHISTLING and he looks up to see -- YONDU'S ARROW FLYING THROUGH THE TREES, DIRECTLY TOWARD HIM.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>Crap.<\/dialogue>\n    <scene_description>Another high-pitched WHISTLE and the arrow STOPS ABRUPTLY, FLOATING with the tip almost grazing Rocket's forehead. Yondu waltzes out of the trees with Tullk, Kraglin, the Monstrous Ravager, and many more. Rocket reluctantly raises his hands in surrender.<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>Hey there, rat.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>How's it going, you blue idiot?<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>Eh, not so bad. We got a pretty good gig. A golden gal with quite a high opinion of herself offered us a large sum to deliver you and your pals to her, so she can kill y'all.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CRASHED MILANO - NIGHT<\/stage_direction>\n    <scene_description>Nebula looks out the window to see even more Ravagers surrounding Rocket. She looks at baby Groot.<\/scene_description>\n    <character>NEBULA<\/character>\n    <dialogue>Your friend. There's too many of them. They're going to kill him.<\/dialogue>\n    <scene_description>Groot looks as if he's about to cry.<\/scene_description>\n    <character>NEBULA<\/character>\n    <dialogue>He needs my help. If you care about him, you need to get me out of these bonds.<\/dialogue>\n    <scene_description>Groot is unsure. \u00a9 Marvel<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CRASHED MILANO - CLEARING - NIGHT<\/stage_direction>\n    <scene_description>The Ravagers have entirely encircled Rocket. There's no chance of escape. Though upset, he mostly holds it in.<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>Pretty easy to find you, since we put a tracer on your ship back during the War over Xandar.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>You give me your word you won't hurt Groot, and I'll tell you where the batteries are.<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>Lucky for you my word don't mean squat. Otherwise I'd actually hand you over.<\/dialogue>\n    <character>MONSTROUS RAVAGER<\/character>\n    <dialogue>Otherwise you'd what?!<\/dialogue>\n    <scene_description>Yondu scowls at the Monstrous Ravager.<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>We'll take the batteries. They're worth a a quarter mil on the open market -<\/dialogue>\n    <character>MONSTROUS RAVAGER<\/character>\n    <dialogue>That priestess offered us a million! A quarter is only one third of that!<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>A quarter ain't one-th -<\/dialogue>\n    <character>OBLO<\/character>\n    <dialogue>A quarter is four times a million! We're in the money!<\/dialogue>\n    <character>GEF THE RAVAGER<\/character>\n    <dialogue>No, idiot. A quarter is twenty- five.<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>No -<\/dialogue>\n    <character>GEF THE RAVAGER<\/character>\n    <dialogue>We can't even buy a pair of boots with twenty-five units!<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>The point is, we aren't stupid enough to help kill the Guardians of the Galaxy. We'd have the whole Nova Corps on us.<\/dialogue>\n    <character>KRAGLIN<\/character>\n    <parenthetical>(realizing)<\/parenthetical>\n    <dialogue>That ain't right. I just gotta say it this one time, Cap'n.<\/dialogue>\n    <scene_description>Everyone looks at Kraglin.<\/scene_description>\n    <character>KRAGLIN<\/character>\n    <dialogue>No matter how many times Quill betrays you, you protect him, like none of the rest of us much matter. I'm the one what sticks up for you, me and Tullk.<\/dialogue>\n    <character>MONSTROUS RAVAGER<\/character>\n    <dialogue>Damn straight, lad. You're right: he's going soft. S'pose it's time for a change in leadership!<\/dialogue>\n    <character>KRAGLIN<\/character>\n    <dialogue>Uh -<\/dialogue>\n    <scene_description>The Monstrous Ravager points his weapon at Yondu. Others follow his lead. A handful of others, including Tullk and the Innocent Ravager, raise their weapons in their Captain's defense, so that the whole circle are aiming at one another. Kraglin is confused.<\/scene_description>\n    <character>TULLK<\/character>\n    <dialogue>Put you damn guns down!<\/dialogue>\n    <scene_description>Rocket is in the center of the potential crossfire.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>Hold on! There's got to be some sort of peaceful resolution here! Or even a violent resolution, where I'm standing over there.<\/dialogue>\n    <scene_description>Yondu glares at the Monstrous Ravager. His FIN LIGHTS UP and he starts to WHISTLE when - A GUNSHOT RINGS OUT; THE FIN IS BLOWN OFF THE TOP OF YONDU'S HEAD. The arrow CLATTERS to the ground. \u00a9 Marvel Rocket watches as Yondu, confused, TOTTERS there for a moment, and then COLLAPSES -- REVEALING NEBULA behind him, clutching a smoking pistol. Rocket looks at her, dead-eyed: really? She SHOOTS HIM WITH A BLAST OF ELECTRICITY, knocking him unconscious. The Ravagers gape at Nebula.<\/scene_description>\n    <character>NEBULA<\/character>\n    <dialogue>Well, hello, boys.<\/dialogue>\n    <scene_description>She takes a bite from a piece of yaro root she stole from the Milano. As she chews, she becomes disgusted. She spits it out.<\/scene_description>\n    <character>NEBULA<\/character>\n    <dialogue>It's not ripe.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RED PLANET - MOMENTS LATER<\/stage_direction>\n    <scene_description>Ego's ship ARRIVES at a bold red planet, twisting in front of an enormous yellow sun, so close it seems like the sun is about to devour it. \"MY SWEET LORD\" BY GEORGE HARRISON PLAYS. SUPER: EGO'S PLANET G52 22C848T12F+E16UC22<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EGO'S SHIP - SLEEP CHAMBER - OUTER SPACE<\/stage_direction>\n    <scene_description>Mantis sets her hand on Ego's forehead, waking him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EGO'S PLANET\/SPACEPORT - MOMENTS LATER<\/stage_direction>\n    <scene_description>Ego's ship lands in a spaceport. It organically JOINS the spot where it lands - strands of material actually linking up with the landing pad itself. From the front of the craft, a FLOATING TRAM emerges, with Ego, Mantis, Quill, Gamora, and Drax. As the TRAM GLIDES toward its destination, the Guardians are overwhelmed by transcendentally splendid surroundings. The plant life is colorful and alien. Tall, twisting obelisks seem to have no function other than beauty itself.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>Welcome, friends, to my world.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Wow. You have your own planet?<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>But a trifle, no larger than your earth's moon.<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>Humility. I like it. I too, am extraordinarily humble.<\/dialogue>\n    <scene_description>Even Gamora smiles at the wonder of it all. Multicolored mercurial clumps FLOAT BY. Drax pokes one, and it BURSTS INTO A DOZEN VIBRANT HUES.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAM\/PALACE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Ahead of them looms an astounding palace atop a mountain.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>It's beautiful.<\/dialogue>\n    <scene_description>The tram STOPS. They step off it and toward the palace, Ego stops beside a large FOUNTAIN.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>Peter, consider this a token of a father's pride.<\/dialogue>\n    <scene_description>Ego motions; the WATERS OF THE FOUNTAIN FALL AWAY, REVEALING a GIANT STATUE OF STAR-LORD: Quill stands heroically, with foolish-looking Guardians kneeling around him worshipfully.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>A memorial to the War Over Xandar, when you single-handedly saved the galaxy.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>Single-handedly?<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Whoa. It's perfect.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>You've got to be kidding.<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>Why am I dead? Why did you all kill me?!<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>That's Ronan. That's you.<\/dialogue>\n    <scene_description>\u00a9 Marvel Drax is sitting on Quill's shoulder, with a raccoon tail.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>When was I that tiny?<\/dialogue>\n    <scene_description>Gamora shakes her head in disbelief. They step past the statue and onto the steps approaching the palace.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>You own a planet and can destroy two dozen spaceships without a suit. What are you, exactly?<\/dialogue>\n    <character>EGO<\/character>\n    <dialogue>I'm what they call a Celestial, sweetheart.<\/dialogue>\n    <scene_description>The Guardians STOP behind him, astounded.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>A Celestial. Like a... god?<\/dialogue>\n    <character>EGO<\/character>\n    <dialogue>Small 'g', son. At least on the days I'm feeling humble as Drax.<\/dialogue>\n    <scene_description>He LAUGHS and walks up the stairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Ego SAUNTERS with Quill, Gamora, Drax, and Mantis, through the enormous open doors, toward huge DIORAMAS lining either side of the palace, like cosmic Stations of the Cross.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>This form you see before you is only an extension of who I truly am. I don't know where I came from, exactly.<\/dialogue>\n    <scene_description>The DIORAMAS around them begin to ANIMATE: In the first, a FLICKERING BRAIN COMPOSED OF POLYCHROMATIC LIGHT FLOATS in space.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>The first thing I remember is flickering, adrift in the cosmos - utterly and entirely alone.<\/dialogue>\n    <scene_description>The flickering brain pulls cosmic dust and rocks into itself, ingesting them, GROWING. \u00a9 Marvel<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>I fed on the matter around me like plankton. I grew smarter and stronger.<\/dialogue>\n    <scene_description>A hard metal shell forms around the brain, with channels running through for his energy to flow like rivers.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>I formed a sheathe to protect myself from the elements.<\/dialogue>\n    <scene_description>Ego continues developing outward from the shell, growing the planet, then its beautiful landscapes and structures.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>And continued building from there, layer by layer, the very planet you walk on now. I built the spires reaching up to the sky and the tunnels burrowing into its depths.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <character>EGO<\/character>\n    <dialogue>But I was no ant to be fulfilled solely by labor. I wanted more. I desired... meaning.<\/dialogue>\n    <scene_description>In the core shell - the Self Chamber - the flickering brain floats, alone, perhaps sad.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>There must be some life out there in the universe besides just me, I thought, and I set myself to task with finding it.<\/dialogue>\n    <scene_description>The brain grows a SKELETAL FRAMEWORK OF LIGHT up from the self chamber and to the surface of the planet. He pulls molecules around this shape to create his \"human\" self.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>I created what I imagined biological life might be like, down to the most minute detail.<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>Did you make a penis?<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Dude.<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>If he's a planet, how did he make a baby with your mother? He would smush her.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>I don't need to hear about how my parents, you know -<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>Why? My father would tell me the story of impregnating my mother every winter solstice.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>That's disgusting.<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>It was beautiful. You earthers have hang-ups.<\/dialogue>\n    <character>EGO<\/character>\n    <dialogue>Yes, Drax, I've got a penis.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Oh my God.<\/dialogue>\n    <character>EGO<\/character>\n    <dialogue>It's not half bad. I've also got pain receptors, a digestive system, and all the accompanying junk. I wanted to experience what it truly meant to be human as I set out amongst the stars.<\/dialogue>\n    <scene_description>In another DIORAMA, Ego explores various uninhabited and barren planets.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>I visited thousands of planets over thousands of years, one barren husk after the next until I found what I sought...<\/dialogue>\n    <scene_description>Ego stares down at a CUTE ALIEN CHILD.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>Life. I was not alone in this universe after all.<\/dialogue>\n    <scene_description>Ego reminisces: wistful? Sad? It's hard to tell.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>When did you meet my mother?<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>Not long after.<\/dialogue>\n    <scene_description>Ego turns toward the last set of DIORAMAS. They show Meredith and Ego kissing and Ego with his hand on Meredith's pregnant belly.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>It was with Meredith that I experienced love for the first time. I called her my river lily. And from that love, Peter, you.<\/dialogue>\n    <scene_description>In the final DIORAMA we PUSH IN on the belly and see, inside the womb, VERY young Peter Quill, a fetus, himself encased in light. Quill looks up in amazement - this story is the story of himself. And Ego gazes at Quill with adoration.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>I searched for you for so long. When I heard a man from earth held an Infinity Stone in his hand without dying, I knew you must be the son of the woman I loved.<\/dialogue>\n    <scene_description>Ego puts his hand on Quill. Quill wants to believe, but he can't quite let it go.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>If you loved her why did you leave her?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE ECLECTOR - OUTER SPACE<\/stage_direction>\n    <scene_description>The Ravagers' massive ship FLOATS in space. SUPER: RAVAGER TERRITORY HE2 6SM6R16617+6241023<\/scene_description>\n    <character>TULLK (O.S.)<\/character>\n    <dialogue>You can't do this!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ECLECTOR CENTRAL AREA - OUTER SPACE<\/stage_direction>\n    <scene_description>Ravagers LAUGH as they DRAG Tullk across the floor while he STRUGGLES to get free.<\/scene_description>\n    <character>TULLK<\/character>\n    <dialogue>This is mutiny! Mutiny!<\/dialogue>\n    <scene_description>They shove Tullk into a cylindrical room as a glass door CLOSES on him. \u00a9 Marvel He continues SCREAMING and SLAMMING ON THE GLASS, but we can barely hear him. Half-Nut smiles and presses a button. The outside of the compartment OPENS so that Tullk is SUCKED INTO SPACE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE ECLECTOR - OUTER SPACE<\/stage_direction>\n    <scene_description>Tullk FLOATS AWAY, opening his mouth to scream, but he can't. His FACE AND BODY SWELL QUICKLY and he EXPIRES there. As we CURL AROUND his lifeless body, we REVEAL the countless other CORPSES of Ravagers loyal to Yondu, leading like bread crumbs toward nothing at all.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ECLECTOR CENTRAL AREA - OUTER SPACE<\/stage_direction>\n    <scene_description>Yondu watches this, helplessly. He's in a chair, his hands tied behind him. He's a wreck, his headpiece destroyed, wires hanging from a gap in his head where the fin used to be. He sees the mutineers grab the innocent Oblo, DRAGGING HIM to the same fate as Tullk.<\/scene_description>\n    <character>OBLO<\/character>\n    <dialogue>Cap'n, help me! Cap'n?!<\/dialogue>\n    <scene_description>Yondu drops his head in shame.<\/scene_description>\n    <character>MONSTROUS RAVAGER<\/character>\n    <dialogue>You're the one what kilt those men by leading 'em down the wrong path.<\/dialogue>\n    <scene_description>He PUNCHES Yondu.<\/scene_description>\n    <character>MONSTROUS RAVAGER<\/character>\n    <dialogue>Because you're weak.<\/dialogue>\n    <scene_description>He PUNCHES him again.<\/scene_description>\n    <character>MONSTROUS RAVAGER<\/character>\n    <dialogue>And stupid.<\/dialogue>\n    <scene_description>The Monstrous Ravager turns towards the Ravagers, who listen, rapt and vengeful. Nebula leans calmly against a wall, watching. Kraglin watches too, seemingly concerned.<\/scene_description>\n    <character>MONSTROUS RAVAGER<\/character>\n    <dialogue>It's time for the Ravagers to once again rise to glory with a new Cap'n... TASERFACE.<\/dialogue>\n    <scene_description>The Ravagers SHOUT IN APPROVAL. Taserface throws his arms up in glory - when he hears SNICKERING. He stops. \u00a9 Marvel He and the other Ravagers turn and see Rocket, also in a chair with his arms secured behind him, GIGGLING.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>I'm sorry. Your name is... it's 'Taserface'?<\/dialogue>\n    <character>TASERFACE<\/character>\n    <dialogue>That's right.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>Do you... shoot tasers out of your face?<\/dialogue>\n    <character>TASERFACE<\/character>\n    <dialogue>It's metaphorical!<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>For what?<\/dialogue>\n    <scene_description>Taserface thinks. Time for a new answer:<\/scene_description>\n    <character>TASERFACE<\/character>\n    <dialogue>It's a name what strikes fear in anyone what hears it!<\/dialogue>\n    <character>ROCKET<\/character>\n    <parenthetical>(doubtful)<\/parenthetical>\n    <dialogue>Really?... Okay, sure.<\/dialogue>\n    <scene_description>Taserface screams at him, SPIT FLYING EVERYWHERE.<\/scene_description>\n    <character>TASERFACE<\/character>\n    <dialogue>You shut up! You're next!<\/dialogue>\n    <scene_description>Taserface goes back to Yondu, bringing out his blade.<\/scene_description>\n    <character>TASERFACE<\/character>\n    <dialogue>Udonta, I been waiting to do this for a long ti -<\/dialogue>\n    <scene_description>Again they hear SNICKERING. Rocket is burying his mouth in his chest, TRYING TO STOP FROM CRACKING UP.<\/scene_description>\n    <character>TASERFACE<\/character>\n    <dialogue>What?! What?!<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>I'm sorry, I'm so sorry. I just keep imagining you waking up one morning, looking in the mirror, and, in all seriousness, saying 'You know what would be a really kickass name? Taserface!'<\/dialogue>\n    <scene_description>\u00a9 Marvel Nebula smirks. The Ravagers are TRYING NOT TO LAUGH. Rocket can't stop LAUGHING.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>What was your second choice?! Scrotum Hat?!<\/dialogue>\n    <scene_description>The Ravagers all BUST OUT LAUGHING.<\/scene_description>\n    <character>TASERFACE<\/character>\n    <dialogue>New plan. We're killing you first.<\/dialogue>\n    <scene_description>Taserface SHOVES HIM BACK, ready to plunge the knife in him. Rocket's smile disappears. He stares at Taserface with dead eyes.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>Well, dying is certainly better than having to live an entire life as a moronic shitbag who thinks 'Taserface' is a cool name.<\/dialogue>\n    <scene_description>Taserface goes to stab him, when -<\/scene_description>\n    <character>NEBULA<\/character>\n    <dialogue>That's enough killing for today.<\/dialogue>\n    <scene_description>Taserface turns toward her, irritated.<\/scene_description>\n    <character>TASERFACE<\/character>\n    <dialogue>Thought you were the biggest sadist in the galaxy.<\/dialogue>\n    <character>NEBULA<\/character>\n    <dialogue>That was when Daddy was paying my bills. The Priestess wants to kill the fox herself. And he -<\/dialogue>\n    <parenthetical>(re: Yondu)<\/parenthetical>\n    <dialogue>- has bounties on his head in at least twelve Kree provinces.<\/dialogue>\n    <scene_description>Taserface glares at her. It's obvious he's considering attacking her.<\/scene_description>\n    <character>NEBULA<\/character>\n    <dialogue>I assure you, I am not as easy a mark as an old man without his magic stick or a talking woodland beast.<\/dialogue>\n    <scene_description>Taserface decides not to risk it. \u00a9 Marvel<\/scene_description>\n    <character>NEBULA<\/character>\n    <dialogue>I want ten percent of the take, and a couple more things.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ECLECTOR DOCKING BAY HALL - LATER<\/stage_direction>\n    <scene_description>Nebula is TRYING OUT A BRAND NEW HAND as Kraglin leads her through this hall.<\/scene_description>\n    <character>KRAGLIN<\/character>\n    <dialogue>We got a whole box of hands if that one don't work out.<\/dialogue>\n    <character>NEBULA<\/character>\n    <dialogue>It's fine.<\/dialogue>\n    <character>KRAGLIN<\/character>\n    <dialogue>You think them Kree is gonna execute the Cap'n?<\/dialogue>\n    <character>NEBULA<\/character>\n    <dialogue>The Kree consider themselves merciful. It will be painless.<\/dialogue>\n    <scene_description>Kraglin comes to an open doorway beside a huge DOCKING BAY, and an M-SHIP decked out with lots of weapons.<\/scene_description>\n    <character>KRAGLIN<\/character>\n    <dialogue>Well, there it is, best ship we got. The location of Ego's planet's in the nav. We'll wire you the ten percent when we's paid. What you gonna do with your share?<\/dialogue>\n    <scene_description>Nebula stops at the doorway.<\/scene_description>\n    <character>NEBULA<\/character>\n    <dialogue>As a child my father would have Gamora and me battle one another in 'training.' Every time my sister prevailed my father would replace a piece of me with machinery, claiming he wanted me to be her equal. But she won, again and again and again. Never once refraining. Because of them, I am this. So after I murder my sister, I will buy a warship with every conceivable instrument of death.<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>NEBULA<\/character>\n    <dialogue>I will hunt my father like a dog and I will tear him apart slowly, piece by piece, until he knows some semblance of the profound and unceasing pain I know every single day.<\/dialogue>\n    <scene_description>Kraglin stares at her, weirded-out.<\/scene_description>\n    <character>KRAGLIN<\/character>\n    <dialogue>Yeah... I was talking about, like, a pretty necklace. Or a nice hat. Something that'll make the other girls go 'oooooo, that's nice.'<\/dialogue>\n    <scene_description>Nebula gives him a look of pure death.<\/scene_description>\n    <character>KRAGLIN<\/character>\n    <dialogue>Anyway, uh, happy trails.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE COURTYARD - DAY<\/stage_direction>\n    <scene_description>Quill looks up at a GIANT SCULPTURE of his mother. He is upset. Ego is behind him, watching him, sadly.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>My mother told everyone my father was from the stars.<\/dialogue>\n    <scene_description>Quill turns to look at his father, somewhat accusatory.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>She had brain cancer - so everyone thought she was delusional.<\/dialogue>\n    <scene_description>Ego looks sad, ashamed.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>Peter -<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Listen. I'd love to believe all of this, I really would - but you left the most wonderful woman ever, to die alone!<\/dialogue>\n    <scene_description>Ego has tears in his eyes.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>I didn't want to leave your mother, Peter. But if I don't return regularly to this planet, and the light within, this form will wither and perish --<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>So why didn't you come back?! Why'd you send Yondu, a criminal, of all people, to fetch me?!<\/dialogue>\n    <character>EGO<\/character>\n    <dialogue>I loved your mother, Peter! I couldn't stand to set foot on an earth where she wasn't living! You can't imagine what that's like!<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>I know exactly what that's like! I had to watch her die!<\/dialogue>\n    <scene_description>Ego stops, seeming to hear his son. He touches him.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>Over the millions and millions of years of my existence I have made many mistakes, Peter. But you're not one of them. Please give me the chance to be the father she would want me to be.<\/dialogue>\n    <scene_description>Quill looks at him, vulnerable.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>There are so many things I need to teach you. This planet, and the light within... they are a part of you.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <scene_description>Ego takes Quill's hands in his own, gently, putting them in the correct position.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>Give me your hands, son. Here. Hold them like that.<\/dialogue>\n    <scene_description>Quill holds his hands apart. Ego steps back, holding his hands in the same way.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>Now close your eyes and concentrate. Take your brain to the center of the planet.<\/dialogue>\n    <scene_description>Quill concentrates. He holds his hand out. A white light emanates from it. \u00a9 Marvel<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>Yes! Yes!<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Whoa.<\/dialogue>\n    <scene_description>The light disappears as quickly as it came.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>Yes, yes - it's okay. Just relax. Concentrate. You can do it. Bring it back.<\/dialogue>\n    <scene_description>Quill concentrates and the LIGHT, once again, bursts up from the palms of his hands.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>Yes, yes, now - shape it -<\/dialogue>\n    <scene_description>Ego shows him, pulling in the molecules around him, so that the light itself forms into the shape of a ball.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>Feel the energy.<\/dialogue>\n    <scene_description>Quill tries to pull molecules into the ball. And, little by little, they come, and the ball glows brighter.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Quill laughs. Ego is JOYOUS. He almost looks as if he's going to break down in tears.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>You're home, Peter.<\/dialogue>\n    <scene_description>Ego cups his hands.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>Here.<\/dialogue>\n    <scene_description>Quill, smiling, THROWS him the ball. Ego LAUGHS. He inspects the cosmic ball of light, and he throws it back to Quill. Quill LAUGHS, catching it, and throws it back. Ego moves back further. And Ego and Quill continue tossing the ball back and forth there, LAUGHING, a friendly father and son game of catch in the middle of a palace courtyard. \u00a9 Marvel<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PALACE - DAY<\/stage_direction>\n    <scene_description>Drax and Mantis sit here, soaking in the sun and gazing at the lush, flowing hills, like something an alien Maxfield Parrish would paint.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>How did you get here?<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>Ego found me in my larva state, orphaned on my homeworld. He raised me by hand, and kept me as his own.<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>So you're a pet?<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>I suppose.<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>People usually want cute pets. Why would Ego want a hideous one?<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>I am hideous?<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>You're horrifying to look at, yes.<\/dialogue>\n    <scene_description>Mantis seems sad about this. Drax notice this, feels bad.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>But it is a good thing.<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>Oh?<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>When you are ugly and someone loves you, you know they love you for who you are. Beautiful people never know who to trust.<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>Well, then I am certainly grateful to be ugly!<\/dialogue>\n    <parenthetical>(thinking)<\/parenthetical>\n    <dialogue>Poor Gamora. She can never trust anyone.<\/dialogue>\n    <scene_description>Drax nods and stares out at spattered patches of water. \u00a9 Marvel<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>Those pools remind me of a time I took my daughter to visit the Forgotten Lakes on my homeworld. She was like you.<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>Disgusting?<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>Innocent.<\/dialogue>\n    <scene_description>Drax stares out at them without expression. Slowly, Mantis TOUCHES his shoulder. And, as she does, TEARS INSTANTLY FLOW DOWN HER CHEEKS. She stares with Drax at the hills. They feel the sadness together: she cries while he's stoic.<\/scene_description>\n    <character>MANTIS<\/character>\n    <dialogue>I have never met anyone like you, or your friends. You are filled with such... love. It is a thing I did not know existed, not like this, and I think... I think it may be the very finest of all things. It both hurts and soothes the heart.<\/dialogue>\n    <scene_description>She looks at Drax. There is something she wants to say, but she is torn.<\/scene_description>\n    <character>MANTIS<\/character>\n    <dialogue>Drax, there is something I must tell -<\/dialogue>\n    <character>GAMORA (O.S.)<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <scene_description>Drax and Mantis turn to see her behind them. She smiles.<\/scene_description>\n    <character>MANTIS<\/character>\n    <dialogue>I am learning many things. Like I am a pet and ugly.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>You're not ugly.<\/dialogue>\n    <parenthetical>(admonishing)<\/parenthetical>\n    <dialogue>Drax.<\/dialogue>\n    <scene_description>Drax, confused, points at Mantis, as if her ugliness proves itself. \u00a9 Marvel<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>Mantis, can you show us where we'll be staying? I'm getting eye-strain in this place.<\/dialogue>\n    <scene_description>Mantis nods, yes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PATH TO SLEEPING QUARTERS - MOMENTS LATER<\/stage_direction>\n    <scene_description>Gamora, Drax, and Mantis walk across the sunset.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>Why are there no other beings on this planet?<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>The planet IS Ego. A dog would not invite a flea to live on his back.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>And you're not a flea?<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>I'm a flea with a purpose. I help him sleep.<\/dialogue>\n    <scene_description>Gamora curls around Mantis, cutting her off.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>What were you about to say to Drax before I walked out?<\/dialogue>\n    <scene_description>Mantis looks around, worried.<\/scene_description>\n    <character>MANTIS<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <scene_description>Gamora and Drax share a look: why is she so scared? Mantis moves on.<\/scene_description>\n    <character>MANTIS<\/character>\n    <dialogue>Your quarters are this way.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ECLECTOR CELL - OUTER SPACE<\/stage_direction>\n    <scene_description>Rocket HITS THE GROUND, hard. Yondu LANDS equally hard on the ground beside him. They look up to see Taserface, Gef the Ravager and an OBTUSE RAVAGER locking the cell door. \u00a9 Marvel<\/scene_description>\n    <character>TASERFACE<\/character>\n    <dialogue>We'll deliver you to the Kree in the morning. Neither one of you gonna last much longer after that.<\/dialogue>\n    <scene_description>Rocket crawls toward them as they walk away.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>Okay, Taserface. See you later, Taserface. Hey, Taserface, tell the other guys we said hi, Taserface!<\/dialogue>\n    <scene_description>Taserface glances back, perturbed, as he disappears around the corner.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ECLECTOR HALLWAY - OUTER SPACE<\/stage_direction>\n    <scene_description>Taserface, Gef, and Obtuse come around the hall.<\/scene_description>\n    <character>GEF THE RAVAGER<\/character>\n    <dialogue>What about the little plant? Can I smash it with a rock?<\/dialogue>\n    <character>TASERFACE<\/character>\n    <dialogue>No, Gef! It's too adorable to kill. Bring it to the tailor.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ECLECTOR CELL - OUTER SPACE<\/stage_direction>\n    <scene_description>Yondu and Rocket settle. Yondu looks like a beaten man.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>No offense, but your employees are a bunch of jerks.<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>I was a Kree battle-slave for twenty years when Stakar freed me. He offered me a place in the Ravagers. Said all I needed to do was adhere to the code. But I was young and greedy and stupid - like you stealing those batteries.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>That was mostly Drax.<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>Me and Stakar, and the other captains - we weren't so different from you and your friends. The only family I ever had. But I broke the code. They exiled me.<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>These ones here are the ones who followed - of course they're jerks. Which is what I deserve.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>Slow down, drama queen. You might deserve this, but I don't. We gotta get out of here.<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>Where's Quill?<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>Went off with his old man.<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>Ego?<\/dialogue>\n    <scene_description>Yondu looks concerned. Rocket stares at him, picking this up.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>Yeah. It's a day for dumbass names.<\/dialogue>\n    <scene_description>Yondu SNICKERS.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>You smiled and for a second I got a warm feeling, but then it was ruined by those disgusting-ass teeth. Ever heard of floss?<\/dialogue>\n    <scene_description>Yondu's smile disappears.<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>You're like a professional asshole or - ?<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>Pretty much a pro. Why didn't you deliver Quill to Ego like you promised?<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>He was skinny, could fit into places we couldn't. Good for thieving.<\/dialogue>\n    <scene_description>Rocket nods, GRUMBLES.<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>I got an idea on how to get outta here. But we're gonna need your little friend.<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAR\/QUADRANT FLIGHT DECK - OUTER SPACE<\/stage_direction>\n    <scene_description>Baby Groot is wearing a tiny Ravager uniform. He reacts to clothes like a cat, struggling to take them off but unable. Ravagers are gathered around him, drunk and LAUGHING. They are CHANTING \"MASCOT.\"<\/scene_description>\n    <character>RETCH<\/character>\n    <dialogue>Lil' feller's all worked up! Needs a drank!<\/dialogue>\n    <scene_description>Retch POURS ALCOHOL on him. The Ravagers LAUGH MORE as others POUR DRINKS on him as well. Groot SCREAMS at them, furious but helpless.<\/scene_description>\n    <character>RETCH<\/character>\n    <dialogue>Lookit how cute it is when it's all riled up!<\/dialogue>\n    <character>HALF-NUT<\/character>\n    <dialogue>It's Goddang precious!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ECLECTOR CELL - LATER<\/stage_direction>\n    <scene_description>Groot, in shadows, MOPES down the hallway, looking traumatized. His clothes are torn and he's soaked in alcohol. As he passes the cell, he hears -<\/scene_description>\n    <character>YONDU (O.S.)<\/character>\n    <dialogue>Hey, twig. C'mere.<\/dialogue>\n    <scene_description>Groot sees Yondu and Rocket looking at him in the cell. He steps toward them.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>Oh, man. What'd they do to you?<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>Hey, you wanna help us get outta here?<\/dialogue>\n    <scene_description>Groot NODS. Rocket looks unsure. Yondu speaks slowly.<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>There's something I need you to get, and bring back to me.<\/dialogue>\n    <scene_description>Groot NODS.<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>In the Cap'n's quarters, there's a prototype fin, like the thing I wore on my head.<\/dialogue>\n    <scene_description>\u00a9 Marvel Groot NODS.<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>There's a drawer next to the bunk. It's inside that. It's red. You got it?<\/dialogue>\n    <scene_description>Groot NODS EMPHATICALLY and DARTS OFF to get it. Yondu looks at Rocket, pleased. Rocket looks more than a bit uncertain.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAPTAIN'S QUARTERS - MOMENTS LATER<\/stage_direction>\n    <scene_description>Baby Groot CREEPS into this dark room. DRUNKEN RAVAGERS are sprawled everywhere. He spots a bureau. A drawer is half open. His face lights up. MOMENTS LATER Baby Groot stands outside of the cell, beaming, holding A PAIR OF SHORTS.<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>That's my underwears.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>Yeah, I was pretty sure he didn't know what you were talking about. You have to explain it more careful.<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>All right. It's a prototype fin -<\/dialogue>\n    <scene_description>MOMENTS LATER Groot is back in front of the cell, holding a wriggling ORLONI in his hands.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>That's an orloni. It's a fin, Groot.<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>You explain it this time.<\/dialogue>\n    <scene_description>Rocket starts to speak - \u00a9 Marvel MOMENTS LATER Groot looks hopeful, holding out a CYBERNETIC EYE.<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>That's Vorker's eye. He takes it out when he sleeps. Go look again.<\/dialogue>\n    <scene_description>Groot starts to SLINK OFF -<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>But leave the eye here.<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>Why?<\/dialogue>\n    <scene_description>Rocket CAN HARDLY SPEAK he finds it so funny.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>He's gonna wake up tomorrow and he's not gonna know where his eye is!<\/dialogue>\n    <scene_description>MOMENTS LATER Groot is DRAGGING a LARGE PIECE OF FURNITURE to the cell.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>That's a desk. We told you it was this big.<\/dialogue>\n    <scene_description>Rocket shows him how small it is with his hands. Groot makes a face like \"Oh!\" as if NOW he gets it. It's all coming together. MOMENTS LATER Groot is holding a SEVERED TOE.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>Tell me you guys have a refrigerator somewhere with a bunch of severed human toes.<\/dialogue>\n    <scene_description>Yondu SUBTLY SHAKES HIS HEAD.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>Okay, then let's just agree to never discuss this.<\/dialogue>\n    <scene_description>Yondu RIPS the Ravager patch off his jacket. \u00a9 Marvel<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>The drawer you want to open. Has this symbol on it, okay?<\/dialogue>\n    <scene_description>Groot takes it. He looks at Yondu and NODS. And then, slowly, HE PLACES IT ON TOP OF HIS HEAD.<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>What? No.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>He thinks you want him to wear it as a hat.<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>That's not what I said.<\/dialogue>\n    <scene_description>Groot takes it off his head.<\/scene_description>\n    <character>GROOT<\/character>\n    <dialogue>I am Groot.<\/dialogue>\n    <character>ROCKET<\/character>\n    <parenthetical>(translating)<\/parenthetical>\n    <dialogue>He's relieved that you don't want him to.<\/dialogue>\n    <character>GROOT<\/character>\n    <dialogue>I am Groot.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>He hates hats.<\/dialogue>\n    <character>GROOT<\/character>\n    <dialogue>I am Groot.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>On anyone, not just himself.<\/dialogue>\n    <character>GROOT<\/character>\n    <dialogue>I am Groot.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>One minute you think someone has a weird-shaped head. The next minute, it's just because you realize part of that head is a hat.<\/dialogue>\n    <parenthetical>(to Groot)<\/parenthetical>\n    <dialogue>That's why you don't like hats?<\/dialogue>\n    <scene_description>Groot nods. \u00a9 Marvel<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>This is an important conversation right now?<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>No. Let's try again.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAPTAIN'S QUARTERS - MOMENTS LATER<\/stage_direction>\n    <scene_description>Taserface is SNORING and SLOBBERING in his bed. We see the Ravager Patch tossed up onto the bed beside him. Then Groot's vines GROW up the bed, and he pulls himself up beside the sleeping giant. Groot clasps the Ravager patch in his hand and looks fearfully around. He spots the Ravager symbol on a night stand drawer. He stares at the symbol in his hand, then at the drawer, then at the symbol, and then at the drawer again, and then one more time for good measure -- he wants to be very, very sure they're the same. He creeps carefully towards the drawer, GROWING his vines out to grab the handle and PULL IT slowly open... He peers inside. Beside some writing instruments and a tin of candies, there lies a RED FIN, taller and more shark-like than Yondu's current model. Groot smiles hugely, picking up - THE TIN OF CANDIES! He's found it!<\/scene_description>\n    <character>KRAGLIN (O.S.)<\/character>\n    <dialogue>That ain't it.<\/dialogue>\n    <scene_description>Groot SWIRLS to see KRAGLIN, BACKLIT IN THE DOORWAY, LOOMING OVER HIM, intimidating as hell. And CUT TO --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ECLECTOR CELL - MOMENTS LATER<\/stage_direction>\n    <scene_description>The RED FIN PLOPS DOWN at Yondu's feet. Yondu and Rocket look up to see Kraglin, holding Groot. He stares at the ground -<\/scene_description>\n    <character>KRAGLIN<\/character>\n    <dialogue>I didn't mean to do a mutiny.<\/dialogue>\n    <parenthetical>(pause, then, sadly)<\/parenthetical>\n    <dialogue>They killed all my friends.<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>Go get the third quadrant ready for release.<\/dialogue>\n    <scene_description>Kraglin SALUTES.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>One more thing.<\/dialogue>\n    <scene_description>Kraglin stares at him.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>You got any clones of Quill's old music on the ship?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ECLECTOR BATHROOM - OUTER SPACE<\/stage_direction>\n    <scene_description>Brahl is shaving, when, suddenly, JAY AND THE AMERICAN'S \"COME A LITTLE BIT CLOSER\" STARTS PLAYING over the intercom. He looks up, confused.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ECLECTOR HALLWAY\/CELL - OUTER SPACE<\/stage_direction>\n    <scene_description>TWO RAVAGERS outside the cell hear the MUSIC. They turn, unlocking the cell door. As they enter, THE CAMERA OVERTAKES them, arriving before they do at -- Yondu, sitting calmly; Rocket is finishing ATTACHING THE BIG- ASS FIN TO HIS HEAD. Its electrical systems POP on. PUSH IN ON the two surprised Ravagers trying to UNHOLSTER THEIR PISTOLS in time. Too late. Yondu WHISTLES.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ECLECTOR CLOSET - OUTER SPACE<\/stage_direction>\n    <scene_description>The ARROW FLIES OFF a shelf of supplies and SHOOTS TOWARD A WALL.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ECLECTOR CELL - OUTER SPACE<\/stage_direction>\n    <scene_description>The ARROW PUNCHES THROUGH THE WALL behind the Ravagers. They swirl to see it -- IT SHOOTS THROUGH ONE RAVAGER And THEN THE OTHER -- \u00a9 Marvel And then to Yondu; he CATCHES it, and STANDS. He SAUNTERS past the two Ravagers as they WOBBLE and FALL. Rocket and Groot follow. On the way out the door, Rocket looks down and sees TWO PISTOLS beside the dead Ravagers. He smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAPTAIN'S QUARTERS - OUTER SPACE<\/stage_direction>\n    <scene_description>Taserface is awoken by JAY AND THE AMERICANS on the PA. He glances over to see the open drawer beside him, sans gargantuan fin. He SCRAMBLES for the comm, yelling into it --<\/scene_description>\n    <character>TASERFACE<\/character>\n    <dialogue>He's got it!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAR\/QUADRANT FLIGHT DECK - OUTER SPACE<\/stage_direction>\n    <scene_description>The hoard of Ravagers hear Taserface's voice. HE'S GOT IT! YONDU'S GOT THE DAMN FIN! GO!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SERIES OF SHOTS - INT. ALL OVER THE SHIP - OUTER SPACE<\/stage_direction>\n    <scene_description>ALL OF THE RAVAGERS all over the ship, in a panic, LOAD THEIR WEAPONS and HEAD TOWARD THE CELL.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ECLECTOR HALLWAY - OUTER SPACE<\/stage_direction>\n    <scene_description>Yondu and Rocket and Groot COME AROUND THIS CORNER IN SLOW- MOTION, the three biggest badasses in the history of cinema. A HOARD OF RAVAGERS, led by Brahl, FILE IN at the end of the hallway. But Yondu WHISTLES and the ARROW TWISTS QUICKLY BACK AND FORTH, SLICING THROUGH EACH OF THEM. Yondu SLAMS through a door into - \u00a9 Marvel<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ECLECTOR DOCKING BAY - OUTER SPACE<\/stage_direction>\n    <scene_description>Our heroes step onto a catwalk in this, the biggest space in the Eclector. There are catwalks throughout and dozens of docked M-ships. The SCURRILOUS RAVAGER sees them from above --<\/scene_description>\n    <character>SCURRILOUS RAVAGER<\/character>\n    <dialogue>Down there!<\/dialogue>\n    <scene_description>IN AN EXTREME WIDE ANGLE, we see the ARROW FLYING UP AND DOWN, BACKWARDS AND FORWARDS, CUTTING THROUGH ALL SORTS OF RAVAGERS, closer and further from CAMERA. We TRAVEL BEHIND YONDU AND ROCKET as BODIES FALL AROUND THEM IN SLOW-MOTION LIKE FIREWORKS. Groot looks up and sees RETCH looking down at him. RETCH FLEES in terror as Groot GROWS branches to pull himself up behind him. Groot HOWLS FURIOUSLY, TAKING CHASE. Retch YOWLS like a child as he frantically runs. But Groot GROWS HIS BRANCHES around RETCH's legs, TRIPPING HIM. BAM! He FALLS, face first to the floor. And, with a WAR CRY, Baby Groot FLINGS the sadistic Ravager off the edge towards the abyss below. As RETCH FALLS past Yondu and Rocket, Baby Groot DROPS back down onto Rocket's shoulder, and they push their way through the doorway -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ECLECTOR SECURITY DOCK - OUTER SPACE<\/stage_direction>\n    <scene_description>Yondu, Rocket, and Groot move into this area, where they look up at DOZENS OF SECURITY MONITORS encircling them showing Ravagers filing toward them from every part of the ship. Yondu WHISTLES as he watches the MONITORS - ON A MONITOR, the arrow FLIES out the wall. He whistles so that it strikes TWO RAVAGERS running towards them. It ZIPS out of that room and \u00a9 Marvel<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARK HALL - OUTER SPACE<\/stage_direction>\n    <scene_description>A HOARD of Ravagers come running down a hall. The ARROW ZIPS overhead, smashing out all the lights so that the hall is completely dark, except for the DIM RED LIGHT OF THE ARROW. And we can just make out the RED LIGHT smashing through the body of every Ravager there and then on into --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPACEPORT - OUTER SPACE<\/stage_direction>\n    <scene_description>A YELLING CROWD OF RAVAGERS come, hungry for war, when the arrow SHOOTS THROUGH THE CHAINS holding a giant spaceship in place over their heads. It FALLS, instantly CRUSHING them all, and then zips on --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAR - OUTER SPACE<\/stage_direction>\n    <scene_description>Gef the Ravager is drunkenly drinking a mug of beer, when the arrow zips past him and through the mug, SHATTERING it. As Gef looks at the shattered mug, confused, the arrow comes flying back, ripping through Gef himself, FLINGING him off the bar stool.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ECLECTOR SECURITY DOCK - OUTER SPACE<\/stage_direction>\n    <scene_description>Rocket also uses the MONITORS to pinpoint where their attackers are. He methodically SHOOTS THROUGH the walls, striking the Ravagers as they get closer. WIDE OVERHEAD SHOT, the CAMERA REVOLVES as hoards of Ravagers GET CLOSE to Yondu and Rocket but the arrow and gunshots ZIP THROUGH THE WALLS taking them all down, one by one, like Busby Berkely gone mad. Then Yondu stops, seeing something on one of the MONITORS. Taserface, clutching a big ass gun, is marching down the hall towards them. Yondu WHISTLES, loudly and angrily.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERCUT - INT. ENGINE ROOM\/SECURITY DOCK - OUTER SPACE<\/stage_direction>\n    <scene_description>Taserface sees THE ARROW COMING AROUND A CORNER TOWARDS HIM. Yondu WHISTLES again. The ARROW BURSTS INTO FLAMES. Taserface DODGES it. \u00a9 Marvel He turns to watch it go, CACKLING pridefully over his agility. But his smile quickly dissipates. The arrow PLUNGES into a giant tank - which EXPLODES, ENGULFING HIM.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ECLECTOR - OUTER SPACE<\/stage_direction>\n    <scene_description>A huge portion of the giant spacecraft EXPLODES, leading to a domino effect of one part of the ship BURSTING after another.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ECLECTOR SECURITY DOCK - OUTER SPACE<\/stage_direction>\n    <scene_description>ROCKET is dumbfounded as he sees on the MONITORS the numerous EXPLOSIONS throughout the ship.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>You maniac. The whole ship is gonna blow.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ECLECTOR SECURITY DOCK - OUTER SPACE<\/stage_direction>\n    <scene_description>A DOOR SWINGS OPEN and TASERFACE FALLS ONTO THE FLOOR, ENGULFED IN FLAMES, but furious. He angrily SLAPS off the flames as he reaches for a COMMUNICATIONS MODULE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ECLECTOR SECURITY DOCK - OUTER SPACE<\/stage_direction>\n    <character>YONDU<\/character>\n    <dialogue>Not the whole ship.<\/dialogue>\n    <scene_description>Yondu catches the arrow and walks out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAR\/QUADRANT FLIGHT DECK - OUTER SPACE<\/stage_direction>\n    <scene_description>Kraglin ENTERS, pulling latches and flipping switches and twisting dials on elementary flight controls.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ECLECTOR SECURITY DOCK - OUTER SPACE<\/stage_direction>\n    <scene_description>With pained effort, Taserface PULLS UP A VIDEO SCREEN with a SOVEREIGN CHAMBERMAID.<\/scene_description>\n    <character>CHAMBERMAID (ON SCREEN)<\/character>\n    <dialogue>Who is this? You're not supposed to be on this line.<\/dialogue>\n    <character>TASERFACE<\/character>\n    <dialogue>I'm sending you the coordinates for Yondu's ship.<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. QUADRANT FLIGHT DECK - OUTER SPACE<\/stage_direction>\n    <scene_description>Yondu enters with Rocket and Groot.<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>Release the quadrant.<\/dialogue>\n    <character>KRAGLIN<\/character>\n    <dialogue>Aye Capn'<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ECLECTOR SECURITY DOCK - OUTER SPACE<\/stage_direction>\n    <character>TASERFACE<\/character>\n    <dialogue>I only ask one thing. That your High Priestess tells him the name of the man what sealed his fate: Taserface.<\/dialogue>\n    <scene_description>The CHAMBERMAID laughs uncontrollably at his name. Taserface looks really sad as he EXPLODES.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. QUADRANT FLIGHT DECK - OUTER SPACE<\/stage_direction>\n    <scene_description>As Rocket and Groot, frightened, feel the SHIP EXPLODING around them, Kraglin pulls up one final latch -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ECLECTOR - OUTER SPACE<\/stage_direction>\n    <scene_description>THE ENTIRE REAR UPPER QUADRANT OF THE ECLECTOR DETACHES FROM THE REST OF THE SHIP, while the remains CONTINUE EXPLODING.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. QUADRANT FLIGHT DECK - OUTER SPACE<\/stage_direction>\n    <scene_description>Rocket and Groot are amazed as the SHIP thrusts forward, away from the explosions. Kraglin keys into a JUMP POINT ahead. Nearby, Rocket pulls up the Navigation panel.<\/scene_description>\n    <character>KRAGLIN<\/character>\n    <dialogue>Where to, Cap'n?<\/dialogue>\n    <scene_description>Rocket SETS THE DESTINATION:<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>Ego.<\/dialogue>\n    <scene_description>NO, BOY! The Quadrant TREMBLES as they hit THE JUMP POINT. It BLOOPS out of present space, making the JUMP to - \u00a9 Marvel<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT - DAY<\/stage_direction>\n    <scene_description>The Quadrant POPS into a blue sky above a DESERT with two fighting KRONANS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. QUADRANT FLIGHT DECK - VARIOUS OUTER SPACE LOCATIONS<\/stage_direction>\n    <scene_description>Inside the ship, Rocket, Yondu, Kraglin, and baby Groot hold on for dear life as the ship VIOLENTLY SHAKES and THE LOCATIONS OUTSIDE OF THE WINDOW RAPIDLY SHIFT. Their bodies DISTEND SLIGHTLY. Yondu is furious.<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>It ain't healthy for a mammalian body to hop over fifty jumps at a time.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>I know that.<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>We're about to do seven-hundred.<\/dialogue>\n    <scene_description>Rocket looks bummed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PINK SKY - AMOEBA BLOBS - OUTER SPACE<\/stage_direction>\n    <scene_description>The Quadrant pops out of a jump point into this Pepto Bismol pink land, SMASHING THROUGH an AMOEBA-LIKE BLOB, and then through the next jump point.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. QUADRANT FLIGHT DECK - VARIOUS OUTER SPACE LOCATIONS<\/stage_direction>\n    <scene_description>Kraglin, Yondu, Rocket, and Baby Groot all SCREAM, their entire faces and bodies distorting as if in some evil funhouse mirror.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RED PLANET LANDSCAPE - VARIOUS<\/stage_direction>\n    <scene_description>The yellow sun CURVES SLOWLY WEST TO EAST over this magnificent landscape. \"BRING IT ON HOME TO ME\" BY SAM COOKE PLAYS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SLEEPING QUARTERS - VERANDA - DAY<\/stage_direction>\n    <scene_description>TILT DOWN to Quill, on this veranda, gazing out at the beauty. The Walkman is connected to small, jerry-rigged speakers nearby, PLAYING SAM COOKE.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>So I guess this could all be mine someday.<\/dialogue>\n    <scene_description>\u00a9 Marvel Gamora isn't paying attention. She's fooling with a communications device, which has no reception.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>Rocket? Rocket, you there? Dammit.<\/dialogue>\n    <scene_description>Quill comes up behind her, messing with her.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>What are you doing, Peter?<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Dance with me.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>No. I'm not --<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Come on. This is Sam Cooke, one of the greatest Earth singers of all time.<\/dialogue>\n    <scene_description>Gamora lets out an exasperated SIGH, but, reluctantly, starts DANCING with him. She is incredibly light on her feet. Quill smiles and Gamora, despite herself, does as well. He TWIRLS HER AND BRINGS HER BACK IN. This is definitely not the first time they've done this.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Drax thinks you're not a dancer.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>If you ever tell anyone about this, I'll kill you.<\/dialogue>\n    <scene_description>They look at each other.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>When are we going to do something about this... unspoken thing between us?<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>What unspoken thing?<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>This Cheers-Sam-and-Diane-guy-and- girl-on-a-TV-show-who-dig-each- other-but-never-say-it-'cause-when- they-do-the-ratings-would-go-down sort of thing?<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>There is no unspoken thing between us.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Well, that's a Catch-22. Because if you said there was, it would be spoken, and then you'd be a liar. So by saying there isn't, you're telling the truth, and admitting there is.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>That's not --<\/dialogue>\n    <scene_description>Gamora PULLS AWAY.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>What we should be discussing right now is that something about this place doesn't feel right.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>What are you talking about? You were the one who wanted me to come here!<\/dialogue>\n    <scene_description>Gamora moves into --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SLEEPING QUARTERS - DAY<\/stage_direction>\n    <character>GAMORA<\/character>\n    <dialogue>That girl, Mantis. She's afraid of something.<\/dialogue>\n    <scene_description>Quill follows her. He stops, staring at her, hurt and frustrated.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Why are you trying to take this from me?<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>I'm not --<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>He's my father. He's blood -<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>You have blood on earth. You never wanted to return there.<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Again - you made me come here! And Earth?! Earth is the place my mother died in front of me.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>No, it's because that's real, and this is a fantasy.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>This is real. I'm only half human, remember?<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>That's the half I'm worried about.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Oh, I get it. You're jealous because I'm part god! You like me being the weak one!<\/dialogue>\n    <scene_description>Gamora adds some pieces to her transmitter.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>Uh. You were insufferable to begin with. I haven't been able to reach Rocket. I'm going to see if I can get a signal outside.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>You know, this isn't Cheers after all. It's whatever the show is where one person is willing to, you know, open themselves up to new possibilities, and the other person is just kind of a jerk who doesn't trust anyone! It's a show that doesn't exist - it would never be made, it would be so horrible! It would get zero ratings!<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>You're having a conversation with yourself! I don't know what Cheers is!<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>I finally found my family, don't you understand that!?<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>I thought you already had.<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>So this is how it ends, then? Our whole story. Like this? You and me?<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>Get it through your head, Peter. There is no you and me. There never was.<\/dialogue>\n    <scene_description>Quill watches her leave.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EGO'S FIELDS - SUNSET<\/stage_direction>\n    <scene_description>Gamora sits, alone in the fields, pouting, fuming. She stops, staring angrily inward. Two plants, nearby, flitter against one another in the wind, making a CLICKING sound. She side-eyes them. They don't stop. She slices them off with her sword.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>Dammit.<\/dialogue>\n    <scene_description>Gamora hears something. She turns to see, in the distance, an M-ship flying toward the planet. She watches as it gets closer and closer, and realizes it is FLYING DIRECTLY AT HER. Gamora RUNS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEBULA'S SHIP - SUNSET<\/stage_direction>\n    <scene_description>Nebula HOLLERS as she BLASTS HER GUNS, DIVING towards Gamora.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLSIDE - SUNSET<\/stage_direction>\n    <scene_description>Gamora FLEES from Nebula's ship like Cary Grant from the crop duster in North by Northwest as HUGE CHUNKS OF LAND EXPLODE on either side of her. Gamora leaps into a DITCH, LANDING HARD, as the M-Ship SWOOPS just a couple feet above her.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>You psychopath.<\/dialogue>\n    <scene_description>Gamora sees the M-Ship banking and FLYING BACK at her again. She stands and runs along the hillside as GUN BLASTS burst behind her. But Gamora sees a CAVERN, leading down into the earth. \u00a9 Marvel She DARTS into it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EGO'S CAVERN - FIRST\/SECOND LEVELS - SUNSET<\/stage_direction>\n    <scene_description>As Gamora RUNS down the cavern, she glances back over her shoulder where Nebula, insane with rage, continues FLYING towards her -- The M-SHIP ENTERS THE CAVERN, which is too small for it, CLIPPING ITS WINGS - but it keeps flying. It again BLASTS at Gamora as she FLEES - The BLASTS cause the ground to COLLAPSE around Gamora, and she FALLS, SMASHING DOWN THROUGH ONE LEVEL, to another level below, SLAMMING HARD on the ground. The underside of the M-ship gets SCRAPED APART as it flies above her, and pieces of it come RAINING DOWN around her. Nebula ZOOMS towards a huge cavern wall. She tries to turn her ship in time, to no avail. She SIDESWIPES it, falling down, CRASHING on the ground, where she is now on the same level as Gamora. Gamora sees something beside her: it's one of the ENORMOUS BLASTERS from the M-ship, attached to an AMMO RIG.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEBULA'S M-SHIP - SUNSET<\/stage_direction>\n    <scene_description>Nebula sees Gamora, through the canopy, picking up the blaster, and clutching it. It is comically enormous. Nebula struggles to get free and out of the way, but her legs have been pinned in the crash -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EGO'S CAVERN - SECOND\/THIRD LEVELS - SUNSET<\/stage_direction>\n    <scene_description>Gamora CLAMPS two metal switches together, MACHINE-FIRING THE GUN, as she walks forward. The front of the M-ship is peppered with blasts and then EXPLODES. The explosion causes the thin ground around it to COLLAPSE, and the entire ship FALLS BACKWARDS to an even LOWER LEVEL - BURSTING some more as it hits the ground. Gamora gazes down at the ship.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. NEBULA'S SQUASHED M-SHIP - SUNSET<\/stage_direction>\n    <scene_description>Nebula is a mess. Her legs are broken, trapped in the ship. There is a FIRE at her feet. \u00a9 Marvel She struggles, trying to get out, but her machine parts are SPARKING and she can hardly breathe. It seems as she's going to die, when -- Part of the ship is TORN AWAY. She sees Gamora. Gamora GRABS HER, unceremoniously PULLING HER FREE, just as the M-ship EXPLODES, PITCHING THEM BOTH to the ground. They lie next to each other. Nebula COUGHS as her legs are healing, CRACKING back into place. She looks over and eyes Gamora. And then she HOLLERS and attacks her.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>Are you kidding me?!<\/dialogue>\n    <scene_description>They FIGHT. Nebula snatches Gamora's blade from her, and TUMBLES on top of her as she gains the upper hand. She holds the blade above Gamora, ready to plummet it into her. She wants to - she really does - but now that the moment is here... She SCREAMS in frustration, and falls back.<\/scene_description>\n    <character>NEBULA<\/character>\n    <dialogue>I win.<\/dialogue>\n    <scene_description>Gamora eyes her, a little surprised.<\/scene_description>\n    <character>NEBULA<\/character>\n    <dialogue>I win. I bested you in combat.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>Uh, no, I just spared your life -<\/dialogue>\n    <character>NEBULA<\/character>\n    <dialogue>You were stupid enough to let me live so -<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>You just let me live!<\/dialogue>\n    <scene_description>I WIN! \u00a9 Marvel<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>Nebula, I really don't need this. My day has been bad enough -<\/dialogue>\n    <character>NEBULA<\/character>\n    <dialogue>I don't need you always trying to beat me!<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>I'm not the one who just flew across the universe because I wanted to win!<\/dialogue>\n    <character>NEBULA<\/character>\n    <dialogue>Don't tell me what I want!<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>I don't have to because you make it obvi -<\/dialogue>\n    <scene_description>YOU WERE THE ONE WHO WANTED TO WIN, I JUST WANTED A SISTER! Gamora stops suddenly, struck. Nebula is cracking.<\/scene_description>\n    <character>NEBULA<\/character>\n    <dialogue>You were all I had, but you were the one who needed to win! Thanos pulled my eye from my head and my brain from my skull and my arm from my body because of you!<\/dialogue>\n    <scene_description>Gamora doesn't know what to say. Nebula is almost instantly embarrassed. They sit there for a moment, saying nothing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SLEEPING QUARTERS - NIGHT<\/stage_direction>\n    <scene_description>The Quarters are entombed in stars. The dim sound of \"BRANDY\" comes from within.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SLEEPING QUARTERS - NIGHT<\/stage_direction>\n    <scene_description>Quill lies in bed, unable to sleep, listening to the song.<\/scene_description>\n    <character>EGO (O.S.)<\/character>\n    <dialogue>You all right, son?<\/dialogue>\n    <scene_description>Quill turns to see Ego in the doorway.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>I saw your girl stomp off earlier in quite a huff.<\/dialogue>\n    <scene_description>Quill sits up, nods. \u00a9 Marvel<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Ego sits beside him.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>It's fortuitous you're listening to this song.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>You know - ?<\/dialogue>\n    <character>EGO<\/character>\n    <dialogue>'Brandy' by Looking Glass. A favorite of your mom's.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>EGO<\/character>\n    <dialogue>One of earth's greatest musical compositions. Perhaps its very greatest.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Yeah, it is.<\/dialogue>\n    <character>EGO<\/character>\n    <dialogue>You and I, Peter, we're the sailor in the song.<\/dialogue>\n    <scene_description>Ego speaks along with the lyrics as they play.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>He came on a summer's day, bringing gifts from far away - like the child I put in your mother, or the freedom you brought Gamora.<\/dialogue>\n    <scene_description>Quill listens.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>Brandy, you're a fine girl, what a good wife you would be. But my life, my love, my lady is the sea. The sea calls the sailor back. He loves the girl, but that's not his place. The sea calls upon him as history calls upon great men, and sometimes we are deprived the pleasures of mortals.<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Well, you might not be mortal, but me -<\/dialogue>\n    <character>EGO<\/character>\n    <dialogue>Death will remain a stranger to both of us as long as the light burns within the planet.<\/dialogue>\n    <scene_description>Ego smiles.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>I'm immortal? That's... really?<\/dialogue>\n    <character>EGO<\/character>\n    <dialogue>Yes, as long as the light exists.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>And I can use the light to make cool things? Like how you made all this?<\/dialogue>\n    <character>EGO<\/character>\n    <dialogue>It'll take thousands of years of practice before you get really good at it . But, yes.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Well, get ready for an eight hundred foot statue of Pac Man, then. With Skeletor. And Heather Locklear. I'm gonna make some weird shit.<\/dialogue>\n    <scene_description>Ego puts his arm around him, smiles kindly.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>I can't wait to see your weird shit.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Wow, that...<\/dialogue>\n    <character>EGO<\/character>\n    <dialogue>Came out a little disgusting.<\/dialogue>\n    <scene_description>They CHUCKLE.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>It is a tremendous responsibility, Peter. Only we can remake the universe. Only we can take the bridle of the cosmos and lead it where it needs to go.<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>How?<\/dialogue>\n    <scene_description>Ego holds up his fingers, letting forth a flame of white cosmic light. Quill holds up his fingers, letting forth a smaller, less intense flame of white cosmic light. REVEAL MANTIS, IN THE HALL, around the corner, looking at Ego and Quill and the light emanating from their fingers.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>Come with me.<\/dialogue>\n    <scene_description>Mantis looks like she's having a panic attack.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRAX'S SLEEPING QUARTERS - MOMENTS LATER<\/stage_direction>\n    <scene_description>CLOSE-UP OF DRAX, sound asleep.<\/scene_description>\n    <character>MANTIS (O.S.)<\/character>\n    <dialogue>Drax! Drax!<\/dialogue>\n    <scene_description>He WAKES to see a panicked Mantis sitting on the bed beside him.<\/scene_description>\n    <character>MANTIS<\/character>\n    <dialogue>Drax, we need to talk -<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>Ugh. I am sorry, but I like a woman with some meat on her bones.<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>I tried to let you down easily by telling you I found you disgusting.<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>No! That's not what I -<\/dialogue>\n    <scene_description>Drax starts to GAG.<\/scene_description>\n    <character>MANTIS<\/character>\n    <dialogue>What are you doing?!<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>I'm imagining being with you physically!<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>MANTIS<\/character>\n    <dialogue>Drax, that's not - I don't like you like that. I don't even like the type of thing you are.<\/dialogue>\n    <character>DRAX<\/character>\n    <parenthetical>(offended)<\/parenthetical>\n    <dialogue>Hey! There's no need to get personal!<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>Listen! Ego's gotten exactly what he wanted. I should have told you earlier, I am stupid. You are in danger.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEBULA'S SQUASHED M-SHIP - NIGHT<\/stage_direction>\n    <scene_description>Gamora and Nebula still sit here, quietly and awkwardly. Gamora glances down a twisting tunnel, where phosphorescent lights shine brightly.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <scene_description>She moves towards it. Nebula, hesitantly, follows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE - NIGHT<\/stage_direction>\n    <scene_description>Ego and Quill enter the palace.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>You need to readjust the way you process life. Everything around us - including the girl - is temporary. We are forever.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Doesn't eternity get boring?<\/dialogue>\n    <character>EGO<\/character>\n    <dialogue>Not if you have a purpose, Peter. Which is why you're here. I told you how all those years ago I had an unceasing impulse to find life.<\/dialogue>\n    <scene_description>Ego is standing underneath the diorama of him facing the little alien girl.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>I didn't tell you how when I did find it, it was all so... disappointing.<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TWISTING CAVERNS - NIGHT<\/stage_direction>\n    <scene_description>Gamora and Nebula move further down the cavern, stepping into light, getting closer.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>And that is when I came to a profound realization.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE - NIGHT<\/stage_direction>\n    <character>EGO<\/character>\n    <dialogue>My innate desire to seek out other life was not so that I could walk among that life.<\/dialogue>\n    <scene_description>Ego looks at his son, moved by the memories.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>Peter, I had found meaning.<\/dialogue>\n    <scene_description>Quill is taken aback. But Ego sets his finger lightly on his forehead, and the white light bursts through his son's body. We see THE COSMOS IN QUILL'S EYES. He looks ecstatic, far beyond where he stands, and seems to finally understand.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>I see it. Eternity.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TWISTING CAVERNS - NIGHT<\/stage_direction>\n    <scene_description>Gamora and Nebula stop, in horror.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>Oh my God.<\/dialogue>\n    <scene_description>They are staring at piles and piles of skeletons of various species, thousands of them, seeming to go on forever.<\/scene_description>\n    <character>NEBULA<\/character>\n    <dialogue>We need to get off this planet.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GALAXY\/UNIVERSE - OUTER SPACE<\/stage_direction>\n    <scene_description>We see traces of the UNIVERSAL NEURAL TELEPORTATION NETWORK, the Quadrant a blinking light POPPING IN and OUT on a trail across the cosmos - And then ZOOM BACK FURTHER TO THE UNIVERSE, the same blinking light making its way while ROCKET, YONDU, and KRAGLIN SCREAM. \u00a9 Marvel<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ASTEROIDS - OUTER SPACE<\/stage_direction>\n    <scene_description>WATCHERS swirl to the Quadrant SWISH past them and JUMPS OUT. They turn back to STAN LEE, in a spacesuit with a fishbowl helmet.<\/scene_description>\n    <character>STAN LEE<\/character>\n    <dialogue>Anyway, before I was so rudely interrupted, that time I was a World War II vet -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RED PLANET - OUTER SPACE<\/stage_direction>\n    <scene_description>THE QUADRANT POPS INTO SPACE, EGO'S PLANET nearby.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. QUADRANT FLIGHT DECK - OUTER SPACE<\/stage_direction>\n    <scene_description>Yondu, Kraglin, Rocket and Groot FALL OUT OF THEIR SEATS, RETCHING, clutching their stomachs.<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>What the hell you doing, boy?!<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>I could tell by how you talked about him - this Ego is bad news. We're here to save Quill.<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>For what?<\/dialogue>\n    <parenthetical>(derisively)<\/parenthetical>\n    <dialogue>For 'honor'? For 'love'?<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>No! I don't care about those things! I want to save Quill so I can prove I'm better than him! I can lord this over him forever!<\/dialogue>\n    <scene_description>Yondu LAUGHS bitterly as he pulls himself up to the controls. Rocket yanks himself up beside him.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>What are you laughing at me for?!<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>You can fool yourself and everyone else but you can't fool me. I know who you are.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>You don't know anything about me, loser.<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>I know everything about you. I know you play like the meanest and the hardest 'cause you actually the most scared of all.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>Shut up.<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>I know you steal batteries you don't need and you push away anyone who's willing to put up with you, 'cause just a little bit of love reminds you how big and empty that hole inside you actually is!<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>I said, shut up.<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>I know the scientists what made you never gave a rat's ass about you -<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>I'm serious, dude - !<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>Just like my own damn parents, who sold me, their own little baby, into slavery! I know who you are, boy, because you're me.<\/dialogue>\n    <scene_description>They stare at each other there, a mirror.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>What kind of pair are we?<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>The kind that's about to go fight a planet I reckon.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>All right, okay, that's - Wait. Fight a what?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRAX'S SLEEPING QUARTERS - NIGHT<\/stage_direction>\n    <scene_description>Gamora, furious, BURSTS into the room. She sees Mantis standing with Drax. She RUNS to her, GRABBING HER by the neck -- \u00a9 Marvel<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>And she SLAMS her against the wall.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>Who are you people?! What is this place?!<\/dialogue>\n    <character>DRAX<\/character>\n    <parenthetical>(re: Nebula)<\/parenthetical>\n    <dialogue>What is she doing here?<\/dialogue>\n    <character>NEBULA<\/character>\n    <dialogue>Just watching the fireworks.<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>Gamora, let her go!<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>The bodies in the caverns, who are they?!<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>You are scared.<\/dialogue>\n    <scene_description>Gamora, whose skin is touching Mantis, lets go of her neck, terrified.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE - NIGHT<\/stage_direction>\n    <scene_description>The DIORAMAS all around Quill and Ego TRANSFORM into a map of the universe. Quill stares in his cosmic reverie at the PLANETS around him - thousands of them with pieces of EGO'S LIFEFORM - GLOWING COSMIC PLANTS - buried within them.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>I call it the Expansion. It is my purpose. And now it's yours as well.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>It's beautiful.<\/dialogue>\n    <scene_description>Quill stares up at a DIORAMA: Ego grabs handfuls of his own body, engulfed in light, and plants the wriggling pieces on various planets.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>Over thousands of years I implanted thousands of extensions of myself on thousands of worlds.<\/dialogue>\n    <scene_description>\u00a9 Marvel In the DIORAMAS, the COSMIC PLANTS OVERGROW and COVER each of the planets, like chocolate on a malt ball.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>I needed to fulfill life's one true purpose: to grow and to spread, covering all that exists, until everything... is me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRAX'S SLEEPING QUARTERS - NIGHT<\/stage_direction>\n    <scene_description>Gamora backs away, recovering.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>What did she do to me?!<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>She already told me everything.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE - NIGHT<\/stage_direction>\n    <character>EGO<\/character>\n    <dialogue>I only had one problem. A single Celestial doesn't have enough power for such an enterprise. But two Celestials - well now, that just might do.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRAX'S SLEEPING QUARTERS - NIGHT<\/stage_direction>\n    <character>MANTIS<\/character>\n    <dialogue>The bodies are his children.<\/dialogue>\n    <scene_description>Gamora is horrified.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE - NIGHT<\/stage_direction>\n    <scene_description>On the DIORAMAS we see Ego with hundreds of species of female aliens.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>Out of all my labors the most beguiling was attempting to graft my DNA with that of another species. I hoped the result of such a coupling would be enough to power the expansion.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ECLECTOR HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Yondu and Rocket walk here. \u00a9 Marvel<\/scene_description>\n    <character>EGO (O.S.)<\/character>\n    <dialogue>I had Yondu deliver some of them to me. It broke the Ravager code - but I compensated him generously. And, to ease his conscience, I told him I would never hurt them.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE - NIGHT<\/stage_direction>\n    <character>EGO<\/character>\n    <dialogue>That was true. They never felt a thing. But, one after the other, they failed me. None of them had the Celestial genes. Until you, Peter. Out of all my spawn, only you have carried the connection to the light.<\/dialogue>\n    <scene_description>Peter smiles, an enchanted idiot, the cosmos in his eyes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRAX'S SLEEPING QUARTERS - NIGHT<\/stage_direction>\n    <character>GAMORA<\/character>\n    <dialogue>We need to find Peter now and get off this damn planet.<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>Ego will have won him to his side by now. He has a way of -<\/dialogue>\n    <character>NEBULA<\/character>\n    <dialogue>Then we just go.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>No. He's our friend.<\/dialogue>\n    <character>NEBULA<\/character>\n    <dialogue>All any of you do is yell at each other. You're not friends.<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>You're right. We're family. We leave no one behind.<\/dialogue>\n    <parenthetical>(To Nebula)<\/parenthetical>\n    <dialogue>Except maybe you.<\/dialogue>\n    <character>NEBULA<\/character>\n    <dialogue>Oh my god.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE - NIGHT<\/stage_direction>\n    <character>EGO<\/character>\n    <dialogue>For the first time in my life, I am truly not alone.<\/dialogue>\n    <scene_description>\u00a9 Marvel Quill suddenly looks sad.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>What is it, son?<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>My friends.<\/dialogue>\n    <character>EGO<\/character>\n    <dialogue>That's the mortal in you, Peter.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Yes. I don't need that.<\/dialogue>\n    <character>EGO<\/character>\n    <dialogue>What are we?<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Forever.<\/dialogue>\n    <character>EGO<\/character>\n    <dialogue>What are they?<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Temporary.<\/dialogue>\n    <character>EGO<\/character>\n    <dialogue>You think you love them. But love is merely an evolutionary trick in the service of reproduction. We are beyond such things.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>EGO<\/character>\n    <dialogue>Now -<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>But my mother.<\/dialogue>\n    <scene_description>Ego looks at him, questioningly.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>You said you loved my mother.<\/dialogue>\n    <character>EGO<\/character>\n    <dialogue>That I did. My river lily, who knew the words to every song that came on the radio. I returned to earth to see her three times. I knew if I came back a fourth, I'd never leave.<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>The expansion, the reason for my very existence would be over. So I did what I had to do. But it broke my heart to put that tumor in her head.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Wh- what?<\/dialogue>\n    <scene_description>ZOLLY IN ON QUILL as the cosmos disappear from his eyes. Tears stream down his face.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>I know that sounds bad -<\/dialogue>\n    <scene_description>QUILL PULLS OUT HIS PISTOLS AND FIRES; THE BLAST TEARS THROUGH EGO, DISPERSING the MOLECULES forming his body. Quill SHOOTS at him AGAIN and AGAIN and AGAIN. The flesh disappears from Ego like bites from a cookie, exposing the angry alien skeletal form beneath. But, as the charge on Peter's blasters wears out, Ego just looks at him, and, although he's filled with holes, he's merely disappointed.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>Who in the hell do you think you are?<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>You killed my mother!<\/dialogue>\n    <scene_description>EGO TRANSFORMS into DAVID HASSELHOFF.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>I tried so hard to find the form that best suited you, and this is the thanks I get?<\/dialogue>\n    <scene_description>And then, once again, BECOMES HIS USUAL FORM.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>You really need to grow up.<\/dialogue>\n    <scene_description>A SPIKY COSMIC LIGHT-PROPELLED TENDRIL SHOOTS UP from the floor behind Quill, and JUTS into Quill's body. Quill is THRUST INTO THE AIR. He opens his mouth to SCREAM and WHITE LIGHT EMITS. \u00a9 Marvel<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>I wanted to do this together! But I suppose you'll have to learn by spending the next thousand years as a battery, 'Star-Lord'.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRAX'S SLEEPING QUARTERS - NIGHT<\/stage_direction>\n    <scene_description>THROUGH THE WINDOW to the PALACE - PAN TO Gamora watching as her TRANSMITTER - the one she was trying to contact Rocket on - BEEPS. She answers.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>Rocket?!<\/dialogue>\n    <scene_description>Gamora follows Drax, Nebula, and a confused Mantis as they move out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LASER DRILL - OUTER SPACE<\/stage_direction>\n    <scene_description>Rocket, Yondu, and Groot are CRAWLING into a huge LASER DRILL.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>Keep that transmitter nearby so I can find you. We're in an old piece of construction equipment Yondu once used to slice open the Bank of A'askavaria.<\/dialogue>\n    <character>GAMORA (O.S.)<\/character>\n    <dialogue>Ego's unhinged -<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>I know. Get ready.<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>Drop it, Kraglin!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. QUADRANT FLIGHT DECK - OUTER SPACE<\/stage_direction>\n    <scene_description>Kraglin YANKS a lever.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. LASER DRILL - OUTER SPACE<\/stage_direction>\n    <scene_description>An ugly, bulbous and uneven craft PLOPS from the Quadrant, and heads toward Ego's surface.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>I got a plan.<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>It's pretty simple.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE - NIGHT<\/stage_direction>\n    <scene_description>Ego walks calmly up beside the trapped Quill. He snatches the Walkman off of him. He stares at it. Quill can barely speak. NO. EGO PRESSES PLAY. A distorted version of \"Brandy\" plays. He stares at it - perhaps he's feeling wistful sadness, or perhaps nothing at all. 'Brandy, you're a fine girl. What a good wife you would be.'<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>'My life, my love, my lady is the sea'? Peter, THIS IS THE SEA.<\/dialogue>\n    <scene_description>EGO CRUSHES THE WALKMAN IN HIS GRIP as Quill watches helplessly. The POWER SURGES from Quill through the TENTACLE and throughout the entire PALACE --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PALACE - NIGHT<\/stage_direction>\n    <scene_description>As Gamora, Mantis, Drax, and Nebula run toward the Palace it BURSTS WITH COSMIC LIGHT, so brightly they have to protect their eyes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE - NIGHT<\/stage_direction>\n    <scene_description>EGO basks in the power and we TRAVEL down his legs --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RED PLANET\/SELF CHAMBER - NIGHT<\/stage_direction>\n    <scene_description>We FOLLOW THE ENERGY THROUGH THE SURFACE OF THE PLANET -- THROUGH THE TWISTING VEINS OF LIGHT BENEATH -- And INTO an ENORMOUS, METAL ORB, the SELF CHAMBER, which EXPLODES WITH LIGHT. Boom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EARTH - EXT. WOODS BEHIND DAIRY QUEEN - MOMENTS LATER<\/stage_direction>\n    <scene_description>We PUSH INTO the small plant - now a bit larger - that Ego planted at the very beginning of the film. It LIGHTS UP and GROWS, INSTANTLY BURSTING UPWARDS - \u00a9 Marvel<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EARTH - EXT. DQ - MOMENTS LATER<\/stage_direction>\n    <scene_description>The PLANT BURSTS UP BEHIND the Dairy Queen (now a modern DQ), a huge ORGANIC, BLOB-LIKE MASS OF LIGHT that comes down instantly on the building, CRUSHING it and everyone inside -- AND CONTINUING TO SPILL FORWARD, SPREADING.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE - NIGHT<\/stage_direction>\n    <scene_description>EGO SUMMONS all his energy, when, SUDDENLY, a DOOR beside him SMASHES APART. Drax has kicked through it and Gamora, Nebula and Mantis are with him. Ego turns to see them, then hears a RUMBLING above him. He turns to look at a window on the palace wall behind him. AND THE GIANT LASER DRILL COMES SMASHING THROUGH THE PALACE WALL.<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>Hey there, Jackass.<\/dialogue>\n    <scene_description>Ego looks surprised. The LASER DRILL lands on Ego, SQUASHING HIM. The tendril retracts from Quill as he falls and heaves for breath.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EARTH - EXT. STREET - DAY<\/stage_direction>\n    <scene_description>The cosmic plant, barreling down the street, suddenly STOPS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE\/LASER DRILL - SUNRISE<\/stage_direction>\n    <scene_description>Drax, Gamora, Nebula, and Mantis rush into the crumbling palace. The door on the side of the Laser Drill SLIDES OPEN. Baby Groot is standing there, smiling, and waving.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>Out of the way, dumber, smaller Groot.<\/dialogue>\n    <scene_description>As Drax crawls in, Groot starts PUNCHING Drax as hard as he can. Probably because he called him dumb, but who's to say. Gamora helps up Quill. \u00a9 Marvel<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>I told you something didn't feel right.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>'I told you so.' That's really what I need right now.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>I came back, didn't I?<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Because there's an unspoken thing.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>There is no unspoken thing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LASER DRILL - NIGHT<\/stage_direction>\n    <scene_description>Drax, Mantis, Gamora, and Quill step inside the door.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>What are you doing? You could have killed us all crashing in here like that!<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>Uh, 'Thank you, Rocket'?<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>We had it under control.<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>We did not. That is only an extension of his true self. He will be back soon.<\/dialogue>\n    <character>QUILL<\/character>\n    <parenthetical>(re: Nebula)<\/parenthetical>\n    <dialogue>What's Smurfette doing here!?<\/dialogue>\n    <character>NEBULA<\/character>\n    <dialogue>Back rubs, dishes, killing gods, whatever I need to do to get a damn ride home.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>She tried to murder me!<\/dialogue>\n    <character>NEBULA<\/character>\n    <dialogue>I saved you, you stupid fox.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>He's not a fox.<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>GROOT<\/character>\n    <dialogue>I am Groot.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>I'm not a raboon either!<\/dialogue>\n    <character>GROOT<\/character>\n    <dialogue>I am Groot.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>'Raccoon,' whatever!<\/dialogue>\n    <scene_description>Drax looks out the window.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE - NIGHT<\/stage_direction>\n    <scene_description>TENTACLE-LIKE STRANDS BURST UP through the palace flooring all around the drill.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE - NIGHT<\/stage_direction>\n    <scene_description>Drax turns to the others.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>How do we kill a Celestial?<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>There's the center to him - his brain, his soul, whatever it is, in some sort of shell --<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>It's in the caverns below the surface.<\/dialogue>\n    <scene_description>Quill climbs up the ladder to see - YONDU? Nebula looks at Gamora.<\/scene_description>\n    <character>NEBULA<\/character>\n    <dialogue>If he's got that fin back, I am so screwed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. PALACE - SUNRISE<\/stage_direction>\n    <scene_description>Yondu THRUSTS the ship upward for takeoff. But TENTACLES wrap around the ship -- And YANK IT BACK DOWN into the floor, destroying the foundation of the palce. \u00a9 Marvel THE ENTIRE PALACE SLOPES.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LASER DRILL - SUNRISE<\/stage_direction>\n    <scene_description>Everyone FALLS forward.<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>Thrusters are out!<\/dialogue>\n    <scene_description>Quill starts rewiring the mechanics.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>I guess I should be glad I was a skinny kid. Otherwise you would have delivered me to this maniac!<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>You still reckon that's the reason I kept you around, you idiot?!<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>That's what you told me, you old doofus!<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>Once I figured out what happened to them other kids, I wasn't gonna just hand you over.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>You said you were gonna eat me!<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>That was being funny!<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Not to me!!<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>You people have issues.<\/dialogue>\n    <scene_description>Quill sees THROUGH THE WINDSHIELD where EGO'S CREEPY SKELETAL is GROWING IN FRONT OF THEM.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Of course I have issues that's my fricking father!!... Thrusters are back up.<\/dialogue>\n    <scene_description>Quill thrusts the ship FORWARD instead of up. It CRASHES through Ego and DOWN THE SLOPING FLOOR -- And OUT THROUGH the giant pane of glass at the end. \u00a9 Marvel<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. LASER DRILL\/CRACK IN THE PLANET - SUNRISE<\/stage_direction>\n    <scene_description>Everyone holds on in what's essentially the worst roller coaster drop ever.<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>We should be going up!<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>We can't. Ego wants to eradicate the universe as we know it. We have to kill him.<\/dialogue>\n    <scene_description>They PLUMMET toward a fissure in the earth below. It's too small for the ship.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Rocket!<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>Got it.<\/dialogue>\n    <scene_description>Rocket BLASTS the lasers perfectly, CHIPPING AWAY PIECES of rock, forming an opening in the crack. They SMASH into the opening, barely fitting, leading down into the planet. Quill flies perfectly, TWISTING through tunnels and around corners. Rocket mans the lasers, BLASTING PIECES OUT OF PLACE just in time so they can SCRAPE through.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>So, we're saving the galaxy again?<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>I guess.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>Awesome. We'll really be able to jack up our prices if we're two- time-galaxy savers.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>I seriously can't believe that is where your mind goes.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>It was just a random thought, man! I thought we were friends!<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>Of course I care about the planets, and the buildings, and all of the animals on the planets.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>And the people.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>Meh.<\/dialogue>\n    <scene_description>Mantis GIGGLES.<\/scene_description>\n    <character>MANTIS<\/character>\n    <dialogue>The crabby puppy is so cute he makes me want to die!<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>Your suicidal thoughts sadden me, but your wish will likely come true.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. QUADRANT FLIGHT DECK - OUTER SPACE<\/stage_direction>\n    <scene_description>MEANWHILE, Kraglin is mellowly hanging out, eating some soup and listening to \"WHAM BAM\" BY SILVER as he sees something out in the distance of space. He looks a bit closer. SOVEREIGN OMNICRAFT ARE POPPING THROUGH JUMP POINTS ABOVE EGO'S PLANET.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AYESHA'S SPACECRAFT - OUTER SPACE<\/stage_direction>\n    <scene_description>AYESHA is remotely piloting one of the ships. She looks determined and angry on the vid-screen. And, one by one, Sovereign OMNICRAFT POP IN all around her, until there is a large fleet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOVEREIGN PILOT BAY - DAY<\/stage_direction>\n    <scene_description>Ayesha, in full pilot gear, yells into her comm.<\/scene_description>\n    <character>AYESHA<\/character>\n    <dialogue>Pilots, release envoy units!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AYESHA'S SPACECRAFT - OUTER SPACE<\/stage_direction>\n    <scene_description>Smaller, more nimble robotic ENVOYS, like big pods with blasters for arms - detach from the front of every Omnicraft.<\/scene_description>\n    <character>AYESHA<\/character>\n    <dialogue>Our sensors detect the batteries are below the surface of the planet.<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOVEREIGN PILOT BAY - DAY<\/stage_direction>\n    <character>AYESHA<\/character>\n    <dialogue>Dive!<\/dialogue>\n    <scene_description>OVERHEAD SHOT: On the screens in all the pods, the envoys DIVE toward the planet from slightly different directions.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. QUADRANT FLIGHT DECK - OUTER SPACE<\/stage_direction>\n    <scene_description>Kraglin, in shock, watches the massive fleet of envoys diving downward. He grabs the comm.<\/scene_description>\n    <character>KRAGLIN<\/character>\n    <dialogue>Uhh... Cap'n?<\/dialogue>\n    <scene_description>No answer.<\/scene_description>\n    <character>KRAGLIN<\/character>\n    <dialogue>Cap'n?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LASER DRILL\/CRACK IN THE PLANET - SUNRISE<\/stage_direction>\n    <scene_description>Yondu doesn't hear the CRACKLING SPEAKER beside him as they maneuver down through the fissure. Quill eyes him.<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>So why'd Ego want you here?<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>He needs my genetic connection to the light to help destroy the universe. He tried to teach me how to control the power.<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>So could you?<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>A little. I made a ball.<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>A ball?<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>I thought as hard as a could, that's all I could come up with.<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>You 'thought'?<\/dialogue>\n    <scene_description>Quill nods. \u00a9 Marvel<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>You think when I make this arrow fly I use my head?<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>What do you use?<\/dialogue>\n    <scene_description>They look at each other instead of where they're going, and the CRASH into an overhanging piece of rock. The entire side door is RIPPED OFF. As the SCREECH through a smaller space and into --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PLANET'S HOLLOW\/LASER DRILL - DAY<\/stage_direction>\n    <scene_description>The Laser Drill DROPS into this enormous open space within the planet. The Guardians gather on the side of the ship open to the hollow, gazing out at its stunning beauty, lit by Ego's white glow running throughout it.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>Whoa.<\/dialogue>\n    <scene_description>Mantis turns, looking through the portholes on the other side.<\/scene_description>\n    <character>MANTIS<\/character>\n    <dialogue>There! Thats Ego's core.<\/dialogue>\n    <scene_description>Mantis points at the Self Chamber, down below them. They twist down towards it.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>That ore's thick. Rocket, we're gonna need to use the big laser.<\/dialogue>\n    <scene_description>Rocket nods, FLICKS switches. All the small lasers on the sides move through grooves to combine into one huge laser in the center of the ship: the MEGA-LASER.<\/scene_description>\n    <character>MANTIS<\/character>\n    <dialogue>We must hurry. It will not take Ego long to find us.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>Keep it still!<\/dialogue>\n    <scene_description>\u00a9 Marvel Quill steadies the craft as best he can beside the Self Chamber. But it's an unwieldy beast, built for power, not precision. Rocket powers up the mega-laser and holds tight to the SHUDDERING CONTROLS as it DRILLS, BURNING a HOLE into the protective sheathe. It melts and drips down.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>We drill into the center, we kill him.<\/dialogue>\n    <scene_description>Quill holds tight to the steering wheel. Yondu notices the BLINKING LIGHT on the comm. He taps it.<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>What is it, Kraglin?<\/dialogue>\n    <character>KRAGLIN (O.S.)<\/character>\n    <dialogue>Um, remember that Ayesha chick?<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>Yeah, why?<\/dialogue>\n    <scene_description>Yondu looks out the window where AYESHA'S SQUADRON is SWOOPING OUT OF the cracks in the ceiling all around them.<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>Aw, hell.<\/dialogue>\n    <scene_description>Quill PULLS AWAY from the envoys. But the Sovereign envoys start BLASTING AT THE CRAFT all at once; the LASER LOSES POWER and the VEHICLE TURNS SIDEWAYS - Drax, Mantis, and Gamora GO TUMBLING from the hole in the side. Nebula and Groot grab onto the floor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELOW SELF CHAMBER - DAY<\/stage_direction>\n    <scene_description>Gamora, Drax, and Mantis FALL from an incredible height. They LAND - ONE, TWO, THREE - WITH APLOMB. Gamora looks up and sees the Laser Drill CURL behind the Self Chamber as it tries to avoid the envoys' BLASTERS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SELF CHAMBER\/LASER DRILL - DAY<\/stage_direction>\n    <scene_description>Nebula and Groot settle as the ship rights itself and BLASTS PIERCE the ship around them. Quill peers down at Rocket, who has jumped out of his seat and is pouring out the contents of his satchel. \u00a9 Marvel<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Why aren't you firing the laser?!<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>They blew out the generator! I think I packed a small detonator.<\/dialogue>\n    <character>NEBULA<\/character>\n    <dialogue>A detonator is worthless without explosives!<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>We got these!<\/dialogue>\n    <scene_description>Rocket shows Nebula the Anulax batteries. Quill leaves the controls to Yondu as he CLIMBS down beside Rocket, now messing with wiring on his BOMB.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Is it strong enough to kill Ego?<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>If it is, it will cause a chain reaction throughout his entire nervous system.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Meaning what?<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>The entire planet will explode. We'll have to get out of here fast. I rigged a timer.<\/dialogue>\n    <scene_description>Rocket stuffs the bomb back in his satchel. Groot climbs on his back. Rocket and Quill slap on their AERO RIGS.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Go!<\/dialogue>\n    <scene_description>The run and jump out of the laser drill, FLYING ON THEIR AERO RIGS, avoiding the GUNFIRE. The ZOOM towards the blast hole on the side of the self chamber.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OPENING OF BLAST HOLE - DAY<\/stage_direction>\n    <scene_description>Rocket and Quill land here, messily, TUMBLING. \u00a9 Marvel<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELOW SELF CHAMBER - DAY<\/stage_direction>\n    <scene_description>Mantis is worried about something else entirely; the entire chasm begins TREMBLING and the walls start to MUTATE.<\/scene_description>\n    <character>MANTIS<\/character>\n    <dialogue>He's coming.<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>Didn't you say you could make him sleep?<\/dialogue>\n    <character>MANTIS<\/character>\n    <dialogue>When he wants! He's too powerful! I can't!<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>You don't have to believe in yourself because I believe in you.<\/dialogue>\n    <scene_description>They look ahead. They see, on the enormous wall in front of them, the LIGHT-FORM of a giant EGO SCREAMING ANGRILY. His SCREAM becomes a TUNNEL OF ROCKS RUSHING TOWARDS THEM like a train. Mantis sees a nerve bundle on the ground coming from Ego's Core. Although afraid, she grabs it. SLEEP! She SCREAMS with effort and some pain as energy travels through the bundle and into the core, where it darkens. The LIGHT LEAVES THE ROCK FORMATION and it SLAMS into the ground in front of them, SPLASHING DIRT OVER THEM. But they are safe, shivering. Drax and Gamora look at each other.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>I never thought she'd be able to do it. With as skinny and weak as she appears to be.<\/dialogue>\n    <scene_description>Mantis's arm is TREMBLING.<\/scene_description>\n    <character>MANTIS<\/character>\n    <dialogue>I don't know how long I can hold him!<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>You need to, girl. If you don't keep Ego at bay, we all die.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OPENING OF BLAST HOLE - DAY<\/stage_direction>\n    <scene_description>Rocket shines a powerful PEN-LIGHT inside the cavity, exposing the interior, spattered with Swiss-cheese-like holes glowing with light.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>The metal is too thick! For the bomb to work we'd actually need to place it on Ego's core. And our fat butts ain't gonna fit through those tiny holes.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Well...<\/dialogue>\n    <scene_description>Quill slowly eyes Groot, who is playing with a leaf on his arm and thinking about something else entirely.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>That's a terrible idea.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Which is the only kind of idea we got left.<\/dialogue>\n    <scene_description>Rocket SIGHS. He puts Groot on his back and MOVES with Groot deeper into the blast hole, mumbling to himself:<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>Unbelievable. 'Rocket, do this. Rocket, do that.'<\/dialogue>\n    <scene_description>Quill turns toward the opening. PUSH UP AND IN ON QUILL.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Uh, what a day.<\/dialogue>\n    <scene_description>He jumps out into the fray.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PLANET'S HOLLOW - DAY<\/stage_direction>\n    <scene_description>Quill FLIES UP as a ship FLIES in toward him BLASTING, and he's about to fire back. MAN VS. SPACESHIP. This is most likely the beginning of the biggest, baddest fight scene ever, but instead we CUT TO - \u00a9 Marvel<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INSIDE BLAST HOLE - DAY<\/stage_direction>\n    <scene_description>Quiet. Blasts in the deep background. Rocket places a tiny bomb in front of Groot. It is a small, simple device with two switches and two buttons. He explains, very carefully:<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>All right. First you flick this switch, then this switch. That activates it. And then you push this button, which will give you five minutes to get out of there. Whatever you do don't push this button, because that will set off the bomb immediately, and we'll all be dead. Now repeat back what I just said.<\/dialogue>\n    <character>GROOT<\/character>\n    <dialogue>I am Groot.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>Uh huh.<\/dialogue>\n    <character>GROOT<\/character>\n    <dialogue>I am Groot.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>That's right.<\/dialogue>\n    <character>GROOT<\/character>\n    <dialogue>I am Groot.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>No! That's the button that will kill everyone! Try again.<\/dialogue>\n    <scene_description>Groot thinks.<\/scene_description>\n    <character>GROOT<\/character>\n    <dialogue>I am Groot.<\/dialogue>\n    <scene_description>Rocket nods.<\/scene_description>\n    <character>GROOT<\/character>\n    <dialogue>I am Groot.<\/dialogue>\n    <scene_description>Rocket nods.<\/scene_description>\n    <character>GROOT<\/character>\n    <dialogue>I am Groot.<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>No! That's exactly what you just said! How is that even possible?! Which button is the button you're supposed to push?! Point to it.<\/dialogue>\n    <scene_description>Groot thinks. And he points to the one that will kill everyone. NO!!!<\/scene_description>\n    <character>QUILL (O.S.)<\/character>\n    <dialogue>Hey, you're making him nervous!<\/dialogue>\n    <scene_description>Rocket runs to see, at the end of the hole, a sliver of the outside as Quill peeks in while SHOOTING at envoys.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>Shut up! And give me some tape! Does anyone have any tape out there!? I want to put some tape over the death button!<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>I don't have any tape. Let me check.<\/dialogue>\n    <scene_description>Quill disappears from the hole. As Rocket waits, he hears, amongst the chaos, faintly -<\/scene_description>\n    <character>QUILL (O.S.)<\/character>\n    <dialogue>Yo, Yondu, do you have any - ow! - do you have any tape?!<\/dialogue>\n    <scene_description>O.S. GUN BLASTS. We hear VOICES GRUMBLING. Rocket and Groot look around, waiting. Rocket is impatient. He coughs. Groot is like a bored kid in a waiting room. He shifts around and plays with the wires on the bomb. Quill reappears outside the hole, SHOOTING an envoy.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>No one has any tape.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>Not a single person has tape?<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>You have priceless batteries and an atomic bomb in your bag! If anyone had tape it would be you!<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>That's exactly my point! I have to do everything!<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>Dude, you're wasting time!<\/dialogue>\n    <scene_description>Rocket turns back to Groot, who has already taken the bomb and is heading towards the hole. He makes a \"WHEEEEEE\" sound and smiles brightly as he HOPS into the hole and SLIDES down as if on a water slide. Rocket, heavy-lidded, watches him go.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>We're all gonna die.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PLANET'S HOLLOW\/LASER DRILL - DAY<\/stage_direction>\n    <scene_description>Yondu and Nebula, in the cockpit, are being overcome as blasts come through the walls.<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>We're done for without the generator.<\/dialogue>\n    <scene_description>Nebula MOANS, frustrated. She flips open a section of the dashboard, then a part of her arm.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PLANET'S HOLLOW\/LASER DRILL - DAY<\/stage_direction>\n    <scene_description>The remaining Sovereign envoys have ENCIRCLED the battered Laser Drill, BLASTING IT TO BITS. Quill FLIES into the Laser Drill, SLAMMING into the wall.<\/scene_description>\n    <character>AYESHA (ON SHIP)<\/character>\n    <dialogue>Guardians! Perhaps it will provide you solace that your deaths are not without purpose.<\/dialogue>\n    <scene_description>Nebula is feeding the wires from the craft into her mechanical arm.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOVEREIGN PILOT BAY - DAY<\/stage_direction>\n    <scene_description>The actual Ayesha, fitted with the pilot gear, looks at the Laser Drill on the screen. \u00a9 Marvel<\/scene_description>\n    <character>AYESHA<\/character>\n    <dialogue>They will serve as a warning to all of those tempted with betraying us; don't screw with the Sovereign.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PLANET'S HOLLOW\/LASER DRILL - DAY<\/stage_direction>\n    <scene_description>Yondu works some switches: The LASERS slide back into the slots all over the ship.<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>This is gonna hurt.<\/dialogue>\n    <character>NEBULA<\/character>\n    <dialogue>Promises, promises.<\/dialogue>\n    <scene_description>Yondu flips ALL the switches; ALL THE POWER RUNS PAINFULLY OUT OF NEBULA'S BODY INTO THE VEHICLE -- AND THE LASERS BEAM OUT OF THE SHIP IN ALL DIRECTIONS AT ONCE, like a dangerous disco ball, slicing through almost nearly every single ENVOY.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELOW SELF CHAMBER - DAY<\/stage_direction>\n    <scene_description>A BEAM ALMOST HITS Drax, but he LEAPS out of the way. Smoke rises from a hole in the ground between him and Mantis.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>Hey!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PLANET'S HOLLOW\/LASER DRILL - DAY<\/stage_direction>\n    <scene_description>With flair, Yondu spins the pilot's wheel, so that the whole rig REVOLVES. Ayesha looks on, in horror as the BEAMS SLICE THROUGH the remaining CRAFT - and one is COMING HER WAY. NO!! AYESHA'S ENVOY IS RIPPED APART.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOVEREIGN PILOT BAY - DAY<\/stage_direction>\n    <scene_description>Ayesha SITS BACK. She looks around her at the other pods: all of them are down. NO! NOOOOO!! \u00a9 Marvel<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PLANET'S HOLLOW\/LASER DRILL - DAY<\/stage_direction>\n    <scene_description>Quill sees FLAMING CHUNKS FLY into the rig... And FIRE SPILLING toward the ship's engine, dripping fuel.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>We're gonna blow!<\/dialogue>\n    <scene_description>Yondu WHISTLES as the FLAMES HIT THE FUEL -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELOW SELF CHAMBER - DAY<\/stage_direction>\n    <scene_description>Gamora watches as the ENTIRE LASER DRILL EXPLODES. She is stricken.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>Peter?<\/dialogue>\n    <scene_description>She sees a tiny body flying from the ship - it's Nebula, who LANDS across from her on her feet. Gamora looks at her, worried. Nebula gives her what might be a little smile, and looks upward. Gamora follows her line of sight. Quill is FLYING FROM THE EXPLOSION on his aero-rig. Yondu is holding onto a flying arrow: his one arm up straight, his heels touching. Quill looks at him and SNICKERS.<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>You look like Mary Poppins.<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>Is he cool?<\/dialogue>\n    <scene_description>Quill looks at the man who raised him. He smiles.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Yeah. He's cool.<\/dialogue>\n    <scene_description>Yondu looks out at the Guardians as he comes in for a landing.<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>I'm Mary Poppins, y'all!<\/dialogue>\n    <scene_description>Quill and Yondu LAND beside Nebula. Gamora sees Quill and MARCHES TOWARD HIM. \u00a9 Marvel The CAMERA CIRCLES GAMORA AND QUILL, FIERY SHIP FRAGMENTS RAINING DOWN AROUND THEM IN SLOW-MOTION, as if this is the greatest heavy metal video of all time. The other Guardians enter, one by one - Nebula, Drax, Yondu, Rocket FLYING DOWN on his aero-rig, and finally, Mantis, staring forward with concentration until -- A HUGE CHUNK OF SPACESHIP FLIES IN FROM THE SIDE, FLATTENING MANTIS. The others all look down at her in shock.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Oh. Wow.<\/dialogue>\n    <scene_description>Mantis, UNCONSCIOUS BENEATH a ship fragment, has lost hold of Ego.<\/scene_description>\n    <character>THE ENTIRE HOLLOW AROUND THEM BEGINS TO RUMBLE.<\/character>\n    <dialogue>AND WALLS THEMSELVES SHIFT and WAVER.<\/dialogue>\n    <character>THE GROUND<\/character>\n    <dialogue>The whole cavity is alive. Drax checks on Mantis.<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>She's just unconscious.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SELF CHAMBER TUNNELS - DAY<\/stage_direction>\n    <scene_description>Groot RUNS and HOPS through the tunnels. He comes to a crossroads. He sees a COSMIC LIGHT emanating from one tunnel. He dashes off toward it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELOW SELF CHAMBER - DAY<\/stage_direction>\n    <character>QUILL<\/character>\n    <dialogue>How long before the bomb goes off?<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>In the unlikely event Groot doesn't kill us all, about six minutes.<\/dialogue>\n    <scene_description>Yondu speaks into the comm on his lapel.<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>Kraglin.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. QUADRANT FLIGHT DECK - DAY<\/stage_direction>\n    <scene_description>Kraglin, NODDING OUT, abruptly wakes.<\/scene_description>\n    <character>YONDU (O.S.)<\/character>\n    <dialogue>We need the Quadrant for extraction in T-minus five minutes.<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>KRAGLIN<\/character>\n    <dialogue>Aye, Cap'n!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BELOW SELF CHAMBER - DAY<\/stage_direction>\n    <scene_description>Our heroes peer up to see the SURFACE OF THE PLANET UNFOLDING ABOVE THEM, so that THE BRIGHT SKY SHINES THROUGH.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Someone needs to be up top when Kraglin arrives. Drax, take Mantis.<\/dialogue>\n    <scene_description>Drax nods. He picks up Mantis. Quill grabs the aero-rig off himself and SLAPS it on Drax's back, which AUTOMATICALLY WRAPS around his upper body.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>Ahhh! My nipples!<\/dialogue>\n    <scene_description>He FLIES UPWARD. The ground around them SPLITS INTO ENORMOUS CRACKS. Gamora sees a CRACK IN THE EARTH RUSHING TOWARD her and Quill, and she turns toward him. And Gamora's side CRUMBLES AWAY, GAMORA FALLING DOWN with it.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Gamora!!<\/dialogue>\n    <scene_description>HUGE BURSTS OF EARTH SHOOT UP all around Drax, Yondu, Rocket, and Quill. The planet has formed GIANT TENTACLES THAT HURTLE towards our heroes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOWER RIFT - DAY<\/stage_direction>\n    <scene_description>Gamora is PLUMMETING, seemingly to her death, when she looks over and sees Nebula FALLING just behind her. Nebula grabs Gamora's arm and then grabs onto a passing cliff. They SNAP TO A STOP- OW! - hanging down off the side. Nebula tosses Gamora up onto a flat surface. As Nebula climbs up after her, Gamora looks at her, wary but surprised by this beneficence.<\/scene_description>\n    <character>NEBULA<\/character>\n    <dialogue>Oh, get over it.<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BELOW SELF CHAMBER - DAY<\/stage_direction>\n    <scene_description>Quill BLASTS a tentacle. Yondu WHISTLES, the ARROW WEAVING THROUGH TENTACLES around them. Rocket TOSSES a bunch of tiny bombs at some, which they stick to and EXPLODE. But they are by no means winning this fight.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLANET SURFACE - DAY<\/stage_direction>\n    <scene_description>The giant Quadrant LOWERS toward the surface.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOWER RIFT - DAY<\/stage_direction>\n    <scene_description>Gamora looks at Nebula.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>We have to get up to the extraction point!<\/dialogue>\n    <scene_description>They look over the edge and see a huge RIFT OF LAND RISING QUICKLY. They look at each other and JUMP - They GRAB ONTO THE EDGE of the rising rift, CLUTCHING TO IT as it FLIES upward toward the open space above them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLANET SURFACE - DAY<\/stage_direction>\n    <scene_description>Drax FLIES UP onto the surface; he sees the Quadrant waiting for him there. He DARTS for the ship.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. QUADRANT FLIGHT DECK - DAY<\/stage_direction>\n    <scene_description>Kraglin opens the LOADING DOOR<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLANET SURFACE - DAY<\/stage_direction>\n    <scene_description>But huge swatches of the planet reach up and GRAB onto the Quadrant, YANKING IT DOWN.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. QUADRANT FLIGHT DECK - DAY<\/stage_direction>\n    <scene_description>Kraglin, freaking out, throws the thrusters into high gear.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. PLANET SURFACE\/QUADRANT LOADING BAY - DAY<\/stage_direction>\n    <scene_description>The thrusters FLARE as the massive ship STRUGGLES to free itself from Ego's tendrils. \u00a9 Marvel And it does PULL ITSELF UP for a moment, but the tendrils tighten, SLAMMING it back down. The whole Quadrant starts to TIP OVER. Kraglin falls down against the side of the ship. Drax sees the ship FALLING TOWARDS HIM and he RUNS away from it in fear. But he arrives a the edge of a cliff. He crouches as the ship CONTINUES DOWN toward him, about to SQUASH both he and Mantis -- But Kraglin heroically CRAWLS his way back up to the controls as he dangles from them. He pushes on the thrusters, so that the ship goes back upright. Drax turns and again RUNS toward the Quadrant.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLANET'S HOLLOW - DAY<\/stage_direction>\n    <scene_description>Gamora and Nebula are still rising on the rift when they SLAM into a wall near the opening in the surface of the planet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BELOW SELF CHAMBER - DAY<\/stage_direction>\n    <scene_description>Quill turns and sees Ego, in his terrifying SKELETAL LIGHT FORM, STROLLING DOWN TOWARDS HIM as the land around him PARTS LIKE THE RED SEA. As Ego walks, THE DIRT AND MOLECULES AROUND EGO FORM ORGANS IN HIS BODY, piecing himself back together. Quill sees a tentacle SLAM Yondu to the ground and COVER HIS ENTIRE BODY. He turns to see Rocket HOLLERING as he FIRES at tentacles, but they OVERWHELM him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLANET SURFACE - DAY<\/stage_direction>\n    <scene_description>The earth WRAPS AROUND Drax's legs like quicksand, pulling him and Mantis down into it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLANET'S HOLLOW - DAY<\/stage_direction>\n    <scene_description>Gamora and Nebula scramble, trying to CLIMB BACK UP, when TENDRILS WRAP AROUND THEM, stopping them from going further.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SELF CHAMBER TUNNELS - DAY<\/stage_direction>\n    <scene_description>The walls are tightening around Groot. He grows his branches to try to stop them, but they aren't working. \u00a9 Marvel He begins to CRY, like an actual baby, terrified, on the brink of suffocating.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BELOW SELF CHAMBER - DAY<\/stage_direction>\n    <scene_description>Ego approaches his son. He is fully formed, and he is more truly \"himself.\" Alien. Dark eyes and pale skin.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>I told you I don't want to do this alone.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BELOW SELF CHAMBER - DAY<\/stage_direction>\n    <character>EGO<\/character>\n    <dialogue>You cannot deny the purpose the universe has bestowed upon you!<\/dialogue>\n    <scene_description>And once again, the LIGHT TENDRILS STAB THROUGH QUILL'S BACK, thrusting him to his knees. Smaller light tendrils stab into his face and body. And we see the LIGHT being sucked out of Quill and up into the Self Chamber once more as it BURSTS WITH LIGHT.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EARTH - EXT. STREET - DAY<\/stage_direction>\n    <scene_description>POLICE OFFICERS and bystanders are in the streets, snapping phone photos, etc, beside the HUGE, STILL SWATCH OF EGO'S LIFEFORM.<\/scene_description>\n    <character>OFFICER FITZGIBBON<\/character>\n    <dialogue>Please, everyone. Step back. I need you all to clear the -<\/dialogue>\n    <character>WEIRD OLD MAN<\/character>\n    <dialogue>What is that?<\/dialogue>\n    <scene_description>The LIFEFORM ALIGHTS WITH ENERGY and MOVES again, SPILLING INCREDIBLY QUICKLY towards them. People abandon their cars in traffic as it RUNS OVER THEM. A WOMAN FALLS. People TRAMPLE around her. But an old man's hands reach in, helping her up. REVEAL GRANDPA QUILL, in his 70's or 80's now.<\/scene_description>\n    <character>GRANDPA QUILL<\/character>\n    <dialogue>Come on, ma'am.<\/dialogue>\n    <scene_description>He HELPS the woman into an SUV. \u00a9 Marvel He SLAMS on the gas, SCREECHING AWAY from the enormous tidal wave of organic light.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>XANDAR - I\/E. STARBLASTER\/CITY - DAY<\/stage_direction>\n    <scene_description>EGO'S LIFEFORM smashes down the PARK WALLS and into the street.<\/scene_description>\n    <character>EGO<\/character>\n    <parenthetical>(O.S)<\/parenthetical>\n    <dialogue>It doesn't need to be like this Peter<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BELOW SELF CHAMBER - DAY<\/stage_direction>\n    <scene_description>Ego approaches his son.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>Why are you destroying our chance?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>AAKON - EXT. AAKON CITY - NIGHT<\/stage_direction>\n    <scene_description>AAKONS run from a giant wave behind them.<\/scene_description>\n    <character>EGO<\/character>\n    <parenthetical>(O.S)<\/parenthetical>\n    <dialogue>Stop pretending you aren't, what you are!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>KREE HOMEWORLD - EXT. STEEP HILLSIDE - DAY<\/stage_direction>\n    <scene_description>KREE MONKS run from the cosmic flesh as it pours down the hillside behind them. But it's too fast, RUSHING OVER THEM.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>PRIMITIVE PLANET - EXT. WETLANDS - DAY<\/stage_direction>\n    <scene_description>THOUSANDS OF ORLONI are darting in fear across this dusty desert, as it WASHES OVER them.<\/scene_description>\n    <character>EGO<\/character>\n    <parenthetical>(O.S)<\/parenthetical>\n    <dialogue>One in billions..<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>ARAGO-7 - EXT. STONY LANDSCAPE - DAY<\/stage_direction>\n    <scene_description>THREE HURCTARIANS run, SCREAMING.<\/scene_description>\n    <character>EGO<\/character>\n    <parenthetical>(O.S)<\/parenthetical>\n    <dialogue>Trillions, even more!<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EASIK - EXT. FOREST - NIGHT<\/stage_direction>\n    <scene_description>AN EASIK MOTHER clutches her BABY, covering it with her own body, as the spreading lifeform LOOMS UP behind her. She closes her eyes and waits for the worst.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BELOW SELF CHAMBER - DAY<\/stage_direction>\n    <scene_description>Quill looks up at Ego, barely able to focus, as the molecules form skin over the muscle and skeleton and innards beneath.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>What greater meaning could life possibly have to offer?!<\/dialogue>\n    <scene_description>Yondu struggles beneath the tentacle beside Quill.<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>I don't use my head to fly the arrow, boy! I use my h -<\/dialogue>\n    <scene_description>Quill hears this as the earth COVERS Yondu's face. Quill LOOKS INWARD. And suddenly, everything becomes... QUIET. Tears come to Peter Quill's eyes as he remember those around him and what they mean to him. And we see his MEMORIES. - YOUNG PETER QUILL AND HIS MOTHER CUDDLED AND LISTENING TO MUSIC ON THE WALKMAN TOGETHER, EACH WITH ONE EAR PIECE. - QUILL AND DRAX LAUGHING HYSTERICALLY ON THE MILANO. - GAMORA AND PETER LOOKING INTO EACH OTHER'S EYES AND DANCING ON KNOWHERE. - QUILL AND ROCKET FLYING THROUGH THE SKY ON AERO-RIGS FOR THE FIRST TIME, SMILING AS THE AIR RUSHES THROUGH THEIR HAIR. BABY GROOT CLUTCHES HAPPILY ONTO QUILL'S BACK. - YONDU AND YOUNG QUILL IN THE FOREST. YONDU'S ARM IS ON PETER'S ARM AS HE TEACHES HIM HOW TO SHOOT. Quill looks back up at Ego as we HEAR the gentle chords of FLEETWOOD MAC'S \"THE CHAIN\" starts echoing throughout the hollow. He clutches his fist and we see the light growing within it. \u00a9 Marvel Bits of earth begin to ROLL UP AND SCRAMBLE AND SWIRL around Quill's body, his arms, his legs, as if he's pulling them towards himself with magnets. And Ego looks confused, as the GROUND QUAKES AROUND HIM. Quill glares at his father, his voice distorting with Celestial thunder.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>You shouldn't have killed my mom and squished my walkman.<\/dialogue>\n    <scene_description>Ahd a SOLID TORNADO OF EARTH PROPELS QUILL FORWARD. Ego tries to protect himself as Quill SLAMS into him, FLYING UPWARDS WITH HIM -- Quill raises his fist, NOW A GIANT CLUB. And he SMASHES Ego. As Ego loses his concentration --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLANET'S SURFACE - DAY<\/stage_direction>\n    <scene_description>A pair of arms are protruding from the surface of the planet, still holding Mantis aloft. The earth falls away, and Drax, who was entirely covered, heaves for breath.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CRACK IN PLANET - DAY<\/stage_direction>\n    <scene_description>The TENDRILS FALL, freeing Gamora and Nebula as they GASP.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BELOW SELF CHAMBER - DAY<\/stage_direction>\n    <scene_description>Yondu BREAKS THROUGH THE ROCKS around him, drawing in breath. The TENTACLES HOLDING ROCKET ALOFT CRUMBLE, and he looks around, confused.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EARTH - EXT. ST. CHARLES, MISSOURI - DAY<\/stage_direction>\n    <scene_description>The WAVE PUSHES UP against the back of Grandpa Quill's CAMARO and suddenly STOPS: the mountainous plant, a hundred stories high, is up against the back of the car.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EASIK - EXT. FOREST - NIGHT<\/stage_direction>\n    <scene_description>The Easik Mother clutching her baby looks behind her; the wave has stopped. She clutches her baby to her chest, relieved. \u00a9 Marvel<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SELF CHAMBER TUNNELS - DAY<\/stage_direction>\n    <scene_description>The tunnel around Groot SNAPS BACK to what it was. Once more he can see the light at the tunnel's end, and one looks like a GIANT BRAIN composed of prismatic light. He RUNS forward.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INSIDE BLAST HOLE - DAY<\/stage_direction>\n    <scene_description>Rocket flies up and yells at Groot.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>Groot! Groot, if you can can hear me, hurry up - I'm not sure how long Quill can keep him distracted!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SELF CHAMBER CORE - DAY<\/stage_direction>\n    <scene_description>Groot ARRIVES at the end of the tunnel, and stops there. The center of the core holds a huge cosmic placenta, and, within that, EGO'S TRUE SELF, the COSMIC BRAIN. It ROILS FURIOUSLY, the reflection of its fight with Quill, thrashing around within this womb. Although afraid, Groot places the bomb on the placenta. Groot stares at both buttons, scared - he doesn't know which one to pick. Groot makes a decision on which button to press. He goes to push the death button. Then his finger STOPS just millimeters from the button, TREMBLING. He thinks... And then changes the course of his finger, PUSHING THE CORRECT BUTTON. THE COUNTDOWN CLOCK COMMENCES. Baby Groot turns, terrified, and RUNS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. PLANET SURFACE\/QUADRANT LOADING BAY - DAY<\/stage_direction>\n    <scene_description>Drax moves with Mantis into the loading bay. He throws her down and climbs up a ladder. THE CAMERA SWINGS TO GAMORA AND NEBULA, climbing up to the surface in the dirt storm. \u00a9 Marvel<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PLANETS HOLLOW - DAY<\/stage_direction>\n    <scene_description>Ego RISES on his own MOLECULAR TORNADO and STRIKES BACK at Quill. He YELLS as he SLAMS Quill against the wall, DRAGGING his face along the wall. He TOSSES Quill into a another wall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BELOW SELF CHAMBER\/PLANET'S HOLLOW - DAY<\/stage_direction>\n    <scene_description>QUILL brings his ARM FILLED WITH LIGHT away from the wall, so that he causes a WAVE OF LIGHT AND ROCK around the interior of the hollow, FLYING TO EGO and knocking him aside. Yondu protects his face as DIRT SWIRLS in the wake of the Quill\/Ego battle. Rocket, carrying Groot, FLIES BACK DOWN beside him.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>Yondu! We're about to blow!<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>Get to the ship.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>Not without Quill.<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>You gotta take care of the twig.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>Not without you.<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>I ain't done nothing right my whole damn life, rat. You need to give me this.<\/dialogue>\n    <scene_description>Rocket, hesitantly, nods. He grabs some things from his bag. He hands them to Yondu.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>A space suit and an aero rig. I only have one of each.<\/dialogue>\n    <scene_description>Yondu nods. Rocket nods too. Rocket starts to go, but STOPS and looks at Yondu. He wants to say something, but he doesn't know what. Baby Groot does. \u00a9 Marvel<\/scene_description>\n    <character>GROOT<\/character>\n    <dialogue>I am Groot.<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>He says welcome to the frickin' Guardians of the Galaxy... only he didn't use 'frickin'.<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>Bye, twig.<\/dialogue>\n    <scene_description>Groot waves. And Rocket FLIES UP toward the surface. Rocket mutters to Groot.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>We're gonna need to have a discussion about your language.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BELOW SELF CHAMBER\/PLANET'S HOLLOW - DAY<\/stage_direction>\n    <scene_description>Ego SLAMS Quill back against a wall. Ego pulls the huge rocks away from the wall, FLYING THEM TOWARDS HIM and BATTERING HIM THERE. Ego and Quill FLY TOWARDS each other. Ego uses the LIGHT TO BRING ROCKS TO HIS BODY, forming a giant AVATAR OF HIMSELF. Quill brings YELLOW ROCKS to his body, forming a GIANT PAC- MAN. Ego's form flies into Pac-Man's mouth, so hard there's a SONIC BOOM. They fall, TUMBLING, still striking one another on the way down. They LAND HARD.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SELF CHAMBER CORE - DAY<\/stage_direction>\n    <scene_description>The timer counts down. A minute left.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. PLANET SURFACE\/QUADRANT LOADING BAY - DAY<\/stage_direction>\n    <scene_description>Gamora and Nebula are caring for Mantis as Rocket and Groot ARRIVE. \u00a9 Marvel<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>Where's Peter?<\/dialogue>\n    <scene_description>Rocket doesn't answer. Or he can't answer.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>Rocket, where is he?!<\/dialogue>\n    <scene_description>Rocket looks down at a timer in his hand. The time is almost there.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>Rocket?! Rocket, look at me! Where is he?!<\/dialogue>\n    <scene_description>Rocket just shakes his head a little. But Groot points sadly outside.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>I'm not leaving without him.<\/dialogue>\n    <scene_description>Gamora hardens. She stands and SNATCHES A RIFLE off the wall. She COCKS IT. She STARTS OUT the bay door -- When AN ELECTRICAL BLAST HITS HER from behind. She FALLS OVER, unconscious, REVEALING Rocket with his gun.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>I'm sorry. I can only afford to lose one friend today.<\/dialogue>\n    <parenthetical>(into comm)<\/parenthetical>\n    <dialogue>Kraglin, GO!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. QUADRANT FLIGHT DECK - DAY<\/stage_direction>\n    <scene_description>Drax looks uncertain as Kraglin presses thrust.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>Wait. Is Quill back?<\/dialogue>\n    <parenthetical>(into comm)<\/parenthetical>\n    <dialogue>Rocket, where's Quill?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. PLANET SURFACE\/QUADRANT LOADING BAY - DAY<\/stage_direction>\n    <scene_description>Rocket looks sadly out the bay door as it CLOSES; Drax's voice echoes on his comm.<\/scene_description>\n    <character>DRAX (O.S.)<\/character>\n    <dialogue>Where's Quill?! WHERE'S QUILL?!<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BELOW SELF CHAMBER - DAY<\/stage_direction>\n    <scene_description>Quill and Ego are exhausted, on their knees and leaning against one another like boxers after too many rounds.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SELF CHAMBER CORE - DAY<\/stage_direction>\n    <scene_description>The timer reads 00:26 seconds<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BELOW SELF CHAMBER - DAY<\/stage_direction>\n    <scene_description>Ego reaches for the core..<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>No, we need to stop it!<\/dialogue>\n    <scene_description>Quill throws him to the ground. But Ego comes back up, grasping his son's jacket, pleading with him now.<\/scene_description>\n    <character>EGO<\/character>\n    <dialogue>Listen to me! You are a god! If you kill me, you'll just be like everyone else!<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>What's so wrong with that?<\/dialogue>\n    <scene_description>Ego looks at his son, scared. NO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SELF CHAMBER CORE - DAY<\/stage_direction>\n    <scene_description>The countdown reaches zero. The brain EXPLODES.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. EGO'S NERVOUS SYSTEM - DAY<\/stage_direction>\n    <scene_description>The explosion causes the life forces to BURST THROUGH THE ENTIRE PLANET.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BELOW SELF CHAMBER - DAY<\/stage_direction>\n    <scene_description>Everything around Quill is EXPLODING. He looks down at his hands, where the glow FADES and DISAPPEARS. He gazes up at the mammoth walls around him as they BLOW UP and COLLAPSE. He lowers at head, at peace with the death that's coming, when, from the side, through the debris -- \u00a9 Marvel YONDU IS FLYING TOWARDS HIM ON AN AERO-RIG. Yondu GRABS him, almost a tackle, really, LIFTING HIM up and FLYING AWAY.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLANET'S HOLLOW - DAY<\/stage_direction>\n    <scene_description>As Yondu and Quill FLY UPWARD, the planet EXPLODES behind them, flames licking their heels, huge stretches of the planet caving in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKY - DAY<\/stage_direction>\n    <scene_description>Yondu holds a surprised Quill as they SOAR up into the sky,<\/scene_description>\n    <character>YONDU<\/character>\n    <dialogue>He may have been your father, boy. But he wasn't your daddy.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>YONDU<\/character>\n    <dialogue>I'm sorry I didn't do it right. I'm damn lucky you're my boy.<\/dialogue>\n    <scene_description>Quill is touched. Yondu SLAPS the SPACESUIT disk onto Quill; THE SHIMMERY SHEATHE COVERS HIM.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Yondu breathes out as completely as he can, emptying his lungs. And they EXIT THE PLANET'S ATMOSPHERE, bursting into -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - OUTER SPACE<\/stage_direction>\n    <scene_description>Quill struggles to get free, but Yondu holds him there, trapping him, but it is also an embrace. The ENTIRE PLANET is COLLAPSING BEHIND THEM.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Yondu, you can't! What are you doing? What are you doing?!<\/dialogue>\n    <scene_description>Yondu's jet pack expires its supply of fuel, and they STOP THERE, in space, FLOATING. Yondu's grip weakens. Quill turns to face him.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Yondu. Yondu, no!<\/dialogue>\n    <scene_description>\u00a9 Marvel Yondu grabs his son's face with both hands, looking and touching him with love.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>And Yondu's FACE EXPANDS and his BODY GOES LIMP as he DIES there. And he starts to DRIFT AWAY. Quill grabs onto his shirt. He is CRYING.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>And, suddenly, behind Quill, Rocket and Drax PROPEL themselves toward him in aero-rigs, GRABBING him. FADE TO BLACK:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ECLECTOR CREMATORY - LATER<\/stage_direction>\n    <scene_description>Yondu's body lies on a plank here: Various colored cloths are laid in strips over his body and face, yaro lilies beneath him, red-fired pyres and Yondu's toys all around. Rocket, Groot, Drax, Gamora, Mantis, and Kraglin surround the table. Quill is at the head. He has to say a few words. But it is not easy.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>The other day I told Gamora how I used to pretend my dad was David Hasselhoff.<\/dialogue>\n    <scene_description>Rocket and Drax exchange a look.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>He's a singer and actor from earth... a really famous guy.<\/dialogue>\n    <scene_description>Drax nods.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>And, you know, today it struck me. Yondu didn't have a talking car, but he did have a flying arrow. And he didn't have the voice of an angel, but he did have the whistle of one. And both David Hasselhoff and Yondu went on kickass adventures, and hooked up with hot women, and fought robots.<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>So, the thing is, David Hasselhoff kinda did end up being my Dad after all, only he was Yondu. I had a pretty cool Dad.<\/dialogue>\n    <scene_description>Quill starts to break down.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>And what I'm trying to say here is, that thing you're searching for your whole life, sometimes it's right there by your side all along and you don't even know it.<\/dialogue>\n    <scene_description>Gamora sees Nebula, watching from a darkened doorway, before she turns and walks away. She moves after her. Groot looks up at an upset Rocket.<\/scene_description>\n    <character>GROOT<\/character>\n    <dialogue>I am Groot?<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>Yeah. That's the friend I was talking about.<\/dialogue>\n    <character>GROOT<\/character>\n    <dialogue>I am Groot.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>He did call you 'twig.'<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. QUADRANT SMALL HALLWAY - MOMENTS LATER<\/stage_direction>\n    <scene_description>Gamora catches up to Nebula in the hall.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>Nebula.<\/dialogue>\n    <scene_description>Nebula turns toward her, but she doesn't look her in the eye.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>I was just a child. Like you. I was concerned with staying alive until the next day - every day. And I never considered what Thanos was doing to you. I am sorry.<\/dialogue>\n    <scene_description>Nebula nods.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>I'm trying to make it right, everything I did.<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>There are little girls like you were - little boys - all over the universe - who are in danger. You can stay with us, and help them.<\/dialogue>\n    <character>NEBULA<\/character>\n    <dialogue>I'll help them by killing Thanos.<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>I don't know if that's possible.<\/dialogue>\n    <scene_description>Nebula shrugs: maybe. She turns to leave. But Gamora grabs her, perhaps too roughly. Nebula turns, ready to snap. And Gamora EMBRACES her. Nebula does not know how to react.<\/scene_description>\n    <character>GAMORA<\/character>\n    <dialogue>You'll always be my sister.<\/dialogue>\n    <scene_description>Tears well in Nebula's eyes and, for just a moment, she embraces her sister back with one hand... Before pushing her away and leaving.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ECLECTOR CREMATORY - MOMENTS LATER<\/stage_direction>\n    <scene_description>The Guardians lift Yondu on the plank. A bulbous and rusty crematory is at the center of the room. It doesn't burn with fire, but a SWIRLING, VIBRANT COSMIC ENERGY. They SLIDE YONDU IN as they watch with sadness and respect as his body is enveloped by the sparkling colors. Quill closes the door on the crematory. As Quill moves away, Kraglin approaches.<\/scene_description>\n    <character>KRAGLIN<\/character>\n    <dialogue>Pete.<\/dialogue>\n    <scene_description>Quill turns toward him. He's holding something.<\/scene_description>\n    <character>KRAGLIN<\/character>\n    <dialogue>Cap'n found this for you in a junker shop. Said someday you'd come back to the fold.<\/dialogue>\n    <scene_description>Kraglin puts an MP3 player in his hand.<\/scene_description>\n    <character>KRAGLIN<\/character>\n    <dialogue>It's called a Zune - what everyone listens to on earth nowadays. It's got three hundred songs.<\/dialogue>\n    <scene_description>Quill nods, touched. \u00a9 Marvel<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Wait.<\/dialogue>\n    <scene_description>Quill holds out Yondu's arrow. Kraglin's lip trembles.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Rocket grabbed the pieces and reassembled them. I think Yondu would want you to have it.<\/dialogue>\n    <character>KRAGLIN<\/character>\n    <dialogue>Thank you... Cap'n.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. QUADRANT - OUTER SPACE<\/stage_direction>\n    <scene_description>Yondu's SPARKLING ASHES ARE BLOWN OUT IN SPURTS FROM THE CREMATORY INTO SPACE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. QUADRANT FLIGHT DECK - OUTER SPACE<\/stage_direction>\n    <scene_description>Rocket, Drax, and Mantis are here, watching Yondu's ashes in the vacuum of space, SWIRLING almost magically.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAPTAIN'S QUARTERS - OUTER SPACE<\/stage_direction>\n    <scene_description>Quill sits down on the bed in Yondu's quarters. He scrolls through selections on the Zune. He comes to \"FATHER AND SON\" by CAT STEVENS. He PRESSES PLAY. He listens. As he does, Groot crawls up onto the bed, and then onto his lap. Quill offers him one of the ear buds. Groot holds it against his ear, amazed by the clarity of sound. Quill watches him, hearing the beauty of the song more through Groot's face than the music itself. And they sit there together, listening to the music, a new father and son.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. M-SHIP - OUTER SPACE<\/stage_direction>\n    <scene_description>Nebula FLIES AWAY, sad, perhaps regretful, but forcing her chin up to brace against what's to come.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. QUADRANT SMALL HALLWAY - OUTER SPACE<\/stage_direction>\n    <scene_description>Gamora watches, THROUGH A WINDOW, as Nebula leaves. \u00a9 Marvel<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. QUADRANT FLIGHT DECK - OUTER SPACE<\/stage_direction>\n    <scene_description>Rocket sees something by the ashes. His eyes alight.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>They came.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAPTAIN'S QUARTERS - OUTER SPACE<\/stage_direction>\n    <scene_description>Groot sees COLORFUL FLASHING LIGHTS out of the window. He pulls on Quill's shirt to show him. They go to get a better view.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. QUADRANT FLIGHT DECK - OUTER SPACE<\/stage_direction>\n    <scene_description>Drax and Rocket see Yondu's COSMIC ASHES PULSING AND SWIRLING out in space as, one by one, enormous RAVAGER SHIPS arrive around them. They each FLASH SPECIFIC LIGHT SEQUENCES - and, with all the ships together - it looks like fireworks.<\/scene_description>\n    <character>DRAX<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>I sent word to Yondu's old Ravager buddies and told them what he did.<\/dialogue>\n    <scene_description>Quill comes up behind them with Groot, just as Gamora enters. Quill smiles.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>It's a Ravager funeral.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - OUTER SPACE<\/stage_direction>\n    <scene_description>Kraglin sees it from here. He SCREAMS with joy, and he slams his fist twice against his chest, a Ravager salute.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. RAVAGER FLIGHT DECK 1 - OUTER SPACE<\/stage_direction>\n    <scene_description>STAKAR and Martinex watch him there, moved.<\/scene_description>\n    <character>MARTINEX<\/character>\n    <dialogue>He didn't let us down after all, Cap'n.<\/dialogue>\n    <character>STAKAR<\/character>\n    <dialogue>No, he did not, son. He did not.<\/dialogue>\n    <scene_description>\u00a9 Marvel<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. RAVAGER FLIGHT DECK 2 - OUTER SPACE<\/stage_direction>\n    <scene_description>CHARLIE-27, an enormous man, is wistful as he salutes.<\/scene_description>\n    <character>CHARLIE-27<\/character>\n    <dialogue>Fare thee well, old friend.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. RAVAGER FLIGHT DECK 3 - OUTER SPACE<\/stage_direction>\n    <scene_description>ALETA is here, tears in her eyes, alcohol in her hand, an ALL- FEMALE RAVAGER CREW around her.<\/scene_description>\n    <character>ALETA<\/character>\n    <dialogue>See you in the stars, Yondu Udonta.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. QUADRANT FLIGHT DECK - OUTER SPACE<\/stage_direction>\n    <scene_description>And the Guardians all watch, enchanted by the majesty.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>He didn't chase 'em away.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ROCKET<\/character>\n    <dialogue>Even though he yelled at 'em.<\/dialogue>\n    <scene_description>Quill shakes his head.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>And was always mean.<\/dialogue>\n    <scene_description>Quill shakes his head.<\/scene_description>\n    <character>ROCKET<\/character>\n    <dialogue>And he stole batteries he didn't need.<\/dialogue>\n    <scene_description>Quill is surprised - what? And then he looks at Rocket, a little animal who doesn't know the rules of how to be any more than a young boy whose tribe sold him into slavery.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Of course not.<\/dialogue>\n    <scene_description>Baby Groot is on Gamora's shoulder. He reaches for Drax, who takes him. Baby Groot YAWNS and nuzzles into Drax's shoulder, falling asleep. Drax lovingly pats his back. Gamora looks at Drax and Groot, and Rocket, and Mantis, taking it all in, this strange family of hers. She turns to Quill, staring at him with love. \u00a9 Marvel<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>GAMORA<\/character>\n    <dialogue>It's just some unspoken thing.<\/dialogue>\n    <scene_description>Quill wraps his arm around her and she sinks into him. Mantis smiles and becomes teary and GASPS, overwhelmed, as she looks out the window.<\/scene_description>\n    <character>MANTIS<\/character>\n    <dialogue>It's beautiful.<\/dialogue>\n    <character>DRAX<\/character>\n    <dialogue>It is. And so are you.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>On the inside.<\/dialogue>\n    <scene_description>They turn back to the window and they stand there together, our Guardians of the Galaxy, watching the Ravager funeral and the colorful dust of an old friend dance. And the shape of the dust seems to form something very close to an ARROW. Rocket sees this and he cries. RUN CREDITS. \"SURRENDER\" BY CHEAP TRICK PLAYS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CREDIT BREAK 1 - INT. ECLECTOR HALLWAY - OUTER SPACE<\/stage_direction>\n    <scene_description>SURRENDER is PLAYING HERE. Kraglin has had a version of Yondu's fin implanted in his head. He looks nervously down at the arrow on the floor. He tries to WHISTLE. It just flips around like a dead fish. He WHISTLES again, and it FLIES UP, hitting a wall, and falls back down again. He WHISTLES again, and it ZIPS AWAY. We HEAR A SCREAM. Kraglin looks around the corner where Drax is sitting, the ARROW IMPALED in his chest, yelling in agony. Kraglin looks around, hoping no one saw him there, and he tries to slink away. \u00a9 Marvel MORE CREDITS as SURRENDER CHORUS KICKS IN: Mommy's all right, Daddy's all right, they just seem a little weird.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>END CREDITS - INT. STAKAR'S SHIP - OUTER SPACE<\/stage_direction>\n    <scene_description>Stakar looks sad, serious.<\/scene_description>\n    <character>STAKAR<\/character>\n    <dialogue>It's a shame it takes a tragedy like losing Yondu to bring us all back together. But I think he'd be proud if he knew we were working as a team again.<\/dialogue>\n    <scene_description>Over Stakar we see this incredibly motley crew - MARTINEX, CHARLIE-27, ALETA, who is holding MAINFRAME (a robotic head in a cage), and the mouthless, wormlike KRUGARR,<\/scene_description>\n    <character>STAKAR<\/character>\n    <dialogue>What say we steal some shit?<\/dialogue>\n    <character>CHARLIE-27<\/character>\n    <dialogue>In.<\/dialogue>\n    <character>MARTINEX<\/character>\n    <dialogue>Dope.<\/dialogue>\n    <character>MAINFRAME<\/character>\n    <dialogue>I MISSED you guys!<\/dialogue>\n    <scene_description>Krugarr makes a hex symbol and TWO COLORFUL THUMBS-UP BURST in front of him.<\/scene_description>\n    <character>ALETA<\/character>\n    <dialogue>Hell. Yes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>END CREDITS - INT. BIRTHING PODS CHAMBER - DAY<\/stage_direction>\n    <scene_description>Ayesha sits on a bench, brooding, disheveled and still furious. The Chambermaid cautiously approaches.<\/scene_description>\n    <character>CHAMBERMAID<\/character>\n    <dialogue>High Priestess, the Council is waiting.<\/dialogue>\n    <character>AYESHA<\/character>\n    <dialogue>They are perturbed I have wasted our resources.<\/dialogue>\n    <scene_description>The Chambermaid smiles politely, nods slightly, agreeing in a circumspect manner. Ayesha stares across the way. \u00a9 Marvel<\/scene_description>\n    <character>AYESHA<\/character>\n    <dialogue>When they see what I have created here, their wrath will dissipate, though it will be some time.<\/dialogue>\n    <scene_description>The Chambermaid looks where Ayesha is looking.<\/scene_description>\n    <character>CHAMBERMAID<\/character>\n    <dialogue>That is not just another birthing pod, ma'am?<\/dialogue>\n    <character>AYESHA<\/character>\n    <dialogue>That, my child, is the next step in our evolution: more powerful, more beautiful, and more capable of destroying the Guardians of the Galaxy.<\/dialogue>\n    <scene_description>A large, human-sized cocoon stands where Ayesha stares.<\/scene_description>\n    <character>AYESHA<\/character>\n    <dialogue>I think I shall call him... 'Adam'.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>BOX OVER CREDITS - INT. GROOT'S BEDROOM - OUTER SPACE<\/stage_direction>\n    <scene_description>Quill is standing in the bedroom doorway, looking down.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Dude, seriously, you got to clean up your room. It's a complete mess.<\/dialogue>\n    <scene_description>We REVEAL a gawky ADOLESCENT GROOT, hunched over, playing a video game, in this very messy room.<\/scene_description>\n    <character>ADOLESCENT GROOT<\/character>\n    <dialogue>I am Groot.<\/dialogue>\n    <character>QUILL<\/character>\n    <dialogue>I'm not boring, man. You're boring. Once I got stuck on a planet where everyone was just lines and dots. I had to use geometry to get out of prison. Is that boring?<\/dialogue>\n    <scene_description>Adolescent Groot shakes his head in disdain.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>You know what's boring? Not doing the dishes. What's boring is me tripping over your vines everywhere.<\/dialogue>\n    <scene_description>Adolescent Groot SIGHS. \u00a9 Marvel<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Drax and I switched pants in the middle of that party last weekend. For no reason other than we're awesome and very much not boring.<\/dialogue>\n    <scene_description>Quill starts to walk away then comes back.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Once I got a venereal disease that made me float for three days... Don't tell Gamora... it's dormant, but... If that's boring then, I guess I'm boring.<\/dialogue>\n    <scene_description>He looks at him.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>I'm not boring.<\/dialogue>\n    <scene_description>Groot ROLLS HIS EYES and makes an exasperated sound.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>What's boring is when you roll your eyes like that at me and make an exasperated sound like I'm an old, boring, stupid idiot.<\/dialogue>\n    <scene_description>Quill thinks.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Now I know how Yondu felt.<\/dialogue>\n    <scene_description>Quill begins to CRY.<\/scene_description>\n    <character>QUILL<\/character>\n    <dialogue>Yondu.<\/dialogue>\n    <scene_description>CUT TO BLACK.<\/scene_description>\n    <character>THE END<\/character>\n    <dialogue>\u00a9 Marvel<\/dialogue>\n  <\/scene>\n<\/script>","summary":"In 2014, Peter Quill, Gamora, Drax, Rocket, and Baby Groot are renowned as the Guardians of the Galaxy. High Priestess Ayesha of the Sovereign race has the Guardians protect valuable Anulax batteries from an Abilisk, an inter-dimensional monster, in exchange for Nebula, Gamora's estranged sister, who was caught attempting to steal the batteries. After Rocket steals the batteries for himself, the Sovereign attacks the Guardians' ship with a fleet of drones. A mysterious figure destroys the drones and the Guardians crash-land on a nearby planet Berhert. The figure reveals himself as Ego, Quill's father, and he introduces Mantis, his na\u00efve empath servant. Ego invites Quill, Gamora, and Drax to his home planet, while Rocket and Groot remain behind to repair the ship and watch Nebula. Ayesha hires Yondu Udonta and his crew, who have been exiled from the greater Ravager community for child trafficking, to recapture the Guardians. They capture Rocket, but when Yondu hesitates to turn over Quill, whom he raised, his lieutenant Kraglin Obfonteri questions his objectivity, and Taserface, another lieutenant, leads a mutiny, aided by Nebula, who shoots Yondu. Taserface executes Yondu's loyalists, and imprisons him and Rocket aboard Yondu's ship. Nebula leaves to find and kill Gamora, whom she blames for the torture inflicted on her by Thanos, their adoptive father. Kraglin, who is remorseful and never signed up for a mutiny, helps Groot free Rocket and Yondu, and while escaping, the group set the ship to self-destruct using Yondu's arrow. Taserface informs the Sovereign before being killed by the explosion. Ego, a god-like Celestial that manipulated the matter around his consciousness to form his \"home\" planet, explains that he projected a humanoid guise to travel the universe and discover a purpose, eventually falling in love with Quill's mother Meredith. Ego hired Yondu to collect the young Quill after Meredith's death, but the boy was never delivered, and Ego has been searching for him ever since. He teaches Quill to manipulate his inherited Celestial power, while Mantis grows close to Drax and tries to warn him of Ego's plans. Nebula arrives at Ego's planet and tries to kill Gamora, but the pair reconcile and reach an uneasy alliance, soon discovering a cavern filled with skeletal remains. Ego brainwashes Quill and reveals that in his travels, he planted seedlings on thousands of worlds that can terraform into new extensions of himself, but only the power of two Celestials can activate them. To that end, he impregnated countless women and hired Yondu to collect their offspring but killed them all when they failed to inherit his Celestial power. When Ego admits that he gave Meredith the brain tumor that killed her, an infuriated Quill violently attacks him. Ego parasitically draws Quill's energy to activate the seedlings, which begin to consume the worlds on which they are planted. Rocket, Yondu, Groot, and Kraglin arrive, and together with Mantis, Drax, Nebula and Gamora, they rescue Quill. The reunited Guardians travel to Ego's brain at the planet's core, where Yondu reveals that he kept Quill to spare him from Ego. As the Sovereign's drones return and attack, Rocket makes a bomb using the stolen batteries, which Groot plants on Ego's brain. Quill uses his newfound Celestial powers to fight Ego, distracting him long enough for the other Guardians and Mantis to escape. The bomb explodes, killing Ego and disintegrating the planet, but also draining Quill of his Celestial powers. Yondu sacrifices himself to save Quill by letting himself die in the vacuum of space. Despite having reconciled with Gamora, Nebula chooses to leave and resume her quest to kill Thanos. The Guardians, with Mantis as a new member, hold a funeral for Yondu. Rocket and Kraglin are elated as dozens of Ravager ships arrive, acknowledging Yondu's sacrifice and accepting him as a Ravager again. In a series of mid-and post-credit scenes, Kraglin takes up Yondu's telekinetic arrow and control-fin; Ravager leader Stakar Ogord reunites with his ex-teammates; Ayesha creates Adam, a new artificial being with whom she plans to destroy the Guardians; and Groot grows into a teenager."}
{"movie_name":"Broken Embraces_2009","imdb_id":"tt0913425","script":"<script>\n  <scene>\n    <stage_direction>Broken Embraces<\/stage_direction>\n    <scene_description>DUSK , OR NIGHT HAS ONLY BARELY FALLEN . A huge clock marks 7:55 p.m. -LRB- The clock belongs to some landmark building , to be determined -RRB- . Immediately following , the building goes dark . Establishing shot of the Eiffel Tower , lit . Suddenly , all the lights go out . The same thing happens with the Granada 's Alhambra , Seville 's Giralda Tower , the Guggenheim at Bilbao , the Gate of Alcala . All these well - known architectonic wonders turn dark , abruptly . -LRB- Beauty that disappears suddenly , beauty that 's extinguished and envelops us in darkness . -RRB-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>HARRY CAINE'S HOME. INT. NIGHT.<\/stage_direction>\n    <scene_description>Harry -LRB- fifty years old -RRB- sits , as if he were waiting , without hurry , immobile and patient in his study next to his desk , as if it were the thing keeping him company . He is n't doing anything . He lets time take its course . His silence is broken by the sound of footsteps that come and go . At first we ca n't see who the footsteps belong to , until they stop . In the living room , a few meters from Harry , Judit stops . She , too , is shrouded in darkness . She looks at her wristwatch , the second hand moves from left to right on the watch face . Judit -LRB- forty - eight , looks younger -RRB- breathes , impatient . -LRB- She is dressed soberly , in a dignified and practical manner -RRB- . She approaches a window that looks out onto the street . Everything outside is also in darkness . The building in front is just a dark mass . She looks to the end of the street . Almost all the buildings visible from the window are dark , the Gate of Alcala in the background is also not lit . Without turning , she says to Harry :<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>The Door of Alcala has also darkened.<\/dialogue>\n    <scene_description>Harry is still sitting , inert , absorbed by his thoughts . The whole house is in darkness , only the ambient clarity of the night comes through the windows , curtains drawn back . Judit heads slowly toward the kitchen . On the wall there is a Vitra clock , to which she gives a cursory glance . She turns on the faucet and fills a glass of water . From her pocket , she removes a tiny heart made of black nacar shell and rimmed in silver . She opens it . She grabs a small pink pill . She takes it . She glances once more at the stylized design of the Vitra clock . The minute hand nears 8 p.m. On a windowsill -LRB- or on the kitchen table -RRB- there is an open newspaper . The exposed page displays an article about the dangers of global warming . An international date has been convened for a five minute blackout at 8 p.m. Standing in the kitchen , Judit , poised and tense , looks up at the spot where the clock is . The stillness of all the elements comprising the frame make it seem like a painting . She waits until the seconds hand completes its cycle and it 's 8 o'clock sharp . Swiftly , Judit powers the central electrical switchboard , which is in the kitchen . The kitchen lights up , the refrigerator emits its characteristic sound . The lamps in the living room also light up . -LRB- Low - hanging lamps that make the light bounce . The house is awash in a special luminous atmosphere - dense , translucent , with darkened zones -RRB- . All the furniture is flush with the walls . There are some paintings hanging and a rug on the ground , everything is of the kind of quality that denotes good personal taste . Upon the light 's return , Judit exhales a profound sigh of relief . She moves toward the window where she was standing earlier and contemplates how , in the building across the way , the windows begin to blink , in square patterns of light .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>FLASHBACK. 1994. LANZAROTE HOSPITAL. INT. DAY.<\/stage_direction>\n    <scene_description>The light 's return is contagious , a true spectacle , which ends with a blinding light that floods the screen . It will probably be a close - up of the sun . That very sun enters through another window , which is not that of Harry 's house , nor that of the building across the way . It is the window of a hospital room -LRB- perhaps a sign should specify that the following scene occurs `` Fourteen years earlier '' -RRB- The hospital is on Lanzarote Island , in the Canary Islands . The scene occurs fourteen years earlier . The characters are the same . Harry and Judit . Harry lies in bed , his head completely bandaged . Sunlight enters through the window . Judit is seated on the bed . She holds his hand and pleads , worried and loving :<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>Mateo, say something!<\/dialogue>\n    <character>MATEO-HARRY<\/character>\n    <dialogue>Mateo is dead.<\/dialogue>\n    <character>JUDIT<\/character>\n    <parenthetical>( Sweet and devastated . )<\/parenthetical>\n    <dialogue>Do n't say that!<\/dialogue>\n    <scene_description>The character to whom Judit refers as Mateo , -LRB- the same one that in the previous scene we have called Harry -RRB- , has a recent wound , either on his arm or on his hands , along with his head , which is completely covered by bandages . Mateo and Harry are the same person , the difference is the fourteen years that separate them . Harry , in the present -LRB- 2008 -RRB- , is fifty years old . In ` 94 , the time period when the flashback takes place , he was thirty - six . Let 's say that when he was thirty - six , Harry was called Mateo . The character has two names , which his own voice - off explains , while we observe what his day - to - day consists of in 2008 .<\/scene_description>\n    <character>OFF HARRY<\/character>\n    <dialogue>I always wanted to be another person, to be someone beside myself. To dispose of a single identity did n't seem enough. Living a single life was n't enough for me. And half - joking, I came up with a pseudonym for myself, Harry Caine, an adventurer who, as fate would have it, became a writer. At that time, I had him author all the scripts and stories that I wrote. I came up with a standard biography to fill the back flap of his books. He had been a sailor, an industrial spy, the doorman at a Parisian cabaret, a boxer, a waiter and an advertisement hand - double. A self - made man, active and attractive like an English spy, vital, skeptical and sarcastic. For many years, Mateo Blanco and Harry Caine shared the same person, me, but a time came when, all of a sudden, I could n't be anyone other than Harry Caine. I became my pseudonym.<\/dialogue>\n    <parenthetical>( He applies lotion in front of the mirror , we first see him in front of it , and then , doubled , reflected in it .<\/parenthetical>\n    <parenthetical>Then , suddenly , the mirror does not reflect him .<\/parenthetical>\n    <parenthetical>Of his two identities he only has one left . )<\/parenthetical>\n    <dialogue>. Just as I had planned, a heterodox writer and, never better stated, a self - made man, one might even say, `` self - written man''. There was only one detail I had not foreseen, Harry would be a blind writer.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>IMAGES THAT ACCOMPANY THE VOICE -OFF. HARRY CAINE'S DAILY<\/stage_direction>\n    <scene_description>RITUALS . Despite his fifty years and his blindness , Harry is a man that keeps himself in great physical shape . Harry 's Home . Interior . Day . In the morning : he places a CD in a player . By himself , he selects and starts the program on a treadmill . He steps on and begins exercising . He takes a shower -LRB- `` Mateo Blanco and Harry Caine shared the same person , me , but a time came when , all of a sudden . '' -RRB- , the camera pans over various parts of his body under the running water , dense waves of white foam slide down his skin , as if it was a landscape . The hangers have Braille - stickers that indicate the characteristic of the clothing they hold . -LRB- All the closets have sliding doors -RRB- In his bedroom , he opens the closet and looks for the clothes he will wear . Despite the fact that he can not see himself , he stands in front of a mirror . He smiles , pleased with his appearance . Everything in the house is rigorously ordered . All that Harry needs to ascertain the identity of the things around him is his touch . He exits onto the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>HARRY'S STREET. EXT. DAY. PEDESTRIAN CROSSING.<\/stage_direction>\n    <scene_description>Harry traverses -LRB- aided by an umbrella ? -RRB- the pedestrian crossing . When he reaches the opposite sidewalk , the credits appear on the black and white stripes that mark the crossing . The crossway is clear of pedestrians so that only cars pass through -LRB- not many -RRB- and as they do , they run over the letters of the credits , making them disappear , in pieces . On a different stripe , a new title appears and as it does , it is run over and destroyed by another car . Like this , successively .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SIDEWALK ACROSS FROM HARRY'S BUILDING. EXT. DAY.<\/stage_direction>\n    <scene_description>Just on the sidewalk across from where Harry lives , there is a news - stand , and next to it , perhaps on the nearest corner , a bar . Harry buys the newspaper at the news - stand . This is part of his daily routine . He greets the attendant familiarly . He has the kind of face that provokes pity . He grabs the newspaper , folds it , and places it under his arm . Cut to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>BAR ACROSS THE WAY. INT. DAY.<\/stage_direction>\n    <scene_description>He enters the bar . He leans down somewhere on the bar table . Just as soon as he sees him , he is approached by his Waiter Friend , an approachable guy , somewhere in his forties , who is helped by a South American waitress , wearing her makeup since the early part of the morning , whom he is obviously screwing . He brings him a coffee . All of these actions are part of a daily ritual .<\/scene_description>\n    <character>WAITER FRIEND<\/character>\n    <dialogue>Do you want me to read you something from the newspaper?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>No, thanks. I am off on a stroll.<\/dialogue>\n    <scene_description>RETURN TO SEC . 5 Harry exits the bar and becomes immersed in the different noises of the street , the passersby , their different sounds and corporeal odors . Auditory life . The camera swirls around his head . At first he hears all the noises , indistinctly mixed , and then he begins to separate them . He selects one he likes , the rest of the sounds of the street disappear or their volume is lowered . Girls , cars , high heels , the smells of different ethnicities . A multi - racial street . Harry selects an odor -LRB- the body of a woman , whose aroma appears and disappears -RRB- , Harry follows it , having also singled out the sound of her heels . He loses them . He finds them again . He walks self - assuredly , without tripping either on the urban furniture or the people . He leans , lightly , on his umbrella , which he uses as a cane . At first glance he does n't appear blind . He reaches a pedestrian crossing . Nearby , he recognizes the odor which had attracted him , he follows its trace until he reaches the sidewalk . The odor emanates from a young Girl , just next to him , waiting before the crosswalk . Harry searches with the tip of the umbrella , until he brushes her shoe . He excuses himself , as if the contact had been inadvertent . The girl regards him . Harry then takes one step forward , intent on crossing the street , the cars come very close to him , almost running him over . -LRB- A real sense of danger -RRB- . The light is red for pedestrians . The Girl takes him by the arm , pulling him toward her , frightened .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( Alarmed . )<\/parenthetical>\n    <dialogue>Watch out! You ca n't cross!<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>I'll tell you when!<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Thank you very much.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>MATEO-HARRY'S STREET. EXT. DAY. PEDESTRIAN CROSSING.<\/stage_direction>\n    <scene_description>They make it through the crosswalk . She is not holding his arm -LRB- but almost -RRB- , Harry does n't need it . He knows the surroundings well . They reach the other sidewalk . Harry thanks her for her help , the Girl observes him the entire time , intrigued and curious .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>I live nearby, two blocks up, would you mind coming along with me?<\/dialogue>\n    <scene_description>The Girl accepts , delighted . Tall , thin , attractive , modern , and inexpressive like a model , this is what the Girl is like .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CONTINUED. BUILDING'S ENTRANCE. EXT. DAY.<\/stage_direction>\n    <scene_description>Once at the entrance , Harry invites her to come up so that she can read aloud the newspaper to him . The Girl checks her watch , and ends up accepting .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>But I warn you, I've never read out - loud, you may not like it!<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>You will only have to browse.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>LIVING ROOM, MATEO'S HOME. INT. DAY.<\/stage_direction>\n    <scene_description>The same living room we 've seen in Sequence 1 . There is very little light .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>Do you mind if I turn on the light? So that I can read. It's too dark in here.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Oh, yes. Turn the light on.<\/dialogue>\n    <scene_description>The Girl turns on a table lamp . Cut to . Harry is sitting on a sofa and she is in front of him , on an armchair . She opens the newspaper down the middle , before she reads anything she directs a brief but intense glance at Harry . She reads about the percentage of those in Madrid who abided by the blackout that was organized in the name of global change . She turns a few pages and stops . Reads as if for herself :<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>Ernesto Martel is dead!<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Ernesto Martel. I know one of his granddaughters.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>So he's dead.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>You knew him?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Turns more pages .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>What are you interested in, politics, economy. culture?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>I am interested in you. What are you like? Do you mind describing yourself?<\/dialogue>\n    <scene_description>The girl begins to describe herself , at first a little tentative . -LRB- Her measurements ? She smiles . She knows them by heart . -RRB- She describes herself . The color of her eyes . Her hair . Her skin . How she 's dressed , while she traces over him with her glance -LRB- When she speaks of her eyes , we see his eyes ; when she speaks of her mouth , we see his , etc -RRB- . Her gaze stops at Harry 's crotch . Harry can feel her watching him . The situation seems perfectly natural . Harry approaches her -LRB- he knows she 's right in front of him -RRB- . With his hands , he places a brief caress on each of the parts the Girl has just described . The eyes , the hair , the mouth . He lowers his hands until they fall , spread , on her breasts . It is as though the blind man could gaze at her with his fingers and palms . He rests his head on the Girl 's breast , pulls down her bra straps and he begins to savor her breasts , delicately . Harry 's cell phone rings , but he ignores it , does n't pick up . Cut to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CONTINUED. HARRY'S HOME. INT. DAY.<\/stage_direction>\n    <scene_description>They make love on the sofa . Cut to . The Girl asks for the bathroom , Harry gestures with his hand in its direction . Half - naked , with some of her clothes in her hand , the Girl heads for the bathroom . Harry , still sitting on the same sofa , begins to dress and to smooth down his clothes , without hurry .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CONTINUED. HARRY'S HOME. INT. DAY.<\/stage_direction>\n    <scene_description>The doorbell rings . Twice in a row . Immediately following , the key is inserted into the keyhole , from the outside . Someone is opening it . Harry rises . Before he arrives to the foyer , the door is already open . In the middle of the doorway , a woman , Judit -LRB- the same one who had been with him during the blackout of the opening sequence -RRB- . Harry finishes tucking his shirt , barefoot . Judit closes the door slowly and surveys him up and down with inquisitive eyes , which he can not see but one could say that he can guess . He smiles .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>What are you laughing at?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>I am only smiling, because of the way you're looking at me.<\/dialogue>\n    <scene_description>The sound of a running faucet emerging from the bathroom distracts Judit ; first the sound , then the immediate appearance of the Girl . Both women look at each other and are surprised , despite their attempt to hide it . Judit appears more annoyed than surprised . After a very brief silence :<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( To Harry . )<\/parenthetical>\n    <dialogue>I must go.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Thanks for helping me cross.<\/dialogue>\n    <scene_description>Judit -LRB- forty - eight years old , seems younger , is dressed in an informal and sober manner , little color , etc. , her hair is pulled back , parted in the middle , her attitude is that of a guardian -RRB- , she puts away the key to the door while she gazes sternly at the young woman . The Girl , very uncomfortable , quickly vanishes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CONTINUED. HARRY'S HOME. INT. DAY.<\/stage_direction>\n    <scene_description>Once alone :<\/scene_description>\n    <character>JUDIT<\/character>\n    <parenthetical>( Annoyed and without apologizing , even if it seems she 's trying . )<\/parenthetical>\n    <dialogue>I'm sorry, I thought you were alone.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>She helped me cross the street and I invited her in to read me the newspaper.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Harry, you ca n't bring into your house the first person who helps you across the street. One of these days something awful will happen to you!<\/dialogue>\n    <character>HARRY<\/character>\n    <parenthetical>( Sullen and ironic . )<\/parenthetical>\n    <dialogue>Everything awful that's had to happen to me has. Now, all that's left is for me to enjoy life.<\/dialogue>\n    <scene_description>Judit changes the topic so that Harry may also change his tone . She turns off the table lamp and she opens the window drapes that lead to the terrace .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>Diego told me yesterday that you finished the script.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>I would like to add a final epilogue. It may not be necessary, but I'd like to write it.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>I agreed to deliver the definitive version to the producer and director today.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>You will have it by tomorrow, do n't worry.<\/dialogue>\n    <scene_description>As he speaks , Harry has made his way back to the sofa , without the use of a cane , he knows by heart the landscape of the house , which he walks through as if he could see . If anything , he touches any given piece of furniture with the tip of his fingers , as if to ascertain whether it 's still there . He walks both with ease , and with the characteristic rigidity of blind people . He picks up the socks from the floor and slips them on -LRB- the newspaper is open on the floor -RRB- . He puts his shoes on . Judit watches him for a moment , and then turns toward the window .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>JUDIT'S POINT OF VIEW. THE SIDEWALK ACROSS THE WAY. HARRY'S<\/stage_direction>\n    <scene_description>STREET . EXT. . DAY . She observes how , on the sidewalk across the way , the Girl enters the main door of the building just next to the news - stand where Harry buys his newspaper . From the window she can make out that it 's an important Modeling Agency . RETURN TO SEQ. 12 Judit is still looking out the window , her back to Harry , when she hears him say :<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>Ernesto Martel has died.<\/dialogue>\n    <scene_description>Judit turns to Harry , surprised but masking it with her voice .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>I think he was very ill.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>It's been so long since we've spoken of him!<\/dialogue>\n    <scene_description>Judit nods plainly with her head . Silence . Ernesto Martel 's death does n't bring good memories to either of them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>HARRY'S HOME. INT. DAY. CONTINUED.<\/stage_direction>\n    <scene_description>The doorbell rings . It 's Diego , Judit 's son , who doubles as Harry 's typist and co - scriptwriter . He is a special kid , twenty - five years old . Baggy - eyed , a weary aspect , but he overflows with charm . Dresses as a modern kid , but not obnoxiously so . He speaks delicately , an attitude uncommon for someone his age . He greets his mother .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>You look awful!<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>I ran here.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>And it's Monday! Diego, you do n't have to run for me. We are not in a hurry.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>I am, I've committed.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>You'll have it by tonight, do n't worry.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Start thinking of the next script. Some kind of horror or fantasy story for bratty teenagers. It's what sells best.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>I do n't know if I'll know how to. I was thinking of developing a story inspired by Arthur Miller's son.<\/dialogue>\n    <character>JUDIT<\/character>\n    <parenthetical>( Perplexed . )<\/parenthetical>\n    <dialogue>The writer who married Marilyn?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Yes. After Marilyn he married the photographer Inge Morat and they had a son. He was born mentally handicapped and Arthur Miller hid him ; he does n't even mention him in his memoirs. He never recognized him publicly. From the moment he was born, he had him placed in an institution and wanted to hear nothing of him. Despite his condition, the boy was able to learn and to make an almost normal life for himself. He lived in an apartment with other friends and he found a job as a clerk in a supermarket.<\/dialogue>\n    <scene_description>Judit looks at him perplexed . For some reason , Harry has his back turned . This happens many times .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>And Miller never saw him?<\/dialogue>\n    <character>HARRY<\/character>\n    <parenthetical>( Continues , his back turned . )<\/parenthetical>\n    <dialogue>One day, Miller was giving a conference in defense of a mentally retarded man, who had been condemned to death, after what was believed to be a forced confession. Among those present was his mentally handicapped son, who was integrally involved with organizations that aided all sorts of disabled people. The son was very proud to finally be sharing something with his father. At the end of the conference, he approached the stage and held him in an embrace that must have seemed endless to Arthur Miller, who did not know how to extract himself from this mentally handicapped man ; imagine, it would not have been politically correct, least of all given the situation in which Miller found himself. Then the stranger let go of him and told him : `` I am your son, Daniel, and I am very proud of you, Father!'' This was the only time father and son saw each other.<\/dialogue>\n    <scene_description>Judith listens , affected and disoriented . She looks at her son as if she were looking for help . Diego stops thumbing through a magazine in order to listen to Harry and to witness his mother 's reaction . She was n't ready for Harry to counter with such a shocking narrative .<\/scene_description>\n    <character>JUDIT<\/character>\n    <parenthetical>( Somewhat tense . )<\/parenthetical>\n    <dialogue>It's very moving, but I do n't think we can write a script about Arthur Miller without procuring rights from the family.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>We change the names, the story is not about the writer's miserliness, but about the strength of the son who survives without the least bit of rancor toward the father who has ignored him his entire life. It is a story of troubles overcome and of inherent goodness. There are n't those many good men that one can write about.<\/dialogue>\n    <scene_description>Judit would like to say that when she spoke of a commercial script this is not what she had in mind , but she does n't want to come off rude . Diego keeps watching them . Her mother appears oddly cornered , until she remembers a past comment of Harry 's , that suits her just<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>It's a beautiful story. But years ago, when you began writing again and I began selling your scripts, you told me you'd never write remakes, sequels, nor biopics. Nor stories whose protagonists were film directors, handicapped or blind. I remember clearly because the part of the biopics surprised me.<\/dialogue>\n    <parenthetical>( SMILES . )<\/parenthetical>\n    <dialogue \/>\n    <character>HARRY<\/character>\n    <dialogue>I ca n't bear them.<\/dialogue>\n    <parenthetical>( As if he had at that very moment remembered . )<\/parenthetical>\n    <dialogue>It's true, it's true I said all that, but this would n't exactly be a biopic.<\/dialogue>\n    <scene_description>They hear the doorbell ring , two or three times . For Judit , it 's the best way to escape the conversation .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>I'll get it.<\/dialogue>\n    <scene_description>Diego settles on the armchair , in front of his laptop . On the other side of the table sits the computer that is specially programmed for Harry . Diego powers his laptop . Harry heads for the work table . And he sits in front of Diego .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>Diego, go to the end of the document.<\/dialogue>\n    <scene_description>Diego obeys while we hear Judit approaching the door and , before she opens it , someone opens it from the other side . We see the document 's text -LRB- a script -RRB- scrolling , fleetingly , over Diego 's computer screen . At the door , Judit finds Mariacruz , the Latin American maid , who also has her own key to the house . She is carrying two shopping bags . Judit gives her some directive -LRB- about the windows , the curtains , the kitchen furniture , the food , the floors , things to be dry cleaned , etc. -RRB- and she leaves , saying goodbye to Harry and Diego with a simple `` Boys , I 'm leaving . Goodbye ! ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>NIGHT. BAR WITH MUSIC. INT. BOOTH.<\/stage_direction>\n    <scene_description>Diego chooses a track that functions as background music to the three night sequences that follow , although it 's not absolutely necessary . He works at a modern bar -LRB- not very large -RRB- , as a D.J. . He spends most of the time inside a small booth , which only a few friends access . Alex , his same age , enters .<\/scene_description>\n    <character>DIEGO<\/character>\n    <dialogue>Did you bring me the session?<\/dialogue>\n    <scene_description>Alex takes three CDs out of his jacket .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>It's still warm. Just downloaded from the eMule.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Dude. I'll throw it in now. You want something to drink?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Yes. And you, would you like a tip of `` crystal''?<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>I pass. I do need to sleep once in a while.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>HARRY-MATEO HOME. DEN. NIGHT<\/stage_direction>\n    <scene_description>At that moment , Harry is in front the computer -LRB- a special computer , sonorous , set up for Harry , with Braille signs jutting from the keyboard -RRB- . He attempts to `` read '' some digital newspaper , its contents can be heard spoken by a very unpleasant synthetic voice . His search produces annoying and strange sounds . Harry continously makes mistakes , but that 's the way to do it . He manages to get into El Pais , the obituary section . He listens to a list . He finally finds the news of Ernesto Martel 's death . He listens to the headline . The sound of a mobile phone ringing interrupts him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>JUDIT'S OFFICE. INT. NIGHT.<\/stage_direction>\n    <scene_description>It 's Judit , from her office . In front of Judit , on the other side of the table , full of papers , is the head of production and someone from the American production . They are trying to decide on the budget . From the ashtrays full of cigarettes , the bottles of water and the cups of coffee , one assumes that they must have been at this task for many hours . -LRB- One should be able to see the layout of the shooting schedule , something visual -RRB- . The American production can be heard in the background . -LRB- Seq. 16 and 17 run in parallel -RRB- She greets Harry .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>You need anything?<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>No, thanks.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>What are you up to?<\/dialogue>\n    <scene_description>Harry touches the small MP3 , much easier than to listen to the digital newspaper . He does n't want to tell her that he is attempting to listen to Ernesto Martel 's obituary , so he tells her what he will be doing next .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>I was going to read an Alice Munro story on the MP3.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Then I'll leave you. I'll stop by tomorrow, when I can. I have to finish the budget for the Americans as soon as possible, so that I can decide what to do.<\/dialogue>\n    <parenthetical>( Hangs up . )<\/parenthetical>\n    <parenthetical>( To the Americans , in English . )<\/parenthetical>\n    <dialogue>. Ok, we can continue tommorow.<\/dialogue>\n    <scene_description>Once he hangs up his mobile , Harry returns to his computer , this is when we actually hear the biographical sketch of the deceased financier . Fade to black . During the fade to black , we continue to hear the biography . In voice - off .<\/scene_description>\n    <character>OFF<\/character>\n    <dialogue>Ernesto Martel has passed away at his residence in the countryside, `` La Berzosa.'' Financier, of Chilean origin, who achieved great success and notoriety due to his involvement in the financing of crucial public infrastructures in different Latin American countries.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>THE BUILDING'S ENTRANCE. EXT. DAY. 1990.<\/stage_direction>\n    <scene_description>A modern building in the financial district . A sign displays the name of an important financial company -LRB- M. Capital -RRB- and the year when the action takes place , 1990 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>1990. ERNESTO MARTEL'S OFFICE. MODERN SKYSCRAPER. INT. DAY.<\/stage_direction>\n    <scene_description>The end of the voice - off is heard over the image of Ernesto Martel himself , alive , attending to a phone call , while we hear the last words of his obituary , in off .<\/scene_description>\n    <character>OFF<\/character>\n    <dialogue>Recently he had been involved in various financial scandals. He was implicated for fraud in the infamous `` case of Bank Banelco''. He was married three times, and had two children.<\/dialogue>\n    <scene_description>The interior of Ernesto Martel 's office : elegant , ostentatious , and decorated without concern for cost . Through the windows one can witness a cosmopolitan Madrid , from whose soil skyscrapers begin to bud . Ernesto Martel , almost sixty , impeccable suit , settles a conversation with the Transportation Minister . Framed photographs sit on a piece of accessory furniture , one of him with his two children , a boy and a girl , who do not resemble one another . They have different mothers . The walls are decorated by an abstract painting belonging to the avant - garde group El Paso .<\/scene_description>\n    <character>ERNESTO<\/character>\n    <dialogue>I just spoke to the Transportation Minister. Things are in full swing. Yes, we are doing the Caracas metro. there's a lot of money. at least five years. I am looking for a qualified company and had you in mind. of course, I will serve as intermediary, I have been told so by the President himself.<\/dialogue>\n    <scene_description>Cut to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>ERNESTO MARTEL'S OFFICE BUILDING. ADMINISTRATIVE OFFICES.<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY. 1990.<\/stage_direction>\n    <scene_description>On the same floor . Fairly close to the boss ' office , divided by modern and ample cubicles , we find some of the company 's employees . His secretary , Magdalena -LRB- her diminutive is Lena -RRB- , is speaking on the phone with a look of contained alarm . Personal problems . In her early thirties , Lena is dressed soberly , almost excessively so -LRB- as if she were attempting to project a maturity , effectiveness and responsibility that she not yet possesses -RRB- . She is a very beautiful woman , on whose countenance the passing of time has begun to leave its mark . She has a small mole , slightly raised , next to the seam of the lips , and another one on the top edge of the nose . She could do more with her physique , modernize it , but this is not what she aims for . Her face reminds us of one of the heroines of the American film noir , brought up to date . She possesses the turbulent and at once translucent beauty of Gene Tierney and the bored disdain of Linda Darnell -LRB- in `` Fallen Angels '' -RRB- . Lena is a splendid fallen angel . We ca n't hear what she says , but judging from her reaction , the content of her conversation is dramatic . Her eyes flash with indignation and anger . RETURN TO 19 . Ernesto Martel calls Lena , his personal secretary , by way of an internal line . RETURN TO 20 . Magdalena interrupts her conversation with `` I 'll call you later '' , as the indicator lights up , announcing another call on the line . She pushes on the button corresponding to that phone call and she hears her boss ' voice summoning her . `` Yes , sir '' , she responds , promptly . She gets up from the table . She dries her eyes and nose with a Kleenex , grabs a pen and a rectangular writing block and heads to Ernesto Martel 's office .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>ERNESTO MARTEL'S OFFICE. INT. DAY. 1990<\/stage_direction>\n    <scene_description>Despite the fact that he 's dealing in grand - scale business , there are few documents for him to consult on his desk . It gives the sense that for the most important part of his job -LRB- grand scale speculation -RRB- , Ernesto deals directly . He is the great intermediary without intermediaries . Magdalena enters . He invites her to take a seat . She complies without altogether controlling her nervousness ; professionally detached , she attempts to hide the tension that the recent , and truncated , telephone conversation has caused her .<\/scene_description>\n    <character>ERNESTO<\/character>\n    <dialogue>I will dictate a letter for the Minister of Industry.<\/dialogue>\n    <scene_description>Magdalena opens her writing pad , ready to write , looking serious . Her pen drops to the floor . Ernesto M. observes her .<\/scene_description>\n    <character>ERNESTO<\/character>\n    <dialogue>Are you alright?<\/dialogue>\n    <character>MAGDALENA<\/character>\n    <parenthetical>( As she picks it up . )<\/parenthetical>\n    <dialogue>Yes, thank you.<\/dialogue>\n    <scene_description>But it 's not true . Lena looks agitated , despite her efforts to hide it .<\/scene_description>\n    <character>ERNESTO<\/character>\n    <dialogue>Why do n't you tell me what's wrong? I'm sure I could help you.<\/dialogue>\n    <scene_description>Lena looks at him , serious and hurt :<\/scene_description>\n    <character>MAGDALENA<\/character>\n    <dialogue>My father is very ill. This afternoon they are releasing him and I wanted to ask you if I could leave an hour early to go pick him and my mother up.<\/dialogue>\n    <character>ERNESTO<\/character>\n    <dialogue>Of course. What's wrong with him?<\/dialogue>\n    <character>MAGDALENA<\/character>\n    <dialogue>Stomach cancer, metastasized.<\/dialogue>\n    <character>ERNESTO<\/character>\n    <dialogue>I am really sorry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>SURROUNDINGS AND ENTRANCE, PUERTA DE HIERRO HOSPITAL. EXT.<\/stage_direction>\n    <scene_description>DAY . 1990 It 's a hot and sunny afternoon at the end of July . Lena arrives inside a taxi to the entrance of Puerta de Hierro Hospital . On the sidewalk , next to the entryway , her mother awaits , -LRB- chubby , tired , defenseless and impatient , she 's around sixty -RRB- next to her , a suitcase and a huge plastic bag full of clothes . The mother is a small - town woman , dignified and beaten . The shock provoked by the situation has liberated her , if only momentarily , from falling into desperation . Through the car 's window , Lena can see her mother on the sidewalk , and her ailing Father -LRB- a man in his sixties , very debilitated and aged -RRB- , sitting on a sofa in the foyer . Lena tells the cab - driver to wait , and runs toward her mother . They kiss .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>I ca n't believe they have thrown you out of the hospital, like dogs.<\/dialogue>\n    <character>MOTHER<\/character>\n    <parenthetical>( Humiliated , hurt . )<\/parenthetical>\n    <dialogue>Yes, honey, yes.<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>( Indignant . )<\/parenthetical>\n    <dialogue>Does Dr. Alvaro de la Torre know this?<\/dialogue>\n    <scene_description>The mother gestures for them to get away from the door , that way the Father can not see them .<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>He's been the one.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>But how? If he was going to operate him this week, and last week, and the other week.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>I could n't explain on the phone.<\/dialogue>\n    <parenthetical>( She recounts . )<\/parenthetical>\n    <dialogue>Dr. De la Torre called us for an appointment. I though it would be to tells us that they were finally going to operate on your father. but instead he tells us they are releasing him.<\/dialogue>\n    <parenthetical>( In disbelief . )<\/parenthetical>\n    <dialogue>I asked him what he meant and he replied : `` quite simple, it's July and I am leaving for my vacation''.<\/dialogue>\n    <parenthetical>( as her story moves forward the mother relives the same states of mind that she went through in her conversation with the doctor . )<\/parenthetical>\n    <dialogue>And I told him, `` you are throwing us out onto the street?'' and he insisted, without the least bit of compassion, `` I am releasing him so that you can go home'', but `` what can I do with him at home in his condition?''. `` That's your problem'' he told me.<\/dialogue>\n    <parenthetical>( she cries . )<\/parenthetical>\n    <dialogue>, `` do whatever you like, I am leaving on vacation''. `` He is dying!'' I begged. `` Well, let him die in peace, at home'', he said to me.<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>( Powerless , furious . )<\/parenthetical>\n    <dialogue>It can not be! They ca n't keep him for twenty days, torturing him with tests in preparation for an operation and now leave him like this, just because the doctor is leaving on vacation!<\/dialogue>\n    <scene_description>The Mother looks at her without knowing what to say . She takes a small handkerchief to her nose .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Have you protested?<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>To who? Dr. De la Torre is the head surgeon. There is no one over him.<\/dialogue>\n    <scene_description>Lena refuses to accept the situation . The father appears through the doors of the hospital entrance , exhausted . He leans down to catch his breath . With a weak voice , almost inaudible , he says to them :<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>Did you forget about me?<\/dialogue>\n    <scene_description>Lena and the mother approach him , almost jubilant , hiding their sense of helplessness and frustration .<\/scene_description>\n    <character>LENA<\/character>\n    <parenthetical>( Her eyes welled up with tears , she gathers her last bit of strength . )<\/parenthetical>\n    <dialogue>How could you think that Dad!<\/dialogue>\n    <scene_description>Between the two women they help the father to the taxi that is waiting for them nearby . They put him in the car . The man can hardly walk . He is very thin , his bones jut out from under his ashen skin . He walks crouched over . The taxi pulls off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>PERIPHERAL HIGHWAY, MADRID. INSIDE THE TAXI. HIGHWAY. DAY.<\/stage_direction>\n    <character>FATHER<\/character>\n    <dialogue>You know what Dr. De la Torre told me before he broke the news?<\/dialogue>\n    <scene_description>He falters . He is too exhausted to speak .<\/scene_description>\n    <character>FATHER<\/character>\n    <parenthetical>( To the Mother . )<\/parenthetical>\n    <dialogue>You tell her, Paca.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>He said : I am glad you are not still in the service, Emilio.<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>( Not understanding . )<\/parenthetical>\n    <dialogue>Why?<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>`` Because if you were still in the service, after what I am going to tell you, you'd shoot me.''<\/dialogue>\n    <scene_description>Lena stares , completely wide - eyed with amazement .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>He really said that?<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>Yes. and he was smiling, he thought it was funny.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>PERIPHERAL NEIGHBORHOOD. EXT. DAY. 1990.<\/stage_direction>\n    <scene_description>The taxi parks in front of a humble building , in one of those outlying neighborhoods in the periphery of Madrid , a commuter town . Children , women , street ambience . It 's like a provincial town , transported to a huge city that is in the midst of merciless development . At that hour there are few people on the street . The passage between this sequence and the next happens through the doors of the car and the apartment , respectively . The Father exits , aided by Lena and the Mother , when the door to the taxi closes it 's the door to the apartment that shuts , with all three characters inside the entry hall .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>LENA'S PARENTS' HOME. INT. DAY. 1990.<\/stage_direction>\n    <scene_description>Lena locks the door from inside . It 's a humble and small apartment , Magdalena and her mother situate the man on the bed in the master bedroom , in the most comfortable way possible . The d\u00e9cor reflects the bad taste of the era , especially of that social class , here and there a certain rural detail stands out . Antique photographs of the grandparents . Photographs of the Father in his policeman uniform , next to the Mother . Over the headboard , there is a crucifix on the wall and perhaps a thick , wooden rosary . Religious images on the nighstands . Attention placed on the bedspread , the curtains , the dresser , the closet and the walls . Everything is new , ugly period furniture . The effect generated is of a somber kitsch . Lena opens a dresser drawer , on top of it sits the picture of the father in his policeman uniform , with the Mother . She finds a Star 9mm pistol . She grabs it and tries its weight , the mother sees her and tells her to leave the weapon in its place . -LRB- Perhaps at that very moment the mother is injecting the Father with morphine -RRB- . Cut to . In the dinning hall , Lena hands her mother money so that she can buy food and her father 's medications .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Call me any time, no matter what it is!<\/dialogue>\n    <scene_description>The light that shines through the windows , covered with curtains of an indefinite but slightly brilliant pattern , begins to fade . Mother and daughter kiss . 25 A. LENA INSIDE A TAXI RETURNING TO MADRID . NIGHT . While Lena was at her parent 's apartment , night fell . Lena departs lost in her thoughts , she ca n't shake off her parents ' situation . She shifts her eyes . She must find a solution , urgently . She lights a cigarette . She looks at her wristwatch . She seems to have made a decision . She looks out the window . She finds the inter - urban landscape desolating . 25 B. NEIGHBORHOOD : PROSPERIDAD , VALLEGAS OR LA LATINA . EXT. . NIGHT . The taxi stops in front of the building where Lena lives . She exits the taxi and opens the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>LENA'S HOME. (NEIGHBORHOOD: PROSPERIDAD, VALLEGAS OR LA<\/stage_direction>\n    <scene_description>LATINA -RRB- . INT . NIGHT . 1990 . Lena enters her apartment . A tiny studio , but charming . No sooner has she dropped all that she is carrying , than she heads to the phone and makes a call . The d\u00e9cor is agreeable . Little money , but well spent . A poster of Hitchcock 's `` Vertigo '' dominates one of the walls , or a framed photochrom of Kim Novak in the film . There may be another film reference -LRB- Jean Seberg and Romy Schneider -RRB- . Lena , secretly , is a cinephile .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>MADAME MYLENE'S DEN. 1990. INT. NIGHT.<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>A. LENA'S HOME. INT. NIGHT.<\/stage_direction>\n    <scene_description>-LRB- Alternating between both spaces -RRB- Madame Mylene is a blonde woman , very dressed up , older -LRB- between fifty and seventy -RRB- , has had plastic surgery , and has not renounced her womanhood . Despite the quality of her attire , her makeup and her jewels , there is something about her appearance that is unequivocally sinister and heartless . While she speaks she has a drink and smokes a cigar . A man of `` professional '' appearance keeps her company . It 's the den of a high - class Madame . The den seems more practical than feminine .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Madame Mylene? Hello, it's Severine.<\/dialogue>\n    <character>MADAME MYLENE<\/character>\n    <dialogue>Severine! It's been so long! I'm so happy to hear from you.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>I need money.<\/dialogue>\n    <character>MADAME SEVERINE<\/character>\n    <dialogue>How soon?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Now! My weekend's free. I am busy during the week.<\/dialogue>\n    <character>MADAME MYLENE<\/character>\n    <dialogue>I'll see what I can do. May I call tonight if I find something?<\/dialogue>\n    <scene_description>Her tone gives it away that she wo n't have the slightest problem `` finding something '' for Lena .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Yes. I'll wait for your call.<\/dialogue>\n    <scene_description>Cut to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>LENA'S HOME. INT. NIGHT. 1990.<\/stage_direction>\n    <scene_description>The telephone rings . Lena has her hair down , she has put makeup on -LRB- in excess -RRB- . She looks more attractive , but the makeup also gives her a harder edge . She covers herself with a robe . She immediately grabs the phone . She seems like a different woman , worldly and nocturnal .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>OFF ERNESTO MARTEL<\/character>\n    <dialogue>Severine?<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>( On alert . )<\/parenthetical>\n    <dialogue>Who is it?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>LIVING ROOM, ERNESTO M.'S MANSION. INT. NIGHT.<\/stage_direction>\n    <scene_description>We see Ernesto Martel , speaking on the phone , in one of the living rooms of his mansion . He is dressed to go out , a drink in his hand . He is alone , his tone is that of a man courting a woman .<\/scene_description>\n    <character>ERNESTO MARTEL<\/character>\n    <dialogue>I am calling on Madame Mylene's behalf.<\/dialogue>\n    <scene_description>Lena recognizes the voice , there is no doubt it 's his . Despite the shock she manages to bluff , categorical and quick :<\/scene_description>\n    <character>LENA<\/character>\n    <parenthetical>( Slightly altering her voice . )<\/parenthetical>\n    <dialogue>You've made a mistake, sir. No Severine lives here.<\/dialogue>\n    <scene_description>Ernesto Martel does n't believe her , but he plays along .<\/scene_description>\n    <character>ERNESTO MARTEL<\/character>\n    <dialogue>I must have dialed wrong. Excuse me.<\/dialogue>\n    <scene_description>Lena hangs up , confused and irritated . Calls again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>LENA'S HOME. INT. NIGHT AND<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>MADAME MYLENE'S DEN. INT. NIGHT. 1990<\/stage_direction>\n    <scene_description>Lena dials Madame Mylene 's number<\/scene_description>\n    <character>MADAME<\/character>\n    <dialogue>Hi! Has he already called?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>MADAME<\/character>\n    <dialogue>The client! You will not complain about my speediness!<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>( Furious . )<\/parenthetical>\n    <dialogue>But. how have you given him my number?!<\/dialogue>\n    <character>MADAME<\/character>\n    <dialogue>I could n't say no.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Things are n't done like that! Have you gone mad!?<\/dialogue>\n    <character>MADAME<\/character>\n    <dialogue>He knows everything. And I have n't been the one to tell him, he found out on his own account, he knows about your foray into acting, and that you sometimes `` acted'' for me.<\/dialogue>\n    <scene_description>Lena listens , furious and impotent .<\/scene_description>\n    <character>MADAME<\/character>\n    <dialogue>Months ago he made me promise him that if you got back in contact with me I would call him. I could n't say no, he is one of my best clients.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>You bitch!<\/dialogue>\n    <character>MADAME<\/character>\n    <parenthetical>( Unmoved . )<\/parenthetical>\n    <dialogue>Look on the bright side. He must really like you to go to the lengths he has. Perhaps you've found your Sugar Daddy.<\/dialogue>\n    <scene_description>Lena remains in silence , humiliated , cornered .<\/scene_description>\n    <character>MADAME<\/character>\n    <dialogue>What have you agreed on? Remember I am part of the business.<\/dialogue>\n    <scene_description>Lena does n't respond . She hangs up the telephone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>LENA'S HOME. INT. DAY. 1990.<\/stage_direction>\n    <scene_description>IN THE MORNING . Magdalena is sleeping in her bed . The phone wakes her . It 's her mother , in the middle of a crying fit and panic attack .<\/scene_description>\n    <character>LENA<\/character>\n    <parenthetical>( Wakes up , suddenly , frightened . )<\/parenthetical>\n    <dialogue>How is Dad?<\/dialogue>\n    <character>MOTHER<\/character>\n    <parenthetical>( Crying . )<\/parenthetical>\n    <dialogue>Not well at all, my dear. We've been through a hellish night. He has not eaten anything. But he wo n't stop bleeding. and everything is coming up. it's as if he has burst inside.<\/dialogue>\n    <scene_description>The mother speech falters , she is very scared .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>I will be there with an ambulance immediately. Be ready to leave!<\/dialogue>\n    <scene_description>Before she calls an ambulance , Lena calls Ernesto Martel . They greet each other . Ernesto does not pretend to be surprised , he comes across cordially . He thinks this may be the continuation of their phone call from the previous night .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Mr. Martel? It's Lena.<\/dialogue>\n    <character>ERNESTO<\/character>\n    <parenthetical>( Delighted . )<\/parenthetical>\n    <dialogue>Good morning, Lena.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>I am sorry to bother you.<\/dialogue>\n    <character>ERNESTO<\/character>\n    <parenthetical>( Gallantly . )<\/parenthetical>\n    <dialogue>You are never a bother.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>My father is dying. We must admit him urgently, but I do n't know where. As I told you, they released him from Puerta de Hierro yesterday.<\/dialogue>\n    <scene_description>Ernesto changes his tone . Now he is an all - powerful man , generous and with every recourse at his fingertips .<\/scene_description>\n    <character>ERNESTO<\/character>\n    <dialogue>Do n't worry. We will take him to the Emergency Room at a private clinic.<\/dialogue>\n    <parenthetical>( Wanting to confirm . )<\/parenthetical>\n    <dialogue>You told me that he has stomach cancer.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ERNESTO<\/character>\n    <parenthetical>( Thinking . )<\/parenthetical>\n    <dialogue>The best digestive surgeon in Europe is at the Clinica de la Luz. I will take care of the admittance issue. Call an ambulance and tell them to pick up your parents. I'll meet you at the Clinica de la Luz in an hour.<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>( Plainly , but grateful . )<\/parenthetical>\n    <dialogue>Thank you very much.<\/dialogue>\n    <scene_description>Even though neither one of them mentions the phone conversation of the night before , it is present on both of their minds .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>MADRID STREETS. EXT. DAY. 1990<\/stage_direction>\n    <scene_description>An ambulance traverses Madrid at full speed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SURROUNDINGS AND ENTRANCE TO CLINICA DE LA LUZ. EXT. DAY.<\/stage_direction>\n    <scene_description>1990 It arrives to the Emergency ward at the Clinica de la Luz . They carry Lena 's father in a stretcher , her mother alongside him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CLINICA DE LA LUZ. HALLWAYS. INT. DAY. 1990<\/stage_direction>\n    <scene_description>One of the hospital 's hallways . The Mother , Lena and Ernesto are waiting together on a row of chairs next to a door . Dr. Blasco emerges , an eminent Surgeon Specialist . An impenetrable man , he does n't mince words . Getting information from him is like pulling teeth . He is polite , but not accommodating in the slightest .<\/scene_description>\n    <character>ERNESTO<\/character>\n    <dialogue>How's the patient?<\/dialogue>\n    <character>SURGEON<\/character>\n    <dialogue>You have brought him in terrible conditions. Which I suppose you know.<\/dialogue>\n    <scene_description>The mother affirms with a gesture .<\/scene_description>\n    <character>ERNESTO<\/character>\n    <parenthetical>( With good manners , but authoritarian . )<\/parenthetical>\n    <dialogue>Will you be able to save him?<\/dialogue>\n    <character>SURGEON<\/character>\n    <dialogue>We will do everything possible. at this very moment it is impossible to operate.<\/dialogue>\n    <scene_description>Lena and the Mother look at both men , anxiously .<\/scene_description>\n    <character>SURGEON<\/character>\n    <dialogue>Perhaps tomorrow. We are providing parenteral nutrition. He will need a blood transfusion.<\/dialogue>\n    <parenthetical>( Looks at both women . )<\/parenthetical>\n    <dialogue>Do you have any relatives who can donate?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Well, here. I do n't know.<\/dialogue>\n    <scene_description>The Mother also does n't know what to say .<\/scene_description>\n    <character>ERNESTO<\/character>\n    <dialogue>Give him the best blood you've got!<\/dialogue>\n    <character>SURGEON<\/character>\n    <dialogue>I will keep you updated on his condition in the next hours.<\/dialogue>\n    <parenthetical>( He says goodbye to them . )<\/parenthetical>\n    <dialogue \/>\n    <character>MOTHER<\/character>\n    <dialogue>May I stay?<\/dialogue>\n    <character>SURGEON<\/character>\n    <dialogue>Yes, of course. You can stay in his room as long as you wish.<\/dialogue>\n    <scene_description>The Mother is not accustomed to so many privileges . The doctor says goodbye to Ernesto Martel and the women , mechanically .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>HALLWAYS CLINICA DE LA LUZ. INT. DAY. 1990<\/stage_direction>\n    <scene_description>When the three are alone the Mother thanks Ernesto Martel for what he has done for them . She looks at her daughter , in a knowing way , as if she understands -LRB- and accepts , what else can she do ! -RRB- the situation .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>I'll stay here, Mom. You have to rest.<\/dialogue>\n    <character>MOTHER<\/character>\n    <parenthetical>( With strength , but beaten . )<\/parenthetical>\n    <dialogue>No, you rest. You've already done enough. Thank you very much, Mr. Ernesto. If my husband survives, it will be thanks to you.<\/dialogue>\n    <character>ERNESTO<\/character>\n    <dialogue>He will survive, ma'am.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Really, you do n't want me to stay? Or that I bring you something?<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>No, go. You both must have things to do.<\/dialogue>\n    <scene_description>Lena complies . In effect , there is something urgent she must do : pay the price for all those privileges . To pay the cost of her father 's life . Ernesto and Lena walk to the other end of the hallway . Before she enters the room , the Mother bids farewell to them with a look that 's sad , tired , but of fortitude . The two figures slowly recede down the hallway , until they disappear in a Fade to black .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>MATEO-HARRY'S HOME. RETURN TO 2008. INT. DAY.<\/stage_direction>\n    <scene_description>From black . The door to Harry 's apartment . The doorbell rings . The house is completely dark . Harry moves with his characteristic naturalness . He is coming from the bathroom , his hair wet and wearing a robe . He feels around until he finds the peephole . He opens it and reaches his eye toward it , as if he could really see the person on the other side . He is not waiting for anyone , so he hopes the visitor will think he is watching , even if he ca n't see a thing .<\/scene_description>\n    <character>HARRY<\/character>\n    <parenthetical>( From inside . )<\/parenthetical>\n    <dialogue>Who is it?<\/dialogue>\n    <scene_description>A voice on the other side of the door responds :<\/scene_description>\n    <character>RAY X<\/character>\n    <dialogue>I'm Ray X.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Ray X? There's no such a name.<\/dialogue>\n    <character>RAY X<\/character>\n    <dialogue>It's a nickname, at one time I took a lot of ecstasy.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>RAY X<\/character>\n    <dialogue>To write a script with you, so that I can direct it.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>It's your first film?<\/dialogue>\n    <character>RAY X<\/character>\n    <dialogue>I made a documentary.<\/dialogue>\n    <parenthetical>( na\u00efve . )<\/parenthetical>\n    <dialogue>. a very good one, eighteen years ago, this would be my first fiction film.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue \/>\n    <character>OK. Call Judit Garcia, my agent, and explain<\/character>\n    <dialogue>Call Judit Garcia, my agent, and explain says. everything. If she finds it suitable, she will set up a date for us. And now, I'd like to go dry myself, you pulled me out of the shower and I am dripping wet.<\/dialogue>\n    <character>RAY X<\/character>\n    <parenthetical>( The words escape . )<\/parenthetical>\n    <dialogue>You are naked?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>It's none of your business.<\/dialogue>\n    <scene_description>Ray does not move . Neither does Harry . They both remain still and mute on their respective sides of the door , waiting for the other to do something . Ray is mortified about having asked the last question .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>Will you stand there all day?<\/dialogue>\n    <character>RAY X<\/character>\n    <dialogue>You have n't given me Judit Garcia's phone number.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Find it out. She is a well - known Production Director.<\/dialogue>\n    <scene_description>This time Ray steps away from the door and walks toward the elevator . Cut to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>HARRY'S HOME. 2008. INT. DAY<\/stage_direction>\n    <scene_description>At another point in the day . Harry plays music -LRB- a CD with songs that Diego has selected for him , expressly -RRB- , he looks after the bonsai , or he waters the plants while he listens to the radio . Harry touches the plants as well as the bonsai delicately , with the tip of his fingers . The phone rings .<\/scene_description>\n    <character>OFF JUDIT<\/character>\n    <dialogue>Hi Harry. It's me.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Tell me.<\/dialogue>\n    <character>OFF JUDIT<\/character>\n    <dialogue>A young director has been in contact with me. His name is Ray X and he wants to write a script with you. Does this ring a bell?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <parenthetical>( He is about to tell her he showed up without notice , but Judit does n't give him time to . )<\/parenthetical>\n    <dialogue>.<\/dialogue>\n    <character>JUDIT<\/character>\n    <parenthetical>( Since she is always busy and in a hurry . )<\/parenthetical>\n    <dialogue>Well, he wants to see you this afternoon, or tomorrow, if you can. I have asked him for an advance and he has accepted, but I can not accompany you either today or tomorrow.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>I will speak to him. and let you know.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Good, I hope you like him, he seems to be loaded.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Have you seen him?<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>No, just judging from his voice. And from the check I am about to ask him for. I will send Diego over so that you're not alone.<\/dialogue>\n    <scene_description>Cut to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>HARRY-MATEO HOME. DEN. INT. DAY. 2008<\/stage_direction>\n    <scene_description>-LRB- The next morning , Harry wears different clothes than in the previous sequence and Ray X as well . -RRB- The doorbell rings . It 's Ray X. Mariacruz opens the door . Harry waits for him while seated at his desk , one can hear the noises his computer generates . Ray X heads toward the den and introduces himself . Harry stretches his hand and waits for the other man to find it and shake it .<\/scene_description>\n    <character>RAY X<\/character>\n    <dialogue>Hi, I'm Ray X.<\/dialogue>\n    <scene_description>They shake hands .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>Hello Mr. X. Please, have a seat.<\/dialogue>\n    <character>RAY X<\/character>\n    <dialogue>Please, do n't address me formally.<\/dialogue>\n    <scene_description>-LRB- Perhaps the kitchen is lit and only the light from the window enters the area where the conversation is taking place -RRB- . Ray watches Harry inquisitively . He observes everything , the furniture , the wall - hangings and Harry 's own body , shamelessly , taking advantage of the fact that Harry can not see him . Mateo senses the heat of his visitor 's gaze over his body . Ray is thirty - five years old and his physique is somewhere between freakish and bohemian but expensively dressed , hard to classify , thin , with a beard . Only when he speaks he reveals his well - bred origin -LRB- not excessively , nor parodically , just sufficiently evocative -RRB- . He is excited by the very fact of being there , it seems it is something he has been desiring for some time . He takes advantage of the fact that Harry can not see him in order to observe him without reserve . During the conversation , Harry is not always sitting . At some point he moves -LRB- to look for cigarettes , perhaps -RRB- and remains standing .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>I love your work, I know it from the start.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I have seen all of Mateo Blanco's films, including the last one, `` Girls and Suitcases''.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Is that so? You must be the only one.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>HARRY'S HOME. VESTIBULE AND KITCHEN. INT. DAY. 2008.<\/stage_direction>\n    <scene_description>At this exact moment , Diego enters . Mariacruz opens the door for him . Just in time to hear Ray 's question .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>What happened to Mateo Blanco?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Why do you ask?<\/dialogue>\n    <scene_description>40 A. Diego goes to the kitchen . Harry has heard him , he knows he 's there , if he has n't called him it 's because he does n't need him .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Because he vanished from public life.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>It would seem that way.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Almost as if he'd died.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <parenthetical>( Ironically . )<\/parenthetical>\n    <dialogue>I lost track of him some time ago.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I've always been intrigued by the case of his last film.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Whose?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Mateo Blanco's. The first five are stupendous. You were the screenwriter for all of them, how do you explain that the last one was a disaster?<\/dialogue>\n    <character>HARRY<\/character>\n    <parenthetical>( Made uncomfortable by the topic . )<\/parenthetical>\n    <dialogue>Films turn out well or badly. The reason is always a mystery.<\/dialogue>\n    <parenthetical>( Mateo switched genres , perhaps he was n't skilled for comedy . )<\/parenthetical>\n    <dialogue>. But tell me about the story you want to write.<\/dialogue>\n    <scene_description>Ray X measures his words , it 's very important to him and he does n't want to do so hastily .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>I would like to write a story about a son's revenge, one against the memory of his father.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Why does the son desire revenge?<\/dialogue>\n    <character>RAY<\/character>\n    <parenthetical>( Speaking personally . )<\/parenthetical>\n    <dialogue>Because the father ruined his life, practically nullifying him while he lived. The father is a successful financier, violent, homophobic, very powerful and unscrupulous. He thinks everyone has a price and that's how he behaves with people. I do n't know if you've had the misfortune of meeting someone like this.<\/dialogue>\n    <scene_description>Harry does not allay his doubt .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>When you say he is powerful, what kind of power are you referring to?<\/dialogue>\n    <character>RAY X<\/character>\n    <dialogue>Economic, with everything that entails. He is a broker, of the generation of speculators that made quick, high - profit gains in the 80s ; he amassed a great fortune during the oil crisis. The son is sensitive, with complexes and artistic preoccupations, and lives under his shadow, trying to please the father in everything. Despite being a bit. homosexual, the son marries twice, just like the father, and, just like him, he separates. He has a son that hates him just as much as he hates his own father. When the father dies, the son is finally able to rebuild his life. That is his salvation and his revenge.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>I get it. I am afraid I am not the writer you are looking for.<\/dialogue>\n    <character>RAY X<\/character>\n    <dialogue>You are, you do n't know how much!<\/dialogue>\n    <scene_description>Harry registers what he has just heard .<\/scene_description>\n    <character>RAY X<\/character>\n    <dialogue>I will pay whatever you ask.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>It's too personal.<\/dialogue>\n    <character>RAY X<\/character>\n    <dialogue>Make it yours. I am not aiming for a biopic, rather, I think of it as a base from which to develop a fiction.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Thanks, but no.<\/dialogue>\n    <parenthetical>( He rises . )<\/parenthetical>\n    <dialogue>And now, if you do n't mind.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>CONTINUED.<\/stage_direction>\n    <scene_description>He calls Diego . The boy responds in that instant , he was in the kitchen , waiting for Harry to call him . Ray X will not give up , so he writes his telephone number on a piece of paper and places it in his hand .<\/scene_description>\n    <character>RAY X<\/character>\n    <dialogue>There you have my phone number, if you change your mind.<\/dialogue>\n    <scene_description>Harry is still standing , with the piece of paper in his hand . Diego observes both men . Ray gets up .<\/scene_description>\n    <character>RAY X<\/character>\n    <dialogue>I am sure we will see each other again.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>In my case, that would be a miracle.<\/dialogue>\n    <scene_description>Diego accompanies him to the door . And closes it behind him . Harry opens his desk 's drawer and places the piece of paper with Ray 's telephone number inside . He rummages through the drawer 's interior until he finds a key . He grabs it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CONTINUED.<\/stage_direction>\n    <scene_description>Harry and Diego are now alone , in the den . Ruminating over Ray X 's visit and the story he was proposing Harry .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>Did you overhear that?<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Yes. I'm flipping out! Why did he ask you if Mateo had died?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>To provoke me. I do n't know. Help me find something.<\/dialogue>\n    <parenthetical>( he points toward the drawers at the bottom of the bookcase and he hands him the key to open one of them . )<\/parenthetical>\n    <dialogue>Look inside that drawer.<\/dialogue>\n    <scene_description>Diego opens the drawer with the key Harry has given him . The drawer is full of different groups of photographs and various objects mixed in a certain order . There is a black notebook . A box with Mexican handicrafts . Some 1980s postcards as well some from other decades , some movie postcards , some others of exotic landscapes . Some of the groups of photographs are sorted into envelopes , boxes or transparent binders . For Diego it 's like looking into a treasure chest . It has been many years since that drawer has been opened . This was out of respect , not from lack of curiosity , Diego would never do so behind Harry 's back .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>Look through the pictures of the ` 94 shoot. Some of the photographs must have the date on it.<\/dialogue>\n    <scene_description>After tossing aside various envelopes , Diego finds a lot of photographs of the shooting , dated ` 94 . He takes them out of their envelope . He shuffles through them , until he pauses at one .<\/scene_description>\n    <character>DIEGO<\/character>\n    <dialogue>I think this is him.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>The man who just left.<\/dialogue>\n    <character>HARRY<\/character>\n    <parenthetical>( Rising . )<\/parenthetical>\n    <dialogue>Describe the picture to me.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>It's from the shoot.<\/dialogue>\n    <parenthetical>( He looks at the box from where he 's taken it . )<\/parenthetical>\n    <dialogue>. He is carrying a small camera, like a Super 8.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>It's a 16mm. Are you sure it's him?<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>He is now thinner and wears a beard, but it's him. He is talking to you.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>What am I saying?<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>I do n't know. He is handing you something, it looks like a pack of cigarettes.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>It's a radio microphone. He is asking me to wear it and I am refusing it.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Who is he?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Ernesto Martel's son.<\/dialogue>\n    <scene_description>Harry is perturbed by the confirmation of his doubts . He would have preferred to be mistaken .<\/scene_description>\n    <character>HARRY<\/character>\n    <parenthetical>( Serious and pensive . )<\/parenthetical>\n    <dialogue>You can put them away now.<\/dialogue>\n    <scene_description>Diego returns the different sets of photographs to their place , inside the drawer a photo appears of Lena 's face , in close - up . It 's the same woman who appears in sequences 20 through 36 . The drawer closes , darkness engulfs its interior , drowning Lena 's image , soon reborn in the next sequence .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>HOME, ERNESTO MARTEL SENIOR. (1992)<\/stage_direction>\n    <scene_description>Out of the darkness , Lena 's image emerges , the year is ` 92 : A close - up of the woman , looking at herself in the mirror , touching up her makeup . She grabs a dress by a famous designer of the time and puts it on . A few meters away , in the bedroom , Ernesto buttons up his fly , after tucking in his shirt tail . The scene is that of a wealthy couple , who get along . They are preparing to attend a concert . Ernesto is a big fan of classical music . Lena looks rejuvenated and more refined . Her life and her facial skin have both improved since the first time we see her in Martel 's office . The moles have disappeared from her face . Her demeanor is still adult , that of a young woman who has experienced life . Ernesto Martel frequently rests his gaze on her , fascinated , it 's hard for him to believe that `` such beauty '' belongs to him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CONTINUED.<\/stage_direction>\n    <scene_description>The phone rings . Ernesto Senior picks up the handset . His relaxed countenance changes the second he hears the voice on the other end . It 's his second wife , whom he divorced years ago . He treats her with disregard .<\/scene_description>\n    <character>ERNESTO S.<\/character>\n    <dialogue>I ca n't talk now, Rosanna.<\/dialogue>\n    <character>OFF<\/character>\n    <dialogue>It's about your son. I have caught him trying on my dresses. And it's not the first time.<\/dialogue>\n    <character>ERNESTO S.<\/character>\n    <dialogue>It's your fault, you made him effeminate to humiliate me!<\/dialogue>\n    <character>OFF<\/character>\n    <dialogue>That's not the problem, the boy is very depressed, I've had to take him to a psychiatrist.<\/dialogue>\n    <character>ERNESTO S.<\/character>\n    <dialogue>Do n't call him `` boy''. He is already seventeen.<\/dialogue>\n    <character>OFF<\/character>\n    <dialogue>The doctor has told me he is in need of a father figure. I think I am going to send him your way so that he can spend some time with you, after all you are his father.<\/dialogue>\n    <character>ERNESTO<\/character>\n    <dialogue>If I have n't been a good father in eighteen years, I do n't think I can learn to be one precisely now.<\/dialogue>\n    <character>OFF<\/character>\n    <dialogue>How can you speak like that! Have you no feelings?<\/dialogue>\n    <character>ERNESTO<\/character>\n    <parenthetical>( Looks at Lena , intently . )<\/parenthetical>\n    <dialogue>I have them. Very deep feelings, they just do n't include either of you.<\/dialogue>\n    <scene_description>While he speaks , Lena consults him about the jewelry she is about to put on , she tries on different pairs of earrings for his approval , something he gives without pausing his phone conversation . Lena makes a gesture of reproach . Ernesto should not speak to his ex - wife in that tone .<\/scene_description>\n    <character>OFF<\/character>\n    <dialogue>If anything happens to him, you'll know who's at fault.<\/dialogue>\n    <character>ERNESTO<\/character>\n    <dialogue>Stop blackmailing me, Rosanna. Tell Ernesto that if he wants to talk to me he should call me himself.<\/dialogue>\n    <scene_description>Ernesto Martel Senior hangs up , bewildered .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CONTINUED. 1992.<\/stage_direction>\n    <character>LENA<\/character>\n    <parenthetical>( In reprimand . )<\/parenthetical>\n    <dialogue>Do n't be so harsh with them, Ernesto!<\/dialogue>\n    <scene_description>He sips from his drink , or he serves himself another one if he has already finished the first .<\/scene_description>\n    <character>ERNESTO<\/character>\n    <dialogue>Blackmailers!<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Why do n't you invite your son to spend a few days here?<\/dialogue>\n    <character>ERNESTO<\/character>\n    <dialogue>It'd be better if you did n't get involved with them, Lena. Ernesto takes a sip from his drink.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>He can keep me company. Does he like movies or theater?<\/dialogue>\n    <scene_description>Ernesto Senior casts her a sideways glance .<\/scene_description>\n    <character>ERNESTO<\/character>\n    <dialogue>I do n't know. But the mother has told me he is a bit faggot. If I ask him to come I would like for you to tell me if that's true. and whether you think there's any remedy.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>And how would I know?! What an idea!<\/dialogue>\n    <character>ERNESTO<\/character>\n    <dialogue>I am not asking you to fuck him, but you good - looking girls can tell these things.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Call him, but you ca n't count on me for the rest.<\/dialogue>\n    <scene_description>Ernesto approaches the telephone and dials a number .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>ERNESTO MARTEL'S MANSION. (2008). INT. NIGHT.<\/stage_direction>\n    <scene_description>Fourteen years later - in the same room , decorated differently , -LRB- more modern , more colorful -RRB- , although it still retains some noble and timeless furniture pieces and the same layout - Ernesto Junior -LRB- we in effect confirm that this is Ray X -RRB- speaks on the telephone while getting dressed to leave for a party . In that very room , another man -LRB- young , handsome and ambitious -RRB- is getting dressed in front of a piece of furniture equipped with a mirror , at the very spot Lena had been earlier . -LRB- This piece of furniture is not the same one as the one fourteen years earlier , this is a more masculine piece , the other one was a type of boudoir -RRB- .<\/scene_description>\n    <character>OFF EX-WIFE<\/character>\n    <dialogue>I am not reproaching you for our separation but that you live with a man. What will your children think!<\/dialogue>\n    <character>ERNESTO JUNIOR<\/character>\n    <parenthetical>( On the phone . )<\/parenthetical>\n    <dialogue>That their father is a homosexual.<\/dialogue>\n    <parenthetical>( he gazes at his handsome boyfriend . )<\/parenthetical>\n    <dialogue>and that he has very good taste. If they love me and you do n't set them against me, they will accept it.<\/dialogue>\n    <character>OFF EX-WIFE<\/character>\n    <dialogue>You should have told me before we married!<\/dialogue>\n    <character>ERNESTO JUNIOR<\/character>\n    <dialogue>If you had n't been so exclusively concerned with my father's fortune you might have noticed it yourself.<\/dialogue>\n    <scene_description>The ex - wife grumbles furiously . The beautiful boyfriend continues to dress and smiles at Ernesto . Another telephone rings .<\/scene_description>\n    <character>ERNESTO JUNIOR<\/character>\n    <dialogue>I have to go, I have another call.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>ERNESTO SON'S MANSION. INT. NIGHT 2008<\/stage_direction>\n    <scene_description>47 A. JUDIT 'S PRODUCTION OFFICE . INT . NIGHT .<\/scene_description>\n    <character>ERNESTO J.'s LOVER<\/character>\n    <dialogue>Will it be your other ex - wife?<\/dialogue>\n    <character>ERNESTO JUNIOR<\/character>\n    <dialogue>I hope not.<\/dialogue>\n    <parenthetical>( Into the headset . )<\/parenthetical>\n    <dialogue>Yes?<\/dialogue>\n    <character>JUDIT<\/character>\n    <parenthetical>( Dryly . )<\/parenthetical>\n    <dialogue>It's Judit Garcia.<\/dialogue>\n    <character>ERNESTO JUNIOR<\/character>\n    <dialogue>Oh, hello, Judit.<\/dialogue>\n    <parenthetical>( In an amiable tone . )<\/parenthetical>\n    <dialogue>Did you get the money?<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>I do n't want it! I just sent it back, Ernesto!<\/dialogue>\n    <scene_description>She emphasizes his name .<\/scene_description>\n    <character>ERNESTO JUNIOR<\/character>\n    <dialogue>You wo n't call me Ray? It's my artistic name.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Artistic? What are you up to?<\/dialogue>\n    <character>ERNESTO JUNIOR<\/character>\n    <dialogue>Hoping to erase my father's name.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>And what does that have to do with Harry?<\/dialogue>\n    <character>ERNESTO JUNIOR<\/character>\n    <dialogue>I've been wanting to see him for a long time. And it's true that I want to shoot a movie and that I want him to write the script.<\/dialogue>\n    <parenthetical>( Looks at the boyfriend . )<\/parenthetical>\n    <dialogue>I've got the protagonist.<\/dialogue>\n    <scene_description>The boyfriend catches the allusion .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>You are not a director!<\/dialogue>\n    <character>ERNESTO JUNIOR<\/character>\n    <dialogue>You should take a look at my documentary, you'd change your mind.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Ernesto, forget about us!<\/dialogue>\n    <character>ERNESTO JUNIOR<\/character>\n    <dialogue>Do n't be afraid of me. I am not my father.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Do not come near Harry again. If you ever stop by his house again I will report you for harassment.<\/dialogue>\n    <scene_description>And she hangs up the phone . At that very moment Judit is in her office with the American production team . She apologizes and attempts to recover her calm before undertaking the subject of the meeting at hand .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>JUDIT'S HOME. JUDIT'S BEDROOM. INT. NIGHT. 2008<\/stage_direction>\n    <scene_description>The house is not very big , but it is large enough for two people . It 's discretely feminine and very practical . The details indicate that an independent woman lives there , as well as a young - man , twenty - five years old . There is some detail of the d\u00e9cor -LRB- the curtains , for example -RRB- that is replicated in Harry 's home . It is clear that Judit has had a hand in setting up the writer 's home . Judit is packing her bags , she paces back and forth . She is a bit overwhelmed , with multiple thoughts crossing her mind . At times , she asks for Diego 's help .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>I am not at all pleased with having to scout outside Madrid, but the Americans pay a bundle and we need money.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>You can leave without concerns. Do n't worry about me.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>I am also worried for Harry.<\/dialogue>\n    <parenthetical>( Sounds more like an order than a request . )<\/parenthetical>\n    <dialogue>Please, look after him during my absence.<\/dialogue>\n    <character>DIEGO<\/character>\n    <parenthetical>( Protests . )<\/parenthetical>\n    <dialogue>I have things to do, mom. I ca n't look after him all day.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>It's only two weeks!<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Harry manages perfectly on his own and right now we are not writing anything.<\/dialogue>\n    <scene_description>Acknowledges the reason for her worry .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>I am worried about Ernesto Junior's visit. I would like for you to be on guard in case he appears or calls and then let me know immediately!<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Why are you so worried?<\/dialogue>\n    <scene_description>Judit stops what she 's doing , and takes a moment to take a deep breath .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>He's crazy. I do n't trust him.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>JUDIT<\/character>\n    <parenthetical>( Evasive . )<\/parenthetical>\n    <dialogue>It's a long story.<\/dialogue>\n    <character>DIEGO<\/character>\n    <parenthetical>( Persistent . )<\/parenthetical>\n    <dialogue>Summarize it!<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Diego, please, this is not the moment.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>It never is for you!<\/dialogue>\n    <character>JUDIT<\/character>\n    <parenthetical>( Exasperated . )<\/parenthetical>\n    <dialogue>Hey, if it bothers you so much to look after Harry, I'll quit the job and stay in Madrid! Or I'll hire someone.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>It does n't bother me to look after Harry! But I am tired of so much secrecy!<\/dialogue>\n    <scene_description>-LRB- It 's a civilized encounter , no screaming . There is tension , but it is kept under control by both of them -RRB-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>IN A PUBLIC PARK AND ON THE STREET. EXT. DAY. 2008<\/stage_direction>\n    <scene_description>A public park . Diego and Harry are walking along a straight pathway . Kids , dogs , people jogging . It is a tranquil and pleasant place . Diego is in front , Harry is behind him , holding on to his elbow , -LRB- as reference -RRB- , but it 's Harry who is moving faster , pushing Diego from his elbow . The boy shows signs of exhaustion , he is wearing black sunglasses .<\/scene_description>\n    <character>DIEGO<\/character>\n    <dialogue>Do n't go so fast!<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>We are exercising.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>I'm not. I'm just keeping you company. How can you walk so fast?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>I am training and I do n't work at night, nor do I drug myself.<\/dialogue>\n    <character>DIEGO<\/character>\n    <parenthetical>( On guard . )<\/parenthetical>\n    <dialogue>What do you mean by that?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>That I take care of myself, with the fanaticism of an older, handicapped person.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>You are no fanatic.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Yes, I am. All of us who survive a critical physical injury are. There is no other way.<\/dialogue>\n    <scene_description>Cut to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CONTINUED. EXT. DAY.<\/stage_direction>\n    <scene_description>They exit the park . While they wait at a stop sign , a billboard catches Diego 's attention . Half of the billboard is taken up by the motto : DONATE BLOOD . The names of participating ambulatory hospitals and their hours appear below . Harry can tell his company is distracted , so he asks him :<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>What are you looking at?<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>A billboard.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Why so?<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>In huge letters it says `` Donate Blood'', it includes where one has to go.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>You want to donate blood?<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>No, no. I was thinking that `` Donate Blood'' is a good title for a movie.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Yes. It has a good ring.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>For a vampire flick.<\/dialogue>\n    <scene_description>Harry finds it amusing . They walk toward home .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>It's true.<\/dialogue>\n    <character>DIEGO<\/character>\n    <parenthetical>( Ironizing , kidding , improvising . )<\/parenthetical>\n    <dialogue>Imagine that behind the billboard a whole group of vampires that work in ambulatory care are hiding. and they actually keep the blood they get from donors for their own consumption, of course.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Your mother would like that story.<\/dialogue>\n    <scene_description>Cut to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>HARRY'S HOME. INT. DAY. 2008<\/stage_direction>\n    <scene_description>Mariacruz , the Latin American maid , is preparing something in the kitchen . Meanwhile , Diego and Mateo gather around the table . Diego sits in front of his laptop . Both of the characters are improvising , rapidly , and become increasingly excited , completing each other 's sentences . They are having fun , as if playing a game . The sequence becomes a demonstration of the process of creating fiction , based on an trivial , real anecdote . -LRB- They will begin the sequence by opening a document . Diego writes the title in caps : DONATE BLOOD . -RRB-<\/scene_description>\n    <character>DIEGO<\/character>\n    <dialogue>The vampires would be like a type of ethnic group, completely assimilated into Spanish society, they do n't stand out. There are vampires who occupy important positions, keeping it a secret.<\/dialogue>\n    <parenthetical>( like the Opus Dei . )<\/parenthetical>\n    <dialogue>. But even though they live in the shadows, they have amassed great social and economic power.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>They control various industries. For example, the one responsible for dark sunglasses.<\/dialogue>\n    <character>DIEGO<\/character>\n    <parenthetical>( Smiles . )<\/parenthetical>\n    <dialogue>And those that provide nightly entertainment : bars, discos, after - hours. Since they do n't need drugs to stay awake, they are the most apt for working at night. They do n't burn out.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>And for the sunscreen business. The poor things are very sensitive to climate change and to the holes in the ozone layer. Their sunscreens are some of the best on the market.<\/dialogue>\n    <character>DIEGO<\/character>\n    <parenthetical>( Laughs . )<\/parenthetical>\n    <dialogue>And those which sell best. This is all great.<\/dialogue>\n    <scene_description>Diego talks and takes notes on his laptop . Harry paces back and forth , in front of the table , like a caged animal .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>Protected by the sunscreen, they can function all day. The lotion must be as dense as armour.<\/dialogue>\n    <character>DIEGO<\/character>\n    <parenthetical>( More inspired . )<\/parenthetical>\n    <dialogue>This is how the story could begin :.<\/dialogue>\n    <parenthetical>( describes . )<\/parenthetical>\n    <dialogue>A gorgeous woman, totally naked, rubbing her body with a super - dense lotion, before heading to work at an ambulatory hospital. Her body is a velvety pale, beautiful.<\/dialogue>\n    <character>HARRY<\/character>\n    <parenthetical>( Continues . )<\/parenthetical>\n    <dialogue>What a great opening! We also need a love story.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>A hybrid love story, between the female vampire and a normal guy.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Like in `` Cat People'', a love story between beings of different species.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>She works at one of those labs where blood is donated and where they snatch it for themselves. The guy has gone to donate his, or to get some tests. They like<\/dialogue>\n    <scene_description>each other immediately . After the first needle prick into his vein , she gets completely excited . So , they start to date . But she does n't want to turn him into a vampire . these are n't proselytizing vampires , they are above biting people . unless they truly need it to survive .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue \/>\n    <scene_description>But they must like sex , right ?<\/scene_description>\n    <character>DIEGO<\/character>\n    <dialogue \/>\n    <scene_description>Of course . That 's one of the problems , the couple desire each other desperately . But when it comes to fucking , she becomes prudish .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue \/>\n    <scene_description>Why ?<\/scene_description>\n    <character>DIEGO<\/character>\n    <dialogue \/>\n    <scene_description>Because she is afraid of losing control in her excitement and taking a bite into his jugular .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue \/>\n    <scene_description>Aha .<\/scene_description>\n    <character>DIEGO<\/character>\n    <dialogue \/>\n    <scene_description>When they 're horny , she lets him do everything , front , back , whatever he wants , except ravaging her mouth .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue \/>\n    <scene_description>And her breasts ?<\/scene_description>\n    <character>DIEGO<\/character>\n    <dialogue \/>\n    <scene_description>Also . But that gets into high - risk territory . When he sucks on her breasts , she has to cover her mouth with a pillow , which she ends up shredding with her fangs .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue \/>\n    <scene_description>And when she sucks his dick ?<\/scene_description>\n    <character>DIEGO<\/character>\n    <dialogue>No, no sucking. She would tear it on the first bite.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>And how does he react? A man may do without kissing, but it's very rough not to have your cock sucked.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Since he is deeply in love, he accepts the situation.<\/dialogue>\n    <parenthetical>( or gives up to it . )<\/parenthetical>\n    <dialogue>. Once they are more comfortable with each other, she wears a muzzle, as security for both. Because when she's turned on, she has a type of dental erection, her face grows into something like that of a she - wolf.<\/dialogue>\n    <scene_description>Diego writes furiously , while cracking up .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>I like your story very much, Diego.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Our story.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>No. This one was your idea, and you'll author it. I'll be your sparring partner, for all the times you've done the same for me.<\/dialogue>\n    <scene_description>Harry is welcoming him as a writer . This fact does n't escape the boy , he feels an unexpected pride .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>MODERN AND MODEST BAR WHERE DIEGO WORKS. NIGHT. INT. 2008<\/stage_direction>\n    <scene_description>At nights , Diego D.J. 's inside a small booth . Two of his friends , or just acquaintances of the club scene , one of them we 've already seen earlier , keep him company . The one we do n't know , Friend A , looks pretty loaded . He is very `` friendly '' with the other two .<\/scene_description>\n    <character>DIEGO<\/character>\n    <parenthetical>( Without acrimony . )<\/parenthetical>\n    <dialogue>Stop fondling me. damn it!<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>It's the GHB. It kicks your ass.<\/dialogue>\n    <scene_description>Diego takes a sip of Coke and whisky and sets it down somewhere inside the booth .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Do you want a little bit of `` X''?<\/dialogue>\n    <parenthetical>( referring to `` MDMA '' , aka Ecstasy . )<\/parenthetical>\n    <dialogue \/>\n    <character>DIEGO<\/character>\n    <dialogue>Just a tip.<\/dialogue>\n    <parenthetical>( He licks his finger and sticks its moist tip into the bag that Alex offers him , he takes his finger to his mouth . )<\/parenthetical>\n    <dialogue>Tomorrow I have to work, we are writing a vampire script that's going to be the shit!<\/dialogue>\n    <scene_description>AT THE BAR . The Friend , high on GHB , grabs a glass of Coca - cola from the bartender 's hands , at the bar . He takes out a small container and adds a few drops of liquid ecstasy into the drink . He takes a sip and enters the booth where the other two are . He sets the glass down and begins to jump , euphorically .<\/scene_description>\n    <character>DIEGO<\/character>\n    <dialogue>Stop already, you are going to go through the roof.<\/dialogue>\n    <scene_description>In between songs , -LRB- he is changing the tune -RRB- Diego grabs Friend A 's drink . They are both drinking Coca - Cola , Diego 's has whisky and Friend A 's has liquid ecstasy . Distracted by changing tunes , Diego does not realize that he has grabbed the drink with GHB . He takes a long sip . And he falls flat to the floor . The two friends , bewildered and scared , attempt to revive him , but to no avail . Perhaps Alex will exclaim :<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Holy shit, he's taken a drink from your glass! Why in the world did you get Coca - cola! Did n't you notice he was drinking a jack and coke?<\/dialogue>\n    <character>FRIEND A<\/character>\n    <dialogue>I did n't realize!<\/dialogue>\n    <character>ALEX<\/character>\n    <parenthetical>( Very alarmed . )<\/parenthetical>\n    <dialogue>He's unconscious!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>BAR EXTERIOR. NIGHT. 2008 (OPTIONAL)<\/stage_direction>\n    <scene_description>An ambulance arrives . They carry Diego out , unconscious , from the bar on a stretcher . Alex goes with him , very scared . Before they go into the vehicle , Diego 's mobile phone rings . Alex takes it from Diego 's pocket , he does n't know why he is doing so , it is a hysterical reaction . On the other side of the line , he hears Harry 's voice .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>No. I'm a friend. Diego just. he's not well. We are taking him into the emergency room.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Emergency? Can I talk to him?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>No. because.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>What hospital are you taking him to?<\/dialogue>\n    <scene_description>The friend asks one of the ambulance employees who tells him the name of the hospital . Alex repeats it for Harry .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>HARRY<\/character>\n    <parenthetical>( Improvising . )<\/parenthetical>\n    <dialogue>. His uncle. I am on my way.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>ENRACE TO THE EMERGENCY ROOM OF A HOSPITAL. EXT. NIGHT. 2008<\/stage_direction>\n    <scene_description>Harry gets out of a taxi . He aids himself with the typical blind man 's cane . He ca n't find the entryway . He bumps into something . We have not yet seen him this clumsy . Someone helps him enter . The same person accompanies him to the reception desk in the waiting - room area . He is no longer the blind man who was walking euphorically along his street 's sidewalk , umbrella in hand .<\/scene_description>\n    <character>HARRY<\/character>\n    <parenthetical>( Anxious . )<\/parenthetical>\n    <dialogue>I am here to see Diego Garcia. He's just been admitted.<\/dialogue>\n    <scene_description>The `` receptionist '' looks through the admittances . Taking into account that Harry is blind , she decides to call the Doctor who has attended Diego . 54 A. Shortly thereafter , the Doctor appears . He heads directly for Harry .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>I am here to see Diego Garcia.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>Are you immediate family?<\/dialogue>\n    <character>HARRY<\/character>\n    <parenthetical>( Improvises . )<\/parenthetical>\n    <dialogue>Yes. I'm his uncle, and his godfather.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>Your nephew is at the ICU, he arrived in a coma.<\/dialogue>\n    <scene_description>Harry reacts to the news .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>In a coma?<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>But, what has happened?!<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>He ingested liquid ecstasy and alcohol. it is a lethal combination. His friend informed us it was a mistake.<\/dialogue>\n    <parenthetical>( It happens sometimes , kids grab the wrong glass . )<\/parenthetical>\n    <dialogue \/>\n    <character>HARRY<\/character>\n    <dialogue>My God! But Diego is a very healthy boy.<\/dialogue>\n    <scene_description>The doctor makes a neutral gesture of acknowledgement .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>Barring any complications, he will recover in six to twelve hours.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>If that's the case, I'll wait.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>Go home, we will call you.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>I'd rather wait.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>Are you certain?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Yes. Guide me to a place where I can sit, please.<\/dialogue>\n    <scene_description>The Doctor directs him toward an area with sofas .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>Would you mind providing us with his parents' phone number?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>He only has a mother and, at the moment, she is working outside Madrid. I would prefer to call her myself. I do n't want to alarm her, unless he is truly in a grave condition.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>Normally, he should recuperate in a few hours. but, in any case, you should have a talk with him, once he's better.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Yes, of course.<\/dialogue>\n    <scene_description>They arrive at a couch set , ugly and lacking style , Harry collapses on one of the armchairs , demolished . The Doctor returns to work . The girl at the reception desk stares at Harry , who is immobile , readied for a long wait . A slow fade to black .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>HARRY'S HOME. HARRY'S BEDROOM. INT. DAWN. 2008<\/stage_direction>\n    <scene_description>From black . Harry is still waiting , this time at home , sitting on a wingback chair close to the bed where Diego sleeps . On the nightstand , there are some medications and a glass of water , next to a plastic bottle , an alarm - clock . And perhaps a book . Through the window you can see the day beginning to break , Diego awakens . At first he does n't know where he is . In the darkness of the room he discovers Harry 's figure , sitting on the wingback chair . He ca n't tell if he 's awake or asleep , but it soothes him to know he 's not alone . Diego stares at him , he does n't say anything . Just stares . To his surprise , Harry asks him :<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>How are you?<\/dialogue>\n    <scene_description>Diego makes a listless gesture .<\/scene_description>\n    <character>DIEGO<\/character>\n    <dialogue>I do n't know. dazed. Did you speak with my mother?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Yes, I told her it was something you ate.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>And she believed it?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>I do n't know. She wanted to hurry back, but I convinced her to continue with the location scouting. At some point you'll have to call her.<\/dialogue>\n    <scene_description>Silence . Diego thinks about everything 's that 's happened . After a few seconds :<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>Are you asleep?<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>I'm not sleepy anymore.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Do you want to talk?<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Would you like me to speak?<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>I do n't know. If you'd like.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>I say so in order to distract you. When I was young, before I got into making movies, I was very good at telling stories.<\/dialogue>\n    <character>DIEGO<\/character>\n    <parenthetical>( Not sure . )<\/parenthetical>\n    <dialogue>Well, then. would you mind telling me why my mother is so afraid of Ernesto Junior?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>She's afraid of him?<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Before she left, she made me promise that I would remain alert, in case he reappeared.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>She did n't explain why?<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>She never explains anything.<\/dialogue>\n    <scene_description>Harry remains pensive for a moment , Diego 's request has taken him by surprise .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>It's a long story.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Judit says the same thing. How did you meet him?<\/dialogue>\n    <scene_description>It is not easy to talk about . In some way it must be obvious that Harry has spent many years -LRB- fourteen -RRB- avoiding this topic , but he is determined to do anything necessary to entertain Diego . Diego serves himself some water and prepares to listen .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>We met him. In an office we had rented in preparation for my new film, about fourteen years ago.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>MATEO'S OFFICE. INT. DAY. 1994<\/stage_direction>\n    <scene_description>The images that correspond to the past are edited more freely than the rest of the narrative . Summarized and sped - up by Harry 's voice - off , mixing media from diverse sources .<\/scene_description>\n    <character>OFF HARRY<\/character>\n    <dialogue>After having written five dramas, I had finally managed to write a script for a comedy, or that's what I thought. I wanted to change genres. to take a risk.<\/dialogue>\n    <parenthetical>( ironic - destructive . )<\/parenthetical>\n    <dialogue>And I swear I accomplished that, the part about taking a risk.<\/dialogue>\n    <scene_description>In 1994 , everyone calls Harry `` Mateo '' . He is sitting behind a table filled with papers , photographs , books , magazines , an ashtray , pencil and pen holders , etc. . At its center , a script lies open , with tons of notes scribbled on the margins of its pages . He is finishing the definitive version of `` Girls and Suitcases '' . The casual messiness of the place produces its own aesthetic . The only decorations on the walls , here and there , not following any particular symmetrical rule , are postcards of painters , actors or landscapes , held in place by tacks . There is also a newspaper page that has caught Mateo 's attention . Or some astonishing photograph , taken from a magazine . The cover of some magazine . Everything without framing , tacked directly onto the wall . The furniture is pastel , medium - shade green or red , with velvet tapestry , worn and outmoded . The pieces do n't match , but they look good together . Judit enters -LRB- also fourteen years younger , but this is less obvious . She is a woman unmarked by the march of time . -RRB- Mateo is focused on the script 's pages . Judit is Mateo 's right - hand man , they are accomplices in everything , both professionally and emotionally .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>A girl has stopped by. She does n't have an appointment, so there is no reason for you to see her.<\/dialogue>\n    <character>MATEO<\/character>\n    <parenthetical>( Without much interest . )<\/parenthetical>\n    <dialogue>What's she like?<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Too beautiful to be funny.<\/dialogue>\n    <character>MATEO<\/character>\n    <parenthetical>( Smiles . )<\/parenthetical>\n    <dialogue>Really?<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>She is Ernesto Martel's lover, the tycoon. She is here with his son.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>And she's an actress?<\/dialogue>\n    <character>JUDIT<\/character>\n    <parenthetical>( Ironic . )<\/parenthetical>\n    <dialogue>Her? If she's been with him for three years, she must be. In any case, go out and say hello, to be polite. One must get along well with important men. You never know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>CONTINUED. WAITING AREA. 1994.<\/stage_direction>\n    <scene_description>Mateo exits his office . In the improvised waiting area -LRB- it is not a proper waiting room but a transient - space turned waiting area by a couch left over from the furnishings of some previous film -RRB- . He finds Ernesto Junior -LRB- in other words , the character who had introduced himself as Ray X fourteen years ago ; in his case , the age - difference is noticeable , he 's just a kid -RRB- . He is a little heavier , his hair longer , he reminds us of the love - struck big - kid that Phyllip Seymour Hoffman played in `` Boogie Nights '' . Mateo 's gaze rests only for an instant on the young man , even though the boy does not take his stupefied eyes away from Mateo throughout the entire sequence . Ernesto Junior has accompanied Lena . When he sees her , Mateo freezes , at the door to his office . Lena 's back is turned , or her head is tilted as she reads a magazine . Ernesto elbows her , Lena raises her head and discovers Mateo , watching her from the door to his office . Mateo 's heart churns , it 's a cinematographic churn , he feels like James Stewart in `` Vertigo '' , when he first sees Kim Novak at the restaurant , with her famous green dress . Time stops for an instant so that Mateo may contemplate this woman 's apparition . After this brief hypnotic moment , they introduce themselves , forgetting Ernesto 's presence , who then , since no one pays attention to him , introduces himself . Even though she 's a bit nervous , one can tell that Lena is a strong and decisive woman . Brunette . Mysterious . Made - up in dark tones that stand out on her pale skin . Refined . She does n't have the aspect of a comedienne , her presence is too intense , she seems better suited to be the heroine of a film noir -LRB- as we 've said -RRB- . Genres and their iconographies pose no limit on Mateo 's capacity to be attracted to her , from the first instant .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>I am sorry we showed up like this, but I've heard you are running auditions. and I would like for you to give me a try out.<\/dialogue>\n    <scene_description>Mateo observes her intently . She does not resemble any of the characters in the script , but he no longer cares about that . At some point , Judit makes her appearance and gets to contemplate this scene herself , displeased .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>I can come whatever day is convenient.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>You're already here. Let's read something.<\/dialogue>\n    <scene_description>It does n't sound like `` let 's read something '' but more like `` let 's have a drink . '' They disappear through Mateo 's office door . Fade to black .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>ERNESTO SENIOR'S MANSION. (IN PUERTA DE HIERRO OR<\/stage_direction>\n    <scene_description>SOMETHING LIKE IT -RRB- . EXT. . NIGHT . 1994 . From black . -LRB- Over an establishing shot of the mansion , one hears Harry 's voice - off as he speaks to Diego -RRB-<\/scene_description>\n    <character>OFF HARRY<\/character>\n    <dialogue>The reading did n't work out. We were both too nervous. The first meeting and the reading we did only served to make me realize that woman's very presence perturbed me.<\/dialogue>\n    <scene_description>Great mansion , with a huge green parcel of land with various trees , bushes , flowers . Two or three dogs are running across the lawn . The plot of land must span about 6,000 square meters or more . -LRB- The dogs approach the camera , as if it were a trespasser -RRB- . Alarm system , etc. . The main building has two levels , joined by a grand staircase . All decorated by wives with the wish to be decorators , aided by hired decorators . Brand - name furniture , two or three paintings worth millions . A piano and a certain desolateness . One can tell that his previous wives have left along with a part of the furnishings .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>LIVING ROOM ON THE TOP LEVEL. LENA AND ERNESTO SENIOR<\/stage_direction>\n    <scene_description>DINE . INT . NIGHT . 1994 The Father already knows he is missing information about something unexpected that has gone on that morning . They are at dessert .<\/scene_description>\n    <character>ERNESTO SENIOR<\/character>\n    <dialogue>Where have you been this morning?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Ernesto has n't told you?<\/dialogue>\n    <character>ERNESTO SENIOR<\/character>\n    <dialogue>I have n't asked him.<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>( She hates having to account for herself . )<\/parenthetical>\n    <dialogue>I went to see a film director.<\/dialogue>\n    <character>ERNESTO S.<\/character>\n    <dialogue>What for!<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>( Dryly . )<\/parenthetical>\n    <dialogue>For an audition.<\/dialogue>\n    <scene_description>Ernesto looks at her with surprise , he does n't approve of it .<\/scene_description>\n    <character>ERNESTO S.<\/character>\n    <dialogue>An audition? How so?<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>( With less determination than she would like , but enough to alarm Ernesto Senior . )<\/parenthetical>\n    <dialogue>I want to work.<\/dialogue>\n    <character>ERNESTO S.<\/character>\n    <dialogue>Were n't you going to study interior design? Were n't you going to redecorate the house? I thought we agreed that you would transform what's left of my two shipwrecked marriages into something more our own.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Call a decorator. I want to be an actress. I've always wanted to.<\/dialogue>\n    <scene_description>-LRB- Brief pause -RRB-<\/scene_description>\n    <character>ERNESTO S.<\/character>\n    <dialogue>You've already attempted it once. and look how you've ended up.<\/dialogue>\n    <scene_description>Lena shoots him a fulminating glance .<\/scene_description>\n    <character>LENA<\/character>\n    <parenthetical>( Affected . )<\/parenthetical>\n    <dialogue>That's a cheap shot.<\/dialogue>\n    <character>ERNESTO S.<\/character>\n    <parenthetical>( First , he attacks .<\/parenthetical>\n    <parenthetical>Then , he is sorry .<\/parenthetical>\n    <parenthetical>L\u00baike any violent lover . )<\/parenthetical>\n    <dialogue>I am sorry, forgive me.<\/dialogue>\n    <scene_description>Lena is frustrated and restless . She rises .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Excuse me, I am retiring to my room.<\/dialogue>\n    <scene_description>Ernesto grabs her and then embraces her . Lena remains still within his arms , imprisoned and elusive , the two locked in a strange posture .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>In any case, do n't worry. It did n't turn out well. I was too nervous.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>CONTINUED.<\/stage_direction>\n    <scene_description>Someone calls at the door . `` There 's a call '' . It 's the voice of one of the hired help , behind the door . `` it 's Mr. Mateo Blanco , and he says it 's important '' .<\/scene_description>\n    <character>LENA<\/character>\n    <parenthetical>( Yells . )<\/parenthetical>\n    <dialogue>Come in!<\/dialogue>\n    <scene_description>She breaks free from Ernesto 's embrace and runs toward the door where the maid is holding the supplementary handset . Avidly , she grabs it from her . She listens , excited . She responds only in monosyllables , affirmatively . She hangs up the phone . Her eyes glitter with intense happiness , a feeling from which Ernesto feels excluded .<\/scene_description>\n    <character>LENA<\/character>\n    <parenthetical>( Enthusiastically . )<\/parenthetical>\n    <dialogue>That's the film director. He says the reading was not sufficient and he wants to see me once more!<\/dialogue>\n    <scene_description>Lena looks imploringly at Ernesto Senior .<\/scene_description>\n    <character>ERNESTO S.<\/character>\n    <dialogue>What are you going to do?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Go see him, no?!<\/dialogue>\n    <scene_description>Ernesto makes a gesture that betrays his anger and displeasure .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Please, Ernesto. I need to do something! And I've always wanted to be an actress!<\/dialogue>\n    <character>ERNESTO S.<\/character>\n    <dialogue>And what will become of me?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>They have not given me the role yet.<\/dialogue>\n    <character>ERNESTO S.<\/character>\n    <dialogue>They will!<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Well, if I were to get it, we would still see each other every day, as it has been, in the mornings and evenings. Nothing will change, except that during the day I would work, just like you.<\/dialogue>\n    <character>ERNESTO S.<\/character>\n    <dialogue>Why do n't we get married?<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>( Taken by surprise . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>ERNESTO S.<\/character>\n    <dialogue>I am asking you to marry me.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Do n't you think you've married and divorced enough times already?<\/dialogue>\n    <character>ERNESTO S.<\/character>\n    <dialogue>With you it'd be the first.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>We've been living together for three years, are n't we fine like this?<\/dialogue>\n    <character>ERNESTO S.<\/character>\n    <parenthetical>( Somber . )<\/parenthetical>\n    <dialogue>It does n't seem you are.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>IN THE MORNING. HARRY'S HOME. SIGNIFICANT ELLIPSIS. INT.<\/stage_direction>\n    <scene_description>DAY . 2008 Diego is better , but Harry prefers to keep caring for him . Harry makes him breakfast . Diego is sitting at the table .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>Ernesto Martel offered to produce the movie. Your mother did n't want him to. She was waiting for a subsidy from the Ministry and an advance sale to television, but that would take months and I was suddenly in a great hurry to begin shooting.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>DRESSING ROOM FOR MAKE-UP, HAIR, AND COSTUME. INT. DAY.<\/stage_direction>\n    <scene_description>1994 Part of the voice - off is edited over these images . Lena is in the process of being made - up , coifed and dressed . This , under the control of Mateo Blanco , who does not stop speaking , offering references , making ironic remarks , etc. . All of this is seen through the lens of a 16mm camera . -LRB- Images of contrasting colors -RRB- . The editing is vertiginous and does n't at all respect continuity rules . The young Ernesto Junior is carrying the camera . We also see this scene from the other side of the 16mm frame , from the point of view of the main narration , which includes images of Ernesto Junior filming with the 16mm camera . On the inside frame of the dressing room mirror , there are photographs of a young Shirley MacLaine , Kate Hepburn -LRB- young -RRB- , Judy Holliday , Audrey Hepburn , Goldie Hawn -LRB- in `` Butterflies Are Free '' or any other film where she wears her hair long with a fringe -RRB- . Icons of the romantic comedy of today and yesteryear . Over the voices of the characters that appear on frame , one hears Harry 's voice - off .<\/scene_description>\n    <character>OFF HARRY<\/character>\n    <dialogue>I enjoyed making her up, styling her and dressing her. Lena could be the Shirley McLaine of `` The Apartment'' and the Audrey Hepburn of `` Breakfast at Tiffany's'', or even Goldie Hawn.<\/dialogue>\n    <scene_description>Through the 16mm camera we can see the details of Lena 's mutating image , how it gets constructed . It is true that she reminds us of the three actresses that Harry mentions in his voice - off . The members of the team assisting her -LRB- hair - stylist , makeup artist , costume designer , etc. and Lena herself -RRB- laugh heartily when they finish setting her up with Goldie 's blonde long - hair wig with a fringe . And they stare , dumbfounded , when she is made - up as Audrey Hepburn in `` Breakfast at Tiffany 's '' or `` Sabrina '' . It 's a style that fits Lena like a glove . They are all fascinated by the change , except Judit , estranged and angered by their playfulness . -LRB- For Judit , Mateo is constructing his ideal woman . She finds all that playing around obscene and dangerous -RRB- .<\/scene_description>\n    <character>OFF HARRY<\/character>\n    <dialogue>Your mother did n't like Lena.<\/dialogue>\n    <scene_description>Judit watches Lena - Audrey with a fatalistic stare .<\/scene_description>\n    <character>OFF HARRY<\/character>\n    <dialogue>I, on the other hand, liked her a lot, and she liked me.<\/dialogue>\n    <scene_description>Mateo manifests his enthusiasm over the changes and Lena looks at him with excitement . She also feels transformed on the inside and that 's thanks to Mateo .<\/scene_description>\n    <character>OFF HARRY<\/character>\n    <dialogue>Ernesto Junior also liked me.<\/dialogue>\n    <scene_description>Ernesto Junior directs his camera lens toward Harry 's face , not hiding his admiration .<\/scene_description>\n    <character>OFF HARRY<\/character>\n    <dialogue>I was hoping to use him for my own ends. His father had asked him to make a documentary about the shooting.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>SCREENING ROOM, ERNESTO MARTEL SENIOR'S HOME. INT. DAY. OR<\/stage_direction>\n    <scene_description>NIGHT . 1994 Ernesto Senior is watching the make - up test , the hair - styling test , etc. , part of what we have already seen through the 16mm lens . The sound is chaotic , many people are always speaking at once .<\/scene_description>\n    <character>CONTINUED OFF HARRY<\/character>\n    <dialogue>As far as Ernesto Senior was concerned.<\/dialogue>\n    <parenthetical>( we observe him watching the projection uncomfortably . )<\/parenthetical>\n    <dialogue>I've never known a man more obsessed with a woman, except myself. He was producing the film out of a desperate attempt to not lose Lena. In the middle of this emotional quagmire, we began shooting. Your mother was present at every instant, her face like a sergeant's.<\/dialogue>\n    <scene_description>-LRB- End with a shot in 16mm of Judit . -RRB-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SHOOTING. THE SET OF \"GIRLS AND SUITCASES\". INT. EFFECT<\/stage_direction>\n    <scene_description>TO BE DETERMINED . 1994 Images from `` the making of '' shot by Ernesto Junior on 16mm , with high grain and contrast , mixed with direct images from the establishing shot of what is occurring . The look of Lena 's character is openly inspired by the Audrey Hepburn of `` Breakfast at Tiffany 's '' , with Sabrina 's hair style and loop earrings -LRB- fringe and ponytail -RRB- . She has also adopted the style of Holy Golithly , her kind heart and that urbane sophistication that characterizes modern girls from rural origins . The only difference is a more visceral quality , Pina -LRB- Lena 's character -RRB- is exalted and Mediterranean , nothing like Hepburn . Her wardrobe is that of a modern girl in ` 94 , she is a professional model for cosmetic products . One of her advertising photographs is framed and hangs on one of the walls of the loft where she lives . IN STUDIO - MADE KITCHEN , INSIDE THE COMPLEX `` PINA 'S LOFT '' . Pina , Lena 's character , is cutting tomatoes for a gazpacho , inside a beautiful and shiny kitchen . Pina is sad , probably thinking about `` all the times she has had gazpacho with Ivan , the absent lover '' . A tear drops from her face onto the knife with which she 's cutting the tomatoes . -LRB- In slow motion , one sees the collision of the tear with the knife , in a cut - in -RRB- . Hers is a subtly comic sadness . When she is done grinding up the tomatoes she takes a box of sedatives , which she is carrying in her apron 's pocket . She throws all the pills into the gazpacho . She keeps two or three for herself . -LRB- She may even say out loud , `` These are for me '' . -RRB- With a wooden spoon , she mixes the orange liquid , even though it only contains red tomatoes . The cut - ins are to be alternated with the `` making of '' of the cut - ins . As well as Mateo 's comments over the action , which instruct Lena how to react . The clap - board marks the end . It 's the fifth take . Mateo says `` Great '' . Lena almost screams with joy . Cut to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>ON THE OTHER SIDE OF THE SET. INT. DAY. 1994<\/stage_direction>\n    <scene_description>-LRB- Maybe on two random chairs from THE LOFT TERRACE , which are piled up with objects from the set , given that this is not where they will be shooting ; the chairs are next to the corral with the chickens and rabbits . -RRB- Seen through the 16mm camera : In the foreground , the team that 's preparing the next shot for the next sequence ; in the background , without being able to hear what they are saying , Mateo speaking to Lena . They are both holding a script in their hands . Mateo is giving her directions . Everything is very professional , but their demeanor radiates understanding , complicity and . a latent desire . They are not talking about anything personal . `` Now we will do the part where you return home , frustrated , after having left Ivan a note on his door . When you bump into Julieta . You just open this door , you look at the answering machine from afar . The machine has become some kind of monster to you . You are terrified of it . '' `` A Monster ? '' `` Yes . Your sanity depends on it . If the light blinks , it means there may have been a call . And if it does n't blink . you ca n't do anything but wait . and you lost your patience some time ago . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>ERNESTO SENIOR'S SCREENING ROOM. INT. 1994<\/stage_direction>\n    <scene_description>What Lena and Mateo are saying on the terrace , as captured by the `` making of '' by Ernesto Junior , is being seen and listened to by Ernesto Senior , in the screening room that he 's had installed in his own home . Next to him , a young female lip - reader -LRB- A girl of neutral aspect , but interesting , dressed as a glamour - less Russian . -RRB- is translating for Ernesto Senior what Lena and Mateo are saying , as if she were dubbing them . -LRB- The tone of her voice does not betray anything suspicious . Everything sounds strictly professional , a director and an actress who speak , in complicity , about their work . -RRB- They both appear contained , their attraction made more evident by what they hide than by what they show . Judit is present in all the shots of the setting up , including the ones where Mateo and Lena are in the background , as Mateo makes suggestions on how to add nuance to Lena 's performance . Judit appears solemn and always with an annoyed expression . Ernesto Senior feels sympathy for this woman . Cut to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>END OF THE WORK DAY. INTERIOR OF THE STUDIO. INT. DAY. 1994<\/stage_direction>\n    <scene_description>The team has just finished shooting a shot with Pina on the terrace , leaning over a railing , her back turned , waiting for Ivan . Mateo yells `` cut '' . And the Assistant sends the team away , until the next day . The Production team hands out the order for the next day , as if handing out the last edition of a newspaper with breaking news . Dispersal . The different teams disband and head toward the exit doors . Mateo crosses paths with Ernesto Junior .<\/scene_description>\n    <character>ERNESTO JUNIOR<\/character>\n    <dialogue>Are you going to work on something?<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>No. You may go.<\/dialogue>\n    <character>ERNESTO J.<\/character>\n    <dialogue>I do n't mind staying.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>It's best if you leave. I am going to try out some wigs.<\/dialogue>\n    <character>ERNESTO J.<\/character>\n    <dialogue>Wigs? I love wigs!<\/dialogue>\n    <character>MATEO<\/character>\n    <parenthetical>( Categorically . )<\/parenthetical>\n    <dialogue>No! You do n't love them! You already have many hours shot of wigs. This is more of the same.<\/dialogue>\n    <scene_description>Disappointed , Ernesto Junior says goodbye .<\/scene_description>\n    <character>ERNESTO J.<\/character>\n    <dialogue>And Lena?<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>After she tries on the new wigs, she's asked for a massage therapist, she has a spasm.<\/dialogue>\n    <character>ERNESTO J.<\/character>\n    <dialogue>Spasms. I do n't have footage of spasms. Could n't I shoot that?<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>Ernesto, stop being a pest and leave already! See you tomorrow!<\/dialogue>\n    <scene_description>Mateo speaks to him in a friendly tone , as if there were a warm rapport between them . He does so strategically , given that he thinks the boy is the plague . Ernesto Junior finally understands that there is nothing for him to do and disappears . And Mateo breathes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>WAREHOUSE HALLWAY AND HAIR &amp; MAKE-UP DRESSING ROOM. INT.<\/stage_direction>\n    <scene_description>DAY . 1994 Mateo accompanies Edurne , -LRB- the make - up artist and old flame , collaborator and accomplice in other films -RRB- , to discuss some detail of Lena 's hairstyle and makeup . They end up at the make - up and hair dressing room . Lena 's dressing room is just next door . She is there with one or two actors who are still hanging around . The rest have left . -LRB- The reason of the previous scene has been a pretext . They both know it -RRB-<\/scene_description>\n    <character>MATEO<\/character>\n    <parenthetical>( To Edurne . )<\/parenthetical>\n    <dialogue>I am going to speak to Magdalena. Do you mind being on the lookout? Do n't let anyone interrupt us.<\/dialogue>\n    <scene_description>The hairdresser gestures in accord .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>LENA'S DRESSING ROOM. INT. DAY. 1994<\/stage_direction>\n    <scene_description>Lena sees him enter , she glances at him ardently , not surprised to have him in her dressing room .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Is Junior around?<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>No. I sent him home. There's only Edurne, on watch.<\/dialogue>\n    <scene_description>Mateo approaches Lena and , without the slightest preamble , launches himself at her mouth , kissing her fervently . The impression is that they are about to devour each other . They separate as if to catch their breath , looking intensely into each other 's eyes . They tear each other 's clothes off -LRB- she 's in a robe -RRB- .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>This is madness, Mateo. I am no good for you.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>You should have warned me sooner.<\/dialogue>\n    <scene_description>There are no overtures . They devour each other , hungry . They make love on a small bed , as if they were on the edge of a precipice . Desire , contained by both during the past weeks , explodes and levels them . Neither one does anything to stop it . -LRB- A train passes by at high - speed , both images fuse , the lovers and the train across their bodies . -RRB- Fade to black . Ellipsis .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>ERNESTO SENIOR'S HOME. INT. NIGHT. 1994.<\/stage_direction>\n    <scene_description>Lena arrives late from the shooting , tired and satisfied . This is supposed to be another day , not the same day of the `` scene '' in the dressing room . Ernesto Senior awaits for her in the living room , in front of a muted television , with a drink in hand . -LRB- Perhaps the train will still be present , on the television screen . -RRB- Lena approaches him and kisses him .<\/scene_description>\n    <character>ERNESTO S.<\/character>\n    <parenthetical>( Ironic . )<\/parenthetical>\n    <dialogue>I did n't know one worked so hard in the movies.<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>( Smiles . )<\/parenthetical>\n    <dialogue>Well, yes, especially if you're a girl.<\/dialogue>\n    <character>ERNESTO S.<\/character>\n    <dialogue>Why if you're a girl?<\/dialogue>\n    <scene_description>Lena sits and takes a sip from his drink .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Because you must put on makeup.<\/dialogue>\n    <parenthetical>( and then remove it . )<\/parenthetical>\n    <dialogue>, dress up, do your hair. Get dressed again, do your hair again. And that takes hours.<\/dialogue>\n    <character>ERNESTO S.<\/character>\n    <dialogue>And you're not tired?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>At the end of the week, sure, but I'm happy.<\/dialogue>\n    <character>ERNESTO S.<\/character>\n    <dialogue>I was thinking we should take a break, a weekend. Just the two of us, alone. At the house in Ibiza, or in Paris. wherever you want. you and I.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>I ca n't travel until the shoot is over.<\/dialogue>\n    <character>ERNESTO S.<\/character>\n    <dialogue>I am talking about just a weekend.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>We rehearse on weekends.<\/dialogue>\n    <character>ERNESTO S.<\/character>\n    <dialogue>Do n't you also rehearse during the shooting?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ERNESTO S.<\/character>\n    <dialogue>What's going on, you spend all day rehearsing!<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>( Without losing her cool . )<\/parenthetical>\n    <dialogue>That's how one makes a movie!<\/dialogue>\n    <parenthetical>( thinking , `` you moron ! ''<\/parenthetical>\n    <parenthetical>, but she does n't say it . )<\/parenthetical>\n    <dialogue>.<\/dialogue>\n    <character>ERNESTO S.<\/character>\n    <dialogue>And everyone else's life? It ca n't be set aside for months!<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>The movie is boss.<\/dialogue>\n    <character>ERNESTO S.<\/character>\n    <dialogue>Excuse me, I'm the producer, so I'm the boss.<\/dialogue>\n    <scene_description>Cut to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>ON A SET IN MID-CONSTRUCTION, WITH CARPENTERS, PAINTERS,<\/stage_direction>\n    <scene_description>ETC. . INT . DAY . 1994 Mateo argues with the set designer over one of the sets . Distractedly , Judit waters the plants , real ones , of Pina 's fake terrace , some of them somewhat shriveled from being away from the sun for so long . Mateo is going to go complain to her about the set , but he notices that she is so worried and tired that he does n't say anything .<\/scene_description>\n    <character>MATEO<\/character>\n    <dialogue>You look awful.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Little Diego. he could hardly breathe all night. neither of us has slept a wink.<\/dialogue>\n    <character>MATEO<\/character>\n    <parenthetical>( Worried . )<\/parenthetical>\n    <dialogue>You still do n't know what it is?<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Some doctors say it's asthma, others that it's allergies, but we do n't know to what. They are still running tests, but it's driving me to the brink.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>Take all the time you need. Even if we're shooting, your son is more important.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <parenthetical>( Changing subjects . )<\/parenthetical>\n    <dialogue>One more thing, I've talked to the producer.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>And?<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>He complains that the shooting is monopolizing Lena.<\/dialogue>\n    <character>MATEO<\/character>\n    <parenthetical>( Exasperated and condescending . )<\/parenthetical>\n    <dialogue>And how does he think one makes movies?<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Ernesto is a businessman, not an artist.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>Then he should n't have signed up as a producer, no one asked him.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>I warned you! Ernesto Martel does n't give a crap about this movie and those of us making it, except for one person! This weekend he is taking her to Ibiza with him, so you wo n't be able to rehearse.<\/dialogue>\n    <scene_description>Mateo looks at her as if she had just slapped him . Mumbles :<\/scene_description>\n    <character>MATEO<\/character>\n    <dialogue>Son of a bitch!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>LUXURIOUS IBIZAN HOUSE. EXT AND INT. DAY. 1994<\/stage_direction>\n    <scene_description>Lena and Ernesto spend the weekend together , at an Ibizan house minutely decorated with ethnic details . The decoration , super - luxurious hippie , does not ring untrue to the Island 's aesthetic . Consider that Ernesto Senior and Lena are in the bedroom , on the bed , making love luxuriously . There 's no hurry , they pay careful attention to all the details . After the final sprint , they both come , satisfied . Or so it seems . Ernesto remains spent on the bed , motionless . Lena gets up and goes to the bathroom . She opens the faucet and lets the water run . Immediately , she is overtaken by vicious retching . On her knees , she vomits into the toilet . After she 's done vomiting she gets up and looks at herself in the mirror . She wipes off her mouth and closes the faucet . She looks very pale , the exertion from the vomiting is written on her face . Quickly , she puts some makeup on . Enough to bring some color back to her cheeks and to get rid of the bags under her eyes . Her eyes still glimmer from the tears she 's shed . More than in any other sequence , it is here that Lena reveals her talent as an actress . She exits the bathroom , wrapped in an elegant robe , a bit divine - hippie .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>BEDROOM IBIZAN HOUSE. INT. DAY. 1994<\/stage_direction>\n    <scene_description>Ernesto Senior is still lying in bed , recuperating . He gazes at her , love - struck .<\/scene_description>\n    <character>ERNESTO S.<\/character>\n    <dialogue>Have you put on makeup?<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>( Animated , without exaggeration .<\/parenthetical>\n    <parenthetical>A well - faked serenity . )<\/parenthetical>\n    <dialogue>I want you to find me pretty.<\/dialogue>\n    <character>ERNESTO S.<\/character>\n    <dialogue>To me, you always are! It's impossible that you would n't be pretty.<\/dialogue>\n    <scene_description>Lena sits on the bed , her back to Ernesto . He wraps his arm around her waist while she makes some typical girl - gesture : looks at her nails thinking of how she 'll fix them , looks into her pocket mirror and ponders the color of her hair , grabs a magazine on the nightstand and thumbs through it , calls her mother to see how she 's doing . Or , simplest of all , takes a cigarette out of its box , looks for the lighter , finds it and lights it . Everything is done sluggishly , she 's trying to take up as much time as possible .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Would you like a cigarette?<\/dialogue>\n    <character>ERNESTO S.<\/character>\n    <dialogue>No. thanks.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Do you know how many fucks we've had since we arrived yesterday?<\/dialogue>\n    <character>ERNESTO S.<\/character>\n    <parenthetical>( Smiles , like a champ . )<\/parenthetical>\n    <dialogue>Six?<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>( Also smiles . )<\/parenthetical>\n    <dialogue>Ten.<\/dialogue>\n    <character>ERNESTO S.<\/character>\n    <dialogue>With honours, yes?<\/dialogue>\n    <scene_description>Lena forces a smile , with her back to Ernesto .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Yes, I suppose so.<\/dialogue>\n    <scene_description>Ernesto Senior embraces her from behind and brings her toward him . He mumbles , affectionately :<\/scene_description>\n    <character>ERNESTO S.<\/character>\n    <dialogue>We have to take advantage of our time. We only have one more day left.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>ENTRANCE HALL, PINA'S LOFT. INT. DAY. 1994<\/stage_direction>\n    <scene_description>SHOOT . THE FOLLOWING MONDAY . Only the indispensable members of the team and the actors are clustered around the entrance hall and the elevator : A scene is being shot where Pina exits the elevator and walks through the entrance hall , in a hurry , toward the street . She bumps into Chus , the porter , who is holding two metal objects -LRB- A Robert Indiana `` LOVE '' , impressive and metallic , and a Gucci alarm clock in the shape of a G , the G is also metallic . -RRB- Chus stops her , almost by force . She is a very `` communicative '' woman and Pina attempts to get her off her back , as quickly as possible , without being rude to her . Chus shows her both objects , with a questioning look on her face .<\/scene_description>\n    <character>CHUS<\/character>\n    <dialogue>Look at what I've found on the sidewalk, they fell from your terrace.<\/dialogue>\n    <character>PINA<\/character>\n    <dialogue>They are gifts from Mr. Ivan and I tossed them out. He told me to keep them, but I do n't want them!<\/dialogue>\n    <character>CHUS<\/character>\n    <dialogue>But you ca n't do that, Ms. Pina. You could have killed somebody. You ca n't just throw things off the terrace, much less if they are metal.<\/dialogue>\n    <character>PINA<\/character>\n    <dialogue>In Naples, on New Year's Eve, they even throw out furniture, my grandfather was Neapolitan. I carry it in my blood.<\/dialogue>\n    <character>CHUS<\/character>\n    <dialogue>But this is not Naples, nor is today New Year's Eve.<\/dialogue>\n    <character>PINA<\/character>\n    <dialogue>I was anxious and throwing things relaxes me. Keep them if you like.<\/dialogue>\n    <character>CHUS<\/character>\n    <dialogue>Thanks so much, Ms. Pina. But that's not right.<\/dialogue>\n    <scene_description>Pina exits the entrance hall , leaving the porter mid - sentence , while the porter repeats , still , two more times .<\/scene_description>\n    <character>CHUS<\/character>\n    <dialogue>It's not alright, Ms. Pina.<\/dialogue>\n    <scene_description>The scene is very simple , but it must exude charm . Chus is a natural comic talent and Pina 's character must act with a flippancy that plays comically . At the same time , Lena is noticeably exhausted , both physically and emotionally . Instead of lending the text lightness , she brings it down . And she 's aware of it . For the first time , Mateo does not hide his annoyance as a director because the scene turns out badly , and as a lover because he is jealous of her weekend with Ernesto Senior . Lena can not stand to look at him , she ca n't bare his angered expression . Mateo takes her aside to a secluded corner of the set and away from the team .<\/scene_description>\n    <character>MATEO<\/character>\n    <parenthetical>( Serious . )<\/parenthetical>\n    <dialogue>Your tone is off, Magdalena.<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>( Very depressed . )<\/parenthetical>\n    <dialogue>I know.<\/dialogue>\n    <character>MATEO<\/character>\n    <parenthetical>( In a very low voice . )<\/parenthetical>\n    <dialogue>What's wrong?<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>( Whispers , on the brink of tears . )<\/parenthetical>\n    <dialogue>I'll tell you later.<\/dialogue>\n    <scene_description>Mateo gestures for the Assistant to come over . Lena still has her back toward the team . Mateo says something to the Assistant , who then says out loud for all to hear :<\/scene_description>\n    <character>ASSISTANT<\/character>\n    <dialogue>We break for thirty minutes, it's snack time!<\/dialogue>\n    <scene_description>Mateo meets with Lena in the darkest corner of the entrance hall .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>ERNESTO SENIOR'S HOME. SCREENING ROOM. INT. 1994<\/stage_direction>\n    <scene_description>Ernesto Senior must be intercut , watching in his screening room all that occurs at the shoot . Next to him , the lip - reader .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CONTINUED. ENTRANCE HALL.<\/stage_direction>\n    <scene_description>The members of the team slowly depart from the entrance hall . They take the opportunity to grab a bite or get some air , they gather close to the trucks or next to the catering . All except Ernesto Junior who remains inside and hides furtively behind a styrofoam panel , somewhat removed from the couple , who can not see him . Mateo looks all around to ensure that they are alone .<\/scene_description>\n    <character>MATEO<\/character>\n    <parenthetical>( With urgency . )<\/parenthetical>\n    <dialogue>What's happened?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>I've had a horrible weekend.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>But. we have n't rehearsed, so that you could rest!<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Rest? I have n't slept a wink all weekend.<\/dialogue>\n    <parenthetical>( Sighs , on the brink of tears . )<\/parenthetical>\n    <dialogue>It's been a nightmare!<\/dialogue>\n    <scene_description>Mateo once again ascertains that there is no one in the entrance hall . He hands her a Kleenex so that she may wipe her tears .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>I have literally had Ernesto on top of me, all those forty - eight hours, like a leech!<\/dialogue>\n    <parenthetical>( repulsed expression . )<\/parenthetical>\n    <dialogue>He has not given me a second to breathe, the asshole!<\/dialogue>\n    <scene_description>Mateo grabs her by the arm and takes her up the stairs to an apartment that the production company has rented in the same building .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>ERNESTO SENIOR'S SCREENING ROOM. INT. 1994<\/stage_direction>\n    <scene_description>Ernesto Senior hears the entire conversation from the lips of the lip - reader . A stony expression on his face . The `` reader '' repeats the dialogues in an unexpressive tone , which makes them sound even more dramatic and painful . Cut to . Fade to black .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>ON THE SET OF PINA'S LOFT. FLASHBACK. INT. 1994<\/stage_direction>\n    <scene_description>A DIFFERENT DAY . Returning from black . Various shots of Pina 's loft . Everything seems chaotic , typical of the end of the work day . The furniture is out of place , silverware and plastic is all mixed together with electrical material and stage equipment . The warehouse lights begin to shut off . The team disbands . On her way to the dressing room , Lena tells Ernesto Junior that she is headed to her yoga class , as she does every day . And that she wants to go alone .<\/scene_description>\n    <character>ERNESTO JUNIOR<\/character>\n    <dialogue>My father asks me why it is that I do n't go with you to yoga, he asks me all the time.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Well, you tell him that I am a grown - up now, and free, and that I've forbidden you to follow me.<\/dialogue>\n    <character>ERNESTO JUNIOR<\/character>\n    <dialogue>You know I ca n't tell him that.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Try it. It would do you good.<\/dialogue>\n    <character>ERNESTO JUNIOR<\/character>\n    <dialogue>I ca n't.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Do as you wish, but you're not coming with me.<\/dialogue>\n    <scene_description>And she leaves him behind . Ernesto Junior watches her walk away , disoriented . He always has a tripod attached to his camera , as in `` Peeping Tom '' .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>STREET, MATEO'S HOME. EXT. NIGHT.1994.<\/stage_direction>\n    <scene_description>It 's the fist time we see this setting : the entrance of the building where Mateo lives . Almost all the windows are darkened . It 's midnight . We watch this sequence through the 16mm camera , situated just in front of the building 's doorway . We watch as Mateo appears on the sidewalk , walking toward the building 's doorway . In front of the building , in the main narrative , we see Ernesto Junior filming with his 16mm camera . He is hiding behind a bush , or cloaked by a tree 's shade . Either way , Mateo does not discover him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>ERNESTO MARTEL'S MANSION. LIVING ROOM. NIGHT. 1994.<\/stage_direction>\n    <scene_description>LOWER LEVEL At the same time that the former is taking place , Lena arrives to Martel 's mansion . She finds Ernesto Senior with a drink in his hand , in one of the living areas -LRB- or playing the piano -RRB- , she approaches him and gives him a slight kiss on the lips , in a gesture of hello .<\/scene_description>\n    <character>ERNESTO SENIOR<\/character>\n    <parenthetical>( Quotidian and tranquil , an unexpected demeanor for a character of his temperament . )<\/parenthetical>\n    <dialogue>How are you?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Good, tired.<\/dialogue>\n    <character>ERNESTO SENIOR<\/character>\n    <dialogue>And relaxed.<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>( On guard . )<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <character>ERNESTO SENIOR<\/character>\n    <dialogue>The yoga is doing you good, is n't it?<\/dialogue>\n    <scene_description>Lena catches Ernesto 's allusion , but she pretends she has n't . She demonstrates her control over herself and her cold determination .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Yes, especially after work.<\/dialogue>\n    <character>ERNESTO SENIOR<\/character>\n    <dialogue>I am going to snack on something. Will you join me?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>I am not hungry, I'd rather go to bed right now. I'll only have a yogurt.<\/dialogue>\n    <scene_description>Lena climbs up the long staircase , heads directly for her room . Ernesto listens to her steps as they recede . His ironic tranquility disappears and gives way to a furious expression . Fade to black .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>FRONT ENTRANCE, MATEO'S HOME. EXT. NIGHT. 1994.<\/stage_direction>\n    <scene_description>From black . -LRB- A different day . -RRB- Framed by the window to Mateo 's living room seen from the street , one observes the bottom halves of Mateo 's and Lena 's bodies , as they move around the apartment . Only half of their body is visible because the roman shades are halfway drawn . -LRB- One gets the impression that Mateo is showing her around the house -RRB- . They say goodbye . We see all this through a 16mm camera . Without a pause in the shooting we realize that the person carrying the camera crosses the street and waits outside of the front door to Mateo 's building .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>FRONT DOOR TO MATEO'S BUILDING. NIGHT. EXT. 1994<\/stage_direction>\n    <scene_description>Lena exits through the door . The second she discovers the camera , she confronts it .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Ernesto, what are you doing here?<\/dialogue>\n    <character>ERNESTO JUNIOR<\/character>\n    <dialogue>Working.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Turn that off, you idiot! Has n't Mateo forbidden you to tape us outside the shooting?<\/dialogue>\n    <scene_description>Not far from them there is a garbage truck that is making horrendous noises and makes it difficult to hear what they are saying . The truck gets closer and the noises louder so that Ernesto Junior and Lena must scream back and forth at each other .<\/scene_description>\n    <character>ERNESTO JUNIOR<\/character>\n    <dialogue>My father has told me not to listen to him. he wants to see everything.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>You both have no scruples!<\/dialogue>\n    <character>ERNESTO JUNIOR<\/character>\n    <dialogue>Remember I am taping you.<\/dialogue>\n    <scene_description>Lena throws herself at Ernesto Junior and attempts to take the camera from him . They struggle -LRB- the camera continues shooting , the images move around , dizzyingly -RRB- . Ernesto Junior manages to break free from Lena . They are both out of breath . Ernesto backs up a few steps in order to frame Lena again and so that he can focus her image . Lena could take off running , but instead she stays right where she is ; she lets Ernesto bring her into focus and frame her correctly , while she fixes her hair . She looks straight at the camera :<\/scene_description>\n    <character>LENA<\/character>\n    <parenthetical>( In a barrage . )<\/parenthetical>\n    <dialogue>Listen carefully, Ernesto. Yes, I am talking to you.<\/dialogue>\n    <parenthetical>( She points toward Mateo 's house . )<\/parenthetical>\n    <dialogue>I was just with the man I love and I am the happiest I've been all my life because he loves me too!<\/dialogue>\n    <parenthetical>( screams . )<\/parenthetical>\n    <dialogue>And listen carefully, Ernesto! I will let you be very soon! There is no need to spy on me. There is nothing left to hide!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>PRIVATE SCREENING ROOM, ERNESTO SENIOR'S MANSION. INT. DAY.<\/stage_direction>\n    <scene_description>1994 -LRB- We see this at the same moment it 's happening . -RRB- The next day , Ernesto Senior is watching the previous night 's scene on the screen of his private projection room . We discover this when he is halfway into it ; the images pick the action up at the point when Lena exits Mateo 's house and confronts the camera , right after she has attempted to grab the camera away from Ernesto Junior . The shots in 16mm alternate with the shots in 35mm that belong to the main narrative . The sound is uproarious , we can hear what they say in a low volume , just as reference . Ernesto asks for the sound to be muted so that the `` translator '' can do her job . The `` lip reader '' tries , as usual , to be `` neutral and inexpressive '' , but on this occasion she can not help but have the violence of the scene affect her . She acts as a mere vehicle , not part of the conflict ; nonetheless , she gets a little nervous . She is seated next to the volcano : Ernesto Senior , stony , frozen , silent , and about to explode .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CONTINUED. SAME LOCATION.<\/stage_direction>\n    <scene_description>Just a little earlier , right before the dizzying images appear on screen , those caused by Lena 's attempt to remove the camera from Ernesto Junior 's hands : On the opposite end of where the screen is , behind the back of both Ernesto and the translator , a door opens . Lena appears . She watches the scene that is unfolding on screen as she lets her voice rise to her mouth . -LRB- The entire dialogue in which she has addressed Ernesto Senior directly is seen during the action taking place in the projection room , not on the street . -RRB- At first , her voice overlaps with that of the translator , who becomes instantly silent and turns her head toward the door where Lena is standing . Lena is dubbing herself .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>I was just with the man I love and I am the happiest that I've been all my life because he loves me too! And listen carefully, Ernesto! I will let you be very soon! There is no need to spy on me. I do n't have anything left to hide!<\/dialogue>\n    <scene_description>The translator watches Lena and Ernesto Senior , who is still motionless , watching the screen . On screen , we see Lena walking , her back turned , for a good stretch . With an equal obsession , she is followed down the street by the son and in the screening room by the father .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>LENA'S BEDROOM, ERNESTO'S MANSION. DUSK FALLING. 1994<\/stage_direction>\n    <scene_description>An avalanche of snow , on the television screen . -LRB- Some short shots of both ice and whisky as they fall into a tall glass function as an ellipsis between one scene and the next -RRB- . Lena paces around anxiously in her bedroom . She attempts to focus on a fashion magazine , but is unsuccessful . She takes a deep breath , makes a decision . She opens the closet and takes out a small , weekend suitcase . She fills it with her most indispensable clothes . She exits her bedroom , on the top floor . In the hallway , only a few meters separate the door to her bedroom from the stairway . There is a small landing just before the top of the stairs , it has a small table against the wall , a beautiful vase with flowers , a mirror and two small sofas on either side of the small table . Ernesto is seated on one of them , holding a glass of whisky in his right hand . It can not be the first he 's had . One could say he 's been waiting some time now for Lena 's exit , a bottle and an icebox keeping him company . Lena walks a few steps . Se approaches Ernesto , but keeps her distance . She speaks to him in passing .<\/scene_description>\n    <character>LENA<\/character>\n    <parenthetical>( Suitcase in hand . )<\/parenthetical>\n    <dialogue>I am leaving, Ernesto. I am leaving you.<\/dialogue>\n    <character>ERNESTO SENIOR<\/character>\n    <parenthetical>( Cold , drunk , contemptuous . )<\/parenthetical>\n    <dialogue>You are not going anywhere.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>And how will you stop me?<\/dialogue>\n    <scene_description>-LRB- Every single one of the words in this dialogue sounds laded and slow -RRB- No sooner has she said it than Lena realizes that it has been an unnecessary provocation . But it 's too late to take back what 's been said . Ernesto Senior shoots her a deathly look . But then gets up and changes his expression to calm her .<\/scene_description>\n    <character>ERNESTO S.<\/character>\n    <parenthetical>( Pleading . )<\/parenthetical>\n    <dialogue>Lena, please.<\/dialogue>\n    <scene_description>One more time , Ernesto begs forgiveness , but Lena does n't want to see him or hear him . She turns and begins to descend the stairs . The first step . Ernesto approaches her slowly , from behind . He is still pleading , as in a litany : `` Lena , please '' . `` Lena . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CONTINUED. ON THE STAIRWAY.<\/stage_direction>\n    <scene_description>But Lena keeps her back to his supplication , descends one more step , her second one . Suddenly , without any change in his expression , Ernesto pushes her with a quick and unexpected movement of his arm . Lena loses her balance and falls , rolling , bouncing violently against the edges of the steps until her whole body hits the floor at the foot of the stairs . During the time the fall takes , Ernesto does n't move , he watches her fall , bump by bump . He waits until she 's on the floor and she casts him a fulminating glance , before he reacts .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CONTINUED.<\/stage_direction>\n    <scene_description>Lena lands on the floor , broken and stunned by the blows . She lifts her head and attempts to move , but ca n't . Ernesto descends quickly and comes to her side . He begs , calmly , without violence , for her not to move . Lena can not stand , her battered body only allows her to drag herself toward the door , like a reptile . Ernesto takes her , delicately , in his arms . Lena gazes at him in horror .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>PUERTA DE HIERRO MANSION. LAWN. EXT. NIGHT. 1994<\/stage_direction>\n    <scene_description>He exits into the night , onto a green lawn , with the woman in his arms , they look like two newlyweds . The dogs , disconcerted , follow them in procession , they intuit that something is not right . Once inside the car -LRB- none of the hired help is there that night -RRB- , he opens the gate from the inside and exits onto the highway .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>HIGHWAY. EXT. NIGHT. 1994.<\/stage_direction>\n    <scene_description>Lena is lying on the back seat , pale and in pain , but she 's not complaining . Ernesto is driving faster than 180 Km\/hr . He alerts a pair of patrolmen . When he realizes he 's being followed , he increases his speed . The patrolmen signal with their lights for him to stop on the curb , but Ernesto Martel ignores their signal until the police car catches up to him and forces him to stop .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A DIFFERENT SEGMENT OF THE HIGHWAY. EXT. NIGHT. 1994<\/stage_direction>\n    <scene_description>The two patrolmen get out of their vehicle and head , enraged , toward Ernesto . They gesture for him to lower his window . Ernesto lowers the window , relaxed , despite the situation . The two patrolmen , especially the one who calls the shots , recriminate him , their voices raised , for all the infractions he has just committed . They are very agitated and they quickly notice the high level of alcohol emitted by the driver 's breath . Knocked out on the back seat , Lena observes the whole scene . Her face is contorted with pain and anxiety . -LRB- A river of cars continues to pass nearby . -RRB- Using a nasty tone , one of the policemen asks Ernesto for his documents . The following conversation takes place while the policemen verify the vehicle 's documents . Ernesto explains to them with a common sense that 's disarming :<\/scene_description>\n    <character>ERNESTO SENIOR<\/character>\n    <dialogue>We have to get to the hospital. My wife is badly hurt.<\/dialogue>\n    <scene_description>Lena moans in affirmation . The Policeman takes a look inside the car , in order to ascertain that she is indeed not faking it .<\/scene_description>\n    <character>POLICEMAN<\/character>\n    <dialogue>What's happened?<\/dialogue>\n    <character>ERNESTO<\/character>\n    <dialogue>I was in the living room and, since we were n't planning to go out, I started drinking early. I am pretty drunk, as you may notice. Suddenly, I heard a thump, I ran to the stairs and there she was. She tripped and fell down the stairs.<\/dialogue>\n    <character>POLICEMAN<\/character>\n    <dialogue>Is this true, Madam?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Yes. Ca n't you leave the paperwork for later?<\/dialogue>\n    <character>POLICEMAN<\/character>\n    <dialogue>Your husband ca n't drive in this condition!<\/dialogue>\n    <character>ERNESTO SENIOR<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <scene_description>Ernesto attempts to start the car , but the other policeman stops him .<\/scene_description>\n    <character>POLICEMAN<\/character>\n    <dialogue>You're crazy!<\/dialogue>\n    <scene_description>Lena moans inside the car . She may even start crying .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Please!<\/dialogue>\n    <scene_description>She says this to the two men .<\/scene_description>\n    <character>POLICEMAN<\/character>\n    <dialogue>Get out of there! I will drive!<\/dialogue>\n    <character>ERNESTO S.<\/character>\n    <dialogue>Absolutely not!<\/dialogue>\n    <character>POLICEMAN<\/character>\n    <dialogue>You either let me drive or we all stay here until the ambulance arrives!<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>( To Ernesto . )<\/parenthetical>\n    <dialogue>Stop it, Ernesto! Let him drive!<\/dialogue>\n    <character>POLICEMAN<\/character>\n    <parenthetical>( To Ernesto , paternalistic and contemptuous . )<\/parenthetical>\n    <dialogue>Get down and sit in the back, with your wife!<\/dialogue>\n    <character>ERNESTO S.<\/character>\n    <parenthetical>( Threatening . )<\/parenthetical>\n    <dialogue>If anything happens.<\/dialogue>\n    <parenthetical>( referring to Lena . )<\/parenthetical>\n    <dialogue>, you better be ready. You have no idea who I am!<\/dialogue>\n    <scene_description>Taking his time , Ernesto vacates the driver 's seat and sits in the back , next to Lena .<\/scene_description>\n    <character>POLICEMAN<\/character>\n    <dialogue>I will pretend that I did n't hear you. I will also pretend I noticed neither how drunk you are nor your affronts to authority, Mr. Martel.<\/dialogue>\n    <scene_description>Sulking and with an alcohol - driven affection -LRB- and casual -RRB- he asks<\/scene_description>\n    <character>ERNESTO S.<\/character>\n    <dialogue>Are you all right?<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>( Screams . )<\/parenthetical>\n    <dialogue>No!<\/dialogue>\n    <parenthetical>( to the policeman . )<\/parenthetical>\n    <dialogue>And could we get.<\/dialogue>\n    <parenthetical>( the fuck . )<\/parenthetical>\n    <dialogue>going?!<\/dialogue>\n    <scene_description>The policeman gets the car moving and his partner follows them in the patrol car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>HOSPITAL ENTRANCE. EXT. NIGHT. 1994<\/stage_direction>\n    <scene_description>Ernesto 's car , driven by the patroleman , arrives to the entrance of a hospital . Cut to . Immediately , at the Emergency Room , some male nurses arrive with a stretcher .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>HOSPITAL. INT. NIGHT. 1994<\/stage_direction>\n    <scene_description>X - Rays of arms , legs and head , along with all other routine tests , in short shots . A broken leg . Various contusions . A cast must be applied . The image of the X - Ray takes up the whole screen . We may hear the nurses giving instructions . `` Do n't move '' , `` Do n't breathe '' , etc. .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>HOSPITAL. INT. NIGHT. 1994<\/stage_direction>\n    <scene_description>The last thing we see is the X - ray of the head , which dissolves over Lena 's head and face as she asks a nurse for the telephone , telling her that she needs to make an urgent phone call . Ernesto censures her with his look . Once the last X - ray has been taken , the nurse brings her a supplementary handset and plugs it in . She hands the handset to Lena .<\/scene_description>\n    <character>ERNESTO<\/character>\n    <dialogue>You really ca n't wait?<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>( Defiant . )<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Ernesto looks at her not knowing what to expect . Nonetheless , he remains seated next to her . Lena does n't react , she does n't care if he overhears the conversation , she almost wants him to . The brutal beating to which she has been victim is an inescapable reality that gives her an edge over Ernesto , an edge of which she intends to take advantage . She is wounded , but she is no longer afraid of him . She rings Mateo 's number . They greet each other .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Hello, Mateo?<\/dialogue>\n    <character>OFF MATEO<\/character>\n    <dialogue>What's going on? Are you not coming?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Not tonight.<\/dialogue>\n    <character>OFF MATEO<\/character>\n    <dialogue>Has something happened?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Something unexpected has happened, but do n't worry, everything's OK.<\/dialogue>\n    <character>OFF MATEO<\/character>\n    <dialogue>Tomorrow the shooting begins in the afternoon, will I see you before then?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>I wo n't be able to. I will see you directly at the studio. I have something to do.<\/dialogue>\n    <character>OFF MATEO<\/character>\n    <parenthetical>( Worried . )<\/parenthetical>\n    <dialogue>You're acting strange, Magdalena. Are you sure nothing's wrong?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Yes. I'll see you tomorrow.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>THE NEXT DAY. PUERTA DE HIERRO MANSION. ON THE LAWN.<\/stage_direction>\n    <scene_description>DAY . 1994 Ernesto Senior 's car arrives at the Puerta de Hierro Mansion . Various members , three or four , of the Mansion 's personnel approach to help the couple . Lena exits the car with her leg covered in a cast up to her knee . She leans on crutches or a cane . Cut to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>MANSION. GROUND FLOOR. INT. DAY. 1994.<\/stage_direction>\n    <scene_description>The group gathers in the living room of the ground floor . Ernesto asks the help to bring them something and then to leave them alone . Cut to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>MANSION. GROUND FLOOR. INT. DAY. 1994<\/stage_direction>\n    <scene_description>A table set ad hoc . Lena is sitting in front of her breakfast -LRB- or lunch -RRB- , sullen , pale , implacable , she does n't move a single muscle of her massacred face . Ernesto Senior is all sweetness toward his victim . Lena begins to pick at her food , listless , in silence , in order to keep her mouth and eyes occupied .<\/scene_description>\n    <character>ERNESTO SENIOR<\/character>\n    <parenthetical>( Begs , sincerely . )<\/parenthetical>\n    <dialogue>What would you like me to do? What can I do so that you will forgive me?<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>( Seriously . )<\/parenthetical>\n    <dialogue>Take me to the studio.<\/dialogue>\n    <character>ERNESTO SENIOR<\/character>\n    <dialogue>You should n't move.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>If you do n't take me, I'll go there myself, even if I have to drag myself.<\/dialogue>\n    <scene_description>Her face is still covered in bruises , on her cheekbone and around her eyes . At some point someone from the hired help appears : `` Sir , Madam , do you need anything else ? '' . `` No , you can leave us alone , I have already told you this , for God 's sake ! '' Ernesto Senior responds . The servant quickly vanishes . Lowering his tone :<\/scene_description>\n    <character>ERNESTO SENIOR<\/character>\n    <dialogue>And what will you say? how will you explain the cast on your leg and the bruises?<\/dialogue>\n    <scene_description>Lena appears implacable throughout the conversation .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>It's up to you.<\/dialogue>\n    <character>ERNESTO SENIOR<\/character>\n    <dialogue>To me? I will do whatever you ask, as long as you promise you'll stay with me.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>I will stay, under the condition that you let Mateo finish the shooting, according to what he decides.<\/dialogue>\n    <character>ERNESTO SENIOR<\/character>\n    <dialogue>He will barrage you with questions, that guy's not stupid.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>I will tell him I tripped.<\/dialogue>\n    <character>ERNESTO SENIOR<\/character>\n    <dialogue>And how will you shoot, if you ca n't walk?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>I do n't know. Whatever Mateo decides, but I want to rest assured that you will respect his decision, no matter the cost nor the time that it will take. Is that clear?<\/dialogue>\n    <scene_description>Ernesto Senior hates to negotiate under predetermined limitations . He weighs out his options and realizes that Lena has the upper hand .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>WAREHOUSE, SHABBY STUDIO. EXT. INT. DAY. 1994<\/stage_direction>\n    <scene_description>They enter the warehouse , temporarily turned into a studio . -LRB- The darkness is almost absolute . A huge door opens . The silhouettes of Ernesto Senior and Lena , on a wheelchair , enter . -RRB- The dark , vast space is pierced by the blinding light of a doorway , which both frames and silhouettes the figures of Ernesto and Lena , like cut - outs ; creating a powerful image . Epic and terrible . They bump into some of the members of the team , who begin their work day , slothfully . When Mateo discovers the pair , he approaches them immediately . Cut to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>MATEO'S OFFICE, IN THE WAREHOUSE TURNED STUDIO. INT. DAY.<\/stage_direction>\n    <scene_description>1994 Mateo is seated at a casual table . The entire decoration of the office is casual and chaotic , not luxurious , austere , nothing like Lena 's dressing room . An enormous drip eats away at one of the corners of the room . Lena is sitting across from him , on a wheelchair , and seated on an ugly armchair , Ernesto Senior . Judit is also present , she 's standing . They have just finished talking . Lena has told the version that she and Ernesto Senior agreed on .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>And that's it.<\/dialogue>\n    <scene_description>Mateo looks at them in disbelief . Judit , still as a statue , waits for the others ' reactions . Lena breathes , expectantly . And Ernesto Senior looks uncomfortable and insecure , he is used to being the one who calls the shots ; the inverse role , that of listener , disorients him and puts him in a bad mood .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Ernesto is prepared to support whatever you decide.<\/dialogue>\n    <character>MATEO<\/character>\n    <parenthetical>( Containing his rage . )<\/parenthetical>\n    <dialogue>Decide, what?! I ca n't move from one shot where you are walking normally to another one where you are wearing a cast! How long must you wear the cast?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Three weeks.<\/dialogue>\n    <scene_description>Mateo lets out a huff .<\/scene_description>\n    <character>JUDIT<\/character>\n    <parenthetical>( To Ernesto Senior . )<\/parenthetical>\n    <dialogue>Can we stop for those three weeks? With pay for the team, of course.<\/dialogue>\n    <character>ERNESTO S.<\/character>\n    <dialogue>If there is no other option!<\/dialogue>\n    <character>MATEO<\/character>\n    <parenthetical>( A bit agitated . )<\/parenthetical>\n    <dialogue>I hate stopping! Movies, when you pick them back up, are no longer the same!<\/dialogue>\n    <scene_description>Looks at Judit and Ernesto Senior .<\/scene_description>\n    <character>MATEO<\/character>\n    <parenthetical>( Dryly . )<\/parenthetical>\n    <dialogue>Do you mind if I speak to Lena alone for a moment?<\/dialogue>\n    <scene_description>It 's not a question but a demand . Judit shoots him a look of recrimination , as if saying `` This is not the moment for that '' , but she can not do anything to stop him . Ernesto Senior is also not pleased -LRB- but he knows he can not say no , and this irritates him even more -RRB- . He glances first at Lena , who orders him with her own glance to accept , and then looks at Judit , who warmly invites him to exit with her . For some reason , Ernesto Senior empathizes with that woman .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>WAREHOUSE, SHABBY STUDIO. NEXT TO MATEO'S DRESSING ROOM.<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY. 1994<\/stage_direction>\n    <scene_description>Judit and Ernesto Senior exit the office and hang around not far from to the door . They smoke , perhaps . They are both restless . They look at each other as if seeking some kind of understanding , despite their differences . And they find it . They are joined by their jealousy . At the other end of the warehouse , like a mirage amongst the shadows , Pina 's loft appears , majestic , ramshackle and mysterious . Ernesto contemplates it without understanding it , but is affected by its presence . He is unable to understand the essence of this make - belief game , but it 's the first time he begins to grasp its hermetic fascination .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>MATEO'S OFFICE. WAREHOUSE, SHABBY STUDIO. INT. DAY. 1994<\/stage_direction>\n    <scene_description>Mateo lifts her skirt in an attempt to see how far up the cast goes . On the white skin of her thighs , like in an uneven print , various asymmetrical bruises stand out . Mateo touches with his lips on every one of them , kissing them delicately . Lena shudders .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Be careful, he may walk in.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>Let him walk in!<\/dialogue>\n    <scene_description>And he continues kissing her thighs until he comes close to her pubis . Lena lifts and\/or caresses his head . Mateo lifts it to look at her .<\/scene_description>\n    <character>MATEO<\/character>\n    <dialogue>Tell me the truth! People do n't fall down the stairs, that only happens in movies.<\/dialogue>\n    <scene_description>Lena avoids giving a direct answer , but in her own way , she lets him know , somberly and urgently .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Mateo, we must finish the shooting as soon as possible! Until then, I can not leave Ernesto.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>Why not? He's a psychopath! What more proof do you need?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>I can not leave, I've made a deal with him.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>A deal? What deal?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue \/>\n    <scene_description>I have promised to stay in his house in exchange for his letting you finish the film , under your conditions .<\/scene_description>\n    <character>MATEO<\/character>\n    <dialogue \/>\n    <scene_description>But I can not ask you for such a sacrifice .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue \/>\n    <scene_description>You have not asked me .<\/scene_description>\n    <character>MATEO<\/character>\n    <dialogue \/>\n    <scene_description>I ca n't accept it either .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue \/>\n    <scene_description>-LRB- Pleads -RRB- Mateo , please !<\/scene_description>\n    <character>MATEO<\/character>\n    <dialogue \/>\n    <scene_description>There must be another answer .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue \/>\n    <scene_description>What else ? The only solution is that I continue to live with him until you finish the film .<\/scene_description>\n    <character>MATEO<\/character>\n    <dialogue \/>\n    <scene_description>Can you take it ?<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue \/>\n    <scene_description>You do n't have to think about that . What 's important is that you finish shooting .<\/scene_description>\n    <character>MATEO<\/character>\n    <dialogue \/>\n    <scene_description>Exactly what have you agreed to ?<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue \/>\n    <scene_description>I 've told you , to live under the same roof , with him in his room and me in mine . He does n't have the right to anything more .<\/scene_description>\n    <character>MATEO<\/character>\n    <dialogue \/>\n    <scene_description>And you think he will be content with that ?<\/scene_description>\n    <character>LENA<\/character>\n    <parenthetical>( Angst - ridden . )<\/parenthetical>\n    <dialogue>I do n't know. but the sooner you finish shooting, the better! Come up with a reason not to pause!<\/dialogue>\n    <scene_description>Mateo goes over the story in his head , desperately attempting to think of something . Lena observes him , expectantly . Finally , something seems to hit him .<\/scene_description>\n    <character>MATEO<\/character>\n    <parenthetical>( Unenthusiastic . )<\/parenthetical>\n    <dialogue>We would have to repeat part of the stairway scene.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>SHOOTING AT THE STAIRWAY. STAIRWAY LANDING, IVAN'S HOUSE.<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAY. 1994<\/stage_direction>\n    <scene_description>-LRB- Taking up the whole screen , we see the scene through the Moviola , with the texture of a bad copy , streaks , grain , etc. . The solution Mateo has proposed is to repeat the last part of the sequence . On the surface of the Moviola screen , the reflection of Mateo 's face is barely visible over the first set of images screened . -RRB- A wooden landing and stairway in a building of the old Madrid . At its center , an elevator , also antique . Pina has just left a note for Ivan on the door to his study asking him to please call on her , that she needs to speak to him urgently , that something unexpected has come up . -LRB- She is dressed as she was when she came out of the entrance hall in the previous scene with Chus . This sequence is supposed to be the one that follows it . -RRB- She has just left the note when Julieta appears , she is dressed conventionally , but with some extravagant detail , something that garners attention . She bumps into Pina by the elevator , Pina does not know her . Julieta knocks on the studio 's door -LRB- just as Pina had done earlier -RRB- , she does n't get an answer . She notices the note that Pina has just affixed on the door . She takes it down and reads it , much to Pina 's bafflement , who has been watching her from the other side of the landing . After reading it , Julieta crumples it up . Pina can not believe it . She remains motionless on the other side of the landing , because she does n't trust the eccentric looking woman .<\/scene_description>\n    <character>PINA<\/character>\n    <parenthetical>( Indignant . )<\/parenthetical>\n    <dialogue>Leave that note there! It's not for you. How dare you take it and crumple it?<\/dialogue>\n    <scene_description>Julieta throws the crumpled note through the gap in the stairway and looks condescendingly at Pina while she approaches her , prepared to walk down the stairs .<\/scene_description>\n    <character>JULIETA<\/character>\n    <dialogue>What do you have to speak to Ivan about, you whore!<\/dialogue>\n    <character>PINA<\/character>\n    <dialogue>It's none of your business.<\/dialogue>\n    <character>JULIETA<\/character>\n    <dialogue>I am his wife.<\/dialogue>\n    <character>PINA<\/character>\n    <dialogue>His wife has been admitted at a psychiatric hospital for twenty years now.<\/dialogue>\n    <character>JULIETA<\/character>\n    <dialogue>Not anymore.<\/dialogue>\n    <scene_description>UP TO THIS POINT WE WATCH THE SEQUENCE THROUGH THE IMAGE - TEXTURE OF THE MOVIOLA AND THE REFLECTION OF MATEO 'S FACE . -LRB- These images are what will be retained from what had been shot previously . -RRB-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SHOOTING AT THE STAIRWAY. CONTINUED.<\/stage_direction>\n    <scene_description>Pina makes a gesture as if to say : `` So you are the ex - wife , the crazy one . '' Pina and Julieta begin to descend the stairs .<\/scene_description>\n    <character>JULIETA<\/character>\n    <parenthetical>( Repeats . )<\/parenthetical>\n    <dialogue>I am no longer committed. I am now here with you. Walking down the stairs.<\/dialogue>\n    <scene_description>Pina looks at her apprehensively . She steps down only one stair .<\/scene_description>\n    <character>JULIETA<\/character>\n    <dialogue>You are in a hurry to see him, are n't you?<\/dialogue>\n    <character>PINA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>JULIETA<\/character>\n    <dialogue>Well, what are you waiting for!<\/dialogue>\n    <scene_description>She pushes her and Pina falls , rolling all the way to the bottom . Cut to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>WAREHOUSE, SHABBY PLATEAU. VARIOUS SPACES. 1994<\/stage_direction>\n    <scene_description>Images that indicate the passing of time during the shooting . Short sequences of the minute work done by each of the teams , as if assembling ballet pieces , all of it accompanied by a musical score : The D.P. sets up the lighting for the shoot , the bulbs are lit , the filters applied , the interior of the camera cleaned , the film is loaded . The atmosphere is set . Pina in her bedroom , lying on the bed , with one leg in a cast , is relaxing , breathing deeply . The actress playing Chon jokes around with the costume team , they laugh . But no one pays attention to the others . Edurne , in a close - up , retouches one of Pina 's eyes . The mouth as well . Chon stops laughing so that the hair - stylist may shape her hair . All the images are very brief . The score predominates , the ambient sounds of the activities of the different teams is heard more like a whisper . The scene must not last longer than a minute . This set of images serves to abridge time and to indicate that the shooting is in its final days , after a long journey . There will probably not be many images , but less : the bulb that lights , Lena 's eye as Edurne retouches it , its blinking , its sadness . Chon 's mouth as she speaks without pause , stopping only when lipstick is added . The film loaded , the hair fluffed . Lena lying on the rug in her dressing room , totally motionless , her eyes made - up and closed , doing breathing exercises for relaxation , her leg in a cast , etc. . Motor . Action !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>WAREHOUSE STUDIO. PINA'S LOFT. 1994<\/stage_direction>\n    <scene_description>SCENE FROM `` GIRLS AND SUITCASES '' The doorbell rings in the loft . Pina limps over to the door . She looks through the metal peephole , its design creates an optical illusion . On the other side of the peephole , Chon 's exalted eyes appear . Chon is a Better Midler type , in her 40s , that kind of extroverted woman who at first glance appears chubby but is n't quite so . She is wearing designer clothes , despite the fact that her demeanor is direct and crass . Both of them , Pina and Chon , are tired and hysterical , which each one of them interprets in her own way . Pina opens the door and Chon enters . Even though they are good friends , the last thing Pina is in the mood for is to see Chon , much less an over - excited Chon with `` problems '' .<\/scene_description>\n    <character>PINA<\/character>\n    <parenthetical>( Whispers . )<\/parenthetical>\n    <dialogue>What a drag!<\/dialogue>\n    <parenthetical>( she opens the door , in a languid , bored tone . )<\/parenthetical>\n    <dialogue>Oh, it's you?<\/dialogue>\n    <character>CHON<\/character>\n    <parenthetical>( Reproaches , depressed . )<\/parenthetical>\n    <dialogue>I've left you a thousand messages!<\/dialogue>\n    <character>PINA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Chon notices Ivan 's suitcase in the middle of the foyer and looks at it as if she 'd never seen a suitcase .<\/scene_description>\n    <character>CHON<\/character>\n    <dialogue>And this suitcase?!<\/dialogue>\n    <scene_description>Judging from the tone , one would guess she could care less . But the script asks for her to inquire about the suitcase and she inquires .<\/scene_description>\n    <character>PINA<\/character>\n    <parenthetical>( Sounding bored , asleep . )<\/parenthetical>\n    <dialogue>It's Ivan's. He's leaving me.<\/dialogue>\n    <scene_description>Chon , disconcerted , notices that Pina drags herself around with a cast on her leg . -LRB- She has picked up Pina 's inexpressive tone -RRB-<\/scene_description>\n    <character>CHON<\/character>\n    <dialogue>And that broken leg?<\/dialogue>\n    <character>PINA<\/character>\n    <dialogue>His ex - wife, the crazy one. She pushed me down the stairs.<\/dialogue>\n    <character>CHON<\/character>\n    <dialogue>I see, we're in great shape.<\/dialogue>\n    <character>MATEO<\/character>\n    <parenthetical>( Interrupts the take . )<\/parenthetical>\n    <dialogue>Cut!<\/dialogue>\n    <scene_description>Final clap board . It 's take number twelve .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SHOOTING AND SURROUNDINGS. INT. EXT. DAY. 1994<\/stage_direction>\n    <scene_description>The camera team directs `` load camera '' -LRB- new film stock is loaded , the one already inside has run out -RRB- . Mateo has a look of worry , the scene is not funny at all , the actresses are bored and tense . They behave like automatons . Lena looks at Mateo , she had never seen him so disconsolate . A general impasse and discouragement . The team betrays boredom , preoccupation , and exhaustion . The actress playing Chon grumbles , annoyed . Juanba , the hair - stylist , approaches her to fix her hair . In the background , one sees Mateo speaking to Lena . Ernesto Junior wanders around the set . We suppose that he has already shot the other takes , we notice a change in his attitude . He watches Lena and Mateo converse , then watches them as they move away from the set ; he has no intention of following them . One might say that he is now on their side , against his own father .<\/scene_description>\n    <character>WAREHOUSE, SHABBY STUDIO. AWAY FROM THE LOFT. AT THE<\/character>\n    <dialogue>AWAY FROM THE LOFT. AT THE says.<\/dialogue>\n  <\/scene>\n  <scene>\n    <scene_description>MAKE - UP &amp; HAIR DRESSING ROOM , OR SOME OTHER PLACE . 1994 In some place of the warehouse where no one can see them and they can speak calmly . Mateo and Lena . During this time , Lena has been keeping her end of the deal and continues to live with Ernesto Martel but , as much as she attempts to diffuse it , its effect has been devastating . She is very depressed . She can hardly hold herself up . Lena 's state of mind and how it affects the shooting , makes Mateo feel impotent and guilty .<\/scene_description>\n    <character>LENA<\/character>\n    <parenthetical>( Distressed , maybe she 'll cry . )<\/parenthetical>\n    <dialogue>I am sorry.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>Do n't worry, it will turn out.<\/dialogue>\n    <parenthetical>( Acknowledges . )<\/parenthetical>\n    <dialogue>But I do n't know what more direction to give you.<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>( Exhausted , hard on herself . )<\/parenthetical>\n    <dialogue>You have told me everything, in every way possible.<\/dialogue>\n    <character>MATEO<\/character>\n    <parenthetical>( Somber and guilty . )<\/parenthetical>\n    <dialogue>Ernesto is getting just what he hoped. That we make a piece of crap of a movie! I told you not to agree to that deal.<\/dialogue>\n    <scene_description>Lena breathes , grasping for a solution and for breath . She attempts to regain her strength .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>We ca n't let him have his way!<\/dialogue>\n    <parenthetical>( She dries her tears , feeling newly replenished . )<\/parenthetical>\n    <dialogue>Every day I arrive worn out and every day I recover, right?<\/dialogue>\n    <character>MATEO<\/character>\n    <parenthetical>( Acknowledges . )<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>I ask you only for a bit more patience. And a kiss!<\/dialogue>\n    <scene_description>Mateo kisses her as one kisses one shipwrecked , although the one shipwrecked is really him . In any case , the kiss brings life back to both of them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>LOFT PINA. REPEAT THE TAKE. 1994<\/stage_direction>\n    <scene_description>Motor . Action . The clap board indicates that they will shoot take number thirteen . A traveling shot follows Lena as she limps toward the door . She looks through the peephole , behind it , Chon . They are supposed to be good friends , but she 's the last person Lena wants to see .<\/scene_description>\n    <character>PINA<\/character>\n    <parenthetical>( Whispers . )<\/parenthetical>\n    <dialogue>What a drag!<\/dialogue>\n    <parenthetical>( contemptuous , she greets her . )<\/parenthetical>\n    <dialogue>Oh, it's you?<\/dialogue>\n    <character>CHON<\/character>\n    <dialogue>Listen, if that's how you'll greet me, I'll leave.<\/dialogue>\n    <character>PINA<\/character>\n    <dialogue>No, c'mon! Come inside!<\/dialogue>\n    <scene_description>Pina treats her with a friendly disdain , which plays comically . She has once again recovered her strength and her lightness . Her low spirits have disappeared and she comes off thoughtless and impudent . Her reenactment has an effect on Chon , who also performs much better than in the previous take . These first few phrases are enough to determine that the two actresses have improved . Lena is now a different actress , light and delicious . Mateo smiles , brimming with admiration .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EDITING ROOM. INT. DAY. 1994<\/stage_direction>\n    <scene_description>Mateo and his editor -LRB- and the assistant editor -RRB- watch the end of the sequence on the Moviola .<\/scene_description>\n    <character>MATEO<\/character>\n    <dialogue>She's so much better! Grab this one!<\/dialogue>\n    <character>LUIS<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Mateo smiles , satisfied . On the same table where the Moviola sits , Luis , the editor , has a notebook in which each page corresponds to a sequence , numbered respectively . The sequences are divided by shots and the shots by the number of takes . Luis draws a circle around take number thirteen .<\/scene_description>\n    <character>MATEO<\/character>\n    <dialogue>Let's look at fourteen, it's even better!<\/dialogue>\n    <scene_description>Luis , an editing assistant and Mateo , sitting in front of the Moviola , examine the footage . There is a palpable complicity between Luis and Mateo . Luis has edited all of Mateo 's films , they have been colleagues for a long time . As with Judit , despite their differences , one can tell that Luis belongs to Mateo 's artistic family . Cut to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EDITING ROOM. INT. EVENING. 1994<\/stage_direction>\n    <scene_description>Time passes . The characters are dressed differently . As they load the film and sound onto the Moviola , we hear Harry 's voice - off . Only audio : YEAR 2008 . VOICE - OFF OF HARRY SPEAKING TO DIEGO . We hear it over the running Moviola .<\/scene_description>\n    <character>OFF HARRY<\/character>\n    <dialogue>When we finished shooting, I quickly selected all the takes for the film so that I could rescue Lena as soon as possible from the Martel house. The situation had worsened, we could hardly see each other, he had practically kidnapped her. They were difficult days for everyone, but Lena insisted that I leave all the takes selected. then, we could leave.<\/dialogue>\n    <scene_description>He has n't finished saying this when we hear the phone ring . The assistant , phone in hand : -LRB- to Mateo -RRB- `` It 's for you '' . He takes it , surprised , he is still staring at the Moviola screen . It 's Lena .<\/scene_description>\n    <character>OFF<\/character>\n    <dialogue>It's Magdalena.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>Is there something wrong?<\/dialogue>\n    <character>OFF<\/character>\n    <dialogue>No. I'm downstairs. I've forgotten my money. I have to pay the cab.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>I'll be right down.<\/dialogue>\n    <scene_description>He exits the editing room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CINEARTE [EDITING AND POST-PRODUCTION STUDIO]. STAIRWAY.<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT. 1994<\/stage_direction>\n    <scene_description>Mateo descends the stairs of Cinearte at a good clip , he was n't expecting Lena 's visit . He can sense something 's happened . When he arrives at the foyer , he ca n't find her . The phone operator -LRB- ugly , but polite -RRB- at the reception desk tells him Lena is in the bathroom .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CINEARTE. COSTUMER'S BATHROOM. INT. NIGHT. 1994<\/stage_direction>\n    <scene_description>He enters the bathroom and finds Lena , barefoot , wearing only her bra and panties , cleaning wounds she 's suffered on her face and legs . The surface of the sink is tainted with blood . Mateo looks at her , horrified . -LRB- She is no longer wearing a cast -RRB- . A man 's jacket lies on top of the counter , this is the only piece of clothing that appears in this scene .<\/scene_description>\n    <character>MATEO<\/character>\n    <parenthetical>( Horrified . )<\/parenthetical>\n    <dialogue>But. what has happened?!<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>We have had a brutal fight. At the end, he ripped my clothes off and my shoes and he threw me out naked onto the highway. The jacket belongs to the cab driver. You must give him a good tip, if it were n't for him I do n't know how I would have made it here.<\/dialogue>\n    <scene_description>Mateo can not believe his eyes . He hurls insults at Ernesto Senior . Lena 's apparent composure is purely hysterical .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CINEARTE. EXT. NIGHT. 1994<\/stage_direction>\n    <scene_description>Mateo and Lena exit Cinearte . They enter a cab that is waiting for them .<\/scene_description>\n    <character>MATEO<\/character>\n    <parenthetical>( To the cab driver . )<\/parenthetical>\n    <dialogue>Take us to the nearest police station.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>No, please.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>We must denounce him, Magdalena!<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>He will turn against you!<\/dialogue>\n    <scene_description>The cab begins moving . Mateo gives the cab driver his address .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>No, not your house.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>We have to look after you. Let's go to a hotel.<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>( Pleads . )<\/parenthetical>\n    <dialogue>Let's leave Madrid.<\/dialogue>\n    <scene_description>Mateo looks through his pockets , fortunately , he has all his credit cards on him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>LANZAROTE. FAMARA BEACH. BUNGALOW ZONE. EXT. DAY. 1994<\/stage_direction>\n    <scene_description>Mateo and Lena are living in a bungalow zone on Famara Beach , a complex nestled between the beach and the foot of a mountain . It is a special and intimate place , like an enormous grotto , where the sky is its ceiling and the mountains one of its walls . Lena and Mateo exit a bungalow and get into a rented car , a red Opel Corsa , not in very good shape .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EL GOLFO BEACH. EXT. AT DAY'S END. 1994<\/stage_direction>\n    <scene_description>On the peak of a reddish rock , on Golfo Beach , Mateo takes photographs of the natural wonders surrounding him . Next to him , Lena contemplates the view . What Mateo sees with his camera : a -RRB- Wine colored rocks b -RRB- The yellow - green lake circumscribed by a rope that has become white , against the black sand . c -RRB- The black sand of the enormous beach , licked by the shimmering foam of the waves . d -RRB- The rocky walls enveloping the beach , eroded through centuries by the wind on the surface of which it has created peaks and valleys resembling the jutted edge of a watch cog . One of the images captures part of a wine - colored rock . Below it , the infinite surface of the black beach , licked by the white foam of the waves . In the backdrop , an immense limestone wall , its surface full of pit holes where the wind circulates . The sequence ends with a close - up of the click of Mateo 's camera 's shutter , opening and closing like an owl 's eye .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SOUVENIR AND PHOTOGRAPHY STORE. LANZAROTE. INT. DAY. 1994<\/stage_direction>\n    <scene_description>Mateo - Harry and Lena pick up their photos at the store 's counter . The owner of the shop hands them to him , he is an attractive and bohemian middle - aged man . Mateo opens the envelope impatiently , he wants to make sure that his photographs are , in effect , the ones inside it . He looks at the last one closely , the landscape with the rocks , the beach , the foam , etc. . Somewhere on the vast black - sand beach one can make out a couple , their size is tiny compared to the immensity of the beach . The two are melded into a tight embrace . The beach is deserted . Mateo had not been aware of them when he took the photograph and is overtaken by his discovery . He shows it to Lena . Half - joking .<\/scene_description>\n    <character>MATEO<\/character>\n    <dialogue>Look. It's us.<\/dialogue>\n    <parenthetical>( I thought it was empty . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Mateo asks the bohemian Attendant for a larger print .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>MATEO AND LENA, INSIDE THE CAR, ON THE HIGHWAY. EXT. DAY.<\/stage_direction>\n    <scene_description>1994 They go through various traffic circles . Mateo comments that it is `` the island of the useless traffic circles '' . `` That 's part of its charm '' , comments Lena .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>TRAFFIC CIRCLE WITH CESAR MANRIQUE SCULPTURE. EXT. DAY.<\/stage_direction>\n    <scene_description>1994 They stop on one of the stop signs at the traffic circle . In the center there is a huge mobile sculpture by Cesar Manrique , rocked by the wind . Mateo and Lena exit the car to take pictures of themselves . Their faces close together , their eyes happy . The sculpture turning around itself produces a strange screeching sound .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>BUNGALOW. FAMARA BEACH. INT. DUSK OR NIGHT. 1994<\/stage_direction>\n    <scene_description>Many days have passed . Mateo 's hair is longer and he appears more tan , the proximity to nature and the absence of a social life has also affected Magdalena 's appearance , now much more savage , but also more serene and more humble . She is dressed in cheap clothing , which she has bought on the island -LRB- and which fits her marvelously -RRB- and her hair is pulled up into a messy bun . The photograph , enlarged , presides on top of a small table where Mateo writes . The picture is leaning against the wall . It 's the only image inside the bungalow . The photograph is a clear metaphor for the mysterious quality of the island as well as of the isolation of Mateo and Lena and of their fusion . While Mateo writes , Lena cleans the dishes or she does the laundry in the bathtub . The two wear T - shirts , comfortable and sporty clothes . -LRB- On the tape - deck one hears La Lupe singing : . `` porque hay un hombre para cada mujer y una mujer para cada hombre , y nosotros somos , nosotros somos . la pareja '' -LSB- because there is only one man for each woman and only one woman for each man , and we are , and we are . the couple -RSB- -RRB- . Mateo and Magdalena , the couple . In the bungalow there is n't much furniture ; there 's a large couch on which they can lie comfortably , a short table , along with the wooden table on which Mateo writes . Some armchair and lamps . And a tape - deck . Cut to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>BUNGALOW. INT. DUSK OR NIGHT. 1994<\/stage_direction>\n    <scene_description>Engulfed by the couch , Mateo and Lena are absorbed watching , on a small television , a broadcast of `` Voyage in Italy '' -LRB- Roberto Rossellini 's -RRB- . The scene they are watching is set in a place where a group of men are working on some excavation . The married couple -LRB- in the midst of their breakup -RRB- , played by George Sanders and Ingrid Bergman , is on a tourist trip in that area of Italy and they have gone to visit the excavation . One of the technicians describes the delicate work that is involved in excavating part of a city that had been buried , centuries ago , by the lethal eruption of the Vesuvius . At that moment , the men who are working on the excavation begin , bit by bit , to uncover a couple , a man and a woman , sleeping in an embrace , whom the eruption had taken unaware , leaving them preserved in this position for centuries . Ingrid Bergman can not stand the sight of this couple calcined in an eternal embrace . She compares it to her own marriage , destroyed by their lack of communication and by the absence of generosity between them . She walks away from the place , unable to contain her tears . The scene affects Magdalena and Mateo as much as it had Ingrid Bergman . Mateo and Lena instinctively embrace each other , seeking refuge in each other , their posture echoes that of the calcined couple . Suddenly , Mateo breaks their embrace . He positions the camera on top of the table where he writes , not far from where the image of the other `` embrace '' sits . He points it toward the couch and he presses the automatic button . And they take a picture together , locked in an embrace .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>PUBLIC PARK. MADRID. EXT. DAY. 2008<\/stage_direction>\n    <scene_description>Harry and Diego , now completely cured , are sitting on a bench .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>Do you want to go back home and return to the `` Donate Blood'' story?<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>I am hoping to get back to it, but first tell me what happened in Lanzarote. You ca n't leave me hanging!<\/dialogue>\n    <scene_description>Harry takes a deep breath . At this stage of the narrative , it is only understandable that Diego would want to know everything . But it pains him to think of what is still left to tell .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>Without realizing, a month had elapsed. I knew that sooner or later we would have to return, but we kept postponing it. I was only worried about you and your mother. I had not even said goodbye and you were still suffering from your allergy problem when we left. I can imagine Judit was furious with me.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>You ca n't imagine how much.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>I was planning to return soon to finish the editing. and to explain things to your mother. But Magdalena decided she'd wait for me on the island. She could n't stand the thought of seeing Ernesto again.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>OFFICE FOR THE FAMARA BUNGALOWS. INT. DAY. 1994<\/stage_direction>\n    <scene_description>Mateo and Lena are walking toward the office for the bungalow complex . -LRB- Part of the previous dialogue is heard as the couple are approaching the office -RRB-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A. INTERIOR OF THE RECEPTION HALL, FAMARA BUNGALOWS. INT.<\/stage_direction>\n    <scene_description>DAY . 1994 Behind the counter there are two foreign employees , a man and a woman . Lena addresses them in English , while Mateo keeps himself busy at the other end of the reception hall , next to a table with magazines and newspapers . He grabs a newspaper . In English :<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Sorry to interrupt. I wanted to ask if there are any employment opportunities available here, with you. You always look so busy. I have a lot of free time.<\/dialogue>\n    <character>EMPLOYEE<\/character>\n    <dialogue>We could use the help, especially now that the high season is about to start. Do you have experience?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>I have worked as a secretary at M. Capital, a very important finance company.<\/dialogue>\n    <character>EMPLOYEE<\/character>\n    <parenthetical>( Looks at her . )<\/parenthetical>\n    <dialogue>You could first work during the afternoons and, then, we could see.<\/dialogue>\n    <scene_description>With his back to the counter , at the other end of the reception desk , Mateo reads a newspaper , frozen . Suddenly , the employee opens a National newspaper and looks for a particular page . He shows it to Lena . On the Entertainment page , an ad for Mateo 's movie -LRB- Opening Soon -RRB- . The ad is a close - up of her , in her role as Pina , in the movie . Lena is stunned . She ca n't believe it .<\/scene_description>\n    <character>EMPLOYEE<\/character>\n    <dialogue>We were just saying that the girl in the ad looks like you.<\/dialogue>\n    <scene_description>Lena looks toward where Mateo is standing and she notices that he is as perplexed as she is , staring at the ad for a soon - to - be - released film in the newspaper .<\/scene_description>\n    <character>LENA<\/character>\n    <parenthetical>( To the employee . )<\/parenthetical>\n    <dialogue>No. It's not me.<\/dialogue>\n    <scene_description>They exit the office .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>BUNGALOW COMPLEX. EXT. DAY. 1994<\/stage_direction>\n    <scene_description>Mateo and Lena walk toward their bungalow as if someone were chasing them . They have just run into the very thing they have been attempting to escape in Madrid .<\/scene_description>\n    <character>MATEO<\/character>\n    <dialogue>I was wondering how long it would take him to emerge!<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>( Disoriented . )<\/parenthetical>\n    <dialogue>But they ca n't release the film so soon, right?<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>No. It's a scheme to annoy us, and a trap to get you to return. The ad is only lacking the words `` Missing.''<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>What are we going to do?<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>Nothing. Fuck them!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>TWO WEEKS LATER. ON FAMARA BEACH. EXT. DAY. 1994<\/stage_direction>\n    <scene_description>A TITLE TAKING UP THE WHOLE SCREEN : TWO WEEKS LATER A few surfers are preparing to go into the ocean . A father and his young son toss their kites into the wind . Lounging on lounge chairs , on a cobble - stone area before one reaches the sand , Lena and Mateo - Harry are reading the news of the opening of the film in a National newspaper . They only have one copy and Mateo 's eyes are transfixed on the news . The note accompanying the event says , in bold type : `` The financier , Ernesto Martel , has managed to gather all of Madrid for his first film as a producer , missing are only its director and star . '' Two pictures accompany the news of the event . Printed next to them , there is a review entitled , `` Disaster . '' Mateo throws the newspaper away from him , enraged . He refuses to read the review . The wind dishevels the newspaper pages . Lena rises and chases the pages that fly , like kites , slightly above the ground . In mid - flight , she catches the Entertainment page and reads it as she approaches Mateo , who watches the ocean , feeling impotent , furious , unable to quite grasp what is happening . Lena sits down next to him , still reading .<\/scene_description>\n    <character>MATEO<\/character>\n    <parenthetical>( Disconsolate . )<\/parenthetical>\n    <dialogue>What does it say?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>That the only intelligent thing we have done has been not to attend the premier, that my acting is pathetic, that you seem like a first - time director and that you lack talent. At the end, it wonders who might have made your first films. Never before has such a resounding downfall been witnessed. How horrible!<\/dialogue>\n    <scene_description>Mateo rises and heads quickly for the bungalow , which functions as the office for the complex . Lena follows him , alarmed .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>What are you going to do?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>OFFICE FOR BUNGALOW COMPLEX. FAMARA BEACH. INT. DAY. 1994<\/stage_direction>\n    <scene_description>Cut to , directly to the shot of the telephone . Mateo has just dialed Judit 's number . He gets the answering machine , hearing Judit 's voice encourages him to leave a message . `` Hi . You have reached Judit Garcia 's voicemail . Leave your message after the tone and I will return your call as soon as possible . '' Mateo leaves his message .<\/scene_description>\n    <character>MATEO<\/character>\n    <parenthetical>( Dryly . )<\/parenthetical>\n    <dialogue>Judit. It's me. I hope you and the boy are<\/dialogue>\n    <character>OK. I apologize that I left without notice, but<\/character>\n    <dialogue>I apologize that I left without notice, but says. terrible things have happened, I will explain. Speaking of which, I need to talk to you, urgently. Please call me! Here's the number.<\/dialogue>\n    <parenthetical>( Asks one of the employees . )<\/parenthetical>\n    <dialogue>Oh, and, ask for Harry Caine, I have registered under that name.<\/dialogue>\n    <parenthetical>( said almost as an order . )<\/parenthetical>\n    <dialogue>I will be waiting for your call!<\/dialogue>\n    <scene_description>He also rings Luis , the editor . He also does n't answer . He leaves Luis a shorter and more violent message .<\/scene_description>\n    <character>MATEO<\/character>\n    <dialogue>Luis, I just read in the newspaper that the film has opened and I am beside myself! I do n't know what the fuck is going on there, but I would like to know! OK, I'll ring back!<\/dialogue>\n    <scene_description>He looks at Lena , breathless , his face contorted from sheer helplessness .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>RETURN TO 2008. HARRY'S HOME. DEN. DAY.<\/stage_direction>\n    <scene_description>Harry is standing , pacing back and forth . Diego stands next to the bookcase . The drawer with the photographs is open . He looks at the photograph of the traffic circle and at the one of `` The embrace '' on the black sand of Golfo Beach . He has taken them out of the large brown envelope . At the bottom of the drawer one can begin to see Luis ' -LRB- the editor -RRB- notebook . Diego is holding a Dymo label machine , -LRB- this Dymo has appeared in previous scenes -RRB- with all of its keyboard buttons , corresponding to the regular alphabet , in Braille . He is writing , in Braille , `` Famara - Lanzarote 94 '' so that he can stick the raised title onto the old envelope .<\/scene_description>\n    <character>DIEGO<\/character>\n    <dialogue>And mom, did she call you back?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>DIEGO<\/character>\n    <parenthetical>( Ca n't understand , he 's almost indignant . )<\/parenthetical>\n    <dialogue>Why?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>She was pissed, I suppose.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>I remember that time, it was while I was undergoing treatment for pulmonary aspergillosis. It was a horrible time for me. Not just because of the illness, my mother was like a crazy woman. I had just seen `` The Exorcist'' and, for some time, I believed she was possessed.<\/dialogue>\n    <character>HARRY<\/character>\n    <parenthetical>( Smiles pathetically . )<\/parenthetical>\n    <dialogue>I was the demon, Diego. And I am sorry. I suppose I behaved selfishly, but I am not sure I had a choice.<\/dialogue>\n    <scene_description>Diego thinks about this .<\/scene_description>\n    <character>DIEGO<\/character>\n    <parenthetical>( Emotionally exhausted . )<\/parenthetical>\n    <dialogue>No matter how upset she was, she should have alerted you to what was happening.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>The fact is she never did, and we've never spoken of it. Neither one of us has broached the topic.<\/dialogue>\n    <character>DIEGO<\/character>\n    <parenthetical>( Surprised . )<\/parenthetical>\n    <dialogue>And you were n't curious?<\/dialogue>\n    <character>HARRY<\/character>\n    <parenthetical>( Emphatically . )<\/parenthetical>\n    <dialogue>Me? Curiosity was killing me! For two days I called both your mother and Luis non - stop, the editor.<\/dialogue>\n    <parenthetical>( says it agitated . )<\/parenthetical>\n    <dialogue>, but neither of them answered! So I decided to return to Madrid the next day so that I could witness what was happening for myself!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>RESTAURANT. EL MIRADOR [THE LOOKOUT]. EXT. DUSK. 1994<\/stage_direction>\n    <scene_description>-LRB- Night falls while they dine . -RRB- Mateo and Magdalena dine at `` El Mirador , '' a local restaurant with spectacular views . Their table is beside a long sliding - door window that overlooks the valley . A group of rocks seem to grow next to the window as if they were plants made of stone . The view of the valley is breathtaking . There are few patrons inside the restaurant . Perhaps a foreign couple , sitting far from Lena and Mateo . A waiter brings their first course . They are drinking wine . Lena appears melancholic and fearful .<\/scene_description>\n    <character>MATEO<\/character>\n    <dialogue>How did you meet Ernesto Senior?<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>( It 's not a topic she likes , but she does n't hesitate to answer . )<\/parenthetical>\n    <dialogue>I was one of his secretaries.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>And. how did you end up with him? You fell in love?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>He was very generous with me and my family. My father was dying, I needed to take him to a private Hospital and Ernesto took care of everything. He paid for everything. And he made sure that my parents could return to their home town and that they lacked nothing.<\/dialogue>\n    <scene_description>Mateo imagines the situation , it upsets him . He is perturbed by the very idea of Lena 's past with Ernesto , but he does n't want to upset her on the night before his departure . They have gone out to dinner with just the opposite intent .<\/scene_description>\n    <character>MATEO<\/character>\n    <parenthetical>( Lovingly . )<\/parenthetical>\n    <dialogue>Pardon me, I have no right to ask you about that time in your life.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>It's only natural that you would want to know. And I do n't want any skeletons between us.<\/dialogue>\n    <parenthetical>( Unguarded . )<\/parenthetical>\n    <dialogue>I would like to be able to forget all that, but you have the right to ask.<\/dialogue>\n    <character>MATEO<\/character>\n    <parenthetical>( Assuring her . )<\/parenthetical>\n    <dialogue>No. I do not have any right. For me, you were born the day you came for the audition. You looked at me, I saw your face and. I was left hypnotized.<\/dialogue>\n    <scene_description>Lena smiles . She is both comforted and relived by remembering that moment .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>I remember your face perfectly. I think I fell in love with the way you looked at me. I thought : this man will be my salvation.<\/dialogue>\n    <scene_description>Mateo is moved by her use of those terms to speak of their first meeting . Cut to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A. CIRCULAR PARKING AT \"EL MIRADOR.\" EXT. NIGHT. 1994<\/stage_direction>\n    <scene_description>They exit in an embrace and head toward their car , parked nearby . They kiss before they get in the car . We notice another car which we will have the occasion to recall in the future , the camera gives it just a passing glance .<\/scene_description>\n    <character>LENA<\/character>\n    <parenthetical>( Childish . )<\/parenthetical>\n    <dialogue>It's the first time we part.<\/dialogue>\n    <character>MATEO<\/character>\n    <parenthetical>( Pampering . )<\/parenthetical>\n    <dialogue>Either way, I will return next weekend. But if you are going to be worried, you should come with me.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>No. I will be better off here.<\/dialogue>\n    <scene_description>And she smiles , as if the worry has already passed , so as not to disquiet Mateo .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>IN MOVEMENT. THE ISLAND, NIGHTTIME. INSIDE AND OUTSIDE<\/stage_direction>\n    <scene_description>OF THE CAR . LANZAROTE . 1994 . View of the sea of lava or of La Geria in an aerial shot with the car moving across the landscape . The full moon allows us to glimpse through the darkness of the landscape . Mateo 's car once again heads for the bungalow complex . Show the highway illuminated by the headlights and the landscape as it appears to its left and right . From inside the car , one can see the mobile sculpture of Cesar Manrique at a distance .<\/scene_description>\n    <character>MATEO<\/character>\n    <parenthetical>( Very insecure . )<\/parenthetical>\n    <dialogue>And did I manage to save you from anything?<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>( Enigmatic and unwavering . )<\/parenthetical>\n    <dialogue>Yes!<\/dialogue>\n    <scene_description>Lena does not elaborate on the dangers that Mateo has saved her from , he does n't understand them exactly , but he likes to hear her say so . They approach the traffic circle . A set of lights first betrays the presence of a car that appears from the left . Mateo yields to it , and briefly kisses Magdalena on the lips . Mateo continues on his way , a short instant later , as he enters the traffic circle , an SUV moving at full speed crashes into them . Everything happens very fast . From inside the car , without any particular attention to Lena or Mateo , the screen fills up with light , noise and darkness . All the different noises form a deafening magma . At the center of the traffic circle , Cesar Manrique 's sculpture rotates , propelled by the wind . In any case , we will also shoot the crash from the outside . And although it will not be obvious at first sight , the back side of Mateo 's car is illuminated by the headlights of a car that we never quite see , but which has been a witness to the accident .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>TRAFFIC CIRCLE WITH MOBILE SCULPTURE. LANZAROTE. EXT.<\/stage_direction>\n    <scene_description>NIGHT . 1994 . The huge mobile sculpture by Cesar Manrique continues to rotate with the wind immediately following the collision . One can hear the screeching wheels of the SUV escaping from the accident scene . One also hears the sound of a second vehicle , which approaches and stops , and something that sounds like a door opening and a moan . The camera only focuses on the sculpture , swaying in the wind .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>MATEO-HARRY'S HOME. INT. NIGHT. 2008.<\/stage_direction>\n    <scene_description>Diego looks at Harry in silence , he does n't say a word . He is still holding the Dymo . Harry also says nothing .<\/scene_description>\n    <character>OFF HARRY<\/character>\n    <dialogue>Magdalena's death did n't catch us melded in an embrace, but sitting on separate seats. It caught me by surprise, in that of leaving me alive.<\/dialogue>\n    <scene_description>When Harry 's face once again appears , we begin to hear his voice - off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>OUTSIDE A HOSPITAL. LANZAROTE. EXT. DAY. 1994.<\/stage_direction>\n    <scene_description>The entrance to a Hospital in Lanzarote . Through one of the windows , we can see Mateo 's gaunt and nebulous figure resting on a bed , his head bandaged .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INSIDE THE HOSPITAL ROOM. LIGHT COMING THROUGH THE<\/stage_direction>\n    <scene_description>WINDOW . INT DAY . 1994 . Just as in the beginning , Judit is next to Mateo 's bed . She is holding his hand and begs him :<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>Mateo, say something!<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Mateo is dead, Judit.<\/dialogue>\n    <character>JUDIT<\/character>\n    <parenthetical>( Bags under her eyes and tearful . )<\/parenthetical>\n    <dialogue>Do n't say that!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>LANZAROTE HOSPITAL. PSYCHIATRIC WARD. INT. DAY. 1994.<\/stage_direction>\n    <scene_description>A naturalist d\u00e9cor and stage - setting of an island Hospital of that era , located in a very picturesque place . Through the window we can see the local surroundings . The walls are a pastel color , green or blue , an aquatic color , and they have various spots where humidity has seeped through . Other than the psychiatrist , there is another doctor present , explaining the situation to Judit .<\/scene_description>\n    <character>PSYCHIATRIST<\/character>\n    <dialogue>We call him by his name, but he does n't respond to it. He insists Mateo has died.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Images are the source of his work. and to live in the dark, I suppose that's death to him. Is there any chance he will see?<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>None. His is what we refer to as a cortical blindness, and it's irreversible. It's the result of a lesion to the occipital lobe, the intelligent part of the brain, which has the role of processing all visual information. In other words, the neurons have died. and that's permanent.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>HOSPITAL. EXIT. EXT. DAY. 1994.<\/stage_direction>\n    <character>OFF HARRY<\/character>\n    <dialogue>I felt as though I had died with Lena. The Mateo - film - director who had left Madrid would never return.<\/dialogue>\n    <scene_description>Days or weeks later . Judit exits the hospital , with blind - Mateo -LRB- he 's hidden behind black sunglasses -RRB- , now without the bandages or very few , and with little Diego -LRB- eight years old -RRB- , holding hands . Mateo walks tentatively and slowly . He will probably be aided by the typical blind man 's cane . They get into a car that is waiting for them . Judit instructs the driver to take them to Famara Beach , to the bungalow complex .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>LANZAROTE. ROUTE TO FAMARA. HIGHWAY. EXT. DAY. 1994.<\/stage_direction>\n    <scene_description>A CLOUDY AND WINDY DAY . -LRB- This is a good opportunity to show some of the more dramatic landscapes of the island . The lava sea , black and twisted , and the rented car that crosses it through the highway that divides it . Or `` La Geria '' and its vine stalks buried in half - spheres of black dirt to protect them from the winds . The green palm tree fronds flop around against the backdrop of this black - dirt landscape . -RRB- Inside the car , Mateo asks Judit :<\/scene_description>\n    <character>MATEO<\/character>\n    <dialogue>Did you visit Lena's mother at her hometown?<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>What did she say?<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>She was very thankful to Ernesto for having taken care of everything.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>That's it?<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Yes, they buried her next to her father.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>Did you visit the grave?<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Mateo nods in defeated acknowledgement .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>FAMARA BEACH. BUNGALOW COMPLEX. EXT. DAY. 1994.<\/stage_direction>\n    <scene_description>A CLOUDY AND WINDY DAY . The car stops in front of the bungalow that functions as the `` Reception Desk '' for the complex . Judit and little Diego exit . Judit helps Mateo out . Mateo remains glued to the ground . He ca n't move . Judit stares at him . Even though Mateo had renounced being Mateo , he has inherited his most painful memories . Being near the RECEPTION bungalow , and thus near the bungalow where he lived with Magdalena , generates some kind of spasm in him that keeps him from moving . He feels an intense heat -LRB- inside and outside of him -RRB- , as if he were approaching a bonfire the flames of which would slowly scorch him , were he to move . -LRB- Perhaps we 'll have to inlay the image with the flames of an imaginary conflagration -RRB- . The face contorted .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>What's wrong?<\/dialogue>\n    <character>MATEO<\/character>\n    <parenthetical>( Weakened . )<\/parenthetical>\n    <dialogue>You go. I ca n't. I'll wait for you on the beach.<\/dialogue>\n    <scene_description>The idea excites little Diego .<\/scene_description>\n    <character>DIEGUITO<\/character>\n    <dialogue>I also want to go to the beach!<\/dialogue>\n    <scene_description>He approaches Mateo and instinctively grabs his hand . Judit watches the couple . The situation unfolds before she can stop it .<\/scene_description>\n    <character>MATEO<\/character>\n    <dialogue>Do whatever you need to do. We'll wait for you there.<\/dialogue>\n    <scene_description>Judit is worried about the wind . She buttons Diego 's jacket and wraps his scarf around him . She does the same thing with Mateo .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>Bundle up! And do n't get too close to the water.<\/dialogue>\n    <parenthetical>( To little Diego . )<\/parenthetical>\n    <dialogue>Do n't let go of his hand!<\/dialogue>\n    <scene_description>Little Diego grabs Mateo 's hand . Despite the wind , the boy is excited about the idea of going to the beach . He has just become Mateo 's guide and Mateo lets him guide him , like a somnambulist .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>BUNGALOWS OFFICE. INT. DAY. 1994.<\/stage_direction>\n    <scene_description>In the offices of the complex , the two employees are in the middle of a brawl . -LRB- Consult with the original -RRB- In front of the desk , Judit addresses one of them , in English .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>I am here to pay Mateo Blanco's bill.<\/dialogue>\n    <character>EMPLOYEE<\/character>\n    <dialogue>We do n't have anyone here registered by that name.<\/dialogue>\n    <scene_description>Judit gestures that she does n't understand .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>It's the man who had the accident. He was in bungalow number two.<\/dialogue>\n    <character>EMPLOYEE<\/character>\n    <dialogue>Oh, you mean Harry Caine.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Yes, of course.<\/dialogue>\n    <character>EMPLOYEE<\/character>\n    <dialogue>Poor souls! They are not the first to have an accident on that traffic circle! Awful!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>FAMARA. ROUTE TO THE BEACH. NEXT TO THE BUNGALOWS. EXT.<\/stage_direction>\n    <scene_description>DAY . 1994 . Mateo and little Diego walk only a few meters past bungalow number two , where he lived with Magdalena . At that moment they are walking facing the wind , a fierce wind that threatens to tear off their clothes . It is as if nature itself wanted to keep Mateo from walking away from the bungalow where he loved Lena . From this point on , his life will become just that , an endless battle against the elements and against the memory of Lena . Little Diego 's voice distracts him .<\/scene_description>\n    <character>DIEGUITO<\/character>\n    <dialogue>Look. There are kites!<\/dialogue>\n    <scene_description>At times little Diego forgets that Mateo can not see . So he points toward the sky of a nearby beach , whose surface is dotted by various kites . Mateo is grateful for the life - affirming sound of the boy 's voice and so he allows himself to be towed . The wind 's violent sweep over all the different elements that compose the landscape creates a symphony of strange sounds .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>BUNGALOW No.2. FAMARA. INT. AND EXT. DAY. 1994.<\/stage_direction>\n    <scene_description>Judit , using the key she was handed at the Reception Desk , opens the door to bungalow number two . She enters into what had been Mateo and Lena 's love nest . She takes the entire space in with one glance ; she is overtaken , as if she has entered an ancestral and sacred space . She imagines Mateo and Lena filling up the space with their presence . -LRB- A strange modesty comes over her , but her curiosity is greater -RRB- . Lena 's spirit -LRB- at least in Judit 's mind -RRB- hangs in the air , but in the material surrounding her absence is absolute . Those who took her body did not leave any trace of Lena . Not a single object , not a single dress . Nothing . Ernesto Senior 's cohorts -LRB- or Ernesto himself -RRB- took all of her things . Mateo 's clothes and things are found piled up in a closet . Yet the table where he sat to write remains intact . On it , the photograph of the embrace on Golfo Beach still rests , along with his notebook , blank pages and some envelopes . Judit observes the photograph on Golfo Beach as if it were alive , still palpitating . And she imagines that the two lovers , locked in an embrace , lost in the anonymous vastness of the black sand , are Mateo and Lena . She opens the desk 's drawer and , much to her surprise , finds it overflowing with torn photographs of Mateo and Lena , shuffled in no particular order -LRB- one might say they had been thrown violently into the drawer . The violence of the hand that ripped and threw them has left its pulsating mark -RRB- . Judit picks up all the pieces , slowly and delicately , and she places them inside a brown envelope that she finds next to Mateo 's notebook . Her sense of guilt is so profound that it dries out her throat and the expression on her face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>FAMARA BEACH. EXT. DAY. 1994.<\/stage_direction>\n    <scene_description>At the base of the complex , on one end of the beach , the car that brought them is waiting . Judit places the bags with Mateo 's belongings , which she has just carried from the bungalow , inside the trunk . She raises her head , emotionally exhausted . From where she stands she can see little Diego , ecstatic , in front of a group of surfers wearing brilliant colors traversing the waves and a group of kites -LRB- around eight or ten -RRB- darting through the sky like flying fish . Mateo is motionless , in front of the sea , soaking up its strength . Judit 's pain is at odds with the boy 's joy and the overwhelming vitality that the place exudes at that very moment . She begins to walk toward Mateo and little Diego . Once she is a few meters away , she observes a surfer riding a wave . In the foreground of her line of sight stands Mateo , out of focus . As he comes into focus , Judit yells out to him :<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>Harry! Harry Caine!<\/dialogue>\n    <scene_description>It seems as though she is invoking the wind -LRB- a hurricane -RRB- which moves the waves along with the expert surfers riding them . When he hears Judit 's voice , Mateo turns to face in her direction and<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>We're here, Judit!<\/dialogue>\n    <parenthetical>( And raises his hand like a child . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Judit approaches them , petrified with emotion . The wind tears tears from her eyes .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>We have to go, Harry.<\/dialogue>\n    <character>HARRY<\/character>\n    <parenthetical>( To the boy . )<\/parenthetical>\n    <dialogue>Let's go, Dieguito. Give me your hand.<\/dialogue>\n    <character>DIEGUITO<\/character>\n    <parenthetical>( Protests , politely . )<\/parenthetical>\n    <dialogue>Ca n't we stay a little longer?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>No. We must obey your mother. You've had enough wind for one day.<\/dialogue>\n    <character>DIEGUITO<\/character>\n    <dialogue>But I'm already all better!<\/dialogue>\n    <scene_description>Judit walks in front of the blind man and the boy , her eyes glitter . Mateo has responded to her call , and that has filled her with uncontrollable emotion . At this very moment she decides that she will dedicate her life exclusively to the care of this man . This is how it will be .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>HARRY'S HOME. INT. DAY. 2008.<\/stage_direction>\n    <scene_description>Diego is still sitting on the floor , next to the brown envelope . He sticks on the Braille title , `` Famara . Lanzarote 94 . '' In front of him , spread on the floor like a puzzle , lie the pieces of various embraces between Mateo and Lena -LRB- like archeological finds , like the Minoan paintings in Crete -RRB- . The pieces begin to join with one another , an order is established and , soon , the better part of the picture is clear . There are four photographs where , regardless of the missing pieces , one can make out the image . Two are of embraces and the rest are of domestic scenes . The scratches on the four photographs reveal the passing of time . Neither of the two men speak . Mateo remains seated at his desk . Pensive . Cut to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>HARRY'S HOME. INT. NIGHT. 2008.<\/stage_direction>\n    <scene_description>They prepare to watch\/hear a DVD . Diego goes over Harry 's collection -LRB- even though one would imagine he knows it -RRB- . On the spines , the titles are written in Braille . He has already asked him what he would like to watch -LRB- he reads off some titles ; in general , all the movies are made prior to ' 94 , all classics -RRB- .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>Play `` Elevator to the Gallows'' and take a look at the ending.<\/dialogue>\n    <scene_description>While he looks for it .<\/scene_description>\n    <character>DIEGO<\/character>\n    <dialogue>Do you always watch the same movies?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Yes. Since I know them by heart, I can visualize the action.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Is there any new movie you'd want to see?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Yes. But you'd have to describe the action. Your mother used to describe some to me, some time ago.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>I would n't mind doing so.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>I would like to `` watch'' one by Tarantino or Scorsese, and also some Asian cinema.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Done.<\/dialogue>\n    <scene_description>They pick a movie -LRB- chosen by Mateo -RRB- . Diego hooks up the television , then inserts the DVD .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CONTINUED<\/stage_direction>\n    <scene_description>Images of Mateo Blanco 's last film , `` Girls and Suitcases , '' appear on a random television station , it is the beginning of one of the sequences of which the spectator is already aware . For Harry it is all a shock , there is not doubt that it is his film . It is the sequence where Magdalena , wearing a cast , opens the door for her friend Chon .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>WHAT WE SEE ON THE TELEVISION SCREEN. A SCENE FROM \"GIRLS<\/stage_direction>\n    <scene_description>AND SUITCASES . '' PINA 'S LOFT . INT . 2008 . Pina limps toward the door . Through the peephole she sees her friend Chon , looking back with an exaggerated look of reproach :<\/scene_description>\n    <character>PINA<\/character>\n    <dialogue>What a drag!<\/dialogue>\n    <parenthetical>( she opens , not very welcoming . )<\/parenthetical>\n    <dialogue>Oh, it's you?<\/dialogue>\n    <scene_description>RETURN TO 142 . IN HARRY 'S LIVING ROOM . 2008 . In front of the television , having heard only those two phrases , Harry jumps up as if propelled by springs .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>That's `` Girls and Suitcases''!<\/dialogue>\n    <scene_description>Diego observes him and then looks at the television .<\/scene_description>\n    <character>DIEGO<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Turn up the volume!<\/dialogue>\n    <scene_description>Sitting on the floor , next to the television , Diego turns up the volume . Harry focuses on the sounds from the screen and Diego on everything else .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>ON THE TELEVISION. 2008.<\/stage_direction>\n    <scene_description>Chon enters . -LRB- They are supposed to be good friends -RRB- . Chon has an endearing appearance , she is a little chubby , well dressed , according to her age -LRB- forty -RRB- and her profession , a Counselor for Social Affairs . Spontaneous and direct -LRB- she is kind of a Bette Midler in her forties -RRB- , but the actress is lacking grace and her restlessness reveals more about her fear of running into the moving camera , than about the very funny way that the character inhabits her own anxiety . Lena is also quite languid , lacking spark , tired and unenthusiastic . -LRB- As a comedy , it 's without charm and , as a drama , it 's uninteresting , that 's what the critics said -RRB- .<\/scene_description>\n    <character>CHON<\/character>\n    <parenthetical>( Reproachful . )<\/parenthetical>\n    <dialogue>I've left you a thousand messages.<\/dialogue>\n    <character>PINA<\/character>\n    <dialogue>Yes. A thousand from you, and none from Ivan.<\/dialogue>\n    <scene_description>As if Ivan 's phone call depended on Chon .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>LIVINGROOM, HARRY'S HOME. INT. NIGHT. 2008.<\/stage_direction>\n    <scene_description>Harry twitches around in his chair , anxious and impatient . He does n't like what he hears .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>ON THE TELEVISION. 2008.<\/stage_direction>\n    <character>CHON<\/character>\n    <parenthetical>( Sees the suitcase sitting in the middle of the loft .<\/parenthetical>\n    <parenthetical>Looks at it as if it were some strange insect . )<\/parenthetical>\n    <dialogue>And this suitcase?<\/dialogue>\n    <character>PINA<\/character>\n    <dialogue>It's Ivan's. He's leaving me.<\/dialogue>\n    <character>CHON<\/character>\n    <dialogue>And the cast on your leg?<\/dialogue>\n    <character>PINA<\/character>\n    <dialogue>His ex - wife, the crazy one. She pushed me down the stairs and I broke my leg.<\/dialogue>\n    <scene_description>All said without any spark . The actresses are reciting the text mechanically and they appear tired of interpreting it .<\/scene_description>\n    <character>CHON<\/character>\n    <dialogue>Wow! Well, we're in good shape. I also broke up with my husband.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>LIVINGROOM, HARRY'S HOME. INT. NIGHT. 2008<\/stage_direction>\n    <scene_description>Diego and Harry are still staring at the television . Harry with his ear turned toward the screen , disappointed and tense . Diego is more indulgent of the scene .<\/scene_description>\n    <character>HARRY<\/character>\n    <parenthetical>( Annoyed . )<\/parenthetical>\n    <dialogue>They're terrible!<\/dialogue>\n    <scene_description>Each of the men focus their respective senses on the television screen .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>How could I have thought these takes were the good ones! What was I thinking!<\/dialogue>\n    <scene_description>With the same fury with which he had thrown down the newspaper with the bad review of his film onto the sand , he abruptly shuts off the television monitor . He remains suspended for a few moments , as if trying to find an explanation for what he has just heard . Was he so caught up in Magdalena 's problems that he was unable to distinguish when a take was good or bad ? Cut to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>HARRY'S HOME. INT. DAY. 2008.<\/stage_direction>\n    <scene_description>The next morning , Harry wakes up early . He has spent an entire night thinking about the same thing . Dressed in a bathrobe , but not showered yet , he walks over to his desk . All these scenes take place in the dark . A faint light from the breaking dawn enters through the corners of the drapes that cover the windows . He opens the drawer with the photographs . -LRB- When Diego had opened it before , we had been able to see that along with the photographs there were other objects , for example , Luis ' notebook -LRB- the editor -RRB- . Diego had not mentioned any of this to Harry -RRB- . Harry pokes around in the drawer with his hands , finds the notebook . He grabs it . He opens it on top of his desk . He touches the different pages . The tips of his finger tips run over the numbers corresponding to the sequences , the shots , the selected takes , attempting to find a message .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>DIEGO'S ROOM. INT. DAY. 2008.<\/stage_direction>\n    <scene_description>Harry walks over to Diego 's room with the notebook in hand . The boy is naked , drying himself with a towel after his shower . Harry asks permission to enter .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>May I come in?<\/dialogue>\n    <character>DIEGO<\/character>\n    <parenthetical>( Drying himself . )<\/parenthetical>\n    <dialogue>Yes, come in!<\/dialogue>\n    <scene_description>Not giving him time to get dressed , Harry hands him the notebook .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>Luis, the editor, sent it to me six years ago. At that time I did n't even bother to open it, I did n't want to know anything about him. I am now thinking that perhaps he had something to tell me. Would you mind seeing if beyond the takes and all of that there is something else written?<\/dialogue>\n    <scene_description>Diego looks through it carefully . The last pages are empty . The rest only have the numbers pertaining to the sequences , the shots , and the selected takes , like we have seen in the sequence with the Moviola . Although , there is something written on the last page . `` My new number : 91\u00a06994079 . ''<\/scene_description>\n    <character>DIEGO<\/character>\n    <dialogue>At the end he says this is my new number, a number's written down.<\/dialogue>\n    <scene_description>Harry hands him his mobile phone .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>Call him, please!<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Right now? It's too early.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>It does n't matter.<\/dialogue>\n    <scene_description>Diego dials the number and hands the phone to Harry .<\/scene_description>\n    <character>DIEGO<\/character>\n    <dialogue>May I get dressed? I'm naked.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Oh, I'm sorry.<\/dialogue>\n    <scene_description>He turns around and leaves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>HARRY'S HOME. DEN. INT. DAY. 2008.<\/stage_direction>\n    <scene_description>He exits the bedroom and heads for his dark den .<\/scene_description>\n    <character>HARRY<\/character>\n    <parenthetical>( On the phone . )<\/parenthetical>\n    <dialogue>Could I speak to Luis, please?<\/dialogue>\n    <character>WOMAN'S VOICE<\/character>\n    <parenthetical>( Surprised . )<\/parenthetical>\n    <dialogue>Luis died six years ago!<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Oh, I am so sorry. I had no idea!<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>It was cancer. I'm his widow. Who are you?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Mateo Blanco. Luis edited all my films.<\/dialogue>\n    <character>VOICE<\/character>\n    <parenthetical>( More serene . )<\/parenthetical>\n    <dialogue>Mateo Blanco! Luis spoke to me about you. I am his second wife.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>The one I know is Nieves, the first one.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>We married twelve years ago.<\/dialogue>\n    <character>HARRY<\/character>\n    <parenthetical>( Sincere and sorrowful . )<\/parenthetical>\n    <dialogue>I am sorry to hear about Luis' death. I would have liked to speak to him.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>He would have liked so too! Once he was quite ill and did n't want to speak to anyone, he would always tell me that, if it was you, I should hand him the phone.<\/dialogue>\n    <scene_description>Harry keeps silent .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>You have no idea how sorry I am!<\/dialogue>\n    <scene_description>Cut to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>LIVING ROOM, HARRY'S HOME. INT. DAY. 2008.<\/stage_direction>\n    <scene_description>Diego is in the kitchen . He is preparing breakfast , both for himself and Mateo . Harry , heavy - hearted , approaches the kitchen , pensive . A half - hearted `` happy birthday '' escapes Diego 's lips . Harry does n't react , perhaps he has n't heard him . Noticing the look on his face Diego is not eager to insist .<\/scene_description>\n    <character>DIEGO<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>My editor. I just found out he died six years ago.<\/dialogue>\n    <scene_description>Diego remains silent and lets Harry continue talking .<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>Not long before he died he sent me this notebook. But I did n't want to know anything about him, I also did n't know he was dying. and I put it away. until today. His wife just told me he would have liked to speak to me, that was the purpose of sending me the notebook. but I did n't give him the chance.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Had you spoken since the accident?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>No. Never.<\/dialogue>\n    <scene_description>Diego places plates with toast and juice on the table . He serves Harry some coffee and adds sugar .<\/scene_description>\n    <character>DIEGO<\/character>\n    <dialogue>The coffee is in front of you.<\/dialogue>\n    <scene_description>Harry finds the cup easily .<\/scene_description>\n    <character>DIEGO<\/character>\n    <dialogue>Are you OK? Would you like me to stay here?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>No, no. You're heading out?<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>My mother arrives today. I would like to be home when she arrives.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>I did n't know she was arriving.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>I did n't either, she left me a message this morning. She's coming to celebrate your birthday, with us.<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>It's my birthday?<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>It seems so. Today's the.<\/dialogue>\n    <parenthetical>( he tells him the day . )<\/parenthetical>\n    <dialogue>, does that sound right?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Yes. A day like today, fifty - one years ago, I entered the world.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Happy birthday!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>JUDIT AND DIEGO'S HOME. INT. DAY. 2008.<\/stage_direction>\n    <scene_description>Judit returns from location scouting . She enters her house . She hugs her son , effusively . She drops a large suitcase , with wheels . -LRB- The sequence takes place in various rooms in the house . From the foyer she should move toward the bedroom or the kitchen , where she makes herself some tea , or where she opens bags full of food that she 's brought , typical to the region she 's just visited . -LRB- She looks inside the refrigerator and does n't find anything -RRB- . Things like that .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>I was dying to see you! Are you OK, my son?<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>I was very worried about you!<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Mateo has looked after me day and night.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Mateo? You're not calling him Harry?<\/dialogue>\n    <scene_description>Diego had not realized .<\/scene_description>\n    <character>DIEGO<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Today's his birthday, we must get him something. What have you been up to all this time?<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Nothing. Watching movies. and talking.<\/dialogue>\n    <character>JUDIT<\/character>\n    <parenthetical>( As if it were something strange . )<\/parenthetical>\n    <dialogue>Talking?<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>What about?<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Mom, please!<\/dialogue>\n    <scene_description>Judit looks at her son . She finds him different . As if all the confidences shared with Harry had left a physical and visible mark on him . Diego seems to guess what his mother is thinking .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue \/>\n    <character>OK. So what happened to you?<\/character>\n    <dialogue>So what happened to you? says.<\/dialogue>\n    <parenthetical>( Sort of joking . )<\/parenthetical>\n    <dialogue>do n't know if I should believe the thing about the stomach flu, you two used that as an excuse in a script.<\/dialogue>\n    <character>DIEGO<\/character>\n    <parenthetical>( Elusive . )<\/parenthetical>\n    <parenthetical>( I suffered . )<\/parenthetical>\n    <dialogue>. an accident. But I would rather not speak of that right now.<\/dialogue>\n    <character>JUDIT<\/character>\n    <parenthetical>( Irritated , by the surprise . )<\/parenthetical>\n    <dialogue>What kind of accident?<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>It's hard to explain.<\/dialogue>\n    <character>JUDIT<\/character>\n    <parenthetical>( Orders him , annoyed . )<\/parenthetical>\n    <dialogue>Try to! I am not that stupid!<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Let's leave it for another time, yes? I am all well now.<\/dialogue>\n    <scene_description>Judit gets the sense that she can no longer speak to her son in the same way that she could before she left on her trip . Those two weeks have irreversibly changed him .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>What's wrong with you, Diego?<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Nothing. I'm doing just fine. I'm going to buy a present for Mateo.<\/dialogue>\n    <character>JUDIT<\/character>\n    <parenthetical>( Repeats . )<\/parenthetical>\n    <dialogue>For Mateo.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Alright, Harry.<\/dialogue>\n    <scene_description>-LRB- Offended , she does n't want her son to think she is a drag , so she makes an effort not to bombard him with questions -RRB-<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>Call him however you wish. That's the advantage of having two names.<\/dialogue>\n    <scene_description>Diego disappears and leaves her in mid - sentence . -LRB- Is this his way of avenging himself ? Perhaps his reaction is unfair , but he can not stand to stay there with his mother , answering thousands of questions regarding an `` accident '' when there has been another `` accident '' that he is much more intrigued by and that she has kept silent for fourteen years . -RRB-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>MATEO-HARRY'S HOME. INT. DAY. 2008.<\/stage_direction>\n    <scene_description>-LRB- The maid may be around -RRB- Mateo goes to open the door . Judit has the key in one hand and a huge flower bouquet in the other . They greet each other enthusiastically . Mateo - Harry attempts to hug her but his arms collide with the flowers .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>Wait, my arms are full.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>Are those flowers?<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Yes! Happy Birthday!<\/dialogue>\n    <scene_description>Cut to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>MATEO-HARRY'S HOME. INT. DAY. 2008.<\/stage_direction>\n    <scene_description>Mateo and Judit talk , they are sitting on a sofa , the conversation is already mid - way .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>Thank you for looking after Diego. I do n't know how to thank you!<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>You've been looking after me for fourteen years now.<\/dialogue>\n    <scene_description>Judit brushes his acknowledgement off , with a half - smile .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>I've found him somewhat hostile. He left without telling me what it was that happened. Will you tell me?<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>I do n't know. It should be your son to tell you.<\/dialogue>\n    <scene_description>Judit is upset by both of their evasiveness .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>What is wrong with the two of you? Why is it that he suddenly is not calling you Harry but Mateo?<\/dialogue>\n    <character>MATEO<\/character>\n    <parenthetical>( He evades the first question , but responds to the second one . )<\/parenthetical>\n    <dialogue>Two weeks ago, at the place where he D.J.'s, by mistake, he grabbed a friend's drink that had been spiked with G.H.B., liquid ecstasy. He thought it was his drink, both drinks had Coca - cola.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Liquid ecstasy?<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>Yes. It's a very dangerous drug when it's mixed with alcohol and Diego had already had two Cuba Libres before he drank from his friend's glass.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>And. what happened. exactly?<\/dialogue>\n    <character>MATEO<\/character>\n    <parenthetical>( Being vague . )<\/parenthetical>\n    <dialogue>He was badly affected. He spent two days in urgent care, after that, I brought him here.<\/dialogue>\n    <scene_description>Judit looks at him , horrified . She ca n't seem to comprehend such a turbulent and simple story .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>Diego's a drug addict?<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>No. I've told you, he drank from the glass containing liquid ecstasy by mistake.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>But how can one make a mistake with something like that?<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>At first glace one can not tell the difference. Both glasses contained Coca - cola. It's not the first time it happens.<\/dialogue>\n    <scene_description>Judit sighs , defenseless and horrified .<\/scene_description>\n    <character>MATEO<\/character>\n    <dialogue>Diego has not told you so that you would n't be alarmed.<\/dialogue>\n    <character>JUDIT<\/character>\n    <parenthetical>( That I would n't be alarmed ?! )<\/parenthetical>\n    <dialogue>Well, he has n't succeeded. At some point he will have to speak to me, no?<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>He is wanting to do so!<\/dialogue>\n    <scene_description>Judit takes a cigarette out of its box and lights it .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>Is that so? Because I ask him and he does n't answer!<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>Then you should try answering him, when he asks you.<\/dialogue>\n    <scene_description>Judit smokes in silence , she is curious to know what Mateo and Diego have been talking about in her absence , but she does n't dare ask Mateo .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>The two of you are acting very differently. Both of you. You both have changed.<\/dialogue>\n    <scene_description>She laments it , as if she had been put aside and they had not taken her into account . Cut to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>\"NO VIEWS\" RESTAURANT. INT. NIGHT. 2008.<\/stage_direction>\n    <scene_description>AT THE BAR BEFORE ONE ENTERS THE RESTAURANT . Judit and Mateo are having something to drink . Mateo tilts his head subtly in front of Judit .<\/scene_description>\n    <character>MATEO<\/character>\n    <dialogue>You smell good.<\/dialogue>\n    <character>JUDIT<\/character>\n    <parenthetical>( Insecure . )<\/parenthetical>\n    <dialogue>I have put on some makeup and I am dressed as a woman.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>What's the dress like?<\/dialogue>\n    <scene_description>Judit describes it , with few words and almost shyly .<\/scene_description>\n    <character>MATEO<\/character>\n    <dialogue>And the hair? How are you wearing your hair? It's been so long since I've asked you that I do n't even know whether it's long or short.<\/dialogue>\n    <scene_description>The fact that Mateo betrays that type of interest flatters and disconcerts her .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>I have n't changed much, Harry. I am wearing my hair short.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>Short like Jean Seberg in `` Breathless''? Like Joan of Arc on the bonfire? Like Liza Minnelli in `` Cabaret''? Or like Yul Brynner?<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Short, or rather, very short, like that of all fortysomethings who want to appear younger.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>I am sure it looks good on you. Thanks for dressing up for me, Judit.<\/dialogue>\n    <scene_description>Diego looks at them , amused . He hands Mateo three DVDs -LRB- Scorsese 's `` Goodfellas '' -LRB- or the Coen Brother 's `` Fargo '' -RRB- , Tarantino 's `` Kill Bill , '' and Kiarostami 's `` Taste of Cherry '' -RRB- . Near them , on the bar table , two couples talk excitedly as if they were about to go on a ride at an Amusement Park . The barman tells them they may now enter .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>\"NO VIEWS\" RESTAURANT. INT. NIGHT. 2008.<\/stage_direction>\n    <scene_description>Once they 've crossed the doorway , a man signals them to follow him . He 's a blind man that , like Mateo , moves smoothly , he knows the place by heart . The restaurant is completely shrouded in darkness , all the waiters , men and women , are blind . The one in charge of Mateo , Diego , and Judit introduces himself :<\/scene_description>\n    <character>JAVIER<\/character>\n    <dialogue>My name is Javier. How many are you?<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>Three.<\/dialogue>\n    <scene_description>There is not a single light inside . The following sequences take place in absolute darkness .<\/scene_description>\n    <character>JAVIER<\/character>\n    <dialogue>Please, grab onto each other's shoulders and follow me in Indian - file. I will guide you to your table. It's number eight.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>What is the idea here, Harry?<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>We are dinning in darkness.<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>You did n't know this, ma'am?<\/dialogue>\n    <character>JUDIT<\/character>\n    <parenthetical>( Anxious , feeling slightly ridiculed . )<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>You should have been warned, but do n't worry. People get used to it after a few minutes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>\"NO VIEWS\" RESTAURANT. INT. NIGHT. 2008.<\/stage_direction>\n    <scene_description>They have arrived to their table , as signaled by the waiter . Table number eight . He tells them where to sit .<\/scene_description>\n    <character>JAVIER<\/character>\n    <dialogue>Imagine that your plate is the face of a watch. Your silverware is at 9h and at 3h. Your glass at 1h. Bread at 11h.<\/dialogue>\n    <scene_description>Each of them reaches for the objects as indicated by the waiter around an imaginary clock . Judit still believes this is some kind of joke and that the lights will come on at any moment and that something spectacular will appear before her eyes . If she had been able to see , she would have been witness to the very interesting scenes surrounding her . Two couples kissing , with bestial enjoyment . And a well - bred woman performing fellatio on the man sitting next to her . No one sees them except our camera .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>Harry, what is all this about?<\/dialogue>\n    <scene_description>The waiter responds .<\/scene_description>\n    <character>JAVIER<\/character>\n    <dialogue>We want our clients to discover that the lack of sight harnesses the other senses. Touch, taste, smell and sound will acquire a special intensity tonight, ma'am. I hope you'll enjoy them.<\/dialogue>\n    <scene_description>Judit says nothing . She hides her nervousness in order not to ruin Mateo 's night , he seems fascinated with the place and completely unaware of the process she is now living : the discovery of absolute darkness . A bottomless pit .<\/scene_description>\n    <character>JAVIER<\/character>\n    <dialogue>Will the gentlemen be drinking something?<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>Bring us a bottle of wine, to toast.<\/dialogue>\n    <scene_description>The waiter leaves them . Slowly , Judit begins to walk the plank that will plunge her into anxiety . The evening feels far from a party , but she does n't want to spoil it for either Mateo or Diego . She hears Mateo explaining to<\/scene_description>\n    <character>MATEO<\/character>\n    <dialogue>I found out about this place in the newspaper and I wanted to check it out.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>It's a German idea, there are various restaurant like this one, they're totally in fashion.<\/dialogue>\n    <character>JUDIT<\/character>\n    <parenthetical>( Ca n't believe what she 's hearing . )<\/parenthetical>\n    <dialogue>Darkness, in fashion? I do n't understand.<\/dialogue>\n    <scene_description>Silence . Judit pours herself some water and drinks . And she gets depressed , in silence . She lights a cigarette .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>\"NO VIEWS\" RESTAURANT. AT THE TABLE. INT. NIGHT. 2008.<\/stage_direction>\n    <scene_description>Javier , the waiter , arrives with the wine . He tells Judit she ca n't smoke . She puts out the cigarette . -LRB- On the floor ? -RRB- To enliven the occasion , Diego proposes a toast .<\/scene_description>\n    <character>DIEGO<\/character>\n    <dialogue>Let's toast!<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Yes. Let's toast.<\/dialogue>\n    <scene_description>Mateo pours the glasses . They each grab one . Clumsily , they bring them close until they can her the sound of the crystal clinking .<\/scene_description>\n    <character>DIEGO<\/character>\n    <dialogue>Happy Birthday!<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Happy Birthday! We must look into each other's eyes.<\/dialogue>\n    <parenthetical>( She has already said it and it 's too late when she thinks of retracting it . )<\/parenthetical>\n    <dialogue \/>\n    <character>DIEGO<\/character>\n    <dialogue>Well, we're kind of screwed.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Oh, sorry. It slipped.<\/dialogue>\n    <scene_description>They attempt to clink glasses . It is not such an easy task . The three glasses head for each other in the darkness , it would have been easiest to have all three meet at the center , but instead each opts to find the other . Only Mateo puts his forward and leaves it in place , waiting for the other two to find his . When this happens , Judit 's glass collides with too much force , breaks his glass and wine spills all over the table cloth . Mateo attempts to make light of the situation , as if nothing had happened . He presses his fingers into the wine that has spilled on the tablecloth and exclaims :<\/scene_description>\n    <character>MATEO<\/character>\n    <dialogue>Joy! Joy!<\/dialogue>\n    <parenthetical>( to Judit . )<\/parenthetical>\n    <dialogue>Bring your ear to me so that I can sprinkle some wine behind it. It's for good luck!<\/dialogue>\n    <scene_description>Judit attempts to heed his request , she leans forward , offering her head , parallel to the table . Mateo ca n't quite find her ear . Judit collapses . Her head topples onto the table , without strength , and she bursts into tears . Cut to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>\"THE MIRROR\" TERRACE. INT. EXT. NIGHT. 2008.<\/stage_direction>\n    <scene_description>Show both terraces , the exterior one and the glass - enclosed one . The sequence begins once all three of them -LRB- Judit , Diego and Harry -RRB- are seated and drinking . Judit 's emotional state has not improved . The short sequence of events that she 's had to live through since her arrival have been making her increasingly tense and worried . She is trying to combat the letdown by way of gin - and - tonic . -LRB- They are sitting on one extreme of the ellipsis that makes up the glass - enclosed terrace , decorated with cheesy Dec\u00f3 motifs -RRB- . At the center , where the bar is located , two or three waiters prepare to clean up the tables . Once in a while , they look over at the only three remaining clients . Once in a while , they are also able to catch Judit 's words . And once in a while , the waiters function as the audience , witnessing a theatrical production . Although on this occasion , the setting is real and so is the drama . Judit sips - down the gin - and - tonic quite rapidly . Mateo and Diego accompany her . Cut to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CONTINUED. MIRROR TERRACE. INT. NIGHT.<\/stage_direction>\n    <character>JUDIT<\/character>\n    <dialogue>I do n't know what you've been talking about these past days.<\/dialogue>\n    <scene_description>A topic which they have waited to broach since she arrived from her trip . Neither of the two men respond , but they are both made uncomfortable by the comment .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>But I do know what I have n't talked to you about all these years.<\/dialogue>\n    <scene_description>Mateo directs his face toward her , surprised and polite .<\/scene_description>\n    <character>MATEO<\/character>\n    <dialogue>I've never asked you.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>But you must have asked yourself a thousand times. This is my birthday gift, Mateo.<\/dialogue>\n    <parenthetical>( To Diego . )<\/parenthetical>\n    <dialogue>The gift is also for you, Diego.<\/dialogue>\n    <scene_description>She takes another sip to draw courage , but she 's already gathered enough momentum :<\/scene_description>\n    <character>JUDIT<\/character>\n    <parenthetical>( To Mateo . )<\/parenthetical>\n    <dialogue>After you disappeared, Ernesto Senior thought only of his revenge. A plan had occurred to him but, to carry it out, he had to bribe, at the very least, both Luis and me. It was n't an issue, we both sold ourselves without hesitation. Luis and I. With me, he had the courtesy to provide an alibi, he proposed that I leave for a month and a half to the United States, to the Mayo Clinic, so that Diego could undergo a cure for his aspergillosis, that way I would n't have to be present while he destroyed the movie.<\/dialogue>\n    <parenthetical>( because that was his plan , to make a mess out of the film . )<\/parenthetical>\n    <dialogue>. I opted to stay in Madrid and have Diego undergo his cure here. I wanted to witness everything. If I was going to betray you, I wanted to pay the full price.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>What a living hell! For both of you!<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>You said it!<\/dialogue>\n    <scene_description>She takes a deep breath and continues :<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>Yes. It was torture to watch Ernesto select the worst takes of each shot and Luis edit them together, turning your film into a monster.<\/dialogue>\n    <parenthetical>( briefly tears ? )<\/parenthetical>\n    <dialogue>. The only way of withstanding that was to suffer more.<\/dialogue>\n    <parenthetical>( Overcome . )<\/parenthetical>\n    <dialogue>I sold myself to Ernesto because of my pain and jealousy. I could n't take it and I could n't.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>forgive you for having abandoned Cinearte with Lena without saying a word! My betrayal was my revenge against you, against her and against myself. The only innocent one was Diego.<\/dialogue>\n    <parenthetical>( To Diego . )<\/parenthetical>\n    <dialogue>Forgive me, my son, for the bitterness that you've had to absorb all these years. no one deserves to grow up like this.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>CONTINUED. MIRROR TERRACE. INT. NIGHT.<\/stage_direction>\n    <scene_description>Judit rises . She approaches the bar table . She orders another gin - and - tonic . The waiter does n't dare to tell her they 've already closed , so he serves her . With the glass in her hand , Judit returns to the table where Mateo and Diego wait , expectantly . She has observed them whispering , but she has n't heard what they have said . She sits down with them . Judit takes a sip .<\/scene_description>\n    <character>MATEO<\/character>\n    <parenthetical>( Interrupts her . )<\/parenthetical>\n    <dialogue>Do n't continue, Judit! It's not necessary.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Yes. Now that you once again call yourself Mateo, I have no excuse.<\/dialogue>\n    <scene_description>Judit takes a sip from her drink , to gather her strength .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>No one knew where you were. We had no idea. Ernesto Senior put everything together, the premier, all that ruckus, to see if you'd react. His revenge was pointless if neither of you found out about it.<\/dialogue>\n    <parenthetical>( Pauses . )<\/parenthetical>\n    <dialogue>Ernesto asked me constantly if I knew where you were, but I said that I also did n't know anything, which was true.<\/dialogue>\n    <character>MATEO<\/character>\n    <parenthetical>( Somber . )<\/parenthetical>\n    <dialogue>That's why I never called you, but even if you do n't believe it, I was very worried for you and the boy.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>I believe you.<\/dialogue>\n    <scene_description>Diego attempts to say that he , too , believes him , but Judit does n't give him time .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>Ernesto hired various detectives to search for you, but before they found you, you called me, two days after the premier.<\/dialogue>\n    <parenthetical>( Slowly , debilitated . )<\/parenthetical>\n    <dialogue>I was too embarrassed to answer, and. too stunned. I still am. When Ernesto Senior asked me again about you, I do n't know why, I gave him the phone number for Famara.<\/dialogue>\n    <scene_description>Mateo and Diego listen to her , with renewed attention . This new information reveals an unexpected possibility , something that neither of the two men had considered . Their reaction toward Judit 's painful declaration changes in character . In Mateo 's case , his compassion vanishes and is replaced by doubt , now incited by new suspicions .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>Ernesto sent his son to find you in Lanzarote.<\/dialogue>\n    <scene_description>-LRB- Images of Ernesto Junior , inside a rented car , following the couple across various places on the island , including the highway that leads to Famara , on that last night . -RRB-<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>He was the one who found you after the accident and called the hospital.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Did he have something to do with the accident?<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>No! But I ca n't stop thinking that had I not given his father the phone number, perhaps nothing would have happened.<\/dialogue>\n    <character>MATEO<\/character>\n    <parenthetical>( Dryly . )<\/parenthetical>\n    <dialogue>Why do you think that?<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>MATEO<\/character>\n    <parenthetical>( Categorically . )<\/parenthetical>\n    <dialogue>If you do n't know, then stop torturing yourself.<\/dialogue>\n    <scene_description>He says this with spite and somewhat disparagingly . For Judit it 's like a splash of cold water to the face . The confession , rather than ending as a liberating catharsis , has devolved in its opposite . The silence is weighed down by suspicion and the new abyss between Mateo and Judit . Never before has Judit felt Mateo this distant and antagonistic . Her dramatic confession , far from liberating her , has opened new wounds and generated new suspicions . And Judit feels taken over by an arid anxiety , corrosive , unbearable . She almost ca n't breathe . Cut to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CASTELLANA STREET. EXT. NIGHT. 2008.<\/stage_direction>\n    <scene_description>Judit , Mateo and Diego are inside Judit 's car . Diego is driving . The three are tense and silent .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>MATEO'S BUILDING. EXT. INT. NIGHT. 2008.<\/stage_direction>\n    <scene_description>In silence , they arrive at the entrance of the building where Mateo lives . -LRB- Mateo is possibly carrying his umbrella or a blind man 's cane -RRB- . He exits the car . Judit walks him to the front door . She is glad that Mateo ca n't see her look of embarrassment .<\/scene_description>\n    <character>MATEO<\/character>\n    <dialogue>Good night.<\/dialogue>\n    <character>JUDIT<\/character>\n    <parenthetical>( Destroyed . )<\/parenthetical>\n    <dialogue>Good night. Call me if you need anything.<\/dialogue>\n    <scene_description>Mateo does n't respond . When the entrance door shuts like a resounding `` no . '' Judit waits until she sees him disappear into the elevator .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>MATEO'S DOORWAY. EXT. NIGHT. 2008.<\/stage_direction>\n    <scene_description>From Judit 's point of view , Mateo disappears into the elevator , which soon begins to rise .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>STREET. IN FRONT OF THE ENTRANCE TO MATEO'S BUILDING.<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NIGHT. 2008.<\/stage_direction>\n    <scene_description>Undone , and she no longer pretends otherwise , Judit returns to the car . Before she opens the door she bends over and retches violently . Diego gets out of the car and holds her by the waist . He attempts to help her . Judit 's face is contorted . She wipes a thread of saliva still hanging from her lips . Despite the retching , she has not vomited anything other than liquid .<\/scene_description>\n    <character>DIEGO<\/character>\n    <parenthetical>( Touching her forehead . )<\/parenthetical>\n    <dialogue>You are sweating.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>It's a panic attack.<\/dialogue>\n    <parenthetical>( Takes a deep breath , as if she had lost her wind . )<\/parenthetical>\n    <dialogue>Hand me the purse!<\/dialogue>\n    <scene_description>Diego finds the purse in the car and hands it to her immediately . Judit searches through the purse , impatiently . She takes the purse and drops all of its contents on the sidewalk . She find a box of tranquilizers . The pill she presses through the aluminum seal comes out with a pop ; she places it on her tongue . She leans over the car . Diego looks at her , scared , he has never seen her like this . Articulating poorly , so as to not move her tongue , Judit say to him :<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>This will pass soon.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>JUDIT'S HOME. INT. NIGHT. 2008.<\/stage_direction>\n    <scene_description>Diego hands her a glass of water . Once in bed , Judit takes two sleeping pills . She has overcome the crisis . Diego looks at her , very concerned . His mother has never shown herself to be so physically fragile . He wants to help her , but it does n't seem like there is anything more he can do than what he already has . Judit attempts to smile in order to calm him .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>I will sleep well with this.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Do you want me to stay here?<\/dialogue>\n    <character>JUDIT<\/character>\n    <parenthetical>( Surprised . )<\/parenthetical>\n    <dialogue>Here? What for?<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>In case the panic returns, so that you do n't feel alone.<\/dialogue>\n    <scene_description>Judit eyes swell with tears .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>Thank you. I am feeling better. and I'll fall asleep soon.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Call me, if you are not feeling well.<\/dialogue>\n    <scene_description>He kisses her twice and exits . The curtains that cover a large window that looks out into an interior terrace are made from the same material as those that Mateo has in his bedroom .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>HARRY'S HOME. INT. DAWN. 2008.<\/stage_direction>\n    <scene_description>The next day . Standing over his desk , Mateo searches the desk drawer under the computer . It 's open . There are not many things inside -LRB- credit cards , envelopes with money , a jump drive , the MP3 , etc. -RRB- , he goes through it meticulously until he finds the note that Ray X had left him the day he came to ask him if they could write a script together . Ray X has hand - written his own telephone number on the note . He goes over it with his fingertips , as if he could see through them . He dials a familiar number , Diego 's .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>JUDIT'S HOME. DIEGO'S BEDROOM. INT. DAWN. 2008.<\/stage_direction>\n    <scene_description>Diego 's mobile phone vibrates four or five times . But Diego is sleeping and he does n't wake up . The mobile phone stops vibrating . In all the scenes where Mateo is alone at home , he never turns on the light . He will be in the dark , lightly illuminated by any light that the cracks in the windows let through . RETURN TO 168 . Mateo leaves him a message : `` I am sorry to call you so early . Tell your mother to call me as soon as she can . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>HARRY'S STREET. EXT. DAY. 2008.<\/stage_direction>\n    <scene_description>As usual , Mateo buys his newspaper at the same news - agent . He turns his body toward the Modeling Agency , but no one there enters or exits whose odor or whose clacking heels rings familiar . There are a few people on the sidewalk and those he crosses are all heading , like zombies , to work .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>BAR ACROSS. 8 IN THE MORNING. EXT. INT. DAY. 2008.<\/stage_direction>\n    <scene_description>He enters the bar where his Waiter Friend works . The place has just opened . There are very few clients . He greets him .<\/scene_description>\n    <character>WAITER FRIEND<\/character>\n    <dialogue>Why here so early?<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>I could n't sleep. Would you mind dialing this number?<\/dialogue>\n    <scene_description>He hands him the phone and the piece of paper where Ray X 's number is written .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>KITCHEN, JUDIT'S HOME. INT. DAY. 2008.<\/stage_direction>\n    <scene_description>Diego is meticulously preparing breakfast for himself and Judit . He works hard to ensure that they both start their day with the help of a generous and varied breakfast , toast , juice , coffee and tea , marmalade , toasted bread spread with oil and tomato , etc . Judit appears through one of the kitchen doors , calm , with a look of having rested -LRB- but also with the hangover of having survived a nightmarish day , the day before -RRB- . Diego does not hear her approach . The mother takes advantage of this to observe her son with a tender smile . When Diego turns to look , the tenderness disappears a little , more out of modesty and a lack of habit . In any case , Judit enjoys the peacefulness of the moment : her son caring for her after the storm . Judit looks over the culinary display .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>How impressive!<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>I am specializing in breakfasts. I would do the same for Mateo.<\/dialogue>\n    <scene_description>Judit 's expression changes , now a bit more somber .<\/scene_description>\n    <character>DIEGO<\/character>\n    <dialogue>Are you OK?<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <parenthetical>( still a bit beaten down . )<\/parenthetical>\n    <dialogue>do n't worry about last night. It's horrible, but it only happens occasionally and I know how to stop it.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>It scared me, it seemed as though an alien would pop out of your stomach.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>It's not a bad way of describing a panic attack.<\/dialogue>\n    <parenthetical>( Changing the topic , one can tell she 's made the decision before she arrived in the kitchen . )<\/parenthetical>\n    <dialogue>. Diego, there was one last thing I did n't tell you yesterday.<\/dialogue>\n    <scene_description>Assuming it will be painful , he attempts to dissuade her :<\/scene_description>\n    <character>DIEGO<\/character>\n    <dialogue>About Mateo?<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>You can tell me some other time. Now it's time for breakfast.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>If I do n't tell you now, I may never do so. At the end of the eighties, in ` 77, to be exact.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>The year of punk.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Yes, in the year of punk, Mateo and I became involved.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>In a love affair?<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Yes. We were just getting started in film, and we are still at it, but our love affair ended, at least on his side. That did n't keep us from working together. until now.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>I knew all that, or I imagined it.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>There's one more thing. Mateo is your father.<\/dialogue>\n    <scene_description>Diego looks at her , astonished .<\/scene_description>\n    <character>DIEGO<\/character>\n    <dialogue>And that fleeting lover, my supposed biological father? You made him up?<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>No. I. can hide things. but I never make things up. I do n't know how to make up. The fleeting lover existed, he was gay and our affair was short - lived. His name was Vicente and it was while I was with him that you were conceived, but your biological father was Mateo, not Vicente.<\/dialogue>\n    <scene_description>Still thinking about what he has just heard , Diego places the breakfast on the main kitchen table and serves his mother a cup of tea . Judit begins to drink it , one tiny sip at a time .<\/scene_description>\n    <character>DIEGO<\/character>\n    <parenthetical>( Assimilates the news .<\/parenthetical>\n    <parenthetical>He is not displeased . )<\/parenthetical>\n    <dialogue>Does Mateo know?<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>No. At that time, he asked me and I denied it, of course. I did n't want to put pressure on him, I did n't want our relationship to change because of it. After all, I had never asked him if he wanted to become a father.<\/dialogue>\n    <scene_description>The pieces begin to fall together .<\/scene_description>\n    <character>DIEGO<\/character>\n    <dialogue>I see.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>If you think I made a mistake, do n't tell me now. We have the rest of our lives for recriminations.<\/dialogue>\n    <scene_description>Diego remains pensive for a moment .<\/scene_description>\n    <character>DIEGO<\/character>\n    <dialogue>I will not recriminate you. I think I like being Mateo's son.<\/dialogue>\n    <parenthetical>( the son of a bitch . )<\/parenthetical>\n    <dialogue>. Speaking of, he called early this morning.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Mateo. At 8h.<\/dialogue>\n    <scene_description>She looks at the clock and it 's 11h .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>What did he want?<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>For you to call him as soon as you could.<\/dialogue>\n    <character>JUDIT<\/character>\n    <parenthetical>( Surprised , tense . )<\/parenthetical>\n    <dialogue>That I call him? Why in the world have you not awakened me?!<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Because, after what happened last night, you needed to sleep. He did n't say it was urgent. You can call him now.<\/dialogue>\n    <scene_description>Judit grabs her son 's phone , agitated once again , and dials Mateo 's number .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>ALTERNATING BETWEEN JUDIT'S HOME. INT. DAY. 2008.<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>PUERTA DE HIERRO MANSION. ERNESTO JUNIOR'S STUDY. INT.<\/stage_direction>\n    <scene_description>DAY . 2008 . In the beginning the shot is close up and so we are not aware of where he is . All one can see is a bit of a curtain , out of focus . Phone conversation .<\/scene_description>\n    <character>JUDIT<\/character>\n    <parenthetical>( Attempts to appear calm , since her confession her voice has a less authoritarian edge and is weaker . )<\/parenthetical>\n    <dialogue>Diego has told me to call you. Are you OK? Do you need anything?<\/dialogue>\n    <parenthetical>( This is what she 's most worried about . )<\/parenthetical>\n    <dialogue \/>\n    <character>MATEO<\/character>\n    <parenthetical>( Almost with irony . )<\/parenthetical>\n    <dialogue>I am not alright, Judit. And yes, I do need something. The forty thousand meters of negative we shot during my last film in order to edit it. I am at the home of Ernesto Junior and I just found out the material was destroyed in' 94. I imagined something like this, I just did n't think it would have happened that soon.<\/dialogue>\n    <character>JUDIT<\/character>\n    <parenthetical>( With urgency . )<\/parenthetical>\n    <dialogue>Let me explain.<\/dialogue>\n    <character>MATEO<\/character>\n    <parenthetical>( Cuts her off . )<\/parenthetical>\n    <dialogue>No. I am in a hideous mood, Judit, and I do n't want to take it out on you!<\/dialogue>\n    <character>JUDIT<\/character>\n    <parenthetical>( Surprised and alarmed . )<\/parenthetical>\n    <dialogue>What are you doing at Ernesto's house?<\/dialogue>\n    <scene_description>The shot opens up , and we discover Ernesto Junior at the other end of the room , next to a 16mm camera -LRB- on a tripod -RRB- recording everything that Mateo says and does , while he searches around in some drawers .<\/scene_description>\n    <character>MATEO<\/character>\n    <dialogue>I think I am going to bribe him. We need money, I do n't want Diego back at that damn bar. I want to pay Diego a salary, we need money and he has money to throw.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>PUERTA DE HIERRO MANSION. ERNESTO'S STUDY. INT. DAY. 2008.<\/stage_direction>\n    <scene_description>The studio has a different configuration than when his father lived , but we recognize the place nonetheless ; when the father was alive the space served a different purpose . Ernesto looks at Mateo fearlessly , he is still determined to search , urgently , for something inside the drawers of a chest . The place is a pretty big mess .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>Mateo, stop talking crazy!<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>It is not craziness. I ca n't think of anyone else to blame for Magdalena's death.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>My God!<\/dialogue>\n    <parenthetical>( She asks Diego to bring her the box of tranquilizers . )<\/parenthetical>\n    <dialogue>Wait a second. I have something to tell you.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>Let it be, you already said enough last night.<\/dialogue>\n    <character>JUDIT<\/character>\n    <parenthetical>( She takes a pill and yells at him . )<\/parenthetical>\n    <dialogue>Listen to me, Mateo!<\/dialogue>\n    <parenthetical>( As she raises her voice , she becomes dominant . )<\/parenthetical>\n    <dialogue>I was the production director, if you want to know anything about the footage, ask me!<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>Since you insist, I will ask you. What do you have to tell me?<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>In effect, Ernesto Senior asked for it to be destroyed.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>In' 94! Very shortly after the release of that aberration.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>Yes. In any case, sooner or later the lab disposes of all the material. and that was many years ago.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>That's not anything that I do n't already know.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>As the film's producer I was the only one who had access to the lab. to all the material. After I gave the order to have everything destroyed, I intercepted it. And I kept it. I have all of it at home.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>You are lying to me.<\/dialogue>\n    <character>JUDIT<\/character>\n    <dialogue>I did n't tell you this last night because I did n't realize you wanted to edit it. I took everything, all the double takes, the internegative, the sound tapes. Everything! You can have it whenever you want!<\/dialogue>\n    <scene_description>The silence on the other end of the line reassures her .<\/scene_description>\n    <character>MATEO<\/character>\n    <dialogue>That changes everything.<\/dialogue>\n    <character>JUDIT<\/character>\n    <parenthetical>( Begs . )<\/parenthetical>\n    <dialogue>Please, get out of that place, leave Ernesto alone. He had nothing to do with this.<\/dialogue>\n    <scene_description>Mateo looks over at Ernesto Junior . The camera is still on its tripod , rolling .<\/scene_description>\n    <character>MATEO<\/character>\n    <dialogue>I am not so sure. He has yet to explain what he was doing in Lanzarote. I'll let you go, it seems he wants to talk.<\/dialogue>\n    <parenthetical>( Hangs up . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Ernesto , finally , finds a DVD . He has it in his hand and brings it toward Mateo . -LRB- His hand enters into view on the screen of the 16mm camera -RRB- .<\/scene_description>\n    <character>ERNESTO J.<\/character>\n    <dialogue>Here is a copy of `` the making of''.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>And why would I want that? I ca n't watch it! Plus, I'm not interested.<\/dialogue>\n    <scene_description>Ernesto takes his hand and places the DVD softly onto it .<\/scene_description>\n    <character>ERNESTO J.<\/character>\n    <dialogue>Have someone you trust watch it and tell you about it.<\/dialogue>\n    <parenthetical>( This DVD proves that I was n't responsible for the accident . )<\/parenthetical>\n    <dialogue>Oh, and even if my father had asked me to harm you, I never would have. You are very important to me, Mateo.<\/dialogue>\n    <scene_description>Ernesto speaks naturally , for the first time , Mateo takes him seriously .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>MATEO-HARRY HOME. INT. DAY. 2008<\/stage_direction>\n    <scene_description>Diego is watching the images of `` the making of '' , while Mateo works out on his treadmill . At the last moment , an instant prior to being struck by the SUV , Mateo and Lena kiss inside the car . They are then distracted by a noise from the car that is about to hit them . These images have been recorded from inside a different car , which has been following them from behind , at a safe distance -LRB- Ernesto Junior 's car -RRB- . Mateo reaches the living room from the other end of the house , dripping with sweat . Diego has just watched the kiss and the accident . He rewinds and he pauses right at the moment when Mateo 's and Lena 's kiss fills the whole screen .<\/scene_description>\n    <character>MATEO<\/character>\n    <dialogue>Is there something new I should know about?<\/dialogue>\n    <character>DIEGO<\/character>\n    <parenthetical>( Surprised and moved . )<\/parenthetical>\n    <dialogue>It's a very interesting documentary. And, yes, in effect, Ernesto followed you to Lanzarote, until the last moment.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>The images are there?<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>Those of the last night?<\/dialogue>\n    <scene_description>They take a look at the images that Ernesto taped at `` El Mirador '' from the outside . Through the glass of the large window we see Lena and Mateo talking .<\/scene_description>\n    <character>DIEGO<\/character>\n    <dialogue>Yes. He recorded you at a safe distance, while you were on you way back after dinner. The scene is lit by the light of his headlights. It's not a lot, but enough to see what happened. Not only did he not have anything to do with the accident, he saved your life.<\/dialogue>\n    <scene_description>Mateo watches the screen of the television without being able to see it , taking in the information Diego gives him .<\/scene_description>\n    <character>DIEGO<\/character>\n    <dialogue>And one more e thing : When you were at the traffic circle, before the SUV crashed into to you, you and Lena kiss.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>A kiss? I do n't remember it.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>It was an ordinary kiss, just one more of the many kisses a couple gives each other, almost without thinking.<\/dialogue>\n    <character>MATEO<\/character>\n    <parenthetical>( Pensive . )<\/parenthetical>\n    <dialogue>The last kiss.<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Yes. Even if it sounds cheesy, someone has to tell you : Lena did not die in your arms, as you dreamed, but the last sensation she experienced in this world was the taste of your mouth.<\/dialogue>\n    <scene_description>Mateo watches without seeing the television , he gets close to the screen . With his fingertips , he caresses the surface , literally touching Lena 's last kiss . Shots of Mateo 's hand caressing the screen , with the image of the kiss . Shot of Diego observing the entirety of the scene , moved . A shot of everything . The appropriate kind of music accompanies the scene as it begins to fade out , bit by bit , while a sign appears : EPILOGUE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>ON THE AVID. INT. 2008<\/stage_direction>\n    <scene_description>Luis ' notebook , open on given sequences , as if Luis were present on this last moment of the definitive editing . An ashtray with a lit cigarette . The hands of the editor powering the Avid , directing the mouse through all the necessary steps until the screen fills with a block of sequences of `` Girls and Suitcases , '' in Pina 's loft . The images fill the entire screen of the main narration . It begins with the same sequence Diego and Mateo watched on television . Everything is the same , but it plays completely differently . The actresses are funny and fresh . The spectator does not know what the difference is , but , unconsciously , he must feel enthralled by the sequences of Pina and Chon , as if spellbound .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SCENES FROM \"GIRLS AND SUITCASES.\" PINA'S LOFT. ENTRANCE<\/stage_direction>\n    <scene_description>HALL . INT . 2008 Pina limps -LRB- fed up -RRB- toward the door . Looks through the peephole , behind it , Chon . They are good friends , but Chon is the last person Pina wants to see right now .<\/scene_description>\n    <character>PINA<\/character>\n    <parenthetical>( Whispers . )<\/parenthetical>\n    <dialogue>What a drag!<\/dialogue>\n    <parenthetical>( She opens , not the least bit welcoming . )<\/parenthetical>\n    <dialogue>Oh, it's you?<\/dialogue>\n    <character>CHON<\/character>\n    <parenthetical>( Anxious , reproachful . )<\/parenthetical>\n    <dialogue>I have left you a thousand messages!<\/dialogue>\n    <character>PINA<\/character>\n    <dialogue>Yes. A thousand from you and none from Ivan.<\/dialogue>\n    <character>CHON<\/character>\n    <parenthetical>( Looks at the suitcase as if it were a menacing , strange bug . )<\/parenthetical>\n    <dialogue>What about this suitcase!<\/dialogue>\n    <character>PINA<\/character>\n    <dialogue>It's Ivan's. He's leaving me.<\/dialogue>\n    <scene_description>She notices that Pina is wearing a cast on her leg .<\/scene_description>\n    <character>CHON<\/character>\n    <dialogue>And that cast on your leg?<\/dialogue>\n    <character>PINA<\/character>\n    <dialogue>His ex - wife, the crazy one. She pushed me down the stairs.<\/dialogue>\n    <character>CHON<\/character>\n    <dialogue>Well, we're in good shape! I've also broken up with my husband.<\/dialogue>\n    <character>PINA<\/character>\n    <dialogue>Oh, sorry to hear it! I will make some coffee, I have spent my entire night looking for Ivan and I have n't gone to bed.<\/dialogue>\n    <character>CHON<\/character>\n    <dialogue>Neither have I.<\/dialogue>\n    <scene_description>On her way to the kitchen Chon notices , through the bedroom door , that the bed has been burnt . She bumps into the phone that has been ripped out of its socket , now on the floor . She says nothing , she does n't want to pry , but she thinks that Pina 's situation must be more complicated than hers .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>LOFT'S KITCHEN. INT. 2008<\/stage_direction>\n    <scene_description>The chickens are living large , free to roam throughout the entire place .<\/scene_description>\n    <character>PINA<\/character>\n    <dialogue>When did you leave him?<\/dialogue>\n    <character>CHON<\/character>\n    <dialogue>Four days ago. I could see it coming. The thing is that after breaking up, I go out onto the street and I notice there is this `` guy'' looking at me.<\/dialogue>\n    <scene_description>She also discovers the gazpacho on the kitchen table .<\/scene_description>\n    <character>CHON<\/character>\n    <parenthetical>( Voracious . )<\/parenthetical>\n    <dialogue>Oh my, gazpacho! Can I have a bowl?<\/dialogue>\n    <character>PINA<\/character>\n    <dialogue>No! I've spiked it with an entire box of downers.<\/dialogue>\n    <character>CHON<\/character>\n    <dialogue>How so?<\/dialogue>\n    <character>PINA<\/character>\n    <dialogue>In case Ivan arrived, he loves gazpacho.<\/dialogue>\n    <character>CHON<\/character>\n    <parenthetical>( Scolds her . )<\/parenthetical>\n    <dialogue>Pina, my God!<\/dialogue>\n    <scene_description>Throughout the conversation Pina makes coffee and prepares a tray of Fornassetti cups and the whole bit .<\/scene_description>\n    <character>PINA<\/character>\n    <dialogue>And that's not all! Since he was n't calling, I've torn the phone from the wall, in a moment of rage.<\/dialogue>\n    <character>CHON<\/character>\n    <dialogue>I've tripped on the thing, but I did n't want to pry. And the bed? I think I noticed it smoking a bit.<\/dialogue>\n    <character>PINA<\/character>\n    <dialogue>I dropped a lit match and it began to burn, and I did n't want to squelch it. Fire purifies. I will have to change the mattress, but all for the best! A whole lot of less memories!<\/dialogue>\n    <scene_description>Chon looks at her friend .<\/scene_description>\n    <character>PINA<\/character>\n    <dialogue>But excuse me, I've interrupted you. You were telling me.<\/dialogue>\n    <scene_description>She grabs the tray , now full with coffee and pastries .<\/scene_description>\n    <character>PINA<\/character>\n    <dialogue \/>\n    <scene_description>Let 's have breakfast on the terrace . The two women head for the terrace , which sits in front of the beautiful backdrop curtain of Madrid .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>LOFT'S TERRACE. INT. 2008<\/stage_direction>\n    <scene_description>Chickens and rabbits , running around . Lots of plants , etc. . An idyllic and false image . Only the feelings are authentic and the women 's happy disposition for living in hysteria .<\/scene_description>\n    <character>CHON<\/character>\n    <parenthetical>( Struggling with what she 's about to say . )<\/parenthetical>\n    <dialogue>Yes. I was telling you that I also have a suitcase at home.<\/dialogue>\n    <character>PINA<\/character>\n    <dialogue>Your husband's?<\/dialogue>\n    <character>CHON<\/character>\n    <dialogue>No. It's a suitcase with fifteen kilos of cocaine, uncut.<\/dialogue>\n    <scene_description>Pina 's eyes open wide .<\/scene_description>\n    <character>PINA<\/character>\n    <dialogue>You've become a dealer, Chon?<\/dialogue>\n    <character>CHON<\/character>\n    <dialogue>No! How could you think that! I am still a Counselor for Social Affairs in the City Hall! The suitcase appeared in my closet. Imagine the scandal if the police find out. They could put me in jail!<\/dialogue>\n    <character>PINA<\/character>\n    <dialogue \/>\n    <scene_description>Certainly !<\/scene_description>\n    <character>CHON<\/character>\n    <dialogue \/>\n    <scene_description>I have to get rid of those fifteen kilos as soon as possible . -LRB- Thinks . -RRB- Because of the hours we keep , politicians consume a lot of drugs . So , between my party cohorts and city hall , I could distribute two kilos , but what do I do with the rest !<\/scene_description>\n    <character>PINA<\/character>\n    <dialogue \/>\n    <scene_description>Throw it out !<\/scene_description>\n    <character>CHON<\/character>\n    <dialogue \/>\n    <scene_description>Are you crazy ? How could I throw it out ?! I have to keep the police from finding it in my house . I have to take it some other place , immediately !<\/scene_description>\n    <character>PINA<\/character>\n    <dialogue \/>\n    <scene_description>But I do n't understand .<\/scene_description>\n    <character>CHON<\/character>\n    <dialogue \/>\n    <scene_description>-LRB- Interrupts . -RRB- Well , it 's clear , honey !<\/scene_description>\n    <character>PINA<\/character>\n    <dialogue \/>\n    <scene_description>-LRB- Finishes her question . -RRB- How is it that the suitcase appeared in your closet ?<\/scene_description>\n    <character>CHON<\/character>\n    <dialogue \/>\n    <scene_description>-LRB- Drinks a little coffee , and takes a bite from a pastry . -RRB- As I was telling you , after breaking up with my husband , I bumped into this guy on the street who kept watching at me , good - looking , well hung . Summing up , I took him home and screwed him over and over . -LRB- Takes another sip of coffee . -RRB-<\/scene_description>\n    <character>PINA<\/character>\n    <dialogue \/>\n    <scene_description>An how was he ?<\/scene_description>\n    <character>CHON<\/character>\n    <dialogue \/>\n    <scene_description>In bed ? Divine . Look at my arm hair ? I 've got goose - bumps ! -LRB- She shows her the hair on her arm , standing straight up . -RRB- He 's that kind of guy who knows how to drive a woman mad with pleasure !<\/scene_description>\n    <character>PINA<\/character>\n    <dialogue>So you lost your mind.<\/dialogue>\n    <character>CHON<\/character>\n    <dialogue>What else could I do?! So he asked me if he could stay at my place for a few days and I said OK, but I could n't promise anything. I did n't want him thinking that I was that easy. So.<\/dialogue>\n    <parenthetical>( breathes in . )<\/parenthetical>\n    <dialogue>he brought the suitcase. He asked me if I cared if he kept it in the closet. He said that he was attached to the suitcase. And, well, why would I care?!<\/dialogue>\n    <parenthetical>( breathes in . )<\/parenthetical>\n    <dialogue>By pure chance, I am watching TV last night and I find out that the police have nabbed him in the course of a drug sting operation and that he is one of the most wanted traffickers! I open the suitcase and I discover that it is filled with little bags of cocaine. I ran out of the house and I have n't returned since.<\/dialogue>\n    <scene_description>Pina breathes out in solidarity .<\/scene_description>\n    <character>PINA<\/character>\n    <dialogue>What a story, my God!<\/dialogue>\n    <character>CHON<\/character>\n    <parenthetical>( Concluding . )<\/parenthetical>\n    <dialogue>I was wondering why he was such a good fuck! For men living in such high - stakes conditions, each fuck could be the last!<\/dialogue>\n    <parenthetical>( She reaches her arm out , again . )<\/parenthetical>\n    <dialogue>Look, the goose - bumps!<\/dialogue>\n    <scene_description>Once again , she shows Pina her arm , hair standing straight up .<\/scene_description>\n    <character>PINA<\/character>\n    <dialogue>I've seen them already. They comes easy for you.<\/dialogue>\n    <parenthetical>( Changing topic . )<\/parenthetical>\n    <dialogue>And the suitcase?<\/dialogue>\n    <character>CHON<\/character>\n    <parenthetical>( Humble . )<\/parenthetical>\n    <dialogue>I was going to ask you. if you did n't mind that I brought it here. If they find it in my house, well, it's not about what could happen to me, but that it's just not an ideal situation for the Counselor of Social Affairs. Imagine how upset the mayor would be, and my party! My party ca n't take one more scandal!<\/dialogue>\n    <scene_description>The doorbell rings :<\/scene_description>\n    <character>CHON<\/character>\n    <dialogue>The police!<\/dialogue>\n    <character>PINA<\/character>\n    <dialogue>Shush, how could it be the police?! No one knows you're here!<\/dialogue>\n    <character>CHON<\/character>\n    <dialogue>I am a woman who attracts attention, Pina. Since I was a little girl.<\/dialogue>\n    <character>PINA<\/character>\n    <dialogue>Just pretend you're here for coffee.<\/dialogue>\n    <scene_description>Pina limps toward the door , uncertain . -LRB- Behind it she will find new adventures -RRB- . She looks back , toward Chon , half - smiling , tired but charming , filled with understanding and a love for life , with all its emotions and its contradictions . It 's with this half - smile on Magdalena 's face that the sequence arrives at its end .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>AVID ROOM. INT. 2008<\/stage_direction>\n    <scene_description>Mateo , Judit , Diego , and the new editor , somewhat removed from them , are seated in front of the editing table , they are both moved and entertained .<\/scene_description>\n    <character>DIEGO<\/character>\n    <dialogue>This is hilarious!<\/dialogue>\n    <character>MATEO<\/character>\n    <parenthetical>( Wants to be sure . )<\/parenthetical>\n    <dialogue>It does n't sound like what we watched on TV, right?<\/dialogue>\n    <character>DIEGO<\/character>\n    <dialogue>Not at all! This is a whole different thing!<\/dialogue>\n    <scene_description>Judit is the one who is most deeply moved . She may cry , but this time her tears will be happy tears , welcome tears .<\/scene_description>\n    <character>JUDIT<\/character>\n    <dialogue>It's wonderful, Mateo. We should re - release it.<\/dialogue>\n    <character>MATEO<\/character>\n    <dialogue>The important thing is to finish it. Films must be finished.<\/dialogue>\n    <scene_description>Judit keeps crying . THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"\"Harry Caine\" is a blind writer who shares his life with his agent Judit and her adult son, Diego. Slowly, events in the present begin to bring back memories of the past. Harry hears that millionaire Ernesto Martel has died; a young filmmaker, Ray X, appears and turns out to be Martel's son, Ernesto, Jr. After Diego is hospitalized for an accidental drug overdose in a Madrid nightclub, Harry collects Diego from the hospital and looks after him to avoid worrying his traveling mother. The main storyline is told in flashback as Harry reluctantly tells Diego a tragic tale of fate, jealousy, abuse of power, betrayal, and guilt. The first flashback is to 1992, which introduces Magdalena \"Lena\" Rivero, Martel's beautiful young secretary, an aspiring actress. She becomes close to Martel, a millionaire financier, in order to find the money to help meet her dying father's medical bills. By 1994, she has become Martel's mistress. At this time, Harry is still living under his real name, Mateo Blanco, a well-respected film director. Martel is excessively possessive of Lena, but she is determined to become an actress and manages to win the main role in Blanco's film Chicas y maletas (Girls and Suitcases) by bringing Martel in as financier\/producer. (The fictional film is similar to Almod\u00f3var's 1988 release, Women on the Verge of a Nervous Breakdown, except that the Shiite terrorists have been replaced by a cocaine dealer; several of the cast of the previous film appear in the fictional one.) Martel spies on Lena and Mateo by sending his inhibited, effeminate gay son, Ernesto, Jr., to videotape the production of the film, ostensibly for a \"making of\" feature, then hiring a lip-reader to interpret the conversations. Martel, seething with jealousy, screens the videos as the lip-reader narrates the furtive whispers of Lena and Mateo's passionate affair. Furious, Martel confronts Lena, and when she threatens to leave him he pushes her down the stairs. But when she survives the fall, he relents and nurses her back to health. The filming completed, Lena and Blanco escape Martel's hold and go on holiday to Lanzarote. Lena takes a job as a hotel receptionist to pass the time. When she and Blanco read in El Pa\u00eds that Chicas y maletas has received a terrible critical reception, likely the end of Blanco's directing career, they determine to start over together far from Madrid. Fate intervenes when Blanco is seriously injured and Lena is killed in a car accident, which ironically is immortalized by Ernesto Jr., who has been trailing them with his camcorder. Mateo loses his sight permanently. Judit, his long-time production assistant, and an 8-year-old Diego arrive to help Blanco pick up the pieces and return to Madrid, where he eventually writes screenplays in braille under the pseudonym Harry Caine, represented by his agent, Judit. The story picks up where it began in 2008: Harry shares his birthday in a bar with Judit and Diego. Judit becomes drunk on gin and, stricken with guilt, confesses to Harry that she sold out to Martel in 1994 because of her fury at Harry for abandoning the film to run away with Lena; she also tells him of her involvement in providing Martel the phone number of the hotel in Lanzarote where Lena and Mateo were hiding. She confirms that Martel sabotaged the release of Chicas y maletas by using the worst take from each scene in order to destroy Mateo's reputation. The next morning she reveals to Diego that Harry is actually his father, a fact both men were unaware of. Having exorcised some of his demons, Harry decides to return to his life as Mateo Blanco. Though believed lost, the original reels of Chicas y maletas and Ernesto Jr.'s camcorder footage are recovered: Judit had ignored Martel's order to destroy them and instead hid them away. Mateo and Diego re-edit the film for its long-delayed release as the director envisioned it."}
{"movie_name":"Life as a House_2001","imdb_id":"tt0264796","script":"<script>\n  <scene>\n    <stage_direction>LIFE AS A HOUSE<\/stage_direction>\n    <scene_description>A clock alarm SOUNDS over TITLES on BLACK . We HEAR someone clearing congested lungs , coughing up phlegm ; a slight crash STOPS both the cough and the alarm .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S BEACH SHACK - MORNING<\/stage_direction>\n    <scene_description>The cottage is a tiny , peeling paint rat - trap set dead center on a small ocean front cul - de - sac , surrounded by four massive post - modern mansions .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S BEACH SHACK BEDROOM - MORNING<\/stage_direction>\n    <scene_description>GEORGE NELSON , 42 , squints and shivers as the spotty morning light and ocean breeze enter through an open window . Bold waves crash against the cliffs outside the room . A five - foot wide stack of hand hewed beams are piled pyramid style , making movement in the room next to impossible . George stands shirtless in underwear and coughs again . He steps over a pile of tools and stands at the window , facing the sea . A happy sounding tune by Guster , `` WHAT YOU WISH FOR , '' begins with the lyrics : ` Woke up today , to everything gray and all that I saw just keeps going on and on . '<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEBBER'S HOUSE - MORNING<\/stage_direction>\n    <scene_description>The post - modern house is three - levels of concrete and glass .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAM WEBBER'S BEDROOM - MORNING<\/stage_direction>\n    <scene_description>SAM is sixteen with spiky black hair , a nose ring , two earrings and painted black nails . The song continues with : ' . sweep all the pieces under the bed , close all the curtains and cover my head . ' Sam looks wasted as he climbs out of bed and rummages through his dresser , retrieving an empty bottle of prescription drugs ; he tosses the bottle . He walks to a desk where a half - built model of a house sits unfinished and squeezes glue into a plastic bag and sniffs it . Sam enters the closet and digs into a pile of dirty clothes , pulling out the tie to a robe ; he knots it around the closet pole and then twists it once to form a noose . He slips his neck through the noose and lowers his body ; though we do n't see exactly what he 's doing below his neck , it 's evident through his jerking arm that he 's masturbating .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BECK'S OCEAN FRONT MANSION - MORNING<\/stage_direction>\n    <scene_description>COLLEEN BECK , George 's next - door neighbor , is a well maintained blonde in her late thirties . She walks out of the angular concrete mansion , grabs the paper and walks back in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BECK'S KITCHEN - MORNING<\/stage_direction>\n    <scene_description>This is a minimalist kitchen , with pored concrete walls and stainless steel cabinets . Colleen drops the paper on the table and walks to the sink to wash her hands . The SONG CONTINUES : ' . If this serenade is not what you want , it 's just how it is . ' Colleen appears distracted for a moment . She walks outside onto the terrace with wet hands , then bolts back in , breezing through the kitchen with purpose .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALYSSA BECK'S BATHROOM - MORNING<\/stage_direction>\n    <scene_description>ALYSSA is sixteen and perfect with strawberry blonde hair and white teeth ; her head is partially out the bathroom window . Colleen bursts in , eases Alyssa aside and with effort , sticks her head out of the same high open window .<\/scene_description>\n    <character>COLLEEN<\/character>\n    <dialogue>This is ridiculous!<\/dialogue>\n    <scene_description>We must not see exactly what they see , but out the window and almost beyond view , a stream of urine arks out from George Nelson 's beach house bedroom , into the pacific ocean some twenty - feet below . The piss stops . Colleen bangs her head trying to get it back inside the house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEBBER'S UPSTAIRS HALLWAY - MORNING<\/stage_direction>\n    <scene_description>ROBIN WEBBER is George 's ex - wife , still beautiful at forty . She herds two boys , RYAN -LRB- 8 -RRB- and ADAM -LRB- 7 -RRB- , down the hall .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Run downstairs and give your dad a hug.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>He'll be gone for his birthday.<\/dialogue>\n    <character>ADAM<\/character>\n    <dialogue>Can we have a party for him while he's gone?<\/dialogue>\n    <scene_description>Robin stops and KNOCKS on a bedroom door .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I hope you're showered and ready for school!<\/dialogue>\n    <scene_description>A loud CRASH stops Ryan and Adam at the top of the stairs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAM'S ROOM - MORNING<\/stage_direction>\n    <scene_description>Robin rushes in and glances around the room for her son .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Sam?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAM'S WEBBER'S CLOSET - MORNING<\/stage_direction>\n    <scene_description>The closet pole and a long line of clothes have been felled by Sam 's dangerous whack - off technique ; he 's on the floor with the robe tie still around his neck and a pile of shirts sprawled over him . The song continues : ' . come out come out , wherever you are , would you do it all over right from the start , and what you wish for wo n't come true , you are n't surprised to love , are you ? ' Robin stops at the door , trying to figure out why her son is sitting in a pile of his own clothes . Ryan and Adam join her , looking equally perplexed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE NELSON'S CUL-DE-SAC - MORNING<\/stage_direction>\n    <scene_description>George 's dog , GUSTER , is doing his business on the lawn of a modern day robber baron , DAVID DOKOS , who exits his house with a briefcase . He hops into his Mercedes and proceeds to chase Guster straight across his well - manicured grass . Guster easily escapes death and runs off . George walks out of his shack as David hops the curb , flips him off and drives away . George waves goodbye .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Stick it up your ass! Have a nice day.<\/dialogue>\n    <parenthetical>( glancing around . )<\/parenthetical>\n    <dialogue>Guster!<\/dialogue>\n    <scene_description>Guster runs to his side as Colleen rushes out of her house .<\/scene_description>\n    <character>COLLEEN<\/character>\n    <dialogue>This has got to stop!<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>He escaped. He's going back in.<\/dialogue>\n    <character>COLLEEN<\/character>\n    <dialogue>Does it give you some sort of perverse pleasure to expose your. penis in plain view of my sixteen year - old daughter?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>There are no windows facing my. exposure.<\/dialogue>\n    <character>COLLEEN<\/character>\n    <dialogue>George, this is the third time.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>The plumber's due out on Friday.<\/dialogue>\n    <character>COLLEEN<\/character>\n    <dialogue>You'll have to explain that to the police.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>You were the only neighbor I could tolerate.<\/dialogue>\n    <character>COLLEEN<\/character>\n    <dialogue>I did warn you.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>My life is a warning. I just ca n't figure out for what.<\/dialogue>\n    <scene_description>Colleen shies away from George 's stare ; he finally turns and walks toward the house but stops short as he turns back .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Colleen, how hard was it for you to get your head outside that window far enough to see my dick?<\/dialogue>\n    <scene_description>This stops Colleen for a moment ; it was difficult . George walks back to the cottage and locks Guster in before stepping into an old Ford truck and driving off . Colleen watches him drive off , then turns to her house and stares .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEBBER'S DINING ROOM - MORNING<\/stage_direction>\n    <scene_description>PETER WEBBER , Robin 's husband , is a distinguished , intimidating man with silver hair and an expensive suit . LOIS , the maid , serves French toast to Ryan and Adam as Robin sips tea .<\/scene_description>\n    <character>ADAM<\/character>\n    <dialogue>Sam broke his closet.<\/dialogue>\n    <scene_description>Peter glances at Robin , who shrugs .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I do n't have a clue anymore. I wish you'd talk to him. He needs a man.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>His father is a man.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>A man he respects.<\/dialogue>\n    <scene_description>Sam walks into the room from the hall , outfitted in all black with kick ass boots .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Thanks for talking about me behind my back. useful in court.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Are you wearing eye shadow?<\/dialogue>\n    <scene_description>Adam , Ryan and Robin check out the eye shadow .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Take it off.<\/dialogue>\n    <scene_description>Sam flutters his eyelids in defiance of his stepfather .<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Do it now!<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>If I walk out the door, who's gon na be here tonight for the follow through?<\/dialogue>\n    <scene_description>Peter hesitates for just a second .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Have a nice flight.<\/dialogue>\n    <scene_description>Sam 's out the door with his eye shadow intact .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Queer.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>What did you say?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Dad said it first.<\/dialogue>\n    <scene_description>Robin focuses on Peter , who simply shrugs . Adam stands up , walks over to his father and gives him a hug .<\/scene_description>\n    <character>ADAM<\/character>\n    <dialogue>I get chocolate cake for your birthday.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Are your hands clean?<\/dialogue>\n    <scene_description>Adam is quick to back away from his father and lick the fingers of one hand .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMUTER TRAIN - MORNING<\/stage_direction>\n    <scene_description>George is resting his head against the glass window as he stares out at the blighted landscape leading to downtown Los Angeles . A sudden pang tightens his face ; he presses his hand against his stomach and closes his eyes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAGUNA BEACH HIGH SCHOOL - MORNING<\/stage_direction>\n    <scene_description>Sam is alone at the back of the parking lot , sitting on the hood of an old Saab , smoking as two boys , JOSH and MAREK , both seventeen , park a Porsche and pull Alyssa Beck -LRB- George 's peeping neighbor -RRB- and another girl out of the backseat .<\/scene_description>\n    <character>MAREK<\/character>\n    <dialogue>Dude, nice look.<\/dialogue>\n    <scene_description>Sam simply nods as Marek and the other girl laugh at his all black garb , earrings and eye shadow .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>I saw your dad this morning.<\/dialogue>\n    <scene_description>Sam drops his cigarette and stomps it out as he stands ; his face lightens as Alyssa waves before walking away .<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Been thinking?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>MAREK<\/character>\n    <dialogue>Forget him!<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Two hours a week for three - hundred cash. The whole summer. Do the math.<\/dialogue>\n    <parenthetical>( as a dig . )<\/parenthetical>\n    <dialogue>They consider that a hatchback or a station wagon? Oh, that is n't yours anyway, is it?<\/dialogue>\n    <scene_description>Josh raises his eyebrows and smiles before walking away . Sam faces the Saab and kicks the bumper as hard as he can . Suddenly , a boy -LRB- COREY -RRB- bolts up from the back seat .<\/scene_description>\n    <character>COREY<\/character>\n    <dialogue>I was in total REM, man!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWNTOWN LOS ANGELES HIGHRISE - LATE MORNING<\/stage_direction>\n    <scene_description>The architectural firm of Benson and Feinsilber occupies the entire fortieth floor ; George Nelson is their sole model maker . Rather than offices , most of the space is open , segmented only by portable low walls . Along the outer walls , below the long line of windows , is a shelf filled with amazingly intricate models . George is alone in a cubicle of his own , cutting polystyrene with a hot wire . STEVEN GARDNER rounds a corner with a velocity that makes George flinch .<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Done. close to done?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I'm doing the grass.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>Fuck the grass. Who said grass?<\/dialogue>\n    <scene_description>Steven exits as quickly as he entered , but as soon as George goes back to work , Steven pops his head back in .<\/scene_description>\n    <character>STEVEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Burke bided out the Berlin Plaza. Did he tell you?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I was going to start Monday.<\/dialogue>\n    <character>STEVEN<\/character>\n    <dialogue>He likes the look of the computer models, anyway. You take too long.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>After you mow the grass, would you mind bringing the house to my office? I have a presentation to make.<\/dialogue>\n    <scene_description>George simply stares as Steven nods and leaves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGH SCHOOL CAFETERIA ATRIUM - LUNCHTIME<\/stage_direction>\n    <scene_description>Sam is by himself , his eyes closed , listening to music through headphones as Alyssa stops to stare ; she visually scans him head to foot , appearing slightly perplexed as a friend passes .<\/scene_description>\n    <character>FRIEND<\/character>\n    <dialogue>I would n't make a habit of it.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>The friend walks on ; after a beat , Alyssa does too .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOP OF THE WORLD PARK - EVENING<\/stage_direction>\n    <scene_description>In the distance , the sun colors the sky a blinding orange as it sets . A Range Rover with blackened windows is parked behind a Porsche . ` TINTED WINDOWS , ' an up - tempo tune with a hand clapping by the Pansy Division , begins : ' A bed would be a treat\/But all we 've got is this backseat\/Tinted windows are a beautiful thing . ' Through the front windshield , we can see Marek sitting in the passenger 's seat with his eyes closed . ANOTHER VIEW Josh , Marek 's friend , is sitting on a bench in the park behind the cars . ' A dark secluded spot\/In a deserted parking lot\/Tinted windows are a wonderful thing . ' Suddenly , the passenger door on the Rover opens and Marek climbs out , brushing his hair with his hands before casually checking his zipper . He closes the door and the car speeds away . Josh walks to Marek and wordlessly they climb into the Porsche and drive off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE NELSON'S BEACH SHACK - DAY<\/stage_direction>\n    <scene_description>George is shirtless in his front yard , hand hewing a twenty foot beam . One strong , long pull and a thin shaving flutters to the ground ; Guster nabs it and starts to chew .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>You'll crap real logs if you keep eating wood.<\/dialogue>\n    <scene_description>Guster appears unconcerned as he awaits a new shaving .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hi, Mr. Nelson.<\/dialogue>\n    <scene_description>George glances up , wipes the sweat from his forehead as Alyssa walks toward him in white shorts and a tee shirt .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Sorry I got you into trouble.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I'll survive.<\/dialogue>\n    <scene_description>George goes back to works and Guster taste tests shavings as Alyssa searches for something else to say .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Does Sam have any friends?<\/dialogue>\n    <scene_description>George stops and looks up ; he has no idea how to answer .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>He must.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>He seems lonely.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Are you his friend?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Marilyn Manson. and I guess he's into guys. I hate nose rings. And the blue eye shadow thing really is n't working.<\/dialogue>\n    <scene_description>George is totally confused , unsure most of the answer , but before he can question her , a police car pulls to a stop ; OFFICER KURT WALKER steps out .<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Thought I'd run over the list.<\/dialogue>\n    <scene_description>Officer Walker removes a pad from his pocket and flips through to find his place .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>This is such a street of whiners.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>From Tuesday to yesterday, not including Monday or today. Okay. Mrs. Dokos is repeatedly running over her lawn. The Corliss' have attributed the increase in rat population in their environs to the state of your. structure.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>IPO's caused the rat population on this street.<\/dialogue>\n    <scene_description>Officer Walker focuses on Alyssa .<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>And of course the Beck's, with the.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>It could have been a squirt gun.<\/dialogue>\n    <character>KURT<\/character>\n    <parenthetical>( to George . )<\/parenthetical>\n    <dialogue>You've been good this week.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>You forgot David Dokos and Tom and Barbara.<\/dialogue>\n    <scene_description>Kurt stuffs his pad back into his pocket .<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Mr. Dokos calls animal control for Guster and I was out here on the other.<\/dialogue>\n    <parenthetical>( pointing to the plane . )<\/parenthetical>\n    <dialogue>Do you mind?<\/dialogue>\n    <scene_description>George hands him the plane and Kurt begins to work the wood .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Are you guys' friends?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>We've known each other since grade school.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I mean, but did you both go camping on weekends? Listen to music? Masturbate together? Talk on the phone?<\/dialogue>\n    <scene_description>George does n't answer and Kurt keeps working .<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Hunted rabbit in the hills.<\/dialogue>\n    <scene_description>Alyssa stares at George , disappointed .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>I aimed high.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>We just were n't very much alike, I guess. I do n't know.<\/dialogue>\n    <parenthetical>( casually ; to George . )<\/parenthetical>\n    <dialogue>I liked your dad more than I liked you.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I would n't want you as a friend.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>George just never really. aimed that high. Even with not hitting a rabbit. I knew you were doing that, by the way. That's why I stopped doing it with you. You were no fun. It was always like you were frightened. Quiet and boring.<\/dialogue>\n    <scene_description>Kurt is beginning to perspire as he shaves food off the beam for Guster .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Funny how he's the architect and you're just a loud mouth cop.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>He builds models for architects. His dad, on the other hand, was the real deal. Designed and built the coolest houses I've ever seen.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Was bankrupt and dead before I was twenty.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Left you this place.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>It was in my name so he would n't lose it. He stole it from everyone that deserved it by putting me on title.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Do you know what I'd give to have this! Forget how I got it! I ca n't afford dirt in this town. I live in Riverside, Goddammitt And you get to piss in the ocean.<\/dialogue>\n    <scene_description>Kurt stops working and steps back .<\/scene_description>\n    <character>KURT<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Your kid was down around Diver's Cover again, smoking pot. I did n't write him up. told him I would n't tell you.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Thanks for telling me.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>At least your father tried, George.<\/dialogue>\n    <scene_description>Kurt walks to his car and drives off . There 's a moment of awkwardness with Alyssa . George walks into his house leaving Alyssa with Guster .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEBBER'S KITCHEN - AFTERNOON<\/stage_direction>\n    <scene_description>Robin is sitting at the kitchen counter , cutting carrots ; through the French doors , she 's able to watch Ryan and Adam , along with a few friends , play in the pool .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I could be anyone.<\/dialogue>\n    <scene_description>Robin jerks with fright as half the carrots roll to the floor .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Then why do you stay you?<\/dialogue>\n    <scene_description>George picks up the carrots and washes them in the sink .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>You should lock your doors.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Ring the bell before you try the door.<\/dialogue>\n    <scene_description>George bites into a carrot as Robin starts chopping again .<\/scene_description>\n    <character>ROBIN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Did Sam call to tell you he would n't be over this weekend?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>You let him pierce his nose?<\/dialogue>\n    <scene_description>Robin snatches the carrot from George 's hand and chops it up .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Lock the door behind you.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Where is he?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Where he always is.<\/dialogue>\n    <scene_description>George takes Robin 's hand and removes the knife .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Not that I do n't trust you.<\/dialogue>\n    <scene_description>As George lets go , Robin holds on ; he appears surprised by her grip of his wrist . Robin 's eyes well with tears .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I should have knocked.<\/dialogue>\n    <scene_description>George is clearly not comfortable with his ex - wife 's hold of him , with her tears .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>What kind of a mother ca n't stand her son?<\/dialogue>\n    <scene_description>George jerks his arm away from her grip .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEBBER'S UPSTAIRS HALL - AFTERNOON<\/stage_direction>\n    <scene_description>George is tense and he walks to Sam 's door and KNOCKS .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Why are n't you coming in for the weekend?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Sam?!<\/dialogue>\n    <scene_description>Nothing . George tries the door - it 's locked . Frustrated , he walks back down the hall and down the stairs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEBBER'S KITCHEN - AFTERNOON<\/stage_direction>\n    <scene_description>Outside , the boys are engaged in a raucous version of Marco Polo . Robin is at the sink ; she holds her hair back with one hand and splashes water on her face with the other . George walks by outside , carrying a ladder .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEBBER'S BACKYARD - AFTERNOON<\/stage_direction>\n    <scene_description>Ryan is the first to notice George .<\/scene_description>\n    <character>ADAM<\/character>\n    <dialogue>Marco!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>ADAM<\/character>\n    <dialogue>I'm not cheating! I'm not looking!<\/dialogue>\n    <scene_description>Robin wipes her face with a hand towel as she rushes out .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>He does n't answer.<\/dialogue>\n    <scene_description>The boys have stopped playing ; Adam opens his eyes .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>He never answers.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Why does he have a lock on his door?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Because he put the lock on! Do you think I told him he could have a nose ring?! Why do you ask me everything you should ask him!? I do n't know anything, anymore!<\/dialogue>\n    <scene_description>The boys line up against the edge of the pool and watch George extend the ladder against the house and climb .<\/scene_description>\n    <character>ROBIN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You climb up there and tell him what he can and ca n't do. Take him for the summer, okay? Whip him into shape. Cut his hair. Make him smile. Let him hate you for a while!<\/dialogue>\n    <parenthetical>( sadly . )<\/parenthetical>\n    <dialogue>You're too late for heroics, George.<\/dialogue>\n    <scene_description>George lops a leg over the railing and steps onto the bedroom balcony . He peers into the room through the sliding glass door and tries to open it -LRB- locked -RRB- before removing the screen to the small open window beside it . He climbs in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAM'S ROOM - AFTERNOON<\/stage_direction>\n    <scene_description>Sam is asleep on his bed in his underwear , wearing headphones . On the floor is an aerosol can of whipping cream . George picks up the can and tosses it in the trash . He focuses back on his son with his nose ring , earrings , blue eyeshadow and thin , pale white body . Sam is soundly asleep . George gently removes the headphones from his son 's head ; drum heavy music surges from the small , padded speakers .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>You need every brain cell you've got.<\/dialogue>\n    <scene_description>A KNOCK on the door stirs Sam more than his father 's voice .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( half - asleep . )<\/parenthetical>\n    <dialogue>Leave me alone!<\/dialogue>\n    <scene_description>Sam 's eyes are still closed as he shifts onto his side . George opens the door ; Robin is weak and weepy .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I do n't know what to do, anymore. Take him. You take him.<\/dialogue>\n    <parenthetical>( hostile . )<\/parenthetical>\n    <dialogue>You're such a good father.<\/dialogue>\n    <scene_description>George walks out of the room , around Robin and down the stairs without a word . Sam stirs at the sound and sits up to confront his mother .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>What are you doing in my room?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>I did n't go in your room.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I locked the door! Get out! I locked the door! Get out!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEBBER'S UPSTAIRS HALLWAY - AFTERNOON<\/stage_direction>\n    <scene_description>Robin grabs the door and closes it quickly , but does n't move .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Stupid bitch! Liar! I locked the door! I do n't sneak around your room! Liar!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAM'S ROOM - AFTERNOON<\/stage_direction>\n    <scene_description>Sam rushes over to the window and stares down at the screen and ladder . Ryan , Adam and their friends are still in the pool , holding onto the coping , staring up at Sam . Sam slams the window shut and searches for the can of whipping cream . He gets down on his knees to search under the bed . Standing and making one more pass of the room , he notices the can in the trash . He instantly focuses all his rage at the closed door .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>This is my room! You have no right in here! This is mine!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEBBER'S UPSTAIRS HALLWAY - AFTERNOON<\/stage_direction>\n    <scene_description>Robin is sitting on the floor at the top of the stairs , staring blankly down at the foyer of this modernist mansion .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Why ca n't you all just die and leave me alone!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTOWN LOS ANGELES - MORNING<\/stage_direction>\n    <scene_description>The traffic is thick and loud and the sky is a blanket of brown as George makes his way down a sidewalk mixed with professionals and panhandlers . Suddenly sick , George rushes to the side of a building and vomits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BENSON, KIDDLER, FEINSILBER AND ASSOICATES - MORNING<\/stage_direction>\n    <scene_description>George wipes a clump of wet paper towel against the vomit stain on his cuff as he walks through the pockets of cubicles to a large enclosed office . A SECRETARY smiles as she stands up from her desk and opens the door .<\/scene_description>\n    <character>SECRETARY<\/character>\n    <dialogue>Good morning.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Is there a.<\/dialogue>\n    <scene_description>He holds out the wad of wet paper towels , but before he can say trashcan , BRYAN BURKE stands up from behind his desk .<\/scene_description>\n    <character>BRYAN<\/character>\n    <dialogue>George, have a seat! I've got juice.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRYAN BURKE'S OFFICE - MORNING<\/stage_direction>\n    <scene_description>George steps in and the secretary closes the door to the office . Bryan approaches with his arm outstretched , but George can only raise the paper towels .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>A bird caught me.<\/dialogue>\n    <scene_description>Bryan grabs a trashcan and holds it up ; George tosses the ball into the trash and sits down .<\/scene_description>\n    <character>BRYAN<\/character>\n    <dialogue>Orange juice. croissant?<\/dialogue>\n    <scene_description>Bryan motions with his hand as he sits .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>I'm good, thanks.<\/dialogue>\n    <character>BRYAN<\/character>\n    <dialogue>What are you on?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Pardon me?<\/dialogue>\n    <character>BRYAN<\/character>\n    <dialogue>how much weight have you lost?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Oh. nothing. Thirty pounds. I just have n't been very hungry.<\/dialogue>\n    <character>BRYAN<\/character>\n    <dialogue>How's your wife?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>When we divorce a decade ago, she was very, very angry.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Now she's just hostile.<\/dialogue>\n    <scene_description>Bryan nods and laughs as he takes a chunk of croissant and chews as he talks .<\/scene_description>\n    <character>BRYAN<\/character>\n    <dialogue>Right. she married. what was he?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>He buys and sells the world.<\/dialogue>\n    <character>BRYAN<\/character>\n    <dialogue>Peter Webber! Right. Quite the spotlight on that guy.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I did tell you, did n't I? That I'd be ready to start the Berlin model today?<\/dialogue>\n    <character>BRYAN<\/character>\n    <dialogue>Well, that's sort of. you're sure you're not hungry?<\/dialogue>\n    <scene_description>Bryan is anxious as he holds up the rest of the croissant . George shakes his head `` no '' . Bryan tosses his croissant into the trash can and leans forward .<\/scene_description>\n    <character>BRYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>This is n't me.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>We can show clients endless options, change anything in a matter of hours on the computer. But you wo n't change.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Typing and clicking myself to renderings is n't why I started building models.<\/dialogue>\n    <character>BRYAN<\/character>\n    <dialogue>All of us are typing and clicking, George. Whether we want to, or not.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I'm not.<\/dialogue>\n    <character>BRYAN<\/character>\n    <dialogue>Which is why we bid out a quarter of our projects. It does n't make a lot of sense anymore to want what we do n't have and do n't want what we do.<\/dialogue>\n    <scene_description>George glances around the office , angered by the thought he 's being fired .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>I've been here twenty years.<\/dialogue>\n    <character>BRYAN<\/character>\n    <dialogue>Maybe that's too long.<\/dialogue>\n    <character>GEORGE<\/character>\n    <parenthetical>( hopeful . )<\/parenthetical>\n    <dialogue>Maybe?<\/dialogue>\n    <character>BRYAN<\/character>\n    <dialogue>That's too long.<\/dialogue>\n    <scene_description>George nods as he stares at Bryan .<\/scene_description>\n    <character>BRYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Listen, they decided on a week a year severance, but I got them to twenty - six. That's six months salary, George. Medical and everything for six months. You can learn all you need to on the computer long before that. Maybe find a job closer to home.<\/dialogue>\n    <scene_description>Bryan is rattled by George 's blank stare . He takes his glass of orange juice and sits back in his chair , taking a sip , all the while keeping an eye on George .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>My wife left me because I was n't. very emotional. I kept trying to explain that my father sucked all the emotion from me. Drunks do that, sometimes. Make their kids afraid. Make them unwilling to express themselves.<\/dialogue>\n    <scene_description>Bryan knows he 's supposed to say something , he just ca n't seem to figure out what .<\/scene_description>\n    <character>BRYAN<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>How old are you?<\/dialogue>\n    <character>BRYAN<\/character>\n    <dialogue>Forty.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>We were probably in school together. You went to Berkley?<\/dialogue>\n    <scene_description>Bryan lights up at the sound of his Alma matter .<\/scene_description>\n    <character>BRYAN<\/character>\n    <dialogue>Class of eighty - six! I did n't know you were there.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I was a sophomore when I got the call my parents were dead.<\/dialogue>\n    <scene_description>This is not the direction Bryan had hoped the conversation was headed .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>My dad had a blood alcohol level of.18. A little high. Drove right into oncoming traffic. Killed my mother with him. A lady in another car. Hurt her daughter. A five - year old girl. I think about her still.<\/dialogue>\n    <scene_description>Bryan wants this to end . He leans forward with a whisper .<\/scene_description>\n    <character>BRYAN<\/character>\n    <dialogue>Listen. maybe I can get you a year.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I hate this job.<\/dialogue>\n    <character>BRYAN<\/character>\n    <dialogue>What are you talking about? You love your job.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>From the day I started. to today. Ca n't stand it.<\/dialogue>\n    <scene_description>Bryan is perplexed as George stands .<\/scene_description>\n    <character>BRYAN<\/character>\n    <dialogue>Then it sounds like I'm doing you a favor.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>It may sound that way, but I react out of fear. My life has nothing to do with what I like or do n't like. You have n't been listening, have you?<\/dialogue>\n    <character>BRYAN<\/character>\n    <dialogue>I did n't know there would be a quiz, George.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>For everything.<\/dialogue>\n    <character>BRYAN<\/character>\n    <dialogue>Well, I feel better about this now.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Good. I was hoping for that.<\/dialogue>\n    <scene_description>Relieved and not understanding anything about irony , Bryan stands and extends his hand . George shakes Bryan 's hand without malice .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I've got one favor to ask.<\/dialogue>\n    <character>BRYAN<\/character>\n    <dialogue>What can I do for you, George?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I built my first model here when I was twenty. There are hundreds of them on shelves around the office. Twenty years of my life. I was wondering if I might be able to pick a few to keep, to take home? Only the ones that really mean something to me.<\/dialogue>\n    <scene_description>Bryan recoils slightly from the request .<\/scene_description>\n    <character>BRYAN<\/character>\n    <dialogue>Oh, well. those are. I mean, we do n't get to keep our work. I could maybe ask them if you could choose one. But, you know, frankly George, you were the best. Computer models ca n't begin to match the beauty you gave yours. They're a part of this firm. They inspire me. I go out there and sometimes just stare at something I've designed. It amazes me. I would miss that too much.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Look, I may be going out on a limb, but you go out there and look them over, every single one of them and pick the one you like the best and take it with you. Just run it by me first, just in case, you know. but I'm sure it'll be okay.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>BRYAN<\/character>\n    <dialogue>Well, it's the least I can do.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Yes, it is.<\/dialogue>\n    <scene_description>George nods and leaves . Bryan looks lost and guilty again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BENSON, KIDDLER, FEINSILBER AND ASSOICATES - MORNING<\/stage_direction>\n    <scene_description>George walks around the maze of cubicles back to his own . He finds an empty box and starts to pack . Against a wall , a large rack is filled with spools of architectural plans . George pulls one of the plans down , rolls it out and detaches the wooden spool . Without warning and with a fury hard to fathom , he proceeds to bat and smash a shelf of beautifully rendered models . Heads pop up in other cubicles as George walks out of his own and armed with a frightening rage , methodically attacks model after model resting on shelves just below massive plate glass windows that frame downtown Los Angeles . Steven Gardner , who asked for his model without grass , rushes to within feet of George as he witness his creation deconstruct into shards of cardboard and plastic .<\/scene_description>\n    <character>STEVEN<\/character>\n    <dialogue>Mother of God! Not my house!<\/dialogue>\n    <scene_description>George stops for a second to focus on Steven , but Steven is smart enough to run . George continues on with the business of disassembling his work .<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Oh, please, please, no!<\/dialogue>\n    <scene_description>The plea is instantly followed by a pathetic low whine . George works up a sweat as he whacks model after model ; portions of plastic walls or window splatter the office as though bombed in war . Bryan Burke 's secretary inches as close as she dares .<\/scene_description>\n    <character>SECRETARY<\/character>\n    <dialogue>Uh. Mr. Burke would like a word with you, George.<\/dialogue>\n    <scene_description>George lowers his stick as he faces her .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Oh. okay.<\/dialogue>\n    <character>SECRETARY<\/character>\n    <dialogue>In his office. When you're able.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>With that , George finishes what he began only minutes prior : the complete and utter destruction of every model displayed on every shelf in the office , save one . Workers huddle together , collectively moaning and moving en mass from the mayhem . George picks up the sole surviving model in his arms and cradles it carefully as he walks into Bryan Burke 's office .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRYAN BURKE'S OFFICE - MORNING<\/stage_direction>\n    <scene_description>Bryan cowers behind his desk as George enters with his model in one hand and the long wooden stick in the other .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>I'll take this one, if that's okay?<\/dialogue>\n    <scene_description>It takes Bryan a few aborted attempts to answer before he simply nods .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Thank you for going out on a limb and allowing me one.<\/dialogue>\n    <scene_description>Bryan nods again , then quivers as George steps forward , leans the stick against the desk and extends his hand .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You're a great architect and a miserable human being.<\/dialogue>\n    <scene_description>Bryan winces as he extends his hand . They shake hands and George grabs hold of the stick again .<\/scene_description>\n    <character>BRYAN<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>George walks around the desk and bashes in a model hidden on the floor , one that Bryan had obviously wanted to save .<\/scene_description>\n    <character>BRYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oh, fuck!<\/dialogue>\n    <scene_description>George drops the wooden spool and walks out of the office as Bryan garners the courage to stand .<\/scene_description>\n    <character>BRYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You're not even an architect and you're a miserable human being.<\/dialogue>\n    <scene_description>George turns around only long enough to answer .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>You're right. You win.<\/dialogue>\n    <scene_description>George closes the door behind him . Bryan stares down at the remains of the model ; he gets down on his knees and carefully gathers up the pieces .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTOWN LOS ANGELES - MORNING<\/stage_direction>\n    <scene_description>George is sweating as he walks with his box of personal items under one arm and the model under the other . Dizzy , he stops for a moment and tires to orient himself , glancing one way , then the other before staggering back and pressing himself against the building for support . Sweat beads and drops from his nose and chin as the song , ` ACROSS THE UNIVERSE ' begins by The Beatles . George sets the box down but clings tightly to the model as he closes his eyes . ` Pools of sorrow , waves of joy are drifting through my open mind , possessing them , caressing me . ' George drops face first to the cement , crushing the model beneath him . MONTAGE AS THE SONG CONTINUES George is probed and poked by doctor after doctor . An ultrasound test followed by a CT scan , followed by a MRI results in more tests . A flexible tube is slid down George 's throat as dye is shot into his body . ` Sounds of laughter , shades of life are ringing through my open view , inciting them , inviting me . ' A long blunt needle is shoved into George 's side for a biopsy of his pancreas . X - rays are lit and highlighted as doctors ponder the specks , the disease . Finally , George is opened up ; nearly bloodless slice through skin , muscle and fat reveals death . ` Limitless undying love , which shines around me like a million suns , which calls me on and on across the universe . ' George is wheeled down a long hall to the critical care unit . ` Nothing 's going to change my world , nothing 's gon na change my world . '<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - EVENING<\/stage_direction>\n    <scene_description>George tries to sit up , but falls back as he closes his eyes , opens his eyes , closes his eyes .<\/scene_description>\n    <character>FEMALE VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>That took care of the pain?<\/dialogue>\n    <scene_description>George opens his eyes again as an attractive NURSE enters with a tray of food .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>I could kiss you.<\/dialogue>\n    <scene_description>The nurse smiles as she lifts the cover off the dinner .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>No food. I'm painless.<\/dialogue>\n    <scene_description>She raises George 's bed .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What would you do if you had three or four months to live?<\/dialogue>\n    <scene_description>The nurse glances over at the other patient in the room , who 's sleeping , before answering in a soft voice .<\/scene_description>\n    <character>NURSE<\/character>\n    <dialogue>I'd eat a lot of red meat.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Good for you.<\/dialogue>\n    <scene_description>The nurse smiles as she sits down beside the bed . She fills a spoon with corn and aims it for George 's mouth ; he accepts the good will , chews and swallows .<\/scene_description>\n    <character>NURSE<\/character>\n    <dialogue>What would you do?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I'd build a house.<\/dialogue>\n    <scene_description>George takes another spoonful of food .<\/scene_description>\n    <character>NURSE<\/character>\n    <dialogue>What kind of house?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>You know what mortise and tenon is?<\/dialogue>\n    <scene_description>The nurse shakes her head `` no '' .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I've got every part of it ready. It's like a jig saw puzzle. all in pieces now, just waiting to make sense. I've been through design and review. the planning commission, city council.<\/dialogue>\n    <scene_description>She feeds George another small spoonful of food .<\/scene_description>\n    <character>NURSE<\/character>\n    <dialogue>No one's really said four months is all you have, have they?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Stage four pancreatic cancer. They have n't even pretended to offer treatment. You tell me, when would you start eating red meat?<\/dialogue>\n    <character>NURSE<\/character>\n    <dialogue>Can you build a house in four months?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I can die trying.<\/dialogue>\n    <scene_description>The nurse rests her hand for a moment on George 's cheek .<\/scene_description>\n    <character>NURSE<\/character>\n    <dialogue>Good for you.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I have n't been touched in years.<\/dialogue>\n    <scene_description>Suddenly alarmed by her emotion , the nurse removes her hand and stands back away from George .<\/scene_description>\n    <character>NURSE<\/character>\n    <dialogue>I'm sorry, I do n't know what that was.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>A handshake, or you know, someone pats you on your back through clothes. Doctors, people who have to touch you. But not by people who want to.<\/dialogue>\n    <character>NURSE<\/character>\n    <dialogue>No. A friend. your mother? Everybody gets touched by someone they love.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Is n't that weird? I mean, I dated a little bit after my divorce, for four or five years. Six years. I know when my son was younger. maybe when he was ten or eleven even, he'd run up and wrap his arms around me.<\/dialogue>\n    <scene_description>George suddenly stops to catch his emotion . The nurse checks the door before walking back to George ; she brushes back his hair with both hands , then fingers the curves of his ears , finally resting her thumbs on his lips .<\/scene_description>\n    <character>NURSE<\/character>\n    <dialogue>Oh God, I'm married.<\/dialogue>\n    <scene_description>Feeling guilty , she flees the room , waking the other PATIENT .<\/scene_description>\n    <character>PATIENT<\/character>\n    <dialogue>I'm hungry.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I'm touched.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAN JUAN CAPISTRANO TRAIN STATION - AFTERNOON<\/stage_direction>\n    <scene_description>George is resting , eyes closed , sitting on a bench with his box and the remnants of the model beside him . A black Range Rover pulls to a stop with a HONK . George stands to gather his things as Robin steps out of the car , yelling .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I called everyone, everywhere! You just vanished! You could be dead!<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Thanks for waking me up. Picking me up. You're loud today.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>You're inconsiderate and absolutely devoid of emotion!<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>You're the most beautiful woman I have ever known in my life.<\/dialogue>\n    <scene_description>Robin is stumped for a second , confused by the words .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I'm not talking just physically. Even your anger is perfect.<\/dialogue>\n    <scene_description>Robin climbs back in the car and slams her door shut .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBIN'S RANGE ROVER - AFTERNOON<\/stage_direction>\n    <scene_description>George sets his box in back and climbs into the front seat as Robin takes off . He closes his door as she runs a stoplight .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>I did n't think you'd know I went missing.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>You did n't think someone from your office would call and tell me you wrecked the entire building and threatened people with a baseball bat?!<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>A blueprint spool.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Where have you been for a week?!<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Four days. I left to think.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>What did you do with your dog?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Kurt's been feeding him.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>But you ca n't call me while you think?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I was n't thinking. Look, I'm sorry I did n't think to call you while I thought. I think.<\/dialogue>\n    <scene_description>George raises his eyebrows , wanting just the slightest give from Robin . She glances at him , but wo n't yield .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I need to talk to you.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Why would they tow your truck?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I was parked in day parking.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Why call me?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I'm going to tear down the shack and build my house.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>You've been saying that for twenty years. While we were dating, you said it.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>There's nothing anymore to stop me.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Money?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Severance pay. And I'm going to cash in my life insurance policy.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>How many years did I live with your beams and boards? First in the garage, then in the living room. We're going to do it, Robin. Next year. Next year. Salvaged floorboards from a house in Pasadena. Doors from a church in New Hampshire.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I love those doors.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Where will you live?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>The garage.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Look, I was n't serious about you taking Sam, so you do n't have to get into any actual construction to get out of it.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>When's school over?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Friday. God, I hate the thought of him home all day.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I'll be by Saturday to pick him up.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>He does n't want to spend the weekends with you anymore.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Not for the weekend. For the summer.<\/dialogue>\n    <scene_description>Robin scoffs .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>You and Sam are going to live in a garage without plumbing for the summer?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>The garage is plumbed. I'll put in a toilet. We'll survive.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Thank you for at least sounding sincere.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Sounding? I need help. He's cheap labor.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>One of you would end up dead.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>At least we'll have a house to show for it.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Forget it, really. I'll survive.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I want him with me.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>No, you do n't. Trust me.<\/dialogue>\n    <scene_description>George rests a hand on the back of her neck .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>I want Sam for the summer.<\/dialogue>\n    <scene_description>Robin furrows her brow for a moment and glances at George . It takes a while for her to answer .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>George rests his hand on Robin 's cheek for a moment , as the nurse had done with him . Robin turns her head and bites his finger .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Hey, hey!<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>I'm married.<\/dialogue>\n    <scene_description>George nods as he mock nurses his finger .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL HALL - AFTERNOON<\/stage_direction>\n    <scene_description>Sam is walking with Corey , who 's wiry and wan with a red nose .<\/scene_description>\n    <character>COREY<\/character>\n    <dialogue>The whole summer, man. Party in Tahoe.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>It'll just be my brother the dweeb on weekends. All we got ta do is sand and paint the cabin, dude.<\/dialogue>\n    <parenthetical>( boasting . )<\/parenthetical>\n    <dialogue>My dad's gon na let me use the boat and my charm is gon na let me use my rod. Income village is the place to hook up with hump.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'll ask.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Hey, it beats letting town folk go down on you for the summer.<\/dialogue>\n    <scene_description>Sam stops which stops Corey . Sam glances around to make sure no one 's listening .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I never said anything. I have n't done anything.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>I know what the deal is. Josh is a pimp. I'm not stupid.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You do n't know what the deal is. There is no fucking deal.<\/dialogue>\n    <scene_description>Sam walks away pissed that Corey knows what the deal is .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S SHACK - MORNING<\/stage_direction>\n    <scene_description>George is shirtless , the stitches still fresh on his side ; he carries\/drags his mattress into the garage . Alyssa walks from her house to the garage and peeks in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S GARAGE - MORNING<\/stage_direction>\n    <scene_description>George is making his bed , which is not easy because Guster is curled up on it . The one car garage is not dry - walled and the cement floor is clean but stained .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Hi, Mr. Nelson.<\/dialogue>\n    <scene_description>George steps away from the bed , slightly rattled by Alyssa .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Alyssa.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Why have you put a toilet and a bed in your garage?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I'm living here while I build another house.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Is that legal?<\/dialogue>\n    <scene_description>Alyssa sits down on the bed beside Guster and starts to bounce up and down . George takes another step back .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Do n't you have school?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <scene_description>Alyssa lies down on the bed , lifting the sheet to her nose .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Are these clean?<\/dialogue>\n    <scene_description>George is alarmed . Guster licks Alyssa 's ear .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>What's today?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Monday.<\/dialogue>\n    <scene_description>George bangs his head with his hand and starts to search the room .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>My keys.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <scene_description>Alyssa reaches out and slides a finger down his scar .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Nothing. I cut myself.<\/dialogue>\n    <scene_description>George pats down his pockets .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I had them in my pocket.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I'm not shaving my legs or pits this summer, I've decided.<\/dialogue>\n    <scene_description>George opens the drawers of a small desk and a chest , not paying attention to Alyssa as she raises her leg and runs her hands down the stubby skin .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Paula Cole is n't a vertical kisser.<\/dialogue>\n    <scene_description>George dabs his keys from the floor beside the chest .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Make the bed for me, would you? I got ta run.<\/dialogue>\n    <scene_description>George turns around to Alyssa 's leg up and a great view of her underwear .<\/scene_description>\n    <character>COLLEEN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>What are you, forty?<\/dialogue>\n    <scene_description>George whirls around to face Colleen as Alyssa lowers her leg .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>I forgot where I put my keys.<\/dialogue>\n    <character>COLLEEN<\/character>\n    <dialogue>And you thought they might be under her dress?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I was just showing him my hair.<\/dialogue>\n    <scene_description>Alyssa miffed as she stands .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I think you need to rethink what you think of me.<\/dialogue>\n    <scene_description>Alyssa walks around her mother and out of the garage . Colleen stares at George .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Her leg hair.<\/dialogue>\n    <scene_description>Colleen turns and walks out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S TRUCK - LATE MORNING<\/stage_direction>\n    <scene_description>George drives the four miles North to Robin 's house listening to Paula Cole . He turns into Emerald Bay , a guard - gated community and a Guard waves him in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEBBER'S HOME - LATE MORNING<\/stage_direction>\n    <scene_description>George rushes from his car and tries the front door , but it 's locked . He rings the bell and LOIS , the maid , answers .<\/scene_description>\n    <character>LOIS<\/character>\n    <dialogue>Mrs. Webber is in the backyard.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>And Sam?<\/dialogue>\n    <character>LOIS<\/character>\n    <dialogue>In his room, packing.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Oh. Good.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAM'S ROOM - LATE MORNING<\/stage_direction>\n    <scene_description>Sam has a CD by MARYLIN MANSON on loud as he packs a suitcase on his bed . The KNOCK on the door is barely heard . ANOTHER KNOCK draws his disapproval .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Sam!<\/dialogue>\n    <scene_description>Sam 's face turns sour as he yanks the door open .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Ready?<\/dialogue>\n    <scene_description>Sam shrugs and returns to finish his packing .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I think you'll have fun this summer.<\/dialogue>\n    <scene_description>It 's nearly impossible to hear George over the music .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Do n't forget your headphones.<\/dialogue>\n    <scene_description>The music is quickly driving George crazy .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Would you mind turning it down?<\/dialogue>\n    <scene_description>This does n't register with Sam .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It wo n't all be work, you know?<\/dialogue>\n    <scene_description>George is once again , seemingly unheard . He walks to within inches of Sam and grabs his head and yells into Sam 's ear .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It wo n't be all work, you know!<\/dialogue>\n    <scene_description>Sam pulls away from the touch and turns the music off .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I heard you already!<\/dialogue>\n    <scene_description>George walks to the sliding glass door and stares down at the boys and Robin in the pool .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Your mom and the boys can drop by anytime.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>To check up on me?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I'll be around to check up on you.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Why would you be there?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Because I live there.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You live in Cory's parents' cabin?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEBBER'S BACKYARD - LATE MORNING<\/stage_direction>\n    <scene_description>Ryan and Adam are on their backs on rafts as Robin swims laps between them . Suddenly , like a UFO crashing to Earth , Sam 's suitcase spirals downward straight into the pool , barely missing both Adam and Ryan .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>No fucking way!<\/dialogue>\n    <scene_description>The boys are knocked off their rafts as Robin takes off her goggles and focuses on Sam up on his balcony .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You liar! You stupid liar! I hate you!<\/dialogue>\n    <scene_description>George bursts out of the kitchen , onto the patio .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Did you tell him he's spending the summer with me?<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>No I'm not!<\/dialogue>\n    <scene_description>Sam storms off the balcony , back into his room .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>What was I supposed to do? When you did n't show up Saturday, I tried to call. Your phone is n't working.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I do n't have a phone.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>I drove over and you were gone.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I ca n't leave the house?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Last time you were gone for a week!<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Did you tell him he was spending the summer with me?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>No. I was going to let you do that.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>He's not spending the summer in Tahoe.<\/dialogue>\n    <scene_description>Sam walks out of the kitchen to confront his father .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Who are you, anyway? I do n't even know you.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>You'll know me by the time we're through.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'm not going!<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I'll get your bag.<\/dialogue>\n    <scene_description>George walks to the edge of the pool and scoops up the suitcase , holding it out as it drains .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Mom, tell him I'm not going. You already promised me!<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>You have everything?<\/dialogue>\n    <scene_description>Robin is in an uncomfortable position as she glances at Sam before focusing on George .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I did say he could go.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Let's go.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'm not going!<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>You do n't have a choice.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Mom. please.<\/dialogue>\n    <scene_description>Sam 's eyes well with tears as his voice cracks . Robin is ready to concede .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>George -<\/dialogue>\n    <character>GEORGE<\/character>\n    <parenthetical>( adamant . )<\/parenthetical>\n    <dialogue>He's not spending the entire summer with another kid in Tahoe. If he leaves, I will follow him up there and I will drag him home by his nose ring. He can hate me. You can hate me. He can try to kill me while I sleep. You can call the police. You can call your husband or your attorney, but Sam is spending the summer with me. He's my son. He's sixteen. That's it.<\/dialogue>\n    <scene_description>Sam is crying now - snot 's running down his nose . Robin is shocked by George 's forcefulness .<\/scene_description>\n    <character>ADAM<\/character>\n    <dialogue>Can we hate you?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>You can do anything you want.<\/dialogue>\n    <scene_description>George walks to Sam and touches his arm .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Go get in the truck, Sam.<\/dialogue>\n    <scene_description>Sam jerks away from his dad as dramatically as he can manage .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Go fuck yourself!<\/dialogue>\n    <scene_description>George drops the suitcase and grabs Sam by the arms . As much as Sam tries to resist , he 's clearly no match for his father .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Your nose ring comes out of your nose. If you've got them in your nipples, they come out, too. And there's no make - up at my house. No glue sniffing. Huffing. No pills, no grass.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>If you hit me, I'll call the police.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>You've worn out your welcome at this house, Sam. I wo n't ever hit you.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>This may well be the worst three months of your life, but you've earned it. So, pick up your suitcase and go get in the truck. Now.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'll hate you forever.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>You ca n't even begins to know how much I hate my father.<\/dialogue>\n    <parenthetical>( upbeat . )<\/parenthetical>\n    <dialogue>Think of it as a family tradition.<\/dialogue>\n    <scene_description>Sam glares at his mother before grabbing his soggy suitcase and stomping out of the backyard . Robin is stunned silent by George 's decisiveness .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S TRUCK - LATE MORNING<\/stage_direction>\n    <scene_description>Sam is pressed against the passenger side door . George walks from the backyard and opens the truck door to climb in but is stopped by Sam 's suitcase . He lifts it out and sets it in the bed , then slides into the cab , sitting on the soaked seat . George rises up and turns to Sam , who is sullen and silent .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S SHACK - AFTERNOON<\/stage_direction>\n    <scene_description>Sam is shirtless on his back on the roof of the shack , sunning himself as George struggles to extricate a sofa from a doorjamb . Guster is asleep on the grass , under a tree .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Sam? I'm. for like three minutes?<\/dialogue>\n    <scene_description>After another bout of trying , George drops the sofa and steps back to glance up at Sam .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>That's okay. If I break my back, daddy's gon na buy you a naval ring.<\/dialogue>\n    <scene_description>No reaction from Sam .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And if that naval ring do n't fit, daddy's gon na rub you down with the sun screen.<\/dialogue>\n    <scene_description>Sam glances down at his father , puzzled by the verse .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( O.S. ; CONT 'D . )<\/parenthetical>\n    <dialogue>I want you wearing sun block. And I want you down here to help me. Now.<\/dialogue>\n    <scene_description>Sam dismisses his father without a word - he simply adjusts his face back to the sun . George walks away . A sudden spray of water drenches Sam , forcing him to his feet in a cold panic . George stops the hose water pelting .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It works on Guster.<\/dialogue>\n    <scene_description>MOMENTS LATER George is still struggling with the sofa stuck in the door . Frustrated , he steps away from the sofa .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You're in there not helping at all, are n't you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEACH SHACK ENTRY - CONTINUOUS<\/stage_direction>\n    <scene_description>Sam is leaning against a wall with his arms folded across his chest .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>You know what else helped Guster? Neutering.<\/dialogue>\n    <scene_description>The slightest alarm crosses Sam 's face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S GARAGE - EVENING<\/stage_direction>\n    <scene_description>George is shirtless in shorts , boiling pasta on a portable stove as he heats a sauce in the microwave . A dresser topped with plyboard serves as a countertop ; other than a sink being across the garage near the toilet , this is a fairly well equipped makeshift kitchen .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Do you want garlic bread?!<\/dialogue>\n    <scene_description>George waits a bit to make sure no response is no response . Then stuffs a hunk of garlic bread into the toaster oven .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S GARAGE - EVENING<\/stage_direction>\n    <scene_description>Sam is sitting on the edge of a cliff that drops twenty feet to the ocean ; Guster is whining for attention behind Sam .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Well, get over here, then, stupid.<\/dialogue>\n    <scene_description>Guster inches forward on his belly , which makes Sam smile .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Are you afraid of heights, Guster?<\/dialogue>\n    <scene_description>Sam drops to his belly and stretches out to pet Guster .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>The fall probably would n't kill me, anyway.<\/dialogue>\n    <scene_description>Guster inches closer and licks Sam 's face . George walks out with a tray filled with spaghetti , garlic bread and a Coke .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Thinking of jumping?<\/dialogue>\n    <scene_description>George sets the tray on the ground beside Sam .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Pushing.<\/dialogue>\n    <scene_description>George walks to the edge of the cliff .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Only jump after you hear the wave crash against the rock. The water will take you out. Let it. Swim a little North and you'll see the sand.<\/dialogue>\n    <scene_description>Sam sits up and faces his father with a trace of alarm .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>First time I did it, younger than you, I thought I'd break my neck and just sort of float to Catalina.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You do n't always get what you wish for, Sam.<\/dialogue>\n    <scene_description>George suddenly leaps forward and disappears into the sea as a wave crashes against the rocks below .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Oh, shit!<\/dialogue>\n    <scene_description>Sam scurries to his feet and scans the ocean for his father ; the only thing visible is darkness .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>Guster is lapping up the dinner , bread and all as Sam calls out again . In a bit of a panic , Sam runs from the cliff .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PACIFIC COAST HIGHWAY - EVENING<\/stage_direction>\n    <scene_description>The traffic is heavy as Sam runs against it . Without a sidewalk and with parked cars blocking a reasonable path , this is a dangerous trek North .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALISO CREEK BEACH - EVENING<\/stage_direction>\n    <scene_description>Sam runs to the edge of the water and anxiously waits for his father to emerge from the sea . A jogger startles Sam - he steps into a wave that soaks his shoes . George floats on a wave into view and stands in waist high water , only to be knocked way back down . He rises and falls and rises before making his way to the sand and Sam .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Are you totally insane?!<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I almost saw Catalina.<\/dialogue>\n    <scene_description>George coughs and drops onto the sand exhausted . Sam storms off , angry that he cared enough to get angry .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S SHACK - EVENING<\/stage_direction>\n    <scene_description>Sam is winded as he walks off the street to the middle of the yard . He glances around for Guster .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Guster!<\/dialogue>\n    <scene_description>Guster bounces out of the garage with spaghetti sauce covering his muzzle .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You're so busted, dude.<\/dialogue>\n    <scene_description>Sam sits down on the grass and plays with Guster , who yaps with joy as he breaks away and closes the distance with the abandon of a puppy .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Where's my dinner, huh?<\/dialogue>\n    <scene_description>Sam manages to pin Guster on his back . He looms over the dog as he kisses him on the nose .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm hungry! Where's my dinner? Who ate my dinner? Huh? Who's in trouble now?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>Sam rolls over Guster and stands , nearly stumbling in the process - way uncool .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <scene_description>Guster bumps against Alyssa for her attention ; she kneels down to pet him .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>They're trying to make me spend the summer here. I'm leaving in the morning.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Where to?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'm supposed to be in Tahoe.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Your dad's really gon na build his house?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Well, if you do n't go, I guess I'll see you.<\/dialogue>\n    <scene_description>Alyssa stands . Sam is clearly shy around her .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You should stay.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Where's your dad?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>He jumped into the ocean.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Tell him I said `` hi''.<\/dialogue>\n    <scene_description>Alyssa pets Guster again before walking away . Sam is smitten .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S GARAGE - NIGHT<\/stage_direction>\n    <scene_description>Sam 's curled up in a tattered lazy - boy near the toilet , watching television as George sits on the bed , brushing his teeth . Suddenly , Sam turns to face his dad .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I'm not taking a dump with you in here.<\/dialogue>\n    <scene_description>George nods as he continues brushing .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>My brothers say it's the worst smell they've ever smelled.<\/dialogue>\n    <scene_description>George nods again , which appears only to irritate Sam .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I think you have to have a door between where you cook and where you crap. Like even in the bush, tribal people and like that have a place for both. It's like a law.<\/dialogue>\n    <scene_description>George walks around Sam to the sink and spits , rinses and wipes his mouth with a towel . He faces Sam .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Which side of the bed do you want?<\/dialogue>\n    <scene_description>Sam 's jaw drops as he glances at the double - bed .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Just kidding. The sofa's a pullout.<\/dialogue>\n    <scene_description>George smiles and pats Sam on the shoulder before walking to the sofa and pulling it out to make a bed .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Probably in the bible.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Goodnight.<\/dialogue>\n    <scene_description>George drops his pants and climbs into bed . He pulls the sheet up and fluffs the pillow before resting his head .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I have to take a dump.<\/dialogue>\n    <scene_description>George twists around in bed to face Sam . After a beat , he tosses the sheet back , climbs out of bed , pulls back on his pants , slips on his shoes and walks out of the garage .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S SHACK - MORNING<\/stage_direction>\n    <scene_description>George is up on the roof , hacking through the shingles and beams with a chain saw . A huge dumpster set on the lawn receives only about half the throws George makes . Sam is near the ocean in a chaise lounge , listening to music through his portable CD player .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Have you got sunscreen on?<\/dialogue>\n    <scene_description>There 's no chance he 's been heard . TOM and BARBARA , two older neighbors of George 's nearing home from a walk , stop on the driveway - both look pleased .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>It's about time this shack is torn down.<\/dialogue>\n    <scene_description>Barbara appears surprised as George turns to face them - she obviously did n't realize he was the one up on the roof doing the demolition .<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Oh, hello George.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Guess how many low - income apartments the city approved for this lot?<\/dialogue>\n    <scene_description>Tom and Barbara react by trying not to react .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Come on. ballpark figure.<\/dialogue>\n    <scene_description>Tom and Barbara step back and walk away . George heads to the ladder and climbs down . ANOTHER VIEW Sam is grooving to the music with his eyes closed as George 's hand , filled with a gob of sunscreen , plops onto Sam 's stomach . Sam bolts up from the chaise lounge in a rage .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>What are you doing?!<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I warned you yesterday.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Do n't touch me! You ca n't touch me!<\/dialogue>\n    <character>ALYSSA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hey, you stayed.<\/dialogue>\n    <scene_description>Alyssa walks across her lawn to the feuding family . George holds out the bottle of sun lotion to Alyssa .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Rub him down, please.<\/dialogue>\n    <scene_description>George walks back to the ladder and up onto the roof as Alyssa and Sam stare at one another .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>He's a freak.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>You look better without make - up.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I ca n't even take a shower here.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Come over to my house whenever you want. I'll tell my mom.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I might not stay, anyway.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I'll get your back.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>No. That's okay.<\/dialogue>\n    <scene_description>Sam reaches out for the lotion , but Alyssa hides the bottle .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Have you ever had anyone but your mom or dad put it on for you?<\/dialogue>\n    <scene_description>Sam thinks about it for a second before shaking his head no .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It's weird how different it is. Lay down.<\/dialogue>\n    <scene_description>George is back with the chain saw , hacking away at the roof . Sam is hesitant as he lies down on his stomach . Alyssa kneels and squeezes lotion on his back . She works it in , starting at his neck , working her way down to his pants . She squirts Sam 's arm and as she rubs close to his pit , he squirms .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Do you remember me from when you lived here?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Your dad dated my mom after her divorce.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I wanted him to marry her.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Turn over.<\/dialogue>\n    <scene_description>Alyssa grabs under his armpits and tickles him . Sam yelps and rises onto his elbows as Josh roars by the shack in his Porsche .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Josh and I are going to South Coast. Wan na ride? Maybe see a movie?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>No thanks.<\/dialogue>\n    <scene_description>Sam is disappointed as Alyssa stands to leave .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Do n't forget your front.<\/dialogue>\n    <scene_description>Alyssa walks to the shack and waves goodbye to George . George waves her off . Sam curls onto his side as he watches Alyssa run across the lawn to Josh .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>She's pretty. for a girl.<\/dialogue>\n    <scene_description>Sam appears irritated as he stands and walks into the garage .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S GARAGE - MORNING<\/stage_direction>\n    <scene_description>Sam glances out the window to check on his father , then quickly rummages through every drawer and cabinet looking for what he finds : a prescription bottle . It 's Vicodin . He checks on his dad through the window again , then opens the bottle and takes out five pills . He fills a glass with water and swallows two , saving three for later . He sets the bottle back where he found it before he drops on the bed with a grin .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S GARAGE - AFTERNOON<\/stage_direction>\n    <scene_description>Guster is in a full out run for a rubber ball . Sam is shirted , sitting at the patio table . With the ball gladly returned , Sam tosses it again . George walks out juggling two plates of sandwiches and two Cokes and sits down .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Do you ever get like the slightest inkling that you might want to help me instead of doing absolutely nothing?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Get the inkling, Sam. I'm getting tired of your attitude.<\/dialogue>\n    <scene_description>Sam picks up the sandwich , examines it and sets it back down on the plate .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I hate turkey.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>No you do n't.<\/dialogue>\n    <scene_description>George takes a bite of his sandwich before responding .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I want you to take out your nose ring and leave it out.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>It bugs me.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You snore at night. That bugs me. Can I take you out?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Your brothers are right. It was the most god - awful smell I've ever had my nose around.<\/dialogue>\n    <scene_description>George tightens his face and waves his hand in front of his nose . Sam stares at his father . A black Range Rover pulls to a stop and Robin steps out with a pizza box in her hands .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Thought you guys might be hungry.<\/dialogue>\n    <scene_description>As Robin walks up the drive , Sam picks up the turkey sandwich and starts eating . George glances at Sam as Robin sets the box on the table and sits down .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>We're fine. Turkey sandwiches.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Well, for later then.<\/dialogue>\n    <scene_description>Robin focuses on the nearly roofless shack . Guster walks to the table and sits down by Robin , ready to beg .<\/scene_description>\n    <character>ROBIN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It makes me sad.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>I used to live here.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>But you hated four out of the five you did.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>I was here six years. And I only hated two.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Which?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>The first and the last.<\/dialogue>\n    <scene_description>George sets his sandwich down .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>I do n't even like turkey sandwiches. What kind of pizza?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Sam's favorite.<\/dialogue>\n    <scene_description>George opens the box and pulls out a slice . Sam appears disinterested as George starts in on the slice of pizza .<\/scene_description>\n    <character>ROBIN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( to Sam . )<\/parenthetical>\n    <dialogue>Sure you do n't want any?<\/dialogue>\n    <scene_description>Sam shrugs off his mother , looking away . Robin nods and grabs a piece for herself .<\/scene_description>\n    <character>ROBIN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You're too thin, George. From what you used to be, anyway.<\/dialogue>\n    <scene_description>George responds with a pleasant face ; he 's not going to explain his weight loss right now .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Why the first and the last?<\/dialogue>\n    <scene_description>Robin sets her slice of pizza down as she studies George .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>The first because I was n't sure you really loved me. the last because I was n't sure I really loved you.<\/dialogue>\n    <scene_description>George nods . Though it may appear that Sam is n't interested in the conversation , his ears are perked .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>I was up on the roof this morning, tearing it down and it struck me as strong as anything ever has. That I'm happy today.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>What have you been before today?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>It was just that, maybe the way the sun struck the ocean, the sound of the waves. It was simple, whatever it was. Then I started thinking about the last time I felt this good.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>It's been a long time.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Do you remember?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>The only time I can think of for sure, I was holding onto Sam in the ocean, saving him from the waves.<\/dialogue>\n    <scene_description>George turns to Sam , who 's caught staring at his father .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You head was pressed against my chest. I could feel your heart racing. And I remember I kissed your hair.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>We have it on video! Was that when? My parents were down for his sixth birthday! I remember that.<\/dialogue>\n    <scene_description>Robin inexplicably starts to cry . She instantly tries to take it back , pressing her hand to her mouth , wiping her eyes , but whatever emotion has her , has her good . Both George and Sam are confused and concerned .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I have to go.<\/dialogue>\n    <scene_description>She stands and backs away from the table .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>I'm fine. Nothing.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I'll drop by your lunch tomorrow.<\/dialogue>\n    <scene_description>Robin wipes her eyes again as she climbs into her car and drives off . Sam and George face one another .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'm gon na take a walk. I need some money.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>You'll have money when you work.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You're so predictable.<\/dialogue>\n    <scene_description>Sam sets his sandwich down and grabs a slice of pizza as he stands . He walks for a few feet , stops and turns around .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You have n't been happy in ten years?<\/dialogue>\n    <scene_description>He does n't wait for an answer ; as he walks away , Guster follows . George takes Robin 's slice of pizza and drops it on the cement ; that 's all it takes to turn Guster around .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBIN'S KITCHEN - EVENING<\/stage_direction>\n    <scene_description>Robin is sitting alone at the table , doing nothing . The TV is on loud in another room . Adam walks into the room in his pajamas . He sits down across from his mother at the table . Robin smiles at him . He smiles back as he scoots his chair closer to the table and extends his arms straight out across the top . Robin extends her arms and they lock hands near the middle . Without a word , they hold hands . Adam lets go and climbs on top of the table , scoots across it with a kiss for his mother before he 's gone , sliding off the table on his rear and running back to the TV .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S GARAGE - EVENING<\/stage_direction>\n    <scene_description>George is on the patio , bending a thin piece of copper tubing . Sam storms out of the garage , fuming .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>No one would blame me if I left!<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I'd blame you. I want you here.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'm not doing it!<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>It'll be fine.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Why do n't you just beg some money off my dad and move into something decent with a real kitchen and a real bathroom?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I'd rather sell my nuts to a castrati.<\/dialogue>\n    <scene_description>Sam screws his face down - huh ?<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I do n't beg.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>And I do n't take a shower in the middle of the yard.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I can promise you complete privacy.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You ca n't promise me anything! You do n't have anything to promise! You live in a garage! You do n't have cable! You're not hooked up to the internet because you do n't even own a computer! You do n't have a job!<\/dialogue>\n    <scene_description>George finishes bending the copper into a circle . He stands and holds the copper circle out for proof of privacy .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>This will save you from prying eyes.<\/dialogue>\n    <scene_description>Sam dismisses his father with a shake of his head . He heads back into the garage .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S GARAGE - EVENING<\/stage_direction>\n    <scene_description>Sam quickly heads to where George 's prescription bottle was hidden under a pile of underwear . He steals two more pills and swallows them before grabbing a towel and walking out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S GARAGE - EVENING<\/stage_direction>\n    <character>SAM<\/character>\n    <dialogue>If you had a stupid phone or I could use your truck, mom would give me some money.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>You'll have money when you work for it.<\/dialogue>\n    <scene_description>Sam stomps down the driveway and across the grass to Alyssa 's house . George walks around to the back of his garage with the rounded copper tubing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALYSSA'S HOUSE - EVENING<\/stage_direction>\n    <scene_description>Sam is standing on the porch with his towel and clean clothes . Colleen answers the door .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Is Alyssa home?<\/dialogue>\n    <character>COLLEEN<\/character>\n    <dialogue>She's out with a friend.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Oh. do you know when she'll be home?<\/dialogue>\n    <character>COLLEEN<\/character>\n    <dialogue>She did n't really say.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Oh. okay.<\/dialogue>\n    <scene_description>Sam nods and steps back as he prepares to leave .<\/scene_description>\n    <character>COLLEEN<\/character>\n    <dialogue>Sam?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Uh huh.<\/dialogue>\n    <character>COLLEEN<\/character>\n    <dialogue>I did n't recognize you!<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>COLLEEN<\/character>\n    <dialogue>Alyssa said you do n't even have plumbing over there.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Not a shower.<\/dialogue>\n    <scene_description>Colleen takes Sam by the arm and nudges him into the house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALYSSA'S ROOM - EVENING<\/stage_direction>\n    <scene_description>Sam is slowly making his way around the room , taking note of everything : some dried flowers ; a yearbook ; a cabinet full of CD 's ; dirty clothes stuffed in a hamper . He walks into the bathroom before walking back out and making one more round .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBIN'S FAMILY ROOM - EVENING<\/stage_direction>\n    <scene_description>Robin is sitting between her sons on the sofa , watching a movie . Peter enters the room , carrying his jacket .<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>The goddamn traffic. Were we going out to dinner?<\/dialogue>\n    <scene_description>Robin focuses on her husband , but the boys are riveted to the television .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>We've eaten.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Is Lois still here? I'm starved.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>I'll make you something.<\/dialogue>\n    <scene_description>Robin stands as Adam and Ryan try to hold her down .<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Did someone call to tell you I'd be late?<\/dialogue>\n    <scene_description>Robin walks into the kitchen without responding .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALYSSA'S BATHROOM - EVENING<\/stage_direction>\n    <scene_description>Sam 's in the shower , obscured by the sandblasted glass .<\/scene_description>\n    <character>JOSH<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Bro, I need you tonight.<\/dialogue>\n    <scene_description>Sam bumps an elbow against the glass as he opens the shower door enough to look out . Josh is sitting up on the marble countertop .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I locked the door.<\/dialogue>\n    <scene_description>Josh holds up a tiny screwdriver .<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>It'll take you like twenty, thirty minutes.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Does Alyssa know?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You got any weed?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>You got the money?<\/dialogue>\n    <scene_description>Sam waits a beat before closing the shower door .<\/scene_description>\n    <character>JOSH<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Alyssa sent me up to see if you wanted to hang around and watch a movie with her and her mom.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S GARAGE - EVENING<\/stage_direction>\n    <scene_description>The round copper tube is braced and nailed to the side of the garage ; on it hangs a shower curtain . George is making noises inside the curtain as he showers .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Ah! Oh.<\/dialogue>\n    <character>KURT<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I know there's an explanation.<\/dialogue>\n    <scene_description>George pulls back the shower curtains just enough to see Kurt standing by in his police uniform .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>No hot water.<\/dialogue>\n    <scene_description>George is shivering as he closes the curtain back up .<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Mr. Dokos called to complain that you and a boy are squatting illegally in the garage of your house.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Check the permits. It was built as a guesthouse. It's a legally rentable unit grandfathered when South Laguna was incorporated.<\/dialogue>\n    <scene_description>Without warning , the copper tubing holding the hanging curtain falls to the ground . George turns the water off and grabs a towel . Unfortunately , his ass is not what the towel covers .<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Now that should be illegal.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALYSSA'S FAMILY ROOM - EVENING<\/stage_direction>\n    <scene_description>Alyssa and Colleen are curled up on the sofa as Josh and Sam stick their heads in to say goodbye .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Thanks for the shower.<\/dialogue>\n    <character>COLLEEN<\/character>\n    <dialogue>I want you both to stay.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>And candy too.<\/dialogue>\n    <scene_description>Alyssa holds up a huge bowl of popcorn and the DVD case .<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>I'm gon na give him a ride in my car.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I'll see you tomorrow.<\/dialogue>\n    <character>COLLEEN<\/character>\n    <dialogue>Come over anytime you need to, Sam.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Thanks, I'd like that. Thank you.<\/dialogue>\n    <scene_description>The only thing keeping Sam from staying is Josh , who jerks him out by the shirt .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S GARAGE - EVENING<\/stage_direction>\n    <scene_description>With Kurt in the only chair , George hands him a cup of coffee and sits down on the pullout sofa , which is pulled out .<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>I'm surprised he has n't left.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I have n't forced him to work. I only wet him down once. Why would he leave?<\/dialogue>\n    <scene_description>Sam rushes in and grabs a sweater before starting out .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I'm leaving.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Hey. hey!<\/dialogue>\n    <scene_description>Sam stops at the door and waits impatiently .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Where are you going?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>When are you going to be back?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Well, until you know, you ca n't go.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Oh, okay.<\/dialogue>\n    <scene_description>Sam is gone in a flash . Kurt studies George for a second .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>I'm not very good at it. Parenting.<\/dialogue>\n    <scene_description>Kurt nods ; agreed , he 's not .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBIN'S KITCHEN - EVENING<\/stage_direction>\n    <scene_description>Robin arranges an attractive plate of food , which she sticks in the microwave . Peter walks in wearing different clothes but the same personality .<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I hope your ex - husband is equipped for the havoc of Sam, because it seems absolutely blissful here tonight.<\/dialogue>\n    <scene_description>He sits down at the table , opening up a newspaper as Robin stares at him .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Do you think it's odd your kids do n't hug you?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Should I?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>It would worry me.<\/dialogue>\n    <scene_description>Peter glances up from the paper , focusing on Robin .<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>If I let everything that should worry me, worry me, I'd be dead from worry.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>What would you be if you asked Adam and Ryan to run in now and hug you?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I'd be you.<\/dialogue>\n    <scene_description>The answer bothers Robin enough that Peter ca n't concentrate back on the paper .<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'll do it if that's what you want.<\/dialogue>\n    <scene_description>Robin walks out of the kitchen . Peter folds the paper and shoves it across the granite counter .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOSH'S PORSCHE - NIGHT<\/stage_direction>\n    <scene_description>Sam and Josh are parked on a street that overlooks the Valley East of Laguna Beach . They share a joint as Josh explains the specifics of the job .<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>You do n't have to do a thing. Just get in and get out. As quick as you can. Close your eyes and think of whatever.<\/dialogue>\n    <scene_description>Sam hands the joint to Josh .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>What's your deal with Alyssa?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Do n't even. I'm there.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I was n't sure.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>She would n't even fucking go out with until she was sixteen. I mean, that's not even a rule, just her own thing. She like figures things out on her own and then that's it.<\/dialogue>\n    <scene_description>A black Mercedes Benz pulls to a stop a ways down the street . Josh hands Sam a cell phone .<\/scene_description>\n    <character>JOSH<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>If this rings, run.<\/dialogue>\n    <scene_description>Sam is scared and it shows .<\/scene_description>\n    <character>JOSH<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>He already knows everything about what he ca n't do. You can tell him not to even look at you, if you want.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'm thinking it's too weird now.<\/dialogue>\n    <scene_description>Josh pulls a baggie of grass and holds it out for Sam , who takes it and stuffs it in his pants pocket .<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>It beats working.<\/dialogue>\n    <scene_description>Josh hands Sam the joint .<\/scene_description>\n    <character>JOSH<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Inhale and get out.<\/dialogue>\n    <scene_description>Sam is quick to inhale , but slow to get out . Josh takes the joint and Sam steps out . He walks slowly to the Mercedes , opens the door and climbs in . Josh turns the CD on to Guster 's `` ALL THE WAY UP TO HEAVEN . '' Sam closes the door to the Mercedes . ` He said to only look up , he said to never look down , down is where we came from . ' It 's an odd song sung in a happy tempo ; a whistling refrain overtakes the lyrics as Josh inhales . ` He said to hope for the best and take a load off my chest . Soon , I could be happy , and go all the way up to heaven and go all the way back home . ' With the music loud , Josh misses the police car as it stops behind him without the lights . Too late for a getaway , he fumbles for his cell phone and tosses the joint out the open window . The OFFICER approaches the Porsche with his hand on his gun .<\/scene_description>\n    <character>OFFICER<\/character>\n    <dialogue>What did you toss into the brush?<\/dialogue>\n    <scene_description>Josh furtively presses send on his cell phone as he faces the officer with a guilty face .<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <scene_description>` He said I might need his help , no one gets high on themselves . I just seem so lonely ; he 's just trying to be nice and spread around his advice . I could be happy . '<\/scene_description>\n    <character>OFFICER<\/character>\n    <dialogue>Turn off the music!<\/dialogue>\n    <scene_description>As the music stops , the door to the Mercedes opens and Sam hops out with his pants around his ankles . The officer notices and walks towards the Mercedes . The parking lights flash red as the car starts and flees the scene . Sam yanks up his pants and leaps down the hillside , falling and rolling in the brush as the officer yells for him to stop . Josh starts his car , but the officer dissuades him from leaving by removing his gun . Josh turns off the engine .<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Oh, it's working now.<\/dialogue>\n    <character>OFFICER<\/character>\n    <dialogue>What did you toss into the brush?<\/dialogue>\n    <scene_description>Before Josh can feign innocence again , the brush starts to smolder . Busted .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLSIDE - NIGHT<\/stage_direction>\n    <scene_description>Sam is spotted with weeds and dirt as he continues his way down the steep hillside holding up his pants . After he 's sure he 's safe , he sits down and rests his head in his hands . He starts to shake , frightened by his actions . He drops onto his back , buttons and zips his pants as he starts to cry . Slowly , he stops crying , but keeps staring up at the sky , which is loaded with stars and a full moon . Mesmerized by the brilliant night , Sam ca n't stop staring .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S SHACK - MORNING<\/stage_direction>\n    <scene_description>George is removing the last of the windows , carefully prying it out of the casement as Robin pulls up in her Range Rover . She steps out dressed in Levi 's , boots and a t - shirt , carrying a large bag .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Lunch.<\/dialogue>\n    <scene_description>She smiles and walks toward George , dropping the food sack on the patio table .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>It's not breakfast yet.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>I dreamed about your house last night.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Finished or unfinished?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>It was perfect, George. Amazing. It was so real.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Did n't you once dream you could lick people well, though?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>That was n't a dream. That was Sam.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Oh. with his ear infection!<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>My tongue around the edge of his ear is what cured him.<\/dialogue>\n    <scene_description>George is n't quite sure how to take her comment . Finally , he points to the Garage .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Go in there and lick his attitude.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>The antibiotics were n't working.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>It's what I believe, George.<\/dialogue>\n    <scene_description>George stares at Robin for a second before he nods .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>You were wrong about the first year, you know?<\/dialogue>\n    <scene_description>It takes Robin a second to understand he 's saying he loved her when they married .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I've been wrong a lot in my life.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Hindsight. It's like foresight without a future.<\/dialogue>\n    <scene_description>Robin almost smiles ; George confessing love ten years dead .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I have three hours before I pick up Adam and Ryan.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Where will I be most useful?<\/dialogue>\n    <scene_description>Robin glances around , assessing the best use of her time .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>With your hands or your tongue?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>You're not well.<\/dialogue>\n    <scene_description>Robin picks up a pile of splintered board and tosses them in the garbage bin . George nods . he 's not . LATER Robin and George carry a twelve - foot beam from inside the shack and set it down on cinder blocks . Both look exhausted as they head back in for another beam . Sam saunters out of the garage in shorts , sits down on the patio chair and opens the sack his mother had packed for lunch . He pulls out a peanut butter and jelly sandwich and starts eating as George and Robin emerge from the shack with another beam .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Good morning.<\/dialogue>\n    <scene_description>Robin and George set the beam down and turn to Sam as they both wipe sweat off their faces . Sam chews his sandwich , ignoring them both .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I'm late.<\/dialogue>\n    <scene_description>Robin walks close to Sam , trying to capture his attention .<\/scene_description>\n    <character>ROBIN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Ryan has a game later. He asked if you'd come and watch.<\/dialogue>\n    <scene_description>Sam glances up at his mother , just long enough to let her know he hates her , then drops the sandwich and walks back into the garage . A city inspector 's car pulls to a stop on the street and BOB LARSON steps out with a clipboard . Robin passes him as she walks back to her Range Rover .<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>Mr. Stevens?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I've been dreading you.<\/dialogue>\n    <scene_description>Bob and George shake hands as Robin drives off .<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>Bob Larson. Do you happen to have an unenclosed toilet in close proximity to a kitchen?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>A violation?<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>Oh, yes.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>And if I enclosed it?<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>An exhaust system or a window is code.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>A sink?<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>Allowed outside the enclosed area.<\/dialogue>\n    <scene_description>Sam walks out of the garage in long pants and a shirt .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Where is it?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>A friend of yours is here.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Did you got through my pants?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I might have a solution.<\/dialogue>\n    <scene_description>George grabs his chain saw and walks to the garage with Sam and Bob in tow .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Where'd you put it?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARAGE - AFTERNOON<\/stage_direction>\n    <scene_description>George walks to an armoire and empties it . He grabs a hammer and bangs , pries and pulls the back off , then dumps the cabinet onto the floor .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I know you took it. I want it now!<\/dialogue>\n    <scene_description>George yanks the chain saw to a roar and fashions an oval cut a few feet deep on the cabinet base . He kills the saw , lifts the armoire and scoots it in front of the toilet .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Doors.<\/dialogue>\n    <scene_description>Bob grimaces as George opens the armoire , revealing the toilet inside .<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>I hate to ask about a window.<\/dialogue>\n    <character>GEORGE<\/character>\n    <parenthetical>( to Sam . )<\/parenthetical>\n    <dialogue>I flushed it down the toilet.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>No! Oh my God!<\/dialogue>\n    <scene_description>George jerk starts the chain saw again and fashions a small opening above the toilet , ripping through the studs , wire mesh , tar paper and stucco - fine dust invades the space like a storm . Bob coughs as he writes in his book . George kills the chain saw and sets it down as he surveys his work .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>If I had a gun, I'd kill you.<\/dialogue>\n    <scene_description>Bob seems fairly anxious to conclude his business .<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>I assume you'll fill the. uh, window, with glass?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>If that's what it takes.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>What's in my pants is none of your fucking business!<\/dialogue>\n    <character>BOB<\/character>\n    <parenthetical>( a little rattled . )<\/parenthetical>\n    <dialogue>I would say you're in compliance.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I hope that makes the pain in the ass that called you happy.<\/dialogue>\n    <scene_description>George is staring at Sam . Bob backs out of the garage .<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>You and me both.<\/dialogue>\n    <scene_description>With Bob gone , George walks to Sam and gets in his face .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Everything about you is my business. What you smoke, what you swallow, what you sniff, it's all my business.<\/dialogue>\n    <scene_description>Sam slams his fists against his own chest , maddened .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I've been using since I was twelve! You're all so unbelievably stupid. You did n't give a shit about anything I did until now!<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I'll apologize for everything but today. Today I give a shit.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You're too fucking late.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>The gloves on the table are for you.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You ca n't make me do a thing.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Sit down for a second.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>George gently guides Sam back onto the bed . Sam hops up mad .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'll call the cops if you touch me again!<\/dialogue>\n    <scene_description>George sets Sam back onto the bed , not so gently this time . Sam is less eager to hop up in defiance .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oh, so you're in the big shit now! Child abuse. People go to prison for what you just did to me.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>My dad used to play a game. I never really understood what it was until after he was gone.<\/dialogue>\n    <scene_description>Sam appears immensely disinterested .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I was holding for someone. That was n't even mine.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>The game was to make me smaller than he was. No matter what. He could be almost invisible as a human being, but I had to be smaller. So if I got good grades, I was a pussy for not playing football. If I cut my hair for him, it was n't short enough. If I shaved it, I looked like a psycho. I never won the game. Not once. And if he could n't make me smaller with words.<\/dialogue>\n    <scene_description>Tears well in George 's eyes . Sam is caught up enough in what his father has to say that he has to feign his lack of interest .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I'll have to pay him back.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I wo n't ever hit you.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I do n't want you smaller. I want you to be happy. You're not. Not here with me. Not home with your mother. Not up in Tahoe. Not alone. Not anywhere.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You're what I was most of my life, Sam. I see it in your eyes. In your sleep. In your answer to everything. You're barely alive.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'm not even listening.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>You know that great thing, though? Is that change can be so constant you do n't even feel the difference until there is one. It can be so slow that you do n't even notice that your life is better or worse, until it is.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Or it can just blow you away. Make you something different in an instant. It happened to me.<\/dialogue>\n    <scene_description>George walks to the garage door as he wipes his eyes . He stops and turns back around to face Sam .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Build this house with me.<\/dialogue>\n    <scene_description>George walks out leaving Sam on the bed to think .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S BEACH SHACK - AFTERNOON<\/stage_direction>\n    <scene_description>George gathers a pile of splintered boards and tosses them into the dumpster . He works while Guster sleeps . LATER The sun is fierce , low on the horizon with a heat that distorts the distance . George is sweating and shirtless as Sam walks out of the garage with the gloves on and stands staring at his father . After a beat , George notices him .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I have to pay back what you flushed down the toilet.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I want ten dollars an hour. then I'm done.<\/dialogue>\n    <scene_description>George nods . He points out the roofless shell of a shack .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>It all has to come down before we can start again.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Knock it down.<\/dialogue>\n    <scene_description>George picks up a sledghammer and hands it to Sam . Sam hoists the hefty hammer and with some true effort , slams it on a sideboard . He slams again and again as George picks up a slightly smaller sledgehammer .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I hated this house from the second my father cheated everyone and put it in my name.<\/dialogue>\n    <scene_description>George takes a good hard whack at the wall , knocking a huge hunk of it down . Sam stops to watch .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Twenty years of hating what you live in. what you are. This is the end of it, Sam. I'm gon na build something of me here that I can be proud to give to you.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Do n't. I do n't want it.<\/dialogue>\n    <scene_description>George YELLS as he lands the hammer into the wall again . Sam is alarmed by his father 's blatant rage .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Do whatever you want with it. I do n't care. All I want from you is for you to remember we built this house together.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>We have n't build shit. You're just tearing down your father.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Try it. It feels good.<\/dialogue>\n    <scene_description>George strikes another blow to the house joined with a MAD WAIL . Sam starts low , a whisper of a scream , but quickly builds , soon rivaling George in volume as he pounds away . This soul letting , cleansing ritual is both impelling and frightening to watch . Tom and Barbara , Colleen and her maid step out of their houses , drawn and perplexed by the guttural noise .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RYAN AND ADAM'S ROOM - MORNING<\/stage_direction>\n    <scene_description>Both boys are asleep as Robin enters and wakes them with the drop - and - bounce - back - to - your - feet - from - the - mattress method .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>It's morning, sleepyheads!<\/dialogue>\n    <scene_description>They both wake with a groan . Robin leaps onto Adam and tickles him to life .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBIN'S KITCHEN - MORNING<\/stage_direction>\n    <scene_description>Robin is quickly finishing a breakfast of oatmeal and fresh fruit with Adam and Ryan , who are still dressed in pajamas .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Why do we have to get up and eat with you this early?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>I just thought it would be nice.<\/dialogue>\n    <character>ADAM<\/character>\n    <dialogue>Are you going to see Sam again?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>I thought I might stop by.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>All day again?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Not all day. I'll be home after lunch.<\/dialogue>\n    <scene_description>Robin stands and dumps her dishes in the sink .<\/scene_description>\n    <character>ROBIN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You can go back to bed. or Lois might let you go swimming.<\/dialogue>\n    <character>ADAM<\/character>\n    <dialogue>I wan na be with you today.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Oh, honey. There's not much to do there. I mean, it's all work.<\/dialogue>\n    <character>ADAM<\/character>\n    <dialogue>We can work.<\/dialogue>\n    <scene_description>Robin focuses on her sons , both of whom seem willing to work .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Ryan, would you rather swim or work?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Can we really help build a house?<\/dialogue>\n    <scene_description>Peter walks in , surprised by everyone being up .<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Why is everyone up so early?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S SHACK - MORNING<\/stage_direction>\n    <scene_description>George is knocking away the forms used to pour the foundation . Sam walks out of the garage with a towel ; he shields his eyes from the morning sun as he watches his father work . Without make - up or a nose ring and with the black dye gone from his hair and the polish from his nails , Sam is a handsome kid . George looks happy , laying bare the foundation that will hold his home . Sam walks to Alyssa 's house , unseen by his father .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALYSSA'S ENTRY - MORNING<\/stage_direction>\n    <scene_description>Colleen is walking with Sam toward the stairs .<\/scene_description>\n    <character>COLLEEN<\/character>\n    <dialogue>If she's not up, you can use my shower.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>COLLEEN<\/character>\n    <dialogue>You're here early today.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>We're getting out of the ground today.<\/dialogue>\n    <scene_description>Sam looks fairly excited as he rushes up the stairs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALYSSA'S HALLWAY - MORNING<\/stage_direction>\n    <scene_description>Sam stops at the door and KNOCKS .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Huh?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I can use your mom's.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I'm okay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALYSSA'S ROOM - MORNING<\/stage_direction>\n    <scene_description>Alyssa is curled up in bed , cuddling a stuffed bear as Sam walks in and closes the bedroom door behind him .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Were you with Josh when the cops arrested him?<\/dialogue>\n    <scene_description>Alyssa sits up in bed , holding the sheet to her chest .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( nervously . )<\/parenthetical>\n    <dialogue>Not really. No. Kinda. He got busted?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>His parents took his car. They're making him ride a bicycle the rest of the summer.<\/dialogue>\n    <scene_description>Sam ca n't help but like that .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>He asked me to tell you that you owe him a hundred dollars.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>He can peddle over anytime he wants to for it.<\/dialogue>\n    <scene_description>Sam breaks into a full - on smile .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>This is serious! I do n't have my license. He was my ride.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'm sorry. I'm just here to shower.<\/dialogue>\n    <scene_description>Sam walks into the bathroom ; before he closes the door , he faces Alyssa with another smile - she tosses her bear at him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S SHACK - MORNING<\/stage_direction>\n    <scene_description>George is prying off the last of the boards when he 's hit with a pain that takes him to his knees . He drops the crowbar and sits down in the dirt as Guster walks over to comfort him . George takes deep breaths and closes his eyes as he tries to gain control over the pain .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALYSSA'S BATHROOM - MORNING<\/stage_direction>\n    <scene_description>The doorknob jiggles , jiggles and turns ; Alyssa opens the door and walks in dressed in a t - shirt and panties . Once again Sam jumps and jams his elbow to the frosted glass as he partially opens the shower door .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Is this like a past time with people? Go away!<\/dialogue>\n    <scene_description>Alyssa sets a tiny screwdriver on the vanity .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>I've seen lots of people. It's not a big thing for me.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Hand me a towel. I'm getting out.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I'm coming in.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I do n't want you to!<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>We're not gon na do anything.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Why are you so stupid?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Why are you so uptight?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I do n't even. what do you mean? I do n't even know what that means.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>It means I'm gon na shampoo my hair and stay out of your way.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Hand me a towel. Hand me a towel.<\/dialogue>\n    <scene_description>Sam is anxious . Alyssa takes off her t - shirt and pulls down her panties before grabbing a towel ; she hands it to Sam as she forces her way into the shower . Barely visible through the frosted glass , Alyssa wets her hair as Sam stares in her direction . The towel drops to the tiled floor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S GARAGE - MORNING<\/stage_direction>\n    <scene_description>George is curled up in bed , the prescription bottle and a glass resting on a table . He 's holding onto his side , still in some pain . A HONK gets Guster BARKING outside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S GARAGE - MORNING<\/stage_direction>\n    <scene_description>Ryan and Adam run to Guster with glee as Robin steps out of the Range Rover with a large covered basket and a boom box . She sets the basket and radio on the patio table and searches for George , ending up at the entrance to the garage .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S GARAGE - MORNING<\/stage_direction>\n    <scene_description>George has hidden the prescription bottle and is sitting on the bed as Robin walks in .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I thought you'd be up with the sun.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>My stupid back.<\/dialogue>\n    <scene_description>Robin sits down on the bed next to George , concerned .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Do you need anything? I'll go to the pharmacy. I have some Demerol at home.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>No, I'm. thanks. I took something.<\/dialogue>\n    <scene_description>Robin runs her hand down George 's spine .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Where's Sam?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>He wo n't use my shower. I do n't get it.<\/dialogue>\n    <scene_description>Outside , Adam and Ryan are each calling Guster .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You brought your kids?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>I kind of said that maybe they could do something. Help. I'm sorry. They really wanted to come. I really wanted to come and they wanted to be with me. I do n't think they'll be too much trouble.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I'll find something that wo n't kill them.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Or wound. Let them keep their eyes and fingers.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>You're a good mother.<\/dialogue>\n    <scene_description>Robin smiles . With some effort , George stands .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Do you need help?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I think so.<\/dialogue>\n    <scene_description>Robin stands and wraps her arm around his waist and he drapes his arms over her shoulder as they walk out of the garage .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I woke up this morning at three and could n't fall back asleep. Everyday I think I see more of Sam than I've seen in years.<\/dialogue>\n    <character>ADAM<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Sam!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S GARAGE - MORNING<\/stage_direction>\n    <scene_description>Adam runs with abandon to Sam and Alyssa as Robin helps George to a patio chair .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>Adam runs into Sam with a hug , then steps back .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What's that for?<\/dialogue>\n    <character>ADAM<\/character>\n    <dialogue>Mom said I should.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>ADAM<\/character>\n    <dialogue>I would have anyway.<\/dialogue>\n    <scene_description>Sam appears awkward as he rests his hand for a second on Adam 's shoulder .<\/scene_description>\n    <character>ADAM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Who are you?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>ADAM<\/character>\n    <dialogue>I'm his brother.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I'm his friend.<\/dialogue>\n    <scene_description>Adam views her suspiciously as they walk across Alyssa 's grass to the patio .<\/scene_description>\n    <character>ADAM<\/character>\n    <dialogue>Mom says we can build a house.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Hi, Mr. Nelson.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Hi, Alyssa.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Hi, Mom.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Good morning.<\/dialogue>\n    <scene_description>It 's clear that Robin is falling in love with her son again .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <scene_description>Alyssa extends her hand to Robin and they shake .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>You're so nice to let Sam use your shower.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>He's got a standing invitation.<\/dialogue>\n    <scene_description>Sam instantly flushes red .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Hey, Ryan.<\/dialogue>\n    <scene_description>Sam walks to Ryan , who 's been standing back from the group .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>Sam drapes his arm over Ryan 's shoulder and together they walk to the foundation .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>So, you wan na build a house?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>If we do, will it stay up?<\/dialogue>\n    <scene_description>MONTAGE A BLINK 182 SONG BLASTS from the boom box on the patio table . Ryan and Adam slather paint remover on five old painted doors . They work with gloves and brushes and appear meticulous in their application . Alyssa and Sam nail and bolt the corner posts to the rim joist as Robin and George work on the stick framed door deck . While George is moving a little slower than usual , it appears that the pain is nearly gone . As the song ends , Robin rushes toward the radio .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I brought a few of my own.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Someone stop her!<\/dialogue>\n    <scene_description>Robin runs to her car and retrieves a few CD 's . She slips the CD in and we HEAR John Hiat 's `` DISTANCE . '' It 's a slow , soft song that brings a smile to George 's face .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>It's been a while.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>This was my very first slow dance.<\/dialogue>\n    <character>ADAM<\/character>\n    <dialogue>Did you know him before you knew Dad?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Since seventh grade.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Tell him how you made me fall in love with you.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>I smiled at him.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Watch out for the smile, boys.<\/dialogue>\n    <scene_description>Robin 's body moves slightly to the music as she smiles . George grins . The boys are n't sure what to make of the advice . ` You are the beautiful love -LRB- my lover -RRB- , I am the distant shore -LRB- so far away -RRB- . There is so much to uncover -LRB- love 's hiding -RRB- . What is this distance for ? What is it for ?<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Who's up for a dance?<\/dialogue>\n    <scene_description>Robin glances around for any takers , finally focusing on George .<\/scene_description>\n    <character>ADAM<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Just do n't hug me too tight.<\/dialogue>\n    <scene_description>Adam walks to his mother and they hold hands as they dance . Sam sits down to watch . George wears a smile that wipes the last of the pain from his face .<\/scene_description>\n    <character>ADAM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>That's all you get. I'm busy today.<\/dialogue>\n    <scene_description>Adam backs away and grabs his paintbrush . Robin stops dancing as she focuses on George .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Let's see if you've gotten any better.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Oh, I'm worse. Much, much worse.<\/dialogue>\n    <scene_description>Robin waits to see how worse . George finally walks to her and takes her in his arms . He must have been better than this . The waltz smooths out as they dance closer , holding tighter . `` We fill the air with silent stares . But still , no one there , we are strangers . '' Alyssa decides it 's time to go .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>I'll see you tomorrow.<\/dialogue>\n    <scene_description>Sam watches Alyssa walk away , but he 's quickly drawn back to his mother and father dancing . Ryan appears anxious , unsure of the music and George .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>When did you fall in love with my dad?<\/dialogue>\n    <scene_description>The dance stops . George lets go of Robin as she focuses on Ryan .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>When I found out I was pregnant with you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S GARAGE - NIGHT<\/stage_direction>\n    <scene_description>Sam is on the pull out bed , listening to music through head phones . We HEAR a flush , the armoire doors open and George walks out of the cabinet , washes his hands , turns off the light and drops into bed . A nightlight stuck in a socket above the bed casts a dull blue light over the room . Sam takes the headphones off . After a long silence :<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I took some of your Vicodin.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I know.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Why?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I like how it feels not to feel.<\/dialogue>\n    <scene_description>George turns onto his side to face his son .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>I know the feeling.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>How do you become something you're not?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>What would you like to be?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>What I'm not.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>What are you now?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>That's not true.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>See, that's the thing. I am what I say I am.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I know parts of who you are.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>What do you know about me?<\/dialogue>\n    <scene_description>George drops back onto his back . He takes his time to answer .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>When you started first grade and your mom went to work, it was so she could save for an apartment. But then she met Peter and skipped the idea of renting.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>He's got nothing to do with me.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I could n't imagine how I could compete with him for any part of you. So, I did n't. He wanted you to have his last name. I let him even take that.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>He was a prick when I was six, and he's a prick today.<\/dialogue>\n    <scene_description>George turns onto his side to face Sam again .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>I wish you had told me then.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'm telling you now.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I gave up on you.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'd be in Tahoe having fun if you had given up.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>What would you be doing now?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Getting high, I guess.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>If I asked you to stop, would you?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I have n't used anything for two days. I'm trying.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I'm proud of you, Sam.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Do n't be. And hide whatever that new drug is you have. I like it.<\/dialogue>\n    <scene_description>Sam turns away from his father and puts his headphones on . The music bleeds through the headphones in a muffled rumble .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>I put a gun to my father's head once.<\/dialogue>\n    <scene_description>George 's voice is soft - there 's no chance Sam can hear .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Have you ever thought like that? I've been thinking. watching you work. How much do you hate me?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>He was passed out. Just screaming at my mother before. About nothing. Under - cooked meat. I went back to my room. put the barrel close to his ear and chickened out again. Not my dad. Hid in my room. Not even me.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Of course it was a BB gun. But it still would have hurt like hell.<\/dialogue>\n    <scene_description>Sam notices his father 's mouth moving and takes off the headphones .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Are you talking?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I was just thinking about my mom. She would n't leave him. I remember one time she made us dinner wearing sunglasses. I mean it was dark outside and in. But we never talked about it.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Sun glasses?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>To hide a black eye.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Why would n't she leave?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I think she was terrified of living with him. but maybe even more terrified of life without him.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I would have killed him.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Everything would have been better if you had. You'd have liked your grandmother. And there'd be a girl out there that'd have her mother. I remember reading about her in the paper. They could n't find her father and her mother was dead. I still feel guilty about that.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Do you ever wish you had done it?<\/dialogue>\n    <scene_description>George thinks about that for a second .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>I loved him too much.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>After everything he did to you and your mom?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>After everything.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>That's so weird.<\/dialogue>\n    <scene_description>Sam slips his headphones back on . George nods . it is .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAVID DOKOS' HOUSE - MORNING<\/stage_direction>\n    <scene_description>Guster is squatting on the lush lawn of the mansion taking a dump . David bursts out from his house , rushes to his black Mercedes and tries once again to run over Guster . No such luck . Guster moves on to another lawn as Mr. Dokos drops over the curb and drives off down the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S BEACH SHACK - AFTERNOON<\/stage_direction>\n    <scene_description>In the late June afternoon , with a clotted cloud sky , Robin , Adam , Ryan , Sam , Alyssa and George work at building a house . Adam and Ryan are staining the interior doors they stripped days earlier . George and Sam carry large wood beam to the foundation and slip it into the pocket mortise of the laminated beam that spans from pier post to pier post . Robin grabs a drill and screws the cast - in tie down to the wood beam . Alyssa is sawing a rafter in half as her mother walks across the grass with a huge basket of food .<\/scene_description>\n    <character>COLLEEN<\/character>\n    <dialogue>Is anyone hungry?<\/dialogue>\n    <scene_description>LATER With MUSIC playing in the background , everyone is packed around the patio table eating pasta and drinking lemonade .<\/scene_description>\n    <character>ADAM<\/character>\n    <dialogue>I like the color I'm making the doors.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>The absolute best color I've ever seen in my life.<\/dialogue>\n    <scene_description>Adam lights up , pleased to be praised .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>How many bedrooms will your house have?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Three.<\/dialogue>\n    <character>ADAM<\/character>\n    <dialogue>Will Sam live with you or us?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>With you.<\/dialogue>\n    <scene_description>It 's a quick response that draws Robin 's attention . Sam lightly bops Adam on the head .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>So put your plans of my room in the trash.<\/dialogue>\n    <character>ADAM<\/character>\n    <dialogue>I do n't think Dad wants you home.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Adam, that's not true!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Yes, it is.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Would you stop being ridiculous? Your father wants Sam home as much as I do.<\/dialogue>\n    <scene_description>Sam starts laughing . George smiles . Sam ca n't stop laughing .<\/scene_description>\n    <character>ROBIN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It was n't meant to be.<\/dialogue>\n    <scene_description>Sam and George stand at exactly the same time and walk back to the house . Without a word , they work together as they continue to frame the house . Suddenly George turns back to the pack of people at the table and loudly proclaims :<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>I love you!<\/dialogue>\n    <scene_description>That 's it . He goes back to work as Sam glances at him , amused . Adam and Ryan are surprised and it shows on their faces . Robin smiles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBIN'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Robin 's in bed reading as Peter emerges from the bathroom in pajama bottoms .<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>You know what I've decided?<\/dialogue>\n    <scene_description>Robin glances up from her book to Peter 's hairy chest .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>To shave your chest?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>We should take a vacation.<\/dialogue>\n    <scene_description>Peter grabs his pajama top and slips it on as he climbs into bed . Robin sets her book down .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>The biggest waste of time since television.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Do you remember anything I've said that was n't negative?<\/dialogue>\n    <scene_description>Robin takes long enough to think that Peter forges on .<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Just the two of us.<\/dialogue>\n    <scene_description>It takes Robin a few seconds to answer .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I'd love to drive through New England in the Fall.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Sooner than the Fall.<\/dialogue>\n    <scene_description>He closes in on her , kisses her cheek .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>After the kids are back in school.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Lois will stay with them. Or we can pawn them off on your parents.<\/dialogue>\n    <scene_description>Out of reasonable excuses , Robin opts for the truth .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I'm helping George build his house.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>I've been helping for the last few days. Weeks. Sam's working. I told you Sam was working. I mean, he really is.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Good. That was the plan. We could n't stand him and George needed help.<\/dialogue>\n    <scene_description>As true as it is , this still irritates Robin .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I ca n't go right now.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You ca n't go because of Sam?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>We have n't been away together for three years. What difference does a few months make?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You ca n't go with me because of Sam?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Sam is working at something for the first time in his life. Once in a while he even talks to me. I want to be around for that.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>So am I, Robin. I'm working at something, too. I'm even talking. Do you want to be around for it?<\/dialogue>\n    <scene_description>Peter is intense , close up , not giving her breathing room .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <scene_description>Robin whispers her answer . Peter pulls away and settles down on his back . Robin does n't move for the longest time . Finally , she eases onto her back and turns out the light .<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I was talking about our marriage.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>Silence finishes the conversation .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S HOUSE - MORNING<\/stage_direction>\n    <scene_description>With an extended plate and overhung rafters , the frame takes its form ; rooms are roughed in ; windows are framed ; two gable dormers distinguish the common - rafter roof in the front and a frame for a balcony juts out over the ocean in back . Robin and Adam are locking in and hoisting the sheets of plywood on a pulley system up to Ryan and George , who are stripped down to shorts - George is thinner than ever .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALYSSA'S BATHROOM - MORNING<\/stage_direction>\n    <scene_description>Sam is showering as Alyssa walks in from the bedroom and joins him ; no protest is voiced this time around .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOWER - CONTINUOUS<\/stage_direction>\n    <scene_description>Alyssa smiles at Sam as she grabs a wash cloth and slathers it with liquid soap .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>What's the point of this?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Does everything have to have a point?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>It's freakish. I do n't get it. I'm not really supposed to touch you, but I can look.<\/dialogue>\n    <scene_description>Alyssa faces Sam as she washes her body with the cloth .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Are you sure you're totally into guys?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Josh said.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'm not gay.<\/dialogue>\n    <scene_description>Sam glances down at himself ; Alyssa looks too .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I mean, hello!<\/dialogue>\n    <scene_description>They both look up .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>I was wondering.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You're driving me crazy! Do you know what it's like trying to jack - off in an armoire?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Not really.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You're off, you know? You're way, way off.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I thought I was helping you.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>It would help me if I could kiss you.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>No, I do n't. NO. I thought we were just friends.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>What you think, you know, does n't have much to do with reality. I mean, I hope I'm not the first to say that about you.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Okay, but then we'll just be friends. Okay?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Okay. I guess.<\/dialogue>\n    <scene_description>Sam stands still , unsure of his next move .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Have you ever even kissed a girl?<\/dialogue>\n    <scene_description>Sam appears shocked she would even ask ; he has n't , but she 's not supposed to know that . Alyssa makes the move , closes the distance and kisses him . Apart , it appears to be something they enjoyed . Sam wraps his arms around her , presses himself against her and kisses her again . After a few seconds of making out , Sam jerks once , then again as he backs away . Alyssa grimaces as she glances down .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oh, yuck!<\/dialogue>\n    <scene_description>Alyssa steps into a corner of the shower as Sam turns around and rests his forehead on the tile .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You're scrubbing the shower down.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S BEACH SHACK - AFTERNOON<\/stage_direction>\n    <scene_description>George and Sam are on ladders , reinforcing a window opening on the second floor with a 2x4 spline . Ryan and Adam are flat on their backs on the grass with Guster between them , dog - tired . Robin is at the grill with hamburgers as Alyssa prepares the table for dinner .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>You must have a really great husband.<\/dialogue>\n    <scene_description>Robin glances up at Alyssa .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Why is that?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Just, I mean, well, you're here every single day.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>He's at work while I'm here.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I guess I'd just be jealous if I were him.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Well, he does n't need to worry.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>If my kids and my wife were always at an ex - husband's house, I'd worry.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>He's not the type to worry.<\/dialogue>\n    <scene_description>Robin is slightly pissed at Alyssa grilling her ; she flips the hamburgers and calls out :<\/scene_description>\n    <character>ROBIN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Let's eat!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEBBER'S LIVING ROOM - AFTERNOON<\/stage_direction>\n    <scene_description>Music is playing softly in the background . Peter is sitting alone in a chair with a drink in hand . After a bit , Lois walks in holding a can of Pledge and a rag .<\/scene_description>\n    <character>LOIS<\/character>\n    <dialogue>I'd be glad to fix you something.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>No, I'm fine.<\/dialogue>\n    <scene_description>Lois nods and walks away . For all the presence of the room , Peter looks small and frayed in it - lost in his own house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S BEACH SHACK - AFTERNOON<\/stage_direction>\n    <scene_description>Lunch is over . Adam is wrestling with Guster on the lawn . Robin is taking money from her purse as George hands Sam the keys to his truck .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Nothing R, okay?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Enough for drinks, popcorn and candy!<\/dialogue>\n    <character>ADAM<\/character>\n    <dialogue>And video games after!<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Home after.<\/dialogue>\n    <parenthetical>( to Sam . )<\/parenthetical>\n    <dialogue>Will you come in and say `` hi''?<\/dialogue>\n    <scene_description>Sam shrugs , takes the money and keys as Ryan and Adam rush close to him .<\/scene_description>\n    <character>ADAM<\/character>\n    <dialogue>Do we have to take her?<\/dialogue>\n    <scene_description>The three boys turn to watch as Alyssa , now dressed in a dress , walks across the lawn to join them .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Definitely.<\/dialogue>\n    <scene_description>It 's literally frightening how beautiful Alyssa can look ; with her tan and white dress , Sam shutters .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PACIFIC COAST HIGHWAY - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Josh is peddling down the highway on his bike , sweating in the full afternoon sun .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S HOUSE - LATE AFTERNOON<\/stage_direction>\n    <scene_description>George is hewing a beam as Robin watches from a chair .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I should go.<\/dialogue>\n    <scene_description>George stops and wipes the sweat from his forehead .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Maybe you should n't come everyday.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>No. Why? I like to be with Sam.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>It's just that there's less that Adam and Ryan can do anymore.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I'd hate to have them bored.<\/dialogue>\n    <scene_description>Robin stands and walks to George .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I know they're not much help, but they love coming here, George.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>How much time do they get to spend with their dad?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>What is it with this? They would n't spend less time with Peter if they lived here! He has no time!<\/dialogue>\n    <scene_description>Robin walks away , then back - she 's frustrated .<\/scene_description>\n    <character>ROBIN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Do you know Alyssa thinks something is up with us? She's giving me crap about being away from Peter and now you're trying to do the same thing! What no one seems to realize is that Peter is n't there! He's not there! And when he is, he is n't!<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>So, if you do n't want me here, or you do n't want my kids here, just tell me, George. I'll stop coming. But it wo n't be because of Peter. It'll be because you asked me to stop. Say what you need to say, because I'm not leaving until I hear it.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I'd rather you not be here.<\/dialogue>\n    <scene_description>In the distance , on the street , Josh peddles past on his bike .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I thought we were helping.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I can hire workers to help me.<\/dialogue>\n    <scene_description>Robin nods , gathers her things , walks to her car , climbs in and drives off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COLLEEN'S HOUSE - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Colleen is standing in the entry , talking to Josh .<\/scene_description>\n    <character>COLLEEN<\/character>\n    <dialogue>You can come in and wait if you'd like.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>What friends did she go with?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S HOUSE - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Robin pulls right back to where she was parked and parks again . She steps out of the car talking .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Nothing is going on with us, is it?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Going on?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>When I picked you up from the train station. what you said.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>What did I say?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>That thing about I was the most, you know, beautiful person you had ever known. What was that?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>That was the truth.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>You've never said that before.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I'll say a lot of things I've never said before. It's habit.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>It sounded like a pick - up line.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I ca n't pick you up.<\/dialogue>\n    <scene_description>Robin sits down , weighted by the reason .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I'm married.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>You bit my finger.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>If I were n't married?<\/dialogue>\n    <scene_description>George wants to answer quickly , dismiss the impossible and move on , but emotion catches him off - guard . He forces a smile .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Let's not do this, okay?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>I need to know.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>You need to know what? Do I still love you?<\/dialogue>\n    <scene_description>Robin is surprised by the question . She nods her head .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Absolutely. There's not a doubt in my mind that through all my anger. my ego, I was faithful in my love for you. From seventh grade on.<\/dialogue>\n    <scene_description>Robin raises her eyebrows - what a revelation .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>That I made you doubt it, that I withheld it. that's the greatest mistake of a life full of mistakes.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>But the truth does n't set us free, Robin. I can say it as many times as you can stand to hear it. And all that does, the only thing, is remind us that love is n't enough. Not even close.<\/dialogue>\n    <scene_description>Tears well in Robin 's eyes as she stands .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I should go.<\/dialogue>\n    <scene_description>George nods - she should . Robin walks to her car , opens the door ; she faces George before climbing in . George walks into the garage .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S GARAGE - LATE AFTERNOON<\/stage_direction>\n    <scene_description>George rummages through his sock drawer . Pulls out a folded sock and opens it - the prescription bottle drops to the floor . He fills a glass and swallows three pills .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBIN'S ENTRY - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Robin opens the door and heads straight for the kitchen .<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>All I am is what I have.<\/dialogue>\n    <scene_description>Robin jumps and searches for the voice . Peter 's sitting alone in the living room .<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>That sounds pathetic, does n't it?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>What are you doing home?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I always felt I could never marry you without first showing you what a fabulous life you cloud live despite me.<\/dialogue>\n    <scene_description>Robin takes a few steps into the room .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>You never really trusted me.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You live a fabulous life, Robin.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Despite you.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I never asked for more.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>That's the problem.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Please do n't leave me.<\/dialogue>\n    <scene_description>Peter stands and walks to her . Robin does n't respond .<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Where are the kids?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Sam took them to a movie.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I'll be in the bedroom.<\/dialogue>\n    <scene_description>Peter takes her hand and kisses her cheek before walking down the hall . Robin stands still , trying to assess the exchange .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - EVENING<\/stage_direction>\n    <scene_description>In a bedroom we do n't quite recognize , two people are in the throes of making love under a silk white sheet .<\/scene_description>\n    <character>WOMAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Oh God!<\/dialogue>\n    <scene_description>It 's hard to tell whose voice that is - Robin 's ?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S GARAGE - EVENING<\/stage_direction>\n    <scene_description>George is in bed , awakened by a KNOCK .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>I fell asleep!<\/dialogue>\n    <scene_description>Alyssa walks in , closing the door behind her .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Sam's dropping Adam and Ryan off.<\/dialogue>\n    <scene_description>George is slightly out of it with oral morphine ; he tires to sit up , but settles for propping up his head .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Can you keep Sam straight?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>He's not gay. I found out purely by accident, believe me.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I mean drugs.<\/dialogue>\n    <parenthetical>( catching up . )<\/parenthetical>\n    <dialogue>I thought you said he was?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>He would n't use around me. I do n't like any of it.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>You're a good girl.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I need to ask you something, Mr. Nelson.<\/dialogue>\n    <scene_description>Alyssa walks over and lies on the bed beside George .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>You have to ask like that?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I want you to try something with me, okay?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I've taken a lot of morphine. Oral morphine. for my back. Can I wait till I can say no and sound convincing?<\/dialogue>\n    <scene_description>Alyssa leans forward and kisses him ; it 's a real kiss that lasts a lot longer than it should . And when it 's over :<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Did you feel anything?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Maybe your tongue. I do n't know, my mouth is numb. Why did you do that?<\/dialogue>\n    <scene_description>They both stare up at the ceiling .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>When you dated my mom, I saw you kiss her once. You looked like such a good kisser.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - EVENING<\/stage_direction>\n    <scene_description>It 's the couple making love again ; this time we 're close enough to make out Colleen 's face underneath Josh , who is working with speed , if not exact precision .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>My mother would die.<\/dialogue>\n    <character>GEORGE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Let's shut up and not kill her.<\/dialogue>\n    <character>COLLEEN<\/character>\n    <dialogue>Oh my God!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBIN'S BEDROOM - EVENING<\/stage_direction>\n    <scene_description>Peter has changed and is on the bed ; his head propped up by pillows ; he stairs blankly at the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBIN'S LIVING ROOM - EVENING<\/stage_direction>\n    <scene_description>Robin is sitting alone in the living room , in the same spot Peter had been sitting earlier .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S GARAGE - EVENING<\/stage_direction>\n    <scene_description>Alyssa and George are still beside each other in bed .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>It's not what I was expecting.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>What did you think it would be?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <parenthetical>( realizing . )<\/parenthetical>\n    <dialogue>More like when I kissed Sam.<\/dialogue>\n    <scene_description>Alyssa sits up in bed .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>More like that.<\/dialogue>\n    <scene_description>She stands and grabs his big toe .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Thanks for your time.<\/dialogue>\n    <scene_description>Alyssa waves goodbye and leaves . George is confused by it all .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLEEN'S BEDROOM - EVENING<\/stage_direction>\n    <scene_description>Josh looks as though he 's been struck by a hammer as he lay on his back with his mouth slack . Under the sheet , low down , Colleen is swallowing her pride and showing off her technique . A sudden blaring noise , AN ALARM , pierces Josh 's throaty groan . Colleen jumps off the bed , the sheet still haunting her head .<\/scene_description>\n    <character>COLLEEN<\/character>\n    <dialogue>Oh my God! Get dressed! Get dressed!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLEEN'S KITCHEN - EVENING<\/stage_direction>\n    <scene_description>Alyssa closes the French door she entered through and rushes to the alarm panel as the siren blares .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLEEN'S BEDROOM - EVENING<\/stage_direction>\n    <scene_description>Colleen and Josh are frantically pulling on clothes as the noise throws them off balance .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLEEN'S KITCHEN - EVENING<\/stage_direction>\n    <scene_description>With the ALARM OFF , Alyssa walks to the entry .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Mom!?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLEEN'S BEDROOM - EVENING<\/stage_direction>\n    <scene_description>Josh has pulled on his underwear backwards ; only speed counts .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLEEN'S ENTRY - EVENING<\/stage_direction>\n    <scene_description>Alyssa glances around before heading up the stairs .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Hello?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLEEN'S BEDROOM - EVENING<\/stage_direction>\n    <scene_description>Without a knock , Alyssa opens the door . The room is empty , but the bed is messed .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Mom?<\/dialogue>\n    <character>COLLEEN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Here, honey!<\/dialogue>\n    <scene_description>Alyssa walks to the master bath , following the voice .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLEEN'S BATHROOM - EVENING<\/stage_direction>\n    <scene_description>Colleen is standing above Josh , who is bent over on his knees , with a plunger in the bath .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>I completely forgot. I'm so sorry, Josh.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>What are you doing?<\/dialogue>\n    <scene_description>Josh 's face is flushed red and beaded with sweat .<\/scene_description>\n    <character>COLLEEN<\/character>\n    <dialogue>I put him to work.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>What's wrong?<\/dialogue>\n    <scene_description>It takes a second for Colleen to realize that Alyssa is talking about the plumbing .<\/scene_description>\n    <character>COLLEEN<\/character>\n    <dialogue>I could n't get it to go down.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>And why was the alarm on?<\/dialogue>\n    <character>COLLEEN<\/character>\n    <dialogue>Oh. I set it to see if it would work.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>You'd better call and cancel.<\/dialogue>\n    <character>COLLEEN<\/character>\n    <dialogue>Oh God, we do n't want the police!<\/dialogue>\n    <scene_description>Colleen is anxious as she rushes out . Josh stands and wipes the sweat from his forehead .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <scene_description>Josh fumbles and fidgets , finally finding a way out .<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>What's the deal with you and Sam?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBIN'S KITCHEN - EVENING<\/stage_direction>\n    <scene_description>Robin is fixing dinner as we hear the front door open . Adam is talking as he rushes into the kitchen .<\/scene_description>\n    <character>ADAM<\/character>\n    <dialogue>I got to play one video game for three hours straight!<\/dialogue>\n    <scene_description>Ryan enters right behind him .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Would n't you move to another one if the one you were playing made you look stupid?<\/dialogue>\n    <scene_description>Robin checks the entry to the kitchen - no Sam .<\/scene_description>\n    <character>ADAM<\/character>\n    <dialogue>That's how you get things right is to always try and never give up. Huh, Mom?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>I guess it depends on what you give up on.<\/dialogue>\n    <scene_description>Robin 's face lights up as Sam walks into the kitchen .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>There were no PG's. So I just gave them money to play games.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Can you stay for dinner?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Depends on what I'd give up on.<\/dialogue>\n    <scene_description>Robin opens the oven and shows Sam a platter of lasagna .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It looks like a trap.<\/dialogue>\n    <scene_description>Robin turns to Adam , excited at having Sam stay for dinner .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Go tell your father we're eating.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Dad's home, already?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>In the bedroom.<\/dialogue>\n    <scene_description>Adam takes off in a run as Sam walks to the sink and washes his hands before grabbing a stack of plates for dinner . He arranges the five on the table and then heads back for utensils as Adam runs back in .<\/scene_description>\n    <character>ADAM<\/character>\n    <dialogue>He's not there.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>He's here. Check the bathroom.<\/dialogue>\n    <character>ADAM<\/character>\n    <dialogue>I checked everywhere. He's not there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S GARAGE - MORNING<\/stage_direction>\n    <scene_description>Guster 's at the door , whining . George and Sam are asleep .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLEEN'S KITCHEN - MORNING<\/stage_direction>\n    <scene_description>Colleen is sitting alone at the kitchen table , drinking coffee as Alyssa walks in .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>What are you doing up so early?<\/dialogue>\n    <character>COLLEEN<\/character>\n    <dialogue>I could n't sleep last night.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I'm supposed to be mad at you, but I'm not.<\/dialogue>\n    <scene_description>Colleen is trembling as Alyssa pours herself a big bowl of Lucky Charms .<\/scene_description>\n    <character>COLLEEN<\/character>\n    <dialogue>Why? What do you mean?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Uh. using Josh like that.<\/dialogue>\n    <scene_description>Alyssa eats her cereal as Colleen bursts into a confession .<\/scene_description>\n    <character>COLLEEN<\/character>\n    <dialogue>I will never forgive myself. Never, Alyssa. I know I took advantage. It's inexcusable. Oh, God. I should have my head examined.<\/dialogue>\n    <scene_description>Alyssa looks confused as she swallows her Lucky Charms .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>He said you asked him to tighten your toilet seat, too. That's so uncool.<\/dialogue>\n    <scene_description>Colleen quickly nods .<\/scene_description>\n    <character>COLLEEN<\/character>\n    <dialogue>I wo n't do it again. I swear.<\/dialogue>\n    <scene_description>Alyssa keeps an eye on her mother as she continues on with her cereal .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOKOS HOUSE - MORNING<\/stage_direction>\n    <scene_description>Guster is taking a dump on the immaculate lawn . David Dokos rushes from the house dressed in a suit and picks up the shit with a gloved hand and heaves it at Guster as the dog trots back to safety . Tom and Barbara , the old early walkers of the street , stop and watch as David picks up more crap and tosses it onto George 's driveway . He notices Tom and Barbara .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>Mind your own fucking business!<\/dialogue>\n    <scene_description>Tom and Barbara stay silent as David Dokos walks back into his house and slams the front door shut .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PACIFIC COAST HIGHWAY - LATE MORNING<\/stage_direction>\n    <scene_description>Josh is in eleventh gear on his ten speed peddling like a demon for the Beck 's house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S HOUSE - LATE MORNING<\/stage_direction>\n    <scene_description>Robin pulls to a stop and Ryan and Adam run from the Range Rover to Sam and Alyssa , who are helping an ELECTRICIAN -LRB- DALE -RRB- install the outside boxes and sockets .<\/scene_description>\n    <character>ADAM<\/character>\n    <dialogue>Dad's disappeared!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>He was there and then he was n't!<\/dialogue>\n    <scene_description>Sam faces his mother as she walks toward the house .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>He has n't called?<\/dialogue>\n    <character>ADAM<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <scene_description>Robin shakes her head `` no '' to Sam . Dale turns to face Adam .<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>I'm the electrician.<\/dialogue>\n    <character>ADAM<\/character>\n    <dialogue>I'm the builder!<\/dialogue>\n    <scene_description>Sam turns back to finish what he was working on as Alyssa grabs Adam with a hug .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S GARAGE - MORNING<\/stage_direction>\n    <scene_description>George is swallowing two pills as Robin knocks on the half open door , opening it all the way in the process .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Is your back still killing you?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I did n't think you'd come today.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>I kept thinking about it, what you said. I hope you were trying to keep me away fro the sake of me.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>No. Mostly me.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Peter left me yesterday.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Left you?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>No goodbye. No fuck you. No ` Are you in love with George?'<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>What did he say?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>` I'll be in the bedroom.'<\/dialogue>\n    <scene_description>Robin walks to George and holds on to his shirt .<\/scene_description>\n    <character>ROBIN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I could n't walk in there.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>So he left.<\/dialogue>\n    <scene_description>She rests the side of her head against his chest . He kisses her hair . Outside , a hammer beats a reminder that they 're not alone . The ocean drowns the sound long enough for Robin to kiss George 's chin ; and in that instant , the instant where everything but the touch washes away , George kisses Robin with such punch that it knocks them onto the bed . They continue to forget everything as they roll with the punch .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Dad, Dale needs to know.<\/dialogue>\n    <scene_description>Sam stops at the jamb of the open door as his mother and father scramble to their feet from the bed .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>I had a kink in my.<\/dialogue>\n    <scene_description>As George falters , Robin feels compelled to complete the lie .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Back. Neck. Back.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>The door was open.<\/dialogue>\n    <character>ROBIN<\/character>\n    <parenthetical>( a quick confession . )<\/parenthetical>\n    <dialogue>I do n't know what I'm doing.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I would n't let Adam or Ryan see you doing it.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>It wo n't happen again.<\/dialogue>\n    <scene_description>George and Robin are flustered , embarrassed by being caught , something Sam clearly relishes .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Dale wants to know if we should run an outside outlet for Christmas lights with a switch inside?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Absolutely.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Have him put it on a separate line. At Christmas, we'll pact it so full of lights, we'll make God wear sunglasses.<\/dialogue>\n    <scene_description>Sam laughs , grabs the door and closes it on his parents . Robin slumps , truly embarrassed .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I could die.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>So could I.<\/dialogue>\n    <scene_description>George touches Robin 's chin , draws her head up . He stares at her , afraid to say what he needs to say .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Are you going to kiss me?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>It's not my back that's killing me.<\/dialogue>\n    <scene_description>Robin furrows her brow , not understanding . George surrounds her head with his hands and kisses her forehead .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S HOUSE - MORNING<\/stage_direction>\n    <scene_description>Adam and Ryan are helping Dale run the electrical lines ; Alyssa and Sam drill screws into the second story floorboards . MUSIC is playing loud on the radio . ANOTHER VIEW Josh stops peddling quite a distance from George 's house and gets off to search for Alyssa . Only seeing Adam , Ryan and Dale , Josh pulls out his cell and dials .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLEEN'S BEDROOM - MORNING<\/stage_direction>\n    <scene_description>Frustrated and anxious , Colleen slips off the dress she 's wearing and tries another one as the phone RINGS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S STREET - MORNING<\/stage_direction>\n    <scene_description>Josh is standing behind a tree , talking on his cell phone as he stares at George 's house .<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>I do n't see her.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Please just open the door when I knock.<\/dialogue>\n    <scene_description>He slips the phone back in his pocket , hops back on the bike and makes a beeline toward Colleen 's house .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Josh?<\/dialogue>\n    <scene_description>Busted , Josh has no choice but to join Alyssa .<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>I was hoping. you could. you know. Go for a ride?<\/dialogue>\n    <scene_description>Alyssa and Sam are leaning out the framed second story window .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>On the handlebars or your shoulders?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Are you afraid of heights?<\/dialogue>\n    <scene_description>Sam walks away from the window and goes back to work .<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>Not really.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Can you help us out?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>My parents cut my allowance off. Without a car, I'm totally screwed.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>George is paying Sam ten dollars an hour.<\/dialogue>\n    <scene_description>Sam sticks his head back out the window .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Hey, I can get you three hundred cash for two hours.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Josh is fuming as he stares at Sam .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>It's just a joke. A stupid joke.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>I could use the money.<\/dialogue>\n    <scene_description>Sam turns away from Josh . George walks out the garage as he wipes his eyes .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Hey, George! I recruited some help for the roof!<\/dialogue>\n    <scene_description>George walks to Josh and extends his hand .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>George Nelson.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Josh.<\/dialogue>\n    <scene_description>Adam races to George with a hug - something unexpected . Adam rushes back to work as George breaks into a smile . Alyssa rushes down the stairs and straight into George 's arms .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Me too!<\/dialogue>\n    <scene_description>George is still smiling as he tucks a strand of Alyssa 's hair behind her ear . Ryan sort of saunters over to George with his hands sunk deep in his pockets . Without asking , George wraps his arms around Ryan with a hug . Afterward :<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>I just wanted to know where Mom was?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Oh. Sorry.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>It's okay.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>She needs to be alone, I think.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Because Dad left?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>She's a little sad, is all.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>I do n't even care if he ever comes back.<\/dialogue>\n    <scene_description>Ryan walks back to Adam , who 's been standing still , listening .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Josh, you look like you could use a hug.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>No. I'm okay. I'm okay.<\/dialogue>\n    <scene_description>George is too quick with his hug . Josh is stiff as a board . Sam looks pissed as he walks away from the second story window and resumes screwing the floorboards . George sets his eyes on Dale as he opens his arms wide .<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Do n't even think about it.<\/dialogue>\n    <scene_description>George walks toward Dale with his arms still extended .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Well, they got me started.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>I swear to God, I'll use these wires and shock you so bad your tongue will turn black.<\/dialogue>\n    <scene_description>Adam and Ryan are excited as George closes the distance . Finally , Dale drops the harmless wire and takes off in a run .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLEEN'S KITCHEN - LATE MORNING<\/stage_direction>\n    <scene_description>Colleen is pacing the kitchen in a silky dress we have n't seen before . Finally , she grabs the phone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S HOUSE - LATE MORNING<\/stage_direction>\n    <scene_description>George is propped up on the chaise lounge next to the patio table where everyone has dropped their crap . Sam and Josh are sheeting the roof with tarpaper . Robin is still in the garage . One of two cell phones on the table begins to RING .<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Would you get it for me?<\/dialogue>\n    <scene_description>Dale is in the middle of wiring a box .<\/scene_description>\n    <character>JOSH<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Just let mine ring!<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I guess. I do n't know.<\/dialogue>\n    <scene_description>George picks up the offender , unsure whose phone it is .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLEEN'S KITCHEN - CONTINUOUS<\/stage_direction>\n    <character>COLLEEN<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Where are you? You're driving me crazy, waiting like this. I want you in me now!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>George nearly drops the phone ; he sits up straight .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Colleen?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLEEN'S KITCHEN - CONTINUOUS<\/stage_direction>\n    <scene_description>Colleen sits down , panicked .<\/scene_description>\n    <character>COLLEEN<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>I. I. I. George?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>George holds the phone out and examines it for a second .<\/scene_description>\n    <character>JOSH<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Is it mine?!<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>God, I hope not.<\/dialogue>\n    <character>DALE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>That's not mine.<\/dialogue>\n    <character>JOSH<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Oh, shit!<\/dialogue>\n    <scene_description>Josh trips , slips and slides off the roof to the ground below as Alyssa lets out a loud SCREAM .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLEEN'S KITCHEN - LATE MORNING<\/stage_direction>\n    <scene_description>Colleen tosses the receiver as though it were a ball on fire .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S HOUSE - MINUTES LATER<\/stage_direction>\n    <scene_description>Everyone , including Robin , is circled around Josh , who is sprawled on the ground .<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>I'm okay. I'm fine. Maybe I'll go home.<\/dialogue>\n    <character>ADAM<\/character>\n    <dialogue>Is that bone sticking out?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Do n't move!<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I'm an idiot to have you up there.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>No. It's my fault.<\/dialogue>\n    <scene_description>An ambulance is HEARD approaching . Colleen runs from her house - she 's now dressed more appropriately in Levi 's and a blouse .<\/scene_description>\n    <character>COLLEEN<\/character>\n    <dialogue>I heard a scream!<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>If I could just stand up.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Josh fell.<\/dialogue>\n    <scene_description>Colleen stops a few feet short and covers her mouth with a trembling hand .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>I think he might have broken a leg.<\/dialogue>\n    <scene_description>The ambulance silences the siren as it turns onto the cul - de sac and stops in front of George 's house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S HOUSE - EARLY AFTERNOON<\/stage_direction>\n    <scene_description>Robin , George and Sam are sitting at the patio table as Ryan and Adam play catch with Guster .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Two ribs, a finger, a leg, a bruised kidney and a mild concussion are n't bad considering he landed on brick.<\/dialogue>\n    <scene_description>Neither Robin nor Sam attempts a response . Finally :<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I better get the kids home.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Not a perfect day.<\/dialogue>\n    <scene_description>Robin stands . George stands because Robin 's standing . Without warning , Robin begins to cry again . Ryan and Adam stop playing ball . Sam studies her before finally lowering his eyes . With her kids looking on , George stands still , hesitant to comfort her . There 's a moment where all that there is , where the only thing seen or heard is Robin 's pain . After an awkward amount of time , she wipes her eyes , wipes her nose , crosses around the table to Sam and kisses the top of his head , then his cheek . Without a word , she walks to her car and climbs in ; Ryan and Adam quickly join her in the car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S GARAGE - NIGHT<\/stage_direction>\n    <scene_description>George is brushing his teeth , dribbling and foaming over the only sink in the garage . Sam is propped up in bed with Guster , dressed on top of the sheets , fingering through a stack of CD 's . He glances over at his father twice before speaking .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>You look like shit, lately.<\/dialogue>\n    <scene_description>George spits and rinses , facing Sam as he wipes his mouth .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>You look better than ever.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I do n't think Mom cares that much that my. that Peter left.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>She seemed upset.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>What's wrong with your back?<\/dialogue>\n    <scene_description>Sam tries to look slightly less interested than he is by continuing to flip through the CD 's . George sits down .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I mean, do you need to have surgery on it or what? Because those pills you're taking are for a lot of pain. And you're going through them quick.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Are you taking them still?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>No, but I count them. In a sock is n't new, you know?<\/dialogue>\n    <scene_description>This is not easy for George ; he fumbles a bit before answering .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>I'm having a problem with cancer.<\/dialogue>\n    <scene_description>Sam stops flipping though the CD 's .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I do n't know what that means. What kind of problem?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>The kind where there is n't really an answer.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I still do n't know what that means.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I wanted you here so we could have a few months together. Maybe everything happens for a reason. Something bad to force something good.<\/dialogue>\n    <scene_description>Sam looks somewhat panicked .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>What? Are you dying?<\/dialogue>\n    <scene_description>This is not easy for George ; he fumbles a bit before answering .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>I'm having a problem with cancer.<\/dialogue>\n    <scene_description>Sam stops flipping through the CD 's .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I do n't know what that means. What kind of problem?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>The kind where there is n't really an answer.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I still do n't know what that means.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I wanted you here so we could have a few months together. Maybe everything happens for a reason. Something bad to force something good.<\/dialogue>\n    <scene_description>Sam looks somewhat panicked .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>What? Are you dying?<\/dialogue>\n    <scene_description>George nods his head .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And you told Mom today?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Sam whacks the CD 's off his stomach ; they scatter across the floor . Guster scoots off the bed in a panic .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Fuck you! You knew you were dying from the start!<\/dialogue>\n    <scene_description>Sam bounds out of bed in a rage .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>We're all dying from the start.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I just got picked for Advanced Placement.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You lied to me!<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I would have lied to me if I thought I'd believe it.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>This was all for your sake, was n't it? Having me here? Trying to get me to like you.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I never tried to get you to like me.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I tried to get you to love me.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Well, congratulations! You fucking pulled it off!<\/dialogue>\n    <scene_description>Sam storms out of the garage .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLEEN'S ENTRY - NIGHT<\/stage_direction>\n    <scene_description>Colleen pulls a robe around her nightgown as the doorbell RINGS again and again . She flips on a light and opens the door . Sam backs away from the door as he talks .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Is Alyssa here?<\/dialogue>\n    <character>COLLEEN<\/character>\n    <dialogue>It's midnight. What's the matter, Sam?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Nothing. My dad's dying. I really need to talk to Alyssa.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Sam?<\/dialogue>\n    <scene_description>Alyssa is leaning over the upstairs railing . Sam walks up the stairs as Colleen closes the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH - EARLY MORNING<\/stage_direction>\n    <scene_description>Sea lions romp on a rock offshore as gulls circle above . The sun sheets the morning on the water that 's blinding .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALYSSA'S ROOM - EARLY MORNING<\/stage_direction>\n    <scene_description>Alyssa is under the covers holding onto Sam , who is still dressed . Both are asleep .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S GARAGE - EARLY MORNING<\/stage_direction>\n    <scene_description>George is in bed in pain . A prescription bottle is open beside him and pills are scattered on the sheet . A KNOCK on the door forces George to gather the pills and hide the bottle .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>It's open.<\/dialogue>\n    <scene_description>Kurt the cop opens the door dressed in civilian clothes .<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>It's my day off. I thought I'd help with the plumbing.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I need you to do me a favor.<\/dialogue>\n    <character>KURT<\/character>\n    <parenthetical>( concerned . )<\/parenthetical>\n    <dialogue>God, you look like crap, George.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I want you to find someone for me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COLLEEN'S HOUSE - EARLY MORNING<\/stage_direction>\n    <scene_description>Colleen walks out her front door straight to her neighbor 's house . After a bit of RINGING and a bit of waiting , Tom -LRB- of the walking Tom and Barbara -RRB- answers the door in a bathrobe .<\/scene_description>\n    <character>COLLEEN<\/character>\n    <dialogue>Does your son still own a company that builds houses?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S HOUSE - LATE MORNING<\/stage_direction>\n    <scene_description>Dale is wiring with Adam and Ryan helping . Kurt , Robin and Colleen are setting up and sealing the plastic plumbing pipes . Two new men -LRB- GREG and MIGUEL -RRB- are on the roof , finishing up where Josh fell down . MUSIC is playing on the radio . George is asleep on the chaise lounge . Alyssa walks across the grass and stops to stare at George . Tears well in her eyes . Alyssa continues on to the house and walks up the stairs .<\/scene_description>\n    <character>COLLEEN<\/character>\n    <dialogue>He's been asleep for hours.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Is Sam okay?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>He wo n't leave my room.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Will he talk to me?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Robin accepts the answer . Slowly , they all return to work . MONTAGE The day is productive as we see the black drainpipes and the copper water runs coming together like a maze . The roof is shingled and the wiring is nearly complete . Whether awake or asleep , George spends the day in the chaise lounge .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S HOUSE - LATER<\/stage_direction>\n    <scene_description>A city inspector 's truck pulls to a stop and Bob Larsen steps out with a clipboard and a concerned look on his face . George is dozing on drugs .<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>You're not a plumber, Kurt.<\/dialogue>\n    <scene_description>Kurt finishes hooking in a plugged tee at a turn and stands .<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>I worked every summer with my dad. Check out what I've done.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>It's not whether it's good or bad. You know that. It's whether your licensed.<\/dialogue>\n    <scene_description>Frustrated , Kurt glances around at all his good work before answering .<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Are you still renting that illegal non conforming studio under your house for a thousand a month?<\/dialogue>\n    <scene_description>Bob opens his clipboard and checks a number of items off .<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>Okay. Looks good to me.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Oh, that's embarrassing. That was too easy. At least look around. I really did do it right.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>That is n't why I'm here, anyway.<\/dialogue>\n    <scene_description>George wakes up and quickly hones in on Bob .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>I've been dreading you.<\/dialogue>\n    <scene_description>Bob walks toward George as he talks .<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>Mr. Stevens. One of your neighbors is adamant your home has exceeded its approved height. He's filed to have construction stopped immediately.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>It's thirty feet.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>Well, if it is, we have a problem.<\/dialogue>\n    <scene_description>George stands , he appears slightly shaky .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>I have the permit.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>After your last extension request and with Design Review and the Board of Adjustment and the appeals to the city council, was there an amended permit?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>To the patio and one north - facing window.<\/dialogue>\n    <parenthetical>( suddenly realizing . )<\/parenthetical>\n    <dialogue>And six inches to the height.<\/dialogue>\n    <scene_description>George sits back down . Everyone emerges from the house to join George and Bob .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>David Dokos?<\/dialogue>\n    <scene_description>Bob nods .<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Why do you let your dog crap on his lawn, day after day?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I do n't let him. He just loves to.<\/dialogue>\n    <character>COLLEEN<\/character>\n    <dialogue>He'll make you tear the entire roof off rather than give you any satisfaction.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>I'm afraid you wo n't be able to continue until this is settled. You can always go back and file an appeal.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>That would take weeks.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>Months.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Just so you know, we'll be here working tomorrow and every day after until this house is finished.<\/dialogue>\n    <character>BOB<\/character>\n    <dialogue>He'll call us again and then he'll call the police. He has an attorney on retainer.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Just so you know.<\/dialogue>\n    <scene_description>Robin turns and walks back into the house . Colleen , Alyssa , Adam and Ryan soon follow .<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>If he hears a hammer, he'll have you arrested.<\/dialogue>\n    <scene_description>Robin picks up the hammer and pounds a nail into a piece of wallboard . Dale , Miguel , Greg and Kurt walk back to the house and go back to work . Bob glances at George who shrugs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLEEN'S FAMILY ROOM - NIGHT<\/stage_direction>\n    <scene_description>Colleen is watching the news as Alyssa walks in to say goodnight .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>I'm going to bed.<\/dialogue>\n    <character>COLLEEN<\/character>\n    <dialogue>Has he eaten anything at all?<\/dialogue>\n    <scene_description>Alyssa shakes her head `` no '' as Colleen flips on the TV .<\/scene_description>\n    <character>COLLEEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'd be more comfortable if he slept in the guestroom.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>I'd be more comfortable if you had n't slept with Josh. And George would be more comfortable if he were n't dying.<\/dialogue>\n    <scene_description>Colleen is embarrassed Alyssa knows the truth .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Comfort does n't mean that much when just getting through the night is the goal, Mom.<\/dialogue>\n    <scene_description>Alyssa walks out . Colleen curls up and hides clutching pillows on the couch .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S GARAGE - NIGHT<\/stage_direction>\n    <scene_description>George is shaking and sweating as he tries to crawl off the bed to his sock drawer . Guster wakes up and hops off Sam 's bed to lick George on the face .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Please. I ca n't.<\/dialogue>\n    <scene_description>George is in real pain as he drops to the floor on his back . He winces and cries out as he pushes himself forward with his legs toward the dresser . George suddenly stops pushing ; his legs slump flat on the concrete floor . His eyes flutter shut as Guster continues to lick his face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALYSSA'S BATHROOM - MORNING<\/stage_direction>\n    <scene_description>Alyssa is dressed , combing through wet hair when the sound of construction distracts her . She opens her window and sticks her head out . Suddenly excited , she pulls her head back in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALYSSA'S BEDROOM - MORNING<\/stage_direction>\n    <scene_description>Sam is in bed as Alyssa speeds out of the bathroom .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>There are like twenty people working on your dad's house!<\/dialogue>\n    <scene_description>Alyssa bolts for the door , but stops short as she faces Sam .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>If it were my father, I'd wan na spend every second with him I had left.<\/dialogue>\n    <scene_description>Sam does n't face her , does n't even attempt to look up .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>You hate your father.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>If he tricked me into loving him, is what I meant.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You'd hate him for the trick.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Not if what he left me was real.<\/dialogue>\n    <scene_description>Alyssa leaves , closing the door behind her . Sam stays put .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S HOUSE - MORNING<\/stage_direction>\n    <scene_description>Colleen is talking to Tom and Barbara as they stand to the side of the house where a throng of men assemble the house .<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>He pulled this crew off a tract in Newport. They're the best.<\/dialogue>\n    <scene_description>Robin pulls to a stop on the street and Adam and Ryan run out to gawk at all the workers .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <character>COLLEEN<\/character>\n    <dialogue>I hired some help.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>ALYSSA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Mom?!<\/dialogue>\n    <scene_description>Colleen glances back as Alyssa runs to join the group .<\/scene_description>\n    <character>COLLEEN<\/character>\n    <dialogue>Atonement.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>Who are all these people?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Where's George?<\/dialogue>\n    <character>COLLEEN<\/character>\n    <dialogue>I think he's still sleeping.<\/dialogue>\n    <scene_description>ANOTHER VIEW Robin walks to the garage door and KNOCKS . Guster barks . Robin KNOCKS again before opening the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S GARAGE - MORNING<\/stage_direction>\n    <scene_description>Guster is beside George on the floor . Robin rushes in and kneels down .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>George!?<\/dialogue>\n    <scene_description>She presses her hand against George 's cheek .<\/scene_description>\n    <character>ROBIN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Wake up. You're still warm.<\/dialogue>\n    <scene_description>George 's eyes flutter open . Robin leans down and kisses him on the cheek . George focuses on Robin ; he tries to speak , stops , and tries again . Finally , in a weak voice , we hear :<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Stop licking me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLEEN'S ENTRY - MORNING<\/stage_direction>\n    <scene_description>Alyssa bursts into the house and rushes up the stairs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALYSSA'S ROOM - MORNING<\/stage_direction>\n    <scene_description>Sam is sitting on the edge of the bed as Alyssa enters .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Your dad's going to the hospital!<\/dialogue>\n    <scene_description>Sam does n't respond .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Come on!<\/dialogue>\n    <scene_description>Alyssa holds out her hand as we HEAR the ambulance approach .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I do n't wan na go.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>He asked where you were! He wants you with him.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I do n't wan na go.<\/dialogue>\n    <scene_description>Sam is nearly pleading , frightened to move . Alyssa walks out . The siren stops . The front door closes . Sam sits still .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S HOUSE - AFTERNOON<\/stage_direction>\n    <scene_description>The house is coming together incredibly fast with all the workers . Tom and Barbara are supervising the crew . David Dokos whips around the corner in his black Mercedes and parks in his driveway , rushing over as he yells .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>Nothing is built until the Board of Adjustment hears the appeal!<\/dialogue>\n    <scene_description>David is searching for George , finally settling for Tom .<\/scene_description>\n    <character>DAVID<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Where is he?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>I should have reported you for tossing that piece of dog doo.<\/dialogue>\n    <scene_description>Tom 's face is flushed ; Barbara calms him by grabbing his arm .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>Tom, let's not overreact now.<\/dialogue>\n    <scene_description>David Dokos stomps his feet and thrusts his fist into the air , as a child might if he were overreacting .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>I want this fucking piece of shit construction stopped now and I want that goddamn roof ripped off and lowered and I do n't care if I have to spend a shit load of money to get it done! I will do it!<\/dialogue>\n    <scene_description>Tom and Barbara simply stare at him in disbelief . David walks back to his house . Tom turns to his wife .<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>I want this house finished before he can stop it.<\/dialogue>\n    <scene_description>Tom rolls up his sleeves and walks toward the house to help .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLEEN'S ENTRY - EVENING<\/stage_direction>\n    <scene_description>Colleen and Alyssa walk into the house listless - both look tired and sad .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALYSSA'S BEDROOM - EVENING<\/stage_direction>\n    <scene_description>Alyssa enters the room , walks into the bathroom . Sam is gone .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Sam?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBIN'S FAMILY ROOM - EVENING<\/stage_direction>\n    <scene_description>Adam and Ryan are sitting next to each other on the floor subdued , tossing a ball to Guster . The kitchen door opens and Peter walks into the family room . Adam is the first to notice but the last to react . Ryan stands as Guster barks .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Guster, be quiet.<\/dialogue>\n    <scene_description>Peter has a growth of beard and is dressed in Levi 's and a knit shirt - he does n't look like himself .<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You got a dog?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>It's not ours. It's George's.<\/dialogue>\n    <scene_description>Peter nods .<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I've missed you guys.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Why?<\/dialogue>\n    <scene_description>Ryan is tough - not giving an inch . Peter stares at his sons , ashamed that the question could be asked . Adam stands and walks to this father , takes his hand .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'll tell Mom you're here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - EVENING<\/stage_direction>\n    <scene_description>George is asleep , looking dead with tubes in his arms . We HEAR a bit of the song by Warren Zevon , `` MY SHIT 'S FUCKED UP . '' ` Well , I went to the doctor\/I said ` I 'm feeling kind of rough ' \/ He said , ` I 'll break it to you , son , your shit 's fucked up . '<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S HOUSE - EVENING<\/stage_direction>\n    <scene_description>Sam is alone on the roof in the fading light , stringing party lights over the shingles and under the eves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBIN'S FAMILY ROOM - EVENING<\/stage_direction>\n    <scene_description>Robin could n't look worse as she walks down the hall to the family room with Ryan . Peter is standing alone . Ryan joins Adam on the floor with Guster . Robin stops and stands ten feet from Peter .<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I thought maybe. I know it's late. but if you're hungry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S HOUSE - EVENING<\/stage_direction>\n    <scene_description>The sun has set as Sam stands at the edge of the cliff trying to garner the courage to jump . After the sound of a wave crashing against the cliff , Sam closes his eyes and leaps off the edge of the earth .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALYSSA'S ROOM - EVENING<\/stage_direction>\n    <scene_description>Alyssa is sitting on the edge of her bed as Colleen stops beside the open door .<\/scene_description>\n    <character>COLLEEN<\/character>\n    <dialogue>Are you doing okay?<\/dialogue>\n    <scene_description>Alyssa shakes her head `` no '' . Colleen walks into the room and sits down beside her daughter . Alyssa rests her head on her mother 's shoulder .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RESTAURANT - EVENING<\/stage_direction>\n    <scene_description>Robin , Peter , Ryan and Adam are in the middle of dinner as Adam excitedly tries to explain all that he and his brother have accomplished .<\/scene_description>\n    <character>ADAM<\/character>\n    <dialogue>And we got to take all the old paint off all the doors and then George taught us how to stain everything and he even let me choose the color I liked best! And he said he loved me!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>We did a lot of the wiring too.<\/dialogue>\n    <character>ADAM<\/character>\n    <dialogue>With Dale. Oh, and I got to drill a hole into a board to put the wire through!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I've never heard you so excited about anything.<\/dialogue>\n    <character>ADAM<\/character>\n    <dialogue>Maybe you can come help us too?!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I'd like that.<\/dialogue>\n    <scene_description>Peter glances at Robin .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>Sam is still wet as he walks down the hall . We HEAR more of the Warren Zevon song . ' I had a dream\/Ah , shucks , oh , well\/Now it 's all fucked up\/It 's shot to hell . '<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S HOSPITAL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Sam enters the room as a NURSE scurries to catch up .<\/scene_description>\n    <character>NUR<\/character>\n    <dialogue>I'm afraid no one's allowed in here now.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>He's my dad.<\/dialogue>\n    <scene_description>Sam is staring at George , who is either asleep or unconscious . The nurse finally relents and walks out . Sam sits in a chair beside the bed and begins to cry . Slowly , George 's arm slides out beyond the railing of the bed , his hand open . Sam does his best to stop crying .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I brought you something.<\/dialogue>\n    <scene_description>Sam pulls out a pair of sunglasses from his shirt pocket . George shakes death and drugs away as he manages to open his eyes .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( weakly . )<\/parenthetical>\n    <dialogue>I do n't wan na go, Sam.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Here.<\/dialogue>\n    <scene_description>Sam gently slides the sunglasses over his father 's eyes ; he rushes to the window and pulls the curtains back .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Can you see?<\/dialogue>\n    <scene_description>Sam walks back to the bed and pulls it toward the window , stretching the cords and tubes to their limit . He grabs the remote and raises George 's head . Off in the distance , against the backdrop of an endless black ocean , George 's house is seemingly on fire with lights . Pain ca n't stop a smile .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It's almost done.<\/dialogue>\n    <scene_description>George takes hold of Sam 's hand with his own . They continue to stare at the lit house holding hands .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBIN'S ENTRY - NIGHT<\/stage_direction>\n    <scene_description>The door opens and Robin , Adam , Ryan and Peter are greeted by Guster , who bounces around like a wired rabbit .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Go brush your teeth and get right into bed. It's late.<\/dialogue>\n    <scene_description>Adam runs to Robin for a kiss , then grabs Peter with a hug .<\/scene_description>\n    <character>ADAM<\/character>\n    <dialogue>Goodnight.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Goodnight.<\/dialogue>\n    <scene_description>Adam runs up the stairs , Guster right on his heels . Ryan is staring at his father .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Do you know anything about building a house?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>I guess I could teach you some things.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Robin sneaks a quick kiss on Ryan 's cheek as he heads for the stairs . After he 's gone , Robin turns back to Peter .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I hardly recognize you with a beard.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>That was my plan. to be hardly recognizable to you as me.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>I feel in love with George again.<\/dialogue>\n    <scene_description>Peter nods , something he already knows .<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I'll see you tomorrow.<\/dialogue>\n    <scene_description>Robin nods . There 's a moment where it 's clear that Peter does n't want to leave and Robin does n't want him to leave , but after the moment passes , Peter walks out and Robin sits down at the base of the stairs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALYSSA'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Colleen and Alyssa are asleep together on the bed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S HOUSE - EARLY MORNING<\/stage_direction>\n    <scene_description>Sam is up on a ladder , pounding copper nails into cedar shingles that face the house . Alyssa runs across the grass .<\/scene_description>\n    <character>ALYSSA<\/character>\n    <dialogue>Where are you?!<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Floating to Catalina.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Sam steps off the ladder . Alyssa wraps her arms around him . Sam removes sleepy bugs from Alyssa 's eyes before he kisses her . A police car stops in front of the house and Kurt steps out . Alyssa and Sam turn to face him .<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>He said he heard hammering.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Who?<\/dialogue>\n    <scene_description>Before Kurt can answer , David Dokos storms out of his house and trudges toward them talking .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>My attorney is driving down from Newport Beach. If I hear one more nail being hammered, I swear to God before this is all over I'll end up owing this house!<\/dialogue>\n    <scene_description>As Sam is staring at David Dokos , a hint of recognition crosses his face .<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Mr. Dokos says that your father missed his height envelope by six inches.<\/dialogue>\n    <character>ALYSSA<\/character>\n    <dialogue>He wants the entire roof taken off and lowered.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Wait a minute.<\/dialogue>\n    <scene_description>A wave of fear rushes through David Dokos that 's instantly visible .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Do you drive a black Mercedes?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Sam figures out why we knows David Dokos - from the aborted blowjob in the black Mercedes .<\/scene_description>\n    <character>DAVID<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm going back to my house to wait for my lawyer.<\/dialogue>\n    <scene_description>David starts to leave , but Sam stops him with :<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Are you sure we need lawyers?<\/dialogue>\n    <scene_description>David 's face is sheet white as he forces himself back around .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Because all we're really talking about is six inches, right?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Are you threatening me?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'm sixteen years old. I'm underage. How could I possibly threaten you?<\/dialogue>\n    <scene_description>David Dokos stares at Sam for a long time before glancing at Kurt and his police uniform for just a second .<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Would you like to help us finish the house, Mr. Dokos?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Yes, I would.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>What the fuck?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Everything happens for a reason. That's what my dad said.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Then you tell me, what just happened?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>The payoff.<\/dialogue>\n    <scene_description>Sam walks back to the ladder and hammer , leaving Kurt and Alyssa confounded . David takes a step back .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>I'll just. change clothes.<\/dialogue>\n    <scene_description>Sam pounds in another shingle as David walks quickly back to his house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S HOSPITAL ROOM - MORNING<\/stage_direction>\n    <scene_description>George is unconscious as Robin enters and sits down beside him with a video camera .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I found the last time you were happy.<\/dialogue>\n    <scene_description>Robin adjusts the viewfinder and presses play on the camera . George does n't wake up . On the tiny screen , we see a younger George in the ocean , his arms wrapped around six - year old Sam ; he shields Sam from the waves and kisses his son 's hair . Robin rests the camera on the bed as the video continues to play . She takes hold of George 's hand and begins to weep as she presses her head on his chest . An envelope with Robin and Sam 's name on it rests on the nightstand beside the bed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S HOUSE - MORNING<\/stage_direction>\n    <scene_description>Twenty men along with Tom and Barbara , Alyssa and Colleen , Sam and David Dokos are painting ; installing windows , floors or cabinets as the house begins to take its final shape .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S HOUSE - MORNING<\/stage_direction>\n    <scene_description>Peter stops and steps out of his car as Adam and Ryan race for the house .<\/scene_description>\n    <character>ADAM<\/character>\n    <dialogue>It's almost done!<\/dialogue>\n    <scene_description>Sam walks out the front door .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Do you guys feel like painting?<\/dialogue>\n    <character>ADAM<\/character>\n    <dialogue>What color?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Red.<\/dialogue>\n    <character>ADAM<\/character>\n    <dialogue>I love red! That's my favorite color!<\/dialogue>\n    <scene_description>Adam and Ryan walk into the house as Sam focuses on Peter , who keeps his distance .<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>You do n't look like you.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Either do you.<\/dialogue>\n    <scene_description>Peter glances down at his work clothes .<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I thought I might be able to help, but it looks like you have all you can handle.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Do you like red?<\/dialogue>\n    <scene_description>Peter nods , hesitates for a moment before walking up the driveway to Sam .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S HOSPITAL ROOM - AFTERNOON<\/stage_direction>\n    <scene_description>George 's bed is empty , stripped of everything . Robin is still sitting in a chair beside the bed , a letter resting on her lap . A NURSE stops at the door .<\/scene_description>\n    <character>NURSE<\/character>\n    <dialogue>Are you sure we ca n't call anyone?<\/dialogue>\n    <scene_description>Robin shakes her head `` no '' . The nurse moves on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S HOUSE - LATE AFTERNOON<\/stage_direction>\n    <scene_description>From the outside , the house is finished : windows in , doors on , roof shingled . The sun drops behind the house , causing a halo of bright light to envelop it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S HOUSE - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Most of the workers have gone home , because most of the work is done . All the floor are hand - scrapped cherry ; huge beams and wood planks lend a strength to the ceiling . The kitchen cabinets are in ; the bathrooms are complete . Sam , Ryan , Alyssa , Adam and Peter are the only ones left . Outside , we hear a car pull to a stop .<\/scene_description>\n    <character>ADAM<\/character>\n    <dialogue>Mom!<\/dialogue>\n    <scene_description>Adam and Ryan run down the stairs . Peter stops cleaning a brush and walks to the window as Sam stands still .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S HOUSE - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Adam runs to Robin and meets her mid - yard with a hug .<\/scene_description>\n    <character>ADAM<\/character>\n    <dialogue>When does George get to come see his house?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>It's so beautiful.<\/dialogue>\n    <scene_description>Adam and Robin are staring at the house . Ryan can see the strain on his mother 's face .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Is George okay?<\/dialogue>\n    <scene_description>All Robin can do is shake her head `` no '' .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S HOUSE - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Sam backs away from the window . Peter turns to face him . Standing straight as he can , being as brave as he can , tears well in Sam 's eyes as he softly shakes . Peter walks to Sam and wraps his arms around him .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I always thought of myself as a house. I was always what I lived in. It did n't need to be big. It did n't even need to be beautiful. I just needed to be mine. I became what I was meant to be. I built myself a life. I built myself a house.<\/dialogue>\n    <scene_description>Sam clings to Peter , completely lost in sorrow .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S HOUSE - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Adam and Ryan have their arms wrapped around their mother as we pull back and watch the sun set the sky off in dazzling hues of orange and red .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RANGE ROVER - ONE WEEK LATER<\/stage_direction>\n    <scene_description>Robin is driving with Sam beside her in a low - middle income neighborhood in Santa Ana . Sam is holding the letter .<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>You're sure about this?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>You could keep it and rent it out?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>This is what he wants.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>I read the letter. You read the will. He wants you to keep it. To live in it some day.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Then maybe this is n't what he wants, but this what he was hoping for.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Maybe it's what I want.<\/dialogue>\n    <scene_description>It 's clear to see that Robin 's proud of Sam 's decision . She checks an address on a piece of paper and pulls to a stop . Sam steps out of the car , holding the letter .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA ANA APARTMENT BUILDING - MORNING<\/stage_direction>\n    <scene_description>Sam is shaking slightly as he walks up the cracked concrete walk to the door . He RINGS the bell .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Twenty - one years ago, my father crossed a double - line. He changed my life and the life of a little girl forever with that mistake. I just ca n't stop thinking about her.<\/dialogue>\n    <scene_description>A WOMAN in her mid - twenties opens the door in her wheelchair .<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <scene_description>Sam is very nervous as he reaches in his pocket and pulls out a set of keys .<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>My father built you a house.<\/dialogue>\n    <scene_description>The woman is confused as Sam holds out the keys .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE'S HOUSE - MORNING<\/stage_direction>\n    <scene_description>The house is majestic in its setting among the trees and grass , on the jagged just of rock that accepts the constant crash of ocean against it with a solid permanence . This is where , if you were a house , you would want to be built . THE END .<\/scene_description>\n  <\/scene>\n<\/script>","summary":"George Monroe, an architectural model fabricator, is fired when he refuses to use computer technology. At his boss' refusal to let George keep a few models, he destroys all but one of the models with a spindle from an architectural drawing. As he exits the building with the remaining model, he collapses and is rushed to the hospital, where it is revealed he has advanced stage cancer and any treatment would be futile. George decides to demolish the home left to him by his father and replace it with a house in keeping with the neighborhood. He enlists his son, Sam, who is alienated from his stepfather Peter and his mother Robin. Sam must spend the summer with George, who has not revealed his terminal condition, and help him with the house, but Sam makes it a point not to help him. When George refuses to give Sam money unless he works for it, Sam toys with becoming a prostitute, but is nearly caught and flees from his first encounter. This leads him to steal George's Vicodin. George slowly reconnects with Sam. Robin decides to assist as well, and she finds herself rediscovering George. Also joining in the construction are Alyssa, Sam's classmate who lives next door with her mother Colleen; local policeman Kurt Walker, George's childhood friend; Sam's young half-brothers Adam and Ryan; various neighbors; and eventually Peter, even after separating from Robin when she tells him that her feelings for George have re-awakened. George tells Robin of his disease, sending her into shock. George tells Sam, who is betrayed and accuses George of being selfish and takes refuge at Alyssa's house. George collapses and is found by Robin the following morning. Complications arise when neighbor David Dokos tries to halt construction because the building's height exceeds the allowable limit by six inches. His plans to halt the project are stopped by Sam, who recognizes him from his prostitution attempt and blackmails him. Sam puts Christmas lights all over the unfinished house and shows George the gleaming house from his hospital window. The next morning, Sam returns to finish the house and Robin sits beside George until his death. Robin goes to the house and tells Sam about his father's death. Sam inherits the house he finished building.  Sam gives the property to a woman who has been living in a trailer park.  As a girl, she was injured in a car crash caused by his grandfather."}
{"movie_name":"Storytelling_2001","imdb_id":"tt0250081","script":"<script>\n  <scene>\n    <stage_direction>TITLE CARD: Fiction<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARCUS'S DORM ROOM - NIGHT<\/stage_direction>\n    <scene_description>The time is circa 1985 . Vi and Marcus finish making love . Marcus has cerebral palsy .<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>Hey, you want to hear my short story now?<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>MARCUS<\/character>\n    <parenthetical>( lifts a MS from a shelf by his bed . )<\/parenthetical>\n    <dialogue>I can read it to you.<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>You mean, again?<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Well, I changed the ending a little.<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>Oh. What happens now?<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Well, actually, it's the same, but longer. I think it's better. More. raw.<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>Well then, maybe you should just read the ending.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>But it wo n't make any sense if you hear it out of context.<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>I think you should leave it the way it was. It was good.<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>So you do n't want to hear my new ending?<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>You'll read it in class tomorrow. Surprise me.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Anyway, I have to go. I promised Melinda I'd help her with her oral.<\/dialogue>\n    <scene_description>She rises , starts dressing .<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>You're tired of me. I can tell.<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>Marcus, I'm tired. That's all.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>You've lost interest. You hardly even sweat any more when we have sex.<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>I was never much of a sweater. You know that.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Look, Vi, I do n't blame you. You feel You feel pity now. The pleasure is n't there any more. The kinkiness has gone. You've become kind.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMPUS GREEN - DAY<\/stage_direction>\n    <scene_description>It is bright and sunny .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MR SCOTT'S CLASSROOM - DAY<\/stage_direction>\n    <scene_description>Mr Scott , who is black , presides over his class . Marcus is reading from his story , Vi at his side . Catherine , a stunning intellectual , sits near the teacher . The rest of the students -LRB- Amy , Elli , etc. -RRB- listen closely and take notes .<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>. but when he saw her. it was as if he could walk like a normal person. His legs did n't swing, his arms did n't spaz away. He was n't a freak any more, for she made him forget his affliction. No more cerebral palsy! From now on `` CP'' stood for. cerebral person. He was a cerebral person.<\/dialogue>\n    <scene_description>Pause . Marcus and Vi exchange looks .<\/scene_description>\n    <character>AMY<\/character>\n    <dialogue>I thought it was really good, Marcus. Really moving and emotional.<\/dialogue>\n    <character>ELLI<\/character>\n    <dialogue>Yeah, I thought it was really emotional, too.<\/dialogue>\n    <character>AMY<\/character>\n    <dialogue>And I mean, really good word choices. It kind of reminded me a little of Faulkner, but East Coast and disabled.<\/dialogue>\n    <character>LUCY<\/character>\n    <dialogue>Or Flannery O'Connor. She had multiple sclerosis.<\/dialogue>\n    <character>JOYCE<\/character>\n    <dialogue>And Borges. He was blind.<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>Updike has psoriasis.<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>CATHERINE<\/character>\n    <dialogue>Um. Maybe I'm wrong, but, um, I'm afraid I found the whole thing to be a little trite. Its earnestness is, well. it's a little embarrassing. And those adjectives, they're a little flatfooted. And redundant. I'm sorry, but. Anyway, what do I know? Do n't even listen to what I say. I mean.<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>MR SCOTT<\/character>\n    <dialogue>Anyone else?<\/dialogue>\n    <scene_description>No response .<\/scene_description>\n    <character>MR SCOTT<\/character>\n    <dialogue>Catherine is right. The story's a piece of shit. You express nothing but banalities and, formally speaking, are unable to construct a single compelling sentence. You ride on a wave of clich\u00e9s so worn, in fact, it actually approaches a level of grotesquerie. Ad your subtitle, ` the rawness of truth' is that supposed to be a joke of some sort? Or are you just being pretentious?<\/dialogue>\n    <parenthetical>( beat ; then checking his class book . )<\/parenthetical>\n    <dialogue>OK. Who's next?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMPUS COURTYARD - DAY<\/stage_direction>\n    <scene_description>Marcus , upset , rushes outside , Vi in pursuit , desperately trying to console .<\/scene_description>\n    <character>VI<\/character>\n    <dialogue>Marcus, wait up!<\/dialogue>\n    <scene_description>Marcus stops .<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>Do n't be so upset. It's OK.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>What the fuck are you talking about? What's OK?<\/dialogue>\n    <character>VI<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You know he hated my story also.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Your story was terrible!<\/dialogue>\n    <scene_description>He moves on , she keeps up with him .<\/scene_description>\n    <character>VI<\/character>\n    <dialogue>Marcus. You'll write something better next time!<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Patronizing fuck! If you had just been honest with me in the first place I would n't have read it. I knew it was shit. But - idiot! - I believed you!<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>That's not fair! I was honest! Just because I was n't sucking up like that bitch Catherine.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Well, I sure did n't hear you voice your opinion in there when it mattered.<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>I admit it - I was scared! I was shocked, in fact, by what he said. And he's so. convincing. I'm sorry if I let you down, but really, I still say he's just one opinion. I do n't even like his books that much. They're all so aggressively confrontational. I do n't care if he's won the Pulitzer Prize.<\/dialogue>\n    <scene_description>Catherine and Mr Scott walk by together in the distance .<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>You just want to fuck him. Like Catherine and every other white cunt on campus.<\/dialogue>\n    <scene_description>He leaves her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VI AND MELINDA'S DORM ROOM - NIGHT<\/stage_direction>\n    <scene_description>Melinda lies on her bed with some homework , watching Vi .<\/scene_description>\n    <character>VI<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( on phone . )<\/parenthetical>\n    <dialogue>. But Marcus! You ca n't just unilaterally decide to end things. This is a relationship we're talking about! A friendship! You do n't just. Fuck you!<\/dialogue>\n    <scene_description>She hangs up and enters her bedroom , in tears .<\/scene_description>\n    <character>VI<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Fuck him! Fuck him! Fuck him.<\/dialogue>\n    <character>MELINDA<\/character>\n    <dialogue>Vi? Are you OK?<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>Yes. I'm OK. I'm totally OK.<\/dialogue>\n    <scene_description>Melinda rises , puts a hand on her shoulder .<\/scene_description>\n    <character>MELINDA<\/character>\n    <dialogue>You did the right thing.<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>I know that. Fucking cripple. Why do I waste my time with undergrads? They're all so. juvenile! Uch! I just thought Marcus would be different. I mean he's got CP!<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>MELINDA<\/character>\n    <dialogue>What are you gon na do now?<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>I dunno. go to a bar. get laid. whatever. Do n't worry about me. I'll be fine.<\/dialogue>\n    <scene_description>She starts changing into a new outfit .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAR - NIGHT<\/stage_direction>\n    <scene_description>Students hang around outside . Vi goes inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAR - NIGHT<\/stage_direction>\n    <scene_description>Vi walks up to the bar .<\/scene_description>\n    <character>VI<\/character>\n    <dialogue>Can I have a beer?<\/dialogue>\n    <scene_description>After getting her beer , Vi turns around and suddenly notices Mr Scott , who is sitting alone . She goes over to him .<\/scene_description>\n    <character>VI<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Hi.<\/dialogue>\n    <character>MR SCOTT<\/character>\n    <dialogue>Hello, Vi.<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <character>MR SCOTT<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>I'm sorry. I did n't mean, I just did n't expect to run into you here, that's all.<\/dialogue>\n    <character>MR SCOTT<\/character>\n    <dialogue>Well, now you have.<\/dialogue>\n    <scene_description>Vi laughs , sort of , ten blushes .<\/scene_description>\n    <character>VI<\/character>\n    <dialogue>Yeah, um, then. are you alone?<\/dialogue>\n    <character>MR SCOTT<\/character>\n    <dialogue>Uh huh.<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>Can I join you?<\/dialogue>\n    <scene_description>Mr Scott gestures for her to sit down with him .<\/scene_description>\n    <character>VI<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Gee, thanks. Well, um. I just wanted to say that I'm really happy with the class and, um. I know you must here this all the time, but I'm also a great admirer of your work. A Sunday Lynching, especially. really, um spoke to me. God, I hope I'm not embarrassing you.<\/dialogue>\n    <character>MR SCOTT<\/character>\n    <dialogue>You're not.<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>Good.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>'Cause I. um. I really agreed with everything you had to say last week about how bad my story was.<\/dialogue>\n    <character>MR SCOTT<\/character>\n    <dialogue>That's good.<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>And I also agreed with what you said today about Marcus's story. It is a piece of shit.<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>MR SCOTT<\/character>\n    <dialogue>You have beautiful skin.<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>So Catherine seems like she might become a really good writer.<\/dialogue>\n    <character>MR SCOTT<\/character>\n    <dialogue>Maybe. She's OK.<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>VI<\/character>\n    <dialogue>Are n't you going out with Catherine?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I'm sorry. It's none of my business. I did n't mean.<\/dialogue>\n    <character>MR SCOTT<\/character>\n    <dialogue>I'm not ` going out' with Catherine.<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Do you think I have a potential as a writer?<\/dialogue>\n    <character>MR SCOTT<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>Thank you for being honest.<\/dialogue>\n    <scene_description>Mr Scott leans over and touches her hand .<\/scene_description>\n    <character>VI<\/character>\n    <dialogue>I have so much respect for you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>Mr Scott and Vi walk together in silence .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MR SCOTT'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Vi and Mr Scott enter . He turns around and looks at her . Pause .<\/scene_description>\n    <character>VI<\/character>\n    <dialogue>Can I just freshen up for a second?<\/dialogue>\n    <scene_description>He indicates the direction of the bathroom .<\/scene_description>\n    <character>MR SCOTT<\/character>\n    <dialogue>It's over there.<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>Thanks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MR SCOTT'S BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>Vi enters , locks the door behind her . She looks at herself in the mirror , then notices a snapshot of Catherine : she is naked , legs open wide . Other erotic photographs lie beneath Catherine 's .<\/scene_description>\n    <character>VI<\/character>\n    <parenthetical>( to herself , almost chanting . )<\/parenthetical>\n    <dialogue>Do n't be a racist. Do n't be a racist. Do n't be a racist.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MR SCOTT'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Vi emerges from the bathroom to find Mr Scott lounging on the bed .<\/scene_description>\n    <character>VI<\/character>\n    <dialogue>It's a really nice place you have. Is the rent high?<\/dialogue>\n    <character>MR SCOTT<\/character>\n    <dialogue>Take off your top.<\/dialogue>\n    <scene_description>She obliges .<\/scene_description>\n    <character>MR SCOTT<\/character>\n    <dialogue>Now. take off the rest.<\/dialogue>\n    <scene_description>She does , and he looks hard at her . Finally he rises .<\/scene_description>\n    <character>MR SCOTT<\/character>\n    <dialogue>Turn around.<\/dialogue>\n    <scene_description>She does .<\/scene_description>\n    <character>MR SCOTT<\/character>\n    <dialogue>Bend over.<\/dialogue>\n    <scene_description>He starts making love to her , from behind .<\/scene_description>\n    <character>MR SCOTT<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( whispers . )<\/parenthetical>\n    <dialogue>Say, ` nigger, fuck me.'<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>Oh, bu. uh. I ca n't say that.<\/dialogue>\n    <character>MR SCOTT<\/character>\n    <dialogue>Say, Ni.<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>Ni.<\/dialogue>\n    <character>MR SCOTT<\/character>\n    <dialogue>gger.<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>gger.<\/dialogue>\n    <character>MR SCOTT<\/character>\n    <dialogue>Say, ` Nigger.'<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>Nigger.<\/dialogue>\n    <character>MR SCOTT<\/character>\n    <dialogue>` Fuck me hard!'<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>Fuck me hard!<\/dialogue>\n    <character>MR SCOTT<\/character>\n    <dialogue>Say, ` Nigger, fuck me hard!'<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>Nigger, fuck me hard!<\/dialogue>\n    <character>MR SCOTT<\/character>\n    <dialogue>Again!<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>Nigger, fuck me hard!<\/dialogue>\n    <character>MR SCOTT<\/character>\n    <dialogue>Again!<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>NIGGER, FUCK ME HARD!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARCUS'S DORMITORY - NIGHT<\/stage_direction>\n    <scene_description>Lights are out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARCUS'S DORM ROOM - NIGHT<\/stage_direction>\n    <scene_description>Marcus looks in the mirror , ponders his reflection .<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>Freak.<\/dialogue>\n    <scene_description>There is a soft knock at the door . He turns away from the mirror and opens it . Vi is there , teary - eyed , disheveled .<\/scene_description>\n    <character>VI<\/character>\n    <dialogue>Can I come in?<\/dialogue>\n    <scene_description>They embrace .<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>You're all. sweaty!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MR SCOTTS CLASSROOM - DAY<\/stage_direction>\n    <scene_description>Vi finishes reading her story to the class .<\/scene_description>\n    <character>VI<\/character>\n    <dialogue>. So John flipped her around and slammed her against the wall. Jane braced herself : she thought about her mother. She thought about Peter. She thought about God. and rape.'' Say, ` Fuck me, nigger. Fuck me hard.''' John's flesh abraded her soft skin. There would be marks. She acquiesced, and said what he asked her to say, and did what he asked her to do. She had entered college with hope, with dignity, but she would graduate as a whore.'<\/dialogue>\n    <scene_description>Silence .<\/scene_description>\n    <character>AMY<\/character>\n    <dialogue>Why do people have to be so ugly. write about such ugly characters? It's perverted. I know you all think I'm being prisssy, but I do n't care. I was brought up in a certain way. And this is. mean - spirited!<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>JOYCE<\/character>\n    <dialogue>Yeah, well, it did seem a little affected. Like by using taboo language you were trying to shock us about the hollowness of your characters.<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>I think it was a little bit racist.<\/dialogue>\n    <character>ELLI<\/character>\n    <dialogue>It was completely racist, and beyond that I felt deeply offended as a woman. As if a woman can only operate from experiences of objectification.<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>Totally phallocentric.<\/dialogue>\n    <character>ELLI<\/character>\n    <dialogue>And so weirdly misogynistic. I mean, why does Jane go through with this? Is she stupid?<\/dialogue>\n    <character>ETHAN<\/character>\n    <dialogue>Hey, But was n't this a rape? Or. did I miss something? Because I - I'm confused. Because if this was a rape, then why would she be a whore?<\/dialogue>\n    <character>CATHERINE<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>It was confessional, yet dishonest. Jane pretends to be horrified by the sexuality that she in fact fetishizes. She subsumes herself to the myth of black male potency, but then does n't follow through. She thinks she ` respects Afro - Americans,' she thinks they're ` cool,' ` exotic,' what a notch he'd make in her belt, but, of course, it all comes down to mandingo clich\u00e9, and he calls her on it. In classic racist tradition she demonizes, then runs for cover. But then, how could she behave otherwise? She's just a spoiled suburban white girl with a Benneton rainbow complex. It's just my opinion, and what do I know. but I think it's a callow piece of writing.<\/dialogue>\n    <character>MR SCOTT<\/character>\n    <dialogue>Callow and coy. Jane wants more, but is n't honest enough to admit it. In the end, she returns to the safety of her crippled.<\/dialogue>\n    <parenthetical>( translation : sexually impotent . )<\/parenthetical>\n    <dialogue>boyfriend.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>This is bullshit! Her story was the truth!<\/dialogue>\n    <character>JOYCE<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>SUE<\/character>\n    <dialogue>It's unbelievable!<\/dialogue>\n    <character>ELLI<\/character>\n    <dialogue>It's clich\u00e9d!<\/dialogue>\n    <character>AMY<\/character>\n    <dialogue>It's disgusting!<\/dialogue>\n    <character>VI<\/character>\n    <dialogue>But it happened!<\/dialogue>\n    <scene_description>Silence .<\/scene_description>\n    <character>MR SCOTT<\/character>\n    <dialogue>I do n't know about ` what happened,' Vi, because once you start writing, it all becomes fiction. Still, it certainly is an improvement over your last story : There is now at least a beginning, a middle, and an end.<\/dialogue>\n    <scene_description>TITLE CARD : ` NONFICTION '<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOBY'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>A Lower East Side tenement apartment . A dogma '95 poster hangs above the bed . Toby , down and out and in his thirties , leafs through his high - school yearbook . He reads an inscription : ` Toby , I just know you 're going to become a movie star ! Please do n't forget me when you make it to the top ! I will always love you - Pam ' . He picks up his phone and dials .<\/scene_description>\n    <character>PAM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Hello, is this Pam?<\/dialogue>\n    <character>PAM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Who is this?<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Toby Oxman.<\/dialogue>\n    <character>PAM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Toby -? Oh, hi! How are you?<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Oh, fine. How are you?<\/dialogue>\n    <character>PAM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Great!<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Great!<\/dialogue>\n    <character>PAM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>So what's going on?<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>That's what I was gon na ask you.<\/dialogue>\n    <character>PAM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>But. you called.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Oh, yeah, well. um. I was just calling because, well, I was wondering if you still remembered me, which I guess you do.<\/dialogue>\n    <character>PAM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>TOBY<\/character>\n    <dialogue>So. Look at where we are : the year 2000! Can you believe it? I mean, did you ever think we would actually make it?<\/dialogue>\n    <character>PAM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Um, well, yeah.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>So are you still acting?<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Oh, no, not any more. No, um, I kind of came to terms with myself, I realized I had done what I had to do. And it was time to move on.<\/dialogue>\n    <character>PAM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Oh. So what did you do after you gave up on acting?<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Well, I went to law school, if you can believe that.<\/dialogue>\n    <scene_description>Mike , Toby 's roommate and cameraman , enters looking for a towel , then goes to take a shower .<\/scene_description>\n    <character>PAM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I believe it.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Yeah, well, it was really all kind of a joke - and a rip - off, so, uh. so I dropped out.<\/dialogue>\n    <character>PAM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Oh, that's too bad.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Yeah, well, then it got me writing, so that was a good thing.<\/dialogue>\n    <character>PAM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Anything I might know about?<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Well, um, I kind of let things go on this novel I'd been really into - I mean, the whole publishing industry is totally corrupt. I mean, really, it's finished.<\/dialogue>\n    <character>PAM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>That's too bad.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>I worked over at a homeless shelter for a while, drove a cab to pay the rent, but, I mean, that was like - I mean, I have some dignity.<\/dialogue>\n    <character>PAM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>That's good. So then what do you do now?<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>I'm a documentary filmmaker.<\/dialogue>\n    <character>PAM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Oh? Anything I might have seen?<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>N - not yet. I'm hoping to get a grant for this one project on teenagers. Geez, remember when we were teenagers?<\/dialogue>\n    <character>PAM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Yeah. You did n't wan na take me to the prom.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Oh, I do n't remember that.<\/dialogue>\n    <character>PAM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I do.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Well, but it was so long ago. We were so different back then.<\/dialogue>\n    <scene_description>No response .<\/scene_description>\n    <character>TOBY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Uh, well, anyway, so I'm looking for subjects for this documentary on teenage life in suburbia. Kind of an exploration of the mental psyche of its mythology. I wrote to Derrida to see if he'd like to do the narration. But everything's still kind of in development at this point.<\/dialogue>\n    <character>PAM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Hunh.<\/dialogue>\n    <character>TOBY<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I work in a shoe store right now. But it's cool. I'm not ashamed. I mean, really, I have a much stronger sense of self now. And, uh, anyways, it's really very temporary.<\/dialogue>\n    <character>PAM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>That's good.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Yeah. um. so anyway, tell me. What about you? I'd heard through the grapevine you were producing movies.<\/dialogue>\n    <character>PAM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Yeah. But not any more.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Oh. Tired of ` life in the fast lane'?<\/dialogue>\n    <scene_description>No response .<\/scene_description>\n    <character>TOBY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Yeah. So you're um. you're married?<\/dialogue>\n    <character>PAM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Yeah.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Huh. Kids?<\/dialogue>\n    <character>PAM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Yeah.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>How many?<\/dialogue>\n    <character>PAM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Three.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Great. How old are they?<\/dialogue>\n    <character>PAM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Eight, six, and four.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Wow, that really is great. In a few years, who knows, maybe they'll want to be in my documentary!<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>PAM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Listen, Toby, I ca n't really talk right now. Do you mind if I call you back?<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Yeah, sure.<\/dialogue>\n    <character>PAM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>OK. Bye.<\/dialogue>\n    <character>TOBY<\/character>\n    <parenthetical>( to himself , after pause . )<\/parenthetical>\n    <dialogue>Maybe she has caller ID.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FAIRFIELD HIGH SCHOOL - DAY<\/stage_direction>\n    <scene_description>It is bright and shiny .<\/scene_description>\n    <character>MR. DEMARCO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Do you have any hobbies?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MR. DEMARCO'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Scooby , seventeen , and Mr DeMarco , the guidance counselor , sit opposite each other .<\/scene_description>\n    <character>SCOOBY<\/character>\n    <dialogue>No, not really.<\/dialogue>\n    <character>MR. DEMARCO<\/character>\n    <dialogue>Any books you like to read for fun?<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>MR. DEMARCO<\/character>\n    <dialogue>None at all? How about those ` underground' comics?<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>I hate reading.<\/dialogue>\n    <character>MR. DEMARCO<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>All right, Scooby, let's not beat around the bush. With your attitude, you're not going to get in anywhere.<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>OK.<\/dialogue>\n    <character>MR. DEMARCO<\/character>\n    <dialogue>` OK.' So you just do n't care.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Let me ask you, not as your guidance counselor, but. as a friend : what do you want to do with your life? I mean, what kind of long - term goals can you possibly have?<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>I dunno.<\/dialogue>\n    <character>MR. DEMARCO<\/character>\n    <dialogue>C'mon. Talk to me. Tell me what you're thinking.<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>Well, I mean. I wan na be on TV. Maybe have a talk show or something. Like Conan. Or early Letterman.<\/dialogue>\n    <character>MR. DEMARCO<\/character>\n    <dialogue>Ah - hah. And how is it you hope to achieve this goal?<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>I dunno. See if I have any connections.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIVINGSTON HOME \u2013 EVENING<\/stage_direction>\n    <scene_description>The sprinkler system is still on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM \u2013 EVENING<\/stage_direction>\n    <scene_description>The family is sitting waiting at the table : FERN , Scooby 's attractive mother ; MARTY , his bullish father ; BRADY , sixteen , his handsome jock brother ; and MIKEY , ten his smart youngest brother . CONSUELO , the maid , brings some bread to the table .<\/scene_description>\n    <character>FERN<\/character>\n    <dialogue>Did you knock on his door?<\/dialogue>\n    <character>MICKEY<\/character>\n    <dialogue>Yes, but he just shouted at me and used the f - word.<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>Scooby! Dinner!<\/dialogue>\n    <scene_description>No response . Pause .<\/scene_description>\n    <character>MICKEY<\/character>\n    <dialogue>Would anyone be interested in being hypnotized after dinner?<\/dialogue>\n    <character>FERN\/MARTY\/BRADY<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>FERN<\/character>\n    <dialogue>Let's just start.<\/dialogue>\n    <scene_description>They eat .<\/scene_description>\n    <character>MARTY<\/character>\n    <dialogue>I do n't know what's wrong with that kid.<\/dialogue>\n    <character>BRADY<\/character>\n    <dialogue>Maybe he's gay.<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>Do n't ever say that.<\/dialogue>\n    <character>BRADY<\/character>\n    <dialogue>What if he is?<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>He is n't.<\/dialogue>\n    <character>FERN<\/character>\n    <dialogue>Marty, ignore him.<\/dialogue>\n    <character>BRADY<\/character>\n    <dialogue>He's vegetarian, does n't do sports.<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>Brady!<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>FERN<\/character>\n    <dialogue>And even if he is.<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>MIKEY<\/character>\n    <dialogue>Gay people are people too, you know. You're just being prejudiced.<\/dialogue>\n    <character>BRADY<\/character>\n    <dialogue>I do n't care is he's gay. I'm cool. I mean, it's not like I have to share his room or anything.<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>I just want to know what the hell he's doing in his room that's so interesting he does n't come down for dinner.<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>Maybe he's building a bomb. just like -!<\/dialogue>\n    <character>FERN<\/character>\n    <dialogue>Do n't even joke about that!<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>I'm serious! What happens if he blows up the school?<\/dialogue>\n    <scene_description>A tense pause , followed by a distant crushing sound .<\/scene_description>\n    <character>SCOOBY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Fuck!<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>I'm going in there.<\/dialogue>\n    <scene_description>Scooby appears .<\/scene_description>\n    <character>SCOOBY<\/character>\n    <dialogue>Was anyone in my room today?<\/dialogue>\n    <character>FERN<\/character>\n    <dialogue>Is everything OK?<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>My CD case like totally collapsed. I'm gon na have to recatalogue all weekend.<\/dialogue>\n    <parenthetical>( sitting down . )<\/parenthetical>\n    <dialogue>Hey. Can you pass the salad over.<\/dialogue>\n    <character>MARTY<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Steak's really good tonight.<\/dialogue>\n    <character>SCOOBY<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Good.<\/dialogue>\n    <character>FERN<\/character>\n    <dialogue>Got a lot of homework?<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>I dunno.<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>Whaddya mean you do n't know? You either got a lot or you do n't. What's not to know?<\/dialogue>\n    <character>FERN<\/character>\n    <dialogue>Marty.<\/dialogue>\n    <character>MARTY<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You started filling out your college applications yet?<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>I'm not going to college.<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>FERN<\/character>\n    <dialogue>What are you going to do?<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>I dunno.<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>What DO you know?<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>Dad, I'm trying to figure things out right now, OK? It's like, really hard, and I'm just listening to some old Elton John and.<\/dialogue>\n    <scene_description>Brady mouths : ` Gay ! '<\/scene_description>\n    <character>MARTY<\/character>\n    <dialogue>Out! Leave the table!<\/dialogue>\n    <character>BRADY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>You heard me : leave the table!<\/dialogue>\n    <character>BRADY<\/character>\n    <parenthetical>( rising . )<\/parenthetical>\n    <dialogue>Man, I am out of here! This family is so fucked!<\/dialogue>\n    <scene_description>Brady leaves .<\/scene_description>\n    <character>MIKEY<\/character>\n    <dialogue>Mom, it's not fair if Brady can say the f - word and I ca n't.<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>Yeah, well, Mikey, listen up. Cause here's a lesson : life's not fair.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIVINSTON HOME - DAY<\/stage_direction>\n    <scene_description>A red sports car drives up front . Esposito , Brady 's buddy , drops off Brady and Cheryl , Brady 's cheerleader girlfriend . A cleaning woman walks along the sidewalk on her way to the bus stop .<\/scene_description>\n    <character>BRADY<\/character>\n    <dialogue>I'll talk to you later, man!<\/dialogue>\n    <character>ESPOSITO<\/character>\n    <dialogue>Yo, dude!<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Thanks, Esposito!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TV ROOM \u2013 DAY<\/stage_direction>\n    <scene_description>Brady , still in his football outfit , tracks in some dirt . Cheryl follows him to his room , giggling . Mikey sits on the sofa while Consuelo continues her housework .<\/scene_description>\n    <character>MIKEY<\/character>\n    <dialogue>Consuelo?<\/dialogue>\n    <character>CONSUELO<\/character>\n    <dialogue>Yes, Mikey?<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>Do you have any brothers or sisters?<\/dialogue>\n    <character>CONSUELO<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>Really? How many?<\/dialogue>\n    <character>CONSUELO<\/character>\n    <dialogue>Four brothers and five sisters.<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Why did your parents have so many children ? I mean , if they were poor , would n't it be better to have just one or two ?<\/scene_description>\n    <character>CONSUELO<\/character>\n    <dialogue>It was God's will.<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>But do you really believe in God? And heaven, hell and angels and all kind of stuff?<\/dialogue>\n    <character>CONSUELO<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM \u2013 EVENING<\/stage_direction>\n    <scene_description>The Livingstons are eating dinner .<\/scene_description>\n    <character>MARTY<\/character>\n    <dialogue>So? How was school today?<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>The same.<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>The same. Same as what?<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>Just the same.<\/dialogue>\n    <scene_description>A tense pause .<\/scene_description>\n    <character>BRADY<\/character>\n    <dialogue>We're studying the Holocaust in Social Studies.<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>Oh, yeah?<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>We did the same thing last year also.<\/dialogue>\n    <character>FERN<\/character>\n    <dialogue>How was the class?<\/dialogue>\n    <character>BRADY<\/character>\n    <dialogue>Well, I'm supposed to watch Schindler's List for homework. The movie's like almost four hours. And then I'm supposed to write a report on survivors.<\/dialogue>\n    <parenthetical>( to Marty . )<\/parenthetical>\n    <dialogue>You know any survivors, Dad?<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>Hmmm. Do I know any. personally?<\/dialogue>\n    <character>FERN<\/character>\n    <dialogue>Well, technically your Zeda is a survivor.<\/dialogue>\n    <character>BRADY<\/character>\n    <dialogue>He was in a concentration camp?<\/dialogue>\n    <character>FERN<\/character>\n    <dialogue>Well, no. But he had to escape the Nazis.<\/dialogue>\n    <character>BRADY<\/character>\n    <dialogue>But I thought he came over to America before the war.<\/dialogue>\n    <character>FERN<\/character>\n    <dialogue>Well, he did. With his family. But his cousins, they had to stay and they were all killed. And if he'd stayed, he would have been killed. So in my book he's a survivor.<\/dialogue>\n    <character>BRADY<\/character>\n    <dialogue>Even though it was only his cousins that were killed?<\/dialogue>\n    <character>FERN<\/character>\n    <dialogue>But that could've happened to him. Or to me, if I'd been alive. Or you.<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>Or me?<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>You mean, then, we're all survivors?<\/dialogue>\n    <character>FERN<\/character>\n    <dialogue>Well. yes. If it had n't been for Hitler, he would n't have had to leave Europe. We would have been. European.<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>But then, in a sense, since you would never have met Dad if your family had stayed in Europe. if it were n't for Hitler, none of us would have been born.<\/dialogue>\n    <scene_description>A long pause .<\/scene_description>\n    <character>MARTY<\/character>\n    <dialogue>Get the hell outta here!<\/dialogue>\n    <character>SCOOBY<\/character>\n    <parenthetical>( rising . )<\/parenthetical>\n    <dialogue>Man, it's just, like, conversation.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRINCIPAL'S OFFICE<\/stage_direction>\n    <scene_description>Toby sits across from Mr Kirk .<\/scene_description>\n    <character>MR KIRK<\/character>\n    <dialogue>Tell me : you make a living at this?<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Well, sir. uh. I'm actually not doing this for the money. When you make a documentary, you do it for many reasons, but money is certainly not one of them.<\/dialogue>\n    <character>MR KIRK<\/character>\n    <dialogue>I do n't get it.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Well, sir, a lot has happened to the landscape of the suburban high school since I was a student, and I feel it would be a valuable, perhaps even enlightening endeavor, to chronicle the changes, to get intimate with the realities kids and parents face in American schools today.<\/dialogue>\n    <character>MR KIRK<\/character>\n    <dialogue>Yeah, well, whatever. I'll let you know if there's interest.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - DAY<\/stage_direction>\n    <scene_description>Toby pauses by the receptionist before leaving .<\/scene_description>\n    <character>TOBY<\/character>\n    <dialogue>Excuse me, where's the bathroom?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAVATORY \u2013 DAY<\/stage_direction>\n    <scene_description>Toby rushes to the urinal . Scooby is sitting in a corner , smoking a joint , observing him . Toby smells the pot , turns and smiles at him .<\/scene_description>\n    <character>SCOOBY<\/character>\n    <dialogue>You a pervert?<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>No. Actually, I'm a documentary filmmaker?<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>Oh. You mean, like, Blair Witch Project?<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Well, no. I'm doing one on high school students, in fact.<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>What for?<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Well. it's kind of a sociological study in the aftermath of Columbine.<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>Is this to like get into Sundance?<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Yeah, well, it's possible they would be interested in it.<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>Doubt it.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Actually, there is some interest from the Sundance Channel.<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>Whoopee.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>HBO and MTV have also shown some interest.<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>SCOOBY<\/character>\n    <dialogue>So you have connections.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIVINGSTON HOME \u2013 NIGHT<\/stage_direction>\n    <scene_description>The lights are on .<\/scene_description>\n    <character>TOBY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>You see, we're trying to do a film on suburban lifestyles.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVINGSTON HOME \u2013 NIGHT<\/stage_direction>\n    <scene_description>Toby sits in the living room surrounded by the Livingston family . Marty fingers a card that reads : TOBY OXMAN , DOCUMENTARIAN . His address and phone number are printed below .<\/scene_description>\n    <character>TOBY<\/character>\n    <dialogue>kind of An American Family for the new millennium.<\/dialogue>\n    <character>FERN<\/character>\n    <dialogue>I thought this was about kids getting into college.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Oh, it is. I mean --<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>Which is it? You got ta keep your focus straight.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>You're absolutely right. The focus is on the college admissions process today.<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>MARTY<\/character>\n    <dialogue>And you want Scooby to be the focus of all this?<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Scooby and a few other students of different socioeconomic backgrounds.<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>Oh, well, I do n't have them yet, but --<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>Either Scooby is the focus, or forget it.<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>Yeah, I thought I was the focus.<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>I wan na be the focus.<\/dialogue>\n    <scene_description>Brady slaps him .<\/scene_description>\n    <character>FERN<\/character>\n    <dialogue>Toby, we need this to be a positive experience.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Well, I suppose I could reconceive.<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>Reconceive.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>'Cause Scooby does have a quality that I've been looking for, a quality that is emblematic of American today. It's part disillusionment, part hope.<\/dialogue>\n    <scene_description>Consuelo comes in with tea and Twinkies .<\/scene_description>\n    <character>MIKEY<\/character>\n    <dialogue>Twinkeys!<\/dialogue>\n    <character>FERN<\/character>\n    <dialogue>Boys, take napkins. Napkins.<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>Not to be crass, but what do we get out of this?<\/dialogue>\n    <character>FERN<\/character>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>Do n't worry, he does n't mean money.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Oh, I know, I know that. Well, sharing your story, your ups and downs, and so forth, can I hope, be an illuminating experience.<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>Yeah. How do we know we wo n't be exploited?<\/dialogue>\n    <character>FERN<\/character>\n    <dialogue>No, it's true.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Mr Livingston, I fully understand and I share your concerns. You fell vulnerable. And I know that this is a very difficult question, but what it comes down to is : can you make a leap of faith in me, in the same way that I have to make a leap of faith in you?<\/dialogue>\n    <scene_description>ON VIDEO : INT . LOCKER ROOM -- DAY Big Esposito , in football attire , surrounded by Brady and other athletes , talks to Toby . Kids whip towels at each other in the background .<\/scene_description>\n    <character>ESPOSITO<\/character>\n    <dialogue>This is a great school. I do n't care what anybody says. I mean, it's not perfect, but like the people are really cool, like the teachers and kids. they really care and all. And I know that they make fun of New Jersey all the time, but I do n't care.'Cause they're just snobs.'Cause Jersey is where America's at!<\/dialogue>\n    <scene_description>ON VIDEO : INT . EMPTY SCHOOL HALLWAY -- DAY<\/scene_description>\n    <character>TOBY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Walking down these hallways just like the ones I once walked down as a teenager, I could n't help thinking back to a time when every day I woke up depressed, suicidal, consumed by despair. Had things changed? Was the competition to get into the most prestigious schools still a requisite rite of passage? Beneath these masks of courtesy and friendliness I knew that there were darker forces at work. and I knew that Scooby was the key to revealing the truth.<\/dialogue>\n    <scene_description>VARIOUS SHOTS OF SCOOBY . looking pensive .<\/scene_description>\n    <character>TOBY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Scooby, Scooby, Scooby. What are you thinking? College, SATs, your parents, your brothers, your friends. How is it you deal with all this stress?<\/dialogue>\n    <scene_description>ON VIDEO : INT . CLASSROOM -- DAY A school psychologist sits at her desk .<\/scene_description>\n    <character>ELIZABETH ST. CLAIR<\/character>\n    <dialogue>The pressure to get into the college of your choice is incredible. You know, they did a study recently of the youth in Bosnia during the bombing, and they found that the stress the young people experienced there was less than what American high - school students go through when applying to college.<\/dialogue>\n    <character>TOBY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Is that right?<\/dialogue>\n    <character>ELIZABETH ST. CLAIR<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>TOBY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Oh, my God.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EDITING ROOM \u2013 NIGHT<\/stage_direction>\n    <scene_description>Toby and his editor examine the footage on an AVID .<\/scene_description>\n    <character>TOBY<\/character>\n    <dialogue>So whaddya think?<\/dialogue>\n    <character>EDITOR<\/character>\n    <dialogue>Well, I'm not really sure what you're trying to say. It's funny, I suppose. But it seems glib and facile to just make fun of how idiotic these people are.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>I'm not making fun. I'm showing it as it really is.<\/dialogue>\n    <character>EDITOR<\/character>\n    <dialogue>You're showing how superior you are to your subject.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>No, but I like my subject. I like these people.<\/dialogue>\n    <character>EDITOR<\/character>\n    <dialogue>No, you do n't.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Yes, I do. I love them!<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>EDITOR<\/character>\n    <dialogue>The camerawork's nice.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Thanks. I'll tell Mike.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Well, it's still just a beginning. I know I can. dig deeper.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIVINGSTON HOME \u2013 DAY<\/stage_direction>\n    <scene_description>It is bright and sunny .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVINGSTON HOME \u2013 DAY<\/stage_direction>\n    <scene_description>Fern is in the kitchen talking on the phone . She has a list of names and notes in front of her . Consuelo dusts in the background . Toby and Mike stand nearby with a video camera , recording everything .<\/scene_description>\n    <character>FERN<\/character>\n    <dialogue>but Marj -- may I call you Marj? -- what it really boils down to is. what does it mean to be a Jew? Exactly. Tzedakah. Charity. And the new wing at Beth Israel is. Well, actually, last year you gave $ 500. But this year $ 1,000 would not only be a mitzvah, it would bring you to a new level. Yes, of course. Your gift would also give you a Chagall menorah and two tickets to the dinner dance this spring. Because it's true : Israel needs us now. If not now, when? Well, that's wonderful. I'll speak to you next week. You too! Take care!<\/dialogue>\n    <scene_description>She hangs up just as Scooby walks inside , fresh from school .<\/scene_description>\n    <character>FERN<\/character>\n    <dialogue>Hi, Scooby! How was school today?<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <character>FERN<\/character>\n    <dialogue>Ready for tomorrow?<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>What's tomorrow?<\/dialogue>\n    <character>FERN<\/character>\n    <dialogue>The SATs, knucklehead.<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>I'm not taking them.<\/dialogue>\n    <scene_description>He walks off . ON VIDEO : INT . DINNER ROOM -- EVENING The family is eating dinner . There is a tense silence , finally broken by Mikey .<\/scene_description>\n    <character>MIKEY<\/character>\n    <dialogue>Mom?<\/dialogue>\n    <character>FERN<\/character>\n    <dialogue>Yes, Mikey?<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>I was looking through Scooby's SATs practice books this afternoon and I took one of the practice tests. Guess what score I got?<\/dialogue>\n    <character>FERN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>550 verbal, 520 math. And I'm only in fifth grade!<\/dialogue>\n    <scene_description>Everyone turns to glare at him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHILDREN'S BATHROOM \u2013 NIGHT<\/stage_direction>\n    <scene_description>Scooby is brushing his teeth when Marty enters .<\/scene_description>\n    <character>MARTY<\/character>\n    <dialogue>Scooby?<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>We have to talk.<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>SCOOBY<\/character>\n    <dialogue>Whaddya wan na talk about?<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>Do n't screw around with me. You know what I'm talking about.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You're taking those SATs. You're taking those SATs or your CD collection is history. You're taking those SATs and you're going to college. You're taking those SATs if I have to strap your ass to a chair, but buddy your taking them.<\/dialogue>\n    <scene_description>Pause . SCOOBY OK .<\/scene_description>\n    <character>MARTY<\/character>\n    <parenthetical>( under his breath as he starts walking away . )<\/parenthetical>\n    <dialogue>Tired of this shit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL GYM - DAY<\/stage_direction>\n    <scene_description>Toby and Mike shoot footage of the students as they take their SATs . Scooby is filling out his SAT in such a way that he creates a pattern of filled blanks that spells : FUCK THIS SHIT .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIVINGSTON HOME \u2013 DAY<\/stage_direction>\n    <scene_description>Toby and Mike are interviewing Brady and Cheryl in the driveway . Off to the side , Mikey tries hypnotizing a cat .<\/scene_description>\n    <character>TOBY<\/character>\n    <dialogue>So are you surprised that Scooby took the SATs after all?<\/dialogue>\n    <character>BRADY<\/character>\n    <dialogue>Not really. He's kind of a wuss.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>OK. How about you, Cheryl? Were you surprised?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>I dunno. Whatever.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Hmm.<\/dialogue>\n    <character>BRADY<\/character>\n    <dialogue>Hey, how come you drive such a shitty car?<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>TOBY<\/character>\n    <parenthetical>( joins their laughter . )<\/parenthetical>\n    <dialogue>I do n't know. That's interesting, though. A cool car. Is that something that's real important to you, Brady?<\/dialogue>\n    <character>BRADY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>CHERYL<\/character>\n    <dialogue>Uh duh.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCOOBY'S BEDROOM \u2013 DAY<\/stage_direction>\n    <scene_description>Scooby handles a gun his friend Stanley has given him .<\/scene_description>\n    <character>SCOOBY<\/character>\n    <dialogue>Pretty cool, Stanley.<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>How'd you get it?<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>It's my Dad's He hides it under some old TV Guides in his closet.<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>Gee, your Dad's smart.<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>Is it loaded?<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>No, I do n't think so.<\/dialogue>\n    <scene_description>Scooby points it at his head .<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>Scooby, do n't! Be careful!<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>I'm not an idiot, man. I watch TV.<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>I Know. I'm sorry. I'm just. a little nervous, I do n't know why.<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>You should be.<\/dialogue>\n    <scene_description>Scooby points it at Stanley , gets a terrified reaction , then tosses the gun aside .<\/scene_description>\n    <character>SCOOBY<\/character>\n    <dialogue>Here. You can keep it.<\/dialogue>\n    <scene_description>He lies down . Pause .<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>Scooby?<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>You know. I like you.<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>Yeah. I know.<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>I mean.<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>I know. Everyone knows.<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Do you think that you'd let me. um.<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>SCOOBY<\/character>\n    <dialogue>OK. If you feel like it. Just give me a second.<\/dialogue>\n    <scene_description>He pulls a bag of mushrooms out from beneath his night table , takes some and offers to Stanley .<\/scene_description>\n    <character>SCOOBY<\/character>\n    <dialogue>You want some?<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>No, thanks.<\/dialogue>\n    <scene_description>Scooby flicks on a CD , then lies down . DREAM SEQUENCE -- EXT. . LIVINGSTON HOME -- DAY While Stanley goes down on Scooby , the camera pans away from Scooby to reveal Marty and Fern being burned at the stake in the front yarn , writhing and screaming in agony .<\/scene_description>\n    <character>MARTY<\/character>\n    <dialogue>I'm so sorry! I should never have made you take the SATs!<\/dialogue>\n    <scene_description>The camera then pans to reveal Conan O'Brien approaching .<\/scene_description>\n    <character>CONAN<\/character>\n    <dialogue>Hey, Scooby! How's it going?<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>Conan O'Brien? Whoa! What are you doing here?<\/dialogue>\n    <character>CONAN<\/character>\n    <dialogue>I'm looking for a last - minute guest for my show. Any suggestions?<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>I'll be your guest!<\/dialogue>\n    <character>CONAN<\/character>\n    <dialogue>Really? Well, all right! Let's take a look at the television and see how we look.<\/dialogue>\n    <scene_description>The camera pans to reveal a TV standing on the lawn .<\/scene_description>\n    <character>SCOOBY<\/character>\n    <dialogue>Cool!<\/dialogue>\n    <scene_description>Conan turns on the TV and we move inside it to see Conan and Scooby sharing some talk - show patter and repartee .<\/scene_description>\n    <character>CONAN<\/character>\n    <dialogue>Welcome to the show, Scooby.<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>CONAN<\/character>\n    <dialogue>Nice to have you here.<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>Great to be here.<\/dialogue>\n    <character>CONAN<\/character>\n    <dialogue>And thank you for dressing up for us. This is very classy. Tell us. What kind of professional plans do you have? What's in your future?<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>Well, I was thinking. I might work for you.<\/dialogue>\n    <character>CONAN<\/character>\n    <dialogue>Ahh. tell me. What do you want to do for me? What's your idea?<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>Be your sidekick, you know, and maybe eventually become a TV talk - show host.<\/dialogue>\n    <character>CONAN<\/character>\n    <dialogue>TV talk - show host, OK. You were at sidekick eight seconds ago, then TV talk - show host. You'll be a Latin dictator in a bout a minute.<\/dialogue>\n    <scene_description>Audience laughter .<\/scene_description>\n    <character>CONAN<\/character>\n    <dialogue>Let's see what they think of the first idea. I'm curious what the audience thinks. Folks, what do you think : should Scooby be my new sidekick?<\/dialogue>\n    <scene_description>Audience cheers .<\/scene_description>\n    <character>CONAN<\/character>\n    <dialogue>Scooby, new sidekick, everybody!<\/dialogue>\n    <scene_description>Bigger round of applause . RETURN TO REALITY : INT . CHILDREN 'S BATHROOM -- NIGHT Scooby has spaced out while flossing . There is a knock at the door .<\/scene_description>\n    <character>SCOOBY<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <scene_description>Brady enters .<\/scene_description>\n    <character>BRADY<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>Hey. What's up?<\/dialogue>\n    <character>BRADY<\/character>\n    <dialogue>There's something I need to talk about with you.<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>BRADY<\/character>\n    <dialogue>There are some rumors.<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>Like what?<\/dialogue>\n    <character>BRADY<\/character>\n    <dialogue>You know. Stanley.<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>BRADY<\/character>\n    <dialogue>And like, do n't take this the wrong way. I mean, I'm cool. but. you know. I've got a good reputation at school and, well. I really do n't want it ruined.<\/dialogue>\n    <scene_description>He is visibly upset . Pause .<\/scene_description>\n    <character>SCOOBY<\/character>\n    <dialogue>No prob. I'm cool.<\/dialogue>\n    <character>BRADY<\/character>\n    <dialogue>Thanks, Scoob.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGH-SCHOOL PLAYING FIELD \u2013 DAY<\/stage_direction>\n    <scene_description>A football scrimmage is in progress . A play ends , and the Coach comes on to the field , barking :<\/scene_description>\n    <character>COACH<\/character>\n    <dialogue>Esposito, What the fuck do you think you're doing? You're tackling like a bitch on my football team, son! You got ta bend your ass over and hit somebody! You understand me?<\/dialogue>\n    <character>ESPOSITO<\/character>\n    <dialogue>Yes, sir!<\/dialogue>\n    <character>COACH<\/character>\n    <dialogue>You understand me?<\/dialogue>\n    <character>ESPOSITO<\/character>\n    <dialogue>Yes, sir!<\/dialogue>\n    <character>COACH<\/character>\n    <dialogue>Then do it! Livingston! That's the way to hit that hole, son!<\/dialogue>\n    <scene_description>Brady waves a Cheryl in the stands .<\/scene_description>\n    <character>COACH<\/character>\n    <dialogue>We're gon na become a football team today, guys! Let's move the ball! Move! Move! Move! I wan na see you hit those holes! Defense, fill those goddam gaps! Let's go, guys! Let's do it!<\/dialogue>\n    <scene_description>On the next play Brady runs to catch a pass , but is moved down by Esposito shouting , ` KILL HIM ! ' Cheryl jumps up , alarmed . O.S. cheerleaders finish their ` Go Bucks ! ' cheer , but Brady does n't rise .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ICU \u2013 EVENING<\/stage_direction>\n    <scene_description>Brady lies unconscious in bed , hooked up to machines . Marty , Fern , Scooby , and Cheryl stand around him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVINGSTON HOME \u2013 NIGHT<\/stage_direction>\n    <scene_description>Mikey sits at the kitchen table with Consuelo . He is eating ice cream .<\/scene_description>\n    <character>MIKEY<\/character>\n    <dialogue>When I'm in high school I'm not going to play any football. I'm just going to concentrate on class rank.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>What did you do in high school?<\/dialogue>\n    <character>CONSUELO<\/character>\n    <dialogue>I did not go to high school.<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>Were n't there high schools in El Salvador?<\/dialogue>\n    <character>CONSUELO<\/character>\n    <dialogue>We had to work. My family was poor.<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>Must've been hard being poor.<\/dialogue>\n    <character>CONSUELO<\/character>\n    <dialogue>I'm still poor.<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>Hmmm.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>But, Consuelo, even though your poor, do n't you have any hobbies or interests or anything?<\/dialogue>\n    <character>CONSUELO<\/character>\n    <dialogue>No, Mikey.<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>But like, what do you like to do when you're not working?<\/dialogue>\n    <character>CONSUELO<\/character>\n    <dialogue>I'm always working.<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>But when you're not. Like now. What do you like to do?<\/dialogue>\n    <character>CONSUELO<\/character>\n    <dialogue>This is work.<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>But it's not like real work. This is just babysitting.<\/dialogue>\n    <scene_description>Consuelo stares hard at him in silence .<\/scene_description>\n    <character>MIKEY<\/character>\n    <dialogue>You know, your job's really not so bad, if you think about it. You should smile more often.<\/dialogue>\n    <scene_description>ON VIDEO : DOCUMENTARY FOOTAGE OF : -LRB- 1 -RRB- Driving - along - the - neighborhood shots ; a lam post ; a sign ; a floating straw wrapper .<\/scene_description>\n    <character>TOBY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>When the sky is clear and the sun is warm, you're reminded of how beautiful things can be : a lamp post, a sign, a straw wrapper blowing in the wind... But when that dark cloud appears, you realize how fragile the balance of life is.<\/dialogue>\n    <scene_description>-LRB- 2 -RRB- The neurologist Dr Barry Jordan discussing Brady 's condition :<\/scene_description>\n    <character>DR JORDAN<\/character>\n    <dialogue>When Brady first arrived at the hospital he was unresponsive to verbal stimuli. Wee performed a CT scan which demonstrated a large subdural hemotoma with mass effect. Since the removal of the subdural he's been in coma.<\/dialogue>\n    <scene_description>-LRB- 3 -RRB- A psychologist discussing the effect of the Brady crisis on his family :<\/scene_description>\n    <character>DR GOODMAN<\/character>\n    <dialogue>When I first met the Livingstons it was in the first twenty four hours of Brady coming in after his tragic football accident and they were acting in a fairly typical way...<\/dialogue>\n    <scene_description>-LRB- 4 -RRB- The Livingstons consulting with Dr Goodman in a hospital waiting room :<\/scene_description>\n    <character>MARTY<\/character>\n    <dialogue>We're not the ones who need the help. My son needs help.<\/dialogue>\n    <character>DR GOODMAN<\/character>\n    <dialogue>And you -<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>My son's in there! He ca n't even feed himself, he ca n't eat -- I do n't even know if he's going to be a vegetable or not, for Chrissake!<\/dialogue>\n    <scene_description>The picture freezes and then zooms into a close up on Scooby .<\/scene_description>\n    <character>TOBY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>But what about Scooby? How would this effect him? What meaning is to be found in this?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EDITING ROOM \u2013 DAY<\/stage_direction>\n    <scene_description>Toby and his editor finish watching this latest footage .<\/scene_description>\n    <character>EDITOR<\/character>\n    <dialogue>This is definitely better.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>You think so? You do n't think that this might not be a little dry?<\/dialogue>\n    <character>EDITOR<\/character>\n    <dialogue>This is entertainment you're making, Toby. This story about a kid in the suburbs and the state of the college admissions process has, with this Brady crisis, evolved into something much richer and more provocative.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Yes, I know... But still, it should be somewhat entertaining.<\/dialogue>\n    <character>EDITOR<\/character>\n    <dialogue>I mean, without this footage, without this rigorous documentation, it would feel like exploitation.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>No, no, no. No exploitation. This is serious... But do n't you find it a little funny too, at the same time?<\/dialogue>\n    <character>EDITOR<\/character>\n    <dialogue>You've got a family tragedy on your hands. Will you tell me what's funny about that? About a kid in a coma?<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Nothing, I guess...<\/dialogue>\n    <character>EDITOR<\/character>\n    <dialogue>I mean, why are you making this documentary if you ca n't treat your subject with appropriate gravity?<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>OK, you're right, you're right....<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You know, we need to screen what we've got... invite some regular people, just some random off - the - street types... and see what real people think of this.<\/dialogue>\n    <character>EDITOR<\/character>\n    <dialogue>I dunno, Toby. We really have a long way to go. You still need a lot more footage, and it's probably a little premature to start screening...<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>OK, then we can invite serious intellectual types.<\/dialogue>\n    <character>EDITOR<\/character>\n    <dialogue>We're not ready.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Hip alternative types who will understand the process better...<\/dialogue>\n    <character>EDITOR<\/character>\n    <dialogue>We're not ready!<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Well, I need to see this with an audience!<\/dialogue>\n    <character>EDITOR<\/character>\n    <dialogue>What's an audience going to tell you?<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>I do n't know. Maybe they'll like it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVINGSTON HOME \u2013 NIGHT<\/stage_direction>\n    <scene_description>Mikey opens the refrigerator , takes out a bottle of grape juice , pours a cup for himself , then accidentally spills it all on the floor .<\/scene_description>\n    <character>MIKEY<\/character>\n    <dialogue>Consuelo! I spilled some grape juice on the floor!... Consuelo?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT RECREATION ROOM \u2013 NIGHT<\/stage_direction>\n    <scene_description>Mikey goes downstairs , finds her alone in her bedroom . She appears to be upset .<\/scene_description>\n    <character>MIKEY<\/character>\n    <dialogue>Consuelo?<\/dialogue>\n    <scene_description>No response .<\/scene_description>\n    <character>MIKEY<\/character>\n    <dialogue>Consuelo. Are you crying?<\/dialogue>\n    <character>CONSUELO<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>Yes, you are. I can tell. What's the matter?<\/dialogue>\n    <character>CONSUELO<\/character>\n    <dialogue>Mi Jesus... mi jesus...<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>Speak English.<\/dialogue>\n    <character>CONSUELO<\/character>\n    <dialogue>Mi Jesus esta muerto!<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>Consuelo, I'm sorry, but you know if you do n't speak English I ca n't understand you.<\/dialogue>\n    <character>CONSUELO<\/character>\n    <dialogue>My Jesus...<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>Who is Jesus?<\/dialogue>\n    <character>CONSUELO<\/character>\n    <dialogue>My baby.<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>You have a bay?<\/dialogue>\n    <character>CONSUELO<\/character>\n    <dialogue>My grandchild - baby.<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>Gee, I did n't even know you had any children. But why are you so upset about Jesus?<\/dialogue>\n    <character>CONSUELO<\/character>\n    <dialogue>He's dead.<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>Oh. How did it happen?<\/dialogue>\n    <character>CONSUELO<\/character>\n    <dialogue>He was executed. He was on Death Row and then he was executed.<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>How did they execute him?<\/dialogue>\n    <character>CONSUELO<\/character>\n    <dialogue>Poison gas.<\/dialogue>\n    <character>MIKEY<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Maybe it's for the best... I mean, if he was guilty of doing something wrong... People who are bad should be killed. Do n't you think so?<\/dialogue>\n    <character>CONSUELO<\/character>\n    <dialogue>Jesus was not bad.<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>Maybe he was and you just did n't know it.<\/dialogue>\n    <character>CONSUELO<\/character>\n    <dialogue>He was n't.<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>But still, you ca n't be sure.<\/dialogue>\n    <character>CONSUELO<\/character>\n    <dialogue>I am sure.<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>But really, you never know.<\/dialogue>\n    <character>CONSUELO<\/character>\n    <dialogue>I know!<\/dialogue>\n    <character>MIKEY<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Why was he on Death Row?<\/dialogue>\n    <character>CONSUELO<\/character>\n    <dialogue>For rape and murder.<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>MIKEY<\/character>\n    <dialogue>Consuelo, what is rape exactly?<\/dialogue>\n    <character>CONSUELO<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>It is when you love someone, and they do n't love you. And then you do something about it.<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>MIKEY<\/character>\n    <dialogue>Sometimes I feel like my parents do n't love me.<\/dialogue>\n    <character>CONSUELO<\/character>\n    <dialogue>Well then, when you get older you can do something about it.<\/dialogue>\n    <scene_description>A long pause .<\/scene_description>\n    <character>MIKEY<\/character>\n    <dialogue>Consuelo? I spilled some grape juice upstairs. Do you think you could clean up the floor now?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRADY'S BEDROOM \u2013 EVENING<\/stage_direction>\n    <scene_description>Marty and Mikey sit by the comatose Brady , who lies now in his own bed .<\/scene_description>\n    <character>MIKEY<\/character>\n    <dialogue>Dad?... Do you think that Brady will ever get better?<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>One in a million recover.<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>Maybe he's that one in a million!<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>Mikey, there's optimism, and then there's stupidity. It's a very fine line.<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>MIKEY<\/character>\n    <dialogue>I do n't think there's any hope, either. I was just trying to make you feel better.<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>You're welcome.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Dad?... Would you let me try hypnotizing you now?<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>Yeah. Sure Go ahead. Hypnotize me.<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>OK. Stay there. I'll be right back.<\/dialogue>\n    <scene_description>Mikey hurries off to fetch his hypnotizing apparatus . Marty sits and waits .<\/scene_description>\n    <character>MIKEY<\/character>\n    <dialogue>Just a sec!... Be right there!<\/dialogue>\n    <scene_description>Mikey returns , sets himself up across from Marty and takes out a shiny object .<\/scene_description>\n    <character>MIKEY<\/character>\n    <dialogue>Dad, can you turn around a bit, please?<\/dialogue>\n    <scene_description>Marty obliges .<\/scene_description>\n    <character>MIKEY<\/character>\n    <dialogue>Thanks. All right. Now you must look at this shiny object and concentrate. Relax your legs. Relax your arms. Relax your shoulders. Now keep your eyes on the shiny object... Your eyelids are getting heavy... heavier... You're getting sleepy... sleepier... Now let your eyes close shut... and you are asleep.<\/dialogue>\n    <scene_description>Marty 's head drops .<\/scene_description>\n    <character>MIKEY<\/character>\n    <dialogue>Now you are completely under my power. I am the only voice you can hear, the only voice you will listen to. Now. When you wake up you will be in a good mood. You wo n't worry so much about Brady. And I will be your favorite from now on. If Brady dies, you can be sad for a little bit, but I will still be the most important person in your life. You will never be mean to me, and always give me whatever I want. Also, you should fire Consuelo. She's lazy. Now when I snap my fingers, you will remember nothing, but you will do everything I have asked. One. Two. Three.<\/dialogue>\n    <scene_description>Mikey snaps his fingers and Marty wakes up .<\/scene_description>\n    <character>MARTY<\/character>\n    <dialogue>Hey, Mikey. You wan na get some ice cream?<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>OK!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIVINGSTON HOME \u2013 DAY<\/stage_direction>\n    <scene_description>A couple of maids are walking by with white babies in strollers . ON VIDEO : INT . SCOOBY 'S BEDROOM -- DAY<\/scene_description>\n    <character>SCOOBY<\/character>\n    <dialogue>So like, yeah... I caved in. I mean, I had to. My parents, they're like... still really depressed about Brady. So I wrote the bullshit essay. Filled out the applications, did the interviews... Y' know, I figure I can always drop out.<\/dialogue>\n    <character>TOBY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>So where'd you get in?<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>Prnceton.<\/dialogue>\n    <character>TOBY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>But what did you get on your SATs?<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>200 verbal\/710 math. Kinda weird, I know. But I think they thought it was, like, good - weird.<\/dialogue>\n    <scene_description>ON VIDEO : INT . LIVING ROOM -- EVENING Marty and Fern sit on the sofa .<\/scene_description>\n    <character>MARTY<\/character>\n    <dialogue>We used pull.<\/dialogue>\n    <character>FERN<\/character>\n    <dialogue>You know, you have to. Sometimes you just have to, Toby.<\/dialogue>\n    <character>TOBY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>But what kind of pull did you have?<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>I have a cousin. Very big giver to the alumni fund.<\/dialogue>\n    <character>FERN<\/character>\n    <dialogue>It's all about who you know.<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>Look, we're not suckers. Everyone else is out there doing the same thing.<\/dialogue>\n    <character>FERN<\/character>\n    <dialogue>He's right.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIVINGSTON HOME \u2013 DAY<\/stage_direction>\n    <scene_description>Scooby watches Toby and Mike as they try fixing their jammed camera .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Damn, Toby... This thing wo n't open again.<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Let me try it, let me try it.<\/dialogue>\n    <parenthetical>( takes camera from Mike . )<\/parenthetical>\n    <dialogue>It's um... The button is just stuck.<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>Hey, um, Toby? I was wondering... Is the documentary almost finished?<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Uh, yeah, we're getting there.<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>Can I see what you have so far?<\/dialogue>\n    <character>TOBY<\/character>\n    <dialogue>Sure... um... yeah, as soon as I have a screening I'll let you know.<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>Thanks man.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVINGSTON HOME \u2013 DAY<\/stage_direction>\n    <scene_description>Mikey and Consuelo are playing cards .<\/scene_description>\n    <character>MIKEY<\/character>\n    <dialogue>Gin! I win! Let's play again!<\/dialogue>\n    <scene_description>He starts dealing another round when Marty suddenly appears , back from work .<\/scene_description>\n    <character>MARTY<\/character>\n    <dialogue>Hey, Mikey!<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>Hi, Dad!<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>Come here, give me a hug!<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>Gee, you're home early!<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>Yeah, uh, listen. Why do n't you go upstairs and keep your Mom and Brady company for a bit? I need to speak alone with Consuelo for a moment.<\/dialogue>\n    <character>MIKEY<\/character>\n    <dialogue>Sure, Dad.<\/dialogue>\n    <scene_description>He runs up the stairs , pretends to disappear , but stays to observe .<\/scene_description>\n    <character>MARTY<\/character>\n    <dialogue \/>\n    <scene_description>Consuelo . Mrs. Livingston and I have discussed this , and we 've come to the conclusion that we are not very happy with your work lately , so we 're going to let you go .<\/scene_description>\n    <character>CONSUELO<\/character>\n    <dialogue>I - I do n't understand.<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>We've been happy with you in the past, but now we think maybe it's time for a change... uh... I know you've had trouble at home and maybe, you know, some of that is reflected I your work...<\/dialogue>\n    <character>CONSUELO<\/character>\n    <dialogue>But, Mr Livingston, I work very hard for you and your family!<\/dialogue>\n    <character>MARTY<\/character>\n    <dialogue>I understand, I understand that, and I'm sorry it had to end this way.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIVINGSTON HOME \u2013 DAY<\/stage_direction>\n    <scene_description>Consuelo exits the house and trudges towards the bus stop , carrying all her belongings . Other cleaning women are waiting for the bus as well .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCOOBY'S BEDROOM \u2013 DAY<\/stage_direction>\n    <scene_description>Scooby is looking at the address on Toby 's ` documentarian ' calling card . He picks up the phone and dials .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOE STORE \u2013 DAY<\/stage_direction>\n    <scene_description>Dave , the store manager , leaves a costumer for a moment to pick up the phone .<\/scene_description>\n    <character>DAVE<\/character>\n    <dialogue>Florsheim. Can I help you?<\/dialogue>\n    <character>SCOOBY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Hi. I... uh. I'm trying to reach Toby Oxman?<\/dialogue>\n    <character>DAVE<\/character>\n    <dialogue>Sorry, he's off today.<\/dialogue>\n    <scene_description>BACK TO SCOOBY ... on the phone .<\/scene_description>\n    <character>SCOOBY<\/character>\n    <dialogue>OK... um... Thanks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY \u2013 DAY<\/stage_direction>\n    <scene_description>Scooby drives his Mom 's shiny new SUV to New York .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A RUN-DOWN TENEMENT NEIGHBORHOOD \u2013 DAY<\/stage_direction>\n    <scene_description>Scooby pulls into a spot .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOBY'S APARTMENT BUILDING \u2013 DAY<\/stage_direction>\n    <scene_description>Scooby climbs a stairwell , rings a bell . Mike opens the door .<\/scene_description>\n    <character>SCOOBY<\/character>\n    <dialogue>Hey, uh, Mike. Is Toby here?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Uh, no, he's not.<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>Oh. Do you have any idea where he might be?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I think he's at a test screening.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOBY'S APARTMENT BUILDING \u2013 DAY<\/stage_direction>\n    <scene_description>Scooby hurries outside only to find his car stolen .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY \u2013 DAY<\/stage_direction>\n    <scene_description>Scooby rides a train .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCREENING-ROOM FACILITY \u2013 DAY<\/stage_direction>\n    <scene_description>Scooby sees a sign that reads : ` American Scooby : test screening . ' He goes into the screening room . SCOOBY 'S POV ... of the documentary being screened . ON VIDEO : EXT. . LIVINGSTON HOME BACKYARD -- DAY Marty talks to Toby poolside as he prepares a barbecue .<\/scene_description>\n    <character>MARTY<\/character>\n    <dialogue>I think Scooby's like a lot of kids. He just hit a... a speed bump. Now he's gon na find his way, his path is gon na be cleared, and I think he's gon na continue his education at a good college. And everybody else is gon na be happy.<\/dialogue>\n    <character>TOBY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>But Mr Livingston, are n't you a bit fearful that Scooby will be confronted with hollow values and systemic conformism?<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>MARTY<\/character>\n    <dialogue>I do n't know why this is so hard for you to comprehend. I had a terrific time in college. I've got a terrific job, a comfortable salary, terrific wife, three terrific kids... and every year I give to the alumni fund. Now why are you trying to make college out to be a bad thing, a negative experience? You were unhappy? Well, to bad! Get over it! Stop trying to impose your misery on others by going around saying, ` Life is bad, life is horrible.' Life is tough on you? Well, boo hoo!<\/dialogue>\n    <scene_description>ANGLE ON THE AUDIENCE . laughing . ON VIDEO : EXT. . LIVINGSTON HOME - DAY Scooby talks to Toby in the Backyard , Marty seen in the distant background .<\/scene_description>\n    <character>SCOOBY<\/character>\n    <dialogue>Well, yeah, my Dad is kind of a goofball. I just have to pretend to go along with his ideas.'Cause he really does n't get it : like I could be the next Oprah, for all he knows, but he's never even seen the show.<\/dialogue>\n    <scene_description>ANGLE ON SCOOBY . watching himself on screen ON VIDEO : NEW ANGLE ON SCOOBY . as he continues talking to Toby .<\/scene_description>\n    <character>TOBY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>What is most important to you?<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>I dunno. I'd like to be good at something. It does n't have to be TV. I mean, it could be movies. Anything. I'd be willing to direct.<\/dialogue>\n    <scene_description>The audience laughs .<\/scene_description>\n    <character>SCOOBY<\/character>\n    <dialogue>But I'd like to be, you know. famous. Not necessarily a superstar, just famous. Be recognized. Get fan Mail. Things.<\/dialogue>\n    <scene_description>ON VIDEO : TIGHTER ON SCOOBY . still talking to Toby .<\/scene_description>\n    <character>TOBY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Uh, Scooby, now I understand how you want to be a TV talk - show host and all, like Conan O'Brien, but did you know even he went to college?<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>He did?<\/dialogue>\n    <character>TOBY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Yeah. He went to Harward.<\/dialogue>\n    <character>SCOOBY<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>ANGLE ON SCOOBY . watching the film and listening to the audience . The laughter is out of control . He is devastated .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVINGSTON HOME - NIGHT<\/stage_direction>\n    <scene_description>Marty and Fern are in bed watching the news . Mikey appears in the doorway .<\/scene_description>\n    <character>MIKEY<\/character>\n    <dialogue>Mom? Dad? Can I sleep with you? I'm scared.<\/dialogue>\n    <scene_description>They flick off the TV .<\/scene_description>\n    <character>MARTY<\/character>\n    <dialogue>Sure!<\/dialogue>\n    <character>FERN<\/character>\n    <dialogue>Of course, honey. Come in bed with us. Come on.<\/dialogue>\n    <scene_description>Mikey gets in bed with them .<\/scene_description>\n    <character>MARTY<\/character>\n    <dialogue>Snug as a bug in a rug. Yeah, here you go, pal. All righty. You're monster - proofed!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIVINGSTONE HOME - NIGHT<\/stage_direction>\n    <scene_description>Consuelo approaches the house stealthily . ANGLE ON FINGERS . opening the back of the house ; stuffing towels under bedroom doors ; turning on the kitchen stove 's gas ; switching on the main gas valve in the boiler room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIVINGSTON HOME - NIGHT<\/stage_direction>\n    <scene_description>Consuelo flees . A very long pause . FADE TO BLACK .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET NEAR LIVINGSTON HOME - EARLY MORNING<\/stage_direction>\n    <scene_description>Scooby gets off the bus with a few cleaning women . He walks homewards .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIVINGSTONE HOME -DAY<\/stage_direction>\n    <scene_description>Scooby sees reporters , policemen , firemen , ambulances , gas company vehicles , and neighbors surrounding his house . Toby and Mike suddenly appear with their camera trained on him . ON VIDEO<\/scene_description>\n    <character>TOBY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Oh, my God, Scooby! I'm so sorry. I'm so, so sorry.<\/dialogue>\n    <character>SCOOBY<\/character>\n    <dialogue>Do n't be. Your movie's a hit.<\/dialogue>\n    <scene_description>-LSB- THE END -RSB-<\/scene_description>\n  <\/scene>\n<\/script>","summary":"The film consists of two stories that are unrelated and have different actors, titled \"Fiction\" and \"Non-Fiction\". College and high school serve as the backdrop for these two stories about dysfunction and personal turmoil. Fiction. Vi (Selma Blair) is a graduate student dating an undergrad, Marcus, who has cerebral palsy, though he observes that she no longer seems passionate about their relationship. They are in a creative writing class taught by a famed African-American author, Mr. Scott (Robert Wisdom). Marcus has written an amateurish story about the effect of Vi's love on his medical condition, and she encourages him to share it in the class's workshop. While other students give it tepid praise, Mr. Scott and his favorite student, Catherine, harshly dismiss it as mediocre trash. Upset, Marcus angrily blames Vi for not warning him against sharing the story, and breaks up with her, accusing her of being secretly attracted to Mr. Scott. A hurt and heartbroken Vi goes out to a bar and encounters Mr. Scott. She thanks him for being honest about Marcus's story, praises his writing, and asks if he thinks she will make a great writer; he tells her that he does not. After she flirts with him clumsily, they return to his residence, where she discovers photos of Catherine, naked and in various poses, which triggers an unwanted racist reaction in Vi. Though she becomes uncomfortable, she reluctantly has anal sex with Mr. Scott, an act which is censored by a large red square. During the act, he makes her call him an ethnic slur. Afterwards, Vi returns to Marcus in tears and reconciles with him. Later, back in the class workshop, Vi shares a fictionalized version of her encounter with Mr. Scott. The other students are appalled by the story's content, and Catherine calmly eviscerates the piece, claiming that \"Vi\" is an arrogant, narcissistic fetishist and racist. When Marcus and Vi defend the piece as being a real experience, an unimpressed Mr. Scott informs them that when she starts writing about an experience, it becomes fiction, and that the story is nevertheless an improvement over her other works because there \"is now at least a beginning, a middle, and an end.\" Non-Fiction. Toby Oxman (Paul Giamatti) is a struggling would-be filmmaker attempting to make his first documentary. Though he originally intends to make a film about the experiences of teenagers post-Columbine on a wide scale, he is eventually forced to limit his scope to one dysfunctional, upper-middle-class suburban New Jersey family and their teenage son Scooby (Mark Webber). His father, the strict and unsympathetic Marty (John Goodman), is frustrated with Scooby's lazy attitude and unwillingness to attend college, while his football player brother Brady worries that Scooby is secretly gay and his obnoxious youngest brother Mikey is obliviously self-obsessed. Scooby's only vague ambition is to be famous, and have a talk show on television like his idol Conan O'Brien, who appears to him in a dream sequence as Scooby allows a lovestruck friend to perform oral sex on him. Scooby intentionally flunks his exams, but to his surprise, he finds that he has been accepted to Princeton University, which Marty privately reveals was because of a large donation from a family member. Meanwhile, Mikey torments the family's overworked, underpaid, and exhausted housekeeper, Consuelo, exercising his privileged and sheltered upbringing to badger her with questions that emphasize the discrepancy between their lifestyles. She reveals that she is still poor, has no time for any personal activities due to the constant demands from the family, and that her beloved grandson has been executed after being arrested for rape and murder. The self-centered Mikey only continues ordering her around. Later, Brady suffers a serious accident during football practice and falls into a deep coma. Mikey takes advantage of Marty's vulnerability over Brady's condition to perform hypnotism on him, during which he commands himself to be Marty's new favorite son and orders Marty fire Consuelo for petty reasons. Miraculously, the hypnosis works perfectly. Marty fires Consuelo despite her tearful pleading, much to Mikey's smug enjoyment. After the documentary is finished and Toby refuses to let him see the completed footage, Scooby secretly attends a late-night screening, where he witnesses the audience laughing uproariously at his dim-witted portrayal. Realizing that he will never be famous, Scooby is left devastated. While he is away, a vengeful Consuelo sneaks back into the house and murders the rest of the Livingstons by poisoning the house with carbon monoxide. Scooby returns home the next morning to find emergency services wheeling his deceased family into an ambulance. Toby, back with a camera crew, runs up to Scooby to tearfully apologize for what's transpired, but an emotionless and jaded Scooby coldly tells him to not be sorry, because \"the movie's a hit.\" Autobiography. The original version of the film featured a third story entitled \"Autobiography\", concerning, among other things, a closeted football player (James Van Der Beek). The main character has an explicit sex scene with a male partner (Steven Rosen); the entire story was cut from the final version."}
{"movie_name":"Far from Heaven_2002","imdb_id":"tt0297884","script":"<script>\n  <scene>\n    <character>FAR FROM HEAVEN<\/character>\n    <dialogue>Written by<\/dialogue>\n    <scene_description>Todd Haynes USE FOR EDUCATIONAL PURPOSES ONLY Hartford, Connecticut, 1957<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW ENGLAND VILLAGE - DAY<\/stage_direction>\n    <scene_description>The bells of a Gothic church are ringing down upon a comely square near downtown Hartford. The crisp fall day is alive with color, as cornflower skies burst through the autumn reds and golds, setting off the clean brick buildings and freshly painted homes that so proudly distinguish this New England township. Music over OPENING CREDITS. We see a powder blue, '56 Chevrolet turn onto the main road its way into town.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLAGE ST. - DAY<\/stage_direction>\n    <scene_description>The Chevrolet stops in front of a small dance school just off State St. and an attractive, red-haired woman in her mid- thirties emerges from the car, wearing sunglasses and a scarf. She says hello to a mother and daughter exiting the school on her way inside, returning a moment later with a strawberry-haired girl in ballet clothes. CATHY WHITAKER, - having collected her 8-year-old daughter JANICE from ballet class is finally returning home from another busy day.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RESIDENTIAL STREET - LATER<\/stage_direction>\n    <scene_description>Cathy's car is turning onto a well-tended, residential street, full of traditional black-shuttered, white wood homes, each set back on spacious lawns against, the blaze of autumn color<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITAKER HOUSE - LATER<\/stage_direction>\n    <scene_description>She turns into the driveway of a large, fastidiously landscaped 2-story home, with a slate roof and flagstone walkway. DAVID WHITAKER, a typical 11-year-old boy, with-dark hair like his dad's, is circling around the front of the house on his bright red Schwinn:<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>Mother! Mother! Can I sleep over at Hutch's tonight? Mrs. Hutchinson gave permission.<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(from the car)<\/parenthetical>\n    <dialogue>Not tonight, David.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Your father, and I are going out and I need you to, look after your sister.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Aww, shucks.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Now move your school bag, David, so mother can park.<\/dialogue>\n    <scene_description>The Whitaker's maid SYBIL, a handsome black woman in her early 30's, is just coming down the front steps to the car.,<\/scene_description>\n    <character>JANICE<\/character>\n    <parenthetical>(hopping out)<\/parenthetical>\n    <dialogue>Sherry Seeger says they only' cost something like five or six dollars Please mother, please can I?<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(opening her door)<\/parenthetical>\n    <dialogue>Oh Sybil, thank heavens!<\/dialogue>\n    <character>SYBIL<\/character>\n    <dialogue>Well I knew you were going to the grocery -<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>David, please help Sybil unload the car.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>How come Janice doesn't gotta?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Doesn't have to. Because Janice is carrying in all her, belongings an marching straight upstairs into the bath.<\/dialogue>\n    <scene_description>She steps out of the car loaded down with laundered clothes and packages.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Your father and I have an engagement so I want you both to have a nice early dinner. And help Sybi1.<\/dialogue>\n    <character>DAVID\/JANICE<\/character>\n    <parenthetical>(not exactly in sync)<\/parenthetical>\n    <dialogue>Yes, ma'am.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Sybil, did Mr. Whitaker call while I was out?<\/dialogue>\n    <character>SYBIL<\/character>\n    <dialogue>No, Mrs. Whitaker. Not since you've been gone.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>How do you like that guy. Big time executive and he still can't remember a single social obligation!<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>So mother can I? Please can I get them?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Janice I said we'll discuss it with your father. Now hurry on inside. David, put your bike away and help Sybil with the groceries! Where's your jacket?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Inside.<\/dialogue>\n    <scene_description>Cathy turns to see her best friend ELEANOR FINE, a lean, blond woman in her early 40's, just turning up her drive in a shiny green Imperial.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Well hello, stranger! Aren't I seeing you in about three hours time?<\/dialogue>\n    <scene_description>Eleanor is stepping out of her car.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>You are. But I just left the caterers this instant and I had to dash over.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>You have the samples?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>You bet.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Ooh. Come inside.<\/dialogue>\n    <scene_description>They start into the house.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>I can only stay a second.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>You just caught me, actually - David! What did I tell you?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>I'm getting the last bag!<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITAKER LIVING ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Inside, Janice is practicing some ballet steps by a large stone fireplace. Eleanor is in the midst of showing Cathy color samples for the big company party it is their annual venture to host.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>And imagine with the table setting I showed you. The aqua trim? Is that smart?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Oh yes.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>You like?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Mmm-hmm.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <parenthetical>(starting to put things away)<\/parenthetical>\n    <dialogue>Alright. So I'll call the caterers in the morning and you confirm with Dorothy on the deposit - and honey, we're in business.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Magnavox '57, here we come.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>You betcha.<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>Mother, look!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Janice I thought I told you to go start your bath! You know your father and I -<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>Just this one part, pleeease.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Alright, bunt lickety-split.<\/dialogue>\n    <scene_description>Janice performs a few steps for her mother and Eleanor as . David pours over the TV guide on the couch.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Oh, will you look at that?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>That's lovely darling.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>She's getting so grown up.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Mother, can I stay up and watch The Californians - Please!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Janice, honey, watch the lamp!<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>Ta-da!<\/dialogue>\n    <scene_description>Eleanor and Cathy applaud Janice who beams in delight.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Ohh!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>That was lovely, dear. Now hurry on up and get out of those clothes or mother's going to be late.<\/dialogue>\n    <scene_description>Janice turns, still beaming, and dashes up the stairs.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>I better run. I still have loads to do.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Well I can imagine, with Mona Lauder and that little white glove of hers...<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Aren't social mores the most dreadful bore? Mona's invited us at least three times last year so of course there wasn't a thing I could do. And Stan sees Fred at the club...<\/dialogue>\n    <scene_description>Cathy opens the door for her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITAKER HOUSE - LATER<\/stage_direction>\n    <scene_description>Eleanor starts down the front steps of the house toward her car.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Thanks for stopping by.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>I'll see you at eight!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>You know Frank. On the dot!<\/dialogue>\n    <scene_description>Cathy waves goodbye and closes the door. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITAKER'S BEDROOM - EVENING<\/stage_direction>\n    <scene_description>Janice is curled into an armchair in the soft glow of Cathy's vanity, watching her mother do her make-up in the mirror. Cathy is dressed for the evening in sleeveless emerald green, setting off the tangerine of her hair.<\/scene_description>\n    <character>JANICE<\/character>\n    <dialogue>Mother?<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(doing her lipstick)<\/parenthetical>\n    <dialogue>Uh-huh?<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>When you were a little girl you looked like me, right?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Uh-huh.<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>So when I grow up does that mean I'll look like you?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Is that what you want darling, to look like me?<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>Yes. I hope I look exactly as pretty as you.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>What a lovely compliment coming from my perfectly lovely daughter.<\/dialogue>\n    <scene_description>She picks up her wristwatch and glances at the time.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Seven-fifteen!, Where on earth is your father?<\/dialogue>\n    <scene_description>She gets up and walks over to a dresser.<\/scene_description>\n    <character>JANICE<\/character>\n    <dialogue>Mother?<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(searching for something)<\/parenthetical>\n    <dialogue>What is it, dear?<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>Can I try putting lipstick on me?<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(starting out the door)<\/parenthetical>\n    <dialogue>Not tonight, Janice. Mother's going to be late. Sybil!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOYER - CONTINUOUS<\/stage_direction>\n    <scene_description>Cathy is starting down the stairs.<\/scene_description>\n    <character>SYBIL<\/character>\n    <parenthetical>(off)<\/parenthetical>\n    <dialogue>Yes, Mrs. Whitaker?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Did I leave my gloves on the hall table?<\/dialogue>\n    <character>SYBIL<\/character>\n    <parenthetical>(off)<\/parenthetical>\n    <dialogue>Yes, ma'am. I see them.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>You know it's nearly twenty after and Mr. Whitaker still hasn't phoned!<\/dialogue>\n    <scene_description>Sybil meets Cathy at the foot of the stairs with the gloves.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Thank you, Sybil... - I'm at my wits end. I even tried calling his office, though I knew there wouldn't be anyone -<\/dialogue>\n    <scene_description>The phone RINGS. Sybil goes to the hall table to answer it.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Well I certainly hope that's him now. Because if it isn't -<\/dialogue>\n    <character>SYBIL<\/character>\n    <dialogue>Whitaker residence.<\/dialogue>\n    <parenthetical>(brief silence, then stiffly)<\/parenthetical>\n    <dialogue>Yes sir. One moment, please.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Who is it?<\/dialogue>\n    <character>SYBIL<\/character>\n    <parenthetical>(Lowered voice)<\/parenthetical>\n    <dialogue>Police department.<\/dialogue>\n    <scene_description>Cathy frowns, taking the phone.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>OFFICER'S VOICE<\/character>\n    <parenthetical>(through receiver)<\/parenthetical>\n    <dialogue>Yes. Am I speaking with a Mrs. Frank Whitaker?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>OFFICER'S VOICE<\/character>\n    <dialogue>Of 1616 Sycamore Drive?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Yes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION BOOKING - EVENING<\/stage_direction>\n    <character>OFFICER<\/character>\n    <dialogue>One moment please.<\/dialogue>\n    <scene_description>The OFFICER hands the phone over to FRANK WHITAKER, a dark- haired, big-boned man in his early forties, who has just finished wiping his ink-stained fingers with a rag.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Cathy?<\/dialogue>\n    <character>CATHY'S VOICE<\/character>\n    <dialogue>Frank! Frank, what happened? Are you alright?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I'm fine. Everything's fine. It was a big - mix-up, the whole thing. But you gotta come get me. They won't - let me leave on my own.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITAKER FOYER - EVENING<\/stage_direction>\n    <character>CATHY<\/character>\n    <dialogue>Oh, Frank. Don't worry, darling. I'll be there as quickly as I can.<\/dialogue>\n    <parenthetical>(she hangs up the phone)<\/parenthetical>\n    <character>SYBIL<\/character>\n    <dialogue>Is there anything I can do, Mrs. Whitaker?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>No. Thank you Sybil. Just keep an eye on the children. I'm sure I won't be long.<\/dialogue>\n    <scene_description>Cathy grabs her purse and coat and rushes for the door. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE STATION - NIGHT<\/stage_direction>\n    <scene_description>Cathy's car pulls up in front of the lamp-lit police station She hurries out of the car, still in her evening clothes, and up the stone steps of the precinct<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION FRONT DESK - CONTINUOUS<\/stage_direction>\n    <scene_description>Cathy walks over to the OFFICER at the desk.<\/scene_description>\n    <character>OFFICER<\/character>\n    <dialogue>Can I help you ma'am?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Yes, I'm here to meet my husband. The name's Whitaker, Frank Whitaker.<\/dialogue>\n    <character>OFFICER<\/character>\n    <dialogue>Here we go. Room 103. If you'll follow me, ma'am.<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOOKING - LATER<\/stage_direction>\n    <scene_description>Cathy signs the report and hands it to the BAIL CLERK.<\/scene_description>\n    <character>BAIL CLERK<\/character>\n    <dialogue>This is your copy, ma'am, and your receipt.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Then the door opens and Frank walks through it.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Oh, Frank!<\/dialogue>\n    <scene_description>Cathy rushes to him and they embrace. As they leave, two of the officers are still watching.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - NIGHT<\/stage_direction>\n    <scene_description>Cathy drives while Frank broods in the passenger seat. REAR- PROJECTED streetlights send charcoal shadows across their faces.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>I'll tell you one thing. If it hadn't been for that sniveling junior cop they'd have never gone through the whole charade in the first place!... '<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Stead of trying to save face. I saw the guy they were after - the 'loiterer'. They wouldn't even listen to me! I tell you, I have half a mind to sue the pants off the whole precinct.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Or... you could simply forget the whole thing ever happened.<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>(takes a breath)<\/parenthetical>\n    <dialogue>I suppose you're right.<\/dialogue>\n    <scene_description>Brief silence.<\/scene_description>\n    <character>CATHY<\/character>\n    <parenthetical>(a bit cautiously)<\/parenthetical>\n    <dialogue>So were there - drinks after work?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>I thought they said something... Intoxication level, something-or- other - ?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Christ! I had a lousy cocktail with Bill after work, going over the portfolio! Should I be arrested for that too?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Of course not, darling.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>The whole thing's just put me in a fowl state.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>I know, dear. You just try to rest. We'll be home in no time.<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITAKER FOYER - LATER<\/stage_direction>\n    <scene_description>Cathy stands in semi-darkness, on the phone with Eleanor. She finds the police report in her purse.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>He's fine... The car's fine. Frank says it was the bumper that got hit, but you know me. I can't tell the difference... I'm just sorry we had to miss it... I know...<\/dialogue>\n    <scene_description>She drops the papers into the waste-basket.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITAKER BEDROOM - LATER<\/stage_direction>\n    <scene_description>Frank sits in bed with an open book on his lap, staring into space. The door squeaks open and he looks over.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>She was fine. Said it was a dreadful bore, what with Mona Lauder and her gossip.<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>(depleted)<\/parenthetical>\n    <dialogue>Cathy, I'm sorry.<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(embracing him)<\/parenthetical>\n    <dialogue>Darling, you've nothing to be sorry for. It was all just a silly wretched mistake!<\/dialogue>\n    <scene_description>They kiss deeply and he takes her in his arms. Cathy closes her eyes and begins caressing his shoulders and neck. But Frank stops and pulls away. She looks at him.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Feel so tired.<\/dialogue>\n    <scene_description>He turns and lays down into bed and she caresses the side of his head with her hand.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Course you do. You sleep now.<\/dialogue>\n    <scene_description>She switches off the light, pulls up his blanket and slowly walks to the bathroom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BREAKFAST ROOM - MORNING<\/stage_direction>\n    <scene_description>The Whitaker clan are all seated around the breakfast room table finishing a breakfast of bacon and eggs.<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>Pop, Hutch says if the Russian's drop a bomb on us we couldn't drop one back on them. Is that true?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Well, son, I'm afraid Hutch has a point there.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Why, pop? Why couldn't we?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Drink your orange juice David.<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>I already drank mine. Look father!<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Attagirl!<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Pop, why?<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(glancing at the clock)<\/parenthetical>\n    <dialogue>Would you look at the time? It's already a quarter after! You kids are going to miss your bus! Sybil can you help me get their coats?<\/dialogue>\n    <scene_description>Sybil helps Cathy distribute coats and lunch-boxes, and hurry them out of the kitchen.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Alright, now. Say goodbye to your father.<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>Bye, father.<\/dialogue>\n    <parenthetical>(she kisses him)<\/parenthetical>\n    <character>FRANK<\/character>\n    <dialogue>Goodbye, kitten.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Bye, pop!<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Have a good day at school, son.<\/dialogue>\n    <scene_description>David is first out the door.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Janice, have you got your notebook?<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>Yes, Mother.<\/dialogue>\n    <scene_description>David swings open the front door of the house. We can hear the bus approaching.<\/scene_description>\n    <character>DAVID<\/character>\n    <parenthetical>(off)<\/parenthetical>\n    <dialogue>The bus is here!<\/dialogue>\n    <character>SYBIL<\/character>\n    <dialogue>David - your lunch!<\/dialogue>\n    <scene_description>Cathy takes it from Sybil and rushes after him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEN - MORNING<\/stage_direction>\n    <character>CATHY<\/character>\n    <dialogue>David!<\/dialogue>\n    <scene_description>He swoops back in, grabs it, and is off again, followed by Janice.<\/scene_description>\n    <character>JANICE<\/character>\n    <dialogue>Bye, mother!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Have a nice day at school, dear.<\/dialogue>\n    <scene_description>Cathy pecks her on the cheek and she runs out the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITAKER HOUSE - MORNING<\/stage_direction>\n    <scene_description>The bus pulls up in front of the house as David and Janice go running and Cathy waves.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Bye!<\/dialogue>\n    <scene_description>The big yellow door closes behind them and the bus pulls off down the street. A small truck is just pulling up to the house which reads DEAGAN GARDEN SUPPLY.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEN - MORNING<\/stage_direction>\n    <scene_description>Cathy is walking back' into the house as Frank emerges from the kitchen, gathering his things for work.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>I thought you were going to have another piece of toast?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>It's late. I should get over there.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Well can I at least fix you lunch?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>No, thank you, dear. I've got lunch meetings all week long. It's portfolio season!<\/dialogue>\n    <scene_description>The doorbell rings.<\/scene_description>\n    <character>CATHY<\/character>\n    <parenthetical>(calling)<\/parenthetical>\n    <dialogue>Sybil, if that's the milkman, his check is in the kitchen drawer!<\/dialogue>\n    <character>SYBIL<\/character>\n    <parenthetical>(off)<\/parenthetical>\n    <dialogue>Yes, ma'am!<\/dialogue>\n    <scene_description>Cathy helps Frank on with his overcoat.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Well I'm just glad you're feeling better, dear.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Thank you, darling.<\/dialogue>\n    <scene_description>Frank embraces Cathy and kisses her warmly just as - BOOM! - a camera flash ignites them, and they turn. Standing beside Sybil in the entryway is MRS. LEACOCK , a grey-faced woman in her 60's, and a young PHOTOGRAPHER with a camera.<\/scene_description>\n    <character>PHOTOGRAPHER<\/character>\n    <dialogue>Pardon me, ma'am, sir.<\/dialogue>\n    <character>SYBIL<\/character>\n    <dialogue>Excuse me, Mrs. Whitaker. This is - Mrs. Leacock? She says she had an appointment with you this morning?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Oh Jimminy - I completely forgot the time! Yes, of course, Mrs. Leacock, please come in.<\/dialogue>\n    <character>MRS. LEACOCK<\/character>\n    <dialogue>I do apologize, Mrs. Whitaker, but candid views are always the best.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Darling, this is Mrs. Leacock, the lady I told you about, from the Weekly Gazette.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Ah, yes. The fine lady who wants to air all our dirty secrets.<\/dialogue>\n    <parenthetical>(shaking her hand)<\/parenthetical>\n    <dialogue>How do you do, Mrs. Leacock?<\/dialogue>\n    <character>MRS. LEACOCK<\/character>\n    <dialogue>Fear not, Mr. Whitaker. We at the Gazette ascribe to only the highest of professional standards.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Well I'm glad to hear it. Now if you'll all please excuse me, I have some professional standards of my own to keep up.<\/dialogue>\n    <parenthetical>(kissing Cathy)<\/parenthetical>\n    <dialogue>Goodbye, darling.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Goodbye, dear.<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>(nodding goodbye)<\/parenthetical>\n    <dialogue>Mrs. Leacock...<\/dialogue>\n    <character>MRS. LEACOCK<\/character>\n    <dialogue>Pleasure, Mr. Whitaker.<\/dialogue>\n    <scene_description>Franks gives a final wave to the room and is gone.<\/scene_description>\n    <character>MRS. LEACOCK<\/character>\n    <dialogue>Your husband's a very charming man, Mrs. Whitaker.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Thank you. We're rather fond of him ourselves. Please, won't you come in and make yourselves at home.<\/dialogue>\n    <scene_description>Cathy escorts them into the living room and over to the couch while untying her kitchen apron.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>As you can see, I'm just running a bit behind schedule today.<\/dialogue>\n    <character>MRS. LEACOCK<\/character>\n    <dialogue>That's quite alright, dear.<\/dialogue>\n    <scene_description>Cathy sits down opposite her, casually smoothing her hair and dress.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>I suppose I still can't imagine why in the world you'd want an interview with me in the first place. It couldn't possibly be very interesting for your readers.<\/dialogue>\n    <character>MRS. LEACOCK<\/character>\n    <dialogue>The readers of the Weekly Gazette, Mrs. Whitaker, are women just like yourself, with families and homes to keep up. A good society paper need not be a gossip rag. You are the proud wife of a successful sales executive, planning the parties and posing at her husband's side on the advertisements.<\/dialogue>\n    <scene_description>She refers to a framed magazine advertisement on the wall, showing Cathy and Frank posed in front of their TV with the heading: MR. &amp; MRS. MAGNAVOX CHOOSE NOTHING BUT THE BEST FOR THEIR HOME!<\/scene_description>\n    <character>MRS. LEACOCK<\/character>\n    <dialogue>To everyone here in Connecticut you are Mr. and Mrs. Magnavox.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>I suppose I should be flattered. I just don't feel I'm so very different from anyone else, really. I like to shop and wear a pretty dress every now and then. But really my life is just like any other wife or mother's - I don't suppose I've ever really wanted anything -<\/dialogue>\n    <scene_description>Suddenly, through the window, Cathy glimpses someone moving through her backyard. She stands.<\/scene_description>\n    <character>MRS. LEACOCK<\/character>\n    <dialogue>What is it, dear?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>I think I just saw someone walking through our yard.<\/dialogue>\n    <scene_description>Cathy walks to the french doors leading to the backyard. There she sees A tall black man standing outside, hunching over something.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>What on earth...?<\/dialogue>\n    <character>MRS. LEACOCK<\/character>\n    <parenthetical>(standing, seeing)<\/parenthetical>\n    <dialogue>Oh my.<\/dialogue>\n    <scene_description>Cathy opens the door.<\/scene_description>\n    <character>MRS. LEACOCK<\/character>\n    <dialogue>Mrs. Whitaker - Perhaps you should call the police -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITAKER BACKYARD - DAY<\/stage_direction>\n    <scene_description>The Whitaker backyard is an ample, two-tiered expanse, with flagstone walkways and fastidiously landscaped hedges, trees and flower-beds bordering the swimming-pool and lawn. Cathy takes a few cautious steps in the direction of the stranger.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Excuse me. Can I help you?<\/dialogue>\n    <scene_description>The man looks up from a shrub of evergreens, squinting. This is RAYMOND DEAGAN, 40 years old, good-looking. He steps toward her, looking slightly irritated himself. Cathy takes an involuntary step back.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Ma'am, I'm sorry. My name's Raymond Deagan. I'm Otis Deagan's son. I've just been - taking over some of his jobs since he -<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>You're Otis's son?<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Well I'm - terribly sorry for speaking to you in that manner. I didn't know who was in my yard.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>No need.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>How is your father? I knew he was in the hospital.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Yes, I - My father passed away, I'm afraid.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>No! I had no idea! I'm so very sorry.<\/dialogue>\n    <parenthetical>(putting her hand on his arm)<\/parenthetical>\n    <dialogue>Please accept our deepest condolences. Your father was a wonderful, dedicated man.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>The phone rings from inside the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>We hear Sybil answering it as Mrs. Leacock watches Cathy through the window - just removing her hand from Raymond's arm.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACKYARD - DAY<\/stage_direction>\n    <scene_description>Sybil steps out to the porch from the kitchen door.<\/scene_description>\n    <character>SYBIL<\/character>\n    <dialogue>Mrs. Whitaker? I have Greenhill Caterers,on the line!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Thank you, Sybil!<\/dialogue>\n    <parenthetical>(to Raymond)<\/parenthetical>\n    <dialogue>I'm sorry. Would you excuse me a moment?<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>Cathy hurries back inside.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Mrs. Leacock, I'm terribly sorry! I'll just be a minute more!<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAGNAVOX OFFICES - DAY<\/stage_direction>\n    <scene_description>Frank is walking briskly down the wide passageway of his floor at Magnavox, passing secretarial pools and other employees with a smile. Triangles of morning sun bleach the wood-paneled walls of the floor's lean, modern decor. He passes a sprite little secretary named Kitty.<\/scene_description>\n    <character>KITTY<\/character>\n    <dialogue>Good morning, Mr. Whitaker.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Morning Kitty. Lovely dress you're wearing.<\/dialogue>\n    <character>KITTY<\/character>\n    <dialogue>Thank you, sir.<\/dialogue>\n    <scene_description>Frank continues on towards the outer office of the executive suite where his secretary, MARLENE, is stationed beneath a large abstract wall-hanging. Standing opposite, pooling over a file is STAN FINE, Eleanor's husband, a tall, slightly greying man with a belly, who works right below Frank in the Hartford division.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Morning, Marlene, Stan!<\/dialogue>\n    <character>MARLENE<\/character>\n    <dialogue>Good morning, Mr. Whitaker.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>So how's the second best golfer in Hartford this morning?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Someone break the books already? Don't tell me our wives' party budgets have finally come in.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Almost as fatal. Millstein called. Looks like New York just shaved a week off portfolio deadline.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>You gotta be kidding me.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I wish I were.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>What're they trying to do, strangle us to death?! Does Dennis know?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Called him first thing.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Alright. Get Dennis and the others and call a portfolio meeting for lunch today. Marlene, see if you can move production review to dinner.<\/dialogue>\n    <character>MARLENE<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>And would you get my wife on the phone?<\/dialogue>\n    <parenthetical>(to Stan)<\/parenthetical>\n    <dialogue>Thanks, Stan.<\/dialogue>\n    <scene_description>Frank pats Stan on the shoulder and marches through the large wood-paneled door of his office.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANK'S OFFICE - CONTINUOUS<\/stage_direction>\n    <scene_description>Frank drops his briefcase and sits down heavily at the large, handsomely ornamented desk. He takes a breath before turning and quietly opening a lower drawer, pulling out a quart of Jack Daniels and pouring a swig into his coffee. As he stashes it away we hear<\/scene_description>\n    <character>MARLENE<\/character>\n    <parenthetical>(on intercom)<\/parenthetical>\n    <dialogue>Sir? I have Mrs. Whitaker on line 1.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Thank you, Marlene.<\/dialogue>\n    <scene_description>Frank takes a slurp, swallows and pushes line 1 on his phone.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Cathy, is that you, dear?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITAKER FOYER - MORNING<\/stage_direction>\n    <scene_description>Cathy speaks to Frank from the phone in the hall.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Did you forget something?... Oh, Frank... I'm sorry, dear... No, I understand... I just wish you wouldn't overwork yourself, Frank. Especially after... I know - I know, dear... I will... See you then... Goodbye, dear.<\/dialogue>\n    <scene_description>Cathy hangs up the phone and starts back into the living room.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>I'm terribly sorry for the interruptions. Where was it you wanted me?<\/dialogue>\n    <character>PHOTOGRAPHER<\/character>\n    <dialogue>Just one more at the fireplace.<\/dialogue>\n    <scene_description>Cathy walks over to the fireplace where she puts one hand on the mantle and turns toward the photographer.<\/scene_description>\n    <character>PHOTOGRAPHER<\/character>\n    <dialogue>Right there. Now smile.<\/dialogue>\n    <scene_description>Cathy smiles.<\/scene_description>\n    <character>MRS. LEACOCK<\/character>\n    <dialogue>Isn't that darling.<\/dialogue>\n    <character>PHOTOGRAPHER<\/character>\n    <dialogue>Hold it...<\/dialogue>\n    <scene_description>FLASH. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTOWN HARTFORD - NIGHT<\/stage_direction>\n    <scene_description>We descend from a moonlit night past the Hartford skyline to the awning of Sammy's Steakhouse, where Frank and four STAFF MEMBERS are just emerging.<\/scene_description>\n    <character>FRANK<\/character>\n    <parenthetical>(slightly slurred)<\/parenthetical>\n    <dialogue>Well I guess that about wraps it up.<\/dialogue>\n    <parenthetical>(shaking hands) )<\/parenthetical>\n    <dialogue>Bob, Rick. Gentlemen.<\/dialogue>\n    <character>STAFF MEMBER 1<\/character>\n    <dialogue>You're sure you're alright getting home, sir?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Thank you, Davis. But as 2nd in command of the US McMillan I do feel equipped to locate my car without cover.<\/dialogue>\n    <character>STAFF MEMBER 1<\/character>\n    <dialogue>Very good, sir.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Bright and early gentlemen!<\/dialogue>\n    <scene_description>They say goodnight and we follow Frank as he proceeds down the pink, lamplit blocks of downtown Hartford. He passes teenagers clumped in cars, making out. He passes a HOOKER.<\/scene_description>\n    <character>HOOKER<\/character>\n    <dialogue>Where ya headed, tiger?<\/dialogue>\n    <scene_description>Frank looks away as he passes. When he looks up again he sees The marquee of a movie theater glowing up ahead.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOVIE THEATER - NIGHT<\/stage_direction>\n    <scene_description>Frank approaches the tungsten awning of the old, 20's-style cinema, currently featuring half-price double-bills. He stops. The marquee reads: THREE FACES OF EVE and MIRACLE IN THE RAIN.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOVIE THEATER - LATER<\/stage_direction>\n    <scene_description>ONSCREEN: We are in the middle of THREE FACES OF EVE. Raymond Burr is questioning one of Joanne Woodward's more timid personalities. Frank is walking in from the rear of the theater. He stops along the back wall and stands watching, muted in shadow like Edward Hopper's usherette. ONSCREEN: Joanne Woodward is becoming agitated. She starts switching into another personality. A dark-haired man is getting up from his seat and walking in the direction of the Gentleman's Lounge. Frank notices him pausing a moment at the foot of the small, carpeted stairway just as a second man approaches. The dark-haired man spots the second one and proceeds briskly down the stairs. The second man follows, looking around nervously as he goes. Frank stares darkly down the empty corridor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITAKER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Cathy sits in the lilac glow of her lamp-lit writing table, addresses party gunshots can be heard from downstairs. Cathy turns the face of her desk-clock to see the time. It reads 10:36.<\/scene_description>\n    <character>CATHY<\/character>\n    <parenthetical>(getting up)<\/parenthetical>\n    <dialogue>Oh, for heavens sake... DAVID!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITAKER LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Music escorts us from the dark of the living room to the chestnut glow of the den where David sits watching television. Sybil inventories serving ware in the dining room, as Cathy makes her way downstairs with writing tablet and pen.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>David, this is the third time I've told you to turn that infernal racket off and get into bed! Do you know what time it is?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Mother please can I just this once stay up and watch the -<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>No, David, you most certainly may not and that is final.<\/dialogue>\n    <character>DAVID<\/character>\n    <parenthetical>(reluctantly turning it off)<\/parenthetical>\n    <dialogue>Ah, jeez...<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>That's not the sort of language we use in this house! Now march! And don't forget to wash your teeth!<\/dialogue>\n    <scene_description>As David swaggers off Cathy straightens up the couch.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Oh, Sybil, be sure and check dinner forks as well. I seem to recall being short last year.<\/dialogue>\n    <character>SYBIL<\/character>\n    <dialogue>I thought it was salad forks we were short on.<\/dialogue>\n    <scene_description>Cathy begins closing drapes in the living room windows.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Perhaps you're right. Whatever it was, I'd like to try and order a set before the party.<\/dialogue>\n    <character>SYBIL<\/character>\n    <dialogue>That shouldn't be a problem.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>You know, Sybil, I think this may just turn out to be our best one yet.<\/dialogue>\n    <character>SYBIL<\/character>\n    <dialogue>Well I'm sure Mr. Whitaker will be extremely proud.<\/dialogue>\n    <scene_description>Cathy turns off a lamp by the window and parts the drapes a moment. She glances out into the silent, blue-edged night.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOVIE THEATER - NIGHT<\/stage_direction>\n    <scene_description>A man on a ladder is replacing the letters on the theater marquee as Frank files out of the theater amid the strange week-night crowd. He stops a moment beneath the canopy of bulbs. There's a trill of laughter from down the street and Frank turns. The two men from the movie theater are walking off, one of them laughing. They turn the corner. Frank squints, looking after. And with a frown of curiosity and some unsteadiness, he begins to follow.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DARK STREET - NIGHT<\/stage_direction>\n    <scene_description>The two men are crossing the shadowy side-street. One of them can still be heard as they approach a dark, inconspicuous door, a few steps down from street-level. They open it, sending a sudden flood of green into the darkness, then quickly vanish inside. Frank stares after, stuck between intrigue and fear. He follows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRAN'S - NIGHT<\/stage_direction>\n    <scene_description>Fran's is a small, burgundy-walled `gentlemen's bar', with black upholstery and a mint-green light embalming its well- groomed clientele - most of whom take subtle notice of Frank as he enters the room. Out of nowhere a voice is heard -<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Identification please.<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>(turning, startled)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <scene_description>A thin man in his 50's with a pencil-thin mustache stands beside the door.<\/scene_description>\n    <character>MAN WITH MUSTACHE<\/character>\n    <dialogue>Identification, drivers license.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Oh. Sure.<\/dialogue>\n    <scene_description>Frank shows him his wallet.<\/scene_description>\n    <character>MAN WITH MUSTACHE<\/character>\n    <dialogue>Thank you, sir. Have a pleasant evening.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Frank proceeds cautiously into the room, heading to the bar. A SPANISH BARTENDER accent nods slowly as he approaches.<\/scene_description>\n    <character>SPANISH BARTENDER<\/character>\n    <dialogue>Yes, sir? What can I get you this evening?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Just a Johnny Walker, please. Neat.<\/dialogue>\n    <character>SPANISH BARTENDER<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <scene_description>Frank takes out a cigarette and lights it. He glances stiffly across the room. The plucked and coiffed patrons, seated mostly alone, glance back with the same stiff, self-consciousness. The men from the theater sit in some corner rapt in conversation. Frank's drink is set on the bar and he takes a fast, deep sip, shiny with perspiration. Frank puts down a bill and takes a long, relaxing drag off his cigarette.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>One more of the same.<\/dialogue>\n    <scene_description>Frank looks over and sees a clean-cut BLOND MAN (early 30's) at the bar. He exhales. The blond man glances over and smiles cautiously. Frank smiles cautiously back.<\/scene_description>\n    <character>BARTENDER<\/character>\n    <dialogue>There you are, sir.<\/dialogue>\n    <scene_description>The blond man remains looking at Frank a moment before picking up his drink and starting back to his table. Frank watches him go. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITAKER FOYER - NIGHT<\/stage_direction>\n    <scene_description>Frank closes the front door behind him and starts slowly up the stairs of the house, black on shadowy blue, as a slow burden of music rises. He stops at the foot of his bedroom door and stares at<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Cathy, copper and blue, asleep in bed. Music lightens as we DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITAKER HOUSE - DAY<\/stage_direction>\n    <scene_description>We float out from a newspaper photograph of Frank and Cathy kissing in the latest Hartford Weekly Gazette to reveal Eleanor, reading aloud from the paper. The door to the house is open as Cathy and her arriving guests, DOREEN and NANCY, stand around listening, having obviously been stopped in their tracks to do so. Cathy holds a lilac scarf under her chin as a feisty wind whips through the trees and sends a circus of leaves through the sky.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>'So does the fabled maxim hold that behind every great man there resides a great lady? In this case - wife, mother and Mrs. Magnovox herself - Cathleen Whitaker proves that it does, a woman as devoted to her family as she is kind to Negroes'!!<\/dialogue>\n    <scene_description>They burst into laughter.<\/scene_description>\n    <character>DOREEN<\/character>\n    <dialogue>To Negroes?!<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(grabbing the paper)<\/parenthetical>\n    <dialogue>Let me see that! Oh my heavens. What on earth was that woman thinking?<\/dialogue>\n    <character>NANCY<\/character>\n    <dialogue>How did that come up?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Cathy? Oh she's been liberal ever since she played summer stock at college with all those steamy Jewish boys! Why do you think they used to call her red!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Oh for heaven sakes, come inside. Before Joe McCarthy comes driving by!<\/dialogue>\n    <scene_description>Eleanor laughs and Cathy hands her back the paper.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Here.<\/dialogue>\n    <scene_description>Suddenly a strong gust of wind sweeps Cathy's scarf right off her head and up over the side of the house.<\/scene_description>\n    <character>DOREEN<\/character>\n    <dialogue>Uh-oh!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Oh, no! I love that scarf!<\/dialogue>\n    <character>DOREEN<\/character>\n    <dialogue>Oh, I'm sure it just blew behind the house somewhere.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Oh, for heaven's sake.<\/dialogue>\n    <scene_description>They continue back inside the house.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>This really isn't your day, is it?<\/dialogue>\n    <character>NANCY<\/character>\n    <dialogue>So did they really call you 'red'?<\/dialogue>\n    <scene_description>Eleanor laughs some more.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Oh Nancy, honestly!<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM - LATER<\/stage_direction>\n    <scene_description>The ladies are just finishing lunch, a bit tipsy from the daiquiris.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Can I get anyone another daiquiri?<\/dialogue>\n    <character>NANCY<\/character>\n    <dialogue>Oh no. One's my limit.<\/dialogue>\n    <character>DOREEN<\/character>\n    <dialogue>Better not.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>El?<\/dialogue>\n    <scene_description>Eleanor holds out her glass. Cathy smiles, refilling it.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Thanks doll.<\/dialogue>\n    <parenthetical>(takes a sip)<\/parenthetical>\n    <dialogue>Alright now girls, no more beating around the bush. Nancy?<\/dialogue>\n    <character>NANCY<\/character>\n    <dialogue>I can't.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Come on now. Can't be that bad.<\/dialogue>\n    <character>NANCY<\/character>\n    <dialogue>Alright.<\/dialogue>\n    <parenthetical>(she smiles bashfully)<\/parenthetical>\n    <dialogue>Well... Mike insists on once a week.<\/dialogue>\n    <scene_description>The laddies giggle, except for Cathy, who stands holding the pitcher of daiquiris.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Ah, you got off easy!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Once a week?<\/dialogue>\n    <character>DOREEN<\/character>\n    <dialogue>Yea, you're lucky. Ron's more like two or three.<\/dialogue>\n    <character>NANCY<\/character>\n    <dialogue>Really? Three?<\/dialogue>\n    <character>DOREEN<\/character>\n    <dialogue>And how.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>That's nothing. Girlfriend of mine?<\/dialogue>\n    <parenthetical>(to Cathy)<\/parenthetical>\n    <dialogue>Shirley Dawson -<\/dialogue>\n    <parenthetical>(back to everyone)<\/parenthetical>\n    <dialogue>Her husband? Every night-o-the- week... plus three times more on the weekend! Can you imagine?<\/dialogue>\n    <scene_description>Cathy returns the pitcher to the bar.<\/scene_description>\n    <character>NANCY<\/character>\n    <dialogue>Oh, my.<\/dialogue>\n    <character>DOREEN<\/character>\n    <dialogue>How long have they been married?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Well, long enough! Seven years? Eight?<\/dialogue>\n    <scene_description>Doreen and Nancy break into more giggles as Cathy stands a moment, reflected in thought in the marbled mirror, a note of music accompanying. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITAKER HOUSE - LATER<\/stage_direction>\n    <scene_description>Cathy stands in front of her house waiving goodbye to Eleanor, Doreen and Nancy, who make their way to their cars.<\/scene_description>\n    <character>DOREEN<\/character>\n    <dialogue>It was lovely, Cathleen!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Thanks, girls.<\/dialogue>\n    <character>DOREEN<\/character>\n    <dialogue>Bye, now.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Chicken was divine.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Thanks, El.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>I'll call you tomorrow!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Bye.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Thanks again, hon! It was all too divine!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Thanks, El. I'll call you tomorrow.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Bye!<\/dialogue>\n    <scene_description>Cathy is about to turn back into the house when she puts a hand to her head, remembering her scarf. She glances over toward the side of the house and starts slowly down the front steps, glancing around the yard as she goes. By now the wind has died down and a pale opal light has taken the edge off the sun. A soft spell of music begins. She doesn't see it along the front hedges and continues on to the side of the house. She turns the corner, glancing up at the roof. Suddenly<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>Could this possibly -<\/dialogue>\n    <scene_description>Cathy turns with a start. Raymond is standing along the side of the house holding her lilac scarf.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>No - You found it!<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Yes - It was...<\/dialogue>\n    <parenthetical>(starts walking toward her)<\/parenthetical>\n    <dialogue>hanging off one of the birch's down front.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>It's just been so windy. I was just going back in the house when it just -<\/dialogue>\n    <scene_description>Raymond hands Cathy the scarf.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>... sailed off my head - Thank you.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>I had a feeling it might have been yours.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Who else could have been so absentminded?<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>No. The color. Just seemed right.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Well thank you, Mr. Deagan. For finding it.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Please. Call me Raymond.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Thank you. Raymond.<\/dialogue>\n    <scene_description>She smiles and they begin walking back to the front yard.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Everything looks wonderful by the way.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Well good. Pop's a tough act to follow when it comes to his work. But I think we got everything pretty under control.<\/dialogue>\n    <scene_description>Cathy looks at him a moment.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>I'm sure it hasn't been easy. Taking over for your father so quickly.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Well I guess between pa's business, my shop, and looking after my little girl, there's not much time left for reflecting.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>I didn't know you had children.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Just the one. Sarah's her name.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>And how old is Sarah?<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Eleven years old, yea. And the sun and the moon to me.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Well I'm sure she's a lovely child. You and your wife must be very proud.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Well, Mrs. Deagan - my wife - she passed away when Sarah was about five.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Oh Raymond. I'm so sorry.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Well. Thank you. We do - we do just fine, Sarah and I.<\/dialogue>\n    <parenthetical>(reaching for his wallet)<\/parenthetical>\n    <dialogue>I have a - picture somewhere...<\/dialogue>\n    <parenthetical>(opening it for Cathy)<\/parenthetical>\n    <dialogue>There. That's Sarah.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Oh, she's darling. Look at those eyes... And what's this I hear about a shop?<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>The plant shop? Yea. It's just a little place, down on Hawthorn.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Started out as a service for gardeners, ordering plants and fertilizer. 'Til I opened the store. 'Bout six years ago. The only thing that business degree's been good for yet.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Well that's marvelous, Raymond. You should be very proud.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Well. If you're ever in the neighborhood you be sure and stop by. We have some lovely houseplants.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Well I certainly will.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Alright then.<\/dialogue>\n    <scene_description>She smiles goodbye and walks back into the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITAKER FOYER - LATER<\/stage_direction>\n    <scene_description>Cathy closes the door behind her. Right away we hear Sybil from the kitchen door.<\/scene_description>\n    <character>SYBIL<\/character>\n    <parenthetical>(off)<\/parenthetical>\n    <dialogue>Mrs. Whitaker? I have that list whenever you're ready!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Thanks, Sybil. I'll come get it now. Where has this day gone to?<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITAKER BREAKFAST ROOM - EVENING<\/stage_direction>\n    <scene_description>From just outside the blaze of the kitchen we find Cathy and Sybil busily serving dinner to the children.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Elbows off the table, David!<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>Eeuu - I hate those!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>I'm sorry, Janice. But for a growing girl, who needs her vitamins and is studying ballet -<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>Oh mother! You said... You said -<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>I said we would discuss it and we discussed it. Now I don't want to hear another word about it. I certainly don't like thinking I've raised such spoiled children.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>What do you mean children? I'm not the one who wants some dopey ballet shoes!<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>Slippers!<\/dialogue>\n    <scene_description>The telephone rings. Sybil is carrying a tray of food.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>If that's your father... Don't worry, Sybil, I'll get it.<\/dialogue>\n    <parenthetical>(she picks up the phone)<\/parenthetical>\n    <dialogue>Hello? Frank? You haven't left?... Oh no, not again... I know Frank, but every week... I know, I know darling... I won't... Alright... Goodnight, dear.<\/dialogue>\n    <parenthetical>(she hangs up the phone)<\/parenthetical>\n    <character>DAVID<\/character>\n    <dialogue>What! He's not coming home again?<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>Father never wants to come home!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Oh Janice, he most certainly does. It's just a terribly busy time for your father right now, and he's under a great deal of strain.<\/dialogue>\n    <character>DAVID<\/character>\n    <parenthetical>(to Janice)<\/parenthetical>\n    <dialogue>Yea!<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>Shut up.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>You know what, Sybil? Wrap up a plate for Mr. Whitaker. I'm just gonna go and take it over there myself.<\/dialogue>\n    <character>SYBIL<\/character>\n    <dialogue>All the way downtown?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>It's really not so far. Anyway, the children are nearly through, and knowing Mr. Whitaker, I'll at least be sparing him another night of pretzels and coffee.<\/dialogue>\n    <scene_description>Cathy picks up her coat from a corner chair and starts out the door as we DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE BLDG. LOBBY - NIGHT<\/stage_direction>\n    <scene_description>Cathy, emerging through the shimmer of a revolving door, as quiet dissonance emerges, building slowly throughout the scene. She walks across the large marble-floored lobby, Tupperware in hand, to the night-watch's table.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>I'm just dropping something off to my husband on the twelfth floor. Mr. Whitaker.<\/dialogue>\n    <scene_description>The NIGHT-WATCH motions her in and Cathy continues briskly to the elevators.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 12TH FLOOR - NIGHT<\/stage_direction>\n    <scene_description>The elevator doors open. Cathy steps out onto the darkened floor and starts down the central corridor toward the executive suite. As she approaches the outer office she realizes there is no one else in sight, no lights, no sign of work.<\/scene_description>\n    <character>CATHY<\/character>\n    <parenthetical>(to herself, perplexed)<\/parenthetical>\n    <dialogue>Frank?<\/dialogue>\n    <scene_description>She glances around as she continues, doubtfully, in the direction of his office. Then she notices A soft strip of light coming from beneath his office door.<\/scene_description>\n    <character>CATHY<\/character>\n    <parenthetical>(shaking her head)<\/parenthetical>\n    <dialogue>Oh, Frank...<\/dialogue>\n    <scene_description>In a rush of wifely sympathy she walks up to the door and politely opens it.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Frank - ?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANK'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Instantly she sees it: a shirtless blond man with loosened pants locked in a writhing kiss with another man in shirtsleeves, who appears to be fondling him. Immediately they turn and jolt apart. It takes her a moment to register that the man in shirtsleeves is Frank. All at once Cathy gasps, pulling back and turning, dropping her Tupperware. She shuts her eyes and struggles for breath. Inside we can hear the men scrambling to dress, knocking something over in the process. Suddenly Cathy turns facing the door, reeling, horrified. Music burns with the weight of realization as she starts back- stepping slowly, staring out in confusion and disbelief. She glimpses something through the crack of the door and stops. Frank catches sight of her from inside. Cathy stares. He looks down. Suddenly the blond man slips out past him, darting briskly down the hall. He disappears down the stairwell where we can hear his echoey steps slowly fading away. All at once Cathy turns and runs, music returning with thunder and storm.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Cathy!<\/dialogue>\n    <scene_description>She runs down the hall to the elevator, bangs on the button until it opens and throws herself inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR - LATER<\/stage_direction>\n    <scene_description>Cathy gasps for air inside the dim, mirror-lined elevator, trying to pull her hair over her eyes and shut out the world forever. SLOW FADE TO BLACK<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITAKER HOUSE - LATER<\/stage_direction>\n    <scene_description>Music bathes the shadowy quiet of the Whitaker exterior, its darkness brushed blue with moonlight, as we glide in slowly toward the living room window.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - LATER<\/stage_direction>\n    <scene_description>Music continues as we creep in slowly on Cathy silhouetted against the glass, frozen in thought. Suddenly there's the sound of keys at the door and we stop, silent. Cathy doesn't move. Frank quietly shuts the door behind him and turns around. Dead, eerie silence. He removes his coat, hangs it on the rack, and takes a quilt out of the closet. He turns and stops, sensing something. Then he sees her. Cathy just stares. But there's a new kind of death in her face. Frank drops his head. He remains still for several seconds. Finally<\/scene_description>\n    <character>CATHY<\/character>\n    <parenthetical>(from a strange distance)<\/parenthetical>\n    <dialogue>Mr. Maynard... left an estimate... for the roof. I put it in the kitchen.<\/dialogue>\n    <parenthetical>(silence)<\/parenthetical>\n    <dialogue>Twelve hundred something. I assume you'll want -<\/dialogue>\n    <parenthetical>(silence)<\/parenthetical>\n    <dialogue>a second opinion...<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Cathy -<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>I can't -<\/dialogue>\n    <scene_description>Silence.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>Silence. He drops his head.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>I don't -<\/dialogue>\n    <parenthetical>(doesn't finish)<\/parenthetical>\n    <character>CATHY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I don't even...<\/dialogue>\n    <scene_description>Frank looks up. He sighs with resignation.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>See... Once. Long time ago. Long long time ago. I had... problems. I just figured... that was - that was it.<\/dialogue>\n    <parenthetical>(shaking his head)<\/parenthetical>\n    <dialogue>I never... imagined...<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>You had... problems?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>You never... spoke to anyone? A doctor?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>No one?<\/dialogue>\n    <scene_description>Frank shakes his head.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>I don't... I don't understand.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I don't either.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>What if... I mean there must be people who - who...<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>There must be.<\/dialogue>\n    <scene_description>Frank suddenly seems a hundred miles away.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Frank?<\/dialogue>\n    <scene_description>Frank can barely look at her let alone respond.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Because...<\/dialogue>\n    <parenthetical>(suddenly shaky)<\/parenthetical>\n    <dialogue>Otherwise, I just - I don't know what - Oh Frank!<\/dialogue>\n    <scene_description>Soft music begins. Frank closes his eyes and quietly nods. Cathy exhales a tiny breath of relief.<\/scene_description>\n    <character>CATHY<\/character>\n    <parenthetical>(softly)<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>He slowly-turns and Cathy watches as he starts up the stairs, music expanding. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MEDICAL CENTER - DAY<\/stage_direction>\n    <scene_description>The last Autumn leaves are falling on this bright, blustery afternoon in the Hartford business district. Cathy's car can be seen turning onto the main road and continuing into town.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MEDICAL CENTER - DAY<\/stage_direction>\n    <scene_description>The large, modern medical complex stretches out against crisp blue skies and white clouds. Down below we see Cathy pulling into the Municipal lot. The white-capped attendant hands her a ticket, raises the gate and smiles as she proceeds in. Cathy walks up to the front of one of the buildings, checks her watch and glances around for Frank. In a small park opposite, a young couple can be seen leaning against a tree, kissing. The girl pulls away but the boy pursues eagerly, stroking the girl's hair and whispering into her ear. Cathy watches, closer (with a rear-projected background). The boy tries kissing her again, but the girl turns away, glancing toward Cathy self-consciously. Cathy looks down. She checks her watch again and glances around one more time for Frank. We see him now, just crossing the street. Cathy waves, starting over in his direction. They meet and begin walking up the slope of stairs. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DR. BOWMAN'S OFFICE - WAITING ROOM - DAY<\/stage_direction>\n    <scene_description>The RECEPTIONIST is swinging open the door of the waiting room.<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>Mr. and Mrs. Whitaker.?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Cathy and Frank get up from their chairs. DR. Bowman, an imposing man in his fifties with a distinctive streak of white in his hair, is just stepping through the door as music fades.<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>This is Dr. Bowman.<\/dialogue>\n    <character>BOWMAN<\/character>\n    <parenthetical>(shaking Frank's hand firmly)<\/parenthetical>\n    <dialogue>Mr. Whitaker? How do you.<\/dialogue>\n    <parenthetical>(politely taking Cathy's)<\/parenthetical>\n    <dialogue>Mrs. Whitaker? How lovely.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>BOWMAN<\/character>\n    <dialogue>Mr. Whitaker, Mrs. Whitaker. As someone who's been around numerous couples like yourselves, I realize how difficult these things can be at times, particularly at the beginning. It's been said the first steps are always the hardest ones to take. But as I'm oft to remind my patients, without them, of course, why we wouldn't even be walking! So allow me first to commend you both... for taking those steps today.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Thank you, doctor.<\/dialogue>\n    <character>BOWMAN<\/character>\n    <dialogue>Before we sit down, are there any questions I can answer?<\/dialogue>\n    <scene_description>Cathy looks to Frank who vaguely gestures 'no.'<\/scene_description>\n    <character>BOWMAN<\/character>\n    <dialogue>No? Alright.<\/dialogue>\n    <parenthetical>(to Frank)<\/parenthetical>\n    <dialogue>I suppose we may as well get started.<\/dialogue>\n    <scene_description>Dr. Bowman gestures to the door and Cathy starts in first.<\/scene_description>\n    <character>BOWMAN<\/character>\n    <dialogue>Actually, Mrs. Whitaker, I think it might be best if your husband and I conversed - in private.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Oh. In private. Of course.<\/dialogue>\n    <character>BOWMAN<\/character>\n    <dialogue>I think it's best.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Certainly. Then I'll - see you later, dear.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>See you later.<\/dialogue>\n    <scene_description>And they close the door behind them. Cathy is motionless for a moment before turning back into the waiting room and sitting down. She smiles at the receptionist who vaguely smiles back. She looks back at the door. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DR. BOWMAN'S OFFICE - A BIT LATER<\/stage_direction>\n    <character>BOWMAN<\/character>\n    <dialogue>Today, the general attitude regarding this sort, of behavior is, naturally, more modern, more scientific than it's ever been before. After all, we're not living in the dark ages. But for those who do seek treatment, who possess the will and desire to lead normal lives, there still remains only a scant, 5-to-30 percent rate of success. For complete heterosexual conversion. Interestingly, for many, it's the treatment itself that often changes the patient's mind. One thing is certain. A successful outcome is only ever achieved when it's what the patient himself desires more than anything else in the world.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>What does it - comprise of? The treatment.<\/dialogue>\n    <character>BOWMAN<\/character>\n    <dialogue>Treatment is usually comprised of psychiatric sessions, twice a week, sometimes more.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Just - talking?<\/dialogue>\n    <character>BOWMAN<\/character>\n    <dialogue>Yes. Though some patients have explored additional, more behavioral methods.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Behavioral?<\/dialogue>\n    <character>BOWMAN<\/character>\n    <dialogue>Electro-shock aversion therapy, for instance, or hormonal re-balancing procedures. But neither of these would be part of any standardized treatment.<\/dialogue>\n    <scene_description>Silence. Frank looks down in thought.<\/scene_description>\n    <character>BOWMAN<\/character>\n    <dialogue>I know it can all seem rather daunting at first.<\/dialogue>\n    <parenthetical>(leaning back in his chair)<\/parenthetical>\n    <dialogue>I suggest you take some time, think over the various options we discussed, discuss it with your wife -<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>No, I - I already know - I want to go ahead. Begin treatment.<\/dialogue>\n    <scene_description>Frank tries to gather his thoughts.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>I can't - let this thing destroy my life - my family's life! I know it's a sickness because it makes me feel - despicable, dirty. I promise you Dr. Bowman, I'm gonna beat this thing. I'm gonna break it. So help me God.<\/dialogue>\n    <scene_description>The doctor is listening. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAITING ROOM - DAY<\/stage_direction>\n    <scene_description>The door swings open and Cathy turns to see Frank and Dr. Bowman step into the waiting room.<\/scene_description>\n    <character>BOWMAN<\/character>\n    <dialogue>So why don't you go ahead and confirm the times we discussed with Rosalyn. And I'll see you here same time next Tuesday.<\/dialogue>\n    <parenthetical>(they shake)<\/parenthetical>\n    <character>FRANK<\/character>\n    <dialogue>Thank you, doctor.<\/dialogue>\n    <scene_description>Cathy listens on, beaming with pleasure.<\/scene_description>\n    <character>BOWMAN<\/character>\n    <dialogue>Mr. Whitaker.<\/dialogue>\n    <parenthetical>(leaning out toward Cathy)<\/parenthetical>\n    <dialogue>Mrs. Whitaker!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Thank you, doctor!<\/dialogue>\n    <scene_description>Frank walks right past her. Cathy turns to catch up with him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR - DAY<\/stage_direction>\n    <scene_description>Cathy joins Frank in the paneled elevator. The door closes as a soft stir of music begins. Cathy looks over at Frank who stares ahead, blankly.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Frank.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>I'm just proud of you, that's all.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Don't say that.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Well I am. And he seems like a very decent man, Dr. Bowman. Don't you think?<\/dialogue>\n    <scene_description>He doesn't answer.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Frank?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I don't know, Cathleen. I suppose he's decent.<\/dialogue>\n    <scene_description>The elevator doors open and Frank stalks through the lobby and out the door, music thickening. Cathy follows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MEDICAL BUILDING - DAY<\/stage_direction>\n    <scene_description>Frank and Cathy walk out of the building into a strong wind. Behind them an obscure, REAR-PROJECTED Hartford feels a million miles away.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>But Frank, you must have liked him enough to want to see him again.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Who else am I going see?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Well - I'm sure there are numerous doctors - in Hartford or in Springfield - if you don't - if you aren't certain about -<\/dialogue>\n    <scene_description>He stops sharply and turns to her.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Look! I just want to get the whole fucking thing over with! Can you understand that?!<\/dialogue>\n    <scene_description>Cathy stares at him in shock and fear.<\/scene_description>\n    <character>CATHY<\/character>\n    <parenthetical>(eyes filling)<\/parenthetical>\n    <dialogue>Frank! Please don't -<\/dialogue>\n    <scene_description>Frank takes her hand. Suddenly his eyes fill as well.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>I'm sorry. I'm sorry.<\/dialogue>\n    <scene_description>He embraces her.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Cathy, I'm so sorry.<\/dialogue>\n    <scene_description>The music opens up. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAGNAVOX OFFICES - MORNING<\/stage_direction>\n    <scene_description>We pull out from a large, framed version of the Mr.&amp; Mrs. Magnavox ad, to a view of the whole bustling floor. The elevator doors open and we follow Frank as he walks down the central aisle toward his office. He nods to the regular cycle of greetings ('Good morning, Mr. Whitaker... Morning, sir'). He approaches Kitty's desk.<\/scene_description>\n    <character>KITTY<\/character>\n    <dialogue>Good morning, Mr. Whitaker.<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>(a bit faintly)<\/parenthetical>\n    <dialogue>Kitty.<\/dialogue>\n    <character>KITTY<\/character>\n    <dialogue>I hope you have a pleasant day, sir.<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>(glancing back vaguely)<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>He continues on to his office. There, he discovers Marlene standing at her desk holding a broken desk lamp.<\/scene_description>\n    <character>MARLENE<\/character>\n    <dialogue>Good morning, Mr. Whitaker.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Marlene.<\/dialogue>\n    <character>MARLENE<\/character>\n    <dialogue>I found this in the cupboard, sir.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>MARLENE<\/character>\n    <dialogue>Your desk lamp. Sir. The one that was missing.<\/dialogue>\n    <scene_description>Frank lingers a moment, absently.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Ah.<\/dialogue>\n    <character>MARLENE<\/character>\n    <dialogue>Should I have it repaired, sir?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Yes. Yes -<\/dialogue>\n    <parenthetical>(continuing into his office)<\/parenthetical>\n    <dialogue>Thank you, Marlene.<\/dialogue>\n    <character>MARLENE<\/character>\n    <dialogue>Uh - Mr. Whitaker, Mr. Fine's been -<\/dialogue>\n    <scene_description>The door closes behind him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANK'S OFFICE - MORNING<\/stage_direction>\n    <scene_description>Frank stands a moment facing the door in silence.<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>(off)<\/parenthetical>\n    <dialogue>Frank?<\/dialogue>\n    <scene_description>Frank turns around to see Stan seated on a leather couch by the window.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Didn't see you there!<\/dialogue>\n    <character>STAN<\/character>\n    <parenthetical>(slight beat)<\/parenthetical>\n    <dialogue>Everything alright?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>With me?<\/dialogue>\n    <parenthetical>(brushing it off)<\/parenthetical>\n    <dialogue>Oh...<\/dialogue>\n    <scene_description>Frank sits down at his desk as Stan gets up, holding a large flat folder.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>What's up.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Just picked up the galleys from the printer.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>How do they look?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Great. Just great.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Fine. Fine.<\/dialogue>\n    <parenthetical>(flipping through his appointment book)<\/parenthetical>\n    <dialogue>Why'n't you leave 'em here and I'll - have a look the first chance I get.<\/dialogue>\n    <character>STAN<\/character>\n    <parenthetical>(slightly perplexed)<\/parenthetical>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>Stan walks over to the desk and sets down the folder.<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>You'll... let me know what you think?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Course I will. You're first on my list.<\/dialogue>\n    <character>STAN<\/character>\n    <parenthetical>(before leaving)<\/parenthetical>\n    <dialogue>So what's it gonna take to get you back on that course, anyway? We haven't seen you for weeks!<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I know it. I've just been...<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Sunday. No excuses.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Alright.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I'm holding you to it!<\/dialogue>\n    <scene_description>Stan leaves Frank alone at his desk. Staring straight ahead, he reaches down to the bottom drawer and pulls out the bottle of Scotch. He unscrews the top, closes his eyes and takes a long, dark swig, music rising. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FINE'S HOUSE - DAY<\/stage_direction>\n    <scene_description>It's a cold, overcast day in the quiet, tree-lined neighborhood of the Blue Hills district, as Cathy and Eleanor emerge from the house carrying serving trays. Cathy's car is parked in the driveway of Eleanor's modern Ranch-style home.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Thanks again, El.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>You sure that's all I can give you?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Oh, yes. The caterers should have everything. I just thought a few extras would be nice.<\/dialogue>\n    <scene_description>They approach Cathy's car.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Oh - And don't forget! The art show's Saturday so start working on Frank tonight.<\/dialogue>\n    <scene_description>Cathy opens the car door and starts putting the trays inside.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>I swear he's the kind of man you have to pin messages to!<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Though I'm sorry to say Mona Lauder will be attending. Turns out her uncle's in town, some hot-shot art- dealer from New York. I think I met him at one of Mona's soiree's. A bit flowery for my tastes.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>How do you mean?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Oh, you know. A touch light on his feet?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>You mean...<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Yes, darling. One of those. Of course I could be mistaken. Just an impression I got.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>You don't care for them particularly?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Well, no, not particularly. Not that I actually know any. Call me old-fashioned, I just like all the men I'm around to be all men. Say! Why the third degree?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>It's not the third degree, I just -<\/dialogue>\n    <parenthetical>(climbing into her car)<\/parenthetical>\n    <dialogue>I'm interested, that's all. In your views.<\/dialogue>\n    <scene_description>Eleanor doesn't look convinced.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>I read an article recently. In a magazine.<\/dialogue>\n    <parenthetical>(she closes the car door)<\/parenthetical>\n    <dialogue>- What?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Nothing! I'm just delighted to see you taking interest in yet another civic cause! I can see it now: 'Cathleen Whitaker and her kindness to Homosexuals'!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Oh - that word.<\/dialogue>\n    <scene_description>Cathy begins pulling out.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>See you Sunday. And bring Frank!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>I'll try.<\/dialogue>\n    <scene_description>Eleanor waves and starts back into the house as Cathy drives off. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITAKER HOME - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Afternoon shadows stretch across the Whitaker's block as Cathy turns the corner. She pulls into the driveway just as Frank is getting out of his car and David, dressed in his baseball uniform, and Janice, in ballet clothes, come running to greet him.<\/scene_description>\n    <character>JANICE<\/character>\n    <dialogue>Father's home! Father's home!<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Well look who's here. The little ballerina herself.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Hi-ya, pop!<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>(to David)<\/parenthetical>\n    <dialogue>Whaduya say, kiddo?<\/dialogue>\n    <scene_description>Cathy steps out of her car just as Sybil appears to meet her.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>What a lovely surprise, having you home at a decent hour. Thank you, Sybil.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Marlene had me set for another dinner meeting but I just said to reschedule.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Oh, Frank. I'm so pleased you did.<\/dialogue>\n    <scene_description>They embrace and Frank kisses her as the whole family follows Sybil into the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITAKER DINING ROOM - EVENING<\/stage_direction>\n    <scene_description>The Whitaker family are in the midst of a spirited dinner, though it's clear all the enthusiasm in the room has begun to drain Frank of his.<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>Then Billy Hutchison stole a pass at the ten yard line, pop. Ran it all the way for a touch down. You shoulda seen it!<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>Father, wanna see my routine for the ballet recital?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>I was talking to pop!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Children. Give your father a moment to eat his dinner.<\/dialogue>\n    <parenthetical>(to Frank)<\/parenthetical>\n    <dialogue>Another lambchop, dear?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I'm fine.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>You sure? I have plenty in the oven.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I'm fine. Thank you.<\/dialogue>\n    <scene_description>Small silence.<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>We're playing Lincoln on Saturday, pop. If you're not working.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Oh heavens, that reminds me! Darling, this Saturday is that reception I told you about, for the modern art show Eleanor's group was sponsoring. You remember?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Oh God.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>I know how you hate these things but I simply have to go and Eleanor pleaded with me to ask you.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>What about me! No one cares one bit what I'm doing Saturday! Like playing one of the toughest teams in the whole entire league!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>David I'm sorry but this one Saturday your mother has an engagement that simply can't be changed -<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Pop could come.<\/dialogue>\n    <scene_description>Cathy looks at Frank who is looking down.<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>Couldn't you, pop?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>We'll see, David.<\/dialogue>\n    <scene_description>No one talks for several seconds.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Janice, would you please pass the butter?<\/dialogue>\n    <scene_description>Janice passes the butter to her mother. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITAKER BEDROOM - LATER<\/stage_direction>\n    <scene_description>Frank watches TV from bed. Cathy sits at her vanity doing a hundred strokes, looking over at him while brushing.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Frank?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Hmm.<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(brief silence)<\/parenthetical>\n    <dialogue>Did you see him?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Yea.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>When?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Yesterday.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>You didn't say a word.<\/dialogue>\n    <scene_description>He continues staring at the TV.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>So how was it? With Bowman? Did you feel -<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>It's fine.<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(putting down the brush, coaxing)<\/parenthetical>\n    <dialogue>And there's nothing more you care to share with your very own adoring wife?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Cathleen, what I discuss with this doctor. It's private. That's - part of it. Alright? I'm sorry.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>I understand, dear. I do.<\/dialogue>\n    <scene_description>Cathy looks at him a moment before lifting up the brush and turning back to the mirror.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Oh and Frank, wait'll you see the hors d'oeuvres! The caterers are doing such a marvelous job. I think you're going to be very pleased this year, darling. I really do.<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HARTFORD CENTER FOR THE ARTS - DAY<\/stage_direction>\n    <scene_description>A frolic of music rises as we survey a busy corner within the Hartford cultural district. A small bustle of ladies and their husbands are milling around the entrance to a spacious, private gallery. The easled sign in the front window reads: - HARTFORD LADIES AUXILIARY PRESENTS - 20 PRINTS BY THE MASTERS OF MODERN ART WORKS BY PICASSO, CHIGAL &amp; OTHERS Finally, Cathy comes running up to the door of the gallery.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GALLERY - DAY<\/stage_direction>\n    <scene_description>Cathy squeezes past clusters of visitors holding glasses of wine when she spots Eleanor standing in front of a large Christmas tree. Eleanor is chatting with MONA LAUDER, an imposing, chinless brunette (fortyish), and MR. FARNSWORTH, Mona's uncle, a rotund middle-aged man with died ginger hair and a waxed mustache.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Eleanor - darling! I'm so sorry I'm late.<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>Cathleen!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Hello Mona.<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>Darling, I want to introduce you to my uncle, Morris Farnsworth, a wickedly successful Gotham art dealer who was kind enough to attend our provincial little gathering. Morris darling, allow me to introduce my dear little friend Cathleen Whitaker - whose face and civic fancies are hardly strangers to the society pages of Hartford!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Oh Mona, really. You must ignore her, Mr. Farnsworth.<\/dialogue>\n    <scene_description>Mr. Farnsworth extends his hand.<\/scene_description>\n    <character>FARNSWORTH<\/character>\n    <parenthetical>(rather affected)<\/parenthetical>\n    <dialogue>Charmed.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>I hope you enjoy your stay.<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>Morris was just telling us the most delightful tale. All about a forged Rembrandt!<\/dialogue>\n    <character>FARNSWORTH<\/character>\n    <dialogue>Well there's really not much more to it than that. You can only imagine my utter disdain in discovering the gifts of so masterful an impersonator in as base and uncivilized a character as the man ultimately convicted of the crime.<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>It's fascinating, isn't it?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Cathy, darling, don't let us keep you. I know you want to see the show.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>I am dying to see it.<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>Oh yes. It's simply charming. Eleanor you should be so proud.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Why thank you, Mona.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Lovely meeting you, Mr. Farnsworth.<\/dialogue>\n    <character>FARNSWORTH<\/character>\n    <dialogue>Likewise, my dear.<\/dialogue>\n    <scene_description>Cathy throws Eleanor a little smile as she starts off into the gallery. MOMENTS LATER Cathy stands in front of a beautiful Picasso 'crying woman'. Suddenly - FLASH! - Cathy turns to see Mrs. Leacock standing beside her photographer.<\/scene_description>\n    <character>MRS. LEACOCK<\/character>\n    <dialogue>Pardon me, dear, but it was too lovely to resist: Wife of Hartford Executive Communing With Picasso!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Mrs. Leacock. Lovely to see you again.<\/dialogue>\n    <character>MRS. LEACOCK<\/character>\n    <dialogue>And how is that charming husband of yours?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>He's very well, thank you -<\/dialogue>\n    <scene_description>Cathy stops suddenly, spotting someone across the room. Raymond is standing with his daughter SARAH (age 11), leaning over her and discussing one of the pictures on the wall. (Not surprisingly, they're the only black faces in the room.)<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Mrs. Leacock, would you excuse me a moment?<\/dialogue>\n    <character>MRS. LEACOCK<\/character>\n    <dialogue>Certainly, dear.<\/dialogue>\n    <scene_description>Cathy smiles and starts over to Raymond and his little girl as Mrs. Leacock and the photographer observe. Raymond looks up and sees Cathy approaching. He smiles and stands.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>Mrs. Whitaker! Hello!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Raymond. What a tremendous surprise - finding you here. Is this your daughter?<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Yep. This is Sarah. Sarah, this is Mrs. Whitaker. Mrs. Whitaker owns one of the gardens I look after.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Hello, Sarah.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <parenthetical>(spotting something out front)<\/parenthetical>\n    <dialogue>Say, Sarah, isn't that Hutch and his little brother I see, playing out front?<\/dialogue>\n    <scene_description>Raymond directs Sarah's attention to the front of the gallery where Billy Hutchison. (HUTCH, age 11) and two other white boys can be seen through the glass, playing with paper airplanes.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>You remember them, don't you, baby?<\/dialogue>\n    <scene_description>Sarah shakes her head, sullenly.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>Sure you do. The day we went to Mrs. Hutchison's house.<\/dialogue>\n    <character>SARAH<\/character>\n    <parenthetical>(softly)<\/parenthetical>\n    <dialogue>Oh, yea.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>What do you say about going out and seeing if they'd like to play for a little while? How does that sound?<\/dialogue>\n    <scene_description>Sarah looks at her father. It's clear it's the very last thing she wants to do, but is too shy to say anything in front of Cathy.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>Aww, there's nothing to be afraid of.<\/dialogue>\n    <character>SARAH<\/character>\n    <parenthetical>(softly)<\/parenthetical>\n    <dialogue>I know...<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>It's only polite to say hello to people you've met in the past. Ah, go on, give it a try. For daddy.<\/dialogue>\n    <scene_description>Sarah looks down, turns slowly and starts reluctantly toward the front of the gallery.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>Attagirl!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Oh Raymond, she's lovely.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>And how wonderful of you to expose her - to art and culture this way.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Well, my mother, she was always trying to expose my brothers and I to the finer things, and we fought her every step of the way. I guess I'm sort of making up for bad behavior.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>But how on earth did you hear about this show?<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Well I do read the papers.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Well of course you do. I just meant - it was such a coincidence.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>I know. I was just teasing you.<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(slightly lower voice)<\/parenthetical>\n    <dialogue>Because you know I'm not prejudiced.<\/dialogue>\n    <scene_description>Raymond smiles at her.<\/scene_description>\n    <character>CATHY<\/character>\n    <parenthetical>(quite serious)<\/parenthetical>\n    <dialogue>My husband and I have always believed in equal right for the Negro, and support the NACP.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Well I'm glad to hear that.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>I just - I wanted you to know.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Well thank you.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Not at all.<\/dialogue>\n    <scene_description>As they start into the final room of the gallery we see Sarah through the window outside, watching as the boys try unsuccessfully to launch their paper airplane.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GALLERY - DAY<\/stage_direction>\n    <scene_description>Close on Hutch's paper airplane as his friend, Tommy, gives it a throw.<\/scene_description>\n    <character>HUTCH<\/character>\n    <dialogue>Go!<\/dialogue>\n    <scene_description>The plane nosedives and Hutch goes to get it.<\/scene_description>\n    <character>HUTCH<\/character>\n    <dialogue>Straighter, Tommy! You gotta throw it straighter. And hard! One, two, three - GO!<\/dialogue>\n    <scene_description>Tommy throws it hard but it sputters down once again. Sarah giggles to herself.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>It's too heavy!<\/dialogue>\n    <scene_description>The boys stop and turn.<\/scene_description>\n    <character>HUTCH<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>On the end. Your airplane!<\/dialogue>\n    <character>HUTCH<\/character>\n    <dialogue>Who asked you?! C'mon, Bobby.<\/dialogue>\n    <scene_description>Hutch motions to the others and the boys start back into the gallery.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GALLERY - DAY<\/stage_direction>\n    <scene_description>Hutch and his brother return to their parents as Sarah watches from outside, alone. MEANWHILE Cathy and Raymond are looking at a Miro.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>So what is your opinion on modern art?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>It's hard to put into words really. I just know what I care for and what I\" don't. Like this - I'm not sure how you pronounce it - Mirra?<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Miro.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Miro. I don't know why but I just adore it. The feeling it gives. I know that sounds terribly vague.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>No. It actually confirms something I've always wondered about modern art, abstract art.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>What is that?<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>That perhaps it's just picking up where religious art left off. You know. Trying to somehow show you divinity, put it up there on the wall. The modern artist just pares it down to the most basic elements of shape and color. But when you look at that Miro, you feel it just the same.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Why that's lovely, Raymond.<\/dialogue>\n    <scene_description>We hear the brief shriek of a woman's laugh. Cathy turns to see Mona Lauder, Mr. Farnsworth and two other women, one stifling her giggles, snickering amongst themselves over Cathy and her friend. Eleanor, who is standing listening to an ELDERLY WOMAN, also notices the commotion.<\/scene_description>\n    <character>ELDERLY WOMAN<\/character>\n    <dialogue>To tell you the truth, I was rather shocked by the prices.<\/dialogue>\n    <character>ELDERLY WOMAN<\/character>\n    <dialogue>But then I've always preferred the work of the masters... Rembrandt, Michelangelo -<\/dialogue>\n    <scene_description>Eleanor spots Cathy saying goodbye to Raymond and starting off down the hall.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>I'm terribly sorry - Would you excuse me a moment?<\/dialogue>\n    <character>ELDERLY WOMAN<\/character>\n    <dialogue>Certainly.<\/dialogue>\n    <scene_description>Eleanor starts after Cathy.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Cathleen!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>El, honey. It all looks just marvelous -<\/dialogue>\n    <scene_description>Eleanor whisks Cathy to the side.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Cathy, who on earth was that man? You have the whole place in a clamor!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Oh for heavens sake, why? Because of that ridiculous story?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <parenthetical>(squinting off at Raymond)<\/parenthetical>\n    <dialogue>Who is he?<\/dialogue>\n    <scene_description>Raymond is now introducing Sarah to a smiling, middle-aged woman in a hat.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>His name's Raymond Deagan. He's Otis Deagan's son.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Your gardener?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Yes. He passed away very recently and Raymond's taken over his business.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Well you certainly seem on familiar terms with the man.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Oh what does that mean? Familiar terms? He happens to have some very enlightening views on Miro.<\/dialogue>\n    <parenthetical>(glancing at her watch)<\/parenthetical>\n    <dialogue>Oh, jeepers, would you look at the time! El, I have to fly.<\/dialogue>\n    <scene_description>They start walking toward the door.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>I'm having the carpets cleaned for tomorrow.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>What time are the caterers showing?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>They said four.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>I'll come early too. For moral support!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>You're a doll.<\/dialogue>\n    <scene_description>Cathy waves bye and dashes out of the gallery. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITAKER HOUSE - DUSK<\/stage_direction>\n    <scene_description>Music accompanies a slow and stately ascent upon the Whitaker house, trimmed with cars and bursting from inside with the exuberance of the annual company party. We can even hear the distant clamor of merriment and laughter churning from within.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - DUSK<\/stage_direction>\n    <scene_description>The house, impeccably decorated, is swarming with people in evening dress, drinking, smoking, chatting, laughing. An overstuffed Christmas tree glistens in the corner as an endless parade of hors d'oeuvres are passed solemnly by the all-black, formally uniformed, serving staff. Cathy shimmers in a gown of sapphire blue, standing surrounded at one end of the room, while Frank stands with drink in hand, surrounded at the other. We see various faces from the Magnavox office, including Marlene. Cathy is listening to a middle-aged Elderly Woman.<\/scene_description>\n    <character>ELDERLY WOMAN<\/character>\n    <dialogue>... Not to say that I'm against integration mind you. I do believe it's the Christian thing to. But I still say what happened in Little Rock could just as easily have happened here in Hartford.<\/dialogue>\n    <scene_description>A stout, red-faced man answers.<\/scene_description>\n    <character>RED-FACED MAN<\/character>\n    <dialogue>Nonsense!<\/dialogue>\n    <character>ELDERLY WOMAN<\/character>\n    <dialogue>And why is that?<\/dialogue>\n    <character>RED-FACED MAN<\/character>\n    <dialogue>Well for one thing, there's no Governor Faubus in Connecticut. But the main reason - They're no Negroes!<\/dialogue>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>Two of the serving staff close enough to have heard his remark continue serving.<\/dialogue>\n    <dialogue>DICK DAWSON, a tall, strapping man in his mid-30's, is leaning on a chair beside Cathy.<\/dialogue>\n    <character>DICK<\/character>\n    <dialogue>No, but I do hear there are some rather dangerous pro-integration types. Right here in Hartford!<\/dialogue>\n    <character>ELDERLY WOMAN<\/character>\n    <dialogue>Dangerous?<\/dialogue>\n    <character>DICK<\/character>\n    <dialogue>Oh yes. Some very attractive ones in fact. Noted, I'm told, for their kindness to Negroes!<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(slapping his arm)<\/parenthetical>\n    <dialogue>Oh Dick, stop! Where on earth did you hear about that?<\/dialogue>\n    <character>DICK<\/character>\n    <dialogue>Shirley read it to me.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>I should have known.<\/dialogue>\n    <character>RED-FACED MAN<\/character>\n    <dialogue>What's all this?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Absolutely nothing! Here, let me freshen those.<\/dialogue>\n    <scene_description>Cathy takes Dick and the red-faced man's glasses and starts off toward the bar. Frank is at the couch with Stan Fine, Doreen and her husband RON. As Cathy passes, Stan calls out to her.<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>By golly there she is now! Prettiest gal in the room!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Oh, Stan! Liquor does bring out the Texan in you. I just hope Eleanor isn't listening.<\/dialogue>\n    <character>STAN<\/character>\n    <parenthetical>(putting an arm around her)<\/parenthetical>\n    <dialogue>So what if she is! I still say Frank's the luckiest guy in town.<\/dialogue>\n    <character>RON<\/character>\n    <dialogue>Here, here!<\/dialogue>\n    <scene_description>Frank is hunched over listening, noticeably intoxicated.<\/scene_description>\n    <character>FRANK<\/character>\n    <parenthetical>(thinking he's being witty)<\/parenthetical>\n    <dialogue>Smoke and mirrors, fellas! That's all it is. You should see her without her face on!<\/dialogue>\n    <scene_description>Frank laughs at his own joke and a few join in awkwardly.<\/scene_description>\n    <character>DOREEN<\/character>\n    <dialogue>Frank!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>No, he's absolutely right. We ladies are never really what we appear. And every girl has her secrets!<\/dialogue>\n    <character>DOREEN<\/character>\n    <dialogue>I'll say.<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>(thrusting his glass at her)<\/parenthetical>\n    <dialogue>Well how 'bout this girl going and getting her husband another drink? How 'bout that?<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(still smiling)<\/parenthetical>\n    <dialogue>You don't think you might have - already had enough, darling?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>No, I don't think I've already had -<\/dialogue>\n    <character>DOREEN<\/character>\n    <parenthetical>(interrupting, raising her glass)<\/parenthetical>\n    <dialogue>Well I'd just like to take a moment to raise a glass to our marvelous host and hostess and another glorious Annual Party at the Whitaker's! To Frank and Cathy, truly Mr. and Mrs. Magnavox!<\/dialogue>\n    <scene_description>Everyone around them raises their glasses 'To Frank and Cathy' and toasts. Cathy and Frank smile and nod at their guests, but the strain is evident.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Thank you... Now who can I freshen up? Ron?<\/dialogue>\n    <character>RON<\/character>\n    <dialogue>I'm fine.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Me.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>I think you're fresh enough.<\/dialogue>\n    <scene_description>Cathy starts off toward the bar. Sybil is crossing with a tray.<\/scene_description>\n    <character>LADY<\/character>\n    <dialogue>Wonderful party, Cathleen.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>SYBIL<\/character>\n    <dialogue>Here, Mrs. Whitaker, let me take those.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Thank you, Sybil.<\/dialogue>\n    <scene_description>Eleanor approaches Cathy as she finishes giving Sybil the empty glasses.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Cathy?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>Eleanor pulls her aside, by a window.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Honey? Is everything alright?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Frank. I've never seen him so soused.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Oh, no. He's just been - working so hard lately. He's been under such tremendous strain.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>You sure that's all?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Oh, yes.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>You'd tell me if there was anything more?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Of course I would.<\/dialogue>\n    <scene_description>Eleanor puts a hand on Cathy's back as they start back into the party.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>By the way, kid. I think we just threw ourselves one class-A swanky function.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>It did turn nicely, didn't it.<\/dialogue>\n    <scene_description>A WOMAN calls out to Cathy.<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Cathleen, darling. You've simply outdone yourself - once again!<\/dialogue>\n    <scene_description>DISSOLVE TO: WHITAKER LIVING ROOM - LATER Cathy stands at the door waving goodbye to the last guests (probably Eleanor &amp; Stan).<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Thanks for everything! I'll call you tomorrow! Goodnight!<\/dialogue>\n    <scene_description>Cathy closes the door and steps into the half-darkened house, still strewn with party debris. She takes a deep breath of relief, and notices Eleanor's serving-ware by the bar.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Oh, shoot - I forgot to give Eleanor her servers.<\/dialogue>\n    <scene_description>Frank sits in an armchair, rouged in shadow. Cathy walks toward the stairs and stops, looking at him.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Frank?<\/dialogue>\n    <scene_description>He doesn't respond, and she continues on toward the stairs.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Well, if I do say so myself, I think it was a very lovely party, all considering.<\/dialogue>\n    <scene_description>She stops to gather her wrap at the foot of the stairs. She looks off a moment, very still.<\/scene_description>\n    <character>CATHY<\/character>\n    <parenthetical>(quiet and level)<\/parenthetical>\n    <dialogue>I just don't understand. Why it has to turn ugly. In front of our friends.<\/dialogue>\n    <parenthetical>(silence)<\/parenthetical>\n    <dialogue>Honestly, Frank. If you didn't insist on -<\/dialogue>\n    <scene_description>She stops, hearing something, and turns - Frank is suddenly approaching.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>What is it - ?<\/dialogue>\n    <scene_description>But all at once he's upon her - rolling into her arms and kissing the side of her neck, music rushing. Cathy is stunned, but gradually begins returning his affection.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Oh Frank...<\/dialogue>\n    <scene_description>They fold into the couch, kissing, and suddenly Frank is on top of her. At first she's unsettled by his strong urgency but she allows it to continue, stroking his head and trying to slow him down. But he becomes only more persistent, panting and thrusting and turning red from the effort. Cathy closes her eyes and tries to weather it. Then with a sudden half-choked cry, Frank surrenders, turning away from her and muttering aloud in exhaustion and defeat.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Oh Jesus! Jesus, what's happening! I can't even... Oh God!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Frank! Frank, it doesn't matter, darling! The important thing is to keep... trying. Keep -<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>(sitting up suddenly, his back to her)<\/parenthetical>\n    <dialogue>Don't -<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Frank!<\/dialogue>\n    <scene_description>She puts her hand on his shoulder but he shakes it off.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Don't.<\/dialogue>\n    <parenthetical>(silence)<\/parenthetical>\n    <character>FRANK<\/character>\n    <dialogue>Because I'm sure - you know - Dick Dawson wouldn't mind... lending his services every now and again!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Oh, Frank.<\/dialogue>\n    <scene_description>She reaches for his arm again and he tries to wriggle free, but she holds on.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>I mean, you wouldn't mind that so terribly much, would you? Good- lookin' guy like Dick. Maybe even Stan would pitch in!<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(holding tighter)<\/parenthetical>\n    <dialogue>Frank, please. You're the only man I'd ever -<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Let go!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>You're all men to me, Frank! And all man!<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>STOPPIT!<\/dialogue>\n    <scene_description>Furiously he swipes her hand away and accidentally strikes, her hard in the face with his cufflink.<\/scene_description>\n    <character>CATHY<\/character>\n    <parenthetical>(covering her face)<\/parenthetical>\n    <dialogue>Oh, Frank!<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I'm sorry. Cathy, I'm sorry. I didn't mean to -<\/dialogue>\n    <scene_description>Cathy grabs a cloth napkin from the coffee table and presses it to her head.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>It's alright. I'm alright. It was an accident.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Is it bleeding?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Just the littlest bit.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Oh, Jesus.<\/dialogue>\n    <scene_description>Frank just stands there, helpless.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Perhaps you could get me a little ice, dear.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Ice?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Cathy, I'm...<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>I know, dear. It's alright. I'm alright.<\/dialogue>\n    <scene_description>Frank slowly backs away, toward the kitchen, music expanding. Cathy just closes her eyes. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITAKER BEDROOM - LATE MORNING<\/stage_direction>\n    <scene_description>Cathy stands before the mirror in her bedroom vanity brushing her hair over the small wound on her forehead. She puts down the brush, takes one last look and starts out of her room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LANDING - LATE MORNING<\/stage_direction>\n    <scene_description>As Cathy passes an upstairs window she sees Eleanor's car just pulling up to the house. Cathy takes a breath and starts down the stairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITAKER HOUSE DOORWAY - LATE MORNING<\/stage_direction>\n    <scene_description>Eleanor is just ringing the doorbell when Cathy opens the door, holding her friend's serving-ware.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Hey there, honey. Listen, I can't stay. I'm meeting Stan for lunch at the club.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>That sounds nice. I can't believe I let you get away last night without these.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>It's cute, your hair that way.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Yea? I experimented. Here.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>It's adorable.<\/dialogue>\n    <scene_description>As Cathy hands the servers to Eleanor a serving spoon falls out.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Whoopsie!<\/dialogue>\n    <scene_description>Cathy picks it up from the ground and puts its back in the dish.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Eleanor smiles at Cathy. Suddenly she stops smiling.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Cathy?<\/dialogue>\n    <scene_description>Cathy's hair no longer conceals the bruise on her forehead.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>What happened to your head?<\/dialogue>\n    <scene_description>Cathy's hand flies up to cover it.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Nothing, I - hit the door. It was the silliest thing.<\/dialogue>\n    <scene_description>Eleanor continues staring with concern.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Cathy.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>What.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Did something happen - between you and Frank?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Cathy I'm your best friend.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Nothing happened. Nothing at all.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Oh, Cathy.<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(suddenly quivery)<\/parenthetical>\n    <dialogue>Eleanor!<\/dialogue>\n    <character>ELEANOR<\/character>\n    <parenthetical>(looking hard at her)<\/parenthetical>\n    <dialogue>Cathy I'm your dearest and closest friend in the world. You can call me. Day or night. You hear?<\/dialogue>\n    <scene_description>Cathy nods. Eleanor remains looking, worriedly at her friend. Then she sighs and turns to go. Cathy watches, unable to move. She can't contain it any longer and starts after - but stops herself again. Eleanor is climbing into her car. She shuts the door. Cathy turns around facing her house, eyes flooding, as we hear Eleanor driving off. Not ready to go back in, she proceeds down the steps to the side of the house, under a tree. There in the shade she takes a few short breaths, trying to gather herself. She begins to focus on something on the ground in front of her. It's a pair of black boots. Raymond stands a couple yards away watching, not knowing what to do. She sees him and the tears spill from her eyes.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>Oh - Mrs. Whitaker...<\/dialogue>\n    <scene_description>He takes a step toward her and stops.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>Is there - anything I can do?<\/dialogue>\n    <scene_description>She shakes her head no, wiping the tears and trying to shield her forehead from view.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>You sure?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Thank you, no. I'm fine, really. It's just - been a difficult time. With my husband.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>It does happen. Between married people.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>I know it does. I just...<\/dialogue>\n    <parenthetical>(she turns away)<\/parenthetical>\n    <dialogue>It's so embarrassing. Please forgive me.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Forgive you for what?<\/dialogue>\n    <scene_description>He looks off for a moment, then back at Cathy.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>Mrs. Whitaker, listen. I have to go deliver some shrubs to a farmhouse just out of town. Which means I have to get a move on. Why don't you come on along for the ride? Little fresh air, change of scenery? Might help take your mind off things.<\/dialogue>\n    <scene_description>Cathy feels a sudden guard.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>No. I couldn't. But thank you, Raymond. For offering. That's very kind of you.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>You sure?<\/dialogue>\n    <character>SYBIL<\/character>\n    <parenthetical>(off)<\/parenthetical>\n    <dialogue>Mrs. Whitaker? Are you out here?<\/dialogue>\n    <scene_description>Cathy turns, calling out toward the porch.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Yes, Sybil!<\/dialogue>\n    <character>SYBIL<\/character>\n    <parenthetical>(off)<\/parenthetical>\n    <dialogue>It's Mrs. Barker on the phone!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Thank you, Sybil! I'll be right in!<\/dialogue>\n    <parenthetical>(back to Raymond)<\/parenthetical>\n    <dialogue>I should get back.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>She turns to leave. From Raymond's view beneath the tree we can see her legs striding back to the porch and up the steps into the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITAKER'S BEDROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Cathy walks over to the table by the window and picks up the phone.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Hello?... Yes. How are you, Mrs Barker... Not at all...<\/dialogue>\n    <scene_description>As Cathy talks she steps over toward her vanity and glances at herself in the mirror. She adjusts her hair so that it covers her forehead as before.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Yes, I was planning to pick them up at five... I see. So you'd like to switch for Thursday? No, I don't think that would be a problem...<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Well I'm glad I could be of help... Certainly... Bye now.<\/dialogue>\n    <scene_description>Cathy steps back to the table and hangs up the phone, still for a moment. She glances out the window into the yard. Raymond can be seen throwing his toolbag over his shoulder and setting off for the day. Cathy remains looking out, in thought.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITAKER HOUSE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Raymond is just shutting the door of his truck when Mrs. Whitaker comes walking briskly from the house. She is wearing her coat and her lilac scarf.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Raymond!<\/dialogue>\n    <scene_description>Raymond turns, sees her coming.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>Mrs. Whitaker...<\/dialogue>\n    <scene_description>Cathy stops a couple of yards from his truck, feeling suddenly rather awkward.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Well, wouldn't you know it. I just received a call and suddenly everything's changed. Anyway. I just...<\/dialogue>\n    <scene_description>She's doesn't even know what to say.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>You changed your mind?<\/dialogue>\n    <scene_description>Cathy smiles, shyly.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <parenthetical>(smiles back)<\/parenthetical>\n    <dialogue>Well good!<\/dialogue>\n    <scene_description>Raymond opens his door and gets out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - LATE MORNING<\/stage_direction>\n    <scene_description>Through the living room window, Sybil catches sight of Raymond helping Cathy into his truck. She stops what she's doing a moment as Raymond's truck takes off down the street, music swirling. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RURAL VISTA - DAY<\/stage_direction>\n    <scene_description>We see Raymond's truck driving down a road flanked by golden hills. He turns up the drive of an old ranch house, and drives up to the top. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RANCH HOUSE - A BIT LATER<\/stage_direction>\n    <scene_description>A large, rustic ranch-house sits on a bluff overlooking the late-Autumn vista of faded gold. Raymond's truck is parked in front of the house where Raymond stands with the ranch owner signing a receipt. Cathy has begun strolling past the house toward a clearing in the trees. \\[Throughout the following exteriors REAR-PROJECTED facsimiles succor the close-ups, but all 'natural splendor' should shimmer with process.\\] Raymond shakes hands with the ranch-owner and starts over to where Cathy stands, looking out. On the way he breaks off a branch from a tree with white bark and round, golden yellow leaves which he presents to her.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>It's lovely. What is it?<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>It's called a Quaking Aspen. Fairly rare in these parts.<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(admiring the branch)<\/parenthetical>\n    <dialogue>It's beautiful.<\/dialogue>\n    <parenthetical>(looking out at the vista)<\/parenthetical>\n    <dialogue>And you were right. What a perfectly lovely spot.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Sometimes a little green, some fresh air, just helps put things back on the shelf. 'Cause it sure can be a disheveling world out there, every now and again.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>I'll say it can.<\/dialogue>\n    <scene_description>Cathy looks over toward a clearing in the grove.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Is that a path?<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Looks like it.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Oh let's have a peek.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Alright.<\/dialogue>\n    <scene_description>They start off down the path, Cathy leading, music burgeoning. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODED TRAIL - LATER<\/stage_direction>\n    <scene_description>Cathy and Raymond stroll down the gently winding path, red carpeted by the last of autumn while cloaked in an early winter mist. As they stroll they are each aware of the diminished formalities between them. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODED TRAIL - LATER<\/stage_direction>\n    <scene_description>They come upon a cluster of wildflowers.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>So you say he's seeing a specialist?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Yes, well... A psychiatrist, really.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>My husband's been suffering from a great deal of strain, recently. Uncertainty.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>I know he's in good hands - It's just... what with everything that's been going on recently, it just - I don't know - feels at times like there's no one left in the world I can talk to!<\/dialogue>\n    <scene_description>Cathy smiles to herself and looks back at him.<\/scene_description>\n    <character>CATHY<\/character>\n    <parenthetical>(lightly)<\/parenthetical>\n    <dialogue>Except you!<\/dialogue>\n    <scene_description>Raymond smiles.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>Well. Sometimes it's the people outside our world we confide in best.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Why? Just because they're outside?<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>And because they may have had experiences similar to ours. Because they care to listen.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>And once you do. Confide. Share those experiences with someone. They're no longer really outside, are they?<\/dialogue>\n    <scene_description>They've come upon a small wooden bridge under which a perfect stream passes. They stop for a moment.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>It's lovely, isn't it?<\/dialogue>\n    <scene_description>She kneels down and looks into the stream. Raymond is looking down at her. There's a sadness in his eye, and he squats down beside her, music waking.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <parenthetical>(with great gentleness)<\/parenthetical>\n    <dialogue>Did he cause that?<\/dialogue>\n    <scene_description>He is looking at the mark on her forehead. Cathy puts her hand over it and stands, silent for a moment.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>He didn't mean to strike me.<\/dialogue>\n    <scene_description>She looks down at the stream and takes a step away.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>No. Heaven knows we all have our troubles. I'm sure you yourself...<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Oh, I don't know. Ever since running into you at the exhibition... Well I just kept wondering what it must be like. Being the only one in a room. Colored, or whatever it was. How that might possibly feel. I'm sure I've never -<\/dialogue>\n    <scene_description>She stops, glancing out again at the hills. Raymond looks out as well.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>Well, I suppose it's something you sort of grow accustomed to. Over time. Don't get me wrong. There is a world - even right here in Hartford - where everybody does indeed look like me. Only trouble is, very few people ever leave that world. I just want what any father wants for his child, the opportunities growing up I never had.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Naturally.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>But I'll tell you something - If you're really interested -<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Oh I am.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <parenthetical>(has a sudden thought)<\/parenthetical>\n    <dialogue>Are you hungry? Could you eat something?<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(brief silence)<\/parenthetical>\n    <dialogue>I suppose I could.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Tell you what. Let me take you to one my favorite spots, not far from here. On good days they got hot food, cold drink, and just about discernible music.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Well it's hard to beat that!<\/dialogue>\n    <character>RAYMOND<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>There you go!<\/dialogue>\n    <scene_description>Cathy smiles back as they start back up the path. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ERNIE'S BAR &amp; GRILL - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Against the gray, industrial side of town, gleams the pink and green neon of Ernie's Bar&amp;Grill. We see Raymond's truck just pulling into the driveway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAR WASH - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Across the street at a Car Wash, a young black attendant gives two short honks from a shiny black Edsel and looks around. A woman in a black feathered hat approaches. It's Mona Lauder.<\/scene_description>\n    <character>MONA<\/character>\n    <dialogue>Here I am! Yoo-hoo?<\/dialogue>\n    <scene_description>The attendant takes her ticket and escorts her to the driver's seat but Mona tarries a moment, catching sight of something across the street. The attendant looks off in the same direction. Outside Ernie's, Raymond is seen helping Cathy out of his truck, taking her arm and escorting her into the club. Mona remains devilishly fixed as she steps into the car and the attendant shuts the door.<\/scene_description>\n    <character>MONA<\/character>\n    <parenthetical>(handing him a nickel)<\/parenthetical>\n    <dialogue>Thank you... very much, indeed.<\/dialogue>\n    <scene_description>Mona starts her engine with a contented little smirk.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ERNIE'S - LATE AFTERNOON<\/stage_direction>\n    <scene_description>The front door opens and Cathy and Raymond step into the entry way of the club.<\/scene_description>\n    <character>CATHY<\/character>\n    <parenthetical>(fixing her hair)<\/parenthetical>\n    <dialogue>Well I'm hardly dressed for a restaurant.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>You look fine.<\/dialogue>\n    <scene_description>The main room at Ernie's is a smoky den of small square tables and black booths, colored mostly by neon overspill and Christmas lights. Most notably, everyone in the room is black. As Raymond and Cathy enter everyone in sight turns and looks.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Raymond.<\/dialogue>\n    <scene_description>Raymond contains a little smile.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>Don't worry. It's a very friendly place.<\/dialogue>\n    <scene_description>Raymond starts in and Cathy follows, reluctantly. A small blues band is just setting up as an old jukebox plays and one couple dances. Raymond passes ESTHER, a dolled-up waitress in her late 20's, who scowls at him as he stops, glancing around the room for a table.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>Say there Esther, darling. What? You don't say hello any more?<\/dialogue>\n    <character>ESTHER<\/character>\n    <parenthetical>(checking out Cathy)<\/parenthetical>\n    <dialogue>Looks like you're speakin' fine for yourself.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Oh, you're just sore 'cause I haven't been coming around like I used to.<\/dialogue>\n    <character>ESTHER<\/character>\n    <dialogue>Is that so?<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Now what do you say about bringing us over a couple of drinks.<\/dialogue>\n    <parenthetical>(to Cathy)<\/parenthetical>\n    <dialogue>What would you like?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Oh. A daiquiri? If they -<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>One daiquiri, and a bourbon on the rocks. Thank you, doll.<\/dialogue>\n    <scene_description>Esther rolls her eyes and turns. As Raymond escorts Cathy to a table, a GLARING MAN stands up from his table just as Raymond is passing.<\/scene_description>\n    <character>GLARING MAN<\/character>\n    <parenthetical>(to Raymond)<\/parenthetical>\n    <dialogue>What d'you think you're doing, boy?<\/dialogue>\n    <scene_description>Raymond passes him without looking, continuing with Cathy to a corner table below a mirror and helps Cathy into her chair. He sits down opposite her. The glaring man stares after a moment, then takes off adamantly toward the bar.<\/scene_description>\n    <character>CATHY<\/character>\n    <parenthetical>(a little tense)<\/parenthetical>\n    <dialogue>Well I hope you find this very amusing.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>What do you mean? It's a very welcoming place!<\/dialogue>\n    <parenthetical>(spotting someone and nodding)<\/parenthetical>\n    <dialogue>How you doin' Gus.<\/dialogue>\n    <scene_description>A middle-aged man at another table (looking fairly soused) raises his glass to Raymond, then to Cathy. Cathy smiles back at him.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>See what I mean?<\/dialogue>\n    <scene_description>Cathy watches as a second couple step up to the dance-floor. Meanwhile Esther returns with drinks and menus.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Thank you, Esther.<\/dialogue>\n    <scene_description>She leaves.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <parenthetical>(raising his glass)<\/parenthetical>\n    <dialogue>Well. Here's to being the only one.<\/dialogue>\n    <scene_description>Cathy looks at him a moment and then smiles, shaking her head. She toasts his glass and he laughs.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>Really. We don't have to stay if you're not comfortable.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>No. As long I keep away from Esther, I think I'll be fine.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Alright, then.<\/dialogue>\n    <scene_description>The jukebox song has ended and the band kicks into its first number, a tender \"I'll Be Seeing You.\" Raymond turns to watch, smiling. A few men in blue-collar uniforms are sauntering out of a smoke-filled pool-room, beer bottles in hand. They also stop to listen to the band, while two more couples head up to the floor to dance. Cathy looks over at Raymond, and smiles to herself.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Thank you, Raymond.<\/dialogue>\n    <scene_description>He turns to her.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>For a lovely afternoon.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Well thank you, Mrs. Whitaker. I've had one as well.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>'Mrs. Whitaker.' Sounds so formal. Would you -<\/dialogue>\n    <scene_description>She stops.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <parenthetical>(gently)<\/parenthetical>\n    <dialogue>Would I what?<\/dialogue>\n    <scene_description>Brief silence.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Ask me to dance?<\/dialogue>\n    <scene_description>Raymond smiles and slowly stands. Cathy does the same and turns, leading as Raymond follows unhurriedly to the dance-floor. The men in blue-collar uniforms watch Raymond pass with contempt in their eyes, before finally turning and filing out of the bar. Cathy stops beneath a blossom of rosy light and turns, smiling as Raymond joins her. She takes his hand and they begin to dance, tenderly, in the soft glow of Ernie's, surrounded by other dancers and other lovers. FADE TO BLACK.: FADE UP ON:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - LATE MORNING<\/stage_direction>\n    <scene_description>We follow a vase displaying the golden Quaking Aspen branch as Sybil carries it into the living room. Cathy is gathering her belongings, getting ready to leave the house.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Oh, doesn't that look lovely. Let's see now, where should we put it...? How about there, Sybil, by the window?<\/dialogue>\n    <scene_description>Sybil places the vase on a high end-table near the window.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Oh yes, that's lovely.<\/dialogue>\n    <character>SYBIL<\/character>\n    <dialogue>It certainly is.<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(checking her purse)<\/parenthetical>\n    <dialogue>Now where is that list you gave me - Though I swore to Janice I wouldn't be late for her recital.<\/dialogue>\n    <character>SYBIL<\/character>\n    <dialogue>You can't miss that.<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(finding the list)<\/parenthetical>\n    <dialogue>Here it is.<\/dialogue>\n    <parenthetical>(walking over to her coat)<\/parenthetical>\n    <dialogue>You know, Sybil, I've been meaning to ask you...<\/dialogue>\n    <character>SYBIL<\/character>\n    <dialogue>Yes, ma'am?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>What is the name of that church group you belong to - the one you've mentioned so often...?<\/dialogue>\n    <character>SYBIL<\/character>\n    <dialogue>You mean at Ebenezer? The bible group?<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(putting on her coat)<\/parenthetical>\n    <dialogue>Yes, I believe that was it.<\/dialogue>\n    <character>SYBIL<\/character>\n    <dialogue>Or was it South Green Baptist. During the Fair Drive. The ladies auxiliary?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>I didn't realize there was more than one.<\/dialogue>\n    <character>SYBIL<\/character>\n    <dialogue>Oh, yes. I always seem to be signing up for something.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Well I think that's marvelous, Sybil. That you even find the time, what with all you do for us.<\/dialogue>\n    <parenthetical>(putting on her scarf)<\/parenthetical>\n    <dialogue>We just have so much up in the attic I've been meaning to go through. I thought you might know of a church or civic group that could benefit from a donation.<\/dialogue>\n    <character>SYBIL<\/character>\n    <dialogue>Well - certainly, Mrs. Whitaker. If that's what you're looking for. Places in need are never too hard to find.<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(opening the door)<\/parenthetical>\n    <dialogue>Well I suppose you're right about that -<\/dialogue>\n    <scene_description>Cathy stops with a start. A young black couple are standing in the doorway.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Yes? May I - help you with something?<\/dialogue>\n    <scene_description>Sybil looks on suspiciously, observing the couple's conservative attire and officious clipboards.<\/scene_description>\n    <character>YOUNG MAN<\/character>\n    <dialogue>Is this the Whitaker residence?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>YOUNG MAN<\/character>\n    <dialogue>Are you -<\/dialogue>\n    <parenthetical>(glancing at a clipboard)<\/parenthetical>\n    <dialogue>Mrs. Frank Whitaker?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>YOUNG MAN<\/character>\n    <parenthetical>(reciting his standard introduction)<\/parenthetical>\n    <dialogue>Good afternoon, ma'am. Allow me to introduce myself. My name's Reginald Carter and this is Martha Livingston and we're members of the Hartford branch of the National Association for the Advancement of Colored People. As a charitable organization we rely heavily on the aid of volunteers and membership revenue from the general public. Perhaps you'd be interested in reading over our complimentary brochure which explains more about the N-A-A-C-P, its many achievements and goals for the future.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Well - certainly, I'm familiar with your organization - I just... May I ask how you obtained our name and this address?<\/dialogue>\n    <character>YOUNG MAN<\/character>\n    <dialogue>You gave it to us ma'am.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>I did?<\/dialogue>\n    <character>YOUNG MAN<\/character>\n    <dialogue>When you signed our petition, supporting the funding initiative.<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(thinks for a moment, then)<\/parenthetical>\n    <dialogue>Oh. Yes, I do remember signing for that.<\/dialogue>\n    <character>YOUNG MAN<\/character>\n    <dialogue>Perhaps you'd be interested in reading over our complimentary -<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Yes, I would -<\/dialogue>\n    <character>YOUNG MAN<\/character>\n    <dialogue>... If you wouldn't mind signing our roster?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Perhaps - Sybil, would you mind signing for this? I'm terribly late at it is.<\/dialogue>\n    <scene_description>Sybil, who has tried busying herself at the hall table, looks up, just as the phone starts to ring.<\/scene_description>\n    <character>CATHY<\/character>\n    <parenthetical>(starting out the door)<\/parenthetical>\n    <dialogue>Whoever it is I'm gone! Thank you, Sybil - I should be back by five!<\/dialogue>\n    <character>SYBIL<\/character>\n    <parenthetical>(stepping to the door)<\/parenthetical>\n    <dialogue>Yes, ma'am.<\/dialogue>\n    <scene_description>As Cathy scurries off the three look after, music hanging. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - DAY<\/stage_direction>\n    <scene_description>Cathy drives down Hawthorne street looking out her window eagerly, music stirring softly. The red-and-green Christmas decorations on the lamp-posts only seem to accentuate the greyness of the neighborhood. Then she spots it. A small storefront with Christmas trees out front reads DEAGAN GARDEN SHOP. She smiles to herself as she continues on, picking up speed. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HARTFORD STREET - DAY<\/stage_direction>\n    <scene_description>A wind whistles through downtown Hartford as Cathy hurries out of the local Stop-&amp;-Shop carrying groceries. She smiles at a WOMAN passing on the street, and hurries on to her car. The woman stops and turns, looking back at Cathy as she goes. Two ladies are passing down the street - the same two ladies who stood snickering with Mona and her uncle at the art show. One of them spots Cathy and whispers something to the other. Cathy notices, stopping a moment before shutting the trunk of her car, then rushes on. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DANCE SCHOOL - LATER<\/stage_direction>\n    <scene_description>Cathy dashes in the front door of the building where a sign is posted. It reads: BALLET RECITAL TODAY<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DANCE SCHOOL - LATER<\/stage_direction>\n    <scene_description>Inside the dimly-lit recital room mothers sit in rows of folding chairs watching as a class of 10 and 11-year-old girls perform a routine. Cathy steps into the main room, hushed in attention, and stops to watch. Janice comes running over.<\/scene_description>\n    <character>JANICE<\/character>\n    <dialogue>Mother!<\/dialogue>\n    <scene_description>A ballet instructor turns and shh's them.<\/scene_description>\n    <character>CATHY<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Hello, dear.<\/dialogue>\n    <scene_description>Janice embraces her and then turns to face the recital, curling around her mother and keeping hold of her hand.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Did the recital just begin?<\/dialogue>\n    <scene_description>Janice nods.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>So where are the other little girls from your class?<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>Over there.<\/dialogue>\n    <scene_description>A queer fog of music forms as Cathy looks over to the other side of the room. All the other girls Janice's age are standing with their mothers at the opposite end of the room. The mothers all seem to be looking over at Cathy (or pretending not to) while clutching their daughter's hands or pulling them close. And all the little girls are quiet, staring sleepily at their estranged classmate and her silently tainted-mother. Music spills over DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITAKER HOUSE - LATER AFTERNOON<\/stage_direction>\n    <scene_description>We MOVE IN from a slow distance, angled toward the garage, as Cathy follows Janice up the porch steps into the house. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITAKER LIVING ROOM - LATE AFTERNOON<\/stage_direction>\n    <scene_description>The front door opens and Cathy and Janice enter the house, dank with late afternoon.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Sybil, we're home!<\/dialogue>\n    <scene_description>There's no answer. Suddenly Janice goes running into the house and straight up the stairs. The phone starts to ring.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Janice? Janice?<\/dialogue>\n    <scene_description>Cathy watches her go. The phone continues ringing and Cathy sighs, putting down her purse and scarf and starting into the kitchen.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Sybil?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - DAY<\/stage_direction>\n    <scene_description>Cathy enters the kitchen, lit only by the late-day sun. There is no sign of Sybil as she goes to answer the phone.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <parenthetical>(through receiver)<\/parenthetical>\n    <dialogue>Cathy!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>El?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FINE'S BEDROOM - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Eleanor crouches on the phone, pane shadows lining her face.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Oh Cathy, thank heavens you're home. I've been trying you all day.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITAKER KITCHEN - LATE AFTERNOON<\/stage_direction>\n    <character>CATHY<\/character>\n    <dialogue>El, what is it?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <parenthetical>(through receiver)<\/parenthetical>\n    <dialogue>So you haven't heard. You haven't heard a thing?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>No - About what? Eleanor, what happened?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FINE BEDROOM - LATE AFTERNOON<\/stage_direction>\n    <character>ELEANOR<\/character>\n    <dialogue>Oh Cathy, there's been talk. Vicious talk.<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(through receiver)<\/parenthetical>\n    <dialogue>What do you mean? About what?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>About you!<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(through receiver)<\/parenthetical>\n    <dialogue>Oh, for heaven's sake - What now?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Oh, honey, I wish you never even had to know.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>It's Mona, Cathy, she's - Well, she's just been on some kind of rampage, swearing up and down she saw you and a colored man, somewhere out on Franklin, coming out of a truck or some such thing -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITAKER'S KITCHEN - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Cathy closes her eyes.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <parenthetical>(cont'd through receiver)<\/parenthetical>\n    <dialogue>The same colored man, she claims, you were talking to at the art show!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>But that's - that's preposterous! I mean yes I've spoken to Mr. Deagan on occasion. But this makes it sound like -<\/dialogue>\n    <character>ELEANOR<\/character>\n    <parenthetical>(through receiver)<\/parenthetical>\n    <dialogue>Cathy, believe me, I've been at my wits end. You have no idea what it's been like around here - the phone's been ringing off the hook since eight this morning!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>But Eleanor - the entire thing - is so absurd!<\/dialogue>\n    <character>ELEANOR<\/character>\n    <parenthetical>(through receiver)<\/parenthetical>\n    <dialogue>Darling, I know.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>But what in the world can I do?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <parenthetical>(through receiver)<\/parenthetical>\n    <dialogue>Well. I suppose you could start by getting yourself another gardener.<\/dialogue>\n    <scene_description>Cathy suddenly turns. Frank is standing in the shadows off the kitchen, looking down.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Frank! What on earth - I didn't even hear you -<\/dialogue>\n    <parenthetical>(to Eleanor)<\/parenthetical>\n    <dialogue>Eleanor, Frank just walked in. Can I call you back?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <parenthetical>(through receiver)<\/parenthetical>\n    <dialogue>Of course. You go ahead.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>I'll call you later.<\/dialogue>\n    <scene_description>Cathy hangs up the phone.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Frank, what are you doing home? Is everything alright - ?<\/dialogue>\n    <scene_description>He starts toward her, out of the dark, a drink in his hand.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Just tell me one goddamn thing.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Is it true? What they're saying?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Oh, Frank, I can't believe you even<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Because if it is, even the slightest bit, so help me God, Cathleen -<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Frank I'm sorry you ever even had to hear of such nonsense!<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Yea', well, Dick Dawson didn't seem to think it was such nonsense when he snuck away from his desk today to phone me -<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Good heavens -<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>He says the whole friggin' town's been talking!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Frank, Sybil will hear you.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I sent her out. - Christ, Cathleen! Do you even have the slightest idea what this means? Do you realize the kind of effect this could have on me and the reputation I've spent the past eight years of my life trying to build? For you and the children and the company?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Frank, I swear to you, whatever Mona Lauder saw or thought she saw was entirely a figment of that woman's hateful imagination! Yes, I'd spoken with Raymond Deagan on certain occasions - he brought his little girl to Eleanor's art show! But evidently, even here in Hartford, the idea of a white woman even speaking to a colored man is more than any -<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Please! Spare me the Negro rights!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Frank, you know what that woman is capable of. Besides I - I've already given him notice. We won't be seeing the man again.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <scene_description>Silence.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Is that why you're home? Because of what Dick said?<\/dialogue>\n    <scene_description>Frank just looks down at his drink, jiggling the glass.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Frank?<\/dialogue>\n    <scene_description>He looks up at her with a little smirk, downs the rest of his drink, and walks out of the kitchen toward the bar.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>What, Frank.<\/dialogue>\n    <parenthetical>(she follows)<\/parenthetical>\n    <dialogue>Did something happen at work?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Frank is at the bar refilling his drink when Cathy approaches. She stops and looks at him.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Frank?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I guess you could call it sort of an early Christmas bonus.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>What do mean?<\/dialogue>\n    <scene_description>Frank takes his drink over to the couches and flops into it.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>A month of rest and relaxation'! Can you imagine? During the busiest season of the year?! I mean what a goddamn honor!! But I guess when you consider the bang-up job I've been doing, ever since good ole Dr. Bowman entered the scene! And for being, as Millstein put it - what? - 'years overdo'! -<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>But Frank you do deserve a vacation, after all you've given them.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Well, Palm Springs is supposed to be nice, says the word from on high.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Frank, I know it might not seem it now, but with everything that's happened, a trip somewhere, away from it all...<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Frank, it might just be the best thing in the world. For both of us.<\/dialogue>\n    <scene_description>He just looks down.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Oh, Frank. What a wretched day it must have been for you, darling -<\/dialogue>\n    <scene_description>All at once the front door bursts open and David rushes in. Cathy stands up.<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>Say! What do you know, pop's home! What're you doing home, pop?<\/dialogue>\n    <scene_description>Cathy approaches David, gathering up her purse and scarf and starting up the stairs.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Your father has work to do, David. It's best you help yourself to a glass of milk and get started straightaway on your studies.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Yes, mother. Say, pop -<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Mind your mother, David.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - LATE DAY<\/stage_direction>\n    <scene_description>Cathy closes the bedroom door behind her and stops. A low tremor of music rises as the late day sun filters through curtains a peach and purple fume. Cathy walks slowly toward the window and stops, looking out. Dusk has cast an early freeze over the Whitaker yard. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEAGAN GARDEN SHOP - EARLY EVENING<\/stage_direction>\n    <scene_description>Raymond stands outside his shop in the opaline dusk, showing a Christmas tree to a middle-aged man. JAKE, a teenage employee, steps out from inside.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Say, Mr. Deagan!<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Yes, Jake?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>There's a lady on the phone for you.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>I'll be right there.<\/dialogue>\n    <parenthetical>(to the customer)<\/parenthetical>\n    <dialogue>Would you excuse me a moment? I'm terribly sorry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARDEN SHOP - EARLY EVENING<\/stage_direction>\n    <scene_description>Raymond picks up a wall-phone near the front door, as Christmas colors bleed through the Garden Shop windows behind him.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>Yes? This is Raymond Deagan.<\/dialogue>\n    <scene_description>It's Cathy, and Raymond can't conceal his pleasure.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>Oh, hello... That's right. Is everything - ?<\/dialogue>\n    <parenthetical>(he listens)<\/parenthetical>\n    <dialogue>Yea. I think I could... Alright... I'll see you tomorrow then.<\/dialogue>\n    <scene_description>He hangs up the phone but remains a moment, music bridging. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KELLER'S DRUG-STORE - DOWNTOWN HARTFORD - DAY<\/stage_direction>\n    <scene_description>Through the large, Christmas-trimmed windows of Keller's Drug- store we see Cathy, wearing sunglasses and scarf, crossing the street. Raymond waits at the corner of the old-fashioned, seasonally adorned establishment, moderately busy for the middle of the day. The door opens and Cathy walks directly over, stopping beside him.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <parenthetical>(silence)<\/parenthetical>\n    <dialogue>Thank you for meeting me. I realize you have a busy schedule.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Worked out fine. I was glad you called.<\/dialogue>\n    <scene_description>He turns to her with a smile, but Cathy darts a glance to the counter where Two women are glaring and whispering.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>You sure everything's alright?<\/dialogue>\n    <scene_description>Cathy exhales, closing her eyes. She shakes her head.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <scene_description>The SODA JERK has been watching them from the other end of the counter.<\/scene_description>\n    <character>SODA JERK<\/character>\n    <dialogue>Uh - Is there something I can do for you folks?<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Can we leave here?<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>Raymond quickly escorts Cathy, head ducked into her collar, out to the street.<\/scene_description>\n    <character>SODA JERK<\/character>\n    <dialogue>Maybe that isn't such a bad idea!<\/dialogue>\n    <scene_description>Several customers turn and glare as they go.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KELLER'S DRUG STORE - DAY<\/stage_direction>\n    <scene_description>Raymond and Cathy are turning down the first corner.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOVIE THEATER - LATER<\/stage_direction>\n    <scene_description>The 20's-style movie theater stands across the street, streaked in winter light. The marquee reads HILDA CRANE and THE BOLD AND THE BRAVE. Cathy and Raymond cross over to the theater and stop under its awning. Cathy looks down.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>What is it? What happened?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>I wanted to see you in person Raymond. I just - I can't -<\/dialogue>\n    <parenthetical>(she stops)<\/parenthetical>\n    <character>RAYMOND<\/character>\n    <dialogue>Can't what?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>It just isn't plausible, Raymond, for me to be friends with you.<\/dialogue>\n    <scene_description>Raymond tenses.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>You've been so very kind. To me. And I've been perfectly reckless and foolish in return... thinking -<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>What? That one person could reach out to another? Take an interest in another? And that maybe, for one fleeting instant, could manage to see beyond the surface - beyond the color of things?<\/dialogue>\n    <scene_description>Cathy sighs and thinks a moment.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Do you think we ever really do? See beyond those things? The surface of things?<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>'Just beyond the fall from grace\/Behold that ever shining place.' Yes, I do. I don't really have a choice.<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(softly)<\/parenthetical>\n    <dialogue>I wish I could.<\/dialogue>\n    <scene_description>She takes his hand, a bit formally.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Good luck to you, Raymond.<\/dialogue>\n    <scene_description>She starts to turn away to leave when Raymond grabs her arm.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>Mrs. Whitaker!<\/dialogue>\n    <scene_description>A passing couple with a stroller turn and stop. Schoolgirls waiting to buy tickets do the same.<\/scene_description>\n    <character>CATHY<\/character>\n    <parenthetical>(still softly)<\/parenthetical>\n    <dialogue>Raymond - please don't -<\/dialogue>\n    <scene_description>A TALL MAN in shirt-sleeves and suspenders shouts from across the street.<\/scene_description>\n    <character>TALL MAN<\/character>\n    <dialogue>You! Boy! Hands off!<\/dialogue>\n    <scene_description>Raymond turns.<\/scene_description>\n    <character>TALL MAN<\/character>\n    <dialogue>Yea, you!<\/dialogue>\n    <scene_description>Cathy puts her hand over Raymond's and gently removes it. She takes a step back. Raymond stands helplessly, everyone watching.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Oh Raymond -<\/dialogue>\n    <scene_description>He looks at her with such sadness.<\/scene_description>\n    <character>CATHY<\/character>\n    <parenthetical>(as much to herself)<\/parenthetical>\n    <dialogue>You're so beautiful.<\/dialogue>\n    <scene_description>She mouths 'bye' and turns, starting off briskly down the street. Spectators break into murmurs. The tall man across the street slowly turns and continues on his way. Raymond looks back in Cathy's direction as she disappears around the corner. Music booms, sweeping us inexorably forward. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JUNIOR LEAGUE FOOTBALL FIELD - AFTERNOON<\/stage_direction>\n    <scene_description>It's a brisk winter day and light flurries are just starting to sprinkle up the sky. David's junior-football team has broken and he and the others are walking back from the field. Along the sidewalk a row of black school-kids in uniform are making their way down the street. One of the children is Sarah Deagan, Raymond's daughter, who is walking with another little girl her age.<\/scene_description>\n    <character>SARAH'S FRIEND<\/character>\n    <dialogue>Which' is how come I almost fell asleep during Math-class, on account of my brother playin' his records all night long - until my mama came and made him switch it off. And I don't even like that type of music!<\/dialogue>\n    <scene_description>Sarah's attention has turned to a powder blue Chevrolet slowing down near the football field. It's Cathy's car, who Sarah recognizes as it comes to a stop. She watches as David, walking back with his friend Hutch, calls out to his mother in the car.<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>Mother! Can I sleep over at Hutch's tonight? Please!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Not tonight, David. Your father's home and we're having a family dinner.<\/dialogue>\n    <character>SARAH'S FRIEND<\/character>\n    <dialogue>Who's that?<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Oh, just some friends of my daddy. You don't have to wait, I'll catch up.<\/dialogue>\n    <scene_description>Sarah's friend continues on as Sarah remains for a moment watching.<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>You never let me stay over!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Next time, David, I promise. Now please get in the car, I'm late as it is.<\/dialogue>\n    <scene_description>David climbs into the back-seat - Janice is seated in front - and the car begins to pull out. Sarah smiles as it approaches. But as she lifts her hand to wave hello only Janice seems to notice her - whisking past the window as they go. Sarah watches as the car speeds off down the road. She looks back in the direction of her group, but now her classmates are a good block away. And the snow has begun picking up. So she plunges her hands in her pockets and starts up after them. Up ahead where the block narrows, Hutch and two of his friends stand leaning against the fence, sharing a cigarette. Sarah notices them ahead. Hutch is the first one to spot her, and he stares hard as she approaches. A chill of music is felt as Hutch leans over and starts whispering to the others. As they look back at her and laugh the music picks up a jazzy beat. Sarah approaches, tucking her head down sullenly.<\/scene_description>\n    <character>HUTCH<\/character>\n    <dialogue>Hey fellas, look who's comin'! It's daddy's girl! Hey there daddy's girl! Where do think you're going?<\/dialogue>\n    <character>SARAH<\/character>\n    <parenthetical>(a mumble)<\/parenthetical>\n    <dialogue>Home.<\/dialogue>\n    <character>HUTCH<\/character>\n    <dialogue>Home to see your daddy?... Yea, and his white girl?<\/dialogue>\n    <scene_description>Suddenly Sarah tears off, running down the street, music turning fast and brassy. The boys exchange brief smiles before grabbing rocks from the ground and taking off after her.<\/scene_description>\n    <character>HUTCH<\/character>\n    <dialogue>Hey! Where ya goin'? We just want to play!<\/dialogue>\n    <scene_description>Sarah looks back as she runs and sees them following. She starts to panic but continues running, dropping her schoolbooks along the way. She comes to a busy intersection and turns off into an alley.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY -AFTERNOON<\/stage_direction>\n    <scene_description>Sarah tears around a trash dumpster only to discover that the alley doesn't go through. She turns around just as Hutch and the others arrive, sealing her off, music simmering. The snow falls steadily now.<\/scene_description>\n    <character>HUTCH<\/character>\n    <dialogue>Uh-oh! Wrong turn, daddy's girl!<\/dialogue>\n    <character>2ND BOY<\/character>\n    <dialogue>Hey daddy's girl! Over here!<\/dialogue>\n    <scene_description>With their stone-wielding arms in the air, the boys begin slowly tightening around her, music building. Sarah begins backstepping toward the wall.<\/scene_description>\n    <character>HUTCH<\/character>\n    <dialogue>Yep! She made a wrong turn alright!<\/dialogue>\n    <scene_description>He doubles back with his rock, pitcher style, as the music explodes into wild rhythm, and the other two follow.<\/scene_description>\n    <character>HUTCH<\/character>\n    <dialogue>Just like her daddy!<\/dialogue>\n    <scene_description>All at once their rocks go hurling at Sarah, with Hutch's coming last and hard and hitting her in the head. It knocks her back and she falls to the ground. For a split-second the boys are frozen. Then all at once they take off down the street, music reaching a brassy, frantic peak. RAPID FADE TO BLACK. FADE UP TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITAKER LIVING ROOM - CHRISTMAS DAY<\/stage_direction>\n    <scene_description>Music shimmers suddenly as the top of an unwrapped present is lifted, revealing amid a blossom of tissue a satiny pair of new ballet slippers. We ascend.<\/scene_description>\n    <character>JANICE<\/character>\n    <dialogue>Oh, it is them, it is! Oh thank you, mother! Thank you, father!<\/dialogue>\n    <scene_description>Kaleidoscopic light multicolors the rosy, Christmas-strewn living room as Janice scurries over to Frank on the couch and Cathy returns with an egg nog. David sits on the rug, pooling over his new electric train-set. Outside, the backyard glistens with snow.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Merry Christmas, darling!<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>Now I'll be as good as all the other girls in class.<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(handing him his drink)<\/parenthetical>\n    <dialogue>There you are, darling. Just the way you like it.<\/dialogue>\n    <character>DAVID<\/character>\n    <parenthetical>(holding up one of the cars)<\/parenthetical>\n    <dialogue>Pop! Look at the steam engine!<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Wonderful!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Well, look at that.<\/dialogue>\n    <parenthetical>(walking over to the fireplace)<\/parenthetical>\n    <dialogue>I knew I was forgetting something!<\/dialogue>\n    <scene_description>Cathy returns with Frank's Christmas stocking.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>There you are, darling! A little something for Mr. and Mrs. Clause!<\/dialogue>\n    <scene_description>Frank overturns the stocking and a handful of travel brochures slip out onto the table.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>What've we got here? Acapulco, Miami, Palm Springs, Bermuda.<\/dialogue>\n    <scene_description>Cathy sits down beside him on the arm of the couch.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Take your pick, darling. It's your choice.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>This mean you're paying?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Well Rio, I know, is a bit extravagant, but the rest are really all quite affordable. As far as warm weather goes. This time of year.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I don't know. Stan's always raving about Miami.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Oh, Frank I think Miami would be a dream! El says it's just darling. Everything's pink.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Oh yea?<\/dialogue>\n    <parenthetical>(tiny pause)<\/parenthetical>\n    <dialogue>Then maybe we oughta consider Bermuda.<\/dialogue>\n    <scene_description>Cathy looks at him. Frank cracks a little smile. Music sweeps up as Cathy embraces him.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Oh, Frank! I do love you, darling. I do.<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIAMI RESORT - NEW YEAR'S EVE NIGHT<\/stage_direction>\n    <scene_description>Music can be heard spilling out from the glittering supper- club, jutting off the side of the modern, palm-lined resort.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. TERRACE - RESORT SUPPER-CLUB NIGHT<\/stage_direction>\n    <scene_description>Cathy and Frank dance together on the terrace of the sparkling venue, all decked out for New Year's, under the stars. A small band is playing and several other couples are dancing. And though it's not without tension it's clear they are each trying to make the vacation as pleasant as can be.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>I must say you look extremely fetching all gussied up in your white tux and tie.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Well it's a good thing, since I can hardly breath in it.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Oh it's not that bad.<\/dialogue>\n    <parenthetical>(silence)<\/parenthetical>\n    <dialogue>You like my dress?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Yes. Very much. Didn't I say?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>You did not.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Well it's a ravishing dress. And a ravishing girl to go with it.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>That's more like it.<\/dialogue>\n    <scene_description>The song ends and everyone claps for the band. Frank kisses Cathy tenderly on the lips, under the stars, and she smiles into his eyes. Frank puts his arm around her gently and escorts her back to their table. As they near their table they are intercepted by a large family being seated. The handsome middle-aged parents sit down first, followed by five blond, handsome children, ranging from late teens to late 20's in age. The BLOND FATHER addresses Frank and Cathy:<\/scene_description>\n    <character>BLOND FATHER<\/character>\n    <dialogue>Excuse us.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>No problem at all.<\/dialogue>\n    <scene_description>One of the middle sons, the prettiest, watches Frank closely as he passes. Cathy doesn't notice. But Frank does.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>You have a lovely family.<\/dialogue>\n    <character>BLOND FATHER<\/character>\n    <dialogue>Thank you. Happy New Year.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Happy New Year to you.<\/dialogue>\n    <scene_description>Frank nods to the table, catching another glimpse of the pretty blond boy's stare. And he and Cathy take their seats.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Frank, do you remember that summer? At your uncle's in Vermont? Janice wasn't even born yet. When David broke his finger on the water pump?<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>(remembering)<\/parenthetical>\n    <dialogue>Oh yea.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Whatever happened to that house?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Think Margaret eventually put it on the market.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>That was a wonderful old place. All those wonderful barbeques.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>It was a good summer -<\/dialogue>\n    <parenthetical>(distracted by the noise)<\/parenthetical>\n    <character>CATHY<\/character>\n    <dialogue>It must be almost time.<\/dialogue>\n    <scene_description>Cathy lifts her glass and Frank refills it, then refills his own. He glances over toward the ruckus from other tables. The blond table is awash in champagne and the pretty son now fully absorbed in the festivities. From the bandstand, the M.C. leads the room in a rousing countdown.<\/scene_description>\n    <character>EVERYONE<\/character>\n    <dialogue>... Five - four - three - two - one - HAPPY NEW YEAR!!!<\/dialogue>\n    <scene_description>Cathy and Frank toast their champagne and kiss through the rain of pale blue confetti and all the shimmering cheer surrounding them.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Happy New Year, darling!<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Happy New Year, dear!<\/dialogue>\n    <scene_description>Music swirls. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POOLSIDE - MIAMI HOTEL - DAY<\/stage_direction>\n    <scene_description>We are surveying a pleasing aqua-blue scene of pleasure-goers by the pool. A girl with a pink bathing cap swan-dives into the sparkling water, which is littered with swimmers and children frolicking by the steps. Frank is just finishing some laps and stops at the shallow end to catch his breath. He sits down on a step, still half- submerged, and smiles at the mothers of the splashing toddlers. He notices something at the other end of the pool. A few members of the blond family are just coming out, dressed in swimwear and robes. They grab a few lounges and chairs and start to settle. The pretty son doesn't seem to be among them. Frank stands, stretches. He steps out of the water and reaches for his towel just as a small black boy, age 4 or 5, goes skipping past him into the first step of the pool. His father, a HOTEL WAITER, is running over from the hut- style snack-bar.<\/scene_description>\n    <character>HOTEL WAITER<\/character>\n    <parenthetical>(calling out)<\/parenthetical>\n    <dialogue>Martin! Martin, get outa there! You know you're not allowed in there!<\/dialogue>\n    <scene_description>Cathy, who sits among a row of lounges under an umbrella, looks up from her magazine. A woman with a baby is already stepping efficiently out of the pool while others stand, dumbstruck. Everyone else in the water, save one man doing laps, just stares at the tiny intruder. Instantly the waiter arrives and yanks his son out of the water.<\/scene_description>\n    <character>HOTEL WAITER<\/character>\n    <parenthetical>(forcefully)<\/parenthetical>\n    <dialogue>Now what did I tell you about going in that pool?! You know you're not allowed in there!<\/dialogue>\n    <scene_description>He carries his crying boy off. Frank turns toward Cathy and shrugs. He starts back, drying himself off on the way.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Hello, there.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Well hello.<\/dialogue>\n    <scene_description>Frank plops himself down on the lounge, flat on his back, and exhales.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Mmmm. Good swim, darling?<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>(eyes closed, nodding)<\/parenthetical>\n    <dialogue>Mmm.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Feel good?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Mmm.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Isn't the sun just marvelous?<\/dialogue>\n    <scene_description>But her expression changes when she glances back toward the pool. Kids who were playing now stare across the pool to the shallow end blankly. The last few bathers near the steps are just stepping out of the water, leaving the entire area cleared. A MOTHER in an unbecoming swimsuit calls out to her DAUGHTER.<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>Donna?<\/dialogue>\n    <character>DAUGHTER<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>Time to get out.<\/dialogue>\n    <character>DAUGHTER<\/character>\n    <dialogue>But why?<\/dialogue>\n    <character>MOTHER<\/character>\n    <parenthetical>(sharply)<\/parenthetical>\n    <dialogue>Because I said so.<\/dialogue>\n    <scene_description>The daughter starts swimming reluctantly to the edge, just as the man doing laps makes his final pass. We see the girl in the pink swimming cap climbing up the small ladder in the deep end. Within moments the pool is completely empty. Frank and Cathy observe in silence. Before turning back, Frank takes a final glance at the blond family gathering. The pretty son has just arrived, wearing a white terry-cloth robe and a beach bag over his shoulder. He doesn't notice Frank. We hear Cathy slap shut her magazine.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Well that does it.<\/dialogue>\n    <scene_description>Frank turns.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>I think I've heard quite enough about fashion and advice for one afternoon! I do believe it's time for my Miss Mitchell.<\/dialogue>\n    <scene_description>Cathy opens up her canvas bag but doesn't see her book.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Oh, heavens.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>I must have left it in the room. So silly.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>You want me to go?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>No, darling. You just sat down.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I don't mind.<\/dialogue>\n    <parenthetical>(he sits up)<\/parenthetical>\n    <character>CATHY<\/character>\n    <dialogue>What? No, Frank. I'll go.<\/dialogue>\n    <scene_description>Frank stands up and flexes.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>It's fine. I want to get a paper anyway.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>You sure?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Yea.<\/dialogue>\n    <scene_description>He grabs his shirt and room-key and starts off toward the room - in the opposite direction of the blond boy by the pool.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Thank you, darling. I'm sure it's just there on the night-stand.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANK'S ROOM - DAY<\/stage_direction>\n    <scene_description>Frank has left the door ajar as he gathers his wallet and Cathy's book. He stops for a second in front of the mirror and regards himself in his wear. Not bad, for a man his age. Then suddenly he senses something. A hum of music hangs in the air as he turns his head to the gap in the door. There, standing and staring at Frank, is the blond boy. He holds his robe in one hand, revealing a lithe, white body squeezed into pale orange swim-trunks. Frank stares back, captive. The boy's fingers are quietly grazing his crotch. Slowly, like a sleepwalker, Frank begins to approach, music deepening. FADE TO BLACK.: WE HEAR<\/scene_description>\n    <character>JANICE<\/character>\n    <dialogue>They're here! I see their car! They're here!<\/dialogue>\n    <scene_description>FADE UP ON:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITAKER LIVING ROOM - EVENING<\/stage_direction>\n    <scene_description>Music lightens as David, Janice and Sybil all hurry to the door which flies open on Cathy and Frank, armored with gifts and luggage.<\/scene_description>\n    <character>JANICE<\/character>\n    <dialogue>Mother! Father!<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Hi-ya pop! Hey mother!<\/dialogue>\n    <character>SYBIL<\/character>\n    <dialogue>Welcome home, Mr. And Mrs. Whitaker.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Well look at you all! What a lovely greeting!<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>So mother was it dreamy?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Listen to you! Dreamy!<\/dialogue>\n    <character>SYBIL<\/character>\n    <parenthetical>(taking Mr. Whitaker's suitcase)<\/parenthetical>\n    <dialogue>Did you have a nice time Mr. Whitaker?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Yes, Sybil. It was very relaxing.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Say, pop!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>David, help Sybil with the luggage.<\/dialogue>\n    <scene_description>Frank sits down on the living room sofa as Sybil starts up the stairs with a suitcase.<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>Pop, you'll never guess what happened at school this week? Try and guess!<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I give up.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>David!<\/dialogue>\n    <character>JANICE\u0080\ufffd<\/character>\n    <parenthetical>(lugging a suitcase up the stairs)<\/parenthetical>\n    <dialogue>I'm helping, mother!<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Billy Hutchison and these two other boys all got expelled from school!<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>You mean suspended.<\/dialogue>\n    <scene_description>Sybil is starting back down the stairs.<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>No! Expelled! I swear! For throwing a rock at a girl's head.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>That's terrible. A little girl from school?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>No. She was a Negro.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>What? Who told you such a thing?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Tommy Hawkings. He saw. So he had to tell the principal.<\/dialogue>\n    <scene_description>Cathy glances up at Sybil who continues slowly down the stairs.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Sybil? Is this true?<\/dialogue>\n    <scene_description>Sybil glances over to Frank and back to Cathy.<\/scene_description>\n    <character>SYBIL<\/character>\n    <dialogue>Yes, ma'am. I'm afraid it is.<\/dialogue>\n    <scene_description>Cathy looks over at Frank incredulously.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>What in heaven's name has gotten into this town?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>It's just a couple of foolish kids.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Hutch said they were just trying to teach her a lesson.<\/dialogue>\n    <scene_description>Sybil continues on into the kitchen.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Well I think it's dreadful. And you're certainly not to see that Hutch boy again. You understand me?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Yes, ma'am.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>While you're there David, how about flipping on the set for your old man.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Sure, pop.<\/dialogue>\n    <scene_description>Cathy sighs, picking up the mail from the hall table, and starts upstairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Cathy enters the dark room, flips on the light and puts down her things. She walks over to the small desk by the window and puts down the mail. There, among the bills, she notices the NAACP brochure. She picks it up. Close on brochure, music taking. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITAKER DINING ROOM - LATE DAY - TWO WEEKS LATER<\/stage_direction>\n    <scene_description>Cathy's finger is scanning the telephone book for a listing and comes to rest on a number for the NAACP Information Line. Then she lifts the receiver off the phone and starts dialing. She is sitting at the dining room table, half-toned by a bath of wintery light, while Janice sits at the coffee table doing her homework.<\/scene_description>\n    <character>JANICE<\/character>\n    <dialogue>Mother, how do you spell 'skirt'?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>One minute, dear. Mother's making a call.<\/dialogue>\n    <parenthetical>(she finishes dialing and waits)<\/parenthetical>\n    <dialogue>Yes - hello. I was wondering if you could help me possibly. I just recently received your brochure - which I found extremely informative - and was curious to learn a little more about what was entailed precisely - in your volunteer program - in terms of particular skills and so on. You see I - what?... Yes, I can hold.<\/dialogue>\n    <scene_description>Cathy hears the front door opening and turns. Frank is walking in the door wearing a snow-dusted coat and hat, looking beat.<\/scene_description>\n    <character>JANICE<\/character>\n    <dialogue>Father's home!<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(complete surprise)<\/parenthetical>\n    <dialogue>Frank? What happened to the match?<\/dialogue>\n    <scene_description>Tiny smile.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Oh, my shoulder's been acting up. I couldn't sit there any longer.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>You didn't say anything.<\/dialogue>\n    <scene_description>He starts taking off his coat and mittens by the coat-rack.<\/scene_description>\n    <character>JANICE<\/character>\n    <dialogue>Father, I did the splits today. Wanna see?<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(hanging up the phone)<\/parenthetical>\n    <dialogue>Janice, your father just walked in the door. And you have schoolwork to finish.<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>Yes, mother.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>You know, Frank. You never had that physical. I certainly think you're due for one, dear. Can I call Dr. Ellis? It's been three years, Frank.<\/dialogue>\n    <scene_description>Frank doesn't answer as he walks over to the couch and sits down with the TV guide.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>You know my brothers had physicals, every year on their birthday, all during school. Father insisted.<\/dialogue>\n    <scene_description>He doesn't respond.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Did I tell you the pediatrician thinks Janice is going to need braces?<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>Father, do I have to!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Apparently our little girl has an over-bite.<\/dialogue>\n    <scene_description>David rushes in from the backyard carrying a bucket and rags.<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>Say, pop! You'll never guess what I'm doing?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>David, where is your coat?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>In the garage.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>And what's it doing there?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>I'm waxin' pop's car! It's gonna look swell, pop.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>David! How many times do I have to tell you children - you are not permitted outdoors in this kind of weather if you're not properly dressed. It's ten below zero outside, they're expecting flurries! Do you understand me? David?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Yes ma'am.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Because I give up. If you children want to go and catch your death of cold then so be it. I mean you try talking sense to them, Frank, because nothing I say ever seems to-<\/dialogue>\n    <scene_description>All of the sudden Frank bursts into tears.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Frank!<\/dialogue>\n    <scene_description>Janice and David are stunned, staring at their father.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Frank! What's the matter - !<\/dialogue>\n    <scene_description>She gets up from her chair and starts over to him, a dark mist of music forming.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Oh - God!<\/dialogue>\n    <scene_description>Janice begins to cry.<\/scene_description>\n    <character>CATHY<\/character>\n    <parenthetical>(urgently)<\/parenthetical>\n    <dialogue>Janice. David. Go upstairs to your rooms.<\/dialogue>\n    <scene_description>Janice stands, sobbing. David remains, transfixed.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Now!<\/dialogue>\n    <scene_description>Janice runs up the stairs and David follows in a trance. Cathy stands frozen near the foot of the stairs.<\/scene_description>\n    <character>FRANK<\/character>\n    <parenthetical>(crying)<\/parenthetical>\n    <dialogue>Oh - Cathy...<\/dialogue>\n    <scene_description>She approaches him but slowly, with a strange foreboding.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>What, Frank. What is it?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Something happened...<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>What?<\/dialogue>\n    <parenthetical>(nothing)<\/parenthetical>\n    <dialogue>What.<\/dialogue>\n    <scene_description>Frank cries almost like a baby.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>I've fallen in love with someone.<\/dialogue>\n    <scene_description>Cathy stares.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Who wants to be with me.<\/dialogue>\n    <scene_description>For a moment, just having said it sobers him some, and he looks back at her. Then he crumbles again.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Oh Cathy, I think I might have to go!<\/dialogue>\n    <scene_description>Music deepens as Cathy numbs, staring flatly, unable to move.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>I just - I never knew... what it was like - I know how cruel that's sounds. But I'm not... - Oh God, Cathy. I tried! I tried so hard to make it go away... I thought I could do it... for you and the children... But I can't! I can't!...<\/dialogue>\n    <scene_description>He buries his head in his hands. After several seconds she responds.<\/scene_description>\n    <character>CATHY<\/character>\n    <parenthetical>(lifeless)<\/parenthetical>\n    <dialogue>I assume then... you'll be wanting a divorce?<\/dialogue>\n    <scene_description>Frank looks up at her, puffy-eyed. But suddenly the tears seem to have stopped. Cathy looks back at him like a stone.<\/scene_description>\n    <character>FRANK<\/character>\n    <parenthetical>(softly)<\/parenthetical>\n    <dialogue>Cathy I'm so sorry.<\/dialogue>\n    <scene_description>But all at once she turns, and picking up a glass from the table walks straight-headed up the stairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - EARLY EVENING<\/stage_direction>\n    <scene_description>Cathy enters, closes the door and stands frozen, in the dark for several seconds.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - EARLY EVENING<\/stage_direction>\n    <scene_description>We look down at Frank who stands alone in the empty living room. He turns and walks over to the bar and limply pours himself a drink. He stands frozen a moment, drink in hand, as music gathers, softly. Then he throws it back, walks over to his coat and hat and opens the front door of the house. He turns back around for one last look - and closes the door behind him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - EARLY EVENING<\/stage_direction>\n    <scene_description>Cathy stands outside her door looking out the landing window. She hears the sound of Frank's car starting off. Filtered through a new snowfall, the red of his brakes tint the dusky sky and rouge her silent profile. Music deepens. Cathy walks to the window and stares hard at the telephone. She lifts the receiver to her ear. She dials.<\/scene_description>\n    <character>CATHY<\/character>\n    <parenthetical>(quivery)<\/parenthetical>\n    <dialogue>Eleanor? Eleanor it's me, Cathy.<\/dialogue>\n    <scene_description>Music opens as we DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FINE HOUSE - NIGHT<\/stage_direction>\n    <scene_description>A soggy snowfall continues as we glide through shiny branches outside the Fine's house toward the rosy glow of an upstairs window. There we see Cathy in the glow of Eleanor's bedroom, telling her friend the whole story. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FINE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Eleanor reaches for Cathy's hands, music settling.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Oh, Cathy.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>So you see, El. You see why I couldn't tell you anything. Anything at all.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Oh you dear, sweet kid. In a million years I couldn't have imagined. Not Frank! I suppose divorce really is the only option - if only to keep it as far from the children as possible.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>I think that's what's been the hardest of all. The endless secrecy. Our entire lives just - shut in the dark.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Are there savings?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Nothing much to speak of. And certainly not with Frank's job on the line.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Well honey, you know, if there's anything you need, anything at all -<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Oh, El...<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>I mean it. We're here. Alright?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Thank you, El. For always having been.<\/dialogue>\n    <scene_description>Cathy reflects a moment and stands, walking toward the window.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>You know it's funny.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>What's that.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>This whole time, the only person I've been able to talk to. About any of this.<\/dialogue>\n    <parenthetical>(turning back to her)<\/parenthetical>\n    <dialogue>Was Raymond Deagan.<\/dialogue>\n    <scene_description>Eleanor looks at Cathy in disbelief.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>It's true. Well, not in the way Mona intended - Nothing like that! We would just talk! But... Somehow it made me feel - oh, I don't know. Alive somewhere.<\/dialogue>\n    <scene_description>She glances out the window at the rain-dampened snow.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Oh Eleanor, I know it sounds ridiculous and mad...<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>But I do, I think of him. What he's doing, what he's thinking. I do -<\/dialogue>\n    <scene_description>Cathy turns back to her friend with the wistful smile of a girl. Eleanor glances off.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>El?<\/dialogue>\n    <scene_description>Eleanor gets up and starts tending to the tray of empty cups.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>What can I say? You're so full of surprises. I'm speechless.<\/dialogue>\n    <scene_description>Cathy looks at her.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <parenthetical>(little laugh)<\/parenthetical>\n    <dialogue>Though I'm sure I must have looked entirely the fool, crusading away against Mona Lauder and all her so- called inventions-!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Eleanor! - How can you say such a thing?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>I didn't say a word! Who am I to tell anyone how to lead their lives?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>But El! Nothing happened between us! I told you that!<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Cathy it's none of my business. But you certainly make it sound as if something had.<\/dialogue>\n    <scene_description>A soft bed of music rises as Cathy looks back at her, disarmed. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITAKER LIVING ROOM - EVENING<\/stage_direction>\n    <scene_description>Music continues as Cathy returns home, hanging up her coat and stepping into the dark, silent house. She walks toward the french doors, etched in silver, and stops. There, filtering moonlight through its gilded maze, the branch of Silver-tip spruce still sits in a vase by the window.<\/scene_description>\n    <character>SYBIL<\/character>\n    <parenthetical>(off)<\/parenthetical>\n    <dialogue>Mrs. Whitaker?<\/dialogue>\n    <scene_description>Cathy turns toward the kitchen. Sybil stands in the shadows near the kitchen door.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Sybil.<\/dialogue>\n    <character>SYBIL<\/character>\n    <dialogue>I'm sorry to disturb you ma'am, I just...<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Yes, Sybil?<\/dialogue>\n    <character>SYBIL<\/character>\n    <dialogue>It's something I've been wanting to tell you, ma'am, for some time - Something I believe you'd surely want to know - even if it isn't... exactly my place...<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Sybil, what is it?<\/dialogue>\n    <character>SYBIL<\/character>\n    <dialogue>It's about the little colored girl, ma'am. The one that got hit?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Yes. What about her?<\/dialogue>\n    <character>SYBIL<\/character>\n    <dialogue>I'm sorry, ma'am, but it was Mr. Deagan's little girl, Sarah -<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>What! Oh God, Sybil, it wasn't!<\/dialogue>\n    <character>SYBIL<\/character>\n    <dialogue>The neighbors tell me she's doing just fine -<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Oh that dear, sweet little girl.<\/dialogue>\n    <parenthetical>(to Sybil, suddenly incensed)<\/parenthetical>\n    <dialogue>How in God's name, Sybil, could you not have told me this? That was weeks ago - !<\/dialogue>\n    <scene_description>She turns and marches to the entry hall, Sybil following.<\/scene_description>\n    <character>SYBIL<\/character>\n    <dialogue>Oh, Mrs. Whitaker, please don't be cross with me! I didn't want to - makes things any worse!<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(throwing on her coat)<\/parenthetical>\n    <dialogue>Sybil, Sybil do you have any idea where Mr. Deagan lives?<\/dialogue>\n    <character>SYBIL<\/character>\n    <dialogue>I believe he's been at his father's old place on 12th and Governor.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>12th and Governor. Thank you, Sybil.<\/dialogue>\n    <scene_description>Cathy grabs her purse and opens the door, rain falling.<\/scene_description>\n    <character>SYBIL<\/character>\n    <dialogue>You're going there now?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Please just keep an eye on the children for me. I won't be long.<\/dialogue>\n    <parenthetical>(she starts out)<\/parenthetical>\n    <character>SYBIL<\/character>\n    <dialogue>Mrs. Whitaker!<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(turns back, hurriedly)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>SYBIL<\/character>\n    <dialogue>Would you like me to go with you, ma'am?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>No, Sybil. No. I'll be fine. Thank you.<\/dialogue>\n    <scene_description>Music billows as Sybil watches her go. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEAGAN'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Rain falls upon the inky, lamp-lit night as we loom down slowly upon a small, wood bungalow, the front windows of which appear to have been boarded up. Through the window downstairs we can just glimpse Raymond walking past.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEAGAN'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Raymond is bringing a freshly made cup of hot chocolate into the living room, stirring as he goes.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>And here we have it! Your daddy's super-duper world-renowned hot cocoa specially prepared for his super-duper number one girl!<\/dialogue>\n    <scene_description>He hands the cup to Sarah who is stretched out on the couch with pillow and blanket watching TV. A small, square bandage on her forehead still marks her injury.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Thank you, daddy.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>How you feeling, baby?<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Fine, daddy.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>What's that you're watching, anyway?<\/dialogue>\n    <scene_description>There's a knock at the door. Raymond stops.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>Who on earth...?<\/dialogue>\n    <scene_description>He walks to the front.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <scene_description>The door opens on Cathy, turning suddenly to face him.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Raymond! Oh Raymond I just heard. Just this instant. I heard and I got in my car.<\/dialogue>\n    <parenthetical>(she stops)<\/parenthetical>\n    <dialogue>How are you? How's Sarah?<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>We're fine. Thank you.<\/dialogue>\n    <scene_description>A car passes and Raymond looks out nervously.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <parenthetical>(semi-whisper, gesturing)<\/parenthetical>\n    <dialogue>Meet me around the side.<\/dialogue>\n    <scene_description>Cathy nods and starts back down the steps as Raymond steps back inside the house.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <parenthetical>(grabbing his coat)<\/parenthetical>\n    <dialogue>Sarah, everything's alright, honey. I'll just be outside for a minute.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Okay daddy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEAGAN HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Cathy stands facing away, softly illuminated by an outdoor lamp, along the side of Raymond's bungalow. She hears footsteps and turns. Raymond stands near the corner of the house, looking at her.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Oh Raymond.<\/dialogue>\n    <parenthetical>(taking a few steps closer)<\/parenthetical>\n    <dialogue>What you must have been through.<\/dialogue>\n    <scene_description>Raymond looks down and shuffles forward some as well.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>What's being done, to the boys who-?<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Nothing. I won't make her go through it again. Not now. Not with rocks coming through the window every night.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Raymond, that's hateful.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>It's not white's throwing them - it's coloreds.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Oh, yea - Seems to be the one place where whites and coloreds are in full harmony. Anyway, we'll be out of here soon enough, once and for all.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>You're moving?<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>Yea.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Where to?<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>I have a...<\/dialogue>\n    <parenthetical>(emptying some flooded trash-lids)<\/parenthetical>\n    <dialogue>... brother in Baltimore. Says he can find me work out there. So we're packing up the house. Two weeks Friday we'll be on the 4:30 train, heading South.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>But what about your business, your shop?<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>The business is through. No one's gonna hire me.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>So I'm selling the shop to a cousin of mine. No...<\/dialogue>\n    <parenthetical>(he looks off)<\/parenthetical>\n    <dialogue>It's pretty well finished for me here.<\/dialogue>\n    <parenthetical>(a thought stops him)<\/parenthetical>\n    <dialogue>I've never lived anywhere but Hartford.<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(all vulnerability)<\/parenthetical>\n    <dialogue>Perhaps... sometime in the future... after you're settled - I could... perhaps come for a visit. See Baltimore? You see I... Well it looks as if I'm to be single again.<\/dialogue>\n    <scene_description>Raymond looks at her. It makes him sad. He smiles softly.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>Oh, Mrs. Whitaker.<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(softly)<\/parenthetical>\n    <dialogue>Please call me Cathy.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <parenthetical>(softly)<\/parenthetical>\n    <dialogue>Cathy.<\/dialogue>\n    <scene_description>Silence.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>No one would know us there.<\/dialogue>\n    <character>RAYMOND<\/character>\n    <dialogue>I'm just not sure... it would be such a wise idea. After... well, everything that's -<\/dialogue>\n    <scene_description>Cathy looks at him, feeling the first chill of an impending loss.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>All that matters now - what's got to matter most - is what's right for Sarah. I've learned my lesson about mixing with other worlds. And I've seen the sparks fly...<\/dialogue>\n    <parenthetical>(tenderly)<\/parenthetical>\n    <dialogue>All kinds.<\/dialogue>\n    <scene_description>Cathy turns away, hiding sudden tears. Raymond puts a hand on her shoulder, which she covers with hers.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>Have a proud life. A splendid life. Will you do that?<\/dialogue>\n    <scene_description>She closes her eyes. He kisses her fingertips.<\/scene_description>\n    <character>RAYMOND<\/character>\n    <dialogue>Goodbye Cathy.<\/dialogue>\n    <scene_description>His fingers slip from hers. She stands a moment, the black, liquid sky continuing its downpour, then starts walking, hurriedly, to her car. She doesn't look back. Raymond watches gravely, then turns and starts slowly back inside. To which a rising music as bottomless as the sea suddenly answers, spilling over and engulfing what follows. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITAKER BEDROOM - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>The curtains are drawn and Cathy lays across the shadowy surface of her bed, sobbing. Everything she's kept inside seems to spill from her now, as we move in gently through aquanautic shadows. Music fades, leaving us alone with her sounds - when the phone starts ringing. Cathy stops, listening. Then sits up in bed and looks over at it, wiping her eyes. Then she slips off the edge of the bed and walks over to the writing table to answer it. Outside, the rain appears to have stopped.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>(through receiver)<\/parenthetical>\n    <dialogue>Cathy? Did I wake you?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Frank?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Frank sits on the phone against blue floss hotel wallpaper, his face in shadow.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>I'm sorry to call this late. I hope I didn't...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - NIGHT<\/stage_direction>\n    <character>CATHY<\/character>\n    <dialogue>No. I was awake.<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>(through receiver)<\/parenthetical>\n    <dialogue>I didn't want to - upset the children.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>No. Of course.<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>(through receiver)<\/parenthetical>\n    <dialogue>How are they, by the way?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Fine. Just fine. They still ask when you'll be coming home.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - NIGHT<\/stage_direction>\n    <character>FRANK<\/character>\n    <dialogue>I know. I know. I guess that's - partly why I was calling...<\/dialogue>\n    <scene_description>Frank sits hunched-over a little table in the dark. Behind him, spread out in bed with newspapers and a half-eaten box of chocolates, the pretty blond boy watches a large TV.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>I, uh - I got a call from Dick yesterday. Said everything was... set, papers drawn up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Cathy just listens. Expressionless.<\/scene_description>\n    <character>FRANK<\/character>\n    <parenthetical>(through receiver)<\/parenthetical>\n    <dialogue>He wanted to know... how Thursday was for you. Three o'clock sometime. I told him I thought you might have carpool Thursdays but I wasn't absolutely certain. So I said I would check.<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(distantly)<\/parenthetical>\n    <dialogue>You never could remember my carpool days. And they've always been the same, Wednesdays and Fridays, as long as I can remember.<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>(through receiver)<\/parenthetical>\n    <dialogue>Wednesdays and Fridays. Of course. Same old absent-minded -<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>What time... did you say on Thursday?<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>(through receiver)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>The appointment? What time?<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>(through receiver)<\/parenthetical>\n    <dialogue>Oh - Three. Three o'clock.<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(brief silence)<\/parenthetical>\n    <dialogue>Alright.<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>(through receiver)<\/parenthetical>\n    <dialogue>Okay. Well... Great. That was it, really. I know it's late.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>It is.<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>(through receiver)<\/parenthetical>\n    <dialogue>So I guess I'll see you on - Thursday, then.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>See you Thursday.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - NIGHT<\/stage_direction>\n    <character>FRANK<\/character>\n    <dialogue>Goodbye, Cathy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Music rises like a steam.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Goodbye, Frank.<\/dialogue>\n    <scene_description>She hangs up the phone and sits very still for several seconds. SLOW DISSOLVE:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITAKER BEDROOM - DAY - TWO WEEKS LATER<\/stage_direction>\n    <scene_description>Outside, through the bedroom window, we can see the new gardener - an Asian man - watering the plants. We slowly move inside to find Cathy sitting at her bedroom table finishing up the bills.<\/scene_description>\n    <character>CATHY<\/character>\n    <parenthetical>(writing)<\/parenthetical>\n    <dialogue>Sixty-seven dollars and thirty-two cents.<\/dialogue>\n    <parenthetical>(looking up a moment)<\/parenthetical>\n    <dialogue>Now what is today...?<\/dialogue>\n    <scene_description>She glances over at her desk-calendar, turning the page to the proper day. It reads: SATURDAY, MARCH 1. She copies the date down in her checkbook, then stops a moment. She looks back at the calendar as if trying to remember something. Snapping back to business, she tears out the check, places it in an envelope and seals it. She gathers up her other mail and stands, glancing once around the room before grabbing her purse and sunglasses and starting out the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITAKER FOYER - DAY<\/stage_direction>\n    <scene_description>The soft sunlight shimmers through windows as Cathy comes down the stairs. Sybil is busy polishing the dining room table.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Oh, Sybil. You don't need to be doing that.<\/dialogue>\n    <character>SYBIL<\/character>\n    <dialogue>It's Friday.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>I know it is, but... There's just so much more to do now. I can hardly expect you to be polishing the table every week.<\/dialogue>\n    <character>SYBIL<\/character>\n    <dialogue>No reason not to keep things up Mrs. Whitaker. No reason at all.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>Cathy stops in front of the mirror to fix her hair and put on her sunglasses.<\/scene_description>\n    <character>SYBIL<\/character>\n    <dialogue>Don't forget the grocery list.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Oh! Thank you, Sybil -<\/dialogue>\n    <parenthetical>(she starts checking her pockets)<\/parenthetical>\n    <dialogue>I don't know how in the world I'd ever manage - Here it is.<\/dialogue>\n    <scene_description>She takes out the shopping list but finds something else in the pocket. She pulls out a scarf - the lilac scarf - forgotten there since her afternoon with Raymond. Music whispers. She looks at it a moment, then up at the mirror where it's reflected in her hand. She puts it on over her hair and glasses and stops a moment, looking at herself.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>I shouldn't be long, Sybil.<\/dialogue>\n    <character>SYBIL<\/character>\n    <parenthetical>(still bent over, polishing)<\/parenthetical>\n    <dialogue>Alright, Mrs. Whitaker.<\/dialogue>\n    <scene_description>Cathy turns, music rising, and starts out the door. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LITTLE LEAGUE FOOTBALL FIELD - DAY<\/stage_direction>\n    <scene_description>Cathy drives up in front of the large green field, stuffed with boys in red, sauntering back to the bleachers. David is amongst them, walking arm-in-arm with another boy, when he spots his mother's car and waves.<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>Say - Mother!<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>Go and gather your things, David. Mother's in a hurry!<\/dialogue>\n    <scene_description>David races his friends to the bench where he grabs his knapsack and goes running to the car. He hops in the front and we ascend as Cathy takes off down the street. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DANCE-SCHOOL - DAY<\/stage_direction>\n    <scene_description>Cathy is walking Janice, dressed for ballet, out the door of her dance-school.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>See you next week!<\/dialogue>\n    <scene_description>The door shuts behind them as Cathy hurries Janice into the car. She rushes around to the driver's side, hops inside the car, and is off again, zipping down the road. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAIN STATION - DAY<\/stage_direction>\n    <scene_description>A soft, new sun warms the brick of the Hartford Train Station, standing proudly in the center of town. We see Cathy's car just pulling up and turning into the parking section.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - DAY<\/stage_direction>\n    <character>DAVID<\/character>\n    <dialogue>Say! Why are we turning in here?<\/dialogue>\n    <scene_description>Cathy is pulling into a parking space.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Mother just needs to dash inside for two shakes while you and your sister wait inside in the car.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>No fair!<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>Where are you going?<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(getting out of the car)<\/parenthetical>\n    <dialogue>I'll be right back. Now stay put. Both of you. And lock the door.<\/dialogue>\n    <scene_description>Cathy shuts the door of the car and looks up at the clock outside. It reads: 4:24. She hurries on inside. \\[Music continues in some form through to the end of the film\\]<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLATFORM - DAY<\/stage_direction>\n    <scene_description>Cathy emerges out of the stairway onto the platform, a jumble of boarding and goodbyes. She looks back and forth anxiously, then starts walking down the platform toward the front of the train. She hurries along, looking every-which-way, past all the others. Then suddenly she stops. Raymond stands on the platform, gingerly helping Sarah up the steps of the train while a black attendant loads their luggage into an open compartment. Cathy starts over to them, but Raymond slips inside the train without seeing her. Cathy just stares at the door, watching others continue inside. Right in front of her A heavy-set Italian man is saying goodbye to his wife and two sons. The wife is crying. A CONDUCTOR is passing.<\/scene_description>\n    <character>CONDUCTOR<\/character>\n    <dialogue>All aboard! Southbound train to New York and Washington now departing. All aboard!<\/dialogue>\n    <scene_description>Cathy looks back at the train door just as Raymond reappears, stepping out of the train and addressing the young attendant, who hands him his baggage slip. Cathy takes a few unconscious steps in his direction. Raymond tips the attendant and shakes his hand and starts back to the door of the train. He takes one step up and stops, turning around again.<\/scene_description>\n    <character>CONDUCTOR<\/character>\n    <dialogue>All aboard! All aboard!<\/dialogue>\n    <scene_description>He sees her. She smiles for being seen. Raymond smiles warmly back. And suddenly - cruelly - the train begins to move. Though for one luxurious moment it actually sweeps them together - with Raymond gliding toward Cathy and then crossing her - before setting off on its inexorable pull. Cathy lifts a tiny hand goodbye. Raymond lifts his in return. She smiles, tears starting, as Raymond continues shrinking from view before vanishing entirely with the snaking engine. Suddenly everything is still. Cathy stands for several seconds, alone in the sudden stillness. Then all at once she turns and begins walking away, down the platform. Music resumes with sad resolution.<\/scene_description>\n    <character>CATHY (V.O.)<\/character>\n    <dialogue>That was the day I stopped believing in the wild ardor of things. Perhaps in love, as well. That kind of love.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAIN-STATION - MOMENTS LATER<\/stage_direction>\n    <scene_description>From a great height we see Cathy walking decisively out of the station on her way back to her car, late afternoon sun burning orange upon the town.<\/scene_description>\n    <character>CATHY (V.O.)<\/character>\n    <dialogue>The love in books and films. The love that tells us to abandon our lives and plans, all for one brief touch of Venus.<\/dialogue>\n    <scene_description>Cathy climbs into her car, shuts the door and begins driving out of the lot.<\/scene_description>\n    <character>CATHY (V.O.)<\/character>\n    <dialogue>So often we fail in that kind of love. The world just seems too fragile a place for it. Or perhaps it's only we who are too fragile.<\/dialogue>\n    <scene_description>Finally Cathy is turning onto the main road, amid all the other cars heading home. Her powder-blue Chevrolet is engulfed. All around, trees are starting to bloom. Spring has arrived. END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In 1957 suburban Connecticut, Cathy Whitaker seems to be the perfect wife, mother, and homemaker. Her husband, Frank, is an executive at Magnatech, a television advertising company. One evening, Cathy receives a phone call from the local police, who are holding Frank. When she picks him up, he says it is all a misunderstanding, but it turns out that he has been exploring the illicit underground world of gay bars in Hartford. In the midst of all of this, one day Cathy sees an unfamiliar black man walking in her yard. He turns out to be Raymond Deagan, the son of her late gardener, who is taking over his father's accounts. Frank often stays late at the office. One night when he says he is working, Cathy decides to bring him dinner, and she walks in on him passionately kissing a man. He confesses to having had \"problems\" as a young man and agrees to sign up for conversion therapy. However, their relationship is strained, Frank's work suffers, and he increasingly turns to alcohol. Cathy runs into Raymond at a local art show and, to the consternation of onlookers, initiates a discussion with him about modern painting. After a party, Frank attempts to make love to Cathy, but he is unable to become aroused and accidentally strikes her when she tries to console him. The next day, Raymond catches Cathy crying and asks her to run some errands with him. She agrees, and they wind up going to a bar in a black neighborhood, where Cathy is the only white person present. They are seen together on the street by a gossipy acquaintance of Cathy's, and the woman immediately begins to stir up scandal. When Cathy attends her daughter's ballet performance, the mothers of the other girls shun her. Frank also hears about Cathy and Raymond and, in response to his anger, Cathy denies having an other-than-professional relationship with Raymond and says she has fired him to quell the rumors. She then tells Raymond that their friendship cannot continue, as it is not \"plausible\". Cathy and Frank go to Miami for New Year's to try to repair their marriage, but, at the hotel, Frank meets a young man and has another homosexual encounter. While they are gone, three white boys taunt and physically assault Raymond's daughter, Sarah, partly because of her father's rumored relationship with Cathy, and the girl is concussed by a rock thrown at her head. Frank breaks down and tearfully tells Cathy that he has fallen in love with a man and wants a divorce. When Cathy learns what happened to Sarah, she visits Raymond, who says he is moving to Baltimore in two weeks, as the rumors have destroyed his business and led his African-American neighbors to throw rocks through his windows. When Cathy tells Raymond she is going to be single and asks if she can come visit him some time, he stoically, but gently, rejects her, saying he has learned his lesson and needs to do what is right for his daughter. Cathy shows up at the train station to see Raymond off, and they silently wave to each other as the train leaves the station."}
{"movie_name":"Love & Basketball_2000","imdb_id":"tt0199725","script":"<script>\n  <scene>\n    <stage_direction>LOVE AND BASKETBALL<\/stage_direction>\n    <scene_description>OPENING TITLES SLOW MOTION . STYLIZED . TIGHT . The silhouette of a man and woman . They are on a blacktop basketball court , playing a sexually - charged game of one - one - one . Sweat glistens . Hands pull at clothes . Hips bump and collide . Eyes lock . BLACK . TITLE CARD : `` FIRST QUARTER '' then `` 1981 '' BALDWIN HILLS<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MCCALL HOUSE - LATE MORNING<\/stage_direction>\n    <scene_description>An upper middle - class neighborhood , known as the Black Beverly Hills . Big houses , green grass and Caddies in every other driveway . The street is quiet , until -<\/scene_description>\n    <character>YOUNG VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>You wan na be Kareem?<\/dialogue>\n    <scene_description>CAMERA REVEALS : QUINCY MCCALL , eleven years old , dribbling a basketball in front of KELVIN and JAMAL , also eleven . He sports a fro , a `` Clippers '' jersey , and a serious swagger .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>All his big butt do is stand by the basket.<\/dialogue>\n    <character>JAMAL<\/character>\n    <dialogue>Shoot, I'll be blocking your stuff.<\/dialogue>\n    <character>KELVIN<\/character>\n    <dialogue>I'm gon na be like Dr. J.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I ` ma be like my Dad.<\/dialogue>\n    <character>JAMAL<\/character>\n    <dialogue>He ai n't a star or nothing.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I do n't see none of your sorry daddies in the NBA.<\/dialogue>\n    <character>KELVIN<\/character>\n    <dialogue>Hey, look, Q.<\/dialogue>\n    <scene_description>Quincy follows Kelvin 's eyes , to a beat - up pair of Converse All - Stars approaching from next door . Walking in the kicks is a YOUNG KID in a T - shirt and Tuff - skins , and a LAKERS cap pulled low . A moving van is parked in the driveway .<\/scene_description>\n    <character>KELVIN<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Thought only girls were moving in.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>That's what my Moms said.<\/dialogue>\n    <character>KELVIN<\/character>\n    <dialogue>I hope he can ball.<\/dialogue>\n    <character>JAMAL<\/character>\n    <dialogue>Bet he's a scrub.<\/dialogue>\n    <scene_description>The Kid stops at the edge of Quincy 's driveway .<\/scene_description>\n    <character>KID<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>KID<\/character>\n    <dialogue>Can I play?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>You nice?<\/dialogue>\n    <character>KID<\/character>\n    <dialogue>Yeah, I'm nice.<\/dialogue>\n    <scene_description>Quincy looks the Kid up and down , then -<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>You and Kelvin gainst me and Jamal.<\/dialogue>\n    <scene_description>Quincy tosses the Kid the ball . The Kid pulls off the baseball cap . Brown hair tumbles down , framing a soft brown face and bright eyes . She is MONICA WRIGHT , eleven years old .<\/scene_description>\n    <character>JAMAL<\/character>\n    <dialogue>Ah man, he is a girl.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Girls ca n't play no ball.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Ball better than you.<\/dialogue>\n    <scene_description>Quincy laughs derisively as Monica walks to the top of the driveway .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>What a dog.<\/dialogue>\n    <scene_description>Monica shoots him a glare .<\/scene_description>\n    <character>JAMAL<\/character>\n    <dialogue>She heard you.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Nuh uh, they could only hear dog whistles.<\/dialogue>\n    <scene_description>Monica starts to dribble . Jamal whistles as he walks backwards , guarding her . She throws up a shot . IT 'S AN AIRBALL . Quincy and Jamal crack up . Kelvin rolls his eyes . Quincy grabs the rebound and shoots . Swish .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>One, zip.<\/dialogue>\n    <scene_description>He rolls the ball to Monica . She starts dribbling and again , Jamal just backs up with her . She passes to Kelvin . Jamal and Quincy collapse on him , leaving Monica open under the basket . Trapped Kelvin has no choice but to pass it back . Monica catches the ball and throws up a shot . It banks off the backboard . AND DROPS THROUGH THE NET . The boys look at her in shock . Monica tosses the ball back to Quincy .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>One, up.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Lucky.<\/dialogue>\n    <scene_description>Quincy easily dribbles by Kelvin and lays up the ball . He throws the ball back to Monica .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Two, one.<\/dialogue>\n    <scene_description>Monica dribbles . Jamal plays her a little tighter . Monica bounces the ball through his open legs and lays up the ball .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Two, up.<\/dialogue>\n    <scene_description>Quincy ca n't believe it . Kelvin cracks up .<\/scene_description>\n    <character>KELVIN<\/character>\n    <dialogue>Aaah, she dogged you.<\/dialogue>\n    <character>JAMAL<\/character>\n    <dialogue>Shut up.<\/dialogue>\n    <scene_description>The game continues , with Quincy and Monica trading baskets for their teams . Quincy grows agitated with Jamal , who is unable to stop her . The score hits nine , nine . Quincy stands at the top of the driveway , ball in hand .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>Point.<\/dialogue>\n    <scene_description>Quincy dribbles through his legs , then pops an outside shot . The ball bounces on the rim . and rolls off . Quincy curses as Monica grabs the rebound and clears the ball . Jamal moves to guard her , but Quincy shoves him off .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I got her.<\/dialogue>\n    <scene_description>Quincy defends . Monica smiles back at him .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Told you I was nice. I'm going to be the first girl in the NBA.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I ` ma be in the NBA. You're gon na be my cheerleader.<\/dialogue>\n    <scene_description>Monica suddenly passes to Kelvin , sprints for the basket . Quincy stumbles , giving her a step . Kelvin throws it back . Quincy knows he 's beat as Monica goes for the winning lay - up . In desperation , he swings at her for the hard foul , shoving her off balance . THE BALL FLIES FROM HER HAND AS SHE CRASHES TO THE GROUND , FACE - FIRST . SHE GRABS HER CHEEK . BLOOD SLIPS THROUGH HER FINGERS . The boys stand frozen . Quincy stares down at her , his eyes wide with fear . and regret .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WRIGHT HOUSE - BATHROOM - LATE MORNING<\/stage_direction>\n    <scene_description>Monica leans over the sink as her mother , CAMILLE , 36 , wipes the blood from her face with a washcloth .<\/scene_description>\n    <character>GIRL'S VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Eeew.<\/dialogue>\n    <scene_description>Her sister , LENA , 14 , leans in the doorway , making a face . She is a mirror of their mother , with relaxed hair and painted nails . Her father , NATHAN , 39 , moves behind Lena , holding a box .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>How are you feeling, munchkin?<\/dialogue>\n    <scene_description>Monica nods . He smiles .<\/scene_description>\n    <character>NATHAN<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Yeah, you're through.<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>She needs to stop running around like a little boy.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>She's alright.<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>How is she alright looking the way she does?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Camille, she'll be fine.<\/dialogue>\n    <scene_description>He gives Monica a wink , crosses away . Monica pulls the washcloth away from her Mom and starts wiping the blood herself .<\/scene_description>\n    <character>CAMILLE<\/character>\n    <dialogue>I'll get some ice.<\/dialogue>\n    <scene_description>She exits . Lena shakes her head , follows . Monica pulls the washcloth from her face and stares into the mirror . TORN SKIN SURROUNDS A SMALL DEEP GASH IN HER CHEEK . Seeing her latest battle scar , there 's only one thing left for this little girl to do . She smiles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCCALL HOUSE - KITCHEN - DAY<\/stage_direction>\n    <scene_description>Quincy sits at the kitchen table , writing `` I AM SORRY '' in block letters across a homemade card . His face is tight with concentration as he tries to write in a straight line . At the counter , his mom , NONA , moves a cake from its store box to a cake dish . She is 30 , beautiful , with effort . She smooths the frosting with a spoon . ZEKE , 32 , with the height and ego of an NBA ballplayer , enters . He laughs .<\/scene_description>\n    <character>ZEKE<\/character>\n    <dialogue>Girl, who you trying to fool?<\/dialogue>\n    <scene_description>Quincy looks up , smiles . He quickly grabs a piece of crumpled paper , and tosses it to Zeke .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>Alley - oop, Dad.<\/dialogue>\n    <scene_description>Nona intercepts his pass .<\/scene_description>\n    <character>NONA<\/character>\n    <dialogue>Boy.<\/dialogue>\n    <scene_description>She points him back to his card . Quincy scowls , starts writing again . Nona scoops some frosting on her finger , holds it up .<\/scene_description>\n    <character>NONA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>New neighbors.<\/dialogue>\n    <scene_description>Zeke wraps his lips around her finger , sucks the frosting off .<\/scene_description>\n    <character>ZEKE<\/character>\n    <dialogue>See, Quincy, this is how your Moms caught me, with the old fake and bake. Had me thinking I was getting a sister who could burn.<\/dialogue>\n    <scene_description>Nona laughs , pulls him down for a kiss . Quincy suddenly throws down his pencil in frustration .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>I ca n't do this shit.<\/dialogue>\n    <scene_description>Zeke and Nona pull away , stare at Quincy in shock .<\/scene_description>\n    <character>ZEKE<\/character>\n    <dialogue>Boy, what'd I tell you about using that word?<\/dialogue>\n    <character>QUINCY<\/character>\n    <parenthetical>( sighs , then . )<\/parenthetical>\n    <dialogue>`` Ca n't'' should never be in a man's vocabulary.<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Cause when you say ca n't, you ai n't a man.<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>That's right.<\/dialogue>\n    <character>NONA<\/character>\n    <dialogue>Zeke.<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>What?<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>Oh, and, uh, do n't say `` shit.''<\/dialogue>\n    <scene_description>Nona just shakes her head .<\/scene_description>\n    <character>NONA<\/character>\n    <dialogue>We should head over.<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>Just you and Quincy, baby. I got a meeting.<\/dialogue>\n    <character>NONA<\/character>\n    <dialogue>With who?<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>Business folks.<\/dialogue>\n    <character>NONA<\/character>\n    <dialogue>You just got back from a four game road trip.<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>Nona, do n't start bitching. I got maybe two years left to play. I'm just trying to put some things together for us.<\/dialogue>\n    <scene_description>Zeke grabs his keys .<\/scene_description>\n    <character>ZEKE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Later, Quincy.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Later, Dad.<\/dialogue>\n    <scene_description>Zeke exits . Nona leans against the counter , concerned .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Mom?<\/dialogue>\n    <character>NONA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>We still have to go?<\/dialogue>\n    <character>NONA<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Yeah.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WRIGHT HOUSE - LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Camille and Nona stand among the piles of boxes . Monica and Quincy stand at their mothers ' sides , stealing glances at each other . A large bandage covers Monica 's cheek . Monica holds her card , Camille holds the cake .<\/scene_description>\n    <character>NONA<\/character>\n    <dialogue>we moved back here when Quincy was about five, after Zeke was traded. Neighborhood was a little more mixed back then.<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>Until the Black family down the street became the Black family next door.<\/dialogue>\n    <character>NONA<\/character>\n    <parenthetical>( nods . )<\/parenthetical>\n    <dialogue>Okay?<\/dialogue>\n    <scene_description>Camille tries to smooth down Monica 's unruly hair . Monica moves her head .<\/scene_description>\n    <character>CAMILLE<\/character>\n    <dialogue>Well, thanks again. This was really nice of you.<\/dialogue>\n    <character>NONA<\/character>\n    <dialogue>It was the least we could do. And I love to cook.<\/dialogue>\n    <scene_description>Quincy looks up at his Mom , surprised . She quickly hugs his face into her stomach . Camille lights up .<\/scene_description>\n    <character>CAMILLE<\/character>\n    <dialogue>Oh, me too. I used to cook for my friends' parties and things back in Atlanta.<\/dialogue>\n    <character>NONA<\/character>\n    <dialogue>You're a caterer?<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>Well, no, but once Nathan gets settled and the girls get a little older, it's definitely something I want to do.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>Since you love to cook, maybe it's something we can talk about.<\/dialogue>\n    <scene_description>Quincy snickers . Nona quickly changes the subject .<\/scene_description>\n    <character>NONA<\/character>\n    <dialogue>You know, girl, long as I've lived next door, I've never seen the inside of this house.<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>Really? Well, come on, then.<\/dialogue>\n    <scene_description>Camille hands Monica the cake .<\/scene_description>\n    <character>CAMILLE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Honey, put this in the kitchen.<\/dialogue>\n    <character>NONA<\/character>\n    <dialogue>Help her, Quincy.<\/dialogue>\n    <scene_description>Camille and Nona head down the hall , leaving Monica and Quincy alone . The two just stand there . Quincy reaches out , scoops a finger of frosting , and pops it in his mouth . Beat , then Monica takes a bigger scoop .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>So. does it hurt?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>It's this big hole. You could almost see bone.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>For real?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Uh huh.<\/dialogue>\n    <scene_description>Quincy is impressed .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>So how come you could play basketball?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I just can.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I never knew a girl that could play.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>My Mom says she does n't know where I come from'cause I act different.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Your Dad play?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>He works at a bank.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>My Dad plays for the `` Clippers.'' He says I ` ma be a doctor or a lawyer, but I ` ma play for them, too. Same number and everything.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I'm going to be number thirty - two, like Magic.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>He's alright, but my Dad can take him.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>What was the most points your Daddy ever got in Junior High?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I do n't know. A lot.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>One time Magic scored forty - eight points, and they only had six minute quarters and he sat out the whole fourth.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>You do act different.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I do n't care.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Well, if anybody bothers you, you could just tell me cause I run this street.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I'd just tell my sister, Lena.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>She do n't know how to box, I bet. My dad showed me how to fight like Ali.<\/dialogue>\n    <scene_description>He shows off a flurry of punches .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>So, I know karate from `` Almighty Isis.''<\/dialogue>\n    <scene_description>Monica puts the cake down on a box , does a couple of kicks and hand movements . Quincy is impressed .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>Bet you ca n't do this though.<\/dialogue>\n    <scene_description>Quincy does a jump kick . Monica does the same .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Okay, how bout this?<\/dialogue>\n    <scene_description>Quincy takes a couple steps back , then does a cartwheel . It looks great , until he crashes into the box with the cake . The cake falls onto his head and shoulder . Monica doubles over , laughing . Quincy is embarrassed . Camille and Nona rush back into the living room .<\/scene_description>\n    <character>CAMILLE<\/character>\n    <dialogue>Monica, what did you do?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <character>CAMILLE<\/character>\n    <parenthetical>( to Nona . )<\/parenthetical>\n    <dialogue>Oh, all that work.<\/dialogue>\n    <character>NONA<\/character>\n    <dialogue>It's. it's okay. Can I get a towel?<\/dialogue>\n    <scene_description>Camille quickly crosses into the kitchen . Quincy stares at the floor .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <scene_description>Nona bends down , whispers in his ear .<\/scene_description>\n    <character>NONA<\/character>\n    <dialogue>No. Good boy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WRIGHT HOUSE - MONICA'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Monica sits between Lena 's legs , grimacing , as Lena works a comb through her freshly washed , kinky hair . Monica 's head flops like a rag doll . Her eyes are wet .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Ow!<\/dialogue>\n    <scene_description>Lena keeps tugging .<\/scene_description>\n    <character>MONICA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Ow, Lena!<\/dialogue>\n    <scene_description>Monica punches her in the leg .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Ow!<\/dialogue>\n    <scene_description>Lena yanks Monica 's head back as Camille enters , carrying a yellow dress on a hanger . Monica sees it and her face falls .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Ah, Mom.<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>I'm lucky I found it. Someone put your box of dresses under a pile of rags in the garbage.<\/dialogue>\n    <scene_description>Monica sulks . Lena cackles in her ear . Camille has to laugh .<\/scene_description>\n    <character>CAMILLE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Child, pick up your lip.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I hate it.<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>Fine, you do n't like this one, which one would you rather wear?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Pants.<\/dialogue>\n    <scene_description>Camille rubs her temples , then hangs the dress on the door .<\/scene_description>\n    <character>CAMILLE<\/character>\n    <parenthetical>( to Lena . )<\/parenthetical>\n    <dialogue>When you're done can you make sure she brushes her teeth?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Are you okay?<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>I just need to lay down. I've been running around all day.<\/dialogue>\n    <scene_description>Just then , Nathan enters . He holds up two dress shirts as if it were a matter of life and death .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Which one for tomorrow?<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>The blue.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>You sure?<\/dialogue>\n    <scene_description>Camille nods . Nathan looks at both of them , then :<\/scene_description>\n    <character>NATHAN<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Can you iron both tonight just in case?<\/dialogue>\n    <character>CAMILLE<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Okay.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>Thanks, sweetheart.<\/dialogue>\n    <scene_description>He kisses her on the cheek , hands her the two shirts and crosses out . Monica just watches . Beat , then Camile turns back to her daughters .<\/scene_description>\n    <character>CAMILLE<\/character>\n    <dialogue>The boy next door is riding with you to school so you'll know somebody your first day.<\/dialogue>\n    <parenthetical>( to Lena . )<\/parenthetical>\n    <dialogue>Hurry so she can go to sleep.<\/dialogue>\n    <scene_description>Monica reacts , surprised . Camille leaves . Lena puts the comb back to Monica 's hair . Beat , then :<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Make it look nice, kay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCCALL HOUSE - QUINCY'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Basketball posters , `` Clippers '' and USC memorabilia , a basketball globe light . Quincy lays tucked in bed , eyes wide open , listening to his parents MAKING LOVE . The sounds bring a smile to his face . Quincy climbs out of bed , wearing underwear . He moves to his window , sees Monica through her window directly across from his . Her eyes are closed as Lena braids her hair . Quincy kneels down , rests his arms on the window sill , and watches .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MCCALL AND WRIGHT HOUSES - MORNING<\/stage_direction>\n    <scene_description>Quincy sits atop his BMX bike in front of Monica 's house . A basketball is tucked under his arm . Monica emerges , walking her banana - seater . She is looking cute in her yellow dress and braids tied with ribbons . A basketball sits in her back basket . Quincy is taken aback , stares at her .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>You wan na be my girl?<\/dialogue>\n    <scene_description>Monica blinks in surprise . She thinks for a moment .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>What do I have to do?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I guess, you know, we play ball and we ride to school together. And if you get mad at me, I got ta give you flowers.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I do n't like flowers.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>How bout Twinkies? My mom wo n't ever buy them.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Kay.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>An awkward beat between the new couple . Finally -<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>I think we got ta kiss now.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>For how long?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Five seconds.<\/dialogue>\n    <scene_description>The two glance around , then climb off their bikes and walk to the secluded area between their two houses .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Ready?<\/dialogue>\n    <scene_description>Monica nods . They lean in , eyes wide open , and touch lips . Quincy counts to five with his fingers . They pull away , embarrassed , and walk back to the driveway . Monica lifts her bike from the ground and climbs on .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Wait. Cause you're my girl now you got ta ride my bike.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I want to ride my own bike.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>My Dad always drives my Mom.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>QUINCY<\/character>\n    <parenthetical>( impatient . )<\/parenthetical>\n    <dialogue>So that means I have to ride with you.<\/dialogue>\n    <scene_description>Monica does n't move .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Come on.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I do n't have to do what you say.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Man, forget you then, stupid.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>You're stupid. And your Daddy plays for the worst team in the NBA.<\/dialogue>\n    <scene_description>Quincy 's face instantly clouds .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MONICA<\/character>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>Last time they won, Dr. J. was a nurse.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Shut up!<\/dialogue>\n    <scene_description>He shoves her , knocking her off her bike .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I do n't wan na be your boyfriend, you ugly dog!<\/dialogue>\n    <scene_description>Monica leaps up , her dress now dirty . She shoves him back .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>I do n't want to be your girlfriend, big head!<\/dialogue>\n    <scene_description>They grapple , then fall to the ground swinging . BLACK . FOOTAGE . Men 's NCAA Finals . Michigan State against Indiana State . Magic Johnson against Larry Bird . Magic drives on Bird , hits a beautiful scoop shot . He celebrates as he jogs back down court . TITLE CARD : `` SECOND QUARTER '' then `` 1988 ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CRENSHAW HIGH SCHOOL GYM - DAY<\/stage_direction>\n    <scene_description>A snarling Black cougar glares down from a large mural . On the court below , a girl 's basketball play - off game . The bleachers are almost half - full with a hyped crowd . In the crowd are Monica 's parents . Her father is excited and vocal . Her mom reads a book . Also in the stands , the HEAD COACH OF THE TENNESSEE LADY VOLS , PAT SUMMIT . A fine - ass BROTHER leans in the doorway , sporting a letter jacket with an embroidered `` Q '' on the chest . He gets as much attention as the game . A couple of JUNIOR VARSITY CHEERLEADERS smile his way .<\/scene_description>\n    <character>CHEERLEADERS<\/character>\n    <dialogue>`` U'', `` G'', `` L'', `` Y'', you ai n't got no alibi, you ugly, yeah, yeah, you ugly. `` M'', `` A'', `` M'', `` A'', how you think you got that way, your Mama, yeah, yeah, your Mama.<\/dialogue>\n    <scene_description>On the floor , MONICA , dribbles down court . Just EIGHTEEN , her athletic figure has a few curves , but her loose jersey does little to show it off . Her hair is a mess and her knees are dark with bruises . A small scar is visible on her cheek . She whips a no - look , around the back pass to a cutting TEAMMATE under the basket , who scores . The crowd cheers . Monica defends the opposing point guard like a gnat . She knocks the ball loose and grabs it up . She goes for a lay - up and the opposing guard steps in front of her . Monica crashes into her , knocking both to the floor . A WHISTLE .<\/scene_description>\n    <character>REFEREE<\/character>\n    <dialogue>No basket! Offensive foul, number thirty - two.<\/dialogue>\n    <scene_description>Monica leaps up .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>What? She was n't set!<\/dialogue>\n    <scene_description>The referee ignores her .<\/scene_description>\n    <character>MONICA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>She was still moving!<\/dialogue>\n    <scene_description>From the sideline , COACH HISERMAN waves frantically .<\/scene_description>\n    <character>COACH HISERMAN<\/character>\n    <dialogue>Monica! Let it go!<\/dialogue>\n    <scene_description>Monica stares down the ref as she jogs back on defense . The opposing guard drives the lane and puts up a shot . Monica leaps and blocks it with a taunting scream . A WHISTLE .<\/scene_description>\n    <character>REFEREE<\/character>\n    <dialogue>Technical foul! Number thirty - two.<\/dialogue>\n    <scene_description>Coach Hiserman slams down his clipboard . Monica charges the referee . A teammate grabs at her but she pushes her off .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>For what?<\/dialogue>\n    <character>REFEREE<\/character>\n    <dialogue>Taunting.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Taunting?!<\/dialogue>\n    <character>COACH HISERMAN<\/character>\n    <dialogue>Sub!<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Man, you suck!<\/dialogue>\n    <scene_description>The referee whips back around , whistle in mouth . Coach Hiserman grabs her arm and pulls her off the court .<\/scene_description>\n    <character>COACH HISERMAN<\/character>\n    <dialogue>Sit down and shut up.<\/dialogue>\n    <scene_description>Monica slams down in a chair , sweat pouring , hands clenched . Her mom watches from the stands , completely embarrassed . The brother in the doorway turns , leaves . Monica looks up at the clock . SIX MINUTES LEFT IN THE THIRD QUARTER .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CRENSHAW HIGH SCHOOL GYM - LATE DAY<\/stage_direction>\n    <scene_description>Monica , still benched , sits slumped in her chair , her sweats on , her face dry . She glances up at the clock . TWENTY SECONDS LEFT IN THE FOURTH QUARTER . Her team 's up by SIX . Her teammates dribble out the clock . The BUZZER SOUNDS and they dance across the floor . Monica looks up in the stands . COACH SUMMIT IS GONE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WRIGHT HOUSE - KITCHEN - DUSK<\/stage_direction>\n    <scene_description>Camille , now forty - three , stands at the stove stirring a pot of gumbo . Lena , 21 , and pretty , stands next to her , holding a handful of plates and silverware .<\/scene_description>\n    <character>CAMILLE<\/character>\n    <dialogue>and if you want a thicker base, you can cut in a potato or just use a little flour.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>But you use potato?<\/dialogue>\n    <scene_description>Camille nods as they cross into :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>At the table , Monica is in mid - conversation with her dad . Camille and Lena start setting the table .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Dad, you have to talk to Coach for me.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>And what am I supposed to say to the man?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>The coach from Tennessee was there and he has me riding the bench.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>You lost your head.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I was just showing emotion.<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>So that means it's alright for you to act like that?<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>( to Monica . )<\/parenthetical>\n    <dialogue>What'd you do?<\/dialogue>\n    <character>MONICA<\/character>\n    <parenthetical>( dismissive . )<\/parenthetical>\n    <dialogue>nothing.<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>I do n't know why I keep hoping you'll grow out of this tomboy thing.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I wo n't. I'm a lesbian.<\/dialogue>\n    <scene_description>Lena chokes on her drink , cracks up .<\/scene_description>\n    <character>CAMILLE<\/character>\n    <dialogue>That's not funny<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Well, that's what you think, is n't it? Cause I'd rather wear a jersey than an apron.<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>Watch your mouth.<\/dialogue>\n    <scene_description>Nathan quickly jumps in , tries to clean things up .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Monica, I think her point is. maybe it's time to start thinking about other things besides basketball.<\/dialogue>\n    <character>MONICA<\/character>\n    <parenthetical>( taken aback . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>You only have one game left and you have n't been recruited. Munchkin, I wanted it as bad as you did, but we have to face reality.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>The coach from USC is going to be at the championship.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>I know. But chances are.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Chances are there's still a chance.<\/dialogue>\n    <scene_description>Nathan nods . She can always soften her dad , but not her mom .<\/scene_description>\n    <character>CAMILLE<\/character>\n    <dialogue>If you'd just listen for once, you'd realize you have a lot more going for yourself. You're smart, you'd be pretty if you put a comb to your head. I mean, why walk around with your hair looking like `` whodunit''?<\/dialogue>\n    <scene_description>As her mom nags on , Monica looks out the window . OUTSIDE , QUINCY and a GIRL lean against a car parked at the curb , slobbing each other down . Just shy of 18 , with a magnetic face and muscular body , he is a brother who drank his chocolate milk . HE IS ALSO THE BROTHER WHO WAS WATCHING MONICA 'S GAME FROM THE GYM DOORWAY . Monica watches and her mom 's droning voice disappears .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MCCALL HOUSE - SAME TIME<\/stage_direction>\n    <scene_description>FELICIA , 17 , ca n't get enough of Quincy 's lips .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>Yo, Felicia, I got ta get to my game.<\/dialogue>\n    <scene_description>She keeps kissing him .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>And my mom's about to be home.<\/dialogue>\n    <character>FELICIA<\/character>\n    <dialogue>So I'm not good enough to meet your mom?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Girl, she knew I had a hottie like you up inhere, she'd beat the black off me.<\/dialogue>\n    <character>FELICIA<\/character>\n    <parenthetical>( kissing him again . )<\/parenthetical>\n    <dialogue>That's a lot of beating.<\/dialogue>\n    <scene_description>She finally lets go , and slides into her car . Quincy watches her go with a cocky - ass smile .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CRENSHAW HIGH SCHOOL GYM - NIGHT<\/stage_direction>\n    <scene_description>A frenzied crowd from floor to ceiling watches Quincy explode across the court . He is the complete point guard - hitting from the outside , driving to the hoop , no - look passes , playing tight D. ' His father , Zeke , now 39 , stands on the sideline . His muscle has softened a little over the last five years of retirement . Monica sits alone in the bottom row , holding a basketball . She wears jeans and a T - shirt and her hair is pulled back in a simple pony - tail . Quincy does a killer cross - over move and his Defender falls down . He lays up the ball , then taunts the player he just poster - ized . Behind Monica , TWO GIRLS smack each other excitedly . One of them , SHAWNEE , 17 , pretty , big chest , slides down into the empty seat next to her .<\/scene_description>\n    <character>SHAWNEE<\/character>\n    <dialogue>Hey, girl.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>SHAWNEE<\/character>\n    <dialogue>Your hair looks so cute like that.<\/dialogue>\n    <scene_description>Monica knows she 's full of shit , does n't respond .<\/scene_description>\n    <character>SHAWNEE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>So. you know who Q's asking to the Spring Dance?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>SHAWNEE<\/character>\n    <dialogue>C'mon, girl, you live next door. Who's been creeping?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>There's so many I just ca n't keep track.<\/dialogue>\n    <character>SHAWNEE<\/character>\n    <dialogue>Well, can you give him this for me?<\/dialogue>\n    <scene_description>Shawnee holds out a folded note . Monica does n't take it .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Give it yourself.<\/dialogue>\n    <character>SHAWNEE<\/character>\n    <dialogue>I do n't wan na look fast.<\/dialogue>\n    <parenthetical>( drops it in Monica 's lap . )<\/parenthetical>\n    <dialogue>Thanks, girl.<\/dialogue>\n    <scene_description>She slides back to her seat . Monica shakes her head , turns back to the game . Quincy dives for a loose ball . Shawnee clutches her friend .<\/scene_description>\n    <character>SHAWNEE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Good Lord, look at that ass. I just want to lick the sweat off it.<\/dialogue>\n    <scene_description>Monica takes in his tight body . He does look good . Quincy jogs back down court and flashbulbs go off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CRENSHAW HIGH SCHOOL GYM - NIGHT<\/stage_direction>\n    <scene_description>Flashbulbs . Quincy stands with his dad , his sweat still fresh , talking to a reporter named JIM .<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Quincy, word has it you might make the jump the NBA.<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>Do n't go starting rumors, Jim. My son's college bound with or without basketball.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>You could make a career by telling me where.<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>Got ta wait til the press conference.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>But you'd love for him to play at USC, like you did.<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>I'd love for him to get a good education.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>That's it.<\/dialogue>\n    <scene_description>Jim crosses away . Zeke puts an affectionate arm around his son as they walk toward the locker room .<\/scene_description>\n    <character>ZEKE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>We should have another talk with Coach Carril at Princeton.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Pop, there's no way an Ivy League Team is going all the way.<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>I do n't care about the team. I care about the school.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Did n't we already have this conversation?<\/dialogue>\n    <scene_description>Zeke sighs , then :<\/scene_description>\n    <character>ZEKE<\/character>\n    <dialogue>You played good. I was proud of you.<\/dialogue>\n    <scene_description>Quincy smiles wide .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>So you up for a game later?<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>I do n't wan na hurt your feelings.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>You do n't wan na hurt your back.<\/dialogue>\n    <character>ZEKE<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Anyway, I got ta get to this meeting. Tell your Mom I'm gon na be late.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>You work too hard, Pop.<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>Let's hope I can say the same about you one day.<\/dialogue>\n    <scene_description>Quincy watches his dad move toward the doors , stopping once to give an autograph . Zeke passes Monica , entering .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Hey, Mr. M.<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>Hey, Miss Baller.<\/dialogue>\n    <scene_description>He exits . Monica approaches Quincy .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Way to hoop.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I know this. What do you want?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>A ride home.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Your legs do n't look broke.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Look, big head, I'll be at your car.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Guess `` please'' would be a stretch.<\/dialogue>\n    <character>MONICA<\/character>\n    <parenthetical>( dryly . )<\/parenthetical>\n    <dialogue>Please.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. QUINCY'S JEEP - NIGHT<\/stage_direction>\n    <scene_description>Silence as Quincy wheels his Jeep Wrangler toward home . Monica sits in the passenger seat , basketball in lap . She pulls Shawnee 's note from her pocket . Quincy glances it over .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Some note Shawnee Easton told me to give to you.<\/dialogue>\n    <character>QUINCY<\/character>\n    <parenthetical>( thinks . )<\/parenthetical>\n    <dialogue>Big - ass titties?<\/dialogue>\n    <scene_description>Monica shoots him a disgusted look . Quincy reaches out .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Give it here.<\/dialogue>\n    <scene_description>Monica leans away , reads aloud .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>`` Q. I think you are so fine and I've been wanting to get with you. Let me take you to the Spring Dance and I promise I'll leave you satisfied.''<\/dialogue>\n    <scene_description>Monica laughs in disbelief .<\/scene_description>\n    <character>MONICA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What a ho.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Why she got ta be a ho, just cause she wants to get with me.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>She's a ho cause she's sending her coochie through the mail.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>And?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>And? She's not saying, `` I think you're a nice guy and I wan na get to know you better,'' she's saying, `` I wan na bone.''<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>So she's honest.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Yeah, an honest tramp - ass ho. But I guess you'll stick your dick in anything.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Did n't know you cared so much.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I do n't.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>So who you going to the dance with, Spalding?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Who's Spalding?<\/dialogue>\n    <scene_description>Quincy looks down at the SPALDING BASKETBALL in her lap and cracks up . Monica glares .<\/scene_description>\n    <character>MONICA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Fuck you, Quincy.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>See, that's why you ai n't getting recruited.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Who said I'm not getting recruited?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Your hot - ass temper.<\/dialogue>\n    <scene_description>Monica points to the scar on her cheek .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>I'm not the one who put this scar here.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>God, here we go.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>When we were eleven years old cause he was about to lose.<\/dialogue>\n    <scene_description>Quincy turns , faces her .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>That's it, give it your best shot.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Would you watch the damn road?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I mean it, give it your best shot, cause I'm tired of you holding that over my head.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I'm warning you, do n't tempt me.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I'm warning you. You do n't stall that bad attitude, no one's gon na recruit you.<\/dialogue>\n    <scene_description>Quincy pulls his Jeep into his driveway .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Please, you jump in some guy's face, talk smack and you get a pat on your ass. But because I'm a female, I get told to calm down and act like a `` lady''. I'm a ballplayer, okay. A ball player.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>With a jacked - up attitude.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Did n't know you cared so much.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I do n't.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Good.<\/dialogue>\n    <scene_description>Monica slams out of the Jeep and walks across the lawn to her house . Quincy exits his ride .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCCALL HOUSE - ENTRY WAY - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Quincy steps inside , drops his bag on the floor . His mom , Nona , approaches from the dining room .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>What's up, Moms.<\/dialogue>\n    <scene_description>Nona holds up a large hoop earring .<\/scene_description>\n    <character>NONA<\/character>\n    <dialogue>What is this?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Uh, your earring?<\/dialogue>\n    <character>NONA<\/character>\n    <dialogue>I look like some hoochie to you? I found it on your floor.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>What are you doing in my room?<\/dialogue>\n    <scene_description>Quincy crosses into :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - CONTINUOUS<\/stage_direction>\n    <scene_description>Nona follows . Quincy pulls open the fridge , grabs a couple of slices of cold pizza .<\/scene_description>\n    <character>NONA<\/character>\n    <dialogue>Quincy, I told you about these fat - ass girls.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>We were just studying.<\/dialogue>\n    <character>NONA<\/character>\n    <dialogue>I'm not playing with you, these girls are looking to get you caught. They see you, they see dollar signs.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>NONA<\/character>\n    <dialogue>You hearing me?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I've been hearing you.<\/dialogue>\n    <scene_description>Nona eyes her son , then lets up . She gives him a kiss .<\/scene_description>\n    <character>NONA<\/character>\n    <dialogue>How was your game?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Twenty - seven points, eleven assists and still undefeated.<\/dialogue>\n    <character>NONA<\/character>\n    <dialogue>Still the man.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Yup.<\/dialogue>\n    <scene_description>Nona smiles , starts back the kitchen .<\/scene_description>\n    <character>NONA<\/character>\n    <dialogue>Where's your dad?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Said he'd be home later.<\/dialogue>\n    <character>NONA<\/character>\n    <dialogue>Later when?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I do n't know, he had a meeting or something.<\/dialogue>\n    <scene_description>Quincy exits to his room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCCALL HOUSE - ZEKE AND NONA'S ROOM - LATE NIGHT<\/stage_direction>\n    <scene_description>Nona angrily rolls her hair as Zeke undresses .<\/scene_description>\n    <character>ZEKE<\/character>\n    <dialogue>I had some players to see and hands to shake.<\/dialogue>\n    <character>NONA<\/character>\n    <dialogue>At one in the morning?<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>I'm not gon na get anywhere punching a clock just so my wife does n't get an attitude.<\/dialogue>\n    <character>NONA<\/character>\n    <dialogue>I came second to the NBA. I'm not about to come second to this bullshit scouting job.<\/dialogue>\n    <scene_description>Zeke looks at her , offended .<\/scene_description>\n    <character>NONA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I did n't mean it like that.<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>NONA<\/character>\n    <dialogue>I'm just saying it'd be nice if you found time for your family. You should see the tramps coming after Quincy. If you do n't talk to him.<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>I have.<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>NONA<\/character>\n    <dialogue>You said you'd think about going back to get your degree.<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>No, you said I should get my degree. I like my `` bullshit'' job, okay, and it's gon na lead to a spot in the front office. Til then, do n't worry, there's just enough savings to keep your ass in Gucci and gold.<\/dialogue>\n    <scene_description>Livid , Nona pulls off her gold bracelet , throws it at him .<\/scene_description>\n    <character>NONA<\/character>\n    <dialogue>Fine, then how many nights home is that?<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>Keep your voice down.<\/dialogue>\n    <scene_description>She grabs a pair of gold earrings from her jewelry box , nails him .<\/scene_description>\n    <character>NONA<\/character>\n    <dialogue>How about now? I got a week yet?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCCALL HOUSE - QUINCY'S ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Quincy lies in bed , staring at the ceiling , as his parents continue to have it out . He rolls out of bed , pulls on a pair of shorts and a T - shirt . He moves to his window , pulls it open and climbs out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MCCALL AND WRIGHT HOUSES - CONTINUOUS<\/stage_direction>\n    <scene_description>Quincy crosses the grass to Monica 's window , knocks quietly . Long beat , then Monica sleepily stumbles to her window , wearing boxers and a tank top . She pushes it open and Quincy pulls himself through .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WRIGHT HOUSE - MONICA'S ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Now a routine , Monica tosses Quincy one of her pillows and blankets , then crawls back into bed . He lays out on the floor and closes his eyes . Monica casts a long , sleepy glance at him , then drifts back to sleep .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WRIGHT HOUSE - MONICA'S ROOM - LATE DAY<\/stage_direction>\n    <scene_description>Posters of Magic line three walls . A hand - made collage of female college and Olympic ball - players fills the fourth . The only real `` soft '' touch is the teddy bear laying on the pillow . Monica sits on the floor between Lena 's legs , as Lena puts Monica 's hair in cornrows .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>That too tight?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Mom's going to hate it.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Always on my ass, anyway.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Like you do n't give her a hard time.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Just cause I do n't kiss her booty like you.<\/dialogue>\n    <scene_description>Lena yanks Monica 's head back .<\/scene_description>\n    <character>MONICA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Ow!<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>You need to. She's alone in this house all day, taking care of Dad and your ungrateful behind.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>No one's forcing her.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Just try and chill a little bit, alright.<\/dialogue>\n    <scene_description>Monica does n't answer . Lena yanks her head back again .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Ow! Okay!<\/dialogue>\n    <scene_description>They crack up .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>So what's going on with the Spring Dance? You have a date yet?<\/dialogue>\n    <character>MONICA<\/character>\n    <parenthetical>( sarcastically . )<\/parenthetical>\n    <dialogue>Yeah, brothers are lined up at my locker.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>I found you someone.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Found? I'm not some charity case.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Mom tell you to do this?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Damn, Lena.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>Who is he?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>This brother from my college.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>He's in college?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>And he's fine, girl.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>How'd you get him to say yes?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>I told him you looked like me.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Oh, great.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>You do.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Yeah, right.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>If you were tore up I would not be claiming you. Trust.<\/dialogue>\n    <scene_description>Monica is not convinced .<\/scene_description>\n    <character>LENA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>We'll do something cute with your hair, get you a dress, get you some heels.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I do n't know how to walk in heels.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Hey. You just worry about playing your behind off for that recruiter tonight. Let me worry about your date.<\/dialogue>\n    <scene_description>Lena starts to braid Monica 's hair again . Beat , then .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>You ever been in love?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Too many times.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>They ever love you back?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Yeah, once I cut them off. Why?<\/dialogue>\n    <scene_description>Monica just shrugs . Lena continues braiding .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MCCALL HOUSE - DRIVEWAY - LATE DAY<\/stage_direction>\n    <scene_description>Quincy and Zeke sweat through a playfully intense game of one - on - one . Quincy almost breaks Zeke 's ankles with a cross - over dribble , and leaves him in the dust . He stops under the basket , waves for his Dad to come on before laying it up . Zeke smiles , tells Quincy to bring that shit on again . Quincy tries his cross - over again and this time Zeke picks him clean . Zeke taunts him as he easily backs in on him to the basket .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WRIGHT HOUSE - KITCHEN - DUSK<\/stage_direction>\n    <scene_description>Camille stands at the stove , cooking up some yams . Monica enters with a gym bag over her shoulder , dribbling her ball . THE HOOD OF HER SWEATSHIRT COVERS HER HAIR .<\/scene_description>\n    <character>CAMILLE<\/character>\n    <dialogue>Monica, please.<\/dialogue>\n    <scene_description>Monica stops .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>I'm leaving.<\/dialogue>\n    <scene_description>Camille fills a spoon from the pot , holds it out .<\/scene_description>\n    <character>CAMILLE<\/character>\n    <dialogue>Taste this.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I ca n't eat before a game.<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>Child, take a bite.<\/dialogue>\n    <scene_description>Monica sighs , takes a bite . It 's good .<\/scene_description>\n    <character>CAMILLE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I found some apricot chutney and mixed it with the yams.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>You really should be a caterer or something like you used to say.<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>Sure. In between all the other things I have to do.<\/dialogue>\n    <scene_description>She pulls off Monica 's hood , then stops when she sees her braids . Monica looks back defiantly .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>Nothing. So good luck.<\/dialogue>\n    <scene_description>She forces a smile , turns back to her cooking . Monica just nods , and crosses out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CRENSHAW HIGH SCHOOL GYM - NIGHT<\/stage_direction>\n    <scene_description>The championship game . The bleachers are almost filled . Nathan and Lena sit , dead center . ALSO IN ATTENDANCE , COACH CHERYL MILLER - THE COACH OF USC . Quincy sits in the back row with a couple of teammates . As always , he 's the focus of much attention . Monica and her teammates are crouched in a tight huddle , surrounding Coach Hiserman .<\/scene_description>\n    <character>COACH HISERMAN<\/character>\n    <dialogue>I do n't have to tell you girls how big this game is. We worked too damn hard all season to leave without this championship. So let's play smart.<\/dialogue>\n    <parenthetical>( looks at Monica . )<\/parenthetical>\n    <dialogue>. let's play in control, and let's kick some butt. Cougars on three. Once. two. three.<\/dialogue>\n    <character>TEAM<\/character>\n    <dialogue>Cougars!<\/dialogue>\n    <scene_description>As Monica moves to center court , she glances up at the USC Coach , then at Quincy . Monica takes a deep breath as she lines up for the opening tip . An opposing player suddenly bumps her out of position . Monica glares at her , but just moves over . The ball is tossed up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CRENSHAW GYM - NIGHT<\/stage_direction>\n    <scene_description>Fourth quarter . One minute left . Cougars down three . Monica dribbles down court , bouncing with confidence as her opponent plays her tight . Monica zips a no - look pass to a teammate , who lays it up . Quincy punches one of his friends - `` Oh shit ! '' She is having the game of her life . On the defensive end , Monica steals the ball . She drives the length of the court , lays it up between two defenders . The crowd is hyped . Twenty seconds left , up by one . Monica hounds the opposing guard as she brings up the ball . Monica suddenly reaches in and knocks the ball loose . As she goes for the ball , a WHISTLE .<\/scene_description>\n    <character>REFEREE<\/character>\n    <dialogue>Reaching in, number thirty - two. One - and - one.<\/dialogue>\n    <scene_description>Boos fill the gym . Monica 's eyes widen .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>Anger rushes through her as she starts for the ref .<\/scene_description>\n    <character>MONICA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>That's bullsh -!<\/dialogue>\n    <character>COACH HISERMAN<\/character>\n    <dialogue>Monica!<\/dialogue>\n    <scene_description>Monica catches herself , turns the word `` shit '' into a frustrated yell as she quickly moves away from the ref . Monica lines up for the free - throw , clenching her fists . The girl hits the first one . Then , she hits the second . With ten seconds left , down by one , Monica drives down court and throws up a prayer . EVERYONE IS ON THEIR FEET AS THE BALL SPINS AROUND THE RIM . AND THEN . IT POPS OUT . An opposing player grabs the rebound and Monica has no choice but to foul her . Monica has just fouled out . She walks to her bench and drops down . She buries her face in a towel and sobs . The buzzer goes off . Cougars lose . Quincy stares at Monica , feeling almost as bad as she does .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WRIGHT HOUSE - MONICA'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Monica sits slumped on her bed in a bathrobe , as Lena stands in front of her , putting the finishing touches on Monica 's make - up .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Might help if you did n't look so evil.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I do n't even want to go.<\/dialogue>\n    <scene_description>She steps back , looks at her work .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Mom!<\/dialogue>\n    <scene_description>Beat , then Camille enters .<\/scene_description>\n    <character>LENA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Talk to me.<\/dialogue>\n    <scene_description>Camille stares at her daughter , taken aback by how great she looks .<\/scene_description>\n    <character>CAMILLE<\/character>\n    <dialogue>Go in my top drawer and get my pearls.<\/dialogue>\n    <scene_description>Lena exits . Monica still looks miserable .<\/scene_description>\n    <character>CAMILLE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You okay?<\/dialogue>\n    <scene_description>Monica shrugs .<\/scene_description>\n    <character>CAMILLE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Well, can you promise me one thing?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>Tonight, do n't worry about yesterday's game, the recruiters, or anything else. I just want you to enjoy being beautiful. Will you do that?<\/dialogue>\n    <scene_description>Monica takes this in as Lena returns with Camille 's pearls .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Here.<\/dialogue>\n    <scene_description>Camille puts them around Monica 's neck . Monica looks back at her .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>You really think I look beautiful?<\/dialogue>\n    <scene_description>Camille smiles at her daughter , nods . Monica touches the pearls .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CRENSHAW GYM - NIGHT<\/stage_direction>\n    <scene_description>An R&amp;B song jams through the speakers , filling the dance floor with high school kids in suits and dresses . In the middle of the floor , Quincy gets his groove on with his date , Shawnee . She dances so provocatively , there is no mistaking what she has in mind for later . Over at the doors , Monica enters with her college date , JASON , 21 , and fine . Heads turn in surprise . Monica feels the stares , shifts nervously .<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Can I take your coat?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>You're cold?<\/dialogue>\n    <scene_description>Monica starts to pull it off .<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>No, I mean I can check it for you.<\/dialogue>\n    <character>MONICA<\/character>\n    <parenthetical>( embarrassed . )<\/parenthetical>\n    <dialogue>Oh, sorry.<\/dialogue>\n    <scene_description>Jason pulls off her coat , revealing a dress that shows off everything Monica has been hiding . He checks out her frame , smiles .<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Your sister was n't lying.<\/dialogue>\n    <scene_description>He crosses to the coat check , leaving her alone . ANGLE ON Quincy , who glances over from the middle of the dance floor , and abruptly stops . He stares at Monica in shock .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>Oh. shit.<\/dialogue>\n    <scene_description>Quincy starts off the floor as a new song kicks in .<\/scene_description>\n    <character>SHAWNEE<\/character>\n    <dialogue>Q, I like this song.<\/dialogue>\n    <scene_description>ANGLE ON Monica , sees Quincy approaching in his suit . She quickly steadies herself on her heels , brushes a curl from her face .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>See you made it.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>You do n't look half - bad.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>You either.<\/dialogue>\n    <scene_description>Jason returns . Quincy looks at him , surprised .<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>What's up, Black. I'm Jason.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Q.<\/dialogue>\n    <scene_description>Shawnee suddenly steps up , slides her arms around Quincy .<\/scene_description>\n    <character>SHAWNEE<\/character>\n    <dialogue>Dang, girl, I did n't know Nike made dresses.<\/dialogue>\n    <scene_description>Monica looks at Shawnee , wrapped around Quincy . She ca n't believe it .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Guess we'll see you later.<\/dialogue>\n    <scene_description>Monica heads into the crowd with her college man . Quincy watches her go .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CRENSHAW HIGH SCHOOL GYM - LATER<\/stage_direction>\n    <scene_description>Monica sits at a table with Jason . His arm lays casually across the back of her chair . Monica sits upright , stiff .<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>So, you like school?<\/dialogue>\n    <scene_description>Monica smiles nervously , nods .<\/scene_description>\n    <character>JASON<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Yeah, high school was cool. I do n't remember sisters being as fine as you, though.<\/dialogue>\n    <scene_description>Monica just holds that nervous smile .<\/scene_description>\n    <character>JASON<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>So what do you like studying?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Gym.<\/dialogue>\n    <scene_description>He waits for more , but nothing comes .<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>I'm an English major. You like English?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Sort of.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Careful.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>That was two words.<\/dialogue>\n    <scene_description>Monica ducks her head , embarrassed . Jason laughs .<\/scene_description>\n    <character>JASON<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Girl, how come you're so stressed?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>I mean, I'm having a good time with you.<\/dialogue>\n    <scene_description>His arm slides off the back of her chair and onto her shoulders .<\/scene_description>\n    <character>JASON<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>So tell me what I have to do to make you have a good time with me.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>My mouth is kinda dry.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Then I'll get you some punch.<\/dialogue>\n    <scene_description>He stands , then .<\/scene_description>\n    <character>JASON<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Just do n't jet while I'm gone and leave a glass slipper behind.<\/dialogue>\n    <scene_description>Monica 's face lights up . Jason smiles .<\/scene_description>\n    <character>JASON<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>There we go.<\/dialogue>\n    <scene_description>He crosses away to the refreshment table . Monica smiles wider , leans back in her chair with her legs splayed . She catches herself and quickly crosses them . A couple of guys pass by and check her out . Monica smiles wider . Quincy steps up , holding two cups of punch .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>You having fun?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Yeah, the DJ's kinda whack, though.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>So who is this clown?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>He ai n't Spalding.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Guess not.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>So you took Shawnee, huh?<\/dialogue>\n    <scene_description>The DJ puts on `` Make It Last Forever '' by Keith Sweat . Couples move to the dance floor .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( embarrassed . )<\/parenthetical>\n    <dialogue>You know, it was late and she asked.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>You want to dance?<\/dialogue>\n    <scene_description>Jason stands behind her chair . Monica smiles shyly .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>Jason puts down her cup of punch , takes her hand , leads her to the dance floor . Quincy just shakes his head , then crosses to his table , grabs Shawnee 's hand .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>C'mon.<\/dialogue>\n    <scene_description>He pulls Shawnee to the middle of the floor . ANGLE ON Monica , nervous at first , a little awkward , but Jason gently guides her in a slow circle and she starts to relax . Jason moves his hands down Monica 's back , pulling her in closer . Shawnee snuggles into Quincy 's chest , runs her hands down his neck . The heat from bodies grows . Monica and Quincy glance up at the same time and catch each other 's eyes . They start to look away but find they ca n't . Eyes locked as they dance , they move together , almost feel each other . Finally , as their bodies turn , they lose sight . Monica puts her head to Jason 's chest , Quincy slides his hands lower down Shawnee 's back . The music continues .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JASON'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Jason and Monica are parked up on Mulholland Drive . LL Cool J 's `` I Need Love '' plays on the tape deck . Jason has his arm around Monica , ready to make his move .<\/scene_description>\n    <character>MONICA<\/character>\n    <parenthetical>( rattling . )<\/parenthetical>\n    <dialogue>Freshman year, my free throw percentage was fifty - one percent, cause I was shooting it like a jump shot.<\/dialogue>\n    <scene_description>Jason leans in , kisses her bare shoulder .<\/scene_description>\n    <character>MONICA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Um. but then sophomore year I was shooting seventy - five percent from the line.<\/dialogue>\n    <scene_description>Jason kisses her neck .<\/scene_description>\n    <character>MONICA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>uh, by keeping my feet set and really following through.<\/dialogue>\n    <scene_description>Jason goes in for the slam dunk . Kisses Monica on the lips . It 's the first time she 's really been kissed . Jason pulls away , smiles .<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>That was nice.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Uh - huh.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Your sister told me hands off, but I ca n't help myself.<\/dialogue>\n    <scene_description>Jason leans in . Monica closes her eyes , and they kiss some more . Monica tries to follow his practiced lips . Jason 's tongue slides in and their bodies slide down . His hand moves across her breast . Monica 's eyes pop open .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Wait.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Shh. It's okay.<\/dialogue>\n    <scene_description>Naive and inexperienced , Monica shuts her eyes tight . E WRIGHT HOUSE - NIGHT Jason 's car pulls off , Monica slowly moves to her front door . She looks in the living room window . Her mom is asleep in a chair , trying to wait up . Monica catches her reflection in the window . She glares at her made - up face , then wipes at her mouth with her hand . She steps back , walks to her bedroom window . She pulls it open , kicks off her heels and climbs through .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WRIGHT HOUSE - MONICA'S ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Monica moves to her bed and drops down . She sits motionless for a beat , then suddenly feels something beneath her . She reaches for it . IT 'S A LETTER FROM THE USC ATHLETIC DEPARTMENT . Monica stares at it in her hands . Light suddenly cuts through the darkness . Monica turns and is surprised to see Quincy standing in the middle of his room , pulling off his jacket . Monica moves to her window , pulls it open .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Psst.<\/dialogue>\n    <scene_description>Quincy looks over . Beat . Then he climbs out of his window , drops down .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WRIGHT AND MCCALL HOUSES - CONTINUOUS<\/stage_direction>\n    <character>MONICA<\/character>\n    <dialogue>Early night for you, is n't it?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I was about to ask you the same thing, going out with a college boy and all.<\/dialogue>\n    <scene_description>Monica does n't respond .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>So where'd you go after?<\/dialogue>\n    <character>MONICA<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Mulholland Drive.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Figures.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>So what dead - end street did you and Shawnee hit?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>None of your business.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Well, I'm sure she kept her word and left you satisfied.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>That what you think?<\/dialogue>\n    <scene_description>Monica shrugs .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Little after you left, I told Shawnee it was time to go and I drove her ass straight home. And after she told me I was the dumbest brother in the world, I took off.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Cause I do n't just stick my dick in anything.<\/dialogue>\n    <scene_description>Monica takes this in .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>I was sitting in Jason's ride with him kissing on me and feeling on me and it was really bugging me cause I could n't remember how many offensive boards I had in the championship. And then I guess she got tired of me sort of accidentally kneeing him in the balls.<\/dialogue>\n    <scene_description>Beat , then Quincy cracks up . Monica laughs with him .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>Four.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>You had four offensive rebounds.<\/dialogue>\n    <scene_description>Monica stares at him , surprised . She thinks .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Hold up for a second.<\/dialogue>\n    <scene_description>Monica disappears back inside . Beat , then she re - appears . She climbs out her window , drops down . Quincy looks at her . She holds out the envelope from USC .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>When'd you get this?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>It was on my bed when I came in.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>Can you just?<\/dialogue>\n    <character>QUINCY<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You sure?<\/dialogue>\n    <scene_description>Monica nods . Quincy takes the envelope , sits down on the grass . Monica sits down beside him . He tears open the envelope and pulls out the letter . Monica stares at him as he reads , trying to see an answer in his face . Quincy finally looks up . Expressionless .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Damn girl.<\/dialogue>\n    <scene_description>Monica 's face falls . And then , a slow smile spreads across Quincy 's face .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>They want you.<\/dialogue>\n    <scene_description>Monica grabs the letter , reads . Her head just drops as a tidal wave of relief washes over her . Quincy smiles .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Congratulations.<\/dialogue>\n    <scene_description>Monica looks up , cheesing .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I'm gon na be there, too. I'm announcing tomorrow.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I knew it.<\/dialogue>\n    <scene_description>Monica ca n't contain her excitement . Without thinking , she gives Quincy a kiss . They pull away , then break into nervous laughter .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>What was that about?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I know, right?<\/dialogue>\n    <scene_description>But they both want more . They lean in , kiss deeply . They fall back on the grass . And kiss . And kiss . Suddenly , Monica pulls away , sits up . Quincy follows , instantly apologetic . Monica stares at him , then to his surprise , she reaches over , gives his shirt a small tug with her finger . Quincy stares at her , then slowly pulls off his tie . He nervously unbuttons his shirt . He fumbles with the last two buttons . Monica slowly pulls down the straps of her dress , self - conscious . Quincy ca n't keep his eyes off her . He pulls off his pants . Monica glances down and her eyes widen . She looks scared to death . Quincy smiles softly , leans in and gently kisses her . She relaxes . They lay down . Quincy reaches into his pants for a condom . His hands shake as he puts it on . They stare at each other as he moves on top of her . Quincy pushes inside her . She flinches back in pain . Quincy immediately stops as tears spring to her eyes .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>You want to stop?<\/dialogue>\n    <scene_description>Monica shakes her head . Quincy pushes inside again . He looks down at her with tenderness , moves gently , kisses her tears . FADE TO BLACK . FOOTAGE . 1988 - 89 NBA Finals . Game SEVEN . The Lakers against the Pistons . With seconds left , up by three , Magic guards Isiah Thomas . They collide , no foul is called and the Lakers win their second championship . TITLE CARD : `` THIRD QUARTER ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. USC - CAMPUS GYM - MORNING<\/stage_direction>\n    <scene_description>Championship banners hang from the ceiling . TWELVE YOUNG WOMEN sit on the first two rows of bleachers . The eight upperclassmen kick back in the second row , comfortable , confident . Monica and the three other freshmen sit in front of them , jiggling nervously . COACH MILLER stands in front of the team .<\/scene_description>\n    <character>COACH MILLER<\/character>\n    <dialogue>I do n't know some of you very well yet, and you do n't know me because I'm still being nice to you.<\/dialogue>\n    <scene_description>Laughter from the upperclassmen .<\/scene_description>\n    <character>COACH MILLER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>But my philosophy is simple. Hard work and sacrifice. There's a lot of basketball history and pride here at USC, but just putting on the cardinal and gold does n't make you a great player. Hard work and sacrifice makes you a great player. What you were does n't matter anymore. For the first time in your life, you wo n't be the best. You'll be going up against women that are bigger and stronger and better than you ever imagined. So the question is, how will you respond? Well, your answer better be hard work and sacrifice because that's the only way you're gon na make it through. Vince Lombardi preached it and I teach it, `` There is only one way to succeed at anything and that is to give everything.''<\/dialogue>\n    <scene_description>Coach Miller pauses a moment to let her words sink in . Monica glances at her fellow freshman for their reactions . Like her , a lot of cockiness , a lot of fear .<\/scene_description>\n    <character>COACH MILLER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>A few simple rules. Eleven o'clock curfew, no exceptions. Always be on time, no exceptions. Attend every class, no exceptions. No drugs, no alcohol, no getting pregnant. And finally, respect yourselves, respect your coaches and respect your teammates, right Sidra?<\/dialogue>\n    <scene_description>SIDRA , senior point guard , nods from the second row .<\/scene_description>\n    <character>SIDRA<\/character>\n    <dialogue>That's right, Coach.<\/dialogue>\n    <character>COACH MILLER<\/character>\n    <dialogue>By the end of this year some of you will hate me.<\/dialogue>\n    <scene_description>The upperclassmen crack up .<\/scene_description>\n    <character>COACH MILLER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Some of you will want to go home.<\/dialogue>\n    <character>UPPERCLASSMEN<\/character>\n    <parenthetical>( cat - calling . )<\/parenthetical>\n    <dialogue>Cree!<\/dialogue>\n    <scene_description>CREE , junior forward , ducks her head sheepishly . Coach Miller smiles .<\/scene_description>\n    <character>COACH MILLER<\/character>\n    <dialogue>But I guarantee you, if you work hard and sacrifice, all of you will be better basketball players and better people.<\/dialogue>\n    <scene_description>Monica nods , accepting the challenge .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRACK - EARLY MORNING<\/stage_direction>\n    <scene_description>It 's cold , it 's dark . It 's six a.m. . The team pounds down the track , pushing through a two - mile run . Monica and her freshman teammate\/roommate SHAYLA , 18 , breathe heavily from the back of the pack . From the sideline .<\/scene_description>\n    <character>COACH MILLER<\/character>\n    <dialogue>Let's go, freshmen, you're getting spanked!<\/dialogue>\n    <scene_description>Monica sucks it up , runs faster . She reaches the middle of the pack , then runs out of gas . She drops back to the rear .<\/scene_description>\n    <character>COACH MILLER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Monica, I'm putting you on my Wizard of Oz team. No brains, no courage and no heart!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAMPUS GYM - MORNING<\/stage_direction>\n    <scene_description>Defensive drills . One by one , players crouch low and move backwards down the sideline . ZVETTE , a junior guard , hustles through the drill .<\/scene_description>\n    <character>COACH MILLER<\/character>\n    <dialogue>Way to work, Zvette.<\/dialogue>\n    <scene_description>Monica starts the drill .<\/scene_description>\n    <character>COACH MILLER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Get lower, Monica, move your feet.<\/dialogue>\n    <scene_description>Monica grimaces as she squats lower .<\/scene_description>\n    <character>COACH MILLER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I said lower!<\/dialogue>\n    <scene_description>Coach Miller stops her , squats down low beside her .<\/scene_description>\n    <character>COACH MILLER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>This is low, got it? Offense sells tickets, defense wins games!<\/dialogue>\n    <scene_description>Monica starts again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAMPUS GYM - MORNING<\/stage_direction>\n    <scene_description>The team stands along the baseline . Monica stands right below the free throw line . TONI , 6 ' 4 '' , 200 pound senior , drives the lane . Monica steps in front of her , and is slammed to the floor . She lays still for a moment , stunned by the impact . Laughter from the baseline .<\/scene_description>\n    <character>SIDRA<\/character>\n    <dialogue>Dag, you took her out, T.<\/dialogue>\n    <scene_description>Teammates SANDRA and LISA crack up .<\/scene_description>\n    <character>SANDRA<\/character>\n    <dialogue>I think she just said `` Mommy.''<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>No, she said `` mammary.''<\/dialogue>\n    <character>COACH MILLER<\/character>\n    <dialogue>Monica, you trying to tell me you ca n't take a little challenge?<\/dialogue>\n    <scene_description>Monica crawls to her feet .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>I can take it.<\/dialogue>\n    <character>COACH MILLER<\/character>\n    <dialogue>This time get your feet set.<\/dialogue>\n    <scene_description>Monica moves back into position . Toni drives at her again . Monica steps in front of her , braces herself . Toni slams into her and she hits the floor . Monica blinks back the pain as she pops back up .<\/scene_description>\n    <character>COACH MILLER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Next!<\/dialogue>\n    <scene_description>Monica wobbles back to the sideline .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEIGHT ROOM - LATE DAY<\/stage_direction>\n    <scene_description>The team is spread out , lifting weights . Monica lies on a weight bench , her arms shaking as she struggles to bench press fifty - pounds . Sidra stands behind her , spotting .<\/scene_description>\n    <character>SIDRA<\/character>\n    <dialogue>You got it, c'mon, lift!<\/dialogue>\n    <scene_description>Monica lifts it with Sidra 's help .<\/scene_description>\n    <character>SIDRA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>That's it.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Coach hates me, does n't she?<\/dialogue>\n    <character>SIDRA<\/character>\n    <dialogue>She hates all freshmen.<\/dialogue>\n    <scene_description>Monica scowls , discouraged .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>What's up with that?<\/dialogue>\n    <character>SIDRA<\/character>\n    <dialogue>Hey, do n't take it personal. And do n't think just cause we play the same position we have to compete with each other. We're teammates, okay?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Thanks, Sidra.<\/dialogue>\n    <character>SIDRA<\/character>\n    <dialogue>Besides. I've been starting point the last two years. Ai n't no way some dumb - ass freshman is taking my spot.<\/dialogue>\n    <scene_description>Sidra walks off , leaving Monica with the bar on her chest . Finally , she has to drop the weight to the floor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. USC CAMPUS - LATE MORNING<\/stage_direction>\n    <scene_description>Monica and Quincy walk to class , his arm draped casually across her shoulders . Quincy gets looks and smiles . Monica just looks exhausted .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>You finish the reading for E - con?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>What'd it say?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Basically broke down how I'm gon na make mad loot in the NBA, me being such a limited commodity and all.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Whatever, big head.<\/dialogue>\n    <scene_description>Quincy laughs . TWO GIRLS pass by , smile .<\/scene_description>\n    <character>GIRL #1<\/character>\n    <dialogue>Hey, Q - man, you gon na take us to the Final Four?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>We'll see.<\/dialogue>\n    <character>GIRL #2<\/character>\n    <dialogue>We'll be watching.<\/dialogue>\n    <scene_description>The girls continue on . Monica looks at Quincy .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>You do see me standing here, right?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I ca n't be nice to a fan?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Fine, Quincy.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I ca n't help girls coming up to me.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I said fine.<\/dialogue>\n    <scene_description>Quincy looks at her sulking . He suddenly pulls her down onto the nearby lawn , and cradles her .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>It's okay, little baby.<\/dialogue>\n    <character>MONICA<\/character>\n    <parenthetical>( struggling . )<\/parenthetical>\n    <dialogue>Quit.<\/dialogue>\n    <scene_description>Quincy grips her tighter , rocks her . Students pass by , laugh .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>Shhh. Daddy's here.<\/dialogue>\n    <scene_description>Monica finally cracks up .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>You're such a punk.<\/dialogue>\n    <scene_description>He gives her a kiss .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>All these girls. you're the only one I know who's for real.<\/dialogue>\n    <scene_description>Monica smiles , kisses him back .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Always.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAMPUS GYM - MORNING<\/stage_direction>\n    <scene_description>A heated scrimmage between the women 's `` A '' team -LRB- the starting five -RRB- and `` B '' team -LRB- five who want to be starting -RRB- . Monica runs point for the `` B '' team , playing opposite Sidra . Sidra is all over Monica , slipping in cheap shots , but Monica starts to come on . She does a quick cross - over and loses Sidra . She dishes off to Shayla , who scores .<\/scene_description>\n    <character>COACH MILLER<\/character>\n    <dialogue>Sidra! You feel like playing any `` D''?<\/dialogue>\n    <scene_description>Sidra scowls as she runs down court . She gets a pass in the corner , tires to make a move but Monica slaps the ball loose . Monica grabs it , drives to the three - point line , puts up the shot . SWISH ! Monica stays posed , with her arm up . Sidra takes advantage , sprints back down court . She get the long pass , lays it up . Coach Miller blows her whistle .<\/scene_description>\n    <character>COACH MILLER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Monica! Get over here.<\/dialogue>\n    <scene_description>Monica jogs over , sheepish .<\/scene_description>\n    <character>COACH MILLER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>While you're so busy posing, your man just scored!<\/dialogue>\n    <scene_description>Monica drops her head .<\/scene_description>\n    <character>COACH MILLER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Show me again.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>COACH MILLER<\/character>\n    <dialogue>You love to pose so much, let's see it again.<\/dialogue>\n    <scene_description>Beat , then Monica holds up her arm like she just shot the ball . Snickers from her teammates .<\/scene_description>\n    <character>COACH MILLER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I want you to stand like that for the rest of practice.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Coach.<\/dialogue>\n    <character>COACH MILLER<\/character>\n    <dialogue>I want you to stand like that until you're sick of it because I do n't ever want to see it again, you hear me?<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>Dora, take her spot.<\/dialogue>\n    <scene_description>DORA , freshman , jogs onto the court . Coach Miller blows her whistle and the scrimmage resumes . Monica stands alone on the sideline , posing , and feeling like an asshole .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCKER ROOM - LATE MORNING<\/stage_direction>\n    <scene_description>Monica sits on the bench in front of her locker , dressing after the shower . Shayla sits next to her . Nearby , Lisa and Sandra apply make - up in the mirror . Zvette passes by , already dressed . Lisa turns .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Z, I know you're gon na shower first.<\/dialogue>\n    <character>ZVETTE<\/character>\n    <dialogue>I do n't smell bad.<\/dialogue>\n    <character>SANDRA<\/character>\n    <dialogue>And you wonder why your ass sits alone on the bus.<\/dialogue>\n    <scene_description>Cree glances over from another sink , as she snaps the chain on her CROSS NECKLACE .<\/scene_description>\n    <character>CREE<\/character>\n    <dialogue>You guys curse too much.<\/dialogue>\n    <character>SANDRA<\/character>\n    <dialogue>Since when is `` ass'' a curse?<\/dialogue>\n    <scene_description>MAEYEN walks past .<\/scene_description>\n    <character>MAEYEN<\/character>\n    <dialogue>Whoa, it's as big as yours.<\/dialogue>\n    <scene_description>They crack up . Cree just shakes her head . Two TEAMMATES pass by Monica with their arms raised , mimicking her pose . Monica shakes her head . Sidra glances at Monica from her spot on the bench .<\/scene_description>\n    <character>SIDRA<\/character>\n    <dialogue>That's what you get for trying to show out, freshman.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I was just playing ball.<\/dialogue>\n    <character>SIDRA<\/character>\n    <dialogue>You were trying to make me look bad.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Did n't have to try very hard.<\/dialogue>\n    <scene_description>Ears prick up around the locker room . Sidra stands .<\/scene_description>\n    <character>SIDRA<\/character>\n    <dialogue>Girl, do n't you know you're just sloppy seconds?<\/dialogue>\n    <scene_description>Monica rises .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Toni tries to step in .<\/scene_description>\n    <character>TONI<\/character>\n    <dialogue>Sidra, let it go.<\/dialogue>\n    <character>SIDRA<\/character>\n    <dialogue>Only reason you're here is cause Tonya Randall got pregnant and decided not to come. They were done recruiting.<\/dialogue>\n    <scene_description>KELLI , senior forward , shakes her head .<\/scene_description>\n    <character>KELLI<\/character>\n    <dialogue>That's cold, Sid.<\/dialogue>\n    <character>SIDRA<\/character>\n    <dialogue>Just thought the girl should know.<\/dialogue>\n    <scene_description>Monica is stunned . Sidra saunters to the showers . Shayla nudges her with her shoulder .<\/scene_description>\n    <character>SHAYLA<\/character>\n    <dialogue>Do n't even trip. She's just mad cause she's bow - legged.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. USC SUITES - QUINCY'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Monica and Quincy lay feet to face on Quincy 's twin bed . Monica 's hand holds an ice bag on Quincy 's hip . Quincy 's arm rests across an ice bag on Monica 's ankle .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>Forget Tonya Randall.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I'm telling you, Coach wishes she was here instead of me.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Then prove her wrong.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I do n't have it easy like you, alright. There's no red carpet laid out for me.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>So you're gon na act salty all night?<\/dialogue>\n    <scene_description>Quincy 's roommate\/teammate REGGIE , 18 , suddenly pops his head into the room .<\/scene_description>\n    <character>REGGIE<\/character>\n    <dialogue>Yo, dog, we're about to order some wings.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Nah, thanks.<\/dialogue>\n    <scene_description>Reggie shrugs , closes the door . Quincy looks at Monica , still brooding .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Fine. Do n't worry about proving everybody wrong, okay? You ca n't handle the pressure, I'll understand.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>That was so weak.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Who cares if you're never known as the first girl in the NBA. You'll get more play behind Quincy McCall's woman anyway.<\/dialogue>\n    <scene_description>Monica shoves Quincy 's ice bag down his sweat pants . He leaps up .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Aaaah! Damn, girl!<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>That's what you get.<\/dialogue>\n    <scene_description>He smiles as he pulls the ice . Then looks her up and down .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>So how about a little one - on - one?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>What are we playing for?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Clothes.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Quincy locks the door , sets up his indoor hoop .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>I score, you strip. You score, I drop something.<\/dialogue>\n    <scene_description>Monica looks at him , then cracks up .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Give me the ball.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>My court, I go first.<\/dialogue>\n    <scene_description>Quincy grips the ball . Monica crouches low on defense . Quincy drives past her and slams down a vicious dunk .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Strip.<\/dialogue>\n    <scene_description>Monica makes a face , then pulls off her sweatshirt . Quincy skips back . Monica drops low again . Quincy fakes her out and slams down another vicious dunk . He laughs .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Where's the `` D''?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Kiss my booty.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Plan to.<\/dialogue>\n    <scene_description>Monica glares through her smile , then pulls off her T - shirt , leaving her in a bra and shorts . Quincy goes for another dunk , but this time , Monica reaches out , GRABS HIS DICK . Quincy drops the ball . Monica picks it up and lays it in .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Hold up.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>All's fair in love and basketball. Strip.<\/dialogue>\n    <scene_description>Quincy pulls off his shirt . Monica moves back into position . Quincy drops down low . Monica fakes , gets him to leave his feet . She slips under him and scores . She laughs .<\/scene_description>\n    <character>MONICA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Too bad you got your mama's height, huh.<\/dialogue>\n    <scene_description>Quincy pulls off his sweats , leaving him in just drawers . Monica takes in the view as she moves back into position . She holds the ball out , taunting . Quincy pretends to reach for it , but grabs her breast instead .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>Oh, my bad.<\/dialogue>\n    <scene_description>She drives . Quincy just steps out of the way and lets her score . Monica snatches the ball off the floor .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Yo, where's the `` D''?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Right here.<\/dialogue>\n    <scene_description>Monica turns , finds Quincy butt - naked . He moves her against the wall and kisses her . Monica drops the ball , wraps her arms around him . She smiles .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>I won.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I wanted you to.<\/dialogue>\n    <scene_description>Game over . They hit it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ESPN STUDIOS<\/stage_direction>\n    <scene_description>Sportscaster DICK VITALE talks animatedly about the upcoming season .<\/scene_description>\n    <character>DICK VITALE<\/character>\n    <dialogue>It's the start of the new college season and I'm like a kid in a candy store. Too many great teams to choose from. You have your Dukes', Kentuckys', Arkansas', but my surprise treat this season.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASKETBALL COURT<\/stage_direction>\n    <scene_description>Sportscaster ROBIN ROBERTS reports on the upcoming women 's season .<\/scene_description>\n    <character>ROBIN ROBERTS<\/character>\n    <dialogue>USC. The women of Troy made it to the Sweet Sixteen last year and are returning four starters from that squad. And many consider their recruiting class one of the best in the nation. The highlight of that class,.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ESPN STUDIOS<\/stage_direction>\n    <character>DICK VITALE<\/character>\n    <dialogue>is Quincy McCall, one of my diaper dandies. He's a real P.T.P., a prime - time player. Every college in the country wanted him but he chose to follow in his father's footsteps and become a Trojan. He's gon na have a lot on his shoulders this season.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASKETBALL COURT<\/stage_direction>\n    <character>ROBIN ROBERTS<\/character>\n    <dialogue>but Coach Cheryl Miller feels that if just one of her freshmen has a breakout year, they can go all the way. It's a long season, anything can happen, but one thing is for sure.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ESPN STUDIOS<\/stage_direction>\n    <character>DICK VITALE<\/character>\n    <dialogue>It's gon na be awesome, baby!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPORTS ARENA - NIGHT<\/stage_direction>\n    <scene_description>A hundred flashbulbs pop as Quincy jogs out to center court . The crowd goes crazy as .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAMPUS GYM - NIGHT<\/stage_direction>\n    <scene_description>Monica sits on the bench , watching Sidra run the floor against UNLV , as .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPORTS ARENA - NIGHT<\/stage_direction>\n    <scene_description>Quincy drives to the three - point line against Cal and puts it up . It drops through the net . He pounds his fist against the number twenty - two on his chest , nods to Zeke standing behind the bench , as .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAMPUS GYM - NIGHT<\/stage_direction>\n    <scene_description>Coach Miller motions to Monica . She jumps up , pulls off her sweats . She jogs past Arizona bench and onto the floor , as .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPORTS ARENA - NIGHT<\/stage_direction>\n    <scene_description>Quincy goes up for a dunk against North Carolina . He jams it down , grips the rim , and pulls his legs up high , as .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KAISER ARENA - NIGHT<\/stage_direction>\n    <scene_description>Monica catches a long outlet pass . She drops a no - look bounce pass between two Berkeley defenders , to a teammate who scores . She jogs back , as .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPORTS ARENA - NIGHT<\/stage_direction>\n    <scene_description>Zeke grips Quincy 's head proudly , affectionately , as they walk off the floor after a game against Washington , as .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNIVERSITY OF CONNECTICUT - GAMPEL PAVILION - NIGHT<\/stage_direction>\n    <scene_description>Sidra crashes to the floor , immediately grabs at her ankle . Monica rises off the bench .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPORTS BAR - NIGHT<\/stage_direction>\n    <scene_description>Televisions hang from every corner , broadcasting various games . Zeke and Quincy sit at a bar . Quincy is still hyped from his game .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>up and under between two defenders, with the left hand. That's got ta make SportsCenter.<\/dialogue>\n    <scene_description>Zeke just nods as the Bartender\/Owner crosses over . He is an ex - ballplayer named TERRY .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>They ca n't stop me, Pop.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>What are you having, Zeke?<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>Genuine Draft. And an orange juice for my kid.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Cross - over's looking good, Quincy. I know your old man did n't teach you that.<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>Did n't need a cross - over to post you up.<\/dialogue>\n    <scene_description>Terry laughs as he moves off to fix the drinks . Something is on Zeke 's mind , but before he can speak on it .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>You know, the numbers I'm putting up are better than any freshman. Some people are saying I'm a definite lottery pick.<\/dialogue>\n    <scene_description>Zeke suddenly focuses .<\/scene_description>\n    <character>ZEKE<\/character>\n    <dialogue>What people?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>You know, people.<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>Well, tell them to mind their damn business. You're smart enough to get a degree.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I'm also good enough to go pro.<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>You know how much higher the play level is in the NBA? Give yourself time to develop, Quincy. Get an education. The NBA ai n't going nowhere.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>You came out early.<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>Your mom got pregnant and I had to make choices. You do n't have a choice.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Silence , then .<\/scene_description>\n    <character>ZEKE<\/character>\n    <dialogue>Besides, the sooner you go pro, the sooner you'll have to deal with the mess I'm dealing with.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>What mess?<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>there's this thing out there. This paternity suit.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>Some girl that's been hanging on at every party. now I'm supposed to be her baby's Daddy.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>Anyway, I told your mom I wanted to be the one who told you.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Tell me what?<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>I just told you.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I mean, it's not true, is it?<\/dialogue>\n    <scene_description>Zeke stares at his son .<\/scene_description>\n    <character>ZEKE<\/character>\n    <dialogue>You got the balls to ask me that?<\/dialogue>\n    <scene_description>Quincy ca n't hold his father 's look . Zeke shakes his head , hurt .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>No, you need to hear me say it, I'll say it. It's not true.<\/dialogue>\n    <scene_description>Quincy looks in his father 's eyes , knows he 's telling the truth .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>So what are you gon na do?<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>I want this thing to go to court, but my lawyer's telling me to settle.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>A case like this could hang around for months and I'm up for this player relations job with the `` Clips.'' This gets out, false or not, no one'll touch me.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>What's Mom think?<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>We have n't exactly been living the fairy - tale life the past few years. Something like this happens, it either brings a family closer or pushes them further apart. We'll just have to see how it plays out.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>I'm giving her some space, couple days.<\/dialogue>\n    <scene_description>Just then , a COLLEGE STUDENT approaches .<\/scene_description>\n    <character>COLLEGE STUDENT<\/character>\n    <dialogue>Yo, Q - man, great game.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>The student holds out a piece of paper , without even a glance to Zeke .<\/scene_description>\n    <character>COLLEGE STUDENT<\/character>\n    <dialogue>Can I get an autograph?<\/dialogue>\n    <scene_description>Quincy nods , signs the guy 's paper . Zeke watches his son , the rising star .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MCCALL HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Through the windows , we see Quincy enter the house . He glances around , then walks to the living room . He sees his mom sitting outside by the pool , drink in hand , looking torn up . He pulls open the sliding glass door . Nona jumps , then sees Quincy . She quickly puts her drink down .<\/scene_description>\n    <character>NONA<\/character>\n    <dialogue>You scared me.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Sorry. You okay?<\/dialogue>\n    <character>NONA<\/character>\n    <dialogue>I'm fine.<\/dialogue>\n    <scene_description>Quincy glances at her half - hidden glass .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>Last time I remember you drinking was when Marvin Gaye died.<\/dialogue>\n    <scene_description>No response from Nona .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>This about Dad?<\/dialogue>\n    <character>NONA<\/character>\n    <dialogue>Guess he talked to you.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Do n't sweat it, okay. Sooner or later the truth'll come out.<\/dialogue>\n    <character>NONA<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Whose truth are you talking about?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Mom, we ca n't let something like this mess up the family.<\/dialogue>\n    <scene_description>She does n't respond . Quincy studies her .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I mean, you believe him, right?<\/dialogue>\n    <scene_description>Nona sits silent , humiliated .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Mom?<\/dialogue>\n    <character>NONA<\/character>\n    <dialogue>Just. leave it alone.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>This is just about money, you know that.<\/dialogue>\n    <character>NONA<\/character>\n    <dialogue>Quincy, please.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I mean, how many times have you told me yourself to watch out for these ho's?<\/dialogue>\n    <character>NONA<\/character>\n    <dialogue>Guess I should have been telling your father.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>So you're gon na take the word of some trick over Pop's? He would n't lie.<\/dialogue>\n    <scene_description>Nona grabs an envelope beside her and throws it at him . Confused , Quincy opens it . HE PULLS OUT A COUPLE OF PHOTOS : Zeke outside a party . IN ONE PHOTO , his arm is around a young woman . IN ANOTHER PHOTO , they KISS . AND YET ANOTHER , they climb into his car .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What. what's this?<\/dialogue>\n    <character>NONA<\/character>\n    <dialogue>I hired somebody. How pathetic is that? After all his late nights and `` meetings'' and I still needed proof.<\/dialogue>\n    <scene_description>Quincy just stares at the photos .<\/scene_description>\n    <character>NONA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I used to think I was lucky just to be married to Zeke McCall, but I'm too tired.<\/dialogue>\n    <scene_description>Quincy looks stricken , but he moves to Nona , comforts her as she cries .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRACK - NIGHT<\/stage_direction>\n    <scene_description>Monica sits with a devastated Quincy , high up in the bleachers . In the distance , the clock - tower glows 10:50 .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>Do n't put your hands in your pockets, hold your head up, always look a man in the eye, and all the time I'm hanging on his every word like he's God or something.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I know he messed up, but that does n't change what he's been to you.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>What has he been to me? I mean, he looked me in my face and lied like it was nothing. Like it was easy.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>And I'm standing there getting loud on my mom like she's the one with no sense.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>She understands.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>He even had me wanting to play for the `` Clippers.'' Man, how stupid am I.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>You're not stupid.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I know a lot of brothers dog their wives, I just never thought my pops would do some shit like this.<\/dialogue>\n    <scene_description>Monica puts her arms around him . They sit there , quiet . Monica glances up at the clock tower . She reacts . Quincy notices .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Why do n't we walk to my dorm?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I'm not up for running into anybody. Let's just kick it here, alright?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I. ca n't.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Coach has us on eleven o'clock curfew. If I'm late, I do n't suit up.<\/dialogue>\n    <scene_description>Quincy looks at her , almost in shock .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>Did n't realize you were watching the clock.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I mean, I can stay a few more minutes.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Nah. Do n't sweat it.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Quincy.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>For real. I should be alone, anyway.<\/dialogue>\n    <scene_description>Monica reluctantly stands .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Will you call me when you get in?<\/dialogue>\n    <scene_description>Quincy nods . Monica gives him a kiss . Then she turns and crosses away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MONICA\/SHAYLA'S DORM - NIGHT<\/stage_direction>\n    <scene_description>The lights are off but Monica sits up in bed . SHE WEARS BOXERS AND ONE OF QUINCY 'S PRACTICE SHIRTS . Shayla lies under her covers across the room .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>I should n't have left.<\/dialogue>\n    <character>SHAYLA<\/character>\n    <dialogue>Go to sleep.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>You should have seen him, Shay.<\/dialogue>\n    <character>SHAYLA<\/character>\n    <dialogue>Mon, Sidra's out for one game, and you got the start. But you get caught breaking curfew and Coach is gon na send your ass back to the bench. You'll see your man tomorrow.<\/dialogue>\n    <scene_description>Shayla 's warning slowly sinks in . Finally , Monica lays down .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRACK - NIGHT<\/stage_direction>\n    <scene_description>The clock tower glows 12:30 . Quincy still sits in the bleachers . Alone . Tears fill his eyes as his world comes crashing down .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAMPUS GYM - LATE DAY<\/stage_direction>\n    <scene_description>USC vs. Louisiana Tech . The packed crowd is hyped . Nathan sits by himself in the stands , excited . Monica sits on the bench with four of her teammates . The rest of the team is lined up in front of them , including Sidra in street clothes .<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <dialogue>And now the starting line - up for your Women of Troy! At center, a senior, Toni Noise!<\/dialogue>\n    <scene_description>Toni rises , jogs through the line of teammates to the court .<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>At forward, a senior, Lisa Mason!<\/dialogue>\n    <scene_description>Lisa stands , skips through the line .<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>At forward, a junior, Zvette Mitchell!<\/dialogue>\n    <scene_description>Zvette jumps up , bumps into each teammate as she moves down the line .<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>At guard, a freshman, Monica Wright!<\/dialogue>\n    <scene_description>Monica takes a deep breath , then jogs through the line . She gets to the middle of the floor and looks around with her game face on .<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>And at guard, a sophomore, Sandra Perez!<\/dialogue>\n    <scene_description>Sandra jogs out and the rest of the team follows . Everyone gathers in a tight circle with their arms around each other .<\/scene_description>\n    <character>TONI<\/character>\n    <dialogue>Look y' all, we got all these people here to see big - bad, La Tech. We need to let them know that this is our house. So everybody better leave everything out on that floor, you got that? Ready? One, two, three.<\/dialogue>\n    <character>TEAM<\/character>\n    <dialogue>Team!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPORTS ARENA - LATE DAY<\/stage_direction>\n    <scene_description>A sellout crowd for the men 's SC\/Temple game . And Quincy is having the worst game of his life . He drives down court on a fast break . He ignores his two open teammates and puts up a three - pointer . It hits nothing but air . The crowd boos . Humiliated , Quincy tries to steal the ball back and commits a stupid foul . His teammates glare at him as they line up for free throws .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAMPUS GYM - CONTINUOUS<\/stage_direction>\n    <scene_description>Monica 's game . Late second half . SC down two . Monica drives the lane , drawing two defenders . She looks like she 's about to force up a shot , then suddenly whips up a pass to a wide - open Sandra at the three - point line . Nothing but net . SC up one . Coach Miller claps intensely on the sideline .<\/scene_description>\n    <character>COACH MILLER<\/character>\n    <dialogue>That's it, that's it!<\/dialogue>\n    <scene_description>Ten seconds left . Game on the line . Monica tries to lob a pass inside to Toni . The pass is knocked away and grabbed up by the opposing point guard . It is a one - on - one between Monica and the guard . The girl drives hard for the winning hoop . Monica races to the key and slides in front of her . The guard goes up and slams into Monica . Both crash to the floor as the ball drops through the net and the buzzer goes off . A WHISTLE . The two women stare up at the REFEREE from the floor . And then -<\/scene_description>\n    <character>REFEREE<\/character>\n    <dialogue>Offensive foul! Charging! No basket!<\/dialogue>\n    <scene_description>Monica leaps up as the crowd goes crazy . Toni grabs up Monica in a hug as their teammates celebrate around them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPORTS ARENA - CONTINUOUS<\/stage_direction>\n    <scene_description>Quincy drags himself to his bench , slumps down dejectedly , as the Temple Owls celebrate their win around him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCKER ROOM - DUSK<\/stage_direction>\n    <scene_description>The female players continue to celebrate as they undress .<\/scene_description>\n    <character>MAEYEN<\/character>\n    <dialogue>Shoot, you see that crowd? We need to be playing in the Sports Arena.<\/dialogue>\n    <character>KELLI<\/character>\n    <dialogue>Hell yeah.<\/dialogue>\n    <scene_description>They give each other a pound . Lisa looks at Monica , standing in her shorts and sports bra .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Oh damn, Mon..<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>I think ol' girl took out your chi - chis with that charge.<\/dialogue>\n    <scene_description>The women break into laughter . Monica smiles .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Kiss my ass.<\/dialogue>\n    <character>SANDRA<\/character>\n    <dialogue>Nah, I think she took that too.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Sandra, please, last time you chest - bumped me, it took you three tries.<\/dialogue>\n    <scene_description>More laughter . Monica looks over at Toni , sitting quietly at the bench .<\/scene_description>\n    <character>MONICA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Yo, T, why you so quiet?<\/dialogue>\n    <character>TONI<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I do n't want to go play overseas.<\/dialogue>\n    <character>DORA<\/character>\n    <dialogue>I thought you were hyped about going to Portugal next year.<\/dialogue>\n    <character>TONI<\/character>\n    <dialogue>It's never gon na be like this. Playing in front of my family, hanging out with my girls. Probably not even a McDonald's.<\/dialogue>\n    <character>SANDRA<\/character>\n    <dialogue>Nah, there's always a McDonald's.<\/dialogue>\n    <character>SIDRA<\/character>\n    <dialogue>Least you got an offer. My agent's still looking.<\/dialogue>\n    <character>CREE<\/character>\n    <parenthetical>( to Lisa . )<\/parenthetical>\n    <dialogue>What about you?<\/dialogue>\n    <character>LISA<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Maybe it'd be worth it if I knew some day I could come back here and play. But for right now, it's law school.<\/dialogue>\n    <character>COACH MILLER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Monica.<\/dialogue>\n    <scene_description>Monica turns , sees Coach Miller standing in her office doorway . She motions for her . Monica heads over . Sidra watches .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COACH MILLER'S OFFICE - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Trophies , plaques and photos fill every empty space . Coach Miller sits behind her desk . Monica stands before her .<\/scene_description>\n    <character>COACH MILLER<\/character>\n    <dialogue>You could've given up after you threw that ball away. But you kept your head and you showed real heart.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>COACH MILLER<\/character>\n    <dialogue>We've got our final games against Oregon and Oregon State and I want to shake things up a bit, so I'm starting you at point again.<\/dialogue>\n    <character>MONICA<\/character>\n    <parenthetical>( confused . )<\/parenthetical>\n    <dialogue>I thought Sidra's ankle was okay for next game.<\/dialogue>\n    <character>COACH MILLER<\/character>\n    <dialogue>You want the job or not?<\/dialogue>\n    <scene_description>Realization finally hits .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Yeah. Yes.<\/dialogue>\n    <scene_description>Monica looks at Coach Miller completely thrown .<\/scene_description>\n    <character>COACH MILLER<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>It's just. it seems like you're always yelling at me.<\/dialogue>\n    <character>COACH MILLER<\/character>\n    <dialogue>You think I'd go hoarse for a player with no potential? When I ignore you, that's when you worry.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>Go get dressed.<\/dialogue>\n    <scene_description>Monica nods , crosses out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCKER ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>As Monica walks back to her teammates , Coach Miller steps into the doorway .<\/scene_description>\n    <character>COACH MILLER<\/character>\n    <dialogue>Sidra.<\/dialogue>\n    <scene_description>Sidra looks at Monica as she rises , crosses over . Monica avoids her eyes as they pass . Sidra enters the office and the door closes .<\/scene_description>\n    <character>SHAYLA<\/character>\n    <dialogue>Yo sis, what's going on?<\/dialogue>\n    <scene_description>Beat , then Monica smiles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Black folks pack the cramped houseparty , bumping to a phat hip hop joint . Monica bounces through the throng . A GIRL grabs her arm .<\/scene_description>\n    <character>GIRL'S VOICE<\/character>\n    <dialogue>Yo, great game.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Another PARTY - GOER grabs her arm .<\/scene_description>\n    <character>PARTY-GOER<\/character>\n    <dialogue>Girl, you can play.<\/dialogue>\n    <scene_description>Monica smiles wider . She spots Reggie dancing in the crowd , moves to him .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Reg. You seen Quincy?<\/dialogue>\n    <character>REGGIE<\/character>\n    <dialogue>What's up, girl.<\/dialogue>\n    <character>MONICA<\/character>\n    <parenthetical>( louder . )<\/parenthetical>\n    <dialogue>Derek said Q was here.<\/dialogue>\n    <character>REGGIE<\/character>\n    <dialogue>We'll roll through.<\/dialogue>\n    <scene_description>Monica is suddenly pulled into a dance routine by Sandra and Lisa . She laughs , tires to move away , but they wo n't let her go . Monica gives in , grooves with them . Quincy walks through the door with a half - empty forty in his hand . Girls immediately try to grab his attention from the dance floor , or stare him down from the sidelines . Quincy sees Monica on the dance floor . He stands , watching her . Takes a drink . Monica finally looks over , sees him . She smiles , crosses to him .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>What's up?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I've been trying to find you all day.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Here I am.<\/dialogue>\n    <scene_description>She glances at the forty in his hand .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Sorry about your game.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>It happens, right.<\/dialogue>\n    <scene_description>Shayla suddenly grabs Monica from behind .<\/scene_description>\n    <character>SHAYLA<\/character>\n    <parenthetical>( to Monica . )<\/parenthetical>\n    <dialogue>What's up, superstar.<\/dialogue>\n    <parenthetical>( then , to Quincy . )<\/parenthetical>\n    <dialogue>Your girl was on tonight. She tell you?<\/dialogue>\n    <character>QUINCY<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I heard.<\/dialogue>\n    <character>SHAYLA<\/character>\n    <dialogue>She also tell you she ganked the starting spot from Sidra?<\/dialogue>\n    <scene_description>Monica looks at him for a reaction .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>Nah.<\/dialogue>\n    <scene_description>He downs the last of his forty .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Where's the keg at?<\/dialogue>\n    <character>SHAYLA<\/character>\n    <dialogue>Balcony.<\/dialogue>\n    <scene_description>He heads for the glass doors . Monica and Shayla follow .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BALCONY - CONTINUOUS<\/stage_direction>\n    <scene_description>Reggie approaches the group . Gives Quincy a nod .<\/scene_description>\n    <character>REGGIE<\/character>\n    <dialogue>What's up, dog?<\/dialogue>\n    <parenthetical>( to Shayla . )<\/parenthetical>\n    <dialogue>Hey, flyness.<\/dialogue>\n    <character>SHAYLA<\/character>\n    <dialogue>Get off the bra strap, Reggie, you're a ho.<\/dialogue>\n    <scene_description>He laughs , then turns back to Quincy .<\/scene_description>\n    <character>REGGIE<\/character>\n    <dialogue>Coach is gon na kill us in practice tomorrow. Might even pull his lips off your dick, limp as your game was tonight.<\/dialogue>\n    <scene_description>Quincy just looks at him .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>That's funny.<\/dialogue>\n    <scene_description>Monica leans against Quincy , affectionately .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>he's just playing, Q.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>You think for once we could talk about something besides basketball?<\/dialogue>\n    <character>SHAYLA<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>REGGIE<\/character>\n    <dialogue>Whatever's clever.<\/dialogue>\n    <scene_description>Silence . Reggie and Shayla crack up . Quincy shakes his head , moves to the keg line .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Y' all need to quit.<\/dialogue>\n    <scene_description>She starts for Quincy<\/scene_description>\n    <character>SIDRA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Monica.<\/dialogue>\n    <scene_description>Monica looks over , sees Sidra standing in the doorway . There is no escaping this confrontation . She glances at Quincy , then crosses over . Quincy turns , sees her disappear back inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSEPARTY - CONTINUOUS<\/stage_direction>\n    <character>MONICA<\/character>\n    <dialogue>What's up?<\/dialogue>\n    <character>SIDRA<\/character>\n    <dialogue>Just wanted to say good game.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>But?<\/dialogue>\n    <character>SIDRA<\/character>\n    <dialogue>No buts. Took a lot of heart to take that charge.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>SIDRA<\/character>\n    <dialogue>But that was a dumb - ass pass to Toni. Ten seconds left, you run out the clock.<\/dialogue>\n    <scene_description>Monica shakes her head . An awkward silence .<\/scene_description>\n    <character>SIDRA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I'd be lying if I said I was n't pissed.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>SIDRA<\/character>\n    <dialogue>Just one word of advice for next season.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>SIDRA<\/character>\n    <dialogue>Never let a freshman take your spot.<\/dialogue>\n    <scene_description>Sidra turns and walks away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BALCONY - CONTINUOUS<\/stage_direction>\n    <scene_description>Quincy takes one long drink from his cup . KERRY , 20 , and spandexed , stands directly in front of him , flirtatiously .<\/scene_description>\n    <character>KERRY<\/character>\n    <dialogue>Excuse me.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Excuse me.<\/dialogue>\n    <scene_description>He steps aside as she tries to work the keg . Nothing comes out . She nods at his cup , smiles .<\/scene_description>\n    <character>KERRY<\/character>\n    <dialogue>If that's the last beer, you and I are sharing.<\/dialogue>\n    <scene_description>Shayla glances over as Quincy pumps the keg a couple of times . Kerry hands him her cup and he starts filling it up .<\/scene_description>\n    <character>KERRY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I like watching you play. Number twenty - two.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Guess you did n't see the game.<\/dialogue>\n    <scene_description>Quincy knows he should blow her off , but he 's digging the attention . He hands her back her cup .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What's your name?<\/dialogue>\n    <character>KERRY<\/character>\n    <dialogue>Kerry.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Q.<\/dialogue>\n    <character>KERRY<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>ANGLE ON Monica looks over at Quincy and sees him talking to the hoochie . The girl looks too damn comfortable . Monica moves back outside .<\/scene_description>\n    <character>KERRY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I'll see you. Q - man.<\/dialogue>\n    <scene_description>She swishes past Monica . Shayla `` accidentally '' bumps her . Kerry glares .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Who was that?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Nobody.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Who's nobody?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Look, this party's whack. You ready to go?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>You want to go talk?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Not really.<\/dialogue>\n    <scene_description>He leans in , kisses her drunkenly . She pulls away .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>We could finish what we were talking about last night.<\/dialogue>\n    <scene_description>Quincy kisses her again .<\/scene_description>\n    <character>MONICA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Q.<\/dialogue>\n    <parenthetical>( pushing him off . )<\/parenthetical>\n    <dialogue>Quincy, quit. You're drunk.<\/dialogue>\n    <scene_description>They fall silent .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>You know what, I'm just gon na crash.<\/dialogue>\n    <character>MONICA<\/character>\n    <parenthetical>( agitated . )<\/parenthetical>\n    <dialogue>Fine. Maybe I'll come by later.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Nah. I have curfew.<\/dialogue>\n    <scene_description>He starts to walk away , then stops .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Oh, by the way. Congratulations.<\/dialogue>\n    <scene_description>He goes . Monica stares after him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. QUINCY\/REGGIE'S SUITE - LIVING ROOM - LATER<\/stage_direction>\n    <scene_description>Quincy pushes through his front door , then stops short in his doorway . Zeke sits on the couch .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>Your door was unlocked.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Still is, so let yourself out.<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>We need to talk.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>We ai n't got nothing to talk about.<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>I messed up, okay, I know that. But I ai n't that kid's father.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Lucky kid.<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>Look, I ai n't saying it was right, but sometimes things happen.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>And some things should never fucking happen!<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>Boy, you're so perfect you can look down on me?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I ai n't a damn liar.<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>Your mom was real quick to show you those pictures, was n't she? Well, she was nineteen when she got pregnant and do n't get me wrong, you're the best thing in my life, but she knew I was n't ready for no marriage.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>So now you're saying my mother trapped you?<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>I'm saying I handled my responsibilities like a man. But when you're in the NBA, you pull into a city and there's a hundred women waiting at the hotel. And another twenty that made it past security on your floor. And the boldest one is standing right at your door. And after awhile, it just becomes part of the game.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>I'm sorry I lied to you, I should n't have. But I did it cause I love you.<\/dialogue>\n    <scene_description>Zeke looks at his son , meaning every word . Quincy stares back , long and hard .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>Since we're being honest, guess I should tell you. I'm dropping out of school and going pro.<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Quincy just stares back .<\/scene_description>\n    <character>ZEKE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Quincy, you'd be making the biggest mistake of your life.<\/dialogue>\n    <character>QUINCY<\/character>\n    <parenthetical>( sarcastic . )<\/parenthetical>\n    <dialogue>From your mouth.<\/dialogue>\n    <character>ZEKE<\/character>\n    <parenthetical>( desperate . )<\/parenthetical>\n    <dialogue>I know your mad at me, okay, but I ca n't let you do this.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Always thought `` ca n't'' was n't in a man's vocabulary.<\/dialogue>\n    <scene_description>Zeke is taken aback by the hatred in his son 's eyes . He turns and without another word , exits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - LATE NIGHT<\/stage_direction>\n    <scene_description>Quincy stands across the street from the houseparty , staring up at the balcony . Monica leans against the railing , laughing with a couple of teammates . Quincy watches her , then turns and walks away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMPUS GYM - LATE DAY<\/stage_direction>\n    <scene_description>SLOW MOTION . Monica 's eyes are on fire as she races an Oregon player for a loose ball . Both dive for it , slide across the floor . Monica grabs it up , screams for a time - out as her opponent tries to wrestle away the ball .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. QUINCY\/REGGIE'S SUITE - DUSK<\/stage_direction>\n    <scene_description>Monica walks down the hall to Quincy 's suite . The window is open . The sounds of Nintendo are heard . She walks in without knocking .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. QUINCY\/REGGIE'S SUITE - LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Reggie sits on the couch with a TEAMMATE , playing Nintendo 's `` Duck Hunt '' .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Hey, y' all.<\/dialogue>\n    <scene_description>They barely give her a nod . Monica crosses into<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. QUINCY\/REGGIE'S ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Quincy stands at an ironing board , ironing a T - shirt .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Hey, what's up.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>You were n't at my game.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Yeah, sorry about that. I had this meeting with this guy.<\/dialogue>\n    <scene_description>Quincy pulls on the T - shirt .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You win?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Yeah, I hit a three at the buzzer.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>The `` man'' again.<\/dialogue>\n    <character>MONICA<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Woman.<\/dialogue>\n    <scene_description>A knock at the front door . Quincy exits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Monica follows , then stops short . Kerry , the spandexed girl from the party , stands in the doorway .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>Hey, you.<\/dialogue>\n    <character>KERRY<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>Quincy gives her a hug . Monica stares at him in disbelief . Reggie and his teammate smack each other , `` Oh shit ! ''<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>Oh, Kerry, this is Monica. Monica, Kerry.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>What the hell's going on?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>We're going to get some food.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Are you out of your mind?<\/dialogue>\n    <character>KERRY<\/character>\n    <dialogue>Maybe I should come back?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>No. You stay, I'll leave.<\/dialogue>\n    <scene_description>She storms out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WRIGHT HOUSE - DRIVEWAY - DUSK<\/stage_direction>\n    <scene_description>BAM ! Monica slams her car door . Her face is a mask of anger and confusion . Camille exits the house , car keys in hand . She sees her .<\/scene_description>\n    <character>CAMILLE<\/character>\n    <dialogue>Monica. What are you doing here?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Did n't know I needed a reason to come home.<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>Do n't be defensive. I'm just surprised to see you.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Dad around?<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>He's still at the bank.<\/dialogue>\n    <scene_description>Monica glowers . Camille looks at her .<\/scene_description>\n    <character>CAMILLE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Everything okay?<\/dialogue>\n    <character>MONICA<\/character>\n    <parenthetical>( clearly not . )<\/parenthetical>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Camille just nods , does n't bother asking again .<\/scene_description>\n    <character>CAMILLE<\/character>\n    <dialogue>Well, I'm going to get dinner.<\/dialogue>\n    <scene_description>She pulls open her car door . Beat , then .<\/scene_description>\n    <character>CAMILLE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>It's just a game.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>Whenever you lose, you get this attitude. But it's just a game.<\/dialogue>\n    <scene_description>Monica rolls her eyes , as her mom leaves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DORMS - NIGHT<\/stage_direction>\n    <scene_description>Quincy sits on the wall outside of Monica 's dorm , as Monica slowly makes her way up the walk . She sees him , stops .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>Can we talk?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Talk to your new girlfriend.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I just took the ho to Burger King, alright.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Cheap date.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Least she had time for me.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>So you fucked around to prove a point!<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I just said I did n't fuck around. But you got your head so far up your ass it took a cheap date for you to notice me.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>What, `` Q - man'', did I forget to kiss your ass like everybody else?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>You forgot to be there.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>That night you wanted to talk about your Dad I had a curfew. What was I supposed to do?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Stay!<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>If I stayed, I would n't be starting!<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Least you got your priorities straight.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I never asked you to choose.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Never had to.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I'm a ballplayer. If anyone knows what that means it should be you.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Well, if all you care about is basketball, why you fucking me? Go fuck Dick Vitale.<\/dialogue>\n    <scene_description>Monica punches the shit out of Quincy , then pushes past him . Quincy grabs her arm , stopping her .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Hold up. I'm sorry, alright.<\/dialogue>\n    <scene_description>They stand , silent . Trying to come down from their anger .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>How do I know next time you're feeling neglected or whatever, you're not going to run around on me? If we're going to be together I have to be able to trust you.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I'm not asking for us to be together.<\/dialogue>\n    <scene_description>Monica flinches in shock .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I'm going through a lot of shit right now, more than you have time for.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>How are you going to tell me what I have time for? I mean, whatever I did. we can fix this.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I do n't think so.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>You do n't think so?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Look, I'm entering the draft.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>You're what?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I decided to go pro. And who knows where I'll end up, you know?<\/dialogue>\n    <scene_description>Monica 's heart is sinking fast .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>When did you decide all this?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Few days ago.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>So that's it, just forget about us?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Damnitt, Monica. This ai n't about us anymore, it's about me.<\/dialogue>\n    <scene_description>Monica is crushed . Beat as , Quincy struggles to stay cold .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>But, you know, I'd still like us to be friends.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Friends.<\/dialogue>\n    <scene_description>She fights back tears . Quincy has to look away . Monica ca n't respond .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>So. I guess I'll see you around.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Uh huh.<\/dialogue>\n    <scene_description>Beat , then Quincy turns and walks away . Monica tries to fight her tears but her pain , hurt and confusion are too much . Finally , she gives in , and the tears fall . FADE TO BLACK . FOOTAGE . Press conference . Magic sits beside his wife Cookie . He shocks the world as he announces his retirement from basketball . TITLE CARD : `` FOURTH QUARTER '' then `` 1993 '' ESTABLISHING SHOTS OF SPAIN Madrid , Pampolona , the running of the bulls , old - world architecture . Finally , we rest on a large billboard , a photo of Monica in a basketball uniform , drinking a Spanish soft - drink .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS OF SPAIN - LATE DAY<\/stage_direction>\n    <scene_description>Monica jogs down the congested cobble - stone street , a sports bag over her shoulder . She is TWENTY - THREE . Half - assed braids frame her matured features . She passes store fronts , street vendors , and dodges pedestrians , as she makes her way toward a large , older arena .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARENA - CONTINUOUS<\/stage_direction>\n    <scene_description>An excited crowd jockeys for position at the front doors . Above them , a huge banner reads `` Campeonato de Europeo '' . -LRB- European Championships '' . -RRB- As Monica heads for the back entrance , a cheer goes up from a large contingent in the crowd . Monica smiles , waves back . TWO LITTLE GIRLS break from line , run to her .<\/scene_description>\n    <character>LITTLE GIRLS<\/character>\n    <dialogue>Baloncesto! Balencesto!<\/dialogue>\n    <parenthetical>( Basketball !<\/parenthetical>\n    <parenthetical>Basketball ! )<\/parenthetical>\n    <dialogue \/>\n    <character>MONICA<\/character>\n    <dialogue>Oye.<\/dialogue>\n    <scene_description>They giggle , hold out a piece of paper and a pencil .<\/scene_description>\n    <character>LITTLE GIRLS<\/character>\n    <dialogue>Autografo.<\/dialogue>\n    <scene_description>As Monica signs her autograph , a tall woman carrying a matching sports bag approaches . She is LUISA , Spanish , 33 .<\/scene_description>\n    <character>LUISA<\/character>\n    <parenthetical>( thick Spanish accent . )<\/parenthetical>\n    <dialogue>Monica. What is up?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Oye, Luisa.<\/dialogue>\n    <scene_description>Monica hands the girls her autograph and they run off .<\/scene_description>\n    <character>LUISA<\/character>\n    <dialogue>Large game, no?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Si. Large game.<\/dialogue>\n    <scene_description>They duck into the arena .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARENA - LOCKER ROOM - LATE DAY<\/stage_direction>\n    <scene_description>Paint peels off the walls . Windows are broken overhead . Monica sits alone at her locker , taping her own ankles . Her TEN TEAMMATES , all from Spain , sit on the surrounding benches , talking and joking among themselves in Spanish . Monica is clearly an outsider . COACH PARRA , Spanish , late 40 's , enters .<\/scene_description>\n    <character>COACH PARRA<\/character>\n    <dialogue>Silenco!<\/dialogue>\n    <scene_description>The women immediately stop talking . COACH PARRA gives an animated , impassioned speech in Spanish . Monica does n't understand a word , just continues taping her ankles . Coach Parra finishes and the women clap , pumped up . Monica turns to Luisa , seated next to her on the bench .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>What did he say?<\/dialogue>\n    <character>LUISA<\/character>\n    <dialogue>He say to give the ball to you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARENA - NIGHT<\/stage_direction>\n    <scene_description>The arena is PACKED with a raucous European crowd , chanting and waving signs - the love their women 's basketball . Monica walks onto the floor , tucking her jersey into her shorts . The uniforms are old - style - polyester and tight . Her club 's name is stitched on the front , `` GODELLA '' . As she hits center court , a smile suddenly breaks through her game face . Standing opposite her , playing for the opposing Italian club is Sidra , HER RIVAL FROM USC .<\/scene_description>\n    <character>SIDRA<\/character>\n    <dialogue>Well, what do you know.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>What's up, Sidra.<\/dialogue>\n    <character>SIDRA<\/character>\n    <dialogue>I'm gon na love winning this championship in your house.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>How do you say `` you're dreaming'' in Italian?<\/dialogue>\n    <scene_description>They move into position . The ball is tossed up . Italy winds the tip and the ball is passed to Sidra . Monica hounds her as she brings up the ball . Sidra shoves her off and to the floor , and scores . No whistle . Women 's pro ball is at a whole other level . Bigger , better , tougher . The ball is passed in to Monica . She drives down court , goes up for a lay up . An Italian player shoves Monica in mid - air , taking out her legs . Monica crashes on the hardwood . A whistle . Monica lays still for a moment , then pushes herself up and walks to the free - throw line without a word . Without emotion .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPAIN - NIGHTCLUB - LATE NIGHT<\/stage_direction>\n    <scene_description>A huge crowd dances fervently to the live Spanish music . In the middle of the floor , the Spanish players are the life of the party . In a corner , Monica sits with Sidra , drinking and watching the festivities . A large trophy sits on the table .<\/scene_description>\n    <character>SIDRA<\/character>\n    <dialogue>Can you take that damn thing off the table.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>You mean my championship trophy? My bad.<\/dialogue>\n    <scene_description>Monica sets it down in the seat next to her , puts an arm around it . Sidra shakes her head .<\/scene_description>\n    <character>SIDRA<\/character>\n    <dialogue>Still a cocky bitch.<\/dialogue>\n    <scene_description>Monica laughs . She downs her drink , motions to the waiter .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Uno mas, por favor.<\/dialogue>\n    <scene_description>The waiter nods .<\/scene_description>\n    <character>MONICA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Last I heard, you were playing in Sweden.<\/dialogue>\n    <character>SIDRA<\/character>\n    <dialogue>Yeah, four years ago. They had me staying in this tiny - ass town with like fifty people. I'm not playing, there was about a thousand goats running around, and it gets dark at four o'clock. Then the whack club I'm on loses three games in a row and I get blamed. So they fire me.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Just like that?<\/dialogue>\n    <character>SIDRA<\/character>\n    <dialogue>Yup. So I've been playing with this Italian club the last three years.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>How's that been?<\/dialogue>\n    <character>SIDRA<\/character>\n    <dialogue>It's better. Even though the whole first season my teammates did n't pass to me cause they were mad `` The American'' was making more money.<\/dialogue>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>I led the team in rebounds cause it was the only way I could touch the damn ball.<\/dialogue>\n    <scene_description>Monica laughs as the waiter brings her drink . She tries to pay , but he just shakes his head , crosses away .<\/scene_description>\n    <character>SIDRA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Most of us do n't win championships our first year overseas.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Please, I went through the same drama as everybody else. I mean, the first four months, only person I could talk to was this chick Luisa, who knew like ten words of English from watching old `` Dif ` rent Strokes'' reruns. Swear to God, I had to tell her if she said, `` What you talking bout, Willis?'' one more time, I was gon na kick her ass.<\/dialogue>\n    <scene_description>Sidra laughs . They watch the madness out on the dance floor .<\/scene_description>\n    <character>SIDRA<\/character>\n    <dialogue>So what are these Spanish guys like?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I would n't know.<\/dialogue>\n    <character>SIDRA<\/character>\n    <dialogue>What? You've been over here seven months and you ai n't tapped anything?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Just not my type, I guess.<\/dialogue>\n    <character>SIDRA<\/character>\n    <dialogue>Shoot, Italian boys love them some black women. They ca n't get enough of me.<\/dialogue>\n    <scene_description>Monica smiles .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>You ever think about going back?<\/dialogue>\n    <character>SIDRA<\/character>\n    <dialogue>Sometimes. But what's the alternative, not playing? You remember big Toni?<\/dialogue>\n    <parenthetical>( off Monica 's nod . )<\/parenthetical>\n    <dialogue>She quit last year, now she's working at some bookstore. I mean, look at us. They treat us like we're Hollywood stars over here. We just played in the championship game. It does n't get much sweeter than this.<\/dialogue>\n    <scene_description>Monica takes this in . Her eyes do not reflect someone on top of the world . She takes a long drink .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPAIN - MONICA'S APARTMENT - LATE NIGHT<\/stage_direction>\n    <scene_description>A small , sparse , one - bedroom . Sam , Diane and the rest of the gang from `` Cheers '' fill the small TV screen that flickers in the darkness . Their dialogue is dubbed in Spanish . Monica sits on the floor , braiding her hair . SHE WEARS BOXERS AND QUINCY 'S OLD PRACTICE SHIRT . AFTER FIVE YEARS , IT IS WELL - WORN . Feelings of loneliness threaten to swallow her whole . She looks out her window and sees her billboard , looming in the distance . She just stares .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOS ANGELES FORUM - NIGHT<\/stage_direction>\n    <scene_description>The crowd erupts as a Laker player dunks the ball on a fast break . ANGLE ON Laker announcers CHICK HEARN and STU LANTZ .<\/scene_description>\n    <character>CHICK HEARN<\/character>\n    <dialogue>Stu, this game is in the refrigerator. The door is closed, the lights are out, the butter's hard and the Jell - Oooooo's jigglin'.<\/dialogue>\n    <character>STU LANTZ<\/character>\n    <dialogue>And here come the subs.<\/dialogue>\n    <scene_description>ANGLE ON Quincy pulls off his sweats and jogs onto the court with the rest of the subs . He is twenty - three , a man . His goatee and tired eyes make him look older . HE NOW WEARS NUMBER TWENTY - ONE .<\/scene_description>\n    <character>STU LANTZ<\/character>\n    <parenthetical>( cont 'd ; V.O . )<\/parenthetical>\n    <dialogue>It's good to see these guys get a little playing time. And the fans love it.<\/dialogue>\n    <scene_description>Quincy immediately gets a pass in the corner . He puts up a quick three and it banks hard off the rim . ANGLE ON Chick and Stu .<\/scene_description>\n    <character>CHICK HEARN<\/character>\n    <dialogue>Three - pointer is off for the kid from SC. Came out after his freshman year, now in his fifth year with the league.<\/dialogue>\n    <character>STU LANTZ<\/character>\n    <dialogue>The son of Zeke McCall, played twelve years with the Clippers.<\/dialogue>\n    <character>CHICK HEARN<\/character>\n    <parenthetical>( nods . )<\/parenthetical>\n    <dialogue>Pretty good player. The kid's moved around quite a bit, but he's hoping to finally have a home with the Lakers.<\/dialogue>\n    <scene_description>ANGLE ON Quincy steals the ball , has nothing but open court ahead of him .<\/scene_description>\n    <character>CHICK HEARN<\/character>\n    <parenthetical>( cont 'd ; V.O . )<\/parenthetical>\n    <dialogue>Watch out, folks, it's showtime.<\/dialogue>\n    <scene_description>Quincy takes off from the hash - mark and throws down a monster jam . He swings high off the rim . Too high . His hand slips and he crashes to the floor . His knee twists at a sickening angle . The dwindling crowd gasps as Quincy clutches his left knee , writhing in pain .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DANIEL FREEMAN HOSPITAL - HALLWAY - LATE NIGHT<\/stage_direction>\n    <scene_description>Zeke walks down the corridor , checking room numbers . He is forty - five now . His slight paunch as become a roll . He sees Nona exiting a room , with an empty water pitcher in hand . Her hair is in locks .<\/scene_description>\n    <character>ZEKE<\/character>\n    <dialogue>Nona.<\/dialogue>\n    <scene_description>Nona looks over . Her eyes narrow .<\/scene_description>\n    <character>ZEKE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>How's he doing?<\/dialogue>\n    <character>NONA<\/character>\n    <dialogue>Not great.<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>What's that, not great?<\/dialogue>\n    <character>NONA<\/character>\n    <dialogue>The doctor'll be back in a minute.<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>Nona, please.<\/dialogue>\n    <character>NONA<\/character>\n    <dialogue>He tore his ACL.<\/dialogue>\n    <scene_description>Zeke 's shoulders slump . Then he looks back at her .<\/scene_description>\n    <character>ZEKE<\/character>\n    <dialogue>Almost did n't recognize you with your hair like that. How you been?<\/dialogue>\n    <character>NONA<\/character>\n    <dialogue>Happy. And he wo n't want to see you.<\/dialogue>\n    <scene_description>Nona walks over to a MAN standing nearby . He puts an arm around her and they move down the hall . Zeke watches for a beat , then pulls open Quincy 's door , steps inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. QUINCY'S HOSPITAL ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Quincy lays in the bed . His knee is bandaged and propped up by pillows . He stares out the window .<\/scene_description>\n    <character>ZEKE<\/character>\n    <dialogue>Hey, son.<\/dialogue>\n    <scene_description>Quincy turns , sees his father . He turns back to the window .<\/scene_description>\n    <character>ZEKE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Well, you made SportsCenter.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>Came by to check on you.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>After five years.<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>Do n't remember that being my fault. Seems like you divorced me same time as your mom.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Look, I'm busy.<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>I can see that. I know things look pretty bleak right now, but you ca n't get down on yourself.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I stopped taking your advice a long time ago, or did you forget?<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Good.<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>Quincy. I know you left school early to throw your middle finger up at me.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>And now I'm paying for it, right? That what this is about? `` I told you so?''<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>You want me to fuck off?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>Fine, I'll fuck off, but not til I say something.<\/dialogue>\n    <scene_description>Silence . Then .<\/scene_description>\n    <character>ZEKE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You're a better ballplayer than I ever was. But you got a lot of other things going for you. You're smart. I always felt. I always knew that you could do anything you wanted. You want to be a ballplayer, be a ballplayer. Just know you ai n't like everybody else on that court. You ai n't like I was. You got options. That's all I ever tried to show you.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>You're still trying to tell me what I should and should n't do. How come you could n't be the man you kept trying to make me?<\/dialogue>\n    <scene_description>Zeke stares at his son , wishing he could satisfy him with an answer .<\/scene_description>\n    <character>ZEKE<\/character>\n    <dialogue>I just could n't<\/dialogue>\n    <scene_description>With nothing left to say , Zeke pulls open the door and leaves . Quincy stares at the door long after it closes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. QUINCY'S HOSPITAL ROOM - DAY<\/stage_direction>\n    <scene_description>A NURSE enters , carrying a bouquet of flowers . She moves past the empty bed , puts them on a table already overflowing with flowers . She pulls open the blinds and light floods the room . She crosses back out . A toilet flush . Beat , then Quincy slowly hops out of the bathroom , scratching his bare ass through the opening of his gown .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>And I thought this was gon na be awkward.<\/dialogue>\n    <scene_description>Quincy whips around and is shocked to see Monica standing there , laughing . She has clearly made an effort with her appearance .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>Monica?<\/dialogue>\n    <scene_description>He stumbles . Monica quickly goes to him , catches his arm before he falls .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <scene_description>Quincy stares at her , completely thrown . It 's been five years . An awkward beat .<\/scene_description>\n    <character>MONICA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>So, how you doing?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Alright. I heard you were in Spain.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I was.<\/dialogue>\n    <parenthetical>( smiling . )<\/parenthetical>\n    <dialogue>I see your peach fuzz finally grew in.<\/dialogue>\n    <scene_description>Quincy rubs his goatee self - consciously .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>Just something I'm trying.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>No, it looks good. I mean, it's cool.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Quincy tries to adjust his footing and flinches in pain .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Should n't you be lying down, or.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I'm alright. But you can sit.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I'm fine. My dad said you tore your ACL.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Yup.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>What are the doctors saying?<\/dialogue>\n    <character>QUINCY<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>A lot of things. All I know is I'll be back in six months.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I thought a torn ACL was ten to twelve.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Not for Quincy McCall.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I forgot, `` Q - man.''<\/dialogue>\n    <scene_description>An awkward beat .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>So, how's pro - ball, Europe?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>We won the championship.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Still working on being the first girl in the NBA?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Well, I tried sneaking in after college, but they found breasts during my physical.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Funny. I never did.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Kiss my ass.<\/dialogue>\n    <scene_description>Monica cracks up . Quincy laughs with her .<\/scene_description>\n    <character>MONICA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I ca n't believe it's been five years.<\/dialogue>\n    <scene_description>Quincy nods .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>Tried calling you a couple times.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Oh yeah?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Wanted to give you props on making First Team All - American. And then when Magic retired, I tried calling you again.<\/dialogue>\n    <character>MONICA<\/character>\n    <parenthetical>( lying . )<\/parenthetical>\n    <dialogue>Must have been my cheap - ass answering machine. It was always messing up.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Figured it was something like that.<\/dialogue>\n    <scene_description>They look at each other . The moment is building .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>So, when do you go back?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Actually, I do n't.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I'm tired of playing overseas. Thinking about giving it a rest for awhile.<\/dialogue>\n    <character>QUINCY<\/character>\n    <parenthetical>( completely thrown . )<\/parenthetical>\n    <dialogue>A rest?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Yeah. Basketball just, is n't fun anymore. You know?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>He stares at her . Into her .<\/scene_description>\n    <character>FEMALE VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Quincy!<\/dialogue>\n    <scene_description>Quincy and Monica turn , as KYRA KESSLER , black , 26 and beautiful , rushes into the room . She wears a flight attendant 's uniform . She goes to Quincy , gives him a kiss . Monica reacts .<\/scene_description>\n    <character>KYRA<\/character>\n    <dialogue>I'm so sorry. No one would switch flights with me.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>It's okay.<\/dialogue>\n    <character>KYRA<\/character>\n    <dialogue>Why are you up? Get in bed.<\/dialogue>\n    <scene_description>She takes Quincy 's arm , moves him to the bed . Monica watches .<\/scene_description>\n    <character>KYRA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Tell me you're going to be okay.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I'm gon na be okay.<\/dialogue>\n    <scene_description>Kyra relaxes . Then she glances over at Monica .<\/scene_description>\n    <character>KYRA<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Kyra, this is Monica. She, uh.<\/dialogue>\n    <character>KYRA<\/character>\n    <parenthetical>( recognizing . )<\/parenthetical>\n    <dialogue>Monica. You grew up together, right? Quincy's told me about you.<\/dialogue>\n    <scene_description>Monica smiles awkwardly .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>This is Kyra. My fiance.<\/dialogue>\n    <scene_description>The shock hits too quick to cover . But Monica tries .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Fiance. Wow. Congratulations.<\/dialogue>\n    <character>KYRA<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I did n't know. Wow. That's great.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>Well. I should go.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>It means a lot that you came by.<\/dialogue>\n    <character>KYRA<\/character>\n    <dialogue>Yes, we appreciate that.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Yeah, and Quincy, good luck with your knee, and everything.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Monica forces one last smile , pulls open the door and leaves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - MOMENTS LATER<\/stage_direction>\n    <scene_description>Monica walks down the hall , shell - shocked .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WRIGHT HOUSE - KITCHEN - LATE DAY<\/stage_direction>\n    <scene_description>Camille moves between the counter and the stove , whipping up a couple pecan pies . Monica enters .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Need any help?<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>I can manage.<\/dialogue>\n    <scene_description>Monica nods and moves to the barstool .<\/scene_description>\n    <character>CAMILLE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Your sister's bringing the baby over. You should try to be here.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Yeah. Ca n't wait to see him.<\/dialogue>\n    <parenthetical>( she falls silent , then . )<\/parenthetical>\n    <dialogue>I just saw Quincy.<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>How is he?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Engaged.<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>To that stewardess?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Yeah, you met her?<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>His mother had a cookout a few weeks ago. He could do a lot better if you ask me.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Maybe she is.<\/dialogue>\n    <scene_description>Camille looks up , studies Monica for a moment .<\/scene_description>\n    <character>CAMILLE<\/character>\n    <dialogue>I thought you were over him.<\/dialogue>\n    <scene_description>Monica shrugs .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>So what do I do?<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>Find out where they're registered and send them a gift.<\/dialogue>\n    <character>MONICA<\/character>\n    <parenthetical>( disgusted . )<\/parenthetical>\n    <dialogue>Whatever.<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>You did n't want my opinion in the first place, so why even ask?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I asked but why does it always have to be so damn prissy.<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>Do n't curse.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>There you go.<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>What do you want me to tell you, Monica, to go beat that girl up? To go have sex with him? I'm not going to do that. Yes, I believe thinking of other people is important and yes I'd rather bake a pie than shoot a dumb jump shot. If that makes me too `` prissy'' for you, too bad.<\/dialogue>\n    <scene_description>Monica stares at her mother . There 's no going back .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>So that's why we ca n't get along? Because I'd rather shoot a `` dumb'' jump shot?<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>You're the one always turning your nose up at me.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>No I do n't.<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>Child, please. Ever since you were little you thought you were too good for anything I had to say.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I was n't Lena. I did n't care about nail polish or lip gloss or sneaking a spray of your perfume.<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>What was so wrong with wanting to teach you the things I knew could help you?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Because you're pushing me to be something I'm not.<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>So you're angry with me because you're standing here with your hair combed and wearing perfume?<\/dialogue>\n    <scene_description>Monica is busted . It takes her a moment to come back .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>I'm angry because I want a mother, not Martha Stewart.<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>Oh, yes. The superstar female athlete whose mother is nothing but a housewife.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>That's not it.<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>Do n't tell me you are n't ashamed of that because I know.<\/dialogue>\n    <scene_description>Monica stares at her mother .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>I remember when I was eight years old, you spent like four hours cooking up this fancy meal. All you'd let me and Lena do was set the table. And I guess you and Dad got your wires crossed or something because he walks in with a couple of pizzas. And you did n't say anything. You just threw the whole meal into some tupper - ware and tossed it in the fridge.<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>I do n't remember that.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I do. You never stood up for yourself. Ever. If I was ashamed, it was because of that.<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>That's ridiculous.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>What's ridiculous is not being a caterer so your husband can feel like a man knowing his woman's home cooking and ironing his drawers.<\/dialogue>\n    <scene_description>WHAP ! Camille 's humiliation is immediate and she cuts off Monica with a SLAP . Camille curses herself for losing it .<\/scene_description>\n    <character>CAMILLE<\/character>\n    <dialogue>Dammitt, Monica!<\/dialogue>\n    <scene_description>Monica is stunned , hurt .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <scene_description>Camille stares at her daughter , devastated .<\/scene_description>\n    <character>CAMILLE<\/character>\n    <dialogue>Is that really all you think of me?<\/dialogue>\n    <scene_description>Monica ca n't answer .<\/scene_description>\n    <character>CAMILLE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>When I married your father, all I wanted was a nice house with a big kitchen so I could start my catering business. And then I got pregnant with Lena, and then I got pregnant with you. And I put it out of my mind because that's what you did.<\/dialogue>\n    <scene_description>Monica stares at her mother .<\/scene_description>\n    <character>CAMILLE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>But you want to know what day I remember? In high school, you getting ready for the Spring Dance. I put my pearls around your neck, told you you were beautiful and you looked like you were going to cry. That day I was happy I did n't have a catering business to run off to. My family had three meals a day, had someone to pick up after them, and when my daughters went to a dance, I helped them get ready. That's what I came to care about.<\/dialogue>\n    <character>MONICA<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>That's all you cared about. I must have played in a thousand games and I can only remember you being to two.<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>You had your coaches and your father for that stuff. It never mattered one way or the other if I went to your games.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>It mattered, Mom.<\/dialogue>\n    <scene_description>Camille looks at her daughter and is struck by the need in her eyes . Monica moves off the barstool and leaves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WRIGHT HOUSE - MONICA'S ROOM - DAY<\/stage_direction>\n    <scene_description>The room looks exactly the same . Trophies , medals , plaques . Basketball posters and her `` strong women '' wall . Monica sits on her bed , staring up at a photo of her and Quincy , tacked up to her bulletin board , amid other photos of her childhood . THEY ARE EIGHTEEN , PLAYFULLY WRESTLING OVER A BASKETBALL . Monica slowly rises , starts taking her posters down .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REHAB CENTER - DAY<\/stage_direction>\n    <scene_description>Quincy sits on a leg extension machine , with his left leg tucked under the padded bar . A TRAINER stands behind him . Sweat and pain coat Quincy 's face and scarred knee as he slowly lifts the light weight again , and again , and again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANK - DAY<\/stage_direction>\n    <scene_description>A long line of customers shift impatiently during the noon - time rush . Monica sits with a BANK MANAGER at the `` New Accounts '' desk , learning the ropes . Her hair is done , she wears a simple dress . Behind her , hanging on the wall , are three framed photos of the bank presidents . ONE OF THEM IS HER FATHER , NATHAN .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WRIGHT HOUSE - MONICA'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Monica stands in her room , staring out at Quincy 's window . She watches as Quincy and Kyra pack up some of Quincy 's stuff . Quincy tries to take his basketball globe light . She laughs , `` Hell no . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WRIGHT HOUSE - MONICA'S ROOM - DAY<\/stage_direction>\n    <scene_description>Camille enters , moves to Monica 's garbage can , dumps the contents into her larger bag . Suddenly , she stops . She reaches into the garbage and pulls out a crumpled picture . Camille smooths it . It is the photo of Monica and Quincy at eighteen , wrestling over a basketball . CAMILLE STARES AT IT , TAKEN IN BY THE PURE JOY IN HER DAUGHTER 'S FACE . She sits down on Monica 's bed , still staring .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORUM - DAY<\/stage_direction>\n    <scene_description>In the empty gym , Quincy jogs up and down the court . He is still tentative on his knee , but he keeps jogging . And then , slowly , the determination melts from his face . His jog turns into a walk , and then he just . stops .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCCALL HOUSE - QUINCY'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Quincy stands in the middle of his room , taking in his life . Old , worn basketball posters still line the walls . Trophies and awards . USC memorabilia . His basketball globe light . He walks to his window , looks out at Monica 's window . Her room is dark .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. QUINCY'S APARTMENT - BATHROOM - MORNING<\/stage_direction>\n    <scene_description>Quincy tilts his face up to the shower head and rinses the soap from his face . He hears the bathroom door open . He shuts off the water and opens the curtain . Kyra sits on the toilet , taking a pee . Quincy slams the curtain closed .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>Damn, girl.<\/dialogue>\n    <character>KYRA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I do n't wan na see that.<\/dialogue>\n    <character>KYRA<\/character>\n    <dialogue>Get used to it, babe.<\/dialogue>\n    <scene_description>She flushes . Quincy steps out , grabs a towel . A long scar runs across his knee cap .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>Brother's gon na have to start locking doors.<\/dialogue>\n    <scene_description>Kyra laughs as she buttons up her flight attendant 's uniform . They cross into :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. QUINCY'S APARTMENT - BEDROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Kyra packs up a suitcase .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>So how long is this trip?<\/dialogue>\n    <character>KYRA<\/character>\n    <dialogue>Four days.<\/dialogue>\n    <scene_description>Quincy nods .<\/scene_description>\n    <character>KYRA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>So are you going to be the kind of husband who wo n't let his wife work?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Nah.<\/dialogue>\n    <character>KYRA<\/character>\n    <parenthetical>( playfully . )<\/parenthetical>\n    <dialogue>Why not?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>You might be the only one with a job.<\/dialogue>\n    <character>KYRA<\/character>\n    <dialogue>Baby, do n't talk like that. Your rehab's going well. You'll be back before you know it.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Sometimes I wonder if it's worth it. Busting my ass, for what?<\/dialogue>\n    <character>KYRA<\/character>\n    <dialogue>To do what you love.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I do n't know sometimes.<\/dialogue>\n    <character>KYRA<\/character>\n    <dialogue>You're just scared. I know rehab is hard, and you have to worry about whether you'll be as good as you were but you will be. I believe in you. You just have to get back on the court. Like you'd get back on a horse.<\/dialogue>\n    <character>QUINCY<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>A horse?<\/dialogue>\n    <character>KYRA<\/character>\n    <dialogue>Do n't make fun of me when I'm being wonderful and supportive.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>You belong on the court. Just like I belong in the stands, looking cute and cheering you on.<\/dialogue>\n    <scene_description>She smiles , gives him a kiss , moves back to her packing . Off Quincy :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANK - DAY<\/stage_direction>\n    <scene_description>Monica sits at her desk in a blouse and skirt , punching numbers into the computer . A man sits down in the chair opposite her . Monica glances up . It 's her father .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>Hey, munchkin.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Dad. What are you doing here?<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>I was upstairs for a meeting. I've been hearing good things about you.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>That tends to happen when you're the boss's daughter.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>So how's the job going?<\/dialogue>\n    <scene_description>Monica forces a smile .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>You know.<\/dialogue>\n    <scene_description>Nathan looks at her , nods .<\/scene_description>\n    <character>NATHAN<\/character>\n    <dialogue>I think I know what the problem is.<\/dialogue>\n    <scene_description>He pulls a GARBAGE CAN HOOP from a plastic shopping bag . Monica smiles . He attaches it to her garbage can .<\/scene_description>\n    <character>NATHAN<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>There.<\/dialogue>\n    <scene_description>He shoots an ugly , imaginary shot . She laughs .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>You shoot like a girl.<\/dialogue>\n    <character>NATHAN<\/character>\n    <dialogue>I'll take that as a compliment.<\/dialogue>\n    <scene_description>He gives her a smile , and exits . Monica looks at the hoop , then crumples a piece of paper .<\/scene_description>\n    <character>MONICA<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>And she gets the steal. Monica goes one - on - one against Jordan, she stops, pops.<\/dialogue>\n    <scene_description>Monica shoots . The paper drops through the net .<\/scene_description>\n    <character>MONICA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( still whispering . )<\/parenthetical>\n    <dialogue>It's good! It's good!<\/dialogue>\n    <scene_description>She glances up , notices a few patrons watching her . Monica quickly composes herself and goes back to her work .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WRIGHT AND MCCALL HOUSES - DUSK<\/stage_direction>\n    <scene_description>Monica exits her car , after a long day at work . She wears very low heels . But she still stumbles . She curses , then hears a laugh . She looks up - Quincy sits on the grassy hill above her house .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>I remember when your mom had to beat you into a dress.<\/dialogue>\n    <scene_description>Monica smiles .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>You visiting?<\/dialogue>\n    <character>QUINCY<\/character>\n    <parenthetical>( nods . )<\/parenthetical>\n    <dialogue>Kyra's gone for a couple days. Figured I'd keep Mom company.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Who's this guy I always see her around?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Darryl. He's alright, kinda corny.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>So. how's the knee?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Getting there.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Strong enough to get you down the aisle?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Yeah. Two weeks.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>I did n't get to send you an invitation, but if you.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>That's okay. I'm probably, you know, busy.<\/dialogue>\n    <scene_description>Quincy nods . Awkward beat .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>Can I ask you something?<\/dialogue>\n    <scene_description>Monica looks at him .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You never told me why ball is n't fun anymore.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>It just is n't.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Because I'm kinda feeling that way, too.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>You had a rough couple years, that's all.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>That a nice way of saying I rode the bench?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>And you tore up your knee. Rehab is tough.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Nah. I have n't dribbled a ball in four and a half months. Maybe I miss some of the attention, but besides that.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>You're serious.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Seems like I needed a ball when I was trying to be like my pops. or trying to be better than him. Now, I kinda think I need to try something else.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Like what?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Maybe go back to school.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <scene_description>Monica stares at him , seeing a man in the boy she grew up with . Quincy looks away , self - conscious .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>I mean, Kyra has n't heard the school thing yet.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>She'll probably say it's the painkillers talking.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>It's a trip, you know? When you're a kid, you see the life you want, and it never crosses your mind that it's not gon na turn out that way.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>So why'd you give up ball?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Why do you keep asking me that?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Cause I do n't get it.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Something was just missing.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Monica is too hurt , too scared to tell him the truth .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>It does n't matter, alright. Just leave it alone.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Find.<\/dialogue>\n    <scene_description>Monica turns , crosses to her house . She stumbles on her heels , kicks them off in frustration , and exits inside . Quincy walks back to his curb . ANGLE ON Camille watches from the kitchen window<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WRIGHT HOUSE - PATIO - DUSK<\/stage_direction>\n    <scene_description>Lena sits next to Camille . Her one year old son , L.P. , sits on the ground at her feet . Monica sits quietly nearby , watching .<\/scene_description>\n    <character>CAMILLE<\/character>\n    <dialogue>So you're still breast - feeding?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>The doctor said it was okay. Anyway, I'm still trying to lose some of this baby fat.<\/dialogue>\n    <scene_description>She quickly looks over at Monica .<\/scene_description>\n    <character>LENA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Shut up.<\/dialogue>\n    <scene_description>Monica gives her a small smile . Camille looks down at L.P.<\/scene_description>\n    <character>CAMILLE<\/character>\n    <dialogue>You might want to put a jacket on him, it's getting cold.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>He's fine.<\/dialogue>\n    <character>CAMILLE<\/character>\n    <parenthetical>( warning . )<\/parenthetical>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Lena sighs , rolls her eyes . She picks up her son .<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Come on, L.P. Grandma says it's too cold.<\/dialogue>\n    <scene_description>She exits inside . Camille makes a face .<\/scene_description>\n    <character>CAMILLE<\/character>\n    <dialogue>God. `` Grandma.''<\/dialogue>\n    <scene_description>Monica smiles . And then silence . There is still so much distance between them , so many misunderstanding . Camille stares at her daughter . And then .<\/scene_description>\n    <character>CAMILLE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You know, I'd probably be a lot more `` prissy'' in the situation than you'd like, but the thing I always admired that drove me crazy, was the fight you had in you.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>CAMILLE<\/character>\n    <dialogue>When I said Quincy could do better, I was thinking about you.<\/dialogue>\n    <scene_description>Monica stares at her mom . Camille stands and leaves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WRIGHT HOUSE - MONICA'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Monica lies in her bed , staring up at the ceiling , unable to sleep . Her mind races with thoughts of her past , her choices , her future . Suddenly , she climbs out of bed . She wears a tank - top and pajama bottoms . She crosses to her window , pulls it open and climbs out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WRIGHT AND MCCALL HOUSES - CONTINUOUS<\/stage_direction>\n    <scene_description>Monica drops down . She moves to Quincy 's window and knocks quietly . Beat , then Quincy appears . Bare - chested and in a pair of shorts . He looks at her , then pulls open the window .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( half - asleep . )<\/parenthetical>\n    <dialogue>What's going on?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>We need to talk.<\/dialogue>\n    <scene_description>Quincy just looks at her .<\/scene_description>\n    <character>MONICA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Please.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Hold on.<\/dialogue>\n    <scene_description>Quincy disappears for a moment , then returns , pulling on a T - shirt . He climbs out of his window , drops to the ground . Quincy looks at her .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>You asked me what was missing.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>From basketball.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>you woke me up to tell me that?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>It's not fun for me anymore because you're missing.<\/dialogue>\n    <scene_description>Quincy stares at her .<\/scene_description>\n    <character>MONICA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What I'm trying to say is -<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>I heard enough.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>What I'm trying to say is, I've loved you since I was eleven and the shit wo n't go away.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>We have n't talked since college and now you wait two weeks before my wedding to say something like this?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I know, I probably should have said it two weeks ago.<\/dialogue>\n    <scene_description>Quincy does n't even crack a smile . In fact , he glares .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>You have n't changed. You still think the sun rises and sets on your ass. Well, guess what, it does n't.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Then why are you so upset?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Because you do n't pull this on someone who's about to get married.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Better late than never, right?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Wrong.<\/dialogue>\n    <scene_description>Quincy starts back toward the window .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>I'll play you.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>One game. One - on - one.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>For what?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>Your heart.<\/dialogue>\n    <scene_description>Quincy looks at her in disbelief , then laughs at the absurdity .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>You're out of your mind.<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>So you're gon na bitch up?<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>What's that supposed to be, psychology?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>I know why you broke up with me in college. And not that what you did was n't messed up, but what I did was, too. So if you forgive me, I'll forgive you.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>Monica, after that stuff with my dad, I could n't trust anybody, okay. I mean, I was lost. So you are forgiven. But that was five years ago. I moved on.<\/dialogue>\n    <scene_description>Monica moves past him , reaches through his window . She drops back down , holding his basketball .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Prove it.<\/dialogue>\n    <scene_description>She throws him the ball .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>What will this prove?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>You once said the reason I beat you was because you wanted me to.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>So, if I win it's because deep down you know you're about to make the biggest mistake of your life, and deep down your want me to stop you.<\/dialogue>\n    <character>QUINCY<\/character>\n    <dialogue>And what happens when you lose?<\/dialogue>\n    <character>MONICA<\/character>\n    <dialogue>If I lose, I'll buy you a wedding present.<\/dialogue>\n    <scene_description>Quincy stares at her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MCCALL HOUSE - DRIVEWAY - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Monica stands opposite Quincy . Both are suited up in basketball gear . They stare at each other , ready to go to war . Monica tosses him the ball .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Check.<\/dialogue>\n    <scene_description>Quincy tosses the ball back . Monica drives . Quincy 's knee is maybe at sixty percent and he ca n't keep up . She scores easily . She walks to the top of the driveway , tosses him the ball .<\/scene_description>\n    <character>MONICA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>One, zip. Check.<\/dialogue>\n    <scene_description>Quincy rubs his scarred knee , then passes it back . The game continues . Monica owns the first five points easily by exploiting Quincy 's injury . Monica drives for another lay - up . Quincy suddenly lets go of his fear , leaps and swats her shot . He grabs the rebound and lays it up . He nods intensely , as he grabs the ball and walks back to the top of the key .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>One, five. Check.<\/dialogue>\n    <scene_description>The game continues and now Quincy has the upper - hand , using his size and strength . He scores seven straight points . The score stays close . It is a sexually - charged battle of wills - Quincy pulls off his sweat - soaked shirt . Their bodies collide as they wrestle for the ball . Monica yanks off her jersey in frustration . Her ass bumps into his hips as she backs him in . Her hands slide across his chest as she guards him . Finally , the score hits nine , nine . Monica slowly walks to the top of the key .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Nine, up. Point.<\/dialogue>\n    <scene_description>She tosses Quincy the ball .<\/scene_description>\n    <character>MONICA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Check.<\/dialogue>\n    <scene_description>Quincy tosses the ball back , drops low on defense . Monica fakes an outside shot and Quincy bites . Monica drives around him . SHE HAS A WIDE - OPEN LAY - UP . SHE PUTS IT UP . AND IT ROLLS OFF THE RIM . Monica ca n't believe it . Quincy grabs the loose ball and clears it . He stares at Monica as he dribbles in front of her . She stares back . He breaks for the basket . Monica stays with him . He goes up . Monica jumps , desperately tries to block his shot . Quincy dunks on her , knocking her to the ground . He lets go of the rim , and tumbles to the ground also . GAME OVER . Silence . Quincy stares at her . Monica looks back . Then :<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( pointed . )<\/parenthetical>\n    <dialogue>All's fair in love and basketball, right?<\/dialogue>\n    <scene_description>Monica struggles to fight back her tears as she picks herself up . She slowly walks back toward her house . And then :<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>Monica slowly stops , turns .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Double or nothing.<\/dialogue>\n    <scene_description>Monica stares at him , wonders if she heard right . Quincy limps to his feet , picks up the ball and holds it out to her . Monica slowly walks back to him . They stare at each other . No more egos , no more bullshit . Just love . In the moonlight , on the blacktop , they kiss . FADE TO BLACK .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOS ANGELES FORUM - NIGHT<\/stage_direction>\n    <scene_description>Music is blasting , banners are waving , crowd is screaming . Magic Johnson sits in a floor seat , watching the game . A REPORTER interviews him .<\/scene_description>\n    <character>SPORTS REPORTER<\/character>\n    <dialogue>So, Magic, are you contemplating another comeback?<\/dialogue>\n    <character>MAGIC<\/character>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>No more comebacks. Tonight I'm just enjoying being a spectator.<\/dialogue>\n    <scene_description>Behind him , in a second row seat , a ONE YEAR BLACK GIRL sits in a lap , bouncing , watching feet and legs ballin ' on the court . Quincy leans down , gives the little girl a kiss , then looks out at the court . It 's the Los Angeles Sparks and the New York Liberty . The WNBA . On the court , the women line up for a free - throw .<\/scene_description>\n    <character>QUINCY<\/character>\n    <dialogue>Let's go, McCall!<\/dialogue>\n    <scene_description>Monica , sporting a uniform with Wright - McCall on the back and the number thirty - two , looks over . Quincy takes their daughter 's hand and waves it .<\/scene_description>\n    <character>QUINCY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Go Mommy.<\/dialogue>\n    <scene_description>Monica smiles back , then steps to the line . The referee tosses her the ball . Monica stares at the basket , then bounces the ball twice , licks her lips and shoots . FADE TO BLACK . `` THAT 'S GAME '' END CREDITS<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Monica and Quincy have wanted to be professional basketball stars since they were kids. The two became childhood sweethearts in 1981, when Monica\u2019s family moved to Los Angeles from Atlanta, moving into the house next door to Quincy\u2019s. Quincy's father, Zeke, is the star shooting guard for the Los Angeles Clippers. Quincy is shocked that a girl could love basketball as much as he does, and can play so well. They share their first kiss on the first day of school. The story jumps to 1988, when both Monica and Quincy are the respective leaders of their high school teams, with Quincy touted as one of the top prospects in the country. While popular with the girls, he and Monica are still good friends. Monica, on the other hand, struggles with her fiery emotions on the court, often resulting in technical fouls at critical moments of games, damaging potential scouting opportunities. Monica also struggles with the emotions she secretly still harbors for Quincy. She also struggles with her mother, Camille, pressuring her to give up basketball and \"act like a lady.\" Through soul searching, Monica learns to control her emotions and leads her team to the state championship game. When she and her team came up short, Monica feels devastated. Monica begins to recover from the championship loss with the help of her older sister, Lena, who gives her a makeover. She even finds Monica a college friend to take her to her spring dance. Despite having a date of his own, Quincy notices Monica and compliments her new appearance. Later that night, they both speak outside her window and reveal to each other how their dates didn't meet their needs. Monica asks Quincy to open her letter from USC \u2013 which reveals she has been accepted. Quincy has accepted an offer from USC as well, and they celebrate with a kiss. This leads to them finally acting on their feelings, making love that night. The story moves to their freshman year at USC, where they are managing themselves as athletes, students, and a couple. While Quincy finds instant success on the court, Monica struggles for playing time, behind senior guard Sidra O'Neal. Monica has run ins  with the head coach, Ellie Davis. Her relationship with Quincy becomes more and more strained. Quincy struggles to deal with the media attention, while clashing against his father\u2019s efforts to convince Quincy to finish college before going pro. While Monica earns the starting point guard spot at the end of the season, Quincy feels she was not there for him when he was having problems with his father, and the couple splits up. The story jumps to 1993. Monica is playing professional basketball with an International Women's Basketball Association (IBWA) team in Barcelona. She misses home, but can't imagine a life that doesn\u2019t include basketball. While Monica leads her team to a dominant victory in the championship game, she starts to realize that her love for basketball isn't the same as it was before. Having left USC after his freshman season, Quincy is now in his fifth year in the pros. He has been traded to the Los Angeles Lakers, but tears his ACL in a game. Monica flies home to see him, and is saddened to meet Quincy's fianc\u00e9e, Kyra. Monica also falls into the usual squabbles with her mother Camille. Quincy completes physical therapy, while his wedding draws closer. Monica has quit basketball to work at a bank. Seeing how unhappy Monica is, Camille encourages her to fight for her career and the man she loves. Quincy and Monica meet and reminisce. Monica challenges him to a game of one-on-one, with high stakes; if he loses, he calls off the wedding and chooses Monica. Quincy agrees and wins, but can no longer be apart from Monica and chooses her instead. The film jumps to 1998. Monica is playing in the new WNBA. Quincy and their baby daughter cheer on Monica during her game."}
{"movie_name":"I've Loved You So Long_2008","imdb_id":"tt1068649","script":"<script>\n  <scene>\n    <scene_description>I'VE LOVED YOU<\/scene_description>\n    <character>SO LONG<\/character>\n    <dialogue>by<\/dialogue>\n    <scene_description>PHILIPPE CLAUDEL<\/scene_description>\n    <character>1. INT. AIRPORT CAFETERIA - DAY<\/character>\n    <dialogue>A cafeteria in a quiet airport in the provinces. Fe w passers-by. A single woman in her mid-40s (JULIETTE) sits at a table. Sips coffee. Gazes around her as if discovering something new - she often has an expression of eager surprise, as if seeing things, people, places for the first time ever.<\/dialogue>\n    <dialogue>She seems uncomfortable in the clothes she is wearing. At her feet is an old-fashioned suitcase.<\/dialogue>\n    <dialogue>A younger woman (LEA, early 30s) appears behind Juliette. Less than a meter away.<\/dialogue>\n    <dialogue>Juliette hasn't noticed her. Clearly deeply moved, L\u00e9a quietly observes her for a few seconds.<\/dialogue>\n    <dialogue>Then, sensing a presence, Juliette looks round.<\/dialogue>\n    <dialogue>L\u00e9a leans forward and hugs her tight before Juliette has time to react. Juliette is slightly taken aback.<\/dialogue>\n    <dialogue>She doesn't return the hug at first. Then awkwardly puts her arms round L\u00e9a.<\/dialogue>\n    <character>2. INT. L\u00c9A'S CAR - DAY<\/character>\n    <dialogue>L\u00e9a is driving. Next to her, Juliette tugs at the sleeves of her sweater.<\/dialogue>\n    <character>LEA<\/character>\n    <dialogue>Is it too big?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>LEA<\/character>\n    <dialogue>I like that sweater. The skirt, too. I often wear them.<\/dialogue>\n    <scene_description>Juliette doesn't reply.<\/scene_description>\n    <character>LEA<\/character>\n    <dialogue>I thought it would be better to wait until you arrived to go shopping for clothes.<\/dialogue>\n    <scene_description>L\u00e9a glances at Juliette. Beat. There's something out of place about Juliette. She even sits oddly in the car seat, as if unused to it.<\/scene_description>\n    <character>LEA<\/character>\n    <dialogue>Did you have a good trip?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>I don't like flying.<\/dialogue>\n    <scene_description>L\u00e9a glances at her again.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Have you lived here long?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Ten years. I finished my PhD here, met Luc, got married, was offered the job... The usual stuff.<\/dialogue>\n    <scene_description>Juliette is silent. The CAMERA lingers on her face.<\/scene_description>\n    <character>3. INT. LEA'S HOUSE - DAY<\/character>\n    <dialogue>L\u00e9a shows Juliette into the house.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Welcome to our kingdom! The kitchen's over there with the living room opposite, our home offices and a library at the far end. Upstairs, there's just bedrooms. Do you want to see yours?<\/dialogue>\n    <scene_description>Juliette replies by a slight nod and the flicker of a smile. L\u00e9a leads the way up the stairs. On the first landing, she shows Juliette into a room.<\/scene_description>\n    <character>LEA<\/character>\n    <dialogue>Will it be okay?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>That little door leads to your private bathroom.<\/dialogue>\n    <parenthetical>(glances at her watch)<\/parenthetical>\n    <dialogue>Yikes, I have to pick up the girls! I'll be back in half an hour. Will you be okay on your own?<\/dialogue>\n    <scene_description>Juliette nods. L\u00e9a hurries out. On the landing, she stops in her tracks. Slowly retraces her step, looks at Juliette and says in a serious tone:<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>I'm glad you're here.<\/dialogue>\n    <scene_description>L\u00e9a gives Juliette a kiss on the cheek and goes. Juliette is expressionless. OS, feet dashing down the stairs. The jangle of keys.<\/scene_description>\n    <character>L\u00c9A (O.S.)<\/character>\n    <dialogue>Take a look round the house, if you want!<\/dialogue>\n    <scene_description>The front door thunks closed. Juliette hasn't moved an inch. She remains motionless like that for a long Moment.<\/scene_description>\n    <character>4. INT. L\u00c9A'S HOUSE - DAY<\/character>\n    <dialogue>MONTAGE of Juliette's tour of the house. In the living room, she strokes a cat dozing on a chair.<\/dialogue>\n    <dialogue>In a study, she runs her hand over the back of a couch. Gazes at framed photos.<\/dialogue>\n    <dialogue>In the kitchen, she pours herself a glass of water. Drinks slowly, leaning back against the fridge.<\/dialogue>\n    <dialogue>Upstairs, Juliette opens a door. A child's bedroom. She closes the door hurriedly.<\/dialogue>\n    <dialogue>She opens another door. A library full of books. With a single bed and two chairs. Sitting in one of the chairs, an elderly man is reading.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>I'm sorry, I... I didn't think anyone was home.<\/dialogue>\n    <scene_description>The old man looks up without a word and smiles at her.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>I... My name's Juliette. I'm L\u00e9a's sister.<\/dialogue>\n    <scene_description>Still not a word. Just a kindly smile.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Like I said, I'm very sorry.<\/dialogue>\n    <scene_description>Smiling, the old man goes back to his book, as if indifferent to her presence.<\/scene_description>\n    <character>5. EXT\/INT. LEA'S HOUSE - DAY<\/character>\n    <dialogue>L\u00e9a closes the back door of the car. She has a two -year-old girl (EMELIA) in her arms.<\/dialogue>\n    <dialogue>Another little girl, (CLELIS, known as Little Lili) waits on the sidewalk. She looks 8-9 years old. Both girls are Asian.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Lili, open the gate, will you? You know it's hard when I'm carrying Emelia.<\/dialogue>\n    <scene_description>They go through the gate into the small front garden.<\/scene_description>\n    <character>LILI<\/character>\n    <dialogue>Is Auntie Juliette going to stay with us forever?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>No, sweetheart, just some time. Be nice to her, okay? She's tired. Don't pester her.<\/dialogue>\n    <scene_description>They enter the house.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>Juliette? It's us!<\/dialogue>\n    <scene_description>Juliette comes down the stairs. The kids gaze up at her. As soon as she reaches the bottom step, Lili rushes over.<\/scene_description>\n    <character>LILI<\/character>\n    <dialogue>Hello, Auntie!<\/dialogue>\n    <scene_description>Juliette seems quite distant, or maybe just ill at ease. Lili stands on tiptoes to give her a kiss. Juliette hesitates fractionally before giving her a kiss back. Emelia gurgles the word \"Auntie\" repeatedly.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>These are my two princesses, Cl\u00e9lis - but everybody calls her Little Lili - and little miss Emelia. Give Juliette a nice smile, sweety!<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>Auntie, come and see my bedroom!<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Don't start! Go straight into the kitchen. There's milk and biscuits on the table. Chop, chop.<\/dialogue>\n    <scene_description>The two girls run off into the kitchen .<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>Did you look round the house?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Yes, I... I went into the library. There was an old man...<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Of course, silly me, I should have warned you. That's Luc's father.<\/dialogue>\n    <character>LILI (O.S.)<\/character>\n    <parenthetical>(yells)<\/parenthetical>\n    <dialogue>Papy Paul! His brain's gone all mushy and he lost his tongue!<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Lili! He had a bad stroke three years ago. He hasn't spoken a word since. He<\/dialogue>\n    <scene_description>spends all day reading. You'll see, he's a lovely man.<\/scene_description>\n    <character>6. INT. KITCHEN - EVENING<\/character>\n    <dialogue>Dinner time. The whole family is round the table: L\u00e9a, the two girls, Juliette, Papy Paul - smiling dumbly - and Luc, L\u00e9a's husband, also in his early-mid 30s. The two young girls are very excited. L\u00e9a makes a big effort to seem relaxed.<\/dialogue>\n    <dialogue>Juliette still seems a little strange, as if everything is new to her.<\/dialogue>\n    <dialogue>And Luc just seems a bit uptight.<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>Have you ever been to the Lorraine region before?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>No, this is the first time.<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>Everybody thinks it's just like being in Germany, that it's freezing cold all the time...<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>It is!<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>Not all the time.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Just eat your dinner!<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Were you born here?<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>Yes, but my Dad comes from Poland. He arrived after the war. Isn't that right, Dad?<\/dialogue>\n    <scene_description>The old man merely smiles a little more insistently than usual.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>Luc's Mum was Russian. He married a girl who's half-French, half-English. And our two daughters are Viet. It's all the colors of Benetton in this house.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>You've lost your accent, Mummy, but Auntie Juliette still has one.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Well, she grew up in England.<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>Anybody see the water jug?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Katrina broke it and I haven't had time to buy another.<\/dialogue>\n    <parenthetical>(to Juliette)<\/parenthetical>\n    <dialogue>Katrina's the cleaner. She comes every Thursday. Hide anything fragile. She's always breaking things. That's why we call her Katrina. Because she leaves a trail of devastation behind her! Her real name's Marie-Paule.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <parenthetical>(to Luc)<\/parenthetical>\n    <dialogue>L\u00e9a said you do research at the university?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <parenthetical>(jokily)<\/parenthetical>\n    <dialogue>You two sound like we're at a party full of strangers.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>Daddy's a lexicolographer.<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>Lexicographer's good enough for me. Our unit is working on an interactive, intuitive dictionary that can b e reactivated in real time.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>It's you guys that need to reactivate. In seven years, they've only got to 'C'. Even the Acad\u00e9mie Fran\u00e7aise goes faster than that.<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>There's no comparison. That reminds me, there was a message on the machine from one of your students, a guy called Bamak\u00e9 or Bakam\u00e9, something like that. A problem with his marks, I think.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Bamakal\u00e9? I don't believe it! He won't give up.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>Why didn't we ever meet you before, Auntie?<\/dialogue>\n    <scene_description>Everyone falls silent. Juliette doesn't know what to say. Luc glances anxiously at L\u00e9a. The two girls don't seem to notice. Papy Paul keeps on eating, smiling away.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>I was... away. For a very long time.<\/dialogue>\n    <scene_description>L\u00e9a changes the subject. A little too quickly. She hands Juliette a dish.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>Do you want some more?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>No, thanks.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Don't you like it?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>It's very good, but...<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>Where were you away?<\/dialogue>\n    <character>LUC<\/character>\n    <parenthetical>(snaps)<\/parenthetical>\n    <dialogue>Is this some kind of interrogation! Leave your aunt in peace! Eat!<\/dialogue>\n    <character>7. INT. L\u00c9A &amp; LUC'S BEDROOM - NIGHT<\/character>\n    <dialogue>L\u00e9a and Luc are ready for bed.<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>How long does she plan on staying?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>How should I know? As long as she needs. A few weeks, a few months... Is it a problem?<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>To be honest, yes. Okay, she's your sister, but...<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>But what?<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>You heard Lili. She wanted to know.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>Her being \"away\" won't work for long.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>It'll work as long as it works, we'll see.<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>\"We'll see! We'll see!\" You make me laugh. What are you going to say to her? The truth?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Luc, don't give me a hard time. This is our first evening. I've just got my sister back. I don't know if you realize what that means. I've just got her back.<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>You hardly know her. Just because you went to see her a couple of times for a few hours in the last few months doesn't... You were only a teenager when she -<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Be quiet!<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>Okay, I'll be quiet. Quiet as a mouse.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But think of us a little, too.<\/dialogue>\n    <character>8. INT. JULIETTE'S BEDR OOM - NIGHT<\/character>\n    <dialogue>Juliette stands by the window. We can vaguely make out the garden below.<\/dialogue>\n    <dialogue>Juliette is still wearing L\u00e9a's clothes L\u00e9a. She goes over to the bed. Sits on the edge, as if she plans to spend the whole night like that.<\/dialogue>\n    <scene_description>FADE TO BLACK:<\/scene_description>\n    <character>9. INT. KITCHEN - DAY<\/character>\n    <dialogue>It's total, happy, bubbly chaos in the kitchen. The girls are finishing their breakfast. L\u00e9a is a whirl of fevered activity.<\/dialogue>\n    <dialogue>Still in his pyjamas, Papy Paul slurps coffee from a bowl, smiling as always.<\/dialogue>\n    <dialogue>Juliette observes the scene, leaning against the wall with a mug of tea in one hand.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>C'mon, kids! Chop, chop, we're gonna be late!<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>Aren't we always?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Emelia, what are you doing? What are you doing? I don't believe it!<\/dialogue>\n    <scene_description>Emelia has smeared yoghurt all over her dress.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>I'll have to change your dress now. Lili, finish up quickly.<\/dialogue>\n    <scene_description>L\u00e9a dashes out with Emelia in her arms. Papy Paul leaves also. Juliette and Little Lili are alone.<\/scene_description>\n    <character>LILI<\/character>\n    <dialogue>Don't you eat breakfast?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>It depends.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>I'm never hungry in the morning. Ever since I was a little girl. Mummy gets so angry! Did you ever see me when I was little, when Mummy and Daddy brought me back from Vietnam?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>I don't believe you. Your nose is getting longer.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Daddy!<\/dialogue>\n    <scene_description>Luc has just entered. Little Lili throws her arms round him.<\/scene_description>\n    <character>LUC<\/character>\n    <parenthetical>(awkwardly)<\/parenthetical>\n    <dialogue>Morning, Juliette. Did you sleep well?<\/dialogue>\n    <character>10.<\/character>\n    <dialogue>L\u00e9a and Little Lili get out of the car and join the flow of mothers<\/dialogue>\n    <character>EXT. SCHOOL GATES - DAY<\/character>\n    <dialogue>and children. L\u00e9a turns and leans towards the passenger side window.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>You're not coming?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>I'll wait here.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>'Bye, Auntie!<\/dialogue>\n    <scene_description>Juliette looks overwhelmed by it all. She doesn't answer. Little Lili and L\u00e9a walk toward the gates.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>I put some more canteen tickets in your bag.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>I noticed.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Your gym stuff is in there, too. Try not to lose anything this time.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>Mummy?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>Auntie's a bit weird, isn't she?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>What makes you say that?<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>I don't know. She doesn't say much.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Give her time to adapt, eh? Go on, go!<\/dialogue>\n    <scene_description>A kiss and Little Lili walks into school.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>Ask Madame Rouyer if she found your pink beret!<\/dialogue>\n    <character>11.<\/character>\n    <dialogue>Juliette is in the passenger seat.<\/dialogue>\n    <character>INT. L\u00c9A'S CAR - DAY<\/character>\n    <dialogue>L\u00e9a's face looms up at the window. Juliette stares straight ahead, breath ing heavily. L\u00e9a walks round and gets in behind the wheel.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Are you okay?<\/dialogue>\n    <scene_description>Juliette nods several times, her breath rasping slightly.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>Sure?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>L\u00e9a pulls out and drives in silence for a moment.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>The police station is close to the university. I'm teaching for two hours, but we can meet up after, if you want? There's a nice caf\u00e9 just opposite the campus gates.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>You know what they want to see you for?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>I have to sign in at regular times.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>Didn't you ever see anyone? I mean, did anyone come to see you?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>The visitors.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Do you hate me?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>What for?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>For never coming to see you.<\/dialogue>\n    <scene_description>Juliette shrugs.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>I wrote at first.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>I never received any letters.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>One evening, Dad saw me. Mummy and him gave me a real roasting. They banned me from writing. They said you... you<\/dialogue>\n    <scene_description>didn't exist. I was a kid then you know.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>I meant to tell you...<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>It was the social services who came up with the idea to call you just before I got out, not me.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>I'm glad they did.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>I'm glad they did.<\/dialogue>\n    <character>12.<\/character>\n    <dialogue>Juliette sits on a bench with an OLD LADY beside her.<\/dialogue>\n    <character>INT. WAITING ROOM, POLICE STATION - DAY<\/character>\n    <dialogue>The old lady glances at Juliette. Smiles. Juliette smiles back. Beat.<\/dialogue>\n    <dialogue>The old lady glances at her again.<\/dialogue>\n    <character>OLD LADY<\/character>\n    <dialogue>Are you reporting a crime, too?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Just then, an INSPECTOR appears. Plain clothes, same age as Juliette.<\/scene_description>\n    <character>INSPECTOR<\/character>\n    <dialogue>Juliette Fontaine?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>Follow me, please.<\/dialogue>\n    <character>13.<\/character>\n    <dialogue>Juliette sits opposite the Inspector.<\/dialogue>\n    <character>INT. INSPECTOR'S OFFICE - DAY<\/character>\n    <dialogue>He flicks through a file, pores over a couple of pages, goes back a few pages and re-reads, frowning, but not hostile or judgmental - friendly almost. He closes the file.<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>I see you're a doctor.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Was. I was struck off the medical register.<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>Makes no difference. Once a doctor, always a doctor. It's like me. I'll always be a cop.<\/dialogue>\n    <parenthetical>(suddenly)<\/parenthetical>\n    <dialogue>You have a pretty name. I don't like my name, but Fontaine is very pretty. It brings to mind gurgling water, streams, rivers... The Orinoco. You know the Orinoco? No?<\/dialogue>\n    <scene_description>He uses his pen to point to a poster on the wall behind him, which shows a broad swathe of an unidentifiable river.<\/scene_description>\n    <character>INSPECTOR<\/character>\n    <dialogue>There'll be no more fountains soon. Municipalities are closing them down - even in tiny villages. They're filled with earth and made into flower beds. Stupid geraniums, usually.<\/dialogue>\n    <parenthetical>(switches topic again)<\/parenthetical>\n    <dialogue>I won't hassle you. The law says we have to see each other, so we see each other, but I won't give you any bother. Do you have a job?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Not yet.<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>A place to stay.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>With my sister.<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>That's nice. Family's important. You're lucky. I live alone. Divorced. Small apartment. Small bed. Anyway, you don't want to hear all that.<\/dialogue>\n    <scene_description>He gets up, goes to the door.<\/scene_description>\n    <character>INSPECTOR<\/character>\n    <dialogue>See you in two weeks?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Goodbye.<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>Goodbye.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. UNIVERSITY CAMPUS - DAY<\/stage_direction>\n    <scene_description>L\u00e9a walks down a hallway. Groups of students hang out, shooting the breeze. L\u00e9a nods to a colleague going the other way. She enters the staff room, checks through the mail in her box, throws some stuff away. She opens and scans one letter. Then another that makes her roll her eyes.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>Not him again! He's a real pain!<\/dialogue>\n    <scene_description>Another colleague (MICHEL) approaches and whispers into L\u00e9a's ear.<\/scene_description>\n    <character>MICHEL<\/character>\n    <dialogue>One of your many lovers writing to you?<\/dialogue>\n    <scene_description>L\u00e9a doesn't look round, just keeps reading.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>If only! Bamakal\u00e9!<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>Ah ha! Prosper Napoleon Bamakal\u00e9, descendant of ancient Togolese royalty, son of a prince of royal blood, repeating his first year for the third time.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>I'm getting fond of him, actually. I keep telling him it's not a mistake, but he doesn't get it.<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>Tell me about it! I had him all last year. Are you off?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>I'm done for the day.<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>I'll walk you to your car.<\/dialogue>\n    <scene_description>They step outside without a break in their conver sation.<\/scene_description>\n    <character>MICHEL<\/character>\n    <dialogue>Have you finished marking your mid - terms?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Almost. I have ten or so left to do.<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>Lucky you! I haven't even started. Every time I look at the pile on my desk, I feel so exhausted.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Get a move on though, the Dean<\/dialogue>\n    <scene_description>th wants all the marks in by the 18 .<\/scene_description>\n    <character>MICHEL<\/character>\n    <dialogue>The Dean!<\/dialogue>\n    <parenthetical>(changes subject)<\/parenthetical>\n    <dialogue>What did you decide for that conference I told you about?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>We'll see.<\/dialogue>\n    <scene_description>L\u00e9a sees Juliette waiting by the car.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>You're already here? I thought we were meeting in the caf\u00e9.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>It didn't take very long.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Michel, this is Juliette, my sister. Juliette, this is Michel, a colleague.<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>Hello...<\/dialogue>\n    <parenthetical>(to L\u00e9a)<\/parenthetical>\n    <dialogue>You never told me you had a sister, and a very pretty one at that.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Don't listen to him. Michel's a specialist<\/dialogue>\n    <scene_description>th on love letters from the 16 century to the present day. And it rubs off on him. (to Michel) Friday of next week, are you free?<\/scene_description>\n    <character>MICHEL<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Dinner at our house, with Samir and Kaisha.<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>I should be able to make it. Can I let you know next week?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Sure. Don't forget your marking.<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>Goodbye, Juliette.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Goodbye.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>C'mon, let's go shopping.<\/dialogue>\n    <character>15.<\/character>\n    <dialogue>Juliette and L\u00e9a are sitting at a table with a cup of tea each and<\/dialogue>\n    <character>INT. TEA ROOMS - DAY<\/character>\n    <dialogue>a plate of cakes. On the chair next to them and at their feet are shopping bags f rom various stores.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Good?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <parenthetical>(nods)<\/parenthetical>\n    <dialogue>You remember Bouchard's in Rouen?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>It was a bit like this. I used to take you there on a Wednesday after your ballet lesson.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>With Old Mother Stabush?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Fat Old Mother Stabush!<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>She couldn't even do points anymore. I remember she had a moustache, too. We were all scared of her.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>I was at uni and I always picked you up and took you to Bouchard's. You had a cream puff every time.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <parenthetical>(tremulously)<\/parenthetical>\n    <dialogue>I don't remember.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>You were only seven or eight. There were always stacks of old ladies in there...<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <parenthetical>(like it's a real drama)<\/parenthetical>\n    <dialogue>Why don't I remember?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>You sat there so proud. A proper little lady with your cream cake.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <parenthetical>(tears up)<\/parenthetical>\n    <dialogue>I don't even remember it.<\/dialogue>\n    <scene_description>Juliette suddenly realizes that L\u00e9a is distraught.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Don't worry, you were only little.<\/dialogue>\n    <character>16.<\/character>\n    <dialogue>The door opens.<\/dialogue>\n    <character>INT. LITTLE LILI'S BEDROOM - EVENING<\/character>\n    <dialogue>Little Lili and Juliette enter the bedroom, followed by Emelia.<\/dialogue>\n    <character>LILI<\/character>\n    <parenthetical>(to Emelia)<\/parenthetical>\n    <dialogue>No, you're not coming in! Out! It's my room! You can show her yours later.<\/dialogue>\n    <parenthetical>(closes the door)<\/parenthetical>\n    <dialogue>Kid sisters are so annoying! Was Mummy like that when she was little?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>She wasn't too bad.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>Is she your real sister?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>You're Granny Lizbeth's daughter, too?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>That's right.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>Okay, this is the doll graveyard.<\/dialogue>\n    <scene_description>She opens a suitcase filled with a dozen dolls.<\/scene_description>\n    <character>LILI<\/character>\n    <dialogue>I don't like dolls, so when someone gives me one, I bury it in here right<\/dialogue>\n    <scene_description>away. That's my computer. I watch DVDs on it mostly and type up my schoolwork. That's what I made for Mother's Day, but Katrina broke it. She says it wasn't her, but she's a liar! Those are my books...<\/scene_description>\n    <character>L\u00c9A (O.S.)<\/character>\n    <dialogue>Dinner time!<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Do you read a lot?<\/dialogue>\n    <scene_description>Juliette runs her fingers along the spines of the books. Lingers over one she apparently remembers from her childhood, called Model Little Ladies.<\/scene_description>\n    <character>LILI<\/character>\n    <dialogue>Less than Papy Paul, but quite a lot, yes. This is my secret diary - well, it's not so secret seeing as I leave it out and everybody can read it. I write poems in it. Do you want me to read you one?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <parenthetical>(recoils)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>Please, Auntie! Just a little one.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <parenthetical>(snaps)<\/parenthetical>\n    <dialogue>No. I said no!<\/dialogue>\n    <scene_description>Little Lili looks at her in amazement. Juliette scurries out of the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Juliette is with a plump, smiling young woman ( the SOCIAL WORKER). They each sit on a couch facing each other across a coffee table.<\/scene_description>\n    <character>SOCIAL WORKER<\/character>\n    <dialogue>You're lucky to have your sister, her family and a home.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>So I've been told.<\/dialogue>\n    <character>SOCIAL WORKER<\/character>\n    <dialogue>It's true, though. Most people, when they get out, don't know where to go. Nobody wants them. Their spouses almost always file for divorce.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>I got that out of the way before I went in.<\/dialogue>\n    <character>SOCIAL WORKER<\/character>\n    <dialogue>Yes, it's in your file. Right, well, the courses you did at Centrale will be very useful. People always n eed secretaries. Are your IT skills up to speed?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>I did all the updates whenever I got the chance.<\/dialogue>\n    <character>SOCIAL WORKER<\/character>\n    <dialogue>That's good. I got you an interview at this company...<\/dialogue>\n    <parenthetical>(hands Juliette a card)<\/parenthetical>\n    <dialogue>They're looking for someone. You have an appointment with a Monsieur Dupuis. We'll be meeting regularly, but if you have any questions or anything, don't hesitate to call me at the office...<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>SOCIAL WORKER<\/character>\n    <dialogue>I have to go now. You have people you can talk to, and there's only two of us in the department.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I like the house.<\/dialogue>\n    <scene_description>They get up. Juliette walks her to the door. They say goodbye. Outside, L\u00e9a parks her car and gets out. She meets the Social Worker by the gate. They nod. L\u00e9a enters.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>Was that the social worker?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>She seems sweet enough.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>People whose role is to rummage through your life often seem sweet enough.<\/dialogue>\n    <scene_description>L\u00e9a glances curiously at her sister. Puts her bag down. Thinks...<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>I guess you're right. We had that, too - Luc and me - when we adopted. Visits for this, visits for that, social workers, shrinks, and even an idiot doctor who had Luc walking up and down in his underpants in his office with his arms stretched out! I thought Luc was going to strangle him. He really resented all the questions and prying... Tea?<\/dialogue>\n    <character>18.<\/character>\n    <dialogue>L\u00e9a is making tea. Juliette stands close by.<\/dialogue>\n    <character>INT. KITCHEN - DAY<\/character>\n    <dialogue>L\u00c9A<\/dialogue>\n    <scene_description>It took nearly two years for Little Lili and a bit less for Emelia. The first time we spent three months in Vietnam. We fell in love with the place and would have happily stayed longer. We had Little Lili with us almost the whole time, at the hotel, but the bureaucracy and all the formalities took forever.<\/scene_description>\n    <character>KATRINA (O.S.)<\/character>\n    <dialogue>L\u00e9a?<\/dialogue>\n    <character>LEA<\/character>\n    <dialogue>Yes, Marie-Paule?<\/dialogue>\n    <character>KATRINA (O.S.)<\/character>\n    <dialogue>Shall I do the crystal, too?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>No, don't worry, leave it! I'll do it! Do the cupboard doors, will you?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>How old was Little Lili?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Two. But she looked half that.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>You met her mother?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>No. But I have her address if ever she wants to contact her. That was very important for us. We didn't want her to run into a brick wall later if she tried to find her. Emelia, on the other hand... Well, we got absolutely no information. She'll never know...<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>How old was she?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>She was tiny! Barely three weeks old.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Was it Luc or you who couldn't have kids?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Neither of us. We're both fertile.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I didn't want a child of my own.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Because of me?<\/dialogue>\n    <scene_description>No answer.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Because of what I did?<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>I never tried to work out why.<\/dialogue>\n    <character>19.<\/character>\n    <dialogue>MONSIEUR DUPUIS, early 50s, smug, sits behind his desk, talking on<\/dialogue>\n    <character>INT. DUPUIS' OFFICE - DAY<\/character>\n    <dialogue>the phone. Juliette sits opposite him.<\/dialogue>\n    <character>DUPUIS<\/character>\n    <dialogue>Yes, well... So what?... That's not my problem. We pay you to deliver our order, so you deliver it, period! Goodbye!<\/dialogue>\n    <scene_description>He hangs up. Gazes at Juliette.<\/scene_description>\n    <character>DUPUIS<\/character>\n    <dialogue>Right, where were we... I won't beat around the bush. I'm not a charity. I want skilled, hard-working staff. The rest is not my problem. Mrs... what's her name again? Balboukian?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>That's right.<\/dialogue>\n    <character>DUPUIS<\/character>\n    <dialogue>... said that you are up to speed with Excel, DTP and the whole shebang. Right?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>I passed all the tests.<\/dialogue>\n    <character>DUPUIS<\/character>\n    <dialogue>And you speak English?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>And Spanish.<\/dialogue>\n    <character>DUPUIS<\/character>\n    <dialogue>I don't give a shit about Spanish but we have a lot of clients across the Channel. There's stacks of stuff that needs translating... How long were you in jail?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Fifteen years.<\/dialogue>\n    <character>DUPUIS<\/character>\n    <parenthetical>(whistles)<\/parenthetical>\n    <dialogue>Jeez! You knock off the President or something?<\/dialogue>\n    <scene_description>No answer.<\/scene_description>\n    <character>DUPUIS<\/character>\n    <dialogue>What did you do?<\/dialogue>\n    <scene_description>Still no answer.<\/scene_description>\n    <character>DUPUIS<\/character>\n    <dialogue>I want to know. What did you do to get so long? Kill someone? Did you?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>DUPUIS<\/character>\n    <dialogue>Who? Your husband? Lover? Another woman?<\/dialogue>\n    <scene_description>No answer.<\/scene_description>\n    <character>DUPUIS<\/character>\n    <dialogue>I'm talking to you. Who did you kill?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>My son. My six-year-old son.<\/dialogue>\n    <scene_description>The blood seeps out of Dupuis' face. He drops the pencil he was fiddling with and pushes back in his chair. Beat. He gets slowly to his feet.<\/scene_description>\n    <character>DUPUIS<\/character>\n    <parenthetical>(rasps)<\/parenthetical>\n    <dialogue>Get out! Get the hell out of my office!<\/dialogue>\n    <character>20.<\/character>\n    <dialogue>Juliette is in a small bar, near the window, watching events<\/dialogue>\n    <character>INT. CAF\u00c9 - DAY<\/character>\n    <dialogue>outside and in. At the bar a GUY, who's good-looking and knows it, talks animatedly with another guy and the waitress.<\/dialogue>\n    <dialogue>Nothing of their conversation filters over, except the occasional burst of laughter.<\/dialogue>\n    <dialogue>Juliette glances over a couple of times, when they laugh particularly loudly.<\/dialogue>\n    <dialogue>Eventually, the guy notices Juliette, and watches her while continuing his conversation with the others.<\/dialogue>\n    <dialogue>After a while, he comes over. Without asking, he takes a seat at Juliette's table.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>You want my photo?<\/dialogue>\n    <scene_description>Juliette doesn't answer.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Have we met?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>I don't think so.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Why were you staring at me then? What do you want?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Nothing. I wasn't staring at you.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Bullshit! You keep eying me up. You looking for a man?<\/dialogue>\n    <scene_description>Juliette smiles, amused by his question. Then, she eyes him up and down.<\/scene_description>\n    <character>21.<\/character>\n    <dialogue>Juliette lies pensively in bed, the sheets pulled up to her chin.<\/dialogue>\n    <character>INT. HOTEL ROOM - DAY<\/character>\n    <dialogue>The guy comes out of the bathroom and finishes dressing.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Was it good?<\/dialogue>\n    <scene_description>Juliette gazes at him before answering.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>No. Not at all. But it's okay.<\/dialogue>\n    <scene_description>The guy looks furious. He mumbles something, grabs his jacket and storms out. The camera holds on Juliette, who hasn't moved an inch.<\/scene_description>\n    <character>22.<\/character>\n    <dialogue>L\u00e9a and Juliette walk side by side, chatting.<\/dialogue>\n    <character>EXT. PARK - DAY<\/character>\n    <dialogue>The two little girls run ahead.<\/dialogue>\n    <dialogue>Wide shot. Then the CAMERA is right behind them.<\/dialogue>\n    <dialogue>The children are already standing at some animal cages.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>Auntie, look! They're monkeys. Sometimes they spit at people.<\/dialogue>\n    <scene_description>They all stop by the monkey cages. Little Lili and Emelia pulls faces.<\/scene_description>\n    <character>LILI<\/character>\n    <dialogue>It's not fair locking them up. They haven't done anything. Prisons are for bad people, not animals? Isn't that so, Mummy? Eh, Auntie?<\/dialogue>\n    <scene_description>L\u00e9a grabs Little Lili by the shoulder.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>We're going!<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>What did I do?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Nothing, get your sister. We'll go and buy you some waffles.<\/dialogue>\n    <scene_description>The two girls race ahead once more.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Don't be silly.<\/dialogue>\n    <scene_description>L\u00e9a doesn't answer. They walk along in silence.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Do you think you can erase fifteen years of your life like that? Just by not talking about it? Do you think I was asleep the whole time, like in some kind of fairy tale? Then, one morning, the good fairy L\u00e9a came to wake me up?<\/dialogue>\n    <character>23.<\/character>\n    <dialogue>L\u00e9a is in bed, reading a book.<\/dialogue>\n    <character>INT. L\u00c9A &amp; LUC'S BEDROOM - NIGHT<\/character>\n    <dialogue>L\u00e9a sits on the edge of the bed, listening to the soccer results on a transistor radio.<\/dialogue>\n    <character>RADIO ANNOUNCER (O.C.)<\/character>\n    <dialogue>Auxerre beat Sochaux 3-2. Lens and Lille drew 2-2 in the big northern derby. Monaco lost to Bordeaux 2-1. Saint-Etienne defeated Marseille 3-0. PSG lost to Nancy at home by 3 goals to 1...<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>Yes! PSG lost! Ha ha! They can stick it up their asses!<\/dialogue>\n    <scene_description>He flicks off his radio.<\/scene_description>\n    <character>LUC<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Can't you see? I'm peeling potatoes.<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>Very funny. Jeez, 3-1!<\/dialogue>\n    <parenthetical>(rubs his hands together)<\/parenthetical>\n    <dialogue>Michel's gonna be in such a bad mood.<\/dialogue>\n    <scene_description>Luc lies back and gazes at the ceiling.<\/scene_description>\n    <character>LUC<\/character>\n    <dialogue>Are the chicklets asleep?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>After all the running they did, they were flat out at seven.<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>What about your sister?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>What about her? Is she asleep, do you mean?<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>No... What did... I don't know... Do you talk?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Yes. We talk.<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>Did you ask her...<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>You know... Why? Why she did it?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <parenthetical>(wide-eyed)<\/parenthetical>\n    <dialogue>What the hell is wrong with you?<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>Well, what do you talk about then?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Sister things.<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>You're shitting me!<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>What do you expect me to say? It all takes time. It's not easy. My parents banished any thought of my sister from my head. Now, I've got her back. It's like a re-birth. What happened before is... Oh, just let me sleep!<\/dialogue>\n    <scene_description>She puts her book down, turns off her light and rolls over.<\/scene_description>\n    <character>24.<\/character>\n    <dialogue>Desserts has been served.<\/dialogue>\n    <character>INT. DINING ROOM - EVENING<\/character>\n    <dialogue>Around the table are L\u00e9a, Luc, Papy Paul, Michel, Juliette and another couple - Samir and his younger, pregnant wife, Kaisha . Through the partition doors, we see Little Lili and Emelia asleep on the couches, fully dressed.<\/dialogue>\n    <dialogue>At table, the atmosphere is upbeat with all the guests laughing and joking happily.<\/dialogue>\n    <dialogue>Sitting next to Michel, Juliette seems quite relaxed, too, but still a little reserved.<\/dialogue>\n    <dialogue>Just like Luc, who occasionally glances apprehensively at her.<\/dialogue>\n    <dialogue>The conversation opens O.S., the time it takes for the camera to track past the two kids into the dining room.<\/dialogue>\n    <character>MICHEL (O.S.)<\/character>\n    <dialogue>And you know your father backs me 100% on this one. Don't you, Papy Paul?<\/dialogue>\n    <character>LUC (O.S.)<\/character>\n    <dialogue>You must be joking! Dad's the most loyal supporter Nancy have ever had. Aren't you, Dad?<\/dialogue>\n    <scene_description>He reaches for the salad bowl.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>Watch out! I glued it back together but I'm not promising anything.<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>Katrina?<\/dialogue>\n    <scene_description>L\u00e9a nods.<\/scene_description>\n    <character>SAMIR<\/character>\n    <dialogue>Michel, it's outrageous that you've lived in Lorraine for years and you still support a team that's mostly made up of Brazilians.<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>Mostly? Only two Brazilians play for PSG! You don't know what you're talking about! Anyway, you'll bore Juliette!<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Unlikely! I love football. I played a lot when I was a teenager.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Seriously?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>You were too small to remember.<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>The perfect woman! Beautiful, intelligent and loves football.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Except for the supporters.<\/dialogue>\n    <character>SAMIR<\/character>\n    <dialogue>Take that!<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>Please, Samir, I won't let an Afghan surgeon paid by al-Qaida to run amok in French hospitals beat me in an argument about football.<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>Can you play on Sunday?<\/dialogue>\n    <character>KAISHA<\/character>\n    <dialogue>Forget it. He was saying earlier that he has a zillion exams to mark.<\/dialogue>\n    <character>SAMIR<\/character>\n    <dialogue>That's the third week running you've bailed on us.<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>Yeah, it's been three weeks that two hundred papers have been sitting on my desk, waiting for me to mark them.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>You play football together?<\/dialogue>\n    <scene_description>The camera closes in on Michel and Juliette. OS, the buzz of the others' conversation.<\/scene_description>\n    <character>MICHEL<\/character>\n    <dialogue>We try. Some days, there's only ten of us and some days forty people turn up to play, which gets a bit crazy. You should come watch us one day.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Why not.<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>Do you like it here?<\/dialogue>\n    <scene_description>Juliette nods.<\/scene_description>\n    <character>MICHEL<\/character>\n    <dialogue>L\u00e9a said you lived down south for a long time.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>That's right.<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Carcassonne.<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>Right, it's pretty down there. The Black Mountain and all that. Toulouse not far away...<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Do you come from Paris?<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>Yes, but I got bored of it. I go back as infrequently as possible. Life's good here. If you can put up with lunkheads like these guys!<\/dialogue>\n    <scene_description>They smile at each other.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIBRARY, L\u00c9A AND LUC'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Juliette quietly enters Papy Paul's room. He sits in his usual chair, reading. He looks up and smiles at Juliette.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Can I sit with you a while?<\/dialogue>\n    <scene_description>She sits in the chair opposite him. Papy Paul goes back to his book. Beat. Juliette begins to talk. Papy Paul smiles at her.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Where I was until recently, I always kept a few books near my pillow. I sensed their presence at night when I turned over. It reassured me.<\/dialogue>\n    <scene_description>She leans forward to see the title of the book he's reading: Sylvie by Nerval.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>I read and re-read that one. Not so much as a means of escape but like a dream.<\/dialogue>\n    <character>26.<\/character>\n    <dialogue>Juliette is sitting opposite the Inspector as in the previous<\/dialogue>\n    <character>INT. INSPECTOR'S OFFICE - DAY<\/character>\n    <dialogue>scene.<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>During the week, I eat canned food mostly - lentils and sausages or beef stew. Those are my favourites. I eat in front of the TV onSometimes, I don't even heat them up. I can't cook to save my life and I can't be bothered to learn. I have some green vegetables at the weekend. Doctor's orders. Do you agree with him?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Definitely. You can't just eat tinned food.<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>I guess... What about eggs?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>They're okay, but not every day.<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>No, I usually boil or fry one up on a Sunday and eat it in front of the TV. Do you watch TV?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>Not even when you were in prison?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>I see. I thought everybody in prison watched TV. I force myself. It's a kind of punishment. There's something totally ugly about it. Like a pile of rubbish that's delivered to your door. Every evening, I feel like the heap's bigger and uglier than the day before. And it smacks me in the face.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>How about you? Everything okay?<\/dialogue>\n    <character>27.<\/character>\n    <dialogue>Juliette waits in a hallway.<\/dialogue>\n    <character>INT. FACULTY BUILDINGS - DAY<\/character>\n    <dialogue>A door opens and students file out.<\/dialogue>\n    <dialogue>Juliette ventures in. L\u00e9a stands on a raised dais, gathering her things together, while talking to a black student dressed in suit and tie.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>We'll check as soon as we can, Mr. Bamakal\u00e9, but I can't see why the computer would have made a mistake.<\/dialogue>\n    <character>BAMAKAL\u00c9<\/character>\n    <dialogue>It made two last year alone, Miss. And every time, I'm the aggrieved party.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>In any case, the server is down right now, so be patient and stop sending me notes every other day.<\/dialogue>\n    <parenthetical>(sees Juliette)<\/parenthetical>\n    <dialogue>You'll have to excuse me, I have an appointment.<\/dialogue>\n    <scene_description>L\u00e9a goes over to Juliette.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>Am I glad to see you! Let's get out of here. I thought you were going straight home.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>I wanted to talk.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAF\u00c9 - DAY<\/stage_direction>\n    <scene_description>Juliette and L\u00e9a sit at a table.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>It was a minor intestinal haemorrhage, but they kept him in for tests. He was riddled with cancer. He died two months later.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>When exactly?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>March 4, 1999. When we found out he had no chance of pulling through, I wanted to tell you. I had a huge fight with Mummy, and she went and told him. He made me promise never to contact you. He was crying. His voice came out in a feeble rasp. He was hooked up to dozens of tubes. He weighed barely more than fifty kilos. I cried, too. And I promised him. I'm sorry.<\/dialogue>\n    <scene_description>Silence.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>Did you ever think of us, when you were down there?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Down there? That makes it sound so pretty and nice. \"Down there\" was a prison.<\/dialogue>\n    <scene_description>She shows anger for the first time.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Do you know what a prison is? Hours and days in prison? Years in prison? The outside world leaving you behind. Life leaving you behind. Everything leaving you behind.<\/dialogue>\n    <scene_description>Awkward silence.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <parenthetical>(calmer)<\/parenthetical>\n    <dialogue>Is she still living at Beaufans?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Mummy? No. I had to find a home for her. She lived with us, at first, then two years after Dad died, she began to lose her memory. Now, she doesn't recognize anyone. When I go to see her, she thinks I'm a nurse or a neighbour or something.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>They never spoke about me?<\/dialogue>\n    <scene_description>L\u00e9a shakes her head.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>What did they tell other people?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Anybody who knew the family knew better than to mention it. Anybody else thought I was their only daughter.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>They thought that or they were told that?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>They were told that?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Who told them? Mum and Dad?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>And you?<\/dialogue>\n    <scene_description>L\u00e9a doesn't answer. Tears well in her eyes.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>They filled my head with it.<\/dialogue>\n    <scene_description>Beat. Juliette glances round the bar. Changes the subject.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <parenthetical>(lighter)<\/parenthetical>\n    <dialogue>I slept with a guy last week.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>You did what?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>I slept with a guy.<\/dialogue>\n    <scene_description>L\u00e9a stops crying. Begins to laugh.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>Who? Where?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>A guy I met in a caf\u00e9. We got a room in a hotel.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Just like that?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Just like that.<\/dialogue>\n    <scene_description>They both burst out laughing.<\/scene_description>\n    <character>29.<\/character>\n    <dialogue>In a spare room, piled high with boxes, Juliette and Little Lili<\/dialogue>\n    <character>INT. SPARE ROOM - DAY<\/character>\n    <dialogue>sit side by side at an old piano. Emelia sits on the floor. Juliette teaches Little Lili a song (A la Claire Fontaine). The piano needs tuning.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>No, look! G, G, B, B, A, B, G, G, G, B, B, A, B... Try again.<\/dialogue>\n    <scene_description>Little Lili plunks out the tune.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>That's better! Spread your fingers more, like that... Good. And hit the keys harder.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>It's not easy, Auntie!<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Stop! G, G, B, B, A! You have to change note.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>I'll never get it right.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Of course, you will! I used to play this with your Mummy, you know.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>With Mummy?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>Mummy played the piano? I don't believe you.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>She used to be very good. This tune was one of our favourites.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>Because it's called Fontaine like you?<\/dialogue>\n    <scene_description>Juliette smiles and nods.<\/scene_description>\n    <character>LILI<\/character>\n    <dialogue>I never saw Mummy play! She won't let me play piano. She wants me to learn the flute. If she sees us in here, she'll be so angry!<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>No, she won't. Don't worry.<\/dialogue>\n    <character>30.<\/character>\n    <dialogue>A WOMAN sits behind a desk.<\/dialogue>\n    <character>INT. OFFICE, HOSPITAL - DAY<\/character>\n    <dialogue>Juliette sits opposite her.<\/dialogue>\n    <dialogue>The Woman finishes reading a file and closes it.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>You have all the qualifications for the job. But in this instance, even if it's just a secretary's job, I have to refer it to the director of the hospital who will make the final decision. If he approves it, nobody here must ever know that you were a doctor. And especially that you... You know what I mean.<\/dialogue>\n    <scene_description>Juliette is about to say something.<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Don't thank me, I'm not doing it for you.<\/dialogue>\n    <character>31.<\/character>\n    <dialogue>Reclining on the couch, with books and notes all around her, L\u00e9a<\/dialogue>\n    <character>INT. LIVING ROOM - DAY<\/character>\n    <dialogue>prepares a lecture.<\/dialogue>\n    <dialogue>Luc enters with a mug of tea and puts it on the coffee table. L\u00e9a thanks him without looking up.<\/dialogue>\n    <dialogue>Luc goes over to the window. Outside, Juliette walks in the garden. Little Lili is also out there, running all over the place, but Juliette doesn't pay her any attention.<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>You wouldn't guess, looking at her.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <parenthetical>(miles away)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>She looks totally normal.<\/dialogue>\n    <scene_description>L\u00e9a perks up suddenly, glances out the window, then at Luc.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>Stop it!<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>What? Maybe you'd prefer to forget what she did, but I can't!<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Leave her alone!<\/dialogue>\n    <character>32.<\/character>\n    <dialogue>A big, oval swimming pool.<\/dialogue>\n    <character>INT. SWIMMING POOL - DAY<\/character>\n    <dialogue>Juliette and L\u00e9a float next to each other, arms and legs outstretched.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>What did you want to do?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Me? I couldn't have become a doctor like you. They would have freaked, but there was never any chance of that. I was always more attracted to literature and languages. The day I told them, I could see the relief on their faces.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>The water's great, isn't it?<\/dialogue>\n    <scene_description>Juliette smiles and nods.<\/scene_description>\n    <character>MONSIEUR LUCIEN (O.S.)<\/character>\n    <dialogue>Hello there, L\u00e9a!<\/dialogue>\n    <scene_description>The camera pulls back to reveal MONSIEUR LUCIEN, a paunchy 65 -year- old, with a Clark Gable moustache, gold chain and signe t rings, and a spray-on tan.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>Hi, Monsieur Lucien. How are you?<\/dialogue>\n    <character>MONSIEUR LUCIEN<\/character>\n    <dialogue>Very well. Aren't you going to introduce me?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Of course. This is my sister, Juliette.<\/dialogue>\n    <parenthetical>(to Juliette)<\/parenthetical>\n    <dialogue>Monsieur Lucien's a regular here.<\/dialogue>\n    <character>MONSIEUR LUCIEN<\/character>\n    <dialogue>Your sister? I see. Hello!<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>That's right, my sister. She's off limits, Monsieur Lucien!<\/dialogue>\n    <scene_description>He chuckles and walks on.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>He comes down here to try to chat up women. He'll hit on anyone, young or old.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Does he ever get anywhere?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>You'd be surprised!<\/dialogue>\n    <scene_description>L\u00e9a glances at Juliette as she floats in the water, eyes closed. She reaches out her hand and brushes her fingers over a small scar on Juliette's thigh.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>I was running to you for a hug. I jumped up and you tripped over a branch. I can still see the blood pouring from the wound and your face going deathly white... I thought you were going to die, all because of me.<\/dialogue>\n    <character>33.<\/character>\n    <dialogue>Luc sits with his two daughters.<\/dialogue>\n    <character>INT. KITCHEN - DAY<\/character>\n    <dialogue>He hands Emelia a yoghurt, then goes back to reading the sports pages of the paper.<\/dialogue>\n    <dialogue>Little Lili is on Papy Paul's lap, also eating yoghurt.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>When's Mummy coming home?<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>I don't know. Soon.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>And Auntie?<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>I've no idea.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>Are they together?<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>I haven't a clue. Eat up!<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>LILI<\/character>\n    <dialogue>Doesn't Auntie Juliette have a job?<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>Why'd you ask?<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>No reason. I just thought she must have a job because she's pretty old now.<\/dialogue>\n    <scene_description>Luc has his nose in the paper.<\/scene_description>\n    <character>LILI<\/character>\n    <dialogue>Well? What's her job?<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>You ask her, smarty-pants. Can't you see I'm trying to do some work?<\/dialogue>\n    <character>34.<\/character>\n    <dialogue>In the darkness, Juliette watches the rain falling on the back<\/dialogue>\n    <character>INT. JULIETTE'S ROOM - EVENING<\/character>\n    <dialogue>garden. There are papers scattered on her bed, and what looks to be a photograph.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOCIAL WORKER'S OFFICE - DAY<\/stage_direction>\n    <character>SOCIAL WORKER<\/character>\n    <dialogue>Well, that just about covers everything. Come back and see me in a few weeks. Meanwhile, I'll call the hospital to see what's happening. It would be the perfect job for you. I'll be in touch.<\/dialogue>\n    <scene_description>She walks to the door with Juliette. Takes out a cigarette. Offers one to Juliette as they go out into the hallway.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>No, thanks.<\/dialogue>\n    <character>SOCIAL WORKER<\/character>\n    <dialogue>I was wondering... I read your file and the notes on your trial... You never said a word throughout the investigation and the trial. Why?<\/dialogue>\n    <scene_description>No answer.<\/scene_description>\n    <character>SOCIAL WORKER<\/character>\n    <dialogue>You even refused to talk to the psychologists. Their report runs to two lines. Something about a lethal injection \"foreshadowing the choice of silence\". I don't really get that.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <parenthetical>(furious)<\/parenthetical>\n    <dialogue>And you think I'm going to talk to you now?<\/dialogue>\n    <scene_description>She storms off.<\/scene_description>\n    <character>36.<\/character>\n    <dialogue>L\u00e9a and Luc walk arm in arm down the road.<\/dialogue>\n    <character>EXT. STREET - EVENING<\/character>\n    <dialogue>LUC<\/dialogue>\n    <scene_description>It's been ages since you dropped by the lab to pick me up.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>Did you miss it?<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>Yeah, I like it when you surprise me.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>How about a movie and then dinner?<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Is there anything you really want to see? There's a Kurosawa retrospective at the Cameo.<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>No way! Japanese films always put me to sleep.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Well, they're probably still showing The Shop Around The Corner.<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>Good idea. I haven't seen that in so long! But that means we'll be back really late, if you want to go for dinner afterwards.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>It'll be fine.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>LUC<\/character>\n    <dialogue>Are you sure Katrina doesn't mind?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>What's Katrina got to do with anything?<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>She's looking after the girls, isn't she?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>No, I asked Juliette.<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>You asked your sister to look after our daughters? Have you lost your mind? She killed her kid, remember! That's insane!<\/dialogue>\n    <character>37.<\/character>\n    <dialogue>Luc screeches to a halt outside the house.<\/dialogue>\n    <character>EXT\/INT. LUC &amp; L\u00c9A'S HOUSE - EVENING<\/character>\n    <dialogue>He leaps out of the car, races up the path and into the house.<\/dialogue>\n    <character>LUC<\/character>\n    <parenthetical>(heart pounding)<\/parenthetical>\n    <dialogue>Lili? Emelia? Lili!!!<\/dialogue>\n    <scene_description>Juliette rushes out of the living room with a book in her hand.<\/scene_description>\n    <character>LUC<\/character>\n    <parenthetical>(barks)<\/parenthetical>\n    <dialogue>Where are my daughters? Where are they?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Upstairs. They're asleep. We had dinner early and they were tired, so...<\/dialogue>\n    <scene_description>Before she can finish, Luc dashes upstairs. Juliette is stunned. L\u00e9a arrives.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>You're back already? What's wrong with Luc?<\/dialogue>\n    <scene_description>L\u00e9a looks awkwardly at her sister.<\/scene_description>\n    <character>38.<\/character>\n    <dialogue>Juliette strolls through the empty museum.<\/dialogue>\n    <character>INT. FINE ARTS MUSEUM - DAY<\/character>\n    <dialogue>She stops in her tracks when she comes to a large ultra -realistic painting of a woman in mourning abou t to throw herself into a grave at the bottom of which lies a coffin.<\/dialogue>\n    <dialogue>Other women hold her back.<\/dialogue>\n    <dialogue>Men in dark suits and top hats stand in the background.<\/dialogue>\n    <character>MICHEL (O.S.)<\/character>\n    <dialogue>It's called Grief.<\/dialogue>\n    <scene_description>Juliette is startled.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>You startled me.<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Impressive, isn't it?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Who painted it?<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>Emile Friant. Famous when he was alive, totally forgotten since his death in the 1930s. I'll show you another of his that is my favourite. Come on...<\/dialogue>\n    <scene_description>They walk into the next room. Michel stops at a small painting showing a young woman's face against a snowy landscape.<\/scene_description>\n    <character>MICHEL<\/character>\n    <dialogue>The first time, I saw it, it blew me away. She looks exactly like a girl I was in love with in my early 20s. I was crazy about her. She didn't even see me, though. This is my reveng e. She's imprisoned in a frame and I can look at her whenever I want. She can't say a thing.<\/dialogue>\n    <character>39.<\/character>\n    <dialogue>Juliette and Michel are having lunch.<\/dialogue>\n    <character>EXT. SIDEWALK CAF\u00c9 - DAY<\/character>\n    <dialogue>MICHEL<\/dialogue>\n    <scene_description>L\u00e9a is amazing. She's one of the best specialists in France in her field. But she doesn't have the killer instinct. In our work, you have to trample over people to get ahead.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Do you have that killer instinct?<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>Do I look like I do?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>I don't know you well enough.<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>No. I'm not into that anymore.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>You were? What changed?<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>Nothing. Everything. Life. Life changes us. L\u00e9a told me you're looking for a job.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Yes, I had an interview for a secretary's job at the hospital.<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>Secretary? That's what you do?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Yes. I mean, no. It's complicated.<\/dialogue>\n    <character>MICHEL<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>In that case, I'll shut up.<\/dialogue>\n    <parenthetical>(raises his glass)<\/parenthetical>\n    <dialogue>To you!<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>To the girl in the museum!<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>Christ, no!<\/dialogue>\n    <scene_description>They laugh.<\/scene_description>\n    <character>40.<\/character>\n    <dialogue>L\u00e9a parks her car.<\/dialogue>\n    <character>INT\/EXT. CAR\/RETIREMENT HOME - DAY<\/character>\n    <dialogue>L\u00c9A<\/dialogue>\n    <scene_description>Well?<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>No, I'd rather not. I'll wait here for you.<\/dialogue>\n    <scene_description>L\u00e9a grabs a bouquet of flowers off the backseat.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>I won't be long.<\/dialogue>\n    <scene_description>She gets out. Sitting in the car, Juliette glances up at the windows of the building that L\u00e9a entered. Eventually, she gets out of the car, paces up and down the pavement, stops, leans against the car. In the garden of the retirement home, old people sit quietly on benches. Suddenly, L\u00e9a appears at one of the windows, opening the curtains. An old lady is standing next to her with her back to the window. ANGLE on Juliette. Her eyes fill with tears.<\/scene_description>\n    <character>41.<\/character>\n    <dialogue>Juliette enters. Glances round the caf\u00e9.<\/dialogue>\n    <character>INT. CAF\u00c9 - DAY<\/character>\n    <dialogue>The Inspector gets up and waves to her. Juliette goes over. They sit down.<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>You don't mind that I suggested we meet here? I'm sick of my office.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>No, I like caf\u00e9s. It's one of the things I missed most when I was in prison. The noise, the atmosphere, the smoke and the buzz of conversations.<\/dialogue>\n    <scene_description>The Inspector notices she has wet hair.<\/scene_description>\n    <character>INSPECTOR<\/character>\n    <dialogue>Is it raining?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>No, I've been swimming.<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>You swim? Me, too, but not in swimming pools. I told you about the Orinoco, didn't I?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Yes, the first time we met.<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>It's a huge, huge river. Over 1,500 miles long. It never ends. And it's powerful. Rapids, waterfalls, flood plains...<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>You've seen it for real?<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>Not yet. It's a project of mine. We'll see. It's not easy. I have a young daughter. She lives with her mother and I don't see her often. Her mother moved away. And my daughter has moved away from me, too. You know, the Orinoco is a real mystery. Several expeditions have set<\/dialogue>\n    <scene_description>out to find its source and none of them has ever really succeeded. They found little streams, but not the real source. It's fascinating, isn't it? We know everything nowadays, but we can't find the source of a river. (beat) I signed and approved the papers.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Sorry?<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>For the job at the hospital. They asked for my opinion.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>No problem.<\/dialogue>\n    <parenthetical>(the waiter arrives)<\/parenthetical>\n    <dialogue>What will you have?<\/dialogue>\n    <character>42.<\/character>\n    <dialogue>The family dinner is over.<\/dialogue>\n    <character>INT. KITCHEN - EVENING<\/character>\n    <dialogue>Papy Paul leaves the table. Juliette begins washing up.<\/dialogue>\n    <dialogue>Little Lili is finishing her dessert. L\u00e9a isn't there.<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>Lili, when you finish, brush your teeth and straight to bed. Don't wake your sister.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>When's Mummy coming home?<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>After her meeting.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>Late?<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>I expect so. Go on, I'll come up and give you a kiss.<\/dialogue>\n    <scene_description>Little Lili hurries out. Luc and Juliette are alone. Luc seems ill at ease. Juliette keeps on washing up.<\/scene_description>\n    <character>LUC<\/character>\n    <dialogue>How did it go at the bank?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>They let me open an account, but they won't give me a chequebook until I get a job.<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>Any news from the hospital?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Not a word.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Don't worry, Luc, I won't bother you much longer. I'll find something else.<\/dialogue>\n    <character>LUC<\/character>\n    <parenthetical>(feebly)<\/parenthetical>\n    <dialogue>I never meant for you to think -<\/dialogue>\n    <character>LILI (O.S.)<\/character>\n    <dialogue>I want a story!<\/dialogue>\n    <character>LUC<\/character>\n    <parenthetical>(gratefully)<\/parenthetical>\n    <dialogue>Coming right up, sweetheart.<\/dialogue>\n    <scene_description>He exits. Juliette wipes the table. Luc reappears, displeased.<\/scene_description>\n    <character>LUC<\/character>\n    <dialogue>She wants you to read her a story.<\/dialogue>\n    <character>43.<\/character>\n    <dialogue>Juliette sits on the bed, reading.<\/dialogue>\n    <character>INT. LITTLE LILI'S BEDROOM - NIGHT<\/character>\n    <dialogue>Little Lili is fast asleep.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>\"The old man smiled and for a Moment, it seemed to Baji that his host was a boy of his own age, or a young girl, or an infant. In the sky, the silver stars twinkled and the moon rose, as full as a woman's tummy...\"<\/dialogue>\n    <scene_description>Juliette realizes that Little Lili is asleep. She quietly closes the book. And gazes at the child. Impassively. Eerily. Eventually, she leans forward and kisses Little Lili with real emotion for the first time. In the doorway, L\u00e9a watches. Juliette turns round and sees her. L\u00e9a smiles at her sister.<\/scene_description>\n    <character>44.<\/character>\n    <dialogue>Luc loads up the car. The kids are already strapped in the<\/dialogue>\n    <character>EXT. OUTSIDE L\u00c9A'S HOUSE - DAY<\/character>\n    <dialogue>backseat.<\/dialogue>\n    <dialogue>L\u00e9a brings out sleeping bags, food and plates. Juliette helps them.<\/dialogue>\n    <dialogue>They all seem excited to be going away.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Did you bring a sweater? It can get cold out there.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Right, thanks.<\/dialogue>\n    <character>45.<\/character>\n    <dialogue>Juliette comes downstairs with a sweater in one hand.<\/dialogue>\n    <character>INT. HOUSE - DAY<\/character>\n    <dialogue>Before leaving, she stops by Papy Paul's room. He is sitting in a chair, reading as ever.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Will you be okay? You have everyth ing you need?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>We'll be back tomorrow. Goodbye!<\/dialogue>\n    <character>46.<\/character>\n    <dialogue>The family sings happily as they drive along.<\/dialogue>\n    <character>INT. CAR - DAY<\/character>\n    <dialogue>47.<\/dialogue>\n    <dialogue>MONTAGE.<\/dialogue>\n    <character>EXT\/INT. FARMHOUSE - DAY<\/character>\n    <dialogue>The car pulls up outside a rundown farmhouse. The duck pond.<\/dialogue>\n    <dialogue>Adults and children playing. More friends arrive. In all, there are over fifteen adults, including Michel, and Samir and his wife. Children bouncing around in the bedrooms. Women busy in the kitchen.<\/dialogue>\n    <dialogue>Men opening bottles of wine. Playing soccer. The table set for dinner. MONTAGE ends.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FARMHOUSE - NIGHT<\/stage_direction>\n    <scene_description>An open fire blazes in the hearth. Children are fast asleep, curled up on the floor or in chairs. In one corner, the older children play a game. Around the table, the adults have flushed faces. Empty bottles litter the table. A joint goes round. Everybody's laughing and joking. One guy (GERARD) looks particularly drunk.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>I don't have to like Rohmer! It's a free country.<\/dialogue>\n    <character>GERARD<\/character>\n    <dialogue>I don't see how you can teach literature and not understand Rohmer's movies.<\/dialogue>\n    <character>SAMIR<\/character>\n    <dialogue>L\u00e9a didn't say she doesn't underst and them. She said she doesn't like them. There's a subtle difference.<\/dialogue>\n    <character>GERARD<\/character>\n    <dialogue>I can't believe what I'm hearing! I can't help wondering how you explain Racine to your students!<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>That's irrelevant. What's Racine got to do with anything?<\/dialogue>\n    <character>GERARD<\/character>\n    <dialogue>Rohmer is the Racine of the 20 th century, but if you guys are too stupid to see it...<\/dialogue>\n    <character>WOMAN #1<\/character>\n    <dialogue>That's totally unfair.<\/dialogue>\n    <character>MICHEL<\/character>\n    <parenthetical>(hands Gerard the joint)<\/parenthetical>\n    <dialogue>Here, have some of this and chill out. Next, you'll be telling us that Stallone is Shakespeare.<\/dialogue>\n    <character>GERARD<\/character>\n    <dialogue>Screw you! You don't care about anything except soccer. What about you, Juliette? What do you think?<\/dialogue>\n    <scene_description>Her face cupped in her hands, Juliette smiles and shrugs.<\/scene_description>\n    <character>GERARD<\/character>\n    <dialogue>Juliette doesn't think anything. Juliette watches and judges. But who is Juliette? A woman of mystery. A sprite, a goblin... Having been hidden from us all this time, Juliette -<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>Cut it out! You're a pain in the ass. Go get some fresh air!<\/dialogue>\n    <scene_description>Gerard raps his knife against his glass.<\/scene_description>\n    <character>GERARD<\/character>\n    <dialogue>Ladies and gentlemen, pray silence! I would humbly like to suggest we play a little game. The winner will receive my deepest consideration...<\/dialogue>\n    <character>MAN #1<\/character>\n    <dialogue>You can shove your consideration!<\/dialogue>\n    <character>GERARD<\/character>\n    <dialogue>And a kiss from Juliette.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Gerard, you can be such an asshole!<\/dialogue>\n    <character>GERARD<\/character>\n    <dialogue>The game is to find the reason why L\u00e9a hid her delightful sister from us for the last two hundred years. Where was Juliette? What was Juliette doing?<\/dialogue>\n    <character>SAMIR<\/character>\n    <dialogue>Knock it off!<\/dialogue>\n    <character>GERARD<\/character>\n    <dialogue>Was Juliette on the other side of the world? Was she not speaking to L\u00e9a? Was Juliette...<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>Cut it out, Gerard.<\/dialogue>\n    <character>GERARD<\/character>\n    <dialogue>...hidden somewhere in Switzerland? In a convent? Was Juliette...<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>You're getting on everybody's nerves!<\/dialogue>\n    <character>GERARD<\/character>\n    <dialogue>... a lion tamer in a circus, a Mossad spy, an amnesic? Answer us, Juliette! Answer us!<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Shut the fuck up, Gerard!<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>Be quiet, or I'll belt you!<\/dialogue>\n    <character>GERARD<\/character>\n    <dialogue>Let Juliette speak! For once, I have a heroine from a novel in front of me, I want to hear her tell me...<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>That you're an asshole!<\/dialogue>\n    <character>GERARD<\/character>\n    <dialogue>The truth! Juliette disappears. Juliette reappears. Juliette? Juliette?<\/dialogue>\n    <character>MAN #1<\/character>\n    <dialogue>Go to bed!<\/dialogue>\n    <character>GERARD<\/character>\n    <dialogue>Not before I know where Juliette has been. The beautiful Juliette! Juliette! Juliette!<\/dialogue>\n    <scene_description>He gazes at her. Gradually, everybody else falls silent.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <parenthetical>(deadpan)<\/parenthetical>\n    <dialogue>I was in prison. Fifteen years. I killed my son.<\/dialogue>\n    <scene_description>Silence. Suddenly, Gerard bursts out laughing. Everybody else joins in, except L\u00e9a, Luc and Michel.<\/scene_description>\n    <character>MAN #2<\/character>\n    <dialogue>That'll teach you, Gerard!<\/dialogue>\n    <character>WOMAN #1<\/character>\n    <dialogue>Well done, Juliette!<\/dialogue>\n    <character>SAMIR<\/character>\n    <dialogue>What do you have to say now, loudmouth?<\/dialogue>\n    <character>GERARD<\/character>\n    <dialogue>Okay, she wins. I give up.<\/dialogue>\n    <scene_description>The atmosphere lightens again. Juliette discreetly ups and leaves. L\u00e9a and Luc glance at each other.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAKESIDE - NIGHT<\/stage_direction>\n    <scene_description>Juliette stands by the lake. It's a very dark night. O.S., laughter filters from the farmhouse. Then, footsteps. Michel draws level with Juliette. Puts a hand on her shoulder. She shrugs it off.<\/scene_description>\n    <character>MICHEL<\/character>\n    <dialogue>Sorry about him. He's an ass when he's drunk, but he's a good guy.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>MICHEL<\/character>\n    <dialogue>They all think you were joking. I...<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I'm sure you weren't. Before I got my job at the university, I taught in prisons for ten years. I rarely talk about it... I used to go in three times a week. And I'd come out three times a week. That changed my whole life, my whole way of looking at things, people, the sky, passing time, coming and going, being in the street, everything. I stopped being so certain of things, making judgments the way people always do. Everybody I met behind bars, it seemed like they were just like me. They could have been me and I could have been them. It's a fine line sometimes.<\/dialogue>\n    <character>50.<\/character>\n    <dialogue>Michel parks outside the house.<\/dialogue>\n    <character>EXT. OUTSIDE L\u00c9A'S HOUSE - NIGHT<\/character>\n    <dialogue>Juliette is in the passenger seat.<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>Will you be okay?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Yes. Thanks for the ride.<\/dialogue>\n    <scene_description>They gaze at each other. Michel reaches out to caress her cheek.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Don't... Please... I'm still... a long way away.<\/dialogue>\n    <scene_description>She gets out of the car.<\/scene_description>\n    <character>51.<\/character>\n    <dialogue>L\u00e9a leads a discussion with a dozen students.<\/dialogue>\n    <character>INT. FACULTY BUILDINGS - DAY<\/character>\n    <dialogue>She's tense, irritable.<\/dialogue>\n    <scene_description>The STUDENT she is debating with is very calm and measured. As their argument develops, the other students glance at each other with raised eyebrows.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>That's only true of Raskolnikov! You can't extend the notion of redemptive guilt to humanity in general and suggest that each murder contains its own redemption.<\/dialogue>\n    <character>STUDENT<\/character>\n    <dialogue>Yet the aim of the novelist is to reconstitute the world. Dostoyevsky is no exception.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>In the case of this novel, you know full well that the narration is impersonal and, moreover, incomplete, as if the author refused to put forward a single worldview because he knows that there are numerous interpretations and motivations. And numerous shades of truth.<\/dialogue>\n    <character>STUDENT<\/character>\n    <dialogue>But the first draft is in the first person. One can deduce, therefore, that the initial project was indeed to portray a single soul that might give the reader an intimate yet universal insight into murder and murderers.<\/dialogue>\n    <scene_description>L\u00e9a is really wound up. Her students are shocked.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>You don't know what you're talking about! What do you know about murder and murderers!<\/dialogue>\n    <scene_description>I...:<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>And what did Dostoyevsky know about it deep down? Well? Nothing! Nada! Zilch! Even masterpieces are no more than hypotheses, simplistic extrapolations that are nothing compared to true life. Nothing. Got that? If you stopped thinking a book is the last word on something, you wouldn't spout so much bullshit!<\/dialogue>\n    <scene_description>Stunned silence. L\u00e9a pulls herself together.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>I... I am terribly sorry. I apologize. I don't know what...<\/dialogue>\n    <scene_description>She grabs her notes and hurries out.<\/scene_description>\n    <character>52.<\/character>\n    <dialogue>L\u00e9a rushes down a hallway.<\/dialogue>\n    <character>INT. FACULTY BUILDING - DAY<\/character>\n    <dialogue>When she reaches her office, she finds Bamakal\u00e9 sitting on a bench outside.<\/dialogue>\n    <dialogue>He is impeccably dressed as always. As soon as he sees her, he jumps to his feet.<\/dialogue>\n    <character>BAMAKAL\u00c9<\/character>\n    <dialogue>Good morning, I wondered if I -<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Not now! This is not the time!<\/dialogue>\n    <scene_description>She rushes into her office and slams the door. Bamakal\u00e9 stares at it in dismay.<\/scene_description>\n    <character>53.<\/character>\n    <dialogue>Holding her head in her hands, L\u00e9a sobs.<\/dialogue>\n    <character>INT. L\u00c9A'S OFFICE - DAY<\/character>\n    <dialogue>54.<\/dialogue>\n    <dialogue>Juliette follows the woman who interviewed her for the job earlier.<\/dialogue>\n    <character>INT. TYPING POOL, HOSPITAL - DAY<\/character>\n    <dialogue>She introduces Juliette to a couple of other secretaries, typing away at their computers.<\/dialogue>\n    <dialogue>They come to an empty desk.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>This is your desk. Your job is essentially to type up medical reports and perhaps help out your colleagues from time to time. The trial period is three weeks. At the end of that period, the director will inform you of his decision. I'll let you get settled in.<\/dialogue>\n    <scene_description>She walks away, stops and backtracks.<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>I rely on you to be discreet, of course.<\/dialogue>\n    <character>55.<\/character>\n    <dialogue>L\u00e9a arrives home. Dumps grocery bags in the hall. Listens.<\/dialogue>\n    <character>INT. L\u00c9A'S HOUSE - DAY<\/character>\n    <dialogue>O.S., on the piano, the tune Juliette taught Little Lili in an earlier scene.<\/dialogue>\n    <dialogue>It clearly perturbs L\u00e9a.<\/dialogue>\n    <scene_description>She hurries upstairs to the spare room where Little Lili is playing with Juliette next to her. Emelia sits on the floor. Papy Paul is in one corner, smiling. Little Lili stops and runs over to hug her mother.<\/scene_description>\n    <character>LILI<\/character>\n    <dialogue>Mummy! Come and play! Play, Mummy! Auntie said you used to be very good!<\/dialogue>\n    <scene_description>L\u00e9a hesitates. Juliette shuffles over on the piano stool, and nods to her to sit down. L\u00e9a still hesitates. Then goes over and sits at the piano. Each movement seems deeply thought -out. She gazes at the piano like a long -lost friend. Then her sister. They begin playing together. Juliette starts to sing.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>A la claire fontaine m'en allant promener J'ai trouv\u00e9 l'eau si claire Que je m'y suis baign\u00e9e\u2026 (At the fountain as I was walking by The water was so clear That I want for a swim...)<\/dialogue>\n    <scene_description>L\u00e9a joins in.<\/scene_description>\n    <character>JULIETTE &amp; LEA<\/character>\n    <dialogue>Il y a longtemps que je t'aime<\/dialogue>\n    <scene_description>jamais je ne t'oublierai\u2026 (I've loved you so long I can never forget you...) J'ai trouv\u00e9 l'eau si claire Que je m'y suis baign\u00e9e\u2026 A la feuille d'un ch\u00eane Je me suis essuy\u00e9e (The water was so clear That I want for a swim I found an oak leaf to use to dry myself) Il y a longtemps que je t'aime jamais je ne t'oublierai\u2026 (I've loved you so long I can never forget you...) Lalala lalala lalalalalala Lalala lalalala Lalala lalala lalalalalala\u2026 The children applaud. Papy Paul looks delighted. The girls hug their mother and kiss her. L\u00e9a and Juliette glance at each other, deeply moved. Juliette runs her hand down L\u00e9a's arm.<\/scene_description>\n    <character>56.<\/character>\n    <dialogue>A headset in her ears, Juliette typ es up a report.<\/dialogue>\n    <character>INT. TYPING POOL, HOSPITAL - DAY<\/character>\n    <dialogue>Three young male DOCTORS walk over. One of them lobs a tape onto Juliette's desk.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>Type that and send it over to Cardiology.<\/dialogue>\n    <scene_description>Juliette removes her headset.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Sorry?<\/dialogue>\n    <character>DOCTOR<\/character>\n    <parenthetical>(irritably)<\/parenthetical>\n    <dialogue>I said, type that now and send it over to Cardio.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>The report I'm typing is urgent, as well.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>Who the hell do you think you are? You're just a secretary. Do what I say. I want that over there in fifteen minutes. Got it?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <scene_description>They walk away.<\/scene_description>\n    <character>DOCTOR<\/character>\n    <parenthetical>(mutters to his colleagues)<\/parenthetical>\n    <dialogue>They're hiring them older than before and more stupid than ever!<\/dialogue>\n    <character>57.<\/character>\n    <dialogue>The Inspector and Juliette sit at a table.<\/dialogue>\n    <character>INT. CAF\u00c9 - DAY<\/character>\n    <dialogue>INSPECTOR<\/dialogue>\n    <scene_description>At my age, it's not easy meeting someone new. I don't like going out. And being a cop scares people off. But I could be at Social Services, it'd be the same. I sit at a desk all day and process paperwork. I'd be no use trying to catch a thief! (beat) This is where I met my wife. They've redecorated, but it's basically still the same. Where did you meet your husband?<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>At college.<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>He was a doctor, too?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>No, he dropped out after two years. He got a job supervising a team of health visitors.<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>When did you last see him?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>At the trial. He testified against me.<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>Like my wife. Ever since, she's never... She sends my daughter here by plane or train with a label round her neck like a parcel.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I could still describe exactly how she was dressed the first time we met.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>How's work?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>Nobody giving you any trouble?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>No...<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>By the way, I think I'll soon be... You remember my Orinoco project... After all this time, it's much clearer in my mind now. Deep down, there's<\/dialogue>\n    <scene_description>nothing and nobody to make it worth me staying here.<\/scene_description>\n    <character>58.<\/character>\n    <dialogue>Juliette sits with Emelia on her lap, flicking through a picture<\/dialogue>\n    <character>INT. KITCHEN - EVENING<\/character>\n    <dialogue>book, pointing to a picture and saying the word out loud several times.<\/dialogue>\n    <dialogue>Emelia tries to repeat the words.<\/dialogue>\n    <dialogue>Suddenly, there's a loud crash upstairs, followed by screams.<\/dialogue>\n    <character>59.<\/character>\n    <dialogue>Luc writhes in pain on the floor, clutching his shoulder.<\/dialogue>\n    <character>INT. L\u00c9A &amp; LUC'S BEDROOM - EVENING<\/character>\n    <dialogue>Nearby, scattered tools and a stepladder lying on its side.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>You idiot!<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>Will you shut up? It hurts.<\/dialogue>\n    <scene_description>Little Lili pokes her head round the door.<\/scene_description>\n    <character>LILI<\/character>\n    <dialogue>Daddy! What happened?<\/dialogue>\n    <scene_description>Juliette rushes in, with Emelia in her arms. She puts Emelia down and kneels next to Luc. All her doctor's reflexes come flooding back.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Where does it hurt?<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>My shoulder.<\/dialogue>\n    <scene_description>Juliette begins examining him. Papy Paul peeks in.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>I told you to leave it! You're no good with a hammer.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>It's okay. Dislocated, that's all. I'll put it back. It'll hurt but once it's in, that's it.<\/dialogue>\n    <scene_description>Juliette manipulates his shoulder with great assurance. Little Lili watches, wide-eyed.<\/scene_description>\n    <character>LUC<\/character>\n    <dialogue>Ouch!<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>Daddy!<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Feel better?<\/dialogue>\n    <scene_description>Luc flexes his shoulder.<\/scene_description>\n    <character>LUC<\/character>\n    <dialogue>Yes... Yes... lots. Thanks, Juliette.<\/dialogue>\n    <scene_description>Papy Paul ducks out of the room.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>Next time, remember you're useless at DIY.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>Where'd you learn to do that, Auntie?<\/dialogue>\n    <scene_description>Juliette, L\u00e9a and Luc glance at each other.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>On TV! You learn all kinds of useful things watching TV!<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>See, Mummy, the TV's not \"inane\", like you always say it is.<\/dialogue>\n    <character>60.<\/character>\n    <dialogue>Juliette and L\u00e9a hold onto the side, kicking their legs.<\/dialogue>\n    <character>INT. SWIMMING POOL - DAY<\/character>\n    <dialogue>L\u00c9A<\/dialogue>\n    <scene_description>With the kids, it's hard to keep up my research. I go to less conferences, I publish less... But I like working here. I get on with my colleagues. Michel, for example, is the kind of guy who'll never let you down.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Has he always been single?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>No... I don't think so. Actually, I don't know. He's actually pretty secretive.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I don't believe it! Check that out! Look who Monsieur Lucien has on his arm.<\/dialogue>\n    <scene_description>Paunchy Monsieur Lucien struts along in the company of a beautiful 25-year-old. He winks at Juliette and L\u00e9a.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>That's wild! There's always hope when you're a guy.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Had you forgotten me?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>You forgot me all those years, didn't you?<\/dialogue>\n    <scene_description>L\u00e9a gazes intensely at her sister.<\/scene_description>\n    <character>61.<\/character>\n    <dialogue>L\u00e9a places a heavy box on the desk, under Juliette's nose.<\/dialogue>\n    <character>INT. L\u00c9A'S HOME OFFICE - DAY<\/character>\n    <dialogue>L\u00c9A<\/dialogue>\n    <scene_description>Open it. Juliette hesitates, then opens the box. It's full of diaries.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>Take one out. It doesn't matter which.<\/dialogue>\n    <scene_description>Juliette reaches in and pulls out a diary.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>Open it at any page.<\/dialogue>\n    <scene_description>Juliette opens the diary. Under each date, Juliette's name is handwritten, follo wed by a number: Juliette 918, Juliette 919... Juliette takes out another diary. Same thing: Juliette 3127, Juliette 3128...<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>That was the first thing I did every morning. Write your name and the number of days you'd been gone.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I suppose you could say it only took a second and it was just a few letters and figures, but I thought about you so hard in those few moments every day. Every morning, we were reunited.<\/dialogue>\n    <character>62.<\/character>\n    <dialogue>Juliette sits at her computer.<\/dialogue>\n    <character>INT. TYPING POOL, HOSPITAL - DAY<\/character>\n    <dialogue>The phone rings. She picks up.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Yes... Good morning, sir... Yes... I'll be right there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DIRECTOR'S OFFICE - DAY<\/stage_direction>\n    <scene_description>The DIRECTOR stands glancing out the window, as if to avoid meeting Juliette's eyes. She sits facing him. On his desk, framed photos of his wife, four chi ldren, three dogs, two horses...<\/scene_description>\n    <character>DIRECTOR<\/character>\n    <dialogue>It's called teamwork. Even if you each have your individual tasks to do, there has to be unity, team spirit. We're not machines. Several of your co-workers say you are cold and distant. You never talk to anyone apparently. It's disappointing. Very disappointing.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Does that mean I'm out of a job?<\/dialogue>\n    <character>DIRECTOR<\/character>\n    <dialogue>Of course not! I didn't say that, did I? Just don't forget you're on trial. Make an effort. That's all I'm saying. Try to be less... withdrawn. Open up a bit.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Of course, I understand that it's not... I mean, I understand but...<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>What do you understand?<\/dialogue>\n    <scene_description>The Director has no answer.<\/scene_description>\n    <character>64.<\/character>\n    <dialogue>L\u00e9a tucks Emelia in. She is already asleep.<\/dialogue>\n    <character>INT. EMELIA &amp; LITTLE LILI'S ROOMS - NIGHT<\/character>\n    <dialogue>L\u00e9a kisses her, turns on a nightlight and slips out. She goes into Little Lili's room and finds her daughter reading.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Okay, Little Lili, lights out now.<\/dialogue>\n    <scene_description>L\u00e9a closes the book, puts it on the nightstand, kisses her daughter and is about to turn out the light...<\/scene_description>\n    <character>LILI<\/character>\n    <dialogue>No, please! Leave it on!<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Alright, sweetheart. Goodnight.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>Mummy, I want to ask you something.<\/dialogue>\n    <scene_description>L\u00e9a stops and turns round.<\/scene_description>\n    <character>LILI<\/character>\n    <dialogue>When you and Auntie Juliette were little, did you spend a lot of time together?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Quite a lot, yes.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>But Auntie Juliette was much ol der than you.<\/dialogue>\n    <scene_description>L\u00e9a nods.<\/scene_description>\n    <character>LILI<\/character>\n    <dialogue>So she protected you?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Against absolutely everything.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>So why did she stop one day?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>Why'd she go away for so long and leave you all alone?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Because I wasn't a little girl anymore. Sleep now.<\/dialogue>\n    <scene_description>She kisses Little Lili and turns to leave.<\/scene_description>\n    <character>LILI<\/character>\n    <dialogue>We all need protecting, don't we, though? Even when we're grown up.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>That's what your Dad's for.<\/dialogue>\n    <character>LILI<\/character>\n    <parenthetical>(laughs too)<\/parenthetical>\n    <dialogue>I didn't think of that.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Goodnight.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>You know, Mummy, I really like Aunti e Juliette.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Me, too, sweetheart.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>You can tell she's your sister because she's really kind, like you. It's a shame she never had children, though.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>What makes you say that?<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>I'd have liked to have some cousins.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Go to sleep.<\/dialogue>\n    <character>65.<\/character>\n    <dialogue>Juliette and Michel come out of a cinema.<\/dialogue>\n    <character>EXT. STREETS - NIGHT<\/character>\n    <dialogue>MICHEL<\/dialogue>\n    <scene_description>Do you want to go for a drink?<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>It's a warm night. Let's walk.<\/dialogue>\n    <scene_description>They walk along in silence, apparently happy together, here, now.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>For two years, the only walking I got to do was in a tiny triangular courtyard with big, high walls... I counted my steps, every step I took. And kept on counting later when I was at Centrale. The guards called me The Walker. But the other inmates called me Nobody.<\/dialogue>\n    <scene_description>Michel looks quizzically.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Short for Nobody's Home.<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>There's a Giono novel - I'm pretty sure it's his last - that has a great female character, who's withdrawn into silence. She calls herself Nobody. The main character falls madly in love with her...<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Do you see the world through books you've read?<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>Books have been a big help to me. Sometimes, they are better friends than people, don't you find?<\/dialogue>\n    <scene_description>He glances at her as they walk along. Eventually, she turns to look at him, too.<\/scene_description>\n    <character>66.<\/character>\n    <dialogue>Breakfast.<\/dialogue>\n    <character>INT. KITCHEN - DAY<\/character>\n    <dialogue>Everybody's in the kitchen.<\/dialogue>\n    <dialogue>Luc is about to leave for work. He steals a slice of toast from Little Lili's plate.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>Hey! That's mine!<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>I know but I'm terribly late. I gotta run. Bye, everybody! And don't wait up for me, I have a meeting that will finish late.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>You have a meeting? So do I. I won't be home either. I told you about it.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>What about us?<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>Katrina will look after you. Mummy's going to call her.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>You're out of luck, sunshine. Katrina's away wreaking destruction and havoc at her mother-in-law's.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>Papy Paul can look after us. Can't you, Papy!<\/dialogue>\n    <scene_description>Luc and L\u00e9a share a glance. He hesitates. L\u00e9a leaves him on his own.<\/scene_description>\n    <character>LUC<\/character>\n    <dialogue>Maybe... Juliette could look after you. If she doesn't mind, of course.<\/dialogue>\n    <parenthetical>(to Juliette)<\/parenthetical>\n    <dialogue>But maybe you have other plans?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>No, it'd be a pleasure.<\/dialogue>\n    <character>LILI &amp; EMELIA<\/character>\n    <dialogue>Yes! Thank you, Auntie!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MICHEL'S OFFICE, FACULTY BLDG - DAY<\/stage_direction>\n    <scene_description>Michel types his students' marks out of twenty. L\u00e9a dictates.<\/scene_description>\n    <character>LEA<\/character>\n    <dialogue>Laure Sourdillon, 10. Eric Suffren, 3. Anne Sulkovic, 8. Laurent Taskon, 11. Fr\u00e9d\u00e9ric Taskon, 6. C\u00e9cile Tramelle, 18. No way! Did she bribe you?<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>I'm using a new system of bonus points. Female? Plus 3. Belly showing? Plus 2. Thong showing? Plus 5. No bra? Plus 4. Belly button pierced? Plus 1.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>You slimeball! I'll tell Juliette on you. She was beginning to like you.<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>She told you that?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Perhaps.<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>Seriously, what did she say?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Look at you! You're like you're 15 years old! You are just so cute at times!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Fr\u00e9d\u00e9ric Trousseau, 8. Ludivine Trussi, 5. Christian-Edm\u00e9 Ulrich, 9.<\/dialogue>\n    <character>MICHEL<\/character>\n    <dialogue>C'mon, L\u00e9a, tell me!<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <parenthetical>(shakes her head, smiles)<\/parenthetical>\n    <dialogue>Sophie Uzes, 3. Dogun Uzbek, 14. Louis Valdenaire, 7. Ludovic Vogel, 11...<\/dialogue>\n    <character>68.<\/character>\n    <dialogue>Juliette tiptoes out of Little Lili's room.<\/dialogue>\n    <character>INT. L\u00c9A'S HOUSE - NIGHT<\/character>\n    <dialogue>Closes the door and puts a book of fairy tale s down on a chair. She goes downstairs.<\/dialogue>\n    <dialogue>Sees a light under Papy Paul's door. Knocks gently and enters.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>May I?<\/dialogue>\n    <scene_description>Papy Paul smiles at her. Juliette sits opposite him and smiles back. Clearly, she finds his presence soothing. Papy Paul goes back to his book. Juliette sits, saying nothing. From time to time, he looks up and smiles at her. O.S., a key in the front door. Juliette gets up and says goodnight. In the hall, L\u00e9a is home. The two sisters talk in whispers.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>How did it go? Are they asleep?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Like logs.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>I'm going to go to bed, too. I'm exhausted. Is Luc home?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Not yet.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>You're still coming tomorrow?<\/dialogue>\n    <scene_description>Beat. Juliette nods.<\/scene_description>\n    <character>69.<\/character>\n    <dialogue>Juliette and L\u00e9a walk down a hallway, past old folks in blue<\/dialogue>\n    <character>INT. RETIREMENT HOME - DAY<\/character>\n    <dialogue>towelling robes. L\u00e9a carries a bouquet of flowers.<\/dialogue>\n    <dialogue>They reach a door. L\u00e9a knocks and enters. Juliette hovers on the threshold.<\/dialogue>\n    <dialogue>In the room, their MOTHER spins round when she hears the door open.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Hi, Mummy!<\/dialogue>\n    <character>MOTHER<\/character>\n    <parenthetical>(strong English accent)<\/parenthetical>\n    <dialogue>I already told you I don't need anything!<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>It's me, Mum.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>Who are you? I don't know you. If you don't leave this minute, I'll call for help!<\/dialogue>\n    <character>LEA<\/character>\n    <dialogue>Mum, it's me, L\u00e9a. Your daughter.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>Oh, I know who you are. I told you before, I don't need anything. I have at least three vacuum cleaners already, why would I need another one? At my age.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>I brought you some flowers.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>Don't think you'll get round me like that!<\/dialogue>\n    <scene_description>Juliette has ventured a few feet inside the door.<\/scene_description>\n    <character>MOTHER<\/character>\n    <parenthetical>(re. Juliette)<\/parenthetical>\n    <dialogue>Is she with you?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Mum...<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>Stop calling me that! It's very annoying! Don't just stand there, fetch a vase! Everything I have gets stolen here.<\/dialogue>\n    <scene_description>L\u00e9a glances at Juliette, then leaves the room. Their mother sits in a chair.<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>It's a funny job you do. Pestering people all day. Can't you take your junk somewhere else?<\/dialogue>\n    <scene_description>She leans forward, takes her head in both hands and shakes it. Stops. Looks up and stares straight at Juliette. Her face is unrecognizable. Her lips quiver.<\/scene_description>\n    <character>MOTHER<\/character>\n    <parenthetical>(gently, in English)<\/parenthetical>\n    <dialogue>My darling Juliette... Are you back from school already? Come and give me a big kiss! Come and kiss your Mummy!<\/dialogue>\n    <scene_description>Juliette freezes.<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>Come on, sweety. What's wrong? Come on... I am so happy to see you! I am so happy!<\/dialogue>\n    <scene_description>The old lady holds her hand out. Juliette eventually takes hold of it. Her mother pulls her towards her. Juliette is caught between astonishment, the urge to run and great emotion.<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>I'm all alone here, you know. They locked me up! I'm all, all alone. Take me home with you. Take me home, please.<\/dialogue>\n    <scene_description>She sobs. Juliette strokes her hair and forehead. Just then, L\u00e9a returns. She stops in her tracks. Eventually, her mother looks up. She is transformed again.<\/scene_description>\n    <character>MOTHER<\/character>\n    <parenthetical>(in French)<\/parenthetical>\n    <dialogue>That's quite enough!<\/dialogue>\n    <parenthetical>(notices Juliette standing beside her)<\/parenthetical>\n    <dialogue>What are you doing, pressing up against me? You've got a nerve! Get out of here now, both of you! Go on! Out!<\/dialogue>\n    <character>70.<\/character>\n    <dialogue>MONTAGE.<\/dialogue>\n    <character>EXT. HOSPITAL\/STREET S - DAY<\/character>\n    <dialogue>Juliette comes out of the hospital. She catches a bus into town. Stands the whole way. It's full. She walks down a busy street in the town centre. She dials a number on a public phone. MONTAGE ends.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Michel? Hi, it's Juliette.<\/dialogue>\n    <character>MICHEL (O.S.)<\/character>\n    <dialogue>Hi, there! How are you doing?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Fine. I'm in town. I thought maybe we could meet up?<\/dialogue>\n    <character>MICHEL (O.S.)<\/character>\n    <dialogue>I'm really sorry. I have a meeting starting in half an hour and...<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>After your meeting maybe... I can go for a walk in the meantime.<\/dialogue>\n    <character>MICHEL (O.S.)<\/character>\n    <dialogue>It'll probably drag on. And I promised a friend I'd meet him afterwards. Another time, okay?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <parenthetical>(colder)<\/parenthetical>\n    <dialogue>Okay. Sorry to bother you. Goodbye.<\/dialogue>\n    <character>MICHEL (O.S.)<\/character>\n    <dialogue>Goodbye, Juliette.<\/dialogue>\n    <scene_description>She hangs up, her disappointment accentuated by the fact that Michel was clearly not telling her something.<\/scene_description>\n    <character>71.<\/character>\n    <dialogue>A fairly cramped space. Juliette stands at the bar, a glass of red<\/dialogue>\n    <character>INT. BAR - EVENING<\/character>\n    <dialogue>wine in front of her. Sips at it.<\/dialogue>\n    <dialogue>Lined up at the bar, other customers sip their beer or Ricard in much the same way, lost in their drink or their thoughts.<\/dialogue>\n    <dialogue>Nobody talks. Nobody pays any attention to anyone else. In the background, the radio plays. The Bar Owner does his accounts.<\/dialogue>\n    <dialogue>A banal, but odd glimpse of daily human existence.<\/dialogue>\n    <character>72.<\/character>\n    <dialogue>Juliette pushes the gate open and walks up to the house.<\/dialogue>\n    <character>EXT\/INT. L\u00c9A'S HOUSE - NIGHT<\/character>\n    <dialogue>Inside the house, silence. No lights are on.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Hello? Anyone home?<\/dialogue>\n    <scene_description>She knocks on Papy Paul's door. No answer. She glances in: his chair is empty. Back in the hallway, Juliette calls out again. No answer. She heads into the living room. L\u00e9a, Luc, the girls, Papy Paul, Samir, his (very pregnant) wife and Michel leap up and start singing.<\/scene_description>\n    <character>ALL<\/character>\n    <parenthetical>(except Papy Paul)<\/parenthetical>\n    <dialogue>Happy birthday to you! Happy birthday to you! Happy birthday, dear Juliette! Happy birthday to you!<\/dialogue>\n    <scene_description>They cheer and applaud. The two girls carry over a huge gift -wrapped present. Juliette tries to say something, but the words catch in her throat . Her eyes fill with tears. She laughs.<\/scene_description>\n    <character>73.<\/character>\n    <dialogue>Michel is stretched out on the couch.<\/dialogue>\n    <character>INT. MICHEL'S APARTMENT - DAY<\/character>\n    <dialogue>Juliette sits on the floor, her head resting on Michel's thigh.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>The worst thing, maybe, was the end, the last few weeks before it was ove r and after they told me I was being released. I started having nightmares. Always the same one, in fact. I had my case packed. I stepped outside and found myself in the middle of nowhere. There was nothing and nobody there. Just emptiness. One day, they told me I had a visitor. I thought it was a mistake. It was the first time ever. There was a young woman waiting to see me. She smiled. It was L\u00e9a. I listened to her without saying a word. She promised she'd come again. That night, I promised myself I'd refuse to see her. She belonged to a part of my life that had died. Then, just before I went to sleep, I thought back to when she was little. Lala, we used to call her. The gaps in her teeth, her smile, her fringe that would never stay in the same place... And her hand in mine. It was that little girl that made me decide to come back.<\/dialogue>\n    <character>74.<\/character>\n    <dialogue>L\u00e9a and Juliette stand side by side, drying their hair in the<\/dialogue>\n    <character>INT. LOCKER ROOM, SWIMMING POOL - DAY<\/character>\n    <dialogue>mirror.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Luc wants to take a trip to the mountains. \"Top up the red blood cells,\" as he puts it. Being fit for his stupid soccer games is all that matters to him.<\/dialogue>\n    <scene_description>L\u00e9a pauses and gazes at Juliette's face in the mirror. They stare at each other's reflection as if seeking the answer to a much deeper mystery.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>When I was little, I so wanted to be like you.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>And now?<\/dialogue>\n    <scene_description>Beat. They go back to drying their hair.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>You know what I thought about last night? The Green House at Hossegor. When was the last time we were there? The year I broke my wrist?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>I went back once more after that.<\/dialogue>\n    <scene_description>L\u00e9a glances quizzically at her sister, but a bunch of women passing noisily by, O.S., stop her pressing the issue. The women's voices and laughter eventually fade.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>I thought it had been knocked down.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Fifteen years ago, it was still standing.<\/dialogue>\n    <scene_description>L\u00e9a is intrigued now.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>I took Pierre there.<\/dialogue>\n    <scene_description>L\u00e9a gazes at Juliette's reflection, but doesn't dare ask.<\/scene_description>\n    <character>75.<\/character>\n    <dialogue>Little Lili watches admiringly as Juliette does her make -up in her<\/dialogue>\n    <character>INT. L\u00c9A'S HOUSE - EVENING<\/character>\n    <dialogue>room. L\u00e9a peeks round the door. She looks a million dollars.<\/dialogue>\n    <dialogue>They all go downstairs where Luc has Emelia in his arms.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>You look very beautiful, Auntie!<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Do you think so?<\/dialogue>\n    <scene_description>She picks up two pairs of earrings.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>These ones or these ones?<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>Mmmm... The red ones! After the restaurant, which nightclub are you going to?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>That's for us to know and you to find out.<\/dialogue>\n    <parenthetical>(to Juliette)<\/parenthetical>\n    <dialogue>Are you ready?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Absolutely!<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>Can you dance, Auntie?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Of course. I'll teach you if you want.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>Yes! I'd love to come with you.<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>You're still a bit on the young side, cupcake.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>I'm not a cupcake and I'm eight years old!<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <parenthetical>(chants)<\/parenthetical>\n    <dialogue>Eight years old! Eight years old! Eight years old!<\/dialogue>\n    <scene_description>Papy Paul pokes his head out of his room, smiling.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <parenthetical>(to the girls)<\/parenthetical>\n    <dialogue>See you, chickadees! Be good. Don't give your father a hard time. He looks exhausted already.<\/dialogue>\n    <scene_description>She gives them each a kiss. Luc whispers in her ear.<\/scene_description>\n    <character>LUC<\/character>\n    <dialogue>Don't come home too late, will you?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>You can bank on it, sweety!<\/dialogue>\n    <scene_description>She gives him one last kiss and a sly wink.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHTCLUB - NIGHT<\/stage_direction>\n    <scene_description>Juliette and L\u00e9a are caught in the throng in the club entrance. Chatter. Laughter. Throbbing music. L\u00e9a can't stop grinning as they shuffle towards the dance floor. Behind her, as the music gets louder, Juliette looks increasingly uncomfortable. L\u00e9a doesn't notice a thing. The camera closes in on her. After a few seconds, she glances round. Juliette has disappeared.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT, NIGHTCLUB - NIGHT<\/stage_direction>\n    <scene_description>L\u00e9a rushes out of the club, calling out Juliette's name. Finally, she hears sobbing coming fro m around a corner. Juliette is squatting on the ground, crying her eyes out. L\u00e9a hunkers down and takes her in her arms. Juliette clings to L\u00e9a like a life buoy.<\/scene_description>\n    <character>78.<\/character>\n    <dialogue>L\u00e9a drives.<\/dialogue>\n    <character>INT. CAR - NIGHT<\/character>\n    <dialogue>Juliette sits in a ball in the passenger seat. Haggard, tear - streaked cheeks.<\/dialogue>\n    <dialogue>L\u00e9a eventually breaks the silence.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>You can tell me anything. You can talk to me...<\/dialogue>\n    <scene_description>No reaction.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>I'm not other people.<\/dialogue>\n    <scene_description>Juliette glances at her sister.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>Juliette, I'm not other people.<\/dialogue>\n    <character>79.<\/character>\n    <dialogue>Juliette sits on the same bench in the waiting room as in a<\/dialogue>\n    <character>INT. POLICE STATION - DAY<\/character>\n    <dialogue>previous scene. Two people sit nearby.<\/dialogue>\n    <dialogue>A YOUNG INSPECTOR arrives.<\/dialogue>\n    <character>YOUNG INSPECTOR<\/character>\n    <parenthetical>(reads from a card)<\/parenthetical>\n    <dialogue>Juliette Fontaine?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>YOUNG INSPECTOR<\/character>\n    <dialogue>Follow me.<\/dialogue>\n    <scene_description>She follows him down the hallway. He doesn't say a word. He shows her into the same office as before. But it doesn't look the same. The Orinoco poster has been replaced by an official National Police Force poster. The young Inspector sits at the desk and opens a file. Juliette hesitates and decides t o stay standing. He talks without taking his eyes off the file.<\/scene_description>\n    <character>YOUNG INSPECTOR<\/character>\n    <dialogue>My name is Segral. I'm your new probation officer, replacing Inspector Faur\u00e9.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <parenthetical>(brightly)<\/parenthetical>\n    <dialogue>So he finally did it? He went to see the Orinoco?<\/dialogue>\n    <scene_description>The Inspector tears his eyes from the file and stares at Juliette as if she's totally nuts.<\/scene_description>\n    <character>YOUNG INSPECTOR<\/character>\n    <dialogue>If going to see the Orinoco means blowing your brains out, yes, he finally did it. Ten days ago.<\/dialogue>\n    <scene_description>Juliette gasps and grabs the back of the chair in front of her.<\/scene_description>\n    <character>80.<\/character>\n    <dialogue>Juliette walks home.<\/dialogue>\n    <character>EXT. OUTSIDE L\u00c9A'S HOUSE - DAY<\/character>\n    <dialogue>Outside the house, L\u00e9a is about to get into the car. The girls and Luc are already in their seats.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Juliette! Hurry! We're going to the clinic! Kaisha gave birth last night. A little girl. We're going to see her .<\/dialogue>\n    <scene_description>Juliette shakes her head.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>Come on, you can have a nap later if you're tired. The girls are so excited!<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Forget it.<\/dialogue>\n    <scene_description>Juliette heads up the path to the house. L\u00e9a gazes at her blankly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JULIETTE'S BEDR OOM - DAY<\/stage_direction>\n    <scene_description>Juliette lies on her bed, clasping a photo and a sheet of paper to her chest.<\/scene_description>\n    <character>82.<\/character>\n    <dialogue>Juliette is hard at work.<\/dialogue>\n    <character>INT. TYPING POOL - DAY<\/character>\n    <dialogue>SECRETARY (O.S.)<\/dialogue>\n    <scene_description>The Director wants to see you. He asked me to tell you. Juliette glances up anxiously.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Thanks... I'll be right there.<\/dialogue>\n    <character>83.<\/character>\n    <dialogue>On a table in the garden, L\u00e9a, Juliette and the two girls are<\/dialogue>\n    <character>EXT. GARDEN, L\u00c9A'S HOUSE - DAY<\/character>\n    <dialogue>making acacia blossom fritters. They all seem in good spirits.<\/dialogue>\n    <dialogue>Papy Paul reclines in a deck chair, reading and smiling.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>No, Little Lili, not like that! That's too much sugar. Two spoonfuls is enough, I said!<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Emelia, you're getting flour everywhere!<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>Is that okay, Auntie?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>That's perfect. Now, pour in the milk.<\/dialogue>\n    <character>LILI<\/character>\n    <dialogue>Do you think we'll have enough flowers?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Sure, and if we don't, we can pick some more.<\/dialogue>\n    <scene_description>Luc arrives home from work.<\/scene_description>\n    <character>LUC<\/character>\n    <parenthetical>(surprised)<\/parenthetical>\n    <dialogue>Good grief, it's a party!<\/dialogue>\n    <parenthetical>(kisses L\u00e9a)<\/parenthetical>\n    <dialogue>What are we celebrating?<\/dialogue>\n    <scene_description>Juliette and L\u00e9a glance at each other and smile.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>You tell him.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>The hospital has given me a full -time contract.<\/dialogue>\n    <character>LUC<\/character>\n    <dialogue>Wow, that's great! That calls for a drink!<\/dialogue>\n    <character>MICHEL (O.S.)<\/character>\n    <dialogue>My impeccable sense of timing...<\/dialogue>\n    <scene_description>He comes round the corner, carrying four bottles of champagne.<\/scene_description>\n    <character>MICHEL<\/character>\n    <dialogue>Hello, everybody! Look who I brought with me - a whole tribe of starving Afghanis!<\/dialogue>\n    <scene_description>Everybody looks past him to see Samir, Kaisha and their new baby arriving. More cheers.<\/scene_description>\n    <character>84.<\/character>\n    <dialogue>An apron tied round her waist, Juliette puts the last fritter on<\/dialogue>\n    <character>INT. KITCHEN - DAY<\/character>\n    <dialogue>the serving dish that Little Lili is ready to take out. O.S., laughter and banter from the garden.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Careful you don't burn yourself. And don't drop it either.<\/dialogue>\n    <scene_description>Little Lili walks out as if the platter were a royal crown. Juliette watches her affectionately. Wipes her hands. L\u00e9a arrives. The sisters glance at each other with love and great affection. Juliette opens her mouth to speak but bites her tongue.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Juliette smiles and shakes her head. She gazes at L\u00e9a once more.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>85.<\/character>\n    <dialogue>Juliette wanders round the museum, tightly framed by the camera.<\/dialogue>\n    <character>INT. FINE ARTS MUSEUM - DAY<\/character>\n    <dialogue>We see her face in close-up, with a blur of paintings behind her as she looks round.<\/dialogue>\n    <scene_description>She stops at a painting of the Annunciation. The camera closes in on the face of the Angel Gabriel telling Mary the good news. Juliette seems to be in key with the painting.<\/scene_description>\n    <character>MICHEL (O.S.)<\/character>\n    <dialogue>Here, look at this one.<\/dialogue>\n    <scene_description>We pull back to see that Michel has been walking along with Juliette all this time, his arm round her waist. He points to another painting. Juliette looks, then averts her eyes rapidly. Michel doesn't notice. The camera pulls back still further, until we lose them in the vastness of the museum. An ordinary couple. Just like any other.<\/scene_description>\n    <character>86.<\/character>\n    <dialogue>Juliette puts away her freshly laundered clothes in the cupboard.<\/dialogue>\n    <character>INT. JULIETTE'S BEDR OOM - DAY<\/character>\n    <dialogue>The photo and sheet of paper are tucked be tween two sweaters. Juliette takes them out and kisses them.<\/dialogue>\n    <character>LUC (O.S.)<\/character>\n    <parenthetical>(from downstairs)<\/parenthetical>\n    <dialogue>Juliette? It's 8:30 already! If you want me to give you a lift, it's right now!<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Coming!<\/dialogue>\n    <scene_description>She is about to tuck the photo out of sight again, but thinks twice. She gazes at the cupboard, frowns, then turns round and gently puts the photo and sheet of paper down on the bed, in full view. At the door, Juliette glances round at the bed and heaves a sigh of relief, as if a huge weight has been lifted from her sh oulders.<\/scene_description>\n    <character>87.<\/character>\n    <dialogue>L\u00e9a has pushed back the furniture to clean.<\/dialogue>\n    <character>INT. LIVING ROOM - DAY<\/character>\n    <dialogue>L\u00c9A<\/dialogue>\n    <parenthetical>(loudly)<\/parenthetical>\n    <dialogue>What was it this time, Marie-Paule? A cat? The wind? The holy spirit?<\/dialogue>\n    <character>KATRINA (O.S.)<\/character>\n    <dialogue>I never said that at all, L\u00e9a. What I said was that Papy Paul stumbled and the lamp fell off. You can't blame me for that!<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <parenthetical>(to herself)<\/parenthetical>\n    <dialogue>Papy Paul! Sure. I believe you.<\/dialogue>\n    <parenthetical>(louder)<\/parenthetical>\n    <dialogue>When you've finished in the kitchen, come and give me a hand moving the table. I know I can't do it on my own.<\/dialogue>\n    <character>KATRINA (O.S.)<\/character>\n    <dialogue>Okay!<\/dialogue>\n    <scene_description>Emelia skitters into the living room, gurgling happily. She has something in her hand that we can't make out.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>You've made a quick recovery, you little terror! If I'd known, I'd have taken you to cr\u00e8che.<\/dialogue>\n    <character>EMELIA<\/character>\n    <dialogue>Mummy! Mummy!<\/dialogue>\n    <scene_description>She holds out her hand.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>What have you got there?<\/dialogue>\n    <scene_description>L\u00e9a reaches out and takes it. Freezes. It's a photo. Of a little boy, laughing. L\u00e9a immediately recognizes Pierre, Juliette's son. Emelia gurgles some more. L\u00e9a snaps out of her trance.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>Where did you get this?<\/dialogue>\n    <character>EMELIA<\/character>\n    <dialogue>Auntie! Auntie!<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Emelia, it's wrong to take other people's things. It's wrong! I forbid it! I forbid it!<\/dialogue>\n    <scene_description>Emelia bursts into tears.<\/scene_description>\n    <character>88.<\/character>\n    <dialogue>L\u00e9a enters her sister's bedroom and sees the cupboard door is open.<\/dialogue>\n    <character>INT. JULIETTE'S BEDR OOM - DAY<\/character>\n    <dialogue>A sheet of paper lies on the bed. A child's handwriting and hearts drawn on the page draw her eye. L\u00e9a picks up the paper.<\/dialogue>\n    <dialogue>O.S., Emelia is still crying and calling for her \"Mummy! Mummy!\" L\u00e9a holds the photo in one hand and the sheet of paper in the<\/dialogue>\n    <scene_description>other. The camera scans the handwriting as she reads: A garden in the rain Is peaceful and sad too Mummy, I feel the same When I'm far from you Your smile lights up the sky And makes me so happy If one day you must die Make sure it's after me Your loving son, Pierre L\u00e9a stares at the page, deeply moved. She flips it over and her emotion gives way to surprise. The camera just gives us time to make out lines of figures and columns that look like the results of a number of tests. L\u00e9a is intrigued. She isn't sure what to do. Then, she leaves the room and goes to her study, where she scans the document.<\/scene_description>\n    <character>89.<\/character>\n    <dialogue>From the outside looking in, we see Juliette sitting in the caf\u00e9.<\/dialogue>\n    <character>INT. CAF\u00c9 - DAY<\/character>\n    <dialogue>She looks out. Watches people passing by. She seems at peace with herself.<\/dialogue>\n    <character>90.<\/character>\n    <dialogue>Little Lili and Juliette play the piano and sing happily.<\/dialogue>\n    <character>INT. SPARE ROOM - NIGHT<\/character>\n    <dialogue>JULIETTE &amp; LILI<\/dialogue>\n    <scene_description>Sur la plus haute branche Le rossignol chantait Chante, rossignol, chante Toi, tu as le c\u0153ur gai (On the highest branch A nightingale sang Sing, nightingale, sing Your heart is full of joy) Juliette gets up.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>I have to go.<\/dialogue>\n    <character>LILI<\/character>\n    <parenthetical>(keeps playing)<\/parenthetical>\n    <dialogue>No!<\/dialogue>\n    <scene_description>Juliette goes out into the hallway.<\/scene_description>\n    <character>LILI (O.S.)<\/character>\n    <dialogue>Mummy! Can you come and play with me?<\/dialogue>\n    <scene_description>Juliette joins L\u00e9a, who is tidying away clothes in Little Lili's dresser.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Is something wrong?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>No, I'm fine.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Are you sure?<\/dialogue>\n    <scene_description>L\u00e9a stops what she's doing and gazes at her sister. O.S., Little Lili keeps playing.<\/scene_description>\n    <character>91.<\/character>\n    <dialogue>In a white coat, stethoscope round his neck, Samir sits reading the<\/dialogue>\n    <character>INT. DOCTOR'S OFFICE - DAY<\/character>\n    <dialogue>scanned document. L\u00e9a sits anxiously opposite him. Beat.<\/dialogue>\n    <dialogue>Samir looks up and frowns.<\/dialogue>\n    <character>SAMIR<\/character>\n    <dialogue>Why did you tear the name off the top of the page?<\/dialogue>\n    <scene_description>No answer.<\/scene_description>\n    <character>SAMIR<\/character>\n    <dialogue>It's Lili, isn't it?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <parenthetical>(taken aback)<\/parenthetical>\n    <dialogue>No, not at all.<\/dialogue>\n    <character>SAMIR<\/character>\n    <dialogue>Do you swear?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>I swear it isn't Little Lili, Samir. Honestly! You don't know the little... It's somebody who died. A long time ago.<\/dialogue>\n    <character>SAMIR<\/character>\n    <dialogue>So why all the mystery?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>I can't explain now. Please, no questions. This is just very important for me. Very, very important. Please...<\/dialogue>\n    <scene_description>Samir glances over the document again. L\u00e9a observes him closely, then looks away. Sees a framed photo on the desk. It shows Samir when he was younger with a young woman and two children aged about four and six. They are all smiling.<\/scene_description>\n    <character>SAMIR<\/character>\n    <dialogue>I'll have to consult a colleague whose field this is. I don't want to mislead you. All I can say for the moment is that it doesn't look very good. Not good at all. I'll call you as soon as I have more.<\/dialogue>\n    <scene_description>L\u00e9a smiles gratefully and gets up to go. Samir comes round to get the door for her. Suddenly, L\u00e9a gives him a big hug. She glances at the p hoto on the desk again. Samir seems surprised by this show of affection. Then, he notices what she's looking at.<\/scene_description>\n    <character>SAMIR<\/character>\n    <parenthetical>(puts his hand over his heart)<\/parenthetical>\n    <dialogue>They're still here, you know. In the end, war is pretty weak. It can't destroy everything.<\/dialogue>\n    <character>92.<\/character>\n    <dialogue>Juliette waits outside an apartment building.<\/dialogue>\n    <character>EXT. STREET - DAY<\/character>\n    <dialogue>L\u00e9a runs to meet her. They kiss on the cheeks.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Sorry...<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>The woman from the agency gave me the keys. She'll meet us there.<\/dialogue>\n    <character>93.<\/character>\n    <dialogue>Juliette and L\u00e9a look round a charming old a partment.<\/dialogue>\n    <character>INT. EMPTY APARTMENT - DAY<\/character>\n    <dialogue>From separate rooms, they talk without being able to see each other.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Well?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <parenthetical>(distractedly)<\/parenthetical>\n    <dialogue>It's not bad.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>You don't sound convinced.<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>No, it is. It gets plenty of light.<\/dialogue>\n    <scene_description>Juliette joins L\u00e9a in the next room. Beat.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>I liked having you at home with us.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>You've been acting strange for the last couple of days. What's wrong?<\/dialogue>\n    <scene_description>They look straight at each other. L\u00e9a is about to say something, when the front door opens.<\/scene_description>\n    <character>ESTATE AGENT (O.S.)<\/character>\n    <dialogue>Madame Fontaine?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <character>94.<\/character>\n    <dialogue>L\u00e9a sits at her desk facing Bamakal\u00e9, elegantly dressed as always.<\/dialogue>\n    <character>INT. L\u00c9A'S OFFICE, FACULTY BLDG - DAY<\/character>\n    <dialogue>L\u00e9a seems weary and bored by his story.<\/dialogue>\n    <character>BAMAKAL\u00c9<\/character>\n    <dialogue>You have to understand, I feel like I have been passed from pillar to post for the last few months. I have been the victim of a terrible mistake. I can't sleep. I don't know where to turn...<\/dialogue>\n    <scene_description>The phone rings. L\u00e9a picks up and motions to Bamakal\u00e9 to give her a minute.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>Yes, Charly? ... Right, put him through. Thanks.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Samir? ... No, it's fine. Go ahead.<\/dialogue>\n    <scene_description>L\u00e9a listens, brow furrowed. Gradually, her expression changes as if she has made an astonishing realization. When Samir has finished, she simply thanks him and hangs up. She seems to have completely forgotten ab out Bamakal\u00e9. Eventually, he breaks the silence.<\/scene_description>\n    <character>BAMAKAL\u00c9<\/character>\n    <dialogue>As I was saying, I have been treated very unfairly. This isn't the first time, the people of Africa have suffered an injustice. You are well aware...<\/dialogue>\n    <scene_description>L\u00e9a looks up, as if only just noticing his pres ence.<\/scene_description>\n    <character>BAMAKAL\u00c9<\/character>\n    <dialogue>... that my people have been oppressed for centuries -<\/dialogue>\n    <character>L\u00c9A<\/character>\n    <dialogue>Mr. Bamakal\u00e9, you really are beginning to piss me off with your complaints about your marks! You know that? You're pissing me off!<\/dialogue>\n    <scene_description>FADE TO BLACK: Juliette's voice fades in while the screen is still black.<\/scene_description>\n    <character>JULIETTE (O.S.)<\/character>\n    <dialogue>I knew as soon as the first symptoms appeared. I hardly even read the results of the tests. Pierrot grabbed the letter and started writing a poem on it. When he gave it back, he was beaming with pride. My little boy.. .<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I saw him looking at me, so happy, so beautiful. He was my Pierrot. Then, I pictured the little corpse he was going to become.<\/dialogue>\n    <character>95.<\/character>\n    <dialogue>FADE UP.<\/dialogue>\n    <character>INT. LIVING ROOM - DAY<\/character>\n    <dialogue>Juliette stands by the window, looking out at the garden. A few paces behind her, L\u00e9a gazes at her sister. (As the scene develops, L\u00e9a will get closer to Juliette until she is pressed up against her sister.<\/dialogue>\n    <dialogue>We sense they have cried a lot already. They are beyond tears. Their eyes are puffy and red-rimmed.<\/dialogue>\n    <dialogue>They are reaching the conclusion of a long, painful discussion.)<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>I could picture him at every stage of the disease. I knew exactly how it would develop. The worst thing was that I knew he wouldn't just fall asleep and never wake up, like in a kiddies' story. Soon, he wouldn't be<\/dialogue>\n    <scene_description>able to move. He would suffer and gradually the life would be squeezed out of him. And there was no cure. Nothing to relieve his suffering. (beat) I went away with him. People said I abducted him. I suppose I did. I ran away with him. I fled with him and I fed him and I showed him all the places I loved best... Saint- Hippolyte, Beaulian, the Palioure coast... I had to increase the dose of painkillers almost every day. He was so brave. He used to say to me, \"I'm your little husband...\" (beat) One evening, we had a little party, just the two of us. It was in the Green House. We sang, we laughed and I read him all his favourite stories. Then, I put him to bed. I told him I loved him, that he was running a fever and I had to give him a jab. He gave me a hug and held me as tight as his little arms could. He recited his poem and I held him in my arms until morning. (beat) Afterwards, nothing seemed important anymore.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>Why didn't you say...<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>I felt so alone. So alone. Anyway, there was nothing to say. Trying to explain it would be trying to excuse it. Death has no excuses. One way or another, I was guilty. I had brought a child into the world only to sentence him to death.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You know, the most horrible prison... The worst prison is the death of you r child. There is never any release from that prison.<\/dialogue>\n    <scene_description>L\u00e9a holds Juliette in her arms. Juliette clings to her sister. L\u00e9a gives her a kiss. Silence.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>Look...<\/dialogue>\n    <scene_description>Outside, in the garden, the sun comes out, even though it's still raining.<\/scene_description>\n    <character>L\u00c9A<\/character>\n    <dialogue>Isn't it beautiful?<\/dialogue>\n    <scene_description>O.S., the front door opens.<\/scene_description>\n    <character>MICHEL (O.S.)<\/character>\n    <dialogue>It's Michel! Is anyone home?<\/dialogue>\n    <scene_description>The sisters say nothing.<\/scene_description>\n    <character>MICHEL (O.S.)<\/character>\n    <dialogue>L\u00e9a? Juliette?<\/dialogue>\n    <scene_description>Juliette turns away from the garden, glances at L\u00e9a, smiles.<\/scene_description>\n    <character>MICHEL (O.S.)<\/character>\n    <dialogue>Juliette?<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>I'm here!<\/dialogue>\n  <\/scene>\n<\/script>","summary":"When Juliette Fontaine, formerly a doctor, is released from prison, her younger sister L\u00e9a invites her to stay with her family \u2013 including her husband, his mute father, and their two adopted Vietnamese daughters \u2013 in their home in the university town of Nancy in Lorraine. Why Juliette was in prison is revealed slowly throughout the film: first, that she was in prison for 15 years, then that her crime was murder, then that the victim was her 6-year-old son Pierre, and finally the reason why she killed him. L\u00e9a, a college professor of literature, is considerably younger than Juliette. Because of the nature of Juliette's crime, their parents denied Juliette's existence and refused to allow L\u00e9a to visit her. In addition, Juliette had refused to speak throughout her trial. As a result, L\u00e9a knows nothing about the circumstances surrounding the crime and, when pressed for details, Juliette refuses to discuss what happened until the end of the film. While struggling to find employment, Juliette enjoys platonic companionship with two men, a probation officer who understands how prison can damage the human spirit, and Michel, one of L\u00e9a's colleagues, who is sympathetic to her ordeal of having been imprisoned. Gradually, Juliette begins to fit in with L\u00e9a and her family, makes friends, and finds a permanent job as a secretary at a hospital.  She also develops a close relationship with her young nieces, much to the distress of their father, who is concerned about their safety while in their aunt's presence.  Slowly, after seeing how she interacts with the family, he begins to accept her. Juliette agrees to accompany L\u00e9a on a visit to their mother, who is confined to a nursing home with Alzheimer's disease. For a brief moment the woman recognizes and embraces her, remembering her as a little girl rather than the estranged daughter who murdered her grandson. L\u00e9a accidentally discovers a clue to why Juliette killed Pierre. Juliette diagnosed her son as suffering from a fatal and painful disease.  L\u00e9a confronts Juliette with what she learned, and Juliette explains that, when Pierre's condition progressed so that he could barely move, Juliette killed him with an injection, knowing that otherwise he would suffer unbearable pain.  At the trial she spoke no word of defense or explanation, feeling that she deserved punishment for bringing her son into the world, condemned to die. After a cathartic, emotional scene between the two sisters, L\u00e9a looks at a window and comments on how beautiful the rain is. Juliette agrees, and the film ends with Juliette saying, \"I am here.\""}
{"movie_name":"Belfast_2021","imdb_id":"tt12789558","script":"<script>\n  <scene>\n    <scene_description>BELFAST KENNETH BRANAGH SHOOTING DRAFT AUGUST 2020<\/scene_description>\n    <character>TKBC LTD.,<\/character>\n    <dialogue>Longcross Studios,<\/dialogue>\n    <scene_description>Building 124, Chobham Lane Chertsey<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BELFAST EARLY MORNING<\/stage_direction>\n    <scene_description>Dawn in the Northern Sky. We hear Van Morrison start to play. DOWN TO JOY. Samson and Goliath, two massive cranes dominate the shipyard and the city. The waters of the loch frame the mighty harbour. The town unfolds itself in image after image of river and road, mountain and monument, City Hall, College Square, courthouse and castle. FADE TO: Title: CUT TO: North Belfast. Narrow streets, working people. Vivid murals, disappear as we TRANSITION TO: BLACK AND WHITE:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK ENTRY DAY<\/stage_direction>\n    <scene_description>Superimpose: 15th August 1969 A back entry (alleyway) between rows of terraced houses. A gaggle of legs and arms and giggling. 7, 8, 9 year olds at play, hopscotch, polo sticks, makeshift swords.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S STREET DAY<\/stage_direction>\n    <scene_description>Public housing, crammed terraces. FRANKIE WEST cycles down the busy street. MA walks through the opened door onto the pavement.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>How are you Frankie?<\/dialogue>\n    <character>FRANKIE WEST<\/character>\n    <dialogue>I'm alright. How you doin'?.<\/dialogue>\n    <scene_description>She looks up and down the road, then starts to call,<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>Buddy?<\/dialogue>\n    <scene_description>As she continues with the calling, we see that it is heard, and then taken up by another Mother, and then another. MOIRA struts along by the shops.<\/scene_description>\n    <character>MRS FORD<\/character>\n    <dialogue>Hey you Moira, how are you?<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>Very good thank you. How are you?<\/dialogue>\n    <character>MRS FORD<\/character>\n    <dialogue>I'm good.<\/dialogue>\n    <scene_description>MOIRA crosses the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK ENTRY DAY<\/stage_direction>\n    <scene_description>MOIRA appears at the top of the Entry.<\/scene_description>\n    <character>MOIRA<\/character>\n    <dialogue>Hey Buddy!<\/dialogue>\n    <scene_description>A boy slowly turns. He carries a primitive home-made wooden sword held aloft in one hand, and in the other an upturned dustbin lid, that he holds before him, like a shield. This is BUDDY.<\/scene_description>\n    <character>MOIRA<\/character>\n    <dialogue>Your Ma's callin' you. Yer tea's ready.<\/dialogue>\n    <scene_description>BUDDY rejoices.<\/scene_description>\n    <character>MOIRA<\/character>\n    <dialogue>All the rest of you too.<\/dialogue>\n    <scene_description>He runs to the top of the entry.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S STREET DAY<\/stage_direction>\n    <scene_description>BUDDY rounds the top of the street. Houses, and sops and a whole lotta people on the street or on the pavement, still playing or about to finish, as dinnertime approaches. These are the dog days of August. Sun-burnt parents chattering together on steps. Laughter, gossip, mickey-taking. Beautiful Belfast accents. Everybody knows everybody. No bother. Another day in the neighbourhood.<\/scene_description>\n    <character>MRS FORD (O.S.)<\/character>\n    <dialogue>How are you Buddy?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Hello Mrs. Ford.<\/dialogue>\n    <character>MRS FORD (O.S.)<\/character>\n    <dialogue>Have you been fighting any dragons?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Only a couple.<\/dialogue>\n    <character>FRANKIE WEST<\/character>\n    <dialogue>I got a couple in my house.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Is that right Mr. West?<\/dialogue>\n    <scene_description>The camera is high above and behind BUDDY as he starts to walk down the middle of the street. You can see clearly all the way down to the other end, where it meets a road going horizontally across, making a T junction.<\/scene_description>\n    <character>FRANKIE WEST<\/character>\n    <dialogue>Aye. And can you lend us a shield Buddy?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>I'll see what I can do.<\/dialogue>\n    <character>FRANKIE WEST<\/character>\n    <dialogue>Say hello to your daddy for me, will ya?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Will do.<\/dialogue>\n    <character>MRS KAVANAGH<\/character>\n    <dialogue>Buddy your Ma's callin' you for your tea.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Thanks Mrs. Kavanagh.<\/dialogue>\n    <character>MR STEWART<\/character>\n    <dialogue>She says it's tripe and onions.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>She did not.<\/dialogue>\n    <character>MR STEWART<\/character>\n    <dialogue>In a sandwich.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>She did not. She says you're a terrible man.<\/dialogue>\n    <character>MR STEWART<\/character>\n    <dialogue>She's right.<\/dialogue>\n    <scene_description>It is so hot. BUDDY begins to slow. The sound of the chatter begins to recede. BUDDY's happy face begins to change expression. The sound of the street is harder to hear now. In his head, it's being replaced, by the sound of...bees? The hot weather, and the closeness of the atmosphere, and now... He stops. Not bees. The clear view at the far, end of the street is slowly being replaced by a ...thin dark band on the road, the width of the street now, indistinct but definitely moving towards him. He looks, and people are moving in slow motion, and he can't quite hear what they're saying, but some of the parents are running into the street and grabbing their children, and other kids are running past him and up the street, and then as he watches transfixed. An explosion! Buddy's sharp gaze shifts back to the swarm itself, and he sees what it is. Hundreds of youths. Wild, snarling, enraged. This is a riot.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>Mum?<\/dialogue>\n    <scene_description>SMASH - Petrol Bombs fly through the air MA runs out of the house.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>Buddy! Buddy!<\/dialogue>\n    <scene_description>As BUDDY turns to see where from, an arm scoops him up. Noise. Blurred movement. Furious pace. Hands and feet gather around a drainage grate at the side of the road. MA races back across the street towards her open door, carrying BUDDY. She carries BUDDY's make-shift shield in front of the two of them, and we see rocks and bricks bouncing off the dustbin lid as she drives ahead into the storm of hurled stones, like an urban Boadicea. A flurry of bodies behind and in front of her; chasing, shouting, warning. In foreground, as a mass of bodies continues to pass up the street, the massive, iron grate is slowly lifted. The Rioters are nearly all masked with scarves across their faces.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUDDY'S HOUSE DAY<\/stage_direction>\n    <scene_description>BUDDY dragged through the hall, shoved under the dinner table.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>Keep your head down and don't move.<\/dialogue>\n    <scene_description>MA rushes to the door.<\/scene_description>\n    <character>MA<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S STREET DAY<\/stage_direction>\n    <scene_description>MA comes out of her house and yells down the street.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>WILL!<\/dialogue>\n    <scene_description>SMASH! The iron grate is dropped on to the road and breaks into pieces. Eager hands grab the shards.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CATHOLIC HOUSE DAY<\/stage_direction>\n    <scene_description>A family runs inside. Mother and children cower together under a table, the Father moves to the window.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CATHOLIC HOUSE DAY<\/stage_direction>\n    <scene_description>A RIOTER smashes the window with a baseball bat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CATHOLIC HOUSE DAY<\/stage_direction>\n    <scene_description>The family scrabbles along the floor under the falling glass.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S HOUSE DAY<\/stage_direction>\n    <scene_description>Only just ahead of the advancing rioters, WILL (Buddy's 14 year old brother) runs towards his MA.<\/scene_description>\n    <character>WILL<\/character>\n    <dialogue>Get into the house Mommy!<\/dialogue>\n    <scene_description>MA grabs him and slams the front door shut.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUDDY'S HOUSE DAY<\/stage_direction>\n    <scene_description>MA shoves WILL under the table with his younger brother.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>Keep him there. And stay still.<\/dialogue>\n    <scene_description>MA crawls across the floor on her stomach to the living room window, lifts her head, and carefully looks out.<\/scene_description>\n    <character>WILL<\/character>\n    <dialogue>Ma what are you doing?<\/dialogue>\n    <scene_description>WILL tries to leave his hiding spot.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>Will, stay where you are!<\/dialogue>\n    <scene_description>WILL goes back under the table and cradles his younger brother.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S STREET DAY<\/stage_direction>\n    <scene_description>A vicious bacchanal. Faces contorted. More houses marked with the iron grenades. Chants and warnings. Cars kicked, mirrors twisted. Youths jumping, yelling. Hysteria and mayhem. MICKEY CLANTON steps out, with DARLENE &amp; FANCY CLANTON and calls down the street.<\/scene_description>\n    <character>MICKEY CLANTON<\/character>\n    <dialogue>You've been warned. Get these fuckers out o' yer street.<\/dialogue>\n    <scene_description>Movement behind curtains, faces at the windows.<\/scene_description>\n    <character>MICKEY CLANTON<\/character>\n    <dialogue>And if you talk to the Police, we'll be back for you too.<\/dialogue>\n    <scene_description>A car is driven into the street. MICKEY CLANTON pulls something from under his shirt in a deft, violent movement. A fist of iron is grabbed from the road, a rag with a cylinder is wrapped around it. FANCY CLANTON smashes the petrol cap off with the iron. And DARLENE CLANTON inserts the rag into the opening and lights it. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUDDY'S HOUSE DAY<\/stage_direction>\n    <scene_description>MA on her knees at the window looking out. BUDDY and WILL are still under the table in the kitchen. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S STREET DAY<\/stage_direction>\n    <scene_description>The Rioters push the car. When it picks up speed, they sprint away from the vehicle. A MASSIVE EXPLOSION erupts the car into flames. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUDDY'S HOUSE DAY<\/stage_direction>\n    <scene_description>The window rattles. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S STREET DAY<\/stage_direction>\n    <scene_description>The explosion sends debris and light across the street. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUDDY'S HOUSE DAY<\/stage_direction>\n    <scene_description>BUDDY curled into a ball under the table. His face listening to the new silence, and fear. FADE TO BLACK.:<\/scene_description>\n    <character>MA (V.O.)<\/character>\n    <dialogue>Holy God.<\/dialogue>\n    <scene_description>Long pause.<\/scene_description>\n    <character>TV REPORTER (V.O.)<\/character>\n    <dialogue>Belfast was in shock--<\/dialogue>\n    <scene_description>FADE TO.:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TV REPAIR SHOP DAY<\/stage_direction>\n    <scene_description>A TV repair shop has multiple television sets switched on in the window display.<\/scene_description>\n    <character>TV REPORTER (V.O.)<\/character>\n    <dialogue>--this morning as the impact of last night's rioting was all too clear. Small numbers of catholics still peacefully living in protestant areas were targeted. Their houses were attacked and marked. And intimidation may force them to leave...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET DAY<\/stage_direction>\n    <character>TV REPORTER (V.O.)<\/character>\n    <dialogue>--their homes completely. Can these tightly knit neighbourhoods ever return to the peace they shared together only twenty four hours ago? Further reports...<\/dialogue>\n    <scene_description>The broadcaster's voice fades away, overpowered by the street noise. The whole population of the Street seems to be on the road. Not the pandemonium of before but tight, focused activity. Wheelbarrows with rocks file past, sheets of hardboard moved to repair broken windows. We follow BUDDY as he walks up the street, there is no longer a pavement, merely the sand that lay beneath. All the paving stones have gone. Prams and old mangles are being dragged up and down the road. There is movement in each direction. In front of every single house as far as the eye can see there is a group of women and children gathered and talking. BUDDY is entirely ignored by the frenzied population.<\/scene_description>\n    <character>MAN 1 (OS)<\/character>\n    <dialogue>Look we need to get this barricade up before those kids come back.<\/dialogue>\n    <character>MAN 2 (O.S.)<\/character>\n    <dialogue>I'm taking all these paving stones to the barricade, 'm taking them all down.<\/dialogue>\n    <character>MAN 3 (O.S.)<\/character>\n    <dialogue>Don't you worry Paddy, we're not gonna let them back here again. You're as welcome on this street as any of us.<\/dialogue>\n    <character>MAN 4 (O.S.)<\/character>\n    <dialogue>Alright Buddy?<\/dialogue>\n    <scene_description>BUDDY waves at the man (O.S.) and makes his way to the top of the road.<\/scene_description>\n    <character>WOMAN 1 (O.S.)<\/character>\n    <dialogue>Fergus didn't come home last night I'm gonna go see Mrs. McGuinness<\/dialogue>\n    <character>MAN 5 (O.S.)<\/character>\n    <dialogue>We have to do this, the police aren't going to protect us. We have to do it ourselves.<\/dialogue>\n    <character>WOMAN 2 (O.S.)<\/character>\n    <dialogue>Kids please go inside. I don't want you out here...<\/dialogue>\n    <scene_description>Paving stones, wood off-cuts, fridges, prams, turf, barbed wire. The burning car from before, has been turned on its side, and takes the centre position in the barrier. BUDDY climbs up the barricade.<\/scene_description>\n    <character>WOMAN ON THE BARRICADE<\/character>\n    <dialogue>Watch yourself getting up there love.<\/dialogue>\n    <character>A MASSIVE STREET-WIDE BARRICADE.<\/character>\n    <dialogue>BUDDY's POV.<\/dialogue>\n    <dialogue>From up there, he sees barbed wire and activity at the bottom of the road. The same thing is happening there. BUDDY's street is now in total lockdown from the world.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUDDY'S HOUSE DAY<\/stage_direction>\n    <scene_description>MA watches the television news describing the intensification of hostilities. Disturbing pictures and commentary from a war zone. TV NEWS 'ULSTER ON THE BRINK',<\/scene_description>\n    <character>TV REPORTER (V.O.)<\/character>\n    <dialogue>The likeliest move is to bring troops into Belfast in hope of avoiding further clashes between rioters and police, particularly the B specials. Another six hundred troops will be available this afternoon.<\/dialogue>\n    <scene_description>MA moves to the window. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S HOUSE DAY<\/stage_direction>\n    <scene_description>The war zone from the TV, is just outside her front door. A tank and soldiers march past the house. CUT BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUDDY'S HOUSE DAY<\/stage_direction>\n    <character>TV REPORTER (V.O.)<\/character>\n    <dialogue>And now that the third battalion of the light infantry flying from Plymouth to block the gap left by the use of troops. A curfew is another possibility which has been widely mentioned...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S STREET\/BARRICADE DAY<\/stage_direction>\n    <scene_description>PA, straight from the airport. From the body language of the dumbshow, it's clear that the police are questioning him with some scepticism, checking passport, etc, while he is agitated and pointing - he lives here. BUDDY and WILL hide behind the barricade.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>I've just come from the airport.....now. I've literally just come from the airport. I live in that street. That's my kids there. I live at number 96.<\/dialogue>\n    <scene_description>MRS FORD hurries back down the street, towards Buddy's house.<\/scene_description>\n    <character>MRS FORD<\/character>\n    <dialogue>Get up there quick! Quick!<\/dialogue>\n    <scene_description>MA comes out of the front door.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>Christ!<\/dialogue>\n    <scene_description>She looks up the street. Beyond the barricade, at a make shift checkpoint, is PA. She runs towards him.<\/scene_description>\n    <character>SOLDIER<\/character>\n    <dialogue>STOP!<\/dialogue>\n    <scene_description>She comes to a frightened stop, look at the SOLDIER, and rifle.<\/scene_description>\n    <character>SOLDIER<\/character>\n    <dialogue>Where do you think you're going love?<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>To bring my husband home. That's him on the other side there.<\/dialogue>\n    <character>SOLDIER<\/character>\n    <dialogue>Where's he been then?<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>None of your bloody business.<\/dialogue>\n    <character>SOLDIER<\/character>\n    <dialogue>Not with you in your hour of need? That's a bit off isn't it?<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>He works away in England.<\/dialogue>\n    <scene_description>By now MA and PA have seen each other and the tension increases.<\/scene_description>\n    <character>SOLDIER<\/character>\n    <dialogue>Oh does he now? What kinda work is that?<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>He's a joiner.<\/dialogue>\n    <character>SOLDIER<\/character>\n    <dialogue>I see. And has he joined any of these groups making all this mess in your street?<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>He knew nothing about the whole bloody thing. That's why he's here now. He's come over from his work to see to his family.<\/dialogue>\n    <character>SOLDIER<\/character>\n    <dialogue>Glad to hear it madam.<\/dialogue>\n    <scene_description>PA is allowed through. He hurries towards his wife. His neighbours call to him.<\/scene_description>\n    <character>FRANKIE WEST<\/character>\n    <dialogue>They nearly had you there, Steve McQueen!<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>I'll have you in a bloody minute, Frankie!<\/dialogue>\n    <character>MA<\/character>\n    <parenthetical>(to Buddy and Will)<\/parenthetical>\n    <dialogue>Come on you two.<\/dialogue>\n    <scene_description>BUDDY and WILL join MA and PA. FRANKIE WEST starts to whistle the famous theme from 'The Great Escape'. The relief shows on PA's face. The family is almost at their front door. In they go and the door slams shut.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRANNY'S STREET LATER<\/stage_direction>\n    <scene_description>The street is deserted.<\/scene_description>\n    <character>WILLIAM SHATNER (V.O.)<\/character>\n    <dialogue>Space. The final frontier...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRANNY'S HOUSE DAY<\/stage_direction>\n    <scene_description>Star Trek Enterprise is on TV:<\/scene_description>\n    <character>WILLIAM SHATNER (V.O.)<\/character>\n    <dialogue>...these are the voyages of the star ship Enterprise...<\/dialogue>\n    <character>GRANNY<\/character>\n    <dialogue>Did they attack you?<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>No, it was only the Catholic houses. Them Boyos want them out.<\/dialogue>\n    <character>GRANNY<\/character>\n    <dialogue>But them peoples no bother to you in that street, do they?<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>Not at all. Sure they're friends.Their families same as us, they just kick with the left foot.<\/dialogue>\n    <character>GRANNY<\/character>\n    <dialogue>Exactly! Sure my best friend in this street is Mrs Ganjawala, she's Indian. She even comes to the wee mission with me. But them curries, I tried it once, I had to wear a nappy for a week.<\/dialogue>\n    <scene_description>BUDDY and WILL chuckle. WILL puts his feet up on the sofa.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>Will!<\/dialogue>\n    <scene_description>He puts them back down.<\/scene_description>\n    <character>WILL<\/character>\n    <dialogue>Ach mom...sorry Granny...<\/dialogue>\n    <scene_description>Through the window at the rear of the room, BUDDY looks through to the tiny backyard, and sees his PA. He's talking to someone opposite him.<\/scene_description>\n    <character>POP<\/character>\n    <dialogue>She's well used to handling herself.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>It's being so cheerful keeps you goin, isn't it?<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>Sure, I'm not goin be runnin up the Cave Hill anytime soon, am I?<\/dialogue>\n    <scene_description>BUDDY walks through to join them. We see POP, sitting opposite his son, on the seat of the outside toilet, the primitive wooden door wedged open. He has cup and saucer in his hand.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>Hey Pop.<\/dialogue>\n    <scene_description>POP grins, and looks to BUDDY.<\/scene_description>\n    <character>POP<\/character>\n    <dialogue>How are you Buddy.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>Does the Doctor want to see you again?<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>Aye, he's give' me a letter for the hospital.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>And did you go?<\/dialogue>\n    <scene_description>PA shakes his head.<\/scene_description>\n    <character>POP<\/character>\n    <dialogue>No point.<\/dialogue>\n    <scene_description>Lowers his voice.<\/scene_description>\n    <character>POP<\/character>\n    <dialogue>I think you've got some big decisions to make son.<\/dialogue>\n    <scene_description>The women seem oblivious of the mens talk.<\/scene_description>\n    <character>POP<\/character>\n    <dialogue>Did you clear up that wee bit of trouble we were talkin about?<\/dialogue>\n    <scene_description>And now the women turn.<\/scene_description>\n    <character>GRANNY<\/character>\n    <dialogue>Hey wee fellas. We're not deaf back here.<\/dialogue>\n    <scene_description>POP and PA exchange a look.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BELFAST CITY DUSK<\/stage_direction>\n    <scene_description>FADE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUDDY'S HOUSE DAY<\/stage_direction>\n    <scene_description>The TV is on in the living room. Two women are being interviewed.<\/scene_description>\n    <character>TV EYE WITNESS 1<\/character>\n    <dialogue>Oh yes, we're friends on the protestant side.<\/dialogue>\n    <character>TV EYE WITNESS 2<\/character>\n    <dialogue>They weren't friends last night...they weren't friends last night...<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Paddy Kavanagh told me that as long as Catholics keep confessin everything bad that they do to a Priest, then they can do whatever they want, and God'll forgive them all the time?<\/dialogue>\n    <scene_description>MA getting BUDDY ready for church. Jacket on, hair smoothed.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>Well Paddy Kavanagh's family's not gonna be livin in this street for much longer so you better check if he's just takin the hand out of you. I don't know how the hell it works. They get a lot of water thrown on them and then they're ok and that's it.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Why aren't you goin too?<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>Because me an your father have business to discuss. God understands. Now, come on.<\/dialogue>\n    <scene_description>As MA leans over and kisses BUDDY on his forehead, BUDDY's face is very close to his MA's chest..<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>What are those?<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>My little secret.<\/dialogue>\n    <parenthetical>(PA smiles)<\/parenthetical>\n    <dialogue>Now come on!<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>I've had too much God for one day!<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>Yer Granny says you can never have too much God, you might need him before too long.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>Look, mind your nonsense for now, and I'll take you'll to the pictures tomorrow.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Brilliant! Robin and the Seven Hoods is on in the afternoon at the Capitol - Paddy saw it.<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>Is that gangsters?<\/dialogue>\n    <character>WILL<\/character>\n    <dialogue>It's a blinking musical!<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>No it's not, there's Little John and swords and everything.<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>We can't go tomorrow afternoon, your cousins are all here. Your uncles and aunties wanna say goodbye to your Father before he goes back.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>But Daddy, are you not gonna be a vigilante on our barricade?<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>No more talk about bloody barricades. That old nonsense'll stop soon enough.<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>I wouldn't be too sure about that.<\/dialogue>\n    <character>PA<\/character>\n    <parenthetical>(to BUDDY)<\/parenthetical>\n    <dialogue>Hey, less of the long face son.<\/dialogue>\n    <parenthetical>(to MA)<\/parenthetical>\n    <dialogue>These two can go and pray for it to stop now...<\/dialogue>\n    <parenthetical>(to BUDDY)<\/parenthetical>\n    <dialogue>And we'll all go down to the big picture house in the town t'morrow. Daddy'll pick the film, and we'll forget about this whole bunch of eedjits before I've to go back to work.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Was that our side that done all that to them Catholic houses in our street, Daddy?<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>There's no 'our' side and 'their' side in our street. Well there didn't use to be anyway. It's all bloody religion, that's the problem.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Then why are you sending us to church?<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>Cos yer Granny would kill me if I didn't.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>But Daddy if we were Catholics, we could not go to church, and then every once in a wee while we could go in and confess, and then they'd have to tell us we were forgiven, and we wouldn't have to go again for ages.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PROTESTANT CHURCH EVENING<\/stage_direction>\n    <scene_description>A grand forbidding, modern Gothic exterior.<\/scene_description>\n    <character>PA (V.O.)<\/character>\n    <dialogue>I've nothin against Catholics...but its a religion of fear.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PROTESTANT CHURCH EVENING<\/stage_direction>\n    <character>MINISTER<\/character>\n    <dialogue>PROTESTANTS, YOU WILL DIE! AGONISINGLY.<\/dialogue>\n    <scene_description>BUDDY looks to WILL, very concerned. The Minister drops his voice, to begin a slow crescendo to the big finish.<\/scene_description>\n    <character>MINISTER<\/character>\n    <dialogue>And where will YOU go? When you shuffle off this pestilential mortal coil. WHERE?<\/dialogue>\n    <scene_description>BUDDY's face, transfixed by the fire and the brimstone.<\/scene_description>\n    <character>MINISTER<\/character>\n    <dialogue>I will tell you where. Picture the scene. A fork in the road. In one direction, a straight and narrow highway. In the other, a long and winding road which stretches down and away, into an unknowable distance. One will take you to the bosom of the Lord's grace for ever and a day and caress you with beatific love, and the other will spew you into an eternal pit of sulphorous, suffering, pustulating pain, from which you will never, ever, through the seven circles of hell, escape. And I ask you here and now, which road will you take?<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>MINISTER<\/character>\n    <dialogue>Now, money.<\/dialogue>\n    <scene_description>The collection plate is thrust in front of the BOYS. WILL drops the envelope on it.<\/scene_description>\n    <character>THE BOYS<\/character>\n    <dialogue>Thanks very much.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Really good.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITYSCAPE NIGHT<\/stage_direction>\n    <scene_description>Helicopter searchlights.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET NIGHT<\/stage_direction>\n    <scene_description>Helicopters shine floodlights. Vigilantes patrol with torches in their hands.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUDDY'S BEDROOM NIGHT<\/stage_direction>\n    <scene_description>BUDDY gets out of his bed, goes to his school bag, pulls out an exercise book, and he starts to draw a map.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUDDY'S HOUSE \/ KITCHEN DAY<\/stage_direction>\n    <scene_description>The BOYS and PA help MA prepare the food.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>Remember one slice per sandwich. I don't want to be giving too much.<\/dialogue>\n    <character>TV REPORTER (V.O.)<\/character>\n    <dialogue>With regards to the explosive, I think that's a fair word, situation in Northern Ireland...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUDDY'S HOUSE \/ LIVING ROOM DAY<\/stage_direction>\n    <scene_description>The TV blasts out more reports of violence from the previous night.<\/scene_description>\n    <character>TV REPORTER<\/character>\n    <dialogue>...are we getting there to the point where you as Prime Minister of the United Kingdom government will feel it necessary to intervene and use the supreme authority which is yours in law, either to remedy grievances or to ensure order.<\/dialogue>\n    <scene_description>MA lays out plates of sandwiches on a table in the living room.<\/scene_description>\n    <character>PRIME MINISTER<\/character>\n    <dialogue>If that became necessary, of course. I shouldn't shrink from doing whatever was needed. We have been deeply concerned about the problem of civil rights in Northern Ireland. I've paid tribute...<\/dialogue>\n    <scene_description>Once she's done with her delivery, she turns off the TV.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S STREET DAY<\/stage_direction>\n    <scene_description>Visiting family members arriving and having to go through the 'checkpoint' at the barricade.<\/scene_description>\n    <character>SOLDIER<\/character>\n    <dialogue>Make an orderly queue to be allowed entrance to the street please.<\/dialogue>\n    <scene_description>MACKIE, a local cafe owner, is unimpressed by the arrangements.<\/scene_description>\n    <character>MACKIE<\/character>\n    <dialogue>Not doin a strip search this time, hey Frankie?<\/dialogue>\n    <character>FRANKIE WEST<\/character>\n    <dialogue>Whose d'ya belong to here?<\/dialogue>\n    <character>MACKIE<\/character>\n    <dialogue>You know full bloody well who we belong to. I'm takin ma wife de er sisters just like I've been doin' all my bloody life.<\/dialogue>\n    <character>FRANKIE WEST<\/character>\n    <dialogue>House number?<\/dialogue>\n    <character>MACKIE<\/character>\n    <dialogue>There is no number, just a name.<\/dialogue>\n    <character>FRANKIE WEST<\/character>\n    <dialogue>And what's the name?<\/dialogue>\n    <character>MACKIE<\/character>\n    <dialogue>'Arsehole'.<\/dialogue>\n    <character>FRANKIE WEST<\/character>\n    <dialogue>Very funny Mack. Always the joker, eh? On yer go.<\/dialogue>\n    <scene_description>They step away towards BUDDY's house.<\/scene_description>\n    <character>FRANKIE WEST<\/character>\n    <dialogue>We won't worry about the name or the number, we know where they live.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S HOUSE \/ STREET DAY<\/stage_direction>\n    <scene_description>LATER. The record player is wedged at the windowsill, electric cord stretching to its limit, but it does its job and the sound plays out on to the street where the family have spilled from the house. Walls and pavements awash with cousins, brothers, sisters, drinks and sandwiches in hand - a clan. MA and PA are jiving expertly to CALEDONIA SWING by Van Morrison They are both youthful, carefree, sexy. People talk, watch, and clap.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S BACKYARD DAY<\/stage_direction>\n    <scene_description>The sound of shouting, singing, talking, drinking squash and eating cake drifts in from the folk inside the house and out on the street at the front. The back door to the Entry is open. Some of them are out there playing football. BUDDY and self-styled Tomboy, MOIRA are carving and shaping wooden hand catapults by the back door.<\/scene_description>\n    <character>MOIRA<\/character>\n    <dialogue>You can tell them by their names.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>How?<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>Well if he's a Patrick or a Sean, he's a Catholic, and if he's a Billy or a William, he's a protestant.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>There's more names than that though.<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>I know that, I'm just sayin, them's the obvious ones.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>What about...Maurice?<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>Er...dunno.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Um...we've a wee fella down our street called Thomas, what's he?<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>Protestant definitely!<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>He's not, he's a Catholic.<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>No he's not.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>He is, sure they burnt his house out the other night, cos his family IS Catholic.<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>Sure we've a cousin called Thomas.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>I know. That's what I'm sayin.<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>Well how the hell are you supposed to know then?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>You have to get taught it.<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>Who teaches yer?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S STREET DAY<\/stage_direction>\n    <scene_description>PA is telling a joke to the crowd.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>...so the Doctor says, 'Listen John I got some bad news, and worse.\" John says \"Oh no, what's the bad news?\" He goes \"Well you've only 24 hours to live\" John says \"That's awful! What can be worse than that?\" Doctor says \"Well. I've been trying to get hold of you since yesterday\"<\/dialogue>\n    <scene_description>The crowd laugh.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S BACKYARD DAY<\/stage_direction>\n    <character>BUDDY<\/character>\n    <dialogue>Why do ya even need to know?<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>In case they attack you.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>When?<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>When you're out an about.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>But if they're attacking you, they're not gonna stop an tell you their name.<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>It wouldn't get to that stage.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>'Cos you use your secret knowledge to bluff them.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>They can just come up to you, when yer not expectin' it, and ask you, \"Are you a protestant or a Catholic\", but it's a trick question you see, cos they don't tell you what they are, and what do you say then? To not get a dig in the gob?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>I'm a Catholic?<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>Wrong. That's exactly what they think you will say. They think you're tryin to bluff them. But you have to double bluff them.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>How?<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>You say, \"I'm a Protestant\".<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>But I AM a Protestant.<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>That's the point.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK ENTRY LATER<\/stage_direction>\n    <scene_description>A Football game in progress.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>......and Blanchflower now at the halfway line. He looks up, is there nothin this Spurs right half cannot do...<\/dialogue>\n    <scene_description>BUDDY kicks the ball it goes too far and lands instead at the feet of two men who are walking up the street towards them. BILLY CLANTON traps the ball expertly.<\/scene_description>\n    <character>BILLY CLANTON<\/character>\n    <dialogue>Nice pass son. Would you go on away in and tell yer Pa I'd like to have a wee chat with him please? Tell him it's Billy Clanton.<\/dialogue>\n    <character>MCLAURY<\/character>\n    <dialogue>And McLaury.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S BACKYARD \/ BACK ENTRY LATER<\/stage_direction>\n    <scene_description>BUDDY is watching his Father talking with the other man. His MA, at the kitchen window is also looking. The kids are gone.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>BILLY CLANTON<\/character>\n    <dialogue>We're lookin to cleanse the community a wee bit. You wouldn't wanna be the odd man out in this street. You saw what happened to your neighbours from the other side.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>You touch my family, an' I'll kill you.<\/dialogue>\n    <scene_description>MACKIE appears at the door.<\/scene_description>\n    <character>BILLY CLANTON<\/character>\n    <dialogue>Calm down fella. Sure I'm a Protestant like yerself.<\/dialogue>\n    <character>MACKIE<\/character>\n    <dialogue>All alright?<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>Yeh, we're ok Mackie.<\/dialogue>\n    <character>BILLY CLANTON<\/character>\n    <dialogue>Look, things get out of hand pretty quick around these parts. Cash or commitment, we'll accept either. The boys who cleaned up yer street have made me their local chief. So you can report to me with either.<\/dialogue>\n    <scene_description>PA turns to see the faces of BUDDY and MACKIE.<\/scene_description>\n    <character>MACKIE<\/character>\n    <dialogue>Buddy come on. Want to show you how to play this game. Come on, let's have a look, ah?<\/dialogue>\n    <scene_description>They walk inside. BILLY CLANTON walks away with his cohort. Stops to talk briefly to WILL, all smiles and hair ruffling.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S STREET DAY<\/stage_direction>\n    <scene_description>All the Aunties, Uncles and Cousins leave the party.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>Buddy give your brother a hand, will you?<\/dialogue>\n    <scene_description>PA tries to move the sofa away from their front door, but it's too heavy. MA waves at two soldiers.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>Can you give us a hand?<\/dialogue>\n    <scene_description>The Soldiers run to PA's aid.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>Do you want to put the guns down?<\/dialogue>\n    <character>SOLDIER<\/character>\n    <dialogue>No it's alright, thank you.<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>Don't you be scratching my wall.<\/dialogue>\n    <scene_description>The Soldiers help PA lift the sofa and move it back into the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK ENTRY DAY<\/stage_direction>\n    <scene_description>PA empties bins, neighbours doing the same.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>Stewie.<\/dialogue>\n    <scene_description>MR STEWART walks past Buddy's house.<\/scene_description>\n    <character>MR STEWART (O.S.)<\/character>\n    <dialogue>Frankie.<\/dialogue>\n    <character>FRANKIE WEST (O.S.)<\/character>\n    <dialogue>You alright?<\/dialogue>\n    <scene_description>FRANKIE WEST appears.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>Hey Frankie. Is that you all this time in the barricades?<\/dialogue>\n    <character>FRANKIE WEST<\/character>\n    <dialogue>Somebody has to. Better me than Billy Clanton. Not many people chose this.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>There's a few men hiding behind them barricades.<\/dialogue>\n    <character>FRANKIE WEST<\/character>\n    <dialogue>And they'll keep hiding where they're afraid for their families. It's a waiting game now. When it's time for that wall to come down, I'll be the first to swing a hammer, but now they also serve who stand and wait. We can't all be acting the lone ranger.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CINEMA EVENING<\/stage_direction>\n    <scene_description>An explosion of lava on the screen - One Million Years B.C.<\/scene_description>\n    <character>FILM COMMENTATOR (V.O.)<\/character>\n    <dialogue>This is a story of a long, long ago. When the world was just beginning. A young world. A world early in the morning of time.<\/dialogue>\n    <scene_description>A woman in a fur bikini fights with a dinosaur. The BOYS are rapt.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>No wonder you brought us to this.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>It's educational for the boys.<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>Aye. Rachel Welch is a hell of an education.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STORM CLOUDS OVER BELFAST NIGHT<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUDDY'S HOUSE\/ HALLWAY NIGHT<\/stage_direction>\n    <scene_description>PA sitting on the stairs talks to the BOYS before bed. They are in pyjamas.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>If people ask you to join anything, deliver anything, do messages for anybody, you do nothin, ok? You tell your Ma, she'll tell me, an I'll sort it. Do you understand me?<\/dialogue>\n    <character>WILL<\/character>\n    <dialogue>Yes Daddy.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>Very good. I'm proud of you son. Now get off to bed the pair o' you. I'm out too early in the morning to see you, so make sure you get to school alright. Don't mess your Mother about, and I'll see you in two weeks, ok?<\/dialogue>\n    <character>THE BOYS<\/character>\n    <dialogue>Yes Daddy.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>Good boys.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM NIGHT<\/stage_direction>\n    <scene_description>The wee small hours. BUDDY sits on the loo, struggling. His exercise book in his hands. He's looking at his drawing of the two roads.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>What road do I take?<\/dialogue>\n    <character>MINISTER (V.O.)<\/character>\n    <dialogue>A fork in the road. In one direction, a straight and narrow highway... WHICH ROAD WILL YOU TAKE?<\/dialogue>\n    <scene_description>BUDDY flushes the toilet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUDDY'S HOUSE \/ LIVING ROOM \/ STAIRWAY NIGHT<\/stage_direction>\n    <scene_description>BUDDY moves slowly down the stairs. We see MA and PA. BUDDY listens.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>You're runnin' round here like the man in the big picture, not paying your taxes and spending all our money on horses.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>It's the building trade. I told you it doesn't work the normal way, I told you I had to cover it.<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>I was the one who had it covered.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>No, you're the one that has me paying three years of back tax.<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>To keep you outta bloody jail! We're drowning in debt.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>We're near done with the back tax. Ten pound a month for three bloody years. This is the time to think about making a new start.<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>I know nothin else but Belfast.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>Exactly. There's a whole world out there. We can give these boys a better chance than we ever had. There's commonwealth countries needing tradesmen. The government will give you assisted passage. We can get the whole family the other side of the world for ten pound. We're living in a civil war, I'm not here to protect my family.<\/dialogue>\n    <scene_description>He pulls out two glossy, colourful brochures for Australia, and Canada, sets them on the table.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>What are those supposed to be?<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>An escape route.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLOUDS BREAKING UP OVER THE CITY DAWN<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S STREET MORNING<\/stage_direction>\n    <scene_description>Soldiers patrol the barricade, kids make their way to school.<\/scene_description>\n    <character>KIDS (O.S.)<\/character>\n    <dialogue>Come on get a move on. We're gonna be late again!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUDDY'S HOUSE\/LIVING ROOM DAY<\/stage_direction>\n    <scene_description>As the BOYS get ready for breakfast, MA picks up the post. The radio reporter in the background is relaying reports of more violence overnight in the city.<\/scene_description>\n    <character>RADIO REPORTER (V.O.)<\/character>\n    <dialogue>...throughout the night sniping became the tactic of the rioters. As we drove past the side street three men on the corner dived for cover. A young man with a revolver asked us for a lift. At four this morning all you see turned us back from the Falls area. Snipers they said were still at work and in the distance one heard the ominous burst of machine gun fire. . The scene terrified me but it reminded an American colleague of Harlem, but he added it seems easier to get guns here..<\/dialogue>\n    <scene_description>MA takes one letter and opens it carefully. She takes out the paper, scans it, nods. A receipt for the back tax payment.<\/scene_description>\n    <character>MA<\/character>\n    <parenthetical>(to herself)<\/parenthetical>\n    <dialogue>One more left.<\/dialogue>\n    <scene_description>She opens the top of the stool and pulls out a sheaf of similar letters, which are held together with a bulldog clip.<\/scene_description>\n    <character>RADIO REPORTER (V.O.)<\/character>\n    <dialogue>...Dawn over Belfast today showed a grim scene. Buildings scarred by fire, thousands of pounds worth of damage caused and of course the tragic loss of life. Its been a night of shame for Belfast, one that will live on in the memories of the people for a very long time...<\/dialogue>\n    <scene_description>She places this latest one at the rear, and puts them back in the stool.<\/scene_description>\n    <character>MA<\/character>\n    <parenthetical>(to BUDDY and WILL)<\/parenthetical>\n    <dialogue>Come on you two, school.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GROVE PARK DAY<\/stage_direction>\n    <scene_description>BUDDY runs through some high grass.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL GATES DAY<\/stage_direction>\n    <scene_description>He reaches the school gates. The school bells ring.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL CLASSROOM DAY<\/stage_direction>\n    <scene_description>The whole class are stood up, reciting in unison. BUDDY's eyes are mainly fixed on a blonde headed GIRL in the next row. She casts glances back at BUDDY.<\/scene_description>\n    <character>CHILDREN IN UNISON<\/character>\n    <dialogue>...Twelve elevens are a hundred an thirty two, twelve twelves are a hundred an forty four!<\/dialogue>\n    <character>MISS LEWIS<\/character>\n    <dialogue>Well, I'm pleased to say your times tables were a lot more impressive to hear than your test scores were to read. The whole point of these weekly tests is to monitor your progress.<\/dialogue>\n    <character>MISS LEWIS<\/character>\n    <dialogue>The best will sit directly by my desk, the seat of learning, and the rest of you will view your Sysiphian struggles from the distance you have imposed upon yourself by lack of application. Billy Clanton Jnr. 17 per cent, bottom row, seat 12.<\/dialogue>\n    <scene_description>BILLY CLANTON JNR., starts to move his things.<\/scene_description>\n    <character>MISS LEWIS<\/character>\n    <dialogue>Rachel seat 11. Martin to seat 10...<\/dialogue>\n    <scene_description>Close on BUDDY, at his former desk, children moving all around him. Poker faces between him, THE GIRL, and RONNIE BOYD.<\/scene_description>\n    <character>MISS LEWIS<\/character>\n    <dialogue>...Freddie seat 8. Karen to seat 4... ...and in the medal positions this week with 72 per cent, in bronze is...BUDDY...seat 3. And of course in silver again we have Ronnie and Catherine with the gold yet again this week. Congratulations Catherine, very well done.<\/dialogue>\n    <scene_description>CATHERINE and RONNIE BOYD still occupy the desk in front of the teacher. There is a shy look around from CATHERINE to BUDDY. RONNIE BOYD looks too, and registers the connection. From RONNIE BOYD a smirk. CATHERINE looks over to BUDDY's smiling face.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT \/ INT. GRANNY'S HOUSE DAY<\/stage_direction>\n    <scene_description>BUDDY is out in the backyard where his POP is, (as always), tinkering, in his ad hoc workshop, with a saddle BUDDY is sitting on the closed loo seat with an orange in his hands.<\/scene_description>\n    <character>POP<\/character>\n    <dialogue>The wee girl's still showin' some interest, yeh?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>She looks at me sometimes, but we're not allowed to talk in the class, so I can't say anything, an then, when we go out to the playground she always goes about with all the girls. Anyway, I think she loves that other fella.<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>Yer don't know that that for sure. Weemen are very mysterious.<\/dialogue>\n    <character>GRANNY<\/character>\n    <parenthetical>(from the front room)<\/parenthetical>\n    <dialogue>And weemen can smash your face in too mister!<\/dialogue>\n    <scene_description>GRANNY is in the house, sitting by the window where she can see BUDDY and POP.<\/scene_description>\n    <character>POP<\/character>\n    <dialogue>Your Granny's become less mysterious over the years. D'ya really like her?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>When I grow up I want to marry her.<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>Yup. Sounds as though you really like her. You know, she's not only at school. You could see where she lives maybe?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>It's Reynolds Drive, four houses in from the right, the one with the wonky eight.<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>You've done your research.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>I pass it everyday on the way home. I try to look in but she never sees me. She's always doin her bloody homework. If she was a wee bit more stupid, like me, we'd be sitting together by now.<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>Ah. \"A pity beyond all telling is hid in the heart of love\".<\/dialogue>\n    <character>GRANNY<\/character>\n    <parenthetical>(from the front room)<\/parenthetical>\n    <dialogue>Oh he's full of pretty answers that one. C'mon it's time to go. I don't want yer mammy shoutin' at me because yer late.<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>Cheerio son.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Cheerio.<\/dialogue>\n    <scene_description>BUDDY runs inside. He is about to go out the front door, but GRANNY stops him. She has a threepenny piece in her hand.<\/scene_description>\n    <character>GRANNY<\/character>\n    <dialogue>Here, take this threepenny bit. Get yerself a wee sweetie.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>I'm not allowed Granny, my Da says you can't afford it.<\/dialogue>\n    <character>GRANNY<\/character>\n    <dialogue>I'm always saying to yer man there, \"What's yours is mine, and what's mines me own\".<\/dialogue>\n    <scene_description>BUDDY takes it.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>Thanks Granny.<\/dialogue>\n    <character>POP<\/character>\n    <parenthetical>(from the back yard)<\/parenthetical>\n    <dialogue>Try and find out how that wee girl thinks!<\/dialogue>\n    <character>GRANNY<\/character>\n    <dialogue>Good luck with that one, son.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARK RAILINGS DAY<\/stage_direction>\n    <scene_description>BUDDY squeezes himself thought the railings on his way back to school. MUSIC - \"Brightside of the Road\" by Van Morrison<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CATHERINE'S STREET AFTERNOON<\/stage_direction>\n    <scene_description>BUDDY, on the opposite side of the street. He is right next to the TV shop, which continues to blare out images of disruption from the city. BUDDY loiters as he gazes at Catherine's house, hoping for some movement at the window. We see through the window, the girl's Mother brushing Catherine's hair. CATHERINE looks out the window and sees BUDDY.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S STREET END OF DAY<\/stage_direction>\n    <scene_description>Men are being searched by the police and soldiers patrol the street. BUDDY plays football with some kids.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>Goal!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUDDY'S BEDROOM NIGHT<\/stage_direction>\n    <scene_description>3am, BUDDY is wide awake sitting by the window.<\/scene_description>\n    <character>BUDDY<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>Will...Will...what road do we take? I can't remember. What road did the minister say?<\/dialogue>\n    <scene_description>His brother, who shares the bed, rolls over, mostly asleep,<\/scene_description>\n    <character>WILL<\/character>\n    <dialogue>Ach, shut up.<\/dialogue>\n    <scene_description>WILL rolls back, and pulls the blanket over him. BUDDY pulls out an exercise book, and completes his two roads drawing. This is the most worrying moment of his life.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITYSCAPE EARLY MORNING<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S HOUSE EARLY MORNING<\/stage_direction>\n    <scene_description>Early Morning life on the street, milkman doing his deliveries FRANKIE WEST still at the barricade.<\/scene_description>\n    <character>RADIO REPORTER (V.O.)<\/character>\n    <dialogue>...and in this already tense atmosphere, concerns remain about intimidation run rife in working class areas. Further reports suggest...<\/dialogue>\n    <scene_description>BUDDY glimpsed through the glass of his front door.<\/scene_description>\n    <character>BILLY CLANTON (O.S.)<\/character>\n    <dialogue>Stop dragging your ass along there, come on.<\/dialogue>\n    <character>BILLY CLANTON JNR (O.S.)<\/character>\n    <dialogue>You're hurting my arm.<\/dialogue>\n    <character>BILLY CLANTON (O.S.)<\/character>\n    <dialogue>Stop being a cry baby now...you show me where he lives, come on<\/dialogue>\n    <character>BILLY CLANTON JNR (O.S.)<\/character>\n    <dialogue>Daddy I'm sorry, please!<\/dialogue>\n    <scene_description>BUDDY slowly opens the front door. BILLY CLANTON storms past, holding\/dragging the hand of his son, BILLY CLANTON JNR., up the street. Talking as they stride.<\/scene_description>\n    <character>BILLY CLANTON<\/character>\n    <dialogue>Hey, tell me EXACTLY what he said.<\/dialogue>\n    <character>BILLY CLANTON JNR<\/character>\n    <dialogue>He just said he couldn't giv' any more money to the street.<\/dialogue>\n    <character>BILLY CLANTON<\/character>\n    <dialogue>He'll not say that d' my son.<\/dialogue>\n    <character>BILLY CLANTON JNR<\/character>\n    <dialogue>Daddy stop.<\/dialogue>\n    <character>BILLY CLANTON<\/character>\n    <dialogue>STEWIE.<\/dialogue>\n    <character>BILLY CLANTON JNR<\/character>\n    <dialogue>Please!<\/dialogue>\n    <character>BILLY CLANTON<\/character>\n    <dialogue>STEWIE.<\/dialogue>\n    <character>BILLY CLANTON JNR<\/character>\n    <dialogue>Please!<\/dialogue>\n    <character>MR WEST (O.S.)<\/character>\n    <dialogue>Your blood's up there Billy, will you go back to your house.<\/dialogue>\n    <scene_description>MA comes to the door looks up the street in the direction of the fracas. BUDDY sees them reach a house at the top of the street. A door is knocked, then opened, MR. STEWART steps out, there is a brief bit of tense stand-off body language.<\/scene_description>\n    <character>MR STEWART<\/character>\n    <dialogue>Now, Billy, we've no call for fists here.<\/dialogue>\n    <character>BILLY CLANTON<\/character>\n    <dialogue>Aye? Well what does the man says? A fist is only as good or bad as the man using it. Remember that.<\/dialogue>\n    <scene_description>BILLY CLANTON then plants a superhero punch directly to the face of the other man, who immediately collapses. BUDDY sees it in graphic profile. It's like a cartoon.<\/scene_description>\n    <character>MR WEST<\/character>\n    <dialogue>Holy God. Billy.<\/dialogue>\n    <scene_description>The angry BILLY CLANTON is striding back down the street, still dragging his son, who is crying. Others are up at the door of the other house. Other doors are starting to open.<\/scene_description>\n    <character>BILLY CLANTON<\/character>\n    <dialogue>SHUT UP FRANKIE<\/dialogue>\n    <character>NEIGHBOUR 1(O.S.)<\/character>\n    <dialogue>Come on Billy, that's too much now.<\/dialogue>\n    <character>NEIGHBOUR 2(O.S.)<\/character>\n    <dialogue>We've got enough problems Billy, we don't need this!<\/dialogue>\n    <scene_description>BILLY CLANTON looks to the folk at 96.<\/scene_description>\n    <character>BILLY CLANTON<\/character>\n    <dialogue>Regards to your Pa.<\/dialogue>\n    <scene_description>MA pulls BUDDY away, back into the house and shuts the front door.<\/scene_description>\n    <character>BILLY CLANTON (O.S.)<\/character>\n    <dialogue>Tell him I expect to hear from him soon, or he'll be hearin' from me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S STREET DAY<\/stage_direction>\n    <scene_description>Life back to normal.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUDDY'S HOUSE DAY<\/stage_direction>\n    <scene_description>Early morning and another tax envelope arrives. BUDDY, WILL and MA are having breakfast.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>WILL<\/character>\n    <dialogue>It's like, what my favourite holiday is?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>What is your favourite holiday?<\/dialogue>\n    <character>WILL<\/character>\n    <dialogue>I don't know. We haven't been on many, have we?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>No we haven't.<\/dialogue>\n    <scene_description>BUDDY watches his MA as she opens a letter. She is pleased and then quizzical. She looks inside the envelope again, shakes it. No other receipt. Nothing there. Her face clouds over.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>Unbelievable, they're not getting away with this.<\/dialogue>\n    <scene_description>She gets a piece of paper and writes frantically on it.<\/scene_description>\n    <character>WILL<\/character>\n    <dialogue>And it's due today as well so I can't do anything about it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAIN STREET DAY<\/stage_direction>\n    <scene_description>BUDDY passes through the Vigilante patrol at the barricade.<\/scene_description>\n    <character>FRANKIE WEST<\/character>\n    <dialogue>Hello Buddy.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Hello Mister West.<\/dialogue>\n    <character>FRANKIE WEST<\/character>\n    <dialogue>On yer go now.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Thanks, Mr.West.<\/dialogue>\n    <scene_description>He walks down the main street. BILLY CLANTON is leaning against the barricade.<\/scene_description>\n    <character>BILLY CLANTON<\/character>\n    <dialogue>Will y' ask yer Da to drop down d' see us when he's back at the weekend?<\/dialogue>\n    <character>BUDDY<\/character>\n    <parenthetical>(keeps walking)<\/parenthetical>\n    <dialogue>He's not back this weekend.<\/dialogue>\n    <character>BILLY CLANTON<\/character>\n    <dialogue>That's a pity.<\/dialogue>\n    <parenthetical>(Shouts after BUDDY)<\/parenthetical>\n    <dialogue>Tell yer Ma ah was askin' after him will ya?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Aye.<\/dialogue>\n    <character>BILLY CLANTON<\/character>\n    <dialogue>An tell yer brother I'll need him for another wee delivery with the milk. Get him to come and see me after school. Alright?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GROVE PARK RAILINGS \/ CONCRETE AND GRASS DAY<\/stage_direction>\n    <scene_description>BUDDY and MOIRA walk.<\/scene_description>\n    <character>MOIRA<\/character>\n    <dialogue>Why is your dad not coming home?<\/dialogue>\n    <scene_description>He shrugs.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>He can't come home every weekend, it's too dear.<\/dialogue>\n    <scene_description>They reach the bendy bar.<\/scene_description>\n    <character>MOIRA<\/character>\n    <dialogue>Yer won't get yer wee matchbox car then will ya?<\/dialogue>\n    <scene_description>MOIRA climbs through, followed by BUDDY who gets stuck with his backpack.<\/scene_description>\n    <character>MOIRA<\/character>\n    <dialogue>Come on!<\/dialogue>\n    <scene_description>He breaks free.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>Coming...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GROVE PARK DAY<\/stage_direction>\n    <scene_description>Walking by the football pitches.<\/scene_description>\n    <character>MOIRA<\/character>\n    <dialogue>D'ya wanna join a gang?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>I'm not allowed.<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>My Mother says she'd kill me.<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>Sure she doesn't have to know. That's the whole point.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Are you in one?<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>Aye.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>What's it called?<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>Doesn't have a name.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>It has to be secret. That's what they tell you when you join.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>What do you do?<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>I can't tell you till yer in the gang<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>How many of you are there?<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>Not allowed to say.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>What do you have to do to join then?<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>Whatever they tell ya.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL GATES DAY<\/stage_direction>\n    <scene_description>They turn towards the school gates. BUDDY goes through them and towards the school. MOIRA from the gates shouts to BUDDY.<\/scene_description>\n    <character>MOIRA<\/character>\n    <dialogue>If yer Da's not home this weekend, you could come wi' us?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>I dunno. I'm tryin to practice my maths.<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>Then yer mental! Come on. If yer Da's not home anyway, what else are ya gonna do?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL CLASSROOM DAY<\/stage_direction>\n    <scene_description>CATHERINE and BUDDY exchange looks. MUSIC - \"Warm Love\" by Van Morrison<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRONT OF BUDDY'S HOUSE DAY<\/stage_direction>\n    <scene_description>MA sits, with her back leaning against the wall, having a cup of tea. A breath.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UK ALLEYWAY DAY<\/stage_direction>\n    <scene_description>PA strolls down an alleyway. Pre-occupied.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. GRANNY'S HOUSE DAY<\/stage_direction>\n    <scene_description>POP is at work out in the backyard, GRANNY is in the kitchen preparing lunch.. She hears POP coughing violently.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL GATES DAY<\/stage_direction>\n    <scene_description>School is over and kids flow out of the gates.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOOTBALL PITCH DAY<\/stage_direction>\n    <scene_description>WILL and MOIRA. Rain. Umbrellas. Kicking a ball.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRANNY'S HOUSE DAY<\/stage_direction>\n    <scene_description>BUDDY and POP working on his maths homework. It is not going well.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>God, this takes ages, no wonder they call it long division.<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>Patience. Patience with the sums. Patience with the girl.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Is it 27?<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>It's close enough. Just make sure yer numbers aren't very clear to read. She might give you the benefit of the doubt if your 7 looks like a 1 with a fancy tail. Same with a 2 and a 6. Keep 'er guessin. That means you have 2 or 3 horses in every race.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Isn't that cheating?<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>Well, I'd call it spread bettin. And if it gets you moved up by one seat, to bask in the light of her glory, then you're off to the races.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>But sure there's only one right answer.<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>If that were true son, people wouldn't be blowin themselves up all over this town.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>I think my Da wants us to leave Belfast.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>POP<\/character>\n    <dialogue>What d'you want?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Every night, before I go to sleep, when I say my prayers, I ask God if he'd fix it so that when I wake up in the morning, I am the best footballer in the world, and then I also ask him as well, that when I grow up, can I marry Catherine, even if she loves Ronnie Boyd, but she could still see him, but she'd marry me. That's what I want.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOON OVER BELFAST NIGHT<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S HOUSE NIGHT<\/stage_direction>\n    <scene_description>Helicopters shine floodlights on the streets. The Vigilantes look to the skies.<\/scene_description>\n    <character>LIBERTY VALANCE\/LEE MARVIN (O.S.)<\/character>\n    <dialogue>You lookin' for trouble Donophin?<\/dialogue>\n    <character>TOM DONOPHIN\/ JOHN WAYNE (O.S.)<\/character>\n    <dialogue>You aim to help me find some?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUDDY'S HOUSE NIGHT<\/stage_direction>\n    <scene_description>BUDDY and WILL watch a film on television, 'The Man Who Shot Liberty Valance'.<\/scene_description>\n    <character>RANSOM STODDARD\/JAMES STEWART<\/character>\n    <dialogue>What's the matter. Everybody in this country kill crazy?! Here!<\/dialogue>\n    <character>LIBERTY VALANCE\/LEE MARVIN<\/character>\n    <dialogue>Show's over for now.<\/dialogue>\n    <character>TOM DONOPHIN\/JOHN WAYNE<\/character>\n    <dialogue>Try it Liberty...just try it...<\/dialogue>\n    <character>RANSOM STODDARD\/JAMES STEWART<\/character>\n    <dialogue>What right do you have to interfere. It was me he tripped...<\/dialogue>\n    <scene_description>MA is on the phone in the hall.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>I have to keep those boys where I can see them.<\/dialogue>\n    <character>PA (O.S.)<\/character>\n    <dialogue>I can't come home every weekend.<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>...and if you can't be bothered...<\/dialogue>\n    <character>PA (O.S.)<\/character>\n    <dialogue>Oh come on...<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>...then don't blame me for what them boys get up to.<\/dialogue>\n    <character>PA (O.S.)<\/character>\n    <dialogue>That's not what I'm saying. You can't just...<\/dialogue>\n    <scene_description>She hangs up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S STREET DAWN<\/stage_direction>\n    <scene_description>Vigilantes on the Barricade. Milkman arrives.<\/scene_description>\n    <character>MAN IN THE STREET<\/character>\n    <dialogue>Right that's 6am Fellas. That's you's done.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUDDY'S HOUSE\/HALL MORNING<\/stage_direction>\n    <scene_description>MA picks up the post. Another tax envelope. Slightly different looking. She sits on the stairs, opens the letter, reads it, and slowly lowers her head.<\/scene_description>\n    <character>MA<\/character>\n    <parenthetical>(to herself)<\/parenthetical>\n    <dialogue>What have I done?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Alright mommy? Why do you always get sad when the letter comes?<\/dialogue>\n    <scene_description>BUDDY in the doorway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL GATES DAY<\/stage_direction>\n    <scene_description>Bells ringing, pupils filing in. BUDDY races through the school gates.<\/scene_description>\n    <character>TEACHER<\/character>\n    <dialogue>Come on Mister Slowcoach, get inside now!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLASSROOM DAY<\/stage_direction>\n    <scene_description>The test results being announced. Seating positions being rearranged. BUDDY looking hopeful.<\/scene_description>\n    <character>MISS LEWIS<\/character>\n    <dialogue>...and finally a switch in the medal positions this week. Well Mr Buddy, you may not have improved your handwriting in maths, for which, this once, in lieu of your intensified effort, we will be willing to give you the benefit of the doubt, but you have improved your score. So, in second position is Buddy.<\/dialogue>\n    <scene_description>THE CHILDREN cheer Van Morrison sings JACKIE WILSON SAID as the sound begins to fade, the picture moves to slow motion, as the group of four that occupy the top two desks, begin to rise, ready for the new ordering. Close on the ecstatic face of BUDDY. Now BUDDY, sitting at the top desk, right next to the teacher, and directly beside...not Catherine but RONNIE BOYD.. He turns to look behind him at CATHERINE, who looks sad, BUDDY now looks crestfallen.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GROVE PARK RAILINGS DAY<\/stage_direction>\n    <scene_description>BUDDY climbs through the bendy bars.<\/scene_description>\n    <character>GRANNY (V.O.)<\/character>\n    <dialogue>Be careful what you wish for, that's what the Minister at the wee mission says.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRANNY'S HOUSE DAY<\/stage_direction>\n    <scene_description>GRANNY is reading 'The Peoples Friend\", a popular religious-y journal. POP is reading the newspaper.<\/scene_description>\n    <character>POP<\/character>\n    <dialogue>When's yer next chance?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>We've to do a project about the moon landing.<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>What did those boy not come back from that?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>They did, and now we have to cut things outta the papers and explain how they got there.<\/dialogue>\n    <character>GRANNY<\/character>\n    <dialogue>If they DID get there. If they did get on the moon. It's not what it says here. God doesn't like it.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>An' I watched every night too that they were up there, an' how did I never see Mike Collins in the mother ship doin his orbit? Surely y' woulda seen the shape of Columbus against the light of the moon.<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>That's cos mostly he was on the dark side.<\/dialogue>\n    <character>GRANNY<\/character>\n    <dialogue>Exactly. The side where Lucifer hangs his Shillelagh.<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>No, he was on the dark side of the moon most of the time, where we couldn't see him, you know when he was doin his orbit, and maybe, you know, just before he was due to come round the corner, y' had to go in for your tea?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>If I could come up with something smart about that, maybe I could stay up at the top desk and wait 'till she gets back there.<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>Or play dumb, you could say the moon's made of green cheese and drop down a place to join her?<\/dialogue>\n    <scene_description>BUDDY is unimpressed.<\/scene_description>\n    <character>GRANNY<\/character>\n    <dialogue>Or. You could do the project together. You and the young lady. You'd get the same marks. Maybe end up on the same seat together.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>But how do I even talk to her?<\/dialogue>\n    <scene_description>POP starts to sing.<\/scene_description>\n    <character>POP<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>\"How to handle a woman...\"<\/dialogue>\n    <scene_description>GRANNY groans, BUDDY listens intently, POP is unrepentant.<\/scene_description>\n    <character>POP<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>\"...there's a way said a wise old man, a way known by every woman, since the whole rigmarole began...\"<\/dialogue>\n    <character>GRANNY<\/character>\n    <dialogue>It's all rigmarole with you mister!<\/dialogue>\n    <character>POP<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>\"Do I flatter her, threaten or cajole or plead?<\/dialogue>\n    <scene_description>Gets up from the sofa, and moves to GRANNY, snatches her People's Friend, and flings it, as he picks her up to dance.<\/scene_description>\n    <character>POP<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Do I brood or play the gay romancer, said he smiling.\"<\/dialogue>\n    <scene_description>The couple are now stumbling unsteadily around the room, BUDDY is laughing, GRANNY in spite of herself is laughing.<\/scene_description>\n    <character>POP<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>\"How to handle a woman, mark me well, and I'll tell you sir, the way to handle a woman, is... to love her....\"<\/dialogue>\n    <scene_description>He spins GRANNY around, and hugs her.<\/scene_description>\n    <character>POP<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>\".. simply love her \"<\/dialogue>\n    <scene_description>She giggles.<\/scene_description>\n    <character>GRANNY<\/character>\n    <dialogue>Get off me!<\/dialogue>\n    <character>POP<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>\"...merely love her....\"<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GROVE PARK DAY<\/stage_direction>\n    <scene_description>BUDDY picks some flowers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL DAY<\/stage_direction>\n    <scene_description>Pupils pouring out of school. CATHERINE is walking past. BUDDY is waiting and offers a small bunch of flowers to her. She takes them.<\/scene_description>\n    <character>CATHERINE<\/character>\n    <dialogue>Thanks. Well done on yer maths.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>CATHERINE<\/character>\n    <dialogue>Have you gone to the moon yet?<\/dialogue>\n    <scene_description>BUDDY shakes his head.<\/scene_description>\n    <character>CATHERINE<\/character>\n    <dialogue>D'ya want to, with me?<\/dialogue>\n    <scene_description>He nods his head.<\/scene_description>\n    <character>CATHERINE<\/character>\n    <dialogue>It'll save you gettin cold waitin' outside our house.<\/dialogue>\n    <scene_description>She goes. MOIRA is waiting for BUDDY at the school gates.<\/scene_description>\n    <character>MOIRA<\/character>\n    <dialogue>Hey Romeo. C'mon! We have work to do.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SWEET SHOP STREET DAY<\/stage_direction>\n    <scene_description>BUDDY and MOIRA hiding behind some railings.<\/scene_description>\n    <character>MOIRA<\/character>\n    <dialogue>Operation steal the chocolate. It's simple. We go into the shop and keep Mister Singh talking down by the fridge. He has to move the boxes round at the bottom d'get me a Lemon Mivvy. His head'll be down part of the time. You stay at the front of the shop, and when you see he's not lookin, you make a sweep.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>What's a sweep?<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>A big grab for all the chocolate bars on that low shelf near the till.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Sure he'll know they've been nicked if there's a big gap. I thought you said we'd just do a couple so he'd never even notice. I don't want lifted by the police.<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>Alright, alright...<\/dialogue>\n    <scene_description>MOIRA'S FRIEND walks past, pretending not to know them.<\/scene_description>\n    <character>MOIRA'S FRIEND<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>All clear.<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>...no sweep, just a small grab, ok? I might be able to swipe a chocolate mousse at the same time.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Ok...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SWEET SHOP DAY MOMENTS LATER<\/stage_direction>\n    <scene_description>BUDDY, MOIRA and MOIRA'S FRIEND walk in.<\/scene_description>\n    <character>MOIRA (O.S.)<\/character>\n    <dialogue>Hello Mister Singh.<\/dialogue>\n    <character>BUDDY (O.S.)<\/character>\n    <dialogue>Hello Mister Singh.<\/dialogue>\n    <character>MR SINGH (O.S.)<\/character>\n    <dialogue>Good to see you.<\/dialogue>\n    <character>MOIRA (O.S.)<\/character>\n    <dialogue>Please may I have a Lemon Mivvy?<\/dialogue>\n    <character>MR SINGH (O.S.)<\/character>\n    <dialogue>Lemon Mivvy coming right up. Just need to move a few wee boxes...<\/dialogue>\n    <scene_description>All is quiet. All is well. Then.<\/scene_description>\n    <character>MR SINGH (O.S.)<\/character>\n    <dialogue>HEY!<\/dialogue>\n    <scene_description>BUDDY races out of the shop, hotly pursued by MOIRA, who drops her lolly as she goes, and MOIRA'S FRIEND. MR. SINGH emerges from the shop. He starts to race up the street in pursuit of them.<\/scene_description>\n    <character>MR SINGH<\/character>\n    <dialogue>C'mere y' little buggers. I know who you are!<\/dialogue>\n    <scene_description>He grabs MOIRA'S FRIEND by the backpack and pulls her to a stop.<\/scene_description>\n    <character>MR SINGH<\/character>\n    <dialogue>You proud of yourself?<\/dialogue>\n    <character>MOIRA'S FRIEND<\/character>\n    <dialogue>It was Moira!<\/dialogue>\n    <scene_description>He marches her back to his shop.<\/scene_description>\n    <character>MR SINGH<\/character>\n    <dialogue>Get in there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET DAY<\/stage_direction>\n    <scene_description>BUDDY and MOIRA slow down, almost hyperventilating, and as if they might throw up, but still moving on up the street just in case.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>She's gonna tell on us!<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>If says anything, she's done for.<\/dialogue>\n    <scene_description>Eventually they come to a breathless stop.<\/scene_description>\n    <character>MOIRA<\/character>\n    <dialogue>What have yer got?<\/dialogue>\n    <scene_description>He unfolds his tightly tensed fingertips from around the single purple packet. Fry's Turkish Delight.<\/scene_description>\n    <character>MOIRA<\/character>\n    <dialogue>Yer jokin' me?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>That's all I could see.<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>Turkish Delight? Who the hell eats Turkish Delight? Do you eat Turkish Delight?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>No, I don't like it.<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>Nobody likes it.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>It's all they had.<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>Are you blind?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>I had to think quickly.<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>Not quickly enough. There was Flakes and Crunchies, all you need is in an' out with a fast hand, and then the Milky Bars are on me. I'm not sure yer cut out for this.<\/dialogue>\n    <scene_description>KAREN LAMBERT on a Chopper Bike rides up to them.<\/scene_description>\n    <character>KAREN LAMBERT<\/character>\n    <dialogue>Hey, Buddy, yer Da's home.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Sure it's only Wednesday?<\/dialogue>\n    <character>KAREN LAMBERT<\/character>\n    <dialogue>He came in a taxi.<\/dialogue>\n    <scene_description>BUDDY starts to get a move on. MOIRA calls after him.<\/scene_description>\n    <character>MOIRA<\/character>\n    <dialogue>An' you too!<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>Keep yer mouth shut.<\/dialogue>\n    <scene_description>BUDDY returns her look.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S HOUSE DAY<\/stage_direction>\n    <scene_description>BUDDY runs up to his house.<\/scene_description>\n    <character>PA (O.S.)<\/character>\n    <dialogue>When did you write to them?<\/dialogue>\n    <scene_description>He slows down, exhausted, and drops the Turkish Delight.<\/scene_description>\n    <character>MA (O.S.)<\/character>\n    <dialogue>None of your business.<\/dialogue>\n    <character>PA (O.S.)<\/character>\n    <dialogue>Just tell me, when did you write to them? It's a simple question.<\/dialogue>\n    <character>MA (O.S.)<\/character>\n    <dialogue>None of your business.<\/dialogue>\n    <character>PA (O.S.)<\/character>\n    <dialogue>Just give me a simple answer.<\/dialogue>\n    <scene_description>Through the window, BUDDY can see his parents stood up on either side of the small kitchen.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>I'm not getting interrogated.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>When did you write to them?<\/dialogue>\n    <scene_description>The front door is wide open. The atmosphere is strange.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUDDY'S HOUSE DAY<\/stage_direction>\n    <scene_description>BUDDY comes through the front door very slowly. He can hear the voices coming from the kitchen.<\/scene_description>\n    <character>MA (O.S.)<\/character>\n    <dialogue>When that last receipt came through. I knew it was the last one cus for three bloody years I've been countin' them envelopes comin' through that door, and there wasn't so much as a thank you with this one...<\/dialogue>\n    <scene_description>BUDDY moves down the tiny hall.<\/scene_description>\n    <character>PA (O.S.)<\/character>\n    <dialogue>It's the tax man for Gods sake. Who do y' expect? Father Christmas?<\/dialogue>\n    <character>MA (O.S.)<\/character>\n    <dialogue>We've been scrimpin' an savin', an they hadn't the good graces to say, 'that's it. You're done. You're in the clear'.<\/dialogue>\n    <scene_description>BUDDY is now spying on them from the living room.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>So what'd y' say to them in yer letter?<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>I said I wanted a full official declaration that my husband was in the clear 100% on all back taxes, and that they acknowledged that everything was ship shape and above board, and that my family's good name was not on some credit risk list.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>Christ. Christ the night.<\/dialogue>\n    <scene_description>PA shakes his head.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>PA takes out another tax envelope. She takes it, reads.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>No...no...<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>Yes...yes...oh yes...they've decided, thanks to actin' on your request, they've decided to go back further into my accounts and say that I owe another \u00a3572, which based on current earnings should take another five years to pay off. So that was a handy the wee letter to send wasn't it?<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>You bugger. You're a lying bugger.<\/dialogue>\n    <scene_description>MA turns round and grabs a plate from behind her and throws it at PA. It misses and smashes against the wall. She throws more crockery. Full screaming match now.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>THAT'S RIGHT, BELIEVE THE TAX MAN BEFORE<\/dialogue>\n    <character>YOU BELIEVE ME.<\/character>\n    <dialogue>MA<\/dialogue>\n    <character>'CUS I KNOW YOU!<\/character>\n    <dialogue>Plate crashes against the wall just missing PA.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEYWAY \/ GRANNY'S HOUSE DAY<\/stage_direction>\n    <scene_description>BUDDY, PA, POP and GRANNY walk side by side.<\/scene_description>\n    <character>POP<\/character>\n    <dialogue>Yer work won't be pleased with you skippin' off in the week.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>I'll work the weekend.<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>When's that job gonna finish?<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>This one's nearly done.<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>There's an other one over there, then, is there?<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>Aye. A big one, a long one, they're askin' some of the boys to move over, permanent, offerin' accommodation, cos of the time involved. A coupl' a years. They're buildin' a hospital.<\/dialogue>\n    <character>GRANNY<\/character>\n    <dialogue>Yer Father has to go to the hospital. You talk to him about it. He won't talk to me about doctors.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>Is that right?<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>Just a couple o' days. A wee test. For the lungs. All that bloody time over in Leicester.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Where's that?<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>In England.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Is that near where my Daddy works?<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>No, your Daddy works near London, the big smoke. This was in the countryside.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>What were you doin?<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>I was a coal miner.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>You've done a lotta different jobs, Pop<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>You can say that again.<\/dialogue>\n    <character>GRANNY<\/character>\n    <dialogue>An' none lasted more than a week! Except for the mining.<\/dialogue>\n    <scene_description>BUDDY and GRANNY go through the back door into Granny's house. PA speaks more quietly now.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>My Mother's worried about you.<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>Yer Mo'r's worried about you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GROVE PARK DAY<\/stage_direction>\n    <scene_description>Father and son walk back to the school.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>My Granny's always worried about somethin, isn't she?<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>Well, your Granny is a very caring person, but sometimes it affects her nerves. Like your Mummy.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Mummy's worried too isn't she?<\/dialogue>\n    <scene_description>They stop and face each other.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>Daddy, are we gonna to have to leave Belfast?<\/dialogue>\n    <scene_description>Silence.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL GATES DAY<\/stage_direction>\n    <scene_description>They get to the school gates.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>Alright Buddy, that's me away there. I see you when I get back next week?<\/dialogue>\n    <scene_description>BUDDY walks through the gate.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>Be good son. And if you can't be good...<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>...be careful!<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Be careful.<\/dialogue>\n    <scene_description>PA goes to leave, but BILLY CLANTON blocks his way.<\/scene_description>\n    <character>BILLY CLANTON<\/character>\n    <dialogue>Seems like only yesterday you and me were at school together.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>You're gonna need to stay away from my family.<\/dialogue>\n    <scene_description>BUDDY sees his Father talking to BILLY CLANTON He ducks behind the Bike Post so that he can hear them ,but they are unaware of him.<\/scene_description>\n    <character>BILLY CLANTON<\/character>\n    <dialogue>You talk big for a fella who's never here.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>You can rely on me bein' here when it matters.<\/dialogue>\n    <character>BILLY CLANTON<\/character>\n    <dialogue>You know the problem with men like you? You think you're better than the rest of us.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>And the problem with men like you is that you know you're not.<\/dialogue>\n    <character>BILLY CLANTON<\/character>\n    <dialogue>We'll keep it simple. You're with us or you're against us.<\/dialogue>\n    <scene_description>PA starts to walk away from BILLY CLANTON.<\/scene_description>\n    <character>BILLY CLANTON<\/character>\n    <dialogue>Clock's tickin'. You an' her were always a soft touch. Time for real Protestants to step up.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>You're no real Protestant, you're a jumped up gangster and always were.<\/dialogue>\n    <scene_description>BUDDY comes out of his hiding spot, BILLY sees him. BUDDY slowly walks into school.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S STREET CORNER DAY<\/stage_direction>\n    <scene_description>Kids drawing on a wall<\/scene_description>\n    <character>MAN IN THE STREET<\/character>\n    <dialogue>There's Peeler's about. Watch it yous two.<\/dialogue>\n    <scene_description>POLICEMAN knocks on BUDDY's door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S HOUSE DAY<\/stage_direction>\n    <scene_description>BUDDY looks through the window. MA sees him.<\/scene_description>\n    <character>MA (O.S.)<\/character>\n    <dialogue>...ach there you are my son. There 'e is now,..<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUDDY'S HOUSE DAY<\/stage_direction>\n    <scene_description>BUDDY joins MA and the POLICEMAN in the living room.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>Hello son, the police officer here just wants a wee word with you. There seems to be a wee bit of confusion about somethin that happened at Mr. Singh's. Go on, sit down there now.<\/dialogue>\n    <scene_description>BUDDY sits on a chair. He is worried as hell.<\/scene_description>\n    <character>POLICEMAN<\/character>\n    <dialogue>Do you know why I'm here son? Don't lie to me. A very serious crime has been committed down at Mr. Singh's shop. You know what I'm talking about?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S HOUSE DAY<\/stage_direction>\n    <scene_description>MA laughs much too hard, as the POLICEMAN is leaving to walk down the street.<\/scene_description>\n    <character>MA<\/character>\n    <parenthetical>(smiling still)<\/parenthetical>\n    <dialogue>All the best now. An give my regards to Josie<\/dialogue>\n    <character>POLICEMAN<\/character>\n    <dialogue>I will do.<\/dialogue>\n    <scene_description>MA waves, still all smiles. Neighbours watch intently.<\/scene_description>\n    <character>NEIGHBOUR GOSSIP<\/character>\n    <dialogue>I do like a man in a uniform...Was he is in there long?<\/dialogue>\n    <scene_description>She walks back inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUDDY'S HOUSE DAY<\/stage_direction>\n    <scene_description>As the door closes, MA's hand goes up to wallop BUDDY's head. He flies up the stairs<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>Apples'll grow again should they grow on a...<\/dialogue>\n    <scene_description>She chases him up the stairs.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>...gooseberry tree.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>I didn't even eat the chocolate!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUDDY'S HOUSE NIGHT<\/stage_direction>\n    <scene_description>BUDDY watches HIGH NOON on the television.<\/scene_description>\n    <character>AMY FOWLER-KANE\/GRACE KELLY<\/character>\n    <dialogue>No, I won't be here when it's over. You're asking me to wait an hour to find out if I'm going to be a wife or a widow. I say it's too long to wait. I won't do it.<\/dialogue>\n    <character>MARSHAL WILL KANE\/ GARY COOPER<\/character>\n    <dialogue>Amy!<\/dialogue>\n    <character>AMY FOWLER-KANE\/GRACE KELLY<\/character>\n    <dialogue>I mean it. If you won't go with me now, I will be on that train when it leaves here.<\/dialogue>\n    <character>MARSHAL WILL KANE\/ GARY COOPER<\/character>\n    <dialogue>I've got to stay.<\/dialogue>\n    <scene_description>MA is on the phone in the hall.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>No, you are not listening to me.<\/dialogue>\n    <character>PA (O.S.)<\/character>\n    <dialogue>I am listening...I am listening...would you listen to me for a change? I'm trying to be practical about this.<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>Look the police were here today but their father wasn't, so no, I'm not having any lectures from you mister.<\/dialogue>\n    <character>PA (O.S.)<\/character>\n    <dialogue>I know what you're gonna do...<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>Cheerio!<\/dialogue>\n    <scene_description>MA hangs up the phone and breaks into tears. We hear the soundtrack to HIGH NOON - DO NOT FORESAKE ME. (Oh My Darlin') BUDDY watches MARSHAL WILL KANE\/GARY COOPER walk up the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S STREET NIGHT<\/stage_direction>\n    <scene_description>DO NOT FORESAKE ME continues to play whilst FRANKIE WEST patrols the street, flaming torch in hand.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAIN STREET \/ BUDDY'S STREET DAY<\/stage_direction>\n    <scene_description>PA comes out of an alley. He plays with a group of kids.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>Hey, pass the ball.<\/dialogue>\n    <scene_description>He throws the ball in the air.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>Catch it.<\/dialogue>\n    <scene_description>And moves on, towards the barricade.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>Mrs. Ford how you doing?<\/dialogue>\n    <character>MRS FORD<\/character>\n    <dialogue>All the better for seeing you stranger. Welcome home.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>Aren't you a silver-tongued charmer.<\/dialogue>\n    <character>MRS FORD<\/character>\n    <dialogue>It takes one to know one.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>Ach.<\/dialogue>\n    <scene_description>He walks past another woman.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>Alright?<\/dialogue>\n    <character>MR STEWART<\/character>\n    <dialogue>Ach just the fella. Have you got a horse for the two thirty race?<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>I have. But if I tell you, the odds will come down.<\/dialogue>\n    <character>MR STEWART<\/character>\n    <dialogue>Christ, I'm not gonna bet the house.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>'Fancy Man' each way. It'll get ya a pint. Is that Paddy moving out?<\/dialogue>\n    <character>FRANKIE WEST<\/character>\n    <dialogue>Poor Catholics have no choice.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>It's a mad world.<\/dialogue>\n    <character>FRANKIE WEST<\/character>\n    <dialogue>We'll get used to it. We all live there now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUDDY'S HOUSE DAY<\/stage_direction>\n    <scene_description>BUDDY and WILL are in the living room playing. The TV is on, but they're not watching.<\/scene_description>\n    <character>TV REPORTER (V.O.)<\/character>\n    <dialogue>The prize capture was a tanker laden with two and half thousand gallons of petrol. They'd also taken dozens of crates of milk bottles from a passing truck and dubbed the whole enterprise the 'petrol bomb factory'. Later troops recaptured the tanker with most of its load. untapped...<\/dialogue>\n    <scene_description>PA and MA sit at the dining table in the kitchen.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>What do you want me to do?<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>You need to talk to them boys.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S BACKYARD DAY<\/stage_direction>\n    <scene_description>PA making wooden Christmas presents. Sanding the wood. He is talking to WILL, working quietly as he does so. BUDDY sees them through the kitchen window. They are unaware that he is watching them.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>How many was there?<\/dialogue>\n    <character>WILL<\/character>\n    <dialogue>About ten o' them.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>An' what did your cousin do?<\/dialogue>\n    <character>WILL<\/character>\n    <dialogue>He' said 'e wasn't joining anythin' they belonged to, and then 'e gave the big one a dig on the gob, an' run like hell. So did I.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>Did they chase you?<\/dialogue>\n    <character>WILL<\/character>\n    <dialogue>Aye but we got a street ahead o'them an then we ran in d' m' Uncle Tony's, before they'd turned the corner, before they could see us. We put the heart across m' Uncle Tony. 'E was on the toilet, doin his horses an 'e dropped his pencil down the loo.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>You've delivered for these boys, before, Aye?<\/dialogue>\n    <scene_description>WILL nods. Frightened.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>You know it's not milk they're puttin' back in them empty bottles?<\/dialogue>\n    <character>WILL<\/character>\n    <dialogue>We do now, Daddy.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>You did right to tell me.<\/dialogue>\n    <scene_description>He flips a piece of wood.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>Come and hold this son? Hold that there.<\/dialogue>\n    <scene_description>The two work together on the wood. BUDDY watches.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>You got that?<\/dialogue>\n    <character>WILL<\/character>\n    <dialogue>Mh-mh.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUDDY'S HOUSE DAY<\/stage_direction>\n    <scene_description>MA is on the sofa, reading the 'Sydney' Brochure and listening to the radio.<\/scene_description>\n    <character>RADIO REPORTER (V.O.)<\/character>\n    <dialogue>...amid more city-wide violence overnight, government figures issued today reveal that Northern Ireland now has the highest rate of unemployment in the UK...<\/dialogue>\n    <scene_description>BUDDY, WILL and PA are gathered round the kitchen table. BUDDY is working on his Moon Landing project. PA looks at BUDDY's globe and newspaper cuttings. There are several iterations of Planet Earth, and views of the globe. He points to one.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>Here it is. Planet Earth. D'ya know where that is?<\/dialogue>\n    <scene_description>BUDDY shakes his head.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>Sydney.<\/dialogue>\n    <character>WILL<\/character>\n    <dialogue>Australia?<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>That's right. Do you know about it?<\/dialogue>\n    <character>WILL<\/character>\n    <dialogue>Aye. They've got surfing and weird football, an they have kangaroos on the barbecue. An the weather's good. An' young Joe Turner's down there too.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>That's right. How d'ya fancy that?<\/dialogue>\n    <character>WILL<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>Movin' over there for a wee while.<\/dialogue>\n    <character>WILL<\/character>\n    <dialogue>Yer jokin'?<\/dialogue>\n    <character>PA<\/character>\n    <parenthetical>(indicating the globe)<\/parenthetical>\n    <dialogue>No, it's just down the side a wee bit.<\/dialogue>\n    <scene_description>BUDDY follows his finger from the UK, down the Globe to Sydney. MA gets up from the sofa, walks to the kitchen and throws the brochure on the table.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>It's ten an' a half thousan' miles.<\/dialogue>\n    <scene_description>WILL starts to look at the snazzy pictures, fired up. PA looks at MA. BUDDY watches them all. Silence.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>C'mon you two, school. Now.<\/dialogue>\n    <scene_description>WILL gets up, leaves, takes the brochure with him. BUDDY takes his papers and cuttings, and starts to put them carefully in his bag. He can see through to the backyard, and hear the quiet voices.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>We might as well be goin' to the bloody moon if we go down there.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>Sure y've already family there.<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>One second cousin.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>An' you've the phone.<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>A millionaire d' pay the bills?<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>An we could take trips back.<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>Paid for with what? Scotch Mist?<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>Family could come over for holidays.<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>I didn't come up the loch in a bubble. There's no one from here could afford the fares to get out there or the time off work, if they had any work - you just heard the bloody news.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>We have to do somethin'.<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>This is our home.<\/dialogue>\n    <scene_description>They see BUDDY staring at them from the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GROVE PARK DAY<\/stage_direction>\n    <scene_description>Friday afternoon. After school. After work. The family and MOIRA are in the park. Playing netball and throwing pitches, jumping in the sandpit. MUSIC - \"Day's Like These\" by Van Morrison WILL has a ball balanced on his head.<\/scene_description>\n    <character>WILL<\/character>\n    <dialogue>I hope you're feeling confident Daddy.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>Don't worry.<\/dialogue>\n    <scene_description>He performs a super accurate William Tell apple removal from WILL's head. Applause. The whole extended family are now in the park. Sandwiches, and thermoses. An informal game of Netball. PA and MACKIE enthusiastic. They cheat and foul BUDDY and WILL. MA and AUNTIE VIOLET watch from the sidelines.<\/scene_description>\n    <character>VIOLET<\/character>\n    <dialogue>He's away the night again?<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>He can't neglect his work.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Sure there's work here.<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>Have you read the papers?<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>You'd break my heart d'leave, but you have to think of them.<\/dialogue>\n    <scene_description>They look at the kids playing.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>We can't all leave. There'd be nobody left but the nutters.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Aye, an' nobody d' cook their tea, run messages, an' wipe their arses, so that would make the violence stop in about ten minutes.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>How could I leave Belfast?<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>I wouldn worry about it. The Irish were born for leavin. Otherwise the rest o the world'd have no pubs. It just needs half us to stay so that the other half can get sentimental about the ones that went. All the Irish need to survive is a phone, a Guinness, and the sheet music for Danny Boy.<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>You're a terrible woman, you know that?<\/dialogue>\n    <scene_description>She leans over and holds VIOLET's hand.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S HOUSE EVENING<\/stage_direction>\n    <scene_description>The large family group draped around the house continues the festivities. MACKIE and others are saying cheerio to PA like he's going to war. VIOLET is singing 'Danny Boy'. WILL is talking with his peers.<\/scene_description>\n    <character>PA<\/character>\n    <parenthetical>(to VIOLET)<\/parenthetical>\n    <dialogue>See you soon ok?<\/dialogue>\n    <scene_description>He kisses VIOLET on the head. She is still singing. MA gets up from the sofa where she's sitting with VIOLET. She says goodbye to MACKIE.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>You take care.<\/dialogue>\n    <character>MACKIE<\/character>\n    <dialogue>Come on now Mrs. We must go as well...come on now.<\/dialogue>\n    <scene_description>He tries to pull VIOLET up, but struggles.<\/scene_description>\n    <character>MACKIE<\/character>\n    <dialogue>Alright, I give in.<\/dialogue>\n    <scene_description>And sits down next to VIOLET, who is still singing.<\/scene_description>\n    <character>MACKIE<\/character>\n    <dialogue>Violet, can I ask you a question?<\/dialogue>\n    <scene_description>MA, PA and BUDDY walk away in the background.<\/scene_description>\n    <character>VIOLET<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MACKIE<\/character>\n    <dialogue>What did you do with the money?<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>What money?<\/dialogue>\n    <character>MACKIE<\/character>\n    <dialogue>The money your Ma gave you for singing lessons?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BELFAST CITY VIEW DAY<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRANNY'S HOUSE END OF DAY<\/stage_direction>\n    <scene_description>GRANNY and POP sit by the window. Cup of tea.<\/scene_description>\n    <character>POP<\/character>\n    <dialogue>Everybody's leavin' home.<\/dialogue>\n    <character>GRANNY<\/character>\n    <dialogue>People have to move on.<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>\"too long a sacrifice can make a stone of the heart\".<\/dialogue>\n    <character>GRANNY<\/character>\n    <dialogue>Is that what does it?<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>Yea, well you don't usually buy your wisdom with a walk in the park. Your heart has to explode.<\/dialogue>\n    <character>GRANNY<\/character>\n    <dialogue>Mr Philosopher. When did your heart ever explode?<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>That time I saw you in those brown stockings.<\/dialogue>\n    <character>GRANNY<\/character>\n    <parenthetical>(Laughing)<\/parenthetical>\n    <dialogue>Holy God. I remember that. It took me half the day staining my legs brown with tobacco water, and then our Annie took half the night to draw the seam down the back of my legs with a pencil. You couldn't understand why you couldn't get your hands round them. You thought it was magic.<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>It was magic. When you've grey hair people think your heart never skipped.<\/dialogue>\n    <character>GRANNY<\/character>\n    <dialogue>Did yours ever skip?<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>Aye, it danced a bloody jig everytime you walked in the room.<\/dialogue>\n    <character>GRANNY<\/character>\n    <dialogue>Ach you were full of it then, you're full of it now.<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>C'mon, we may get on. Jim Harper said he'd drive me up to the hospital in the mornin.<\/dialogue>\n    <character>GRANNY<\/character>\n    <dialogue>And I told him he would not. I'm takin you on the bus. I'm walkin you in , and when they're done you can be bloody sure, I'm walkin you back out again.<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>GRANNY<\/character>\n    <dialogue>Do you hear me? I'm walkin' you home. Do you hear me?<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>Yea, I hear you Mrs., Sure when did I not?<\/dialogue>\n    <scene_description>POP coughs. GRANNY watches him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUS STOP SUNSET<\/stage_direction>\n    <scene_description>BUDDY waiting outside the bus. He is aware that MA and PA are having a moment in the parked number 42 Bus<\/scene_description>\n    <character>BUS DRIVER (O.S.)<\/character>\n    <dialogue>Aldergrove bus is going in three minutes. Last tickets now.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>The Boss's been in touch direct. They want me to stay on. A permanent job in England. Wantin' me to move into management. It's more money. There's a house that goes with it. We get it rent free. With a chance to own it, if things go well. A wee bit bigger than we have here. A room for each for the boys. There's a wee garden too.<\/dialogue>\n    <scene_description>From outside the bus:<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>Are y' allowed to play football in that garden, Daddy?<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>Aye, son.<\/dialogue>\n    <parenthetical>(Back to MA)<\/parenthetical>\n    <dialogue>If I say yes, there'd be more money straight away. We could start gettin on top o' the back tax now.<\/dialogue>\n    <scene_description>A look between them.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>This family's not gonna get another chance like that in this town. Not now.<\/dialogue>\n    <character>MA<\/character>\n    <parenthetical>(to BUDDY)<\/parenthetical>\n    <dialogue>Watch out for that that traffic there.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>I'm watching it now Mommy, it's ok.<\/dialogue>\n    <character>BUS DRIVER (O.S.)<\/character>\n    <dialogue>Come now, two minutes. Get onboard if you're coming. Last tickets now.<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>It sounds like they really want you. What d' you want?<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>I want my family with me. I want you.<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>You an me, we have known each other since we were toddlers. We've known this street, and every street round it, all our lives, an every man, woman, an' chil' that lives in every bloody house, whether we like it or not. I like it.<\/dialogue>\n    <dialogue>An' y' say you've a wee garden for them boys? But here they can play where the hell they like, cos everybody knows them, everybody likes them, and everybody looks after them.<\/dialogue>\n    <dialogue>If we go over the water, them people's not gonna undestan' a word we say, an' half o' them'll take the hand outta us for soundin' different.<\/dialogue>\n    <dialogue>The o'r half, they'll hate us cos men here are killin their young sons on our streets, an' they think we couldn' give a shite.<\/dialogue>\n    <dialogue>Y' think they'll welcome us with open arms, an say 'Come on in, an' well done for stealin a house off us?'<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>Things change.<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>Aye they do.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>We need to decide by Christmas. You need to decide by Christmas.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>You're comin' back aren't you Daddy?<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>You look after your Mommy, and be good. And if you can't be good...<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>...an' if you can't be good, be careful.<\/dialogue>\n    <scene_description>The driver gets on.<\/scene_description>\n    <character>BUS DRIVER<\/character>\n    <dialogue>Right off we go to Aldergrove airport, ladies and gents.<\/dialogue>\n    <scene_description>MA leaves the bus and the doors close. PA and MA's hands 'touch' divided by glass. The bus moves off very slowly. MA walks alongside it.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>Give me a ring. Tell me when you've got there.<\/dialogue>\n    <scene_description>PA makes his way to the back. He waves. She waves. His face on the bus. Her face in the street. BUDDY's face. ...and the bus disappears. MUSIC - \"Stranded\" by Van Morrison<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RAIN CLOUDS OVER BELFAST DAY<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITEABBEY HOSPITAL DAY<\/stage_direction>\n    <scene_description>The road up to the Hospital with the sea beyond. Nurses walking to work.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITEABBEY HOSPITAL DAY<\/stage_direction>\n    <scene_description>POP, GRANNY, MA and BUDDY around a table. POP in his dressing room and pyjamas BUDDY doing a jigsaw.<\/scene_description>\n    <character>POP<\/character>\n    <dialogue>Have y' wrote d' Santa?<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>He has, but Santa's explained that money's a bit tight this year, so he's not expecting much.<\/dialogue>\n    <character>GRANNY<\/character>\n    <dialogue>Sure Santa's plenty of surplus, if you talk to the people in the know. Ach yer health's all you need for a Christmas present.<\/dialogue>\n    <character>MA<\/character>\n    <parenthetical>(teasing Granny)<\/parenthetical>\n    <dialogue>You've got the right woman to cheer y' up here haven't ya, Pop?<\/dialogue>\n    <character>GRANNY<\/character>\n    <dialogue>Y' tell yer mammy d' stop 'er cheek, or I'm not takin' y' d' see the show.<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>What show's that?<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>I don't know. I think it's got Christmas carols in it, though.<\/dialogue>\n    <scene_description>BUDDY roles his eyes.<\/scene_description>\n    <character>GRANNY<\/character>\n    <dialogue>That's me waterworks.<\/dialogue>\n    <scene_description>GRANNY and MA get up from the table.<\/scene_description>\n    <character>MA<\/character>\n    <parenthetical>(to BUDDY)<\/parenthetical>\n    <dialogue>You behave yourself. Don't annoy yer Pop. An' don't be askin for Christmas presents. He's no money either. Taxman's got it, like ours.<\/dialogue>\n    <scene_description>She and GRANNY move off down the ward.<\/scene_description>\n    <character>POP<\/character>\n    <dialogue>Yer don't worry, your Mammy'll persuade Santa d' bring some presents.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Ah don't think so Pop. Ah always know when they've no money.<\/dialogue>\n    <scene_description>POP looks at him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUDDY'S HOUSE DAY<\/stage_direction>\n    <scene_description>A Man in a tired business suit knocks on the front door.<\/scene_description>\n    <character>RENT MAN (O.S.)<\/character>\n    <dialogue>Hello? It's the rent man.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>I'LL GET IT MA!<\/dialogue>\n    <scene_description>She pulls him back in the living room .They hide behind the sofa. MA searches through the Rent Book.<\/scene_description>\n    <character>RENT MAN (O.S.)<\/character>\n    <dialogue>Is your mom in there wee man?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Nobody's ...<\/dialogue>\n    <scene_description>MA covers BUDDY's mouth with her hand to shut him up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITEABBEY HOSPITAL DAY<\/stage_direction>\n    <character>POP<\/character>\n    <dialogue>Aye, well that puts me in mind of a great wee system we had in the old days for paying the rent. The rent man would come round and collect the money for every house in the whole street, an' once 'e was done, an all the rent books were marked up to date, one o' the boys would hold 'im up at gun point in a back entry an take all the money back off him. And then 'e'd hand it back to all the residents in the street, with a little commission for the service. It was a very effective system. The rent man was so good about it in the end, that eventually they cut 'im in for a wee bit too, an everybody was happy. Except the council, I suppose.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>His work's giving my Da a house in England now if he wants one. It's gotta garden an' everything, an' two toilets, an they're both inside the house.<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>There's nothin' wrong with an outside toilet, except on an aeroplane.<\/dialogue>\n    <scene_description>BUDDY laughs.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>My Ma says if we went across the water, they wouldn't understand the way we talk.<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>That shouldn't be a problem son. I've been married to your Granny for fifty years and I've never understood a word she said. If they can't understand you, then they're not listenin', and that's their problem. You know when I was in Leicester, they said the same thing about me, you know. So I put on a different bloody accent everyday just d'annoy them. They never knew who I was. But I did, an' that's the only one who needs d' know. You know who you are don't yer?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Yes Pop.<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>You're BUDDY, from Belfast 15, where everybody knows ya, an' yer Pop looks out for yer, an yer Mammy looks out for ye, yer Daddy looks out for ya, yer Granny looks out for ya, yer Brother looks out for yer an' yer whole family looks out for yer, an wherever you go, and whatever you become, that will always be the truth. An' that thought'll keep yer safe, an' it'll keep yer happy. Will yer remember that for me?<\/dialogue>\n    <scene_description>BUDDY nods.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>Yes Pop.<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>Alright. Fine man y'are. Now forget about what yer Father an yer Mother want, what do you want?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>I want you an' ma Granny d' come too.<\/dialogue>\n    <scene_description>BUDDY goes to his POP. They hold each other.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GROVE THEATRE EVENING<\/stage_direction>\n    <scene_description>The theatre marquee shows A CHRISTMAS CAROL BY CHARLES DICKENS, STARRING JOSEPH TOMELTY as MARLEY'S GHOST. GEORGE MALPAS as SCROOGE.<\/scene_description>\n    <character>MARLEY'S GHOST (V.O.)<\/character>\n    <dialogue>Hear me!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GROVE THEATRE EVENING<\/stage_direction>\n    <scene_description>The great Joseph Tomelty is on the stage and covered in the chains of Jacob MARLEY, towering above the cowering SCROOGE<\/scene_description>\n    <character>MARLEY'S GHOST<\/character>\n    <dialogue>Hear me! I am here tonight to warn you, that you have yet a chance and hope of escaping my fate.<\/dialogue>\n    <character>GRANNY<\/character>\n    <dialogue>Who wears chains that size?<\/dialogue>\n    <character>BUDDY<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Granny, you're not allowed to talk in a theatre.<\/dialogue>\n    <character>GRANNY<\/character>\n    <dialogue>It makes one heck of a necklace.<\/dialogue>\n    <character>SCROOGE<\/character>\n    <dialogue>You were always a good friend to me. Thankee.<\/dialogue>\n    <character>MARLEY'S GHOST<\/character>\n    <dialogue>You will be haunted.<\/dialogue>\n    <scene_description>On BUDDY's face.<\/scene_description>\n    <character>SCROOGE<\/character>\n    <dialogue>Is that the chance and hope you mentioned, Jacob?<\/dialogue>\n    <character>THE GHOST<\/character>\n    <dialogue>It is.<\/dialogue>\n    <character>SCROOGE<\/character>\n    <dialogue>I think I'd rather not.<\/dialogue>\n    <character>GRANNY<\/character>\n    <dialogue>Bloody well sure you wouldn't...<\/dialogue>\n    <scene_description>BUDDY gives GRANNY a look.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS NIGHT<\/stage_direction>\n    <scene_description>GRANNY and BUDDY stare out of the Bus. Belfast at night.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>When will Pop get out of the hospital?<\/dialogue>\n    <character>GRANNY<\/character>\n    <dialogue>When the Doctors say his lungs are fine.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>When Pop went to England to be a coal miner, did you go with 'im?<\/dialogue>\n    <scene_description>She shakes her head.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>Did y' want to?<\/dialogue>\n    <scene_description>She shakes her head again.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>Nether do I.<\/dialogue>\n    <character>GRANNY<\/character>\n    <dialogue>Has yer Father said what he's doin?<\/dialogue>\n    <scene_description>Now BUDDY shakes his head.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>He says it has to get decided by Christmas.<\/dialogue>\n    <character>GRANNY<\/character>\n    <dialogue>When's he coming back?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>At the weekend. We're goin d' the pictures. He's takin us to Chitty Chitty Bang Bang.<\/dialogue>\n    <character>GRANNY<\/character>\n    <dialogue>What in the name o' God is that?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>It's a flying car.<\/dialogue>\n    <character>GRANNY<\/character>\n    <dialogue>Oh God, I've heard it all.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>It goes over a cliff, an' yer nearly fall outta yer seat. D'y' wanna come? It'd be company for y' till my Pop's home.<\/dialogue>\n    <character>GRANNY<\/character>\n    <dialogue>If God wanted me d' see a flyin car. I'd a been born with blinkin wings. Yer love yer films don't yer? I was a great one for the pictures when I was your age. I used to think you could climb right inside the screen and visit all those strange places you saw. Like that one in that film...what was that... Lost Horizon...did you ever see that?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>No. What was the name of the place Granny?<\/dialogue>\n    <character>GRANNY<\/character>\n    <dialogue>Shangri La. That's what they called it.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Did you ever go there?<\/dialogue>\n    <character>GRANNY<\/character>\n    <dialogue>There were no roads to Shangri La from our part of Belfast.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>So will yer go one day?<\/dialogue>\n    <scene_description>The bus drives on, and GRANNY looks out at the darkness. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CINEMA EVENING<\/stage_direction>\n    <scene_description>On the screen in colour CHITTY CHITTY BANG BANG racing towards a rocky shore, then the whole family seems to be falling forward and yelling as Chitty Chitty Bang Bang careers over a cliff on the massive cinema screen. The entire family grabs each others arms, leans forward with the rest of the packed audience, and yells. GRANNY loudest of all. Right before hitting the water, the car starts to fly<\/scene_description>\n    <character>TRULY SCRUMPTIOUS<\/character>\n    <dialogue>What's happening?! Oh It's fantastic! You're a genius!<\/dialogue>\n    <character>CARACTACUS POTTS<\/character>\n    <dialogue>It's nothing really!<\/dialogue>\n    <scene_description>They all start to sing along to Chitty Chitty Bang Bang.<\/scene_description>\n    <character>GRANNY<\/character>\n    <dialogue>Shut Up! You'll get us thrown out.<\/dialogue>\n    <scene_description>Buddy erupts in laughter.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S STREET DAY<\/stage_direction>\n    <scene_description>Heavy rain. Christmas day in Belfast. MUSIC - \"Chitty Chitty, Bang Bang\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUDDY'S HOUSE DAY<\/stage_direction>\n    <scene_description>Decorated Tree with Christmas presents pilled underneath. BUDDY empties a grey stocking sock. It has an orange, and two new penny copper coins, and the James Bond Matchbox Car. Opens a small package containing the Spurs Football Team as Subbuteo table football figures. Opens a small chocolate selection box. Cadbury's Chocolate Bars. He goes for the chocolate buttons. The family have a game of Subbuteo. BUDDY scores a goal. BUDDY is now dressed as Scott from International Rescue - The Thunderbirds. He has a complete sky blue flying suit, with a blue plastic sash, a utility belt for his ammunition, a ray gun, and a little blue peaked cap. MA and PA invite BUDDY to sit on the sofa with them.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>Come on, here. Sit down for a few minutes here. We have a wee word to have with you.<\/dialogue>\n    <scene_description>BUDDY sits down. MA and PA on either side of him. Something's up. He looks at them, very worried.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>Buddy, I...Ma and I want to talk to you about something. Something that we might have to do as a family.<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>You know the way your Dad's over in England? And he's been working over there for quite a while? Well, we were thinking that, you know, maybe we'd all go as a family and go live there. And your Dad's seen a really nice wee house and it's got a lovely garden and...<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>Play football Buddy.<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>Aye.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>There's loads of room there. More room that we have here.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>I DON'T WANNA GO TO ENGLAND!<\/dialogue>\n    <character>MA<\/character>\n    <parenthetical>(to WILL)<\/parenthetical>\n    <dialogue>Switch that off now.<\/dialogue>\n    <scene_description>WILL switches the TV off.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>I DON'T WANNA GO TO ENGLAND!<\/dialogue>\n    <scene_description>Wailing BUDDY on the sofa, still in Thunderbirds suit. He is inconsolable.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>It's alright darling... it's alright...<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>...I'll have no friends, an' no cousins, an' I won't be able to see Catherine at school...<\/dialogue>\n    <character>PA<\/character>\n    <parenthetical>(overlapping)<\/parenthetical>\n    <dialogue>...hey listen. you'll make friends, an you're gonna have this garden to play football in there...<\/dialogue>\n    <character>BUDDY<\/character>\n    <parenthetical>(also overlapping)<\/parenthetical>\n    <dialogue>...I don't care about a garden! I want my Granny an my Pop, and I wanna do my project on goin to the moon, an get on the first desk, an I don't wanna have to talk funny, an', I don't wanna forget what road I have to go down when I'm dead, an....<\/dialogue>\n    <character>MA<\/character>\n    <parenthetical>(overlapping him)<\/parenthetical>\n    <dialogue>...that's enough now... there's nothin decided yet... we just wanted to see what everybody thought first....you're all overtired....<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>Exactly, yea...<\/dialogue>\n    <character>BUDDY<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BELFAST CHRISTMAS IN THE RAIN DAY<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUDDY'S HOUSE LIVING ROOM NIGHT<\/stage_direction>\n    <scene_description>BUDDY is fast asleep on the sofa. A tear stained face. Chocolate marks all around his mouth, the chocolate selection box on his lap. His brother asleep beside him, a Manchester United Annual on his lap. MA and PA finish clearing the room up of wrapping paper and sweets.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>Lets just leave it to Easter. See where we are then?<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>These boys are suffering. I don't think we've got till Easter.<\/dialogue>\n    <scene_description>She is silent.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>I don't think you an me have got till Easter either.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>Then come home. We'll fight this together.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>Kids the same age as ours are gettin killed round the corner.<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>We'll be careful.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>We can't be with them 24 hours a day. An' we can't take away their childhood either.<\/dialogue>\n    <scene_description>He starts to leave the room. Stops at the back door.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>You know, whatever happens. What you've done with these two is phenomenal.<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>Whaddya talkin about?<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>You raised them. Not me. Not us. You.<\/dialogue>\n    <parenthetical>(Beat.)<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <parenthetical>(Beat.)<\/parenthetical>\n    <dialogue>We'll see what happens by Easter. I'll take the bins out, make a cuppa, get these'ns to bed.<\/dialogue>\n    <scene_description>He leaves the room. MA sits between her BOYS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S STREET EARLY MORNING<\/stage_direction>\n    <scene_description>PA comes out of the house and looks up. BUDDY is at the window. MUSIC - \"Carrick Fergus\" by Van Morrison<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>Go to sleep. I see you in two weeks.<\/dialogue>\n    <scene_description>He waves at BUDDY and starts to walk away. He stops and turns towards the house. BUDDY is still at the window, PA waves at him again, then carries on walking. He gets to the barricade, turns and waves at BUDDY one last time before he disappears.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUDDY'S BEDROOM EARLY MORNING<\/stage_direction>\n    <scene_description>BUDDY in bed, awake, forlorn and thinking.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BELFAST CITY VIEW DAY<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET DAY<\/stage_direction>\n    <scene_description>Kids playing with a makeshift swing around a lamppost.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S HOUSE DAY<\/stage_direction>\n    <scene_description>MA peeling potatoes on the pavement.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TV REPAIR SHOP DAY<\/stage_direction>\n    <scene_description>On the screen in the shop window<\/scene_description>\n    <character>TV REPORTER (V.O.)<\/character>\n    <dialogue>There used to be forty houses here, in this mainly Roman Catholic street. That was before the trouble in the middle of August.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUPERMARKET DAY<\/stage_direction>\n    <scene_description>On the TV mounted on the wall<\/scene_description>\n    <character>TV REPORTER (V.O.)<\/character>\n    <dialogue>Now the government are proposing to rebuild this street, but there are increased tensions in the city<\/dialogue>\n    <scene_description>The MANAGER look up at the TV on the wall. Newsreel footage show the aftermath of the riots.<\/scene_description>\n    <character>TV REPORTER (V.O.)<\/character>\n    <dialogue>and the move comes amid warnings of renewed violence. Authorities are urging citizens to return to their homes immediately...<\/dialogue>\n    <scene_description>The Customers stop. Some drop their shopping. They leave for the safety of their homes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUPERMARKET DAY<\/stage_direction>\n    <character>TV REPORTER (V.O.)<\/character>\n    <dialogue>...and to stay inside and off the streets until further notice, effective immediately.<\/dialogue>\n    <scene_description>THE MANAGER steps out into the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BETTING SHOP DAY<\/stage_direction>\n    <scene_description>BUDDY waits outside, sitting on the side of the pavement, reading a Thor comic, and eating from a bag of chips. PA comes out of the shop.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>Moondance - 7\/2 - has to win, son, don't ya think? What's going on in your comic?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>He has to defeat the monster.<\/dialogue>\n    <scene_description>PA shoves his hand in the bag of chips and grabs a handful.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>What?! They're my chips!<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>What's yours is mine, what's mine is my own.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Granny says that. What does that even mean?!<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>You'll find out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET DAY<\/stage_direction>\n    <scene_description>Father and son walk down the road, stopping at the end of Granny's Street.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>Now, you wait at your Granny's and I'll pick you up when I've come back from seein' my Father, ok son?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Alright Daddy.<\/dialogue>\n    <scene_description>He sees his Father run for, and make it to the bus, which speeds away. He starts to head down towards his Granny's house. Coming up the street, on the other side is MOIRA. She crosses the street, grabs BUDDY by the arm, turns him around, starts marching him in the opposite direction.<\/scene_description>\n    <character>MOIRA<\/character>\n    <dialogue>Right, wee fella. You did well for not grassin' us to the police. So you're in.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>You're one of us now, and this is it.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>This is what?<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>This is war.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TV REPAIR SHOP DAY<\/stage_direction>\n    <scene_description>The TVs on display show images of the rioters: hundreds of people flood the streets.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAIN ROAD DAY<\/stage_direction>\n    <scene_description>The small group turns onto the main road, and into a slowly accumulating wave of people surging forward.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>What are we gonna do?<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>Whatever the hell we want.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TV REPAIR SHOP DAY<\/stage_direction>\n    <scene_description>More newsreel of more people joining the marches.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAIN ROAD DAY<\/stage_direction>\n    <scene_description>BUDDY tries to turn back.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>I'm going home! I'm going home!<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>No, you're not. You're coming with us.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>I want to go home.<\/dialogue>\n    <scene_description>There are too many people. He is being carried forward like it or not.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT SUPERMARKET STREET DAY<\/stage_direction>\n    <scene_description>The crowd has swollen now, occupying the width of the street, and many people deep. They are picking up speed now, as they start to target the supermarket we saw earlier And upturned street lamp becomes a battering ram, and plate glass window is smashed. And with that the crowd starts to run en masse. BUDDY has no alternative, but to charge or be trampled underfoot. The Looting begins. This is a pitched battle that makes the riot from the beginning seem tame. THE MANAGER hides for her life.. BUDDY dodging falling glass, vegetables rolling around the floor and tripping people. Shelves collapsing.<\/scene_description>\n    <character>MOIRA<\/character>\n    <dialogue>Get yourself somethin'!<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MOIRA<\/character>\n    <dialogue>Whatever you need.<\/dialogue>\n    <scene_description>He grabs an enormous family size pack of OMO biological washing powder, and runs from the shop.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S STREET DAY<\/stage_direction>\n    <scene_description>Almost home. Racing down the street towards his house. Neighbour's look. He gets to his house, bangs on the door.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>Mammy! Mammy!<\/dialogue>\n    <scene_description>MA pops her head out the first floor window.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>What the hell skates is goin on?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Mammy, we're lootin a supermarket, an..<\/dialogue>\n    <character>MA<\/character>\n    <parenthetical>(indicating the washing powder)<\/parenthetical>\n    <dialogue>Where the hell did you get that?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>I told you, we're lootin a supermarket...<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>You're what? You wait right there young man.<\/dialogue>\n    <scene_description>After a moment, MA opens the front door.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>Why did you take that washing powder?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>It's biological.<\/dialogue>\n    <scene_description>She's furious. He runs off, she chases him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. \/ INT SUPERMARKET DAY<\/stage_direction>\n    <scene_description>A fully fledged riot. MA is like a woman possessed as she pulls BUDDY and MOIRA through the melee. She has one each side, as she makes her way over the jagged glass of the now smashed window through which she enters the supermarket. She looks up to see where the household products are stacked, heads towards that aisle. She reaches the now decimated shelves as the sound outside is peaking. Megaphone announcements Army is starting to arrive, urging people to clear the streets or tear gas and rubber bullets will be used. Despite her breathlessness, she speaks slowly and menacingly.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>Now. You put that back. Do you hear me?! And if you ever. Ever. Do anything like that again. I will kill you. Do you hear me?!<\/dialogue>\n    <parenthetical>(Turns to MOIRA.)<\/parenthetical>\n    <dialogue>And I know you wee madam.<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>And if you ever pull my son into something like this again, I will beat you black and blue until you never get home again. Do you hear me?!<\/dialogue>\n    <character>BILLY CLANTON<\/character>\n    <parenthetical>(appearing out of the mob)<\/parenthetical>\n    <dialogue>Hey woman! We don't put things back. That's not the statement we're trying to make. Out! Go on get out! Out!<\/dialogue>\n    <scene_description>He pushes MA towards the exit.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>Alright...alright...<\/dialogue>\n    <character>BILLY CLANTON<\/character>\n    <dialogue>Right. That's the law arrived. So you two are gonna guarantee safe passage for Chief Clanton. Try to run, an' I'll put a bullet in your son's head.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUPERMARKET \/ MAIN STREET DAY<\/stage_direction>\n    <scene_description>BILLY CLANTON directs the party of three onto the main street. There are far fewer rioters now, as the army with riot-shields lines up at each end of the street. BILLY CLANTON has a hand gun. PA and WILL appear at the other end of the street.<\/scene_description>\n    <character>BILLY CLANTON<\/character>\n    <dialogue>Ah...here he comes, the lone ranger.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>You let them go now.<\/dialogue>\n    <character>BILLY CLANTON<\/character>\n    <dialogue>Nah, I think if I do, one of them soldiers is gonna take my head off.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>If they don't, I will.<\/dialogue>\n    <character>BILLY CLANTON<\/character>\n    <parenthetical>(indicates the family)<\/parenthetical>\n    <dialogue>Over their dead bodies.<\/dialogue>\n    <scene_description>We see MA looking at Billy Clanton's gun. Looks to PA. BUDDY is in shock. Everything is getting quieter and quieter. MUSIC -\"Do not forsake me (Oh my darlin')\", from High Moon.<\/scene_description>\n    <character>BILLY CLANTON<\/character>\n    <dialogue>Folks always have a problem with change. But you better get used to it, mister. People like me run this town now. And it's people like you, that bring us all down...<\/dialogue>\n    <scene_description>Slow motion now, as BILLY CLANTON begins to draw the gun on PA. MA starts to move as WILL grabs a rock.<\/scene_description>\n    <character>WILL<\/character>\n    <dialogue>Daddy!<\/dialogue>\n    <scene_description>He gives it to PA who flings it at BILLY CLANTON. As the rock is about to make contact with the his head, BILLY CLANTON fires, MA pushes him, and throws his aim. PA escapes the shot, the rock hits BILLY CLANTON who falls. MA grabs BUDDY and runs to a doorway. PA and WILL make their way through the soldiers to them. They all huddle in the doorway. MOIRA joins them. Soldiers are surrounding BILLY CLANTON. Troops and tanks pour into the street. Helicopters swoop. CLANTON is dragged away, but unmoved.<\/scene_description>\n    <character>BILLY CLANTON<\/character>\n    <dialogue>This isn't the end, pal<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S STREET DAY<\/stage_direction>\n    <scene_description>An armoured car comes down the street. The family are inside it. Neighbours amazed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUDDY'S HOUSE DAY<\/stage_direction>\n    <scene_description>Silence. The three males sit dazed on the sofa. In front of them, the packet of OMO, now with a bullet hole in it. MA comes into the room.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>It's gonna be alright. I'll talk to the committee. Get this fixed. There'll be no more bother.<\/dialogue>\n    <scene_description>She shakes her head. Starts to speak very slowly.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>I caught sight of my face in that shop window when I was running down the street. And draggin them poor kids behind me.<\/dialogue>\n    <character>MA<\/character>\n    <dialogue>And I was lookin in the mirror just now at that same face. And I asked myself. What the hell am I doing? And then I was sick. Like I am every morning now. And I realised. I don't think it really matters anymore. So, tomorrow. When Mackie and Auntie Violet come round. We're going to start packing.<\/dialogue>\n    <scene_description>The three sit shocked.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITEABBEY HOSPITAL DAY<\/stage_direction>\n    <scene_description>POP in the hospital bed, with PA, and BUDDY sitting either side.<\/scene_description>\n    <character>POP<\/character>\n    <dialogue>You've no choice. You know they're going to come for you, don't you? And this time they'll send somebody serious. Get yourselves to the moon.<\/dialogue>\n    <scene_description>BUDDY looks to PA. PA looks to POP..<\/scene_description>\n    <character>POP<\/character>\n    <dialogue>London's only one small step for a man. Belfast'll still be here when you get back.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Will you?<\/dialogue>\n    <character>POP<\/character>\n    <dialogue>I'm goin nowhere you won't find me.<\/dialogue>\n    <scene_description>PA takes POP's hand, with his other hand POP takes BUDDY's hand.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL RALLINGS\/RAIN DAY<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLASSROOM DAY<\/stage_direction>\n    <scene_description>The Moon project is leaning up against the blackboard, the results are being called.<\/scene_description>\n    <character>MISS LEWIS (O.S.)<\/character>\n    <dialogue>And now to announce the winners of our school moon project...<\/dialogue>\n    <scene_description>BUDDY and CATHERINE are at the front of the class. Everyone cheers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL GATES DAY<\/stage_direction>\n    <scene_description>PA is picking up BUDDY. Sees CATHERINE with him. He walks with the two out of the gates.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>Well, how did it go with this?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>We got a gold star.<\/dialogue>\n    <character>CATHERINE<\/character>\n    <dialogue>We got a gold star.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>Wah, good on yous. Now tell me this, seeing as you two will know, how do I get to the moon with only ten pound, and these three leaky umbrellas?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S HOUSE DAY<\/stage_direction>\n    <scene_description>The sound of retching from the upstairs. MA and AUNTIE VIOLET glimpsed at the bathroom window.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUDDY'S HOUSE \/ KITCHEN DAY<\/stage_direction>\n    <scene_description>MACKIE is at work in the kitchen. He's cooking the kind of breakfast you would otherwise buy in his cafe. It's a frying plan in which sits a crowded mix of bacon, sausage, tomatoes, eggs, black pudding, soda bread and potato farls. BUDDY watches him.<\/scene_description>\n    <character>MACKIE<\/character>\n    <dialogue>There's an art to an Ulster Fry, son. Mind you, I'm glad your Aunt Violet's up the stairs with your Ma. She keeps bangin' on now about Northern Ireland having the highest rate of chlomestremol in the world. I think that's great that we're world champions at somethin'.<\/dialogue>\n    <scene_description>The door knocks.<\/scene_description>\n    <character>MACKIE<\/character>\n    <dialogue>Do you mind answerin' that for me son, I got this hot pan on?<\/dialogue>\n    <scene_description>BUDDY goes to the front door and opens it. A dark figure is silhouetted by the sun. But the shape of his helmet against the light, tells the story.<\/scene_description>\n    <character>POLICEMAN<\/character>\n    <dialogue>Is your Mother in son?<\/dialogue>\n    <scene_description>MA has already appeared at the top of the stairs and is walking down them slowly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUDDY'S STREET DAY<\/stage_direction>\n    <scene_description>BUDDY runs, and runs and runs with all his heart.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPORTSMAN BAR DAY<\/stage_direction>\n    <scene_description>BUDDY waiting outside, upset. A man is about to walk in.<\/scene_description>\n    <character>KIND MAN<\/character>\n    <dialogue>You alright son?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Will you ask in there for my Daddy please?<\/dialogue>\n    <character>KIND MAN<\/character>\n    <dialogue>Point out who he is?<\/dialogue>\n    <scene_description>The KIND MAN opens the door. BUDDY can see his PA smiling with some of his uncles. He points. In slow motion, the KIND MAN walks over to PA. BUDDY holds the door of the bar open. As the KIND MAN reaches him, PA looks up briefly, and then after a beat looks back to his son at the door. Their faces.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRANNY'S HOUSE \/ LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Alone in the room are PA, BUDDY, and the open casket with POP's body. There is a small make shift bed in the corner. They are eating fish and chips from the paper. Silence.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRANNY'S STREET DAY<\/stage_direction>\n    <scene_description>GRANNY watching black clothed figures in the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRANNY'S HOUSE \/ ENTRANCE DAY<\/stage_direction>\n    <scene_description>The front room. MA is gently leading GRANNY up the stairs.<\/scene_description>\n    <character>GRANNY<\/character>\n    <dialogue>Oh dear...<\/dialogue>\n    <scene_description>She struggles.<\/scene_description>\n    <character>MA<\/character>\n    <parenthetical>(To Granny)<\/parenthetical>\n    <dialogue>It's alright...<\/dialogue>\n    <parenthetical>(To Will)<\/parenthetical>\n    <character>WILL!<\/character>\n    <parenthetical>(to Granny) )<\/parenthetical>\n    <dialogue>You're alright...<\/dialogue>\n    <character>GRANNY<\/character>\n    <dialogue>Yea.<\/dialogue>\n    <scene_description>WILL appears.<\/scene_description>\n    <character>MA<\/character>\n    <dialogue>Take that note round to Mrs Hewitt, and get the wee message for your Granny. For her nerves.<\/dialogue>\n    <scene_description>WILL goes out the front door, the women turn at the top of the stairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRANNY'S HOUSE \/ LIVING ROOM DAY<\/stage_direction>\n    <character>BUDDY<\/character>\n    <dialogue>That was a lot of people that came to see him today.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>Aye. He was very popular. And he owed half of them money.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>He used to help me with my maths.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>He was a very deep thinker. Very deep thinker.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Did he help you?<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>Yeh...yeh he did help me...he helped me a lot.<\/dialogue>\n    <character>MINISTER (O.S.)<\/character>\n    <dialogue>...for now we see through a glass darkly...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETERY DAY<\/stage_direction>\n    <scene_description>The funeral. A big crowd. The same minister. The family side by side.<\/scene_description>\n    <character>MINISTER<\/character>\n    <dialogue>... face to face: for now I know in part; but then I shall know as also I am known... When I was a child, I spake as a child, I understood as a child, I thought as a child, but then I became a man and I put away childish things... So do now say in grief that you are sorry he is gone. Rather say in thankfulness you are grateful he was here...<\/dialogue>\n    <scene_description>GRANNY grabs PA. BUDDY joins the hug. They leave the cemetery slowly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEE CLUB EVENING<\/stage_direction>\n    <scene_description>The wake, the farewell party, the last family 'do'. Dancing, singing, children running everywhere, drink and sandwiches. LOVE AFFAIR kicks in with the stirring intro to EVERLASTING LOVE. PA grabs the mic, the dance floor clears to leave MA there, dancing alone as the crowd dances at the side, and PA belts out the song to her.<\/scene_description>\n    <character>PA\/LOVE AFFAIR<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Hearts go astray, leaving hurt when they go, I went away just when you needed me so, You won't regret I come back beggin' you, Won't you, forget. Where's The love we once knew? Open up your eyes, then you'll realize, here I stand, With my everlasting love, Need you by my side, girl you'll be my bride, You'll never be denied everlasting love, From the very start, open up your heart, Be a lasting part of everlasting love<\/dialogue>\n    <scene_description>The whole crowd joins in the dance.<\/scene_description>\n    <character>LOVE AFFAIR<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Real love will last for ever, Real love will last for ever!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BELFAST EARLY MORNING<\/stage_direction>\n    <scene_description>High above the city.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POP'S EMPTY BACKYARD DAY<\/stage_direction>\n    <scene_description>The abandoned saddle. The flutter of the curtains. Quiet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK ENTRY EARLY MORNING<\/stage_direction>\n    <scene_description>MA, PA, BUDDY and WILL walk side by side, carrying their belongings.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUS STOP EARLY MORNING<\/stage_direction>\n    <scene_description>They're waiting for the bus at the end of GRANNY's street. MA looks at her watch. There's time. Nods to PA and gives him a bunch of flowers. He signals to BUDDY and they walk off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CATHERINE'S STREET EARLY MORNING<\/stage_direction>\n    <scene_description>PA waits on the other side of the road. CATHERINE'S MOTHER opens the front door.<\/scene_description>\n    <character>CATHERINE'S MOTHER<\/character>\n    <dialogue>Hi Buddy.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <scene_description>The mother steps aside to let CATHERINE through. BUDDY hands her the bunch of flowers, and a piece of paper with his address on it. She gives him a piece of paper too, and a little book, 'Maths made easy'.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>CATHERINE<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>They stare at each other.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>I'll come back.<\/dialogue>\n    <character>CATHERINE<\/character>\n    <dialogue>Make sure you do.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Cheerio.<\/dialogue>\n    <character>CATHERINE<\/character>\n    <dialogue>Cheerio.<\/dialogue>\n    <scene_description>He walks back to his PA. She watches him from the front door.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>Daddy, do you think me an' that wee girl have a future?<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>Why the heck not?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>You know she's a Catholic?<\/dialogue>\n    <scene_description>PA kneels down to face him.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>That wee girl can be a practicing Hindu, or a Southern Baptist or a Vegetarian Anti-Christ. But if she's kind and she's fair, and you two respect each other, she an' her people are welcome in our house any day of the week. Agreed?<\/dialogue>\n    <scene_description>BUDDY nods.<\/scene_description>\n    <character>PA<\/character>\n    <dialogue>Mind you, does that mean you and me have to start goin' to confession?<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Probably.<\/dialogue>\n    <character>PA<\/character>\n    <dialogue>That's us two in trouble then...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUS STOP EARLY MORNING<\/stage_direction>\n    <scene_description>GRANNY walks slowly away from the bus. Turns and watches as the Bus slowly moves away. MA, PA, BUDDY and WILL are onboard.<\/scene_description>\n    <character>GRANNY<\/character>\n    <dialogue>Go. Go now. Don't look back. I love you son.<\/dialogue>\n    <scene_description>The bus pulls away. Just a whiff of exhaust fumes hanging in the air is all that is left of them now. GRANNY slowly closes her front door, leans her head against the glass and silently weeps FADE TO BLACK: ON THE SCREEN As we slowly fade the following words appear on screen.<\/scene_description>\n    <character>FOR THE ONES WHO STAYED.<\/character>\n    <dialogue>Dissolve to colour and to the shipyard at twilight<\/dialogue>\n    <character>FOR THE ONES WHO LEFT.<\/character>\n    <dialogue>The massive cranes still dominate the modern city The street lights beyond start to come on, to defy the encroaching dark.<\/dialogue>\n    <character>AND FOR ALL THE ONES WHO WERE LOST<\/character>\n    <dialogue>Fade to black.<\/dialogue>\n    <dialogue>WHEN THE HEALING HAS BEGUN by Van Morrison starts to play as the credits roll.<\/dialogue>\n  <\/scene>\n<\/script>","summary":"The film chronicles the life of a working-class Ulster Protestant family from the perspective of their nine-year-old son Buddy during The Troubles in Belfast, Northern Ireland. Buddy's father Pa works overseas in England, while the family\u2014Ma, elder brother Will, and paternal grandparents Granny and Pop\u2014live in Belfast. During the August 1969 riots, a group of Protestant loyalists attack the homes and businesses of Catholics on Buddy's street. The residents of the street set up a barricade to prevent further conflict and Pa returns home from England to check up on the family's wellbeing. The family attends church, where the minister delivers a harsh fork in the road speech; the rhetoric is continually reflected upon by Buddy throughout the film. Buddy develops feelings for a fellow high-achieving classmate, Catherine, a Catholic, and they eventually become friends. Local criminal and sectarian rabble-rouser Billy Clanton approaches Pa demanding his involvement in \"the cause\"; when Pa refuses, he becomes aggressive and incessantly approaches Buddy. Meanwhile, the family struggles to pay off their accumulated tax bill. Pa dreams of emigrating to Sydney or Vancouver, a prospect met with distress from Ma. However, she can no longer deny the option of leaving Belfast as the conflict worsens and Pa is offered a promotion and housing deal in England from his employers. At Christmas, they attempt to discuss the matter with the boys, but Buddy breaks down at the thought of leaving. Buddy and his cousin Moira attempt to steal chocolates from a sweet shop, but the plan goes awry. When later questioned by the police, he does not reveal his co-conspirators. Following this, Moira recruits him into her local gang, who turn out to be Ulster loyalists that loot a supermarket during a riot. A reluctant Buddy is coerced into stealing a box of laundry detergent before he returns home and informs Ma of his activities. Ma berates him and drags both Buddy and Moira back to the looting to return their stolen items. Billy then appears and takes Ma and Buddy hostage as leverage for his escape. Pa and Will arrive, as does the British army, which has come to end the riot. This initiates a standoff with Billy, who attempts a shootout until Pa and Will disarm him, at which point he is arrested and swears retribution. When realising that they are no longer safe in Belfast, the family decides to leave for England. Before they do so, Pop dies after a period in hospital. Before departing, Buddy bids farewell to Catherine. He later wonders whether he could have pursued a future with her despite her being a Catholic. Pa responds that it would not make any difference as far as he was concerned. As Granny watches, the family boards a bus for the airport, Granny silently encouraging them to go forward towards the future and not to look back."}
{"movie_name":"The Lord of the Rings: The Two Towers_2002","imdb_id":"tt0167261","script":"<script>\n  <scene>\n    <character>THE LORD OF THE RINGS<\/character>\n    <dialogue>The Two Towers<\/dialogue>\n    <scene_description>Screenplay by Fran Walsh &amp; Philippa Boyens &amp; Stephen Sinclair &amp; Peter Jackson Based on the novels by J.R.R Tolkien \u00a9 2002 New Line Cinema BLACK SCREEN. SUPER: New Line Cinema Presents SUPER: A Wingnut Films Production SUPER: THE LORD OF THE RINGS FADE IN ON:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE MISTY MOUNTAINS - DAY<\/stage_direction>\n    <scene_description>HIGH WIDE AERIAL ON: CAMERA flies over the snow-covered peaks of the Misty Mountains. As the tranquillity of the scene sinks in, voices disrupt the peacefulness.<\/scene_description>\n    <character>GANDALF (O.S.)<\/character>\n    <dialogue>You cannot pass!<\/dialogue>\n    <character>FRODO (O.S.)<\/character>\n    <dialogue>Gandalf!<\/dialogue>\n    <scene_description>ON THE SOUNDTRACK: A faint crash sounds over the landscape.<\/scene_description>\n    <character>GANDALF (O.S.)<\/character>\n    <dialogue>I am the servant of the Secret Fire, wielder of the Flame of Anor!<\/dialogue>\n    <scene_description>PAN CLOSER TO THE SIDE OF THE MOUNTAINS.<\/scene_description>\n    <character>GANDALF (O.S.)<\/character>\n    <dialogue>Go back to the Shadow. The dark fire will not avail you, flame of Ud\u00fbn!<\/dialogue>\n    <scene_description>TRACK THROUGH THE SIDE OF THE MOUNTAIN TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRIDGE OF KHAZAD-D\u00dbM, MORIA - DAY<\/stage_direction>\n    <scene_description>WIDE ON: The BALROG slashes at GANDALF with its SWORD OF FLAME ...GANDALF blocks with GLAMDRING ... a ringing clash and the BALROG'S SWORD SHATTERS into MOLTEN FRAGMENTS!<\/scene_description>\n    <character>GANDALF<\/character>\n    <parenthetical>(booming)<\/parenthetical>\n    <dialogue>You shall not pass!!<\/dialogue>\n    <scene_description>The BALROG places one foot onto the bridge. CONTINUED: GANDALF CRIES ALOUD as he summons his LAST RESERVES OF STRENGTH!! He thumps the bridge with his staff...a blinding sheet of white flame springs up...the staff shatters...the bridge breaks... right at the BALROG'S feet. The stone bridge drops away into the GULF...from under the BALROG. For a moment, the great BEAST remains poised in the air ...then it plunges down: SLOW MOTION: RELIEF floods FRODO'S face...GANDALF remains trembling on the lip of the broken bridge. SLOW MOTION: As the BALROG falls, he lashes out with his whip of fire... SLOW MOTION: The thongs of the whip lash and curl around GANDALF'S knees, dragging him over the brink! GANDALF just manages to hang on by his fingertips.<\/scene_description>\n    <character>FRODO<\/character>\n    <parenthetical>(screaming)<\/parenthetical>\n    <dialogue>Gandalf!<\/dialogue>\n    <character>GANDALF<\/character>\n    <parenthetical>(fierce)<\/parenthetical>\n    <dialogue>Fly, you fools!<\/dialogue>\n    <character>FRODO<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>CLOSE ON: GANDALF lets go his grip and falls away...following the BALROG into the BOTTOMLESS ABYSS!<\/scene_description>\n    <character>FRODO (O.S.)<\/character>\n    <dialogue>Gandalf!<\/dialogue>\n    <scene_description>TRACK AT HIGH SPEED WITH GANDALF AS HE PLUMMETS...THE BALROG SMOKES FROM BELOW... ANGLE ON: GANDALF snatches GLAMDRING as he plummets head-first behind the BALROG. GANDALF alights on the BALROG'S NECK and stabs GLAMDRING deep into it...the BALROG swipes at GANDALF loosening GANDALF'S grip. CONTINUED: (2) The BALROG swings at GANDALF several times before snatching GANDALF in his GRASP...another bounce off the close walls and GANDALF falls freely again. GANDALF grabs ahold of the demon's horn as they continue their never-ending plunge...The BALROG bounces off the walls as GANDALF prepares to drive GLAMDRING into its head.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDERGROUND CAVERN - DAY<\/stage_direction>\n    <scene_description>WIDE ON: AT THE UTTERMOST FOUNDATIONS BENEATH THE DEEPEST DELVINGS OF THE DWARVES, GANDALF and the BALROG emerge like a small ball of fire high above an enormous body of water in a cavern without measure. CLOSE ON: GANDALF'S EYES WIDEN as they crash into the water below. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EMYN MUIL - DAY<\/stage_direction>\n    <scene_description>CLOSE ON: FRODO awakens as if from a nightmare.<\/scene_description>\n    <character>FRODO<\/character>\n    <parenthetical>(calling out)<\/parenthetical>\n    <dialogue>Gandalf!<\/dialogue>\n    <scene_description>ANGLE ON: FRODO props himself up, hyperventilating. SAM sits up behind him.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>What is it, Mr. Frodo?<\/dialogue>\n    <character>FRODO<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <scene_description>FRODO lies back down.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Just a dream.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EMYN MUIL - LATER<\/stage_direction>\n    <scene_description>WIDE ON: FOG lays heavy over the ROCKY LANDSCAPE of EMYN MUIL. SUPER: THE TWO TOWERS ANGLE ON: FRODO and SAM climb down a rock face toward the mist- covered ground.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Can you see the bottom?<\/dialogue>\n    <scene_description>ANGLE ON: FRODO looks down into the mist.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>No! Don't look down, Sam! Just keep going!<\/dialogue>\n    <scene_description>CLOSE ON: SAM clings to the ROPE and nods. He slowly continues. ANGLE ON: The ROPE is tied securely around a rock at the top of the face. ANGLE ON: SAM takes a step and loses his footing...A SMALL BOX tumbles out of his pocket! He desperately reaches for it.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Catch it! Grab it, Mr. Frodo!<\/dialogue>\n    <scene_description>ANGLE ON: FRODO looks up...THE BOX bounces down the rock... FRODO deftly catches it. SUDDENLY, HE LOSES HIS FOOTING AND PLUNGES INTO THE MIST BELOW!<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Mr. Frodo!<\/dialogue>\n    <scene_description>After only a few feet, FRODO lands softly on the ground. Stunned, he looks about for a moment, and then up to SAM.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>I think I've found the bottom.<\/dialogue>\n    <scene_description>SAM quickly climbs downward and walks away from the rope.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Bogs and rope, and goodness knows what. It ain't natural, none of it.<\/dialogue>\n    <scene_description>CONTINUED: FRODO studies the SMALL BOX.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>What's in this?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Nothing. Just a bit of seasoning. I thought maybe if we was having a roast chicken one night or something.<\/dialogue>\n    <scene_description>CLOSE ON: SAM looks at FRODO with the greatest of honesty... FRODO looks at SAM incredulously.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Roast chicken?!<\/dialogue>\n    <scene_description>SAM shrugs.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>You never know.<\/dialogue>\n    <scene_description>FRODO laughs and shakes his head.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Sam. My dear Sam.<\/dialogue>\n    <scene_description>CLOSE ON: Carefully, FRODO opens the lid to look inside. The BOX is filled to the brim with SEASONING.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>It's very special, that. It's the best salt in all the Shire.<\/dialogue>\n    <character>FRODO<\/character>\n    <dialogue>It is special.<\/dialogue>\n    <scene_description>ANGLE ON: FRODO looks at SAM nostalgically.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>It's a little bit of home.<\/dialogue>\n    <scene_description>FRODO hands the box back to SAM and walks over to the rope still tied at the top of the cliff. He gazes upward. CONTINUED: (2)<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>We can't leave this here for someone to follow us down.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Who's gonna to follow us down here, Mr. Frodo?<\/dialogue>\n    <scene_description>FRODO looks at the rope, worried...SAM looks at it longingly.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>It's a shame, really. Lady Galadriel gave me that. Real Elvish rope.<\/dialogue>\n    <scene_description>SAM puts the box of seasoning in his pocket and walks over to the rock face.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Well, there's nothing for it. It's one of my knots. Won't come free in a hurry.<\/dialogue>\n    <scene_description>SAM tugs on the rope - hard. ANGLE ON: The ELVISH ROPE unties itself and plummets. ANGLE ON: The ROPE lands at SAM'S FEET...SAM stands speechless for a moment, and then he looks at FRODO who shrugs.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Real Elvish rope.<\/dialogue>\n    <scene_description>SAM looks briefly at the bit he is still holding, and then at the summit far above.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EMYN MUIL - DAY<\/stage_direction>\n    <scene_description>WIDE ON: FRODO and SAM climb over the rocky terrain to reach the summit of another part of EMYN MUIL. ANGLE ON: They look into the distance at the MORDOR. MOUNT DOOM belches fire and smoke. CONTINUED:<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Mordor. The one place in Middle-earth we don't want to see any closer. And the one place we're trying to get to. It's just where we can't get.<\/dialogue>\n    <scene_description>CLOSE ON: SAM turns to FRODO, worried.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Let's face it, Mr. Frodo, we're lost.<\/dialogue>\n    <scene_description>CLOSE ON: FRODO looks at SAM, scared.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I don't think Gandalf meant for us to come this way.<\/dialogue>\n    <character>FRODO<\/character>\n    <dialogue>He didn't mean for a lot of things to happen, Sam ... but they did.<\/dialogue>\n    <scene_description>Suddenly, FRODO gasps. INSERT IMAGE: From deep within Mordor the BLAZING EYE OF SAURON looks directly upon him from high atop THE TOWER OF BARAD-D\u00dbR. ANGLE ON: FRODO shudders and turns away from the sight. He sits, panting. ANGLE ON: SAM turns to him.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Mr. Frodo?<\/dialogue>\n    <scene_description>FRODO continues panting, unable to respond.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>It's the Ring, isn't it?<\/dialogue>\n    <character>FRODO<\/character>\n    <dialogue>It's getting heavier.<\/dialogue>\n    <scene_description>CLOSE ON: FRODO clutches the RING on his chest. CONTINUED: (2) ANGLE ON: SAM sits behind him and begins to go through his pack. FRODO fumbles for his water bottle and takes a deep gulp.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>What food have we got left?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Let me see.<\/dialogue>\n    <scene_description>CLOSE ON: He takes a LEAF-WRAPPED BIT OF ELVEN BREAD from his pack.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Oh yes, lovely. Lembas bread. And look!<\/dialogue>\n    <scene_description>He digs deeper into his pack and pulls out:<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>More Lembas bread.<\/dialogue>\n    <scene_description>He breaks off a piece and tosses it to FRODO, and then eats a piece himself.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I don't usually hold with foreign food, but this Elvish stuff, it's not bad.<\/dialogue>\n    <character>FRODO<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>Nothing ever dampens your spirits, does it, Sam?<\/dialogue>\n    <scene_description>SAM smiles back, glances at his bread, as if considering another bite, and then looks ominously off into the distance. His expression drops.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Those rain clouds might.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EMYN MUIL - NIGHT<\/stage_direction>\n    <scene_description>ANGLE ON: FRODO and SAM sit huddled together wrapped in their cloaks...RAIN beats mercilessly down upon them...neither one sleeps. CONTINUED: HIGH WIDE ON: The HOBBITS shivering at the base of the rocks... HARSH BREATHING SOUNDS...A HAND rests on the edge of the cliff. ANGLE ON: FRODO suddenly looks up. LOW ANGLE ON: The side of the rock face...nothing is seen on its peak. ANGLE ON: FRODO shakes his head and huddles back down into his cloak. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EMYN MUIL - DAY<\/stage_direction>\n    <scene_description>ANGLES ON: FRODO and SAM climb over the rocks...walk along a path...scale the side of a rock face...walk along a summit...<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>This looks strangely familiar.<\/dialogue>\n    <character>FRODO<\/character>\n    <parenthetical>(exasperated)<\/parenthetical>\n    <dialogue>It's because we've been here before. We're going in circles.<\/dialogue>\n    <scene_description>SAM walks to an overlook.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>What's that horrid stink? I warrant there's a nasty bog nearby. Can you smell it?<\/dialogue>\n    <character>FRODO<\/character>\n    <dialogue>Yes. I can smell it.<\/dialogue>\n    <scene_description>FRODO walks over to join SAM at the overlook. CLOSE ON: FRODO looks to SAM ominously.<\/scene_description>\n    <character>FRODO<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>We're not alone.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EMYN MUIL - NIGHT<\/stage_direction>\n    <scene_description>ANGLE ON: FRODO and SAM sleep. HIGH WIDE: A dark, spidery shape appears on top of the cliff and makes its way down to the slumbering HOBBITS. ANGLE ON: The emaciated creature is dressed only in a tattered loincloth, and appears mostly human in appearance. Its frame is quite thin, but its hands, feet, and eyes are oversized. What hair remains is thin and falls where it may about its shoulders. It descends the rock face upside down like an insect. This is GOLLUM. He speaks in an ancient, gravely voice.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>The thieves. The thieves. The filthy little thieves. Where is it?<\/dialogue>\n    <scene_description>CRANE BEHIND GOLLUM as he climbs down.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>Where is it? They stole it from us. My precious. Curse them, we hates them! It's ours, it is, and we wants it!<\/dialogue>\n    <scene_description>GOLLUM reaches his hand out to snatch his prize. SUDDENLY, the HOBBITS spring and snatch GOLLUM off the side of the rock. Amidst the struggle, GOLLUM wriggles loose and throws them both away from him. As FRODO falls back, the RING comes out of his shirt. GOLLUM recovers and sees the RING. He leaps straight for it. GOLLUM desperately tries to get his hands on his precious while FRODO struggles to prevent this. SAM recovers and grabs GOLLUM by the ankle, dragging him away from FRODO...GOLLUM reels back and hits SAM in the face, knocking him away. He pounces back on FRODO and reaches for the RING...FRODO grabs Gollum's hand, and struggles against his considerable strength. CLOSE ON: GOLLUM'S cheeks puff with exertion as he struggles with FRODO, his enormous eyes fixed on the RING. CONTINUED: ANGLE ON: SAM comes up from behind GOLLUM again, and lifts him off of FRODO...GOLLUM grasps FRODO, throwing him off to one side as SAM swings GOLLUM around. GOLLUM leaps from Sam's grasp onto the rock wall beside them, and then back on top of FRODO. SAM pulls GOLLUM off again, and GOLLUM turns on him...he fiercely bits SAM on the neck. SAM struggles against him, but GOLLUM reels around, wraps his legs around SAM and tries to choke him! SAM falls to the ground atop GOLLUM, but GOLLUM continues to have the upper hand. SUDDENLY, FRODO grabs GOLLUM by the hair, and holds STING to his neck. CLOSE ON: GOLLUM'S eyes go wide, and he freezes. He maintains a hold on SAM.<\/scene_description>\n    <character>FRODO<\/character>\n    <parenthetical>(menacingly)<\/parenthetical>\n    <dialogue>This is Sting. You've seen it before, haven't you ... Gollum?<\/dialogue>\n    <scene_description>ANGLE ON: SAM tries to break GOLLUM'S grip, unsuccessfully.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Release him or I'll cut your throat!<\/dialogue>\n    <scene_description>ANGLE ON: Slowly, GOLLUM loosens his grip on SAM...and then WAILS. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EMYN MUIL - DAY<\/stage_direction>\n    <scene_description>WIDE ON: Gollum's wail ECHOES across the vast, rocky landscape of EMYN MUIL.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EMYN MUIL - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: FRODO and SAM walks through EMYN MUIL...SAM tugs on the rope and GOLLUM stumbles behind them. GOLLUM continues to SCREAM and WAIL. CONTINUED:<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>It burns! It burns us! It freezes! Nasty Elves twisted it. Take it off us!<\/dialogue>\n    <scene_description>SAM continues dragging GOLLUM, willing or not, across the rocks.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Quiet, you!<\/dialogue>\n    <scene_description>GOLLUM stops again. SAM tugs fiercely at the rope to try and get him to come along, but GOLLUM wails again, unmoving. SAM turns to FRODO in dismay.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>It's hopeless. Every Orc in Mordor's going to hear this racket. Let's just tie him up and leave him.<\/dialogue>\n    <scene_description>ANGLE ON: GOLLUM stops crying at once and turns to the HOBBITS wide-eyed and pleading.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>No! That would kill us! Kill us!<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>It's no more than you deserve!<\/dialogue>\n    <scene_description>GOLLUM wails again and COLLAPSES onto the ground, writhing. ANGLE ON: FRODO looks down to GOLLUM.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Maybe he does deserve to die. But now that I see him, I do pity him.<\/dialogue>\n    <scene_description>ANGLE ON: GOLLUM suddenly stops and turns to FRODO, smiling.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <parenthetical>(begging)<\/parenthetical>\n    <dialogue>We be nice to them if they be nice to us. Take it off us.<\/dialogue>\n    <scene_description>ANGLE ON: FRODO and SAM look at GOLLUM warily. CONTINUED:<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>We swears to do what you wants. We swears.<\/dialogue>\n    <character>FRODO<\/character>\n    <dialogue>There's no promise you can make that I can trust.<\/dialogue>\n    <scene_description>ANGLE ON: GOLLUM scrambles up and bows to FRODO desperately.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>We swears to serve the master of the precious. We will swear on the...on the precious.<\/dialogue>\n    <parenthetical>(coughing)<\/parenthetical>\n    <dialogue>Gollum. Gollum.<\/dialogue>\n    <character>FRODO<\/character>\n    <dialogue>The Ring is treacherous. It will hold you to your word.<\/dialogue>\n    <scene_description>ANGLE ON: GOLLUM crawls over to FRODO.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>Yes...on the precious. On the precious.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I don't believe you!<\/dialogue>\n    <scene_description>ANGLE ON: SAM lunges at GOLLUM...GOLLUM jumps away, frightened, and climbs onto a boulder.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Get down! I said, down!<\/dialogue>\n    <scene_description>SAM jerks strongly at the rope. GOLLUM crashes to the ground, choking.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Sam!<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>He's trying to trick us! If we let him go he'll throttle us in our sleep.<\/dialogue>\n    <scene_description>CONTINUED: (2) ANGLE ON: GOLLUM lies panting and holding his throat. He backs away, frightened, as FRODO approaches him.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>You know the way to Mordor?<\/dialogue>\n    <character>GOLLUM<\/character>\n    <parenthetical>(warily)<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <character>FRODO<\/character>\n    <dialogue>You've been there before?<\/dialogue>\n    <character>GOLLUM<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>ANGLE ON: FRODO reaches out and removes the rope from GOLLUM'S neck. GOLLUM is surprised and relieved. CLOSE ON: SAM is displeased.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>You will lead us to the Black Gate.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EMYN MUIL - DAY<\/stage_direction>\n    <scene_description>TRACK WITH: GOLLUM scrambles quickly through the rocky crags, looking back to make sure the HOBBITS are behind him. ANGLE ON: FRODO and SAM struggle to keep his pace.<\/scene_description>\n    <character>SM\u00c9AGOL<\/character>\n    <dialogue>To the Gate, to the Gate! To the Gate, the master says. Yes!<\/dialogue>\n    <scene_description>CLOSE ON: GOLLUM sports an EVIL FACE.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>No! We won't go back. Not there. Not to him. They can't make us.<\/dialogue>\n    <parenthetical>(coughing)<\/parenthetical>\n    <dialogue>Gollum! Gollum!<\/dialogue>\n    <scene_description>CONTINUED: He scrambles on further and stops atop a rock. His FACE turns suddenly SOFT.<\/scene_description>\n    <character>SM\u00c9AGOL<\/character>\n    <parenthetical>(pleading)<\/parenthetical>\n    <dialogue>But we swore to serve the master of the precious.<\/dialogue>\n    <character>GOLLUM<\/character>\n    <dialogue>No. Ashes and dust and thirst there is, and pits, pits, pits.<\/dialogue>\n    <scene_description>ANGLE ON: SAM and FRODO run up behind him, listening.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>And Orcses, thousands of Orcses. And always the Great Eye watching, watching.<\/dialogue>\n    <scene_description>He hides in face in his hands at the horror of the thought. Suddenly, he looks back to see SAM and FRODO. He lets out a frightening growl and runs off down the path. SAM starts forward. GOLLUM leaps down a rock wall and scurries away from the HOBBITS.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Hey! Come back now! Come back!<\/dialogue>\n    <scene_description>SAM and FRODO try to follow, but he has escaped them.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>There! What did I tell you? He's run off, the old villain. So much for his promises.<\/dialogue>\n    <scene_description>GOLLUM pops up behind a nearby rock.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>This way, Hobbits. Follow me!<\/dialogue>\n    <scene_description>FRODO quickly runs after him. SAM, with a scowl, concedes to follow as well. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAINS OF ROHAN - DAY<\/stage_direction>\n    <scene_description>CRANE DOWN TO: A BAND OF URUK-HAI runs across ROHAN. MERRY and PIPPIN, ride on the backs of two URUK-HAI, their hands bound around the URUK-HAIS' necks. ANGLE ON: PIPPIN tries to call to MERRY, who is unconscious with a gash on his brow.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>Merry! Merry!<\/dialogue>\n    <scene_description>MERRY does not respond. ANGLE ON: SUDDENLY, the leading URUK-HAI, MA\u00daHUR, signals a stop. He sniffs the air. ANGLE ON: Several Orcs from the North emerge from behind some rocks. They are led by a short, crook-legged Orc, very broad with long arms that hang almost to the ground called GRISHN\u00c1KH.<\/scene_description>\n    <character>GRISHN\u00c1KH<\/character>\n    <dialogue>You're late. Our master grows impatient. He wants the Shire-rats now.<\/dialogue>\n    <scene_description>ANGLE ON: UGL\u00daK looks at MA\u00daHUR amused.<\/scene_description>\n    <character>UGL\u00daK<\/character>\n    <dialogue>I don't take orders from Orc-maggots.<\/dialogue>\n    <scene_description>ANGLE ON: GRISHN\u00c1KH'S face falls.<\/scene_description>\n    <character>UGL\u00daK<\/character>\n    <dialogue>Saruman will have his prize. We will deliver them.<\/dialogue>\n    <scene_description>UGL\u00daK turns away from the Northern Orcs. ANGLE ON: GRISHN\u00c1KH mocks him as he walks away, but they make no move on the URUK-HAI. ANGLE ON: PIPPIN tries again to rouse MERRY.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>Merry! Merry? Wake up.<\/dialogue>\n    <scene_description>ANGLE ON: MERRY'S head lolls around, unresponsive. PIPPIN looks over to an Orc drinking his draught. CONTINUED:<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>My friend is sick.<\/dialogue>\n    <scene_description>ANGLE ON: An URUK-HAI turns to PIPPIN and growls.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>He needs water. Please!<\/dialogue>\n    <scene_description>ANGLE ON: UGL\u00daK makes his way through the ranks to the prisoners.<\/scene_description>\n    <character>UGL\u00daK<\/character>\n    <dialogue>Sick, is he? Give him some medicine, boys!<\/dialogue>\n    <scene_description>The ORCS laugh and dump their ORC-DRAUGHT down MERRY'S throat. MERRY chokes on the foul stuff.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>Stop it!<\/dialogue>\n    <character>UGL\u00daK<\/character>\n    <dialogue>Can't take his draught!<\/dialogue>\n    <scene_description>The Orcs laugh again as MERRY chokes on the draught.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>Leave him alone!<\/dialogue>\n    <character>UGL\u00daK<\/character>\n    <dialogue>Why?<\/dialogue>\n    <scene_description>ANGLE ON: PIPPIN looks at UGL\u00daK, afraid to respond.<\/scene_description>\n    <character>UGL\u00daK<\/character>\n    <dialogue>You want some?<\/dialogue>\n    <scene_description>PIPPIN doesn't respond.<\/scene_description>\n    <character>UGL\u00daK<\/character>\n    <dialogue>Then keep your mouth shut.<\/dialogue>\n    <scene_description>UGL\u00daK turns and walks away. ANGLE ON: PIPPIN turns to MERRY. CONTINUED: (2)<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>Merry.<\/dialogue>\n    <scene_description>ANGLE ON: MERRY groggily lifts his head.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>Hello, Pip.<\/dialogue>\n    <character>PIPPIN<\/character>\n    <dialogue>You're hurt.<\/dialogue>\n    <character>MERRY<\/character>\n    <parenthetical>(smiling uneasily)<\/parenthetical>\n    <dialogue>I'm fine. It was just an act.<\/dialogue>\n    <character>PIPPIN<\/character>\n    <parenthetical>(disbelieving)<\/parenthetical>\n    <dialogue>An act?<\/dialogue>\n    <character>MERRY<\/character>\n    <dialogue>See? I fooled you too.<\/dialogue>\n    <scene_description>ANGLE ON: PIPPIN smiles uneasily.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>Don't worry about me, Pippin.<\/dialogue>\n    <scene_description>ANGLE ON: MA\u00daHUR sniffs the air again. UGL\u00daK appears behind him.<\/scene_description>\n    <character>UGL\u00daK<\/character>\n    <dialogue>What is it? What do you smell?<\/dialogue>\n    <character>MA\u00daHUR<\/character>\n    <dialogue>Man-flesh.<\/dialogue>\n    <character>UGL\u00daK<\/character>\n    <dialogue>They've picked up our trail.<\/dialogue>\n    <character>PIPPIN<\/character>\n    <parenthetical>(quietly to himself)<\/parenthetical>\n    <dialogue>Aragorn!<\/dialogue>\n    <character>UGL\u00daK<\/character>\n    <parenthetical>(loudly, to the company)<\/parenthetical>\n    <dialogue>Let's move!<\/dialogue>\n    <scene_description>CONTINUED: (3) The URUK-HAI break into a run. The NORTHERN ORCS follow. ANGLE ON: PIPPIN struggles to remove his ELVEN BROOCH from his L\u00d3RIEN cloak with his teeth. Once he has it, he spits it onto the ground. CLOSE ON: The brooch lands in the grass. The URUK-HAI trample it, but it remains unbroken and visible. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WESTERN EMYN MUIL - DAY<\/stage_direction>\n    <scene_description>ARAGORN lies on the ground with his eyes closed and ear pressed to the ground, listening. Suddenly, he opens his eyes.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(softly)<\/parenthetical>\n    <dialogue>Their pace has quickened.<\/dialogue>\n    <scene_description>He climbs to his feet.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>They must have caught our scent.<\/dialogue>\n    <parenthetical>(desperately)<\/parenthetical>\n    <dialogue>Hurry!<\/dialogue>\n    <scene_description>He takes off Northward. ANGLE ON: LEGOLAS is running up the hill behind him. He stops and turns behind him.<\/scene_description>\n    <character>LEGOLAS<\/character>\n    <dialogue>Come on, Gimli!<\/dialogue>\n    <scene_description>He runs onward. GIMLI struggles up the hill. ANGLE ON: GIMLI pauses in his steps and huffs.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>Three days and nights pursuit. No food. No rest. And no sign of our quarry but what bare rock can tell.<\/dialogue>\n    <scene_description>He runs after his companions beyond the boundaries of EMYN MUIL.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EAST WALL OF ROHAN - DAY<\/stage_direction>\n    <scene_description>HIGH AERIAL: The THREE HUNTERS run along the edge of the cliff over a trickling stream at least twenty leagues below.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAINS OF ROHAN - DAY<\/stage_direction>\n    <scene_description>CLOSE ON: PIPPIN'S ELVEN BROOCH is still visible in the mud and grass in the open plains. A HAND suddenly reaches down to pick it up. ARAGORN draws it to his face, and then looks ahead.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>Not idly do the leaves of L\u00f3rien fall.<\/dialogue>\n    <scene_description>ANGLE ON: LEGOLAS stops and turns to ARAGORN.<\/scene_description>\n    <character>LEGOLAS<\/character>\n    <dialogue>They may yet be alive.<\/dialogue>\n    <scene_description>ANGLE ON: ARAGORN briefly studies the ground, and starts to run again.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>Less than a day ahead of us. Come.<\/dialogue>\n    <scene_description>ARAGORN takes off. ANGLE ON: GIMLI stumbles from behind some rocks and rolls to the ground. LEGOLAS stops and turns to him.<\/scene_description>\n    <character>LEGOLAS<\/character>\n    <dialogue>Come, Gimli! We are gaining on them!<\/dialogue>\n    <character>GIMLI<\/character>\n    <parenthetical>(panting)<\/parenthetical>\n    <dialogue>I am wasted on cross-country. We dwarves are natural sprinters. Very dangerous over short distances.<\/dialogue>\n    <scene_description>ANGLE ON: The HUNTERS come over a hill and pause as they gaze across the open fields of ROHAN.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>Rohan. Home of the Horse-lords. There's something strange at work here. Some evil gives speed to these creatures. Sets its will against us.<\/dialogue>\n    <scene_description>CONTINUED: ANGLE ON: LEGOLAS runs ahead and looks out to the horizon.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>Legolas! What do your Elf eyes see?<\/dialogue>\n    <scene_description>WIDE ON: A distant cloud of dust stirs up the otherwise serene view of ROHAN.<\/scene_description>\n    <character>LEGOLAS<\/character>\n    <dialogue>The Uruks turn northeast. They're taking the Hobbits to Isengard!<\/dialogue>\n    <character>ARAGORN<\/character>\n    <dialogue>Saruman.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ISENGARD - NIGHT<\/stage_direction>\n    <scene_description>WIDE ON: The TOWER OF ORTHANC stands amidst the smoking CAVERNS OF ISENGARD. Smoke issues forth from amidst the now ash-colored land within the RING OF ISENGARD.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ISENGARD, PALANT\u00cdR CHAMBER - NIGHT<\/stage_direction>\n    <scene_description>ANGLE ON: SARUMAN stands in his chamber, his hand hovering over the PALANT\u00cdR. Within the dark orb are swirls of fire.<\/scene_description>\n    <character>SARUMAN (V.O.)<\/character>\n    <dialogue>The world is changing.<\/dialogue>\n    <scene_description>CLOSE ON: The view within the PALANT\u00cdR changes to that of BARAD- D\u00dbR.<\/scene_description>\n    <character>SARUMAN (V.O.)<\/character>\n    <dialogue>Who now has the strength to stand against the armies of Isengard and Mordor?<\/dialogue>\n    <scene_description>INSERT IMAGE: ARMIES OF ORCS march out of BARAD-D\u00dbR.<\/scene_description>\n    <character>SARUMAN (V.O.)<\/character>\n    <dialogue>To stand against the might of Sauron and Saruman and the union of the two towers?<\/dialogue>\n    <scene_description>CONTINUED: CRANE UP the height of the TOWER OF BARAD-D\u00dbR, now completed - dark and menacing.<\/scene_description>\n    <character>SARUMAN (V.O.)<\/character>\n    <dialogue>Together, my Lord Sauron, we shall rule this Middle-earth.<\/dialogue>\n    <scene_description>ANGLE ON: The FLAMING EYE OF SAURON atop the tower, watching the world.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ISENGARD - NIGHT<\/stage_direction>\n    <scene_description>ANGLES ON: The beautiful trees of ISENGARD hacked down by ORCS...AXES hack into the trucks...their carcasses thrown down into the PITS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAVERNS OF ISENGARD - NIGHT<\/stage_direction>\n    <scene_description>SERIES OF CUTS: SARUMAN walks through his domain...ORCS hack into the tree trunks...ORCS throws logs into furnaces...<\/scene_description>\n    <character>SARUMAN (V.O.)<\/character>\n    <dialogue>The Old World will burn in the fires of industry. The forests will fall.<\/dialogue>\n    <scene_description>SERIES OF CUTS: MOLTEN METAL is poured into sword molds... finished swords are cooled...helmets are created...swords are pounded into shape...ORCS add the completed swords to a large pile...URUK-HAI are birthed into creation...an ORC inspects the finished URUK-HAI.<\/scene_description>\n    <character>SARUMAN (V.O.)<\/character>\n    <dialogue>A new order will rise. We will drive the machine of war with the sword and the spear and the iron fists of the Orc.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ISENGARD - DAY<\/stage_direction>\n    <scene_description>WIDE ON: SARUMAN stands on a scaffold high above the CAVERNS. Far below, hundreds of ORCS go about their duties. SARUMAN turns to an ORC OVERSEER.<\/scene_description>\n    <character>SARUMAN<\/character>\n    <dialogue>I want them armed and ready to march within two weeks!<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>ORC OVERSEER<\/character>\n    <dialogue>But, my lord, there are too many! They cannot all be armed in time, we don't have the means.<\/dialogue>\n    <character>SARUMAN<\/character>\n    <dialogue>Build a dam, block the stream, work the furnaces night and day.<\/dialogue>\n    <character>ORC OVERSEER<\/character>\n    <dialogue>We don't have enough fuel to feed the fires.<\/dialogue>\n    <scene_description>CLOSE ON: SARUMAN looks up and smiles. WIDE ON: The beautiful and enormous FANGORN FOREST engulfs the nearby mountainside.<\/scene_description>\n    <character>SARUMAN<\/character>\n    <dialogue>The FOREST OF FANGORN lies on our doorstep.<\/dialogue>\n    <scene_description>CLOSE ON: SARUMAN looks upon the view coldly.<\/scene_description>\n    <character>SARUMAN<\/character>\n    <dialogue>Burn it.<\/dialogue>\n    <character>ORC OVERSEER<\/character>\n    <parenthetical>(happily)<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ORTHANC, PALANT\u00cdR CHAMBER - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: SARUMAN sits upon his throne. A WILD MAN stands before him.<\/scene_description>\n    <character>WILD MAN<\/character>\n    <dialogue>We will fight for you.<\/dialogue>\n    <character>SARUMAN<\/character>\n    <dialogue>Swear it.<\/dialogue>\n    <scene_description>CONTINUED: CLOSE ON: The WILD MAN removes a knife from his belt, and holds it before him. He places the blade against his hand and cuts deeply. CLOSE ON: SARUMAN smiles. ANGLE ON: The WILD MAN clenches his fist. Blood seeps from between his fingers.<\/scene_description>\n    <character>WILD MAN<\/character>\n    <dialogue>We will die for Saruman.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ISENGARD - DAY<\/stage_direction>\n    <scene_description>WIDE ON: SARUMAN stands in the midst of a large gathering of WILD MEN.<\/scene_description>\n    <character>SARUMAN<\/character>\n    <dialogue>The Horse-men took your land.<\/dialogue>\n    <scene_description>ANGLE ON: SARUMAN stands within a tight circle of the scowling MEN.<\/scene_description>\n    <character>SARUMAN<\/character>\n    <dialogue>They drove your people into the hills to scratch a living off rocks.<\/dialogue>\n    <character>WILD MAN<\/character>\n    <dialogue>Murderers!<\/dialogue>\n    <scene_description>The crowd descends quickly into a mob rule, quickly agreeing with the MAN.<\/scene_description>\n    <character>SARUMAN<\/character>\n    <dialogue>Take back the lands they stole from you. Burn every village!<\/dialogue>\n    <scene_description>ANGLES ON: The WILD MEN roar with approval and charge off to destroy for SARUMAN. He walks calmly through the pandemonium.<\/scene_description>\n    <character>SARUMAN (V.O.)<\/character>\n    <dialogue>We have only to remove those who oppose us.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAINS OF ROHAN - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: Several FORCES of MEN charge across ROHAN, heading toward a small village.<\/scene_description>\n    <character>SARUMAN (V.O.)<\/character>\n    <dialogue>It will begin in Rohan.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROHAN VILLAGE - DAY<\/stage_direction>\n    <scene_description>The VILLAGERS quickly gather their things.<\/scene_description>\n    <character>SARUMAN (V.O.)<\/character>\n    <dialogue>Too long have these peasants stood against you. But no more.<\/dialogue>\n    <scene_description>ANGLE ON: MORWEN packs necessities on her horse. She calls out to her CHILDREN.<\/scene_description>\n    <character>MORWEN<\/character>\n    <dialogue>\u00c9othain! \u00c9othain!<\/dialogue>\n    <scene_description>ANGLE ON: A young boy and girl, \u00c9OTHAIN and FREDA, run to their mother with their bags. MORWEN helps him on the horse.<\/scene_description>\n    <character>MORWEN<\/character>\n    <dialogue>You'll take your sister. You'll go faster with just two.<\/dialogue>\n    <character>FREDA<\/character>\n    <dialogue>Papa says \u00c9othain must not ride Garulf. He is too big for him!<\/dialogue>\n    <scene_description>MORWEN lifts FREDA onto the horse in front of her brother.<\/scene_description>\n    <character>MORWEN<\/character>\n    <dialogue>Listen to me. You must ride to Edoras and raise the alarm. Do you understand me?<\/dialogue>\n    <character>\u00c9OTHAIN<\/character>\n    <dialogue>Yes, Mama!<\/dialogue>\n    <scene_description>FREDA starts to cry, and reaches for her mother.<\/scene_description>\n    <character>FREDA<\/character>\n    <dialogue>I don't want to leave. I don't want to go, Mama.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>MORWEN<\/character>\n    <dialogue>Freda, I will find you there.<\/dialogue>\n    <scene_description>A SCREAM BREAKS THE MOMENT. CLOSE ON: MORWEN runs to look. POV: The far side of the village is under siege. VILLAGERS are running towards MORWEN.<\/scene_description>\n    <character>MORWEN<\/character>\n    <dialogue>Quickly!<\/dialogue>\n    <scene_description>ANGLE ON: MORWEN slaps the horse and it rides off with the children...FREDA continues crying and reaching for her mother...MORWEN looks after them, sorrowfully.<\/scene_description>\n    <character>MORWEN<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Go, child.<\/dialogue>\n    <scene_description>SERIES OF CUTS: WILD MEN and URUK-HAI overrun the village... the VILLAGERS try in vain to escape...they are cut down...the village burns in their wake...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAINS OF ROHAN - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: \u00c9OTHAIN and FREDA weep as they look back. WIDE ON: The village burns. Smoke billows into the air. Reluctantly, they urge GARULF on to EDORAS.<\/scene_description>\n    <character>SARUMAN (V.O.)<\/character>\n    <dialogue>Rohan, my lord, is ready to fall.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FORDS OF ISEN - NIGHT<\/stage_direction>\n    <scene_description>WIDE ON: The aftermath of a battle lies in and out of the water. A torrential downpour lends a grey air to the omnipresent death. ANGLE ON: \u00c9OMER leads a group of ROHIRRIM HORSEMEN onto the scene and surveys the damage. CONTINUED:<\/scene_description>\n    <character>\u00c9OMER<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Th\u00e9odred.<\/dialogue>\n    <parenthetical>(to the ROHIRRIM)<\/parenthetical>\n    <dialogue>Find the king's son!<\/dialogue>\n    <scene_description>ANGLES ON: The ROHIRRIM walk amongst the arrow-pierced dead, checking the face of each one.<\/scene_description>\n    <character>ROHAN SOLDIER 1<\/character>\n    <dialogue>Mordor will pay for this.<\/dialogue>\n    <character>\u00c9OMER<\/character>\n    <dialogue>These Orcs are not from Mordor.<\/dialogue>\n    <scene_description>CLOSE ON: He kicks one of the dead Orcs to reveal the familiar WHITE HAND OF SARUMAN.<\/scene_description>\n    <character>ROHAN SOLDIER 2<\/character>\n    <dialogue>My Lord \u00c9omer, over here!<\/dialogue>\n    <scene_description>ANGLE ON: \u00c9OMER runs over to the riverbank where ROHAN SOLDIER 2 waits. CLOSE ON: They roll over TH\u00c9ODRED. CLOSE ON: Hope flickers in \u00c9OMER'S eyes.<\/scene_description>\n    <character>\u00c9OMER<\/character>\n    <dialogue>He's alive.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAINS OF ROHAN - DAY<\/stage_direction>\n    <scene_description>MONTAGE OF SHOTS: The ROHIRRIM ride to EDORAS...\u00c9OMER leads, carrying a gravely wounded TH\u00c9ODRED.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EDORAS - DAY<\/stage_direction>\n    <scene_description>The HORSEMEN ride into the city. The people clear a path for the riders.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MEDUSELD - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: \u00c9OWYN hastens up the stairs to the GOLDEN HALL.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TH\u00c9ODRED'S BEDCHAMBER - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: \u00c9OWYN enters and runs over to TH\u00c9ODRED'S bed. \u00c9OMER kneels beside it. She leans over TH\u00c9ODRED.<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>Th\u00e9odred!<\/dialogue>\n    <scene_description>ANGLE ON: TH\u00c9ODRED head lolls, unresponsive. ANGLE ON: \u00c9OMER nods to \u00c9OWYN. \u00c9OWYN draws back the covers and sees TH\u00c9ODRED'S fatal wound. She gasps, knowing the meaning. She looks to \u00c9OMER, who nods.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAIN HALL, MEDUSELD - DAY<\/stage_direction>\n    <scene_description>WIDE ON: \u00c9OMER and \u00c9OWYN stand before the king, TH\u00c9ODEN, who sits motionless on his throne, wizened, and aged beyond his years. \u00c9OWYN kisses his cheeks and kneels before him.<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>Your son is badly wounded, my lord.<\/dialogue>\n    <character>\u00c9OMER<\/character>\n    <dialogue>He was ambushed by Orcs.<\/dialogue>\n    <scene_description>ANGLE ON: TH\u00c9ODEN makes no response. He stares off into the distance.<\/scene_description>\n    <character>\u00c9OMER<\/character>\n    <dialogue>If we don't defend our country, Saruman will take it by force.<\/dialogue>\n    <character>WORMTONGUE (O.S.)<\/character>\n    <dialogue>That is a lie.<\/dialogue>\n    <scene_description>ANGLE ON: GR\u00cdMA WORMTONGUE appears from the shadows. He walks over to stand beside the king.<\/scene_description>\n    <character>WORMTONGUE<\/character>\n    <dialogue>Saruman the White has ever been our friend and ally.<\/dialogue>\n    <scene_description>ANGLE ON: \u00c9OMER looks at WORMTONGUE with contempt.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <parenthetical>(mumbles feebly)<\/parenthetical>\n    <dialogue>Gr\u00edma... Gr\u00edma...<\/dialogue>\n    <scene_description>CONTINUED: ANGLE ON: WORMTONGUE leans down close to the King.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>My son... Gr\u00edma...<\/dialogue>\n    <character>\u00c9OMER<\/character>\n    <dialogue>Orcs are running freely across our lands. Unchecked. Unchallenged. Killing at will. Orcs bearing the White Hand of Saruman.<\/dialogue>\n    <scene_description>ANGLE ON: \u00c9OMER drops one of the ORC HELMETS onto the ground, which topples over to reveal the WHITE HAND OF SARUMAN. ANGLE ON: WORMTONGUE looks at it, as if considering his words. Finally, he speaks, but kneels down to TH\u00c9ODRED, as if speaking to the king.<\/scene_description>\n    <character>WORMTONGUE<\/character>\n    <dialogue>Why do you lay these troubles on an already troubled mind? Can you not see? Your uncle is wearied by your malcontent, your warmongering.<\/dialogue>\n    <scene_description>ANGLE ON: \u00c9OMER looks over to WORMTONGUE, surprised.<\/scene_description>\n    <character>\u00c9OMER<\/character>\n    <dialogue>Warmongering?<\/dialogue>\n    <scene_description>\u00c9OMER grabs WORMTONGUE and pins him against a pillar.<\/scene_description>\n    <character>\u00c9OMER<\/character>\n    <dialogue>How long is it since Saruman bought you? What was the promised price, Gr\u00edma? When all the Men are dead, you will take your share of the treasure?<\/dialogue>\n    <scene_description>CLOSE ON: WORMTONGUE'S eyes flicks to right. \u00c9OMER follows his glance. ANGLE ON: \u00c9OWYN pauses to stare back for a moment before departing from the hall. ANGLE ON: \u00c9OMER jerks WORMTONGUE again and clutches his hand around WORMTONGUE'S neck. CONTINUED: (2)<\/scene_description>\n    <character>\u00c9OMER<\/character>\n    <dialogue>Too long have you watched my sister. Too long have you haunted her steps.<\/dialogue>\n    <scene_description>ANGLE ON: WORMTONGUE'S eyes flick to the left and right. He smiles as \u00c9OMER is suddenly pulled off WORMTONGUE by his thugs.<\/scene_description>\n    <character>WORMTONGUE<\/character>\n    <dialogue>You see much, \u00c9omer, Son of \u00c9omund. Too much.<\/dialogue>\n    <scene_description>The thugs punch \u00c9OMER in the stomach.<\/scene_description>\n    <character>WORMTONGUE<\/character>\n    <dialogue>You are banished forthwith from the kingdom of Rohan and all its domains under pain of death.<\/dialogue>\n    <scene_description>ANGLE ON: \u00c9OMER struggles against the MEN.<\/scene_description>\n    <character>\u00c9OMER<\/character>\n    <dialogue>You have no authority here. Your orders mean nothing.<\/dialogue>\n    <scene_description>One of the MEN punches \u00c9OMER in the stomach again.<\/scene_description>\n    <character>WORMTONGUE<\/character>\n    <parenthetical>(shaking his head and smiling)<\/parenthetical>\n    <dialogue>This order does not come from me. It comes from the king.<\/dialogue>\n    <scene_description>ANGLE ON: WORMTONGUE holds up a document with a sloppy scrawl of a signature at the bottom.<\/scene_description>\n    <character>WORMTONGUE<\/character>\n    <dialogue>He signed it this morning.<\/dialogue>\n    <scene_description>ANGLE ON: The THUGS drag \u00c9OMER away. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAINS OF ROHAN - DAY<\/stage_direction>\n    <scene_description>The URUK-HAI and ORCS continue to run across the open plains with their HOBBIT captives. CONTINUED: INTERCUT WITH: ARAGORN, LEGOLAS, and GIMLI continue to give pursuit.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>Keep breathing. That's the key. Breathe.<\/dialogue>\n    <character>LEGOLAS<\/character>\n    <dialogue>They run as if the very whips of their masters were behind them.<\/dialogue>\n    <scene_description>The TWO PARTIES continue running over the vastness of ROHAN from day through to sunset. Neither the URUK-HAI nor the THREE HUNTERS willing to stop for rest or breath.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BORDERS OF FANGORN - NIGHT<\/stage_direction>\n    <scene_description>MERRY and PIPPIN are suddenly thrown onto the ground. ANGLES ON: The ORCS collapse with exhaustion beneath the boughs of the trees on the very brink of the Fangorn Forest.<\/scene_description>\n    <character>ORC<\/character>\n    <dialogue>We're not going no further till we've had a breather.<\/dialogue>\n    <character>UGL\u00daK<\/character>\n    <dialogue>Get a fire going!<\/dialogue>\n    <scene_description>WIDE ON: Several URUK-HAI break off and run into FANGORN FOREST. ANGLE ON: PIPPIN, hands still bound, crawls over to MERRY.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>Merry! Merry!<\/dialogue>\n    <scene_description>MERRY opens his eyes.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>I think we might have made a mistake leaving the Shire, Pippin.<\/dialogue>\n    <scene_description>PIPPIN laughs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FANGORN FOREST - NIGHT<\/stage_direction>\n    <scene_description>ANGLES ON: A group of ORCS chops down the trees inside the Forest for firewood. ON THE SOUNDTRACK: Low groans and rumbles issue from the forest.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BORDERS OF FANGORN - NIGHT<\/stage_direction>\n    <scene_description>ANGLE ON: PIPPIN turns to MERRY with fear.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>What's making that noise?<\/dialogue>\n    <scene_description>MERRY looks toward the forest. He smiles.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>It's the trees.<\/dialogue>\n    <character>PIPPIN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MERRY<\/character>\n    <dialogue>Do you remember the Old Forest, on the borders of Buckland? Folk used to say there was something in the water that made the trees grow tall...and come alive.<\/dialogue>\n    <character>PIPPIN<\/character>\n    <dialogue>Alive?<\/dialogue>\n    <scene_description>ON THE SOUNDTRACK: Another groan issues from the Forest.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>Trees that could whisper, talk to each other, even move.<\/dialogue>\n    <scene_description>ANGLE ON: An URUK-HAI stares at a piece of bread, and then throws it to the ground.<\/scene_description>\n    <character>URUK-HAI<\/character>\n    <dialogue>I'm starving. We ain't had nothing but maggoty bread for three stinking days.<\/dialogue>\n    <scene_description>ANGLE ON: AN ORC looks up in agreement. CONTINUED:<\/scene_description>\n    <character>SNAGA<\/character>\n    <dialogue>Yeah! Why can't we have some meat?!<\/dialogue>\n    <scene_description>CLOSE ON: The SNAGA'S eyes grow wide and hungry. ANGLE ON: MERRY and PIPPIN look over to the ORC. They squirm uncomfortably.<\/scene_description>\n    <character>SNAGA<\/character>\n    <dialogue>What about them? They're fresh.<\/dialogue>\n    <character>UGL\u00daK<\/character>\n    <dialogue>They are not for eating.<\/dialogue>\n    <scene_description>ANGLE ON: An URUK-HAI stands the HOBBITS up and moves them off to the side. ANGLE ON: GRISHN\u00c1KH watches their movements hungrily.<\/scene_description>\n    <character>GRISHN\u00c1KH<\/character>\n    <dialogue>What about their legs? They don't need those. They look tasty.<\/dialogue>\n    <scene_description>GRISHN\u00c1KH makes a move towards the HOBBITS. UGL\u00daK shoves him back into the ORCS.<\/scene_description>\n    <character>UGL\u00daK<\/character>\n    <dialogue>Get back, scum!<\/dialogue>\n    <scene_description>The ORCS spring forward and scowl at UGL\u00daK.<\/scene_description>\n    <character>UGL\u00daK<\/character>\n    <dialogue>The prisoners go to Saruman. Alive and unspoiled.<\/dialogue>\n    <character>GRISHN\u00c1KH<\/character>\n    <dialogue>Alive?<\/dialogue>\n    <scene_description>ANGLE ON: GRISHN\u00c1KH feints to one side of UGL\u00daK to have another good look at the HOBBITS.<\/scene_description>\n    <character>GRISHN\u00c1KH<\/character>\n    <dialogue>Why alive? Do they give good sport?<\/dialogue>\n    <scene_description>He looks to UGL\u00daK hungrily. UGL\u00daK is unmoved. CONTINUED: (2)<\/scene_description>\n    <character>UGL\u00daK<\/character>\n    <dialogue>They have something. An Elvish weapon. The master wants it for the war.<\/dialogue>\n    <scene_description>ANGLE ON: SNAGA stealthily approaches from behind MERRY and PIPPIN, licking his lips. ANGLE ON: PIPPIN leans over to MERRY.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>They think we have the Ring.<\/dialogue>\n    <scene_description>MERRY quickly shushes PIPPIN.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>As soon as they find out we don't, we're dead.<\/dialogue>\n    <scene_description>ANGLE ON: SNAGA rises up from behind the HOBBITS and raises his blade.<\/scene_description>\n    <character>SNAGA<\/character>\n    <dialogue>Just a mouthful. A bit of the flank.<\/dialogue>\n    <scene_description>MERRY and PIPPIN gasp. SUDDENLY, UGL\u00daK swings his weapon...MERRY and PIPPIN shudder as SNAGA'S head tumbles to the ground between them...They turn around to see his body stand for a moment, and then topple over.<\/scene_description>\n    <character>UGL\u00daK<\/character>\n    <dialogue>Looks like meat's back on the menu, boys.<\/dialogue>\n    <scene_description>ANGLES ON: The ORCS and URUK-HAI cheer mightily. They shove MERRY and PIPPIN to the ground and tear at the carcass.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>Pippin. Let's go.<\/dialogue>\n    <scene_description>Their hands still bound, the HOBBITS crawl away. CONTINUED: (3) SUDDENLY, a foot comes down on MERRY. ANGLE ON: PIPPIN turns over and looks straight into the face of... CLOSE ON: ...GRISHN\u00c1KH brandishing a blade in his face.<\/scene_description>\n    <character>GRISHN\u00c1KH<\/character>\n    <dialogue>Go on. Call for help.<\/dialogue>\n    <scene_description>GRISHN\u00c1KH grabs PIPPIN by the face and pulls him closer.<\/scene_description>\n    <character>GRISHN\u00c1KH<\/character>\n    <dialogue>Squeal. No one's gonna save you now.<\/dialogue>\n    <scene_description>ANGLE ON: SUDDENLY, a SPEAR pierces GRISHN\u00c1KH'S back. He screams and rolls off of PIPPIN...PIPPIN and MERRY look up to see who threw the spear. ANGLES ON: The ORCS halt their feast and look into the darkness to find... ANGLES ON: ...Hundreds of HORSEMEN burst onto the camp. The ROHIRRIM throw spears and quickly begin to decimate the Orcs' numbers. ANGLE ON: MERRY starts crawling again.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>Pippin!<\/dialogue>\n    <scene_description>SERIES OF CUTS: The ORCS and URUKS make a feeble charge on the ROHIRRIM. The ROHIRRIM mercilessly slaughter them with swords, arrows, and spears, all from horseback! The ORCS and URUKS run for their lives! ANGLE ON: PIPPIN looks around quickly in the ensuing pandemonium...he rolls onto his back and looks up to find... POV: ...A HORSE REARING ABOVE HIM! THE HOOVES CRASH DOWN. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAINS OF ROHAN - DAY<\/stage_direction>\n    <scene_description>The dawning sun rises as the THREE HUNTERS continue their trek across the fields at high speed. ANGLE ON: LEGOLAS pauses and looks upon the sun with dread.<\/scene_description>\n    <character>LEGOLAS<\/character>\n    <dialogue>A red sun rises. Blood has been spilled this night.<\/dialogue>\n    <scene_description>Without another word, he continues on the hunt.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAINS OF ROHAN - DAY<\/stage_direction>\n    <scene_description>At the top of a rise, ARAGORN stops again to examine the ground. ON THE SOUNDTRACK: The SOUNDS OF HORSES NEIGHING BREAKS THE AIR! ANGLE ON: ARAGORN looks up warily. He gestures to LEGOLAS and GIMLI to hasten behind a nearby rock formation to hide. WIDE ON: The \u00c9OMER AND HIS RIDERS OF ROHAN ride over the hill. ANGLE ON: ARAGORN looks up at them passing. He walks calmly out of hiding.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(calling out)<\/parenthetical>\n    <dialogue>Riders of Rohan, what news from the Mark?<\/dialogue>\n    <scene_description>WIDE ON: The HEAD HORSEMAN signals the pack with his spear. With astonishing speed and skill, the ROHIRRIM check their steeds, wheel around, and charge the THREE. ANGLE ON: ARAGORN is joined by LEGOLAS and GIMLI. Together, they watch the ROHIRRIM approach. WIDE ON: The RIDERS circle around the THREE HUNTERS tightly. They suddenly stop and point their spears at the THREE. ANGLE ON: ARAGORN holds up his hands in surrender...\u00c9OMER rides forward and addresses them from his steed. CONTINUED:<\/scene_description>\n    <character>\u00c9OMER<\/character>\n    <dialogue>What business does an Elf, a Man and a Dwarf have in the Riddermark? Speak quickly!<\/dialogue>\n    <character>GIMLI<\/character>\n    <parenthetical>(defiantly)<\/parenthetical>\n    <dialogue>Give me your name, horse-master, and I shall give you mine.<\/dialogue>\n    <scene_description>ANGLE ON: \u00c9OMER hands his staff to another RIDER, and gets off his horse. ANGLE ON: GIMLI gives an arrogant nod at \u00c9OMER'S approach. ARAGORN puts a hand on GIMLI'S shoulder to stay him.<\/scene_description>\n    <character>\u00c9OMER<\/character>\n    <dialogue>I would cut off your head, beard and all, Master Dwarf, if it stood but a little higher from the ground.<\/dialogue>\n    <scene_description>ANGLE ON: In a lightning fast move, LEGOLAS nocks an arrow, and points it at \u00c9OMER.<\/scene_description>\n    <character>LEGOLAS<\/character>\n    <dialogue>You would die before your stroke fell.<\/dialogue>\n    <scene_description>IN A TENSE MOMENT, ALL SPEARS ARE TRAINED ON LEGOLAS. ARAGORN lowers LEGOLAS' bow.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>I am Aragorn, son of Arathorn. This is Gimli, son of Gl\u00f3in and Legolas of the Woodland Realm. We are friends of Rohan and of Th\u00e9oden, your king.<\/dialogue>\n    <character>\u00c9OMER<\/character>\n    <dialogue>Th\u00e9oden no longer recognizes friend from foe.<\/dialogue>\n    <scene_description>ANGLE ON: \u00c9OMER removes his helmet.<\/scene_description>\n    <character>\u00c9OMER<\/character>\n    <dialogue>Not even his own kin.<\/dialogue>\n    <scene_description>CONTINUED: (2) The ROHIRRIM withdraw their spears.<\/scene_description>\n    <character>\u00c9OMER<\/character>\n    <dialogue>Saruman has poisoned the mind of the king and claimed lordship over these lands. My company are those loyal to Rohan. And for that, we are banished.<\/dialogue>\n    <parenthetical>(quietly to the THREE; accusing)<\/parenthetical>\n    <dialogue>The White Wizard is cunning. He walks here and there, they say, as an old man hooded and cloaked. And everywhere, his spies slip past our nets.<\/dialogue>\n    <character>ARAGORN<\/character>\n    <dialogue>We are no spies. We track a party of Uruk-Hai westward across the plain. They have taken two of our friends captive.<\/dialogue>\n    <character>\u00c9OMER<\/character>\n    <dialogue>The Uruks are destroyed. We slaughtered them during the night.<\/dialogue>\n    <scene_description>ANGLE ON: GIMLI springs forward.<\/scene_description>\n    <character>GIMLI<\/character>\n    <parenthetical>(desperately)<\/parenthetical>\n    <dialogue>But there were two Hobbits. Did you see two Hobbits with them?<\/dialogue>\n    <character>ARAGORN<\/character>\n    <dialogue>They would be small. Only children to your eyes.<\/dialogue>\n    <character>\u00c9OMER<\/character>\n    <parenthetical>(shaking his head)<\/parenthetical>\n    <dialogue>We left none alive. We piled the carcasses and burned them.<\/dialogue>\n    <scene_description>ANGLE ON: Smoke rises from a pile in the distance. ANGLES ON: ARAGORN looks away, dumbfounded...GIMLI stands in shock.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>Dead?<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>\u00c9OMER<\/character>\n    <parenthetical>(nodding)<\/parenthetical>\n    <dialogue>I am sorry.<\/dialogue>\n    <scene_description>LEGOLAS puts a hand on Gimli's shoulder in grief. ANGLE ON: \u00c9OMER turns and whistles.<\/scene_description>\n    <character>\u00c9OMER<\/character>\n    <dialogue>Hasufel! Arod!<\/dialogue>\n    <scene_description>Two steeds move to the forefront. \u00c9OMER lovingly places his hand on them.<\/scene_description>\n    <character>\u00c9OMER<\/character>\n    <dialogue>May these horses bear you to better fortune than their former masters. Farewell.<\/dialogue>\n    <scene_description>\u00c9OMER puts on his helmet and returns to his horse.<\/scene_description>\n    <character>\u00c9OMER<\/character>\n    <dialogue>Look for your friends. But do not trust to hope. It has forsaken these lands.<\/dialogue>\n    <parenthetical>(To the RIDERS)<\/parenthetical>\n    <dialogue>We ride north!<\/dialogue>\n    <scene_description>WIDE ON: The ROHIRRIM quickly ride off and disappear to the North. ANGLE ON: ARAGORN looks toward the smoldering pile.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAINS OF ROHAN - DAY<\/stage_direction>\n    <scene_description>WIDE ON: ARAGORN on HASUFEL, and GIMLI riding behind LEGOLAS on AROD, they ride across the Plains toward the edge of the FANGORN FOREST, where the pile of dead Orcs smolders.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BORDERS OF FANGORN - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: THE THREE HUNTERS halt their steeds beside the pile and dismount. They look upon the pile with dismay. CONTINUED: LATER... GIMLI half-heartedly shifts through the smoldering ORCS with his axe. He reaches down to retrieve one of the HOBBITS' sheathes. He turns mournfully to ARAGORN and LEGOLAS.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>It's one of their wee belts.<\/dialogue>\n    <scene_description>ANGLE ON: LEGOLAS bows his head and closes his eyes.<\/scene_description>\n    <character>LEGOLAS<\/character>\n    <parenthetical>(in ELVISH)<\/parenthetical>\n    <dialogue>Hiro hyn h\u00eedh ab 'wanath.<\/dialogue>\n    <dialogue>May they find peace in death.<\/dialogue>\n    <scene_description>ANGLE ON: ARAGORN kicks a helmet. He screams a cry of anguished defeat and falls to his knees, hanging his head low. He sits in despair.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>We failed them.<\/dialogue>\n    <scene_description>ANGLE ON: ARAGORN turns his head. Something on the ground suddenly catches his attention. A glimmer of hope flickers across his visage as he notes some marks on the ground. He moves towards them, and touches the spots with his hands.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>A Hobbit lay here. And the other.<\/dialogue>\n    <scene_description>He sits back to ponder the meaning of these marks. INTERCUT WITH: PIPPIN screams as the HORSE rears over him. He rolls out of the way as it CRASHES DOWN. ANGLE ON: ARAGORN'S eyes shift to a new set of markings off to one side.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>They crawled.<\/dialogue>\n    <scene_description>INTERCUT WITH: PIPPIN crawls across the raging battlefield. CONTINUED: (2) ANGLE ON: ARAGORN tracks the HOBBITS with LEGOLAS and GIMLI closely following his progress. He points out the marks.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>Their hands were bound.<\/dialogue>\n    <scene_description>INTERCUT WITH: PIPPIN reaches a fallen blade. He rubs his bonds furiously against its sharp edge. ANGLE ON: ARAGORN comes upon a short length of rope buried in the trampled grass.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>Their bonds were cut.<\/dialogue>\n    <scene_description>He continues tracking across the grass. INTERCUT WITH: PIPPIN frantically releases MERRY from his bonds, and pulls him to his feet. They begin to make their way to safety outside the ring of battle. ANGLE ON: ARAGORN continues to follow their progress from the history they left in the dirt and grass. INTERCUT WITH: MERRY and PIPPIN narrowly avoid horse, spear, and falling ORC to make their way to safety. ANGLE ON: ARAGORN points out their tracks in the ground.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>They ran over here.<\/dialogue>\n    <scene_description>As he follows the prints, he notes another set along side them.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>They were followed.<\/dialogue>\n    <scene_description>INTERCUT WITH: As they flee, GRISHN\u00c1KH, wounded on the ground, grabs PIPPIN by his belt and clings on.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>The belt!<\/dialogue>\n    <scene_description>CONTINUED: (4) PIPPIN unbuckles his belt, leaving it with GRISHN\u00c1KH. GRISHN\u00c1KH throws it onto the ground and crawls after them. The HOBBITS continue running at their top speed away across the plain.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>Run!<\/dialogue>\n    <scene_description>ANGLE ON: ARAGORN runs after their tracks, imagining them.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>The tracks lead away from the battle...<\/dialogue>\n    <scene_description>INTERCUT WITH: MERRY and PIPPIN run right into FANGORN FOREST and disappear in the trees. ANGLE ON: ARAGORN, LEGOLAS, and GIMLI are running and stop short of entering FANGORN.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>...into Fangorn Forest.<\/dialogue>\n    <scene_description>WIDE ON: The THREE HUNTERS look into the dense and dark forest of gnarled trees so close together, it's as if it is guarding against entry.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>Fangorn? What madness drove them in there?<\/dialogue>\n    <scene_description>ANGLE ON: The THREE HUNTERS continue to look into the forest, uncertain as to whether they should enter or not. PAN INTO THE FOREST AND CROSSFADE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FANGORN FOREST - NIGHT<\/stage_direction>\n    <scene_description>WIDE ON: PIPPIN and MERRY charge into the looming forest checking behind them as they go. ANGLE ON: They finally collapse on a bed of leaves and look about them. WIDE ON: MERRY and PIPPIN seem all of a sudden much smaller compared to the majesty of the ancient forest. CONTINUED:<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>Did we lose him? I think we lost him.<\/dialogue>\n    <scene_description>ANGLE ON: PIPPIN and MERRY turns in the direction of an approaching sound. Their expressions drop. ANGLE ON: GRISHN\u00c1KH stumbles his way through the underbrush, looking for them. He holds his blade before him, ready to strike.<\/scene_description>\n    <character>GRISHN\u00c1KH<\/character>\n    <parenthetical>(grumbling)<\/parenthetical>\n    <dialogue>I'm going to rip out your filthy little innards!<\/dialogue>\n    <scene_description>ANGLE ON: MERRY and PIPPIN hasten behind a tree.<\/scene_description>\n    <character>GRISHN\u00c1KH<\/character>\n    <dialogue>Come here!<\/dialogue>\n    <scene_description>ANGLE ON: MERRY and PIPPIN run across the forest, desperate for a hiding place.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>Trees. Climb a tree.<\/dialogue>\n    <scene_description>ANGLES ON: MERRY and PIPPIN quickly climb the nearest tree. ANGLE ON: MERRY climbs to the lowermost branch and looks about the forest. POV: GRISHN\u00c1KH is nowhere in sight. MERRY sighs with relief.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>He's gone.<\/dialogue>\n    <scene_description>SUDDENLY, MERRY is jerked out of the tree. ANGLE ON: He falls to the ground in a heap, and GRISHN\u00c1KH looms over him, hungrily. MERRY kicks him in the face, but he is undeterred. MERRY attempts to back away from his attacker, but GRISHN\u00c1KH maintains his superior position.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <parenthetical>(from the tree)<\/parenthetical>\n    <dialogue>Merry!<\/dialogue>\n    <scene_description>CONTINUED: (2) ANGLE ON: PIPPIN looks down, helpless. Suddenly, as if reacting to Pippin's yell, TWO YELLOW EYES flicker open on the tree. PIPPIN glances over to them, and then back to MERRY. Realization dawns on him, and he slowly looks back at the EYES. The TREE grimaces and then turns its head to looks directly at PIPPIN. Speechless, PIPPIN loses his grip and begins to fall. The TREE lifts one of its limbs and catches PIPPIN in its hand before he can get very far. ANGLE ON: GRISHN\u00c1KH raises his blade to pierce MERRY.<\/scene_description>\n    <character>GRISHN\u00c1KH<\/character>\n    <dialogue>Let's put a maggot hole in your belly!<\/dialogue>\n    <scene_description>The TREE raises a leg high over GRISHN\u00c1KH. ANGLE ON: MERRY takes his attention from GRISHN\u00c1KH and focuses on the TREE. ANGLE ON: GRISHN\u00c1KH notices MERRY'S expression and looks behind him. HIGH ANGLE ON: The TREE brings its leg down and smashes GRISHN\u00c1KH into the ground.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>Run, Merry!<\/dialogue>\n    <scene_description>ANGLE ON: MERRY runs, but is quickly overtaken by the TREE who takes a mighty step and scoops MERRY up into his other hand. ANGLE ON: The TREE examines the struggling HOBBITS as he continues walking through the forest.<\/scene_description>\n    <character>THE TREE<\/character>\n    <dialogue>Little Orcs. Bur\u00e1rum...<\/dialogue>\n    <scene_description>PIPPIN stops struggling and looks at MERRY, wide-eyed.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>It's talking, Merry. The tree is talking.<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>THE TREE<\/character>\n    <parenthetical>(angrily)<\/parenthetical>\n    <dialogue>Tree? I am no tree! I am an Ent.<\/dialogue>\n    <scene_description>ANGLE ON: Recognition dawns on MERRY'S face, and he smiles in wonder and delight.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>A tree-herder. A shepherd of the forest.<\/dialogue>\n    <character>PIPPIN<\/character>\n    <dialogue>Don't talk to it, Merry. Don't encourage it!<\/dialogue>\n    <character>TREEBEARD<\/character>\n    <dialogue>TREEBEARD, some call me.<\/dialogue>\n    <character>PIPPIN<\/character>\n    <dialogue>And whose side are you on?<\/dialogue>\n    <character>TREEBEARD<\/character>\n    <dialogue>Side? I am on nobody's side because nobody's on my side, little Orc. Nobody cares for the woods anymore.<\/dialogue>\n    <character>MERRY<\/character>\n    <dialogue>We're not Orcs! We're Hobbits!<\/dialogue>\n    <character>TREEBEARD<\/character>\n    <dialogue>Hobbits? Never heard of a Hobbit before. Sounds like Orc mischief to me!<\/dialogue>\n    <scene_description>He squeezes the HOBBITS in rage...MERRY and PIPPIN squirm in pain.<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <parenthetical>(angrily)<\/parenthetical>\n    <dialogue>They come with fire. They come with axes. Gnawing, biting, breaking, hacking, burning! Destroyers and usurpers! Curse them!<\/dialogue>\n    <character>MERRY<\/character>\n    <dialogue>No! You don't understand. We're Hobbits! Halflings! Shire-folk!<\/dialogue>\n    <scene_description>CONTINUED: (4) They continue struggling in TREEBEARD'S firm grip.<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <dialogue>Maybe you are and maybe you aren't. The White Wizard will know.<\/dialogue>\n    <character>PIPPIN<\/character>\n    <parenthetical>(worried)<\/parenthetical>\n    <dialogue>The White Wizard?<\/dialogue>\n    <character>MERRY<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Saruman.<\/dialogue>\n    <scene_description>TREEBEARD drops them at the feet of a WIZARD dressed in gleaming white with long, white hair. MERRY and PIPPIN slowly look up to the WIZARD. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EMYN MUIL - DAY<\/stage_direction>\n    <scene_description>GOLLUM scrambles upward through a narrow pass, with FRODO and SAM following close behind. He leaps up to a higher point as the HOBBITS trail.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>See? See? We have led you out. Hurry, Hobbitses. Hurry!<\/dialogue>\n    <scene_description>FRODO and SAM catch up to GOLLUM. He climbs atop a rock.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>Very lucky we find you.<\/dialogue>\n    <scene_description>WIDE ON: They stand at the edge of EMYN MUIL overlooking the next part of their journey with MORDOR in the distance. FRODO walks past, but SAM pauses to give GOLLUM an evil look. GOLLUM cringes.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>Nice Hobbit.<\/dialogue>\n    <scene_description>He leaps after FRODO, putting a wide berth between him and SAM. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE DEAD MARSHES - TWILIGHT<\/stage_direction>\n    <scene_description>ANGLE ON: Sam's foot slips in a puddle of muck...he starts backward to get a view of where they're going.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>It's a bog. He's led us into a swamp.<\/dialogue>\n    <character>GOLLUM<\/character>\n    <dialogue>A swamp, yes, yes. Come, master. We will take you on safe paths through the mist.<\/dialogue>\n    <scene_description>WIDE ON: GOLLUM starts making his way across an invisible path across the wetlands. He looks back to the HOBBITS.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <parenthetical>(gesturing)<\/parenthetical>\n    <dialogue>Come, Hobbits, come. We go quickly.<\/dialogue>\n    <scene_description>FRODO and SAM follow him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AERIAL OF THE DEAD MARSHES - DAY<\/stage_direction>\n    <scene_description>AERIAL: The DEAD MARSHES stretch for miles and miles as far as the eye can see...FRODO, SAM, and GOLLUM appear AS TINY AS SPECKS slowly crossing it.<\/scene_description>\n    <character>GOLLUM (V.O.)<\/character>\n    <dialogue>I found it, I did. The way through the marshes. Orcs don't use it. Orcs don't know it. They go around for miles and miles. Come quickly. Soft and quick as shadows we must be.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE DEAD MARSHES - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: FRODO, SAM and GOLLUM rest from the day's journey.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I hate this place. It's too quiet. There's been no sight or sound of a bird for two days.<\/dialogue>\n    <character>GOLLUM<\/character>\n    <dialogue>No, no birdses to eat. No crunchable birdses.<\/dialogue>\n    <scene_description>CONTINUED: SAM locates some LEMBAS BREAD in his pack and hands some to FRODO, before getting some for himself. GOLLUM pounds the ground in frustration.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>We are famished! Yes! Famished we are, precious!<\/dialogue>\n    <scene_description>Suddenly, GOLLUM sees something on the ground. His eyes dart around following it, before his hands move like lightning to snatch up- -a worm. He looks at it suspiciously, shakes it a little, and then slurps it down with a grimace. CLOSE ON: SAM grimaces as well and opts out of finishing his bit of LAMBAS BREAD. ANGLE ON: FRODO breaks a piece off of his bread and tosses it to GOLLUM.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Here.<\/dialogue>\n    <scene_description>ANGLE ON: GOLLUM snaps around to look at it.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>What does it eats?<\/dialogue>\n    <scene_description>He runs over to the piece on the ground and circles it like a hungry animal.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>Is it tasty?<\/dialogue>\n    <scene_description>He picks it up and tosses it into his mouth. Almost immediately, he dramatically chokes on it and spits it out. CLOSE ON: SAM rolls his eyes and sighs. ANGLE ON: GOLLUM hacks and coughs.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>It tries to chokes us! We can't eats Hobbit food! We must starve!<\/dialogue>\n    <scene_description>CONTINUED: (2) GOLLUM bawls and falls onto his back, whining.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Well, starve, then. And good riddance!<\/dialogue>\n    <scene_description>GOLLUM crawls toward SAM.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>Oh, cruel Hobbit. It does not care if we be hungry. Does not care if we should die.<\/dialogue>\n    <scene_description>ANGLE ON: GOLLUM turns to FRODO, his eyes growing wide and innocent.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>Not like master.<\/dialogue>\n    <scene_description>ANGLE ON: FRODO ignores GOLLUM'S words.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>Master cares. Master knows.<\/dialogue>\n    <scene_description>FRODO looks to GOLLUM, beginning to understand.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>Yes. Precious.<\/dialogue>\n    <scene_description>CLOSE ON: FRODO raises his hand to cover the RING hidden under his tunic. CLOSE ON: GOLLUM mimics his action, watching where FRODO holds.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>Once it takes hold of us, it never lets go.<\/dialogue>\n    <scene_description>ANGLE ON: FRODO is tranced by the truth of Gollum's words. ANGLE ON: GOLLUM reaches out to touch the RING...FRODO comes to, and slaps Gollum's hand away.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Don't touch me!<\/dialogue>\n    <scene_description>GOLLUM shrinks away from FRODO. There is a tense moment before GOLLUM backs away from FRODO and lies down on the ground.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE DEAD MARSHES - DAY<\/stage_direction>\n    <scene_description>GOLLUM leads SAM and FRODO into an area of the marshes where small flames burn on the surface of the mist-covered waters. ANGLE ON: SAM suddenly stops and glimpses beneath the water's surface. ANGLE ON: PALLID FACES of dead MEN and ELVES float in the water.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>There are dead things! Dead faces in the water.<\/dialogue>\n    <scene_description>ANGLE ON: FRODO looks to the disturbing sight.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>All dead. All rotten. Elves and Men and Orcses. A great battle long ago.<\/dialogue>\n    <scene_description>ANGLE ON: GOLLUM stops and turns to the HOBBITS.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>Dead Marshes. Yes. Yes, that is their name.<\/dialogue>\n    <parenthetical>(gesturing and moving on)<\/parenthetical>\n    <dialogue>This way. Don't follow the lights.<\/dialogue>\n    <scene_description>ANGLE ON: SAM slips into the water again...GOLLUM turns to them quickly.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>Careful now!<\/dialogue>\n    <scene_description>CLOSE ON: The DEAD FACES IN THE WATER.<\/scene_description>\n    <character>GOLLUM (O.S.)<\/character>\n    <dialogue>Or Hobbits go down to join the dead ones and light little candles of their own.<\/dialogue>\n    <scene_description>ANGLE ON: SAM warily follows GOLLUM, but FRODO is drawn toward the water. ANGLE ON: One of the DEAD dressed in ELVEN ARMOUR. It floats just beneath the surface with a disturbing peacefulness. ANGLE ON: FRODO draws himself closer and closer to the water. CONTINUED: ANGLE ON: SAM looks around. His face drops when he sees where FRODO is.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Frodo!<\/dialogue>\n    <scene_description>ANGLE ON: FRODO pays SAM no mind, but continues to stare at the DEAD ELF in the water. CLOSE ON: SUDDENLY, the Dead Elf's eyes snap open. Its blank, pallid stare looks straight at FRODO. ANGLE ON: FRODO registers surprise only for a moment before falling face-first into the marsh...SAM bolts toward him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE DEAD MARSHES - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: FRODO floats beneath the surface. He looks about in fear...a decayed face silently screams and moves toward him, reaching out its rotten hand... Panicked, FRODO tries to escape. Two more DEAD grasp him from behind. The DEAD quickly surrounded him, grasping with decayed limbs. Another hand reaches around FRODO, and he collapses into the dead behind him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE DEAD MARSHES - DAY<\/stage_direction>\n    <scene_description>GOLLUM pulls FRODO out of the BOG...FRODO gasps and sputters for air...GOLLUM drags the struggling FRODO completely out of the water, and lays him on the ground. ANGLE ON: FRODO finally comes to and looks over to his savior, in perplexed gratitude and disbelief.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Gollum?<\/dialogue>\n    <character>GOLLUM<\/character>\n    <parenthetical>(emphatically)<\/parenthetical>\n    <dialogue>Don't follow the lights.<\/dialogue>\n    <scene_description>He crawls away. SAM runs to Frodo's side. CONTINUED:<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Gollum!<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Mr. Frodo! Are you all right?<\/dialogue>\n    <scene_description>SAM drags FRODO away from the swamp. FRODO stares after GOLLUM. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE DEAD MARSHES - NIGHT<\/stage_direction>\n    <scene_description>WIDE ON: MOUNT DOOM chokes ash and fire, giving light to the night. PAN OVER THE CAMP: The HOBBITS sleep...or so it appears. ANGLE ON: FRODO holds the RING in the palm of his hand, caressing it...gazing upon it. SUDDENLY, he hears GOLLUM. He grasps the RING, as if to hide it.<\/scene_description>\n    <character>GOLLUM (O.S.)<\/character>\n    <dialogue>So bright. So beautiful.<\/dialogue>\n    <scene_description>FRODO quickly stuffs the RING inside his shirt. ANGLE ON: FRODO rolls over. GOLLUM crouches away from him, stroking the centre of his palm, just as FRODO was doing only a moment before.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>Our precious.<\/dialogue>\n    <character>FRODO<\/character>\n    <dialogue>What did you say?<\/dialogue>\n    <scene_description>ANGLE ON: GOLLUM calmly turns to FRODO, still lost in his own reverie.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>Master should be resting. Master needs to keep up his strength.<\/dialogue>\n    <scene_description>FRODO gets up and stands behind GOLLUM. CONTINUED:<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>GOLLUM<\/character>\n    <parenthetical>(quickly)<\/parenthetical>\n    <dialogue>Mustn't ask us. Not its business.<\/dialogue>\n    <parenthetical>(coughing)<\/parenthetical>\n    <dialogue>Gollum. Gollum.<\/dialogue>\n    <scene_description>FRODO crouches behind him.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Gandalf told me you were one of the river-folk.<\/dialogue>\n    <character>GOLLUM<\/character>\n    <parenthetical>(absently; ignoring Frodo)<\/parenthetical>\n    <dialogue>Cold be heart and hand and bone Cold be travelers far from home<\/dialogue>\n    <character>FRODO<\/character>\n    <dialogue>He said your life was a sad story.<\/dialogue>\n    <character>GOLLUM<\/character>\n    <dialogue>They do not see what lies ahead, when sun has failed and moon is dead.<\/dialogue>\n    <character>FRODO<\/character>\n    <dialogue>You were not so very different from a Hobbit once. Were you?<\/dialogue>\n    <scene_description>He looks closely at GOLLUM, who tries to ignore him.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Sm\u00e9agol.<\/dialogue>\n    <scene_description>CLOSE ON: GOLLUM reacts. He looks up slowly. His face changes to that of surprise and wonder.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>What did you call me?<\/dialogue>\n    <character>FRODO<\/character>\n    <dialogue>That was your name once, wasn't it? A long time ago.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>GOLLUM<\/character>\n    <parenthetical>(with difficulty)<\/parenthetical>\n    <dialogue>My name...my name...<\/dialogue>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>Sm\u00e9agol.<\/dialogue>\n    <scene_description>ON THE SOUNDTRACK: A piercing cry breaks the silence of the night. ANGLES ON: SAM snaps around, waking up instantly...FRODO looks around quickly...GOLLUM gasps and lays close to the ground, trying to hide.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Black Riders!<\/dialogue>\n    <character>GOLLUM<\/character>\n    <dialogue>Hide! Hide!<\/dialogue>\n    <scene_description>ANGLE ON: GOLLUM runs off. FRODO grasps the RING and groans in agony. FLASH INSERT: The faces of the RINGWRAITHS bear down on FRODO. The WITCH KING reaches for the RING. ANGLE ON: FRODO collapses onto the ground, wincing. FLASH INSERT: Surrounded by the RINGWRAITHS, the WITCH KING reels back and stabs FRODO with his blade. ANGLE ON: FRODO lurches reliving the act, clutching his shoulder...SAM runs over to him...he passes GOLLUM, hiding under a small tree.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Come on, Frodo! Come on!<\/dialogue>\n    <scene_description>SAM drags FRODO across the ground toward GOLLUM.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>Quick! They will see us! They will see us!<\/dialogue>\n    <scene_description>SAM finally gets FRODO over with GOLLUM under the tree. CONTINUED: (3)<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I thought they were dead!<\/dialogue>\n    <character>GOLLUM<\/character>\n    <parenthetical>(shaking his head)<\/parenthetical>\n    <dialogue>Dead? No, you cannot kill them. No.<\/dialogue>\n    <scene_description>ANGLE ON: GOLLUM and SAM look out to see if they can spot the RINGWRAITH.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKIES ABOVE THE DEAD MARSHES - DAY<\/stage_direction>\n    <scene_description>CLOSE ON: ARMOURED HANDS grip the reins of a flying FELLBEAST. ANGLE ON: The RINGWRAITH looks out from behind the darkness of his hood. AERIAL ON: SCREAMS of the DARK RIDER fill the air as the winged beast flies over the Marshes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE DEAD MARSHES - DAY<\/stage_direction>\n    <scene_description>GOLLUM whelps and cowers as the RINGWRAITH swoops over their hiding place. ANGLE ON: SAM ducks, covering FRODO.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>Wraiths! Wraiths on wings!<\/dialogue>\n    <scene_description>CLOSE ON: FRODO'S eyes roll back into his head as the shrieks of the NAZG\u00dbL penetrate him. He clutches the RING at his chest. ANGLE ON: GOLLUM looks over to him, concerned.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>They are calling for it. They are calling for the precious.<\/dialogue>\n    <scene_description>CLOSE ON: FRODO hyperventilates and continues clutching the RING as it tries to take him and respond to the calls of the WRAITHS. SAM grabs Frodo's hand and shakes him.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Mr. Frodo! It's alright. I'm here.<\/dialogue>\n    <scene_description>CONTINUED: AERIAL ON: The RINGWRAITH passes over them once more before turning towards MORDOR. ANGLE ON: GOLLUM watches it go, and then turns to the HOBBITS, as they sit up.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>Hurry, Hobbits. The Black Gate is very close.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FANGORN FOREST - DAY<\/stage_direction>\n    <scene_description>CLOSE ON: A DARK STAIN dominates a leaf of one of the many plants on the floor of FANGORN FOREST...Someone approaches...A HAND touches the stain and brings it up to his mouth...It is GIMLI...He spits out the offending substance.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>Orc blood.<\/dialogue>\n    <scene_description>ANGLE ON: ARAGORN scours the forest floor, following the tracks of the HOBBITS. LEGOLAS follows closely, and GIMLI joins them. ARAGORN suddenly halts, regarding his latest findings.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>These are strange tracks.<\/dialogue>\n    <character>GIMLI<\/character>\n    <parenthetical>(fearful)<\/parenthetical>\n    <dialogue>The air is so close in here.<\/dialogue>\n    <scene_description>ANGLE ON: LEGOLAS looks about the forest, as if feeling it.<\/scene_description>\n    <character>LEGOLAS<\/character>\n    <dialogue>This forest is old. Very old. Full of memory...and anger.<\/dialogue>\n    <scene_description>ON THE SOUNDTRACK: Low groans reverberate throughout the forest. ANGLE ON: GIMLI gasps and raises his axe.<\/scene_description>\n    <character>LEGOLAS<\/character>\n    <dialogue>The trees are speaking to each other.<\/dialogue>\n    <scene_description>CONTINUED: ANGLE ON: ARAGORN turns to GIMLI, who is fearfully waving his axe about, looking for foes.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Gimli!<\/dialogue>\n    <scene_description>ANGLE ON: GIMLI starts at the sound of his name.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(gesturing)<\/parenthetical>\n    <dialogue>Lower your axe.<\/dialogue>\n    <scene_description>GIMLI recollects himself and lowers his axe, as if surrendering.<\/scene_description>\n    <character>LEGOLAS<\/character>\n    <parenthetical>(reverently)<\/parenthetical>\n    <dialogue>They have feelings, my friend. The Elves began it. Waking up the trees, teaching them to speak.<\/dialogue>\n    <character>GIMLI<\/character>\n    <parenthetical>(in disbelief)<\/parenthetical>\n    <dialogue>Talking trees. What do trees have to talk about? Except the consistency of squirrel droppings.<\/dialogue>\n    <scene_description>They continue walking through the forest. ANGLE ON: SUDDENLY, LEGOLAS senses something and runs off for a better look.<\/scene_description>\n    <character>LEGOLAS<\/character>\n    <parenthetical>(in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>Aragorn, nad n\u00e2 ennas!<\/dialogue>\n    <dialogue>Something is out there.<\/dialogue>\n    <scene_description>CLOSE ON: LEGOLAS intently searches the FOREST. ARAGORN comes up behind him. CONTINUED: (2)<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>Man cenich?<\/dialogue>\n    <dialogue>What do you see?<\/dialogue>\n    <character>LEGOLAS<\/character>\n    <parenthetical>(whispered)<\/parenthetical>\n    <dialogue>The White Wizard approaches.<\/dialogue>\n    <scene_description>CLOSE ON: The THREE HUNTERS weigh the gravity of this pronouncement.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(whispered)<\/parenthetical>\n    <dialogue>Do not let him speak. He will put a spell on us.<\/dialogue>\n    <scene_description>CLOSE ON: ARAGORN readies his sword...GIMLI grips his axes... LEGOLAS nocks an arrow.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(whispered)<\/parenthetical>\n    <dialogue>We must be quick.<\/dialogue>\n    <scene_description>QUICK SERIES OF CUTS: WITH A YELL, the three swing round to attack...a bright light envelops them from the WIZARD...GIMLI throws his axe...it is shattered...LEGOLAS launches an arrow... it is deflected...ARAGORN'S sword becomes red hot in his grasp ...it clatters to the forest floor. ANGLE ON: The THREE HUNTERS shield their eyes from the blinding light emanating from the WHITE WIZARD.<\/scene_description>\n    <character>WHITE WIZARD<\/character>\n    <dialogue>You are tracking the footsteps of two young Hobbits.<\/dialogue>\n    <character>ARAGORN<\/character>\n    <dialogue>Where are they?<\/dialogue>\n    <character>WHITE WIZARD<\/character>\n    <dialogue>They passed this way the day before yesterday. They met someone they did not expect. Does that comfort you?<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>Who are you? Show yourself!<\/dialogue>\n    <scene_description>ANGLE ON: The WHITE WIZARD recalls his light...slowly, his face is revealed...standing before them, DRESSED ALL IN WHITE, is GANDALF! ANGLE ON: ARAGORN looks upon him, astounded.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>It cannot be.<\/dialogue>\n    <character>LEGOLAS<\/character>\n    <parenthetical>(kneeling)<\/parenthetical>\n    <dialogue>Forgive me. I mistook you for Saruman.<\/dialogue>\n    <scene_description>GIMLI joins LEGOLAS in bowing before the light of GANDALF.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>I am Saruman. Or rather, Saruman as he should have been.<\/dialogue>\n    <character>ARAGORN<\/character>\n    <dialogue>You fell.<\/dialogue>\n    <character>GANDALF<\/character>\n    <dialogue>Through fire and water.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DURIN'S TOWER, SILVERTINE - FLASHBACK<\/stage_direction>\n    <scene_description>WIDE ON: In a raging snowstorm, high atop SILVERTINE in the living rock of ZIRAKZIGIL, GANDALF faces off with the BALROG in DURIN'S TOWER.<\/scene_description>\n    <character>GANDALF (V.O.)<\/character>\n    <dialogue>From the lowest dungeon to the highest peak, I fought with the Balrog of Morgoth.<\/dialogue>\n    <scene_description>ANGLE ON: GANDALF holds up GLAMDRING...lightning energizes it. THE BALROG charges GANDALF again...GANDALF plunges GLAMDRING into the BALROG. WIDE ON: With a final cry, the BALROG falls, smoking, from the peak and lands on the icy mountainside. CONTINUED:<\/scene_description>\n    <character>GANDALF (V.O.)<\/character>\n    <dialogue>Until at last, I threw down my enemy and smote his ruin upon the mountainside.<\/dialogue>\n    <scene_description>ANGLE ON: High above the BALROG, GANDALF lies upon the snowy peak, dying.<\/scene_description>\n    <character>GANDALF (V.O.)<\/character>\n    <dialogue>Darkness took me, and I strayed out of thought and time.<\/dialogue>\n    <scene_description>TRACK IN TO GANDALF'S EYE...A BRIGHT LIGHT erupts... INSERT IMAGE: DEATH...BIRTH...COSMIC WEIRDNESS...<\/scene_description>\n    <character>GANDALF (V.O.)<\/character>\n    <dialogue>Stars wheeled overhead and every day was as long as a life age of the Earth.<\/dialogue>\n    <scene_description>WHITE LIGHT ENVELOPES THE IMAGE... TRACK OUT FROM GANDALF'S EYE...<\/scene_description>\n    <character>GANDALF (V.O.)<\/character>\n    <dialogue>But it was not the end. I felt life in me again.<\/dialogue>\n    <scene_description>ANGLE ON: GANDALF lies upon the ground - naked, calm, and still. His hair has turned white, and his wounds are healed. He suddenly utters with a deep gasp and pants as life returns to him.<\/scene_description>\n    <character>GANDALF (V.O.)<\/character>\n    <dialogue>I've been sent back...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FANGORN FOREST - DAY<\/stage_direction>\n    <character>GANDALF<\/character>\n    <dialogue>...until my task is done.<\/dialogue>\n    <character>ARAGORN<\/character>\n    <dialogue>Gandalf.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>GANDALF<\/character>\n    <parenthetical>(momentarily confused)<\/parenthetical>\n    <dialogue>Gandalf? Yes.<\/dialogue>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>That's what they used to call me.<\/dialogue>\n    <scene_description>ARAGORN nods...GANDALF looks at ARAGORN, smiling.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>Gandalf the Grey. That was my name.<\/dialogue>\n    <character>GIMLI<\/character>\n    <dialogue>Gandalf.<\/dialogue>\n    <character>GANDALF<\/character>\n    <parenthetical>(with a smile)<\/parenthetical>\n    <dialogue>I am Gandalf the White.<\/dialogue>\n    <scene_description>LEGOLAS grins.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>And I come back to you now at the turn of the tide.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FANGORN FOREST - DAY<\/stage_direction>\n    <scene_description>WIDE ON: GANDALF leads ARAGORN, LEGOLAS, and GIMLI through the forest. He wears his ELVEN CLOAK over his white robes.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>One stage of the journey is over, another begins. We must travel to Edoras with all speed.<\/dialogue>\n    <character>GIMLI<\/character>\n    <dialogue>Edoras? That is no short distance!<\/dialogue>\n    <character>ARAGORN<\/character>\n    <dialogue>We hear of trouble in Rohan. It goes ill with the king.<\/dialogue>\n    <scene_description>GANDALF stops.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>Yes, and it will not be easily cured.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>Then we have run all this way for nothing? Are we to leave those poor Hobbits here in this horrid, dark, dank tree-infested--?<\/dialogue>\n    <scene_description>WIDE ON: The FOREST responds to Gimli's complaints with a low rumble. ANGLE ON: GIMLI stops and looks around, fearfully.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>I mean, charming...quite charming forest.<\/dialogue>\n    <scene_description>He smiles. The rumbling ceases. ANGLE ON: GANDALF turns to GIMLI.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>It was more than mere chance that brought Merry and Pippin to Fangorn. A great power has been sleeping here for many long years. The coming of Merry and Pippin will be like the falling of small stones that starts an avalanche in the mountains.<\/dialogue>\n    <character>ARAGORN<\/character>\n    <dialogue>In one thing you have not changed, dear friend.<\/dialogue>\n    <scene_description>GANDALF leans close to ARAGORN.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(low)<\/parenthetical>\n    <dialogue>You still speak in riddles.<\/dialogue>\n    <scene_description>They laugh.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>A thing is about to happen that has not happened since the Elder Days. The Ents are going to wake up and find that they are strong.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>Strong?!<\/dialogue>\n    <parenthetical>(smiling nervously)<\/parenthetical>\n    <dialogue>Oh, that's good.<\/dialogue>\n    <character>GANDALF<\/character>\n    <parenthetical>(turning to leave)<\/parenthetical>\n    <dialogue>So stop your fretting, Master Dwarf.<\/dialogue>\n    <scene_description>GANDALF starts walking out of the FOREST again.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>Merry and Pippin are quite safe. In fact, they are far safer than you are about to be.<\/dialogue>\n    <character>GIMLI<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>This new Gandalf's more grumpy than the old one.<\/dialogue>\n    <scene_description>GIMLI trudges after the rest of the party.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BORDER OF FANGORN FOREST - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: GANDALF whistles piercingly. It echoes off into the distance. He whistles again. As the echo dies out, a neigh answers him. ANGLE ON: A magnificent WHITE HORSE gallops towards GANDALF over a nearby hill...GANDALF smiles. ANGLE ON: LEGOLAS, standing with ARAGORN, GIMLI and their steeds, looks upon the approaching steed in awe.<\/scene_description>\n    <character>LEGOLAS<\/character>\n    <dialogue>That is one of the Mearas, unless my eyes are cheated by some spell.<\/dialogue>\n    <scene_description>ANGLE ON: The horse gallops across the plain and comes to a stop in front of GANDALF.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>Shadowfax. He is the lord of all horses ...and has been my friend through many dangers.<\/dialogue>\n    <scene_description>CONTINUED: GANDALF walks up to SHADOWFAX and strokes his neck. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAINS OF ROHAN - DAY<\/stage_direction>\n    <scene_description>The THREE HUNTERS make haste in riding across the vast plains to their destination at EDORAS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FANGORN FOREST - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: TREEBEARD continues his slow trek through the forest. MERRY and PIPPIN remain perched in his branches - helplessly lead along to whatever fate has in store for them.<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <parenthetical>(passionately)<\/parenthetical>\n    <dialogue>O Rowan mine I saw you shine Upon a summer's day Upon your head How golden-red The crown you bore aloft<\/dialogue>\n    <scene_description>MERRY yawns.<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <dialogue>Such a beautiful verse.<\/dialogue>\n    <character>MERRY<\/character>\n    <dialogue>Is it much further?<\/dialogue>\n    <character>TREEBEARD<\/character>\n    <dialogue>Bru-ra-hroom. Don't be hasty. You might call it far, perhaps. My home lies deep in the forest near the roots of the mountain. I told Gandalf I would keep you safe. And safe is where I'll keep you. I believe you will enjoy this next one too. It's one of my own compositions. Right.<\/dialogue>\n    <scene_description>TREEBEARD clears his throat. ANGLE ON: PIPPIN settles in to TREEBEARD and closes his eyes. CONTINUED: AERIAL: Over the mist-covered trees as the sun sets, TREEBEARD plods along to his destination.<\/scene_description>\n    <character>TREEBEARD (V.O.)<\/character>\n    <dialogue>Beneath the roof of sleeping leaves And the dreams of trees unfold When woodland halls are green and cool And the wind is in the West Come back to me Come back to me And say my land is best<\/dialogue>\n    <scene_description>ANGLE ON: TREEBEARD looks over to the HOBBITS to find them asleep. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FANGORN FOREST - NIGHT<\/stage_direction>\n    <scene_description>ANGLE ON: TREEBEARD carefully lays the sleeping HOBBITS on the ground.<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <dialogue>Sleep, little Shirelings. Heed no nightly noise. Sleep till morning light.<\/dialogue>\n    <scene_description>ANGLE ON: TREEBEARD stands back up and walks away, through the forest.<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <dialogue>I have business in the forest. There are many to call. Many that must come. The Shadow lies on Fangorn. The withering of all woods is drawing near.<\/dialogue>\n    <scene_description>WIDE ON: TREEBEARD slowly walks away from the HOBBITS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAINS OF ROHAN - NIGHT<\/stage_direction>\n    <scene_description>GANDALF stands on the edge of a small hill overlooking the Plains. ARAGORN leaves the fire and joins him. CONTINUED:<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>The veiling shadow that glowers in the east takes shape. Sauron will suffer no rival. From the summit of Barad-d\u00fbr, his Eye watches ceaselessly. But he is not so mighty yet that he is above fear. Doubt ever gnaws at him. The rumor has reached him. The heir of N\u00famenor still lives.<\/dialogue>\n    <scene_description>ANGLE ON: ARAGORN looks over to GANDALF to find him already looking into his eyes.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>Sauron fears you, Aragorn. He fears what you may become.<\/dialogue>\n    <scene_description>ARAGORN looks away, considering these words. GANDALF looks back to the east.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>And so he'll strike hard and fast at the world of Men. He will use his puppet Saruman to destroy Rohan. War is coming. Rohan must defend itself, and therein lies our first challenge for Rohan is weak and ready to fall. The king's mind is enslaved, it's an old device of Saruman's. His hold over King Th\u00e9oden is now very strong. Sauron and Saruman are tightening the noose. But for all their cunning, we have one advantage.<\/dialogue>\n    <scene_description>ARAGORN and GANDALF lock eyes again.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>The Ring remains hidden.<\/dialogue>\n    <scene_description>ARAGORN nods.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>And that we should seek to destroy it has not yet entered their darkest dreams.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>And so the weapon of the enemy is moving towards Mordor in the hands of a Hobbit. Each day brings it closer to the fires of Mount Doom. We must trust now in Frodo. Everything depends upon speed and the secrecy of his quest.<\/dialogue>\n    <scene_description>GANDALF looks over to ARAGORN and sees the worry upon his face.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>Do not regret your decision to leave him. Frodo must finish this task alone.<\/dialogue>\n    <character>ARAGORN<\/character>\n    <dialogue>He's not alone. Sam went with him.<\/dialogue>\n    <scene_description>GANDALF looks over to ARAGORN, surprise alighting on his face.<\/scene_description>\n    <character>GANDALF<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>Did he? Did he, indeed? Good.<\/dialogue>\n    <scene_description>He looks back to the landscape.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>Yes, very good.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EPHEL D\u00daATH - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: SAM and FRODO climb a sheer rock face. They scramble to the top where GOLLUM awaits.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>The Black Gate of Mordor.<\/dialogue>\n    <scene_description>WIDE ON: The enormous BLACK GATE OF MORDOR guards the way to MORDOR with Orcs patrolling and standing guard in the TEETH OF MORDOR and atop the walls. ANGLE ON: SAM almost religiously looks upon the BLACK GATE and its BATTLEMENTS. CONTINUED:<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Oh, save us.<\/dialogue>\n    <scene_description>ANGLE ON: GOLLUM hides his face in his hands...SAM scrambles along EPHEL D\u00daATH and hides behind a rock...FRODO comes up quickly behind him.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>My old Gaffer would have a thing or two to say if he could see us now.<\/dialogue>\n    <scene_description>ANGLE ON: GOLLUM scramble up behind them.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>Master says to show him the way into Mordor. So good Sm\u00e9agol does, master says so.<\/dialogue>\n    <scene_description>CLOSE ON: FRODO looks upon the GATE, wide-eyed, only now comprehending the gravity of the request.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>I did.<\/dialogue>\n    <scene_description>INTERCUT WITH: ORCS stand guard and patrol atop the MASSIVE BLACK GATE BATTLEMENTS. ANGLE ON: The HOBBITS and GOLLUM looking in wonder at the Gate. SAM'S expression drops as he turns to FRODO.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>That's it then. We can't get past that.<\/dialogue>\n    <scene_description>HIGH ANGLE ON: An army of EASTERLING SOLDIERS marches to the Black Gate on a path far below EPHEL D\u00daATH. A COMMANDER screams orders to the TROOPS. ANGLE ON: The THREE shrink away from the edge of the overlook. ANGLE ON: The ARMY marches steadily towards the BLACK GATE. A HORN SOUNDS their arrival. ANGLE ON: GOLLUM whimpers and cringes from the sound. FRODO looks to him for a moment, and then returns his gaze to the ARMY.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BLACK GATE BATTLEMENTS - DAY<\/stage_direction>\n    <scene_description>ANGLES ON: An ORC SOUNDS the HORN again...two enormous CAVE TROLLS work the MECHANISM to open the mighty gate...the ORCS atop the BATTLEMENTS brace themselves as the GATE slowly opens...the MIGHTY CAVE TROLLS open the heavy gate, walking along a thin walkway patrolled by the smaller ORCS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EPHEL D\u00daATH - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: SAM points to the BLACK GATE.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Look! The gate. It's opening!<\/dialogue>\n    <scene_description>HIGH WIDE ON: The BLACK GATE slowly opens to receive the approaching ARMY. ANGLE ON: SAM crawls to a rock at the edge of the overlook.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I can see a way down.<\/dialogue>\n    <scene_description>SUDDENLY, THE ROCK GIVES WAY UNDER SAM AND RACES DOWN THE SIDE OF EPHEL D\u00daATH WITH SAM RIDING ATOP IT!<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Sam, no!<\/dialogue>\n    <scene_description>ANGLE ON: FRODO scrambles after SAM. GOLLUM breaks from his cowering to look up as FRODO runs off.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>Master!<\/dialogue>\n    <scene_description>FRODO runs and slides down the side of EPHEL D\u00daATH.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BASE OF EPHEL D\u00daATH - DAY<\/stage_direction>\n    <scene_description>FRODO slides to a stop behind a rock near the bottom. ANGLE ON: One of the EASTERLING SOLDIERS looks up at the mountainside. WIDE ON: A cloud of dust issues from the side of the mountain. ANGLE ON: FRODO darts form behind one rock, slides down EPHEL D\u00daATH some more and comes to rest behind another rock. CONTINUED: ANGLE ON: TWO EASTERLING SOLDIERS approach the mountainside to investigate. ANGLE ON: FRODO darts from behind the rock and reaches SAM, who is buried to his waist in rocks. FRODO struggles to free SAM to no avail. POV: The EASTERLING SOLDIERS come ever closer... ANGLE ON: FRODO struggles desperately to get SAM loose. POV: The EASTERLING SOLDIERS are nearly upon them... ANGLE ON: FRODO quickly swings his ELVISH CLOAK over himself and SAM. LOW ANGLE ON: The EASTERLING SOLDIERS reach the base of EPHEL D\u00daATH. They survey the mountainside. ANGLE ON: FRODO and SAM huddle beneath FRODO'S CLOAK, not daring to breathe. POV THROUGH CLOAK: One of the EASTERLINGS stands almost directly over FRODO and SAM They lie directly in the path of the SOLDIERS, holding their breath. The SOLDIERS stop in front of them and look at the mountainside. ANGLE ON: The EASTERLING SOLDIERS look at each other for a moment, shrug, and rejoin their party. CLOSE ON: A ROCK in the gravel directly in front of the EASTERLINGS' position...the surface of the ROCK suddenly peels back to reveal FRODO and SAM beneath it. ANGLE ON: FRODO and SAM desperately dig SAM out. With SAM free, they scramble behind a nearby boulder. ANGLE ON: The ARMY marches through the BLACK GATE. ORDERS are shouted to the TROOPS and ORCS. ANGLE ON: FRODO readies himself to run for the GATE.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>I do not ask you to come with me, Sam.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I know, Mr. Frodo. I doubt even these Elvish cloaks will hide us in there.<\/dialogue>\n    <scene_description>ANGLE ON: They give each other a final glance and nod.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Now!<\/dialogue>\n    <scene_description>SUDDENLY, as they start to run, HANDS grab them from behind and drag them to the ground.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>No! No! No master!<\/dialogue>\n    <scene_description>FRODO and SAM look angrily at GOLLUM. FRODO turns desperately to the GATE.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>They catch you! They catch you!<\/dialogue>\n    <scene_description>FRODO tries to run for it again, but GOLLUM detains him.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>Don't take it to him.<\/dialogue>\n    <scene_description>CLOSE ON: FRODO looks curiously at GOLLUM. CLOSE ON: GOLLUM looks desperately back to them.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <parenthetical>(ominously)<\/parenthetical>\n    <dialogue>He wants the precious. Always he is looking for it. And the precious is wanting to go back to him.<\/dialogue>\n    <parenthetical>(evilly)<\/parenthetical>\n    <dialogue>But we mustn't let him have it.<\/dialogue>\n    <scene_description>ANGLE ON: The EASTERLING ARMY progresses through THE BLACK GATE. A HORN SOUNDS. The GATE begins to close behind them. ANGLE ON: FRODO tries to run for the GATE once more. GOLLUM holds him back. CONTINUED: (3)<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>No! There's another way. There's another way. More secret. A dark way.<\/dialogue>\n    <scene_description>ANGLE ON: SAM grabs GOLLUM angrily, spinning him around.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Why haven't you spoken of this before?!<\/dialogue>\n    <character>GOLLUM<\/character>\n    <dialogue>Because Master did not ask.<\/dialogue>\n    <scene_description>ANGLE ON: FRODO turns to him quickly. SAM tosses GOLLUM aside.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>He's up to something.<\/dialogue>\n    <character>FRODO<\/character>\n    <dialogue>Are you saying there's another way into Mordor?<\/dialogue>\n    <character>GOLLUM<\/character>\n    <parenthetical>(nodding)<\/parenthetical>\n    <dialogue>Yes. There's a path...and some stairs... and then...a tunnel.<\/dialogue>\n    <scene_description>ANGLE ON: FRODO and SAM watch the BLACK GATE close. GOLLUM buries his face in FRODO'S CLOAK as FRODO turns away from his former goal. FRODO looks at GOLLUM.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>He's led us this far, Sam.<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>(desperately)<\/parenthetical>\n    <dialogue>Mr. Frodo, no.<\/dialogue>\n    <character>FRODO<\/character>\n    <dialogue>He's been true to his word.<\/dialogue>\n    <scene_description>GOLLUM looks up at FRODO, hopeful...SAM shakes his head.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>CONTINUED: (4)<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Lead the way, Sm\u00e9agol.<\/dialogue>\n    <character>GOLLUM<\/character>\n    <dialogue>Good Sm\u00e9agol always helps.<\/dialogue>\n    <scene_description>GOLLUM leaps away. SAM stares at FRODO in disbelief...FRODO tries not to meet Sam's gaze. He looks back at the BLACK GATE. ANGLE ON: THE BLACK GATE CLOSES COMPLETELY. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ENT DRAFT, FANGORN FOREST - DAY<\/stage_direction>\n    <scene_description>MERRY wakes up. He looks around. POV: Sunlight breaks through a few of the trees giving light. A small brook bubbles down the center of the draft. PIPPIN sits on a root, drinking the water. ANGLE ON: MERRY stands up and surveys his surroundings. He walks out in a daze.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>PIPPIN looks up, smiling. WIDE ON: MERRY looks out into the dark forest beyond the Draft.<\/scene_description>\n    <character>MERRY<\/character>\n    <parenthetical>(calling out)<\/parenthetical>\n    <dialogue>Treebeard?<\/dialogue>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>Where's he gone?<\/dialogue>\n    <scene_description>ANGLE ON: PIPPIN sits up, holding a bowl of the water.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>I had the loveliest dream last night. There was this large barrel, full of pipe-weed. And we smoked all of it. And then...you were sick.<\/dialogue>\n    <scene_description>CONTINUED: ANGLE ON: MERRY scowls quietly...PIPPIN lies back upon the root.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>I'd give anything for a whiff of Old Toby.<\/dialogue>\n    <scene_description>A LOW GROAN ISSUES across the forest. The HOBBITS turn in its direction.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>Did you hear that?<\/dialogue>\n    <scene_description>ANGLE ON: PIPPIN gathers his water pitchers...MERRY walks in the direction of the issuing sound. Another GROAN breaks the silence of the forest.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>There it is again. Something's not right here. Not right at all.<\/dialogue>\n    <scene_description>ANGLE ON: PIPPIN climbs off of the root to the ground ... and issues his own sound: an LOW GRUNT. CLOSE ON: MERRY looks over to him, wide-eyed.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>You just said something ... Treeish.<\/dialogue>\n    <character>PIPPIN<\/character>\n    <dialogue>No, I didn't. I was just stretching.<\/dialogue>\n    <scene_description>ANGLE ON: PIPPIN grunts again, stretching...MERRY walks around PIPPIN, running his eyes up and down PIPPIN.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>You're taller.<\/dialogue>\n    <character>PIPPIN<\/character>\n    <parenthetical>(turning to MERRY)<\/parenthetical>\n    <dialogue>Who?<\/dialogue>\n    <character>MERRY<\/character>\n    <dialogue>You!<\/dialogue>\n    <character>PIPPIN<\/character>\n    <dialogue>Than what?<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>Than me!<\/dialogue>\n    <scene_description>PIPPIN scoffs.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>I've always been taller than you.<\/dialogue>\n    <character>MERRY<\/character>\n    <parenthetical>(indignant)<\/parenthetical>\n    <dialogue>Pippin, everyone knows I'm the tall one. You're the short one.<\/dialogue>\n    <character>PIPPIN<\/character>\n    <dialogue>Please, Merry. You're what? Three-foot-six? At the most?<\/dialogue>\n    <scene_description>MERRY shrugs as if to say, \"Yeah.\"<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>Whereas me, I'm pushing 3'7\".<\/dialogue>\n    <scene_description>Another groan issues from PIPPIN, and he grows again. CLOSE ON: MERRY'S eyes grow wide.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <character>3'8\"!<\/character>\n    <dialogue>ANGLE ON: PIPPIN happily takes another huge gulp of the water.<\/dialogue>\n    <dialogue>CLOSE ON: MERRY looks on in shock.<\/dialogue>\n    <character>MERRY<\/character>\n    <dialogue>Three-foot-eight.<\/dialogue>\n    <scene_description>ANGLE ON: PIPPIN shrugs, as if to say, \"Yeah.\"<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>You did something.<\/dialogue>\n    <scene_description>PIPPIN shrugs again and smiles. ANGLE ON: He non-chalantly places the WATER BOWL next to the brook...MERRY looks at the water, and then snatches the water jug and takes a huge drink. CONTINUED: (3)<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>Merry don't! Don't drink it!<\/dialogue>\n    <scene_description>MERRY takes off with the jug. PIPPIN chases him. He takes another drink, pushing PIPPIN away.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>Merry! No, Treebeard said that you shouldn't have any.<\/dialogue>\n    <scene_description>PIPPIN tries to grab MERRY again, but MERRY pushes him away and runs off to take another drink.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>I want some!<\/dialogue>\n    <character>PIPPIN<\/character>\n    <dialogue>It could well be dangerous!<\/dialogue>\n    <scene_description>ANGLE ON: MERRY leads PIPPIN across some large tree roots.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>Give me it back. Merry!<\/dialogue>\n    <scene_description>SUDDENLY, MERRY slips between two of the roots, and the tree groans and moves. CLOSE ON: It closes its roots to traps the ankles of both HOBBITS.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>What's happening!<\/dialogue>\n    <character>MERRY<\/character>\n    <dialogue>It's got my leg!<\/dialogue>\n    <scene_description>SERIES OF CUTS: The TREE moves its roots to traps the HOBBITS' limbs.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>Merry!<\/dialogue>\n    <scene_description>ANGLE ON: The tree pulls them into its roots as others close in over them. CONTINUED: (5) Disturbed leaves from above cover the HOBBITS, making them virtually invisible as they scream. The roots finish the job and completely bury the HOBBITS.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <parenthetical>(muffled)<\/parenthetical>\n    <dialogue>Help!<\/dialogue>\n    <scene_description>WIDE ON: Silence fills the air as the scene looks serene - as if nothing sinister happened at all. ON THE SOUNDTRACK: Large footfalls ECHO. TREEBEARD quickly approaches the tree.<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <dialogue>Away with you. You should not be waking. Eat earth. Dig deep. Drink water.<\/dialogue>\n    <scene_description>ANGLES ON: The roots move again, releasing the HOBBITS. With desperate cries, they free themselves from the tree's grasp.<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <dialogue>Go to sleep. Away with you.<\/dialogue>\n    <scene_description>The HOBBITS shake off the leaves and stand by TREEBEARD, looking back at the tree roots in horror.<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <dialogue>Come, the forest is waking up. It isn't safe.<\/dialogue>\n    <scene_description>ANGLE ON: TREEBEARD lifts the HOBBITS, one in each hand, and walks out of the grove.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FANGORN FOREST - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: TREEBEARD travels through the FOREST again, carrying the HOBBITS on his shoulders. CONTINUED:<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <dialogue>The trees have grown wild and dangerous. Anger festers in their hearts. Black are their thoughts. Strong is their hate. They will harm you if they can. There are too few of us now. Too few of us Ents left to manage them.<\/dialogue>\n    <character>PIPPIN<\/character>\n    <dialogue>Why are there so few of you when you have lived so long? Are there Ent children?<\/dialogue>\n    <character>TREEBEARD<\/character>\n    <dialogue>Bru-ra-hroom. There have been no Entings for a terrible long count of years.<\/dialogue>\n    <character>MERRY<\/character>\n    <dialogue>Why is that?<\/dialogue>\n    <character>TREEBEARD<\/character>\n    <dialogue>We lost the Entwives.<\/dialogue>\n    <character>PIPPIN<\/character>\n    <dialogue>Oh, I'm sorry. How did they die?<\/dialogue>\n    <character>TREEBEARD<\/character>\n    <dialogue>Die? No. We lost them. And now we cannot find them. I don't suppose you've seen Entwives in the Shire?<\/dialogue>\n    <character>MERRY<\/character>\n    <parenthetical>(hesitantly)<\/parenthetical>\n    <dialogue>Can't say that I have. You, Pip?<\/dialogue>\n    <scene_description>ANGLE ON: PIPPIN stares off blankly, and then shakes his head.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>What do they look like?<\/dialogue>\n    <character>TREEBEARD<\/character>\n    <parenthetical>(sighs deeply)<\/parenthetical>\n    <dialogue>I don't remember now.<\/dialogue>\n    <scene_description>They continue their walk through the forest. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAINS OF ROHAN - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: GANDALF, ARAGORN, LEGOLAS, and GIMLI ride across the Plains. They stop on a rise looking across to EDORAS WIDE ON: The FOUR FIGURES look upon a walled city covering a small mountain. Atop its summit is MEDUSELD.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>Edoras and the Golden Hall of Meduseld. There dwells Th\u00e9oden, King of Rohan...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEDUSELD THRONE ROOM - DAY<\/stage_direction>\n    <scene_description>HIGH WIDE ON: TH\u00c9ODEN, grayed and ancient, sits upon his throne, head bowed for he is hardly able to hold it up. \u00c9OWYN kneels beside him, holding his hand comfortingly.<\/scene_description>\n    <character>GANDALF (V.O.)<\/character>\n    <dialogue>whose mind is overthrown. Saruman's hold over King Th\u00e9oden is now very strong.<\/dialogue>\n    <scene_description>CLOSE ON: \u00c9OWYN gently strokes the KING'S HAND.<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>My lord, your son...he is dead.<\/dialogue>\n    <scene_description>ANGLE ON: \u00c9OWYN looks at TH\u00c9ODEN, tearfully, when he fails to respond.<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>My lord? Uncle?<\/dialogue>\n    <scene_description>ANGLE ON: TH\u00c9ODEN stares forward a moment. His eyes are clouded, as if blind. Slowly he moves his eyes to look at her, but he remains expressionless.<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <parenthetical>(pleading)<\/parenthetical>\n    <dialogue>Will you not go to him? Will you do nothing?<\/dialogue>\n    <scene_description>TH\u00c9ODEN continues to look at her, blankly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAINS OF ROHAN - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: The THREE HUNTERS sit atop their steeds, listening to GANDALF.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>Be careful what you say. Do not look for welcome here.<\/dialogue>\n    <scene_description>GANDALF starts off. The THREE HUNTERS follow him to EDORAS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEDUSELD, TH\u00c9ODRED'S ROOM - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: TH\u00c9ODRED lies dead upon his bed. ANGLE ON: \u00c9OWYN kneels beside him, weeping. ANGLE ON: A shadow moves in the hall behind her. She pays it no mind. WORMTONGUE appears at the door. He looks upon her, concerned.<\/scene_description>\n    <character>WORMTONGUE<\/character>\n    <dialogue>Oh, he must have died sometime in the night. What a tragedy for the king to lose his only son and heir.<\/dialogue>\n    <scene_description>He sits on the bed and puts a hand on \u00c9OWYN'S shoulder.<\/scene_description>\n    <character>WORMTONGUE<\/character>\n    <dialogue>I understand. His passing is hard to accept. Especially now that your brother has deserted you.<\/dialogue>\n    <scene_description>\u00c9OWYN jumps up and throws off his hand.<\/scene_description>\n    <character>E\u00d3WYN<\/character>\n    <dialogue>Leave me alone, snake!<\/dialogue>\n    <scene_description>She backs away from him. WORMTONGUE rises and moves over to her.<\/scene_description>\n    <character>WORMTONGUE<\/character>\n    <parenthetical>(suddenly sinister)<\/parenthetical>\n    <dialogue>Oh, but you are alone. Who knows what you've spoken to the darkness in the bitter watches of the night when all your life seems to shrink. The walls of your bower closing in about you. A hutch to trammel some wild thing in.<\/dialogue>\n    <scene_description>CONTINUED: He stops in front of her and stares into her eyes. She seems transfixed by him. He puts a hand on the side of her face as he speaks.<\/scene_description>\n    <character>WORMTONGUE<\/character>\n    <dialogue>So fair, so cold. Like a morning pale spring still clinging to winter's chill.<\/dialogue>\n    <scene_description>She closes her eyes as if affected by his words. He moves his hand to her throat. CLOSE ON: She suddenly opens her eyes and looks through him. ANGLE ON: WORMTONGUE starts back away.<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <parenthetical>(angrily)<\/parenthetical>\n    <dialogue>Your words are poison.<\/dialogue>\n    <scene_description>ANGLE ON: \u00c9OWYN abruptly leaves the room. WORMTONGUE appears taken aback by the sudden change in her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MEDUSELD - DAY<\/stage_direction>\n    <scene_description>\u00c9OWYN throws open the main doors and charges outside. She walks to the brink of the porch outside the hall and looks far-off into the distance, as if hoping to find someone there. She walks impatiently from one side of the platform to the other. Far below, something catches her eye. POV: Three horses approach EDORAS. ANGLE ON: The wind tears a flag off its mast and carries it across the city.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GATES OF EDORAS - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: GANDALF, LEGOLAS, and GIMLI ride through the gate. As ARAGORN approaches, the FLAG flutters to the ground. He looks to its source as if it were a bad omen.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EDORAS - DAY<\/stage_direction>\n    <scene_description>As the Four Riders ride through EDORAS, the people eye them silently and warily, as if they come as harbingers of doom. CONTINUED: ANGLE ON: ARAGORN looks forward to MEDUSELD. POV: A LADY IN WHITE stands upon its porch, watching them.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>You'd find more cheer in a graveyard.<\/dialogue>\n    <scene_description>ANGLE ON: ARAGORN looks back to the hall... POV: The LADY has disappeared.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MEDUSELD - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: The doors of the Golden Hall open and H\u00c1MA exits, followed by a small detachment. ANGLE ON: The Four climb the steps, and H\u00c1MA meets them at the top. GANDALF leans heavily on his staff, like an old man. He looks up to H\u00c1MA and smiles.<\/scene_description>\n    <character>H\u00c1MA<\/character>\n    <dialogue>I cannot allow you before Th\u00e9oden King so armed, Gandalf Greyhame. By order of Gr\u00edma Wormtongue.<\/dialogue>\n    <scene_description>CLOSE ON: GANDALF nods to the others to surrender their weapons. ANGLES ON: Almost comically, they turn over every weapon they have: SWORDS...KNIVES...ARROWS...and AXES. CLOSE ON: H\u00c1MA signals to GANDALF.<\/scene_description>\n    <character>H\u00c1MA<\/character>\n    <dialogue>Your staff.<\/dialogue>\n    <scene_description>ANGLE ON: GANDALF glances at his staff and scoffs innocently.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>You would not part an old man from his walking stick.<\/dialogue>\n    <scene_description>He continues to look at H\u00c1MA innocently. ANGLE ON: H\u00c1MA nods, rolls his eyes, and then gestures for them to follow him. CONTINUED: ANGLE ON: GANDALF gives a wink to ARAGORN, who smiles in return. GANDALF follows H\u00c1MA into the hall, leaning on Legolas' arm as an old man might for support.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEDUSELD THRONE ROOM - DAY<\/stage_direction>\n    <scene_description>H\u00c1MA enters the hall and bows before the King. He steps aside to allow the Four to enter behind him. ANGLE ON: WORMTONGUE leans over and whispers to TH\u00c9ODEN.<\/scene_description>\n    <character>WORMTONGUE<\/character>\n    <dialogue>My lord, Gandalf the Grey is coming.<\/dialogue>\n    <scene_description>ANGLE ON: THE FOUR continue walking toward TH\u00c9ODEN. GUARDS close the doors behind them. POV: They notice several Men behind the contingency of GUARDS following them as they walk towards the King.<\/scene_description>\n    <character>WORMTONGUE<\/character>\n    <dialogue>He's a herald of woe.<\/dialogue>\n    <scene_description>ANGLE ON: LEGOLAS releases GANDALF'S ARM.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>The courtesy of your hall is somewhat lessened of late, Th\u00e9oden King.<\/dialogue>\n    <character>WORMTONGUE<\/character>\n    <parenthetical>(whispered to TH\u00c9ODEN)<\/parenthetical>\n    <dialogue>He's not welcome.<\/dialogue>\n    <character>TH\u00c9ODEN<\/character>\n    <parenthetical>(labored)<\/parenthetical>\n    <dialogue>Why should I welcome you, Gandalf Stormcrow?<\/dialogue>\n    <scene_description>He looks to WORMTONGUE for affirmation, who nods.<\/scene_description>\n    <character>WORMTONGUE<\/character>\n    <dialogue>A just question, my liege.<\/dialogue>\n    <scene_description>WORMTONGUE stands before them. He walks to meet them well in front of TH\u00c9ODEN. CONTINUED:<\/scene_description>\n    <character>WORMTONGUE<\/character>\n    <dialogue>Late is the hour in which this conjurer chooses to appear. L\u00e1thspell spell I name him. Ill news is an ill guest.<\/dialogue>\n    <character>GANDALF<\/character>\n    <dialogue>Be silent.<\/dialogue>\n    <scene_description>ANGLE ON: WORMTONGUE freezes in his tracks.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>Keep your forked tongue behind your teeth. I have not passed through fire and death to bandy crooked words with a witless worm.<\/dialogue>\n    <scene_description>He raises his staff to WORMTONGUE. WORMTONGUE back away from it.<\/scene_description>\n    <character>WORMTONGUE<\/character>\n    <dialogue>His staff.<\/dialogue>\n    <scene_description>He backs well away from GANDALF while addressing the guards, arrogantly.<\/scene_description>\n    <character>WORMTONGUE<\/character>\n    <dialogue>I told you to take the wizard's staff.<\/dialogue>\n    <scene_description>ANGLES ON: The MEN behind the lines burst through to ATTACK... ARAGORN, LEGOLAS, and GIMLI engage them in a fist-fight to keep them from GANDALF as he approaches TH\u00c9ODEN. ANGLE ON: GAMLING tries to go forward but H\u00c1MA holds him back. ANGLE ON: GANDALF reaches out to TH\u00c9ODEN.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>Th\u00e9oden, son of Thengel...<\/dialogue>\n    <scene_description>ANGLE ON: TH\u00c9ODEN reacts to GANDALF with a wicked stare.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>...too long have you sat in the shadows.<\/dialogue>\n    <scene_description>CONTINUED: (2) ANGLE ON: The THREE HUNTERS finish off the GUARDS...WORMTONGUE tries to crawl away unnoticed, but GIMLI catches him and pins him to the floor under his foot.<\/scene_description>\n    <character>GIMLI<\/character>\n    <parenthetical>(growling)<\/parenthetical>\n    <dialogue>I would stay still if I were you.<\/dialogue>\n    <scene_description>ANGLE ON: GANDALF continues approaching TH\u00c9ODEN.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>Hearken to me!<\/dialogue>\n    <scene_description>WIDE ON: The PEOPLE of the HALL approach behind GANDALF.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>I release you from the spell.<\/dialogue>\n    <scene_description>ANGLE ON: GANDALF holds out his hand and concentrates... ANGLE ON: SUDDENLY, TH\u00c9ODEN laughs, menacingly...GANDALF opens his eyes.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>You have no power here, Gandalf the Grey.<\/dialogue>\n    <scene_description>ANGLE ON: Angered, GANDALF throws back his grey cloak and spreads his hands. A blinding white light issues from him. ANGLE ON: TH\u00c9ODEN is thrown back against his seat.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>I will draw you, Saruman, as poison is drawn from a wound.<\/dialogue>\n    <scene_description>He thrusts his staff towards TH\u00c9ODEN. The force knocks TH\u00c9ODEN back in his throne. GANDALF moves in closer. ANGLE ON: \u00c9OWEN rushes in. Thinking TH\u00c9ODEN is in trouble, she tries to run to him, but ARAGORN stops her.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>Wait.<\/dialogue>\n    <scene_description>CONTINUED: (3) ANGLE ON: A new aura comes over TH\u00c9ODEN. He looks at GANDALF evilly and speaks in Saruman's voice.<\/scene_description>\n    <character>TH\u00c9ODEN\/SARUMAN<\/character>\n    <dialogue>If I go, Th\u00e9oden dies.<\/dialogue>\n    <scene_description>GANDALF thrusts his staff again and throwing TH\u00c9ODEN\/SARUMAN back again.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>You did not kill me, you will not kill him.<\/dialogue>\n    <scene_description>CLOSE ON: TH\u00c9ODEN\/SARUMAN leans forward with difficulty, hate welling in his eyes.<\/scene_description>\n    <character>TH\u00c9ODEN\/SARUMAN<\/character>\n    <parenthetical>(with difficulty)<\/parenthetical>\n    <dialogue>Rohan is mine.<\/dialogue>\n    <scene_description>TH\u00c9ODEN\/SARUMAN struggles against Gandalf's power.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>Be gone.<\/dialogue>\n    <scene_description>ANGLE ON: TH\u00c9ODEN\/SARUMAN lunges for GANDALF. GANDALF smites him, and he is thrown back into the chair. INSERT IMAGE: SARUMAN flies backwards across the floor away from the PALANT\u00cdR in ORTHANC. He slowly rises, bleeding from the wound GANDALF left in his forehead. ANGLE ON: GANDALF lets out a sigh of relief. ANGLE ON: TH\u00c9ODEN moans and falls from his throne. ARAGORN releases \u00c9OWYN. She charges across the hall to catch him before he can hit the floor. ANGLE ON: GAMLING makes to charge GANDALF, but H\u00c1MA holds him steady. CLOSE ON: \u00c9OWYN holds TH\u00c9ODEN up to look at him. His eyes clear ...his hair changes from white strands to brown splendor...his face de-ages to a more youthful King. CONTINUED: (4) ANGLE ON: \u00c9OWYN smiles, overjoyed. TH\u00c9ODEN looks about, confused, and finds \u00c9OWYN.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>I know your face.<\/dialogue>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>\u00c9owyn. \u00c9owyn.<\/dialogue>\n    <scene_description>\u00c9OWYN weeps with joy. TH\u00c9ODEN looks up and is surprised to see GANDALF standing over him.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>Gandalf?<\/dialogue>\n    <character>GANDALF<\/character>\n    <dialogue>Breathe the free air again, my friend.<\/dialogue>\n    <scene_description>TH\u00c9ODEN rises to his feet and looks over his Hall.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>Dark have been my dreams of late.<\/dialogue>\n    <scene_description>He looks down at his trembling hands.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>Your fingers would remember their old strength better if they grasped your sword.<\/dialogue>\n    <scene_description>ANGLE ON: H\u00c1MA runs to the King with his sword, HERUGRIM. TH\u00c9ODEN slowly reaches for it. CLOSE ON: TH\u00c9ODEN wraps his fingers around the hilt and then slowly draws HERUGRIM from its scabbard. ANGLE ON: WORMTONGUE trembles and tries to escape...GIMLI restrains him. ANGLE ON: TH\u00c9ODEN gazes upon the steel, feeling his strength return. CLOSE ON: TH\u00c9ODEN'S eyes DARKEN...he turns his gaze to WORMTONGUE...WORMTONGUE shudders.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MEDUSELD - DAY<\/stage_direction>\n    <scene_description>H\u00c1MA and GAMLING throw WORMTONGUE down the stairs. He lands hard on the lower stoop and groans in pain. ANGLE ON: TH\u00c9ODEN walks down the steps, holding HERUGRIM. ANGLE ON: WORMTONGUE crawls away as he speaks.<\/scene_description>\n    <character>WORMTONGUE<\/character>\n    <parenthetical>(beseechingly)<\/parenthetical>\n    <dialogue>I've only ever served you, my lord.<\/dialogue>\n    <scene_description>TH\u00c9ODEN continues his advance toward WORMTONGUE.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>Your leechcraft would have had me crawling on all fours like a beast!<\/dialogue>\n    <character>WORMTONGUE<\/character>\n    <dialogue>Send me not from your sight.<\/dialogue>\n    <scene_description>TH\u00c9ODEN raises HERUGRIM to kill WORMTONGUE. ARAGORN stops him.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>No, my lord! No, my lord. Let him go. Enough blood has been spilt on his account.<\/dialogue>\n    <scene_description>TH\u00c9ODEN looks at ARAGORN and relents. ARAGORN offers his hand to WORMTONGUE, but WORMTONGUE spits in it and scrambles to his feet. ARAGORN shakes off the spittle ANGLE ON: WORMTONGUE violently pushes his way through the CROWD OF BYSTANDERS.<\/scene_description>\n    <character>WORMTONGUE<\/character>\n    <dialogue>Get out of my way!<\/dialogue>\n    <scene_description>Those on the STEPS solemnly watch WORMTONGUE depart.<\/scene_description>\n    <character>H\u00c1MA<\/character>\n    <parenthetical>(calling out)<\/parenthetical>\n    <dialogue>Hail, Th\u00e9oden king!<\/dialogue>\n    <scene_description>WIDE ON: The crowd kneels before TH\u00c9ODEN. CONTINUED: INTERCUT WITH: WORMTONGUE charges out of the EDORAS GATE upon a horse.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MEDUSELD - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: TH\u00c9ODEN observes the crowd on its knees. He looks at ARAGORN...ARAGORN kneels before TH\u00c9ODEN...TH\u00c9ODEN turns to go back into the hall. He stops and surveys those standing on the steps.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>Where is Th\u00e9odred? Where is my son?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EDORAS - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: Two lines of SOLDIERS form a pathway within a throng of PEOPLE. Their heads are bowed low as PALL-BEARERS carry the body of TH\u00c9ODRED between them. Upon TH\u00c9ODRED'S chest is a small bundle of white flowers. ANGLE ON: TH\u00c9ODEN follows his son. ARAGORN, LEGOLAS, GIMLI, and GANDALF follow behind him. WIDE ON: The PEOPLE OF EDORAS stands closely leaving only a small pathway through the center of the city for the PALL- BEARERS to carry TH\u00c9ODRED. Cries and moans pierce the air.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TH\u00c9ODRED'S TOMB - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: \u00c9OWYN stands near the tomb's open door. ANGLE ON: The PALL-BEARERS lower TH\u00c9ODRED and pass his wicket between a path of people to the women waiting within the tomb to receive him. CONTINUED:<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <parenthetical>(singing; in OLD ENGLISH)<\/parenthetical>\n    <dialogue>Bealocwealm hafa\u00f0 fr\u00e9one frecan forth onsended giedd sculon singan gl\u00e9omenn sorgiende on Meduselde \u00fe\u00e6t he ma no w\u00e6re his dryhtne dyrest and m\u00e6ga deorost. Bealo...<\/dialogue>\n    <dialogue>An evil death has set forth the noble warrior A song shall sing sorrowing minstrels in Meduseld that he is no more, to his lord dearest and kinsmen most beloved. An evil death...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TH\u00c9ODRED'S TOMB - DAY<\/stage_direction>\n    <scene_description>CLOSE ON: The closed door of the TOMB. A SMALL WHITE FLOWER COMES INTO VIEW.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>Simbelmyn\u00eb.<\/dialogue>\n    <scene_description>ANGLE ON: TH\u00c9ODEN looks upon the flower mournfully. He releases it, and it swirls down to rest with the flowers still within the earth.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>Ever has it grown on the tombs of my forebearers.<\/dialogue>\n    <scene_description>He turns to GANDALF.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>Now it shall cover the grave of my son. Alas that these evil days should be mine. The young perish and the old linger. That I should live to see the last days of my house.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>Th\u00e9odred's death was not of your making.<\/dialogue>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>No parent should have to bury their child.<\/dialogue>\n    <scene_description>ANGLE ON: TH\u00c9ODEN breaks down, falls to his knees, and weeps.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>His was strong in life. His spirit will find its way to the halls of your fathers.<\/dialogue>\n    <scene_description>ANGLE ON: TH\u00c9ODEN continues weeping, not listening to GANDALF'S comfort.<\/scene_description>\n    <character>GANDALF<\/character>\n    <parenthetical>(in OLD ENGLISH)<\/parenthetical>\n    <dialogue>Westu h\u00e1l. Fer\u00f0u, Th\u00e9odred, Fer\u00f0u.<\/dialogue>\n    <dialogue>Be-thou well. Go-thou, Th\u00e9odred, go-thou.<\/dialogue>\n    <scene_description>WIDE ON: GANDALF turns to return to EDORAS, leaving TH\u00c9ODEN to mourn privately. ANGLE ON: Something catches GANDALF'S eyes. He stops. POV: A horse trots over the ridge, ridden by two children. It is \u00c9OTHAIN and FREDA upon GARULF. \u00c9OTHAIN falls to the ground. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEDUSELD THRONE ROOM - DAY<\/stage_direction>\n    <scene_description>ANGLES ON: \u00c9OTHAIN and FREDA sit at a table in the GREAT HALL ravenous eating. \u00c9OWYN stands and looks to TH\u00c9ODEN...TH\u00c9ODEN sits on his throne with GANDALF at his side...his head buried in his hand in deep thought.<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>The had no warning. They were unarmed. Now the Wild Men are moving through the Westfold, burning as they go.<\/dialogue>\n    <scene_description>CONTINUED: ANGLE ON: ARAGORN, LEGOLAS, and GIMLI look at each other, concerned.<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>Rick, cot and tree.<\/dialogue>\n    <character>FREDA<\/character>\n    <dialogue>Where's mama?<\/dialogue>\n    <scene_description>ANGLES ON: \u00c9OWYN turns to comfort FREDA...GANDALF turns to TH\u00c9ODEN.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>This is but a taste of the terror that Saruman will unleash. All the more potent for he is driven now by fear of Sauron. Ride out and meet him head on.<\/dialogue>\n    <scene_description>ANGLE ON: GANDALF leans forward and puts a hand on TH\u00c9ODEN'S chair...TH\u00c9ODEN looks at him warily.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>Draw him away from your women and children. You must fight.<\/dialogue>\n    <character>ARAGORN<\/character>\n    <dialogue>You have 2000 good men riding north as we speak. \u00c9omer is loyal to you. His men will return and fight for their king.<\/dialogue>\n    <scene_description>ANGLE ON: TH\u00c9ODEN gets out of his chair walks to the center of his HALL.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>They will be 300 leagues from here by now. \u00c9omer cannot help us.<\/dialogue>\n    <scene_description>ANGLE ON: GANDALF moves forward to speak, but TH\u00c9ODEN halts him.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>I know what it is that you want of me, but I will not bring further death to my people. I will not risk open war.<\/dialogue>\n    <scene_description>ANGLE ON: ARAGORN removes his pipe and leans forward to speak. CONTINUED: (2)<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>Open war is upon you, whether you would risk it or not.<\/dialogue>\n    <scene_description>ANGLES ON: \u00c9OWYN spins to look at TH\u00c9ODEN and ARAGORN...TH\u00c9ODEN turns to ARAGORN.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <parenthetical>(indignant)<\/parenthetical>\n    <dialogue>When last I looked, Th\u00e9oden, not Aragorn, was king of Rohan.<\/dialogue>\n    <character>GANDALF<\/character>\n    <dialogue>Then what is the king's decision?<\/dialogue>\n    <scene_description>CLOSE ON: TH\u00c9ODEN turns away from them, concern etched in his face. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EDORAS - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: H\u00c1MA stands in the midst of the city delivering the KING'S decision.<\/scene_description>\n    <character>H\u00c1MA<\/character>\n    <dialogue>By order of the king, the city must empty. We make for the refuge of Helm's Deep. Do not burden yourself with treasures. Take only what provisions you need.<\/dialogue>\n    <scene_description>ANGLES ON: The PEOPLE OF EDORAS gather their things together... ARAGORN, LEGOLAS, GIMLI, and GANDALF walk among them.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>Helm's Deep. They flee to the mountains when they should stand and fight.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROHIRRIM STABLES - DAY<\/stage_direction>\n    <scene_description>The FOUR enter a ROHIRRIM STABLE and continue waking past the HORSES of ROHAN. CONTINUED:<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>Who will defend them if not their king?<\/dialogue>\n    <character>ARAGORN<\/character>\n    <dialogue>He's only doing what he thinks is best for his people. Helm's Deep has saved them in the past.<\/dialogue>\n    <scene_description>ARAGORN and GANDALF approach the stable of SHADOWFAX.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>There is no way out of that ravine. Th\u00e9oden is walking into a trap. He thinks he's leading them to safety. What they will get is a massacre.<\/dialogue>\n    <scene_description>CLOSE ON: GANDALF turns to ARAGORN.<\/scene_description>\n    <character>GANDALF<\/character>\n    <parenthetical>(grim)<\/parenthetical>\n    <dialogue>Th\u00e9oden has a strong will, but I fear for him. I fear for the survival of Rohan. He will need you before the end, Aragorn. The people of Rohan will need you. The defenses have to hold.<\/dialogue>\n    <scene_description>CLOSE ON: ARAGORN holds GANDALF'S gaze resolutely.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>They will hold.<\/dialogue>\n    <scene_description>ANGLE ON: GANDALF turns from ARAGORN to SHADOWFAX. Gently, he strokes the mighty horse's coat.<\/scene_description>\n    <character>GANDALF<\/character>\n    <parenthetical>(musing)<\/parenthetical>\n    <dialogue>The Grey Pilgrim. That's what they used to call me. Three hundred lives of Men I've walked this earth, and now I have no time.<\/dialogue>\n    <scene_description>ANGLES ON: ARAGORN opens the stall door...GANDALF mounts SHADOWFAX. CONTINUED: (2)<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>With luck, my search will not be in vain. Look to my coming at first light on the fifth day. At dawn, look to the east.<\/dialogue>\n    <character>ARAGORN<\/character>\n    <parenthetical>(nodding)<\/parenthetical>\n    <dialogue>Go.<\/dialogue>\n    <scene_description>ANGLE ON: LEGOLAS and GIMLI jump out of the way as GANDALF blasts out of the stable at top speed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAINS OF ROHAN - DAY<\/stage_direction>\n    <scene_description>WIDE ON: GANDALF rides across the open plains as fast as SHADOWFAX can carry him. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROHIRRIM STABLES - DAY<\/stage_direction>\n    <scene_description>ANGLES ON: TWO SOLDIERS attempt to subdue a mighty brown stallion, BREGO, with little success...\u00c9OWYN turns to them, watching. ANGLE ON: ARAGORN enters carrying his saddle...he turns to the struggle...he puts down his saddle and walks to them.<\/scene_description>\n    <character>SOLDIER<\/character>\n    <dialogue>That horse is half mad, my lord. There's nothing you can do. Leave him.<\/dialogue>\n    <scene_description>ANGLE ON: BREGO rears and whinnies as ARAGORN comes closer.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(in OLD ENGLISH)<\/parenthetical>\n    <dialogue>F\u00e6ste, stille n\u00fa...f\u00e6ste...<\/dialogue>\n    <dialogue>Fast, be quiet now...fast...<\/dialogue>\n    <scene_description>ARAGORN signals one of the SOLDIERS to go... CONTINUED:<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(in OLD ENGLISH)<\/parenthetical>\n    <dialogue>...stille n\u00fa. Lac is drefed, gefr\u00e6gon.<\/dialogue>\n    <dialogue>...be quiet now. A battle is stirred up, they heard.<\/dialogue>\n    <scene_description>ARAGORN slowly reaches BREGO...he caresses the beast's coat... carefully, he removes the ropes detaining BREGO...he hands them to the other SOLDIER...\u00c9OWYN watches with wonder.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(in OLD ENGLISH)<\/parenthetical>\n    <dialogue>Hw\u00e6t nemna\u00f0 \u00f0e? Hm? Hw\u00e6t nemna\u00f0 \u00f0e?<\/dialogue>\n    <dialogue>What is your name? Hm? What is your name?<\/dialogue>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>His name is Brego.<\/dialogue>\n    <scene_description>ANGLE ON: ARAGORN snaps around to look at \u00c9OWYN.<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>He was my cousin's horse.<\/dialogue>\n    <character>ARAGORN<\/character>\n    <dialogue>Brego.<\/dialogue>\n    <parenthetical>(to BREGO; in OLD ENGLISH)<\/parenthetical>\n    <dialogue>\u00d0in nama is cynglic.<\/dialogue>\n    <dialogue>Your name is kingly.<\/dialogue>\n    <scene_description>CLOSE ON: \u00c9OWYN moves slowly to ARAGORN as he speaks, transfixed.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(in ELVISH)<\/parenthetical>\n    <dialogue>Man le trasta, Brego? Man cenich?<\/dialogue>\n    <dialogue>What troubles you, Brego? What did you see?<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>I have heard of the magic of Elves, but I did not look for it in a Ranger from the North. You speak as one of their own.<\/dialogue>\n    <character>ARAGORN<\/character>\n    <dialogue>I was raised in Rivendell ... for a time. Turn this fellow free. He's seen enough of war.<\/dialogue>\n    <scene_description>ARAGORN leaves BREGO with \u00c9OWYN...he retrieves his saddle and leaves. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAVERNS OF ISENGARD - NIGHT<\/stage_direction>\n    <scene_description>WIDE PAN ON: The industrial mechanics of the ORCS have taken the place of the once beautiful trees marring the landscape around ORTHANC. The ORCS work non-stop to their ends on the black ground.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALANT\u00cdR CHAMBER, ORTHANC - NIGHT<\/stage_direction>\n    <scene_description>ANGLE ON: SARUMAN paces the chamber mulling over his loss to GANDALF.<\/scene_description>\n    <character>SARUMAN<\/character>\n    <dialogue>Gandalf the White. Gandalf the Fool! Does he seek to humble me with his newfound piety?<\/dialogue>\n    <scene_description>ANGLE ON: WORMTONGUE enters slowly and moves to SARUMAN... SARUMAN stands suddenly still, a look of disgust crossing his face.<\/scene_description>\n    <character>WORMTONGUE<\/character>\n    <dialogue>There were three who followed the wizard. An Elf, a Dwarf, and a Man.<\/dialogue>\n    <scene_description>SARUMAN sniffs.<\/scene_description>\n    <character>SARUMAN<\/character>\n    <dialogue>You stink of horse.<\/dialogue>\n    <scene_description>WORMTONGUE shrinks back and walks away... CONTINUED:<\/scene_description>\n    <character>SARUMAN<\/character>\n    <dialogue>The Man...<\/dialogue>\n    <parenthetical>(turns to Wormtongue)<\/parenthetical>\n    <dialogue>...was he from Gondor?<\/dialogue>\n    <character>WORMTONGUE<\/character>\n    <dialogue>No, from the North. One of the D\u00fanedain Rangers, I thought he was.<\/dialogue>\n    <scene_description>CLOSE ON: SARUMAN suddenly shows much interest.<\/scene_description>\n    <character>WORMTONGUE<\/character>\n    <dialogue>His cloth was poor. And yet he bore a strange ring. Two serpents with emerald eyes. One devouring, the other crowned with golden flowers.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTE-CHAMBER, ORTHANC - NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON: A BOOK opens to a page showing a picture of the very ring WORMTONGUE described. ANGLE ON: SARUMAN sits back in his chair...WORMTONGUE stands behind him at the door.<\/scene_description>\n    <character>SARUMAN<\/character>\n    <dialogue>The Ring of Barahir. So Gandalf Greyhame thinks he has found Isildur's heir. The lost king of Gondor. He is a fool. The line was broken years ago.<\/dialogue>\n    <scene_description>CLOSE ON: SARUMAN closes his book and pushes it aside.<\/scene_description>\n    <character>SARUMAN<\/character>\n    <dialogue>It matters not. The world of Men shall fall. It will begin at Edoras.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EDORAS MAIN GATE - DAY<\/stage_direction>\n    <scene_description>WIDE ON: The ROHIRRIM begin to pour out of their city by the hundreds, carrying what they can...A solid line of people stretches across the Plains of Rohan.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TH\u00c9ODEN'S ROOM, MEDUSELD - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: TH\u00c9ODEN prepares himself...GAMLING stands ready behind him.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>I am ready, Gamling. Bring my horse.<\/dialogue>\n    <scene_description>GAMLING bows and walks to the door, silently, shoulders slumped...<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>This is not a defeat.<\/dialogue>\n    <scene_description>GAMLING turns to him...<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>We will return.<\/dialogue>\n    <scene_description>GAMLING bows to him and exits.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>We will return.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEDUSELD THRONE ROOM - DAY<\/stage_direction>\n    <scene_description>ROHIRRIM gather things from the Great Hall and carry it out. ANGLE ON: \u00c9OWYN opens a chest and pulls out a sheathed sword... she unsheathes it and holds it before her, running her hand down the flat side of the blade, smiling...deliberately, she practices her swing. POV: Someone approaches from behind...she swings it behind her! ANGLE ON: ARAGORN meets her swing with his DAGGER. \u00c9OWYN'S face does not soften at his gaze.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>You have some skill with a blade.<\/dialogue>\n    <scene_description>With a swift move, \u00c9OWYN swings her sword, throwing ARAGORN'S arm and knife to one side, rendering him vulnerable and gaining the upper hand... He lowers his weapon...she does likewise and steps away. CONTINUED:<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>Women of this country learned long ago: those without swords may still die upon them. I fear neither death nor pain.<\/dialogue>\n    <scene_description>ANGLE ON: \u00c9OWYN re-sheathes the sword...she replaces it in the chest.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>What do you fear, my lady?<\/dialogue>\n    <scene_description>CLOSE ON: She freezes for a moment...she turns to him.<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <parenthetical>(gravely)<\/parenthetical>\n    <dialogue>A cage. To stay behind bars until use and old age accept them. And all chance of valor has gone beyond recall or desire.<\/dialogue>\n    <scene_description>CLOSE ON: ARAGORN shakes his head in wonder.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>You're a daughter of kings, a shieldmaiden of Rohan.<\/dialogue>\n    <scene_description>ANGLE ON: ARAGORN sheathes his knife...he continues to look at her.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>I do not think that will be your fate.<\/dialogue>\n    <scene_description>CLOSE ON: \u00c9OWYN gazes at him, unable to respond. ANGLE ON: He bows and exits.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELDS OF ROHAN - DAY<\/stage_direction>\n    <scene_description>WIDE ON: TH\u00c9ODEN, ARAGORN, LEGOLAS, and GIMLI ride at the forefront of the people leaving EDORAS. CLOSE ON: TH\u00c9ODEN pauses atop the first rise to gaze back upon his city. ANGLE ON: The ROHIRRIM walk single file out of their city, following him, carrying only what they need. CONTINUED: AERIAL ON: The ROHIRRIM speckle the landscape of ROHAN in a single line leading from EDORAS.<\/scene_description>\n    <character>WORMTONGUE (V.O.)<\/character>\n    <dialogue>Th\u00e9oden will not stay at Edoras.<\/dialogue>\n    <scene_description>INTERCUT WITH: SARUMAN patiently listens to WORMTONGUE in ORTHANC.<\/scene_description>\n    <character>WORMTONGUE<\/character>\n    <dialogue>It's vulnerable. He knows this. He will expect an attack on the city. They will flee to Helm's Deep, the great fortress of Rohan.<\/dialogue>\n    <scene_description>ANGLES ON: The ROHIRRIM make their way towards the mountains where HELM'S DEEP lies...some falter...some ride in carts...ever so slowly, they draw closer to their destination.<\/scene_description>\n    <character>WORMTONGUE (V.O.)<\/character>\n    <dialogue>It is a dangerous road to take through the mountains. They will be slow.<\/dialogue>\n    <scene_description>INSERT IMAGE: WORMTONGUE speaks to SARUMAN in ORTHANC.<\/scene_description>\n    <character>WORMTONGUE<\/character>\n    <dialogue>They will have women and children with them.<\/dialogue>\n    <scene_description>CLOSE ON: SARUMAN'S eyebrows rise in response and a grin crosses his face. Opportunity!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAVERNS OF ISENGARD - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: SARUMAN makes haste to an ORC COMMANDER within the caverns.<\/scene_description>\n    <character>SARUMAN<\/character>\n    <dialogue>Send out your Warg-riders.<\/dialogue>\n    <scene_description>ANGLE ON: The ORC COMMANDER sits above a pit...shadows of fierce creatures dance on the walls, alit by fire, growling impatiently. CLOSE ON: The ORC COMMANDER smiles and nods with pleasure. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ITHILIEN - DAY<\/stage_direction>\n    <scene_description>WIDE ON: GOLLUM watches the water silently... SUDDENLY, he thrusts in...loses his balance...and falls wholly into the stream...a fish, his prize, flies out of the water... GOLLUM grasps at it desperately causing him to slide downstream. ANGLE ON: FRODO and SAM come over the rise behind him.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Hey, stinker, don't go getting too far ahead!<\/dialogue>\n    <character>FRODO<\/character>\n    <dialogue>Why do you do that?<\/dialogue>\n    <scene_description>SAM stops and turns to FRODO.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>FRODO<\/character>\n    <dialogue>Call him names. Run him down all the time.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Because. Because that's what he is, Mr. Frodo. There's naught left in him but lies and deceit. It's the Ring he wants. It's all he cares about.<\/dialogue>\n    <character>FRODO<\/character>\n    <parenthetical>(angrily)<\/parenthetical>\n    <dialogue>You have no idea what it did to him... what it's still doing to him.<\/dialogue>\n    <scene_description>He pushes past SAM and stops.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>I want to help him, Sam.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Why?<\/dialogue>\n    <scene_description>POV: GOLLUM looks about for the fish...slowly, he realises it is lost...he looks up at FRODO and smiles. CONTINUED: ANGLE ON: FRODO'S eyes dart to the side away from GOLLUM, worried.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Because I have to believe he can come back.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You can't save him, Mr. Frodo.<\/dialogue>\n    <character>FRODO<\/character>\n    <parenthetical>(spinning to SAM; angrily)<\/parenthetical>\n    <dialogue>What do you know about it? Nothing!<\/dialogue>\n    <scene_description>SAM is taken aback. Slowly, he walks past FRODO. FRODO turns to him.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>I'm sorry, Sam. I don't know why I said that.<\/dialogue>\n    <scene_description>SAM turns back to FRODO.<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>(gently)<\/parenthetical>\n    <dialogue>I do. It's the Ring. You can't take your eyes off it! I've seen you. You're not eating. You barely sleep. It's taken hold of you, Mr. Frodo. You have to fight it.<\/dialogue>\n    <scene_description>CLOSE ON: FRODO'S eyes flare again...<\/scene_description>\n    <character>FRODO<\/character>\n    <parenthetical>(angrily)<\/parenthetical>\n    <dialogue>I know what I have to do Sam. The Ring was entrusted to me. It's my task. Mine! My own!<\/dialogue>\n    <scene_description>FRODO storms away. SAM turns to him, shocked.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Can't you hear yourself? Don't you know who you sound like?<\/dialogue>\n    <scene_description>FRODO continues walking without turning back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ITHILIEN - NIGHT<\/stage_direction>\n    <scene_description>SAM and FRODO sleep. CLOSE ON: FRODO clutches the RING in his hand.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>We wants it. We needs it.<\/dialogue>\n    <scene_description>ANGLE ON: GOLLUM watches them from a distance...hatred is etched across his face.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>Must have the precious. They stole it from us. Sneaky little Hobbitses. Wicked. Tricksy. False.<\/dialogue>\n    <scene_description>Suddenly, his expression softens, and he shakes his head. His eyes grow wide, as if looking at his GOLLUM half.<\/scene_description>\n    <character>SM\u00c9AGOL<\/character>\n    <dialogue>No. Not Master.<\/dialogue>\n    <scene_description>His expression turns to hate again. His head turns as if responding to the SM\u00c9AGOL half.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>Yes, precious. False. They will cheat you, hurt you, lie!<\/dialogue>\n    <character>SM\u00c9AGOL<\/character>\n    <dialogue>Master's my friend.<\/dialogue>\n    <character>GOLLUM<\/character>\n    <parenthetical>(taunting)<\/parenthetical>\n    <dialogue>You don't have any friends. Nobody likes you.<\/dialogue>\n    <character>SM\u00c9AGOL<\/character>\n    <dialogue>Not listening. I'm not listening.<\/dialogue>\n    <character>GOLLUM<\/character>\n    <dialogue>You're a liar and a thief.<\/dialogue>\n    <character>SM\u00c9AGOL<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>Murderer.<\/dialogue>\n    <scene_description>SM\u00c9AGOL sniffles.<\/scene_description>\n    <character>SM\u00c9AGOL<\/character>\n    <dialogue>Go away.<\/dialogue>\n    <character>GOLLUM<\/character>\n    <dialogue>Go away?<\/dialogue>\n    <scene_description>GOLLUM laughs at the very notion. SM\u00c9AGOL acts as if the exchange stresses him. He holds his head and speaks in a small voice.<\/scene_description>\n    <character>SM\u00c9AGOL<\/character>\n    <dialogue>I hate you. I hate you.<\/dialogue>\n    <character>GOLLUM<\/character>\n    <parenthetical>(fiercely)<\/parenthetical>\n    <dialogue>Where would you be without me?<\/dialogue>\n    <parenthetical>(coughing)<\/parenthetical>\n    <dialogue>Gollum. Gollum. I saved us. It was me. We survived because of me.<\/dialogue>\n    <scene_description>SM\u00c9AGOL raises his head and looks at GOLLUM.<\/scene_description>\n    <character>SM\u00c9AGOL<\/character>\n    <dialogue>Not anymore.<\/dialogue>\n    <character>GOLLUM<\/character>\n    <parenthetical>(startled)<\/parenthetical>\n    <dialogue>What did you say?<\/dialogue>\n    <character>SM\u00c9AGOL<\/character>\n    <parenthetical>(with building confidence)<\/parenthetical>\n    <dialogue>Master looks after us now. We don't need you.<\/dialogue>\n    <character>GOLLUM<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SM\u00c9AGOL<\/character>\n    <dialogue>Leave now and never come back.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>SM\u00c9AGOL<\/character>\n    <dialogue>Leave now and never come back.<\/dialogue>\n    <scene_description>GOLLUM growls and bares his teeth.<\/scene_description>\n    <character>SM\u00c9AGOL<\/character>\n    <parenthetical>(resolutely)<\/parenthetical>\n    <dialogue>Leave now and never come back!<\/dialogue>\n    <scene_description>SM\u00c9AGOL looks scared for a moment. GOLLUM does not respond. He looks around quickly, desperately. A smile breaks on his face.<\/scene_description>\n    <character>SM\u00c9AGOL<\/character>\n    <dialogue>We told him to go away. And away he goes, precious.<\/dialogue>\n    <scene_description>He leaps from where he was sitting and dances about.<\/scene_description>\n    <character>SM\u00c9AGOL<\/character>\n    <parenthetical>(singing)<\/parenthetical>\n    <dialogue>Gone! Gone! Gone! Sm\u00e9agol is free!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ITHILIEN - DAY<\/stage_direction>\n    <scene_description>FRODO rests against a rock. SAM stands off, looking into the distance. GOLLUM suddenly runs up clutching TWO CONEYS in his mouth. He spits them onto FRODO'S lap. CLOSE ON: FRODO jumps, startled.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>Look. Look. See what Sm\u00e9agol finds?<\/dialogue>\n    <scene_description>ANGLES ON: GOLLUM smiles deliriously, and then jumps around laughing proudly...FRODO smiles at GOLLUM and looks over to SAM...SAM is not so amused...GOLLUM raises a triumphant fist to conclude his happy little dance. He picks up one of the CONEYS.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>They are young.<\/dialogue>\n    <scene_description>CONTINUED: He snaps the Coney's back. FRODO cringes, disgusted with this particular display.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>They are tender. They are nice. Yes, they are. Eat them. Eat them!<\/dialogue>\n    <scene_description>ANGLES ON: Disgusted, SAM walks over to GOLLUM...GOLLUM digs his teeth into his CONEY ripping a large chunk of raw meat out of it.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>You'll make him sick, you will...<\/dialogue>\n    <scene_description>SAM snatches the CONEY from GOLLUM'S hands, tossing him to one side.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>...behaving like that!<\/dialogue>\n    <scene_description>SAM holds up the CONEYS.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>There's only one way to eat a brace of coneys.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ITHILIEN CAMPSITE- DAY<\/stage_direction>\n    <scene_description>CLOSE ON: A pot of stew simmers over a fire...GOLLUM screams, horrified. ANGLES ON: SAM stirs it and adds herbs to the mix...GOLLUM looks into the pot.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>What's he doing? Stupid, fat Hobbit. It ruins it.<\/dialogue>\n    <scene_description>CLOSE ON: SAM looks at GOLLUM, offended. He returns to stirring.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>What's to ruin? There's hardly any meat on them.<\/dialogue>\n    <scene_description>CONTINUED: ON THE SOUNDTRACK: A faint bird-call rings across the camp. CLOSE ON: FRODO turns to find its source. ANGLE ON: SAM continues stirring the stew, ignoring GOLLUM.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>What we need is a few good taters.<\/dialogue>\n    <character>GOLLUM<\/character>\n    <parenthetical>(spinning to SAM, worried)<\/parenthetical>\n    <dialogue>What's taters, precious? What's taters? Eh?<\/dialogue>\n    <scene_description>ANGLE ON: The calling sound continues...FRODO starts walking, searching for its source.<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>(impatiently)<\/parenthetical>\n    <dialogue>Po-ta-toes. Boil them, mash them, stick them in a stew. Lovely big golden chips with a nice piece of fried fish.<\/dialogue>\n    <scene_description>GOLLUM spits at the very thought. SAM looks to him, proud of his imagery.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Even you couldn't say no to that.<\/dialogue>\n    <character>GOLLUM<\/character>\n    <parenthetical>(indignant)<\/parenthetical>\n    <dialogue>Oh, yes, we could. Spoil a nice fish.<\/dialogue>\n    <scene_description>He scrambles up close to SAM.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>Give it to us raw and wriggling. You keep nasty chips.<\/dialogue>\n    <scene_description>ANGLE ON: SAM brings up the ladle to have a taste of his stew...GOLLUM hops away. SAM shakes his head.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>You're hopeless.<\/dialogue>\n    <scene_description>He sips the stew.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ITHILIEN FOREST - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: FRODO walks through the woods, still searching. The sound ensues again. FRODO looks in that direction and continues towards it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ITHILIEN CAMPSITE - DAY<\/stage_direction>\n    <scene_description>SAM brings down his ladle and looks about.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Mr. Frodo?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EDGE OF ITHILIEN - DAY<\/stage_direction>\n    <scene_description>FRODO crawls to the edge of an overlook. HIGH WIDE ON: A HARADRIM ARMY marches across the land below him. ANGLE ON: SAM and GOLLUM come up behind him.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Who are they?<\/dialogue>\n    <character>GOLLUM<\/character>\n    <dialogue>Wicked Men. Servants of Sauron. They are called to Mordor. The Dark One is gathering all armies to him. It won't be long now. He will soon be ready.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Ready to do what?<\/dialogue>\n    <character>GOLLUM<\/character>\n    <dialogue>To make his war. The last war that will cover all the world in Shadow.<\/dialogue>\n    <character>FRODO<\/character>\n    <dialogue>We've got to get moving. Come on, Sam.<\/dialogue>\n    <scene_description>FRODO starts to leave...SUDDENLY, SAM grabs Frodo's arm, entranced with the sight.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Mr. Frodo. Look. It's an oliphaunt.<\/dialogue>\n    <scene_description>CONTINUED: WIDE ON: GIGANTIC MAM\u00dbKIL CARRYING SOLDIERS AND SUPPLIES ON THEIR BACKS! These creatures look like elephants, but stand at least 7 men tall. They tower over the formations of soldiers below them. CLOSE ON: SAM looks upon them with rapture.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>No one at home will believe this.<\/dialogue>\n    <scene_description>CLOSE ON: FRODO looks at SAM and smiles. They both gaze in wonder at the enormous creatures. ON THE SOUNDTRACK: The call sounds again. ANGLE ON: All THREE of them look about, warily...GOLLUM slips off...FRODO looks after him.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Sm\u00e9agol?<\/dialogue>\n    <scene_description>WIDE ON: SUDDENLY, PANDEMONIUM ENSUES; THE ARMY IS BEING AMBUSHED! The MAM\u00dbKIL react to the onslaught...they throw MEN from their backs, who fall to their deaths. ANGLES ON: Cloaked ARCHERS fire deadly arrows...the SOLDIERS fall one by one. CLOSE ON: One of the ARCHERS, FARAMIR, runs to the forefront to survey the battle. ANGLE ON: One of the MAM\u00dbKIL starts trumpeting and stomping towards FRODO and SAM, swinging his huge trunk and tusks, throwing MEN from his back. ANGLE ON: FRODO and SAM back away from he overlook in fear. CLOSE ON: FARAMIR nocks an arrow and fires at the MAM\u00dbKIL'S DRIVER. ANGLE ON: The SOLDIER falls from the MAM\u00dbKIL and lands right behind FRODO and SAM, dead. The MAM\u00dbKIL tromps off in another direction. ANGLE ON: FRODO and SAM backs away from the edge and look behind them. CONTINUED: (2)<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>We've lingered here too long.<\/dialogue>\n    <scene_description>ANGLE ON: FRODO begins to run off, when he notices SAM is still watching the battle.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Come on, Sam.<\/dialogue>\n    <scene_description>ANGLES ON: FRODO turns and runs right into a GONDORIAN RANGER, who grabs hold of him...SAM draws his weapon and charges the RANGER, but another comes out of the trees and knocks him onto his back...the RANGER with FRODO lifts him briefly and tosses him to the ground. CLOSE ON: A RANGER holds his sword to Sam's neck, pinning him. ANGLE ON: FRODO desperately tries to escape, but the RANGERS detain him.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Wait! We're innocent travelers!<\/dialogue>\n    <scene_description>FARAMIR appears to challenge SAM.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>There are no travelers in this land. Only servants of the Dark Tower.<\/dialogue>\n    <scene_description>FARAMIR walks past them to lead on.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>We are bound to an errand of secrecy.<\/dialogue>\n    <scene_description>FARAMIR stops and turns to him.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Those that claim to oppose the enemy would do well not to hinder us.<\/dialogue>\n    <character>FARAMIR<\/character>\n    <dialogue>The enemy?<\/dialogue>\n    <scene_description>FARAMIR turns to the fallen SOLDIER. CONTINUED: (3)<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>His sense of duty was no less than yours, I deem.<\/dialogue>\n    <scene_description>CLOSE ON: FARAMIR rolls the SOLDIER over with his foot and looks upon his dead face.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>You wonder what his name is, where he came from. And if he was really evil at heart. What lies or threats led him on this long march from home. If he would not rather have stayed there...in peace.<\/dialogue>\n    <scene_description>He breaks from his reflection and turns back to FRODO.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>War will make corpses of us all. Bind their hands.<\/dialogue>\n    <scene_description>ANGLES ON: FRODO makes a final fruitless effort to escape, but to no avail...SAM is violently lifted from the ground. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAINS OF ROHAN - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: GIMLI rides atop a horse, led by \u00c9OWYN, among the throng of traveling ROHIRRIM.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>It's true you don't see many Dwarf women. And in fact, they are so alike in voice and appearance, that they're often mistaken for Dwarf Men.<\/dialogue>\n    <scene_description>ANGLE ON: \u00c9OWYN smiles and looks back at ARAGORN.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(gestures and whispers)<\/parenthetical>\n    <dialogue>It's the beards.<\/dialogue>\n    <scene_description>\u00c9OWYN smiles and shushes him. CONTINUED:<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>And this, in turn, has given rise to the belief that there are no Dwarf women, and that Dwarves just spring out of holes in the ground...<\/dialogue>\n    <scene_description>\u00c9OWYN laughs. GIMLI joins her and continues.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>...which is of course ridiculous.<\/dialogue>\n    <scene_description>The horse suddenly rears up. \u00c9OWYN loses her hold on the reins. ANGLES ON: The horse gallops through the throng, throwing GIMLI to the dirt...\u00c9OWYN rushes forward to GIMLI who struggles to get up like a turtle on its back.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>It's all right. Nobody panic. That was deliberate. It was deliberate.<\/dialogue>\n    <scene_description>\u00c9OWYN helps GIMLI to his feet. ANGLE ON: TH\u00c9ODEN and ARAGORN, riding side by side, laugh at the sight...TH\u00c9ODEN glances at ARAGORN.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>I haven't seen my niece smile for a long time. She was a girl when they brought her father back dead. Cut down by Orcs. She watched her mother succumb to grief.<\/dialogue>\n    <scene_description>ANGLE ON: ARAGORN'S expression turns dark and mournful...he looks to \u00c9OWYN. POV: \u00c9OWYN laughs and looks to him as she brushes GIMLI off. ANGLE ON: ARAGORN looks back to TH\u00c9ODEN.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>Then she was left alone, to tend her king in growing fear. Doomed to wait upon an old man who should have loved her as a father.<\/dialogue>\n    <scene_description>CONTINUED: (2) CLOSE ON: \u00c9OWYN looks back at ARAGORN with the sun behind her and the wind in her hair, smiling at him. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAINS OF ROHAN - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: \u00c9OWYN walks through a makeshift ROHIRRIM camp, carrying a pot of stew...she sees GIMLI and offers him some.<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>Gimli.<\/dialogue>\n    <character>GIMLI<\/character>\n    <dialogue>No, I couldn't. I really couldn't.<\/dialogue>\n    <scene_description>GIMLI walks away. \u00c9OWYN continues walking until she comes upon ARAGORN. He looks up at her approach.<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>I made some stew. It isn't much, but it's hot.<\/dialogue>\n    <scene_description>She draws him a bowl, and he takes it. She hands him a spoon.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>CLOSE ON: He dips the spoon in the bowl and fishes for a bite of meat. Immediately upon putting the morsel into his mouth, he freezes...his face registers the distaste of this morsel... meekly, he looks up to \u00c9OWYN...he swallows hard, and nods with the word \"Yuck\" written all over his face.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>It's good.<\/dialogue>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>Really?<\/dialogue>\n    <scene_description>She begins to walk away. CONTINUED: ANGLE ON: SUBTLY, ARAGORN tips the bowl to pour out the distasteful mixture...\u00c9OWYN turns suddenly...ARAGORN tries to catch himself, but ends up soaking his arms in the steaming brew.<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>My uncle told me a strange thing. He said that you rode to war with Thengel, my grandfather. But he must be mistaken.<\/dialogue>\n    <character>ARAGORN<\/character>\n    <dialogue>King Th\u00e9oden has a good memory. He was only a small child at the time.<\/dialogue>\n    <scene_description>ANGLE ON: \u00c9OWYN kneels down to him, shocked.<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>Then you must be at least 60.<\/dialogue>\n    <scene_description>CLOSE ON: He chuckles uncomfortably, and looks away.<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>Seventy?<\/dialogue>\n    <scene_description>ARAGORN looks down and still doesn't respond.<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>But you cannot be 80!<\/dialogue>\n    <scene_description>He looks at her calmly, and smiles.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>Eighty-seven.<\/dialogue>\n    <scene_description>CLOSE ON: \u00c9OWYN'S jaw DROPS...she stands, momentarily speechless.<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>You are one of the D\u00fanedain.<\/dialogue>\n    <scene_description>ANGLE ON: ARAGORN nods, humbly.<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>A descendant of N\u00famenor, blessed with long life. It was said that your race had passed into legend.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>There are few of us left. The Northern Kingdom was destroyed long ago.<\/dialogue>\n    <scene_description>ARAGORN looks down, sadly.<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>Please, eat.<\/dialogue>\n    <scene_description>She continues to stand by him, giving him little choice but to eat the distasteful mess he was given. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMPSITE, PLAINS OF ROHAN - NIGHT<\/stage_direction>\n    <scene_description>ARAGORN sits silently, smoking a pipe. His eyes stare off into the distance ... his mind elsewhere.<\/scene_description>\n    <character>ARWEN (V.O.)<\/character>\n    <dialogue>The light of the Evenstar does not wax and wane. It is mine to give to whom I will. Like my heart.<\/dialogue>\n    <scene_description>Slowly, ARAGORN'S pipe lowers along with his head.<\/scene_description>\n    <character>ARWEN (V.O.)<\/character>\n    <dialogue>Go to sleep...<\/dialogue>\n    <scene_description>CROSSFADE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARWEN'S ROOM, RIVENDELL - DAY - FLASHBACK<\/stage_direction>\n    <scene_description>ANGLE ON: ARAGORN lies on a chaise, eyes closed.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>I am asleep.<\/dialogue>\n    <scene_description>Slowly, his eyes open. He glances upward and smiles. ANGLE ON: ARWEN stands above him, smiling back at him.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>This is a dream.<\/dialogue>\n    <scene_description>CONTINUED: ARWEN bends down to kiss him.<\/scene_description>\n    <character>ARWEN<\/character>\n    <dialogue>Then it is a good dream.<\/dialogue>\n    <scene_description>They kiss lightly...ARAGORN relishes the touch of her skin again...ARWEN pulls back and strokes his cheek.<\/scene_description>\n    <character>ARWEN<\/character>\n    <parenthetical>(whisper)<\/parenthetical>\n    <dialogue>Sleep.<\/dialogue>\n    <scene_description>She runs her fingers over his eyes to close them, and kisses him...ARAGORN appears at peace...ARWEN stands, and then walks to a doorway that overlooks RIVENDELL...ARAGORN opens his eyes. He turns his head to look at her.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>Min l\u00fb pennich nin i aur hen telitha.<\/dialogue>\n    <dialogue>You told me once that this day would come.<\/dialogue>\n    <scene_description>ANGLE ON: ARWEN looks to him sadly.<\/scene_description>\n    <character>ARWEN<\/character>\n    <parenthetical>(in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>\u00da i vethed... n\u00e2 i onnad. Boe bedich go Frodo. Han b\u00e2d l\u00een.<\/dialogue>\n    <dialogue>This is not the end... it is the beginning. You must go with Frodo. That is your path.<\/dialogue>\n    <scene_description>ANGLE ON: ARAGORN stands and walks to ARWEN...he takes her in his arms, and stares off into the distance.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>Dolen i v\u00e2d o nin.<\/dialogue>\n    <dialogue>My path is hidden from me.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>ARWEN<\/character>\n    <parenthetical>(reassuringly; in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>Si peliannen i v\u00e2d na dail l\u00een. Si boe \u00fa-dhannathach.<\/dialogue>\n    <dialogue>It is already laid before your feet. You cannot falter now.<\/dialogue>\n    <character>ARAGORN<\/character>\n    <dialogue>Arwen...<\/dialogue>\n    <scene_description>CLOSE ON: ARWEN places her fingers on his lips, silencing his fears and doubts...she runs her fingers down his chin...<\/scene_description>\n    <character>ARWEN<\/character>\n    <parenthetical>(in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>Ae \u00fa-esteliach nad...<\/dialogue>\n    <dialogue>If you trust nothing else...<\/dialogue>\n    <scene_description>...to rest on the EVENSTAR PENDANT around his neck.<\/scene_description>\n    <character>ARWEN<\/character>\n    <parenthetical>(in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>...estelio han. Estelio ammen.<\/dialogue>\n    <dialogue>...trust this. Trust us.<\/dialogue>\n    <scene_description>ARAGORN takes her hand in his... ANGLE ON: They kiss passionately in the gleaming sunlight of the RIVENDELL morning. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAINS OF ROHAN - DAY<\/stage_direction>\n    <scene_description>CLOSE ON: THE EVENSTAR PENDANT around ARAGORN'S neck. ANGLE ON: ARAGORN leads his horse to Helm's Deep, distracted by the memory of ARWEN.<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>Where is she?<\/dialogue>\n    <scene_description>ARAGORN turns. CONTINUED: CLOSE ON: \u00c9OWYN looks at him nervously.<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>The woman who gave you that jewel.<\/dialogue>\n    <scene_description>CLOSE ON: ARAGORN says nothing and continues walking. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVENDELL - DAY - FLASHBACK<\/stage_direction>\n    <scene_description>ELROND stands before ARAGORN.<\/scene_description>\n    <character>ELROND<\/character>\n    <parenthetical>(beseeching)<\/parenthetical>\n    <dialogue>Our time here is ending. Arwen's time is ending. Let her go. Let her take the ship into the west. Let her bear away her love for you to the Undying Lands. There it will be ever green.<\/dialogue>\n    <character>ARAGORN<\/character>\n    <dialogue>But never more than memory.<\/dialogue>\n    <character>ELROND<\/character>\n    <dialogue>I will not leave my daughter here to die.<\/dialogue>\n    <character>ARAGORN<\/character>\n    <dialogue>She stays because she still has hope.<\/dialogue>\n    <character>ELROND<\/character>\n    <dialogue>She stays for you. She belongs with her people.<\/dialogue>\n    <scene_description>ARAGORN leaves ELROND without another word. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVENDELL - DAY - FLASHBACK<\/stage_direction>\n    <scene_description>ANGLE ON: ARAGORN walks down the stairs to join the FELLOWSHIP at the RIVENDELL GATE. He checks his weapons and garments in preparation as he walks...ARWEN emerges from behind a pillar. CONTINUED:<\/scene_description>\n    <character>ARWEN<\/character>\n    <parenthetical>(in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>Nach gwannatha sin?<\/dialogue>\n    <dialogue>Is this how you would take your leave?<\/dialogue>\n    <scene_description>ARAGORN pauses and turns to her...he continues walking...she follows.<\/scene_description>\n    <character>ARWEN<\/character>\n    <parenthetical>(in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>Ma nathach hi gwannathach or minuial archened?<\/dialogue>\n    <dialogue>Did you think you could slip away at first light - unnoticed?<\/dialogue>\n    <scene_description>ARWEN finally stands in front of him, forcing him to stop.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>\u00da-ethelithon.<\/dialogue>\n    <dialogue>I will not be coming back.<\/dialogue>\n    <scene_description>He tries to walk past her.<\/scene_description>\n    <character>ARWEN<\/character>\n    <parenthetical>(in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>Estelio guru l\u00een ne dagor. Ethelithach.<\/dialogue>\n    <dialogue>You underestimate your skill in battle. You will come back.<\/dialogue>\n    <character>ARAGORN<\/character>\n    <parenthetical>(in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>\u00da-bedin o gurth ne dagor.<\/dialogue>\n    <dialogue>It is not of death in battle that I speak.<\/dialogue>\n    <scene_description>ARWEN gently grabs his arm, and stands before him again...he stops, trying not to meet her gaze. CONTINUED: (2)<\/scene_description>\n    <character>ARWEN<\/character>\n    <parenthetical>(in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>O man pedich?<\/dialogue>\n    <dialogue>What do you speak of?<\/dialogue>\n    <scene_description>ARAGORN looks at the ground momentarily, then into her eyes.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(with difficulty; in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>Idhren emmen menna gui ethwel. Hae o auth...a n\u00eer...a naeth.<\/dialogue>\n    <dialogue>You have a chance for another life. Away from war...grief...despair.<\/dialogue>\n    <scene_description>CLOSE ON: ARWEN is mortified.<\/scene_description>\n    <character>ARWEN<\/character>\n    <dialogue>Why are you saying this?<\/dialogue>\n    <character>ARAGORN<\/character>\n    <parenthetical>(gently)<\/parenthetical>\n    <dialogue>I am mortal. You are Elf-kind. It was a dream, Arwen. Nothing more.<\/dialogue>\n    <character>ARWEN<\/character>\n    <parenthetical>(shaking her head)<\/parenthetical>\n    <dialogue>I don't believe you.<\/dialogue>\n    <scene_description>ANGLES ON: He takes ARWEN'S hand and turns it open...she looks down....he opens his hand to reveal the EVENSTAR PENDANT...he looks back to her.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>This belongs to you.<\/dialogue>\n    <scene_description>CLOSE ON: ARWEN looks at ARAGORN with all the composure she can muster.<\/scene_description>\n    <character>ARWEN<\/character>\n    <dialogue>It was a gift.<\/dialogue>\n    <scene_description>CLOSE ON: She closes his hand around the PENDANT.<\/scene_description>\n    <character>ARWEN<\/character>\n    <dialogue>Keep it.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAINS OF ROHAN - DAY<\/stage_direction>\n    <scene_description>CLOSE ON: ARAGORN continues to gaze off, flooded with the painful memory of his departure from ARWEN...\u00c9OWYN endeavors to break his musing.<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>My lord?<\/dialogue>\n    <scene_description>ANGLE ON: ARAGORN looks at \u00c9OWYN to give up his story.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(pained)<\/parenthetical>\n    <dialogue>She is sailing to the Undying Lands with all that is left of her kin.<\/dialogue>\n    <scene_description>ANGLE ON: \u00c9OWYN turns quickly away from him, digesting this. ANGLE ON: GAMLING and H\u00c1MA ride through the crowds to scout ahead. WIDE ON: They ride over the ridge, distracting LEGOLAS, who is watching the horizon as they pass. ANGLE ON: They reach a tall formation of rocks...their HORSES become uneasy.<\/scene_description>\n    <character>GAMLING<\/character>\n    <dialogue>What is it? H\u00e1ma?<\/dialogue>\n    <character>H\u00c1MA<\/character>\n    <dialogue>I'm not sure.<\/dialogue>\n    <scene_description>LOW ANGLE ON: High atop the rocks, a ORC WARG RIDER watches them...SUDDENLY, THE WARG RIDER CHARGES DOWN THE ROCK FACE AND ATTACKS H\u00c1MA! H\u00c1MA is knocked from his steed to the ground. He rolls over as the WARG bears down upon him. ANGLE ON: ARAGORN and \u00c9OWYN look up to hear H\u00c1MA'S cries... GAMLING draws his sword.<\/scene_description>\n    <character>GAMLING<\/character>\n    <parenthetical>(yelling)<\/parenthetical>\n    <dialogue>Wargs!<\/dialogue>\n    <scene_description>ANGLE ON: The WARG throws H\u00c1MA away, and turns to GAMLING. The two WARRIORS CLASH...LEGOLAS leaps from his lookout point and fires an arrow, felling the WARG, and throwing his RIDER to the ground. CONTINUED: ANGLE ON: ARAGORN runs atop the ridge...LEGOLAS bears down on the ORC and slices his throat.<\/scene_description>\n    <character>LEGOLAS<\/character>\n    <parenthetical>(yelling)<\/parenthetical>\n    <dialogue>A scout!<\/dialogue>\n    <scene_description>ANGLE ON: ARAGORN runs back down the hill to TH\u00c9ODEN, who rides toward him.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>What is it? What do you see?<\/dialogue>\n    <character>ARAGORN<\/character>\n    <dialogue>Warg! We are under attack!<\/dialogue>\n    <scene_description>ANGLES ON: The crowd is instantly reduced to a blind panic... the people scream and turn back to EDORAS. ANGLE ON: ARAGORN makes his way through the crowd to \u00c9OWYN and his HORSE...TH\u00c9ODEN turns back to the troops.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>All riders to the head of the column!<\/dialogue>\n    <scene_description>ANGLE ON: GIMLI ties to mount AROD.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>Come on. Get me up here. I'm a rider!<\/dialogue>\n    <scene_description>With some help, GIMLI succeeds.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>Come on!<\/dialogue>\n    <scene_description>He spurs the HORSE onward, and almost falls off! WIDE ON: LEGOLAS runs across the plain to the top of another ridge, overlooking a vast plain...over the next hill come a large number of WARG RIDERS, barking and kicking up dust as they ride. ANGLE ON: TH\u00c9ODEN rides to \u00c9OWYN, mounting her HORSE.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>You must lead the people to Helm's Deep, and make haste.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>I can fight!<\/dialogue>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>\u00c9OWYN holds TH\u00c9ODEN'S gaze for a moment.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>You must do this...for me.<\/dialogue>\n    <scene_description>Reluctantly, \u00c9OWYN agrees...TH\u00c9ODEN turns his HORSE to the BATTLE.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>Follow me!<\/dialogue>\n    <scene_description>ANGLES ON: TH\u00c9ODEN charges forward...the WARRIORS follow... ARAGORN spurs BREGO onward as he mounts...AROD, GIMLI on his back, walks backward.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>Forward. I mean, charge forward.<\/dialogue>\n    <scene_description>ANGLE ON: \u00c9OWYN leads the people away from the battle.<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>Make for the lower ground!<\/dialogue>\n    <scene_description>ANGLE ON: GIMLI finally succeeds in moving AROD forward...he holds on unsteadily as the HORSE gallops.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>That's it! Go on!<\/dialogue>\n    <scene_description>ANGLE ON: \u00c9OWYN manages to get everyone moving in the same direction...she continues to rally them to her.<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>Stay together!<\/dialogue>\n    <scene_description>ANGLE ON: The ROHIRRIM HORSEMEN ride together under their standard up the hill to confront the WARG RIDERS. CONTINUED: (3) ANGLE ON: ARAGORN turns for a final glance to \u00c9OWYN and the VILLAGERS...\u00c9OWYN turns for a final glance to ARAGORN and the HORSEMEN...their eyes lock for a moment before ARAGORN turns and heads for the battle. WIDE ON: The HORSEMEN ride up the hill into battle...Atop the ridge, LEGOLAS fires ARROWS into the ranks of the WARG RIDERS, hitting his mark each time...the ROHIRRIM ride over the hill...LEGOLAS turns and joins GIMLI on AROD. SERIES OF CUTS: The two armies ride towards each others...TH\u00c9ODEN and the WARG COMMANDER give their armies the signal...the two ARMIES CLASH on the field of battle...riders are knocked from their mounts...spears, arrows, teeth, and swords make contact...the blood-thirsty WARGS maul fallen MEN and HORSES. ANGLE ON: GIMLI falls from AROD...he stands, facing off against a hungry WARG...GIMLI readies himself.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>Bring your pretty face to my axe!<\/dialogue>\n    <scene_description>The WARG charges...GIMLI prepares to make contact. SUDDENLY, LEGOLAS rides by and kills the WARG with a well- placed ARROW!<\/scene_description>\n    <character>GIMLI<\/character>\n    <parenthetical>(outraged)<\/parenthetical>\n    <dialogue>That one counts as mine!<\/dialogue>\n    <scene_description>ANGLE ON: A WARG attacks GIMLI from behind...he kills the creature with his axe, but as it falls, GIMLI is pinned under it. SERIES OF CUTS: The battle rages on...ARAGORN and TH\u00c9ODEN deftly dispatch ORCS with their swords...an ARCHER fires arrow after arrow at the attackers before a WARG mauls him...RIDERS are knocked from their mounts... ANGLE ON: GIMLI tries to lift the WARG off of him.<\/scene_description>\n    <character>GIMLI<\/character>\n    <parenthetical>(strained)<\/parenthetical>\n    <dialogue>Stinking creature.<\/dialogue>\n    <scene_description>CONTINUED: (4) ANGLES ON: An ORC leans over the DEAD WARG...GIMLI'S eyes widen...the ORC raises a short sword...GIMLI grabs the ORC'S head and breaks his neck...the ORC collapses on the growing heap...GIMLI sniffs and grimaces with disgust... A WARG looks over his fallen brethren and finds GIMLI...GIMLI'S eyes widen again as he realises he is at the creature's mercy. ARAGORN looks over and spots GIMLI'S predicament. THE WARG closes in for the kill. ARAGORN rides towards GIMLI...He snatches a spear from the ground and skewers the WARG...it falls, adding to the weight GIMLI is currently carrying...GIMLI moans in pain. THE BATTLE RAGES ON... ANGLE ON: A WARG takes ARAGORN off guard and knocks him from HASUFEL. ANGLE ON: One of the RIDERS, SHARKU, charges ARAGORN and attempts to take him out...ARAGORN grabs the ORC'S arm and pulls himself to the back of the WARG, behind SHARKU! They charge across the plains...SHARKU butts ARAGORN off the WARG, but ARAGORN holds on to the WARG'S course hair...dragged across the field, ARAGORN draws his dagger and swings at SHARKU...SHARKU kicks him back down! FINALLY, ARAGORN stabs SHARKU...The two grasp at each other... ARAGORN throws SHARKU from the WARG, but ARAGORN is unable to let go... CLOSE ON: HIS HAND IS WRAPPED IN THE CREATURES SADDLE! WIDE ON: The WARG charges across the field of battle. POV: A DROP-OFF APPROACHES QUICKLY! CLOSE ON: ARAGORN desperately tries to disentangle himself. WIDE ON: The WARG charges over the edge...ARAGORN FALLS WITH HIM! ANGLE ON: GIMLI axes a fallen WARG. He looks about. CONTINUED: (5) WIDE ON: All over the plains the WARG RIDERS are retreating, still being removed from this life by ROHIRRIM HORSEMEN. ANGLE ON: LEGOLAS walks across the field, looking about suddenly!<\/scene_description>\n    <character>LEGOLAS<\/character>\n    <parenthetical>(calling out)<\/parenthetical>\n    <dialogue>Aragorn!<\/dialogue>\n    <scene_description>CLOSE ON: GIMLI seems to notice ARAGORN missing as well...he looks about, worried.<\/scene_description>\n    <character>GIMLI<\/character>\n    <parenthetical>(calling out)<\/parenthetical>\n    <dialogue>Aragorn?<\/dialogue>\n    <scene_description>ANGLE ON: TH\u00c9ODEN also looks around amongst the MEN near him...LEGOLAS and GIMLI approach the drop-off. They look over the ground...LEGOLAS looks up to an ORC, who is laughing rasply...it is SHARKU...LEGOLAS and GIMLI approach him...GIMLI holds his axe threateningly over SHARKU'S head.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>Tell me what happened and I will ease your passing.<\/dialogue>\n    <character>SHARKU<\/character>\n    <parenthetical>(with difficulty)<\/parenthetical>\n    <dialogue>He's ... dead.<\/dialogue>\n    <scene_description>SHARKU laughs.<\/scene_description>\n    <character>SHARKU<\/character>\n    <dialogue>Took a little tumble off the cliff.<\/dialogue>\n    <scene_description>TH\u00c9ODEN turns to the cliff...LEGOLAS bends down and grabs SHARKU by the shirt.<\/scene_description>\n    <character>LEGOLAS<\/character>\n    <dialogue>You lie.<\/dialogue>\n    <scene_description>SHARKU chortles and dies with a smile...LEGOLAS roughly releases him...Something in the ORC'S hand catches his eye...he takes the item. CONTINUED: (6) CLOSE ON: LEGOLAS holds the EVANSTAR PENDANT...his expression changes to worry. ANGLE ON: He quickly joins TH\u00c9ODEN at the drop-off with GIMLI close behind. POV: Down the sheer cliff to the rushing water below, there is no sign of either the WARG or ARAGORN. ANGLE ON: LEGOLAS and GIMLI desperately scan the ravine for ARAGORN. ANGLE ON: GAMLING runs up behind TH\u00c9ODEN. TH\u00c9ODEN turns to him.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>Get the wounded on horses. The wolves of Isengard will return. Leave the dead.<\/dialogue>\n    <scene_description>GAMLING acknowledges and runs back to the ranks. ANGLE ON: LEGOLAS looks at TH\u00c9ODEN with an expression of perplexed anger...TH\u00c9ODEN puts a comforting hand on LEGOLAS' shoulder.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>Come.<\/dialogue>\n    <scene_description>LOW ANGLE ON: TH\u00c9ODEN leaves LEGOLAS and GIMLI staring at the river...LEGOLAS looks at the EVANSTAR, not wanting to believe the truth. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAINS OF ROHAN - DAY<\/stage_direction>\n    <scene_description>WIDE ON: The line of ROHIRRIM stretch far behind them. They look up and cry with delight.<\/scene_description>\n    <character>VILLAGER<\/character>\n    <dialogue>Helm's Deep!<\/dialogue>\n    <scene_description>They begin running for their refuge. ANGLE ON: \u00c9OWYN walks to the forefront. CONTINUED: WIDE ON: In the distance, nestled in the shadow of Thrihyrne, lay HELM'S DEEP. \u00c9OWYN stands upon the rise, looking into the Westfold Vale to the gorge where HELM'S DEEP lies. CLOSE ON: \u00c9OWYN looks upon the sight, mixed with relief and dread. She follows the ROHIRRIM down. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELM'S DEEP - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: SOLDIERS OPEN THE MIGHTY DOORS...\u00c9OWYN enters, followed by the throng from EDORAS. WIDE ON: The roads are lined with the soldiers and people of ROHAN - all those of the land of ROHAN who were driven from their homes have taken refuge there. AERIAL ON: SOLDIERS man the BATTLEMENTS around the HELM'S DEEP WALL...PEOPLE continue to flow in...inside the walls is a FLURRY OF ACTIVITY. ANGLE ON: \u00c9OTHAIN and FREDA run through the masses.<\/scene_description>\n    <character>FREDA<\/character>\n    <dialogue>Mama!<\/dialogue>\n    <character>MORWEN<\/character>\n    <dialogue>\u00c9othain! Freda!<\/dialogue>\n    <scene_description>ANGLE ON: The CHILDREN embrace their MOTHER again. ANGLE ON: \u00c9OWYN assesses supplies.<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>Where is the rest?<\/dialogue>\n    <character>ALDOR<\/character>\n    <dialogue>This is all we could save, my lady.<\/dialogue>\n    <scene_description>ANGLE ON: The FOOD SUPPLY consists of perhaps a dozen bags and about the same number of baskets of food.<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>Take it to the caves.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>GAMLING (O.S.)<\/character>\n    <dialogue>Make way for the king!<\/dialogue>\n    <scene_description>\u00c9OWYN breaks into a run to meet the returning soldiers. HIGH ANGLE ON: The HORSEMEN ride into HELM'S DEEP and up the roads.<\/scene_description>\n    <character>GAMLING (O.S.)<\/character>\n    <dialogue>Make way for Th\u00e9oden! Make way for the king!<\/dialogue>\n    <scene_description>ANGLE ON: \u00c9OWYN runs through the city to meet them. She surveys their numbers quickly.<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>So few. So few of you have returned.<\/dialogue>\n    <scene_description>ANGLE ON: TH\u00c9ODEN turns to her, finding his words. He averts his gaze as much as possible.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>Our people are safe.<\/dialogue>\n    <scene_description>He turns to assist a wounded soldier who was riding with him.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>We have paid for it with many lives.<\/dialogue>\n    <scene_description>ANGLE ON: GIMLI solemnly approaches \u00c9OWYN.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>My lady.<\/dialogue>\n    <scene_description>She turns to him, worried.<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>Lord Aragorn ... where is he?<\/dialogue>\n    <character>GIMLI<\/character>\n    <parenthetical>(with difficulty)<\/parenthetical>\n    <dialogue>He fell.<\/dialogue>\n    <scene_description>SLOW MOTION: \u00c9OWYN'S eyes grow wide...her mouth drops open, speechless...she turns to looks at TH\u00c9ODEN...TH\u00c9ODEN catches her glance, and turns away, confirming GIMLI'S statement...visibly shaken, \u00c9OWYN sits to recover herself.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELM'S DEEP BATTLEMENTS - DAY<\/stage_direction>\n    <scene_description>WIDE ON: TH\u00c9ODEN stands, overlooking the land outside of HELM'S DEEP. He addresses the SOLDIERS and MEN accompanying him.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>Draw all our forces behind the wall. Bar the gate. And set a watch on the surround.<\/dialogue>\n    <scene_description>TH\u00c9ODEN turns to leave the BATTLEMENTS. The MEN follow.<\/scene_description>\n    <character>GAMLING<\/character>\n    <dialogue>What of those who cannot fight, my lord? The women and children?<\/dialogue>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>Get them into the caves.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELM'S DEEP - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: TH\u00c9ODEN leads his MEN down from the BATTLEMENTS and past the DEEPING STREAM, which flows through it via a grate in the wall.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>Saruman's arm will have grown long indeed if he thinks he can reach us here.<\/dialogue>\n    <scene_description>TRACK IN ON THE GRATE IN THE WALL.<\/scene_description>\n    <character>WORMTONGUE (V.O.)<\/character>\n    <dialogue>Helm's Deep has one weakness. Its outer wall is solid rock but for a small culvert at its base which is little more than a drain.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ORTHANC ANTE-CHAMBER - DAY<\/stage_direction>\n    <scene_description>CLOSE ON: SARUMAN pours gunpowder into a LARGE STONE POT.<\/scene_description>\n    <character>WORMTONGUE<\/character>\n    <dialogue>How? How can fire undo stone? What kind of device could bring down the wall?<\/dialogue>\n    <scene_description>CONTINUED: ANGLE ON: WORMTONGUE leans over the pot, holding a candle...SARUMAN reaches out his hand to stay the candle's approach...SARUMAN pushes WORMTONGUE away from the pot.<\/scene_description>\n    <character>SARUMAN<\/character>\n    <dialogue>If the wall is breached, Helm's Deep will fall.<\/dialogue>\n    <scene_description>SARUMAN walks through ORTHANC...WORMTONGUE follows closely.<\/scene_description>\n    <character>WORMTONGUE<\/character>\n    <dialogue>Even if it is breached, it would take a number beyond reckoning, thousands, to storm the keep.<\/dialogue>\n    <scene_description>SARUMAN approaches his balcony, which overlooks ISENGARD.<\/scene_description>\n    <character>SARUMAN<\/character>\n    <dialogue>Tens of thousands.<\/dialogue>\n    <character>WORMTONGUE<\/character>\n    <dialogue>But, my lord, there is no such force.<\/dialogue>\n    <scene_description>TRACK WITH: SARUMAN and WORMTONGUE walk onto the balcony as a HORN sounds. HIGH WIDE ON: SARUMAN'S TENS OF THOUSANDS of URUK-HAI stand ready upon the wrecked field of ISENGARD...the ground simply appears covered in a black seething mass of neat rows and columns. CLOSE ON: WORMTONGUE'S jaw drops in awe. ANGLE ON: SARUMAN holds up his hand to calm his army.<\/scene_description>\n    <character>SARUMAN<\/character>\n    <dialogue>A new power is rising. Its victory is at hand.<\/dialogue>\n    <scene_description>HIGH WIDE ON: The URUK-HAI cheer and roar. ANGLE ON: SARUMAN holds out his hand to calm them.<\/scene_description>\n    <character>SARUMAN<\/character>\n    <dialogue>This night, the land would be stained with the blood of Rohan!<\/dialogue>\n    <scene_description>CONTINUED: (2) TRACK AWAY FORM ORTHANC DOWN THROUGH THE MASS OF SPEARS WHICH TRAVELS SO FAR, SARUMAN APPEARS AS ONLY A SPECK ON THE OBSIDIAN TOWER OF ORTHANC...EVEN AT SUCH A DISTANCE, SARUMAN IS CLEARLY HEARD.<\/scene_description>\n    <character>SARUMAN<\/character>\n    <dialogue>March to Helms Deep! Leave none alive!<\/dialogue>\n    <scene_description>CLOSE ON: SARUMAN raises his hands in anticipated triumph.<\/scene_description>\n    <character>SARUMAN<\/character>\n    <dialogue>To war!<\/dialogue>\n    <scene_description>HIGH WIDE ON: The army cheers and roars even louder. CLOSE ON: WORMTONGUE stands awed and frightened...SARUMAN looks over the ARMY grimly.<\/scene_description>\n    <character>SARUMAN<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>There will be no dawn for Men.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ISENGARD - DAY<\/stage_direction>\n    <scene_description>The MASSIVE URUK-HAI ARMY marches to war at HELM'S DEEP. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FANGORN FOREST - DAY<\/stage_direction>\n    <scene_description>AERIAL ON: Amidst the lush foliage of FANGORN, TREEBEARD continues his own arch with MERRY and PIPPIN in tow. In the distance, ORTHANC is clearly visible in the RING OF ISENGARD...a dark shape moves across the land towards ROHAN. ANGLE ON: PIPPIN spots ISENGARD in the distance.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>Look! There's smoke to the south.<\/dialogue>\n    <character>TREEBEARD<\/character>\n    <dialogue>There is always smoke rising from Isengard these days.<\/dialogue>\n    <scene_description>CONTINUED: MERRY reacts to the mention of the name.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>Isengard?<\/dialogue>\n    <scene_description>MERRY climbs up TREEBEARD for a better view.<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <dialogue>There was a time when Saruman would walk in my woods.<\/dialogue>\n    <scene_description>PIPPIN sees MERRY climbing, so he climbs too. TREEBEARD pays them little mind.<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <dialogue>But now he has a mind of metal and wheels. He no longer cares for growing things.<\/dialogue>\n    <scene_description>ANGLE ON: MERRY and PIPPIN reach the upper branches of TREEBEARD, just above the tops of the trees.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <scene_description>HIGH WIDE ON: On the FIELDS of ISENGARD, the FLOOD of the URUK- HAI army marches. ANGLE ON: MERRY and PIPPIN ride atop TREEBEARD, worried.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>It's Saruman's army. The war has started.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVER - DAY<\/stage_direction>\n    <scene_description>WIDE ON: ARAGORN floats atop the water, unconscious...his body comes to rest on a bank of rocks. INTERCUT WITH ARWEN lying in RIVENDELL. ARAGORN remains unconscious at the river. CONTINUED: ANGLE ON: SUDDENLY, ARWEN leans in above ARAGORN and kisses him gently...ARAGORN opens his eyes.<\/scene_description>\n    <character>ARWEN<\/character>\n    <dialogue>May the grace of the Valar protect you.<\/dialogue>\n    <scene_description>ARWEN FADES OUT...ARAGORN takes a deep breath.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVERBANK - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: ARAGORN lies unconscious on the RIVERBANK. CLOSE ON: SUDDENLY, a HORSE HOOF steps next to his head. ANGLE ON: It grunts and nudges ARAGORN over and over until he stirs.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(mumbling)<\/parenthetical>\n    <dialogue>Brego.<\/dialogue>\n    <scene_description>ANGLE ON: BREGO drops to his knees...ARAGORN takes hold of BREGO'S MANE and PULLS HIMSELF onto BREGO'S back...Once ARAGORN is safely aboard, BREGO stands and carries him away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAINS OF ROHAN - DAY<\/stage_direction>\n    <scene_description>BREGO carries a weary and beaten ARAGORN across the distance towards HELM'S DEEP. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARWEN'S ROOM, RIVENDELL - DAY<\/stage_direction>\n    <scene_description>ARWEN lies on her bed, deep in thought. A VOICE startles her.<\/scene_description>\n    <character>ELROND<\/character>\n    <dialogue>Arwen.<\/dialogue>\n    <scene_description>ARWEN turns to ELROND at her door, and sits up. CONTINUED:<\/scene_description>\n    <character>ELROND<\/character>\n    <parenthetical>(in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>Tollen i l\u00fb. I chair gwannar na Valannor. Si bado...no c\u00edrar.<\/dialogue>\n    <dialogue>It is time. The ships are leaving for Valinor. Go now...before it is too late.<\/dialogue>\n    <scene_description>ARWEN looks at him impassively.<\/scene_description>\n    <character>ARWEN<\/character>\n    <dialogue>I have made my choice.<\/dialogue>\n    <scene_description>ELROND approaches her.<\/scene_description>\n    <character>ELROND<\/character>\n    <dialogue>He is not coming back. Why do you linger here when there is no hope?<\/dialogue>\n    <character>ARWEN<\/character>\n    <dialogue>There is still hope.<\/dialogue>\n    <scene_description>ELROND walks toward the window and looks away from her.<\/scene_description>\n    <character>ELROND<\/character>\n    <dialogue>If Aragorn survives this war, you will still be parted. If Sauron is defeated and Aragorn made king and all that you hope for comes true, you will still have to taste the bitterness of mortality. Whether by the sword or the slow decay of time, Aragorn will die.<\/dialogue>\n    <scene_description>INSERT IMAGE: ARAGORN lies in state holding AND\u00daRIL in the COURTYARD OF THE KINGS at MINAS TIRITH. His hair is greyed many years. ARWEN stands over him mourning his passing. A line of MOURNERS pass behind them.<\/scene_description>\n    <character>ELROND (V.O.)<\/character>\n    <dialogue>And there will be no comfort for you, no comfort to ease the pain of his passing.<\/dialogue>\n    <scene_description>CROSS-FADE TO: A STONE MONUMENT of ARAGORN lying on the TABLE. All around, MINAS TIRITH has fallen into grave disrepair. To one side on his TOMB, ARWEN stands, still dressed in black as an eternal widow. CONTINUED: (2)<\/scene_description>\n    <character>ELROND (V.O.)<\/character>\n    <dialogue>He will come to death, an image of the splendor of the kings of Men in glory undimmed before the breaking of the world. But you, my daughter, you will linger on in darkness and in doubt as nightfall in winter that comes without a star.<\/dialogue>\n    <scene_description>CLOSE ON: ARWEN, veiled in her grief, young and beautiful.<\/scene_description>\n    <character>ELROND (V.O.)<\/character>\n    <dialogue>Here you will dwell, bound to your grief...<\/dialogue>\n    <scene_description>INSERT IMAGE: ARWEN walks through the dead FOREST of LOTHL\u00d3RIEN. Sunlight splays through long standing carcasses of the trees.<\/scene_description>\n    <character>ELROND (V.O.)<\/character>\n    <dialogue>...under the fading trees, until all the world has changed and the long years of your life are utterly spent.<\/dialogue>\n    <scene_description>CLOSE ON: ELROND, once again standing at the window in ARWEN'S ROOM. CLOSE ON: ARWEN, a tear streams down her face. ELROND turns from the window to face her.<\/scene_description>\n    <character>ELROND<\/character>\n    <dialogue>Arwen...<\/dialogue>\n    <scene_description>ARWEN breathes deeply, torn by her love for ARAGORN and her love for her father.<\/scene_description>\n    <character>ELROND<\/character>\n    <dialogue>There is nothing for you here, only death.<\/dialogue>\n    <scene_description>ARWEN raises her tear-worn eyes to him. ELROND walks over to her a sits beside her. He brushes his hand gently across her face. CONTINUED: (3)<\/scene_description>\n    <character>ELROND<\/character>\n    <parenthetical>(in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>A im, \u00fa-'erin veleth l\u00een?<\/dialogue>\n    <dialogue>Do I not also have your love?<\/dialogue>\n    <scene_description>ARWEN gives in to his embrace and holds him.<\/scene_description>\n    <character>ARWEN<\/character>\n    <parenthetical>(choked; in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>Gerich meleth n\u00een, ada.<\/dialogue>\n    <dialogue>You have my love, father<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVENDELL - NIGHT<\/stage_direction>\n    <scene_description>A group of ELVES move out of RIVENDELL, each carrying a lantern. ANGLES ON: ARWEN walks among them, silent and stoic...ELROND stands on a balcony, watching them go....ARWEN turns a final sad glance to him. CLOSE ON: ELROND remains impassive and resigned.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIDDLE EARTH - NIGHT<\/stage_direction>\n    <scene_description>WIDE ON: The line of ELVES with their lanterns stretches across the bridge before RIVENDELL, standing gravely empty behind them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVENDELL - NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON: ELROND remains on his balcony, watching the entourage leave. The VOICE of GALADRIEL is heard... INTERCUT: GALADRIEL speaking across the distance. CONTINUED:<\/scene_description>\n    <character>GALADRIEL<\/character>\n    <parenthetical>(in ELVISH)<\/parenthetical>\n    <dialogue>I amar prestar aen... han mathon ne nen, han mathon ne chae, a han nostan ned gwilith.<\/dialogue>\n    <dialogue>The world has changed... I feel it in the water, I feel it in the earth, I smell it in the air.<\/dialogue>\n    <scene_description>INTERCUT: ELROND standing at his window. He continues watching the entourage leave.<\/scene_description>\n    <character>GALADRIEL (V.O.)<\/character>\n    <parenthetical>(in English)<\/parenthetical>\n    <dialogue>The power of the enemy is growing. Sauron will use his puppet Saruman...<\/dialogue>\n    <scene_description>INTERCUT: SARUMAN in the PALANT\u00cdR CHAMBER at ORTHANC, his hand held over the PALANT\u00cdR. Within the ball swirls the FIERY EYE OF SAURON.<\/scene_description>\n    <character>GALADRIEL (V.O.)<\/character>\n    <dialogue>...to destroy the people of Rohan.<\/dialogue>\n    <scene_description>INTERCUT WITH: SARUMAN'S URUK-HAI ARMY marches across ISENGARD towards ROHAN...The ARMY forms a black line that stretches back for miles. THOUSANDS OF SPEARS rise high over the heads of the ARMY.<\/scene_description>\n    <character>GALADRIEL (V.O.)<\/character>\n    <dialogue>Isengard has been unleashed.<\/dialogue>\n    <scene_description>INTERCUT: THE EYE OF SAURON high atop the TOWER OF BARAD-D\u00dbR.<\/scene_description>\n    <character>GALADRIEL (V.O.)<\/character>\n    <dialogue>The Eye of Sauron now turns to Gondor...<\/dialogue>\n    <scene_description>INTERCUT: HIGH OVERHEAD AERIAL of OSGILIATH, it east and west portions of the city split by the RIVER ANDUIN.<\/scene_description>\n    <character>GALADRIEL (V.O.)<\/character>\n    <dialogue>...the last free kingdom of Men.<\/dialogue>\n    <scene_description>A SHADOW spreads over OSGILIATH. CONTINUED: (2)<\/scene_description>\n    <character>GALADRIEL (V.O.)<\/character>\n    <dialogue>His war on this country will come swiftly.<\/dialogue>\n    <scene_description>INTERCUT: THE EYE OF SAURON high atop the TOWER OF BARAD-D\u00dbR, looking in the direction of OSGILIATH and GONDOR.<\/scene_description>\n    <character>GALADRIEL (V.O.)<\/character>\n    <dialogue>He senses the Ring is close.<\/dialogue>\n    <scene_description>INTERCUT: FRODO and SAM, blindfolded, are being pushed along by the GONDORIAN RANGERS, led by FARAMIR.<\/scene_description>\n    <character>GALADRIEL (V.O.)<\/character>\n    <dialogue>The strength of the Ring-bearer is failing.<\/dialogue>\n    <scene_description>INTERCUT: ELROND at his window, anger and frustration welling up within him, as he listens to GALADRIEL.<\/scene_description>\n    <character>GALADRIEL (V.O.)<\/character>\n    <dialogue>In his heart, Frodo begins to understand...<\/dialogue>\n    <scene_description>INTERCUT: CLOSE ON: GALADRIEL<\/scene_description>\n    <character>GALADRIEL<\/character>\n    <dialogue>...the quest will claim his life. You know this.<\/dialogue>\n    <scene_description>INTERCUT: ELROND stands at his window.<\/scene_description>\n    <character>GALADRIEL (V.O.)<\/character>\n    <dialogue>You have foreseen it. It is the risk we all took.<\/dialogue>\n    <scene_description>FADE TO BLACK.: CLOSE ON: The RING spins through the darkness.<\/scene_description>\n    <character>GALADRIEL (V.O.)<\/character>\n    <dialogue>In the gathering dark, the will of the Ring grows strong.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST OF ITHILIEN - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: The GONDORIAN RANGERS continue prodding FRODO and SAM along.<\/scene_description>\n    <character>GALADRIEL (V.O.)<\/character>\n    <dialogue>It works hard now to find its way back into the hands of Men. Men, who are so easily seduced by its power.<\/dialogue>\n    <scene_description>ANGLE ON: FARAMIR, leading the band of RANGERS.<\/scene_description>\n    <character>GALADRIEL (V.O.)<\/character>\n    <dialogue>The young captain of Gondor has but to extend his hands, take the Ring for his own and the world will fall.<\/dialogue>\n    <scene_description>WIDE ANGLE ON: The WATERFALL in ITHILIEN, which conceals the hideout of the RANGERS, HENNETH ANN\u00dbN.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HENNETH ANN\u00dbN - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: The MEN pass FRODO and SAM to one another within the hideout to imprison them.<\/scene_description>\n    <character>GALADRIEL (V.O.)<\/character>\n    <dialogue>It is close now...<\/dialogue>\n    <scene_description>INTERCUT: GALADRIEL'S EYES, watching across the distance.<\/scene_description>\n    <character>GALADRIEL (V.O.)<\/character>\n    <dialogue>...so close to achieving its goal.<\/dialogue>\n    <scene_description>INTERCUT: THE EYE OF SAURON on BARAD-D\u00dbR.<\/scene_description>\n    <character>GALADRIEL (V.O.)<\/character>\n    <dialogue>For Sauron will have dominion of all life on this Earth...<\/dialogue>\n    <scene_description>PULL BACK TO REVEAL: The TOWER deep within MORDOR. NAZG\u00dbL fly around the TOWER on FELL-BEASTS, guarding it from invaders. INTERCUT: CLOSE ON: GALADRIEL'S EYES, with their deep pools of wisdom.<\/scene_description>\n    <character>GALADRIEL<\/character>\n    <dialogue>...even unto the ending of the world. The time of the Elves...is over.<\/dialogue>\n    <scene_description>CONTINUED: INTERCUT: ELROND walks up to the painting of ISILDUR defeating SAURON with the BROKEN BLADE of NARSIL. CLOSE ON: The PAINTING, panning from the image of SAURON to that of ISILDUR.<\/scene_description>\n    <character>GALADRIEL (V.O.)<\/character>\n    <dialogue>Do we leave Middle-earth to its fate? Do we let them stand alone?<\/dialogue>\n    <scene_description>CLOSE ON: ELROND, his face etched with frustration and indecision.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HENNETH ANN\u00dbN - DAY<\/stage_direction>\n    <scene_description>CLOSE ON: A MAP of MIDDLE-EARTH is unrolled onto a table. ANGLE ON: FARAMIR and MADRIL, poring over the MAP.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>What news?<\/dialogue>\n    <character>MADRIL<\/character>\n    <dialogue>Our scouts report Saruman has attacked Rohan.<\/dialogue>\n    <scene_description>CLOSE ON: The MAP as MADRIL indicates ROHAN and HELM'S DEEP.<\/scene_description>\n    <character>MADRIL<\/character>\n    <dialogue>Th\u00e9oden's people have fled to Helm's Deep. But we must look to our own borders.<\/dialogue>\n    <scene_description>PAN ON: MADRIL moves his FINGER from HELM'S DEEP to the borders of MORDOR, where he traces from the BLACK GATE to OSGILIATH.<\/scene_description>\n    <character>MADRIL<\/character>\n    <dialogue>Faramir, Orcs are on the move. Sauron is marshaling an army. Easterlings and Southrons are passing through the Black Gate.<\/dialogue>\n    <character>FARAMIR<\/character>\n    <dialogue>How many?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>MADRIL<\/character>\n    <dialogue>Some thousands. More come every day.<\/dialogue>\n    <character>FARAMIR<\/character>\n    <dialogue>Who's covering the river to the north?<\/dialogue>\n    <scene_description>CLOSE ON: The MAP is centered on GONDOR. MADRIL points out OSGILIATH.<\/scene_description>\n    <character>MADRIL<\/character>\n    <dialogue>We pulled 500 Men at Osgiliath, but if the city is attacked, we won't hold it.<\/dialogue>\n    <scene_description>ANGLE ON: FARAMIR considers MADRIL'S words carefully. CLOSE ON: The MAP shows ISENGARD.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>Saruman attacks from Isengard.<\/dialogue>\n    <scene_description>PAN ON: FARAMIR moves his FINGER from ISENGARD to MORDOR.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>Sauron from Mordor.<\/dialogue>\n    <scene_description>PULL BACK TO REVEAL the ISENGARD, GONDOR, and MORDOR on the MAP.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>The fight will come to Men on both fronts. Gondor is weak.<\/dialogue>\n    <scene_description>ANGLE ON: FARAMIR.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>Sauron will strike us soon. And he will strike hard.<\/dialogue>\n    <scene_description>CLOSE ON: The MAP closes in on OSGILIATH.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>He knows now we do not have the strength to repel him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HENNETH ANN\u00dbN - LATER<\/stage_direction>\n    <scene_description>CLOSE ON: FRODO'S BLINDFOLD is ripped of him. ANGLE ON: FRODO and SAM stand in the midst of the GONDORIAN RANGERS, all walking to and fro in their duties. ANGLE ON: FARAMIR enters and address FRODO and SAM.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>My Men tell me that you are Orc spies.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Spies?! Now wait just a minute!<\/dialogue>\n    <character>FARAMIR<\/character>\n    <dialogue>Well if you're not spies, then who are you?<\/dialogue>\n    <scene_description>SAM looks over to FRODO, who remains silent and unmoving... FARAMIR sits to address them.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>Speak.<\/dialogue>\n    <scene_description>FRODO and SAM stay silent for a moment...finally, FRODO speaks.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>We are Hobbits of the Shire. Frodo Baggins is my name, and this is Samwise Gamgee.<\/dialogue>\n    <character>FARAMIR<\/character>\n    <dialogue>Your bodyguard?<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>(insulted)<\/parenthetical>\n    <dialogue>His gardener.<\/dialogue>\n    <character>FARAMIR<\/character>\n    <dialogue>And where is your skulking friend?<\/dialogue>\n    <scene_description>ANGLE ON: FRODO looks suddenly nervous, his eyes widening.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>That gangrel creature. He had an ill- favored look.<\/dialogue>\n    <scene_description>CONTINUED: FRODO shakes his head.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>There was no other.<\/dialogue>\n    <scene_description>ANGLE ON: SAM looks uncomfortable, as if caught in a lie... FARAMIR eyes them suspiciously.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>We set out from Rivendell with seven companions.<\/dialogue>\n    <scene_description>FARAMIR is suddenly very interested.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>One we lost in Moria, two were my kin, a Dwarf there was also, and an Elf. And two Men, Aragorn, son of Arathorn, and Boromir of Gondor.<\/dialogue>\n    <scene_description>FARAMIR'S expression changes to that of reserved surprise.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <parenthetical>(intently)<\/parenthetical>\n    <dialogue>You're a friend of Boromir?<\/dialogue>\n    <character>FRODO<\/character>\n    <dialogue>Yes... for my part.<\/dialogue>\n    <scene_description>ANGLE ON: FARAMIR turns away from the HOBBITS for a moment, and then back to address them.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>It would grieve you then to learn that he was dead.<\/dialogue>\n    <scene_description>CLOSE ON: FRODO'S mouth drops, shocked.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Dead? How? When?<\/dialogue>\n    <character>FARAMIR<\/character>\n    <dialogue>As one of his companions, I hoped you would tell me.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>If something has happened to Boromir, we would have you tell us.<\/dialogue>\n    <character>FARAMIR<\/character>\n    <parenthetical>(with great difficulty)<\/parenthetical>\n    <dialogue>His horn washed up on the riverbank, about six days past. It was cloven in two. But more than this, I know it in my heart. He was my brother.<\/dialogue>\n    <scene_description>CLOSE ON: FRODO stands speechless at the revelation. IMAGES: FARAMIR stands alone on a riverbank...FARAMIR walks through the water to an ELVEN BOAT, floating down the river. IMAGE: CLOSE ON the ELVEN BOAT: BOROMIR lies in state. IMAGE: FARAMIR stands in shock at the image as the boat passes him by.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HENNETH ANN\u00dbN - DAY<\/stage_direction>\n    <scene_description>FARAMIR sits alone, deep in thought. CLOSE ON: In his hands, he holds the BOROMIR'S HORN, cloven in two. ON THE SOUNDTRACK: Voices cry out, \"Boromir! Boromir!\" CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OSGILIATH - DAY<\/stage_direction>\n    <scene_description>Hundreds of GONDORIANS crowd the streets of the city, crying BOROMIR'S name. ANGLE ON: BOROMIR plants a flag in one of the turrets and draws his sword in salute.<\/scene_description>\n    <character>BOROMIR<\/character>\n    <dialogue>This city was once the jewel of our kingdom...a place of light and beauty and music...and so it shall be once more!<\/dialogue>\n    <scene_description>CONTINUED: The people cheer in response.<\/scene_description>\n    <character>BOROMIR<\/character>\n    <dialogue>Let the armies of Mordor know this: never again will the land of my people fall into enemy hands.<\/dialogue>\n    <scene_description>The people cheer again.<\/scene_description>\n    <character>BOROMIR<\/character>\n    <dialogue>This city of Osgiliath has been reclaimed for Gondor!<\/dialogue>\n    <scene_description>WIDE ON: BOROMIR raises his sword in triumph over the city. The people respond to him with cheers and jubilation. ANGLE ON: FARAMIR makes his way through the crowds to BOROMIR. They embrace.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>Good speech. Nice and short.<\/dialogue>\n    <character>BOROMIR<\/character>\n    <dialogue>Leaves more time for drinking!<\/dialogue>\n    <scene_description>The brothers laughs. BOROMIR addresses the people around him.<\/scene_description>\n    <character>BOROMIR<\/character>\n    <dialogue>Break out the ale! These men are thirsty!<\/dialogue>\n    <scene_description>The men cheer in agreement. ANGLE ON: BOROMIR fills two tankards of ale. He hands one to FARAMIR and they toast.<\/scene_description>\n    <character>BOROMIR<\/character>\n    <dialogue>Remember today, little brother. Today, life is good.<\/dialogue>\n    <scene_description>They drink...FARAMIR'S gaze drifts beyond BOROMIR. His expression drops.<\/scene_description>\n    <character>BOROMIR<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>He's here.<\/dialogue>\n    <scene_description>BOROMIR turns. ANGLE ON: LORD DENETHOR, their father and the STEWARD OF GONDOR, makes his way through the crowd, happily greeting the people. ANGLE ON: BOROMIR, turns away in frustration.<\/scene_description>\n    <character>BOROMIR<\/character>\n    <dialogue>One moment of peace, can he not give us that?<\/dialogue>\n    <character>DENETHOR<\/character>\n    <parenthetical>(smiling broadly)<\/parenthetical>\n    <dialogue>Where is he? Where is Gondor's finest? Where's my first-born?<\/dialogue>\n    <scene_description>BOROMIR musters a smile, and then turns to greet DENETHOR.<\/scene_description>\n    <character>BOROMIR<\/character>\n    <dialogue>Father!<\/dialogue>\n    <scene_description>ANGLE ON: FARAMIR drops back, as if staying out of the way... BOROMIR embraces DENETHOR.<\/scene_description>\n    <character>DENETHOR<\/character>\n    <dialogue>They say you vanquished the enemy almost single-handedly.<\/dialogue>\n    <character>BOROMIR<\/character>\n    <dialogue>They exaggerate. The victory belongs to Faramir also.<\/dialogue>\n    <scene_description>FARAMIR smiles and steps forward...DENETHOR scowls.<\/scene_description>\n    <character>DENETHOR<\/character>\n    <parenthetical>(condescending)<\/parenthetical>\n    <dialogue>But for Faramir, this city would still be standing. Were you not entrusted to protect it?<\/dialogue>\n    <character>FARAMIR<\/character>\n    <dialogue>I would have done, but our numbers were too few.<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>DENETHOR<\/character>\n    <dialogue>Oh, too few. You let the enemy walk in and take it on a whim.<\/dialogue>\n    <scene_description>ANGLE ON: FARAMIR is shattered, hurt by his father's condescension. DENETHOR steps toward him for the kill.<\/scene_description>\n    <character>DENETHOR<\/character>\n    <dialogue>Always you cast a poor reflection on me.<\/dialogue>\n    <character>FARAMIR<\/character>\n    <dialogue>That is not my intent.<\/dialogue>\n    <character>BOROMIR<\/character>\n    <parenthetical>(impatient)<\/parenthetical>\n    <dialogue>You give him no credit, and yet he tries do to your will.<\/dialogue>\n    <scene_description>ANGLE ON: BOROMIR storms away. DENETHOR leaves FARAMIR and follows him.<\/scene_description>\n    <character>BOROMIR<\/character>\n    <dialogue>He loves you, Father.<\/dialogue>\n    <character>DENETHOR<\/character>\n    <dialogue>Do not trouble me with Faramir ... I know his uses, and they are few.<\/dialogue>\n    <scene_description>ANGLE ON: BOROMIR turns away, unbelieving a father would say such things of a son.<\/scene_description>\n    <character>DENETHOR<\/character>\n    <dialogue>We have more urgent things to speak of. Elrond of Rivendell has called a meeting. He will not say why, but I have guessed its purpose. It is rumored that the weapon of the enemy has been found.<\/dialogue>\n    <scene_description>CLOSE ON: BOROMIR'S mouth DROPS in SURPRISE and DISBELIEF.<\/scene_description>\n    <character>BOROMIR<\/character>\n    <parenthetical>(delicately)<\/parenthetical>\n    <dialogue>The One Ring ... Isildur's Bane.<\/dialogue>\n    <scene_description>CONTINUED: (4)<\/scene_description>\n    <character>DENETHOR<\/character>\n    <dialogue>It has fallen into the hands of the Elves. Everyone will try to claim it: Men, Dwarves, wizards. We cannot let that happen. This thing must come to Gondor.<\/dialogue>\n    <character>BOROMIR<\/character>\n    <dialogue>Gondor.<\/dialogue>\n    <character>DENETHOR<\/character>\n    <dialogue>It's dangerous, I know. Ever the Ring will seek to corrupt the hearts of lesser Men. But you, you are strong... and our need is great. It is our blood which is being spilled, our people who are dying. Sauron is biding his time. He's massing fresh armies. He will return. And when he does, we will be powerless to stop him. You must go. Bring me back this mighty gift.<\/dialogue>\n    <scene_description>ANGLE ON: BOROMIR pulls away from DENETHOR and proceeds back out into OSGILIATH.<\/scene_description>\n    <character>BOROMIR<\/character>\n    <dialogue>No. My place is here with my people. Not in Rivendell<\/dialogue>\n    <scene_description>ANGLE ON: DENETHOR chases BOROMIR out.<\/scene_description>\n    <character>DENETHOR<\/character>\n    <dialogue>Would you deny your own father?<\/dialogue>\n    <scene_description>ANGLE ON: FARAMIR steps forward.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>If there is a need to go to Rivendell, send me in his stead.<\/dialogue>\n    <scene_description>ANGLE ON: DENETHOR looks at FARAMIR with a cruel sneer.<\/scene_description>\n    <character>DENETHOR<\/character>\n    <dialogue>You? Oh, I see. A chance for Faramir, captain of Gondor, to show his quality. I think not.<\/dialogue>\n    <scene_description>CONTINUED: (5) ANGLE ON: FARAMIR'S confident expression drops.<\/scene_description>\n    <character>DENETHOR<\/character>\n    <dialogue>I trust this mission only to your brother. The one who will not fail me.<\/dialogue>\n    <scene_description>ANGLE ON: DENETHOR turns to BOROMIR, who stands against the wall looking strangely angered and defeated. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OSGILIATH - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: BOROMIR sits ready atop his steed, looking as he did when we first saw him ride into RIVENDELL. He glances upward. ANGLE ON: A WHITE FLAG, EMBLAZONED with the IMAGE OF A TREE ... the STANDARD OF THE STEWARD OF GONDOR flies high over OSGILIATH. ANGLE ON: BOROMIR turns his gaze to FARAMIR, who looks up at his brother.<\/scene_description>\n    <character>BOROMIR<\/character>\n    <dialogue>Remember today, little brother.<\/dialogue>\n    <scene_description>ANGLE ON: FARAMIR smiles and nods...BOROMIR smiles in return and trots his horse out of OSGILIATH. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HENNETH ANN\u00dbN - NIGHT<\/stage_direction>\n    <scene_description>FARAMIR sits alone...staring into nothing...lost in his memories. MADRIL approaches behind him.<\/scene_description>\n    <character>MADRIL<\/character>\n    <dialogue>Captain Faramir!<\/dialogue>\n    <scene_description>MADRIL leans to FARAMIR'S ear.<\/scene_description>\n    <character>MADRIL<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>We found the third one.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HENNETH ANN\u00dbN - NIGHT<\/stage_direction>\n    <scene_description>ANGLE ON: FRODO and SAM sleep. FRODO'S eyes slowly open as footsteps approach. He looks up at figures before him. ANGLE ON: FARAMIR stands before him with 2 other GONDORIAN RANGERS.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>You must come with me. Now.<\/dialogue>\n    <scene_description>FRODO silently rises and follows them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HENNETH ANN\u00dbN - NIGHT<\/stage_direction>\n    <scene_description>WIDE ON: The Waterfall concealing their location flows over the cliff leaving space on the sides. FARAMIR inches toward the edge. ANGLE ON: FARAMIR gestures to FRODO.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>Down there.<\/dialogue>\n    <scene_description>ANGLE ON: FRODO carefully walks to the edge and looks down. FARAMIR eyes him watchfully. ANGLE ON: Far below, GOLLUM jumps into the pool at the base of the waterfall. ANGLE ON: FRODO'S eyes open wide, as if caught in his lie.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <parenthetical>(calmly)<\/parenthetical>\n    <dialogue>To enter the Forbidden Pool bears the penalty of death.<\/dialogue>\n    <scene_description>FRODO looks at FARAMIR with fear. FARAMIR gestures to the sides of the waterfall...ARCHERS stationed on both sides of the pool lean in and draw their bows...FRODO looks back to GOLLUM.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>They wait for my command.<\/dialogue>\n    <scene_description>ANGLE ON: Far below, GOLLUM emerges from the pool with a fish in his teeth and sits on a rock. ANGLE ON: FARAMIR still calmly watches FRODO'S reactions. CONTINUED:<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>Shall I shoot?<\/dialogue>\n    <scene_description>ANGLE ON: FRODO is rapt with indecision. ANGLE ON: GOLLUM sits on the rock with his fish...completely oblivious that his life may be in mortal danger. ANGLE ON: FARAMIR gives a signal to the ARCHERS. They raise their bows. ANGLE ON: FRODO continues watching GOLLUM, indecision etched across his face. ANGLE ON: GOLLUM attempts to eat the fish, but it wriggles about in his grasp. He regains control of the fish and whacks it repeatedly on the rock. ANGLE ON: FARAMIR raises his hand to give the signal to fire.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Wait!<\/dialogue>\n    <scene_description>FARAMIR stops. He continues looking at FRODO expectantly.<\/scene_description>\n    <character>FRODO<\/character>\n    <parenthetical>(with difficulty)<\/parenthetical>\n    <dialogue>This creature is bound to me. And I to him.<\/dialogue>\n    <scene_description>FARAMIR lowers his hand and responds, knowing GOLLUM is connected to FRODO.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>He is our guide.<\/dialogue>\n    <parenthetical>(desperately)<\/parenthetical>\n    <dialogue>Please ... let me go down to him.<\/dialogue>\n    <scene_description>FARAMIR nods. FRODO runs off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE FORBIDDEN POOL - NIGHT<\/stage_direction>\n    <scene_description>GOLLUM tears at the fish. FRODO appears from behind him.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Sm\u00e9agol!<\/dialogue>\n    <scene_description>CONTINUED: GOLLUM continues eating, not responding to FRODO'S call.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Master is here.<\/dialogue>\n    <scene_description>ANGLE ON: GOLLUM turns to FRODO, hesitantly.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Come, Sm\u00e9agol. Trust master. Come!<\/dialogue>\n    <scene_description>GOLLUM doesn't move. He looks at FRODO distrustfully.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>We must go now?<\/dialogue>\n    <character>FRODO<\/character>\n    <dialogue>Sm\u00e9agol, you must trust master. Follow me, come on. Come.<\/dialogue>\n    <scene_description>GOLLUM finally responds to FRODO. He puts the fish between his teeth and follows warily after FRODO.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Come Sm\u00e9agol. Nice Sm\u00e9agol. That's it. Come on.<\/dialogue>\n    <scene_description>ANGLE ON: FRODO stops. GOLLUM'S eyes dart around, fearfully. SUDDENLY! A GONDORIAN RANGER grabs GOLLUM by the neck, lifting him off the ground. Instantly, several others descend on him, quickly overpowering him. GOLLUM wails in anguish.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Don't hurt him! Sm\u00e9agol don't struggle! Sm\u00e9agol listen to me!<\/dialogue>\n    <character>GOLLUM<\/character>\n    <dialogue>Master!<\/dialogue>\n    <scene_description>A BLACK CLOTH is draped over GOLLUM'S head. The RANGERS pack him back into HENNETH ANN\u00dbN...FRODO looks up to FARAMIR, speechless.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HENNETH ANN\u00dbN - NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON: GOLLUM is slung against a wall of the cave. He wails in agony. ANGLES ON: FARAMIR'S MEN throw GOLLUM to the ground, beating and kicking him. GOLLUM is helpless against their strength. ANGLE ON: FARAMIR watches out into the night. Finally, he turns to them.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>That's enough.<\/dialogue>\n    <scene_description>ANGLE ON: The MEN throw GOLLUM to the ground. He scrambles into a corner. FARAMIR approaches him.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>Where are you leading them?<\/dialogue>\n    <scene_description>ANGLE ON: GOLLUM cowers away from him, whimpering.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>Answer me!<\/dialogue>\n    <scene_description>GOLLUM continues sobbing. Suddenly, his hand starts stroking his shoulder, comfortingly.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>Sm\u00e9agol. Why does it cry, Sm\u00e9agol?<\/dialogue>\n    <scene_description>ANGLE ON: FARAMIR looks upon GOLLUM, confused.<\/scene_description>\n    <character>SM\u00c9AGOL<\/character>\n    <parenthetical>(sobbing)<\/parenthetical>\n    <dialogue>Cruel Men hurts us. Master tricksed us.<\/dialogue>\n    <character>GOLLUM<\/character>\n    <dialogue>Of course he did.<\/dialogue>\n    <scene_description>SM\u00c9AGOL sobs again.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>I told you he was tricksy. I told you he was false.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>SM\u00c9AGOL<\/character>\n    <parenthetical>(sobbing)<\/parenthetical>\n    <dialogue>Master is our friend ... our friend.<\/dialogue>\n    <character>GOLLUM<\/character>\n    <dialogue>Master betrayed us.<\/dialogue>\n    <character>SM\u00c9AGOL<\/character>\n    <dialogue>No. Not its business. Leave us alone!<\/dialogue>\n    <scene_description>GOLLUM hits his fist against the wall.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>Filthy little Hobbitses. They stole it from us!<\/dialogue>\n    <character>SM\u00c9AGOL<\/character>\n    <parenthetical>(whimpers)<\/parenthetical>\n    <dialogue>No ... No.<\/dialogue>\n    <scene_description>ANGLE ON: FARAMIR, suddenly interested.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>What did they steal?<\/dialogue>\n    <scene_description>ANGLE ON: GOLLUM turns to FARAMIR with a fearsome expression.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>My Precious!<\/dialogue>\n    <scene_description>He bares his teeth and growls. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HENNETH ANN\u00dbN - NIGHT<\/stage_direction>\n    <scene_description>ANGLE ON: SAM and FRODO sit alone in a storage area.<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>We have to get out of here. You go. Go, now.<\/dialogue>\n    <scene_description>ANGLE ON: FRODO looks to SAM, warily. SAM crawls over to him. CONTINUED:<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>You can do it. Use the Ring, Mr. Frodo. Just this once. Put it on. Disappear.<\/dialogue>\n    <scene_description>FRODO shakes his head.<\/scene_description>\n    <character>FRODO<\/character>\n    <parenthetical>(with difficulty)<\/parenthetical>\n    <dialogue>I can't. You were right, Sam. You tried to tell me but ... I'm sorry. The Ring's taking me, Sam.<\/dialogue>\n    <parenthetical>(fearfully)<\/parenthetical>\n    <dialogue>If I put it on, he'll find me. He'll see.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Mr. Frodo...<\/dialogue>\n    <scene_description>SAM suddenly looks up. ANGLE ON: FARAMIR enters and draws his sword. The HOBBITS jump up and stand before him.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>So this is the answer to all the riddles ... here in the Wild I have you. Two halflings ... and a host of Men at my call.<\/dialogue>\n    <scene_description>FARAMIR backs FRODO up against a wall, his sword at FRODO'S neck.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>The Ring of Power within my grasp.<\/dialogue>\n    <scene_description>CLOSE ON: FARAMIR lifts the RING from FRODO'S tunic with the tip of his sword. ANGLE ON: FRODO looks at FARAMIR with fear.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>A chance for Faramir, captain of Gondor, to show his quality.<\/dialogue>\n    <scene_description>CLOSE ON: The RING remains on FRODO'S chest at the tip of FARAMIR'S sword. CONTINUED: (2) ON THE SOUNDTRACK: The HUM of the RING grows louder. ANGLE ON: FRODO reacts to the RING'S call to FARAMIR. SUDDENLY! FRODO breaks from his trance and throws FARAMIR'S sword from him.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>No!!<\/dialogue>\n    <scene_description>FRODO runs into a corner and cowers there with the RING. ANGLE ON: FARAMIR watches FRODO'S reaction with surprise...SAM reels on FARAMIR.<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>(angrily)<\/parenthetical>\n    <dialogue>Stop it! Leave him alone! Don't you understand? He's got to destroy it! That's where we're going ... into Mordor ... to the mountain of fire.<\/dialogue>\n    <scene_description>ANGLE ON: FARAMIR, unmoving, continues to stare at FRODO. MADRIL enters behind him, snapping him out of his trance.<\/scene_description>\n    <character>MADRIL<\/character>\n    <dialogue>Osgiliath is under attack. They call for reinforcements.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Please. It's such a burden. Will you not help him?<\/dialogue>\n    <character>MADRIL<\/character>\n    <dialogue>Captain?<\/dialogue>\n    <character>FARAMIR<\/character>\n    <parenthetical>(to Madril)<\/parenthetical>\n    <dialogue>Prepare to leave.<\/dialogue>\n    <scene_description>FARAMIR turns back to SAM and FRODO, expressionless.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>The Ring will go to Gondor.<\/dialogue>\n    <scene_description>SAM'S face turns to fear and hopelessness. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAINS OF ROHAN - DAY<\/stage_direction>\n    <scene_description>ARAGORN rides atop BREGO. He stops on a ridge overlooking the PLAINS. CLOSE ON: ARAGORN looks across the PLAINS, worried. ANGLE ON: Still far off in the distance, the massive URUK-HAI ARMY marches in files towards HELM'S DEEP. The black lines of troops stretches beyond eyesight. ANGLE ON: ARAGORN, speechless and scared, pulls BREGO back and gallops as fast as he can handle to HELM'S DEEP.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELM'S DEEP OVERLOOK - DAY<\/stage_direction>\n    <scene_description>WIDE ON: ARAGORN and BREGO reach the hillock overlooking the wide plains before HELM'S DEEP, nestled in the mountain. ANGLE ON: ARAGORN smiles and pats BREGO.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(in ELVISH)<\/parenthetical>\n    <dialogue>Mae carnen, Brego, mellon n\u00een.<\/dialogue>\n    <dialogue>Well done, Brego, my friend.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELM'S DEEP - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: ARAGORN gallops up the walk into HELM'S DEEP.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELM'S DEEP COURTYARD - DAY<\/stage_direction>\n    <scene_description>ANGLES ON: ARAGORN rides past the people...They are amazed to see him alive...a soldier takes charge of BREGO...ARAGORN dismounts...GIMLI fights his way through the crowd.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>Where is he? Where is he? Get out of the way! I'm gonna kill him!<\/dialogue>\n    <scene_description>CLOSE ON: GIMLI looks upon ARAGORN in amazement. He smiles broadly.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>You are the luckiest, the canniest and the most reckless man I ever knew!<\/dialogue>\n    <scene_description>CONTINUED: ANGLE ON: GIMLI embraces ARAGORN. ARAGORN accepts his friend's affection.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>Gimli, where is the king?<\/dialogue>\n    <scene_description>GIMLI nods to the HALL.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELM'S DEEP HALL - DAY<\/stage_direction>\n    <scene_description>As ARAGORN walks through the people, he meets LEGOLAS, who blocks his path. LEGOLAS looks at him, amused.<\/scene_description>\n    <character>LEGOLAS<\/character>\n    <parenthetical>(in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>Le ab-dollen.<\/dialogue>\n    <dialogue>You're late.<\/dialogue>\n    <scene_description>They smiles. LEGOLAS gives ARAGORN a once-over and frowns.<\/scene_description>\n    <character>LEGOLAS<\/character>\n    <dialogue>You look terrible.<\/dialogue>\n    <scene_description>ARAGORN laughs. ANGLE ON: \u00c9OWYN tends to one of the people. She turns and is overjoyed to see ARAGORN returned. She moves to him, but pauses. CLOSE ON: LEGOLAS hands ARAGORN a necklace...ARAGORN hands up his hand to reveal the EVENSTAR has been returned to him. ANGLE ON: \u00c9OWYN'S smile fades. ANGLE ON: ARAGORN looks at LEGOLAS in reverent happiness. He nods with appreciation.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(in ELVISH)<\/parenthetical>\n    <dialogue>Hannon le.<\/dialogue>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>ANGLE ON: \u00c9OWYN continues watching, now torn within. She fights back tears.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELM'S DEEP HALL - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: TH\u00c9ODEN sits on his throne with GAMLING at his side. The door sounds and they turn to it. ANGLE ON: ARAGORN throws open the doors an stands before them. LATER... ANGLE ON: TH\u00c9ODEN, taking in ARAGORN'S story.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>A great host, you say?<\/dialogue>\n    <character>ARAGORN<\/character>\n    <dialogue>All Isengard is emptied<\/dialogue>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>How many?<\/dialogue>\n    <character>ARAGORN<\/character>\n    <dialogue>Ten thousand strong at least.<\/dialogue>\n    <scene_description>TH\u00c9ODEN turns to ARAGORN, incredulous.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <parenthetical>(in disbelief)<\/parenthetical>\n    <dialogue>Ten thousand?<\/dialogue>\n    <character>ARAGORN<\/character>\n    <parenthetical>(grim)<\/parenthetical>\n    <dialogue>It is an army bred for a single purpose ... to destroy the world of Men.<\/dialogue>\n    <scene_description>CLOSE ON: TH\u00c9ODEN attempts to fathom ARAGORN'S bombshell. He shows real fear. CLOSE ON: ARAGORN grimly completes the bad news.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>They will be here by nightfall.<\/dialogue>\n    <scene_description>ANGLE ON: TH\u00c9ODEN turns away slowly, considering. Finally, he walks resolutely from the hall.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>Let them come!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELM'S DEEP BATTLEMENTS - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: TH\u00c9ODEN and GAMLING walk down the stairs followed by ARAGORN, LEGOLAS, and GIMLI.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <parenthetical>(to Gamling)<\/parenthetical>\n    <dialogue>I want every man and strong lad able to bear arms to be ready for battle by nightfall.<\/dialogue>\n    <scene_description>He dismisses GAMLING. He, ARAGORN, LEGOLAS, and GIMLI continue on to stand just outside the main gate. WIDE ON: TH\u00c9ODEN stands outside the gate on the stone pathway leading into HELM'S DEEP. He addresses his plan.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>We will cover the causeway and the gate from above. No army has ever breached the Deeping Wall or set foot inside the Hornburg!<\/dialogue>\n    <scene_description>GIMLI stands bored against the gate.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>This is no rabble of mindless Orcs.<\/dialogue>\n    <scene_description>TH\u00c9ODEN turns to GIMLI, almost surprised to hear from him.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>These are Uruk-Hai. Their armor is thick and their shields broad.<\/dialogue>\n    <scene_description>TH\u00c9ODEN stands tall before GIMLI.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>I have fought many wars, Master Dwarf. I know how to defend my own Keep.<\/dialogue>\n    <scene_description>TH\u00c9ODEN walks back into the KEEP. CLOSE ON: ARAGORN and LEGOLAS walk past GIMLI, who appears to have been put off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELM'S DEEP BATTLEMENTS - DAY<\/stage_direction>\n    <scene_description>WIDE ON: TH\u00c9ODEN leads ARAGORN, LEGOLAS, and GIMLI across the battlements of HELM'S DEEP, overlooking the expansive plains.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>They will break upon this fortress like water on rock. Saruman's hordes will pillage and burn. We've seen it before. Crops can be resown; homes rebuilt. Within these walls, we will outlast them.<\/dialogue>\n    <scene_description>ANGLE ON: ARAGORN follows TH\u00c9ODEN closely.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>They do not come to destroy Rohan's crops or villages. They come to destroy its people ... down to the last child.<\/dialogue>\n    <scene_description>ANGLE ON: TH\u00c9ODEN turns quickly to ARAGORN and draws him close.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <parenthetical>(quietly; angrily)<\/parenthetical>\n    <dialogue>What would you have me do? Look at my Men. Their courage hangs by a thread.<\/dialogue>\n    <scene_description>ANGLE ON: ARAGORN looks away ashamed.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>If this is to be our end, then I would have them make such an end as to be worthy of remembrance.<\/dialogue>\n    <scene_description>TH\u00c9ODEN walks away. ARAGORN pleads with TH\u00c9ODEN.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>Send out riders, my lord. You must call for aid.<\/dialogue>\n    <scene_description>TH\u00c9ODEN turns back ARAGORN, drawing close again.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <parenthetical>(doubtfully)<\/parenthetical>\n    <dialogue>And who will come? Elves? Dwarves? We are not so lucky in our friends as you. The old alliances are dead.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>Gondor will answer.<\/dialogue>\n    <character>TH\u00c9ODEN<\/character>\n    <parenthetical>(angrily)<\/parenthetical>\n    <dialogue>Gondor?! Where was Gondor when the Westfold fell? Where was Gondor when our enemies closed in around us?! Where was Gon--?<\/dialogue>\n    <scene_description>TH\u00c9ODEN recollects himself. He looks into ARAGORN'S eyes.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>No, my Lord Aragorn...we are alone.<\/dialogue>\n    <scene_description>ANGLE ON: TH\u00c9ODEN turns away again...ARAGORN looks after him, nodding...TH\u00c9ODEN walks up the steps to the HALL, followed closely by GAMLING.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>Get the women and children into the caves.<\/dialogue>\n    <character>GAMLING<\/character>\n    <dialogue>We need more time to lay provisions--<\/dialogue>\n    <character>TH\u00c9ODEN<\/character>\n    <parenthetical>(curt)<\/parenthetical>\n    <dialogue>There is no time. War is upon us.<\/dialogue>\n    <scene_description>TH\u00c9ODEN and STAFF enter into the HALL...HIGH OVERHEAD, a flock of crows gathers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FANGORN FOREST - DAY<\/stage_direction>\n    <scene_description>TREEBEARD continues his walk through FANGORN. MERRY and PIPPIN rest in his branches, carried along by their fates.<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <dialogue>The Ents have not troubled about the wars of Men and wizards for a very long time.<\/dialogue>\n    <scene_description>ANGLE ON: TREEBEARD enters an expansive clearing and stops. CONTINUED:<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <dialogue>But now, something is about to happen that has not happened for an age ... Entmoot.<\/dialogue>\n    <character>MERRY<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>TREEBEARD<\/character>\n    <dialogue>'Tis a gathering.<\/dialogue>\n    <character>MERRY<\/character>\n    <dialogue>A gathering of what?<\/dialogue>\n    <scene_description>A noise sounds from behind them. ANGLE ON: MERRY turns to look behind TREEBEARD. ANGLES ON: ENTS begin emerging from the forest and walking towards TREEBEARD. OVERHEAD ANGLE ON: Many ENTS walk to the middle of the gathering where TREEBEARD awaits.<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <dialogue>Beech. Oak. Chestnut. Ash. Good. Good. Good. Many have come.<\/dialogue>\n    <scene_description>ANGLES ON: The ENTS all stop near TREEBEARD...MERRY and PIPPIN look about in awe.<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <dialogue>Now we must decide if the Ents will go to war.<\/dialogue>\n    <scene_description>ANGLE ON: MERRY and PIPPIN look to TREEBEARD in fear and anticipation.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELM'S DEEP COURTYARD - DAY<\/stage_direction>\n    <scene_description>ANGLES ON: In a mass organized movement, the people gather their belongings and trudge together into hiding. SOLDIERS assist the elderly and infirm in getting themselves into the caves. ANGLE ON: ARAGORN works his way through the throng and explains the plan to LEGOLAS. CONTINUED:<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>We'll place the reserves along the wall. They can support the archers from above the gate.<\/dialogue>\n    <character>LEGOLAS<\/character>\n    <dialogue>Aragorn, you must rest. You're no use to us half alive.<\/dialogue>\n    <scene_description>ARAGORN pays LEGOLAS no mind. A VOICE breaks across the throngs. ARAGORN looks in its direction.<\/scene_description>\n    <character>\u00c9OWYN (O.S.)<\/character>\n    <dialogue>Aragorn! Aragorn!<\/dialogue>\n    <scene_description>ANGLE ON: \u00c9OWYN runs through the crowds towards him. She looks at him angrily.<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>I'm to be sent with the women into the caves.<\/dialogue>\n    <character>ARAGORN<\/character>\n    <parenthetical>(nodding)<\/parenthetical>\n    <dialogue>That is an honorable charge.<\/dialogue>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>To mind the children, to find food and bedding with the men return. What renown is there in that?<\/dialogue>\n    <scene_description>ARAGORN grasps her hands.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(reassuring)<\/parenthetical>\n    <dialogue>My lady, a time may come for valor without renown. Who then will your people look to in the last defense?<\/dialogue>\n    <character>\u00c9OWYN<\/character>\n    <parenthetical>(pleading)<\/parenthetical>\n    <dialogue>Let me stand at your side.<\/dialogue>\n    <character>ARAGORN<\/character>\n    <dialogue>It is not in my power to command it.<\/dialogue>\n    <scene_description>CONTINUED: (2) ARAGORN turns away from her. She looks after him unmoved. He turns.<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>You do not command the others to stay! They fight beside you because they would not be parted from you.<\/dialogue>\n    <parenthetical>(desperately)<\/parenthetical>\n    <dialogue>Because they love you!<\/dialogue>\n    <scene_description>ARAGORN stands before her, looking at her silently. She averts her gaze.<\/scene_description>\n    <character>\u00c9OWYN<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <scene_description>She pushes past him and follows the people into the caves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELM'S DEEP CAVES - NIGHT<\/stage_direction>\n    <scene_description>ANGLE ON: WOMEN and CHILDREN comfort each other as they trudge their way into the caves...They regard their new home with fear and doubt...\u00c9OWYN studies her task grimly. WIDE ON: The expansiveness of the caves holds thousands of ROHIRRIM. The caves seem to go on forever. ANGLES ON: Tearful good-byes from wives, mothers, young siblings and children as even old men and boys are drafted into service and taken away from their families to fight. ANGLES ON: Swords are passed out to the miserable army. ANGLE ON: ARAGORN examines one of the swords. He tosses it away, discouraged.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>Farmer, farriers, stable boys. These are no soldiers.<\/dialogue>\n    <character>GIMLI<\/character>\n    <dialogue>Most have seen too many winters.<\/dialogue>\n    <character>LEGOLAS<\/character>\n    <dialogue>Or too few.<\/dialogue>\n    <scene_description>CONTINUED: ARAGORN nods, miserably. ANGLES ON: The new soldiers continue to prepare.<\/scene_description>\n    <character>LEGOLAS<\/character>\n    <dialogue>Look at them. They're frightened. I can see it in their eyes.<\/dialogue>\n    <scene_description>ANGLE ON: Everyone around them turns to look at LEGOLAS. He turns away, angrily.<\/scene_description>\n    <character>LEGOLAS<\/character>\n    <parenthetical>(in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>Boe a h\u00fbn...neled herain...dan caer menig!<\/dialogue>\n    <dialogue>And they should be...Three hundred ...against ten thousand!<\/dialogue>\n    <scene_description>ANGLE ON: ARAGORN looks at LEGOLAS with as much confidence as he can muster.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>Si beriathar h\u00fdn. Amar n\u00e2 ned Edoras.<\/dialogue>\n    <parenthetical>(subtitled)<\/parenthetical>\n    <dialogue>They have more hope of defending themselves here than at Edoras.<\/dialogue>\n    <character>LEGOLAS<\/character>\n    <dialogue>Aragorn, Men i ndagor. H\u00fdn \u00fa-... ortheri. Natha daged aen!<\/dialogue>\n    <dialogue>Aragorn, we are warriors. They cannot win this fight. They are all going to die!<\/dialogue>\n    <scene_description>ARAGORN explodes at LEGOLAS.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(resolute)<\/parenthetical>\n    <dialogue>Then I shall die as one them!<\/dialogue>\n    <scene_description>Their gaze locks for a moment...ARAGORN breaks and walks away. LEGOLAS makes to follow him...GIMLI puts a hand on his arm.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>Let him go, lad. Let him be.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELM'S DEEP - NIGHT<\/stage_direction>\n    <scene_description>WIDE ON: SOLDIERS stand at the BATTLEMENTS. The PLAINS before the DEEP are quiet ... like the calm before a storm.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KING'S CHAMBER, HELM'S DEEP - NIGHT<\/stage_direction>\n    <scene_description>GAMLING approaches KING TH\u00c9ODEN.<\/scene_description>\n    <character>GAMLING<\/character>\n    <dialogue>Every villager able to wield a sword has been sent to the armory.<\/dialogue>\n    <scene_description>TH\u00c9ODEN stands silently - unarmed and armourless.<\/scene_description>\n    <character>GAMLING<\/character>\n    <dialogue>My lord?<\/dialogue>\n    <character>TH\u00c9ODEN<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Who am I, Gamling?<\/dialogue>\n    <character>GAMLING<\/character>\n    <parenthetical>(matter-of-fact)<\/parenthetical>\n    <dialogue>You are our king, sire.<\/dialogue>\n    <character>TH\u00c9ODEN<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>And do you trust your king?<\/dialogue>\n    <scene_description>GAMLING stands at TH\u00c9ODEN'S side with his armour, unmoving.<\/scene_description>\n    <character>GAMLING<\/character>\n    <dialogue>Your men, my lord, will follow you to whatever end.<\/dialogue>\n    <scene_description>Slowly, GAMLING wraps the armour around TH\u00c9ODEN.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <parenthetical>(quietly, to himself)<\/parenthetical>\n    <dialogue>To whatever end...<\/dialogue>\n    <scene_description>ANGLES ON: GAMLING attaches TH\u00c9ODEN'S ARMOUR, piece by piece. INTERCUT: Lances held high like an enormous porcupine, the URUK- HAI ARMY continues its steady march across the PLAINS OF ROHAN to HELM'S DEEP. CONTINUED:<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>Where is the horse and the rider? Where is the horn that was blowing?<\/dialogue>\n    <scene_description>IMAGE: A SOLDIER sharpens a sword on a whetstone ... Old men collect spears on their way to fight.<\/scene_description>\n    <character>TH\u00c9ODEN (V.O.)<\/character>\n    <dialogue>They have passed like rain on the mountains.<\/dialogue>\n    <scene_description>IMAGE: A oversized helmet is placed on the head of a boy.<\/scene_description>\n    <character>TH\u00c9ODEN (V.O.)<\/character>\n    <dialogue>Like wind in the meadow.<\/dialogue>\n    <scene_description>IMAGE: An axe is handed to a frightened boy, who takes it with trepidation.<\/scene_description>\n    <character>TH\u00c9ODEN (V.O.)<\/character>\n    <dialogue>The days have gone down in the west...<\/dialogue>\n    <scene_description>INTERCUT: The URUK-HAI ARMY marches ever closer.<\/scene_description>\n    <character>TH\u00c9ODEN (V.O.)<\/character>\n    <dialogue>...behind the hills...<\/dialogue>\n    <scene_description>IMAGE: A boy dressed in full chain mail too large for him, takes a shield and moves to fight.<\/scene_description>\n    <character>TH\u00c9ODEN (V.O.)<\/character>\n    <dialogue>...into Shadow.<\/dialogue>\n    <scene_description>INTERCUT: The URUK-HAI ARMY closes in on HELM'S DEEP and begins to take their positions. ANGLE ON: TH\u00c9ODEN in his hall, still standing still as GAMLING adjusts his armour.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>How did it come to this?<\/dialogue>\n    <scene_description>WIDE ON: GAMLING stands to the side of TH\u00c9ODEN in the empty room. They are ready.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FANGORN FOREST, ENTMOOT - NIGHT<\/stage_direction>\n    <scene_description>HIGH WIDE AERIAL OVER the treetops to the location of the ENTMOOT. The ENTS move and groan. ANGLE ON: PIPPIN rests against a root...MERRY paces impatiently.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>It's been going for hours.<\/dialogue>\n    <scene_description>PIPPIN stands and walks over to him.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>They must have decided something by now.<\/dialogue>\n    <scene_description>TREEBEARD turns to them and shakes his head.<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <dialogue>Decided? No.<\/dialogue>\n    <scene_description>Slowly, TREEBEARD turns to the HOBBITS.<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <dialogue>We only just finished saying...good morning.<\/dialogue>\n    <scene_description>TREEBEARD turns back to the ENTMOOT. ANGLE ON: MERRY looks on in frustration.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>But it's nighttime already. You can't take forever.<\/dialogue>\n    <scene_description>ANGLE ON: TREEBEARD slowly turns to MERRY again.<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <dialogue>Don't be hasty.<\/dialogue>\n    <character>MERRY<\/character>\n    <dialogue>We're running out of time!<\/dialogue>\n    <scene_description>TREEBEARD seems to ignore him and turns back to the ENTMOOT.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELM'S DEEP BATTLEMENTS - NIGHT<\/stage_direction>\n    <scene_description>SOLDIERS move to and fro preparing HELM'S DEEP for the imminent attack. ANGLE ON: ARAGORN sits on the steps on the HALL, pondering the inevitable. He glances across the steps. ANGLE ON: A boy stands at the edge of the steps, nervously holding a sword. He looks at ARAGORN briefly and averts his gaze.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>Give me your sword.<\/dialogue>\n    <scene_description>ANGLE ON: The boy whips around, looking at ARAGORN. Slowly, he walks over to ARAGORN and hands over his sword. ARAGORN takes it.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>What is your name?<\/dialogue>\n    <character>HALETH<\/character>\n    <dialogue>Haleth, son of H\u00e1ma, my lord.<\/dialogue>\n    <scene_description>ARAGORN reacts to the name.<\/scene_description>\n    <character>HALETH<\/character>\n    <dialogue>The Men are saying that we will not live out the night. They say that it is hopeless...<\/dialogue>\n    <scene_description>Wordlessly, ARAGORN stands and eyeballs the sword. He gives it a few swings and holds it before him. He looks at HALETH.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>This is a good sword.<\/dialogue>\n    <scene_description>ARAGORN hands the sword back to HALETH, who takes it gingerly.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>Haleth, son of H\u00e1ma...<\/dialogue>\n    <scene_description>ARAGORN leans down to him.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>...there is always hope.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARMORY, HELM'S DEEP - NIGHT<\/stage_direction>\n    <scene_description>SERIES OF IMAGES: ARAGORN quickly dons his CHAIN MAIL, LEATHER VEST, and ELVEN DAGGER. ANGLE ON: SOMEONE hands ARAGORN his SWORD...ARAGORN looks up... LEGOLAS stands before ARAGORN, ARAGORN'S sword in hand. ARAGORN takes it and nods in thanks.<\/scene_description>\n    <character>LEGOLAS<\/character>\n    <dialogue>We have trusted you this far. You have not led us astray. Forgive me. I was wrong to despair.<\/dialogue>\n    <scene_description>ARAGORN shakes his head.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>\u00da-moe edhored, Legolas.<\/dialogue>\n    <dialogue>There is nothing to forgive, Legolas.<\/dialogue>\n    <scene_description>They smile at each other, their friendship renewed. ANGLE ON: GIMLI wrestles with a shirt of CHAIN MAIL.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>We had time, I'd get this adjusted.<\/dialogue>\n    <scene_description>He gets the shirt on, and drops the bundle to the floor. It lands in a heap. ANGLE ON: ARAGORN and LEGOLAS smile...GIMLI is unphased.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>It's a little tight across the chest.<\/dialogue>\n    <scene_description>ANGLE ON: ARAGORN and LEGOLAS nod in feigned agreement. ON THE SOUNDTRACK: A HORN sounds from outside. ANGLE ON: LEGOLAS turns in curiosity.<\/scene_description>\n    <character>LEGOLAS<\/character>\n    <dialogue>That is no Orc horn.<\/dialogue>\n    <scene_description>ANGLE ON: LEGOLAS and ARAGORN run out of the ARMORY.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELM'S DEEP BATTLEMENTS - NIGHT<\/stage_direction>\n    <scene_description>The GUARDS look over the edge of the Battlements.<\/scene_description>\n    <character>GUARD 1<\/character>\n    <parenthetical>(to GUARD 2)<\/parenthetical>\n    <dialogue>Send for the king.<\/dialogue>\n    <scene_description>GUARD 2 nods and runs off.<\/scene_description>\n    <character>GUARD 1<\/character>\n    <dialogue>Open the gate!<\/dialogue>\n    <scene_description>The order passes down the WALL. ANGLE ON: An army of LOTHL\u00d3RIEN ELVEN ARCHERS march up the Causeway into the HORNBURG...the SOLDIERS look upon them in wonder and excitement...TH\u00c9ODEN walks down the steps of the HALL. His mouth drops open in surprise. ANGLE ON: HALDIR leads the ELVES to TH\u00c9ODEN. He bows with respect.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>How is this possible?<\/dialogue>\n    <character>HALDIR<\/character>\n    <dialogue>I bring word from Elrond of Rivendell. An alliance once existed between Elves and Men. Long ago we fought and died together.<\/dialogue>\n    <scene_description>ANGLE ON: ARAGORN, LEGOLAS, and GIMLI appear at the head of the stairs. HALDIR looks up to them and smiles.<\/scene_description>\n    <character>HALDIR<\/character>\n    <dialogue>We come to honor that allegiance.<\/dialogue>\n    <scene_description>ANGLE ON: ARAGORN, LEGOLAS, and GIMLI descend the steps to greet HALDIR.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(in ELVISH)<\/parenthetical>\n    <dialogue>Mae govannen, Haldir.<\/dialogue>\n    <dialogue>Welcome, Haldir<\/dialogue>\n    <scene_description>CONTINUED: HALDIR extends in hand in the traditional ELVISH welcome. ARAGORN begins to, but then grabs HALDIR in a huge embrace. HALDIR is momentarily stunned, but hugs back lightly.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>You are most welcome.<\/dialogue>\n    <scene_description>LEGOLAS and HALDIR clasp each other on the shoulder in greeting. ANGLE ON: The ARMY OF ELVES performs a LEFT FACE and stands before TH\u00c9ODEN for his review. HALDIR bows before him.<\/scene_description>\n    <character>HALDIR<\/character>\n    <dialogue>We are proud to fight alongside Men once more.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELM'S DEEP BATTLEMENTS - NIGHT<\/stage_direction>\n    <scene_description>WIDE ON: The MEN and ELVES stand ready and watchful on the BATTLEMENTS of HELM'S DEEP. Every inch of space overlooking the sides of the wall is covered. WIDE ON: ACROSS THE PLAINS BEFORE HELM'S DEEP, AN ENORMOUS ARMY, LIT BY TORCHES, APPROACHES THE HEAVILY MANNED BATTLEMENTS. ANGLE ON: LEGOLAS watches before a COMPLEMENT of ARCHERS. The top of a HELMET is just visible over the edge of the wall.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>You could have picked a better spot.<\/dialogue>\n    <scene_description>LEGOLAS smirks. ARAGORN approaches and stands beside them.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>Well lad, whatever luck you live by, let's hope it lasts the night.<\/dialogue>\n    <scene_description>LIGHTNING FLASHES...THUNDER ROLLS... WIDE ON: As the LIGHTNING illuminates the night, it reveal the sheer size of the sea of approaching URUK-HAI. ANGLE ON: LEGOLAS' eyes grow wide at the very sight. CONTINUED:<\/scene_description>\n    <character>LEGOLAS<\/character>\n    <dialogue>Your friends are with you, Aragorn.<\/dialogue>\n    <character>GIMLI<\/character>\n    <dialogue>Let's hope they last the night.<\/dialogue>\n    <scene_description>ON THE SOUNDTRACK: The steady approach of the URUK-HAI grows louder. ANGLE ON: TH\u00c9ODEN stands ready with his men. LIGHTNING peels across the sky accompanied by more THUNDER. TH\u00c9ODEN looks up as it begins to rain. WIDE ON: THE MEN ON THE BATTLEMENTS ARE UNMOVED BY THE SUDDEN DOWNPOUR. ANGLES ON: THE SEA OF SPEAR GROWS EVER CLOSER...AN ORC COMMANDER stands atop a rock, urging the sea of URUK-HAI onward. WIDE ON: The URUK-HAI move ever closer to the WALL of HELM'S DEEP. ANGLE ON: ARAGORN moves through the ranks of the ELVEN ARCHERS.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>A Eruch\u00een, \u00fa-dano i faelas a hyn ... an uben tanatha le faelas!<\/dialogue>\n    <dialogue>Show them no mercy ... for you shall receive none!<\/dialogue>\n    <scene_description>ANGLE ON: The URUK-HAI COMMANDER roars at his troops. They stop their march. WIDE ON: The two armies stand still opposite each other...each waiting for the other. ANGLE ON: ARAGORN moves to the edge of the BATTLEMENT. ANGLE ON: The URUK-HAI stand impatiently, waiting for their orders. ANGLE ON: GIMLI jumps and strains to see. CONTINUED: (2)<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>What's happening out there?<\/dialogue>\n    <character>LEGOLAS<\/character>\n    <dialogue>Shall I describe it to you?<\/dialogue>\n    <scene_description>He looks at GIMLI with a grin.<\/scene_description>\n    <character>LEGOLAS<\/character>\n    <dialogue>Or would you like me to find you a box?<\/dialogue>\n    <scene_description>GIMLI laughs. WIDE ON: THE URUK-HAI COMMANDER roars. The ENTIRE URUK-HAI ARMY begins POUNDS their spears on the ground. ANGLES ON: The MEN and ELVES draw their swords and ready their arrows. ANGLE ON: ALDOR, an old man standing ready with his bow, loses his grip...the arrows sails to the front line of URUK-HAI and hits its mark.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(in ELVISH)<\/parenthetical>\n    <dialogue>Dartho!<\/dialogue>\n    <dialogue>Hold!<\/dialogue>\n    <scene_description>ANGLE ON: The URUK-HAI groans and collapses to the ground, dead...the COMMANDER roars and thrusts his sword forward...the URUK-HAI roar in response and running towards the BATTLEMENTS. ANGLE ON: TH\u00c9ODEN regards the scene grimly.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>So it begins.<\/dialogue>\n    <scene_description>WIDE ON: The front line of URUK-HAI rush toward the WALL. ANGLE ON: ARAGORN shouts orders to the ARCHERS. CONTINUED: (3)<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>Tangado halad!<\/dialogue>\n    <dialogue>Prepare to fire!<\/dialogue>\n    <scene_description>ANGLES ON: As one, the ARCHERS nock their arrows. And stand ready to fire. ANGLE ON: LEGOLAS speaks to HALDIR.<\/scene_description>\n    <character>LEGOLAS<\/character>\n    <parenthetical>(in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>Faeg i-varv d\u00een na lanc...a nu ranc.<\/dialogue>\n    <dialogue>Their armor is weak at the neck...and underneath the arms.<\/dialogue>\n    <scene_description>ANGLE ON: ARAGORN brings his arm down.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>Leithio i philinn!<\/dialogue>\n    <dialogue>Release Arrows!<\/dialogue>\n    <scene_description>ANGLES ON: The ARCHERS release their arrows and they find their marks. With every URUK-HAI that falls others replace him. ANGLE ON: GIMLI yells to LEGOLAS.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>Did they hit anything?<\/dialogue>\n    <scene_description>ANGLE ON: TH\u00c9ODEN calmly speak to GAMLING.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>Give them a volley.<\/dialogue>\n    <character>GAMLING<\/character>\n    <dialogue>Fire!<\/dialogue>\n    <scene_description>ANGLES ON: The order is passed to the Men, and the arrows fly. Many more URUK-HAI are felled but the advance continues. CONTINUED: (4) ANGLE ON: GIMLI impatiently awaits his own opportunity to participate, jumping at the battlements, wishing he could see.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>Send them to me! Come on!<\/dialogue>\n    <scene_description>WIDE ON: THE URUK-HAI continue advancing on HELM'S DEEP. VOLLEY after VOLLEY of arrows are launched into the fray felling the front line over and over, but the advance cannot be halted... ANGLE ON: URUK-HAI launch arrows from crossbows into the ALLIANCE...ELVES and MEN fall to their doom among the approaching throng...the URUK-HAI produce ladders and mount them against the WALL. ANGLE ON: ARAGORN looks down to this new peril.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>Pendraid!<\/dialogue>\n    <dialogue>Ladders!<\/dialogue>\n    <scene_description>ANGLE ON: GIMLI jumps with glee.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>Good!<\/dialogue>\n    <scene_description>ANGLE ON: Ladders with URUK-HAI riders are raised against the WALL.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>Swords! Swords!<\/dialogue>\n    <scene_description>ANGLE ON: The ELVES draw their swords and prepare for close combat. ANGLE ON: The first URUK-HAI comes over the wall and GIMLI is the first to make contact. QUICK SERIES OF CUTS: The URUK-HAI begin pouring over the wall...the MEN and ELVES battle against them. ANGLE ON: GIMLI and LEGOLAS take stock of each other. CONTINUED: (5)<\/scene_description>\n    <character>GIMLI<\/character>\n    <parenthetical>(holding up 2 fingers)<\/parenthetical>\n    <dialogue>Legolas! Two already!<\/dialogue>\n    <character>LEGOLAS<\/character>\n    <dialogue>I'm on seventeen!<\/dialogue>\n    <character>GIMLI<\/character>\n    <parenthetical>(outraged)<\/parenthetical>\n    <dialogue>I'll have no pointy-ear outscoring me!<\/dialogue>\n    <scene_description>GIMLI quickly turns and fells another URUK-HAI climbing over the wall. LEGOLAS fires more arrows at the invaders.<\/scene_description>\n    <character>LEGOLAS<\/character>\n    <parenthetical>(to GIMLI)<\/parenthetical>\n    <dialogue>Nineteen!<\/dialogue>\n    <scene_description>QUICK SERIES OF CUTS: The battle rages on...more and more siege ladders are raised against HELM'S DEEP...more and more URUK-HAI flood in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ENT MOOT - NIGHT<\/stage_direction>\n    <scene_description>ANGLES ON: TREEBEARD turns from the ENTS...PIPPIN paces...he looks up and gestures to MERRY.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>Merry!<\/dialogue>\n    <scene_description>MERRY responds and they meet up with TREEBEARD.<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <dialogue>We have just agreed.<\/dialogue>\n    <scene_description>ANGLES ON: MERRY and PIPPIN wait with rapt anticipation... TREEBEARD bows his head and closes his eyes...MERRY tilts his head in query.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <scene_description>TREEBEARD shakes himself and looks at the HOBBITS. CONTINUED:<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <dialogue>I have told your names to the Entmoot and we have agreed ... you are not Orcs.<\/dialogue>\n    <scene_description>TREEBEARD gives them a smile...PIPPIN and MERRY stand profoundly still...MERRY appears confused...PIPPIN nods.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>Well, that's good news.<\/dialogue>\n    <character>MERRY<\/character>\n    <parenthetical>(impatiently)<\/parenthetical>\n    <dialogue>And what about Saruman? Have you come to a decision about him?<\/dialogue>\n    <scene_description>ANGLE ON: TREEBEARD comes back up to his full height and waves his hand.<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <dialogue>Now don't be hasty, Master Meriadoc.<\/dialogue>\n    <character>MERRY<\/character>\n    <parenthetical>(angrily)<\/parenthetical>\n    <dialogue>Hasty? Our friends are out there. They need our help. They cannot fight this war on their own.<\/dialogue>\n    <character>TREEBEARD<\/character>\n    <parenthetical>(slowly)<\/parenthetical>\n    <dialogue>War? Yes. It affects us all. Tree, root and twig. But you must understand, young Hobbit...it takes a long time to say anything in Old Entish...and we never say anything unless it is worth taking...a long time to say.<\/dialogue>\n    <scene_description>ANGLE ON: MERRY and PIPPIN look at each other with frustrated impatience. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELM'S DEEP BATTLEMENTS - NIGHT<\/stage_direction>\n    <scene_description>WIDE ON: The MASSIVE URUK-HAI ARMY continues advancing toward the HELM'S DEEP BATTLEMENTS. CONTINUED: PAN ACROSS THE FIELD OF BATTLE TO: A large team of URUK-HAI shield themselves like a turtle and make their way up the CAUSEWAY to the MAIN GATE. ARROWS bounce off the shields. ANGLE ON: ARAGORN notices the peril on the CAUSEWAY. He runs through the ARCHERS shouting orders.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(in ELVISH)<\/parenthetical>\n    <dialogue>Na fennas!<\/dialogue>\n    <dialogue>Causeway!<\/dialogue>\n    <scene_description>THE ELVISH ARCHERS turn and fire at the URUK-HAI on the CAUSEWAY. ANGLE ON: The URUK-HAI on the sides of the turtle formation fall but the TURTLE keeps advancing. ANGLE ON: TH\u00c9ODEN observes the BATTLE.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>Is this it? Is this all you can conjure, Saruman?<\/dialogue>\n    <scene_description>ANGLE ON: Two URUK-HAI carry a SPIKED BALL towards the SLUICE GATE of HELM'S DEEP...they place it within...two more follow and place a second SPIKED BALL within...the URUK-HAI make a clear path for another URUK-HAI, armed with a sparkling torch, to make a clear run for the SLUICE GATE. ANGLE ON: ARAGORN sees the approaching URUK-HAI. He yells to LEGOLAS.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>Togo hon dad, Legolas!<\/dialogue>\n    <dialogue>Bring him down, Legolas!<\/dialogue>\n    <scene_description>ANGLE ON: LEGOLAS fires several arrows at the URUK-HAI, but he continues to run. ANGLE ON: ARAGORN desperately points to the BERSERKER. CONTINUED: (2)<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>Dago hon! Dago hon!<\/dialogue>\n    <dialogue>Kill him! Kill him!<\/dialogue>\n    <scene_description>The URUK reaches the SPIKED BALLS. A MASSIVE EXPLOSION DESTROYS AN ENTIRE SECTION OF THE WALL THROWING MEN AND URUKS IN ITS WAKE! ANGLE ON: TH\u00c9ODEN turns to the explosion, for the first time feeling the fear of the battle. ARAGORN, LEGOLAS, and GIMLI are all thrown to the ground from the explosion. Massive chunks of the wall come down and flatten portions of the URUK-HAI ARMY. ANGLE ON: Water flows out of the breach. URUK-HAI flow in. ANGLE ON: TH\u00c9ODEN turns from the explosion to the TURTLE on the CAUSEWAY. HIGH ANGLE ON: The TURTLE, URUKS still falling from the sides, has slowly made its way to the gate. ANGLE ON: The front shields of the TURTLE peel back to reveal a battering ram buried within.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <parenthetical>(calling out)<\/parenthetical>\n    <dialogue>Brace the Gate!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELM'S DEEP MAIN GATE - NIGHT<\/stage_direction>\n    <scene_description>MEN force themselves against the GATE, trying to hold it. INTERCUT WITH: The URUK-HAI pound the RAM into the GATE. The force of the hit throws the MEN back away from the gate. They quickly recover.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELM'S DEEP GATE - NIGHT<\/stage_direction>\n    <scene_description>ANGLE ON: ABOVE THE GATE, SOLDIERS throw down stones and spears in an attempt to disrupt the RAM.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELM'S DEEP BATTLEMENTS - NIGHT<\/stage_direction>\n    <scene_description>HIGH OVERHEAD ANGLE ON: The URUK-HAI rush throw the destroyed section of the DEEPING WALL. ANGLE ON: ARAGORN slowly comes to his feet...GIMLI, still atop the wall, sees ARAGORN'S peril.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>Aragorn!<\/dialogue>\n    <scene_description>GIMLI jumps off the wall and lands in the sea of URUK-HAI. He fights them off, but is soon overpowered.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>Gimli!<\/dialogue>\n    <scene_description>ARAGORN commands the ELVES behind him.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(in ELVISH)<\/parenthetical>\n    <dialogue>Hado i philinn!<\/dialogue>\n    <dialogue>Hurl the arrows!<\/dialogue>\n    <scene_description>ANGLES ON: The VOLLEY OF ARROWS fells many URUK-HAI, but many more follow in their wake. ANGLE ON: ARAGORN holds his sword at the ready.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>Herio!<\/dialogue>\n    <dialogue>Charge!<\/dialogue>\n    <scene_description>The ELVES charge the approaching URUK-HAI. When contact is made, ground is neither lost nor gained. ARAGORN and the ELVES valiantly battle the URUK-HAI with much success. ANGLE ON: ARAGORN reaches below the surface of the water and pulls GIMLI to the surface. He coughs and sputters. ARAGORN drags him to temporary safety. WIDE ON: The ELVES and URUK-HAI continue their battle at the gap in the DEEPING WALL. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ENT MOOT - NIGHT<\/stage_direction>\n    <scene_description>TREEBEARD stands over the HOBBITS, the other ENTS behind him.<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <dialogue>The Ents cannot hold back this storm. We must weather such things as we have always done.<\/dialogue>\n    <character>MERRY<\/character>\n    <parenthetical>(angrily)<\/parenthetical>\n    <dialogue>How can that be your decision?!<\/dialogue>\n    <character>TREEBEARD<\/character>\n    <dialogue>This is not our war.<\/dialogue>\n    <character>MERRY<\/character>\n    <dialogue>But you're part of this world!<\/dialogue>\n    <scene_description>ANGLE ON: TREEBEARD stands up uncomfortably. MERRY looks to the other ENTS.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>Aren't you?!<\/dialogue>\n    <scene_description>ANGLE ON: The ENTS looks at each other, surprised at this outburst.<\/scene_description>\n    <character>MERRY<\/character>\n    <parenthetical>(desperately)<\/parenthetical>\n    <dialogue>You must help. Please. You must do something.<\/dialogue>\n    <character>TREEBEARD<\/character>\n    <parenthetical>(simply)<\/parenthetical>\n    <dialogue>You are young and brave, Master Merry. But your part in this tale is over. Go back to your home.<\/dialogue>\n    <scene_description>CLOSE ON: MERRY stands speechless ... angry ... frustrated. LATER... MERRY is putting on his jacket. PIPPIN approaches him slowly. CONTINUED:<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>Maybe Treebeard's right. We don't belong here, Merry. It's too big for us. What can we do in the end? We've got the Shire. Maybe we should go home.<\/dialogue>\n    <character>MERRY<\/character>\n    <parenthetical>(distantly)<\/parenthetical>\n    <dialogue>The fires of Isengard will spread And the woods of Tuckborough and Buckland will burn. And...<\/dialogue>\n    <scene_description>MERRY turns to PIPPIN.<\/scene_description>\n    <character>MERRY<\/character>\n    <parenthetical>(angrily)<\/parenthetical>\n    <dialogue>...and all that was once green and good in this world will be gone.<\/dialogue>\n    <scene_description>MERRY looks into PIPPIN'S eyes intently.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>There won't be a Shire, Pippin.<\/dialogue>\n    <scene_description>CLOSE ON: PIPPIN stands silently, taking this in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELM'S DEEP BATTLEMENTS - NIGHT<\/stage_direction>\n    <scene_description>HIGH WIDE AERIAL: The endless sea of URUK-HAI swarm into HELM'S DEEP. The DEFENDERS of the KEEP work fiercely to hold them back. ANGLE ON: TH\u00c9ODEN stands at his tower, intensely observing every facet of the battle. SERIES OF CUTS: ARAGORN, LEGOLAS, and GIMLI fight tirelessly against the onslaught. ANGLE ON: ARAGORN looks up as a VOICE cuts across the battle.<\/scene_description>\n    <character>TH\u00c9ODEN (O.S.)<\/character>\n    <dialogue>Aragorn! Fall back to the Keep! Get your Men out of there!<\/dialogue>\n    <scene_description>WIDE PAN FROM THE UPPER BATTLEMENTS TO THE FIELD OF BATTLE. CONTINUED: ANGLE ON: ARAGORN signals the fighters.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>Na Barad! Na Barad!<\/dialogue>\n    <dialogue>To the Keep! Pull back to the Keep!<\/dialogue>\n    <scene_description>ARAGORN looks around for anyone who may not have heard. He glances up to the WALL.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>Haldir!<\/dialogue>\n    <scene_description>ANGLE ON: HALDIR turns to him.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(in ELVISH; subtitled)<\/parenthetical>\n    <dialogue>Na barad!<\/dialogue>\n    <dialogue>To the Keep!<\/dialogue>\n    <scene_description>HALDIR nods and starts fighting his way down. ANGLE ON: LEGOLAS and another ELF carry GIMLI off the FIELD, kicking and struggling.<\/scene_description>\n    <character>GIMLI<\/character>\n    <parenthetical>(protesting)<\/parenthetical>\n    <dialogue>What are you doing? What are you stopping for?<\/dialogue>\n    <scene_description>ANGLE ON: HALDIR gives orders to his retreating detachment.<\/scene_description>\n    <character>HALDIR<\/character>\n    <parenthetical>(in ELVISH)<\/parenthetical>\n    <dialogue>Na barad!<\/dialogue>\n    <scene_description>He turns and starts to retreat, but he is stopped by an URUK-HAI who leaps in front of him. He makes short work of this one, but another comes from behind him and stabs him in the arm. SLOW MOTION: HALDIR staggers...he kills the offending URUK...he looks down to his arm in total disbelief...he whirls around, lost to his purpose... BEHIND HIM, AN URUK EMERGES AND BRINGS HIS SWORD DOWN ON HALDIR'S HEAD...HALDIR freezes with a shocked look on his face... SLOW MOTION ANGLE ON: ARAGORN, on the ground, sees HALDIR FALLING...HALDIR falls to his knees, his world spinning around him...ARAGORN fights his way up the steps...HALDIR looks about him...the dead bodies of his kinsmen lie all around him...he falls to the ground just as ARAGORN catches him...his head falls into ARAGORN'S arm...eyes lifeless and unseeing... ANGLE ON: ARAGORN gives HALDIR a silent farewell...seeing a group of approaching URUK-HAI, like a madman, ARAGORN leaps aboard the nearest ladder and rides it into the sea of URUK-HAI below.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELM'S DEEP GATE - NIGHT<\/stage_direction>\n    <scene_description>The GATE smashes under the onslaught of the BATTERING RAM. A SOLDIER is impaled on the RAM'S JAGGED END. ANGLES ON: The SOLDIERS and URUKS exchange arrow fire. ANGLE ON: TH\u00c9ODEN draws his sword.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <parenthetical>(to his COMMANDERS)<\/parenthetical>\n    <dialogue>To the gate. Draw your swords!<\/dialogue>\n    <scene_description>They depart for battle. ANGLE ON: ARAGORN fights against the URUK-HAI on the ground and makes his way up a steep outside stairway into the KEEP.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELM'S DEEP GATE - NIGHT<\/stage_direction>\n    <scene_description>TH\u00c9ODEN and his SOLDIERS work desperately to hold the gate against impossible odds. An URUK starts to get the better of GAMLING, but TH\u00c9ODEN rescues him. Seizing this advantage, another URUK stabs TH\u00c9ODEN in the shoulder with his lance. Wounded but undeterred, TH\u00c9ODEN returns the blow, but more lethally. He falls into GAMLING'S arms. GAMLING quickly pulls him out of the area.<\/scene_description>\n    <character>GAMLING<\/character>\n    <dialogue>Make way for the king!<\/dialogue>\n    <scene_description>CONTINUED: The fighting continues at the GATE. ANGLE ON: GAMLING carries TH\u00c9ODEN away from the battle and rest him against the wall.<\/scene_description>\n    <character>GAMLING<\/character>\n    <dialogue>We cannot hold much longer.<\/dialogue>\n    <scene_description>ANGLE ON: The GATE begins to give way under the strength of the URUK-HAI. The MEN work fiercely to hold it. ANGLE ON: TH\u00c9ODEN looks momentarily discouraged until ARAGORN runs through and begins hacking at the URUK-HAI.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <parenthetical>(yelling)<\/parenthetical>\n    <dialogue>Hold them!<\/dialogue>\n    <character>ARAGORN<\/character>\n    <dialogue>How long do you need?<\/dialogue>\n    <scene_description>TH\u00c9ODEN takes his sword in hand.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>As long as you can give me.<\/dialogue>\n    <scene_description>ARAGORN nods and looks around.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>Gimli!<\/dialogue>\n    <scene_description>ARAGORN slips out a side exit as the MEN rush the GATE to hold it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELM'S DEEP GATE - NIGHT<\/stage_direction>\n    <scene_description>More URUKS run at the GATE PAN OVER TO: A DOOR OPENS on the side of a tower near the gate. ARAGORN peeps out. Seeing no immediate danger, he and GIMLI creep out and sidle along the outside of the wall. CLOSE ON: ARAGORN carefully peeps around the side of the tower. POV: A hoard of URUK-HAI crowd the GATE, trying to force their way in. CONTINUED: ANGLE ON: ARAGORN sidles back up against the wall. GIMLI looks up at him.<\/scene_description>\n    <character>GIMLI<\/character>\n    <parenthetical>(desperately)<\/parenthetical>\n    <dialogue>Come on. We can take them.<\/dialogue>\n    <scene_description>ANGLE ON: ARAGORN looks at GIMLI sidelong with a smirk.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>It's a long way.<\/dialogue>\n    <scene_description>ANGLE ON: GIMLI takes a peek...he steps back and looks into the distance...embarrassed.<\/scene_description>\n    <character>GIMLI<\/character>\n    <parenthetical>(mumbles)<\/parenthetical>\n    <dialogue>Toss me.<\/dialogue>\n    <character>ARAGORN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>GIMLI<\/character>\n    <parenthetical>(quickly)<\/parenthetical>\n    <dialogue>I cannot jump the distance. You'll have to toss me!<\/dialogue>\n    <scene_description>ARAGORN nods slowly...he turns to lift GIMLI.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>Oh...don't tell the Elf.<\/dialogue>\n    <character>ARAGORN<\/character>\n    <dialogue>Not a word.<\/dialogue>\n    <scene_description>ANGLE ON: with one swift move, ARAGORN tosses GIMLI across the span and into the throng of URUK-HAI, taking them by complete surprise. ARAGORN jumps the distance himself and fight alongside GIMLI. HIGH WIDE: ARAGORN and GIMLI successfully delay the advance of the never-ending supply of URUK-HAI, hacking them off the edges of the narrow causeway as quick as they can advance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELM'S DEEP GATE - NIGHT<\/stage_direction>\n    <scene_description>ANGLE ON: TH\u00c9ODEN observes ARAGORN and GIMLI. He turns back to his MEN.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>Shore up the door!<\/dialogue>\n    <scene_description>ANGLE ON: A group of SOLDIERS carry beams to dam up the door to the ocean outside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELM'S DEEP BATTLEMENTS - NIGHT<\/stage_direction>\n    <scene_description>The URUK-HAI load a grappling hook onto an enormous crossbow. INTERCUT WITH: The MEN feverishly work to shore up the HELM'S DEEP GATE. INTERCUT WITH: ARAGORN and GIMLI continue their efforts on the CAUSEWAY outside the GATE. The URUK-HAI ready the crossbow, and fire it up to the UPPER BATTLEMENTS. ANGLE ON: The SOLDIERS fall back from its landing. It grips onto the inside of the WALL. ANGLE ON: The URUKS fire another. ANGLE ON: The HOOK grapples to the inside of the WALL. The SOLDIERS try in vain to dislodge it. ANGLE ON: The URUK-HAI use the hooks as pulleys to pull great SIEGE LADDERS laden with URUK-HAI to the UPPER BATTLEMENTS. The LADDERS hook themselves on contact, and the URUK-HAI make to continue the fight.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELM'S DEEP GATE - NIGHT<\/stage_direction>\n    <scene_description>The SOLDIERS successfully reinforce the GATE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELM'S DEEP GATE - NIGHT<\/stage_direction>\n    <scene_description>ARAGORN and GIMLI continue holding off the onslaught on the CAUSEWAY. ANGLE ON: TH\u00c9ODEN'S face appears in the crack in the gate. CONTINUED:<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>Gimli! Aragorn! Get out of there!<\/dialogue>\n    <scene_description>A final board is put in place to seal off the crack. ANGLE ON: LEGOLAS calls to them from the top of the battlements.<\/scene_description>\n    <character>LEGOLAS<\/character>\n    <dialogue>ARAGORN!<\/dialogue>\n    <scene_description>LEGOLAS drops a rope over the edge. ANGLE ON: ARAGORN grabs the rope in one hand and GIMLI in the other...LEGOLAS pulls them to safety...the URUK-HAI rush past them and attack the GATE once more. SERIES OF QUICK CUTS: LEGOLAS pulls ARAGORN and GIMLI up the wall...more GRAPPLING HOOKS are fired...more LADEN LADDERS are raised...the URUKS storm over the WALL...the SOLDIERS fiercely battle against them. ANGLE ON: ARAGORN and GIMLI reach the top of the WALL...LEGOLAS and some SOLDIERS pull them to safety.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELM'S DEEP GATE - NIGHT<\/stage_direction>\n    <scene_description>TH\u00c9ODEN moves away from the GATE with GAMLING.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>Pull everybody back! Pull them back!<\/dialogue>\n    <character>GAMLING<\/character>\n    <dialogue>Pull back! Pull back!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELM'S DEEP BATTLEMENTS - NIGHT<\/stage_direction>\n    <scene_description>HIGH WIDE ON: A hopeless stream of URUK-HAI stream up the LADDERS...press against the outer wall...charge the main gate...the scant supply of SOLDIERS fire arrows fruitlessly against them. THE URUK-HAI BREAK THROUGH THE GATE AND POUR IN. CONTINUED:<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>They have broken through! The castle is breached! Retreat!<\/dialogue>\n    <scene_description>PAN UP TO: As one, the SOLDIERS on the BATTLEMENTS break and run into the KEEP...The URUK-HAI stream up the steps to prevent the retreat... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FANGORN FOREST - NIGHT<\/stage_direction>\n    <scene_description>TREEBEARD walks lazily through the forest, carrying MERRY and PIPPIN in his branches.<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <dialogue>I will leave you at the western borders of the forest. You can make your way north to your homeland from there.<\/dialogue>\n    <scene_description>MERRY and PIPPIN do not respond. They look dejected. SUDDENLY, PIPPIN looks up with a gleam in his eye.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>Wait! Stop! Stop!<\/dialogue>\n    <scene_description>ANGLE ON: MERRY looks over to PIPPIN, curious. TREEBEARD stops.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>Turn around. Turn around. Take us south!<\/dialogue>\n    <scene_description>TREEBEARD looks to him, perturbed.<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <dialogue>South? But that will lead you past Isengard.<\/dialogue>\n    <scene_description>PIPPIN smiles.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>Yes. Exactly. If we go south we can slip past Saruman unnoticed. The closer we are to danger, the farther we are from harm. It's the last thing he'll expect.<\/dialogue>\n    <scene_description>CONTINUED: MERRY looks away, confused. TREEBEARD ponders this for a moment.<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <dialogue>That doesn't make sense to me. But then, you are very small. Perhaps you're right.<\/dialogue>\n    <scene_description>ANGLE ON: PIPPIN breathes a sigh of relief and smiles.<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <dialogue>South it is then. Hold on, little Shirelings.<\/dialogue>\n    <scene_description>ANGLE ON: TREEBEARD begins his slow plod through the forest again...MERRY looks over the PIPPIN, incredulous.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>Are you mad? We'll be caught.<\/dialogue>\n    <character>PIPPIN<\/character>\n    <dialogue>No we won't. Not this time.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ITHILIEN - DAY<\/stage_direction>\n    <scene_description>FARAMIR and COMPANY, with FRODO and SAM in tow, come to the top of a ridge and stop. WIDE ON: OSGILIATH, positioned astride the ANDUIN RIVER, stands before them...smoke plumes from its buildings. And in the far distance-nestled in the mountains-is MINAS TIRITH.<\/scene_description>\n    <character>MADRIL<\/character>\n    <dialogue>Osgiliath burns!<\/dialogue>\n    <character>RANGER<\/character>\n    <dialogue>Mordor has come.<\/dialogue>\n    <scene_description>The RANGERS walk down to OSGILIATH. ANGLE ON: FRODO stands before FARAMIR, observing.<\/scene_description>\n    <character>FRODO<\/character>\n    <parenthetical>(grimly)<\/parenthetical>\n    <dialogue>The Ring will not save Gondor. It has only the power to destroy. Please... let me go.<\/dialogue>\n    <scene_description>CONTINUED: ANGLE ON: FARAMIR hesitates, lost in indecision...then he gestures to his men.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>Hurry.<\/dialogue>\n    <scene_description>FRODO and SAM are pushed forward.<\/scene_description>\n    <character>FRODO<\/character>\n    <parenthetical>(desperately)<\/parenthetical>\n    <dialogue>Faramir! You must let me go!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FANGORN FOREST - DAY<\/stage_direction>\n    <scene_description>TREEBEARD plods along with MERRY and PIPPIN riding in his branches.<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <dialogue>And a little family of field mice that climb up sometimes, and they tickle me awfully. They're always trying to get somewhere where they...<\/dialogue>\n    <scene_description>ANGLE ON: TREEBEARD'S expression drops...his eyes grow wide... he stops in speechless horror. WIDE ON: The edge of the FOREST is utterly destroyed...burnt stumps and mangled bits of trees are all that remains...<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <parenthetical>(choked)<\/parenthetical>\n    <dialogue>Many of these trees were my friends. Creatures I had known from nut and acorn.<\/dialogue>\n    <scene_description>ANGLE ON: PIPPIN looks down at TREEBEARD with pity.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>I'm sorry, Treebeard.<\/dialogue>\n    <character>TREEBEARD<\/character>\n    <dialogue>They had voices of their own.<\/dialogue>\n    <scene_description>CONTINUED: WIDE ON: TREEBEARD looks to the distant ISENGARD...now treeless as well with smoking caverns.<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <dialogue>Saruman.<\/dialogue>\n    <scene_description>ANGLE ON: TREEBEARD shakes in fury.<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <parenthetical>(angrily)<\/parenthetical>\n    <dialogue>A wizard should know better!<\/dialogue>\n    <scene_description>WIDE ON: TREEBEARD stands amidst the desolation and emits a furious roar.<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <dialogue>There is no curse in Elvish, Entish or the tongues of Men for this treachery.<\/dialogue>\n    <scene_description>A SOUND emits from the FOREST behind them. ANGLE ON: PIPPIN whips around...his eyes grow wide.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>Look! The trees! They're moving!<\/dialogue>\n    <scene_description>WIDE ON: The borders of FANGORN stir...howls fall across the landscape. ANGLE ON: MERRY looks to TREEBEARD.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>Where are they going?<\/dialogue>\n    <character>TREEBEARD<\/character>\n    <dialogue>They have business with the Orcs.<\/dialogue>\n    <scene_description>ANGLE ON: TREEBEARD'S EYE NARROW IN FURY.<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <dialogue>My business is with Isengard tonight... with rock and stone.<\/dialogue>\n    <scene_description>MORE HOWLS SOUND... CONTINUED: (2) WIDE ON: ENTS...DOZENS OF THEM...pour out of FANGORN and stand behind TREEBEARD.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <scene_description>ANGLE ON: TREEBEARD begins plodding down the slope.<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <dialogue>Come my friends. The Ents are going to war. It is likely that we go to our doom. Last march of the Ents!<\/dialogue>\n    <scene_description>WIDE ON: The ENTS march behind TREEBEARD through the ruined portion of FANGORN down the long slope to ISENGARD.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OSGILIATH - DAY<\/stage_direction>\n    <scene_description>FARAMIR and his RANGERS lead FRODO, SAM, and GOLLUM into OSGILIATH. HIGH WIDE ON: OSGILIATH is under siege. SOLDIERS run everywhere in its defense as the RANGERS pass in. ANGLE ON: FARAMIR and his RANGERS cut through a battle zone, ducking friendly arrows as the city is being defended...FARAMIR approaches one of his OFFICERS.<\/scene_description>\n    <character>MADRIL<\/character>\n    <dialogue>Faramir, Orcs have taken the eastern shore. Their numbers are too great. By nightfall we will be overrun.<\/dialogue>\n    <scene_description>ANGLE ON: FRODO seems suddenly stricken. SAM looks to him.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Frodo!<\/dialogue>\n    <character>FRODO<\/character>\n    <dialogue>It's calling to him, Sam. His Eye is almost on me.<\/dialogue>\n    <scene_description>ON THE SOUNDTRACK: A SHRILL CRY drowns out SAM'S words.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Hold on, Mr. Frodo. You'll be all right.<\/dialogue>\n    <scene_description>CONTINUED: CLOSE ON: FRODO is horrified...SAM speaks to him, but FRODO does not hear him.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>Take them to my father.<\/dialogue>\n    <scene_description>SAM and FRODO are hustled through the RANGERS.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <parenthetical>(proudly)<\/parenthetical>\n    <dialogue>Tell him Faramir sends a mighty gift. A weapon that will change our fortunes in this war.<\/dialogue>\n    <scene_description>ANGLE ON: SAM breaks their grip a moment.<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>(desperately)<\/parenthetical>\n    <dialogue>You want to know what happened to Boromir?<\/dialogue>\n    <scene_description>ANGLE ON: FARAMIR turns to SAM. He looks upon the little HOBBIT with intense curiosity.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>You want to know why your brother died? He tried to take the Ring from Frodo! After swearing an oath to protect him, he tried to kill him! The Ring drove your brother mad!<\/dialogue>\n    <scene_description>Before FARAMIR can respond, a cry screams across the silence.<\/scene_description>\n    <character>RANGER<\/character>\n    <dialogue>Watch out!<\/dialogue>\n    <scene_description>LOW ANGLE ON: A large boulder smashes into a tower, crumbling it. ANGLE ON: FRODO'S head lolls around...his eyes roll into the back of his head...he looks at the skies...<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Mr. Frodo?<\/dialogue>\n    <character>FRODO<\/character>\n    <dialogue>They're here.<\/dialogue>\n    <scene_description>CONTINUED: (2) ANGLE ON: FARAMIR looks down at FRODO in fear...FRODO foams at the mouth...<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>They've come.<\/dialogue>\n    <scene_description>A SHRILL CRY PENETRATES THE AIR. FARAMIR and his MEN look to the sky.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>Nazg\u00fbl!<\/dialogue>\n    <scene_description>Everyone looks up and cringes. HIGH WIDE AERIAL ON: A NAZG\u00dbL, riding atop his FELLBEAST, surveys the ruined OSGILIATH. ANGLE ON: FRODO stares at the NAZG\u00dbL, transfixed ... FARAMIR grabs him and drags him off ... SAM takes off after them ANGLES ON: The RANGERS and SOLDIERS take cover in OSGILIATH, endeavoring to stay out of sight...GOLLUM cowers at the end of his rope. ANGLE ON: FARAMIR deposits him within a ruined tower.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>Stay here. Keep out of sight.<\/dialogue>\n    <scene_description>He exits as SAM enters to accompany FRODO. ANGLE ON: FARAMIR shouts to those on the BATTLEMENTS.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <parenthetical>(yelling)<\/parenthetical>\n    <dialogue>Take cover!<\/dialogue>\n    <scene_description>ANGLE ON: FARAMIR ducks as A FELLBEAST soars fiendishly close to the rooftops of OSGILIATH.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELM'S DEEP HALL - DAY<\/stage_direction>\n    <scene_description>WIDE ON: BANNERS OF THE WHITE HAND fly atop the Battlements of HELM'S DEEP. The URUK-HAI are everywhere...it is completely overrun. CONTINUED: ANGLE ON: A band of URUK-HAI run a BATTERING RAM into the DOOR OF THE HALL.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELM'S DEEP HALL - DAY<\/stage_direction>\n    <scene_description>A group of SOLDIERS work to barricade the door. ANGLE ON: TH\u00c9ODEN watches them with despair.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>The fortress is taken. It is over.<\/dialogue>\n    <scene_description>ANGLE ON: ARAGORN runs to TH\u00c9ODEN. LEGOLAS carries more furniture to the door.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>You said this fortress would never fall while your Men defend it. They still defend it. They have died defending it.<\/dialogue>\n    <scene_description>ANOTHER DEAFENING CRUNCH! INTERCUT WITH: The women and children in the GLITTERING CAVES panic....they cling to each other...\u00c9OWYN gives comfort where she can. ANGLE ON: ARAGORN looks around the HALL.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>Is there no other way for the women and children to get out of the caves?<\/dialogue>\n    <scene_description>ANGLE ON: TH\u00c9ODEN stands silently, staring at the floor.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>Is there no other way?<\/dialogue>\n    <character>GAMLING<\/character>\n    <dialogue>There is one passage. It leads into the mountains. But they will not get far. The Uruk-Hai are too many.<\/dialogue>\n    <scene_description>INTERCUT WITH: The URUK-HAI batter the door once more. CONTINUED: ANGLE ON: ARAGORN pleads with GAMLING.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>Tell the women and children to make for the mountain pass. And barricade the entrance.<\/dialogue>\n    <scene_description>ANGLE ON: TH\u00c9ODEN looks over to ARAGORN and GAMLING.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>So much death. What can Men do against such reckless hate?<\/dialogue>\n    <scene_description>ANOTHER SICKENING CRACK AT THE DOOR. ANGLE ON: ARAGORN thinks a moment. He looks to TH\u00c9ODEN.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Ride out with me.<\/dialogue>\n    <scene_description>ANGLE ON: TH\u00c9ODEN turns to him, confused.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>Ride out and meet them.<\/dialogue>\n    <scene_description>ANGLE ON: TH\u00c9ODEN walks to ARAGORN, a light glimmering in his eyes.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>For death and glory.<\/dialogue>\n    <character>ARAGORN<\/character>\n    <dialogue>For Rohan. For your people.<\/dialogue>\n    <scene_description>ANGLE ON: GIMLI looks up at the window to the HALL.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>The sun is rising.<\/dialogue>\n    <scene_description>ANGLE ON: ARAGORN turns to the window...the first light of the sun streams through it.<\/scene_description>\n    <character>GANDALF (V.O.)<\/character>\n    <dialogue>Look to my coming at first light on the fifth day. At dawn ... look to the east.<\/dialogue>\n    <scene_description>CONTINUED: (2) ANGLE ON: ARAGORN looks back to TH\u00c9ODEN with grim determination.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>Yes. Yes. The horn of Helm Hammerhand shall sound in the deep one last time!<\/dialogue>\n    <scene_description>ANGLE ON: GIMLI looks over to them with excitement.<\/scene_description>\n    <character>GIMLI<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <scene_description>CRUNCH! The force of the BATTERING RAM throws MEN to the ground. They scramble back up to hold it. ANGLE ON: TH\u00c9ODEN places his hand on ARAGORN'S shoulder.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>Let this be the hour when we draw swords together.<\/dialogue>\n    <scene_description>ANGLE ON: ARAGORN nods, understanding fully. INTERCUT WITH: GIMLI climbs a stairway to the HORN OF HELM HAMMERHAND at its summit. ANGLE ON: The RAM crunches against the door again.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>Fell deeds awake...now for wrath...now for ruin and a red dawn!<\/dialogue>\n    <scene_description>TH\u00c9ODEN places his helmet on his head. INTERCUT WITH: GIMLI blows on the HORN ... it sounds a deep blast across the depths of HELM'S DEEP. ANGLE ON: The URUK-HAI crack through the door and pour into the HALL. CLOSE ON: TH\u00c9ODEN RAISES HIS SWORD!<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>Forth Eorlingas!<\/dialogue>\n    <scene_description>ANGLE ON: The DECIMATED ARMY on HORSEBACK charges out of the HALL.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELM'S DEEP - DAY<\/stage_direction>\n    <scene_description>The HORSES blast out of the HALL under the standard of ROHAN. They charge down the roads of the KEEP slicing through stunned URUK-HAI as they ride. INTERCUT WITH: GIMLI continues blowing on the HORN, sounding its low blast through the KEEP. HIGH OVERHEAD ON: They charge out the MAIN GATE and down the CAUSEWAY, knocking URUK-HAI off the narrow walkway as they go. They fight bravely, as if it were their last stand. ANGLE ON: ARAGORN SUDDENLY LOOKS UP. WIDE ON: Between two massive boulders in the light of the dawning sun, a WHITE HORSE rears on the horizon. ANGLE ON: ARAGORN sighs with relief.<\/scene_description>\n    <character>ARAGORN<\/character>\n    <dialogue>Gandalf.<\/dialogue>\n    <scene_description>ANGLE ON: GANDALF looks down at the scene below him. ANGLES ON: TH\u00c9ODEN looks up and cheers...the URUK-HAI turn to face the new enemy. WIDE ON: The URUK-HAI outside of HELM'S DEEP is still quite massive, taking up the entire volume of the plain. ANGLE ON: GANDALF sits atop SHADOWFAX, ready.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>Th\u00e9oden king stands alone.<\/dialogue>\n    <scene_description>\u00c9OMER rides up behind him.<\/scene_description>\n    <character>\u00c9OMER<\/character>\n    <dialogue>Not alone.<\/dialogue>\n    <scene_description>He draws his sword.<\/scene_description>\n    <character>\u00c9OMER<\/character>\n    <dialogue>Rohirrim!<\/dialogue>\n    <scene_description>A large group of riders emerge from behind the rise. CONTINUED: ANGLE ON: TH\u00c9ODEN smiles.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>\u00c9omer.<\/dialogue>\n    <scene_description>ANGLE ON: \u00c9OMER raises his sword and orders the ROHIRRIM forward.<\/scene_description>\n    <character>\u00c9OMER<\/character>\n    <dialogue>To the king!<\/dialogue>\n    <scene_description>WIDE ON: The ROHIRRIM and GANDALF charge down the ridge toward the waiting throng of URUK-HAI. ANGLES ON: The URUK-HAI move into the position to receive this new threat. They ready their lances before them. WIDE ON: As the ROHIRRIM and GANDALF near the URUK-HAI front line, the sun emerges from behind the ridge and momentarily blinds the URUK-HAI, giving the ROHIRRIM first strike to overrun them. SERIES OF QUICK CUTS: The ROHIRRIM and GANDALF fight against the URUK-HAI, quickly decimating their numbers. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ISENGARD - DAY<\/stage_direction>\n    <scene_description>SERIES OF CUTS: The ENTS storm into ISENGARD, throwing stones and ORCS...crushing them under foot...tearing down their towers... the ORCS are losing. ANGLE ON: SARUMAN rushes to his balcony and looks out. WIDE ON: ISENGARD is overrun by hundreds of ENTS, destroying everything that SARUMAN has worked to build up. ANGLE ON: SARUMAN rushes from one side of the balcony to the other, helpless to stop them. ANGLE ON: AN ENT works on the supports to the DAM.<\/scene_description>\n    <character>TREEBEARD (O.S.)<\/character>\n    <dialogue>Break the dam! Release the river!<\/dialogue>\n    <scene_description>CONTINUED: The ENT succeeds in breaking the supports...water breaks through the cracks until...THE DAM SHATTERS...ORCS fall to their deaths in the rushing torrents... CLOSE ON: SARUMAN looks on in horror as the freed RIVER ISEN flows down the mountain and into ISENGARD. ANGLE ON: MERRY and PIPPIN grasp TREEBEARD tightly...TREEBEARD stands proud of his destruction.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>Pippin! Hold on!<\/dialogue>\n    <scene_description>WIDE ON: The ORCS run for their lives before the flood...the ENTS brace themselves. ANGLE ON: TREEBEARD braces himself.<\/scene_description>\n    <character>TREEBEARD<\/character>\n    <dialogue>Hold on little Hobbits!<\/dialogue>\n    <scene_description>WIDE ON: The water hits the ENTS full force, but they are unmoved...the water flushes the running ORCS and their constructs over the edge of the ISENGARD caverns... ANGLE ON: ORCS working in the depths of the caverns. PAN UP TO: Water floods in on top of them... ANGLES ON: The ORCS in the CAVERNS run hopelessly from the flood...the water destroys their bridges...forges... everything... WIDE ON: The RIVER floods all of ISENGARD destroying everything and washing it into the caverns...only the ENTS escape untouched.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OSGILIATH - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: FRODO, in some kind of trance, walks slowly away from the safe corner. SAM tries to speak to him as he passes.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <scene_description>FRODO pays him no attention. CONTINUED: ANGLE ON: THE NAZG\u00dbL on his FELLBEAST flies over the city, looking for his prey...FRODO walks out of the tower of safety and through the rushing throngs of SOLDIERS...SAM rushes to the door of the tower, panicked.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Where are you going?!<\/dialogue>\n    <scene_description>SLOW MOTION: FRODO stands atop a high wall...before him, the FELLBEAST flies into view...FRODO raises the RING. CLOSE ON: The RING in FRODO'S fingers. ANGLE ON: FARAMIR spots FRODO across OSGILIATH. WIDE ON: FRODO stands atop the wall...the NAZG\u00dbL flies over him...ready to strike. ANGLE ON: SAM runs up the stairs, screaming silently. CLOSE ON: FRODO closes the RING in on his finger. ANGLE ON: SAM tackles FRODO and wrestles the RING away from his finger...They fall to the ground just as the FELLBEAST closes its massive claws around the spot where FRODO was standing only moments before. ANGLE ON: FARAMIR fires an arrows into the side of the FELLBEAST...the FELLBEAST screams and flies away. ANGLE ON: SAM and FRODO roll down the stairs and off the edge...coming to a dead stop on the ground below. FRODO rolls on top of SAM, pinning him to the ground. CLOSE ON: FRODO draws STING and holds it at SAM'S neck...anger and distrust etched on his face. ANGLE ON: SAM looks at the blade with fear...tears runs down his face.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>It's me. It's your Sam. Don't you know your Sam?<\/dialogue>\n    <scene_description>CONTINUED: (2) CLOSE ON: FRODO'S MADNESS fades into shock and confusion. FRODO backs away from SAM and slumps against a wall...STING CLATTERS to the ground. ANGLE ON: SAM touches his neck lightly and pulls himself up. He looks at FRODO...FRODO stares at the ground and shakes his head in shock.<\/scene_description>\n    <character>FRODO<\/character>\n    <parenthetical>(slowly)<\/parenthetical>\n    <dialogue>I can't do this, Sam.<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>(sadly)<\/parenthetical>\n    <dialogue>I know. It's all wrong. By rights we shouldn't even be here.<\/dialogue>\n    <scene_description>SAM stumbles to his feet and leans against a wall.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>But we are.<\/dialogue>\n    <scene_description>WIDE ON: Over the ruined OSGILIATH, the FELLBEAST continues to circle. ANGLE ON: SAM keeps watching the terrible scene, and speaks absently.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>It's like in the great stories, Mr. Frodo. The ones that really mattered. Full of darkness and danger they were. And sometimes you didn't want to know the end. Because how could the end be happy?<\/dialogue>\n    <scene_description>ANGLE ON: FRODO panting against the wall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELM'S DEEP - DAY<\/stage_direction>\n    <scene_description>The ROHIRRIM decimate the retreating URUK-HAI.<\/scene_description>\n    <character>SAM (V.O.)<\/character>\n    <dialogue>How could the world go back to the way it was when so much bad had happened?<\/dialogue>\n    <scene_description>CONTINUED: ANGLE ON: TH\u00c9ODEN shouts proudly atop his horse.<\/scene_description>\n    <character>TH\u00c9ODEN<\/character>\n    <dialogue>Victory! We have victory!<\/dialogue>\n    <scene_description>ANGLE ON: GANDALF watches the URUK-HAI run, smiling.<\/scene_description>\n    <character>SAM (V.O.)<\/character>\n    <dialogue>But in the end, it's only a passing thing, this shadow.<\/dialogue>\n    <scene_description>ANGLE ON: ARAGORN looks up with relief...the battle is over.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ISENGARD - DAY<\/stage_direction>\n    <scene_description>WIDE ON: The waters continue flowing over ISENGARD destroying all the evil that grew there...the ENTS chase the ORCS into the pits...<\/scene_description>\n    <character>SAM (V.O.)<\/character>\n    <dialogue>Even darkness must pass. A new day will come.<\/dialogue>\n    <scene_description>ANGLE ON: MERRY and PIPPIN watch the goings-on with wonder riding atop TREEBEARD.<\/scene_description>\n    <character>SAM (V.O.)<\/character>\n    <dialogue>And when the sun shines it will shine out the clearer.<\/dialogue>\n    <scene_description>ANGLE ON: The ENTS stands tall in the flowing water.<\/scene_description>\n    <character>SAM (V.O.)<\/character>\n    <dialogue>Those were the stories that stayed with you...<\/dialogue>\n    <scene_description>ANGLE ON: SARUMAN, trapped in ORTHANC...slowly, he backs away from the edge of his balcony, and closes the doors to ORTHANC.<\/scene_description>\n    <character>SAM (V.O.)<\/character>\n    <dialogue>...that meant something. Even if you were too small to understand why.<\/dialogue>\n    <scene_description>HIGH WIDE ON: The waters completely flood the RING OF ISENGARD...to the very edges...wiping out everything SARUMAN had done...preparing the land for a renewal. CONTINUED:<\/scene_description>\n    <character>SAM (V.O.)<\/character>\n    <dialogue>But I think, Mr. Frodo, I do understand. I know now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OSGILIATH - DAY<\/stage_direction>\n    <scene_description>ANGLE ON: SAM stands overlooking OSGILIATH.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Folk in those stories had lots of chances of turning back only they didn't. They kept going because they were holding on to something.<\/dialogue>\n    <character>FRODO<\/character>\n    <parenthetical>(skeptically)<\/parenthetical>\n    <dialogue>What are we holding on to, Sam?<\/dialogue>\n    <scene_description>SAM looks at FRODO...SAM walks over and lifts FRODO to his feet.<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>(resolute)<\/parenthetical>\n    <dialogue>There's some good in this world, Mr. Frodo. And it's worth fighting for.<\/dialogue>\n    <scene_description>CLOSE ON: FRODO is moved by SAM'S determination. He smiles grimly. ANGLE ON: FARAMIR approaches them. SAM stiffens at his approach. He kneels to their level.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>I think at last we understand one another, Frodo Baggins.<\/dialogue>\n    <scene_description>MADRIL APPROACHES FROM BEHIND FARAMIR. FARAMIR stands to face him.<\/scene_description>\n    <character>MADRIL<\/character>\n    <dialogue>You know the laws of our country, the laws of your father. If you let them go, your life will be forfeit.<\/dialogue>\n    <scene_description>CLOSE ON: FARAMIR looks at MADRIL, unwavering. CONTINUED:<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>Then it is forfeit. Release them.<\/dialogue>\n    <scene_description>ANGLE ON: FRODO looks at FARAMIR with gratitude...SAM shakes a RANGER'S hand from his shoulder.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAINS OF ROHAN - DAY<\/stage_direction>\n    <scene_description>WIDE ON: The fleeing URUK-HAI run from HELM'S DEEP over a ridge into the PLAINS...standing on the other side of the ridge is a large forest. The URUK-HAI run directly for it. ANGLE ON: TH\u00c9ODEN, ARAGORN, \u00c9OMER, and the rest of the ROHIRRIM ride to the top of the ridge and stop.<\/scene_description>\n    <character>\u00c9OMER<\/character>\n    <dialogue>Stay out of the forest! Keep away from the trees!<\/dialogue>\n    <scene_description>ANGLE ON: \u00c9OMER looks with fear at the forest that has sprung up. ANGLE ON: Inside the forest, the URUK-HAI charge between the trunks mindlessly. WIDE ON: The DEFENDERS OF ROHAN watch silently from atop the ridge as the last of the URUK-HAI runs in. Suddenly, the trees move. Scream emit from with the forest... ANGLES ON: the DEFENDERS look on in fear and surprise as the forest eliminates the last of their enemies.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELM'S DEEP HALL - DAY<\/stage_direction>\n    <scene_description>\u00c9OWYN and the other WOMEN and CHILDREN emerge. ARAGORN climbs the steps to meet \u00c9OWYN at their summit. She looks upon him with delight and holds him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELM'S DEEP BATTLEMENTS - DAY<\/stage_direction>\n    <scene_description>SOLDIERS pile the bodies of the dead URUK-HAI. ANGLE ON: LEGOLAS walks through the carnage and spots GIMLI, smoking his pipe. He stops, stroking his bow. CONTINUED:<\/scene_description>\n    <character>LEGOLAS<\/character>\n    <dialogue>Final count...42.<\/dialogue>\n    <character>GIMLI<\/character>\n    <parenthetical>(mock admiration)<\/parenthetical>\n    <dialogue>Forty-two? That's not bad for a pointy-eared Elvish princeling. I myself am sitting pretty on 43.<\/dialogue>\n    <scene_description>ANGLE ON: LEGOLAS' face drops...suddenly, he fires an arrow at the URUK that GIMLI sits upon.<\/scene_description>\n    <character>LEGOLAS<\/character>\n    <dialogue>Forty-three.<\/dialogue>\n    <character>GIMLI<\/character>\n    <dialogue>He was already dead.<\/dialogue>\n    <character>LEGOLAS<\/character>\n    <dialogue>He was twitching.<\/dialogue>\n    <character>GIMLI<\/character>\n    <dialogue>He was twitching because he's got my axe buried in his nervous system.<\/dialogue>\n    <scene_description>GIMLI demonstrates by working the axe in the URUK'S head. The hands and feet twitch as he does.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ISENGARD - DAY<\/stage_direction>\n    <scene_description>MERRY and PIPPIN stand waist-deep in the water.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>He doesn't look too happy, does he?<\/dialogue>\n    <character>PIPPIN<\/character>\n    <dialogue>Not too happy at all, Merry.<\/dialogue>\n    <scene_description>ANGLE ON: SARUMAN and WORMTONGUE look hopelessly down from their prison. ANGLE ON: MERRY and PIPPIN watching them near the outer wall.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>Still, I suppose the view would be quite nice from up there.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>Oh, yes, it's a quality establishment. I hear the staff are very good.<\/dialogue>\n    <scene_description>MERRY holds his hand out from his head, measuring his height against PIPPIN'S. PIPPIN catches this out of the corner of his eye. MERRY pretends to be playing with his hair.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>MERRY<\/character>\n    <dialogue>Nothing. The world's back to normal, that's all.<\/dialogue>\n    <character>PIPPIN<\/character>\n    <dialogue>No, it isn't. I'm starving.<\/dialogue>\n    <scene_description>MERRY picks up a floating basket and tosses out its contents.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>Good luck trying to find something decent to eat around here. Probably dead rats and moldy bread.<\/dialogue>\n    <scene_description>PIPPIN picks up a floating apple. He looks to the sky for a moment trying to figure out where it came from. Suddenly, he sees another....and another... MERRY sees what is happening. They follow the trail of apples until they find a turkey...and then a basket of apples...and then... JACKPOT! The HOBBITS look with rapt anticipation at the food storehouse in the WALL OF ISENGARD.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>Saruman's storeroom!<\/dialogue>\n    <scene_description>CLOSE ON: TWO BARRELS LABELED FROM THE SOUTHFARTHING OF THE SHIRE! ANGLE ON: MERRY and PIPPIN look with reverent awe on the barrels.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>I don't believe it.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>It can't be.<\/dialogue>\n    <scene_description>ANGLE ON: They crack open the top of one of the barrels.<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>It is!<\/dialogue>\n    <character>PIPPIN<\/character>\n    <dialogue>Longbottom Leaf.<\/dialogue>\n    <scene_description>MERRY takes a huge sniff of it.<\/scene_description>\n    <character>MERRY<\/character>\n    <parenthetical>(with pleasure)<\/parenthetical>\n    <dialogue>The finest pipe-weed in South Farthing.<\/dialogue>\n    <character>PIPPIN<\/character>\n    <dialogue>It's perfect. One barrel each.<\/dialogue>\n    <scene_description>PIPPIN suddenly stops.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>Wait. Do you think we should share it with Treebeard?<\/dialogue>\n    <character>MERRY<\/character>\n    <dialogue>Share it?<\/dialogue>\n    <parenthetical>(shaking his head)<\/parenthetical>\n    <dialogue>No. No. Dead plant and all that. Don't think he'd understand.<\/dialogue>\n    <scene_description>He leans into PIPPIN.<\/scene_description>\n    <character>MERRY<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Could be a distant relative.<\/dialogue>\n    <scene_description>PIPPIN smiles.<\/scene_description>\n    <character>PIPPIN<\/character>\n    <dialogue>I get it. Don't be hasty.<\/dialogue>\n    <scene_description>MERRY whips out his pipe. CONTINUED: (3)<\/scene_description>\n    <character>MERRY<\/character>\n    <dialogue>Exactly.<\/dialogue>\n    <parenthetical>(deeply)<\/parenthetical>\n    <dialogue>Bah-hrum.<\/dialogue>\n    <scene_description>MERRY and PIPPIN laugh. ANGLE ON: TREEBEARD passes close to the storeroom. He hears the laughing and looks in on them. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OSGILIATH - DAY<\/stage_direction>\n    <scene_description>FARAMIR leads FRODO, SAM, and GOLLUM through the turmoil to a water logged tunnel.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>This is the old sewer. Runs right under the river through to the edge of the city. You'll find cover in the woods there.<\/dialogue>\n    <scene_description>ANGLE ON: FRODO and SAM look at him gratefully.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Captain Faramir...you have shown your quality, sir.<\/dialogue>\n    <scene_description>ANGLE ON: FARAMIR stands back, surprised at SAM'S words.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>The very highest.<\/dialogue>\n    <character>FARAMIR<\/character>\n    <dialogue>The Shire must really be a great realm, Master Gamgee, where gardeners are held in high honor.<\/dialogue>\n    <scene_description>ANGLE ON: SAM looks away, embarrassed. FARAMIR smiles.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>What road will you take once you reach the woods?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Gollum says there's a path near Minas Morgul that climbs up into the mountains.<\/dialogue>\n    <scene_description>FARAMIR looks surprised. GOLLUM tries to slink away.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>Cirith Ungol?<\/dialogue>\n    <scene_description>FARAMIR snatches GOLLUM up by the neck and holds him against the wall.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>Is that its name?<\/dialogue>\n    <character>GOLLUM<\/character>\n    <dialogue>No. No!<\/dialogue>\n    <scene_description>FARAMIR tightens his grip.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>FARAMIR turns to FRODO desperately.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>Frodo, they say a dark terror dwells in the passes above Minas Morgul. You cannot go that way.<\/dialogue>\n    <scene_description>ANGLE ON: FRODO, rapt with indecision.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>It is the only way. Master says we must go to Mordor, so we must try.<\/dialogue>\n    <scene_description>FARAMIR looks to FRODO, seemingly desperate to talk him out of it. FRODO looks resolute again.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>I must.<\/dialogue>\n    <scene_description>FARAMIR throws GOLLUM down. He stands before FRODO and SAM. CONTINUED: (2)<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>Go, Frodo. Go with the goodwill of all Men.<\/dialogue>\n    <scene_description>ANGLE ON: FRODO looks at FARAMIR, touched by his sincerity.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>FRODO starts off into the sewer...SAM follows. ANGLE ON: GOLLUM starts to slink to the sewer...FARAMIR grabs him up by the neck again, pinning him against the wall. CLOSE ON: FARAMIR looks at GOLLUM intently.<\/scene_description>\n    <character>FARAMIR<\/character>\n    <dialogue>May death find you quickly if you bring them to harm.<\/dialogue>\n    <scene_description>GOLLUM doesn't respond. FARAMIR throws him into the tunnel. GOLLUM slinks away, with a final, scathing glance to FARAMIR.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OSGILIATH SEWER TUNNEL - DAY<\/stage_direction>\n    <scene_description>FRODO and SAM walk easily through the tunnel. GOLLUM limps behind them.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Come on, keep up.<\/dialogue>\n    <scene_description>ANGLE ON: GOLLUM slumps to the ground, in pain. SAM stops.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Mr. Frodo didn't mean for them Rangers to hurt you. You know that, don't you? He was trying to save you, see?<\/dialogue>\n    <scene_description>ANGLE ON: GOLLUM looks up to SAM in wonder.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>Save me?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>So there's no hard feelings. Forgive and forget.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>GOLLUM<\/character>\n    <parenthetical>(shaking his head)<\/parenthetical>\n    <dialogue>No, no, no hard feelings.<\/dialogue>\n    <parenthetical>(coughing)<\/parenthetical>\n    <dialogue>Gollum, Gollum. Yes, master.<\/dialogue>\n    <scene_description>SAM steps back for GOLLUM to pass. WIDE ON: GOLLUM crawls into the culvert, following FRODO. SAM stands back and waits for him to wriggle his way in.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>Nice Hobbits.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Very decent of you. Very decent, indeed, Gollum.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAINS OF ROHAN - DAY<\/stage_direction>\n    <scene_description>GANDALF, ARAGORN, LEGOLAS, GIMLI, TH\u00c9ODEN, and \u00c9OMER ride to the top of the rise in front of HELM'S DEEP, looking off into the distance.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>Sauron's wrath will be terrible, his retribution swift.<\/dialogue>\n    <scene_description>WIDE ON: In the far distance, the skies over MORDOR crackle and the darkness spreads. ANGLES ON: The others look to GANDALF as he speaks.<\/scene_description>\n    <character>GANDALF<\/character>\n    <dialogue>The battle for Helm's Deep is over. The battle for Middle-earth is about to begin. All our hopes now lie with two little Hobbits...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ITHILIEN - DAY<\/stage_direction>\n    <scene_description>GOLLUM leads FRODO and SAM through the woods. CONTINUED:<\/scene_description>\n    <character>GANDALF (V.O.)<\/character>\n    <dialogue>...somewhere in the wilderness.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I wonder if we'll ever be put into songs or tales.<\/dialogue>\n    <character>FRODO<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I wonder if people will ever say, \"Let's hear about Frodo and the Ring.\" And they'll say \"Yes, that's one of my favorite stories. Frodo was really courageous, wasn't he, dad.\" \"Yes, my boy, the most famousest of Hobbits. And that's saying a lot.\"<\/dialogue>\n    <scene_description>FRODO laughs and turns to SAM.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Well, you've left out one of the chief characters: \"Samwise the Brave.\" I want to hear more about Sam.<\/dialogue>\n    <scene_description>FRODO turns to SAM. SAM smiles sheepishly. FRODO'S smile fades. He stops and turns to SAM, seriously.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Frodo wouldn't have got far without Sam.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Now Mr. Frodo, you shouldn't make fun. I was being serious.<\/dialogue>\n    <character>FRODO<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>So was I.<\/dialogue>\n    <scene_description>FRODO walks onward. CLOSE ON: SAM, dreaming of being a great storybook hero. CONTINUED: (2)<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>(dreamily)<\/parenthetical>\n    <dialogue>\"Samwise the Brave.\"<\/dialogue>\n    <scene_description>He gives his backpack a heave and follows FRODO. ANGLE ON: FRODO smiles...The HOBBITS walk through the forest in the distance.<\/scene_description>\n    <character>FRODO<\/character>\n    <dialogue>Sm\u00e9agol!<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>We're not gonna wait for you. Come on!<\/dialogue>\n    <scene_description>PAN TO: GOLLUM crawls over a short hill, struggling.<\/scene_description>\n    <character>SM\u00c9AGOL<\/character>\n    <dialogue>Master. Master looks after us. Master wouldn't hurt us.<\/dialogue>\n    <character>GOLLUM<\/character>\n    <dialogue>Master broke his promise.<\/dialogue>\n    <character>SM\u00c9AGOL<\/character>\n    <dialogue>Don't ask Sm\u00e9agol. Poor, poor Sm\u00e9agol.<\/dialogue>\n    <character>GOLLUM<\/character>\n    <dialogue>Master betrayed us. Wicked. Tricksy. False. We ought to wring his filthy little neck. Kill him! Kill him! Kill them both. And then we take the precious and we be the master!<\/dialogue>\n    <scene_description>SM\u00c9AGOL runs and hides behind a tree.<\/scene_description>\n    <character>SM\u00c9AGOL<\/character>\n    <dialogue>But the fat Hobbit, he knows. Eyes always watching.<\/dialogue>\n    <scene_description>GOLLUM peeks out from behind the other side of the tree.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <dialogue>Then we stabs them out. Put out his eyeses and make him crawl.<\/dialogue>\n    <scene_description>CONTINUED: (3) SM\u00c9AGOL nods eagerly.<\/scene_description>\n    <character>SM\u00c9AGOL<\/character>\n    <dialogue>Yes! Yes! Yes!<\/dialogue>\n    <character>GOLLUM<\/character>\n    <dialogue>Kill them both.<\/dialogue>\n    <character>SM\u00c9AGOL<\/character>\n    <dialogue>Yes! No! No!<\/dialogue>\n    <scene_description>He backs away from the tree.<\/scene_description>\n    <character>SM\u00c9AGOL<\/character>\n    <dialogue>It's too risky. It's too risky.<\/dialogue>\n    <scene_description>ANGLE ON: The HOBBITS come over the rise behind GOLLUM.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Where is he? Where's he gone? Hey, Gollum! Where are you?<\/dialogue>\n    <character>FRODO<\/character>\n    <dialogue>Sm\u00e9agol?<\/dialogue>\n    <character>GOLLUM<\/character>\n    <parenthetical>(thoughtfully)<\/parenthetical>\n    <dialogue>We could let her do it.<\/dialogue>\n    <character>SM\u00c9AGOL<\/character>\n    <dialogue>Yes. She could do it.<\/dialogue>\n    <character>GOLLUM<\/character>\n    <dialogue>Yes, precious, she could. And then we takes it once they're dead.<\/dialogue>\n    <character>SM\u00c9AGOL<\/character>\n    <dialogue>Once they're dead.<\/dialogue>\n    <character>GOLLUM<\/character>\n    <dialogue>Shh.<\/dialogue>\n    <scene_description>With a smile, GOLLUM leaps out of hiding. CONTINUED: (4)<\/scene_description>\n    <character>SM\u00c9AGOL<\/character>\n    <dialogue>Come on, Hobbits. Long ways to go yet. Sm\u00e9agol will show you the way.<\/dialogue>\n    <scene_description>ANGLE ON: GOLLUM walks through the forest, FRODO and SAM close behind.<\/scene_description>\n    <character>GOLLUM<\/character>\n    <parenthetical>(sinister)<\/parenthetical>\n    <dialogue>Follow me.<\/dialogue>\n    <scene_description>WIDE ON: GOLLUM continues leading the HOBBITS through the forest to their eventual destination. PAN UP OVER THE FOREST...OVER EPHEL D\u00daATH...TO REVEAL... MORDOR...THE TOWER OF BARAD-D\u00dbR WITH THE EYE OF SAURON BURNING ON ITS SUMMIT...MOUNT DOOM BELCHES FIRE AND ASH INTO THE SKY...NAZG\u00dbL ON FELLBEASTS CIRCLE THE SKIES... FADE TO BLACK. THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Awakening from a dream of Gandalf fighting the Balrog in Moria, Frodo Baggins finds himself, along with Samwise Gamgee, lost in the Emyn Muil near Mordor. They discover that they are being tracked by Gollum, a former bearer of the One Ring. Capturing Gollum, Frodo takes pity and allows him to guide them, reminding Sam that they will need Gollum's help to infiltrate Mordor. Aragorn, Legolas, and Gimli pursue a band of Uruk-hai to save their companions Merry and Pippin, entering the kingdom of Rohan. The Uruk-hai are ambushed by a group of Rohirrim, allowing Merry and Pippin to escape into Fangorn Forest. Meeting Aragorn's group, the Rohirrim's leader \u00c9omer explains that he and his men have been exiled by Rohan's king, Th\u00e9oden, who is under the control of Saruman and his servant Gr\u00edma Wormtongue. \u00c9omer believes Merry and Pippin were killed during the raid but leaves the group two horses. In Fangorn, Aragorn's group encounters Gandalf, who after his fight against the Balrog was resurrected as Gandalf the White to help save Middle-earth. Gandalf leads the trio to Rohan's capital, Edoras, where Gandalf frees Th\u00e9oden from Saruman's control. Aragorn stops Th\u00e9oden from executing Wormtongue, who flees. Learning of Saruman's plans to destroy Rohan with his Uruk-hai army, Th\u00e9oden evacuates his citizens to the fortress of the Hornburg at Helm's Deep. Gandalf departs to find \u00c9omer and his followers, hoping they will fight for their restored king. Aragorn befriends Th\u00e9oden's niece, \u00c9owyn, who becomes infatuated with him. When the refugees travelling to Helm's Deep are attacked by Saruman's Warg-riding Orcs, Aragorn falls from a cliff and is presumed dead. He is found by Th\u00e9odred's horse Brego and rides to Helm's Deep, witnessing Saruman's army marching toward the fortress. In Rivendell, Arwen is told by her father Elrond that Aragorn will not return. He reminds her that if she remains in Middle-earth, she will outlive Aragorn by thousands of years, and she reluctantly departs for Valinor. Elrond is contacted by Galadriel of Lothl\u00f3rien, who convinces him that the Elves should honour their alliance to men, and they dispatch a company of Elves to Helm's Deep. In Fangorn, Merry and Pippin meet Treebeard, an Ent. Convincing Treebeard that they are allies, they are brought to an Ent Council, where the Ents decide not to take part in the coming war. Pippin asks Treebeard to take them in the direction of Isengard, where they witness the deforestation caused by Saruman's war effort. Enraged, Treebeard and the Ents storm Isengard, trapping Saruman in his tower. Aragorn arrives at Helm's Deep, warning Th\u00e9oden of Saruman's army approaching. Th\u00e9oden prepares for battle despite being vastly outnumbered. A company of Lothlorien Elves arrives to aid the people of Rohan, shortly before Saruman's army attacks the fortress. The Uruk-hai breach the outer wall with explosives and during the ensuing charge, kill the Elves' commander, Haldir. The defenders retreat into the keep, where Aragorn convinces Th\u00e9oden to meet the Uruk-hai in one last charge. At dawn, as the defenders are overwhelmed, Gandalf and \u00c9omer arrive with the Rohirrim, turning the tide of the battle. The surviving Uruk-hai flee into Fangorn Forest and are killed by the trees. Gandalf warns that Sauron will retaliate. Gollum leads Frodo and Sam through the Dead Marshes to the Black Gate, but recommends they enter Mordor by another route. Frodo and Sam are captured by Rangers of Ithilien led by Faramir, younger brother of the late Boromir. Frodo helps Faramir catch Gollum to save him from being killed by the Rangers. Learning of the One Ring, Faramir takes his captives to Gondor to bring the Ring to his father Denethor. Passing through the besieged city of Osgiliath, Frodo tries to explain to Faramir the true nature of the Ring, and Sam explains that Boromir was driven mad by its power. A Nazg\u00fbl nearly captures Frodo, who falls under the Ring's power, but Sam saves him and reminds a disheartened Frodo that they are fighting for the good still left in Middle-earth. Impressed by Frodo's resolve, Faramir releases them. Feeling betrayed, Gollum decides he will reclaim the Ring by leading Frodo to \"her\" upon arriving at Cirith Ungol."}
{"movie_name":"How to Train Your Dragon_2010","imdb_id":"tt0892769","script":"<script>\n  <scene>\n    <character>HOW TO TRAIN YOUR DRAGON<\/character>\n    <dialogue>Written by<\/dialogue>\n    <scene_description>Dean DeBlois &amp; Chris Sanders Based on the novel by Cressida Cowell Final Draft February 13, 2010 FADE IN:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NORTH SEA\/VILLAGE - NIGHT<\/stage_direction>\n    <scene_description>We skim above a dark, wild ocean. The camera turns toward a lone island, Berk. It is a gigantic shard of rock jutting straight out of the water.<\/scene_description>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>This, is Berk. It's twelve days North of hopeless, and a few degrees South of freezing to death. It's located solidly on the meridian of misery. The camera drifts over rolling hills to reveal a small village nestled on an outcropping of sea mounts.<\/dialogue>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>My village. In a word, sturdy. And it's been here for seven generations, but every single building is new. The camera drifts closer, circling.<\/dialogue>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>We have fishing, hunting, and a charming view of the sunsets. The only problems are the pests. You see, most places have mice or mosquitos. We have... Sheep graze peacefully on a hillside. Suddenly one is snatched.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STOICK'S HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>A door is pulled open... as a DRAGON swoops directly toward it, BLASTING FIRE. The door is SLAMMED. The fire shoots through the slats of wood, illuminating HICCUP, a gangly teenage Viking.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>...dragons.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STOICK'S HOUSE<\/stage_direction>\n    <scene_description>He reopens the sizzling door, as leaps off of the front porch. He weaves through the erupting mayhem as Vikings pour out of the buildings, ready for a fight. \"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 2. More dragons swarm in, setting rooftops alight and hauling off sheep.<\/scene_description>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>Most people would leave. Not us. We're Vikings. We have stubbornness issues. Vikings sound the alarm. Viking men and women pour out into the streets, axes in hand. ON HICCUP darting through alleys, staying under eaves, making his way through the battle.<\/dialogue>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>My name's Hiccup. Great name, I know. But it's not the worst. Parents believe a hideous name will frighten off gnomes and trolls. Like our charming Viking demeanor wouldn't do that. Dragons sweep back and forth, dodging axes and blasting the Vikings who throw them. A burly warrior gets tossed in an explosion, knocking Hiccup to the ground.<\/dialogue>\n    <scene_description>VIKING<\/scene_description>\n    <character>(FIERCE)<\/character>\n    <dialogue>Arggghhhhh!<\/dialogue>\n    <parenthetical>(cheery, insane)<\/parenthetical>\n    <dialogue>Mornin'! Hiccup gets to his feet and continues to rush past gigantic men and women.<\/dialogue>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>Meet the neighbors. Hoark the Haggard...<\/dialogue>\n    <character>HOARK<\/character>\n    <dialogue>What are you doing out!?<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>... Burnthair the Broad...<\/dialogue>\n    <character>BURNTHAIR<\/character>\n    <dialogue>Get inside!<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>... Phlegma the Fierce...<\/dialogue>\n    <character>PHLEGMA THE FIERCE<\/character>\n    <dialogue>Get back inside!<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 3.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>. Ack. He passes a silent ox of a viking, picking his ear.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Yep, just Ack. Enter STOICK, the biggest Viking of all. He yanks Hiccup from the path of a strafing dragon and holds aloft to the crowd.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Hiccup!?<\/dialogue>\n    <parenthetical>(accusingly; to the crowd)<\/parenthetical>\n    <dialogue>What is he doing out again?!<\/dialogue>\n    <character>(TO HICCUP)<\/character>\n    <dialogue>What are you doing out?! Get inside! The flames light up his scowling face and matted red beard. He sets Hiccup down and turns to the sky, searching.<\/dialogue>\n    <scene_description>HICCUP (V.O.)<\/scene_description>\n    <character>(IN AWE)<\/character>\n    <dialogue>That's Stoick the Vast. Chief of the tribe. They say that when he was a baby he popped a dragon's head clean off of its shoulders. Do I believe it? Stoick grabs a wooden cart and hurls it, knocking the strafing dragon out of the sky.<\/dialogue>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>Yes I do. An EXPLOSION forces Vikings to DUCK. Stoick stands firm, brushing flaming debris off of his shoulder.<\/dialogue>\n    <character>STOICK<\/character>\n    <parenthetical>(barking; to his men)<\/parenthetical>\n    <dialogue>What have we got?<\/dialogue>\n    <scene_description>VIKING #1 Gronkles. Nadders. Zipplebacks. Oh, and Hoark saw a Monstrous Nightmare.<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>Any Night Furies?<\/dialogue>\n    <scene_description>VIKING #1 None so far. \"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 4. STOICK<\/scene_description>\n    <character>(RELIEVED)<\/character>\n    <dialogue>Good.<\/dialogue>\n    <character>VIKING<\/character>\n    <dialogue>Hoist the torches! Massive flaming braziers are raised on poles, lighting up the night sky... and revealing swirling dragons of all types. Below, Hiccup crosses an open plaza and ducks into an open building with a tall chimney.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLACKSMITH STALL - CONTINUOUS<\/stage_direction>\n    <scene_description>He crosses behind a counter, where a peg-legged, one-armed hulk of a Blacksmith reshapes blades with a hammer and tongs appendage.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Ah! Nice of you to join the party. I thought you'd been carried off. Hiccup dons a leather apron and starts to put away Gobber's scattered appendages.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Who me? Nah, come on! I'm way too muscular for their taste. They wouldn't know what to do with all this. Hiccup strikes a bodybuilder pose.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>They need toothpicks, don't they? Hiccup gets to work, transferring bent and chipped weapons to the forge as Vikings crowd the counter for replacements.<\/dialogue>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>The meathead with attitude and interchangeable hands is Gobber. I've been his apprentice ever since I was little. Well...littler.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLAGE - CONTINUOUS<\/stage_direction>\n    <scene_description>ON STOICK<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>We move to the lower defenses. We'll counter-attack with the catapults.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 5. Armed men rush past, flanking others who carry sheep to safety. Stoick follows up the rear as, overhead, a dragon strafes the rooftops with Napalm-like fire.<\/scene_description>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>See? Old village. Lots and lots of new houses.<\/dialogue>\n    <scene_description>VIKING FIRE! In response, the fire brigade charges through the plaza -- four TEENS, tugging a large wooden cask on wheels. From it, they fill buckets of water to douse the flames. One among them is a cute, energetic Viking girl. Hiccup leans out of the stall to watch her.<\/scene_description>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>Oh and that's Fishlegs, Snotlout. The twins Ruffnut and Tuffnut. And...<\/dialogue>\n    <character>(DREAMY)<\/character>\n    <dialogue>Astrid. A SLOW-MOTION explosion erupts behind her, framing her in a sexy ball of fire. The others join her, looking awesome and heroic.<\/dialogue>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>Their job is so much cooler. Hiccup tries to join them as they pass, but he's hooked by Gobber and hoisted back inside.<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(PLEADING)<\/character>\n    <dialogue>Ah, come on. Let me out, please. I need to make my mark.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Oh, you've made plenty of marks. All in the wrong places.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Please, two minutes. I'll kill a dragon. My life will get infinitely better. I might even get a date.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>You can't lift a hammer. You can't swing an axe... Gobber grabs a bola (iron balls connected by rope).<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 6.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>... you can't even throw one of these. A Viking runs by and nabs it out of Gobber's hand, hurling it at a dive-bombing Gronkle. The bola binds its legs, sending it into a heavy crash.<\/dialogue>\n    <character>HICCUP<\/character>\n    <parenthetical>(ready with the answer)<\/parenthetical>\n    <dialogue>Okay fine, but... He rushes to the back corner of the stall and presents a bizarre, wheel barrow- like contraption.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>... this will throw it for me. Hiccup OPENS the hinged lid of the device. An arm springs up, equipped with twin bows. They prematurely launch a bola, narrowly missing Gobber... and taking out a Viking at the counter.<\/dialogue>\n    <character>VIKING<\/character>\n    <dialogue>Arggh!<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>See, now this right here is what I'm talking about.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Mild calibration issue.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Hiccup. If you ever want to get out there to fight dragons, you need to stop all... Gobber gestures in Hiccup's general direction.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>... this.<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(ASTONISHED)<\/character>\n    <dialogue>But... you just pointed to all of me.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Yes! That's it! Stop being all of you.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 7. HICCUP<\/scene_description>\n    <character>(THREATENING)<\/character>\n    <dialogue>Ohhhh...<\/dialogue>\n    <scene_description>GOBBER<\/scene_description>\n    <character>(MIMICKING)<\/character>\n    <dialogue>Ohhhhh, yes.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>You, sir, are playing a dangerous game. Keeping this much, raw...Vikingness contained.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>There will be consequences! Gobber tosses him a sword.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>I'll take my chances. Sword. Sharpen. Now. Hiccup takes it begrudgingly and lobs it onto the grinding wheel. He stews... fantasizing...<\/dialogue>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>One day I'll get out there. Because killing a dragon is everything around here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLAGE - LOWER PLAINS - CONTINUOUS<\/stage_direction>\n    <scene_description>Nadders land, gathering like seagulls around a seemingly vacant house.<\/scene_description>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>A Nadder head is sure to get me at least noticed. The Nadders clamber onto the building, tearing the roof and walls apart. Sheep pour out and SCATTER.<\/dialogue>\n    <dialogue>Elsewhere, hippo-like Gronckles pick drying racks clean of fish and fly off like loaded pelicans.<\/dialogue>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>Gronckles are tough. Taking down one of those would definitely get me a girlfriend. A stealthy, snake- like dragon head peeks over a rooftop, breathing gas into a chimney.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 8.<\/scene_description>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>A Zippelback? Exotic, exciting. Two heads, twice the status. A second head pokes through the door and lights it. KABLAM! The two heads fly through the explosion, their necks zipping together to reveal a single body. It flies past Stoick as he climbs to the top of a CATAPULT<\/dialogue>\n    <scene_description>TOWER.<\/scene_description>\n    <character>CATAPULT OPERATOR<\/character>\n    <dialogue>They found the sheep!<\/dialogue>\n    <scene_description>STOICK<\/scene_description>\n    <character>(FRUSTRATED)<\/character>\n    <dialogue>Concentrate fire over the lower bank!<\/dialogue>\n    <character>CATAPULT OPERATOR<\/character>\n    <dialogue>Fire! Boulders are catapulted at the corralling Nadders... Just as a huge red dragon whips past, spraying the base of the catapult with sticky fire.<\/dialogue>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>And then there's the Monstrous Nightmare. Only the best Vikings go after those. They have this nasty habit of setting themselves on fire. It emerges from the flames, climbing the catapult with a leering, toothy grin.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Reload! I'll take care of this. Stoick takes on the Nightmare, face to hammer. Suddenly, a LOUD BALLISTIC MOANING streaks overhead. The catapult crew ducks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLACKSMITH STALL - CONTINUOUS<\/stage_direction>\n    <scene_description>ON HICCUP, looking up from his work, reacting to the same sound.<\/scene_description>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>But the ultimate prize is the dragon no one has ever seen. We call it the--<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 9.<\/scene_description>\n    <character>VIKING<\/character>\n    <dialogue>Night Fury! Get down! Vikings everywhere take shelter. The moaning sound BUILDS.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLAGE - CATAPULT - CONTINUOUS<\/stage_direction>\n    <scene_description>The Monstrous Nightmare suddenly stops fighting and takes flight. Stoick looks skyward. STOICK JUMP! KABOOM! The Catapult EXPLODES as though hit by an artillery shell... sending Stoick and the crew leaping for their lives.<\/scene_description>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>This thing never steals food, never shows itself, and... The sound recedes, leaving the crippled catapult in flames.<\/dialogue>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>...never misses.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>No one has ever killed a Night Fury. That's why I'm going to be the first.<\/dialogue>\n    <character>IN THE STALL<\/character>\n    <dialogue>Gobber trades his hammer for an axe.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Man the fort, Hiccup, they need me out there! Gobber pauses. Turns with a threatening glare.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Stay. Put. There. You know what I mean. Gobber charges into the fray, HOLLERING. ON HICCUP, a smirk crosses his face.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLAGE - MOMENTS LATER<\/stage_direction>\n    <scene_description>WHAM! Hiccup pushes his wheeled contraption through a wall of clustered Vikings. He weaves through the ongoing mayhem, as fast as his legs can carry him. \"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 10.<\/scene_description>\n    <character>VIKING #6 (O.S.)<\/character>\n    <dialogue>Hiccup, where are you going!<\/dialogue>\n    <scene_description>VIKING #7 Come back here!<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>I know. Be right back!<\/dialogue>\n    <character>ON THE PLAIN BELOW<\/character>\n    <dialogue>The Nadders have cornered the house- full of sheep. They close in, ready to spring upon them. Stoick suddenly appears, HURLING FISHING NETS over them. The surprised Nadders are caught. Stoick and his men rush in. A Nadder blasts a hole through its net. Stoick leaps onto it, clamping his thick arms around its head, forcing its jaws shut.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Mind yourselves! The devils still have some juice in them.<\/dialogue>\n    <character>ON THE PLAIN ABOVE<\/character>\n    <dialogue>Hiccup reaches a cliff overlooking the smoking CATAPULT and drops the handles to the ground. He cranks several levers, unfolding and then cocking the bowed arms of his contraption. He drops a bola onto a chamber and then pivots the weapon on a gimbal head toward the dark sky.<\/dialogue>\n    <dialogue>He listens, with his eye pressed to the scope, hand poised on the trigger. He hears the NIGHT FURY approaching... and turns his aim to the defense tower. It closes in for the final strike, completely camouflaged in the night.<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(TO HIMSELF)<\/character>\n    <dialogue>Come on. Give me something to shoot at, give me something to shoot at. KABLAM! The tower topples. The blast of fire illuminates the dragon for a split second. Hiccup pulls the trigger. KERTHUNK! The flexed arms SNAP forward, springing the weapon off the ground. The bola disappears into the sky, followed by a WHACK and a SCREECH.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 11.<\/scene_description>\n    <character>HICCUP<\/character>\n    <parenthetical>(surprised, then elated)<\/parenthetical>\n    <dialogue>Oh I hit it! Yes, I hit it! Did anybody see that? Hiccup's victory is short-lived. A Monstrous Nightmare appears, slithering up over the lip of the cliff.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Except for you. ON STOICK, holding down the netted Nadders. He hears a familiar HOLLER and looks up to see... HICCUP running through the PLAZA, SCREAMING, with the NIGHTMARE fast on his heels. Alarmed, Stoick abandons the Nadders and runs off.<\/dialogue>\n    <character>STOICK<\/character>\n    <parenthetical>(to his men, re: the NADDERS)<\/parenthetical>\n    <dialogue>DO NOT let them escape!<\/dialogue>\n    <character>IN THE PLAZA<\/character>\n    <dialogue>Vikings scatter as Hiccup dodges a near fatal blast. The Nightmare's sticky, Napalm-like fire splashes up onto buildings, setting them alight.<\/dialogue>\n    <dialogue>Hiccup ducks behind the last standing brazier -- the only shelter available. The Nightmare blasts it, spraying fire all around him. Hiccup peers around the smoldering post. No sign of the Nightmare. He turns back to find it leering at him, blocking his escape. It takes a deep breath. Hiccup is finished. Suddenly, Stoick LEAPS between them, tackling the Nightmare to the ground. They tumble and wrestle, resuming their earlier fight. The Nightmare tries to toast him, but only coughs up smoke.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>You're all out. He smashes the Nightmare repeatedly in the face, driving it away. It takes to the air and disappears. Winded, Stoick turns to Hiccup.<\/dialogue>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>Oh, and there's one more thing you need to know...<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 12. The burnt brazier pole collapses, sending the massive iron basket crashing. It bounces down the hill, destroying as it goes and scattering the Vikings who were holding down the netted Nadders. The freed dragons escape... with several sheep in tow.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Sorry, dad.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLAGE - UPPER PLAZA - CONTINUOUS<\/stage_direction>\n    <scene_description>The escaped Nadders fly past with sheep in their clutches. The raid is over. The dragons have clearly won. The murmuring crowd eyes Stoick, awaiting his response. HICCUP<\/scene_description>\n    <character>(SHEEPISH)<\/character>\n    <dialogue>Okay, but I hit a Night Fury. Stoick grabs Hiccup by the back scruff of his collar and hauls him away, fuming with embarrassment.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>It's not like the last few times, Dad. I mean I really actually hit it. You guys were busy and I had a very clear shot. It went down, just off Raven Point. Let's get a search party out there, before it--<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>--STOP! Just....stop. He releases Hiccup. Everyone goes silent, staring expectantly.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Every time you step outside, disaster follows. Can you not see that I have bigger problems? Winter's almost here and I have an entire village to feed! Hiccup looks around. All eyes are upon him.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Between you and me, the village could do with a little less feeding, don't ya think? A few rotund Vikings stir self- consciously.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 13.<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>This isn't a joke, Hiccup!<\/dialogue>\n    <character>(EXASPERATED)<\/character>\n    <dialogue>Why can't you follow the simplest orders?<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>I can't stop myself. I see a dragon and I have to just... kill it, you know? It's who I am, Dad.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>You are many things, Hiccup. But a dragon killer is not one of them. Sting. Hiccup looks around to see many nods of agreement.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Get back to the house.<\/dialogue>\n    <character>(TO GOBBER)<\/character>\n    <dialogue>Make sure he gets there. I have his mess to clean up. Stoick lumbers off in the opposite direction. Gobber leads Hiccup through the walk of shame. They pass the teen fire brigade as they snicker.<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>Quite the performance.<\/dialogue>\n    <character>SNOTLOUT<\/character>\n    <dialogue>I've never seen anyone mess up that badly. That helped!<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Thank you, thank you. I was trying, so... Hiccup avoids Astrid's glare and heads up toward a large house, standing prominently on the hill above the others.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>I really did hit one.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Sure, Hiccup.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>He never listens.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Well, it runs in the family.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 14.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>And when he does, it's always with this... disappointed scowl. Like someone skimped on the meat in his sandwich.<\/dialogue>\n    <character>(MIMICKING STOICK)<\/character>\n    <dialogue>Excuse me, barmaid. I'm afraid you brought me the wrong offspring. I ordered an extra large boy with beefy arms. Extra guts and glory on the side. This here. This is a talking fish bone.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>You're thinking about this all wrong.<\/dialogue>\n    <dialogue>It's not so much what you look like. It's what's inside that he can't stand. Beat.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Thank you, for summing that up. They reach the doorway.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Look, the point is, stop trying so hard to be something you're not. Hiccup SIGHS heavily.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>I just want to be one of you guys. Gobber eyes him sympathetically. Hiccup turns and goes through the front door. And straight out the back door. He hurries off into the woods, determined.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GREAT HALL - DAY<\/stage_direction>\n    <scene_description>A noisy din of PROTESTING VOICES leads to... STOICK, glowering in the firelight. Surrounded by his men.<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>Either we finish them or they'll finish us! It's the only way we'll be rid of them! If we find the nest and destroy it, the dragons will leave. They'll find another home.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 15. He sinks his blade into a... LARGE NAUTICAL MAP, spread out on the table... the blade pierces the middle of an uncharted corner, swirling with painted sea monsters and dragons. STOICK<\/scene_description>\n    <character>(DECIDEDLY)<\/character>\n    <dialogue>One more search. Before the ice sets in.<\/dialogue>\n    <character>VIKING<\/character>\n    <dialogue>Those ships never come back.<\/dialogue>\n    <scene_description>STOICK<\/scene_description>\n    <character>(MATTER-OF-FACT)<\/character>\n    <dialogue>We're Vikings. It's an occupational hazard. Now who's with me? Stoick throws up his fist. No one follows.<\/dialogue>\n    <dialogue>The crowds shifts in restless silence. Head scratches. Eyes averted.<\/dialogue>\n    <scene_description>VIKING<\/scene_description>\n    <character>(FEEBLE)<\/character>\n    <dialogue>Today's not good for me.<\/dialogue>\n    <scene_description>VIKING<\/scene_description>\n    <character>(EQUALLY FEEBLE)<\/character>\n    <dialogue>I've gotta do my axe returns.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Alright. Those who stay will look after Hiccup. Hands jut into the air, volunteers galore. Enthusiastic murmurs of prep and packing fill the room.<\/dialogue>\n    <character>PHLEGMA THE FIERCE<\/character>\n    <dialogue>To the ships!<\/dialogue>\n    <character>SPITELOUT<\/character>\n    <dialogue>I'm with you Stoick!<\/dialogue>\n    <scene_description>STOICK<\/scene_description>\n    <character>(DRY)<\/character>\n    <dialogue>That's more like it. The Vikings rush for the door, leaving Gobber and Stoick alone. Gobber gulps back the contents of his tankard attachment and scrapes back the bench.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>I'll pack my undies.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 16.<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>No, I need you to stay and train some new recruits.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Oh, perfect. And while I'm busy, Hiccup can cover the stall. Molten steel, razor sharp blades, lots of time to himself...what could possibly go wrong? Stoick sinks onto the bench beside Gobber, his brow burdened.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>What am I going to do with him Gobber?<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Put him in training with the others.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>No, I'm serious.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>So am I. Stoick turns to him, glaring.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>He'd be killed before you let the first dragon out of its cage.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Oh, you don't know that.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>I do know that, actually.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>No, you don't.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>No, actually I do.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>No you don't!<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Listen! You know what he's like. From the time he could crawl he's been...different. He doesn't listen.<\/dialogue>\n    <dialogue>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 17.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Has the attention span of a sparrow. I take him fishing and he goes hunting for... for trolls.<\/dialogue>\n    <scene_description>GOBBER<\/scene_description>\n    <character>(DEFENSIVE)<\/character>\n    <dialogue>Trolls exist! They steal your socks.<\/dialogue>\n    <character>(DARKLY)<\/character>\n    <dialogue>But only the left ones. What's with that?<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>When I was a boy...<\/dialogue>\n    <scene_description>GOBBER<\/scene_description>\n    <character>(GRUMBLING)<\/character>\n    <dialogue>Oh here we go.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>My father told me to bang my head against a rock and I did it. I thought it was crazy, but I didn't question him. And you know what happened?<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>You got a headache.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>That rock split in two. It taught me what a Viking could do, Gobber. He could crush mountains, level forests, tame seas! Even as a boy, I knew what I was, what I had to become.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>Hiccup is not that boy.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>You can't stop him, Stoick. You can only prepare him.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>Look, I know it seems hopeless. But the truth is you won't always be around to protect him. He's going to get out there again. He's probably out there now. ON STOICK, as Gobber's words hit their mark.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - DAY<\/stage_direction>\n    <scene_description>ON AN OPEN NOTEBOOK \"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 18. A drawn map of the island, covered in X's. Hiccup looks up from it and peeks over a gorge, expectantly. Sees nothing. He adds another 'X' to the page, then scratches his pencil over the whole map in frustration. He snaps the book closed and pockets it.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Uggh, the gods hate me. Some people lose their knife or their mug. No, not me. I manage to lose an entire dragon. Hiccup WHACKS a low-hanging branch. It SNAPS back at him, hitting him in the face. He looks up to see a snapped tree trunk. His eyes follow it to a long trench of up-turned earth. He follows it to a downed, black dragon, its body and tail tangled in a bola. It appears dead. Hiccup approaches, beaming.<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(IN SHOCK)<\/character>\n    <dialogue>Oh wow. I did it. I did it. This fixes everything.<\/dialogue>\n    <character>(ELATED)<\/character>\n    <dialogue>Yes! He strikes a victory pose, planting his foot on the fallen Night Fury.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>I have brought down this mighty beast! It suddenly shifts.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Whoa! Hiccup springs back, terrified. He turns his blade on it. Rattled, Hiccup creeps along the length of the weak, wounded dragon, dagger poised to strike. As he reaches the head, Hiccup finds the Night Fury staring coldly at him. Hiccup tries to look away, but he's drawn back to its unnerving, unflinching stare. With the dragon safety tangled in the ropes, Hiccup jabs with his dagger, puffing himself up with false bravado.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 19.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>I'm going to kill you, Dragon. I'm gonna cut out your heart and take it to my father. I'm a Viking.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>I am a VIKING! Hiccup raises the dagger, determined to prove his Viking-<\/dialogue>\n    <dialogue>ness. The dragon's labored breathing breaks Hiccup's clenched concentration. He opens an eye, uncertainty leaking through. The dragon holds the stare. Something profound is exchanged. Finally, the Night Fury closes its eye and lowers its head, resigned to its fate. Hiccup tries to go through with it, holding the dagger<\/dialogue>\n    <dialogue>aloft... fighting himself... until finally lowering it with a frustrated sigh. He looks over the dragon's chaffed rope wounds.<\/dialogue>\n    <character>HICCUP<\/character>\n    <parenthetical>(muttered, ashamed)<\/parenthetical>\n    <dialogue>I did this. He turns to leave. Pauses. And glances back at the dragon, chest heaving. Hiccup GRUMBLES. He checks over his shoulder to ensure that no one is watching... then hurries back to cut the ropes. The Night Fury's eye shoots open. With the dragon watching his every move, Hiccup hurriedly saws through the bola ropes. As the last rope falls free, the Night Fury suddenly POUNCES! In a blur, the dragon is upon him, pinning Hiccup down, grazing his neck. Looking like it's about to kill him. Hiccup is paralyzed. The dragon's breath ruffles his hair. Hiccup opens his eyes to find the Night Fury's wolf-like stare boring into him. The exchange is intense, profound. The dragon draws a deep breath, as though it's about to torch him, then lets out an ear- piercing scream instead. It turns and takes flight, flapping violently through the canopy of trees. It bashes against a nearby mountain side, recovers, and drops out of view some distance away. Winded, Hiccup struggles to his feet, staggers a few steps, collapses to his knees, and faints.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STOICK'S HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Hiccup enters to see... \"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 20. STOICK, seated on a thick slice of tree-trunk. He is slouched over the fire-pit, stirring the coals with his axe. Embers waft around his beard. Hiccup tries to sneak past, up the stairs to his room. Stoick seems none the wiser, when...<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>Hiccup.<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(CAUGHT)<\/character>\n    <dialogue>Dad. Uh... Stoick stands, takes a deep breath.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>I, uh... I have to talk to you, Dad.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>I need to speak with you too, son. Hiccup and Stoick STRAIGHTEN at the same moment.<\/dialogue>\n    <character>HICCUP STOICK<\/character>\n    <dialogue>I've decided I don't want to I think it's time you learn fight dragons. to fight dragons.<\/dialogue>\n    <character>(BEAT) (BEAT)<\/character>\n    <dialogue>What? What?<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>You go first.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>No, you go first.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Alright. You get your wish. Dragon training. You start in the morning.<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(SCRAMBLING)<\/character>\n    <dialogue>Oh man, I should've gone first. Uh, 'cause I was thinking, you know we have a surplus of dragon-fighting Vikings, but do we have enough bread-making Vikings, or small home<\/dialogue>\n    <scene_description>REPAIR VIKINGS--<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>--You'll need this. Stoick hands Hiccup his axe. Hiccup avoids taking it.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 21.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>I don't want to fight dragons.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Come on. Yes, you do.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Rephrase. Dad I can't kill dragons.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>But you will kill dragons.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>No, I'm really very extra sure that I won't.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>It's time Hiccup.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Can you not hear me?<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>This is serious son! Stoick forces the axe into Hiccup's hands. Its weight drags him down. He looks up to see Stoick under-lit with firelight.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>When you carry this axe... you carry all of us with you. Which means you walk like us. You talk like us. You think like us. No more of...<\/dialogue>\n    <character>(GESTURING NON-<\/character>\n    <dialogue>specifically at Hiccup) ... this.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>You just gestured to all of me.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Deal?<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>This conversation is feeling very one-sided.<\/dialogue>\n    <scene_description>STOICK DEAL?! Hiccup glances at the axe in his hands. It's a no-win argument. \"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 22. HICCUP<\/scene_description>\n    <character>(RESIGNED)<\/character>\n    <dialogue>Deal. Satisfied, Stoick grabs his helmet and duffel bag... and heads for the door.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Good. Train hard. I'll be back. Probably.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>And I'll be here. Maybe. Stoick heads out the door, leaving Hiccup holding the axe.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAINING GROUNDS - DAY<\/stage_direction>\n    <scene_description>Gobber raises a massive iron gate at the entrance of a vast stone arena.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Welcome to dragon training! The recruits file through the gate, and out onto the arena floor. They take it in like gladiators entering the colosseum. The walls are covered in scorched silhouettes of blasted Vikings. It's a grim yet awe- inspiring place.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>No turning back.<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>I hope I get some serious burns.<\/dialogue>\n    <character>RUFFNUT<\/character>\n    <dialogue>I'm hoping for some mauling, like on my shoulder or lower back.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Yeah, it's only fun if you get a scar out of it.<\/dialogue>\n    <character>HICCUP (O.S.)<\/character>\n    <dialogue>Yeah, no kidding, right? Pain. Love it. The recruits turn to see Hiccup behind them. Groans all around.<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>Oh great. Who let him in?<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 23.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Let's get started! The recruit who does best will win the honor of killing his first dragon in front of the entire village.<\/dialogue>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Hiccup already killed a Night Fury, so does that disqualify him or...? The recruits LAUGH and chatter in the background.<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>Can I transfer to the class with the cool Vikings? Gobber throws a supportive arm around Hiccup and ushers him along.<\/dialogue>\n    <character>GOBBER<\/character>\n    <parenthetical>(cheery, in confidence)<\/parenthetical>\n    <dialogue>Don't worry. You're small and you're weak. That'll make you less of a target. They'll see you as sick or insane and go after the more Viking-like teens instead. GOBBER stick him in line with the others and continues on toward five massive reinforced doors. Terrible ROARS and BELLOWS issue from within.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Behind these doors are just a few of the many species you will learn to fight. Fishlegs bounces and giggles with excitement, barely able to contain himself.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>The Deadly Nadder.<\/dialogue>\n    <character>FISHLEGS<\/character>\n    <parenthetical>(under his breath)<\/parenthetical>\n    <dialogue>Speed eight. Armor sixteen.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>The Hideous Zippleback.<\/dialogue>\n    <character>FISHLEGS<\/character>\n    <dialogue>Plus eleven stealth. Times two.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>The Monstrous Nightmare.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 24.<\/scene_description>\n    <character>FISHLEGS<\/character>\n    <dialogue>Firepower fifteen.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>The Terrible Terror.<\/dialogue>\n    <character>FISHLEGS<\/character>\n    <dialogue>Attack eight. Venom twelve.<\/dialogue>\n    <scene_description>GOBBER CAN YOU STOP THAT?!<\/scene_description>\n    <character>(BEAT)<\/character>\n    <dialogue>And...the Gronckle.<\/dialogue>\n    <character>FISHLEGS<\/character>\n    <parenthetical>(quietly; to himself)<\/parenthetical>\n    <dialogue>Jaw strength, eight. Gobber pulls a lever, raising the cross beam on the last of the doors.<\/dialogue>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Whoa, wait! Aren't you gonna teach us first!?<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>I believe in learning on the job. BAM! A GRONCKLE thunders out of its cave, charging into the ring like an irate rhino. The recruits scramble in every direction. Except for Ruffnut and Tuffnut who rush toward it, like pumped-up rodeo clowns.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Today is about survival. If you get blasted, you're dead.<\/dialogue>\n    <dialogue>Quick, what's the first thing you're going to need?<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>A doctor?<\/dialogue>\n    <character>FISHLEGS<\/character>\n    <dialogue>Plus five speed?<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>A shield.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Shields. Go. The recruits scramble for shields, finding them scattered around the ring.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 25.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Your most important piece of equipment is your shield. If you must make a choice between a sword or a shield, take the shield. Hiccup STRUGGLES to lift his. Gobber helps him and sends him running. Ruff and Tuff stand amidst a dozen shields. But only one has a skull painted on it. They both grab it.<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>Get your hands off my shield!<\/dialogue>\n    <character>RUFFNUT<\/character>\n    <dialogue>There are like a million shields!<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>Take that one, it has a flower on it. Girls like flowers. Ruffnut uses the shield to BASH Tuffnut in the face. He doesn't let go.<\/dialogue>\n    <character>RUFFNUT<\/character>\n    <dialogue>Ooops, now this one has blood on it. The Gronckle takes aim at the distracted twins. Blam! The shield is blasted out of both of their hands. Tuff and Ruff SPIN like tops and go down.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Tuffnut, Ruffnut, you're out!<\/dialogue>\n    <scene_description>TUFFNUT<\/scene_description>\n    <character>(DAZED)<\/character>\n    <dialogue>What?!<\/dialogue>\n    <scene_description>RUFFNUT<\/scene_description>\n    <character>(CONFUSED)<\/character>\n    <dialogue>What?! The Gronckle scoops up a pile of rocks and SWALLOWS them back. The teens gather on the far side of the ring.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Those shields are good for another thing. Noise. Make lots of it to throw off a dragon's aim. The kids scoop up weapons and begin hammering on their shields. The Gronckle shakes its head at the clatter.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 26. GRONCKLE'S POV - the teens targets become blurry and scrambled. It's working.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>All dragons have a limited number of shots. How many does a Gronckle have?<\/dialogue>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Five!<\/dialogue>\n    <character>FISHLEGS<\/character>\n    <dialogue>No, six.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Correct, six. That's one for each of you!<\/dialogue>\n    <character>FISHLEGS<\/character>\n    <dialogue>I really don't think my parents<\/dialogue>\n    <character>WOULD--<\/character>\n    <dialogue>BAM! Fishlegs has his shield blasted away.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Fishlegs, out. Gobber spots Hiccup hiding from the Gronckle's molten slugs.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Hiccup, get in there! ON ASTRID bouncing on her heels, ready to dodge a blast. Snotlout appears, trying to hit on her.<\/dialogue>\n    <character>SNOTLOUT<\/character>\n    <dialogue>So anyway I'm moving into my parents' basement. You should come by sometime to work out. You look like you work out--She cartwheels out of the way, allowing a shot to shoot past her and hit Snotlout's shield. He's blasted onto his back.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Snotlout! You're done! Astrid ROLLS to a stop beside Hiccup, who stirs awkwardly, trying to look cool.<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(VOICE BREAKING)<\/character>\n    <dialogue>So, I guess it's just you and me huh?<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 27.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>No. Just you. Astrid ROLLS away. A split-second later a lava slug knocks Hiccup's shield clear off of his arm. Hiccup is exposed.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>One shot left! Hiccup panics and chases after his shield as it rolls across the ring. The sudden movement sends the Gronckle chasing after him, leaving Astrid in the clear.<\/dialogue>\n    <scene_description>GOBBER<\/scene_description>\n    <character>(WORRIED)<\/character>\n    <dialogue>Hiccup! The Gronckle drives straight toward Hiccup, pinning him against the wall. It opens its mouth and cocks its tail, ready to fire point-blank. Gobber lunges in and hooks the Gronckle's mouth at the last second, causing its head to jerk back and fire against the stone wall above Hiccup's head.<\/dialogue>\n    <character>GOBBER<\/character>\n    <parenthetical>(rattled, but masking it)<\/parenthetical>\n    <dialogue>And that's six! Gobber wrestles the irate Gronckle back into his pen.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Go back to bed, ya overgrown sausage! You'll get another chance, don't you worry. Slam! Lock. Gobber turns to the recruits.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Remember... a dragon will always,<\/dialogue>\n    <parenthetical>(with a stern look to HICCUP)<\/parenthetical>\n    <dialogue>always go for the kill. He hoists Hiccup to his feet and walks off. Hiccup looks overhead to see a steaming pit in the solid stone wall.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS\/HIDDEN COVE - DUSK<\/stage_direction>\n    <scene_description>HICCUP, battered after another disastrous day in the ring. He studies the remnants of the discarded bola... revealing that he's back at the scene of the crime. \"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 28. HICCUP<\/scene_description>\n    <character>(MUTTERED)<\/character>\n    <dialogue>So...why didn't you? He drops the bola and presses on in the direction it flew off. He drops into a rocky crevice and follows it to an... ISOLATED COVE complete with a pristine spring pool. He scans the high stone walls... then notices a single black SCALE on the ground. He crouches and picks it up, studying it.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Well this was stupid. SUDDENLY, the NIGHT FURY blasts past him. Hiccup recoils, watching the massive beast struggle to climb the walls. It flaps violently, then peels away to a rough landing. The dragon is trapped. Hiccup grins, excited to see it again, and slips closer.<\/dialogue>\n    <dialogue>He watches as the dragon, exhausted and frustrated, leaps into the air, beating its wings furiously. Again and again, it rolls uncontrolled and CRASHES heavily. As if remembering to snap a photo, Hiccup pulls a leather-bound book and flips past drawings of weapons to a blank page. He sketches the dragon quickly, desperate to record the image. The Fury claws at the steep rock walls, trying climb out of the cove. It SLIPS and falls hard, crushing several saplings. The Fury rolls back to his feet and slowly crawls to the water's edge. He spots fish in the shallow water and snaps at them... but comes up empty. He lowers his head, looking weakened.<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(MUTTERED)<\/character>\n    <dialogue>Why don't you just...fly away? ON HICCUP as he spots the problem. He adjusts his drawing, carefully erasing one half of the dragon's tail. He accidentally drops the charcoal stick. It rolls off of the rock outcropping that hides him from view and bounces into the cove. TINK. TINK. TINK. The Night Fury raises his head, spotting Hiccup. They exchange a profound, unflinching stare.<\/dialogue>\n    <scene_description>DISSOLVE TO: \"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 29.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GREAT HALL - NIGHT<\/stage_direction>\n    <scene_description>A storm is brewing outside. The great doors rattle on their hinges.<\/scene_description>\n    <character>GOBBER (O.S.)<\/character>\n    <dialogue>Alright. Where did Astrid go wrong in the ring today? The recruits are seated at a table, eating dinner by the glow of the fire pit.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>I mistimed my summersault dive. It was sloppy. It threw off my reverse tumble. Eye rolls from the group.<\/dialogue>\n    <scene_description>RUFFNUT<\/scene_description>\n    <character>(SARCASTIC)<\/character>\n    <dialogue>Yeah. We noticed.<\/dialogue>\n    <character>SNOTLOUT<\/character>\n    <parenthetical>(grabbing Astrid's hand)<\/parenthetical>\n    <dialogue>No, no, you were great. That was so 'Astrid'.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>She's right, you have to be tough on yourselves. CREAK. All eyes turn to Hiccup, entering the hall, sheepishly. Gobber glares at him.<\/dialogue>\n    <character>GOBBER<\/character>\n    <parenthetical>(glaring at Hiccup)<\/parenthetical>\n    <dialogue>Where did Hiccup go wrong? He tries to take a seat at the table...<\/dialogue>\n    <character>RUFFNUT<\/character>\n    <dialogue>He showed up.<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>He didn't get eaten. ... but the recruits keep closing the gaps. Rolling his eyes, Hiccup sits at the vacant table next to them.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>He's never where he should be.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 30.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Thank you, Astrid. Gobber stands.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>You need to live and breathe this stuff. Gobber lays a giant book in the center of the table.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>The dragon manual. Everything we know about every dragon we know of. A RUMBLE of thunder shakes the hall. Rain pours down outside.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>No attacks tonight. Study up. Gobber EXITS into the storm, leaving the teens staring at the book.<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <parenthetical>(you've got to be kidding)<\/parenthetical>\n    <dialogue>Wait, you mean read?<\/dialogue>\n    <character>RUFFNUT<\/character>\n    <dialogue>While we're still alive?<\/dialogue>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Why read words when you can just kill the stuff the words tell you stuff about?<\/dialogue>\n    <character>FISHLEGS<\/character>\n    <dialogue>Oh! I've read it like, seven times. There's this water dragon that sprays boiling water at your face. And there's this other one that buries itself for like a week... The teens stare as Fishlegs goes on too long.<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>Yeah, that sounds great. There was a chance I was going to read that...<\/dialogue>\n    <character>RUFFNUT<\/character>\n    <dialogue>...but now... Snotlout gets up to go.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 31.<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <dialogue>You guys read, I'll go kill stuff. The others follow, with Fishlegs in tow.<\/dialogue>\n    <character>FISHLEGS<\/character>\n    <dialogue>Oh and there's this other one that has these spines that look like trees... Astrid is the last to go.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>So I guess we'll share--<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Read it. She pushes it toward him and leaves.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>All mine then. Wow, so okay. I'll<\/dialogue>\n    <character>SEE YOU--<\/character>\n    <dialogue>Slam.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Tomorrow.<\/dialogue>\n    <scene_description>SIGH. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GREAT HALL - LATE NIGHT<\/stage_direction>\n    <character>ON HICCUP'S HAND<\/character>\n    <dialogue>OPENING the massive book. Thunder BOOMS outside. The hall is vacant and dark, but for the few candles he's pulled together. Hiccup pours through page after page of strange and frightening dragons.<\/dialogue>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>Dragon classifications. Strike class. Fear class. Mystery class. Hiccup turns the page.<\/dialogue>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>Thunderdrum. This reclusive dragon inhabits sea caves and dark tide pools.<\/dialogue>\n    <dialogue>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 32.<\/dialogue>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>When startled, the Thunderdrum produces a concussive sound that can kill a man at close range. Extremely dangerous. Kill on sight. Hiccup's eyes drift to a lurid illustration of decapitated Vikings. Another page, another dragon.<\/dialogue>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>Timberjack. This gigantic creature has razor sharp wings that can slice through full grown trees...extremely dangerous. Kill on sight. The illustrations seem to take on a life of their own, shifting and squirming in the candlelight.<\/dialogue>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>Scauldron. Sprays scalding water at its victim. Extremely dangerous. The storm outside rages against the shuttered windows. Hiccup is startled, but presses on.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Changewing. Even newly hatched dragons can spray acid. Kill on sight. He begins flipping through the pages. A blur of dragons...<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Gronckle. Zippleback. The Skrill. Bone Knapper. Whispering Death. Burns its victims. Buries its victims. Chokes its victims. Turns its victims inside-out. Extremely dangerous. Extremely dangerous. Kill on sight. Kill on sight. Kill on sight... Hiccup finally lands upon the page he's been looking for.<\/dialogue>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>Night Fury. It's BLANK -- no image, save for a few, sparse details.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Speed unknown. Size unknown. The unholy offspring of lightning and death itself.<\/dialogue>\n    <dialogue>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 33.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Never engage this dragon. Your only chance, hide and pray it does not find you.<\/dialogue>\n    <scene_description>Hiccup pulls his sketchbook out of his vest and opens it to his drawing of Toothless. He lays it over the book's blank page and considers it. CLOSE ON the drawing of Toothless... MATCH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGH SEAS - DAWN<\/stage_direction>\n    <scene_description>A painted DRAGON, with a sword run through it. It's the billowing sail of Stoick's ship. Stoick hovers over the familiar nautical map -- his eyes on the uncharted corner, swirling in mist and illustrations of dragons.<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>I can almost smell them. They're close. Steady. Stoick raises his gaze to... AN EPIC FOG BANK, towering from sky to sea like a bruised, daunting curtain, beyond which nothing is visible. The three ships drift alongside it, skirting its solid edge, looking for an opening. ON DECK the crewmen mill nervously, all too aware of what Stoick is considering.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Take us in. The helmsman steers Stoick's ship into the fog. The men draw their weapons, prepping for the worst.<\/dialogue>\n    <character>VIKING<\/character>\n    <dialogue>Hard to port... for Helheim's gate. The first ship disappears into the whiteout, followed by the other two.<\/dialogue>\n    <scene_description>A BEAT \"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 34. Suddenly a flash of light. A silhouette of a dragon. Hollers. Sounds of splitting and shattering wood. Plunges into the water. Another bright flash. MATCH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAINING GROUNDS - RING - DAY<\/stage_direction>\n    <scene_description>CLOSE ON a DRAGON painted onto a shield. Hiccup runs his finger over its outline.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>You know, I just happened to notice the book had nothing on Night Furies. Is there another book? Or a sequel? Maybe a little Night Fury pamphlet? KABLAM! A blast takes the axe head off of Hiccup's hilt, leaving a smoking hole behind him. Hiccup YELPS and RUNS.<\/dialogue>\n    <character>GOBBER (O.S.)<\/character>\n    <dialogue>FOCUS Hiccup! You're not even trying. CUT BACK to reveal a Deadly Nadder, loose in a maze-like arrangement of moveable walls. Gobber calls orders from above.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Today... is all about attack. The Nadder hops from wall to wall, sending the recruits scurrying.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Nadders are quick and light on their feet. Your job is to be quicker and lighter. The teens move in, stumbling over Hiccup and his unwieldy shield. The Nadder spots Fishlegs' ample rear hiding behind a wall. It whips its tail of spikes. Fishlegs SCREAMS and lifts an entire wall to shield himself from the spray.<\/dialogue>\n    <character>FISHLEGS<\/character>\n    <dialogue>I'm really beginning to question your teaching methods.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Look for its blind spot. Every dragon has one. Find it, hide in it, and strike.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 35. Ruff and Tuff rush in, diving and rolling up to the Nadder's nose. The Nadder sniffs the air -- it can't see them. Tuff and Ruff are smashed together - too close for comfort. RUFFNUT<\/scene_description>\n    <character>(WHISPERED)<\/character>\n    <dialogue>Do you ever bathe?<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>If you don't like it, then just get your own blind spot.<\/dialogue>\n    <character>RUFFNUT<\/character>\n    <dialogue>How about I give you one! Ruff and Tuff SHOVE each other, till their movement and noise gives them away. The Nadder ATTACKS, SNAPPING at both of them.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Blind spot? Yes. Deaf spot? Not so much. Hiccup wanders up to Gobber, while the others dart past.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Hey, so how would one sneak up on a Night Fury?<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>None one's ever met one and lived to tell the tale. Now get in there.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>I know, I know, but hypothetically...<\/dialogue>\n    <scene_description>ASTRID<\/scene_description>\n    <character>(WHISPERED)<\/character>\n    <dialogue>Hiccup! She puts her finger to her lips and gestures for him to hide. A moment later, the Nadder leaps over the walls, surprising them by landing in front of her. Astrid somersaults into its blind spot, confusing it. She rears back to strike -- just as Snotlout LEAPS IN, protectively SWEEPING Astrid behind him.<\/dialogue>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Watch out babe. I'll take care of this.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 36.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Hey! Snotlout MISSES. Astrid glares at him.<\/dialogue>\n    <scene_description>SNOTLOUT<\/scene_description>\n    <character>(DEFENSIVE)<\/character>\n    <dialogue>The sun was in my eyes, Astrid. What do you want me to do, block out the sun? I could do that, but I don't have time right now! The Nadder tears off after her, knocking down walls in pursuit. She leaps and dives like a highly trained gymnast. Hiccup wanders up to Gobber again.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>They probably take the daytime off. You know, like a cat. Has anyone ever seen one napping?<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Hiccup!<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>--Hiccup! Hiccup spins around to see the maze walls collapsing like dominos toward him. Astrid comes flying through the dust and crash- lands on top of him, laying him out in a limb-tangled mess.<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>Oooh! Love on the battlefield!<\/dialogue>\n    <character>RUFFNUT<\/character>\n    <dialogue>She could do better. The Nadder closes in, emerging through the cloud of dust.<\/dialogue>\n    <character>HICCUP<\/character>\n    <parenthetical>(struggling to untangle)<\/parenthetical>\n    <dialogue>Just... let me... why don't you... The Nadder spins around and races back toward them like a Raptor. Astrid untangles herself and tries to pull her axe from Hiccup's shield... which is attached to his limp, gangly arm. She PLANTS her foot on his torso and YANKS the axe free, still burrowed into the shield.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 37. She SPINS and SWINGS the axe and shield, scoring a DIRECT HIT on the oncoming Nadder's NOSE. It yelps and scurries off.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Well done, Astrid. Gobber hobbles off to wrestle the Nadder back into his cave. Hiccup gets to his feet -- all eyes are upon him. He turns to find Astrid glaring at him, winded.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Is this some kind of a joke to you? Our parents' war is about to become ours. Figure out which side you're on. She grabs her axe and stomps off. Hiccup watches, stung.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COVE - MAGIC HOUR<\/stage_direction>\n    <character>CLOSE ON<\/character>\n    <dialogue>A fish... being thrown into the cove. It hits the ground and slides. A moment later, Hiccup peeks through a gap in the rock, looking around cautiously. Nothing. Hiccup squeezes through and enters the cove. A BEAT, then Hiccup hears a SNORT from behind him. Hiccup turns to see the Night Fury, crouched on a rock like a stealthy panther. It descends, approaching him... ready to pounce. Hiccup swallows his fear and offers the fish. Doing so reveals the dagger at his waist. The dragon sees it and hisses. Hiccup reaches for it, eliciting a growl. He pauses, carefully lifts it by the handle, and tosses it away. The dragon calms. As it approaches the fish, Hiccup notices that it's missing teeth.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Huh. Toothless. I could've sworn you had... A set of razor sharp teeth emerge from its gums to grab the fish. Toothless snatches and gnashes it up, swallowing it.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 38.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>... teeth. The teeth retract again. Toothless presses closer with an expectant look. Hiccup retreats nervously.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Uh, no. No, I don't have any more. The Fury backs Hiccup against a rock, placing himself the same position as before. The dragon closes in over him, staring blankly. A tense moment passes... then Toothless regurgitates a chunk of fish onto Hiccup's lap. They exchange stares. Hiccup realizes what Toothless wants him to do. Hiccup crouches slowly and squeamishly picks it up. The dragon waits expectantly. Hiccup gags and gnaws off a bite of the slimy fish. He forces a smile. Toothless mimics him. Amazed, Hiccup sits up and tries to touch him. Toothless HISSES and flaps off to a crash on the other side of the cove. He BLASTS the mossy ground to a red- hot temperature... and curls up on it like a giant dog. He turns to find Hiccup seated beside him. Toothless tolerates his persistent presence... until Hiccup tries to touch his damaged tail. Toothless SNAPS at him. Hiccup takes the hint and leaves.<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COVE - LATER<\/stage_direction>\n    <scene_description>It's MAGIC HOUR. Toothless wakes, hanging upside down from a tree. He spots Hiccup sitting on the other side of the cove. Sketching in the sand. CLOSE ON a sketch of Toothless. Hiccup draws with a stick, minding his own business. Toothless appears behind him, watching carefully. Aware of his presence, Hiccup continues, trying not to scare him off. Toothless walks off. A moment later, he reappears with an entire sapling, drawing lines in the sand. He rushes here and there, making haphazard lines in every direction. Finally, Toothless drops the tree and inspects his work. He seems pleased. \"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 39. Hiccup stands and takes in the sprawling scribble, amazed by it. He accidentally steps onto one of the lines, eliciting an instant growl from Toothless. He steps on it again. Toothless growls again. Realizing how sensitive he is, Hiccup steps carefully between each line, turning round and round until he unwittingly bumps into Toothless. Toothless snorts. Once again, they're face to face. Hiccup slowly extends his hand. Toothless hesitates. Hiccup turns his head away and closes his eyes. To his amazement, Toothless bridges the gap and presses his muzzle against Hiccup's hand. In a flash, the dragon is gone, leaving Hiccup astounded.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLAGE - NIGHT<\/stage_direction>\n    <scene_description>Gobber and the recruits are seated at the top of an abandoned catapult tower, toasting campfire food around a roaring bonfire.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>...and with one twist he took my hand and swallowed it whole. And I saw the look on his face.<\/dialogue>\n    <parenthetical>(can't deny it)<\/parenthetical>\n    <dialogue>I was delicious. He must have passed the word, because it wasn't a month before another one of them took my leg.<\/dialogue>\n    <character>FISHLEGS<\/character>\n    <dialogue>Isn't it weird to think that your hand was inside a dragon. Like if your mind was still in control of it you could have killed the dragon from the inside by crushing his heart or something.<\/dialogue>\n    <character>SNOTLOUT<\/character>\n    <dialogue>I swear I'm so angry right now. I'll avenge your beautiful hand and your beautiful foot. I'll chop off the legs of every dragon I fight, with my face. He postures to Astrid. She rolls her eyes.<\/dialogue>\n    <character>GOBBER<\/character>\n    <parenthetical>(with a mouthful)<\/parenthetical>\n    <dialogue>Un-unh. It's the wings and the tails you really want. If it can't fly, it can't get away. A downed dragon is a dead dragon.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 40. ON HICCUP hiding his horrified look form the others. Gobber stands and stretches.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Alright. I'm off to bed. You should be too. Tomorrow we get into the big boys. Slowly but surely making our way up to the Monstrous Nightmare.<\/dialogue>\n    <parenthetical>(playful, taunting)<\/parenthetical>\n    <dialogue>But who'll win the honor of killing it? He hobbles off. The teens reflect.<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <parenthetical>(very matter of fact)<\/parenthetical>\n    <dialogue>It's gonna be me.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>It's my destiny. See? Tuffnut rolls up his sleeve to reveal a red dragon on his arm.<\/dialogue>\n    <scene_description>FISHLEGS<\/scene_description>\n    <character>(GASPS)<\/character>\n    <dialogue>Your mom let you get a tattoo?<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>It's not a tattoo. It's a birthmark.<\/dialogue>\n    <character>RUFFNUT<\/character>\n    <dialogue>Okay, I've been stuck with you since birth, and that was never there before.<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>Yes it was. You've just never seen me from the left side until now.<\/dialogue>\n    <character>SNOTLOUT<\/character>\n    <dialogue>It wasn't there yesterday. Is it a birthmark or a today-mark? Hiccup gets up and walks away from the group. Astrid watches him as he leaves the bonfire.<\/dialogue>\n    <scene_description>DISSOLVE TO: \"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 41.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLACKSMITH STALL - MOMENTS LATER<\/stage_direction>\n    <scene_description>Hiccup enters a small room at the back of the stall. It's covered in drawings of weaponry and scale models. He lights a candle and lays his sketchbook out on the desk, opening it to the drawing of Toothless. With a look of determination. Hiccup picks up a charcoal stick and re-draws the missing tail. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLACKSMITH STALL - LATER<\/stage_direction>\n    <character>CLOSE ON<\/character>\n    <dialogue>... a creaking leather bellows. The stone forge glows with every pump. Tongs pull intricate iron pieces from the coals. They're dropped onto the anvil, twisted, lightly hammered, and dunked in a barrel. The pieces are carried to Hiccup's workbench and laid out in place on a one-to-one schematic. It's a sketch of a mechanical fin.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIDDEN COVE - DAWN<\/stage_direction>\n    <scene_description>Hiccup arrives, winded, straining under the weight of a full basket. He clicks the scale he found (like a jar top). Toothless approaches, sniffing him.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Hey Toothless. I brought breakfast. I hope you're hungry. Hiccup drops the basket and kicks it over. Fish spill out.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Okay, that's disgusting. Toothless approaches, settling in to devour the feast.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Uh..we've got some salmon... Toothless swallows it.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>... some nice Icelandic cod... Swallows those too.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 42.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>... and a whole smoked eel. Toothless nabs it, chews a few times, then spits it out. He shakes his head violently, snorts and scrubs his massive tongue on the sand. Hiccup takes note.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>No, no, no! It's okay. Yeah, I don't like eel much either. Toothless focuses on the remainder. With the dragon distracted, Hiccup unwraps his prosthetic fin and opens it like a fan.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Okay. That's it. That's it, just stick with good stuff. And don't you mind me. I'll just be back...here. Minding my own business. Hiccup cautiously approaches the injured tail, but every time he gets near it, Toothless sweeps it away like a cat.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>It's okay. Hiccup drops a knee on top of the tail. Toothless' head juts up, slows its chewing to a halt.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Okay...okay.. The dragon tenses, slowly spreading his wings. Hiccup straps the prosthetic fin in place. He cinches the straps.<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(PLEASED)<\/character>\n    <dialogue>There. Not too bad. It works. Toothless BOLTS! He snaps his massive wings and takes to the air, carrying Hiccup with him.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Woah! No! No! No! Hiccup struggles to hold on to the tail. As the ground speeds away, Toothless immediately TIPS into a uncontrolled bank and dive.<\/dialogue>\n    <dialogue>Hiccup sees the folded fin rattling uselessly in opposition to its flared counterpart. Flap as he may, Toothless can't correct his trajectory.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 43. Hiccup swallows his fear and crawls toward the folded prosthetic. He reaches it and YANKS it open. The flared, fan- like appendage catches the air, stabilizing the twisting tail.<\/scene_description>\n    <character>HICCUP<\/character>\n    <parenthetical>(excited, terrified)<\/parenthetical>\n    <dialogue>It's working! Toothless arcs just short of the water and climbs... high into the air.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Yes! Yes, I did it. He glances back at Hiccup, busily holding the tail open while trying to hold on. They're going to crash. Whoomp! Hiccup is suddenly thrown from the tail in the intense force of a turn.<\/dialogue>\n    <scene_description>HICCUP AAAAAGGGGHHHHH! He bounces across the water's surface and takes a dive. Without Hiccup to operate the tail, Toothless does the same, plunging in a massive cannonball. Hiccup resurfaces, roughed up, but beaming. Toothless appears seconds later.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Yeah!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAINING GROUNDS - MORNING<\/stage_direction>\n    <character>GOBBER (O.S.)<\/character>\n    <dialogue>Today is about teamwork. Work together and you might survive. ON A DOUBLE-WIDE DOOR. Gas seeps through the cracks. It BLASTS OPEN. A cloud of smoke engulfs the ring, swirling around the paired-up teens. Astrid with Ruffnut. Snotlout with Tuffnut. Fishlegs with Hiccup. All carry buckets of water, poised to throw them.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Now, a wet dragon head can't light its fire. The Hideous Zippleback is extra tricky. One head breathes gas, the other head lights it. Your job is to know which is which.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 44. The smoke encircles them, cutting them off from each other. The teens LISTEN and WATCH for any sign of the dragon.<\/scene_description>\n    <character>FISHLEGS<\/character>\n    <parenthetical>(muttering to himself)<\/parenthetical>\n    <dialogue>Razor sharp, serrated teeth that inject venom for pre-digestion. Prefers ambush attack, crushing its victims in its...<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(TENSE)<\/character>\n    <dialogue>Will you please stop that?<\/dialogue>\n    <character>ON SNOTLOUT AND TUFFNUT<\/character>\n    <dialogue>Moving nervously through the fog, back to back. Snotlout is singing to himself to calm his nerves.<\/dialogue>\n    <character>SNOTLOUT<\/character>\n    <dialogue>If that dragon shows either of his faces, I'm gonna--<\/dialogue>\n    <parenthetical>(spotting an approaching shape, terrified)<\/parenthetical>\n    <dialogue>--There! Snotlout and Tuffnut HURL their water into the fog.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <character>RUFFNUT<\/character>\n    <dialogue>It's us, idiots. Astrid and Ruffnut are soaked.<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>Your butts are getting bigger. We thought you were a dragon.<\/dialogue>\n    <scene_description>SNOTLOUT<\/scene_description>\n    <character>(TO ASTRID)<\/character>\n    <dialogue>Not that there's anything wrong with a dragon-esque figure. Astrid ELBOWS Snotlout in the face.<\/dialogue>\n    <scene_description>Ruffnut DROPS Tuffnut with a PUNCH to the throat.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Wait. They FREEZE. A tail SWEEPS out of the fog, taking them down. Their buckets spill.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 45. ON FISHLEGS AND HICCUP coming across them. They see the puddles of spilled water.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>Oh, I'm hurt. I am very much hurt.<\/dialogue>\n    <character>FISHLEGS<\/character>\n    <dialogue>Chances of survival are dwindling into single digits now...<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Look out! A Zippleback head emerges out of the smoke. Fishlegs hurls his water at it, completely dousing the head. It leers and opens its mouth, spewing gas into the area.<\/dialogue>\n    <character>FISHLEGS<\/character>\n    <dialogue>Oh. Wrong head. GAS FLOWS around their legs. Fishlegs flees in a panic.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Fishlegs! Beat. A clicking sound comes from behind them. Sparks flash in the smoke.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Now, Hiccup! The other head sweeps out of the smoke. Hiccup hurls his water with all his might. It arcs and drops short of the dragon's sparking mouth. The dragon grins, savoring the kill.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Oh, come on!<\/dialogue>\n    <scene_description>GOBBER RUN, HICCUP! Gobber COVERS his eyes.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Hiccup! Beat. The Zippleback hesitates. SNIFFS. Then retreats.<\/dialogue>\n    <dialogue>The teens get to their feet, watching transfixed. Gobber peeks through his fingers to see...<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 46. The Zippleback backing away from Hiccup. He stands and holds his hands out, as if controlling it.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>BACK! BACK! BACK! Now don't you make me tell you again! The Zippleback retreats through its door and into its cave, hissing.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Yes, that's right. Back into your cage. Hiccup slyly OPENS his vest, revealing the spotted smoked EEL from earlier. He TOSSES it inside the door, then SLAMS it shut.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Now think about what you've done. Hiccup turns to the teens and Gobber. They stare, slack-jawed<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Okay! So are we done? Because I've got some things I need to... Hiccup jogs out of the ring, past the speechless group.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Yep...see you tomorrow. Astrid SNEERS. Something's going on.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS\/COVE - SUNSET<\/stage_direction>\n    <scene_description>BEGIN MUSIC MONTAGE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLACKSMITH STALL - HICCUP'S CLOSET - CONTINUOUS<\/stage_direction>\n    <scene_description>Hiccup cuts and stitches leather, draws and shapes steel. He works by candlelight. An overhead shot reveals what he's building: a harness, complete with handles and foot pedals.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COVE - DAY<\/stage_direction>\n    <scene_description>Hiccup appears before Toothless, holding the new prosthetic. Toothless runs off as Hiccup chases him down.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 47.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COVE - DAY<\/stage_direction>\n    <scene_description>Toothless and Hiccup are zooming over the ocean. The tail breaks free sending Hiccup flying.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Yeah! Whoa!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLAKCSMITH STALL - LATER<\/stage_direction>\n    <scene_description>Hiccup adjusts the harness and uses a metal clamp to affix himself to Toothless' saddle.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKY\/FIELD - DAWN<\/stage_direction>\n    <scene_description>Hiccup and Toothless zip through the air -- his rudimentary harness and tail controls are working, barely. They crash- land in an open field. Hiccup recovers to find Toothless still rolling around in the tall grass. Hiccup discovers that it's a patch of \u00e2\u20ac\u02dcdragon-nip.' Toothless writhes on his back, tongue wagging, in complete bliss.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAINING GROUNDS - MORNING<\/stage_direction>\n    <scene_description>Hiccup grabs the head as instructed, then discreetly pulls a fistful of \u00e2\u20ac\u02dcdragon-nip' and presses it up to the Gronkle's nose. It immediately stops struggling and goes weak in the knees. Hiccup drops the handful of dragon-nip to the ground. The Gronkle goes down with it, whimpering and blissful. From Gobber and the recruits' point of view, Hiccup is controlling the Gronkle with no more than a limp arm.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - AFTERNOON<\/stage_direction>\n    <scene_description>The recruits walk home together, surrounding Hiccup and BOMBARDING HIM WITH QUESTIONS.<\/scene_description>\n    <character>FISHLEGS<\/character>\n    <dialogue>Hey Hiccup, I've never seen a Gronkle to that before.<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>How'd you do that?<\/dialogue>\n    <character>RUFFNUT<\/character>\n    <dialogue>It was really cool. He squirms and invents an excuse.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 48.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>I left my axe back in the ring. He turns and hurries back.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>You guys go on ahead and I'll catch up with you. Astrid watches, suspicious.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COVE - LATER<\/stage_direction>\n    <scene_description>Hiccup rubs Toothless behind the ear, causing him to relax and fall over.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAINING GROUNDS - LATER<\/stage_direction>\n    <scene_description>An angry Deadly Nadder approaches Hiccup. Just as Astrid moves in to strike, Hiccup performs his special rubbing technique, which sends the Nadder down. Astrid and the other kids look on from the sideline in amazement.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEADE HALL - CONTINUOUS<\/stage_direction>\n    <scene_description>Hiccup sits down at a table to eat. The other recruits notice him and move over to his table to talk to him -- leaving Astrid alone.<\/scene_description>\n    <character>FISHLEGS<\/character>\n    <dialogue>Hey Hiccup!<\/dialogue>\n    <character>SNOTLOUT<\/character>\n    <dialogue>What was that? Some kind of trick? What did you do?<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>Hiccup, you're totally going to come in first, there's no question.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COVE - LATER<\/stage_direction>\n    <scene_description>Hiccup is using a mirror-like object to create a patch of light on the ground. Toothless claws and chases the light patch like a cat chasing a laser pointer.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAINING GROUNDS - DAY<\/stage_direction>\n    <scene_description>A beam lifts from the door of another dragon pen.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Meet the Terrible Terror.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 49. A tiny, pint-sized dragon steps out and moves toward the recruits.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>Ha. It's like the size of my-- Tuffnut is taken down in a blur.<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>Get it off! Get it off! Oh! I'm hurt, I am very much hurt! Hiccup stops the Terrible Terror with the same light-patch trick he used earlier with Toothless. The tiny dragon retreats back to it's cage. The teens approach him yet again as Astrid looks on with suspicion.<\/dialogue>\n    <scene_description>TUFFNUT<\/scene_description>\n    <character>(TO ASTRID)<\/character>\n    <dialogue>Wow, he's better than you ever were.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST - MOMENTS LATER<\/stage_direction>\n    <scene_description>Astrid furiously hurls her axe at a nearby tree. She notices Hiccup walking by in the distance, carrying one of his trademark harnesses. She quickly tries to follow, but he loses her in the woods. She HUFFS, frustrated.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COVE - LATER<\/stage_direction>\n    <scene_description>Hiccup straps a newly designed harness onto Toothless. With Toothless tied to a nearby post with a rope. Hiccup rides him in the air -- while stationary. Toothless looks like a giant kite tied to a tree stump. This harness seems to work.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKY - MOMENTS LATER<\/stage_direction>\n    <scene_description>The rope breaks and the pair CRASH into a tree. Hiccup's face is red.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Oh, great.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERK - NIGHT<\/stage_direction>\n    <scene_description>The streets are empty save for a lone Viking who crosses Hiccup's path. \"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 50.<\/scene_description>\n    <character>VIKING<\/character>\n    <dialogue>Hiccup. Hiccup nods, trying to look casual.<\/dialogue>\n    <dialogue>Once the coast is clear, he covertly steers Toothless into the Blacksmith's stall. Toothless PRESSES himself inside, rooting through stuff and making a racket. Astrid, walking nearby, is alerted.<\/dialogue>\n    <character>ASTRID (O.S.)<\/character>\n    <dialogue>Hiccup? Hiccup FREEZES. Then frantically tries to pry the ring off the saddle hook. It won't budge.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Are you in there? Too late - she's right outside. ON ASTRID walking along the outside of the Blacksmith's. Hiccup JUMPS OUT the window and CLOSES the shutters behind him. Hiccup's harness line is stretched through the window, still attached to Toothless' saddle.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Astrid. Hey! Hi Astrid. Hi Astrid. Hi Astrid.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>I normally don't care what people do, but you're acting weird. Well, weirder. Toothless spots a nearby sheep and makes a move toward it. As a result, Hiccup is suddenly PULLED TIGHT against the window shutters. He STRIKES A POSE to compensate... then gets PULLED THROUGH the shutters. They snap back in Astrid's face. Astrid reopens them and finds nothing but an empty stall. In the distance, Toothless and Hiccup slip off unseen.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOCKS - DAWN<\/stage_direction>\n    <scene_description>A lone, battered ship is pulled into a slip, overloaded with equally battered-looking men. They disembark to a crowd of onlookers, looking like a team of hometown heroes who just had their butts kicked. Gobber hobbles through the MUMBLING crowd to find Stoick -- last to disembark and glowering with battered pride. \"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 51.<\/scene_description>\n    <character>VIKING<\/character>\n    <dialogue>Where are the other ships?<\/dialogue>\n    <character>SPITELOUT<\/character>\n    <dialogue>You don't want to know. Stoick lumbers past Gobber, leaving him staring at the trashed ship.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Well, I trust you found the nest at least?<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Not even close.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Ah. Excellent. Gobber follows Stoick up the ramp and snags his duffle bag with his hook appendage, sharing the burden.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>I hope you had a little more success than me.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Well, if by success, you mean that your parenting troubles are over with, then... yes. Stoick stops. What does that mean? A group of merry villagers rush past.<\/dialogue>\n    <scene_description>VIKING #1 Congratulations Stoick! Everyone is so relieved. VIKING #2 Out with the old and in with the new, right?! VIKING #3 No one will miss that old nuisance! VIKING #4 The village is throwing a party to celebrate! Stoick is stunned, overwhelmed by the insensitivity. He turns to Gobber. \"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 52.<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>He's... gone?<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Yeah...most afternoons. But who can blame him? I mean the life of a celebrity is very rough. He can barely walk through the village without being swarmed by his new fans. Stoick is doubly confused.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Hiccup?<\/dialogue>\n    <scene_description>GOBBER<\/scene_description>\n    <character>(BEAMING)<\/character>\n    <dialogue>Who would've thought, eh? He has this...way with the beasts.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKY - AFTERNOON<\/stage_direction>\n    <scene_description>Toothless and Hiccup soar through a perfect blue sky. Billowing clouds rise like mountains. The ground seems miles below them.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Okay there bud, we're gonna take this nice and slow. Hiccup checks a leather cheat sheet, clipped onto his harness. Inscribed upon it are several tail positions and their pedal position equivalents.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Here we go. Here we go...position three, no four. He presses the pedal, causing the tail to flare. They roll off into an arcing bank, gloriously lit by the late afternoon sun. Hiccup tucks tight against his neck, thrilled that his new harness and vest are holding. The foot controls make the tail appendage quick and responsive. He watches Toothless' every fluctuation, trying to match it with the prosthetic. Hiccup sizes up a target -- a towering arch of stone, rising from the sea.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 53.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Alright, it's go time. It's go time. They dive toward it, lining up to pass through the arch.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Come on. Come on buddy. Come on buddy! They zip through the arch. A perfect maneuver.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Yeah! Yes, it worked! The triumph is short-lived. They smack into one of several sea stacks as Hiccup tries to keep up with the turns.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Sorry. They hurtle into another rock pillar. Toothless grumbles.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>My fault. Toothless swats him with his 'ear' plate.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Yeah, yeah, I'm on it.<\/dialogue>\n    <parenthetical>(referring to the cheat SHEET)<\/parenthetical>\n    <dialogue>Position four, no three. They pierce the clouds. For the first time, Hiccup can see the whole of the island below them. It shrinks with every passing second. He SWALLOWS hard and tightens his grip on the handles.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Yeah! Go baby! Yes! Oh, this is amazing! The wind in my... He spots the leather guide tearing free in the turbulence.<\/dialogue>\n    <scene_description>HICCUP (PANICKED)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>.. CHEAT SHEET! STOP!! Hiccup grabs frantically for the airborne sheet...<\/stage_direction>\n    <character>HICCUP<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 54. ... and NABS IT before it's carried out of reach. Toothless, however, obeys the command and suddenly STOPS beating his wings. As they slow to a stop, Hiccup goes weightless. The rings of his vest float off of the harness hooks. Hiccup suddenly finds himself detached, free-falling.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Oh gods! Oh no! Without Hiccup, the tail loses control. Hiccup and Toothless spiral downward.<\/dialogue>\n    <scene_description>Toothless FIGHTS to get back under Hiccup.<\/scene_description>\n    <character>HICCUP<\/character>\n    <parenthetical>(trying to calm Toothless)<\/parenthetical>\n    <dialogue>Alright, okay. You just gotta kinda angle yourself. No, no...come back down towards me. Come back down-- Hiccup extends his arms and legs, giving himself as much surface area as he can. He angles back towards Toothless as the tumbling dragon WHACKS Hiccup with his wing. After a few more misses, Hiccup finally GRABS HOLD of the harness and manages to lock in -- just in time to pull Toothless out of his dive... barely shy of the tree tops. They careen past the wooded cliff and directly into a treacherous slalom course of jutting sea stacks. Hiccup pulls the cheat sheet from his teeth and attempts to check positions. It flaps violently in the turbulence, making it impossible. With no time to think, Hiccup throws it away and steers Toothless' tail on instinct... with perfect intuition. Together, they manage a tight, hair- rasing series of split- second turns, making it to the open water, unscathed. Hiccup takes a breath and glances back at the death-defying obstacle course, now safely behind them. He beams, relieved. He sits back and throws his arms up in victory.<\/dialogue>\n    <scene_description>HICCUP YEEAHHH! Toothless concurs with a happy SQUEAL and a fireball. Hiccup's glee turn to dread as they fly directly into it. ON HICCUP'S FACE<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Ah, come on.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 55.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BLACK SAND BEACH - SUNSET<\/stage_direction>\n    <scene_description>Hiccup and Toothless lounge on a sprawling, deserted beach, snacking of freshly caught fish. As Hiccup cooks his over a fire, Toothless suddenly regurgitates a fish head. Hiccup smirks with forced politeness.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Uh..no thanks.<\/dialogue>\n    <parenthetical>(gesturing to his fish on A STICK)<\/parenthetical>\n    <dialogue>I'm good. Several Terrible Terrors land like seagulls, hissing and nipping at each other as they approach Toothless' pile of fish. One grabs the regurgitated fish head and drags it away. Another attempts to steal it from him. They face off and last fire balls at each other to settle the fight. Hiccup and Toothless watch, amused. That is until... Toothless spots one of his fish leaving the pile. A stealthy Terrible Terror is exposed as the thief. They tug on the fish, and it snaps back into Toothless' mouth. He swallows it back tauntingly. Irate, the little dragon paws at the ground and blast Toothless. He opens his mouth, the gas hiss comes, and Toothless fires a tiny flame straight into its mouth, causing the gas to backfire into the little dragon. It coughs up smoke and staggers away, looking ill. Hiccup laughs.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Not so fireproof on the inside, are you? Hiccup throws the hapless Terror his freshly cooked fish.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Here you go. The appreciative little dragon gulps down the meal and approaches Hiccup cautiously. He curls up next to him. Hiccup is amazed.<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(PENSIVE)<\/character>\n    <dialogue>Everything we know about you guys is wrong.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 56. Hiccup carefully pets him... sending the Terror into an immediate, blissful sleep.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLACKSMITH STALL - HICCUP'S CLOSET - NIGHT<\/stage_direction>\n    <scene_description>HICCUP is lost in thought, his head laid of a desk full of Toothless drawings. Burdened with the weight of the world. Suddenly, STOICK appears in the doorway. Hiccup jumps and quickly covers up his desk.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Dad! You're back! He skirts the bench, blocking Stoick's view of Toothless, the prosthetic fin, and other drawings.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Gobber's not here, so... He strikes an awkwardly casual pose, trying to cover up as much as possible.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>I know. I came looking for you.<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(CAUGHT)<\/character>\n    <dialogue>You did?<\/dialogue>\n    <scene_description>STOICK<\/scene_description>\n    <character>(STERN)<\/character>\n    <dialogue>You've been keeping secrets. Hiccup's legs give out. He slides, dragging the table's contents with him.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>I...have?<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Just how long did you think you could hide it from me?<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(IN VAIN)<\/character>\n    <dialogue>I don't know what you're...<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Nothing happens on this island without me hearing about it.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Oh?<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 57.<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>So.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>Let's talk about that dragon. Blood drains from Hiccup's face.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Oh gods. Dad I'm so sorry. I was going to tell you. I just didn't know how to-- Stoick starts laughing. Big, booming. Hiccup stares, baffled.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>You're not...upset?<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>What?! I was hoping for this!<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Uh...you were?<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>And believe me, it only gets better! Just wait til you spill a Nadder's guts for the first time. Hiccup's elated expression sinks.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>And mount your first Gronckle head on a spear. What a feeling! Stoick laughs and smacks Hiccup on the shoulder, sending him into the wall.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>You really had me going there, son. All those years of the worst Viking Berk has ever seen! Odin, it was rough. I almost gave up on you! Hiccup gets back up, grimacing in the irony of it all.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>And all the while, you were holding out on me! Thor almighty! Stoick grabs a stool and sits. His massive frame nearly fills the tiny room.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 58. STOICK<\/scene_description>\n    <character>(RELIEVED)<\/character>\n    <dialogue>Ahhhhh. With you doing so well in the ring, we finally have something to talk about. Pregnant pause. Hiccup averts his eyes nervously. Stoick adjusts, awkwardly clearing his throat. After a long, uncomfortable silence...<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Oh, I... brought you something. He presents a horned helmet.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>To keep you safe in the ring.<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(SINCERE)<\/character>\n    <dialogue>Wow. Thanks. Hiccup accepts it, looking it over.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Your mother would've wanted you to have it.<\/dialogue>\n    <character>(HEARTFELT)<\/character>\n    <dialogue>It's half of her breast plate. Stoick taps his own helmet and smiles.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Matching set. Keeps her close, y'know? Hiccup eyes the mismatched helmets, grimacing.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Wear it proudly. You deserve it. You've held up your end of the deal. Stoick beams with pride. Hiccup squirms. He forces a YAWN.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>I should really get to bed.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 59.<\/scene_description>\n    <character>STOICK HICCUP<\/character>\n    <dialogue>(talking over each (talking over each OTHER) OTHER) Yes! Good! Okay. Good talk. See you back at the house. We should do<\/dialogue>\n    <scene_description>this again. I'm Great. Thanks for stopping glad I stopped by, I hope you by. And for the... the uh, like the hat. breast hat.<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>Well..uh..good night. Stoick leaves the room awkwardly, leaving Hiccup looking more burdened than ever.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAINING GROUNDS - AFTERNOON<\/stage_direction>\n    <scene_description>A Gronckle hovers above the ring, hunting victims as the teen recruits scramble. Astrid ducks behind a barrier to find Hiccup already there. She forces her axe at his throat.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Stay out of my way! I'm winning this thing.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Please, by all means. She darts off, CLOSING FAST on the dragon. The crowd above cheers her on.<\/dialogue>\n    <character>VIKING IN CROWD<\/character>\n    <dialogue>You got it Astrid! Hiccup stands and looks around. Amidst the crowd of onlookers, Stoick watches keenly, beaming with pride. He locks eyes with Hiccup, giving him a nod of encouragement. Hiccup adjusts his new helmet and forces a half-hearted smile. Unbeknownst to Hiccup, the Gronckle spots him and makes a bee- line toward him.<\/dialogue>\n    <character>BACK TO ASTRID<\/character>\n    <dialogue>... as she catches her breath behind a barrier. She scowls, focused, determined.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>This time. This time for sure.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 60. With a FIERCE BATTLE-CRY she LEAPS from cover, axe cocked to throw.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Aaaaaaaaaa... And as she clears the barriers, she sees that Hiccup has already laid the Gronckle out.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>...aaaaaaauGGGGGHHHHHHHH! No! No! Hiccup shrugs, as unhappy with the situation as she is.<\/dialogue>\n    <scene_description>ASTRID NO! NO! SON OF HALFTROLL RAT EATING MUNGE BUCKET! A loud CLACK ring out. From the crowd above, Gothi, the village elder, steps forward, tapping her staff. Everyone lights up excitedly.<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>Wait! Wait!<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>So, later. Gobber snags Hiccup as he attempts to leave.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Not so fast.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>I'm kinda late for--<\/dialogue>\n    <scene_description>ASTRID<\/scene_description>\n    <character>(LIVID)<\/character>\n    <dialogue>What? Late for what exactly? Stoick holds out his hands to silence the jabbering crowd.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Okay quiet down. The elder has decided. Thrilled, Gobber stands behind Hiccup and Astrid. He points to Astrid as the crowd waits in silent anticipation. Gothi shakes her head 'no.' The crowd 'Oooohs.' Gobber then points to Hiccup. The elder nods an affirmative 'yes.' The crowd erupts in cheers. Astrid turns a seething, deadly glare on Hiccup.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 61.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>You've done it! You've done it, Hiccup! You get to kill the dragon!<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Ha, ha! That's my boy! Hiccup is hoisted onto the recruits' shoulders and carried out to the cheering spectators...<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(MASKING PANIC)<\/character>\n    <dialogue>Heh, heh. Oh yeah! Yes! I can't wait. I am so...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIDDEN COVE - DUSK<\/stage_direction>\n    <character>HICCUP<\/character>\n    <dialogue>... leaving. We're leaving. Let's pack up. Looks like you and me are taking a little vacation, forever. Toothless is nowhere in sight. Hiccup sets down his basket and opens it up, his head clouded with troubles.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Oh..man... SHINK! Hiccup looks up to the sound of... ASTRID, sitting on the rock right in front of him, sharpening her axe.<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(SHOCKED)<\/character>\n    <dialogue>Aggh! What the--<\/dialogue>\n    <character>(RECOMPOSING)<\/character>\n    <dialogue>What are you doing here? She hops off the rock and back him down, spinning her axe threateningly. Hiccup's eyes dart around nervously, searching for Toothless.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>I want to know what's going on. No one just gets as good as you do. Especially you. Start talking! Are you training with someone?<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Uh...training? She grabs him by his odd-looking harness.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 62.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>It better not involve... this.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>I know this looks really bad, but you see...this is, uh... They hear a RUSTLE coming from the other side of the cove. Astrid DROPS Hiccup to the ground and sets off to investigate.<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(PANICKED)<\/character>\n    <dialogue>You're right! You're right. I'm through with the lies. I've been making... outfits. So you got me. It's time everyone knew. Drag me back. Go ahead. Here we go. He puts her hand back on his harness, getting her to 'drag him back.' Astrid BENDS Hiccups hand backwards, driving him down.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>AAAAUUGGGHHH! Why would you do that?!<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>That's for the lies. Astrid pounces the hilt of her axe off of Hiccup's laid-out body.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>And THAT'S for everything else. Hiccup's YELP is answered with A GROWL, coming from the other side of the cove. Astrid looks up to see... A NIGHT FURY. Toothless pounces toward them, snarling.<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(FEEBLE)<\/character>\n    <dialogue>Oh man. She dives onto Hiccup.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Get down! Run! Run! Astrid pulls her axe, ready to take on Toothless.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 63. Hiccup knocks Astrid's cocked axe to the ground, out of reach, then stops Toothless short of crushing her.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>No. It's okay! It's okay... Toothless pulls up short and lands hard, SPRAYING Astrid with sand.<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(CALMING)<\/character>\n    <dialogue>She's a friend. Toothless snorts in disagreement. Astrid is frozen. Toothless looks from her to Hiccup and back to her, confused.<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(TO ASTRID)<\/character>\n    <dialogue>You just scared him.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>I scared him!? Hiccup makes a \u00e2\u20ac\u0153be quiet\u00e2\u20ac? motion.<\/dialogue>\n    <scene_description>ASTRID<\/scene_description>\n    <character>(INTENSE WHISPER)<\/character>\n    <dialogue>Who is him?<\/dialogue>\n    <scene_description>HICCUP. Astrid, Toothless. Toothless, Astrid. Astrid backs away, eyeing Hiccup and Toothless together with pure disgust. She turns and RUNS for the village.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>We're dead. Satisfied with Astrid's departure, Toothless turns away.<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(TO TOOTHLESS)<\/character>\n    <dialogue>Where do you think you're going?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - MOMENTS LATER<\/stage_direction>\n    <scene_description>ASTRID races through the trees. A large shadow overtakes her. She is suddenly SNATCHED into the air. Astrid SCREAMS.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Oh great Odin's ghost, this is it!<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 64. Hiccup and Toothless fly Astrid to the top of a towering pine. It bows and creaks under their weight as Astrid dangles a hundred feet in the air.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Hiccup! Get me down from here!<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>You have to give me a chance to explain.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>I'm not listening to ANYTHING you have to say!<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Then I won't speak. Just let me show you. Hiccup extends a hand.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Please, Astrid. She eyes him and the dragon, then the ground far, far below. After a moment, she swats Hiccup's outstretched hand away and reluctantly climbs over the pedal, lines, and harness. She settles behind Hiccup, avoiding as much contact as possible.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Now get me down.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Toothless? Down. Gently. Toothless leers mischievously. He spreads his wings slowly. With a WHOP, they fill with the updraft. Toothless releases the tree, tucks in his legs, and HOVERS in place.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>See? Nothing to be afraid of. Toothless suddenly LAUNCHES straight upward. Astrid SCREAMS. The acceleration is tremendous.<\/dialogue>\n    <dialogue>Every downbeat bucks the saddle, heaving them into the sky, doubling their speed like a rocket. Astrid is thrown backward. She SCREAMS and hugs Hiccup for dear life, squeezing the breath out of him.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Toothless! What is wrong with you?! Bad dragon!<\/dialogue>\n    <parenthetical>(mortified; to Astrid)<\/parenthetical>\n    <dialogue>He's not usually like this. Oh no...<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 65. Toothless ROLLS and PLUMMETS toward the coastline far below. Astrid SCREAMS. Toothless rockets over the ocean waves, deliberately dipping them in the froth.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Toothless, what are you doing?! We need her to like us! Toothless rockets skyward and begins tumbling head over tail.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>And now the spinning. Thank you for nothing you useless reptile. Astrid clamps her hand over her eyes.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Okay! I'm sorry! I'm sorry! Just get me off of this thing. Astrid is defeated, her aggressive energy gone. Satisfied, Toothless relents. They level off and head up into the clouds. Astrid opens her eyes again, and looks out over a world she'd never dreamed of. She reaches out and touches clouds, pierces columns ablaze in golden hues, and floats over a vast, alien sky- scape. Her terror is replaced by wonder. She grins, despite herself. Toothless rises above a blanket of clouds...<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKY - NIGHT<\/stage_direction>\n    <scene_description>...and levels off under a starry sky. They emerge from a blanket of clouds under the dancing Northern Lights, shimmering in ribbons across the vast sky. Below them, Berk's torches flicker in the inky darkness. The new perspective is breathtaking. Astrid tucks her arms into Hiccup's vest, burying her chin into his shoulder. The moment is not lost on either of them. Hiccup smiles nervously. Toothless climbs past Berk's tallest peaks and heads out over open water, leaving the village lights behind them. \"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 66.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Alright I admit it. This is pretty cool. It's... amazing.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>He's amazing. Astrid carefully reaches down and pats Toothless' side.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>So what now? Hiccup groans. It's a problem without an answer.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Hiccup, your final exam is tomorrow. You know you're going to have to kill...<\/dialogue>\n    <character>(WHISPERED)<\/character>\n    <dialogue>... kill a dragon.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Don't remind me. A strange, unearthly din approaches. Toothless' ear plates suddenly stand on end. Panicked, he abruptly dives, dipping into cloud cover.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Toothless! What's happening? What is it? Toothless BARKS at him. 'Quiet!' Suddenly, out of the dense cloud, a Monstrous Nightmare emerges.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Get down! Hiccup and Astrid duck. The Nightmare calls out. A Zippleback appears to the other side of Toothless, boxing him in.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>Toothless. You've got to get us out of here, bud. Toothless HISSES.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 67. Other dragons, previously invisible in the thick clouds, appear all around them. HUNDREDS of them, all carrying fish and game in their talons. HICCUP<\/scene_description>\n    <character>(WHISPERED)<\/character>\n    <dialogue>It looks like they're hauling in their kill. The Zippleback eyes them ravenously.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>What does that make us? The dragons BANK and dive in formation, plummeting through the thickening fog and weaving between towering, craggy sea stacks. They emerge at the base of a massive volcanic caldera, glowing with rivulets of lava. The flock of dragons fall into rank, funneling through a crack, and zipping through a winding tunnel. It gives way to a vast, steamy inner chamber, tiered with pocky shelves. Dragons of all breeds lay about, nested in hordes. The arriving dragons fly in, dropping the fish and game into a central pit, glowing red and shrouded in mist. Hiccup is amazed.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>What my dad wouldn't give to find this. Toothless peels away from the procession, landing on a small shadowy shelf to keep a low- profile. Hiccup and Astrid peek around, taking in the busy hive of sorts. They watch as the food continues to be dropped into the pit.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>It's satisfying to know that all of our food has been dumped down a hole.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>They're not eating any of it.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 68. Last to arrive is a dim-witted Gronckle. It hovers over the pit and regurgitates his paltry contribution -- a pathetic little fish. As it falls into the steamy pit, a terrible ROAR rings out. The Gronckle tries to flee, but before it can, a gargantuan dragon head juts from the steamy pit and SNAPS it out of the air. Swallowing it back whole. Hiccup and Astrid recoil, terrified.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>What is that? The monstrous beast SNIFFS the air, seemingly aware of them. It nears the ledge where Toothless is hiding... and ROARS. Several dragons take flight in fear.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Alright buddy, we gotta get out of here. Now! Toothless takes flight, barely evading the monster's snapping jaws. The behemoth dragon lunges for them, snatching a Zippleback out of the air instead. Toothless disappears into the winged exodus as thousands of dragons flee the caldera in fear.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIDDEN COVE - NIGHT - LATER<\/stage_direction>\n    <scene_description>Toothless glides into the cove and touches down on the moonlit beach.<\/scene_description>\n    <character>ASTRID<\/character>\n    <parenthetical>(her mind reeling, talking Hiccup's ear off)<\/parenthetical>\n    <dialogue>No, no, it totally makes sense. It's like a giant beehive. They're the workers... and that's their queen. It controls them. She leaps off of Toothless and runs toward the village.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Let's find your dad.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>No, no! Not yet. They'll... kill Toothless.<\/dialogue>\n    <scene_description>(BEAT) \"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 69.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Astrid, we have to think this through carefully. Astrid eyes him, incredulous.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Hiccup, we just discovered the dragons' nest...the thing we've been after since Vikings first sailed here. And you want to keep it a secret? To protect your pet dragon? Are you serious? Hiccup stands firm, resolute.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Yes. Astrid's taken aback.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>Then what do we do?<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Just give me until tomorrow. I'll figure something out.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Okay. Astrid PUNCHES Hiccup in the arm.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>That's for kidnapping me. Hiccup looks to Toothless for support. Toothless SNORTS, dismissive. Astrid grabs him. He braces for another hit. She KISSES Hiccup on the cheek.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>That's for, everything else. In the awkward wake of the moment, Astrid hurries off... leaving Hiccup RUBBING his cheek, stunned. Toothless hobbles up, eyeing him.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>What are you looking at?<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 70.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAINING GROUNDS - DAY<\/stage_direction>\n    <scene_description>The grounds have been transformed. Banners and flags flap in the morning sun. Surrounding the ring, a festive crowd had gathered. All of Berk has turned out for the event.<\/scene_description>\n    <character>STOICK<\/character>\n    <parenthetical>(aloud to the crowd)<\/parenthetical>\n    <dialogue>Well, I can show my face in public again.<\/dialogue>\n    <scene_description>LAUGHTER AND APPLAUSE STOICK<\/scene_description>\n    <character>(PLAYFUL)<\/character>\n    <dialogue>If someone had told me that in a few short weeks, Hiccup would go from being, well... Hiccup, to placing first in dragon training... I would've tied him to a mast and shipped him off for fear he'd gone mad. Yes! And you know it!<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>But here we are. And no one's more surprised... ON HICCUP standing at the entrance to the ring, listening, looking burdened.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>... or more proud than I am. Today, my boy becomes a Viking. TODAY, HE<\/dialogue>\n    <scene_description>BECOMES ONE OF US! CHEERS and ROARS. Astrid approaches Hiccup.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Be careful with that dragon.<\/dialogue>\n    <character>HICCUP<\/character>\n    <parenthetical>(re: the roaring crowd)<\/parenthetical>\n    <dialogue>It's not the dragon I'm worried about.<\/dialogue>\n    <scene_description>ASTRID<\/scene_description>\n    <character>(WORRIED)<\/character>\n    <dialogue>What are you going to do?<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Put an end to this. She eyes him, dubious.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 71.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>I have to try.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>Astrid. If something goes wrong... just make sure they don't find Toothless.<\/dialogue>\n    <scene_description>ASTRID<\/scene_description>\n    <character>(GRIM)<\/character>\n    <dialogue>I will. Just promise me it won't go wrong. Hiccup can't. Gobber approaches.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>It's time, Hiccup. Knock him dead. Hiccup puts his helmet on and enters the ring.<\/dialogue>\n    <character>ON THE TEENS<\/character>\n    <dialogue>HOOTING and HOLLERING from the stands.<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>Show 'em how it's done, my man! Hiccup locks eyes with Stoick. Stoick nods with a smile. Hiccup returns a half-smile. Takes a deep breath. He hoists a shield onto his forearm and selects his weapon from a rack of many -- a small dagger.<\/dialogue>\n    <scene_description>STOICK<\/scene_description>\n    <character>(MUTTERED)<\/character>\n    <dialogue>Hrmph. I would've gone for the hammer. Hiccup turns to face a bolted, heavy door. Takes a deep breath.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>I'm ready. The door bolt is raised. The crowd grows quiet... Beat. BOOM! The doors blast open with a stream of sticky fire. Followed by a Monstrous Nightmare, coated in flames. It tears out of its cave like an irate bull -- as the crowd roars and jeers.<\/dialogue>\n    <dialogue>It climbs the walls and chain enclosure like a bat, hissing at the provoking crowd and blasting fire.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 72. It spots Hiccup and descends, leering and licking the flaming drool from its lips. The crowd grows silent, bracing for the big fight. With the Monstrous Nightmare's eyes locked upon him, Hiccup deliberately drops his shield and dagger stepping away from them. The dragon pauses, confused. ON STOICK, also confused.<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>What is he doing? The dragon presses closer, snorting. Hiccup extends his open hand. It snarls.<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(WHISPERED)<\/character>\n    <dialogue>It's okay. It's okay. The dragon continues to pace, focused on... HICCUP'S HELMET. Hiccup realizes, then reaches up and removes it. Taking a breath to acknowledge the point of no return, he tosses the helmet aside. It hits the ground.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>I'm not one of them. GASPS and MURMURS race through the crowd. ON STOICK, as all eyes turn to him. He's welling with upset. Hiccup avoids Stoick's glare and remains focused on the Nightmare, holding his hand out. It paces around him, calming down.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Stop the fight.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>No. I need you all to see this. The crowd gets restless.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>They're not what we think they are. We don't have to kill them.<\/dialogue>\n    <scene_description>STOICK I SAID STOP THE FIGHT! \"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 73. Stoick whacks his hammer against the iron enclosure, rattling the arena with a terrible reverberating clatter. Spooked, the Nightmare snaps at Hiccup's outstretched hand. Hiccup YELPS and springs backward. The spell is broken. The Nightmare reacts to Hiccup's sudden movements and blasts another stream of fire. Hiccup SCREAMS and barely dives out of reach.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COVE - CONTINUOUS<\/stage_direction>\n    <character>ON TOOTHLESS<\/character>\n    <dialogue>His ear plates shoot up. Panic flares in his eyes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAINING GROUNDS - CONTINUOUS<\/stage_direction>\n    <scene_description>Hiccup scrambles around the ring. The Nightmare pursues, snapping and springing from ground to wall. Stoick pushes through the crowd, rushing to the doorway.<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>Out of my way!<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Hiccup! Astrid wedges her axe under the arena gate and squeezes through.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COVE - CONTINUOUS<\/stage_direction>\n    <scene_description>Toothless bounds to the cove walls, clawing them in desperation. It seems he's as trapped as before, but with an incredible BURST of effort he HOOKS a claw over the upper lip of the stone wall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAINING GROUNDS - CONTINUOUS<\/stage_direction>\n    <scene_description>A narrow stream of fire narrowly avoids Hiccup as he continues to dash around the ring, evading the Monstrous Nightmare. Desperate, he goes to the weapon rack in an attempt to arm himself, but the Nightmare quickly destroys the rack and closes in on him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COVE - CONTINUOUS<\/stage_direction>\n    <scene_description>Toothless tears through the woods, bounding like panther and taking to the air in short bursts. \"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 74.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAINING GROUNDS - CONTINUOUS<\/stage_direction>\n    <scene_description>Stoick wrenches the grated door to the arena and jumps through. The Monstrous Nightmare is only a few feet behind Hiccup. Astrid is now in the ring.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Hiccup! She picks up a hammer and hurls it at the Monstrous Nightmare, hitting it in the head. It turns its attention to Astrid, and begins chasing her. Stoick raises the arena gate, waving her toward it.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>This way! Astrid makes it through, but the Nightmare BLASTS the doorway, cutting Hiccup off. It pounces on him and prepares to finish him off. Suddenly, a terrible roar pierces the din.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Night Fury! Get down! Toothless bounds over the crowd and BLASTS a hole through the chain enclosure. He flies through it and disappears in the boiling smoke. The Vikings rush to railings... in time to see a flurry of wings cutting through the dissipating smoke. Toothless and the Nightmare tumble into the clear, locked in a toothy, vicious fight. Toothless kicks the Nightmare off and plants himself between Hiccup and it. The Nightmare snarls, circling them. Toothless lunges and ROARS... causing the Nightmare to relent and back away. To everyone's shock and horror, Hiccup gets to his feet and grabs Toothless protectively.<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(PANICKED)<\/character>\n    <dialogue>Alright, Toothless, go. Get out of here! The crowd is gob-smacked, growing livid.<\/dialogue>\n    <character>VIKINGS<\/character>\n    <dialogue>Night Fury!<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 75. Hiccup tries to shoo Toothless away in vain. Vikings begin pouring clambering through the enclosure and dropping into the ring.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Go! GO!<\/dialogue>\n    <character>VIKING<\/character>\n    <dialogue>Take it alive! Stoick grabs an axe and charges into the arena. Astrid calls out to him, panicked.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Stoick no!<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Dad! No! He won't hurt you! The other Vikings surround and attack Toothless. He tosses them aside like rag dolls, his eyes focused on Stoick.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>No, don't! You're only making it worse! Stoick raises his hammer as he charges for Toothless. Toothless ducks and pounces on him. They tumble end over end.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Toothless! STOP! He pins Stoick and inhales. The familiar hiss of gas builds. Everyone braces...<\/dialogue>\n    <scene_description>HICCUP NO! Toothless swallows back the blast and turns to Hiccup, not understanding.<\/scene_description>\n    <character>VIKING<\/character>\n    <dialogue>Get him! The crowd rushes him, piling on, and taking Toothless down. Astrid holds Hiccup back.<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(DESPERATE)<\/character>\n    <dialogue>No! Please...just don't hurt him. Please don't hurt him.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 76. Stoick gets to his feet, fuming, shaken. A Viking presents Stoick with an axe. He eyes Toothless a moment, then pushes the axe back into the Viking's hands.<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>Put it with the others! His burning glare turn to Hiccup.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GREAT HALL - DAY<\/stage_direction>\n    <character>ON HICCUP<\/character>\n    <dialogue>Being shoved into the dank, dimmed hall. SLAM! The massive doors rattle and echo. Stoick pushes past him. He paces against a backdrop of shadowy tapestries and carved pillars -- a legacy of heroes, all peering down in angered judgement.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>I should have known. I should have seen the signs.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Dad.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>We had a deal! Stoick pauses to say something, but stops short. He SNORTS and resumes pacing, repeating the cycle.<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(FLUSTERED)<\/character>\n    <dialogue>I know we did... but that was before... ughh, it's all so messed up.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>So everything in the ring. A trick? A lie? He stomps toward Hiccup. Stops short and points, fighting back words.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>I screwed up. I should have told you before now. Take this out on me, be mad at me, but please... just don't hurt Toothless.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 77.<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>The dragon? That's what you're worried about? Not the people you almost killed?!<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>He was just protecting me! He's not dangerous.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>They've killed HUNDREDS OF US!<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>And we've killed THOUSANDS OF THEM! They defend themselves, that's all! They raid us because they have to! If they don't bring enough food back, they'll be eaten themselves.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>There's something else on their island dad...it's a dragon like-- Stoick HUFFS.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>--Their island? He stomps back... pointing an accusing finger.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>So you've been to the nest.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Did I say nest? Hiccup goes silent - - he said too much.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>How did you find it?!<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>No... I didn't. Toothless did. Only a dragon can find the island. Stoick GLARES. A moment passes, then an idea takes form on his face. His eyes flare. Hiccup watches, realizing. Stoick stomps toward the doorway.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Oh no. No, Dad. No. Hiccup chases after him, panicked.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 78.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Dad. It's not what you think. You don't know what you're up against. It's like nothing you've ever seen. He grabs Stoick by the arm, tugging with all his might. He has no effect whatsoever.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Dad. Please. I promise you that you can't win this one. Nothing.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>No. Dad. No. For once in your life,<\/dialogue>\n    <scene_description>WOULD YOU PLEASE JUST LISTEN TO ME?! He throws Hiccup off of him, SWATTING him to the floor. Icy stillness. Hiccup stares back, stunned.<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>You've thrown your lot in with them. You're not a Viking.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>You're not my son. Stoick pushes through the door, leaving Hiccup alone, devastated.<\/dialogue>\n    <scene_description>STOICK<\/scene_description>\n    <character>(CALLING OUT)<\/character>\n    <dialogue>Ready the ships!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GREAT HALL - CONTINUOUS<\/stage_direction>\n    <scene_description>Stoick staggers on the steps, breaking inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOCKS\/OPEN SEA - DAY<\/stage_direction>\n    <scene_description>Broken-down catapults and trebuchets are bundled up and lowered from the cliffs. Below on the docks, Vikings load the heavy artillery into the hulls of awaiting ships. Children and the elderly gather to on the walkways to wave apprehensive farewells to the departing warriors. Lastly, Toothless is loaded aboard Stoick's ship, chained down to a palette, muzzled, and restrained with a weighty neck ring. He looks exhausted, miserable. \"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 79. Stoick crosses to the bow as the ship pushes off and joins the amassed armada of ships adrift in the harbor. Stoick's brow is furrowed, all warmth drained away. He turns west and glares at the horizon with cold determination.<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>Set sail! We head for Helheim's Gate. He then notices HICCUP watching from his familiar cliff- side perch beyond the village. Their eyes meet, full of hurt and regret. Hiccup slowly shakes his head in warning. Stoick breaks the stare and turns to Toothless, fuming.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Lead us home, Devil.<\/dialogue>\n    <character>ON HICCUP<\/character>\n    <dialogue>Watching. He's powerless to stop what is happening, but won't leave.<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLIFFS - LATER<\/stage_direction>\n    <character>ON HICCUP<\/character>\n    <dialogue>Still standing there. The ships have cleared the horizon. CRANE UP to reveal Astrid is standing behind him. She approaches cautiously and stands beside him in silence.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>It's a mess. Hiccup doesn't respond.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>You must feel horrible. You've lost everything. Your father, your tribe, your best friend.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Thank you for summing that up.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Why couldn't I have killed that dragon when I found him in the woods. It would have been better for everyone<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 80.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Yep. The rest of us would have done it.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>So why didn't you? Hiccup just shakes his head - he really doesn't know. Astrid's eyes glimmer. She wants something.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Why didn't you?<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>I don't know. I couldn't.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>That's not an answer.<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(BECOMING IRATE)<\/character>\n    <dialogue>Why is this so important to you all of a sudden?<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Because I want to remember what you say right now.<\/dialogue>\n    <character>HICCUP<\/character>\n    <parenthetical>(angry, loud)<\/parenthetical>\n    <dialogue>Oh for the love of -- I was a coward! I was weak. I wouldn't kill a dragon.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>You said 'wouldn't' that time.<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(BLOWS UP)<\/character>\n    <dialogue>Whatever! I wouldn't! Three hundred years and I'm the first Viking who wouldn't kill a dragon!<\/dialogue>\n    <scene_description>A BEAT.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>First to ride one, though. Hiccup blinks. He never looked at it that way before.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>So...<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 81. HICCUP<\/scene_description>\n    <character>(REALIZING)<\/character>\n    <dialogue>...I wouldn't kill him because he looked as frightened as I was.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>I looked at him and I saw myself. Astrid turns to face the open sea.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>I bet he's really frightened now.<\/dialogue>\n    <character>(PROVOKING)<\/character>\n    <dialogue>What are you going to do about it? Beat.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Probably something stupid.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Good. But you've already done that. Another beat.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Then something crazy. Astrid smiles.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>That's more like it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OPEN SEA\/DRAGON ISLAND - DAY<\/stage_direction>\n    <scene_description>The armada coasts toward a shroud of heavy fog, hung like drapes from a low-hanging, ominous sky. The ships enter, one by one. Visibility drops immediately. Flanking ships becomes ghosts. The armada disappears, drawn into the blinding mist. Complete whiteout. Nothing remains but the eerie creaking of wood on water. ON STOICK at the bow of his ship. He taps his fingers on the gunwale, then looks back at Toothless impatiently. Weighed down with chains, Toothless seems unresponsive.<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>Sound your positions. Stay within earshot. Shouts pour in from all directions.<\/dialogue>\n    <scene_description>VIKING #1 Here. \"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 82. VIKING #2 One length to your stern. VIKING #3 On your starboard flank. VIKING #4 Three widths to port. VIKING #5 Ahead, at your bow. VIKING #6 Haven't a clue. ON STOICK straining into the fog as the calls continue. Massive, jagged sea stacks begin to emerge, threatening to rip the ships to shreds. Gobber approaches him, speaking under his breath.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Listen... Stoick... I was overhearing some of the men just now and, well, some of them are wondering what it is we're up to here -- not me of course, I know you're always the man with the plan -- but some, not me, are wondering if there is in fact a plan at all, what it might be?<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Find the nest and take it.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Ah. Of course. Send them running. The old Viking fall-back. Nice and simple.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Shhh. Stoick notices that Toothless' ear plates are at the alert, quietly reacting to inaudible sounds. Stoick crosses to the stern of the ship and grabs the tiller, moving the helmsman out of the way.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Step aside. Stoick pulls the ship into a turn, covertly following Toothless' head movements.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 83. The ship barely misses a jagged outcrop that suddenly appears out of the soupy fog.<\/scene_description>\n    <character>VIKING<\/character>\n    <dialogue>Bear to port. The order is called out from ship to ship. CRUNCH! The bow barely makes it past another sea stack. Stoick continues to follow Toothless' cues, undeterred.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAINING GROUNDS - DAY<\/stage_direction>\n    <scene_description>Hiccup raises the bolt on the Monstrous Nightmare's pen.<\/scene_description>\n    <character>FISHLEGS (O.S.)<\/character>\n    <dialogue>If you're planning on getting eaten, I'd definitely go with the Gronckle. Hiccup turns to see his fellow recruits, watching him with folded arms. Tuffnut steps forward with a scowl.<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>You were wise to seek help from the world's most deadly weapon.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>It's me.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Uh...<\/dialogue>\n    <character>SNOTLOUT<\/character>\n    <dialogue>I love this plan.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>I didn't...<\/dialogue>\n    <character>RUFFNUT<\/character>\n    <dialogue>You're crazy.<\/dialogue>\n    <character>(SULTRY)<\/character>\n    <dialogue>I like that.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>So? What is the plan? Hiccup smiles, glowing in the support of his friends.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOGGY SEA - DAY<\/stage_direction>\n    <scene_description>The ships follow in line through the gauntlet of rocks as orders are whispered from ship to ship. \"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 84. A dragon head looms out of the fog. The men recoil... only to discover that it's a wrecked ship, impaled high on a gnarled sea stack.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Ah. I was wondering where that went. A clicking buzz becomes audible, growing louder.<\/dialogue>\n    <dialogue>It fills the sky, converging in one general direction. Stoick sniffs the air.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Stay low and ready your weapons. Stoick's ship suddenly JERKS to a halt as the keel burrows into shallow black sand. Stoick hops overboard, landing on a sprawling beach. The BUZZING suddenly STOPS. Above him, a craggy volcano towers into the gloom.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>We're here. Behind him, several dragon-headed bows pierce the fog.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAINING GROUNDS - RING - DAY<\/stage_direction>\n    <scene_description>Hiccup steps back from the door, drawing the Monstrous Nightmare out of its cave. It snorts, stepping into the ring, calmed by Hiccup's outstretched hand -- focused on him. ON THE TEENS... bewildered, in awe. Snotlout nervously reaches for a spear laying near his foot. Astrid stops him. ASTRID<\/scene_description>\n    <character>(CORRECTING)<\/character>\n    <dialogue>Uh-uh. Hiccup slows to a stop in front of the teens, with the Nightmare inches from his outstretched hand. He reaches over and grabs Snotlout's trembling hand.<\/dialogue>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Wait! What are you...<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Relax. It's okay... it's okay.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 85. Hiccup replaces his outstretched hand with Snotlout's, putting him in control of the massive beast. The Nightmare snorts, but remains calm. Snotlout, by contrast, chuckles nervously -- it's at once terrifying and amazing. The others watch, spellbound. Hiccup turns and walks away.<\/scene_description>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Where are you going?! Hiccup pulls a bundle of rope from a supply box.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>You're going to need something to help you hold on. The teens eye each other apprehensively, and look up to reveal... ALL THE DRAGONS standing in the ring, facing the teens expectantly.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DRAGON ISLAND - DAY<\/stage_direction>\n    <character>CLOSE ON<\/character>\n    <dialogue>Tree trunks, being sharpened and planted into the sand at angled rows. Boulders being loaded into catapult baskets. And a war plan being scratched in the sand. STOICK looms over it, looking determined. His generals are at his sides.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>When we crack this mountain open, all hell is going to break loose.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>In my undies. Good thing I brought extras. Stoick TURNS to face the men.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>No matter how this ends, it ends today. He walks toward the base of the volcano wall, back by several hundred warriors. He raises his arm and drops it.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 86. A line of catapults UNLEASH their two-ton loads into the cliff wall. It cracks and flakes away. Several more hits tear away at the hollow shell of hardened lava. A final boulder shatters the fractured wall, creating a deep, dark opening to the cavern within. Silence. Stock raises his hand, makes a gesture. A flaming bushel is launched into the dark, lighting the wall... CHOKED WITH DRAGONS. Stoick pulls his hammer and rushes into the cave, brazen.<\/scene_description>\n    <character>STOICK<\/character>\n    <parenthetical>(War cries and slashing efforts)<\/parenthetical>\n    <dialogue>In a chaotic flurry, the dragons suddenly rush out like bats from a cave.<\/dialogue>\n    <dialogue>The take to the air, bypassing the axe-swinging Vikings and fleeing the island in a mass exodus. The battle-ready Vikings drop their weapons, confused.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Is that it? Above the island, dragons POUR from every crevice, fleeing to the sky. The sound of screeching dragons fades.<\/dialogue>\n    <character>VIKINGS<\/character>\n    <parenthetical>(Cheering as one)<\/parenthetical>\n    <character>SPITELOUT<\/character>\n    <dialogue>We've done it! Stoick doesn't celebrate. Something is not right. He HEARS something. Stoick turns to peer down the dark throat of the cavern. A deep, rumbling ROAR echoes from the cavern. The ground underfoot TREMBLES. The ships rock. Their sails fill with a blast of air. The cheering stops. Stoick's expression sinks.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>This isn't over. Form your ranks! Hold together! The men SCRAMBLE to organize themselves.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Get clear!<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 87. The ground CRACKS. Stone tears away, cascading like an avalanche. And through the settling debris, the silhouette of a gargantuan dragon emerges -- THE RED DEATH. Stirred and furious.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Beard of Thor...what is that?<\/dialogue>\n    <scene_description>STOICK<\/scene_description>\n    <character>(AGHAST)<\/character>\n    <dialogue>Odin help us.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>Catapults! The Vikings score direct hits. The burning stones BOUNCE off the dragon's skin.<\/dialogue>\n    <dialogue>The Red Death focuses on the catapults. It crushes the first one - smashing it and its crew, rattling the beach underfoot. Stoick races toward the second catapult. He LEAPS and pushes a Viking out of the way just before the dragon crushes him under his forepaw. The Vikings scramble in all directions.<\/dialogue>\n    <scene_description>VIKING #3 Get to the ships!<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>No! NO! The Red Death BLASTS the ships like a mile-long flamethrower. The sails are torched. Vikings dive overboard and masts come down. Gobber Joins Stoick.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Heh. Smart, that one. Stoick looks up and down the beach for an answer.<\/dialogue>\n    <scene_description>STOICK<\/scene_description>\n    <character>(GUILT-RIDDEN)<\/character>\n    <dialogue>I was a fool. The monster raises its head to the sky and BELLOWS. The sound SHAKES the beach, knocking Vikings off their feet. This island is his. Stoick stops a Viking General.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 88.<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>Lead the men to the far side of the island.<\/dialogue>\n    <character>SPITELOUT<\/character>\n    <dialogue>Right.<\/dialogue>\n    <parenthetical>(turns to the others)<\/parenthetical>\n    <dialogue>Everybody to the far side of the island! The Vikings scatter into the rocks like ants. Satisfied with the ships destruction, The Red Death turns its attention back to the Vikings. They seem to have vanished. It SNIFFS the air, searching for their scent.<\/dialogue>\n    <dialogue>Gobber drops in beside Stoick, like two soldiers in a trench. Fire blasts over head, causing them to duck.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Gobber, go with the men.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>I think I'll stay, just in case you're thinking of doing something crazy. Stoick grabs him.<\/dialogue>\n    <scene_description>STOICK<\/scene_description>\n    <character>(EMPHATIC)<\/character>\n    <dialogue>I can buy them a few minutes if I give that thing someone to hunt. Gobber removes Stoick's hand. Clenches his forearm, determined.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Then I can double that time. Stoick grins. Friends to the bitter end. They BREAK COVER and dash into the open, SPLITTING UP. Stoick rips a sharpened post from the ground and hurls it into the monster's face.<\/dialogue>\n    <scene_description>STOICK HERE! GOBBER NO, HERE! It spots both of them. He fuels up to fire, glancing back and forth between the two men. He focuses on Stoick.<\/scene_description>\n    <character>GOBBER<\/character>\n    <dialogue>Come on! Fight me!<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 89.<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>No, me! The Red Death remains focused on Stoick - this is it. It rears back and inhales. Gas begins to amass, when... KABLAM! A BLAST explodes against the back of The Red Death's head. It turns distracted, as... ... a Nadder punches through the flames, banking across the sky.<\/dialogue>\n    <dialogue>Followed by a Monstrous Nightmare, a Zippleback, and a Gronckle. They roll in unison, revealing the recruits riding on their backs. Hiccup leads, with Astrid clinging to his waist. GOBBER AND STOICK, watch slack-jawed, in awe.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Ruff, Tuff, watch your backs! Move Fishlegs! The monster shakes off the blast and snaps in their wake. Hiccup directs his squadron out of harm's way. They climb out of reach and circle each other.<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>Look at us, we're on a dragon! We're on dragons, all of us!<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Up, let's move it! The dragons climb past the Red Death.<\/dialogue>\n    <character>ON THE GROUND<\/character>\n    <dialogue>Gobber hobbles over to Stoick.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Every bit the boar-headed, stubborn Viking you ever were. Stoick is speechless.<\/dialogue>\n    <character>IN THE AIR<\/character>\n    <dialogue>The group circles over the dragon's head.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Fishlegs, break it down.<\/dialogue>\n    <character>FISHLEGS<\/character>\n    <dialogue>Okay. Heavily armored skull and tail made for bashing and crushing.<\/dialogue>\n    <dialogue>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 90.<\/dialogue>\n    <character>FISHLEGS<\/character>\n    <dialogue>Steer clear of both. Small eyes, large nostrils. Relies on hearing and smell.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Okay. Lout, Legs, hang in its blind spot. Make some noise, keep it confused. Ruff, Tuff, find out if it has a shot limit. Make it mad.<\/dialogue>\n    <character>RUFFNUT<\/character>\n    <dialogue>That's my specialty.<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>Since when? Everyone knows I'm more irritating. See.<\/dialogue>\n    <scene_description>(IRRITATING SOUNDS) HICCUP<\/scene_description>\n    <character>(EXASPERATED)<\/character>\n    <dialogue>Just do what I told you. I'll be back as soon as I can.<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>Don't worry, we got it covered!<\/dialogue>\n    <character>FISHLEGS<\/character>\n    <dialogue>Yeah! Hiccup and Astrid peel away. The teens bank and dive toward the monster, splitting up. The Twins race alongside the monster's head, taunting it.<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>Troll!<\/dialogue>\n    <character>RUFFNUT<\/character>\n    <dialogue>Butt Elf!<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>Bride of Grendel! The Red Death unloads a spray of fire at the twins. They barely dodge it. Fishlegs and Snotlout hang behind its eyes, banging away at their shields, making a racket. The Red Death opens all SIX of its eyes, spotting them.<\/dialogue>\n    <character>FISHLEGS<\/character>\n    <dialogue>Uh, this thing doesn't have a blind spot.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 91.<\/scene_description>\n    <character>ON HICCUP AND ASTRID<\/character>\n    <dialogue>... searching for Toothless. Hiccup spots him among the burning ships.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>There! He steers the Nadder over the deck and hands Astrid the reins. He lines up his jump... and hops off, guarding his face from the flames. He lands on the burning deck.<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(TO ASTRID)<\/character>\n    <dialogue>Go help the others! She and the Nadder take off. As Hiccup fights his way to Toothless. He unbuckles the muzzle. Toothless shrieks.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Okay, hold on. Hold on. He gets to work on the chains.<\/dialogue>\n    <character>ON SNOTLOUT AND FISHLEGS<\/character>\n    <dialogue>They clang their weapons against their shields, making the monster wince.<\/dialogue>\n    <character>SNOTLOUT<\/character>\n    <dialogue>It's working. The huge beast starts to sway its head dizzily.<\/dialogue>\n    <character>FISHLEGS<\/character>\n    <dialogue>Yeah! It's working. PAN DOWN to reveal that the noise is also confusing the Gronckle and the Monstrous Nightmare. Both dragons lose their bearings. The Red Death thrashes, knocking Snotlout off of his dragon and onto the monster's gigantic head. Snotlout bounces across the top and comes to a stop just shy of the hundred foot drop.<\/dialogue>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Agghh! Fishlegs' Gronckle goes down in a spin of confusion.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 92.<\/scene_description>\n    <character>FISHLEGS<\/character>\n    <dialogue>I've lost power on the Gronckle. Snotlout! Do something!<\/dialogue>\n    <dialogue>He hurls Snotlout his hammer. The Gronkle crashes and skids to a stop...<\/dialogue>\n    <character>FISHLEGS<\/character>\n    <dialogue>I'm okay! ... then flips over, crushing Fishlegs.<\/dialogue>\n    <scene_description>FISHLEGS<\/scene_description>\n    <character>(FEEBLE)<\/character>\n    <dialogue>Less okay.<\/dialogue>\n    <character>BACK TO SNOTLOUT<\/character>\n    <dialogue>... who eyes the Red Death's gigantic, veiny eyes. He raises the hammer...<\/dialogue>\n    <character>SNOTLOUT<\/character>\n    <dialogue>I can't miss! ... and hammers the monster's eyes, playing whack-a- mole.<\/dialogue>\n    <character>SNOTLOUT<\/character>\n    <dialogue>What's wrong buddy, got something in your eye? Astrid flies by on her Nadder, catching Snotlout in all his heroics.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Yeah! You're the Viking! Snotlout grins, finally vindicated in her eyes. In his distraction, he gets thrown and lands heavily on one of the Red Death's spines -- clinging precariously. A close call.<\/dialogue>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Whoa!<\/dialogue>\n    <character>ON THE GROUND<\/character>\n    <dialogue>The monster's tail sweeps across the burning ships, snapping masts like twigs. We follow one down as it crashes onto a deck, revealing...<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Working at the chains. He can't budge them. Fire licks at his clothes. He looks up to see...<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 93. THE RED DEATH blasting at the teens, enraged. The monster's giant foot crashes through frame, smashing the bow under its impressive weight. Hiccup and Toothless are thrown into the water in a maelstrom of burning planks and rigging.<\/scene_description>\n    <character>UNDERWATER<\/character>\n    <dialogue>Hiccup swims toward Toothless. They're both caught in a mess of rigging, being dragged down. The heavy palette settles into the rocky bottom like an anchor. Toothless has stopped struggling. Hiccup takes one more hopeless tug at the chains - he's almost out of air. Suddenly, a meaty hand grabs Hiccup. STOICK explodes to the surface, pulling Hiccup to the shoreline through flaming debris. He lays him down, under the shelter of an overhanging rock.<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(OVERWHELMED)<\/character>\n    <dialogue>Dad... Stoick dives back into the water between flaming flotsam.<\/dialogue>\n    <character>UNDERWATER<\/character>\n    <dialogue>ON TOOTHLESS, drowning. Stoick appears in front of him. Toothless freezes. Stoick tears the chains off of the yoke and lets it float free. Momentary stillness. They eye each other, through the churned up bubbles. Toothless lunges out of the bars -- grabbing Stoick. BOOM! In an explosion of sea water, Toothless lands on the shore, setting Stoick down and releasing him. Hiccup is awed. The ground rumbles underfoot. The monster screeches. Its massive claws stomp around in the smoke. Stoick gives way as Toothless mounts the rock and raises his wings. He turns to Hiccup and SNORTS - \u00e2\u20ac\u02dcLet's go.'<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>You got it, bud. Hiccup climbs onto Toothless and buckles himself in. Stoick grabs his arm.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 94.<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>Hiccup. I'm sorry...for everything.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Yeah...me too.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>You don't have to go up there.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>We're Vikings. It's an occupational hazard. They exchange smiles.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>I'm proud to call you my son. Hiccup beams, taken aback.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Thanks dad. Stoick lets go of Hiccup's arm. Hiccup spurs Toothless on, charged with his father's belief in him. They rocket into the sky as Stoick watches.<\/dialogue>\n    <character>IN THE AIR<\/character>\n    <dialogue>Astrid sees Toothless streaking through the sky, gaining altitude.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>He's up! She turns to Ruffnut and Tuffnut, who are ARGUING and THROWING PUNCHES at each other.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Get Snotlout out of there! IN MID- PUNCH, the twins look over to see Snotlout stranded on the monster's head. They eye each other.<\/dialogue>\n    <character>TUFFNUT RUFFNUT<\/character>\n    <dialogue>I'm on it! I'm on it!<\/dialogue>\n    <character>TUFFNUT<\/character>\n    <dialogue>I'm on it first! I'm ahead of you. The twins spot Snotlout on the giant dragon and steer their Zippleback in his direction.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 95.<\/scene_description>\n    <character>RUFFNUT<\/character>\n    <dialogue>Hey! Let me drive! The twins peel off, ARGUING as they race each other to the monster.<\/dialogue>\n    <scene_description>Snotlout sees the Zippleback diving toward him and DASHES down the Red Death's head. He runs up the end of its horn... As the twins sweep past, both missing him... but perfectly snatching him where the necks merge. Ruff and Tuff eye each other, surprised and impressed.<\/scene_description>\n    <character>TUFFNUT<\/character>\n    <dialogue>I can't believe that worked. The Red Death spots Astrid and INHALES, preparing to blast. She and her Nadder get caught in the suction, pulled toward the monster's gaping mouth.<\/dialogue>\n    <character>ON THE GROUND<\/character>\n    <dialogue>The Vikings watch with dread. They hear the familiar whir of the...<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Night Fury! Get down!<\/dialogue>\n    <character>IN THE AIR<\/character>\n    <dialogue>A massive BLAST jolts the Red Death's head sideways. Astrid is thrown clear of its mouth... AND her Nadder. She tumbles through the air. The ground races toward her, when... She's suddenly CAUGHT by the leg. She looks up to see Toothless.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Did you get her? Toothless grunts.<\/dialogue>\n    <character>ON THE GROUND<\/character>\n    <dialogue>They fly over the crowd of Vikings and set Astrid down, mid- run. They circle back to reengage - a black speck against the clouds.<\/dialogue>\n    <scene_description>ASTRID<\/scene_description>\n    <character>(BREATHLESS)<\/character>\n    <dialogue>Go.<\/dialogue>\n    <scene_description>IN THE AIR \"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 96. Hiccup and Toothless rocket past the Red Death's head and climb, higher and higher. HICCUP<\/scene_description>\n    <character>(TO TOOTHLESS)<\/character>\n    <dialogue>That thing has wings! Okay, let's see if it can use them! Hiccup pulls Toothless into a turn. They plummet, gaining tremendous speed. The wind buffets them as they target the Red Death as super sonic speed. KABLAM! Toothless unloads a fireball against the Red Death's head. It goes down with a rumble as they climb anew.<\/dialogue>\n    <character>ON THE GROUND<\/character>\n    <dialogue>The Vikings shield themselves from the dust of the fallen monster... as its wings unfold and extend.<\/dialogue>\n    <character>IN THE AIR<\/character>\n    <dialogue>Hiccup looks back as they put distance between them.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Do you think that did it? Suddenly, the enraged behemoth RISES into frame... flapping its wings furiously. A daunting sight.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Well, he can fly. Hiccup and Toothless DIVE into the tangled sea stacks - they weave through the rock like rabbits through a briar. The Red Death SNAPS at them, but cannot reach them. Hiccup and Toothless PULL AHEAD. The Red Death SMASHES through the canopy of rock and pulls in behind Toothless. He BURSTS THROUGH fifty-foot formations like they were saplings.<\/dialogue>\n    <character>ON THE GROUND<\/character>\n    <dialogue>Stoick, Gobber, and the Teens watch as Hiccup and Toothless streak past, weaving through sea stacks.<\/dialogue>\n    <character>TEENS<\/character>\n    <dialogue>Woohoo! Yeah! A moment later the Red Death SMASHES the sea stacks to dust in hot pursuit. The Vikings mood is quenched.<\/dialogue>\n    <scene_description>IN THE AIR \"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 97. Hiccup and Toothless can't slow the monster down. Hiccup eyes the clouds above. An idea hits him. He locks eyes with Toothless.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Okay Toothless, time to disappear. Toothless PULLS into a steep climb, heading toward the clouds.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Come on bud! The Red Death follows, closing in fast.<\/dialogue>\n    <character>HICCUP<\/character>\n    <parenthetical>(hearing the gas)<\/parenthetical>\n    <dialogue>Here it comes! BLAST! They narrowly dodge a column of flame and smoke. They reach the low-hanging clouds and pierce them. The monster follows, immediately losing them in the hampered visibility. It roars irritably. From out of nowhere, Toothless DIVES at the huge dragon, BLASTING and PUNCTURING a hole in its wing. Toothless and Hiccup are gone again before the dragon can get a shot at them.<\/dialogue>\n    <character>ON THE GROUND<\/character>\n    <dialogue>The Vikings stare up at the sky listening to the resounding BOOMS and watching FLASHES light up the clouds. Gobber places a hand on Stoick's shoulder.<\/dialogue>\n    <character>IN THE AIR<\/character>\n    <dialogue>HICCUP and TOOTHLESS dive in again and again, using the clouds to hide and surprise as they puncture the monster's wings. It BELLOWS in frustration and WHIRLS around, unleashing fire blindly, in all directions. Hiccup sees the glow of fire cutting towards them.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Watch out! The random blast CLIPS Toothless' tail. It's heavily damaged.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 98.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>Okay, time's up. Let's see if this works. He pulls Toothless into a turn. They fly directly into the Red Death's face, taunting it.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Come on! Is that the best you can do!? Toothless utters an insult too, and they jackknife into a steep dive. The Red Death pursues. Toothless PUMPS his wings, racing faster than he's ever gone before. Hiccup and Toothless stay just ahead of the Red Death -- no longer trying to evade it. Hiccup glances back to check the tail - it's disintegrating.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Stay with me buddy. We're good. Just a little bit longer. The Red Death closes the gap. Hiccup tucks in and holds Toothless steady -- allowing the monster to set its sights on them. It narrows its eyes.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Hold, Toothless. The Red Death OPENS his mouth. The familiar gas HISS emanates from his throat -- ignition is coming.<\/dialogue>\n    <scene_description>HICCUP NOW! Hiccup HITS the PEDALS HARD as Toothless extends one wing. They PIVOT in place, hurtling directly into the Red Death's mouth. Toothless FIRES point blank down the monster's throat. Its amassing gas is ignited, BACKFIRING into the monster, erupting in a chain of blasts throughout its body. Hiccup and Toothless BURST from the clouds, the Red Death hot on their tail, exploding from within. It glances forward and sees the ground rushing up. It throws open its wings, attempting to put on the brakes, but the punctured, damaged wings can't stop its momentum. As the Red Death chokes on the expanding fireball, he sees Toothless suddenly pull out of the dive, streaking up, past its head. \"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 99. The Red Death HITS the ground, head-first. It EXPLODES like the Hindenburg. Hiccup and Toothless weave through the monster's massive back plates, wings, and flailing legs -- a high-speed recall of the FREE FALL slalom run. The expanding fireball races toward them, about to swallow them. They manage to clear the obstacles. Hiccup glances back. They're outrunning the fireball. He looks forward just in time to see the monster's massive club tail careening toward them. He tries to shift their direction. The last shreds of Toothless' tail tear away. Hiccup's pedals go DEAD.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>No. No. Hiccup and Toothless can't maneuver - they're dead in the air. The giant club tail CLIPS Toothless, TEARING Hiccup from the harness and sending him tumbling against the backdrop of the fast- approaching fireball. Toothless STRUGGLES with all his might to reach the unconscious Hiccup. But the fireball swallows them both.<\/dialogue>\n    <character>ON THE GROUND<\/character>\n    <dialogue>The Vikings watch in horror as Hiccup and Toothless disappear into the boiling inferno.<\/dialogue>\n    <character>DISSOLVE TO:<\/character>\n    <dialogue>A whiteout of ash. And through it comes...<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Hiccup? Hiccup!? Stoick appears, searching desperately. Everything is scorched. Even the ground is smoking from the terrible heat.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Hiccup!? Son!? Through the ash, Stoick the motionless silhouette of Toothless.<\/dialogue>\n    <scene_description>STOICK<\/scene_description>\n    <character>(GRAVE)<\/character>\n    <dialogue>Hiccup.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 100. He hurries to the dragon's side. Toothless is roughed up, but conscious. His scorched saddle, however, is vacant. Stoick looks to the sky in despair. He buckles at the knees, overwhelmed by the loss.<\/scene_description>\n    <character>STOICK<\/character>\n    <dialogue>Oh son...I did this... Astrid pushes through the crowd, her eyes welling up. Followed by Gobber. They flank Stoick as he kneels, slumped over. Behind them, a ring of Vikings form, keeping a respectful distance. As the dust and smoke clear, a ring of wild dragons can also be seen, gathering just behind and between the Vikings. Toothless stirs and groggily rolls his head toward Stoick. Their eyes meet.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>I'm so sorry... Toothless unfolds his wings, revealing Hiccup, unconscious, clutched safely against his chest. Stoick's eyes widen.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>Hiccup. He scoops Hiccup into his arms. Listens to his heart. Bursts into relieved laughter.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>He's alive!<\/dialogue>\n    <character>(TO TOOTHLESS)<\/character>\n    <dialogue>You brought him back alive! The crowd roars. Followed by the dragons. The Vikings look around to find themselves surrounded. Stoick leans close to Toothless, meeting him eye to eye.<\/dialogue>\n    <scene_description>STOICK<\/scene_description>\n    <character>(PRIVATELY)<\/character>\n    <dialogue>Thank you... for saving my son. Gobber looks Hiccup up and down.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Well, you know... most of him. Stoick glances back at him. Gobber shrugs, redirecting his eyes toward...<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STOICK'S HOUSE - DAY<\/stage_direction>\n    <character>CLOSE ON<\/character>\n    <dialogue>HICCUP, asleep, his head on a pillow. Healing scars on his face show that maybe a week or two have passed. Toothless hovers over him, WHINING and GRUMBLING impatiently. Hiccup stirs. Opens his eyes.<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(GROGGY)<\/character>\n    <dialogue>Oh, hey Toothless. Toothless excitedly nuzzles and nudges Hiccup.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Okay, okay! I'm happy to see you too, bud. Now just-- Toothless steps on his groin, causing Hiccup to sit BOLT UPRIGHT with a YELP. He looks around, confounded. He's in his bed, moved beside the fire pit on the main floor of his house.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>I'm in my house.<\/dialogue>\n    <parenthetical>(re: Toothless, leaning over him, excited)<\/parenthetical>\n    <dialogue>You're in my house. Toothless TEARS around the room, knocking things over, far too big for the space.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Uh...does my dad know you're in here?! Toothless pauses at the foot of the bed, tongue wagging. He eyes the rafters... and LEAPS UP onto them, brimming with 'happy dog' energy.<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(DISTRESSED)<\/character>\n    <dialogue>Okay, okay -- no Toothless! Aw, come on... Hiccup shifts to get out of bed... then pauses... sensing that something is wrong. He peels back the covers slowly. What he sees startles, horrifies, and overwhelms him -- all at once.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010<\/scene_description>\n    <character>ON THE BARE FLOOR<\/character>\n    <dialogue>His booted foot touches down. Followed by a mechanical prosthetic in place of his second leg. It's an ingenious spring-loaded replacement, made of wood and iron. Toothless lands by the bed and approaches calmly, sniffing the new leg. He raises his eyes to meet Hiccup's, seemingly aware of what Hiccup is going through. Hiccup braces himself on the bedpost and tries to stand on it. He winces and stifles the pain...<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Okay...okay... ... but STUMBLES with the first step. Toothless catches Hiccup's fall with his head... and slowly lifts him up, stabilizing him.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Thanks bud. Hiccup leans on him like a crutch. They take a few steps together. Their missing parts form a poetic silhouette as they make their way toward the door. Hiccup pries it open (as he did in the opening scene), revealing a MONSTROUS NIGHTMARE flapping outside the door. Hiccup YELPS and slams the door closed. He turns to Toothless, alarmed.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Toothless? Stay here, bud. Hiccup pauses... and cracks the door open again. He peeks outside, his eyes widening. He allows to door to swing open, revealing... ... the Monstrous Nightmare, carrying Snotlout on its back.<\/dialogue>\n    <character>SNOTLOUT<\/character>\n    <dialogue>Come on guys, get ready! Hold on tight! Here we go! A class of newbie dragon riders follow him through frame on a variety of dragons, pulling back the curtain on an amazing vista in which:<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 103. Vikings and dragons mill about by the dozen, basking on the rooftops, weaving along the plaza. No one seems upset, there isn't a sword in sight. Under the framework of a MASSIVE BARN, a Nadder BLASTS fire onto a metal brace. It steps back to let a Viking hammer it into shape. Nearby, a Gronkle lands, carrying a tree trunk in his mouth. He shows a Viking what he's found. The Viking pats his head. Another Viking backs a Zippleback into a stall to check it for size. Hiccup takes a step outside, finding Stoick waiting for him on the step.<\/scene_description>\n    <character>HICCUP<\/character>\n    <dialogue>I knew it. I'm dead. Stoick laughs.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>No, but you gave it your best shot. He puts his arm around Hiccup, steadying him. He gestures to the transformed village.<\/dialogue>\n    <character>STOICK<\/character>\n    <dialogue>So? What do you think? Hiccup just shrugs, amazed. Below, the plaza, villagers take notice.<\/dialogue>\n    <scene_description>VIKING #1 Hey look! It's Hiccup! They rush over, surrounding him with a hero's welcome. VIKING #2 Hiccup, how you doin' mate? VIKING #3 It's great to see you up and about. STOICK<\/scene_description>\n    <character>(SWEETLY)<\/character>\n    <dialogue>Turns out all we needed was a little more of...<\/dialogue>\n    <scene_description>(GESTURES NON-SPECIFICALLY<\/scene_description>\n    <character>AT HICCUP)<\/character>\n    <dialogue>... this.<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(PLAYING ALONG)<\/character>\n    <dialogue>You just gestured to all of me.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010<\/scene_description>\n    <character>GOBBER (O.S.)<\/character>\n    <dialogue>Well. Most of you. Gobber pushes through the crowd, beaming proudly.<\/dialogue>\n    <character>GOBBER<\/character>\n    <parenthetical>(re: the prosthetic leg)<\/parenthetical>\n    <dialogue>That bit's my handiwork. With a little Hiccup flare thrown in. Think it'll do?<\/dialogue>\n    <character>HICCUP<\/character>\n    <parenthetical>(bittersweet, coming to TERMS)<\/parenthetical>\n    <dialogue>I might make a few tweaks. Astrid appears and jabs Hiccup in the arm. Hiccup recoils with a grumble.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>That's for scaring me.<\/dialogue>\n    <scene_description>HICCUP<\/scene_description>\n    <character>(PROTESTING)<\/character>\n    <dialogue>What, is it always going to be this way? Cause I... She grabs him aggressively... then kisses him. Hoots and hollers follow.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>... could get used to it. Gobber presents Hiccup with a rebuilt saddle, rigging, and tail.<\/dialogue>\n    <character>GOBBER<\/character>\n    <dialogue>Welcome home. Suddenly, Toothless pounces on the crowd, crushing several unsuspecting Vikings under his weight.<\/dialogue>\n    <character>VIKING<\/character>\n    <dialogue>Night Fury, get down! Toothless eyes the new tail excitedly, tongue wagging. Amidst the groans and grumbles, Hiccup and Astrid exchange a sheepish grin.<\/dialogue>\n    <scene_description>CLOSE ON<\/scene_description>\n    <character>CLOSE ON<\/character>\n    <dialogue>Hiccup's prosthetic foot, snapping into the modified stirrup.<\/dialogue>\n    <scene_description>\"Dragon\" DeBlois\/Sanders Final Draft (Rev.19) 02-13-2010 105. The two pieces click together, forming a single shape. Astride Toothless, he's whole again. He rotates the pedal. The new tail opens. Bright red with a skull and Viking horns emblazoned on it. Hiccup approves. CUT BACK TO REVEAL... Hiccup and Toothless, saddled up and ready to fly. Astrid backs her Nadder into position. HICCUP<\/scene_description>\n    <character>(TO TOOTHLESS)<\/character>\n    <dialogue>You ready? Toothless SNORTS an excited 'yes!' From his mount, Hiccup looks out over the changed world.<\/dialogue>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>This... is Berk.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>It snows nine months of the year... and hails the other three. They LEAP into the bright blue sky, together as one. Astrid follows, giving chase.<\/dialogue>\n    <character>HICCUP<\/character>\n    <dialogue>Any food that grows here is tough and tasteless. The people that grow here are even more so. Hiccup and Astrid race their dragons through the village -- under eaves, over rooftops, down cliff-sides, and between ship masts. It's a high energy, romantic dance of sorts.<\/dialogue>\n    <character>HICCUP (V.O.)<\/character>\n    <dialogue>The only upsides are the pets. While other places have...ponies or parrots, we have... Their fellow recruits join them as they take to the open sky, rocketing far above the village. The Northern sky swirls with blazing, multicolored dragons. Hiccup and Toothless break from the pack, spinning into the blinding sun.<\/dialogue>\n    <scene_description>HICCUP (V.O.)<\/scene_description>\n    <character>(PROUDLY)<\/character>\n    <dialogue>... dragons.<\/dialogue>\n    <character>FADE TO WHITE<\/character>\n  <\/scene>\n<\/script>","summary":"The Viking village of Berk is frequently attacked by dragons that steal livestock and endanger the villagers. Hiccup, the 15-year-old son of the village chieftain, Stoick the Vast, is deemed too weak to fight. Instead, he creates mechanical devices under apprenticeship with Gobber, the village blacksmith. Hiccup uses a bolas launcher to shoot down a Night Fury, a rare dragon, but cannot bring himself to kill the creature. Before leaving with his fleet to find and destroy the dragons' nest, Stoick enrolls Hiccup in a dragon-fighting class with fellow teenagers Fishlegs, Snotlout, twins Ruffnut and Tuffnut, and Astrid, on whom Hiccup has a crush. Facing little success in the class, Hiccup returns to the forest and finds the Night Fury in a cove, unable to fly because Hiccup's bolas tore off half his tail fin. Hiccup gradually befriends the dragon, naming him 'Toothless' after his retractable teeth, and designs a harness and prosthetic fin that allows Toothless to fly with Hiccup riding him. Learning dragon behavior from Toothless, Hiccup is able to subdue the captive dragons during training, earning admiration from his peers. Stoick's fleet returns home unsuccessful. Hiccup must kill a dragon for his final exam. He tries to run away with Toothless, but Astrid discovers the dragon. Hiccup takes her for a flight to demonstrate that Toothless is friendly, but Toothless is hypnotically drawn to the dragons' nest. There, a gargantuan dragon named the Red Death summons smaller dragons to feed it live food to avoid being eaten themselves. Realizing the dragons have been forced to attack Berk to survive, Astrid wishes to tell the village, but Hiccup advises against it to protect Toothless. In his final exam, Hiccup faces a captive Monstrous Nightmare dragon and tries to subdue him to prove that dragons can be peaceful. When Stoick unintentionally enrages the dragon into attacking, Toothless arrives to protect Hiccup but is captured. After Hiccup accidentally reveals that Toothless knows the location of the dragons' nest, Stoick, furious, disowns Hiccup and sets off for the nest with Toothless guiding. Astrid prompts Hiccup to realize that he spared Toothless out of compassion, not weakness. Regaining his confidence, Hiccup shows his friends how to befriend the training dragons, and they set out after Toothless. Stoick and his Vikings locate and break open the dragon's nest, awakening the Red Death, which overwhelms them. Hiccup and his friends ride in on the training dragons, distracting the Red Death. Hiccup attempts to free Toothless; Stoick rescues them, reconciling with his son. Toothless and Hiccup fire a fireball down the Red Death's throat and cause it to crash, killing it. Whilst escaping the explosion, Hiccup gets knocked off Toothless. The Vikings find that Toothless saved Hiccup from the explosion, at the cost of his lower left leg. Some time later, Hiccup awakes back on Berk and finds that Gobber has fashioned him a prosthetic. He is now admired by his village, including Astrid, who kisses him. Berk begins a new era of humans and dragons living in peace."}
{"movie_name":"Battle Los Angeles_2011","imdb_id":"tt1217613","script":"<script>\n  <scene>\n    <scene_description>BATTLE: LOS ANGELES By Chris Bertolini Story by Chris Bertolini<\/scene_description>\n    <character>&amp;<\/character>\n    <dialogue>Jim Boulgarides<\/dialogue>\n    <scene_description>IN BLACK We hear a low RUMBLING SOUND. Something indistinct, unrecognizable. Something that makes our skin crawl. FADE IN:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKY - DAY<\/stage_direction>\n    <scene_description>Floating miles above the earth, we look down on the PACIFIC OCEAN where it meets the shimmering CALIFORNIA COASTLINE... A serene view that contrasts with the RUMBLING SOUND building throughout as... DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKY - SAME<\/stage_direction>\n    <scene_description>CLOSER TO THE EARTH, a bird's-eye view of LOS ANGELES comes into relief-- a criss-cross of neighborhoods, streets, freeways. The buildings not more than dots. We notice MOVEMENT through the sprawl of city now. Pulsing, snake-like LINES flowing across this vista as... DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKY - SAME<\/stage_direction>\n    <scene_description>MUCH CLOSER, the image of snaking lines revealed as: MASSES OF PEOPLE and CARS moving east, AWAY FROM THE OCEAN. We CONTINUE DOWNWARD, falling toward the earth with a disorienting sense of weightlessness. The RUMBLING BUILDS even further, haunting us, until we arrive at...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PICO BLVD. - SAME<\/stage_direction>\n    <scene_description>GROUND-LEVEL. The rumbling, at a frantic pitch now, is the noise of CHAOS on the streets. CARS jockey for position, moving eastward among... HORDES OF PEOPLE on foot, their PANICKED FACES rushing past us, forming a nightmarish mosaic as we... SUPER: LOS ANGELES. CONTACT + 1 HOUR. CUT TO: BLACK. Then SUPER: 15 HOURS EARLIER as... A STREAK OF LIGHT falls across the blackness, from top to bottom. Then a SECOND streak of light, a THIRD... As the shimmering streaks continue to fall, ILLUMINATING THE DARKNESS, we realize they're showering down into the distant void of the PACIFIC OCEAN. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH - DAY<\/stage_direction>\n    <scene_description>SUPER: VENICE, CALIFORNIA \/ 1300 HOURS In the daylight, we see that these streaks of light are trailing behind INDISTINCT OBJECTS as they plummet through the atmosphere, falling MILES OUT TO SEA. Reveal CROWDS of PEOPLE by the VENICE BOARDWALK. Watching, chattering, pointing excitedly out to the water as... THOUSANDS of the OBJECTS fall at once, filling the horizon. CUT TO: ESTABLISHING: CAMP PENDLETON - DAY Marines and Humvees move past a cluster of BUILDINGS as... SUPER: 1st MARINE EXPEDITIONARY FORCE. Marine Corps Base, Camp Pendleton. Oceanside, Ca. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARINE BARRACKS COMMON ROOM - DAY<\/stage_direction>\n    <scene_description>A group of MARINES, none more than 20, watching a TELEVISION. On it, a WOMAN REPORTER stands before a CROWD on the BEACH.<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>While many local schools are sending children home early...<\/dialogue>\n    <scene_description>Key on Marine SERGEANT MICHAEL NANTZ, 30, tall, muscled, standing to the side, watching the TV.<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>...and some people are nervously driving away from the ocean...<\/dialogue>\n    <scene_description>A festive CROWD is behind the reporter, people waving to the camera.<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>...there are just as many who are drawn to the celestial light show, crowding beaches along the California coastline.<\/dialogue>\n    <scene_description>A sharp BEEP BEEP sounds in the common room now. The younger marines turn from the TV, watch Nantz check his BEEPING PAGER. Then Nantz heads out swiftly, the younger marines staring anxiously after him. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRIEFING ROOM \/ I MEF H.Q. \/ CAMP PENDLETON - DAY<\/stage_direction>\n    <scene_description>SUPER: 1500 HOURS as... A roomful of SERGEANTS and LIEUTENANTS, Nantz among them, is being briefed by their COMPANY CAPTAIN.<\/scene_description>\n    <character>CAPTAIN<\/character>\n    <dialogue>These objects are falling into the ocean from Los Angeles through the Santa Barbara channel, scattered sightings as far north as Monterey. NASA confirms they're too large to be meteors. Some estimated at a hundred yards in diameter.<\/dialogue>\n    <character>LIEUTENANT<\/character>\n    <dialogue>Then why aren't we seeing tidal waves after they hit, captain?<\/dialogue>\n    <character>CAPTAIN<\/character>\n    <dialogue>Because the objects are slowing down.<\/dialogue>\n    <scene_description>Glances exchanged in the room now.<\/scene_description>\n    <character>CAPTAIN<\/character>\n    <dialogue>According to NASA calculations, these objects are not hitting the water at terminal velocity. They're slowing just before impact.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Homeland Security just bumped the threat level to red. We are officially on high alert. All units be ready to move.<\/dialogue>\n    <scene_description>And move they do. The room empties. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VENICE BEACH - AFTERNOON<\/stage_direction>\n    <scene_description>STREAKING OBJECTS still FALL into the DISTANT BLUE WATERS. A handful of SURFERS zip back and forth along cresting waves, the crowd cheering one DAREDEVIL who shreds a large wave. Then GROANS follow as this surfer wipes out. SCATTERED APPLAUSE as he RESURFACES, reaching for his board. But the applause fades as the surfer immediately DISAPPEARS back UNDER THE CRASHING SURF. A hush falls over the crowd. Especially as, a hundred yards out, the WATER begins to CHURN. The churning slowly SPREADS toward the beach as... FIGURES appear from underneath the waves. Many figures. Slowly, steadily, WALKING OUT OF THE WATER. And as they do, the image of them COMES INTO FOCUS. And we realize... THEY'RE NOT HUMAN. The surfline is dotted with these strange BEINGS walking out of the water, portending something very dark... THEY HIT THE BEACH. Vaguely human-like in appearance, these creatures suddenly DROP TO ALL FOURS, racing at the crowd with unbelievable speed, swarming like birds or school fish, moving on the crowd with startling precision. A split second as the humans stand, dumbfounded. Until the creatures reach the first person, rip him to bits. Then... PANIC. People run across the beach, plodding along the sand in hopeless flight. ONE MAN, 20s, jeans and a t-shirt, stands frozen, holding his CELL PHONE up, recording video as if this can't be real. ON THE CELL PHONE... We see an ALIEN CREATURE, leathery, amphibian-like features, racing at the man. A supple, gun- metal gray exoskeleton shields the alien's muscular frame. Then the cell phone is KNOCKED ASIDE, and we are overwhelmed by fast, jarring CLOSE-UPS of the ALIEN CREATURE as it attacks the man, ripping at him with three-inch claws as... QUICK CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMP PENDLETON - LATER<\/stage_direction>\n    <scene_description>SUPER: 1630 HOURS CLOSE ON SGT. NANTZ running across the base. As he runs OUT OF FRAME, we reveal... TROOPS racing toward massive CH-46 SEA KNIGHT HELICOPTERS, their dual rotors whipping the air. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAMP PENDLETON BARRACKS - SECONDS LATER<\/stage_direction>\n    <scene_description>Nantz snaps open a DOOR, cruising into his SERGEANT'S QUARTERS: A single room. Bed, dresser, desk. Nantz heads to the desk, opens a drawer. Sliding into view in it... A PICTURE. A smiling tow headed boy, maybe 5. Nantz picks the picture up, stares at it for a second, then pockets it. He runs back out. STAY ON THE ROOM a moment. Bare walls, bleak, utilitarian furniture as... The SOUND of HELICOPTERS fades in.<\/scene_description>\n    <character>SGT. NANTZ (V.O.)<\/character>\n    <dialogue>Situation on the ground is as follows: We are facing a large- scale amphibious invasion by an unknown enemy. These things are brutal. And they're killing everything in their path.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 4TH STREET \/ SANTA MONICA - EVENING<\/stage_direction>\n    <scene_description>Two COPS hunker behind a squad car, firing defensively against a mass of ALIENS racing at them.<\/scene_description>\n    <character>SGT. NANTZ (O.S.)<\/character>\n    <dialogue>Local cops are trying to hold. But they don't have the numbers or the firepower.<\/dialogue>\n    <scene_description>The cops are overrun, the aliens swarming over them. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 10 FREEWAY - EVENING<\/stage_direction>\n    <scene_description>CHP OFFICERS ferry massive lines of CARS onto the freeway, BOTH SIDES of which have TRAFFIC MOVING EAST.<\/scene_description>\n    <character>SGT. NANTZ (O.S.)<\/character>\n    <dialogue>It's all the locals can do to secure evacuation.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA MONICA AIRPORT - EVENING<\/stage_direction>\n    <scene_description>Numerous COBRA GUNSHIPS, two-man ATTACK HELICOPTERS, are landing, one right after the other.<\/scene_description>\n    <character>SGT. NANTZ (O.S.)<\/character>\n    <dialogue>But we've got Cobras landing at Santa Monica airport...<\/dialogue>\n    <scene_description>PAN to see CONCERTINA WIRE being strung, SNIPERS on rooftops.<\/scene_description>\n    <character>SGT. NANTZ (O.S.)<\/character>\n    <dialogue>...which is now Forward Operating Base Charlie...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOS ANGELES INTERNATIONAL AIRPORT - EVENING<\/stage_direction>\n    <scene_description>F-18 JETS land as COMMERCIAL JETS are towed into hangars.<\/scene_description>\n    <character>SGT. NANTZ (O.S.)<\/character>\n    <dialogue>...and F-18s flying in to LAX, which will be Central Command, six miles south of the FOB.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CH-46 TRANSPORT HELICOPTER - SAME<\/stage_direction>\n    <scene_description>Nantz huddles with the RIFLE SQUAD he leads, 12 MARINES, none older than 23.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>The proximity of these two airports puts us in a superior position. We will rule the air.<\/dialogue>\n    <scene_description>Some murmurings. The marines are clearly unnerved. Two of them, CORREGGIO and KERNS, both 20, exchange a glance.<\/scene_description>\n    <character>PVT. CORREGGIO<\/character>\n    <dialogue>What about armor, sergeant?<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Army's shipping tanks from Ft. Irwin. But we won't see serious numbers for 6-8 hours. Best case. Until then, devil dogs, it's on us.<\/dialogue>\n    <character>PVT. KERNS<\/character>\n    <dialogue>But where'd these things come from, sergeant? What the hell are they?<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>We're gonna find that out together, Kerns. Marines. Listen up. We'll have plenty of time for questions later. Right now, you are to concern yourself with this only: Police on the ground have shot these things. They bleed.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>It's our job to kill them.<\/dialogue>\n    <scene_description>The marines stiffen on these words, sitting up straighter, gripping their weapons tighter.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Retreat...<\/dialogue>\n    <character>MARINES<\/character>\n    <parenthetical>(in unison)<\/parenthetical>\n    <dialogue>...Hell!<\/dialogue>\n    <scene_description>2\/5! CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CH-46 TRANSPORT HELICOPTER - LATER<\/stage_direction>\n    <scene_description>NIGHT is falling. Dark plumes of SMOKE float in the sky past the blood-red SUN SETTING into the ocean. From the air, we are looking down on Venice\/Santa Monica as the chopper BANKS INLAND. BODIES splay across the beach. Mostly human. Waves of ALIEN ATTACKERS are still moving OUT OF THE WATER, racing across the sand. As they appear... COBRA GUNSHIPS fly swiftly at them, strafing them from the air. Many aliens drop. But many more make it INTO THE SURROUNDING STREETS, disappearing among the apartments and houses.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CH-46 TRANSPORT HELICOPTER - SAME<\/stage_direction>\n    <scene_description>Nantz watches the action, then peers down on the Venice streets, which look like a ghost town. Until... A MAN runs from an alley, waving his hands, trying to draw the chopper pilot's attention as... TWO DARK FIGURES race at him, seemingly from nowhere. The man is overwhelmed by the alien creatures, his body crumpling to the ground. Then the creatures race away with unbelievable speed, disappearing as if it's all a dream. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PENMAR GOLF COURSE\/SANTA MONICA - MINUTES LATER<\/stage_direction>\n    <scene_description>A COMMAND TENT is set up, surrounded by Humvees, generators, an AMMO TRUCK. The CH-46 LANDS, nearly uprooting small trees that bend from the rotor wash. Nantz and his squad JUMP OUT as we... SUPER: 1800 HOURS The CH-46 immediately LIFTS OFF, ANOTHER CH-46 landing nearby, MORE MARINES jumping down as... OFFICERS race from the command tent to the disembarking marines. Nantz salutes a MARINE CAPTAIN heading to him.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <parenthetical>(over the noise)<\/parenthetical>\n    <dialogue>Sgt. Michael Nantz, sir. 2nd squad, 1st platoon, Echo Company of the 2\/5.<\/dialogue>\n    <scene_description>The captain salutes back, shoving a MAP towards Nantz, pointing to the STREETS of SANTA MONICA and VENICE on it.<\/scene_description>\n    <character>CAPTAIN<\/character>\n    <dialogue>We're establishing a line at Lincoln Boulevard, sergeant, 'bout a quarter mile from here. Civilian population's mostly cleared from Lincoln to the ocean. That area is now a free-fire zone.<\/dialogue>\n    <scene_description>ON THE MAP, we see LINCOLN BOULEVARD, less than a mile from the ocean. The captain POINTS OUT OTHER STREETS as...<\/scene_description>\n    <character>CAPTAIN<\/character>\n    <dialogue>Your squad will proceed south on Lincoln one klick to California Avenue. Then west on California toward the ocean.<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Any intell on their weapons, tactics...? What are we walking into, captain?<\/dialogue>\n    <character>CAPTAIN<\/character>\n    <dialogue>Your guess is as good as mine. Units are just starting to engage. One thing we know, they're still coming out of the ocean. Current estimate-- fifty thousand hostiles.<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>How many boots we got on the ground, sir?<\/dialogue>\n    <character>CAPTAIN<\/character>\n    <dialogue>Six thousand. Until Army and National Guard units arrive, which could be 12-15 hours away. So, as usual, it's Marines on point. Search-and-destroy, sergeant. Kill anything that's not human.<\/dialogue>\n    <scene_description>Nantz salutes. The captain races back to the command tent. Nantz turns to his men, spying one of them, PVT. IMLAY, 19, tall and rangy, boosting a few GRENADES from the ammo truck. Nantz whistles. The squad jogs after him as he runs off. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RESIDENTIAL STREET - MINUTES LATER<\/stage_direction>\n    <scene_description>DARKNESS settles as the squad double-times down the street, the battle-rattle of their equipment a steady accompaniment. They are surrounded, incongruously, by well-kept homes. In the distance, thunderous BOOMS as MORTARS EXPLODE. The empty streets and distant explosions lend an other- worldly feel to the squad's surroundings, especially as the marines turn onto... LINCOLN BOULEVARD. Lincoln is being FORTIFIED into a DEFENSIVE LINE... Sand-bagged MACHINE GUN NESTS are being set up at corners. A MARINE in a commandeered SKIP LOADER is piling cars into BARRICADES. Other MARINES hunker down behind these barricades, firing MORTARS toward the ocean. CRACK! Nantz looks up to see a SNIPER and his SPOTTER on the ROOF of a four-story building. Another CRACK as the sniper fires a second round into the distance. CLOSE ON THE MARINES as they race past. They look determined, yet we register something else in their grim faces... They're marching into the unknown. As the last man passes, we PAN to see the marines running down Lincoln, surrounded by the banalities of modern life: a Goodyear Tire Store, nail shop, Red Hot Video, China Express. A Cobra screams overhead, then banks hard, heads toward the beach on another strafing run as... The Marines fade away, ghost-like, into the desolate, smoke-filled streets. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CALIFORNIA AVENUE \/ VENICE - MINUTES LATER<\/stage_direction>\n    <scene_description>Sgt. Nantz and his men turn onto California Avenue. The squad moves down the street, breaking into their THREE INDIVIDUAL FIRE TEAMS of four marines each. (NOTE: Every fire team has a LEADER, a corporal, who carries an M16-A4 assault rifle with an attached M203 grenade launcher, TWO RIFLEMEN who also carry M16-A4s, and a SAW GUNNER, who carries the M249 Squad Automatic Weapon, a fully- automatic weapon used to suppress the enemy with its awesome firepower, providing cover for the team to maneuver. The squad leader-- Sgt. Nantz-- carries an M16-A4 equipped with an M203 grenade launcher, along with a COMBAT SHOTGUN.) On one side of the street... SMALL HOMES, each behind 6-ft. high WOOD FENCES. Some two and three-story APARTMENT BUILDINGS are visible further on. On the other side: AN ELEMENTARY SCHOOL, surrounded by a chain link fence. Structure FIRES color the night. CARS are overturned, the grim OUTLINE OF BODIES dot the street. This is a war zone. Nantz surveys the entire scene, watching the rooftops, DIRECTING his fire teams. CPL. BENNIE MARTINEZ, 22, compact, serious-minded, and CPL. DEVRY HARRIS, 21, African-American, who is steely, yet soft- spoken, lead their teams to the small houses. They begin KICKING OPEN the gates of the wooden fences, checking the front yards as... Fire team leader CPL. NICK STAVROU, 23, a quick-witted, hulking Greek, moves with his men, eyeballing the SCHOOL BUILDINGS behind the chain link fence. Stavrou points his rifle into a crashed PICKUP TRUCK. Its bed is filled with a few suitcases, its cab filled with a BLOODY BODY slumped beneath the wheel. BANG! A sharp noise as across the street... ANOTHER GATE GETS KICKED IN. By MARTINEZ, who points a rifle into a FRONT YARD, eyes searching. His fire team STOPS as Martinez raises a fist. They follow their leader's sight down the SIDE of the house. A beat. Then Martinez and his men move forward, creeping DOWN THE DARK SIDE YARD, rifles ready. They suddenly STOP, crouch behind cover by the house, peering into the shadows. Something is there. Something moving. Martinez grips his rifle, about to fire as... A BARK. Martinez' finger stops on the trigger. A DOG comes bounding towards him, wagging its tail. Nervous chuckles as the marines relax now. Martinez pats the dog. They back OUT OF THE YARD. Martinez signals an all-clear to Nantz, who's covering from the street. But just as Nantz gets the signal, he catches sight of... A SHADOW. On the roof of the house... Over the marines exiting the yard. Nantz swings his rifle to that spot. But NOTHING is there. He stares a moment as... Martinez and his men continue DOWN CALIFORNIA AVENUE with Harris' fire team. The dog trots out of the yard, following them. Nantz backs down the street, keeping his eye on the roof as they approach... A SIDE STREET. A THREE-STORY APARTMENT BUILDING anchors the corner. The dog suddenly whines, skittering AWAY FROM THE APARTMENT BUILDING. Nantz and his men spin, kneel, grab cover, pointing rifles at the apartment building, where... AN ALIEN FORM Is glimpsed on the THIRD STORY LANDING of the building. Stavrou's team covers the street as the others rush... INTO THE APARTMENT BUILDING COURTYARD. Their blistering FIRE rings out... But their shots TRAIL BEHIND the alien as it races ACROSS THE LANDING, leaps over the rail, gripping an exterior wall, scurrying down it in a flash, disappearing into a far yard. Two of Martinez' men, GRAYSTON and MOFFETT, neither older than 19, stare, unnerved.<\/scene_description>\n    <character>PVT. GRAYSTON<\/character>\n    <dialogue>Jesus Christ...<\/dialogue>\n    <scene_description>Nantz stares as well, but shakes it off with a curt:<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Now you've seen 'em.<\/dialogue>\n    <parenthetical>(moving off)<\/parenthetical>\n    <dialogue>Remember to lead 'em more.<\/dialogue>\n    <scene_description>The marines follow Nantz as, from the street...<\/scene_description>\n    <character>MARINE (O.S.)<\/character>\n    <dialogue>Contact!<\/dialogue>\n    <scene_description>QUICK CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CALIFORNIA AVE - SAME<\/stage_direction>\n    <scene_description>One of Stavrou's men, Kerns, bulge of tobacco in his cheek, spies MOVEMENT down the street, something by the wood fence of a FRONT YARD. Kerns lets loose a burst from his M-16. The wooden fence SPLINTERS from Kerns' gunfire. Then all is still again. SAW gunner, Correggio, linebacker-big, calls over.<\/scene_description>\n    <character>PVT. CORREGGIO<\/character>\n    <dialogue>You get it?<\/dialogue>\n    <character>PVT. KERNS<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>PVT. CORREGGIO<\/character>\n    <dialogue>Goddamn. I wanna see these things fall.<\/dialogue>\n    <scene_description>Nantz runs up, about to question Kerns as...<\/scene_description>\n    <character>PVT. CORREGGIO<\/character>\n    <dialogue>Contact! Contact!<\/dialogue>\n    <scene_description>DOWN THE SIDE STREET TWO ALIENS are moving FAST across an INTERSECTION. The AUTOMATIC FIRE from Correggio's SAW lights up the street. ONE ALIEN is torn up, his body EXPLODING apart with direct, overly prolonged, fire from Correggio's SAW. A beat, then Kerns drawls:<\/scene_description>\n    <character>PVT. KERNS<\/character>\n    <dialogue>Well, that sumbitch fell.<\/dialogue>\n    <scene_description>He and Correggio smile, nervous energy crackling. They've killed one. The squad PURSUES the SECOND ALIEN... ONTO THE SIDE STREET. The alien is blown off its feet by their follow-up FIRE. The marines move forward, covering their rear and flanks, STAYING BEHIND COVER-- cars, trees, a dumpster. Nantz arrives at the dead alien, its razor sharp teeth revealed in a death grimace, its muscular, leathery torso ripped open. He stares down on it, when suddenly...<\/scene_description>\n    <character>CPL. HARRIS<\/character>\n    <dialogue>Contact!<\/dialogue>\n    <scene_description>TWO ALIENS run across a street WEST of their position. Another BARRAGE of gunfire and these aliens are mowed down. Smoke settles in the street. A beat.<\/scene_description>\n    <character>PVT. CORREGGIO<\/character>\n    <dialogue>These goddamn Martians come here just so we could blow 'em away?<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>No. They didn't. Let's move.<\/dialogue>\n    <scene_description>Nantz directs the squad forward. And just as he does... A WAVE OF ALIENS, shapes in the darkness, swarm toward the marines FROM THE REAR. The night is ripped open by the shattering AUTOMATIC FIRE of the SAWs working in unison. But more aliens are coming. In the dark, it's hard to tell how many... Nantz and his men FALL BACK, firing on these dark shapes.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Harris, light it up!<\/dialogue>\n    <scene_description>Cpl. Harris pulls out an ILLUMINATION GRENADE, shoves it into his grenade launcher, FIRING it into the sky. A BOOM above them as the illumination flare LIGHTS UP the dark street in a GHOSTLY FLASH. We see... ALIENS EVERYWHERE. Climbing up buildings, scaling walls with their claws, some disappearing into the canopy of trees above, some dodging behind cars. The whole street seems to be alive with them.<\/scene_description>\n    <character>PVT. IMLAY<\/character>\n    <dialogue>Holy shit!<\/dialogue>\n    <scene_description>The squad lets loose now with an unbelievable barrage, the first time we see them FULLY OPEN UP. It's a fierce, awe- inspiring display of FIREPOWER that repels the attack, tearing up the aliens, the trees, the street. But... A SECOND MAJOR ATTACK comes on their flank from an ALLEY.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Harris! The flank...!<\/dialogue>\n    <scene_description>Harris and his team shift to battle this SECOND FRONT. While the marines' firepower keeps the aliens at bay, the aliens' speed allows many to escape behind cover. And there's something else now... THE ALIENS ARE FIRING BACK. Attached to the backs of their 'hands' are GUN-LIKE MECHANISMS that fire PROJECTILES, super ball-sized metal shots. The projectiles EXPLODE in a liquid SPRAY around the marines, who take cover behind cars, trees, walls. One PROJECTILE hits a wall above Correggio. It EXPLODES, the liquid splashing onto the SAW gunner, who grimaces.<\/scene_description>\n    <character>PVT. CORREGGIO<\/character>\n    <dialogue>Ahh, fuck! It's burning!<\/dialogue>\n    <scene_description>His helmet is being eaten away by the liquid, as is his collar... And the skin around his neck. Kerns is immediately at Correggio's side, pulling his helmet off as... Nantz unsheathes his KA-BAR, a deadly FIGHTING KNIFE favored by marines, cuts away part of Correggio's uniform seeing... Correggio's skin is blistering, oozing. But only in a few spots. With Kerns' help, he struggles to his feet.<\/scene_description>\n    <character>PVT. CORREGGIO<\/character>\n    <dialogue>How's my face?<\/dialogue>\n    <character>PVT. KERNS<\/character>\n    <dialogue>Ugly as ever.<\/dialogue>\n    <character>CPL. MARTINEZ<\/character>\n    <dialogue>Contact!<\/dialogue>\n    <scene_description>A THIRD WAVE of ALIENS suddenly appears in front of them. They're coming at the marines from THREE DIRECTIONS now.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Marines! Fall back!<\/dialogue>\n    <scene_description>The marines turn to their only avenue of escape, backing... INTO A 'WALK' STREET. So named because there is no 'street' here, just a sidewalk separates the single-family houses opposite each other. The front yards of the houses are less than ten feet apart. And making matters worse-- there is heavy FOLIAGE, dense SHRUBS and TREES on both sides. Then the attack ends. SUDDEN SILENCE. And Nantz knows...<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>This is the kill zone, boys.<\/dialogue>\n    <scene_description>He tucks his M-16 under one arm, slinging forward the COMBAT SHOTGUN he carries on his back in one smooth movement. The squad catches on, shifts to cover specific firing zones. And just as they adjust positions, the bushes come alive... ALIENS RUSH FORWARD AMBUSHING THE MARINES from the THICK COVER of bushes and trees, FIRING PROJECTILES. The acid-like liquid exploding from them eats into combat uniforms, flak jackets, flesh... Nantz leads the brutal counterattack, PUMPING and FIRING his combat shotgun, an ideal weapon for close-range killing in the tight confines of the walk street. And the quick reaction of the entire squad gives them a fighting chance. The marines fire back in rigid discipline, picking targets, squeezing off three round bursts. An ALIEN is BLASTED OUT OF THE AIR, landing on MOTTOLA, the skinny 19 year-old radio man, pinning him. The massive Stavrou grabs the alien carcass, DEAD LIFTS IT off of Mottola, hurls it at the onrushing aliens, bellowing. An alien PROJECTILE slams into GRAYSTON'S ARM. A DIRECT HIT, it PENETRATES his arm, lodging deep within it. The SPRAY OF LIQUID bubbles out from the wound, down Grayston's arm, across his hand. A SCREAM of pain from Grayston as he sees his flesh being eaten away, the bones of his arm beginning to melt. An ALIEN LEAPS ONTO HIM, slashing at his chest, thankfully meeting the resistance of Grayston's FLAK JACKET. Grayston CLUBS THE ALIEN with his injured arm, a STUMP now. As Nantz levels his shotgun, BLOWS THE ALIEN AWAY. Nantz grabs Grayston, dragging him into... THE FRONT YARD OF A HOUSE. The squad retreats BACK TOWARD THE HOUSE, putting SPACE BETWEEN THEMSELVES AND THE ALIENS. The SAW GUNNERS revel in the room they now have to operate. And the power of CONTINUOUS FIRE from the THREE SAWs is devastating.... Aliens go down, trees and bushes are shredded, houses across the way are splintered. One CATCHES FIRE from the hot lead. All this mayhem allows the squad to... SLAM THROUGH THE FRONT DOOR OF THE HOUSE. Pandemonium. The marines are sweaty, bleeding, scared.<\/scene_description>\n    <character>PVT. SIMMONS<\/character>\n    <dialogue>We're fucked! Jesus Christ! We're fucked!<\/dialogue>\n    <character>CPL. MARTINEZ<\/character>\n    <dialogue>Keep your shit together! Every one of you. Get your firing angles. Watch the yard.<\/dialogue>\n    <character>PVT. MOFFETT<\/character>\n    <dialogue>What the hell are those things?!<\/dialogue>\n    <character>CPL. HARRIS<\/character>\n    <dialogue>You want to know what they are? They're the goddamn enemy.<\/dialogue>\n    <character>PVT. IMLAY<\/character>\n    <dialogue>Yeah, and there's a fucking million of 'em...<\/dialogue>\n    <character>CPL. STAVROU<\/character>\n    <dialogue>Hey, stow that shit, Imlay. We're not dyin' here tonight.<\/dialogue>\n    <scene_description>The marines take firing positions, setting up at doors, windows, reloading as... Nantz leans over Grayston, whose stump of an arm is oozing horribly. Efficient squad medic, RATUSHEWITZ, 21, scrambles to wrap it, mounding Kerlix gauze around the wound.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Grayston. Look at me. We're gonna get you out of here.<\/dialogue>\n    <scene_description>Grayston, sweaty, shaking, is going into shock. Nantz turns to his radio man, Mottola.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Get the FOB on the line.<\/dialogue>\n    <scene_description>Mottola gets on the radio as Nantz turns to the others.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>We go in ninety seconds. Move to live, marines.<\/dialogue>\n    <character>CPL. HARRIS<\/character>\n    <dialogue>Where the hell is Lenihan?<\/dialogue>\n    <scene_description>Beat. Nantz turns to Harris on this as... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK YARD OF DIFFERENT HOUSE - SAME<\/stage_direction>\n    <scene_description>LENIHAN, 18, a wiry, baby-faced kid, is crouching next to a GARAGE, staring through the thin slats of BAMBOO FENCING that separate the garage from the back yard. A SWIMMING POOL in the yard glistens in the moonlight, the gentle lap of its water contrasting with... The SOUND of ALIENS RUNNING in the alley behind the garage, getting into position. Lenihan, sweaty, eyes wide with fear, doesn't dare move. Then the SOUNDS FADE. A BEAT of SILENCE. Lenihan steps around the fencing, edges from his hiding spot just as... An ALIEN bounds into the back yard. Lenihan dodges back BEHIND THE FENCE. Stares at... The ALIEN. Not much bigger than a man, there's something terrifying about its lean and sinewy form, its quick, controlled movements. As the alien moves to the swimming pool, peering into it... Lenihan raises his M-16, hands shaking. He hesitates as... TWO MORE ALIENS appear, bounding into the yard. One of them turns to the bamboo fence concealing Lenihan. It bristles. Lenihan aims the M-16 again, about to let it rip as the aliens suddenly DASH OFF into the dark, out of Lenihan's field of vision. Then Lenihan spins, hearing a SOUND on the far side of the garage. They're circling around... Lenihan, desperate, spies a SIDE DOOR leading into the garage. He edges there, turns the handle. Mercifully, the door opens. Lenihan ducks... INTO THE DARK GARAGE. As the SOUND of something landing, THUD, on the garage roof. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - MINUTES LATER<\/stage_direction>\n    <scene_description>Nantz is ON THE RADIO with the Forward Operating Base:<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Don't know how they're communicating. But they're damn efficient. We weren't on that street ten minutes, and they put together one hell of an ambush.<\/dialogue>\n    <scene_description>Imlay, at a kitchen window, spies a PACK OF GUM on the counter, pockets it as a voice floats back from the radio:<\/scene_description>\n    <character>COMMANDER (V.O.)<\/character>\n    <dialogue>Roger. Listen, sergeant, we've got an LZ for your medevac. California and 7th. Community center with a soccer field. We'll fly your guy outta there.<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Copy.<\/dialogue>\n    <parenthetical>(tosses radio receiver back to Mottola)<\/parenthetical>\n    <dialogue>Let's go get Lenihan.<\/dialogue>\n    <scene_description>Everyone shifts into action as Correggio turns from his post at a window.<\/scene_description>\n    <character>PVT. CORREGGIO<\/character>\n    <dialogue>We're surrounded, sir. What's the plan?<\/dialogue>\n    <scene_description>Nantz slams a CLIP into his M-16.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>We attack.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARAGE - SAME<\/stage_direction>\n    <scene_description>A one-car garage, there are TWO WINDOWS on opposite walls, stacks of boxes and old furniture filling the space. Lenihan, crouching in the darkness, grips his M-16 tightly. He is alarmed by the slightest sound of movement around the outside of the garage, then a scuttling on the roof. Lenihan sees the BRANCHES of a bush MOVING outside one of the windows, as if something just brushed past it. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - SAME<\/stage_direction>\n    <scene_description>The squad races FROM THE BACK DOOR of the house, surrounding Ratushewitz and Imlay, who carry Grayston on a litter. They FIRE at aliens immediately rushing them. Then burst into... THE BACK ALLEY. FIRING at aliens appearing from back yards to the marines' rear, or on the roofs of houses, their silhouettes ghost-like against the dark horizon.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Conserve ammo! Make each shot count!<\/dialogue>\n    <scene_description>The marines' take more careful aim, choosing targets more judiciously. Nantz shouts between the bursts of fire:<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Lenihan!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARAGE - SAME<\/stage_direction>\n    <scene_description>Lenihan moves cautiously to one WINDOW as Nantz's distant VOICE ECHOES between the squad's fire:<\/scene_description>\n    <character>SGT. NANTZ (O.S.)<\/character>\n    <dialogue>We're coming for you!<\/dialogue>\n    <scene_description>Lenihan peers out of the window as... An ALIEN appears RIGHT ON THE OTHER SIDE. They're face-to- face for a split-second. Then Lenihan jumps back as... CRASH! Both windows crash in as ALIENS leap through them INTO THE GARAGE. They FIRE PROJECTILES... But Lenihan dives behind a STACK OF BOXES, the acid searing into them. Then Lenihan is up, FIRING his M-16, lighting up the dark confines of the garage. One alien goes down, another disappearing into the dark as... SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY - SAME<\/stage_direction>\n    <scene_description>Nantz and his men instantly turn toward the SOUND of Lenihan's SHOTS as... CUT BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK YARD OF HOUSE - SAME<\/stage_direction>\n    <scene_description>Lenihan hurriedly backs OUT OF THE GARAGE as... A shadow falls across him now. He spins to see... The THIRD ALIEN leap from the GARAGE ROOF, claws slashing... Lenihan swings his M-16, FIRES, knocking the alien down, then pumping more shots into it until... Lenihan RUNS DRY on ammo, his gun CLICKING impotently as... Behind him, an ALIEN rises slowly FROM THE POOL. Lenihan doesn't see it, but he senses it. He turns just as the ALIEN LEAPS, instantly on top of him... BLISTERING GUNFIRE Nantz and other members of his team burst into the yard, BLASTING THE ALIEN just as it reaches Lenihan. The marines swing their guns around the yard in quick, coordinated rhythm, searching for other enemy forces. Then Nantz grabs Lenihan by the collar, pulls him. And they're all RUNNING FROM THE YARD into... THE BACK ALLEY.<\/scene_description>\n    <character>PVT. LENIHAN<\/character>\n    <dialogue>Jesus Christ! It came out of the fucking pool, sergeant. They like their fucking water...<\/dialogue>\n    <scene_description>Nantz suddenly spins, firing up at... An ALIEN LURKING IN THE TREES that overhang the alley. It falls at their feet.<\/scene_description>\n    <character>PVT. LENIHAN<\/character>\n    <parenthetical>(freaked out)<\/parenthetical>\n    <dialogue>Shit! They're goddamn everywhere!<\/dialogue>\n    <scene_description>QUICK CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIDE STREET<\/stage_direction>\n    <scene_description>Grayston has been laid on the ground now, surrounded by Martinez' team, who cover 360 degrees, holding the ground. Nantz and the others run out from the alley. The squad reforms, Grayston is lifted, and they are moving quickly again. Lenihan instantly covers a fire sector as Ratushewitz calls to him from a few feet away:<\/scene_description>\n    <character>PVT. RATUSHEWITZ<\/character>\n    <dialogue>You done screwing off?<\/dialogue>\n    <scene_description>Lenihan turns to Ratushewitz, who's smiling, obviously relieved to see him. Then Lenihan's elation at being back deflates when he spies Grayston on the litter. THE RIFLE SQUAD RUNS TOWARD CALIFORNIA AVE. The side street they're on SUDDENLY SEEMS VERY STILL. Heads swivel, up, down, all around, looking for the enemy.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Too goddamn quiet. Double time.<\/dialogue>\n    <scene_description>The squad picks up their pace as... Nantz looks DOWN AN ALLEY to the left. He sees FOUR ALIENS, in a staggered dash, MOVING PARALLEL TO THE RIFLE SQUAD. Nantz looks down ANOTHER ALLEY they're passing, sees MORE ALIENS running PARALLEL TO THEM. He points down the block as they APPROACH CALIFORNIA AVENUE.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Marines. They're gonna hit us there, cut us off when we turn back onto California.<\/dialogue>\n    <parenthetical>(to Mottola)<\/parenthetical>\n    <dialogue>Motorola. Get some air support.<\/dialogue>\n    <scene_description>Mottola immediately works the radio.<\/scene_description>\n    <character>PVT. MOTTOLA<\/character>\n    <parenthetical>(into radio)<\/parenthetical>\n    <dialogue>Command. We need Cobras in here. We are on Linden Avenue, approaching California.<\/dialogue>\n    <character>COMMANDER (V.O.)<\/character>\n    <dialogue>Copy. We are fully committed right now. Multiple fronts open...<\/dialogue>\n    <character>PVT. MOTTOLA<\/character>\n    <dialogue>Command, we need air! We have a large enemy presence one block west of our position. We are about to get lit up, sir...!<\/dialogue>\n    <scene_description>Nantz spies a PARKED VAN, shouting orders:<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>SAWs suppress down California. Get Grayston behind that van. Watch the rear!<\/dialogue>\n    <scene_description>The three SAW gunners TURN THE CORNER first, immediately finding cover behind cars, telephone poles, etc. Grayston is hustled to the parked van, laid down behind it. Riflemen cover the rear and flanks of the squad just as... ALIENS SWARM FROM THE ALLEY ONE BLOCK WEST. The SAW gunners OPEN UP, suppressing the enemy advance. Other squad members FIRE bursts from their M-16s. But for every alien that goes down, numerous others FLASH AWAY in unison, like quicksilver. The marines adjust their fire. But the targets disappear as soon as they appear. Then a FORCE OF ALIENS opens up from an APARTMENT ROOF. PROJECTILES RAIN DOWN. The marines scramble back BEHIND COVER, ripping at their clothes, pulling off anything splashed by the ACID-LIKE SUBSTANCE spraying around them. The SAW gunners spin, FIRING, tearing the roof of the apartment building to shreds. Some aliens are THROWN FROM THE ROOFTOP, others EXPLODE in a shower of flesh. BUT ANOTHER WAVE OF ALIENS SWARMS FROM THE ALLEYWAY. They're advancing closer to the marines, who fire more desperately. Simmons takes a direct hit in the leg. Screaming, he bends to grab his leg as a SECOND PROJECTILE slams into his neck just above his flak jacket. Lenihan, seeing Simmons go down, screams to Ratushewitz:<\/scene_description>\n    <character>PVT. LENIHAN<\/character>\n    <dialogue>Rats! Simmons is down...<\/dialogue>\n    <scene_description>Ratushewitz scrambles to Simmons. Then Lenihan takes a direct hit, a projectile burying itself into his hip. And as the marines go down, their fire DECREASES, allowing the aliens to gain more ground. Nantz sees Moffett fall, instantly shouting:<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Imlay! Get on Moffett's SAW!<\/dialogue>\n    <scene_description>Imlay grabs the automatic rifle. But the alien force battles forward, about to overrun the squad as... A COBRA GUNSHIP Screams over the school building. And as soon as it appears, it fires... A HELLFIRE MISSILE The missile EXPLODES, wreaking havoc on the alien force, their bodies blown into the air. The COBRA circles back, lets loose a FURIOUS BARRAGE from its M197 20mm GUN mounted under its nose. THE REMAINING ALIENS ARE DEVASTATED. Its work done, the Cobra screams off, quick as it came. Nantz checks his men. Most have blistering wounds, but can clearly go on... Moffett and Lenihan, however, can barely stand, their wounds deteriorating into gaping holes. Simmons, is on the ground, very still, huge chunks of his leg and neck eaten away. Nantz slings Moffett's arm around his shoulder.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Move to live, boys! Kerns, Correggio, carry Simmons.<\/dialogue>\n    <parenthetical>(to Stavrou)<\/parenthetical>\n    <dialogue>Grab Lenihan.<\/dialogue>\n    <scene_description>But Stavrou is already yarding Lenihan up, slinging him over his massive shoulder. Nantz leads as the squad hustles down California Avenue. DARK ALIEN FORMS on distant rooftops watch the rifle squad disappear down the street. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COMMUNITY CENTER - MINUTES LATER<\/stage_direction>\n    <scene_description>A boxy CONCRETE BUILDING with a playground on one end, and a huge SOCCER FIELD on the other. All around are small houses, trees... A neighborhood. We see the specter of LIGHTS thrown onto the field, an other- worldly effect until we realize the lights are coming from... A CH-46E SEA KNIGHT HELICOPTER As it hovers over the soccer field, descending steadily. The RIFLE SQUAD hustles across the field to the chopper as it touches down, its thundering rotors whipping the air. The WOUNDED ARE IMMEDIATELY LOADED into the chopper as... Ratushewitz leans over his buddy, the injured Lenihan.<\/scene_description>\n    <character>PVT. RATUSHEWITZ<\/character>\n    <dialogue>You just had to get outta the shit, huh?<\/dialogue>\n    <character>PVT. LENIHAN<\/character>\n    <parenthetical>(leering)<\/parenthetical>\n    <dialogue>I'll say hi to your sister for you.<\/dialogue>\n    <scene_description>Ratushewitz smiles, they touch fists. Then Ratushewitz backs away as... The SEA KNIGHT HELICOPTER RISES Gaining altitude with a sudden rush of power as... A SOUND LIKE NO OTHER. A deep, mournful BOOM as... A SHOCK WAVE OF ENERGY VISIBLE to the naked eye, FIRES from the west, through the streets that run toward the soccer field. The SEA KNIGHT HELICOPTER takes a DIRECT HIT. The devastating power of the energy wave instantly STOPS the chopper's ascent, propelling it END-OVER-END, until the massive helicopter CRASHES INTO A HOUSE blocks away as... ON THE SOCCER FIELD The rifle squad is in disarray, the men splayed on the ground from the released energy that swept across the open field. Time SLOWS DOWN as the men try to regroup, some staring off at the nightmarish scene, others stumbling to their feet. Then Nantz turns ominously as another SOUND FADES IN. A harsh, unearthly BUZZING... LIGHTS are coming from the streets that lead to the field, advancing rapidly. Nantz is shouting. Most aren't hearing him. Joined by fire team leaders Martinez, Harris and Stavrou, Nantz begins pulling the other marines to their feet, pushing them... Toward the COMMUNITY CENTER, needing to get cover, needing to get off of that open field. As the SOUND and LIGHTS BUILD, Nantz BLOWS A DOOR OPEN. The marines fall INTO THE COMMUNITY CENTER as... ALIEN AIRCRAFT Appear from the streets running perpendicular to the field. They FLY INTO THE OPEN barely twenty feet off the ground. Their LIGHTS and the deafening SOUND of their advance is almost overwhelming. The flying craft, half a dozen, are sleek, spear-shaped, glowing with a strange light as if they might burst into flames. Not much bigger than a car, their lethal power is obvious as... They zoom at an unreal speed toward the downed helicopter, finishing it off with more PULSING WAVES OF ENERGY before disappearing into the distance. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMUNITY CENTER - CONTINUOUS<\/stage_direction>\n    <scene_description>The marines regroup in the large entryway. To the right is a GYMNASIUM. To the left, a MULTI-PURPOSE ROOM, with a KITCHEN off of it. The marines spread out, COVERING the doors and hallways. We see in their FACES that it's a very different fight now. Ratushewitz looks shell-shocked, whispering to Imlay:<\/scene_description>\n    <character>PVT. RATUSHEWITZ<\/character>\n    <dialogue>Jesus... All those guys...<\/dialogue>\n    <scene_description>As Correggio and Kerns take up position together.<\/scene_description>\n    <character>PVT. CORREGGIO<\/character>\n    <dialogue>Guess those things falling in the ocean were hauling some serious hardware.<\/dialogue>\n    <character>PVT. KERNS<\/character>\n    <dialogue>Yeah, so much for ruling the air.<\/dialogue>\n    <scene_description>Nantz looks around at his squad, rallies the troops:<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Okay, devil dogs. Get your heads straight. We're in a fight.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Fix bayonets. This might get up- close and personal.<\/dialogue>\n    <scene_description>The marines begin affixing BAYONETS to their rifles as... A slight NOISE from the kitchen. Instantly everyone freezes, glances exchanged. Nantz moves silently to the KITCHEN DOORS, signals Stavrou. Stavrou and his men stack at the doors with Nantz as the other marines cover them. A beat, then... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN<\/stage_direction>\n    <scene_description>As the DOORS BANG OPEN. Marines rush into the kitchen, converging with speed and power. LIGHT is thrown into the dark room, Nantz instantly barking:<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Hold your fire!<\/dialogue>\n    <scene_description>Everyone stops as we REVERSE to see... FOUR KIDS, maybe 10, being hovered over by TWO ADULTS, a MAN in his 40s, a WOMAN, late 20s. The slightest beat. Correggio leans over to Kerns:<\/scene_description>\n    <character>PVT. CORREGGIO<\/character>\n    <dialogue>Mission just changed.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMUNITY CENTER - MINUTES LATER<\/stage_direction>\n    <scene_description>Riflemen are on post, watching various windows and doors. The kids are gathered in a hallway, looking dazed, as if they're shutting down, shutting out the day's unreal events. Imlay shares his purloined gum with two little girls, KIRSTEN and EMILY and one of the boys, RYAN. The kids chew absent- mindedly as Kerns, squatting nearby, chews his tobacco. The fourth kid, HECTOR, stands to the side, watching... Nantz with the two civilian adults: MICHELE McDERMOTT, 28, the kids' teacher. Lean and pretty, she seems practical, focused on the kids, her eyes constantly moving to them. And DR. JOE RINCON, 45, Hector's father, a beefy man, jacket and tie, with a calm, watchful air.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>The after school program's here at the community center and, when the evacuation started, things happened so quickly... It was chaos-- cars, people running, fights. Dr. Rincon somehow made his way through.<\/dialogue>\n    <character>DR. RINCON<\/character>\n    <dialogue>When I came to pick up my son...<\/dialogue>\n    <scene_description>Nantz glances briefly at Dr. Rincon's son, Hector, the quiet kid who's standing, watching his father.<\/scene_description>\n    <character>DR. RINCON<\/character>\n    <dialogue>I saw those things on the street, maybe a block away. We were stuck.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>The police were supposed to come for us. By the time I realized they weren't...<\/dialogue>\n    <parenthetical>(gazes at the kids)<\/parenthetical>\n    <dialogue>I should have gotten them out earlier.<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Don't blame yourself.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Who else am I going to blame, sergeant? I'm responsible for these kids and if I...<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>It's done now. Feeling guilty won't help.<\/dialogue>\n    <scene_description>She nods, but clearly his advice is unwanted.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Are there more of you coming?<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Will they send a helicopter for us?<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>They just blew our medevac outta the air, so...<\/dialogue>\n    <character>DR. RINCON<\/character>\n    <dialogue>What's the plan then, sergeant? Hole up here?<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Definitely not.<\/dialogue>\n    <scene_description>They just stare at him. Nantz struggles for answers.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Look. We'll get you out of here.<\/dialogue>\n    <parenthetical>(to Dr. Rincon)<\/parenthetical>\n    <dialogue>In the meantime, doctor, I got a couple of wounded...<\/dialogue>\n    <character>DR. RINCON<\/character>\n    <dialogue>Right. Let me take a look.<\/dialogue>\n    <scene_description>Dr. Rincon heads off to help medic Ratushewitz. Nantz smiles awkwardly at Michele, begins to step away.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>There's buses, sergeant.<\/dialogue>\n    <scene_description>Nantz stops, eyes Michele.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>If we're going to move these kids... There's buses at the school up the block.<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <parenthetical>(nods)<\/parenthetical>\n    <dialogue>Good. Thanks.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>And I'll try not to feel guilty.<\/dialogue>\n    <scene_description>A slight smile for her now. She heads to the kids as Harris approaches Nantz.<\/scene_description>\n    <character>CPL. HARRIS<\/character>\n    <dialogue>I'll go for the bus.<\/dialogue>\n    <scene_description>Nantz looks at him. A moment. Then he eyes the others.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Who you gonna take?<\/dialogue>\n    <scene_description>Harris just shakes his head.<\/scene_description>\n    <character>CPL. HARRIS<\/character>\n    <dialogue>We're down to nine guys.<\/dialogue>\n    <scene_description>The slightest gesture toward the group of wide-eyed kids.<\/scene_description>\n    <character>CPL. HARRIS<\/character>\n    <dialogue>And we got some extra responsibility now. I'll be okay.<\/dialogue>\n    <scene_description>Stavrou steps up.<\/scene_description>\n    <character>CPL. STAVROU<\/character>\n    <dialogue>I'll go with him, sergeant.<\/dialogue>\n    <character>CPL. HARRIS<\/character>\n    <dialogue>Nick...<\/dialogue>\n    <character>CPL. STAVROU<\/character>\n    <dialogue>Dev. You're not goin' solo.<\/dialogue>\n    <scene_description>And that's the decision. All three silently accept it.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>You can hotwire this thing?<\/dialogue>\n    <character>CPL. STAVROU<\/character>\n    <dialogue>With my eyes closed.<\/dialogue>\n    <character>CPL. HARRIS<\/character>\n    <dialogue>He's from Jersey, sergeant.<\/dialogue>\n    <scene_description>A smile from Nantz on this.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Every day a holiday, boys...<\/dialogue>\n    <scene_description>Simultaneous:<\/scene_description>\n    <character>CPL. HARRIS<\/character>\n    <dialogue>...every meal a feast.<\/dialogue>\n    <character>CPL. STAVROU<\/character>\n    <dialogue>...every meal a feast.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COMMUNITY CENTER ROOF - LATER<\/stage_direction>\n    <scene_description>Correggio and Kerns are on the roof, looking down on the soccer field. Then they move to the other side of the building, look down on CALIFORNIA AVENUE, surveying the street from this HIGH VANTAGE POINT. Everything seems STILL. Kerns looks at Correggio, who's cradling his SAW. Correggio nods. Kerns pulls a PORTABLE RADIO, talks quietly into it:<\/scene_description>\n    <character>PVT. KERNS<\/character>\n    <dialogue>We're clear.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>As STAVROU and HARRIS slip from a GYM DOOR now, running... TO CALIFORNIA AVENUE. We see the SILHOUETTES of Correggio and Kerns covering from the roof as Stavrou and Harris run TOWARD THE SCHOOL. Then they suddenly stop, DROPPING BEHIND A CAR as they spy... A glimpse of MOVEMENT across the street. A beat. Then Harris edges around the parked car, sees... NOTHING. Stavrou and Harris look at each other, unnerved. Especially as an UNEARTHLY HUM fades in... LOW-FLYING ALIEN AIRCRAFT Suddenly appear, zooming past the hidden marines in a flash. The aircraft FIRE pulsing blasts of the devastating ENERGY WAVES towards Lincoln. The sky is lit up by EXPLOSIVE RETURN FIRE from the defensive line, only blocks away. The alien craft dip away from this anti-aircraft fire, disappearing into the distance. Harris and Stavrou are up again, running silently. CUT BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COMMUNITY CENTER ROOF<\/stage_direction>\n    <scene_description>Kerns is moving around the perimeter of the roof, surveying the surrounding area. He looks down to see that an EXTERIOR DOOR leading into the center is ajar. He pulls up the RADIO.<\/scene_description>\n    <character>PVT. KERNS<\/character>\n    <parenthetical>(into radio)<\/parenthetical>\n    <dialogue>Sergeant, we got a problem.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMUNITY CENTER - MOMENTS LATER<\/stage_direction>\n    <scene_description>MICHELE HUDDLES WITH THE KIDS, who stare wide-eyed at her, obviously frightened.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>It's going to be loud. It's going to be scary. And we're going to have to move really fast.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Are those things still out there?<\/dialogue>\n    <scene_description>A slight beat.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Hector watches his dad bandaging one of the wounded.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Hector, I need you to pay attention.<\/dialogue>\n    <scene_description>Hector looks back at her.<\/scene_description>\n    <character>HECTOR<\/character>\n    <dialogue>Loud, scary, and we have to move really fast.<\/dialogue>\n    <scene_description>Michele looks up, anxiously watches Nantz crossing... To Martinez. Nantz stops, voice low:<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>We got a breach. Get the civilians in the gym. Ready to move.<\/dialogue>\n    <character>CPL. MARTINEZ<\/character>\n    <dialogue>Aye, aye, sergeant<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Bennie, got any buckshot grenades?<\/dialogue>\n    <character>CPL. MARTINEZ<\/character>\n    <dialogue>Always.<\/dialogue>\n    <scene_description>He hands Nantz a BUCKSHOT GRENADE, a squat, olive drab grenade round. Then Nantz is moving off, slamming the grenade into the launcher on his M-16. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL - MINUTES LATER<\/stage_direction>\n    <scene_description>Like ghosts, Stavrou and Harris run up to the SCHOOL FENCE, peer through it ACROSS THE SCHOOLYARD: Playground equipment, basketball courts, portable classrooms. And in a far lot... THE DISTANT OUTLINE OF YELLOW SCHOOL BUSES. Harris scales the chain link fence, landing cat-like. As soon as Harris is on the ground, he turns, covering for Stavrou, who scales the fence quickly, quietly, landing... IN THE SCHOOLYARD. Instantly, both men run off into the dark, automatically covering on opposite sides, arriving at... THE SCHOOL BUSES. Stavrou forces the bisected doors of one bus open, climbs INTO THE BUS. He ducks below the steering wheel as... Harris stares off to the STREET on the other side of the lot. An ALIEN scout is visible there, staring toward the buses. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY \/ COMMUNITY CENTER - SAME<\/stage_direction>\n    <scene_description>Nantz stares down the long hallway, which TURNS A CORNER at the end. It's DARK, only ambient light bleeding in which reveals SEVERAL DOORS lining the hall. Nantz waits, listens. A long beat, then... BANG! Something slams into one of the doors. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL LOT - SAME<\/stage_direction>\n    <scene_description>Harris sees TWO MORE ALIENS join the first scout now. Harris eases behind the bus, whispers to Stavrou:<\/scene_description>\n    <character>CPL. HARRIS<\/character>\n    <dialogue>How we doin', Stavs?<\/dialogue>\n    <character>CPL. STAVROU<\/character>\n    <parenthetical>(dryly)<\/parenthetical>\n    <dialogue>Don't rush genius.<\/dialogue>\n    <scene_description>Harris peers around the bus again to see that the aliens have suddenly disappeared. Harris' eyes scan left to right. And just as he's growing unnerved... The BUS ROARS to life. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTRYWAY \/ COMMUNITY CENTER - SAME<\/stage_direction>\n    <scene_description>Nantz backs into the entryway, aiming down the dark hallway as another BANG rings out. Martinez calls from the gym:<\/scene_description>\n    <character>CPL. MARTINEZ<\/character>\n    <dialogue>Inbound, sergeant.<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Okay. Get 'em out.<\/dialogue>\n    <scene_description>Martinez hurries off as Nantz, alone in the entryway, stands with his M-16, Davy Crockett at the Alamo, aiming toward the dark hall. Another ominous BANG from there as... IN THE GYM Martinez swings a DOOR OPEN to see... THE BUS screech up on the street. The bus' door opens, Harris there with his M-16. Martinez hustles the CIVILIANS TO THE BUS as... ALIEN FIGURES suddenly appear, rushing the bus now. Then Correggio opens up FROM THE ROOF, his SAW's BLISTERING FIRE ripping into the aliens, buying the marines time as... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTRYWAY \/ COMMUNITY CENTER - SAME<\/stage_direction>\n    <scene_description>A final BANG from down the long hall. Then a different sound. The scuttling of feet. They're coming. Fast. Nantz just waits, stock still, as the SOUND BUILDS and BUILDS, until finally... ALIENS stream from the dark hall... INTO THE ENTRYWAY The aliens see Nantz, waiting for them. They rush him as... BOOM! NANTZ FIRES HIS GRENADE LAUNCHER. The buckshot grenade EXPLODES in a huge SPRAY OF SHRAPNEL which fills the entryway, devastating the aliens as... Nantz immediately turns, running INTO THE GYM, following the other marines through the DOOR... OUTSIDE He meets up with Correggio and Kerns ROPING DOWN from the roof. They run to the bus, fall into it. AND THE BUS IS MOVING. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS - SAME<\/stage_direction>\n    <scene_description>Stavrou is behind the wheel of the bus, zooming up the street, spinning onto Lincoln Boulevard... It's deserted here. Just the ominous sight of OVERTURNED HUMVEES, smoldering. A silent machine gun nest, bodies of dead marines around it. As the bus rumbles forward, Nantz shouts back to his men:<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Ammo check.<\/dialogue>\n    <scene_description>All the marines check their weapons, their belts, their pockets, toting up the ammo they have, reporting back:<\/scene_description>\n    <character>MARINES<\/character>\n    <dialogue>4 clips... 3 clips... 2 clips... 3 clips...<\/dialogue>\n    <scene_description>Nantz turns to Mottola.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Find out where there's a resupply truck. We need ammo.<\/dialogue>\n    <parenthetical>(to Stavrou)<\/parenthetical>\n    <dialogue>Get to the FOB.<\/dialogue>\n    <scene_description>Stavrou nods, turning the bus... ONTO A SIDE STREET The bus flies down the road, single-family homes on either side, TREES OVERHANGING the street as... Mottola hunches over the radio, following Nantz' directives:<\/scene_description>\n    <character>PVT. MOTTOLA<\/character>\n    <dialogue>Command. We are low on ammo and need a location on resupply...<\/dialogue>\n    <character>COMMANDER (V.O.)<\/character>\n    <parenthetical>(from radio)<\/parenthetical>\n    <dialogue>Copy. Resupply truck came under fire, it's on the move. I'll get you coordinates when it sets up.<\/dialogue>\n    <character>PVT. MOTTOLA<\/character>\n    <dialogue>We have civilians, request access to the Forward Operating Base.<\/dialogue>\n    <character>COMMANDER (V.O.)<\/character>\n    <parenthetical>(from radio)<\/parenthetical>\n    <dialogue>Negative. FOB cannot take civilians. Go north on Lincoln two klicks to the evac route.<\/dialogue>\n    <scene_description>Stavrou suddenly STOPS THE BUS. Nantz looks over.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>A distinct RUMBLING HUM fades in as Stavrou answers Nantz:<\/scene_description>\n    <character>CPL. STAVROU<\/character>\n    <dialogue>That.<\/dialogue>\n    <scene_description>AN ALIEN AIRCRAFT Suddenly DESCENDS directly in front of the bus, appearing beneath the canopy of trees overhanging the street. The kids scream at the sight of it. Nantz instantly spins.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>On the floor! Now!<\/dialogue>\n    <scene_description>The civilians drop to the floor as Stavrou spins the massive bus... INTO AN ALLEY The alien aircraft, hovering just off the ground, FIRES a PULSE of ENERGY. The BUS SWERVES precariously, the back of it SLAMMING INTO A GARAGE. Stavrou hits the gas just as... The ENERGY PULSE EXPLODES behind it, DESTROYING THE GARAGE. It splinters apart. Everyone ducks as DEBRIS flies across the bus. Windows shatter. A 2x4 pierces the outside of the bus, its jagged point lodging inches from Kerns, who angrily rears back, kicking it, knocking it back outside as... The bus flies down the tight alley, spinning ONTO THE NEXT STREET it comes to as... Nantz peers out. He sees the LIGHTS of the alien aircraft TRACKING THEM ON A PARALLEL STREET. Then the LIGHTS TURN, HEADING BACK TO CUT THEM OFF.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Stavs, turn! Now!<\/dialogue>\n    <scene_description>Stavrou hits the gas, careening ONTO ANOTHER SIDE STREET. Heading AWAY FROM THE APPROACHING LIGHTS, visible beyond the canopy of trees as... Mottola shouts urgently into the radio:<\/scene_description>\n    <character>PVT. MOTTOLA<\/character>\n    <dialogue>Command. We need air support! We are on Victoria, heading west...<\/dialogue>\n    <scene_description>Nantz sees the alien craft's LIGHTS suddenly STOP, then REVERSE COURSE towards the bus again as Mottola continues:<\/scene_description>\n    <character>PVT. MOTTOLA<\/character>\n    <parenthetical>(into radio)<\/parenthetical>\n    <dialogue>Enemy aircraft is in pursuit...<\/dialogue>\n    <scene_description>Nantz looks at Mottola working the radio. Then he looks back at the alien aircraft, TRACKING THEM...<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Kill the radio.<\/dialogue>\n    <scene_description>Mottola looks at his sergeant, confused. But Nantz is still STARING OUT of the window at the LIGHTS in the distance, which continue to close on them.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Now. Shut it down.<\/dialogue>\n    <scene_description>Mottola SHUTS THE RADIO down just as... The LIGHTS STOP their progress, hovering in the distance.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <parenthetical>(to Stavrou)<\/parenthetical>\n    <dialogue>Get to Lincoln. It's wide open. I want to see that bastard coming.<\/dialogue>\n    <character>CPL. STAVROU<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>Retreat...<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>...hell.<\/dialogue>\n    <scene_description>Stavrou floors it as Nantz watches the LIGHTS begin to move again, but slowly, almost aimlessly, as if probing.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Motorola. No radio. I think they're tracking our signal.<\/dialogue>\n    <scene_description>Stavrou pulls back ONTO LINCOLN. Nantz sees a CAR WASH. It's sides are open-air. But it has a ROOF; a roof that can conceal them. Nantz points it out.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Pull in there.<\/dialogue>\n    <scene_description>Stavrou swings the bus into the car wash, UNDER IT'S ROOF. Nantz looks around the bus, spies one little girl, Kirsten, ponytail in her hair. He leans down to her.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Hi. What's your name?<\/dialogue>\n    <scene_description>She looks up, wide-eyed, at this fearsome, sweating marine.<\/scene_description>\n    <character>LITTLE GIRL<\/character>\n    <dialogue>Kirsten.<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Kirsten. Could I have your, uh, hair thing?<\/dialogue>\n    <character>LITTLE GIRL<\/character>\n    <dialogue>My... pony holder?<\/dialogue>\n    <scene_description>Nantz nods. She stares. Then pulls the PONY TAIL HOLDER from her hair, hands it to him. Nantz smiles at her. Then stands, all-business again, heading for the bus' doors. Michele watches Nantz head down the aisle. Then Nantz is at the bus' doors, saying to Stavrou:<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Anything happens, get the SAWs up front and take off with these kids.<\/dialogue>\n    <scene_description>He eyes Stavrou.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>You understand?<\/dialogue>\n    <scene_description>The slightest beat. Stavrou looks reluctant, but nods. And on that, Nantz hits a lever on the bus, sliding the bus' doors open. Then... NANTZ IS OUT OF THE BUS Racing from the car wash ACROSS LINCOLN to a GAS STATION. Nantz pulls the PORTABLE RADIO out, CLICKS it as he goes, depressing the BUTTON on its side. As he does... THE LIGHTS OF THE ALIEN AIRCRAFT Immediately SHIFT in the distance. Nantz watches this reaction. Then takes the pony tail holder, WRAPS IT AROUND THE RADIO, keeping the button depressed so that it is sending a constant signal as... He sets the RADIO DOWN by one of the GAS PUMPS. Nantz hustles BEHIND A NEARBY TRUCK, peers around it, sees... THE ALIEN AIRCRAFT turn the corner, head down Lincoln. Nantz loads a GRENADE in the LAUNCHER on his M-16 as... THE ALIEN CRAFT FLIES TOWARD THE GAS STATION Hovering just above the ground, its unearthly hum growing louder and louder. Nantz raises the rifle, sighting along it as... The alien aircraft is zooming toward the gas station as... Nantz FIRES THE GRENADE at the gas pump. BOOM. A massive FIREBALL rocks the alien aircraft. It tumbles off-course, out of control, WINGING AT NANTZ. Nantz drops to the ground, concentrating, methodically slamming a SECOND GRENADE into the launcher just as... The ALIEN AIRCRAFT thunders by not ten feet ABOVE HIS HEAD. Nantz, flattened to the asphalt by the force of the aircraft, twists on the ground, shouldering the M-16 just as the alien craft gains control, pulling up... Nantz FIRES a SECOND GRENADE into its exposed underbelly. A direct hit. The alien aircraft spins and rolls, flipping end-over-end from the grenade's impact, hurtling... OVER A STOREFRONT, CRASHING BEYOND LINCOLN. Nantz stumbles slowly to his feet, M-16 in hand as... The SCHOOL BUS SCREECHES UP. The doors open. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS - SAME<\/stage_direction>\n    <scene_description>...as Nantz steps into the bus. The doors swing shut, and the bus is MOVING rapidly down the street. The marines are in defensive position, aiming outside of the bus. But all other eyes are on Nantz. Especially the KIDS. They look up at Nantz, who is exhausted. Sweaty, dirty. Injured in various ways. But he's the leader of this group.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Who thought when you woke up this morning, your day would end up like this?<\/dialogue>\n    <scene_description>A few kids smile. Grace under pressure serves Nantz well. The civilians feel reassured in his authority. But as Nantz turns, his face drops a moment before he can recover the requisite stoicism. Michele sees a GASH on the back of his head, behind an ear.<\/scene_description>\n    <character>MICHELE<\/character>\n    <parenthetical>(softly)<\/parenthetical>\n    <dialogue>You're bleeding, sergeant.<\/dialogue>\n    <scene_description>Nantz turns to her. He touches the back of his head, looks at the blood, then wipes it on his pants, his eyes trained outside. THE STREET LOOKS CLEAR. As the bus zooms up Lincoln, there is no evidence of aliens. The farther they drive, the more their view is filled with MARINES now, stationed along the route, manning machine gun nests. We see a TANK for the first time, along with ARTILLERY being hauled by a couple of five-tons.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Kids. Listen up. Coupla' miles away is the freeway. Lots of policemen there, helping everybody get away. You guys'll be back with your moms and dads soon. Okay?<\/dialogue>\n    <scene_description>The kids begin turning, LOOKING OUT. Little Emily waves out of the bus at...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - SAME<\/stage_direction>\n    <scene_description>A MARINE ON POST. He looks up, sees the SWEET-FACED GIRL WAVING at him. He waves back at this friendly apparition quickly disappearing into the darkness as the bus zooms on.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS - SAME<\/stage_direction>\n    <scene_description>Dr. Rincon, looking concerned, comes up behind Nantz, whose eyes are still roaming out the windshield.<\/scene_description>\n    <character>DR. RINCON<\/character>\n    <dialogue>How you doin', sergeant?<\/dialogue>\n    <scene_description>Nantz keeps his eyes on the street.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Fine. Just a few dings.<\/dialogue>\n    <character>DR. RINCON<\/character>\n    <dialogue>Dings, huh?<\/dialogue>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>You have that hard-ass routine down pat, don't you?<\/dialogue>\n    <scene_description>Nantz smiles back.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Part of the job description.<\/dialogue>\n    <scene_description>The doctor nods at Nantz' stoicism.<\/scene_description>\n    <character>DR. RINCON<\/character>\n    <dialogue>Let me know if there's anything I can do.<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Thanks, doc<\/dialogue>\n    <scene_description>NANTZ WATCHES Dr. Rincon head back to Hector, settling next to his son. Dr. Rincon puts his arm around Hector, pointing out to the MARINES STATIONED along the street.<\/scene_description>\n    <character>DR. RINCON<\/character>\n    <dialogue>See all the soldiers now. We're gonna be okay...<\/dialogue>\n    <scene_description>Hector stares outside.<\/scene_description>\n    <character>HECTOR<\/character>\n    <dialogue>We should turn around.<\/dialogue>\n    <scene_description>This registers with Nantz, who immediately looks out, checking for threats, seeing... THE LINCOLN \/ 10 FREEWAY ENTRANCE fast approaching. FLASHING COP CARS there. CHP OFFICERS wave CROWDS of people and an LONG LINE OF CARS onto the freeway. Dr. Rincon looks at Hector, who's still staring out.<\/scene_description>\n    <character>DR. RINCON<\/character>\n    <dialogue>What is it, Hector?<\/dialogue>\n    <character>HECTOR<\/character>\n    <dialogue>Turn around!<\/dialogue>\n    <scene_description>Nantz spins back to Hector, who's staring wide-eyed, fear growing in his eyes as... CRASH! Everyone looks out the front windshield to see... A CAR FLYING, END-OVER-END, INTO THE AIR Then CRASHING into the street. ANOTHER CAR is blasted off the ground, then ANOTHER, CRASHING DOWN in succession as... ALIEN AIRCRAFT Five in all, appear over the horizon of office buildings, zooming at the evacuation point BLASTING CARS as they come. CHAOS. PEOPLE run from their cars in terror as... A HUGE SWARM OF ALIENS, flowing like water down the freeway embankments, attacks the masses of people and cars below.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS<\/stage_direction>\n    <scene_description>Dr. Rincon stares out, says, almost to himself:<\/scene_description>\n    <character>DR. RINCON<\/character>\n    <dialogue>My, God. This isn't a war. It's an extermination.<\/dialogue>\n    <scene_description>Horrible, desperate SCREAMS rise as the EVACUATION ROUTE IS OVERRUN... Then the ALIEN CRAFT return for another pass, FIRING their energy pulse weapons. Stavrou must SPIN AWAY from the devastating blasts... DOWN A SIDE STREET as... An ALIEN AIRCRAFT PURSUES THE BUS. Stavrou pushes the bus as fast as it can go. But he can't outrun the alien craft, which FIRES, its ENERGY PULSE catching the back of the bus, sending it hurtling... Into the STONE WALL of a CEMETERY. Everyone tumbles as the bus SLAMS to a STOP. Dust hangs in the air, people coughing, moaning. Nantz looks out to see that the BUS IS DISABLED, smashed into the heavy stone wall, BLACK SMOKE rising from under its hood. He turns.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Marines!<\/dialogue>\n    <scene_description>In the shadowy light, we see the outline of the MARINES RISING, almost in unison, as if one organism. They scramble towards Nantz, moving... OUT OF THE BUS The only immediate sound: A low CLATTERING, the battle-rattle of Nantz and his men shouldering arms, taking position to protect the bus, as... LIGHT appears over the treetops.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Three o'clock!<\/dialogue>\n    <scene_description>The marines turn to see the ALIEN AIRCRAFT reappear, dipping below the trees, zooming toward them. They sight along their rifle barrels, about to fire as... The alien craft suddenly PULLS UP to avoid the HOT LEAD of 20mm MACHINE GUNS spewing from... A COBRA GUNSHIP That appears around a small office building. The Cobra rockets past the marines, firing from its MOUNTED MACHINE GUNS as it PURSUES THE ALIEN CRAFT. THROUGH THE TREETOPS, Nantz and his men watch the LIGHTS of the two aircraft DISAPPEAR into the distance. The marines exchange wary glances as the piercing rat-a-tat of the Cobra's machine gun fire FADES. One beat of silence. Then Nantz points.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Here they come. Twelve o'clock.<\/dialogue>\n    <scene_description>In the dark, in the DISTANT STREETS BEYOND THE CEMETERY, the faint outline of MOVEMENT.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Harris, check it out.<\/dialogue>\n    <scene_description>Harris motions to Imlay and Mottola. They move into the darkness toward the cemetery as... Nantz ducks INTO THE BUS. The kids are huddled on the floor, Michele and Dr. Rincon hover above them, staring nervously.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Stay here until someone comes for you. No matter what.<\/dialogue>\n    <scene_description>Nantz steps back OUT OF THE BUS as... Harris runs up.<\/scene_description>\n    <character>HARRIS<\/character>\n    <dialogue>Advancing through the cemetery. A lot of them.<\/dialogue>\n    <scene_description>Nantz looks out.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Make a run for it?<\/dialogue>\n    <character>HARRIS<\/character>\n    <dialogue>Not with the kids. They're coming fast.<\/dialogue>\n    <scene_description>The image gels now: a WAVE OF ALIENS is racing silently through the cemetery. The vista seems alive with their synchronized advance as they move into position, darting in and out of the darkness. There, then gone.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Marines. Prepare to repel.<\/dialogue>\n    <scene_description>Nantz eyes his men, who are shouldering arms, nervously staring forward, wiping sweat from their face and hands. This is it. They know it. They make a stand or they're overrun. No other options. Nantz' voice rings out:<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Bennie!<\/dialogue>\n    <character>MARTINEZ<\/character>\n    <dialogue>Sir!<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Being vastly outnumbered provides a marine rifleman with what?<\/dialogue>\n    <character>MARTINEZ<\/character>\n    <dialogue>A target rich environment, sir!<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Marines. We stand here. Let these bastards know who they're fucking with.<\/dialogue>\n    <scene_description>2\/5! The marines FIRE now, their rifles CRACKLING in the night.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS - SAME<\/stage_direction>\n    <scene_description>The children are huddled with Michele. Dr. Rincon is climbing through the seats of the disabled bus, peering out. It's dark, but he can still make out the enemy advance in the distance. All around the disabled bus, he sees and hears the controlled chaos of marines shifting defensive position, steadily having to INCREASE THEIR FIRE as... The aliens are battling CLOSER and CLOSER. The cemetery, filled with trees and shrubs, headstones and mausoleums, provides too much cover for the aliens, who swarm away from the marines' fire, fast as lightning. Then Dr. Rincon sees an alien break from the darkness, RUSH AT KERNS who spins just in time, blasting the alien away. Another ALIEN suddenly appears, gets its claws into Stavrou. The huge Greek swings his rifle butt, SMASHING the alien in the head. It staggers back. Stavrou puts three rounds into it. The Marines are clearly fighting for their lives... Then a BANGING on the bus' roof. Something leaping on it, running across it... Dr. Rincon looks up to see an ALIEN JUMPING DOWN from the top of the disabled bus. The alien LANDS ON RATUSHEWITZ, slashing him. Nantz spins, FIRES, blowing the alien away. Ratushewitz writhes on the ground, in distress. Dr. Rincon turns, stares at Hector. He holds Hector's gaze a beat. Then spins back, scrambles... OUT OF THE BUS. Dr. Rincon stays low, trying to get his bearings in the dark. Then he spies Ratushewitz, struggling to open his pack. Dr. Rincon hurries over, kneels next to Ratushewitz, who's shaking, a DEEP GASH in his shoulder; bone is visible. Ratushewitz looks up, trying to control his voice.<\/scene_description>\n    <character>PVT. RATUSHEWITZ<\/character>\n    <dialogue>Got some QuickClot...<\/dialogue>\n    <character>DR. RINCON<\/character>\n    <dialogue>Okay, lie back.<\/dialogue>\n    <scene_description>Dr. Rincon opens the pack, pulling out PACKAGES of QuickClot. He rips open the packages, sprinkling the QuickClot, a coarse, super-clotting POWDER, on the wound.<\/scene_description>\n    <character>PVT. RATUSHEWITZ<\/character>\n    <dialogue>It get the artery?<\/dialogue>\n    <character>DR. RINCON<\/character>\n    <dialogue>No. But it's bleeding pretty good.<\/dialogue>\n    <scene_description>Nantz suddenly shouts:<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Grenades!<\/dialogue>\n    <scene_description>He and the three corporals stand at once, FIRE GRENADES into the advancing hordes. They EXPLODE, blowing waves of aliens up, halting their advance... Momentarily. Many MORE ALIENS can be seen in the distance, racing forward. As the ear-splitting FIRE erupts around him, Dr. Rincon wraps Ratushewitz' arm with a tight-cinching battle DRESSING. Then he looks at the young private, who's staring off, dazed.<\/scene_description>\n    <character>DR. RINCON<\/character>\n    <dialogue>Look at me, son. Look at me.<\/dialogue>\n    <scene_description>Ratushewitz focuses, looking up at Dr. Rincon.<\/scene_description>\n    <character>DR. RINCON<\/character>\n    <dialogue>Keep pressure on it. You'll be okay. Just keep pressure on it.<\/dialogue>\n    <scene_description>Ratushewitz nods. Dr. Rincon eases him down. Then picks up the fallen marine's M-16. Nantz looks over. They meet eyes.<\/scene_description>\n    <character>DR. RINCON<\/character>\n    <dialogue>What do I need to know?<\/dialogue>\n    <scene_description>The slightest beat, then...<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>It's set to fire in three round bursts. We're low, so don't waste your shots.<\/dialogue>\n    <scene_description>Dr. Rincon holds the M-16 against his shoulder, aiming.<\/scene_description>\n    <character>DR. RINCON<\/character>\n    <dialogue>Just sight down the barrel...?<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>And give 'em hell.<\/dialogue>\n    <scene_description>Nantz shifts back to his position. Dr. Rincon kneels, peers into the darkness, seeing... The FIGURES of enemy aliens advancing through the cemetery. Dr. Rincon sights down the barrel of his rifle at ONE ALIEN FIGURE in the distance, but it disappears behind a headstone. Dr. Rincon shifts to pick up ANOTHER ALIEN, also darting forward. He has this one in range, squeezes the trigger... But he misses badly, his shots chewing into the ground. Dr. Rincon is rattled; a civilian thrust into the fog of war. All around him, the NOISE and chaos of the well-trained marines FIRING rings out as... IN THE BUS Michele looks to the front, sees a FIGURE appearing INSIDE, near the driver's seat, moving forward in the shadows as... More explosions of gunfire flash into the bus, illuminating her worst nightmare... It's an ALIEN. Moving on her and the kids down the aisle. The kids shriek at the horrible sight, so close and getting closer. But their horrified shrieks are obscured by... THUNDERING NOISE outside as the ALIEN AIRCRAFT reappears over the cemetery, the COBRA in hot pursuit. Michele darts in front of the kids, pushing them to the back of the bus as... A HELLFIRE MISSILE rips into the back of the alien aircraft, sending it WINGING OUT OF CONTROL. In the mass confusion, light and sound building to a FEVER PITCH, Michele bangs on the windows, calling desperately to the marines... But the marines are scrambling out of the way, diving for cover as the alien craft CRASHES into the cemetery, breaking apart, its FIERY DEBRIS HURTLING right at the bus. Michele turns to see the alien, bristling unnaturally, upon them now, slashing down at her. Michele raises an arm up defensively, the alien's claw ripping her forearm open as... BANG BANG BANG A three round BURST of GUNFIRE slams into the alien's head and chest. It's blown away, falling between the seats as... Hector spins to see his father, outside, aiming Ratushewitz' still smoking M-16 into the bus as... The FIERY DEBRIS from the alien craft CRASHES INTO THE BUS, rocking it, sending it spinning in the street. Chaos now. Hector pulls himself up as Michele frantically reaches for the kids, her voice echoing...<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>You guys, come here! Quick!<\/dialogue>\n    <scene_description>...as Hector rushes back to one of the windows. HECTOR'S POV: Smoldering wreckage. The marines running back and forth amid the PIERCING CLATTER of the Cobra circling back around, STRAFING the remaining aliens from above. Hector can see the alien forces in the distance being decimated by the Cobra's powerful guns, the light and fury exacerbating the chaos on the ground as... MARINES appear inside the bus. Grabbing the kids, stumbling with them toward the doors. Then they're... OUT OF THE BUS. The kids are grabbed by marines, CARRIED AWAY as... THE MARINES RUN THROUGH THE STREETS. STAY WITH HECTOR as he spins in Harris' arms, head on a swivel, searching for his dad. But the noise and confusion are overwhelming. Hector stares back at the blur of nightmarish images as they're suddenly... IN AN ALLEY Marines racing forward with kids in their arms. Then SLAMMING through a doorway into...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RITE-AID PHARMACY - CONTINUOUS<\/stage_direction>\n    <scene_description>A dark, empty store. Confusion still reigns as the kids are hustled into a corner with Michele. Marines race back and forth through the store, taking position as... Hector moves through the JOSTLING CROWD of men, past Martinez, entering with the injured Ratushewitz. Then... NANTZ APPEARS Backing into the store with Stavrou, carrying another of the WOUNDED. They set the man down. Hector rushes forward, arriving at the wounded man as we reveal... IT'S DR. RINCON. Dr. Rincon's eyes focus as Hector steps up. Nantz, reacting quickly, pulls some jackets from a nearby rack of clothes, covering Dr. Rincon. As he does, we see a glimpse of Dr. Rincon's CRUSHED lower extremities. Hector catches sight of the injuries, as well. Then stares into his father's face, eyes filling.<\/scene_description>\n    <character>DR. RINCON<\/character>\n    <dialogue>It'll be okay.<\/dialogue>\n    <scene_description>Dr. Rincon touches Hector's face lightly, repeating softly:<\/scene_description>\n    <character>DR. RINCON<\/character>\n    <dialogue>It'll be okay.<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>We'll get your dad fixed up.<\/dialogue>\n    <scene_description>But when Hector looks to Nantz on this, he can't meet the boy's gaze. Hector can see this isn't the truth. AT THE FRONT OF THE STORE Kerns sees TWO ALIENS appear in the shadows, searching.<\/scene_description>\n    <character>PVT. KERNS<\/character>\n    <dialogue>Two scouts, sergeant.<\/dialogue>\n    <scene_description>The marines scurry, taking position as Kerns calls out again:<\/scene_description>\n    <character>PVT. KERNS<\/character>\n    <dialogue>Make it four.<\/dialogue>\n    <scene_description>Amid the urgency, Hector looks back at his father, who is shaking with pain.<\/scene_description>\n    <character>DR. RINCON<\/character>\n    <dialogue>Listen to me, son. I'm not going to make it.<\/dialogue>\n    <parenthetical>(a slight beat)<\/parenthetical>\n    <dialogue>But you will.<\/dialogue>\n    <character>HECTOR<\/character>\n    <dialogue>I don't want to go without you.<\/dialogue>\n    <character>DR. RINCON<\/character>\n    <dialogue>I know. But you have to. Your mom's going to need you. More than ever. Okay?<\/dialogue>\n    <scene_description>Slowly, Hector nods.<\/scene_description>\n    <character>DR. RINCON<\/character>\n    <dialogue>Now wait with Ms. McDermott a minute. Let me talk to the sergeant.<\/dialogue>\n    <scene_description>Reluctantly, Hector allows Michele to lead him away.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Doctor, we can take you and...<\/dialogue>\n    <scene_description>Dr. Rincon turns to Nantz, steel-eyed.<\/scene_description>\n    <character>DR. RINCON<\/character>\n    <dialogue>Don't waste time, sergeant. Just promise you'll take care of my son.<\/dialogue>\n    <scene_description>Nantz stares, nods.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>I will.<\/dialogue>\n    <character>DR. RINCON<\/character>\n    <dialogue>Good. Now let's figure out how to get these kids out of here.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACK ROOM OF RITE-AID - LATER<\/stage_direction>\n    <scene_description>Harris is quietly opening the back door of the store. He peers out to... A BACK ALLEY. Empty, quiet. He watches shadows outside, waiting for something to move as... Nearby, Kirsten huddles with Correggio, on post at a window.<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>Why do you think they're here?<\/dialogue>\n    <character>PVT. CORREGGIO<\/character>\n    <dialogue>I don't know. They need something, I guess.<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>Are we gonna die?<\/dialogue>\n    <scene_description>She says it so simply. Correggio turns to her. A beat.<\/scene_description>\n    <character>PVT. CORREGGIO<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>CUT BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RITE-AID MAIN FLOOR - SAME<\/stage_direction>\n    <scene_description>Marines rush forward with portable PROPANE TANKS, set them down, unscrewing the valves on them, RELEASING THE GAS as... Imlay is rigging bricks of C-4 explosive as... Kerns is running wire along the floor. IN A CORNER OF THE STORE Nantz steps up to Hector. Michele is nearby, Martinez bandaging her arm. Nantz kneels by the boy.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <scene_description>No response from Hector, who's staring off blankly.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>I know this is really hard... But I need you to help me out. What did you see by the evacuation point?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Sergeant...<\/dialogue>\n    <scene_description>But Nantz is focused on the boy.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>You said we should turn around...<\/dialogue>\n    <scene_description>Tears stream down Hector's face, still staring off blankly.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Did I miss something, Hector?<\/dialogue>\n    <scene_description>Michele pushes Martinez away, stepping to Nantz.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Sergeant. You're not doing this now.<\/dialogue>\n    <scene_description>Nantz looks up at her. Then he stands, moves off. CUT TO: A CLOSE-UP OF HECTOR - LATER As he steps forward slowly. REVERSE to see that he's stepping up to DR. RINCON. Father and son stare at each other a moment, Michele hovering nearby. Softly:<\/scene_description>\n    <character>DR. RINCON<\/character>\n    <dialogue>Be brave, son.<\/dialogue>\n    <scene_description>Hector, crying, nods dutifully. Dr. Rincon touches his face.<\/scene_description>\n    <character>DR. RINCON<\/character>\n    <dialogue>I love you.<\/dialogue>\n    <character>HECTOR<\/character>\n    <dialogue>I love you, too.<\/dialogue>\n    <scene_description>Hector throws his arms around his father, hugging him tightly. Then Dr. Rincon looks into Hector's eyes. BEAT.<\/scene_description>\n    <character>DR. RINCON<\/character>\n    <dialogue>It's time.<\/dialogue>\n    <scene_description>CUT TO: THE FRONT OF THE STORE - MOMENTS LATER Stavrou stands by the window, keys the PORTABLE RADIO once. Then waits, staring out at the still street. A long BEAT. Then TWO ALIEN SCOUTS appear. They crouch by a car. Stavrou keys the radio again. And both of the aliens immediately react, turning in unison towards the store. Then TWO MORE ALIENS appear from an opposite corner. As Stavrou keys the radio a third time... These two aliens turn definitively toward the Rite-Aid. Stavrou spins, giving hand signals to Nantz and the other marines, huddling with Michele and the kids. The group moves INTO THE BACK ROOM, Martinez helping the injured Ratushewitz... Imlay, almost absent-mindedly, GRABBING a handful of CANDY as they go. AT THE FRONT OF THE STORE Stavrou keys the radio one more time, staring out... ONTO THE STREET A BEAT. Then, suddenly, five, ten, twenty ALIENS BOUND INTO SIGHT, instantly finding available cover as... Stavrou runs through the store into... THE BACK ROOM. He meets up with the others, who are forming a protective cordon around Michele and the kids. Nantz peers out of the BACK DOOR. It's clear. They MOVE OUT just as... AT THE FRONT OF THE STORE CRASH! The plate glass window is SHATTERED as... An ALIEN smashes through it, landing in the store, immediately crouching into a defensive position. A second alien, then a third, a fourth follows, leaping into the store with the same sinewy grace and power. The aliens are very still, peering around. A moment when they look at each other, as if communicating. Then the aliens begin to creep forward, through the dark store as... MORE ALIENS leap through the broken storefront window. They keep coming, over TWENTY now, bristling as they move in formation... THROUGH THE STORE, rounding an aisle to see... Dr. Rincon lying flat on the ground, staring at them. The aliens stop, stare back at him. Then the leader advances alone, snarling, appearing before Dr. Rincon. A moment as the alien looks at the NUMEROUS PROPANE TANKS, each of them OPEN, giving off a faint hiss as gas escapes. And the alien seems to realize what's happening. It spins, about to charge back toward the smashed open window as... Dr. Rincon presses a button on a HANDHELD CONTROL. BOOM! C-4 EXPLODES. The place splinters apart as we... QUICK CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY - SAME<\/stage_direction>\n    <scene_description>Nantz and the others desperately race away as a FIREBALL rises into the sky behind them. THEY FALL BEHIND A BUILDING The marines take defensive positions as Nantz looks down the alley to a SIDE STREET. It's dark, desolate. And there's little cover. Nantz signals to Kerns and Correggio.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Check it out.<\/dialogue>\n    <scene_description>The two marines immediately jog down the alley to the SIDE STREET. Nantz turns, then kneels down to Hector, who's staring back at the flames licking into the sky.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Hector? Hector?<\/dialogue>\n    <scene_description>No response. Nantz looks at Michele. She moves to Hector, puts her arms around him. But Hector crouches by the wall, avoiding contact. Nantz and Michele exchange a glance. Then he pulls his MAP, turns to her. Quietly:<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Listen, we need to move on foot. Obviously, vehicles are targets. Can the kids make it?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Well, they're scared. And tired.<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>That makes it unanimous then.<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>They'll make it.<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Forward Operating Base is only a mile away.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>But they said no civilians...<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>That was before the evac point was overrun. We're out of options.<\/dialogue>\n    <scene_description>Michele absorbs the gravity of this. Then Kerns and Correggio run up, reporting:<\/scene_description>\n    <character>PVT. CORREGGIO<\/character>\n    <dialogue>Looks good, both directions, sir.<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Let's move, everyone.<\/dialogue>\n    <scene_description>And the group is off, jogging silently DOWN THE ALLEY.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <parenthetical>(to Michele)<\/parenthetical>\n    <dialogue>Keep the kids in the middle of us. Stay low, behind cars or trees.<\/dialogue>\n    <scene_description>She nods. Nantz turns, leads the group... ONTO THE SIDE STREET. A residential street, tidy bungalows on either side. The kids move silently, too scared to make noise. Little Kirsten comes up behind Correggio. He's surprised as she slips her hand into his. Correggio looks down, seeing how scared she is. He smiles, grips her hand tightly. Suddenly, Nantz stops on a dime, fist raised. The squad stops with him. Everyone drops BEHIND CARS as... The LIGHTS of an alien aircraft appear, glowing somewhere beyond the street, moving slowly. Searching. The marines raise their rifles, aiming at the lights, which hover in the air a moment. The wait is unbearable. Emily starts to cry, tears running silently down her cheeks. Then, slowly, the LIGHTS MOVE AWAY, fading into the distance. Hector, crouching next to Nantz, lightly fingers the colorful SHOULDER PATCH on Nantz' uniform, the CREST of his regiment: '2nd BATTALION' across the top of the crest, '5th MARINES' below it. Then the words: 'RETREAT HELL.' Nantz meets eyes with Hector.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>That's us. The 2\/5.<\/dialogue>\n    <scene_description>Hector just nods. Nantz straightens, looks into the distance to make sure the lights aren't circling back. Then signals. The squad moves forward, bounding with the kids, to the NEXT CORNER. A small voice pipes up, unexpectedly cheery.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>This is my block.<\/dialogue>\n    <scene_description>Michele looks down to him.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>I want to go home.<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Sorry, buddy.<\/dialogue>\n    <scene_description>Michele turns to Nantz, voice low.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Sergeant, if his house is right...<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>We've got to keep moving.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>But what if his parents are there?<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>They're not. Believe me.<\/dialogue>\n    <scene_description>A slight beat on this. Then Nantz sees Hector clamping his hands over his ears, bending at the waist, shaking violently.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>What is it...?!<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Hector...!<\/dialogue>\n    <scene_description>But suddenly, a SOUND is heard, a deep RUMBLING. Everyone stops. The marines FALL BEHIND CARS now, pulling the civilians down with them as the RUMBLING continues to BUILD.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Under the cars! Now!<\/dialogue>\n    <scene_description>The marines frantically shed their packs, begin squirming UNDERNEATH THE CARS with them, pulling the kids under as... ALIENS round the corner in the distance, THOUSANDS OF THEM, racing forward; an army on the move. NANTZ DRAGS HECTOR UNDER ONE CAR with him, pulling the boy in close, getting his legs under the car, under cover, as... THE GIANT HOST OF ALIENS SWARMS PAST. They fill the entire street from sidewalk to sidewalk. The ground shakes, RUMBLING from the mass of them streaming past. The humans HUDDLE UNDER THE CARS, peering out to see the legs and arms of the aliens flying by. Some bound OVER THE CARS, which bounce up and down, BANGING with the aliens' weight. Then the RUMBLING EBBS as the aliens disappear into the distance. Nantz exchanges a desperate glance with Michele. SHARP CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RYAN'S HOUSE - MOMENTS LATER<\/stage_direction>\n    <scene_description>The door swings open. The marines and civilians rush in.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>No lights.<\/dialogue>\n    <scene_description>The door is shut behind them, Ryan moving quickly in.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Mom... Mom...<\/dialogue>\n    <scene_description>Imlay corrals him before he can get too far.<\/scene_description>\n    <character>PVT. IMLAY<\/character>\n    <dialogue>Little man... Hey. Stay here until we... can look around.<\/dialogue>\n    <scene_description>Nantz barks orders, pointing to Harris and Martinez.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Secure the perimeter. Stavrou, do a search, bottom to top. Mottola, check the TV, computer. Hard line only. No wireless.<\/dialogue>\n    <scene_description>Martinez approaches Nantz, voice low:<\/scene_description>\n    <character>CPL. MARTINEZ<\/character>\n    <dialogue>Rats looks like shit.<\/dialogue>\n    <scene_description>Nantz looks over at Ratushewitz, slumping on a couch, ashen, the stain of blood spreading again under his shirt.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Get on it with more QuickClot. Rewrap him. Best we can do until we get to the FOB.<\/dialogue>\n    <scene_description>Martinez moves off as...<\/scene_description>\n    <character>PVT. MOTTOLA<\/character>\n    <dialogue>No phone, sergeant. I'll check for a computer.<\/dialogue>\n    <scene_description>Nantz turns sees Michele watching him.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Uh, maybe there's some food for the kids. Or if they need a bathroom. We're gonna move soon.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Can't we wait it out here?<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Nothing to wait for.<\/dialogue>\n    <scene_description>Nantz turns his back to the kids, lowering his voice.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Our defensive lines are falling. We're losing this city.<\/dialogue>\n    <scene_description>Beat. Michele stares at him. Then...<\/scene_description>\n    <character>PVT. MOTTOLA<\/character>\n    <dialogue>Bingo, sergeant!<\/dialogue>\n    <scene_description>Nantz sees Mottola gesturing triumphantly at a COMPUTER in the nearby DEN. The computer is working, an internet connection on its screen.<\/scene_description>\n    <character>PVT. MOTTOLA<\/character>\n    <dialogue>We're good!<\/dialogue>\n    <scene_description>And just as he says this, the computer goes BLANK as... The SOUNDS of WARFARE ring out, suddenly exploding. The KIDS scream as the house ROCKS from the BOOMS of HEAVY ARTILLERY-- very close by. Michele turns to the kids.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Get under the table! Now!<\/dialogue>\n    <scene_description>She herds them under the heavy dining room table as... Nantz grabs his M-16, jumps to the RATTLING WINDOWS, peers out. The dark SKY is LIT UP with FURIOUS EXPLOSIONS, an almost overwhelming display. Marines are running now, taking positions. Nantz sees the kids, huddled under the table, clearly petrified. Michele stares at Nantz, wide-eyed, as the BOOMS continue to RISE. A sudden lull in the action. Only a few distant booms. Nantz meets eyes with his corporals. Is it over? Then a CRESCENDO of EXPLOSIONS rings out, fiercer than anything before. The sounds keep rising and rising until... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - LATER<\/stage_direction>\n    <scene_description>Silence. Nantz stands with Martinez, Harris and Stavrou. They stare uneasily at each other. Then BOOMS sound again, but they're clearly more distant. Harris nods at Nantz.<\/scene_description>\n    <character>CPL. HARRIS<\/character>\n    <dialogue>Battle's moving off. Definitely.<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>We'll give it a little more time. Then we move fast, get them to the FOB....<\/dialogue>\n    <scene_description>He gestures to the den, where we see Michele with the kids.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Listen up, boys. We may not make it through the night. But I'll be goddamned if we lose one more a' those civilians. They will make it.<\/dialogue>\n    <character>CPL. STAVROU<\/character>\n    <dialogue>Aye, aye, sergeant.<\/dialogue>\n    <scene_description>The corporals move off as Nantz watches Michele... IN THE DEN She is handing out papers and pens to the kids.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Let's write letters. Write what you would say to your parents if you could talk to them.<\/dialogue>\n    <scene_description>Kirsten, Emily and Ryan quickly take the papers.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>We can write anything we want?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Anything you want.<\/dialogue>\n    <scene_description>She looks over at Hector.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Hector, do you want to write to your mom?<\/dialogue>\n    <character>HECTOR<\/character>\n    <dialogue>And tell her what?<\/dialogue>\n    <scene_description>The slightest beat. She gives Hector a quick hug, then leaves him be, moving... INTO THE KITCHEN. Nantz is there, giving her an appreciative nod.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Smart. Let them get it out.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Yeah. At least a little. Do you... have children, sergeant?<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>No.<\/dialogue>\n    <parenthetical>(quickly)<\/parenthetical>\n    <dialogue>I'm worried about Hector.<\/dialogue>\n    <scene_description>Michele nods. Then she's suddenly wiping away tears.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>His father... it's just so horrible. He was such a good man.<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Did you see Hector just before those things marched through on the street...?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>What was that about?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>I don't know. Hector is really smart. But there's something... different about him. When he was younger he was tested for autism, ADD... Everything was negative. Still, he just won't open up.<\/dialogue>\n    <scene_description>Beat. She stares back at Hector, who has taken up a pencil and paper now. But he just stares at the paper, not writing.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>What about you? How are you holding up?<\/dialogue>\n    <scene_description>She just shrugs.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Maybe you should write a letter. You must have someone...?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>You mean like a husband or a boyfriend...?<\/dialogue>\n    <scene_description>Nantz is silent. Michele graces him with a slight smile.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>I was engaged once. Then my dad got sick. Cancer.<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>That can add a lot of pressure.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Yes. I mean, it was treatable. And that was what my fiancee complained about... Why I had to spend so much time with my dad since he was going to be okay. I mean, what kind of a guy does that?<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>An asshole.<\/dialogue>\n    <scene_description>And Michele laughs at Nantz' concise summation.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Yeah, guess I realized that.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEN - LATER<\/stage_direction>\n    <scene_description>In one corner, Ryan talks with Imlay, who is gently tapping the glass of a TERRARIUM, a 12\" SNAKE in it.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>I don't get it. Why didn't they come for me?<\/dialogue>\n    <character>PVT. IMLAY<\/character>\n    <dialogue>Bet they wanted to.<\/dialogue>\n    <scene_description>Imlay, at a loss, offers Ryan some candy from a PEZ DISPENSER he boosted. The kid takes it, pulls out a few candies.<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Will they be at this FOB place?<\/dialogue>\n    <character>PVT. IMLAY<\/character>\n    <dialogue>I, uh, don't know.<\/dialogue>\n    <scene_description>Ryan offers him the pez dispenser back.<\/scene_description>\n    <character>PVT. IMLAY<\/character>\n    <dialogue>Naw, you keep it.<\/dialogue>\n    <scene_description>Nantz enters, looking down at the kids.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>We dug up some extra coats for you guys, getting chilly. They're in the living room, so get ready.<\/dialogue>\n    <scene_description>The kids stand, begin to move off as...<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Hey, you guys are being really brave. When this is over, you're gonna be heroes!<\/dialogue>\n    <scene_description>Nantz smiles. But the kids look nonplussed at his efforts to pump them up. Michele moves past Nantz, who looks sheepish.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>I tried.<\/dialogue>\n    <scene_description>She smiles warmly at him.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Yes, you did.<\/dialogue>\n    <scene_description>As she continues off, she touches his arm lightly. Nantz can't help himself, watching her go. Then he turns to see Hector staring at him.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>You all right?<\/dialogue>\n    <scene_description>Hector just nods stoically. Nantz moves to him, sits.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Listen, the way you reacted before... Did you hear something on the street when those things were coming? Something we didn't...<\/dialogue>\n    <scene_description>A beat. Hector shrugs.<\/scene_description>\n    <character>HECTOR<\/character>\n    <dialogue>I guess.<\/dialogue>\n    <scene_description>Nantz waits for more. But there's nothing. Hector looks down, tugging on his shoelaces.<\/scene_description>\n    <character>HECTOR<\/character>\n    <dialogue>Why do you say we're heroes? We're not doing anything.<\/dialogue>\n    <scene_description>Hector looks up at Nantz.<\/scene_description>\n    <character>HECTOR<\/character>\n    <dialogue>People are always saying, \"he's a hero.\" We had this umpire in Little League, got hit in the head with a baseball. They had a dinner for him, and everyone said he was a hero. But really he just got hit in the head.<\/dialogue>\n    <scene_description>Nantz has to smile at this.<\/scene_description>\n    <character>HECTOR<\/character>\n    <dialogue>Nobody even knows what a hero is.<\/dialogue>\n    <scene_description>The slightest beat, then...<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Your dad was a hero.<\/dialogue>\n    <scene_description>A moment between them. Then Nantz pulls out a MEDALLION which displays the CREST of the 2\/5.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>This is our medallion. It's kind of a thing, see, you gotta always carry it. 'Cause anytime a guy from the unit asks to see it, if you don't have it, you gotta buy him a drink.<\/dialogue>\n    <scene_description>He gives it to Hector, who takes the heavy medallion.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>You're 2\/5 now, kid.<\/dialogue>\n    <parenthetical>(lowers his voice)<\/parenthetical>\n    <dialogue>Just don't tell the guys.<\/dialogue>\n    <character>HECTOR<\/character>\n    <dialogue>'Cause you'll have to buy a lotta drinks.<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>I'll go broke.<\/dialogue>\n    <scene_description>Hector looks the gleaming medallion over.<\/scene_description>\n    <character>HECTOR<\/character>\n    <dialogue>It says the same thing as your patch. What's that mean, 'retreat hell?'<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>During World War I, an officer from our regiment was ordered to retreat. He said, \"Retreat? Hell, we just got here!\"<\/dialogue>\n    <scene_description>And slowly, finally, Hector smiles. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEN - LATER<\/stage_direction>\n    <scene_description>Imlay fishes inside the terrarium as Kerns enters.<\/scene_description>\n    <character>PVT. KERNS<\/character>\n    <dialogue>Jesus, Imlay, you boostin' the kid's snake?<\/dialogue>\n    <scene_description>Imlay is moving away from the terrarium, past Kerns.<\/scene_description>\n    <character>PVT. IMLAY<\/character>\n    <dialogue>Shut up.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIDE YARD - MOMENTS LATER<\/stage_direction>\n    <scene_description>Everything is still. Then a SHADOW falls across the yard. It's Imlay, alone, creeping silently out of a side door. He kneels down. As he does, we see the SNAKE in his hands. Imlay releases the snake, watching it slither away through the thick grass until it is out of sight. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - LATER<\/stage_direction>\n    <scene_description>It's dark, just the WHITE MOON, almost full. The squad moves in formation, surrounding the civilians. Martinez is still supporting Ratushewitz, who's looking paler by the minute. Suddenly, Nantz holds up a hand, STOPPING THE SQUAD. Everyone responds, crouching by the cars parked nearby. Nantz exchanges a glance with his corporals.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>What are you guys...? What's the matter?<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>The smell.<\/dialogue>\n    <scene_description>An ominous beat. Michele looks at him curiously. But doesn't ask. Nantz signals, LEADING THE SQUAD FORWARD again. STAY ON NANTZ As the squad moves down this dark street, we slowly MOVE IN TIGHTER and TIGHTER on Nantz. Until we are CLOSE ON NANTZ' FACE. And as they turn the corner, a REDDISH GLOW is reflected there. Nantz stops, looking horrified. We REVERSE to see... A DEEP BLACK COLUMN OF SMOKE. Thick. Noxious. Rising into the night sky from NUMEROUS FIRES that rage within the fence line of... SANTA MONICA AIRPORT. The marines CROSS THE BOULEVARD, heading toward the Forward Operating Base. The devastation is slowly revealed as they approach: the wrecks of CRASHED ALIEN AIRCRAFT along with CRASHED COBRA HELICOPTERS. CRATERS are blown into the runways. They stop, stare through the fence, at SMOLDERING MARINE VEHICLES lining the runways: Light Armored Vehicles (LAVs), humvees, 5-ton trucks. Some are on fire, some flipped over, all seemingly reduced to wreckage. The top of the CONTROL TOWER is BLOWN OFF, a CHOPPER imbedded in the wreckage. Many of the BUILDINGS are ABLAZE. BODIES, both human and alien, come into view dotting the expanse of runway. There is no visible sign of life. The terrible battle is clearly over. Nantz sees a FIRE STATION just at the edge of the airport. The front engine room roll-up door is open. The yellow airport CRASH RIG is blown on its side, burning nearby.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Let's get under cover. Now.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DESERTED FIRE STATION - MOMENTS LATER<\/stage_direction>\n    <scene_description>The marines enter cautiously, pointing rifles. Then hustling the kids inside when it appears safe. They see turn-outs on hooks, bunkers and boots standing ready.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Secure the building.<\/dialogue>\n    <character>CPL. STAVROU<\/character>\n    <dialogue>On it, sergeant.<\/dialogue>\n    <scene_description>He rushes off with Harris. Nantz turns to Ratushewitz, who's being led to a chair by Martinez.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Rats, can you still fire a weapon?<\/dialogue>\n    <scene_description>Ratushewitz holds up his TRIGGER FINGER, crooks it at Nantz.<\/scene_description>\n    <character>PVT. RATUSHEWITZ<\/character>\n    <dialogue>Long as I got this, sergeant.<\/dialogue>\n    <scene_description>Nantz hands him the combat shotgun.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Take the shotgun. Point and click.<\/dialogue>\n    <character>CPL. MARTINEZ<\/character>\n    <parenthetical>(gallows humor)<\/parenthetical>\n    <dialogue>Good call, sergeant. He can't shoot for shit when he's healthy.<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Martinez, Motorola, stay behind with Rats and the civilians. The rest of us'll find some ammo, maybe a LAV that's not on fire.<\/dialogue>\n    <scene_description>A LAV?<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Light Armored Vehicle. We're gonna run to Central Command at LAX. That's our strong point.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>I thought vehicles were targets.<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>A Volvo's a target. A LAV with a couple Stinger missile launchers... That's an asset.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA MONICA AIRPORT RUNWAY<\/stage_direction>\n    <scene_description>Black plumes of SMOKE fill the night sky as Nantz and his men head silently toward numerous burning vehicles, past dead marines and aliens. As they go, the marines rifle the pockets and pouches of their fallen comrades, pulling out any available ammo. FOLLOW KERNS as he makes these gruesome rounds, whispering a low, heartfelt refrain to the dead marine he searches.<\/scene_description>\n    <character>PVT. KERNS<\/character>\n    <dialogue>Sorry, bro.<\/dialogue>\n    <scene_description>He moves on to another dead marine, searching.<\/scene_description>\n    <character>PVT. KERNS<\/character>\n    <dialogue>Sorry, bro.<\/dialogue>\n    <scene_description>He moves to the next marine, crumpled near a dead alien. He pulls ammo from the pouches of this marine.<\/scene_description>\n    <character>PVT. KERNS<\/character>\n    <dialogue>Sorry...<\/dialogue>\n    <scene_description>But he stops before he can get the last word out. The 'dead' alien is moving. Kerns senses it, he jumps, spinning, burying his bayonet into the alien. The alien hisses a horrible noise, staring straight into Kerns as he bears down with the razor-sharp bayonet. The alien's death screams rise. Then fade. Its movements stop. Kerns exchanges glances with Nantz and the others. Everything is silent again. The marines look around to see if the dying alien's screams have brought unwelcome visitors. Then Imlay signals to Nantz from across the runway. He is standing by a HULKING LAV, blown onto its side. The LAV-25 is an eight-wheeled armored personnel carrier. Weighing in at over 14 tons, it comes in many variants. But all are massive ARMORED VEHICLES, bristling with a variety of powerful weapons. The other marines immediately head to Imlay as he announces:<\/scene_description>\n    <character>PVT. IMLAY<\/character>\n    <dialogue>It's a logistical.<\/dialogue>\n    <scene_description>The marines hoist the LAV's doors open. Imlay climbs INSIDE, finding the mother lode...<\/scene_description>\n    <character>PVT. IMLAY<\/character>\n    <dialogue>Jackpot!<\/dialogue>\n    <scene_description>The LOGISTICAL LAV is full of AMMO. He shovels ammo toward the door, to the eager waiting hands of the other marines. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FIRE STATION - SAME<\/stage_direction>\n    <scene_description>Mottola has a tub of ice cream, scooping bowls for the kids. Michele smiles appreciatively.<\/scene_description>\n    <character>PVT. MOTTOLA<\/character>\n    <dialogue>Yeah, my dad's a fireman. They love their ice cream. Used to visit with my little brother, they always had tons of it...<\/dialogue>\n    <scene_description>He stares at the kids a second.<\/scene_description>\n    <character>PVT. MOTTOLA<\/character>\n    <dialogue>My brother's not much older than these guys.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>You don't look much older, either. You guys are so young...<\/dialogue>\n    <character>PVT. MOTTOLA<\/character>\n    <dialogue>Yeah, except old man Nantz.<\/dialogue>\n    <scene_description>Martinez and Ratushewitz chuckle at this.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Is that what you call him?<\/dialogue>\n    <character>PVT. MOTTOLA<\/character>\n    <dialogue>Well, not to his face.<\/dialogue>\n    <character>CPL. MARTINEZ<\/character>\n    <dialogue>Sergeant Nantz is older than most sergeants, joined the corps late.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>How come?<\/dialogue>\n    <character>CPL. MARTINEZ<\/character>\n    <dialogue>No clue. Don't know what he was doing before.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>How long have you known him?<\/dialogue>\n    <character>CPL. MARTINEZ<\/character>\n    <dialogue>Almost four years.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>And you don't know anything about his life before...?<\/dialogue>\n    <character>CPL. MARTINEZ<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>He's a great sergeant. Wouldn't want to serve under anyone else. But the man's not what you'd call an open book.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA MONICA AIRPORT RUNWAY - SAME<\/stage_direction>\n    <scene_description>The marines are still stripping the logistical LAV clean of ammo. Harris looks up to see Nantz nearby, staring into... A CRASHED CH-46 HELICOPTER.<\/scene_description>\n    <character>CPL. HARRIS<\/character>\n    <dialogue>What is it, sergeant?<\/dialogue>\n    <scene_description>Nantz turns to Harris, smiles, points into the helicopter.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Air Defense.<\/dialogue>\n    <scene_description>Harris looks into the chopper, sees: A LAV AD (Air Defense) in the helicopter's hold. Waiting for action. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. CH-46 TRANSPORT HELICOPTER - MOMENTS LATER<\/stage_direction>\n    <scene_description>They heave the massive 46's BACK RAMP open. Imlay scrambles into the cavernous hold, assessing the hulking LAV.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>What's it look like, Imlay?<\/dialogue>\n    <character>PVT. IMLAY<\/character>\n    <dialogue>Looks good, sergeant.<\/dialogue>\n    <scene_description>He points to the two boxy STINGER MISSILE LAUNCHERS attached to the top of the LAV's turret.<\/scene_description>\n    <character>PVT. IMLAY<\/character>\n    <dialogue>Especially these launchers.<\/dialogue>\n    <character>PVT. CORREGGIO<\/character>\n    <dialogue>Blow them goddamn flying saucers right outta the air.<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Yeah. If we can get it out.<\/dialogue>\n    <scene_description>Nantz points to a corner of the LAV which is wedged against the helicopter's bay door.<\/scene_description>\n    <character>CPL. STAVROU<\/character>\n    <dialogue>Easy like Sunday morning, sergeant. Just need a torch.<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Gotta be one on that fire department crash rig.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. CH-46 TRANSPORT HELICOPTER - MOMENTS LATER<\/stage_direction>\n    <scene_description>A CUTTING TORCH'S blue flame coming into contact with the heavy metal of the bay door. Stavrou works the torch as... The other marines guard the outside of the chopper, pointing rifles, scanning the quiet, ghostly horizon of airport.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>How's it coming, Stavs?<\/dialogue>\n    <character>CPL. STAVROU<\/character>\n    <dialogue>We're close.<\/dialogue>\n    <scene_description>Just then, the LAV tears from the metal bay door restraining it, rolling back a few feet. As it does, the weight displacement causes the DOWNED CHOPPER TO SHIFT on its side. All the marines jump, scramble away from the huge chopper as it groans to one side. A moment. Then a few chuckles from the startled marines. Only Nantz is instantly moved to action. He heads to the back bay doors, peering in to see that... The LAV has slid to one side of the chopper... PINNING STAVROU BETWEEN THE LAV AND THE CHOPPER'S WALL.<\/scene_description>\n    <character>CPL. STAVROU<\/character>\n    <dialogue>Yeah. I'm stuck.<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>You all right?<\/dialogue>\n    <character>CPL. STAVROU<\/character>\n    <dialogue>I think so. Another two inches and I'd be in the hurt box, though.<\/dialogue>\n    <scene_description>Stavrou struggles to wedge himself free. But his massive frame is stuck good. He can barely move his arms and legs. Frustrated, he stops struggling, bellows:<\/scene_description>\n    <character>CPL. STAVROU<\/character>\n    <dialogue>Why didn't one a' you skinny fuckers get in here?<\/dialogue>\n    <character>PVT. IMLAY<\/character>\n    <dialogue>Oh, shit. Sergeant...<\/dialogue>\n    <scene_description>Imlay is staring off, underneath the LAV. Nantz follows Imlay's gaze, sees that the cutting torch has rolled away from Stavrou, its blue flame glowing under the LAV, looking unreachable from that vantage point.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Turn it off! At the tanks! Now!<\/dialogue>\n    <scene_description>Harris turns VALVES on the TANKS feeding gas to the torch. The torch's FLAME GOES OUT... But it has already IGNITED the rubber stripping on the base of a jump seat. Correggio and Kerns quickly jump into the helicopter, trying to reach the flames on the other side of the LAV, resting against the chopper's now-inaccessible wall as... NANTZ RUNS TO THE LOGISTICAL LAV. A WINCH is built into the front of it. Nantz grabs the big WINCH HOOK attached to the thick cable in the winch's well. Nantz runs back to the downed helicopter with the winch hook, UNSPOOLING THE CABLE as he goes.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>We gotta winch him free.<\/dialogue>\n    <character>CPL. HARRIS<\/character>\n    <dialogue>Sergeant, that LAV shifts an inch the wrong way... He'll be crushed.<\/dialogue>\n    <scene_description>Stavrou notices the FIRE SPREADING as it reaches a POOL OF OIL on the chopper's floor.<\/scene_description>\n    <character>CPL. STAVROU<\/character>\n    <dialogue>Either that or I'm roast beef. It's gettin' toasty, boys.<\/dialogue>\n    <scene_description>Harris doesn't hesitate now, snapping the winch hook onto the LAV as ACRID SMOKE is quickly filling the helicopter, making Kerns and Correggio back out, coughing and wheezing. Nantz turns, eyes searching. Then he runs towards a HANGAR. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HANGAR - SAME<\/stage_direction>\n    <scene_description>Nantz runs into the football field-sized space. The hangar is DARK, filled with equipment, counters, worktables, small planes. Nantz looks around desperately, spying... An aviation dry-chem FIRE EXTINGUISHER against the wall. It's a large version of the familiar red, bullet-shaped canister, but on two wheels, with a handle. Nantz runs to it, grabs it, about to wheel it forward as... A BANGING SOMEWHERE. Nantz stops, immediately crouches low, stares back into the long, dark space, seeing... An ALIEN bending over a METAL SINK against a far wall, BANGING the faucet. It is clearly injured, BODILY FLUID pooling around its feet, FLESH TORN along its side. Then it hits a handle which turns. WATER streams out. The alien begins washing its wound with the water as... Nantz is transfixed a moment, watching this creature behaving in recognizable, relatable fashion. It has needs. Nantz slowly, quietly AIMS HIS RIFLE for a kill shot. Nantz' FINGER is on the trigger... Then the ATTACK comes from BEHIND. A SECOND ALIEN leaps at Nantz from the darkness, SLASHING at him. Nantz spins away at the last second, knocked down as... Nantz' RIFLE goes sliding off INTO THE DARK. In one swift movement, Nantz ROLLS ON THE FLOOR, hand grabbing his SIDEARM, a 9mm BERETTA. As the sidearm CLEARS ITS HOLSTER, Nantz thumbs off the SAFETY, turns, aiming at... The ATTACKING ALIEN as it bounds off INTO THE DARK. Nantz immediately SPINS to aim... BACK AT THE SINK, but the injured alien has also DISAPPEARED, WATER still streaming gently from the faucet. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. HELICOPTER - SAME<\/stage_direction>\n    <scene_description>Stavrou eyes the FLAMES, clearly SPREADING, getting closer and closer to him as... Harris and the others are winching the LAV. But it's a painstaking operation, having to pull the massive vehicle inch by inch. Stavrou is coughing and wheezing as the thick smoke envelops him now.<\/scene_description>\n    <character>CPL. STAVROU<\/character>\n    <dialogue>Outta time, boys.<\/dialogue>\n    <scene_description>Then the back end of the LAV suddenly shifts, pinning Stavrou further.<\/scene_description>\n    <character>CPL. STAVROU<\/character>\n    <dialogue>That's the wrong... fucking... way.<\/dialogue>\n    <scene_description>CUT BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HANGAR - SAME<\/stage_direction>\n    <scene_description>Nantz, peering into the dark, backs toward the extinguisher, about to grab it as... Suddenly, a NOISE somewhere. Nantz spins to see... THE INJURED ALIEN leaping over a worktable at him. Nantz gets the pistol up and FIRES a round. The round HITS THE ALIEN. But the creature BOUNDS OFF. Nantz tracks, FIRING after it. SPARKS fly in the darkness as Nantz misses the creature, which dashes through the shadows. Then he finds his target, hitting the alien. It falls. Nantz, gun held straight out, ADVANCES on the creature. Finds it on the floor, alive. It hisses at Nantz as he stands over it, FIRES. Its hissing grows louder. Nantz fires again and again until... Silence. Which is suddenly filled with the SOUND of the second alien RUNNING AT HIM. Nantz spins, aims... The SECOND ALIEN DIVES AWAY in a flash as... Nantz squeezes the trigger... Met with just an ominous CLICK as Nantz runs dry on bullets. He grabs ANOTHER CLIP... But the second alien LEAPS OUT at Nantz. The CLIP goes FLYING from Nantz' hand as he is thrown hard against the METAL SINK. The alien SLASHES AT HIM... But its hand is met by the BLADE of Nantz' Ka-Bar fighting KNIFE coming up. The alien's gun-like attachment goes flying as several of its fingers\/claws are SLICED OFF, \"BLOOD\" seeping from the wound. But this alien doesn't scream in agony. It looks up at Nantz, who stands with knife poised. The alien cocks his head slightly as he looks at something he has never seen before: a human who is not afraid of him. The alien sticks its hand UNDERNEATH THE RUNNING WATER. Immediately, its BLEEDING STOPS, the water cauterizing the wound. Then the thing seems to smile as it moves towards Nantz, who crouches into a fighting stance... But the SOUND of the hangar door opening alerts the alien. It suddenly spins, dropping to all-fours, BOUNDING AWAY into the darkness as... Harris comes running in, rifle in hand. Nantz scrambles for the clip on the floor, grabbing it, slamming it into the Beretta as... Harris appears next to him. They both aim weapons... But the alien has disappeared into the darkness.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Grab the extinguisher.<\/dialogue>\n    <scene_description>Harris moves to it as Nantz flicks on a flashlight, searching the floor.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Where's my goddamn rifle?<\/dialogue>\n    <scene_description>A NOISE in the back of the immense hangar.<\/scene_description>\n    <character>CPL. HARRIS<\/character>\n    <dialogue>We're gonna have company.<\/dialogue>\n    <scene_description>Nantz turns on this. They run out as... QUICK CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RUNWAY NEAR CH-46 - MOMENTS LATER<\/stage_direction>\n    <scene_description>Nantz and Harris run to the helicopter, wheeling the fire extinguisher. Nantz grabs the extinguisher's nozzle, steps INTO THE 46, spraying the DRY-CHEM POWDER ALL OVER, turning the inside of the chopper into a snow scene. But KILLING THE FIRE in the process. A moment as the marines stare at each other through the thick powder filling the air.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Get on that winch.<\/dialogue>\n    <scene_description>The winch is fired up, DRAGGING THE LAV slowly, painfully away from Stavrou. And with the fire out, the smoke dissipating, other marines are able to crowd in, laying hands on Stavrou, helping him edge out as:<\/scene_description>\n    <character>PVT. IMLAY<\/character>\n    <dialogue>Here they come, boys.<\/dialogue>\n    <scene_description>Down the runway, in the distance, a LINE OF ALIENS appears. The horizon seems filled with them. And they're moving fast.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Now or never.<\/dialogue>\n    <scene_description>Harris lays on the winch. Everyone else pulls on Stavrou. Except for... Imlay, watching the HORDES OF ALIENS streaming at them. He begins hurling the GRENADES he boosted, one after the other. BOOM! BOOM! BOOM! The GRENADES EXPLODE, wreaking havoc among the aliens, momentarily halting their advance as... Imlay grins at Kerns, who's scrambling forward with Correggio.<\/scene_description>\n    <character>PVT. IMLAY<\/character>\n    <dialogue>Knew those grenades would come in handy!<\/dialogue>\n    <scene_description>But it seems little solace as the army of aliens is regrouping, charging again. Kerns stares solemnly.<\/scene_description>\n    <character>PVT. KERNS<\/character>\n    <dialogue>They just keep coming and coming.<\/dialogue>\n    <scene_description>Kerns, Correggio and Imlay FIRE their RIFLES now as... The winch strains with a huge SCREECH of metal. Stavrou SQUEEZES OUT from under the LAV, having to dodge away as... The LAV ROLLS OUT OF THE HELICOPTER, taking huge chunks of metal from the 46 with it. The others immediately join in, FIRING now, attempting to keep the aliens at bay as they back INTO THE LAV... Stavrou jumps behind the wheel.<\/scene_description>\n    <character>CPL. HARRIS<\/character>\n    <dialogue>You can drive this thing?<\/dialogue>\n    <character>CPL. STAVROU<\/character>\n    <dialogue>It's got an engine, doesn't it?<\/dialogue>\n    <scene_description>Stavrou fires the LAV up. They SCREECH AWAY just as the marauding aliens reach them, projectiles exploding against the armor of the LAV. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIRE STATION - MOMENTS LATER<\/stage_direction>\n    <scene_description>The MASSIVE LAV-AD pulls up, the civilians are already moving out of the station. The marines jump from the LAV, help load the kids inside as a new threat appears now... The faint outline of ALIEN AIRCRAFT speeding through the night, comes into view. The marines follow into the LAV. It pulls swiftly away from the fire station, the ALIEN AIRCRAFT not far behind. But... SMOKE CANISTERS are fired from the back of the LAV, the SMOKE immediately obscuring the LAV from the alien craft.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAV - CONTINUOUS<\/stage_direction>\n    <scene_description>Martinez helps get the civilians strapped into the benches that line both sides of the LAV as Nantz climbs into... THE LAV'S LONG TURRET. He gets behind one set of controls as Harris climbs into the turret seat next to him, getting behind a second set. Nantz stares down at the dizzying BANK OF CONTROLS.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>It's the one on the right?!<\/dialogue>\n    <scene_description>Harris screams back through the noise:<\/scene_description>\n    <character>CPL. HARRIS<\/character>\n    <dialogue>I think so. But we gotta arm 'em first!<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <parenthetical>(unsure)<\/parenthetical>\n    <dialogue>Right, arm 'em...<\/dialogue>\n    <scene_description>Nantz looks up, through the turret's SLAT OF WINDOWS, sees... A FOREBODING LINE OF ALIEN AIRCRAFT Appear above the cloud of smoke now, zooming after the marines in what seems an unnatural acceleration. Nantz searches the controls with increased urgency, deciding:<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Yellow toggle on the top left.<\/dialogue>\n    <character>CPL. HARRIS<\/character>\n    <dialogue>You sure?<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <parenthetical>(definitely not sure)<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Both men FLIP THE TOGGLES, grabbing controls as...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAV - CONTINUOUS<\/stage_direction>\n    <scene_description>The boxy MISSILE LAUNCHERS on top of the LAV swing around, FIRING MISSILES as... The ALIEN AIRCRAFT clear the trees, closing fast. Until... MISSILES SLAM INTO ONE OF THE ALIEN CRAFT, destroying it. The EXPLOSION knocks the other aircraft off-course.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAV - CONTINUOUS<\/stage_direction>\n    <scene_description>Nantz sees these alien craft BANKING in the sky, RETURNING for another pass as... NANTZ AND HARRIS rearm in the turrets. Then FIRE. FOLLOW THE STINGER MISSILES As they zoom from the LAV, points of fire in the dark sky. The alien craft take evasive action. But the heat-seeking missiles are locked on. TWO MORE ALIEN CRAFT ARE HIT, pinwheeling to the ground. But MORE ALIEN AIRCRAFT appear over the horizon, zooming at the LAV. Stavrou speeds AWAY. But they are closing fast until... The remaining ALIEN CRAFT are suddenly BLOWN FROM THE SKY by... THREE F-18S ZOOMING OVERHEAD. IN THE LAV The marines CHEER as the rout is complete. Nantz points to the F-18s, shouts to Stavrou:<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Follow those goddamn jets!<\/dialogue>\n    <scene_description>Stavrou speeds off, following the F-18s zooming away. In the distance, the jets bank toward HUGE SPOTLIGHTS illuminating the night as... The PACIFIC OCEAN appears now, stretching endlessly. The sky is filled with F-18s and COBRAS, taking off from... LOS ANGELES INTERNATIONAL AIRPORT beyond the bluffs. Nantz and the others look out to see... ALIEN AIRCRAFT bursting out from UNDER THE WAVES, flying into the air as if they've been launched out of the ocean. But the Cobras engage, BLOWING a number of these alien craft away, sending them tumbling back into the water. Other Cobras thunder after the surviving craft as F-18s patrol over the ocean. The sight of the American air power is awe-inspiring. Looking out at the jets and choppers, Imlay bellows:<\/scene_description>\n    <character>PVT. IMLAY<\/character>\n    <dialogue>This is our house!<\/dialogue>\n    <scene_description>Then one of the JETS suddenly BREAKS APART in mid-flight, the flaming wreckage falling into the water.<\/scene_description>\n    <character>PVT. IMLAY<\/character>\n    <dialogue>What the hell hit it?!<\/dialogue>\n    <character>PVT. CORREGGIO<\/character>\n    <dialogue>Nothing hit it!<\/dialogue>\n    <scene_description>A SECOND JET SUDDENLY BREAKS APART. As if it flew into an invisible wall. Nantz searches for the threat. Spies... SHAPES IN THE WATER. Massive METAL HULLS slowly emerging from under the waves, each with REVOLVING DISCS on their topsides. The discs FIRE FIELDS OF ENERGY into the air. Visible at first, these energy fields slowly FADE FROM SIGHT. Until another F-18 flies into one. The deadly field FLASHES upon contact. Then the jet BREAKS UP, falling to the ocean.<\/scene_description>\n    <character>PVT. KERNS<\/character>\n    <dialogue>It's like they're mines! Mines in the air!<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Correggio, get on the 25!<\/dialogue>\n    <scene_description>Correggio climbs into the turret, manning the 25 mm GAU-12 GATLING CANNON as... Nantz looks out to see that these metal hulls are... MASSIVE ALIEN ARMORED MACHINES. They walk from the ocean now, sea water draining from their flat-grey sides. Thirty-feet tall, these armored machines stand on two thick legs. Each leg is articulated in numerous areas, allowing it to squat low, scale most obstacles. All of which they can do with startling speed. As Nantz stares, ANOTHER MACHINE walks out of the water, then ANOTHER, ANOTHER... The surf is alive with them.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Turn inland! Get into the airport!<\/dialogue>\n    <scene_description>Stavrou spins away, CRASHING THROUGH A FENCE LINE as... The armored machines hit the beach, MOVING RAPIDLY across the sand. CANNON-LIKE BARRELS emerge from the massive gunmetal gray machines, begin FIRING bursts of energy that explode in the distance... Where LAX is. F-18s engage this new threat, FIRING a barrage of MISSILES. Some direct hits BLOW THE ALIEN ARMORED MACHINES UP. But others result in glancing blows... One ALIEN MACHINE is knocked over. But it quickly rights itself, moves forward, firing again. The LAV climbs the berm surrounding the airport, bouncing... INTO LOS ANGELES INTERNATIONAL AIRPORT (LAX) TANKS, ARMORED VEHICLES and acres of MILITARY HARDWARE cover the expanse of LAX. ANTI-AIRCRAFT BATTERIES fire away at a swarm of ALIEN AIRCRAFT as... THE ALIEN ARMORED MACHINES STORM INTO LAX. Nantz screams through the cacophony:<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Head to the tanks!<\/dialogue>\n    <scene_description>The LAV heads to a LINE OF TANKS... The TANKS FIRE, a series of shattering BOOMS as the ROUNDS FLY PAST the LAV. COBRAS hover a few hundred yards from the alien armor in a MID-AIR SKIRMISH LINE. They fire an awesome BARRAGE OF MISSILES into the oncoming ALIEN MACHINES. Many crumple to the ground, exploding. Others are crippled, attempting to right themselves as if they're alive. Still more alien machines are relentlessly advancing forward. But then the skirmish line is broken as alien aircraft attack the cobras. One COBRA is BLOWN FROM THE SKY, flaming debris raining down around the speeding LAV as... The alien armored machines swarm forward, firing pulsing BURSTS OF ENERGY from their CANNON-LIKE BARRELS. ONE ALIEN MACHINE MOVES ON THE LAV. Nantz zeroes in on it, FIRING A MISSILE as the machine turns its pulse-weapon to bear. The MACHINE EXPLODES. Then the LAV takes a precipitous turn, almost out of control. Nantz is knocked, hard against the turret's side as... A BURNING COMMAND AND CONTROL PLANE Coming in hard, spins RIGHT OVER THE LAV, thirty feet off the deck. It's a startling appearance, the earth rumbling with its precipitous descent. Nantz can only stare as... The huge JET CARTWHEELS across the runway, wings torn apart. It slams into the THEME RESTAURANT at the center of the airport, kneecapping the futuristic-looking restaurant, sending it collapsing to the ground. IN THE LAV Nantz and Harris are FIRING the Air Defense missiles at DIVING ALIEN AIRCRAFT. Correggio is on the Gatling cannon, other marines in the hatches, firing their rifles. The children, huddled in the belly of the LAV, are covering their ears against the maelstrom as... The RADIO is alive with frantic orders. Mottola screaming into it. We make out the words \"civilian children\" as... A LINE OF ALIEN INFANTRY SURGES FORWARD. Some leap for the LAV and are run over by its massive bulk. One ALIEN is able to clamber ON TOP THE LAV. It GRABS the barrel of the GATLING CANNNON, trying to pull it off target. Through the turret, Correggio is face-to-face with the gruesome creature. He muscles the Gatling cannon around, FIRING, cutting this ALIEN IN HALF before it tumbles off. The LAV races along the runway, crashing THROUGH THE FENCE... SPINNING ONTO A STREET BEYOND THE AIRPORT. Suddenly, their way is blocked by an ALIEN ARMORED MACHINE. BOOM! The MACHINE FIRES. The LAV is blown on its side, CRASHING to a stop. IN THE TURRET Nantz is nearly knocked out. Everything goes SILENT for him. BLOOD runs down his grime-covered face. His eyes flutter as he stares out of the turret to see... The ALIEN MACHINE turning toward them, bringing its weaponry to bear, aiming a death blow as... BLAMMM! It EXPLODES. A U.S. ARMY BLACK HAWK HELICOPTER Armed with HELLFIRE MISSILES, banks hard over the wreckage of the alien machine. The explosion rouses Nantz, SOUND FADING BACK IN as HANDS grab his legs, PULLING HIM FROM THE TURRET. He is hoisted... OUT OF THE LAV By the massive Stavrou. Nantz rights himself, still unsteady, seeing the others scrambling to their feet. Imlay appears before Nantz, grinning wildly, pointing up at the life-saving BLACK HAWK as it banks to land nearby.<\/scene_description>\n    <character>PVT. IMLAY<\/character>\n    <dialogue>Freaking Army! Better late than never, huh?!<\/dialogue>\n    <scene_description>The BLACK HAWK LANDS, its rotor wash whipping them harshly. The MARINES rush the kids and Michele to the chopper. Suddenly, a DEAFENING NOISE. Nantz looks up to see... AN ALIEN AIRCRAFT Coming down hard and fast, trailing BLACK SMOKE.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Incoming!<\/dialogue>\n    <scene_description>Nantz tries to grab at the kids, corral them away as... THE ALIEN AIRCRAFT slams into an OFFICE BUILDING... Sending huge chunks of DEBRIS raining INTO THE STREET. FIRE erupts in the building above them. Nantz sees the WRECKAGE OF THE ALIEN CRAFT perched on the building, the top story continuing to CRUMBLE beneath it. RUN! As the alien craft SLOWLY TIPS over the edge of the building. The BURNING WRECKAGE falls to the street... Screams. BODIES RUNNING left and right amid the RUBBLE and rising clouds of DUST and SMOKE... Then the ALIEN CRAFT CRASHES to the ground. The street explodes in FIRE and twisted WRECKAGE... All we see is a mosaic of running legs, moving bodies, marines falling, struggling up, dragging kids, desperately moving toward the Black Hawk. FOLLOW THROUGH THE CHAOS as the group reaches... THE BLACK HAWK Scrambling aboard, CREWMEN grabbing at the kids, hauling in the marines. THE BLACK HAWK BEGINS TO RISE. Nantz glances around the jumble of people in the chopper. Marines piled next to kids, and Michele, but where is...<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Hector!<\/dialogue>\n    <scene_description>Nantz looks around. Hector is not in the Black Hawk. Nantz yells to the PILOT, but he is on his headset as... TWO OTHER ALIEN AIRCRAFT APPEAR, FIRING... The chopper, almost 15 feet off the deck, needs to really move. Nantz has to decide fast... NANTZ LEAPS TO THE GROUND. Tumbling hard. He glances back to see the face of Michele staring down at him, grabbing a crewman, pointing. But the Black Hawk is quickly gaining altitude to avoid the alien crafts' incoming FIRE as... ALIEN INFANTRY round the corner. Bounding towards Nantz, alone on the ground. Then Nantz sees CORREGGIO LEANING OUT of the helicopter's bay door. He yells at Nantz, DROPPING HIS SAW just as... The chopper POWERS FORWARD, alien aircraft following it as... NANTZ GRABS THE SAW OUT OF THE AIR. It nearly bowls him over. But he steadies himself, SPINS... The ALIENS are almost upon him. Nantz opens up with the SAW, laying down a LINE OF FIRE. Some aliens scramble away, but most are mowed down by the SAW's firepower. Then Nantz STOPS FIRING, smoke rising around him. Nantz turns to see the BLACK HAWK FLYING TO SAFETY in the distance. A slight smile, then he turns back... Nantz steps through the debris, moving forward deliberately, FIRING on those aliens still alive, trying to scramble away. And then he's ALONE, surrounded by burning wreckage and dead aliens. Nantz heads to... THE LAV, crashed in the middle of the street. Nantz looks in the LAV's rear hatch, sees equipment strewn about. But no Hector. Nantz climbs... INTO THE LAV. Begins rummaging around. He finds a GRENADE, pockets it. Then spies a small locker. He pulls it open, sees... A CLAYMORE ANTI-PERSONNEL MINE, eight by three inches, the words: 'Front Toward Enemy' stenciled across it. Nantz finds another GRENADE, then BRICKS OF C-4 EXPLOSIVE. He stuffs all of it in various pockets and pouches. Moves BACK TO THE HATCH, about to climb out as he's startled by... An ALIEN, suddenly appearing IN THE OPEN HATCH. The alien slashes at Nantz, who falls back, muscling the SAW up, FIRING; a blistering noise in the tight confines of the LAV. Then the SAW runs dry of ammo. Nantz drops it. Pulls his SIDEARM, moves cautiously back to the hatch, peers out. The coast is clear. Nantz climbs... OUT OF THE HATCH OVER THE DEAD ALIEN, slipping on its fluids. The alien's head has exploded from the SAW's fire. Nantz takes a step away, then FREEZES as... SOUND from somewhere behind him. Nantz spins back to see... The giant SHADOW of an ALIEN MACHINE, approaching the corner. The SOUND of it growing ominously... Nantz, exposed, vulnerable, looks across the street, spies an ALLEY between TWO OFFICE BUILDINGS. NANTZ RUNS FOR THE ALLEY. Through the obstacle course of debris, stumbling, diving... INTO THE ALLEY Just as the ALIEN MACHINE rounds the corner. It moves ONTO THE STREET, trailed by ALIEN INFANTRY. Nantz scrambles BEHIND A DUMPSTER, peers out to see... The MACHINE STOP in the street, turning left, then right as if searching, as if sensing something. The alien infantry are scouting around it, moving past the MOUTH OF THE ALLEY. Then ONE ALIEN stops, stares INTO THE ALLEY. Nantz pulls his sidearm, waits for the alien to make a move. But a horrible SCREECHING of metal rings out as the alien machine walks OVER THE LAV, crushes it with its massive legs. The alien, distracted by the sound, loses interest in the alley. It bounds forward, catching up with the machine as it MOVES OFF with the other alien infantry members. Nantz waits as the alien machine's DEATHLY HUM FADES AWAY. Then his body eases. Nantz slumps, eyes glazing over. And just when we think he'll give over to despair... His body straightens, eyes coming up. Nantz is on his feet, eyes roaming over the alley. And he's immediately rewarded. He catches the GLINT of something by a loading dock DOOR in the building across the alley. Garbage, probably. Nantz' eyes sweep the alley. Then return to the glint by the loading dock. He starts ACROSS THE ALLEY, reaching... THE LOADING DOCK DOOR. He bends, picks up the MEDALLION he gave to Hector. It glints in the light by the loading dock door. Nantz stares at it. Then he moves to the door, grabs the handle. It turns. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUILDING \/ SERVICE HALLWAY - SECONDS LATER<\/stage_direction>\n    <scene_description>Nantz stands inside the door, listening. Slowly, he steps forward, an ELEVATOR at the far end, DOORS on either side. Nantz tries each door. Locked. Locked. Locked. Then he reaches the elevator, a DIRECTORY by it. He stops, seeing... A BLOODY SWIRL on the glass covering the directory. It circles the words: 4th FLOOR. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRWELL \/ FOURTH FLOOR<\/stage_direction>\n    <scene_description>Nantz appears on the landing, sees a SIGN: FOURTH FLOOR. He pulls the door open, peers DOWN THE FOURTH FLOOR HALLWAY. Sees that the EXTERIOR WALLS on one side of this floor have been BLOWN OPEN. Desks and chairs thrown about. The wind rustles papers through the ghostly office space, blowing them gently out the open walls, into the night. Beyond these open walls, from this high 4th floor vantage point, Nantz can see... The WARFARE raging at LAX. Explosions bloom in the night. In the opposite direction, a COLUMN OF TANKS is engaging a line of ALIEN MACHINES, confirming that he's right in the desperate thick of things. NANTZ STEPS INTO THE HALLWAY The other side of the hallway is eerily intact, a row of CLOSED OFFICE DOORS there. Nantz begins moving steadily down the hall, trying the closed office doors, one at a time, as he moves down the hallway. Locked, locked, locked... Then his eyes are caught by a FLASHING LIGHT in one of the offices that have been blown open to the night. On a desk, a COMPUTER is incongruously flashing a SLIDESHOW; PICTURES of someone's kids, family vacation, etc. Nantz is transfixed a moment, then he turns away, spies the next office door. IT'S AJAR. About to step there... An AWFUL, FAMILIAR HUM rings out. Nantz doesn't hesitate, running down the hallway as... AN ALIEN AIRCRAFT hovers into view, floating past the blown open walls as... Nantz dives through the door that's ajar into... AN OFFICE. Rolls on the floor, coming up face-to-face with... A COMBAT SHOTGUN. Nantz' combat shotgun, to be precise, pointed by... HECTOR. Whose small hands shake as he holds the large, unwieldy gun. Nantz immediately smiles with relief, Hector immediately lowers the gun, handing it to Nantz.<\/scene_description>\n    <character>HECTOR<\/character>\n    <dialogue>I brought your gun.<\/dialogue>\n    <scene_description>Nantz smiles wider at this. He examines Hector, sees a gash on his head, blood dripping.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <scene_description>Hector nods. Nantz hands the MEDALLION back to him.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Glad this came in handy.<\/dialogue>\n    <scene_description>Hector smiles, taking the medallion back. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRWELL - CONTINUOUS<\/stage_direction>\n    <scene_description>Nantz and Hector race DOWN THE STAIRS. No words, no time for it. Then Hector stops. Nantz looks at him. Then Nantz hears it. Below, on the stairs, the SOUND of movement. Something heading up... Nantz grabs onto Hector, pulling Hector behind him. Nantz raises the SHOTGUN, waits what seems an interminable period of time as the noise slowly builds and builds until... In the dim light of the stairwell, TWO ALIENS appear on the landing below, heading up the stairs. Resounding BOOMS as Nantz FIRES the shotgun, blowing the surprised aliens off their feet. Then Nantz grabs Hector's hand, pulls him down the stairs. They race by the dead aliens, not pausing, not looking back.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Good job bringing the shotgun.<\/dialogue>\n    <character>HECTOR<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>They disappear down the stairs. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDERGROUND PARKING GARAGE - MOMENTS LATER<\/stage_direction>\n    <scene_description>The stairwell DOOR cracks open. Nantz leans out of it, surveying the nearly empty garage. Rows of fluorescent lights reveal a field of ghostly white lines, a few CARS dotting the underground garage. Nantz moves out of the door, shotgun leading with one hand, keeping Hector directly behind him with the other. It's very still here, a strange contrast to the sound of warfare nearby, which is getting louder, more shattering. Nantz moves with Hector to a SMALL OFFICE, VALET SIGN by the door. As he moves, he pulls his Ka-Bar. Reaching the door, he sticks the long, thick knife blade into the door jamb, effortlessly popping the door open. He enters, immediately spies a small CABINET mounted on the wall. He pops this cabinet open with a flick of the knife... TWO SETS of KEYS hang inside. Nantz grabs them both.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Let's do some shopping.<\/dialogue>\n    <scene_description>Hector smiles as he follows Nantz back onto the garage floor. Nantz presses the keyless entry on one set of keys. Lights FLASH behind them. They turn to see... A red PORSCHE. Hector grins as he starts for the Porsche. But Nantz grabs his collar.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>I'm not driving through a combat zone in a car with four inches of ground clearance.<\/dialogue>\n    <scene_description>Nantz looks back, tempted.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>It is cool, though.<\/dialogue>\n    <scene_description>Nantz hits the keyless entry on the second set of keys.<\/scene_description>\n    <character>HECTOR<\/character>\n    <dialogue>And fast.<\/dialogue>\n    <scene_description>The lights of a DODGE RAM TRUCK flash on. Nantz smiles.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Yeah. But there's no substitute for three tons of American steel.<\/dialogue>\n    <scene_description>They jog to the Dodge Ram. But Hector stops, looks back.<\/scene_description>\n    <character>HECTOR<\/character>\n    <dialogue>They're coming.<\/dialogue>\n    <scene_description>Nantz looks back, too. Only then does he hear the noise of approaching aliens. He sees SHADOWS ON THE RAMP leading up to the street. They jump inside the truck. Nantz starts it, eyeing Hector.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Is there something you're not telling me?<\/dialogue>\n    <scene_description>...as ALIENS appear, bounding down the ramp. Nantz squeals out of the parking space, speeds toward the exit.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Get on the floor.<\/dialogue>\n    <scene_description>Hector quickly slides down onto the floor of the truck as... ALIENS racing through the dimly-lit garage now, suddenly closing in on the truck from all directions. An ALIEN shoots a PROJECTILE at the truck. Nantz spins the wheel, TURNING AWAY sharply. The PROJECTILE EXPLODES against a concrete pillar. Nantz races the pick-up toward the EXIT RAMP. IN THE REARVIEW MIRROR, he sees ALIENS bounding after the truck, flying in and out of the shadows. Then an ALIEN suddenly appears on the driver's side of the truck, leaping at them. Nantz twists the wheel, SLAMMING the truck INTO THE ALIEN, a back wheel rolling over it. But this alien somehow CLINGS TO THE TRUCK'S UNDERCARRIAGE. THE DODGE RAM BOUNCES ONTO THE STREET. The ALIEN still hanging on as the truck zooms forward, banging along the street. IN THE CAB Hector creeps up from the floor, turns to see... The ALIEN climbing ONTO THE PICK-UP'S TAILGATE now.<\/scene_description>\n    <character>HECTOR<\/character>\n    <dialogue>It's on the back...!<\/dialogue>\n    <scene_description>Nantz looks into the rearview mirror.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Goddamnit.<\/dialogue>\n    <scene_description>He SCREECHES TO A HALT. Slams the pick-up into REVERSE, ZOOMING BACKWARDS... CRASHES the back of the pick-up into a DELIVERY TRUCK, sandwiching the alien BETWEEN THE HEAVY BUMPERS. Then Nantz screeches off as Hector looks back. Sees... The alien is still clinging to the truck's tailgate.<\/scene_description>\n    <character>HECTOR<\/character>\n    <dialogue>It's still there.<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Technically.<\/dialogue>\n    <scene_description>A QUICK CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>As the pick-up pulls away, we see the alien has been SEVERED at the waist. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAB OF TRUCK - CONTINUOUS<\/stage_direction>\n    <scene_description>Nantz floors it, ROLLING DOWN THE PASSENGER SIDE WINDOW.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Get down.<\/dialogue>\n    <scene_description>Hector looks confused, then ducks onto the floor as Nantz points the shotgun out the passenger side window, BLASTING... An ALIEN leaping at the pick-up. Sending its body flying. Nantz can see the BATTLE still raging at LAX.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>We're gonna make a run for it. We're gonna head east, we're gonna get you someplace safe...<\/dialogue>\n    <scene_description>On this, Hector looks up at Nantz' grim face, seeing in it how desperate their situation is. Nantz spins the wheel, taking a HARD TURN, flying down... A SIDE STREET. Then suddenly screeching to a halt as... ALIENS appear from alleys on either side of the street, blocking their way. Nantz peers out to see... ONE ALIEN gripping an M-16 RIFLE.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <parenthetical>(stunned)<\/parenthetical>\n    <dialogue>Holy shit.<\/dialogue>\n    <character>HECTOR<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>They're adapting.<\/dialogue>\n    <scene_description>The alien focuses on Nantz, the glint of recognition between them as it raises the rifle... And Nantz can see that the ALIEN IS MISSING ITS CLAW-LIKE FINGERS on one hand.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Sonuvabitch.<\/dialogue>\n    <scene_description>Nantz jams the truck in REVERSE, FLIES BACKWARDS as the alien FIRES the rifle, the errant shot going wide.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Yeah, learn to shoot you piece of...<\/dialogue>\n    <character>HECTOR<\/character>\n    <dialogue>It's shooting...?!<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Yeah. With my rifle. My own goddamn rifle!<\/dialogue>\n    <scene_description>The aliens BOUND AFTER THE TRUCK as it races away to... SEPULVEDA BOULEVARD As Nantz careens onto this major thoroughfare running past the airport, he immediately brakes, spinning out.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <parenthetical>(muttering)<\/parenthetical>\n    <dialogue>Oh... no...<\/dialogue>\n    <scene_description>Hector pulls himself up from the floor of the cab, sees... One of the ALIEN ARMORED MACHINES suddenly there as... A COBRA appears, FIRING a MISSILE, hitting the machine, staggering it. But the machine straightens, FIRES, hitting the Cobra, which plummets toward the ground, RIGHT AT THE PICK-UP as... Nantz grips the wheel, presses the accelerator down hard. And the Cobra crashes RIGHT BEHIND THEM, its rotors spinning dangerously, debris trailing the pick-up as... Nantz zooms off. He looks back to see... ALIENS appearing around the fallen chopper, BOUNDING PAST IT, still FOLLOWING NANTZ as he flies... INTO A TUNNEL That runs underneath the airport runways. The tunnel's intermittent lights flash by, strobe-like. Nantz sees the END OF THE TUNNEL looming ahead, STREETLIGHTS visible beyond the exit. Nantz is fifty yards away from the exit, forty, thirty... Then the streetlights dim, darkness flowing across them as... BOOM! An ALIEN ARMORED MACHINE CRASHES at the tunnel's EXIT. Nantz hits the brakes, the truck careens out of control as... The tunnel's EXIT CAVES IN, rubble raining down, SEALING THE EXIT around the massive bulk of the alien machine as... The pick-up skids around, a one-eighty, STOPPING just short of the cave-in, facing the opposite direction. SMOKE from the truck's burning rubber rising around it as the doors fly open. Nantz is instantly... OUT OF THE TRUCK Slinging the SHOTGUN over his shoulder. Hector follows as... The SOUND of the aliens RUNNING through the tunnel, heading towards them, ECHOES off the walls. Nantz is all-business, rooting in the bed of the pick-up, grabbing at a BUNGEE CORD clipped to the truck's gate. Hector's wide eyes are focused on the alien machine buried under the rubble. Parts of it are reflexively MOVING, twitching as if it's alive. Nantz grabs C-4 EXPLOSIVE from one pocket, a GRENADE from a pouch. He molds the clay-like C-4 around the grenade, eyes searching the tunnel as he does. He spies a DOOR in the tunnel wall, motions to it.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Get by that door.<\/dialogue>\n    <scene_description>Hector stays rooted, transfixed by the machine, as Nantz sees the ALIENS, a couple of hundred yards away... CLOSING FAST.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Now, Hector.<\/dialogue>\n    <scene_description>And the kid looks at Nantz, then moves toward the door as... Nantz wraps the bungee cord around the C-4\/grenade, places it ON THE SEAT of the truck. Then he whips his BELT off, looping it around the steering wheel, tying the wheel off. Nantz backs from the cab of the truck with the slightest glance at the approaching aliens, a hundred yards away now. Nantz fights to stay focused. He grabs a heavy PIECE OF RUBBLE, moves back to the cab of the truck with it. Drops it on the floor of the truck's cab. Then Nantz PULLS THE PIN on the GRENADE, shifts the truck into DRIVE, drops the heavy rubble ONTO THE ACCELERATOR. The TRUCK DRIVES OFF as... Nantz races TO THE DOOR with a quick warning:<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Get back.<\/dialogue>\n    <scene_description>Hector backs away as Nantz swings his shotgun forward, FIRES AT THE DOOR HANDLE in one swift motion, blowing the lock off. Nantz pulls the DOOR OPEN, disappearing through the doorway with Hector just as... BOOM! The grenade EXPLODES. The truck goes up in a gasoline- fueled FIREBALL. Alien body parts rain down through the smoke and fire. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDERGROUND SERVICE HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Utility lighting gives the place a dim, faintly greenish glow. As the SOUND of the explosion FADES, Nantz stands very still, peering down the long hall, looking for movement.<\/scene_description>\n    <character>HECTOR<\/character>\n    <dialogue>It's okay.<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>What's okay?<\/dialogue>\n    <character>HECTOR<\/character>\n    <dialogue>It's safe right now.<\/dialogue>\n    <scene_description>Nantz eyes Hector, begins setting up the CLAYMORE MINE inside the door.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>How do you know it's safe?<\/dialogue>\n    <scene_description>Nantz rigs a TRIPWIRE from the mine to the door.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Come on, Hector. What's going on? Seems like you always know when they're coming.<\/dialogue>\n    <scene_description>As Nantz runs the tripwire across the door, tying it off, he fixes Hector with a gaze.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>I need answers, Hector.<\/dialogue>\n    <character>HECTOR<\/character>\n    <dialogue>It's safe... 'cause I don't hear them talking.<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Yeah, no one does.<\/dialogue>\n    <scene_description>Nantz turns, leads Hector DOWN THE LONG HALLWAY.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Don't know how they communicate. I mean, I haven't seen them talking to each other or...<\/dialogue>\n    <character>HECTOR<\/character>\n    <dialogue>You don't see them talk. They just kind of do it.<\/dialogue>\n    <scene_description>Nantz comes to a DOOR. Tries it. It's locked.<\/scene_description>\n    <character>HECTOR<\/character>\n    <dialogue>At first, I thought everybody heard them.<\/dialogue>\n    <scene_description>Nantz pops the door open with his knife. They enter... A SMALL UTILITY OFFICE A desk, a phone, lockers and tools in the corner.<\/scene_description>\n    <character>HECTOR<\/character>\n    <dialogue>Then I realized it was just me...<\/dialogue>\n    <scene_description>Nantz rifles through the desk drawers.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Hector, what are you saying? You gotta spell it out.<\/dialogue>\n    <character>HECTOR<\/character>\n    <dialogue>I hear them... communicate.<\/dialogue>\n    <scene_description>Nantz stops, stares at Hector on this.<\/scene_description>\n    <character>HECTOR<\/character>\n    <dialogue>I don't know how. But that's why I know they're coming. We have cell phones to talk to people far away. It's like they can do the same thing, but with ESP or something... I didn't tell 'cause I figured no one would believe me.<\/dialogue>\n    <scene_description>Nantz finds a SCHEMATIC DRAWING of the underground area, showing tunnel lines, infrastructure points labeled on it.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Let's go.<\/dialogue>\n    <parenthetical>(holding up schematic)<\/parenthetical>\n    <dialogue>We're gonna find a way out of here.<\/dialogue>\n    <scene_description>Nantz moves back to the door, Hector following. They step... INTO THE HALLWAY.<\/scene_description>\n    <character>HECTOR<\/character>\n    <dialogue>They're here.<\/dialogue>\n    <scene_description>BEAT. Nantz looks at Hector. Then back DOWN THE LONG HALL at the EXIT DOOR as... It OPENS. Nantz grabs Hector, RUNNING DOWN THE HALL as behind them... ALIENS appear in the doorway as... THE CLAYMORE EXPLODES. A massive SPRAY OF DEADLY SHRAPNEL. The aliens are instantly enveloped in smoke, cut to pieces. NANTZ AND HECTOR RUN INTO A STAIRWELL. Which leads DOWN only. Nantz hurries Hector DOWN the stairs.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Keep moving.<\/dialogue>\n    <scene_description>He pulls the SCHEMATIC out as their feet fly down the steps.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>We're only about fifteen feet underground.<\/dialogue>\n    <scene_description>They come to a door, head through it, entering... ANOTHER LONG HALLWAY. They run through. Nantz studies the schematic.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Okay. There's a ventilation room nearby. Looks like a service building is above it. If we can access the building, we should be able to get onto the street.<\/dialogue>\n    <scene_description>They start moving. Then Nantz spies ANOTHER DOOR, points.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>There.<\/dialogue>\n    <scene_description>They rush to the door, pull it open moving into... A CAVERNOUS VENTILATION ROOM. They stand on a CATWALK, staring down into the deep wide space that drops at least two stories into the earth, huge VENTILATION FANS at the bottom. But that's not what has them transfixed. Nantz and Hector are stunned by the incongruous sight of... A C-5 GALAXY TRANSPORT PLANE That has crashed through the SERVICE BUILDING above ground. The Galaxy, one of the world's largest aircraft, is almost as long as a football field and as high as a six-story building. It can transport combat equipment, tanks and helicopters. The massive plane sits precariously, NOSE DOWN, tail jutting THROUGH THE ROOF of the service building above. The hint of the OUTSIDE WORLD is visible beyond the plane's tail, a good THIRTY FEET ABOVE the catwalk. Rubble falls around the plane, sparks flaring from it. Then a NOISE from somewhere behind them, coming from the long hallway... Nantz peers out the door, staring DOWN THE LONG DARK HALL. Unnerved, he closes the door, pushing Hector ALONG THE CATWALK, checking the schematic.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Need to keep moving. Just keep... There's another route...<\/dialogue>\n    <parenthetical>(quietly, desperately)<\/parenthetical>\n    <dialogue>Got to be another route.<\/dialogue>\n    <scene_description>They reach A SECOND DOOR on the catwalk. Nantz opens it. ANOTHER DARK STAIRWELL... Leading DOWN. It seems an ominous path. Nantz pulls Hector into the stairwell. They start down the stairs. But Hector slows.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>What... We'll be okay. There's another way out once we cross...<\/dialogue>\n    <character>HECTOR<\/character>\n    <dialogue>There's something down here.<\/dialogue>\n    <scene_description>BEAT. Nantz looks over. Holds Hector's gaze.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>What? Aliens?<\/dialogue>\n    <character>HECTOR<\/character>\n    <dialogue>I don't know. Something they talk with.<\/dialogue>\n    <scene_description>Nantz peers down the long stairwell that disappears into the darkness.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>There's just a hallway down at the bottom.<\/dialogue>\n    <character>HECTOR<\/character>\n    <dialogue>Under that.<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Under it...?<\/dialogue>\n    <scene_description>Nantz looks at the schematic.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Nothing under it but a drainage tunnel...<\/dialogue>\n    <character>HECTOR<\/character>\n    <dialogue>That leads to the ocean.<\/dialogue>\n    <scene_description>Nantz looks from the schematic up at Hector, his silence confirming what Hector just said. Then the NOISE somewhere behind them again...<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>We've got to move.<\/dialogue>\n    <scene_description>Hector nods. No choice but to... HEAD DOWN THE STAIRS Nantz races forward with Hector, whose trying to keep up. He begins wiping at his face, looking stricken in some way. THEY REACH THE BOTTOM OF THE STAIRWELL. A single DOOR there. Nantz cracks it so see... A SERVICE TUNNEL. Dark and damp. A nest of steam and gas pipes line the walls. Utility lights glow every thirty feet. Nantz consults the schematic as they move INTO THE TUNNEL. But Hector seems to be slowing again. Nantz looks back.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>You all right? Come on...<\/dialogue>\n    <scene_description>But the boy stops, slumping down now. Nantz grabs him, holds him up. Then Hector clutches his head, eyes glazing over.<\/scene_description>\n    <character>HECTOR<\/character>\n    <dialogue>It's like they're all... Talking. You can't hear it?<\/dialogue>\n    <scene_description>He is clearly in physical pain now. Nantz kneels next to Hector, puts his arms around him. Hector looks up. A beat.<\/scene_description>\n    <character>HECTOR<\/character>\n    <dialogue>You had a son. Right?<\/dialogue>\n    <scene_description>Nantz stops, unnerved.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>What makes you say that?<\/dialogue>\n    <character>HECTOR<\/character>\n    <dialogue>You seem like a dad.<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>But why did you say, \"had a son...\"?<\/dialogue>\n    <character>HECTOR<\/character>\n    <dialogue>Because... you told Ms. McDermott you didn't have kids.<\/dialogue>\n    <scene_description>Beat. Nantz studies Hector. Then...<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>He got sick. My son. He died.<\/dialogue>\n    <scene_description>Nantz pulls out the PICTURE of the LITTLE BOY we saw in his barracks room earlier. He shows it to Hector. A moment between them. Then MASSIVE BOOMS ring out from the warfare on the surface. The LIGHTS FLICKER, then GO OUT. It is suddenly PICTH BLACK.<\/scene_description>\n    <character>HECTOR<\/character>\n    <dialogue>Scared...<\/dialogue>\n    <scene_description>Nantz flicks on his flashlight. A small pool of light.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>It's all right. I'm going to get you out of here.<\/dialogue>\n    <character>HECTOR<\/character>\n    <dialogue>No, they're scared...<\/dialogue>\n    <scene_description>Hector looks up at Nantz, stares.<\/scene_description>\n    <character>HECTOR<\/character>\n    <dialogue>I don't think they can go back.<\/dialogue>\n    <scene_description>Nantz doesn't know what to say. He just holds the boy, lightly stroking his head.<\/scene_description>\n    <character>HECTOR<\/character>\n    <dialogue>They're moving underneath us. Is that where that drainage tunnel is?<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>HECTOR<\/character>\n    <dialogue>It's like it's controlling everything...<\/dialogue>\n    <scene_description>Nantz reacts, clearly this has significance to him.<\/scene_description>\n    <character>HECTOR<\/character>\n    <dialogue>You don't believe me.<\/dialogue>\n    <scene_description>Another beat. Then...<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>I believe you.<\/dialogue>\n    <scene_description>And as he says this... The slow FADE IN of a GLOWING LIGHT, as if it's rising through the floor. Nantz stares at it, then stands, flicking off his flashlight.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Stay here.<\/dialogue>\n    <scene_description>Nantz steps forward, toward the strange glow of light. As he approaches, he realizes it's coming through... An IRON GRATE in the floor The SOUND of rushing WATER coming from it. Nantz moves to the grate, kneels, PEERING DOWN INTO... A MASSIVE DRAINAGE TUNNEL Fifty feet wide, the dim tunnel is illuminated by something large and glowing UNDERNEATH THE DEEP WATER, moving forward; the source of the light that drew him to the grate. As it approaches, Nantz sees that it is a long, MACHINE-LIKE MASS, bristling with what appear to be antennae. The machine glows with an intense light, clearly giving off energy as steam rises from the water. And surrounding it... HUGE ALIENS, much bigger than the others, a fearsome WARRIOR CASTE guarding the glowing mass. There are HUNDREDS of them, stretching endlessly back into the tunnel. Nantz watches, perfectly still. But one of the huge aliens looks up, staring right at him. Nantz spins, runs back to Hector, taking his hand, pulling him away. They disappear around a corner as... BANG. The iron GRATE FLIES into the air. A giant HAND comes up, its claws grabbing at the concrete, ripping it down, enlarging the hole in the floor until... One of the huge WARRIOR ALIENS vaults out. It is monstrous. Over twelve feet tall, the alien creature is thick, muscled, gargantuan. Its bulbous head displays rows of dripping, spike-like teeth. It suddenly bounds forward, in Nantz' direction. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DIFFERENT PART OF THE SERVICE TUNNEL<\/stage_direction>\n    <scene_description>Nantz races along with Hector. Everything is still dark. Which is fine considering they hear the HEAVY FOOTSTEPS of the warrior alien pounding along in pursuit of them. Hector stumbles, going down. And in the darkness, for just a moment, Nantz can't find him. He fumbles for the boy as the OMINOUS POUNDING of feet GROWS behind them. Nantz grabs onto Hector in the dark, pulling him to the wall, feeling along it desperately, finding a RECESS in the wall. They plaster themselves into it just as... The hideous bulk of the WARRIOR ALIEN FLASHES BY in the darkness, pounding forward, disappearing down the tunnel. Nantz and Hector remain very still, flat against the wall as... The pounding recedes into the distance. Nantz pulls the SCHEMATIC, turns against the wall, flicking on the FLASHLIGHT, hooding it with a hand. Then he turns the LIGHT OFF. Turns back to Hector, whispers:<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>There's another stairwell that leads to that ventilation room. We've got to try get out there.<\/dialogue>\n    <character>HECTOR<\/character>\n    <dialogue>Shh...<\/dialogue>\n    <scene_description>Nantz stops. Silence. Then he hears a horrible PANTING. The warrior alien is back... Somewhere. They can't see it, but they can hear its LOW GROWL. They freeze, perfectly still in the dark. The sound gets VERY CLOSE. A long beat. Until, finally, it recedes. They wait as the sound FADES INTO THE DISTANCE. Then, slowly, Nantz leads Hector forward, feeling his way along, finding a DOOR, opening it to see... ANOTHER STAIRWELL Dark here except for faint LIGHT bleeding in from a DOORWAY above them. They race up the stairs towards the door as... An unearthly roar behind them.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Don't look back, Hector. Run!<\/dialogue>\n    <scene_description>The stairwell door below them is SMASHED OPEN. As Nantz and Hector run up the stairs, the SOUND of something huge bounding up behind them... Nantz pushes Hector forward.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Go! Keep going!<\/dialogue>\n    <scene_description>Hector runs up to the DOOR above, but it's LOCKED as... Nantz spins, swinging his shotgun. BOOM! The blast ILLUMINATES the huge WARRIOR ALIEN, filling the stairwell with it's horrible bulk. Nantz backs up the stairs toward Hector, pumping the shotgun, firing... BOOM BOOM BOOM... Each blast ILLUMINATES THE WARRIOR ALIEN in a STROBE-LIKE EFFECT as... Nantz reaches Hector, stumbling against the locked door... He PUMPS and FIRES, PUMPS and FIRES. The NOISE IS DEAFENING in the enclosed space, Hector is SCREAMING. And then the SHOTGUN RUNS DRY. Nantz drops the shotgun, pulls his sidearm, FIRING desperate rounds, the FLASHES from the sidearm revealing the massive alien almost upon them as... The sidearm runs dry. And we're left IN DARKNESS. The slightest beat... Then Nantz flicks on his FLASHLIGHT, revealing.. The warrior alien at Nantz' feet, an immense claw on his boot. Nantz kicks the alien's claw away, slamming a new clip into the sidearm, breathing hard, terrified. He aims at the alien, waiting to see if it will move. It doesn't. Nantz turns, pulling Hector behind him, shooting the lock off the door. They open it to see they're back...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VENTILATION ROOM<\/stage_direction>\n    <scene_description>AT THE CATWALK, but on the other side of the huge ventilation room, close to the nose-down, CRASHED PLANE. Nantz looks up, pointing to the hole in the building's roof far above them.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>If we can climb through the plane, maybe we can get out up there...<\/dialogue>\n    <character>HECTOR<\/character>\n    <dialogue>But we have to stop that thing in the water. What if it's the one thing they need?<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Hector. They're gonna be coming. I promised your dad I'd...<\/dialogue>\n    <character>HECTOR<\/character>\n    <dialogue>They killed my dad.<\/dialogue>\n    <scene_description>A beat. Then Nantz nods.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>All right.<\/dialogue>\n    <scene_description>Nantz leads Hector to the plane. They exchange a glance, then Nantz hurdles OVER the catwalk railing... LANDING ON THE PLANE'S FUSELAGE. Nantz steadies himself. Then looks back at Hector, who nods. Hector climbs over the catwalk railing, drops into Nantz' arms. They climb slowly along the plane, then edge through a GAPING HOLE in the fuselage... INTO THE PLANE Nantz drops down first, then catches Hector who lets himself fall into the plane. They look around the INTERIOR OF THE PLANE. It truly is CAVERNOUS, an ENORMOUS PILE OF SMASHED MILITARY VEHICLES, Humvees, jeeps and the like, in the plane's CARGO HOLD. They have all FALLEN TOWARD THE NOSE OF THE PLANE, stacked like a huge, unstable METAL MOUNTAIN in the upended plane. Nantz wedges himself into the cockpit. Hector watches him... THROUGH THE COCKPIT DOORWAY. With the plane on end, Nantz has to struggle to hoist the BODIES of the plane's crew members out of the way. Then Nantz reaches the controls. He looks back at Hector.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Once I key this radio, we're committed. They'll be coming.<\/dialogue>\n    <scene_description>Nantz is poised over the radio. Then Hector nods.<\/scene_description>\n    <character>HECTOR<\/character>\n    <dialogue>Retreat hell.<\/dialogue>\n    <scene_description>Nantz smiles. He GRABS THE PLANE'S RADIO MIC, keys it.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <parenthetical>(into radio)<\/parenthetical>\n    <dialogue>Command, this is Sgt. Michael Nantz. 2nd squad, 1st platoon, Echo Company of the 2\/5.<\/dialogue>\n    <scene_description>A voice from command floats into the cockpit, sounding harried, desperate, struggling to stay in control.<\/scene_description>\n    <character>COMMANDER (V.O.)<\/character>\n    <dialogue>Go ahead, sergeant.<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>I am in an underground ventilation room just south of LAX. There is an alien Command and Control device below my position that is coordinating enemy forces.<\/dialogue>\n    <character>COMMANDER (V.O.)<\/character>\n    <dialogue>You have confirmation of this, sergeant?<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>It's in a drainage system that runs to the ocean. They're coming in from there. Underwater. Bunker buster can reach it.<\/dialogue>\n    <character>COMMANDER (V.O.)<\/character>\n    <dialogue>Repeat. Can you confirm this is a central C&amp;C asset? We cannot waste armament at this point.<\/dialogue>\n    <scene_description>Nantz stares at Hector as he replies:<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>I have confirmation, command.<\/dialogue>\n    <scene_description>And the communication instantly shifts, clipped direction:<\/scene_description>\n    <character>COMMANDER (V.O.)<\/character>\n    <dialogue>Dial your IFF transponder to zero delta zero, two whiskey tango. We'll need you to stand by until we verify target acquisition.<\/dialogue>\n    <scene_description>Nantz TURNS DIALS on the aircraft's TRANSPONDER by the radio.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Roger. Zero delta zero, two whiskey tango. Standing by.<\/dialogue>\n    <scene_description>Dials set, Nantz just waits, gesturing to the transponder.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>They have to zero in on the transponder's signal.<\/dialogue>\n    <scene_description>Hector nods. A LONG BEAT. Then...<\/scene_description>\n    <character>HECTOR<\/character>\n    <dialogue>What happened to your son?<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>My son? Um... His name was Michael, like me. He was... a heck of a kid. He loved to swim. And chocolate milk. He loved to ride on my shoulders...<\/dialogue>\n    <scene_description>Nantz has to pause a moment. Another time, another place...<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>He got sick with leukemia - that's a kind of cancer. And we tried everything... My wife and I couldn't really make it after that. We were young and...<\/dialogue>\n    <character>HECTOR<\/character>\n    <dialogue>And then you became a marine.<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Right. Then I became a marine.<\/dialogue>\n    <scene_description>A SHADOW PASSES THROUGH THE COCKPIT NOW. They both see it. They stare at each other, smiles disappearing. Nantz hunches, PEERING OUT of a window.<\/scene_description>\n    <character>HECTOR<\/character>\n    <dialogue>What are you going to do?<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>I'm gonna get my rifle back.<\/dialogue>\n    <scene_description>Without turning his eyes away, he SIGNALS with a hand. Hector immediately understands Nantz' signal. He turns, begins climbing the MOUNTAIN of SMASHED JEEPS and HUMVEES clogging the interior of the airplane. Nantz crouches out of sight in the cockpit as... THE ALIEN WITH MISSING FINGERS Enters the open cargo door with Nantz' M-16 RIFLE. Nantz aims his sidearm, but doesn't have a clear shot; the alien partially concealed behind the wrecked vehicles. Finally, it emerges. But as Nantz squeezes the trigger... The commander's VOICE crackles into the space.<\/scene_description>\n    <character>COMMANDER (V.O.)<\/character>\n    <dialogue>We're locked. Inbound. Two minutes.<\/dialogue>\n    <scene_description>BAM! Nantz' shot ricochets by the alien's head just as it TURNS toward the voice. The alien dodges BEHIND THE MOUNTAIN OF VEHICLES. Nantz edges forward, taking cover, aiming around the interior of the plane. But the alien is nowhere to be seen. Hector peers down from the stack of military vehicles.<\/scene_description>\n    <character>HECTOR<\/character>\n    <dialogue>Look out!<\/dialogue>\n    <scene_description>Nantz dives away just as the alien comes up from behind a smashed Humvee, FIRING NANTZ' M-16 WILDLY. Nantz scrambles behind cover. Then he peers around, sidearm out, searching. Movement above catches his eye... He looks up, sees the ALIEN CLIMBING the vehicles now, going after Hector. Nantz aims, but the alien ducks out of sight. Nantz holsters his sidearm, BEGINS CLIMBING, hurrying toward Hector, who is moving quickly up the mountain of vehicles. Then Nantz spies the alien through the jumble of metal. Nantz hangs onto a jeep with one hand, pulls his sidearm with the other. He aims. But Nantz loses his firing angle as the alien continues to climb. It's better at it than Nantz, making faster progress up the towering mountain of vehicles. Nantz climbs more desperately, pulling himself up a HUMVEE. But the Humvee shifts, giving way to gravity, FALLING... Nantz loses his grip. He TUMBLES DOWN, landing hard ON A JEEP below him as.. The Humvee, FALLING DOWN ON NANTZ, STOPS inches from his head as its FRONT END WEDGES against the side of the plane. Nantz, hurt, struggles to right himself. Wincing in pain, he begins climbing again as... Hector looks down, sees the alien appearing around the smashed vehicles, HISSING at him as it climbs rapidly. Hector turns back, struggling not to look down. But the fright gets the better of him. Finally he looks down to see... The alien right below him, slashing out as... Nantz suddenly appears INSIDE ONE OF THE VEHICLES, having climbed through the front seat... Nantz swings his Ka-Bar, just able to catch the alien in its leg. As the creature rears back in pain, it falls down hard, right into Nantz' sight. Face-to-face, Nantz pulls his sidearm, pushing the barrel against the alien's chest, FIRES. A split second as Nantz stares into the creature's eyes. Which are not like human eyes. They seem bottomless. Then Nantz reaches out...<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>I'll take that.<\/dialogue>\n    <scene_description>...grabbing his M-16 from the alien just as... The alien tumbles backwards, falling the length of the plane. Nantz watches it go, then he looks up at Hector, relieved... But sees that Hector is terrified, staring out. Nantz turns now, looks OUT THE PLANE'S OPEN CARGO DOOR as... BOOM! The DOOR on the catwalk FLIES OFF ITS HINGES, tumbling down, clanging end-over-end. Then... FOUR HUGE WARRIOR ALIENS shoulder their way through the doorway, onto the catwalk. Nantz looks up at Hector, says simply:<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Go!<\/dialogue>\n    <scene_description>Hector starts climbing again as Nantz FOLLOWS UP the mountain of military vehicles piled end-to-end in the cargo hold. The WARRIOR ALIENS jump ONTO THE FUSELAGE of the plane. Hector frantically searches for hand holds on the vehicles, grabbing a sideview mirror, then reaching into the front seat of a jeep, grabbing the wheel, pulling himself up, having to climb through the jeep to get to the next vehicle. Nantz FOLLOWS, looking up at the NIGHT SKY peeking out beyond the tail of the plane above; it seems impossibly far away. Then Nantz stops, finds foot and hand holds, steadies himself against the CONSTANTLY SHIFTING mountain of vehicles. Nantz pulls his rifle up, takes careful aim as... The FIRST WARRIOR ALIEN enters the plane's cargo door. BANG. NANTZ DELIVERS A PERFECT HEAD SHOT. And the alien FALLS. The slightest beat. Then it rises. Nantz fires a three round burst into its head. But the alien reflexively reaches out to the smashed mountain of vehicles, about to start climbing as... Nantz fires another three round burst into the alien's head. And another and another... Until it drops for good. But immediately one, two, three more WARRIOR ALIENS bound into the plane. Nantz fires, hitting two of them. But the shots have little effect. The aliens disappear behind the tumble of vehicles in the plane. Nantz slings the rifle over his shoulder, begins climbing again, hurrying toward Hector as... The mountain of vehicles suddenly rocks precariously. Below him, the massive warrior aliens are heaving on the pile of vehicles, making the unstable mountain shift even more. Nantz TUMBLES DOWN, falling hard on the Humvee that is wedged against the side of the plane. Nantz yells in pain. A jagged piece of METAL sticks through his bicep. He pulls his arm off of it, stands. Then he sees a WARRIOR ALIEN below him, making fast progress. Nantz struggles desperately to pull himself up and over the Humvee, which ROCKS with his weight. Nantz steadies himself, swings his M-16 around, firing, hitting the alien below him, which is knocked back by the shots. But immediately it begins climbing again as... Nantz grabs a STRAP on the plane's wall with his good arm, begins POUNDING his feet into the Humvee causing it to teeter precariously... And just as the warrior alien reaches Nantz... The Humvee lets loose from the mountain of vehicles... FALLING STRAIGHT DOWN ONTO THE ALIEN Driving it toward the nose of the plane below. The Humvee hits the SECOND WARRIOR ALIEN climbing up, then the THIRD, burying them all in a SHUDDERING CRASH. Nantz, hanging onto the strap on the plane's wall, has to reach to the mountain of vehicles. Gets a foot there, slaps a hand on a truck, begins painfully pulling himself up as... SCREECH! Below him, the HUMVEE SHIFTS. Nantz looks down, amazed to see the Humvee being PUSHED ASIDE by the warrior aliens. They're still alive. And they're CLIMBING again, bounding upward, as... Nantz looks up to see Hector is at the plane's tail, HOISTING HIMSELF OUT through the HOLE in the SERVICE BUILDING'S ROOF. Nantz follows quickly as... A horrible ROAR rings out. THE WARRIOR ALIENS ARE RIGHT BEHIND HIM NOW. Nantz empties his sidearm INTO THE LEAD ALIEN, almost dispatching it as... Another massive alien grabs the wounded lead alien, THROWS IT OFF THE PILE OF VEHICLES, sending it tumbling out of the way. Nantz reaches the HOLE in the SERVICE BUILDING ROOF as he sees... MORE WARRIOR ALIENS APPEAR ON THE CATWALK, jumping onto the fuselage, moving INTO THE PLANE as... Nantz pulls a GRENADE, pulling the pin with his teeth. Nantz DROPS the GRENADE, watching it fall the length of the massive plane as... The WARRIOR ALIEN slashes out, digging its claws into Nantz' leg as... The GRENADE EXPLODES. The PLANE BREAKS APART. It falls away... We see the SNARLING FACES of the doomed warrior aliens as the PLANE TUMBLES DOWN, breaking into a FIERY MASS at the bottom of the cavernous ventilation room as... Nantz clings desperately to the crumbling roof edge. About to slip into the void below him, he spies Hector, whispers:<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>Run.<\/dialogue>\n    <scene_description>But Hector doesn't run. He moves to Nantz instead, grabs onto him. Hector flattens himself to the roof of the building, pulling on Nantz. His efforts seem to be completely in vain. He hasn't the strength to pull Nantz out. But after a moment we realize... Hector's efforts make the difference. He won't let Nantz go. And Nantz can't let him go, either. Nantz finds reserves of strength that weren't there a moment ago. He struggles mightily, pulling himself... ONTO THE ROOF OF THE SERVICE BUILDING. Flat on his back, Nantz looks up to see a HINT OF DAYBREAK in the distant sky. It's momentarily comforting... Until the faint outline of a PLANE HIGH ABOVE comes into view. And Nantz knows what it is...<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>That's it. We gotta move.<\/dialogue>\n    <scene_description>He makes it to his feet as the plane wings closer. He and Hector race to the edge of the building, to.... A FIRE ESCAPE LADDER. They clamber DOWN, reaching... THE GROUND BELOW. They turn, run desperately as we... PULL BACK To see ALIEN MACHINES firing on tanks nearby... A DOGFIGHT in the air, alien aircraft racing after Cobras... An F-18 running into another of the 'floating mines' as... From this LONG-RANGE VISTA, we pick up... THE BUNKER BUSTER dropping from a high-flying A-10 WARTHOG. The bomb's dark outline is set against the EVER-LIGHTENING SKY as it rushes to the earth. Then a huge EXPLOSION as the BOMB BURROWS into the ground, a geyser of dirt and debris rising from the now-destroyed service building. A massive sinkhole splits open and we... SMASH CUT TO: NANTZ AND HECTOR Still running forward as the GROUND HEAVES UP in a wave; a terrifying, disorienting earthquake. They're thrown off their feet, the world seeming to spin around them. They lie motionless a moment. Then Nantz rises slowly, unsteadily, leaning down to pull Hector up as SOUND FADES. And in the slow stillness, Nantz looks up to see... An ALIEN ARMORED MACHINE looming over him. Nantz just stares up at it. But the armored machine is STOPPED IN ITS TRACKS. Nantz and Hector stand before it as we... RISE ABOVE THIS SCENE To see other IMMOBILE ALIEN ARMORED MACHINES. Sitting ducks now, F-18s circle toward them, picking them off one by one, decimating them with missile bursts. KEEP RISING INTO THE SKY... To see ALIEN AIRCRAFT FALLING in the distance, disabled, crashing to the ground. FLOAT HIGHER IN THE SKY To see a MASSIVE RETREAT OF ALIENS, looking like ants from this high vantage point, as they race BACK INTO THE OCEAN. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLACK HAWK - LATER<\/stage_direction>\n    <scene_description>DAWN, a GOLDEN SUN RISING as we realize this high vantage point is actually... HECTOR'S POV Of the OCEAN below him as he is being flown in the chopper. Hector is sitting between Nantz and Michele as they zoom over the ocean, a serene view of the sparkling water now as the ecstatic voice of the Black Hawk pilot fades in:<\/scene_description>\n    <character>PILOT (O.S.)<\/character>\n    <dialogue>They're in full retreat here. Thanks to our secret weapon...<\/dialogue>\n    <scene_description>We see the HELICOPTER PILOT now, turning to smile at Hector.<\/scene_description>\n    <character>PILOT<\/character>\n    <dialogue>That's you, little man.<\/dialogue>\n    <scene_description>Hector spies a CLIPBOARD in a CREW MEMBER'S hand. On it, we see the WORDS... Battle: Los Angeles, Battle: Oxnard, Battle: Santa Barbara, Battle: Monterey... Lists of numbers and statistics after each of these notations.<\/scene_description>\n    <character>PILOT<\/character>\n    <dialogue>Heard you figured out how they communicate. Some alien ESP or something...<\/dialogue>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>He's had a rough night, captain. Maybe we should give it a rest.<\/dialogue>\n    <character>PILOT<\/character>\n    <dialogue>Sure. Sit back and relax, buddy. We'll take you up the coast, let you work your magic. Send those suckers back into the ocean!<\/dialogue>\n    <scene_description>Michele eyes Nantz, then leans over to Hector. Softly:<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <scene_description>Hector nods. Michele exchanges a glance with Nantz. Then Nantz looks down to see the 2\/5 MEDALLION clutched tightly in Hector's hand. Hector meets Nantz' gaze, whispers:<\/scene_description>\n    <character>HECTOR<\/character>\n    <dialogue>But they're still down there.<\/dialogue>\n    <scene_description>Nantz nods.<\/scene_description>\n    <character>SGT. NANTZ<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>Nantz puts his arm around the boy, then looks at the OCEAN below the helicopter, stretching to the horizon as we... PULL BACK... Out of the helicopter to see... A SQUADRON OF F-18s flying around the Black Hawk, protecting its precious cargo as it soars off into the sun-filled sky.<\/scene_description>\n    <character>THE END<\/character>\n  <\/scene>\n<\/script>","summary":"On August 12, 2011, hostile alien spacecraft make landings off the coasts of large cities. Los Angeles is evacuated while Marines from Camp Pendleton arrive, including Staff Sergeant Michael Nantz, an Iraq War veteran. Nantz, who was to begin his retirement, is assigned to the 1st Platoon, Echo Company, of the 2nd Battalion, 5th Marines. Under the command of 2nd Lieutenant William Martinez, the platoon arrives at a forward operating base (FOB) established at Santa Monica Airport. While using rapid dominance, the alien ground forces have no apparent air support. Hence, the Air Force prepares a carpet bombing of the Santa Monica area, and the platoon is given 3 hours to retrieve civilians from a police station. As they advance through Los Angeles, they are ambushed and suffer multiple casualties. Nantz takes Marines Imlay and Harris to look for Lenihan, who is missing from the group. After fighting off an alien, they team up with some soldiers from the Army's 40th Infantry Division and an Air Force intelligence Technical Sergeant, Elena Santos. At the police station, the makeshift platoon finds five civilians: veterinarian Michele, children Kirsten, Amy, and Hector, and Hector's father Joe. A helicopter arrives to evacuate wounded Marines but cannot take on the weight of the civilians. During takeoff, it is destroyed by alien air units, killing Grayston, Guerrero, Lenihan, and Simmons. The Marines commandeer an abandoned transit bus for the evacuation. En route, they deduce that the alien air units are drones that target human radio transmissions; Santos reveals that her mission is to locate and destroy the aliens' command center controlling the drones. When their bus comes under attack by aliens on an elevated freeway, the Marines rappel the group to street level. In the ensuing battle, Marines Stavrou and Mottola and the remainder of the California Army National Guard soldiers are killed, while both Joe and Lieutenant Martinez are wounded fighting the aliens. Martinez uses his radio to attract the aliens, then detonates explosives, sacrificing himself for his team. Nantz is now in command of surviving personnel Santos, Imlay, Kerns, Lockett, Harris, Adukwu, and the civilians, continuing their escape from the bombing zone. A scientist speculates on news media that the aliens seek Earth's water resources for fuel while exterminating the human population. The planned carpet bombing fails to materialize. Reaching the FOB, the Marines find it destroyed and the military in retreat from the city. The Marines plan to escort the civilians to an alternate extraction point. When Joe dies from his wounds, Nantz comforts Hector. Lockett confronts Nantz regarding his brother, a Marine who, with four others, was killed during Nantz's last tour. They come to peace when Nantz explains that he continues to think of them and recites each one's name, rank, and serial number. Nantz motivates the group to move forward to honor their fallen comrades, including Joe, for his bravery. They reach the extraction point and evacuate by helicopter. In flight, the chopper experiences a brief loss of power. Nantz theorizes that they are flying near the alien command center, transmitting intense radio messages to its drones. He orders his unit to accompany the civilians while he stays to reconnoiter the area, but his soldiers join him. Searching through sewers, they confirm the presence of a large alien vessel. Kerns radios in to request missiles, which Nantz manually directs using a laser designator while the others defend his position. Kerns is killed when a drone homes in on his radio, but the Marines succeed in guiding a missile to the command module, which is destroyed. The uncontrolled drones fall from the sky, and the alien ground forces retreat. The remaining soldiers\u2014Nantz, Imlay, Lockett, Harris, Adukwu, and Santos\u2014are evacuated to a base in the Mojave Desert, where they are greeted as heroes. They are told that their successful plan has been transmitted to the militaries battling alien forces in 19 other cities, that Michele and the three children were rescued, and that they can now rest. Instead, they re-arm and depart to retake Los Angeles."}
{"movie_name":"ParaNorman_2012","imdb_id":"tt1623288","script":"<script>\n  <scene>\n    <character>PARANORMAN<\/character>\n    <dialogue>Screenplay by Christopher Butler<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RESEARCH LABORATORY - NIGHT<\/stage_direction>\n    <scene_description>An attractive FEMALE SCIENTIST in a gore-spattered lab coat moves fearfully along a wall, passing benches strewn with broken lab equipment. Her ample bosom heaves as she PANTS nervously, mascara-rimmed eyes darting to and fro. Glass SMASHES on the floor nearby and MELODRAMATIC MUSIC swells. The woman backs into a shadow, not noticing a pair of dead eyes catching the moonlight behind her. The music climbs to a frenzy as something GROANS horribly into the woman's ear. She spins around on her stiletto heels as a rotted face looms out of the darkness, drooling through broken teeth, and lunges at her neck.<\/scene_description>\n    <character>ZOMBIE<\/character>\n    <dialogue>Brains!<\/dialogue>\n    <scene_description>CLOSE ON the woman as she raises her hands and SCREAMS. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BABCOCK'S HOUSE, LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Eleven year-old NORMAN BABCOCK sits on the floor watching TV. He has large piercing eyes and a messy shock of hair. The movie scene we just witnessed continues off- screen with the sound of bloodcurdling SCREAMS. Behind him sitting upon a sofa is GRANDMA BABCOCK, a plump old lady squinting through thick glasses.<\/scene_description>\n    <character>GRANDMA BABCOCK<\/character>\n    <dialogue>What's happening now?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>The zombie is eating her head, Grandma.<\/dialogue>\n    <character>GRANDMA BABCOCK<\/character>\n    <dialogue>That's not very nice. What's he doing that for?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Because he's a zombie. That's what they do.<\/dialogue>\n    <character>GRANDMA BABCOCK<\/character>\n    <dialogue>Well he's going to ruin his dinner. I'm sure if they just bothered to sit down and talk it through it'd be a different story.<\/dialogue>\n    <scene_description>Norman CHUCKLES, as if the idea is absurd, then winces as he hears his father shout from the kitchen. CONTINUED:<\/scene_description>\n    <character>PERRY BABCOCK (O.S.)<\/character>\n    <dialogue>Norman! Didn't I tell you to take out the garbage?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Coming, Dad!<\/dialogue>\n    <character>GRANDMA BABCOCK<\/character>\n    <dialogue>Tell him to turn up the thermostat too, will ya? My feet are like ice.<\/dialogue>\n    <scene_description>Norman nods to her and shuffles over to the kitchen door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BABCOCK'S HOUSE, KITCHEN - CONTINUOUS<\/stage_direction>\n    <scene_description>Norman's mother, SANDRA BABCOCK, is emptying the dishwasher. She is in her late thirties, and wears 'mom' clothes that do no favors for her figure. His father, PERRY BABCOCK, is older, with a neatly-trimmed beard trying hard to delineate chin from neck. He stands on a chair, decked out in tool belt and safety goggles, even though he's only changing a light bulb in a ceiling fixture. Sandra smiles at her son as he makes his way silently to an overstuffed trash can as tall as he is.<\/scene_description>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>Hi. Whatcha watching in there?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Sex and violence.<\/dialogue>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>Oh. That's nice.<\/dialogue>\n    <scene_description>Perry glares over as Norman wrestles with the garbage.<\/scene_description>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>Can't you be like other kids your age and pitch a tent in the yard, or have a healthy interest in carpentry?<\/dialogue>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>Perry...<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>I thought you said kids my age were too busy shoplifting and joyriding?<\/dialogue>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>Norman!<\/dialogue>\n    <scene_description>He hefts the bag onto the floor and ties it in a knot. CONTINUED: Breezing into the kitchen through the back door while CHATTING inanely on her cell phone, Norman's older sister COURTNEY is fifteen years-old and is the bleached-blonde cheerleader archetype of every schoolboy's sordid dreams.<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>Oh yeah, he's r-i-double p-e-d. Like, a seven pack at least.<\/dialogue>\n    <parenthetical>(to Norman)<\/parenthetical>\n    <dialogue>Ew! Watch it!<\/dialogue>\n    <scene_description>She pushes her brother out of the way as he drags the garbage outside.<\/scene_description>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>Courtney, be nice.<\/dialogue>\n    <character>COURTNEY<\/character>\n    <dialogue>Yeah, she totally doesn't deserve him. I mean, she's nice and I really like her, but she's a complete loser. Yeah, I know.<\/dialogue>\n    <scene_description>Courtney slumps into a chair at the table, twisting a strand of gum out of her mouth with a finger. Norman returns inside and shuts the door, pausing a moment as if thinking something over.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Dad? Grandma says, \"Can you turn up the heating?\" Her feet are cold.<\/dialogue>\n    <scene_description>The bubble Courtney is blowing POPS against her face, Perry rolls his eyes and GROANS, and Sandra pales.<\/scene_description>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>Now, Perry...<\/dialogue>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>How many times do we have to go through this, Son? Your grandmother is dead!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>I know!<\/dialogue>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>Then why do you keep on talking to her?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Because she talks back!<\/dialogue>\n    <character>COURTNEY<\/character>\n    <dialogue>O-M-G, you are such a liar!<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>I'm not making this up! I swear! She talks to me all the time!<\/dialogue>\n    <character>COURTNEY<\/character>\n    <dialogue>Oh yeah? Prove it!<\/dialogue>\n    <scene_description>Norman levels her a look that says \"you asked for this\".<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>She said it's not very ladylike to hide photos of the High School quarterback with his shirt off in your underwear drawer.<\/dialogue>\n    <scene_description>Sandra and Perry raise their eyebrows.<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>I knew it! You've been sneaking around in my personal stuff!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>No I haven't! Grandma told me!<\/dialogue>\n    <character>COURTNEY<\/character>\n    <dialogue>You are the worst!<\/dialogue>\n    <scene_description>Courtney, brimming with outrage, storms out of the kitchen, her ponytail wagging furiously behind her. Sandra kneels down beside Norman with a wearily sympathetic smile.<\/scene_description>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>Norman, I know you and Grandma were very close, but we all have to move on. Grandma's in a better place now.<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>No she's not, she's in the living room.<\/dialogue>\n    <scene_description>Perry throws his arms in the air, swaying on the chair.<\/scene_description>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>Your grandmother was old and sick, and she died. That's all there is to it!<\/dialogue>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>Perry, this is just part of the mourning process.<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>Stop indulging him! I'm nothing if I'm not liberal, but that limp- wristed, hippie garbage needs to be nipped in the bud!<\/dialogue>\n    <scene_description>Norman SIGHS and steps between his parents as they argue. He mutely heads out of the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BABCOCK'S HOUSE, FRONT YARD - CONTINUOUS<\/stage_direction>\n    <scene_description>The argument in the kitchen continues, slightly muted.<\/scene_description>\n    <character>PERRY BABCOCK (O.S.)<\/character>\n    <dialogue>This behavior might be okay with your side of the family, but I'm not putting up with it anymore! Not me!<\/dialogue>\n    <character>SANDRA BABCOCK (O.S.)<\/character>\n    <dialogue>Oh, not this again!<\/dialogue>\n    <scene_description>PAN UP to find a light go on in Norman's bedroom window.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BABCOCK'S HOUSE, NORMAN'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Norman sits on his bed, using a couple of zombie action figures to act out his parents' ongoing \"discussion\" which carries upstairs. Norman gets up off the bed and approaches the door.<\/scene_description>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>This isn't the West Coast, Sandra; people talk! They do!<\/dialogue>\n    <character>SANDRA BABCOCK (O.S.)<\/character>\n    <dialogue>He's just sensitive, Perry.<\/dialogue>\n    <character>PERRY BABCOCK (O.S.)<\/character>\n    <dialogue>Oh please, \"sensitive\" is writing poetry and being lousy at team sports... not this! I won't have him turn out like that uncle of yours! If that crazy old tramp has been around here putting ideas in Norman's head...<\/dialogue>\n    <character>SANDRA BABCOCK (O.S.)<\/character>\n    <dialogue>Perry, no one's had anything to do with Uncle Prenderghast in years! I bet he doesn't even know what Norman looks like!<\/dialogue>\n    <scene_description>Norman quietly closes the door, and the room goes black.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MR PRENDERGHAST'S HOUSE, STUDY - NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON a faded photograph of Norman, held in the grimy hand of MR PRENDERGHAST. He stands over a dusty desk scattered with pictures of Norman, Sandra and older family members. He is in a dark study; a wall-to-wall trove of curious miscellanea and dumpster-dived junk.<\/scene_description>\n    <character>MR PRENDERGHAST<\/character>\n    <dialogue>Not much time, not much time...<\/dialogue>\n    <scene_description>He pulls an old leather-bound book out from the mess, and traces a finger over a woodcut illustration on its cover; an ethereal woman lying beneath a cluster of stars. Wincing with pain, the man drops the book and clutches at his chest, COUGHING and GASPING horribly. CAMERA PANS to a wall covered in countless photographs, newspaper clippings and scrawled occult markings. It is a shrine of sorts; a madman's recondite genealogy project, and at its center is a photograph of Norman, posing with his family on vacation. ZOOM IN to the photograph, hurtling past the Babcocks and through dense trees further and further into a dark forest. TITLE: PARANORMAN<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BABCOCK'S HOUSE, NORMAN'S BEDROOM - MORNING<\/stage_direction>\n    <scene_description>Norman opens bleary eyes, turns off his zombie hand alarm clock, and slides out of bed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BABCOCK'S HOUSE, LIVING ROOM - MORNING<\/stage_direction>\n    <scene_description>Dressed for school, Norman pauses at the front door and turns to look at the sofa in the living room. He waves happily, and Grandma smiles back. Courtney passes him as she comes down the stairs in the opposite direction. She also stops to look at the sofa, but to her eyes it is empty. She sneers contemptuously.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN STREET - MORNING<\/stage_direction>\n    <scene_description>Norman ambles past houses and lawns spotted with small- town America detritus; cheap plastic lawn furniture, peeling-paint fences and cookie-cutter topiary. Here the quaint colonial buildings are mostly in disrepair, their picket fences rotten or daubed in graffiti. CONTINUED: Norman is watched dubiously by the occasional passer-by as he shouts amiable greetings to people who simply aren't there.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Good morning! Hey Bruce! How's it goin'? Not much. I'm kind of late for school. I need to go. Hi, nice to see you guys. Good morning. Sorry I gotta run. Excuse me. Pardon me. See ya.<\/dialogue>\n    <scene_description>At one street corner, Norman bends over a gutter. He is watched curiously by a man retrieving his morning paper across the other side of the street. MAN'S POV - Norman crouches over the flattened remains of raccoon road kill.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Hey there little buddy! C'mere!<\/dialogue>\n    <scene_description>He realizes he is being stared at and slowly turns to face the onlooker, then hurries away. Though no one else sees them, to Norman's eyes, a whole host of ghosts are meandering through the streets.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Yeah, good to see you! How you doin'? Hi Mrs Hardman. You look nice today. I like what you've done with your hair.<\/dialogue>\n    <character>HAIRDRYER GHOST<\/character>\n    <dialogue>Does anyone smell burning?<\/dialogue>\n    <character>HIPPY GHOST<\/character>\n    <dialogue>Hey, peace, man.<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Totally.<\/dialogue>\n    <character>CIVIL WAR GHOST<\/character>\n    <dialogue>As you were, soldier.<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Sir, yes sir!<\/dialogue>\n    <character>GREASER GHOST<\/character>\n    <dialogue>Yo Norman, you playin' hookie?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>No no, I'm just late for school. Sorry, I gotta go.<\/dialogue>\n    <parenthetical>(to Mobster Ghost)<\/parenthetical>\n    <dialogue>How you doin'?<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>MOBSTER GHOST<\/character>\n    <dialogue>Hey, how you doin'?<\/dialogue>\n    <scene_description>A little further along Norman nods pleasantly to the ghost of a parachutist impaled in the branches of a roadside tree.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Hi! How's it hanging?<\/dialogue>\n    <character>PARACHUTIST GHOST<\/character>\n    <dialogue>Ho ho! Haven't heard that one before. Well, it's a nice day.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAIN STREET - MORNING<\/stage_direction>\n    <scene_description>Its industrial days now rusted behind it, Blithe Hollow has become a run-down tourist town, celebrating its heritage with lame fetes and crass knick-knacks. A massive billboard beside the main square reads \"BLITHE HOLLOW - A GREAT PLACE TO HANG!\" illustrated by a group of waving Puritans beside an equally cheerful witch hanging from a gallows. Across the street a huge banner suggests this year is particularly important for the town; \"BLITHE HOLLOW - 300 BEWITCHIN' YEARS!\" The town center is lacking in charm; its historical buildings subsumed into a vulgar modern thoroughfare with gaudy witch-themed shop fronts and cracked sidewalks. Everywhere Norman walks, the witch theme is prevalent. Cars have bumper stickers that extol such witticisms as \"MY OTHER CAR IS A BROOM\". There's a dingy bar, the BAR GENTO, and a greeting card store called BEST WITCHES. Norman hurries past SHERIFF HOOPER, a heavyset black woman, and DEPUTY DWAYNE, lanky and awkward and looking like he'd rather be elsewhere.<\/scene_description>\n    <character>SHERIFF HOOPER<\/character>\n    <dialogue>Watch and learn. \"Parking violation\" is my middle name.<\/dialogue>\n    <character>DEPUTY DWAYNE<\/character>\n    <dialogue>Really? I thought it was Rhona.<\/dialogue>\n    <scene_description>They glance up disdainfully as Norman passes by. Clearly in this town Norman has something of a bad reputation.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL ENTRANCE - MORNING<\/stage_direction>\n    <scene_description>Norman walks up a tree lined path that leads to a squat school building. Out front, the name \"BLITHE HOLLOW MIDDLE SCHOOL\" is carved into an ugly hunk of granite. CONTINUED: SCHOOL KIDS line the path in front of Norman; a gauntlet of jeering, merciless, pre-pubescent horror. Norman takes a deep breath as he begins his daily walk of ridicule. Most of the kids give him a wide berth, but others sneer and WHISPER as he passes. A bell RINGS the start of the school day, and everyone makes a bee-line for the building. Someone barges Norman with their shoulder, knocking his backpack to the ground. Other kids SNICKER as they step over him. As the last of them head through the lobby doors, Norman is left alone on the path. Norman bends down to retrieve his spilled possessions, and a dark shape beyond the gate catches his eye. NORMAN'S POV - Mr Prenderghast, barely visible as he stands within the shadow of a tree, stares back at him. Norman frowns and squints his eyes, but now sees only trees and shadows, so he continues up the steps.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL HALLWAY, LOCKERS - MORNING<\/stage_direction>\n    <scene_description>An expanse of unevenly lacquered floor, scuffed by scores of dragged heels. Rows of dented lockers line the walls. Norman stands before his locker, across which someone has daubed the word \"FREAK\" in marker. Clearly something of a daily ritual, he reaches inside, takes out a bottle of surface cleaner and a rag and proceeds to wipe it off. Across the hallway, another kid is removing graffiti from his locker. NEIL is overweight with frizzy red hair, and is busily rubbing a handkerchief over the word \"FATTY\". He watches Norman with interest. A voice behind his shoulder gives Norman a start.<\/scene_description>\n    <character>ALVIN<\/character>\n    <dialogue>Hey, ghost jerk! You know what?<\/dialogue>\n    <scene_description>Norman turns to find textbook bully ALVIN, the only 6th grader in his class who shaves, looming over him. He is flanked by a couple of leering sycophants, one of whom wears a T-shirt emblazoned with \"TEAM ALVIN\". Norman SIGHS.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>What do you want, Alvin?<\/dialogue>\n    <character>ALVIN<\/character>\n    <dialogue>Why don't you see some more ghosts, goober?<\/dialogue>\n    <scene_description>CONTINUED: The kids LAUGH uproariously, encouraging Alvin to show off some more.<\/scene_description>\n    <character>ALVIN<\/character>\n    <dialogue>Hey! Hey! Norman!<\/dialogue>\n    <scene_description>Alvin points to a fly that has landed on the locker beside him. He swats it flat with his hand.<\/scene_description>\n    <character>ALVIN<\/character>\n    <dialogue>Talk to that.<\/dialogue>\n    <scene_description>The kids around Alvin burst into LAUGHTER.<\/scene_description>\n    <character>ALVIN<\/character>\n    <dialogue>That is so Alvin!<\/dialogue>\n    <scene_description>The bullies strut away, content in the psychological damage they've managed to inflict.<\/scene_description>\n    <character>PUG<\/character>\n    <dialogue>Loser!<\/dialogue>\n    <character>ALVIN<\/character>\n    <dialogue>That was good, right guys?<\/dialogue>\n    <scene_description>Norman mutters as they leave, but not loud enough so as anyone might hear.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Flies don't talk.<\/dialogue>\n    <scene_description>Across the hall, Neil continues to watch with sympathy, but he is already being hurried along by his friend SALMA, a nerdy Indian kid with braces.<\/scene_description>\n    <character>SALMA<\/character>\n    <dialogue>Neil, come on. Let's go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL GYMNASIUM - DAY<\/stage_direction>\n    <scene_description>Amidst stacked bleachers, foam mats and stray dodge balls, a crudely constructed stage fills one end of the gymnasium. Mediocre art class scenery represents a colonial town, complete with plywood hills, chapel and crescent moon dangling perilously from a basketball hoop. In a director's chair far too small for the job is MRS HENSCHER, an imposing woman with spectacles and beret who looks like she smells of too-much perfume. At the front of the stage wearing a pilgrim hat and carrying a large scroll, is NORMAN. He is surrounded by kids whose attempts at home made period costume leave a lot to be desired. CONTINUED:<\/scene_description>\n    <character>MRS HENSCHER<\/character>\n    <dialogue>You stink of illiteracy!<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>Pilgrims? The Mayflower? Don't any of you know anything about the history of this town?<\/dialogue>\n    <scene_description>Mrs Henscher tries her best to remain unfazed.<\/scene_description>\n    <character>MRS HENSCHER<\/character>\n    <dialogue>Puritans were strict and devout settlers, who came here to build a home, a place without sin. What is it now Salma?<\/dialogue>\n    <scene_description>Salma is holding her hand up. She looks like the Wicked Witch of the West. Even beneath green makeup and plastic warty nose, it is clear she is not best pleased.<\/scene_description>\n    <character>SALMA<\/character>\n    <dialogue>Why is the witch always a hideous old crone with a pointy hat and a broomstick? I don't believe it's historically accurate, Mrs Henscher!<\/dialogue>\n    <scene_description>Mrs Henscher's knuckles clench white around her script. She attempts an understanding smile, in the same way a shark might.<\/scene_description>\n    <character>MRS HENSCHER<\/character>\n    <dialogue>It's not supposed to be. It's supposed to sell postcards and key chains.<\/dialogue>\n    <parenthetical>(claps hands)<\/parenthetical>\n    <dialogue>So let's try it again. Top of page six, Norman.<\/dialogue>\n    <scene_description>Norman skips ahead on his scroll.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>The founding fathers of Blithe Hollow discovered an evil witch amongst them...<\/dialogue>\n    <character>MRS HENSCHER<\/character>\n    <dialogue>No no, Norman, with gusto! Like this!<\/dialogue>\n    <scene_description>Waving her arms theatrically, she bellows Norman's lines, milking every syllable for effect.<\/scene_description>\n    <character>MRS HENSCHER<\/character>\n    <dialogue>They put her on trial and hanged her!<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>MRS HENSCHER<\/character>\n    <dialogue>But the vengeful witch cursed her accusers, seven of them in all, to die a horrible and gruesome death, and rise from their graves as the living dead; their souls doomed to an eternity of damnation!<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>Now I want you to try that again, but with conviction! My reputation is at stake here, and I won't have this turn out like that wretched Kabuki debacle of oh-nine!<\/dialogue>\n    <scene_description>As she launches into her lecture, Norman notices a change in the room. The lights dim, the wind outside picks up, and indistinct shapes flicker at the corners of his eyes. Norman glances around at the other kids on the stage, to see if they are seeing what he is seeing. For a split second the children are replaced with faded figures in real Puritan dress. Seven solemn figures. As he turns around nervously, Norman sees the suggestion of another place fizzing in and out of the shadows...<\/scene_description>\n    <character>MRS HENSCHER<\/character>\n    <dialogue>Norman! Are you listening to me, boy?<\/dialogue>\n    <scene_description>Norman is brought back to the real world with a start, and nods timidly from behind his scroll.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Sorry, Mrs Henscher.<\/dialogue>\n    <character>MRS HENSCHER<\/character>\n    <dialogue>So am I. Now, unless there's any other issues, let us resume... They put her on trial and hanged her!<\/dialogue>\n    <scene_description>Neil turns excitedly to Norman.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>Ooh! This is my moment!<\/dialogue>\n    <scene_description>He shuffles toward Salma and swings his branch around, not realizing Alvin has slung the hangman's noose around Norman's neck. Norman is yanked off balance and staggers into Neil who keels over, rigid branch arms unable to stop his fall. He lands on top of Salma, her kicking legs sticking out from under him as though Dorothy's house had just landed on stage. The kids break into uncontrollable LAUGHTER. CONTINUED: (3)<\/scene_description>\n    <character>ALVIN<\/character>\n    <dialogue>Boom, baby!<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>Sorry!<\/dialogue>\n    <scene_description>Mrs Henscher flings her script into the air, her face beet red.<\/scene_description>\n    <character>MRS HENSCHER<\/character>\n    <dialogue>Oh, you useless bunch of...<\/dialogue>\n    <scene_description>The school bell RINGS drowning out her howling voice.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL HALLWAY, LOCKERS - LATER<\/stage_direction>\n    <scene_description>As kids hotfoot it out of the building as quickly as possible, Norman stands pitiably in front of his locker. Fresh graffiti reads \"SEE YOU TOMORROW, FREAK\". Norman heads for the door, and pretends not to hear when Neil shouts out behind him.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>Norman, wait up!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAIN STREET - LATER<\/stage_direction>\n    <scene_description>Norman keeps going, but Neil quickly catches up, beaming intently at the side of his head.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>I keep telling you, Neil. I like to be alone.<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>So do I. Let's do it together! You shouldn't let them get you down. They always do stuff like that to me.<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>Because I'm fat. And my allergies make my eyes leak. And I sweat when I walk too fast. And I have a lunchbox with a kitten on it. And I have Irritable Bowel Syndrome. I guess there's a whole bunch of stuff.<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Doesn't it bother you?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>Nah. You can't stop bullying, it's part of human nature. If you were bigger and more stupid, you'd probably be a bully too. It's called \"survival of the thickest\".<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. URBAN STREET - DAY<\/stage_direction>\n    <scene_description>Norman and Neil walk away from the school along a tree lined street at the end of which stands a huge commemorative statue. It is a grotesque effigy of the evil witch from the local legend.<\/scene_description>\n    <character>MR PRENDERGHAST (O.S.)<\/character>\n    <dialogue>Psssst!<\/dialogue>\n    <scene_description>The boys stop. It seems to be coming from the witch.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>That statue just \"pissst\" at us!<\/dialogue>\n    <scene_description>Wild-eyed Mr Prenderghast suddenly leaps in front of them, startling them as he staggers closer.<\/scene_description>\n    <character>MR PRENDERGHAST<\/character>\n    <dialogue>You know who I am?<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>The weird stinky old bum who lives up the hill?<\/dialogue>\n    <character>MR PRENDERGHAST<\/character>\n    <parenthetical>(points to Norman)<\/parenthetical>\n    <dialogue>I was asking him.<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Yes. I know. I was told not to talk to you. Sorry.<\/dialogue>\n    <scene_description>Mr Prenderghast steps in front of Neil, leaning closer to Norman and whispering conspiratorially.<\/scene_description>\n    <character>MR PRENDERGHAST<\/character>\n    <dialogue>And you know why you're not supposed to talk to me?<\/dialogue>\n    <scene_description>Norman tries to back away.<\/scene_description>\n    <character>MR PRENDERGHAST<\/character>\n    <dialogue>I can see ghosts too! And I know that's not all you've been seeing lately, is it? Bad omens? Things you can't quite explain? Strange faces peering through the veil?<\/dialogue>\n    <scene_description>Norman's eyes widen further. CONTINUED:<\/scene_description>\n    <character>MR PRENDERGHAST<\/character>\n    <dialogue>And I'll bet no one told you about the witch's curse, did they?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Actually, we're learning about it in school..?<\/dialogue>\n    <character>NEIL<\/character>\n    <parenthetical>(beaming proudly)<\/parenthetical>\n    <dialogue>I'm a tree!<\/dialogue>\n    <scene_description>Mr Prenderghast impatiently turns his back on Neil and leans close to Norman.<\/scene_description>\n    <character>MR PRENDERGHAST<\/character>\n    <dialogue>There's something you really need to know! This is the most important thing you will ever hear! The fate of everyone depends on it! Now listen close... The witch's curse is real, and you're the one who has to stop it!<\/dialogue>\n    <scene_description>Mr Prenderghast grabs Norman's arm and leans closer.<\/scene_description>\n    <character>MR PRENDERGHAST<\/character>\n    <dialogue>You've gotta use your gift of talking to the dead!<\/dialogue>\n    <scene_description>He breaks into a HACKING COUGH, face turning beet red and bloodshot eyes bulging.<\/scene_description>\n    <character>MR PRENDERGHAST<\/character>\n    <dialogue>Because if you don't the witch's ghost...<\/dialogue>\n    <character>(COUGHING)<\/character>\n    <dialogue>And this is the most important thing of all... You have to go up to the old graveyard and...<\/dialogue>\n    <character>NEIL (O.S.)<\/character>\n    <dialogue>Leave him alone!<\/dialogue>\n    <scene_description>An apple bounces off Mr Prenderghast's head. He turns to find Neil standing behind them on the path, lunchbox open in his hand providing leftover low-carb ammunition.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>Don't make me throw this hummus! It's spicy!<\/dialogue>\n    <scene_description>Mr Prenderghast thinks better of it and turns to flee the scene. He HISSES out of the side of his mouth at Norman. CONTINUED: (2)<\/scene_description>\n    <character>MR PRENDERGHAST<\/character>\n    <dialogue>This ain't done with! You'll see it soon enough! Watch for the sign!<\/dialogue>\n    <scene_description>As he hobbles away, Neil peers down the street after the old man.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>Jeez, what a dirty old creep!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>He's my uncle.<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>So is it true?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Norman just stares at him.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>Can you see ghosts? Like, everywhere? All the time?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Uh, yeah?<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>Awesome! Do you think you can see my dog Bub? He was run over by an animal rescue van. Tragic and ironic. We buried him in the yard. Could you see him?<\/dialogue>\n    <scene_description>Norman frowns disbelievingly, completely taken aback.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Maybe.<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>Sweet! Come on!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEIL'S DRIVEWAY<\/stage_direction>\n    <scene_description>Neil forcibly drags Norman up the front driveway of a pastel-painted house. A pair of legs spotted in oil stick out from beneath a pimped-up camper van. Neil's brother MITCH calls out from under the van.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Neil? That you?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>Hey Mitch! We're gonna go play with the dead dog in the garden and we're not even gonna have to dig him up first!<\/dialogue>\n    <scene_description>Mitch sits up. He's a strapping six-foot jock with tattooed biceps. The kind of guy who wears year-round flip-flops.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>What'd you say?<\/dialogue>\n    <scene_description>Mitch pulls his brother aside so as to exclude Norman, who stands awkwardly a little way away, surrounded by cheery lawn ornaments and ineptly manicured topiary.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Neil, isn't he that weird kid? Y'know, \"Look at me, I talk to ghosts so people will pay attention to me.\"<\/dialogue>\n    <scene_description>Mitch makes a goofy face and twitches farcically.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>Can you stop doing that? It's kinda stupid.<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Now listen to me, you don't need to be hanging out with weird people. That's a tip.<\/dialogue>\n    <scene_description>Neil scowls at his brother.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>Don't blow this for me, Mitch. This one's not weird. He talks to dead people.<\/dialogue>\n    <scene_description>Neil has had enough and defiantly walks away from his brother.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEIL'S GARDEN - LATER<\/stage_direction>\n    <scene_description>Neil rummages around in the bushes of his back yard, surrounded by a gloriously tasteless menagerie of lawn ornaments. Norman stands slightly to one side surveying the rows of plastic gnomes and wondering if he should have gone straight home after all.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>He's around here somewhere...<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>So does everyone come back as a ghost?<\/dialogue>\n    <scene_description>CONTINUED: Norman hesitates. This level of interest is new to him.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>No. My grandma told me it's usually people who still have stuff to figure out. Or sometimes it's the ones who died suddenly, or in a bad way.<\/dialogue>\n    <scene_description>A BARK, and Norman turns to see a translucent puppy wagging its tail cheerfully, despite being chopped neatly into two halves.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Bub?<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>Is he there? How's he look?<\/dialogue>\n    <scene_description>Bub BARKS, then his front half notices his tail and runs behind to sniff his own backside.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Uh... good.<\/dialogue>\n    <scene_description>Bub bounds over to Neil, runs clean through his chubby calves, then doubles back for another try.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>He's happy to see you.<\/dialogue>\n    <character>NEIL<\/character>\n    <parenthetical>(\"doggy\" voice)<\/parenthetical>\n    <dialogue>Who's a good boy, huh? Good boy!<\/dialogue>\n    <parenthetical>(to Norman)<\/parenthetical>\n    <dialogue>Can he feel it if I pet him?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Yeah, I guess.<\/dialogue>\n    <scene_description>Neil bends over and kisses the air by his ankles, making a \"coochy-coo\" face.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Uh... that's not his chin.<\/dialogue>\n    <scene_description>Neil stops mid-smooch, and quickly stands up. Norman watches as Neil picks up a stick and waves it in front of Bub's nose, even though he can't see him.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>Go get it!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>He can't fetch it, y'know.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>Yeah well, it's still fun. Good boy! Bring it back! Go get it, Bub! Good boy!<\/dialogue>\n    <scene_description>CLOSE ON Norman as he watches Neil toss the stick back and forth across the garden. The stick lands near his feet and he bends down to pick it up.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>Why don't you try?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>'Cos I don't really, uh... You can go.<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>No, no, it's fun! Try it!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>No I don't want to.<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>You throw it. It's really easy.<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>No it's okay. You can throw it.<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>No, c'mon, it's really fun.<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Here. You go first.<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>No, you try it. I already went like fifty times.<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Okay, what do I do?<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>You get the stick, you pull it back, and you throw it!<\/dialogue>\n    <scene_description>Norman throws it and accidentally hits Neil in the head, knocking him over.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Neil? Sorry!<\/dialogue>\n    <scene_description>As Norman runs over to him, Neil lies on his back GIGGLING, the stick held between his teeth.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>I fetched it!<\/dialogue>\n    <scene_description>CONTINUED: (3) CLOSE ON NORMAN, as a smile creeps across his face and he starts to LAUGH.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Are you okay?<\/dialogue>\n    <scene_description>CUT WIDE as the two kids enjoy their play, the sun above them breaking through the clouds in a bright blue sky.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MR PRENDERGHAST'S HOUSE, STUDY - NIGHT<\/stage_direction>\n    <scene_description>PANTING and WHEEZING, Mr Prenderghast staggers into his study, SLAMS the door behind him and heads for his desk.<\/scene_description>\n    <character>MR PRENDERGHAST<\/character>\n    <dialogue>I'll show him, and that scary little fat kid...<\/dialogue>\n    <scene_description>He shakily rummages around the collected papers and trinkets, and pulls out the leather bound book, all the time GRUMBLING crazily.<\/scene_description>\n    <character>MR PRENDERGHAST<\/character>\n    <dialogue>Doesn't he realize we're running out of t...<\/dialogue>\n    <scene_description>With a strangled CROAK he clutches dizzily at his chest, then keels over backwards, stiffly hitting the floor with a THUMP. Silence, then, a stream of spectral orbs sputter out of him, sculpting his shape in the air. With a GASP, Mr Prenderghast's corpse sucks the spirit back in, and he staggers back to his feet.<\/scene_description>\n    <character>MR PRENDERGHAST<\/character>\n    <dialogue>No! Not yet! Not yet!<\/dialogue>\n    <scene_description>He CROAKS again, this time for real, CRASHING back down onto the ground. The ghostly shape re-emerges from the body. He blinks his eyes, looking around as if he's just been woken from a deep sleep, then down at the defunct body lying at his feet.<\/scene_description>\n    <character>PRENDERGHAST GHOST<\/character>\n    <dialogue>Aw, nuts.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL - NIGHT<\/stage_direction>\n    <scene_description>Lit by spotlights, a large banner over the entrance reads, \"THE WITCH'S CURSE - presented by BLITHE HOLLOW MIDDLE SCHOOL DRAMA SOCIETY - written, produced and directed for the stage by Margot Henscher\". A notice beneath it reads \"SPELLING BEE - NEXT WENSDAY\". A chorus of kids' voices can be heard SINGING from inside, belting out an operatic rendition of Donovan's \"Season of the Witch\".<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL GYMNASIUM - SAME<\/stage_direction>\n    <scene_description>Rows of plastic chairs in front of the spotlit stage are occupied by expectant families. Among the sea of faintly buzzing video cameras, and a ripple of APPLAUSE, Sandra politely smiles at the acting talents of other peoples' children. Next to her, Perry struggles to fit a battery into his camera.<\/scene_description>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>Great, now we'll never get to remember this moment.<\/dialogue>\n    <scene_description>ANGLE ON STAGE as Salma, in full witch get-up, waves her hands theatrically at the other children.<\/scene_description>\n    <character>SALMA<\/character>\n    <dialogue>I curse you accusers to die a horrible and gruesome death and rise from your graves as the living dead; your souls doomed to an eternity of damnation!<\/dialogue>\n    <scene_description>The Pilgrims who aren't dying and rising from the dead begin to menace Salma with their farming implements, and begin a slow ominous chant.<\/scene_description>\n    <character>KIDS<\/character>\n    <dialogue>Kill the witch! Kill the witch!<\/dialogue>\n    <scene_description>Sandra nudges her husband and cheerily points toward the stage.<\/scene_description>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>Gosh, aren't they adorable?<\/dialogue>\n    <scene_description>Norman hears a HOOTING sound from above. An owl with big glowing eyes wheels down over the audience from the beams of the gymnasium. Norman glances around, wondering why no one else seems to notice as it glides low and alights in the papier mache branches on Neil's head. It turns to Norman and HOOTS. CONTINUED: He looks down from it and catches Neil's eye. Neil makes a puzzled expression.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>KIDS<\/character>\n    <dialogue>Kill the witch! Kill the witch!<\/dialogue>\n    <scene_description>The chanting seems to deepen and slur and the air grows dark and thick. The shapes of the audience and the kids beside him swim around, blurring like a finger pulled through oil paint. The ceiling disintegrates into clouds, which CRACKLE with lightning.<\/scene_description>\n    <character>NORMAN<\/character>\n    <parenthetical>(under his breath)<\/parenthetical>\n    <dialogue>Oh no! Not again!<\/dialogue>\n    <scene_description>All around trees have sprouted out of nowhere, and through the darkness in the distance are occasional lights of small houses. This might be how this very spot looked three centuries ago.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OLD FOREST - NIGHT<\/stage_direction>\n    <scene_description>As Norman turns on the spot GASPING, he hears a RUSTLE in the bushes behind him and spots several dark and ominous figures in Pilgrim clothing scouring the undergrowth.<\/scene_description>\n    <character>PURITAN<\/character>\n    <dialogue>Witch! We know you're out there!<\/dialogue>\n    <scene_description>Norman stands on a twig which, naturally, CRACKS loudly, and the figure turns around and points at him.<\/scene_description>\n    <character>PURITAN<\/character>\n    <dialogue>There!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>PURITAN<\/character>\n    <dialogue>Witch.<\/dialogue>\n    <scene_description>More figures emerge from out of the darkness, wielding hayforks. They SHOUT threateningly and, as one man, surge toward him. Norman turns and runs. The trees around him are shifting, but there's no wind blowing the branches. Limbs GROAN as they twist, bearing down on him like ragged talons trying to stop his escape. Soon he can run no further, the way ahead tangled up into a wall of thorny fingers. CONTINUED: Norman finds himself pushed up against the trunk of a huge tree, and a knothole grimaces at him, wood splitting open into a hag-like mouth. It furrows a mossy brow and speaks in a low rumbling voice.<\/scene_description>\n    <character>TREE<\/character>\n    <dialogue>The dead are coming!<\/dialogue>\n    <scene_description>Norman GASPS and tries to push himself away, but the pursuing figures are drawing closer, and there's no escape. A familiar voice whispers out of nowhere.<\/scene_description>\n    <character>NEIL (O.S.)<\/character>\n    <dialogue>Hey buddy! Are you okay?<\/dialogue>\n    <scene_description>Norman turns around to find the knothole is now Neil's face, bulging out of the side of the tree with a look of concern. This is the last straw, and Norman SCREAMS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL GYMNASIUM - NIGHT<\/stage_direction>\n    <scene_description>Norman stands next to Neil on stage, eyes closed and WAILING. Everyone around him stares in stunned silence as, still SCREAMING, he runs into the spotlight.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>THE DEAD ARE COMING!<\/dialogue>\n    <scene_description>He continues running directly off the edge of the stage and lands on the floor with a THUMP. For a moment no one knows quite how to react. Mrs Henscher quizzically checks her script. Norman's eyes focus and he sees everyone standing around him, staring. Sandra pushes through the crowd.<\/scene_description>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>Norman!<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Did he say the dead are coming?<\/dialogue>\n    <character>PERRY BABCOCK<\/character>\n    <parenthetical>(nervous laughing)<\/parenthetical>\n    <dialogue>No, no, no!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>YES!<\/dialogue>\n    <scene_description>Everyone jumps as Norman abruptly sits up, eyes wild.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>The tree told me!<\/dialogue>\n    <scene_description>CONTINUED: Perry's face drains of color while the other parents MURMUR and MUTTER, crowd speak for \"what a weirdo\". Norman sees their expressions of disgust and suspicion. Worst of all, peering around parents' legs with a look of shock and fear is Neil. Norman catches his eye a moment, and Neil looks down at the ground.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATION WAGON - LATER<\/stage_direction>\n    <scene_description>Barely keeping his fury in check, Perry drives home, Norman sitting despondently in the back seat.<\/scene_description>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>This is where it stops! It's one thing being a mental case in front of your family, but not the whole freaking town! There's not gonna be any more talking to ghosts, or grandmas, or, or... what is it now?<\/dialogue>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>I think it's trees.<\/dialogue>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>You're grounded! You hear me?<\/dialogue>\n    <scene_description>Perry pulls the car up in the Babcock's drive and gruffly climbs out of the car.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>This is ridiculous. I wish everyone could see what I see! I didn't ask to be born this way!<\/dialogue>\n    <scene_description>Perry mutters as he slams his door shut.<\/scene_description>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>Funny, neither did we.<\/dialogue>\n    <scene_description>Norman catches the remark and feels it hard in his gut. His mother hears it too, and leans over her seat with a look of sympathy. A beat as she sees the pain in her son's face.<\/scene_description>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>Y'know, sometimes people say things that seem mean, but they do it because they're afraid.<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>He's my dad. He shouldn't be afraid of me.<\/dialogue>\n    <scene_description>CONTINUED: Sandra's eyes are filled with sorrow.<\/scene_description>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>He's not afraid of you. He's afraid for you.<\/dialogue>\n    <scene_description>Sadly, Norman climbs out of the car.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL - AFTERNOON<\/stage_direction>\n    <scene_description>Ominous clouds roll long shadows over the school building. Norman stands at the bottom of the school steps, trying to prepare himself for what he knows is going to be a bad day. He steels himself, and SIGHS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>35A INT. SCHOOL HALLWAY - MORNING 35A<\/stage_direction>\n    <scene_description>Norman walks the familiar gauntlet of school kids, only this time the abuse is tenfold.<\/scene_description>\n    <character>KID #1<\/character>\n    <dialogue>Look! It's AbNorman!<\/dialogue>\n    <character>KID #2<\/character>\n    <dialogue>What'd the tree tell you today, Norman?<\/dialogue>\n    <character>KID #3<\/character>\n    <dialogue>Are the dead coming soon, Norman?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL BATHROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>An overhead bulb casts a dim light over chipped wall tiles and yellowed ceramic sinks with leaky faucets. The door opens and Norman hurries inside, a number of voices still SHOUTING behind him. He shuts the door, cutting them off, and leans against it, taking a breath. He heads over to the first stall. The door is locked, so he takes the next one. CLOSE ON Alvin, sitting on the toilet in the next stall scribbling obscenities on the wall to pass the time. He pauses as he hears the lid drop next door, then resumes his vandalism. Norman sits on the lid of the toilet, pulling his knees up under his chin feeling sorry for himself. CONTINUED: ANGLE ON toilet paper in an industrial-sized roll. It jitters on its mount and begins to turn slowly on its own, unspooling sheet by sheet toward the floor. Norman frowns and watches as it stops unravelling and a draught of wind blows out of nowhere, ruffling his hair. The toilet roll suddenly spins violently, flinging the paper into the air in reams. The screws holding the dispenser to the wall RATTLE fiercely. The toilet underneath Norman begins to shake and shudder, spilling water over the floor. Norman WAILS loudly as he jumps onto the back of the cistern. Alvin is frozen in place in his stall, hearing the noises and really not sure how to react to them. He glances down and sees toilet water leaking across the tiles. He quickly pulls up his pants to cover his dignity, and jumps up off the toilet with a SQUEAL. In Norman's stall everything stops dead and the lid of the toilet slowly CREAKS open. Norman GASPS as Mr Prenderghast's face stares up at him out of the toilet bowl. With some effort the old man's ghost shimmies out of the toilet, eventually POPPING out like a cork from a bottle, hovering in the air in front of Norman's face.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>You died?!<\/dialogue>\n    <character>PRENDERGHAST GHOST<\/character>\n    <dialogue>Yeah, but I got unfinished business here!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Ew! Couldn't you use another stall?<\/dialogue>\n    <character>PRENDERGHAST GHOST<\/character>\n    <dialogue>My ghost isn't going anywhere until I pass on my duty to another! And that would be you!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Me? No, you must have it wrong!<\/dialogue>\n    <character>PRENDERGHAST GHOST<\/character>\n    <dialogue>Oh it's you all right! I've been holding back the witch's curse for years, but now I'm dead. It has to be you!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>But I... I don't know what any of it means!<\/dialogue>\n    <scene_description>CONTINUED: (2) Before Norman's eyes the bathroom stall and everything beyond it is ripped away, revealing thick undergrowth and tall trees. Norman is suddenly sat on the toilet in the middle of a forest.<\/scene_description>\n    <character>PRENDERGHAST GHOST<\/character>\n    <dialogue>It means the past is coming back to haunt you! Time is running out! The anniversary of the witch's death is tonight. Her ghost is going to wake up, and when she does she'll raise the dead! You gotta keep her in her grave!<\/dialogue>\n    <scene_description>The toilet paper on the ground twists up beneath Norman's feet, sculpting skull faces and clutching hands that reach for him as he shrinks back.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>But I'm just a kid! How am I supposed to stop it?<\/dialogue>\n    <scene_description>In an instant the air and trees around him are eaten away, the school bathroom reappearing through the holes.<\/scene_description>\n    <character>PRENDERGHAST GHOST<\/character>\n    <dialogue>Read from the book at the spot the witch was buried!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>What book?<\/dialogue>\n    <character>PRENDERGHAST GHOST<\/character>\n    <dialogue>The one in my hands!<\/dialogue>\n    <scene_description>Norman looks at the ghost's wispy hands.<\/scene_description>\n    <character>PRENDERGHAST GHOST<\/character>\n    <dialogue>Not these hands, my other hands! The me that's at home in my study starting to smell a little funny!<\/dialogue>\n    <scene_description>Norman looks sick and overwhelmed, but the ghost doesn't let up, swirling right up to his face.<\/scene_description>\n    <character>PRENDERGHAST GHOST<\/character>\n    <dialogue>Get the book and read from it! Before the sun sets tonight!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>But this is crazy!<\/dialogue>\n    <character>PRENDERGHAST GHOST<\/character>\n    <dialogue>Do I look crazy to you?<\/dialogue>\n    <scene_description>Norman pauses a beat. Mr Prenderghast is floating upside down, various bits of bathroom detritus orbiting around him. A piece of toilet paper dangles off his nose. CONTINUED: (3)<\/scene_description>\n    <character>PRENDERGHAST GHOST<\/character>\n    <dialogue>Tell me you'll do this!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>I... I...<\/dialogue>\n    <character>PRENDERGHAST GHOST<\/character>\n    <dialogue>Swear!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Y-you mean like the \"f\" word?<\/dialogue>\n    <character>PRENDERGHAST GHOST<\/character>\n    <dialogue>I mean promise!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Okay, okay, I promise...<\/dialogue>\n    <character>PRENDERGHAST GHOST<\/character>\n    <dialogue>That'll do!<\/dialogue>\n    <scene_description>Mr Prenderghast's ghost begins to disappear, bubbling and melting at the edges like a burning photograph.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>No! Mr Prenderghast, wait!<\/dialogue>\n    <scene_description>Alvin, hearing only Norman's voice, gingerly peeks around the corner of his stall.<\/scene_description>\n    <character>PRENDERGHAST GHOST<\/character>\n    <dialogue>Sorry kid, I'm done here! I'm free! I'm finally free!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Wait! No, you can't leave now! Please! I don't understand.<\/dialogue>\n    <scene_description>Mr Prenderghast hangs in the air a moment, face scrunched up as he awaits his release, CACKLING crazily. The ghost explodes into a million particles of light, blowing open the stall door and catapulting Alvin backwards across the room. The mirrors behind him crack and the light bulb shatters. From the floor, Alvin groggily looks up and sees Norman framed in the stall with the door hanging off its hinges. He reaches over and flushes the toilet.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Uh... yeah. You might want to give that a few minutes.<\/dialogue>\n    <scene_description>He grabs his bag and runs out of the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL HALLWAY, LOCKERS - CONTINUOUS<\/stage_direction>\n    <scene_description>Norman sprints madly for the main doors, passing Neil and Salma who glance up from their lockers as he stumbles by.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>Norman?<\/dialogue>\n    <scene_description>Alvin tears around the corner in pursuit, but Neil stands in his way, waving his arms indignantly.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>Hey! What's the big deal?<\/dialogue>\n    <character>ALVIN<\/character>\n    <dialogue>Don't get your bra in a twist, fat boy, this has nothing to do with you! Keep out of my way!<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>Or what?<\/dialogue>\n    <character>ALVIN<\/character>\n    <dialogue>Or I'll punch you in the boobs!<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>I don't have boobs. These are pectorals!<\/dialogue>\n    <scene_description>Alvin jabs him in the chest.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>Ow! My boobs!<\/dialogue>\n    <scene_description>Neil swiftly steps aside. Alvin reaches the door to see Norman disappearing along the path as fast as he can. Alvin YELLS after him.<\/scene_description>\n    <character>ALVIN<\/character>\n    <dialogue>You're dead, freakshow! Do you hear me? D-E-D! DEAD! You're gonna be so dead you're gonna have to talk to yourself when you're dead!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BABCOCK'S HOUSE, LIVING ROOM - EARLY EVENING<\/stage_direction>\n    <scene_description>Wearing her fanciest dress, Sandra bustles out of the kitchen to the front door.<\/scene_description>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>I really don't think we should be leaving him.<\/dialogue>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>Perry, you promised me a meal that someone else microwaved.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>He's probably up there right now fiddling with his ouija, or his orbs, or whatever it is he's got up there. This is not good.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BABCOCK'S HOUSE, NORMAN'S BEDROOM - EARLY EVENING<\/stage_direction>\n    <scene_description>Norman paces his room looking pale and anxious as he hears the front door shut downstairs. Everywhere he turns he finds himself face to face with some zombie related novelty, from his lurid horror posters to his shelves of ghoulish action figures, and it's not doing anything for his nerves. His cell phone BEEPS from his pocket, giving him a start. He takes it out and reads a text; \"COME TO THE WINDOW\". Norman cautiously walks over and peers around the edge of the window frame. A figure stands motionless in the yard below, sheets of laundry billowing off the clothes line beside it. It stares up at Norman through the blank eye holes of a hockey mask. Norman GASPS and jumps back. With a frown, he re-emerges and opens the window. The figure lifts the mask, and Neil beams out from underneath, waving excitedly.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>You wanna play some hockey?<\/dialogue>\n    <scene_description>Norman SIGHS.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>I've kinda got other things on my mind right now.<\/dialogue>\n    <scene_description>Neil looks a little uncomfortable.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>Is it all that walking dead stuff again?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Mr Prenderghast appeared to me in the bathroom!<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>Ew.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>No, his spirit! He says the witch's curse is real and I have to go up to the old graveyard to stop it! Before the sun sets tonight!<\/dialogue>\n    <scene_description>Neil shifts uneasily as he processes.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>So you wanna come play a bit later?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Didn't you hear what I just said?!<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>Yeah, but I thought my idea was less likely to get us eaten.<\/dialogue>\n    <scene_description>Norman knows he's on his own in this.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Just go home, Neil. I'm better off on my own anyway.<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>But...<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Go home!<\/dialogue>\n    <scene_description>Norman reaches up and closes the window. Neil's shoulders sag and he turns away. Across the room, his Grandma materializes, and squints her eyes through the window as Neil awkwardly pulls himself over the garden fence.<\/scene_description>\n    <character>GRANDMA BABCOCK<\/character>\n    <dialogue>Jeez, who rattled your chains?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>No one.<\/dialogue>\n    <scene_description>Norman isn't in the mood for any more discussion.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Dad says I'm not supposed to talk to you any more, Grandma.<\/dialogue>\n    <character>GRANDMA BABCOCK<\/character>\n    <dialogue>Jackass. If I were a poltergeist I'd throw something at his head. Y'know, by rights I'm supposed to be frolicking in paradise with your grandfather, but I'm not.<\/dialogue>\n    <scene_description>CONTINUED: (2) Norman looks up as she drifts closer to the bed.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>So why did you stay?<\/dialogue>\n    <character>GRANDMA BABCOCK<\/character>\n    <dialogue>I was never one for frolicking. I'll bet there's no cable or canasta up there either. Besides, I promised I'd always look out for you.<\/dialogue>\n    <scene_description>She smiles, floating in a sitting position at the end of Norman's bed. She bobs gently, like a balloon. For a second, this seems to comfort Norman, but then another thought crosses his mind.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>So it's your... duty?<\/dialogue>\n    <character>GRANDMA BABCOCK<\/character>\n    <dialogue>In a manner of speaking...<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>And you'd do it no matter what?<\/dialogue>\n    <character>GRANDMA BABCOCK<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Even if it was something really scary...<\/dialogue>\n    <scene_description>Grandma eyes him curiously.<\/scene_description>\n    <character>GRANDMA BABCOCK<\/character>\n    <dialogue>There's nothing wrong with being scared Norman, so long as you don't let it change who you are.<\/dialogue>\n    <scene_description>Norman thinks this over, then smiles up at her again. She goes to rub his head affectionately, but her ghost hand just passes right through his spiky hair. She gives him a wink, and drifts away through the wall. He is still scared, but now determined too. He steels himself and grabs his jacket from his bed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BABCOCK'S HOUSE, COURTNEY'S BEDROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>The tiny room is crammed full of posters, pom-poms, plush toys and plastic trophies. Pretty much everything is pink. Courtney sits talking on her phone, cotton buds between her toes as her painted nails dry. CONTINUED:<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>So I said to her, \"Girl, come back \\* and talk to me when your basket toss gets twelve thousand hits on YouTube!\" Yeah, no, I said that.<\/dialogue>\n    <parenthetical>(listens and nods)<\/parenthetical>\n    <dialogue>Yeah, I'm stuck on lame patrol. Tonight's gonna be a total yawn.<\/dialogue>\n    <scene_description>From downstairs, a door SLAMS. Courtney frowns, puts her hand over the phone and shouts out.<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>Norman?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BABCOCK'S HOUSE, FRONT YARD - MOMENTS LATER<\/stage_direction>\n    <scene_description>Beneath a florid evening sky, the Babcock's drive is in darkness. Pedalling furiously, Norman rides his bike out of the shadows into the light of the street.<\/scene_description>\n    <character>COURTNEY (O.S.)<\/character>\n    <dialogue>You better not be sneaking out you little weirdo!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>On a street corner two teenage girls approach Alvin and Pug, who have laid out a breakdancing mat and a beatbox and are doing their best to impress. Alvin imagines he is wowing the girls with his krumping, his ham-like limbs flying around and Pug hollering support, but in truth they watch in morbid fascination. A faint CLATTERING sound down the road grows louder. Norman suddenly THUNDERS past them on his bike, spinning Alvin on the spot and knocking him onto his butt. Show over, Alvin blunders to his feet, his eyes following Norman's trajectory up the dark road, and GROWLS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODED LANE, MR PRENDERGHAST'S HOUSE - EARLY EVENING<\/stage_direction>\n    <scene_description>Tall conifers rise up high on either side of the road, now little more than a dirt track. Norman pedals up the hill and swerves, skidding to a stop in the gravel. He climbs off the bike, eyes fixed on a ramshackle house partially hidden in the foliage, its porch door swinging and CREAKING eerily in the breeze. He cautiously advances past a crooked mailbox on which is written \"PRENDERGHAST\", and steps onto the wooden porch.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MR PRENDERGHAST'S HOUSE, HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>The fading light of day spills across the floorboards and faded wallpaper of a long passage.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Hello? Mr Prenderghast?<\/dialogue>\n    <scene_description>Motes of dust float around Norman as he moves slowly toward a door, slightly ajar, muttering to himself. He quietly makes his way past all manner of objects that epitomize the state of Mr Prenderghast's mind; a mannequin in a shopping cart, a pile of broken typewriters, a suspended bag of spoons, a closet full of identically soiled hobo suits, a Nordic track...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRENDERGHAST'S HOUSE, STUDY - CONTINUOUS<\/stage_direction>\n    <scene_description>The study is filled with teetering piles of junk and old furniture draped over in dust sheets. A crucifix hangs over a metal cot with rumpled bedding. This is evidently where the old man lived his whole life. Starlight from a window picks out a macabre halo on a shape on the floor: Mr Prenderghast, dead where he fell, tightly clutching a leather-bound book. CLOSE ON Norman's face as he swallows nervously and steps closer to the body. He gingerly takes hold of the book and gives a gentle tug. It holds fast in the rigor mortis grasp. He tugs harder, shaking the book repeatedly, the corpse shaking with it.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Let go!<\/dialogue>\n    <scene_description>Norman spends several strenuous moments dragging the body across the floorboards, Mr Prenderghast's head glancing off table legs and smacking repeatedly against the floorboards, as Norman tries to wrestle the book free. With a final yank the book pulls loose and, GASPING, Norman grips the book to his chest and runs to the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODED LANE, MR PRENDERGHAST'S HOUSE - SAME<\/stage_direction>\n    <scene_description>Norman careens through the door, leaps off the porch and sprints along the wooded lane up the hill, watched by Alvin, concealed behind some bushes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODED HILLTOP, OLD CHAPEL GRAVEYARD - LATER<\/stage_direction>\n    <scene_description>Norman emerges from the woods, his long shadow preceding him as the sun begins its descent behind the tall trees. CONTINUED: He pauses and stares out across weathered tombstones poking out amidst tangles of thorns. Clutching the book tight, Norman wrenches open the heavy gate, its rusted padlock crumbling apart. Eventually the track runs up to a stone slab surrounded on either side by thick bramble. Norman brushes aside vines and reads an epitaph engraved into the stone; \"HERE LIES BURIED THE SEVEN VICTIMS OF THE BLITHE HOLLOW CURSE. MAY YOUR SOULS FIND EVENTUAL AND EVERLASTING SALVATION. 1712.\" Norman pushes through the thick bushes into a secluded plot of land behind the slab with seven gravestones sticking out from the undergrowth.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>This is it!<\/dialogue>\n    <scene_description>The sun continues its descent, casting an ever lengthening shadow of treetops across the graveyard.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Read from the book, stop the curse, go home and pretend this never happened.<\/dialogue>\n    <scene_description>Norman steels himself, opens the book and starts to read.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>\"Once upon a time, in a far-off land there lived a king and queen in a magnificent castle...\"<\/dialogue>\n    <scene_description>He pauses, confused by what he's reading.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>What? A fairy... tale...?<\/dialogue>\n    <scene_description>A hand reaches over his shoulder from nowhere, whipping the book out of his grasp. He spins around to find Alvin standing behind him.<\/scene_description>\n    <character>ALVIN<\/character>\n    <dialogue>What ya got there, Geekula?<\/dialogue>\n    <scene_description>Norman launches himself at the book, but Alvin holds him back at arm's length.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Give it back!<\/dialogue>\n    <character>ALVIN<\/character>\n    <dialogue>Can't wait to see everybody's faces when they hear about this one!<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>No, don't! Alvin!<\/dialogue>\n    <character>ALVIN<\/character>\n    <dialogue>Hey! Nobody makes me miss out on a possible date with a girl that almost had some interest in talking to me. Yeah? Thought so! You got nothin' to say!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Uh-oh.<\/dialogue>\n    <character>ALVIN<\/character>\n    <dialogue>Dang straight \"uh-oh\". That's what happens when Alvin gets around here. Uh-oh is that Alvin? Uh-oh Alvin's gonna make me run home to mommy.<\/dialogue>\n    <scene_description>As Norman twists and wrestles against the bully the turbulent clouds in the sky above them twist and coalesce into the vague semblance of a huge grinning face. The face of a witch. There is an enormous RUMBLE and a flash of lightning silhouettes the boys.<\/scene_description>\n    <character>ALVIN<\/character>\n    <dialogue>Uh-oh. What is that?<\/dialogue>\n    <scene_description>The wind has picked up, HOWLING through the gravestones. Norman looks at the face leering out of the clouds.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>It's her!<\/dialogue>\n    <scene_description>Another violent CRACK of thunder and flash of light, and the wind instantly cuts out. The boys stand stock still. Reaching down like a colossal arm, a great plume of cloud spirals over the cemetery, enveloping the tumbledown chapel and seeping around the gravestones. Fingers of murky fog slither across the ground, occasionally pausing and hanging in the air as though sniffing it. There is something eerily playful in the movement of the tendrils. The boys are jolted as an awful high pitched SCREAM blows through the graveyard like a shockwave, pulsing through the fog like a heartbeat. Norman and Alvin cover their ears and cower as the fog suddenly rears up like a claw and fiercely gouges into the earth in front of the boys. CONTINUED: (3) Silence, then the ground begins to RUMBLE beneath their feet and ripples beneath the tombstones. Stone slabs GRIND and shift. One CRACKS right through the center.<\/scene_description>\n    <character>ALVIN<\/character>\n    <dialogue>What's that sound?<\/dialogue>\n    <scene_description>Norman watches, horrified, as the wet earth atop one of the graves splits and a skeletal hand bursts through! Norman watches as more graves bulge and break open and mud-encrusted shapes begin to emerge through the earth. The air is filled with anguished MOANING, the glowing fog dancing and whirling about the hatching figures. The two boys are rooted to the spot, mouths hanging open. CLOSE ON one of the figures crawling out of the ground into a patch of moonlight. Ragged and rotten it wears the mud-encrusted clothes of a colonial Puritan. It stares down at its hands, almost in disbelief, then lifts its face up to the sky and lets out a HOWL. Thunder that sounds like deep and abysmal LAUGHTER echoes through the turbulent clouds. The boys find themselves backed up against another headstone, this one engraved with the name \"JUDGE HOPKINS\". They leap aside as the ground swells beneath their feet, and the DEAD JUDGE punches through the dirt, bolt upright. His face wears a rictus grin and he looms over the boys like the Grim Reaper in a powdered wig. He tilts his head curiously when he sees the book in Alvin's hand, and HISSES through yellowed teeth. Norman makes a last ditch attempt at reading the book as the Dead Judge approaches, the other zombies gathering behind him.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Once upon a time in a far-off... Once upon a... In a...<\/dialogue>\n    <character>ALVIN<\/character>\n    <dialogue>Make it stop right now, please!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>It's not working!<\/dialogue>\n    <scene_description>The Dead Judge gives a hideous GROWL, but Norman frowns, confused, because he can hear words.<\/scene_description>\n    <character>DEAD JUDGE<\/character>\n    <scene_description>CONTINUED: (4)<\/scene_description>\n    <character>ALVIN<\/character>\n    <dialogue>Norman? What are you doing? I think I peed my pants!<\/dialogue>\n    <scene_description>Survival instincts finally kick in and Alvin makes a run for it, scrambling through the graves toward the gate.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Wait!<\/dialogue>\n    <scene_description>Norman follows, leapfrogging over headstones.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEIL'S HOUSE, LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Neil sits on the floor in front of a huge TV, remote control in hand, as the doorbell RINGS loudly from the hall.<\/scene_description>\n    <character>MITCH (O.S.)<\/character>\n    <dialogue>Neil! Will you get the door?<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>I'm busy!<\/dialogue>\n    <character>MITCH (O.S.)<\/character>\n    <dialogue>Are you freeze-framing Mom's aerobics DVD again?<\/dialogue>\n    <scene_description>ANGLE ON TV, with a still image of a Lycra-clad instructor bending over. Neil quickly turns it off.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>The doorbell RINGS again.<\/scene_description>\n    <character>MITCH (O.S.)<\/character>\n    <dialogue>Neil! Would it kill you to get off your butt and answer the door?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. NEIL'S DRIVEWAY, FRONT PORCH - CONTINUOUS<\/stage_direction>\n    <character>COURTNEY<\/character>\n    <dialogue>I'm gonna kill them.<\/dialogue>\n    <scene_description>She impatiently leans down to push open the mail slot.<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>I know you're in there! Slumber party's over, dorks!<\/dialogue>\n    <scene_description>The door opens and she finds herself face to navel with Mitch, out of the shower with a towel around his waist. CONTINUED:<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Um, can I help you?<\/dialogue>\n    <character>COURTNEY<\/character>\n    <parenthetical>(under her breath)<\/parenthetical>\n    <dialogue>Hell yeah.<\/dialogue>\n    <scene_description>Courtney catches herself and quickly affects a LAUGH.<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>Sorry to bug you so late, but does, erm...<\/dialogue>\n    <parenthetical>(checks page in hand)<\/parenthetical>\n    <dialogue>...Neil live here?<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Yeah, he's my brother.<\/dialogue>\n    <character>COURTNEY<\/character>\n    <dialogue>Oh wow! That's great! Your brother and my brother are like best friends! I'm Courtney.<\/dialogue>\n    <scene_description>She tries to regain her composure as Mitch turns away.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Hey Neil! You come here a minute? There's a girl asking for you.<\/dialogue>\n    <scene_description>Neil's face emerges dubiously from a room down the hall. Courtney flashes her widest fake grin and puts on a high pitched sing-song voice.<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>Hey there! How ya doin'... little guy...<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>Neil?<\/dialogue>\n    <character>COURTNEY<\/character>\n    <dialogue>Yeah, Neil. Do you know where Norman is? He kinda disappeared.<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>Oh no...<\/dialogue>\n    <parenthetical>(catches himself)<\/parenthetical>\n    <dialogue>...idea! I have no idea where he is. Sorry. Bye!<\/dialogue>\n    <scene_description>Neil goes to turn around but his brother stops him short.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Whoa, Neil! Better start talking, buddy.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>I didn't really think he was serious about going up to the old graveyard on his own!<\/dialogue>\n    <character>COURTNEY<\/character>\n    <dialogue>So Norman!<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Oh, man. That place is bad news! Total slasher movie vibe! Why'd he go up there?<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>I don't know. Maybe we should go look for him.<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>I told you he was trouble.<\/dialogue>\n    <parenthetical>(to Courtney)<\/parenthetical>\n    <dialogue>Sorry. But I did.<\/dialogue>\n    <character>COURTNEY<\/character>\n    <dialogue>No, it's fine. He sucks. But I really gotta make sure he doesn't die or anything tonight. Will you help me? Please?<\/dialogue>\n    <scene_description>Mitch gets an eyeful of her best damsel in distress act, then SIGHS.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Okay... I guess I should go get some clothes on.<\/dialogue>\n    <scene_description>Courtney gives a disappointed WHINE as he heads off down the hall, shoving Neil's head as he goes.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>Uh, is Norman in trouble?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MR PRENDERGHAST'S HOUSE, HALLWAY - LATER<\/stage_direction>\n    <scene_description>The front door is kicked open and Norman and a near hysterical Alvin rush inside, slamming and locking the door behind them.<\/scene_description>\n    <character>ALVIN<\/character>\n    <dialogue>Are they gonna try to eat our brains?!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>I think you'll be safe.<\/dialogue>\n    <character>ALVIN<\/character>\n    <dialogue>Oh, thank God!<\/dialogue>\n    <scene_description>CONTINUED: He manages to think this through, and frowns. Alvin watches curiously as Norman turns his attention to the book, frowning as he runs his hand over the embossed leather cover.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>I don't get it! Why didn't it work?<\/dialogue>\n    <scene_description>He opens the book and leafs through page after page of ornate calligraphy and woodcut illustrations.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>\"The Story of Sleeping Beauty\". This doesn't make any sense!<\/dialogue>\n    <scene_description>His mind racing, Norman heads off along the hallway.<\/scene_description>\n    <character>ALVIN<\/character>\n    <dialogue>Wait! Where are you going?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MR PRENDERGHAST'S HOUSE, STUDY - CONTINUOUS<\/stage_direction>\n    <scene_description>The room remains as before, with Mr Prenderghast's corpse lying on the floor. Norman enters with purpose and approaches it, leaving Alvin horrified in the doorway. Norman crouches low over the body, holding the book out in front of Mr Prenderghast's blank eyes.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Mr Prenderghast, I don't understand! Tell me what to do!<\/dialogue>\n    <character>ALVIN<\/character>\n    <dialogue>Dude, what are you doing?<\/dialogue>\n    <character>NORMAN<\/character>\n    <parenthetical>(points to corpse)<\/parenthetical>\n    <dialogue>He told me to read from the book to stop the curse! I thought it was a spell or something, but...<\/dialogue>\n    <scene_description>Norman narrows his eyes as he sees Mr Prenderghast's desk, still strewn with pictures and newspaper clippings. He hurries over and begins rummaging through the mess, scattering papers across the floor.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Come on! There has to be something...<\/dialogue>\n    <character>ALVIN<\/character>\n    <dialogue>I really need to get home! I've got like a seriously early curfew.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>ALVIN<\/character>\n    <dialogue>My mom gets really upset when I'm not...<\/dialogue>\n    <scene_description>Something CLUNKS loudly from down the hall, sending Alvin into a desperate babbling panic.<\/scene_description>\n    <character>ALVIN<\/character>\n    <dialogue>We gotta defend ourselves! We gotta shoot them in the head with like silver stakes or something! I'm way too awesome to get eaten! Norman, are you listening to me? You really have to do something!<\/dialogue>\n    <scene_description>Norman uncovers a couple of faded photographs of the old graveyard. One is of the seven tombstones, the other is of the stone marker, which reads \"HERE LIES BURIED THE SEVEN VICTIMS OF THE WITCH'S CURSE...\" Beside the photos is a torn page from an old book. An engraving illustrates the seven members of the witch's trial, solemnly seated at a bench within the courthouse.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Seven victims...<\/dialogue>\n    <scene_description>Frowning, Norman glances up and sees a page from an old book tacked to the wall. It is an illustration of a hideous old crone, cackling evilly. Another THUMP from down the hall. Norman looks again from the photographs in his hand to the image of the old witch. There's something he's not seeing... He looks at the pictures in front of him. Graves. Jurors. Witch.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Seven graves.<\/dialogue>\n    <parenthetical>(eyes widen)<\/parenthetical>\n    <dialogue>The witch's grave! It wasn't there!<\/dialogue>\n    <scene_description>He turns to Alvin.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>I was reading the book in the wrong place!<\/dialogue>\n    <scene_description>Down the hallway, another loud THUMP.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Hide!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MR PRENDERGHAST'S HOUSE, HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>CLOSE ON the door knob RATTLING furiously, then a CRACK as a mottled hand punches it right through the wood. A figure limps slowly into the hallway, dragging one crippled foot behind the other. It stops halfway along and tilts its head, as if listening, and emits a dire MOAN. More shapes appear behind it in the doorway and fan out along the hallway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MR PRENDERGHAST'S HOUSE, STUDY - CONTINUOUS<\/stage_direction>\n    <scene_description>The boys tremble in their hiding places trying not to make a sound; Alvin crouched behind a stack of books and Norman lying underneath the bed. The footsteps grow louder as the zombies shuffle into the room. NORMAN'S POV - rotten legs step up to Mr Prenderghast's body, lying where he fell on the floorboards. Two withered feet suddenly step right up to the bed. Something drops onto the floor inches in front of Norman's face with an unpleasant SLAP. Norman's eyes bug out as he realizes it is a zombie's dislodged ear. A weltered arm reaches down to grope around for the body part, until Norman pushes the ear, as carefully as he can manage, back into the zombie's fingers. The hand retreats back out from under the bed. There is a loud SCREAM as Alvin, unable to contain himself any longer, jumps out from his hiding place and makes for the door. The corpses look up as he disappears down the hall, then stagger after him. Norman takes this chance to follow, but the Dead Judge blocks his exit. They both stand quite still, staring into each others' eyes. The corpse tilts its head, almost quizzically, and its eyes widen as it notices the book under his arm. Norman steps sideways to run past it, but the corpse does too. Both it and Norman step one way, then the other, and back again. Norman feigns one direction and quickly bolts in the other, past the corpse and out the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MR PRENDERGHAST'S HOUSE, HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Alvin reaches the front door and throws it open. Directly in front of him is another zombie on the doorstep, opening a mouth full of jagged teeth. Alvin SCREAMS like a little girl, smacks it ineffectually with his spatula, and the door is abruptly SLAMMED in the zombie's face, a surprised and muffled GROAN coming from the other side. CONTINUED: Alvin, still screaming, looks down to see Norman beside him, leaning against the door. The Dead Judge leads the advance of zombies down the hall toward them. Norman hears his MOAN. Norman swings the door back open, the zombie on the other side moving with it, teeth firmly embedded in the wood. As it attempts to pry itself free, Norman grabs Alvin by the arm and they both dart onto the porch behind its back, headed for the road.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Come on!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MITCH'S VAN - SAME<\/stage_direction>\n    <scene_description>Mitch drives along dark roads. Neil sits behind him looking bemused while Courtney, in the front passenger seat, extols her life history.<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>And she said I could totally consider a career in formation swimming. But I was like, \"I wanna do something that helps people less fortunate than me\", thank you very much, y'know, like the poor or people who are like dying or ugly or something, 'cuz I really think that ecology and world peace are like totally important today. Do you use free weights? Your deltoids are huge.<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>I've never used deltoids in my life, I swear. You can test me.<\/dialogue>\n    <scene_description>Neil lies back in his seat, eyes rolling.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>Kill me now.<\/dialogue>\n    <character>COURTNEY<\/character>\n    <dialogue>Thank you for doing this Mitch. He means an awful lot to me. I love him like he was a brother.<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>He is your brother.<\/dialogue>\n    <scene_description>Courtney counters the backseat barbs by smiling demurely, but Mitch's attention has been drawn by something else.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Whoa! Look at that sky!<\/dialogue>\n    <scene_description>CONTINUED: The wooded hill rises steeply a few miles in front of them, and at its top is the old chapel. Pressing down upon it, huge seething thunderclouds shift into otherworldly shapes. Mitch and Courtney are mesmerized. Neil suddenly points past Mitch's face.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>Look out!<\/dialogue>\n    <scene_description>Mitch slams on the breaks, twisting the wheel.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Oh no!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. MITCH'S VAN ON WOODED ROAD - CONTINUOUS<\/stage_direction>\n    <scene_description>Running down the middle of the road, blinded by the glare of the van's headlights, are Alvin and Norman. The van swerves around them and grazes the trees, the side mirror flying off as it hits a branch. Mitch fights to control the van as Courtney SCREAMS.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>That was Norman!<\/dialogue>\n    <scene_description>Shaken, Mitch realizes another figure is looming out of the darkness in front of them. He slams on the brakes again, but too late. The tall dirty-looking figure stands stock still as the van plows straight into him. Dust flies up from the wheels of the van as it skids to an eventual stop in the center of the road.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MITCH'S VAN - CONTINUOUS<\/stage_direction>\n    <scene_description>Mitch turns to everyone as he pulls off his seat belt.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Is everyone okay?<\/dialogue>\n    <scene_description>Courtney and Neil answer in unison, both of them upside down in their seats with their legs sticking up in the air.<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>Mitch, trying to stay calm, looks in his rear-view mirror and sees a prone shape on the ground some yards back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODED ROAD - CONTINUOUS<\/stage_direction>\n    <scene_description>Mitch climbs out of the van and sees the figure lying still on the moonlit road. He nervously jogs over to it. As he gets closer, Mitch can see the man more clearly. He is wrapped in filthy tattered clothing of a bygone era and is covered in dirt. Flies BUZZ around him.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Er... hello, sir?<\/dialogue>\n    <scene_description>He hunkers down and is immediately hit by the stench. A mud-encrusted face stares up at him. ANGLE ON the van, as Courtney leans her head out.<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>Is he dead or what?<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>I... I don't know! He's not moving!<\/dialogue>\n    <scene_description>The figure's head lets out a faint GASP.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>He's still breathing!<\/dialogue>\n    <scene_description>Mitch reaches out to gently lift the figure's head but as he does, there is a CRUNCH and it comes off in his hands.<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>So he's okay?<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Uh... not exactly.<\/dialogue>\n    <character>COURTNEY<\/character>\n    <dialogue>What? What did you just say?<\/dialogue>\n    <scene_description>Mitch looks from the head back to the van, then at the head again. He licks his lips nervously as he thinks.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Does anyone know CPR?<\/dialogue>\n    <scene_description>Further down the road, Norman runs back toward the van, Alvin still in tow. He sees Mitch ahead of him, getting dizzily to his feet, still holding the head.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Run!<\/dialogue>\n    <scene_description>The head in Mitch's hands suddenly GASPS again, opening its mouth. Mitch SHRIEKS as the headless figure on the road sits up and reaches out its arms. Mitch drop kicks it like a football. It flies, WAILING, into the bushes. CONTINUED: As if struck by the same blow, the rest of the corpse staggers backwards. Alvin and Norman run past him toward the van, bustling past Courtney and clambering inside. More corpses are emerging from the trees on either side of the road. She SCREAMS and leaps back into the van, as Mitch leaps into the driver's seat beside her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MITCH'S VAN - CONTINUOUS<\/stage_direction>\n    <character>MITCH<\/character>\n    <dialogue>Did you see that?<\/dialogue>\n    <character>COURTNEY<\/character>\n    <dialogue>That was insane!<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>I know, right? I kicked that like a hundred yards!<\/dialogue>\n    <character>COURTNEY<\/character>\n    <dialogue>Norman, what just happened?!<\/dialogue>\n    <character>ALVIN<\/character>\n    <dialogue>Zombies! I swear, okay? We saw them burst out of their graves! For real!<\/dialogue>\n    <scene_description>He realizes Mitch and Courtney are staring at him, and tries to disguise his raw panic with nonchalance.<\/scene_description>\n    <character>ALVIN (O.S.)<\/character>\n    <parenthetical>(to Courtney)<\/parenthetical>\n    <dialogue>Just so you know, I totally saved his life, and I could totally save yours.<\/dialogue>\n    <character>COURTNEY (O.S.)<\/character>\n    <dialogue>Sorry, who are you?<\/dialogue>\n    <character>ALVIN (O.S.)<\/character>\n    <dialogue>I'm Alvin. I'm in his class.<\/dialogue>\n    <scene_description>Norman, not so easily distracted from the problem at hand as the others, glances uneasily through the window. NORMAN'S POV - The zombies lurch arthritically toward the van, GROANING and GURGLING.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Uh, guys... maybe we should actually drive away now.<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Oh, right.<\/dialogue>\n    <scene_description>CONTINUED: Mitch starts the engine with a YELL, just as the nearest zombie leers in through the window.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODED ROAD - CONTINUOUS<\/stage_direction>\n    <scene_description>CLOSE ON the front wheel, spinning and SQUEALING. The van spits out a cloud of exhaust fumes as it accelerates away. A beat as the smoke clears. The soot-covered zombies SPLUTTER as they cough up what's left of their lungs. They turn from one to the other, awaiting direction from their leader. But the Dead Judge is nowhere to be seen. A zombie points down the winding road where the woods eventually thin out into leafy suburban drives. The ragged shape of the Judge is clinging to the back of the van, thrashing around and WAILING as it picks up speed. The zombies quietly watch until the van moves out of sight behind the trees, then turn their attention to the lights of the town center below them. They weigh up their options and, MOANING, shuffle toward civilization.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN STREETS - NIGHT<\/stage_direction>\n    <scene_description>Further down the hill, Sheriff Hooper is taking a break from ticketing borderline traffic violations by drinking a giant malt shake in a plastic cup. She leans against her parked motorcycle, squinting up at the unnatural clouds.<\/scene_description>\n    <character>SHERIFF HOOPER<\/character>\n    <dialogue>Pesky kids with their cell phones burning up the oh-zone, that's what this is!<\/dialogue>\n    <scene_description>She finishes her shake and throws the non-recyclable cup into the bushes. Mitch's van shoots past at high speed in a cloud of dust.<\/scene_description>\n    <character>SHERIFF HOOPER<\/character>\n    <dialogue>What the..?<\/dialogue>\n    <scene_description>Hooper watches the van tear away, the dark shape of the Dead Judge visibly clinging to the back doors, his voluminous cape flapping out behind him like a windsock.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODED ROAD, MITCH'S VAN - CONTINUOUS<\/stage_direction>\n    <scene_description>Unseen by the kids, the Dead Judge claws his way up the rear doors of the van by his ragged fingernails.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MITCH'S VAN - CONTINUOUS<\/stage_direction>\n    <scene_description>Courtney lets out an infuriated GROWL.<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>I just knew something like this was going to happen tonight!<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>You did? Wow, 'cos that zombie bit really threw me.<\/dialogue>\n    <scene_description>Courtney turns in her seat and glares at her brother.<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>Why d'you have to go and get everyone involved in all your weird stuff?!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Well, you weren't supposed to follow me, were you?<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>Sorry. My fault. When I'm nervous I get mouth diarrhoea.<\/dialogue>\n    <character>ALVIN<\/character>\n    <dialogue>Ha ha! Diarrhoea!<\/dialogue>\n    <character>COURTNEY<\/character>\n    <dialogue>Oh my gosh, I think I'm having an aneurism! This is so typical of you!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>You don't understand! I'm the only one who can stop this, Courtney!<\/dialogue>\n    <character>COURTNEY<\/character>\n    <dialogue>Oh, I understand! I understand that this is all getting completely out of...<\/dialogue>\n    <scene_description>The van's sunroof is suddenly ripped open, and the Dead Judge's arm reaches down into the vehicle, clawing inches above Courtney's head.<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>...HAND!<\/dialogue>\n    <scene_description>The Dead Judge leans further into the van, MOANING horribly. He seems to have his sights set on Norman, and reaches one arm down toward Norman and the book peeking out of his shoulder bag. Norman shrinks back as the zombie GROANS horribly. CONTINUED: Alvin disappears behind the back seat with a WHIMPER, but Neil valiantly leaps into the fray, wrestling the clawing fingers away from his friend.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>Whaddawedo? Whaddawedo? Mitch?!<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>I don't know! I don't know!<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>You're the oldest!<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Not mentally!<\/dialogue>\n    <scene_description>Mitch hears a SIREN wail out behind him, and looks in his mirror to see the flashing light of Hooper's bike.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Oh great. The cops.<\/dialogue>\n    <scene_description>Hooper pulls level with the passenger seat window, waving angrily.<\/scene_description>\n    <character>SHERIFF HOOPER<\/character>\n    <dialogue>Pull over the vehicle!<\/dialogue>\n    <scene_description>The Dead Judge leans further into the van, Neil hanging off him like a pendulum.<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>Norman! How do we stop them?!<\/dialogue>\n    <scene_description>Norman looks again at the book in his hands.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>I'm supposed to read from the book at the witch's grave!<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>We've got to go back to the graveyard?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>She wasn't buried with the others. I don't know where else to look...<\/dialogue>\n    <character>COURTNEY<\/character>\n    <dialogue>Well you better think of something quick!<\/dialogue>\n    <scene_description>Norman wracks his brain.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>I have an idea!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALMA'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Salma sits at her computer in an immaculately tidy bedroom. Even her collection of dolls are flawlessly groomed and sit on a shelf looking like they're waiting to be called in for an interview. Salma talks into her cell phone with an expression of withering disdain.<\/scene_description>\n    <character>SALMA<\/character>\n    <dialogue>So Norman, let me get this straight; you guys all go on this big supernatural adventure and you're calling me in the middle of the night because you need someone to help you do your homework?<\/dialogue>\n    <character>INTERCUT KIDS IN THE VAN\/SALMA<\/character>\n    <dialogue>Norman talks into his cell phone, occasionally ducking as Neil's flailing limbs are shaken from side to side by the GROWLING upside down zombie hanging above their heads.<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Uh... yeah.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODED ROAD - CONTINUOUS<\/stage_direction>\n    <scene_description>Hooper steers her bike closer and swings her backside into the side of the van in an attempt to ram it off the road. The van lurches, flipping the Judge up and over the front of the vehicle, planting his face with a SQUELCH against the windscreen.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MITCH'S VAN - CONTINUOUS<\/stage_direction>\n    <scene_description>Neil drops back down onto his seat. The Dead Judge's arm, torn off at the shoulder, is still clutched in his hands. He stares down at it, wide-eyed, as it wriggles like an animal in his grasp. The Dead Judge slides slowly down the windscreen of the van with a dull SQUEAK.<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>Mitch, do something!<\/dialogue>\n    <scene_description>Mitch flicks on the windscreen wipers, which wipe the zombie's rotten flesh from side to side across the glass. Mitch and Courtney's eyes follow the Judge's movements from side to side. CONTINUED: Behind them, Neil SQUEALS as the dismembered arm crawls all over him, fingers scuttling like a spider's legs. The arm frees itself from Neil and turns on Norman, leaping at him like a viper. Norman holds the book up as a shield, and manages to swat the zombie arm away, flipping it across the front seat, where it lands on the back of Mitch's neck. Mitch SCREAMS as the rotten hand clamps down onto the top of his head, and madly tries to shake it off. It hangs onto him grimly, bony fingers hooked around his nostrils. With Mitch no longer steering, the van swerves crazily across the road, shaking the Dead Judge off the windscreen. He disappears under the front of the vehicle, his one remaining arm clinging onto the underside. INTERCUT KIDS IN THE VAN\/SALMA Norman shouts pleadingly into the phone as he and Neil are flung violently from side to side across the back seat.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Salma! We need to find out where the witch is buried! I went to the old graveyard but her grave wasn't there!<\/dialogue>\n    <character>SALMA<\/character>\n    <dialogue>Well, duh. People found guilty of witchcraft weren't considered people anymore. Norman, your witch was buried someplace else... in an unmarked grave!<\/dialogue>\n    <parenthetical>(reproachfully)<\/parenthetical>\n    <dialogue>If you cared to pay attention some of the time, you would know that we covered this in fifth grade history class.<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Salma! Please! Hurry! Y'know, I would Google this myself if there wasn't a 300 year old dead guy trying to rip my face off!<\/dialogue>\n    <scene_description>With a SIGH, Salma types at her computer.<\/scene_description>\n    <character>SALMA<\/character>\n    <dialogue>Okay. It says here she was tried in the old Town Hall on Main Street. There may be a record of her execution and burial in their archives.<\/dialogue>\n    <scene_description>CONTINUED: (2) Norman listens intently then shouts over to Mitch, still struggling with the zombie hand gripping his face.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Quick! She said go to the Town Hall!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODED ROAD - CONTINUOUS<\/stage_direction>\n    <scene_description>Mitch hangs a sharp right and accelerates off the road and into thick undergrowth, sending up showers of twigs and thorns. Close on his heels, Hooper swerves her bike around in pursuit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN STREETS - NIGHT<\/stage_direction>\n    <scene_description>The six zombies inexorably continue their march, breaking cover from outlying woodland into the suburban streets of the town proper. At the bottom of a long driveway, spotlit by a street lamp, Mrs Henscher is taking out the trash in her bathrobe. She looks up from her garbage as the zombies approach. Her face is caked in a terrifying green avocado face mask. Barely a few feet in front of her, a similarly green face stares back, only this one has been dead for three hundred years. Henscher SCREAMS, bolting down the street like a runaway locomotive.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS, MITCH'S VAN - CONTINUOUS<\/stage_direction>\n    <scene_description>The van ploughs through bracken and bushes at breakneck speed. A little way behind, Hooper careens precariously in the van's wake.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MITCH'S VAN - CONTINUOUS<\/stage_direction>\n    <scene_description>Mitch finally manages to pry the Dead Judge's arm off his head. He throws it, thrashing around violently, over his shoulder. Alvin lifts his face tentatively over the edge of the back seat to see what's going on. The zombie arm plants him in the eye, sending both sprawling against the floor. Alvin SQUEALS as the arm snakes around his neck into a bizarre approximation of a wrestling hold.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - CONTINUOUS<\/stage_direction>\n    <scene_description>Mitch swerves his van down the hill toward the more affluent suburbs of the town. Hooper's police bike bounces along behind them, red light flashing and SIREN wailing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATION WAGON, NEARBY ROAD - CONTINUOUS<\/stage_direction>\n    <scene_description>Perry and Sandra Babcock are driving home from their evening out. Neither look especially happy.<\/scene_description>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>I really think it might help if you tried to see things from his point of view.<\/dialogue>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>I don't want to.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATION WAGON - CONTINUOUS<\/stage_direction>\n    <scene_description>The Babcocks' discussion continues as they drive.<\/scene_description>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>Perry, not believing in the Afterlife is like not believing in Astrology.<\/dialogue>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>I have no idea what you're talking about. Seriously, where did you learn that?<\/dialogue>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>Calm down.<\/dialogue>\n    <scene_description>Perry rolls his eyes and GROANS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>Mitch's van explodes out of the thinning woods and back on to the winding hill road. Hooper careens through the trees behind it, but fails to make the turn and smashes through a fence across the other side of the road into a suburban back yard, splinters of fence showering down in her wake. Scattering lawn ornaments, plastic garden toys and deck furniture, Hooper rides directly up a kids' slide, shooting high up into the air like a rocket.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN INTERSECTION - CONTINUOUS<\/stage_direction>\n    <scene_description>Preceded by an ear-splittingly guttural WAIL, Mrs Henscher runs through the streets, waving her arms about hysterically. Moments later, the Babcocks' station wagon pulls around the corner.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN INTERSECTION - CONTINUOUS<\/stage_direction>\n    <scene_description>Mitch's van SCREECHES through the intersection, swerving in front of the Babcock's station wagon, which veers wildly as Perry brakes hard. He leaps out of the car as the van drives away.<\/scene_description>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>Delinquent drivers! Where are the police when you need them?<\/dialogue>\n    <scene_description>Hooper's bike hurtles through the air and bounces off the hood of the station wagon with a CRUNCH. Before Perry can react he is buried under the mass of Sheriff Hooper, dropping like a meteorite onto his head.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MITCH'S VAN - CONTINUOUS<\/stage_direction>\n    <scene_description>The kids, hanging on for dear life, hear a loud CRUNCH from the back of the van. They all turn to see the van's rear doors ripped open. Silhouetted in the space is the one-armed Dead Judge, cape muddied and torn from his crawling back out from the vehicle's undercarriage. The zombie lunges toward the startled kids, and MOANS. Mitch turns his attention back to the road ahead, but too late, and he YELLS as green-faced Mrs Henscher runs SQUEALING into the van's headlights. Mitch throws all his weight onto the wheel, tires SCREAMING as the van misses Henscher by inches. The violence of the turn flings the Dead Judge backwards like a slingshot, disappearing out of the doors and shattering into a dozen pieces as he SMASHES into the hard road.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN BACK YARDS - CONTINUOUS<\/stage_direction>\n    <scene_description>Having completely lost control, Mitch's van ploughs through cookie-cutter back yards. CONTINUED: It bounces down the hill, flipping over and over, the kids inside tossed around like rag dolls. Somewhat the worse for wear, it eventually comes to a stop in a parking lot, neatly crashing into an empty space.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - CONTINUOUS<\/stage_direction>\n    <scene_description>The kids clamber out of the far side of the van.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Oh my gosh! I'm gonna be sick!<\/dialogue>\n    <character>COURTNEY<\/character>\n    <dialogue>Oh, I broke a nail!<\/dialogue>\n    <scene_description>As Alvin climbs out, he gingerly holds up the Judge's arm, as if it were a dead animal, and dangles it limply in front of his face.<\/scene_description>\n    <character>ALVIN<\/character>\n    <dialogue>Yeah! Alvin the zombie slayer! I got you...<\/dialogue>\n    <scene_description>The hand suddenly bends back on itself, slaps him on the face, and as he SQUEALS it drops to the ground and skitters away into the shadows. Mitch sizes up what's left of his van, and bids a tearful farewell.<\/scene_description>\n    <character>MITCH<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>Baby, I'm so sorry. You'll be alright. We're gonna get through this together.<\/dialogue>\n    <scene_description>Courtney pouts moodily when she realizes the tender words aren't for her. Norman looks up at the sky. A thick bank of cloud looms over the town, and in its center is the unmistakable otherworldly face, ebbing in and out of visibility, and grinning horribly.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Uh oh. C'mon!<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>Oh yeah!<\/dialogue>\n    <scene_description>Neil HUMS his very own action movie score as he runs to follow Norman out of the parking lot. CONTINUED:<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>Perfect. Now the geeks are in charge.<\/dialogue>\n    <scene_description>The kids make toward the parking lot exit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAIN STREET ALLEYWAY - SOME TIME LATER<\/stage_direction>\n    <scene_description>The town center retains even less charm when the sun goes down, and its remaining denizens are now drunk, high or looking for trouble. Provided one requires alcohol, junk food or pharmaceuticals, it's the place to be. A ruddy-faced drunk, SLOB GUY, inserts a few coins in a vending machine at the end of an alley, and waits as the metal coil inside curls a candy bar toward the front of the machine. The man notices the approaching figures further down the back street and frowns. He turns back to the machine, waiting. The zombies draw closer, GROANING, and the man fidgets uncomfortably. The man begins WHIMPERING. The candy bar slowly shifts forward. The zombies are close enough to touch. The man YELLS and runs away, leaving the candy bar to drop to the machine's trough with a CLANG. A beat then, still SCREAMING, the man runs back to the machine, grabs his candy, then runs away again. The Undead emerge onto Main Street, and slow down as they take in their surroundings. VARIOUS ANGLES ON the garish town center nightlife intercut with CLOSE-UPS of the wide-eyed zombies. -Two teenage girls in mini-skirts walk along the curb. A pickup truck crawls by, driven by red necks who wolf- whistle and gesture rudely. The girls GIGGLE. -In the nearby \"GOBBLER'S\" parking lot, a huge woman sits in her vehicle cramming a burger into her mouth. As she bites down ketchup spatters across the inside of the windscreen like arterial spray. -A corpse stands agog before a billboard. The poster is for a line of \"Lady Luck\" lingerie and features a buxom woman in her underwear draped over a roulette wheel. The tagline is \"FANCY YOUR CHANCES?\" The corpse's one eye pops out of its socket and dangles by its optic nerve. -Outside the Bar Gento, LOUD MUSIC and raucous revelry blare out into the street. CONTINUED: -A group of loitering teens cluster in a group, some sitting upon a stolen shopping cart, others kicking a tin can from one to the other. One daubs misspelled naughty words on the wall beside them. Another is attempting to use his bare hands to rip open a parking meter. -Another corpse stands in the light of a store window, a bank of TVs showing all kinds of programs. Racing car explosions; scantily-clad singers gyrating in music videos; talking animals and Viagra commercials. QUICK CUTS OF ZOMBIE CLOSE-UPS as they all raise rotten fingers to their mouths and SCREAM. Slob Guy suddenly bursts out of the door of the Bar Gento, dragging a group of dubious drinkers.<\/scene_description>\n    <character>SLOB GUY<\/character>\n    <dialogue>See! I told you! Zombies! It's the witch's curse!<\/dialogue>\n    <scene_description>Everyone in the street freezes in place, wide-eyed. Someone GASPS.<\/scene_description>\n    <character>SWEET GIRL<\/character>\n    <dialogue>Mama?<\/dialogue>\n    <character>RAPPER GUY<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>A couple of the zombies exchange glances, waiting for the other shoe to drop.<\/scene_description>\n    <character>GUCCI LADY<\/character>\n    <dialogue>What should we do?<\/dialogue>\n    <scene_description>Barely skipping a beat, the townsfolk shift seamlessly from shock and awe to bullish aggression. Crystal pulls a pump-action shotgun from somewhere about her person and scowls menacingly.<\/scene_description>\n    <character>CRYSTAL<\/character>\n    <dialogue>Kill them in the head!<\/dialogue>\n    <scene_description>Within seconds, the seedy-looking townsfolk have armed themselves with pool cues, mops, toilet plungers and any other household implements that can be waved threateningly, and the mob advances on the group of quivering zombies.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. URBAN STREETS - CONTINUOUS<\/stage_direction>\n    <scene_description>The disembodied Judge's arm skitters along a secluded street, eventually coming upon the rest of the Dead Judge, sitting in the gutter trying to arrange and re- attach his body parts in the right places. CONTINUED: Having SNAPPED his head back onto his neck, the Judge scoops up his remaining arm and gets unsteadily to his feet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAIN STREET - MOMENTS LATER<\/stage_direction>\n    <character>NORMAN<\/character>\n    <dialogue>Hurry! This way!<\/dialogue>\n    <scene_description>Norman leads the way, but stops dead as they run headlong into a scene of zombie invasion mayhem. Townsfolk fill the streets, SHOUTING and acting generally mob-like. One or two of them have even got hold of burning torches from somewhere. It's apocalyptic chaos. The fat woman from the Drive-Thru runs past SCREAMING, her face and T-shirt covered in blood-red ketchup.<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>Oh, this is awful! The zombies are, like, eating everyone!<\/dialogue>\n    <scene_description>Norman points beyond the bedlam to the dark shape of the Old Town Hall in the plaza.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>C'mon!<\/dialogue>\n    <scene_description>They skirt around the edge of Main Street, avoiding flying bottles and limbs as best they can. Following the noise, the Judge staggers along some way behind. He surveys the scene as he emerges, his featureless face doing a nevertheless effective job of expressing horrified shock. After a moment, he comes to his senses, and spies the kids in the distance. A look of resolve crosses his face, turning quickly to surprise as a SHOT rings out nearby. The Judge looks down to a large hole blown through his midriff. Framed within it is Crystal, several feet away, rifle smoking. He looks up again, weighs up his chances, then lets out a ROAR of retreat to his beleaguered companions before running off into the shadows. Those zombies who haven't already tried to run for cover manage to extricate themselves from the frenzy and follow the Judge's CRY, some of them breaking into a sprint.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN HALL PLAZA - NIGHT<\/stage_direction>\n    <scene_description>Formerly the district courthouse, the Town Hall has now been relegated to storing the local archives. CONTINUED: It is an old timber building, surrounded by graceless modern office blocks around the cobbled square. The kids race across the plaza, pausing to catch their breath at the ugly witch statue in front of the Town Hall. They GASP as they slow their pace.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Is everyone alright? Nobody got bitten?<\/dialogue>\n    <scene_description>Neil flops down heavily against the statue, panting and holding his mouth.<\/scene_description>\n    <character>NEIL<\/character>\n    <parenthetical>(muffled)<\/parenthetical>\n    <dialogue>I bid dy tongue! Dud dat count?<\/dialogue>\n    <scene_description>Norman moves toward the steps leading up to the Town Hall's doors, the rest of the gang falling into line behind him. Another flash of lightning paints the kids' shadows across the width of the square. Norman nervously watches the clouds above them.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Does anyone know how to pick a lock?<\/dialogue>\n    <scene_description>Everyone immediately looks at Alvin.<\/scene_description>\n    <character>ALVIN<\/character>\n    <dialogue>Sure. Picking locks is my thing.<\/dialogue>\n    <scene_description>Alvin walks over to a notice board beside the door, upon which is a poster for a \"CRIME PREVENTION SEMINAR\". He yanks it out of the ground, hefts it through the window, then reaches through to unfasten the door latch.<\/scene_description>\n    <character>ALVIN<\/character>\n    <dialogue>Boom.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOWN HALL LOBBY - CONTINUOUS<\/stage_direction>\n    <scene_description>The kids hurry through the door. The lobby is dark, but moonlight glistens off polished wood through a lofty circular window. Norman shouts out from the other side of the lobby, where he stands beside a door labelled \"HALL OF RECORDS\"..<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>This is it!<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>This is?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Now we can find out where the witch was buried!<\/dialogue>\n    <scene_description>Norman pushes his shoulder against the door and steps inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOWN HALL ARCHIVES - CONTINUOUS<\/stage_direction>\n    <scene_description>The door swings open and reveals a labyrinth of shelves and glass cabinets stretching out into the shadows in front of him. Row after row of dusty cardboard file boxes and ledgers stacked one on top of another. Norman stops in his tracks, color draining from his face.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Uh-oh.<\/dialogue>\n    <scene_description>Courtney follows, faking enthusiasm.<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>Great! I'm super psyched! This is turning into the most fun night ever!<\/dialogue>\n    <scene_description>The overhead light clicks on as Alvin steps into the room behind her and GROANS.<\/scene_description>\n    <character>ALVIN<\/character>\n    <dialogue>Man. Zombies take over the world and we lock ourselves in a library. Are you kidding me? There's an adult video store just across the street!<\/dialogue>\n    <scene_description>Neil is more optimistic, and brightly makes his way over to a shelf, and pulls down a slim ledger.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>This'll be a piece of cake, you'll see.<\/dialogue>\n    <scene_description>He pauses, and frowns, squinting up his eyes as he reads aloud, very slowly.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>Page... One... Okay, page one.<\/dialogue>\n    <scene_description>Mitch hefts a particularly heavy box file off a shelf. He seems to read the filing notes written across its front, then ignores them and begins curling it like a dumbbell. CONTINUED:<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>I really hate these places.<\/dialogue>\n    <scene_description>Norman sizes up the masses of documents all around them, face panicked. It would take days to go through them all.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Come on! No, that's not it. Time is running out!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAIN STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>Sheriff Hooper looks around and sees an awful lot of armed people beginning to bay for blood, and she sees trouble on her hands.<\/scene_description>\n    <character>SLOB GUY<\/character>\n    <dialogue>Ain't room for no more zombies in this town!<\/dialogue>\n    <scene_description>Standing behind him, Teddy agrees with a slack-jawed MOAN.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATION WAGON - NIGHT<\/stage_direction>\n    <scene_description>Perry drives into town in silence, his nose bloodied and stuffed with tissues. Sandra sits beside him and Sheriff Hooper is in the back seat, scouring the streets.<\/scene_description>\n    <character>SHERIFF HOOPER<\/character>\n    <dialogue>Would've been a quiet night too, if it hadn't been for those meddling kids. Huh!<\/dialogue>\n    <scene_description>As Perry and Sandra exchange uneasy glances, Hooper suddenly points through the windshield to the riot in progress on Main Street.<\/scene_description>\n    <character>SHERIFF HOOPER<\/character>\n    <dialogue>Sweet baby jinkies!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAIN STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>Perry brakes hard just a few feet in front of the advancing mob, moving menacingly en masse in pursuit of the fleeing Undead. Hooper bustles out of the car, making a beeline for Deputy Dwayne. Crystal turns and fires into the street, taking out a lightbulb over a store sign. A dog somewhere in the shadows YELPS and runs away. CONTINUED: Sheriff Hooper is outraged, and snatches the gun out of Crystal's hand.<\/scene_description>\n    <character>SHERIFF HOOPER<\/character>\n    <dialogue>What do you think you're doing, firing at civilians? That is for the police to do!<\/dialogue>\n    <character>DEPUTY DWAYNE<\/character>\n    <dialogue>It's okay Sheriff, we've only been shooting at the dead ones! It's the living dead, come to take us all to Hell! We gotta stop them before they get away!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN HALL - MOMENTS LATER<\/stage_direction>\n    <scene_description>In the alley down the side of the old Town Hall, the zombies tiptoe through the shadows. They look slightly the worse for wear; some have lost limbs, others have large holes in them. One has a toilet plunger stuck on her head. The Dead Judge looks up at the sky. The turgid supernatural storm RUMBLES closer, pressing down upon the nearby rooftops. The Judge motions to the other zombies to hurry, and grabs hold of the Town Hall's side door. He rips it open, and furtively motions the zombies to file inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAIN STREET - CONTINUOUS<\/stage_direction>\n    <character>SHERIFF HOOPER<\/character>\n    <dialogue>Move along now people, there isn't anything to see here!<\/dialogue>\n    <scene_description>The townsfolk around her refuse to be allayed by this. Perry and Sandra have emerged dubiously out of their car and watch from the periphery, utterly bewildered. Mrs Henscher, newly arrived and wearing her avocado face mask like war paint, shakes her shotgun and points down the street.<\/scene_description>\n    <character>MRS HENSCHER<\/character>\n    <dialogue>I saw them! I saw them! The zombies are in the Town Hall!<\/dialogue>\n    <scene_description>The information sweeps across the crowd like wildfire. Several faces turn to Henscher, who is pleased to have an engaged audience and hams it up shamelessly, coming on like Braveheart in curlers. CONTINUED:<\/scene_description>\n    <character>MRS HENSCHER<\/character>\n    <dialogue>Cry \"Havoc!\" and let slip the dogs of war!<\/dialogue>\n    <scene_description>The faces around her don't react; waiting patiently for a clearer translation.<\/scene_description>\n    <character>MRS HENSCHER<\/character>\n    <dialogue>Let's rip 'em apart!<\/dialogue>\n    <scene_description>Mrs Henscher points the crowd toward the Town Hall. Despite Hooper's protests, the townsfolk are on lynch mob auto pilot and surge like a force of nature along the Main Street toward the Town Hall plaza.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOWN HALL, ARCHIVES - LATER<\/stage_direction>\n    <scene_description>Dozens of books and cardboard boxes lie scattered across the floor. The glass cabinets around the room have been ransacked as the kids drag documents off shelves and rummage through binders. Norman sits on the floor flipping through sheet after sheet of records. Courtney wades through documents toward him, holding up a fist full of old rolled-up papers.<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>We're not going to find it in here, Norman! This is useless!<\/dialogue>\n    <character>ALVIN<\/character>\n    <dialogue>Yeah, I know, and it's also really boring.<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>I thought I was driving the van. No one told me I was gonna have to do this other dumb stuff.<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>If I'd known there was so much reading involved, I would have brought a completely different group of people who hate me.<\/dialogue>\n    <scene_description>Neil suddenly YELLS out victoriously. Everyone turns to him, hardly believing he might have found the answer. He waves a book triumphantly above his head and grins at everyone.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>Yes! Book number one! Finished! That is right, twenty six pages, oh yeah!<\/dialogue>\n    <scene_description>Everyone GROANS and turns back to their bickering. CONTINUED:<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>I can't believe this is your plan! I'm gonna get bitten and start eating peoples' brains! I'm supposed to be Vegan!<\/dialogue>\n    <scene_description>Mitch suddenly SHOUTS out from the doorway.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Guys! There's something moving out there! I think it's the zombies!<\/dialogue>\n    <character>ALVIN<\/character>\n    <parenthetical>(hysterical)<\/parenthetical>\n    <dialogue>Hide!<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Oh, no it's not. It's just grown- ups.<\/dialogue>\n    <character>ALVIN<\/character>\n    <parenthetical>(more hysterical)<\/parenthetical>\n    <dialogue>Hide!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN HALL - SAME<\/stage_direction>\n    <scene_description>The square outside is awash with threatening townsfolk, led by Mrs Henscher and Deputy Dwayne. Some charge up the Town Hall steps, JEERING and WHISTLING.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOWN HALL LOBBY - CONTINUOUS<\/stage_direction>\n    <scene_description>Blurry silhouettes move across the outside of the window, occasionally SMACKING against them with their fists. A brick SMASHES through a window and CLATTERS across the floor between Courtney's feet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOWN HALL ARCHIVES - CONTINUOUS<\/stage_direction>\n    <scene_description>The kids start to hurry toward the lobby, leaving Norman sitting amongst the spilled documents.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>That sound. Y'know what that is? That's not awesome... things...<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Guys, come on!<\/dialogue>\n    <character>ALVIN<\/character>\n    <dialogue>Just give it up, weiner!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>We have to keep trying!<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>We tried and look what happened!<\/dialogue>\n    <parenthetical>(sighs)<\/parenthetical>\n    <dialogue>I'm scared, Norman, and I can't listen to this any more.<\/dialogue>\n    <scene_description>Norman looks at the faces in front of him. The kids are scared and confused and angry. Even Neil has nothing encouraging to offer. Norman's brow furrows.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>You never listen! No one ever listens! I'm scared too, but I've still gotta do this.<\/dialogue>\n    <character>COURTNEY<\/character>\n    <dialogue>I do too listen! And whatever it was you just said, it's not working! You think you're going to go out there and do your talking to the dead thing and this is all going to be okay? What are you going to do, ask the zombies not to eat you?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>I should've known you wouldn't understand! No one ever does!<\/dialogue>\n    <character>COURTNEY<\/character>\n    <dialogue>Norman, you need to stop all this weird stuff and start living in the real world!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Everyone in the real world thinks I'm a freak! And you know what, maybe they're right, maybe I am a freak! But I never asked for your help... just go! Get out!<\/dialogue>\n    <scene_description>Courtney, Mitch and Alvin back off a half step as Norman advances on them.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Jeez, that was dramatic.<\/dialogue>\n    <scene_description>Courtney shoots him a look as if she's about to fight back, then shakes her head and shoves her way through the door. She turns to go, snapping at the other kids behind her.<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>C'mon!<\/dialogue>\n    <scene_description>CONTINUED: (2) One by one, the kids turn and file out, but Neil still insists on remaining, folding his arms defiantly.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>I'm not going anywhere. You can't make me.<\/dialogue>\n    <scene_description>Mitch shrugs and picks his brother up, scooping him under one arm and carrying him out the door.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Dude, you're really heavy.<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>I'm not speaking to you. You can't make me.<\/dialogue>\n    <scene_description>Norman watches the doors shut behind them, and his anger begins to ebb. Alone in the archive room, he slumps to his knees feeling useless and frustrated.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOWN HALL LOBBY - CONTINUOUS<\/stage_direction>\n    <scene_description>In the lobby, no one can hear him over the sounds of the mob. The kids have nervously approached the barricade at the front door, hoping to appeal to the figures outside.<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>Um, excuse me? Hello?<\/dialogue>\n    <scene_description>Unmistakably living hands and arms suddenly SMASH through the barricade, clawing into the Town Hall. The kids recoil from the windows, SCREAMING as they bat ineffectually at the grasping hands.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN HALL - CONTINUOUS<\/stage_direction>\n    <scene_description>Slob Guy reaches in through a gap in the broken woodwork, managing to grab a hold of something.<\/scene_description>\n    <character>SLOB GUY<\/character>\n    <dialogue>They're in there alright! I can feel its clammy flesh!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOWN HALL LOBBY - CONTINUOUS<\/stage_direction>\n    <scene_description>Neil SCREAMS as Slob Guy gropes at his chubby arm.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>117A INT. TOWN HALL ARCHIVES - CONTINUOUS 117A<\/stage_direction>\n    <scene_description>Norman notices his backpack on the floor in front of him, the book of fairy tales poking out. He picks it up and runs his hand absently over the embossed leather cover. 117A CONTINUED: 117A Something CLATTERS behind him, and Norman hears someone approaching.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>He turns around to face his friend and finds himself staring up at a zombie, moving toward him along the dark aisle, pale moonlight shining off its exposed bones. Norman GASPS. He realizes zombies are converging on him from all directions, barring his way out through the door. The Dead Judge GROANS as he approaches. Norman backs away, clutching the book to his chest. Out of the corner of his eye Norman spots another doorway in the shadows of the wall behind him and moves toward it, calling out desperately.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Help! Somebody help me!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOWN HALL STAIRWELL - CONTINUOUS<\/stage_direction>\n    <scene_description>Norman runs up a tight stairwell leading to the roof of the building, the zombies just a few steps beneath him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN HALL - CONTINUOUS<\/stage_direction>\n    <character>MRS HENSCHER<\/character>\n    <dialogue>Let's burn 'em out!<\/dialogue>\n    <scene_description>Obligingly, a couple of townsfolk hurl Molotov cocktails at the windows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOWN HALL LOBBY - MOMENTS LATER<\/stage_direction>\n    <scene_description>The kids manage to pull back just as a burning bottle flies over their heads, SHATTERING glass. It lands in the middle of the room and a puddle of burning alcohol spreads across the floorboards. Tendrils of black smoke are also beginning to creep under the edge of the front door. The kids stand in a group, terror-stricken as the smoke thickens and flames begin to lick along the floor. Courtney is quick to lose what remains of her composure. CONTINUED:<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>We're all gonna DIE!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN HALL, ROOFTOP - CONTINUOUS<\/stage_direction>\n    <scene_description>Norman heaves himself through a tiny hatchway onto a flat roof at the highest point of the building. He shuts the hatch, inching away as the zombies beneath beat on it with their hands. Norman finds himself backed up against a flimsy wooden rail, which CREAKS warningly. He leans over and sees the square beneath, filled with angry people. He has nowhere left to run. Above him the red sky RUMBLES, clouds churning into a ghastly grinning mouth.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN HALL - CONTINUOUS<\/stage_direction>\n    <scene_description>Far below, the gathered townsfolk grow increasingly erratic. A pair of visiting tourists happily take in their surroundings with their cell phones and cameras. Sandra tugs at her husband's arm as they are buffeted by the increasingly erratic townsfolk.<\/scene_description>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>Oh my gosh, do you think this has got anything to do with Norman?<\/dialogue>\n    <scene_description>Perry waves her hand away irritably.<\/scene_description>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>Of course not!<\/dialogue>\n    <scene_description>He is interrupted by a SHOUT as someone sees Norman's tiny figure silhouetted against the raging sky on the roof of the building.<\/scene_description>\n    <character>LIBRARIAN<\/character>\n    <dialogue>Everyone look!<\/dialogue>\n    <scene_description>Perry and Sandra see their son begin gesticulating wildly at the clouds.<\/scene_description>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>Perry, do something!<\/dialogue>\n    <scene_description>He cups his hands around his mouth and YELLS at Norman.<\/scene_description>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>Norman! Get down from there this instant! You're supposed to be grounded!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN HALL, ROOFTOP - CONTINUOUS<\/stage_direction>\n    <scene_description>Distraught, Norman bellows into the sky, waving the book angrily above his head.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>You horrible old witch! Is this what you want?<\/dialogue>\n    <scene_description>The roiling face above him seems to CACKLE mercilessly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN HALL - CONTINUOUS<\/stage_direction>\n    <scene_description>The mob begins to lurch to all new stupid conclusions as Norman waves his arms at the clouds.<\/scene_description>\n    <character>MRS HENSCHER<\/character>\n    <dialogue>Necromancer!<\/dialogue>\n    <character>FEMALE TOURIST<\/character>\n    <dialogue>This is all his doing!<\/dialogue>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>Norman!<\/dialogue>\n    <scene_description>Perry feels the shift in the crowd. They're not just baying for blood. They're about to start baying for his son's blood.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN HALL, ROOFTOP - CONTINUOUS<\/stage_direction>\n    <scene_description>Norman continues YELLING at the sky, waving the book. He madly flicks through the pages, attempting to read aloud over the ROARING wind.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Once upon a time in a far-off land there lived a king and queen... in a magnificent castle...<\/dialogue>\n    <scene_description>The horrible cloud face above him CACKLES monstrously, drowning out the story.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Why won't you listen to me? Why are you doing this?!<\/dialogue>\n    <scene_description>The face in the clouds turns inside out as a tongue of lightning spits out. It SMACKS into the book held in front of Norman's chest, lifts him up off his feet and throws him back onto the old timbers of the roof. The air is knocked out of Norman as, trailing smoke, he SMASHES through the wood into the fiery chasm of the building beneath. CONTINUED: CAMERA follows him as he plummets, SCREAMING, and is enveloped in thick black smoke. There is a loud THUD, and silence.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOWN HALL, OLD COURTHOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Norman lies on the floor, shifting painfully. With some effort he sits up, rubbing his head. The book in his hand is now a blackened cinder with a large smoldering hole gouged through the middle. Norman realizes he is no longer inside the burning building. Around him indistinct shapes begin to pool into clarity. He is in the courthouse, but three hundred years ago, and a trial is about to begin. A crowd of onlookers gather around a platform at the head of the room where officious-looking gentlemen in austere Puritan clothing stand around a table. Two dour men in black skull caps are seated, an empty chair between them. Norman moves unnoticed through the crowd toward the platform. The hubbub of the townsfolk dies down. The imposing figure of Judge Hopkins, tall and august, marches out of a side chamber, steps up onto the wooden dais and seats himself silently between his solemn peers. He glares down at Norman with cold, humorless eyes.<\/scene_description>\n    <character>JUDGE HOPKINS<\/character>\n    <dialogue>Agatha Prenderghast of his Majesty's Province of Massachusetts...<\/dialogue>\n    <scene_description>As the Judge's voice continues, Norman sees played out against it a MONTAGE of the preceding court case. The notary stands up, waving a wad of testimonies.<\/scene_description>\n    <character>JUDGE HOPKINS (V.O.)<\/character>\n    <dialogue>...on this day you have been arraigned for the horrible crime of witchcraft...<\/dialogue>\n    <scene_description>A pale woman fiddles nervously with the ribbon on her bonnet as she is questioned by the Judge.<\/scene_description>\n    <character>JUDGE HOPKINS (V.O.)<\/character>\n    <dialogue>...witnessed by those whose testimonies have been heard.<\/dialogue>\n    <scene_description>A wiry woman with a pinched face gestures fearfully with her arms as she recounts her evidence. CONTINUED:<\/scene_description>\n    <character>JUDGE HOPKINS (V.O.)<\/character>\n    <dialogue>You have, by this court, been found guilty...<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>A young farmhand bows his head shamefully, as he adds further ammunition to the prosecution.<\/scene_description>\n    <character>JUDGE HOPKINS (V.O.)<\/character>\n    <dialogue>...and it is passed on you, according to your grievous crimes...<\/dialogue>\n    <scene_description>Another village woman SOBS into a handkerchief as she tells her story. QUICK CUTS of the accusers, one after the other, as the Judge finishes his verdict. The notary, the preacher, the townsfolk. All point at Norman.<\/scene_description>\n    <character>JUDGE HOPKINS<\/character>\n    <dialogue>...execution.<\/dialogue>\n    <scene_description>Camera swings slowly around Norman to reveal AGGIE PRENDERGHAST, standing in chains right behind him.<\/scene_description>\n    <character>AGGIE<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>Norman reacts with horror. The \"witch\" cowering next to him is no more than eleven years-old. Her long hair is unkempt and dirt on her face is streaked with tears from her eyes. Her manacles have been specially made to fit her tiny wrists, and weigh her to the floor. She SNIFFS, scared and confused.<\/scene_description>\n    <character>JUDGE HOPKINS<\/character>\n    <dialogue>Do you have anything to say for yourself?<\/dialogue>\n    <character>AGGIE<\/character>\n    <dialogue>I was only playing!<\/dialogue>\n    <character>JUDGE HOPKINS<\/character>\n    <dialogue>Aye, with fire! You were speaking with the dead!<\/dialogue>\n    <scene_description>The crowd GASPS and MURMURS fearfully.<\/scene_description>\n    <character>JUDGE HOPKINS<\/character>\n    <dialogue>I'll not risk damnation on these good people.<\/dialogue>\n    <scene_description>The town Sheriff grabs Aggie by the shoulder. CONTINUED: (2)<\/scene_description>\n    <character>JUDGE HOPKINS<\/character>\n    <dialogue>You are to be taken to the place of execution where you will be hanged by the neck until you be dead...<\/dialogue>\n    <scene_description>Norman shouts out but no one can hear or see him.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Wait! No! You can't do this!<\/dialogue>\n    <scene_description>The grim-faced Sheriff moves toward Norman and Aggie. She backs away, tears flowing down her face.<\/scene_description>\n    <character>AGGIE<\/character>\n    <dialogue>I didn't do anything wrong!<\/dialogue>\n    <scene_description>A terrible panic comes over her face.<\/scene_description>\n    <character>AGGIE<\/character>\n    <dialogue>Stop! Leave me alone or I'll make you sorry! I'll make all of you sorry!<\/dialogue>\n    <scene_description>Norman feels unsteady on his feet, the room seeming to spin around him. The faces of the townsfolk, pale and skull-like, swirl around and around, blurring together. In the center of it all, glowing like a bonfire, Aggie SCREAMS. The world turns black and Norman collapses in a faint.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOWN HALL ARCHIVES - CONTINUOUS<\/stage_direction>\n    <scene_description>NORMAN'S P.O.V. - the high timbers of the hall roof swim into focus, and then faces peering down at him. Skeletal, rotting faces. The dead Puritans are standing around him in a half-circle. He sits up terrified, and looks around, shuffling back across the floorboards on his bottom. The dead villagers stand where they are, staring intently. Norman sits a moment, heart pounding, WHISPERING SHAKILY.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>How could you?! She was just a little kid! She was no different than me!<\/dialogue>\n    <scene_description>The Dead Judge takes a step forward.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Keep away from me!<\/dialogue>\n    <scene_description>The Dead Judge stops, then opens his horrible mouth and speaks in a guttural voice. CONTINUED:<\/scene_description>\n    <character>DEAD JUDGE<\/character>\n    <dialogue>You... must... stop... the... curse.<\/dialogue>\n    <scene_description>A beat. Norman is stunned.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>What? You don't want to kill me?<\/dialogue>\n    <scene_description>The Judge shakes his head and points down at the book beside Norman's feet.<\/scene_description>\n    <character>DEAD JUDGE<\/character>\n    <dialogue>You can speak to the dead. To us. To her. We need you to read from the book to send us all back to the grave.<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>But it didn't work! It's a fairy tale! Just a bedtime... story...<\/dialogue>\n    <scene_description>He narrows his eyes at the Judge.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>That's it, isn't it? A bedtime story to keep a little girl asleep for another year. And now you need my help because I'm the only one who can read it to her!<\/dialogue>\n    <scene_description>He bends down to pick it up. His eyes flash angrily at the zombies and he hurls the burnt book at the Judge. It hits him in the chest and falls to his feet with a THUD.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Here's your book! Try reading it yourself!<\/dialogue>\n    <scene_description>The zombies stare down at the blackened lump of charred paper, and several of them GASP. The Dead Judge's eyes are filled with fear and desperation.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Why did you do it?<\/dialogue>\n    <character>DEAD JUDGE<\/character>\n    <dialogue>We were scared.<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Of what?<\/dialogue>\n    <character>DEAD JUDGE<\/character>\n    <dialogue>Of her.<\/dialogue>\n    <parenthetical>(gestures behind)<\/parenthetical>\n    <dialogue>I believed we were doing what was right. I was wrong. Now this is our punishment.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>DEAD JUDGE<\/character>\n    <dialogue>We thought we knew our way in life but in death we are lost.<\/dialogue>\n    <scene_description>Norman knows they're telling the truth.<\/scene_description>\n    <character>DEAD JUDGE<\/character>\n    <dialogue>Please help us.<\/dialogue>\n    <scene_description>Norman looks at the book of fairy tales, lying at his feet. Its pages are curled and blackened, embers still glowing around the hole blown right through it.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Every year someone reads the story at her grave. Before me it was Mr Prenderghast, and before him there were others, but the curse doesn't ever go away. Nothing gets better. It's not enough.<\/dialogue>\n    <scene_description>Norman looks at it a moment, thinking. He knows what he has to do.<\/scene_description>\n    <character>DEAD JUDGE<\/character>\n    <dialogue>What will you do?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Something nobody ever did before. I've gotta go talk to her.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOWN HALL - CONTINUOUS<\/stage_direction>\n    <scene_description>Smeared with soot and COUGHING, the kids are trapped in the lobby. They cower together as burning wood CREAKS and CRACKS all around them. The air is grey and caustic and filled with flakes of charcoal and burning ash. A burning timber GROANS as it splits from the ceiling and tumbles toward the children. They SCREAM and scatter as it hits the floorboards in a shower of glowing sparks. Mitch shouts out from beside a heavy wooden counter top.<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Guys! Guys! Under here! Under here!<\/dialogue>\n    <scene_description>The kids scramble beneath the shelter of the counter as more glowing embers rain down around them. Courtney grabs Mitch by the bicep and whispers weakly.<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>Mitch, if we die tonight, this might be the last chance I get to tell you how I feel.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>MITCH<\/character>\n    <dialogue>Uh, well, no. Unless we get brought back as zombies, and then technically you'll have longer.<\/dialogue>\n    <scene_description>Courtney opens her mouth to continue, but her love train is thoroughly derailed by the nearby CRASH of breaking wood, and the archive door beside them CLATTERS to the ground. The cowering kids all watch in silent horror as several dark figures limp and shamble out of the smoke and make their way past them across the room. It's the zombies, and they're being led by Norman.<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>Norman?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Come on! This way!<\/dialogue>\n    <character>COURTNEY<\/character>\n    <dialogue>You've gotta be kidding me...<\/dialogue>\n    <scene_description>Norman, his mouth shielded by his sleeve, heads purposefully toward the front doors.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN HALL - MOMENTS LATER<\/stage_direction>\n    <scene_description>A loud THUD from within the Town Hall causes the gathered crowd outside to GASP, and those closest to the doors to take a few steps back. The crowd GASPS again as the charred front door of the Town Hall is wrenched off its hinges by a huge piece of timber and CRASHES down the steps in a shower of flaming splinters. A ripple of shock runs through the crowd as a number of skeletal figures emerge, SPLUTTERING and WHEEZING through the smoke, shielding their faces from the heat. The gathered crowd are even more aghast when they realize a child is being guided out of the flames by the zombies. Unseen by the crowd, Courtney and the other kids crawl to the splintered opening of the front door, blinking and COUGHING for air. Hooper pulls out her gun and marches toward the zombies.<\/scene_description>\n    <character>SHERIFF HOOPER<\/character>\n    <dialogue>You stay right where you are! You may be dead already, but I will still shoot you!<\/dialogue>\n    <scene_description>CONTINUED: The zombies stop on the steps, burning building behind them and the hostile townsfolk in front of them. Norman pushes through and stands firmly in the way of Hooper's gun, arms spread defensively.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Wait!<\/dialogue>\n    <scene_description>Courtney and the other kids GASP as they watch from within the doorway.<\/scene_description>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>Oh my gosh!<\/dialogue>\n    <scene_description>Far above, the clouds THUNDER like demonic laughter. Perry steps forward, face red.<\/scene_description>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>Son! Step away from the zombies!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>No! I won't!<\/dialogue>\n    <scene_description>Sandra comes up behind her husband and holds his arm.<\/scene_description>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>Perry, calm down! You're going to have a heart attack and then what are you going to do?<\/dialogue>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>I'll come back and haunt Norman! Maybe then he'll start listening to me!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>No! You don't understand what's happening here! I spoke to them and it's not what you think!<\/dialogue>\n    <scene_description>Courtney edges forward out of the doorway, shocked but transfixed.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>The curse isn't about the zombies hurting you! It's about you hurting them! I figured it out, and I know a way to stop this!<\/dialogue>\n    <character>MRS HENSCHER<\/character>\n    <dialogue>He's in league with them!<\/dialogue>\n    <scene_description>A few members of the crowd try to push past Perry toward the steps.<\/scene_description>\n    <character>DEPUTY DWAYNE<\/character>\n    <dialogue>Let's hang him!<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>GUCCI LADY<\/character>\n    <dialogue>No! We can't hang him, stupid! It's the 21st Century!<\/dialogue>\n    <character>DEPUTY DWAYNE<\/character>\n    <dialogue>Then let's burn him!<\/dialogue>\n    <scene_description>Sandra turns despairingly to the crowd behind her.<\/scene_description>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>Can you stop being a mob for just one minute?!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Listen to me!<\/dialogue>\n    <character>CRYSTAL<\/character>\n    <dialogue>Get them before they eat us!<\/dialogue>\n    <scene_description>Punctuating every shout, the roiling clouds continue to RUMBLE their horrible laughter.<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>Leave him alone!<\/dialogue>\n    <scene_description>Courtney suddenly emerges, standing right in front of Norman. Following her lead in true \"I'm Spartacus!\" fashion, Neil, Mitch and Alvin step forward too, creating a barrier all around him, all joining hands in solidarity. CLOSE ON Courtney's face as she hisses sidelong to Alvin.<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>Hand, Alvin! My hand!<\/dialogue>\n    <scene_description>A ripple of confusion seems to run through the crowd.<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>Everybody, listen up! You all need to stop trying to kill my brother! You're adults! Stop it! I know that this seems crazy, believe me I'm with you on that, but I think he does actually know what he's talking about!<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>All night he's been trying to save you from the witch's curse!<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>Yeah, and all you want to do is burn and murder stuff, burn and murder stuff! Just burning and murdering!<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>ALVIN<\/character>\n    <dialogue>Shame on every single one of you! How dare you all!<\/dialogue>\n    <scene_description>Amongst the crowd, doubt is beginning to show. Even the rumbling clouds have gone quiet.<\/scene_description>\n    <character>CRYSTAL<\/character>\n    <dialogue>So they're not going to hurt us?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>No, does it look like any of them are trying to hurt you? They're just people. At least they used to be. Just stupid people who should have known better.<\/dialogue>\n    <scene_description>Norman looks at the line of Puritans. They look quite sad and pathetic really. Hardly monstrous at all.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>They did something unforgivable because they were scared, and they were cursed for it. Now it's happening all over again. Don't you get it? They were just like you. But now it has to stop. For good.<\/dialogue>\n    <scene_description>Across the crowd, weapons are being lowered and faces are starting to look a little guilty. There is silence as the modern townsfolk stare at the line of three hundred year-old townsfolk. Throughout the crowd various weapons CLATTER as they hit the ground. A small girl tiptoes up the steps and silently offers one of the zombies his arm back. The quiet is shattered by a deafening SCREAM. It blows out of the storm clouds and whips through the plaza on a hellish wind. The street lamps around the square shatter in bursts of sparks, raining down on the amassed people. The sky above is blood red, clouds twisting and contorting into a vast unnatural vortex. The Town Hall erupts in a fireball, tongues of white fire ROARING out of the embers as the ground shakes and the crowd scatters in terror. Neil turns to Norman as they duck for cover behind a parked car, and SHOUTS over the noise of the wind.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>Jeez, what is her problem?<\/dialogue>\n    <scene_description>Norman takes in the chaos around them... CONTINUED: (4) -An arc of white lightning hits the base of the witch's statue with a CRACK. With a terrible GROAN, the statue is lifted up into the air by the supernatural wind. It CRASHES down at the foot of the Town Hall steps, shattering into a hundred pieces of rubble. -Windows blow out of tacky tourist stores, their cheap front displays ripped apart by the wind. -A bolt of lightning tears through the huge billboard in the plaza, ripping apart the idealized image of the town's history in a spiral of splintered wood. Norman struggles over to where a group of townsfolk and zombies cower from the destruction. Sandra runs over to her son and hugs him.<\/scene_description>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>Oh, Norman!<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>So what do we do now?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>I... I really don't know...<\/dialogue>\n    <character>COURTNEY<\/character>\n    <dialogue>Yes you do, Norman! You've got to get to that witch's grave!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>But...<\/dialogue>\n    <character>COURTNEY<\/character>\n    <dialogue>But nothing! You listen to me, buster, we didn't turn away when Daleridge High was slaughtering our volleyball team, did we?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>I thought we did.<\/dialogue>\n    <character>COURTNEY<\/character>\n    <dialogue>No we didn't. I've cheered the uncheerable, Norman, and I'm not letting you give up now!<\/dialogue>\n    <scene_description>Norman turns to Perry, his eyes all business.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Dad, could I borrow the car?<\/dialogue>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <scene_description>CONTINUED: (5) Norman looks squarely at his dad, and the Dead Judge beside him. They exchange uneasy glances. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATION WAGON - CONTINUOUS<\/stage_direction>\n    <scene_description>The Dead Judge sits rigidly between Norman and Courtney in the back of Perry's station wagon, Perry and Sandra in the front. Perry drives in silent discomfort following the Judge's instructions through town, glancing in his rear-view mirror at the passengers in the back seat. Sandra takes a small perfume spritzer from her purse as surreptitiously as she can and sprays the air around her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN STREETS - CONTINUOUS<\/stage_direction>\n    <scene_description>The car turns a corner into the path of an overturned truck, caught by the spectral wind. It cartwheels down the middle of the street, tearing up the asphalt.<\/scene_description>\n    <character>I\/E. STATION WAGON - CONTINUOUS<\/character>\n    <dialogue>Perry swerves out of its path of destruction. Inside, Sandra cranes her neck around to watch the truck CRASH down the road behind them. She faces front again.<\/dialogue>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>Boy, the traffic tonight!<\/dialogue>\n    <character>COURTNEY<\/character>\n    <dialogue>Norman! He's on my side of the seat!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>She wants you to move over.<\/dialogue>\n    <scene_description>The Judge MUMBLES.<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>I heard that! Mom! Tell the zombie to stop saying stuff about me!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Can you quit using the \"z\" word?<\/dialogue>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>So help me I will stop this car right now if all three of you don't quit it this instant!<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>After a moment, the Judge lets out a sepulchral MOAN.<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>He says \"take a left here\".<\/dialogue>\n    <scene_description>Perry gives a distasteful look, but turns the steering wheel. He peers out through the raging storm, windscreen wiper batting ineffectively at the onslaught of debris.<\/scene_description>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>We've already been this way. We're going around in circles!<\/dialogue>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>Maybe we should pull over and ask someone?<\/dialogue>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>Oh, right, you think maybe we should stop at a graveyard and dig up some other eighteenth-century corpses?<\/dialogue>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>It's not a bad idea.<\/dialogue>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>I wish I understood you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. STATION WAGON - CONTINUOUS<\/stage_direction>\n    <scene_description>From the back seat, the Judge turns to Norman and GROANS.<\/scene_description>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>Please don't tell me he needs to use the bathroom.<\/dialogue>\n    <scene_description>Norman listens as the Judge continues GRUMBLING, then leans forward over his father's seat, pointing.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Turn down there!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OLD FOREST TRAIL - CONTINUOUS<\/stage_direction>\n    <scene_description>The car turns tightly off a secluded road onto a dirt path running into the thick of the surrounding woodland.<\/scene_description>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>Oh my, do you think that's it?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OLD FOREST TRAIL - MOMENTS LATER<\/stage_direction>\n    <scene_description>The headlights of the car illuminate a huge fallen trunk ahead along the path, and Perry pulls the car to a stop, wheels CRUNCHING on dirt and roots. Everyone gets out of the car. The trees around them are thick and dense. Aggie's furious storm WHISTLES through the branches far above them. Norman turns to the Dead Judge. The Judge nods solemnly, pointing ahead. Norman steels himself and begins to march forward through the thick brambles, the others following behind.<\/scene_description>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>So, why are we here?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Someone's gotta talk to her, Dad.<\/dialogue>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>Yeah, um, why's that person you, exactly?<\/dialogue>\n    <scene_description>As they continue, the surrounding trees press in on them, just like in Norman's vision. Branches and thorns lash at their faces while thick roots entangle their feet. Norman's family are falling behind and realize too late that the encroaching trees are about to crush Norman.<\/scene_description>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>Oh my goodness, look out!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Mom!<\/dialogue>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>Perry! Do something!<\/dialogue>\n    <scene_description>Perry is finding it difficult to move; a tree bears down on him, its roots snagging his thrashing limbs.<\/scene_description>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>I'm trying!<\/dialogue>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>Kick it in the knothole!<\/dialogue>\n    <scene_description>Norman hops nimbly between two huge trunks as they SMASH together, blocking off the way ahead with gnarled wood. Sandra struggles free and shouts over the branches.<\/scene_description>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>Norman?!<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>NORMAN (O.S.)<\/character>\n    <dialogue>I'm okay Mom! Wait for me here! Don't worry!<\/dialogue>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>Be careful!<\/dialogue>\n    <scene_description>Now separated from the others, Norman turns to go ahead on his own. Ahead of him a phosphorescent glow shines off the trees, and he knows he is very close.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OLD FOREST CLEARING - CONTINUOUS<\/stage_direction>\n    <scene_description>Exhausted but determined, Norman finds the source of the supernatural storm; a clearing sculpted out of the forest by Aggie's fury. In the center of it all is the tree, bleached white as bone and grotesquely twisted. The trees around it CREAK and GROAN as though they'd like to uproot and plant themselves someplace else. Beneath this tree lie Aggie's remains, buried three hundred years ago. Now a mess of roots and rocks open out like an ugly wound, and within them a tiny childlike figure is barely visible through a spitting furnace of spectral energy. Ectoplasm rages up around the tree's finger-like branches like a mushroom cloud of negative energy. It's a child's tantrum turned atomic.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>Words echo around him in response.<\/scene_description>\n    <character>AGGIE<\/character>\n    <dialogue>You're not welcome here. Go away.<\/dialogue>\n    <scene_description>Norman shivers as the voice RUMBLES coldly. The raging wind intensifies as Norman turns back around.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Uh... I really need to speak with you.<\/dialogue>\n    <character>AGGIE<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>I'm Norman. Norman Babcock. You don't actually know me, but I know you. We're actually kind of the same, you and I.<\/dialogue>\n    <scene_description>Norman takes another step closer, ducking as petrified branches and rocks fly over his head on the wind. CONTINUED:<\/scene_description>\n    <character>AGGIE<\/character>\n    <dialogue>You're not dead.<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Well, no, apart from that.<\/dialogue>\n    <character>AGGIE<\/character>\n    <dialogue>And you're a boy.<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Well, yes, that too.<\/dialogue>\n    <character>AGGIE<\/character>\n    <dialogue>You're not like me at all.<\/dialogue>\n    <scene_description>Norman hesitates, knowing he's on dangerous ground.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Well, I know how you feel?<\/dialogue>\n    <character>AGGIE<\/character>\n    <dialogue>No you don't. You don't know anything about me.<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>I know your name is Agatha Prenderghast.<\/dialogue>\n    <scene_description>The ghostly voice wavers for the first time.<\/scene_description>\n    <character>AGGIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>And I know you're probably tired. Right? Because, I mean, it's really late and it's been a long night and we're, like, only eleven years-old, and...<\/dialogue>\n    <scene_description>The voice snaps back like a clap of thunder.<\/scene_description>\n    <character>AGGIE<\/character>\n    <dialogue>I don't want to go to sleep, and you can't make me! I burnt the book into dust, and now I don't have to listen to that stupid story any more! Leave me alone!<\/dialogue>\n    <scene_description>Norman is terrified, but advances on the tree, the rocks under his feet churning.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>No. I'm not leaving. Just listen to me.<\/dialogue>\n    <parenthetical>(takes a breath)<\/parenthetical>\n    <dialogue>Uh... once upon a time... long ago... there was a little girl...<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>AGGIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>A little girl who was different from the other people in her village.<\/dialogue>\n    <scene_description>The voice chants petulantly over him as if putting its demonic fingers in its ears.<\/scene_description>\n    <character>AGGIE<\/character>\n    <dialogue>I'm not listening! LA-LA-LA-LA-LA- LAAA!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>She could see and do things that no one could understand, and that made them scared of her.<\/dialogue>\n    <character>AGGIE<\/character>\n    <dialogue>I don't like this story!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>She turned away from everyone, and became sad and lonely, and had no one to turn to.<\/dialogue>\n    <character>AGGIE<\/character>\n    <dialogue>Stop it!<\/dialogue>\n    <scene_description>If Aggie weren't floating three feet above the ground, she'd be stamping her feet. Her voice blows bits of bark off the surrounding trees.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>But the more she turned away from people, the more scared they were of her, and they did something terrible!<\/dialogue>\n    <scene_description>Arcs of white energy CRACKLE through the air. Where they hit the ground, they send up white flames.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>They became so scared that they took her away and killed her!<\/dialogue>\n    <character>AGGIE<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>But even though she was dead something in her came back.<\/dialogue>\n    <character>AGGIE<\/character>\n    <dialogue>Stop!<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>And this part of her wouldn't go away, not for three hundred years...<\/dialogue>\n    <character>AGGIE<\/character>\n    <dialogue>Shut up!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>And the longer it stayed, the less there was of the little girl!<\/dialogue>\n    <character>AGGIE<\/character>\n    <dialogue>I'll make you suffer!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Why?<\/dialogue>\n    <scene_description>Aggie goes to shout, but stops, unsure of her answer.<\/scene_description>\n    <character>AGGIE<\/character>\n    <dialogue>Because... because...<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Because you want everyone to hurt just as much as you are! So whenever you wake up you play this mean game, but you don't play fair!<\/dialogue>\n    <character>AGGIE<\/character>\n    <dialogue>They hurt me!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>So you hurt them back?<\/dialogue>\n    <character>AGGIE<\/character>\n    <dialogue>I wanted everyone to see how rotten they were!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>You're just like them, Agatha.<\/dialogue>\n    <character>AGGIE<\/character>\n    <dialogue>No I'm not!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>You're a bully.<\/dialogue>\n    <character>AGGIE<\/character>\n    <dialogue>No I'm not!<\/dialogue>\n    <scene_description>Norman has almost reached the eye of the storm. The world behind him is a whirling torrent of burning white chaos.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>They did something awful, but that doesn't mean you should too!<\/dialogue>\n    <scene_description>CONTINUED: (4)<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>All that's left of you now is mean and horrible!<\/dialogue>\n    <scene_description>He sees her clearly now. True, she is floating above the ground, and her hair is writhing madly about her, and plumes of spectral fire are pouring off her body, but she's still just a little girl underneath.<\/scene_description>\n    <character>AGGIE<\/character>\n    <dialogue>That's not true!<\/dialogue>\n    <scene_description>Norman climbs up a tree root, Aggie's flames searing his skin and clothes as he gets close enough to touch her.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Then stop. This is wrong and you know it! You've spent so long remembering the bad people that you've forgotten the good ones. There must have been someone who loved you and cared for you. You don't remember them?<\/dialogue>\n    <character>AGGIE<\/character>\n    <dialogue>Leave me alone!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>But you're not alone! You have to remember!<\/dialogue>\n    <character>AGGIE<\/character>\n    <dialogue>Keep away from me!<\/dialogue>\n    <scene_description>Norman reaches the end of the root and jumps. His outstretched fingers shake madly as they approach Aggie's tiny hand, as though the air is fighting against him.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Remember!<\/dialogue>\n    <scene_description>There is a flash of white, and silence. FADE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW FOREST CLEARING - BRIGHT SUNNY DAY<\/stage_direction>\n    <scene_description>Dappled sunlight falls through shimmering leaves and blossoms. Norman and Aggie are standing in thick grass, replete with wild flowers, the dead white tree now quite alive and blossoming behind them. Aggie is no longer an indistinct specter, but flesh and blood and as real as Norman. She stares down at her hand as Norman holds it gently by the end of her finger.<\/scene_description>\n    <character>AGGIE<\/character>\n    <dialogue>Aggie. My name was Aggie.<\/dialogue>\n    <scene_description>CONTINUED: A brightly-colored butterfly flutters between them. Aggie starts to remember as she follows its flight.<\/scene_description>\n    <character>AGGIE<\/character>\n    <dialogue>I... I remember my mommy brought me here once. We sat under the tree and she told me stories. They all had happy endings.<\/dialogue>\n    <parenthetical>(brow furrows)<\/parenthetical>\n    <dialogue>And then those horrible men came and took me away and I never saw her again!<\/dialogue>\n    <scene_description>She scowls angrily at the butterfly flitting past her face. It instantly crumples up into ashes. Surprised, she GASPS and watches the blackened dust fall to the ground. There's anger in Aggie, but there is confusion, sadness and regret there too. She isn't quite so scary anymore.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Sometimes when people get scared they say and do terrible things. I think you got so scared, that you forgot who you are. But I don't think you're a witch. Not really.<\/dialogue>\n    <scene_description>Aggie looks into his eyes.<\/scene_description>\n    <character>AGGIE<\/character>\n    <dialogue>You don't?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>I think you're just a little kid with a really special gift who only ever wanted people to understand her.<\/dialogue>\n    <scene_description>He smiles softly.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>So we're not all that different at all.<\/dialogue>\n    <character>AGGIE<\/character>\n    <dialogue>But what about the people who hurt you? Don't you ever want to make them suffer?<\/dialogue>\n    <scene_description>Norman thinks this over, and shrugs.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Well, yeah, but what good would that do? You think just because there's bad people out there that there's no good ones either? I thought the same thing.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>For a while. But there's always someone out there for you. Somewhere.<\/dialogue>\n    <scene_description>Aggie frowns, looking lost.<\/scene_description>\n    <character>AGGIE<\/character>\n    <dialogue>I just want my mommy...<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>I'm sorry, Aggie. She's gone.<\/dialogue>\n    <character>AGGIE<\/character>\n    <dialogue>That story you were telling. How does it end?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>I think that's up to you.<\/dialogue>\n    <scene_description>Aggie blinks through tears at the grass beneath her feet.<\/scene_description>\n    <character>AGGIE<\/character>\n    <dialogue>Is this where they buried me?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>It's a pretty good place to sleep. Then you can be with your mom again.<\/dialogue>\n    <scene_description>Aggie holds Norman's gaze, then looks down to the ground, her tiny frame heaving with a last SOB. She sits down on the grass and curls up, resting her head on her hands. Norman kneels down next to her as she closes her eyes. Her breathing grows deeper and more peaceful; her tiny frame shifting softly under her long hair. The air around them grows blurry and indistinct. Aggie softens as though out of focus, and the whole world becomes a swirling dance of glowing orbs. Norman closes his eyes as a blizzard of light engulfs him, spiraling up into the clouds high above his head. Lightning flashes white far above and thunder RUMBLES softly through the sky, as if moving away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN HALL - CONTINUOUS<\/stage_direction>\n    <scene_description>The zombies form a group in the center of the square, all of them looking up into the clouds. The people around them stop and stare, awestruck as a breeze buffets their clothes and the air around them begins to shimmer. As the modern townsfolk watch on, some of the zombies take each others' arms for support. Those with eyelids close them. One by one their bodies dissolve away, leaving ethereal figures in their place. CONTINUED: For a moment they float where they stood, ghostly apparitions of the people they once were before the curse. They stare sadly out at their flesh and blood descendents, and in an instant become just specks of light that are caught by the breeze and carried out of sight.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OLD FOREST CLEARING - NIGHT<\/stage_direction>\n    <scene_description>Norman blinks open his eyes, taking a moment to survey the scene around him. He sits upon the upturned root of the tree, the earth around broken and twisted, a testament to what has happened. He looks up into the sky and gives a sad smile.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Sleep tight.<\/dialogue>\n    <scene_description>He clambers down through the roots back toward the path.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OLD FOREST TRAIL - CONTINUOUS<\/stage_direction>\n    <scene_description>Norman wearily walks through the splintered roots to find his family. Sandra shouts out when she sees him.<\/scene_description>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>Norman? Norman!<\/dialogue>\n    <scene_description>Sandra runs over to him and scoops him up in her arms, hugging him tightly.<\/scene_description>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>My brave little man! I thought I was going to lose you!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Mom, you're embarrassing me.<\/dialogue>\n    <character>SANDRA BABCOCK<\/character>\n    <dialogue>That's my job.<\/dialogue>\n    <character>COURTNEY<\/character>\n    <dialogue>Good job, Norman.<\/dialogue>\n    <scene_description>Perry takes a deep breath and looks at his son. There is relief and a hint of admiration in his eyes.<\/scene_description>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>Well done, Son. You did it.<\/dialogue>\n    <scene_description>The Judge, stood some way behind them, lets out a GROAN, and the Babcocks turn to look at him. CONTINUED: They watch in awe as the Judge begins to turn to dust, his ragged clothes and decayed body dissolving in the rain. For barely a moment a shimmering ghostly figure is left behind, an image of the man that once was. The spirit blinks sorrowful eyes, then becomes nothing more than a million glowing fragments dissipating on the breeze.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>146B EXT. NEW TOWN HALL - LATER 146B<\/stage_direction>\n    <scene_description>The sky has lost its lurid pall, and the clouds are now lighter and less menacing. In the Town Square, clusters of townsfolk are trying to come to terms with the night's events. Norman weaves through the crowd away from the Babcock's station wagon, searching for Neil. He hears small snippets of conversation as he goes. Dwayne waves his notebook under Hooper's nose.<\/scene_description>\n    <character>DEPUTY DWAYNE<\/character>\n    <dialogue>So, uh, are we gonna need statements?<\/dialogue>\n    <scene_description>She slaps it out of his hand.<\/scene_description>\n    <character>DEPUTY DWAYNE<\/character>\n    <dialogue>Ow! That was my finger nail.<\/dialogue>\n    <scene_description>Slob Guy, Crystal and Mrs Henscher are convincing each other of their excuses.<\/scene_description>\n    <character>MRS HENSCHER<\/character>\n    <dialogue>You know what it's like. You join a mob and you say things. I was merely inhabiting the role.<\/dialogue>\n    <character>SLOB GUY<\/character>\n    <dialogue>Yeah, it was the others. They pushed me into it.<\/dialogue>\n    <scene_description>Norman smiles as he passes Alvin, regaling a bunch of teenagers.<\/scene_description>\n    <character>ALVIN<\/character>\n    <dialogue>Yeah, me and Norman are in a lot of the same classes. Pretty much inseparable. Best buds. And we do a lot of psychic investigations together. We have a blog actually, you should check it out.<\/dialogue>\n    <scene_description>Nearby, Courtney wastes no time cozying up to Mitch. 146B CONTINUED: 146B<\/scene_description>\n    <character>COURTNEY<\/character>\n    <dialogue>So I was thinking, maybe we could catch a movie sometime? Nothing scary.<\/dialogue>\n    <character>MITCH<\/character>\n    <dialogue>That sounds great, Kathy! Y'know, you're gonna love my boyfriend! He's like a total chick-flick nut!<\/dialogue>\n    <scene_description>Courtney stares at him, at a loss for words, then successfully reads between the lines and turns away MUTTERING. Norman eventually finds Neil sat upon the witch statue's broken plinth, attempting to piece it back together pebble by pebble.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Hey Neil.<\/dialogue>\n    <scene_description>He climbs up beside his friend, who beams at him gleefully.<\/scene_description>\n    <character>NEIL<\/character>\n    <dialogue>You did it! You stopped the witch's curse and made the zombies go away and saved pretty much everything!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>I guess. I just wanted to say thanks. You stood by me. All the time.<\/dialogue>\n    <character>NEIL<\/character>\n    <dialogue>Yeah, of course. Don't get weird or anything. So you think now everything's gonna turn back to normal?<\/dialogue>\n    <scene_description>Norman looks across the square. The smoldering buildings, the fallen signposts, the warped trees, the rubble...<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>As normal as it could be.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BABCOCK'S HOUSE, LIVING ROOM - EVENING<\/stage_direction>\n    <scene_description>Norman sits on the floor in front of the TV. A news report shows the wrecked Main Street with the headline \"TOURIST TOWN HIT BY MYSTERY TORNADO\". Perry enters the room, and Norman quickly changes the channel on the TV to a noisy monster movie. CONTINUED:<\/scene_description>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>Son.<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Hi Dad.<\/dialogue>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>What're you watching?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>A scary movie.<\/dialogue>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>Your, uh, your grandma here is she?<\/dialogue>\n    <scene_description>Norman looks around and sees his father and grandmother sitting side by side on the sofa. He nods.<\/scene_description>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>Right. Of course she is.<\/dialogue>\n    <scene_description>Perry tries his best to maintain his composure, and wriggles a little in his seat.<\/scene_description>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>Is she... Is she sitting next to me?<\/dialogue>\n    <scene_description>Norman nods. Perry \"hem-hems\" and turns awkwardly to face her, nose to ear. She doesn't seem to notice.<\/scene_description>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>Hi Mom.<\/dialogue>\n    <scene_description>Perry tries to downplay his discomfort and turns back to concentrate on the movie his son is watching. Sandra and Courtney enter from the kitchen carrying snacks. Sandra takes a seat on an armchair and Courtney lies down on the floor beside her brother, munching popcorn. They all settle in to watch the movie. A beat, then Perry and Grandma speak at the same time.<\/scene_description>\n    <character>PERRY BABCOCK<\/character>\n    <dialogue>So what's happening now?<\/dialogue>\n    <character>GRANDMA BABCOCK<\/character>\n    <dialogue>So what's happening now?<\/dialogue>\n    <scene_description>Norman sits as he is, facing the TV, and grins. THE END.<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In the small town of Blithe Hollow, Massachusetts, Norman Babcock is an 11-year-old boy who speaks with the dead, including his late grandmother and various ghosts in town. Almost no one believes him and he is isolated emotionally from his family while being looked down upon by his own peers around the school. Neil Downe, an overweight boy who is also bullied, finds in Norman a kindred spirit. After rehearsing a school play commemorating the town's execution of a witch three centuries ago, the boys are confronted by Norman's estranged and seemingly deranged great-uncle, Mr. Prenderghast, who tells Norman that he soon must take up his regular ritual to protect the town. Soon after this encounter, Mr. Prenderghast dies of a heart attack. During the official performance of the school play, Norman has a nightmarish vision of the town's past in which he is pursued through the woods by townsfolk on a witch hunt, embarrassing himself and leading to a heated argument with his estranged and paranoid father Perry, who later grounds him. His mother Sandra tells him that his father's manner is stern  because he is afraid for him. The next day, Norman sees Prenderghast's spirit who tells him that the ritual must be performed with a certain book before sundown that day; then making him \"swear\" to complete the task, Prenderghast's spirit is set free and crosses over. Norman is at first reluctant to go because he is scared but his grandmother tells him it is all right to be scared as long as he does not let it change who he is. Norman sets off to retrieve the book from Prenderghast's house (having to take it from his corpse). He then goes to the graves of the five men and two women who were cursed by the witch, but finds that the book is merely a series of fairy tales. Alvin, a school bully who always picks on Norman, arrives and prevents Norman from reading the story before sundown. Norman attempts to continue reading from the book, to no effect. A ghostly storm resembling the witch appears in the air, summoning the cursed dead to arise as zombies, who chase the boys along with Neil, Norman's 17-year-old sister Courtney, and Neil's older brother Mitch, down the hill and into town. Having realized that the witch was not buried in the graveyard, Norman contacts classmate Salma (who tells them to access the Town Hall's archives for the location of the witch's unmarked grave) for help. As the kids make their way to the Town Hall, the zombies are attacked by the citizenry. During the riot, Norman and his companions break into the archives but cannot find the information they need. As the mob moves to attack Town Hall, the witch storm appears over the crowd. Norman climbs the Hall's tower to read the book, in a last-ditch effort to finish the ritual, but the witch strikes the book with lightning, hurling Norman from the tower and deep into the archives. Unconscious, Norman has a dream where he learns that the witch was Agatha \"Aggie\" Prenderghast, a little girl of his age and a distant relative, who was also a medium. Norman realizes that Aggie was wrongfully convicted by the town council when they mistook her powers for witchcraft. After awakening, Norman encounters the zombies and recognizes them as the town council who convicted Aggie. The zombies and their leader Judge Hopkins admit that they only wanted to speak with him to ensure that he would take up the ritual, to minimize the damage of the mistake they made so long ago. Norman attempts to help the zombies slip away so they can guide him to Aggie's grave, but is cornered by the mob. Courtney, Mitch, Neil, and Alvin rally to Norman's side and confront the crowd, arguing that their rage, fear, and misunderstanding make them no different from the cursed townsfolk from long ago. Although the mob realizes the error of their ways, the witch unleashes her powers to create greater havoc throughout the town. Judge Hopkins guides Norman's family to the grave in a forest. Before the grave is reached, Aggie's magical powers separate Norman from the others. Norman finds the grave and interacts with Aggie's vengeful ghost, determined to stop the cataclysmic tantrum she has been having over the years. Though she attempts to push him away, Norman holds his ground, telling her that he understands how she feels as an outcast, that her vengeance has only made her like the ones who wronged her, causing her to remember happier days. Having finally encountered someone who understands her plight and by remembering her caring mother, Aggie is able to find a measure of peace and cross over to the afterlife. The storm dissipates, and she, the zombies and even the Judge all fade away. The town cleans up and regards Norman as a hero. In the end, Norman watches a horror film with his family and the ghost of his grandmother, who have grown to accept Norman for who he is."}
{"movie_name":"Kingpin_1996","imdb_id":"tt0116778","script":"<script>\n  <scene>\n    <character>KINGPIN<\/character>\n    <dialogue>Screenplay by<\/dialogue>\n    <scene_description>Barry Fanaro &amp; Mort Nathan Director's Draft April 5, 1995 FADE IN:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RURAL GAS STATION - DAY<\/stage_direction>\n    <scene_description>An amber afternoon sun hangs low behind an old one-pump filling station in corn country. SUPER: OCELOT, IOWA 1962 ANGLE ON - CALVERT MUNSON, the owner, early 40's, sitting out front next to a Coke machine. He's reading a Des Moines Register newspaper with the headline: \"Glenn Orbits Earth\". Calvert is square-jawed, crew-cut, sun-baked ... the embodiment of Midwestern decency. Calvert nonchalantly looks up. Something catches his eye and he smiles broadly. WIDE SHOT - In the distance, a nine-year-old boy in overalls is running as fast as he can up the road toward the station. It's Calvert's son ROY. Cute, freckle-faced, athletic, Roy could have been plucked from a Norman Rockwell painting. Roy tries to hurdle a fence but falls, then gets up and races to his father.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Hey, Pa! You have time for a game before supper?<\/dialogue>\n    <character>CALVERT<\/character>\n    <dialogue>There's work to be done, Roy. What would your ma say?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Ma's dead, Pa.<\/dialogue>\n    <character>CALVERT<\/character>\n    <dialogue>Then I guess there's nothing stopping us. Get your ball and I'll meet you out back.<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK OF FILLING STATION - A LITTLE LATER<\/stage_direction>\n    <scene_description>Abandoned cars and trucks rust in the back yard. Roy and Calvert are standing across from each other.<\/scene_description>\n    <character>CALVERT<\/character>\n    <dialogue>Okay, Roy. I wanna see a little smoke on this one.<\/dialogue>\n    <scene_description>Roy nods, rears back and hurls ... a bowling ball. ON THE BOWLING BALL - moving with ~reat speed over hard-packed dirt, it smashes into ten homemade hand-carved pins. ON CALVERT - he whistles softly, impressed.<\/scene_description>\n    <character>CALVERT<\/character>\n    <dialogue>Put that in a bottle and you got somethin' sweeter than Yoo Hoo.<\/dialogue>\n    <scene_description>Calvert resets the pins and coaches Roy as Roy continues to bowl. DISSOLVE TO: SAME SCENE - LATER Calvert and Roy, in silhouette from behind as they walk toward their little pink ranch house. The sun is setting. Calvert has his arm around the young Roy.<\/scene_description>\n    <character>CALVERT<\/character>\n    <dialogue>You've got a great gift, son. It's as if angels came down from heaven and put a blessing on your three bowling digits. But just havin' a gift ain't enough. It's how a man uses that gift that puts the lick on the popsicle.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>How's that, Pa?<\/dialogue>\n    <character>CALVERT<\/character>\n    <dialogue>What I'm trying to say, son, is that ... well, bowling's a lot like life. The winner isn't necessarily the guy who fires it hard and straight down the middle. Sometimes it's good to come in on an angle, maybe even a little slower, but with an effective spin.<\/dialogue>\n    <scene_description>(beat} You understand what I'm telling you? ROY I should try to hook the ball more? CALVERT No, Roy, listen to me. Everything I've taught you about bowling you can apply to your daily life. If you do that, you'll be decent, you'll be moral, and you'll be a good man. You remember that, son, because your Pa ain't always gonna be here to remind you. Calvert takes one more step and collapses to the ground.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Pa! ! ! . . .<\/dialogue>\n    <scene_description>After a moment, Calvert stands up.<\/scene_description>\n    <character>CALVERT<\/character>\n    <dialogue>Goddam gopher holes.<\/dialogue>\n    <scene_description>Calvert continues toward the house, limping, as Roy follows. MUSIC SWELLS DISSOLVE TO: CREDITS ROLL AND THE BEE GEE'S 'NIGHT FEVER' PLAYS:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOWLING ALLEY - NIGHT<\/stage_direction>\n    <scene_description>This is a glittery bowlarama, circa Saturday Night Fever. The place is hopping, all lanes are jammed, and there are beautiful girls everywhere. It's like a disco party at a bowling alley. The doors burst open and all heads turn to see Roy Munson, now 26, enter a la Tony Manero. Following behind him is a line of sharp-dressed, sycophantic, would-be bowling studs. Bowling is cool here, it's the golden age of 10-pins, a bowling dynasty in which Roy Munson sits on the throne. PAN UP - to a banner: \"CONGRATULATIONS ROY MUNSON, STATE AMATEUR CHAMPION.\" ON AN ALLEY - The action in the other lanes ceases and all eyes turn to Roy as he and his boys take their favorite lane. Roy takes off his jacket revealing a tailored bowling outfit complete with flashy white shoes, a customed-designed wide-lapeled bowling shirt, and beltless double-knit polyester slacks. PN THE GIRLS IN THE CROWD - as they swoon with admiration. BACK ON ROY - He does a few fancy stretches, then unzips his bowling bag. You can hear the GASPS as he pulls out the most sparkling, SHINY SKY-BLUE BALL ever. Finally Roy steps to the line and lets one fly down the middle --CRASH! But, uh-oh, three pins are left standing. The crowd seems surprised and a little disappointed. Roy crouches down and inspects the boards, checking for irregularities. He takes his ball and moves one lane over, bowls again, and leaves THREE BALLS STANDING. A MURMUR passes through the crowd. Roy picks up his ball and prepares to go for the spare. Then he stops, walks back to his friends and borrows a second ball. With his back to the pins, Roy fires a ball down each lane at the same time--DOUBLE SPARE! The crowd APPLAUDS as they realize the great Roy Munson has been toying with them. BACK ON THE DOORWAY - The doors open and Roy's dad Calvert enters. He sees the crowd around his son's lane and can't help but beam. BACK ON ROY - When Roy's ball returns, he picks it up and waits for the crowd to quiet, then he lets another one fly. But , something strange happens--the ball starts to spin wildly, the!!,' about ten feet from the pins it comes to a halt, though its wi'ld spinning continues. A moment later Roy yanks his fist as though \"pulling the string\" -- the ball takes off like a rocket again and SPLATTERS the ten pins in all directions. The crowd erupts in CHEERS, and Roy smiles at his proud father. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHINY NEW CONVERTIBLE CAR - DAY<\/stage_direction>\n    <scene_description>Roy's shiny new candy-apple red Chevy Impala convertible with a sparkling white interior is parked at his father's gas station. Roy puts his suitcase and bowling ball bag in the trunk, then turns to his dad.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Well ... all set.<\/dialogue>\n    <parenthetical>(nervous)<\/parenthetical>\n    <dialogue>This is kinda weird, huh? Me on the Professional Bowling Tour.<\/dialogue>\n    <character>CALVERT<\/character>\n    <dialogue>It's your calling, son. One day when people hear the name 'Roy Munson' they're going to think of the greatest bowling champion of them all.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Earl Anthony?<\/dialogue>\n    <character>CALVERT<\/character>\n    <dialogue>No, you! You'll be the best. What Dimaggio was to baseball, what Pele is to soccer, Munson will be to bowling.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>I sure hope so, Dad. I want to make you proud.<\/dialogue>\n    <character>CALVERT<\/character>\n    <dialogue>You just be true to bowling, son, and bowling will be true to you.<\/dialogue>\n    <scene_description>Calvert Munson shakes his son's hand. The two men stand for a moment, awkward, uncomfortable. Finally Calvert pulls out a rickety pocket-watch.<\/scene_description>\n    <character>CALVERT<\/character>\n    <dialogue>Here. Maybe you can get this old thing working. Or if you get in a pinch, you might get a few bucks for it.<\/dialogue>\n    <scene_description>Roy steps forward and hugs his dad. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN'S MAIN STREET - DAY<\/stage_direction>\n    <scene_description>Roy is at the wheel of his shiny new convertible, a smile on his face, as he drives under a banner that reads: \"GOOD LUCK, ROY\". As a few TOWNSFOLK wave to him, Roy hits the road on his way to fame and fortune. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOWLING ALLEY - DAY<\/stage_direction>\n    <scene_description>Roy's first tournament. It is deathly quiet. We can see from the scorecards overhead this is the last frame. Roy picks up his ball and steps to the line. ON THE CROWD frozen with anticipation. CLOSE ON ROY - His eyes are focused in pure concentration. ON ROY'S FEET - they move gracefully forward. ON ROY'S ARM - as it arcs back and pauses at the top beyond where it should be able to go. ON ROY'S FEET - they skid to a stop right at the line. ON THE BALL \u00b7\u00b7 as it's released. THE CAMERA TRACKS with it down the alley and through the pins in a cool series of shots that indicates someone other than a mere mortal just threw this strike. CRASH!!! ON THE CROWD - as it CHEERS wildly. ON ROY - as he smiles. He crosses to his opponent, shakes his hand and pats him on the back. Roy is handed a giant check from a guy dressed as a footpad. The check reads, DR. SCROLLS INVITATIONAL ... $1,500. He waves to the crowd. THE CAMERA TRACKS - through the cheering crowd, stopping on BURT DELAND, a good-\u00b7looking man in his early thirties, dressed in suit and tie. Burt looks very interested in what has just taken place. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOTEL - NIGHT<\/stage_direction>\n    <scene_description>Roy's Impala is parked in front of his nondescript cabin. It's quiet except for the occasional sound of a bug flying into the bug zapper light outside Roy's room. Suddenly we hear a car's tires crunching on the gravel as i.: pulls in next to Rdy' s Impala. ON THE DOOR - to the two-tone Cadillac opens and the figure of a man gets out. We see his feet next to the chrome wire wheels of his car. CLOSE ON - the gas tank of Roy's car. A hand reaches in and pops open gas cap. Something is poured in the gas tank. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GAS STATION - DAY<\/stage_direction>\n    <scene_description>Roy's car is on a hoist. Roy and an OLD MAN are looking up at the engine.<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>Engine's blown.<\/dialogue>\n    <scene_description>We hear the BELL RING as a car pulls in next to the gas tanks. Old Man heads to the gas tanks and Roy follows.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>How much is it going to cost to fix?<\/dialogue>\n    <character>OLD MAN<\/character>\n    <dialogue>Twenty-two hundred.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GAS STATION<\/stage_direction>\n    <scene_description>CAMERA TRACKS with Roy and Old Man to pumps.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Twenty-two hundred dollars?! That's gonna wipe me out.<\/dialogue>\n    <scene_description>The CAMERA settles on the chrome wire wheels of a two-tone Cadillac.<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>What can I do you for, mister\u00b7?<\/dialogue>\n    <scene_description>ANGLE ON - Burt Deland, who is behind the wheel of the Cadillac<\/scene_description>\n    <character>BURT<\/character>\n    <dialogue>Fill 'er up.<\/dialogue>\n    <scene_description>Burt gets out of the car to stretch his legs. He looks over at a distraught Roy.<\/scene_description>\n    <character>BURT<\/character>\n    <dialogue>Hey, aren't you Roy Munson?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <character>BURT<\/character>\n    <dialogue>I saw you win the tournament the other day. You've got something special, kid. You're gain' places,<\/dialogue>\n    <scene_description>Roy glances at his car.<\/scene_description>\n    <character>BURT<\/character>\n    <dialogue>Believe me. I know talent when I see it ... I manage bowlers for a living.<\/dialogue>\n    <parenthetical>(sticks out his hand)<\/parenthetical>\n    <dialogue>Name's Burt Deland.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Nice to meet you, Mr. Deland. I didn't even know bowlers had managers.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINER - LATER<\/stage_direction>\n    <scene_description>Roy is having pie and milk. Burt is drinking a scotch and smoking a cigarette.<\/scene_description>\n    <character>BURT<\/character>\n    <dialogue>... Life on the road for a young bowler like yourself can be very difficult. Very expensive. Have a little bad luck like you've run into and all your dreams can go right up in smoke. That's where I come in. I provide bowlers with supplemental income.<\/dialogue>\n    <character>ROY<\/character>\n    <parenthetical>(with a mouthful of pie)<\/parenthetical>\n    <dialogue>Supplemental income?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - NIGHT<\/stage_direction>\n    <scene_description>Burt is driving. Roy is sitting next to him and looks concerned.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>I don't know about this, Mr. Deland.<\/dialogue>\n    <character>BURT<\/character>\n    <dialogue>It's just bowling, Roy.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Yeah, I know but ...<\/dialogue>\n    <character>BURT<\/character>\n    <dialogue>Look, if you're not up for it, you're not up for it. Just give me the word and I'll turn the car around. You can go home and tell your mommy and daddy you don't want to be a bowling champion.<\/dialogue>\n    <scene_description>Roy thinks about this.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>You don't have to turn around.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>A dreary town in the middle of nowhere. Windows are broken out of abandon stores. Newspapers blow past rusted pick up trucks. Burt Deland's car pulls into the parking lot of the run-down bowling alley.<\/scene_description>\n    <character>BURT<\/character>\n    <dialogue>You know what to do?<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOWLING ALLEY - NIGHT<\/stage_direction>\n    <scene_description>As dreary as outside. The place is nearly deserted. A handful of people are bowling. ON A SNACKSHOP\/BAR - in the back of the alley. ANGLE ON - Roy and Burt, seated at the bar. The OWNER serves them drinks. Roy looks nervous. Burt nods to him ... it's time to begin.<\/scene_description>\n    <character>BURT<\/character>\n    <dialogue>Two more for me and my friend.<\/dialogue>\n    <scene_description>The Owner brings over two beers. Roy pays from a large wad of bills.<\/scene_description>\n    <character>OWNER<\/character>\n    <dialogue>You buyin' the beers, or the who.le place?<\/dialogue>\n    <scene_description>Roy shoves wad back in pocket.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>My bonus money. Had a good month.<\/dialogue>\n    <character>BURT<\/character>\n    <dialogue>Good month? He's the best salesman in the company.<\/dialogue>\n    <character>OWNER<\/character>\n    <dialogue>What do ya fellas sell?<\/dialogue>\n    <character>BURT<\/character>\n    <dialogue>Dictionaries. Door to door.<\/dialogue>\n    <character>OWNER<\/character>\n    <dialogue>You puttin' me on?<\/dialogue>\n    <scene_description>Burt gives Roy a look.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Heck no. That would be ... iniquitous of us.<\/dialogue>\n    <scene_description>The owner nods, seemingly satisfied.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Burt, let's bowl a couple. Whatta ya say? Ten bucks a game.<\/dialogue>\n    <scene_description>Roy pours his beer into the potted plant. He slams down the empty glass on the bar.<\/scene_description>\n    <character>BURT<\/character>\n    <dialogue>Forget it, Roy. You're too drunk to bowl.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Come on, Burt. Just a few games.<\/dialogue>\n    <character>BURT<\/character>\n    <dialogue>No. I'd just be taking your money.<\/dialogue>\n    <scene_description>The Owner turns around.<\/scene_description>\n    <character>OWNER<\/character>\n    <dialogue>If you're looking for a little friendly action, I know somebody who might accommodate ya.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOWLING ALLEY - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>The building is dark and completely empty except for the lone lane that is lit in the middle of the alley. Roy and Burt are seated on one side of the alley. The Owner and a group of men are on the other. We see THE MAN bowling against Roy from behind. He approaches the lane and throws the ball with perfect form. STRIKE! ON BURT - he winces, then throws back a shot of whiskey. Roy picks up his ball and nervously bowls. ON THE PINS - as the ball smashes through them. Three remain. The five, seven and the ten. An almost impossible spare.<\/scene_description>\n    <character>BURT<\/character>\n    <dialogue>Damn! He was robbed!<\/dialogue>\n    <scene_description>ON ROY - defeated, walks back and sits next to Burt. THE MAN.\u00b7 approaches Roy and holds out his hand.<\/scene_description>\n    <character>THE MAN<\/character>\n    <dialogue>That's game, fellas. I believe you owe us another twenty-five dollars.<\/dialogue>\n    <scene_description>Roy hands him the money.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>I sure haven't gotten much mercy here tonight.<\/dialogue>\n    <scene_description>ON THE MAN - A priest, FATHER HINCHEY, smiles.<\/scene_description>\n    <character>FATHER HINCHEY<\/character>\n    <dialogue>You'll have to forgive me. Bowling for money is my only vice.<\/dialogue>\n    <scene_description>Hinchey takes a healthy swig from a flask.<\/scene_description>\n    <character>FATHER HINCHEY<\/character>\n    <dialogue>Okay. Two vices.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Let's go, Burt.<\/dialogue>\n    <character>BURT<\/character>\n    <dialogue>Give us a chance to win back some of our money. What are we into you for, padre? A hundred?<\/dialogue>\n    <character>FATHER HINCHEY<\/character>\n    <dialogue>Hundred and fifty.<\/dialogue>\n    <character>BURT<\/character>\n    <dialogue>Double or nothing he can make that spare.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>You're a damn fool, Burt. That's near impossible.<\/dialogue>\n    <scene_description>Burt throws back another drink, then turns to the group.<\/scene_description>\n    <character>BURT<\/character>\n    <dialogue>I've got a thousand dollars. Anybody else want a piece of the action?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Burt, no ...<\/dialogue>\n    <character>OWNER<\/character>\n    <dialogue>I'll cover that bet. Bowl, boy.<\/dialogue>\n    <scene_description>Roy picks up his ball and looks at the man.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>It ain't boy. The name's Roy ....<\/dialogue>\n    <scene_description>Roy lets the ball fly. He turns and faces the men before the ball reaches the pins.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Roy Munson.<\/dialogue>\n    <scene_description>ON THE PINS \u00b7\u00b7 Roy makes the spare. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - NIGHT<\/stage_direction>\n    <scene_description>A somber Roy is sitting in the passenger seat of the car. Burt, LAUGHING and carrying a huge wad of cash, hops behind the wheel.<\/scene_description>\n    <character>BURT<\/character>\n    <dialogue>What'd I tell you, Roy? What did I tell you?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Something about it doesn't sit right with me, Mr. Deland. Are you sure this is legal?<\/dialogue>\n    <character>BURT<\/character>\n    <dialogue>I never said that, kid. I said it was easy.<\/dialogue>\n    <scene_description>Burt's laughter is cut short by an earthquake level CRASH. ROY AND BURT'S POV - Through the shattered front windshield we see Father Hinchey and the group of men. One of them holds the baseball bat that did the job on the windshield. ON BURT AND ROY -\u00b7 they look concerned. The back windshield is smashed.<\/scene_description>\n    <character>BURT<\/character>\n    <dialogue>A double. Not good.<\/dialogue>\n    <scene_description>Burt indicates to Roy that they should get out of the car.<\/scene_description>\n    <character>BURT<\/character>\n    <dialogue>Well, let's see what kind of trouble we've got here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAR<\/stage_direction>\n    <scene_description>Roy gets out and closes the door. Burt floors the gas pedal. The car hauls ass into the distance and disappears.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Boy, I'm in trouble now. He just took off with all my dictionaries.<\/dialogue>\n    <character>OWNER<\/character>\n    <dialogue>Hold out your hand, boy.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Now, fellas, no need to get iniquitous.<\/dialogue>\n    <scene_description>The men grab Roy's hand and hold it out. ZOOM IN ON ROY'S HAND - We see the ring on Roy's finger .... STATE AMATEUR CHAMPION 1979 CLOSE ON ROY - He knows he's in deep shit.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Father, please stop them.<\/dialogue>\n    <scene_description>Father Hinchey pulls his fake collar off.<\/scene_description>\n    <character>FATHER HINCHEY<\/character>\n    <dialogue>Yeah, I'm a priest like you're a dictionary salesman.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Oh, boy ...<\/dialogue>\n    <scene_description>CUT TO: CLOSE - AUTOMATIC BALL RETURN HOLE The men are holding Roy forcing his arm halfway into the return hole. ANGLE ON ROY - He looks terrified.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>There must be someway I can work this debt off. I'll reset pins here for a month.<\/dialogue>\n    <scene_description>The \"Priest\" motions to the men who force Roy's arm all the way into the hole. We hear a GROTESQUE GRINDING NOISE and<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Oh my god ... No ... Nooooooo!!!!<\/dialogue>\n    <scene_description>FADE TO BLACK:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RUNDOWN MOTEL - DAY<\/stage_direction>\n    <scene_description>A real shit hole. A sign out front reads: ROOMS BY THE MONTH ... WEEK ... HOUR. SUPER: SCRANTON, PENNSYLVANIA 1995 CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL ROOM<\/stage_direction>\n    <scene_description>It's worse inside. People can be heard arguing faintly off in the distance. The CAMERA PANS past peeling paint on the walls ... stained shades with holes in them let the morning sun come through. The CAMERA continues past the beat up furniture, a hot plate with God knows what splattering all over it, to the back of the head of the man sleeping in the bed. The CAMERA PANS past him, finally landing on a taped together clock radio on a nightstand next to the bed. CLOSE ON THE CLOCK RADIO - The time goes from 7:29 to 7:30. Music comes on. It's GOOD DAY SUNSHINE by the BEATLES.<\/scene_description>\n    <character>BEATLES<\/character>\n    <dialogue>GOOD DAY SUNSHINE ... .<\/dialogue>\n    <character>GOOD DAY SUNSHINE ... .<\/character>\n    <dialogue>GOOD DAY SUNSHINE ... .<\/dialogue>\n    <scene_description>The man's hand reaches out for the clock but can't find it. Suddenly AN ARTIFICIAL METAL HOOK HAND comes crashing down on the clock radio. It's now quiet. The CAMERA PANS up and we see who's attached to the hook--IT'S ROY. The room looks better than he does. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RUNDOWN MOTEL - DAY<\/stage_direction>\n    <scene_description>Roy opens his door and pokes his head out. With the exception of a sport coat, he's still wearing tacky bowling attire--wide lapels, double-knit slacks, etc. He looks around nervously. Then, satisfied, he walks down the steps past an OLD DRUNK sitting out front.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>How's life, Frank?<\/dialogue>\n    <character>OLD DRUNK<\/character>\n    <dialogue>Takin' forever.<\/dialogue>\n    <scene_description>Roy climbs behind the wheel of the same Impala convertible he drove seventeen years earlier. Its once candy-red color is now dulled, dirty, and rusted. The bumper barely hangs on by weathered duct tape, the muffler's attached by a piece of rope, and the radio antenna has been replaced by a twisted coat hanger.<\/scene_description>\n    <character>OLD DRUNK (CONT.)<\/character>\n    <dialogue>Hey, Roy, can you get sick from drinking piss?<\/dialogue>\n    <scene_description>This catches Roy by surprise.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Uh, I don't know, Frank.<\/dialogue>\n    <character>OLD DRUNK<\/character>\n    <dialogue>I gotta find out.<\/dialogue>\n    <scene_description>Roy nods and as he turns the engine over he hears:<\/scene_description>\n    <character>LADY'S VOICE (O.S.)<\/character>\n    <dialogue>Hey, Captain Hook, wait up!<\/dialogue>\n    <scene_description>ROY'S POV - It's his landlady, MRS. DUMARS, one of the angriest and ugliest women God ever let loose on this planet. She's dressed appropriately in floral housecoat and terry cloth slippers. Roy puts the car in drive and SPEEDS OFF.<\/scene_description>\n    <character>MRS. DUMARS<\/character>\n    <parenthetical>(CALLING OUT)<\/parenthetical>\n    <dialogue>I want that rent by tomorrow or you're outta here!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LANCASTER BOWL - DAY<\/stage_direction>\n    <scene_description>The bowling alley parking lot. Roy's car pulls in. He rolls up his window and gets out. The window crank is still in his metal hand. He takes it out, opens the car door and tosses it in. He shuts the car door and starts to walk away but stops when he realizes the door handle is still in his artificial hand. He removes the door handle from \"hand\" and puts on his sports jacket. The metal hand tears through the length of the right sleeve.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Son of a bitch.<\/dialogue>\n    <scene_description>Roy walks around and opens the trunk of the car. He's looking for something. He finds it. He fumbles with it for a moment. CLOSE ON ROY - He brings right hand up into frame. He now has a prosthetic hand on over \"the hook.\" Not the best, but pretty good. He looks at the rubber hand and smiles. CLOSE ON HAND - On the third finger the big, tacky ring which reads: STATE AMATEUR CHAMPION 1979. Roy grabs a clipboard and walks to the entrance of the bowling alley.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LANCASTER BOWL NIGHT<\/stage_direction>\n    <scene_description>Hasn't changed much since the fifties. A bar-grill. Register and shoe rental area. Jukebox, pinball machines, video games. A few people are bowling. Ugly people. Bowling's heyday has come and gone. Now it's about as cool as ... well, bowling.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LANE MANAGER'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>RICH CARRUBA, the twenty-year-old rotund manager of Lancaster Bo.wl is at his desk. He's flipping through the pages of ASIAN BRIDES MAGAZINE. Roy walks in, clipboard in hand.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Okay, Mr. Carruba, I checked your stock and made a list of what you need.<\/dialogue>\n    <character>RICH<\/character>\n    <dialogue>I already told you. We don't need anything.<\/dialogue>\n    <scene_description>Rich continues to look through the magazine.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Let me be the judge of that. Okay, I've got you down for a fifty gallon drum of lane oil, a gross of bowlers tape, a hundred cases of ....<\/dialogue>\n    <character>RICH<\/character>\n    <dialogue>I said we don't need anything.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Then what about the novelty machine in the men's room? I better leave you a couple dozen Sexual Positions From Around The World booklets ... a few to.e nail clippers ... some Lord's Prayer magnets ... a couple of cases of miniature insult cards.<\/dialogue>\n    <character>RICH<\/character>\n    <dialogue>We don't have a novelty machine in the men's room anymore.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>And you call this a bowling alley\u00b7?<\/dialogue>\n    <character>RICH<\/character>\n    <parenthetical>(dog-earing a page in the magazine)<\/parenthetical>\n    <dialogue>Here we go. Mai Su Lee.<\/dialogue>\n    <parenthetical>(considering)<\/parenthetical>\n    <dialogue>Mrs. Mai Su Lee Carruba. Number 752.<\/dialogue>\n    <parenthetical>(presses intercom on phone)<\/parenthetical>\n    <dialogue>Madge, get me a two hundred dollar money order.<\/dialogue>\n    <scene_description>Rich looks up to see Roy still standing there.<\/scene_description>\n    <character>RICH<\/character>\n    <dialogue>Look, Munson, I know you did business with my father in the past ... but I buy mail order now. It's cheaper. Besides, no one really wants that crap anymore. There hasn't been a decent crowd in this joint in fifteen years.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>I'll admit, Mr. Carruba, bowling's in a little slump but it'll come back. It always does. It's America's game. It slumped in the 50's, peaked in the 60's, did okay in the 70's, fell off again in the 80's. It's due for a comeback, mark my words. And when it does you'll want to be well-stocked.<\/dialogue>\n    <character>RICH<\/character>\n    <dialogue>I got news for you. If it weren't for these video games in here, I'd go broke. Face it--bowling's dead. Dead!<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>You watch your tongue, pal.<\/dialogue>\n    <character>RICH<\/character>\n    <dialogue>Munson, I'm sorry. I really am. Before you go, stop by the grill and have an egg salad sandwhich. It's on the house.<\/dialogue>\n    <scene_description>He pats Roy on the shoulder and leaves. Roy stands and screams after him.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>You've got some nerve, you little piss ant! Bowling will never die. Do you hear me?! Never! And do you think you can buy off seventeen years of hard work with a crummy egg salad sandwich?!! Well do you?!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOWLING ALLEY -THE BAR GRILL AREA<\/stage_direction>\n    <scene_description>CAMERA TRACKS past a couple of people at the counter and stops on Roy, eating an egg salad sandwich. He's reading the 'USA Today' and is completely over his tirade. Suddenly he hears what sounds like A THUNDERCLAP. PUNCH IN - on Roy's face as he turns to where the sound has come from. ANGLE ON A BOWLING ALLEY - ISHMAEL BOORG, a giant of a boy, in his twenties, sweet looking ... longish blond hair, physique of an offensive lineman. A straight arrow all American farm boy. He's on the lane by himself. Ishmael has just bowled the \"thunderclap\" strike. As Ishmael is about to bowl again, Roy walks up behind him.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>You stroke a helluva ball. But I'll bet when you're off you leave a lotta buckets.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Buckets. The 3 - 5 - 6 and 9. It's from hitting your target pin too square which chops the five and deflects off the back.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>You can tell all that from watching me throw one strike?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>I didn't see the strike. I heard it.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Heard it?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Try moving two boards to the right. It'll minimize the chop and get you cleaner to the pocket.<\/dialogue>\n    <scene_description>Ishmael reluctantly does it. He lets the ball go with a tremendous amount of force. CLOSE ON ROY - a THUNDERCLAP again. LOIIDER this time.<\/scene_description>\n    <character>ISHMAEL (O.C.)<\/character>\n    <dialogue>Golly.<\/dialogue>\n    <character>ROY<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>Sweeter than Yoo Hoo.<\/dialogue>\n    <scene_description>Ishmael begins gathering his things.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>How do you know so much about bowling?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Maybe this'll answer your question.<\/dialogue>\n    <scene_description>Ray holds out his hand with his championship ring on it.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Wow, that's really something. What's it made out of?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Fourteen karat gold.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Really'? It looks like rubber.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Not the hand. The ring.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Oh. Wow, State Champion.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Name's Roy Munson.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Ishmael Boorg.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>You've got as smooth as stroke as I've ever seen, son. What's your average'?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I don't know, 265 .\u2022. 270.<\/dialogue>\n    <scene_description>Roy WHISTLES. Ishmael nervously rushes away, and out the front door.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Hold on. What's the hurry?<\/dialogue>\n    <scene_description>As Roy races after Ishmael, he passes the bowling alley manager, Mr. Carruba.<\/scene_description>\n    <character>RICH<\/character>\n    <dialogue>You're wasting your time, Munson. The kid lives out in Brimfield.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>RICH<\/character>\n    <dialogue>Brimfield's an Amish community.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>He's Amish?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT \u00b7- DAY<\/stage_direction>\n    <scene_description>Ishmael is about to take off on his bicycle when Roy comes outside.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Hey, wait up. I want to talk to you.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>About what\u00b7?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Look, kid, I've been thinking about getting into managing some bowlers. Maybe you can be the first to join my stable. With your talent and my knowledge, you could be a champion. I mean that.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I'm sorry, sir, but I don't want to be a champion.<\/dialogue>\n    <scene_description>With this, Ishmael turns and pedals off on his bike.<\/scene_description>\n    <character>ROY<\/character>\n    <parenthetical>(to self)<\/parenthetical>\n    <dialogue>Don't want to be a champion ...<\/dialogue>\n    <parenthetical>(shakes head)<\/parenthetical>\n    <dialogue>Goddam MTV generation.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROY'S MOTEL \u00b7\u00b7 AFTERNOON<\/stage_direction>\n    <scene_description>We see Roy's car parked out front. PAN UP THE STREET to a convenience store.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONVENIENCE STORE - DAY<\/stage_direction>\n    <scene_description>Drab as hell. The fluorescent lighting makes the bags under the CLERK's eyes seem even more yellow than they are. ON A PAY PHONE IN THE CORNER - Roy is on the phone.<\/scene_description>\n    <character>ROY<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>That's right, fifteen minutes. Don't be late .... Okay.<\/dialogue>\n    <scene_description>Roy hangs up, pours himself a cup of coffee and moves to the counter.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Where'e the milk for the coffee?<\/dialogue>\n    <scene_description>The Clerk looks up from reading Hustler.<\/scene_description>\n    <character>CLERK<\/character>\n    <dialogue>We're all out.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>What do you mean you're all out? What do you call that?<\/dialogue>\n    <scene_description>Roy points to a row of milk containers in the cooler.<\/scene_description>\n    <character>CLERK<\/character>\n    <dialogue>If you want to buy one, help yourself, but the freebies are all out. We open one carton a day and that's it.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Come off it. Milk always comes with coffee. It's like peanut butter and jelly, mustard and hot dogs, talk shows and morons. You're telling me I can't have milk with my coffee?<\/dialogue>\n    <character>CLERK<\/character>\n    <dialogue>No. I'm telling you you can't have free milk. Like I said, you're more than welcome to buy a carton if you'd like.<\/dialogue>\n    <character>ROY<\/character>\n    <parenthetical>(pissed)<\/parenthetical>\n    <dialogue>Forget it.<\/dialogue>\n    <scene_description>Roy pulls out a twenty-dollar bill and holds it up.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Here you go. Oh ...<\/dialogue>\n    <scene_description>He points behind the Clerk.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>... I'll also take a pack of Marlboros. Do they come with matches?<\/dialogue>\n    <scene_description>The Clerk turns to get it. ANGLE ON THE TWENTY - in Roy's hand. There's a ten hidden underneath it. When the Clerk turns, Roy puts down the ten. The Clerk picks up the ten and gives Roy change for a twenty.<\/scene_description>\n    <character>CLERK<\/character>\n    <dialogue>Seventy-five makes four, five, and five is ten, and ten is twenty.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>If you ever need to just talk, call me.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MINI-MART - AFTERNOON<\/stage_direction>\n    <scene_description>Roy comes out of the store and starts up the street. He comes upon a MOTHER having trouble getting her BABY in a stroller over the street curb.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Ohhhh ...<\/dialogue>\n    <scene_description>Roy walks over a.nd helps the Mo\\_ther.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>There you go.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Roy bends over to take a look at the Baby holding its bottle.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Absolutely precious. Treasure this special time. They grow up so fast.<\/dialogue>\n    <scene_description>Roy brushes his hook under the Baby's chin as the Mother looks on nervously.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Coochie coochie coo.<\/dialogue>\n    <scene_description>Roy smiles. The Mother hurries away. Roy starts back toward his apartment. As he does, he pulls the baby bottle out of his jacket and squirts milk into his coffee.<\/scene_description>\n    <character>ROY<\/character>\n    <parenthetical>(under breath, still pissed)<\/parenthetical>\n    <dialogue>Charge me for milk ... What a low-life.<\/dialogue>\n    <scene_description>Roy mixes the coffee with his hook, then nonchalantly tosses the baby bottle into a garbage can. He begins to walk, then suddenly stops in his tracks. ROY'S POV - His ornery landlady, Mrs. Dumars, is being mugged by a CRAZED-LOOKING MAN in his mid\u00b7\u00b730's. He waves a switchblade in her face.<\/scene_description>\n    <character>CRAZED-LOOKING MAN<\/character>\n    <dialogue>Give me the pocketbook, lady.<\/dialogue>\n    <scene_description>ON ROY<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>Roy hurries to the rescue. The Crazed\u00b7-Looking Man grabs her pocketbook, then jumps back as Roy steps between him and Mrs. Dumars.<\/scene_description>\n    <character>ROY (CONT.)<\/character>\n    <dialogue>Give it back, pal. What are you, a sissy, you need a purse?<\/dialogue>\n    <scene_description>Roy takes a step closer and the Robber raises his knife. Roy raises his hook at the Robber.<\/scene_description>\n    <character>CRAZED-LOOKING MAN<\/character>\n    <dialogue>Step back, pal, or I'll slice your throat.<\/dialogue>\n    <scene_description>The Robber takes a swipe at Roy. He steps back, avoiding the blade, then throws his steaming coffee into the Robber's face.<\/scene_description>\n    <character>CRAZED-LOOKING MAN (CONT.)<\/character>\n    <dialogue>Shit! You burned me, you bastard.<\/dialogue>\n    <scene_description>Roy lunges again, hooking the purse out of the robber's hand. Finally the Robber hightails around the corner.<\/scene_description>\n    <character>ROY<\/character>\n    <parenthetical>(CALLING OUT)<\/parenthetical>\n    <dialogue>That's right, you chickenshit, run home to mommy!<\/dialogue>\n    <scene_description>Roy turns to see Mrs. Dumars .looking at him in shock.<\/scene_description>\n    <character>ROY (CONT.)<\/character>\n    <dialogue>Are you okay?<\/dialogue>\n    <character>MRS. DUMARS<\/character>\n    <dialogue>I'm fine, I'm fine.<\/dialogue>\n    <scene_description>Roy hands Mrs. Dumars her purse.<\/scene_description>\n    <character>MRS. DUMARS (CONT.)<\/character>\n    <dialogue>That was a very brave thing you did, Munson. You're a hero, a genuine hero!<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>I don't know what happened. I guess it was instinct. Believe me, nine out of ten times I'd be running the other way.<\/dialogue>\n    <scene_description>Roy starts into his apartment, then turns.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Oh, by the way, I'm sorry about the rent. I want you to know that--<\/dialogue>\n    <character>MRS. DUMARS<\/character>\n    <dialogue>-\u00b7-Don't you worry about that, Roy. You can pay me the money whenever you get it. I know you're good for it.<\/dialogue>\n    <scene_description>This brings a half-smile to Roy's face, then he continues to his apartment. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROY'S MOTEL ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Roy is paying off the \"robber\" from downstairs, LENNY. He lays the money on the kitchen table.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>What fifty bucks? We agreed on twenty-five.<\/dialogue>\n    <character>LENNY<\/character>\n    <dialogue>I think I desrrve a little extra for getting third-degree burns on my face.<\/dialogue>\n    <scene_description>Lenny starts walking around the room like he's looking for something.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Hey, I told you not to use any weapons. I'm trying to buy a little extra time on my rent, not give the lady a heart attack.<\/dialogue>\n    <character>LENNY<\/character>\n    <dialogue>I had to make it look real, didn't I? Where's your newspaper, I've gotta take a dump.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>I didn't get the paper today.<\/dialogue>\n    <character>LENNY<\/character>\n    <dialogue>Oh come on, man, I gotta go bad.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>There's a bottle of Prell on the bathtub.<\/dialogue>\n    <character>LENNY<\/character>\n    <dialogue>New, improved? With the propylene glycol?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>That's the one.<\/dialogue>\n    <character>LENNY<\/character>\n    <dialogue>I've already read it.<\/dialogue>\n    <scene_description>I I Suddenly there's a KNOCK at the door. Roy picks up the twenty-five bucks and pushes Lenny toward the open window.<\/scene_description>\n    <character>ROY (CONT.)<\/character>\n    <parenthetical>(whispering, to Lenny)<\/parenthetical>\n    <dialogue>Take this and get the hell out of here.<\/dialogue>\n    <character>LENNY<\/character>\n    <dialogue>Give me fifty or I stay.<\/dialogue>\n    <character>ROY<\/character>\n    <parenthetical>(panicked)<\/parenthetical>\n    <dialogue>Thirty-five.<\/dialogue>\n    <character>LENNY<\/character>\n    <dialogue>Fifty.<\/dialogue>\n    <scene_description>But it's too late. Mrs. Dumars opens the door with her key. She's carrying a bottle of bourbon.<\/scene_description>\n    <character>MRS. DUMARS<\/character>\n    <dialogue>Roy, I know how you like to drink so I brought--<\/dialogue>\n    <scene_description>She freezes when she sees Lenny.<\/scene_description>\n    <character>MRS. DUMARS (CONT.)<\/character>\n    <dialogue>Why you no good--<\/dialogue>\n    <parenthetical>(figures it out, stares at Roy)<\/parenthetical>\n    <dialogue>--son of a bitch!<\/dialogue>\n    <scene_description>Lenny's seen enough. He ditches back out the window.<\/scene_description>\n    <character>LENNY<\/character>\n    <dialogue>Roy, you still owe me twenty-five!<\/dialogue>\n    <character>ROY<\/character>\n    <parenthetical>(winging it, after Lenny's gone)<\/parenthetical>\n    <dialogue>And stay out!<\/dialogue>\n    <scene_description>He turns to Mrs. Dumars, but he's at a loss for words.<\/scene_description>\n    <character>MRS. DUMARS<\/character>\n    <dialogue>Munson, I'm calling the cops. You're history.<\/dialogue>\n    <scene_description>She turns to leave.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>No, Mrs. Dumars, wait. Maybe we can strike an arrangement. Let me work it off. There must be something around here that needs tendin' to.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROY'S ROOM - LATER<\/stage_direction>\n    <scene_description>Mrs. Dumars and Roy are in bed. Mrs. Dumars, in afterglow, is smoking a cigarette. God, she's ugly--like the \"Throw Momma From the Train\" lady without the pretty eyes. Roy is in the fetal position WHIMPERING.<\/scene_description>\n    <character>MRS. DUMARS<\/character>\n    <dialogue>Stop it. It wasn't that bad.<\/dialogue>\n    <scene_description>As she stands to get dressed, WE SHOOT HIS PAINFUL REACTION to her nakedness through her pathetically misshapen, varicose-mapped legs.<\/scene_description>\n    <character>MRS. DUMARS (CONT.)<\/character>\n    <dialogue>That's one month. I'll be back for the rest on Friday. You read me, Tiger?<\/dialogue>\n    <scene_description>Roy GRUNTS. She walks to the door and picks a bowling magazine off a table.<\/scene_description>\n    <character>MRS. DUMARS (CONT.)<\/character>\n    <dialogue>I got two bits of advice for you, Munson. Number one: Why don't you forget this bowling crap and get yourself a real job.<\/dialogue>\n    <scene_description>She tosses the magazine onto the floor besides Roy's bed.<\/scene_description>\n    <character>MRS. DUMARS (CONT.)<\/character>\n    <dialogue>Number two: If I were you I'd start doing a few tongue exercises before Friday.<\/dialogue>\n    <scene_description>She wiggles her tongue at him wantonly, then SLAMS THE DOOR as she leaves. ON ROY - He looks terrified, unable to move. He lays there and shivers for a few moments, then he notices something on the floor: ON THE BOWLING MAGAZINE - It reads: \"The Reno Open, $1,000,000 Winner Take All\". Roy thinks about this for a moment, and we CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FARMHOUSE - DAY<\/stage_direction>\n    <scene_description>An Amish woman, RACHAEL, cuts and cleans vegetables in the kitchen. The light from the window illuminates her face (which happens to be bearded.) There is a KNOCK on the door. ON RACHAEL - she crosses to the door and opens it. Roy is there in overalls, workshirt, straw hat and Amish beard.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Good day. I'm Hezakiah Munson, passing through on my way to Ohio. Any shinglin' or butter churnin' need doin?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOORG DINING ROOM - LATER<\/stage_direction>\n    <scene_description>Roy is seated at a long table in the country kitchen of the Boorg farmhouse. At the end of the table is Ishmael's father, SAMUEL. His mother Rachael is putting another platter of food on an already bountiful table. Their handsome son THOMAS, 30, his pretty wife SARAH, 22, and the Boorg's youngest son LUCAS, 10, are also there. Rachael sits down as young Lucas reaches for a biscuit. So does Roy.<\/scene_description>\n    <character>SAMUEL<\/character>\n    <dialogue>You know better than that, Lucas. We're waitin' on your brother to get in from the fields ...<\/dialogue>\n    <scene_description>He puts it back. Roy takes a bite out of his, then noticing that everyone's staring at him he spits it out and puts it back on his side dish--then feeds it to the family DOG.<\/scene_description>\n    <character>RACHAEL<\/character>\n    <dialogue>So how many children do you have, Brother Hezakiah?<\/dialogue>\n    <character>ROY<\/character>\n    <parenthetical>(not paying attention)<\/parenthetical>\n    <dialogue>None, that I know of.<\/dialogue>\n    <scene_description>Samuel and Rachael exchange looks.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>I mean ... what I meant was, uhh .. we' re unable to have children ... a nasty railsplitting accident as a young man. So we decided to adopt. Two twin Quaker boys and a Menonite girl. My wife - the liberal. \u00b7<\/dialogue>\n    <scene_description>Ishmael comes through the back door.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Sorry I'm late.<\/dialogue>\n    <character>SAMUEL<\/character>\n    <dialogue>Ishmael, I'd like you to meet our guest from Ohio, Brother Hezakiah.<\/dialogue>\n    <scene_description>Ishmael turns and is frozen in stunned silence.<\/scene_description>\n    <character>SAMUEL ( CONT. )<\/character>\n    <dialogue>Stick out your hand, boy, You're looking at him like he's a tourist with a camera.<\/dialogue>\n    <scene_description>Ishmael shakes Roy's hand, unable to believe he's there in full Amish regalia. Everyone bows their heads. Ishmael continues to look at Roy in horror.<\/scene_description>\n    <character>SAMUEL<\/character>\n    <dialogue>Lord, bless our home and this bountiful table. We thank you for the guest providence has brought our way. I'm sure Brother Hezakiah's stay here will serve to enrich our lives. Help us find a way to enrich his as well.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Amen.<\/dialogue>\n    <scene_description>Roy and Ishmael exchange looks. Thomas also glances at Roy, sizing him up. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOORG HOUSE FRONT PORCH - DUSK<\/stage_direction>\n    <scene_description>Roy is sitting on a wooden chair, feet up on the fence. Ishmael comes out of the house and looks around nervously.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>You can't stay.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>I'm an invited guest.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Why did you come here?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>We didn't get a chance to finish talking at the alley.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Your going to make trouble for me. I'm already the black sheep around here. Look, my grandfather took me bowling when I was a little kid. It was our secret. The Amish don't like secrets. If anyone around here found out I go to that bowling alley now and then ... well, I don't know what would happen.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Ishmael, in two weeks there's a bowling tournament at the Showboat Hotel in Reno, Nevada. First prize is one million dollars. The best bowlers in the country are gonna be there and with my help I think you can beat every one of them.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Nevada? They say that's sin city.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Actally it's a state. And you can't believe everything you see in the movies.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I've never been to the movies.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>This may be a good time to talk about our financial arrangement.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>We don't take our pleasures in material rewards.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>So the standard eighty-twenty split would be agreeable?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Look ...<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>I'm kidding. Everything we make we split right down the middle. Equal partners. Fifty - forty-five, all the way.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>What happens to the other five percent?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>You don't want dental'?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I think it's best that you go. By tomorrow they'll surely find out that you're a fraud.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>How?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>You don't understand, sir. Amish people demand more of themselves. We take pride in working half again as hard as you do. You people work eight hour days, we work twelve. We do whatever you people would do, plus a half. That's how we survive. I don't think you're the type of man who can keep up.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Oh no\u00b7? Don't underestimate me, kid. I' 11 show you who can keep up and who can't.<\/dialogue>\n    <scene_description>Suddenly a beautiful girl, REBECCA, appears from around a corner. She glows with decency and innocence. A Botticelli in a Monet.<\/scene_description>\n    <character>REBECCA<\/character>\n    <dialogue>Hi, Ishmael.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Evening, Miss Rebecca.<\/dialogue>\n    <character>REBECCA<\/character>\n    <dialogue>I came over to see if you'd like to go for a walk.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Wow. You bet.<\/dialogue>\n    <scene_description>Ishmael shoots Roy a look, then heads off for a stroll with his girlfriend. A moment later, the front doors open and Ishmael's mother comes out reprimanding young Lucas. The family dog follows.<\/scene_description>\n    <character>RACHAEL<\/character>\n    <dialogue>If I told you once, I told you a thousand times, Lucas. You don't hit a dog!<\/dialogue>\n    <character>LUCAS<\/character>\n    <dialogue>But he's disobedient.<\/dialogue>\n    <character>RACHAEL<\/character>\n    <dialogue>I don't care. Son, know who you are. You are Amish, and the Amish people do not condone violence toward man, beast, or any living thing. Now, if I ever see you raise a hand to that dog again, so help me God, you'll be sleeping in the barn for a week.<\/dialogue>\n    <scene_description>Rachael goes back in the house. Roy is left with young Lucas and the Hound Dog on the porch. The boy sits down, pouting.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Your Ma's right, boy. Violence only begets violence.<\/dialogue>\n    <character>LUCAS<\/character>\n    <dialogue>But he won't do anything I say. I ask him to sit, he stands. I ask him to fetch, he runs the other way.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Well, maybe you're not going about teaching him the right way. I've always found that the flick of a finger is just as effective as the blow of a clenched fist.<\/dialogue>\n    <character>LUCAS<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Oh sure.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>'Course you gotta flick him in the right place. You rattle them gonads pretty good and that pooch'll do just about anything you want.<\/dialogue>\n    <scene_description>Lucas thinks about this and smiles.<\/scene_description>\n    <character>LUCAS<\/character>\n    <dialogue>Thank you, sir. I appreciate your advice.<\/dialogue>\n    <scene_description>Ishmael's father Samuel appears in the front door with his son Thomas.<\/scene_description>\n    <character>SAMUEL<\/character>\n    <dialogue>It'll be an early morning, Lucas. It's best you get to bed.<\/dialogue>\n    <scene_description>Lucas leaves.<\/scene_description>\n    <character>SAMUEL (CONT. )<\/character>\n    <dialogue>There's a barn-raising in the morning, could use another hand.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Tell me about it.<\/dialogue>\n    <scene_description>Roy holds up his rubber hand. Samuel grows uncomfortable.<\/scene_description>\n    <character>SAMUEL<\/character>\n    <dialogue>I mean we could use some help tomorrow.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Oh, yeah, sure. You can certainly count on old Jeremiah.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Jeremiah? I thought your name was Hezakiah?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>It is. Jeremiah .\u2022. is my nickname. Had it since I was a kid ... On account of this pet ... See, Jeremiah was a bullfrog, was a good friend of mine. Well, joy to the world.<\/dialogue>\n    <scene_description>As Roy heads off, Thomas gives him a long hard look. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOORG HOUSE - MORNING<\/stage_direction>\n    <scene_description>Sunrise. Dew. Mist. Samuel, Rachael, Ishmael, Sarah and Thomas are in the buggy waiting. Everyone looks unhappy. Thomas, particularly stoic and perturbed, glances at his pocket watch, then to the barn. Lucas comes out of the barn.<\/scene_description>\n    <character>LUCAS<\/character>\n    <dialogue>Pa, his bed's made and he isn't in there. He must've left.<\/dialogue>\n    <scene_description>Ishmael looks pleased.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>I guess Brother Hezekiah was afraid of getting his fingernails dirty.<\/dialogue>\n    <character>SAMUEL<\/character>\n    <dialogue>Thomas, you shouldn't be so quick to judge your brother.<\/dialogue>\n    <scene_description>Just then, they hear a HOLLER, and look to see a chipper Roy come from around the back of the barn. He's lugging a huge, SLOSHING pail of milk and wearing a MILK MUSTACHE.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Mornin'! Hope you don't mind but I got up a little early so I took the liberty of milking your cow.<\/dialogue>\n    <scene_description>ON THE BOORG FAMILY - they look at one another.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Took a while to get her warmed up, she sure is a stubborn one. Then, POW, all at once!<\/dialogue>\n    <character>SAMUEL<\/character>\n    <dialogue>Uh, Brother Hezekiah, we don't have a cow.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>We have a bull.<\/dialogue>\n    <scene_description>Roy (with thick milk mustache) nods at this, deadpan.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Would you happen to have an extra toothbrush lying around?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD - DAY<\/stage_direction>\n    <scene_description>Inspirational Music. From all directions tiny ant-like shapes converge at a rise in the meadow. As we get closer we see that the figures are Amish men carrying tools, meeting wagons filled with lumber. ON THE AMISH WOMEN - they pull up in buggies and begin unloading food in preparation for the mid-day feast which is many hours away. ON THE CHILDREN - running through high golden grasses to catch a butterfly. ON THE MEN - strapping on toolbelts and unloading lumber all with good cheer, fellowship and enthusiasm. ON THE BOORG BUGGY - as it arrives. Everyone gets out. Samuel and Ishmael head toward the barn raising. Rachael, the girls and Roy head to where the food is being prepared. Ishmael runs over, grabs Roy by the arm and redirects him to where the work is. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BARN RAISING MONTAGE - DAY<\/stage_direction>\n    <scene_description>A large hole is drilled with a hand auger. A peg is pounded into a hole. It fits with exacting precision. A piece of lumber is hand sawed and planed with surgical accuracy. ETC. All of the images indicate that this is a group effort of flawless, old world craftsmanship. vN THE SIDE OF THE BARN - An Amish worker nails a long board on the side of the barn. He is able to do it with two forceful, expert swings of the hammer. CAMERA TRACKS to a second worker who does exactly the same. CAMERA TRACKS to Roy hammering. His board has ten bent' nails in it and a hundred hammer marks. DISSOLVE TO: ON THE ROOF - From the crest of the roof a man passes a handsaw down the line of several men seated along the rafter. When it gets to the last man he saws off the end. ON ISHMAEL - working on the ground, sweating. Rebecca approaches with a glass of lemonade. He wipes his brow and they smile at one another. IN THE BACKGROUND - we see Lucas working with his dog. The pooch SITS, then ROLLS OVER, then WALKS ON ITS HIND LEGS. Lucas looks pleased. DISSOLVE TO: ON A HUGE WALL - being hammered together on the ground. Ten men lift the huge framed wall a few inches off the ground. Roy, along with six other men, place a long pole under it and begin pushing it upright, straining under its tremendous weight. Men seated along the roof reach out to grab the wall as it inches its way closer and closer to them. We cut back and forth between these groups of men sweating, reaching, straining, pushing. ON AN AMISH WOMAN - standing under a large tree where the food is set out, rings a BELL to let the workers know lunch is ready. CLOSE ON ROY - he looks up and lets go of the pole. WIDE SHOT - Roy races down the hill to the food. Behind him in the distance, we see the barn wall collapse backward. Men fall off the roof lunging for it. Startled horses pull wagons into what's left of the structure, sending the entire morning's work crashing to the ground. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD - DAY<\/stage_direction>\n    <scene_description>Roy is seated at the head of a table. His plate is piled high with food which he is devouring. He looks up. ROY'S POV - All of the men, many bandaged and bruised, stare at him in disgust.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>I said I was sorry.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>I don't know how a barn-raising's done in Ohio ... but here in Pennsylvania no one runs for a biscuit in the middle of lifting a twelve-hundred pound wall!<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Thomas, doesn't it say in the Bible to forgive and forget? It's in chapter ... it's in the middle somewhere.<\/dialogue>\n    <scene_description>Thomas stands and walks off.<\/scene_description>\n    <character>SAMUEL<\/character>\n    <dialogue>If we're going to finish the barn by sunset, it's best we get going.<\/dialogue>\n    <scene_description>The men begin making their way back to the hill. Samuel w~lks up to Roy. Ishmael is there.<\/scene_description>\n    <character>SAMUEL ( CONT . )<\/character>\n    <dialogue>I'm sorry Brother Thomas lost his temper with you, Brother Munson. We've been faced with bad times here lately and he took his frustrations out on you.<\/dialogue>\n    <scene_description>Samuel walks back to the barn-raising.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Bad times?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Our farm didn't do well last year. The bank is talking about foreclosing on our loans and selling our land.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>That's why I was sent here. To help.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>The answer's no.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Don't you see it? It's the reason we were brought together ...<\/dialogue>\n    <parenthetical>(pointing above him)<\/parenthetical>\n    <dialogue>He wanted it. He planned it.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Mr. Munson, if God truly wants us together, he'll show me a sign.<\/dialogue>\n    <scene_description>Ishmael grabs his tools and is off. Roy looks up to God, thinks better of asking for a favor and trudges back up the hill for the barn raising. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BARN - LATER THAT DAY<\/stage_direction>\n    <scene_description>The skeletal framework of the barn is nearly completed. The men seem to be everywhere on the structure working with robust spirit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARN<\/stage_direction>\n    <scene_description>Samuel attaches a thick rope to an extremely heavy, hand-hewn beam. Samuel looks up and the CAMERA follows the rope to a massive wooden pulley attached to the top of the roof. CAMERA follows rope through pulley down to another worker who attaches the rope to a horse.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOF<\/stage_direction>\n    <scene_description>where Ishmael is working on a rafter. Roy sets his tools down next to him. Ishmael grabs his tool belt and hops to another rafter. ON SAMUEL~ signaling to man by the horse.<\/scene_description>\n    <character>SAMUEL<\/character>\n    <dialogue>Take her up! Nice and easy now.<\/dialogue>\n    <scene_description>The horse is pulled forward and the beam slowly rises toward the roof. Samuel holds the rope trailing from the beam, helping to gently guide it. ON THE HORSE - suddenly becomes skiddish. As the workman tries to quiet the horse, he looks down to see ... ON A SNAKE - near the horse's hoof. ON THE HORSE - snorting and wild-eyed, charges forward. ON THE BEAM - inside the barn is pulled up at an alarming rate. The trailing length of the rope whips through the air, wrapping itself around Samuel, yanking him twenty five feet off the ground. We see that the rope is around his neck. He is choking, struggling to get out. ON THE HORSE - still struggling, breaks free and bolts. The rope ZOOMS back through the pulley. ON SAMUEL - he drops a few feet but the rope gets bunched up like on a giant fishing reel, stopping Samuel's fall, but trapping him high off the ground. There is pandemonium. ON ROY - who is on the rafter closest to the pulley, takes in the situation, hesitates for a moment, then moves decisively. Roy shimmeys down the rope to the beam. Samuel hangs a few feet below him. Roy holds up his right hand and pulls off the paper stuffed work glove with his teeth, revealing ... THE HOOK. He reaches down with T\"HE HOOK, and uses it scissor like to cut the rope from Samuel's neck. The rope is cut. Samuel falls to the ground where he is caught in a tarp held by a group of men. Samuel's quick release has made the beam wildly unbalanced. Roy is thrown from it violently but at the last minute he is able to swing up his right arm, embedding THE HOOK into one end of the beam. He reaches up with his left arm, wrapping it around the other end of the beam. ON THE AMISH WORKERS AND THEIR WIVES - gathered below stare in awe. CUT TO: ON ROY - with the sun behind him, hanging Christ-like on the beam. ON ISHMAEL - looking up at Roy.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Brother Munson, you've got yourself a bowler.<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY ROAD - SUNRISE<\/stage_direction>\n    <scene_description>Ishmael and his girlfriend REBECCA hold hands by the side of the road.<\/scene_description>\n    <character>REBECCA<\/character>\n    <dialogue>I'm frightened for you, Ishmael. Promise me you'll be careful when you're out among the English. Do not allow yourself to be corrupted.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Don't worry, Rebecca. Your goodness gives me strength. Nothing can make me stray.<\/dialogue>\n    <character>REBECCA<\/character>\n    <dialogue>Remember that I carry your heart within my chest. If anything happens to you, it happens to me, too.<\/dialogue>\n    <scene_description>Roy pulls up in the car and waves to Ishmael. Ishmael kisses Rebecca on the cheek and as he runs to the car:<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Tell my parents God spoke to me to go on a mission with Brother Munson. If the good Lord sees fit, I'll be back with enough money to save the land.<\/dialogue>\n    <scene_description>He gets in the car. Rebecca calls after him.<\/scene_description>\n    <character>REBECCA<\/character>\n    <dialogue>I'll be waiting right here for you.<\/dialogue>\n    <scene_description>The car pulls off. We stay on Rebecca. Actually we stay on her for quite some time. After a few moments the car backs into frame.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>It's going to be about six weeks.<\/dialogue>\n    <character>REBECCA<\/character>\n    <dialogue>Oh. Then I'll wait in the house.<\/dialogue>\n    <scene_description>Rebecca runs to the farmhouse.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR<\/stage_direction>\n    <character>ROY<\/character>\n    <dialogue>Ready son?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <scene_description>Roy reaches under his seat and drags out a dusty black leather case and opens it. A couple of early Beatles eight tracks are in it.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Hope you like the Beatles.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>The Beatles\u00b7?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Yeah. John, Paul, George, and Ringo.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>The most famous band in the history of rock and roll.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>The history of what?<\/dialogue>\n    <scene_description>Roy shakes his head.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Buckle up. You're about to embark on a great adventure.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD \u00b7~ SUNRISE<\/stage_direction>\n    <scene_description>The car pulls away, climbing a hill. The cassette player starts to blast, \"REVOLUTION.\" As the car is about to reach the crest of the hill: CUT TO: OTHER SIDE OF THE HILL The car comes over the top of the hill and stops. A small fender bender between two hay trucks has caused a major traffic jam. They have traveled about a hundred yards and will be here for awhile. Roy shuts off the music and turns to Ishmael.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>It'll get better.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - DAY<\/stage_direction>\n    <scene_description>Roy and Ishmael are now cruising along. Roy lights a cigarette and offers the pack to Ishmael.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Smoke?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>No thanks. You really should try to quit, Mr. Munson. They say it damages your heart, your lungs, and it quickens the aging process.<\/dialogue>\n    <character>ROY<\/character>\n    <parenthetical>(cocky)<\/parenthetical>\n    <dialogue>Is that right? Well how old do you think I am, son?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I don't know ... fifty, fifty-five?<\/dialogue>\n    <scene_description>Roy reacts to this.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Yeah, well my heart and lungs are fine.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>The Surgeon General says that every puff you take is a breath you lose.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Hey, get off the pulpit, pal, you're not in Quaker Oats Land anymore. Besides, who's done more research on the subject than the good people of the American tobacco industry? And they say smoking's harmless.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>But the Surgeon General--<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>-\u00b7-Yeah, let's talk about the Surgeon General. Do you know that that's the same fruitcake who says to cut out cheese, buttermilk, and bacon from your diet?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>No ... ?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Yes. And how many eggs do you eat a day, kid?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Eight.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>No, a day.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Eight.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Well, according to your Mr. Surgeon General, you're only supposed to eat two ... a week.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>That's crazy. Why would he say that?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>I'll tell you why, because it's<\/dialogue>\n    <parenthetical>(makes quotation marks with fingers)<\/parenthetical>\n    <dialogue>\"politically correct.\" Think about it--if he admitted that smoking was okay, he'd be out of a job.<\/dialogue>\n    <scene_description>Ishmael thinks about this.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Give me one of those bad boys.<\/dialogue>\n    <scene_description>Roy pops Ishmael a cigarette and he lights up.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>I sure feel lucky, Mr. Munson. If I have to be away from home it's nice to know I'm with someone as informed, smart, and decent as yourself.<\/dialogue>\n    <scene_description>They've pulled up to a TOLL BOOTH. Roy throws in a quarter with a string attached. As the gate goes up, he yanks out the quarter and takes off.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>I appreciate those kind words, son.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOTEL - NIGHT<\/stage_direction>\n    <scene_description>A dozen rundown wooden cabins in a semi-circle. All of the rooms look out onto a patch of weed-choked grass with a dilapidated swingset. The office, a low-slung fifties-style box, has a cheesy replica of the Eiffel Tower on the roof. A neon sign reads: LEFT BANK ECONOLODGE - 11 A TOUCH OF PARIS IN THE POCONOS\" - USE OUR COMPLIMENTARY SHOE POLISHER AT THE FRONT DESK.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Two single beds - nightstand between them. A few cheap knick-knacks to keep the Paris theme going. Ishmael is lying in his bed drinking a carton of milk and smoking a butt. Roy is at the sink flossing his teeth.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Whatcha doing there, Mr. Munson?<\/dialogue>\n    <character>ROY<\/character>\n    <parenthetical>(string in mouth)<\/parenthetical>\n    <dialogue>Flossin'.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>You're kidding me? Where did I get 'Munson' from?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>No, my name's Munson. What I'm doing is .flossin'.<\/dialogue>\n    <parenthetical>(holds up the string)<\/parenthetical>\n    <dialogue>This is called floss. It cleans between your teeth. You should try it sometime. You'd be amazed what you find.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Huh. I guess I don't know much about life outside of Brimfield.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>You're not missing much.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I was never in a car before. Never slept in a fancy motel. Never been more than ten miles from home. I don't mind telling you, Mr. Munson, when I stop and think about it all, it can get pretty scary.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>What's there to be afraid of?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>It's just ... the Lord's given us a considerable task and I'm not so sure I'm the one who can do it.<\/dialogue>\n    <scene_description>Roy sits on the foot of Ishmael's bed and grows introspective.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Kid, I know what it's like to be afraid. I've laid in bed many nights shaking in my boots, petrified of my own shadow, having panic attacks, thinking thoughts you don't want to know anything about. Then one day I was selling bowling supplies in northern Michigan and I came upon an Indian reservation where I met a great man. I told him of my fears and he gave me something that I carry with me to this day.<\/dialogue>\n    <scene_description>Roy moves to his bag, takes something out and hands it to Ishmael.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>What's this?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>They call it Prozac. Take one a day.<\/dialogue>\n    <scene_description>Ishmael smiles and swallows a pill, washing it down with the milk. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOTEL - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Very quiet now. No cars on the highway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>It is 4:27 according to the clock on the nightstand. Ishmael is sound asleep. A hand reaches in to shake him awake.<\/scene_description>\n    <character>ROY<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Ishmael, wake up.<\/dialogue>\n    <scene_description>Ishmael sits up a bit dazed.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>What is it, Mr Munson?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Time to start training.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>This is earlier than we get up on the farm.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Welcome to the big leagues.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOTEL OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Dimly lit from a lamp on a desk. The NIGHT MANAGER, an old man in a beret, with a pencil-thin mustache, is asleep in a Naugahide chair. Slowly and silently the Impala creeps into frame. Roy is behind the wheel. He nervously glances into the office. As the car continues past the office, we see that Ishmael is pushing it. HIGHWAY in front of motel. Ishmael continues to push the car. Roy leans out the window,<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Roadwork's over. Hop in.<\/dialogue>\n    <scene_description>Ishmael gets in. Roy cranks up the engine and peels off down the highway. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OHIO INTERSTATE -- AFTERNOON<\/stage_direction>\n    <scene_description>Wide shot of the Impala traveling through Ohio farmland. We here the Beatles \"LOVE ME DO\".<\/scene_description>\n    <character>BEATLES<\/character>\n    <dialogue>LOVE, LOVE ME DO ...<\/dialogue>\n    <character>YOU KNOW I LOVE YOU ... .<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR<\/stage_direction>\n    <scene_description>Roy and Ishmael.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>What are those shiny bumps in the middle of the road for?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>They're highway divider reflectors. Keep you from drifting into the wrong lane.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I wonder who the person is who invented them.<\/dialogue>\n    <scene_description>Roy shrugs and makes the 'money' sign by rubbing his thumb and forefinger together.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>He's loaded, huh?<\/dialogue>\n    <scene_description>Roy flicks a booger out the window and turns to Ishmael.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Is the guy who invented those reflector things rich now?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Oh, I don't know. Probably. That's the thing about this world, kid. Sometimes it's the simplest things that set you up for life.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Yeah, I know. I heard about this guy, um, I think he was like a scientist or something, and he invented this one little thing--I think it was the cure for polio--yeah that was it. Anyway, he's like rolling in it now.<\/dialogue>\n    <scene_description>Roy shoots him a look.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>It's five o'clock. Let's pull over and find you an alley. If you expect to compete with the big boys in Reno, you're going to have to stay sharp.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOWLING ALLEY<\/stage_direction>\n    <scene_description>Roy and Ishmael are at a lane. Ishmael is putting on his shoes.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>You get warmed up, kid. I'm gonna grab us a couple coffees.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>None for me, thanks. I don't drink coffee.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Because it's a stimulant.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>What the hell do you think cigarettes are?<\/dialogue>\n    <scene_description>Ishmael thinks about this. Then:<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>All right. Make it a large. Two sugars, lots of cream.<\/dialogue>\n    <scene_description>Roy nods and heads off. Ishmael grabs his ball and fires it down the lane. ON THE PINS - an explosive strike! ON THE LANE NEXT TO ISHMAEL'S - a MIDDLE-AGED MAN WITH A POT-BELLY watches Ishmael.<\/scene_description>\n    <character>POT-BELLIED BOWLER<\/character>\n    <dialogue>Hey, big stuff, you're pretty good, but I've got a hundred bucks says I'm better.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I beg your pardon, sir?<\/dialogue>\n    <character>POT-BELLIED BOWLER<\/character>\n    <dialogue>I said I'll bet you one hundred smackers I can beat you.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Oh no. I don't bet.<\/dialogue>\n    <character>POT-BELLIED BOWLER<\/character>\n    <dialogue>What do you mean you don't bet? What are you, soft? Come on--a hundred bucks.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>You don't understand, sir. My religious beliefs won't allow it. If you'd like, though, I'd be happy to play you for some good clean fun.<\/dialogue>\n    <character>POT-BELLIED BOWLER<\/character>\n    <dialogue>Good clean fun? What kind of shit is that\u00b7? What, are you afraid of me\u00b7?<\/dialogue>\n    <scene_description>Roy returns with the coffees.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Hey, buddy, you heard the kid. He said betting's against his religion.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But it's not against mine.<\/dialogue>\n    <character>POT-BELLIED BOWLER<\/character>\n    <dialogue>How much you got?<\/dialogue>\n    <scene_description>Roy reaches for his wallet and takes all his money out. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOWLING ALLEY PARKING LOT - DAY<\/stage_direction>\n    <scene_description>Roy paces frantically. Ishmael hangs his head.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>What the hell happened in there?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I don't know. I thought I played pretty good. He was just a little better.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Pretty good?! You lost to a schmuck! 186, where did that come from? You're carrying a 270 average, remember?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Well, what do expect? You guys with the ten frames ...<\/dialogue>\n    <scene_description>BEAT.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>What do you mean 'you guys with the ten frames?'<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Grandpa always taught me to bowl fifteen frames. I told you we Amish do things half again as hard as you guys. Ten frames, that's for wussies.<\/dialogue>\n    <scene_description>Ishmael sneers at this. This hits Roy hard.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>You're tel.ling me your 270 ... that's ... that's fifteen frames?!<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Jeez, Roy, I only get to bowl once a month or so. What do you expect?<\/dialogue>\n    <scene_description>Roy looks sick. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR<\/stage_direction>\n    <scene_description>Roy is at the wheel. Ishmael is upset.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>I ain't going home ..<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>I'm sorry, kid, but we've only got a hundred bucks left--that's not enough to get us to Reno. And even if we did have the dough, you wouldn't stand a chance against those guys.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>But you said I was the best prospect you'd ever seen. You said you could make me a champion.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Kid, when I said that, I thought you already were one. Anyway, what do I know, I've been liquored up for the past seventeen years. My judgement's obviously not what it once was.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Oh, I see. Just because it's not going to be a cake-walk you want to quit, huh\u00b7? Because it's going to take a little hard work, you want out. Well maybe it's good we find this out now because I don't need to be dragged down by someone like you. With all due respect, sir, you're a loser. Pull the car over, I'm getting out.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Kid, don't play Jesus on me. I'll drive you home.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I don't want to go home. Now pull the car over!<\/dialogue>\n    <scene_description>Roy pulls over.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Come on, this is silly. You've only been gone a couple days. They'll forgive you.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I'd sooner get munson'd out here in the middle of nowhere than lose face in front of my friends and family.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>What? What did you just say?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I said I don't want to lose face in front of my--<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>No, no, no, before that.<\/dialogue>\n    <scene_description>Ishmael thinks a moment.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>I said I'd sooner get munson'd out here in the middle of nowhere--<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Munson'd? What's that?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>You know, munson'd. To be up shit creek without a paddle. To have the whole world in the palm of your hand and blow it. It's a figure of speech.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Munson'd, huh? Where did that come from?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I don't know. Where does 'dog eat dog' come from? I picked it up in some bowling alley.<\/dialogue>\n    <scene_description>Roy Munson thinks about this and shakes his head. Ishmael gets out of the car.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>I'm going to Reno, Mr. Munson. You can go back to whatever life you had before you met me.<\/dialogue>\n    <scene_description>Ishmael crosses the street and starts walking in the other direction. HOLD ON ROY'S FACE - Ishmael's speech seems to have hit home. Then something catches his eye in the REAR VIEW MIRROR. ROY'S POV (THROUGH REAR VIEW MIRROR) - It's a leering Mrs. Dumars, her fingers making a V-sign at her mouth, her tongue darting between them. Roy blinks hard and she disappears.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAR<\/stage_direction>\n    <scene_description>Roy pulls a u-turn and drives up next to Ishmael.<\/scene_description>\n    <character>ROY<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>You passed the test!<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>I was wondering how you'd respond to a little adversity. A true champion doesn't quit, and neither did you.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <parenthetical>(brightening)<\/parenthetical>\n    <dialogue>You mean you were testing me?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>That's right. A little Roy 101.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>So I did good, huh?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>A-minus. It would've been an A except for that 'loser' crack. I don't tolerate that sort of behavior from my pupils. Now hop in, kid, school's just beginning.<\/dialogue>\n    <scene_description>CUT TO: MONTAGE OF ROY COACHING ISHMAEL:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOWLING ALLEY - DAY<\/stage_direction>\n    <scene_description>Roy, with a no-nonsense attitude, is standing at a lane lecturing Ishmael.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>\u2022.. You're holding the ball too close to the center of your body. That's forcing a wrap-around delivery where you're swinging out and around your hips.<\/dialogue>\n    <scene_description>SEVERAL SHOTS of Ishmael bowling, INTERCUT with Roy yelling instructions.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>You're drifting. You're drifting. Square up!<\/dialogue>\n    <scene_description>ISHMAEL BOWLING<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Too much shoulder rotation ... Flex those knees. You're bending at the waist.<\/dialogue>\n    <scene_description>ROY AT A CHALKBOARD, SCRATCHING DOWN A FORMULA LIKE A PHYSICS PROFESSOR<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Now I want you to take a little juice off your ball. You're throwing it too fast, that's why the pins are jumping straight up in the air. You want to slow it down to 17 miles-per-hour. That's 2.4 seconds from point of release to head pin, the optimal speed to create the perfect domino effect.<\/dialogue>\n    <scene_description>ISHMAEL BOWLING, NOW BLINDFOLDED, WHILE ROY HOLDS A STOP WATCH<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Too fast. You gotta feel it.<\/dialogue>\n    <scene_description>ANOTHER TOSS<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Still too fast. You're not feeling it.<\/dialogue>\n    <scene_description>AND ANOTHER TOSS<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>That's the one. There you go. That's it.<\/dialogue>\n    <scene_description>SWEATING NOW, MINUS BLINDFOLD, ISHMAEL BOWLS SOME MORE<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Now put a little English on it! Make it talk.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>That's it. Pull the string!<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Snap it at the line.<\/dialogue>\n    <scene_description>PINS FLYING<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Snap it! !<\/dialogue>\n    <scene_description>PINS FLYING<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Snap it! ! !<\/dialogue>\n    <scene_description>PINS IMPLODING - in on themselves, like wooden houses in atomic bomb films. WIDE SHOT - A delighted Roy and Ishmael high-fiving each other. As they do, ROY'S HAND FLIES ACROSS THE ROOM. ON A COFFEE SHOP TABLE - an embarrassed Roy picks his hand out of a customer's soup bowl. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOWLING ALLEY BATHROOM - DAY<\/stage_direction>\n    <scene_description>Roy is at the sink washing his face. MEDIUM SHOT OF ISHMAEL - sitting on a toilet, reading a newspaper.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Hey, coach, why do they call it a classified ad?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Huh.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>Coach, do you think five\u00b7\u00b7hundred dollars sounds like a fair price for an English Bulldog with only one testicle?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>How the hell do I know'? Look, kid, I'm getting a little tired of all your questions. I'm not gonna teach you everything about everything in the world. I'm teaching you about bowling and that's it.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Okay, jeez, take it easy, it's not like I'm from outer space or something. I mean, give me some credit, Mr. Munson. I got common sense, I can figure things out on my own.<\/dialogue>\n    <scene_description>Roy glances over at Ishmael and does a double-take. HIS POV - Ishmael is taking a crap on the urinal. TWO MEN urinate on either side of him, looking very uncomfortable. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - DAY<\/stage_direction>\n    <scene_description>Roy and an excited Ishmael are back on the road.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Now, if we're going to do this, we've got to do it right. We should work the minor league lanes--you know, the dive alleys, the ma-and-pop operations--where the good players never go.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I can beat the good players--you saw how those pins were exploding.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Kid, you're good, but in those big city alleys you never know when you're gonna run up against some ace-in-the-ho.le. No, we've got to take the back roads and go small-time. It's a much safer bet.<\/dialogue>\n    <scene_description>Ishmael REACTS to this.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>I'm going to bet?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>That's right. Otherwise we don't have enough dough to get to Reno.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I don't know ...<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Look, kid, you can't have it both ways. If you really want to earn a half million dollars and save that town of yours, you're going to have to bend your rules a little.<\/dialogue>\n    <scene_description>Ishmael thinks it over. Then:<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>I'm sorry, but I just can't do that, sir. Betting's against my religion.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>You don't have to bet, you banana-head. I'll bet for you.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Oh, well that's cool.<\/dialogue>\n    <scene_description>Ishmael smiles.<\/scene_description>\n    <character>ISHMAEL (CONT. )<\/character>\n    <dialogue>Hey, it should be easy to find people to bet against. We'll just tell them we're pro bowlers on the way to a big tournament and we're trying to sharpen up our game.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Uh, maybe we should skip the 'pro bowlers' part. It might scare the timid ones off.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>But that doesn't seem quite right. Shouldn't we be right up front with them? I mean, it seems sort of like cheating.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Cheatin' shmeatin'. It's just being humble. The other way makes you seem like a braggart. And you know what the Bible says about bragging.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>No, sir. What?<\/dialogue>\n    <character>ROY<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>It's against it.<\/dialogue>\n    <scene_description>This soothes Ishmael.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Yeah, I guess you're right. Besides, even if they did find out we were pros, what's the worst thing that could happen?<\/dialogue>\n    <scene_description>Roy holds up his hands as if to say 'Beats me.' Then he glances at his hook and lowers it quickly. Roy looks uncomfortable for a moment, then turns on the radio.<\/scene_description>\n    <character>RADIO SONG (V.O.)<\/character>\n    <dialogue>\"Put your hand in the hand of the man who ... 11<\/dialogue>\n    <scene_description>Roy changes the station.<\/scene_description>\n    <character>RADIO SONG (V.O.)<\/character>\n    <dialogue>\"I want to hold your hand. I want to hold your hand ... \"<\/dialogue>\n    <scene_description>Roy pushes another knob.<\/scene_description>\n    <character>RADIO SONG (V.O.)<\/character>\n    <dialogue>\"Do the hand jive. Do the hand jive. Yeah ... 11<\/dialogue>\n    <scene_description>Again Roy clicks to another station. Finally finding 'Mr. Sandman', Roy nods.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>This is good.<\/dialogue>\n    <character>RADIO SONG (V.O.)<\/character>\n    <dialogue>\" ... bring me a dream \u2022.\u2022 Make him the cutest that I've ever seen .\u2022. Give him two lips, like roses and clover ... Tell him that his lonesome nights are over ... MR. HANDMAN, I'm so alone ... Don't have nobody--\"<\/dialogue>\n    <scene_description>Roy glares at the radio, horrified, then quickly turns it off.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Everything okay, Mr. Munson?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Sure, kid. Sure.<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>A dreary town in the middle of nowhere. Windows are broken out of abandon stores. Newspapers blow past rusted pick-up trucks. TRACKING SHOT along store fronts and empty lots, finally stopping on a nondescript cinder block building sitting out by itself along a lonely stretch of highway. The neon sign over the en~rance reads: SAM HITTLE'S BOWL. A pick-up truck with high school kids in the back pulls to a stop underneath the sign. They break a couple of the letters with rocks and speed off laughing. The sign now reads: SHIT BOWL. The CAMERA pans down from the sign to Roy's car pulling into the parking lot. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOWLING ALLEY BAR - NIGHT<\/stage_direction>\n    <scene_description>CLOSE - BARTENDER<\/scene_description>\n    <character>BARTENDER<\/character>\n    <dialogue>So you two are dictionary salesmen?<\/dialogue>\n    <scene_description>ON ROY AND ISHMAEL - seated at the bar in the bowling alley.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Yes, you would be .... punctilious in assuming that.<\/dialogue>\n    <character>BARTENDER<\/character>\n    <parenthetical>(to Ishmael)<\/parenthetical>\n    <dialogue>Your buddy here tells me you're the best dictionary salesmen in the whole company.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Yep.<\/dialogue>\n    <scene_description>The bartender looks at Roy.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>You don't have to read em' to sell em'.<\/dialogue>\n    <parenthetical>(to Ishmael)<\/parenthetical>\n    <dialogue>So, Steve, what do you say we bowl a couple?<\/dialogue>\n    <scene_description>Ishmael doesn't react.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Steve? Stevie! Yo, STEVEARINO!!<\/dialogue>\n    <character>BARTENDER<\/character>\n    <dialogue>I think he's talking to you.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Oh. Right. You want to bowl for some big money, hey? Well, okay. But I'll probably lose my entire bonus check since I'm so bombed.<\/dialogue>\n    <character>BARTENDER<\/character>\n    <dialogue>You've only had one Coca-Cola.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>He was sniffing glue out in the parking lot.<\/dialogue>\n    <character>BARTENDER<\/character>\n    <dialogue>Refresh my memory. How does the rest of this hustle work?<\/dialogue>\n    <scene_description>The Bartender walks away.<\/scene_description>\n    <character>ROY<\/character>\n    <parenthetical>(to Ishmael)<\/parenthetical>\n    <dialogue>Nice work, DeNiro.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Who's DeNiro?<\/dialogue>\n    <scene_description>The bartender returns and hands Roy a slip of paper.<\/scene_description>\n    <character>BARTENDER<\/character>\n    <dialogue>If you fellas want a straight up money game, go to this address tonight at midnight. If you got a big enough bankroll.<\/dialogue>\n    <scene_description>Roy pulls out a wad of bills with a hundred on the outside.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Mr. Franklin here is anxious to get started.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Yeah, I sure am.<\/dialogue>\n    <scene_description>Ishmael gives Roy a wink. Roy gives him a sarcastic thumbs-up back. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MANSION - MIDNIGHT<\/stage_direction>\n    <scene_description>This is a huge gothic structure out in the middle of nowhere. Roy and Ishmael stand beside the Impala which is parked outside a black wrought-iron gate. Roy is pacing nervously.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Wow, look at that. I feel a lot of good energy coming from this place, huh, Mr. Munson?<\/dialogue>\n    <parenthetical>(no response)<\/parenthetical>\n    <dialogue>Are you all right, sir?<\/dialogue>\n    <scene_description>Roy stops fidgeting and approaches Ishmael.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Ishmael, there's something I've got to srow you.<\/dialogue>\n    <scene_description>Roy takes out the wad of bills and fans it. There's a hundred on the outside and the rest are fake.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Fake.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>I made more charitable contributions than I thought this year.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>But the bartender thinks ...<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>It doesn't matter! We've got a hundred. That's enough to get us in the first game. Guaranteed. If you win, we just keep rolling along. If you lose, everything we've planned, hoped for, talked about, dreamed of ... for a day ... will go up in smoke.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>There's nothing to worry about, Mr. Munson. We won't lose. \"It's the centurion's faith that wins him divine favor.\" We're doing God's work. You said it yourself.<\/dialogue>\n    <scene_description>MARSHAKOWSKI, a bear of a man with a thick eastern European accent, steps out of the darkness.<\/scene_description>\n    <character>MARSHAKOWSKI<\/character>\n    <dialogue>Grab your goddamn balls!<\/dialogue>\n    <scene_description>Roy and Ishmael jump up and grab their crotches.<\/scene_description>\n    <character>MARSHAKOWSKI<\/character>\n    <dialogue>Bowling balls. Come with me.<\/dialogue>\n    <scene_description>Marshakowski opens the gate and they follow him into the darkness toward the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE .. NIGHT<\/stage_direction>\n    <scene_description>Contemporary art on every wall. Televisions, stereos, and VCR's stacked everywhere, next to the cartons they came in. A dramatic curved glass staircase leads to the second level and appears to float in space. Roy and Ishmael sit disappearing into a large white sofa. Marshakowski sits in front of a big screen television watching Beavis and Butthead. He makes a GRUNTING SOUND like a Frankenstein monster who's just learned how to laugh. We hear a VOICE from the top of the stairs.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Idiot! Turn that garbage off.<\/dialogue>\n    <scene_description>Marshakowski picks up his remote and turns off the television. ON THE STAIRS - we see STANLEY OSMANSKI -\u00b7- Fila running suit, ~.ike pumps, Rolex, gold chains. An iron curtain Bob Evans.<\/scene_description>\n    <character>OSMANSKI<\/character>\n    <dialogue>Start acting like a professional or you'll get a mop, a bucket and a one-way ticket to Chernobyl.<\/dialogue>\n    <scene_description>Osmanski heads over to Roy and Ishmael.<\/scene_description>\n    <character>OSMANSKI (CONT. )<\/character>\n    <dialogue>I apologize for keeping you gentlemen waiting but my business takes up more and more of my time. I sell peace of mind ... and for that ... there are no store hours.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>We sell dictionaries. I got a big bonus for ...<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Son ... let's leave that one for another day.<\/dialogue>\n    <character>OSMANSKI<\/character>\n    <dialogue>So, my people tell me you are serious bowlers.<\/dialogue>\n    <scene_description>Roy holds out a \"hand\" with championship ring.<\/scene_description>\n    <character>OSMANSKI (CONT. )<\/character>\n    <dialogue>Whoever did that to you did a very professional job.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>The ring.<\/dialogue>\n    <character>OSMANSKI<\/character>\n    <dialogue>Oh. \"State Amateur Champion 1979.\"<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>My career was cut short. Now I manage. Once it's in your blood ...<\/dialogue>\n    <character>OSMANSKI<\/character>\n    <dialogue>Yes! Yes! It's a thrill to meet people in this country with the same fervor for the sport that I have. In Poland, everyone loves bowling ... mainly because you can play it indoors drunk ... I have always loved it for its simplicity, its beauty, its grace ... I took this place from the former owner just because it had a bowling alley.<\/dialogue>\n    <character>ROY<\/character>\n    <parenthetical>(looking around)<\/parenthetical>\n    <dialogue>Musta cost a pretty penny.<\/dialogue>\n    <character>OSMANSKI<\/character>\n    <dialogue>I said I took it.<\/dialogue>\n    <parenthetical>(extends hand)<\/parenthetical>\n    <dialogue>Stanley Osmanski. My friends call me Stan.<\/dialogue>\n    <scene_description>Roy shakes his hand.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Roy Munson. Nice to meet you, Stan.<\/dialogue>\n    <scene_description>Osmanski suddenly grabs Roy by the collar.<\/scene_description>\n    <character>OSMANSKI<\/character>\n    <dialogue>What are you, a wise guy? I said my friends call me Stan. \u00b7<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Oh, uh, sorry, Stanley.<\/dialogue>\n    <scene_description>Osmanski releases him.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>This is my bowler, Ishmael Boorg.<\/dialogue>\n    <scene_description>Osmanski indicates for Roy and Ishmael to follow him.<\/scene_description>\n    <character>OSMANSKI<\/character>\n    <dialogue>Mr. Munson, why don't we adjourn to my bowling alley to see how much money your protege can win you.<\/dialogue>\n    <scene_description>As Roy and Ishmael follow we can see that Roy is having second thoughts about this.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Uh, you know, maybe we should just play for fun. Sometimes money gets in the way of friendships and someday I'd love to be able to call you Stan, uh, Stanley.<\/dialogue>\n    <scene_description>Osmanski spins around. They all stop underneath the glass staircase. In Roy's face.<\/scene_description>\n    <character>OSMANSKI<\/character>\n    <dialogue>Don't bullshit me, Munson. I know you're a hustler. Now can your kid play or not?<\/dialogue>\n    <scene_description>Roy swallows hard.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>He can play.<\/dialogue>\n    <character>OSMANSKI<\/character>\n    <dialogue>Fine, then it's a thousand dollars a game.<\/dialogue>\n    <scene_description>As Roy and Ishmael react to this, ~e hear the sound of HIGH HEELS ON GLASS above them. They all look up. THE GROUP'S POV - A beautiful woman in a short, tight, white mini, descends the clear glass staircase directly above them. rhe woman, CLAUDIA, stops midway and looks down through the stairs,'.. CLAUDIA'S POV - Between her feet we see the men looking straight up at her.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>The architect knew what he was doing, hey guys\u00b7?<\/dialogue>\n    <scene_description>They stop looking up. Claudia continues to the bottom of the stairs. She's unbelievable. Hot, distant, a little bored, very unattainable. She crosses over to where the men are standing and staring.<\/scene_description>\n    <character>OSMANSKI<\/character>\n    <dialogue>Gentlemen, please meet Claudia. She is my .. well, you know what she is.<\/dialogue>\n    <parenthetical>(then, to Claudia)<\/parenthetical>\n    <dialogue>Please join us in the bowling alley.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Okay. Let me turn down the air conditioner first. I don't feel like wearing a bra tonight.<\/dialogue>\n    <scene_description>She walks to the thermostat. It's a sexually cathartic experience just to watch her perform this mundane task and all eyes are on her.<\/scene_description>\n    <character>OSMANSKI<\/character>\n    <dialogue>Is she not the most incredible woman you've ever seen?<\/dialogue>\n    <scene_description>Roy nods. Osmanski slaps him on the back and walks off. Roy and Ishmael continue looking. Ishmael giggles.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>What's so funny\u00b7?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I won't be the one to tell him, but with those narrow hips, I don't think she could have more than six or seven children.<\/dialogue>\n    <scene_description>Roy looks at Ishmael stunned.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>You buy a couple of skinny cows at auction - you learn these things.<\/dialogue>\n    <scene_description>Ishmael turns and follows Osmanski. Roy takes one final look and follows Ishmael.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OSMANSKI'S BOWLING ALLEY - LATER<\/stage_direction>\n    <scene_description>Probably a library before the bowling alley was put in. Leather couches and chairs. Dark wood paneling. A well-stocked bar. Roy and Ishmael are seated on a sofa next to Claudia who looks bored. Marshakowski is keeping score on an overhead projector. We see that Osmanski is working on a spare in the last frame. OSMANSKI picks up the ball, approaches the line and lets it go. He leaves one pin. Osmanski turns around, fist clenched in rage. He stalks back to his seat.<\/scene_description>\n    <character>OSMANSKI<\/character>\n    <dialogue>A nine! Off a fucking spare in the last frame! I WAS ROBBED, GODDAMN IT!<\/dialogue>\n    <scene_description>ROY AND ISHMAEL<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>He's got a 248.<\/dialogue>\n    <scene_description>Ishmael walks over to his ball.<\/scene_description>\n    <character>ROY<\/character>\n    <parenthetical>(softly)<\/parenthetical>\n    <dialogue>We need all three strikes, son.<\/dialogue>\n    <character>OSMANSKI<\/character>\n    <dialogue>Now it's getting interesting \u00b7-- yes? Two minute warning. Bottom of ninth. Last frame.<\/dialogue>\n    <scene_description>Osmanski continues talking as Ishmael steps to the line.<\/scene_description>\n    <character>OSMANSKI<\/character>\n    <dialogue>There's no question your boy is a fine bowler - but competing under pressure ... ?<\/dialogue>\n    <scene_description>The THUNDERCLAP. A strike. ON OSMANSKI - he gives Claudia a look. She knows what to do - she's done this for Osmanski before. As Ishmael is about to bowl again ... CLAUDIA spills a beer, completely drenching the front of her dress.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <parenthetical>( jumps up)<\/parenthetical>\n    <dialogue>Shit!<\/dialogue>\n    <scene_description>All eyes turn to her. GROUP POV - Claudia is blotting herself with a napkin. Her top is completely soaked through. Jackie Bisset from THE DEEP. Ungodly. Memorable. ISHMAEL moves toward her, Osmanski stof, him.<\/scene_description>\n    <character>OSMANSKI<\/character>\n    <dialogue>Maybe later. We got match. Get going.<\/dialogue>\n    <scene_description>Ishmael turns quickly .... bowls .... THUNDERCLAP.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Strike.<\/dialogue>\n    <scene_description>Ishmael walks through the group of men to Claudia. He grabs his jacket from a chair and puts it over Claudia's shoulders.<\/scene_description>\n    <character>ISHMAEL (CONT. )<\/character>\n    <dialogue>You don't want to catch cold. There's nothing to you as it is.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Ishmael walks back to bowl. As he passes Osmanski.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>She really should eat more butter and cheese.<\/dialogue>\n    <scene_description>Osmanski, a bit stunned, watches as Ishmael matter-of-factly grabs his ball, bowls .... STRIKE.<\/scene_description>\n    <character>OSMANSKI<\/character>\n    <dialogue>So. Game.<\/dialogue>\n    <scene_description>HOLD ON OSMANSKI - as we see him try to contain a slow burn. The guy isn't used to losing, and he doesn't like it at all. Claudia can't help but bark out a LAUGH.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>You must be getting old, Stanley. Your balls don't have the action they used to.<\/dialogue>\n    <character>OSMANSKI<\/character>\n    <dialogue>There is no dishonor in losing when bowling against such a formidable opponent.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Oh, cut the shit. Why don't you just scream or hit something before you pop a blood vessel?<\/dialogue>\n    <scene_description>Osmanski glares at her, furious, like McEnroe on angel dust.<\/scene_description>\n    <character>OSMANSKI<\/character>\n    <dialogue>That's not a bad idea.<\/dialogue>\n    <parenthetical>(stiff smile)<\/parenthetical>\n    <dialogue>I'd like a word with you in the other room, dear.<\/dialogue>\n    <scene_description>Claudia hesitates, then follows him out of the room. They close the door behind them. A few moments later we :,ear a SLAP, a SCREAM, then nothing. Roy stands and glances at Ishmael nervously. Ishmael makes a weak gesture for the door, but Marshakowsi steps in his way. Finally the door opens and Osmanski re-enters the room alone. He seems to have lost his edginess.<\/scene_description>\n    <character>OSMANSKI<\/character>\n    <dialogue>Okey-dokey, I believe I owe you gentlemen some money.<\/dialogue>\n    <scene_description>Osmanski pulls out a thousand dollars and hands it to Roy. Roy takes the dough and tries to act nonchalant.<\/scene_description>\n    <character>OSMANSKI (CONT. )<\/character>\n    <dialogue>Night is young. Another game?<\/dialogue>\n    <scene_description>As Roy puts the thousand with his bankroll.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Uh, I don't know, Stanley. I mean, it's getting late and it is a school night--<\/dialogue>\n    <character>OSMANSKI<\/character>\n    <dialogue>--What the fuck is that?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>What the fuck is what?<\/dialogue>\n    <scene_description>Osmanski hits Roy in the stomach and takes all the money.<\/scene_description>\n    <character>OSMANSKI<\/character>\n    <dialogue>This. A hundred-dollar bill wrapped in Monopoly money.<\/dialogue>\n    <scene_description>Roy writhes in pain on the floor. Ishmael goes to help him. He glares at Osmanski.<\/scene_description>\n    <character>OSMANSKI (CONT. )<\/character>\n    <dialogue>You look like you want to hit me.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>We don't raise our hands in anger against others.<\/dialogue>\n    <scene_description>Osmanski bends down next to Roy.<\/scene_description>\n    <character>OSMANSKI<\/character>\n    <dialogue>Unfucking believable. You dishonor my home ... You disgrace the game ... BY BETTING WITH MONEY YOU DON'T FUCKING HAVE?! ! !<\/dialogue>\n    <scene_description>Osmanski stands and turns to Marshakowski.<\/scene_description>\n    <character>OSMANSKI (CONT. )<\/character>\n    <dialogue>Remember how you handled the problem with the Padroski brothers?<\/dialogue>\n    <scene_description>Marshskowski nods.<\/scene_description>\n    <character>OSMANSKI (CONT.)<\/character>\n    <dialogue>This time, don't use good knives.<\/dialogue>\n    <scene_description>Marshakowski moves toward Roy and Ishmael. THE LIGHTS GO OUT - Pitch black. Confusion. Yelling in Polish. Punches thrown. Crashes. Cursing. After a few more moments of this, THE LIGHTS COME BACK ON - Marshakowski has a bowling ball in a headlock and is punching it repeatedly. Osmanski is standing at the light switch. He looks around. Roy and Ishmael are gone. The place is demolished. Marshakowski drops the bowling ball.<\/scene_description>\n    <character>MARSHAKOWSKI<\/character>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Roy, Ishmael, and Claudia come running out the front door and tear down the long driveway to the Impala.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>Give me the keys!<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Just give me the keys, goddamit. I'll get us out of here.<\/dialogue>\n    <scene_description>Roy flips her his keys and they hop in the car.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR<\/stage_direction>\n    <scene_description>They peel out. Claudia is driving, Roy is up front and Ishmael is in the back. Claudia looks in the review mirror.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Thanks for helping us out back there ...<\/dialogue>\n    <scene_description>Claudia ignores him, intent on driving.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET<\/stage_direction>\n    <scene_description>The Impala comes hauling ass around a tight curve at 90 miles per hour glued to the road. It roars over a rise in the road, flying through mid air. It hits hard with sparks coming off the pavement and it becomes a speck instantly as it disappears up a long stretch of road. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR<\/stage_direction>\n    <scene_description>Roy digs his fingers into the dashboard.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Hey, take it easy. You're gonna get us all killed.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Stanley's not gonna let me go easy. If he catches up to us, I promise you he'll whack all of us.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Oh, I've known a lot of guys like Stan in my time. They talk big. They let off steam. But in the end their bark ...<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>HE BURIED HIS LAST THREE LAWYERS UP TO<\/dialogue>\n    <character>THEIR NECKS IN HIS BACKYARD, THEN RAN OVER<\/character>\n    <dialogue>THEIR HEADS WITH A LAWNMOWER!<\/dialogue>\n    <character>ROY<\/character>\n    <parenthetical>(in defense of Osmanski)<\/parenthetical>\n    <dialogue>Yeahhh, but lawyers ...<\/dialogue>\n    <scene_description>Suddenly a PORSCHE comes SCREECHING out of a side streeet and pulls in behind them.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>It's them!<\/dialogue>\n    <scene_description>QUICK CAR CHASE - over hills, around corners, etc. By using her wits and managing as few sharp turns, Claudia manages to get a hundred-\u00b7yard lead on the Porsche. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RAILROAD CROSSING - NIGHT<\/stage_direction>\n    <scene_description>Lights flashing, bells ringing. The gate is already down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - CONTINUOUS<\/stage_direction>\n    <scene_description>As they approach the crossing, the train is approaching fast.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>No ... NO! Don't try it!<\/dialogue>\n    <scene_description>But she does. The Impala breaks through the wooden gate and over the crossing. A half beat later the TRAIN ROCKETS PAST.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROY'S CAR<\/stage_direction>\n    <scene_description>Roy looks out the back. The train is blocking any chance of , Osmanski catching up to them. Roy lets out a long VICTORIOUS\/ YELL. CUT TO: BACK ON THE PORSCHE - As it SKIDS to a stop before the train. The door opens and Osmanski steps out. He stares off in their direction, cold, emotionless. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMPALA - NIGHT<\/stage_direction>\n    <scene_description>Roy seems pleased to have escaped from the Porsche, but Claudia starts banging on the steering wheel angrily.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>Godammit!<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>What's the matter?<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>I don't know why I did this. It was total impulse. I don't know where I'm going. And I don't have a clue what I'm gonna do when I get there.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>We'll take you wherever you want to go.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>I JUST SAID I DON'T KNOW WHERE THE FUCK I'M<\/dialogue>\n    <character>GOING!<\/character>\n    <parenthetical>(conversation with herself)<\/parenthetical>\n    <dialogue>Back on the road again. Why couldn't it have worked out? Stanley bought me expensive clothes. He took me nice places. He hit me, THE FUCK! AND HITTING I DON'T TAKE!<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>All right, get a grip. Now just try to calm yourself down like the kid here.<\/dialogue>\n    <scene_description>Roy looks back at Ishmael and notices that he isn't moving.<\/scene_description>\n    <character>ROY (CONT.)<\/character>\n    <dialogue>Kid ... ?<\/dialogue>\n    <scene_description>He snaps his fingers in front of Ishmael's face. Nothing. He's completely catatonic. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. IMPALA - NIGHT<\/stage_direction>\n    <scene_description>The Impala is parked behind some bushes and Ishmael is sprawled' out on the grass with a beer in his hand and a wet towel on hi's forehead.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>There you go, drink up, that's better ...<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I want to go back home.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Oh come on, that's crazy talk.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>Look, I won't lie to you. We've been thrown a curve ... to borrow a metaphor from a lesser sport ... but that's what this \"seasoning\" process is all about ... to toughen you up for the big game.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I had no idea there was so much violence in the world of bowling.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Oh, we've never been in any real danger ...<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>The Amish are brought up to lead a simple life. It's the only way I know. I'm sorry. I'm not cut out for this.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Not cut out for this? You won back there. Second time out of the gate. And I got news for you--that guy was good!<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>He hit you. He hits Claudia.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>So we ran into a bad apple. I'm sure even where you come from that can happen.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <parenthetical>(hesitant to squeal)<\/parenthetical>\n    <dialogue>The Vanderhoovens buy their clothes at Sears and tell everyone they make them.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>See. It's like the Manson family.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>The point is, this isn't about going to Reno to win a million bucks in some silly tournament.<\/dialogue>\n    <scene_description>This gets Claudia's attention.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>We're God's soldiers on a quest to save a community. A way of life. Remember that \"Centurions-faith\" thing from the Bible? It's your destiny, Ishmael. If you don't at least try, you'll just be another loser in a funny hat who quit when the going got rough.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Mr. Munson, I ...<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Do it, Ishmael.<\/dialogue>\n    <scene_description>Claudia crouches down and grabs his hand.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>Please.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>ROY<\/character>\n    <parenthetical>(to Claudia, not meaning it)<\/parenthetical>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOORG HOUSE (AMISH COUNTRY) - SUNRISE<\/stage_direction>\n    <scene_description>Ishmael's father Samuel and his brother Thomas stand beside a HORSE-DRAWN COACH. In the background we see Lucas still working with his dog. The DOG IS WALKING ON ITS HIND LEGS, BALANCING A BEACH BALL ON ITS NOSE.<\/scene_description>\n    <character>SAMUEL<\/character>\n    <dialogue>Good luck, Thomas. Be careful out there. Ishmael has always been a strange boy, but I love him. Please bring him back home.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>I will, Father. I promise you I will not return without him.<\/dialogue>\n    <scene_description>Thomas climbs into the coach, WHIPS the horses and they race off into the early morning light. CUT TO: ESTABLISHING SHOT - ROADHOUSE TAVERN - DAY Roy's Impala is in the parking lot.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAVERN - DAY<\/stage_direction>\n    <scene_description>Roy, Ishmael and Claudia are seated at a booth. Plates of burgers and fries are on the table. They are holding hands as Ishmael says grace.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Bless us oh Lord, for these thy gifts, which we are about to receive from thy bounty ...<\/dialogue>\n    <scene_description>Ishmael stops. He looks down at his hand. Claudia's fingers softly caress Ishmael's hand. ON ROY - as he takes this all in.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Are you finished?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>I was talking to her.<\/dialogue>\n    <scene_description>Claudia shoots Roy a dirty look.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>(quickly)<\/parenthetical>\n    <dialogue>... through Christ our lord, amen.<\/dialogue>\n    <character>EVERYONE<\/character>\n    <dialogue>Amen.<\/dialogue>\n    <scene_description>They release hands.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>(to Claudia)<\/parenthetical>\n    <dialogue>You know, Miss Claudia, you should've ordered the double cheeseburger. If you filled out a little, you could have your pick of half the men in my village.<\/dialogue>\n    <scene_description>Claudia calls back to the waitress.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>Give me an extra milkshake and some chili-fries please.<\/dialogue>\n    <scene_description>Ishmael smiles. Claudia smiles at him and then at Roy. Flustered, Roy knocks over a glass of milk onto his lap.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Damn this hand!<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Where do you get something like that?<\/dialogue>\n    <character>ROY<\/character>\n    <parenthetical>(sarcastically)<\/parenthetical>\n    <dialogue>The Sharper Image. They're in the catalogue next to the nose-hair trimmers.<\/dialogue>\n    <scene_description>As Roy wipes the milk off his lap, a pretty young woman, BARB, appproaches the table. She's bouncy and friendly and about one drink over her limit.<\/scene_description>\n    <character>BARB<\/character>\n    <dialogue>Hey, handsome, how 'bout a dance?<\/dialogue>\n    <scene_description>Roy checks her out and perks up.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>I appreciate you asking, darlin', but we've had a helluva day so far and--<\/dialogue>\n    <character>BARB<\/character>\n    <dialogue>--I wasn't asking you. I'm asking your son.<\/dialogue>\n    <scene_description>She smiles at Ishmael.<\/scene_description>\n    <character>BARB (CONT.)<\/character>\n    <dialogue>How 'bout it?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>D-D-Dance? No, I'm sorry. I don't know how to dance.<\/dialogue>\n    <character>BARB<\/character>\n    <dialogue>Well then it's about time you learned.<\/dialogue>\n    <scene_description>As she pulls him onto the DANCE FLOOR, Ishmael looks helplessly back at Roy and Claudia. ON THE DANCE FLOOR - The slow, sappy song, \"Baby, I'm A Want You\" by Bread plays as Barb pulls a stiff Ishmael in close. CUT TO: BACK ON ROY AND CLAUDIA<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Look, we really appreciate what you did for us back there with your boyfriend, but ...<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>You look. I did it for the kid. He didn't deserve to get the shit kicked out of him by those Pope-lovin' inbred mental cases. A cheap hustler like you--I couldn't have cared if they put a bullet in your head.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>I'm a cheap hustler\u00b7? Honey, I gotta news flash for you ... Just because you spend most of your time in the missionary position, it doesn't make you a missionary.<\/dialogue>\n    <scene_description>Claudia smiles and lights a cigarette.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>This is going to work out fine.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>It's better that we don't like each other since we're gonna be business partners. You know 1 checks and balances.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Business partners?<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Yeah. Could you hand me the ashtray or do you need a squirt of 3-in-l oil to do that?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>You listen good. You're not gonna hone in on this. I discovered that kid. It's my first break in a long time. For seventeen years I've been shit on a shoe. I've scraped. I've scrounged. I've participated in experimental testing just to put gas in my car. Airbags weren't always safe and I've got the headaches to prove it. But that's all behind me now because it's payback ti.me. MY payback ti.me.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>I saw your phony roll. You don't have enough money to get to Reno. And if you expect to get there by using that kid, you're in trouble. I'll admit, the kid's got potenti.al--maybe even more than you know--but right now he's raw. Sure, he beat Stanley, but Stan's a choker. Half the bowlers between here and Reno brave enough to roll for money are going to hand him his Pennsylvania Dutch ass on a platter.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>He's Amish and you don't have to worry about us. Just eat your chili-fries and drink your shake and then go throw up or do whatever it is you do to keep that ass of yours in business.<\/dialogue>\n    <scene_description>CUT TO: ON THE DANCE FLOOR Ishmael and his dance partner Barb are still moving to the beat of 'Baby, I'm a Want You.' Ishmael seems to be enjoying himself.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>So this is rock n' roll.<\/dialogue>\n    <parenthetical>(nodding)<\/parenthetical>\n    <dialogue>I like it.<\/dialogue>\n    <scene_description>Suddenly Barb lifts her head off Ishmael's shoulder, alarmed. HER POV - a big burly trucker comes walking in the door followed by three of his buddies.<\/scene_description>\n    <character>BARB ( CONT . )<\/character>\n    <dialogue>Shit ... It's my boyfriend Seabass.<\/dialogue>\n    <scene_description>CUT TO: BACK ON ROY AND CLAUDIA Still at their table.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>No offense, Mr. Munster, but you're not exactly the smartest guy I ever ran across.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Oh and who are you, Alfred Einstein'?<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Look, your act is about as fresh as a Beach Boys concert. It's right out of the seventies. I know how to give it a new spin. On your own, you're gonna make jack.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Don't worry about us. I know a little something about this racket--learned it the hard way.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>What are you guys selling, encyclopedias? Diabolical.<\/dialogue>\n    <parenthetical>(leans forward)<\/parenthetical>\n    <dialogue>I've got stake money. Five hundred bucks. My guess is you could ULe it.<\/dialogue>\n    <scene_description>Claudia reaches over and lifts up Roy's burger bun with her knife. There's a bug under it.<\/scene_description>\n    <character>CLAUDIA (CONT.)<\/character>\n    <dialogue>Otherwise you wouldn't have put that under your bun to beat a twelve-dollar check.<\/dialogue>\n    <character>ROY<\/character>\n    <parenthetical>(feigning horror)<\/parenthetical>\n    <dialogue>Oh my God. I'm gonna have to talk to the manager.<\/dialogue>\n    <scene_description>A WAITRESS passes by carrying food to another table.<\/scene_description>\n    <character>WAITRESS<\/character>\n    <dialogue>That routine's got whiskers on it. You're not beating me on the check, friend.<\/dialogue>\n    <scene_description>Claudia leans in.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>I'll tell you something else: The kid likes me.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>You're not his type.<\/dialogue>\n    <character>CLAIIDIA<\/character>\n    <dialogue>Oh I'm his type. I'm every guy's type.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>And I'm sure you have the mattress button marks to prove it.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Be nice to me ... or I'll cut you out all together.<\/dialogue>\n    <scene_description>Claudia looks up and notices something o.s.<\/scene_description>\n    <character>CLAUD IA (CONT. )<\/character>\n    <dialogue>Uh-oh ...<\/dialogue>\n    <scene_description>ROY AND CLAUDIA'S POV - Seabass has Ishmael pinned against the wall. BACK ON ROY<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Well, I've had enough to eat. I'm going to go warm up the car. The engine's been sounding a little funny.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Get over there, you blowboy. The kid's going to get his ass kicked.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>He's a big boy. I'm sure he can handle himself.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Oh yeah, I almost forgot about all those famous Amish kickboxers.<\/dialogue>\n    <scene_description>Reluctantly Roy gets up and starts toward the dance floor. ON ISHMAEL \"\" Seabass is still pinning him against the wall.<\/scene_description>\n    <character>BARB<\/character>\n    <dialogue>Seabass, you stop that right now. This boy didn't do nothing wrong.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I meant no disrespect, sir. If it makes any difference to you I'm already spoken for.<\/dialogue>\n    <character>SEABASS<\/character>\n    <dialogue>It don't.<\/dialogue>\n    <scene_description>Just as Roy arrives on the scene, so do SEABASS'S THREE FRIENDS. Roy sees that this is even more trouble than he thought.<\/scene_description>\n    <character>SEABASS (CONT.)<\/character>\n    <parenthetical>(to Ishmael)<\/parenthetical>\n    <dialogue>You got a lot of nerve coming in here thinking you can make time with other guys' girls.<\/dialogue>\n    <character>SEABASS FRIEND #1<\/character>\n    <dialogue>Ain't you got no manners? You don't take what don't belong to you.<\/dialogue>\n    <character>SEABASS FRIEND #2<\/character>\n    <dialogue>And what kind of anti-Christ cult do you come from wearing that get-up around here? You recruiting, boy\u00b7?<\/dialogue>\n    <character>SEABASS FRIEND #3<\/character>\n    <dialogue>Kick his ass, Seabass!<\/dialogue>\n    <scene_description>Finally, Seabass and his Friends turn to Roy, wondering just what the hell he wants. Roy hesitates a moment, then hauls off and SUCKER-PUNCHES Ishmael. As Ishmael falls to the ground like a sack of potatoes, Roy YELLS:<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Take that, you freaky piece of shit!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - NIGHT<\/stage_direction>\n    <character>'<\/character>\n    <dialogue>Roy, Ishmael, and Claudia are back on the road. Ishmael is dab,ping blood from under his nose and rubbing his eyes.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>That was really heroic, Munson.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Hey, I did the kid a favor: If I hadn't knocked him out, he would've gotten his butt kicked by those animals.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>You didn't have to have beers with them afterwards.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>I didn't want them to think we were in cahoots.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Oh I think you clearly dispelled any notion of that when you rubbed tabasco in his eyes.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Look, the punch couldn't have hurt that bad. I hit him with my rubber hand.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I think it was the steel bar underneath it what really rung my bell.<\/dialogue>\n    <scene_description>Claudia hands some styrofoam take-out boxes to the boys.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>Here, I had them wrap up your burgers, seeing as you don't have any more money and this'll probably be your last meal for awhile.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Thanks, Miss Claudia.<\/dialogue>\n    <scene_description>Ishmael smiles. Claudia smiles at him and then at Roy. Roy sees he doesn't have much choice.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Uh, I just had a thought, Ishmael. Seeing as how Claudia here has been so kind, why don't we invite her to come along with us so we can help her get back on her feet.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>You've got a kind soul, ~r. Munson. You'll be rewarded for that one day.<\/dialogue>\n    <scene_description>Roy takes a bite of his burger. We hear a CRUNCH. Roy stops chewing. He realizes what it is and pulls out a huge bug.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Oh, life's a constant reward.<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY - DAY<\/stage_direction>\n    <scene_description>Roy's beat-up Impala, with the top down, barrels by on an open stretch of Midwestern interstate. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR<\/stage_direction>\n    <scene_description>Roy's driving. Ishmael is next to him staring at Claudia who is stretched out in the back seat. Claudia is in shorts and a tank top rubbing suntan lotion on her legs and shoulders. Roy looks over at Ishmael, then in the rearview mirror. He doesn't like the picture.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Be careful not to spill any of that grease on the upholstery.<\/dialogue>\n    <scene_description>Claudia leans forward, her cleavage pressed against the back of Roy's seat.<\/scene_description>\n    <character>CLAIIDIA<\/character>\n    <dialogue>It's sunblock. Want some\u00b7?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>No thanks.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Suit yourself ... but your nose is gonna end up in the same pail as your hand.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Lean back. I don't want any silicone on my upholstery either.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I'll take a smidgen.<\/dialogue>\n    <scene_description>Claudia leans in incredibly close to Ishmael. She applies the sunblock to his nose slowly, erotically, seductively.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>All done.<\/dialogue>\n    <scene_description>She sits back.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Boy that cream makes your body tingle all over.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Maybe I'll take a little.<\/dialogue>\n    <scene_description>Claudia nonchalantly flicks the tube at Roy which ricochets off his ear. Roy gives her a dirty look in the rearview. Behind her hand, so Ishmael doesn't see, she flips Roy the bird.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>So have you done much traveling before, Miss Claudia?<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Tons. I've been all over the world.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>You'll have to regale us sometime with stories of the great ceilings you've seen.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>What's that supposed to mean?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Oh come on, honey, you're not telling me Osmanski was keeping you around just for your Mensa connections.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>You don't know anything about Stanley and me, buddy. Sex was the last thing that would keep me around that moron--he was a lot like you in that regard. Nah, he didn't want sex. He wanted to get married.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Please. Guys like that don't get married.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Not to me they don't. It would've been okay if he just wanted to have a good time--nice nice, you know-- but the stupid Stoly-head wanted to settle down.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>You expect me to believe that you weren't his sex kitten?<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>To tell you the truth, I only went to second base with him.<\/dialogue>\n    <parenthetical>(leans forward, whispers in his ear)<\/parenthetical>\n    <dialogue>You know, I fucked him.<\/dialogue>\n    <scene_description>Roy reacts to this.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Ah, pardon me for asking, but ... what's third base and home to you?<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Let me put it this way--only two guys have been there: One's dead and the other's writing a book.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>When's it corning out?<\/dialogue>\n    <scene_description>Ishmael pops in the tape. \"I FEEL FINE\" blares over the speakers.<\/scene_description>\n    <character>BEATLES<\/character>\n    <dialogue>BABY'S GOOD TO ME, YOU KNOW ... SHE'S HAPPY<\/dialogue>\n    <character>AS CAN BE, YOU KNOW ... SHE SAID SO. I'M IN<\/character>\n    <dialogue>LOVE WITH HER AND I FEEL FINE.<\/dialogue>\n    <scene_description>CLAUDIA begins swaying to the beat. As the music continues, she really gets into it. Sexy. Twitchy. She jumps up on the back seat and begins dancing with total abandon. she can't help herself. It's just the way she is. Hair flying. Stomach pulsating. Hips pumping. She's moving and gyrating in an incredibly erotic, out of body manner. Ishmael is riveted. Roy drives with one eye on the road, one eye on the rearview mirror. WIDE SHOT - The car going down the highway. A weird and incredible sight. DISSOLVE TO: MONTAGE - HUSTLING ON THE ROAD - (to the song \"DO THE HUSTLE\") ROY AND ISHMAEL - Talking to a STEELWORKER type at a bar in a bowling alley. ISHMAEL - bowling against the STEELWORKER. The match is in progress. The STEELWORKER gets ready to bowl but something catches his eye on the lane next to him. CLAUDIA - in one of those short ice skaters skirts that twirl up a lot. She smiles at Ishmael's opponent and grabs her ball. Claudia and the big lug approach the line. She bowls first. The skirt does what it's supposed to. It twirls up. The STEELWORKER has seen the face of God. He bowls. One eye on the pins, the other on Claudia, who's now walking back to her seat in heart-\u00b7stopping, slow-motion profile. The STEELWORKER'S ball knocks down one pin. Claudia leaning over the handblower. Her hair is swept back. She looks like she's in the middle of a fashion shoot. A gutter ball. Claudia shaving her legs with electric razor. Bowling ball CRASHES through a-window. STEELWORKER paying off a grinning Roy. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FANCY RESTAURANT<\/stage_direction>\n    <scene_description>Roy and Claudia POP a champagne bottle. She pours each of them a glass, then motions to see if Ishmael wants a glass. He hesitates, then nods 'what the heck.' They pour him a glass, then they all toast and drink. CAMERA moves across a road map. Sandusky, Ohio .... Muncie, Indiana ... CLAUDIA - bowling in an updated Daisy Mae affair. Cut offs. Open denim shirt. A FARMER paying off Roy. ROY - flossing at a bathroom mirror while Ishmael looks on with interest. CLAUDIA AND ISHMAEL - dancing 'The Hustle' while Roy looks on happily. CAMERA continues west across the map. THOMAS (Ishmael's brother) - racing his horse and carriage down the Interstate while tractor trailer trucks zoom past him. CUT TO: SERIES OF VARIOUS SHOTS --Ishmael bowling with a butt in his mouth and a cigarette pack rolled up in each Amish sleeve. Claudia exuding sexuality and sensuality. --An eighty-year-\u00b7old lady paying money to Roy. THE CAR - cruising along another stretch of highway .. Ishmael and Claudia are now both standing in the back seat dancing. Ishmael is wearing a beer-can helmet with a hose leading into his mouth. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL ROOM - MORNING<\/stage_direction>\n    <scene_description>Ishmael is fast asleep in bed, still wearing the beer-can hat. There are empty champagne bottles scattered around the room. Roy is asleep in the next bed. Ishmael starts to stir, then sits up. He looks hungover but unfazed, until he looks down.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>AAAAUUUUGGGGHHHHH!!!!!<\/dialogue>\n    <scene_description>Roy jumps out of bed and tries to catch his breath.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>What's the matter? What is it, kid?<\/dialogue>\n    <scene_description>Ishmael is staring at a tiny FOUR-LEAF CLOVER that is TATTOOED\u00b7' onto his chest.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>It's this! W-W-What is it?!<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Relax. It's just a tattoo.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Just a tattoo?! You don't understand--Amish people don't get tattoos! It's a cultural thing. Mormon kids go on missions, Jewish kids go to college, Amish kids don't get tattoos! How could you let me do this, Roy? How could you?!<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>I don't know, I don't remember much. The night's a blur to me, too.<\/dialogue>\n    <scene_description>Ishmael flops back on the bed.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>I desecrated my body--it's a mortal sin. I can't go home now. I'll never be able to go home.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Relax, you can get those things removed. And that's just a tiny one, they'll never know it was there.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Yeah? You think?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Sure. No problem.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Phew. That's a relief.<\/dialogue>\n    <scene_description>Ishmael takes a deep breath, then springs out of bed and moves to the mirrror to examine it.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Nah, this isn't so bad.<\/dialogue>\n    <scene_description>ON ROY - he does a double-take at what he sees. ROY'S POV - Ishmael's entire back is covered with the tatoo of a NAKED WOMAN with gigantic BARE BREASTS. CUT TO: CONTINUE MONTAGE \/TO THE SONG 'DO THE HUSTLE') The map. Different bowling alleys as they head west. Ishmael : bowling. Claudia as the sexy diversion. \/ THOMAS - holding a picture of Ishmael. The OLD LADY they hustled earlier is nodding. ISHMAEL - flossing his teeth in a motel bathroom while Roy looks on in disgust. It's Ishmael's first time flossing and the string is lined with chunks of beef, shrimp, broccoli, etc. ROY, CLAUDIA, AND ISHMAEL exit a movie theater. Roy and Claudia look bored. Ishmael is doubled over with LAUGHTER.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>That has got to be the greatest movie ever made!<\/dialogue>\n    <scene_description>As they continue walking we see a neon marquee above them. STOP! OR MY MOM WILL SHOOT:<\/scene_description>\n    <character>SYLVESTER STALLONE ESTELLE GETTY<\/character>\n    <dialogue>CLAUDIA pops another bottle of champagne in the car as they cruise down the highway. She turns to pour Ishmael a glass, but we see him in the backseat sucking on a two-foot high BONG.<\/dialogue>\n    <dialogue>Money being paid to Roy by various opponents. Money. Money. Money.<\/dialogue>\n    <scene_description>DISSOLVE TO: ESTABLISHING SHOT - JOLLY CHOLLY'S AMUSEMENT PARK MOTEL- NIGHT We see an upscale motel, with a nice swimming pool on the grounds and a rinky-dink amusement park next door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROY AND ISHMAEL'S MOTEL ROOM<\/stage_direction>\n    <scene_description>Roy is lying on his bed, smoking a cigarette. Ishmael is in the next bed watching TV. He's flipping around with the channel-changer like a kid with a new toy. Finally Roy crushes out his smoke and sits up.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>I think I'm going to take a walk.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>You want me to come along?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Nah, you stay here and get some rest.<\/dialogue>\n    <scene_description>With that, Roy is out the door. ON ISHMAEL - He continues running through the channels. ON THE TV - Ishmael flips past a series of talk shows and infomercials and finally stops on an ad for 976-PARTY. We see THREE BIKINI-CLAD GIRLS. The sexiest one PURRS in a kittenish voice.<\/scene_description>\n    <character>BIKINI-CLAD GIRL<\/character>\n    <dialogue>... This is your invitation to the best party in town. You can talk to up to twelve different exciting people at the same time. What are you waiting for? Call 976-PARTY.<\/dialogue>\n    <scene_description>He sits up and stares at the phone. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOTEL HALLWAY \u00b7\u00b7 NIGHT<\/stage_direction>\n    <scene_description>Roy KNOCKS on Claudia's door. She opens it.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Hey, Claudia.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Roy.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Mind if I come in for a moment?<\/dialogue>\n    <scene_description>She arches her eyebrows.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>It's not what you think. It's just that ... I've been with that kid for too long. He's sweet and all but he's driving me nuts, asking his stupid questions all day. 'What's in a lightbulb?' 'Who invented the squeeze ketchup bottle and when?' 'How does \"Dr. Quinn, Medicine Woman\" stay on the air?'<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>Anyway, I just want someone halfway intelligent to talk to. That's all. Really.<\/dialogue>\n    <scene_description>She thinks about this, then swings the door open. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ISHMAEL'S ROOM<\/stage_direction>\n    <scene_description>Ishmael is talking on the phone.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>My name's Ishmael .... I'm twenty-seven. How old are you? .... Nine? Well, that's a great age, Eddie. Hey, what are you doing up this late? .... No kidding, you're parents are sleeping .... No, this is my first time using the party line. In fact, it's my first time using a phone.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLAUDIA'S ROOM<\/stage_direction>\n    <scene_description>Roy is talking to Claudia.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>I don't know why you have to be such a snob about it.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Because I don't want to sleep with you and that's final.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>I didn't say I wanted to sleep with you. I just want to ... you know, sleep ... in the same bed.<\/dialogue>\n    <scene_description>CLAtIDIA That's called sleeping with me.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>No, you don't understand. It'll be purely platonic. I mean, I'm under the impression that you don't want anything more than that ... right'?<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Well that's a piercing analysis of the obvious.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Then we're in agreement. Look, all I want is one good night's sleep. Please.<\/dialogue>\n    <scene_description>Claudia thinks about this for a moment.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>We'll just sleep side by side? You won't even lay a hand on me?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Not a finger.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>You swear to God?<\/dialogue>\n    <scene_description>Roy raises his right hand.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>On everything that is holy to me.<\/dialogue>\n    <scene_description>r ,r '' CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ISHMAEL'S ROOM<\/stage_direction>\n    <scene_description>Ishmael sits cross-legged on the bed, still on the phone, drinking a beer.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Hey, Tom, you don't have to tell me. Big sisters can be a real pain in the you-know-what sometimes ... Sure, she's in the sixth grade so she's starting to think she's hot stuff \u2022...<\/dialogue>\n    <parenthetical>(big LAUGH)<\/parenthetical>\n    <dialogue>... Flat as an ironing board! Oh man, you're nuts! ... Hey, who's that? ... Eddie, that you? ..\u2022 All right, you're back! .... Tom, you know Eddie? He had to hop off. Thought he heard his folks get up .... Okay, we'll talk to you later. Hey, good luck at camp. Say hi to little Miss Ironing Board ...<\/dialogue>\n    <parenthetical>(another YUCK)<\/parenthetical>\n    <dialogue>Boy, this is some party, eh, guys!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLAUDIA'S ROOM<\/stage_direction>\n    <scene_description>Roy and Claudia are lying side by side in bed beneath the covers.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Let me just put it in halfway. I won't even move it.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Forget it, Munson.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Come on, I just want to feel it for a second. It'll help me get to sleep.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>I said no! And if you ask me one more time I'm throwing you out of here.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Okay, take it easy.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>No I won't take it easy. I want to get to sleep. Now if you feel your hormones are too out of control to sleep in the same bed with me then I suggest you leave.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>All right, all right, I can sleep. Jeez, it's not like I'm some 16-year-old kid. You think you're the first naked woman I've ever slept with who didn't have sex with me?<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Shut up and go to sleep.<\/dialogue>\n    <scene_description>CEILING POV - Claudia rolls over and closes her eyes. Roy lies beside her on his back, his eyes wide open. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLAUDIA'S ROOM - LATER<\/stage_direction>\n    <scene_description>CEILING POV - Roy's still lying on his back, wide-eyed. Claudia sleeps peacefully beside him. SERIES OF TIME-LAPSE SHOTS - Claudia assumes various sleeping positions, while Roy always remains the same: on his back with his eyes wide open. In the final shot, Roy is in the same wide-eyed position, but now the sun is up. Claudia stirs, then sits up and YAWNS.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>Oh boy, I needed that.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Yeah. That was refreshing, wasn't it?<\/dialogue>\n    <scene_description>Claudia hops out of bed.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>I'm going to brush my teeth.<\/dialogue>\n    <scene_description>ON ROY - As his eyes instantly snap shut and he falls deeply asleep. We see the clock next to his head reads 7:30. HOLD ON IT as we DISSOLVE TO: THE CLOCK - now reads 12:30. ON ROY~ still fast asleep. We hear LAUGHTER and SCREAMING coming from outside. Finally Roy wakes up. He lies there for a second trying to get his bearings, then looks at the clock and sits up, alarmed. Panicking, he jUl!\"ps out of bed and runs to the window. HIS POV - The Impala is still there. He lets out a SIGH OF RELIEF, then notices something else. HIS POV - a 200-foot high BUNGEE CRANE is set up in the parking lot. CLOSE ON THE CRANE - a TEENAGE BOY does a swan-dive off the platform. He comes within ten feet of the ground, then springs back up.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Crazy bastard ...<\/dialogue>\n    <scene_description>Then Roy sees something that almost knocks the wind out of him. HIS POV - Ishmael is next in line atop the platform. He's getting strapped in. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOTEL<\/stage_direction>\n    <scene_description>A frantic Roy comes rushing out with only a towel around his waist. Claudia is standing with a CROWD OF ONLOOKERS beneath the crane.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>What the hell is going on here\u00b7?!<\/dialogue>\n    <scene_description>CLAlffiIA Hey, sleepyhead.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Don't give me that shit. What's he doing up there?<\/dialogue>\n    <scene_description>CLAlffiIA What does it look like'?<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Are you out of your mind?! I just got the kid in bowling shape. If he breaks an arm or a leg, I'm out a million bucks, lady!<\/dialogue>\n    <scene_description>CLAlffiIA You mean we're out a million bucks.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Whatever.<\/dialogue>\n    <character>(YELLS UP)<\/character>\n    <dialogue>Ishmael, I want you to come down from there right now! Do you hear me?!<\/dialogue>\n    <scene_description>ON ISHMAEL - atop the platform.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <parenthetical>(CALLING BACK)<\/parenthetical>\n    <dialogue>Sure thing, Mr. Munson.<\/dialogue>\n    <scene_description>He JUMPS. The bungee cord stretches and stretches and stretches, until Ishmael LANDS FEET-FIRST ON THE GROUND, SOFTLY, and then DOESN'T SNAP BACK UP. ON ISHMAEL - He stands on the ground, unharmed but exasperated.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>What a gyp!<\/dialogue>\n    <scene_description>ROY runs over to him, holding the towel firmly around his waist.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Don't move, I'll get you out of there, son.<\/dialogue>\n    <scene_description>Roy starts to unhook Ishmael from the harness. As soon as he does, THE BUNGEE CORD SNAPS BACK UP, GRABBING ONTO ROY'S HOOK AND CATAPAULTING HIM SKYWARD, OUT OF FRAME, WITH IT. HOLD ON ISHMAEL AND CLAUDIA - looking up. Roy's TOWEL FALLS into frame and onto Ishmael's head. LONGSHOT ~ of a naked Roy, dangling above the crowd. BIRD'S EYE POV - of Claudia and Ishmael looking up at Roy.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Wow! That must be pretty embarrassing, huh, Mr. Munson?!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL COFFEE SHOP - DAY<\/stage_direction>\n    <scene_description>A pissed-off Roy is sitting alone having a cup of coffee. He looks at his watch, impatient. A moment later, Claudia enters.<\/scene_description>\n    <character>ROY<\/character>\n    <parenthetical>(sarcastic)<\/parenthetical>\n    <dialogue>Thanks for helping me down.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Those firemen seemed to know what they were doing. By the way, I didn't know you were Ir.ish ... or was it just .incredibly cold up there?<\/dialogue>\n    <scene_description>Roy throws her a look. Then we hear Ishmael's voice off-camera.<\/scene_description>\n    <character>ISHMAEL (O.S.)<\/character>\n    <dialogue>Hey, Mr. Munson.<\/dialogue>\n    <scene_description>ANGLE ON - Ishmael coming through the front door. He's carrying packages ... and for the first time since we've met him, Ishmael is not in his normal Amish garb. He's wearing a loud, mismatched suit, at-shirt that says 'HARDBODY', and two-tone shoes.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>What the hell's this all about?<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Lighten up a little. He's making money. Let him have a little fun.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I picked it out myself. What do you think, Mr. Munson\u00b7?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>I think you should lay off the bong hits before you shop.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Oh, we didn't do any bong hits today, Mr. Munson. We were healthy. We ate mushrooms.<\/dialogue>\n    <scene_description>Roy shoots Claudia a look.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>Look, Munson ... I called a friend of mine in New Orleans. There's a highroller there looking for some action. Big Money. I say we go.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Too far out of the way. We'd miss the tournament in Reno.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>The tournament's a waste of time. A long shot. This is thirty-five thousand in a weekend.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Forget it. End of discussion.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Ishmael should have a vote. What do you think, honey\u00b7? Would you rather go to Reno or New Orleans?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Well gee, Miss Claudia, they got the world championships there in Reno ...<\/dialogue>\n    <scene_description>Roy shoots Claudia a smug smile.<\/scene_description>\n    <character>ISHMAEL (CONT. )<\/character>\n    <dialogue>... but that Bourbon Street does sound pretty nice, too, don't it?<\/dialogue>\n    <scene_description>Roy's smile is gone. A song comes on the jukebox.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>Well, you don't have to make up your mind right now. Come on, Ishmael, let's dance.<\/dialogue>\n    <scene_description>As they hit the dance floor we go ON ROY - who looks aggravated as hell. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Ishmael is asleep. He is shaken awake. When he bolts up, Roy puts his hand over his mouth.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Let's go. It's an emerg(?ncy. We gotta get the hell out of here.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>But ...<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>No if, ands, or buts? Let's move.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I'll go next door and get Claudia.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Don't worry about Claudia. I'll explain it all later.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOTEL PARKING LOT - NIGHT<\/stage_direction>\n    <scene_description>Roy and Ishmael run toward the Impala.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>The army came in and evacuated everybody! ...<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Evacuated?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR NIGHT<\/stage_direction>\n    <scene_description>They jump in.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>A big military train derailed and the entire area's in danger of being contaminated by a huge cloud of ...<\/dialogue>\n    <scene_description>Roy looks in the rearview mirror and is shocked to see Claudia sitting there.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Shit!<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>A huge cloud of shit. Wow.<\/dialogue>\n    <scene_description>Ishmael realizes Claudia is there.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Hi, Claudia. Okay, Mr. Munson we're all here. Let's go before that shit cloud gets us.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Roy, could I speak to you in private for just a moment?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Surely.<\/dialogue>\n    <scene_description>Roy and Claudia get out and walk away from the car.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Make it quick. I fell in a septic tank one summer and they had to hang pinecones on me for a year before people could get close to me.<\/dialogue>\n    <scene_description>ANGLE ON ROY AND CLAUDIA - as they walk from the car.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>What were you doing in the ... '?<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>I had a funny feeling we might have to leave in a hurry tonight.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>That's a sixty-dollar motel room and you sleep in the car? That makes a lot of sense.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <parenthetical>(sarcastic)<\/parenthetical>\n    <dialogue>Yeah, don't I feel like a fool.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Look, I know what you're thinking, but once I explain ...<\/dialogue>\n    <scene_description>Roy turns, Claudia kicks him in the nuts, dropping him like a sack of potatoes.<\/scene_description>\n    <character>ROY<\/character>\n    <parenthetical>(through clenched teeth)<\/parenthetical>\n    <dialogue>Mornrny ... Wow ... you must have ... a wide foot. You got ... both of them.<\/dialogue>\n    <scene_description>He writhes on the ground like an animal.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>I can't believe you were gonna shaft me. I thought we were partners.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Spare me the indignant routine. You've been rubbing your tits in that kid's face from the minute we hooked up so you could steal him from me.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Roy struggles to stand back up.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Don't give me that 'what' crap. Half the dresses you got you need two hairdoos to wear. Admit it, your plan was to take him and leave me flat ... and I just beat you to the punch.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>You're pathetic.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>I've been screwed over so many times in my life I've developed a fifth sense about these things. It's like I have a little voice in my head that always tips me off at the very moment someone is about to do me wrong.<\/dialogue>\n    <scene_description>Claudia punches Roy in the face.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>As I've gotten older, sometimes there's a five-second delay.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>How dare you accuse me of anything. That kid worships you and all you've done is feed him a load of bullshit so you could line your own pockets.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>At least I didn't do it in butt-floss underwear and a demi cup bra.<\/dialogue>\n    <scene_description>Claudia p1\u00b7nches Roy again.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>Come on. Right now. You and me, bud.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Listen, lady, I've done a lot of creepy things in my life but I'm not going to lower myself to having a fist-fight with a girl.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>What, are you afraid of me?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Afraid? Yeah, right. That last punch felt like a butterfly landed on my nose.<\/dialogue>\n    <scene_description>She fires off two more rapid PUNCHES to Roy's face. ON ROY \u00b7- he has a bloody nose and one eye is blackened and swollen shut.<\/scene_description>\n    <character>ROY (CONT.)<\/character>\n    <dialogue>Okay, I'm a little afraid.<\/dialogue>\n    <scene_description>Claudia connects with a haymaker to the other eye. Roy has had enough--he winds up and pops her one in the face. Energized by this, she connects a couple more times. Roy's counter leads to a full-fledged brawl, straight out of the old west. For every good shot Roy gets in, she lands a better one. This isn't sissy fighting, scratching or biting. It's an all-out fistfight with blows connecting left and right. Back and forth they go, rolling over cars, punching each other's lights out. Suddenly Roy looks back toward the car.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Ishmael! ! ! !<\/dialogue>\n    <scene_description>HIS POV - Ishmael is gone. There's a note on the windshield under the wiper. Roy and Claudia run into shot and pick up the note.<\/scene_description>\n    <character>ROY<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>I thought you were my friends. Goodbye ... Ishmael.<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY - DAY<\/stage_direction>\n    <scene_description>Ishmael stands in place hitchhiking, still wearing his beer can hat. A few vehicles go by and finally a car pulls over about fifty feet past him. Ishmael continues to thumb, however, unaware that the car has stopped. The driver BEEPS, hangs out the car and tries to get Ishmael's attention. The Amish kid fails to turn around and eventually the car drives off. Finally Ishmael turns and continues walking, ' oblivious to what just happened. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY OUTSIDE A GAS STATION - SUNRISE<\/stage_direction>\n    <scene_description>A large pickup with giant monster truck tires pulls to the side of the road. Ishmael opens the door and jumps the six feet to the ground.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Thanks again for the lift.<\/dialogue>\n    <scene_description>The truck pulls out and Ishmael yells after it.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Remember, if you're ever in Pennsylvania, I meant what I said about that quilt discount! oh, and thanks for the massage!<\/dialogue>\n    <scene_description>The truck turns off the road and heads down a deserted road.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GAS STATION - DAY<\/stage_direction>\n    <scene_description>Ishmael walks up to the ATTENDANT in the garage.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>ATTENDANT<\/character>\n    <dialogue>What can I do for you'?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I'm workin' my way out to Reno and I was wonderin' if you could use any help'?<\/dialogue>\n    <character>ATTENDANT<\/character>\n    <dialogue>Sorry, son, but things've been pretty slow around here.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Well, much obliged.<\/dialogue>\n    <character>ATTENDANT<\/character>\n    <dialogue>Hold on. My cousin owns a farm up a piece on the highway and he's always looking for extra help.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>A farm! That's great. I grew up on a farm!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CINDERBLOCK BUILDING - DAY<\/stage_direction>\n    <scene_description>The sign reads, \"Orvis Meecharn's Reptile Farm\" CUT TO: CLOSE ON ISHMAEL - He's holding a large RATTLESNAKE, one hand on its head, one on its tail, and as far away from him as possible. There is a tall beaker on a table before him. ORVIS MEECHAM, who we see from the back, is yelling at him.<\/scene_description>\n    <character>ORVIS (O.S.)<\/character>\n    <dialogue>Come on, you goddamn candyass ... hook its goddamn fangs over the beaker and milk its head!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>Ishmael pounding the pavement. CUT TO: SERIES OF SHOTS A sign outside a diner reads, \"Experienced Waiter Wanted.\" Ishmael walks in. We DISSOLVE and he walks out disappointed. A sign outside a car dealership reads, \"Experienced Salesman Wanted.\" Ishmael walks in. DISSOLVE. He walks out disappointed. A sign outside another building reads, \"Experienced Lap Dancer Wanted.\" The word \"Experienced\" is crossed out. Ishmael spots the sign, smiles and walks in. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAR - DAY<\/stage_direction>\n    <scene_description>A divey-trucker place. Ishmael sits at the bar. The BARTENDER walks up to him.<\/scene_description>\n    <character>BARTENDER<\/character>\n    <dialogue>What can I do for you, Opie?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I saw your sign. I'd be interested in trying my hand at lap dancing.<\/dialogue>\n    <character>BARTENDER<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Okay\u00b7? Really? That's it?<\/dialogue>\n    <scene_description>Ishmael shakes the bartender's hand.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Thanks. I won't let you down.<\/dialogue>\n    <scene_description>The bartender just stares at him. CUT TO: CLOSE - ISHMAEL SITTING IN A CHAIR We hear hard-driving music. A beautiful g-stringed rear-end pops into shot, very close to Ishmael's face. It bobs, sways, twitches to the music. It drops down and gives him a grinding, hot, lap dance. Ishmael's eyes go wide as blonde hair gets whipped in his face.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Lord loves a working man.<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAR - LATER<\/stage_direction>\n    <scene_description>Ishmael is disheveled and totally drained as another girl finishes up a lap dance for him. The bartender walks over.<\/scene_description>\n    <character>BARTENDER<\/character>\n    <dialogue>How's it gain'?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Great.<\/dialogue>\n    <character>BARTENDER<\/character>\n    <dialogue>Time to settle up.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Terrific.<\/dialogue>\n    <character>BARTENDER<\/character>\n    <dialogue>Ten dollars a lap dance times fifteen dances comes to a hundred and fifty dollars.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Up until now the best job I ever had was tappin' a maple tree and workin' with an egg incubator ... but this beats that by a long shot. This lap dancin's so much fun, I almost feel like I should be the one payin' you.<\/dialogue>\n    <scene_description>CUT TO: A CHAIN LINK FENCE that Ishmael is thrown against.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>I'm supposed to pay you?!<\/dialogue>\n    <character>,,<\/character>\n    <dialogue>We're in an empty lot behind the bar. The bartender shoves \/ Ishmael in the gut with a baseball bat, sending him to his knees.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I guess it does make sense if you think about it logically. I<\/dialogue>\n    <scene_description>The bartender raises the bat.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Wait! Maybe I could work it off.<\/dialogue>\n    <scene_description>He lowers the bat.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>I'm not bad with a needle and thread. I could fix the girls' costumes. They must get pretty frayed the way they rub on those things.<\/dialogue>\n    <scene_description>The bartender raises the bat again.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Please, sir, I'll do anything ...<\/dialogue>\n    <scene_description>The Bartender thinks about this.<\/scene_description>\n    <character>BARTENDER<\/character>\n    <dialogue>Anything ... ?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROY'S CAR - DAY<\/stage_direction>\n    <scene_description>Roy and Claudia still searching for Ishmael.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>What makes you think the kid didn't just give up and go home?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>I know him. He's no quitter. He doesn't have the brains to be a quitter.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>He actually thinks he's got a chance to win in Reno?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Hey, you never know. You saw his improvement. That match against those old ladies he rolled a 760 series. You put up numbers like that you can beat anyone on a given day.<\/dialogue>\n    <scene_description>Roy notices something on the highway. He slams on the brakes and skids off the road. CLAtIDIA What's the matter? Roy is looking at a highway sign through his front windshield. It reads: Ocelot, Iowa ... 17 miles. I<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>I didn't realize it. We're near where I grew up.<\/dialogue>\n    <scene_description>CLAtmIA What time are the tours to your boyhood home? Roy doesn't even hear her.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>It's been seventeen years since I showed my face around here.<\/dialogue>\n    <scene_description>Roy looks in the mirror and makes a pathetic effort to fix his hair.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>How do I look?<\/dialogue>\n    <scene_description>Claudia looks at him for a long beat. She has to be honest. CLAtmIA (sweetly) Like you've lived an incredibly hard life.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>If I had it to do all over again, I would have gotten more facials.<\/dialogue>\n    <scene_description>Claudia smiles and indicates it's time for him to give it a shot. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OCELOT, IOWA<\/stage_direction>\n    <scene_description>Roy drives the Impala slowly through town, but nobody recognizes him. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MUNSON FILLING STATION - LATE AFTERNOON<\/stage_direction>\n    <scene_description>This is Roy's dad's old place. It looks like it's been closed for over a decade. It's all boarded-up, weeds growing everywhere. CAMERA PANS TO THE BACK - where we see Roy sitting on an old tractor tire. Claudia approaches and sits beside him.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>It's just not what I expected.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>This used to be my home.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>You're not going soft on me, are ya?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Nah ... I'm bowling people. We're cut from heartier cloth.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <parenthetical>(BEAT)<\/parenthetical>\n    <dialogue>What's taken you so long to come home, Roy?<\/dialogue>\n    <scene_description>Roy thinks about this.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>I guess I was ashamed. Everyone expected so much. Believe it or not, I used to be something special around here.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>At least my dad thought so.<\/dialogue>\n    <scene_description>Roy pulls something out of his pocket and holds it up to her.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>He gave me this when I left town. Never could get the damn thing working. It's kind of funny--it's like time stopped for me when I left this town.<\/dialogue>\n    <scene_description>Roy stares at the place where his old childhood bowling alley used to be.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Right over there he and I used to practice bowling every night. He taught me an awful lot out here.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>I got word he died about ten years ago ... I didn't even have the nerve to show up for the funeral.<\/dialogue>\n    <scene_description>Disgusted with himself, Roy throws the watch in the dirt. Claudia puts her hand on his shoulder, showing her first inkling of compassion.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>Well, your old man would be proud. I mean, here you are passing all that bowling knowledge on to Ishmael.<\/dialogue>\n    <scene_description>Roy thinks about this.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>It wasn't just bowling he taught me out here.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And no, he wouldn't be proud.<\/dialogue>\n    <scene_description>Roy stands and walks toward the car.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Come on, we've gotta find that kid.<\/dialogue>\n    <scene_description>Claudia begins to follow him, then picks up the watch and puts it in her pocket. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMPALA - DAY<\/stage_direction>\n    <scene_description>Roy and Claudia are back on the highway. Roy seems to have a new sense of resolve.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>Do you think Ishmael has enough street smarts to get to Reno by himself?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Street smarts? Claudia, you're talking about a kid who's never heard of a Q-tip and thought Dixie cups protected soldiers balls in the Civil War.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Poor guy. He's like a baby out there.<\/dialogue>\n    <character>(SIGHS)<\/character>\n    <dialogue>I hope he doesn't get munson'd out in the middle of nowhere.<\/dialogue>\n    <scene_description>Roy shoots her a look, then turns back to the highway.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>Roy, I want to tell you something. You were right. I was going to screw you over with the kid. You beat me to the punch. Your fifth sense was right.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Thanks for sharing.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>I decided to be honest with you. I want you to know that's really hard for me--being honest.<\/dialogue>\n    <scene_description>They look at each other for a long beat, then Roy looks away.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>What am I supposed to do, give you a medal?<\/dialogue>\n    <scene_description>CUT TO: ;:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GAS STATION - DAY<\/stage_direction>\n    <scene_description>Roy and Claudia are talking to the gas station Atlendant who Ishmael met earlier. The Attendant points up the road. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ORVIS MEECHAM'S REPTILE FARM - DAY<\/stage_direction>\n    <scene_description>Roy and Claudia are talking to Orvis Meecham. One of his eyes is swollen shut. There are scars and bumps all over his face from where he's been bitten.<\/scene_description>\n    <character>ORVIS<\/character>\n    <dialogue>I told the little candyass you build up an immunity to a snake bite over time ...<\/dialogue>\n    <scene_description>A snake he's holding bites him on the chin. He swats it away like it's a fly.<\/scene_description>\n    <character>ORVIS (CONT. )<\/character>\n    <dialogue>But he wasn't interested.<\/dialogue>\n    <scene_description>ON ROY AND CLAUDIA - who look concerned. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAR - NIGHT<\/stage_direction>\n    <scene_description>The Impala pulls into the lap dancer bar. The parking lot is now jammed, business is booming.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAR - NIGHT<\/stage_direction>\n    <scene_description>Roy and Claudia enter and squeeze their way to the bar. The place is packed, with mostly men.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>You see a big blond Amish kid come through here in the last couple days? Mid-twenties, friendly, a little stocky ...<\/dialogue>\n    <character>BARTENDER<\/character>\n    <dialogue>Kinda stupid?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Well ... naive.<\/dialogue>\n    <character>BARTENDER<\/character>\n    <dialogue>Turn around.<\/dialogue>\n    <scene_description>Roy and Claudia turn. HIS POV - there's a stage with a banner over it that reads 'THE GREAT FABULINA.' We hear a DRUM ROLL. A fey ANNOUNCER is at the mike. I<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <dialogue>Gentlemen, I would like to introduce you to the one ... the only ... Fabulina!!<\/dialogue>\n    <scene_description>The CROWD APPLAUDS as the CURTAIN OPENS and we see Ishmael standing there, dressed up like Divine. The song 'It's Raining Men' starts to blare and to the crowd's hearty approval, a clearly uncomfortable Ishmael starts to dance. Roy and Claudia look at one another in shock. The Crowd starts'to chant 'TAKE IT OFF' and Ishmael, loosening up, starts to do just that. As Ishmael starts to show more and more skin, a concerned Roy and Claudia make a dash for the stage, pushing their way through the crowd. They're intercepted by the Bartender and a couple BURLY BOUNCERS.<\/scene_description>\n    <character>BARTENDER<\/character>\n    <dialogue>What do you think you're doing?<\/dialogue>\n    <scene_description>Roy flips open his wallet.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Roy Munson. FBI. Amish division.<\/dialogue>\n    <scene_description>He flips his wallet shut.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>That boy's wanted throughout Pennsylvania Dutch country on ten counts of buggy- jacking, embezzlement of butterchurning funds, and interstate transportation of counterfeit \"God Bless This House\" potholders.<\/dialogue>\n    <character>BARTENDER<\/character>\n    <dialogue>I say you're full of shit. Now this boy owes me money and he's damn well gonna work it off.<\/dialogue>\n    <scene_description>Roy and Claudia are forced to watch as the now shameless Ishmael strips down into a g-string, working the crowd into a FRENZY.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>How long does he have to dance?<\/dialogue>\n    <character>BARTENDER<\/character>\n    <dialogue>Just until that last piece comes off.<\/dialogue>\n    <scene_description>Claudia looks with concern at Roy. Suddenly Roy stabs his HOOK into the crotch of the Bartender and starts to pull. The Bartender SQUEAKS OUT A YELP. , ,\u00b7:<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>',<\/dialogue>\n    <scene_description>One move, pal, and those babies are gonna be shish-kabobed. (to Claudia) Pull the car out front. Claudia takes off. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAR - NIGHT<\/stage_direction>\n    <scene_description>Claudia is sitting in the Impala, engine running. Suddenly the doors burst open and Roy and Ishmael (stilling-string, carrying his clothes) race out. They dive in the car and the Impala ' SQUEALS AWAY just as the Bartender and a couple Bouncers run out into the parking lot. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMPALA - NIGHT<\/stage_direction>\n    <scene_description>Roy is driving, Claudia's in the front, Ishmael's in the back.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>How can you still be mad at us? We just saved your butt.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I heard what you said about me ... about each other. I thought we were partners, but I guess I was wrong.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Look, Ishmael, let me explain something. It's tough out there. The world can kick your ass. I only have a vague recollection when it wasn't kicking mine. It's why Claudia and I had that fight. We've both had a rotten run of it for awhile .... And when you're hurt by people over and over again, you stop trusting everybody ... that way you can't get hurt again.<\/dialogue>\n    <scene_description>This registers with Claudia. Roy is telling the truth.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>If you really want to call an end to this, we'll drop you off wherever you want. Go forward and from here on out and we'll all work together as a team.<\/dialogue>\n    <character>~<\/character>\n    <dialogue>Claudia agrees.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>And no more bullshitting. Promise.<\/dialogue>\n    <scene_description>A small smile brightens Ishmael's face. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RENO SKYLINE - NIGHT<\/stage_direction>\n    <scene_description>As the Impala comes over a hill, we see the bright lights of Reno in the distance. Claudia and Ishmael stand up and start HOWLING. Roy pumps his fist from the driver's seat. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHOWBOAT HOTEL LOBBY - NIGHT<\/stage_direction>\n    <scene_description>The garish sign outside reads: THE SHOWBOAT INVITATIONAL:<\/scene_description>\n    <character>SECOND SMASH WEEK<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOWBOAT HOTEL LOBBY - NIGHT<\/stage_direction>\n    <scene_description>This place is great. Gold rails, thick carpets, etc. Roy, Ishmael, and Claudia are checking in to the big-time and they look very happy. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Mississippi gambler motif, in formica. The three of them holding their giant menus.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Wow. There's so much to choose from.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Welcome to the heady world of the professional athlete.<\/dialogue>\n    <scene_description>WAITRESS puts down three plates, piled high with food.<\/scene_description>\n    <character>WAITRESS<\/character>\n    <dialogue>There you go. Two number sixty-fours and a forty-one.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Their sixty-four is supposed to be the best in the city.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>That forty\u00b7-one don't look too bad, either.<\/dialogue>\n    <character>WAITRESS<\/character>\n    <dialogue>You can go to the potato bar whenever you're ready.<\/dialogue>\n    <scene_description>The Waitress leaves.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Grab your spud, kids.<\/dialogue>\n    <scene_description>Roy and Ishmael cross to the potato bar. They start to put on the toppings.<\/scene_description>\n    <character>MAN (O.S.)<\/character>\n    <dialogue>Watch it, son, your sleeve's in the ranch dressing.<\/dialogue>\n    <scene_description>Roy looks across the potato bar. There's a man staring at him and smiling. It's Burt Deland.<\/scene_description>\n    <character>BURT (CONT. )<\/character>\n    <dialogue>Well hello, Roy.<\/dialogue>\n    <scene_description>Burt sticks out his hand to shake Roy's. Roy just stares at him.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>It's been a long time.<\/dialogue>\n    <character>BURT<\/character>\n    <dialogue>About a year for every topping.<\/dialogue>\n    <character>CLAUDIA (O.S.)<\/character>\n    <dialogue>Oh shit.<\/dialogue>\n    <scene_description>Burt looks at Claudia and smiles.<\/scene_description>\n    <character>BURT<\/character>\n    <dialogue>Oh .. my .. God. Claudia.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>You mean you two know each other?<\/dialogue>\n    <character>BURT<\/character>\n    <dialogue>It's a small world when you got big tits, Roy.<\/dialogue>\n    <character>(LAUGHS)<\/character>\n    <dialogue>Claudia and I had a lot of fun out in Chicago a couple years back.<\/dialogue>\n    <scene_description>\u00b7 Burt smiles at Claudia, who almost looks embarrassed.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>The two of you ... ?<\/dialogue>\n    <parenthetical>(to Claudia)<\/parenthetical>\n    <dialogue>You and him ... ?<\/dialogue>\n    <character>BURT<\/character>\n    <dialogue>You can read all about it in my book. Comes out in the fall.<\/dialogue>\n    <parenthetical>(to Claudia)<\/parenthetical>\n    <dialogue>So how you doing, C? Why don't you stop slumming and come back to work for me?<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>I'd rather mop the floors at a peep show.<\/dialogue>\n    <scene_description>Burt LAUGHS.<\/scene_description>\n    <character>BURT<\/character>\n    <dialogue>I see you still got your good stuff.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Why don't you get the hell out of here. You ruined my life, you bastard.<\/dialogue>\n    <character>BURT<\/character>\n    <dialogue>That's sad, Roy. Pathetic really. There was a time you could've been the best. I guess it makes sense that you'd need a scapegoat for a wasted life.<\/dialogue>\n    <scene_description>Ishmael reacts to this.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>I think you had a little something to do with it, Burt.<\/dialogue>\n    <character>BURT<\/character>\n    <dialogue>Hey, I remember that night pretty clearly, pal. Nobody twisted your arm.<\/dialogue>\n    <parenthetical>(gets the pun, smiles)<\/parenthetical>\n    <dialogue>Nobody twisted your arm ...<\/dialogue>\n    <scene_description>Roy hauls off to smack him, but Ishmael grabs his arm.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Don't do it. He's just trying to lower you to his level.<\/dialogue>\n    <character>BURT<\/character>\n    <dialogue>Let me give you some advice, kid. Stay away from this guy. He's got a cloud over him. He can't help it, just one of those people. I spotted it on his face the moment I first saw him. A born loser.<\/dialogue>\n    <scene_description>At this, Ishmael floors Burt with one punch.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>You shut up, Mister! Roy Munson is one of the best friends I've ever had and you have no right to speak to him in that manner. Now I don't know who the heck you think you are, and I certainly don't know why Miss Claudia would ever hang around with a guy who has child-bearing hips, but if you \\ don't wiggle your way out that door in rive seconds, you're gonna find your nose sniffing my big Amish ass!<\/dialogue>\n    <scene_description>A shaken Burt stands and hurries out the door. ON ROY AND CLAUDIA - They stare at Ishmael in shock.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Uh ... thanks, Ish.<\/dialogue>\n    <scene_description>Ishmael doesn't respond. He just storms off.<\/scene_description>\n    <character>ROY (CONT.)<\/character>\n    <parenthetical>(to Claudia)<\/parenthetical>\n    <dialogue>Why don't you go back to your room. I'll talk to him.<\/dialogue>\n    <scene_description>Claudia looks concerned as we CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLAUDIA'S HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>The door opens and Claudia enters. She starts to move across the room when suddenly she stops in her tracks and GASPS. HER POV - Stanley Osmanski is sitting in the corner wearing a big smile.<\/scene_description>\n    <character>OSMANSKI<\/character>\n    <dialogue>Hey, pumpkin.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Jesus, you almost gave me a heart attack.<\/dialogue>\n    <scene_description>For a moment neither of them move. Then Osmanski rises and approaches her. He hesitates in front of her, then gives her a kiss on the cheek.<\/scene_description>\n    <character>OSMANSKI<\/character>\n    <dialogue>So how'd it go?<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Fine. Great. You know, they have no idea.<\/dialogue>\n    <character>OSMANSKI<\/character>\n    <dialogue>Good. I got a little nervous when you stopped calling.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Yeah, well, we lost the kid for a while. The last couple days have been crazy.<\/dialogue>\n    <character>OSMANSKI<\/character>\n    <dialogue>But you got some money for me, right?<\/dialogue>\n    <character>MONA<\/character>\n    <dialogue>Thirty-two and change. It's all in my bag.<\/dialogue>\n    <character>I<\/character>\n    <dialogue>Osmanski smiles.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROY'S HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Roy stands outside the bathroom door.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Hey, Ishmael, you okay? You've been in there a long time.<\/dialogue>\n    <scene_description>No answer.<\/scene_description>\n    <character>ROY (CONT.)<\/character>\n    <dialogue>You're not taking a crap in the sink, are you? .... Kid ... ?<\/dialogue>\n    <scene_description>Still no answer. Then the door opens. Ishmael's face is red and swollen from crying. He wipes his nose.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>It's over, Mr. Munson.<\/dialogue>\n    <scene_description>Ishmael holds up his hand. That's swollen, too.<\/scene_description>\n    <character>ISHMAEL (CONT.)<\/character>\n    <dialogue>It's broken ...<\/dialogue>\n    <scene_description>Off Roy's reaction, we CUT TO: SAME SCENE - LATER Roy and Ishmael are sitting on the floor where we last saw them. Ishmael's hand is now in an ice bucket.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>There is no God.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Don't say that, kid, it's blasphemy. There's a God all right.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>He's just a mean son-of-a-bitch.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I guess I shouldn't be surprised. After all, I broke God's golden rule.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Burt Deland is the devil himself. Why would a fair and decent God punish you for hitting that dirtball?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>That's not what I mean.<\/dialogue>\n    <parenthetical>(lowers head)<\/parenthetical>\n    <dialogue>I found the dirty magazines in your suitcase.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>That's silly. Why would God punish you by breaking your right--<\/dialogue>\n    <parenthetical>(realizing)<\/parenthetical>\n    <dialogue>Oh ...<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>So what do we do now?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>I'm sorry, Ishmael. There's nothing we can do. We might as well break it to Claudia.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Roy and Ishmael.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Poor Miss Claudia. She's gonna be pretty disappointed. She had such high hopes for us.<\/dialogue>\n    <scene_description>When they get to Claudia's room the door is open and a maid's cart is out in the hall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLAUDIA'S HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Roy and Ishmael enter and see a MAID straightening up.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Excuse me, but is the lady who's staying here around?<\/dialogue>\n    <character>MAID<\/character>\n    <dialogue>No lady staying here. Everybody check out.<\/dialogue>\n    <scene_description>Roy turns to Ishmael, alarmed.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Ishmael, what did you do with the bag I gave you to hold?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Um .... I think Miss Claudia has that. Why'?<\/dialogue>\n    <scene_description>Roy sits on the bed, devastated. I:<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>No .... Oh God no ....<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL HALLWAY - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Roy and Ishmael are carrying their bags down the empty hall.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>I don't know why we can't at least stick around to watch the tournament.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Because it's too depressing, that's why. Besides, we don't have enough money to pay for the room.<\/dialogue>\n    <scene_description>Roy stops in his tracks.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Wait a second, I got an idea! Punch me in the face.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>I said punch me in the face. I'll go downstairs and say I got mugged in the elevator. They got fifty grand off me, I'll say. Believe me, they don't need that kind of publicity. They'll give me the dough just to shut me up!<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I don't know, Roy ...<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Just do it, kid. But you've got to nail me real good. If this is going to work, it's got to look realistic. Now hit me as hard as you can with your left hand. Come on.<\/dialogue>\n    <scene_description>ROY'S POV of a huge fist approaching. ROY hitting the floor like he was dropped from a telephone pole. He shakes his head, and slowly sits up. Blood is coming from his nose, mouth, and ears.<\/scene_description>\n    <character>ROY (CONT.)<\/character>\n    <dialogue>Jesus, kid, that's a pretty good left hand.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Well, I'm left-handed. I only bowl right.<\/dialogue>\n    <scene_description>Ishmael helps Roy to his feet.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Okay, you wait around here. I'll be rigft back up.<\/dialogue>\n    <scene_description>Roy walks about ten feet, then pulls a u-ey and comes back to Ishmael.<\/scene_description>\n    <character>ROY (CONT.)<\/character>\n    <dialogue>Let's get out of here. This is never going to work.<\/dialogue>\n    <scene_description>Roy picks up his bags and we CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOWBOAT LOUNGE - LATER<\/stage_direction>\n    <scene_description>A tiered, Vegas-style lounge. A lot of people at small tables enjoying the entertainment. CAMERA TRACKS through the crowd and stops on Roy and Ishmael at the bar. In the background we see the cast of \"The Jeffersons\" on ice skates.<\/scene_description>\n    <character>SHERMAN HELMSLEY<\/character>\n    <dialogue>Weezie! What did Lionel do with my lottery ticket?!<\/dialogue>\n    <scene_description>Roy is staring into space, his face a little swollen from the punch. For a few moments neither of them speak. Then, irrationally, Roy turns to the Man beside him.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Who you calling a psycho?<\/dialogue>\n    <character>THE MAN<\/character>\n    <parenthetical>(nervous)<\/parenthetical>\n    <dialogue>I didn't say anything.<\/dialogue>\n    <scene_description>The man downs his drink and leaves. Roy turns drunkenly to Ishmael.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>I can't believe I trusted her. Thirty thousand dollars. She cleaned us out of every goddam penny! I don't want to live.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>She'll be back. Claudia wouldn't steal from us. We're her friends.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>You're a SCHMUCK! We're never gonna see her again.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I think you're wrong, Mr. Munson ... but i t doesn't matter. The money we set out to win was in Reno. At a legitimate tournament\\. No stories about selling dictionaries. No girls in short dresses as distractions. Just a straight-ahead sporting contest where the best player wins because he's the best player. And we have the best player. I feel i t in my heart more strongly now than ever.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Keep talking, son.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>You can't stop God's soldiers. We're going to do what we set out to do--win that tournament.<\/dialogue>\n    <character>ROY<\/character>\n    <parenthetical>(perking up)<\/parenthetical>\n    <dialogue>Damn right. I knew you were a champion the first time I saw you bowl, kid.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I'm not bowling. You are.<\/dialogue>\n    <scene_description>Roy stares at Ishmael for a moment, and then LAUGHS.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>You're a beauty, kid.<\/dialogue>\n    <scene_description>Roy takes a healthy swallow from his glass.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>I know you can win that tournament.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>No I can't.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Why? Because you're a little rusty.<\/dialogue>\n    <scene_description>Roy twists his hand. It SQUEAKS softly.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Bad choice of words.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>So you haven't bowled in a while. You were a champion. That never goes away. I'll bet if you get through the early rounds you'll find your touch again.<\/dialogue>\n    <character>ROY<\/character>\n    <parenthetical>(measured)<\/parenthetical>\n    <dialogue>It's not just the hand, kid. I can't do it because ...<\/dialogue>\n    <parenthetical>(gestures to his heart)<\/parenthetical>\n    <dialogue>... because I don't have it in here anymore. You gotta believe you're a winner and they took that away from me seventeen years\\ago.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>And this is your chance to change that. To start over.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>It's not that easy.<\/dialogue>\n    <character>(SIGHS)<\/character>\n    <dialogue>Ishmael, the greatest athlete of all time was Jim Thorpe. Baseball. Football. The Olympic Games. He excelled at them all. You know what happened to him? He ended up a hopeless alcoholic in a carnival dressed like Geronimo. You know why? Unlucky. If the breaks don't go your way, it doesn't matter how good you are. I got bad news for you, son: Burt was right--I'm a born loser.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>That's crazy talk. You're not a loser. You're a winner, a champion, a guy who's got everything going for him.<\/dialogue>\n    <parenthetical>(checks watch)<\/parenthetical>\n    <dialogue>Oooh, we gotta get going. If we want a bed at the mission, we gotta be there by midnight.<\/dialogue>\n    <scene_description>Ishmael stands up.<\/scene_description>\n    <character>ISHMAEL (CONT.)<\/character>\n    <dialogue>You coming?<\/dialogue>\n    <scene_description>Roy doesn't budge, he just sips his drink.<\/scene_description>\n    <character>ISHMAEL ( CONT. )<\/character>\n    <dialogue>Come, Roy. You're gonna need sleep if you want to stand a chance.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Just get the hell out of here, kid. I told you I'm not bowling.<\/dialogue>\n    <scene_description>Ishmael starts to go, then turns back.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>We had a mule back home that kicked all the men in the testicles. Everyone was set on giving up on her ... but I had a feeling I could get her going right. Spent the whole summer. It took every ounce of patience I had. And while I was showing the elders the progress I had made, she kicked me in the testicles. So I had to give up on her, ltoo. You know what we did to that mule? Nothing. We just left it all alone. A pathetic mule.<\/dialogue>\n    <scene_description>Ishmael leaves. Roy stares into his drink. In the B.G. we hear the SCRAPE OF SKATES. Ice from the stage flies into Roy's face, and we DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RENO MISSION FOR MEN \u00b7\u00b7 MORNING<\/stage_direction>\n    <scene_description>Ishmael comes out into the bright morning sunshine and finds Roy sitting on the front steps with a butt in his mouth. He looks like he hasn't slept much, if at all.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Roy ...<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Kid ...<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>I don't think I'm gonna be much good today, but I'm willing to give it a shot. We've been through a lot together, son. I couldn't live the rest of my wretched life knowing you thought I was a quitter.<\/dialogue>\n    <scene_description>Ishmael smiles and throws his arms around Roy. Then:<\/scene_description>\n    <character>ROY (CONT.)<\/character>\n    <dialogue>Kid, you know that valise of mine in the trunk of the Impala? Go get it.<\/dialogue>\n    <scene_description>Ishmael runs off. CUT TO: MONTAGE OF ROY MAKE-OVER - WE PLAY OLD WEST MUSIC AS IF AN OVER-THE-HILL GUNSLINGER WAS READYING FOR A SHOOTOUT (a la Lee Marvin in 'Cat Ballou.') --Roy doing pathetic sit-ups. --Roy doing girly push-ups from his knees. Then he does them with one hand behind his back. --Ishmael giving Roy a back-rub. --Quick shots of Roy practicing bowling. He throws two strikes, then he throws a gutter ball. Ishmael looks on, concerned.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>You want a drink'?<\/dialogue>\n    <scene_description>':<\/scene_description>\n    <character>ROY ,,\/<\/character>\n    <parenthetical>(thinks for a moment)<\/parenthetical>\n    <dialogue>No. No booze.<\/dialogue>\n    <scene_description>--Roy throws another strike, and another, and anotl:;ter. --Roy sitting in a steaming tub of water at the mission, while Ishmael pours more buckets on him. --Finally Ishmael opens the valise. Roy stands in the middle of the room in his underwear. Ishmael pulls a midriff girdle from the bag. Ishmael holds it out, Roy steps in, Ishmael has to pull it hard to get it over Roy's beer belly. Ishmael gets behind him and pulls it tight, sucking Roy in and up. --Ishmael pulls out the same double-knit beltless polyester slacks that Roy wore in 1979. He unfolds them carefully and Roy steps into them. --Roy slides on the same wide-lapeled shirt from 1979. --Ishmael polishes the hook and Roy snaps the rubber hand into place. Afterwards Ishmael pulls out a bowling glove and slides it over the rubber hand. --Finally Ishmael pulls out the bowling ball bag. Carefully he unzips it and with reverence pulls out what is still the most sparkling blue bowling ball in the whole world. --Roy stands there now, a complete and imposing bowling specimen. Suddenly we hear APPLAUSE. Roy turns to see all the winos at the mission clapping their approval. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNITED BOWLING CENTER - DAY<\/stage_direction>\n    <scene_description>Hotel, Casino and 180 Lane Bowling Center. This is Oz to the bowling world. A monumental shrine to the sport.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNITED BOWLING CENTER LOBBY - DAY<\/stage_direction>\n    <scene_description>Tournament banners everywhere. Registration and courtesy tables are set up. Hundreds of bowlers. Roy and Ishmael enter.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Ishmael. Welcome to my church.<\/dialogue>\n    <scene_description>Roy stops and drinks this scene in. He's home.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>It's a little intimidating being in the presence of so many great athletes.<\/dialogue>\n    <scene_description>Everyone around them is seriously out of shape, smoking cigarettes, carrying bowling balls.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Boy. It's a young crowd. I don't recognize a single ... wait a minute.<\/dialogue>\n    <scene_description>Roy spots a short, stocky bald guy, NATE NOUCHI.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Nate! Nate Nouchi!!<\/dialogue>\n    <scene_description>Roy grabs him and starts pumping his hand.<\/scene_description>\n    <character>ROY ( CONT 'D ) \\<\/character>\n    <dialogue>I thought you'd be dead from syphillis by now, you old sheep-fucker. You still bird-dogging anything that moves?<\/dialogue>\n    <character>NATE<\/character>\n    <dialogue>I'm Nate Nouchi Jr.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Oh. Your father had a helluva hook. Good to see you again.<\/dialogue>\n    <scene_description>Nate walks off. Roy steps up to the REGISTRATION TABLE. An older woman wearing the name tag MARIANN is there.<\/scene_description>\n    <character>MARIANN<\/character>\n    <parenthetical>(writing)<\/parenthetical>\n    <dialogue>Name?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Munson, Roy E.<\/dialogue>\n    <character>MARIANN<\/character>\n    <dialogue>Amateur or professional?<\/dialogue>\n    <character>ROY<\/character>\n    <parenthetical>(taking card from wallet)<\/parenthetical>\n    <dialogue>Professional.<\/dialogue>\n    <scene_description>The woman takes the card and looks at it.<\/scene_description>\n    <character>MARIANN<\/character>\n    <dialogue>We've got a problem here. Your dues are in arrears. You haven't paid them since 1979.<\/dialogue>\n    <character>ROY<\/character>\n    <parenthetical>(concerned)<\/parenthetical>\n    <dialogue>How much do I owe?<\/dialogue>\n    <character>MARIANN<\/character>\n    <dialogue>Well ... sixteen years of dues plus penalties and fines ... thirty-eight dollars.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Ouch.<\/dialogue>\n    <character>MARIANN<\/character>\n    <dialogue>And a sixty-dollar entrance fee.<\/dialogue>\n    <scene_description>Roy runs his fingers through his hair and turns to Ishmael.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>we need a hundred dollars.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Ninety-eight.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Mind if my aunt gets a birthday card? 1 What's the difference? Where are we gonna get that kind of money?<\/dialogue>\n    <scene_description>Roy has an idea and turns back to the registration table. He holds his ring out to her.<\/scene_description>\n    <character>ROY (CONT.)<\/character>\n    <dialogue>I don't suppose you might just hold onto this and I'll pay you after the tourney.<\/dialogue>\n    <character>MARIANN<\/character>\n    <dialogue>Come on, bud. What am I going to do with a rubber hand?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>The ring.<\/dialogue>\n    <scene_description>She leans forward and checks it out.<\/scene_description>\n    <character>MARIANN<\/character>\n    <dialogue>Oh .... Okay.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNITED BOWLING CENTER - DAY<\/stage_direction>\n    <scene_description>The CAMERA TRACKS down the entire 180 lanes. We catch a glimpse of everyone in the tournament. The faces are varied yet somehow all look like bowlers. The mood is intense.<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <dialogue>Good afternoon. The United Bowling Center in conjunction with the Showboat Hotel and Casino would like to welcome everyone to the world famous Showboat Invitational. Please enjoy your stay here at our fabulous facility ... and remember, \"We're still the talk of the strip with our twenty-two topping potato bar.\" Good luck, everyone. Let's start the tournament.<\/dialogue>\n    <scene_description>The CAMERA STOPS on Roy. Lane 180. Everyone has started. Roy is frozen. ROY'S POV - The pins look like they're half a mile away. Roy turns and looks at Ishmael sitting with a handful of spectators in the vast bleachers. Ishmael holds up a small handwritten sign that reads: Gq ROY! Roy shakes his head and mouths:<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>I can't.<\/dialogue>\n    <scene_description>Ishmael flips over the sign. It reads: WILL WORK FOR FOOD. Roy nods. What choice is there? He turns ... lifts his ):Jall ... approaches the lane ... and for the first time in seventeen years ... bowls! CLOSE ON BOWLING BALL - ROY'S RUBBER HAND IS ATTACHED TO IT. It flops around like a wounded duck as it heads toward the pins. ON ROY - horrified. ON THE BALL AND HAND - it flies through the pins. A STRIKE. ON THE CROWD - they're frozen for a long BEAT, not knowing how to react. The silence is broken by an ODD SOUND. ON THE BALL RETURN - the ball and hand squeeze through. Roy picks it up, embarrassed.<\/scene_description>\n    <character>ROY<\/character>\n    <parenthetical>(to opponent)<\/parenthetical>\n    <dialogue>You wouldn't happen to have a phillips head screwdriver, would you?<\/dialogue>\n    <scene_description>MONTAGE OF THE BOWLING TOURNAMENT --Roy continues to bowl. He's tentative but definitely finding the groove. --Pins flying apart on different alleys and scores are entered on overhead opaque projectors. --Other faces mirror victory and defeat. --Roy's face becomes more focused. --Ishmael urges him on. --A series of great shots by Roy --Roy smiles. We pull back to reveal he's looking at his name being moved to the next level on a large scoreboard against an entire wall. Roy's won his first one. --Ishmael pats him on the back. CUT TO: ON ROY AND ISHMAEL - seated side by side at a table eating.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>I forgot how competition works up an appetite. How's your soup?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Delicious.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>I have to ask something. Excuse me, father?<\/dialogue>\n    <scene_description>They're at a MISSION SOUP KITCHEN seated at a long table with a lot of other DOWN-ON-THEIR-LUCK GUYS. A PRIEST turns to Roy.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Is that a fresh mint or tarragon I taste in here?<\/dialogue>\n    <scene_description>CUT TO: MONTAGE OF BOWLING TOURNAMENT - THE NEXT DAY --Roy is bowling with increased confidence. \\ --Ishmael is in the stands. More people are there now. PAN ACROSS - Roy's scorecard. It's filled with spares and strikes. --Roy's name continues to advance on the big board. CUT TO: CLOSE ON ROY AND IS~MAEL<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>You looked great out there today, Mr. Munson.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>I'm starting to feel like a winner again.<\/dialogue>\n    <scene_description>We hear the PRIEST'S VOICE from off camera.<\/scene_description>\n    <character>PRIEST (O.S.)<\/character>\n    <dialogue>Face the wall.<\/dialogue>\n    <scene_description>WIDE SHOT REVEALS - Roy, Ishmael, and several other men from the shelter are naked in a large shower, facing the wall. The Priest turns a HIGH-POWERED HOSE on them. CUT TO: MONTAGE OF BOWLING TOURNAMENT - THE NEXT DAY --The bleachers are now nearly filled to capacity. --The bowling is now taking place on several of the middle lanes, dramatically lit from above. --A dozen men, including Roy, are vying for the final spots. --\u00b7The men are now paired against each other in individual matches. --Roy bowls. His opponent bowls. Roy bowls. His opponent bowls. --Roy shakes hands with the man. --Roy's name advances to the next round ... then the next round ... and again to the next round. ON TWO BOWLING ANALYSTS - SKIP NICHOLAS and DON NAMAHOE, ESPN bowling analysts, holding mikes, looking into mini-cams.<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>Hi, I'm Skip Nicholas.<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>And I'm Don Namahoe.<\/dialogue>\n    <character>SKIP<\/character>\n    <dialogue>A Cinderella story is shaping up here at this year's Showboat Invitational.<\/dialogue>\n    <scene_description>VIDEO FOOTAGE - of Roy bowling.<\/scene_description>\n    <character>SKIP (CONT. )<\/character>\n    <dialogue>After a professional layoff of over seventeen years, Roy Munson, the 1979 I~wa State Amateur Champion has come out of nowhere to be a major contender in this year's competition. And the fans are loving it. Don caught up with Roy today and asked him what he's been doing all these years.<\/dialogue>\n    <scene_description>CUT TO: FOOTAGE OF DON AND ROY<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>Roy, what have you been doing all these years?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Well, you see, the thing is ... Ever since the ... A lot of times I uh ... (CLEARS THROAT) ... I've been doing a lot of drinking.<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>Oh ..\u2022 I see. You've had some tough times?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Don, there isn't a moment in the past twenty years I wouldn't mind having permanently erased from my brain with electricity.<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>How do you think you'll do in the semi-finals tomorrow?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Well, Don, if I'm lucky enough to win tomorrow ...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OCELOT, IOWA BAR - CONTINUOUS<\/stage_direction>\n    <scene_description>A dive bar in Roy's hometown. The bowling tournament is on TV. A couple of BAR PATRONS look up and notice Roy being interviewed.<\/scene_description>\n    <character>BAR PATRONS<\/character>\n    <dialogue>Hey look, it's Roy. Roy Munson!<\/dialogue>\n    <scene_description>Everybody perks up, starts HOOTING AND HOLLERING. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNITED BOWLING CENTER - THE NEXT DAY<\/stage_direction>\n    <scene_description>Roy has just released the ball. A BEAT. The large\\crowd behind Roy jumps to their feet CHEERING. Roy puts his arm around Ishmael. Flashbulbs pop. The CROWD CHEERS. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNITED BOWLING CENTER<\/stage_direction>\n    <scene_description>Namahoe and Nicholas are standing on the lanes, talking into the ESPN camera.<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>The man everyone is talking about at this year's Showboat Invitational is Roy Munson. The fans have taken to calling him \"The Michelin Man\" due to the fact that Roy bowls with a rubber prosthetic hand.<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>It's not just a sports story, it speaks to us all. Baseball has Jim Abbot and now bowling has Roy Munson. And today, after a seventeen-year layoff he's in the championship facing bowling great Dave Ozio.<\/dialogue>\n    <character>SKIP<\/character>\n    <dialogue>So join us later, live, from the United Bowling Center in Reno, Nevada for \"The Duke Out In The Desert ... \"<\/dialogue>\n    <scene_description>CAMERA TRACKS - down the hallway to Ishmael and TWO TOURAMENT OFFICIALS wearing official tournament paraphernalia.<\/scene_description>\n    <character>OFFICIAL #1<\/character>\n    <dialogue>Why wasn't he at the the breakfast?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>OFFICIAL #2<\/character>\n    <dialogue>Why wasn't he at the press conference\u00b7?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <scene_description>T~ey stop near the locker room door.<\/scene_description>\n    <character>OFFICIAL #1<\/character>\n    <dialogue>It's less than an hour before the match. Is this guy gonna show?<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I don't know. I really don't know.<\/dialogue>\n    <scene_description>The Two Officials leave. Ishmael opens the door to the locker room. \\<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCKER ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Ishmael enters. He looks around. No Roy. Ishmael sits on a bench and folds his hands in prayer. After a BEAT he hears something that lets him know Roy hasn't let him down. It's the sound of Roy VOMITING in the bathroom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Ishmael enters as Roy comes out of one of the stalls. He looks like shit. Ishmael looks disappointed.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>You've been drinking again.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>No. I don't puke when I drink.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I puke when I don't.<\/dialogue>\n    <scene_description>Roy crosses to Ishmael.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>I'm scared, kid.<\/dialogue>\n    <scene_description>Ishmael hugs Roy. CUT TO: ESPN SPORTSCENTER DESK<\/scene_description>\n    <character>ESPN ANNOUNCER<\/character>\n    <dialogue>From the United Bowling Center in Reno, Nevada, ESPN brings you live coverage of the Showboat Invitational. Here is three-time AC Delco Classic Champion, Don Namahoe, with ESPN's Skip Nicholas.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNITED BOWLING CENTER \u00b7- DAY<\/stage_direction>\n    <scene_description>ON DON NAMAHOE AND SKIP NICHOLAS - complete with headsets, microphones, and blazers. The bleachers are filled to capacity. The place has the BUZZ of something momentous about to happen. Bright, hot television lights everywhere.<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>Dave Ozio, one of bowling's most promising young talents, goes up against Roy Munson, another promising young talent ... from the nineteen-seventies. This is the first professional tournament Roy has entered\\in nearly twenty years and he finds himself in the finals.<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>I've heard about taking a leave of absence, but this is ridiculous. And here comes Dave Ozio.<\/dialogue>\n    <scene_description>ANGLE ON - DAVE OZIO as he enters to APPLAUSE. He's wearing a sports jacket with really wide lapels over a knit shirt.<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>He looks terrific. And why shouldn't he'? Dave has just signed a big contract with Johnny Carson sportswear.<\/dialogue>\n    <scene_description>Dave takes off his jacket and begins to prepare. Which consists of putting on a glove. He sits.<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>And here comes the Michelin Man, Roy Munson. What a story, a rubber hand and steel nerves.<\/dialogue>\n    <scene_description>Roy enters. APPLAUSE as he squints into the bright lights. He moves to his chair.<\/scene_description>\n    <character>SKIP<\/character>\n    <parenthetical>(WHISPERING)<\/parenthetical>\n    <dialogue>And now Dave Ozio steps to the line.<\/dialogue>\n    <scene_description>CLOSE ON ROY - Ishmael is seated behind him. We see Ozio bowling in the background. Roy looks down his lane and squints. He turns to Ishmael.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>This alley seems kind of long.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>You're gonna do great, Mr. Munson.<\/dialogue>\n    <scene_description>We hear PINS SMASH. The audience APPLAUDS.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>It's your turn, Mr. Munson.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Not feeling too good. I'm not sure I can do this.<\/dialogue>\n    <scene_description>Roy looks up at the stands. ROY'S POV - Burt Deland is standing in the back, laughing. Roy .' stands, determined. Roy picks up his ball. He takes a deep bre 9 th. A look of determination and focus comes over his face. He approaches the line and lets the ball go with the grace and fluidity of a dancer. The sheer force of Roy's STRIKE brings the crowd to its feet. SHORT MONTAGE OF THE BOWLING --Shots of Dave Ozio bowling --Roy bowling --Ishmael --ESPN computerized video graphics illustrates the path of the ball as it travels down the alley. Don uses the electronic pen to show how Dave Ozio's hips are out of alignment. When he's done, it looks like he's drawn a penis onto his body. --More bowling --Fans applauding, reacting. --tough, grueling action--a back-and-forth head-to-head battle. ANGLE ON ROY - He bowls and leaves the dreaded 7- and 10-pin standing. The crowd GROANS.<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>If Roy Munson is somehow able to make his spare, Dave ozio would have to strike out to win. But, of course, the 7-10 pick-up is just short of impossible, havin,g only happened twice in thirty-two years of televised bowling.<\/dialogue>\n    <scene_description>CLOSE ON ROY \u00b7- Deathly quiet except for the sound of Roy's RAPID HEARTBEAT. Roy studies the sixty feet ahead of him that could change his life. SLOW MOTION SHOTS \u00b7--A drop of sweat falls off the end of his nose. --The sweat splashes next to his shoe. --The shoe moves forward. --Roy head-on as he approaches the line. His arm swings up, then forward. As the ball is about to be released. --The crowd stands ... Ishmael stands ... --ROY RELEASES THE BALL ... ON THE PINS--The 7-pin goes down, ricochets off the backboard, and bounces into the 10-pin. ROY MAKES HIS SPARE. The CROWD GOES WILD. ON ISHMAEL as he jumps up and down like a crazy man. He makes eye-contact with Roy and pumps his fist. ON DAVE OZIO - Under extreme pressure now, he waits for the crowd to quiet, then steps to the line and bowls ... a STRIKE.<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>ozio's not going down without a fight. He can still win if he makes two more strikes.<\/dialogue>\n    <scene_description>The crowd grows excited again. Ozio takes his ball from the ball return. He takes a deep breath and bowls again ... STRIKE. The crowd grows even more excited. ON ROY - he swallows hard and wipes the sweat frocl his forehead. ON ISHMAEL - a waitress passes with a tray of drinks. He grabs one and throws back a shot of tequila. Suddenly he gets a tap on his shoulder. He turns and GASPS. ISHMAEL'S POV - his brother Thomas.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>It's time to go home, Ishmael.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>But ... But that's my friend Roy. He's about to ... I can't ...<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>It's time to go.<\/dialogue>\n    <scene_description>ON DAVE OZIO - face covered in sweat, he takes a long, deep breath to calm his nerves, then steps to the line. You could hear a flea fart. Ozio throws his ball down the lane ... SLOW MOTION - as it smashes into the pins, knocking down eight of them .... the ninth pin WOBBLES, and finally falls, just glancing the tenth pin, which ... SUPER SLOW MOTION - which WOBBLES, then WOBBLES SOME MORE, and as it finally FALLS we hear the loud, gruesome sound of a BUILDING IMPLODING. Ozio made his third straight strike and the crowd ERUPTS. ON ROY - He stares down the lane for a moment, then hops to his feet and offers his hand to a jubilant Dave Ozio.<\/scene_description>\n    <character>ROY<\/character>\n    <parenthetical>(shaking hands)<\/parenthetical>\n    <dialogue>Great game, man. Way to go.<\/dialogue>\n    <character>OZIO<\/character>\n    <dialogue>Thanks, Roy. You played great, too.<\/dialogue>\n    <scene_description>Roy smiles, then steps aside as the ESPN Announcers mob Dave Ozio. Roy looks into the crowd. HIS POV - Ishmael's seat is empty. BACK ON ROY - He picks up his ball, puts it in his bag, and walks away. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RENO MISSION FOR MEN - DAY<\/stage_direction>\n    <scene_description>Roy sits on his bunk ... quiet, all alone. He we pan to a letter ~h his bunk. \/ ON THE LETTER - it reads: 'Dear Roy, Sorry about leaving on short notice. My brother Thomas came to take me home. Didn't get to see if you made your last shot. Either way, you're a champion in my eyes. Your friend, Ishmael. ' I BACK ON ROY - There's a KNOCK AT THE DOOR. He opens it to find Mariann (the woman from the bowler's registration table.)<\/scene_description>\n    <character>MARIANN<\/character>\n    <dialogue>Mr. Munson, I think you forgot your ring.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Oh. Yeah. Uh, look, about the money ...<\/dialogue>\n    <character>MARIANN<\/character>\n    <dialogue>Don't worry about the money, Roy. It was an honor just to hold the ring of someone as special as you.<\/dialogue>\n    <scene_description>Mariann hands Roy back his ring.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Thanks. Thanks a lot.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RENO MISSION FOR MEN PARKING LOT - DAY<\/stage_direction>\n    <scene_description>Roy throws his travel bag into the trunk of the Impala. He closes the trunk, then moves to the driver's side door when suddenly a porsche SCREECHES up, and Marshakowsi jumps out and GRABS HIM BY THE THROAT. Stanley Osmanski gets out of the driver's side.<\/scene_description>\n    <character>OSMANSKI<\/character>\n    <dialogue>Where is she?<\/dialogue>\n    <character>ROY<\/character>\n    <parenthetical>(barely able to breathe)<\/parenthetical>\n    <dialogue>How the hell do I know? I thought she was with you.<\/dialogue>\n    <character>OSMANSKI<\/character>\n    <dialogue>She stole my money.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Welcome to the club.<\/dialogue>\n    <scene_description>Osmanski approaches and KICKS Roy in the shins.<\/scene_description>\n    <character>OSMANSKI<\/character>\n    <dialogue>Who's Burt Deland?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>OSMANSKI<\/character>\n    <dialogue>I checked my phone records at the hotel. She called a guy named Burt Deland fourteen times in the last three days. Who is he, and what the hell do you have to do with him?<\/dialogue>\n    <scene_description>This is the final insult to Roy. He drives his knee into Marshakowski's gut. The big goon doubles over, releasing his grip on Roy.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>I'll tell you who Burt Deland is. He's the guy who gave me this.<\/dialogue>\n    <scene_description>Roy holds out his hand.<\/scene_description>\n    <character>OSMANSKI<\/character>\n    <dialogue>Nice. What is it, solid gold?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>The hand.<\/dialogue>\n    <scene_description>When Marshakowski catches his breath, he looks to get the word from Osmanski whether or not he should annihilate Roy. Osmanski shakes his head 'no.'<\/scene_description>\n    <character>OSMANSKI<\/character>\n    <dialogue>You mean to tell me this Deland guy's the one responsible for you losing your hand?<\/dialogue>\n    <scene_description>Roy thinks about this.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>I don't know. I used to think he was ... but maybe not ... maybe it was me ... maybe it's time I started taking responsibility for my own actions. It's like you, Osmanski. You probably blame Burt for stealing Claudia away. But I bet it was your own fault.<\/dialogue>\n    <scene_description>Roy stares Osmanski down. Finally Osmanski turns and heads back to his car. The Porsche drives away as we HOLD ON Roy. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROY'S RUNDOWN SCRANTON, PENNSYLVANIA HOTEL - DAY<\/stage_direction>\n    <scene_description>The place still sucks. We see the old drunk, Frank, sitting on the front steps with a quart of beer.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROY'S HOTEL ROOM - DAY<\/stage_direction>\n    <character>. ,<\/character>\n    <dialogue>Roy is at the sink dumping out bottles of booze. At least fifty\/ bottles are on the counter and when he finally gets to the last' one, he takes a breath. Then he opens another cupboard where \u00b7we see fifty more bottles. As he starts to dump those out, too, we hear a KNOCK at the door.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Go away! I told you you'll get your rent tomorrow!<\/dialogue>\n    <scene_description>The door opens, however, and CLAUDIA STEPS INTO THE ROOM.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>Hey, Roy.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Claudia ... what are you doing here?<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>I got the money, Roy. Sixty-five grand.<\/dialogue>\n    <scene_description>Roy turns his back and continues dumping the bottles out. Claudia enters and closes the door.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>I had no choice, Roy. I had to take off.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>You left us flat, Claudia. You dumped us when we needed you most.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>You tricked us.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Yeah, I did trick you, Roy. In the beginning it was nothing but a big scam. But I got to know you you guys ... and I couldn't do it anymore. I just couldn't. That's why I had to leave. If I stuck with you, Stanley would've hurt you ... and he would've hurt the kid.<\/dialogue>\n    <scene_description>Finally Roy turns and faces her.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>What happened to Burt?<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>I never went with Burt. I made those phone calls to throw Stanley off my scent ... and maybe give Burt a little payback.<\/dialogue>\n    <scene_description>Roy just stares at her, unsure how to take all this. She holds out her bag.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>Sixty-five grand. We'll split it three ways. ,<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>But we only had half that.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Yeah, well, Stanley doubled it. He bet\\ against you.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>But I'm ready to start betting on you, Roy.<\/dialogue>\n    <scene_description>This is one of the few honest moments in Claudia's life, and they both feel the awkwardness of it.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>You're a little late, Claudia.<\/dialogue>\n    <scene_description>Roy picks a piece of paper off the coffee table and hands it tb her. HER POV - it's a check written out to Roy Munson for $500,000.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>What .. ? A half a mil?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Michelin. All I gotta do is make a commercial and show up at a couple malls.<\/dialogue>\n    <scene_description>Roy snatches the check out of her hands.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Sorry, honey ... but this check is only gonna be divided ... one way.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRIMFIELD - DAY<\/stage_direction>\n    <scene_description>We're at the end of the Boorg dirt driveway. We see the house off in the distance and a moment later the CARRIAGE carrying Thomas and Ishmael PULLS INTO FRAME and stops.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>I can't face them.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>You must, Ishmael. You made a decision and now you must face the consequences.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>I feel like such an idiot. I wanted to be a hero for once. I wanted to be the one to save the day.<\/dialogue>\n    <scene_description>Thomas puts his hand on Ishmael's shoulder.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Brother, everyone knows you meant well.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOORG HOUSE - DAY<\/stage_direction>\n    <scene_description>Ishmael and Thomas get to the door of the house and Ishmael hesitates. Thomas nods to him. Ishmael takes a deep breath and opens the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOORG HOUSE<\/stage_direction>\n    <scene_description>As Ishmael enters the house, he catches a dinner roll off the forehead. He turns to see who threw it and his eyes go wide. HIS POV - sitting at the dinner table with his entire family are Roy and Claudia.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>It's about time, you bananahead. What took you guys so long? The Donner party could've gotten back quicker than that.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <dialogue>Roy, Claudia, what are you two doing here? I heard you ... you lost, Roy.<\/dialogue>\n    <character>SAMUEL<\/character>\n    <dialogue>I'll tell you what they're doing here.<\/dialogue>\n    <scene_description>Samuel stands and approaches Ishmael.<\/scene_description>\n    <character>SAMUEL (CONT. )<\/character>\n    <dialogue>They came to tell us the truth about your trip.<\/dialogue>\n    <character>ISHMAEL<\/character>\n    <parenthetical>(nervous)<\/parenthetical>\n    <dialogue>Did they tell you ... everything?<\/dialogue>\n    <character>SAMUEL<\/character>\n    <parenthetical>(sternly)<\/parenthetical>\n    <dialogue>Yes, they told us everything. They told us about the booze, and the lusting, and the late nights, and the lying.<\/dialogue>\n    <scene_description>Ishmael lowers his head.<\/scene_description>\n    <character>SAMUEL ( CONT . )<\/character>\n    <dialogue>And they told us how you got them to quit all that, how you got Roy to straighten his life out and how you made Claudia into an honest woman. They told us how every time they wanted to quit, you wouldn't let them, how you quoted from the Scriptures to give them strength.<\/dialogue>\n    <scene_description>(smiles) \\ Yes, son, they told us everything ... and we're mighty proud of you. Samuel hugs Ishmael.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>But, Father, what about the bank? What about the foreclosure\u00b7?<\/dialogue>\n    <character>RACHAEL<\/character>\n    <dialogue>That's been taken care of by Brother Roy and Sister Claudia. You saved their lives so they saved ours. They gave the bank a half million dollars, Ishmael. Our troubles are over. Our troubles are over.<\/dialogue>\n    <scene_description>Ishmael's eyes fill with tears. He approaches Roy and Claudia.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>I don't know what to say to you two.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>I knew you'd be back, Claudia. I knew it.<\/dialogue>\n    <scene_description>As he hugs Claudia, we CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOORG HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Ishmael is saying goodbye to Roy next to the Impala. Claudia is already in the car. In the B.G. we see a BONFIRE surrounded by dozens of loud, happy Amish revelers.<\/scene_description>\n    <character>ISHMAEL<\/character>\n    <dialogue>Thanks, Roy. Thanks for everything.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Hey, kid, you know that old Centurian's faith thing about you saving the Amish people? Well, it was a lot of bullshit.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>It was me you were saving.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Wow, Mr. Munson. That's pretty syrupy.<\/dialogue>\n    <scene_description>Roy smiles and the two men hug. Rebecca comes up to Ishmael.<\/scene_description>\n    <character>REBECCA<\/character>\n    <dialogue>Come on, Ishmael. Everyone's waiting at the bonfire. They want to hear all about the missionary work you did on the road.<\/dialogue>\n    <scene_description>Ishmael forces a smile. Then he puts his arm around Rebecca and they head back toward their people. Roy and Claudia watch them go, then Roy climbs into the Impala.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>So what now?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <scene_description>Suddenly we see a SHOOTING STAR flare across the night sky.<\/scene_description>\n    <character>ROY.<\/character>\n    <dialogue>Hey, I just saw a shooting star.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <dialogue>Well make a wish.<\/dialogue>\n    <scene_description>Roy thinks for a moment.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>You know what I wish, Claudia? I wish that you and I can somehow muster the willpower to maintain a platonic relationship for the next couple years--! mean until we really get to know each other.<\/dialogue>\n    <scene_description>Claudia smiles.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>That's really sweet, Roy.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>Oh no, you weren't supposed to tell me. Now it won't come true.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Aw, shit.<\/dialogue>\n    <scene_description>Roy grabs her and they start MAKING OUT. After a few moments they stop and smile at one another.<\/scene_description>\n    <character>CLAUDIA<\/character>\n    <dialogue>Here I got something for you.<\/dialogue>\n    <scene_description>Claudia pulls something out of her pocket and hands it to Roy. CLOSE ON - the POCKETWATCH.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Oh my God ... you got it working.<\/dialogue>\n    <character>CLAUDIA<\/character>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>Yeah. I wound it.<\/dialogue>\n    <character>ROY<\/character>\n    <parenthetical>(BEAT)<\/parenthetical>\n    <dialogue>It's got a winder?<\/dialogue>\n    <scene_description>Claudia rolls her eyes, Roy starts the car and thef drive off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMPALA - CONTINOUS<\/stage_direction>\n    <scene_description>As they head down the driveway, they pass Ishmael's younger brother Lucas who's running along, followed by his DOG ON A UNICYCLE. ON ROY - He sees this sight and winces.<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>ouch.<\/dialogue>\n    <scene_description>As the car continues on, we pull up, up, up ... and ... FADE OUT.: ROLL END CREDITS<\/scene_description>\n    <character>THE END<\/character>\n  <\/scene>\n<\/script>","summary":"Flashy young bowler Roy Munson wins the 1979 Iowa state bowling championship and leaves home to turn professional. In his professional bowling tour debut, he defeats established pro Ernie McCracken, who takes the loss poorly and seeks revenge. McCracken convinces Roy to join him in hustling a group of local amateur bowlers. When the amateurs realize they are being conned, McCracken flees while Roy is brutally beaten and loses his hand when it is forced into the ball return, ending his career. Seventeen years later, Roy uses a prosthetic hand and is living in Scranton, Pennsylvania as an alcoholic, unsuccessful traveling salesman of bowling supplies. He is always behind on his rent and is constantly harassed by his landlady Mrs. Dumars, eventually being reduced to trade sexual favors with her for a break on his back rent. On a sales visit to a nearby bowling alley, Roy meets Ishmael Boorg. Roy tries convincing Ishmael to turn pro, with Roy acting as manager. Ishmael declines, as he is from the local Amish community and that his bowling hobby is a secret. Roy then sees a poster in a bowling magazine advertising a $1 million winner-take-all tournament in Reno, Nevada. Learning that Ishmael's family is about to lose their farm to the bank, Roy eventually convinces Ishmael's family to let him join Roy. Roy discovers that the childlike Ishmael is unaware of some of bowling's basic rules and skills. (His 270 average was because he was taught to bowl 15 frames and not ten.) However, after some coaching, Ishmael improves. The duo earn money in various local tournaments and by hustling bowlers. Ishmael defeats wealthy bowling enthusiast Stanley Osmanski, but Stanley attacks the duo after discovering the roll of cash Roy put up was fake. As the group flee Osmanski's mansion, Stanley\u2019s girlfriend Claudia, who had also been a victim of Osmanski's violence, joins them. Roy suspects Claudia has ulterior motives and is distracting Ishmael. After Roy gets in a fistfight with her, Ishmael flees. During his absence, Roy and Claudia travel to Roy's hometown, which has been abandoned ever since his father died years earlier. Roy then confesses to Claudia he never returned for his father's funeral out of shame for his failure as a pro bowler. They eventually find Ishmael and continue on to Reno. In Reno, the group encounters McCracken, who is now a national bowling superstar. McCracken insults Roy and infuriates Ishmael, who tries punching McCracken but instead hits a wall and breaks his hand, leaving him unable to bowl. Later on, Claudia disappears with their money after being discovered by Stanley. A distraught Ishmael convinces Roy that they still have a chance to win $1 million if Roy bowls. Roy enters the tournament, rolling the ball with his prosthetic rubber hand. He wins his first several rounds, ending up in the televised finals against McCracken. During the final match, Ishmael's brother, who had been sent by the Boorg family, arrives and takes Ishmael back to Pennsylvania. When Roy realizes he is alone, he struggles and McCracken wins the tournament by one pin. Later, Stanley and his goon pull up to Roy and ask where is Claudia assuming she was with Roy after his money was stolen. Roy assumed Claudia was with Stanley while Stanley asks Roy what is his relationship to Ernie McCracken after checking his phone records at the hotel believing that Claudia called McCracken fourteen times in the last three days. Roy explains McCraken was responsible for his hand, in which Roy then says he used to think it was. Stanley and his goon then go to find McCraken to beat him up hard off-screen. Afterwards, Roy returns to Scranton, and pours his liquor down the drain, when he is visited by Claudia, who explains she had disappeared with Stanley in Reno to keep him from hurting Roy and Ishmael. She made Stanley believe she was running away with McCracken, and confesses her love for Roy, offering him money Stanley earned from gambling on McCracken in the finals. Roy responds he has already earned $500,000 in an endorsement deal for Trojan condoms based on his prosthetic rubber hand. Roy and Claudia visit Ishmael's family home. Ishmael's parents explain Roy and Claudia told them about Ishmael's forbidden bowling career, but also about the moral strength and decency he showed during his travels. Roy tells them how Ishmael straightened out Roy and Claudia's lives, with Roy shown to have finally given up drinking. Roy pays off the Boorg family's debts with his endorsement check, and drives away with Claudia."}
{"movie_name":"Elvis_2022","imdb_id":"tt3704428","script":"<script>\n  <scene>\n    <character>ELVIS<\/character>\n    <dialogue>Screenplay by<\/dialogue>\n    <character>BAZ LUHRMANN &amp; SAM BROMELL<\/character>\n    <dialogue>and<\/dialogue>\n    <character>BAZ LUHRMANN &amp; CRAIG PEARCE<\/character>\n    <dialogue>and<\/dialogue>\n    <character>JEREMY DONER<\/character>\n    <dialogue>Story by<\/dialogue>\n    <scene_description>BAZ LUHRMANN and JEREMY DONER This script is the confidential and proprietary property of Warner Bros. Pictures and no portion of it may be performed, distributed, reproduced, used, quoted or published without prior written permission.<\/scene_description>\n    <character>FINAL SHOOTING SCRIPT<\/character>\n    <dialogue>March 5, 2021<\/dialogue>\n    <scene_description>Warner Bros. Pictures \u00a9 2020 4000 Warner Boulevard WARNER BROS. ENT. Burbank, California 91522 All Rights Reserved FADE IN:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ORDINARY APT. (VEGAS) - LATE AFTERNOON (1997)<\/stage_direction>\n    <scene_description>The sun-spotted hand of an old man adjusts a radio dial.<\/scene_description>\n    <character>RADIO ANNOUNCER (V.O.)<\/character>\n    <parenthetical>(on radio)<\/parenthetical>\n    <dialogue>It's a beautiful jackpot of a day here in Las Vegas and, you guessed it, the biggest song of 1997...<\/dialogue>\n    <scene_description>The jaunty Euro hit \"Macarena!\" plays as a frail, corpulent MAN ascends a ladder and strains to lift a box marked, \"CHRISTMAS CARDS, 1997.\" Annoyed by the music, he flicks the dial again: ear- splitting white noise. THUD! He crashes onto the floor. CHRISTMAS CARDS are splayed around him.<\/scene_description>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>I know what you're thinking... who the hell is this Colonel fellow?<\/dialogue>\n    <scene_description>The man's fleshy, grey face gasping desperately. This is COLONEL TOM PARKER (87). We TRACK ACROSS him to the Christmas cards: a portrait of Elvis, magnificent, king-like, beside the old man dressed in an ill-fitting Santa suit. An inscription reads: \"Merry Christmas, from Elvis and the Colonel.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAS VEGAS STRIP - DUSK<\/stage_direction>\n    <scene_description>SIRENS BLARE! As an AMBULANCE screams through the neon heart of Sin City, we hear...<\/scene_description>\n    <character>RADIO ANNOUNCER (V.O.)<\/character>\n    <dialogue>Colonel Tom Parker, legendary manager of Elvis Presley, has been rushed to Valley Hospital...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMBULANCE - CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>LOOKING DOWN ON: Colonel. Eyes closed. Dead-looking. MEDICS attempt to revive him.<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>OLD COLONEL (V.O.)<\/dialogue>\n    <scene_description>There are some who'd make me out to be the villain of this here story...<\/scene_description>\n    <character>EXT. INTERNATIONAL HOTEL - DUSK<\/character>\n    <dialogue>The ambulance races past the International Hotel. The CAMERA WHIP PANS TO its towering sign: \"THE STAR TREK EXPERIENCE: BOLDLY GOING WHERE NO MAN HAS GONE BEFORE.\" The sign SPINS ON ITS AXIS as we JOURNEY BACK TO the International of the 1970s. The sign now heralding: \"ELVIS!\"<\/dialogue>\n    <character>EXT. INTERNATIONAL HOTEL - PORTE COCHERE - NIGHT (1974)<\/character>\n    <dialogue>We STREAM ALONG WITH the ELVIS FANS pouring out of limos and THROUGH the hotel's glass doors...<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>Who'd say I exploited the boy and stole all his money...<\/dialogue>\n    <scene_description>A CAMERA CREW shoots 16MM FOOTAGE of CROWDS being ushered through the lobby. QUICK CUTS of every possible permutation of merchandise being snatched up by the adoring crowds.<\/scene_description>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>Trapped him in Vegas and enabled his drug addiction...<\/dialogue>\n    <character>INT. INTERNATIONAL HOTEL - SERVICE CORRIDOR - NIGHT<\/character>\n    <dialogue>SPLASH! We're UNDERWATER. A DROWNED MAN, pale face obscured by long, black tendrils of hair...<\/dialogue>\n    <character>INT. INTERNATIONAL HOTEL - SHOWROOM - NIGHT<\/character>\n    <dialogue>Onstage, a WARM-UP COMEDIAN cracks cheesy gags.<\/dialogue>\n    <character>INT. INTERNATIONAL HOTEL - CASINO - NIGHT<\/character>\n    <dialogue>By a roped-off craps table, a gold trolley stacked high with chips. A small crowd looks on as a gruff-looking security guard, RED WEST, ushers in the beige TOM DISKIN. He leans in to the cigar-puffing silhouette of the Colonel, whispering in his ear.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>OLD COLONEL (V.O.)<\/dialogue>\n    <scene_description>And eventually, when I had squeezed all I could out of him...<\/scene_description>\n    <character>INT. INTERNATIONAL HOTEL - SERVICE CORRIDOR - NIGHT<\/character>\n    <dialogue>SUDDENLY: THE DROWNED MAN is pulled by his hair from a bucket of ice water! This is ELVIS PRESLEY (38).<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>... I destroyed him.<\/dialogue>\n    <scene_description>TILT UP as a still corpulent, but younger, 64-YEAR-OLD COLONEL enters, brandishing his elephant-headed cane. He takes in the situation before him. Elvis has collapsed on the floor. His bodyguards, SONNY and Red West, hold staff at bay. Childhood friend JERRY SCHILLING shoots a recriminating glance at the Colonel. NURSE TISH suppresses panic as DR. NICK holds Elvis' head above a bucket of ice water. Everyone looks to Colonel.<\/scene_description>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>That's right. It was me who killed Elvis Presley.<\/dialogue>\n    <scene_description>Colonel's steely gaze. A frightening moment of consideration as we hear...<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Now, you listen up real good. The only thing that matters is that that man gets on that stage tonight!<\/dialogue>\n    <scene_description>But then, Nurse Tish pipes up courageously.<\/scene_description>\n    <character>NURSE TISH<\/character>\n    <dialogue>If he was my son...<\/dialogue>\n    <scene_description>She glances to a grey-haired man with a pencil mustache arriving meekly in the shadows. This is VERNON PRESLEY (57). Elvis' father.<\/scene_description>\n    <character>NURSE TISH<\/character>\n    <dialogue>... I'd put him in the hospital.<\/dialogue>\n    <scene_description>Suddenly cold, off-handed:<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Of course, it's a Presley Enterprises decision, Vernon...<\/dialogue>\n    <scene_description>All eyes on Vernon. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>INT. INTERNATIONAL HOTEL - SHOWROOM - NIGHT<\/character>\n    <dialogue>The comic, running out of gags, stalls for time. The crowd grows restless at their tables.<\/dialogue>\n    <character>INT. INTERNATIONAL HOTEL - SERVICE CORRIDOR - NIGHT<\/character>\n    <dialogue>After an eternity, Vernon mumbles:<\/dialogue>\n    <character>VERNON<\/character>\n    <dialogue>What can you do for him, Dr. Nick?<\/dialogue>\n    <scene_description>Dr. Nick pops open his BAG OF TRICKS. WE GLIMPSE: MEDS, PILLS, SYRINGES. As Dr. Nick prepares an injection...<\/scene_description>\n    <character>INT. INTERNATIONAL HOTEL - BACKSTAGE - NIGHT<\/character>\n    <dialogue>DUM! DUM! DUM! DUM! A thunderous drum roll... As now we see IMAGES in the style of A SUPERHERO DONNING HIS COSTUME: WHITE JUMPSUIT! DIAMOND-ENCRUSTED PRIZE- FIGHTER BELT! 9MM SLIPPED INTO HIS LEFT BOOT, GOLD PPK SLIPPED IN HIS RIGHT! CHRISTIAN, JEWISH, AND BUDDHIST BLING! THE LIGHTNING BOLT NECKLACE ALREADY IN PLACE!!! AN AMERICAN EAGLE CAPE SPREADS ITS RHINESTONE WINGS!<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Glory! Glory!!! Halleluuuujah!!!<\/dialogue>\n    <scene_description>The eagle turns to REVEAL: Superhero Elvis, reaching for the final divine notes, spreading his wings up to God...<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>His truuuuth is maaaarching ooooonnnnn!!!!!!!!<\/dialogue>\n    <scene_description>The ballad crescendos! Elvis' giant band lashes their instruments. Two gospel choirs: one white, one Black.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>His truuuuth is maaaarching ooooonnnnn!!!!!!!!<\/dialogue>\n    <scene_description>As the last chords thunder through the night, we GO TO... 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>EXT. INTERNATIONAL HOTEL - NIGHT<\/character>\n    <dialogue>The Elvis sign has transformed back into \"The Star Trek Experience.\" With a BEEP, BEEP, we--<\/dialogue>\n    <scene_description>JUMP CUT BACK TO:<\/scene_description>\n    <character>INT. VALLEY HOSPITAL - COLONEL'S ROOM - NIGHT (1997)<\/character>\n    <dialogue>The '90s Hilton seen THROUGH the window. Colonel lies in a hospital bed. The Colonel jolts upward.<\/dialogue>\n    <character>OLD COLONEL<\/character>\n    <dialogue>No!... It's not true. I didn't kill him... I loved him. I didn't kill him. But I know who did.<\/dialogue>\n    <scene_description>He looks up to the morphine drip. The BEEP, BEEP of the heart monitor transforms into a MUSICAL PULSE as morphine snakes down a plastic tube into the Colonel's arm.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <dialogue>It weren't me...<\/dialogue>\n    <scene_description>Colonel slowly pulls back the bedsheets and stands, taking his IV stand with him. We TRACK ACROSS get well paraphernalia. A red balloon appears, seemingly part of the get well gifts. Colonel is drawn toward it.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <dialogue>And it weren't nothing to do with what them dirt farmers and muckrakers wrote up in all them books.<\/dialogue>\n    <scene_description>The beat kicks in, balloon in one hand, IV stand in the other. He shuffles down the corridor to the music.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <dialogue>Evil manager? I wasn't his manager! I was his promoter! It was my job to present him to you. To sell, package, and make money in every conceivable way! And I did!<\/dialogue>\n    <scene_description>As he glides down the corridor, a photo of Elvis and Colonel appears.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <dialogue>Elvis, the showman, and the Colonel, the snowman.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>Colonel's elephant-headed cane appears in his hand and he gestures towards the walls, now collaged with snapshots of Colonel and Elvis.<\/dialogue>\n    <character>OLD COLONEL<\/character>\n    <dialogue>There are thousands of photos of me and my boy...<\/dialogue>\n    <scene_description>A collage of a thousand images now sprawls across both sides of the corridor.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <dialogue>Huddled, plotting, planning, and whispering! Only I know what we talked of. I know what was said.<\/dialogue>\n    <scene_description>The hospital hallway gives way to a corridor of Elvis merchandise, packed with stuffed hound dogs, calendars, buttons, hats and more balloons.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <dialogue>But I never wrote no book. I never sold my story. I never told the real story. I never told the truth about me and my boy. I never talked...<\/dialogue>\n    <scene_description>The Colonel dons a boater hat.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <dialogue>... until now!!<\/dialogue>\n    <scene_description>CUT TO a gold curtain rising to reveal: Old Colonel, now resplendent in a striped blazer, every inch the carnival barker, miming along to a contemporary, orchestral version of Elvis' song, \"Carnival Time.\" Colonel sashays and warbles down a staircase into SPACE.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <parenthetical>(miming to Elvis)<\/parenthetical>\n    <dialogue>Come on kids from eight to eighty Hey there, mister, bring your lady There's a big show on the inside It's carnival time!<\/dialogue>\n    <scene_description>He balances on a tightrope above an abstract Vegas Strip.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <parenthetical>(miming to Elvis)<\/parenthetical>\n    <dialogue>Popcorn, peanuts, and cotton candy Pink lemonade that's dan-dan-dandy Be a big shot for a dollar. It's carnival time!<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>Grabbing a bunch of balloons, he glides down off the tightrope. He spins a roulette wheel, taking us back in time... Colonel, now with a stick-and-bindle over his shoulder, runs along a WIGGLY CARPET that leads to a far-away model of a 1930s carnival.<\/dialogue>\n    <character>OLD COLONEL<\/character>\n    <dialogue>As an orphan, I ran away to the carnival, where I learned my trade... the snow job.<\/dialogue>\n    <scene_description>PUSH IN on a red curtain touting \"Tom Parker's Famous Dancing Chickens.\"<\/scene_description>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>Tom Parker's Famous Dancing Chickens!<\/dialogue>\n    <scene_description>Curtains fly open to reveal Old Colonel in front of a stage on which ordinary chickens cluck about. A band plays side-stage. A group of RUBES watches, intrigued.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <dialogue>Ladies and gentleman, direct from the deepest jungles of Peru... The high-kicking chorus line of the Barnyard Ballet!<\/dialogue>\n    <scene_description>CLOSE ON Colonel as he reveals the gas burners, secretly heating the underside of the stage.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <parenthetical>(to camera)<\/parenthetical>\n    <dialogue>Now then... the snow job! The art of emptying a rube's wallet while leaving them with nothing but a smile on their face.<\/dialogue>\n    <scene_description>As the plates heat up, the chickens appear to dance. The rubes applaud! A mystical, minor-chord version of \"Carnival Time\" begins.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <dialogue>It was also in the carnival that I learned from the great Madame Zeena...<\/dialogue>\n    <scene_description>Colonel gestures to a caravan and we ZOOM TOWARDS it to find MADAME ZEENA, a fortune teller gazing down into a crystal ball. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (3)<\/character>\n    <dialogue>OLD COLONEL<\/dialogue>\n    <scene_description>The dark arts of hypnotism, mentalism, and how to read a man's greatest flaws and desires. We see Colonel inside the ball, a backdrop of a European village behind him. He waves his elephant cane to the CAMERA, hypnotizing us, and throws cash in the air. As the cash floats downward, it becomes falling snow.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <dialogue>Of course, any promoter is limited by the draw of his attraction.<\/dialogue>\n    <scene_description>We TRACK ACCROSS posters of the carnival oddities.... MERMAID MONSTER, LOBSTER BOY, ALIGATOR MAN.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <dialogue>I had my acts... the Mermaid Monster, Lobster Boy...<\/dialogue>\n    <scene_description>A young man (the silhouette of Elvis) stands in front of THE GEEK poster.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <dialogue>But the act that always made the most snow is the one that excited the audience with what they truly feared and desired.<\/dialogue>\n    <scene_description>Old Colonel's sun-spotted claw reaches out towards the silhouette...<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <dialogue>The Geek...<\/dialogue>\n    <scene_description>Colonel pulls a lever and suddenly, jackpot on the slot machine! 'DING DING DING' Elvis and Geek heads. Colonel dances along a HALL OF MIRRORS in which we see reflections of Elvis.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <parenthetical>(miming to Elvis)<\/parenthetical>\n    <dialogue>Roustabouts are roustabout'n And there's happy shouts, children<\/dialogue>\n    <scene_description>shoutin' If you've got doubts quit your doubtin' We see teddy bears reflected in the mirrors!<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <parenthetical>(miming to Elvis)<\/parenthetical>\n    <dialogue>There's thrills...<\/dialogue>\n    <scene_description>Hound dogs reflected in the mirrors! 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (4)<\/character>\n    <dialogue>OLD COLONEL<\/dialogue>\n    <parenthetical>(miming to Elvis)<\/parenthetical>\n    <dialogue>It's spice...<\/dialogue>\n    <scene_description>Rows and rows of merchandise fill the mirrors!<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <dialogue>It's cheap at half the price!<\/dialogue>\n    <scene_description>Colonel sings as he bobs along on his Jamboree cart, pulled by elephants. Inanimate merchandise comes to life and marches along behind him! Thanksgiving Day Parade- style hound dog balloons drift overhead.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <parenthetical>(miming to Elvis)<\/parenthetical>\n    <dialogue>So don't be bashful, buy a ticket Get the habit never kick it<\/dialogue>\n    <scene_description>CUT TO the band back in the 'Dancing Chickens' tent, who pluck along.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <parenthetical>(miming to Elvis)<\/parenthetical>\n    <dialogue>Hear the band there...<\/dialogue>\n    <scene_description>CUT TO the dancing chickens.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <parenthetical>(shouting at chickens)<\/parenthetical>\n    <dialogue>Don't just stand there!<\/dialogue>\n    <scene_description>With a gesture of his cane to the audience:<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <dialogue>I was an impresario of astonishment!<\/dialogue>\n    <scene_description>Colonel runs up a wiggly carpet to a Carnival.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <dialogue>It's carnival time!!<\/dialogue>\n    <scene_description>He hitches a ride on a tremendous Ferris Wheel, swooping into the sky above the glittering, soft-focused lights of the midway. Hank Snow's country and western ballad, \"Fool Such As I\" softly begins.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <dialogue>My next attraction was in the country music business. I partnered with one of its biggest stars... Hank Snow!<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (5)<\/character>\n    <dialogue>The Colonel looks below, where HANK SNOW, a ten-gallon- hatted diminutive country singer, and his troubadours perform on a stage at the Carnival.<\/dialogue>\n    <character>HANK SNOW<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Pardon me if I'm sentimental when we say goodbye...<\/dialogue>\n    <scene_description>The country music crowd is delighted.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <parenthetical>(miming to Hank Snow)<\/parenthetical>\n    <dialogue>Now and then, there's a fool such<\/dialogue>\n    <scene_description>as I... (speaking to camera) Prophetic words. Hank Snow, such a fool. Looking on from the wings: an identically-dressed 19-year- old version of Hank, JIMMIE RODGERS SNOW.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <dialogue>And his hapless son, Jimmie Rodgers Snow.<\/dialogue>\n    <scene_description>An abstract version of Elvis' \"That's All Right\" begins to overwhelm the sound of Hank's voice. With the turn of the Ferris wheel, night becomes day...<\/scene_description>\n    <character>EXT. CARNIVAL - DAY (1955)<\/character>\n    <dialogue>Carnies pack up the carnival, tawdry in the morning light. The abstract \"That's All Right\" transforms into the original song, emanating in mono from a car radio. CRANE DOWN to discover Jimmie Rodgers Snow, clutching a record as he passes a gum-chewing teenager in the cab of a truck. He flashes the record.<\/dialogue>\n    <character>JIMMMY<\/character>\n    <dialogue>Hot diggity dog, I got one! It will blow their socks off.<\/dialogue>\n    <scene_description>We FOLLOW Jimmie to an open-flap chow tent, pitched amidst the vehicles.<\/scene_description>\n    <character>EXT. CARNIVAL - CHOW TENT - CONTINUOUS ACTION<\/character>\n    <dialogue>45-YEAR-OLD COLONEL puffs his cigar and points with his cane to a huge map of the South splayed in front of him.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>COLONEL<\/dialogue>\n    <scene_description>Security, Diskin! Tell the mayors of all these towns that we need a police escort when Hank arrives in town. Colonel points to a couple more engagements on the map. Typing out instructions at a nearby desk, is his impossibly-bland lieutenant TOM DISKIN (35).<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>In Baton Rouge, we'll stage a carny wedding at the top of the Ferris wheel. Madam Zeena, pick out your next husband. In New Orleans we're going to use a loudspeaker to announce you, Hank.<\/dialogue>\n    <parenthetical>(to the Little People)<\/parenthetical>\n    <dialogue>Meaz-y leaz-ittle freaz-iends, you're going to be marching in a parade!<\/dialogue>\n    <character>LITTLE PEOPLE<\/character>\n    <dialogue>Feaz-uck!\/Sheaz-it!<\/dialogue>\n    <character>HANK SNOW (O.S.)<\/character>\n    <dialogue>And I'll be riding an elephant too?<\/dialogue>\n    <scene_description>Next to Diskin, a nudie-suited Hank Snow strums his guitar and half-listens to the Colonel. Around them, a variety of COUNTRY PERFORMERS, as well as the odd SIDESHOW CARNY, Zeena among them.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>A man on an elephant seems important.<\/dialogue>\n    <character>DISKIN<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>And taller...<\/dialogue>\n    <character>HANK SNOW<\/character>\n    <dialogue>But we still need a novelty act to bring in the young folk.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>That's why I've got you a meeting with the Duke of Paducah tonight. If we can book the funniest mouth in the South as our opening act, we'll have the best show of the season. We'll be feasting on cake.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>Suddenly, we hear Elvis' high-pitched voice cutting off Hank, mid-strum:<\/dialogue>\n    <character>ELVIS (V.O.)<\/character>\n    <parenthetical>(on record)<\/parenthetical>\n    <dialogue>That's all right, mama That's all right with you That's all right, mama Any way you do...<\/dialogue>\n    <scene_description>All turn to see Jimmie Rodgers defiantly standing next to the portable record player.<\/scene_description>\n    <character>HANK SNOW<\/character>\n    <dialogue>Jimmie, turn that racket off!<\/dialogue>\n    <character>JIMMIE RODGERS SNOW<\/character>\n    <dialogue>But y'all have to hear this! Kids all over town are singing it everywhere I go.<\/dialogue>\n    <scene_description>All present listen intently.<\/scene_description>\n    <character>HANK SNOW<\/character>\n    <dialogue>I hear Negro rhythms...<\/dialogue>\n    <character>JIMMIE RODGERS SNOW<\/character>\n    <dialogue>But with a country flavor!<\/dialogue>\n    <scene_description>Diskin picks up the record sleeve.<\/scene_description>\n    <character>DISKIN<\/character>\n    <dialogue>Sun Records, that's Sam Phillips' label.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Phillips? That fella who makes race records? With all them colored singers?<\/dialogue>\n    <character>JIMMIE RODGERS SNOW<\/character>\n    <dialogue>This fella's on the 'Hayride' tonight, after me, in the newcomers spot.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>They ain't puttin' a colored boy on the 'Hayride'!<\/dialogue>\n    <character>JIMMIE RODGERS SNOW<\/character>\n    <dialogue>That's the thing! He's white!<\/dialogue>\n    <scene_description>The Colonel plucks the cigar from his mouth.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>White...<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (3)<\/character>\n    <dialogue>Suddenly, the voice of radio announcer DEWEY PHILLIPS can be heard wafting in from the cab of the nearby truck.<\/dialogue>\n    <character>DEWEY PHILLIPS (V.O.)<\/character>\n    <parenthetical>(on radio)<\/parenthetical>\n    <dialogue>What do you think, Memphis? Should we play it for the 27th time?<\/dialogue>\n    <scene_description>Colonel rests his cane on his shoulder. He's strangely still, which has the effect of drawing everyone in.<\/scene_description>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>It doesn't matter if you do ten stupid things... As long as you do one smart one.<\/dialogue>\n    <scene_description>Colonel intones hypnotically:<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>How far to Shreveport, Diskin?<\/dialogue>\n    <character>DISKIN<\/character>\n    <dialogue>Two hours.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Send the Duke our apologies. We're going to the Hayride.<\/dialogue>\n    <scene_description>As the Colonel and Diskin make a beeline for their vehicle, Hank catches on:<\/scene_description>\n    <character>HANK SNOW<\/character>\n    <dialogue>Ahh... A novelty act!<\/dialogue>\n    <character>EXT. \"HAYRIDE\" AUDITORIUM - NIGHT<\/character>\n    <dialogue>HIGH WIDE OVER the Shreveport auditorium. We can hear Jimmie Rodgers Snow singing within:<\/dialogue>\n    <character>JIMMIE RODGERS SNOW (V.O.)<\/character>\n    <dialogue>How do you think I feel? I know your love's not real...<\/dialogue>\n    <character>INT. \"HAYRIDE\" AUDITORIUM - NIGHT<\/character>\n    <dialogue>On stage, six diamond-studded, ten-gallon-hatted COWBOYS croon around a COWGIRL, the object of Jimmie Rodgers Snow's affection.<\/dialogue>\n    <character>JIMMIE RODGERS SNOW<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Another's purdy speech,<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>JIMMIE RODGERS SNOW<\/dialogue>\n    <scene_description>Has put you out of reach How do you think I feel...? At the back of the auditorium, Diskin and Hank look on as Jimmie leads the delighted audience to clap-and-respond.<\/scene_description>\n    <character>HANK SNOW<\/character>\n    <dialogue>The apple doesn't fall far from the tree! Jimmie has them eating out of the palm of his hand!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Where's Colonel?<\/dialogue>\n    <character>DISKIN<\/character>\n    <dialogue>Making enquiries.<\/dialogue>\n    <character>INT. \"HAYRIDE\" AUDITORIUM - BACKSTAGE - NIGHT<\/character>\n    <dialogue>Colonel is behind the backdrop, gathering intel from Hayride founder, HORACE LOGAN. PERFORMERS come and go.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Have you heard that fella singing 'All Right Mama,' the new record on the Sun Label?<\/dialogue>\n    <character>HORACE LOGAN<\/character>\n    <dialogue>The pop jocks are playing him, country deejays, too. Hell, even the colored kids are buying his record.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Colored kids? Where might I find this act?<\/dialogue>\n    <character>HORACE LOGAN<\/character>\n    <dialogue>Dressing rooms!<\/dialogue>\n    <scene_description>As Horace reenters the stage, he gestures in the direction of the dressing rooms from which a YOUNG MAN carrying a guitar appears, heading for the stage door. The Young Man stops briefly to address the house drummer D.J FONTANA sitting backstage:<\/scene_description>\n    <character>YOUNG MAN<\/character>\n    <dialogue>Hey, you the house drummer? Just play the back beat and stay out of our way!<\/dialogue>\n    <scene_description>D.J. nods as the Young Man runs past the STAGE MANAGER. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>STAGE MANAGER<\/dialogue>\n    <scene_description>Ellis Presley, Blue Moon Boys, you're up next. Colonel follows, watching THROUGH the window as...<\/scene_description>\n    <character>EXT. \"HAYRIDE\" AUDITORIUM - ALLEY - CONTINUOUS ACTION<\/character>\n    <dialogue>The Young Man descends the stairs, passing a PICKUP TRUCK, in which good ole boys drink beer and flirt with their gals. He joins BILL BLACK (28), who cradles a double-bass beneath the stairs. Bill reads a poster for tonight's show. At the bottom, \"THE BLUE MOON BOYS\" and misspelled, \"ELLIS PRESLEY.\"<\/dialogue>\n    <character>SCOTTY<\/character>\n    <dialogue>Bill... Go time.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I know. Ellis Presley... Got a nice ring to it.<\/dialogue>\n    <scene_description>The Young Man turns, REVEAL:SCOTTY MOORE (24). He shakes his head. They grab their instruments.<\/scene_description>\n    <character>SCOTTY<\/character>\n    <dialogue>This thing in tune?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Close enough.<\/dialogue>\n    <scene_description>The beautiful and formidable DIXIE LOCKE (17) joins them, holding a bottle of PEPSI COLA.<\/scene_description>\n    <character>SCOTTY<\/character>\n    <dialogue>How is 'Ellis's stomach?<\/dialogue>\n    <character>DIXIE<\/character>\n    <dialogue>Thought I'd grab him a Pepsi, but poor thing's still shaking like a leaf.<\/dialogue>\n    <character>BILL<\/character>\n    <parenthetical>(to Scotty)<\/parenthetical>\n    <dialogue>What'd they say?<\/dialogue>\n    <character>SCOTTY<\/character>\n    <dialogue>Newcomer's spot or nothing. We're next.<\/dialogue>\n    <character>DIXIE<\/character>\n    <dialogue>You better come talk to him, Scotty. He listens to you.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>They all look up towards the sound of Jimmie Rogers Snow's number, and begin making their way across the alley, towards two PARENTS huddled around a barely visible BOY of around 20 years of age.<\/dialogue>\n    <character>NELL (O.S.)<\/character>\n    <dialogue>Hey Tommy, that's him over there.<\/dialogue>\n    <scene_description>The trio passes a skinny country jock, TOMMY, arm around NELL, his conservatively-dressed girlfriend, in the back of a pickup.<\/scene_description>\n    <character>NELL<\/character>\n    <dialogue>That boy from Memphis whose record everybody's talking about.<\/dialogue>\n    <character>TOMMY<\/character>\n    <parenthetical>(incredulous)<\/parenthetical>\n    <dialogue>You mean the white kid that's singing race music?<\/dialogue>\n    <scene_description>Tommy addresses Scotty and Bill.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Hey Scotty Moore! You manage him?<\/dialogue>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>Better tell him to watch out. One day somebody's going to beat the hell outta him and peel them Negro outfits right off his hide.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Sorry fella, the strip show costs extra\u2026<\/dialogue>\n    <scene_description>Laughter from Nell sends Tommy seething. Scotty, Bill and Dixie arrive alongside the family as, THROUGH the steps, Colonel glimpses the unseen Boy's constantly-shaking, pink-trousered leg. The boy's shy, vulnerable voice:<\/scene_description>\n    <character>BOY (O.S.)<\/character>\n    <dialogue>W-what if I forget the words on live radio? I ain't no Jimmie Rogers Snow...<\/dialogue>\n    <scene_description>He hears the father: VERNON (38), good looks faded by hard years and disappointment.<\/scene_description>\n    <character>VERNON<\/character>\n    <dialogue>No one expects you to be Jimmie Rogers Snow.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Its just a bit of clowning around.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>SCOTTY<\/dialogue>\n    <scene_description>That's how we got this thing started in the first place. BETWEEN THE STEPS, Colonel can now see the mother, GLADYS (43), intense and nervy, with smoldering Clara Bow eyes.<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Scotty and Bill are right, Elvis. You're not out there on your own. You boys are a band. The Lord gave us music to bring people together. We're like a family, and family's the most important thing of all.<\/dialogue>\n    <scene_description>She strokes the Boy's neck as he drinks from a public water fountain, one marked \"WHITE,\" the other \"COLORED.\" Gladys indicates that they should all take up each other's hands.<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>If the good Lord wants to speak through song here tonight, we are but vessels of His will. Come on now, Booby...<\/dialogue>\n    <scene_description>She looks up to the moonlight and intones mysteriously:<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Jesse is shining bright tonight.<\/dialogue>\n    <scene_description>They all look up. Unsure of what they're doing, the Colonel follows their gaze to see the moon shining above. Gladys leads the group in song as one-by-one, they all join:<\/scene_description>\n    <character>GLADYS\/VERNON\/DIXIE\/SCOTTY\/BILL\/<\/character>\n    <dialogue>BOY<\/dialogue>\n    <parenthetical>(sing)<\/parenthetical>\n    <dialogue>Some glad morning... When this life is over... I'll fly away...<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>From my first encounter, this insular, strange family was unique in its closeness.<\/dialogue>\n    <character>GLADYS\/VERNON\/DIXIE\/SCOTTY\/BILL\/<\/character>\n    <dialogue>BOY<\/dialogue>\n    <parenthetical>(sing)<\/parenthetical>\n    <dialogue>I'll fly away, oh glory...<\/dialogue>\n    <scene_description>The CAMERA TRACKS ACROSS their faces, SETTLING ON Vernon. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (3)<\/character>\n    <dialogue>OLD COLONEL (V.O.)<\/dialogue>\n    <scene_description>The boy's daddy had gone to jail. The CAMERA PASSES ACROSS the fountain marked \"WHITE\"...<\/scene_description>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>Leaving the boy and his mama alone in one of four white houses in a Black neighborhood.<\/dialogue>\n    <scene_description>... and settles on the fountain marked \"COLORED.\"<\/scene_description>\n    <character>MATCH CUT TO:<\/character>\n    <dialogue>EXT. SHAKE RAG - AFTERNOON (1947)<\/dialogue>\n    <dialogue>An identical \"COLORED\" sign above a water fountain from which SMOKY BELL (12) drinks. Next to him, a boy sits, face buried in a CAPTAIN MARVEL JR. comic book. The family's singing transforms into a powerful, spiritual version of \"I'll Fly Away\" emanating from a distant PENTECOSTAL TENT. The comic lowers and we see YOUNG ELVIS PRESLEY (12). His hair and a crudely-fashioned cardboard lightning bolt around his neck match the look of his comic book hero.<\/dialogue>\n    <dialogue>Young Elvis stands and looks towards the tent.<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>It was there he first felt the pull between the sacred...<\/dialogue>\n    <scene_description>A sharp WHISTLE! Smoky and Young Elvis look to their SKINNY AFRICAN-AMERICAN FRIEND, waving them towards a JUKE JOINT that hangs off the road.<\/scene_description>\n    <character>BIG BOY CRUDUP (V.O.)<\/character>\n    <dialogue>Whoooooooa, black snake crawlin'<\/dialogue>\n    <scene_description>in my room!<\/scene_description>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>... and the profane.<\/dialogue>\n    <scene_description>The boys run off towards the juke joint as Young Elvis stuffs his comic in the back pocket of his overalls.<\/scene_description>\n    <character>INT. JUKE JOINT - AFTERNOON<\/character>\n    <dialogue>YOUNG ELVIS' POV THROUGH A SPYHOLE: A smoky room. The nimble fingers of bluesman BIG BOY CRUDUP work the frets of his weathered guitar. A drunk male CUSTOMER shakes his leg in an erotic dance with a BORDELLO GIRL.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>BIG BOY CRUDUP<\/dialogue>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Whoooooa, black snake crawlin' in<\/dialogue>\n    <scene_description>my room! Some pretty mama better come and get this black snake soon.<\/scene_description>\n    <character>EXT. SHAKE RAG - JUKE JOINT - AFTERNOON<\/character>\n    <dialogue>The shocked boys fight over the spyhole.<\/dialogue>\n    <character>BIG BOY CRUDUP (O.S.)<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>That's all right, mama That's all right with you...<\/dialogue>\n    <scene_description>It's too much for Young Elvis. He pulls away.<\/scene_description>\n    <character>EXT. SHAKE RAG - AFTERNOON<\/character>\n    <dialogue>HIGH WIDE: The boys give chase as Young Elvis bolts towards the Pentecostal tent where the spiritual version of \"I'll Fly Away\" swells up.<\/dialogue>\n    <character>INT. PENTECOSTAL TENT - AFTERNOON<\/character>\n    <dialogue>The other boys watch from the open flap as Young Elvis moves forward, arms aloft, becoming the music.<\/dialogue>\n    <character>EXT. \"HAYRIDE\" AUDITORIUM - BACK ALLEY - NIGHT (1955)<\/character>\n    <dialogue>The Colonel glimpses just the Boy's heavy-lidded, mascaraed eyes.<\/dialogue>\n    <character>ELVIS (BOY)<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>I'll fly away, I'll fly away...<\/dialogue>\n    <character>INT. PENTECOSTAL TENT - AFTERNOON (1947)<\/character>\n    <dialogue>Smoky reaches for Young Elvis. Suddenly, his hand is stayed by THE PASTOR.<\/dialogue>\n    <character>PASTOR<\/character>\n    <dialogue>Leave him be; he's with the spirit.<\/dialogue>\n    <scene_description>As Young Elvis' rapture builds, the CAMERA ASCENDS and the spiritual is overlaid with: 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>BIG BOY CRUDUP (V.O.)<\/dialogue>\n    <scene_description>Whoooooooa, black snake crawlin' in my room! That's alright, mama, that's alright with you, That's alright, mama, any way you do.<\/scene_description>\n    <character>EXT. \"HAYRIDE\" AUDITORIUM - ALLEY - NIGHT (1955)<\/character>\n    <dialogue>The shy boy duets with Crudup across time.<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>I'll fly away, I'll fly away...<\/dialogue>\n    <scene_description>SAM PHILLIPS (31), stern, and his no-nonsense secretary MARION KEISKER (36) appear at the stage door.<\/scene_description>\n    <character>SAM PHILLIPS<\/character>\n    <dialogue>Better get on up! They've just made a big announcement about you on the radio.<\/dialogue>\n    <character>MARION<\/character>\n    <dialogue>Folks are real excited!<\/dialogue>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>Sam, don't look so worried.<\/dialogue>\n    <scene_description>As Sam and Marion leave, Colonel uses this opportunity to follow them back inside the stage door.<\/scene_description>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>Sam Phillips was on a mission to save the world by recording black music...<\/dialogue>\n    <scene_description>Colonel peels off and finds himself looking through the dock door, where he can see Elvis and the boys ascending the stairs, the family in tow.<\/scene_description>\n    <character>EXT. SUN STUDIOS - DUSK (1954)<\/character>\n    <dialogue>A converted shopfront. A neon sign reads: \"SUN STUDIOS. HAVE YOUR VOICE RECORDED -- ONE DOLLAR!\" The music from the Pentecostal church continues underneath.<\/dialogue>\n    <dialogue>Marion crosses the road to the studio, carrying coffee and donuts.<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>But it didn't pay, so he tried to find a white country-and-western star.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>INT. SUN STUDIOS - CONTROL ROOM - DUSK<\/character>\n    <dialogue>We follow Marion as she passes Scotty, Bill and the young boy in the studio. Scotty is packing up his guitar.<\/dialogue>\n    <character>SCOTTY<\/character>\n    <dialogue>Sorry kid, I've got to work tomorrow.<\/dialogue>\n    <scene_description>Marion enters the control room and plonks a coffee down in front of Sam, despondent at the control desk.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I don't know what it is you see in this boy...<\/dialogue>\n    <scene_description>Marion looks up. Although they can't hear, she can see Elvis larking around in the studio.<\/scene_description>\n    <character>MARION<\/character>\n    <dialogue>I just think he's... different.<\/dialogue>\n    <scene_description>She flicks a switch. An intrigued Sam looks up and rises to his feet.<\/scene_description>\n    <character>INT. SUN STUDIOS - RECORDING ROOM - LATER<\/character>\n    <dialogue>Sam, Marion, Scotty and Bill looking at Elvis, a moment of shocked pause. Sam repositions the microphone in front of Elvis.<\/dialogue>\n    <character>SAM PHILLIPS<\/character>\n    <dialogue>How do you know Big Boy Crudup?<\/dialogue>\n    <scene_description>Elvis shrugs. He starts to sing \"That's Alright, Mama\" over the Pentecostal music. Scotty and Bill join... CUT TO hours later, the musicians are shaping up the track.<\/scene_description>\n    <character>INT. \"HAYRIDE\" AUDITORIUM - NIGHT (1955)<\/character>\n    <dialogue>Elvis and the boys make their way inside. Using instruments being loaded through the dock door as cover, Colonel positions himself to get as close as possible. As Elvis and the boys prepare to take the stage, Colonel begins to ascend the stairs to the fly tower above.<\/dialogue>\n    <character>INT. PENTECOSTAL TENT - AFTERNOON (1947)<\/character>\n    <dialogue>The singing reaches a powerful crescendo as Young Elvis is possessed by the sacred and the profane.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>ELVIS (V.O.)<\/dialogue>\n    <parenthetical>(in Sun Studios)<\/parenthetical>\n    <dialogue>That's all right, mama...<\/dialogue>\n    <scene_description>The distant and dreamlike sound of HORACE LOGAN's voice:<\/scene_description>\n    <character>HORACE LOGAN (V.O.)<\/character>\n    <dialogue>A young man from Memphis, Tennessee... song on the Sun label... sky-rocketed right up the charts... Elvis Presley! Let's give him a nice hand.<\/dialogue>\n    <scene_description>Tepid applause takes us to...<\/scene_description>\n    <character>INT. \"HAYRIDE\" AUDITORIUM - STAGE - NIGHT (1955)<\/character>\n    <dialogue>CLOSE ON Elvis' shaking legs. TILT UP to DISCOVER a pink jacket over feminine black lace. A white-hot spotlight REVEALS his face: heavy with makeup, slumberous, piercing, blue eyes stare back. His greasy black hair is an architectural wonder and slashes across his forehead like a scar. This is ELVIS PRESLEY at 20. He is beautiful, defiant, innocent, strange.<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>I cannot overstate how strange he looked. I'd seen clowns with less makeup.<\/dialogue>\n    <scene_description>The Colonel looks out into the auditorium. Bodies shifting in rickety chairs. Portraits of disdain, disgust, and confusion. The South as it stands, soon to be changed forever.<\/scene_description>\n    <character>HORACE LOGAN (O.S.)<\/character>\n    <dialogue>Elvis, how are you this evening?<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Just fine. How're you, sir?<\/dialogue>\n    <character>HORACE LOGAN<\/character>\n    <dialogue>Are you all geared up with your band there to...<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>I'm all geared up.<\/dialogue>\n    <character>HORACE LOGAN<\/character>\n    <dialogue>... to let us hear your songs?<\/dialogue>\n    <scene_description>Elvis, flustered, realizes he's cut Horace off. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>ELVIS<\/dialogue>\n    <scene_description>Uh, well, I'd just like to say how happy we are to be down here. It's a real honor for us to be- get a chance to appear on the Louisiana Hayride. We're gonna do a song for you we got out on Sun Records... you got anything else to say, Sir?<\/scene_description>\n    <character>HORACE LOGAN<\/character>\n    <dialogue>No, I'm ready!<\/dialogue>\n    <scene_description>Elvis looks up to the heavens...<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>It goes something like this...<\/dialogue>\n    <scene_description>At the front of the auditorium, an anxious Vernon stares at the floor. Beside him, Gladys stares into the eyes of her son. This does not go unnoticed by the Colonel. Elvis' chest heaves, mind races, heart pounds.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Ohh, baby, baby, baby, baby, baby Baby, baby, baby, baby, baby...<\/dialogue>\n    <scene_description>Snickers from the audience. The Colonel puffs his cigar, eyes narrow. Maybe this boy's not for the stage.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Come back, baby, I wanna play<\/dialogue>\n    <scene_description>house with you. In the front row, two of the country kids from the side alley: pretty-girl NELL and her skinny country jock boyfriend, TOMMY, chewing gum and smirking--<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Get a haircut, fairy!<\/dialogue>\n    <scene_description>A flash of anger across Elvis' face. He wails back:<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Weeeeeellll, you may go to<\/dialogue>\n    <scene_description>college, you may go to school, You may have a pink Cadillac, But don't you be nobody's fool. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>A cluster of girls in the front start to clap and wriggle in their chairs excitedly. Colonel climbs the ladder to the gantry.<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Now, baby, come back, baby, come. Come back, baby come...<\/dialogue>\n    <scene_description>CAMERA CURLS DOWN Elvis' body, revealing what all the fuss is about.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Come back, baby, I want to play<\/dialogue>\n    <scene_description>house with you! Elvis' raw nervous energy has caused his habitually shaky leg to go into overdrive! The front of his pleated, pegged pants flaps like a tent in a storm. Fascinated, Colonel begins to cross the gantry for a better vantage point.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Well, listen to me, baby What I'm talking about...<\/dialogue>\n    <scene_description>The unpegged pants seem to suggest, and maybe it's true, that all hell is breaking loose down there.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Come on back to me, little girl So we can play some house.<\/dialogue>\n    <scene_description>A GIRL in the audience SCREAMS! Elvis and the band falter, confused by the reaction.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Now baby, come back baby, come Come back baby, come...<\/dialogue>\n    <scene_description>Marion Keisker shushes the girl who screamed, beside her.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Come back baby I wanna play house with you...<\/dialogue>\n    <scene_description>But then there's ANOTHER SCREAM, and then ANOTHER, mixed with an uncertain laughter. The Colonel takes note. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (3)<\/character>\n    <dialogue>During the guitar solo, Elvis, confused, spins and yells to Scotty and Bill:<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>What are they hollerin' at?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>It's the... wiggle.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>The what?!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>The wiggle!<\/dialogue>\n    <character>BILL AND SCOTTY<\/character>\n    <parenthetical>(in unison)<\/parenthetical>\n    <dialogue>Do more!<\/dialogue>\n    <scene_description>Bill slaps out a bass feature, riding Elvis' energy as the singer throws several thrusts out towards the girls. They react in waves of squeals and screams. Colonel descends the stairs side-stage onto the auditorium floor.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Well, this is one thing, baby That I want you to know...<\/dialogue>\n    <scene_description>Marion, eyes locked on Elvis, as if suddenly beset by the devil, finds herself standing and screaming, too. Colonel, now amongst the audience, clocks this reaction as he crocodiles across auditorium. Gladys and Dixie watch, horrified.<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Please, Lord, don't let them hurt my baby!<\/dialogue>\n    <character>VERNON<\/character>\n    <dialogue>Hurt him? Looks like they wanna...<\/dialogue>\n    <scene_description>He sees Dixie and coughs, embarrassed.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Well, listen to me, baby Try to understand...<\/dialogue>\n    <scene_description>Colonel eyes every face in the audience as he makes his way side-stage. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (4)<\/character>\n    <dialogue>Nell is drawn toward the stage, Tommy follows her.<\/dialogue>\n    <character>TOMMY<\/character>\n    <parenthetical>(to Elvis)<\/parenthetical>\n    <dialogue>Pucker up, buttercup.<\/dialogue>\n    <scene_description>Elvis, mic in his fist, leans in and enrages Tommy by sing-whispering a capella to sweet Nell:<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>I'd rather be dead, little<\/dialogue>\n    <scene_description>girl... (eyes on Tommy) ... than to see you with another man. Time stands still; a dramatic, tense pause. CUT TO Hank in the wings who, having discovered his son Jimmie, leans in and utters with revulsion:<\/scene_description>\n    <character>HANK SNOW<\/character>\n    <dialogue>Oh, my Lord... What in God's sweet name am I looking at?<\/dialogue>\n    <character>JIMMIE<\/character>\n    <dialogue>Pa...<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>What were you thinking, Jimmie?<\/dialogue>\n    <character>JIMMIE<\/character>\n    <dialogue>I guess I thought... I don't know what I'm thinking.<\/dialogue>\n    <scene_description>Jimmie bites his nail. Hank, in exasperation:<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>Where is Colonel?<\/dialogue>\n    <scene_description>Jimmie indicates toward the Colonel, watching from the auditorium. Elvis flicks his hair and a drop of sweat falls across Nell's cheek. It's too much -- she implodes. Nell latches on to Elvis' jacket, then another girl, and another.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Come back, baby, I want to play<\/dialogue>\n    <scene_description>house with you! Suddenly, Hank appears behind Colonel. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (5)<\/character>\n    <dialogue>HANK SNOW<\/dialogue>\n    <scene_description>If we leave now we can still meet with the Duke of Paducah... Colonel ignores him, frozen in disbelief at what he's witnessing. Traces of \"Black Snake Moan\" join the score -- the profane.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Oh, baby, baby, baby, baby...<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>And there it was. I saw it! They would come to call it 'teenage hysteria.' Whatever it was he was doing, it touched something within her. The urgent, desperate need to consume and be consumed.<\/dialogue>\n    <scene_description>Marion and Sam look to each other, witnessing a miracle. Hank witnesses a travesty: his son Jimmie, awestruck. Elvis sinks momentarily beneath the throng of girls, tearing at him, scratching his skin. Nell, possessed, rips off Elvis' jacket. Suddenly, she's accosted from behind! Gladys grabs the jacket, screaming:<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Why are you trying to kill my son?!<\/dialogue>\n    <scene_description>Gladys recoils in shock, holding Elvis' jacket. The curtain crashes closed. CLOSE on Colonel as we see the last glimmer of Elvis, rescued by Scotty, tumbling back through the blue curtains.<\/scene_description>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>It was the greatest carnival attraction I'd ever seen...<\/dialogue>\n    <character>EXT. MEMPHIS, TENNESSEE - DAY<\/character>\n    <dialogue>The once-crucial cotton port on the snaking Mississippi River and its triple-spanned bridge.<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>He was my destiny.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>EXT. LAUDERDALE COURTS (MEMPHIS) - DAY<\/character>\n    <dialogue>A large grass courtyard surrounded by a three-story red- brick building. Mothers gossip, kids play football and ride bikes. We catch on the radios all over:<\/dialogue>\n    <character>RADIO ANNOUNCER (V.O.)<\/character>\n    <dialogue>Here's a new one from Memphis' own... Elvis Presley!<\/dialogue>\n    <scene_description>The opening lyrics of Elvis' latest recording \"Blue Moon\" can be heard, as a Crown Electric truck pulls up.<\/scene_description>\n    <character>ELVIS (V.O.)<\/character>\n    <parenthetical>(vocal)<\/parenthetical>\n    <dialogue>Blue moon, You saw me standing alone, Without a dream in my heart, Without a love of my own...<\/dialogue>\n    <character>INT. CROWN ELECTRIC TRUCK - DAY<\/character>\n    <dialogue>We catch a glimpse of Elvis' eyes in the rear-view mirror. CUT TO his hand, taking up his guitar.<\/dialogue>\n    <character>EXT. LAUDERDALE COURTS - DAY<\/character>\n    <dialogue>As he alights from the truck, we catch Elvis in his two- tone shoes and grey Crown Electric uniform. He makes his way down the path, through the Courts, as girls and boys look on, somewhat confused by Elvis' sudden notoriety.<\/dialogue>\n    <character>MEAN BOY<\/character>\n    <dialogue>Hey squirrel, nice sideburns.<\/dialogue>\n    <character>COOL GIRL<\/character>\n    <dialogue>Hey Elvis.<\/dialogue>\n    <scene_description>They stare after Elvis as he crosses the courtyard and enters the building. We GLIMPSE a humble living room THROUGH a second-story window.<\/scene_description>\n    <character>INT. PRESLEY APARTMENT - CONTINUOUS ACTION<\/character>\n    <dialogue>A hand holds back the curtain. The girls can clearly be seen, staring up. The curtain drops. We turn, and it is Gladys inside the Presley's humble apartment.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>GLADYS<\/dialogue>\n    <scene_description>Elvis is home! Billy, go wash up then keep setting the table for dinner! Wide-eyed COUSIN BILLY (15) races for the door.<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Ok, Aunt Gladys! I'm gonna see Elvis for a second.<\/dialogue>\n    <scene_description>Gladys is clearly anxious as she crosses to the kitchen, where Dixie is helping prepare dinner.<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Vernon, Elvis is home.<\/dialogue>\n    <scene_description>Passing Vernon on the phone, we catch a few lines of the conversation:<\/scene_description>\n    <character>VERNON<\/character>\n    <dialogue>Yeah, well, Elvis done good but... Jimmie Rodgers Snow, he put on a real good show.<\/dialogue>\n    <scene_description>Gladys takes a bowl of carrots from Dixie.<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>I'll do that, Dixie, honey. What you gonna see at the movies?<\/dialogue>\n    <scene_description>Dixie rushes to go freshen up.<\/scene_description>\n    <character>DIXIE<\/character>\n    <dialogue>Um, I'm not sure!<\/dialogue>\n    <scene_description>\"Blue Moon\" continues to play on a radio on the kitchen windowsill. It's too much for Gladys and she snaps the radio off, anxiety palpable in her face. We CUT DOWN to the radio again but strangely, an a capella version of \"Blue moon\" can be heard.<\/scene_description>\n    <character>ELVIS (V.O.)<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Oooohhh, oooohhh, eeee-aahhh...<\/dialogue>\n    <scene_description>Beyond the radio, through the window, the lights in the other apartments illuminate, signaling the transition from day to night. Neighbors lean out windows, eavesdropping. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>EXT. LAUDERDALE COURTS - STAIRWELL - EVENING<\/character>\n    <dialogue>Floating through the window and into the stairwell, we discover the source of the music. It's Elvis, later that night, now joined by his girl, Dixie. Having taken out the trash, he still holds the can in his hand as he serenades Dixie.<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Without a love of my own...<\/dialogue>\n    <scene_description>Their lips almost touch. Elvis stares into Dixie's eyes.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(disbelief)<\/parenthetical>\n    <dialogue>Hank Snow...<\/dialogue>\n    <scene_description>Dixie, a little disappointed, discreetly rolls her eyes. But Elvis is lost in the thought.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>I used to play his records every day with Mama and now he's personally asked for me to be on his tour.... I can't believe it.<\/dialogue>\n    <scene_description>The trash can clatters to the ground. Elvis scurries down to retrieve it. Dixie, a loving roll of the eyes:<\/scene_description>\n    <character>DIXIE<\/character>\n    <dialogue>So, is that a yes?<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Ahh yes?<\/dialogue>\n    <character>DIXIE<\/character>\n    <dialogue>Coming with me to Goldsmith's on Sunday to pick out my prom dress.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Oh, sure, baby...<\/dialogue>\n    <scene_description>Elvis, having retrieved the can, is ascending the stairs.<\/scene_description>\n    <character>DIXIE<\/character>\n    <dialogue>Elvis, after prom, all the couples are going to the teen canteen.<\/dialogue>\n    <scene_description>She takes the initiative and they kiss...<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Wait, Sunday? Hell, we're in New Orleans.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>Dixie is crestfallen.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>But I'll be back for the dance and Mama can help you pick out your dress.<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>Elvis, dinner's ready! Better wash up or you'll be late for the movies.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Alright, Mama. I'm sorry, baby. It's just so much, so quick.<\/dialogue>\n    <character>DIXIE<\/character>\n    <dialogue>You told your parents?<\/dialogue>\n    <character>INT. PRESLEY APARTMENT - LIVING ROOM - DAY<\/character>\n    <dialogue>Out the window, the GIRLS in the courtyard stare up.<\/dialogue>\n    <character>GLADYS (O.S.)<\/character>\n    <dialogue>So, without so much as a word to your daddy and me...<\/dialogue>\n    <scene_description>Gladys snaps the curtain shut.<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>You quit your job to run around in that rickety jalopy, speeding down dangerous roads, getting girls all hopped up...<\/dialogue>\n    <scene_description>Elvis is now resplendent in a top-to-toe pink suit, his immaculately quaffed bouffant of hair towering over his scowling forehead. Clearly, things have not gone well. Vernon is sitting on the couch as Dixie finishes setting a makeshift dining table for dinner. Billy fills glasses with iced tea. GRANDMA DODGER (65) sits silently in the corner. Tension as Gladys serves up the meatloaf.<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Soon, you'll be drinking, going off to them slut parties--<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Mama!<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>Not keeping the Sabbath...<\/dialogue>\n    <parenthetical>(to everyone)<\/parenthetical>\n    <dialogue>Dinner!<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>GLADYS<\/dialogue>\n    <parenthetical>(to Elvis)<\/parenthetical>\n    <dialogue>You just sit down now, eat!<\/dialogue>\n    <scene_description>Billy, Dixie and Elvis take their seats.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>But Mama, it's only four days!<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>Yeah, four days! And then what?<\/dialogue>\n    <character>VERNON<\/character>\n    <dialogue>I knew a fella once, got his record on the radio, and it was all over in a flash.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Mr Phillips says every time I perform onstage, it's gonna help the record sell and we could make some real money! I ain't gonna do that driving a truck for Crown Electric.<\/dialogue>\n    <character>VERNON<\/character>\n    <dialogue>Electrician is a good, stable job, whereas I don't know a guitar player worth a damn.<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>You listen to your Daddy.<\/dialogue>\n    <scene_description>At the exact moment Gladys speaks, the phone rings. Billy jumps up to answer.<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>It's my mama! She's with Aunt Cletus and all the cousins on a shared line... She wants to talk to you. She heard Elvis on the radio.<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>I can't right now!<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Please, Mama! I'm just trying to take care of my babies, that's all I ever cared about! I ain't ever gonna let us be in a place again where Daddy gets in trouble with the law to put food on the table.<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>ELVIS!<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>A tense silence. Vernon hangs his head, humiliated.<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>As the good Lord warns us, 'Do not wear yourself out to get rich, do not trust your own Goddamn cleverness!'<\/dialogue>\n    <scene_description>Overwhelmed, she storms out.<\/scene_description>\n    <character>VERNON<\/character>\n    <dialogue>I want to work. I do the best I can with my back...<\/dialogue>\n    <scene_description>Dixie gestures towards the hallway and Gladys' bedroom.<\/scene_description>\n    <character>DIXIE<\/character>\n    <dialogue>Elvis, you've upset your mama.<\/dialogue>\n    <scene_description>40 Elvis follows Gladys. 40<\/scene_description>\n    <character>INT. PRESLEY APARTMENT - BEDROOM - CONTINUOUS ACTION<\/character>\n    <dialogue>A pill being removed from a lacquered medication box. Gladys gulps it down as Elvis appears in the doorway through the mirror. She's breathing heavily, tears streaming down her cheeks, black with mascara.<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(half-jokingly)<\/parenthetical>\n    <dialogue>I'm going to buy you one of them pink Cadillacs, like you saw back when you was working at the hospital.<\/dialogue>\n    <scene_description>Gladys breaks a little. She turns to him, embarrassed.<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>I don't need no pink Cadillac.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Satnin'...<\/dialogue>\n    <scene_description>Elvis takes up Gladys' face in his hands, the tears running from her eyes.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>I just gotta be making the most of this thing while I can. It's like Daddy says, this could all be over in a flash.<\/dialogue>\n    <scene_description>With this thought, Gladys' mood changes. Still anxious, she sits at the dressing table, somewhat in a dream. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>GLADYS<\/dialogue>\n    <scene_description>I'm not fearful of it being over, Boobie... She looks up to him.<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>It's the opposite...<\/dialogue>\n    <scene_description>She looks back to the mirror, messing with her hair.<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Oh Lord, I look a frightful mess.<\/dialogue>\n    <scene_description>Unconsciously takes up a lipstick.<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>I don't know how to explain it, but I saw it in that girl's eyes, I saw it.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>There's nothing to fear. They're just kids getting all hopped up.<\/dialogue>\n    <scene_description>Applying lipstick, as if the very act comforts her.<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>No, it's more than that. It's something I don't understand. It's something beyond us. But I know whatever it is, it's something that can come between us.<\/dialogue>\n    <scene_description>Elvis throws his arms around Gladys from behind, nuzzling her neck as if she were a giant Teddy bear.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>No, no, no... ain't nothing ever going to do that. You're my girl, my Satnin'. You'll always be my best-est girl.<\/dialogue>\n    <scene_description>Gladys looks up into his eyes.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>I'll call you every night. Nothing, but nothing's gonna come between us.<\/dialogue>\n    <scene_description>Gladys, pleading like a child:<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>You promise me, Boobie?<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>Elvis, now the adult, reassuring the child that all will be well:<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>I promise. I promise, I promise, I promise...<\/dialogue>\n    <character>EXT. LAUDERDALE COURTS - DAY<\/character>\n    <dialogue>As Scotty helps Bill squeeze the double bass into the CHEVY BEL AIR, Elvis gives Dixie a final kiss. The boys tumble into the car. Vernon and Gladys wave with Billy by their side as the car tears off into the future.<\/dialogue>\n    <character>INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)<\/character>\n    <dialogue>OLD COLONEL<\/dialogue>\n    <parenthetical>(to camera)<\/parenthetical>\n    <dialogue>Wanna bet?<\/dialogue>\n    <scene_description>He spins the roulette wheel and looks up to see Scotty's car driving away from Lauderdale Courts. To the iconic opening of \"Mystery Train,\" the roulette wheel transforms into a SPINNING CHROME HUBCAP.<\/scene_description>\n    <character>MONTAGE - EXT. RURAL ROAD (1955)<\/character>\n    <dialogue>It's an AQUATONE BLUE SEDAN emblazoned with \"Hank Snow's Jamboree Attractions Tour!\" Diskin at the wheel, Colonel beside him. In an almost reckless gesture, the sedan overtakes all the cars in a convoy.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Let's pull over for lunch. What is the name of the next place?<\/dialogue>\n    <character>DISKIN<\/character>\n    <dialogue>The Tasty Grill.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Tasty Grill.<\/dialogue>\n    <character>COLONEL<\/character>\n    <parenthetical>(over megaphone)<\/parenthetical>\n    <dialogue>Your attention please, your attention please. We will be pulling over for lunch up ahead at the Tasty Grill. Lunchtime at the Tasty Grill.<\/dialogue>\n    <scene_description>They approach Scotty's Chevy Bel Air, double bass squeezed inside. Siting the boy's car, Colonel hurriedly winds the window down and turns to Diskin. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>COLONEL<\/dialogue>\n    <scene_description>Slow down. The sedan holds alongside the Chevy, Colonel pretending not to notice the boys. A complete transformation, Colonel announces with bonhomie:<\/scene_description>\n    <character>COLONEL<\/character>\n    <parenthetical>(over megaphone)<\/parenthetical>\n    <dialogue>Can I have your attention, this is your morning bulletin. Colonel's promotional machine never fails! The 'Hank Snow All-Star Jamboree Tour' has completely sold out. That's right. And to celebrate I'm buying all of you great artists complimentary pie at the good old Tasty Grill!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Who the hell is that?<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>That's Colonel Tom Parker. He knows all the big wheels in the business. He made Eddy Arnold a movie star.<\/dialogue>\n    <character>SCOTTY<\/character>\n    <dialogue>I heard he screwed him over.<\/dialogue>\n    <scene_description>Bill diffuses the tension.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>I heard there's free pie at the Tasty Grill.<\/dialogue>\n    <scene_description>DISSOLVE THROUGH a LARGE POSTER headlined with \"HANK SNOW.\" At the bottom of a long list of supporting artists: \"Elvis Presley and the Blue Moon Boys.\"<\/scene_description>\n    <character>EXT. SMALL COUNTRY DINER - DAY<\/character>\n    <dialogue>The convoy is parked outside.<\/dialogue>\n    <character>INT. SMALL COUNTRY DINER - DAY<\/character>\n    <dialogue>Hank at the counter, flanked by Jimmie, performers, and crew. Elvis and the boys, strangers to it all, are relegated to the periphery, by the window. TAP TAP TAP! Elvis looks up to see the Colonel waggling his cane THROUGH the plate glass.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>SCOTTY<\/dialogue>\n    <scene_description>Here he is. The man himself. Colonel enters briskly, Diskin keeping pace.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Hello everybody, how's the pie? It's cheap at half the price!<\/dialogue>\n    <scene_description>Everyone is confused at Colonel's sudden generosity.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Hank! I'm here to check your placement in the jukebox.<\/dialogue>\n    <scene_description>Colonel arrives at the jukebox, perusing the singles on offer in the machine:<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>'Let Me Go, Lover', Hank Snow. 'Conscience I'm Guilty', Hank Snow. 'Cryin' Prayin' Waitin' Hopin', Hank Snow.<\/dialogue>\n    <scene_description>Everyone applauds as Colonel makes his way over to Hank.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>All hit records, all RCA! Can't beat their distribution.<\/dialogue>\n    <scene_description>But Hank is distracted by the sight of Elvis and the boys on the other side of the cafe. He turns to Colonel.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>Colonel, what is that boy doing on our tour?!<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>I told you all about him? He comes from a good Christian family.<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>I do not recall.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>And more importantly, about him wanting to record one of your songs?<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>Which one?<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>All of them! Them young'uns buy an lot of his records.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>JIMMIE<\/dialogue>\n    <scene_description>That's no lie, Pa. Kids these days are buying more than adults! Colonel pats Jimmie on the back.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Think of the money in the bank, Hank.<\/dialogue>\n    <character>JIMMIE<\/character>\n    <dialogue>Wouldn't want to miss out.<\/dialogue>\n    <scene_description>Hank, confused and bemused, glances towards Elvis and considers what Colonel has said.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>Well you warn him plenty, none of those lewd gyrations or sudden jerky movements.<\/dialogue>\n    <scene_description>Colonel, with an ambiguous nod of the head:<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>I'll speak to the boy immediately...<\/dialogue>\n    <scene_description>CUT TO Elvis at the table, clearly anxious.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>You got a dime for the pay phone? I promised to call Dixie and Mama-<\/dialogue>\n    <scene_description>But before he can finish his sentence:<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Well, if it ain't the new act...<\/dialogue>\n    <scene_description>The boys look up and there, towering over them, is the Colonel. Elvis nervously leaps to his feet, proffering his hand.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Colonel Parker, sir? Elvis Presley.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Right. You're the fella with that funny new record all the kids are listening to...<\/dialogue>\n    <scene_description>Scotty shifts defensively in the booth.<\/scene_description>\n    <character>SCOTTY<\/character>\n    <dialogue>It's getting lots of radio play, sir.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (3)<\/character>\n    <dialogue>COLONEL<\/dialogue>\n    <scene_description>Who are you?<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Blue Moon Boys.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>I did not see that record of yours on the jukebox... What label are you on?<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Sun... Sun Records. Sam Phillips.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Sun... If I were you, young man, I would have a talk with my manager.<\/dialogue>\n    <character>SCOTTY<\/character>\n    <dialogue>That's me.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Hmm... Well, if you are his manager I have two words for you: one is distribution, and the other is distribution... The pie is not always free.<\/dialogue>\n    <scene_description>Colonel turns to the assembled company.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Alright, remember folks, show time is snow time! Hank Snow time. See you all in New Orleans.<\/dialogue>\n    <scene_description>With this, Colonel is gone. CLOSE ON Bill holding yet another forkful of pie.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Free pie, huh? What's that supposed to mean?<\/dialogue>\n    <scene_description>Colonel taps on the glass and reiterates one last time:<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Distribution.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>It means our record should be on that jukebox.<\/dialogue>\n    <scene_description>A glimmer of tension between Elvis and Scotty. DISSOLVE THROUGH another poster, and another. \"Elvis Presley and the Blue Moon Boys\" climbing up the bill. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>INT. AUDITORIUM - NIGHT<\/character>\n    <dialogue>Elvis busts two strings on his guitar! He stands, blue- suited, legs apart, motionless... Teenage fans sizzling like eggs in a pan.<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(A cappella)<\/parenthetical>\n    <dialogue>I'm gonna hold my baby As tight as I can Well, tonight she'll know I'm a mighty, mighty, man I heard the news There's good rockin' tonight<\/dialogue>\n    <scene_description>Then suddenly, Elvis' body jackknifes! Scotty and Bill take their cue. The crowd loses it!<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Well, we're gonna rock We gonna rock Let's rock C'mon and rock...<\/dialogue>\n    <scene_description>As Elvis apes fornication, Hank, spruced and ready, joins Colonel and his son Jimmie, now sporting slick pompadour and sideburns, in the wings just in time to observe... A PAIR OF PANTIES landing center stage!<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>We're gonna rock All our blues away...<\/dialogue>\n    <scene_description>To Hank's horror, he sees another PAIR OF PANTIES! And ANOTHER! Elvis caricatures an orgasmic shimmy.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>Colonel, is that a pair of young lady's intimates I see upon the stage?<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Yes, I believe it is, Hank.<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>That best not happen when he sings one of my songs.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>I'm sure it won't.<\/dialogue>\n    <scene_description>An apoplectic Hank storms off. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>INT. MOTEL - ROOM - NIGHT<\/dialogue>\n    <dialogue>Elvis is pacing with the phone, just his pants on. A TAPPING at the door, a FEW GIRLS GIGGLE outside.<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Baby, no... It's just part of our act. We're savin' ourselves, like we said... Love you...<\/dialogue>\n    <scene_description>The CLICK of the phone. He falls back onto the bed. Then there comes a tapping. Softly. Steadily.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Is that a cheeseburger I hear knocking at my door, Scotty?<\/dialogue>\n    <scene_description>Shirtless, Elvis gets up and opens the door to find a doe- eyed FEMALE FAN... She walks past Elvis, into the room. The fan lowers of the strap of her dress and they fall to the bed together. We PAN OFF TO a map of Florida.<\/scene_description>\n    <character>INT.\/EXT. CHEVY BEL AIR - DAY<\/character>\n    <dialogue>Scotty drives. Elvis looks despondent.<\/dialogue>\n    <character>SCOTTY<\/character>\n    <dialogue>Aw, come on, EP. Life on the road ain't the concern of folks back home.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Why don't you try one of these?<\/dialogue>\n    <scene_description>Bill offers up a small, white pill. Elvis considers it...<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Put the pep back in your step.<\/dialogue>\n    <scene_description>Elvis takes it with a swig of coke and we CUT TO:<\/scene_description>\n    <character>EXT. DAYTONA CARNIVAL - STAGE - NIGHT<\/character>\n    <dialogue>In a shower of panties, Elvis and the boys scuttle off stage, past Colonel. Jimmie follows Elvis.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>JIMMIE<\/dialogue>\n    <scene_description>Elvis! Elvis! I told them. I told them but they didn't wanna believe me! You're one of a kind! You're something else and I promise, I'll put my heart in it. I wanna be just like you! Colonel looks to ashen Hank, trembling with rage.<\/scene_description>\n    <character>HANK SNOW<\/character>\n    <dialogue>I can no longer in good conscience appear onstage with that boy!<\/dialogue>\n    <character>COLONEL<\/character>\n    <parenthetical>(nonplussed)<\/parenthetical>\n    <dialogue>It is a conundrum, a conundrum...<\/dialogue>\n    <character>HANK SNOW<\/character>\n    <dialogue>After I perform, I shall spend the night in prayer.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>And I will do what needs to be done.<\/dialogue>\n    <character>EXT. CARNY CAMP - BACKSTAGE - NIGHT<\/character>\n    <dialogue>Music, laughter. Through the doorway of Hank Snow's trailer, we see Hank in silent prayer. Emerging from the trailer, he discovers a backstage petting party and slams his door shut in disgust. Scotty and a showgirl make their way through the party, past pompadoured Jimmie performing on top of a table. They tumble past Colonel, and into one of the trailers. Elvis apart, gazing at the Ferris wheel, perturbed.<\/dialogue>\n    <character>INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)<\/character>\n    <dialogue>OLD COLONEL<\/dialogue>\n    <scene_description>I saw him alone, lost. A good promoter knows the perfect moment... We FOLLOW Old Colonel's sun-spotted claw as it almost comes to rest on Elvis' shoulder.<\/scene_description>\n    <character>SCOTTY (V.O.)<\/character>\n    <dialogue>Elvis!!!<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>EXT. CARNY CAMP - NIGHT (1955)<\/character>\n    <dialogue>Colonel, unseen, is standing behind Elvis. Scotty, Bill, Jimmie and a bevy of girls are making their way towards an enormous, illuminated clown's mouth.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Elvis, let's go!<\/dialogue>\n    <scene_description>Elvis runs after them.<\/scene_description>\n    <character>EXT.\/INT. CARNIVAL - HALL OF MIRRORS - NIGHT<\/character>\n    <dialogue>Trailing the rest of the gang, Elvis enters the Hall of Mirrors under the watchful gaze of ROY LUMOUS, the carny fixer, lurking in the shadows. We see Colonel appear in the reflection of a mirror. He passes Lumous, speaking in a secret carny language:<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>You ceaz-ould get leaz-ost in heaz- ere.<\/dialogue>\n    <character>LUMOUS<\/character>\n    <dialogue>Yeaz-ou ceaz-ould.<\/dialogue>\n    <scene_description>Lumous pulls a lever.<\/scene_description>\n    <character>INT. CARNIVAL - HALL OF MIRRORS - NIGHT<\/character>\n    <dialogue>The whole party reflected in the mirrors. Lumous' tattooed hand closes a mirrored door. As if by magic, Scotty, Bill, and the others disappear before our eyes, leaving Elvis alone.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Fellas?... Bill?... Quit fooling around.<\/dialogue>\n    <character>COLONEL (O.S.)<\/character>\n    <dialogue>Lost, my boy?...<\/dialogue>\n    <scene_description>Elvis spins, surprised by the apparition of the Colonel.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Colonel Parker, sir...<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>You look lost.<\/dialogue>\n    <scene_description>Elvis looks around, but he cannot even guess the way out. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>ELVIS<\/dialogue>\n    <parenthetical>(laughing to self)<\/parenthetical>\n    <dialogue>Well, I was with the guys, then they just... Yeah, I guess I am.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>The roar of the crowd, life on the road. Then calling home, pretending to loved ones nothing has changed, when everything has... Lost.<\/dialogue>\n    <scene_description>Elvis tries to laugh it off.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>I'm sorry, sir. I meant I don't know the way out.<\/dialogue>\n    <scene_description>Colonel jovially concurs.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>That's precisely what I am saying. I saw you, standing apart from the others, burdened... Like you 'don't know the way out of this.'<\/dialogue>\n    <scene_description>Colonel pushes a mirror in which Elvis is reflected. It swings open, revealing a shadowy world behind the midway.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>But I do... Allow me to show you.<\/dialogue>\n    <character>ZEENA (V.O.)<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Snowman's comin', yes, he's comin'...<\/dialogue>\n    <character>EXT. CARNIVAL - NIGHT<\/character>\n    <dialogue>Elvis follows the Colonel as he skirts the canvas backs of the tents, greeting roustabouts and freaks warmly as he goes. Leaning into a group of LITTLE PEOPLE:<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Miss Becky, Miss Kathy. A reaz-ed one with the reaz-ubes?<\/dialogue>\n    <scene_description>The group giggles and nods.<\/scene_description>\n    <character>COLONEL<\/character>\n    <parenthetical>(to Elvis)<\/parenthetical>\n    <dialogue>Snowfall.<\/dialogue>\n    <scene_description>Colonel takes in their surroundings with a gesture of his cane. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>COLONEL<\/dialogue>\n    <scene_description>The language of the carnival. I'm one of them. I came into this world an orphan, you see, in Huntington, West Virginia... But I ran away, to join the circus.<\/scene_description>\n    <character>ZEENA (O.S.)<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>To sprinkle you with snow...<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>You're either circus, or you're not. It's in your nature.<\/dialogue>\n    <character>ZEENA<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>He'll say 'one, two, three,' and<\/dialogue>\n    <scene_description>you'll be... In cotton candy land... They come upon Zeena on the steps of her trailer.<\/scene_description>\n    <character>COLONEL<\/character>\n    <parenthetical>(to Zeena)<\/parenthetical>\n    <dialogue>Al-A-Ga-Zam.<\/dialogue>\n    <character>ZEENA<\/character>\n    <dialogue>Al-A-Ga-Zam.<\/dialogue>\n    <character>COLONEL<\/character>\n    <parenthetical>(to Elvis)<\/parenthetical>\n    <dialogue>Madam Zeena and I had a mentalist act together.<\/dialogue>\n    <parenthetical>(to Madam Zeena)<\/parenthetical>\n    <dialogue>Madam Zeena, young Mr. Presley.<\/dialogue>\n    <character>ZEENA<\/character>\n    <dialogue>Poor, white boy from Mississippi, sings and the very rocks and stones stand and follow...<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>And some of the girls, too, ma'am.<\/dialogue>\n    <character>ZEENA<\/character>\n    <parenthetical>(to Colonel)<\/parenthetical>\n    <dialogue>You'll go far with the Colonel.<\/dialogue>\n    <scene_description>Elvis looks confused as he and the Colonel move off.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>I saw you perform at the 'Hayride.'<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>ELVIS<\/dialogue>\n    <scene_description>You were there?<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Yes, I was. And seeing you there made me realize it was our destiny to be together.<\/dialogue>\n    <scene_description>They stop walking and Colonel looks Elvis in the eye.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>I wish to promote you, Mr. Presley.<\/dialogue>\n    <scene_description>Without missing a beat:<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>My brother told me you would come one day.<\/dialogue>\n    <scene_description>Colonel was not expecting this. Colonel brings his cane slowly to his forehead, and punts on what he saw outside the \"Hayride.\"<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Ahh... Jesse?<\/dialogue>\n    <scene_description>They have arrived alongside the GEEK TENT.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Yeah, Jesse. He died when we were born.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Twins...<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>But he's with me, always. Mama says when Jesse died, I got the strength of two men.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>That would explain your tremendous energy on stage.<\/dialogue>\n    <scene_description>We follow Colonel's gaze to Hank and his band, signing autographs at a distance. We see Bill, Scotty and Jimmie searching around the carnival, presumably for Elvis.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>The very same energy that upsets Mr. Snow so very much.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Sir, the way the kids react? It's not my fault...<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (3)<\/character>\n    <dialogue>COLONEL<\/dialogue>\n    <scene_description>It is your fault. Elvis, his attention caught by the performance of the Geek, is lost in reverie. Colonel leans over to Lumous, positioned in the ticket booth. He whispers into his ear:<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Nobody on the Erie...<\/dialogue>\n    <scene_description>With this, Lumous dispatches two BOY CLOWNS towards a GRIZZLED TATTOOED CARNY at the base of the Ferris Wheel. Eyes locked on Elvis, Colonel indicates with his cane towards the Ferris wheel and intones with gravity:<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Mr. Presley, are you afraid of heights?<\/dialogue>\n    <scene_description>The Grizzled Tattooed Carny pulls a lever, halting the great wheel.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>No, sir. I'm not.<\/dialogue>\n    <character>EXT. FERRIS WHEEL - NIGHT<\/character>\n    <dialogue>Colonel and Elvis swish into the air. Colonel looks out over the SPARKLING MIDWAY.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Your future, Mr. Presley, blazing before you. Recording contracts, television, even Hollywood.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>You're great, Colonel. The best person I could ever hope to work with. I ain't never said this to anybody before, but I believe I can be great, too.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>We can be great together. But to achieve this, I will need to represent you exclusively.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>What about Hank Snow?<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Hank wants you off the tour.<\/dialogue>\n    <scene_description>CREAK! The wheel stops. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>COLONEL<\/dialogue>\n    <scene_description>I will have to leave Hank. We will both have to make sacrifices... You will need a label with national distribution. The implication sits heavy with Elvis.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>RCA?<\/dialogue>\n    <scene_description>Colonel nods.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>RCA.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Sam Phillips discovered me.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>I know we have a way to help Sam understand that it would be foolish of him to hold you back.<\/dialogue>\n    <character>FLASH FORWARD - INT. SUN STUDIOS - NIGHT<\/character>\n    <dialogue>We come down onto Sun Studios late at night. Through the neon-lit shop window, we see Elvis slumped in a chair. Marion serves him hot cocoa. Sam leans on Marion's desk. There's a feeling of sadness and finality in the air. Sam, as if picking up the Colonel's cue:<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>RCA does have the distribution...<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(sincere)<\/parenthetical>\n    <dialogue>I just need to know that you'll still be there with me as friends.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Hey, don't doubt that. We're not going anywhere. Marion and I just don't wanna stand in your way, that's all.<\/dialogue>\n    <scene_description>Marion leans forward, hand on Elvis's shoulder.<\/scene_description>\n    <character>MARION<\/character>\n    <dialogue>The world needs to hear you sing, Elvis.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>OLD COLONEL (V.O.)<\/dialogue>\n    <scene_description>And you needed the highest payment in the history of music to save your business.<\/scene_description>\n    <character>END FLASH FORWARD.<\/character>\n    <dialogue>EXT. FERRIS WHEEL - NIGHT<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>It's just business, show business. To be truly great requires truly great sacrifices. You will need to be free of any entanglements...<\/dialogue>\n    <scene_description>As the CAMERA TILTS UP TO the stars, the haunting sound of Elvis' \"Tomorrow Night.\"<\/scene_description>\n    <character>FLASH FORWARD - EXT. TEEN CANTEEN - NIGHT<\/character>\n    <dialogue>We TILT DOWN to discover a row of parked cars. We reveal Elvis in his pink tux. Dixie, in her prom dress, crying.<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(burdened)<\/parenthetical>\n    <dialogue>Colonel says that with all the publicity that's gonna be comin', well, he might have to put it out there that...<\/dialogue>\n    <scene_description>He's nervous to say this next thing, guilty...<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>I don't have a girl...<\/dialogue>\n    <character>DIXIE<\/character>\n    <parenthetical>(hurt)<\/parenthetical>\n    <dialogue>Colonel says, Elvis? Or you say?<\/dialogue>\n    <scene_description>Elvis stares into her eyes.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>I love you, Dixie Locke. I always will...<\/dialogue>\n    <character>END FLASH FORWARD.<\/character>\n    <dialogue>EXT. FERRIS WHEEL - NIGHT<\/dialogue>\n    <dialogue>Elvis still in a reverie, imagining Dixie's feelings. Colonel leans in and breaks him from his reverie with:<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>COLONEL<\/dialogue>\n    <scene_description>And then we will need your parents' legal commitment. They may need a bit of convincing themselves...<\/scene_description>\n    <character>FLASH FORWARD - INT. SUN STUDIOS - DAY<\/character>\n    <dialogue>As Marion ushers Gladys and Vernon towards a table of paperwork, Gladys whispers to Vernon.<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>Sam Phillips is a good man, who we can trust; we don't know this Colonel from a nail in the wall...<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>I am of the firm belief that family is the most important thing in the world. With that in mind, I've taken the liberty of making these contracts out in the name of 'Elvis Presley Enterprises,' a family business.<\/dialogue>\n    <scene_description>Colonel gestures in the air.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>And I was thinking... 'Vernon Presley: Business Manager!'<\/dialogue>\n    <scene_description>The room applauds. Vernon is dumbfounded by the status bestowed upon him.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>What do you think, Daddy?<\/dialogue>\n    <character>VERNON<\/character>\n    <dialogue>I like it very much, son.<\/dialogue>\n    <scene_description>Colonel notices Cousin Billy, excitedly looking on.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>You know Billy, Elvis is going to need a lot of help on the tour...<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Hell, you could be my road manager one day, Billy!<\/dialogue>\n    <scene_description>Billy beams, and all laugh. Colonel solemnly signs and offers the pen to Gladys. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>COLONEL<\/dialogue>\n    <scene_description>Mrs. Presley, your son has a unique gift. It's as if he has the strength of two men inside of him. Elvis clocks this unspoken moment of collusion between them. Gladys stares, pen suspended above the contract. END FLASH FORWARD.<\/scene_description>\n    <character>EXT. FERRIS WHEEL - NIGHT<\/character>\n    <dialogue>Elvis looks away from the Colonel, out over the midway.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>You know, Colonel, I'd do just about anything to make sure my mama and daddy never have to live in no poverty ever again...<\/dialogue>\n    <character>FLASH FORWARD - INT. SUN STUDIOS - DAY<\/character>\n    <dialogue>Gladys looks at all the beaming faces in the room. Elvis tucks Gladys' hand inside of his.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Say yes, Mama. It's gonna turn out so nice.<\/dialogue>\n    <scene_description>Then, ever-so-slowly, Gladys puts pen to paper. END FLASH FORWARD.<\/scene_description>\n    <character>EXT. FERRIS WHEEL - NIGHT<\/character>\n    <dialogue>ELVIS<\/dialogue>\n    <scene_description>I wasn't foolin' when I told those other kids I was gonna buy 'em a Cadillac one day.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>With me, my boy, we could buy them two Cadillacs.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>A hundred...<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Two hundred. A thousand...<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(enjoying the game)<\/parenthetical>\n    <dialogue>A million...<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>COLONEL<\/dialogue>\n    <scene_description>An aeroplane?<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>A rocket ship!<\/dialogue>\n    <parenthetical>(as they laugh)<\/parenthetical>\n    <dialogue>Well, maybe not a rocket ship; Mama don't like me to fly. But me, I've always wanted to fly. Fast. Faster than the speed of light to the Rock of Eternity...<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>The Rock of Eternity?<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(slowly revealing)<\/parenthetical>\n    <dialogue>Captain Marvel Jr. He's my favorite comic book hero. He flies.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>What about you, Mr. Presley? Are you ready to fly?<\/dialogue>\n    <scene_description>Elvis turns back and looks Colonel directly in the eye.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Yes, sir, I'm ready. Ready to fly.<\/dialogue>\n    <character>FLASH FORWARD - INT. SUN STUDIOS - DAY<\/character>\n    <dialogue>With a FLASH, the iconic photograph of Elvis Presley and Colonel Tom Parker's union. END FLASH FORWARD.<\/dialogue>\n    <character>EXT. FERRIS WHEEL - NIGHT<\/character>\n    <dialogue>As the wheel turns, Elvis and the Colonel do, indeed, appear to be flying...<\/dialogue>\n    <character>INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)<\/character>\n    <dialogue>To a \"DNA\" track, we APPROACH a noir-lit Elvis caged in an abstract thicket of microphones.<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>My boy's gift was to understand how young people felt...<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>ELVIS<\/dialogue>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Weeeeeeeell since my baby left me! I found a new place to dwell...<\/dialogue>\n    <scene_description>The voices of gray-suited EXECUTIVES in the shadows:<\/scene_description>\n    <character>EXECUTIVES (V.O.)<\/character>\n    <dialogue>Morbid. Odd. We can't release this.<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>It's down at the end of lonely street at heartbreak hotel...<\/dialogue>\n    <scene_description>We DISSOLVE THROUGH HEADLINES: \"First No. 1!\" \"The King of Western Bop!\" \"First Gold Record! \"<\/scene_description>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>It was a hit. After hit, after hit.<\/dialogue>\n    <character>EXT. GRACELAND - GATES - DAY (1956)<\/character>\n    <dialogue>CLOSE ON an Elvis number plate.<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>Together, we made a blizzard.<\/dialogue>\n    <scene_description>We see a candy-pink Cadillac swing through a wooden gate, a sunglass-ed Dodger hanging out a window. They pass grazing cattle and a sign: \"SOLD! GRACELAND FARM.\"<\/scene_description>\n    <character>MONTAGE - INT.\/EXT. GRACELAND - DAY<\/character>\n    <dialogue>In front of a white-columned 1930s Colonial mansion, Elvis bounds from the car, beaming as he holds out the keys to Gladys. Gladys crosses the threshold in tears. Vernon hangs back in awe. Before our eyes, the interior of Graceland transforms into all that money can buy! As televisions and phones are being unpacked, we see Gladys, now in a different costume, standing with her newly introduced MAID. A little flummoxed, Gladys follows the maid as she carries a brand new MIXER to the kitchen. We WHIP PAN to Gladys, now in a different costume on a different day, chasing chickens past the maid who is laying out fine china on the dining table.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>Gladys herds the chickens into the front yard and through a dozen Cadillacs, finally mustering them towards Dodger. A football suddenly smashes amidst the chickens. Irritated, Dodger hurls the football back to the horse yards where Elvis catches it and is crash-tackled by the West cousins as Jerry looks on. A noisy GO-CART driven by Billy cuts through the fray and through the Cadillacs, almost colliding with Gladys and the chickens. WIDE SHOT: a portrait of the mayhem. CRANE DOWN through the trees to discover the rickety wooden fence is now replaced by the famous music gates, fans gathered around, opening as delivery trucks make their way through.<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>I booked him on television, I got him that screen test, and a seven- picture deal with Paramount!<\/dialogue>\n    <character>END MONTAGE.<\/character>\n    <dialogue>INT. GRACELAND - DAY<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>But most importantly...<\/dialogue>\n    <scene_description>We follow the boxes as they're unloaded from the truck outside and carried into Graceland by two workmen.<\/scene_description>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>I created something never before seen. One day it would become known as...<\/dialogue>\n    <scene_description>CAMERA moves to a box that explodes open with hundreds of 'Loving You' cushions with Elvis' face on it.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Merchandise! Your face on every conceivable object!<\/dialogue>\n    <scene_description>Colonel scoops the cushions up, throwing them towards Vernon, Elvis, Dodger, Gladys, and Cousin Billy.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Teddy Bear perfume, Elvis lipsticks...<\/dialogue>\n    <scene_description>Diskin takes a plaster bust from its box.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>And plaster busts!<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>DISKIN<\/dialogue>\n    <scene_description>... of questionable likeness. Colonel scoops up one of the 'I Love Elvis' pins.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Something for everyone to show their love... Oh look, Dodger, what's that behind your ear?<\/dialogue>\n    <scene_description>Colonel leans in and does a magic trick, pulling the pin from behind Dodger's ear.<\/scene_description>\n    <character>GLADYS (O.S.)<\/character>\n    <dialogue>I hate Elvis?<\/dialogue>\n    <scene_description>Colonel's face darkens. Gladys is holding one of the other 'I Hate Elvis' pins.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Yes, I hate Elvis. To my way of thinking, 'I Love Elvis' is easy to sell, but those that hate your son will do so whether we profit or not.<\/dialogue>\n    <scene_description>He takes the pin from Gladys and turns to Elvis.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>After all, what is hate worth if it's free?<\/dialogue>\n    <scene_description>Elvis takes the pin and examines it while considering the Colonel's point. After a heavy moment, Elvis cracks a smile. He stands and pins it on his lapel.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>The snowman strikes again...<\/dialogue>\n    <scene_description>They all laugh. CUT AWAY to Gladys, a look of concern.<\/scene_description>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>But what was it people hated exactly?<\/dialogue>\n    <scene_description>We ZOOM down on the 'I Hate Elvis' pin.<\/scene_description>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>Even in high school, Elvis was listening to Black radio, going to their churches, and hanging out on Beale Street...<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>EXT. BEALE STREET (MEMPHIS) - DAY (1954)<\/character>\n    <dialogue>The 'hate' badge blossoms into a flower, pinned to the lapel of a dapper African-American gent painted on a mural on the side of LANSKY BROS. clothing store. We pan off the building to reveal: HIGH WIDE OVER the two miles of Beale Street, a thriving, densely-packed hub of Black culture.<\/dialogue>\n    <character>INT.\/EXT. CLUB HANDY - CONTINUOUS<\/character>\n    <dialogue>Through a second-story window, BIG MAMA THORNTON, a dynamic singer with a deep, rich voice, rehearses with her BAND.<\/dialogue>\n    <character>BIG MAMA THORNTON<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Youuuu ain't nuthin' but a hound dog! Been snoopin' round my door!<\/dialogue>\n    <scene_description>The camera descends...<\/scene_description>\n    <character>EXT. BEALE STREET (MEMPHIS) - DAY<\/character>\n    <dialogue>... as the Crown Electric truck pulls up to the curb.<\/dialogue>\n    <character>BIG MAMA THORNTON (V.O.)<\/character>\n    <parenthetical>(vocal)<\/parenthetical>\n    <dialogue>You ain't nuthin' but a hound dog! Been snoopin' round my door!<\/dialogue>\n    <scene_description>We PICK UP ON the legs of Elvis as he alights in his uniform, pink socks, and two-tone shoes. He walks through the bustling crowd as we see portraits of life on Beale.<\/scene_description>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>Elvis wasn't just into the music. It was the look...<\/dialogue>\n    <character>INT.\/EXT. LANSKY BROS. - CONTINUOUS<\/character>\n    <dialogue>Elvis stops, admiring a peacock-dapper gentlemen's store, resplendent with the styles of the Black music scene.<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>Bernard Lansky dressed everyone from Duke Ellington to B.B. King.<\/dialogue>\n    <scene_description>THROUGH the window, B.B. KING is fitted by LANSKY amidst bright, Lifesaver colors. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>OLD COLONEL (V.O.)<\/dialogue>\n    <scene_description>Elvis sought out the styles and the stars of the beating heart of Black music in the South... Elvis, face against the glass, gapes in admiration. Lansky shows B.B. to the door.<\/scene_description>\n    <character>LANSKY<\/character>\n    <dialogue>We'll have everything ready for Chicago.<\/dialogue>\n    <character>B.B. KING<\/character>\n    <dialogue>Well I hope Chicago is ready for these nice threads!<\/dialogue>\n    <character>LANSKY<\/character>\n    <dialogue>Knock 'em dead.<\/dialogue>\n    <scene_description>Elvis watches as B.B. jumps in his car and disappears down the street, then turns back to Mr. Lansky.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>That was Mr. B.B. King.<\/dialogue>\n    <character>LANSKY<\/character>\n    <dialogue>Indeed it was. And you would be... eyeball buying?<\/dialogue>\n    <scene_description>Elvis' eyes turn back to a particularly suave pink suit displayed prominently in the window.<\/scene_description>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>... and pretty soon, they sought him out, too.<\/dialogue>\n    <character>MATCH CUT TO:<\/character>\n    <dialogue>INT.\/EXT. LANSKY BROS. - DAY (1956)<\/dialogue>\n    <dialogue>The same pink suit in Lansky's window and now beside it, a photo of Elvis wearing the suit on stage.<\/dialogue>\n    <character>LANSKY<\/character>\n    <dialogue>Son, ever since you first came in here, you've been saying you're gonna buy me out but I told you...<\/dialogue>\n    <scene_description>We push past the window to where Elvis is now together with B.B. and Lansky, buying up the store. Clerks' arms are piled with Elvis' purchases: brightly-striped shirts and jackets of every description.<\/scene_description>\n    <character>LANSKY<\/character>\n    <dialogue>Buy from me, don't buy me out!<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>ELVIS<\/dialogue>\n    <scene_description>Mr. Lansky, it's Milton Berle. The whole of America will be watching!<\/scene_description>\n    <character>LANSKY<\/character>\n    <dialogue>I don't watch television.<\/dialogue>\n    <character>B.B. KING<\/character>\n    <dialogue>So what's it gonna be? How are you gonna blow their wigs off?<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Well the network wants me to do a ballad... but I was thinking of cuttin' it up with 'Hound Dog'.<\/dialogue>\n    <scene_description>B.B. contemplating the enormity of it all:<\/scene_description>\n    <character>B.B. KING<\/character>\n    <dialogue>Elvis Presley. 'Hound Dog'. Uncle Miltie. Strange things happening every day...<\/dialogue>\n    <scene_description>As Elvis riffs, starting to give B.B. King a sneak peek of his performance, we MATCH CUT TO:<\/scene_description>\n    <character>INT. NBC STUDIOS (LOS ANGELES) - DAY<\/character>\n    <dialogue>ON Elvis, cutting the music into half time.<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>You ain't nothin' but a hound dog! Cryin' all the time!<\/dialogue>\n    <scene_description>Colonel watches from the studio floor, Diskin beside him.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Behold. Tomorrow all of America is going to be talking about Elvis Presley.<\/dialogue>\n    <scene_description>Elvis launches onto his toes, thrusts his pelvis out towards America, and BOOM!<\/scene_description>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>Suddenly, he became a gateway to Black culture, beamed out into every living room in America...<\/dialogue>\n    <character>INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)<\/character>\n    <dialogue>Elvis' body and sound ripples out through 50 MILLION TVs!<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>ELVIS (V.O.)<\/dialogue>\n    <parenthetical>(vocal)<\/parenthetical>\n    <dialogue>You ain't nothin' but a hound dog! Cryin' all the time!<\/dialogue>\n    <scene_description>As one TV FILLS THE SCREEN, we find ourselves in...<\/scene_description>\n    <character>INT. SENATOR EASTLAND'S HOUSE - FAMILY ROOM - NIGHT<\/character>\n    <dialogue>An ideal American family: MOTHER, THREE DAUGHTERS, and a SON sit around the television, watching Uncle Miltie. Behind them, we glimpse the FATHER in his study, reading the paper, surrounded by SUITED COLLEAGUES.<\/dialogue>\n    <character>INT. NBC STUDIOS (LOS ANGELES) - DAY<\/character>\n    <dialogue>Elvis' performance sends a ripple of laughter out through the predominantly female audience.<\/dialogue>\n    <character>MATCH CUT TO:<\/character>\n    <dialogue>INT. GRACELAND - DAY<\/dialogue>\n    <dialogue>-- another screen, as we find ourselves with Gladys, Vernon, Dixie, and the extended Presley family, all crowded around the television set.<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>Even as a little one, he made me laugh so! He's so funny!<\/dialogue>\n    <character>INT. SENATOR EASTLAND'S HOUSE - STUDY - NIGHT<\/character>\n    <dialogue>A newspaper headline: \"Segregation Unconstitutional: Supreme Court Strikes Down Mississippi Bus Law.\" The paper lowers to reveal the all-American father, SENATOR \"BIG JIM\" EASTLAND, chomping a cigar.<\/dialogue>\n    <character>EASTLAND COLLEAGUE (O.S.)<\/character>\n    <dialogue>And for the next leg of your Racial Integrity tour, we've booked the Overton Park Shell in Memphis...<\/dialogue>\n    <scene_description>But Eastland doesn't hear him, distracted by the sound of his children's laughter. He rises, moving towards the television.<\/scene_description>\n    <character>SENATOR EASTLAND<\/character>\n    <dialogue>What are they laughing about?<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>INT. NBC STUDIOS (LOS ANGELES) - DAY<\/character>\n    <dialogue>Elvis pushes his gyration further and further. The whole experience has taken on a more raw and intense tone.<\/dialogue>\n    <character>INT. SENATOR EASTLAND'S HOUSE - FAMILY ROOM - NIGHT<\/character>\n    <dialogue>The blue light of the television dances across Eastland's disturbed face, boiling with rage.<\/dialogue>\n    <character>SENATOR EASTLAND<\/character>\n    <dialogue>Who the hell is that?<\/dialogue>\n    <character>MRS. EASTLAND<\/character>\n    <parenthetical>(unsettled)<\/parenthetical>\n    <dialogue>It's that boy from Memphis.<\/dialogue>\n    <scene_description>Eastland glances to his besotted daughters, barely able to conceal their desire.<\/scene_description>\n    <character>EASTLAND'S DAUGHTER<\/character>\n    <dialogue>Elvis Presley...<\/dialogue>\n    <scene_description>Eastland does a double-take, catching the same look on the face of his son. A rising, volcanic revulsion as Elvis comes back to real time:<\/scene_description>\n    <character>ELVIS (V.O.)<\/character>\n    <parenthetical>(vocal)<\/parenthetical>\n    <dialogue>And you ain't no friend of mine!<\/dialogue>\n    <character>INT. GRACELAND - LIVING ROOM - DAY<\/character>\n    <dialogue>The Presley family whoops and hollers as Berle kids around with Elvis, pretending to gyrate.<\/dialogue>\n    <character>INT. SENATOR EASTLAND'S HOUSE - FAMILY ROOM - NIGHT<\/character>\n    <dialogue>Eastland strides aggressively toward the television, face contorted in a white rage, body shaking with hate.<\/dialogue>\n    <character>SENATOR EASTLAND<\/character>\n    <dialogue>A white boy from Memphis... moving like a goddamn--?!<\/dialogue>\n    <scene_description>The screen snaps black! A dark chord. The fun is over.<\/scene_description>\n    <character>INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)<\/character>\n    <dialogue>Eastland, isolated. He speaks from behind a desk:<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>SENATOR EASTLAND<\/dialogue>\n    <scene_description>The obscenity and vulgarity of this rock and roll music is obviously a means by which the white man and his children can be driven to the level of the Negro! We PULL BACK and Eastland is on a 1950s TV.<\/scene_description>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>It was putting it on the television that caused the problem... It became politics. And politics ain't good for business.<\/dialogue>\n    <scene_description>Another TV, and another, until the SCREEN is FILLED with 1950s TVs on which outraged critics decry:<\/scene_description>\n    <character>VARIOUS CRITICS (V.O.)<\/character>\n    <dialogue>Vulgarity!\/Mongrel music!\/Bebop is Communism!\/Ask Your Preacher about Jungle Music!<\/dialogue>\n    <character>POLITICIAN (V.O.)<\/character>\n    <dialogue>The subversives who own, control, and dominate the entertainment industry...<\/dialogue>\n    <scene_description>We PUSH THROUGH a headline: \"Public Outcry: Steve Allen under pressure to cancel Elvis.\"<\/scene_description>\n    <character>EXT. HUDSON THEATER (NEW YORK) - DAY (1956)<\/character>\n    <dialogue>TRACKING DOWN the neon-lit \"NBC TELEVISION\" sign that precedes the Steve Allen \"Tonight Show.\"<\/dialogue>\n    <character>POLITICIAN (V.O.)<\/character>\n    <dialogue>... are determined to spread Africanized culture, influencing your children to accept Negroes!<\/dialogue>\n    <scene_description>CAMERA GLIDES OVER the massive crowds of reporters, rubber-necking pedestrians, and Black and white teens spilling over the sidewalk outside. As we start to hear the sweet sound of Elvis' voice singing a gospel song to a simple piano accompaniment, we GO THROUGH the stage door window...<\/scene_description>\n    <character>ELVIS (V.O.)<\/character>\n    <parenthetical>(vocal)<\/parenthetical>\n    <dialogue>I ask the Lord for everything, I count my blessings each day...<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>INT. HUDSON THEATER - REHEARSAL ROOM - CONTINUOUS ACTION<\/character>\n    <dialogue>We DISCOVER Colonel's cane and feet walking across the newspaper-strewn floor. A copy of The Memphis Press- Scimitar is dropped on the ground. Above a photo of Elvis at the fairgrounds on \"colored night,\" a headline reads: \"Rock 'n' Roll Phenomenon Cracks Memphis Segregation Laws.\" The CAMERA TILTS UP...<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>We had to change course fast.<\/dialogue>\n    <scene_description>... and we FIND Elvis at a piano in the corner.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>And he'll come to you, If you'll ask him to. He's only a prayer away. Is your heart filled with pain? Shall I come back again? Tell me dear, are you lonesome tonight?<\/dialogue>\n    <scene_description>Elvis stops, sensing the Colonel's presence. He looks down at one of the headlines at his feet: \"Elvis the Pelvis belongs in the Jungle!\"<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(shaking his head)<\/parenthetical>\n    <dialogue>Elvis the Pelvis... That's one of the most childish expressions I ever heard coming from an adult.<\/dialogue>\n    <scene_description>Elvis looks up to see Scotty and Bill at the other end of the room, reading the papers. Everyone is on eggshells.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Mr. Allen gonna cancel me from the show?<\/dialogue>\n    <character>COLONEL<\/character>\n    <parenthetical>(somber)<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Elvis looks up, ashen. Scotty and Bill are on their feet. They expected as much, but it still stings.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>He's replacing you with America's greatest singer...<\/dialogue>\n    <scene_description>A rack of tail suits is wheeled in, followed by a tailor. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>ELVIS<\/dialogue>\n    <scene_description>Mario Lanza...?<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Someone greater!<\/dialogue>\n    <scene_description>Elvis stands to examine the suits.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>The new Elvis Presley! I snowed him! I snowed him. You wear these here tails, it's a custom job; sing the hound dog; it will be a light-hearted, sophisticated family show.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>I can't move in one of these.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>That's the whole point.<\/dialogue>\n    <scene_description>Colonel stops, sudden gravitas:<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Allen's only agreed as long as there's no wiggling of the hips.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>I can't figure it out. What am I doing wrong? My own mother approves of what I'm doing.<\/dialogue>\n    <scene_description>Colonel points at all the papers on the ground.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Have you seen the papers?<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Yeah, the papers say I shot my mother and smoke marijuana...<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>The papers say your movement has the style of a colored man.<\/dialogue>\n    <scene_description>Colonel picks up the copy of The Memphis Press-Scimitar, featuring Elvis breaking segregation laws.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>And that you are breaking segregation laws.<\/dialogue>\n    <scene_description>Colonel leans in. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>COLONEL<\/dialogue>\n    <scene_description>It's a simple plan. A good plan. You do the Allen show, family style. Tomorrow, we'll return to Memphis and snow them with a 4th of July children's charity concert. Then we can put this unfortunate misstep behind us. Colonel holds the tails up to Elvis. He looks at them.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Now, do we want to go into politics or stay in show business?<\/dialogue>\n    <scene_description>Elvis has no comeback.<\/scene_description>\n    <character>SCOTTY<\/character>\n    <dialogue>Hey Colonel, what do the light- hearted, sophisticated, Blue Moon Boys wear?<\/dialogue>\n    <character>COLONEL<\/character>\n    <parenthetical>(dismissive)<\/parenthetical>\n    <dialogue>We didn't discuss it.<\/dialogue>\n    <scene_description>As Colonel snaps the gap in the clothes rack shut, the CAMERA rushes through black and discovers...<\/scene_description>\n    <character>INT. STEVE ALLEN STUDIOS - STAGE - NIGHT<\/character>\n    <dialogue>Steve Allen, introducing Elvis. Elvis turns to camera, now dressed in the tails. His face is a mask of horror. Staring back at him: a live BASSET HOUND in a top hat. The Blue Moon Boys look on. An abstract nightmare of images: the dog barking; a flat audience not reacting; Steve Allen laughing. A keening scream of humiliation.<\/dialogue>\n    <dialogue>CUT TO: Elvis rushing from the stage, pushing past Scotty and Bill who follow.<\/dialogue>\n    <character>INT. STEVE ALLEN STUDIOS - REHEARSAL ROOM - LATER<\/character>\n    <dialogue>Elvis bursts into the room tearing off the tails--<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>God damn it... damn it!<\/dialogue>\n    <scene_description>He hurls the tails on the ground, turning to Scotty and Bill who are right behind him. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>ELVIS<\/dialogue>\n    <scene_description>He could have given me some warning. I know how to do a skit. I could have made it funny.<\/scene_description>\n    <character>SCOTTY<\/character>\n    <dialogue>It weren't meant to be funny. It were meant to make fun of us and it did. It were the most stupid, embarrassing, humiliating thing I ever did.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>What the hell do you want me to do about it?<\/dialogue>\n    <scene_description>Scotty, totally out of character, yells:<\/scene_description>\n    <character>SCOTTY<\/character>\n    <dialogue>We're musicians!<\/dialogue>\n    <scene_description>All three of them are silenced by the thought.<\/scene_description>\n    <character>SCOTTY<\/character>\n    <dialogue>Well, we used to be. We used to be a band, now we're... I don't know what we are.<\/dialogue>\n    <scene_description>He looks at Elvis and turns to go.<\/scene_description>\n    <character>SCOTTY<\/character>\n    <dialogue>I'll... see you back in Memphis.<\/dialogue>\n    <scene_description>Only Bill now, he nods his head with deep affirmation.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>You looked good in them tails...<\/dialogue>\n    <scene_description>He turns and leaves.<\/scene_description>\n    <character>EXT. GRACELAND - FRONT GATES - DAY<\/character>\n    <dialogue>Elvis' purple El Dorado arrives at the front gates, thronged as usual with fans. Vernon drives, Elvis beside him. Elvis is visibly shaken as he sees that some of the fans hold signs that read: \"No New Elvis,\" \"We Want Old Elvis,\" etc...<\/dialogue>\n    <character>VERNON<\/character>\n    <dialogue>Not signing today, son?<\/dialogue>\n    <scene_description>Elvis just stares ahead, despondent. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>INT. GRACELAND - LIVING ROOM - DAY<\/character>\n    <dialogue>The family are mid-argument. The news plays on the television. Vernon changes the channel.<\/dialogue>\n    <character>VERNON<\/character>\n    <dialogue>These bus boycotts aren't doing nothing for nobody far as I can see.<\/dialogue>\n    <parenthetical>(to Elvis)<\/parenthetical>\n    <dialogue>I like what you done with the TV thing. I like the bit with the dog... I like dogs<\/dialogue>\n    <scene_description>THROUGH the window, Billy can be seen playing in Elvis' eccentric German MESSERSCHMITT CAR. Dodger sits at the dining room table while Gladys prepares for dinner. Strewn around the house are teddy bears, fan mail, and new appliances.<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Those New York people were using you to poke fun at the whole South! Getting a laugh outta putting the hillbilly in a tail coat and singin' to a dog.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>God damn it, Mama, it were either that or get canceled! Then that's it for television. And Colonel says we running outta states I'm welcome in, and they don't pay unless I can perform. Colonel says I play the charity concert tomorrow night...<\/dialogue>\n    <scene_description>Elvis can't bring himself to say \"the new Elvis.\"<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>... family style. Then everybody calms down and we can get back on track.<\/dialogue>\n    <character>VERNON<\/character>\n    <dialogue>Someone's gotta think about keeping a roof over our heads.<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>We've always managed a roof over our head, Vernon!<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Daddy's business manager, Mama, it's his job.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>GLADYS<\/dialogue>\n    <scene_description>We was doin' just fine, before that man came along.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(defensive)<\/parenthetical>\n    <dialogue>Colonel's got us all this.<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>I don't want all this! You're unhappy...<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(tries to deny it)<\/parenthetical>\n    <dialogue>I'm not...<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>You're losing yourself, baby. The way you sing and move, it's God- given, so there can't be nothin' wrong with it. Satnin' knows...<\/dialogue>\n    <scene_description>Suddenly, Billy and a tangle of muddy cousins burst in!<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Hey, E.P., can we close down the movie house and see Godzilla tonight!?<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>No! And don't tramp mud in the house, Billy!<\/dialogue>\n    <parenthetical>(back to Gladys)<\/parenthetical>\n    <dialogue>You ain't never happy! No matter what I do, no matter how much I give you, it ain't never enough!<\/dialogue>\n    <scene_description>He's looking at his family. They love him dearly, but they can't relate to the life he leads.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(making for the door)<\/parenthetical>\n    <dialogue>And I wish you wouldn't drink so much! It ain't good for ya!<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>Baby! Come back!<\/dialogue>\n    <scene_description>But he's gone.<\/scene_description>\n    <character>EXT. GRACELAND - DUSK<\/character>\n    <dialogue>Elvis peels out in his PURPLE CADILLAC EL DORADO.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>EXT. GATES OF GRACELAND - CONTINUOUS ACTION<\/character>\n    <dialogue>He negotiates the car through fans gathered at the gates. From a spot across the street, a BLACK SEDAN follows.<\/dialogue>\n    <character>INT.\/EXT. EL DORADO - CONTINUOUS ACTION<\/character>\n    <dialogue>Elvis punches on the radio. \"Hound Dog\" plays. He flips through the stations: another Elvis track, and another. He changes the station again, landing on \"Rip It Up.\" The song invades the soundtrack and the El Dorado tears off as we TILT UP TO downtown Memphis.<\/dialogue>\n    <character>EXT. BEALE STREET - NIGHT<\/character>\n    <dialogue>HIGH, OUTSIDE, LOOKING IN THROUGH the second-story window, above which hangs the neon sign of \"Club Handy.\" CRANE DOWN to see a sharply-dressed B.B. King leaning on the sill. He sees the El Dorado squeal to a halt across the road. RACK DOWN THE LINE. Break, grind, switch off, key out, slam door. Elvis is out, collar up.<\/dialogue>\n    <character>B.B. KING<\/character>\n    <dialogue>E.P.!<\/dialogue>\n    <scene_description>Elvis spies the long line outside the door and a couple patrons pointing in recognition. B.B. mimes 'I got you.' CAMERA JAMS UP TO the other window and THROUGH INTO...<\/scene_description>\n    <character>INT. CLUB HANDY - NIGHT<\/character>\n    <dialogue>Elvis and B.B. are now outside the upstairs doors to the club. They're greeted by the owner, SUNBEAM MITCHELL.<\/dialogue>\n    <character>B.B. KING<\/character>\n    <dialogue>Listen man, if you're sad and you wanna be sad, you're at the right place. If you're happy and you wanna be happy, guess what? You're at the right place. What you need is the tonic that ails you.<\/dialogue>\n    <character>LITTLE RICHARD (O.S.)<\/character>\n    <dialogue>Let it all hang out!<\/dialogue>\n    <scene_description>The many patrons inside the club repeat the call. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>B.B. KING<\/dialogue>\n    <scene_description>Listen to the man. Let it all hang out. Come on, let it all hang out. Memphis photographer ERNEST WITHERS shakes hands with B.B. and Elvis. Then as the doors swing open, B.B. King leads Elvis through the ecstatic throng. As usual, Elvis the only white face in the room. A flash of lightning on stage in the form of a rouged and lipsticked face beneath a towering bouffant: 19-year-old wild-child LITTLE RICHARD.<\/scene_description>\n    <character>LITTLE RICHARD<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>A-wop-bop-a-loo-bop-a-wop-bam-<\/dialogue>\n    <scene_description>boom! Tutti Frutti, good booty! Tutti Frutti, good booty! To the delight of the crowd, Little Richard bangs the piano like a percussive instrument.<\/scene_description>\n    <character>LITTLE RICHARD<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>I got a girl named Sue She knows just what to do I got a girl named Sue She knows just what to do<\/dialogue>\n    <scene_description>Elvis follows B.B. snaking through the crowd, as Sunbeam Mitchell guides them across the room.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Man, he is cuttin' it!<\/dialogue>\n    <character>B.B. KING<\/character>\n    <dialogue>Sister Rosetta found this kid in the backwaters of Georgia.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>I should get the Colonel to book him on 'Steve Allen'... they gonna love his moves.<\/dialogue>\n    <scene_description>On top of the piano now, Little Richard pulls open his shirt to the delight of the crowd.<\/scene_description>\n    <character>LITTLE RICHARD<\/character>\n    <parenthetical>(vocal)<\/parenthetical>\n    <dialogue>A-wop-bop-a-loo-bop-a-wop-bam-<\/dialogue>\n    <scene_description>boom! A constant flutter of girls surround B.B. and Elvis as they slide into their corner table. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>ELVIS<\/dialogue>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>A-wop-bop-a-loo-bop-a-wop-bam-<\/dialogue>\n    <scene_description>boom! (speaks) Man, he sings the hell outta that song. I'd love to record that. B.B. eases back, cigarette dangling from his fingers.<\/scene_description>\n    <character>B.B. KING<\/character>\n    <dialogue>If you do, you'll make a whole lot more money than that kid could ever dream of...<\/dialogue>\n    <scene_description>Little Richard's voice cuts through raucous applause:<\/scene_description>\n    <character>LITTLE RICHARD<\/character>\n    <dialogue>She's a sister of the Lord and a sister to all of us, without whom we would not even be here... Sister Rosetta Tharpe!<\/dialogue>\n    <scene_description>Elvis perks up as SISTER ROSETTA THARPE takes the stage, electric guitar slung over her shoulder.<\/scene_description>\n    <character>SISTER ROSETTA THARPE<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Up above my head, I hear music in the air...<\/dialogue>\n    <scene_description>The energy irresistible, Elvis and B.B. get up from their table and join the audience. A guitar solo takes us outside, where we can see the parked car that tailed Elvis.<\/scene_description>\n    <character>B.B. KING<\/character>\n    <dialogue>Friends of yours?<\/dialogue>\n    <character>EXT. BEALE STREET - CONTINUOUS ACTION<\/character>\n    <dialogue>From the car, two SHADOWY FIGURES look up at the window: the silhouette of Elvis dancing with a young girl. The lights of Beale Street go off, and as the noise and energy of Club Handy dissipates, we hear the strains of the Gospel classic \"Working On A Building.\"<\/dialogue>\n    <character>INT. CLUB HANDY - LATER<\/character>\n    <dialogue>Through the window, we can see the crowd has gone,. The club's staff puts chairs on tables.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>Elvis, B.B., Sister Rosetta, Little Richard and the house band hang around for a final drink and a late-night Gospel session. As a song concludes, Elvis and B.B. wander to the bar.<\/dialogue>\n    <character>B.B. KING<\/character>\n    <dialogue>That's a nice ride you rolled up in tonight.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>It's no giant B.B. King bus!<\/dialogue>\n    <scene_description>Beside the bar, B.B. deftly hoists himself through an open window onto the fire escape, Elvis follows.<\/scene_description>\n    <character>B.B. KING<\/character>\n    <dialogue>Big Red! Yeah, I can go where I want, play where I want, and if they don't like it, I can go someplace else. It's about control, man. It's like having my own label: if you don't do the business, the business will do you.<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(brushing it off)<\/parenthetical>\n    <dialogue>I leave all that to the Colonel.<\/dialogue>\n    <character>B.B. KING<\/character>\n    <dialogue>So it's his idea, this \"New Elvis\"?<\/dialogue>\n    <scene_description>Elvis nods as B.B. lights a cigarette.<\/scene_description>\n    <character>B.B. KING<\/character>\n    <dialogue>I don't get it, man. Cats buy your records because they like what you do, not 'cause you're dressed up like some... butler! You really think those kids want to see \"Elvis the butler\" at this Russwood Park gig tomorrow?<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>I ain't wearing no tails. I just got to back off the moves, is all. Colonel says if I don't, they gonna put me in jail.<\/dialogue>\n    <scene_description>B.B. laughs at the prospect.<\/scene_description>\n    <character>B.B. KING<\/character>\n    <dialogue>C'mon man, they're not gonna put you in jail.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>B.B. KING<\/dialogue>\n    <scene_description>They might put me in jail for walking down the street, but you a famous white boy! Too many people are making too much money outta you to put you in jail. The truth of this hangs heavy with Elvis as, from inside, Sister Rosetta develops the jam into one of her songs.<\/scene_description>\n    <character>SISTER ROSETTA THARPE<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Every day... yes! There are strange things happening every day!<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>You think so?<\/dialogue>\n    <character>B.B. KING<\/character>\n    <dialogue>I know so. Colonel's too smart. There's got to be another reason.<\/dialogue>\n    <scene_description>Just then, Ernest Withers calls out through the window:<\/scene_description>\n    <character>ERNEST WITHERS<\/character>\n    <dialogue>Hey, Elvis, B.B.! Give us a smile!<\/dialogue>\n    <scene_description>The FLASH BULB BURNS the SCREEN while the unanswered question is memorialized in Elvis' eyes. \"Strange Things\" takes on a sinister undertone...<\/scene_description>\n    <character>INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)<\/character>\n    <dialogue>We PULL OUT from the photo of B.B. and Elvis, arm-in-arm, now on the front of page of THE MEMPHIS WORLD.<\/dialogue>\n    <character>SISTER ROSETTA THARPE (V.O.)<\/character>\n    <parenthetical>(vocal)<\/parenthetical>\n    <dialogue>Every day... every day...<\/dialogue>\n    <scene_description>More photos: Elvis at the WDIA Goodwill Revue. Elvis at the fairgrounds on \"colored night.\"<\/scene_description>\n    <character>SENATOR EASTLAND<\/character>\n    <dialogue>Elvis and B.B. King at Club Handy, with Rufus Thomas and some colored children at the WDIA Goodwill Revue. Your boy on colored night at the Memphis fairgrounds...<\/dialogue>\n    <scene_description>Senator Eastland stands over Colonel. Through Rosetta Tharpe's high-pitched keening, we catch only snippets: 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>SENATOR EASTLAND<\/dialogue>\n    <scene_description>... found your records... unfit for military duty... acute psychopathic state...<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>I was pretending to be crazy, I wanted out! I was just a boy from Huntington West Virginia.<\/dialogue>\n    <character>SENATOR EASTLAND<\/character>\n    <dialogue>... before the Army, we found no record of you at all...<\/dialogue>\n    <scene_description>Colonel looks up, ashen. Caught.<\/scene_description>\n    <character>SENATOR EASTLAND<\/character>\n    <dialogue>You were never a Colonel, never a Tom, never a Parker.<\/dialogue>\n    <character>EXT. RUSSWOOD PARK BASEBALL STADIUM - NIGHT (1956)<\/character>\n    <dialogue>As the VICE SQUAD installs movie cameras, POLICE erect a barrier separating BLACK and WHITE TEENS. On the open stage on the field, a 4th of July kick line number... As \"Strange Things\" builds menacingly, CRANE HIGH...<\/dialogue>\n    <dialogue>A WHITE PATROL CAR makes its way through the crush of people and traffic outside.<\/dialogue>\n    <character>INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)<\/character>\n    <dialogue>Eastland appears, orating before a Confederate flag.<\/dialogue>\n    <character>SENATOR EASTLAND<\/character>\n    <dialogue>The South will retain segregation. The governor of a sovereign State can use the force at his command...<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>That very night of the charity show, Senator Eastland was holding a segregationist rally not 3 miles away at the Memphis bandshell.<\/dialogue>\n    <character>INT. PATROL CAR - NIGHT (1956)<\/character>\n    <dialogue>A PATROLMAN and a POLICE CHIEF in the front. Elvis in the back, head-to-toe in jet black, but for red tie and socks. Colonel, beaming, leans on his cane beside him. Fans press against the windows. The tension is palpable.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>COLONEL<\/dialogue>\n    <scene_description>The mayor loved you on the 'Steve Allen' show. All the important people did. What are you singing tonight? Elvis, still not looking at him:<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>I made no decision. I'll feel it.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Pay no mind to the big cameras. That's just our friends in the Vice Squad. They don't mean nothin.<\/dialogue>\n    <parenthetical>(to the Police Chief)<\/parenthetical>\n    <dialogue>Ain't that right, Chief?<\/dialogue>\n    <scene_description>The Police Chief, a stone cold affirmation:<\/scene_description>\n    <character>POLICE CHIEF<\/character>\n    <dialogue>As long as you don't so much as wiggle a finger.<\/dialogue>\n    <scene_description>The car pulls up at the back of the open stage and Colonel laughs as they alight.<\/scene_description>\n    <character>EXT. RUSSWOOD PARK BASEBALL STADIUM - CONTINUOUS ACTION<\/character>\n    <dialogue>Colonel guides Elvis through a corridor of police. Elvis approaches his family.<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>Jesse's with us tonight, baby.<\/dialogue>\n    <character>VERNON<\/character>\n    <dialogue>Play it smart out there, son.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>Give 'em hell.<\/dialogue>\n    <character>DEWEY PHILLIPS (O.S.)<\/character>\n    <dialogue>I know a lot of the young people are excited for our next act...<\/dialogue>\n    <scene_description>THE CROWD GOES BESERK. Scotty and Bill take the stage. Before Elvis follows, Colonel leans in for a final word.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>All you gotta do is stand there, sing the nice song, smile the nice smile, no wiggling! And then we can get back to our show business. And have fun!<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>Elvis stares opaquely back.<\/dialogue>\n    <character>DEWEY PHILLIPS (O.S.)<\/character>\n    <dialogue>AND HERE HE IS... ELVIS PRESLEY!!!<\/dialogue>\n    <scene_description>102-103 To deafening applause, Elvis runs on stage. 102-103<\/scene_description>\n    <character>EXT. RUSSWOOD PARK STADIUM - STAGE - CONTINUOUS ACTION<\/character>\n    <dialogue>Arriving at the microphone, he holds his hand up in the air to quiet the audience. The crowd settles, immense tension in the air. Colonel and the police, Gladys, Vernon, Dodger, and Billy, all look on anxiously from the roped-off area.<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(humble)<\/parenthetical>\n    <dialogue>There's been a lot of talk about the New Elvis.<\/dialogue>\n    <scene_description>The crowd boos.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>And you know, that other guy.<\/dialogue>\n    <scene_description>Elvis can see the cameras of the Vice Squad and with a smirk, he raises his pinky finger into the air. The perplexed and bewildered faces of THE CONVALESCENT CHILDREN'S HOME CHARITY COMMITTEE, sitting side-by-side with THE MAYOR, THE MINISTER, and the Police Chief as well as VARIOUS DIGNITARIES. Elvis suggestively wiggles his finger towards the camera.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>You ain't nothing but a hound dog crying all the time...<\/dialogue>\n    <scene_description>A squall of ear-shattering screams and laughter as he mocks the surveillance. CUT TO the stony faces of the Mayor and dignitaries, appalled. After a moment, Elvis looks up and can just hear Senator Eastland's rally on the wind:<\/scene_description>\n    <character>EASTLAND (O.S.)<\/character>\n    <dialogue>... civil and other, to maintain public order, and prevent crime and riots...<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>ELVIS<\/dialogue>\n    <scene_description>There's a lot of people saying a lot of things. Elvis looks to the Colonel. They hold each other's gaze for what seems like an eternity.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>You gotta listen to the people you love.<\/dialogue>\n    <scene_description>He looks to Gladys and Vernon.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>But in the end you gotta listen to yourself.<\/dialogue>\n    <scene_description>Elvis places his guitar down.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>You know, those people in New York are not gonna change me none.<\/dialogue>\n    <scene_description>He glances to Scotty and Bill and whispers to their incredible excitement and delight:<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Trouble.<\/dialogue>\n    <scene_description>Then, in a building crescendo, he virtually screams.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(yells)<\/parenthetical>\n    <dialogue>I'm gonna show you what the real Elvis is like tonight!<\/dialogue>\n    <scene_description>The band kicks in like a Molotov cocktail.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>If you're looking for trouble You came to the right place! If you're looking for trouble Just look right in my face! I was born standing up And talking back...<\/dialogue>\n    <scene_description>14,000 white and Black teenagers thunder the chorus!<\/scene_description>\n    <character>ELVIS\/CROWD<\/character>\n    <parenthetical>(sing)<\/parenthetical>\n    <dialogue>My daddy was a green-eyed mountain<\/dialogue>\n    <scene_description>jack! Because I'm evil, my middle name is misery! 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>The place goes bananas! The rope fence is CRUSHED under the jitterbugging, jiving, writhing youth. The line between Black and white bleeds together in the mayhem.<\/dialogue>\n    <character>ELVIS\/CROWD<\/character>\n    <parenthetical>(sing)<\/parenthetical>\n    <dialogue>I'm evil, evil, evil, as can be!!!<\/dialogue>\n    <scene_description>He dances and grinds, exploding with sexuality.<\/scene_description>\n    <character>ELVIS\/CROWD<\/character>\n    <parenthetical>(sing)<\/parenthetical>\n    <dialogue>So don't mess around, don't mess<\/dialogue>\n    <scene_description>around, Don't mess around with me! He staggers around the stage as if drunk. Falling to the ground, grinding on the mic stand as if making love. Amidst the hysterical youth, a WHITE GIRL deliriously dances with a HIP YOUNG FAN.<\/scene_description>\n    <character>ELVIS\/CROWD<\/character>\n    <parenthetical>(sing)<\/parenthetical>\n    <dialogue>I'm evil, evil, evil as can be!<\/dialogue>\n    <character>INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)<\/character>\n    <dialogue>SENATOR EASTLAND<\/dialogue>\n    <scene_description>He can use these forces to prevent the racial integration of schools if this is necessary under the police power of the States to prevent disorder and riots. In fact it is his duty to preserve order and prevent turmoil and strife within the state. Eastland stops and slowly turns toward the overwhelming din of the hysterical fans.<\/scene_description>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>That night, the noise was so great it could be heard at Eastland's rally.<\/dialogue>\n    <scene_description>Eastland, as he realizes that the hordes are coming.<\/scene_description>\n    <character>EXT. RUSSWOOD PARK STADIUM - FIELD - NIGHT (1956)<\/character>\n    <dialogue>Police try to press the crowd back. Colonel turns to the family. He can see things are getting out of hand.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>COLONEL<\/dialogue>\n    <scene_description>Now, I know that Elvis would want me to look after your safety and I think now would be a very good time to get back into the car.<\/scene_description>\n    <character>VERNON<\/character>\n    <dialogue>What? Now?<\/dialogue>\n    <scene_description>Colonel makes his way over to Diskin. Elvis becomes wildly provocative with RCA's mascot, Nipper the dog.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Our friends at RCA are not gonna be too happy when they hear about that.<\/dialogue>\n    <scene_description>The sergeant's men begin to move the family towards their waiting vehicle. As Colonel repositions himself beneath the stage, it is clear to him that things have gotten completely out of control. He barks to the sergeant:<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Get him off the stage!<\/dialogue>\n    <parenthetical>(to Diskin)<\/parenthetical>\n    <dialogue>Protect the merchandise!<\/dialogue>\n    <character>ELVIS\/CROWD<\/character>\n    <parenthetical>(sing)<\/parenthetical>\n    <character>SO DON'T MESS AROUND, DON'T MESS<\/character>\n    <dialogue>AROUND, MESS AROUND...<\/dialogue>\n    <scene_description>But before Elvis can finish, THE CROWD RUSHES THE STAGE and the sergeant's men surround him. He drops the microphone. The boys abandon their instruments. The police throw a wall around Elvis, dragging him away, as Scotty and Bill are sucked back into the mel\u00e9e.<\/scene_description>\n    <character>INT.\/EXT. PATROL CAR\/RUSSWOOD PARK - NIGHT<\/character>\n    <dialogue>The police sergeant and his men try to hustle Gladys into the car. She stops, seeing Elvis is not yet safe.<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>Elvis! Elvis! Get in the car!<\/dialogue>\n    <scene_description>Elvis gets thrown into a police car as Gladys is dragged by Vernon into the family car. THROUGH the rear window, Elvis glimpses their car and the vehicle with Scotty and Bill departing in different directions. At the center of it all, the Colonel stands with the stage collapsing behind him. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>Elvis drops his head back, looking up as 4th of July fireworks explode all around him. He closes his eyes.<\/dialogue>\n    <character>INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)<\/character>\n    <dialogue>OLD COLONEL<\/dialogue>\n    <scene_description>He didn't listen... Colonel UPTURNS the table!!<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <dialogue>HE DIDN'T LISTEN TO ME!!<\/dialogue>\n    <scene_description>A dramatic, operatic version of 'Jailhouse Rock' builds as we hear the BING-BING-BING of the slot machines, infused with Colonel's heavy breathing.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <dialogue>The charismatic child had no idea of the terrible price we would both pay for his glorious tantrum. I had to find a way out, a way to save him.<\/dialogue>\n    <character>EXT. GRACELAND - DAY (1958)<\/character>\n    <dialogue>Drizzle smears the lonely Cadillacs in the driveway.<\/dialogue>\n    <character>INT. GRACELAND - LIVING ROOM - DAY<\/character>\n    <dialogue>It's gloomy and cold. Gladys sits with Vernon around the fire, Colonel nearby. Elvis on the lounge, singing.<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Well, I went to the bayou just last night There was no moon, but the stars were bright..<\/dialogue>\n    <scene_description>Gladys holds a drink, shaking. Vernon stares blankly ahead. Elvis in shock.<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>No, there's no way I'm letting my baby go to Germany for two years!<\/dialogue>\n    <character>VERNON<\/character>\n    <dialogue>Your cousin all but lost his mind when they sent him to Korea.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>COLONEL<\/dialogue>\n    <scene_description>It is either the army or jail. There's something else, Vernon. I vouched for your integrity, but they've been poking in your background.<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>He passed a bad check to put food on the table. They were hard times...<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>We don't have nothing to be ashamed of! My daddy's a good man.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>But your papa did go to jail. And if you go, too? Well, you know how they are with their flashy headlines. Elvis the draft-dodger, a family of delinquents. We may never book another date or sell another record!<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>This is my fault.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>My boy, don't blame yourself. I was partially responsible.<\/dialogue>\n    <scene_description>Colonel takes an \"I Hate Elvis\" pin from his pocket.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>But when I tried to warn you, you made your own choice. Now, to my way of thinking, the Army can be a new beginning for us all. Let them cut your hair, prove that you're a clean-cut, all- American boy, a patriot. Do your two years and when you come back, I promise you, I will have done everything to make you the biggest star in Hollywood! And you will choose your own pictures.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>It's gonna be ok, Mama...<\/dialogue>\n    <parenthetical>(turning to Colonel)<\/parenthetical>\n    <dialogue>Do you think they'd let me do the movie before I ship off?<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>COLONEL<\/dialogue>\n    <parenthetical>(reassuringly)<\/parenthetical>\n    <dialogue>I could get a deferment. So you will do the 'King Creole' picture and then we'll be off.<\/dialogue>\n    <scene_description>Colonel nods, holding up the pin.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>But no more of this.<\/dialogue>\n    <scene_description>He throws the \"I Hate Elvis\" pin into the fire and the word \"hate\" shrivels and melts in the flames. Gladys' desperate sobs are drowned out by the angry growl of HAIR CLIPPERS as we--<\/scene_description>\n    <character>TRANSITION TO:<\/character>\n    <dialogue>INT. BARBERSHOP (FORT CHAFFEE) - DAY (1958)<\/dialogue>\n    <dialogue>Clippers cleave Elvis' rich, dark locks, sending them cascading onto the cold, cement floor.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Hair today, gone tomorrow.<\/dialogue>\n    <character>INT. GRACELAND - NIGHT<\/character>\n    <dialogue>A glass tumbler falls from Gladys' hand. She crumples to the ground, distraught. Vernon stands, helpless.<\/dialogue>\n    <character>INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)<\/character>\n    <dialogue>A choir sings a dark version of \"Heartbreak Hotel\" as Old Colonel turns to see Gladys' casket in the distance.<\/dialogue>\n    <character>OLD COLONEL<\/character>\n    <dialogue>She had fretted losing her second son her whole life.<\/dialogue>\n    <scene_description>As he gets closer, Elvis appears, crying over his mother.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <dialogue>I had to let the world know that my boy was a good, dutiful son, and nothing like the rebel delinquent they feared.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>INT. GRACELAND - MUSIC ROOM - DAY (1958)<\/character>\n    <dialogue>The extended Presley clan gathers round the casket. Elvis wails from the back of the house.<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>I couldn't let a good funeral go to waste.<\/dialogue>\n    <scene_description>Colonel sees Vernon, destroyed, sitting at the foot of the stairs. He moves towards him.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>There are some fine folk from the press out front... a few words, pictures... then they will leave us alone.<\/dialogue>\n    <scene_description>Vernon cuts him off, shaking his head. He nods towards a back room and the sound of Elvis' inconsolable sobs.<\/scene_description>\n    <character>VERNON<\/character>\n    <dialogue>He won't. I can't get him to do anything. I keep asking myself, what would she do?<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Yes, he trusted her like nobody else and now she's gone and what does he have now?<\/dialogue>\n    <scene_description>This thought cuts through to Vernon.<\/scene_description>\n    <character>VERNON<\/character>\n    <dialogue>He has you... He trusts you! Talk to him.<\/dialogue>\n    <scene_description>Colonel, as if the thought had never occurred to him:<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>It ain't my place...<\/dialogue>\n    <character>VERNON<\/character>\n    <dialogue>Can you do it? Please Colonel, we need your help...<\/dialogue>\n    <scene_description>Colonel nods his head, making his way down the hall.<\/scene_description>\n    <character>INT. GRACELAND - GLADYS' BEDROOM - CONTINUOUS ACTION<\/character>\n    <dialogue>Colonel enters. Elvis, inconsolable, curled up in the closet with one of her dresses. After a moment...<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>ELVIS<\/dialogue>\n    <parenthetical>(ever-so-softly)<\/parenthetical>\n    <dialogue>All this has been for my Satnin'. And now she can't even enjoy it.<\/dialogue>\n    <character>COLONEL<\/character>\n    <parenthetical>(warmly)<\/parenthetical>\n    <dialogue>Your poor Daddy is doing the best he knows how but he is overwhelmed. He just keeps asking himself over and over again, what she would have done? He needs your help... out there.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>No, I can't go out there. I just want to stay here forever.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>My boy. No one could never replace her, but listen to me. From this moment on, anything she would have done, I will carry out in her name. While you are overseas I'll stay home and I will work and I will worry while you serve your time in the Army. Trust me.<\/dialogue>\n    <scene_description>The Colonel takes Elvis, guiding him gently to his feet.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Now come, go stand by your Papa, comfort him, comfort your friends, family, and even your fans. Because if you don't, then all your Mama sacrificed for you will have been for nothing... Trust me.<\/dialogue>\n    <scene_description>Elvis nods his head gently and then, unexpectedly, lays his head on the Colonel's shoulder and whispers:<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>No matter what happens, stay with me through thick or thin, okay?<\/dialogue>\n    <scene_description>Colonel's hands move ever-so-slowly toward Elvis' shoulders, barely touching them in a strange, suspended gesture as Elvis weeps into his shoulder.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>You're like... you're like...<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>EXT. GRACELAND - FRONT STEPS - DAY<\/character>\n    <dialogue>The popping of FLASHBULBS. Elvis and Vernon sit on the steps amidst a scrum of newspapermen and photographers.<\/dialogue>\n    <character>ELVIS (V.O.)<\/character>\n    <dialogue>... a father to me.<\/dialogue>\n    <character>REPORTER (V.O.)<\/character>\n    <dialogue>Young Mr. Presley, a rock and roller no more...<\/dialogue>\n    <character>EXT. NEW YORK HARBOR - DAY<\/character>\n    <dialogue>THE U.S.S. Randall sails past THE STATUE OF LIBERTY...<\/dialogue>\n    <character>REPORTER (V.O.)<\/character>\n    <dialogue>... is doing his duty and joining the ranks of the U.S. Army...<\/dialogue>\n    <character>INT. U.S.S. RANDALL - CABIN - DAY<\/character>\n    <dialogue>Elvis lies in his bunk, in uniform.<\/dialogue>\n    <character>REPORTER (V.O.)<\/character>\n    <dialogue>... to serve like any ordinary, patriotic young American.<\/dialogue>\n    <scene_description>Tears streaming from his eyes as he sings to himself:<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>I get so lonely, I get so lonely, I get so lonely...<\/dialogue>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>I could die...<\/dialogue>\n    <character>EXT. OCEAN - NIGHT<\/character>\n    <dialogue>The U.S.S. Randall is tiny against the horizon. We TILT UP INTO the starry, black night and --<\/dialogue>\n    <character>MATCH CUT TO:<\/character>\n    <dialogue>INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)<\/dialogue>\n    <dialogue>The artificial fiber-optic starry night of the casino ceiling. The Colonel is lying on his back, between the endless blackjack tables, relieved. Rain begins to fall.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>OLD COLONEL<\/dialogue>\n    <scene_description>I had done it; Elvis Presley would return a clean-cut, all-American boy. But I failed. I did not consider the most dangerous thing of all... love. Colonel stands, now holding an umbrella, and looks out to the misty streets of Bad Nauheim as a car drives past.<\/scene_description>\n    <character>EXT. ELVIS' HOUSE (BAD NAUHEIM) - DUSK (1959)<\/character>\n    <dialogue>An unprepossessing two-story cottage. Fans cluster around the fence, craning their necks.<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>... love!!<\/dialogue>\n    <scene_description>SLOW CRANE UP OVER the front of the house, as we GLIMPSE a party through the ground floor windows.<\/scene_description>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>Suddenly, no one else existed but the pretty teenage daughter of a United States Air Force officer.<\/dialogue>\n    <scene_description>PUSH PAST leaves, THROUGH to a second-story window, where we discover a beribboned ponytail against the glass.<\/scene_description>\n    <character>PRISCILLA (O.S.)<\/character>\n    <dialogue>The second I walked in the door they started bombarding me with all these questions and I just said 'Excuse me if you don't mind, please, I'd like to go to bed.' And then he said to me...<\/dialogue>\n    <scene_description>The girl turns. Doll-like, with cool, turquoise eyes: PRISCILLA BEAULIEU. She looks down on the fans below.<\/scene_description>\n    <character>PRISCILLA<\/character>\n    <parenthetical>(imitating a man)<\/parenthetical>\n    <dialogue>'You know Priscilla, he's got girls all over the world, okay? Girls that are waiting outside his house. Girls that are writing him endless fan mail.' And then Mommy says to me, 'Oh my goodness, what could he possibly see in you? What do you two do up there all night?' And I just said...<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>INT. ELVIS' HOUSE (BAD NAUHEIM) - BEDROOM - NIGHT<\/character>\n    <dialogue>Peculiar bric-a-brac fills Elvis' room. Bags of fan mail, piles of stuffed animals. THROUGH the open door, we see several other officers and their dates milling around.<\/dialogue>\n    <character>PRISCILLA<\/character>\n    <dialogue>'We talk and listen to music, that's all. The fan mail and those other girls, that's just his job.' And then they were going on about that photo of you and Natalie Wood riding around on that bike in Memphis...<\/dialogue>\n    <scene_description>We FOLLOW Priscilla as she gets down to join Elvis, sitting on the floor in his military uniform.<\/scene_description>\n    <character>PRISCILLA<\/character>\n    <dialogue>But then I said, and I said this very calmly: 'Listen, he's just lonely and quite frankly, so am I.' And they didn't have anything to say to that, so I just went to bed.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>I've never met anyone like you.<\/dialogue>\n    <character>PRISCILLA<\/character>\n    <dialogue>I hope not...<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>You understand it all.<\/dialogue>\n    <character>PRISCILLA<\/character>\n    <dialogue>I don't think I understand it all, I think I just understand you.<\/dialogue>\n    <parenthetical>(then; masking jealousy)<\/parenthetical>\n    <dialogue>What is Natalie Wood like?<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>She's nice. She's been writing to me about acting. You know, I'm making a study of Marlon Brando and James Dean. Natalie writes about working with him, and 'Rebel Without a Cause.'<\/dialogue>\n    <character>PRISCILLA<\/character>\n    <dialogue>'Rebel'?<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>You've never seen 'Rebel Without a Cause'?<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>ELVIS<\/dialogue>\n    <scene_description>Oh, that's one of my favorite movies. James Dean, he's a genius at acting. God, I just hope to one day be as good as him. The Colonel's promised me that when I get back, he's gonna set me up in Hollywood to be a serious actor... (suddenly shy) It's really what I dream of. A young sergeant, CHARLIE HODGE, appears at the doorway.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>E.P., you promised the Captain you'd have her back by 7.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Hey Charlie, what's that behind you?<\/dialogue>\n    <scene_description>Charlie turns away as Elvis slams the door shut.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>He don't boss me around.<\/dialogue>\n    <scene_description>Elvis looks out the french doors, onto the street where fans are still staring up. He closes the curtains. Priscilla, now standing by Elvis' side, looks up to him and fills him with confidence as she says:<\/scene_description>\n    <character>PRISCILLA<\/character>\n    <dialogue>Well, I think if you dream it, you'll do it.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>You do?<\/dialogue>\n    <character>PRISCILLA<\/character>\n    <dialogue>I really do.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>PRISCILLA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>For the first time since Gladys' death, someone believes in him. They look at each other and kiss.<\/scene_description>\n    <character>INT. PRESS CONFERENCE - DAY (1960)<\/character>\n    <dialogue>Elvis appears behind a tangle of microphones.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>INTERVIEWER (O.S.)<\/dialogue>\n    <scene_description>I understand you want to become a dramatic actor, is that right?<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Well, sir, that's my big ambition. It takes a lot of time, a lot of experience, but I hope I make it. That's what I wanna do.<\/dialogue>\n    <character>INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)<\/character>\n    <dialogue>OLD COLONEL (V.O.)<\/dialogue>\n    <scene_description>He was as good as Brando. But you didn't want to see him in movies where he didn't sing!<\/scene_description>\n    <character>HOLLYWOOD MOVIE MONTAGE - ARCHIVAL FOOTAGE (1960S)<\/character>\n    <dialogue>We see a TRAILER-STYLE MONTAGE of 60s ELVIS FILMS as he's hidden away in a Hollywood bubble.<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>Thanks to me, his life became one big Hollywood movie!<\/dialogue>\n    <character>INT. ELVIS' VISTA-LINER BUS - DAY<\/character>\n    <dialogue>Elvis and Priscilla, lying on a bed in an oddly-shaped room, swathed entirely in red velvet.<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>Starring Priscilla!<\/dialogue>\n    <scene_description>As the intro to 'Viva Las Vegas' kicks, Elvis pulls a curtain to reveal they are in fact on his decked-out VISTALINER BUS as it speeds through the desert. Suddenly, Priscilla has her iconic beehive and a glam 60s look!<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Bright light city gonna set my soul, gonna set my soul on fire!<\/dialogue>\n    <scene_description>They sashay down the bus, as members of the Memphis Mafia pop their heads out of every nook and cranny.<\/scene_description>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>And a cast of his buddies and cousins, his 'Memphis Mafia'!<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>The bus hurtles through an abstract, neon Vegas as their Hollywood romance plays out through clips from 60s Elvis films and realist Super 8 footage.<\/dialogue>\n    <character>INT. HOTEL ROOM - DAY<\/character>\n    <dialogue>The gang all attend Elvis and Priscilla's wedding.<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>There was a fairytale wedding. And a honeymoon, on Frank Sinatra's jet!<\/dialogue>\n    <character>INT. HOSPITAL - DAY<\/character>\n    <dialogue>Now Priscilla cradles newborn baby LISA MARIE.<\/dialogue>\n    <character>OLD COLONEL ICE (V.O.)<\/character>\n    <dialogue>And introducing baby Lisa Marie!<\/dialogue>\n    <character>INT. SOUNDSTAGE (REAR PROJECTION) - DAY<\/character>\n    <dialogue>Elvis water-skis with THREE BIKINI-CLAD GIRLS in front of a rear-projected body of water.<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>I made him the highest paid actor in Hollywood history. We had a lot of fun! But Elvis was a young man, and of course, he got distracted. So we made them faster and cheaper. Is it my fault the world changed?<\/dialogue>\n    <scene_description>BANG! The assassination of Martin Luther King Jr. provides an abrupt gear shift into \"Edge of Reality.\" We GO WIDE to reveal the back projection set surrounding Elvis as he water skis. PRODUCTON CREW hurl buckets of water across Elvis' face.<\/scene_description>\n    <character>INT. ELVIS' VISTA-LINER BUS - DAY<\/character>\n    <dialogue>Elvis is learning his lines. Jerry, fielding a phone call further down the bus. Suddenly, Elvis notices over Jerry's shoulder on the TV, Walter Cronkite with a news bulletin: the shocking reality that MLK has been assassinated in Memphis.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>ELVIS (V.O.)<\/dialogue>\n    <parenthetical>(vocal)<\/parenthetical>\n    <dialogue>I walk along a thin line darling Dark shadows follow me...<\/dialogue>\n    <scene_description>Rising in disbelief, Elvis slowly makes his way towards the television as Jerry turns up the volume. Both men are completely numb.<\/scene_description>\n    <character>INT. MGM SOUNDSTAGE - ARCHIVAL FOOTAGE<\/character>\n    <dialogue>Elvis, clad in a blue pajama suit, films the \"Edge of Reality\" number from Live a Little, Love a Little.<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Here's where life's dream lies disillusioned, The edge of reality...<\/dialogue>\n    <scene_description>We continue to INTERCUT between the back projection, ridiculous films, and archival footage of Vietnam, the Beatles, the Civil Rights movement, etc. Headlines appear: \"NEW ELVIS STINKER BOMBS!\" \"ANOTHER FLOP!\" \"THERE'S NO MORE APPETITE FOR PRESLEY PICTURES!\"<\/scene_description>\n    <character>EXT. MGM BACKLOT - DAY<\/character>\n    <dialogue>We come off the sign on the water tower that reads, \"MGM Studios.\" We pick up a golf cart traveling through the MGM backlot Western set. It quickly veers towards Elvis' Vista-Liner surrounded by an assortment of cars, a mirror image of the 1950s carny camp. As the golf cart pulls to a halt, the Memphis Mafia can be seen having a water fight.<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>It don't matter how hard I worked, how many snow jobs I came up with, how much snow I made them. My boy loved to spend and with them hillbillies around him, the money would just melt away...<\/dialogue>\n    <scene_description>Billy, alighting from the golf cart, is carrying Elvis' blue pajama costume. He passes Vernon and Priscilla, talking quietly:<\/scene_description>\n    <character>VERNON<\/character>\n    <dialogue>With the sale of Circle G, horses, vehicles...<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>VERNON<\/dialogue>\n    <scene_description>that will cover the payroll. But that new security at Graceland is gonna have to wait. As Billy enters the Vista-Liner...<\/scene_description>\n    <character>INT. ELVIS' VISTA-LINER BUS - DAY<\/character>\n    <dialogue>He can see Walter Cronkite on the television behind the driver's seat.<\/dialogue>\n    <character>WALTER CRONKITE (V.O.)<\/character>\n    <parenthetical>(on TV)<\/parenthetical>\n    <dialogue>Dr. Martin Luther King, the apostle of nonviolence in the civil rights movement, has been shot to death in Memphis, Tennessee...<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>They need you on set, EP.<\/dialogue>\n    <scene_description>Billy looks around and can see Elvis, collapsed on the banquette, devastated. Jerry sits next to him.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(in disbelief)<\/parenthetical>\n    <dialogue>Dr. King. He always spoke the truth.<\/dialogue>\n    <scene_description>\"Edge of Reality\" reaches its finish, and we hear...<\/scene_description>\n    <character>COLONEL (O.S.)<\/character>\n    <parenthetical>(singing)<\/parenthetical>\n    <dialogue>Here comes Santa Claus Here comes Santa Claus Right down Santa Claus lane...<\/dialogue>\n    <character>EXT. MGM STUDIOS - DAY<\/character>\n    <dialogue>TRACK ACROSS a table with models of a European village, Santa's sleigh, dancing girls. A festive-sweatered Elvis figurine receives a little nudge from Colonel's cane.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>'Elvis Presley's Wonderful World of Christmas!' A television special like the world ain't never seen before... Three days to tape, no audience, no music to learn and every one of them Christmas carols is a solid-gold hit!<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>Vernon and the Memphis Mafia admire Singer sewing machines, vacuum cleaners, and more. Priscilla stands at a distance, watching a Singer portable television as it plays news of riots back in Memphis. Elvis holds baby Lisa Marie, looking upon all the standees with his image, holding Singer products.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>And for this, the sponsors at Singer Sewing Machines will give us... unprecedented what, Diskin?<\/dialogue>\n    <scene_description>Diskin dutifully makes a show of checking his notes.<\/scene_description>\n    <character>DISKIN<\/character>\n    <dialogue>Unprecedented profit participation. Provided you appear in at least one knitted Christmas sweater.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Made on one of these here home- kitting apparatuses! No more knit one, purl two!<\/dialogue>\n    <scene_description>Elvis joins Priscilla, handing her Lisa Marie. They glance at what's playing out on the television.<\/scene_description>\n    <character>PRISCILLA<\/character>\n    <dialogue>Memphis is burning...<\/dialogue>\n    <scene_description>Vernon looks to Elvis for his approval.<\/scene_description>\n    <character>VERNON<\/character>\n    <dialogue>'Elvis Presley's Wonderful World of Christmas.' I like it very much!<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>It's gonna be a lot of fun. I hope Presley Enterprises are dreaming of a white Christmas because it's definitely gonna snow!<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>A Christmas special? Is this really the best you can do, Admiral?<\/dialogue>\n    <character>PRISCILLA<\/character>\n    <dialogue>We came to Hollywood, Colonel, so Elvis could be a serious actor.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>COLONEL<\/dialogue>\n    <scene_description>My dear, for the last 5 years, your husband has been the highest paid actor in Hollywood!<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>And now I'm unemployable.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>We took these Hollywood phonies for every nickel they had. It's time to pack our tent and move on to greener pastures. We've had Elvis the rebel. Elvis the movie star. Now we're going to see Elvis, the family entertainer.<\/dialogue>\n    <scene_description>Jerry pipes up.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>And appliance salesman?<\/dialogue>\n    <scene_description>Big laughs. Elvis looks to Jerry with a face like thunder.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>You think that's funny? I don't need you to question me about what I gotta do to support my family and every person here. Is that goddamn clear?<\/dialogue>\n    <scene_description>Elvis slams into the Vista-Liner.<\/scene_description>\n    <character>COLONEL<\/character>\n    <parenthetical>(to Priscilla)<\/parenthetical>\n    <dialogue>I'm sorry, my dear.<\/dialogue>\n    <parenthetical>(to Jerry)<\/parenthetical>\n    <dialogue>Well, Mr. Schilling, Elvis' audience is no longer screaming teenage girls. They are grown-ups; they are wives and mothers and they watch television and they buy sewing machines.<\/dialogue>\n    <parenthetical>(remembering)<\/parenthetical>\n    <dialogue>Ah, the radio promotions... Would you take that in to Mr. Presley and play it for him to get his approval?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Colonel, I don't work for you.<\/dialogue>\n    <parenthetical>(indicating the bus)<\/parenthetical>\n    <dialogue>I'm just a friend of that guy in there.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (3)<\/character>\n    <dialogue>Colonel, a murderous look. He turns to Vernon.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Well, Vernon, shall we begin to draw up the contracts?<\/dialogue>\n    <character>VERNON<\/character>\n    <dialogue>Let's do it.<\/dialogue>\n    <character>INT. ELVIS' VISTA-LINER BUS - DAY<\/character>\n    <dialogue>Elvis, fuming, storms in and rips off his collar. The aftermath of the Dr. King assassination plays on the TV.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>Hey EP, do you wanna run lines?<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Mhmm.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>Okay. So uh... Greg walks up to the receptionist dressed in a lingerie cat costume. 'Aren't you cold?'<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Huh? No I'm fine.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>No, that's the line.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <parenthetical>(with a smarmy wink)<\/parenthetical>\n    <dialogue>'Aren't you cold?'<\/dialogue>\n    <character>A KNOCK.<\/character>\n    <dialogue>BILLY<\/dialogue>\n    <parenthetical>(seductively)<\/parenthetical>\n    <dialogue>'Only from nine to five.'<\/dialogue>\n    <scene_description>Billy returns to his bunk as Jerry enters.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <scene_description>Elvis refuses to acknowledge him.<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>(treads cautiously)<\/parenthetical>\n    <dialogue>I've been offered a job here in L.A. I'm gonna take it.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>Elvis is suddenly at a loss.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Hey, man... I wasn't angry at you. Let me make it up to you. There's a new Shelby Cobra coming out. I'll buy you some new wheels.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>It's got nothing to do with money.<\/dialogue>\n    <scene_description>Elvis lets this sink in; no one talks to him like this.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Man, I need you here as a friend.<\/dialogue>\n    <scene_description>Jerry stops, the anger has abated. He nods his head to the TV, where James Brown and the Rolling Stones perform.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>These TV guys. They're the ones that put James Brown and the Rolling Stones on the T.A.M.I Show. They're really plugged in, I met them.<\/dialogue>\n    <scene_description>Elvis nods.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I could set up a meeting.<\/dialogue>\n    <scene_description>Elvis is interested, but he masks it flippantly.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>To see what they can do with 'Here Comes Santa Clause?'<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>(playing along)<\/parenthetical>\n    <dialogue>Peace, love, and Christmas cookies. Could be crazy...<\/dialogue>\n    <scene_description>Suddenly, Charlie's voice:<\/scene_description>\n    <character>CHARLIE (O.S.)<\/character>\n    <dialogue>Colonel's already got the guy who does all the Singer specials.<\/dialogue>\n    <scene_description>Elvis and Jerry turn to see Charlie in the doorway. He is delivering the tape recorder with the promotion tape already loaded, setting it down on the bed. We don't know how long Charlie's been listening. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>CHARLIE<\/dialogue>\n    <scene_description>He did Bing Crosby, I loved that. Colonel wants you to listen to this and approve it. Then they want you back on set in five. Charlie leaves as Billy enters to start dressing Elvis.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I'm just saying, you should work with new people...<\/dialogue>\n    <scene_description>Jerry's words hang in the air, clearly about more than just the TV special. Before he leaves, Jerry turns back to Elvis.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Its like you always say, EP. Colonel's got a lot of ideas.<\/dialogue>\n    <character>EXT. ELVIS' VISTA-LINER BUS - NIGHT<\/character>\n    <dialogue>It's late. Priscilla sits in the limo, amidst a convoy of cars idling outside the Vista-Liner. Billy packs away an Elvis standee in the boot of a car.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>That's the last of it.<\/dialogue>\n    <scene_description>Charlie approaches Priscilla's window, leaning in.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>He's just laying in there, watching the Reverend's funeral...<\/dialogue>\n    <character>PRISCILLA<\/character>\n    <dialogue>I'll go check on him. Thank you.<\/dialogue>\n    <scene_description>Priscilla exits and approaches the bus.<\/scene_description>\n    <character>INT. ELVIS' VISTA-LINER BUS - NIGHT<\/character>\n    <dialogue>ANNOUNCER (V.O.)<\/dialogue>\n    <scene_description>What a beautiful rendition of \"Here Comes Santa Claus\" that was! With all the sparkle and magic that the season brings! On the back television, sound muted: somber images of Reverend Martin Luther King Jr's memorial. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>ANNOUNCER (V.O.)<\/dialogue>\n    <scene_description>And you'll be even warmer this season in a 12-gauge, cable-knit woolen sweater, made right at home on the Singer Sewing's SK155 Home Knitter! And now... Discover Elvis, sprawled on the red velvet bed. The tape recorder next to him. His blank stare illuminated in the dark by the blue light of the television.<\/scene_description>\n    <character>ANNOUNCER (V.O.)<\/character>\n    <dialogue>... heeeeere's Elvis!<\/dialogue>\n    <scene_description>CLICK. The tape recorder stops. Elvis stares blankly at the television. His breathing heavy. Tears begin to form in his eyes. Suddenly, the sound of the door opening.<\/scene_description>\n    <character>PRISCILLA<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Satnin'. Can I watch the memorial with you?<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Please.<\/dialogue>\n    <scene_description>Priscilla slides into the bed beside him.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>I'm so tired of playing Elvis Presley.<\/dialogue>\n    <character>PRISCILLA<\/character>\n    <dialogue>You don't have to. We could run away to France or Italy and live off the land. Eat baguettes, snails, and cheese. Little Lisa could learn French.<\/dialogue>\n    <scene_description>Elvis breathes deep, fighting for control.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>I wish we could. Too many people rely on me.<\/dialogue>\n    <character>PRISCILLA<\/character>\n    <dialogue>I love you. Your daughter loves you. We don't care about the money or anything else. We just want you to be happy. You're only really happy when you sing the music you love.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>ON THE SCREEN: MAHALIA JACKSON steps up to the microphone and begins to sing \"Take My Hand, Precious Lord.\"<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(distant; broken)<\/parenthetical>\n    <dialogue>That's Mahalia Jackson... I used to hear her sing at East Trigg Church. That's the music that makes me happy.<\/dialogue>\n    <scene_description>Elvis eases the sound of the television up on the remote. With this, a MATCH SHOT as...<\/scene_description>\n    <character>INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)<\/character>\n    <dialogue>Mahalia and CHOIR now appear. In front of them at the pulpit, the fiery REVEREND BREWSTER:<\/dialogue>\n    <character>REVEREND BREWSTER<\/character>\n    <dialogue>Many have lost their lives for this cause, so remember, when things are too dangerous to say... sing!<\/dialogue>\n    <scene_description>The choir lifts Mahalia's voice higher.<\/scene_description>\n    <character>MAHALIA<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Joshua fought the battle of Jericho, Jericho, Jericho<\/dialogue>\n    <character>MAHALIA AND CHOIR<\/character>\n    <parenthetical>(sing)<\/parenthetical>\n    <dialogue>Joshua fought the battle of<\/dialogue>\n    <scene_description>Jericho, and the walls came tumbling down! A sudden blast of HEAVY ROCK MUSIC.<\/scene_description>\n    <character>EXT. LOS ANGELES - AERIAL SHOT - LATE AFTERNOON (1968)<\/character>\n    <dialogue>The rock continues as a convoy of 2 BLACK CARS and a BLUE LIMO cuts through the Hollywood Hills.<\/dialogue>\n    <character>INT. LIMO - LATE AFTERNOON<\/character>\n    <dialogue>MUSIC LOUD as inside one of the cars, two groovy hepcats, STEVE BINDER (35) and BONES HOWE (35), sit facing backwards. They stare intensely, barely breathing. Seated opposite, Sonny and Red West stare blankly back.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>EXT. LOS ANGELES - AERIAL SHOT - LATE AFTERNOON<\/character>\n    <dialogue>Music builds as the convoy threads the road that traces up to and above the derelict Hollywood sign.<\/dialogue>\n    <character>EXT. LOOKOUT ABOVE THE HOLLYWOOD SIGN - LATE AFTERNOON<\/character>\n    <dialogue>The convoy squeals to a dusty halt near Jerry, who has been waiting for them. Memphis Mafia jump out and open the door of the limo. Binder and Bones get out.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Mr. Binder, Mr. Howe, thanks for coming... One thing, gentlemen: don't call it a Christmas Special.<\/dialogue>\n    <scene_description>Binder and Bones nervously glance at one another; the whole thing feels like some kind of elaborate Mafia hit. The Wests stay back as Jerry leads Binder and Bones down a dusty dirt track.<\/scene_description>\n    <character>EXT. HOLLYWOOD SIGN - CONTINUOUS ACTION<\/character>\n    <dialogue>As they round a bend, DISCOVER Elvis, haloed by the setting sun, sitting on part of the dilapidated sign and gazing across the valley toward Griffith Observatory.<\/dialogue>\n    <dialogue>Jerry hangs back, but motions that Binder and Bones should approach. They do so... Elvis continues to stare as he senses their presence.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>When I first came to Hollywood, I'd come up here and sit for hours. Right over there is where they shot Rebel. I dreamt of being a great actor like Jimmy Dean. This sign was beautiful then, and now... It feels as though lots of things are like that these days; broke down, beat- up, rotten.<\/dialogue>\n    <parenthetical>(turning to them)<\/parenthetical>\n    <dialogue>I really liked what you guys did putting James Brown together with the Rolling Stones.<\/dialogue>\n    <character>BINDER<\/character>\n    <parenthetical>(extremely nervous)<\/parenthetical>\n    <dialogue>We're big fans of yours, too. It's, just, uh, Mr. Presley...<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>ELVIS<\/dialogue>\n    <scene_description>Elvis.<\/scene_description>\n    <character>BINDER<\/character>\n    <dialogue>Elvis. Christmas specials aren't our thing, man.<\/dialogue>\n    <scene_description>Elvis looks at them sharply-- then, that charming smile.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>I know. But tell me honestly, where do you boys think my career's at right now?<\/dialogue>\n    <character>BONES<\/character>\n    <parenthetical>(slow; nervous)<\/parenthetical>\n    <dialogue>Ah, well, it's...<\/dialogue>\n    <character>BINDER<\/character>\n    <parenthetical>(direct)<\/parenthetical>\n    <dialogue>In the toilet, Elvis.<\/dialogue>\n    <scene_description>Elvis, half a beat of shock. And then he laughs, really laughs, like he hasn't in years.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(to Jerry)<\/parenthetical>\n    <dialogue>You hear that Jerry?<\/dialogue>\n    <parenthetical>(to Binder and Bones)<\/parenthetical>\n    <dialogue>I knew you were the right guys for this job!<\/dialogue>\n    <scene_description>He jumps down from the sign.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>When I was starting out, some people wanted to put me in jail, hell, even kill me, 'cause of the way I moved. They cut my hair, put me in uniform, and sent me away. It killed my mama... And ever since, I been lost. When you're lost...<\/dialogue>\n    <parenthetical>(a cautious thought)<\/parenthetical>\n    <dialogue>People take advantage. I thought you fellas might help me get back to who I really am.<\/dialogue>\n    <scene_description>Binder and Bones are affected by Elvis' honesty.<\/scene_description>\n    <character>BINDER<\/character>\n    <parenthetical>(probing)<\/parenthetical>\n    <dialogue>Who are you, Elvis?<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>ELVIS<\/dialogue>\n    <scene_description>I sure as hell ain't somebody who sings Christmas songs by a fireplace for an hour.<\/scene_description>\n    <character>BINDER<\/character>\n    <parenthetical>(cautiously)<\/parenthetical>\n    <dialogue>What does the Colonel think?<\/dialogue>\n    <scene_description>Suddenly, Elvis flares up.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>I don't give a damn what the Colonel thinks.<\/dialogue>\n    <character>BONES<\/character>\n    <dialogue>I see... Well, if you want to find yourself, first thing you do is to go home.<\/dialogue>\n    <scene_description>Binder picks up the cue.<\/scene_description>\n    <character>BINDER<\/character>\n    <dialogue>Metaphorically speaking. You know, get back to who you really are, musically.<\/dialogue>\n    <scene_description>Elvis is not sure, Bones chimes in:<\/scene_description>\n    <character>BONES<\/character>\n    <dialogue>Yeah, we could get your old band back together...<\/dialogue>\n    <character>BINDER<\/character>\n    <dialogue>Play the tracks that made people call you the devil and trash your records in the street.<\/dialogue>\n    <character>BONES<\/character>\n    <dialogue>A leather jacket; raw and dirty!<\/dialogue>\n    <character>BINDER<\/character>\n    <dialogue>But first, you need an audience.<\/dialogue>\n    <scene_description>Elvis smashed by nerves, barely able to say the word:<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Audience?<\/dialogue>\n    <parenthetical>(tries to laugh it off)<\/parenthetical>\n    <dialogue>No, man... I haven't played in front of an audience in ten years.<\/dialogue>\n    <character>BINDER<\/character>\n    <dialogue>That's my point.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (3)<\/character>\n    <dialogue>Elvis looks out over the L.A. grid as lights turn on and sparkle.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>You think we could do some Gospel?<\/dialogue>\n    <scene_description>Binder and Bones look at each other, blindsided, as the decrepit Hollywood sign transforms into...<\/scene_description>\n    <character>EXT. NBC STUDIOS - DAY<\/character>\n    <dialogue>A sign: \"NBC COLOR CITY.\"<\/dialogue>\n    <character>INT. NBC STUDIOS - STAGE - DAY<\/character>\n    <dialogue>Elvis stands on the stage steps with Priscilla and Jerry, looking out at the studio and its empty bleachers.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>The Blossoms are set to tape the Gospel sequence tomorrow, but first it's you in the round, the acoustic set with Scotty and DJ, everything with the audience. Colonel won't give us any static so long as we do the two Christmas numbers in the...<\/dialogue>\n    <character>PRISCILLA<\/character>\n    <dialogue>... understated sweaters?<\/dialogue>\n    <scene_description>Jerry looks up. Elvis seems disturbed.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>He's got to keep the Singer execs happy.<\/dialogue>\n    <character>PRISCILLA<\/character>\n    <dialogue>What's the matter, honey?<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Audience... I didn't exactly agree to that. I think I'd be better without an audience.<\/dialogue>\n    <scene_description>Jerry looks to Priscilla, tense.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>They're already here.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Send them home.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>PRISCILLA<\/dialogue>\n    <scene_description>We can do that.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>We could send them home.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>I like that.<\/dialogue>\n    <scene_description>Priscilla moves closer to Elvis.<\/scene_description>\n    <character>PRISCILLA<\/character>\n    <dialogue>Honey, Binder's whole idea was that the world sees you how I see you at home. Making jokes with your friends, laughing, having fun, playing the music you love.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>My hands are sweaty.<\/dialogue>\n    <character>PRISCILLA<\/character>\n    <dialogue>Look at me. I know you're scared. It's scary, but the man I love has never done anything extraordinary without fear.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Yeah, you know, I just... I don't know if I can be that without a script.<\/dialogue>\n    <scene_description>Elvis walks to center stage, looking around.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>What if nothing comes?<\/dialogue>\n    <scene_description>As he turns, we PUSH IN, the roar of the crowd audible...<\/scene_description>\n    <character>INT. NBC STUDIOS - STAGE - LATER<\/character>\n    <dialogue>Bones stands in Elvis' place, warming up the LIVE AUDIENCE who fills the bleachers. Applause sign flashing.<\/dialogue>\n    <character>INT. NBC STUDIOS - CORRIDOR - DAY<\/character>\n    <dialogue>Stoic-looking SINGER SEWING EXECUTIVES follow behind Colonel as he speaks, Diskin dutifully behind him. A Christmas Sweater is wheeled past by an assistant.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Mr. Presley is interested in a few of Mr. Bindle's ideas but... Ahh, the Christmas sweater!<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>COLONEL<\/dialogue>\n    <parenthetical>(to the assistant)<\/parenthetical>\n    <dialogue>Into Mr. Presley's dressing room.<\/dialogue>\n    <parenthetical>(to the Singer Execs)<\/parenthetical>\n    <dialogue>We will be singing at least three spectacular Christmas songs in that very sweater. To the control room.<\/dialogue>\n    <scene_description>Colonel ushers the group to the stairs.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>It was knitted on the SK551-<\/dialogue>\n    <character>DISKIN<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>The SK155.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Oh the SK155. Thank you, Mr Diskin.<\/dialogue>\n    <scene_description>The group continues up the stairs...<\/scene_description>\n    <character>INT. NBC STUDIOS - CONTROL ROOM - CONTINUOUS ACTION<\/character>\n    <dialogue>... and arrives in the control room where Binder and AN ASSISTANT sit behind the desk.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>There will be 'Silence is the Night,' 'Here Comes Santa Claus.' And Diskin what's the one about the boy?<\/dialogue>\n    <character>DISKIN<\/character>\n    <dialogue>The Little Drummer Boy.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Yes, the Little Drummer Boy.<\/dialogue>\n    <character>SENIOR SINGER EXEC<\/character>\n    <dialogue>Ahh... yes.<\/dialogue>\n    <scene_description>The Singer executive mimes drumming.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>We're going to be starting with 'Here Comes Santa Claus.' Isn't that right, Bindle?<\/dialogue>\n    <character>BINDER<\/character>\n    <dialogue>Absolutely, the Christmas numbers will come later in the show.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>INT. NBC STUDIOS - CORRIDOR - DAY<\/character>\n    <dialogue>FAST TRACK WITH and UP Elvis' black-leather-clad legs, FOLLOWING him as he charges through the corridor.<\/dialogue>\n    <character>BONES (V.O.)<\/character>\n    <dialogue>And now, ladies and gentlemen...<\/dialogue>\n    <character>INT. NBC STUDIOS - STAGE\/CONTROL ROOM - CONTINUOUS ACTION<\/character>\n    <dialogue>As we ENTER the studio, Priscilla touches Elvis' hand discreetly. The FLOOR MANAGER guides her to her place.<\/dialogue>\n    <character>BONES<\/character>\n    <dialogue>... here's Elvis Presley!<\/dialogue>\n    <scene_description>Elvis takes the stage like a boxer entering the ring, met with polite applause. These aren't the adoring fans he once knew. He nervously clears his throat.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Well, I gotta do this sooner or later, so it might as well do it now, baby...<\/dialogue>\n    <scene_description>He cues the band-- a mistimed opening stab and Elvis misses the cue. A ripple of confusion through the audience.<\/scene_description>\n    <character>INT. NBC STUDIOS - CONTROL ROOM - CONTINUOUS ACTION<\/character>\n    <dialogue>Bones enters the control room and shares a worried look with Binder. The Colonel can see Elvis' face on all the monitors, sweating, insecure. He hisses to Binder:<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>This is precisely why he shouldn't be in front of a live audience.<\/dialogue>\n    <character>BINDER<\/character>\n    <parenthetical>(over intercom)<\/parenthetical>\n    <dialogue>Sorry, E.P., technical problem...<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Get them out now, and let's get on with the Christmas number!<\/dialogue>\n    <scene_description>The hard-faced SINGER EXECUTIVES are confused. Binder looks to Bones, and then to the monitors.<\/scene_description>\n    <character>BINDER<\/character>\n    <parenthetical>(a second intercom)<\/parenthetical>\n    <dialogue>Standby for 'Here Comes Santa Clause.'<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>Colonel pretends to be in control. Diskin nods along.<\/dialogue>\n    <character>COLONEL<\/character>\n    <parenthetical>(to Singer Execs)<\/parenthetical>\n    <dialogue>Technical difficulties... Please standby.<\/dialogue>\n    <character>INT. NBC STUDIOS - CORRIDOR - CONTINUOUS ACTION<\/character>\n    <dialogue>The DANCE CAPTAIN leads a posse of DANCING SANTAS, stretching and preparing to go on.<\/dialogue>\n    <character>INT. NBC STUDIOS - STAGE - CONTINUOUS ACTION<\/character>\n    <dialogue>Elvis looks to Priscilla in the shadows, sensing a do-or- die moment. He cracks a joke with a wry smile:<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>How do you like it so far?<\/dialogue>\n    <scene_description>The audience laughs, a sudden connection. We PUSH IN ON the monitor of one of the TV cameras as Elvis throws back his head, cues the band, and... music and voice come together in a tremendous, rocking entry:<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Well, since my baby left me... I found a new place to dwell It's down at the end of lonely<\/dialogue>\n    <scene_description>street At Heartbreak Hotel... He connects with the audience as only Elvis can. Elvis Presley is reborn.<\/scene_description>\n    <character>INT. NBC STUDIOS - CONTROL ROOM - CONTINUOUS ACTION<\/character>\n    <dialogue>Binder and Bones look on with pride. Colonel's face falls. The Singer Executives seem uncertain.<\/dialogue>\n    <character>JUNIOR SINGER EXEC<\/character>\n    <dialogue>Well, that was... energetic.<\/dialogue>\n    <character>SENIOR SINGER EXEC<\/character>\n    <dialogue>Is 'Here Comes Santa Claus' next?<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Absolutely! I see no reason why not.<\/dialogue>\n    <scene_description>He thunders out of the room, Diskin in tow. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>INT. NBC STUDIOS - STAGE - CONTINUOUS ACTION<\/character>\n    <dialogue>ELVIS<\/dialogue>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>You ain't nothing but a hound dog,<\/dialogue>\n    <scene_description>cryin' all the time.<\/scene_description>\n    <character>INT. NBC STUDIOS - CORRIDOR - CONTINUOUS ACTION<\/character>\n    <dialogue>Colonel hurtles down the stairs, huffing and puffing.<\/dialogue>\n    <character>INT. NBC STUDIOS - STAGE - CONTINUOUS ACTION<\/character>\n    <dialogue>Elvis launches into \"Jailhouse Rock.\"<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Warden threw a party in the county<\/dialogue>\n    <scene_description>jail, The prison band was there and they began to wail... The crowd erupts into applause. Priscilla can't believe her eyes.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Thank you! It's been a long time, baby! My boy, my boy!<\/dialogue>\n    <character>INT. NBC STUDIOS - CORRIDOR - CONTINUOUS ACTION<\/character>\n    <dialogue>Colonel bounds down the stairs with Diskin.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>I do not know what is going on. Sweating in black leather, singing 'Hound Dog,' what does that have to do with Christmas?<\/dialogue>\n    <scene_description>They reach the corridor and suddenly, Scotty Moore and D.J. Fontana cross Colonel's path. He turns to Diskin:<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>The Blue Moon Boys?! What are they doing here?!<\/dialogue>\n    <scene_description>Colonel follows them towards the stage.<\/scene_description>\n    <character>INT. NBC STUDIOS - STAGE - LATER<\/character>\n    <dialogue>The musicians are now gathered on the stage to do the sit- down section.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>ELVIS<\/dialogue>\n    <scene_description>My boy, my boy!<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>My boy, my boy.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>OK... Well goodnight...<\/dialogue>\n    <scene_description>Elvis jokingly pretends to leave.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Uh, are we on television? Are we on television?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>No, we're on a train to Tulsa.<\/dialogue>\n    <character>ELVUS<\/character>\n    <dialogue>Let's see, what do I do now folks?<\/dialogue>\n    <character>SCOTTY<\/character>\n    <dialogue>Why don't you play that 'Trying To Get To You' one time?<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Twelve years he played guitar for me man, didn't say anything. Now let me swap that axe with you, champ.<\/dialogue>\n    <scene_description>With this, they exchange guitars and settle in. Elvis launches into \"Trying to Get to You,\" raw and intense, while staring at Priscilla.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Ever since I read your letter, Where you said you loved me true, I've been traveling night and day I've kept running all the way Baby, trying to get to you.<\/dialogue>\n    <scene_description>Everyone in the control room watches on with delight. Colonel watches from the shadows, the realization dawning that they've all been conspiring against him. He leaves in a fury.<\/scene_description>\n    <character>INT. NBC STUDIOS - CONTROL ROOM - CONTINUOUS ACTION<\/character>\n    <dialogue>Diskin is offering refreshments as Colonel thunders in, out of breath, barking at Binder:<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>COLONEL<\/dialogue>\n    <scene_description>I think it is time for 'Here Comes Santa Claus.' Is that understood, Mr. Bindle?<\/scene_description>\n    <character>BINDER<\/character>\n    <dialogue>Absolutely...<\/dialogue>\n    <character>BONES<\/character>\n    <dialogue>Right after 'Elvis Talks.'<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Talks? No, no, no. What does Elvis talk about?<\/dialogue>\n    <character>BINDER<\/character>\n    <dialogue>About himself.<\/dialogue>\n    <character>INT. NBC STUDIOS - STAGE - DAY<\/character>\n    <dialogue>ELVIS<\/dialogue>\n    <scene_description>Alright, give me that piece of paper, man. I'm gonna see what I'm supposed to do next here. Charlie hands Elvis the cue sheet.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>It says here, 'Elvis will talk about first record...'<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Little late.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>It says here, 'Elvis will talk about shooting from the waist down and not being able to touch hands with body-- body with hands.'<\/dialogue>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>I just got this show off the air, boy, I tell you.<\/dialogue>\n    <scene_description>The boys laugh at the ludicrous suggestion. Elvis looks around and tosses the cue sheet aside. The audience laughs. After a moment, Elvis speaks from the heart:<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Anyway... I'd like to talk a little about music... Very little. There's been a big change in the music field in the last ten or twelve years. And uh, I like a lot of the new groups, the Beatles and the Beards, and the whoever...<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>ELVIS<\/dialogue>\n    <scene_description>But a lot of it is basically, our music is basically... rock 'n' roll music is basically, uh... Gospel or rhythm and blues. People have been adding to it, adding instruments to it, experimenting with it. But it uh, it all boils down to just uh... I don't know what I'm talking about really, I'm just mumbling, man.<\/scene_description>\n    <character>SCOTTY<\/character>\n    <dialogue>Hey, Elvis, why don't you talk about, uh... little finger?<\/dialogue>\n    <scene_description>They share a look-- connecting.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>The little finger. Yeah that's all I could move at Russwood.<\/dialogue>\n    <scene_description>Elvis thinks back...<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>The uh, the police filmed the show on the 4th of July in Memphis because the PTA or the YMCA or somebody, they thought I was uh... something.<\/dialogue>\n    <scene_description>As the audience chuckles, Elvis' eyes flick up to Colonel in the control room.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>So uh, the police came out to film the show. So they told me I couldn't move, I had to stand still. The only thing I could move was my little finger like that, man.<\/dialogue>\n    <parenthetical>(wiggles finger)<\/parenthetical>\n    <dialogue>You ain't nothin' but a hound dog Crying all the time... If you're looking for trouble, you came to the right place...<\/dialogue>\n    <scene_description>The band and audience crack up as the soulful strains of \"Sometimes I Feel Like a Motherless Child,\" sung by Darlene Love begins...<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>But, uh, that's one thing about this TV special that I'm doing. They're gonna let me do what I wanna do...<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>Elvis looks up into the camera.<\/dialogue>\n    <character>INT. NBC STUDIOS - CONTROL ROOM - CONTINUOUS ACTION<\/character>\n    <dialogue>On the monitors, Elvis is in closeup. It's almost as if he is looking straight at Colonel.<\/dialogue>\n    <character>ELVIS (V.O.)<\/character>\n    <parenthetical>(on monitor)<\/parenthetical>\n    <dialogue>Sing the music that I want. Music that I love...<\/dialogue>\n    <character>INT. NBC STUDIOS - STAGE - CONTINUOUS ACTION<\/character>\n    <dialogue>Elvis looks to Priscilla.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>The music that makes me happy.<\/dialogue>\n    <character>INT. NBC STUDIOS - CONTROL ROOM - CONTINUOUS ACTION<\/character>\n    <dialogue>Binder looks from the control desk to the Colonel watching Elvis on the monitors, who is clearly taking this personally.<\/dialogue>\n    <character>MATCH TO:<\/character>\n    <dialogue>INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)<\/dialogue>\n    <dialogue>Old Colonel watching Elvis, the control room now on the carpet in Space with rows of monitors.<\/dialogue>\n    <character>OLD COLONEL<\/character>\n    <dialogue>Those know-it-all hippies poisoned Elvis. And now my boy, mocking me!<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(on monitor)<\/parenthetical>\n    <dialogue>I was supposed to turn my back on my fans, but I didn't. And because of that, they sent me to the Army.<\/dialogue>\n    <character>OLD COLONEL<\/character>\n    <dialogue>Blaming me?! When I saved him?<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(on monitor)<\/parenthetical>\n    <dialogue>And ever since then, I lost everything I ever cared about. My friends, loved ones, my music...<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>INT. NBC STUDIOS - STAGE - DAY (1968)<\/character>\n    <dialogue>Back in reality, Elvis stares at the Colonel, who watches from the control room.<\/dialogue>\n    <character>ELVIS (V.O.)<\/character>\n    <dialogue>And most of all, I lost my dear, sweet mama... My Satnin'...<\/dialogue>\n    <scene_description>A spotlight reveals African-American dance legend CLAUDE THOMPSON as he begins an exquisite solo.<\/scene_description>\n    <character>DARLENE LOVE (V.O.)<\/character>\n    <dialogue>Sometimes I feel like a motherless<\/dialogue>\n    <scene_description>child. Sometimes I feel like a motherless child... Elvis watches from the shadows, singing to himself.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Sometimes I feel like a motherless<\/dialogue>\n    <scene_description>child... a long way from home... Claude continues dancing his solo.<\/scene_description>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>Singer were about to walk out; I had one final chance...!<\/dialogue>\n    <character>INT. NBC STUDIOS - CORRIDOR - DAY<\/character>\n    <dialogue>Colonel yells at the Floor Manager:<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Young man, you tell them it's time for 'Here Comes Santa Claus.' I said so. Now, now!<\/dialogue>\n    <character>FLOOR MANAGER<\/character>\n    <dialogue>First positions! Not here, out there! Go, go. Sleighs! Where's the sleigh?<\/dialogue>\n    <scene_description>Santas stub out cigarettes and don their hats! A large wooden sleigh is dragged into position.<\/scene_description>\n    <character>INT. NBC STUDIOS - CONTROL ROOM - CONTINUOUS ACTION<\/character>\n    <dialogue>THROUGH the glass at the back of the room, we see Colonel barrel along the corridor...<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>He bursts in right as Binder pushes the intercom.<\/dialogue>\n    <character>BINDER<\/character>\n    <dialogue>Cue the gospel and then we'll segue straight into the whorehouse and kung-fu spectacular. Go!<\/dialogue>\n    <scene_description>The Singer Executives stare with unforgiving horror and head for the exit. A final word to Colonel.<\/scene_description>\n    <character>SENIOR SINGER EXEC<\/character>\n    <dialogue>You'll be hearing from our lawyers. Santa Claus is bringing you a lawsuit!<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>But we have 'Little Drummer Boy'!<\/dialogue>\n    <scene_description>Colonel turns. Through the monitors, we-- MATCH TO:<\/scene_description>\n    <character>INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)<\/character>\n    <dialogue>Colonel is surrounded by monitors showing Elvis in the different dance numbers. As he spins:<\/dialogue>\n    <character>OLD COLONEL<\/character>\n    <dialogue>Kung-fu fighters! An all-colors-of- the-rainbow ballet!<\/dialogue>\n    <scene_description>Colonel keeps spinning around to see the monitor with Elvis in the bordello number.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <dialogue>This was not part of the plan! And it was a good plan!<\/dialogue>\n    <scene_description>TOP SHOT: Suddenly Colonel is revealed on the NBC stage amongst a flower of fans and bordello dancers.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <dialogue>Street whores... To sell sewing machines at Christmas time!<\/dialogue>\n    <scene_description>He's aggressed by multiple gospel singers, kung-fu fighters, bordello girls. The music intensifies into an orchestral cacophony, the memory of the comeback takes on a nightmarish quality.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>If you ever take a trip down to the ocean Find yourself down around Mobile<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>OLD COLONEL<\/dialogue>\n    <scene_description>Singer wasn't going to sell a single sewing machine!<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>If you got a little time to kill Just follow that crowd of people You'll wind up out on his dance floor<\/dialogue>\n    <character>OLD COLONEL<\/character>\n    <dialogue>We would be in breach! Sued by our own sponsors for breach of contract.<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Diggin' the finest little five piece group Up and down the Gulf of Mexico Guess who's leadin' that five-<\/dialogue>\n    <scene_description>piece band, Well, wouldn't ya know, it's that Swingin' little guitar man.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <dialogue>We were going to be ruined in this town! We'd be laughed right out of show business<\/dialogue>\n    <character>ELVIS (V.O.)<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Ha, ha, ha, ha! Ha, ha, ha, ha!<\/dialogue>\n    <character>OLD COLONEL<\/character>\n    <dialogue>Everything was going backwards.<\/dialogue>\n    <scene_description>PULL OUT to reveal Elvis and the Blue Moon Boys sitting on the stage.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Well, I'm the king of the jungle, They call me the Tiger Man. And if you cross my path, You take your own life in your<\/dialogue>\n    <scene_description>hands. As the nightmare Elvis mash-up begins to peak, multiple Elvises now join the ensemble. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>OLD COLONEL<\/dialogue>\n    <scene_description>I betrayed you? You betrayed me! This television broadcast was our last chance! I'd given my word to our sponsors! Something had to be done!<\/scene_description>\n    <character>SUDDENLY, THE SOUND OF A GUNSHOT!<\/character>\n    <dialogue>YOUNG STAGEHAND (V.O.)<\/dialogue>\n    <scene_description>They shot him! Bobby! Kennedy!!!<\/scene_description>\n    <character>INT. NBC STUDIOS - STAGE - NIGHT (1968)<\/character>\n    <dialogue>The tragic news tears through the cast as they rush from the stage.<\/dialogue>\n    <character>INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)<\/character>\n    <dialogue>Old Colonel, once again alone on the carpet of Space, stares at thousands of 1970s televisions on which the Kennedy tragedy plays out. PUSH IN on a screen: images from the Ambassador Hotel.<\/dialogue>\n    <character>INT. NBC STUDIOS - DRESSING ROOM - NIGHT<\/character>\n    <dialogue>The whole cast and crew, many in tears, gather around the TV, which plays news of the Robert Kennedy assassination. Elvis' eyes are glued to the screen.<\/dialogue>\n    <character>NBC FLOOR MANAGER<\/character>\n    <dialogue>Steve, we gotta get back to work.<\/dialogue>\n    <scene_description>Binder stands:<\/scene_description>\n    <character>BINDER<\/character>\n    <dialogue>Listen... I just want to say that I'm looking at all of us...<\/dialogue>\n    <parenthetical>(re: himself)<\/parenthetical>\n    <dialogue>Jewish director, black choreographer, Puerto Rican choreographer, dance sections of black, white and you know, purple. And of course...<\/dialogue>\n    <parenthetical>(to Elvis)<\/parenthetical>\n    <dialogue>Our gentleman from Tupelo... And to me, this is the kind of nation we are. Right here. In this room. And we cannot end this show with 'Here Comes Santa Claus.' We have to say something. You have to make a statement, E.P.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>COLONEL (O.S.)<\/dialogue>\n    <scene_description>Mr. Presley does not make statements. The curtain that hides Elvis' bedroom is slowly drawn back. It's the Colonel. He walks in and stares the entire room down.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>He sings 'Here Comes Santa Claus', and wishes everyone 'Merry Christmas' and 'Goodnight.'<\/dialogue>\n    <scene_description>Colonel's jabs at the dial; the screen goes black.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>The show must go on.<\/dialogue>\n    <scene_description>The West cousins and the Floor Manager move everyone out of the room. Elvis says nothing. Faces fall, disgusted by the cowardice of the King.<\/scene_description>\n    <character>INT. NBC STUDIOS - CONTROL ROOM<\/character>\n    <dialogue>It's late and Bones is making coffee for himself and Binder as they watch coverage of the Robert Kennedy shooting on the monitors. PUSH IN ON: a monitor.<\/dialogue>\n    <character>INT. NBC - DRESSING ROOM - LATER<\/character>\n    <dialogue>MATCH SHOT: pull out on a miniature TV in Elvis' dressing room. Billy helps Elvis into his robe.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Poor Mrs. Kennedy. A tragedy, a tragedy... But it has nothing to do with us.<\/dialogue>\n    <scene_description>Suddenly, Elvis bursts through the curtains.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>It has everything to do with us...<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>I just do not think we should be making speeches about politics and religion.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Dr. King was shot eight miles from Graceland, while I was out here singing to turtles. And now this, and all you can think about is how many goddamn sweaters I can sell?!<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>This wounds Colonel's pride.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>I'm a promoter, that's what I do.<\/dialogue>\n    <scene_description>But Elvis does not back down...<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Well I'm Elvis Presley. That's what I do.<\/dialogue>\n    <scene_description>The Colonel's eye takes on that crocodile gleam.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Well, Mr. Bindle has really gotten inside your head with all of his hippy friends. You actually think that singing your old songs dressed in black leather, sweating, mumbling incoherently to the audience, was a good show?<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Colonel, I know when I've excited an audience.<\/dialogue>\n    <scene_description>The Colonel rounds on him.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>That was not a real audience my boy. There was a sign flashing 'applaud' telling them when to clap for you.<\/dialogue>\n    <scene_description>This touches Elvis' Achilles heel. The Colonel knows he's landed a blow and drives in, brandishing his cane.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>This entire jamboree is an embarrassment!<\/dialogue>\n    <parenthetical>(thud goes the cane)<\/parenthetical>\n    <dialogue>You have embarrassed the sponsors...<\/dialogue>\n    <parenthetical>(off thud)<\/parenthetical>\n    <dialogue>You have embarrassed yourself...<\/dialogue>\n    <parenthetical>(off thud)<\/parenthetical>\n    <dialogue>And you have embarrassed me...<\/dialogue>\n    <parenthetical>(off thud)<\/parenthetical>\n    <dialogue>Now, you can sing whatever songs you and Mr. Bindle choose for 55 minutes, but at the end of the show there will be a Christmas song.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>COLONEL<\/dialogue>\n    <scene_description>Or we will be sued-- no, you will be sued for breach of contract, because I will no longer be the promoter your career... I will have to leave you. Elvis takes this in. Colonel makes his way to the door.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>I have convinced our friends at Singer to come back tomorrow for 'Here Comes Santa Claus.' I'll see you in the morning, Mr. Presley.<\/dialogue>\n    <parenthetical>(turning before he exits)<\/parenthetical>\n    <dialogue>Oh, and as I recall, Dr. King said rock and roll contributed to juvenile delinquency.<\/dialogue>\n    <scene_description>Elvis turns back to the television. PUSH IN ON: L.B.J. on the television and MATCH CUT TO:<\/scene_description>\n    <character>INT. NBC STUDIOS - CONTROL ROOM\/STAGE - NIGHT<\/character>\n    <dialogue>L.B.J. on the monitor in the control room. Binder turns off the three monitors with a 'click, click, click.' Bones behind him. He notices Elvis down in the studio. CUT TO: the abandoned studio floor. A stark work light slashes the Santa set, where Elvis stands in deep contemplation. He sings a couple of melancholic lines from \"Here Comes Santa Claus.\"<\/dialogue>\n    <character>BINDER (V.O.)<\/character>\n    <parenthetical>(intercom)<\/parenthetical>\n    <dialogue>We're set for the number tomorrow right E.P?<\/dialogue>\n    <scene_description>Elvis looks up to Binder in the control room.<\/scene_description>\n    <character>BINDER<\/character>\n    <dialogue>It's pretty familiar territory... Is it okay if we just run through it in the morning?<\/dialogue>\n    <scene_description>He looks to Bones, pulling on his jacket to leave, weary with disappointment. Elvis stares back at Binder and Bones, defiance in his eyes...<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>A reverend told me once: 'When things are too dangerous to say... sing.'<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>INT. NBC STUDIOS - CONTROL ROOM - CONTINUOUS ACTION<\/character>\n    <dialogue>Binder ponders. He turns to Bones, who has stopped putting on his jacket. Binder looks down at the script he was about to throw out. We hear simple piano chords. CLOSE ON Binder's script as we match cut to...<\/dialogue>\n    <character>INT. NBC STUDIOS - DRESSING ROOM - NIGHT<\/character>\n    <dialogue>TOP SHOT: Elvis, lying on the floor, holding Binder's script. He moves the paper to reveal the lyrics to 'If I Can Dream' on the flip-side. Binder, Bones and BILLY GOLDENBERG are around the piano, shaping up a song.<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>There must be lights burning brighter somewhere Got to be birds flying higher in a sky more blue...<\/dialogue>\n    <scene_description>Time passes and the piano chords transform into a warm, stirring brass section.<\/scene_description>\n    <character>INT. NBC STUDIOS - CONTROL ROOM - DAY<\/character>\n    <dialogue>We once again see Colonel barreling along past the window at the back of the room, wearing a Christmas sweater. Diskin, also in sweater, and Charlie Hodge in tow.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>They were in there all night...<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Doing what?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Working on the new song. He says he's singing it...<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>New song? No.<\/dialogue>\n    <scene_description>Colonel enters the control room.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Oh, it's beginning to look a lot like Christmas! Mr. Bindle... You and I are on the same page at last.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>Binder looks up. Eight monitors hold a wide shot of the Santa set with dancers and a choreographer rehearsing \"Here Comes Santa Claus.\" Colonel turns to the Singer Executives, but before he can speak, we hear the stirring brass, and the Singer Executives' faces turn ashen.<\/dialogue>\n    <character>BINDER<\/character>\n    <dialogue>Bring up the lights on the sign.<\/dialogue>\n    <character>INT. NBC STUDIOS - STAGE - CONTINUOUS ACTION<\/character>\n    <dialogue>The West cousins pull back a curtain to reveal a white- suited Elvis. Priscilla kisses him before he takes the stage.<\/dialogue>\n    <character>PRISCILLA<\/character>\n    <dialogue>Good luck, baby.<\/dialogue>\n    <scene_description>Suddenly, the TV cameras turn away from the Santa set and towards the giant \"ELVIS\" letters illuminated in red.<\/scene_description>\n    <character>INT. NBC STUDIOS - CONTROL ROOM - CONTINUOUS ACTION<\/character>\n    <dialogue>The Colonel moves in disbelief to the window as a crane with a CAMERAMAN sweeps in front of his reddening face.<\/dialogue>\n    <character>INT. NBC STUDIOS - STAGE - CONTINUOUS ACTION<\/character>\n    <dialogue>Elvis, now fully revealed in the spotlight, sings as if speaking to the whole world from the depths of his soul.<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>We're lost in a cloud! With too much rain!<\/dialogue>\n    <scene_description>The cast looks on, moved by the power of the message and the voice.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>We're trapped in a world! That's troubled with pain! But as long as a man Has the strength to dream... He can redeem his soul And fly!<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>INT. NBC STUDIOS - CONTROL ROOM - DAY<\/character>\n    <dialogue>Colonel's face is like thunder. Diskin, inscrutable, yet an undeniable inner approval. Just then, Priscilla walks in. She shares a look with Binder and stands by him.<\/dialogue>\n    <character>ELVIS (V.O.)<\/character>\n    <dialogue>Deep in my heart there's a<\/dialogue>\n    <scene_description>tremblin' question Still I am sure that the answer, answer's gonna come somehow Out there in the dark, there's a beckoning candle And while I can think, while I can talk<\/scene_description>\n    <character>INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)<\/character>\n    <dialogue>ELVIS (V.O.)<\/dialogue>\n    <scene_description>While I can stand, while I can walk While I can dream, please let my dream Come true, right now!!! Colonel, now walking away from the Elvis set, back into the ghostly casino whence he came.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <dialogue>I was certain it was going to be a disaster.<\/dialogue>\n    <scene_description>We STAY ON Colonel's face as it transforms.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <parenthetical>(a tepid whisper)<\/parenthetical>\n    <dialogue>But I was wrong.<\/dialogue>\n    <scene_description>Never before have we seen the Colonel so vulnerable.<\/scene_description>\n    <character>EXT. GRACELAND - DAY (1969)<\/character>\n    <dialogue>A lively picnic to the sounds of Elvis' 'Memphis Tennessee.' Elvis and Priscilla race around on a golf cart. A new era at Graceland.<\/dialogue>\n    <character>INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)<\/character>\n    <dialogue>Old Colonel sits ever-so-slowly at the roulette table, his face frozen in catatonic despair. He SCREAMS...<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>OLD COLONEL<\/dialogue>\n    <scene_description>Wrong! His breath heavy, full of self-pity.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <dialogue>All those years I stood by him. One little mistake and he leaves me?!<\/dialogue>\n    <character>INT. GRACELAND - MUSIC ROOM - AFTERNOON (1969)<\/character>\n    <dialogue>Graceland, completely reimagined in a hip, sixties look, with an equally hip cocktail party in swing. Elvis, Priscilla, Jerry ,and a cool, rangy character, TOM HULETT, look over the plans for a touring plane.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Air Presley's new wings.<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>I'll fly away, oh glory I'll fly away, in my Convair 880.<\/dialogue>\n    <character>HULETT<\/character>\n    <dialogue>With a state room in the back, extra seating in the front.<\/dialogue>\n    <character>PRISCILLA<\/character>\n    <dialogue>You mean we can sleep on the plane?<\/dialogue>\n    <character>HULETT<\/character>\n    <dialogue>That's the whole point! When you play stadiums, it's like a week of shows in just one night. So when it's done, you hop on the plane and go where you want...<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>\"Go where you want, play where you want, and if they don't like it, go some place else.\" B.B. King told me that.<\/dialogue>\n    <character>HULETT<\/character>\n    <dialogue>B.B. knows, man... I've been doing some research. Last year alone, you turned down two offers in Germany and Japan for a million bucks... for one night! You know who gets offers like that?<\/dialogue>\n    <scene_description>Elvis shrugs. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>HULETT<\/dialogue>\n    <scene_description>Nobody... Nobody except Elvis. Aaron. Presley. Just last week, with our newest group, Led Zeppelin, they sold out the Coliseum in Vancouver. Just imagine what you could do. Why the Colonel turned them down is beyond me.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Well if you figure it out, let us know.<\/dialogue>\n    <scene_description>A tense moment. Elvis spies little LISA MARIE and picks her up.<\/scene_description>\n    <character>PRISCILLA<\/character>\n    <dialogue>We should call it the \"Lisa Marie.\" Are you guys hungry? Let's eat.<\/dialogue>\n    <scene_description>Joining Vernon, his new wife, DEE, Charlie, Lamar and girlfriends, they hold court like the Kennedys. They all sit down for dinner. A phone RINGS. Charlie pops out, and back in.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Hey EP, it's the Colonel.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Not now, Charlie. I'm sitting down to dinner with my family.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(into the phone)<\/parenthetical>\n    <dialogue>You're gonna have to call back later.<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(to the table)<\/parenthetical>\n    <dialogue>I want you to get me some songs. I want you to get me some songs, too. I want every one of you, if you know somebody, to get me some songs.<\/dialogue>\n    <character>LAMAR<\/character>\n    <dialogue>Hey, I got something from a young guy, Eddie Rabbitt: \"Kentucky Rain\" You've got to do it. It's just that good.<\/dialogue>\n    <scene_description>We PAN to the dining room chandelier as the lights turn on, signaling the transition to night. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>INT. GRACELAND DINING ROOM - LATER<\/character>\n    <dialogue>PAN off the chandelier to find STAFF clearing away the last of the plates at the meal's end. It's a warm atmosphere and spirits are high. Elvis' end of the table is abuzz with talk of the new album:<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>You know E, I love the new song, man it's--<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>It's unlike anything I've ever sung before.<\/dialogue>\n    <character>PRISCILLA<\/character>\n    <dialogue>The first time Elvis played it for me, I cried.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I don't know about the title: \"In The Ghetto\"...<\/dialogue>\n    <character>DEE<\/character>\n    <dialogue>\"In The Ghetto?\" That's going to put a lot of people off.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Well it's a great song but, you know, it might...<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Have you settled on a name for the album?<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>From Elvis... in Memphis. Going back to my roots recording here in my home town. And then we take it to the world with our new wings.<\/dialogue>\n    <scene_description>Priscilla summons the maid who brings a tray of jewelry boxes with a tag reading: \"From Elvis.\" She hands them out around the table.<\/scene_description>\n    <character>PRISCILLA<\/character>\n    <dialogue>And in honor of that, Elvis and I have organized a little surprise. It's nothing crazy.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>To celebrate this new chapter, the new album, and the tour.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>Vernon, now a few drinks past his limit, attempts an aside to Dee.<\/dialogue>\n    <character>VERNON<\/character>\n    <dialogue>And if the tour doesn't go off as planned, those costs, the musicians, that airplane, that's gonna be on my head, yeah.<\/dialogue>\n    <scene_description>A tense silence, as if Colonel's presence is suddenly felt.<\/scene_description>\n    <character>HULETT<\/character>\n    <dialogue>Mr Presley, with all due respect, man, there's no way this tour won't bring in mucho dinero.<\/dialogue>\n    <character>VERNON<\/character>\n    <dialogue>Well son, I'm sorry, but it's my job to worry about these finances because I am business manager.<\/dialogue>\n    <character>PRISCILLA<\/character>\n    <dialogue>Vernon, we're all taking care of business now.<\/dialogue>\n    <scene_description>Hulett opens one of the boxes, holding up a lightning bolt necklace, emblazoned with \"TCB\".<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>That's right. We're gonna TCB around the world... but that don't mean nothin' without a little tender loving care at home.<\/dialogue>\n    <scene_description>One of the women at the table opens her box to find a matching \"TLC\" necklace inside.<\/scene_description>\n    <character>PRISCILLA<\/character>\n    <dialogue>You can't have one without the other.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>To TCB and TLC.<\/dialogue>\n    <scene_description>Glasses are raised as the guests respond, some trying on their new necklaces with a laugh. Vernon looks on incredulously.<\/scene_description>\n    <character>VERNON<\/character>\n    <parenthetical>(to Dee)<\/parenthetical>\n    <dialogue>And how much did these cost?<\/dialogue>\n    <scene_description>Priscilla looks to Elvis, catching a flicker of self- doubt. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>EXT. GRACELAND - DAY<\/character>\n    <dialogue>An RCA MOBILE RECORDING VAN is parked in the driveway. We FOLLOW cables running from the van to inside the house.<\/dialogue>\n    <character>INT. GRACELAND - JUNGLE ROOM - DAY<\/character>\n    <dialogue>Elvis, backup singers, and band are recording. Priscilla descends the stairs and watches.<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Well, the world turns And a hungry little boy with a<\/dialogue>\n    <scene_description>runny nose Plays in the street as the cold wind blows In the ghetto And his hunger burns So he starts to roam the streets at night And he learns how to steal, and he learns how to fight In the ghetto<\/scene_description>\n    <character>INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)<\/character>\n    <dialogue>The SCREEN FILLS with archival images of riots in Chicago, Newark...<\/dialogue>\n    <character>ELVIS (V.O.)<\/character>\n    <parenthetical>(vocal)<\/parenthetical>\n    <dialogue>Then one night in desperation A young man breaks away He buys a gun, steals a car Tries to run, but he don't get far And his mama cries As a crowd gathers 'round an angry<\/dialogue>\n    <scene_description>young man Face down on the street with a gun in his hand In the ghetto<\/scene_description>\n    <character>INT. GRACELAND - JUNGLE ROOM - DAY (1969)<\/character>\n    <dialogue>Charlie answers the phone and mouths to Jerry, 'It's the Colonel.' Priscilla shakes her head at Charlie. Elvis imbues the last lines with authentic emotion.<\/dialogue>\n    <character>ELVIS (V.O.)<\/character>\n    <parenthetical>(vocal)<\/parenthetical>\n    <dialogue>And as her young man dies<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>ELVIS (V.O.)<\/dialogue>\n    <scene_description>On a cold and gray Chicago mornin' Another little baby child is born In the ghetto And his mama cries<\/scene_description>\n    <character>INT. ALADDIN CASINO (VEGAS) - GAMBLING FLOOR - DAY<\/character>\n    <dialogue>The CROUPIER deals a card and Colonel taps the table, requesting another.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Hit me.<\/dialogue>\n    <scene_description>But to his surprise, the Croupier does not deal him another card. Colonel taps the table again.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Hit me.<\/dialogue>\n    <character>CROUPIER<\/character>\n    <parenthetical>(nervously)<\/parenthetical>\n    <dialogue>Mr. Parker, Mr. Kohn would like to see you.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Colonel Parker. Hit me.<\/dialogue>\n    <scene_description>The Croupier just stares back while the FLOOR MANAGER beside him shakes his head. Colonel drags himself from the table, taking a basket of fried chicken with him.<\/scene_description>\n    <character>INT. CASINO - MEYER KOHN'S OFFICE<\/character>\n    <dialogue>MEYER KOHN and his INTIMIDATING ASSOCIATE stare the Colonel down from across a desk.<\/dialogue>\n    <character>MEYER KOHN<\/character>\n    <dialogue>You've run up quite a tab, Colonel, and now we hear your boy is working with new people. You've lost your meal ticket.<\/dialogue>\n    <scene_description>Kohn rises for emphasis.<\/scene_description>\n    <character>MEYER KOHN<\/character>\n    <dialogue>You better settle up, Colonel, before we have to make things...<\/dialogue>\n    <scene_description>With an ominous knuckle-crack, Kohn's Associate finishes his sentence.<\/scene_description>\n    <character>INTIMIDATING ASSOCIATE<\/character>\n    <dialogue>...Uncomfortable.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>INT. GRACELAND - ELVIS' BEDROOM - NIGHT<\/character>\n    <dialogue>Elvis brushes his teeth while Priscilla brushes her hair, getting ready for bed.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>I have to see him in Vegas. He's hurt his back...<\/dialogue>\n    <character>PRISCILLA<\/character>\n    <dialogue>Satnin', you know what he's like. The moment you get near him, he'll have you under 10 feet of snow before you know what's happened.<\/dialogue>\n    <scene_description>Elvis looks to her, knows where she's going.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Baby my mind's made up. Business is business, but I owe it to him to tell him to his face.<\/dialogue>\n    <character>PRISCILLA<\/character>\n    <dialogue>Just be careful he doesn't clip your wings.<\/dialogue>\n    <scene_description>Elvis slides into the bed, cuddling her.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>He won't. I'm gonna go see him in Vegas, look him in he eyes and tell him it's over.<\/dialogue>\n    <character>PRISCILLA<\/character>\n    <dialogue>I actually feel sorry for him.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Me too.<\/dialogue>\n    <scene_description>We can tell by the way Elvis gently nods that his feelings for the Colonel still run deep. Priscilla clicks off the TV remote and we go to black.<\/scene_description>\n    <character>INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)<\/character>\n    <dialogue>Colonel's eyes bulge, a dismissive smile as he intones...<\/dialogue>\n    <character>OLD COLONEL<\/character>\n    <dialogue>Sorry for me? She feels sorry for me?<\/dialogue>\n    <scene_description>Colonel, IV in tow, walks into the model of the European village we saw in the Christmas special. A YOUNG WOMAN's laughter echoes from a shopfront. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>YOUNG WOMAN (V.O.)<\/dialogue>\n    <scene_description>Andreas, I feel so sorry for you... This strange memory clearly pains the Colonel.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <dialogue>Sorry for me? For leaving me, Mr. Presley? Well, we both had bills to pay, but...<\/dialogue>\n    <scene_description>He lifts a finger TOWARDS the CAMERA.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <dialogue>I had the perfect solution.<\/dialogue>\n    <character>INT.\/EXT. LIMO\/LAS VEGAS STRIP - DAY (1969)<\/character>\n    <dialogue>Elvis and Memphis Mafia are driven past garish marquees: \"The Stardust,\" \"Caesars Palace,\" \"The Flamingo.\"<\/dialogue>\n    <character>INT. HOSPITAL - HALLWAY - DAY<\/character>\n    <dialogue>The West cousins secure the hallway as Elvis approaches Colonel's room. Diskin guides Elvis through the door.<\/dialogue>\n    <character>DISKIN<\/character>\n    <dialogue>Hey EP, he doesn't want you making a fuss.<\/dialogue>\n    <character>INT. HOSPITAL - ROOM - CONTINUOUS ACTION<\/character>\n    <dialogue>Blinds drawn. A disturbing wheezing. Nurse Tish tends to Colonel, in a hospital bed. A weak, husky voice...<\/dialogue>\n    <character>NURSE TISH<\/character>\n    <dialogue>Colonel, Elvis is here.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>My boy...<\/dialogue>\n    <scene_description>Colonel feebly waves in Elvis' direction.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Admiral... How are you?<\/dialogue>\n    <scene_description>Elvis moves to him, concern hidden behind tinted glasses.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>I should have gone down to see you but as you can see I'm a... little laid up, you know.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>He moves to get out of bed, Diskin rushes to support him.<\/dialogue>\n    <character>NURSE TISH<\/character>\n    <dialogue>You've just had a heart attack; you're not to get out of bed.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>A heart attack? You said your back.<\/dialogue>\n    <scene_description>But Colonel is already out of bed, Nurse Tish stabilizing him with his walker.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Stop making such a fuss. Diskin, get the lights. My heart just stopped is all... I fell and put my back out. It was just all the excitement over your Christmas special; but I shouldn't have worried any.<\/dialogue>\n    <scene_description>He stops and looks Elvis directly in the eye.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>You came through as you always do. I may have very small ideas, but no one can sell a show to an audience like you can. I admit it, I was wrong.<\/dialogue>\n    <scene_description>It's almost as if there's an invisible tear in Colonel's eye. Elvis strengthens his resolve.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Colonel, I want to tell you in person. As far as business is concerned, I think we need to go our separate ways.<\/dialogue>\n    <scene_description>But Colonel is all enthusiasm.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Well, you may be right. It may be time for me to retire.<\/dialogue>\n    <scene_description>Elvis chuckles.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Come on Colonel, quit snowing me. You ain't retiring.<\/dialogue>\n    <scene_description>The Colonel seems hurt. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>COLONEL<\/dialogue>\n    <scene_description>I will miss the circus. I can't keep up with this young fella Hulett is putting on your new show, an international tour in stadiums and the Olympia in Paris and the Sydney Opera House and what's that one Diskin? \"Boukin?\"<\/scene_description>\n    <character>DISKIN<\/character>\n    <dialogue>The Budokan in Tokyo.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>The Budokan in Tokyo... But creating a show worthy of an international tour is very, very expensive. All those costs eat into the artist's profits and I worry that the financial risk would put a strain on your father. I've been thinking, as your former technical advisor and as an old friend...<\/dialogue>\n    <scene_description>The Colonel looks to Elvis, looking for reassurance.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>What if your show didn't cost a single cent? Then it would be all profit! Every dollar you make would be a dollar profit! And I think your daddy would like the sound of that very much.<\/dialogue>\n    <scene_description>Colonel touches a button and the drapes rush back to REVEAL: the International Hotel, vaulting skywards!<\/scene_description>\n    <character>INT. INTERNATIONAL HOTEL - SHOWROOM - LATER<\/character>\n    <dialogue>A late-'60s red-and-white extravaganza. Colonel at one end of the auditorium. Nurse Tish by his wheelchair. Elvis examines the cavernous stage.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>It's a mighty big stage. Remember when we saw itty bitty Barbara Streisand? It ate her alive.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>She worked out the bugs for us.<\/dialogue>\n    <scene_description>Colonel dismisses Nurse Tish and walks toward Elvis as he examines the Versailles-like ceiling. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>ELVIS<\/dialogue>\n    <scene_description>You can get lost in a place like this. Colonel has now arrived at the front of the stage.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>When you started performing, you always said something was wrong. Your hair, your costume. But you was just afraid. Afraid of being Elvis, and if you weren't, you wouldn't be a great artist.<\/dialogue>\n    <scene_description>Elvis considers. He knows there's a truth here.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Now yours and Mr Hulett's international tour can't be nothing less than great. Nothing less than Elvis Presley.<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(tentative)<\/parenthetical>\n    <dialogue>I've been experimenting with a new, big sound.<\/dialogue>\n    <scene_description>Colonel waves his cane towards the stage.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>You can fill this stage with every musical idea inside...<\/dialogue>\n    <parenthetical>(feigns tapping Elvis' head)<\/parenthetical>\n    <dialogue>... that head.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>It would cost.<\/dialogue>\n    <scene_description>Colonel leans into Elvis. There's an intimacy in their closeness in this vast space:<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Yes! That's the beauty of it. This here International Hotel needs a mighty big draw card to bring in the boobs... So they will cover the costs of putting together that show of yours. You play here for six weeks and then, off you go! Touring around the world! With no financial risk to Elvis Presley Enterprises. None.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>With this, the Colonel TAPS his cane, adopting that strange, internal stare, drawing Elvis in for what feels as though it could be a moment of hypnotism. Elvis breaks the moment with a laugh.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>God damn... The snowman strikes again.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>We are going to make it snow! There will be so much snow, we'll be able to ski down the Vegas Strip.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>So much snow, we'll be able to ski off the top of the International!<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>So much snow, there'll no longer be a desert! And you'll take this show and ski around the entire world! All the way straight to the Rock of Eternity!<\/dialogue>\n    <scene_description>They laugh. Then, Elvis' mind racing with creativity:<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Bright light city gonna set my soul, gonna set my soul on fire.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>We're gonna need the Sweet Inspirations!<\/dialogue>\n    <scene_description>FOLLOW Elvis' gaze and the famed soul sisters appear.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Done!<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>And the great Imperials.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Of course!<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>... and a 30-piece orchestra!<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Strings, brass, a hundred pieces!<\/dialogue>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/dialogue>\n    <character>CONTINUED: (3)<\/character>\n    <dialogue>COLONEL<\/dialogue>\n    <scene_description>And buttons, pins, calendars, posters, photographs, scarves, hound dogs. Giant stuffed hound dogs. The biggest stuffed hound dog on the planet earth. Full brass section, rhythm, percussion, and male choir appear alongside the Sweet Inspirations. Colonel, gone. We are in a full-blown rehearsal. Elvis on a stool at the center is trim, tanned, and terrific, mic in hand.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>You know, the first thing I ever recorded, the very first thing, was \"That's All Right Lil Mama\" but it was back in 1927, I think it was. Let's see. I was quite young, but we only had two or three instruments at the time. We had a guitar, a bass, and another guitar. And well, now...<\/dialogue>\n    <scene_description>He whistles.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>We're gonna make something new here... Listen, I want to try something. Glenn, why don't you take the intro? 2, 3, 4...<\/dialogue>\n    <scene_description>Piano starts.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Alright, bring that bass up Jerry.<\/dialogue>\n    <scene_description>Bass joins.<\/scene_description>\n    <character>EXT. INTERNATIONAL HOTEL - DAY<\/character>\n    <dialogue>Colonel, Diskin at his side, watches as a crane places a GIANT, GLITTERING \"ELVIS!\" MARQUEE. He turns to gangster GOOCHERA and businessman MEYER KOHN.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>If you don't sell any tickets, don't blame me none; even the gophers in the desert will know about this show!<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>INT. INTERNATIONAL HOTEL - SHOWROOM - DAY<\/character>\n    <dialogue>ELVIS<\/dialogue>\n    <scene_description>Now Inspirations, on the answer. (sings) That's all right!<\/scene_description>\n    <character>SWEET INSPIRATIONS<\/character>\n    <parenthetical>(sing)<\/parenthetical>\n    <dialogue>That's all right!<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>That's all right!<\/dialogue>\n    <character>SWEET INSPIRATIONS<\/character>\n    <parenthetical>(sing)<\/parenthetical>\n    <dialogue>That's all right!<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Boys?<\/dialogue>\n    <character>IMPERIALS<\/character>\n    <parenthetical>(sing)<\/parenthetical>\n    <dialogue>That's all right!<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>With me.<\/dialogue>\n    <character>ALL<\/character>\n    <parenthetical>(sing)<\/parenthetical>\n    <dialogue>Any way you do!<\/dialogue>\n    <scene_description>He turns to the Memphis Mafia.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>What are you looking at back there?<\/dialogue>\n    <scene_description>He takes a sip of water, then throws the rest at the Mafia. He turns around and sees Charlie Hodge bugging James Burton.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Hey Charlie, get back, he ain't gonna teach you the guitar in five minutes.<\/dialogue>\n    <scene_description>Guitar joins.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Play it James! Horns? Ba-da-da, ba- da-dow!<\/dialogue>\n    <scene_description>Horns join. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>INT.\/EXT. INTERNATIONAL HOTEL - DAY<\/character>\n    <dialogue>As rehearsal builds, INTERSPERSE SNAPSHOTS of Colonel's marketing madness: hats, bunting, billboards. Radio ads simply repeating, \"Elvis! Elvis! Elvis!\" Colonel oversees the installation of an endless army of GIANT, STUFFED HOUND DOGS!<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>They need to be bigger!<\/dialogue>\n    <character>INT. INTERNATIONAL HOTEL - LATER<\/character>\n    <dialogue>Diskin presents Colonel with a bigger hound dog.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Still not big enough. Go bigger!<\/dialogue>\n    <character>INT. INTERNATIONAL HOTEL - SHOWROOM - DAY<\/character>\n    <dialogue>ELVIS<\/dialogue>\n    <scene_description>Up the octave! They up the octave. Trumpets wail... As music builds, Elvis throws in karate moves, experimenting with his unique style of movement.<\/scene_description>\n    <character>INT. INTERNATIONAL HOTEL - FOYER - DAY<\/character>\n    <dialogue>Just when we think the hound dogs can't get any bigger... Colonel stands in front of: \"WORLD'S BIGGEST HOUND DOG!\"<\/dialogue>\n    <character>INT. INTERNATIONAL HOTEL - SHOWROOM - DAY<\/character>\n    <dialogue>Rehearsal reaches new, dizzying peaks.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Bones, give me something strong on the one.<\/dialogue>\n    <scene_description>Trombones join. Elvis walks over to RONNIE TUTT.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Alright, take it home, brother. Do it to me. Come on.<\/dialogue>\n    <scene_description>Drums go wild. Elvis wiggles in rhythm, as Ron Tutt's thunderous drum solo from outer space begins... 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>EXT. INTERNATIONAL HOTEL - NIGHT<\/character>\n    <dialogue>THE \"ELVIS!\" MARQUEE. Rich and famous alight from limos. MERCHANDISE SELLERS hawk to CROWDS.<\/dialogue>\n    <character>INT. INTERNATIONAL HOTEL - SHOWROOM - BACKSTAGE - NIGHT<\/character>\n    <dialogue>The drum solo, LOUDER and LOUDER. MASSIVE BRASS CHORDS. Elvis and his entourage walk around the back of the stage, he tunes his guitar. Elvis takes a moment, summoning all his strength.<\/dialogue>\n    <character>INT. INTERNATIONAL HOTEL - SHOWROOM - NIGHT<\/character>\n    <dialogue>To deafening applause, the ornate showroom explodes into a million flashbulbs as Elvis takes the stage and launches into a super-fast up-tempo vocal:<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Well, that's all right, mama, That's alright for you, That's alright, mama, any way you<\/dialogue>\n    <scene_description>do... In one booth, Colonel sits with stoic Goochera and Meyer Kohn. In another, Priscilla, next to a proud Vernon and Dee.<\/scene_description>\n    <character>INT. JUKE JOINT - NIGHT (1947)<\/character>\n    <dialogue>The juke joint's on fire to Arthur Crudup, leaving no doubt as to the influence on Elvis on stage.<\/dialogue>\n    <character>BIG BOY CRUDUP<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Well, my mama, she done told me, Papa told me, too, 'This life you're living, son, now<\/dialogue>\n    <scene_description>women be the death of you,' now that's alright. YOUNG ELVIS' EYE peers in through the peephole.<\/scene_description>\n    <character>INT. SUN RECORDS - STUDIO - NIGHT (1954)<\/character>\n    <dialogue>19-year-old Elvis rocks out with Scotty and Bill.<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>But that's all right,<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>ELVIS<\/dialogue>\n    <scene_description>That's all right now, mama, any way you do...<\/scene_description>\n    <character>INT. JUKE JOINT - DAY (1947)<\/character>\n    <dialogue>BIG BOY CRUDUP<\/dialogue>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Now, if you don't want me, why not<\/dialogue>\n    <scene_description>tell me so? You won't be bothered with me round your house no more. Young Elvis mouths the words.<\/scene_description>\n    <character>INT. SUN RECORDS - STUDIO - NIGHT (1954)<\/character>\n    <dialogue>CLOSE ON 19-year-old Elvis, singing the words.<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>But that's all right, that's all<\/dialogue>\n    <scene_description>right... That's all right now, mama, any way you do...<\/scene_description>\n    <character>INT. INTERNATIONAL HOTEL - SHOWROOM - NIGHT (1969)<\/character>\n    <dialogue>ELVIS<\/dialogue>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Dee dee dee dee, Dee dee dee dee, Dee dee dee dee dee dee dee dee Dee dee doo, well, that's alright,<\/dialogue>\n    <scene_description>that's alright...<\/scene_description>\n    <character>INT. JUKE JOINT\/SUN STUDIOS\/SHOWROOM - SPLIT SCREEN<\/character>\n    <dialogue>The three performers across time now appear in a '70s- style split screen. All now merge into the BIG FINISH!<\/dialogue>\n    <character>BIG BOY CRUDUP\/19-YEAR-OLD<\/character>\n    <dialogue>ELVIS\/34-YEAR-OLD ELVIS<\/dialogue>\n    <parenthetical>(sing)<\/parenthetical>\n    <dialogue>That's all right now, mama, any<\/dialogue>\n    <scene_description>way you do! That's all right now, mama, any way you do!<\/scene_description>\n    <character>INT. INTERNATIONAL HOTEL - SHOWROOM - NIGHT<\/character>\n    <dialogue>The audience erupts. Even Kohn and Goochera cannot contain their excitement as we SETTLE ON the Colonel.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>OLD COLONEL (V.O.)<\/dialogue>\n    <scene_description>He put everything he knew about music into that show. Elvis banters with the audience between numbers.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Ain't nobody gonna do a better show than that! If I was you, I'd book him for the next hundred years!<\/dialogue>\n    <character>KOHN<\/character>\n    <dialogue>Well, no better time than the present.<\/dialogue>\n    <character>GOOCHERA<\/character>\n    <dialogue>We'd like to make him part of the family, Colonel.<\/dialogue>\n    <scene_description>There is something chilling beneath Goochera's bonhomie.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Well, I think Mr. Presley could be persuaded to make the International his home...<\/dialogue>\n    <scene_description>Suddenly, Elvis calls for a spotlight on Colonel. Colonel waves to the audience, and with the spotlight still on him, he says out of the side of his mouth:<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Providing of course, he was paid pretty well.<\/dialogue>\n    <character>KOHN<\/character>\n    <dialogue>What did you have in mind?<\/dialogue>\n    <scene_description>Colonel takes out his pen with a flourish as Elvis moves into \"Suspicious Minds.\"<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>We're caught in a trap I can't walk out Because I love you too much, baby Why can't you see What you're doing to me When you don't believe a word I<\/dialogue>\n    <scene_description>say?<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Well, for an attraction as tremendous as Mr Presley...<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>As we INTERCUT with Elvis' intensifying physical routine, Colonel scrawls directly onto the tablecloth: \"ELVIS PRESLEY, $500,000 PER ENGAGEMENT FOR FIVE YEARS...<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>I couldn't let him leave. I had to keep him home, keep him safe.<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>We can't go on together With suspicious minds And we can't build our dreams On suspicious minds...<\/dialogue>\n    <character>...1969 - 1970 - 1971 - 1972 - 1973 = $5,000,000 PLUS<\/character>\n    <dialogue>$100,000 SIGNING BONUS.\"<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>That's what my boy would expect.<\/dialogue>\n    <scene_description>Colonel presents the pen to Kohn who considers, signs the tablecloth, and hands the pen back.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Now what are you going to pay me?<\/dialogue>\n    <character>KOHN<\/character>\n    <dialogue>If there's one thing I've learned, it's never bet against the Colonel. Your sideshow is the jackpot.<\/dialogue>\n    <scene_description>Kohn can't help admire the Colonel's unfailing chutzpah as he scribbles on a COCKTAIL NAPKIN, shows it to Goochera, who nods, and then slides it over to Colonel... It reads, \"THE UNDERSIGNED, COLONEL TOM PARKER, IS A 'SPECIAL GUEST' OF THE INTERNATIONAL HOTEL. HE HAS UNLIMITED CREDIT AT ALL TABLES.\" Colonel signs the napkin and snatches it up, before easing himself out of the booth.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Oh, and of course I'll reserve the right to sell calendars, pictures and such on the side.<\/dialogue>\n    <scene_description>Kohn rolls his eyes, and nods. Colonel crocodiles through the audience, eyes locked on Elvis' incredible performance. Entering the wings, he sees Jerry between vaulting curtains, staring at the apparition of Elvis. Colonel places a hand on Jerry's shoulder and he turns around. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (3)<\/character>\n    <dialogue>JERRY<\/dialogue>\n    <scene_description>Elvis really wants to announce tonight. The Colonel peers at Jerry and raises a finger.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>An announcement?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>The tour, at the press conference. He's gonna set E.P. up with his own plane.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Or perhaps a rocket ship?<\/dialogue>\n    <scene_description>Jerry half-laughs at Colonel's strange joke. Without taking his eyes off Elvis, Colonel leans in:<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Just one thing. Keep in mind... security. Security.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Hulett knows what he's doing.<\/dialogue>\n    <scene_description>Colonel fades back to join Diskin at the legs of the proscenium, the red floor lights flickering on them both.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>We're caught in a trap I can't walk out Because I love you too much, baby<\/dialogue>\n    <scene_description>Colonel halts abruptly, cane before his eyes, staring inward. Suddenly, intense:<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Diskin, have we discussed with Mr. Hulett? Pertaining to the death threats?<\/dialogue>\n    <character>DISKIN<\/character>\n    <parenthetical>(unsure)<\/parenthetical>\n    <dialogue>Death threats?<\/dialogue>\n    <scene_description>Colonel unconsciously taps his cane, deep in thought.<\/scene_description>\n    <character>COLONEL<\/character>\n    <parenthetical>(mouthing the words)<\/parenthetical>\n    <dialogue>Death threats...<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>FLASH FORWARD INT. INTERNATIONAL HOTEL - ELVIS' ROOM -<\/character>\n    <dialogue>NIGHT<\/dialogue>\n    <dialogue>A door cracks ajar to reveal a Showroom menu on the floor outside. The photo of Elvis' face is scratched out. Scrawled across it: \"I am going to kill you.\" END FLASH FORWARD.<\/dialogue>\n    <character>INT. INTERNATIONAL HOTEL - SHOWROOM - NIGHT<\/character>\n    <dialogue>Back in the present, Elvis has the audience spellbound, as he repeats the final verse over and over...<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>We're caught in a trap I can't walk out Because I love you too much, baby<\/dialogue>\n    <scene_description>A tap from the Colonel's cane sends us into a stylized, operatic bubble of Suspicious Minds.<\/scene_description>\n    <character>FLASH FORWARD INT. INTERNATIONAL HOTEL - SHOWROOM - NIGHT<\/character>\n    <dialogue>Elvis, in a different jumpsuit, is performing 'Never Been to Spain.' FOUR MEN charge the stage, sending Elvis to one knee, reaching for a holster in his boot. The Memphis Mafia rush to stop him, dragging him from the stage. The crowd applauds, thinking it is part of the show, until Elvis returns.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>I'm sorry ladies and gentleman. I'm sorry I didn't break his goddam neck! If he wants to shake my hand I'm fine, if he wants to get tough I'll whoop his ass...<\/dialogue>\n    <scene_description>Elvis charges into 'Polk Salad Annie.' END FLASH FORWARD.<\/scene_description>\n    <character>INT. INTERNATIONAL HOTEL - SHOWROOM - NIGHT<\/character>\n    <dialogue>The audience cheers Elvis, as Suspicious Minds reaches its thundering climax. As the stage lights drop to black, the reaction is rapturous.<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>That night he went from a man, to a god...<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>From his vantage point by the stage, Colonel looks over to Priscilla, sat with Vernon and his new wife, Dee.<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>She had never seen him perform live, and in her face I saw a familiar expression. The same fear I had seen in the face of his mother. The realization that he no longer belonged to her...<\/dialogue>\n    <scene_description>Dee turns to Pricilla, almost yelling amidst the fervor.<\/scene_description>\n    <character>DEE<\/character>\n    <dialogue>You must see this all the time!<\/dialogue>\n    <scene_description>But a clearly astonished Priscilla is slow to respond, a thought dawning on her.<\/scene_description>\n    <character>PRISCILLA<\/character>\n    <dialogue>Never...<\/dialogue>\n    <character>DEE<\/character>\n    <dialogue>Never what?<\/dialogue>\n    <character>PRISCILLA<\/character>\n    <dialogue>I've never seen him perform a live show before.<\/dialogue>\n    <character>DEE<\/character>\n    <dialogue>You're the lucky one, you get to take him home!<\/dialogue>\n    <character>INT. INTERNATIONAL HOTEL - SHOWROOM - NIGHT<\/character>\n    <dialogue>OLD COLONEL (V.O.)<\/dialogue>\n    <scene_description>Yes, he was once again Elvis, making love to a live audience. More cheers.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Wise men say, only fools rush<\/dialogue>\n    <scene_description>in... But I can't help falling in love with you... Shall I stay? Would it be a sin... If I can't help falling in love with you? 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>The Colonel has moved back into the auditorium. Leaning down from the stage to kiss a woman in the audience, Elvis looks up and connects with Colonel. They share a smile; once again great together. Elvis unexpectedly walks down into the audience, as if offering himself as sacrifice. Colonel directs security to throw an instant ring around Elvis.<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>That's what was great about Elvis. He'd get an idea and take it to the rock of eternity...<\/dialogue>\n    <scene_description>Placing his hands on Elvis' waist, the Colonel guides Elvis through the mel\u00e9e and an orgy of kisses. Colonel shares a look with Priscilla.<\/scene_description>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>In this, his greatest moment, she could see the nature of his love. A love that we mere mortals could only glimpse from the shadows.<\/dialogue>\n    <scene_description>Gifting Elvis back to his audience, Colonel saunters back through the showroom in a victory lap.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>For I can't help falling in love<\/dialogue>\n    <scene_description>with you... The enormous golden curtain falls. The crowd rises in unrestrained adoration, while Jerry guides Priscilla, Vernon, and Dee backstage.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>He did it! Next stop: the world!<\/dialogue>\n    <scene_description>Priscilla manages an insecure smile.<\/scene_description>\n    <character>INT. INTERNATIONAL HOTEL - BACKSTAGE - NIGHT<\/character>\n    <dialogue>Behind the curtain, the Memphis Mafia gather around and swathe Elvis in towels, moving him towards Jerry, Priscilla, Vernon, and Dee. The Colonel looks on from the shadows on the other side of the stage. Priscilla unabashedly throws her arms around Elvis.<\/dialogue>\n    <character>PRISCILLA<\/character>\n    <dialogue>I don't know who that was out there, but I sure am glad I'm married to him.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>Elvis looks up and can see his father, proud and beaming. Vernon's warm and steady hands clasp his.<\/dialogue>\n    <character>VERNON<\/character>\n    <dialogue>Son, Mama was looking down on you, clapping and celebrating with all of us.<\/dialogue>\n    <character>DEE<\/character>\n    <dialogue>Oh, you were wonderful! Do you mind signing these for my boys?<\/dialogue>\n    <scene_description>But Elvis is staring towards the Colonel, isolated, alone. Priscilla, sensitive to this:<\/scene_description>\n    <character>PRISCILLA<\/character>\n    <dialogue>Mr Presley... I see that's your new manager over there.<\/dialogue>\n    <scene_description>With this, she and Jerry guide Vernon and Dee away.<\/scene_description>\n    <character>PRISCILLA<\/character>\n    <dialogue>We'll see you at the party.<\/dialogue>\n    <scene_description>But Elvis has already begun to cross the stage.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Tremendous triumph, greatest show on earth! My dear boy, this brainchild came from you and me. But you above it all made it work with your talent and dedication. We did it, my boy. We did it.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>We did it. I can't wait to show the world what you and I can do.<\/dialogue>\n    <scene_description>Colonel's eyes drift towards the napkin gripped in his hand. Like Judas clutching 30 pieces of silver...<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Yes, the world will see your show. I guarantee it. Whatever I have to do I will carry it out... Whatever it takes.<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>... As long as they bought a ticket to Vegas.<\/dialogue>\n    <character>INT. INTERNATIONAL HOTEL - PRESS CONFERENCE - LATER<\/character>\n    <dialogue>The post-show press conference. Elvis glows with pride in an all-black ensemble as he is introduced to the room:<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>ANNOUNCER (O.S.)<\/dialogue>\n    <scene_description>Ladies and gentlemen, Mr. Elvis Presley. The room applauds.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Thank you. Thank you very much. Gentlemen, how are ya? Would you like me to sit down? First of all, I plead innocent of all charges!<\/dialogue>\n    <scene_description>Laughter from the reporters. Elvis sits down.<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>We love you Elvis!<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Thank you dear, I love you too. Thank you.<\/dialogue>\n    <character>REPORTER<\/character>\n    <dialogue>Mr Presley, why do you think you've outlasted every other entertainer from the fifties and for that matter the sixties as well?<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>I take vitamin E. Uh no, no I was only kidding. I don't know. I just embarrassed myself, man. Uh I don't know dear. I just enjoy the business. I like what I'm doing<\/dialogue>\n    <character>REPORTER<\/character>\n    <dialogue>Are you satisfied with the image you've established?<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Well, the image is one thing and the human being is another, you know, so...<\/dialogue>\n    <character>REPORTER<\/character>\n    <dialogue>How close does it come? How close does the image come to the man?<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>It's very hard to live up to an image, you know, I'll put it that way.<\/dialogue>\n    <character>REPORTER<\/character>\n    <dialogue>How does your wife feel about you being a sex symbol again?<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>ELVIS<\/dialogue>\n    <scene_description>I don't know... you would have to ask her.<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>Elvis, what finally made you come out of seclusion and decide to make personal appearances again?<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>I just missed it. I missed the closeness of an audience, of a live audience. So just as soon as I got out of the movie contracts, I started to do live performances again.<\/dialogue>\n    <character>REPORTER<\/character>\n    <dialogue>Will you be continuing to do more live work in the future?<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>I think so. There's so many places I haven't been yet. I'd like to go to Europe, I'd like to go to Japan and all those places. I've never been out of the country except in the service, you know.<\/dialogue>\n    <character>LORD SUTCH<\/character>\n    <dialogue>One million pounds sterling to make two appearances at the Wembley Empire Stadium in England!<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(gesturing to Colonel)<\/parenthetical>\n    <dialogue>You'll have to ask him about that.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Just put down the deposit.<\/dialogue>\n    <character>REPORTER<\/character>\n    <dialogue>How do you feel about being called the 'King of Rock and Roll'?<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>No, I'm not the King.<\/dialogue>\n    <scene_description>Elvis scans the room.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Fats! Hey man; come up here, would you?<\/dialogue>\n    <scene_description>As Fats Domino makes his way up... 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (3)<\/character>\n    <dialogue>ELVIS<\/dialogue>\n    <scene_description>Mr. Fats Domino, ladies and gentleman. This is the real king of rock n roll! As Fats reaches Elvis, Elvis puts an arm around him.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>He was a real big influence on me.<\/dialogue>\n    <scene_description>FLASHES light up a beaming Fats and Elvis.<\/scene_description>\n    <character>INT. INTERNATIONAL HOTEL - COLONEL'S SUITE - MORNING<\/character>\n    <dialogue>Hotel staff unload boxes of merchandise onto the table, as Colonel points to the brick-a-brack displayed throughout his vast new offices. He turns to Jerry:<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>I snowed them, I snowed these hotel people! Not just for the office but the entire floor for Jamboree Attractions. We're setting up shop.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>(incredulous)<\/parenthetical>\n    <dialogue>But I thought we were going on tour in two weeks...<\/dialogue>\n    <scene_description>Colonel's face suddenly darkens, as a rage unlike any other comes upon him. He spits with terrifying vitriol:<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Oh, the tour... have you thought about security? Have you thought about security? Security, Jerry! SECURITY, SECURITY. There is nothing more important than security! Am I the only one who ever thinks about Elvis' security! 'GODVERDOMME'<\/dialogue>\n    <scene_description>Furious, Colonel hurls his cane.<\/scene_description>\n    <character>INT. INTERNATIONAL HOTEL - ELVIS' ROOM - NIGHT<\/character>\n    <dialogue>It's late. Still buzzed from that night's show, Elvis swallows a handful of pills. He cradles the phone against his ear, speaking softly as he did with Dixie, years ago.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>PRISCILLA (O.S.)<\/dialogue>\n    <scene_description>Little Lisa's so funny. She's figured out how to put the records on herself and she has a great ear. The first one she picked was Sweet Caroline. She was trying to sing along with it, but she didn't know any of the words. It was so cute. You should have been there, Satnin'. When are you coming home?<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>I don't know, 'Scilla. There's a lot going on. We just added a couple extra shows a week, plus more press calls. It's a lot. I gotta stay focused.<\/dialogue>\n    <character>INT. GRACELAND - CONTINUOUS<\/character>\n    <dialogue>Priscilla on the other side, crestfallen.<\/dialogue>\n    <character>PRISCILLA<\/character>\n    <dialogue>I know, baby. Just promise me things'll be different when we're on the tour.<\/dialogue>\n    <character>INT. INTERNATIONAL HOTEL - ELVIS' ROOM - CONTINUOUS<\/character>\n    <dialogue>The silence hangs in the air.<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(to Priscilla)<\/parenthetical>\n    <dialogue>I-- I gotta go. Will you give my baby girl a big hug for me? Okay, bye bye.<\/dialogue>\n    <scene_description>He hangs up the phone. A woman beside Elvis, DIANE (late 20s), stirs at the noise. She starts to get up.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Hey, stay with me.<\/dialogue>\n    <scene_description>Diane sits on the side of the bed.<\/scene_description>\n    <character>DIANE<\/character>\n    <dialogue>I have to go.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>No you don't.<\/dialogue>\n    <character>DIANE<\/character>\n    <dialogue>I really have to go.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>ELVIS<\/dialogue>\n    <scene_description>Don't leave me alone. Buntyn needs a little extra lovin' tonight. Diane laughs. But then she sees that he's serious.<\/scene_description>\n    <character>DIANE<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Elvis sits up. There's a thump upstairs.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>What was that?<\/dialogue>\n    <scene_description>Fearful paranoia overtakes Elvis' face. Diane starts to pull on her clothes.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>I don't want no sonofabitch walking around saying he killed Elvis Presley...<\/dialogue>\n    <character>DIANE<\/character>\n    <dialogue>What did you say?<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Nothing, baby...<\/dialogue>\n    <scene_description>Elvis checks behind the door and finds nothing there. He regains his fragile composure.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>C'mon baby, take your pants off.<\/dialogue>\n    <character>DIANE<\/character>\n    <dialogue>I have to go to work.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>No you don't, come sit down. Come watch some television with me.<\/dialogue>\n    <scene_description>Diane starts to leave. Elvis' words begin to slur as the pills take effect.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>You know, there's a kind of bird I read about somewhere, that don't have any legs... so it can't land on nothin'.<\/dialogue>\n    <scene_description>Diane doesn't know what to do. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>ELVIS<\/dialogue>\n    <scene_description>It lives its whole life on the wing, and when it gets tired, it just spreads its wings and goes to sleep on the wind, and if it ever does land, even but one time, that's when it dies. I just gotta keep flying round and round. (sings) I'll fly away, oh glory I'll fly away When I die... Elvis looks to Diane.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Hey, you want to fly away with me?<\/dialogue>\n    <character>DIANE<\/character>\n    <dialogue>I need to go.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Please stay.<\/dialogue>\n    <scene_description>But Diane grabs her shoes and exits. Elvis looks around the room, scared. There's a KNOCK on his door.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>I knew you'd come back.<\/dialogue>\n    <scene_description>No answer. He takes his gun, walks over to the door, peers through the hole. An empty hall. He opens the door. There's a showroom menu on the ground. The photo of his face has been scratched out. Scrawled across it: \"I am going to kill you.\"<\/scene_description>\n    <character>EXT. INTERNATIONAL HOTEL - DAWN<\/character>\n    <dialogue>OFF the vaulting International Hotel marquee shimmering in the golden light. Workmen lower the \"ELVIS!\" sign.<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>He gave his all to the show, but the threats on his life had left him paranoid and exhausted.<\/dialogue>\n    <character>INT. HOSPITAL (VEGAS) - DAY<\/character>\n    <dialogue>Billy covers the windows with tin foil as we TRACK ACROSS a Polaroid of Lisa Marie, holding a finger painting that says \"I miss you daddy!\" taped to the mirror.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>COLONEL (O.S.)<\/dialogue>\n    <scene_description>What is happening to law and order! These radical hippies are threatening and killing popular entertainers... The Colonel slaps down newspaper articles about the Manson Family slaying of Sharon Tate.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Hulett's security is not what it needs to be and he knows it. An international tour is out of the question!<\/dialogue>\n    <scene_description>Elvis lies in the bed. Priscilla, Vernon, and Charlie around him.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>What are you talking about Colonel? I ain't gonna let any sonofabitch push me off the stage.<\/dialogue>\n    <scene_description>He takes a handful of pills from Dr. Nick.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Precisely, you're not one of Hulett's long-hair Zeppelins, you're Elvis Presley! And you are beloved. I told him: 'I need to look Priscilla in the eye and promise her that little Lisa's daddy will be safe.'<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>We gotta take this show to the world. I can't disappoint the fans.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Well, if you want to book more dates, we can do an American tour? 15-cities-in-15-days.<\/dialogue>\n    <character>PRISCILLA<\/character>\n    <dialogue>How's that going to be any safer?<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Because here, I can handle every aspect of security.<\/dialogue>\n    <scene_description>A darkly orchestral version of \"Burning Love\" slowly builds... 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>COLONEL<\/dialogue>\n    <scene_description>I'll get guarantees from every mayor...<\/scene_description>\n    <character>EXT. TARMAC - DAY<\/character>\n    <dialogue>Elvis' jet taxis to a halt. \"Burning Love\" builds...<\/dialogue>\n    <character>COLONEL (V.O.)<\/character>\n    <dialogue>We'll double the police presence...<\/dialogue>\n    <character>EXT. STREETS - DAY<\/character>\n    <dialogue>A presidential-scale motorcade. Dozens of police cars, sirens blaring. \"Burning Love\" continues.<\/dialogue>\n    <character>EXT. VENUE - STAGE - NIGHT<\/character>\n    <dialogue>COLONEL (V.O.)<\/dialogue>\n    <scene_description>You'll have more security than the President! TWO ROWS OF COPS flank the stage. Elvis on stage performing \"Burning Love,\" jittery as hell.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Lord almighty, I feel my<\/dialogue>\n    <scene_description>temperature rising. Higher, higher, it's burning through to my soul. Girl, girl, girl, you're gonna set me on fire... A girl rushes the stage. The West cousins take her out. Elvis shoots them a thumbs-up.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>My brain is flaming, I don't know which way to go...<\/dialogue>\n    <character>INT. VENUE - BACKSTAGE - NIGHT<\/character>\n    <dialogue>COLONEL (V.O.)<\/dialogue>\n    <scene_description>We can have Sonny, Red and Charlie hustle you to the motorcade... Elvis being swooped into a car as \"Burning Love\" powers. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>INT. ELVIS' LIMO (AMIDST THE MOTORCADE) - NIGHT<\/character>\n    <dialogue>ANNOUNCER (V.O.)<\/dialogue>\n    <scene_description>Elvis has left the building! Elvis, squeezed between Memphis Mafia, gulps down pills. He lies back, as Dr. Nick injects him.<\/scene_description>\n    <character>EXT. TARMAC - NIGHT<\/character>\n    <dialogue>CLOSE ON the Memphis Mafia as they usher Elvis from his limousine and up the stairs of his waiting jet.<\/dialogue>\n    <character>COLONEL (V.O.)<\/character>\n    <dialogue>And when you're on the plane, safe, in the air, you'll rest...<\/dialogue>\n    <character>INT. HOSPITAL (VEGAS) - DAY<\/character>\n    <dialogue>Elvis slowly nods; so far, he is good with the plan.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>And then we go international.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Yes, yes, the Tokyo Opera House! But before that we'll put on a good show.<\/dialogue>\n    <parenthetical>(to Charlie)<\/parenthetical>\n    <dialogue>And do what, Charlie?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Have a lot of fun.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Taking care of business.<\/dialogue>\n    <character>VERNON<\/character>\n    <dialogue>Taking care of business.<\/dialogue>\n    <scene_description>Nurse Tish places a wet cloth over Elvis' eyes.<\/scene_description>\n    <character>INT.\/EXT. TARMAC\/MOTORCADE\/VENUE\/BACKSTAGE<\/character>\n    <dialogue>We ENTER MULTI-SPLIT SCREEN as the cycle repeats in Detroit, San Antonio, Jacksonville...<\/dialogue>\n    <character>INT. INTERNATIONAL HOTEL - SHOWROOM - NIGHT<\/character>\n    <dialogue>SUPERIMPOSED IMAGES: The International sign: \"WELCOME BACK FOR YOUR SECOND YEAR\"...<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>Elvis performs karate against phantom attackers. The number becomes more intense. We see Elvis performing, practicing karate, bedding groupies.<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Just a hunk, a hunk of burning<\/dialogue>\n    <scene_description>love! \"THIRD YEAR\"... Drugging, performing, groupies, drugging, karate. It's clear he's not in the same reality. We see Elvis change from jumpsuit to jumpsuit after each refrain, moving forward through concert after concert in one seamless performance. The SPLIT SCREEN becomes a wall of TV monitors that multiply until BANG! BANG! BANG!<\/scene_description>\n    <character>INT. GRACELAND - BEDROOM\/HALLWAY - CONTINUOUS<\/character>\n    <dialogue>CLOSE ON jewelry being placed into a small valise. The sound wakes Elvis, still in bed, groggy, discombobulated. Priscilla, agitated, is packing.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>What the hell are you doing?<\/dialogue>\n    <scene_description>She closes the valise and, without looking up:<\/scene_description>\n    <character>PRISCILLA<\/character>\n    <dialogue>I'm leaving.<\/dialogue>\n    <character>ELVS<\/character>\n    <dialogue>What time is it?<\/dialogue>\n    <character>PRISCILLA<\/character>\n    <dialogue>I wanted to wait for you to wake up so we could talk about it, but you're never awake and you don't like to talk, so I'm leaving.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>What do you mean leaving?<\/dialogue>\n    <scene_description>Elvis pulls himself out of bed.<\/scene_description>\n    <character>PRISCILLA<\/character>\n    <dialogue>I'm leaving this marriage, and I'm taking Lisa with me.<\/dialogue>\n    <scene_description>Suddenly alarmed and defensive, Elvis follows her towards the en suite bath. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>ELVIS<\/dialogue>\n    <scene_description>What is this about? Is this about... (looks for the right word) What happens on the road? You know that means nothing to me. He follows as Priscilla grabs her makeup off the vanity.<\/scene_description>\n    <character>PRISCILLA<\/character>\n    <dialogue>You think I care about the girls you sneak in through the side door?<\/dialogue>\n    <scene_description>She stops, looks down at the myriad bottles of medication. She starts throwing them at Elvis.<\/scene_description>\n    <character>PRISCILLA<\/character>\n    <dialogue>It's this... and this, and this, and this. And those has-been leeches sucking you dry. You're strung out!<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Strung out? It's my medicine. I'm in the best shape of my life!<\/dialogue>\n    <character>PRISCILLA<\/character>\n    <dialogue>The best shape of your life? The only time you're alive is when you're on stage and in between, you're a ghost. We can't keep waiting around for you like one of your boys.<\/dialogue>\n    <scene_description>She heads into the hall, as Elvis chases after her.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>I've given you everything you could want!<\/dialogue>\n    <character>INT. GRACELAND - HALLWAY\/STAIRCASE - CONTINUOUS<\/character>\n    <dialogue>As Priscilla descends the stairs, she turns on Elvis.<\/dialogue>\n    <character>PRISCILLA<\/character>\n    <dialogue>What I want is a husband. I am your wife. I am your wife. Lisa is your daughter, and she needs a father. You know, I don't remember the last time that we laughed together. When was the last time we sat down and had dinner together the three of us?<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>PRISCILLA<\/dialogue>\n    <scene_description>You don't even make love to me anymore. I've given you my life. I have nothing left to give you. This cuts deep, silencing Elvis.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Is there another man?<\/dialogue>\n    <scene_description>Priscilla says nothing. But her silence says everything.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>I've lost you.<\/dialogue>\n    <scene_description>She stops, shakes her head.<\/scene_description>\n    <character>PRISCILLA<\/character>\n    <dialogue>We lost you a long time ago.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>'Scilla, do you still love me?<\/dialogue>\n    <scene_description>When she doesn't answer, Elvis crumples on the stairs.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>When you're forty and I'm fifty, we'll be back together. You'll see.<\/dialogue>\n    <scene_description>After a moment, both their defenses are down. She throws her arms around him. They cling to each other, crying.<\/scene_description>\n    <character>PRISCILLA<\/character>\n    <dialogue>I have to go. If I stay now, I'll never leave.<\/dialogue>\n    <scene_description>And with this, she's gone.<\/scene_description>\n    <character>INT. INTERNATIONAL HOTEL - COLONEL'S SUITE - DAY<\/character>\n    <dialogue>Jerry confronts the infuriatingly blank Tom Diskin.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>This is killing him! Vegas, the repetition. He needs to be on a professionally-run international tour. He needs time to rest between shows, not rely on some doctor to get him on stage every night. You know what Elvis is like when he has a challenge. He gets fit, focused, gets off the pills. Why won't Colonel let him go overseas?<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>DISKIN<\/dialogue>\n    <scene_description>Security, Jerry, you--<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>(angrily cutting him off)<\/parenthetical>\n    <dialogue>That's bullshit! The Colonels' a businessman, I get it, but what I don't get is why he's killing his greatest asset without a reason. So, what's the reason?<\/dialogue>\n    <scene_description>Diskin retreats behind his trademark bland expression.<\/scene_description>\n    <character>DISKIN<\/character>\n    <dialogue>I'm a little busy right now.<\/dialogue>\n    <scene_description>Reining in anger, Jerry leans forward, trying to connect.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>C'mon, Tom, we all owe E.P. for taking us on this ride with him. And I've seen you, standing in the wings when he's channeling that gift. You think no one's watching, but it's the only time I ever see you smile; you love him as much as the rest of us.<\/dialogue>\n    <scene_description>Diskin, for a moment, can't look at Jerry.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Tell me the reason.<\/dialogue>\n    <character>DISKIN<\/character>\n    <parenthetical>(choosing words carefully)<\/parenthetical>\n    <dialogue>Colonel always has reasons. I'm not always aware of them, but even if I was, I wouldn't be at liberty to divulge personal information about Mr. Parker.<\/dialogue>\n    <scene_description>A long moment. Jerry looks at him with cold, hard hatred.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Y'all are killing Elvis Presley.<\/dialogue>\n    <scene_description>He rises to leave...<\/scene_description>\n    <character>INT. INTERNATIONAL HOTEL - JERRY'S ROOM - NIGHT<\/character>\n    <dialogue>It's obviously the end of a long night. Jerry, coat off, looking exhausted, enters his room.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>He turns on the light and stops. On the bed, a single envelope. He picks it up. It's addressed to \"Colonel Tom Parker, Elvis Presley Fan Club, Memphis.\" It's been stamped \"Fan Mail,\" and has already been opened. Jerry takes out the letter and, as he begins to read, we hear the sound of a young man speaking in lightly accented English:<\/dialogue>\n    <character>THEO JR. (V.O.)<\/character>\n    <dialogue>Dearest Uncle Andreas, I hope this letter finds you well. I did not have an exact address, but after reading the letter you sent to my father, I felt that I must ask you some questions. You write of mistakes, 'that someone may have made without meaning to do so.' Are these 'mistakes' the reason you left Holland all those years ago?<\/dialogue>\n    <character>INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)<\/character>\n    <dialogue>As we continue to hear the letter, Colonel walks into the life-sized model of BREDA, as if reliving the past.<\/dialogue>\n    <character>THEO JR. (V.O.)<\/character>\n    <dialogue>People whisper that it was because of the woman who was murdered the night you disappeared. I do not believe it, but please, why do you not return home to clear our family name...?<\/dialogue>\n    <character>OLD COLONEL<\/character>\n    <parenthetical>(directly to us)<\/parenthetical>\n    <dialogue>Is it fair that the mistake that someone might have made without meaning to do so, should damn them for the rest of their lives? Yes, I was born in Holland. People say 'well why didn't you say so?' Well I say they didn't ask. I work, I wake up at five A.M. every day for one man only. I am taking care of business.<\/dialogue>\n    <character>INT. INTERNATIONAL - SERVICE CORRIDOR - NIGHT (1974)<\/character>\n    <dialogue>An exhausted and slightly discombobulated Elvis, guided by the Memphis Mafia, makes his way down the backstage corridor of the International Hotel.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>Jerry has drawn in behind. As they move forward he urgently intones under his breath.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>He lied! There was never gonna be an international tour because he can't leave the country. He doesn't have a passport, no citizenship, no identity...<\/dialogue>\n    <scene_description>Elvis stops, unsteady, trying to comprehend.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>He doesn't exist...<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>What the hell are you talking about, Jerry?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>There never was a Colonel Tom Parker.<\/dialogue>\n    <scene_description>Before Jerry can get out the last line, Elvis collapses to the ground. The mafia rush to his aid. Sonny and Red hold staff at bay.<\/scene_description>\n    <character>COLONEL (O.S.)<\/character>\n    <dialogue>The only thing that matters is that that man...<\/dialogue>\n    <scene_description>As Colonel charges in, Nurse Tish suppresses panic and Dr. Nick holds Elvis' head above a bucket of ice water.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>... gets on that stage tonight!<\/dialogue>\n    <scene_description>This is the exact IMAGE FROM THE OPENING.<\/scene_description>\n    <character>NURSE TISH<\/character>\n    <dialogue>If he was my son...<\/dialogue>\n    <scene_description>She glances to Vernon hiding meekly by the window.<\/scene_description>\n    <character>NURSE TISH<\/character>\n    <dialogue>I'd put him in the hospital.<\/dialogue>\n    <scene_description>Colonel's eyes bore into Elvis' father.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Of course, it's a Presley Enterprises decision, Vernon...<\/dialogue>\n    <scene_description>All eyes on him. After an eternity, he mumbles... 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>VERNON<\/dialogue>\n    <scene_description>What can you do for him, Dr. Nick? Dr. Nick pops open his BAG OF TRICKS. WE GLIMPSE: MEDS, PILLS, SYRINGES. As Dr. Nick prepares an injection...<\/scene_description>\n    <character>INT. INTERNATIONAL HOTEL - SHOWROOM - NIGHT<\/character>\n    <dialogue>AN AMERICAN EAGLE CAPE SPREADS ITS RHINESTONE WINGS!<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Glory! Glory!!! Halleluuuujah!!!<\/dialogue>\n    <scene_description>The eagle turns to REVEAL: Superhero Elvis reaching for the final divine notes, spreading his wings up to God...<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>His truuuuth is maaaarching ooooonnnnn!!!!!!!!<\/dialogue>\n    <scene_description>The ballad crescendoes, band lashing at their instruments, two gospel choirs, one white, one Black.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>His truuuuth is maaaarching ooooonnnnn!!!!!!!!<\/dialogue>\n    <scene_description>The last cymbal crashes, Elvis is showered with applause.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Thank you! Thank you very much!<\/dialogue>\n    <scene_description>Elvis waits for the applause to settle. The music always transforms him. He may be slightly pale but he holds himself strong, proud...<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>I'd like to turn the house lights up, ladies and gentlemen. Now you've seen me, I'd like to take a look at you. You're beautiful...<\/dialogue>\n    <scene_description>The lights go up. Charlie Hodge at his usual position on stage, battle-weary from Elvis' erratic behavior. Jerry, Billy, and the West cousins in the wings.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Thank you, leave them up for a minute, man. Oh, boy, we got some high-rollers in here tonight... Mr. International Hotel himself!<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>As the crowd applauds, the SPOTLIGHT searches, finding Meyer Kohn. Colonel sits beside him.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>And right next to him... my so- called manager, Colonel Tom Parker.<\/dialogue>\n    <scene_description>Colonel, puffing on his cigar as Elvis continues with drug-addled, unnerving humor:<\/scene_description>\n    <character>ELVIS (O.S.)<\/character>\n    <dialogue>But I hear rumors... that Colonel is an alien... from outer space.<\/dialogue>\n    <scene_description>The crowd laughs.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Someone call the FBI and tell them he's abducted me, locked me in this golden cage, to keep me here, forever-- with you, ladies and gentlemen, and all these funky angels on the ceiling...<\/dialogue>\n    <scene_description>The crowd applauds.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>So I'm caught in a trap, I can't get out... 'Cause Colonel's got some big<\/dialogue>\n    <scene_description>debts, baby... Colonel excuses himself from the booth and heads towards the wings.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>But this is the last show I'm ever playin' here...<\/dialogue>\n    <scene_description>Audience, a collective sigh of disappointment...<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>I'm gonna get in my jet plane, the Lisa Marie, named after my beautiful daughter, and fly away... Fly, fly away...<\/dialogue>\n    <scene_description>Colonel arrives in the wings, next to the stage manager.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Stop the show, stop the show.<\/dialogue>\n    <parenthetical>(to Diskin)<\/parenthetical>\n    <dialogue>We've got to do something!<\/dialogue>\n    <parenthetical>(to the Mafia)<\/parenthetical>\n    <dialogue>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/dialogue>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>COLONEL<\/dialogue>\n    <scene_description>Get over to Sonny and Red. Bring the curtain down! A strange mix of nervous laughter and confused applause.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Fuck the International! Fuck Las Vegas! Ain't no one gonna stop me, man!<\/dialogue>\n    <scene_description>Colonel approaches Jerry.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>What the devil is going on, Mr. Schilling?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I think that's what he wants to know.<\/dialogue>\n    <scene_description>Elvis spies Colonel in the wings and mocks him angrily, microphone still in hand:<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Oh, security, security!! 800 shows!! You don't have a goddamn passport, you son of a bitch...<\/dialogue>\n    <scene_description>Elvis finds strength to say the words that have eluded him since he first met Colonel. A gut-wrenching scream:<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>You're fired!!<\/dialogue>\n    <scene_description>The audience continues to laugh and applaud.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Fired!!<\/dialogue>\n    <scene_description>The audience laughs louder. Elvis, in a demonic rage:<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>FIRED!!!<\/dialogue>\n    <scene_description>The golden curtain crashes down. All on stage in shock, as Elvis and Colonel stare at each other. As the applause dies, the silence seems to last an eternity. The panicked Memphis Mafia goes into their post- show routine. Towels appearing, they move towards Elvis. But he stays them with his hand. Everyone freezes. Then, as if sanity, clarity, and dignity have re-entered his soul, Elvis says one final time: 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (3)<\/character>\n    <dialogue>ELVIS<\/dialogue>\n    <scene_description>You're fired. He turns, walks across stage, past Jerry, into shadow. Colonel's eyes are cold as we have ever seen.<\/scene_description>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>The Geek... The Geek...<\/dialogue>\n    <scene_description>Colonel slowly walks back over to Diskin. He shoots Vernon a grave look.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Diskin, pull out all the contracts and agreements since 1955..<\/dialogue>\n    <character>INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)<\/character>\n    <dialogue>Old Colonel watches Nightmare Alley. The movie shows an alcoholic carnival performer sunk so disgracefully low that he will do anything for a drink.<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>... when he ran, as he always did, it was my job to take a bottle and bring him back.<\/dialogue>\n    <scene_description>PULL OUT to see the movie playing on endless televisions.<\/scene_description>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>The Geek lived in Hell, but every night, before the cheering crowd, he was resurrected. Perfect. Forgiven. Some called it cruelty, but I called it kindness. The Geek needed to perform... And to perform, he needed his bottle.<\/dialogue>\n    <character>INT. INTERNATIONAL HOTEL - COLONEL'S OFFICE - NIGHT<\/character>\n    <dialogue>We find ourselves in Colonel's Vegas office. He stands at his desk in front of the same Snowman's League banner.<\/dialogue>\n    <character>COLONEL<\/character>\n    <parenthetical>(into telephone)<\/parenthetical>\n    <dialogue>This is Colonel Tom Parker. I wish it to be known that Dr. Nick's services are no longer required. Thank you.<\/dialogue>\n    <scene_description>He hangs up and turns to Diskin, at a typewriter. 8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>COLONEL<\/dialogue>\n    <scene_description>Well Tom, if the boy wants to set out on his own, that's alright by me, but Presley Enterprises must cough up what it owes... Are you ready?<\/scene_description>\n    <character>DISKIN<\/character>\n    <parenthetical>(solemnly)<\/parenthetical>\n    <dialogue>Ready.<\/dialogue>\n    <scene_description>Colonel begins to dictate...<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Gasoline for my first trip to the 'Hayride': one dollar... Unrecouped promotional costs pertaining to souvenir calendars: one hundred dollars; collectible trading cards: one hundred dollars; flyers, posters, programs: one hundred dollars; balloons: fifty dollars. Untabulated royalties, prior advances, shared rights and commissions on all television specials...<\/dialogue>\n    <character>EXT. AIRSTRIP - TARMAC - DAY<\/character>\n    <dialogue>TOP SHOT: The Lisa Marie drifts INTO FRAME...<\/dialogue>\n    <character>COLONEL (V.O.)<\/character>\n    <dialogue>...inclusive of 50% back end participation in MGM multi-picture contracts in perpetuity...<\/dialogue>\n    <character>INT. INTERNATIONAL HOTEL - ELVIS' ROOM - DAY<\/character>\n    <dialogue>A clean, morning sunlight slashes across the Nevada desert and into Elvis' suite. Drop cloths over furniture, gold records removed from the wall. We follow luggage on a gold bellman's trolley being pushed by Cousin Billy. He gives a final look over their home of the past few years.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>E.P. says we need to hurry up.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I know. You got the coats, that's all tour, and everything on this side is going to Graceland.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>As Billy exits, the door opens to reveal the ashen face of Vernon. He enters past Charlie without acknowledgment, and sets down a letter onto the piano.<\/dialogue>\n    <character>VERNON<\/character>\n    <dialogue>Where's Elvis?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Oh, Vernon... He's downstairs.<\/dialogue>\n    <character>VERNON<\/character>\n    <dialogue>Tell him I need to talk to him.<\/dialogue>\n    <scene_description>Vernon pours himself a drink and stares out blankly over the desert vista.<\/scene_description>\n    <character>INT. INTERNATIONAL HOTEL - PARKING GARAGE - DAY<\/character>\n    <dialogue>An endless stream of luggage is ferried into limousines in the parking garage. FOLLOW the luggage to find...<\/dialogue>\n    <character>INT. ELVIS' LIMO - CONTINUOUS ACTION<\/character>\n    <dialogue>Elvis in the back of his limo, a little jittery from withdrawal. But if anything, this energizes him, making him even more determined to leave, no matter what.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>What's the hold-up?<\/dialogue>\n    <scene_description>Charlie enters the garage, leans into Elvis' window.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Sorry, E.P. Your daddy won't come down, says he needs to talk...<\/dialogue>\n    <scene_description>Elvis exits the car and heads back toward the hotel<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>You alright?<\/dialogue>\n    <scene_description>Elvis waves him back. OFF Elvis' concerned expression...<\/scene_description>\n    <character>INT. INTERNATIONAL HOTEL - ELVIS' ROOM - DAY<\/character>\n    <dialogue>Elvis enters the suite and Vernon gestures toward the letter on the piano. ANGLE ON A \"PRESLEY ENTERPRISES\" BALANCE SHEET WITH A BIG TOTAL CIRCLED IN RED: \"$9,800,099.\"<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Daddy... What is this?<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>Vernon stands there looking like a dead man.<\/dialogue>\n    <character>VERNON<\/character>\n    <dialogue>Son, we owe Colonel. We're broke...<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>I been playing this mausoleum for a hundred years! How could we be broke?<\/dialogue>\n    <scene_description>Vernon is shaking his head, eyes filled with tears.<\/scene_description>\n    <character>VERNON<\/character>\n    <dialogue>You spend so much. The cars, the clothes, the girls, the new airplane, everything.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Daddy, you're my business manager, you're supposed to be taking care of business!<\/dialogue>\n    <character>VERNON<\/character>\n    <dialogue>I don't know what to tell you, son. We're broke, just plain broke...<\/dialogue>\n    <scene_description>His eyes raise to meet Elvis.<\/scene_description>\n    <character>VERNON<\/character>\n    <dialogue>We gotta take Colonel back.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>I'm not taking him back.<\/dialogue>\n    <character>VERNON<\/character>\n    <dialogue>We'll lose Graceland.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>He has taken fifty percent of everything I make. And now he wants to take the house that we bought for Mama? The old bastard can sue if he wants, but I'm flying away, with or without you, Daddy...<\/dialogue>\n    <scene_description>Elvis storms out of the suite...<\/scene_description>\n    <character>INT. INTERNATIONAL HOTEL - ELEVATOR - DAY<\/character>\n    <dialogue>The elevator descends. Elvis -- a powder keg of emotions. He takes deep breaths, reining himself in.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>ELVIS<\/dialogue>\n    <scene_description>I'm gonna fly away, fly, fly away... just you watch me... BING! The elevator halts. The doors open to reveal...<\/scene_description>\n    <character>INT. INTERNATIONAL - PARKING GARAGE - DAY<\/character>\n    <dialogue>Colonel waiting in the empty concierge area. Beyond the glass, Elvis can see the waiting cars. A beat. Is this a set-up? He steps out of the elevator.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>You blood-sucking old vampire; you bled me dry, but still you want more.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>I'm not an uncaring man, Mr. Presley.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Don't you 'Mr. Presley' me, you toad.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>If you are so determined to get out of our contract...<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Goddamn right I want out!<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Then I will personally loan you the money you owe to Jamboree Attractions.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Yeah, and you'll still have your claws in me. Still have me workin' here like a slave in a salt mine, you phony, no-good piece of trash. Who are you, Colonel from outta space?<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Colonel from outta space, and Captain Marvel Jr. Has a nice ring to it, don't you think?<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>I oughta shoot you in your fat, goddamn face...<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>COLONEL<\/dialogue>\n    <scene_description>Remember, you were so ready to fly 'faster than the speed of light straight to the Rock Of Eternity.'<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(intense)<\/parenthetical>\n    <dialogue>Who are you?<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>I, am you. And you, are me.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Cut the horseshit...<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Everyone else you're associated with lives from you. Even Vernon...<\/dialogue>\n    <scene_description>Elvis, shocked. The realization dawning.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>That's right, even your own daddy looks after himself, before he looks after you. Yes, I lived from you, too. But the difference is that you also lived from me. Since that first night on that big, beautiful wheel, lookin up into the moon and the stars, we understood that we are the same, you and I: we are two odd, lonely children, reaching for Eternity. And to my way of thinking, we traveled beyond our wildest dreams. Perhaps you should find another manager to replace me. But what cannot be replaced is the 20 years together, more than 20 years. Someone may promote you better, but no one will ever understand you better. And if you do choose to leave, I for one will be very lonely. Very lonely<\/dialogue>\n    <scene_description>Colonel makes his way over to the elevator. Elvis, battling his emotions within. Beyond the glass, the cars waiting to leave.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>But, I think you may be lonely, too. You know, my boy, the truth about the Rock of Eternity, is that it is forever just beyond our reach.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>Elvis looks back to Colonel as the elevator doors close. We hear the melancholy opening notes of \"Are You Lonesome Tonight\":<\/dialogue>\n    <character>ELVIS (V.O.)<\/character>\n    <parenthetical>(vocal)<\/parenthetical>\n    <dialogue>Are you lonesome tonight? Do you miss me tonight? Are you sorry we drifted apart?<\/dialogue>\n    <character>EXT. INTERNATIONAL HOTEL - SUNSET<\/character>\n    <dialogue>VERY WIDE: As \"Are You Lonesome Tonight\" builds, the elevator travels up the huge, brutal facade of the hotel.<\/dialogue>\n    <character>ELVIS (V.O.)<\/character>\n    <parenthetical>(vocal)<\/parenthetical>\n    <dialogue>Does your memory stray, To a brighter summer day? When I kissed you and called you<\/dialogue>\n    <scene_description>sweetheart?<\/scene_description>\n    <character>INT. INTERNATIONAL HOTEL - ELVIS' ROOM - SUNSET<\/character>\n    <dialogue>As Elvis enters, \"Are You Lonesome Tonight\" plays.<\/dialogue>\n    <character>ELVIS (V.O.)<\/character>\n    <parenthetical>(vocal)<\/parenthetical>\n    <dialogue>Honey, you lied when you said you<\/dialogue>\n    <scene_description>loved me, And I had no cause to doubt you Elvis stands, staring out the hotel window as the sun sets over Vegas... The loneliest man in the world.<\/scene_description>\n    <character>ELVIS (V.O.)<\/character>\n    <parenthetical>(vocal)<\/parenthetical>\n    <dialogue>But I'd rather go on hearing your<\/dialogue>\n    <scene_description>lies, Than go on, living without you<\/scene_description>\n    <character>INT. INTERNATIONAL HOTEL - COLONEL'S SUITE - SUNSET<\/character>\n    <dialogue>Colonel sits in his suite, staring at the telephone.<\/dialogue>\n    <character>ELVIS (V.O.)<\/character>\n    <parenthetical>(vocal)<\/parenthetical>\n    <dialogue>Is your heart filled with pain? Shall I come back again?<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>INT. INTERNATIONAL HOTEL - ELVIS' ROOM - SUNSET<\/character>\n    <dialogue>Elvis sits behind the piano, he plays a few notes and sings, barely audibly, to himself.<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Tell me, dear, are you lonesome<\/dialogue>\n    <scene_description>tonight... Vernon approaches timidly, just looking at Elvis. A long moment. Elvis doesn't turn to him, but speaks with heartbroken disgust:<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Daddy, tell that sonofabitch I want things to go back to the way they were.<\/dialogue>\n    <scene_description>As Vernon heads to the door, Elvis gathers up two remote controls, closing the curtains and clicking on the TVs.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>And, Daddy...<\/dialogue>\n    <scene_description>Elvis flops down into the sunken lounge.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>Tell the Colonel to send up Dr Nick.<\/dialogue>\n    <character>ELVIS (V.O.)<\/character>\n    <parenthetical>(vocal)<\/parenthetical>\n    <dialogue>Tell me, dear, are you lonesome<\/dialogue>\n    <scene_description>tonight...<\/scene_description>\n    <character>EXT. TARMAC - YEARS LATER<\/character>\n    <dialogue>Vernon stands outside Elvis' limo, watching as Priscilla's car pulls up. The Lisa Marie jet nearby, engines roaring. Taking Lisa Marie in his arms, Vernon heads towards Priscilla. Lisa runs to her mommy and after a moment, Priscilla hands her to a nanny. Vernon looks to Priscilla as she passes.<\/dialogue>\n    <character>INT. LIMO - CONTINUOUS ACTION<\/character>\n    <dialogue>A knock. Elvis glances up as Priscilla gets in.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>After a long, taut silence, Elvis, discombobulated, does what he always does in moments like this. Without looking up to Priscilla, he sings under his breath.<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>If I should stay I would only be in your way And so I'll go, but I know I'll think of you each step of the way And I will...<\/dialogue>\n    <scene_description>He stops, unable to complete the line from this now very famous song.<\/scene_description>\n    <character>PRISCILLA<\/character>\n    <dialogue>That's beautiful.<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(weakly)<\/parenthetical>\n    <dialogue>Dolly Parton wanted me to record it.<\/dialogue>\n    <character>PRISCILLA<\/character>\n    <dialogue>And?<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(unengaged)<\/parenthetical>\n    <dialogue>Publishing and what not. It's not gonna happen.<\/dialogue>\n    <scene_description>She reaches across and touches him gently.<\/scene_description>\n    <character>PRISCILLA<\/character>\n    <dialogue>How are you doing?<\/dialogue>\n    <scene_description>Elvis doesn't respond.<\/scene_description>\n    <character>PRISCILLA<\/character>\n    <dialogue>Honey, there's this place you can go in San Diego where you can rest.<\/dialogue>\n    <scene_description>Elvis looks up, connecting with her for the first time.<\/scene_description>\n    <character>PRISCILLA<\/character>\n    <dialogue>Heal. After the show, you can fly there directly, and be in the clinic before anyone knows. It's all been arranged.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>'Cilla I'm gonna be forty soon. Forty. Forty years old. And people are not gonna remember me.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED: (2)<\/character>\n    <dialogue>ELVIS<\/dialogue>\n    <scene_description>I've never done anything lasting, never made a classic film that I can be proud of.<\/scene_description>\n    <character>PRISCILLA<\/character>\n    <dialogue>What about 'A Star is Born'?<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Well, you know, Barbara and the Colonel...<\/dialogue>\n    <scene_description>They laugh together.<\/scene_description>\n    <character>PRISCILLA<\/character>\n    <dialogue>Please go... For Lisa. Promise me? If you dream it, you'll do it.<\/dialogue>\n    <scene_description>But Elvis cuts her off:<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>I'm all out of dreams.<\/dialogue>\n    <scene_description>She's done her best. A knock at the door.<\/scene_description>\n    <character>EXT. TARMAC - CONTINUOUS ACTION<\/character>\n    <dialogue>Elvis gets out of the car, Priscilla gets out on the opposite side. They're about to part, but instinctively stop for a moment, looking to each other across the roof. Elvis' voice is lost to the roar of the engines as he mouths the final lyric to the song he could not sing: \"I will always love you.\" They part, and Elvis heads for the plane as the song \"Separate Ways\" begins.<\/dialogue>\n    <character>INT. CASINO (GHOSTLY VEGAS) - NIGHT (1997)<\/character>\n    <dialogue>HIGH CRANE DOWN as Old Colonel wanders into an infinite row of slot machines...<\/dialogue>\n    <character>OLD COLONEL<\/character>\n    <dialogue>The day he died...<\/dialogue>\n    <scene_description>Colonel settles into a chair at a favorite machine.<\/scene_description>\n    <character>OLD COLONEL<\/character>\n    <dialogue>First thing I did was pick up that phone to the record company, and tell 'em they'd better print more records.<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>OLD COLONEL<\/dialogue>\n    <scene_description>And at the funeral when everyone was crying, I said to his father Vernon, 'let's get to work.' Do you know why? I had to keep him traveling endlessly toward the Rock of Eternity-- because that's what he would have wanted. The only relationship to which he was forever true, was to you, his audience.<\/scene_description>\n    <character>INT. INTERNATIONAL HOTEL - SHOWROOM - NIGHT (1977)<\/character>\n    <dialogue>Elvis performs his final concert.<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>The very last time I saw him sing, he could seldom stand...<\/dialogue>\n    <scene_description>He's shockingly overweight, heaving for breath, slurring.<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>This song is uh, I just recorded it... I don't know h-h-h-ahhh. Is it out?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>About two weeks.<\/dialogue>\n    <character>ELVIS<\/character>\n    <dialogue>Two weeks it'll be out? 'Unchained Melody'... from an album called Unchained Melody...<\/dialogue>\n    <parenthetical>(jokes)<\/parenthetical>\n    <dialogue>Makes a lot of sense...<\/dialogue>\n    <scene_description>He sits at the piano, mops his brow. Even though he hasn't started yet, he yells out to the audience:<\/scene_description>\n    <character>ELVIS<\/character>\n    <dialogue>How do you like it so far?<\/dialogue>\n    <scene_description>Cheers and laughs. Then Elvis' fingers hit the ivories...<\/scene_description>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>But without fail, that voice rang out!<\/dialogue>\n    <scene_description>Elvis' vocal begins to soar:<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Woah, my love, my darling I've hungered for your touch, A long lonely time...<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n    <character>CONTINUED:<\/character>\n    <dialogue>IN FLASHBACK WE REVISIT: The beauty and greatness of the tragic American opera of Elvis' life...<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>And time goes by so slowly And time can do so much Are you still mine?<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>I didn't kill him. It was love. His love for you...<\/dialogue>\n    <scene_description>Despite his bloated look and discombobulation, Elvis hits the high note with impossible vocal beauty and strength.<\/scene_description>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>I need your love I need your love<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>And yours...<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>God speed your love...<\/dialogue>\n    <character>OLD COLONEL (V.O.)<\/character>\n    <dialogue>... for him.<\/dialogue>\n    <character>ELVIS<\/character>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>... to me!<\/dialogue>\n    <scene_description>Elvis, profusely sweating, manages to smile back one last time at the wave of adulation and love coming to him from the audience as he slowly fades into inky BLACKNESS.<\/scene_description>\n    <character>ANNOUNCER (V.O.)<\/character>\n    <dialogue>Elvis has left the building!<\/dialogue>\n    <scene_description>BEEEEPPPPP. The sound of a FLATLINE.<\/scene_description>\n    <character>FADE OUT.<\/character>\n    <dialogue>THE END<\/dialogue>\n    <scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20221226<\/scene_description>\n  <\/scene>\n<\/script>","summary":"On January 20, 1997, Colonel Tom Parker, former manager of Elvis Presley, has a heart attack and is rushed to a hospital in Las Vegas. Nursing a gambling addiction that has left him destitute, Parker recounts the story of how he first met \"The King of Rock 'n' Roll.\" Raised mostly by his doting mother Gladys, Elvis spends his childhood in the poorest parts of Tupelo, Mississippi, finding solace in music and the comic book adventures of Captain Marvel Jr. After moving with his parents to Memphis, he is ridiculed by his peers due to his fascination with the African-American music of Beale Street. Parker, at the time a carnival \"huckster,\" manages country singer Hank Snow but realizes Elvis' crossover potential when he hears \"That's All Right,\" initially assuming that the artist is black. That night, after witnessing his intense sex appeal at a \"Louisiana Hayride\" performance, Parker invites Elvis to accompany him on a tour and convinces Elvis to let him take control of his career, which begins Elvis' meteoric ascent: he moves from Sun Records to RCA Records, his father Vernon is appointed as business manager of Elvis Presley Enterprises, and the family is lifted out of poverty. The regional public is divided in their view of the singer. Feeling that Elvis's music will corrupt white children and stoke racial hostility, segregationist Southern Democrat Mississippi Senator James Eastland calls Parker to an informal hearing and probes his mysterious past. When Elvis flouts the authorities' warnings and performs sexually charged dance moves at a concert, he faces legal trouble. Parker persuades the government to draft Elvis into the U.S. Army instead of penalizing him. Elvis returns from basic training only to be devastated upon discovering his mother's alcohol-induced death. During his military service in West Germany, Elvis meets 14-year-old Priscilla Beaulieu, the teenage daughter of a United States Air Force pilot. After his discharge, he embarks on a film career and later marries Priscilla. As the popular culture of the 1960s passes Elvis by, the assassinations of Martin Luther King Jr. and Robert F. Kennedy in 1968 devastate him. Although he wants to become more politically outspoken in his music, Parker has booked a family-friendly Christmas television special where he will only perform frivolous feel-good songs. Elvis works with Steve Binder to re-imagine the special, and his performance choices, including the closing song \"If I Can Dream,\" incorporates not only a review of his past songs but also political commentary. Infuriated corporate sponsors threaten litigation, while Parker believes Elvis has been \"brainwashed by hippies.\" Nevertheless, the show is highly successful. Afterward, Elvis headlines at the largest showroom in Las Vegas, the International Hotel, and resumes concert tours. Parker's control of Elvis's life tightens as he refuses Elvis's request for a world tour. Motivated by gambling debts, Parker manipulates Elvis into signing a contract for a five-year Las Vegas casino residency. Elvis' problematic behavior and prescription drug addiction overtakes him, and a despondent Priscilla divorces him on his 38th birthday, taking their daughter Lisa Marie with her. After discovering that Parker cannot leave the country because he is a stateless illegal immigrant, Elvis attempts to fire him. Parker subsequently informs Vernon that the family owes him an $8.5 million debt accumulated over the years and convinces Elvis of their symbiotic relationship; though the pair rarely see each other afterward, Parker continues as his manager. Increasingly exhausted after a continuously rigorous schedule of shows, Elvis expresses to Priscilla his fear of being forgotten after death, as he believes he has achieved nothing worthwhile. Parker finishes his recollection, remembering one of his final shows on June 21, 1977. In Rapid City, South Dakota, an obese and pale Elvis, unable to stand up, sings \"Unchained Melody\" and ends the performance to thunderous applause; in Parker's estimation, what really killed Elvis was neither his heart attack nor drug-related suicide as some believe, but rather his love for his fans. A closing statement additionally explains that a series of lawsuits in the 1980s exposed Parker's financial abuse of Elvis, with Parker settling out of court and cutting his ties to the Presley estate after failing to claim immunity as a stateless person. Elvis Presley remains the best-selling solo artist in history, beloved by millions worldwide even decades after his death. At the same time, Parker dies impoverished and alone in the hospital, having gambled away the rest of his ill-gotten fortune."}
{"movie_name":"Training Day_2001","imdb_id":"tt0139654","script":"<script>\n  <scene>\n    <scene_description>TRAINING DAY Written by DAVID AYER April 2001 Draft FOR EDUCATIONAL PURPOSES ONLY<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAKE'S HOUSE - BEDROOM - CLOSE ON ALARM CLOCK -<\/stage_direction>\n    <character>PREDAWN (4:59 AM)<\/character>\n    <dialogue>In a Santa Clarita housing tract. It's dark.<\/dialogue>\n    <character>WIDER ANGLE<\/character>\n    <dialogue>Eyes glisten in the clock's shine, patiently watching the time.<\/dialogue>\n    <dialogue>BZZZZ! The ALARM SOUNDS. A hand that's been hovering over the clock drops. Silence. JAKE HOYT, a fit young man, rolls over, throws an arm over his sleeping wife --<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>It's time.<\/dialogue>\n    <scene_description>-- she's not there, just empty blankets. He sits up, sporting a scraggly goatee, his hair growing out.<\/scene_description>\n    <character>HIS POV<\/character>\n    <dialogue>LISA, his wife, in a rocking chair in the corner.<\/dialogue>\n    <character>BACK TO SCENE<\/character>\n    <dialogue>Jake is surprised. How'd she sneak off?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>What are you doing up?<\/dialogue>\n    <scene_description>She pulls back the blanket, she breast-feeds their infant daughter.<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Mooooo.<\/dialogue>\n    <scene_description>She lavishes kisses on her baby.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAKE'S HOUSE - KITCHEN - CLOSEUP - BRASSO - DAWN<\/stage_direction>\n    <scene_description>is squirted on terry cloth. A badge is rubbed against it in precise circles. WIDEN TO: Jake in T-shirt and jeans, studies the gleaming badge, snaps it in its case, clips it to his belt. He tosses a duffel on the counter. Searches through the police gear. Lisa taps a police baton on his shoulder. He takes it.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Wrong day to forget stuff. Everyone's saying how lucky you are. Don't screw this up.<\/dialogue>\n    <scene_description>He gives her a look, shoves it in the bag.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>She go back to sleep?<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Mmm-hmm. Ate like a pig.<\/dialogue>\n    <scene_description>Jake does a final check of gun belt. Inspecting his Beretta and magazines.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>I know how lucky I am. I ace this assignment. Department's wide open. Get my own division someday. You should see those guys' houses.<\/dialogue>\n    <scene_description>She grabs a pack of English muffins. Jake catches his reflection in a mirror, rubs his chin. He doesn't like the way he looks. Next to the mirror is his police academy graduation photo -- Clean-cut, almost adolescent. Lisa plays with his goatee, she likes it.<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Want some eggs for the road?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I gotta roll. Gotta beat the traffic.<\/dialogue>\n    <scene_description>He shoves his gun belt in the duffel. Zips it shut. He grabs a pressed uniform off a chair, and his police hat, wrapped in plastic. He kisses Lisa's cheek, her neck, her lips. Heads to the door. The PHONE RINGS. Jake stops. Lisa answers.<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <parenthetical>(beat, laughs)<\/parenthetical>\n    <dialogue>How nice, thank you.<\/dialogue>\n    <parenthetical>(beat, giggles)<\/parenthetical>\n    <dialogue>I will, don't worry.<\/dialogue>\n    <scene_description>Jake looks at her, wondering who the hell is making his wife giggle so much.<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>He's right here.<\/dialogue>\n    <parenthetical>(to Jake)<\/parenthetical>\n    <dialogue>Jake. It's Alonzo.<\/dialogue>\n    <scene_description>Jake reacts, steels himself and takes the phone.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>ALONZO (V.O.)<\/character>\n    <dialogue>Hoyt?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Yessir?<\/dialogue>\n    <character>ALONZO (V.O.)<\/character>\n    <dialogue>On your way to roll call?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Yessir. I'm out the door right now.<\/dialogue>\n    <character>ALONZO (V.O.)<\/character>\n    <dialogue>Hoyt.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Yessir?<\/dialogue>\n    <character>ALONZO (V.O.)<\/character>\n    <dialogue>Patrol fairies go to roll call. We don't go to roll call.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Yessir.<\/dialogue>\n    <character>ALONZO (V.O.)<\/character>\n    <dialogue>There's a coffee shop at 7th and Witmer. See you there at ten. Be in civvies. Comfortable shoes. Got a back-up gun? Something pocket-sized?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Nossir. Just my department issue service pistol.<\/dialogue>\n    <character>ALONZO (V.O.)<\/character>\n    <dialogue>Bring it. Cuffs, too. We're gonna be in the office all day, but who knows, maybe we'll do some business. We're an aggressive unit.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I know. That's why I signed up. I want to thank you for giving me the oppor --<\/dialogue>\n    <scene_description>-- CLICK! Alonzo hangs up. Jake too. He stands there, grabs his nervous stomach.<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>What's wrong?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Feel like it's football tryouts. Wish it was tomorrow so I'd know already if I made his squad or not.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>It's not tomorrow. It's today. And it's gonna work out. I know it will.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I gotta relax.<\/dialogue>\n    <scene_description>Lisa looking at him. He gets an idea, snuggles up to her.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Don't have to show up until ten.<\/dialogue>\n    <scene_description>She breaks the embrace -- sore breasts -- Ouch!<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Soon they'll be mine again.<\/dialogue>\n    <scene_description>Jake chases them with cupped hands as she retreats, giggling. Their game.<\/scene_description>\n    <character>CUT TO:<\/character>\n    <dialogue>Old and tired, near Good Samaritan Hospital. Jake struts through the door, confidently looks around.<\/dialogue>\n    <scene_description>JAKE'S POV DETECTIVE SERGEANT ALONZO HARRIS, in black shirt, black leather jacket. And just enough platinum and diamonds to look like somebody. He reads the paper in a booth. The gun leather-tough LAPD vet is a hands-on, blue-collar cop who can kick your ass with a look. BACK TO SCENE Jake walks over. Slides in across. Alonzo's eyes will never leave his newspaper.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Good morning, sir.<\/dialogue>\n    <scene_description>A young waitress pours Jake coffee, offers a menu. Jake waves it away.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>I'm okay, ma'am. Thank you.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Have some chow before we hit the office. Go ahead. It's my dollar.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>No, thank you, sir. I ate.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Fine. Don't.<\/dialogue>\n    <scene_description>Alonzo turns the page. A long beat. Then:<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>It's nice here.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>May I read my paper?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I'm sorry, sir... I'll get some food.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>No. You won't. You fucked that up. Please. I'm reading. Shut up.<\/dialogue>\n    <scene_description>Jake does -- Jeeez, sorry. Pours a ton of sugar in his coffee.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COFFEE SHOP - DAY<\/stage_direction>\n    <scene_description>The waitress pours refills. Alonzo reads. Jake fidgets.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Sure wouldn't mind not roasting in a hot black and white all summer.<\/dialogue>\n    <scene_description>Alonzo sighs, carefully folds his paper. Glares at Jake.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Tell me a story, Hoyt.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>My story?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Not your story. A story. You can't keep your mouth shut long enough to let me finish my paper. So tell me a story.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I don't think I know any stories.<\/dialogue>\n    <scene_description>Alonzo waves the paper in Jake's face.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>This is a newspaper. And I know it's ninety percent bullshit but it's entertaining. That's why I read it. Because it entertains me. If you won't let me read my paper, then entertain me with your bullshit. Tell me a story.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>A real one or should I make one up?<\/dialogue>\n    <character>ALONZO<\/character>\n    <parenthetical>(sighs)<\/parenthetical>\n    <dialogue>Where'd you do your probation?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Van Nuys.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Right. The Valley. No cute little anecdotes about writing underage smoking cites at the shopping mall?<\/dialogue>\n    <scene_description>Jake thinks. Bingo! He's got it.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>There was this D.U.I. stop.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>A D.U.I. stop. Wow. Go on.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>We were on the mid-watch.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>We? You and...?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Debbie.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Debbie? The hell's Debbie?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>My training officer. Debbie Maxwell --<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>-- Your T.O. was female?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Yessir.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>She white? Black?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>White.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>She dyked out or she any good?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>She's pretty good.<\/dialogue>\n    <character>ALONZO<\/character>\n    <parenthetical>(he's hooked)<\/parenthetical>\n    <dialogue>So you and Debbie are pullin' a mid-watch?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Right. It's a real quiet night. A yawner. We're rolling on Vanowen. I'm driving. And this Acura, just a beautiful car, comes out a side street. In excess. All over the median. So I light it up and hit the wailer. Guy drives on like I'm invisible for ten blocks before he pulls over. Plates ran clean. Debbie covers as I approach. Driver's this huge white guy. Can barely keep his eyes open. I field test and arrest and I'm belting him in our unit. Debbie's tossing his car. She calls me to the vehicle and shows me a snubbed .38 and two shotguns, all loaded and locked.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>No shit?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>No shit. She calls our supervisor and I keep searching. I find five hundred grams of meth in the dash. Turns out our D.U.I. was on bail for distribution. He was on his way to smoke his ex-partner before trial.<\/dialogue>\n    <parenthetical>(proudly)<\/parenthetical>\n    <dialogue>We prevented a murder.<\/dialogue>\n    <scene_description>Alonzo is astonished.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>... amazing...<\/dialogue>\n    <scene_description>Jake beams -- some story, huh?<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>You're driving around the Valley with a fine bitch in your car for a year and the most entertaining story you got is a drunk stop? Never hit her up for some Code X in the back seat? Didn't tap it?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I have a wife.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>You also have a dick.<\/dialogue>\n    <scene_description>Alonzo shakes his head in disgust. Jake is crushed.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Let's go.<\/dialogue>\n    <scene_description>Alonzo tosses a fifty on the table. OFF his heavy wedding band we --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COFFEE SHOP - PARKING LOT - DAY<\/stage_direction>\n    <scene_description>Jake and Alonzo crossing. Alonzo sizes Jake up.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>You walk and talk like a damn cop.<\/dialogue>\n    <scene_description>Alonzo stops at:<\/scene_description>\n    <character>G-RIDE<\/character>\n    <dialogue>A narc-machine supreme. A clean, black 1978 Monte Carlo on nice rims.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Gimme that menu.<\/dialogue>\n    <scene_description>Jake pulls a Chinese menu from under the wiper. Hands it to Alonzo, who folds and pockets it.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Get in. S'unlocked.<\/dialogue>\n    <scene_description>Jake admires the car, climbs in. Jake buries his shoes in beer cans and coffee cups. Alonzo twists the key and pumps the hell out of the gas. After a beat, the ENGINE CATCHES -- VROOM!<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>This isn't from the motor pool.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Don't worry. My baby puts out when she has to.<\/dialogue>\n    <scene_description>Alonzo rubs the dash lovingly.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Where's the office? Back at Division?<\/dialogue>\n    <scene_description>Alonzo hits the switches and the G-Ride is raised by hydraulics.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>You're in it.<\/dialogue>\n    <scene_description>Jake reacts. Then smiles -- This is kinda cool.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A7 INT. G-RIDE (7TH STREET) - MOVING - DAY A7<\/stage_direction>\n    <scene_description>Alonzo SQUEALS out of the lot. They pass the formidably- stylish Metropolitan Detention Center.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Rover's in the glove box. Wanna ten-eight us?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Yessir.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Shitcan the sirs. I'm not your domestic violence awareness instructor.<\/dialogue>\n    <scene_description>Jake takes a Motorola radio from the glove box.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>What's our I.D.?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Nora fifteen.<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>(into Motorola)<\/parenthetical>\n    <dialogue>Nora fifteen, ten-eight.<\/dialogue>\n    <character>DISPATCH (V.O.)<\/character>\n    <dialogue>Nora fifteen, ten-twenty.<\/dialogue>\n    <scene_description>Jake checks the street signs -- 7th and Broadway. Before he can tell Dispatch, Alonzo snatches the Motorola as he makes a left on Broadway.<\/scene_description>\n    <character>ALONZO<\/character>\n    <parenthetical>(into rover)<\/parenthetical>\n    <dialogue>Nora fifteen, South on Rampart at Beverly.<\/dialogue>\n    <character>DISPATCH (V.O.)<\/character>\n    <dialogue>Ten four.<\/dialogue>\n    <scene_description>Alonzo tosses Jake the rover.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Bad guys are listening. Don't trust the radios. Never let anyone know where you're really at. Ever.<\/dialogue>\n    <scene_description>Jake nods and smiles -- makes sense.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. G-RIDE (BROADWAY) - MOVING - DAY<\/stage_direction>\n    <scene_description>Heading north on Broadway in downtown LA. It could be San Salvador or Guatemala City. Jake is mesmerized by the crowds.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>This looks like the Third World.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>It's my world.<\/dialogue>\n    <scene_description>Jake notes several men making hand signs as they pass.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>They're flashing gang signs.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>They're selling micas. Fake I.D.s. Green cards, licenses, socials.<\/dialogue>\n    <scene_description>Alonzo gives Jake a fatherly look, lights a smoke. Settles in his seat.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Today's a training day. Gonna show you around, give you a feel for the business. I have thirty- eight cases pending trial. I have sixty-three active investigations. There's another three hundred and fifty cases on the log I can't clear. I'm supervising five officers. That's five different personalities, five different sets of problems. You, Officer Hoyt, if you got the guts to succeed, will be number six. I don't have time to baby-sit or hold hands. You have one day to show me who you are and what you can or cannot handle. You can't hack narcotics, feel free to work a pussy desk chasing bad checks. Hear me, Officer Hoyt?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I hear you.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Good. Gonna show you reality. Think you can handle it?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Why you wanna be a narc?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I want to serve my community by ridding it of dangerous drugs.<\/dialogue>\n    <scene_description>Alonzo gives him a look -- Don't b.s. me.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>I wanna make detective.<\/dialogue>\n    <scene_description>The boy is ambitious. Alonzo likes that. As they cruise down Broadway, a black and white up the street does a sudden U-turn.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Stick with me and you will. If you can unlearn the bullshit they've filled your head with.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>You gonna be passing out baseball cards and carrying old ladies' groceries like the rest of the newfucks Washington's flooded the streets with?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I'll do anything you want me to do.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Good. Roll your window down. Can't hear the street.<\/dialogue>\n    <scene_description>Jake does.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Stand by, because narcotics ain't about staying in the car and looking good. I bet you write great paper, Hoyt.<\/dialogue>\n    <parenthetical>(before Jake can answer)<\/parenthetical>\n    <dialogue>You do. I checked it out. Cover your area, cover your ass, but not necessarily in that order, right?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Right.<\/dialogue>\n    <scene_description>The two cops from the black and white have their guns drawn on five hardcore cholos with tats on their shoulders and heads. A white cop screams at them in English, then switches to Spanish as his partner pours beer on a cholo's head.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>How's the Espanol?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Mas o menos.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Work on it. People'll be plotting the worst kind of shit behind your back.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Right. Are you going to teach me that old school, hard-charging, beat up everything that moves Rodney King shit?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>No way. I'm the new breed. I use this...<\/dialogue>\n    <parenthetical>(taps his head)<\/parenthetical>\n    <dialogue>This is my tool.<\/dialogue>\n    <scene_description>The G-Ride crosses the 1st Street Bridge, revealing Echo Park spread before them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A8 INT. G-RIDE (1ST STREET BRIDGE) - MOVING - DAY A8<\/stage_direction>\n    <character>ALONZO<\/character>\n    <dialogue>How long you been married?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>A year.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Gotta kid, right?<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>A nine-month-old girl.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>I got four kids. All boys. You want a son, lemme know. I'll do your old lady up. I can't miss.<\/dialogue>\n    <scene_description>Jake angers, although he knows he is being tested.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Let's not talk about my family.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>It's cool. I can respect that. I'm married. I have my queen, too. I remember what it's like to have a pretty young bride. Bet you still fuck her face-to-face.<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>(clenched teeth)<\/parenthetical>\n    <dialogue>Can we not talk about my wife?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Kick back, kid... You're so in love it's comin' out your eyes. The day you bring the old lady to the office is the day you don't go home. If you don't hide your love deep inside, maggots out here will find it and chew it up.<\/dialogue>\n    <scene_description>Jake realizes Alonzo is right. Alonzo hands him a card.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>That's our Chaplain, Lieutenant Conelly. Give him a call. Invite him and his wife over for dinner. He's a good guy and no dumbshit. You and your woman need any kinda help, call him. I'm serious.<\/dialogue>\n    <scene_description>Jake takes the card. Kind of smiles.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Thanks. I will.<\/dialogue>\n    <scene_description>They cruise a beat.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Who's Mr. Clean?<\/dialogue>\n    <scene_description>Alonzo nails him with surprised look.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Where the hell you hear that?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>From a Valley Robbery Detective. Told me to ask you that.<\/dialogue>\n    <character>ALONZO<\/character>\n    <parenthetical>(smiles, shakes his head)<\/parenthetical>\n    <dialogue>Asshole.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. G-RIDE (NETO'S STREET) - DAY<\/stage_direction>\n    <scene_description>Alonzo pulls onto a street of dense apartments. Parks along the curb.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>What's here?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Transactions... See the Salvatrucha zero head on the fence, trying not to look like he's slangin'?<\/dialogue>\n    <scene_description>Jake looks, sees a young, bald cholo, Neto, just hanging out.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>That's Neto. Homeboy did three years in the boyna roja. Red beret.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Batallon de accion rapida Atlacatl.<\/dialogue>\n    <parenthetical>(off Jake's look)<\/parenthetical>\n    <dialogue>El Salvadoran special forces. Punk's only seventeen and can kill with the best of them. Works for me.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Jesus. He an informant?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>I got eyes everywhere. He gets to peddle reefer, make a little cash for the family. I get a heads-up when shit goes down. The barrio dot com.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>And you trust him?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Goddamn right I trust him. Sprung his mom from I.N.S. detention.<\/dialogue>\n    <scene_description>Alonzo watches his mirror, perks up.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Here we go.<\/dialogue>\n    <scene_description>INSERT - MIRROR A new VW Beetle pulls onto the street, moving slow. BACK TO SCENE The VW passes the G-Ride. Jake glimpses three people inside, two guys in front, a girl in back. Hipster university students.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Shit's going down.<\/dialogue>\n    <scene_description>JAKE'S POV The VW stops. Neto looks around, crosses to the driver's window, a drink cup in hand. Neto plucks a foil pack from the cup. Trades it for the driver's ten. BACK TO SCENE Neto walks away, disappears into some apartments.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>See the hand-to-hand?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I saw it.<\/dialogue>\n    <scene_description>The VW drives off, fast. Alonzo pulls out. Follows it.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>When was your last felony stop?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Couple weeks ago.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>You need practice.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>They look like college kids.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>They need a lesson. I want the Brady Bunch grabbing glass. I got front. You got back.<\/dialogue>\n    <scene_description>Alonzo pulls his gun. Jake reaches for the Motorola.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Stay off the rover.<\/dialogue>\n    <scene_description>Jake puts it away, pulls his gun. Alonzo stomps the gas. The G-Ride HOWLS. The VW is at the corner, about to turn!-- SCREEEEEECH! -- Alonzo slaloms to a stop, blocking its path. His pistol aimed through Jake's window at the DRIVER.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Police! Lemme see your hands!<\/dialogue>\n    <scene_description>Jake draws a bead on the girl in back.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Police officers! Your hands!<\/dialogue>\n    <scene_description>The kids gawk at the two narcs for a stunned beat.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Don't look at us! Look straight ahead!<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Driver and right front passenger! Palms on the windshield!<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>You in the back! Palms on the side window! Look straight ahead!<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Driver! Use your left hand, put the vehicle in park.<\/dialogue>\n    <scene_description>The Driver is mortified because:<\/scene_description>\n    <character>DRIVER<\/character>\n    <dialogue>... it's a stickshift...<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Shut up, dickhead! I'll shoot your face off! Take the keys out of the ignition. Throw 'em out the window!<\/dialogue>\n    <scene_description>The Driver does, quickly, as Alonzo jumps from the car, charges the Driver, shoves the gun in his face. These are just scared kids. The girl tries not to cry.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Fork it over, smartman.<\/dialogue>\n    <character>DRIVER<\/character>\n    <dialogue>What, sir?<\/dialogue>\n    <scene_description>Alonzo grabs his ear, tugs violently.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>The marijuana I just watched you purchase!<\/dialogue>\n    <scene_description>The Driver hands over the foil pack.<\/scene_description>\n    <character>PASSENGER<\/character>\n    <dialogue>I'm very sorry, sir. I didn't know he was bringing me here.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Shut up, dumbass. You're here now! Gimme that pipe!<\/dialogue>\n    <scene_description>There's an ornate pot pipe on the floor mat. The PASSENGER picks it up. Reluctantly hands it to Alonzo.<\/scene_description>\n    <character>PASSENGER<\/character>\n    <dialogue>My mom gave me that pipe.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>What else you got?<\/dialogue>\n    <character>DRIVER<\/character>\n    <dialogue>Cigarettes...?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Gimme those too.<\/dialogue>\n    <scene_description>He gives him a squished packed of Marlboro reds. The kids realize Alonzo isn't your average cop. The girl sees Neto standing down the block like nothing is going on. She lowers her hands -- bad move.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Control your suspect, Hoyt!<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Miss! Palms on the glass!<\/dialogue>\n    <scene_description>Alonzo sees her lip quiver.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Cry and I slap the eyes outta your face!<\/dialogue>\n    <scene_description>Back to the Driver.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>You aware this is a gang neighborhood?<\/dialogue>\n    <scene_description>That gives him pause -- no kidding -- Alonzo grabs his ear again, shakes.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>I see you here again, I take your car. You can walk home while your girlfriend pulls a homeboy train... Hear me, reefer addict?<\/dialogue>\n    <character>DRIVER<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Thank you for your cooperation -- Safe your iron.<\/dialogue>\n    <character>ON VW<\/character>\n    <dialogue>Jake holsters his gun. Follows Alonzo to the G-Ride. The kids lower their hands.<\/dialogue>\n    <character>ON G-RIDE<\/character>\n    <dialogue>Alonzo and Jake climb in. As they drive away, the girl nails Jake with a look of revulsion. Jake reacts.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. G-RIDE (NETO'S NEIGHBORHOOD) - MOVING - DAY<\/stage_direction>\n    <scene_description>Alonzo laughing. Jake didn't like what happened. It shows.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Was that training? How to roust students for dime bags?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>They have no business being here. Sooner or later that little smart- ass white boy college puke is gonna get jacked. I saved his life.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Taught him a real lesson.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Sure did, buy your shit on campus.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I like your moves. Someone trained you well.<\/dialogue>\n    <scene_description>Jake smiles to himself. Alonzo opens the foil, sniffs --<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Shitty dime. Check it out.<\/dialogue>\n    <scene_description>He hands it to Jake. Who takes out a bud.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>See the small hairs? The undeveloped seeds. How it's all stems?<\/dialogue>\n    <scene_description>Jake nods.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>It was picked immature. See how flat it is? Classic brick-pack Mexican. See how brittle it is? It's not bud season. It's from last year.<\/dialogue>\n    <scene_description>Jake is amazed. Alonzo snatches the bud, crumbles it in the pipe, tosses aside seeds.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>To be truly effective, a narcotics detective must know and love narcotics. A good narcotics detective should have narcotics in his blood.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>You going to smoke that?<\/dialogue>\n    <scene_description>Alonzo smiles devilishly, offers Jake the pipe.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>You are.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Hell if I am.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>What? You a Mormon? A Jesus freak?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>No. I'm not losing my job.<\/dialogue>\n    <character>ALONZO<\/character>\n    <parenthetical>(re: the pipe)<\/parenthetical>\n    <dialogue>This is your job.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I can't do it.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>This isn't some kind of test. Take a damn hit.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I became a cop to keep people from using that poison.<\/dialogue>\n    <character>ALONZO<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>This ain't a review board. We ain't doing rails. Just leafy green bud.<\/dialogue>\n    <scene_description>Jake stands firm, shaking his head.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. G-RIDE\/ROGER'S NEIGHBORHOOD - DAY<\/stage_direction>\n    <scene_description>SCREECH! Alonzo stops in the middle of the street, pulls his gun, jams it in Jake's ear. CARS behind them HONK.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>If I was a dealer, you'd be dead. Turn shit down on the street and the Chief hands your wife a crisply-folded flag.<\/dialogue>\n    <scene_description>Jake stares stubbornly at Alonzo. Alonzo pockets the gun. Lights the lighter. And takes a huge hit, blows smoke in Jake's face.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>I don't want you in my unit. Not even my division. Go back to Valley. Get the fuck out of my car.<\/dialogue>\n    <scene_description>A staring contest. Jake decides to play the game.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>... Okay...<\/dialogue>\n    <scene_description>He takes the pipe, takes an absolutely huge hit --<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Alright. That's how it's done, son.<\/dialogue>\n    <scene_description>-- And is racked with a spasm of coughing.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Betrayed by your virgin lungs.<\/dialogue>\n    <scene_description>Jake takes another hit -- a passing driver watches -- blows the smoke in Alonzo's face. Alonzo laughs, resumes driving, takes a hit. They pass the pipe around a few times before Alonzo tosses it on the dash.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>It's cashed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A12 INT. G-RIDE (ECHO PARK) - DAY A12<\/stage_direction>\n    <scene_description>They cruise in a strange otherworldly silence. Jake is clearly messed up, his head lolls from side to side.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Shit, you took some man-sized hits. You gonna be okay? When's the last time you smoked out?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>... Twelfth grade...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>B12 INT. G-RIDE (SUNSET BOULEVARD) - DAY B12<\/stage_direction>\n    <character>ALONZO<\/character>\n    <dialogue>Left that out of your service jacket. Knew you had secrets, everyone does. Didn't know you dig dusters.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>What are dusters?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>You know, dusted bud. Dippers? C'mon, dipped in P.C.P. Primos. Sherm, kool, P-dog, angel dust... Didn't you smell it? Taste it?<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>(horrified)<\/parenthetical>\n    <dialogue>... I've never done it...<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Now you have. Remember the smell for next time. Think I'd inhale that shit?<\/dialogue>\n    <scene_description>Jake is scared as hell, pale, sweaty.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Oh, no. No. No. No.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Gonna kick the shit out of Neto. Motherfucker's lacing crappy bud to get that unsuspecting return client. Hell with his mom, I'm deporting the bitch.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I'm gonna get piss tested. I'm gonna get fired.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Lieutenant's got our backs. We know a week before we piss.<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>(panicking)<\/parenthetical>\n    <dialogue>Shit. How could you do this to me? Shit. Shit. Shit!<\/dialogue>\n    <scene_description>Alonzo slams an elbow across Jake's throat.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Chill and ride the high. You're an adult. You chose to smoke. Live with your decisions. You cool?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I'm cool.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Besides, no one put a gun to your head.<\/dialogue>\n    <scene_description>Jake shoots him a look.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROGER'S HOUSE - DAY<\/stage_direction>\n    <scene_description>A well-tended Craftsman on a steep hill of fixer-uppers in Echo Park. The G-Ride parks out front.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Get your shit together.<\/dialogue>\n    <scene_description>Alonzo and Jake cross to the door. Alonzo knocks.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>This is my Road Dog's pad. Wanna see what he thinks of you.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>What do I say?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>You'll think of something stupid.<\/dialogue>\n    <scene_description>The door opens revealing ROGER in a bathrobe, worn from years of hard living. He's happy to see Alonzo.<\/scene_description>\n    <character>ROGER<\/character>\n    <dialogue>Hey, brother, get your ass in here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROGER'S HOUSE - LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Roger and Alonzo hug.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Did I wake you ?<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>No. C'mon in. Please have a seat.<\/dialogue>\n    <scene_description>Alonzo and Jake sit in big chairs. Three beepers, three cell phones on the coffee table. Roger sits, takes a bottle of whisky, three tumblers from a liquor cart. Pours booze. Jake looks around at the modest traditional furniture. The tacky porcelain figurines. Family photos on the wall.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Alright. Time to get my swerve on.<\/dialogue>\n    <scene_description>Roger gives Alonzo a concerned look.<\/scene_description>\n    <character>ROGER<\/character>\n    <dialogue>Heard you had a beef in Vegas. There's a greenlight on your ass.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>I'm cool. People talk shit.<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>You know I got your back.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>I know. Thanks.<\/dialogue>\n    <scene_description>They clink glasses. Jake doesn't. He stares into the liquid, enraptured by its smoky patterns.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Jake, drink your medicine.<\/dialogue>\n    <scene_description>Jake takes a sip and winces. Roger tugs Jake's goatee. Jake recoils.<\/scene_description>\n    <character>ROGER<\/character>\n    <dialogue>Went and got yourself a daisy- fresh rookie.<\/dialogue>\n    <scene_description>Roger leans back in the couch. Jake is looking around the room again. A BEEPER BEEPS. Roger checks it. Ignores it. Roger studies Jake.<\/scene_description>\n    <character>ROGER<\/character>\n    <dialogue>Jesus, Alonzo. He's high as a motherfucker. The hell you give him?<\/dialogue>\n    <scene_description>Alonzo tosses the foil pack on the table. Roger takes it, smells the PCP and shakes his head.<\/scene_description>\n    <character>ROGER<\/character>\n    <dialogue>Where'd you grow up?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>North Hollywood.<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>What's your last name?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Hoyt.<\/dialogue>\n    <character>ROGER<\/character>\n    <parenthetical>(it clicks)<\/parenthetical>\n    <dialogue>You play strong safety for North Hollywood High?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Yessir. How'd you know?<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>I follow all the good players.<\/dialogue>\n    <scene_description>His BEEPER BEEPS. He checks it, sighs. Dials a cell phone.<\/scene_description>\n    <character>ROGER<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>It's me. Whassup?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Can't do a thing for you. Your mess. You clean it up. Don't be callin' me.<\/dialogue>\n    <scene_description>He hangs up. Freshens the drinks.<\/scene_description>\n    <character>ROGER<\/character>\n    <parenthetical>(to Jake)<\/parenthetical>\n    <dialogue>Here's a joke, boy. One day this man walks out of his house to go to work. He sees this snail on his porch. So he picks it up and chucks it over his roof, into the back yard. Snail bounces off a rock, cracks its shell all to shit, and lands in the grass. Snail lies there dying.<\/dialogue>\n    <scene_description>A BEEPER BEEPS. Roger checks and ignores it.<\/scene_description>\n    <character>ROGER<\/character>\n    <dialogue>But it doesn't die. It eats some grass. Slowly heals. Grows a new shell. And after a while it can crawl again. One day the snail up and heads back to the front of the house. Finally, after a year, the little guy crawls back on the porch. Right then, the man walks out to go to work and sees this snail again. So he says to it, 'What the fuck's your problem?'<\/dialogue>\n    <scene_description>Jake stares at Roger a beat. Then starts laughing. Really laughing. Maybe too much. He wipes his eyes.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>That's messed up. That wasn't funny.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Then why are you cackling like a jackal?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I dunno.<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>Figure that joke out and you'll figure the streets out.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Don't listen to him. There's nothing to figure out. The street's a buncha senseless bullshit.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Uh-uh. I got 'em figured out.<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>You got the streets figured out?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Yeah. It's all smiles and cries.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Give up. You're too high, space captain.<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>Hold on -- smiles and cries. I hear you.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>You gotta control your smiles and cries. No one can take them away so... they're all we really have.<\/dialogue>\n    <scene_description>Roger and Alonzo trade looks -- sharp kid. Alonzo pats Jake's shoulder. To Roger:<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Think this greenhorn can handle undercover?<\/dialogue>\n    <scene_description>Roger scrutinizes Jake a beat. Smiles and nods: yes.<\/scene_description>\n    <character>ROGER<\/character>\n    <dialogue>You were just like him.<\/dialogue>\n    <character>ALONZO<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>Bullshit.<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>Same silly-ass look and everything. Saving the Goddamn world.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>That lasted a week.<\/dialogue>\n    <scene_description>Alonzo stands, shakes with Roger.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Brother, I gotta get back in my office. Thanks for the snort, dog. What're you up to today?<\/dialogue>\n    <scene_description>Roger gestures at the phones and beepers.<\/scene_description>\n    <character>ROGER<\/character>\n    <dialogue>Think I get out of the house?<\/dialogue>\n    <scene_description>A BEEPER BEEPS. Roger shakes with Jake.<\/scene_description>\n    <character>ROGER<\/character>\n    <dialogue>Take care, Hoyt. You're gonna do okay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. G-RIDE (6TH STREET TO ALVARADO) - MOVING - DAY<\/stage_direction>\n    <scene_description>East on Sunset. Jake senses he passed a test. Alonzo smiling at him. Alonzo offers him a cigarette. Jake accepts.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>He liked you.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Who is he? One of your snitches?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>He's no snitch. He's a good man to know. C'mon, let's find some action in Niggertown.<\/dialogue>\n    <parenthetical>(off Jake's look)<\/parenthetical>\n    <dialogue>That's N-wordtown to you. What are you, Hoyt? You ain't pure whiteboy. You mixed?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Italian, Irish and Mexican.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>No shit? You're all dicked up.<\/dialogue>\n    <scene_description>Jake looks green, tosses the cigarette out the window. Alonzo senses what's coming and SLAMS on the BRAKES, flings open Jake's door. Jake vomits. A beat of dry heaving.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Okay, well's dry, kid.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Wipe your chin.<\/dialogue>\n    <scene_description>Alonzo hands Jake a handkerchief. Jakes wipes his sweaty face.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>I'm cool. Had to unload the groceries.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>You gotta learn how to party. To handle a high. It's a necessary job skill. I'm not kidding. It's an alcohol world down here. You gotta be able to hang. To get wasted and talk shit with sketchy sociopathic dumbasses and not pass out and get your shoes stolen.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I'm fine, just a little dizzy.<\/dialogue>\n    <scene_description>Alonzo lights a smoke, leaning on his car, cracks a brew.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Oh, damn!<\/dialogue>\n    <scene_description>JAKE'S POV A beautiful Mexican woman pushing a baby carriage. CAMERA PLAYING OVER her in luscious SLOW MOTION. BACK TO SCENE Jake stares, mouth open. Alonzo points out more beautiful Latinas gracing the sidewalks.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Mmmm-mmmm. The brown woman is the fine woman. Give her ten more babies to push around. Thick and tasty. Love to get up in that... Your old lady white? Nordic cheerleader, right?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Wrong. She's Chicana. Light- skinned.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>I like my meat dark. C'mon, get in the car.<\/dialogue>\n    <scene_description>A15 OMITTED A15<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>B15 EXT. G-RIDE (MACARTHUR PARK) - MOVING - DAY B15<\/stage_direction>\n    <scene_description>Alonzo sees Jake has his eyes closed.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>C'mon, man. Open your eyes. You'll make it worse.<\/dialogue>\n    <scene_description>Nothing.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Sit your ass up. Hoyt!<\/dialogue>\n    <scene_description>Jake locks bleary red eyes on Alonzo, jokingly:<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Who're you?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>The Goddamn zig-zag man.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Cool. I'm a cop.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>You're a little bitty boot.<\/dialogue>\n    <scene_description>Alonzo cracks beers for him and Jake.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>C'mon. It helps. Believe me. Gives you ballast.<\/dialogue>\n    <scene_description>Jake takes one. Alonzo drives over the 6th Street bridge. Jake drops his beer, soaking his leg.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Dumbass.<\/dialogue>\n    <scene_description>He leans his head on the window pillar, feeling better. Jake's eyes absorb the street's tableau of unworldly beauty gliding by. Palm trees and sunshine. Paradise and hell in one. His lids begin to drift shut. Then Jake sees a flash of movement in an alley. Suddenly alert, he paws at the door handle.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Activity on the right! Stop the car!<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Siddown, Hoyt. Everything's fine.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Stop the car!<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>C'mon, relax. You're tripping.<\/dialogue>\n    <scene_description>Jake grabs the gearshift, throws it in reverse. The transmission GRINDS, TIRES SCREECH. The ENGINE STALLS. Jake is out like a shot --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET\/CRACKHEAD ALLEY - DAY<\/stage_direction>\n    <scene_description>-- he dodges an oncoming car.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Get your ass back here!<\/dialogue>\n    <character>ON G-RIDE<\/character>\n    <dialogue>Alonzo pulling to the curb.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Dumb-ass kid.<\/dialogue>\n    <character>ON JAKE<\/character>\n    <dialogue>Running like a deer. He enters the alley. Sees a book bag on the ground -- A dumpster ahead. Jake rounds it. Fast.<\/dialogue>\n    <scene_description>HIS POV A devastatingly-beautiful Latina SCHOOLGIRL is pinned against the wall by a tall CRACKHEAD. Her nose dots blood on her uniform blouse. BACK TO SCENE The Crackhead hauls back to smack her. Jake charging.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Police officer! You're under arrest!<\/dialogue>\n    <scene_description>The Crackhead punches Jake's throat. Stops him cold. Jake realizes how huge this guy is. Gulp.<\/scene_description>\n    <character>CRACKHEAD #1<\/character>\n    <dialogue>Gonna fuck you too, cop.<\/dialogue>\n    <scene_description>ANOTHER CRACKHEAD dives from the shadows and tackles Jake. Both go down hard. Jake gets his arm around Crackhead #2's neck, squeezes -- the forbidden choke hold. Crackhead #1 stomps on Jake's head. Alonzo drives the G-ride into the alley. Sits in the car and enjoys the action. Jake rides out Crackhead #1's vicious kicks as Crackhead #2 convulses from hypoxia. And finally goes limp. Jake lets go, sweeps Crackhead #1's legs out from under him and hops to his feet. Crackhead #1 stands too.<\/scene_description>\n    <character>CRACKHEAD #1<\/character>\n    <dialogue>Your ass is doomed.<\/dialogue>\n    <scene_description>Jake growls, snatches him up like a rag doll, spins him, slams him hard. In a flash, Jake twists him into a pretzel, drops a knee on his neck, grinds his head into the asphalt. Clicks on the cuffs.<\/scene_description>\n    <character>CRACKHEAD #1<\/character>\n    <dialogue>We didn't do shit. Bitch is crazy and shit.<\/dialogue>\n    <scene_description>Crackhead #2 coming to, starting to stand. Jake crosses to him, pins his head with his knee. Slips a pair of flexicuffs from his sock, zips them on the man's wrists.<\/scene_description>\n    <character>CRACKHEAD #2<\/character>\n    <dialogue>Man, you messin' up, slick. Homegirl tradin' her ass for cookies.<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>(bellows in rage)<\/parenthetical>\n    <dialogue>Shut the fuck up, sir!<\/dialogue>\n    <scene_description>ANGLE ON ALONZO He casually exits the G-ride with a smile, impressed by Jake's raw skill.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Thanks for the help.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Shoulda shot 'em.<\/dialogue>\n    <scene_description>Jake crosses to the Schoolgirl.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>We're police officers. You okay? You hurt?<\/dialogue>\n    <character>SCHOOLGIRL<\/character>\n    <parenthetical>(to the Crackheads)<\/parenthetical>\n    <dialogue>You're dead! My cousins are from Trece Flats. They're gonna blast you fools! Pinche mayates!<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Miss! Relax! Are you okay?<\/dialogue>\n    <character>SCHOOLGIRL<\/character>\n    <dialogue>What? No. No, I'm not okay. Lookit my nose... My mom's gonna trip out.<\/dialogue>\n    <scene_description>Alonzo gingerly examines her nose.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Honey, it's just a nosebleed. Put ice on it. Don't be walkin' around here alone. Tell your cousins to get your back. You know what those piecesa shit were gonna do. Probably got AIDS. Why aren't you in school?<\/dialogue>\n    <character>SCHOOLGIRL<\/character>\n    <dialogue>I was going to a ditch party.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>You almost became a ditch party. Go home. Go home, now.<\/dialogue>\n    <scene_description>She grabs her book bag and gets out of there.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>I gotta get her statement.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Unhook 'em. We're not racking up arrests.<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>(shocked)<\/parenthetical>\n    <dialogue>Kick 'em loose?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>No. Get some shots in first.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I have a punching bag at home. I want them off the street.<\/dialogue>\n    <scene_description>Alonzo squats by Crackhead #1. Searches him.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Hear that, bro? My dog, here, wants to lock you up. Been to the bootyhouse? Grabbin' ankles for the big boys?<\/dialogue>\n    <character>CRACKHEAD #1<\/character>\n    <dialogue>Suck my dick, bitch. I know people.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Kick back, who's-who.<\/dialogue>\n    <scene_description>Alonzo finds rocks in one sock. Some twenties in the other. He pockets the cash and crack. Searches Crackhead #2.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Where's your horn?<\/dialogue>\n    <character>CRACKHEAD #2<\/character>\n    <dialogue>Ain't got no horn.<\/dialogue>\n    <scene_description>Alonzo finds a glass pipe.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>So what's this, chief? Gonna make you eat it.<\/dialogue>\n    <scene_description>Instead, Alonzo grinds it underfoot.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>You, stand up.<\/dialogue>\n    <scene_description>Alonzo hauls Crackhead #1 to his feet. Unlocks the cuffs, tosses them to Jake. Crackhead #2 strains against the flexicuffs.<\/scene_description>\n    <character>ALONZO<\/character>\n    <parenthetical>(to Crackhead #2)<\/parenthetical>\n    <dialogue>You get to keep those. Want to go to jail or go home?<\/dialogue>\n    <scene_description>He steers Crackhead #1 to a wall -- cocks his fist.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Ain't the first honey y'all pinned to a wall, huh? Close your eyes.<\/dialogue>\n    <scene_description>Crackhead #1 does. Alonzo knees his groin -- oof! -- He falls to the ground, whimpers in the fetal position.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Lucky I got pressing business. Next time I cut your dick off and shove it up your ass.<\/dialogue>\n    <parenthetical>(pats Jake's back, winks)<\/parenthetical>\n    <dialogue>I'll leave you three alone for some quality time. Gonna grab some beer.<\/dialogue>\n    <scene_description>Alonzo gets in the car, backs out of the alley. Jake watches Crackhead #1 whimper; Crackhead #2 writhes in the gutter. It's futile to beat these men. Jake takes pity, walks away.<\/scene_description>\n    <character>CRACKHEAD #2<\/character>\n    <dialogue>Pussy-ass fool. Gonna see your ass again. Gonna fuck you up, bitch. Won't see shit coming. Creep like a ninja and crack your head open. Blow your house up. Punk-ass white boy. Now you in my world, motherfucker.<\/dialogue>\n    <scene_description>Jake stops and turns around. He stoops to pick up a pink plastic change purse.<\/scene_description>\n    <character>INSIDE CHANGE PURSE<\/character>\n    <dialogue>The Schoolgirl's bus pass and her freshman ID from Sacred Convent High School.<\/dialogue>\n    <character>BACK TO SCENE<\/character>\n    <dialogue>Jake glares at the Crackheads.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>You assholes! She's fourteen!<\/dialogue>\n    <character>CRACKHEAD #2<\/character>\n    <dialogue>She all woman. Tax that ass for days.<\/dialogue>\n    <scene_description>Man! Jake could kick his brains out. Somehow, he turns and walks away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. G-RIDE (LONG BEACH AVE.) - MOVING - DAY<\/stage_direction>\n    <scene_description>Jake steams. Alonzo offers a beer from a new sixer. Jake refuses. Alonzo counts and pockets the money he took. Notes Jake's stare.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Wanna book sixty bucks? Where're the suspects?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>You let them go.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Get over it. You wanna go runnin' and gunnin', stay in patrol. This is Investigations. Leave the garbage for the garbage men. We're professional anglers. We reel in the big ones. Shoulda dished out some shoe leather. You'd have a big 'ol smile on your face.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I get my shits and grins booking bad guys, not beating them.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Man... The hell you doing running alone into an alley fulla cracked- out monkey-strong motherfuckers? Those hemorrhoids woulda killed you without mercy or hesitation.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>That's why they belong in prison.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>They lost their money, their rock, got beat down and now the eses from Trece Flats are gonna smoke 'em. Jesus, what more do you want?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Justice.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Is that not justice?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>That's street justice.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>What's wrong with street justice?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Let the animals wipe themselves out, right?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>God willing. But it don't work like that. They wipe out the good folks. It's always school kids, mommies and ass-bustin' family men catching stray slugs in their noodles. You protect the flock by catching the wolves. And it takes a wolf to catch a wolf.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>You protect --<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I heard you. Whatever.<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>When do you lock anyone up? Seems like you're too busy keeping people out.<\/dialogue>\n    <scene_description>Bad mistake. Alonzo slaps him. Glares at him.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Shut up, boot! Nothin' but shit 'tween your ears. They build prisons cause a me! Judges have handed out fifteen thousand man years of incarceration time based on my investigations. My record speaks for itself. How many felons have you collared? Dickhead.<\/dialogue>\n    <scene_description>Now that it's clear who's the boss, they drive in tense silence for a long beat. Alonzo digs in his pocket --<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Here...<\/dialogue>\n    <scene_description>-- hands Jake the rocks he found. A beat.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>I'm not smoking crack.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Good. I'm glad to hear that. Toss 'em in the glove box.<\/dialogue>\n    <scene_description>Jake does, sees several more rocks under some papers.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Comes in handy. Like a credit card.<\/dialogue>\n    <parenthetical>(offers Jake a beer)<\/parenthetical>\n    <dialogue>You earned it. C'mon.<\/dialogue>\n    <scene_description>Jake refuses.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>No matter what I say, I want you to know, you did the right thing. Reminds me of when I could chase down anyone and rock their world. You're a good cop. You got fire. That was some amazing shit back there.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>That the choke hold I saw you applying? Isn't that a big no-no, procedure-boy?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Well... I was getting my ass kicked.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>You did what you had to do.<\/dialogue>\n    <scene_description>Alonzo gives Jake a beer and grins at him like a proud dad.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>You got a magic eye, Hoyt. You have a goddamn magic eye. Up your street I.Q. and you'll do some damage, crime fighter.<\/dialogue>\n    <scene_description>They clink cans. Jake smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL AVE. AND SLAUSON - DAY<\/stage_direction>\n    <scene_description>If you don't know the neighborhood, stay the hell out. A Regal with four rough-looking gangsters bumps its radio through the intersection, oozing menace. Then the G-Ride rolls through the intersection.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. G-RIDE (CENTRAL AVE.) - MOVING - DAY<\/stage_direction>\n    <scene_description>The area fills Alonzo's eyes with memories.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Did my probation here. Learned a lot on these blocks. Kicked some ass. Had my ass kicked.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Back in the day.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Yeah, back in the day. Been on the job thirteen years. Today's my date of employment.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>No shit. Happy anniversary.<\/dialogue>\n    <scene_description>They shake hands.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Thanks. Thirteen's an unlucky number. But I figure the seven to go cancel it out.<\/dialogue>\n    <scene_description>Alonzo turns on McKinley. He reaches over, digs in the glove box. Pulls out a photograph and hands it to Jake. INSERT - PHOTO A spit-and-polish, young cop in crisp blues, white gloves, holding his pistol at inspection arms. BACK TO SCENE Jake looks at the photo, then at Alonzo. Realizing:<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>You're Mr. Clean.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>I had a few misconceptions when I started out.<\/dialogue>\n    <parenthetical>(notes a graffited wall)<\/parenthetical>\n    <dialogue>Shit's going down. See that?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Buncha graffiti.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Crossing out each other's placas like that. Ghettoville and the Locotes are at war.<\/dialogue>\n    <scene_description>Alonzo rounds a corner. A driveby is under investigation. Several black and whites, crime-scene tape. A coroner's van. Flares block the street. A rookie gestures for Alonzo to stop. Alonzo badges him and drives around a bullet-riddled Cutlass with two dead gangsters spilling out the open doors. Jake gawks, Alonzo is utterly nonplussed.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Learn to read walls, not just street signs.<\/dialogue>\n    <scene_description>Alonzo turns down an alley. Then pulls onto a boulevard. After a block, he pulls into a different neighborhood. Alonzo glimpses some pit bulls down a driveway. A beat later he points out a house.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>On the left. See that house? Dude named Spooky lived there. Mean old vato loco. Mexican Mafia. No one messed with Spooky. Even got respect from the cops. We'd keep an eye on his house. You like dogs?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Gotta six-year-old Rottweiler. Not too bright, but he's good with my kid.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Rotties are good dogs. Dobermans are better. Spooky raised Dobermans. On my second week of patrol, when I was not knowin' shit, we roll by Spooky's one night. I observe this old, black fool named Too Fine, all drunk, beating the shit out of this female Doberman. Beautiful dog, seven months old. Too Fine's whoopin' her with a garden hose. This dog's just crying, shaking. I grew up with Dobermans. I was pissed. I tell my T.O. 'I'm gonna take him.' And my T.O. is like: 'No, no. It's cool.' He waves to Too Fine and this motherfucker smiles and waves back and keeps hitting the dog.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Thought I lost my damn mind. Tells me Spooky gave him twenty bucks to beat the shit out of it. My T.O., this good 'ol boy, looks me in the eye and says: 'Teaches 'em to hate niggers.' Almost quit right there. Almost got out of that black and white and took the bus home.<\/dialogue>\n    <scene_description>Jake looks at Alonzo.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>That's fucked-up. That's one of the most whacked things I ever heard.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Just remembered that. Every time I'd seen it all, the street'd show me something even more twisted. I know you didn't see no shit like that in the Valley.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>No, I haven't.<\/dialogue>\n    <scene_description>OMITTED thru thru<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. G-RIDE (CRENSHAW BLVD.) - MOVING - DAY<\/stage_direction>\n    <scene_description>Alonzo scans the infamous Boulevard searching for prey. Sees a gaunt DEALER on a corner, in a wheelchair. Alonzo hands Jake a twenty.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Still up twenty. Your turn. Put your hood up.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>What do I say?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Ad lib, boy. Use your words.<\/dialogue>\n    <scene_description>He pulls over. The Dealer rolls up to Jake's side.<\/scene_description>\n    <character>DEALER<\/character>\n    <dialogue>What you want, homie?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Crack. Twenty dollars' worth.<\/dialogue>\n    <character>DEALER<\/character>\n    <dialogue>Fuck you, rookie.<\/dialogue>\n    <scene_description>He spins and rolls away quickly. Alonzo shoots Jake a look.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Fetch, boy. Fetch.<\/dialogue>\n    <scene_description>Jake bolts from the car.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CRENSHAW BOULEVARD - DAY<\/stage_direction>\n    <scene_description>ON DEALER wheeling away. He sees Jake, speeds up. Then suddenly darts into a wig shop.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A24 INT. WIG SHOP - DAY A24<\/stage_direction>\n    <scene_description>The Dealer heads for the back. Where a door leads out to an alley. He reaches for the door handle. Jake tackles him. Gets the Dealer in a compliance hold and cuffs him. Alonzo enters the store, badges the owner.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Love doing that, huh?<\/dialogue>\n    <scene_description>Jake searches the Dealer as rows of display heads stare with blind eyes.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Who you work for, shitstain?<\/dialogue>\n    <character>DEALER<\/character>\n    <dialogue>Can't work. I'm on disability.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Bullshit. You crackin'.<\/dialogue>\n    <scene_description>Jake finishes searching.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>No rocks?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>No rocks.<\/dialogue>\n    <character>DEALER<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>Aw, dang. See? Y'all ain't got shit. The man comin' up short again.<\/dialogue>\n    <scene_description>Alonzo glares.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>I never come up short, fool. Open your mouth.<\/dialogue>\n    <scene_description>The Dealer does. Sensing to not play with Alonzo.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Lift your tongue.<\/dialogue>\n    <scene_description>He does.<\/scene_description>\n    <character>DEALER<\/character>\n    <dialogue>See. I ain't be gottin' shit.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Gimme a pen.<\/dialogue>\n    <scene_description>Jake does. Alonzo grabs the Dealer's neck. Forces the pen in his mouth. Down his throat. He gags -- urgh! Vomits.<\/scene_description>\n    <character>DEALER<\/character>\n    <dialogue>Shit, man!<\/dialogue>\n    <scene_description>Jake is stunned. Alonzo inspects the spattered sidewalk. Sees Saran-wrapped rocks.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Lookie those.<\/dialogue>\n    <character>DEALER<\/character>\n    <dialogue>That's corn.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>That's Jimmy crack corn and I don't care. One, two, three, four, five... six. How'd you swallow that shit without water?<\/dialogue>\n    <character>DEALER<\/character>\n    <dialogue>This is bullshit! Civil rights violatin' motherfuckers.<\/dialogue>\n    <scene_description>Alonzo slaps him.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Gonna act like a man or a bitch?! Got you cold. Wanna go to jail? Or go home? Gimme a name.<\/dialogue>\n    <scene_description>The Dealer mulls it over.<\/scene_description>\n    <character>DEALER<\/character>\n    <dialogue>He in County.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>DEALER<\/character>\n    <dialogue>Sandman. He's shot callin'.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Unhook him, Hoyt.<\/dialogue>\n    <parenthetical>(to Dealer)<\/parenthetical>\n    <dialogue>You on my team now. Be seeing you, homie.<\/dialogue>\n    <scene_description>Jake unlocks the cuffs. Alonzo steps over the vomit and crack.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>And collect the evidence.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Hell no.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>You're learning.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. G-RIDE (WATTS) - MOVING - DAY<\/stage_direction>\n    <scene_description>Jake keeps looking at Alonzo, half impressed, half appalled.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>You don't give a shit. That stuff doesn't fly anymore. What if that guy complains?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>To who?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Look, I like my badge.<\/dialogue>\n    <scene_description>Alonzo gives a reassuring look, dials a cell phone.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Afternoon, Bob. It's Alonzo. Got your gang book?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I need a res. Sandman from Mobsters... might be in custody.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Okay, shoot.<\/dialogue>\n    <scene_description>Alonzo jots the information on a note pad.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Thank you, sir. That's gonna do it. Have a good one.<\/dialogue>\n    <scene_description>Alonzo hangs up. Shows Jake the address with a grin.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>We go after the Sandman?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>We go after the Sandman.<\/dialogue>\n    <scene_description>Jake smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANDMAN'S STREET - DAY<\/stage_direction>\n    <scene_description>Near 13th and Mona Blvd. Graffiti on a wall: \"MOBSTERS HOOD -- SANDMAN.\" The G-Ride glides INTO FRAME and OUT.<\/scene_description>\n    <character>ANGLE<\/character>\n    <dialogue>The G-Ride parks in front of a house. Alonzo and Jake exit. Alonzo pops the trunk. Inside is a microwave box, toaster, a boom box, a TV.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Gonna open a Circuit City?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>It's unclaimed shit from property. I pass it out to informants, victims, witnesses. Help their families out.<\/dialogue>\n    <scene_description>Alonzo fishes out an LAPD Windbreaker, \"POLICE\" across the back. Hands it to Jake.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Wear that. Intel says his wife's in the residence with two female juveniles and a possible male juvenile.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>If he's not here, why are we here?<\/dialogue>\n    <scene_description>Alonzo pulls a paper out of his pocket, unfolds it.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>We gotta serve this search warrant.<\/dialogue>\n    <scene_description>It's the Chinese take-out menu Jake handed him earlier.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>We can't do that.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Yes we can, supercop. Ding-ding, that's the school bell.<\/dialogue>\n    <scene_description>He slams the trunk. Pulls his gun. They cross to the door.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Get a real warrant.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>I wanna get shit done.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANDMAN'S HOUSE - DAY<\/stage_direction>\n    <scene_description>They step onto the porch. Take sides by the front door.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Don't get me killed, new guy.<\/dialogue>\n    <scene_description>He knocks on the security screen.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Police! Search warrant!<\/dialogue>\n    <scene_description>Silence. Alonzo knocks again. Nods at Jake.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>L.A.P.D.! Open the door.<\/dialogue>\n    <scene_description>Nothing. Then:<\/scene_description>\n    <character>SANDMAN'S WIFE (O.S.)<\/character>\n    <dialogue>Kevin ain't here. He up at the Honor Ranch.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>L.A.P.D.! Please open the door or we kick it in! Ma'am?!<\/dialogue>\n    <scene_description>CLICKING. The door is unlocked, opened. SANDMAN'S WIFE, an attractive black woman, stands on the other side of the security screen. Alonzo waves the menu.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Search warrant. Unlock the door and back away.<\/dialogue>\n    <scene_description>She does, Alonzo snaps it open, rushes in, Jake follows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANDMAN'S HOUSE - LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Jake and Alonzo swinging guns around the room -- two scared toddlers in a playpen. Sandman's Wife sits on the couch.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Stand up, ma'am.<\/dialogue>\n    <scene_description>He searches the couch for a weapon.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Anyone else in the house, ma'am?<\/dialogue>\n    <character>SANDMAN'S WIFE<\/character>\n    <dialogue>My nephew, Dimitri. He in the bedroom. The boy is ten.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Cover her. Gonna clear the house.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>You can sit. Please keep your hands on your knees.<\/dialogue>\n    <scene_description>Alonzo exits through a doorway into the kitchen.<\/scene_description>\n    <character>ALONZO (O.S.)<\/character>\n    <dialogue>Kitchen's clear!<\/dialogue>\n    <scene_description>We hear ALONZO moving through the bedrooms.<\/scene_description>\n    <character>ALONZO (O.S.)<\/character>\n    <dialogue>Bedrooms're clear! Bringing out the kid!<\/dialogue>\n    <scene_description>Alonzo marches Dimitri, 10, into the living room. The youngster trembles.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>S'okay, son, we're the good guys. Go sit on the couch with your aunt -- House is code-four. Gonna start my search.<\/dialogue>\n    <scene_description>Alonzo exits. Sandman's Wife glares at Jake.<\/scene_description>\n    <character>SANDMAN'S WIFE<\/character>\n    <dialogue>I wanna read the warrant. Supposed to give me a copy.<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>(reacts)<\/parenthetical>\n    <dialogue>My partner has it.<\/dialogue>\n    <scene_description>She looks out the window at the empty street.<\/scene_description>\n    <character>SANDMAN'S WIFE<\/character>\n    <dialogue>Where's your back-up?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Ma'am, please be quiet while we conduct our investigation.<\/dialogue>\n    <character>SANDMAN'S WIFE<\/character>\n    <dialogue>You got the gun, boss.<\/dialogue>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>Crooked-ass pigs.<\/dialogue>\n    <scene_description>The kids stare at Jake like an occupying soldier. He crosses to Dimitri, smiles.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Hey, little man. How's it going?<\/dialogue>\n    <scene_description>Jake tries to shake. Dimitri crosses his arms, looks away. Sandman's Wife smirks. O.S., the SOUNDS of Alonzo tearing apart the bedrooms like a hurricane. Making a hell of a mess. Sandman's Wife stands.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Ma'am. Stay seated.<\/dialogue>\n    <character>SANDMAN'S WIFE<\/character>\n    <dialogue>Who you be thinkin'? Comin' in like you pay the rent.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Ma'am, sit down.<\/dialogue>\n    <character>SANDMAN'S WIFE<\/character>\n    <dialogue>Both y'alls stink. Drinkin' all day. Gotta get liquored up to do business?<\/dialogue>\n    <scene_description>Alonzo is suddenly quiet. Jake backs to the doorway, peeks around it. Sees a dresser with a mirror. IN MIRROR Alonzo shoves something big down his jacket. BACK TO SCENE<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Siddown. Now.<\/dialogue>\n    <character>SANDMAN'S WIFE<\/character>\n    <dialogue>Gonna shoot me, boss? Kids, don't look. The drunk policeman gonna shoot me now.<\/dialogue>\n    <scene_description>Alonzo enters, excited, grinning.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Didn't find shit. Let's go -- sorry about the inconvenience, ma'am. Thank you for your cooperation.<\/dialogue>\n    <scene_description>He and Jake head for the door.<\/scene_description>\n    <character>SANDMAN'S WIFE<\/character>\n    <dialogue>I wanna see the warrant.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Here.<\/dialogue>\n    <scene_description>He hands her the menu as they exit.<\/scene_description>\n    <character>CUT TO:<\/character>\n    <dialogue>At the end of the block, three big gangsters buy Popsicles from an ice cream truck.<\/dialogue>\n    <scene_description>ANOTHER ANGLE Sandman's Wife bursts out of the house, screams at Jake and Alonzo as they climb in the G-Ride.<\/scene_description>\n    <character>SANDMAN'S WIFE<\/character>\n    <dialogue>Y'all jackers! You ain't no damn police! Get on back here with my money!<\/dialogue>\n    <scene_description>She sees the gangsters.<\/scene_description>\n    <character>SANDMAN'S WIFE<\/character>\n    <dialogue>Why y'all standin' there lookin' pretty?! Blast them fools!<\/dialogue>\n    <scene_description>The gangsters trade looks. Start running towards -- G-RIDE Alonzo sees the gangsters. Tries STARTING the CAR. The engine won't catch.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>C'mon, baby. Don't do me like that.<\/dialogue>\n    <scene_description>The gangsters getting closer.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>You bitch! Start!<\/dialogue>\n    <scene_description>Jake sees a Glock pulled from a waistband.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Gun! Gun! Gun!<\/dialogue>\n    <scene_description>VAROOM! Alonzo SQUEALS from the driveway. The armed gangster drops to one knee. The G-Ride tear- asses away in Glock's sights. POP!-POP!-POP!-POP!-POP! A ROUND SHATTERS a taillight. ANOTHER pierces the trunk!-- -- the back seat -- the front seat -- the six-pack -- and finally the dash. Jake reacting to beer spray.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. G-RIDE (FREEWAY) - DAY<\/stage_direction>\n    <scene_description>Alonzo rounds the corner, tosses the wounded cans out the window.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Shit... Let's hit a liquor store.<\/dialogue>\n    <scene_description>Jake fingers the hole in the dash.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Gun! Gun! Gun!<\/dialogue>\n    <scene_description>Jake startles, Alonzo laughing.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>First time you been shot at?<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>(lies)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Yeah, it was. Take the jacket off.<\/dialogue>\n    <scene_description>Jake does, Alonzo takes whatever is in his jacket, wraps it in the raid jacket and sets it at his feet.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>That wasn't cool. That wasn't cool at all. Where's the Sandman? What the hell were you doing in there?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Looking for narcotics activity. Scales. Baggies. Guns. Coke. Bud. Etcetera.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Cash...?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Speak on it, son.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>She was screaming about money.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Bitch was talking shit. Trying to get us blasted by her homies.<\/dialogue>\n    <scene_description>Jake looks at the raid jacket.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I dunno. I'm just a new guy. A daisy-fresh boot. You tell me what.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>I don't deny my shit stinks. I will never deny that. So why do I got the best arrest and conviction record in the county. Why? 'Cause I don't handicap myself with bullshit.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I thought that bullshit served a purpose.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>You thought wrong. There's some profoundly evil people walking free on the streets right now who've killed three, four, five people. I know it, they know it, every detective on payroll knows it. Why do these turds still float around? The rules. I take down the duly deserving. I'm not locking up Mr. Nine-to-five, Mr.!Family Provider.<\/dialogue>\n    <scene_description>Jake shaking his head angrily.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>C'mon, communicate. What aren't you saying? Talk to me.<\/dialogue>\n    <scene_description>A beat. Then Jake fixes Alonzo with a stare.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>I think... I think you're a rogue cop.<\/dialogue>\n    <scene_description>Alonzo laughs his ass off. Wipes his eyes, he laughs so hard. Ahead on the freeway, a Highway Patrol cruiser is on the opposite shoulder.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Hoyt, man. Know what? You're alright. You are alright.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Whatever. I'm gonna be on the six o'clock news in an orange jumpsuit and handcuffs because of you. With the scandals and whatnot, it's open season on misconduct. They'll nail us to the wall.<\/dialogue>\n    <parenthetical>(worried, repentant)<\/parenthetical>\n    <dialogue>God, what the hell did I just do?<\/dialogue>\n    <scene_description>Alonzo holds up a finger for him to stop and pulls over on the shoulder opposite the cruiser. A highway patrolman helps a distressed female motorist change a tire.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>You're in a privileged position to learn a thing or two if you can keep your mouth shut and your eyes open. If you're serious about doing good in the real world, this is the place to learn how. Gun! Gun! Gun! If this shit shakes you up, go back to Division and cry to the Watch Commander. He'll find you a nice job lighting flares and measuring wrecks. Decide now if you want to be a wolf or a sheep. If you want on my squad, I'll sign your card.<\/dialogue>\n    <scene_description>Alonzo stops the car. Alonzo puts his foot on the dash, reveals his unit's tattoo on his ankle. Jake reacts.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Get your ink.<\/dialogue>\n    <parenthetical>(re: the patrolman)<\/parenthetical>\n    <dialogue>Or get out and give him a hand.<\/dialogue>\n    <scene_description>Alonzo reaches over and opens Jake's door. Jake looks around, looks at the tattoo. Forget it, he's out. Jake exits the car. Jake stands on the shoulder, squints at the patrolman fighting lugnuts. Jake knows what he wants to do. He gets back in the G-ride. Slams the door and nails Alonzo with a steely look of resolve.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>I'm in.<\/dialogue>\n    <scene_description>Alonzo holds out his hand. Jake shakes, serious. Solemn.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Welcome to Narcotics, Officer Hoyt.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I'm going to do my best.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>You do and you'll run the unit some day.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>You hungry? Let's code seven.<\/dialogue>\n    <scene_description>Alonzo SCREECHES out of there. OMITTED thru thru<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. G-RIDE (JUNGLE) - MOVING - DAY<\/stage_direction>\n    <scene_description>Jake nervously glances around one of the toughest parts of the city. A strong point adorned with wrought iron and concertina wire. Alonzo looks around cautiously, puts his gun in his lap, wary.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>What are you doing? We'll be killed coming in here.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Oh, you've heard about this neck of the woods?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>This is the Jungle. They said never come in here with anything less than a platoon.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. G-RIDE (CUL-DE-SAC) - MOVING - DAY<\/stage_direction>\n    <scene_description>Alonzo enters a cul-de-sac of run-down houses and apartments. Formidable fences line the entire block. A fortress.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>This is the heart right here. The headquarters. A lot of murder investigations lead here. One way in, no way out. Strictly heavy hitters. Damus don't play.<\/dialogue>\n    <scene_description>Jake is really uncomfortable.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>I thought we were going to eat.<\/dialogue>\n    <scene_description>A little kid runs out of the corner house. He eyes Alonzo, then hops on his bike and rides OUT OF VIEW into the cul-de-sac. A beat. The little kid returns. Waves Alonzo into the cul-de-sac. Alonzo turns onto the dangerous dead-end, driving around a poorly-parked van.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Lots of eyes on us right now. Never come up in here without me. For your safety. I'm serious.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Okay. Why do you have a golden pass?<\/dialogue>\n    <scene_description>The little kid gives Jake an unsettling maddog stare.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Because I'm square with 'em. But they know if the line is crossed, I'm leading the platoon in here.<\/dialogue>\n    <scene_description>Two solid, early teen gangsters lean against a fence. One claps sharply. Alonzo gestures for Jake to look up through the windshield. JAKE'S POV A dozen pigeons dive from the sky, right at the G-ride. BACK TO SCENE Jake reacts. The gangster claps his hands again and the pigeons pull out of their dive and arc back into the sky. The gangster smiles at Alonzo.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>What the hell was that?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>They're flipping pigeons to let folks know I'm here.<\/dialogue>\n    <scene_description>Jake looking at Alonzo, lost. Alonzo grins. At the far end of a driveway, more gangsters work out and drink. One of them is benching over 300 pounds. Alonzo parks at the end of the cul-de-sac. Jake and Alonzo get out. Cross to a gate where two more GANGSTERS kick it. They look at Jake.<\/scene_description>\n    <character>GANGSTER<\/character>\n    <dialogue>'Sup, Lonz. Thanks for helping my cousin.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>I got your back, dog.<\/dialogue>\n    <parenthetical>(re: Jake)<\/parenthetical>\n    <dialogue>He's my people.<\/dialogue>\n    <scene_description>Alonzo pushes open the gate. The gangsters regard him coldly as he passes.<\/scene_description>\n    <character>NEW ANGLE<\/character>\n    <dialogue>Behind Alonzo's back, the gangsters' disposition becomes disdain.<\/dialogue>\n    <character>GANGSTER<\/character>\n    <dialogue>Sick'a that pig actin' like king- shit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. APARTMENT COURTYARD - DAY<\/stage_direction>\n    <scene_description>Kids play in the bare dirt yard. A huge pit bull is chained to a tree.<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>(re: the gangsters)<\/parenthetical>\n    <dialogue>And those guys?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Punk ass fools. I got all these busters under my thumb.<\/dialogue>\n    <scene_description>An old woman sweeps her doorstep and glares at Jake.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Buenas tardes, Dona Lucila.<\/dialogue>\n    <scene_description>The old woman smiles, nods. Jake and Alonzo cross to some stairs, climb the steps. A 15-year-old girl exits with a laundry basket. Alonzo leers.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Gonna throw her dad in jail. Raise her up myself. Like veal.<\/dialogue>\n    <scene_description>Jake reacts, unsure if Alonzo is joking. Alonzo knocks on a door.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>What's here?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>A loving touch.<\/dialogue>\n    <character>WOMAN (O.S.)<\/character>\n    <dialogue>Quien...?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Policia, senorita.<\/dialogue>\n    <scene_description>The door opens, there stands SARA, a ravishing Salvadoran in a housedress. She hugs Alonzo, plants a big kiss on him.<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Hi, papi.<\/dialogue>\n    <scene_description>She notices Jake and backs off.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>He's just my new guy.<\/dialogue>\n    <scene_description>She holds out her hand. They shake.<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Hi. How are you?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Good, thank you.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Come in, come in. Welcome to my house.<\/dialogue>\n    <scene_description>Alonzo enters, Jake follows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SARA'S APARTMENT - LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>The living room is filled with Salvadoran kitsch. It's bright, airy, a refuge. A 2-year-old boy on the couch watches cartoons. Alonzo motions for Jake to sit.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>You had a rough morning. Relax and let her hook you up.<\/dialogue>\n    <scene_description>He disappears into the bedroom. Sara hands Jake the remote.<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Here. Take this. I have cable. You watch what you want. This is your house. Don't be shy.<\/dialogue>\n    <scene_description>She crosses to the kitchen. Sounds of POTS, DISHES. Jake is about to change the channel. The kid gives him a look. He puts away the remote. Sara returns with a massive tray of food, chicken stew, beans, rice, salad, tortillas, the works. She sets the mouth-watering spread before Jake.<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>This is El Salvador food. I hope you like it.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Thank you. This is great. I'm starving.<\/dialogue>\n    <scene_description>She hangs a beat, embarrassed.<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>I'm sorry. I have to...<\/dialogue>\n    <scene_description>Jake knows. She runs off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SARA'S APARTMENT - LIVING ROOM - DAY (LATER)<\/stage_direction>\n    <scene_description>Jake dozes, his plate wiped clean, an arm around the little kid, still watching cartoons. Alonzo enters, invigorated, he kicks Jake's foot.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Let's go. We're rollin'. Gotta meeting in fifteen.<\/dialogue>\n    <scene_description>Jake stirs, stretches. Stands. Alonzo shows him the door.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Go to the car.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I'd like to thank her for the food. It was great.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>I'll tell her, don't worry.<\/dialogue>\n    <scene_description>Jake tussles the kid's hair.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>See you later, little man.<\/dialogue>\n    <scene_description>Jake exits. Alonzo picks up his son. Hugs him tight.<\/scene_description>\n    <character>ALONZO<\/character>\n    <parenthetical>(subtitled)<\/parenthetical>\n    <dialogue>Hey. Como esta, mijo? Te portas bien? Esta creciendo, papasito. (How are you, son? You're getting big.)<\/dialogue>\n    <scene_description>Sara watches from the bedroom doorway. Seeing Alonzo like this rips her apart.<\/scene_description>\n    <character>CUT TO:<\/character>\n    <dialogue>Heading east on 6th Street. The buildings of downtown loom ahead. The noon sun high and bright.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>What about your queen?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Sara's my princess.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I like her. She's a really cool lady.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>So are her two sisters. They look damn good and they party. How'd you like to be in the middle of a bitch sandwich? Come to Vegas with us.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>No, thanks. I get mine at home.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>You're missing out. I should know.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Her kid looks just like you. He's number five?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Number six.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Six kids. That's all? Or you holding royal court in a few more houses?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>I'm only aware of six.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>It's easy to make a baby --<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>-- and hard to take care of one. Fuck you, okay? No one's going hungry. Everyone gets plenty of what they need: toys, shoes, clothes.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Love?<\/dialogue>\n    <scene_description>Alonzo shoots a look at Jake.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Let's not talk about my family.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. G-RIDE\/PACIFIC DINING CAR - DAY<\/stage_direction>\n    <scene_description>The G-Ride pulls up to the downtown L.A. landmark. Alonzo's CELL RINGS.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Get out.<\/dialogue>\n    <scene_description>Jake does. Alonzo talks on his cell a heated beat. Jake overhears:<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>You'll get the damn money.<\/dialogue>\n    <scene_description>Alonzo hangs up, exits the car uncharacteristically shaken. He and Jake cross to the entrance. Alonzo slips an old man polishing shoes a twenty. Alonzo, the raid jacket tucked underarm, hands Jake some eyedrops.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Use it.<\/dialogue>\n    <scene_description>Jake does. Alonzo opens the door.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Who's here?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Don't speak unless spoken to.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PACIFIC DINING CAR - BACK ROOM - DAY<\/stage_direction>\n    <scene_description>Leather booths and big, padded chairs. It's empty. Save for a corner table. Three scary 40ish bruisers in immaculate suits, DOUG, STAN, and LOU, share a top-notch cabernet. Doug and Stan see Alonzo, react like they've seen a ghost. Lou turns, sees Alonzo. And quickly stands. It's tense. Like there could be a gunfight. Jake's hand creeps to his gun. Alonzo and Lou converge, trading serious questions and answers with their eyes. Jake watches Stan and Doug. They watch him. Alonzo and Lou grab hands grimly.<\/scene_description>\n    <character>LOU<\/character>\n    <parenthetical>(softly)<\/parenthetical>\n    <dialogue>I don't know why I'm meeting you. I don't talk to dead men.<\/dialogue>\n    <character>ALONZO<\/character>\n    <parenthetical>(smiles, winks)<\/parenthetical>\n    <dialogue>Ain't dead yet, you prick.<\/dialogue>\n    <scene_description>They shake vigorously, smile big. Everyone relaxes.<\/scene_description>\n    <character>LOU<\/character>\n    <dialogue>Who the hell is Ricky Rookie?<\/dialogue>\n    <scene_description>Alonzo grabs Jake's shoulder, pulls him into the huddle. Jake notes none wear shoes.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>This is Jake Hoyt, first day in my squad.<\/dialogue>\n    <scene_description>Jake shakes Lou's hand. Sees an LAPD Captain's badge on his belt. Jake realizes these guys are police administrators.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Jake, this is Lou Jacobs. You ever have to talk to a fed, talk to this man first. He'll get your back.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Pleased to meet you, sir.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>This is Stan Gursky, runs the D.A.'s shooting team. Think about him before you pull a trigger, okay? Stan will rock your world if you make a bad call.<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>(shaking with Stan)<\/parenthetical>\n    <dialogue>Pleased to meet you, sir.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>And this is Doug Rosselli, does high-dollar theft cases for the poodle crowd. Your Picasso takes a trip, Doug'll find it or die trying.<\/dialogue>\n    <scene_description>Doug stares at Jake like he's a bug as they shake. Jake withers a little.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Pleased to meet you, sir.<\/dialogue>\n    <scene_description>Lou takes Alonzo's arm.<\/scene_description>\n    <character>LOU<\/character>\n    <dialogue>Have a seat, guy.<\/dialogue>\n    <scene_description>Alonzo slides into a leather chair at their table.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Shoo, boy. Shoo.<\/dialogue>\n    <scene_description>He points out the corner table for Jake. Jake crosses, sits, his back to their table.<\/scene_description>\n    <character>LOU<\/character>\n    <dialogue>Seems like a good kid.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Why the long face, Doug? Feds seize your house or something?<\/dialogue>\n    <scene_description>Chuckles from Lou and Stan.<\/scene_description>\n    <character>DOUG<\/character>\n    <dialogue>Spent twelve months trying to catch this serial burglar. A real slickster, gave up nothing. Captain rode my ass the entire time. What broke it? Luck. Caught in the act by a patrolman. We had him. Prosecutor's first major case but he slam-dunked it. From a stepladder. Jury deliberates half a day. Comes back guilty on ten out of eleven counts. The shitbag was looking at a twenty-five minimum.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Minimum. Bye-bye, toilet-licker.<\/dialogue>\n    <character>DOUG<\/character>\n    <dialogue>Sentencing was today --<\/dialogue>\n    <character>LOU<\/character>\n    <dialogue>-- Judge is female.<\/dialogue>\n    <character>DOUG<\/character>\n    <dialogue>Right. Landers.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>I know her. Sharp lady.<\/dialogue>\n    <character>DOUG<\/character>\n    <dialogue>Before this guy goes to the hearing, he gets a hold of some peanut butter and packs his ass crack with it.<\/dialogue>\n    <character>DOUG<\/character>\n    <dialogue>Before the arraignment hearing today, the guy gets a hold of some peanut butter and packs his ass crack with it. He's standing tall before the bench to give his statement, shoves his hand down his pants and comes out with a gob of fuckin' extra-chunky Jiff. Coulda heard a pin drop. Bailiffs wouldn't come near him. He looks the judge right in her eyes and licks his fingers clean. Holy shit. The judge, she screams. All these homeowners are there to read statements, they run out screaming.<\/dialogue>\n    <scene_description>Alonzo is breaking up. Stan and Lou too. ON JAKE laughing too.<\/scene_description>\n    <character>DOUG<\/character>\n    <dialogue>No wait, here's the punchline. Judge orders him to psychiatric.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Fucker'll do six months in the puzzle factory before they say he's normal and kick him loose.<\/dialogue>\n    <character>DOUG<\/character>\n    <dialogue>Won't do a day in prison.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>If the asshole's clever enough to play the system like that, I say he earned his freedom.<\/dialogue>\n    <character>DOUG<\/character>\n    <dialogue>I see him on the street, I'm gonna fuckin' do him.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Take his bullets, Stan.<\/dialogue>\n    <scene_description>Laughs.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Hey, listen, been showing my new guy around town. Scored some reefer for him to smoke. But he wouldn't. So I run through the whole bit, the gun to the head. Everything. 'Okay,' he says. I light up and it stinks like burnt rubber, right? Nevertheless, I pass it to him.<\/dialogue>\n    <scene_description>The detectives grin knowingly.<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>You're an asshole.<\/dialogue>\n    <character>DOUG<\/character>\n    <dialogue>Kid's gotta learn.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>We're in MacArthur Park and he starts screaming and jumps out of my car.<\/dialogue>\n    <scene_description>The detectives are hooked. So is... JAKE Listening, sipping water.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>So I chase him down this alley and, holy shit, he's jamming two huge crackheads and there's this mamacita with a bloody nose. Kid stopped a rape.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>No shit.<\/dialogue>\n    <character>LOU<\/character>\n    <dialogue>Kid's got a magic eye.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>That's what I told him. Kid's a prince.<\/dialogue>\n    <scene_description>Jake beams with beer-buzzed pride. ON DETECTIVES<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>His first day on the squad and know what he tells me?<\/dialogue>\n    <parenthetical>(pathetic voice)<\/parenthetical>\n    <dialogue>'You're a rogue cop.'<\/dialogue>\n    <scene_description>Roars of laughter from the Detectives. ON JAKE He turns, sees it's a serious pow-wow. Overhears:<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Heard you had an expensive weekend in Vegas. How'd you screw up so bad?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>How could I know? Vegas ain't my town. I'm not omniscient.<\/dialogue>\n    <character>LOU<\/character>\n    <dialogue>You should hop a jet outta here.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Why? It's an easy fix.<\/dialogue>\n    <character>LOU<\/character>\n    <dialogue>How?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>I can cash out an account.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Whose?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>One of mine. My first.<\/dialogue>\n    <scene_description>The three suits shudder, trade looks.<\/scene_description>\n    <character>LOU<\/character>\n    <dialogue>You're messed up.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>He's a security risk. Who's gonna keep him off the radar if I'm gone. You? I'm taxing him.<\/dialogue>\n    <scene_description>A beat. Stan acquiesces.<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>It's your call. Do not dick this up. I do not want you on the front page with the rest of those assholes.<\/dialogue>\n    <scene_description>Alonzo smiles. And the men speak in hushed tones. Jake turns to look. JAKE'S POV Lou, Doug, Stan and Alonzo stare back at him. BACK TO SCENE Jake snaps his eyes to his plate. The men murmur. The Waiter arrives with Jake's steak.<\/scene_description>\n    <character>WAITER<\/character>\n    <dialogue>You should know when not to listen.<\/dialogue>\n    <scene_description>Jake reacts. The Waiter quickly exits. Jake looks at his steak. Pushes away the plate.<\/scene_description>\n    <character>CUT TO:<\/character>\n    <dialogue>Alonzo and Jake exit. It's obvious something big is going down. Alonzo is excited, happy, the raid jacket underarm. He crosses to the valet.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Gimme the keys for the grey one.<\/dialogue>\n    <scene_description>Alonzo receives a key ring. Alonzo crosses to one of three plush unmarked police sedans in the lot. Jake watches him open the trunk and empty his jacket inside. Alonzo returns the keys to the valet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. G-RIDE (6TH STREET INTO DOWNTOWN) - MOVING - DAY<\/stage_direction>\n    <scene_description>Alonzo drives away. Dials his cell phone.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>It's me. We gotta green light. Fax the warrant to the clerk and tell her to get the judge to sign it. I want you and Paul to bring it to location one. Have Jeff get some picks and shovels. Sign 'em out from maintenance. Copy that?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Good. Hurry up.<\/dialogue>\n    <scene_description>He hangs up.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>How much was in your jacket?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Forty G's.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>What for?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>You wanna know?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I wanna know.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Nothing's free in this world. Not even an arrest warrant.<\/dialogue>\n    <scene_description>Jake didn't want to know.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Who's it for?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>A real bag of shit. A genuine bad guy. Been investigating this vile bastard for ten years. He's a big fish in a big pond. Today I fry him. The squad's gonna get some glory. Talkin' name-making shit. We'll be getting handshakes from the Chief and Mayor. Wanna piece, new guy?<\/dialogue>\n    <scene_description>A beat. Jake smiles. Sounds good.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Hell, yeah. I wanna piece.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Knew you would.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING GARAGE - DAY<\/stage_direction>\n    <scene_description>Near downtown. An unmarked police sedan waits. The G-Ride parks next to it. Alonzo and Jake exit. Out of the sedan steps MARK, a Chicano clothes horse in Italian silk. And PAUL, a steely-eyed, heavyset black guy. JEFF and TIM exit, clean-cut white guys, Jeff has a mullet. Tim is generic but tough-looking.<\/scene_description>\n    <character>JEFF<\/character>\n    <dialogue>Nice suit, Mark.<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>Beautiful suit.<\/dialogue>\n    <scene_description>Now Alonzo and Jake get out. Six cops huddled in an alley. Jake fits right in with the motley bunch. Mark hands Alonzo the warrant.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <parenthetical>(to Jeff and Tim)<\/parenthetical>\n    <dialogue>My picks and shovels?<\/dialogue>\n    <character>JEFF<\/character>\n    <dialogue>In the trunk.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Gonna dig a ditch?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>You are. Great suit.<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Shut up.<\/dialogue>\n    <character>ALONZO<\/character>\n    <parenthetical>(shakes with Paul)<\/parenthetical>\n    <dialogue>Howdy, killer.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Alonzo, what the hell's going on? I've been hearing things. You good?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Don't worry. I talked to the three wise men. It's all good.<\/dialogue>\n    <scene_description>His men trade looks, they have total trust in him. Jake is a little nervous.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You say we get away with it, let's hit this fool -- Who's this?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Jake Hoyt. First day in the unit. I'm coming from Valley patrol.<\/dialogue>\n    <scene_description>He holds out his hand. Paul scoffs.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You're a long way from Starbucks.<\/dialogue>\n    <parenthetical>(to Alonzo)<\/parenthetical>\n    <dialogue>Why's he in on this shit?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Gotta pop his cherry sometime.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>(to Jake; peeved)<\/parenthetical>\n    <dialogue>Stay the hell outta my way, little puppy. This is big dog work.<\/dialogue>\n    <scene_description>Alonzo notes Jake's unease, shows him the warrant.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>It's the real deal. Signed by the judge. Thank the Sandman.<\/dialogue>\n    <parenthetical>(addresses everyone)<\/parenthetical>\n    <dialogue>Our safety comes first. He gives us shit, we give him lead. Let's do this right so everyone can go home and do the wife and girl friend thing tonight.<\/dialogue>\n    <parenthetical>(checks his watch)<\/parenthetical>\n    <dialogue>Suit up, ladies. Time to punch in.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROGER'S HOUSE (ALLEY) - FENCE - DAY<\/stage_direction>\n    <scene_description>Five cops crouch outside a gate with shotguns, MP-5s. Assault vests and helmets worn over civvies. Jake and Jeff to one side. Paul, Mark and Tim to the other. Alonzo crosses to the gate with boltcutters and snaps the padlock. The five cops open the gate and run to --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROGER'S HOUSE - BACK YARD - DAY<\/stage_direction>\n    <scene_description>The back door of the little house. Paul and Mark kick it open. Wood splinters. The five cops rush inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROGER'S HOUSE - DAY<\/stage_direction>\n    <scene_description>The cops run through the kitchen into a familiar living room. A familiar one -- This is Roger's house. Jake is surprised, confused. Roger reads on the couch, the morning paper. He's nonplussed to find himself surrounded by police, weapons.<\/scene_description>\n    <character>MARK<\/character>\n    <dialogue>Freeze up! You need to not move, breathe, think or blink.<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>What are you clowns doing here?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Shut up! -- New guy! His hands move, blast him.<\/dialogue>\n    <scene_description>Jake aiming his shotgun at Roger's head.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>I'm on him.<\/dialogue>\n    <scene_description>Roger, holding his newspaper, recognizes Jake.<\/scene_description>\n    <character>ROGER<\/character>\n    <dialogue>You know what you're doing, son?<\/dialogue>\n    <scene_description>Jake nods: yes. The truth is; he doesn't.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Drop what's in your hands. Before zero. Five. Four. Three. Two.<\/dialogue>\n    <scene_description>CLUNK-CLUNK! Two tiny derringers hit the coffee table. Roger had been palming them. Paul sweeps them aside with his foot. The cops relax a little. Roger folds his paper. Sets it down, takes off his reading glasses. A principal besieged by truants.<\/scene_description>\n    <character>ROGER<\/character>\n    <dialogue>Alonzo's gonna kill you guys.<\/dialogue>\n    <scene_description>Alonzo enters the shattered door. Holding picks, shovels. He drops the tools. They crash to the floor. Roger crosses his arms and glares at his friend.<\/scene_description>\n    <character>ROGER<\/character>\n    <dialogue>What's going down, Alonzo?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>I had lunch with the three wise men. You gotta render unto Caesar.<\/dialogue>\n    <scene_description>Roger sees the tools and knows exactly what they are for.<\/scene_description>\n    <character>ROGER<\/character>\n    <dialogue>Those goddamn vampires want my pension.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>No, man, it's not like that. You're just getting taxed. They got their boat payments and God knows what. I'm sorry. They're makin' me do it. I'm just a lowly civil servant.<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>Bullshit. You're their bitch. What happens with me?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Don't worry, bro. I promised you'd never go back to prison. I got your back. You won't even miss what I'm gonna take. I hate doing this. Orders is orders. Sorry, dog.<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>No, you ain't. Cop.<\/dialogue>\n    <character>ALONZO<\/character>\n    <parenthetical>(to Tim and Jeff)<\/parenthetical>\n    <dialogue>You guys are gonna work. Get the tools.<\/dialogue>\n    <parenthetical>(grabs Jake's shotgun)<\/parenthetical>\n    <dialogue>Gimme the boomer.<\/dialogue>\n    <scene_description>Tim and Jeff gather the tools. Alonzo hands Jake a pick and leads the three men to the kitchen. Roger pours a slug of Crown Royal as Paul and Mark guard him.<\/scene_description>\n    <character>ROGER<\/character>\n    <dialogue>Who's paying for my floor?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>The city.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROGER'S HOUSE - KITCHEN - DAY<\/stage_direction>\n    <scene_description>Alonzo flips the table. Taps the floor with his toe.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Open the floor. Right here.<\/dialogue>\n    <scene_description>Jake, Tim and Jeff begin chopping. It's quick work to tear a large hole in the wood.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Hop in, Hoyt. Couple a feet down, there's a locker.<\/dialogue>\n    <scene_description>Jake jumps in. Attacking dirt with his pick.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROGER'S HOUSE - KITCHEN - DAY (10 MINUTES LATER)<\/stage_direction>\n    <scene_description>Jake, Tim and Jeff haul a trash-bag-wrapped footlocker out of the hole.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>What's in it?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Open it.<\/dialogue>\n    <scene_description>Jake tears away trash bags. Alonzo takes a pick and snaps the lock. Jake opens the lid -- taped bundles inside.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>It's coke?<\/dialogue>\n    <scene_description>Alonzo hands him a penknife.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Cut the damn thing open.<\/dialogue>\n    <scene_description>Jake does -- it is a brick of fifty dollar bills. Alonzo is relieved to see the money. Jake likes its heft.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>This is sweet.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>That's a hundred grand in your hot little hands. There's four million bucks in there.<\/dialogue>\n    <scene_description>Alonzo slaps Jake's back.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>First day on the job and you're in on a three million dollar seizure.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>You said four.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Told you, nothing's for free. Gotta grease the rails to make the big moves.<\/dialogue>\n    <scene_description>Alonzo grabs a shopping bag. Tosses bricks of fifties in it. Hands it to Jake.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Here. Lucky to get this, day-one- motherfucker.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>What's this?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Sweet green clean legal tender. Start the kid's college fund early. Get the old lady a minivan.<\/dialogue>\n    <scene_description>However pleasant the heft, Jake could never accept. He returns the shopping bag to Alonzo.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>No way. Only checks I cash say City of L.A. on 'em.<\/dialogue>\n    <character>JEFF<\/character>\n    <dialogue>Someone didn't sleep through Ethics.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>You said you wanted a piece.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Not like this.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>I understand. I'll hold on to it for you. Not everyone's comfortable the first time -- Let's wrap up.<\/dialogue>\n    <scene_description>Alonzo drops the bag in the locker. Exits. Jake, Tim and Jeff follow.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROGER'S HOUSE - LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Roger reads a Vegas odds paper. Alonzo, Tim, Jeff and Jake enter. Roger glares at Alonzo.<\/scene_description>\n    <character>ROGER<\/character>\n    <dialogue>What have I done to those guys? Are they nuts? Am I supposed to stand still and let them horsefuck me?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>No. We can put you out of your misery.<\/dialogue>\n    <scene_description>Alonzo tosses Jake the shotgun.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Lemme tell you a secret, Hoyt. If you kill someone on duty, they have to be your slave in the afterlife.<\/dialogue>\n    <parenthetical>(points to Roger)<\/parenthetical>\n    <dialogue>There you go. Start an entourage.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>You want me to shoot him?<\/dialogue>\n    <scene_description>Paul, Mark, Tim and Jeff snicker, crack smiles. Roger too. Jake plays along, points the shotgun at Roger.<\/scene_description>\n    <character>ROGER<\/character>\n    <dialogue>You'd be doin' me a favor, kid.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Bang -- There.<\/dialogue>\n    <scene_description>He lowers the weapon.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Not gonna do it?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Of course not. This isn't funny.<\/dialogue>\n    <scene_description>Alonzo smiles. Takes the shotgun from him.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Man, youngsters these days. Can't get shit done unless you do it yourself.<\/dialogue>\n    <scene_description>Alonzo aims at Roger. Roger suddenly understands.<\/scene_description>\n    <character>ROGER<\/character>\n    <dialogue>This is all you...<\/dialogue>\n    <scene_description>BOOM! Roger is punched ragged with BUCKSHOT, lifted off his couch, knocked into the wall. Jake jumps back. A peal of laughter from Tim. Contagious giggles from the others. Roger gurgles. Jake stares wide-eyed at Alonzo.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Holy shit!<\/dialogue>\n    <scene_description>Jake's shock elicits more giggles from the squad.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Finish him.<\/dialogue>\n    <scene_description>Jake watches Alonzo cross to Roger, blindly gasping.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>He's finished.<\/dialogue>\n    <scene_description>Alonzo takes one of Roger's derringers from the floor. Slaps it in the dying man's hand.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>C'mere, Jeff. You took fire coming through the door.<\/dialogue>\n    <scene_description>Jeff smiles, gets in position so Alonzo can shoot him.<\/scene_description>\n    <character>JEFF<\/character>\n    <dialogue>Alright. Gonna get some time off.<\/dialogue>\n    <scene_description>He braces himself. Alonzo aims Roger's hand. Pop! A BULLET THWACKS harmlessly into Jeff's VEST. He removes his sunglasses from a pocket.<\/scene_description>\n    <character>JEFF<\/character>\n    <dialogue>Watch my shades.<\/dialogue>\n    <scene_description>Jake looking at Roger, it's hard to watch a man die. Again Jeff braces. Pop! The THWACK of another BULLET.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>How's that?<\/dialogue>\n    <scene_description>Jeff probing his hand under the vest.<\/scene_description>\n    <character>JEFF<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <scene_description>Alonzo drops the gun in an envelope marked: EVIDENCE HANDGUN. Jake can't believe what he just saw.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Listen up. This is the scenario. Mark and Paul kick the door. Jeff is first through. Roger opens fire. Hits Jeff twice.<\/dialogue>\n    <scene_description>Jeff coughs -- bright foamy blood in his hand.<\/scene_description>\n    <character>JEFF<\/character>\n    <dialogue>Oh, shit.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>One go through?<\/dialogue>\n    <scene_description>Jeff answers by coughing more blood. Tim runs to him.<\/scene_description>\n    <character>TIM<\/character>\n    <dialogue>Siddown, dude.<\/dialogue>\n    <scene_description>Jeff does. Tim opens the vest -- a hole in a seam on the edge. Underneath, bruised puckered flesh drools blood.<\/scene_description>\n    <character>TIM<\/character>\n    <dialogue>You shot him!<\/dialogue>\n    <character>JEFF<\/character>\n    <dialogue>You shot me!<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>Call a rescue.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>You're fine. You'll get a medal.<\/dialogue>\n    <character>JEFF<\/character>\n    <dialogue>Call the R.A.!<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Let me quarterback the goings on and I will. Okay -- Mark and Paul kick the door. First through is Jeff. Bang. Bang. Gets hit. Wounded. Second through is our new guy, Hoyt. He drops the suspect with some fine shotgun work.<\/dialogue>\n    <parenthetical>(points at Mark)<\/parenthetical>\n    <dialogue>Who shot Roger?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>The new guy. Came in spraying.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Paul?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>The boot shot him.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>What'd you guys see?<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>Hoyt blasted him.<\/dialogue>\n    <character>JEFF<\/character>\n    <dialogue>Hoyt went for it -- Now will you get me a damn rescue ambulance?<\/dialogue>\n    <scene_description>Jake looks at these guys. They look back, smiling, smirking. He feels dizzy, sick as the nightmare sinks in. Jeff coughs blood. Alonzo tosses his rover to Paul.<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>(into rover)<\/parenthetical>\n    <dialogue>Eleven forty-nine. Nine-nine- eight. Shots fired. Shots fired. Officer down. Fifty-nine fifty- one Baxter Street.<\/dialogue>\n    <character>ALONZO<\/character>\n    <parenthetical>(slaps Jake's back)<\/parenthetical>\n    <dialogue>Good job, son. Congratulations. Gonna get a medal of valor.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>... I didn't shoot him...<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Roomful of cops says you did.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I don't care. I didn't shoot him. You did.<\/dialogue>\n    <scene_description>Alonzo pulls his gun. Aims at Jake's face.<\/scene_description>\n    <character>ALONZO<\/character>\n    <parenthetical>(as a newscaster)<\/parenthetical>\n    <dialogue>A Los Angeles Police Department narcotics officer was killed serving a high risk warrant in Echo Park today. An L.A.P.D. spokesperson said the young officer was survived by his wife and infant child.<\/dialogue>\n    <parenthetical>(himself)<\/parenthetical>\n    <dialogue>Shit gets deeper. Get the picture?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I got the picture.<\/dialogue>\n    <scene_description>Jake strikes -- twists back Alonzo's gun sharply -- sweeps away his legs with a kick. Alonzo finds himself on his back, Jake's knee on his neck, staring down the maw of his own pistol.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>That's the second time you've stuck a gun in my face. Won't be a third.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>That's what I'm talking about. You guys watching this? That's it, Jake.<\/dialogue>\n    <scene_description>Paul presses his Beretta against Jake's temple.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Be my pleasure putting a hydrashock in your melon.<\/dialogue>\n    <scene_description>Tim, Jeff, Mark gawk at the Mexican standoff.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>But I'm gonna be cool. Open your hand slowly. Drop the weapon.<\/dialogue>\n    <scene_description>Jake's free hand inches to his holstered gun --<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>(super-calm)<\/parenthetical>\n    <dialogue>Hey, sorry, man. Relax, okay?<\/dialogue>\n    <scene_description>-- and snatches it -- He swings on Tim -- who swings his .45 on Jake. A three-way standoff.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Wanna shoot me, Paul? Go ahead. Because these two are gonna be wiping my ass in the netherworld.<\/dialogue>\n    <scene_description>A beat. Then:<\/scene_description>\n    <character>TIM<\/character>\n    <dialogue>Alonzo. This is bad.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>This dude's a fed.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>He's no fed. Just a choirboy with heart who got the drop on you fools. Everyone, let's take a deep breath and defuse this -- Jake? You hear me?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>You can't just spring this shit on me. I never signed up for this.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>I hear you. I know you're angry!-- Paul, Tim, please put down your guns.<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>Hell no.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Choirboy first.<\/dialogue>\n    <scene_description>SIRENS APPROACH. Lots of them.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Both of you: guns down. Now.<\/dialogue>\n    <scene_description>Paul and Tim reluctantly lower their weapons. Jake lifts his knee off Alonzo's neck, stands and backs away, aiming both pistols at Alonzo, who climbs to his feet.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Jake, use your ears and listen. Sometimes we take shit all the way. That's the nature of the game. We don't do this every day. No one will ever again ask you to pull a trigger you don't want to!-- Mark, where're you transferring to?<\/dialogue>\n    <character>MARK<\/character>\n    <dialogue>Westside Homicide.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Westside Homicide -- Just made detective. Jake, give me eighteen months and I'll give you a career. We make the big arrests. We make the big seizures. When someone's in my unit they're in all the way or not at all. I thought you were man enough to handle this shit.<\/dialogue>\n    <scene_description>Alonzo calmly pours himself a glass of Roger's whisky.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Five proven, decorated officers say you were the shooter. Investigators are gonna pull a tube of your blood and test for intoxicants. Remember all the P.C.P. you smoked today?<\/dialogue>\n    <scene_description>Jake does, wincing at his stupidity.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>You've been planning this all day.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>I've been planning this all week. You start talking crazy shit, I will make sure your dirty blood makes it to the lab. Still wanna walk your babynuts around the block? You won't make it to the corner. But if you're cool. You're a hero. A virgin shooter above suspicion.<\/dialogue>\n    <scene_description>Jake looks at Roger, gasping like a beached carp. The SIRENS are getting CLOSER. Alonzo gulps his drink and!-- Pfffffst! Spits the booze in Jake's face. Jake is blinded. Paul seizes Jake's wrists and aims the pistols at the ceiling. Alonzo wrenches the pistols from his hands. Jake wipes his eyes, looks at the roomful of crazy cops, scared. Paul points at Roger's other derringer, laying on the carpet.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Alonzo, there's two shots in that stinger. Let's kill your boy right now and say Roger dumped him coming through the door.<\/dialogue>\n    <scene_description>Mark, Tim, Jeff like the idea. Jake doesn't. And lucky for him, neither does Alonzo, who stands protectively in front of Jake.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>No. We're not killing him. He's a good guy. Man's got the magic. Just having a little freakout is all. We've all been there. I say he's cool. No one's gonna hurt him.<\/dialogue>\n    <scene_description>Jake and Alonzo trade a look. The SIRENS are close.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Hoyt, you gotta decision to make. In ten seconds, this place will be overrun with blue suits. Go outside and clear your head.<\/dialogue>\n    <parenthetical>(returns Jake's gun)<\/parenthetical>\n    <dialogue>Or shoot me now.<\/dialogue>\n    <scene_description>Jake is only too happy to get out of there. Jake crosses to exit, pauses, an afterthought:<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Hey, Paul.<\/dialogue>\n    <scene_description>Crack! Jake nails his jaw. Paul staggers, almost falls. To Jake as he exits:<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>You're dead! I'm takin' you out. I don't care.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Kick back, Wyatt Earp. Gotta respect a cat who puts you on queer street with one punch.<\/dialogue>\n    <parenthetical>(catches his men trading looks)<\/parenthetical>\n    <dialogue>Kid's got more balls than all you faggots combined.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROGER'S HOUSE - LONG SHOT - DAY<\/stage_direction>\n    <scene_description>from a distant hilltop. The ambulances and black and whites out front shimmer in golden afternoon heat. Two distance-distorted LAPD paramedics wheel out Roger on a stretcher.<\/scene_description>\n    <character>ZOOM IN.<\/character>\n    <dialogue>Amidst the heat mirages, Alonzo talks to a uniformed sergeant. Two more paramedics wheel Jeff outside on a stretcher. Mark, Tim and Paul following. Roger is lifted into an ambulance. Alonzo dismisses Jeff's paramedics and huddles with his men.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROGER'S HOUSE - ALLEY - DAY<\/stage_direction>\n    <scene_description>Alonzo crosses to the G-ride with an armload of gear. Pops the trunk. Dumps everything inside. He shuts the trunk. Dials his cell phone and gets in the car.<\/scene_description>\n    <character>ANGLE ON JAKE<\/character>\n    <dialogue>leaning against a phone pole. Watching as Alonzo pulls a clipboard from under his seat and puts on reading glasses. Alonzo begins writing a major incident report as he talks on his cell. A beat. Alonzo STARTS the G-RIDE. Motions for Jake to get in.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. G-RIDE (ROGER'S HOUSE - ALLEY) - DAY<\/stage_direction>\n    <scene_description>Jake gets in, on the verge of freaking out. Alonzo with his reading glasses, the clipboard on his steering wheel, filling in the report, talking on his cell phone, laughing.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>-- you're gonna be scrubbing the bathtub, homie. Later.<\/dialogue>\n    <scene_description>Alonzo hangs up. Preoccupied with filling in little boxes on the report.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Why didn't you take off?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>There's nowhere to run.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Roger was D.O.A. at Good Samaritan. Let's get the paper rolling now.<\/dialogue>\n    <scene_description>Alonzo looks at Jake, sees his torment.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Justifiable homicide in the line of duty. Anyone'd be proud to have that in their jacket.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Not this way. Say I don't play along?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>At this point it behooves you not to dick around.<\/dialogue>\n    <scene_description>Jake has a lump in his throat. A beat of silence.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>What happened today was --<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>-- was murder and armed robbery. Wait. We had badges. It's different.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Dammit, boy! Why can't you open your eyes and see?<\/dialogue>\n    <scene_description>Jake can see. Too clearly. Softly:<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>That man was your friend and you killed him like a fly.<\/dialogue>\n    <character>ALONZO<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>Friend? Because I drank his whisky and he knew my name? Shit. I was playing his ass. That's my job. That's your job. Roger sold dope to kids. World's better off without him. He's the biggest major violator in L.A. I've been watching the cocksucker operate with impunity for ten years. Now I got him. This shit's chess not checkers. Can't just slap cuffs on a cat like that.<\/dialogue>\n    <scene_description>That's the truth. And Jake knows it.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Look, keep the money.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Told you, I don't want it.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Just take it. Throw it in the ocean. Barbecue it. Just take it. It would make the boys feel better.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Fuck their feelings.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>You're not making anyone feel you're on the team.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>The team? You guys are insane. I'll go back to Valley and cut parking tickets.<\/dialogue>\n    <scene_description>Jake stares out the window a beat, clenching his jaw. He looks at dozens of birds sitting on the power lines, backlit by the setting sun. Jake finally looks at Alonzo, stares into Alonzo's scary, empty eyes. Amazed to be utterly trapped by them. We can almost hear Jake's heart breaking.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>It can't be like this.<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>It is like this. I'm really sorry I exposed you to all that. It was ugly but it was necessary. Never seen no one die before? Too damn soft. Bet you never missed a meal in your life.<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>(glares at Alonzo)<\/parenthetical>\n    <dialogue>Missed a lot meals growing up. Why?<\/dialogue>\n    <parenthetical>(pantomimes shooting up)<\/parenthetical>\n    <dialogue>Because the folks had to do their shit.<\/dialogue>\n    <scene_description>OFF Alonzo's amazed look:<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>That's right. I'm in the cop business to lock up the criminals, the poisoners. Not to be one.<\/dialogue>\n    <scene_description>Alonzo sizes up Jake anew, laments not knowing that earlier. He tries a different tack.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>All the shit you're feeling now, it's going to go away. I know you're scared.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I'm not scared.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>You're terrified. I know you are. I went through the same shit. Everyone has. Sooner the world in your head matches the real world, the better you're gonna feel.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>Jake, there's gotta be dirt on you if anyone's gonna trust you. After this is behind you, a whole new life will open up. I walk a higher path. I can give you the keys to all doors.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>I'm not the asskicker I once was, but you are. Want to run my unit? My guys are good but not one of those clowns is a leader. You are. Want my job? You got it. Wanna lock up criminals? This is the best place to do it. Do your time and make detective. Play the game, grow wise and change things from the inside.<\/dialogue>\n    <scene_description>Jake looks at him. And realizes Alonzo is right. Alonzo STARTS the CAR, exits the alley.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Let's get to the hospital and talk to Stan. He'll tell you what to say to the D.A.'s guys.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CESAR CHAVEZ BLVD. - SUNSET<\/stage_direction>\n    <scene_description>The G-ride crosses the river into East L.A. General Hospital looms ahead.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOYLE HEIGHTS - SUNSET<\/stage_direction>\n    <scene_description>The tough old barrio is before the huge hospital. Cholos drink on the sidewalk. Play grab-ass and listen to MUSIC.<\/scene_description>\n    <character>CUT TO:<\/character>\n    <dialogue>Alonzo parks near the gangsters.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>What's here?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Informant of mine's in Chino. Promised I'd help out his family.<\/dialogue>\n    <scene_description>Alonzo points out a well-tended, quiet, quaint house near the cholos. Alonzo gets out. Opens the trunk. Loads up his arms with appliances.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Sometimes I bring food. Believe it or not, I like to help out the community whenever I can.<\/dialogue>\n    <parenthetical>(a box falls)<\/parenthetical>\n    <dialogue>Shit. Hoyt, help me with this.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SMILEY'S STREET - SUNSET<\/stage_direction>\n    <scene_description>Jake gets out, takes some boxes. And they cross to the house. With Jake following. Past staring cholos.<\/scene_description>\n    <character>ALONZO<\/character>\n    <parenthetical>(re: Jake)<\/parenthetical>\n    <dialogue>He's with me.<\/dialogue>\n    <scene_description>A drunk PeeWee maddogs Jake. Jake maddogs back.<\/scene_description>\n    <character>PEEWEE<\/character>\n    <dialogue>You know where you're at, fool?<\/dialogue>\n    <scene_description>A VETERANO shoves the PeeWee aside.<\/scene_description>\n    <character>VETERANO<\/character>\n    <dialogue>Outta the way, punk. It's business.<\/dialogue>\n    <scene_description>He shakes with Alonzo.<\/scene_description>\n    <character>VETERANO<\/character>\n    <dialogue>'Sup, dog. Thought you were missing in action.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>'Sup, man. You know I'm never lost.<\/dialogue>\n    <scene_description>Jake and Alonzo cross to the house. AD LIBS of \"Those're cops,\" spread through the cholos. At the house's door, Alonzo knocks. A beat. A little girl cracks it.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Hi. Got some stuff for your family.<\/dialogue>\n    <scene_description>She closes it. A beat. The door opens to reveal SMILEY, a huge, drunk veterano sleeved with prison tattoos. He looks at the two cops. Massive, impassive. Smiley never smiles.<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>Kitchen's this way.<\/dialogue>\n    <scene_description>Alonzo enters. Jake hesitates. Then follows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMILEY'S HOUSE - LIVING ROOM - SUNSET<\/stage_direction>\n    <scene_description>The little girl does homework on a computer. Two fine cholas watch the Spanish newscast. An old man dozes in a chair. Family photos on the wall -- A proud line of warfighters, lots of military uniforms. Alonzo and Jake follow Smiley into:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMILEY'S HOUSE - KITCHEN - SUNSET<\/stage_direction>\n    <scene_description>SNIPER and MORENO, big and intimidating like Smiley, have been playing poker around a beer-bottle-covered table. Smiley, Alonzo and Jake enter.<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>Put it on the counter.<\/dialogue>\n    <scene_description>Alonzo and Jake place the boxes on the counter. Sniper, Moreno, ignore Alonzo. And vice versa.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Can I use the head?<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>Go for it.<\/dialogue>\n    <character>ALONZO<\/character>\n    <parenthetical>(to Jake)<\/parenthetical>\n    <dialogue>I'll be two seconds. We're already late.<\/dialogue>\n    <scene_description>Alonzo exits to a hallway. Smiley opens a box. Pulls out a nice CD player.<\/scene_description>\n    <character>MORENO<\/character>\n    <dialogue>That's nice. Lemme get that.<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>You get the blender. This is mine.<\/dialogue>\n    <scene_description>Smiley opens a microwave box. Jake reacts. JAKE'S POV The box contains the bag of cash Jake refused. BACK TO SCENE<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>Dreamer! Got your bony ass in here!<\/dialogue>\n    <scene_description>DREAMER, 19, an attractive young lady, enters. Smiley hands her the bag of Jake's money.<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>Count that shit in the bedroom.<\/dialogue>\n    <character>DREAMER<\/character>\n    <dialogue>Thanks, eh. I was doing stuff. You learn to count, math whiz.<\/dialogue>\n    <scene_description>She gives him a dirty look and exits. Smiley takes his seat and picks up his cards. He eyes Moreno.<\/scene_description>\n    <character>SNIPER<\/character>\n    <dialogue>You looked at 'em.<\/dialogue>\n    <character>MORENO<\/character>\n    <dialogue>No I didn't.<\/dialogue>\n    <scene_description>Smiley tosses them to Sniper.<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>Deal again.<\/dialogue>\n    <character>SNIPER<\/character>\n    <dialogue>Play cards, cop?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Not really.<\/dialogue>\n    <character>MORENO<\/character>\n    <dialogue>Beer?<\/dialogue>\n    <scene_description>Moreno offers one. Sniper deals in Jake.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>No thanks.<\/dialogue>\n    <character>SNIPER<\/character>\n    <dialogue>C'mon and play a hand.<\/dialogue>\n    <character>MORENO<\/character>\n    <dialogue>Don't be rude, dude. One hand.<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>Don't sweat it. We ain't playin' for money.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>We gotta go.<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>Alonzo's taking a dump. Go ahead and have a seat.<\/dialogue>\n    <scene_description>Sniper finishes dealing. Jake looks at the cards intended for him.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Okay. One hand.<\/dialogue>\n    <scene_description>Jake sits. Now he can see a shotgun against the wall by Moreno. The three cholos check their hands, signal for more cards. Jake checks his cards.<\/scene_description>\n    <character>MORENO<\/character>\n    <dialogue>How long you been a cop?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Nineteen months.<\/dialogue>\n    <character>MORENO<\/character>\n    <dialogue>Like it?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I shoulda been a fireman.<\/dialogue>\n    <character>SNIPER<\/character>\n    <dialogue>Waddaya got, dog?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>SNIPER<\/character>\n    <dialogue>Your hand, homes.<\/dialogue>\n    <scene_description>Oh -- Jake lays down his cards.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Three of a kind.<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>Man... didn't get squat.<\/dialogue>\n    <scene_description>He tosses away his hand, Moreno, too. Sniper shows his cards with a grin.<\/scene_description>\n    <character>SNIPER<\/character>\n    <dialogue>Two pair.<\/dialogue>\n    <scene_description>Sniper collects the cards. Shuffles.<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>What are you doing? The cop won.<\/dialogue>\n    <character>SNIPER<\/character>\n    <dialogue>I got two pair.<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>Three of a kind beats two pair, dumbass.<\/dialogue>\n    <character>MORENO<\/character>\n    <dialogue>See why we don't play for money?<\/dialogue>\n    <scene_description>Moreno shakes his head, points at Jake's waist.<\/scene_description>\n    <character>MORENO<\/character>\n    <dialogue>Lemme see your cohete.<\/dialogue>\n    <character>SNIPER<\/character>\n    <dialogue>Your gun, dude. Let him see your gun. Under your shirt.<\/dialogue>\n    <scene_description>Jake is outnumbered, outsized, outgunned. All he can do is take the pistol from his holster and show Moreno.<\/scene_description>\n    <character>MORENO<\/character>\n    <dialogue>That's down. What is it? A three eighty?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Three eighty stainless. Double action. Nine round mag.<\/dialogue>\n    <character>MORENO<\/character>\n    <dialogue>Lemme see it. Ain't gonna blast no one.<\/dialogue>\n    <scene_description>Jake hands it over. Moreno examines it with skilled hands.<\/scene_description>\n    <character>MORENO<\/character>\n    <dialogue>Fuck a vato up with this.<\/dialogue>\n    <scene_description>He hands it back. To Jake's relief. Jake looks down the hall. Getting up:<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>We have to go. I'm gonna get Alonzo.<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>Kick back and party.<\/dialogue>\n    <scene_description>Smiley pulls aside the curtain. JAKE'S POV An empty street. The G-Ride is gone.<\/scene_description>\n    <character>SMILEY (O.S.)<\/character>\n    <dialogue>Ain't nobody out there for you.<\/dialogue>\n    <scene_description>ON JAKE He feels like a toddler lost in a department store. He sits back down. Moreno laughs.<\/scene_description>\n    <character>MORENO<\/character>\n    <dialogue>Alonzo played you like a booger.<\/dialogue>\n    <scene_description>Smiley slides the deck to Jake.<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>Your deal.<\/dialogue>\n    <scene_description>Jake shuffles. Smiley lights a joint. Offers it to him.<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>It's P.C.P. Wanna hit?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>No thanks. I already smoked out today.<\/dialogue>\n    <character>SNIPER<\/character>\n    <dialogue>Shit. I'll step on that P-dog.<\/dialogue>\n    <scene_description>Sniper takes it, inhales. Jake dealing cards. The joint rounds the table.<\/scene_description>\n    <character>SNIPER<\/character>\n    <dialogue>Gimme two cards.<\/dialogue>\n    <scene_description>Jake does. Dreamer enters.<\/scene_description>\n    <character>DREAMER<\/character>\n    <dialogue>It's all there.<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>You sure?<\/dialogue>\n    <character>DREAMER<\/character>\n    <dialogue>You count it if you don't believe me.<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>Okay. Thanks -- Gimme three.<\/dialogue>\n    <scene_description>Dreamer grabs a beer and exits. Jake deals three.<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>Alonzo pulled off a miracle, huh? Times are tight. Scared up a lotta cash.<\/dialogue>\n    <character>SNIPER<\/character>\n    <dialogue>Who'd he jack?<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>(dealing cards)<\/parenthetical>\n    <dialogue>I dunno.<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>He jacked Roger. Blasted the dude.<\/dialogue>\n    <scene_description>Moreno guffaws. Sniper chuckles.<\/scene_description>\n    <character>MORENO<\/character>\n    <dialogue>Damnnnn. Alonzo's scandalous.<\/dialogue>\n    <character>SNIPER<\/character>\n    <dialogue>That's some cold shit. Vato'll jack anyone.<\/dialogue>\n    <character>MORENO<\/character>\n    <dialogue>Alonzo's a low-down, dirty, ruthless vato.<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>That's why I never shake his hand. He don't respect shit.<\/dialogue>\n    <parenthetical>(to Jake)<\/parenthetical>\n    <dialogue>Know what the money's for?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>Alonzo's a hothead. Last week in Vegas some Russian dude was talking shit. Alonzo spazzed out and beat his ass to death. Oops. Turns out the dude was somebody. Alonzo's into the Rooskies for million, wasting that cat like that.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>How do you know?<\/dialogue>\n    <scene_description>Smiley gives Jake a look.<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>They gave Alonzo till today to pay up. But his name's already on a list. No one thought he could get cash that big. Good thing he got his blood money, 'cause a crew's waiting on standby. He don't get downtown and pay up by midnight and not a minute after, Cinderfella turns into a corpse.<\/dialogue>\n    <character>MORENO<\/character>\n    <dialogue>It's all about punctuality, ese.<\/dialogue>\n    <character>SNIPER<\/character>\n    <dialogue>Dude made a pact with the devil or some shit 'cause only a miracle coulda saved his ass.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>It's no miracle.<\/dialogue>\n    <character>SNIPER<\/character>\n    <dialogue>Alonzo takes care of business.<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>Cops get crafty in a clinch.<\/dialogue>\n    <character>SNIPER<\/character>\n    <dialogue>And get away with it.<\/dialogue>\n    <character>MORENO<\/character>\n    <dialogue>Makes me wanna turn out a cop -- Ever had your shit pushed in?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MORENO<\/character>\n    <dialogue>I had my shit pushed in.<\/dialogue>\n    <character>SNIPER<\/character>\n    <dialogue>Me too. My shit's been pushed in. Smiley?<\/dialogue>\n    <character>SMILEY<\/character>\n    <parenthetical>(grins)<\/parenthetical>\n    <dialogue>I'm always gettin' love from the homies.<\/dialogue>\n    <scene_description>Smiley caresses Jake's thigh under the table. He almost leaps from his chair. Everyone laughs.<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>Jumpy motherfucker.<\/dialogue>\n    <character>SNIPER<\/character>\n    <parenthetical>(disgusted)<\/parenthetical>\n    <dialogue>He's a buster.<\/dialogue>\n    <character>MORENO<\/character>\n    <dialogue>You never been booty-busted?<\/dialogue>\n    <scene_description>Jake tries to laugh. But it's getting weird.<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>Hey, cop. Win this hand and we won't bust you out.<\/dialogue>\n    <character>MORENO<\/character>\n    <dialogue>Unless you want us to.<\/dialogue>\n    <scene_description>Laughs. Sniper reveals his cards.<\/scene_description>\n    <character>SNIPER<\/character>\n    <dialogue>I got two pair again.<\/dialogue>\n    <character>MORENO<\/character>\n    <parenthetical>(tossing his cards)<\/parenthetical>\n    <dialogue>Didn't get shit.<\/dialogue>\n    <character>SMILEY<\/character>\n    <parenthetical>(grins)<\/parenthetical>\n    <dialogue>Gotta straight.<\/dialogue>\n    <character>SNIPER<\/character>\n    <dialogue>Uh-oh. This jura's gonna be wearin' a dress.<\/dialogue>\n    <scene_description>Everyone looks at Jake -- Well? He lays down his cards.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Full house.<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>Lucky.<\/dialogue>\n    <character>SNIPER<\/character>\n    <dialogue>You won. Deal again.<\/dialogue>\n    <scene_description>Smiley taps the deck. Jake looks at it. At them.<\/scene_description>\n    <character>MORENO<\/character>\n    <dialogue>Deal, homie.<\/dialogue>\n    <scene_description>Jake picks up the deck. Starts dealing. Smiley arranges his hand.<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>Gimme three.<\/dialogue>\n    <character>MORENO<\/character>\n    <dialogue>Fuck this buster. Let's get this shit over with.<\/dialogue>\n    <scene_description>Looks of agreement are traded. Moreno grins at his shotgun. Sniper shifts his weight. Smiley whiteknuckling his beer.<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>Hurry up, cop. Gimme three.<\/dialogue>\n    <scene_description>Jake reaches for the deck. This happens fast: Jake flings the deck in Sniper's face. Smack! Cards scatter. Jumps up from his chair, flips the table into Moreno. Smiley SMASHES a beer BOTTLE on Jake's head. Moreno grabbing the shotgun. Crack! -- Jake socks Smiley's jaw. He goes down, amazed to find himself on his ass. Crack! -- Sniper uppercuts Jake. Smiley grabs Jake's legs, yanks him to the deck -- kerchack! JAKE'S POV The bore of a 12 gauge and Moreno's leering face. BACK TO SCENE Jake gives up, his broken scalp gushing blood.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>... uncle...<\/dialogue>\n    <scene_description>Dreamer pops her head in.<\/scene_description>\n    <character>DREAMER<\/character>\n    <dialogue>Dang! You guys fucked him up.<\/dialogue>\n    <character>MORENO<\/character>\n    <dialogue>Get outta here. Take the girls next door. Or you're next.<\/dialogue>\n    <scene_description>She gives him the finger, pops out. Smiley pats Jake down. Pockets his gun.<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>You tripped, fool. You know that.<\/dialogue>\n    <scene_description>He finds Jake's handcuffs -- clicks his wrists together behind his back. He takes his badge, clips it on his belt.<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>Look. I'm a cop. Gonna start taxing.<\/dialogue>\n    <scene_description>Smiley commences kicking the hell out of Jake:<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>You're under arrest. For being a cop. For being a buster. For dogging me in the mouth in my own pad. And for bleeding on my clean kitchen floor. You have the right to be kicked. And the right to be slapped.<\/dialogue>\n    <scene_description>Smack! He slaps him. Everyone laughs. Smiley finishes, panting.<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>There. Get him in the bathtub.<\/dialogue>\n    <scene_description>Moreno grabs Jake's hair, Sniper grabs an arm, they jerk him to his feet.<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>Gotta fuck this vato up.<\/dialogue>\n    <scene_description>They run him out of the kitchen, Smiley follows. OMITTED &amp; &amp;<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMILEY'S HOUSE - BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>Pink carpet and porcelain kitties. They throw Jake into the tub -- shove his face in the drain. Smiley turns on the water -- Jake's blood whirlpooling away. Smiley grabs the shotgun from Moreno. Thumps the butt against Jake's head, flips it, shoves the muzzle in his ear. Snicks the shower curtain shut to catch the spatter.<\/scene_description>\n    <character>SNIPER<\/character>\n    <dialogue>Do it, eh.<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>It's gonna be loud. Close the door.<\/dialogue>\n    <scene_description>Moreno does. Sniper plugs his ears. Smiley braces for the recoil. Jake is dazed, like steer in a slaughterhouse chute.<\/scene_description>\n    <character>MORENO<\/character>\n    <dialogue>Wait. Lemme get his money first.<\/dialogue>\n    <scene_description>Smiley nods. Moreno searches Jake's pockets, takes his wallet. Pockets forty bucks. Finds the Schoolgirl's pink change purse. Opens it, reacts.<\/scene_description>\n    <character>MORENO<\/character>\n    <dialogue>... dang...<\/dialogue>\n    <scene_description>He hands it to Smiley.<\/scene_description>\n    <character>MORENO<\/character>\n    <dialogue>Here, ese... You are gonna trip out.<\/dialogue>\n    <scene_description>Smiley opens it. His face goes dead blank. He hands Moreno the shotgun. Whips aside the shower curtain. Starts slugging Jake. Emphasizes each word with a kidney punch.<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>Pinchi... game... playing... cop... where'd... you... get... this?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Get what? Get what? Oh, God.<\/dialogue>\n    <scene_description>Smiley slaps him with the change purse.<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>This, stupid. Alonzo give it to you?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>No! I found it!<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>MacArthur Park!<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>What? Bullshit!<\/dialogue>\n    <scene_description>Snick! The curtain closes. Smiley takes the shotgun. Holds it to Jake's temple. Moreno angles for a peek.<\/scene_description>\n    <character>MORENO<\/character>\n    <dialogue>Wait up. I can't see.<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>If you're religious, go ahead and get in that last prayer.<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>(sobs)<\/parenthetical>\n    <dialogue>Omigod... she was going to be raped. I was driving with Alonzo. These two crackheads were gonna rape her. I saw them hit her. I stopped them. They were gonna rape her. I swear to God. I stopped it... I gotta kid --<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>-- Shut up, faggot!<\/dialogue>\n    <scene_description>Smiley opens the curtain -- stomps Jake's back -- closes it.<\/scene_description>\n    <character>SNIPER<\/character>\n    <dialogue>Blast the fool.<\/dialogue>\n    <scene_description>Smiley aims, braces for the recoil. Jake croaks:<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>... I gotta little girl...<\/dialogue>\n    <scene_description>Smiley pauses. He eases off the trigger. Pulls a cell phone. Dials.<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>We're gonna get to the bottom of your bullshit. She's my cousin. She's a civilian. Ain't right involving her.<\/dialogue>\n    <scene_description>He sits on the toilet. Still holding the shotgun to Jake's head, he waits for an answer.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LETTY'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>The Schoolgirl works out Algebra II proofs on a \"Hello Kitty\" bedspread in a pink T-shirt. Boy band posters. She grabs her RINGING PHONE.<\/scene_description>\n    <character>SCHOOLGIRL<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>Wassup, Letty. Whatcha doin'?<\/dialogue>\n    <character>LETTY (SCHOOLGIRL)<\/character>\n    <dialogue>Hey, Smiley! Just here doing homework. Wanna talk to Tony?<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>No. I wanna talk to you. Go to school today?<\/dialogue>\n    <character>LETTY<\/character>\n    <dialogue>Yep. Yep.<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>All day? You didn't ditch?<\/dialogue>\n    <character>LETTY<\/character>\n    <dialogue>Nope. I went to every class... Why?<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>I heard different.<\/dialogue>\n    <character>LETTY<\/character>\n    <dialogue>Nuh-uh.<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>Cops talk to you today?<\/dialogue>\n    <character>LETTY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>Tell me what happened. Don't bullshit me.<\/dialogue>\n    <character>LETTY<\/character>\n    <dialogue>I got jumped by two niggers.<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>You got jumped?<\/dialogue>\n    <character>LETTY<\/character>\n    <dialogue>Well... I think they wanted to rape me. I kinda got hit. I mean he just slapped me. But nothing happened, okay? 'Cause this cop came and kicked their butts. They almost killed him but he kicked their asses.<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>What did this cop look like?<\/dialogue>\n    <character>LETTY<\/character>\n    <dialogue>He was a white boy. He looked young.<\/dialogue>\n    <scene_description>Smiley looks at Jake. That's him.<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>Sure you're okay?<\/dialogue>\n    <character>LETTY<\/character>\n    <dialogue>I'm fine. Nothing happened.<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>That don't sound like nothing. Wanna go to the doctor?<\/dialogue>\n    <character>LETTY<\/character>\n    <dialogue>No. I said I'm fine.<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>Letty.<\/dialogue>\n    <character>LETTY<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>What were you doing in East Los?<\/dialogue>\n    <character>LETTY<\/character>\n    <dialogue>I was just kicking back at my friend's pad. There weren't no guys or nothing. I swear to God.<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>Letty.<\/dialogue>\n    <character>LETTY<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>You go there again, I'm gonna beat your ass. I got your bus pass and I.D. Gonna send 'em over. And we're gonna talk more about this.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A70 INT. SMILEY'S HOUSE - BATHROOM - NIGHT A70<\/stage_direction>\n    <scene_description>He hangs up. Looks at Jake a long beat. Soaked, bloody, shivering. Click. He safeties the shotgun. Tosses it to a disappointed Moreno.<\/scene_description>\n    <character>MORENO<\/character>\n    <dialogue>Ain't you gonna blast him?<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>The vato was tellin' the truth. Life's a trip, huh?<\/dialogue>\n    <character>SNIPER<\/character>\n    <dialogue>This is some trippy-ass shit.<\/dialogue>\n    <scene_description>Smiley hands the change purse to Sniper.<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>Get this to Letty.<\/dialogue>\n    <scene_description>Smiley stands, turns off the water. He helps Jake to his feet. Unlocks the handcuffs as Jake sways, woozy.<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>Thanks for getting my cousin's back.<\/dialogue>\n    <scene_description>Jake half-smiles, not really sure if he's alive or not. Smiley tosses him a towel.<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>Put that on your head. You're gonna stain the carpet. Where they at? Where you book 'em?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I didn't.<\/dialogue>\n    <character>SMILEY<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Alonzo let them go.<\/dialogue>\n    <scene_description>Smiley scowls. Regards Jake a beat, the wheels turning, Smiley's a smart guy. He offers Jake his hand.<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>You know this shit was just business.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>They shake.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SMILEY'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Smiley and Jake exit, the Cholos on the street, they watch him with their jaded, curious eyes.<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>Alonzo wants your ass destroyed. Supposed to burn you up on the freeway by your house.<\/dialogue>\n    <scene_description>Jake looks at Smiley. Sucks some blood from his teeth.<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>You went Sega today, rookie. You're at that next level. Just play their games and do what you gotta do and you'll be cool. They'll make you Chief.<\/dialogue>\n    <scene_description>He trades a look with Smiley and walks toward the nearby boulevard.<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>Sure you don't wanna ride?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I'm sure.<\/dialogue>\n    <scene_description>Smiley watching him go, impressed.<\/scene_description>\n    <character>SMILEY<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Hey, cop!<\/dialogue>\n    <scene_description>Jake stops, turns. Smiley smiles. The first time.<\/scene_description>\n    <character>SMILEY<\/character>\n    <dialogue>Remember me.<\/dialogue>\n    <scene_description>Jake looks at Smiley, grins at the absurdity.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. MTA BUS - NIGHT<\/stage_direction>\n    <scene_description>The driver hits the button and the door opens. Jake climbs aboard; the driver is looking at his battered face. Jake taps the badge on his belt. Pulls sixty bucks from his pocket.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>I need one of your shoes.<\/dialogue>\n    <scene_description>The driver gives him a look, unties her shoe. Hands it to Jake.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Go straight to the Jungle. Stop only when I say.<\/dialogue>\n    <scene_description>Cool. Jake jerks his head -- \"Hurry up.\" He picked the right driver; her sock-clad foot stomps the gas pedal. The bus lurches forward. The bus drives away under Jake's walking feet. He turns and is scooped right into the back seat. Jake's ridden a lot of busses.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. MTA BUS - NIGHT<\/stage_direction>\n    <scene_description>Jake pulls his gun. Gives it a quick function check. He pulls the shoelace from the shoe. Ties the gun to his hand. Jake catches his reflection in the window, contemplates himself.<\/scene_description>\n    <character>JAKE'S POV<\/character>\n    <dialogue>A battered stranger. His reflection moving across the streetlife in b.g.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET (NEAR CUL-DE-SAC) - NIGHT<\/stage_direction>\n    <scene_description>The city bus FILLS FRAME. Then pulls away to reveal Jake.<\/scene_description>\n    <character>JAKE'S POV<\/character>\n    <dialogue>Down the block is the cul-de-sac. No man's land. Quiet and dark, the streetlights have been shot out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CUL-DE-SAC - NIGHT<\/stage_direction>\n    <scene_description>Jake enters, wary. He rounds the misparked van. The G-ride parked in a grassy lot. Jake glimpses the Little Kid on the bike disappear down a driveway. Jake notes a glowing cigarette on an apartment rooftop. Across the street, Jake sees rooftop movement, as someone takes cover. CLICK-CLACK as a rooftop shadow cocks a RIFLE. Jake is on a mission, undeterred.<\/scene_description>\n    <character>ON HOUSE<\/character>\n    <dialogue>A porchlight turns off. The curtain moves in the window.<\/dialogue>\n    <character>COUPLE G'S<\/character>\n    <dialogue>kick it on a wall. Veteran soldiers ready for anything. They watch Jake pass with tough stoic faces.<\/dialogue>\n    <dialogue>Jake continues toward Sara's building. Where a GANGSTER stands with crossed arms, Jake's an irritant, not a threat.<\/dialogue>\n    <character>GANGSTER<\/character>\n    <dialogue>'Sup, rookie. You got business here?<\/dialogue>\n    <scene_description>Jake looks up at Sara's apartment.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Yeah. I'm here for Alonzo.<\/dialogue>\n    <scene_description>The Gangster opens the gate for him. Jake climbs the stairs to Sara's apartment.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SARA'S APARTMENT - LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>The TV is ON in the living room. Sara's boy plays on the floor. TAPPING AT the WINDOW. The boy sees it's Jake, who smiles, points at the door. The little boy crosses, unlocks the door. Jake enters quickly, grabs the boy and hides him in a bookcase with little doors at the bottom.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Shhh. It's okay. Lay down.<\/dialogue>\n    <scene_description>The boy looking at Jake as he closes the door. Jake hears GIGGLING O.S. Crosses to the bedroom door. Wham! Jake kicks it open.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SARA'S APARTMENT - BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Jake barges through the door, gun ready. Sara jumps from the bed, clutching a sheet. Alonzo is dressed down, ready for his important rendezvous. Finishing counting and repacking Roger's money into a war bag of police gear. Twenty-two pounds worth of Benjamin Franklin. Alonzo spins, reacting as he recognizes the ghost before him. He raises his hands, impressed. Unable to reach his gun sitting on the dresser by his wallet.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Smiley didn't want the job.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Goddamn, Jake. Lemme shake your hand. You did it, you passed the test. You a man now.<\/dialogue>\n    <scene_description>Alonzo offers his hand. Jake scoffs. Alonzo reaches for the war bag. Real slow. He fishes a smoke from the pack inside. Lights it.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Shit I've been through. Shit I've seen. Took me a long time to get where you are. Now you on, Jake. Now you're a real narc. I held your hand through hell. You just gonna stand there holding your shit on me? Wassup?<\/dialogue>\n    <scene_description>Alonzo glances at a clock, it's 11:30, time's wasting. Jake follows his eye-line to the clock.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Fuck your little rendezvous.<\/dialogue>\n    <scene_description>Alonzo reacts, surprised Jake knows all.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>I got your number, homie. You're worse than a gangster. They ain't hiding behind badges.<\/dialogue>\n    <character>ALONZO<\/character>\n    <parenthetical>(holds out his hands)<\/parenthetical>\n    <dialogue>Then hook and book me. For what? You shot Roger when you were whacked on P.C.P. and ran off like a maniac. Got witnesses? Smiley? My squad? My loyal troopers? Tell your tales. We'll tell the truth. It's not what you know, it's what you can prove. Where's your evidence, Jake?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>There's my evidence.<\/dialogue>\n    <scene_description>Jake nods at the cash. THWACK! Alonzo flicks his cigarette at Jake's face. A blinding explosion of SPARKS. Alonzo dives over the bed, grabbing the war bag of cash. In a rack under the bed is a sawed-off, pump SHOTGUN. Alonzo jerks the trigger -- BOOM! -- PELLETS SIZZLE past Jake's feet as he dives out of the room.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Jake. Doing good, man. First gunfight.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SARA'S APARTMENT - HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Jake scrambles for the kitchen. KERCHACK -- BOOM! Dives behind the counter as FORMICA EXPLODES around him.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Know that I am surgical with this baby. Wanna closed casket? Or you want one below the belt?<\/dialogue>\n    <character>IN LIVING ROOM<\/character>\n    <dialogue>Sara's boy bolts from his hiding place. Sees Jake and runs toward him. When the child reaches the hall --<\/dialogue>\n    <scene_description>Jake swings his pistol on him. Alonzo swings the shotgun. Both men aiming at the terrified child, frozen in the hall. Alonzo smiles, squats in the hall outside the bedroom door and beckons his son closer.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Shhh, mijo. No llores. Ven aqui, mijo. Vente no llores. Escucha a tu papi.<\/dialogue>\n    <scene_description>The child looks at Jake. A connection. Jake motions the child toward him. But the child looks to his father.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Mijo. No, es malo. Es el cucuy. Te va a pegar. El cucuy, mijo. Quiere pegarle a tu mami. Vente, papasito.<\/dialogue>\n    <parenthetical>(Translation: Son, he's bad. He's the boogeyman. He's going to hit your mommy and you. Come here, little man.)<\/parenthetical>\n    <dialogue>Jake must act. He scrambles to his feet, exposing himself.<\/dialogue>\n    <dialogue>BOOM! Alonzo PEPPERS the FRIDGE.<\/dialogue>\n    <dialogue>POP-POP! Jake FIRES as he scoops up the boy and dives into the living room.<\/dialogue>\n    <dialogue>Alonzo seizes the moment to depart, dropping the empty shotgun and disappearing into the bedroom.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A78 INT. SARA'S APARTMENT - BEDROOM - NIGHT A78<\/stage_direction>\n    <scene_description>Jake scrambles into the bedroom, gun ready.<\/scene_description>\n    <character>JAKE'S POV<\/character>\n    <dialogue>Sara points toward the open window. Alonzo and the money are gone.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SARA'S APARTMENT - ROOFTOP - NIGHT<\/stage_direction>\n    <scene_description>Alonzo flings the money on the roof, climbs the railing. And pulls himself on the roof. A beat later, Jake exits the window, climbs onto the railing and follows Alonzo onto the roof.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SARA'S APARTMENT - ROOF - NIGHT<\/stage_direction>\n    <scene_description>Alonzo's silhouette running along the treacherous rooftop, takes cover alongside a pigeon coop covered with elaborate graffiti. Alonzo FIRES at Jake. Jake drops, rolls and FIRES back blindly. Alonzo runs for the adjacent roof. Alonzo jumps onto a balcony. Jake runs at full tilt. Toward the edge of the roof. Where nasty coils of razor-wire lay in wait. Jake jumps -- His foot hits rotten plywood -- Jake flies awkwardly through space.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OTHER ROOFTOP - NIGHT<\/stage_direction>\n    <scene_description>Another pigeon coop. Chairs, a card table, potted plants; a little oasis. The edge of the roof approaching fast, and its concertina of razor-wire. Jake's chest hits it -- oof! An iron spike atop a fence a mere inch from his ear. Jake pulls himself onto the roof. Smack! Alonzo nails Jake's face with the war bag of cash. Jake is stunned, Alonzo grabs the gun tied to Jake's hand and both hit the deck. They wrestle as Alonzo gets a finger in the trigger guard -- POP-POP-POP-CLICK! Emptying Jake's PISTOL. Using his gun as brass knuckles, Jake punches Alonzo's head. Alonzo head-butts Jake, knees him in the crotch. Jake gasps in agony. Alonzo stands, begins stomping Jake's head. Jake rolls out of the way. Alonzo kicking. Jake rolling... Right off the edge of the roof. Jake falls a story to -- THUD! -- a roof below. Alonzo looks down at Jake. Who looks half-dead. Alonzo looks at his watch -- he has 25 minutes. Alonzo spits on Jake and moves on. Alonzo crosses to a stairwell and disappears. Alonzo climbs in the G-ride and backs out. The money in his lap.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. G-RIDE (CUL-DE-SAC) - MOVING - HIGH ANGLE THROUGH<\/stage_direction>\n    <character>FRONT WINDSHIELD - NIGHT<\/character>\n    <dialogue>Something is falling toward the G-ride -- it's Jake, he jumped off the roof.<\/dialogue>\n    <dialogue>WHAM! Jake hits hard, denting the roof.<\/dialogue>\n    <scene_description>Alonzo reacts, punches the gas, whips the wheel hard. Jake rolls onto the hood. Before he smacks the street, Jake extends a hand and snags the windshield wiper. He tries to pull himself up, but the sheet metal wiper bends back on itself. JAKE'S FEET drag along the street. RUBBER GRINDING off his heels. INSERT - WIPER It cuts Jake's hand, now slick with blood. Stress cracks in the sheet metal. The METAL TEARS... BACK TO SCENE The wiper snaps off. With three desperate fingers, Jake grabs the window stanchion, pulls himself back onto the windshield, his bloody face pressed against the glass, crimson streaks cascade down. Jake begins whipping Alonzo with the wiper in his left hand. Pffck! Pffck! Opens a gash on Alonzo's face as he backs down the street. Alonzo presses a button and a GUN slides out of the dash, Alonzo grabs it, presses the muzzle against the glass where Jake's face is. Jake jerks his head -- BAM! A near miss. BAM! Another hole in the glass. But fortunately not Jake's head. WHAM! The G-RIDE backs into a car. The gun flies from Alonzo's hand, out the window. Jake tumbles off the car onto the street. The G-ride stalls. It didn't get far at all. Alonzo is pretty beat up from the crash. Jake scrambles for the gun, then leans in the window of the G- ride and punches Alonzo several times. Jake grabs the war bag, pulls open the door and yanks Alonzo out onto the street, Jake backs up, sets the war bag at his feet. The porch lights of two houses come on. Steel doors open. People tentatively step outside. Women and children, mothers with babies on their hips. Blue-collar fathers in shop uniforms. The Old Woman appears with two pretty girls. More porch lights come on. A dozen gangsters boil out of a driveway like angry hornets. Lead by the imposing Bench Presser. Gangsters encircle the G-ride. Alonzo stands, faces Jake.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>No fun when the rabbit has the gun, is it?<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Someone dome this white boy right now.<\/dialogue>\n    <scene_description>Jake casts wary sideways glances. The Bench Presser smirks, holds back his people with massive arms.<\/scene_description>\n    <character>BENCH PRESSER<\/character>\n    <dialogue>Police business.<\/dialogue>\n    <scene_description>Alonzo shoots him a look.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>First head that drops this fool is gonna be a rich man!<\/dialogue>\n    <scene_description>To Alonzo's astonishment, no one moves. He's on his own. Jake's eyes are cooler and blacker than a shark's, pistol at his side.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>They're not like you. Know what I learned today? I'm not like you.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Good. Now what? Gonna kill me? Gonna break your cherry with a cop? Ever done a little killin', Jake? Just stepped on some ants? Ain't easy. Do it clean, right here, Jake.<\/dialogue>\n    <scene_description>Alonzo taps his forehead as he takes a step toward Jake.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>'Cause if I live, I'll be up in Santa Clarita, taking care of that gal I talked to this morning. Sweet voice. She's Chicana, light-skinned. Like to know how a good woman like that feels on the inside.<\/dialogue>\n    <scene_description>Jake smolders. He aims at Alonzo. Right between the eyes. No. He can't. Jake lowers the gun. Alonzo laughs. Jake realizes Alonzo is stark raving mad. And it's kind of funny. Alonzo sees he isn't getting anywhere. Alonzo turns to the G's.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>C'mon. Someone dump this man.<\/dialogue>\n    <scene_description>A gun is tossed at Alonzo's feet. A tired old workhorse. Drilled-out numbers, taped-up grips.<\/scene_description>\n    <character>BENCH PRESSER<\/character>\n    <dialogue>Put in your own damn work.<\/dialogue>\n    <scene_description>Jake and Alonzo looking at the gun. Alonzo smiles. He slowly reaches for it.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Don't do it.<\/dialogue>\n    <scene_description>Alonzo turns his back, steps closer to the gun.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Wait, shoot me in the back. Guarantee yourself the gas chamber. Know it smells like pine oil?<\/dialogue>\n    <scene_description>Alonzo reaching for that gun. BAM! Jake SHOOTS Alonzo in the upper thigh. Alonzo growls, taking the pain. He hops on one leg.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Sonufabitch. You shot me in the ass.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Next one kills you.<\/dialogue>\n    <scene_description>Jake grabs the war bag. Loose bills fall around Alonzo. He desperately scrapes them off the street.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Gimme the money, Jake. C'mon, son.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Not gonna happen.<\/dialogue>\n    <character>ALONZO<\/character>\n    <dialogue>Oh, now you dirty? Straight jackin' me, huh?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Told you. It's my evidence. My proof. Wanna go to jail. Or you wanna go home?<\/dialogue>\n    <scene_description>Jake smikes at Alonzo.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>It's street justice. Nothing wrong with that. Right?<\/dialogue>\n    <scene_description>Alonzo's eyes narrow in hatred. Alonzo rages at the gangsters.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>Disloyal fool-ass bitch-made punks! Put cases on all y'all! Whole crew's going to Folsom. Solitary for life. No human contact. Fuck y'all.<\/dialogue>\n    <scene_description>Alonzo looks diminished, broken. Jake's eyes fall to the badge around Alonzo's neck. He smirks at the irony. Then yanks the badge from Alonzo's neck.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>You don't deserve this.<\/dialogue>\n    <scene_description>Jake looks at the gangsters, their faces, the faces of the people around him. He sees satisfaction. Hears murmurs of approval. Jake meets the Bench Presser's gaze, who leans against the G-ride. Pulls a beer from his pocket and cracks it.<\/scene_description>\n    <character>BENCH PRESSER<\/character>\n    <dialogue>Better get on outta here.<\/dialogue>\n    <scene_description>The Bench Presser gives Jake a slight nod of respect and Jake leaves. Alonzo watches Jake go in outraged amazement. Alonzo moves to follow Jake and gets the Bench Presser's gun in his face. The crowd surrounding the G-ride drifts away. People return home.<\/scene_description>\n    <character>ALONZO<\/character>\n    <dialogue>That's right. That's right. I'll burn this down. Take it all down. Walk away. See what happens.<\/dialogue>\n    <scene_description>No one listens. Alonzo has been abandoned save for the gangsters guarding him. He despairs in his defeat.<\/scene_description>\n    <character>ON JAKE<\/character>\n    <dialogue>walking away, the money in hand, his innocence gone. Though there is a heavy burden on his shoulders, there is much strength in his gait.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SEPULVEDA BOULEVARD - NIGHT<\/stage_direction>\n    <scene_description>The G-ride barrels west toward LAX. A 747 in the landing pattern overtakes it, its ENGINES HOWL as it descends.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. G-RIDE (STREET NEAR LAX) - MOVING - NIGHT<\/stage_direction>\n    <scene_description>Alonzo tears open the head liner, exposing a Glock duct- taped inside the roof. He lays the weapon on the seat next to him, where a ROVER plays routine POLICE CHATTER. Alonzo tears back the head liner more, finds a manila envelope, dumps it on the seat -- there's plane tickets, cash, pesos, passports, travelers' checks, IDs, apartment keys. His getaway kit. A red light ahead. Light cross traffic. Alonzo notes headlights following him. Stops at the light. He takes a pull on a pint of vodka. Wipes his lips with a shaky hand. A van pulls into the intersection to make a left. Too far into the intersection. Alonzo eyes it, wary. The headlights pull up behind him -- another VAN -- SCREECHING to a stop at an angle, blocking him. The side doors on both vans slide open. Gun steel glimmers. This is it. It's going down. Alonzo reaches for his Glock. Hesitates. It's over. Alonzo lifts his chin and braces for what is coming... BRRRDDDDDDDT! Two men in each van open FIRE with heavy AUTOMATIC WEAPONS -- AKs and HK-91s. Muzzle flashes strobe across bandanna-covered faces and shiny eyes. These pros know their weapons. BULLETS PUNCH into Alonzo, the G-Ride. Passing straight through the car, SHATTERING GLASS. Shattering Alonzo. After forever, the weapons are empty. Gun smoke wafts through the intersection. Alonzo, his beloved G-ride, are shredded. Alonzo leans forward, his head hits the HORN. The DOORS of the vans SNAP SHUT. The vans take off in different directions. FOOM! A small FIRE STARTS under the G-ride, leaking fuel and fluids. The flames spread, the interior burns.<\/scene_description>\n    <character>CLOSE ON FINGERS OF FIRE<\/character>\n    <dialogue>as they probe out from the bullet holes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAKE'S CAR - MOVING - NIGHT<\/stage_direction>\n    <scene_description>Jake slowly approaches his house.<\/scene_description>\n    <character>HIS POV<\/character>\n    <dialogue>In his driveway is a plush unmarked police sedan.<\/dialogue>\n    <character>BACK TO SCENE<\/character>\n    <dialogue>Jake grabs his service nine from his duffle. He parks and gets out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JAKE'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Jake shoves the nine in his waistband and crosses to the sedan. Lou, Doug and Stan exit the car. They've been waiting.<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Where's the money, Jake?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>The evidence room at headquarters.<\/dialogue>\n    <scene_description>Jake slaps Alonzo's badge on the trunk.<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>That's not necessary.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>That's not mine.<\/dialogue>\n    <scene_description>Doug picks up Alonzo's badge, impressed, pockets it. Before Doug can say anything.<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Now leave me the hell alone.<\/dialogue>\n    <scene_description>With the last of his strength, a battered and mauled Jake limps away. The three wise men climb in their car. The plush sedan backs out of Jake's driveway. Jake enters his house. PULL BACK. Jake's home becomes indistinguishable in a sea of houses. FADE OUT:<\/scene_description>\n    <character>THE END<\/character>\n  <\/scene>\n<\/script>","summary":"Ambitious Los Angeles Police Department Officer Jake Hoyt is up for promotion and is assigned to Detective Alonzo Harris, a highly decorated narcotics officer, for a one-day evaluation. Driving around in Alonzo's Monte Carlo, they begin the day by catching some college kids buying marijuana. Alonzo confiscates the drugs, puts it into a pipe and tells Jake to smoke it. When Jake refuses, Alonzo threatens him at gunpoint, stating that refusing like this while on the streets would get him killed. Jake smokes the pipe, and Alonzo smiles, telling him that it was laced with PCP. After paying a visit to Roger, an ex-cop turned drug dealer, Jake notices a pair of addicts attempting to rape a teenage girl in an alley. Jake intervenes while Alonzo watches. After the girl leaves and Alonzo scares the addicts off, Jake finds the girl's wallet on the ground and retrieves it. Later, Alonzo and Jake apprehend a dealer named Blue, finding crack rocks and a loaded handgun on him. Rather than go to jail, Blue informs on his employer Kevin \"Sandman\" Miller, who is in prison. Using a fake search warrant, Alonzo steals $40,000 from Sandman's home. At lunch, the two visit Alonzo's mistress Sara and their young son. Alonzo then meets with a trio of corrupt high-ranking police officials he dubs the \"Three Wise Men.\" Aware that the Russian mafia is hunting Alonzo over a large unpaid debt, they suggest that he skips town. Alonzo insists he has control of the situation and trades the $40,000 for an arrest warrant. Using the warrant, Alonzo, Jake, and four other narcotics officers return to Roger's house and seize $4 million, a quarter of which Alonzo keeps. Alonzo shoots and kills Roger when Jake refuses, staging the scene with his men to make the shooting look justified. Infuriated, Jake gets into a Mexican standoff with the corrupt officers. However, Alonzo, having planned the day's events, has a trump card: a routine post-incident blood test will flag the PCP-laced cannabis Jake smoked earlier and end his career. Alonzo promises to protect Jake for his cooperation, and Jake is forced to comply. Later that evening, Alonzo drives Jake to the home of a Sure\u00f1os gangster named \"Smiley\" for an errand. Jake reluctantly plays poker with Smiley and his fellow gang members as he waits for Alonzo. As they talk, Smiley reveals Alonzo's situation: by midnight, Alonzo must pay $1 million to the Russians for killing one of their men over an insult in Las Vegas, or be killed himself. Realizing that Alonzo abandoned him and has paid Smiley to kill him, Jake attempts to flee but is beaten and dragged to the bathroom to be executed. Before they can kill Jake, a gang member searches him for money and finds the wallet of the teenage girl, who happens to be Smiley's cousin. After calling his cousin and confirming that Jake saved her, Smiley releases Jake out of gratitude. Jake returns to Sara's apartment to arrest Alonzo just as he is leaving to pay the Russians with Roger's money. A gunfight and chase ensue, and Alonzo is eventually subdued on the street while the entire neighborhood gathers to watch. Alonzo offers money to whoever kills Jake \u2013 to no avail. Jake takes the stolen cash to submit as criminal evidence against Alonzo and the neighborhood gang allows him to leave safely. Enraged, Alonzo threatens to retaliate against the gang members, but they ignore him and walk away unimpressed. Alonzo flees for Los Angeles International Airport, but he is ambushed and gunned down by the Russians. Jake returns home as the press reports on Alonzo's death."}
{"movie_name":"Blindspotting_2018","imdb_id":"tt7242142","script":"<script>\n  <scene>\n    <scene_description>UNTITLED OAKLAND PROJECT April 28, 2017<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <character>SLOW-MOTION ABSTRACT IMAGES<\/character>\n    <dialogue>We're outside. It's night. And a MAN is on fire.<\/dialogue>\n    <dialogue>Scratch that. TWO MEN are on fire.<\/dialogue>\n    <dialogue>Arms flailing. Wild. Swinging.<\/dialogue>\n    <dialogue>We see pieces of a BROKEN GLASS BOWL flying in the air...<\/dialogue>\n    <dialogue>FRUIT CHUNKS bouncing off a sidewalk...<\/dialogue>\n    <dialogue>We go WIDE to REVEAL...<\/dialogue>\n    <dialogue>...one of the men is COLLIN. Black (35), in a long sleeve shirt. Hair twisted. His arm is a FIERY BLAZE.<\/dialogue>\n    <dialogue>He's PUMMELING someone on the ground, who is also on fire.<\/dialogue>\n    <dialogue>Behind them, a BLURRY FIGURE shouts:<\/dialogue>\n    <character>BLURRY FIGURE<\/character>\n    <dialogue>GET HIM!<\/dialogue>\n    <scene_description>These SURREAL IMAGES may be hard to grasp at the moment, but be patient, they will make sense in time. SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>The incident we just saw has led to Collin being in court. We see Collin in a MEDIUM SHOT. He is center frame. The JUDGE is stern, but going through the motions. We don't ever see him during this scene.<\/scene_description>\n    <character>JUDGE (O.S.)<\/character>\n    <dialogue>Now that you have completed your two month sentence at Alameda County Jail Santa Rita, in accordance with the remainder of your sentence...<\/dialogue>\n    <scene_description>The Judge wonders if Collin is even paying attention.<\/scene_description>\n    <character>JUDGE (O.S.)<\/character>\n    <dialogue>Mr. Turner? In accordance with the remainder of your sentence, you'll proceed to a halfway house facility in West Oakland for your one year probation period. You will honor the 11:00 PM curfew, maintain employment, carry out assigned chores in the home, have zero altercations with law enforcement, and not travel outside of Alameda County under any circumstances. Any infraction results in case review.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Give me a verbal confirmation that you have heard and understood these parameters.<\/dialogue>\n    <scene_description>Collin looks into camera. He SIGHS.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n    <character>BLACK<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEZ'S CAR - NIGHT<\/stage_direction>\n    <scene_description>The car is parked. Collin's in the backseat, sitting in the middle. DEZ is smoking weed in the driver's seat. MILES is sitting shotgun. Dez is black. Miles is white. Miles is Collin's best friend. All three have fast food HAMBURGERS from KWIK WAY. Miles takes his GOLD GRILL out of his mouth, to take a bite of the burger.<\/scene_description>\n    <character>MILES<\/character>\n    <parenthetical>(mouthful)<\/parenthetical>\n    <dialogue>It doesn't taste the same.<\/dialogue>\n    <scene_description>Collin holds up one of his fries, inspecting it.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Oh, they're wedges now.<\/dialogue>\n    <parenthetical>(takes a bite)<\/parenthetical>\n    <dialogue>I'm into that.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>The bun's different!<\/dialogue>\n    <scene_description>Dez squirts some KETCHUP on his fries.<\/scene_description>\n    <character>DEZ<\/character>\n    <dialogue>What is Umami Ketchup?<\/dialogue>\n    <scene_description>Miles gives up on the burger and decides to eat the fries, but even they seem to be disappointing him.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>This doesn't even look like a fry!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>That's because it's a wedge!<\/dialogue>\n    <character>DEZ<\/character>\n    <dialogue>OK, real spit, this isn't the old Kwik Way at all.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>I like the wedges.<\/dialogue>\n    <character>MILES<\/character>\n    <parenthetical>(to Collin)<\/parenthetical>\n    <dialogue>You would!<\/dialogue>\n    <scene_description>Dez gets a text. Then they all get it. They all pull out their phones and look.<\/scene_description>\n    <character>DEZ<\/character>\n    <dialogue>Did yal just get Nak's text about her work party on Friday.<\/dialogue>\n    <character>COLLIN AND MILES<\/character>\n    <dialogue>Yup.<\/dialogue>\n    <character>DEZ<\/character>\n    <dialogue>Yal tryin to go?<\/dialogue>\n    <character>COLLIN AND MILES<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <scene_description>Miles drops a fry. He reaches down to grab it, and notices... ...a GUN nestled between the seats. Miles picks it up. Super nonchalant.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Oh, what is this, bruh? Little yistol?<\/dialogue>\n    <scene_description>Collin sees the gun. This isn't good.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Uh, nope. Can I get out?<\/dialogue>\n    <scene_description>This is a TWO DOOR car. Collin can't get out unless Dez or Miles lets him out. He's basically trapped in the back.<\/scene_description>\n    <character>DEZ<\/character>\n    <dialogue>Got the better one in the glove.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <scene_description>Miles goes for the glove box, there is indeed another small gun. He pulls it out excitedly. Collin's getting more frustrated as he realizes what's happening... This is a gun deal. He's in the middle of a gun deal.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>I wanna get out.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Wanna let go of one of these? Let me hold somethin'.<\/dialogue>\n    <scene_description>Collin's getting more agitated. Tons of nervous energy. He's almost talking to himself at this point.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Three days Miles, I got three days. Let me out.<\/dialogue>\n    <character>DEZ<\/character>\n    <dialogue>Yeah, I sell you that one for 200.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>I wanted something kinda... more western though. No disrespect. It just kinda look too cop-ish.<\/dialogue>\n    <character>DEZ<\/character>\n    <dialogue>Yeah, I mean I got like three more. One by each of Collin's feet...<\/dialogue>\n    <scene_description>Collin looks down. Uh oh.<\/scene_description>\n    <character>DEZ<\/character>\n    <parenthetical>(turns to Collin)<\/parenthetical>\n    <dialogue>Collin, grab them right quick...<\/dialogue>\n    <scene_description>Collin reluctantly grabs the two guns near his feet, under the seats.<\/scene_description>\n    <character>DEZ<\/character>\n    <dialogue>...and one in the airbag thing right there, plus the one in my pocket...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>...but you can't have that.<\/dialogue>\n    <scene_description>Dez and Miles grab the remaining guns from the locations Dez described. They're now all holding guns.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Nigga! Why are there FIVE guns in the car, Dez?!<\/dialogue>\n    <scene_description>Miles turns, gun in hand, to look at Collin.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Oooh! Yours is dope, Collin!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>It's not mine! Let me out! Don't point that shit at me, Miles!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>I'm not pointing it!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Stop pointing it at me!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Don't point that shit at me. I have a child!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>I have a life, nigga.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>These aren't loaded.<\/dialogue>\n    <character>DEZ<\/character>\n    <dialogue>Those are fasho loaded.<\/dialogue>\n    <scene_description>Now Miles is freaked out. They are both pointing guns at each other and won't stop.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Stop pointing that!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Pro-ba-tion, Miles! Let me out!<\/dialogue>\n    <character>MILES<\/character>\n    <parenthetical>(concerned)<\/parenthetical>\n    <dialogue>Oh, right. How'd your last check-in go today?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>It was coo. He just mentioned like a few reminders for until Saturday.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Oh, that must feel good. That makes me really happy. What reminders?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>DON'T GET STUCK IN A CAR WITH TWO<\/dialogue>\n    <character>NIGGAS AND SIX GUNS, SMOKIN'<\/character>\n    <dialogue>ILLEGAL SHIT!<\/dialogue>\n    <character>DEZ<\/character>\n    <dialogue>This is prescription.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Oh, and I'll bet these guns are all registered?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Fucked up part is even if we shot each other at the exact same time, the story would be, \"Black convicted felon shoots white innocent father. White father self- defense retaliates in record time.\"<\/dialogue>\n    <character>DEZ<\/character>\n    <dialogue>\"Black man forces white man to wear gold teeth at gunpoint before kidnapping and murder.\"<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>\"Investigation into possible Jihadist motives behind black Muslim shooter in the self defense reverse racism murder case.\"<\/dialogue>\n    <scene_description>Collin sees the time. It's 10:30.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Curfew, Miles!<\/dialogue>\n    <parenthetical>(yells at Miles and Dez)<\/parenthetical>\n    <character>LET ME OUT OF THE FUCKING CAR!<\/character>\n    <dialogue>Miles turns to Dez and calmly asks:<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>200 for Collin's gun?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>IT'S NOT MY GUN!<\/dialogue>\n    <scene_description>Dez's phone beeps in his lap.<\/scene_description>\n    <character>DEZ<\/character>\n    <dialogue>Yup. Now get the fuck out, I got a Uber pick up.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Tight. Wait, this an Uber?<\/dialogue>\n    <character>DEZ<\/character>\n    <dialogue>Money every way I can get it, nigga.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>In-Deed!<\/dialogue>\n    <scene_description>Miles puts the gun in his jacket and pays Dez. Collin and Miles exit Dez's car. We go WIDE to REVEAL...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KWIK WAY - PARKING LOT - NIGHT - CONTINUOUS<\/stage_direction>\n    <scene_description>They were doing a gun deal in a busy fast food parking lot. Inside a brightly colored car with giant rims and tinted windows. There are tons of people walking to and fro. There's a large banner celebrating the \"GRAND RE-OPENING.\" The Kwik Way is an Oakland staple, recently purchased and restored to appeal to the new influx of young people. Miles throws his HALF-EATEN BURGER on the ground. He angrily YELLS at the discarded food item:<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>YOU'RE NO KWIK WAY!<\/dialogue>\n    <scene_description>Collin looks at the wrapper at Miles's feet.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Oh, you got the vegan burger too. That's why--<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>I didn't order a vegan burger. YOU ordered a vegan burger?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>You have to specify meat.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>I have to specify meat?!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Feel like this can be a truck conversation.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Okay. Okay. Onward. Make way for the Scorpion King!<\/dialogue>\n    <scene_description>Scorpion King is a nickname Miles has for Collin, but based on Collin's reaction... it doesn't seem like he's into it. They begin walking, leaving the parking lot.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTOWN OAKLAND STREET - MOMENTS LATER<\/stage_direction>\n    <scene_description>Collin's still carrying his leftover bag of food. They make their way down the middle of the street, walking towards their car. Miles lights up a joint and blows smoke away from Collin.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Why the hell'd you get that gun?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Someone come breakin' down my door at 2:00 AM. I got my girl there. My three year old. Can't hit them with some potato \"wedges.\"<\/dialogue>\n    <scene_description>Collin begins to rap:<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Grand opening of the new Kwik Way \/ wish I knew a quicker way \/ headed through the bay whips is sweet, gettin tooth decay \/ lookin at all these candy cars \/ look like they belong to fancy stars but--<\/dialogue>\n    <scene_description>Collin gets stuck. Miles chimes a set up for Collin.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>...but just some mothafuckas pull up from the boulevard \/ Oakland city--<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Oakland city \/ Pity \/ if you new to the view bet this all a bit dizzy \/ Gillespi, Paid on the blade like Gretsky<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Yessssss!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Paid OFF of blade like Wesley-- \/<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Yas, come on! Got 3 more days 'til he free tho--<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Got 3 more days 'til I'm free tho \/ then I'm movin up \/ hope I move enough \/ money in my pocket we get paid just for movin' stuff!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Eyyyy!<\/dialogue>\n    <character>COLLIN AND MILES<\/character>\n    <dialogue>Money in my pocket we get paid just for movin' stuff!<\/dialogue>\n    <scene_description>We suddenly realize their car isn't a car at all... They get into a GIANT EZ-LIFT MOVING TRUCK. This is their job. Miles and Collin are movers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OAKLAND STREETS - NIGHT<\/stage_direction>\n    <scene_description>The EZ-Lift truck drives through West Oakland. It's a ghost town at night. Streets are empty except for their truck.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MILES'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>They pull up in front of Miles's apartment building. It's across the street from RIVER NILE MARKET AND LIQUOR.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EZ-LIFT MOVING TRUCK - CONTINUOUS<\/stage_direction>\n    <scene_description>Collin puts the truck in park. Miles wraps up the conversation and starts to get out. They slap hands.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>We really need cars, eventually.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Ey. If you have that gun on you, don't tell me. Plausible deniability.<\/dialogue>\n    <scene_description>Miles pulls out the gun.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>You mean THIS gun? HA!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Yes, I don't wanna be caught concealing a deadly white person concealing a deadly weapon.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>THIS GUN!? RIGHT HERE??!!<\/dialogue>\n    <scene_description>Miles waves the gun out the window. No one's around but it's still reckless. Collin reaches over and opens Miles's door. He begins pushing Miles out of the truck.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Alright, get the fuck out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EZ-LIFT MOVING TRUCK - LATER<\/stage_direction>\n    <scene_description>Collin takes a bite of his Kwik Way burger, and hates it. He pulls up to a red light, and looks at the clock. It's 11:03pm. Uh oh. Collin is super anxious. He taps the wheel... ...staring at the RED LIGHT.<\/scene_description>\n    <character>COLLIN<\/character>\n    <parenthetical>(mumbling)<\/parenthetical>\n    <dialogue>Come on... Come on... Come on...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OAKLAND STREET - SAME TIME<\/stage_direction>\n    <scene_description>We are following behind a BLACK MAN running frantically, we hear heavy breathing and arms running wildly. The street looks similar to the area Collin is in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EZ-LIFT MOVING TRUCK - SAME TIME<\/stage_direction>\n    <scene_description>Collin is humming along to the song, which feels oddly happy and poppy for him. He looks around and contemplates running the red light.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OAKLAND STREET - SAME TIME<\/stage_direction>\n    <scene_description>The black man is running towards an intersection. We hear someone behind him yell...<\/scene_description>\n    <character>AUTHORITATIVE VOICE<\/character>\n    <dialogue>STOP! STOP!<\/dialogue>\n    <scene_description>He glances back, we barely get a look at his face. He bolts towards the intersection. It is frantic and shaky.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EZ-LIFT MOVING TRUCK - SAME TIME<\/stage_direction>\n    <scene_description>The light is still RED. Collin takes another glance at the clock, and decides to gun it through the light. As he's about to take off-- There's a COMMOTION down the street, and suddenly-- Collin's POV: A BLACK MAN, about Collin's age, runs through the crosswalk, and as he passes Collin's truck... SLOW-MOTION: Collin and the man lock eyes. One thing is very clear... The man is scared and running for his life. ...the man SLAMS his hands on the hood to brace himself, and bolts down the street in the direction Collin came from. Collin sticks his head out the window to see why the man is running, and then suddenly... ...a uniformed COP appears on foot, and...<\/scene_description>\n    <character>COP<\/character>\n    <dialogue>STOP!<\/dialogue>\n    <scene_description>The cop draws his weapon--<\/scene_description>\n    <character>BLACK MAN<\/character>\n    <dialogue>Don't shoo--<\/dialogue>\n    <scene_description>--and opens fire. One LOUD GUN SHOT rings out, setting off a CAR ALARM across the street. Collin falls back into the truck, taking cover. He watches the rest of the scene play out in the side mirror. The cop fires THREE more times. It's raw and brutal. The man falls to the ground. We hear other cop cars on the way. SIRENS. Collin is still looking at the mirror when-- --he locks eyes with the COP! It's extremely tense. The cop is in shock. Collin is horrified. The cop quickly looks down and away. Two other cop cars arrive. Red and blue lights flood the scene, as we hear other cars approach and screech to a stop. The CAR ALARM is still ringing loudly over all this. A SECOND COP suddenly appears at the EZ-LIFT truck window--<\/scene_description>\n    <character>SECOND COP<\/character>\n    <dialogue>MOVE!<\/dialogue>\n    <scene_description>Collin doesn't need to be told twice. He puts his foot on the gas and speeds off into the night.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET NEAR COLLIN'S HALFWAY HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Collin locks the truck and walks down the street. Still stunned and in horror. He approaches the front door of a TWO STORY VICTORIAN HOUSE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLIN'S HALFWAY HOUSE - NIGHT<\/stage_direction>\n    <scene_description>The lights are out. Collin steps inside, and walks down the hall. There is a small light over a chore-board. The top of it reads SECOND START HALFWAY HOUSE, with a grid of names and chores. We focus on it as he passes, still in pure shock.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLIN'S HALFWAY HOUSE - COLLIN'S ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Collin closes his door and locks it. His room is not much bigger than a prison cell. The space between the bed and the wall is only a few feet. He sits on the edge of the bed and stares blankly. KNOCK. KNOCK. Someone aggressively KNOCKS on the door. Collin jumps but doesn't blink or move. JAMES, the halfway house manager who we will meet later, yells through the door.<\/scene_description>\n    <character>JAMES (O.S.)<\/character>\n    <dialogue>11:00 PM is a required curfew, Mr. Turner!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>It is 11:09! And you have bathroom duty this week!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Is that understood? Verbal confirmation, please!<\/dialogue>\n    <scene_description>Collin is completely tuned out and staring blankly. The faint sound of an AGGRESSIVE ALARM CLOCK can be heard. At the last moment, we see him turn his gaze to the door and snap out of it just enough to prepare to answer. SMASH CUT TO:<\/scene_description>\n    <character>BLACK<\/character>\n    <dialogue>SUPER: TWO DAYS LEFT OF PROBATION<\/dialogue>\n    <dialogue>We hear the sounds of the final moments of the shooting. Feet running, \"STOP\" yelled by the cop, and then a GUNSHOT finally startles Collin awake--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLIN'S HALFWAY HOUSE - COLLIN'S ROOM - MORNING<\/stage_direction>\n    <scene_description>We are close on Collin's eyes jolting open. The sound of the alarm clock gets louder. He turns it off and sits up, distraught and unrested. Collin looks over at the map of the east bay on his wall. Alameda county is outlined with a marker, showing where he can and can't go. On his bedside table are travel books full of bookmarks. Collin grabs his hoop shoes and headphones.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS OF OAKLAND - DAY<\/stage_direction>\n    <scene_description>Collin FREESTYLES to himself as he jogs up from Telegraph Ave. over to Piedmont Ave. He rounds the corner where we reveal...<\/scene_description>\n    <character>THE KONA CLUB<\/character>\n    <dialogue>We'll see more of this place later. Collin takes note of the doorway. As he passes, there's a LOUD BANG. Collin flinches and spins around.<\/dialogue>\n    <dialogue>He sees nothing. It must have been a car backfiring. He is relieved. Not a gunshot. He keeps running until he reaches...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE MOUNTAINVIEW CEMETERY - CONTINUOUS<\/stage_direction>\n    <scene_description>Collin runs through the cemetery. He looks at the headstones. He's shook, remembering what he saw last night.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILES'S APARTMENT - LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>SEAN (3, black) runs through the apartment. It's somewhat shadowy despite the amount of sunlight through the windows. Kids toys pepper the floor. ASHLEY (29, black) is barefoot, in shorts and a t-shirt. Her hair is still wet after a shower. Miles grabs Sean to put on his jacket. Miles is in jeans and shirtless, he is covered in small, scattered tattoos. Collin is standing in their kitchen.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>I saw the cops kill a nigga last night...<\/dialogue>\n    <character>MILES<\/character>\n    <parenthetical>(covering Sean's ears)<\/parenthetical>\n    <dialogue>What do you mean you saw it?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Over by Broadway and 51st. He ran by the truck, then the cops showed up and shot him.<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>Who got shot?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>But he's definitely dead though?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Yeah, they shot him like four times.<\/dialogue>\n    <scene_description>Hearing this, Miles and Ashley groan.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>I mean he coulda lived. It ain't like they shot him 14 times like that Milwaukee dude. What's his name?<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>Miles, not helpful. Are you okay?<\/dialogue>\n    <scene_description>Collin SHRUGS.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Yeah, I'm good.<\/dialogue>\n    <scene_description>Sean starts punching Miles like a boxer over and over again.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Ey, ok ok lil' man, I get it. It wasn't about you for a moment, you ain't gotta KO me! Show Collin them hands, boy!<\/dialogue>\n    <scene_description>Miles puts his muscles up like Popeye.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>I'm a tough guy!<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>I'm tuff guy!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>I'm the toughest mothafucka in all-<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>Miles!<\/dialogue>\n    <scene_description>Miles points at Collin, and tells Sean to...<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Get him! What the hell was dude's name...<\/dialogue>\n    <scene_description>Sean runs over and starts trying to box with Collin. Collin immediately goes into play mode with Sean. They pretend box, and run into the living room together. Miles and Ashley have a quiet conversation in the kitchen:<\/scene_description>\n    <character>ASHLEY<\/character>\n    <dialogue>No, it has to be Centro Vida preschool in Berkeley!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>It's 200 more per fuckin week!<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>That's because it's the only bi- lingual pre school that I can get to on the train.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Why he gotta be bi-lingual? He already bi-racial!<\/dialogue>\n    <scene_description>Ashley looks at him not entertained and irritated.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Ok! I got it, ok, he will go to casa vida, then he can translate for us when the Mexicans take California back.<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>Use that mouthpiece, get us fancy pre-school money.<\/dialogue>\n    <scene_description>Miles and Ashley realize they're alone for a brief moment...<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Oh goodness - My hands are QUITE cold this morning' and I need them for moving things. So I'm just gonna warm them up... on... your... booty.<\/dialogue>\n    <scene_description>Miles puts his hands into Ashley's shorts and down her underwear like he is warming his hands on a fire. He kisses her face while he does it.<\/scene_description>\n    <character>ASHLEY<\/character>\n    <dialogue>HA! Excuse you! Ah, COLD! Your hands are so cold!<\/dialogue>\n    <scene_description>His hands land on her butt, and he squeezes with relief.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Much better. Thank you kindly. Bye.<\/dialogue>\n    <scene_description>They give one big SMOOCH and Miles reaches for his jacket.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVER NILE MARKET AND LIQUOR - DAY<\/stage_direction>\n    <scene_description>Collin and Miles dap up a few regulars standing outside the liquor store, and then walk inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RIVER NILE MARKET AND LIQUOR - DAY<\/stage_direction>\n    <scene_description>The CLERK rings up a customer as Collin and Miles walk in. Miles notices the TV on behind the counter. It's the local news covering the police shooting from the night before.<\/scene_description>\n    <character>ON SCREEN:<\/character>\n    <dialogue>\"RECENTLY RELEASED FELON DIES IN STANDOFF WITH POLICE\"<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>This what you saw? No shit. Oh yeah, he's definitely dead.<\/dialogue>\n    <parenthetical>(beat as he listens)<\/parenthetical>\n    <dialogue>You see this cop?<\/dialogue>\n    <scene_description>Collin looks up to see the Cop's face on the news. We go in close up to hear--<\/scene_description>\n    <character>NEWSCASTER<\/character>\n    <dialogue>The officer involved has been put on leave while details of the shooting are reviewed, which has become standard when...<\/dialogue>\n    <scene_description>Collin stares at the image of the cop on the screen.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Yeah. I saw him.<\/dialogue>\n    <character>MILES<\/character>\n    <parenthetical>(reference the cop photo)<\/parenthetical>\n    <dialogue>Why he wear his hat so low, ha! ...This cop see you?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>The Clerk finishes ringing up the customer in front of them.<\/scene_description>\n    <character>MILES<\/character>\n    <parenthetical>(to Clerk)<\/parenthetical>\n    <dialogue>Ey, bro. You got my square.<\/dialogue>\n    <parenthetical>(to Collin)<\/parenthetical>\n    <dialogue>--and then you just left?<\/dialogue>\n    <scene_description>Miles pays the Clerk a dollar for a single cigarette.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>It was after 11, you know James always has something to say.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>They didn't wanna talk to you? You not gonna be a witness?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Hello, police? I want to report a murder you did.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I was there after curfew.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Yes, I'm on probation. Yeah. Convicted felon.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Back to prison? Sure, tomorrow is good for me.<\/dialogue>\n    <scene_description>Miles notices a display case full of hand-bottled healthy \"GREEN\" JUICES. They look out of place in a liquor store full of junk food and cheap booze.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>What the hell is this green shit? Bro!<\/dialogue>\n    <scene_description>Miles holds up the green juice.<\/scene_description>\n    <character>CLERK<\/character>\n    <dialogue>It's a local artisan protein something or other. Good for you, help you live longer.<\/dialogue>\n    <scene_description>Collin grabs one.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>How much?<\/dialogue>\n    <character>CLERK<\/character>\n    <dialogue>Six dollars.<\/dialogue>\n    <character>COLLIN AND MILES<\/character>\n    <dialogue>WHAT?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Is it the blood of Jesus?? What the hell in this that it's six dollars?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Lemme get one.<\/dialogue>\n    <scene_description>Miles looks at Collin.<\/scene_description>\n    <character>MILES<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EZ-LIFT MOVING TRUCK - DAY<\/stage_direction>\n    <scene_description>They're on the way to work. Music is blasting. Collin is driving and FREESTYLE RAPS about what they see. Outside we see a montage of gentrification in full effect...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>Young women walk dogs through groups of Black men.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>GRAND OPENING signs on a remodeled cafe.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>A street sign spinner almost hits an affluent-looking older couple.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>An Asian man in a button up waits for an Uber car next to a Black man in a hoodie standing with his Pit Bull.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EZ-LIFT OFFICE - DAY<\/stage_direction>\n    <scene_description>Collin and Miles enter a small shop. Just a front desk and a door leading to the back locker room for employees. There's SOOTHING MUSIC playing. Miles and Collin pick up their assignments for the day from... VALERIE GUTIERREZ (27), a Filipino woman wearing workout clothes. She's pretty. Clearly built tough. Tattoo on her shoulder. Tight ponytail, hair-sprayed down. She is burning incense in the lobby and reading a textbook of some kind.<\/scene_description>\n    <character>VAL<\/character>\n    <dialogue>Good morning.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Namaste, Val. Your aura is really transcendent this morning.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Did you cleanse your spirit of that superiority complex?<\/dialogue>\n    <scene_description>Val stares blankly at Miles like he is scum, then looks at Collin as if to say: Yet another example of why Miles is an idiot. She notices the green juice in Collin's hand, and just flat out ignores Miles's fake question.<\/scene_description>\n    <character>VAL<\/character>\n    <dialogue>Oh is that a green juice?<\/dialogue>\n    <scene_description>Miles grabs their assignment clipboard and starts reviewing the moves for the day.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Oh this? Why, I guess it is a green juice, huh? It's just, you know, part of my regiment. Little green juice, little... what's that class you take?<\/dialogue>\n    <character>VAL<\/character>\n    <dialogue>SoulCycle.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Yeah. Little soul cycling. My soul is\u2026<\/dialogue>\n    <scene_description>He takes a sip of his drink and exhales. COUGHING.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Healthy.<\/dialogue>\n    <character>VAL<\/character>\n    <dialogue>Ah hah. Well, glad you're taking care of yourself.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Oh, definitely. How's the final stretch going?<\/dialogue>\n    <character>VAL<\/character>\n    <dialogue>Finals are going to kill me, and every time I complain, my Mom says, \"nursing school is much easier. Look at Jessica and Tita Rachel\"<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>It IS the family business.<\/dialogue>\n    <character>VAL<\/character>\n    <dialogue>Yeah well...not everyone just does what the people around them do.<\/dialogue>\n    <scene_description>Val side-eyes Miles as she says it, then looks back at Collin. Miles hears what she says and fires back.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Collin was involved in a shoot out last night with the police.<\/dialogue>\n    <scene_description>Collin spins around to face Miles.<\/scene_description>\n    <character>COLLIN<\/character>\n    <parenthetical>(mouthing silently)<\/parenthetical>\n    <dialogue>What the fuck?<\/dialogue>\n    <character>VAL<\/character>\n    <dialogue>What?? Who were you OUT with??<\/dialogue>\n    <scene_description>Collin grabs the clipboard.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>NO!, No. He's... I was NOT ... he's just fuckin with you, babe.<\/dialogue>\n    <scene_description>She quickly turns her attention to that fact that he called her \"Babe.\" And freezes up.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>...Sorry. Val. Front desk girl. uh Front desk person.<\/dialogue>\n    <scene_description>Irritated, she just wants to get back to work.<\/scene_description>\n    <character>VAL<\/character>\n    <dialogue>Get going.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EZ-LIFT LOCKER ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Miles and Collin are getting ready at their lockers. There are a bunch of OTHER MOVERS getting ready for the day, including TEL and YORKIE. Yorkie's Brooklyn accent makes it very clear this guy is a recent transplant to Oakland.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Fuck Val.<\/dialogue>\n    <character>LITERALLY THE WHOLE LOCKER ROOM<\/character>\n    <dialogue>HEEEEYYYYY!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>She disloyal. She uppity. And she's permanently in downward bitch pose.<\/dialogue>\n    <scene_description>Yorkie gestures towards Collin.<\/scene_description>\n    <character>TEL<\/character>\n    <dialogue>Bro, that's his ex-girl. STAP.<\/dialogue>\n    <character>YORKIE<\/character>\n    <dialogue>You buggin, Miles. She got that nigga a job and lets you both take the truck home. Get out his head.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Thank you, Yorkie -<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>She HAS to let us take the truck or we can't come to work. That's just a smart business choice. She's plenty smart. I'm just saying it's a shame she only applies that intelligence towards being a particularly high caliber of bitch.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>SIMMER. BRUH.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Val pussy probably taste like a vegan Kwik Way burger.<\/dialogue>\n    <scene_description>Everyone bursts out LAUGHING. Collin shakes his head, and looks at Miles.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Too far.<\/dialogue>\n    <scene_description>Miles laughs even harder.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PHOTOGRAPHY GALLERY - DAY<\/stage_direction>\n    <scene_description>The boys pull up in front of a small boutique gallery in the Old Oakland district. Collin rings the intercom buzzer. We cut back and forth between the boys outside, and an ECU of a MOUTH YELLING into an intercom inside on the other end. This is PATRICK, who we will see in the next scene.<\/scene_description>\n    <character>PATRICK (O.S.)<\/character>\n    <dialogue>I have another 24 hours!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>It's EZ LIFT!<\/dialogue>\n    <character>PATRICK (O.S.)<\/character>\n    <dialogue>Read the lease, it ends tomorrow at 3pm, you vultures! GO AWAY!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>It's EZ LIFT!<\/dialogue>\n    <character>PATRICK (O.S.)<\/character>\n    <dialogue>Who??<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>It's EZ LIFT GODDAMN IT!<\/dialogue>\n    <scene_description>Long pause... the blinds open for someone to peak through. Then back to the intercom.<\/scene_description>\n    <character>PATRICK (O.S.)<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>We hear the BUZZER for the door, and they go inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHOTOGRAPHY GALLERY - DAY<\/stage_direction>\n    <scene_description>Miles and Collin are packing up everything inside the small gallery. PATRICK, an odd older man, gingerly helps them place frames in boxes. Miles and Collin are a little careless in the process. Patrick is being extra careful with his packing.<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Ok that's Teresa, Rodney, Oscar. Where is Vivian... She is such an evasive little firecracker.<\/dialogue>\n    <scene_description>He sees Miles putting two photos in a box facing each other.<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Ohnonono! Don't have Marissa and Kathy facing each other! They do NOT get along.<\/dialogue>\n    <scene_description>Miles slowly pulls a photo back out and spins it around to satisfy Patrick's odd request.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>So you're really into portraits?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Well...<\/dialogue>\n    <scene_description>There is a long pause. Collin looks up.<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>See there? You looked for my eyes.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Yeah, I'm talking to you.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>We look into eyes when we want to better understand. To love. YET, it's impolite to stare. Why? And when we're ashamed, what do we do? We look away. Hmm.<\/dialogue>\n    <character>MILES<\/character>\n    <parenthetical>(stares at photo)<\/parenthetical>\n    <dialogue>I'm not ashamed of how I feel about you.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>My work hopes to make people fall in love.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>With a photo?<\/dialogue>\n    <scene_description>Miles stares at a picture of a beautiful woman, as he takes it down off the wall.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>It's workin, Patrick.<\/dialogue>\n    <parenthetical>(looks at the name tag)<\/parenthetical>\n    <dialogue>Hellooooo Tina.<\/dialogue>\n    <scene_description>Collin begins to pack another frame, and this photo is of trees, superimposed over street corners in the city.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>So then... I love... trees?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>That's from the last exhibit. I superimposed photographs of Oak trees over the neighborhoods and corners where they used to grow.<\/dialogue>\n    <scene_description>Patrick pulls a few pictures of superimposed trees out of a box and shows them to the boys.<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>To remind people they used to be EVERYWHERE, but were cleared out to build the city. Now they're only on the damn street signs.<\/dialogue>\n    <scene_description>Miles looks back up at the girl portraits on the wall.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Well, I see why you switched it up. The trees weren't as photogenic as Viveca here. Does... she...<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>live around here? I'm helping a friend get over this wicked bitch of an ex.<\/dialogue>\n    <scene_description>Patrick, seemingly not paying attention to Miles, stares at the photo of Viveca. Patrick spins Miles around to look at Miles's name tag.<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Miles. She IS an Oak tree, and she too is gone.<\/dialogue>\n    <scene_description>The boys react like she died.<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Lives way out in Antioch now.<\/dialogue>\n    <scene_description>They react as if it's worse, she lives in Antioch. Patrick points up at one wall still filled with photographs of faces. He gestures grandly.<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>These are all people who were forced out, for the NEW Oakland. Oh boys, they are cutting us down! That's why faces, eyes! To stare is to SEE!... Here look, come here, come here...<\/dialogue>\n    <scene_description>Patrick grabs Miles and Collin and faces them towards each other.<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Just stare at each other a moment.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Oh, we're good. I see enough of him. We're practically married.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>It's not sexual.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>NOW it is.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>It's just about finding the soul.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Yeah, man. Find my soul.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Oh I left my cycle for it at home.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Shhhhhh. Look into the soul of each other. SHH. SHH. SHH. Look. Deep. Look, deep. Connect. Understand...<\/dialogue>\n    <scene_description>There is a long pause. They both twitch uncomfortably. It seems like they are going for it, taking the suggestion seriously... ...then we see Miles's hand float into the frame as he pinches Collin's nipple. Patrick laughs in resigned disappointment.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Patrick, you're a swell mothafucka and I dig everything but this part.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Well, maybe that's why no one came. No one's ready to take the closer look. Come now, let's finish up with these boxes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PHOTOGRAPHY GALLERY - DAY<\/stage_direction>\n    <scene_description>The boys load the final box from the art gallery into Patrick's truck and close the door. A few photos remain resting outside the boxes, the people in the photos stare out the door as the boys slam it closed.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>You making room for a new show or something?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>No. No. I sold the Gallery. It's going to be a ...Pet hotel.<\/dialogue>\n    <scene_description>Patrick seems uncomfortable and saddened by sharing that news. The boys look confused.<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>It's a resort for dogs to get.. Spa day sort of thing. For Animals. Anyway. Thank you boys for your help today, Miles and...<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Oh this is Collin, nice catchin' your vibe bro.<\/dialogue>\n    <scene_description>Miles walks away. Patrick takes a long look at Collin. Collin looks at Patrick.<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Are you alright?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Yeah, I'm.. yeah.<\/dialogue>\n    <scene_description>Patrick attempts to stare reassuringly into Collin's eyes.<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>It's alright if you're not.<\/dialogue>\n    <scene_description>Collin looks away uncomfortably.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Uh, I'm good.<\/dialogue>\n    <parenthetical>(hands Patrick the clipboard)<\/parenthetical>\n    <dialogue>Sign here.<\/dialogue>\n    <scene_description>Patrick gets in his truck and walks away. They walk back to their truck a few cars down. Collin climbs into the cab, while Miles stands in the street and lights a cigarette. We start to hear faint music approaching. Collin's phone rings.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EZ-LIFT MOVING TRUCK - CONTINUOUS<\/stage_direction>\n    <scene_description>He pulls his phone out of his pocket and answers.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Hey, Mom.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EZ-LIFT TRUCK - CONTINUOUS<\/stage_direction>\n    <character>MILES<\/character>\n    <dialogue>Oh no, Capoieristas.<\/dialogue>\n    <scene_description>A bunch of young white people wearing loose white pants and white shirts start pouring out of a capoeira cafe a few doors down from where the truck is parked. They are barefoot, some of them playing traditional Brazilian instruments. They start to form a circle in the street, singing and clapping, about to begin a Capoiera Hoda. Two people begin playing a game in the middle, kicking, rolling and flipping. They are blocking the entire street. They sing:<\/scene_description>\n    <character>GROUP<\/character>\n    <dialogue>Paranaue, paranaue parana!<\/dialogue>\n    <character>INT. EZ-LIFT MOVING TRUCK - DAY<\/character>\n    <dialogue>COLLIN<\/dialogue>\n    <scene_description>Well, I got the truck, so Miles and I can move it out of there right now. We're over by the parkway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EZ-LIFT MOVING TRUCK - DAY<\/stage_direction>\n    <character>MILES<\/character>\n    <dialogue>No! Ey, we gotta get through, move out the way.<\/dialogue>\n    <character>GROUP<\/character>\n    <dialogue>Paranaue, Paranaue parana!<\/dialogue>\n    <scene_description>Miles sings along with the song but changes the lyrics.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Get out the wayyyyy! Get the fuck out the wayyyy of our truck!<\/dialogue>\n    <scene_description>Miles walks right into the middle of the circle. They think he is playing and try to play with him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EZ-LIFT MOVING TRUCK - CONTINUOUS<\/stage_direction>\n    <scene_description>Collin continues to watch from the cab, and narrates for his Mom.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Uh oh, some people just started playing capoiera around miles - yeah the brazilian.. martial art dance thing.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Of course it's all white people.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EZ-LIFT MOVING TRUCK - CONTINUOUS<\/stage_direction>\n    <character>MILES<\/character>\n    <dialogue>Ey, go do your mock slave revolt dance show somewhere else!<\/dialogue>\n    <scene_description>One of them dances around Miles. He play kicks at Miles and lands a foot on his chest softly. Miles pushes his leg away and gets really angry. He starts walking towards the dance- fighter but stops when someone else does a cartwheel in and switches places with the guy. Miles is so angry and confused. He keeps getting spun around by legs and flips.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Collin!<\/dialogue>\n    <parenthetical>(to Group)<\/parenthetical>\n    <dialogue>Soon as one of yal stands still I'm knockin yal back to Portland.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EZ-LIFT MOVING TRUCK - CONTINUOUS<\/stage_direction>\n    <scene_description>Collin decides it's time to intervene. He rolls his eyes as if this happens a lot.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Sigh. Mom, I gotta go.<\/dialogue>\n    <scene_description>Collin gets out of the truck.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EZ-LIFT MOVING TRUCK - CONTINUOUS<\/stage_direction>\n    <scene_description>Collin gets out of the truck and walks over to help Miles. As Collin enters the circle, he puts his hand over the instrument and stops the music.<\/scene_description>\n    <character>COLLIN<\/character>\n    <parenthetical>(on phone, to his Mom)<\/parenthetical>\n    <dialogue>Yeah, see you soon.<\/dialogue>\n    <parenthetical>(to Miles)<\/parenthetical>\n    <dialogue>Come on bruh, let's go.<\/dialogue>\n    <scene_description>When he interrupts the instruments, a few people walk up to him. One of them tries to get Collin to leave.<\/scene_description>\n    <character>CAPOEIRISTA #1<\/character>\n    <dialogue>Hey man, don't disrespect the space, man!<\/dialogue>\n    <scene_description>The man comes from Collin's side and grabs his arm, just like at Kona. Collin, caught off guard, quickly snaps and grabs the guy with his full strength and jerks him around. He is suddenly intimidating and aggressive.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Ey, don't fuckin touch me!<\/dialogue>\n    <scene_description>Miles goes into fight mode as well. He pushes the guy hard.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Who the fuck are you grabbin?!<\/dialogue>\n    <scene_description>Everyone gets alarmed. Collin immediately lets go, catching himself before he hurts someone. He pushes Miles back as well, stopping him from escalating the situation. They try to settle it with the Capoeiristas.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>We got to get to work, go cartwheel in your dojo.<\/dialogue>\n    <character>CAPOEIRISTA #2<\/character>\n    <dialogue>We have a permit to perform in the street from the city!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Well you asked the wrong city then, cuz we didn't sign shit for you!<\/dialogue>\n    <scene_description>Collin grabs Miles before he gets fired up again.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>LET'S GO!<\/dialogue>\n    <scene_description>The boys get back in their truck. They turn on the engine and start pulling through the group. They honk the horn while the group shouts and scoffs at them. A few yell things like, \"Get out of here!\" \"hurry up!\" \"Leave!\" People bang on the side of the truck. Collin honks and drives through. Miles is flipping them off and taunting them.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Why the fuck you always gotta take it there?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>The man. Put his FOOT on me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EZ-LIFT TRUCK - DAY<\/stage_direction>\n    <scene_description>Miles and Collin freestyle with each other about things they see. Miles sets Collin up with a line, and Collin raps until he can't think of anything else. Miles helps again to start him up, and then Collin keeps going.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLIN'S MOTHER'S HOUSE - LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>JIMMY, 7-YEAR-OLD ASIAN KID sits on a fluffy couch with an AFRICAN PRINT BLANKET thrown over the back. He's playing a very violent game similar to CALL OF DUTY. Jimmy shoots a soldier in the head. Miles and Collin stand in the front doorway, confused. Jimmy stops playing to look at them. Collin and Jimmy exchange a long stare down. Jimmy reaches for his CUP OF JUICE sitting next to him.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Who is lil' homie drinking out of that dinosaur mug you made in 5th grade?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>My \"Mugasaurus.\"<\/dialogue>\n    <scene_description>Jimmy pauses for a moment, as if aware of Collin's disapproval, and then takes a sip from \"Mugasaurus.\"<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Mom!<\/dialogue>\n    <scene_description>Collin charges through the house, Miles in his wake.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Mom!<\/dialogue>\n    <character>NANCY (O.S)<\/character>\n    <dialogue>I'm in the bathroom, Sir!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Who is this?<\/dialogue>\n    <scene_description>Miles is holding the Jimmy up in the air.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>You didn't have to pick him up, that's Marty's son!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>I got questions!<\/dialogue>\n    <scene_description>Collin and Miles peek around the corner to see Collin's old room full of little kid stuff and a bunch of drums.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Wait WHAT? He lives in my room!! Really???<\/dialogue>\n    <character>NANCY (O.S)<\/character>\n    <dialogue>Miles, put Jimmy down.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>I'm moving home in two days!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>How the hell she know I was holdin' the...<\/dialogue>\n    <scene_description>Miles looks over to see that Jimmy has texted her.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Quick hands! You techy snitch!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>What is happening right now!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLIN'S MOTHER'S HOUSE - KITCHEN - DAY<\/stage_direction>\n    <scene_description>The kitchen is full of African art. Black history. Colorful. Little sculptures, artifacts. NANCY, Collin's Mom, is wearing an African print shirt, jeans and natural hair.<\/scene_description>\n    <character>NANCY<\/character>\n    <dialogue>Marty moved in, so we needed a room for Jimmy.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>When were you gonna tell me you gave away my room?<\/dialogue>\n    <character>NANCY<\/character>\n    <dialogue>Boy, that is not YOUR room, that is my guest room that you once lived in. You really couldn't find an apartment? The whole damn city got a FOR RENT sign on it!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>\"Have you ever been convicted of a felony? If so, what was the nature of the crime?\"<\/dialogue>\n    <character>NANCY<\/character>\n    <dialogue>Well... I just assumed you'd be here for a little bit and then eventually... you and Val would...<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>What?? -- I don't wanna talk about Val, Mom.<\/dialogue>\n    <character>NANCY<\/character>\n    <dialogue>You don't like talking about her, she doesn't like talking about you-- I do not understand you two.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>How often are you talkin to her?<\/dialogue>\n    <character>NANCY<\/character>\n    <dialogue>I took her to get her car at Mercer's, we get our hair done together, and she came over a few days ago to borrow--<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Mom, we're not together right now!<\/dialogue>\n    <character>NANCY<\/character>\n    <dialogue>OK! ok. Well Jimmy and all my drums live in guest room \"A\" now. Clear out the last of Shanai's stuff off HER old bed and you have the room for a bit. But it's not your bedroom, it's my guest room \"B.\"<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Where IS your sister now?<\/dialogue>\n    <scene_description>Nancy goes to the couch side table to get a pamphlet.<\/scene_description>\n    <character>NANCY<\/character>\n    <dialogue>Oh, Shanai's in Bali! Teaching non- eurocentric beauty techniques to girls in underdeveloped nations, right on right on. Cosmetology degree is a success, turns out.<\/dialogue>\n    <scene_description>She hands the pamphlet to Collin.<\/scene_description>\n    <character>NANCY<\/character>\n    <dialogue>Give this to Ashley please when you see her. Tell her it's from me.<\/dialogue>\n    <scene_description>We don't get a good look at the pamphlet now, but we see Collin look at it, and put it in his pocket.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>NANCY<\/character>\n    <dialogue>Something for Ashley, and you'll just lose it.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>You're not wrong.<\/dialogue>\n    <scene_description>MARTY gets home, comes in and kisses Collin's mom. He's a middle-aged Chinese man who spent his whole life in Oakland.<\/scene_description>\n    <character>MARTY<\/character>\n    <dialogue>Hey, baby. Hey, look at this good lookin' man. How are you, brotha? Stayin' out of trouble?<\/dialogue>\n    <scene_description>Marty gives Collin a quick hug and a pat on the back.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>What's up, Marty? I'm good man.<\/dialogue>\n    <scene_description>Miles walks away to investigate what's in Shanai's old room. Marty looks closer at Collin.<\/scene_description>\n    <character>MARTY<\/character>\n    <dialogue>You sure?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>...Yeah, why does everyone keep asking me that today?<\/dialogue>\n    <scene_description>Miles comes back in the room carrying a box of flat irons.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Hey, can we take these?<\/dialogue>\n    <character>NANCY<\/character>\n    <dialogue>Ain't nothin but a bunch of Shanai's old flat irons. What you gonna do with those?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEAUTY SHOP - DAY<\/stage_direction>\n    <scene_description>Miles and Collin enter a beauty shop filled with BLACK WOMEN getting their hair done. Some young. Some old. All skeptical of the white guy with the flat irons and his hood friend. Miles immediately switches demeanor to that of a trustworthy salesman. Collin leans up against the front desk, chatting with the RECEPTIONIST.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>FLAT IRONS. Top of the line, alloy metallic based, heat absorbent... Metal. Variety of different grips and heat sensitivity for different... hand dexterity.<\/dialogue>\n    <character>COLLIN<\/character>\n    <parenthetical>(to Receptionist)<\/parenthetical>\n    <dialogue>This is going to be a show...<\/dialogue>\n    <character>WOMAN #1<\/character>\n    <dialogue>Oh hell no!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>And we're off!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>We have ceramic and titanium, a number of different colors. They all heat up in under two minutes, some for home some for travel, fit right in the glove box, wide plates for long weaves, short plates for those thinking about going all natural.<\/dialogue>\n    <character>WOMAN #1<\/character>\n    <dialogue>They look old.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>A quick observation by the home team!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Came from the cosmetology school after one class, out the box but not outta gas. They only use the best, to teach the worst to become the best, now I got the best in front of me and best is what you deserve, so let go of the rest, ya heard, come on!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Winding up now!<\/dialogue>\n    <character>WOMAN #2<\/character>\n    <dialogue>How much?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>He got them talking numbers. Can he take it home!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>How much was the one you are holding?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Oh my goodness, I would never - these are half whatever you got in your hand, and hand to god I'll bet they work better.<\/dialogue>\n    <character>WOMAN #2<\/character>\n    <dialogue>Okay. Who the hell is this white boy?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Final play, he slidin' into home.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>West Oakland home grown bay boy bout his town business - Matter of fact one hundred percent of our profit today from these barely used, multi-colored artisanal flat irons, supports bi-lingual education for youth of Oakland, and helps support men transitioning out of incarceration for strong second chances, which we know our community needs, am I right, my brotha?<\/dialogue>\n    <scene_description>He turns to Collin, who has his hands in his face laughing.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>FACTS!<\/dialogue>\n    <character>WOMAN #3<\/character>\n    <dialogue>...How do we know they work?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Oh, it's a wrap, he's bout to sell every one of them damn things in that box. The boy got the mouthpiece like a mothafucka I'm tellin' you. I don't even understand how he...<\/dialogue>\n    <scene_description>Collin looks up to see the entire room staring at him.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>What? Why is everyone looking at my hair?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MILES'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Collin's hair is freshly pressed. Miles and Collin are sitting on the front steps of Miles's building. Miles counts his new cash.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>I think it looks good.<\/dialogue>\n    <scene_description>As he digs in his pocket for more loose cash, Miles's gun falls out of his pocket. He quickly grabs it and puts it back.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Oy. Plausible deniability ruined.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>It ain't like I'ma shoot someone. I just like to be prepared.<\/dialogue>\n    <scene_description>Collin SIGHS.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>What'd you make?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>We made 600... so you made 300. Here, bro.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Nah, that's all you. For La Raza day care.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>You're gonna make it two weeks with your new Asian roommates so consider this rent money towards your own apartment. Plus, no such thing as \"all me.\"<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Ha! Thanks man.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Family over everything. It's good.<\/dialogue>\n    <scene_description>Ashley walks up. Sean in one hand, shopping bag in the other.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Hey, baby.<\/dialogue>\n    <parenthetical>(to Sean)<\/parenthetical>\n    <dialogue>What's up, tough guy?!<\/dialogue>\n    <scene_description>Ashley pretends to help Sean hold his muscles up.<\/scene_description>\n    <character>ASHLEY<\/character>\n    <dialogue>Well hello, Collin's perm!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Yeah... Collin loves the kids.<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>Well whoever did that perm does not love you, that looks fuckin' terrible. You should go wherever your Mom and Val went. Your Mom's hair looks great.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>What you talkin to Val for?<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>Calmate! I didn't break the picket line, I just follow her on the social medias.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Everybody can still be friends with Val. It's fine, go ahead I mean, Val's a great person!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>No she's not. Fuck Val.<\/dialogue>\n    <scene_description>Ashley shakes her head, and starts to head upstairs. Collin pulls out the pamphlet his mom gave him and hands it to Ashley as instructed.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Oh, my Moms told me to give this to you.<\/dialogue>\n    <scene_description>Ashley glances at the pamphlet.<\/scene_description>\n    <character>ASHLEY<\/character>\n    <dialogue>Oh, ok... So Collin, how bout a little celebration dinner here tomorrow night for the end of your ... probation stuff. I could do like grilled salmon, saut\u00e9ed spinach, mushrooms--<\/dialogue>\n    <scene_description>Miles pretends to throw up, Ashley notices.<\/scene_description>\n    <character>ASHLEY<\/character>\n    <dialogue>--and a fatty hamburger for this unhealthy full grown adult.<\/dialogue>\n    <scene_description>Miles nods in approval and gives a thumbs up.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Sounds great.<\/dialogue>\n    <scene_description>Ashley and Sean start to walk up the stairs.<\/scene_description>\n    <character>ASHLEY<\/character>\n    <dialogue>Miles, help me with him please.<\/dialogue>\n    <parenthetical>(to Sean)<\/parenthetical>\n    <dialogue>Say \"goodnight Collin's perm.\"<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Goonite cowlin pern.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Night, bruh.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MILES'S STREET - NIGHT - MOMENTS LATER<\/stage_direction>\n    <scene_description>Collin is heading towards the truck. He catches his reflection in a car window. His hair needs to be fixed ASAP. Pulls out his phone and looks up Val's number. He hesitates for a moment. Should he call?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAL'S PLACE - NIGHT - CONTINUOUS<\/stage_direction>\n    <scene_description>She's home, wearing sweats and a hoodie. We see takeout next to her homework. She's making FLASHCARDS. Her phone RINGS. It's Collin. She hesitates.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MILES'S STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>Collin anxiously waits to see if she'll answer. Then--<\/scene_description>\n    <character>VAL<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>We begin to INTERCUT between Collin and Val.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I... I had to take my hair out today for somethin', and now I need to get it braided back again before tomorrow.<\/dialogue>\n    <character>VAL<\/character>\n    <dialogue>...ok?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>And you're the only one who can do it under two hours.<\/dialogue>\n    <character>VAL<\/character>\n    <dialogue>Why does it have to get done in two hours?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Because...<\/dialogue>\n    <parenthetical>(sighs)<\/parenthetical>\n    <dialogue>...the 11:00 PM thing<\/dialogue>\n    <character>VAL<\/character>\n    <dialogue>Right. Why did you take your hair out?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>It was... profitable to do so. I'm not tryin' to make it an us thing. I just really need my hair braided.<\/dialogue>\n    <scene_description>This feels over the line to her. Val pauses for a while...<\/scene_description>\n    <character>VAL<\/character>\n    <dialogue>Let's do it at your mom's house then ok? I have to return a bowl anyway. And you have to help me memorize some stuff. This is my study time, and it needs to actually be study time. Okay?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Yeah, I get it. Thank you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLIN'S MOTHER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Collin's sitting on the floor with his back to Val, while she twists his hair back into braids. She's most of the way done already. Collin has her textbook and flashcards on his lap. She focuses on his hair as he reads FLASHCARDS:<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>\"The tendency to judge the strength of arguments based on the plausibility--\"<\/dialogue>\n    <character>VAL<\/character>\n    <parenthetical>(quietly to herself)<\/parenthetical>\n    <dialogue>Oh! Jawsin\u2026 is...<\/dialogue>\n    <parenthetical>(then answer)<\/parenthetical>\n    <dialogue>Belief Bias effect.<\/dialogue>\n    <scene_description>Collin shuffles to the next flashcard.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>\"The tendency to attribute one's own actions - \"<\/dialogue>\n    <character>VAL<\/character>\n    <parenthetical>(quietly to herself)<\/parenthetical>\n    <dialogue>Oh - Blamegamin'... you blame the game... oh...<\/dialogue>\n    <parenthetical>(she answers)<\/parenthetical>\n    <dialogue>Actor observer bias.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>What are you sayin' before the answers?<\/dialogue>\n    <character>VAL<\/character>\n    <dialogue>Oh. Ha! You'll love this. This is for sure your fault. I made up slang words to like, help me remember.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>You out here innovatin'? She is still town!<\/dialogue>\n    <character>VAL<\/character>\n    <dialogue>I'm very town! Who said I wasn't town?<\/dialogue>\n    <scene_description>Collin turns the page and there's a picture of a SILHOUETTE OF A VASE.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>What's this vase one?<\/dialogue>\n    <character>VAL<\/character>\n    <dialogue>Oh, you see a vase?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Why'd you say it like that?<\/dialogue>\n    <scene_description>Collin looks at the picture again.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Oh, I see it. It's two faces.<\/dialogue>\n    <character>VAL<\/character>\n    <dialogue>It is also that. I haven't made a word for that yet, but it's... unconscious inference?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Yup!<\/dialogue>\n    <character>VAL<\/character>\n    <dialogue>Read it to me?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>\"The formation of unconscious judgments. The results of which are so impervious to conscious control, so resistant to contradiction that the effect of them cannot be overcome.\"<\/dialogue>\n    <character>VAL<\/character>\n    <dialogue>Read under the image.<\/dialogue>\n    <scene_description>ANGLE ON: The page. We see Collin is now reading the caption beneath the image.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>\"Rubin's vase: The image is fundamentally ambiguous. People perceive a vase or faces, but not both at the same time.\"<\/dialogue>\n    <character>VAL<\/character>\n    <dialogue>So apparently you like vases.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>How about... \"Facevasin?\"<\/dialogue>\n    <character>VAL<\/character>\n    <dialogue>Nah, it's gotta be something you'd actually SAY. It gotta still be like how slang is, enough to stick in my head.<\/dialogue>\n    <scene_description>Collin tries to change the subject.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>So... you know I'm a free bird tomorrow...<\/dialogue>\n    <scene_description>Val hesitates for a moment, then politely responds.<\/scene_description>\n    <character>VAL<\/character>\n    <dialogue>Yeah, I know. I'm glad. Next one please. I have to learn these, ok?<\/dialogue>\n    <scene_description>She points to the book. Collin sighs and starts again.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>The bias of hearing a--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLIN'S MOTHER'S HOUSE - NIGHT - LATER<\/stage_direction>\n    <scene_description>Collin walks Val to the door. Val pulls her keys out of her purse and begins the process of a very awkward goodbye.<\/scene_description>\n    <character>VAL<\/character>\n    <dialogue>I got a complaint today that one of our trucks disrupted a dance class - they said some black guy with dreads pushed someone.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>That's bullshit, a guy put his hands on me and I--<\/dialogue>\n    <scene_description>Val begins to shake her head.<\/scene_description>\n    <character>VAL<\/character>\n    <dialogue>It's all in your control, Collin. Take some responsibility for--<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>I didn't deny it I just said that someone ELSE put...<\/dialogue>\n    <scene_description>Val shrugs and looks away. She doesn't want to have this conversation.<\/scene_description>\n    <character>VAL<\/character>\n    <dialogue>I know you're trying. At least you don't wear that fucking grill anymore.<\/dialogue>\n    <parenthetical>(looking at Collin's hair)<\/parenthetical>\n    <dialogue>Now you just need to cut this hair off and -<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Heyyyy...this is me though<\/dialogue>\n    <character>VAL<\/character>\n    <dialogue>\"Not the haaiirrr.\"<\/dialogue>\n    <scene_description>It gets quiet. Collin, trying to help her out of the discomfort, puts out his arms for a hug. Val hesitates for a moment, then goes in for a two arm hug. Val closes her eyes. Collin re-adjusts, SQUEEZING tighter. She taps his back. Time for the hug to end. When they separate, Val's wiping a tear away from her eye.<\/scene_description>\n    <character>VAL<\/character>\n    <dialogue>I...This is just why I don't wanna--<\/dialogue>\n    <scene_description>Suddenly, Collin's Mom interrupts, YELLING from the kitchen:<\/scene_description>\n    <character>NANCY (O.S.)<\/character>\n    <dialogue>COLLIN, IT'S 10:45 BABE, YOU NEED<\/dialogue>\n    <character>TO GO, NOW! SORRY TO INTERRUPT,<\/character>\n    <dialogue>BUT...<\/dialogue>\n    <character>VAL<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <parenthetical>(yells)<\/parenthetical>\n    <character>THANK YOU, NANCY! GOODNIGHT!<\/character>\n    <dialogue>COLLIN<\/dialogue>\n    <scene_description>Okay... Thanks again.<\/scene_description>\n    <character>VAL<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>There's a lot unsaid between these two.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EZ-LIFT MOVING TRUCK - NIGHT<\/stage_direction>\n    <scene_description>Collin drives the truck by himself. He arrives at... ...the RED LIGHT. The scene of the crime. Collin stops the truck. Waiting for a green. He looks down. A SMALL SHRINE where the man was murdered. Some CHALK MESSAGES are written near it. A group of 30-SOMETHING TRANSPLANTS walk over it casually. The light turns GREEN. Collin drives away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILES'S APARTMENT - NIGHT - LATER<\/stage_direction>\n    <scene_description>Ashley and Miles are watching the news. Sean's on Ashley's lap as she drinks a bottle of GREEN JUICE and reads the pamphlet from Collin's mom. ANGLE ON: THE PAMPHLET. \"THE TALK.\" It's got a picture of police on the front, and a young black teen. It's a guide for talking to your kids about what they should say and do if they run into the police. On the inside, is a picture of someone with their hands up, with a voice bubble that says \"Don't shoot!\" \"I'm unarmed!\" And other proclamations. Sean is sipping the Green juice, watching the TV.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Please tell me you aren't feeding my son that now.<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>Lemon. Carrots. Ginger. Cucumber. Apple. Celery. Kale.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Two years ago \"kale\" didn't even exist. Now it's the goddamn savior of humanity.<\/dialogue>\n    <scene_description>On the screen, we see the news report of the shooting Collin saw. They flash the official police photo of the cop and a mugshot of the victim.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Oh, the cop gets his work photo? Use bro's work photo!<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>I'm always baffled with how, on your diet, you have any energy at all, let alone enough to move things all day. At least with Collin, he's running and eating better.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>He doesn't run, and he's just eating like that to prove something to Val cuz she drinks shit like that.<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>Why? SHE should be proving something to him!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Baby, that's why I love you! Exactly!<\/dialogue>\n    <scene_description>Miles gives her a quick kiss then looks back at the TV. ANGLE ON: THE TV. They're describing the slain man as a convicted FELON, with possession of a weapon and resisting arrest. Black. Male. 30-35. Big.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Woop. Wrong cocktail. No protests for you, my g.<\/dialogue>\n    <scene_description>Ashley, staring away from the pamphlet for a moment at the TV, hugs Sean a bit closer.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET NEAR COLLIN'S HALFWAY HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Collin parks the moving truck a block from his halfway house. He hops out and walks to the door, mumbling raps to himself. Suddenly, a LOUD POP is heard down the street, which sounds just like a gun shot. He jumps and turns around - it was a car backfiring. He calms down and heads inside. He bumps right into--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLIN'S HALFWAY HOUSE - MOMENTS LATER<\/stage_direction>\n    <scene_description>JAMES, the halfway house manager, is at the door ready to greet him.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Hello, Mr. Turner.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Do you stand there all day? Isn't this something we could automate?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>You want a robot telling you to mop the bathroom? How bout just a robot that mops the bathroom, then we can both go to sleep.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Solution oriented. I like it.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Even better, how bout mothafuckas don't get arrested for dumb shit.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Ah, I see where you're going with this, but get there--<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Then I won't have to enforce seemingly arbitrary tasks to establish your ability to follow rules as a representation of laws.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Arbitrary is the right word.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>It's your last week. Don't make me write you up on your last week. It's not like it's just a warning. The judge will extend you here another year. And then your little map box sentence starts over.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Convicted on dirty bathroom charges?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Bathroom, mop, push the mop, wipe the mirror, check it off on the board. Hamster wheel. Last go round. Just do it.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>This the dream, James? Hamster cop?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>You are a convicted felon now, Mr. Turner. You are now that until proven otherwise. Prove otherwise at all times.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>...Got it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLIN'S HALFWAY HOUSE - COLLIN'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Collin has a MAP on his wall of Oakland with an outline of the area he has to stay in. He can't leave ALAMEDA COUNTY. He stares at it, then the clock. It's 11:05, past curfew. He stares at the map, traces the border with his eyes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SURREAL COURTROOM - DAY<\/stage_direction>\n    <character>DREAM SEQUENCE:<\/character>\n    <dialogue>Collin's in a courtroom, sitting at the defense table.<\/dialogue>\n    <dialogue>THE SCORPION BOWL is in the witness booth on the counter.<\/dialogue>\n    <dialogue>As the scene continues, things become more and more surreal. The JURY are all unknown men, around Collin's age. Black, in similar street attire.<\/dialogue>\n    <dialogue>PATRICK'S PHOTOGRAPHS are hanging on every wall of the room.<\/dialogue>\n    <scene_description>The JUDGE remains OFF-SCREEN for now. Collin's dream is in verse. Ambient music scores the scene.<\/scene_description>\n    <character>JUDGE (O.C.)<\/character>\n    <dialogue>You have nearly completed your sentence, and have had no infractions on your penance. Do you have anything to say before we uncuff ya?<\/dialogue>\n    <scene_description>Miles, dressed like an attorney, walks in front of Collin into frame.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Collin is a baaaaad mothafucka!<\/dialogue>\n    <scene_description>Collin tries to yell, but he can't. He wants Miles to shut up. Collin has a gold bottom grill in his mouth. He tries to pull it out, but he can't. Miles begins to address the Jury. The Jury grunts and groans in reaction to Miles's appeal.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Cadillac dippin\/ pimpin\/ plenty women\/ lean sippin\/ smokin\/ heavy on the marijuana tokin\/ posted\/ pushin a hard line out in Oakland \/ City of dope \/ the boy is dope that's why the whole city know him!\/<\/dialogue>\n    <character>JURY<\/character>\n    <dialogue>Ey!<\/dialogue>\n    <scene_description>Collin's grill is getting bigger and bigger. It's both on the top and bottom of his mouth now. He can't speak. Fruit hits the floor of the courtroom, and the desk, like it's falling from the ceiling. We see the eyes of the photographs looking at him.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>He took a little break! \/ got you thinkin he just changed a few ways but he played you jake! \/ Pride of Oakland usually cool and collected \/ but that aint the mothafucka to be punk when disrespected \/<\/dialogue>\n    <character>JURY<\/character>\n    <dialogue>NO NO NO<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>diss his set and catch the wreckage \/ burn on the boulevard, hit the cement and get met with \/ the type of nigga that will leave you head split \/ bleedin til the weekend thats how he kept the city reppin \/ attitude is the deadly weapon \/<\/dialogue>\n    <character>JURY<\/character>\n    <dialogue>EYYYY!<\/dialogue>\n    <scene_description>Collin's grill is too heavy, it pulls him down to the desk. When his face slams into the desk, he realizes there is a chain attached to the desk that leads up to his grill. Pulls his head back to tug at it. Everyone in the jury booth sips from a Scorpion Bowl. The photographs are the backs of heads now, no eye contact.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>this the life we livin \/ and-it-been since the beginnin \/ and we gotta-be stuck in the soil, loyal, and-we don't do revisions \/ and we dont give passes to pussy footin<\/dialogue>\n    <parenthetical>(to Collin)<\/parenthetical>\n    <dialogue>don't be who you isn't! \/<\/dialogue>\n    <parenthetical>(to Jury)<\/parenthetical>\n    <dialogue>cuz he aint no citizen-model-to- follow-just falsifyin how he flossin til tomorrow<\/dialogue>\n    <scene_description>We see that the Judge is the COP that shot the man a day ago. The Cop\/Judge grabs his gavel, which is now a gun. He holds it by the barrel, high above his head. Collin pulls his mouth off the chain. When it breaks, gold teeth pour out of his mouth onto the desk and bounce onto the floor. He gasps for air and yells at the Cop\/Judge.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>STOP, STOP, STOP, STOP, STOP, STOP!<\/dialogue>\n    <scene_description>We hear the audio from the shooting again. The Cop\/Judge drops the gavel, with the sound of a GUNSHOT. Collin's eyes shoot open. His alarm clock is going. SMASH CUT TO:<\/scene_description>\n    <character>BLACK<\/character>\n    <dialogue>SUPER: ONE DAY LEFT OF PROBATION<\/dialogue>\n    <dialogue>Under the title card, we hear the final sounds from the shooting. Running. \"STOP!\" And a GUNSHOT...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLIN'S HALFWAY HOUSE - COLLIN'S ROOM - MORNING<\/stage_direction>\n    <scene_description>Collin jolts awake! We are close on his eyes as they burst open. The ALARM sound segues into Collin's running music...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OAKLAND STREET - DAY<\/stage_direction>\n    <scene_description>Collin's running again, listening to music. He passes the Kona Club...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE MOUNTAINVIEW CEMETERY - DAY<\/stage_direction>\n    <scene_description>Collin runs straight through the graveyard. He's focused, not looking around, not dealing with death... Something catches his eye... ...the man who was shot to death by the Cop. The man is bloody and stands on top of a grave. He stares at Collin. Collin stares back, confused and frozen. The man takes a deep breath, and he looks like he's about to scream, but-- Two women joggers cross in front of Collin, knocking him out of his gaze and forcing him to move back. Collin looks back up, and the man is gone. He looks around, confused. Then goes back to running. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVER NILE MARKET AND LIQUOR - DAY<\/stage_direction>\n    <scene_description>Collin and Miles walk towards the store. Collin stops once he notices a giant poster on the side of the store. A few other guys are out front, and they dap Collin and Miles. Collin stops to look at a POLICE RECRUITMENT poster. Miles keeps walking into the store. After a moment, Miles walks back outside, realizing he lost Collin. Miles reads the poster too. In bold letters it says: \"It's YOU we want!\" A black kid is next to the giant text on the poster, wearing a shirt that reads: \"Ready to show courage\"<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>\"It's YOU!\"<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Why did they pick THAT shirt?<\/dialogue>\n    <scene_description>Miles and Collin walk into the store.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RIVER NILE MARKET AND LIQUOR - DAY<\/stage_direction>\n    <character>MILES<\/character>\n    <dialogue>Ash says OPD is payin 80k STARTING SALARY for new cops. Fucked up part is they don't hire people FROM Oakland. So the cat who pulls you over actually lives in, like, Cupertino.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Why not just live in Oakland?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Uh, probably because they're scared if someone knew where they lived, they'd come shoot them.<\/dialogue>\n    <parenthetical>(to Clerk)<\/parenthetical>\n    <dialogue>Lemme get my square, OG<\/dialogue>\n    <scene_description>Collin grabs a Green Juice from the shelf. Miles watches him reach for it and sighs loudly.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Can I better myself, nigga? Can I show courage?<\/dialogue>\n    <scene_description>Collin begins to chug some of the juice.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>You're gonna wake up one day listening to vinyl, with a wooden tie, suspenders, and a gluten allergy. Counting calories and riding a Vespa! To the Whole Foods!<\/dialogue>\n    <character>CLERK<\/character>\n    <dialogue>Hey, you pay first!<\/dialogue>\n    <scene_description>Collin lands six dollars on the counter.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>They actually. Have great. Produce.<\/dialogue>\n    <scene_description>Miles shakes his head, pulls his square from behind his ear and lights his cigarette inside the liquor store, angrily.<\/scene_description>\n    <character>MILES<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EZ-LIFT OFFICE - MORNING<\/stage_direction>\n    <scene_description>Collin and Miles enter. They approach Val.<\/scene_description>\n    <character>VAL<\/character>\n    <dialogue>Happy sunrise.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Val, indeed the sunrise IS a blessing on this day. My soul is as moved by that as you are moved by an elliptical.<\/dialogue>\n    <character>VAL<\/character>\n    <parenthetical>(to Collin)<\/parenthetical>\n    <dialogue>Does he think of these on the way here?<\/dialogue>\n    <scene_description>Miles b-lines for the locker room. Val and Collin have a moment and try to keep it light.<\/scene_description>\n    <character>VAL<\/character>\n    <dialogue>Hi. Oh, those braids look good. Who did those?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Oh, these? Yeah it just kinda does this when I wash it now. Must be all this green juice I'm drinking.<\/dialogue>\n    <scene_description>Collin takes a sip of his juice in front of Val.<\/scene_description>\n    <character>VAL<\/character>\n    <dialogue>Mmmmhmm. I know you hate it, but it's so good for you.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>I don't hate it, I don't even notice it. It's just part of who I am now.<\/dialogue>\n    <scene_description>Val hands him his clipboard.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EZ-LIFT LOCKER ROOM - DAY<\/stage_direction>\n    <scene_description>The boys are all pulling their jumpers over their clothes, switching shirts, etc. Miles, Collin, Tel, and a few others are all in there changing. Yorkie walks in wearing a San Francisco 49ers jacket. When Collin and Miles see it, they jump all over him.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Oh, absolutely not. Take that off!<\/dialogue>\n    <character>YORKIE<\/character>\n    <dialogue>Take what off?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Get that. Niner jacket. Out.<\/dialogue>\n    <character>YORKIE<\/character>\n    <dialogue>It's the bay.<\/dialogue>\n    <character>LITERALLY THE WHOLE LOCKER ROOM<\/character>\n    <dialogue>It's the city.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>This the town! Raider nation only, take it off!<\/dialogue>\n    <character>YORKIE<\/character>\n    <dialogue>The Raiders ain't even from here, they from LA.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Wrong! They were here, they WENT to LA, they came back.<\/dialogue>\n    <character>YORKIE<\/character>\n    <dialogue>The 49ers never left!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>The Niners are non-negotiable Yorkie, that jacket has to GO.<\/dialogue>\n    <character>YORKIE<\/character>\n    <dialogue>Tel likes the Niners!<\/dialogue>\n    <scene_description>They all spin around to look at Tel in anger.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Don't spread your disloyal bullshit, Tel!<\/dialogue>\n    <character>TEL<\/character>\n    <dialogue>The Raiders are moving to Vegas!<\/dialogue>\n    <character>WHOLE LOCKER ROOM<\/character>\n    <dialogue>Awwww!<\/dialogue>\n    <character>YORKIE<\/character>\n    <parenthetical>(to Miles)<\/parenthetical>\n    <dialogue>You couldn't tell me ONE player on the Raiders.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>That's not the point, Yorkie.<\/dialogue>\n    <character>YORKIE<\/character>\n    <dialogue>So what if I wanna wear a Knicks jersey?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Wear your Knicks jersey all you want, that's your turf. That's your business. But if you wear a Lakers jersey in here...<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>We'll kill you!<\/dialogue>\n    <character>YORKIE<\/character>\n    <dialogue>Why yal gettin mad hot right now!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>What's that mean?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Are you sayin we're out of pocket?<\/dialogue>\n    <character>YORKIE<\/character>\n    <dialogue>What does that mean??<\/dialogue>\n    <character>TEL<\/character>\n    <dialogue>It's like, bein' hella extra.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Shut the fuck up Tel, you've done enough!<\/dialogue>\n    <parenthetical>(to Yorkie)<\/parenthetical>\n    <dialogue>It's like being hella extra!<\/dialogue>\n    <character>YORKIE<\/character>\n    <dialogue>Y'all can't use slang to explain slang. I'm trying to get it.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>OK, so, out of control. To, like, not have a handle on things, to be out of hand. To have your hands out means they're are out of pocket, you're \"outta pocket\".<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>No. \"Outta pocket\" is from pool, when the ball hits the pocket too hard, and pops back out. You tryin' to make moves but you're \"outta pocket.\"<\/dialogue>\n    <character>YORKIE<\/character>\n    <dialogue>Well which one is it?<\/dialogue>\n    <character>COLLIN &amp; MILES<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OAKLAND CRACK HOUSE - DAY<\/stage_direction>\n    <scene_description>Miles and Collin walk all the way up to a rundown duplex in East Oakland. ANGELA, the Real Estate Agent (35, Asian) who oversees the building is waiting in front of the place. She is on her phone.<\/scene_description>\n    <character>ANGELA<\/character>\n    <dialogue>Going to clear it out, gut it, get it down to just its bones, rip everything old out, then rebuild it with great, new, you know, modern everything. Cuz it's such a great shell, you know?<\/dialogue>\n    <scene_description>The boys step up, Collin took everything she said in.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>...We're with EZ Lift.<\/dialogue>\n    <character>ANGELA<\/character>\n    <dialogue>Hey - Just pull out EVERYTHING and take it down to the dump.<\/dialogue>\n    <character>ANGELA<\/character>\n    <dialogue>All the junk and then apparently a couch and trash upstairs. It can all just go. OK, thanks so much, byeeee.<\/dialogue>\n    <scene_description>She walks away from them and resumes a phone conversation.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EAST OAKLAND DUPLEX - DAY<\/stage_direction>\n    <scene_description>Miles and Collin are almost finished loading dusty furniture into the back of the EZ-lift moving truck. They lip-sing along to a Bay Area favorite as they clean - Player's Ball by Too Short &amp; e40. They do impressions of each of the parts as they pick things up and throw them out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EAST OAKLAND DUPLEX - DAY<\/stage_direction>\n    <scene_description>Miles wanders around the empty house, smoking his weed. It's hot as hell. They are walking through and checking empty rooms, making sure they got everything. Walls are decaying. Dust everywhere.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EAST OAKLAND DUPLEX - UPSTAIRS HALLWAY - MOMENTS LATER<\/stage_direction>\n    <scene_description>They walk up the stairs, to the door at the end of the hall. It is closed. Miles looks at the clipboard.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Couch in upstairs bedroom...<\/dialogue>\n    <scene_description>Miles opens the door and immediately closes it again.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <scene_description>Collin opens the door and looks in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EAST OAKLAND DUPLEX - ATTIC - CONTINUOUS<\/stage_direction>\n    <scene_description>There are SIX DRUG ADDICTS, fully high on heroin. Needles all over the floor. In the corner is a couch, with one drug addict lying across it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EAST OAKLAND DUPLEX - UPSTAIRS HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Collin quietly shuts the door again.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>I don't do zombies.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>They are heroin addicts.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Feel like you're really splitting hairs here--<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>We're gonna just go in there...<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>I really really really don't want to. Like I really--<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>--gonna grab the couch real quiet--<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>--please please Collin please like we could just--<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>--AND YOU ARE GONNA TUCK IT AND<\/dialogue>\n    <character>HELP ME, CUZ WHAT I'M NOT BOUT TO<\/character>\n    <dialogue>DO IS GET A WRITE UP TWO DAYS SHY<\/dialogue>\n    <character>OF... NIGGA!<\/character>\n    <dialogue>Miles jumps at Collin to cover his mouth and lower his voice.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>ALRIGHT. Alright.<\/dialogue>\n    <parenthetical>(long exhale)<\/parenthetical>\n    <dialogue>Okay. Let's just get the couch. Quickly.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EAST OAKLAND DUPLEX - ATTIC - MOMENTS LATER<\/stage_direction>\n    <scene_description>This is a heist scene. Super quiet. Stealthy. Dangerous. Miles and Collin CREEP through the door. The room is dimly lit and in decay. The blinds are closed and it is silent. Completely bare except for the people, some needles, a few random belongings, and a COUCH under the window. SIX PEOPLE are passed out sitting up against the walls, on top of blankets, etc. Mostly black folks, a couple white. One addict is laying on the couch itself. This is COUCH MAN. Collin and Miles slowly creep around the passed-out addicts, trying to be as quiet as possible. They reach the couch, and each take a side. They have a brief silent conversation with hand movements. Lots of exaggerated MIMING. Collin communicates that they will grab Couch Man by the ankles and lower him to the floor. They lift Couch Man up. He's nearly lifeless. His head rolls back, and he moans a little. Miles looks at Collin. They whisper to each other.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>This ISN'T zombie shit to you?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Do not drop this man.<\/dialogue>\n    <scene_description>They slowly lower Couch Man to the floor. They slide over, grab the bottom of each side of the couch, and LIFT... ...they realize it's crazy heavy.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>As if this person's life couldn't get any lower, he bout to wake up wondering where the fuck the couch magically went.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Sh sh sh sh please just go. Please.<\/dialogue>\n    <scene_description>Collin swings his side out and starts to head towards the door. Couch Man is now directly under the couch, between Collin and Miles. As they walk, Miles has to step over the guy, and he takes it extra slow. They're still trying to make as little noise as possible. Once they get the couch past the man--<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Honestly, I can't believe he didn't hear none of that.<\/dialogue>\n    <scene_description>As Miles finishes his sentence, he looks back down and notices the man is NO LONGER ON THE FLOOR--<\/scene_description>\n    <character>COUCH MAN (O.S.)<\/character>\n    <dialogue>Ey.<\/dialogue>\n    <scene_description>Miles shoots up in pure horror. Couch Man is right over his shoulder.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>KKKKEEEEEEEEEEEEEEE--<\/dialogue>\n    <scene_description>Collin looks totally in shock. Miles swings all the way out, spinning the couch around so Collin is face to face with Couch Man and Miles is on the other side.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>My man, we gotta take this couch out of here!<\/dialogue>\n    <character>COUCH MAN<\/character>\n    <dialogue>You can't take my trumpet!<\/dialogue>\n    <scene_description>Couch Man climbs onto the couch as they struggle to hold it in the air! Couch Man slides his hands into the cushions of the couch, moving stuff around.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Trumpet... gotta be... slang for somethin'.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Just let him... look for whatever it is that he--<\/dialogue>\n    <scene_description>The man pulls out a SLIGHTLY DIRTY TRUMPET from under one of the cushions. He awkwardly slides off the couch.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Oh no bullshit, he really got a trumpet.<\/dialogue>\n    <character>COUCH MAN<\/character>\n    <dialogue>I played this. Forever. I got this. uh, Sly and the Family Stone.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>My moms loves them, they hit.<\/dialogue>\n    <character>COUCH MAN<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Collin and Miles look at each other, unsure how to process that response.<\/scene_description>\n    <character>COUCH MAN<\/character>\n    <dialogue>You know Sweet Jimmy's?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Yeah, the club that used to be where the Parish is.<\/dialogue>\n    <character>COUCH MAN<\/character>\n    <dialogue>Jimmy took care of everybody. I didn't have nothin to play, shit I could play, but had nothin to play so he got me this. I just get on and the red and blue and green and yellow lights be on and...<\/dialogue>\n    <parenthetical>(making trumpet sounds with his mouth)<\/parenthetical>\n    <character>\"BRAPP BRAPP BRAPPP.\"<\/character>\n    <dialogue>He inflates his cheeks and simulates playing. Despite holding a trumpet. He stares at them both with big eyes.<\/dialogue>\n    <dialogue>It goes on for a while.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>You played at Jimmy's?<\/dialogue>\n    <character>COUCH MAN<\/character>\n    <dialogue>Mmhmm. Til fools kept messin' it all up. All up. Killin' and fightin'. Niggas Can't have nothin'.<\/dialogue>\n    <scene_description>He locks in on Miles for a moment.<\/scene_description>\n    <character>COUCH MAN<\/character>\n    <dialogue>Ey young blood, I sell it to you for twenty dollars.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Nah, OG. You need to keep that.<\/dialogue>\n    <character>COUCH MAN<\/character>\n    <dialogue>Aha shiet, I need to keep that? Sho do, but need to keep twenty dollars too.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>I'll give you dub for that, OG.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>My man, ey my man don't sell your horn.<\/dialogue>\n    <character>COUCH MAN<\/character>\n    <dialogue>Ey, don't come between me and my shit!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>SOLD my dude, for dub, throw that back on the couch.<\/dialogue>\n    <scene_description>Miles pulls a twenty-dollar bill out of his pocket while balancing his side of the couch on his knee. He hands it to the man, who takes it and looks at it, before slightly celebrating in a SMALL EXCITED DANCE. The man glances at the trumpet again. Kisses his hands and taps the trumpet. He taps it a few times like he is going to miss it. Collin is clearly disappointed in Miles. Behind them, ANOTHER ADDICT has woken up.<\/scene_description>\n    <character>ANOTHER ADDICT<\/character>\n    <dialogue>How much you give me for a boat?<\/dialogue>\n    <scene_description>Miles jumps a bit. They pause to react. Miles finally answered.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>What kinda boat we talkin'?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OAKLAND MAIN STREET - DAY<\/stage_direction>\n    <scene_description>Collin and Miles are sitting in a small sailboat, which is hooked to the back of the EZ-Lift Moving Truck. The sailboat has a note written on butcher paper reading \"$300.\" Miles lights a cigarette. Miles is SHOULDER-DANCING, trying to attract customers.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>\"ARTISAN SAILBOAT, PLATINUM<\/dialogue>\n    <character>SEAWORTHY!\"<\/character>\n    <parenthetical>(to Collin)<\/parenthetical>\n    <dialogue>It's not like he was just gonna pick up his jazz career tomorrow now that he's out of heroin!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>He kept it this long, you dangled money in front of him. That's low level shit. Let him have the damn trumpet!<\/dialogue>\n    <scene_description>A BALDING WHITE GUY parks his car next to them, gets out and goes to the meter. He looks at Collin and Miles suspiciously.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>You just... funded his downfall. That's a new low for you.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>He is waking up in a traphouse with five heroin addicts while two mothafuckas lift his unconscious body off a couch he wasn't even sharing. The fall has already happened!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>You didn't help.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>\"SAIL BOAT! Get your port starboard sailboat, nauticals included\"<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>You are never gonna sell this boat. Or that trumpet.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Fine! You wanna give me this much shit? YOU get it back to him.<\/dialogue>\n    <scene_description>Miles hands Collin the trumpet. Collin looks at the trumpet. Balding White Guy hits his car alarm button over and over again as he walks away. 5 or 6 times. Just to be sure.<\/scene_description>\n    <character>MILES<\/character>\n    <parenthetical>(to the Balding White Guy)<\/parenthetical>\n    <character>HEY! WE GET IT! IT'S GOT AN ALARM!<\/character>\n    <parenthetical>(to Collin)<\/parenthetical>\n    <dialogue>How'd you get your hair braided so fast?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>I had... Val came by Mom's house and did it.<\/dialogue>\n    <scene_description>Miles throws his hands up in the air, and shakes his head. Then crosses his arms.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Ok, air out Nigga. What's your real problem with Val?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Val is a disloyal bitch. When you were locked up, did she put money on your books? Did she come to Rita even one time?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>I came twice a week, 45 minutes each way, put 500 on your books. Ask me why?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>She talked to me on the phone.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>She didn't come see you once in two months. How gracious of her to call. And what'd she talk about? Changin' your life around? Like...you're not a...drug dealer, thug, nothin. You went to jail on a ...fire technicality!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Did I?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>YES! Who knew hipsters were so flammable. What were we supposed to do different?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>\"WE\" maybe shouldn't--<\/dialogue>\n    <character>LOCAL GUY (O.S.)<\/character>\n    <dialogue>Ey, cuttie. What the boat do?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>No. Way.<\/dialogue>\n    <scene_description>They look up to see LOCAL GUY leaning out of an SUV, talking to them. We're about to get a deep dive into Bay Area Lingo.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Shit, I got the joog! for Sail, fishin', floatin', fuckin', get you a flight to Boston in a private function. Perfect for gettin' into somethin', oh boy.<\/dialogue>\n    <character>LOCAL GUY<\/character>\n    <dialogue>Is it hot or cold?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Warm to the touch. No burn tho.<\/dialogue>\n    <character>LOCAL GUY<\/character>\n    <dialogue>What's the intel on the Vin Diesel?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>No fingerprints.<\/dialogue>\n    <character>LOCAL GUY<\/character>\n    <dialogue>Dusty trail?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Very. It's gouda.<\/dialogue>\n    <character>LOCAL GUY<\/character>\n    <dialogue>Cuz I can't be slippin round the way way with somethin' outta pocket, ya underdig? Get blurped and have to peel out cuz I got a few hammers tucked. Niggaz got laundry.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>On mamaz, it was in the cut.<\/dialogue>\n    <character>LOCAL GUY<\/character>\n    <dialogue>A bill though? What's the part 2?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Not a thang. Pockets is touchin so we tryin' to get it off and do it movin'.<\/dialogue>\n    <character>LOCAL GUY<\/character>\n    <dialogue>Mmm. I might need to let that marinate.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Look, if you bout that life, it's a come up. That bill ain't but a small thang to a giant! I say let's make moves, throw me three hundo, I'll clip the woo wop to the rear view and less is more, ya dig?<\/dialogue>\n    <character>LOCAL GUY<\/character>\n    <dialogue>Fast.<\/dialogue>\n    <scene_description>The man hands him $300 in twenty-dollar bills. Miles walks back to Collin.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>What'd he say?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>I'm not sure but he gave me 300 bucks so... success.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Ha! Mouthpiece for days.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>It's the bounce of it man, people like it. Folks wanna listen more when you make it sound pretty.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Aiight. I'm bout to head back to the office and punch us both out.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>She didn't come see you ONCE while you did two months in Rita, bruh.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Yeah I know, I was there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EZ-LIFT OFFICE - DAY<\/stage_direction>\n    <scene_description>Val is closing up shop. Collin enters as two customers, RIN and TIN, are walking out. Rin does a DOUBLE TAKE at the sight of Collin.<\/scene_description>\n    <character>RIN<\/character>\n    <dialogue>Yo, did you used to work the door at Kona Club?!<\/dialogue>\n    <scene_description>Collin's worried about where these questions are heading...<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Uh, yeah, a minute ago.<\/dialogue>\n    <scene_description>Rin loses his mind and turns to his friend.<\/scene_description>\n    <character>RIN<\/character>\n    <dialogue>Bro, this is the Scorpion Bowl dude I told you bout!<\/dialogue>\n    <scene_description>Collin's reaction says only one thing: Uh oh. Not this story.<\/scene_description>\n    <character>TIN<\/character>\n    <dialogue>What dude--?<\/dialogue>\n    <character>RIN<\/character>\n    <dialogue>Bro, I never told you about the Scorpion Bowl shit at Kona? This dude is a LEGEND!<\/dialogue>\n    <scene_description>Collin does not want this story rehashed.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>We don't have to...<\/dialogue>\n    <character>RIN<\/character>\n    <dialogue>Okay, so I'm in Kona Club on Piedmont Ave...<\/dialogue>\n    <scene_description>It's time to see why Miles calls him the Scorpion King. SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KONA CLUB - NIGHT<\/stage_direction>\n    <character>HEIGHTENED FLASHBACK:<\/character>\n    <dialogue>This sequence is not reality. We're seeing a ridiculous dramatized version of Rin's story.<\/dialogue>\n    <dialogue>We see the actors delivering the dialogue, but we hear Rin's voice instead. Exaggerated impressions and all.<\/dialogue>\n    <dialogue>Rin's in the Kona Club on one end of the bar. Rin describes the environment exactly as we see it:<\/dialogue>\n    <character>RIN (V.O)<\/character>\n    <dialogue>Tiki bar type place, lots of bare titty statues and island shit.<\/dialogue>\n    <scene_description>PREPPY WHITE GUY orders a drink at the other end of the bar.<\/scene_description>\n    <character>RIN (V.O<\/character>\n    <dialogue>This white boy orders this thing they got called the Scorpion Bowl.<\/dialogue>\n    <scene_description>ANGLE ON: The SCORPION BOWL. It's insane, the size of a small goldfish bowl. The craziest drink you've ever seen at a bar. An OPEN FLAME burns in the middle of the drink. Preppy White Guy's eyes go WIDE. He's in awe.<\/scene_description>\n    <character>RIN (V.O.)<\/character>\n    <dialogue>So homeboy is a transplant for sure. Flannel button up, ski slope haircut, shirt tucked in. Picks up the scorpion bowl, his mind is blown.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EZ-LIFT OFFICE - DAY<\/stage_direction>\n    <scene_description>Collin shakes his head. Val is leaning in to hear the details. Dreading where the story is heading.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>It's not worth--<\/dialogue>\n    <scene_description>We begin to INTERCUT with Rin telling the story at EZ-Lift:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KONA CLUB - NIGHT<\/stage_direction>\n    <character>RIN (V.O.)<\/character>\n    <dialogue>Now out front is this nigga minding his own business, workin the door checkin' ID's and shit.<\/dialogue>\n    <scene_description>We PULL BACK to REVEAL... The guy working the door is Collin. Miles is next to him on a stool. They both have bottom grills in.<\/scene_description>\n    <character>RIN (V.O.)<\/character>\n    <dialogue>There's a white boy on the stool next to him, couple people on the sidewalk. I was on my way out for a smoke so I'm right behind the uber-bro. He busts through the front door, flame drink in hand, blows right past bruh and yells--<\/dialogue>\n    <scene_description>Preppy White Guy emerges with the drink, super amped, trying to get to his friends on line outside. Rin walks out separately to have a smoke, off to the side.<\/scene_description>\n    <character>PREPPY WHITE GUY (V.O.)<\/character>\n    <parenthetical>(Rin's voice)<\/parenthetical>\n    <character>GUYS LOOK AT THIS FUCKING FIRE<\/character>\n    <dialogue>DRINK, ISN'T IT INSANE?!<\/dialogue>\n    <scene_description>Back in the EZ-Lift Office, Rin points at Collin.<\/scene_description>\n    <character>RIN<\/character>\n    <dialogue>And he runs up like...<\/dialogue>\n    <scene_description>Collin steps up to Preppy White Guy holding the drink.<\/scene_description>\n    <character>COLLIN (V.O.)<\/character>\n    <parenthetical>(Rin's voice)<\/parenthetical>\n    <dialogue>Ey, you can't bring alcohol out here you gotta go back inside.<\/dialogue>\n    <character>RIN (V.O.)<\/character>\n    <dialogue>But dude throws over his shoulder--<\/dialogue>\n    <character>PREPPY WHITE GUY (V.O.)<\/character>\n    <parenthetical>(Rin's voice)<\/parenthetical>\n    <dialogue>Chill out, bro!<\/dialogue>\n    <character>RIN (V.O.)<\/character>\n    <dialogue>So homie steps out and says--<\/dialogue>\n    <character>COLLIN (V.O.)<\/character>\n    <parenthetical>(Rin's voice)<\/parenthetical>\n    <dialogue>I'm not playin'. Take the drink back inside, your friends can see it in there.<\/dialogue>\n    <character>RIN (V.O.)<\/character>\n    <dialogue>And dude goes--<\/dialogue>\n    <character>PREPPY WHITE GUY (V.O.)<\/character>\n    <parenthetical>(Rin's voice)<\/parenthetical>\n    <dialogue>I'm just out here for two seconds, chill! If you get fired, I'll get you another job, dog.<\/dialogue>\n    <scene_description>Preppy White Guy LAUGHS. (But it's Rin's LAUGH.)<\/scene_description>\n    <character>TIN (V.O.)<\/character>\n    <dialogue>WHAT?!<\/dialogue>\n    <character>RIN (V.O.)<\/character>\n    <dialogue>Right?! So doorman says--<\/dialogue>\n    <character>COLLIN (V.O.)<\/character>\n    <parenthetical>(Rin's voice)<\/parenthetical>\n    <dialogue>Never mind. You're done. Give me the goblet thing. You can't come back inside.<\/dialogue>\n    <character>PREPPY WHITE GUY (V.O.)<\/character>\n    <parenthetical>(Rin's voice)<\/parenthetical>\n    <dialogue>What are you fuckin dumb?! I already paid!<\/dialogue>\n    <scene_description>Preppy White Guy turns to go back into the bar.<\/scene_description>\n    <character>RIN (V.O.)<\/character>\n    <dialogue>--and dude tries to book it back into the bar on some \"I go where I please\" shit.<\/dialogue>\n    <scene_description>Collin stops him from entering.<\/scene_description>\n    <character>RIN (V.O.)<\/character>\n    <dialogue>Bro here stops dude right as he gets to the door, and dude slaps his arm away.<\/dialogue>\n    <scene_description>Preppy White Guy slaps Collin's arm away.<\/scene_description>\n    <character>RIN (V.O.)<\/character>\n    <dialogue>Now homeboy on the stool starts yellin'--<\/dialogue>\n    <scene_description>Miles jumps up from the stool and begins YELLING:<\/scene_description>\n    <character>MILES (V.O.)<\/character>\n    <parenthetical>(Rin's voice)<\/parenthetical>\n    <character>EY BRUH, YOU BETTER ACT LIKE KNOW<\/character>\n    <dialogue>WHERE YOU ARE.<\/dialogue>\n    <scene_description>Preppy White Guy tries to enter the bar for a second time!<\/scene_description>\n    <character>RIN (V.O.)<\/character>\n    <dialogue>Then dude tries to go back inside Kona again.<\/dialogue>\n    <scene_description>Collin stops him again.<\/scene_description>\n    <character>RIN (V.O.)<\/character>\n    <dialogue>Bro stops him again by the arm, but this time dude yells--<\/dialogue>\n    <character>PREPPY WHITE GUY (V.O.)<\/character>\n    <parenthetical>(with Rin's voice)<\/parenthetical>\n    <character>WHAT THE FUCK, GET OFF ME!<\/character>\n    <dialogue>Preppy White Guy yanks his arm and KICKS Collin in the leg!<\/dialogue>\n    <character>RIN (V.O.)<\/character>\n    <dialogue>Then this shit went BAD.<\/dialogue>\n    <scene_description>We see the fight in SLOW-MOTION exactly as Rin describes it. In case you didn't realize it already... We are now discovering the origin of the abstract SLOW-MOTION FOOTAGE from the opening of the film!<\/scene_description>\n    <character>RIN (V.O.)<\/character>\n    <dialogue>Now, remember dude is carrying a giant alcoholic Scorpion Drink that has a flame in the middle, the drink spills and goes fuckin EVERYWHERE. And it's all on fire...<\/dialogue>\n    <scene_description>Just as Rin describes, in operatic SLOW-MOTION. Flames are everywhere, the guy is on fire, part of Collin is on fire, the alcohol on the ground is on fire.<\/scene_description>\n    <character>RIN (V.O.)<\/character>\n    <dialogue>They fall out on the sidewalk - And this man SNAPS.<\/dialogue>\n    <character>COLLIN (V.O.)<\/character>\n    <parenthetical>(with Rin's voice)<\/parenthetical>\n    <character>AW YOU FUCKIN' DRUNK FUCKBOY!<\/character>\n    <dialogue>This has now become a scene. People everywhere.<\/dialogue>\n    <character>RIN (V.O.)<\/character>\n    <dialogue>...these two are on fucking FIRE. And Fuckboy won't let go of his arm so bro here grabs the Scorpion Bowl and hits the drunk fuckboy with it until...<\/dialogue>\n    <character>COLLIN HITS THE GUY WITH THE BOWL!<\/character>\n    <dialogue>RIN (V.O.)<\/dialogue>\n    <scene_description>...the bowl shatters and there's flaming FRUIT everywhere. There's like chunks of pineapple and watermelon hitting people and cars. The fire is huge, and there's blood all over. He keeps hitting him and hitting him and hitting him!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EZ-LIFT OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Collin stares blankly at Rin and Tin. Tin looks at Rin and then back at Collin in shock.<\/scene_description>\n    <character>TIN<\/character>\n    <dialogue>THAT REALLY HAPPENED??!<\/dialogue>\n    <scene_description>Val looks hurt and sad.<\/scene_description>\n    <character>VAL<\/character>\n    <dialogue>Yeah. It did.<\/dialogue>\n    <scene_description>BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KONA CLUB - NIGHT<\/stage_direction>\n    <scene_description>The re-creation continues: We see the fight from further back, and reveal VAL watching them stomp the kid on the sidewalk. She was inside the bar, and came out to see what the commotion was. She is horrified.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EZ-LIFT OFFICE - NIGHT<\/stage_direction>\n    <character>VAL<\/character>\n    <dialogue>If you stuck around a little longer, you would have seen his white boy on the stool run over and they both stomp this drunk burnt kid out, beat him til he's unconscious, yelling \"Welcome to Oakland!\"<\/dialogue>\n    <scene_description>Rin and Tin realize this is their time to leave.<\/scene_description>\n    <character>RIN<\/character>\n    <dialogue>I seen dude the other day. His face is all weird shaped still.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Well, we gotta go.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>This was fun.<\/dialogue>\n    <scene_description>They leave. Collin turns back to Val at the counter.<\/scene_description>\n    <character>VAL<\/character>\n    <dialogue>\"His. Face. Is. All. Weird. Shaped.\"<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>It was already like that.<\/dialogue>\n    <character>VAL<\/character>\n    <dialogue>You are 'bout to get a restart. You've got to get away from Miles.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Don't. Okay? He's my best friend.<\/dialogue>\n    <character>VAL<\/character>\n    <dialogue>Is he though? I get that you grew up together, but he's gonna get you fuckin' killed.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Miles has had my back since we were like 11, and when I went to jail HE came and visited me all the time--<\/dialogue>\n    <character>VAL<\/character>\n    <dialogue>Yeah, out of guilt, for pushing you into a fight and then not going to jail with you! What if that guy had had a gun? Or if Miles's dumbass had had a gun?<\/dialogue>\n    <character>VAL<\/character>\n    <dialogue>Or if the cops had shown up while you were stomping that white boy? You think they'd have shot Miles?<\/dialogue>\n    <scene_description>Collin's had enough. She took it too far.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Good night, Val.<\/dialogue>\n    <character>VAL<\/character>\n    <dialogue>Collin, I'm trying to--<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Yeah, I get it.<\/dialogue>\n    <scene_description>Collin walks out the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILES'S APARTMENT - KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Ashley is finishing up cooking. The table is set, and she is stirring, sizzling, baking. Miles is in there counting out his money.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILES'S APARTMENT - SEAN'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Collin and Sean are playing with a TRAIN SET, pushing trains along the track, when Collin looks up at...<\/scene_description>\n    <character>SEAN'S BED FRAME<\/character>\n    <dialogue>Collin pauses. Looking intently at the frame... Sean PUNCHES Collin to get his attention.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>I built these bed pieces. Well, not these ones, but like this.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>You don't make beds!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>I don't, but I did for a little while. It was like a temp job...<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Where do you make beds?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>In... jail.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Why were you in jail?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Ummm... For being a tough guy.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>I made this train in class.<\/dialogue>\n    <scene_description>Collin LAUGHS. Moment is broken.<\/scene_description>\n    <character>ASHLEY (O.S.)<\/character>\n    <dialogue>Food time!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILES'S APARTMENT - KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Dirty dishes are all that's left of dinner. Miles has some hamburger left on his plate. Collin and Sean are on the couch eating carrots together, watching TV. Miles is rolling a joint. He watches Sean eat carrots.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Sean, try this hamburger.<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>He likes his carrots!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>He doesn't know his options!<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>Baby do you want carrots or hamburger?<\/dialogue>\n    <scene_description>Miles and Collin each hold out some food for Sean.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Hamburger!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Carrots!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Hamburger!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Carrots!<\/dialogue>\n    <scene_description>Sean goes for the napkin and puts it in his mouth.<\/scene_description>\n    <character>MILES &amp; ASHLEY<\/character>\n    <dialogue>Napkin.<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>Oy. Collin, tonight's the last night! No more piss testing!<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>No more curfew! Are you going to smoke with your friend here?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>I actually think I'm cool off the weed now.<\/dialogue>\n    <scene_description>Miles looks up in shock, and throws down the joint he was rolling.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>It's like... I see that it's him, and I hear that it's him, but then he says these things.<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>Oh we got you something today.<\/dialogue>\n    <parenthetical>(to Sean)<\/parenthetical>\n    <dialogue>Can you go get the shirt for daddy?<\/dialogue>\n    <scene_description>Sean runs out of the room.<\/scene_description>\n    <character>ASHLEY<\/character>\n    <dialogue>Sean pointed at this and I was like \"yup, you are your Daddy's son, alright.\"<\/dialogue>\n    <scene_description>Sean comes back and gives a rolled up shirt to Miles. Miles unrolls it, then spins it around to show everyone. In bold block letters it reads:<\/scene_description>\n    <character>KILL A HIPSTER<\/character>\n    <dialogue>SAVE YOUR HOOD<\/dialogue>\n    <dialogue>Seeing it, Miles pretends to get choked up.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>That's my BOY!<\/dialogue>\n    <scene_description>Miles gets up excited and runs to put it on. When he gets up, he shakes the dinner table and almost knocks everything over.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILES'S APARTMENT - MILES'S BATHROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Miles finishes putting on his new shirt in the mirror.<\/scene_description>\n    <character>MILES<\/character>\n    <parenthetical>(yelling to other room)<\/parenthetical>\n    <dialogue>It feel kinda small though. Ain't it kinda too small?<\/dialogue>\n    <scene_description>Collin and Ashley walk in the bathroom door to inspect him. Miles tries to pull the shirt down more to make it bigger.<\/scene_description>\n    <character>ASHLEY<\/character>\n    <dialogue>Aw, baby. You look so good!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Yeah baby you look good.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>THIS SHIRT IS TOO SMALL, AND YAL<\/dialogue>\n    <character>KNOW IT!<\/character>\n    <dialogue>Miles pushes past them both, and goes to the living room.<\/dialogue>\n    <dialogue>They exit the bathroom, following Miles...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILES'S APARTMENT - LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>...only to see Miles frozen. We hold on him for a moment. Then we go WIDE to see what he's looking at... Sean is holding Miles's gun. EVERYONE is frozen. Complete shock. Ashley finally manages to speak.<\/scene_description>\n    <character>ASHLEY<\/character>\n    <dialogue>Baby, p... put that down.<\/dialogue>\n    <character>MILES<\/character>\n    <parenthetical>(authoritatively)<\/parenthetical>\n    <dialogue>Sean, put that down. Right now!<\/dialogue>\n    <scene_description>Sean LAUGHS and turns it around...<\/scene_description>\n    <character>...AND STARES DOWN THE BARREL.<\/character>\n    <dialogue>COLLIN<\/dialogue>\n    <scene_description>It's loaded. Nobody move. The three of them slowly make their way towards Sean. They try to circle him, and get closer without making any sudden movements. Sean glances at Collin, who is making his way around the couch. Ashley starts crying quietly.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Hey, Sean. Put that down...<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>Baby, I need you to put that down.<\/dialogue>\n    <scene_description>Collin inches closer and closer, until he is right in front of Sean. Sean is staring down the barrel, and then looks up at Collin. They stare at each other for a moment. Then suddenly... ...Collin swipes the gun from him! Ashley runs over, grabs Sean, and starts CRYING. She is facing away from them both.<\/scene_description>\n    <character>ASHLEY<\/character>\n    <dialogue>Is that your gun, Collin?<\/dialogue>\n    <scene_description>Collin and Miles meet eyes for a long moment... Collin looks away first.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>GET OUT, MILES! GET THE FUCK OUT!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>It was a fuckin accident, I...<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>YOU BROUGHT A FUCKIN GUN IN THIS<\/dialogue>\n    <character>HOUSE! GET THE FUCK OUT, NOW!<\/character>\n    <dialogue>NOOOWW!<\/dialogue>\n    <scene_description>Miles starts grabbing his money off of the table while she yells. He is moving slowly like HE is mad. He looks back at Ashley who is crying and furious, then walks out the door. Collin, filled with remorse and guilt, puts the gun in his back pocket and walks out the door behind Miles.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>I'm sorry we...<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>YOU LET HIM BUY A FUCKING GUN! GET<\/dialogue>\n    <character>OUT!<\/character>\n    <dialogue>Collin walks out and shuts the door.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MILES'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Miles takes a swig of his flask, POWER WALKING fast towards the corner. Collin is walking beside him, both are a bit irritated with each other. Collin hands Miles back his gun.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Just get rid of it!<\/dialogue>\n    <scene_description>Miles snatches back his gun, looks around, then stuffs it in his waistline.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>You couldn't just say it was yours for two seconds?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>No, it's not my gun! I told you I didn't want nothin' to do with that thing.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>It doesn't make it yours. It just makes it NOT mine!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>I'm not gonna be the one who brought a gun around a three-year- old.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Now I'm the dad who brought a gun around his kid?!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Well, ain't that what happened?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>I know what happened!<\/dialogue>\n    <scene_description>Miles and Collin both get texts from NAK. It's about the party. Their screens read, \"Yal gotta come to my work party tonight.\"<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Fuck it.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Fuck it, what fuck it? Fuck what?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>We goin to that party.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>The hell we are.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>We can't go back in there, what - you wanna spend your first night with no curfew at the halfway house?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>I am not goin to no fuckin party where no bullshit can happen.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Bullshit happens out HERE. Nak's work party is squarest as square places get. It's techies and artisan beer. I'm calling an Uber.<\/dialogue>\n    <scene_description>Collin looks around for another option. Sees a cop car parked across the street at the Laundromat.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Fine, but I'm not bein' around no hot shit tonight.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>It's here already.<\/dialogue>\n    <scene_description>Just as Miles finishes his sentence, Dez pulls up in his scraper car with the Uber sticker in the window.<\/scene_description>\n    <character>DEZ<\/character>\n    <dialogue>My niggaz! Your Uber is arriving!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>DEZ! What are the odds, of this.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Of-fucking-course we did.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. NEW CAR - NIGHT<\/stage_direction>\n    <scene_description>Dez is driving, with Miles sitting shotgun and Collin in the backseat. Music blasts OBNOXIOUSLY LOUD. Subwoofers attracting a lot of attention. They swerve through Oakland. Miles dancing in his chair, leaning on the steering wheel, smoking a cigarette. They drive past a COP, Collin sees it. Miles yells out the window, being ignorant.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Bruh, sit the fuck down!<\/dialogue>\n    <scene_description>He pulls Miles back into the car.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Just cuz YOU don't wanna celebrate, fine I'll celebrate for you.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Don't yell out the window like a fuckboy.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Oh, I'm a fuckboy tonight. Better a fuckboy than a snitch, bruh.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Fuckboy.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Snitchin' ass Collin.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Fuck. Boy.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Snitch.<\/dialogue>\n    <character>DEZ<\/character>\n    <dialogue>As your driver, I'ma just keep it professional and stay out of this.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEST OAKLAND HOUSE PARTY - NIGHT<\/stage_direction>\n    <scene_description>Collin and Miles head inside the party and look for their friends. It's a hipster party. Plastic cups and drinking games, bongs and jello shots. As they walk up the stairs they run into SID, white and a very enthusiastic party host.<\/scene_description>\n    <character>SID<\/character>\n    <dialogue>That shirt is fuckin EPIC. \"Kill a Hipster, Save Your Hood.\" I love it.<\/dialogue>\n    <scene_description>He pats Miles on the chest, and keeps walking.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>There's Nak.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>...I'm getting a drink.<\/dialogue>\n    <scene_description>Miles leaves Collin and heads towards the kitchen. Collin heads over to NAK (female, 30s, Black), a few others, and TERRY (29). He's a well dressed, preppy, Black man who is apparently here with Nak.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>What's good, ya'll?<\/dialogue>\n    <character>NAK<\/character>\n    <dialogue>Collin, this is Terry, we work together at Youth Radio. Terry... Collin. He's a free man today.<\/dialogue>\n    <scene_description>Terry stands to shake Collin's hand.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Sup.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>How's it going, man?<\/dialogue>\n    <scene_description>Sid comes by to check on them again.<\/scene_description>\n    <character>SID<\/character>\n    <dialogue>Hey, everyone good? You guys need dranks? No? You good? Good? There's plenty of drank in the kitchen homies. Feel free!<\/dialogue>\n    <scene_description>Everyone starts to sit down on a couch and place their cups on the coffee table. Just as they do, Sid freaks out.<\/scene_description>\n    <character>SID<\/character>\n    <dialogue>Oh! No cups! These are actually original Oakland Oak tree stumps, 140 years old. Isn't that crazy? Oh and check this out...<\/dialogue>\n    <scene_description>Sid leads them over to the wall over the fireplace, where a photo is hanging of himself, wearing a tribal gown and sandals, long hair in a bun, hugging a group of African children, with them all wearing American clothing.<\/scene_description>\n    <character>SID<\/character>\n    <dialogue>Some of us execs started a non- profit to build water filtration systems in Ghana, spent the last two months over there and these kids changed my life. That's Nahimbi, Tarani, Terendi, and Nahandi. They are AMAZING. They taught us a lot about love and culture. And ourselves.<\/dialogue>\n    <scene_description>A friend of Sid, JEFF, grabs him for a big hug and pulls him away from the group. The crew stares in shock at the picture.<\/scene_description>\n    <character>NAK<\/character>\n    <dialogue>I... I hate him so much.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>I'm going to get some \"drank\" from the kitchen. \"Anyone want anything? No? No? You good?\"<\/dialogue>\n    <scene_description>Terry heads to the kitchen.<\/scene_description>\n    <character>NAK<\/character>\n    <parenthetical>(to Collin)<\/parenthetical>\n    <dialogue>Where's your platonic life mate?<\/dialogue>\n    <scene_description>Collin gestures towards Miles in the kitchen. In his new shirt, Miles blends in with the crowd of white hipsters.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>It's like releasing a wild animal into a fake habitat for the first time. Checkin' it out, doesn't trust anything--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEST OAKLAND HOUSE PARTY - KITCHEN - CONTINUOUS<\/stage_direction>\n    <scene_description>Miles walks around a corner and notices that this party has been catered by the new Kwik Way. Trays of pre-made burgers are laid out, ALL with stickers that say \"VEGAN.\" POTATO WEDGES are in little trays. Miles sighs uncontrollably. Another dude, EDDIE (late 20s, white) is standing by the counter. Terry enters the kitchen looking for the drinks.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>This isn't fuckin Kwik Way! Kwik Way doesn't cater! It's Kwik, it's round the Way, it's in the name!<\/dialogue>\n    <character>EDDIE<\/character>\n    <dialogue>Who the fuck ordered ALL vegan. You bougie fucktards.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>My bruh, thank you. Finally a mothafucka wit' some perspective, ya dig.<\/dialogue>\n    <scene_description>Miles pats the dude on the arm as Eddie walks off. Pouring drinks, Terry laughs and scoffs a little at Miles. Miles immediately turns his attention to Terry scoffing at him.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>You good?<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Yeah, \"I'm good.\" Lol.<\/dialogue>\n    <scene_description>As Terry walks away with two drinks, he tries to have a \"teachable moment\" with Miles. He notices Miles's gold teeth.<\/scene_description>\n    <character>TERRY<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>Oh, the grill! You have a grill in. Wow.<\/dialogue>\n    <parenthetical>(to Miles)<\/parenthetical>\n    <dialogue>You know, you don't have to act ghetto to hang here. Have fun, bud. Welcome to Oakland.<\/dialogue>\n    <scene_description>Terry pats Miles's back, and heads back to the living room. Miles stays there, processing what just happened. He stares down at the Kwik Way burgers. He looks back at the sea of people partying in the kitchen.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEST OAKLAND HOUSE PARTY - LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Terry walks back to Nak and Collin. He is excited to tell them about the \"hipster kid\" he just met.<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>Oh, man. It doesn't stop. Some hipster kid in the kitchen is full on culture vulture. \"What it do my bruh, it's lit!\" Just, so many layers. I was like \"Um, don't talk like that. That's not you.\"<\/dialogue>\n    <character>COLLIN AND NAK<\/character>\n    <dialogue>Ha!<\/dialogue>\n    <character>NAK<\/character>\n    <dialogue>Stick together everyone! Lock arms!<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>I made two more I'll be right back.<\/dialogue>\n    <scene_description>Terry walks back to the kitchen. Collin takes a sip of his drink. He looks up at where Terry is walking, and sees Miles, fuming mad, staring at the wall in the kitchen. His fists are balled. He is staring at himself in a mirror. BREATHING HEAVILY. Collin realizes that Miles is who Terry was making fun of.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Oh, fuck.<\/dialogue>\n    <scene_description>It's too late.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEST OAKLAND HOUSE PARTY - KITCHEN - CONTINUOUS<\/stage_direction>\n    <character>MILES GRABS TERRY BY THE COLLAR AND STARTS HITTING HIM OVER<\/character>\n    <dialogue>AND OVER! Terry tries to fight him off but Miles is way more mad and violent, swinging Terry around.<\/dialogue>\n    <dialogue>Collin runs over and grabs Miles, pulling him out of the kitchen, and through the living room.<\/dialogue>\n    <dialogue>Terry is bleeding on the floor, people helping him up.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>C'mon, bruh!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEST OAKLAND APARTMENT - NIGHT - MOMENTS LATER<\/stage_direction>\n    <scene_description>Collin pulls Miles away from the house. Terry comes out the front door, embarrassed, and looking for a rematch. Dozens of people from the party follow him outside, until there is a crowd on the sidewalk.<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>Ey white boy, no, get over here!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Come on then!<\/dialogue>\n    <scene_description>Miles pulls off his shirt, revealing he is covered in tattoos. Terry runs at Miles and grabs him by his arms, and pushes him against the house. Terry hits him a few times. Miles grabs him by his neck, and decks him, knocking Terry against a car. Terry reaches out as he falls and tries to put Miles in a HEADLOCK and starts to choke him. Miles head butts him sharply, and Terry falls. Miles punches him in the face, and kicks him in the ribs, 2, 3, 4 times. Collin watches in horror as the whole crowd is yelling at Miles to stop. Miles continues to kick Terry, yelling incoherent things. Finally he steps back. Some of Terry's friends run over and pick him up. He's in bad shape but manages to stand up. The whole crowd is looking at Miles. A small circle is around him, as he stands in the middle alone. He is bleeding, spits out some blood. He looks over and sees Collin. They lock eyes, Miles looks hurt and furious. Sid, nearly hyperventilating, comes out from the crowd. He looks at Miles with disgust and yells:<\/scene_description>\n    <character>SID<\/character>\n    <dialogue>GET THE FUCK OUT OF HERE!<\/dialogue>\n    <scene_description>Miles spins around, looks at him and is wildly offended all over again.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>WHAT? GET THE FUCK OUTTA WHERE? YOU<\/dialogue>\n    <character>GET THE FUCK OUTTA HERE!<\/character>\n    <dialogue>Miles pulls THE GUN out from his back pocket, and holds it in the air over his head. He fires off a few shots!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>NO!<\/dialogue>\n    <scene_description>The crowd goes into a PANIC, fleeing the scene in every direction.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Y'all want Oakland, right? Ya'll love it here, right? Y'all get the fuck outta here!<\/dialogue>\n    <scene_description>Collin grabs Miles, pulling him down the street as the two begin to run off. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ABANDONED PARKING LOT - NIGHT<\/stage_direction>\n    <scene_description>They're running away from the party now. Tension is high between them. They run a few blocks and spill into an abandoned lot. They stop to catch my breath.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Gimme my pistol!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Hell no. Are you fucking crazy?! Really Miles, really? Had to go down, tonight!!!?? Then what? They call the police and come shoot my black ass not you?!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Fuck is your problem? You didn't do a fuckin thing!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>That's Nak's patna!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Is that YOUR patna?? I don't give a fuck if it's her patna. Shit, I backed YOU up in the exact same situation, and you didn't even help!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Yeah, cuz that was fuckin' stupid.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>What does that mean? YOU'RE mad at ME and I'm stupid now?<\/dialogue>\n    <scene_description>YES!<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>For WHAT? For being exactly who the fuck I've always been?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>For being hella extra at all times when nobody is comin for you, yes! Why is that still?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Still? Look who the fuck I am, WHERE the fuck I grew up, Collin! This how I survived out here! I ain't nothin new, YOU the one actin brand new. Why I gotta act like that?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>I dunno, since you had a kid, since I got locked up, since were two grown ass men, and you ain't got to!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>--and WHAT! I'm supposed to switch it up for who? Is that why you eat fuckin' vegan burgers and drink juice to impress some female? You don't wanna be YOU no more, you wanna what, fit in with them hipster kids like you ain't from here?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>I ain't got to prove I'm from here!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Well good for you!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Nigga you got somethin to prove to everyone!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>That's what happens when everyone around you got you FUCKED UP! YOU can dress however you want Collin, but nobody got you fucked up ever, you a big black dude with dreads in West Oakland, no one is misreadin' you.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Yeah... I know.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>YEAH.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Yeah, my nigga...<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>No. Say it.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Say nigga.<\/dialogue>\n    <scene_description>Miles pauses for a while.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Fuck you.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Say it. Say nigga. Say, \"Yeah my nigga!\"<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>...no.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>SAY IT!!!!!!!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>No, I don't say that shit.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Why not??<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Because it's... What?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Because why?!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Cuz I'm not callin' you that. I'm not a disrespectful mothafucka!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>But I can call YOU \"nigga?\" Nigga?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Go nuts!<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Why???<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Because you started calling me that when we were like twelve and I didn't trip.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>If it's so offensive, why do you let me call you it?<\/dialogue>\n    <scene_description>Long pause, staring at each other. Miles is completely confused.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>You're a nigga, Miles.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>You're fuckin nigga, Miles. Okay?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>No, I'm not.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Oh, you're not?? You're not just like me? You don't act just like me? I'M a nigga. In fact you do more nigga shit than I do. You.....<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Yeah, but I'm not....<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Black? No you're a nigga, just like me. And I'm wonderin' why you get to walk around with the white force field on.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Why do you get to be safe?! - Ashley is right, you don't care about shit. You go around actin' an ass like there's no consequences for nothin! Meanwhile I try to keep our shit in order and help... and every time a nigga sees me they think I do the dumb ass, no sense, bad dad, irresponsible gun carryin' kinda' shit you do. Meanwhile I take care of my shit, do our time sheets every week, pick us up, keep YOU outta dumb shit - While you go and buy guns, what, for your fuckin FAMILY? You're the nigga! You're the nigga they out here looking for!<\/dialogue>\n    <scene_description>Miles is stuck for a second. Collin starts to walk away from Miles. He is walking home.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Where the fuck are you goin?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>You not fuckin up my shit tonight Miles. I'm THIS fuckin close.<\/dialogue>\n    <scene_description>Miles stands there shocked, until Collin is out of frame.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>Miles walks home alone, bleeding, looking around. He walks down a main street. No one bothers him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>Collin walks home alone, nervous, looking over his shoulder constantly. Scanning the streets. He decides to jog.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILES'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Miles walks in, not expecting anyone to be awake. Ashley is sitting at the table. Miles is still covered in blood. She starts to scold him but then notices how he looks.<\/scene_description>\n    <character>ASHLEY<\/character>\n    <dialogue>You better not have that fuckin gun on you. Cuz if-- Miles, what the hell?!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>I got into a fight. Think I broke my hand.<\/dialogue>\n    <scene_description>Ashley's expression changes from furious to shock to deep disappointment and dismay.<\/scene_description>\n    <character>ASHLEY<\/character>\n    <dialogue>What the fuck were you fighting about?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Just...<\/dialogue>\n    <parenthetical>(...realizing)<\/parenthetical>\n    <dialogue>Nothing important.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILES'S APARTMENT - LATER<\/stage_direction>\n    <scene_description>Miles is holding his hand in the freezer. Ashley comes in with an ACE BANDAGE and begins wrapping his palm. He is sitting in a chair and she kneels next to him. She is doing it with anger, and too fast. Ashley is upset, and biting her tongue. Ashley finishes tying the bandage and YANKS hard.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Ow!<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>Shut up.<\/dialogue>\n    <scene_description>She yanks again.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>OW!<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>Shut up!<\/dialogue>\n    <scene_description>Miles looks at her hopelessly.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Yes, I got into a fight! You wanna be mad about that?<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>Yes! But, no! You are pickin the wrong fights. Alright... THIS...<\/dialogue>\n    <parenthetical>(motions to the apartment)<\/parenthetical>\n    <dialogue>...is already hard. THIS is work. HE is WORK, and I don't feel like you're HERE with me right now.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>I didn't buy the gun on some TOUGH shit, I was tryin' to--<\/dialogue>\n    <scene_description>Ashley's tone turns a bit more solution driven, but still desperate.<\/scene_description>\n    <character>ASHLEY<\/character>\n    <dialogue>I know why you thought you needed to get a gun--<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>I shoulda been more careful with where I had it.<\/dialogue>\n    <scene_description>Ashley SMACKS him upside the head.<\/scene_description>\n    <character>ASHLEY<\/character>\n    <dialogue>No, stupid! You shouldn't have made a decision to buy a gun without me! Or goin' out and brawlin' with niggaz and god knows what the hell could happen to you.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>It's not just YOU in this!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>OK, THIS was some mothafucka...<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>Before you give me another excuse, which with your mouthpiece will seem like an airtight defense-- let me ask you something. Were you afraid when you came out here and saw Sean holding the gun?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>OK, so me too. And do you think that if you had told me about possibly buying a gun, I might have seen that scenario coming?<\/dialogue>\n    <scene_description>Miles looks at the floor and processes. Then he starts nodding.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>That's a really good point. That's a REALLY good point.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>If you go out and get a job in sales, you can list me as a reference.<\/dialogue>\n    <scene_description>Ashley YANKS on his hand wrap, way harder than she meant<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>OWWW!!<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>HA! Maybe if you niggas weren't so wi -<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Don't call me that.<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>What? Nig --<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Don't call me that.<\/dialogue>\n    <scene_description>Ashley pauses.<\/scene_description>\n    <character>ASHLEY<\/character>\n    <dialogue>Ok.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>I love you.<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>I love you too.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CORNER OF COLLIN'S STREET - NIGHT<\/stage_direction>\n    <scene_description>Collin has jogged the whole way back. When he gets to the corner of his street, he stops to look up at the street sign. He stares at the Oak tree. As he is standing there, a COP CAR flies by before abruptly stopping a few cars past Collin... Collin stops for a moment, but then starts walking quickly towards his halfway house. The cop car turns around slowly and creeps until it's right behind Collin. Following him at the same pace he is walking. ANGLE ON: Collin's pocket with the gun. Collin realizes... ...he still has Miles's gun.<\/scene_description>\n    <character>COLLIN<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>Fuck fuck fuck fuck fuck.<\/dialogue>\n    <scene_description>The cops SHINE THE LIGHT on Collin, and he freezes. He faces them. A deer caught in headlights. They hold the light on him for what feels like forever. But then... The cop radio CHATTERS. The light clicks off... ...and the cop car SPEEDS OFF. Collin drops to his knees. He BREATHES HEAVILY and stares in the direction that the car went.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLIN'S HALFWAY HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Collin walks in the front door, closes it, and stands there in the hallway. He is quiet, standing alone. He looks at the chore board in the hall, his name still has \"BATHROOM DUTY\" written next to it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLIN'S HALFWAY HOUSE - COLLIN'S ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>He walks into his room, and locks the door behind him. He gets ready for sleep, takes his pants and shirt off, then sits on the edge of the bed. He pulls THE GUN out of his pocket and stares at it. Stuffs it back in his jean pocket on the floor, and lays on his back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAL'S BEDROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Val's phone rings, she is studying for exams. We INTERCUT between Val and Collin for this conversation:<\/scene_description>\n    <character>VAL<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>...Hi.<\/dialogue>\n    <character>VAL<\/character>\n    <dialogue>...um<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>How's the memorizing going?<\/dialogue>\n    <character>VAL<\/character>\n    <dialogue>Yeah, trying to get these Psychology terms down.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>What...name did you come up for the double picture one? The faces and vase one.<\/dialogue>\n    <character>VAL<\/character>\n    <dialogue>Oh! That one I like. I called it \"Blindspottin'.\"<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>...why blindspottin?<\/dialogue>\n    <character>VAL<\/character>\n    <dialogue>Because it's all about how you can look at something and miss the other thing there. So you always got a blind spot.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>But you don't have a blindspot once someone points out the other picture to you.<\/dialogue>\n    <character>VAL<\/character>\n    <dialogue>Mmmm, but you can't go against what your brain wants to see first. So you're blind to the spot you aren't seeing, you got a blind spot, \"blindspottin'\"<\/dialogue>\n    <scene_description>Collin takes that in for a while. The call is quiet.<\/scene_description>\n    <character>VAL<\/character>\n    <dialogue>Collin?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>When you look at me...do you see the fight first?<\/dialogue>\n    <scene_description>Val is quiet on the other end for a long time. She puts her head down. Collin drops his head too. Her silence says everything.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Good luck with your tests tomorrow, Val.<\/dialogue>\n    <character>VAL<\/character>\n    <dialogue>...Coll--<\/dialogue>\n    <scene_description>And he hangs up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLIN'S HALFWAY HOUSE - COLLIN'S BEDROOM - MORNING<\/stage_direction>\n    <scene_description>The alarm clock jolts him awake. No gunshot. Collin opens his eyes. It's a new day. He wakes up, and looks at the map on the wall. He rips it down, throws it in the trash. He picks up the TRUMPET. Looks it over.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLIN'S HALFWAY HOUSE - BATHROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Collin cleans the horn in the sink, the mouth guard, all the valves, etc. It shines a surprising amount with a little love and care. He attempts to blow it, but no sound comes out. He pulls a valve on the bottom, holds it over the drain, and watches a DIRTY UGLY OOZE slide out of the trumpet. It's a lot, draining into the sink. He tries the trumpet again, and it makes a HUGE SOUND. We hear James off in the distance:<\/scene_description>\n    <character>JAMES (O.S.)<\/character>\n    <dialogue>Oh HELL no! It's 7am! Better be some cleaning going on!<\/dialogue>\n    <scene_description>Collin SMILES. We see a mop behind him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KONA CLUB - DAY<\/stage_direction>\n    <scene_description>Collin has earbuds in, rhyming to himself. He rounds the corner, glancing at Kona's door. As he passes Kona, he steps on something squishy and stops. He looks down, and it's... ...a strawberry, right where his fight happened. He shakes it off and keeps running.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOUNTAIN VIEW CEMETERY - DAY<\/stage_direction>\n    <scene_description>He enters the cemetery and starts his loop. After a bit, he looks up to see the BLACK MAN WHO WAS SHOT staring at him. Sitting on top of a HEADSTONE. Collin looks forward and keeps running when he notices... ...a SECOND BLACK MAN sitting on another headstone. He closes his eyes trying to will the hallucination out of his mind. Collin opens his eyes and keeps going. But then notices another, and another, and another. Other people are walking through the cemetery, but they can't see all the black men sitting on the headstones. More and more appear, staring at him.<\/scene_description>\n    <character>COLLIN LOOKS AROUND AND NOW EVERY HEADSTONE IN HIS SIGHT HAS<\/character>\n    <dialogue>A BLACK MAN, HIS AGE, WEARING HOODIES, STARING AT COLLIN!<\/dialogue>\n    <dialogue>Collin is frantic, running fast to get out. Eyes nearly closed, he bursts out onto the street. He keels over to catch his breath. Collin stands up and looks back. Now he sees what everyone else sees...<\/dialogue>\n    <dialogue>...just rows of gravestones.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILES'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Miles answers the door for Collin. Collin looks distraught. Ashley is dressing Sean in the background, Miles and Collin don't say anything to each other. Collin is still wearing his running clothes.<\/scene_description>\n    <character>ASHLEY<\/character>\n    <dialogue>Hey Collin!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>We late, we gotta go straight to the first appointment. I called the office &amp; got the address.<\/dialogue>\n    <scene_description>Ashley comes over, acting silly. She jumps towards him in celebration.<\/scene_description>\n    <character>ASHLEY<\/character>\n    <dialogue>Colliiiiiin! You are freeeeeee! Do you feel liberated today? Fresh start fresh start fresh start.<\/dialogue>\n    <scene_description>She grabs Sean and dances with him.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Yeah, I'm good.<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>And not a scratch on ya! Must got them quick hands quick hands!<\/dialogue>\n    <character>MILES<\/character>\n    <parenthetical>(under his breath)<\/parenthetical>\n    <dialogue>That's not why.<\/dialogue>\n    <scene_description>Sean runs up, jumping over them both, then he punches Collin.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>A-ha-how! Excuse me?<\/dialogue>\n    <scene_description>Sean puts his dukes up, keeps punching Collin.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Ha! Stop!<\/dialogue>\n    <character>ASHLEY<\/character>\n    <dialogue>Sean, quit being a tough guy, don't punch Collin.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Ease up, lil man!<\/dialogue>\n    <scene_description>Sean gives a big LAUGH, they play box and spill into the living room. Collin tries to avoid the punches. Collin sits down to be eye-level with Sean. They're at a standoff. Collin and Sean stare at each other to see if Sean is going to PUNCH again. Finally, he does.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Ey, quit it!<\/dialogue>\n    <scene_description>Sean goes for it again. Collin changes his tone, points at Sean, and forcefully commands him.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>STOP!<\/dialogue>\n    <scene_description>Right then, Sean throws his hands up in the air over his head. And says:<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>Don't shoot!<\/dialogue>\n    <scene_description>The room is quiet, Collin processes this. They are alone in the room, a 3-year-old with his hands up, and Collin with his finger pointed. He sits back in shock. His terror begins to return. He slumps back into the chair, he recedes back into his own head. We overhear Ashley, almost in the distance.<\/scene_description>\n    <character>ASHLEY<\/character>\n    <dialogue>Oh, good, baby! See they said he was too young for that pamphlet, but he took right to it.<\/dialogue>\n    <scene_description>Sean giggles. Collin is frozen, staring at Sean. Looks almost on the verge of tears. Collin slowly, uncomfortably slips backwards as everything else seems to fall away. We see Sean as a fully grown man standing in front of him, dressed like Collin.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OAKLAND STREETS - DAY<\/stage_direction>\n    <scene_description>Like a dream, we see rows of street signs are going by, over and over again as the signs drive by. We see the the EZ LIFT TRUCK rolling down the street overhead<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE IN EL SOBRANTE - DAY<\/stage_direction>\n    <scene_description>Collin opens his eyes. Miles and Collin are in the EZ-Lift truck and have arrived at a house in North Oakland. A woman and her son are standing on the porch to greet the boys. This is RACHEL. Her son is around Sean's age. They get out and make their way up the steps, to greet her on the porch. Rachel has a FORCED SMILE when they get up the stairs.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Um... Good morning.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Good morning. We're with EZ Lift for Rachel?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Oh! Hi, ok. Thanks for coming. So... It's just a ton of boxes in the living room mostly. My son and I are going take off, but my...<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>um... husband is downstairs. I got a storage from you guys so it's just all going back there until I figure out what to do.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Oh ok. So all the boxes are just in here?<\/dialogue>\n    <scene_description>Miles opens the door, and the alarm goes off. Rachel spins back around.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Sorry about that, I cancelled the service, but it beeps by default when it's open. Just pull it closed when you're done. Say bye, Zander!<\/dialogue>\n    <scene_description>Rachel looks at Collin on the way down the stairs. He's still in a daze from earlier. Rachel's momentarily confused by this, but keeps walking. She gets in her car and drives off. They notice her car is already filled with belongings.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. HOUSE IN EL SOBRANTE - DAY<\/stage_direction>\n    <character>MOVING MONTAGE:<\/character>\n    <dialogue>The boys pick up boxes and load them into the truck. They still aren't talking.<\/dialogue>\n    <dialogue>We see them in the living room lifting and clearing them out.<\/dialogue>\n    <dialogue>Moving some furniture...<\/dialogue>\n    <dialogue>Miles notices a manilla envelope on the table with a wedding ring left on it....<\/dialogue>\n    <dialogue>Walking the boxes down the stairs...<\/dialogue>\n    <dialogue>Loading the truck with boxes...<\/dialogue>\n    <dialogue>Red sticker boxes on one side and blue on the other...<\/dialogue>\n    <dialogue>And finally...<\/dialogue>\n    <character>END OF MONTAGE<\/character>\n    <dialogue>...Collin breaks the silence.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>I'll go get the last box.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Ok...I'll finish packing the truck.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE IN EL SOBRANTE - DAY<\/stage_direction>\n    <scene_description>Collin enters the nearly empty living room. Just a few items are left. A LAMP. A CHAIR. A COUPLE TURNED DOWN PICTURE FRAMES. Collin walks over and turns over one of the frames on the mantle. It's a photo of a uniformed cop, Collin freezes... It's the COP who murdered the young man. While Collin stands there, stunned, he hears a CRASH from the basement. He can't tell if it's in his head. He hears another CRASH, the sound of GLASS SHATTERING...and looks towards the top of the stairs, the door to the basement is ajar. Collin stands at the top of the steps to the basement, and looks down. He hears something else down in the basement fall over and break. His mind is racing. Shock. Horror. Collin is also filled with another feeling. Anger. He balls his fists.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE IN EL SOBRANTE - BASEMENT - CONTINUOUS<\/stage_direction>\n    <scene_description>Collin descends the staircase to the dark basement. As Collin approaches the first turn in the stairs, he sees an OAKLAND POLICE DEPARTMENT flag hung on the wall. He turns another corner, and finds the officer, in sloppy stained clothes. He's standing over a broken sculpture and a few other shattered belongings. The cop is winded, breathing heavily. Distraught and beaten down. The cop looks up, recognizes Collin. Collin recognizes him. The cop looks towards his coffee table. Collin notices his eyes dart, and looks there too. The cop's firearm is sitting there. The cop shifts his weight as if he is going to go for it, and Collin panics in fear. Collin dives his hand into his pocket, pulls out Miles's gun, and points it at the Cop. Just then...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE IN EL SOBRANTE - LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>...Miles comes through the front door looking for Collin.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Yo!<\/dialogue>\n    <scene_description>The alarm begins to BEEP loudly and rhythmically. Miles spots the picture frame flipped over to reveal the photo. He looks at it curiously, like he's seen it before... Suddenly it clicks.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <parenthetical>(yelling)<\/parenthetical>\n    <character>COLLIN!<\/character>\n    <dialogue>The BEEPING of the door alarm continues. Miles sees the open door to the basement--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE IN EL SOBRANTE - BASEMENT - CONTINUOUS<\/stage_direction>\n    <scene_description>Miles bolts down the stairs. He sees the flag at the turn, hits the corner, and freezes when he sees Collin. Collin breathes heavily, gun in hand, pointed at the cop. The frozen cop in front of him. Miles doesn't move a muscle. The alarm sounds, in between BEEPS you could hear a pin drop. The alarm sounds just like the alarm in Collin's dreams. Collin is sweating, and won't stop staring into the eyes of this cop. The same way he stared at the wall of his bedroom in the halfway house. The same way he stared frozen in moments of pure fear these last four days. The cop tries to speak.<\/scene_description>\n    <character>COP<\/character>\n    <dialogue>Don't -<\/dialogue>\n    <scene_description>Collin interrupts him:<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>HOW!!! HOW?<\/dialogue>\n    <dialogue>Are you just LIVING? Just living your life. Moving with your wife...<\/dialogue>\n    <scene_description>The cop switches his focus back to the gun. Collin notices:<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Oh, does this scare you? What you know about scared?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Collin...<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Were you worried someone come'd to get ya?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Collin.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>What? I'm just talkin' to him! You said to make it fun to listen to, right nigga?<\/dialogue>\n    <scene_description>Miles gets quiet again, he doesn't want any part of this.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Like a tree on a sign, nigga we cut right down Paul Bunyan ass cops come to chop me at the knees and search the trunk in my own town Did you count his rings when you bled him? When you dead him How old was he? HUH, HOW OLD WAS HE!<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>COLLIN<\/dialogue>\n    <dialogue>That's how many years you decided didn't mean shit<\/dialogue>\n    <scene_description>Collin gestures with the gun idly.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Collin...<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Moving people in and out for a fee feeding this town decay an appetite of me an appetizer, huh. I MUST be tasty I have to stay angry cuz yal get hazy Stop. and look. and see and yeah you might think you know what's happening but you don't ...FEEL it like WE do.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>To feel it, it has to... BE you. CUT you You ain't felt what the cut do THEN you'll see the faces, leave the Vases Make this the \"fight of our fucking TIME\" Whose time is it, is it my time yet, is our time? I paid the fine, I did the time, watched YOU make panicked frantic man fleeing the scene flatline Was it worth it? HUH! Are you perfect??? HUH! Were you right about what's goin' round In Oakdown, where down is up, up is down you monsters have me feelin' like the monster in my own town And I'll say it while I'm rappin, nigga Cuz everybody condition to listen to a rappin' nigga But I'm rappin' to the active nigga You the one cappin' niggas! Huntin' us til a headstone stuck in the mud In a city on the come up but throws no rope down for the ones who it broke down But stuck it out, which turned us some \"thugs!\" Now the city all brand new, and you throwin out US? \/ Might as well both break shit, make a fuss! I'm both pictures! See both pictures! SEE BOTH PICTURES!<\/dialogue>\n    <scene_description>Collin starts breaking everything left in the room. Vases, picture frames against the wall.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>SEE BOTH PICTURES!<\/dialogue>\n    <scene_description>GOES INTO DOUBLE TIME. He puts the gun up and walks towards the cop, gets to the last line.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Guess I'm a little bigger what a picture \/<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>This might shift the winter Everybody want a body of a cop to splinter I mean why wouldn't I split him he out splittin' wigs for 80k a year And ain't even from here who gone miss him if he disappear--<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>When Miles speaks, the music go away, we hear how quiet and horrific this is outside of Collin's head:<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>And me the enabler enabling this to be I get no mistakes! But you can mistaken me? You get to make the mistake of takin' aim at me? Do you think you should die for it? If everybody blind, who gonna miss an eye for an eye for it.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>The music is back, we are back in Collin's reality:<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Fillin up with fear I know you feel it, I been feelin' it for years In fact I don't remember ever never feelin' it<\/dialogue>\n    <scene_description>Double time continues for a bit.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Collin!!<\/dialogue>\n    <scene_description>Collin finishes his line and pulls the trigger. Nothing happens, the gun isn't loaded.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Difference between you and me is I ain't no killer. I ain't no killer.<\/dialogue>\n    <scene_description>Collin lowers the gun, the cop breathes for the first time. He almost looks disappointed. Collin turns and locks in with Miles, they stare at each other for a good long time. It reminds us of the stare Patrick asked for. Finally Collin looks at the floor, sadness takes him over, and he silently walks away. As he passes, he hands Miles the gun on the way out. Miles reluctantly takes it. Once Collin is out the door, the cop drops to the floor, and starts to tear up. The cop looks up at Miles. Miles looks back at him, unsure of what to say.<\/scene_description>\n    <character>COP<\/character>\n    <dialogue>I didn't mean t...<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Doesn't matter.<\/dialogue>\n    <scene_description>Miles walks away and closes the door. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EZ-LIFT TRUCK - DAY<\/stage_direction>\n    <scene_description>Miles is driving for the first time. They sit in silence. Collin looks out the window. Miles watches Oakland the way they did on the first day, gentrification on top of the hood, restaurants changing, cops around, people walking dogs, crews hanging on corners while girls in sunglasses try to get by. The clash of worlds pushed together. They both see it. Miles looks at Collin. Collin keeps staring out the window.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>You good?<\/dialogue>\n    <scene_description>Collin looks back at Miles.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Miles looks at Collin before nodding.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Hey... Can I get a run invite, bruh? Maybe I wanna run!<\/dialogue>\n    <scene_description>The almost good joke gives Collin an excuse to LAUGH.<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>You ain't finna run, Nigga!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>I can run! I can be about fitness, I can drink green juice too -<\/dialogue>\n    <scene_description>Miles grabs the green juice in the cupholder. Collin whips his head around to watch Miles take a sip. Miles puts it to his lips, and humorously braces for a terrible tasting drink. He immediately pulls his head back and smacks his lips.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Son-of-a-bitch. That's not bad.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRUCK - DAY<\/stage_direction>\n    <scene_description>They ride off down the street, we watch the truck disappear. We can still hear their conversation as they drive away.<\/scene_description>\n    <character>COLLIN (O.S.)<\/character>\n    <dialogue>Who is the next move?<\/dialogue>\n    <character>MILES (O.S.)<\/character>\n    <dialogue>Heatherrrrrrr ... Neel. In the hills.<\/dialogue>\n    <character>COLLIN (O.S.)<\/character>\n    <dialogue>That's Derek Carr's girlfriend.<\/dialogue>\n    <character>MILES (O.S.)<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>COLLIN (O.S.)<\/character>\n    <dialogue>Quarterback of the Raiders.<\/dialogue>\n    <character>MILES (O.S.)<\/character>\n    <dialogue>Oh WHAT!?! Oh, it's my turn to air out now baby. She bout to hear all about this VEGAS move! They leaving OAKLAND and I am UPSET, HEATHER! Girl, GET YO MAN! He is a disloyal punk, turf hopping-- Vegan and Vegas kinda even sound similar, might be a conspiracy, my bruh. Maybe it's all connected!<\/dialogue>\n    <scene_description>Their dialogue gets quieter and quieter and...<\/scene_description>\n    <character>WE ROLL CREDITS<\/character>\n  <\/scene>\n<\/script>","summary":"Collin Hoskins, an African-American convicted felon, is struggling to finish the last three days of his probation. Collin, along with his short-tempered white best friend, Miles Turner, works for a moving company located in Oakland, California. One night while waiting for a red light, Collin witnesses a white police officer fatally shoot a fleeing black man. As Collin is haunted by the incident, he begins to have nightmares and experiences hallucinations. At the same time, Miles becomes distraught by the gentrification of Oakland and a resulting sense of loss of identity, home, and belonging. Miles purchases a handgun from a friend on the basis of self-protection, an action of which Collin strongly disapproves. Collin tries to reconnect with his ex-girlfriend Val; there is an awkward distance between them despite their feelings for each other. A witness recounts the fight which led to Collin's incarceration: Collin was working door at a local club when a drunk white customer stepped outside to show off a flaming drink. Collin informed him that this violated state liquor laws but the man verbally abused and shoved Collin, starting a fight which ended with the man beaten and set aflame; Val shockingly witnessed the end of this scene. As Miles continues to display erratic behavior, Val warns Collin of the dangers that may result from a continued friendship with Miles. On Collin's last evening of probation, Miles's young son Sean finds the gun and Collin narrowly averts a tragic accident. Horrified, Sean's mother Ashley forces Miles and Collin to take the gun and leave. Miles and Collin go to a party at an upscale new house owned by an enthusiastic newcomer to Oakland. The \"shoot a hipster\" T-shirt that Sean gave Miles is misinterpreted as being an ironic self-effacing statement, and the only other African-American man at the party takes issue with Miles's persona, misinterpreting it as cultural appropriation. They get into a physical fight and Miles takes out his frustrations, beating the man. Ordered to leave, Miles terrorizes the host and his guests by firing his gun into the air while proclaiming his authenticity to the neighbourhood. Collin rushes Miles away before the police arrive and takes his gun. In an explosive argument, Collin criticizes Miles for his reckless behavior and the trouble it keeps causing him. Miles returns home and reconciles with Ashley while she treats his injuries, and he realizes that he doesn't face the same struggles as his loved ones. Collin phones Val and, referencing the face\u2013vase illusion from her college studies, asks if she has a blind spot with him and whether she can see past her recollection of the fight. With his probation completed, Collin continues to feel psychologically troubled by the police shooting he witnessed. As he and Miles are finishing a moving job, the house is revealed to be that of Officer Molina, the police officer Collin witnessed killing a man. Collin holds the officer at gunpoint, and Miles watches as Collin launches into a freestyle rap, criticizing the relationship between the police and African Americans, as well as the gentrification in Oakland. He breaks some of the officer's property, but does not shoot the gun, leaving the distraught officer behind. Following a moment of solemnity, Collin and Miles repair their friendship as they drive to their next job."}
{"movie_name":"You Were Never Really Here_2017","imdb_id":"tt5742374","script":"<script>\n  <scene>\n    <scene_description>YOU WERE NEVER REALLY HERE. Screenplay by Lynne Ramsay Based on the novella by Jonathan Ames GOLDENROD REVISIONS: 8.29.16 GREEN REVISIONS: 8.24.16 YELLOW REVISIONS: 8.17.16 PINK REVISIONS: 8.5.16 BLUE REVISIONS: 7.25.16 WHITE SHOOTING SCRIPT: 7.14.16<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TITLES SEQUENCE<\/stage_direction>\n    <scene_description>Close-up: An adult man's mouth under water (Joe). He gulps in water.<\/scene_description>\n    <character>E.C.U:<\/character>\n    <dialogue>A CLEAR PLASTIC BAG, filled with air, stretched smooth.<\/dialogue>\n    <dialogue>The inside surface mists - droplets of moisture form - break into miniature rivulets...<\/dialogue>\n    <dialogue>O.S. The whisper of a BOY'S VOICE (Young Joe) counting down -<\/dialogue>\n    <character>'...1001, 1000, 999, 998, 997...'<\/character>\n    <dialogue>With a sharp inhale the clear plastic inverts.<\/dialogue>\n    <dialogue>The face of A MAN (Joe) as the bag is suddenly sucked hard onto his skin, distorting his features into an inhuman mask.<\/dialogue>\n    <dialogue>O.S. The boy's counting suspends. The faint beat of a pulse rises to replace it.<\/dialogue>\n    <dialogue>The man exhales. The bag balloons again, clouding with his breath. The man breathes again, slowly, the plastic bag balloons and inverts.<\/dialogue>\n    <dialogue>O.S. The boy's monotone whisper resumes -<\/dialogue>\n    <character>'...996, 995, 994...'<\/character>\n    <dialogue>The man never blinks beneath the plastic, eyes unseeing, its rise and fall around his mouth and nose the only sign of life.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM, CINCINNATI - NIGHT<\/stage_direction>\n    <scene_description>MONTAGE - glimpses of a methodical process. Camera tight, sounds heightened... A GIRL'S FACE, filling the frame - a passport style photograph... ...16-years-old, smiling, a hint of lip gloss and eye shadow, lightly Latin features. The image appears to dance and flicker with an inner light. Slowly at first the picture darkens, then rapidly distorts and blackens. With a HISS fire and smoke erupt through the girls face as the photograph curls up in flame. WIDER: The burning shards of photograph drop into a small metal trash can. The rising smoke is staunched with a heavy bound book dumped onto the rim of the trash can -<\/scene_description>\n    <character>HOLY BIBLE<\/character>\n    <dialogue>QUICK CUTS: A man's hands, pries open a cell phone - pink case, appliqu\u00e9 plastic gemstones, dangling charm - removing the battery and SIM card.<\/dialogue>\n    <dialogue>Large tacky gold earrings slide into a zip-lock plastic bag. A cheap gold necklace follows; the pendant reads 'SANDY'. The bag is sealed.<\/dialogue>\n    <dialogue>The hands hold open a white plastic laundry bag. Items laid out on the bed are scooped into the bag one by one:-<\/dialogue>\n    <dialogue>A baseball cap...<\/dialogue>\n    <dialogue>A roll of silver duct tape...<\/dialogue>\n    <dialogue>A bundle of heavy duty black plastic zip ties...<\/dialogue>\n    <dialogue>CLOSE ON: A ceiling smoke detector as the condom that has been stretched over it is pulled free.<\/dialogue>\n    <dialogue>The blackened scraps from the trash can are shaken into the laundry bag.<\/dialogue>\n    <dialogue>A flip form prepaid cell phone as it strains between gloved hands. With a CRACK the hinge shatters. The two halves go into the laundry bag.<\/dialogue>\n    <dialogue>A BALL PEEN HAMMER, lying the length of a bathroom hand towel. FRESH BLOOD on its head. The hammer is wiped with the towel and both items drop into the laundry bag. The bag is closed tight.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL CORRIDOR, 2ND FLOOR, CINCINNATI - NIGHT<\/stage_direction>\n    <scene_description>Low angle on the man's torso as he emerges, the laundry bag dangling at his hip. CLOSE ON the bag as he makes his way stealthily down the dingy corridor. Rounding a corner a WOMAN hones into view. The man hangs back. With her back to him the Woman tweaks down the hem of her barely there skirt, then struts away to the waiting elevator. CUT TO: A hotel cleaning service trolley, left by the door to the service stairwell. The man dumps the bag in the trash and slips through the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL LOBBY, CINCINNATI - NIGHT<\/stage_direction>\n    <scene_description>The check-in desk is unmanned. O.S. The 10 O'clock headlines on WKRC Local 12 news. The man moves silently from the stairwell fire door, his head shrouded by his jacket hood. A portable TV flickers in a back room - a glimpse of the fat belly of the RECEPTIONIST in front of it as the man glides past... He stops short of the glass doors leading into the street as a POLICE CRUISER'S lights kick in outside. Head down, he pauses to one side of the doors, his back pressed against the wall. THE MAN'S VIEW: through the doors is a sliver of street activity - the Police Cruiser idles 20 yards from the Hotel as cops on the sidewalk size up the local dregs. The Hotel Receptionist moves an unseen item of food from his lap to his mouth. Tensions rise on the street, a cop's hand drops to his holster... The Hotel desk phone rings. The Receptionist begins to stand eyes still glued to the screen... The Man swiftly doubles back through the lobby to the service stairwell..<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIGHT. HOTEL CORRIDOR 1ST FLOOR, CINCINNATI - NIGHT<\/stage_direction>\n    <scene_description>The man slips from the stairwell, past the open elevator and down the corridor to the fire exit doors at the far end... Throughout his passage through the hotel nobody has seen him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CINCINNATI HOTEL FIRE EXIT, BACK ALLEY - NIGHT<\/stage_direction>\n    <scene_description>HIGH ANGLE as the fire exit swings open and the man slips out. CLOSE ON: His impassive face - hard, mask-like, mournful eyes. This is JOE (35-45), plaid shirt, jacket, baseball cap under raised hood. JOE'S POV of the ground, dozens of dead birds litter the alleyway around the exit. Ahead of him a BLACK SUV eases across the mouth of the alleyway, slowing to a halt. Joe turns in the opposite direction... Out of the shadow of a doorway, a MAN steps out behind him, arm aloft, brandishing a blackjack. Joe senses something behind him... The presence of life... The coming of violence... He turns in time to catch the blackjack on his left shoulder instead of taking a brutal blow to the head. Joe grabs his assailant's wrist. Joe brings his forehead down like a brick into the bridge of the man's nose... The sickening sound of splintering bone. Blinded by red pain the man begins to double up. Joe brings his knee up hard into his jaw. He goes down, strings cut, paralyzed by fear. Joe swings his head from left to right, shakes out his left arm, trying to get life into it. The assailant alone in the alley, vomits.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CINCINNATI STREET - NIGHT<\/stage_direction>\n    <scene_description>The passenger door of a yellow cab slams shut to reveal its emblem; G&amp;Y Cab of Cincinnati.<\/scene_description>\n    <character>JOE (O.S.)<\/character>\n    <dialogue>Airport.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CINCINNATI TAXI - NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON: the tired lined mouth of the ELDERLY CAB DRIVER as he replies with a grunt. CUT TO: Joe stares ahead. Joe's POV in the rear view mirror as the cab driver's lips dip in an out of view in the strobing streetlights. The driver appears to silently mouth. \"You\" \"Were\" \"Never\" \"Really\" \"Here\"... Each word appears on screen as a title, then fades, as the driver appears to speak them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NYC AIRPORT ARRIVALS HALL - NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON the spinning pad of a floor polisher - its DRONE reverberates around the empty arrivals hall. CUT TO: WIDE on a lone TEENAGE GIRL asleep on a bench, her head propped on her knapsack. Bent double at a water fountain, Joe watches her from across the gleaming concourse, his face shaded under the brim of his cap. He takes a mouthful of water. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LA GUARDIA AIRPORT ARRIVALS HALL - MOMENTS LATER<\/stage_direction>\n    <scene_description>Joe's fingers tapping digits on a pay phone. CUT TO: Joe's mouth pressed to the receiver.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>It's done.<\/dialogue>\n    <scene_description>He hangs up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KENSINGTON, BROOKLYN - NIGHT<\/stage_direction>\n    <scene_description>The suburban neighborhood sleeps through the dead of night. Joe steps out of an NYC Yellow Cab and waits on the kerb; watching till it turns out of view at the far intersection. With his head down he walks to the other end of the avenue before slinking a footpath between blocks.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOTHER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Joe approaches the back entrance to the house on the end of a row and stoops down, removing a THIN WOODEN BATON from under the door sill. He slips it behind the drainpipe. Taking care to make no sound he turns his key in the lock and eases the back door open. O.S. The faint METALLIC SOUND of footsteps and the clink of glass. His hand still on the door Joe's attention is on the fire escape of the block overlooking his house. CUT TO: A SKINNY TEENAGE BOY (MOISES, 14) crouches on the 3rd floor fire gantry, his body frozen as he holds down smoke from the joint in his hand. A 2nd BOY is climbing through an open apartment window to join him - two beer bottles in one hand. Moises and Joe's looks hold. A beat - Moises' expression melts from recognition to fear as he lets go of his lungful of marijuana. Joe turns away, closing his back door behind him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTHER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Joe stands in the doorway to the living room as cold light dances on his face. O.S. TV sound blaring - The Bad and the Beautiful on TCM JOE'S MOTHER (80s) - in house dress and slippers - is asleep in a chair. On the wall above her a framed photograph of JOE'S LATE FATHER in Marine Corps dress uniform. The TV reflects on the glasses slumped on the bridge of her nose. Joe flicks off the TV plunging the room into stillness. He removes her glasses with care, setting them down on a table beside her HEARING AID.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSTAIRS HALLWAY, MOTHER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Joe stands at the foot of the stairs. His mother is obscured from view by the bannister.<\/scene_description>\n    <character>JOE'S MOTHER (O.S.)<\/character>\n    <dialogue>I'm not a baby.<\/dialogue>\n    <scene_description>She steps into view as Joe steps back to let her pass. She takes the stairs, moving at a snail's pace, one step to the next. ON Joe as he watches her tedious progress upstairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM, MOTHER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Joe places his mother delicately on her bed, drawing up the covers. The window is ajar. The curtain billows as a chill blows through the room. CLOSE ON: Joe as he pulls the window to. O.S. A sharp creak from the bed.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>It's freezing Mom...<\/dialogue>\n    <scene_description>He turns back to the window. His hand rests on the handle. A beat. In one fell swoop Joe fastens the window shut and breaks from the room, never looking back over to his Mother's bed. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOE'S BEDROOM, MOTHER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Joe lies rigid on top of his bed covers. His eyes pop open, he cannot move, he tries to scream, no sound comes out, an episode of night terrors. (o.s) The sound of dripping water. He struggles to let out a moan. He is now awake, sweating. Joe sits up in bed, we see a vicious bruise on his left shoulder. His body, a network of scars. O.S. Water POURS and SPLASHES insistently In one clean move Joe bolts from the bed to the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY, MOTHER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Behind Joe as he watches his mother from his bedroom. The bathroom door is ajar. The Mothers pewter hair, reaches her waist. She is wrapped in her robe, giving herself a shampoo in the hand basin. She rinses, then throws her head back, like a young woman. The hair snaps out in an arc, like a long silvery rope. OFF Joe's look - the floor of the bathroom is awash with soapy water. Joe sighs at the sight of the soapy water cumulating on the floor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM, MOTHER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Joe on his hands and knees, works a towel to soak up the soapy water from the tile.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN, MOTHER'S HOUSE - DAWN<\/stage_direction>\n    <scene_description>The radio is on - very loud - a 40'S CROONER. Joe stands in the kitchen, wearing a suit and tie. His mother's frail wrinkled hands smooth out his unkempt hair, her hands move to his beard which she also attempting to groom.<\/scene_description>\n    <character>JOES MOTHER'<\/character>\n    <dialogue>Why do you hide that beautiful face?<\/dialogue>\n    <scene_description>She then straightens and adjusts his tie. Joe's face, mildly annoyed. CUT TO: Joe's mother's frail hands crack two eggs into a frying pan, the sizzling oil mute beneath the drone of the radio. Her deaf ears oblivious to the noise. CUT TO: CLOSE ON Joe's fingertip as it pokes into the middle of one of the frying eggs, destroying the perfect sunny side up. She turns to him, annoyed. He smiles at her. She can't help but laugh. Then shoos him away, turning back to the stove. Joe sits at the kitchen table. He faces his mother's back. His mother glances back to him. She smiles turns back. Joe's POV CLOSE ON his mother's frail hands as she struggles to lift the weight of the frying pan from the stove.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN, MOTHER'S HOUSE - EARLY MORNING (LATER)<\/stage_direction>\n    <scene_description>Joe and his mother sit at the table in silence, their breakfast finished. O.S. The radio still droning. She is looking at him, questioning. She widens her eyes asking without words... 'Where have you been?'.... 'What do you do?' She tilts her head, raises her shoulders - her eyes searching his with sympathy and a deep resignation. Joe mimics her gesture like a mime. She throws her hands up - mad at him - and moves unsteadily to clear the plates. Joe puts his hands over hers to stop her, takes the plate and moves to the sink. She watches his shoulders as he begins to wash-up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A21 INT. JOE'S BEDROOM, MOTHER'S HOUSE - DAY. A21<\/stage_direction>\n    <scene_description>Joe sits on the edge of his bed, his shirt slipped down off one arm. He holds an ice pack to the deep bruise blooming across his right shoulder. Frozen. The other hand works a stress ball for exercise..<\/scene_description>\n    <character>JOE'S MOTHER (O.S.)<\/character>\n    <dialogue>Joe?.... Joe?<\/dialogue>\n    <scene_description>Joe visibly tenses.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>B21 INT. CORRIDOR OUTSIDE BATHROOM, MOTHER'S HOUSE - DAY. B21<\/stage_direction>\n    <scene_description>Joe stands resting his forehead against the wall. O.S. We hear the sound of the toilet flushing. Joe moves away with resignation.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, MOTHER'S HOUSE - DAY<\/stage_direction>\n    <scene_description>TCM blares from the TV. Joe's mother watches from her armchair. Joe sits on a couch close to his mother, he is falling asleep. His tie is undone, his suit jacket resting on a chair.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DUSTY GROUND - DUSK (JOE'S MEMORY)<\/stage_direction>\n    <scene_description>CLOSE ON: A pair of girl's BARE FEET lying on dusty ground. Her heels intermittently kick at the earth beneath her. A miniature ditch dug in the sand.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, MOTHER'S HOUSE - DAY(LATER - BACK TO<\/stage_direction>\n    <character>PRESENT)<\/character>\n    <dialogue>Blinding sunlight glints off a framed photograph of a YOUNGER JOE in ceremonial military dress.<\/dialogue>\n    <dialogue>Sunrise touches the living room walls.<\/dialogue>\n    <dialogue>Joe' Mother is in her armchair in front of the TV.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JOE'S MOTHER'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Through the LIVING ROOM WINDOW - Joe's Mother stares past the TV to the street. A smile on her face, turns to a darker past memory...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOE'S BEDROOM, MOTHER'S HOUSE - DAY.<\/stage_direction>\n    <scene_description>Joe sits upright on a chair that he's dragged into the open doorway of the walk-in cupboard. DRY CLEANING covers hang by his head. CLOSE ON - Joe's feet. His shoelaces are untied. He uses one foot to lever off a shoe. He places a socked foot onto the floorboards ahead of him - the floorboard creaks as he places his weight. A bare patch of skin above Joe's sock reveals an old but pronounced scar. Joe has a belt looped around his neck, the end of the belt is looped over a clothing rail, he pulls tightly on the belt.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM, MOTHER'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Late afternoon sun. Joe &amp; his Mother are sat across the corner of the dining table. Open in front of them is a large mahogany CUTLERY CASE. They are both engrossed in polishing its contents. Joe's mother sings \"A you're adorable\" as they clean, they both sign out each letter of the alphabet. The Mother's frail hands move slowly. Joe buffs like a machine. He holds a silver SOUP SPOON right in front of his mother's mouth. She exhales onto the back of the spoon. Joe gives it a finishing rub.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM, MOTHER'S HOUSE - DAY (LATER)<\/stage_direction>\n    <scene_description>CLOSE ON - JOE prizes open a tin of BICARBONATE OF SODA. Heavily tarnished silverware lies in a baking tray on the dining table - larger items, serving spoons, a ladle. Joe scatters BICARBONATE onto them. He unscrews the cap of a bottle of white vinegar and passes it to his mother. With trembling hands she pours it over the cutlery. The Bicarbonate foams up impressively.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM, MOTHER'S HOUSE - AFTERNOON.<\/stage_direction>\n    <scene_description>CLOSE ON: Joe Mother's hearing aid, tucked behind her ear. She is back in front of the TV - a blanket across her knees. At the dining table Joe fits the last of the immaculately cleaned silver back into its case.<\/scene_description>\n    <character>JOE'S MOTHER (O.S.)<\/character>\n    <dialogue>How's Janice?<\/dialogue>\n    <scene_description>CLOSE ON: a FORK slots into it's place.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>We broke up in High School Mom.<\/dialogue>\n    <scene_description>The MAHOGANY CASE in closed and latched.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>29A EXT. ANGEL'S BODEGA - NEXT MORNING 29A<\/stage_direction>\n    <scene_description>Joe stands caddy corner looking towards the window of a bodega. He checks his watch; 9AM.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOE'S BEDROOM, MOTHER'S HOUSE - LATER<\/stage_direction>\n    <scene_description>Joe sits on the edge of the bed, he is wearing jeans and sleeveless T-shirt, his hands wrapped around his own neck, pressure applied to his throat, his face, beat red.<\/scene_description>\n    <character>JOE'S MOTHER (O.S.)<\/character>\n    <dialogue>Joe... Joe..<\/dialogue>\n    <scene_description>Joe lets out a deep sigh, Joe on the verge of tears. LATER: Joe sobbing like a baby.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. REAR ENTRANCE, MOTHER'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Joe takes the baton from its hiding place behind the drainpipe and stoops to carefully position it under the door sill - tucking it out of casual view - then slips into the deserted alley. He has a way of moving quickly, invisibly. Hardly anyone has seen him enter this house, ever.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIDE STREET ACROSS FROM SIXTY THIRD DRIVE - DAY<\/stage_direction>\n    <scene_description>Joe leans against a wall. He watches the store across the street.<\/scene_description>\n    <character>'ANGEL'S BODEGA'...<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. APARTMENT ABOVE ANGEL'S BODEGA - DAY<\/stage_direction>\n    <scene_description>Joe's POV - a STOUT MAN comes to the upstairs window. He peeps through the dirty net curtains, then moves out of sight.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIDE STREET ACROSS FROM SIXTY THIRD DRIVE - DAY<\/stage_direction>\n    <scene_description>Joe checks his watch (black, analogue dial, Military issue). ...a few seconds till 10 a.m. Joe's POV - in the Bodega window, a sign reading: Egg and Bacon Sandwich $1.50. In removable letters, like a cinema sign. The silhouette of the same stout man from upstairs reaches into the window display and removes the sign. Beat. The man replaces the sign. The letters now read: Egg and Bacons Sandwich $1.50 Joe registers the misspelled sign - his cue from the dead drop. He heads across the road to the Bodega.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANGEL'S BODEGA - DAY<\/stage_direction>\n    <scene_description>The shop is empty of customers. O.S. A crude bell ring from the opening door. Moises, the tall skinny kid who spotted Joe entering his Mom's house, busies himself rearranging goods on the shelf beside the counter. He immediately averts his gaze from Joe. His hands are shaking. The loud clatter of a stack of tomato cans falling to the floor. They roll asunder in an aisle. ANGEL, a stout middle-aged man, emerges from the stock room with an angry look to Moises. Joe quickly moves towards the stockroom, Angel follows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANGEL'S BODEGA, STOCK ROOM - DAY<\/stage_direction>\n    <scene_description>Angel grabs a small step stool and places it on the floor, he climbs up and reaches into a broken ceiling tile. His hand fishes around for a moment, he pulls out an envelope that he hands to Joe. Joe opens the envelope, takes out a bound $5000 wad. He skims $500 and hands it back to ANGEL, who immediately pushes it into his shirt top pocket.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>The man called... He wants to see you. Right away.<\/dialogue>\n    <scene_description>A small army of cockroaches scoot across the chipped floor tiles between the two men.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Did your son tell you he saw me?<\/dialogue>\n    <character>ANGEL<\/character>\n    <parenthetical>(like a military response)<\/parenthetical>\n    <dialogue>He was with friend, just a coincidence.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Did he tell you where he saw me?<\/dialogue>\n    <scene_description>Angel hesitates.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>No, I knew you wouldn't want me to know...<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <character>ANGEL<\/character>\n    <dialogue>Moises didn't mean to see you, he's a good boy....<\/dialogue>\n    <scene_description>Joe eyes bore into Angel, it is clear he isn't lying. Joe gives a slight shrug of resignation and closes his eyes slowly and gently, almost as if he is falling asleep whilst standing. He skims another $500 from his wad and hands it to Angel. There's a looks of sadness in Angel's eyes as he takes it - this is severance pay and he knows it. His days as Joe's dead drop have been terminated. Joe exits the back room without speaking, moving in the liquid way that is his custom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. QUEENS PLAZA SUBWAY STATION, F LINE PLATFORM - DAY<\/stage_direction>\n    <scene_description>Joe stands sentinel on the platform edge, his baseball cap pulled low. Further up the platform a YOUNG WOMAN with a bruise under her eye stares impassively toward Joe. O.S. The rattle of an approaching train rises in volume. CLOSE ON Joe's feet as he begins to step across the yellow line that marks the platform safe zone. Mid stride his foot hovers momentarily over the precipice... CUT TO: The train strobes onto the platform with a deafening battle of brakes and metal. Joe is gone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIDDAY. MANHATTAN, 38TH STREET AND 8TH AVE - DAY<\/stage_direction>\n    <scene_description>From the end of the corridor lobby Joe walks towards us. Elevator doors begin to close around our view until a suited arm appears in the field of vision and holds them back. The doors shiver then begin to slide open again. Joe ignores them and steps neatly off to one side - out of view. CUT TO: A BEIGE ACCOUNTANT TYPE slouched in the elevator - The man who held the closing doors back. He scowls at his gesture being ignored. Joe shades his eyes under his baseball cap, hits the bottom of the stairwell. The Accountant shrugs, the elevator doors push shut.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCCLEARY'S OFFICE, 8TH FLOOR - MORNING<\/stage_direction>\n    <scene_description>A man has his head tipped back, a blood soaked tissue clamped to his nose. He breathes methodically through his mouth... \\* He lifts the blood soaked tissue for Joe to see.<\/scene_description>\n    <character>MCCLEARY<\/character>\n    <dialogue>How are you? \\*<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I didn't try to kill myself today.<\/dialogue>\n    <scene_description>WIDER - The room is cluttered with ornate floral displays parked up on the floor and filing cabinets.<\/scene_description>\n    <character>MCCLEARY<\/character>\n    <dialogue>(laughing) \\*<\/dialogue>\n    <scene_description>The Cincinnati kid... Parents \\* are... florists... \\* Joe rubs his bruised shoulder. And smiles. He reaches forward and grabs some candy from McCleary's desk, his tone shifts... \\*<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Get rid of Angel's number I'll find a new service.<\/dialogue>\n    <character>MCCLEARY<\/character>\n    <parenthetical>(a little thrown)<\/parenthetical>\n    <dialogue>Okay no problem...<\/dialogue>\n    <scene_description>McCleary reaches for the Rolodex and scoots it to the middle of the desk.. A big fat drop of blood splashes onto the white index cards.<\/scene_description>\n    <character>MCCLEARY<\/character>\n    <dialogue>...You could just call me directly.<\/dialogue>\n    <scene_description>Joe, eyes still closed.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Why am I here? \\*<\/dialogue>\n    <scene_description>McCleary sighs.<\/scene_description>\n    <character>MCCLEARY.<\/character>\n    <dialogue>State Senator Albert Votto...<\/dialogue>\n    <scene_description>Joe plays with the candy as McCleary continues. \\*<\/scene_description>\n    <character>MCCLEARY<\/character>\n    <dialogue>I ran his father's security in \\* the 80s?... Lost touch with him \\* after the arraignment, then - \\* poof - aneurysm burst in his brain...<\/dialogue>\n    <scene_description>McCleary wipes the last of the blood from his nose. Joe now half asleep, closes his eyes again.<\/scene_description>\n    <character>MCCLEARY<\/character>\n    <dialogue>The wife, Votto Jr's wife, \\* kills herself a couple of years \\* ago. Not a good look in \\* politics. Their daughter's been \\* running away from home ever \\* since. Picked up by the Albany \\* police every time. A 'problem \\* child'. \\*<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Are you fucking going to sleep again on me you bastard?<\/dialogue>\n    <scene_description>Joe now awake.<\/scene_description>\n    <character>MCCLEARY<\/character>\n    <dialogue>Votto calls me this morning, \\* she's been missing all weekend. \\* Doesn't want the cops involved - \\* now that he's in Senator \\* Williams camp. Too much heat \\* from the press. \\*<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>...What's the lead? \\*<\/dialogue>\n    <character>MCCLEARY<\/character>\n    <dialogue>He got an anonymous text... \\*<\/dialogue>\n    <scene_description>Joe, barely listening. \\*<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Uh, Uh.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <character>MCCLEARY<\/character>\n    <dialogue>(beat) \\*<\/dialogue>\n    <scene_description>He wants to meet you in person. \\* McCleary reaches out a sealed brown envelope.<\/scene_description>\n    <character>JOE \\*<\/character>\n    <dialogue>You're fucking kidding... why? \\*<\/dialogue>\n    <character>MCCLEARY<\/character>\n    <dialogue>Five grand. That's ten percent \\* of your cut.<\/dialogue>\n    <scene_description>McCleary catches Joe's look as he slides the envelope forward... He consults a sheet of paper on the desk.<\/scene_description>\n    <character>MCCLEARY<\/character>\n    <dialogue>\\[His Club\\] Be there at 2 P.m... And \\* try and behave. Remember Joe, 4 out \\* of 5 people enjoy Gang Rape. \\* Where shall I have your flowers sent?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>You keep them John, they really tie the room together.<\/dialogue>\n    <scene_description>McCleary references the photo of his \\[deceased\\] wife. \\*<\/scene_description>\n    <character>MCCLEARY<\/character>\n    <dialogue>Josephine loved flowers and \\* shit, God bless her. Never saw \\* the point to them myself - die \\* anyway and stink up the place. \\*<\/dialogue>\n    <scene_description>McCleary indicates at the brown envelope on the desk. Joe stands, takes the brown envelope, taps it against \\* McCleary's desk, heads for the door.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Thanks John. \\*<\/dialogue>\n    <character>MCCLEARY (O.S)<\/character>\n    <dialogue>Josephine Two'll be out of dry \\* dock thanks to this. Gonna \\* drive her through the harbour \\* with a fucking firework parade. \\* You, me, steaks and cold \\* beers... the setting sun... \\* Whatcha say to that... \\*<\/dialogue>\n    <scene_description>Joe filps McCleary the bird. \\* OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SERVICE STAIRWELL, OFFICE BUILDING - MOMENTS LATER<\/stage_direction>\n    <scene_description>CLOSE ON: Joe's feet pounding rhythmically down the steps. Joe's POV - a rush towards the fire door at the foot of the stairs. The low end HISS rising in pitch and volume...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY, LOTTE NY PALACE HOTEL LOBBY - DAY<\/stage_direction>\n    <scene_description>Joe checks his watch - 1:45pm. Joe sits in the lobby of the Lotte hotel. Joe notices a group of young Chinese girls who are laughing and taking selfies. They wait with their high-end luggage, a bellhop comes and puts their luggage on a cart. Joe takes notice of a distinct mole on upper lip of one of these girls.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCK, NYC DOCKS, FBI RAID - NIGHT (FLASHBACK)<\/stage_direction>\n    <character>QUICK CUTS, CLOSE ON TWO DEAD GIRLS. CHINESE, A DISTINCT MOLE<\/character>\n    <dialogue>ON ONE OF THEIR UPPER LIPS.<\/dialogue>\n    <dialogue>CLOSER: The mouth strained wide...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY, LOTTE NY PALACE HOTEL LOBBY - DAY<\/stage_direction>\n    <scene_description>Joe, at odds with the finery of the ornate lobby, moves with purpose towards the elevators. Old-school bellhops hold the doors open for the clientele. Joe breezes by, pulling the peak of his ballcap low over his brow. He steps neatly through the door to the service stairwell.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SERVICE STAIRWELL, LOTTE NY PALACE HOTEL - DAY<\/stage_direction>\n    <scene_description>Joe makes his way up, head tucked low, his face obscured from the gaze of the CCTV cameras on every landing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOVERNOR'S SUITE, LOTTE NY PALACE HOTEL - DAY<\/stage_direction>\n    <scene_description>A YOUNG MALE ASSISTANT (20s) opens the double doors. A huge suite, sumptuously decorated - original artwork on the walls. A hard, high backed dining chair has been placed facing the sofa. It stands isolated on a sea of thick carpeting. A HANDSOME MAN (40s) is sitting on a sofa, elegantly dressed. He takes to his feet, bounds to Joe.<\/scene_description>\n    <character>VOTTO<\/character>\n    <dialogue>Albert Votto...<\/dialogue>\n    <parenthetical>(offering his hand)<\/parenthetical>\n    <dialogue>Joe isn't it... Joe or Joseph?<\/dialogue>\n    <scene_description>The Assistant delicately closes the double doors behind him, leaving Votto and Joe alone. Joe is sweating hard from his walk up the 52 flights of stairs.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Joe...<\/dialogue>\n    <scene_description>Votto has Joe's hand in a firm handshake. He places his other hand on top of Joe's - intimate, smiling warmly.<\/scene_description>\n    <character>VOTTO.<\/character>\n    <dialogue>Thank you for taking the time to see me Joe.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>McCleary said you were the best in the business...<\/dialogue>\n    <parenthetical>(grins)<\/parenthetical>\n    <dialogue>Joe still breathing heavy from his walk. Votto releases his grip.<\/dialogue>\n    <dialogue>He gestures Joe to sit.<\/dialogue>\n    <character>VOTTO<\/character>\n    <dialogue>My father's the one who knew McCleary I was just a boy. Trusted him with his life.<\/dialogue>\n    <scene_description>They sit, a sleek coffee table lies between the two men. Joe removes his baseball cap.<\/scene_description>\n    <character>VOTTO.<\/character>\n    <dialogue>So... ex-FBI, ex-Marine Corps<\/dialogue>\n    <scene_description>Joe nods.<\/scene_description>\n    <character>VOTTO<\/character>\n    <dialogue>Iraq or Afghanistan?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Saudi Arabia, Kuwait, Iraq in Ninety One.<\/dialogue>\n    <character>VOTTO<\/character>\n    <dialogue>Nobody died in that one right?<\/dialogue>\n    <character>JOE<\/character>\n    <parenthetical>(deadpan)<\/parenthetical>\n    <dialogue>Nobody died.<\/dialogue>\n    <character>VOTTO<\/character>\n    <dialogue>We fight good wars sometimes. That was a good one.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>...Afghanistan in 2001, Iraq 2003.<\/dialogue>\n    <character>VOTTO<\/character>\n    <dialogue>...A decade in service.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And the FBI?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Sex-trafficking task force... My work for McCleary... more or less the same thing.<\/dialogue>\n    <scene_description>Votto's phone on the coffee table buzzes. He glances at it, doesn't pick up. It drops to voicemail, stops vibrating...then buzzes again. Votto snatches it up, skims his thumb down the screen.<\/scene_description>\n    <character>VOTTO<\/character>\n    <dialogue>Fuck.<\/dialogue>\n    <parenthetical>(As if the name of the state capitol were poison)<\/parenthetical>\n    <dialogue>Albany. (something about political stuff)<\/dialogue>\n    <scene_description>He stands and grasps a clear plastic file and places it in front of Joe.<\/scene_description>\n    <character>VOTTO<\/character>\n    <dialogue>I got a text message this morning. Anonymous.<\/dialogue>\n    <scene_description>Joe reads the text as Votto paces.<\/scene_description>\n    <character>VOTTO<\/character>\n    <parenthetical>(by heart)<\/parenthetical>\n    <dialogue>'Your daughter is at 544 West 38th street I couldn't live with myself if I didn't let you know'....<\/dialogue>\n    <scene_description>Joe leans forward and leafs through the loose assortment of print-outs in the file - scans of Family photographs. A PRETTY LITTLE RICH GIRL on a pony. AN EXTREMELY ATTRACTIVE WOMAN (40s). Joe slides a small instant photographic print from the back of the file. Overexposed by the flash, a close-up selfie of the girl - she is giving a cute sidelong look and has her index finger raised to her lips in a \"Shhhhh\" gesture.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>When was this taken?<\/dialogue>\n    <character>VOTTO<\/character>\n    <dialogue>It's the most recent.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Was her hair still long when...<\/dialogue>\n    <character>VOTTO<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>She has beautiful hair... They never found her body<\/dialogue>\n    <parenthetical>(his voice wavers)<\/parenthetical>\n    <dialogue>Joe watches as Votto picks up a pack of Marlboros from the arm of the sofa.<\/dialogue>\n    <dialogue>Votto tears into the seal and draws a cigarette to his mouth. He pats down his pocket searching for a light. He takes the cigarette from his lips, looks at it pitifully.<\/dialogue>\n    <character>VOTTO<\/character>\n    <parenthetical>(nervous aside)<\/parenthetical>\n    <dialogue>$25,000 a night and the State of New York won't even let me light this on the terrace...<\/dialogue>\n    <scene_description>Votto picks up his phone, scrolls through his messages, hands it to Joe.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Whoever sent the message would've bought the phone...<\/dialogue>\n    <character>VOTTO<\/character>\n    <parenthetical>(overlapping Joe)<\/parenthetical>\n    <dialogue>...It must be someone I know.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>...sent the text, threw the phone away.<\/dialogue>\n    <character>VOTTO<\/character>\n    <dialogue>The police closed the investigation I was left to bury an empty casket.<\/dialogue>\n    <character>VOTTO<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You can't know what that feels like...<\/dialogue>\n    <dialogue>Votto picks up one of the photos of Nina.<\/dialogue>\n    <dialogue>Joe places Votto's phone down on the coffee table.<\/dialogue>\n    <dialogue>Votto paces, turning his cigarette pack in his hands.<\/dialogue>\n    <character>VOTTO<\/character>\n    <parenthetical>(on his back)<\/parenthetical>\n    <dialogue>Do you have children Joe?<\/dialogue>\n    <scene_description>Another photograph - formally posed, the girl wears a white party dress as Votto holds her in an embrace, their eyes both closed, his chin resting on the crown of her head. Joe selects the earlier selfie of the girl AND A FAMILY PORTRAIT - NINA between Her Mother and Father.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>I'll need these.<\/dialogue>\n    <scene_description>Votto nods. Joe slips it into his shirt top pocket.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Does your daughter take any medication? Girls are often kept sedated with morphine derivatives.<\/dialogue>\n    <character>VOTTO<\/character>\n    <dialogue>Anti-depressants... her mother lived on them.<\/dialogue>\n    <character>VOTTO<\/character>\n    <dialogue>What happens now? Let me give you my number.<\/dialogue>\n    <scene_description>He has his phone in his hand.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>I don't have a phone.<\/dialogue>\n    <scene_description>Votto begins to pour himself a drink from a brandy decanter.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>You go to the Senton Hotel, 39 West 27th St. Room 719. ...do not park out front.<\/dialogue>\n    <character>VOTTO<\/character>\n    <dialogue>...Room 719.<\/dialogue>\n    <scene_description>Votto, takes a beat, then...<\/scene_description>\n    <character>VOTTO<\/character>\n    <dialogue>You'll find her for me Joe. I know you will.<\/dialogue>\n    <scene_description>Joe stares ahead. Votto nods, grateful. Then realizing...<\/scene_description>\n    <character>VOTTO<\/character>\n    <dialogue>Her name's Nina. Did I mention that?<\/dialogue>\n    <scene_description>OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. CAR RENTAL - DAY<\/stage_direction>\n    <scene_description>The CAR RENTAL REP's hand (scarlet false nails) pass a set of keys through the window. Joe smiles charmingly. As he heads for the door, he passes complimentary pastries and coffee - he picks up a paper napkin from a pile...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAR RENTAL LOT - DAY<\/stage_direction>\n    <scene_description>Joe approaches his car - a Black 4-door Cadillac sedan. CUT TO: Joe pulls out of the Enterprise lot.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RENTAL CAR, 38TH STREET - DAY<\/stage_direction>\n    <scene_description>Joe's POV through the car window. He slows to a crawl as he sizes up 544 west 38th Street. CLOSE ON: the keypad intercom, a security camera under the porch.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RENTAL CAR, MIDTOWN BASEMENT CAR PARK - DAY<\/stage_direction>\n    <scene_description>Joe's RENTAL CAR drives down the entrance ramp, turns at the bottom and weaves in amongst parked cars.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHARMACY - DAY<\/stage_direction>\n    <scene_description>Joe, basket in hand. He drops in surgical adhesive tape and plastic bottle of rubbing alcohol. CUT TO: On another aisle Joe picks up a tube of glue. CUT TO: The CASHIER rings up Joe's items, make up removal wipes, a box of sanitary napkins. Last out of the basket, a can of Coke and bottle of mineral water. Joe grabs a Hershel Bar from the rack beside the cash register and adds it to the other items.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHINATOWN RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Joe slips down the steps of a basement entrance in front of a restaurant window. (Several beats) Joe ascends the basement steps. He carries a plastic bag emblazoned with CHINESE CHARACTERS and the logo of an electrical goods vendor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIDTOWN APARTMENT BUILDING CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>Joe exits the service stairwell.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIDTOWN APARTMENT BUILDING CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>A PREPPY UPSCALE COKE DEALER's hands. A clear plastic vial with a printed prescription label - Phyceptone - containing 5 white pills is passed to Joe's hand, in exchange for $100 cash.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARDWARE STORE - NIGHT<\/stage_direction>\n    <scene_description>He picks out a roll of DUCT TAPE, a BOX CUTTER and CABLE TIES. ANGLE ON: a BALL PEEN HAMMER. Joe glances at the hammer.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIDTOWN STREET - NIGHT<\/stage_direction>\n    <scene_description>Manhattan bustles. Gaudy lights silhouette people moving each and every way like ants along the side walk. The street lights play across Joe's face - green, blue, yellow... He carries the hardware store bag. His eyes, shaded under the baseball cap, occasionally catch a glint of colored light but never blink.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIDTOWN BASEMENT CAR PARK - NIGHT<\/stage_direction>\n    <scene_description>OFF BLACK: The trunk of the rental car swings open, revealing Joe standing over it. He dumps his 'tools' in the trunk. ANGLE ON: all of Joe's shopping, laid out neatly inside. The lid of the trunk slams shut.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RUSSIAN BATHS LOWER EAST SIDE, STEAM ROOM - NIGHT<\/stage_direction>\n    <scene_description>NAKED MEN are shadows in the heavy fog of steam and greenish light, heads bowed, eyes closed - sweating it out - a Romanesque mist of pot bellies, muscles, tattoos. Joe, his eyes half open, half closed, like a cat. He stares at the naked bulb on the tiled wall opposite him. O.S. A low rumble CLOSE ON the bulb as it's enveloped in steam. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLD ROOM, RUSSIAN BATHS LOWER EAST SIDE - NIGHT<\/stage_direction>\n    <scene_description>Joe lies on the surface of the pool.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. US MILITARY BASE, KUWAIT - DAY (JOE'S MEMORY)<\/stage_direction>\n    <scene_description>The searing midday sun. A young Afghan girl is walking towards the camera, hand outstretched. A younger, Joe (20s fresh-faced, dressed in army fatigues) is on the other side of a chainlink fence. He sits on a crudely made bench, drinking coffee, eating an MRE. Beyond Joe 6 soldiers mill about and dance together to a 1991 Pop Hit playing from a parked vehicle in the background. He takes note of the girl, reaches into his pocket and pulls out a bar of chocolate.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KUWAIT DESERT<\/stage_direction>\n    <scene_description>The girl smiles, candy bar in hand, turns from Joe and runs away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KUWAIT - LATER<\/stage_direction>\n    <scene_description>Joe looks up to the lone tree where the girl is sitting in the shade. A TEENAGE BOY (15) has approached her - he is standing above her, holding his hand out. The girls shakes her head, \"No\". The boy shouts something inaudible at the girl, his face suddenly aggressive. She shakes her head again, trying to hide the chocolate in the folds of her skirt. The boy pulls a makarov pistol from his pocket - he shoots the girl in the stomach, snatches the chocolate from her hand and runs off. A slow pool of blood forms around the girl as her bare heels kick fast and furtively at the dusty ground.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. US MILITARY BASE, KUWAIT - LATER STILL<\/stage_direction>\n    <scene_description>Joe's POV - the girl's legs are still kicking through the dust but with increasing sluggishness. CLOSE ON: the girl's heels intermittently kick at the earth beneath her - a miniature ditch dug in the sand with her effort to retain life. CLOSER STILL: The movement of her heels begins to falter.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCKER ROOM, RUSSIAN BATHS LOWER EAST SIDE - NIGHT<\/stage_direction>\n    <scene_description>Joe washes his hands in the sink, in the mirror he notices a ghost like figure crossing behind him. Water runs from the faucet. We notice the pulse in his shoulder.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RENTAL CAR, MIDTOWN BASEMENT CAR PARK - NIGHT<\/stage_direction>\n    <scene_description>Joe is wearing a new WORKMAN'S JACKET. A sales tag hangs from the sleeve. He yanks it off. His hands open the centre console between the driver and front passenger seat - he neatly stashes the duct tape, cable ties and a box cutter. CUT TO: The glove compartment flips open - rubbing alcohol, surgical tape, make up wipes and sanitary napkins are placed inside. CUT TO: The bottles of water and can of Coke are slotted into the dash mounted drinks holders. CUT TO: Through the car windscreen: Joe, focused, is sat in the drivers seat. He unsheathes the hammer and weighs it up in his hand. It sits well. Joe slides it into his left hand inside jacket pocket.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIDTOWN BASEMENT CAR PARK EXIT - NIGHT<\/stage_direction>\n    <scene_description>Joe's rental car exits the parking garage.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RENTAL CAR, MIDTOWN STREET - NIGHT<\/stage_direction>\n    <scene_description>Joe's eyes are dark and inscrutable in the shadow of his baseball cap. Rainbow hued illumination plays across his set jaw. CUT TO: Joe's POV - Manhattan streets - late night NYC.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 38TH ST - NIGHT<\/stage_direction>\n    <scene_description>Joe's rental car turns into the end of the road. The street is book ended by modern apartment buildings, one at 3rd Avenue and one at 2nd Avenue.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RENTAL CAR - NIGHT<\/stage_direction>\n    <scene_description>The engine note drops as Joe slows to a crawl. CUT TO: Joe's POV - A 3-storied brownstone on a street of brownstones. All the windows are sealed shut by metal curtains, insuring total privacy. A young TOWEL BOY carrying a laundry sack up the stairs, punches in a code into the door and disappears inside. OMITTED OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RENTAL CAR - NIGHT, LATER<\/stage_direction>\n    <scene_description>CLOSE ON: Joe's wristwatch - the minute hand ticks by... CUT TO: THE REAR VIEW MIRROR - we see a high end black town car pull up outside the brownstone. A WELL DRESSED MAN in a high end suit walks down the stairs. The driver of the town car steps out and opens the door for him. The driver gets back in the car and it pulls away. CUT TO: LATER STILL - Joe sat in the car in a fugue state, simultaneously alert and peaceful.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI SURVEILLANCE CAR, NYC DOCKS - NIGHT (JOE'S<\/stage_direction>\n    <character>MEMORY)<\/character>\n    <dialogue>A younger Joe is wearing a standard issue FBI nylon jacket. He sits behind the wheel of his cruiser, rains bears down on the windscreen.<\/dialogue>\n    <scene_description>CUT TO: Joe's POV - beyond a chain link fence, A refrigerated truck with SUNFLOWER MEAT CORP and Chinese characters emblazoned on its flank stands on the quay side. Its cab door is open, the engine is running. There are two parked cars between Joe and the truck, TWO PAIRS OF MEN are standing beside them in discussion - a deal is going down. Joe checks his watch... The men's discussion appears inscrutable and ongoing<\/scene_description>\n    <character>TASK FORCE COMMANDER (V.O.)<\/character>\n    <parenthetical>(broken by bursts of radio static)<\/parenthetical>\n    <dialogue>Wait... Wait....Nobody moves ...see the money ....<\/dialogue>\n    <scene_description>CUT TO: JOE'S HANDS grip the steering wheel, his knuckles whiten in frustration and anger... The distant sound of the truck engine running over rises in volume. Joe's eyes shrouded in darkness. The sharp sodium street light throws sad shadows of raindrops onto Joe's rigid face, his jaw tenses. Fumes continue to plume from the truck's exhaust...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RENTAL CAR, 38TH ST - NIGHT (BACK TO PRESENT)<\/stage_direction>\n    <scene_description>CLUNK - the windscreen wipers kick in automatically. With a JUDDER they clear the shadow of accumulated raindrops from Joe's face. CLOSE ON: Joe's eyes - the crawling retreat of distorted water patterns in the wiper's wake. His 1000 yard stare draws into closer focus. Rear-view mirror: Joe watches as... The TOWEL BOY, in jeans and a thick hooded sweat shirt, emerges from the brothel front door - sent out on an errand. Joe studies him - he's clearly not a 'John' or security. He darts from the car. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RENTAL CAR, 38TH ST - NIGHT<\/stage_direction>\n    <scene_description>The towel boy is shoved into the back seat of the car. Joe makes quick work with the cable ties, duct tape. He binds Towel Boy's wrists behind his back with a cable tie, then fastens his legs together at the ankles and the knee. Towel Boy's eyes start to focus, he gasps a little less audibly. Joe eases off the back seat, exits the rear door and returns to the drivers seat. He faces forward, eyes locked back on the rear view mirror.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>How many security inside?<\/dialogue>\n    <scene_description>Towel Boy is too scared to answer. Joe's hand lowers to rest on the box cutter, his thumb poised over the blades sliding mechanism.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Two?<\/dialogue>\n    <character>TOWEL BOY<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>Two.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Where are they?<\/dialogue>\n    <scene_description>Towel Boy hesitates...<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>(refining the question)<\/parenthetical>\n    <dialogue>Where in the house are they?<\/dialogue>\n    <character>TOWEL BOY<\/character>\n    <dialogue>You promise you won't kill me.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Towel Boy hesitates, not out of cunning, just fear.<\/scene_description>\n    <character>TOWEL BOY<\/character>\n    <parenthetical>(speaking quickly, half gasping)<\/parenthetical>\n    <dialogue>One guy guards the first floor, with the cameras, and one guy on the second floor. He sits in the hallway.<\/dialogue>\n    <scene_description>Joe takes the picture of Nina from his shirt breast pocket and hits the overhead light. He holds the snapshot in front of Towel boy's face.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Do they have a 'playground'? Is this girl inside?<\/dialogue>\n    <character>TOWEL BOY<\/character>\n    <dialogue>Playground?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Underage girls.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Is the girl in the picture inside?<\/dialogue>\n    <scene_description>Towel Boy is mute.<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>(quietly, forcefully)<\/parenthetical>\n    <dialogue>She's not the same as the others... American... Well spoken.<\/dialogue>\n    <character>JOE<\/character>\n    <parenthetical>(pushing the photo closer to TB's face)<\/parenthetical>\n    <dialogue>She might look different. Her hair...<\/dialogue>\n    <character>TOWEL BOY<\/character>\n    <dialogue>Maybe... Thinner... blonde hair, cut short? I don't know... ...I'm not lying to you mister. I swear I don't know!<\/dialogue>\n    <scene_description>Joe let's this terror hang.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Where is she...<\/dialogue>\n    <character>TOWEL BOY<\/character>\n    <dialogue>Third floor.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Any other men?<\/dialogue>\n    <character>TOWEL BOY<\/character>\n    <dialogue>Rich guys.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Do you carry any keys?<\/dialogue>\n    <character>TOWEL BOY<\/character>\n    <dialogue>No...<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>What's the code for the front door?<\/dialogue>\n    <character>TOWEL BOY<\/character>\n    <dialogue>3-4-9-2...<\/dialogue>\n    <scene_description>Joe nods. In one movement he is out of the driver's seat. He crosses the front of the car and reappears at the rear passenger door. CLOSE-ON: Towel Boy's eyes widen at the betrayal.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BROTHEL STEPS - NIGHT<\/stage_direction>\n    <scene_description>(The following sequence is shot from CCTV Point of view until otherwise stated) Joe walks up the brothel steps, his eyes shaded by his baseball cap, he punches in the code to the door. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROTHEL HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>A LARGE SEATED MAN sits reading a magazine. Joe is immediately on him. The hammer strikes the Guard on the cheek bone sending him into the wall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROTHEL STAIRWAY - NIGHT<\/stage_direction>\n    <scene_description>Joe - he takes two steps at a time. A SECOND GUARD at the landing. Joe swing the hammer two handed like a baseball bat sending it into the man's sternum - he doubles up. Joe continues along the corridor. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROTHEL, HALLWAY - NIGHT<\/stage_direction>\n    <character>A NAKED SKINNY MAN WITH A MASK IS THROWN OUT OF THE DOOR WAY.<\/character>\n    <dialogue>Joe delivers a closing blow to the man. He continues down the hall, the CCTV camera lingers on the doorway, a small girl (9) wearing a night dress wanders out of the doorway and into the hallway in a daze.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROTHEL, 'PLAYGROUND' HALLWAY CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>Another CCTV angle, joe approaches a closed door, he opens it, about to enter...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROTHEL, BEDROOM 2 - NIGHT<\/stage_direction>\n    <character>(WE TRANSITION FROM CCTV FOOTAGE BACK TO FILM)<\/character>\n    <dialogue>This room is dark, illuminated only by a UV 'black light' above the head of a single 'cot' bed.<\/dialogue>\n    <scene_description>A YOUNG GIRL (13\/14) lies on top of a white sheet. Joe walks towards her. Her skin has a spectral glow.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..NINA?<\/stage_direction>\n    <scene_description>Joe takes the photograph from his top pocket. The girl's eyes are closed. He puts a hand to her cheek - no reaction. He gently raises one eyelid between his finger and thumb. For a moment there is a bright blue iris and a dilated pupil before her eye rolls back. Joe is taken aback. It's HER. Her neck arches back into the pillow and her whole body begins to stiffen. Joe leans in and levers the girl's thin body into a seated position. Her head and arms flop forward like a rag doll. He lifts her chin with his free hand.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Nina... NINA.<\/dialogue>\n    <scene_description>He snaps his fingers loudly beside her ear.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Nina. Come on Nina. You can hear me. Look at me. Can you say your name Nina.<\/dialogue>\n    <scene_description>A SHARP intake of breath and the girl's head lolls forward again. Joe firmly cups her tiny face in his hand. Her eyes flicker open for a moment. Her lips move against each other. It is barely audible but she is counting. She is in the 700's. CUT TO: The BIG SISTER, a skinny, diet pill blonde in a silk robe and artificial tits bursts into the room. She clutches a cell phone in one hand.<\/scene_description>\n    <character>BIG SISTER<\/character>\n    <parenthetical>(hysterical, Eastern European accent)<\/parenthetical>\n    <dialogue>Fuck is YOU?<\/dialogue>\n    <scene_description>Joe advances on her, grabbing her elbow violently, prizing the cell phone from her grasp.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Get her dressed.<\/dialogue>\n    <scene_description>Joe throws the Big Sister towards Nina. In shock she gets her off the bed. The only additional clothing in the room is a pair of childish frilled pop socks. Joe reaches the cell phone jammer from his jacket pocket. He slides the switch on its side, the green LED blinks off. He puts it away and then wrenches off his jacket. Joe advances again on the Big Sister and thrusts the jacket at her to dress Nina with. With his other hand he dials 911 on the Big Sister's cell phone and clamps it to her ear.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Police department.<\/dialogue>\n    <scene_description>He glares into her eyes. She understands.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Gunshots...<\/dialogue>\n    <scene_description>The Big Sister looks confused.<\/scene_description>\n    <character>BIG SISTER<\/character>\n    <dialogue>Gunshots...<\/dialogue>\n    <scene_description>The call connects. The distant female voice of the emergency services dispatch can be heard on the other end...<\/scene_description>\n    <character>911 DISPATCHER<\/character>\n    <dialogue>911, what are you reporting?<\/dialogue>\n    <character>BIG SISTER<\/character>\n    <dialogue>Gunshots!<\/dialogue>\n    <character>911 DISPATCHER<\/character>\n    <dialogue>What's your address?<\/dialogue>\n    <scene_description>Joe shoots her a stern look...<\/scene_description>\n    <character>911 DISPATCHER<\/character>\n    <dialogue>Where are you speaking from now?<\/dialogue>\n    <scene_description>Joe holds his look... The Big Sister is terrified, she can't speak. Joe snatches the phone from her ear.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>544 East 38th Street<\/dialogue>\n    <character>911 DISPATCHER<\/character>\n    <dialogue>Who is in the hou...<\/dialogue>\n    <scene_description>Joe throws it to the floor and drives the heel of his boot into it - smashing it completely.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Leave.<\/dialogue>\n    <scene_description>She looks at him, fear in her eyes, shakes her head.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Now....Go!<\/dialogue>\n    <scene_description>She shakes her head vigorously. Punches her own hand repeatedly on her head. She is paralysed with fear, won't move. Throughout all this Nina has stood dazed and silent in the middle of the room Joe snatches his hammer up, grabs the sheet from the bed, wraps it once around Nina and scoops her off her feet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROTHEL, 'PLAYGROUND' HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Borne aloft in Joe's arms Nina floats through the door of her room and along the playground corridor, her COUNTING DOWN a barely perceptible whisper below the piped music.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROTHEL 2ND FLOOR - NIGHT<\/stage_direction>\n    <scene_description>The 2nd fallen Guard still fills one half of the width of the corridor, slumped on his knees, head cowled forward against the wall. A NAKED JOHN stands in the corridor, blocking Joe's passage. He grasps a 7\" hunting knife in one hand. His chest is emblazoned with an Eye of Providence tattoo. Joe gently lets down Nina. She ahead stares implacably. The rise and fall of Naked John's chest. The Eye of Providence stares unblinking... CLOSE ON: Nina's face. (O.S.) The sound of the almighty collision of BODIES.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROTHEL, 1ST FLOOR - NIGHT<\/stage_direction>\n    <scene_description>The EMPTY STAIRWELL. Joe's feet step over the sprawled body of the first Guard as he marches to the front door, seemingly in step with the dull thud of techno music from the P.A. Nina's tiny socked feet follow a pace behind.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BROTHEL - NIGHT<\/stage_direction>\n    <scene_description>At the top of the stoop Joe peers down the street - no cop cars. About six minutes have elapsed since Joe entered the brothel. With the girl light in his arms, he moves quickly to his rental. In one delicate move he has Nina in the front seat. She is all but out of it; but not completely. Stepping around the trunk of the car Joe flings open the rear passenger door and drags Towel Boy out by the shoulders and dumps him on the sidewalk. CLOSE ON: A storm drain opening. Joe crouches by the kerb as he fits the bloodied hammer through the opening, dropping it as deeply as his arm will reach inside. The cell phone jammer from his inside jacket pocket follows the hammer into the storm drain.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 38TH ST - NIGHT<\/stage_direction>\n    <scene_description>Joe's rental car pulls away. Towel Boy lies motionless on the sidewalk. Silence reigns...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RENTAL CAR, MIDTOWN - NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON: Nina through the passenger window. A cascade of reflections and rainwater play across the glass as she stares into the middle distance. A cop car passes sirens and lights blaring. CLOSER - her lips as they murmur. She continues her counting down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT CAR PARK - NIGHT<\/stage_direction>\n    <scene_description>A squeal of wet tires reverberates around the near empty car park as the rental pulls in and cruises to a quiet corner. The engine's killed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT CAR PARK - MOMENTS LATER<\/stage_direction>\n    <scene_description>Joe relaxes his grip on the steering wheel. Nina's gaze is fixed on him... on his right arm. She reaches forward and touches him with her fingertips. There's a 2\" knife cut through his shirt and blood is soaking through. Joe hasn't noticed till now. Nina stares at her fingertips, mesmerized by the scarlet blood coating them. Joe unbuckles his seat belt and flips open the glove compartment. He removes a sanitary napkin and rubbing alcohol, he pours some on the napkin and places it over his wound. CLOSE ON: in the rear view mirror, Joe's mouth clenches tight against the searing pain, jaw set as his teeth grit hard. She continues to watch with fascination as Joe goes through the process of attending to his wound.<\/scene_description>\n    <character>NINA<\/character>\n    <dialogue>What do I call you?<\/dialogue>\n    <scene_description>Joe hands her a make-up wipe to remove the blood from her fingers. Joe reaches for the can of Coke and chocolate and hands them to Nina.<\/scene_description>\n    <character>NINA<\/character>\n    <dialogue>Where are we going?<\/dialogue>\n    <scene_description>CLOSE ON: Nina's fingernails as they strain to open the ring pull. She abandons it half cocked and hands it back to Joe. He pops it open.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>I'm taking you home Nina.<\/dialogue>\n    <character>NINA<\/character>\n    <dialogue>How do you know my name?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Your Father told me your name.<\/dialogue>\n    <scene_description>Nina alternates sips from the Coke can with squares of chocolate.<\/scene_description>\n    <character>NINA<\/character>\n    <dialogue>Is he angry at me?<\/dialogue>\n    <scene_description>O.S. The sound of an approaching car - the clump as it takes the entrance ramp to the car park, the dry echo of tires on concrete... Joe's eyes fix on the rear view mirror as the headlights of an anonymous sedan sweep past his car. He turns the ignition key just enough to fire the electrics and adjusts the angle of his door mirror. In the mirror he can see the sedan as it pulls up, an indistinct figure at the wheel. Joe wipes a discreet porthole in the condensation building up on his window to reveal - a man in a tuxedo and black tie as he hurries away in the direction of the exit ramp. Satisfied, Joe turns his attention back to Nina. She has eaten almost all the chocolate, some of which has smeared onto her lips and cheeks. A crudely drawn smiley face adorns her passenger window. Nina burps. She raises a hand to her mouth and peers over it - surprised and off guard. Joe's face wears a massive grin in response. Nina offers Joe the last square of chocolate in the packet. He shakes his head. Nina is unwavering in her offer.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>It's the last piece...<\/dialogue>\n    <character>NINA (O.S.)<\/character>\n    <dialogue>...It's not the last piece in the world...<\/dialogue>\n    <scene_description>He takes it from her and puts it into his mouth. He closes his eyes and allows himself to relax back into his seat. O.S. - A distinctive clunk as Nina releases the latch of her seat belt. A rasp as the nylon belt retracts. Joe looks over to her.<\/scene_description>\n    <character>NINA<\/character>\n    <dialogue>I need to go...<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>We have to stay here.<\/dialogue>\n    <scene_description>Nina's look is one of confusion and disappointment. CUT TO: The passenger door of the car is wide open. Joe stands sentinel beside the door, arms folded around his jacket, head tipped forward. He cautiously steals a look up to the security camera perched at the top of a concrete support pillar opposite him then dips his eyes to the ground again. O.S. The sound of running water. A stream of liquid, dark against the pale concrete floor of the parking garage, runs from under the door of the car behind Joe, pooling near his boots. He edges to one side to avoid Nina's amassing pee.<\/scene_description>\n    <character>NINA (O.S.)<\/character>\n    <dialogue>What's your name?<\/dialogue>\n    <character>JOE<\/character>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>Joe.<\/dialogue>\n    <character>NINA (O.S.)<\/character>\n    <dialogue>I've finished Joe.<\/dialogue>\n    <scene_description>CUT TO: Nina and Joe are back in the car. She no longer wears Joe's jacket. Nina leans forward and grabs the bottle of pills, she shakes them. She fails to open the bottle, Joe takes it from her. He demonstrates taking off the cap, he then puts the cap back on and stashes the bottle OUT OF HER REACH. Nina sits back in her seat. She slips the straps of her nightie off her shoulders then begins to hitch the hem up her tiny thighs. She meets Joe's gaze with a look of mute seduction and raises her forefinger to her lips in a gesture of 'shhhh'. ON Joe.<\/scene_description>\n    <character>NINA (O.S.)<\/character>\n    <dialogue>Don't tell Mommy...<\/dialogue>\n    <scene_description>Wordlessly Joe leans past her, grasps the dangling seat belt buckle. Nina flings her arms around him and buries her face in his chest. Joe firmly draws the seat belt back across her, untangling her arms from around his neck, breaking the moment - a simple signal that she should stop. Nina slumps into her seat. Her head rolls back to the passenger side window. The smiley face on the glass beside her has begun to run - tears of a clown. CUT TO: From outside the glass CLOSE ON Nina Her eyelids draw closed; asleep. CUT TO: CLOSE ON: Joe's wristwatch; 4:02 am Nina is fast asleep.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SENTON HOTEL - NIGHT<\/stage_direction>\n    <scene_description>The rental car pulls up right out front, its pouring again. A BELL-HOP GUY (20's, iPod earbuds)rounds the corner and heads towards the hotel. In his hand he clutches a pair of well-worn drumsticks. A beat later ANOTHER MAN (30's, acne scarred, homebrew neck tattoo) emerges, throwing his rucksack over his shoulder. The two have an exchange as they cross paths, he then disappears along the street. Joe takes the room key (card) from the glove compartment. The bell-hop guy has his back turned whilst he struggles into an ill fitting jacket.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY, SENTON HOTEL - NIGHT<\/stage_direction>\n    <scene_description>Kitsch lounge musak pipes soothing piano into the low rent surroundings. Joe carries Nina 'piggy back' past the reception booth. Her hair sticks to her wet face, she is still dozing, her dirty bare feet hang loosely by Joe's side. He takes to the bottom of the stairs. On Joe's back as he disappears from view. The Bell-hop taps out a 'rim shot' on the reception desk with his drumsticks oblivious to Joe's entrance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRWELL, SENTON HOTEL - NIGHT<\/stage_direction>\n    <scene_description>Musak from the lobby fades, giving way to a heightened mix of sounds passing through closed hotel room doors - porn, moving furniture, a muffled cry. Joe carries Nina. She rests her head on his shoulder, hovering between sleep and wakefulness - obscenely childlike in the harsh lighting.<\/scene_description>\n    <character>NINA<\/character>\n    <parenthetical>(whispered, barely audible)<\/parenthetical>\n    <dialogue>Mommy went away.<\/dialogue>\n    <character>JOE<\/character>\n    <parenthetical>(gently rocking her)<\/parenthetical>\n    <dialogue>Shhhh.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SENTON HOTEL, ROOM 719 - NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON the photographs Joe took from Votto. Nina holds them between finger and thumb, studying them intently. The OVEREXPOSED SELFIE -<\/scene_description>\n    <character>NINA (O.S.)<\/character>\n    <dialogue>Is that me?<\/dialogue>\n    <scene_description>She is sat in the one armchair in the room, Joe's jacket drawn around her shoulders. Joe reaches in with a wet wipe and smooths away chocolate smears from her face.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Uh-huh.<\/dialogue>\n    <scene_description>As Joe wipes, Nina pulls a face. Joe takes a fresh wipe. As it hones in towards Nina's face she deliberately goes CROSS- EYED. She bursts out giggling. ON JOE - He cannot help but smile. He stands to throw the used wipes into the hotel room trash can. CLOSE ON the family portrait photograph. Nina covers over her FATHER'S FACE with her thumb. Then cover's over her MOTHER's FACE with her other thumb. Nina lowers the photo, her eyes drawn to the TV screen which flickers away with the sound down, she reaches for the remote and begins to channel-hop. A 24h newscast - an accident scene in midtown Manhattan, police line, emergency lights. Followed by a montage of archive shots of a suited middle aged man giving a speech at the U.S. Senate - the name 'Senator Williams' on the chyron.<\/scene_description>\n    <character>NINA<\/character>\n    <dialogue>The crying man.<\/dialogue>\n    <scene_description>Her finger points to the TV. Joe looks up. The news cast cuts to a studio anchor, a portrait photograph of SENATOR WILLIAMS emblazoned with \"SUICIDE?\" displayed beside them. O.S. The electronic mechanical sound of the room key unlocking the door. Joe immediately stands and darts to the door. It opens. The drumming BELL HOP stands in the doorway. A BRIGHT FLASH OF LIGHT and the explosion of a firing gun. His forehead erupts. CLOSE ON: Joe's face as the BELL HOP's blood spatters over him. TWO MEN with raised pistols. The ALPHA of the pair twitches his gun, gesturing Joe into the living area of the room, seating him at the foot of the bed next to Nina, she turns the tv off. The OTHER MAN holsters his weapon and crosses to Nina, slinging her over his shoulder like a money sack. He heads for the door.<\/scene_description>\n    <character>NINA<\/character>\n    <parenthetical>(O.S.)<\/parenthetical>\n    <dialogue>...Joe?<\/dialogue>\n    <scene_description>CLOSE ON: Her tiny feet disappear out of view as the door snaps shut.<\/scene_description>\n    <character>NINA (O.S.)<\/character>\n    <parenthetical>(Louder but muffled through the door) )<\/parenthetical>\n    <character>...JOE...<\/character>\n    <dialogue>Alpha stands over Joe, raises his gun full stock...<\/dialogue>\n    <character>ALPHA<\/character>\n    <parenthetical>(RE: Nina )<\/parenthetical>\n    <dialogue>Cute.<\/dialogue>\n    <scene_description>In an instant Joe propels himself from the bed. He lunges full length towards the coffee table, planting his palms on its top surface, launching it across the floor into the Alpha's knees. A cellphone flies from the Alpha's hand as he crashes forward, his legs now pinned between the splintered table and the far wall. CUT TO: Joe moving in rapid, assured movements as he claws himself up the teetering man. In three solid grasps of the man's clothing he has himself level with his torso - going for control of his wrist and the weapon... The man tries in vain to angle the 9mm on Joe. A SHOT rings out. Alpha chops at the back of Joe's head with the butt of the gun, landing a sharp vicious blow. CUT TO: A FLASH OF RED. Joe keeps climbing. Both men collapse into the remnants of the crushed coffee table. Joe's left hand is on the wrist that holds the pistol. He pushes it away. His eyes are screwed shut against the pain of the blow to his head, some unseeing snake part of his brain takes over. Everything is impression and feeling. O.S. A deadened gunshot.... CUT TO: ...smacks straight into the CEILING MIRROR ABOVE THE BED, fracturing the glass right across its length... We see the last of the struggle in the fragmented reflection. A cubist tableau - two distorted figures writhe on the deep red carpet.<\/scene_description>\n    <character>A THIRD GUNSHOT RINGS OUT.<\/character>\n    <dialogue>For a moment it's impossible to tell who has the upper hand.<\/dialogue>\n    <scene_description>CUT TO: CLOSE ON, Joe gets both hands under Alpha's chin and with all his strength pushes the man's head back past any natural angle. The NECK SNAPS. Alpha goes still. Joe rolls off panting, his vision returning, the blurry room coming slowly back to focus. He scrambles to his feet, takes the man's pistol. CLOSE ON: The photograph of Nina as Joe snatches it up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SENTON HOTEL HALLWAY, 7TH FLOOR - NIGHT<\/stage_direction>\n    <scene_description>Joe, the pistol in one hand, hauls ass down the hallway. A BLOOD SPOT falls on the floor as he makes for the window and onto the fire escape.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SENTON HOTEL, REAR FIRE ESCAPE - NIGHT<\/stage_direction>\n    <scene_description>Dropping from bottom level of the fire escape gantry Joe lands hard.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALL-NIGHT BODEGA, MIDTOWN MANHATTAN - NIGHT<\/stage_direction>\n    <scene_description>A bottle of rubbing alcohol, cotton wool roll, roll of gauze and a carded pair of NEEDLE NOSE ELECTRICAL PLIERS - pushed across the counter. Behind a scratched plastic window the cashier barely registers Joe or what he is buying, his eyes fixed on a small TV on the counter. O.S. TV news program covering the apparent 'suicide' of Senator Williams IN SPANISH. The TV news cuts to an outside broadcast. A taxi's caved in roof - the scene flashes red and blue from emergency vehicle roof lights.<\/scene_description>\n    <character>NEWS ANCHOR (O.S. IN SPANISH)<\/character>\n    <dialogue>...Senator William's political and private life have dogged him since 2012 when an out of court settlement was reached with the parents of a girl below the age of consent...<\/dialogue>\n    <scene_description>Joe pays cash. There is BLOOD on his hands and the $50 bill he pays with. His RIGHT HAND CHEEK is swollen. Thick blood mattes his jaw and throat. The cashier doesn't raise an eyebrow.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIDTOWN MANHATTAN - NIGHT<\/stage_direction>\n    <scene_description>Joe propped up against the side of a building, rain falls around him. A stray dog, sniffs around the area. Joe eases the PLIERS into his open mouth. He digs around taking time to get purchase, deep inside. Joe suppresses the need to scream. EXTREME CLOSE UP: A BROKEN TOOTH - a Molar, split in two. Joe's bloodied fingertips set it down. Joe collapses back. (O.S.) Nina's whispered count down.<\/scene_description>\n    <character>NINA<\/character>\n    <dialogue>481, 480, 479...<\/dialogue>\n    <scene_description>Her counting overlaps into the VOICE of an 8-YR-OLD-BOY...<\/scene_description>\n    <character>8-YR-OLD BOY'S VOICE (O.S.)<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOCKS, FBI RAID - NIGHT (JOE'S MEMORY)<\/stage_direction>\n    <scene_description>CLOSE ON: the rear doors of the refrigerated truck... A heavy padlock. Several FBI agents stand by with flashlights fixed on the truck. CLOSE ON- Dollar bills slowly flapping in a puddle. Heavy duty bolt croppers bite into the hardened steel. With a GASP of rushing air the tall rear door of the truck swings open to reveal Joe. Rain streams from the brim of his cap. JOE'S POV - the gloom of the truck interior gives way to a tableau resembling G\u00e9ricault's The Raft of the Medusa...<\/scene_description>\n    <character>...TWENTY FOUR CHINESE GIRLS.<\/character>\n    <dialogue>IT IS TOO LATE.<\/dialogue>\n    <dialogue>They are all dead.<\/dialogue>\n    <dialogue>Their barely clad bodies entwined in the dark, eyes open, heads cast back, mouths agape.<\/dialogue>\n    <dialogue>CLOSE ON Joe: closing in on his narrowed eyes.<\/dialogue>\n    <dialogue>CLOSE ON two of the dead girls. Neither older than 14, their faces framed by long black hair, cheeks pressed together in eternal embrace.<\/dialogue>\n    <dialogue>CLOSER STILL - A distinct mole on an upper lip. The mouth strained wide...<\/dialogue>\n    <dialogue>O.S. The rising pitch of a dialling tone.<\/dialogue>\n    <scene_description>FADE OUT:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIDTOWN, MANHATTAN. NIGHT<\/stage_direction>\n    <scene_description>Joe leans against a battered pay phone. He fishes the receiver to his ear. His cheek is wrapped with a pad of gauze, crudely taped in place. Blood is smeared over his face and hands like iodine. It connects straight to a phone company digital voicemail. O.S. McCleary's voice mail.<\/scene_description>\n    <character>SYNTHESIZED 'ROBOT' WOMAN<\/character>\n    <dialogue>You've called...<\/dialogue>\n    <parenthetical>(a beat followed by gruff man's voice)<\/parenthetical>\n    <dialogue>McCleary...<\/dialogue>\n    <scene_description>Joe immediately hangs up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MCCLEARY'S STREET - DAWN<\/stage_direction>\n    <scene_description>A simple, white clapboard two storey affair backing on to an ocean view. A pristine 20 year old CADDY is parked in the driveway - a 90's 'classic'. A Manhattan Taxi U-turns and diminishes towards the turn off. Joe watches till he sees the blink of its signal light then passes the gleaming Caddy towards the rear of the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCCLEARY'S HOUSE, KITCHEN SIDE ENTRANCE - DAWN<\/stage_direction>\n    <scene_description>With a brisk move from Joe's outline a pane in the door glass pops through, falls and shatters. CLOSER STILL - Joe's free hand reaches through and feels out the latch...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCCLEARY'S HOUSE, KITCHEN - DAWN<\/stage_direction>\n    <scene_description>Joe moves through the kitchen. O.S. Radio on in the adjacent living area. A HUGE PERSIAN CAT laps at a vast pool of milk from an upturned carton beside the sink. It looks up to meet Joe's gaze. Then returns to the milk. The splattered microwave door hangs open. An old school coffee percolator stands beside the fridge. An 1\/8th inch of stewed coffee bubbles furiously in the bottom of it's glass jug. Joe pulls the plug at the wall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCCLEARY'S HOUSE, BEDROOM - DAWN<\/stage_direction>\n    <scene_description>McCleary's bed is unslept in, the flowered bedspread tucked in neatly on all sides. Make-up tubs, compacts, perfume bottles and atomizers are arranged in an ordered crescent on the dresser.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCCLEARY'S HOUSE LIVING ROOM - DAWN<\/stage_direction>\n    <scene_description>Joe is sat on the sofa. Around Joe is evidence that this is McCleary's place of sleep. A feather pillow and blanket, a few empty beer bottles, an old fashioned porno mag, 'Power &amp; Motoryacht'. CLOSE ON, A framed photo on a cupboard - A younger, slimmer McCleary, shoulder to shoulder with SENATOR VOTTO SNR - the spit of his son. Beside them stands the 20 year old Votto Jr. McCleary is being handed a gold clock for 10 years service, the mood is jovial - smiles all round. Other photographs line the walls and mantelpiece - marking the progress of McCleary from state trooper - to a more portly man in a suit. Interspersed are photographs of McCleary and his wife. Different ages but all images of a loving couple... A black and white wedding picture of the once handsome pair cutting the cake.... Halloween fancy dress costume - they are Laurel and Hardy. From the deck of a yacht, they beam at the camera in a tight embrace. She is noticeably more gaunt, a silk scarf tied around her head hiding her lack of hair. The Persian Cat leaps onto the coffee table. Its back arches as Joe runs his hand across it. CLOSE ON Joe's palm - bright red streaks. The Persian Cat's fur and tail are spattered with blood...it's FRESH. Joe tenses.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCCLEARY'S HOUSE BEDROOM - DAWN<\/stage_direction>\n    <scene_description>CLOSE ON: Joe pulls open the bedside drawer. A ROYAL BLUE COLT PYTHON SNUB NOSE. Joe spins the chamber - fully loaded.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A107 INT. MCCLEARY'S HOUSE LIVING ROOM - DAWN A107<\/stage_direction>\n    <scene_description>Car keys with the familiar Cadillac logo on the key ring. JOE'S HAND - he grabs the keys.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCCLEARY'S CADDY - DAY<\/stage_direction>\n    <scene_description>Joe looks like death - driving as fast as the limit allows. Sweat dots his brow, he constantly checks the rear view mirror and the few passing cars on the road. He winces, pops one of the painkillers he bought from his Midtown drug dealer. It is almost impossible for him to part his lips. His head lolls slightly forward. O.S. The SOUND OF THE CAR ENGINE, loud, quickening, continues over:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, MOTHER'S HOUSE - NIGHT (JOE'S MEMORY)<\/stage_direction>\n    <scene_description>CLOSE ON: 8-yr-old Joe bare chested, standing poker straight, facing a wall.<\/scene_description>\n    <character>8-YR-OLD JOE<\/character>\n    <parenthetical>(voice as an adult)<\/parenthetical>\n    <dialogue>I must do better sir. I must do better sir. I must do better. I must do better...<\/dialogue>\n    <scene_description>8-yr-old Joe begins to falls asleep, his head bows forward almost grazing the chintzy wallpaper.<\/scene_description>\n    <character>8-YR-OLD JOE<\/character>\n    <parenthetical>(voice as an adult)<\/parenthetical>\n    <dialogue>I'm fucking up.<\/dialogue>\n    <scene_description>As it's just about to touch the wall...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCCLEARY'S CADDY - DAY (BACK TO PRESENT)<\/stage_direction>\n    <scene_description>JOE'S HEAD jolts himself upright, slaps his face, HARD. Speeds up...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCCLEARY'S OFFICE BUILDING, ELEVATOR - DAY<\/stage_direction>\n    <scene_description>O.S. The manic sound of a FLY BUZZING, trapped in the fluorescent light. CLOSE ON: Joe propped against the back wall of the elevator - The doors begin slide shut in front of his face... OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCCLEARY'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Joe lets himself into the room. The room is a jungle of gaudy wilted flowers. McCleary's body sits at his high backed desk chair. He is wearing a towelling dressing gown and slippers - eyes closed, mouth slightly agape. The only sign of disarray is the shattered Rolodex, its index cards spread out across the glass top of the desk like a blackjack table.<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>(under his breath)<\/parenthetical>\n    <dialogue>Oh John.<\/dialogue>\n    <scene_description>CLOSE ON: the Rolodex card bearing Angel's details as Joe turns it over in his hands. Dried blood foxes the edges. O.S. Dialling tone and three digits punched... From UNDERNEATH the glass tabletop - CONGEALING BLOOD pools around McCleary's hands where they rest on the top surface, his fingers bent and mangled.<\/scene_description>\n    <character>911 DISPATCHER (O.S.)<\/character>\n    <dialogue>What's your emergency?<\/dialogue>\n    <character>JOE (O.S.)<\/character>\n    <dialogue>Rego Park, fire department... It's urgent...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>...Yeah I saw smoke coming from an old lady's house. 1138...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANGEL'S BODEGA STOCKROOM - NIGHT (IN JOE'S<\/stage_direction>\n    <character>IMAGINATION)<\/character>\n    <dialogue>CLOSE ON: The terrified face of Moises. He opens his mouth to speak. His lips synchronize with Joe's call.<\/dialogue>\n    <character>JOE (V.O.)<\/character>\n    <dialogue>...Sycamore, a red brick house.<\/dialogue>\n    <scene_description>WIDER: Moises is on his knees facing his father. A gun pressed to the back of Angel's head. The EXPLOSION of muzzle flash... Blood sprays into Moises' face.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCCLEARY'S CADDY, IN FRONT OF JOE'S MOTHER'S HOUSE -<\/stage_direction>\n    <character>DAY<\/character>\n    <dialogue>Lights, no siren...<\/dialogue>\n    <dialogue>FIREMEN haul themselves back into the cab of their fire truck.<\/dialogue>\n    <dialogue>The caddy parks up opposite.<\/dialogue>\n    <dialogue>Joe sits forward, scanning the view through the windscreen...<\/dialogue>\n    <dialogue>The Fire Truck pulls away, revealing a black Dodge Challenger - conspicuous on the genteel street.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK ALLEY, MOTHER'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Joe looks up to the low roof at the rear of the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. JOE'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>Through the window we see Joe haul himself onto the low roof at the rear of the house. He continues to climb up to the 2nd floor. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTHER'S HOUSE, MOTHER'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>Joe drops into view onto the exterior balcony. He turns to the window. CLOSE ON: Joe's face as he stares in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM, MOTHER'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Joe's POV of his Mother on the bed - A PILLOW OVER HER FACE. There is a tear in it and powder burns scorch the pillow case. He stares down at her from the bedside. O.S. The CREAKING of floorboards in 2 separate places - 2 sets of footfalls. The sound of a drawer being pulled open, the crash of cutlery hitting a floor....<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSTAIRS HALLWAY, MOTHER'S HOUSE - DAY (FLASHBACK)<\/stage_direction>\n    <scene_description>CLOSE ON: 8-yr-old Joe's shins, angry red welts, his stockinged feet step over a specific floorboard.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOE'S BEDROOM, MOTHER'S HOUSE - DAY<\/stage_direction>\n    <scene_description>8-yr-old Joe crouches in the wardrobe. Hiding inside a PLASTIC DRY CLEANING BAG, his shallow breathing distorts his face.<\/scene_description>\n    <character>8-YR-OLD JOE<\/character>\n    <parenthetical>(internally)<\/parenthetical>\n    <character>313, 312, 311...<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>O.S. CREAKING of shoes on the downstairs floorboards, the muffled sound of a man's raised voice - GROWLING.<\/dialogue>\n    <dialogue>8-yr-old Joe holds his breath, listens, terrified.<\/dialogue>\n    <dialogue>O.S. SLAPS and THUDS, a woman MOANING ...SOBBING.<\/dialogue>\n    <dialogue>8-yr-old Joe breathes again in relief. His face red with shame.<\/dialogue>\n    <character>8-YR-OLD JOE<\/character>\n    <parenthetical>(internally)<\/parenthetical>\n    <character>310, 309, 308...<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>O.S. More SLAPS and SOBS.<\/dialogue>\n    <dialogue>8-yr-old Joe clamps his hands over his ears.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSTAIRS HALLWAY, MOTHER'S HOUSE - DAY (BACK TO<\/stage_direction>\n    <character>PRESENT)<\/character>\n    <dialogue>Joe stands at the top of the stairs.<\/dialogue>\n    <dialogue>Unobserved he can see shadows moving in the living room and dining area downstairs.<\/dialogue>\n    <dialogue>O.S. Music from the kitchen radio drifts up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM, MOTHER'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Joe lifts the scorched pillow from his Mother's face. He reaches down. CLOSE ON: Joe gently sets her glasses on the bedside table alongside her hearing aide. The left lens is shattered, dripping with blood.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSTAIRS HALLWAY, MOTHER'S HOUSE - DAY<\/stage_direction>\n    <scene_description>O.S. One set of footsteps moves to the front door. Joe's eyes are closed, head tilting from to one side to the other as he maps the movements below him. The sound of the radio fades as the sounds of movement increase. O.S. The sound of footsteps walking over CUTLERY on dining area floor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM, MOTHER'S HOUSE - DAY (FLASHBACK)<\/stage_direction>\n    <scene_description>The SILVER CUTLERY and mahogany case sparkle on the living room floor. Joe's Mother is slumped beside it. His Father's feet stride away, a bottle of whiskey swings in his free hand. A Ball peen HAMMER drops to the floor. 8-yr-old Joe watches from underneath the sofa. His Mother stares at him. Blood runs from her ear.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSTAIRS HALLWAY, MOTHER'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Joe is at the top of the stairs. Eye's closed in concentration. His finger moves onto the trigger of McCleary's gun.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRCASE - HALLWAY, MOTHER'S HOUSE - DAY.<\/stage_direction>\n    <scene_description>Joe comes down the stairs like an express train, gun drawn. One continuous move takes him as he spins, firing two shots in quick succession. A long EERIE SILENCE broken by the beep of an incoming text message and the faint sound of a Gunman's fingernails scratching at the floor. REVEAL - One gunman keels over. Dead. The other is on his belly, crawling away towards the kitchen.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN, MOTHER'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Staying low Joe stands over to the body of the dead Gunman. He rifles through his jacket pocket for his phone - reads the text... \"is he there yet?\" Joe types, \"all quiet\" and hits Send. CLOSE ON: Joe's hand filling a glass of water from the faucet. The same 1990 Pop hit heard in Kuwait plays from the radio. He grabs a CHINTZY TEA TOWEL then slides down the sink unit to the floor. CLOSE ON: the bottle pills from the Midtown drug dealer - Joe shakes out 2 pills. He downs one... The 2nd Gunman lies slumped across from Joe. He's in bad shape, bleeding out from the bullet to the stomach. Joe, tosses the Gunman the chintzy tea towel. The Gunman uses his free hand to limply clutch it to his stomach to staunch the bleeding. Joe crawls towards him, feeds him the other pill, holding the glass of water to his lips. Joe pulls himself into a sitting position beside the Gunman. The Gunman looks at him, unfocused.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Where's the girl?<\/dialogue>\n    <scene_description>A HARD CUT in the O.S. Radio music. Later in the song, a different tempo. Time has passed.<\/scene_description>\n    <character>GUNMAN<\/character>\n    <dialogue>Far away...<\/dialogue>\n    <scene_description>A HARD CUT in the O.S. Radio music.<\/scene_description>\n    <character>GUNMAN<\/character>\n    <parenthetical>(eyes glazed)<\/parenthetical>\n    <dialogue>Safer than her dirty old man.<\/dialogue>\n    <scene_description>Joe is now on the other side of the gunman. He rests his fingers on the man's neck - feeling his pulse.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>You work for him?<\/dialogue>\n    <character>GUNMAN<\/character>\n    <dialogue>...the other way round.<\/dialogue>\n    <scene_description>The gunman smirks, looks about to pass out.<\/scene_description>\n    <character>GUNMAN (IN SYNC WITH LYRICS ON THE<\/character>\n    <dialogue>KITCHEN RADIO)<\/dialogue>\n    <scene_description>I wish someone had talked to me like I want to talk to you.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>What do you have on him?<\/dialogue>\n    <character>GUNMAN<\/character>\n    <dialogue>...I ran out of places and friendly faces... \\[...\\].. I've been to paradise but I've never been to me...<\/dialogue>\n    <scene_description>He sparks out. A HARD CUT in the O.S. Radio music. Joe nudges the gunman again<\/scene_description>\n    <character>GUNMAN<\/character>\n    <dialogue>The Mother knew.<\/dialogue>\n    <scene_description>The gunman's suddenly wide awake staring with hyper alertness. He reaches for Joe's hand, takes it and holds it tight.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Where's the girl?<\/dialogue>\n    <scene_description>The gunman stares at him. Past him. Joe gently takes the Gunman's hand that still clutches the blood-soaked chintzy tea towel to his stomach.<\/scene_description>\n    <character>GUNMAN<\/character>\n    <dialogue>Her old man knows.<\/dialogue>\n    <scene_description>He presses it firmly over the Gunman's nose and mouth.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOE'S BEDROOM, MOTHER'S HOUSE - DAY (LATER)<\/stage_direction>\n    <scene_description>O.S The SCREECH of duct tape wrenched from the roll. In the mirror: Joe has redressed the gauze on his JAW. He smooths a strip of silver duct tape over the dressing, sealing in his neck and lower ear. OMITTED OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM, MOTHER'S HOUSE - DAY<\/stage_direction>\n    <scene_description>CLOSE ON: Joe's hands lift his mothers feet. He gently removes her tiny floral slippers, placing them on the floor at the foot of her bed. CLOSE ON: Joe's face as he lifts his mother up delicately by the shoulders. Her frail back comes into view. Long silver hair falls loose from its chignon. Joe blinks, almost cracking for a second. He lays his mother gently back down on the bed. Joe combs her tangled hair smooth with the brush from her dresser. CLOSE ON: the hairbrush as he sets it down on the bedside table. Wisps of silver hair waft from it. Joe picks up a lipstick. He holds it to his nostrils, inhaling. Closes his eyes. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCCLEARY'S CADDY, QUEENS STREETS - DAY (LATER)<\/stage_direction>\n    <scene_description>Joe drives out of Queens. CLOSE ON: Joe's finger as he toggles down the window switch. O.S. The garbage bag ripples noisily in the breeze CUT TO: Joe's sunken eyes rimmed with cold sweat - glued to the rear view mirror. In its reflection the black plastic clings to his mother's face, defining the outline of her features like a death mask. Joe sends the window back up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. APPROACH TO GEORGE WASHINGTON BRIDGE - DAY (LATER)<\/stage_direction>\n    <scene_description>The Caddy takes the Harlem River Dr. North to the lower level of the George Washington and crosses into Jersey.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCCLEARY'S CADDY, WOODLAND, NEW JERSEY - DAY (LATER)<\/stage_direction>\n    <scene_description>Joe drives across a river dam.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODLAND, NEW JERSEY - DUSK (LATER)<\/stage_direction>\n    <scene_description>FROM BEHIND: Joe winds through woodland down a steep dirt path, cradling his mother's body as his footfalls falter on the uneven ground. The arching branches open up to reveal the edge of a vast lake.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODLAND, LAKESIDE, NEW JERSEY - DUSK<\/stage_direction>\n    <scene_description>The shrouded form of Joe's Mother lies in state across a broad rock at the water's edge. CLOSE ON: Joe's hands precisely placing a neat row of personal effects, the photograph of Nina, McCleary's gun, amongst the foliage at the edge of lake. CLOSE ON: Joe's hands as he scoops up a heavy flat rock.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODLAND, LAKE - DUSK<\/stage_direction>\n    <scene_description>UNDERWATER: Joe's feet stumble across the coarse shale of the lake bed. Joe wades chest deep into the river pushing his Mother's corpse ahead of him. Flat rocks weigh her down so that she barely touches the surface of the water. He gently immerses the plastic bundle and with his fingertips tears open a small hole to the side of her head. Snow white hair pours out into the black water, wafting like reeds. Silently the black plastic crimps and flexes as air leaches from it. As Joe walks deeper the small body slowly sinks below the surface in his arms. The water reaches his eyes. UNDERWATER - The pockets of his suit bulge with rocks from the lakeside. He takes another step forward and disappears under the surface. CUT TO: UNDERWATER: In a limitless black void Joe and his mother are in embrace. The black shroud, cocooned tight around her. She seems tiny, the size of child as he clings to her. Her silver hair loosens and wafts in the water, whirling around his head and shoulders...glinting, beckoning strands of light. Joe's mother's shroud descends into the depths. Joe drifts away from her. A CRACK, muffled, from above the surface of the water... A WHOOSH and almighty subaqueous CRASH as a thirty foot mass of dead tree smashes into and under the surface, almost on top of Joe, its branches spearing out underwater... Joe's eyes snap open in an underwater churn of bubbles and trunk... On his wide eyes... He closes his mouth, his chest clenches. JOE'S POV - UNDERWATER, against a limitless black void, the diaphanous figure of NINA, her nightdress flowing around her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HUDSON RIVER, PANINADES - DUSK<\/stage_direction>\n    <scene_description>FOLLOWING JOE - His clothes are dripping wet. The rhythm of his sodden shoes the only sound. O.S Nina's countdown continuous...<\/scene_description>\n    <character>NINA'S VOICE (O.S.)<\/character>\n    <scene_description>OMITTED OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMTRAK 'EMPIRE SERVICE' TRAIN - NIGHT<\/stage_direction>\n    <scene_description>Joe's head leans against the glass of the window. His SUNDAY SUIT leeches moisture into his seat. O.S Nina's countdown continuous...<\/scene_description>\n    <character>NINA'S VOICE (O.S.)<\/character>\n    <dialogue>217, 216, 215..<\/dialogue>\n    <scene_description>Her voice merges with the beat of train tracks. Joe stares unblinking through the business compartment window. Nearby, a man reaches for his suitcase from an overhead, he walks up the aisle, Joe takes a moment to notice his black shiny shoes. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHERATON ROOFTOP, NYC - NIGHT (IN JOE'S IMAGINATION)<\/stage_direction>\n    <scene_description>O.S. The whisper of NINA'S COUNTING, 97, 96, 95... CLOSE ON: A man's shiny black shoes are slipped off of his feet, we follow his feet up onto the ledge of a roof.<\/scene_description>\n    <character>NINA (O.S.)<\/character>\n    <dialogue>Don't tell Mommy...<\/dialogue>\n    <scene_description>A MONTAGE of images and dialogue - overlapping and confused - underscored to the rhythm of the train tracks... OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROTHEL (JOE'S IMAGINATION)<\/stage_direction>\n    <scene_description>Senator Williams cries, Nina with her back turned to him. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOTTE NY PALACE HOTEL - DAY (JOE'S IMAGINATION)<\/stage_direction>\n    <scene_description>Senator Williams cries, Votto takes it in. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOTTE NY PALACE HOTEL - DAY(JOE'S IMAGINATION)<\/stage_direction>\n    <scene_description>...Votto has Joe's hand in a firm handshake. He places his other hand on top of Joe's - intimate.<\/scene_description>\n    <character>GUNMAN (O.S.)<\/character>\n    <parenthetical>(pained, whispered)<\/parenthetical>\n    <dialogue>We cleaned up his mess.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PARKING GARAGE - NIGHT (JOE'S IMAGINATION)<\/stage_direction>\n    <scene_description>The smiley face on the car window beside Nina has begun to run - tears of a clown. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOTTE NY PALACE HOTEL - DAY (JOE'S IMAGINATION)<\/stage_direction>\n    <scene_description>CLOSE ON: Votto raises his forefinger to his lips in a gesture of secrecy. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SENTON HOTEL - NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON: Nina's tiny feet disappear out of view as the door to room 719 snaps shut. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAKE - DUSK<\/stage_direction>\n    <scene_description>A GIRL'S PALE BARE FEET (Nina's) dart between black tree trunks, stuttering in and out view. The briefest of glimpses, then she is gone. A153 OMITTED A153<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOE'S MOTHER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Joe's face as the clear plastic bag is suddenly sucked onto his skin, distorting his features into an inhuman mask.<\/scene_description>\n    <character>VOTTO (O.S.)<\/character>\n    <dialogue>Her name is Nina did I mention that.<\/dialogue>\n    <scene_description>CUT TO: OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. RENTAL CAR. VOTTO'S CONSTITUENCY OFFICE - DAY<\/stage_direction>\n    <scene_description>Few signs of life as a solitary intern mans the phone. Across the street Joe watches the campaign office from the front seat of a RENTAL CAR. He is wearing the dishevelled Sunday Suit. He lifts a Hershey bar to his mouth and takes a bite of chocolate. A SLOW ZOOM. Closer on Joe. Votto exits his constituency meeting accompanied by TWO SURLY BODYGUARDS in dark suits. They lead him to his Car. On Joe - his attention drifts from Votto to his bodyguards. As one opens the rear door of Votto's car a concealed gun holster peeps through his jacket opening. The 2nd Man has a grasp on Votto's elbow as he edges him into his seat. Both men wear earpieces. Joe watches as the car slowly pulls away - Votto's face in the rear is set in a grim expression. CUT TO: Joe's hand balls up the HERSHEY wrapper and drops it on the passenger seat. It lands beside 5 other identically screwed up HERSHEY WRAPPERS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL ROOM, BATHROOM, ALBANY- NIGHT.<\/stage_direction>\n    <scene_description>Steam rises from the bathtub.<\/scene_description>\n    <character>A SLOW ZOOM.<\/character>\n    <dialogue>The bare bulb illuminating the room shimmers in the steam.<\/dialogue>\n    <dialogue>Joe lies in the water with a wet face towel obscuring his eyes and mouth.<\/dialogue>\n    <character>A SLOW ZOOM.<\/character>\n    <dialogue>CLOSER on Joe. His breathing under the towel is wet and laboured. His eye sockets sunken.<\/dialogue>\n    <scene_description>OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL ROOM, ALBANY - NIGHT.<\/stage_direction>\n    <scene_description>Joe's SUNDAY SUIT hangs on the back of the bathroom door, wrapped in an ALBANY DRY CLEANER'S plastic bag. A ball peen hammer, duct tape &amp; cable ties lie on the motel bed. O.S. The sound of tearing DUCT TAPE. A pause in the tearing sound. WET Laboured breathing...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. JOE'S RENTAL CAR, COUNTRY ROAD - DUSK.<\/stage_direction>\n    <scene_description>Joe's hands rest on the wheel of his hire car. The distant shape of Votto's car traces ahead on the country road. JOE drives, his eyes implacable - fixed on the road ahead. A WHITE RABBIT - flaring in the glare of car headlamps. It runs ahead - mesmerically - in sync with the speed of car CUT TO: Nina's feet. Running fast in the road ahead.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WILLIAMS' HOUSE, BETHLEHEM - DUSK<\/stage_direction>\n    <scene_description>A MANSION built in colonial style. Joe steps into view, hammer in hand.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WILLIAMS' HOUSE, BETHLEHEM - DUSK<\/stage_direction>\n    <scene_description>Joe runs towards camera hammer raised.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WILLIAMS' HOUSE, BETHLEHEM - DUSK<\/stage_direction>\n    <scene_description>Another angle of the mansion. All is dark except one lit window on the top floor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>163A EXT. WILLIAMS' HOUSE, GATE BETHLEHEM - DUSK 163A<\/stage_direction>\n    <scene_description>Another angle of the swimming pool.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WILLIAMS' HOUSE, GATE, BETHLEHEM - DUSK<\/stage_direction>\n    <scene_description>The 1st Bodyguard lies face down, incapacitated.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN WILLIAMS' HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Joe moves through a brightly lit kitchen leaving a guard down in his wake.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALL, WILLIAMS' HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Joe slowly moves through the house, hammer in hand. OMITTED OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRCASE, WILLIAMS' HOUSE - NIGHT.<\/stage_direction>\n    <scene_description>Joe gently climbs the staircase. The hammer jutting from the back pocket of his pants. 169A OMITTED 169A<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WILLIAMS' HOUSE, UPPER LANDING- NIGHT<\/stage_direction>\n    <scene_description>Padding through the plush carpet. He moves along an upper landing, on his left, the open door of a regal master bedroom, empty. The king size bed is undisturbed. Joe moves on through the long wood-panelled corridor, he is drawn to the mysterious sound of muffled music.<\/scene_description>\n    <character>NINA' VOICE (O.S.)<\/character>\n    <parenthetical>(whispered, overlapping)<\/parenthetical>\n    <dialogue>Shhhh... 91, 90, 89<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM, WILLIAMS' HOUSE - NIGHT<\/stage_direction>\n    <scene_description>In Joe's imagination. Williams fixes the toys on the shelves, a doll's house with tiny furniture, teddy bears. He smells Nina's pillow. Touches the material of her clothes to his cheek. Smoothes out her bed... On Joe as he approaches the foot of the bed. He stops and stares. We hold on Joe's face as his look suddenly changes. We see Williams, slumped to the floor, his throat is slit, blood has pooled around his lifeless body. We cut back to Joe, the shock fades from his face and gives way to a gamut of emotions. He laughs, he cries, he is full of rage, he is exhausted, he falls apart. There is nothing left of Joe. Joe begins to mumble something indiscernible, he repeats something, again, and again, each time it grows a little louder and louder again.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>I must do better sir, I must do better sir, I must do better sir, I must do better sir...<\/dialogue>\n    <scene_description>Joe repeats it, again and again, over this repetition, an amazing high energy pop song swells to full pitch. He stops repeating himself. He listens to the music, Joe is euphoric, elated, light.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRCASE, WILLIAMS' HOUSE - NIGHT<\/stage_direction>\n    <scene_description>On his way down and through the house after discovering Williams' corpse, Joe will see Joe's Mother, Joe's Father, and FOUR CHINESE GIRLS. Joe descends the stairs as though in a trance. He see the hand of an old lady. It is Joe's Mother.<\/scene_description>\n    <character>JOE'S MOTHER<\/character>\n    <parenthetical>(Singing)<\/parenthetical>\n    <dialogue>A you're adorable, B you're so beautiful, C you're a cutie full of charms...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>172A INT. ROOM, WILLIAMS' HOUSE - NIGHT 172A<\/stage_direction>\n    <scene_description>Joe sees a young boy standing head against a wall in a room. It is his 8-year old self.<\/scene_description>\n    <character>8-YR OLD JOE<\/character>\n    <dialogue>I must do better sir, I must do better sir, I must do better sir, I must do better sir...<\/dialogue>\n    <scene_description>He sees a man with a towel over his head, like the men in the Russian baths. It is Joe's Late Father.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>172B INT. DINING ROOM, WILLIAMS' HOUSE - CONTINUOUS 172B<\/stage_direction>\n    <scene_description>Joe comes upon Nina wearing a new outfit. On the table is the remains of a meal for two. A whole chicken, half devoured. An empty bottle of wine, dregs in a glass. A split fruit bowl. Nina has blood on her and has a cutthroat razor. Dialogue and action between Joe and Nina TBD. Nina and Joe leave. OMITTED OMITTED OMITTED OMITTED OMITTED OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GAS STATION - DAWN<\/stage_direction>\n    <scene_description>Joe stands sentry at a gas pump. The dollars slowly climb on the digital display. It is interminable.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD SIDE DINER - DAWN<\/stage_direction>\n    <scene_description>Joe is sat at the table. His gaze is fixed on where he was previously standing. Eileen Barton's If I Knew You Were Coming I'd Have Baked A Cake drifts from a tinny PA, reflecting off plastic surfaces. A few travellers now populate the diner... A MIDDLE AGED MAN sat beside an oxygen tank, drawing breath through a hand held mask - A WOMAN and her TEENAGE DAUGHTER, schoolwork spread in front of them - AN ELDERLY COUPLE loudly discussing an imminent hospital visit - A PAIR OF SUITS, commuters, en route to the city. Joe sucks the last drops of a milk shake from a metal cup. Joe has drank it too quickly, he has a brain freeze. It is painful, but he works through it, he then reaches for a second milkshake from a group of three other empty milkshake glasses. A cacophony of voices rises above the music, punctuated with the wheeze of oxygen inhalation...<\/scene_description>\n    <character>VOICES (O.S.)<\/character>\n    <dialogue>But you gotta take your pills Frank...<\/dialogue>\n    <dialogue>40 X 23 equals...<\/dialogue>\n    <dialogue>I can't take it anymore...<\/dialogue>\n    <dialogue>Drives like a dream...<\/dialogue>\n    <scene_description>Staring straight ahead Joe reaches into his overcoat pocket. He pulls out McCleary's snub nose. The muzzle pushes firmly under his chin...<\/scene_description>\n    <character>NINA'S VOICE (O.S.)<\/character>\n    <scene_description>THE GUN FIRES. An EXPLOSION of blood Exit wound gore and matter spray in all directions, splattering tables, chairs, donuts and diners. The commuter couple and their breakfast plates. But they keep on eating. The man with the oxygen mask. But he keeps on gulping. The woman and her daughter. Math homework now inked in red. The Elderly Couple... Blood dripping from the OLD LADY's wobbling chin as she slurps a fork full of runny egg into her mouth. The Old Man pours a huge dollop of syrup over his bloody pancakes.<\/scene_description>\n    <character>OLD LADY<\/character>\n    <dialogue>Easy on the syrup Frank, you know you're not allowed tha...<\/dialogue>\n    <character>ELDERLY MAN, FRANK.<\/character>\n    <parenthetical>(through a mouthful)<\/parenthetical>\n    <dialogue>Goddammit! I can't have shit!<\/dialogue>\n    <scene_description>Blood pumps over the edge of Joe's table and flows thickly to the tiled floor. A WAITRESS'S feet nimbly step over the spreading pool, a brimming coffee decanter in her hand.<\/scene_description>\n    <character>WAITRESS (O.S.)<\/character>\n    <dialogue>Joe?<\/dialogue>\n    <scene_description>Joe (alive), turns measuredly to face her. The Waitress is Nina. She looks down at Joe, lifting the coffee decanter to indicate she's offering a refill... Joe looks down to the ground. Beside the pool of blood Nina's bare feet.<\/scene_description>\n    <character>NINA (O.S.)<\/character>\n    <dialogue>Joe?....<\/dialogue>\n    <scene_description>Joe looks up... Smiles at her as he holds up his cup.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>You saved my life.<\/dialogue>\n    <scene_description>CUT TO: The WAITRESS (35) smiles, fills up Joe's cup.<\/scene_description>\n    <character>WAITRESS<\/character>\n    <dialogue>I know I need at least five cups in the morning just to get the engine running.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You OK honey?...<\/dialogue>\n    <parenthetical>(beat) )<\/parenthetical>\n    <dialogue>You look like death.<\/dialogue>\n    <scene_description>Joe smiles at her.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>I just woke up.<\/dialogue>\n    <character>WAITRESS<\/character>\n    <parenthetical>(rote)<\/parenthetical>\n    <dialogue>Well have a nice day.<\/dialogue>\n    <character>JOE<\/character>\n    <parenthetical>(sincerely)<\/parenthetical>\n    <dialogue>You have a nice day too.<\/dialogue>\n    <scene_description>He looks out the window. The Waitress catches his eye line, takes in the view. She turns and heads back to the other waitresses who are cooing over a mewling newborn in its mothers arms. Above the low buildings of the Travel Plaza orange dawn catches fire along the edges of the grey shroud sky.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>It's a nice day.<\/dialogue>\n    <scene_description>CUT TO: LATER: CLOSE ON: a $100 bill, tucked under the edge of Joe's coffee cup. A bloody thumb print glistens over the treasurer's signature. The Waitress takes the bill from the table and blankly stares off. Joe is gone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE DINER - DAY<\/stage_direction>\n    <scene_description>Joe strides across the parking lot. His face is focussed, his movement is purposeful. OFF BLACK the trunk of the rental swings open, revealing Joe. He tosses the Glock in. Joe POV: - The dead Gunmen's pistols, suppressors, McCleary's revolver, three new hammers - the tools of his trade all in triplicate.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOE'S RENTAL CAR, ROADSIDE DINER - DAWN<\/stage_direction>\n    <scene_description>Joe fires his car's ignition, the radio comes on. CLOSE ON, Joe sat behind the wheel.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD SIDE DINER - DAWN<\/stage_direction>\n    <scene_description>Joe's car pulls out of the diner's lot.<\/scene_description>\n    <character>NINA'S VOICE (O.S.)<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOE'S RENTAL CAR, INTERSTATE 95 - DAWN<\/stage_direction>\n    <scene_description>The first rays of the rising sun flare the lens with searing white light illuminating the freeway sign. CLOSE ON: Joe, his eyes fixed on the road ahead, his face set with a look of sheer determination.<\/scene_description>\n    <character>NINA'S VOICE (O.S.<\/character>\n    <dialogue>3, 2, 1.<\/dialogue>\n    <scene_description>CUT TO BlacK.<\/scene_description>\n    <character>\\*\\*\\*<\/character>\n  <\/scene>\n<\/script>","summary":"Joe is a traumatized hired gun who specializes in rescuing trafficked girls, using brutal methods against their captors. He cares for his elderly mother in his childhood home in New York City. Joe has flashbacks of the abuse he and his mother faced from his violent father, and his brutal past in the military and FBI, and is troubled by suicidal thoughts. As he comes home one night, Joe is seen by Moises, the son of Angel, who acts as middleman between Joe and his handler, John McCleary. Joe tells McCleary that Angel knows his address and may pose a security risk. McCleary assigns Joe a new job from Albert Votto, a New York State Senator. Votto has offered a large sum of money to discreetly rescue his abducted daughter, Nina. He gives Joe the address of a brothel for wealthy patrons sent via an anonymous text. Joe stakes out the brothel, kills several security guards and patrons, and rescues Nina. While Joe and Nina await Votto's arrival in a hotel room, the news reports that Votto has committed suicide. Police officers gain access to the room with the help of the desk clerk, kill the clerk, and take Nina. Joe escapes after killing an officer sent to kill him. Joe finds that government agents killed McCleary, Angel, and Moises while searching for Joe's address. Arriving back at his home, Joe discovers that two agents have murdered his mother and have been waiting for him. He kills one agent and mortally wounds the other. This agent says that Governor Williams is directing the authorities to cover up the trafficking and Nina is Williams's favorite. Joe drives to a forest, fills his pockets with stones, and gives his mother a water burial. As he sinks into the water, he has a vision of Nina. Joe removes the stones from his pockets and swims back to the surface. Joe follows Williams to his country home and fights his way in, only to discover Williams with his throat slit. He searches the house and discovers Nina, who is seated at a dining room table, alongside a bloody straight razor. Although Joe has become increasingly upset, Nina reassures him that she is alright. The two go to a diner to discuss their future. Joe has a violent suicidal fantasy and passes out. Nina wakes him, saying, \"It's a beautiful day.\" He agrees, and they leave together."}
{"movie_name":"Atomic Blonde_2017","imdb_id":"tt2406566","script":"<script>\n  <scene>\n    <character>ATOMIC BLONDE<\/character>\n    <dialogue>Written by<\/dialogue>\n    <scene_description>Kurt Johnstad Based on the Oni Press graphic novel series \"The Coldest City\" written by Antony Johnston And illustrated by Sam Hart FADE UP FROM BLACKNESS: SUPER: \"BERLIN, NOVEMBER 9, 1989\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTACH\u00c9'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>The room is lit by a single bare bulb and a small television. A man with \"Eric Clapton\" hair and moustache circa 1976 sits alone, drinking two fingers of single-malt scotch. This is DAVID PERCEVAL. INSERT - NEWS FOOTAGE MTV's Kurt Loder reports from the Berlin Wall. We see from the MTV news footage that massive crowds are assembling. Two EAST GERMAN SOLDIERS stand on the Wall, holding an MTV umbrella, an iconic symbol of the times. BACK TO SCENE We MOVE ON a reflection of Perceval on the television. Perceval leans in, shuts off the television and stands with a clear objective. Time to go.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEST BERLIN - NIGHT<\/stage_direction>\n    <scene_description>The air is electric as West Germans carry hammers, chisels and pickaxes with purpose towards the Berlin wall. We see Perceval turn the corner into a dark alleyway near a parked Saab 900 Turbo. Perceval sees a figure in the shadows and slows.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Well, I suppose that's it. We'll be obsolete by morning. I'll be back in London, and you... back to the party.<\/dialogue>\n    <scene_description>We hear the faint sounds of HAMMERS STRIKING against concrete.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>The simplicity of our struggle crumbles as that wall comes down. The lines on the map drawn by men who never faced the risk themselves will be harder to see.<\/dialogue>\n    <scene_description>In the distance, the CROWDS' CHEERS are heard.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>A different world is approaching. More volatile. More corrupt. There will be no ideologies to protect us. Just the brutal and cold conscience of commerce.<\/dialogue>\n    <scene_description>Perceval's eyes follow a group of West Germans with hand tools moving towards the Wall.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Extortion... Whoever has the list in this new world has all power. Without it? Just a target.<\/dialogue>\n    <scene_description>Perceval turns back to the wordless figure in the shadows.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>We played our hands. Hell, I'm just glad to see your face at this moment, as the ramparts of tyranny fall into the history books.<\/dialogue>\n    <scene_description>Perceval smiles softly to himself as he looks towards the crowds.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Listen to them.<\/dialogue>\n    <scene_description>In the faint light, we see the flash of gunmetal. We hear a GUNSHOT BARK out! HARDCUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LONDON - HOTEL ROOM - BATHROOM\/ROOM - DAY<\/stage_direction>\n    <scene_description>SUPER: \"LONDON, NOVEMBER 11, 1989 - TWO DAYS LATER\" A bathtub filled with ice cubes and freezing water. A woman appears from beneath the surface. This is LORRAINE BROUGHTON. Broughton's body is athletic and strong but also patchwork of bruises and cuts from the last ten days. She pulls a towel across her body, steps from the cold water and pours two fingers of Stoli into glass. Broughton looks down at the words \"Hotel Moskva\" on the label and then to the mirror. She CLICKS on the dial of shitty RADIO. We hear David Bowie's \"Cat People Putting out Fire.\" Broughton opens a vanity drawer. Next to the cosmetics is a framed photo of her and a handsome man in front of the Blue Mosque in Istanbul. Broughton stares down at the photo for moment, held by a memory and then reaches for a compact. Broughton covers her contusions with makeup and dresses in a Navy crepe wool skirt suit from Chanel, heels and Jackie-O sunglasses. Simple and sexy. As she opens a Kelly bag we see a Browning Hi-Power at rest next to a pack of Woodbine cigarettes. Broughton doesn't need to chamber check the weapon. It's always loaded, cocked, locked and awaiting her command. She pulls a cigarette from the pack, steps out of the bathroom, glances at the her empty bed and lights her Woodbine. Broughton walks out her apartment door. Bowie's voice builds as we follow her out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LONDON - DAY<\/stage_direction>\n    <scene_description>The morning is crisp. A double-decker bus drives past with \"Boycott Apartheid\" painted on its side.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTURY HOUSE - DAY<\/stage_direction>\n    <scene_description>Just across the Westminster Bridge sits a limestone and glass post-modern fortress. This is the British headquarters of MI6. Broughton walks through the busy streets and into the Century House.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CENTURY HOUSE - LOBBY - DAY<\/stage_direction>\n    <scene_description>Broughton moves through the lobby and towards a line of people waiting at the metal detectors. The SECURITY PERSONNEL wave her straight through. She belongs here; she's a bad ass. Security walks her to a single elevator, inserts a key, and Broughton enters the elevator alone. The doors close. ELEVATOR There is only one button, and that is an arrow down. Broughton pushes the button and rides the elevator for some time. HALLWAY As the doors open, she is meet by another two armed security personnel who nod and wave her past them. Broughton walks down a long, top lit, Kubrickian 60s hallway. We see a remote video camera track her. No one else is down here, and the two security personnel are 100 yards away by now. Broughton stops at an unmarked door. We see another video camera lens focus on her, and the electronic DEAD BOLT CLICKS the door open.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CENTURY HOUSE - ISO-FAC - DAY<\/stage_direction>\n    <scene_description>The \"BIN\" is a sterile ISO-FAC (Isolation Facility) for the debriefing of operatives returning to England. The room is sparse. All the walls are covered in 60s acoustic sound tiles save for a two-way mirror on one wall. MR. ERIC GRAY, mid-sixties and capable, sits with EMMETT KURZFELD of the CIA at wooden table. Broughton enters and slows as she sees Kurzfeld.<\/scene_description>\n    <character>GRAY<\/character>\n    <dialogue>How was your flight?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Uncomfortable.<\/dialogue>\n    <scene_description>Broughton takes a seat across from the two men.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Sir, what is he doing here?<\/dialogue>\n    <character>GRAY<\/character>\n    <dialogue>We thought it would be helpful to get Kurzfeld's perspective.<\/dialogue>\n    <scene_description>Gray leans back and sits next to Kurzfeld. OTHER SIDE OF THE TWO-WAY MIRROR We see a older man, \"C,\" watching. His face is reflected in the glass of the two-way mirror.<\/scene_description>\n    <character>GRAY (V.O.)<\/character>\n    <dialogue>Given the scale of recent world events, C will not be joining us.<\/dialogue>\n    <scene_description>Broughton looks straight into the two-way mirror and nods with the confidence that C is there.<\/scene_description>\n    <character>BROUGHTON (V.O.)<\/character>\n    <dialogue>Yes, of course.<\/dialogue>\n    <scene_description>BACK TO ISO-FAC Broughton looks at Gray and Kurzfeld.<\/scene_description>\n    <character>GRAY<\/character>\n    <dialogue>Let's begin, for the record.<\/dialogue>\n    <scene_description>Gray reaches across to a Nagra III reel-to-reel recording unit that rests on the desk. Gray CLICKS the recording DIAL.<\/scene_description>\n    <character>GRAY<\/character>\n    <dialogue>Under formal direction of the Joint Intelligence Committee: The following will serve as first contact and operational archive for Her Majesty's Military Intelligence Section 6. Recorded on the 11th of November 1989. The voices of record are as follows, Senior Directorate Officer Eric Gray, Senior Case Officer Emmett Kurzfeld of the U.S. Central Intelligence Agency, and returning British Operational Officer Lorraine Broughton.<\/dialogue>\n    <scene_description>Gray leans forward and begins the interview.<\/scene_description>\n    <character>GRAY<\/character>\n    <dialogue>Tell us about Berlin. Were you there when Perceval was shot?<\/dialogue>\n    <scene_description>Broughton calmly replies to Gray.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Broughton looks to the two-way mirror and then to Kurzfeld. Gray scribbles down a note in a folder stamped \"Top Secret\" in front of him and looks up at Broughton.<\/scene_description>\n    <character>GRAY<\/character>\n    <dialogue>Let's start from the beginning, shall we?<\/dialogue>\n    <scene_description>A GRAFFITI TITLE CARD SCRAWLS OUT: \"THE COLDEST CITY\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LONDON - DAY<\/stage_direction>\n    <scene_description>SUPER: \"LONDON, NOVEMBER 2, 1989 - NINE DAYS AGO\" Hard rain. Broughton walks up the wide stairs of Century House. A handmade Fox umbrella shelters her from the weather.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CENTURY HOUSE - GRAY'S OFFICE - CONTINUOUS<\/stage_direction>\n    <scene_description>The office is classic British Empire. Framed conquest maps hang on the walls. A Regent desk in dark wood and oxblood leather chairs. Gray and another man, the Chief of the Secret Intelligence Service known only as \"C,\" sit across from one another.<\/scene_description>\n    <character>GRAY<\/character>\n    <dialogue>Broughton speaks four languages, and her Russian is excellent.<\/dialogue>\n    <character>C<\/character>\n    <dialogue>What about her field craft and perishable skills?<\/dialogue>\n    <character>GRAY<\/character>\n    <dialogue>She's an expert in Escape and Evasion, NATO and Warsaw Pact Weapons systems, and hand-to-hand combat.<\/dialogue>\n    <character>C<\/character>\n    <dialogue>Knowing the reds as I do, she'll need to use every damn one of them.<\/dialogue>\n    <scene_description>There is a KNOCK on the office DOOR. Neither Gray or C stand as Broughton enters the room.<\/scene_description>\n    <character>GRAY<\/character>\n    <dialogue>Sorry to pull you in on short notice, Lorraine. You know C, of course.<\/dialogue>\n    <scene_description>Broughton looks to the emotionless man who remains seated in a straight-back chair.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Yes, of course.<\/dialogue>\n    <scene_description>C motions towards a chair, and Broughton sits at the table and opens a pack of Woodbine cigarettes.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Mind if I smoke, sir?<\/dialogue>\n    <scene_description>Gray pulls a cadet lighter from his pocket, leans across his desk and lights Broughton's Woodbine. Broughton takes a drag off of her cigarette and exhales.<\/scene_description>\n    <character>GRAY<\/character>\n    <dialogue>I'll get straight to the point. How well do you know, James Gascione?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Enough to say hello... We did work together several years back in Istanbul.<\/dialogue>\n    <scene_description>Gray and C share a quick look, trying to decipher if she is lying to them.<\/scene_description>\n    <character>GRAY (PRE-LAP)<\/character>\n    <dialogue>As of yesterday morning Gascione was reported as incommunicado.<\/dialogue>\n    <scene_description>HARD CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEST BERLIN - DAWN<\/stage_direction>\n    <scene_description>SUPER: \"WEST BERLIN, NOVEMBER 1, 1989\" 5 AM. Snow is falling. Most Berliners in the French, British and American sectors of this divided city are asleep. A dependable-looking middle-aged man runs down the empty street.(The same man from the photo in Broughton's vanity) This is JAMES GASCIONE.<\/scene_description>\n    <character>BROUGHTON (V.O.)<\/character>\n    <dialogue>Who was Gascione handling?<\/dialogue>\n    <scene_description>Gascione's shoes pound the pavement. His lungs burn. Each quick exhale leaves a ghostly trail behind him. Remember the gradation of fear in Gascione's eyes as he glances over his shoulder.<\/scene_description>\n    <character>GRAY (V.O.)<\/character>\n    <dialogue>Gascione was running an agent codenamed Spyglass, a Stasi officer.<\/dialogue>\n    <scene_description>Two ROUGH MEN chase after him through the snow. They are all business. They are KGB. Gascione cuts through a backyard, hurdles several fences, vaults over a brick wall and lands. He checks over his shoulder again. Nothing. Maybe he lost them.<\/scene_description>\n    <character>GRAY (V.O.)<\/character>\n    <dialogue>Spyglass had just delivered a list to Gascione.<\/dialogue>\n    <scene_description>Gascione sprints towards the river and glances again just as... ... the ROAR of an ENGINE gets his attention. Gascione holds his hands out on instinct, headlights blinding him until he feels the front of a sedan SLAM into his legs just above the knees. Gascione's body is lifted and then violently pinned against a parked car. Pain surges through his body as he looks down at his mangled legs. The sedan reverses a few feet, and Gascione crumples facedown onto the snowy pavement. The two rough men slowly jog up to the scene as an average- looking man, YURI BAKHTIN emerges from the car and moves towards Gascione.<\/scene_description>\n    <character>BAKHTIN<\/character>\n    <dialogue>Look at me.<\/dialogue>\n    <scene_description>Gascione's eyes tilt upward at Bakhtin.<\/scene_description>\n    <character>GASCIONE<\/character>\n    <dialogue>You... cossack... bastard!<\/dialogue>\n    <scene_description>Bakhtin presses the barrel of a Makarov pistol onto Gascione's forehead. The MAKAROV BARKS OUT, and Gasicone is consumed by the white halo of a muzzle flash. Silence. Bakhtin grabs Gascione's wrist and removes a classic \" Carl F Bucherer \" wrist watch. Bakhtin nods towards the two rough men, who lift Gasicone's lifeless body from the blood-soaked snow and dump it into the river Spree.<\/scene_description>\n    <character>C (PRE-LAP)<\/character>\n    <dialogue>Gascione is dead.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CENTURY HOUSE - GRAY'S OFFICE - CONTINUOUS<\/stage_direction>\n    <scene_description>Broughton lowers her cigarette without a word.<\/scene_description>\n    <character>GRAY<\/character>\n    <dialogue>The Jerries fished him out of the Spree River this morning. A West German coroner extracted a 9x18mm from the base of his skull.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Soviets.<\/dialogue>\n    <scene_description>Gray sets down a black-and-white photo of an average-looking MAN in a Soviet military uniform.<\/scene_description>\n    <character>GRAY<\/character>\n    <dialogue>Our sources point to Yuri Bakhtin, a lead KGB officer who was ticketed out of Berlin on Aeroflot to Moscow.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>You want me in Moscow?<\/dialogue>\n    <character>C<\/character>\n    <dialogue>Bakhtin never arrived in Moscow.<\/dialogue>\n    <scene_description>Gray picks up the photo and scans the documents within a TS (Top Secret) folder stamped \"UK eyes only.\"<\/scene_description>\n    <character>GRAY<\/character>\n    <dialogue>So either our man on the ground is wrong, or Bakhtin pulled a switch and is now lost to us.<\/dialogue>\n    <scene_description>Broughton takes another drag from her cigarette.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Gascione was en route to where?<\/dialogue>\n    <character>GRAY<\/character>\n    <dialogue>Our Head of Berlin operations when he was assassinated.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>How sensitive is the list?<\/dialogue>\n    <character>GRAY<\/character>\n    <dialogue>Spyglass claimed it was a complete inventory of the identities and locations of every active clandestine officer.<\/dialogue>\n    <scene_description>Broughton lowers her cigarette as a thin ribbon of smoke curls up towards the low ceiling.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Is that even possible?<\/dialogue>\n    <character>C<\/character>\n    <dialogue>The real question must be: is it wise to hope it's not possible instead of proving it is?<\/dialogue>\n    <scene_description>There is a moment of silence in the room. A challenge has just been laid down.<\/scene_description>\n    <character>GRAY<\/character>\n    <dialogue>Everyone is hunting for it: the Yanks, the Frogs, us, and the Soviets for sure.<\/dialogue>\n    <character>C<\/character>\n    <dialogue>Tell her the rest of the good news.<\/dialogue>\n    <character>GRAY<\/character>\n    <dialogue>Spyglass disclosed the list would expose a double agent by the name of \"Satchel\" within the allied intelligence network.<\/dialogue>\n    <character>C<\/character>\n    <dialogue>You find Satchel in this embarrassing mess and we'll hang him for treason.<\/dialogue>\n    <scene_description>Broughton exhales smoke from her lungs and hardens to the truth of this knowledge.<\/scene_description>\n    <character>C<\/character>\n    <dialogue>The list is the whole damn chessboard. Whoever controls it controls the Cold War.<\/dialogue>\n    <character>GRAY<\/character>\n    <dialogue>Berlin is already on a short fuse. Hungary has dismantled hundreds of kilometers of the Iron Curtain since May. Last month, East Germans stormed the FRG's embassies in Prague and Warsaw. They were given immunity and sent to West Germany.<\/dialogue>\n    <character>C<\/character>\n    <dialogue>Gorbachev's glasnost nonsense has his people hopeful, and there is nothing worse than a hopeful enemy.<\/dialogue>\n    <character>GRAY<\/character>\n    <dialogue>The Wall won't last much longer. David thinks it might even fall before Christmas.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>David, sir?<\/dialogue>\n    <character>GRAY<\/character>\n    <dialogue>David Perceval is our number one in Berlin. We are sending you to link up with him.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I've never been to Berlin, and if Bakhtin has the list, he's on the run.<\/dialogue>\n    <scene_description>Gray sits behind the Regent desk.<\/scene_description>\n    <character>GRAY<\/character>\n    <dialogue>We don't think he does. There's no question he would have taken it straight to Moscow.<\/dialogue>\n    <character>C<\/character>\n    <dialogue>The list is still in Berlin.<\/dialogue>\n    <character>GRAY<\/character>\n    <dialogue>Perceval is searching for it, but we want another pair of hands at the tiller as it were.<\/dialogue>\n    <scene_description>C leans ever so slightly forward in his chair to commit importance to his words.<\/scene_description>\n    <character>C (PRE-LAP)<\/character>\n    <dialogue>Most of the allied officers have been in Berlin for years.<\/dialogue>\n    <scene_description>HARDCUT:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. EAST BERLIN UNDERGROUND CLUB - NIGHT<\/stage_direction>\n    <scene_description>SUPER: \"EAST BERLIN, NOVEMBER 2, 1989\" Perceval slams a empty shot glass of whiskey down on the bar. We hear Public Enemy's Chuck D coming through the SPEAKERS with \"Fight the Power.\" Drunk East German youth fill the place. It's a strange mix of punk, hip hop, and anti-East German establishment. Perceval takes some D-marks from a KID for a bottle of Jack Daniels and a old Penthouse magazine. Another East German hands him money, and Perceval hands over a pair of Levi's. Perceval has a nice little side business in selling contraband.<\/scene_description>\n    <character>C (V.O.)<\/character>\n    <dialogue>With no embassy to watch over them, they play by their only rules.<\/dialogue>\n    <scene_description>Perceval sees a clean-cut East German enter and sit at a quiet table near the bar. This is SPYGLASS. He is the real reason Perceval is in the East. Perceval moves across the room and joins him at the table. Perceval hands a small brown bag of contraband (canned food, Jack Daniels and women's jeans) to Spyglass.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>The Jordache jeans were not easy.<\/dialogue>\n    <character>SPYGLASS<\/character>\n    <dialogue>They are for my wife's birthday.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Let me cut right to the bone. Where is the goddamn list?<\/dialogue>\n    <character>SPYGLASS<\/character>\n    <dialogue>Is this a joke?<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>No joke.<\/dialogue>\n    <character>SPYGLASS<\/character>\n    <dialogue>I gave it to Gascione last night.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Gascione never showed.<\/dialogue>\n    <scene_description>Spyglass looks up at Perceval with consternation settling in his brown eyes.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Why do you think I jumped the Wall, and I made contact with you?<\/dialogue>\n    <character>SPYGLASS<\/character>\n    <dialogue>I don't know. I followed all the orders. Look, I was careful. I met Gascione in Friedrichshain. He took the list from me.<\/dialogue>\n    <scene_description>Spyglass's eyes are filling with despair.<\/scene_description>\n    <character>SPYGLASS<\/character>\n    <dialogue>I did my part. I have risked everything.... You must to get me and my family across!<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Calm down.<\/dialogue>\n    <scene_description>Perceval studies Spyglass for a moment.<\/scene_description>\n    <character>SPYGLASS<\/character>\n    <dialogue>Are you going to kill me?<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>I've thought about it... However, I can't ignore the fact you are telling me the truth.<\/dialogue>\n    <scene_description>Spyglass takes a breath as he controls his anxiety.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Did you make a copy of the list?<\/dialogue>\n    <character>SPYGLASS<\/character>\n    <dialogue>No... I memorized it.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>The entire list?<\/dialogue>\n    <scene_description>Spyglass nods. Suddenly, the front door of the club is kicked in. We see the green-gray uniforms of the EAST GERMAN STASI OFFICERS surge into the crowd.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Goddamn it.<\/dialogue>\n    <scene_description>Perceval scans the room. An EAST GERMAN BARTENDER quickly motions to him.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Move!<\/dialogue>\n    <scene_description>Perceval and Spyglass avoid the chaos of the room. The bartender pulls back a small service door to reveal a hallway. The bartender, Perceval, Spyglass, and several patrons run down the hallway to the door leading outside. Perceval opens the door to see two STASI OFFICERS standing directly in front of him.<\/scene_description>\n    <character>STASI<\/character>\n    <parenthetical>(in German)<\/parenthetical>\n    <dialogue>You? Your papers! Now!<\/dialogue>\n    <scene_description>Spyglass and the others are in the hallway, unseen to the Stasi. Perceval reaches into his pocket and pulls out a worn leather wallet. He steps towards the Stasi and in the same motion, throws the wallet into one officer's face as a distraction. Perceval punches one Stasi in the throat and knees the other in the family jewels. Both drop to the alley and writhe in pain. Perceval looks back through the door, still open a few inches as Spyglass and the others are witness to his burst of violence.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>I'll be in contact.<\/dialogue>\n    <scene_description>Perceval steps past the two Stasi on the ground and slowly jogs away down the alley and into the night.<\/scene_description>\n    <character>C (PRE-LAP)<\/character>\n    <dialogue>It seems Berlin has its way with the younger generation. It's infectious, an epidemic really. They're all feral and have gone native.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CENTURY HOUSE - GRAY'S OFFICE - CONTINUOUS<\/stage_direction>\n    <scene_description>Broughton exhales her Woodbine and stares at Gray and C through the smoke.<\/scene_description>\n    <character>GRAY<\/character>\n    <dialogue>You have no family, no colleagues, no friends there.<\/dialogue>\n    <character>C<\/character>\n    <dialogue>No history to confuse your loyalties. You don't even know Perceval.<\/dialogue>\n    <scene_description>C stands and slowly walks towards the threshold of the office door. C pauses with his back to the room.<\/scene_description>\n    <character>C<\/character>\n    <dialogue>When that bloody Wall comes crashing down, we don't want to be under it. I want that list, Broughton. Bring it back home, and you'll find yourself at Buckingham for tea.<\/dialogue>\n    <scene_description>C moves out the door, and Broughton looks back across the desk at Gray.<\/scene_description>\n    <character>GRAY<\/character>\n    <dialogue>I recommended you for this. So, do try and look grateful.<\/dialogue>\n    <scene_description>Gray hands Broughton the TS folder.<\/scene_description>\n    <character>GRAY<\/character>\n    <dialogue>I know, it's short notice. H\/WAR suggested you use Gladys Lloyd, as she was never compromised. Commit everything to memory and then burn it all.<\/dialogue>\n    <scene_description>Gray points to a large metal \"burn can\" for documents in the corner of the room.<\/scene_description>\n    <character>GRAY<\/character>\n    <dialogue>A car will take you to your flat. Pack and then go straight to Heathrow. Remember, Lorraine, trust no one.<\/dialogue>\n    <scene_description>Gray walks toward the office door. Broughton flips open the folder to a black-and-white photo of BER-1, David Perceval.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>What's he like, sir? David Perceval.<\/dialogue>\n    <scene_description>FLASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EAST BERLIN - TUNNEL - NIGHT<\/stage_direction>\n    <scene_description>Perceval carries a flashlight and takes a pull off a fifth of JD. He walks briskly and makes his way through a covert tunnel network towards West Berlin.<\/scene_description>\n    <character>GRAY (V.O.)<\/character>\n    <dialogue>David Perceval is a royal pain in the ass.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CENTURY HOUSE - GRAY'S OFFICE - CONTINUOUS<\/stage_direction>\n    <scene_description>Gray stops and turns at his office door.<\/scene_description>\n    <character>GRAY<\/character>\n    <dialogue>However, he is arguably one of the best damn spies to ever serve the Crown. My office is yours.<\/dialogue>\n    <scene_description>Gray steps out of the office, and Broughton opens the TS folder in front of her. PRE-LAP on soundtrack: \"One Thing Leads to Another\" by The Fixx.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. PAN AM BOEING 707 - DAY<\/stage_direction>\n    <scene_description>Broughton is in a window seat. We see a couple empty mini bottles of Stoli on the tray in front of her and hardcover copy of Trevanian's \"Shibumi\". Broughton looks out the window at the bleak November sky.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEST BERLIN - TEMPELHOF AIRPORT - TERMINAL - DAY<\/stage_direction>\n    <scene_description>Broughton walks off the Pan Am flight and towards the passport control kiosks. She hands the West German PASSPORT OFFICER her UK passport. He looks at the passport photo and then to Broughton. He flips through the pages with scrutiny, gives her another look and then stamps her passport and waves her through. We follow Broughton into the uncluttered airport terminal. A loose crowd waits for the arriving international travelers. From this crowd, a GENTLEMAN steps forward, all business, and extends his hand.<\/scene_description>\n    <character>GENTLEMAN<\/character>\n    <dialogue>Ms. Lloyd?<\/dialogue>\n    <scene_description>Broughton slows to a stop. The Gentleman's British accent is good, perhaps too good.<\/scene_description>\n    <character>GENTLEMAN<\/character>\n    <dialogue>Mr. Perceval was running late. He sent me to pick you up.<\/dialogue>\n    <scene_description>Broughton scans the terminal then looks back to the Gentleman.<\/scene_description>\n    <character>GENTLEMAN<\/character>\n    <dialogue>Checked bags?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>GENTLEMAN<\/character>\n    <dialogue>Please, follow me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEST BERLIN - TEMPELHOF AIRPORT - TERMINAL - DAY<\/stage_direction>\n    <scene_description>Broughton eyes her surroundings as they cross into a parking lot. We see an attractive WOMAN turn from a phone booth, watching them, then methodically dial a number on the pay phone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEST BERLIN - TEMPELHOF AIRPORT - PARKING LOT - DAY<\/stage_direction>\n    <scene_description>A forest green BMW 2002 sedan is isolated at the end of the parking lot. The Gentleman and Broughton climb in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. BMW 2002 - CONTINUOUS<\/stage_direction>\n    <scene_description>The Gentleman pulls out of the airport parking lot and onto the main route. They drive in silence. Broughton looks into her side mirror and notices a Saab 900 Turbo tailing them.<\/scene_description>\n    <character>GENTLEMAN<\/character>\n    <dialogue>Well... it's a remarkable time to be in Berlin.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>That so?<\/dialogue>\n    <scene_description>Broughton looks again to her mirror and sees the Saab is still there.<\/scene_description>\n    <character>GENTLEMAN<\/character>\n    <dialogue>The music, nightlife and great restaurants.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>You've got a suggestion?<\/dialogue>\n    <character>GENTLEMAN<\/character>\n    <dialogue>For the beautiful people, go to the Palm for a drink.<\/dialogue>\n    <scene_description>Broughton looks back to the mirror. The Saab speeds up behind them and taps the BMW 2002 in a perfect PIT maneuver. Broughton quickly buckles her seat belt. The Gentleman is too busy controlling the car to notice Broughton reach across and depress the button to his seat belt. The BMW spins off the road, and Broughton braces for impact. The BMW slams into a metal guard rail. The WINDSHIELD SHATTERS, and the Gentleman is ejected onto the hood. Broughton relaxes and looks out at the bloody and moaning body of her driver. A figure drags the Gentleman off the hood and onto the frozen ground. We see Perceval look back through the shattered glass at Broughton.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Welcome to Berlin.<\/dialogue>\n    <scene_description>Perceval stuffs a rag in the Gentlemen's mouth and secures his mouth, ankles and hands with duct tape. Broughton unbuckles her seat belt and steps out of the BMW.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>I could have handled him.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>I have no doubt. Question is: What were you waiting for?<\/dialogue>\n    <scene_description>Perceval drags the Gentleman across to his idling Saab. The boot is already open.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Who does he work for?<\/dialogue>\n    <scene_description>KGB. Perceval dumps the Gentlemen into the boot. The Gentleman starts to realize what is happening. Broughton unloads a huge right hand into his face, more as a fuck you to Perceval than anything. The Gentleman's body goes limp. Perceval shoots her a look, impressive.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>I am on the ground five minutes and get blown.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>You're not blown.<\/dialogue>\n    <scene_description>Perceval slams the boot closed.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>He knew my name.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Troubling.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>And yours.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Not surprised.<\/dialogue>\n    <scene_description>Broughton and Perceval move and get into the car.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. PERCEVAL'S SAAB - CONTINUOUS<\/stage_direction>\n    <scene_description>The inside of the car is littered with Wienerwald wrappers and empty beer cans. Perceval jams the Saab into gear and speeds away.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>How would anyone know I was on that flight?<\/dialogue>\n    <scene_description>Perceval turns with a peripheral smile.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Those are the kinds of questions that keep us up late at night.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>We should message the home office and let them know what happened.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Christ and Mother Mary. London sent you to sort this mess out?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I just go where I am told.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Story of our lives. Checkpoint Charlie, by the way.<\/dialogue>\n    <scene_description>Perceval points out the windshield.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>I'm not here to collect postcards.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Ahhh... You're all business under that lipstick.<\/dialogue>\n    <scene_description>Broughton ignores the remark.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>I was told you'd be briefed.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Your cover is civil service? Gladys Lloyd, Cambridge-educated lawyer sent by James Gascione's family to return the body and effects of their now-deceased son, a British subject.<\/dialogue>\n    <scene_description>Perceval looks for a reaction but gets nothing from Broughton.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Just how in the hell the suits think that's going to help find our damn list is beyond me. Picking up Gascione's body won't take much time.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I'll just have to be creative.<\/dialogue>\n    <scene_description>Perceval points outside the car again.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Brandenburg Gate. My office is just there... I suppose HQ thinks there's no point in replacing Gascione with the Wall coming down.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Seems improbable after twenty-eight years.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Everything is probable. And that assertion confirms to me you don't know the first damn thing about this city, so don't pretend you do.<\/dialogue>\n    <scene_description>The tension builds within the car. Perceval SLAMS on the brakes and slides the car to stop. Perceval gets out of the car, opens the trunk, pulls the KGB driver out and drags him onto the sidewalk. We see a sign the reads: \"Embassy of the Union of Soviet Socialist Republic.\" Perceval leans the KGB driver against the Soviet Embassy's wrought-iron gates. Within the compound several SOVIET GUARDS start to move towards the gates.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Sending my old friend Bremovych a message.<\/dialogue>\n    <scene_description>Perceval stomps his foot across the driver's face for good measure. HARDCUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EAST BERLIN'S HOHENSCHONHAUSEN PRISON- NIGHT<\/stage_direction>\n    <scene_description>We see a man built like a Soviet T-10 battle tank. He wears a gray Soviet translation of a Brooks Brothers suit and is all business as he moves into the room. This is ALEKSANDER BREMOVYCH, KGB. A dozen STASI OFFICERS have six EAST GERMAN PUNK ROCKERS and B-BOYZ from the underground night club lined up in their underwear against the wall. There is a wooden table in the center of the room and nothing more. Bremovych sets a carton of Russian \"Belomorkanal\" cigarettes on the table.<\/scene_description>\n    <character>BREMOVYCH<\/character>\n    <parenthetical>(in German)<\/parenthetical>\n    <dialogue>You're not free to go. You may never be free to go. Unless you tell me what I want to hear?<\/dialogue>\n    <scene_description>Bremovych lights a filter-less Belomorkanal from a pack of twenty five. Four Stasi officers drag a young man over and SLAM him face down onto the table. Bremoyvch holds a small B\/W photo of Bakhtin.<\/scene_description>\n    <character>BREMOVYCH<\/character>\n    <parenthetical>(in German)<\/parenthetical>\n    <dialogue>Have you seen this man?<\/dialogue>\n    <character>EAST GERMAN<\/character>\n    <parenthetical>(in German)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Bremoyvch nods and lays down another photo of Spyglass.<\/scene_description>\n    <character>BREMOVYCH<\/character>\n    <parenthetical>(in German)<\/parenthetical>\n    <dialogue>Last night at the club, did you see this man?<\/dialogue>\n    <character>EAST GERMAN<\/character>\n    <parenthetical>(in German)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Bremoyvch takes a long drag on the filter-less cigarette and then jams it into the young East German's eye. The young man howls in pain and buckles under his captor's hands. Bremovych lights another cigarette and holds up the carton for the rest of young men to witness.<\/scene_description>\n    <character>BREMOVYCH<\/character>\n    <parenthetical>(in German)<\/parenthetical>\n    <dialogue>If I must, I will use all of them to get the truth from you.<\/dialogue>\n    <scene_description>Bremovych turns back to the whimpering young East German. BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PERCEVAL'S SAAB - CONTINUOUS<\/stage_direction>\n    <scene_description>Perceval and Broughton are driving through the streets of West Berlin. We see outside, a massive wall of graffiti-covered concrete that divides East and West.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>I didn't travel as a QM, so I need you to supply me with a firearm.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>This is Berlin, not Tombstone.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Gascione was assassinated, and I was just set up by the KGB.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>If the KGB wants you dead, you'll need more than good looks and a pistol.<\/dialogue>\n    <scene_description>Broughton looks out the side window.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Turn left here and take me to my hotel.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>They said you'd never been to Berlin. How in the hell do you know where your hotel is?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I can read a map, you chauvinistic sonofabitch.<\/dialogue>\n    <scene_description>Perceval SLAMS on the brakes and pulls the car to a stop.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>You may not be declared here by Her Majesty, but I am still the head of this goddamn station, and you'll respect me.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Respect is a two-way street, Mr. Perceval. Clearly, you don't want me here. However, C himself gave me this job.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>C is an arrogant lapdog and doesn't know fuck all about the world past the edge of his desk!<\/dialogue>\n    <scene_description>Broughton opens the door and steps out.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Good night, Mr. Perceval.<\/dialogue>\n    <scene_description>Broughton crosses the hardscrabble street and walks towards her small hotel, never looking back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEST BERLIN - HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>A Patrick Nagel print hangs on the wall. The room is equal parts Euro-chic and Miami Vice. We hear the RUNNING WATER from the bathroom. Broughton sits on the edge of the bed watching MTV news on a color Zenith.<\/scene_description>\n    <character>KURT LODER (V.O.)<\/character>\n    <dialogue>The civil disobedience in East Berlin continues to build momentum. The disenfranchised youth leaders shout out their protests through the tear gas and water cannons. One eyewitness tells of police beating the peaceful demonstrators with batons.<\/dialogue>\n    <scene_description>Broughton turns off the sound on the Zenith. She moves the hardcover of \"Shibumi\" onto the nightstand, picks up the rotary telephone, dials, and speaks.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Guten Abend. Ich bin Fraulen Lloyd, auf der Britische Botschaft Khan, Uh... Kann ich mit der Coroner Sprechen?<\/dialogue>\n    <character>MORGUE EMPLOYEE (V.O.)<\/character>\n    <dialogue>You are English? Why do you require the coroner?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I've been sent to arrange the return of a British subject, recently dead... I'm told you have the body.<\/dialogue>\n    <character>MORGUE EMPLOYEE (V.O.)<\/character>\n    <dialogue>Nobody works tomorrow. It's Sunday. Call Monday, in the morning. Auf Wiedersehen.<\/dialogue>\n    <scene_description>Broughton hears a CLICK and sets the phone on its cradle. Broughton walks into the bathroom and turns off the cold water filling the chipped porcelain tub. She turns to a half- dozen little ice buckets filled to the top and then dumps them into the bathtub. This is her daily ritual, the ice bath. Broughton switches off the bathroom light. The ZENITH is still PLAYING in the other room. She undresses in the faint light and steps into the freezing water without pause. Broughton sinks up to her nose with only her pale green eyes on the icy surface... then disappears below.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEST BERLIN - APARTMENT BUILDING - NEXT MORNING<\/stage_direction>\n    <scene_description>SUPER: \"NOVEMBER 3, 1989\" Broughton stands on the steps of a colorless apartment building and RINGS a call box BUZZER. Across the street, fifty feet away, is the graffiti-covered Berlin Wall snaking through the neighborhood.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTACH\u00c9'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Surveillance gear and monitors sit on a small table. Contraband is everywhere: LPs, Jack Daniels, cartons of Lucky Strikes and Marlboro Reds. We hear the BUZZER, and Perceval, still in his clothes from last night, stirs and answers the call box.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>BROUGHTON (O.C.)<\/character>\n    <dialogue>Mr. Perceval? It's Ms. Lloyd. You left a message at my hotel.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>I'll be right down.<\/dialogue>\n    <scene_description>Perceval grabs his coat and moves towards the front door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEST BERLIN - APARTMENT BUILDING - DAY<\/stage_direction>\n    <scene_description>Broughton waits and watches a couple of children kick a soccer ball against the Wall. We see the same WOMAN from the airport watching from a parked beige Mercedes 300D. After a few moments, Perceval exits his building.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Let's take a walk.<\/dialogue>\n    <scene_description>They start down the street, side by side.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>About yesterday... in the car... the chauvinistic remarks. I shouldn't have --<\/dialogue>\n    <scene_description>Broughton, without slowing her stride, interrupts.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Apology accepted.<\/dialogue>\n    <scene_description>Perceval looks at Broughton and then clears the air between them with a simple nod.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>It's as cold as a witch's tit on the dark side of the moon today.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I like the cold.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>No wonder they kept sending you to Moscow.<\/dialogue>\n    <scene_description>Broughton looks at Perceval.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Don't act surprised. We both read each other's file.<\/dialogue>\n    <scene_description>Perceval stops at a street vendor selling currywurst from a rolling cart. Perceval turns to Broughton.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Buy you breakfast?<\/dialogue>\n    <scene_description>Broughton doesn't need to say no for Perceval to understand. He buys two, and they walk through a broadstone archway. We see a sign that reads \"TIERGARTEN PARK.\" They continue on the crushed gravel path until stopping next to a frozen duck pond. Perceval throws small pieces of his currywurst bun out onto the ice.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>You shouldn't feed them bread. It's bad for their digestion.<\/dialogue>\n    <scene_description>A thin man wearing horn-rimmed glasses and a heavy winter topcoat approaches. It's Emmett Kurzfeld.<\/scene_description>\n    <character>KURZFELD<\/character>\n    <dialogue>She is right.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>You damned Americans will back up anything in a skirt.<\/dialogue>\n    <character>KURZFELD<\/character>\n    <dialogue>You must be Ms. Lloyd. I am Kurzfeld.<\/dialogue>\n    <scene_description>Broughton extends her hand.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Pleased to meet you.<\/dialogue>\n    <scene_description>Kurzfeld's hand stays in the warmth of his pocket.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Kurzfeld here went to Princeton.<\/dialogue>\n    <scene_description>Broughton slowly retracts her hand.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Kurzfeld thinks he knows everything... So you two should get along just fine.<\/dialogue>\n    <character>KURZFELD<\/character>\n    <dialogue>I've been in Berlin almost as long as David... Nobody wants the list to fall into Soviet hands.<\/dialogue>\n    <scene_description>Broughton looks to Perceval.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>What else have you shared with him?<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Just women and scotch.<\/dialogue>\n    <character>KURZFELD<\/character>\n    <dialogue>We watch out for one another.<\/dialogue>\n    <scene_description>Broughton looks back to Kurzfeld.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>I think Bakhtin is going to dump the list on the black market.<\/dialogue>\n    <character>KURZFELD<\/character>\n    <dialogue>What makes you so sure?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>If one of the Allies has it, we'd already know. If Moscow had it, there's nothing we can do. So either Bakhtin puts it up for sale, or we'll never see it again.<\/dialogue>\n    <character>KURZFELD<\/character>\n    <dialogue>She's smart.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>You only say that because you had that same idea.<\/dialogue>\n    <scene_description>Kurzfeld turns to Perceval.<\/scene_description>\n    <character>KURZFELD<\/character>\n    <dialogue>What's the plan with Spyglass?<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>I haven't decided yet.<\/dialogue>\n    <character>KURZFELD<\/character>\n    <dialogue>I should be going. Let me know if the company can help in any way.<\/dialogue>\n    <scene_description>Kurzfeld nods towards Broughton.<\/scene_description>\n    <character>KURZFELD<\/character>\n    <dialogue>Good day, Ms. Lloyd.<\/dialogue>\n    <scene_description>Kurzfeld walks on alone through the park covered in rags of snow and frozen grass.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Is there even a plan?<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Not yet, and if there was, I'd be damned if I'd share it with the Yanks.<\/dialogue>\n    <scene_description>HARDCUT BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CENTURY HOUSE - ISO-FAC - DAY<\/stage_direction>\n    <scene_description>The NAGRA III keeps recording. The ashtray on the table is filled with several crushed Woodbines. Gray and Kurzfeld look across at Broughton.<\/scene_description>\n    <character>GRAY<\/character>\n    <dialogue>So, how would you describe the situation on the ground those first couple of days?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Hostile.<\/dialogue>\n    <character>GRAY<\/character>\n    <dialogue>With Perceval?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>With everyone.<\/dialogue>\n    <character>GRAY<\/character>\n    <dialogue>Who was in the country?<\/dialogue>\n    <scene_description>Broughton pulls another Woodbine out of her pack.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>You weren't.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEST BERLIN - GLIENICKE BRIDGE - DAY<\/stage_direction>\n    <scene_description>The sky is colorless. A lone figure walks through the cold and across the \"Bridge of Spies.\" As the figure gets closer we see it is Bremovych. His KGB DRIVER is waits for him on the West German side.<\/scene_description>\n    <character>BREMOVYCH<\/character>\n    <parenthetical>(in Russian)<\/parenthetical>\n    <dialogue>Did she get the message?<\/dialogue>\n    <character>GENTLEMAN<\/character>\n    <parenthetical>(in Russian)<\/parenthetical>\n    <dialogue>I believe so.<\/dialogue>\n    <scene_description>Bremovych pauses for a moment and looks at the swollen face and black eye of the driver.<\/scene_description>\n    <character>BREMOVYCH<\/character>\n    <parenthetical>(in Russian)<\/parenthetical>\n    <dialogue>Did the woman do that to you?<\/dialogue>\n    <character>GENTLEMAN<\/character>\n    <parenthetical>(in Russian)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <scene_description>The Gentleman opens the side door of a black sedan.<\/scene_description>\n    <character>BREMOVYCH<\/character>\n    <parenthetical>(in Russian)<\/parenthetical>\n    <dialogue>You'd look much worse if she touched you.<\/dialogue>\n    <scene_description>Bremovych climbs in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTACH\u00c9'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Perceval and Broughton enter the room.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Can I take your coat?<\/dialogue>\n    <scene_description>Broughton hands over her coat. She moves down a short hallway as Perceval hangs her coat on a hook by the front door. Less chaos than the rest of Perceval's apartment. A plain desk and two worn-leather club chairs. A bookshelf running the length of the room. A small TELEVISION PLAYS MTV Europe in the background.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>So this is what you get after years of service.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>In a complicated world, I prefer things to be simple.<\/dialogue>\n    <scene_description>Broughton scans the shelves filled with volumes in six foreign languages, save for the \"Great Books\" that are all in English.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>You like to read.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Depends on the book... If I said Epictetus, I would be lying...<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Volume 23... Chapter 15... \"He who neglects what is done for what ought to be done, sooner effects his ruin than his preservation.\"<\/dialogue>\n    <scene_description>Broughton's eyes settle onto Volume 23.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Machiavelli.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>The prince of princes.<\/dialogue>\n    <scene_description>Broughton turns back to Perceval.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>\"It's a double pleasure to deceive the deceiver.\"<\/dialogue>\n    <scene_description>A hint of a smile from Perceval.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Ahhh. Niccol\u00f2 sounds sweeter somehow, coming from you.<\/dialogue>\n    <scene_description>Perceval is at his desk and reaches for an eighteen-year-old bottle of single malt from the Isle of Skye.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Drink?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>We hear the German version of \"Major Tom\" by V\u00f6llig Losgel\u00f6st PLAYING on the TELEVISION. Broughton picks up a \"Penthouse\" magazine from a stack on table.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Your library includes Larry Flint.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>The champion of free speech.<\/dialogue>\n    <scene_description>Broughton sets the magazine back down as Perceval pours two fingers of Talisker into a heavy glass.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>I am sorry about Gascione.<\/dialogue>\n    <scene_description>Perceval raises the glass in silent tribute.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>James was a gentlemen, one hell of a spy and a true friend. I know you were close. James told me as much.<\/dialogue>\n    <scene_description>Broughton remains steady and without emotion. Perceval slowly sips the scotch.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>I'll need his address.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>I've been there. The West Germans have been there. God only knows who else.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I haven't.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>You always get your way?<\/dialogue>\n    <scene_description>The slightest smile appears at the corner of Broughton's mouth, then disappears.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>We'll let that question keep you up tonight.<\/dialogue>\n    <scene_description>Perceval nods and lifts his glass of scotch.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>It's down the street from Fehrbelliner platz. Brandenburgisher Strasse 10. It's a walk-up. Fifth floor.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Gascione's passport?<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>The police have his passport. He was carrying it.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Don't you have a copy?<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>No... but don't worry your pretty little head. The Circus called me yesterday with the number.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Can you write it out for me?<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Already have.<\/dialogue>\n    <scene_description>Perceval glances at his desk and hands her a piece of paper with Gascione's passport number.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Anything else?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Where would you recommend for dinner and a drink?<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Is that an invitation?<\/dialogue>\n    <scene_description>Broughton gives him a silent look, and that's all Perceval needs to have his question answered. Perceval moves back to the front door and hands Broughton her coat from the hook.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Well then, you can't go wrong with the Ritz off Potsdamer. The venison is marvelous.<\/dialogue>\n    <scene_description>Broughton turns for the attach\u00e9 office door.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Thank you, Mr. Perceval.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>You're welcome, and feel free to drop in anytime, Ms. Lloyd.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEST BERLIN - HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Broughton pops open the back on the hardcover novel of \"Shibumi\" to reveal a lead lined compartment. Inside: a Narga SN mirco recording unit and thin surveillance microphone. With care Broughton tapes the wire to her lean body and then conceals the Narga SN recorder. Broughton checks herself in the mirror. Perfect. Behind her, the bathtub of ice cubes drains. Broughton steps into the room and glances at the Zenith. We see news of the German protests growing in size around both sides of the Berlin Wall. Broughton grabs her dark coat and is out the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WATCH REPAIR SHOP - NIGHT<\/stage_direction>\n    <scene_description>Along a quiet street, just around the corner from Zoo Station, is a tiny watch repair shop. Broughton enters with purpose.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WATCH REPAIR SHOP - CONTINUOUS<\/stage_direction>\n    <scene_description>Broughton moves through orderly store filled with hundreds of grandfather clocks. A couple of patrons mill about the aisles. In the back of the shop, a middle-aged man known only as the WATCHMAKER stares through magnified jeweler's glasses at the guts of a \"Newman\" Daytona.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>I'd like to purchase a watch.<\/dialogue>\n    <scene_description>The Watchmaker never looks up from his delicate work. With a thick German accent:<\/scene_description>\n    <character>WATCHMAKER<\/character>\n    <dialogue>I don't sell watches. I only fix them.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I am looking for an East German watch.<\/dialogue>\n    <character>WATCHMAKER<\/character>\n    <dialogue>The East German watches aren't worth wearing.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I am looking for a Ruhla.<\/dialogue>\n    <character>WATCHMAKER<\/character>\n    <dialogue>A Ruhla is very different.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I will pay a premium.<\/dialogue>\n    <character>WATCHMAKER<\/character>\n    <dialogue>I sense you're serious. Come back tomorrow before closing.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Broughton exits the shop without another word, and the Watchmaker never looks up from the precision of his work.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRANDENBURGER STRASSE 10 - NIGHT<\/stage_direction>\n    <scene_description>A working-class neighborhood. Broughton approaches the apartment building and deftly breaches her way inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GASCIONE'S APARTMENT BUILDING - STAIRWELL - NIGHT<\/stage_direction>\n    <scene_description>Broughton climbs up a dimly-light stairwell to the fifth floor landing. She quickly shims the lock and steps into apartment 5A without a sound.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. APARTMENT 5A - CONTINUOUS<\/stage_direction>\n    <scene_description>Broughton moves through Gascione's apartment and studies the details of a dead man. The CAMERA FOLLOWS her as she moves to the bedroom, examining. A closet of perfectly-folded clothes and shoes in neat rows. The bed's made with military corners. A porthole into Gascione's precise and orderly life. Broughton steps into the living room. She walks towards a Biedermeier Secretaire desk and picks up a framed photo. We see a young James Gascione and David Perceval in the English countryside, Holland &amp; Holland shotguns cradled over their shoulders and freshly-killed rabbits in both of their strong hands. Broughton sets the photo down and takes in the room. Outside the window, Broughton notices the building across the street bathed in blue flashing lights. She leans towards the window for a better view. We see German polizei cars roll to a stop. A dozen OFFICERS advance towards the apartment building.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT 5A\/APARTMENT BUILDING HALLWAY - MOMENTS LATER<\/stage_direction>\n    <scene_description>Broughton moves through the hallway as she hears the polizei five floors below. Broughton pushes a sofa out of the living room and down the short hallway. She pushes the sofa out into the stairwell landing. We hear POLIZEI BOOTS four floors below. Broughton moves back to the kitchen and finds what she needs: a box of steel wool and bottle of high-proof rubbing alcohol. Broughton moves back down the hallway. We hear POLIZEI BOOTS three floors below. Broughton piles the steel wool on the sofa, soaks the sofa and steel wool in rubbing alcohol and stands back. Broughton draws a black ski mask from her jacket pocket and pulls it over her head. We hear POLIZEI BOOTS two floors below. Broughton lights a match against the wall and tosses it onto the soaked steel wool and sofa. WHOOOOM! Broughton pushes the burning sofa down the stairs at the advancing polizei and forces them to dive out of the way. The polizei push past flames and climb the stairs. Still wearing the ski mask, Broughton ducks back in the apartment and waits in the darkness. The first officer charges in with his baton in hand. Broughton slams the door and bolts it shut. As the officer turns, Broughton strikes him with blinding speed and then hanging arm throws him to the floor. The officers outside in the hallway are POUNDING on the DOOR. Broughton picks the baton and then cracks it down on the officer. He is out cold. We hear the CHAMBERING of a breaching ROUND into a shotgun, and Broughton rolls out of the way as the LOCK on the front door EXPLODES inwards. Broughton bolts through the living room as a second officer grabs her from behind. Broughton snaps her head back, crushing his nose, and then hip throws her attacker through the glass doors of the balcony.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GASCIONE'S APARTMENT BUILDING - NIGHT<\/stage_direction>\n    <scene_description>Broughton steps over the broken glass and the officer. She quickly climbs out onto the thin features of the building. It's not gymnastic pretty but sixty feet off the street, Broughton is strong and without fear. Broughton, now on the rooftop, quickly scans the buildings around her as she sprints across the flat roof. Three polizei officers pull themselves onto the rooftop, and the chase is on. Broughton jumps down a staggered rooftop, lands and sprints with the polizei closing in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VARIOUS ROOFTOPS - CONTINUOUS<\/stage_direction>\n    <scene_description>Without slowly down, Broughton jumps across onto the next rooftop and lands safely. The polizei follow her with less elegance. Broughton leaps across an open gap between the last two apartment buildings, lands on a ledge and then jumps into the void below. The three polizei run to the edge of the rooftop, only to see the human wearing a ski mask and dark winter jacket land on the thick nylon roof of a farmer's market tent. Broughton slides down the tent roof, lands on her feet, and never looks back. The three polizei can do nothing but watch as the figure disappears into the evening crowds. PRE-LAP on the soundtrack: \"Der Kommissar\" by After the Fire.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERLIN STREET - NIGHT<\/stage_direction>\n    <scene_description>Broughton steps from a taxi and walks towards the doors of the Palm Restaurant.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALM RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Soundtrack shifts to a piano player behind a Bosendorfer singing a slow and sexy club version of \"Der Kommissar.\" Broughton walks up to an empty space at the Art Deco bar.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Stoli on ice.<\/dialogue>\n    <scene_description>The BARTENDER nods. Broughton puts a cigarette to her lips and turns slowly to the room. A PATRON holds out a Riga metal lighter with its flame burning. Without a word, Broughton leans into the fire, lights her smoke, and only when she pulls away do... We see the Soviet KGB agent, Bremovych.<\/scene_description>\n    <character>BREMOVYCH<\/character>\n    <dialogue>Haben sie, fr\u00e4ulein?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I don't speak German.<\/dialogue>\n    <character>BREMOVYCH<\/character>\n    <dialogue>You are British?<\/dialogue>\n    <scene_description>Broughton nods her head slowly through the smoke, studying his voice.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>And you sound Polish, with a slight affect of Slovak. Are you from the Carpathian mountains?<\/dialogue>\n    <character>BREMOVYCH<\/character>\n    <dialogue>Impressive, Miss... ?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Lloyd.<\/dialogue>\n    <character>BREMOVYCH<\/character>\n    <dialogue>This can't be your only talent.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Talents can be overrated.<\/dialogue>\n    <character>BREMOVYCH<\/character>\n    <dialogue>Now dedication, Loyalty that is rare.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I agree.<\/dialogue>\n    <scene_description>Broughton goes back to her Stoli.<\/scene_description>\n    <character>BREMOVYCH<\/character>\n    <dialogue>How do you like Berlin, Ms. Lloyd?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Exciting, so far. Mr?<\/dialogue>\n    <character>BREMOVYCH<\/character>\n    <dialogue>Bremovych. Are you on holiday?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>On business.<\/dialogue>\n    <character>BREMOVYCH<\/character>\n    <dialogue>Aren't we all.<\/dialogue>\n    <scene_description>A woman steps to the bar behind Broughton. This is DELPHINE LASALLE. She's a mixture of punk rock and Peter Beard muse. This the same woman who was watching Broughton at the airport and on the street.<\/scene_description>\n    <character>LASALLE<\/character>\n    <dialogue>I leave you alone for only a moment and already you are attracting admirers.<\/dialogue>\n    <scene_description>Lasalle turns to Bremovych.<\/scene_description>\n    <character>LASALLE<\/character>\n    <dialogue>Monsieur, three is not always a crowd, but tonight it is.<\/dialogue>\n    <character>BREMOVYCH<\/character>\n    <dialogue>Ahhh... French women.<\/dialogue>\n    <scene_description>Bremovych looks at Broughton.<\/scene_description>\n    <character>BREMOVYCH<\/character>\n    <dialogue>What about the British? Maybe we can make some sort of arrangement?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I don't think so.<\/dialogue>\n    <character>BREMOVYCH<\/character>\n    <dialogue>My apologies. Good evening.<\/dialogue>\n    <scene_description>Broughton shares a look with Bremovych, and then he exits past the restaurant tables towards the coat check.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Whoever you are, you have quite the high level of confidence.<\/dialogue>\n    <character>LASALLE<\/character>\n    <dialogue>No more than that communist pig.<\/dialogue>\n    <scene_description>Lasalle watches Bremovych leave and then turns back to Broughton with a smile that could end the Cold War.<\/scene_description>\n    <character>LASALLE<\/character>\n    <dialogue>My name is Delphine LaSalle, and I am at your service.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>What makes you think I need your service, mademoiselle?<\/dialogue>\n    <scene_description>Lasalle gestures to the Bartender for a drink.<\/scene_description>\n    <character>LASALLE<\/character>\n    <dialogue>A woman drinking alone is always in need of something. Allow me to be presumptuous; are you here for work or pleasure?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I am a lawyer for the British government. And you?<\/dialogue>\n    <character>LASALLE<\/character>\n    <dialogue>I was raised in Paris in the 18th arrondissement. My parents were teachers, and I made my way to West Berlin after studying at the Sorbonne.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>A respectable story. And what brought you here?<\/dialogue>\n    <character>LASALLE<\/character>\n    <dialogue>The danger of course.<\/dialogue>\n    <scene_description>The Bartender sets down a tumbler in front of Lasalle.<\/scene_description>\n    <character>LASALLE<\/character>\n    <dialogue>And a broken heart.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I'm sure he regrets losing you.<\/dialogue>\n    <scene_description>LaSalle smiles.<\/scene_description>\n    <character>LASALLE<\/character>\n    <dialogue>I am sure she does.<\/dialogue>\n    <scene_description>LaSalle takes a drink and lets her sexuality hang in the air for a moment.<\/scene_description>\n    <character>LASALLE<\/character>\n    <dialogue>You must join me for a drink.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>What are we doing now?<\/dialogue>\n    <character>LASALLE<\/character>\n    <dialogue>This place is pretentious. My friend owns a club, and I know the city well. You'd be surprised what secrets one overhears late at night out on the town.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Secrets?<\/dialogue>\n    <character>LASALLE<\/character>\n    <dialogue>What every woman loves.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>The French will never change.<\/dialogue>\n    <character>LASALLE<\/character>\n    <dialogue>It's our charm... I'll give you the address. Tomorrow night, around eleven.<\/dialogue>\n    <scene_description>Lasalle writes out the address on a cocktail napkin. We see several paparazzi start a frenzy of STROBES by the front door.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>What is that about?<\/dialogue>\n    <character>LASALLE<\/character>\n    <dialogue>David Hasselhoff is in town.<\/dialogue>\n    <scene_description>Lasalle slides the address in front of Broughton.<\/scene_description>\n    <character>LASALLE<\/character>\n    <dialogue>Until then.<\/dialogue>\n    <scene_description>Lasalle moves towards the crowd of photographers and out onto the street. We see Perceval watching from a corner table, a safe distance from being noticed by Broughton.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEST BERLIN - CITY MORGUE - DAY<\/stage_direction>\n    <scene_description>SUPER: \"NOVEMBER 4, 1989\" Broughton walks up the wide, brick steps of a government building. We see Lasalle across the street, watching Broughton enter the West Berlin City Morgue.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEST BERLIN - CITY MORGUE - MOMENTS LATER<\/stage_direction>\n    <scene_description>The CORONER walks Broughton through the spotless corridors.<\/scene_description>\n    <character>CORONER<\/character>\n    <dialogue>The body was identified by your attach\u00e9.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I believe so.<\/dialogue>\n    <character>CORONER<\/character>\n    <dialogue>This was not a question... It was a statement.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I am sorry. This is the first time I've been sent to do this. I was told you'd have his passport.<\/dialogue>\n    <character>CORONER<\/character>\n    <dialogue>It will be released with the body. After you, Ms. Lloyd.<\/dialogue>\n    <scene_description>The Coroner holds the door open for Broughton.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CITY MORGUE - EXAMINATION ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>A bright, sterile world. Along the wall, stainless steel racks of cold storage hold dead bodies. The Coroner heaves a cold rack open and pulls back a thin cotton sheet from the body. Broughton stares down at James Gascione in the stillness of death. There is a moment of contemplation for a fallen friend or maybe more.<\/scene_description>\n    <character>CORONER<\/character>\n    <dialogue>He was your colleague?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>A different department.<\/dialogue>\n    <character>CORONER<\/character>\n    <dialogue>Which department?<\/dialogue>\n    <scene_description>Broughton looks at the Coroner, nice try.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>A different one.<\/dialogue>\n    <character>CORONER<\/character>\n    <dialogue>You have the transfer papers?<\/dialogue>\n    <scene_description>Broughton hands the transfer papers to him.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>I filled them out while I was waiting downstairs.<\/dialogue>\n    <scene_description>The Coroner studies the paperwork carefully.<\/scene_description>\n    <character>CORONER<\/character>\n    <dialogue>Wait one moment, please.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Is something the matter?<\/dialogue>\n    <character>CORONER<\/character>\n    <dialogue>The passport number is incorrect.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>There must be some mistake. The FCO gave my attach\u00e9 the number.<\/dialogue>\n    <character>CORONER<\/character>\n    <dialogue>It's your responsibility to give me the correct papers.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>It's obviously the right man.<\/dialogue>\n    <scene_description>The corner pulls the sheet over the body and pushes the cold rack back into the wall.<\/scene_description>\n    <character>CORONER<\/character>\n    <dialogue>I will not release this body.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>It's a simple clerical error.<\/dialogue>\n    <character>CORONER<\/character>\n    <dialogue>Ms. Lloyd, in Germany we don't make clerical errors. I would advise you to talk to your embassy in Bonn. I must inform my superiors.<\/dialogue>\n    <scene_description>The Coroner moves back to the door and holds it open for Broughton without another word.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTACH\u00c9'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Perceval sits behind his bare desk with his dark eyes locked onto Broughton.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>What?!<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>You gave me the wrong number.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>The hell I did.<\/dialogue>\n    <scene_description>Perceval grabs the morgue's transfer papers from Broughton.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>You wrote \"16\" where it should have been \"76.\"<\/dialogue>\n    <scene_description>Perceval slams the paper down onto his desk.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>You realize the coroner will now inform the chief of police of West Berlin. They'll probably refuse to release the body for another week while they investigate. Not to mention they'll now suspect Gascione was an officer.<\/dialogue>\n    <scene_description>Perceval pushes back from his desk and looks dead center into Broughton's eyes.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Let's take a walk.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEST BERLIN - WALL - DAY<\/stage_direction>\n    <scene_description>Perceval and Broughton tread through the crisp afternoon parallel to the colorful graffiti-covered concrete of the Berlin Wall.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>The passport number. You're being \"creative.\"<\/dialogue>\n    <scene_description>Broughton's face shows nothing.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>You said yourself it wouldn't take much time to pick up the body.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>I should send you back to England.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I don't think C would appreciate that very much.<\/dialogue>\n    <scene_description>Perceval turns to Broughton.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Look... if you're going to be here for awhile, we had better play nice with one another.<\/dialogue>\n    <scene_description>Two US ARMY jeeps with SOLDIERS from the 2nd Battalion 6th Infantry patrol past. Perceval gestures towards the Brandenburg Gate.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>How would you fancy a trip to the East tonight? I have to go check for word from Spyglass.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>You meeting him?<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>I never have. James turned him. Spyglass hasn't surfaced since the exchange of the list.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>What about Bakhtin? London said he mostly likely had it.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Trust your gut. If Bakhtin wanted the Russians to have it he would have given it to them. He knows the importance of that list. Bakhtin gone so deep we won't find him until he comes up to make his move.<\/dialogue>\n    <scene_description>They climb the stairs of a wooden observation platform for tourists and West Germans to see over the Wall to the East.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Look at it... Berlin is a city under siege, surrounded by seventy miles of barbed wire and concrete, three hundred and ten guard towers, sixty-five anti-vehicle trenches, and forty thousand heavily-armed Soviet-trained frontier troops.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>All that and five thousand of the GDR citizens still had the guts to escape.<\/dialogue>\n    <scene_description>Perceval points and moves his hand along the ribbon of concrete. He stops at a tenebrific group of buildings on the eastern side of the Wall.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>There's a letter box around the back of Gantzstrasse. Terrified or not, if Spyglass knows anything, he is supposed to leave word at that dead drop.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Home office said Spyglass had exposed an Allied double codenamed Satchel.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Nonsense. I've heard about Satchel for years.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>You don't think he is real?<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Look if he exists, which I highly doubt, he has more at stake than anyone. When this wall comes down Satchel will be ducking bullets from both sides.<\/dialogue>\n    <scene_description>Perceval looks at Broughton and sizes up the moment.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Let's drop the official pretense. Everything in this conversation can be off the record.<\/dialogue>\n    <scene_description>Broughton nods.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>London sends you to gather a body and orders us both to find a list. Why?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Because the KGB killed Gascione and took the list from him.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Partly true... Look, We are all on the damn list. You. Me. Every one of us, patriots and traitors alike.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>That's a bold statement.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>You do this job long enough, you become fairly accurate.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Let's not forget what we do for a living. We turn people against their closest friends, family members, and the very countries they profess to love. We exploit, corrupt, and bribe business and government officials for any scrap of advantage... Win at all costs.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>The two World Wars in this century alone makes that rather clear.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>To win once, you can play by the rules, but to win every time, you have to play dirty... You think London is worried for other reasons?<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>I know they are. This list is about covering the Queen's ass not the officers that serve the Crown.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Welcome to Berlin.<\/dialogue>\n    <scene_description>Perceval smiles at his own words being repeated to him.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>You're not worried Spyglass could be setting us up?<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>It's a possibility. Even if the Soviets knew, I doubt the KGB would try to turn Spyglass back or even pay for a train ticket to Siberia.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>What would they pay for?<\/dialogue>\n    <scene_description>Perceval calmly replies:<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>A bullet.<\/dialogue>\n    <scene_description>The two stand in silence and look out over the Wall to the colorless East beyond. The stakes are clear to both of them: life or death.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>I can't cross tonight. I'm meeting someone.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>The little mademoiselle from the bar last night?<\/dialogue>\n    <scene_description>Broughton glances at Perceval.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>I tell you to go to the Ritz for venison, and you go to the Palm for drinks.<\/dialogue>\n    <scene_description>Perceval studies Broughton for a second.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>You think you're the only one doing their job?<\/dialogue>\n    <scene_description>Broughton says nothing.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Just be careful. You can't trust Frenchies.<\/dialogue>\n    <scene_description>Perceval walks down the wooden stairs and leaves Broughton standing alone on the observation platform.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEST BERLIN - HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Broughton removes thin wire from her body and sets it back into the hardcover book. We see several fully recorded SN mirco tapes on the desk. Broughton stands on the bed, slides a ceiling tile back and places the novel, Narga SN and recorded tapes in the small space and slides the ceiling tile back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEST BERLIN - ZOO STATION\/WATCH REPAIR SHOP - NIGHT<\/stage_direction>\n    <scene_description>The night sky is without warmth. Broughton walks along the rain-soaked Kurf\u00fcrstendamm. West Germans mill about the shopping district. Broughton moves into the crowds at Zoo Station and exits out the other side. She crosses the quiet street, looks over her shoulder once to confirm no one is following her and then enters the small watch repair shop.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WATCH REPAIR SHOP - CONTINUOUS<\/stage_direction>\n    <scene_description>Broughton proceeds to the back towards the workshop. The Watchmaker is hunched over another Swiss watch, never looking up from his work.<\/scene_description>\n    <character>WATCHMAKER<\/character>\n    <dialogue>Your watch is ready. It's on the counter in that plain envelope.<\/dialogue>\n    <scene_description>Broughton picks up the plain envelope.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>How much do I owe you?<\/dialogue>\n    <character>WATCHMAKER<\/character>\n    <dialogue>If it works to your satisfaction, we can discuss payment.<\/dialogue>\n    <scene_description>Broughton puts the plain envelope inside her coat pocket without looking inside.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Very well.<\/dialogue>\n    <scene_description>Broughton looks at the Watchmaker for a moment and then leaves. PRE-LAP on soundtrack: \"The Politics of Dancing\" by Re-Flex.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PIKE CLUB - NIGHT<\/stage_direction>\n    <scene_description>The smoke-heavy room is full of West Berlin's new wave youth. Lasalle stands at the back of the room near the crowded bar as Broughton enters and approaches her.<\/scene_description>\n    <character>LASALLE<\/character>\n    <dialogue>I wasn't certain you would show.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>How could I resist your invitation?<\/dialogue>\n    <scene_description>Broughton lights a cigarette.<\/scene_description>\n    <character>LASALLE<\/character>\n    <dialogue>You are finished with your work?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I may be here for a while.<\/dialogue>\n    <character>LASALLE<\/character>\n    <dialogue>Then we have to enjoy ourselves.<\/dialogue>\n    <scene_description>Lasalle hands Broughton a glass of Stoli on ice.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>You pay attention.<\/dialogue>\n    <scene_description>LaSalle lifts her drink in salute.<\/scene_description>\n    <character>LASALLE<\/character>\n    <dialogue>I look for pleasure in the details.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I'm sure.<\/dialogue>\n    <character>LASALLE<\/character>\n    <dialogue>What is it you'd like from me?<\/dialogue>\n    <scene_description>In one movement, Broughton lifts and empties her glass of vodka.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Another drink to start.<\/dialogue>\n    <scene_description>LaSalle orders another round.<\/scene_description>\n    <character>LASALLE<\/character>\n    <dialogue>Are you enjoying the club?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Not really. It's pretentious.<\/dialogue>\n    <scene_description>LaSalle smiles at Broughton, leans closer and whispers in her ear.<\/scene_description>\n    <character>LASALLE<\/character>\n    <dialogue>May I take you somewhere quiet, where we can talk?<\/dialogue>\n    <scene_description>Broughton looks at LaSalle and off that look --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PIKE CLUB - HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Broughton pushes Lasalle against the hallway wall, kissing her softly, then harder and with more passion.<\/scene_description>\n    <character>LASALLE<\/character>\n    <dialogue>Ma cherie.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>This is how you like it?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Oh yes.<\/dialogue>\n    <scene_description>Broughton pushes open the club's bathroom door just as two young punks exit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PIKE CLUB - BATHROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Broughton locks the bathroom door as her winter coat falls to the floor.<\/scene_description>\n    <character>LASALLE<\/character>\n    <dialogue>You like to play rough?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Sometimes.<\/dialogue>\n    <scene_description>Broughton's hand wraps around the small of Lasalle's back and pulls a concealed handgun from Lasalle's lean waist.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>When I'm the one holding the gun.<\/dialogue>\n    <character>LASALLE<\/character>\n    <dialogue>Wait!<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>You've been following me since I arrived at Tempelhof -- outside the city morgue and my colleague's apartment.<\/dialogue>\n    <character>LASALLE<\/character>\n    <dialogue>You are mistaken.<\/dialogue>\n    <scene_description>Broughton backhands Lasalle across the face, sending her to the floor.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Why the gun?<\/dialogue>\n    <scene_description>Lasalle looks up with a thin stream of blood at the corner of her perfect mouth.<\/scene_description>\n    <character>LASALLE<\/character>\n    <dialogue>Berlin is a dangerous city.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Especially if you keep lying.<\/dialogue>\n    <scene_description>Lasalle stares up the barrel of her own gun.<\/scene_description>\n    <character>LASALLE<\/character>\n    <dialogue>I know who you are, Miss Broughton. You're not so well disguised as MI6 may think. You're here, of course, because of the death of Gascione.<\/dialogue>\n    <scene_description>Broughton holds the weapon steady.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>What do you know about his death?<\/dialogue>\n    <character>LASALLE<\/character>\n    <dialogue>Only that I am interested... If someone is killing Allied officers, shouldn't we all care?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>You're with DSGE?<\/dialogue>\n    <scene_description>Lasalle nods her head.<\/scene_description>\n    <character>LASALLE<\/character>\n    <dialogue>Why do you think your colleague was sanctioned?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>He was carrying a document.<\/dialogue>\n    <character>LASALLE<\/character>\n    <dialogue>That list is very sensitive.<\/dialogue>\n    <scene_description>Broughton cocks the hammer back on the pistol and drops the safety off.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>I never said list. I said document.<\/dialogue>\n    <character>LASALLE<\/character>\n    <dialogue>My colleagues in Paris were right. They informed me the \"document\" is very valuable. This is why you were talking to the watchmaker. Your looking for Bakhtin?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>There is a good chance it will float onto the black market. If Bremovych is still looking for it, Bakhtin hasn't handed it off and clearly has other plans.<\/dialogue>\n    <scene_description>Lasalle leans over and picks up Broughton's winter coat.<\/scene_description>\n    <character>LASALLE<\/character>\n    <dialogue>If it's still in Berlin, it will surface. You must be careful. You are vulnerable.<\/dialogue>\n    <scene_description>Lasalle hands Broughton her coat.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>You're a better liar than my station chief.<\/dialogue>\n    <character>LASALLE<\/character>\n    <dialogue>To be a spy takes a steady hand.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Mademoiselle.<\/dialogue>\n    <scene_description>Broughton de-cocks LaSalle's pistol and thumbs the safety on.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Let me show you what takes a steady hand.<\/dialogue>\n    <scene_description>Broughton pulls Lasalle closer, and they fall...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LASALLE'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>... onto the sheets of a simple bed. Lasalle's hand pushes back along the wall... her fingers climbing against its rough surface, finding the light switch. Broughton looks straight into Lasalle's eyes which read equal parts temptation and fear. Broughton leans in, kisses her and gently bites her lower lip. Lasalle's hand pulls down against the light switch and the bedroom goes dark.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LASALLE'S APARTMENT BUILDING\/INT. PERCEVAL'S SAAB - DAWN<\/stage_direction>\n    <scene_description>Broughton sits on the edge of the bed and exhales her cigarette smoke out the open window. The cold air feels good. Lasalle awakes... We see Broughton's coat slung over the chair. RACK FOCUS... Outside the window. A beat-to-hell Saab 900 Turbo stands out among the street of parked cars. Perceval lowers a high-powered Nikon F3 and telephoto lens. We see a \"Seceret Service Style\" ear bud in his ear. The headlights of the Saab illuminate, and Perceval pulls out into the morning. HARDCUT BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CENTURY HOUSE - ISO-FAC - DAY<\/stage_direction>\n    <scene_description>Broughton leans forward and taps her Woodbine in the ashtray. A dozen used cigarettes rest there now. Gray threads a fresh reel to reel onto the NAGRA III and CLICKS record.<\/scene_description>\n    <character>GRAY<\/character>\n    <dialogue>So you made contact with the French operative.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Yes... You could say that.<\/dialogue>\n    <character>GRAY<\/character>\n    <dialogue>Could she be Satchel?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Gray looks at Kurzfeld and then scribbles a note into the TS folder.<\/scene_description>\n    <character>GRAY<\/character>\n    <dialogue>What was your assessment?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I believed she had information that I could either use or exploit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEST BERLIN - HOTEL ROOM - MORNING<\/stage_direction>\n    <scene_description>An etiolated morning light comes through the window. Broughton has the open plain envelope on the small desk in front of her. Broughton takes apart the back of the Ruhla wristwatch with a small screwdriver. She releases the pressure from the main spring and disassembles the watch movement using the pry points. Broughton lifts the wheel plate and turns it over with a small tweezer. We see engraved on the inside are a column of numbers. Broughton removes the escape and sweep wheels. She sets them on the desk with the rest of the internal parts. Broughton lays out a map of West and East Berlin. She looks at the column of engraved numbers. First number in the sequence is 06. Broughton finds the number 06 on the map, and it tallies with Checkpoint Charlie. Broughton looks to the next number: 7E. Broughton takes the tiny sweep wheel from the watch and rolls it on its edge 7 times in the direction of East, matching the 7E directive, and lands on the next engraved number 01. Broughton repeats this action from position 01. 3N is the next number, and Broughton rolls the sweep wheel 3 times in the direction of North. She lands on number 12 on the grid coords of her map. Broughton looks to the engraved numbers again. 2E is the last number. Broughton rolls across the map 2 times in the direction of East. She stops, lifts the sweep wheel and marks the rendezvous point on the map. Broughton commits every detail of the map to her memory and begins to reassemble the watch.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHECKPOINT CHARLIE - DAY<\/stage_direction>\n    <scene_description>SUPER: \"NOVEMBER 5, 1989\" Broughton waits to cross into East Berlin. A formidable- looking EAST GERMAN GUARD stares down at Broughton's passport, then back into her face.<\/scene_description>\n    <character>EAST GERMAN GUARD<\/character>\n    <dialogue>You should have applied for a visitor's permit. What kind of work do you do?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Legal affairs, I'm a lawyer.<\/dialogue>\n    <scene_description>The East German Guard looks down again at her passport.<\/scene_description>\n    <character>EAST GERMAN GUARD<\/character>\n    <dialogue>Wait here.<\/dialogue>\n    <scene_description>The East German Guard takes her papers and speaks with his SUPERIOR as Broughton waits. The East German Guard makes a phone call, then returns with Broughton's passport and hands it back to her.<\/scene_description>\n    <character>EAST GERMAN GUARD<\/character>\n    <dialogue>If you do not return before six o'clock, you will be arrested. Do you understand?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Yes. Of course.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EAST BERLIN - DAY<\/stage_direction>\n    <scene_description>Broughton moves past an assembly of protesting EAST GERMAN YOUTH near the blank concrete Wall. Broughton walks the local streets. As she moves, she glances at her reflection in a store window. We see two young STASI OFFICERS shadowing her. Broughton steps up her pace. The two Stasi officers continue to follow her. Broughton moves through a crowded S-Bahn station and out the other side. The Stasi still follow... farther back now. Broughton moves towards a large set of shops at the base of the East Berlin TV tower. We see a government sedan pull to the curb. The Stasi officers turn to the government sedan. Bremovych and his driver are in the front seat. In the rear seat sit two KGB officers, the same two rough men from Gascione's assassination.<\/scene_description>\n    <character>BREMOVYCH<\/character>\n    <dialogue>Bring her to me.<\/dialogue>\n    <scene_description>The KGB officers step from the back of the car and join the two Stasi officers. Broughton now has double the trouble walking towards her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KINO INTERNATIONAL CINEMA - CONTINUOUS<\/stage_direction>\n    <scene_description>Broughton moves towards a local cinema named the Kino International.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KINO INTERNATIONAL CINEMA - LOBBY - CONTINUOUS<\/stage_direction>\n    <scene_description>Broughton moves through the doors and into the mid-century modern lobby. THEATER Broughton quickly moves into the dark and packed theater. The Stasi and KGB officers chase after her. We see Richard Attenborough's \"CRY FREEDOM\" and a young Denzel Washington on the screen. Broughton egresses through the row of people, running down the aisle, then behind the aged-silk movie screen. Broughton reaches up onto the movie theater wall and pulls down hard on the FIRE ALARM! The audience jumps from their seats and floods the exits as the Stasi and KGB pursue Broughton. Broughton melts into the crowd and disappears out the back doors in the mass exodus of patrons.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KINO INTERNATIONAL CINEMA - MOMENTS LATER<\/stage_direction>\n    <scene_description>Bremovych and his driver pull to the curb at the rear of the movie theater. The Stasi and KGB search the crowd outside for Broughton. Nothing.<\/scene_description>\n    <character>BREMOVYCH<\/character>\n    <dialogue>Keep looking for her.<\/dialogue>\n    <scene_description>The two KGB officers move away from Bremovych's sedan and back towards the crowd.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EAST BERLIN - DAY<\/stage_direction>\n    <scene_description>Broughton moves through the bombed-out neighborhood left over from the Second World War. She enters an abandoned building on the southwest corner of Arnimplatz.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABANDONED BUILDING - ROOFTOP - CONTINUOUS<\/stage_direction>\n    <scene_description>Broughton moves up a set of crumbling stairs towards the roof. The Berlin Radio Tower looms close. Broughton steps onto the rooftop. We see the young Bartender from the East German Club sitting in one of two lawn chairs on the roof. His newly-dyed hair and tattoos are visible from under his plain jacket. This is MERKEL.<\/scene_description>\n    <character>MERKEL (BARTENDER)<\/character>\n    <dialogue>You're late.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>MERKEL<\/character>\n    <dialogue>And you were followed.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I lost them twenty minutes ago near the Palast der Republik.<\/dialogue>\n    <character>MERKEL<\/character>\n    <dialogue>You're as good as your reputation.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I'm already known by reputation?<\/dialogue>\n    <character>MERKEL<\/character>\n    <dialogue>To the right people.<\/dialogue>\n    <scene_description>Merkel sits in one of the lawn chairs and looks out across the drab rooftops to the West.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Is this the best place for a rendez- vous?<\/dialogue>\n    <scene_description>Merkel points towards the Orwellian tower.<\/scene_description>\n    <character>MERKEL<\/character>\n    <dialogue>Keep your enemies close. Please have a seat.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>No thanks.<\/dialogue>\n    <character>MERKEL<\/character>\n    <dialogue>The watchmaker told me there has been great interest in the black market over the last few days.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I am looking for --<\/dialogue>\n    <character>MERKEL<\/character>\n    <dialogue>A list... It is the desire of you and every foreign officer.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Do you know who has it?<\/dialogue>\n    <character>MERKEL<\/character>\n    <dialogue>Some say Bakhtin has it others say he doesn't.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Where is he?<\/dialogue>\n    <character>MERKEL<\/character>\n    <dialogue>No one knows. All this talk of Satchel has people nervous on both sides of the wall.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>If Bakhtin or the list surface you must let me know.<\/dialogue>\n    <character>MERKEL<\/character>\n    <dialogue>The price will be extremely high.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>We will not be outbid.<\/dialogue>\n    <scene_description>Broughton hands Merkel a fist full of Deutschmarks.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Five thousand marks to get you started.<\/dialogue>\n    <scene_description>Broughton moves across the rooftop and down the dilapidated staircase.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEST BERLIN - HOTEL ROOM<\/stage_direction>\n    <scene_description>Broughton laces the wire and SN mirco recording device back onto her body with flawless detail. Checks herself in the mirror, grabs her coat, and is out the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WATCH REPAIR SHOP - NIGHT<\/stage_direction>\n    <scene_description>The Watchmaker is busy at work, when a solitary man enters the shop and moves towards the back to speak to him. Only when the man arrives do we reveal it is Bakhtin.<\/scene_description>\n    <character>BAKHTIN<\/character>\n    <dialogue>I am interested in selling a watch?<\/dialogue>\n    <scene_description>The watchmaker continues his accurate work.<\/scene_description>\n    <character>WATCHMAKER<\/character>\n    <dialogue>Tell me what you are selling?<\/dialogue>\n    <character>BAKHTIN<\/character>\n    <dialogue>It's extremely valuable and the finest quality.<\/dialogue>\n    <scene_description>The watchmaker looks up at Bakhtin.<\/scene_description>\n    <character>WATCHMAKER<\/character>\n    <dialogue>You have my complete attention.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEST BERLIN - NIGHT<\/stage_direction>\n    <scene_description>The neon signs are bright. The KaDaWe department store is open late, and all is bustling along the Kurf\u00fcrstendamm.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEST BERLIN - ROUGH TRADE BAR - NIGHT<\/stage_direction>\n    <scene_description>It's a leather bar. On the wall, a mural-sized painting of a young Ronald Reagan in biker chaps \u00e0 la \"Daddy and the Muscle Academy\" by Tom of Finland. We hear \"You Spin Me Round\" by Dead or Alive PLAYING on a JUKEBOX. The room is filled with men enjoying men and women enjoying women. Save for Perceval and Broughton, who sit in a red vinyl booth against a wall.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Berlin is like a beautiful woman gone bad.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>That why you like it here so much?<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Nowhere else in the world has such a concentration of musicians, artists, filthy squatters, junkies, and hedonists. I don't like it here. I love Berlin.<\/dialogue>\n    <scene_description>Broughton looks across at two men wearing full dress whites, clearly more Village People than US military.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Spyglass left us a message. We guarantee safe passage, and he will cross over.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Why take the risk when we can just wait until the Wall comes down?<\/dialogue>\n    <scene_description>Perceval raises his beer, about to drink.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>The entire Soviet bloc is on edge. Haven't you seen the bloody protests on the news?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I saw one this morning on Unter den Linden.<\/dialogue>\n    <scene_description>Perceval stares at her, his beer still as stone in front of him. He slowly lowers the glass.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>You went to the East? What in the hell were you thinking?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>That it was best you didn't know.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Deniability.<\/dialogue>\n    <scene_description>Perceval leans forward for impact.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>This isn't a goddamn game. NATO has over ten thousand warheads, and the Russians have half that number.<\/dialogue>\n    <scene_description>Perceval stares at Broughton.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>So while you skip around the East, try and grasp the blowback if something were to happen to you.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Nothing happened, and I needed to secure the trust of my contact.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>You can't trust the Frenchie?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>This contact is a man.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Well now, you are playing all the angles.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>We need ground truth to find that list. I won't need to go over again.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>On the contrary. Spyglass is in hiding and desperate to get out. Gascione's death has everybody jumpy. Right now, the people in the Stasi don't know if they're going to be staring at a firing squad or freedom.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>This is my first time in Berlin.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>I'm not sure if I believe you.<\/dialogue>\n    <scene_description>Broughton leans back into the booth slightly.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Believe what you want.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Spyglass is an asset that we can't lose. Right now, he is scared, and scared people make mistakes.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>We need him out before the KGB or the Stasi discover his treason.<\/dialogue>\n    <scene_description>Perceval quickly scans around their table and firmly grabs Broughton's arm to get her attention.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Keep your voice down. I'm still your number one, and you work for me.<\/dialogue>\n    <scene_description>Broughton says nothing, only looks at Perceval's hand on her bicep. Perceval gets the point and releases his grip.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Don't ever touch me again. Now you listen. I am here on C's direct orders. My work does concern you, but you're mistaken to think it's under your purview.<\/dialogue>\n    <scene_description>Broughton stands and shoulders her winter coat.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>I don't have to take orders from you. So with all due respect, you can go fuck yourself.<\/dialogue>\n    <scene_description>Broughton walks out the door without another word.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEST BERLIN - NIGHT<\/stage_direction>\n    <scene_description>Cold rain. Perceval steps outside as Broughton walks down the sidewalk.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <parenthetical>(to herself)<\/parenthetical>\n    <dialogue>Come on... 3... 2... 1...<\/dialogue>\n    <scene_description>Perceval jogs after her.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Wait.<\/dialogue>\n    <scene_description>Perceval catches up to Broughton at a taxi stand.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>I can't operate alone on this one.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>So get the American. Kurzfeld seems happy to share your bed.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Out of the question. The Americans would have Spyglass on an aircraft back to Langley without his feet ever touching the ground. I need your help.<\/dialogue>\n    <scene_description>Perceval extends his hand.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Truce?<\/dialogue>\n    <scene_description>Broughton takes a moment, and then her hand meets his.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Don't make me regret it.<\/dialogue>\n    <scene_description>Broughton releases his hand, opens the taxi door and gestures for Perceval to join her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. TAXI - MOMENTS LATER<\/stage_direction>\n    <scene_description>Broughton looks to the German TAXI DRIVER and then to Perceval.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Kasier Whelm.<\/dialogue>\n    <scene_description>Broughton glances towards the taxi driver, and Perceval knows without saying anything (For operational security use a geminate-conversation). Broughton speaks Arabic. Perceval replies in Bahasa.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <parenthetical>(in Arabic)<\/parenthetical>\n    <dialogue>Bakhtin is a ghost.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <parenthetical>(in Bahasa)<\/parenthetical>\n    <dialogue>Seems to be.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <parenthetical>(in Arabic)<\/parenthetical>\n    <dialogue>Did Spyglass photograph the list?<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <parenthetical>(in Bahasa)<\/parenthetical>\n    <dialogue>No. He committed the entire list to memory.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <parenthetical>(in Arabic)<\/parenthetical>\n    <dialogue>Then if we have Spyglass, we won't need the list.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <parenthetical>(in Bahasa)<\/parenthetical>\n    <dialogue>Precisely, We break him out. Don't worry I can make allowances for you being unseasoned.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <parenthetical>(in Arabic)<\/parenthetical>\n    <dialogue>I've jumped the curtain more times than you have wished Maggie Thatcher dead.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <parenthetical>(in Bahasa)<\/parenthetical>\n    <dialogue>Not here... not in Berlin.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <parenthetical>(in Arabic)<\/parenthetical>\n    <dialogue>What about the tunnels? When was the last time they were used?<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <parenthetical>(in Bahasa)<\/parenthetical>\n    <dialogue>Stay out of the tunnels. We need something out of the box.<\/dialogue>\n    <scene_description>Broughton takes a moment and then replies with confidence.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <parenthetical>(in Arabic)<\/parenthetical>\n    <dialogue>The East Germans are planning a large demonstration at Alexanderplatz. The Stasi security services will be spread thin.<\/dialogue>\n    <scene_description>The taxi slows to a stop. We see they're outside the bombarded ruins of the Kasier Whelm Memorial Church. Perceval hands the driver several D-marks and exits. Broughton follows him onto the sidewalk. They now return to English.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Bring him out in daylight?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>We will use the protest as cover.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>It's bold.<\/dialogue>\n    <scene_description>Broughton's determination is clear to Perceval.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>You get us in and I'll get us out.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Deal... Where do you want Spyglass to meet us? I'll drop him a message.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>There is an abandoned building on the southwest corner of Arnimplatz. I'll need two days with my contact to make the arrangements.<\/dialogue>\n    <scene_description>Perceval nods.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>One more thing, your Arabic is piss poor.<\/dialogue>\n    <scene_description>Broughton turns, and without missing a beat, calls out over her shoulder.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>And your Bahasa is shit.<\/dialogue>\n    <scene_description>Perceval watches her go, then lifts his coat collar to the cold and moves out alone into the night.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEST BERLIN - DAY<\/stage_direction>\n    <scene_description>SUPER: \"NOVEMBER 7, 1989\" Broughton wears a jet black wig and a simple brown overcoat. She enters an S-Bahn station.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. S-BAHN STATION - MOMENTS LATER<\/stage_direction>\n    <scene_description>Broughton waits on the platform on the U6 line. The train arrives, and she steps into the matte-red train car.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. U6 TRAIN CAR - CONTINUOUS<\/stage_direction>\n    <scene_description>The car is empty as Broughton sits next to Perceval. The train rolls down the tracks towards East Berlin.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Next stop is Friedrichstrasse. On the south side of the station there is a green service door marked \"Diensteingang\" for the Deutshe Reichsbahn employees.<\/dialogue>\n    <scene_description>The train begins to slow for the upcoming station.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>The Red Army terror cell and the West German communist party used it for years. On January 18, 1979, I led out the East German double Werner Stiller.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>That was you.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>My first dance, and I've been using the breach point for the last ten years.<\/dialogue>\n    <scene_description>Broughton and Perceval stand to exit.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Just do as I do.<\/dialogue>\n    <scene_description>The doors open, and they step out into the station.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. S-BAHN STATION #2 - CONTINUOUS<\/stage_direction>\n    <scene_description>They walk through the station until they reach a green metal door marked just as Perceval said: \"Diensteingang.\" Perceval waits a beat for several workers to pass and then produces a small key and opens the door. Broughton and Perceval slip inside without a wasted movement. CONTROL ROOM\/HALLWAYS They move through an empty control room and down several dimly-light hallways until they reach an exterior door.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Hold.<\/dialogue>\n    <scene_description>Perceval looks out through the dirty industrial glass window at four East German guards standing at attention across the street. Perceval looks at the sweep hand of his watch.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>They turn their backs at the changing of the guard.<\/dialogue>\n    <scene_description>Outside, four more East German guards goose step towards the group standing at attention. Perceval locks eyes onto Broughton.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Three seconds to get out of this door and around the building before we're seen.<\/dialogue>\n    <scene_description>Outside, the guards goose step to a stop. As their comrades step off duty, the others step forward.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Now.<\/dialogue>\n    <scene_description>Perceval opens the metal service door, and they exit in a steady walk. Broughton and Perceval turn the corner just as the East German guards pivot and stand at attention, never seeing them exit the station.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EAST BERLIN - NEIGHBORHOOD\/ABANDONED BUILDING - DAY<\/stage_direction>\n    <scene_description>Broughton and Perceval move through a barren neighborhood and quickly enter the door of the abandoned building. From across the street, Spyglass watches their movements with apprehension.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABANDONED BUILDING - MOMENTS LATER<\/stage_direction>\n    <scene_description>Broughton and Perceval descend the stairs to the basement. As they turn the corner, they find Merkel waiting.<\/scene_description>\n    <character>MERKEL<\/character>\n    <dialogue>Ms. Lloyd speaks highly of you.<\/dialogue>\n    <scene_description>Perceval looks to Broughton.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>And you as well.<\/dialogue>\n    <scene_description>At the top of the stairs, Spyglass appears, and all three of them turn. Broughton motions to Merkel.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Watch the street to make sure he wasn't followed.<\/dialogue>\n    <scene_description>Merkel nods and moves up the stairs past Spyglass. Perceval steps forward towards Spyglass.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>I am confident Ms. Lloyd can get you across.<\/dialogue>\n    <scene_description>Broughton approaches Spyglass and holds out a small package from Perceval's office.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>You smell like a Stasi officer.<\/dialogue>\n    <scene_description>Broughton gestures to a small adjoining room.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>There is a bucket of water. Shave off your moustache. Use this soap and cologne, it is from the West.<\/dialogue>\n    <scene_description>Spyglass takes the package and does as he is told.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>How big is this protest supposed to be, anyway?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Thousands.<\/dialogue>\n    <scene_description>Merkel comes back down the stairs.<\/scene_description>\n    <character>MERKEL<\/character>\n    <dialogue>He wasn't followed.<\/dialogue>\n    <scene_description>Merkel steps to a small table and rolls out a kitchen towel. Inside the towel is a Markov pistol.<\/scene_description>\n    <character>MERKEL<\/character>\n    <dialogue>Per your request.<\/dialogue>\n    <scene_description>Broughton chamber-checks the weapon and indexes the trigger perfectly to her hand. Broughton closes her eyes, feels the pistol's weight, then finally looks down at the crisp profile of the front sight. We have just witnessed flawless muscle memory and Broughton's mastery of a weapon.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>It will do.<\/dialogue>\n    <scene_description>Broughton seats a loaded magazine, racks the slide and thumbs the safety. Clocked and locked, she slips the pistol into her waistband.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Everything else ready?<\/dialogue>\n    <character>MERKEL<\/character>\n    <dialogue>Yes. All the details you requested. I'll lead you around the corner towards Alexanderplatz and let you handle the crossing.<\/dialogue>\n    <character>SPYGLASS<\/character>\n    <dialogue>I am ready.<\/dialogue>\n    <scene_description>Broughton turns back to a clean-shaven Spyglass.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>What about his shirt?<\/dialogue>\n    <character>MERKEL<\/character>\n    <dialogue>I wouldn't be caught dead in it, but for him, it's prefect.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Stand over here.<\/dialogue>\n    <scene_description>A 6x6 foot patch of the wall has been freshly painted pale yellow. Spyglass stands in front of the yellow patch.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Face him and look like a free man.<\/dialogue>\n    <scene_description>Merkel steps forward and with a POLAROID LAND CAMERA -- CLICK! FLASH! -- Merkel pulls the film from the camera back, steps aside to a small folding card table and gets to work.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>What did you tell your commanding officer?<\/dialogue>\n    <character>SPYGLASS<\/character>\n    <dialogue>I was going to tell him I was sick, but my family and I've been in hiding since the other night.<\/dialogue>\n    <scene_description>Spyglass is about say more when Perceval interrupts.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Do you know anyone at Oberbaumbr\u00fccke?<\/dialogue>\n    <character>SPYGLASS<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Any colleagues?<\/dialogue>\n    <character>SPYGLASS<\/character>\n    <dialogue>No. They are all at the demonstration. I checked the work rotations weeks ago.<\/dialogue>\n    <scene_description>Merkel hands Perceval a forged West German passport. Perceval opens the lead page. Spyglass's new photo is attached and stamped perfectly with the DDR-embossed seal. Perceval hands it to Spyglass.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>You are Johann Schmidt, resident of West Berlin. I am your English wife, Mary. You are a banker, and we have a daughter.<\/dialogue>\n    <character>SPYGLASS<\/character>\n    <dialogue>What is her age? My daughter is four.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Then she is four.<\/dialogue>\n    <scene_description>Broughton looks to Perceval.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>We have been visiting your brother Hans on this street. Memorize all of this, because you will be doing the talking. My German is terrible.<\/dialogue>\n    <character>SPYGLASS<\/character>\n    <dialogue>Who sends a woman who speaks no German?<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>The same people who are going to give you a cottage in the countryside with a little garden.<\/dialogue>\n    <scene_description>Spyglass looks at Merkel, who says nothing.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Take off all your clothes.<\/dialogue>\n    <scene_description>Spyglass turns around, visibly unsettled by her request.<\/scene_description>\n    <character>SPYGLASS<\/character>\n    <dialogue>I will not be treated like I am a common prisoner.<\/dialogue>\n    <scene_description>Broughton glances at Perceval and then back to Spyglass.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Shut up... You do what I say when I say it. You have two minutes to strip naked. Everything! You will take nothing from the East to the West. Nothing. Do you understand?<\/dialogue>\n    <scene_description>Spyglass stares at her silently. Broughton points at the package wrapped in brown paper sitting on the table.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>That's underwear, socks, clothes, shoes, belt, scarf, and coat.<\/dialogue>\n    <scene_description>Merkel sets down a wallet and a set of keys next to the brown paper package of clothes.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>You now have a wallet, forged documents, German driver's license, bank card, Dmarks, and house and car keys.<\/dialogue>\n    <scene_description>Spyglass just stands there.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Herr Schmidt, you have ninety seconds.<\/dialogue>\n    <scene_description>Spyglass strips down completely naked and begins to pull on the underwear and socks. Then, we hear a NOISE and Broughton draws and levels her pistol at the top of the stairs.<\/scene_description>\n    <character>SPYGLASS<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>MERKEL<\/character>\n    <parenthetical>(in German)<\/parenthetical>\n    <dialogue>Show yourself!<\/dialogue>\n    <scene_description>From the darkness appears a plainly-dressed East German woman (HELENA) and a young girl of four years (AUDREY). Merkel looks at the woman and child.<\/scene_description>\n    <character>MERKEL<\/character>\n    <dialogue>Jordache. Nice touch.<\/dialogue>\n    <scene_description>Perceval turns to Spyglass.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Who the hell is this?<\/dialogue>\n    <character>SPYGLASS<\/character>\n    <dialogue>My family.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>I told you I couldn't guarantee to get them across.<\/dialogue>\n    <scene_description>Half-dressed, Spyglass moves towards his wife and child.<\/scene_description>\n    <character>SPYGLASS<\/character>\n    <dialogue>Please, you must help us.<\/dialogue>\n    <scene_description>Broughton looks at Perceval.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>You said you never met Spyglass.<\/dialogue>\n    <scene_description>Perceval remains silent, and Broughton looks to Spyglass.<\/scene_description>\n    <character>SPYGLASS<\/character>\n    <dialogue>Of course we have met.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Enough!<\/dialogue>\n    <scene_description>Spyglass stops talking. His wife and child are frightened.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Where?!<\/dialogue>\n    <character>SPYGLASS<\/character>\n    <dialogue>At a bar in East Berlin.<\/dialogue>\n    <scene_description>Broughton turns to Perceval, who knows he has been caught. We hear the CROWDS of demonstrators outside MARCHING.<\/scene_description>\n    <character>MERKEL<\/character>\n    <dialogue>The protest is coming.<\/dialogue>\n    <scene_description>Broughton doesn't look away from Perceval.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>You lied to me.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>We're all liars, and you know that. My lies are reserved for work. Now you know the truth, so that makes us friends.<\/dialogue>\n    <scene_description>Perceval looks to Spyglass, the woman and the little girl.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>So let's drop the righteousness and get this family across.<\/dialogue>\n    <scene_description>We hear the SWELL of the CROWDS outside now. Broughton looks at the scared faces of Spyglass and his family.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Can you get them over?<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Broughton turns back to group.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>You will stay with me, Herr Schmidt. You have 60 seconds to finish getting dressed.<\/dialogue>\n    <scene_description>Spyglass hugs his wife and child and pulls the rest of his clothes on.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EAST BERLIN - DAY<\/stage_direction>\n    <scene_description>Perceval scans the streets. Merkel hands Broughton an umbrella at the doorway of the abandoned building. Spyglass and his family are at his side. We hear the distant CROWDS from Alexanderplatz.<\/scene_description>\n    <character>MERKEL<\/character>\n    <dialogue>Good luck.<\/dialogue>\n    <scene_description>The PROTESTERS slowly surge around the corner and begin to march past them. Merkel steps into the loud crowd moving down the streets. Spyglass kisses his wife and daughter who have tears streaming down their faces.<\/scene_description>\n    <character>SPYGLASS<\/character>\n    <parenthetical>(in German; to daughter)<\/parenthetical>\n    <dialogue>You must listen to your mother now, and be a brave little girl.<\/dialogue>\n    <scene_description>Perceval removes a East German Ushanka (fur-lined officer's hat) from his overcoat and puts it on his head. Perceval takes off his overcoat to reveal the green uniform and shoulder boards of an East German Oberst (Colonel). Spyglass kisses his wife again.<\/scene_description>\n    <character>SPYGLASS<\/character>\n    <parenthetical>(in German)<\/parenthetical>\n    <dialogue>You must go with him now.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>We'll see you in West Berlin.<\/dialogue>\n    <scene_description>Perceval and Spyglass's family quickly blend into the thousands of East Germans and disappear down a side street. Broughton lifts her umbrella.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Let's go.<\/dialogue>\n    <scene_description>Broughton and Spyglass step into the groundswell of the protest.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. BUILDING - 7TH FLOOR - DAY<\/stage_direction>\n    <scene_description>The same two KGB rough men (from the Gascione assassination and movie theater scene) are back, dressed in matching track suits. They occupy a gutted room. One works as a SNIPER and the other as his SPOTTER. They're set back from the window behind a Dragunov rifle and high-powered optics. We see them scan the crowd below with precision, searching for their target.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EAST BERLIN - DAY<\/stage_direction>\n    <scene_description>Broughton looks to Merkel in the crowd, then lifts her black umbrella. Merkel nods, and throughout the crowd, dozens of black umbrellas begin to open.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. BUILDING - 7TH FLOOR - SAME<\/stage_direction>\n    <scene_description>The Sniper watches through his Dragunov scope as umbrellas begin to pop up and conceal the protesters. The Sniper glances at his spotter, who is unsure of what to do. We see a sea of a hundreds of umbrellas on the streets below.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EAST BERLIN - CONTINUOUS<\/stage_direction>\n    <scene_description>On the street, the crowd swells in size and closes the distance to the border laced thick with concertina wire. The EAST GERMAN GUARDS watch the protesters as they advance towards the Oberbaumbr\u00fccke checkpoint. Broughton turns to Spyglass as he leans into her.<\/scene_description>\n    <character>SPYGLASS<\/character>\n    <dialogue>Ms. Lloyd.<\/dialogue>\n    <scene_description>Spyglass's face reveals distress as he takes a few weak steps and staggers to his knees. We see dark blood soaking down Spyglass's back as the crowd of protesters comes apart. We hear a SHOT ECHO off of the tall buildings. CHAOS! Umbrellas drop to the ground. Broughton's eyes scan through the terrified protesters as East German Guards begin running in all directions.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. BUILDING - 7TH FLOOR - CONTINUOUS<\/stage_direction>\n    <scene_description>The Spotter calls distance, bullet drop, and wind. The Sniper's trigger fires with a smooth cadence. They search the street below for their target.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EAST BERLIN - CONTINUOUS<\/stage_direction>\n    <scene_description>Across the street, Broughton pulls Spyglass behind a parked car to safety.<\/scene_description>\n    <character>SPYGLASS<\/character>\n    <dialogue>I've been shot.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>Broughton scans the buildings and rooftops. Another ROUND DEFLECTS off the hood of the car and POUNDS into the wall of the building.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>They have the high ground.<\/dialogue>\n    <scene_description>Broughton grabs the side mirror of the car and angles it back towards the buildings. She is looking for the Sniper from the trajectory of the incoming rounds. We see the slight glint of a rifle's optics.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>I've got them.<\/dialogue>\n    <scene_description>Broughton pulls Spyglass's scarf from around his neck and hands it to him.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Listen to me. Apply direct pressure.<\/dialogue>\n    <character>SPYGLASS<\/character>\n    <dialogue>I don't want to die.<\/dialogue>\n    <scene_description>Broughton slaps Spyglass's face as hard as she can to get his complete attention.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>You will NOT die! Say it.<\/dialogue>\n    <scene_description>Spyglass puts the scarf against his wound with new resolve.<\/scene_description>\n    <character>SPYGLASS<\/character>\n    <dialogue>I will not die... I will not die...<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Direct pressure.<\/dialogue>\n    <character>SPYGLASS<\/character>\n    <dialogue>Direct pressure... I will not die... Direct pressure...<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Can you run?<\/dialogue>\n    <character>SPYGLASS<\/character>\n    <dialogue>If I must.<\/dialogue>\n    <scene_description>Broughton grabs Spyglass, and they sprint across the street towards the base of the Sniper's building.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUILDING - 7TH FLOOR - CONTINUOUS<\/stage_direction>\n    <scene_description>The Spotter provides security in the doorway as the Sniper breaks down and bags his rifle. The sniper team moves out into the hallway and SLIDES the bagged weapon down a coal shoot.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUILDING - VARIOUS - CONTINUOUS<\/stage_direction>\n    <scene_description>Broughton and Spyglass enter the lobby.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Stay right here.<\/dialogue>\n    <scene_description>Spyglass leans against the base of the staircase. Broughton takes off her coat and reverses it, quickly changing the color from brown to green. Broughton exhales through her nose, slows her heart rate, and heads up the stairs. First floor... Second... Third... and, as she is turning the corner to the fourth floor landing, the sniper team appears, coming down two steps at a time.<\/scene_description>\n    <character>SNIPER<\/character>\n    <dialogue>Entschuldigung, fr\u00e4ulein.<\/dialogue>\n    <scene_description>Broughton passes them on the stairs, and they pass her. We see Broughton's pistol press against the back of the Sniper's head.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <parenthetical>(in Russian)<\/parenthetical>\n    <dialogue>That accent sounds distinctly Muscovite to me.<\/dialogue>\n    <scene_description>Without hesitation, the young Sniper spins and disarms Broughton. The PISTOL SKITTERS across the tile floor. The Sniper draws and raises his own Markov when Broughton charges and disarms the weapon. FIGHT TIME! Two highly-trained men against one bad-ass woman. It is close. Brutal. And extremely violent. Punches, knees and elbows thrown from both sides. The two men are relentless with their attack on Broughton. The Sniper knees Broughton in the face, and her body crumples to the floor, broken. The Spotter picks Broughton up and is about to finish her off when... Broughton smashes her head into the Spotter and drives her thumb into the Sniper's eye. Broughton's body slams against the wall, sending plaster dust into the air. They fight on. We watch as three savages beat the living hell out of each other in a dingy staircase in East Berlin. The Spotter leaps for the one of the disarmed pistols, but Broughton is there to stop him. They struggle for the weapon and roll across the landing. The Spotter pounds his fists into Broughton's body. Broughton escapes the barrage onto her back just as the Spotter raises the Markov pistol to her head. Broughton uncoils her body, thrusts her legs into his chest and launches the Spotter backwards into the dazed Sniper. They both disappear over the stair railing without so much as a whimper. Four floors of FREE FALL and then they SLAM onto the lobby floor next to Spyglass. Broughton picks up her pistol from the floor and calmly walks down the stairs. Broughton picks up the second pistol from the lobby floor and then steps past the two dead bodies.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Let's go.<\/dialogue>\n    <scene_description>Broughton and Spyglass move on. Broughton never looks back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EAST BERLIN - DAY<\/stage_direction>\n    <scene_description>Broughton and Spyglass move down the street littered with black umbrellas.<\/scene_description>\n    <character>SPYGLASS<\/character>\n    <dialogue>I can't.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Yes, you can.<\/dialogue>\n    <scene_description>Two unarmed EAST GERMAN GUARDS see Broughton supporting Spyglass, who's soaked in blood.<\/scene_description>\n    <character>EAST GERMAN GUARD<\/character>\n    <dialogue>Halt!<\/dialogue>\n    <scene_description>The two East German Guards jog towards them.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Keep walking.<\/dialogue>\n    <character>EAST GERMAN GUARD<\/character>\n    <dialogue>Halt!<\/dialogue>\n    <scene_description>Broughton turns and points her pistol directly at the two unarmed East German Guards. They back away, hands in the air, and then turn and break into a full run. Broughton sees what she wants. She takes two steps to a parked Trabant sedan.<\/scene_description>\n    <character>SPYGLASS<\/character>\n    <dialogue>How can you be so confident?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I allow for no other option.<\/dialogue>\n    <scene_description>Broughton swings the door open and grabs a handful of wires beneath the dash. A few seconds is all Broughton needs to get the engine turned over. Broughton shifts her eyes down the street several blocks. We see a dozen East German frontier troops running up the hill toward them with their weapons drawn.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. SEDAN - CONTINUOUS<\/stage_direction>\n    <scene_description>Broughton watches in the rear-view mirror.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Hold on.<\/dialogue>\n    <scene_description>Broughton jams the sedan in drive, cuts the wheel hard and spins out across the cobblestone streets. The East Germans jump into several military cars and give chase after Broughton. This is FRENCH CONNECTION meets BULLITT but through the streets of East Berlin 1989! Broughton races the stolen sedan through featureless neighborhoods. A half-dozen East German military cars hunt her at breakneck speed. Broughton rallies down a narrow alleyway, out onto a wide street and through a gauntlet of near misses. Two East German military cars try to block her route. Broughton smashes through a crude roadblock and spins the military cars like tops. Several more East Germans' cars join in the hot pursuit. Broughton's side WINDOW EXPLODES and sends glass through the sedan. Broughton has had enough. Broughton slides to a stop, jams her sedan into reverse, then draws and empties the Markov pistol out the windowless hole to her side. BULLETS STRIKE into the pack of pursuing military cars. Broughton whips the sedan back around as three more East German cars pile up in a smoking heap.<\/scene_description>\n    <character>SPYGLASS<\/character>\n    <dialogue>We'll never... make it.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>We'll make it.<\/dialogue>\n    <scene_description>Broughton's sedan is up on the sidewalk, flying over and through most every obstacle as the East German noose tightens around her. Out the window, the Friedrichstrasse Station can be seen a few blocks away.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>It's just ahead.<\/dialogue>\n    <scene_description>Broughton slides the sedan around the corner and towards the station when a East German T55 tank rolls down the street at them, stops and levels its big gun at them. Broughton looks in her rear-view mirror at the military cars coming up behind her. Broughton scans her surroundings. Broughton reverses the tiny sedan.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Hold on!<\/dialogue>\n    <scene_description>Broughton yanks the steering wheel hard and slides the sedan onto a narrow street above the Spree River. She jams it into gear, and they race on. Without warning, an East German military truck slams into the sedan from a side street. The tiny sedan buckles on impact. Broughton and Spyglass flip end over end and plunge into Spree River. The cold water pours into car from the shattered window. The sedan quickly disappears and is consumed by the dark river. Broughton remains calm as the cold water rushes in.<\/scene_description>\n    <character>SPYGLASS<\/character>\n    <dialogue>My foot is trapped.<\/dialogue>\n    <scene_description>Spyglass pulls at his trapped leg.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>I'll get you out.<\/dialogue>\n    <scene_description>Broughton unbuckles herself and leans across to aid Spyglass. She pulls at his leg. Nothing. Broughton dives under the rushing water and tries to release his foot. Nothing. She surfaces, and the water continues to rise past their chests.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>I WILL get you out!<\/dialogue>\n    <scene_description>Broughton is about to dive under the water again, when Spyglass grabs her.<\/scene_description>\n    <character>SPYGLASS<\/character>\n    <dialogue>The last thing I am told can't be another lie.<\/dialogue>\n    <scene_description>Spyglass's eyes are pure and without fear. The water fills up to both of their shoulders. Spyglass grabs Broughton's hand.<\/scene_description>\n    <character>SPYGLASS<\/character>\n    <dialogue>My wife, Helena, and daughter, Audrey -- tell them I love them. Promise me.<\/dialogue>\n    <scene_description>Broughton nods as the water reaches their necks.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>I promise.<\/dialogue>\n    <character>SPYGLASS<\/character>\n    <dialogue>Go... Save yourself.<\/dialogue>\n    <scene_description>They each take one last breath as the cold water covers them. Broughton holds onto Spyglass's hand until his body convulses and relaxes in death. The tiny sedan twists in the river's current. Broughton pushes the car door open. She glances back at Spyglass's lifeless body and then never looks back again... Broughton swims underwater through the wintry river. She doesn't have much time. HARDCUT BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CENTURY HOUSE - ISO-FAC - DAY<\/stage_direction>\n    <scene_description>CLOSE ON THE NARGA III DECK and the tail of the tape flapping on another full reel.<\/scene_description>\n    <character>KURZFELD<\/character>\n    <dialogue>Do you need to take a break?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Broughton lights another Woodbine and watches in silence as Gray pulls the tape archive off of the deck, drops a fresh one on and threads it.<\/scene_description>\n    <character>GRAY<\/character>\n    <dialogue>I am ready when you are.<\/dialogue>\n    <scene_description>Gray CLICKS record, and the reel starts back up again. BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPREE RIVER - MOMENTS LATER<\/stage_direction>\n    <scene_description>Broughton's head breaks the surface, and she pulls herself up against the wooden pylon of a boat dock out of sight. She looks up the river to see dozens of East German soldiers searching. Broughton struggles to pull herself onto the dock as her body is quickly going hypothermic. A CAR SKIDS to a stop on the street above of her. We hear the DOOR OPEN and FOOTSTEPS approach her. Broughton is desperate, fighting to warm her body as her cold fingers fumble with her empty pistol. We see boots run up and then stop next to an exhausted Broughton.<\/scene_description>\n    <character>MERKEL<\/character>\n    <dialogue>I'm here.<\/dialogue>\n    <scene_description>Merkel grabs Broughton's hyperborean body and quickly tosses her into the warm car. Merkel speeds away with Broughton in the passenger seat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EAST BERLIN - SAFE HOUSE - DAY<\/stage_direction>\n    <scene_description>Broughton, wrapped in wool blankets, huddles around a coal fire contained in a metal bucket. Merkel sits in the flickering light.<\/scene_description>\n    <character>MERKEL<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>The KGB positioned a sniper team in a building. I recognized them from several days ago.<\/dialogue>\n    <character>MERKEL<\/character>\n    <dialogue>You recognized them?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I caught up with them in the stairwell of the building. They had blue eyes. I killed them both.<\/dialogue>\n    <scene_description>Merkel looks at Broughton who shares no emotion. Broughton stares at the fire and replays everything in her mind.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Perceval?<\/dialogue>\n    <character>MERKEL<\/character>\n    <dialogue>I lost him and Spyglass's family in the crowd. I am sure they are safe in the West.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Spyglass is dead.<\/dialogue>\n    <character>MERKEL<\/character>\n    <dialogue>And you are alive.<\/dialogue>\n    <scene_description>Broughton's still trying to put all the pieces together.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>The KGB knew everything.<\/dialogue>\n    <scene_description>Broughton stands, blanket wrapped around her shoulders.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>I need to get across. I need to call in and make contact with my superiors.<\/dialogue>\n    <scene_description>Merkel stares at her for a moment in silence.<\/scene_description>\n    <character>MERKEL<\/character>\n    <dialogue>You're a strong woman.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I prefer it to good-looking and useless.<\/dialogue>\n    <scene_description>Merkel stands.<\/scene_description>\n    <character>MERKEL<\/character>\n    <dialogue>Follow me.<\/dialogue>\n    <scene_description>Broughton follows Merkel down a faintly-lit hallway.<\/scene_description>\n    <character>MERKEL<\/character>\n    <dialogue>You must use the old tunnels.<\/dialogue>\n    <scene_description>Merkel kneels and lifts a false section in the floor, revealing an opening within the tiles. Merkel hands Broughton a metal flashlight.<\/scene_description>\n    <character>MERKEL<\/character>\n    <dialogue>Walk until you see the metal ladder, it will bring out in the West.<\/dialogue>\n    <scene_description>Broughton lowers herself down into the dark hole and turns on the flashlight.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EAST BERLIN - SEWERS - MOMENTS LATER<\/stage_direction>\n    <scene_description>The flashlight's yellow beam illuminates the damp tunnel. Broughton walks in silence towards West Berlin for several hundred yards until... We see the beam of her flashlight cut across a dead man's body. The cold has kept the body preserved with a foxed green hue to the skin. Broughton kneels down for a closer look and identifies the face warped by death.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <parenthetical>(to herself)<\/parenthetical>\n    <dialogue>Batkhin<\/dialogue>\n    <scene_description>Broughton quickly searches his pockets and body and finds nothing of value. She stands and moves on past the KGB officer's corpse towards the West.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ATTACH\u00c9'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Broughton stands in the cold and RINGS the BUZZER, which goes unanswered. She tries again, nothing. Broughton moves back out onto the streets and is on the move.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEST BERLIN - HOTEL ROOM - DAY<\/stage_direction>\n    <scene_description>SUPER: \"NOVEMBER 8, 1989\" Broughton, wrapped in a towel, sits on the edge of her bed, staring at the wall. Broughton's emotions are just below the surface of her face. She replays every detail in her mind. Crossing over. The family. The snipers. How did the KGB know? The car flooding with water. Spyglass's death. How did the KGB know? Suddenly, Broughton stands and moves through the room. She takes apart the phone. Nothing. She looks in the lamps. Nothing. Under the beds. Nothing. Window sills. Nothing. Doors. Nothing. She searches for the device. Then, from across the room, she sees her coat, still damp from the Spree River. Broughton inspects the buttons, pockets, and liner. She feels along the collar and pulls a tiny UHF device and hard wire out of the coat. We hear POUNDING on her hotel door.<\/scene_description>\n    <character>POLIZEI (O.S.)<\/character>\n    <dialogue>Offen sie die tur! Polizei!<\/dialogue>\n    <scene_description>Broughton stuffs the device back into her coat just as... We see the hotel door BURST open. The POLIZEI enter with complete intimidation. They're followed by an older and very severe-looking FIRST CHIEF INSPECTOR.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>You have no right to break into my hotel room! Who in the hell are you?!<\/dialogue>\n    <scene_description>The First Chief Inspector points at the four silver stars on his meticulous uniform.<\/scene_description>\n    <character>FIRST CHIEF INSPECTOR<\/character>\n    <dialogue>Ms. Lloyd. I'm First Chief Inspector of this district, and your rights here are not the same as if you were in Knightsbridge.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I would like to call my attach\u00e9 in the British sector and see if he agrees with you.<\/dialogue>\n    <scene_description>The First Chief Inspector narrows his eyes at the remark.<\/scene_description>\n    <character>FIRST CHIEF INSPECTOR<\/character>\n    <dialogue>A high ranking Stasi officer was killed yesterday in East Berlin. His body has been pulled from a submerged car in the river.<\/dialogue>\n    <scene_description>The First Chief Inspector looks for a reaction but gets none from Broughton.<\/scene_description>\n    <character>FIRST CHIEF INSPECTOR<\/character>\n    <dialogue>This has caused a great deal of tension between East and West.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>How can I help you, Inspector?<\/dialogue>\n    <character>FIRST CHIEF INSPECTOR<\/character>\n    <dialogue>First Chief Inspector, Ms. Lloyd. We are told the Stasi officer was trying to defect.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>There are sixteen million East Germans that to want to defect.<\/dialogue>\n    <character>FIRST CHIEF INSPECTOR<\/character>\n    <dialogue>Two Russian nationals were also killed.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Why are you telling me this?<\/dialogue>\n    <character>FIRST CHIEF INSPECTOR<\/character>\n    <dialogue>Witnesses say that there was a woman aiding the Stasi officer. A woman that fits your general likeness.<\/dialogue>\n    <scene_description>The First Chief Inspector stares at Broughton.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>I don't believe you have any evidence.<\/dialogue>\n    <character>FIRST CHIEF INSPECTOR<\/character>\n    <dialogue>What makes you so sure?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Because if you did, I would be in your jail by now.<\/dialogue>\n    <scene_description>The First Chief Inspector takes a step closer.<\/scene_description>\n    <character>FIRST CHIEF INSPECTOR<\/character>\n    <dialogue>The Britisher who was shot last week was a spy, wasn't he?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>How would I know?<\/dialogue>\n    <character>FIRST CHIEF INSPECTOR<\/character>\n    <dialogue>Your government sends you to replace him and stage a Stasi officer's defection.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I have no idea what you are talking about. I am a British civil servant, a lawyer.<\/dialogue>\n    <scene_description>The First Chief Inspector takes another step, closing the distance to Broughton's face. Broughton remains stoic under the tension in the room.<\/scene_description>\n    <character>FIRST CHIEF INSPECTOR<\/character>\n    <dialogue>Where were you yesterday afternoon?<\/dialogue>\n    <scene_description>I --<\/scene_description>\n    <character>LASALLE<\/character>\n    <dialogue>... was with me.<\/dialogue>\n    <scene_description>The First Chief Inspector turns to Lasalle standing in the hotel room doorway.<\/scene_description>\n    <character>LASALLE<\/character>\n    <dialogue>There are plenty of my friends who will confirm this.<\/dialogue>\n    <character>FIRST CHIEF INSPECTOR<\/character>\n    <dialogue>No doubt.<\/dialogue>\n    <scene_description>The polizei brush past Lasalle. The First Chief Inspector strides towards the door and then turns back to Broughton.<\/scene_description>\n    <character>FIRST CHIEF INSPECTOR<\/character>\n    <dialogue>I'll will question each and every one of them thoroughly.<\/dialogue>\n    <scene_description>The polizei are gone. Lasalle looks at Broughton.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>You didn't have to do that.<\/dialogue>\n    <character>LASALLE<\/character>\n    <dialogue>When I didn't hear from you, I got worried.<\/dialogue>\n    <scene_description>Broughton moves towards her clothes that hang in the closet as she lowers her towel. Lasalle looks across at her naked frame. We see deep bruises covering Broughton's body from the punishing staircase fight and car crash. Broughton pulls on her clothes.<\/scene_description>\n    <character>LASALLE<\/character>\n    <dialogue>I fear you are in danger.<\/dialogue>\n    <scene_description>Broughton grabs her coat.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>We're all in danger here. You should pack and run back to Paris.<\/dialogue>\n    <scene_description>Broughton pulls on her coat and moves towards the door.<\/scene_description>\n    <character>LASALLE<\/character>\n    <dialogue>What for?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>You'll be dead if you don't. Now excuse me.<\/dialogue>\n    <scene_description>Broughton moves past Lasalle, and the hotel room door closes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEST BERLIN - MI6 SAFE HOUSE - DAY<\/stage_direction>\n    <scene_description>Broughton walks off the street and up the stairs to a drab apartment building.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEST BERLIN - MI6 SAFE HOUSE - DAY<\/stage_direction>\n    <scene_description>Perceval looks through the peephole and opens the door for Broughton.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>You look like shit.<\/dialogue>\n    <scene_description>Broughton says nothing and enters the room.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Spyglass didn't make it.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>I know... Welcome to Berlin.<\/dialogue>\n    <scene_description>Broughton starts to take her coat off.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Leave it on. The Americans want to talk to us.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Have you told his family?<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Not yet. I was waiting to see if you even made it.<\/dialogue>\n    <scene_description>Broughton takes a breath.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>I'll do it. Give me a few minutes alone with them. I made a promise.<\/dialogue>\n    <scene_description>Perceval steps aside, and Broughton moves towards a small bedroom door. She knocks gently and then slowly opens the door. Spyglass's wife and daughter sit on a twin bed and stare up at her framed perfectly in the doorway.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>I am so sorry.<\/dialogue>\n    <scene_description>Helena pulls her daughter into her arms and cries out in grief. Broughton shuts the bedroom door and keeps her promise to Spyglass.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TIERGARDEN PARK - DAY<\/stage_direction>\n    <scene_description>Perceval, Kurzfeld and Broughton stand near the frozen duck pond in the harsh light of the afternoon.<\/scene_description>\n    <character>KURZFELD<\/character>\n    <dialogue>I expected more out of the Brits than a royal goat fuck!<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Maybe you should've backed us up!<\/dialogue>\n    <character>KURZFELD<\/character>\n    <dialogue>We would've if we had known you were crossing him over.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>You don't have our own Stasi agent... do you?<\/dialogue>\n    <character>KURZFELD<\/character>\n    <dialogue>Not one with a photographic memory. Goddamn it... So, who was blown?<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Not us... The KGB knew the EXFIL route and the best hide position for effective fire.<\/dialogue>\n    <character>KURZFELD<\/character>\n    <dialogue>That doesn't guarantee who gave the sniper his orders.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Could it have been Satchel?<\/dialogue>\n    <scene_description>They all look at one another for a moment knowing they don't have an answer to that question.<\/scene_description>\n    <character>KURZFELD<\/character>\n    <dialogue>Well maybe the dead drop was compromised?<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>No... only myself and Gascione ever knew its location.<\/dialogue>\n    <scene_description>Perceval turns towards Broughton.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>What about your fixer, Merkel?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>If I weren't for him, I'd have never made it back.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Well, you never know whom to trust.<\/dialogue>\n    <scene_description>Perceval looks at Broughton.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>That's right. Trust does seem to be in short supply these days.<\/dialogue>\n    <scene_description>Broughton holds Perceval's eyes for a moment.<\/scene_description>\n    <character>KURZFELD<\/character>\n    <dialogue>Could you've been the target?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Me?<\/dialogue>\n    <character>KURZFELD<\/character>\n    <dialogue>That Spyglass was just collateral?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>If the sniper wanted to shoot me first, he could have.<\/dialogue>\n    <character>KURZFELD<\/character>\n    <dialogue>Mighty convenient that they didn't.<\/dialogue>\n    <scene_description>Broughton takes a step towards the remark.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>What are you implying?<\/dialogue>\n    <scene_description>Perceval steps between them.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Be serious, Emmett. This was obviously about silencing Spyglass before we got to him. He must have been blown.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Well, whoever the target was, Moscow has sent us a message.<\/dialogue>\n    <scene_description>Kurzfeld leans towards Broughton and points his finger.<\/scene_description>\n    <character>KURZFELD<\/character>\n    <dialogue>Langley is going to hang my ass in the wind for this.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>I'm sure they're waiting for you to file your report. I know London's waiting on me.<\/dialogue>\n    <scene_description>Kurzfeld walks away in disgust and doesn't look back.<\/scene_description>\n    <character>KURZFELD<\/character>\n    <dialogue>Let's all just concentrate on keeping our heads down.<\/dialogue>\n    <scene_description>Perceval turns to Broughton.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>It's all cocked up, but I think he still likes us.<\/dialogue>\n    <scene_description>They stand for a moment in silence.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>I don't know what to say.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>I'll work on a flight for you. C's going to want whatever your side of this mess is in triplicate.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEST BERLIN - HOTEL ROOM - EVENING<\/stage_direction>\n    <scene_description>SUPER: \"NOVEMBER 9, 1989\" Broughton stares out the window at the gray evening sky. A half-empty bottle of Stoli sits next to her. We hear the PHONE RING. Broughton picks it up and speaks.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Lloyd.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LASALLE'S APARTMENT - EVENING<\/stage_direction>\n    <scene_description>Lasalle stands in her bedroom in La Perla with the telephone pressed to her ear.<\/scene_description>\n    <character>LASALLE<\/character>\n    <dialogue>Dinner?<\/dialogue>\n    <character>BROUGHTON (V.O.)<\/character>\n    <dialogue>I don't think it's the best idea.<\/dialogue>\n    <character>LASALLE<\/character>\n    <dialogue>A drink then?<\/dialogue>\n    <character>BROUGHTON (V.O.)<\/character>\n    <dialogue>You're persistent.<\/dialogue>\n    <scene_description>Lasalle chamber checks her pistol, confirms it is loaded, and slides it beneath the pillow on her bed.<\/scene_description>\n    <character>LASALLE<\/character>\n    <dialogue>Another of my charms. I've a recipe of great interest to you.<\/dialogue>\n    <character>BROUGHTON (V.O.)<\/character>\n    <dialogue>What might that be?<\/dialogue>\n    <character>LASALLE<\/character>\n    <dialogue>It's sweet as sugar. It has to do with Perceval.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEST BERLIN - HOTEL ROOM - EVENING<\/stage_direction>\n    <scene_description>Broughton takes a sip of her Stoli and looks out around her empty hotel room.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>All right, I'll be by later tonight.<\/dialogue>\n    <scene_description>Broughton sets the phone down, looks out the window, and then dials another number immediately.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Are you busy?<\/dialogue>\n    <character>PERCEVAL (V.O.)<\/character>\n    <dialogue>Writing up a report for my old friend, \"C.\"<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>There are some legal issues with the transportation I'd like to ask you about.<\/dialogue>\n    <character>PERCEVAL (V.O.)<\/character>\n    <dialogue>Come by anytime.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I'll get a cab and be right over.<\/dialogue>\n    <scene_description>Broughton hangs up the phone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEST BERLIN - NIGHT<\/stage_direction>\n    <scene_description>Broughton steps from a cab and walks up to Perceval's building.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTACH\u00c9'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Broughton walks through the office door and leaves her coat on this time. Perceval and Broughton are civil, however they is a cat and mouse tension to the room.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>You look polished.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I'm saying goodbye to Lasalle.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Lucky lady... Scotch?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>Perceval moves across to his desk and lifts a bottle.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>There aren't any transportation issues. So, what do you really want to talk about?<\/dialogue>\n    <scene_description>Perceval sets two glasses out and lifts the bottle.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Failure.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Are you worried about how this looks in your file? How you'll advance up the ladder at The Circus?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I really hadn't thought that far.<\/dialogue>\n    <scene_description>Perceval pours three fingers of a single malt and hands it across to Broughton.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Well, don't.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Is that your official recommendation?<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>You've never lost a package before?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I've buried friends... enemies... and I've buried my emotions for a great many years... and with that, I've come to the conclusion that it simply doesn't matter.<\/dialogue>\n    <scene_description>Perceval offers Broughton a seat in one of the two worn- leather club chairs. Perceval lifts his highball towards Broughton. They both take a silent, smooth drink.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>There was a lovely Italian girl who once told me, \"David, you can't unfuck what has been fucked.\"<\/dialogue>\n    <scene_description>Perceval smiles and leans in, serious and measured.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Listen carefully. At the end of a very long career of chasing shadows, the only reward you take home is to grow old. If you're lucky, you tell some good lies to the boys down at the pub.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I believed somehow the truth would lay out differently.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>There is that beautiful word. Truth.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>We're in the enterprise of reshaping the truth to serve England. After all, there is no way around the datum that at times our job comes down to kill or be killed.<\/dialogue>\n    <scene_description>Perceval pauses for a moment and then, upon reflection --<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>The blood on our hands will wash away with time.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>That's it... just let it go?<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Unless you want it to eat a hole straight through your guts. It's simple. Somewhere, somebody got the upper hand. Maybe you were too conspicuous when you went over to see Merkel.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Wait a damn minute.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Or maybe I was indiscreet when I picked up Spyglass's message. As I already said, most likely, Spyglass himself was the loudmouth. The truth is we will never know.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>And the body I found in the tunnel?<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>I told you those tunnels are history.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>It was Bakhtin.<\/dialogue>\n    <scene_description>Perceval takes a drink.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Did he have the list?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Who the hell knows how Bakhtin ended up there? Anyone, even Bremoyvch could have killed him.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I suppose you're right.<\/dialogue>\n    <scene_description>Perceval sets his empty glass down on the side table.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>I am right, and you're damn fortunate to make it back to fight another day.<\/dialogue>\n    <scene_description>Broughton holds up the UHF device and hard wire and hands it to Perceval. His smile fades.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>It's French made for the DSGE. I found it in hidden in my coat.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>Never trust the Frenchies.<\/dialogue>\n    <scene_description>Broughton nods and moves towards the front door followed by Perceval.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Can I give you a lift to Lasalle's place.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>No, I am going to walk. The fresh air helps me think.<\/dialogue>\n    <scene_description>Perceval opens the door for Broughton as she steps out into the hallway.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>You're a hell of a good officer. Now... forget I ever said that.<\/dialogue>\n    <scene_description>Broughton nods and continues on without ever looking back. Perceval closes the door. He looks at the UHF device and hard wire on the table and then grabs the keys to his Saab. PRE-LAP on the soundtrack: \"Voices Carry\" by 'Til Tuesday.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LASALLE'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>We see a window of the apartment slide open. Cold air gently blows the curtains. Lasalle listens to a Sony Walkman through headphones as she pours a drink for herself in her bedroom and sets the bottle down. We reveal an INTRUDER wearing a ski mask standing behind her. Lasalle is completely unaware until the electrical cord pulls tight around her neck. Lasalle struggles to free herself. She throws the Intruder off of her and scrambles, gasping for air, towards the bed. The Intruder lunges after Lasalle as she crawls up the bed, reaching for the pillow, her concealed gun just inches away. We hear the downstairs BUZZER of the building. The Intruder climbs on Lasalle's back, grabs the cord and pulls it tight around her neck. Lasalle's hand is on the gun, but she doesn't have the strength to lift it into her palm.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LASALLE'S APARTMENT BUILDING - NIGHT<\/stage_direction>\n    <scene_description>A young couple leaves Lasalle's building. Broughton slips through the open front door and moves down the hallway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LASALLE'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Lasalle twists around and claws the ski mask off the Intruder. We reveal: Perceval as he pulls back on the cord, and the life fades from her eyes. Lasalle's body falls to the floor. Perceval moves off of Lasalle's dead body and begins to search through the apartment. We hear a KNOCK on the door. Perceval is out of time. He turns and climbs out the open window as Lasalle's front door is pushed open by Broughton. Broughton enters and finds Lasalle's strangled, warm body on the floor. She moves through the apartment, sees the open window, and looks outside. Nothing. Broughton moves back through the apartment and stops at the bathroom. She looks in and sees it has been converted to a small photo darkroom with a red blub. A clothesline hangs above the develop, fix, and stop trays. We see there are several photos of Broughton that reveal Lasalle's fixation. Broughton closes the door and moves back into the kitchen We see large glass containers of FLOUR, SALT... and SUGAR. Broughton turns over the container, dumping the sugar onto the counter along with a package. Broughton opens the package to reveal a stack of photos. INSERT - PHOTOS Photo 1 - Perceval and Bremovych talking in a club. Photo 2 - Perceval talking to the KGB Sniper, Ivan Yerchenko. Photo 3 - KGB Agent Bakhtin handing Perceval an envelope. Photo 4 - Perceval opening the envelope. Photo 5 - Gascione's Burcherer timepiece in Perceval's hand. Photo 6 - Perceval standing over Bakhtin's dead body. BACK TO SCENE Broughton takes the photos and moves out of the apartment, never looking back at Lasalle's body on the floor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERLIN - FRENCH SECTOR - NIGHT<\/stage_direction>\n    <scene_description>Broughton exits Lasalle's apartment building and moves into the neighborhood. On the street, a sedan pulls out and follows her. Broughton can sense the sedan's headlights and picks up her pace towards a busy intersection ahead. Broughton stops at a small newspaper stand and glances toward the street and the approaching sedan. She can now see Bremovych and his driver clearly in the sedan driving towards her. She calmly turns and walks around the corner just as the light turns red. Bremovych's sedan pulls up just six feet away. Steady now... Broughton looks across the six busy lanes of traffic to the hotel's taxi stand. Out of the corner of her eye, she watches Bremovych. Then, the sedan's window starts to roll down. Against the red light, Broughton bolts out into the fray of speeding cars and cuts through the screeching traffic. We hear HORNS HONKING and SHEET METAL SMASHING. Cars slide and pile up in the intersection. Broughton escapes without a scratch. She sprints onto the median, across the next three lanes, and jumps into the waiting taxi. Broughton looks across at the wrecks of a dozen cars. Bremovych stands next to his sedan and watches her escape him once more.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTACH\u00c9'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>The room is lit by a single bare bulb and a small television. Perceval sits alone, drinking two fingers of single-malt scotch. INSERT - NEWS FOOTAGE MTV's Kurt Loder reports from the Berlin Wall. We see from the MTV news footage that massive crowds are assembling. Two EAST GERMAN SOLDIERS stand on the Wall, holding an MTV umbrella. An iconic symbol of the times. We MOVE ON the television, and we see the reflection of Perceval. He leans in and shuts of the TV. Perceval swings a small duffle bag over his shoulder and kicks over a Jerry can. The gasoline pours out onto the hardwood floor of his apartment. Perceval stands at his front door, lights a match and throws it onto the floor. The whole room is consumed in flames. Perceval moves on.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PERCEVAL'S APARTMENT BUILDING - NIGHT<\/stage_direction>\n    <scene_description>Perceval steps out of his building. We see the flames and smoke coming from his apartment window. Perceval walks parallel to the graffiti-covered Wall and then cuts into the alleyway towards his Saab 900 Turbo. A FIGURE steps towards him in the dark alley, and Perceval slows his steps as he approaches his car.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Well, I suppose that's it. We'll be obsolete by morning. I'll be back in London, and you... back to the party.<\/dialogue>\n    <scene_description>We hear the faint sounds of HAMMERS STRIKING against concrete.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>The simplicity of our struggle crumbles as that wall comes down.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>The lines on the map drawn by men who never faced the risk themselves will be harder to see.<\/dialogue>\n    <scene_description>In the distance, the CROWDS' CHEERS are heard.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>A different world is approaching. More volatile. More corrupt. There will be no ideologies to protect us. Just the brutal and cold conscience of commerce.<\/dialogue>\n    <scene_description>Perceval eyes follow a group of West Germans with hand tools moving towards the Wall.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Extortion... Whoever has the list in this new world has all power. Without it? Just a target.<\/dialogue>\n    <scene_description>Perceval turns back to the wordless figure in the shadows.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>We played our hands. Hell, I'm just glad to see your face at this moment, as the ramparts of tyranny fall into the history books.<\/dialogue>\n    <scene_description>Perceval smiles softly to himself as he looks towards the crowds.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Listen to them.<\/dialogue>\n    <scene_description>In the faint light, we see the flash of gunmetal. We hear a GUNSHOT BARK out! BAAAM BAAAM BAAAM! Perceval's body falls to the cold alleyway. Broughton steps from the shadows and stands with the smoke twisting from the barrel.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Lasalle was harmless?<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>No one is harmless. Lasalle was extorting me.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>And the list?<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>You're too late. Bremovych paid me handsomely.<\/dialogue>\n    <scene_description>Perceval coughs up a mouthful of blood and stares up at Broughton holding her gun in his face. She reaches down and removes the \" Carl F Bucherer \" timepiece from his wrist.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>You going to play out the lies until the bitter end?<\/dialogue>\n    <scene_description>Perceval's eyes struggle to focus on Broughton's face and then, when they do, he softly grunts:<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Would you believe Queen and country?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>Yes, Comrade Satchel.<\/dialogue>\n    <character>PERCEVAL<\/character>\n    <dialogue>That's how you're going to play it?<\/dialogue>\n    <scene_description>Broughton says nothing.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Well done... Well done.<\/dialogue>\n    <scene_description>The pool of blood grows around Perceval's body, and he relaxes in death.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ENGLAND - FARNBOROUGH AIRPORT - DAY<\/stage_direction>\n    <scene_description>SUPER: \"NOVEMBER 11, 1989\" It's raining in England. It's always raining. A Royal Air Force C-130 Hercules aircraft parks on the hardstand. The giant props slow to a stop as the rear ramp extends down. Broughton exits the front of the aircraft. We hear the SOUND of a lone BAGPIPER. Broughton turns and watches the Royal Scots Honor Guard exit down the ramp of the C-130 with two flag-draped coffins, the bodies Gascione and Perceval. Broughton stands in silence as the coffins are loaded for ground transport.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CENTURY HOUSE - ISO-FAC - DAY<\/stage_direction>\n    <scene_description>The ashtray is full of Woodbines. The Nagra III reel to reel records on the table. Gray leans forward and then exclaims:<\/scene_description>\n    <character>GRAY<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <scene_description>Broughton sits in silence for a moment.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>I failed, sir.<\/dialogue>\n    <character>GRAY<\/character>\n    <dialogue>Your directive was to bring home one body, and you return with two. You were tasked to find the most important list of the last forty years of the Cold War, you come back empty-handed. You're a bloody disgrace!<\/dialogue>\n    <scene_description>Broughton leans across the desk. She has had enough.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>You sent me into a hornet's nest. From the moment I touched down, the KGB was on to me. You knew Perceval was on the bubble and he knew not to trust me. You wanted Satchel? Well here he is.<\/dialogue>\n    <scene_description>Broughton sets down a manila folder. Gray looks through a stack of black-and-white photos from Lasalle's apartment. Gray lifts a black-and-white photo and shows it to Kurzfeld.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>These photos are damning evidence of Perceval's involvement with the KGB. Perceval was Satchel.<\/dialogue>\n    <scene_description>Gray and Kurzfeld looks across at Broughton.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Three days after Gascione was killed, Bremovych arrives in Berlin. Why? Because Gascione was onto Perceval and he was going to reveal him as the double.<\/dialogue>\n    <character>KURZFELD<\/character>\n    <dialogue>So Bremovych has Gascione killed to cover for Perceval.<\/dialogue>\n    <scene_description>Broughton points to the photo of Perceval and Bakhtin.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>And once you sent me to West Berlin. Perceval was covering his tracks.<\/dialogue>\n    <character>KURZFELD<\/character>\n    <dialogue>The sniper team was meant for you after all.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I think so. I found a French made UHF device in my coat after Spyglass was killed. I now believe Perceval planted it and made it look like Lasalle.<\/dialogue>\n    <scene_description>FLASH CUT:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEST BERLIN - HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Broughton sits at the desk in front of the Narga SN mirco recording device. A stack of recorded reel and reel tapes sit next to her. With great precision, Broughton methodically edits sections of tape together from different recorded conversations. BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CENTURY HOUSE - ISO-FAC - DAY<\/stage_direction>\n    <scene_description>Broughton turns to Gray.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Sir, you told me to \"trust know one\". In case you need anymore evidence against Perceval.<\/dialogue>\n    <scene_description>Broughton pulls out the Narga SN from her purse and sets it on the desk.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Here is a recording of Bremovych and Perceval.<\/dialogue>\n    <scene_description>Broughton leans forward and CLICKS on the Narga SN and the mirco reels begin to play her masterfully edited tape. We follow the dialogue back to each scene: FLASHCUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEST BERLIN - WALL - DAY<\/stage_direction>\n    <scene_description>Perceval walks with Broughton. Two US ARMY jeeps with SOLDIERS from the 2nd Battalion 6th Infantry patrol past. Perceval gestures towards the Brandenburg Gate.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Look... if you're going to be here for awhile, we had better play nice with one another.<\/dialogue>\n    <scene_description>FLASHCUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PERCEVAL'S APARTMENT BUILDING - NIGHT<\/stage_direction>\n    <scene_description>Perceval is in the alleyway next to his Saab 900 turbo.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Whoever has the list in this new world has all the power.<\/dialogue>\n    <scene_description>FLASHCUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALM RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Bremovych stands along the Art Deco bar next to Broughton and Lasalle.<\/scene_description>\n    <character>BREMOVYCH<\/character>\n    <dialogue>Maybe we could make some sort of arrangement?<\/dialogue>\n    <scene_description>FLASHCUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEST BERLIN - NIGHT<\/stage_direction>\n    <scene_description>We see the bombarded ruins of the Kasier Whelm Memorial Church. Perceval stands next to Broughton.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>Deal.<\/dialogue>\n    <scene_description>FLASHCUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALM RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Bremovych stands turns to Broughton at the bar.<\/scene_description>\n    <character>BREMOVYCH<\/character>\n    <dialogue>What about the British?<\/dialogue>\n    <scene_description>FLASHCUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PERCEVAL'S SAAB - NIGHT<\/stage_direction>\n    <scene_description>Perceval stares to Broughton in the parked car.<\/scene_description>\n    <character>PERCEVAL<\/character>\n    <dialogue>C is an arrogant lapdog and doesn't know fuck all about the world past the edge of his desk!<\/dialogue>\n    <scene_description>FLASHCUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CENTURY HOUSE - ISO FAC - DAY<\/stage_direction>\n    <scene_description>Broughton stares at the mirror of the wall and then at the two veterans of the Cold War. She calmly leans over and CLICKS off the Narga SN and the mirco reels fall silent.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Do you need to hear more?<\/dialogue>\n    <scene_description>Gray looks at Kurzfeld and leans over, CLICKS his NAGRA reel to reel. The tape stops for the first time in hours.<\/scene_description>\n    <character>GRAY<\/character>\n    <dialogue>We are choosing to bury this one, Broughton. Your mission never took place. This conversation and the one that Emmett and I are about to have with C never happened.<\/dialogue>\n    <scene_description>Broughton sits in silence.<\/scene_description>\n    <character>GRAY<\/character>\n    <dialogue>I'm putting you on leave, effective immediately. Come back fresh in the new year. We'll start the next decade well-rested.<\/dialogue>\n    <scene_description>Gray and Kurzfeld stand and exit the room. Broughton sits in the bare light. She slowly lights her last Woodbine and exhales.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEWCASTLE, ENGLAND - AIRPORT<\/stage_direction>\n    <scene_description>SUPER: \"DECEMBER 1, 1989\" A gorgeous blonde steps from a Newcastle taxicab and walks into the airport. It's Lorraine Broughton. She carries no bags. She walks through security and boards an international flight.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LONDON - DAY<\/stage_direction>\n    <scene_description>C and Gray stroll along the Thames River under a late afternoon sky.<\/scene_description>\n    <character>C<\/character>\n    <dialogue>Thatcher is going to have a difficult time with this.<\/dialogue>\n    <character>GRAY<\/character>\n    <dialogue>It's never good when one of our own stumbles.<\/dialogue>\n    <scene_description>C nods and squints towards the Palace of Westminster.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. PAN AM FLIGHT - DAY<\/stage_direction>\n    <scene_description>On the descent, Broughton looks out the window.<\/scene_description>\n    <character>C (V.O.)<\/character>\n    <dialogue>Did we ever find the watchmaker?<\/dialogue>\n    <scene_description>FLASH CUT:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEST BERLIN- WATCH REPAIR SHOP.<\/stage_direction>\n    <scene_description>We slowly move into the shop window and reveal the watch repair shop is completely empty.<\/scene_description>\n    <character>GRAY (V.O.)<\/character>\n    <dialogue>We sent a team to the address Broughton gave us. It was clean, nothing but an empty store front.<\/dialogue>\n    <scene_description>BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARIS - CHARLES DE GAULLE AIRPORT - DAY<\/stage_direction>\n    <scene_description>Broughton steps up to a waiting taxi and climbs into the backseat without hesitation. The taxi pulls out and drives towards the city of Paris.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRENCH TAXI - EVENING<\/stage_direction>\n    <scene_description>Broughton is being driven through the City of Lights. The blonde wig is gone, and she's wearing a new set of clothes. She looks through a small Herm\u00e8s Kelly bag. Broughton exits the taxi and turns into the early evening.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LONDON - DUSK<\/stage_direction>\n    <scene_description>The sun is nearly gone. Gray and C move their walk off the banks of the Thames and up to the Victoria Embankment.<\/scene_description>\n    <character>C<\/character>\n    <dialogue>We'll have to promote Broughton just to keep her quiet.<\/dialogue>\n    <character>GRAY<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARIS - L'HOTEL RITZ - NIGHT<\/stage_direction>\n    <scene_description>Broughton walks across the Place Vendome. The RITZ DOORMAN greets her as she enters the lobby.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PARIS - L'HOTEL RITZ - LOBBY\/ELEVATORS - NIGHT<\/stage_direction>\n    <scene_description>Broughton moves through the grand lobby, passes the Bar Vendome and stops at the front desk. We don't hear the conversation. Broughton smiles as she is handed the room key and moves to the elevators at the end of a gilded hallway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LONDON - NIGHT<\/stage_direction>\n    <scene_description>Gray and C stand outside the black door of Number 10 Downing street.<\/scene_description>\n    <character>GRAY<\/character>\n    <dialogue>It's still hard to imagine David Perceval and Satchel were the same person.<\/dialogue>\n    <character>C<\/character>\n    <dialogue>I never really trusted him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PARIS - L'HOTEL RITZ - NIGHT<\/stage_direction>\n    <scene_description>Broughton walks down the hallway to the door of her suite. She enters and takes off her coat. A titan of man sits on the couch with his back to her. He stands and turns to reveal: Bremovych.<\/scene_description>\n    <character>BREMOVYCH<\/character>\n    <parenthetical>(in Russian)<\/parenthetical>\n    <dialogue>Comrade Satchel.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <parenthetical>(in Russian)<\/parenthetical>\n    <dialogue>Comrade Bremovych.<\/dialogue>\n    <scene_description>Broughton moves toward Bremovych, and they embrace.<\/scene_description>\n    <character>BREMOVYCH<\/character>\n    <parenthetical>(in Russian)<\/parenthetical>\n    <dialogue>I am pleased you choose to meet in Paris before we return home.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <parenthetical>(in Russian)<\/parenthetical>\n    <dialogue>I ordered room service from the concierge.<\/dialogue>\n    <scene_description>Broughton leans in and kisses her counterpart.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <parenthetical>(in Russian)<\/parenthetical>\n    <dialogue>I could've done without being shot at in East Berlin with Spyglass.<\/dialogue>\n    <character>BREMOVYCH<\/character>\n    <parenthetical>(in Russian)<\/parenthetical>\n    <dialogue>The West has made you soft with ideas of individualism, comrade.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <parenthetical>(in Russian)<\/parenthetical>\n    <dialogue>My hope is Moscow and the party will be pleased.<\/dialogue>\n    <scene_description>We hear a KNOCK at the hotel suite door. Broughton walks to the door, and a ROOM SERVICE ATTENDANT enters with a rolling cart and bottles of Dom Perignon and Stoli sitting in silver buckets of ice. Bremovych signs for the bill and tips the attendant.<\/scene_description>\n    <character>ROOM SERVICE ATTENDANT<\/character>\n    <dialogue>Merci. Bon nuit, Monsieur.<\/dialogue>\n    <scene_description>The Attendant turns to Broughton.<\/scene_description>\n    <character>ROOM SERVICE ATTENDANT<\/character>\n    <dialogue>Mademoiselle.<\/dialogue>\n    <scene_description>Only in this moment do we sense something familiar about him -- he turns and leaves without another word spoken. Bremovych lifts the Dom Perignon from the ice.<\/scene_description>\n    <character>BREMOVYCH<\/character>\n    <parenthetical>(in Russian)<\/parenthetical>\n    <dialogue>1961. Very appropriate.<\/dialogue>\n    <scene_description>Broughton moves to him, takes the bottle of Dom from his hands and sets it back into the ice.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <parenthetical>(in Russian)<\/parenthetical>\n    <dialogue>Let's start with the vodka.<\/dialogue>\n    <character>BREMOVYCH<\/character>\n    <parenthetical>(in Russian)<\/parenthetical>\n    <dialogue>A good Russian woman.<\/dialogue>\n    <scene_description>Broughton lifts the bottle of Stoli from the second bucket and pours two glasses of vodka.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <parenthetical>(in Russian)<\/parenthetical>\n    <dialogue>That you've been ordered to kill, haven't you?<\/dialogue>\n    <scene_description>Bremovych doesn't react and deflects her question.<\/scene_description>\n    <character>BREMOVYCH<\/character>\n    <parenthetical>(in Russian)<\/parenthetical>\n    <dialogue>Lasalle, Gascione and Perceval they were all worthy enemies.<\/dialogue>\n    <scene_description>Broughton holds up her wrist and reveals the \"Carl F Bucherer\" timepiece.<\/scene_description>\n    <character>BREMOVYCH<\/character>\n    <parenthetical>(in Russian)<\/parenthetical>\n    <dialogue>They may have won the battle for Berlin, but this... will let us win the Cold War.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <parenthetical>(in Russian)<\/parenthetical>\n    <dialogue>Let's enjoy the night.<\/dialogue>\n    <scene_description>Broughton hands Bremovych his vodka.<\/scene_description>\n    <character>BREMOVYCH<\/character>\n    <parenthetical>(in Russian)<\/parenthetical>\n    <dialogue>For the memories, Comrade Satchel.<\/dialogue>\n    <scene_description>Bremovych and Broughton looks at the vodka and then empty the glass. A shared moment of accomplishment between two warriors in the Parisian hotel suite. Broughton moves to the vodka bottle. Bremovych reaches to the small of his back and his strong hand makes contact with a weapon. With one swift movement, Broughton draws a suppressed handgun out of the ice and double taps the trigger before Bremovych can react. The two bullets punch through Bremovych's cranial stem and kill him instantly.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <parenthetical>(in English)<\/parenthetical>\n    <dialogue>For the memories, Comrade Bremovych.<\/dialogue>\n    <scene_description>The Room Service Attendant appears from the hallway. This is Merkel from East Berlin. He is followed by a cleaning team that moves into the suite, lifts Bremovych into a body bag, and begins to sterilize everything. Merkel looks at Broughton.<\/scene_description>\n    <character>MERKEL<\/character>\n    <dialogue>He's waiting.<\/dialogue>\n    <scene_description>Broughton walks out of the suite and never looks back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARIS - NIGHT<\/stage_direction>\n    <scene_description>Broughton walks out of a side door of the L'Hotel Ritz. We follow her several blocks as she cuts through the Jardin des Tuileries and along the Place de la Concorde. She descends the stone stairs to a small motor boat waiting on the Seine.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARIS - MOTOR BOAT - NIGHT<\/stage_direction>\n    <scene_description>A DECKHAND unties the boat and throws the line ashore. We hear the BOAT'S ENGINE cry out in the cold air. Broughton walks past the closed cockpit. At the controls of the small motor boat: We see the Watchmaker. He touches the brim of his faded New York Yankees baseball cap as he recognizes Broughton. Not a word is spoken between them. Broughton moves towards the bow of the boat. We hear a voice call out:<\/scene_description>\n    <character>KURZFELD<\/character>\n    <dialogue>Our team is clear of the Ritz and already at our Embassy.<\/dialogue>\n    <scene_description>Emmett Kurzfeld steps forward.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>Perceval was never going to defect?<\/dialogue>\n    <character>KURZFELD<\/character>\n    <dialogue>Unknown. I planted that story to safeguard you.<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>I don't feel good about that.<\/dialogue>\n    <character>KURZFELD<\/character>\n    <dialogue>I've been where you are right now, where everything and everyone I got close to ended up dead.<\/dialogue>\n    <scene_description>They share a moment of silence. Broughton sits down on a small bench seat against the cabin.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>I am tired, sir.<\/dialogue>\n    <character>KURZFELD<\/character>\n    <dialogue>How many years have you given for this night?<\/dialogue>\n    <character>BROUGHTON<\/character>\n    <dialogue>More than I would have liked.<\/dialogue>\n    <scene_description>Broughton hands Kurzfeld the \" Carl F Burcherer \" timepiece. Kurzfeld pries open the back plate, and within it is a secret chamber: We see the encrypted list with the name of every Cold War intelligence officer.<\/scene_description>\n    <character>KURZFELD<\/character>\n    <dialogue>It's time you come home, Karen.<\/dialogue>\n    <scene_description>Broughton smiles at the sound of her true given name.<\/scene_description>\n    <character>BROUGHTON<\/character>\n    <dialogue>I'm ready, sir. I have had enough of the cold.<\/dialogue>\n    <scene_description>PRE-LAP on the soundtrack: \"Home Sweet Home\" by Motley Crew. On the boat's prow, a defiant AMERICAN FLAG SNAPS in the wind. Broughton and her American counter-intelligence team speed past the Eiffel Tower under a starless night. SLAM TO BLACK.: SUPER: GRAFFITI TITLE SCRAWLS OUT \"THE COLDEST CITY\" THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In November 1989, days before the collapse of the Berlin Wall, MI6 agent James Gascoigne is shot and killed by KGB agent Yuri Bakhtin, who steals The List, a microfilm document concealed in Gascoigne's wristwatch containing the names of every intelligence agent (on both sides) active in Berlin. A day later, Lorraine Broughton, a top-level MI6 spy, is dispatched to recover The List and is told to keep an eye out for Satchel, an infamous double agent for the KGB. Arriving in Berlin, she encounters two KGB agents speaking English and apparently posing as her own MI6 team, who attempt to deliver a message from their boss, Aleksander Bremovych. She overpowers them and manages to escape unharmed by crashing their car and is immediately picked up by her real contact, maverick MI6 station head David Percival. Percival is addicted to the Bohemian lifestyle he has been leading on both sides of the wall. Resentful of Lorraine and the implied supervision from London she brings, he seems unwilling to cooperate with her. Lorraine searches Gascoigne's apartment and discovers a picture of him and Percival. Percival had previously denied knowing Gascoigne, so she suspects Percival was behind the West Berlin police ambushing her while she searched Gascoigne's apartment. When Lorraine visits a restaurant mentioned by the KGB agents she encounters Bremovych, but is \"saved\" by Delphine Lasalle, a novice French agent. Although Lorraine is initially suspicious of Lasalle, they eventually enter into a sexual relationship. Lasalle suggests that they should work together. Percival, having tailed Lorraine, surveils a watchmaker she visited. He spots Bakhtin entering the same shop. Bakhtin tells the watchmaker he has a watch full of secrets he will sell to the highest bidder. CIA agent Emmett Kurzfeld meets with Lorraine in Berlin, handing her a newspaper containing a number which, when called, informs her Satchel has been compromised. Percival lures Bakhtin to an alley, kills him, and takes the wristwatch from which he discovers who Satchel is. Ignoring that Percival has The List, Lorraine learns that the Stasi officer codenamed Spyglass, who gave The List to Gascoigne, also memorized the names on it. She and Percival make plans to escort him across the border to West Berlin. Percival meets with Bremovych, who suspects Percival has The List, but Percival offers only the second best thing\u2014the identity and operations details of Satchel \"to keep the balance\", also tipping him off about the plan to extricate Spyglass. Lasalle covertly photographs the meeting. During the extrication of Spyglass, Percival secretly shoots him when the KGB agents are unable to. Lorraine battles multiple KGB agents while rescuing the wounded Spyglass, who drowns when their car is pushed into a river by the KGB agent whose car Lorraine crashed when she arrived in Berlin. Lorraine makes it to West Berlin and realizes Percival has planted a bug in her coat. She tells Lasalle, who calls Percival and threatens him with her knowledge of his Bremovych meeting. Percival goes to Lasalle's apartment and kills her, fleeing as Lorraine arrives moments later. Lorraine discovers the photographs taken by Lasalle and realizes Percival has read The List. Percival burns his safehouse and attempts to flee, but Lorraine arrives, kills him, avenging Lasalle, and takes The List. Later, Lorraine is brought in to be debriefed by MI6 executive Eric Gray and Kurzfeld. While there, she discovers Percival had told Gray he had The List and he was \"very close to Satchel\". She presents Lasalle's photographs and doctored audio recordings, which paint Percival as Satchel. She denies knowing The List's whereabouts, leaving MI6 no choice but to close the case. Three days later in Paris, Lorraine, now speaking in Russian, meets with Bremovych, who addresses her as \"Comrade Satchel\". Bremovych, having learned from Percival there is more to Satchel than he had previously known, orders his men to kill her. Lorraine kills his henchmen. Then, speaking with an American accent, she tells Bremovych she always fed him misinformation to manipulate the KGB. Then she kills him. She and Kurzfeld return to America with The List. In their conversation, it is implied Lorraine is actually a triple agent and had been working for the CIA all along."}
{"movie_name":"A History of Violence_2005","imdb_id":"tt0399146","script":"<script>\n  <scene>\n    <scene_description>-<\/scene_description>\n    <character>A HISTORY OF VIOLENCE<\/character>\n    <dialogue>by<\/dialogue>\n    <scene_description>Josh Olson July 18, 2003<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CALIFORNIA HIGHWAY - MORNING<\/stage_direction>\n    <scene_description>A battered old motel by the side of the road. The roof is<\/scene_description>\n    <character>-<\/character>\n    <dialogue>chopped up, nasty looking. Paint peels from the walls. A large, pathetic green papier mache dinosaur - some toothless mental case's idea of a Tyrannosaurus Rex is situated in front of the office. A sign reads \"Rooms $24.98 and up!\"<\/dialogue>\n    <dialogue>The door to one of the units opens and LELAND, a reedy looking guy, almost made out of beef jerky, steps out, small suitcase in hand and takes in the morning. A voice calls out from inside.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>You think maybe we could just turn around?<\/dialogue>\n    <character>LELAND<\/character>\n    <dialogue>Nah.<\/dialogue>\n    <scene_description>BILLY - shorter, chunkier, wearing jeans and an old Johnny cash tee shirt - walks out, hefting a grubby backpack and lighting a cigarette.<\/scene_description>\n    <character>LELAND<\/character>\n    <dialogue>Life's all about choices, Billy. Ain't no video game where you get to hit the restart button any time you ain't happy.<\/dialogue>\n    <scene_description>They walk over to a well worn old convertible. Leland takes the top down and throws his suitcase in the back. Billy does the same with his pack.<\/scene_description>\n    <character>LELAND<\/character>\n    <dialogue>We are who we are and we done what we done. Whatever.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>Yeah, I guess. I'm just tired, though.<\/dialogue>\n    <character>LELAND<\/character>\n    <dialogue>Yuh. Me, too.<\/dialogue>\n    <scene_description>He tosses Billy the keys.<\/scene_description>\n    <character>LELAND<\/character>\n    <dialogue>Here. Warm 'er up and bring 'er on up to the office. I'm gonna go check us out.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>'kay.<\/dialogue>\n    <scene_description>Leland walks towards the office as Bi Uy climbs into the car. Billy sits in the driver seat and looks around. - The sun beats down on the desert. low electric distance. No breeze, hum from the power lines Billy closes just a faint, that head off into the his eyes and enjoys the sun on his face. He sighs and puts the key in the ignition. The engine starts. Billy kieks it into gear and slowly pulls out. He drives the car up to the office and slows down, leaving the engine idling. He slides a casette tape - Johnny Cash - into the player and leans back, waiting patiently for his friend. A long beat, and then Leland walks out of the office.<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>What took so long?<\/dialogue>\n    <character>LELAND<\/character>\n    <dialogue>Nothin'. Little trouble with the maid, but everything's fine now. Johnny!<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>Johnny.<\/dialogue>\n    <scene_description>Leland, humming along with Johnny, slides into the drivers seat as Billy slides over.<\/scene_description>\n    <character>LELAND<\/character>\n    <dialogue>Damn. Eight AM and already this hot.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>Yuh.<\/dialogue>\n    <character>LELAND<\/character>\n    <dialogue>We got any water?<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>Prolly not enough.<\/dialogue>\n    <character>LELAND<\/character>\n    <dialogue>Yeah. There's a machine back in the office.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>I'll go.<\/dialogue>\n    <scene_description>He climbs out of the car and Leland gets behind the wheel. Billy walks to the motel office. INT. MOTELOFFICE It's quiet. Billy walks in and looks around, sees what he's looking for. He walks across the room and as he goes, we see blood splattered on the wall. Pull back to reveal the MOTEL CLERK behind the desk, shot in the chest, dead. A MAID lies on the floor in a pool of blood, shot in the head. Billy steps over her and goes to a cooler against the wall and takes out three bottles of water. He hears a noise and freezes. Be turns to see the bathroom door against the far wall open, and a LITTLE GIRL steps out. She sees the tableau in front of her and gasps. Billy drops the bottles and pulls a revolver out of his waistband and points it at the girl. She looks at him in terror and opens her mouth to scream. Billy's finger tightens on the trigger. BLACK A scream rips through the silence.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCKENNAHOUSE - TOM &amp; EDIE'S BEDROOM- NIGHT<\/stage_direction>\n    <scene_description>TOM MCKENNA, a slightly weathered husband and father of two, snaps awake at the sound of the scream and leaps out of bed, races to the door in the dark.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCKENNAHOUSE - SARAH'S ROOM<\/stage_direction>\n    <scene_description>SARAH McKENNA - an adorable five year old girl - is sitting bolt upright in her bed, screaming. A light snaps on as Tom, wearing pajama bottoms and a worried look - comes racing in to save his daughter. He takes her in his arms.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Sarah! Honey! What's wrong? What is it?<\/dialogue>\n    <scene_description>His daughter stops screaming and looks around blearily, then up at her father.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Daddy? Daddy?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Daddy's here, baby. Daddy's here.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>There were monsters!<\/dialogue>\n    <scene_description>\u2022 No, baby.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>There's no such thing as monsters. It<\/dialogue>\n    <scene_description>was just a bad dream. Daddy's here now. JACK McKENNA, 16, hair a mess, wearing a Beastie Boys tee shirt and boxers, walks in the door. ,lACK What's wrong, Dad?<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Hey, kiddo. Sarah just had a bad dream.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>I saw monsters, Jack!<\/dialogue>\n    <scene_description>Jack walks over to his sister's bed and sits down beside her~<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Monsters! Cool! What kind?<\/dialogue>\n    <scene_description>Tom shoots his son a dirty look. - I don't know~ They were in the shadows.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Hmrnm. Shadow monsters. They look pretty scary. But they can't really do anything. Especially when the lights are on. They're afraid of the light.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Jack!<\/dialogue>\n    <scene_description>EDIE McKENNA, a strong and lovely woman, possibly a little younger than Tom, stands in the doorway in a robe.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Sarah had a bad dream about monsters. (Shoots a look at Jack) I'm telling her there are no monsters.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Jack says shadow monsters are afraid of the light.<\/dialogue>\n    <scene_description>Tom shakes his head. Edie smiles.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>It would seem there are two schools of thought on the matter.<\/dialogue>\n    <scene_description>You could<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>say that.<\/dialogue>\n    <scene_description>\u0080\ufffd:<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>I'm going to turn on my night light, just in case.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>That sounds like a brilliant solution.<\/dialogue>\n    <scene_description>Edie sits on the bed and hugs her daughter. Tom smiles and puts his arm around his son, who pulls away, embarrassed. He is, after all, 16\u00b0<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MCKENNA HOUSE<\/stage_direction>\n    <scene_description>A large, sturdy farmhouse in the middle of a huge corn field - the house is at least a hundred years old, and well kept up. An old station wagon parked in front of a small barn. One barn door .i.s open, revealing an old pickup inside. A tricycle in front of the porch. A propane tank a few yards from the front of the house, off to the side~ Halfway across the field, a tiny shack that hasn't seen use in decades. On the other side of the house from the barn, a swing set and a small slide. Dawn's rosy fingers creep across the cornfield. Another day in Taylorville, Indiana.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HANK QUIGLEY'S HOUSE - MORNING<\/stage_direction>\n    <scene_description>A small, dilapidated two bedroom house on the side of the road. Probably built around the same time as the McKenna house, the difference is nobody~s spent any time keeping this place up. Paint peels, boards are cracked and weathered, and the whole place looks two steps away from being abandoned.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HANK QUIGLEY'S BEDROOM<\/stage_direction>\n    <scene_description>A small room, sparsely furnished~ A small dresser in the corner with a dirty, cracked mirror. A dozen different vials of prescription medicine are strewn around on it. The sun streams harshly through the small window. HANK QUIGLEY, late fifties\/early sixties - once a rock of a man, now gone a little soft - sits on the bed in old boxers. He has two round scars on his upper chest. His eyes are moist as he looks at a wedding photo of Torn and Edie. A half empty bottle of whiskey sits on the night stand. Hank takes it, raises it to his lips, then pauses~ He puts it back on the stand, looks at it a beat, then puts down the photo and gets up, walks to the bathroom. Ile stops by the dresser, bends over and picks up a pill bottle, puts it on the dresser. \u2022 For the smaller first round time we see his back - there scars spread across it. are at l.east half a dozen He walks into the bathroom, and we hear the sound of a shower going on. INT. McKENNA HOUSE - KITCHEN - MORNING Edie, Tom and Sarah sit around a table, eating breakfast.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>I think .Jack's right about shadow monsters, Daddy.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Oh, really?<\/dialogue>\n    <scene_description>She nods.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>But I think there's something he doesn't know.<\/dialogue>\n    <scene_description>- What's that, honey?<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>I think shadow monsters aren't as bad as other monsters. And I think when other monsters come, the shadow monsters beat them up.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Sort of protector monsters, then.<\/dialogue>\n    <scene_description>She nods and eats a spoonful of cereal. Edie smiles, then looks over at the empty space on the table and frowns.<\/scene_description>\n    <character>EDIE<\/character>\n    <parenthetical>( Calling out)<\/parenthetical>\n    <dialogue>Jack!<\/dialogue>\n    <scene_description>Jack walks in, dressed for school.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Edie shakes her head. Jack sits down at the table, turns to Sarah. Jack Night light worked, didn \u2022 t it? She nods vigorously. Tom turns to Edie. \u0080\ufffd:<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>I'm running a bit late today. Can you drop me off on the way in?<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>sure.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Great. Thanks. (Turns to Jack) What do you have going on today?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Nothing much. Math test in a few days. I think we're playing baseball in gym today, so I can look forward to sucking hard in right field.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>You remember what I told you, right? Hang back. Never let the hitter get one over your head .\u2022.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Unless it's over the fence.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Right!<\/dialogue>\n    <scene_description>They continue their pleasant, familial chatter as we slowly pull back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TAYLORVILLE - ROAD - DAY<\/stage_direction>\n    <scene_description>The McKenna's station wagon tools down the road towards town. INT. McKENNA'S STATION WAGON Edie's at the wheel. Tom sits next to her, looking out the window. Edie notices the half smile on his face.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Hmm?Oh, just thinking about Jack and Sarah.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>They're pretty incredible.<\/dialogue>\n    <scene_description>\u2022 That's<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>an understatement. Her whole theory about<\/dialogue>\n    <scene_description>shadow monsters protecting her from worse monsters?<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>Awful young for tt1at kind of moral relativity.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Yeah. I guess. She's just brilliant. They're both brilliant.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>God, it's amazing, isn't it?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>what's that?<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>One minute you're this dumb kid, running around<\/dialogue>\n    <scene_description>like an idiot, getting into trouble, dreaming these impossible dreams, and then, all of a - sudden, you're this grown-up sitting around worrying about whether or not your children are gonna be okay.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>I remember reading a book in high school that had a bit about that. Something about how one moment summer vacation's the longest stretch of time imaginable and an unhooked bra strap is as close to heaven as you can possibly imagine. The next, you're middle aged wondering where<\/dialogue>\n    <scene_description>it all went.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>Don't be in such a hurry. We're not middle aged yet.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Yeah, I know.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>I don't feel like a real grown-up yet.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Yeah. You think we ever will?<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Yup. Everyone does, eventually. Sooner or later, you're gonna wake up and find out you've turned into that cranky old guy who yells out the window, \"Keep that noise down, you goddam kids!\"<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>God. Kill me before that happens, okay?<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Oh, honey, I'll have left you long before that.<\/dialogue>\n    <scene_description>She smiles at him, and slows the car down. He leans towards her and they kiss. The kiss grows long and passionate - Edie is surprised, but happy. Tom's hand slides inside the back of her shirt and moves towards her bra. She pulls away, laughing.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>You know, an unhooked bra is still pretty damn close to heaven.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>You're a nut.<\/dialogue>\n    <scene_description>He smiles warmly at her.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>I'll be done early today. All I have is the Watson's will and Dave Ryan's tractor sale. Want me to come pick you up?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>We can go to the drive-in and make out tonight.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Tom, there hasn't been a drive-in in this town since the early nineties.<\/dialogue>\n    <scene_description>He smiles and looks intently at her. She looks back with the same intensity. These two are still very much in love.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TAYLORVILLE OUTSKIRTS<\/stage_direction>\n    <scene_description>Tom gets out of the car, and Edie drives away. Tom walks towards town.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TAYLORVILLE - CENTER<\/stage_direction>\n    <scene_description>A small town, pleasant and clean. Shops line the streetsr and cars drive by - people on their way to work and school~ \u2022rom walks down the street, clearly enjoying the sun on his face~ - A deep, thumping cruising towards bass fades up behind him, and Tom turns him, rap blasting out of it. to see a car<\/scene_description>\n    <character>THREE HIGH SCHOOL KIDS<\/character>\n    <dialogue>are in the car. Tom waves at the car as it goes by. The car slows, and JARED, the driver leans out the window.<\/dialogue>\n    <character>JARED<\/character>\n    <dialogue>Hey, Mr. McKenna!<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Hey, Jared.<\/dialogue>\n    <character>JARED<\/character>\n    <dialogue>Charlotte told me to tell you she's gonna have to be half an hour late this afternoon.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Okay, Jared. Thanks.<\/dialogue>\n    <character>JARED<\/character>\n    <dialogue>No problem.<\/dialogue>\n    <scene_description>The car peels out, music still pounding. Tom watches them go, smiling. - (To himself) Keep that noise down, you goddam kids. EXT. McKENNA'S DINER - DAY A very nice, clean diner on a well travelled street. A couple of LOCALS walk by and wave to Torn as he approaches the diner. He opens the door, then pauses when he sees something. He leans down and scrapes a smudge off the window with his finger, He walks into the diner. INT. McKENNA'S DINER PAT JOHNSON, a wiry man in his mid fifties in dusty overalls sits at the counter, sipping at a cup of coffee. He's the classic Midwestern farmer. MICK, the short order cook back in the kitchen waves as Tom comes in~<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Morning Pat, Mick.<\/dialogue>\n    <character>PAT<\/character>\n    <dialogue>Who's the craziest woman you ever dated?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Whoa. 'scuse me?<\/dialogue>\n    <character>PAT<\/character>\n    <dialogue>Mick and me\u2022s just talkin' about women we been<\/dialogue>\n    <character>-<\/character>\n    <dialogue>with. He once dated a woman used to attack him in the middle of the night.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>She what?<\/dialogue>\n    <character>MICK<\/character>\n    <dialogue>She'd have these crazy goddam dreams where instead of her boyfriend, I was some kind of demented killer. I woke up one night she'd stuck a goddam fork in my arm.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Jesus.<\/dialogue>\n    <character>MICK<\/character>\n    <dialogue>I'm spurtin' blood and she's sittin' there, crying, gain' \"Baby, I love you, I love you.\"<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>If she really loved you, she 1<\/dialogue>\n    <scene_description>d have used a spoon.<\/scene_description>\n    <character>-<\/character>\n    <dialogue>Pat cracks up. Mick smiles.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>You dumped her, right?<\/dialogue>\n    <character>MICK<\/character>\n    <dialogue>Nope. Married her. Lasted six years.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>You married her?<\/dialogue>\n    <character>MICK<\/character>\n    <dialogue>Well, yeah. Nobody's perfect, Tom.<\/dialogue>\n    <scene_description>Tom nods - he can't argue with that.<\/scene_description>\n    <character>PAT<\/character>\n    <dialogue>Yeah, well, I got that beat. I dated a psychiatrist in New York for a whole year.<\/dialogue>\n    <character>MICK<\/character>\n    <dialogue>Hard to top that.<\/dialogue>\n    <character>PAT<\/character>\n    <dialogue>I'm tellin\u2022 you, there's only one reason a person qets into that line of work, a.nd it's not to help crazy folks.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>What the hell were you doing in New York?<\/dialogue>\n    <character>PAT<\/character>\n    <dialogue>You ain't the only one from out of town. I was born and raised there.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>In New York?<\/dialogue>\n    <character>PAT<\/character>\n    <dialogue>Uh huh.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>City?<\/dialogue>\n    <character>PAT<\/character>\n    <dialogue>well, sure.<\/dialogue>\n    <character>MICK<\/character>\n    <dialogue>Who's the craziest girl you ever went out with, Tom?<\/dialogue>\n    <character>TOH<\/character>\n    <dialogue>I dunno. I never really had any crazy girlfriends.<\/dialogue>\n    <character>PAT<\/character>\n    <dialogue>Sure wasn't Edie.<\/dialogue>\n    <character>TOH<\/character>\n    <dialogue>Ha. No. She's definitely the sanest woman I've ever known.<\/dialogue>\n    <character>PAT<\/character>\n    <dialogue>Honest, too.<\/dialogue>\n    <character>TOH<\/character>\n    <dialogue>Yup.<\/dialogue>\n    <character>PAT<\/character>\n    <dialogue>When she helped me sell the farm ...<\/dialogue>\n    <character>TOH<\/character>\n    <dialogue>I remember this.<\/dialogue>\n    <character>PAT<\/character>\n    <dialogue>That big combine tried to slide some shit in, some mumbo jumbo that'd have me paying the closing costs. They claimed it was just a little mistake, but she went on the warpath, I'm telling you.<\/dialogue>\n    <character>PAT<\/character>\n    <dialogue>These companies, they slip in a line here, a line there, hoping you don't catch it and they just screw you a little more.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Yeah, she hates that. Edie couldn't cheat someone if her life depended on it.<\/dialogue>\n    <character>PAT<\/character>\n    <dialogue>Good woman.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>I remember we're out on our first date, and that song Me &amp; Mrs. Jones comes on. (Tom chuckles) We're talking about the lyrics, how it's about this guy screwing some other guy's wife, and Edie? She's stunned. She always thought it was Mr. Jones singing about how great his wife was.<\/dialogue>\n    <scene_description>Tom shakes his head in amusement, then spots something outside - Hank Quigley stands outside, looking in thoughtfully.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>'scuse me, fellas.<\/dialogue>\n    <scene_description>He walks to the door and opens it, just as a MIDDLE AGED WOMANwalks through.<\/scene_description>\n    <character>MIDDLE AGED WOMAN<\/character>\n    <dialogue>Morning, Tom.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Morning, Patty. I'll be right in to help you.<\/dialogue>\n    <scene_description>She walks over to a booth and Tom steps outside. EXT. McKENNA'S DINER Hank stands a few feet away from the door. Tom approaches him.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Hank?<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>Yuh.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>What, uh .... Can I help you?<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>Yuh. You got a minute?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Well ... It's just starting up in there, but ... Yeah. Sure. Come on in.<\/dialogue>\n    <scene_description>Hank looks uncertainly at the door. Tom nods and opens it for him, and Hank walks in. INT. McKENNA'S DINER Tom leads Hank to a corner booth.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Mickr take care of Patty, would you?<\/dialogue>\n    <scene_description>Mick waves acknowledgement and Tom sits down across from Hank~<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>I know I got no call to come to you like this, Tom. we don't have nothing even looks like a relationship.<\/dialogue>\n    <scene_description>-<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Well, no, but, you know, come on. We're like family ... What can I ... ?<\/dialogue>\n    <character>.... HANK<\/character>\n    <dialogue>No. Farnily 1<\/dialogue>\n    <scene_description>s more than just names.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Well ... Yeah. I guess. But still .... What's on your mind?<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>How's Edie doin'?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>She's good, Hank. She's really good.<\/dialogue>\n    <scene_description>Hank nods.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>You know, maybe you should, you know, come by or something. Some time.<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>Yeah. That's what I wanted to talk to you about.<\/dialogue>\n    <scene_description>Tom waits patiently for Hank to collect his thoughts. Pat walks by, heading for the door, looking at Hank.<\/scene_description>\n    <character>BANK<\/character>\n    <dialogue>And the kids. Jack and ...<\/dialogue>\n    <scene_description>Sarah's the<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>youngest. They're fine. You'd be<\/dialogue>\n    <character>-<\/character>\n    <dialogue>proud.<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>I've been proud. Everything I ever lost, I lost to pride, and the things it got me ... well, I coulda just gone down to the five and dime and bought 'em. I made a mess of my life, Torn. A real mess. You know Edie and I ain't exactly been close.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>I want to try to make some things up to her. I'd like to get to know my grandchildren before ... Before they're not children anymore.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>I think they'd like that.<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>You think? I ain't the best person. But I'd like<\/dialogue>\n    <character>-<\/character>\n    <dialogue>to try to make up for that.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>I'll bring it up to Edie, Hank. I'll see what I can do.<\/dialogue>\n    <scene_description>Hank nods.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>can I get you\\_ anything? You want some breakfast?<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>Naw. I ate already. I best be moving along.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Hank gets up and walks to the door. He stops, turns to Tom, and nods in gratitude. Tom nods back, then gets up and walks back to the counter.<\/scene_description>\n    <character>MICK<\/character>\n    <dialogue>Hank Quigley, huh? Man, he used to be one mean old son of a bitch.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>That's what I hear.<\/dialogue>\n    <character>-<\/character>\n    <dialogue>- Oh, shit.<\/dialogue>\n    <character>MICK<\/character>\n    <dialogue>Yeah. Of course. I heard he got all<\/dialogue>\n    <scene_description>kinds of shot up over in 'nam. Heard this one story . ...<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>M:ick. we have customers, and Charlotte's corning in late today.<\/dialogue>\n    <character>MICK<\/character>\n    <dialogue>Right. Right. I'm on it.<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>TAYLORVILLE HIGH - BASEBALL FIELD - DAY<\/dialogue>\n    <scene_description>Gym class - A softball game in progress. Jack sits on a bench by the wire fence, watching his team at bat. He and his teammates wear red gym shirts. The other team wears blue. JUDY DANVERS - same age as Jack and a real alterna-chick - walks up behind him and hits the fence. Jack turns.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>- Hey. How's it going?<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Same old crap. What do they have you guys doing?<\/dialogue>\n    <character>JUDY<\/character>\n    <dialogue>Sprints. I'd rather be playing ball.<\/dialogue>\n    <scene_description>Jack shrugs.<\/scene_description>\n    <character>,JUDY<\/character>\n    <dialogue>What position you playing?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Coach has me playing deep right field. Real exciting.<\/dialogue>\n    <character>JUDY<\/character>\n    <dialogue>What 1 s the score?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>We're up by one. But they have one more inning~<\/dialogue>\n    <scene_description>The batter strikes out, and the COACH blows his whistle. ,Jack Well, gotta get out to the boondocks. Catch ya later.<\/scene_description>\n    <character>JUDY<\/character>\n    <dialogue>Yeah. Wanna work on math stuff later?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Suret<\/dialogue>\n    <scene_description>He runs out to deep right field, putting on his glove. Judy goes back to join the other girls.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TAYLORVILLE HIGH - BASEBALL FIELD - LATER<\/stage_direction>\n    <scene_description>Jack stands out in deep right field bored out of his mind. In the distance, on the track, ~Judy runs past and waves. BOBBY JORDAN, class jock and all round tough guy, walks up to bat. One man's already on third base.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>One winning run, coming up.<\/dialogue>\n    <scene_description>His teammates cheer - i,Go get 'em, Bobby!\" etc. The PITCHER winds up and pitches. Ball. Bobby sidesteps it. The pitcher winds up again and fires. Jack steps back, deeper into right field. Bobby swings, and hits with a loud crack. The ball sails through the air right towards Jack. Bobby races towards first. Jack races back and forth, glove ready, trying to get under the ball. CLOSE ON - Bobby, smirking arrogantly. He knows Jack's gonna miss. THWAP! Jack catches the ball. The KIDS on Jack's team cheer loudly. Bobby looks furious. Jack looks down at his glove, slightly amazed - this kid is NOT the big athlete. He looks up and sees his teammates cheering him. COACH walks out on the field.<\/scene_description>\n    <character>COACH<\/character>\n    <dialogue>Game over. Reds win!<\/dialogue>\n    <scene_description>Jack looks around and smiles. Bobby storms off the field, furious. A couple of clack' s teammates run up to him and pat him on the back. \"Way to go, McKenna!\" \u0080\ufffd:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>- INT. TAYLORVILLE HIGH - BOY'S LOCKER ROOM<\/stage_direction>\n    <scene_description>The boys getting back into civvies. Jack stands at his locker, putting on a shirt. Bobby walks over to him, a pair of his BUDDIES with him,<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I guess you think you're hot shit, McKennu.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What? No. I don't.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Little superstar, here, huh? Little hero saves the day at the last minute, right?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What? Bobby, it's just a game. It's just stupid gym class.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Who you callin' stupid?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>No, I said gym class was stupid.<\/dialogue>\n    <scene_description>- \"No, I said to this<\/scene_description>\n    <character>BOBBY<\/character>\n    <parenthetical>(To his Buddies)<\/parenthetical>\n    <dialogue>little<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>gym class<\/dialogue>\n    <scene_description>faggot. was stupid.\" Listen Yes, you're right. I'm both little and a faggot. you got me dead to rights. Bobby pushes Jack up against his locker with a thud.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Come on, chickenshit. Let's do it.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What would be the point?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I mean, we've already established that I'm little, that I'm a faggot and that I'm chickenshit. What's the ooint of pumme}ing me mercilessly? -<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>J mean you win. You've established your alpha male standing. You've established my unworthiness. Doing violence to me just seems pointless and cruel, don't you think?<\/dialogue>\n    <scene_description>Some of the other kids are laughing now, which pisses off the confused Bobby. This is NOT the response he expected.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Corne on, you punk ass bitch.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Shouldn't that be \"Little punk ass chickenshit faggot bitch\"?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>God!<\/dialogue>\n    <scene_description>He pushes Jack against the locker and storms away, pissed off. A few kids laugh. Jack breathes a sigh of relief and turns back to his locker.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TAYLORVILLE HIGH<\/stage_direction>\n    <scene_description>Jack walks out of the gym and looks up as a few fat drops of rain plunk down. ALEX, another student, walks over to Jack.<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>That was hilarious. How'd you do that?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Do what?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>You like ... you beat him by agreeing with him.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I dunno. It beats the alternative, I guess.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>{Chuckling)<\/dialogue>\n    <scene_description>I'll say. That was really great.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Alex walks away~ Jack shakes his head and smiles, then walks towards school as it starts to rain.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>- EXT. TWO LANE BLACKTOP - DUSK<\/stage_direction>\n    <scene_description>Johnny Cash sings as a light rain comes down on the road.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>LELAND AND BILLY'S<\/dialogue>\n    <scene_description>Leland behind the wheel, Billy looking out the window, both of them silently singing along with Johnny. It's a different car than they were driving earlier. Billy sees something on the side of the road as they pass and sits up.<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Holy shit!<\/dialogue>\n    <character>LELAND<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>Did you see that?<\/dialogue>\n    <character>LELAND<\/character>\n    <dialogue>By the side of the road?<\/dialogue>\n    <scene_description>- What.<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>we gotta go back.<\/dialogue>\n    <character>LELAND<\/character>\n    <dialogue>We what?<\/dialogue>\n    <character>DILLY<\/character>\n    <dialogue>Look, trust me. I'll be quick.<\/dialogue>\n    <character>EXT. TWO LANE BLACKTOP<\/character>\n    <dialogue>A VERY ATTRACTIVE YOUNG WOMANleans over the hood of a broken down car, frustrated. Her jeans are low slung and tight. She wears an old flannel shirt, half buttoned over a tight fitting jacket.<\/dialogue>\n    <dialogue>Leland and Billyfs car slows down as it passes herr then pulls over a few yards in front of her. She looks up, a little nervous.<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>LELAND AND BILLY'S<\/dialogue>\n    <scene_description>Leland shakes his head.<\/scene_description>\n    <character>T,ELAND<\/character>\n    <dialogue>Jesus Christ, Billy.<\/dialogue>\n    <scene_description>Shejs<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>something, isn't she?<\/dialogue>\n    <character>-<\/character>\n    <dialogue>LELAND<\/dialogue>\n    <scene_description>Yeah, she is. (Looks at his watch) Just be quick.<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>You don't want to come?<\/dialogue>\n    <character>LELAND<\/character>\n    <dialogue>I'm too tired.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>Suit yourself.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TWO LANE BLACKTOP<\/stage_direction>\n    <scene_description>Billy hitches up his pants as he walks towards the woman.<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Car broke down, huh?<\/dialogue>\n    <character>YOUNGWOMAN<\/character>\n    <dialogue>-<\/dialogue>\n    <scene_description>I think it's overheated. Do you know anything about engines?<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>I know something about some things. Sure is a nice night.<\/dialogue>\n    <character>YOUNGWOMAN<\/character>\n    <dialogue>Um\u2022.. Yeah. It is. I'm supposed to be ..\u2022 My husband's expecting me home any minute, you know.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>Bad place for a breakdown, y'know. Out here 1 middle of nowhere ...<\/dialogue>\n    <scene_description>He bends over and looks at her engine, still smiling. She watches nervously from the side. Billy gestures to her.<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>It ain't the engine, it's the carburator. C'mere, take a look.<\/dialogue>\n    <scene_description>She cautiously steps closer~ His eyes run up and down her body - he's practically licking his lips.<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Yeah, you got a leak here, see?<\/dialogue>\n    <scene_description>She looks down and sees steam leaking from a pipe.<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Shouldn't be driving a car in this condition, you know. Need to tie something around this.<\/dialogue>\n    <scene_description>He looks her up and down and smiles.<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>Take off that shirt.<\/dialogue>\n    <character>YOUNGWOMAN<\/character>\n    <dialogue>My shirt?<\/dialogue>\n    <scene_description>Re nods. She hesitates, then takes off her flannel shirt. Billy reaches into his back pocket, eyes gleaming.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>Leland leans back in the cigarette burned down to<\/dialogue>\n    <character>LELAND AND BILLY'S<\/character>\n    <dialogue>driver's the filter<\/dialogue>\n    <scene_description>A loud thump and the passenger door opens and Billy heaves - himself into the seat. Leland pushes back his hat.<\/scene_description>\n    <character>LELAND<\/character>\n    <dialogue>You done?<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>LELAND<\/character>\n    <dialogue>No more stops tonight.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>No more stops tonight.<\/dialogue>\n    <character>LELAND<\/character>\n    <dialogue>Alright, then.<\/dialogue>\n    <scene_description>He starts the car and peels out, not looking back.<\/scene_description>\n    <character>INT. ATTRACTIVE YOUNGWOMAN'SCAR<\/character>\n    <dialogue>The young woman sits behind the wheel, smiling, as she drives down the road. She's not wearing her flannel, and we see the image on the front of her tee shi.rt for the first time - an angry Johnny Cash flipping the bird at the photographer.<\/dialogue>\n    <scene_description>- EXT. McKENNA'S DINER - DUSK<\/scene_description>\n    <character>-<\/character>\n    <dialogue>Tom stands outside the diner, stretching after a long day. Edie pulls up in the station wagon. The rain is letting up.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Hey, good looking.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>He climbs in. INT. McKENNA'S STATION WAGON Edie starts up and drives down the street.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Aw, noA Do we hav0 to go to the store?<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>We're not going to the store.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>We're not?<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Jack's studying over at Judy Danvers' house, and Martha's taking care of Sarah.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Oh yeah?<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>So where are we going?<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>We never got to be teenagers together.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Uh huh.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>I 1 m going to fix that.<\/dialogue>\n    <scene_description>Tom cocks an eyebrow.<\/scene_description>\n    <character>TOM (O.S.)<\/character>\n    <dialogue>Cannonball!<\/dialogue>\n    <scene_description>- ~--<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>POND - NIGHT<\/dialogue>\n    <scene_description>The McKenna's station wagon sits near an idyllic pond. A cooler full of beer sits nearby, and a small boom box sits on the hood, blasting late seventies rock and roll. Edie is in the water, naked. A naked Tom flies through the air, curled in a ball, and lands with a huge splash. Edie laughs, and Tom swims up to her and they kiss. A loud buzzing, and Tom breaks the kiss to swat at a mosquito.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Damn!<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Yeah, that's kind of the downside.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>That and the freezing water.<\/dialogue>\n    <scene_description>- sort of makes it hard to achieve the desired effect, huh?<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Honey, there's nothing hard within a mile of this place.<\/dialogue>\n    <scene_description>Another mosquito buzzes by and Edie swats at it.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>You ever think maybe kids didn't come here because it was so perfect but because they didn't have anywhere else to make out?<\/dialogue>\n    <scene_description>She looks at him thoughtfully, then smiles.<\/scene_description>\n    <character>EXT.<\/character>\n    <dialogue>POND - TWENTY SECONDS LATER<\/dialogue>\n    <scene_description>Edie and Tom, now loosely dressed, leap into the car and peel out. INT. McKENNA HOUSE - TOM AND EDIE'S BEDROOM - NIGHT Edie comes out of the bathroom in her nightgown. She lays down next to him and kisses him warmly on the mouth.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>That was great.<\/dialogue>\n    <dialogue>Tom smiles and runs his fingers through her hair. He seems a little distant.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <scene_description>He rolls over takes her head in his hands and looks intently into her eyes.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>It's so amazing. I remember the moment I knew you were in love with me. I saw it in your eyes in an instant. I can still see it.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Of course you can. I still love you.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>I am the luckiest son of a bitch alive.<\/dialogue>\n    <scene_description>He eases back, petting her head, eyes looking off in the distance.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>What is it, honey? What's wrong?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>You' re gonna hate my bming.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Your father came by the diner today.<\/dialogue>\n    <scene_description>She tenses at this.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>What did he want?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>He wants to see you, honey. He wants to meet the kids.<\/dialogue>\n    <scene_description>She sits up, tense, tight and hard.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>We all want what we can~t have.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Edie ... Honey,~ .. I guess it's none of my busjness, but ....<\/dialogue>\n    <character>{CONTINUED)<\/character>\n    <dialogue>- You're<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>right. It's none of .....<\/dialogue>\n    <scene_description>She stops, shakes her head.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>I'm sorry, baby. I'm sorry. Don't let me be that girl.<\/dialogue>\n    <scene_description>He smiles.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>I don't want to see him. I don't want him near my kids ..<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>He was a drunk. He used to hit you, I know. Nothing good comes out of that. But he seems \u2022..<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>No. I don't care. I don't care why he did what he did. I don't want to see him, and I don't want him near my children.<\/dialogue>\n    <scene_description>- I don't five times<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>know the man. We've met maybe<\/dialogue>\n    <scene_description>was the longest in eighteen man who came into beaten Edie. we ever years, talked. the diner down. He knows he screwed He wants to make amends, and today But the today was up, I think.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>He canrt.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Honey .... People change.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>I know that, Tom. People change every day. You hear people talk, and !lank Quigley was the nicest man in town before the war. But what happened over there sure as hell changed him.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>It changed a lot of people.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>My mother tried for years. She did everything she could to help him, to look past what he'd become.<\/dialogue>\n    <scene_description>-<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>But he didn't change. Now he has, maybe, but it's too late.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>It's just ... I wish the kids had grandparents. I didn't exactly provide well on that front.<\/dialogue>\n    <scene_description>She leans down and runs her hand down his cheek.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>You're the best man I've ever known, Torn McKenna, and you provide for this family every single day.<\/dialogue>\n    <scene_description>She rolls over and hits the switch on the bedside lamp. It flickers on and off, and she grimaces~ Tom smiles and leans over her and shakes it, and the light snaps on in full. She kisses him on the cheek in gratitude, and picks up some papers and starts to read. Tom looks at his wife thoughtfully. A smile spreads across his face, and he rolls aver to go to sleep.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TAYLORVILLE - AFTERNOON<\/stage_direction>\n    <scene_description>Tom walking down the street. Town's a little more crowded than last time - it's Saturday afternoon. A pair of kids race by Tom. One kid has plastic Wolverine claws, the other is wearing huge green Hulk fistsA He smiles as they pretend to duke it out. INT. McKENNA'S DINER The place is crowded. Charlotte is delivering a meal to a table. Mick is cranking away at a dozen orders. Tom walks in. SAM CARNEY, the local sheriff, sits at the counter sucking down some coffee. Tom slaps him on the back.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Hey, Sam.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Afternoon, Tom.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>How's things?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Good. Good. Gettin' ready for Saturday night.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Yuh. Expecting trouble tonight?<\/dialogue>\n    <scene_description>- Just the<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>usual. Drunk assholes. Cow tipping.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Don't forget UFO abduction.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Right. How's Edie?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Good as ever.<\/dialogue>\n    <scene_description>Sam nods.<\/scene_description>\n    <character>EXT. TOWN SQUARE - NIGHT<\/character>\n    <dialogue>The town square~s a nice piece of land. Well kept, a few treesf with City Hall - the nicest building in town - right in the center. Kids in cars drive around and around, music blasting from every windowo<\/dialogue>\n    <dialogue>Jack and Judy sit alongside the building, passing a joint back and forth, watching the kids go round and round.<\/dialogue>\n    <character>JUDY<\/character>\n    <dialogue>You ever wonder what kids did for fun on a Saturday night a hundred years ago?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I dunno. I always figured they got into their parents' wagon and went cruising around their town square playing loud banjo music and acting like idiots.<\/dialogue>\n    <character>JUDY<\/character>\n    <dialogue>So you think this is as good as it gets?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>For us? Yeah. For now. Eventually we grow up and get jobs and have affairs and eventually become alcoholics.<\/dialogue>\n    <scene_description>Judy looks at him a long beat, then takes a hit off the joint.<\/scene_description>\n    <character>JUDY<\/character>\n    <dialogue>Ya know, sometimes you depress me.<\/dialogue>\n    <scene_description>Jack srnileso<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>Bobby and his beer in a bag Jack and Judy<\/dialogue>\n    <character>BOBBY'S CAR<\/character>\n    <dialogue>pals around. and frowns.<\/dialogue>\n    <character>BUDDY#1<\/character>\n    <dialogue>Hey, isn't that that McKenna faggot?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>BUDDY#1<\/character>\n    <dialogue>You should go kick his ass.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I'm thinkin' about it.<\/dialogue>\n    <scene_description>He swerves into the next lane, and a horn honks loudly at him. He hits the brake and looks back, sees he's almost driven into another car - a battered old pickup. He flips the truck the finger- Leland and Billy sit inside the truck. Billy gives Bobby a very cold glare and Bobby pulls back his finger, scared. Billy nods and they drive on.<\/scene_description>\n    <character>BUDDY#1<\/character>\n    <dialogue>Who the fuck was that?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I don't know. And I don't want to.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LELAND AND BILLY'S TRUCK<\/stage_direction>\n    <scene_description>Billy's looking back at Bobby's car.<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>can I just say how sick I am of these podunk towns and the goddam podunks who live in them?<\/dialogue>\n    <character>LELAND<\/character>\n    <dialogue>You think if you keep saying that it's gonna change anything?<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>I'm just sick of this shit.<\/dialogue>\n    <character>LELAND<\/character>\n    <dialogue>Yeah, you made that clear about ten thousand miles ago, Billy. Until you come up with a better idea, I don't want to hear about it anymore.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>Well, we could stop for some pie.<\/dialogue>\n    <character>LELAND<\/character>\n    <dialogue>Yeah, we could. I'm goddarn hungry.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>Typical small town shit hole. There's got to be a diner 1<\/dialogue>\n    <scene_description>round here somewhere.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>- EXT. TOWNSQUARE<\/stage_direction>\n    <scene_description>Jack and Judy, still sitting. Judy looks over to the street and sees Bobby climbing out of his car.<\/scene_description>\n    <character>JUDY<\/character>\n    <dialogue>Oh, shit.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JUDY<\/character>\n    <dialogue>Bobby.<\/dialogue>\n    <character>,JACK<\/character>\n    <dialogue>What the hell is the matter with that guy? Let's get out of here.<\/dialogue>\n    <scene_description>They get to their feet and walk the opposite direction. INT. McKENNA'S DINER Mick's behind the stove, cleaning and closing the place down, Charlotte's wiping down a table. JEFF and LISA, a pair of high school - kids sit at a booth, eating counter, Pat slaps talking Good as some bills ice cream. Tom is sitting to ever, Pat,<\/scene_description>\n    <character>PAT<\/character>\n    <dialogue>who's<\/dialogue>\n    <scene_description>Tom. down on the behind the finishing counter up his and heads dinner. for the door. He waves to Mick, who waves back.<\/scene_description>\n    <character>PAT<\/character>\n    <dialogue>See you in church, Tom.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Ayuh~ Have a good evening.<\/dialogue>\n    <scene_description>Pat opens the door to walk out, and bumps smack into Leland.<\/scene_description>\n    <character>PAT<\/character>\n    <dialogue>Oh, excuse me.<\/dialogue>\n    <character>LELAND<\/character>\n    <dialogue>S'alright, old man.<\/dialogue>\n    <scene_description>He holds the door open for Pat and lets him out, smiling coldly. Pat looks at him, troubled. Billy walks in after Leland, watching Pat go. Billy and Leland walk up to the counter.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Just closing up, fellas.<\/dialogue>\n    <character>LELAND<\/character>\n    <dialogue>Coffee. Black.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>Same. And some pie. Gimme some pie.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Guys, I told you we're just closing up.<\/dialogue>\n    <character>LELAND<\/character>\n    <dialogue>I said coffee!<\/dialogue>\n    <scene_description>Charlotte looks up at this, worried. J-eff and Lisa look over, interested. Tom looks at Leland a beat, then nods.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Okay. I think we can handle that.<\/dialogue>\n    <scene_description>He walks over to the coffee machine and picks up a pot.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Charlotte, you can go home now if you want.<\/dialogue>\n    <character>LELAND<\/character>\n    <parenthetical>(Nods to the door)<\/parenthetical>\n    <dialogue>Billy.<\/dialogue>\n    <scene_description>Billy walks over to the door, cutting off Charlotte.<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>I think you're gonna stick around a while, honey.<\/dialogue>\n    <character>CHARLOTTE<\/character>\n    <dialogue>Tom?<\/dialogue>\n    <scene_description>Torn looks at her, worried, then over to Jeff and Lisa, who look scared. He turns to Leland.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>We don't carry much money here, but you're welcome to all of it. Let's just do this quickly, okay?<\/dialogue>\n    <character>LELAND<\/character>\n    <dialogue>We'll do it however we want to, asshole.<\/dialogue>\n    <scene_description>Be pulls out a gun and points it at Tom, who stands with the coffee pot in his hand. Billy pulls out his gun and points it at Charlotte. Lisa screams.<\/scene_description>\n    <character>LELAND<\/character>\n    <dialogue>Shut up, bitch!<\/dialogue>\n    <scene_description>- She stops, men in fear. terrified. Jeff puts his arm around her, looking at the two<\/scene_description>\n    <character>LELAND<\/character>\n    <dialogue>Show this asshole we mean business, Billy.<\/dialogue>\n    <character>BILLY<\/character>\n    <parenthetical>(Nodding to Charlotte)<\/parenthetical>\n    <dialogue>What, her?<\/dialogue>\n    <character>LELAND<\/character>\n    <dialogue>Yeah, her. Fuck her. Do it.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>No! Don't!<\/dialogue>\n    <scene_description>Billy shrugs and pulls the trigger. Click. Billy looks at the gun, puzzled. Leland looks to Billy - what the fuck? -- Without even thinking, Torn lashes out with the coffee pot, smashing it into Leland's face, the glass shattering. Leland cries out and drops his gun, falls to the floor. Tom leaps over the counter and picks up Leland's gun. Billy quickly ratchets another bullet into the chamber of his gun and turns to Tom. Tom fires, hitting Billy in the chest, sending him spinning. Lisa screams. Leland grabs a knife from the floor and slams it into Tom's foot. Tom screams in pain and whirls, sees Leland on the floor, the knife in his hand, and fires down, through the top of Leland's head. Leland's face explodes in a shower of gore. Billy staggers towards Tom, clutching his bloody chest, his gun in his other hand.<\/scene_description>\n    <character>BILLY<\/character>\n    <dialogue>MOTHERFUCKER l ! !<\/dialogue>\n    <scene_description>He raises the gun to fire again. Torn whips the gun up and fires, hitting Billy in the stomach and sending him crashing through the diner window in a shower of glass. Lisa stops screaming. Mick walks out from the kitchen, stunned. Charlotte stands there, in shock. Tom slowly gets to his feet and surveys the carnage. Leland lays on the floor, his head a bloody mess. Billy lays outside on the sidewalk, dead, one of his feet propped up on the shattered window. Outside, people yell and shout and scream. Torn struggles to stand upright, blood gushing from his foot. Mitch runs over to him and holds him up. The rest is a swirl of disconnected images from Tom's POV: Sam, the local sheriff, bursts into the diner, gun in hand. An ambulance in front of the diner. A crowd of people watching as PARAMEDICSlead Tom to the ambulance. Jack and Judy in front of the crowd, watching in shock. Jack reaches out to touch his father's hand. The back of the ambulance. Tom being laid down. Edie bursts through the doors and hugs her husband.<\/scene_description>\n    <character>FADE TO BLACK.<\/character>\n    <dialogue>A long beat<\/dialogue>\n    <character>FADE IN:<\/character>\n    <dialogue>EXT. McKENNA'S DINER - ON TV - TOM'S POV A LOCAL REPORTER stands in front of the diner, the window still shattered. A crowd of people in the background. The image is blurry, coming slowly into focus.<\/dialogue>\n    <character>REPORTER<\/character>\n    <dialogue>... where Tom McKenna, the owner of this diner, fought off two savage criminals. The two men, Leland Devore and William \"Billy\" Orser, were wanted by Texas and California police for two weeks in conjunction with several murders in those states. McKenna, a family man with long standing ties to the community ..\u2022\u2022<\/dialogue>\n    <character>EDIE (O.S.)<\/character>\n    <dialogue>Hi, honey.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM- DAY<\/stage_direction>\n    <scene_description>The TV is on the wall. Tom lays on the bed. Edie sits by him. Sarah sits on the floor~ playing with a doll. Jack walks over from the windowsill. - Hey! Dadl<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>You're back!<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Hey, honey. Jack. What's up? How long have I been out?<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Just overnight. Sam's outside. He wants to talk to you.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Is everyone okay?<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Yes. Everyone's fine.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Except those two sons of bitches. Man, you killed the hell out of them, Dadl<\/dialogue>\n    <scene_description>Tom flinches at this. Edie shoots her son a sharp look.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>Jack! Stop it.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Well, okay. But it's true. You're a hero, Dad!<\/dialogue>\n    <scene_description>Sam sticks his head in.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Sleeping beauty awakes.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Hey, Sam.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Everything okay here?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Everything's fine (Gesturing to TV), but what is this? This is nuts.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Sorry, nothing I can do there. Tom, I hope you don't mind. I need to ask you a few questions.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Sure. No problem. I mean ... (Smiles at Edie) if it's alright with my attorney.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Go ahead, Sam. Jack, get your sister.<\/dialogue>\n    <scene_description>Jack picks up Sarah and the three of them head out while Sam questions Tom. TELEVISION A reporter interviews Jeff and Lisa and their parents. Switch A reporter interviews Mitch. switch A reporter interviews Charlotte. Switch<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>TV - INT. STUDIO - THE RUNYANREPORT<\/stage_direction>\n    <scene_description>A slick, dark studio. A flinty eyed man in his fifties, wearing a dark blue suit and a red tie sits behind a desk. A picture of Tom is being<\/scene_description>\n    <character>-<\/character>\n    <dialogue>projected behind him, the words \"American Hero\" written across it.<\/dialogue>\n    <character>RUNYAN<\/character>\n    <dialogue>Three days ago, Tom McKenna was just another hard working business owner, the manager of McKenna\u2022s Diner in Taylorville, Indiana. But now, thanks only to his true American character, he 1 s a hero to all of us. When he found himself in a ...<\/dialogue>\n    <scene_description>The screen goes black.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM- DAY<\/stage_direction>\n    <scene_description>Tom sits on the edge of the bed, fully dressed, and switches the TV off in disgust. Edie walks in, an ORDERLYbehind her, pushing a wheelchair.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>Honey?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>God. Are you as sick of hearing about me as I am?<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>I'll never be slck of you, honey. They're here to check you out.<\/dialogue>\n    <scene_description>- Thank<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>God for small favors.<\/dialogue>\n    <scene_description>He stands up and looks at the wheelchair.<\/scene_description>\n    <character>ORDERLY<\/character>\n    <dialogue>Regulations, sir. You have to let us wheel you out~<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>It's true. Just do it, honey.<\/dialogue>\n    <scene_description>Tom chuckles and gets in the wheelchair.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>HOSPITAL WAITING AREA<\/dialogue>\n    <scene_description>Tom is wheeled out to find dozens of locals and well wishers waiting for him. They pat him on the back. \"Way to go, Tommy!u Jack, carrying Sarah, comes over to his father. Tom warmly squeezes his son's shoulder and kisses him on the forehead~<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Geez, Dad. Not in front of people.<\/dialogue>\n    <scene_description>Tom smiles. EXT. McKENNA HOUSE - DUSK A PERKY FEMALE REPORTER stands outside Tom's house, a CAMERAMANshooting her.<\/scene_description>\n    <character>PERKY REPORTER<\/character>\n    <dialogue>We're in Taylorville, outside the home of American hero Tom McKenna, who .is just now returning from the hospital with his family.<\/dialogue>\n    <scene_description>The car pulls down the lot and stops. The reporter races over to Tom as he climbs out of the car, limping slightly.<\/scene_description>\n    <character>PERKY REPORTER<\/character>\n    <dialogue>Mr. McKenna, Jenny Wyeth, K~WANews. How did it feel when you saw those ruthless killers' guns pointed at you?<\/dialogue>\n    <scene_description>Tom pauses a moment, struck by the stupidity of the question.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>HOW did it feel?<\/dialogue>\n    <scene_description>\u2022 ( CONTINUED) Yes, sir.<\/scene_description>\n    <character>PERKY REPORTER<\/character>\n    <dialogue>-<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Not very good. Is this a slow news day?<\/dialogue>\n    <character>PERKY REPORTER<\/character>\n    <dialogue>Well, sir, we ....<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>I mean, what I did ..\u2022 Anyone would have done that. It was just a terrible thing, and I think we'll all be better off when we get past it.<\/dialogue>\n    <character>PERKY REPORTER<\/character>\n    <dialogue>Yes, but ...<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>I really need to go be with my family. Thank you.<\/dialogue>\n    <scene_description>Be turns and walks into his house.<\/scene_description>\n    <character>PERKY REPORTER<\/character>\n    <dialogue>Uh ... From Taylorville, this is Jenny Wyeth, and, uh ....<\/dialogue>\n    <scene_description>INT. McKENNA BOUSE - LIVING ROOM Tom storms in, followed by Jack and Sarah, then Edie. He looks out the window and sees the news van peeling out. He plops down into his armchair.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>God. It's good to be home. I hope there won 1 t be much more of that.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>They just want an interview, Dad. You're a hero.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>No, I'm not. I got lucky. Very lucky. What I did was stupid and wrong.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>And it saved the lives of everyone in the diner.<\/dialogue>\n    <scene_description>Tom frowns. - EDIE This will all blow over as soon as they have some other hot story.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Maybe the Lydons will have another two headed cow.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>That would be cool! I never got to see the last one.<\/dialogue>\n    <scene_description>Tom rolls hls eyes and smiles. Edie looks out the window.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>Those goddam reporters.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>They still out there?<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>There$s a car parked across the field. They're just sitting there.<\/dialogue>\n    <scene_description>-- Legally them? I don't honey.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>speaking,<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>think<\/dialogue>\n    <scene_description>Let's that have am I allowed to shoot would be a good idea, some dinner~ She walks into the kitchen. Tom stands up and walks to the window and looks out. TOM'S POV - EXT. McKENNA HOUSE A dark sedan is parked on the other side of the field, by the road, its lights on dim. INT. McKENNA HOUSE - LIVING ROOM Tom looks thoughtfully at the car and frowns. INT. McKENNA HOUSE - TOM AND EDIE'S BEDROOM- LATER Tom sits on the bed, looking out at the night. Edie walks in in her nightgown and puts her arms around him.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>YOU okay, baby?<\/dialogue>\n    <scene_description>I just keep<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>thinking .\u2022\u2022.<\/dialogue>\n    <character>-<\/character>\n    <dialogue>EDIE<\/dialogue>\n    <scene_description>About the diner?<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>I killed two men.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Two really bad men.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>I know. I know.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>They would have killed you.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Yeah, probably. I can't help thinking that \u2022\u2022.. I dunno \u2022.. If I'd just managed to take them down. Sam could have arrested them. Maybe they could have earned another chance ... Made up for what they did?<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>You can't think about that, Tommy.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>There's always hope for change, you know? People can change.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>No. Not this again. Some people are just plain bad. Period.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Do you really believe that?<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Yes. I do. I think there's good, there's bad, and there 1 s a lot of gray areas in between~ But right is right, Tom. Some situations are simple. Some people are bad and some are just plain good, and I got me one of the good ones, and I'm not gonna let this crap eat him alive. so come to bed, and let me show you how we treat good men.<\/dialogue>\n    <scene_description>She kisses his cheek, and he turns and kisses her back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>- EXT. TAYLORVILLE OUTSKIRTS - MORNING<\/stage_direction>\n    <scene_description>Edie drives along the road, alone, and pulls over by the side. INT. McKENNA'S STATION WAGON Edie leans back and addresses the pile of sheets in the back.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>Okay, Mr. Fugitive. We're here.<\/dialogue>\n    <scene_description>Tom sticks his head out of the pile.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Nobody followed us?<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Nope. You're in the clear. For now.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Thanks, baby.<\/dialogue>\n    <character>EDIE\"<\/character>\n    <dialogue>You sure you really want to go back to work so soon?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>I have to, babe. It's my job.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>You're such a roan.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>The manliest.<\/dialogue>\n    <scene_description>They kiss, and he climbs out. EXT. TAYLORVILLE Tom walks down the sidewalk. A car slows down as it passes him and a MIDDLE AGED MAN sticks his head out.<\/scene_description>\n    <character>MIDDLE AGED MAN<\/character>\n    <dialogue>Hey, Tommy! Way to go!<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Thanks, Hector. Come by the diner. Have some breakfast.<\/dialogue>\n    <character>MIDDLE AGED MAN<\/character>\n    <dialogue>Will do, Tommy!<\/dialogue>\n    <dialogue>The car pulls out and drives away. The kids who were playing Wolverine vs. Hulk earlier come racing by, one of them firing an invisible gun at the other two.<\/dialogue>\n    <character>KID<\/character>\n    <dialogue>This is my diner, you punks! Blam blam blam!<\/dialogue>\n    <scene_description>Tom flinches at this, and the kid runs smack into his legs. Tom helps the kid up, and the kid looks at Tom in awe.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <scene_description>The kid nods, and Tom pushes him on his way, disturbed. EXT. McKENNA'S DINER A large piece of wood covers the broken window. Tom unlocks the door and walks in. The place is quiet. He looks around, the first time hers been here since then .... He looks down at the floor and bends over, picks up a piece of glass, and looks at it a long moment, turning it over and over. Finally, he throws it in the trash. Mick walks out of the kitchen.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Hey, Mick.<\/dialogue>\n    <scene_description>Mick throws his arm around Tom and hugs him hard. Tom's a little taken aback.<\/scene_description>\n    <character>MICK<\/character>\n    <dialogue>Hey, boss. Back to work, huh?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Uh .\u2022. Yeah. Back to work.<\/dialogue>\n    <character>MICK<\/character>\n    <dialogue>Good.<\/dialogue>\n    <scene_description>Charlotte walks up to them.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Hey, Charlotte.<\/dialogue>\n    <scene_description>She hugs him.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Hey, you guys. I'm your boss.<\/dialogue>\n    <scene_description>(CONTINUED}:<\/scene_description>\n    <character>-<\/character>\n    <dialogue>- We'll<\/dialogue>\n    <scene_description>okay?<\/scene_description>\n    <character>CHARLOTTE<\/character>\n    <dialogue>go back to hating you next week,<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>INT. McKENNA'S DINER Tom turns on the lights and looks around. Mick nods to the window.<\/scene_description>\n    <character>MICK<\/character>\n    <dialogue>Good as new, huh?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>MICK<\/character>\n    <dialogue>You sick of seeing yourself on TV?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Ayuh.<\/dialogue>\n    <character>CHARLOTTE<\/character>\n    <dialogue>It's good just to go back to something normal. I am not going to miss all those cameras.<\/dialogue>\n    <character>MICK<\/character>\n    <dialogue>You sure made certain those cameras didn't miss you. How tall is Larry King, really?<\/dialogue>\n    <scene_description>Charlotte glares at him.<\/scene_description>\n    <character>CHARLOTTE<\/character>\n    <dialogue>I'll start the coffee machine.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Good.<\/dialogue>\n    <character>MICK<\/character>\n    <dialogue>Turn on the backup, too. We're gonna need a lot today.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>You expecting a lot of customers?<\/dialogue>\n    <character>MICK<\/character>\n    <dialogue>Expecting? Nope .... They're already here.<\/dialogue>\n    <dialogue>He nods to the door, and Tom turns to see a HUGE crowd has gathered outside - all locals.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Jesus.<\/dialogue>\n    <character>MICK<\/character>\n    <dialogue>You're a hero, boss. Good for business. Gonna let 'em in?<\/dialogue>\n    <scene_description>Tom looks at Charlotte, who smiles at him. He nods and goes to the door and opens it. The crowd swarms in, people patting Tom on the arm, shaking his hand, just happy to see him. Torn is overwhelmed by the reaction. INT. McKENNA'S DINER - AFTERNOON Every table is filled. There are a few empty seats at the counter. Tom behind the counter, sorting through some checks\" Edie walks in. Several of the customers wave to her and greet her. She smiles and nods back. She walks up to her husband and plants a big kiss on his cheek. Hey, honey. Hey' baby.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>EDIE<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>-<\/dialogue>\n    <scene_description>What brings you by?<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>Just wanted to see how you were doing.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Doing good. Business is great. I oughta shoot someone every week.<\/dialogue>\n    <scene_description>She gives him a slightly worried look, but he smiles back at her - everything's okay. The door opens and three men - very out of place - walk in. ALDO &amp; CHARLIE are beefy guys in suits. Mid thirties, tough as hell. In between them is GIUSEPPI TORRINO, an older man wearing shades and a black suit. A scar runs down from the right side of his forehead down to his cheek. 'l'he three men stop at the door, ignoring the looks they' re getting from everyone, and look intently at Tom. \u2022 More<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>reporters?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>I didn't know gravediggers had their own network.<\/dialogue>\n    <scene_description>The three men make their way to the counter and sit. There are only two seats, so Aldo stands behind Torrino and Charlie, like a guard. Torn puts menus down in front of them, hands one to Aldo, who ignores it.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>would you gentlemen like some coffee?<\/dialogue>\n    <character>TORRINO<\/character>\n    <dialogue>You're the hero.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Oh, I don't know about that, sir. I just ...<\/dialogue>\n    <character>TORRINO<\/character>\n    <dialogue>The big hero. You sure took care of those two bad men.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>I really don't like talking about it, sir. We're just trying to get back to normal here. Can I offer you gentlemen some coffee?<\/dialogue>\n    <character>TORRINO<\/character>\n    <dialogue>Sure. Give me some coffee. Make it black, Joey.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Yes, sir. And your friend .\u2022.. Excuse me?<\/dialogue>\n    <character>TORRINO<\/character>\n    <dialogue>I said make it black. Joey.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Who's Joey?<\/dialogue>\n    <character>TORRINO<\/character>\n    <dialogue>You are.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>My name's Tom, sir.<\/dialogue>\n    <character>TORRINO<\/character>\n    <dialogue>Of course it is. Just one cup.<\/dialogue>\n    <scene_description>- Edie watches, troubled. Tom walks over to the coffee machine and pours a cup. He puts it in front of Torrino who picks it up, takes a long sip.<\/scene_description>\n    <character>TORRINO<\/character>\n    <dialogue>Good coffee.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>TORRINO<\/character>\n    <dialogue>Hard to find coffee this good in Philadelphia. But you know that, don't you 1 ..,Tom.\"<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>I don't really remember~ I've only been to Philly once. For a day. Passing through. Is that where you gentlemen are from?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Like you don't know.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>I'm sorry. Do we know each other?<\/dialogue>\n    <character>TORRINO<\/character>\n    <dialogue>You tell me.<\/dialogue>\n    <scene_description>He takes off his sunglasses, revealing that his right eye, the one with the scar above and below it, is white, milky and dead. Edie gasps. Torn looks at him, puzzled.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Sir, I'm very sorry. You seem to think you know me, and I wish I could help you. I really have no idea where we would have met.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Come onr Joey. Cut the crap.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>My name is Tom.<\/dialogue>\n    <scene_description>Edie steps up.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>If you aren't going to order anything, my husband and I would appreciate it if you men would be on your way.<\/dialogue>\n    <scene_description>- Charlie on Tom. turns to her and smiles. Torrino keeps his gaze fixed<\/scene_description>\n    <character>TORRINO<\/character>\n    <dialogue>We ate on the road.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Sir, we really are busy. If you're not eatingf we should give your seats to paying customers.<\/dialogue>\n    <scene_description>Torrino nods, and Aldo reaches into his jacket pocket. Tom and Edie tense. Aldo pulls out a wallet, takes out a fifty dollar bill, and puts it on the counter. Charlotte notices what's happening and looks on, concerned.<\/scene_description>\n    <character>ALDO<\/character>\n    <dialogue>Now we're paying customers.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>I can't take this.<\/dialogue>\n    <scene_description>-<\/scene_description>\n    <character>TORRINO<\/character>\n    <dialogue>It shouldn't be a problem for you.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Look, mister. I've been exceedingly polite to you, but if I have to, I'll call the authorities and we can take this up with them. I will not have anyone come into my business and threaten me.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Mr. Torrino's just making conversation.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Whatever you want to call it. This conversation is over.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>He wants us to leave, Mr. Torrino.<\/dialogue>\n    <character>ALDO<\/character>\n    <dialogue>You know what he does when he don't like people, Mr. Torrino.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Yeah. I'm scared. We should leave before he goes all Dirty Harry on us.<\/dialogue>\n    <scene_description>Very well.<\/scene_description>\n    <character>TORRINO<\/character>\n    <dialogue>\u2022<\/dialogue>\n    <scene_description>He stands up.<\/scene_description>\n    <character>TORRINO<\/character>\n    <dialogue>Thank you for the coffee, Joey. It really is very good.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>It's Tom. Tom McKenna.<\/dialogue>\n    <scene_description>For the first time, 'l'orrino smiles. He and his men head for the door. Torn watches them go. Edie picks up the phone and dials.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>Hello, Molly? This is Edie McKenna. Is he in?<\/dialogue>\n    <scene_description>Torn turns to her.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>You calling Sam?<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Isn't that overreacting?<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>These days? No. Do you know those men?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>No. Of course not.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>For all we know, they're friends of the men who tried to rob you.<\/dialogue>\n    <scene_description>Tom nods.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>Hello, Sam?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TAYLORVILLEOUTSKIRTS<\/stage_direction>\n    <scene_description>A black sedan drives slowly down the street. A Sheriff's car pulls up behind it, lights flashing. The sedan pu11s over. Sam gets out of the sheriff's car and walks up to the sedan. The window rolls down, and Aldo sticks his head out.<\/scene_description>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>Charlie sits next to him. A shadowy figure - Torrino, we assume - sits in the back.<\/dialogue>\n    <character>ALDO<\/character>\n    <dialogue>There a problem with my driving, officer?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>May I see your license, sir?<\/dialogue>\n    <character>ALDO<\/character>\n    <dialogue>Sure. (Hands Sam the license) I thought I was under the limit.<\/dialogue>\n    <scene_description>Sam looks at the license, then walks back to his car. Aldo turns to Charlie, who looks impassively ahead. Sam walks back to the car and hands Aldo the license.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Step out of the car, sir.<\/dialogue>\n    <scene_description>Aldo steps out.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Place your hands on the hood, sir.<\/dialogue>\n    <scene_description>Aldo does as he's told, and Sam pats him down.<\/scene_description>\n    <character>ALDO<\/character>\n    <dialogue>I ain't carrying anything, officer.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>What's your business in Taylorville, sir?<\/dialogue>\n    <character>ALDO<\/character>\n    <dialogue>We're tourists.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>What business did you have at McKenna's Diner today?<\/dialogue>\n    <character>ALDO<\/character>\n    <dialogue>We heard the coffee was terrific.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Well, let me make something clear you, Mr. Lazorko. This is a nice town. We have nice people here. We take care of our<\/dialogue>\n    <scene_description>nice people. Do you understand me?<\/scene_description>\n    <character>ALDO<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Don't let me see you around again.<\/dialogue>\n    <character>ALDO<\/character>\n    <dialogue>Keep up the good work, officer.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'm not an officer. I'm the sheriff.<\/dialogue>\n    <character>ALDO<\/character>\n    <dialogue>I'll remember that.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You're not going to need to. You're leaving town.<\/dialogue>\n    <scene_description>Aldo shrugs and gets back in the car.<\/scene_description>\n    <character>ALDO<\/character>\n    <dialogue>You lettin' us off with a warning, officer? Sheriff?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Yeah. A warning.<\/dialogue>\n    <character>ALDO<\/character>\n    <dialogue>Thanks. You have a great day.<\/dialogue>\n    <scene_description>They pull out and take off. Sam watches them go, troubled.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GAS STATION - DAY<\/stage_direction>\n    <scene_description>Torrino\u2022s sedan pulls into the station and Torrino gets out and heads for the men's room. Aldo starts pumping gas. Charlie gets out and stretches.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <character>ALDO<\/character>\n    <dialogue>About what?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>All this. Joey.<\/dialogue>\n    <character>ALDO<\/character>\n    <dialogue>I dunno. It's been twenty years. I mean, yeah, boss says the guy looks kinda like Joey, but you know, I look kinda like Mel Gibson and you look a lot like Godzilla.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Funny asshole.<\/dialogue>\n    <scene_description>- ALDO I mean, for all we know Joey's put on eighty pounds, gone bald and dresses like a ballet dancer these days. He could be anywhere.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Yeah. What if he's wrong?<\/dialogue>\n    <character>ALDO<\/character>\n    <dialogue>We do our job. Right or wrong don't really enter into it.<\/dialogue>\n    <scene_description>Charlie nods. Torrino walks out of the men's room.<\/scene_description>\n    <character>TORRINO<\/character>\n    <dialogue>What're you talking about?<\/dialogue>\n    <character>ALDO<\/character>\n    <dialogue>Game last night. Atlanta kicked some ass.<\/dialogue>\n    <scene_description>INT. McKENNA HOUSE Torn and Edie doing the dishes. The doorbell rings.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>I'll get it.<\/dialogue>\n    <scene_description>He goes to the door, opens it to find Sam.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Sam. Everything okay?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You mind if I come in, Torn?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>No, of course not. Come on in. We just finished putting Sarah to bed, so we have to keep it low for a bit.<\/dialogue>\n    <scene_description>They walk in and sit in the living room. Edie joins them.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Edie.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Sam. What's going on?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Those men who came in to see you this morning . ...<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>G&lt;Jd. Yes. Thank you for that.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Well, I did a little digging this afternoon. Tom.... You don't know these fellas, do you?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Jesus, Sam. No. I've never seen them in my life.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Okay. Because these are some bad men. (Takes out a notepad) Charles Olivieri, out of New York. Indicted on three counts of murder. Aldo Lazorko, Philadelphia. Indicted on one count of murder, questioned in relation to dozens of acts of violence you do not want to hear about. Both men work for Giuseppi Torrino, the fella with the eye. Spent fifteen years in prison on several accounts of assault. Suspected in half a dozen murders and more disappearances. Tom, these guys are organized crime from the East Coast. They're the real thing. The bad men.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Jesus. Jesus, Tom.<\/dialogue>\n    <scene_description>Torn looks at her, worried.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I have to ask you a question, and you have to know that I've known you as long as you been here, and Edie and I go back to high school. If there's one person in this town outside your family you can trust, it's me.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>I know that, Sam.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Are you in some kind of witness protection plan?<\/dialogue>\n    <scene_description>Tom is a little surprised, a little taken aback by the question.<\/scene_description>\n    <character>{CONTINUED)<\/character>\n    <dialogue>- Wha ...<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Some kind of ... Are you ... ?<\/dialogue>\n    <scene_description>He laughs.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>It's no laughing matter, Torn.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Of course he's not, Sam.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'd just like to hear Torn tell me that, Edie.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Sam. God. I love that. It's hilarious. No. No. I'm not in some kind of witness protection program. Those men just have the wrong guy. They saw me on TV, I reminded them of someone ... Johnny ....<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Joey.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Joey something. Lord, the idea of me \u2022...<\/dialogue>\n    <scene_description>Edie smiles.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I honestly didn't believe it, Tom. But I had to ask. Men like this come to our town, start harassing a citizen .... I dunno ... You read about these things in the paper, you know?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Sure. Of course. I understand.<\/dialogue>\n    <scene_description>Sl'.M So, look, I talked to Torrino and his men today. Made it real clear that if they didn't have business here, they weren't welcome in town. You let me know if you see them corning around, okay?<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>Sam stands up to go. Would you<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>like some pie, Sam?<\/dialogue>\n    <character>-<\/character>\n    <dialogue>SAM<\/dialogue>\n    <scene_description>Aw, no thanks, Edie. I'd love some, but I have to get back to work. Tom walks him to the door and shakes his hand.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Sam. Thank you. It's good to know you're keeping an eye out for us.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Come on, Tom. You know we look out for our own here.<\/dialogue>\n    <scene_description>Tom smiles and pats Sam on the back as he leaves. He closes the door and turns to face a troubled Edie.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Don't worry. They have the wrong guy. They're leaving. It's over and done with. Hey, I was on TV all across the country. I'm sure there'll be other folks think they recognize me. Rey, maybe someone'll mistake me for a guy who won the lottery.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>I hope you're right.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>I am. You're the one said it - this'll all blow over soon enough. Someone'll fall down a well, or some farmer will get abducted by a UFO, and we'll go right back to being anonymous.<\/dialogue>\n    <scene_description>They hug.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>Wanna have some anonymous sex?<\/dialogue>\n    <scene_description>Torn smiles warmly. INT. McKENNA'S DINER Tight on Leland, looking straight at us.<\/scene_description>\n    <character>LELAND<\/character>\n    <dialogue>I'm gonna kill you and everyone you know and your whole goddam family.<\/dialogue>\n    <character>-<\/character>\n    <dialogue>A loud roar and Leland is hit in the chest by a shotgun blast and flung across the room.<\/dialogue>\n    <dialogue>Tom walks across to him, smoking shotgun in hand. He looks over the body, but Leland has become Torrino. He lays on the floor in a pool of blood, his chest ripped open, laughing. Torn looks at him, puzzled, and Torrino slowly raises a gun towards Tom and squeezes the trigger. BLAM!<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>Tom's eyes Edie wakes the window<\/dialogue>\n    <character>MCKENNAHOUSE - TOM AND EDIE'S<\/character>\n    <dialogue>snap open and he cries out. He's bathed in sweat. up, sees him, and holds him tight. at the dark night.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>What is it, baby?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>God .... A dream ... Just a dream ... Jesus ..\u2022<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Are you okay?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Yeah. Yeah, I will be. God, Edie ... There's so much ... So many things happening ... It's all just .\u2022.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>It's okay, baby. It's okay.<\/dialogue>\n    <scene_description>She holds him tight.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Edie ... I'm only gonna say this one time. It's your business. Your decision. But your father ... I know you're mad. But he's your family. Some day he'll be gone, and you might find you wish you'd given him a chance.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Tom. Please.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>That's all I want to say .<\/dialogue>\n    <scene_description>\u2022 ( CONTINUED) She rolls onto her back and sighs.<\/scene_description>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>EDIF.<\/dialogue>\n    <scene_description>Tom ... I can't.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>I understand.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>No. You really don't. But there's a reason ... something you donrt know. Something I've never told you ..\u2022.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>My God. Did he \u2022.\u2022. ?<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>No. Worse. My mother didn't die in a car crash visiting her sister \u2022... She didn't drive off the road. She parked the car in front of that train. Parked it, Tom. She couldn't take it anymore. She couldn't stop him from hurting us. She couldn't change him. I'd just left for college ...<\/dialogue>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>I guess she was waiting until I was safely out of the house for good \u2022...<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>My God \u2022...<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Sam's father was sheriff then. He'd grown up with my father, and he didn't want my mother's memory being destroyed by gossip and scandal. He took care of it. But Tom ... As far as I'm concerned, my father killed her. He left her no other choice, no other exit. I don't want anything to do with him, ever.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Jesus, Edie. Jesus.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>You're nothing like that son of a bitch, Tom. Thatfs one of the reasons I love you. Now please ... Let's go to sleep.<\/dialogue>\n    <scene_description>He takes her in his arms and holds her tight. llXT. McKENNA HOUSE - DAWN Torn quietly walks out the front door and walks down the road.<\/scene_description>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>EXT. McKENNA'S DINER - EARLY MORNING<\/dialogue>\n    <dialogue>Tom unlocks the door and walks in. A figure approaches him, and he turns to see Hank.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Hey. Hank.<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>Tom.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>What are you doing up this early?<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>Morning walk. Try to do it every day. How are you?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>I'm okay.<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>can I come in?<\/dialogue>\n    <scene_description>Hank nods, and Tom leads him inside. INT. McKENNA'S DINER The broken window has been replaced. Tom turns on the lights and walks behind the counter.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>Opening earlier than normal.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Yeah. I couldn't sleep. Figured I'd come in, get some paperwork done.<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>You did good the other day, Tom. Don't tell yourself otherwise.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Yeah1 I know.<\/dialogue>\n    <scene_description>Hank grabs his arm firmly.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>No. You don't. You did good. You come to a situation likg that, him or you, and there's no easy way out.<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>If you hadn't done what you did, Edie'd be a widow, and your kids wouldn't have a father. You did good and you just live with that.<\/dialogue>\n    <scene_description>Torn looks intently at Hank, then nods.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>Anyway. I just came by to tell you that.<\/dialogue>\n    <scene_description>He gets up to leave.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Hank \u2022.. I talked to Edie. The night you came by.<\/dialogue>\n    <scene_description>Hank turns to face Torn.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>She's<\/dialogue>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>pretty<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>You could<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>angry.<\/dialogue>\n    <scene_description>say that. I fucked it all up, Tom. Everything. I<\/scene_description>\n    <character>-<\/character>\n    <dialogue>can't fix what I've done. I can't change it. I just want one chance at making up for it a little.<\/dialogue>\n    <scene_description>Hank walks out. Torn goes to the door to close it, then freezes. Torrino's black sedan is sitting in the middle of the street, engine running. Tom steps outside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MCKENNA'SDINER<\/stage_direction>\n    <scene_description>Torn stands looking at the sedan a long beat. The sedan shifts into gear and slowly pulls off down the street. Tom watches the sedan roll down the street and turn at the corner. He runs after it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>- EXT. TAYLORVILLE - STREET<\/stage_direction>\n    <scene_description>Torn comes to the end of the street and watches the sedan slowly drive down the street 1 towards the outskirts.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Jesus.<\/dialogue>\n    <scene_description>He runs after it, desperate and scared, hobbling on his injured foot. He pulls his cell phone out of his pocket and punches a number as he runs.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>MCKENNA HOUSE - TOM AND EDIE'S<\/dialogue>\n    <scene_description>Edie sleeps as the morning sun peeks through the curtains. The phone by the side of the bed rings and she rolls over.<\/scene_description>\n    <character>EDIE<\/character>\n    <parenthetical>(Eyes closed)<\/parenthetical>\n    <dialogue>Honey, get that.<\/dialogue>\n    <scene_description>She realizes Tom,s not there, and rolls over to answer the phone.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>Hello? .... Tom? Where are .... ? What? Coming here? Tom ... Hang on. What? Are you serious?<\/dialogue>\n    <character>EXT. TAYLORVILLE OUTSKIRTS<\/character>\n    <dialogue>Tom, running desperately down the street, talking on the phone.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>The shotgun, Edie. Get the shotgun. They're coming to the house!<\/dialogue>\n    <scene_description>INT. McKENNA HOUSE - TOM AND EDIE'S BEDROOM Edie slams the phone down and runs to the closet. A rifle and a double barreled 12 gauge shotgun lean side by side against the wall. She grabs the 12 gauge, and races out of the room. INT. McKENNA HOUSE - LIVING ROOM Edie tears down the stairs, holding the shotgun. She runs to the front door and peers out the window. Nothing. -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TAYLORVILLE OUTSKIRTS<\/stage_direction>\n    <character>-<\/character>\n    <dialogue>Torn, running frantically, in horrible pain, sweat pouring down his face, his legs cramping, his injured foot killing him. In the far distance, he sees the sedan turn down a small road.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>No! Nol<\/dialogue>\n    <scene_description>He runs, harder. Breath comes in short, pained bursts, gasps. His left leg cramps and he cries out in pain, but keeps going. Down the road, through the field. Across the field. Panting. Gritting his teeth. Screaming. Through the field, through the corn. Falls. Hard. WHI\\M! Staggers He comes tank, Quiet. to to comes to the No car. his the feet end and of house. He stops, the burns field, panting, on. leaps red, over damp with the propane sweat,<\/scene_description>\n    <character>-<\/character>\n    <dialogue>dirty.<\/dialogue>\n    <dialogue>He cautiously approaches the front door.<\/dialogue>\n    <dialogue>Which whips open, to reveal ....<\/dialogue>\n    <dialogue>Edie. Holding the gun. Confused.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Tom?<\/dialogue>\n    <scene_description>He staggers to her and wraps her up in his arms.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>Tom, what's going on?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>l don't know, baby. I don't know.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>I' 11 call Sam.<\/dialogue>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>TOM<\/dialogue>\n    <scene_description>No. Don't. I don't even know ... I don't even know if it was them. she looks at him, worried. He staggers into the house. INT. McKENNAHOUSE - BATHROOM Tom in the shower, washing it all off. He steps out, and sees Edie standing there.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>He takes a towel and starts drying off.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>I think I'm losing my mind.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>No, you're not. You've been through some serious trauma. And these men are just making it worse. I'm here, baby. We're all here. We all love you. It's going to be okay.<\/dialogue>\n    <scene_description>They hug and Tom kisses his wife. The door opens, and a bleary eyed Jack stands there in his pajama bottoms.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Ew. Gross.<\/dialogue>\n    <character>EXT. TAYLORVILLEMALL- DAY<\/character>\n    <dialogue>A typical Midwestern mall. The McKenna's station wagon pulls into the parking lot and Edie gets out, gets Sarah, and the two of them head into the mall. Behind them, in the distance, a familiar black sedan pulls into the parking lot and sits. INT. TAYLORVILLEMl\\LL - SHOE STORE Edie sits in a chair while a SHOE SALESWOMAN<\/dialogue>\n    <scene_description>helps her try on a pair of shoes. Sarah is roaming around the store, bored.<\/scene_description>\n    <character>SALESWOMAN<\/character>\n    <dialogue>How do they feel?<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Gcod. I like them.<\/dialogue>\n    <character>SALESWOMAN<\/character>\n    <dialogue>l have a pair of these myself. They look great, and they really last.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Okay. I'll take them. Now we need a new pair for her.<\/dialogue>\n    <scene_description>They both turn to look, but Sarah's gone. Edie gets up.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>Sarah?<\/dialogue>\n    <scene_description>No Sarah. worried, Edie walks to the door and looks out into the mall. The Saleswoman follows.<\/scene_description>\n    <character>SALESWOMAN<\/character>\n    <dialogue>M'am?<\/dialogue>\n    <scene_description>Edie turns, and the woman nods to her feet. Edie is still wearing the new shoes.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>I have to find my daughter.<\/dialogue>\n    <character>SALESWOMAN<\/character>\n    <dialogue>I'm sorry, m'am. I canft let you leave the store with those.<\/dialogue>\n    <scene_description>Edie kicks off the shoes in exasperation and walks briskly out of the store. A hand grabs her shoulder and she whirls. It's Charlie, Torrino's man. Edie gasps.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Mrs. McKenna.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Oh my God. My daughter! Where is she?<\/dialogue>\n    <scene_description>Charlie nods, and Edie follows his look to see Sarah standing outside the toy store, looking in the window. Torrino and Aldo sit on a bench across from her. Edie walks to her daughter, followed by Charlie.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>Sarah! NEVER do that again!<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>I'm sorry, Mommy. But look! They have the new Kimberly!<\/dialogue>\n    <character>TORRINO<\/character>\n    <dialogue>No need to worry, Mrs. McKenna. We were keeping an eye on her.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>You stay the fuck away from my family, you son of a bitch.<\/dialogue>\n    <character>TORRINO<\/character>\n    <dialogue>There's no need for that kind of language, Mrs. McKenna.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Look, I don't know what you want, and I don't care. If I see you again, this will be police business.<\/dialogue>\n    <character>TORRINO<\/character>\n    <dialogue>Yes, you're an attorney, aren't you? You have some strong ties to the local law enforcement community. I respect that. But we're not here to break any laws, Mrs. McKenna. I just want what's mine.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>My husband is not the man you think he is.<\/dialogue>\n    <character>TORRINO<\/character>\n    <dialogue>That's certainly possible. Please. Have a seat. Let me tell you a story.<\/dialogue>\n    <scene_description>She glares at him, not moving.<\/scene_description>\n    <character>TORRINO<\/character>\n    <dialogue>Mrs. McKenna. This is a crowded shopping mall. Even if I was the bad man you seem to think I am, what could I do here? Please. Sit.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>I'll stand.<\/dialogue>\n    <scene_description>Torrino sighs and nods.<\/scene_description>\n    <character>TORRIN\u0097\ufffd<\/character>\n    <parenthetical>(To Charlie)<\/parenthetical>\n    <dialogue>Never argue with a woman. Especially a woman lawyer ..<\/dialogue>\n    <scene_description>Charlie smiles.<\/scene_description>\n    <character>TORRINO<\/character>\n    <dialogue>I don't know what your friend the sheriff told you about me, Mrs. McKenna. I have no doubt he did some digging. I'm not a private man.<\/dialogue>\n    <scene_description>-<\/scene_description>\n    <character>TORRINO {<\/character>\n    <dialogue>It's easy to get information on me. But how does that old song go? \"Believe half of what you see and none of what you<\/dialogue>\n    <dialogue>hear 11 ? That's good advice. It's true I've been on the wrong side of the law a few times. I come from a tough town. Life<\/dialogue>\n    <dialogue>doesn't always give us the choices we'd like. But if you come to my neighborhood and ask the people, they'll tell you it's me they come to when they have problems, not the police. You watch the news. You know about big city police.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>I don't have time for this.<\/dialogue>\n    <character>TORRINO<\/character>\n    <dialogue>I'm sorry. I'm an old man. It's pretty easy to drift off subject. I'll keep this brief. I have a little shop in South Philadelphia. We sell cheeses from all over the world. You'd like it, Mrs.<\/dialogue>\n    <dialogue>McKenna. Everybody comes there, and even if they're not buying, it's a place to come together with your friends and neighbors. It makes me happy to own such<\/dialogue>\n    <dialogue>a place. It's an essential part of the community.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>What does this have to do with my husband?<\/dialogue>\n    <character>TORRINO<\/character>\n    <dialogue>Your husband? I think your husband's real name is Joey Behan. He ran with a bad<\/dialogue>\n    <dialogue>group of kids. Troublemakers. He was what you'd call the Alpha male these days. He<\/dialogue>\n    <dialogue>was really good at getting his friends to do things for him. People like you and me, Mrs. McKenna, we respect community. We understand how important it is to have a place where people can come together and be part of a bigger thing. But not Joey.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>You have to know how wrong you are. My husband has nothing but respect for ...<\/dialogue>\n    <character>TORRINO<\/character>\n    <dialogue>People change.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Not that much, they don't. Besides, Tom grew up in Portland, Oregon.<\/dialogue>\n    <character>TORRINO<\/character>\n    <dialogue>Yes, yes. Of course. But Joey Behan didn't, and he and a little friend of his, Richie Federici, decided one day that what was mine should be theirs. It's never been hard to get ahold of guns in Philadelphia, and one evening, as we were closing shop, Joey and his friend Richie came in armed to the teeth.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>This is crazy.<\/dialogue>\n    <character>TORRINO<\/character>\n    <dialogue>Yes. It was crazy. So crazy, nobody was ready for it. Joey and his friend had no compunction about firing wild. Five of my friends were hit. Of the three who lived, one of 'em can't use his arm anymore. Another is permanently brain damaged, Mrs. McKenna, and I started the day with two good eyes. These two young men made off with a very large sum of money, and disappeared. Friends of mine, I have to tell you,they wanted to spend a lot more time looking. Me, I just wanted to get on with my life. Learn from my mistakes and move forward. But when I turned on my television the other day and saw Joey<\/dialogue>\n    <scene_description>Behan staring me in the face, I knew I had to do something. You say he's the wrong man. He's not .Joey Behan. Perhaps this is true. Anything's possible. But would you forget the man who took your eye, Mrs. McKenna? I doubt it. Edie looks at Torrino calmly for a long beat.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>Mr. Torrino, let me tell you how I'm going to spend the rest of my day. I'm going to take my daughter and we're going to buy her a pair of new shoes. Then I'm going to my office and calling Judge Lane. He's the toughest judge in the county, but he has a crush on me a mile wide, and I'm going to push through a restraining order against you and your .... associates.<\/dialogue>\n    <scene_description>-<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>If I see you or them within five hundred feet of me, my children or my husband, I'm going to have you arrested. If you come anywhere near my home, I'm going to shoot you. Can I possibly make myself clearer to you?<\/dialogue>\n    <scene_description>Torrino smiles.<\/scene_description>\n    <character>TORRINO<\/character>\n    <dialogue>No, Mrs. McKenna. You can't. I want to thank you for your time. You have an enchanting daughter.<\/dialogue>\n    <scene_description>Edie reaches out her hand to Sarah, who takes it. They turn and walk away. Her back turned to Torrino, Edie's face cracks - in spite of her tough facade, she's terrified.<\/scene_description>\n    <character>TORRINO<\/character>\n    <dialogue>Mrs. McKenna.<\/dialogue>\n    <scene_description>She turns.<\/scene_description>\n    <character>TORRINO<\/character>\n    <dialogue>Don't forget your shoes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TAYLORVILLE HIGH - HALLWAY- DAY<\/stage_direction>\n    <scene_description>Jack and Judy How's walking<\/scene_description>\n    <character>JUDY<\/character>\n    <dialogue>your dad?<\/dialogue>\n    <scene_description>out of a class.<\/scene_description>\n    <character>-<\/character>\n    <dialogue>JACK<\/dialogue>\n    <scene_description>I dunno. A little weird.<\/scene_description>\n    <character>JUDY<\/character>\n    <dialogue>What he went through? That would freak anyone out.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Yeah. I guess.<\/dialogue>\n    <scene_description>Jack is pushed from behind and staggers forward, dropping his books. He and Judy turn to see Bobby and his buddies standing there.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>So you're old man's some kind of tough guy. What's he think of his wimp son?<\/dialogue>\n    <scene_description>Jack glares at Bobby. ( CON'l'INUED) - BOBBY You think he'd take this shit? You think he'd make jokes? Come on, bitch. Say something funny.<\/scene_description>\n    <character>JUDY<\/character>\n    <dialogue>Leave him alone, Bobby.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Shut up, skank.<\/dialogue>\n    <scene_description>Jack glares at Bobby.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Ooh. He's getting mad.<\/dialogue>\n    <character>JUDY<\/character>\n    <dialogue>Come on, Jack~ Let's get out of here.<\/dialogue>\n    <scene_description>Jack doesn't move.<\/scene_description>\n    <character>JUDY<\/character>\n    <dialogue>Jack, come on. He's an asshole. You know that. He doesn't mean shit. Let's go.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yeah, puss. Run away. God DAMN, but your daddy must be real shamed by you.<\/dialogue>\n    <scene_description>Jack takes a step towards Bobby, angry.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Say something funny, bitch. Make me laugh.<\/dialogue>\n    <scene_description>Jack turns to walk away. Bobby smiles. Without warning Jack whirls and grabs the larger boy by the shirt and hurls him into a locker. He dives into Bobby, fists swinging, and pummels him mercilessly. Blood spurts from Bobby's nose. Jack punches him hard in the stomach, then kicks him in the balls. With a cry, Bobby falls to the ground, and Jack savagely kicks him in the stomach and head. Judy tries to pull him off, but he pushes her away.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Are you laughing? Are you laughing now? Are you fucking laughing, you motherfucking cocksucking piece of shit?<\/dialogue>\n    <dialogue>Judy and Bobby's furious, possessed.<\/dialogue>\n    <scene_description>buddies try A TEACHER steps to pull out Jack of back, but a classroom he's and<\/scene_description>\n    <character>-<\/character>\n    <dialogue>sees what's happening, grabs Jack and yanks him off of the battered, bleeding Bobby.<\/dialogue>\n    <dialogue>INT. McKENNA HOUSE - LIVING ROOM- AFTERNOON<\/dialogue>\n    <dialogue>Tom confronts his son.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>What the hell were you thinking?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Dad, he's been riding me all year. He's a jerk.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>\"He's a jerkz,? That's it? That's no excuse. You stand up to him. You don't nearly put him in the hospital.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Oh, big deal. It's the best thing anyone could have done to him.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>This is serious, Jack.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Whatever.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Goddammit. In this family, we do not solve problems by hitting people.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>No. In this family, we shoot them.<\/dialogue>\n    <scene_description>Before he can even think, Tom lashes out and smacks Jack across the face. Jack staggers back, stunned. A horrified look crosses Tom's face. Tears streaming down his face, Jack turns and runs out of the house ..<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Jack .... Oh, no .... Jack .\u2022..<\/dialogue>\n    <scene_description>He stands there, looking at the open door, appalled at what he did.<\/scene_description>\n    <character>-<\/character>\n    <dialogue>- INT. McKENNAHOUSE - TOM AND EDIE'S BEDROOM- AFTERNOON<\/dialogue>\n    <scene_description>Tom lays on the bed in the dark, very upset. He hears the door open downstairs and rolls to his feet and heads for the door. INT. LIVING ROOM Tom comes down the stairs.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Honey. Something really .\u2022\u2022.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Tom. You have to listen to me.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>What? What's wrong, baby?<\/dialogue>\n    <scene_description>He comes down the stairs and takes his wife in his arms.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Are you okay?<\/dialogue>\n    <scene_description>-- followed<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>I'm okay. We're fine. Torrino<\/dialogue>\n    <scene_description>us to the mall.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>He what? Jesus Christ. to call. ...<\/dialogue>\n    <scene_description>Call and his Sam. We have men<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>I took care of it, honey. I called Sam. I went to the courthouse, and we got a restraining order.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>For all the good that will do ...<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>It's something. If he comes around again, we can have him arrested. But I have to tell you something ..\u2022.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>She leads him over to the sofa.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>This man Torrino ... He really believes you' re this ~Toey something.<\/dialogue>\n    <scene_description>off. EDlE He told me a story this afternoon ... Some crazy thing about these kids ripping He's certain it's you. We have to him<\/scene_description>\n    <character>-<\/character>\n    <dialogue>find a way to convince him itrs not.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>I don't know how to do that, honey. He won't believe the truth.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>I know. It's just ... It's crazy. It's crazy. Why can't we just have our lives back?<\/dialogue>\n    <scene_description>Sarah looks at her mother, upset. Torn kneels by his daughter.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Hey, baby. Everything's okay. Don't worry. Mommyand Daddy are just having a tough week. Why don't you go play upstairs.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Okay, Daddy.<\/dialogue>\n    <scene_description>He hugs her go, his then us? daughter, turns<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>God. I'm so sorry.<\/dialogue>\n    <scene_description>to his and she wife. scampers What's Edie upstairs. is crying. happening to Torn watches<\/scene_description>\n    <character>-<\/character>\n    <dialogue>TOM<\/dialogue>\n    <scene_description>The bad stuff. Honey, look at rne. Look at me. This is what happens to remind us how good things are the rest of the time. We'll get through this. We're a good family. A strong family. These guys have the wrong man. They'll realize that, and all this will pass. We'll be okay, okay? She nods, and they hug.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>Where I<\/dialogue>\n    <scene_description>s Jack? Torn looks at her soberly, gearing up to tell her. A knock on the door.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>Tom?<\/dialogue>\n    <scene_description>- Hang on.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Stay here.<\/dialogue>\n    <scene_description>He races upstairs.<\/scene_description>\n    <character>INT. TOM AND EDIE'S<\/character>\n    <dialogue>Tom runs shotgun,<\/dialogue>\n    <character>BEDROOM<\/character>\n    <dialogue>into tears<\/dialogue>\n    <character>INT. LIVING ROOM<\/character>\n    <dialogue>Tom leaps down the stairs and runs to the door. He puts the rifle down against the wall, and, keeping the shotgun hidden, he cracks the door open to find \u2022.. Hank.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Jesus. Hank.<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>Tom. I'm sorry. Is this a bad time?<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Yes~ It is.<\/dialogue>\n    <scene_description>Tom turns to see Edie standing behind him. Hank looks at her - the first time he's made eye contact with his daughter in more than fifteen years.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Hank. I ....<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>I just want to say something. Then I'll leave. Please, Edie. Just this one time.<\/dialogue>\n    <scene_description>A long, uncomfortable beat, Tom stuck in between the two of them. Edie glaring, Hank not breathing. Edie finally eases back.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>Come in. Be quick.<\/dialogue>\n    <scene_description>Hank exhales and walks in.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>I'll, uh, I'll leave you two to ...<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Stay here.<\/dialogue>\n    <dialogue>Tom nods. Edie turns to Hank.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>So. What do you want to say to me, Hank?<\/dialogue>\n    <character>HI\\NK<\/character>\n    <dialogue>Edie ....<\/dialogue>\n    <scene_description>She looks at him coldly, not giving him anything. He looks at Tom, then back at her. He can't say anything.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Hank?<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>No. I. .. I can't.<\/dialogue>\n    <scene_description>He turns and stumbles to the door and steps out. Tom looks at his wife, then turns and heads out the door after Hank.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MCKENNAHOUSE<\/stage_direction>\n    <scene_description>Hank walks ,away from the house. Tom rushes up behind him and gently takes his arm.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Hank.<\/dialogue>\n    <scene_description>Hank turns to face him. TOM (cont, d) You have to do this. I can't.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Then why the hell did you come all the way out here?<\/dialogue>\n    <scene_description>HllliK She's just going to listen to me then tell me to leave.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Yeah. She might. But at least she'll listen.<\/dialogue>\n    <scene_description>Hank looks at him thoughtfully.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>- INT. LIVING ROOM<\/stage_direction>\n    <scene_description>Eank stands in front of Edie. She's still not giving him anything. Tom hands him a glass of water, and he takes a long sip, then puts the glass down on the mantle.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>When I was growing up, we didn't talk a lot about how to be a man. It was just something your daddy was supposed to pass on to you. The things my daddy passed on to me ... Well, I guess it wasn't enough. Sure, it helped me make it through that war, but nothing he taught me helped me know how to make it back home. Yo~r momma did her best, Edie. She stood by me when she should have taken you and just gone, and I paid her back by treating her worse than a dog. I can blame the booze, and I can blame the war, but you want to know the truth, it's this - it ain't none of those things made me what I was. They just opened the doors, and it was easier to go through them than close 'em. If I'd loved her the way I should \u2022.\u2022 If I'd loved you the way I should ...\u2022 I don't know.<\/dialogue>\n    <scene_description>Edie looks shaken at this.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>We never were no kind of family. I was like a lot of people. I never thought much about what family meant. It's nothing more than a word and it don't mean shit unless you fill it with love and commitment. You and Tom here ... It looks like you done that. I envy that. I truly do.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Hank \u2022.. .?<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Why are you here?<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>I just wanted to tell you some things. I want you to know I haven't been sitting around the last fifteen years telling myself I'm some kind of victim. I know I took the easy route, and I know I ain't even begun to pay for that, and I want you to know that bad things do happen to bad people, and if that's the case then maybe good things will happen to you and yours.<\/dialogue>\n    <scene_description>A long beat. Nobody says anything.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>That's really all. I know you're happy here with this man. That makes me happy. Not that that matters to you. It shouldn't matter to you. You done good, Edie. You could have gone the easy road, and you didn't, and you prove that sometimes good can come from bad. That's all I want to say to you.<\/dialogue>\n    <scene_description>He gets up and walks to the door and opens it.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>Dad .\u2022..<\/dialogue>\n    <scene_description>Hank stops, and a smile slowly spreads across his face. A warm, beatific, loving smile. Then something outside catches his eye. Hank whirls, and grabs the shotgun from its place against the wall. But before he can fully make it, a bullet slams into him, sending him sprawling back onto the floor. Edie and Tom flinch at the sound of the shot. A beat - everything is frozen. Hank holds himself up by the door, looking down in dumbfounded surprise at the hole in his chest. He looks out at the field, then falls to the ground, dead. Tom snaps out of it first.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Hit the floor!<\/dialogue>\n    <scene_description>Edie is in shock. She doesn't move. - Daddy?<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>Tom dives across the room and knocks her down.<\/dialogue>\n    <dialogue>Dazed, Edie gets back on her feet and heads for her father. Tom tackles her and drags her down again. She doesn't even seem to notice - she's fixated on her father's body lying on the floor.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Edie! Stay down.<\/dialogue>\n    <scene_description>She looks at him blankly.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>That's my daddy.<\/dialogue>\n    <scene_description>Tom shakes her hard. Her eyes seem to re-focus, and she looks at Tom, confused.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>Tom?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Edie. You have to stay down.<\/dialogue>\n    <scene_description>She looks around, looks at her father, then at the open door.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Stay here.<\/dialogue>\n    <scene_description>He scrambles across the floor to the door - the rifle leans against the wall next to the shotgun. He grabs the rifle and slams the door closed - but Hank's in the way. Tom doesn't let himself look at the dead man, but scrambles back across the floor, rifle in hand. He makes it to the window and carefully peers out, ready for anything. Except what he sees.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Jesus Christ.<\/dialogue>\n    <scene_description>Edie crawls over to him.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>Oh, God. What is it? What is it, 'J'om?<\/dialogue>\n    <scene_description>- EXT. McKENNAHOUSE<\/scene_description>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>Torrino, Aldo and Charlie stand out at the edge of the field. Charlie has a rifle in his hand. Aldo has his hands on the shoulders of Jack, who looks terrified.<\/dialogue>\n    <character>TORRINO<\/character>\n    <dialogue>Joey. Come out. Let's end this now and nobody else will get hurt.<\/dialogue>\n    <scene_description>A long beat, and then Torn appears in the door, rifle in one hand, shotgun in the other.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Let my son go.<\/dialogue>\n    <character>TORRINO<\/character>\n    <dialogue>Come down here, Joey. Let's talk.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>My name is not Joey. You have the wrong man. You have my son. You're trespassing.<\/dialogue>\n    <scene_description>Torrino shakes his head.<\/scene_description>\n    <character>TORRINO<\/character>\n    <dialogue>You know I'm a serious man, Joey. You've seen what I'm willing to do. Stop the game.<\/dialogue>\n    <scene_description>Tom whips the rifle up and aims.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>This isn't a game, you son of a bitch!<\/dialogue>\n    <scene_description>He fires, hitting the propane tank, which EXPLODES, shooting fire everywhere, sending Torrino, his men and Jack sprawling to the ground. Aldo takes the brunt of it, his back protecting Jack. Tom dives to the ground, rifle in hand.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Jack! Run!<\/dialogue>\n    <scene_description>Jack scrambles to his feet, and Tom fires at Charlie and Torrino, covering his son. Jack makes it to the field, dives into the corn, vanishing. Charlie and Torrino fire wildly at the house. Tom hits the ground and rolls off the side of the porch.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>LIVING<\/dialogue>\n    <scene_description>Edie curls up on the floor, screaming as bullets slam into the walls and the furniture.<\/scene_description>\n    <character>SARAH (O.S.)<\/character>\n    <dialogue>Mommy?<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Stay down, baby! Mommy's coming! But stay downl<\/dialogue>\n    <scene_description>She crawls towards the stairs. EXT. McKENNA HOUSE Tom crouches by the side of the house, rifle in hand. Be checks the load - one bullet left. He peers up at the porch, sees the shotgun lying there, and frowns. A bullet zings past his face, and he dives back, scrambles behind the house. The circle of fire where the tank was is expanding. The field is starting to burn. Charlie and Torrino crouch down. Torrino nods towards Aldo, who lays face down, his back ripped to shreds, on fire. Charlie shakes his head - \"no.\" Torrino grimaces. He points to the other side of the house, gestures for Charlie to head that way. Charlie scuttles off. Behind the house, Torn straightens up, back to the wall, and slides towards the other side of the house. He creeps around the corner, alongside the porch, and looks up. The shotgun's gone. Charlie creeps around the side of the porch and bumps right into Tom. The two men scramble to bring their guns up, but they're in too tight. Torn drops the rifle and goes for Charlie's throat. The two men roll on the ground, pounding the shit out of each other. Tom bites Charlie's hand hard, until blood squirts out. Charlie screams in pain. Tom rolls on top of him and punches his throat hard, over and over. Charlie chokes and gurgles and dies. Tom keeps pounding. Tom cries out in pain as a bullet tears through his shoulder, knocking him forward~ He rolls over to find Torrino standing over him, gun in hand, glaring in rage. Torrino cocks his gun and points it right at Tom's head. You have<\/scene_description>\n    <character>TORRINO<\/character>\n    <dialogue>anything to say before I kill<\/dialogue>\n    <character>-<\/character>\n    <dialogue>you, you miserable prick?<\/dialogue>\n    <scene_description>Tom stares back, hatred in his eyes, clutching his wounded shoulder.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>I should have killed you back in Philly.<\/dialogue>\n    <scene_description>Torrino smiles, relieved. Finally! Tom clenches his jaw, ready for the shot. BLAM! Blood splatters all over Tom as Torrino's chest explodes~ Torrino staggers forward and falls to the ground. Tom rolls out of the way and sees Jack standing there, a dazed look on his face, the shotgun in his hands. Tom staggers towards Jack and takes the shotgun from him. Jack is frozen, non-responsive. He just stares at the dead man on the ground. Edie steps out the front door, Sarah briskly towards her husband and son. Is it over?<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>Oh my God~ Tom? Are you okay?<\/dialogue>\n    <scene_description>in her arms, Is it over? and walks<\/scene_description>\n    <character>-<\/character>\n    <dialogue>She rushes over and hugs her her son tight. Tom stands, looking at his family for a moment. Edie looks back at him, a mixture of conflicting emotions on her face, but mostly anger. Tom hesitantly steps toward them, then takes them all in his arms. Outside, the fire in the field rages.<\/dialogue>\n    <scene_description>In the distance, sirens.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MCKENNAHOUSE - LATER<\/stage_direction>\n    <scene_description>A fire truck parked in the field, FIREMEN putting out the last of the fire. Tom sits on the back of an ambulance as the Paramedic bandages his shoulder. Sam is questioning him as Edie stands by, still holding the dazed Sarah. Jack stands off in the distance, looking at the spot where Torrino lay. \u2022 TOM They had the wrong man, Sam. They had the wrong man.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I know. I'm going to have to come back later and ask you some formal questions, but it's going to be okay, Tom. You did what you had to.<\/dialogue>\n    <scene_description>Tom nods. Sam turns to Edie.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Edie. rrm so sorry about your father ...<\/dialogue>\n    <scene_description>Edie nods, still a little in shock. The Paramedic finishes up Tom's shoulder.<\/scene_description>\n    <character>PARAMEDIC<\/character>\n    <dialogue>Sir, we're going to have to take you to the hospital now.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Wait a minute.<\/dialogue>\n    <scene_description>He gets up and walks to Jack, puts his hand on his son's shoulder.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Jack?<\/dialogue>\n    <scene_description>No answer.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Jack. You did the right thing. I know it's hard to believe, but you did.<\/dialogue>\n    <scene_description>Jack turns slowly to face his father.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>It's not going to be easy, the next few days, or weeks. It could take a long time to get right with what happened.<\/dialogue>\n    <scene_description>Jack stares intently at his father, looking for something.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Jack ... What is it?<\/dialogue>\n    <scene_description>~Tack shaketc; his head and walks over to his mother, leaving Tom alone. The Paramedic approaches him. Sir? We have<\/scene_description>\n    <character>PARAMEDIC<\/character>\n    <dialogue>to go now.<\/dialogue>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>He gently puts a hand on Tom's good arm and guides him to the ambulance. Sam turns to Edie.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>We can take the kids with us if you want to ride with him, Edie.<\/dialogue>\n    <scene_description>She looks at Sam and smiles faintly in gratitude.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMBULANCE<\/stage_direction>\n    <scene_description>Tom lays back on the stretcher. Edie climbs in and sits beside him, a distant look on her face. She holds his hand, but doesn't look at him. The ambulance takes off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Tom lays in the bed in the dark, staring at the ceiling. The door opens, and Edie walks in. He reaches out to her. She steps Edie .... back, away<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Honey ...<\/dialogue>\n    <scene_description>from<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>him.<\/dialogue>\n    <scene_description>Are you okay?<\/scene_description>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>Tell me the truth.<\/dialogue>\n    <scene_description>Tom looks at her a long beat, then hangs his head.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>You heard.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>No. I saw. Those men ... Torrino \u2022. ~ He wasn't wrong. You're the man he was looking for. You're Joey Behan. That's your real name. You didn't grow up in Portland. And you never talked about your adopted parents because you didn't have any. You killed men .... You killed them so you could steal their money ...<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Edie ... It wasn't like that.<\/dialogue>\n    <scene_description>- What was it like,<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>Tom? Make me understand<\/dialogue>\n    <scene_description>what it was, so I can be okay with having given almost twenty years of my life to a lie.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>It wasn't a lie.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Are you going to sit there and tell me it depends on what your definition of the word II<\/dialogue>\n    <scene_description>is\" is? Goddam it, Tam ... Joey .... Shit! Whoever you are! The lie is over. It's dead. I want to know the truth right now.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Edie \u2022.\u2022.<\/dialogue>\n    <scene_description>She glares at him, furious.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>My brother Steve and I \u2022.. he was older than me .... we were raised in an orphanage in Philadelphia. When he got old enough to leave, Steve ran errands for Torrino. I guess he thought it was a way into being a player some day. Torrino found out Steve was skimming off some of his runs. Steve ... Steve was the only family I'd ever had. Torrino ... He's exactly what he looks like, Edie. Guys like him, they kill you over nothing. Cops found Steve in a dumpster. Everyone knew who it was, but nobody could prove<\/dialogue>\n    <scene_description>anything. You never can. Richie Federici was my best friend, a year younger than me ... He loved Steve, too. I came up with the idea of hitting Torrino's cheese shop ... Get some payback. Make it look like a robbery.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>Make it look like. . . . You were going to kill them.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>He killed my brother, Edie. We got some<\/dialogue>\n    <scene_description>guns ... That wasn't hard. And we waited until the store was closing up. Just Torinno and a few guys in the back, smoking, drinking, playing cards. -<\/scene_description>\n    <character>{MORE)<\/character>\n    <dialogue>TOM<\/dialogue>\n    <scene_description>Whatever the hell they did. We hit the shit out of them. We didn't know what we were doing, so we just shot at everything. And somehow .... Edie, I don't know how we survived, but we did. Somehow, we made it out with a money box. Something like five thousand dollars.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>What happened to Richie? Did he just leave, too?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>She looks at him, waiting for an answer.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Richie ... He ... We'd fucked up. Torrino was still alive. We were gonna leave town together, but they caught him before we could get our shit together. They tied him to the hood of a car and drove up and down the neighborhood, looking for me. Edie ... He was my best friend ..\u2022 and if I went to help him they were going to kill both of us. I knew that.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Jesus~<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>There was no other way with these guys. So I had to either kill myself, or just turn my back on the whole thing.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>You left.<\/dialogue>\n    <scene_description>Tom nods, holding back the tears.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>I left my best friend to die.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>And you came here.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>I went a lot of places. It takes a long time to shed your skin, Edie. I didn't lie to you. J killed Joey Behan. I didn't have any other choice. I went out to the desert and I killed him. And I spent the next few years becoming 'l'om McKenna.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Edie, you have to know this. I was born again when I met you. You ... this town \u2022.. these people ... you gave me what I needed to start over, to become decent.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Decent? A decent man doesn't lie to his family, Tom. A decent man doesn't give his children a made up name.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Edie ....<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>We never lie to each other, Tom. That was the deal, remember? Our love can get us through anything. My God. You never told me anything BUT lies.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>We can start again. This is over. We can just go back to normal. It's so easy, you' 11 see.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>You sound just like my father. But you know something, Tom? For all his shit, all that evil crap he dished out to my mother and me ... He never pretended to be anything but what he was. The only person he ever lied to was himself.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Edie ..\u2022<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>I have to think, Tom. I have to go think very long and very hard about all of this.<\/dialogue>\n    <scene_description>She turns and heads to the door. He reaches out and touches her arm.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Joey's dead, Edie.<\/dialogue>\n    <scene_description>She walks out.<\/scene_description>\n    <character>INT. TAYLORVILLE HIGH - HALLWAY- DAY<\/character>\n    <dialogue>Jack walks down the hallway to his locker. The other k1ds make a point of not staring at him until he passes. He goes to his locker and opens it. Bobby walks by and Jack turns and looks at him. Bobby looks away .<\/dialogue>\n    <scene_description>\u2022<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - DAY<\/stage_direction>\n    <scene_description>Tom finishes dressing and an ATTENDANT helps him into a wheelchair and wheels him to the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAYLORVILLE HIGH - CLASSROOM<\/stage_direction>\n    <scene_description>A TEACHER drones on about geography. Jack sits in his seat, looking out the window.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOSPITAL - DAY<\/stage_direction>\n    <scene_description>Tom gets into a cab, which slowly pulls out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TAYLORVILLE HIGH - BASEBALL FIELD - DAY<\/stage_direction>\n    <scene_description>The boys' class is playing ball. Jack sits on the bench and watches the girls' class running around the track. He sees Judy and waves to her. She nods, but doesn 1 t come over. Jack walks over to the track, walks up to Judy.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>JUDY<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <character>JUDY<\/character>\n    <dialogue>Nothing. Running laps. Coach notices you're gone, you'll get into trouble.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Who cares?<\/dialogue>\n    <scene_description>A long, awkward, silent beat.<\/scene_description>\n    <character>JUDY<\/character>\n    <dialogue>Well \u2022.. I have to finish my laps.<\/dialogue>\n    <scene_description>She smiles uncomfortably at him.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Yeah. Okay. Fine.<\/dialogue>\n    <scene_description>He turns and walks away. She watches him, troubled, then turns to go after him, to s.ay sorn0.th ing - anything. rrhe GIRLS' COACH blows her whistle. -' Danvers!<\/scene_description>\n    <character>GIRLS' COACH<\/character>\n    <dialogue>Get back on the track!<\/dialogue>\n    <scene_description>Judy sighs in frustration and goes back to running.<\/scene_description>\n    <character>EXT. TAYLORVILLE - STREET<\/character>\n    <dialogue>Tom's taxi rolls down the road. Tom looks out the window at the town. EXT. MCKENNA'S DINER Through the window, Tom can see Charlotte waiting on some CUSTOMERS. Business as usual. EXT. MCKENNAHOUSE - DAY A big chunk of the field is black from the fire. The taxi pulls up in front and Tom gets out and walks to the front door. Jack sits on the porch.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Hey.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>,<\/stage_direction>\n    <scene_description>\u2022 Jack looks up at him .<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>What am I supposed to call you now?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>What? Jack, please. You have to ...<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I have to what, Dad? What do I have to do? This isn't a normal life, so I don't have any idea what I have to fucking do anymore. If I go rob Miliken's Drug Store, will you ground me if I don't give you a piece of the action? What, Dad? You tell me?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Jack, I know you're upset.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Upset? Shit. Upset would be a nice change around here. You know what you are, Dad?<\/dialogue>\n    <scene_description>Tom looks at his son, not answering. Jack You're the monster in Sarah's closet. ',.\\_ Tom frowns. Jack You can't tell me anything. He gets up and walks away, leaving Tom standing therer upset. INT. McKENNA HOUSE Tom walks into the empty house. He looks around. It's still. Tom walks around the house, looking into the empty rooms. INT. McKENNA HOUSE - SARAH'S ROOM Torn sits on his daughter's bed and picks up one of her dolls. He gently puts it back on the bed and looks out the window.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>TOM AND EDIE'S<\/dialogue>\n    <scene_description>Torn stands in the doorway, looking. Nothing has changed, but nothing's the same.<\/scene_description>\n    <character>EXT. MCKENNA HOUSE<\/character>\n    <dialogue>Tom slowly<\/dialogue>\n    <dialogue>corn husks<\/dialogue>\n    <scene_description>walks outside and bits The sheriff's and looks walks to the shed in the back and gets takes it to the field, starts of metal. car loading rolls at the devastation. out a wheelbarrow it up with burnt down the driveway and Sam steps He out out. and<\/scene_description>\n    <character>-<\/character>\n    <dialogue>SAM<\/dialogue>\n    <scene_description>Heyr Tom. Good to see you up and around.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Hey, Sam.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I could sure go for some of Edie's lemonade.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Come on in.<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>LIVING ROOM<\/dialogue>\n    <scene_description>Sam is pacing around the living room. Tom walks in with two glasses of lemonade and hands one to Sam, who takes a deep long sip.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>So what brings you out here, Sam?<\/dialogue>\n    <scene_description>- CONTINUED: Well,<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>you know. I just wanted to see how<\/dialogue>\n    <scene_description>you were doing.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>I'll be okay.<\/dialogue>\n    <scene_description>Sam nods.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>There's something else.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Yeah. There is. Tom ... I've been running through it all for the last couple days, and it just doesn't fit.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>What doesn't fit?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>None of it ..<\/dialogue>\n    <scene_description>Tom nods. He looks out the window and sees the station wagon rolling up.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Edie home?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>We don't have to do this now.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Might as well.<\/dialogue>\n    <scene_description>The door opens, and Edie walks in with Sarah in her arms.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Daddy!<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Hey, baby.<\/dialogue>\n    <scene_description>Tom hugs his daughter. He and Edie kiss very perfunctorily. Sam notices.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>Hey, Sam .<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Edie. How're you doing?<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>I dunno. Okay, I guess.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'm sorry about your father.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Sarah trots upstairs to her room.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Daddy, will you come up and play with me later?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Sure, honey.<\/dialogue>\n    <scene_description>They all watch her go. Edie turns to Sam.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>\u2022<\/dialogue>\n    <scene_description>What brings you out here, Sam?<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Tom and I were just talking about that, Edie.<\/dialogue>\n    <scene_description>Edie looks to Tom, who's close-mouthed and glum looking. She nods.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>I'd like to hear it.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Well .... It's just that none of this adds up. I can buy Torrino thinking you might be this Joey fella. But these are serious men. They may not live within the law, but they recognize it, and they don't go outside of it without consideration. He wouldn't go to the extreme of pulling a trigger if he wasn't dead certain he had the right man.<\/dialogue>\n    <scene_description>Tom doesn't say anything. Edie looks at Tom, then back to Sam.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>What are you saying, Sam?<\/dialogue>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>CONTINUED: ( 3)<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'm saying I think Tom hasn't been real upfront with me. I'm saying I think I need to know the truth.<\/dialogue>\n    <dialogue>The truth.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You owe it to the people of this town, Tom.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Sam.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Hmm?<\/dialogue>\n    <scene_description>Tom looks at Edie anxiously.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>You've got too much time on your hands.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Sorry?<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>I don't know why those men were so convinced Tom was this Joey person, and frankly, I don~t care. You're the one who said we look out for our own around here, and if Tom McKenna isn't one of our own, I don't know who is. Tom is who he says he is, and that's all that matters, Sam. Hasn't this family suffered enough?<\/dialogue>\n    <scene_description>Sam looks at her a long beat.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Well, goddam, Edie.<\/dialogue>\n    <scene_description>He finishes his lemonade, puts it down, and gives her a slow smiles and nods.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I guess I'll be on my way.<\/dialogue>\n    <scene_description>He heads to the door, then stops.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>You folks give a ring if you need anything.<\/dialogue>\n    <scene_description>\u00b7\"--- SAM Tom, you need some help fixing up the field this weekend, you let me know, alright? Tom nods. Sam touches his hat and walks outside. Tom and Edie stand alone, watching Sam get into his car and drive off.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Edie ....<\/dialogue>\n    <scene_description>She slaps him hard.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>Fuck you, Joey.<\/dialogue>\n    <scene_description>She walks out of the room, up the stairs. Tom follows her. INT, TOM AND EDIE'S BEDROOM Edie walks in, followed by Tom.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Edie. What do you want?<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>What do I want? I want it all back. I want the life I thought we had. I loved that life. I loved it. I thought it was real. So maybe you're right. Maybe you have to live with a lie until you forget and it becomes the truth. I don't know if I can do that, but I want to try, because I guess it beats the alternative. Right now, I don't know who you are. I don't know if I'm talking to Tom McKenna or Joey Behan, or some monstrous thing that isn't even a man to begin with. Remember how we used to say we'd never lie to each other? That's all we're going to do from<\/dialogue>\n    <scene_description>here on out. I'm not going to let you tear this family apart, So you be Tom, I'll be Edie, and maybe someday it'll start to feel real again. You can't live with that, you leave right now. Tom nods. EXT. TRAIN TRACKS- DUSK Jack sits on the tracks, a bottle in a brown paper bag in his hands. He watches the sun set over the trees.<\/scene_description>\n    <character>JUDY (OS)<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>- He turns to see Judy.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>JUDY<\/character>\n    <dialogue>Since when did you start drinking?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I don 1 t.<\/dialogue>\n    <scene_description>A long beat. Jack It tastes like shit. He chucks the bottle. She sits down next to him.<\/scene_description>\n    <character>JUDY<\/character>\n    <dialogue>want to smoke a joint?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Nah. Thanks.<\/dialogue>\n    <scene_description>Judy shrugs and lights up, takes a deep hit. They sit in silence for a long beat.<\/scene_description>\n    <character>JUDY<\/character>\n    <dialogue>So Mr. Beezer said \"Shit\" today.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Beezer?<\/dialogue>\n    <character>JUDY<\/character>\n    <dialogue>Yeah. He slammed his thumb with a hammer in class.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Beezer never curses.<\/dialogue>\n    <character>JUDY<\/character>\n    <dialogue>Right. I know. We're all, like, whoa! Dude!<\/dialogue>\n    <scene_description>Jack nods.<\/scene_description>\n    <character>JUDY<\/character>\n    <dialogue>You know, Bobby Jordan's mellowed out a lot the last couple days. Seems like getting his ass kicked might have done him some good.<\/dialogue>\n    <scene_description>Jack doesn't respond.<\/scene_description>\n    <character>JUDY<\/character>\n    <dialogue>Some people just need a good whupping sometimes. It's a good thing someone was around to provide for him. World might just be a better place for it.<\/dialogue>\n    <scene_description>Jack smiles faintly. Judy smiles back, warmly. She puts her arm around him, and he buries his head in her shoulder.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETARY - DUSK<\/stage_direction>\n    <scene_description>A PRIEST stands over an open grave, lowering a casket into the ground as Edie stands by watching, holding Sarah's hand. Tom stands alongside them. Except for the GRAVEDIGGER off to the side, there's nobody else there.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOM AND EDIE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Edie sleeps on one side. Tom, on the other, stares at the ceiling, uncomfortable in his own bed. He finally rolls over and closes his eyes. BLACK. A phone rings.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>MAN'S VOICE (O.S.)<\/character>\n    <dialogue>Help me, Joey ....<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOM AND EDIE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Tom sits on the side of the bed, shaken to the core. Edie sits up behind him.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>What is it, Tom?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Richie's alive.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>He ... I don't know how ... He must have gotten away from them.<\/dialogue>\n    <scene_description>- \u00b7---- Tom, what<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>the hell are you talking about?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Richie, Edie. Richie is still alive. They didn't kill him.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Thatrs good, isn't it?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>No. I mean, yes. But \u2022.. Dammit. Dammit to hell.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>They have him, Edie. They found him.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Torrino's dead, Tom. Who's \"they\"?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Torrino's friends. His organization. They must have tracked down Richie, too.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>How, Tom? Finding you makes sense, but have you seen Richie on the evening news in the last few days? Did he change his name, too? Are you even listening to yourself?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>I don't know. It doesn't matter. All that matters is that it isn't over yet.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>No, it's over.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Richie has a wife and kids, too. They said they were going to ...<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>I don't want to hear it.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Edie. I have to deal with this.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>No, you don't. You're Tom, not Joey.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Do you want to spend the rest of our lives running and hiding from these people? Edie, listen to me. They have Richie. They're going to kill him and his family unless ..\u2022\u2022<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Unless what?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Unless I go to them.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>So they can kill you?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>That's what they want.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>What are you going to do?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Edie, I have to go.<\/dialogue>\n    <dialogue>To die?<\/dialogue>\n    <dialogue>No. To put<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>TOM<\/dialogue>\n    <scene_description>an end<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>to this.<\/dialogue>\n    <character>-<\/character>\n    <dialogue>What does that mean, Tom?<\/dialogue>\n    <scene_description>Tom gets up and starts to get dressed.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>Tom, what does that mean?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>It means I have to go.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Goddammit, Tom. You can't.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>For twenty years I've run from this. I let my best friend die. I thought I couldn't do a thing to stop it, but now it turns out T can~<\/dialogue>\n    <scene_description>- And make yourself<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>feel better in the<\/dialogue>\n    <scene_description>bargain .\u2022<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Dammit, Edie, it's not about me. It's not about feeling better about what happened. It's about fixing something I did.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>You don't have to do it.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Yeah, I do. I have to.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>So you'll give up your family for that?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Is that what it means?<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>That's what it means.<\/dialogue>\n    <scene_description>Tom frowns and buttons his shirt. He turns to her.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>When they've done something that's so bad they can't live with it, some people end it all. They just shut off, they kill<\/dialogue>\n    <scene_description>themselves, or get lost in drugs or booze ... Others ... We just shut it out, we push it aside, as far as we can, every time until it stops coming. I thought it had gone away forever, Edie. I thought that so many of my cells had died and been replaced that I'd become someone else completely, and I guess even that's a lie, because the truth is, I didn't think about it at all. I'd buried it. Until this happened. And that's when I learned that it'd never gone away. It's always been there, just waiting for a chance to come out. The only way I can bury it, the only way I can be Tom McKenna and stay Tom McKenna is to face this thing and kill it.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>That's just bullshit, Tom. All you have to do is choose.<\/dialogue>\n    <scene_description>There's<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>no choice for me.<\/dialogue>\n    <character>-<\/character>\n    <dialogue>EDIE<\/dialogue>\n    <scene_description>We won't be here when you get back.<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>I hope you are.<\/dialogue>\n    <scene_description>He walks out of the room without looking back. Edie drops onto the bed, slightly in shock. She reaches over to turn on the lamp, and it flickers off and on. She shakes it, but it doesn't do anything. In a flash of rage, she lashes out, slamming the lamp against the wall, where it shatters. EXT. McKENNAHOUSE The barn in the back. Tom opens the doors and goes inside. There's a roar of an engine, and a moment later, a big, battered pickup drives out. He swerves around the station wagon and disappears down the road.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PHILADELPHIA - NIGHT<\/stage_direction>\n    <character>-<\/character>\n    <dialogue>The city looks alive at night. The skyline is brightly lit and beautiful. Tom - let's call him Joey now, because that's who he is - sits in the shadows of the steps of the Art<\/dialogue>\n    <dialogue>Museum looking over it. It's been a long time. His hair's scruffy and he hasn't shaved in a couple days.<\/dialogue>\n    <dialogue>A loud roar, and two souped up cars blast past the museum, a late night street race. Joey smiles faintly in recognition and stands, heads down the stairs to his truck.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE DES ARTISTES - NIGHT<\/stage_direction>\n    <scene_description>A corner restaurant in the middle of the city. Joey walks up to it and looks at the sign hanging outside. He walks in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFE DES ARTISTES<\/stage_direction>\n    <scene_description>A nice boho kind of joint. College kids and young urban professionals enjoy vegetarian meals in a delicate, pretty decor. A maitre'd approaches him.<\/scene_description>\n    <character>MAITRE'D<\/character>\n    <dialogue>How many in your party, sir?<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>What happened to Murph's?<\/dialogue>\n    <character>MAITRE'D<\/character>\n    <dialogue>Sir?<\/dialogue>\n    <scene_description>- JOEY This place used to be Murphy's Tavern. Christ, I mean, forever. Since the forties, at least.<\/scene_description>\n    <character>MAITRE'D<\/character>\n    <dialogue>Oh, Murphy's. They were shut down at least six years ago.<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>For what?<\/dialogue>\n    <character>MAITRE'D<\/character>\n    <dialogue>They were serving minors.<\/dialogue>\n    <scene_description>Joey shakes his head.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>Yeah, that figures,<\/dialogue>\n    <character>MAITRE'D<\/character>\n    <dialogue>Will you be having dinner, sir?<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>No. I don't think so. Thanks.<\/dialogue>\n    <scene_description>He stops, then turns back.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>Track and Turf still around?<\/dialogue>\n    <character>MAITRE'D<\/character>\n    <dialogue>That place on 45th? Yeah. I think so.<\/dialogue>\n    <scene_description>Joey nods and walks out. INT. TRACKAND TURF - LATER A real dive bar. A broken neon sign in the window reads \"Track &amp; Turf\" backwards. A battered old bar in the middle. A few booths, a couple tables with mismatched old chairs. A decent sized, albeit ratty crowd fills the place. Joey walks in and looks around. He looks in the corner and sees a decrepit old slide bowling machine and smiles. He walks to the bar and sits. The bartender walks over to him.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>Genny Cream.<\/dialogue>\n    <scene_description>The bartender puts a bottle in front of Joey, who takes a long pull and looks around the place. He spots a MANsitting in a booth in the back and gets up and walks over to him. Where's<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>Ruben?<\/dialogue>\n    <character>-<\/character>\n    <dialogue>MAN<\/dialogue>\n    <scene_description>Ruben? Shit. Ruben's been dead for ten years, man. Joey nods and turns to walk away. illlN The man is gone, but his tradition lives on.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <scene_description>The man nods. Joey sits down across from him.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>I'm looking to buy.<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>You bought from Ruben?<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>Yeah. Once. Long time ago.<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>What you lookin' for?<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>T don't know. Something in a semi- automatic. I need two of them. Major stopping power. And ammo. Couple more items. I need to see what you've got.<\/dialogue>\n    <scene_description>The man nods.<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>You a cop?<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>Do I look like a cop?<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>Shit. You look like a farmer on vacation.<\/dialogue>\n    <scene_description>Joey smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>- EXT. TORRINO'S CHEESE SHOP - NIGHT<\/stage_direction>\n    <scene_description>Joey stands across the street, in the shadows, looking at the old cheese shop. He pulls a gun out of his jacket, cocks it, and walks determinedly towards the store. INT. TORRINO'S CHEESE SHOP An OLD MAN stands behind the counter, wrapping a large block of cheese in wax paper with one hand. Except for him, the store is empty. The door slams open and Joey barrels in, gun in hand, face grim. The Old Man flinches, but doesn't look up.<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>You'd be Joey Behan.<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>I am.<\/dialogue>\n    <scene_description>The Old Man continues wrapping, not making eye contact with Joey.<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>You're in the wrong place.<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>Where are they keeping Richie?<\/dialogue>\n    <character>OLD MAN<\/character>\n    <dialogue>You know the old beach house?<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>The one in Surf City?<\/dialogue>\n    <scene_description>The Old Man nods.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>You got the address?<\/dialogue>\n    <scene_description>The old man puts down the block of cheese, picks up a pencil and writes the address down on a piece of brown paper. Joey notices that his other arm doesn't seem to work.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>How many men there?<\/dialogue>\n    <character>OLD MAN<\/character>\n    <dialogue>Ain't more than five of them left.<\/dialogue>\n    <scene_description>Who are<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>you?<\/dialogue>\n    <character>-<\/character>\n    <dialogue>OLD MAN<\/dialogue>\n    <scene_description>I just run the shop.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>Torrino's gone, you know.<\/dialogue>\n    <character>OLD MAN<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>Joey nods towards the man's dead arm.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>What happened to your arm?<\/dialogue>\n    <scene_description>The Old Man turns to face Joey for the first time.<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>You know, Joey.<\/dialogue>\n    <scene_description>Joey's jaw tightens. He takes the piece of paper and nods grimly, walks out of the shop. The Old Man goes back to his \u00b7 cheese ..<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SURF CITY STREET - DAWN<\/stage_direction>\n    <scene_description>Waves crash on the beach as the sun peeks over the horizon~ Joey's truck is pulled over by the side of the road.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOEY'S TRUCK<\/stage_direction>\n    <scene_description>Joey sits in the driver seat, sipping coffee from a \"World's Greatest Dad\" mug. He's fully strapped - crisscrossing underarm holsters with guns. A huge knife in a strap-on holster sits next to him. He finishes the coffee, slips the strap on around his leg under his pants, and puts a jacket on over the holsters. He gets out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH HOUSE<\/stage_direction>\n    <scene_description>A big old beach house sits at the edge of the dunes. It's seen better days. Three or four cars are parked at random angles in the driveway. A large man in a football jersey - Thug #1 - stands by the front door, casually keeping an eye out. He hears a slight sicuff.ling noise and whirls, producing a gun out of nowhere. Nothing.<\/scene_description>\n    <character>-<\/character>\n    <dialogue>He eases back just as Joey appears behind him, knife in hand. Joey whips a hand over the man's mouth and slams the knife into his back again and again. Thug #1 sags to the ground. Joey watches him drop, blood staining his jacket. He turns to the house. INT. BEACH HOUSE THUG #2 and #3 sit around a coffee table, drinking coffee, guns sitting in front of them. Thug #2 reads a paper.<\/dialogue>\n    <character>THUG #2<\/character>\n    <dialogue>You ever read the funnies?<\/dialogue>\n    <character>THUG #3<\/character>\n    <dialogue>Not anymore. Nothing funny left.<\/dialogue>\n    <character>THUG #2<\/character>\n    <dialogue>Ain't that the goddam truth. I can't believe how bad this Cathy shit is. Someone should strangle this bitch.<\/dialogue>\n    <scene_description>The front door opens.<\/scene_description>\n    <character>THUG #2<\/character>\n    <dialogue>Yo, Marvin. What's up. You're supposed to ....<\/dialogue>\n    <scene_description>They look up and see Joey standing there, a gun in each hand. The two men scramble for their guns, but Joey fires first. Thug #2 goes down in a spray of blood. Thug #3 dives to the floor, knocking the table over. The coffee, cups, newspaper and guns crash to the floor and he scrambles for a gun. Joey moves quickly and leaps on the man's back, slams his gun in his ear.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>Where's Richie?<\/dialogue>\n    <character>THUG #3<\/character>\n    <dialogue>Downstairs. We got a basement. He's down there.<\/dialogue>\n    <scene_description>Joey nods.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>I'm sorry about this.<\/dialogue>\n    <character>THUG #3<\/character>\n    <dialogue>Fuck you.<\/dialogue>\n    <scene_description>ELAM!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT<\/stage_direction>\n    <scene_description>THUG #4 leans against a wall, gun in hand, waiting. The basement door slams open and something crashes down. Thug #4 whips out from behind the wall blasting. He steps out to see that he's shot the hell out of an old armchair.<\/scene_description>\n    <character>THUG #4<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <scene_description>Joey pops up in the basement door and blasts away, nailing the Thug, Joey cautiously creeps down the stairs, ready for anything. He's stained with the blood of the men he's killed. He steps down into the dark basement and looks around. Hits a switch on the wall and the lights go on. The basement is empty. He hears a sound, and looks - across the room is a door leading into a smaller area. Joey cautiously steps towards it.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>Alright. Whoever's in there ... Come on out.<\/dialogue>\n    <scene_description>A long beat. Then ....<\/scene_description>\n    <character>MAN'S VOICE (O,S.)<\/character>\n    <dialogue>Joey?<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>Richie?<\/dialogue>\n    <character>MAN'S VOICE (O.S.)<\/character>\n    <dialogue>Joey! Help me. I'm all alone in here.<\/dialogue>\n    <scene_description>Joey cautiously approaches the door. Takes a deep breath and pushes it open.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT- SMALL ROOM<\/stage_direction>\n    <scene_description>RICHIE, a good looking man the same age as Joey, sits on a chair in the middle of the room, his hands tied behind his back. Joey steps in, gun in hand.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>Jesus. Richie.<\/dialogue>\n    <character>-<\/character>\n    <dialogue>\u2022 Joey!<\/dialogue>\n    <character>RICHIE<\/character>\n    <dialogue>Oh my God. Joeyl<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>How many here?<\/dialogue>\n    <character>RICHIE<\/character>\n    <dialogue>What? Those guys? Just four.<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>I was expecting five.<\/dialogue>\n    <character>RICHIE<\/character>\n    <dialogue>I dunno. I only know four. Jesus, Joey! You came! Untie me!<\/dialogue>\n    <scene_description>Joey holsters his guns and walks over to Richie and leans down. Except Richiets hands aren't tied. Richie whips out a gun and points it at Joey's head. Joey freezes.<\/scene_description>\n    <character>RICHIE<\/character>\n    <dialogue>Oh, yeah. There were five.<\/dialogue>\n    <scene_description>Richie stands up, gun still pointed.<\/scene_description>\n    <character>RICHIE<\/character>\n    <dialogue>I knew you'd come. Didn't think you'd make it this far, though. I was hoping for a little less bloodshed, Joey. Jesus, you're good with the killing, aren't you?<\/dialogue>\n    <scene_description>Joey glares at him.<\/scene_description>\n    <character>RICHIE<\/character>\n    <dialogue>Why do you think that is? You think it's genetic? You think your old man was some kind of killer? Or is it just chance?<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>They didn't track you down.<\/dialogue>\n    <character>RICHIE<\/character>\n    <dialogue>Oh, hell no. I've always been here, Joey. Right here where you left me.<\/dialogue>\n    <scene_description>cTOEY What happened?<\/scene_description>\n    <character>RICHIE<\/character>\n    <dialogue>Do you have any idea what it takes to<\/dialogue>\n    <character>\u0080\ufffd<\/character>\n    <dialogue>talk one of these wiseguy fucks out of killing you?<\/dialogue>\n    <scene_description>Joey shakes his head.<\/scene_description>\n    <character>RICHIE {<\/character>\n    <dialogue>I told him the whole story, man. I told him how you talked me out of going away to school so I could help you kill him. He liked that loyalty thing, you know? He liked that I'd give up what I wanted for a friend, Joey~ Or Torn. You prefer Tom? You're starting to look like a Torn, you know? Yeah, well, anyway, after a while, he started letting me do some work for him. Made me do the dirtiest goddam jobs he had. Lots of fun shit. I got good at it, too. You wouldn't believe how easy it is to just slide into Bad. Oh, hell. Yeah, you would.<\/dialogue>\n    <scene_description>Joey doesn't respond. Ile steps the gun. forward Joey's<\/scene_description>\n    <character>RICHIE<\/character>\n    <dialogue>You got nothing to say? Huh? You just gonna sit there and listen?<\/dialogue>\n    <scene_description>and smacks Joey head snaps back, in the head with the butt of but he doesn't say anything.<\/scene_description>\n    <character>-<\/character>\n    <dialogue>RICHIE<\/dialogue>\n    <scene_description>Hey! I'm talkin' here! He smacks him again, this time drawing blood. Joey wipes the blood from his forehead and responds quietly and evenly.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>I'm listening.<\/dialogue>\n    <character>RICHIE<\/character>\n    <dialogue>Yeah. You better. You fuckin' better.<\/dialogue>\n    <scene_description>He steps back and composes himself a beat.<\/scene_description>\n    <character>RICHIE {<\/character>\n    <dialogue>All that really matters is that it got to<\/dialogue>\n    <scene_description>the point where Torrino actually trusted me, and when you bumped the old man, that left me in charge of what was left of his shit. - Course,<\/scene_description>\n    <character>RICHIE<\/character>\n    <dialogue>now you've<\/dialogue>\n    <scene_description>I'm gonna have to go work for the New York guys, start taken over at the bottom. Like care of that, so I don't owe you for enough as it is. Goddam you, Joey, I could have had a real life, I was going to go to fucking college, man. Guys like us, how many of us make it that far? You did this, Joey, You did this to my life. Joey steps toward Richie,<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>I guess I kinda knew some of that. They just found you out of the blue, the same time they found me? Didn't make sense.<\/dialogue>\n    <character>RICHIE<\/character>\n    <dialogue>Then why'd you come back?<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>I came here to save you.<\/dialogue>\n    <character>RICHIE<\/character>\n    <dialogue>You missed your chance a long time ago.<\/dialogue>\n    <scene_description>Joey steps closer. Richie raises the gun, pointing it at his head.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>I thought I could live with what I'd done to you, Richie. In the end, I couldn't. I wanted to believe I could save you, but I guess this'll have to do.<\/dialogue>\n    <scene_description>He sticks his forehead up against the barrel of Richie's gun.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>You do what you have to.<\/dialogue>\n    <character>RICHIE<\/character>\n    <dialogue>I want you to beg for me.<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>Not gonna happen. Just end it.<\/dialogue>\n    <character>RICHIE<\/character>\n    <dialogue>Alright. Then beg for your family.<\/dialogue>\n    <character>JOEY<\/character>\n    <dialogue>My family ..\u2022 ?<\/dialogue>\n    <character>( CONTINUEO)<\/character>\n    <dialogue>RICHIE<\/dialogue>\n    <scene_description>I seen your wife on TV. She's got a real bloom to her. I think I'll fuck her before I kill her. How about that? You willing to beg for that? Without warning, Joey whips his head to the left, causing Richie's gun to slide forward, past his head. Richie staggers forward, and grunts in surprise. The gun goes off, but Joey knocks it out of his hand with his free hand. Richie slowly looks down and sees Joey's other hand - it's wrapped around the knife sticking into Richie's belly. Richie staggers back, clutching the knife, blood gushing. Joey calmly pulls out one of his guns and points it at Richie.<\/scene_description>\n    <character>JOEY<\/character>\n    <dialogue>I'm willing to kill for that, Richie.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH HOUSE<\/stage_direction>\n    <scene_description>Joey walks towards the beach, battered and blood soaked. He walks down to the edge of the water and hurls his revolvers as far as they'll go. He takes the bloody knife out of its<\/scene_description>\n    <character>-<\/character>\n    <dialogue>holster and throws it after them. He tears off the knife holster and the underarm holsters and throws them into the sea as well.<\/dialogue>\n    <dialogue>He rips his bloody shirt off and throws it in after the weapons, then falls to the sand arid sits, staring out as the sun rises over the horizon, water lapping closer and closer to his feet.<\/dialogue>\n    <dialogue>He sits a long, long time.<\/dialogue>\n    <dialogue>EXT. McKENNA HOUSE - DUSK<\/dialogue>\n    <dialogue>Tom's pickup pulls up in front of the house. Tom gets out and looks at the house, sees the station wagon parked in front.<\/dialogue>\n    <dialogue>The field has been cleaned up, all remnants of the propane tank are gone ..<\/dialogue>\n    <dialogue>Tom walks to the front door and opens it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM<\/stage_direction>\n    <scene_description>Empty. Tom hears a sound in another room, and heads for the kitchen.<\/scene_description>\n    <character>-<\/character>\n    <dialogue>INT. KITCHEN<\/dialogue>\n    <dialogue>Edie sits at the head of the table, dishing out dinner to Jack and Sarah. Jack and Sarah look up when he walks in, then go back to their meals. Edie doesn't look up. Tom stands in the doorway a long beat, then sits in his chair. A long beat as the family eats. Tom looks around at his family, who don't return his look. He closes his eyes and fights back the tears. Sarah looks around the table, at her mother and brother, then her father. She's thinking hard. Sarah gets up and walks over to the counter and picks up a plate and some silverware and puts them in front of her father, her face very straight. Tom looks at her, his eyes wet, and smiles. She shoots him an uncertain smile, then goes back to her seat. Jack, chewing his dinner, looks at the serving plate in the middle of the table. He swallows, then pushes the plate over in front of his father, not making eye contact. Tom smiles in gratitude. He looks across the table at Edie, who stares intently at the food in front of her. After a long beat, she looks up at her husband, her face impassive. He looks back, no idea what she's thinking, no idea what the future holds. But he sees something in her eyes, and for now, that's enough.<\/dialogue>\n    <dialogue>There's hope.<\/dialogue>\n    <scene_description>FADE TO BLACK: \u2022<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Tom Stall is a diner owner who lives in the fictional small town of Millbrook, Indiana, with a loving wife Edie, teenage son Jack, and daughter Sarah. One night, two spree killers attempt to rob the restaurant. When a waitress is threatened, Tom deftly kills both robbers with surprising skill and precision. He is hailed as a hero by his family and the townspeople, and the incident makes him a local celebrity. Tom is visited by scarred gangster Carl Fogarty, who alleges that Tom is actually a Philadelphia professional hitman named Joey Cusack who had dealings with organized crime in Philadelphia. Tom vehemently denies this, but Carl remains persistent and begins to stalk the Stall family. Under pressure from Carl and his newfound fame, Tom's relationships with his family become strained. Following an argument with his father over the use of violence on a bully at his school, Jack runs away. He is caught by Carl, who, with Jack as his hostage, goes with his men to the Stall house and demands that \"Joey\" return to Philadelphia with them. After the gangsters release Jack, Tom is slow to join them in their car, so they attempt to force him to cooperate. Tom kills one of the two henchmen with the same precision he used against the robbers and severely injures the other, but Carl shoots Tom before he can do the same to him. As the gangster stands over Tom, preparing to kill him, Tom finally drops the fa\u00e7ade and admits he is indeed Joey. However, before Carl can deliver a coup de gr\u00e2ce, Jack kills him with the family's shotgun. At the hospital, Edie confronts Tom, claiming that while he was attacking Carl's men, she saw \"the real Joey\" that the gangster was talking about. Tom shocks Edie by admitting that he is actually Joey Cusack, and that he has killed for both money and pleasure. He tells Edie that he ran away from Philadelphia to escape his violent criminal past. This admission deepens the tensions in their marriage. After Tom gets out of the hospital, Sam, the local sheriff, pays a visit. Sam expresses confusion about everything that has happened. He tells Tom and Edie that these mobsters would never go to so much trouble unless they were certain that they had the right man. Just when Tom is about to confess, Edie lies to Sam, claiming that Tom is who he says he is, and that their family has suffered enough. At a loss for words after Edie breaks down into tears, Sam leaves. Edie and Tom then start slapping and hitting each other, their fight eventually culminating in violent sex on the stairs. Afterward, Edie and Jack continue to further distance themselves from Tom, leaving him isolated. He receives a call from his brother, crime boss Richie Cusack, who also demands his return to Philadelphia, or else he will come to Indiana to find him. After traveling to meet his brother, Tom learns that the other mobsters whom he had offended in Philadelphia took out their frustrations on Richie, penalizing him financially and delaying his advancement in the organization. Tom offers to make peace, but Richie orders his men to kill his brother. Tom manages to kill most of the guards and escape. As Richie and his last henchman are hunting for him, Tom kills the henchman, takes his gun, and confronts Richie outside; stunned, Richie says \"Jesus, Joey\" before Tom kills him with a single gunshot to the head, responding \"Jesus, Richie\". Tom returns home, where the atmosphere is tense and silent as the family sits around the dinner table. His young daughter eventually hands him a dinner plate. Some moments later, his son offers him a communal plate of food and Edie looks at Tom with tears in her eyes."}
{"movie_name":"The Lorax_2012","imdb_id":"tt1482459","script":"<script>\n  <scene>\n    <scene_description>Dr. Seuss' The Lorax Screenplay by Cinco Paul &amp; Ken Daurio Based on the Book by Dr. Seuss INT: THEATER - DAY The Lorax steps onto the stage in front of a large curtain and addresses the camera.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Hello, everybody. Thanks for coming.<\/dialogue>\n    <scene_description>The Lorax CLEARS his throat and reads from a card he holds.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>I am the Lorax. I speak for the trees. And I'd like to say a few words, if you please, Regarding the story that you're 'bout to see-- It actually happened--just take it from me. But there's more to this story than what's on the page, So please pay attention while I set the stage.<\/dialogue>\n    <scene_description>The Lorax tosses the card at the audience and walks off as the curtain opens, revealing Thneedville.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THNEEDVILLE - DAY<\/stage_direction>\n    <scene_description>TWO MAINTENANCE WORKERS work on a large \"Welcome to Thneedville\" sign. The slogan below it reads, \"Fantastic! Made of plastic! 100% Inorganic.\" The camera pushes past them and flies through the town, down to a suburban street.<\/scene_description>\n    <character>LORAX (V.O.)<\/character>\n    <dialogue>We open in Thneedville, a city, they say, That was plastic and fake, and they liked it that way. A Town Without Nature. Not one living tree. So what happened to them? Cue the music! Let's see...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THNEEDVILLE - PRESENT - MORNING<\/stage_direction>\n    <scene_description>SONG: \"THNEEDVILLE\" The MUSIC starts up on a LONG SHOT down the street of Thneedville suburbs. All of the houses look basically the same. Electric trees line the streets instead of street lamps. An O'Hare Air delivery truck drives down the street. FLOOSH! An INFLATABLE PLASTIC BUSH inflates. FLOOSH! Another. FLOOSH! Another. Then-- POP! a bed of PLASTIC FLOWERS pops up in time with the music complete with PLASTIC BUZZING BEES attached to wires.<\/scene_description>\n    <character>PLASTIC BEES<\/character>\n    <parenthetical>(mechanical voice)<\/parenthetical>\n    <dialogue>Buzz! Buzz! Buzz!<\/dialogue>\n    <scene_description>The DELIVERY MAN gets out of the truck and grabs an air bottle from it. He replaces an empty, used air bottle with a new one like a milkman. TITLE CARD: DR. SEUSS' THE LORAX EXT: TED'S HOUSE - PRESENT - SAME Nearby, TED, an 11-year-old boy and our hero, hops out of his second floor bedroom window, down a series of stairs, and flips over the railing into the air and lands on his SCOOTER. He snaps on his goggles, revs his engine, and takes off down the street. PULL BACK TO A WIDE SHOT of the entire neighborhood. All of the front doors of the houses open simultaneously and the PEOPLE OF THNEEDVILLE exit their houses singing happily.<\/scene_description>\n    <character>EVERYONE<\/character>\n    <dialogue>In Thneedville it's a brand new dawn!<\/dialogue>\n    <scene_description>PEOPLE drive by in their personalized vanity cars, including a BUSINESSMAN in his large STEAMROLLER SUV.<\/scene_description>\n    <character>EVERYONE<\/character>\n    <dialogue>With brand new cars And houses And lawns!<\/dialogue>\n    <scene_description>We pull back to see the rest of the neighborhood joining the traffic. Ted follows behind them on his scooter.<\/scene_description>\n    <character>EVERYONE<\/character>\n    <dialogue>Here in got-all-that-we-need-ville!<\/dialogue>\n    <scene_description>A MAN uses a bike pump to inflate his flaccid plastic bush. He's not paying attention and pumps the bush until it POPS, knocking him over. EXT: ROAD INTO TOWN - PRESENT - SAME The people of Thneedville sing as they commute to work past rows of FAKE TREES.<\/scene_description>\n    <character>EVERYONE<\/character>\n    <dialogue>In Thneedville we manufacture our trees<\/dialogue>\n    <scene_description>A little Girl, MARIE, uses a tire swing hanging from a metal tree.<\/scene_description>\n    <character>EVERYONE<\/character>\n    <dialogue>Each one is made in factories.<\/dialogue>\n    <scene_description>MAINTENANCE MEN opens up a PANEL in the electric tree revealing it's filled with BATTERIES.<\/scene_description>\n    <character>MAINTENANCE MAN<\/character>\n    <dialogue>And uses 96 batteries!<\/dialogue>\n    <scene_description>The lights on the tree go out as the batteries fall out. One of the Maintenance Men quickly tries to pick them up. Ted rides by on his scooter. The Singing Delivery Man walks up to an apartment, carrying a large O'HARE AIR BOTTLE.<\/scene_description>\n    <character>EVERYONE<\/character>\n    <dialogue>In Thneedville the air's not so clean<\/dialogue>\n    <scene_description>The Singing Delivery Man walks into a WOMAN'S APARTMENT. INT: APARTMENT - PRESENT - SAME A WOMAN opens the door and lets the Singing Delivery Man in. He replaces the large bottle of O'Hare Air hooked to her Fresh Air System.<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>So we buy it fresh!<\/dialogue>\n    <scene_description>The Singing Delivery Man PLOPS the bottle into the machine in time with the beat. She hands him money for the delivery.<\/scene_description>\n    <character>SINGING DELIVERY MAN<\/character>\n    <dialogue>It comes out this machine!<\/dialogue>\n    <scene_description>She takes a whiff of the fresh air. He takes a whiff of the money.<\/scene_description>\n    <character>WOMAN &amp; SINGING DELIVERY MAN<\/character>\n    <dialogue>Aaaaah!<\/dialogue>\n    <character>EVERYONE<\/character>\n    <dialogue>In satisfaction's guaranteed-ville!<\/dialogue>\n    <scene_description>EXT: DOWNTOWN - PRESENT - SAME Downtown a group of BUSINESSPEOPLE sing and dance as they head for work. The Maintenance Workers sweep garbage towards an open manhole.<\/scene_description>\n    <character>EVERYONE<\/character>\n    <dialogue>In Thneedville<\/dialogue>\n    <scene_description>The Singing Delivery Man jumps in front of the Maintenance Works and starts dancing.<\/scene_description>\n    <character>SINGING DELIVERY MAN<\/character>\n    <dialogue>We don't want to knoooow!<\/dialogue>\n    <scene_description>He does a spin and accidentally disappears down a MANHOLE.<\/scene_description>\n    <character>EVERYONE<\/character>\n    <dialogue>Where the smog and trash and chemicals go<\/dialogue>\n    <scene_description>A LITTLE BOY swims through the Thneedville River (which is unnaturally blue) wearing a big smile. His parents happily help him out of the river and give him a big hug.<\/scene_description>\n    <character>LITTLE BOY<\/character>\n    <dialogue>I just went swimming, and now I glow!<\/dialogue>\n    <scene_description>He glows and smiles even more. Ted zips by him on the scooter. EXT: MIDDLE OF TOWN - PRESENT - SAME We see a CHUBBY SURFER surfing on the fake ocean. A SNOWBOARDING TEEN zips down the snowy mountain next to him.<\/scene_description>\n    <character>EVERYONE<\/character>\n    <dialogue>In Thneedville we have fun year- round!<\/dialogue>\n    <scene_description>The Snowboarding Teen turns and sends a CLUMP OF SLUSH flying and it goes down the back of a GUY'S SWIMSUIT.<\/scene_description>\n    <character>EVERYONE<\/character>\n    <dialogue>We surf and snowboard right in town!<\/dialogue>\n    <scene_description>A group of SUNBATHERS sing like a church choir, holding their sun reflectors like choir folders.<\/scene_description>\n    <character>SUNBATHING CHOIR<\/character>\n    <dialogue>We thank the Lord for all we've got!<\/dialogue>\n    <scene_description>The Singing Delivery Man sings a beautiful solo as we reveal that the choir is singing at the grand opening of a new PARKING LOT (called Thneedville Parking).<\/scene_description>\n    <character>SUNBATHING MAN<\/character>\n    <dialogue>Including this brand new parking lot!<\/dialogue>\n    <scene_description>As the choir sings with religious fervor about the parking lot, people step our of their parked vehicles, get on the roofs of their cars, and JOYOUSLY sing along.<\/scene_description>\n    <character>EVERYONE<\/character>\n    <dialogue>Parking lot! Parking lot!<\/dialogue>\n    <scene_description>Nearby a WOMAN and her SON fly kites propelled by large fans.<\/scene_description>\n    <character>WOMAN WITH KITE<\/character>\n    <dialogue>It's him!<\/dialogue>\n    <scene_description>Everyone looks up and sees the O'HARE AIR BLIMP, which spews out smog from its exhaust. Projected on it's massive LCD screen is ALOYSIUS O'HARE, the financial king of Thneedville, owner of the O'Hare Air Co. Pudgy and clownish and tacky and loved by everyone. He leans out from the window and waves to the people down below.<\/scene_description>\n    <character>EVERYONE<\/character>\n    <dialogue>Ooh look! It's Aloysius O'Hare (Aloysius O'Hare) The man who found a way to sell air<\/dialogue>\n    <scene_description>INT: BLIMP - PRESENT - SAME O'HARE turns around in his office chair and walks out from behind his desk. EXT: THNEEDVILLE - PRESENT - SAME O'Hare stands on Mooney's hands outside the door.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>And became a zillionaire!<\/dialogue>\n    <scene_description>He dives off and falls down toward the ground. His parachute opens revealing an ad for O'Hare Air.<\/scene_description>\n    <character>EVERYONE<\/character>\n    <dialogue>Hip-hooray, hip-hooray!<\/dialogue>\n    <scene_description>As they celebrate we catch up with Ted, who is excitedly buying a REMOTE CONTROL AIRPLANE from a VENDOR at his kiosk. He gives the vendor his money and takes the new airplane, ecstatic.<\/scene_description>\n    <character>EVERYONE<\/character>\n    <dialogue>Hip-hip-hooray!<\/dialogue>\n    <scene_description>We're in the center of town. Here comes the elaborately choreographed big finish, reminiscent of \"Consider Yourself\" from Oliver. The huge mob engulfs Ted at the toy kiosk. People dance with their shopping bags, tossing them to each other. Businesspeople dance with their briefcases.<\/scene_description>\n    <character>EVERYONE<\/character>\n    <dialogue>In Thneedville We love living this way!<\/dialogue>\n    <scene_description>Suddenly the Singing Delivery Man reappears in frame, pushes the BAND LEADER aside, grabs his baton, and leads the MARCHING BAND down the street.<\/scene_description>\n    <character>SINGING DELIVERY MAN<\/character>\n    <dialogue>It's like living in paradise!<\/dialogue>\n    <character>EVERYONE<\/character>\n    <dialogue>It's perfect! And that's how it will stay!<\/dialogue>\n    <character>SINGING DELIVERY MAN<\/character>\n    <dialogue>Oh yeah!<\/dialogue>\n    <scene_description>Fireworks go off above the town. O'Hare walks up the steps of his oversized limo waving to the people like a politician before he gets in. The Singing Delivery Man dances on top of O'Hare's limo while spinning cheer-leading batons.<\/scene_description>\n    <character>EVERYONE<\/character>\n    <dialogue>Here in love the life we lead-ville Destined to succeed-ville We are all agreed-ville We're happy here in<\/dialogue>\n    <scene_description>CLOSE-UPS on various MOUTHS making the \"thhh\" sound.<\/scene_description>\n    <character>EVERYONE<\/character>\n    <dialogue>Thhhh--<\/dialogue>\n    <scene_description>Back to the wide shot showing the entire center of town.<\/scene_description>\n    <character>EVERYONE<\/character>\n    <dialogue>--needville!<\/dialogue>\n    <scene_description>As soon as the song's over, everyone immediately goes back to what they were doing. Mooney and McGurk help the frozen Singing Delivery Man off the roof of the limo. And out of the crowd zips Ted on his scooter, carrying the bag with the airplane in it. EXT: THNEEDVILLE - PRESENT - SAME Ted rides his scooter through town with the confidence of someone who knows the place like the back of his hand. EXT: AUDREY'S HOUSE - PRESENT - CONTINUOUS He ends up suburbia. Stops in front of a house. Gets off of his scooter. Reaches into the bag and pulls out the REMOTE- CONTROLLED AIRPLANE. Ted smiles as he admires it. Ted places it on the ground. Operates the remote control, and it TAKES OFF. Ted then flies the plane in a series of loop-dee-loops and then straight into someone's backyard. But instead of being upset, he smiles.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>He runs up to the front door of the house. RINGS the doorbell. Multiple times. As the door opens, Ted goes into a slow-mo fantasy, revealing-- AUDREY. A teenage girl, beautiful and cool, and much too old for Ted. Although he doesn't see it that way. He looks up at her worshipfully, suddenly awkward in her presence.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Oh, hi, Ted.<\/dialogue>\n    <scene_description>Ted breaks out of the fantasy.<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>(trying to play it cool)<\/parenthetical>\n    <dialogue>Oh, hey, Audrey. Hi.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Did your ball land in my backyard again?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>What?! No. Model airplane. This time.<\/dialogue>\n    <scene_description>Audrey smiles. Then leans in to Ted, conspiratorially.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Hey--do you wanna see something cool?<\/dialogue>\n    <scene_description>Ted stares back at Audrey. Are you kidding me?<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Come on!<\/dialogue>\n    <scene_description>Audrey turns to go into the house. Ted follows her, spraying breath freshener into his mouth as he enters. EXT: AUDREY'S BACKYARD - PRESENT - LATER Audrey takes her hands away from Ted's eyes and he looks up to see a MASSIVE MURAL in progress on the wall depicting a lush valley filled with TRUFFULA TREES. Ted stares up at the painting in awe.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Whoa. Did you p-- Did you paint this?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Do you like it?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>What?! Are you kidding? This is amazing.<\/dialogue>\n    <parenthetical>(points to trees)<\/parenthetical>\n    <dialogue>What are those?<\/dialogue>\n    <character>AUDREY<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>Those are trees. Real ones. They used to grow all around here.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>And people said that the touch of their tufts was softer than anything, even silk. And they smelled like butterfly milk.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Wow. What does that even mean?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>I know, right?<\/dialogue>\n    <scene_description>Audrey grabs Ted's arms and swings him over her head, so they both fall to the ground.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Whaaaa!<\/dialogue>\n    <parenthetical>(pained)<\/parenthetical>\n    <dialogue>Oh yeah.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>What I want more than anything in the whole world is to see a real living tree, growing in my backyard.<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>(thinking)<\/parenthetical>\n    <dialogue>So...if, say-- I'm just thinking out loud here... if a guy somehow got you one...<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Well, I'd probably marry him on the spot.<\/dialogue>\n    <parenthetical>(makes a face)<\/parenthetical>\n    <dialogue>I bet that sounds crazy. Does that sound crazy?<\/dialogue>\n    <scene_description>Ted looks up adoringly at Audrey.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>No. Not crazy!<\/dialogue>\n    <parenthetical>(clears his throat)<\/parenthetical>\n    <dialogue>Not crazy at all.<\/dialogue>\n    <scene_description>Ted smiles. A boy with a plan. INT: DINING ROOM - PRESENT - NIGHT Ted sits at the dinner table with his MOM and GRAMMY NORMA. He absentmindedly pokes at a PIECE OF JELLO shaped like BROCCOLI.<\/scene_description>\n    <character>TED'S MOM<\/character>\n    <dialogue>Ted, honey, don't play with your food. You either, Mom.<\/dialogue>\n    <scene_description>Grammy Norma dribbles a JELLO BROCCOLI like a basketball. She tosses it up and pops it in her mouth.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>So...Mom. Do you happen to know if there's like anyplace where I could get a real tree?<\/dialogue>\n    <scene_description>Grammy Norma reacts to this.<\/scene_description>\n    <character>TED'S MOM<\/character>\n    <dialogue>Ted, we already have a tree. It's the latest model.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Yeah, but I mean like a real one, that-- that grows out of the ground or whatever. You know, like a real tree.<\/dialogue>\n    <character>TED'S MOM<\/character>\n    <parenthetical>(makes face)<\/parenthetical>\n    <dialogue>Really? You'd rather have some dirty, messy lump of wood that just sticks out of the ground and it does what? I don't even know what it does. What's it's purpose? Look what we've got. It's the Oak- a-matic--the only tree with its own remote!<\/dialogue>\n    <scene_description>She points a REMOTE at the tree outside.<\/scene_description>\n    <character>TED'S MOM<\/character>\n    <dialogue>Summer, autumn, winter--<\/dialogue>\n    <scene_description>The tree changes with each click to match the season.<\/scene_description>\n    <character>TED'S MOM<\/character>\n    <dialogue>--and disco!<\/dialogue>\n    <scene_description>The tree now lights up in neon colors like a disco floor. And plays a Muzak version of \"The Hustle.\" Ted's Mom shimmies and sings along.<\/scene_description>\n    <character>TED'S MOM<\/character>\n    <dialogue>Doot doot doot doo-doot doo-doot doot doot! Come on, Ted, get into it, dance with the tree.<\/dialogue>\n    <scene_description>Ted sinks in his seat, mortified.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Mom... Oh, it hurts Mom. Please stop.<\/dialogue>\n    <scene_description>Ted's Mom clicks the remote and the music stops.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Sooooo, anyway, let's just say I need a tree. Where would I go? What do I do?<\/dialogue>\n    <character>GRAMMY NORMA<\/character>\n    <dialogue>Then you know what? You'd need to find the Once-ler.<\/dialogue>\n    <scene_description>Ted turns to Grammy Norma, surprised.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>The-- the what?<\/dialogue>\n    <character>TED'S MOM<\/character>\n    <dialogue>Mom, it's not really the time for one of your, you know, magical fables, okay?<\/dialogue>\n    <character>GRAMMY NORMA<\/character>\n    <dialogue>Oh, that's right. I forgot. I'm old and can't even remember to put my teeth in.<\/dialogue>\n    <character>TED'S MOM<\/character>\n    <dialogue>Stand down. That's not what I meant.<\/dialogue>\n    <character>GRAMMY NORMA<\/character>\n    <dialogue>No really, I forgot my teeth. Would you be a dear and go get them for me?<\/dialogue>\n    <character>TED'S MOM<\/character>\n    <parenthetical>(sighs)<\/parenthetical>\n    <dialogue>Sure, mom.<\/dialogue>\n    <scene_description>She exits. As soon as she's gone Grammy Norma plops in her teeth and turns dramatically to Ted.<\/scene_description>\n    <character>GRAMMY NORMA<\/character>\n    <parenthetical>(conspiratorially)<\/parenthetical>\n    <dialogue>Okay, here's the deal. The Once- ler is the man who knows what happened to the trees. You want one, you need to find him.<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>(suspicious)<\/parenthetical>\n    <dialogue>\"The Once-ler\"? Mmm-hm, okay. Grammy is this a real thing that we're talking about now?<\/dialogue>\n    <character>GRAMMY NORMA<\/character>\n    <dialogue>Oh, he's real, all right.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Well...where can I find him?<\/dialogue>\n    <scene_description>Grammy Norma appears behind Ted, scaring him. She gives him an intense look. CLAPS and the LIGHTS DIM.<\/scene_description>\n    <character>GRAMMY NORMA<\/character>\n    <dialogue>\"Far outside of town where the grass never grows and the wind smells slow-and-sour when it blows<\/dialogue>\n    <parenthetical>(makes spooky wind noises)<\/parenthetical>\n    <dialogue>...and no birds ever sing excepting old crows...\"<\/dialogue>\n    <parenthetical>(suddenly)<\/parenthetical>\n    <character>CAW!!!<\/character>\n    <dialogue>Ted jumps. Grammy Norma catches him.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Whoa! Quit doing that!<\/dialogue>\n    <character>GRAMMY NORMA<\/character>\n    <dialogue>That's the place where the Once-ler lives.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Wait--outside of town?<\/dialogue>\n    <scene_description>INT: TED'S BEDROOM - PRESENT - EVENING Ted empties an old jar filled with coins and collects THREE NICKELS.<\/scene_description>\n    <character>GRAMMY NORMA (V.O.)<\/character>\n    <dialogue>People used to say if you brought him fifteen cents...<\/dialogue>\n    <scene_description>INT: KITCHEN - PRESENT - EVENING RATTLE! Ted opens up the junk drawer and retrieves a NAIL.<\/scene_description>\n    <character>GRAMMY NORMA (V.O.)<\/character>\n    <dialogue>...a nail...<\/dialogue>\n    <scene_description>EXT: TED'S HOUSE - PRESENT - EVENING Ted searches around for snails. Picks a shell up. A GREAT- GREAT-GREAT-GRANDFATHER SNAIL, wrinkled and with a long beard, pops out.<\/scene_description>\n    <character>GRAMMY NORMA (V.O.)<\/character>\n    <dialogue>...and the shell of a great-great- great grandfather snail, he'd tell you everything.<\/dialogue>\n    <scene_description>Ted smiles. He's got everything he needs. EXT: FAR END OF TOWN - PRESENT - NIGHT Ted rides his scooter through to the edge of town. He looks up and sees a large pipe above his head with sign reading, \"VENT OUT.\" He follows the pipe which leads to a door high up in the middle of the wall. There is no way to get to it. Nearby, Ted spots a box on the wall with a warning sign which reads, \"AUTHORIZED PERSONNEL ONLY.\" Ted looks around, opens the box, and pushes the red button inside, which extends a brick from the wall out towards him.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Whoa!<\/dialogue>\n    <scene_description>Other bricks extend out forming a staircase up to the door. Ted gets back on his scooter and rides it up the stairs to the door where he sees a sign reading, \"Outside of Town.\" He turns a lever and the door opens like a bank vault. A RED LIGHT above the door starts blinking. The camera continues up into the sky, where the O'Hare Air Blimp hovers above. EXT: O'HARE'S BLIMP - PRESENT - NIGHT Establishing. INT: O'HARE'S BLIMP - PRESENT - SAME Aloysius O'Hare sits at his desk. Standing across from him are two MARKETING GUYS.<\/scene_description>\n    <character>MARKETING GUY #1<\/character>\n    <dialogue>Mr. O'Hare, what we've got for you is something that is going to take O'Hare Air to the next level.<\/dialogue>\n    <character>MARKETING GUY #2<\/character>\n    <dialogue>Now, Mr. O'Hare, I know what you're thinking. One, I've gotten rich selling people air that's fresher than the stinky stuff outside. Two, here's the important one, how could I possibly make even more money?<\/dialogue>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>We can tell you, sir, we can tell you!<\/dialogue>\n    <character>MARKETING GUY #1<\/character>\n    <dialogue>Check out this commercial. Huh?!<\/dialogue>\n    <scene_description>He clicks his remote and a COMMERCIAL appears on a screen. EXT: ROOFTOP - COMMERCIAL - DAY TWO GUYS sit in chairs on a rooftop.<\/scene_description>\n    <character>FIRST GUY<\/character>\n    <dialogue>Well, here goes another lame Saturday.<\/dialogue>\n    <character>SECOND GUY<\/character>\n    <dialogue>Dude...I don't think so.<\/dialogue>\n    <parenthetical>(chuckles)<\/parenthetical>\n    <dialogue>He smiles and pulls a six-pack of O'HARE AIR out of a cooler.<\/dialogue>\n    <character>FIRST GUY<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <scene_description>Pops one open, funky music begins playing, the sun comes out, and suddenly a bunch of BEAUTIFUL PEOPLE show up.<\/scene_description>\n    <character>FIRST GUY<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <character>SECOND GUY<\/character>\n    <dialogue>Oh, yeah! Right here.<\/dialogue>\n    <character>FIRST GUY<\/character>\n    <dialogue>Man!<\/dialogue>\n    <character>SECOND GUY<\/character>\n    <dialogue>Oh yeah!<\/dialogue>\n    <scene_description>TWO MEN open bottles and blow the air into their mouths.<\/scene_description>\n    <character>FIRST GUY<\/character>\n    <dialogue>Whaaaaa?!<\/dialogue>\n    <scene_description>A hot chick opens up a bottle in her face and it makes her hair blow sexily. The First Guy is amazed. Instant party! He and his buddy click their bottles together.<\/scene_description>\n    <character>ANNOUNCER (V.O.)<\/character>\n    <dialogue>O'Hare Purified Air. Freshness to go!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Please breathe responsibly.<\/dialogue>\n    <scene_description>INT: O'HARE'S OFFICE - PRESENT - SAME The commercial over O'Hare rubs his forehead.<\/scene_description>\n    <character>MARKETING GUY #1<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>MARKETING GUY #2<\/character>\n    <dialogue>Oh my goodness.<\/dialogue>\n    <character>MARKETING GUY #1<\/character>\n    <dialogue>Love it.<\/dialogue>\n    <character>MARKETING GUY #2<\/character>\n    <dialogue>Yeah...<\/dialogue>\n    <scene_description>Then he speaks.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>You gotta be kidding me! You really think people are stupid enough to buy this?!<\/dialogue>\n    <scene_description>The Marketing Guys keep pushing each other out of the way, vying for O'Hare's attention.<\/scene_description>\n    <character>MARKETING GUY #1<\/character>\n    <dialogue>Our research shows that if you put something in a plastic bottle, people will buy it.<\/dialogue>\n    <character>MARKETING GUY #2<\/character>\n    <dialogue>Exactly, and--<\/dialogue>\n    <scene_description>Marketing Guy #1 shoves Marketing Guy #2 aside and points to a chart showing air quality going down and sales going up.<\/scene_description>\n    <character>MARKETING GUY #1<\/character>\n    <dialogue>And what's more, when we build a new factory to make the plastic bottles, the air quality's just going to get worse.<\/dialogue>\n    <character>MARKETING GUY #2<\/character>\n    <dialogue>Which will make people want our air even more and drive sales... where? Through the roof!<\/dialogue>\n    <scene_description>O'Hare nods his approval.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>So in other words: the more smog in the sky...<\/dialogue>\n    <parenthetical>(chuckles)<\/parenthetical>\n    <dialogue>...the more people will buy.<\/dialogue>\n    <scene_description>The Marketing Guys laugh.<\/scene_description>\n    <character>MARKETING GUY #2<\/character>\n    <dialogue>Genius! That's why he's a genius!<\/dialogue>\n    <character>MARKETING GUY #1<\/character>\n    <dialogue>It even rhymes!<\/dialogue>\n    <character>O'HARE<\/character>\n    <dialogue>I'm aware it rhymes.<\/dialogue>\n    <scene_description>Suddenly a RED LIGHT on O'Hare's desk starts flashing. He looks at it. The door opens and his thugs MOONEY and MCGURK step in. The Marketing Guys grab their charts and run off.<\/scene_description>\n    <character>MARKETING GUY #2 (O.S.)<\/character>\n    <dialogue>Coats! Big coats!<\/dialogue>\n    <character>O'HARE<\/character>\n    <dialogue>What do you two knuckleheads want?! I'm in the middle of a meeting!<\/dialogue>\n    <scene_description>Mooney holds out a HANDHELD DEVICE. It reads \"SECURITY ALERT,\" and shows BLACK AND WHITE FOOTAGE of Ted trying to get out the door. O'Hare stares at it. Frowns.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>What?! Why is he leaving town? No one ever leaves town!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>See what he's up to.<\/dialogue>\n    <scene_description>INT: WALL - PRESENT - NIGHT Ted looks in though the door in the wall, revealing a large, dark room. He rides through the maze-like room on his scooter, passing a stream of gluppity-glup pouring out from a series of pipes.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Whoa!<\/dialogue>\n    <scene_description>A security camera watches him drive by. He continues over the stream on a small bridge until he reaches an exit. EXT: OUTSIDE OF TOWN - PRESENT - CONTINUOUS Ted comes out into the world outside of town. It's a desolate landscape. Filled with garbage and filthy water and tree stumps.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <scene_description>He's seeing his world as it really is. And it's a nightmare. Ted steels himself and continues on past the graveyard of tree stumps. A storm brews in the smoggy sky and he looks up to see an old Thneed billboard. Lightning FLASHES, distracting Ted, who is almost beheaded by a series of old, rusted axe blades. He dodges and weaves through them. He looks behind him to reveal it's a destroyed Axe Hacker. Lightning FLASHES in the sky again.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Oh, man...<\/dialogue>\n    <scene_description>Ted stops at a large ravine where a bridge is out. He looks around to see if there is another way to cross and spots some old barrels and a plank of wood. He gets an idea. EXT: RAVINE - PRESENT - LATER Ted revs his scooter and then takes off toward the ravine where he has setup the barrel and the plank of wood as a makeshift ramp. He intends to jump it, but as he reaches the end of the ramp he plummets down the side. He SCREAMS, but picks up so much speed that he drives right back up the other side. He flies into the air and bounces back down. He breathes a SIGH OF RELIEF and continues on his journey up the side of a mountain pass. EXT: DESOLATION - PRESENT - CONTINUOUS The city is far behind him now. Ted scooters through the fog, past warning signs reading, \"Stay out!\" and \"I mean it!\" and down the worn path where he comes to a stop in front of a hand-painted street sign covered in CROWS. He gets off his scooter and as he approaches it, the crows take off, revealing that it reads \"The Street of the Lifted Lorax.\" He keeps moving forward through the fog until he comes to a rickety old shack with a boarded-up window that looks like a strong wind might knock it over (otherwise known as The Lerkim). Ted stares at the spooky image, frozen. Then takes a deep breath and continues up the hill.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Whoa... All right...<\/dialogue>\n    <scene_description>He arrives in front of the Lerkim, which only looks creepier up close. He continues forward, not noticing that someone is watching him from inside the boarded up window. Ted walks past a small ring of stones. The word \"Unless\" is carved into one of them. Ted removes the money, nail, and snail from his pocket. The snail shakes his head, giving Ted a look like, \"Let's get out of here.\" Ted ignores the snail and heads up the steps leading to the front door. The wind whistles, and the old wood CREAKS beneath his feet. He gets more nervous with each step. The railing falls over scaring him. Then he arrives at the door with a sign above it reading, \"THE ONCE-LER\". Ted stares at it, then takes a deep breath and moves his shaking finger toward the doorbell. He presses it then-- WHIRRRRRRRR...CLANK! Immediately a crazy Seussian machine is activated.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Okay...<\/dialogue>\n    <scene_description>It catapults him into the air.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>What the--?!<\/dialogue>\n    <scene_description>A clamp catches by the seat of his pants just before he hits the ground and hoists him back up into the air.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Aiiiiiiiii!<\/dialogue>\n    <scene_description>KA-LUNK! The contraption comes to a stop, leaving Ted dangling in front of the Lerkim. He opens his eyes, surprised to be alive. Struggles to get loose. Two YELLOW EYES and two GREEN-GLOVED ARMS appear in the window. Ted, still hanging upside-down, stares at them, horrified.<\/scene_description>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>Who are you?!<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Aaaaaaaah!<\/dialogue>\n    <scene_description>Ted squirms and wriggles like a worm on a hook. The voice barks even louder.<\/scene_description>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>WHO ARE YOU?! And what are you doing here?!<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>(out of breath)<\/parenthetical>\n    <dialogue>I'm Ted. I'm Ted! Oh, can't breathe. Are you--are you...the Once-ler? Oh, man.<\/dialogue>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>Didn't you read the signs? No one is supposed to come here!<\/dialogue>\n    <scene_description>The clamp spins Ted around, lowers him to the ground and lets him go. Then it begins pushing him back down the path toward Thneedville.<\/scene_description>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>Get out of here and leave me alone! And don't let the boot hit you on the way out.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>The boot?<\/dialogue>\n    <scene_description>A mechanical boot kicks Ted in the butt.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Whoa, hello! Ow...<\/dialogue>\n    <scene_description>He stops and turns back around, holding out the payment in his hand.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Listen, people say that if someone brings you this stuff that you'll tell them about trees!<\/dialogue>\n    <scene_description>There's a pause. That word got the Once-ler's attention. The mechanical arm comes back and grabs Ted again bringing him up to the window.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Oh, no-no-no-no! Whoa.<\/dialogue>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>Trees?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Yeah. Real ones, you know, that grow out of the ground.<\/dialogue>\n    <scene_description>A very long pause.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>Sorry...it's just... Well, I didn't think anyone still cared about trees.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Well, that's me! The guy who still cares. I'm here! Hey, what-- Whoa!<\/dialogue>\n    <scene_description>The mechanical arm deposits Ted on the pile of rocks.<\/scene_description>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>You want to know about trees? About what happened to them? Why they're all gone?<\/dialogue>\n    <scene_description>Ted looks up at the window.<\/scene_description>\n    <character>ONCE-LER (O.S.)<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>It's because of me.<\/dialogue>\n    <scene_description>A look of shock comes over Ted's face.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Wait, what?<\/dialogue>\n    <scene_description>The Once-ler lowers a long metal tube, the Whisper-Ma-Phone, out of his window. Ted leans in to listen.<\/scene_description>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>It's because of me!<\/dialogue>\n    <scene_description>The Whisper-Ma-Phone blows out dust causing Ted to COUGH.<\/scene_description>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>And my invention. The Thneed. It was an amazing product that could do the job of a thousand!<\/dialogue>\n    <scene_description>The Once-ler holds a Thneed out and shows it to Ted.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Alright...sounds ridiculous. But, I mean, that's cool.<\/dialogue>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>You're darn right it was cool!<\/dialogue>\n    <parenthetical>(sighs)<\/parenthetical>\n    <dialogue>It all started a long time ago...<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Can we start not so long ago maybe?<\/dialogue>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>Do you want a tree?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Yes. Yes...<\/dialogue>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>Then it all started a long, long time ago...<\/dialogue>\n    <scene_description>EXT: ONCE-LER FAMILY HOME - PAST - DAY Cross dissolve from Old Once-ler to a much younger Once-ler sitting on a COVERED WAGON which is hitched to a sad-looking mule named MELVIN in front of a nice house with a CAR parked in front. Standing there to see him off are his MOTHER, his moronic brothers BRETT and CHET, his monstrous GREAT-AUNT GRIZELDA, and his unctuous UNCLE UBB.<\/scene_description>\n    <character>ONCE-LER (V.O.)<\/character>\n    <dialogue>I was a young man leaving home...<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>Well, here I go, Mom. Off to change the world with my Thneed! I'm actually doin' it!<\/dialogue>\n    <character>ONCE-LER'S MOM<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <parenthetical>(sweetly)<\/parenthetical>\n    <dialogue>But just remember, Oncie--if somehow your invention ends up a failure instead of a success...<\/dialogue>\n    <parenthetical>(abruptly switches gear)<\/parenthetical>\n    <dialogue>Well, it wouldn't surprise me at all!<\/dialogue>\n    <scene_description>The family LAUGHS at this.<\/scene_description>\n    <character>UNCLE UBB<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>Chet punches Once-ler in the arm.<\/scene_description>\n    <character>CHET<\/character>\n    <dialogue>Nice wheels! Burn!<\/dialogue>\n    <scene_description>Melvin kicks Chet back over toward the family. The Once-ler LAUGHS IT OFF.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Haha. Yeah, burn! But you'll see, okay--I'm gonna prove you all wrong! C'mon, Melvin!<\/dialogue>\n    <scene_description>More laughter from the family. The Once-ler tries to ignore this. EXT: DESERT - PAST - DAY The wagon makes its way across a country road. The Once-ler strums his ELECTRIC GUITAR.<\/scene_description>\n    <character>ONCE-LER (V.O.)<\/character>\n    <dialogue>So there I was at the very bottom with nothing but a wagon, a mule, and a completely irrational sense of optimism.<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <parenthetical>(singing)<\/parenthetical>\n    <dialogue>Na na nana na na Oh bop-bah-da-da-do-do-do Thneed-Thneed-Thneed, Thneeda- Thneed-Thneed-Thneed<\/dialogue>\n    <character>ONCE-LER (V.O.)<\/character>\n    <dialogue>I was searching the globe, obsessed with finding the perfect material for my Thneed.<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <parenthetical>(singing)<\/parenthetical>\n    <dialogue>La-la-la-la-la...<\/dialogue>\n    <scene_description>EXT: MOUNTAIN PASS - PAST - DAY The Once-ler sleeps as MELVIN his mule continues on.<\/scene_description>\n    <character>ONCE-LER (V.O.)<\/character>\n    <dialogue>But I'd had absolutely no success. Until one day...I found paradise...<\/dialogue>\n    <scene_description>Melvin kicks the Once-ler awake.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <parenthetical>(startled)<\/parenthetical>\n    <dialogue>Oh! We're gonna be there soon! I'm sure it's like-- Whoa!<\/dialogue>\n    <scene_description>PULL BACK TO REVEAL: The TRUFFULA VALLEY. It is paradise. They look around and see blue skies, green grass, a flowing river, woodland creatures and hundreds of tall TRUFFULA TREES with their colorful tufts swaying in the afternoon breeze. It's magical.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>This is the most beautiful place, okay, I have ever seen.<\/dialogue>\n    <scene_description>The music swells. Then the Once-ler looks down to see THREE HUMMING-FISH walk up and strike a pose in front of him. They look up and gesture towards the beautiful valley behind them.<\/scene_description>\n    <character>HUMMING-FISH<\/character>\n    <dialogue>Taa-daa!<\/dialogue>\n    <scene_description>They each HUM as they dive off into a nearby pond.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Whoa!<\/dialogue>\n    <scene_description>The Once-ler watches as the Humming-Fish continue HUMMING down the hill past a fat Bar-Ba-Loot, named LOU, who stuffs his face with Truffula fruit. PIPSQUEAK a baby Bar-Ba-Loot sits next to him eating his own piece of fruit. Then a series of Bar-Ba-Loots jump onto Lou's head and stand on one another's shoulders to get to some fruit high in the tree. Pipsqueak is passed up the chair of Bar-Ba-Loots and he grabs the fruit for the group. In the tuft above them, a SWOMEE-SWAN flies off into the sky, revealing a nest with BILL, a baby Swomee-Swan, in it. Bill YAWNS and HONKS at camera. We follow the Swomee-Swan as it flies through the forest, past a stream and to a clear blue pond where-- The Trio of Humming-Fish climb out of the water onto a rock and HUM like an a cappella group. Then they slide back down into the water and their HUMMING becomes GURGLING. Melvin pulls the wagon down into the valley, where all of the curious animals gather around them. The Once-ler hops down from the wagon with his guitar and starts begins rocking out.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>This is it!<\/dialogue>\n    <scene_description>Two Bar-Ba-Loots look at each other, confused.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>This is the place! These Truffula Trees are just'a what I need!<\/dialogue>\n    <scene_description>The Bar-Ba-Loots hear him playing and come over to investigate.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Gonna chop one down and make my Thneed. But first--<\/dialogue>\n    <scene_description>THWACK! As he stands up he accidentally smacks a Bar-ba-loot with his guitar. Then he tosses it up into the air and runs off screen. One Bar-Ba-Loot pushes another out of the way as the guitar falls back down to the ground and nearly clobbers him. The Once-ler sings and dances through the valley, followed by the curious animals.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Na na nanana na Na na nanana na<\/dialogue>\n    <parenthetical>(to animals)<\/parenthetical>\n    <dialogue>Now you!<\/dialogue>\n    <scene_description>The animals, caught up in the music, join in singing and dancing with the Once-ler.<\/scene_description>\n    <character>ANIMALS<\/character>\n    <dialogue>Na na nanana na Nana na nana na na na!<\/dialogue>\n    <scene_description>Lou gets into it and doesn't realize the other animals have danced off after the Once-ler. He opens his eyes and runs after them.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>That's great!<\/dialogue>\n    <parenthetical>(scats to the music)<\/parenthetical>\n    <character>ANIMALS<\/character>\n    <dialogue>Na na nanana na Nana na nana na na na! Bob-shoo-bop Bob-shoo-bop<\/dialogue>\n    <scene_description>He goes into the back of the wagon, pulls out a spatula, and sings into it like a microphone.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>So now our friendship can begin. Hand-and-hand and wing and fin.<\/dialogue>\n    <scene_description>The Once-ler goes back into the wagon and begins unpacking, obliviously tossing tools over his head at the animals.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>There's nothing you and I can't do So let's all make my dreams come true! Yodelhoo... Yodelay-hee-hoo...<\/dialogue>\n    <scene_description>A saw, shovel, pruning shears, and an axe land right in front of different animals, almost hitting them. Then a hair trimmer bounces past shaving the stomach of a Bar-Ba-Loot, who quickly covers up, embarrassed. A tube of toothpaste lands in front of a Humming-Fish. Then a mallet lands on that, squirting the toothpaste all over his face. A beard trimmer flies out and shaved one of the Bar-Ba-Loots. A tube of toothpaste explodes on another one.<\/scene_description>\n    <character>ANIMALS<\/character>\n    <dialogue>Na na nanana na Nana na nana na na na! Na na nanana na Nana na nana na na na!<\/dialogue>\n    <scene_description>The wagon unpacked, the oblivious Once-ler pulls out an axe and goes for the big finish.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Oh Yodelay-Yodelay-heee-hoooo--<\/dialogue>\n    <scene_description>Instead of jubilantly joining in the chorus, the angry mob of animals have all turned against the Once-ler. One Swomee-Swan has a stick and taps it against his winged- palm menacingly.<\/scene_description>\n    <character>LOU<\/character>\n    <dialogue>Na na nanana na<\/dialogue>\n    <scene_description>Lou dances over and then notices that everyone else is angry and he stops singing.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Hey, guys. Come on! Where's my back up chorus?<\/dialogue>\n    <scene_description>The Bar-Ba-Loots GROWL at the Once-ler. A Humming-Fish picks up a set of egg beaters and winds them menacingly. EXT: TRUFFULA VALLEY - PAST - CONTINUOUS The Once-ler turns back to his wagon and grabs TWO LARGE SACKS.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Ah-ha!<\/dialogue>\n    <scene_description>Then he realizes they are filled with marshmallows.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Oh!<\/dialogue>\n    <scene_description>An Angry Bar-ba-loot lunges for him and the Once-ler screams like a girl, holding the sack up as a shield. RIIIIP! MARSHMALLOWS fly out into the air. The marshmallow rain down into the angry animals' mouths, who eat them. MMMMM! It's like a switch has been flipped.<\/scene_description>\n    <character>ANIMALS<\/character>\n    <dialogue>Ooooh!<\/dialogue>\n    <scene_description>They all love marshmallows! All of the animals frolic and play in them. A Bar-Ba-Loot jumps through the air in slo-mo catching one in his mouth. Down below, other Bar-Ba-Loots spin around grabbing as many in their mouths as they can. Humming-Fish eat ones floating in the water. A Swomee-Swan drops Pipsqueak down into the pond, which is filled with them. A Humming Fish rides on a Bar-Ba-Loot through the marshmallows like a Gondolier. The Once-ler looks down at Pipsqueak who has a huge smile, revealing dozens of marshmallows crammed in his mouth. Clearly he's going for the record. The Once-ler looks down at him with a smile.<\/scene_description>\n    <character>TED (O.S.)<\/character>\n    <dialogue>Hey-hey-hey-hey. Wait. Wait a minute.<\/dialogue>\n    <scene_description>The Once-ler looks around to see where the voice is coming from. EXT: LERKIM - PRESENT - NIGHT Back to the Once-ler looking down at Ted from his Lerkim.<\/scene_description>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Um, yeah, that's awesome. You know, feeding junk food to forest animals. That's great. But, uh, is there a musical number where you show me how to get a tree? 'Cause I'd love to hear that one.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>Oh, yes. Right after the musical number about the kid who kept interrupting the story and was never heard from again. Mm-hm.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Right, got it.<\/dialogue>\n    <parenthetical>(gestures with hand)<\/parenthetical>\n    <dialogue>Proceed.<\/dialogue>\n    <scene_description>EXT: TRUFFULA VALLEY - PAST - DAY The Once-ler puts on a pair of work gloves and grabs a large AXE.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>All right! Here we go. About to make a Thneed. About to change the world.<\/dialogue>\n    <scene_description>The animals all stare at the shiny metal axe and watch the Once-ler as he walks over to the tall Truffula tree. He raises the axe up over his head. The animals watch curiously. CHOP! The axe cuts into the tree with a sound that echoes through the valley. The tree creaks and moans as it falls and hits the ground with a THUD. The animals react in horror. What did he just do? The Once-ler stares at the tree, impressed.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Check it out guys... Huh?<\/dialogue>\n    <scene_description>He looks around, noticing all of the animals are gone.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Oh, where'd everybody go?<\/dialogue>\n    <scene_description>He shrugs, then grabs the tree by the trunk and drags it away toward his cottage. EXT: LERKIM - PRESENT - NIGHT The Once-ler continues the story.<\/scene_description>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>Little did I know that by chopping down that tree I had just summoned a mystical creature as old as time itself. The legendary--slightly annoying--guardian of the forest.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>The Lorax.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRUFFULA VALLEY - PAST - DAY<\/stage_direction>\n    <scene_description>The animals investigate the stump. A Humming-Fish pokes at it. Suddenly the ground starts rumbling. The animals scatter. There's a LOUD NOISE and a FLASH OF LIGHT as a thunderstorm shoots out of the stump. The animals watch from a safe distance. The one fish slaps the other fish for poking the stump. The Swomee-Swans shove their head in the ground like ostriches. A Bar-Ba-Loot tries it and knocks himself out. A series of lightning bolts hit the stump causing an explosion that reverberates through the valley. Lou struggles to stand up in the wind. A fish flies into his face, knocking him over. The whole thunderstorm is sucked back into the stump and out pops-- THE LORAX. Shortish, brownish, and in charge. He slowly stands up. Sees the stump, reacts horrified.<\/scene_description>\n    <character>LORAX<\/character>\n    <parenthetical>(in disbelief)<\/parenthetical>\n    <dialogue>What the w-- Who the-- Oh!<\/dialogue>\n    <scene_description>The animals watch as he collects some ROCKS and stacks them on the stump, creating a memorial. Pipsqueak sees this. He brings over a rock and offers it to the Lorax. Other animals join him. When they are done they take a moment of silence for the stump. Pipsqueak walks over and holds the Lorax's hand. Lou awkwardly grabs the Lorax's other hand and starts blubbering. Then the Lorax hears the Once-ler WHISTLING and spots him ripping tufts from the Truffula tree. The Lorax furrows his brow and walks over to investigate. The Once-ler shakes the tufts like pom-poms as he pulls them off the felled tree. Then he pulls another piece of the tuft and the Lorax comes up with it.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>The Once-ler is startled and trips, falling to the ground.<\/scene_description>\n    <character>LORAX<\/character>\n    <parenthetical>(accusingly)<\/parenthetical>\n    <dialogue>Did you chop down this tree?<\/dialogue>\n    <scene_description>Pipsqueak curiously wanders over to them.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>What? Uh... no. Who did it?<\/dialogue>\n    <parenthetical>(gasps, points offscreen)<\/parenthetical>\n    <dialogue>What's that?!<\/dialogue>\n    <scene_description>The Lorax looks away and Once-ler drops the axe onto Pipsqueak.<\/scene_description>\n    <character>PIPSQUEAK<\/character>\n    <dialogue>Oy!<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>I think he did it.<\/dialogue>\n    <scene_description>The Lorax isn't buying it.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Leave! Vacate the premises! Take your axe and get out!<\/dialogue>\n    <scene_description>The Once-ler stares at the Lorax.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>And who are you?<\/dialogue>\n    <scene_description>The Once-ler pokes the Lorax in the belly.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>What-- what?!! I'm-- I'm the Lorax!<\/dialogue>\n    <parenthetical>(off Once-ler's blank look)<\/parenthetical>\n    <dialogue>Guardian of the forest. I speak for the trees.<\/dialogue>\n    <parenthetical>(still blank)<\/parenthetical>\n    <dialogue>So you're telling me you just didn't see me magically appear out of that stump? With all the lightning and thunder and stuff? You didn't see any of that?<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>No. But that sounds amazing. Can I see some of that?<\/dialogue>\n    <character>LORAX<\/character>\n    <dialogue>Uh... yeah, I could show you. But that's not how it works.<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <parenthetical>(condescending)<\/parenthetical>\n    <dialogue>Okay, um... Didn't really happen.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Oh, I know what you want!<\/dialogue>\n    <parenthetical>(pokes Lorax's nose)<\/parenthetical>\n    <dialogue>He reaches into his pocket and pulls out a MARSHMALLOW. Holds it out.<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <parenthetical>(baby talk)<\/parenthetical>\n    <dialogue>I've got one of these for the cutest little guy I ever saw. Yummy-yummy-yummy...<\/dialogue>\n    <scene_description>The Lorax stares at the marshmallow.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>How dare you! Give me that!<\/dialogue>\n    <scene_description>He grabs the marshmallow. Sniffs it. It smells good.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Hmmm... I'm going to eat this, but I am highly offended by it.<\/dialogue>\n    <scene_description>He plops it into his mouth. Then makes his way over to the Once-ler's tent-house which is being supported by stakes and ropes. Kick out a STAKE. The canvas starts to sag.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Whoa, what are you-- What?! Hey, mustache! Will you stop that!<\/dialogue>\n    <scene_description>The Lorax continues circling around the tent-house pulling up stakes. The Once-ler grabs his HAMMER and follows, pounding them back in.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>What's your deal, man?!<\/dialogue>\n    <character>LORAX<\/character>\n    <dialogue>Time for you to go, beanpole!<\/dialogue>\n    <scene_description>They circle faster and faster around the tent-house, the Lorax pulling up stakes and the Once-ler pounding them back in.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Pull 'em right out and I'm just gonna put 'em right back in. I can do this all day. Unbelievable.<\/dialogue>\n    <scene_description>Until the Once-ler turns a corner and is about to bring his hammer down on-- Pipsqueak. The Lorax has placed him right where the stake would have been. The Lorax holds up his hand to stop the Once-ler.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Whoa! Stop right there! Stop it! So you'd hammer one of nature's innocent creatures?<\/dialogue>\n    <scene_description>The Lorax pats Pipsqueak on the head and he happily runs offscreen.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <parenthetical>(horrified)<\/parenthetical>\n    <dialogue>What?! No, I would never hit this little guy. You, on the other hand, I would gladly pound you and your mustache into the ground.<\/dialogue>\n    <scene_description>The Lorax turns to all of the watching animals.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Behold the intruder and his violent ways!<\/dialogue>\n    <parenthetical>(to the Once-ler)<\/parenthetical>\n    <dialogue>Shame on you. For shame.<\/dialogue>\n    <scene_description>The Once-ler drops the hammer and hides it behind his feet. Then he sees all of the animals nodding their heads in agreement. The Once-ler's had it.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>All right, you know what, that's it.<\/dialogue>\n    <parenthetical>(points at Lorax)<\/parenthetical>\n    <dialogue>You listen to me, you furry meatloaf. I'm gonna chop down as many trees as I need. Okay, news flash, not going anywhere. End of story!<\/dialogue>\n    <scene_description>He turns and enters his cottage. His sticks his tongue out and does RASPBERRIES to the Lorax before slamming the door behind him. INT: ONCE-LER'S COTTAGE - PAST - CONTINUOUS The Once-ler sighs heavily, shaking his head.<\/scene_description>\n    <character>LORAX (O.S.)<\/character>\n    <dialogue>Then you leave me no choice.<\/dialogue>\n    <scene_description>Startled, the Once-ler turns and sees that the Lorax is somehow inside with him. He points a threatening finger at the Once-ler and speaks in a spooky voice as if he's casting a spell.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>If you're not gone by the time the sun sets on this valley, all the forces of nature will be unleashed upon you and curse you until the end of your days!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You have been warned.<\/dialogue>\n    <scene_description>Lorax turns to make a dramatic exit, but can't reach the doorknob of Once-ler's door. He hops a couple of times. Finally, the Once-ler lets him out.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>Yeah, okay.<\/dialogue>\n    <scene_description>Then:<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>You have been warned!<\/dialogue>\n    <scene_description>The Lorax storms out and slams the door, leaving the Once-ler alone in his cottage. EXT: LERKIM - PRESENT - NIGHT Back to the Once-ler looking down at Ted from his Lerkim. Ted is clearly entranced by the story.<\/scene_description>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>But I didn't listen to his warning. And you won't believe what happened that night...<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>If you want to hear more, come back tomorrow.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Hey, wait, wait! Tomorrow?<\/dialogue>\n    <scene_description>The Whisper-Ma-Phone gets pulled back up. Ted leaps up and grabs it, getting carried up.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Whooooa!<\/dialogue>\n    <scene_description>The Whisper-Ma-Phone retracts into the shutters. Ted is flipped up into a bucket hanging near the window.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Are you serious right now? Ugh! You live in the middle of nowhere! It stinks out here! Don't make me come back.<\/dialogue>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>Then I guess you don't really want to hear the rest of the story.<\/dialogue>\n    <scene_description>Once-ler quickly drops the bucket down, and Ted with it. The bucket stops right before the ground and the claw comes down and knocks Ted out of it. Ted gets back up and shouts up to the Once-ler.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>No, no, no, no, I do. I really do. I wanna hear the story, I just--<\/dialogue>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>Nah! You don't have what it takes. Goodbye!<\/dialogue>\n    <scene_description>His green arms leave the window. Ted realizes he's pushed too much, and does an about-face.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Wait, wait, wait! I have what it takes. It's alright. It's okay. I'll come back. It's no problem!<\/dialogue>\n    <scene_description>Ted turns and quickly heads down the path back to his scooter.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>See, here I am leaving! Walking away now. I'll see you tomorrow!<\/dialogue>\n    <scene_description>The Once-ler watches Ted as he runs down the path.<\/scene_description>\n    <character>ONCE-LER (O.S.)<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>Hmmmmm. Maybe...just maybe.<\/dialogue>\n    <scene_description>INT: AUDREY'S HOUSE - TED'S DAYDREAM - DAY CLOSE ON a BIRTHDAY CAKE with sixteen candles. Audrey stands in front of the cake as a bunch of PARTYGOERS sing.<\/scene_description>\n    <character>PARTYGOERS<\/character>\n    <dialogue>Happy Birthday to you!<\/dialogue>\n    <scene_description>Audrey closes her eyes, makes a wish, and blows out the candles.<\/scene_description>\n    <character>WOMAN (O.S.)<\/character>\n    <dialogue>What'd you wish for, Audrey?<\/dialogue>\n    <scene_description>Audrey smiles.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Well, I'd love to tell you, but sadly, according to the universal wish laws, I cannot.<\/dialogue>\n    <character>TED (O.S.)<\/character>\n    <dialogue>Oh, I know what she wished for.<\/dialogue>\n    <scene_description>Audrey turns and sees Ted playing the piano on a balcony above. In a TUXEDO. He hops onto the railing of a spiral staircase and slides down to the first floor, where he continues sliding past a WAITER who holds a tray with an milkshake. Ted grabs it as he continues sliding to a TALL OBJECT covered with a VELVET CLOTH.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Was it perhaps...<\/dialogue>\n    <parenthetical>(takes a sip from the shake)<\/parenthetical>\n    <dialogue>Uh--this?<\/dialogue>\n    <scene_description>He removes the velvet cloth, revealing a POTTED TRUFFULA TREE. The party erupts in CHEERS and APPLAUSE and FLASHBULBS POP. Audrey can't believe her eyes.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Ted, you-- You didn't.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Oh, no, I totally did. Happy Birthday, Audrey.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Oh...<\/dialogue>\n    <scene_description>The crowd starts chanting.<\/scene_description>\n    <character>PARTYGOERS<\/character>\n    <dialogue>Kiss him! Kiss him! Kiss him!<\/dialogue>\n    <scene_description>Ted turns to Audrey and shrugs. What can we do? Audrey looks Ted right in the eyes. She moves in for a kiss and Ted puckers up.<\/scene_description>\n    <character>TED'S MOM'S VOICE (O.S.)<\/character>\n    <dialogue>Ted!<\/dialogue>\n    <scene_description>INT: DINING ROOM - PRESENT - MORNING Ted comes out of his daydream. He is sitting at the table kissing a CEREAL BOX (EMPTY-O'S).<\/scene_description>\n    <character>TED'S MOM<\/character>\n    <dialogue>Ted. Tedster.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <scene_description>His Mom sits next to him.<\/scene_description>\n    <character>TED'S MOM<\/character>\n    <dialogue>You're kissing the cereal again, hon.<\/dialogue>\n    <scene_description>Ted realizes he's been caught kissing a cereal box.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>What? I just...I like-- I like this cereal. What one is this? Yeah!<\/dialogue>\n    <scene_description>Ted shoves a huge spoonful of cereal in his mouth.<\/scene_description>\n    <character>TED'S MOM<\/character>\n    <dialogue>O-kay... Well I'll make sure to buy extra next time for you.<\/dialogue>\n    <scene_description>Ted gets up and rushes for the door.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>All right, cool. Hey, I gotta run. I gotta go do...a thing...so... I'll see you guys.<\/dialogue>\n    <scene_description>Mom quickly reaches out a hand and grabs him by his shirt collar, stopping him.<\/scene_description>\n    <character>TED'S MOM<\/character>\n    <dialogue>Whoa, whoa, whoa! You're not going anywhere, young man. It's Sunday. You know what that means? Family time. And we're all playing board games!<\/dialogue>\n    <scene_description>Ted's face falls. Grammy Norma watches, interested.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>But--<\/dialogue>\n    <scene_description>INT: TED'S HOUSE - PRESENT - DAY Ted sits at the table with his Mom and Grammy Norma playing a word game. Grammy Norma surveys the board, holding a letter in each hand.<\/scene_description>\n    <character>GRAMMY NORMA<\/character>\n    <dialogue>Hmmm. Hmmm. Oooh! No...<\/dialogue>\n    <scene_description>Ted SIGHS.<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>(whispers to himself)<\/parenthetical>\n    <dialogue>Oh man...<\/dialogue>\n    <scene_description>Mom is also getting frustrated.<\/scene_description>\n    <character>TED'S MOM<\/character>\n    <parenthetical>(to Grammy Norma)<\/parenthetical>\n    <dialogue>Mom, seriously--every turn?<\/dialogue>\n    <character>GRAMMY NORMA<\/character>\n    <dialogue>Hey, back off!<\/dialogue>\n    <parenthetical>(surveys the board)<\/parenthetical>\n    <dialogue>Oooh! No.<\/dialogue>\n    <scene_description>Ted's head hits the table. Mom stands up. She's had it.<\/scene_description>\n    <character>TED'S MOM<\/character>\n    <dialogue>Okay, Family Time is over! It is now Personal Time, I'll be in my room!<\/dialogue>\n    <character>GRAMMY NORMA<\/character>\n    <dialogue>Oh, okay, dear. Have fun!<\/dialogue>\n    <scene_description>She heads upstairs to her room. As soon as she's gone Ted turns to see Grammy's face right next to his.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Whoa!<\/dialogue>\n    <character>GRAMMY NORMA<\/character>\n    <dialogue>I knew I could break her. Go.<\/dialogue>\n    <scene_description>Ted's confused. Grammy Norma gestures to the door.<\/scene_description>\n    <character>GRAMMY NORMA<\/character>\n    <dialogue>Go see him!<\/dialogue>\n    <scene_description>Ted realizes what she means. Smiles.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Oh, yeah! You rule! Thank you, Grammy!<\/dialogue>\n    <scene_description>And he runs out the door. EXT: THNEEDVILLE - PRESENT - DAY Ted rides his scooter through the street on his way back to the door out of town. EXT: ALLEY - PRESENT - CONTINUOUS Ted turns into an alley and runs into someone. He falls off his scooter. He looks up at Mooney and McGurk. Mooney sips from a tiny O'Hare Air can and then crushes it with his fingers. They step aside revealing, Aloysius O'Hare, who uses their hands to walk down to the ground from his car.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>Hey, Ted, right?<\/dialogue>\n    <scene_description>He signs a document and then sticks his pen in the palm of Mooney's hand. Mooney GROANS.<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>(a bit creeped out)<\/parenthetical>\n    <dialogue>Uh... Mr. O'Hare.<\/dialogue>\n    <scene_description>O'Hare gives Mooney and McGurk a look. They close like automatic doors, completely sealing off the alleyway. O'Hare puts a hand on Ted's shoulder.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>So I hear you've become interested in trees. What's that all about?<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>(chuckles nervously)<\/parenthetical>\n    <dialogue>Oh, um... Where'd you hear that?<\/dialogue>\n    <scene_description>O'Hare smiles.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>Oh, Teddy, there's not much that goes on in Thneedville that I don't know about.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Here's the deal. I make a living selling fresh air to people. Trees, oh, they make it for free. So when I hear people talking about them, I consider it kind of a threat to my business.<\/dialogue>\n    <parenthetical>(growls)<\/parenthetical>\n    <character>TED<\/character>\n    <dialogue>C'mon, I don't even know what you're talking about, I...<\/dialogue>\n    <scene_description>O'Hare, furious, gets right in Ted's face.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>Listen to me, boy. Don't go poking around in things you don't understand. Or I'll be your worst nightmare! I'm Frankenstein's head on a spider's body!<\/dialogue>\n    <scene_description>Ted nods, trying not to freak out.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Yeah, um, okay... my mom's expecting me so I'm just gonna--<\/dialogue>\n    <character>O'HARE<\/character>\n    <parenthetical>(chuckles)<\/parenthetical>\n    <dialogue>Of course, of course, now go back to your family game time. Grandma just finished her turn.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>How-- How did you know?<\/dialogue>\n    <character>O'HARE<\/character>\n    <dialogue>Please. I have eyes everywhere.<\/dialogue>\n    <scene_description>Mounted security cameras turn to face Ted. The eyes of a BABY IN A BILLBOARD move to look at him. A ROBOT CAT turns its head 180 degrees to stare at him.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>You got a beautiful town here, Ted. Lots of fun stuff to occupy your short attention span. Why I can't think of any reason you'd ever want to go outside of town again. Ever.<\/dialogue>\n    <scene_description>O'Hare gestures to Mooney and McGurk, who menacingly straighten the kinked neck of Ted's scooter and slap Ted's helmet on his head. They open up the alley exit. Ted quickly scooters away.<\/scene_description>\n    <character>O'HARE<\/character>\n    <parenthetical>(calls after him)<\/parenthetical>\n    <dialogue>Okay! Good talk! Really good talk.<\/dialogue>\n    <scene_description>The three of them get into O'Hare's car. Ted waits around the corner for the car to leave. He gets a determined look on his face, turns around, and scooters toward the end of town. EXT: LERKIM - PRESENT - DAY Ted arrives out of breath. Runs up to the door and RINGS the doorbell. This starts to set off the giant hammer again. Ted's face falls. He forgot.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Oh no.<\/dialogue>\n    <scene_description>He quickly jumps out of the way and tumbles to the ground as the Seussian machine does its stuff.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Look out!<\/dialogue>\n    <scene_description>Then calls up to the window.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Hey, man! Hey! You know, you need to change that doorbell!<\/dialogue>\n    <scene_description>The Once-ler's eyes appear in the boarded-up window.<\/scene_description>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>Awww, you missed me.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>You're already back. Clearly you missed me... a little, right?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>No I didn't. I just-- I'm here to hear the end of the story.<\/dialogue>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>Why are you so interested in trees, anyway? Why aren't you like other kids, break-dancing and wearing bell-bottoms and playing the Donkey Kongs?<\/dialogue>\n    <scene_description>Ted reacts--\"break-dancing\"? \"Donkey Kong\"?<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>(playing it off)<\/parenthetical>\n    <dialogue>Yeah, right, right... Yeah, I don't know, I just-- I just, you know, thought it would be kinda cool to have one, you know.<\/dialogue>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>Ahhh...It's a girl, isn't it?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Pffft!<\/dialogue>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>What? No!<\/dialogue>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>Really? 'Cause when a guy does something stupid once, well, that's because he's a guy. But if he does the same stupid thing twice, it's usually to impress some girl.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Hey, she is not \"some girl.\" She's a woman. In high school. And she loves trees and I'm going to get her one.<\/dialogue>\n    <scene_description>The Once-ler's yellow eyes stare down from the window, almost seeming to smile.<\/scene_description>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>Aww, how nice to see someone so undeterred by things like REALITY.<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>(earnestly)<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>All right, where did we leave off?<\/dialogue>\n    <scene_description>EXT: ONCE-LER'S COTTAGE - PAST - NIGHT A Humming-Fish jumps out of the pond and catches a FIREFLY in his mouth. When he comes back up from the water his eyes glow, scaring his two Humming-Fish friends. INT: ONCE-LER'S COTTAGE - PAST - NIGHT The Once-ler finishes knitting his THNEED. He holds it up, admiring it with a smile.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Now that's a Thneed! Nothing unmanly about knitting. No sir.<\/dialogue>\n    <scene_description>He sets it on a chair. Stifles a yawn. Then crawls into bed, turns out the light, and closes his eyes. He begins SNORING, sound asleep. INT: ONCE-LER'S COTTAGE - PAST - NIGHT CREEEEAK! The sleeping Once-ler doesn't wake at the sound of the door slowly opening. Then the faint sound of tiny footsteps can be heard shuffling across the floor. The Once-ler's bed raises up off the ground several inches and begins to move toward the door. Lou backs into the stove and burns himself. It's almost to the door when we hear a THUD! Several animals struggle to carry the Once-ler's bed. They reach the front door of the house -- the bed won't fit. BANG BANG BANG!<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Look at that-- That-- You-- Oh!<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <parenthetical>(in his sleep)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <scene_description>The animals drop the bed.<\/scene_description>\n    <character>LORAX<\/character>\n    <parenthetical>(slaps his forehead)<\/parenthetical>\n    <dialogue>Who taught you guys how to steal a bed?<\/dialogue>\n    <scene_description>EXT: ONCE-LER'S HOUSE - PAST - LATER The Lorax directs the animals from outside as they finally manage to get the bed out through the window. Melvin sees this and WHINNIES. The Lorax approaches him with some Truffula fruit. Melvin takes it as payment to keep quiet. EXT: TRUFFULA VALLEY - PAST - NIGHT Under the pale moonlight, we see THREE HUMMING-FISH humming the MISSION IMPOSSIBLE THEME. Then the silhouettes of the Lorax and several other animals tiptoe as they carry the Once- ler's bed from his home, down the hill toward a flowing river. Lou runs after them, huffing and puffing, trying to keep up. EXT: RIVERBANK - PAST - CONTINUOUS The Lorax and the animals come to a halt at the edge of the river. The Lorax smiles as he addresses his accomplices.<\/scene_description>\n    <character>LORAX<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Okay, nice and easy.<\/dialogue>\n    <scene_description>The Lorax and the animals quietly slip the bed into the river and watch as it calmly floats downstream. The Lorax turns to the animals, beaming.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Nice work, you guys. Couldn't've done it without you.<\/dialogue>\n    <scene_description>He turns and waves to the Once-ler as he floats away. The Lorax's face falls as he sees Pipsqueak waving back at him, sitting on top of the sleeping Once-ler and floating downstream.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>You gotta to be kidding me. Can he swim?<\/dialogue>\n    <character>LORAX<\/character>\n    <parenthetical>(Pipsqueak's Mom shakes her head no)<\/parenthetical>\n    <dialogue>Of course he can't swim!<\/dialogue>\n    <parenthetical>(to Pipsqueak)<\/parenthetical>\n    <dialogue>Hang on, Pipsqueak! I'm coming to getcha!<\/dialogue>\n    <scene_description>The Lorax and animals take off running along side the floating bed. Lou rolls his eyes and runs after them.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Hey, you fishies! Stop that bed!<\/dialogue>\n    <scene_description>They swim up to the bed and try to pull it over to the side, but the blanket and top sheet rips off, covering them.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Oh!<\/dialogue>\n    <scene_description>Still sleeping, the Once-ler shivers and grabs Pipsqueak and uses him like a blanket. The Lorax points to a LOW-HANGING BRANCH. He directs the animals up the tree.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Jump! Jump! C'mon get up there! C'mon! Go go! Little bit more! Little bit more!<\/dialogue>\n    <scene_description>The branch doesn't hang low enough.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Ugh! Now what?<\/dialogue>\n    <scene_description>Lorax looks over to see Lou standing next to him stuffing his face with fruit. The Lorax struggles to push Lou up the tree.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>C'mon! Get up there! Whoa!<\/dialogue>\n    <scene_description>The branch hangs low enough to reach Pipsqueak. Pipsqueak sees the Lorax and Bar-Ba-Loots hanging from the branch trying to save him. The Lorax stretches out his hand...<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Okay, Pipsqueak, give me your hand. C'mon, reach out for the Lorax.<\/dialogue>\n    <scene_description>...but Pipsqueak grabs FRUIT hanging from the tree instead and takes a big bite.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Where'd you go?<\/dialogue>\n    <parenthetical>(slaps his forehead)<\/parenthetical>\n    <dialogue>What are you?! Bar-Ba-Loots...<\/dialogue>\n    <scene_description>The Once-ler's foot now drops into the water. Like a rudder, it re-directs the bed to a side stream. The Lorax's face falls.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Oh, that's bad.<\/dialogue>\n    <scene_description>The bed passes by the Three Humming-Fish standing on a lily pad who are HUMMING \"TAPS\". Suddenly, Pipsqueak whimpers and a look of terror comes over his face as he looks downstream and sees rapids approaching.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Hey, Beanpole! Wake up!<\/dialogue>\n    <scene_description>Pipsqueak runs to the end of the bed, which flips upside down in the water. Then it flips right side up again. The Once- ler is covered in fish who quickly jump back off the bed and into the water. The Once-ler wakes up, spitting water out of his mouth. He looks at Pipsqueak holding onto the bed frame and waving to him. Pipsqueak CHUCKLES NERVOUSLY.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Uh, what's happening? Where is-- Where am I?<\/dialogue>\n    <scene_description>Then he sees the Lorax running alongside him on the shore. His face falls. The Lorax points to the rapids ahead.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Hey, you got trouble and it's coming up fast!<\/dialogue>\n    <scene_description>The Once-ler turns and sees the approaching rapids.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Aaah! We're in a river!<\/dialogue>\n    <scene_description>The river is picking up speed. Pipsqueak and the Once-ler hold on for dear life as the bed hits the whitewater and bobs up and down.<\/scene_description>\n    <character>ONCE-LER AND PIPSQUEAK<\/character>\n    <dialogue>Whhhhhhoooooooaaaaa!<\/dialogue>\n    <scene_description>Finally the whitewater ends. The Once-ler and Pipsqueak breathe sighs of relief. They LAUGH at the fact that they survived and then see the waterfall ahead of them.<\/scene_description>\n    <character>PIPSQUEAK<\/character>\n    <dialogue>Ewww...<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>Oh no.<\/dialogue>\n    <scene_description>He and Pipsqueak SCREAM in fear. The Once-ler unsuccessfully tries to use his pillow to paddle away from the waterfall. He calls to the Lorax.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Just do something!<\/dialogue>\n    <scene_description>The Lorax looks around. Spots a GIANT BOULDER up high above the waterfall.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Help is on the way!<\/dialogue>\n    <scene_description>The bed heads closer and closer to the falls.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <parenthetical>(mutters to himself)<\/parenthetical>\n    <dialogue>What the-- Oh no!<\/dialogue>\n    <scene_description>The Lorax quickly scampers up to the boulder with a STICK. Wedges the stick under the boulder. Tries to dislodge it.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Just a minute!<\/dialogue>\n    <scene_description>He jumps up and down on the stick. The boulder gets dislodged and rolls down the hill. At the end of the hill is a small slope going up, which send the boulder flying. The Once-ler and Pipsqueak, about to go over the waterfall, now see a giant boulder flying at them.<\/scene_description>\n    <character>ONCE-LER AND PIPSQUEAK<\/character>\n    <dialogue>Aaaaaaaaahhhhhhhhhhhhh!!!<\/dialogue>\n    <scene_description>THUMP! The boulder connects with the far side of the bed, catapulting the Once-ler and Pipsqueak off of it. The bed crashes over the falls. Violently. THUD! The Once-ler bounces and slides along the ground on his back, holding Pipsqueak up in the air, so he wouldn't get hurt.<\/scene_description>\n    <character>PIPSQUEAK<\/character>\n    <dialogue>Huh.<\/dialogue>\n    <scene_description>Pipsqueak looks over to the Lorax who appears on the scene, seeing the Once-ler lying unconscious. His eyes go wide.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Oooo! Oh no...<\/dialogue>\n    <parenthetical>(slaps the Once-ler)<\/parenthetical>\n    <dialogue>Wake up! Wake up!<\/dialogue>\n    <scene_description>The Lorax knows what he needs to do, but doesn't want to do it. The animals watch as the Lorax pinches the Once-ler's nose and tips his head back. He takes a deep breath and lowers his lips to the Once-ler's. The Lorax comes up and wipes off his tongue. That didn't work, so he grabs two Bar-Ba-Loots, rubbing them together to create a static charge that he uses to shock the Once-ler.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Clear!<\/dialogue>\n    <scene_description>The Lorax jumps back as the Once-ler wakes up. He immediately reaches out and hugs the Lorax.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Haha! I was heading into the light and you pulled me right back and here I am! You saved my life!<\/dialogue>\n    <scene_description>The Lorax squirms guiltily as the Once-ler hugs him.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Yeah, no...I know. Well, no, it's not that big a deal.<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>It is a big deal! Look, I almost went over that waterfall--<\/dialogue>\n    <parenthetical>(breaks off hug, realizing)<\/parenthetical>\n    <dialogue>In my bed... How did my bed get in the river?<\/dialogue>\n    <scene_description>The Lorax avoids eye contact with the Once-ler.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Oh, about that, actually... um...I...<\/dialogue>\n    <parenthetical>(under his breath)<\/parenthetical>\n    <dialogue>Putyourbedinthewater.<\/dialogue>\n    <scene_description>The Once-ler drops the Lorax.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>I didn't mean you any harm! I just wanted to calmly float you away.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Look, everyone here needs the trees. And you're chopping 'em down. So we've got a big problem.<\/dialogue>\n    <scene_description>The Once-ler looks down and sees Pipsqueak holding on to his leg, looking up at him with puppy-dog eyes. Pipsqueak nods. The Once-ler looks at all the animals. The Lorax. Finally, it begins to sink in. He kneels down and address the animals.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <parenthetical>(holds up his hand to swear)<\/parenthetical>\n    <dialogue>Alright, look, I hereby swear that I will never chop down another tree. I promise!<\/dialogue>\n    <scene_description>The Lorax looks him over.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Thank you. But I'm gonna keep my eye on you.<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>Good. Now, I've got a big day tomorrow, so I'm going to get some sleep.<\/dialogue>\n    <scene_description>The Once-ler heads off toward his house. The animals all CHEER. The Once-ler stops and walks back toward the falls.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Right after I find my bed.<\/dialogue>\n    <scene_description>The other Baby Bar-Ba-Loot touches a fish next to him, shocking it. EXT: TRUFFULA VALLEY - PAST - MORNING FADE IN on another beautiful morning in Truffula Valley. Reveal the Humming-fish Trio CROWING like roosters on top of one of the trees. INT: ONCE-LER'S COTTAGE - PAST - SAME The Once-ler wakes up from a good night's sleep. Then turns and finds-- The Lorax. Lying next to him in the bed, SNORING. He SCREAMS.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Aaaaiiiigggghhhhh!<\/dialogue>\n    <scene_description>This wakes up the Lorax.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Aaaiiiiggghhhhh!<\/dialogue>\n    <character>ONCE-LER AND LORAX<\/character>\n    <dialogue>Aaaiiiiggghhhhhh!!!<\/dialogue>\n    <scene_description>Lorax punches the Once-ler.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Ow. Okay, uh... What are you, I-I--<\/dialogue>\n    <scene_description>The Once-ler looks around. He turns to the Lorax.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Question... what are they doing here?<\/dialogue>\n    <scene_description>We reveal his place is filled with animals. Bar-ba-loots curled up at the foot of his bed, Swomee-Swans nesting in light fixtures, and Humming-fish in drawers. A sleeping Bar- Ba-Loot SNEEZES, knocking the Baby Bar-Ba-Loot on it's stomache onto the ground.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And follow up, if I may, what are YOU doing here?!<\/dialogue>\n    <character>LORAX<\/character>\n    <dialogue>Well, after \"the incident\" last night we found one of your socks and came here to return it. But when we got here, you were asleep.<\/dialogue>\n    <scene_description>Something drops on the Once-ler's head.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>He looks up to see it's drool from a Bar-Ba-Loot sleeping on his lamp.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Ew, exactly. And sleeping is the body's way of telling other people to go away.<\/dialogue>\n    <character>LORAX<\/character>\n    <dialogue>I know, but you looked so cozy... and it was cold outside... and we just fell asleep. No harm done.<\/dialogue>\n    <scene_description>The Once-ler jumps up out of his bed, flustered.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>No harm done? No harm done???<\/dialogue>\n    <parenthetical>(sighs)<\/parenthetical>\n    <dialogue>Okay...<\/dialogue>\n    <scene_description>Then he turns to the counter and sees several fish sitting in drinking glasses of water, like jacuzzis.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Oh, okay, I put my lips on those. Well, I used to anyway.<\/dialogue>\n    <scene_description>Then he sees a Swomee-Swan nesting in a large bowl on the counter top. The bird SQUAWKS loudly, then stands up, revealing a FRESHLY-LAID EGG.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Ewww!<\/dialogue>\n    <scene_description>The animals all applaud, proud of her. She high fives another Swomee-Swan. The Once-ler is disgusted.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Did you just...in my bowl?!<\/dialogue>\n    <scene_description>The Once-ler grits his teeth. The Lorax's hand grabs the Once-ler's TOOTHBRUSH out of a glass. He enters the kitchen combing his moustache with the TOOTHBRUSH.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Why do you have one of these?<\/dialogue>\n    <scene_description>He holds it up--it's filled with yellow LORAX HAIR.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>You don't even have a moustache.<\/dialogue>\n    <scene_description>He hands it to the Once-ler and heads for the fridge. The Once-ler follows him, tossing the toothbrush in the trash.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Okay, that's it!<\/dialogue>\n    <character>LORAX<\/character>\n    <dialogue>What? I thought we made a deal last night.<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>Yes, we did! And I said I wouldn't chop down anymore trees.<\/dialogue>\n    <character>LORAX<\/character>\n    <dialogue>And I said I was going to keep an eye on you.<\/dialogue>\n    <parenthetical>(turns to fridge)<\/parenthetical>\n    <dialogue>I'm starvin', what's for breakfast?<\/dialogue>\n    <scene_description>The Lorax opens the refrigerator, revealing Lou with his cheeks stuffed full with everything in the fridge. He looks out at the Lorax and Once-ler. Busted. Then he shoves the last remaining item into his mouth. An entire STICK OF BUTTER. The Lorax closes the fridge.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Breakfast is overrated.<\/dialogue>\n    <scene_description>The Once-ler looks like he is about to explode, but stops. Takes a deep breath and puts his hands in the air.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>You know what? I got work to do. Yup! I gotta go into town and sell my Thneed!<\/dialogue>\n    <scene_description>The Once-ler holds up the Thneed. The Lorax stares at it.<\/scene_description>\n    <character>LORAX<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>Oh! You chopped down one of my trees to make that piece of garbage? Just look at that--<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>Garbage? Oh, no. OH, NO! You do not get it.<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>This is a revolutionary product that will change the world as we know it!<\/dialogue>\n    <scene_description>The Once-ler walks over to the Bar-ba-loots sleeping on the table and brushes them all off.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>It has a million uses!<\/dialogue>\n    <scene_description>He reaches under the table and pulls up Lou who is now wearing the Thneed as underwear.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Look at this! It's a swimsuit! Hup-hey-oh!<\/dialogue>\n    <scene_description>Then he points to the muddy animal tracks on the floor.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Mud tracked all over your floor by uninvited guests? Well, the Thneed sure comes in handy for that! Wup- adup-apoh!<\/dialogue>\n    <scene_description>The Once-ler uses it to wipe up the mud tracks.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>But wait, there's more! Thanks to its all-natural micro-fibers, the Thneed is super-absorbent!<\/dialogue>\n    <scene_description>Then he goes to the fish swimming a glass filled with water. Shoves the Thneed into the glass. SLUUUURP! It instantly soaks up all the water, leaving the irritated fish standing in the dry glass.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>It also works as a hat!<\/dialogue>\n    <scene_description>He plops the Thneed onto Lorax's head. SPLURCH! It's sopping wet and drips all over him. The Lorax gives the Once- ler a look.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Of course, you'd probably want to wring it out first, eh--<\/dialogue>\n    <scene_description>The Lorax takes the Thneed off his head and throws it at the Once-ler.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Go ahead, go ahead! Knock yourself out. But nobody's gonna buy that thing!<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>Good to know. Well fortunately you're not the target market. Weirdo.<\/dialogue>\n    <scene_description>Once-ler strums his guitar.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>You're bringing a guitar?<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>Oh, yeah. Oh, I got a little jingle, gonna blow some minds. Gonna sell some Thneeds!<\/dialogue>\n    <scene_description>He holds up the Thneed defiantly.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Yeah...<\/dialogue>\n    <scene_description>The Once-ler slams the door, waking up a Swommee-Swan, who HONKS. EXT: TOWN SQUARE - PAST - DAY The Once-ler stands in the middle of town square with his guitar and the Thneed, singing his jingle for all he's worth.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Everybody needs a Thneed A fine thing that all people--<\/dialogue>\n    <scene_description>SPLAAT! The Once-ler is hit in the face with a TOMATO. The Crowd all LAUGHS at him. EXT: LERKIM - PRESENT - NIGHT The Once-ler looks down to Ted.<\/scene_description>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>Unfortunately, I didn't sell the Thneed the first day.<\/dialogue>\n    <scene_description>EXT: TOWN SQUARE - PAST - DAY The Once-ler is back singing in front of the town.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>The Thneed is good, The Thneed is greaaaat-- Hey!<\/dialogue>\n    <scene_description>A LITTLE GIRL grabs the Once-ler's guitar and smashes it. EXT: LERKIM - PRESENT - NIGHT The Once-ler looks down to Ted.<\/scene_description>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>Or the second day.<\/dialogue>\n    <scene_description>EXT: TOWN SQUARE - PAST - DAY SPLAAT! The Once-ler's hit in the face with a tomato again. SPLAAT! SPLAAT! SPLAAT! It's an onslaught of rotten tomatoes.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Ow! Oh, hey!<\/dialogue>\n    <character>ONCE-LER (V.O.)<\/character>\n    <dialogue>Or the third. Or the fourth. Or fifth day.<\/dialogue>\n    <scene_description>Melvin catches one in his mouth and eats it. PULL BACK TO REVEAL a VENDOR with a \"TOMATOES FOR SALE, $3.98\" CART, and a long line of people buying them to throw at the Once-ler. Next in line is a NUN. Melvin is at the end of the line.<\/scene_description>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>That one hit the tender spot.<\/dialogue>\n    <scene_description>The Once-ler wipes the tomatoes off his face with the Thneed.<\/scene_description>\n    <character>ONCE-LER (V.O.)<\/character>\n    <dialogue>Until finally...<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>That's it! You know what? I'm-- I'm done with this thing.<\/dialogue>\n    <scene_description>The crowd, waiting for their tomatoes, react disappointedly.<\/scene_description>\n    <character>CROWD<\/character>\n    <dialogue>Awwwwwww...<\/dialogue>\n    <scene_description>The Once-ler walks around the corner.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>My family was right! I quit!<\/dialogue>\n    <scene_description>He takes the Thneed off from around his neck and tosses it over his shoulder where it lands on the head of a GEEKY TEENAGE GIRL, knocking off her glasses and causing her long hair to unfurl. As she struggles to get it off it becomes a hat. She is about to take it off when a COOL GUY passes by.<\/scene_description>\n    <character>COOL GUY<\/character>\n    <dialogue>Hey, cool hat.<\/dialogue>\n    <scene_description>Some other TEENAGE GIRLS notice this. Approach the Geeky Teenage Girl.<\/scene_description>\n    <character>OTHER TEEN GIRL<\/character>\n    <dialogue>Oh my gosh, I totally want one.<\/dialogue>\n    <character>YET ANOTHER TEEN GIRL<\/character>\n    <dialogue>That thing makes me like you more.<\/dialogue>\n    <scene_description>Suddenly everyone in the park notices the Geeky Teenage Girl and her Thneed. She smiles at all the attention. EXT: ONCE-LER'S COTTAGE - PAST - EVENING Outside of the cottage the Lorax is playing cards with the three animal kids. Lorax plays a card and then sees that Bill has eaten his.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Awww...<\/dialogue>\n    <scene_description>The Lorax sees the Once-ler approaching. Without the Thneed.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Hey, where's your Thneed? Did you sell it?<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>Hey, yeah, no, ah, no. No, didn't sell it. Turns out it's ahead of its time, I guess.<\/dialogue>\n    <character>LORAX<\/character>\n    <dialogue>Hey, you gave it your best shot, right? What more can you do? Come on, take a seat, we'll deal you in.<\/dialogue>\n    <scene_description>The Once-ler smiles.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Ah, what are we playing?<\/dialogue>\n    <character>LORAX<\/character>\n    <dialogue>I'm playing poker...<\/dialogue>\n    <parenthetical>(gestures to Gil)<\/parenthetical>\n    <dialogue>He's playing Go Fish...<\/dialogue>\n    <parenthetical>(gestures to Bill)<\/parenthetical>\n    <dialogue>And I think he's hungry.<\/dialogue>\n    <scene_description>Bill pecks one of Gil's cards out of his hand and eats it.<\/scene_description>\n    <character>GIL<\/character>\n    <dialogue>Aww....<\/dialogue>\n    <scene_description>INT: ONCE-LER'S COTTAGE - PAST - DAY The Once-ler stands at his stove, happily making Truffula berry pancakes.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <parenthetical>(singing)<\/parenthetical>\n    <dialogue>Pancake. Flip-a-dee-boo!<\/dialogue>\n    <scene_description>He turns around with a fresh stack and we see that his place is FILLED WITH ANIMALS. He's cooking for everyone. Pipsqueak is his sous-chef who catches the pancakes on a plate. The Once-ler takes the plate from him and pats him on the head.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Who is up for ninths?<\/dialogue>\n    <scene_description>The animals are stuffed. Including one INCREDIBLY FAT HUMMING-FISH. Lou frantically waves his hand.<\/scene_description>\n    <character>LOU<\/character>\n    <dialogue>Ooh-ooh-ooh!<\/dialogue>\n    <scene_description>The Lorax is stuffed and struggles to sit up. He sighs.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Alright, pass 'em over.<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>Yeah, see--<\/dialogue>\n    <scene_description>The Once-ler brings over the fresh stack. On his way-- RRRRRUUUUUMMBLE! The ground starts to shake. The Once-ler and animals look around.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <parenthetical>(shaking)<\/parenthetical>\n    <dialogue>What is going on?<\/dialogue>\n    <scene_description>The sound is coming from outside. They head for the door. EXT: ONCE-LERS COTTAGE - PAST - CONTINUOUS The Once-ler, Lorax and all the animals rush outside. The sound gets louder and the animals run for cover as the Lorax and Once-ler turn toward the rumbling sound and see-- DOZENS OF PEOPLE charging over the hill, running toward the Once-ler's house.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Oh, no. That's a lot of people.<\/dialogue>\n    <scene_description>Then he sees they all have cash in hand and all want Thneeds. The animals run away to hide. The Lorax and Once-ler stare, stunned.<\/scene_description>\n    <character>CROWD<\/character>\n    <dialogue>Everybody needs a Thneed! A fine thing that all people need! The Thneed is good! The Thneed is great! Let's hope we're not too late!<\/dialogue>\n    <scene_description>The Teenage Girl leads the crowd wearing the Thneed as a hat.<\/scene_description>\n    <character>TEENAGE GIRL<\/character>\n    <dialogue>It's a super trendy hat!<\/dialogue>\n    <scene_description>The MAN next to her grabs it and uses it to make a tightrope for his ACROBAT WIFE.<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>It'sa tightrope for an acrobat!<\/dialogue>\n    <scene_description>A BOY next to him grabs it (causing the acrobat to fall) and uses it as a butterfly net.<\/scene_description>\n    <character>BOY<\/character>\n    <dialogue>A net for catching butterflies!<\/dialogue>\n    <scene_description>The FAT GUY next to him grabs the Thneed and uses it like an exercise belt, with the Boy still caught in it.<\/scene_description>\n    <character>FAT GUY<\/character>\n    <dialogue>A thing you use for exercise!<\/dialogue>\n    <character>CROWD<\/character>\n    <dialogue>Everybody needs a Thneed! (A Thneed!) A fine thing that all people need!<\/dialogue>\n    <character>CROWD<\/character>\n    <parenthetical>(We need!)<\/parenthetical>\n    <dialogue>Everybody needs a Thneed!<\/dialogue>\n    <scene_description>The crowd goes crazy, waving their money. The Once-ler can't believe it. Is this really happening? He snatches up the money being shoved at him and turns to the Lorax and animals. Waving stacks of cash over his head.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Aww, yeah! We're in business, baby!<\/dialogue>\n    <scene_description>The Lorax frowns. Pipsqueak obliviously dances along with the music. Clearly not happy about this.<\/scene_description>\n    <character>CROWD<\/character>\n    <dialogue>We all agree We need a Thneed! We need a Thneed!<\/dialogue>\n    <scene_description>The Once-ler grabs his PHONE and makes a call.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Mom! Hey, it's me! I told you I was gonna be a success! You need to bring the whole family here, right now! We're gonna be rich!<\/dialogue>\n    <parenthetical>(off Lorax's look)<\/parenthetical>\n    <dialogue>What? I'm gonna need all the help I can get. Don't worry---<\/dialogue>\n    <scene_description>The Lorax looks worried. A dollar floats past camera, wiping it. EXT: THNEEDVILLE STREETS - PRESENT - DAY Ted and Grammy Norma zip through town.<\/scene_description>\n    <character>GRAMMY NORMA<\/character>\n    <dialogue>So has he told you how to get a tree yet?<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>(calling over the motorcycle)<\/parenthetical>\n    <dialogue>Actually, no... But I think he's gonna get to that part really soon. Here we are!<\/dialogue>\n    <character>GRAMMY NORMA<\/character>\n    <dialogue>What?!<\/dialogue>\n    <scene_description>Ted stops the scooter in front of a SUPERMARKET.<\/scene_description>\n    <character>GRAMMY NORMA<\/character>\n    <parenthetical>(realizes they arrived)<\/parenthetical>\n    <dialogue>Oh, I'll just be a minute.<\/dialogue>\n    <scene_description>And she enters the store. Ted waits, then sees Audrey walking towards him carrying CANS OF PAINT.<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>Oh, wow...<\/dialogue>\n    <parenthetical>(calls out)<\/parenthetical>\n    <dialogue>Hey, Audrey!<\/dialogue>\n    <scene_description>Audrey sees him. Smiles.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Oh, hi Ted! What's up?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Oh, you know me, just cruising. Puttin' out the vibe... Just me and my thoughts--<\/dialogue>\n    <scene_description>Just then Grammy Norma hops on the back of the scooter.<\/scene_description>\n    <character>GRAMMY NORMA<\/character>\n    <dialogue>Ooh, is THIS the girl you're always talking about?<\/dialogue>\n    <scene_description>Ted makes a face.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Ah, Gramma, stop making things up!<\/dialogue>\n    <character>GRAMMY NORMA<\/character>\n    <dialogue>Wow, she's even prettier than you--<\/dialogue>\n    <scene_description>He revs up the engine to cover up any more potentially embarrassing comments and takes off.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Okay, gotta run! Bye!<\/dialogue>\n    <scene_description>Audrey watches him go with a smile.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Okay, Grammy, let's get you home.<\/dialogue>\n    <scene_description>EXT: AUDREY'S BACKYARD - CONTINUOUS Audrey arrives in the backyard and looks up at her house. She DROPS THE PAINT CANS in horror. Her mural, the entire backside of her house, has been PAINTED OVER. Her tree mural is gone. It's completely white with a \"Courtesy of O'Hare Inc\" logo painted in its place. EXT: FAR END OF TOWN - PRESENT - DAY Ted arrives back at the door leading out of town. The button now has a metal plate welded over it with a \"PROPERTY OF O'HARE INC.\" label on it. He tries to pull the metal plate off the button. It doesn't budge. He gets frustrated and punches it. He looks around. How's he going to get out now? EXT: FAR END OF TOWN - PRESENT - MOMENTS LATER Ted revs up his scooter. He rides up a curved wall and in through the window of an apartment.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Yeah!<\/dialogue>\n    <scene_description>INT: APARTMENT - PRESENT - CONTINUOUS Ted scooters through MARKETING GUY #2's bathroom as he's taking a shower.<\/scene_description>\n    <character>MARKETING GUY #2<\/character>\n    <parenthetical>(shrieks like a woman)<\/parenthetical>\n    <dialogue>Aaaaiiiiiggghhhhhh!!!<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Whoa, hey! So sorry! So sorry!<\/dialogue>\n    <scene_description>Marketing Guy #2 hits him with his rubber ducky. Ted drives out of the room and up the stairs.<\/scene_description>\n    <character>MARKETING GUY #2 (O.S.)<\/character>\n    <dialogue>My goodness!<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>Did not want to see that!<\/dialogue>\n    <scene_description>Ted rides his scooter out through the top floor window. EXT: FAR END OF TOWN - PRESENT - CONTINUOUS He lands on a nearby roof and jumps rooftop to rooftop through the city until he jumps over to the wall.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Whoa!<\/dialogue>\n    <scene_description>He continues down the steep cliff side on the other side of the wall where he bounces down to the ground and continues on his way. EXT: LERKIM - PRESENT - DAY Ted runs up to the Lerkim carrying a BAG OF MARSHMALLOWS. He calls up to the Lerkim.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Hey, I'm back!<\/dialogue>\n    <scene_description>The Once-ler's arms appear.<\/scene_description>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>What have you got there?<\/dialogue>\n    <parenthetical>(realizes, gasps)<\/parenthetical>\n    <dialogue>Ah, yes!<\/dialogue>\n    <scene_description>The Once-ler lowers the Whisper-Ma-Phone and Ted pours the marshmallows into it. The Once-ler uses it like a straw to suck them up into his mouth.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Whoa.<\/dialogue>\n    <scene_description>There's silence. The Once-ler's clearly touched by this gesture.<\/scene_description>\n    <character>ONCE-LER (O.S.)<\/character>\n    <parenthetical>(chewing)<\/parenthetical>\n    <dialogue>Thank you, Ted.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Now picture this...<\/dialogue>\n    <scene_description>EXT: ONCE-LER'S COTTAGE - PAST - DAY Gil climbs up to grab a piece a fruit in a tree as Lou watches on. He struggles to pull it off and then falls down to the ground.<\/scene_description>\n    <character>ONCE-LER (V.O.)<\/character>\n    <dialogue>Sun shining... a blue sky... a perfect day. It was all downhill from there.<\/dialogue>\n    <scene_description>Up above, three Bar-Ba-Loots sleep in the soft tuft until-- RUUUUUMBLE!!! A GIANT RV tears through the valley, obliterating everything in its path. Melvin turns to look and takes off. Gil is stuck to the front of the RV and SCREAMS as it finally comes to a stop next to the Once-ler's cottage. Gil finally falls to the ground with a THUD.<\/scene_description>\n    <character>GIL<\/character>\n    <dialogue>Whoa!<\/dialogue>\n    <scene_description>All of the animals gather around, staring at it as if it were a UFO. Then the door in the side opens like a bay door in a flying saucer. Smoke comes out. And then out steps-- GREAT-AUNT GRIZELDA. An ancient monster of a woman. She looks around.<\/scene_description>\n    <character>GREAT-AUNT GRIZELDA<\/character>\n    <dialogue>What a dump!<\/dialogue>\n    <scene_description>Just then the Once-ler runs over with a smile on his face.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Hey, Aunt Grizelda!<\/dialogue>\n    <scene_description>Next out are the Once-ler's moronic brothers, BRETT and CHET. Brett spots Pipsqueak. Immediately picks him up and turns to Chet.<\/scene_description>\n    <character>BRETT<\/character>\n    <dialogue>Hey, Chet! Check this out! Go long!<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>No, ah, Brett, that's actually not a um-- Okay.<\/dialogue>\n    <scene_description>Chet takes off running. Brett then throws a Bar-Ba-Loot like a football.<\/scene_description>\n    <character>BRETT<\/character>\n    <dialogue>Go long, go long!<\/dialogue>\n    <scene_description>Chet looks back over his shoulder and sees the Bar-Ba-Loot coming. Smiles with anticipation. He's about to catch him when--<\/scene_description>\n    <character>CHET<\/character>\n    <dialogue>I got it! I got it! I got--<\/dialogue>\n    <scene_description>CRASH! He smacks right into the Truffula tree below. The Bar-Ba-Loot grabs onto the tree tuft and then falls onto Chet's face.<\/scene_description>\n    <character>CHET<\/character>\n    <parenthetical>(muffled)<\/parenthetical>\n    <dialogue>--got it!<\/dialogue>\n    <scene_description>Brett laughs hysterically.<\/scene_description>\n    <character>BRETT<\/character>\n    <dialogue>He totally ran into that tree.<\/dialogue>\n    <scene_description>He slaps the Once-ler's hand really hard.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Ow!<\/dialogue>\n    <scene_description>The ONCE-LER'S MOM now exits the RV, stepping on UNCLE UBB as a step stool.<\/scene_description>\n    <character>ONCE-LER'S MOM<\/character>\n    <dialogue>Oncie, is that you?<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>Mom!<\/dialogue>\n    <scene_description>She approaches him, a big smile on her face. The Lorax looks at the dead animal stole around her neck, horrified.<\/scene_description>\n    <character>ONCE-LER'S MOM<\/character>\n    <dialogue>There he is! There's my big suddenly successful son!<\/dialogue>\n    <parenthetical>(kisses him)<\/parenthetical>\n    <dialogue>We always knew you'd make it, Oncie.<\/dialogue>\n    <parenthetical>(to the family)<\/parenthetical>\n    <dialogue>Right?<\/dialogue>\n    <scene_description>The entire family responds with smiles and congratulations and displays of affection. Uncle Ubb, lanky and balding, gives him a big hug.<\/scene_description>\n    <character>UNCLE UBB<\/character>\n    <dialogue>Hey! I love this guy!<\/dialogue>\n    <scene_description>The Once-ler turns to his mom.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>But you always said I wouldn't amount to anything remember?<\/dialogue>\n    <character>ONCE-LER'S MOM<\/character>\n    <dialogue>Oh, hush your mouth, I was just trying to motivate you.<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>I'm really glad you clarified that, because it actually hurt my feelings for a really long time.<\/dialogue>\n    <scene_description>The Once-ler breaks away from Uncle Ubb's hug.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Anyway, ah, you're all here, you all work for me. And that's cool. So, let's get to work!<\/dialogue>\n    <character>ONCE-LER'S MOM<\/character>\n    <dialogue>Brett! Chet! Set up the RV!<\/dialogue>\n    <scene_description>Brett is about to throw another Bar-Ba-Loot.<\/scene_description>\n    <character>ONCE-LER'S MOM (O.S.)<\/character>\n    <dialogue>Would you stop throwing that bear!<\/dialogue>\n    <scene_description>Chet drops the bear and runs over to the RV. Brett runs after him, stepping on the fallen Bar-Ba-Loot. Chet is about to push a button on the side of the RV, but Brett shoves him out of the way and pushes it. The RV comes to life. It digs posts into the ground and begins expanding. A swing, a TV, a line of laundry, and a satellite dish pop out. A Swomee-Swan flies right into the satellite dish. The finishing touch as a pink LAWN FLAMINGO.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>No, no, no, whoa, whoa, whoa. Time out, back up, stop, don't move an inch. Nobody's moving in here. You gotta go, goodbye.<\/dialogue>\n    <scene_description>The family stares at the Lorax.<\/scene_description>\n    <character>GREAT-AUNT GRIZELDA<\/character>\n    <dialogue>So who invited the giant furry peanut?<\/dialogue>\n    <character>LORAX<\/character>\n    <dialogue>You call me a peanut, huh? I'll go right up your nose!<\/dialogue>\n    <scene_description>Great-Aunt Grizelda seethes, ready for a fight. The Lorax cracks his neck. The Once-ler immediately intercedes, chuckling.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Whoa whoa whoa, you wouldn't hit a woman.<\/dialogue>\n    <character>LORAX<\/character>\n    <dialogue>Wha-- That's a woman?<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>Okay, everyone cool it. Let's not get off on the wrong foot here. Um, family, this is my friend--<\/dialogue>\n    <character>LORAX<\/character>\n    <dialogue>Acquaintance.<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>--acquaintance, very good acquaintance, the Lorax. He speaks for the trees.<\/dialogue>\n    <character>LORAX<\/character>\n    <dialogue>That's right. And on behalf of the trees--get out!<\/dialogue>\n    <scene_description>The Once-ler's family GASPS. The Once-ler pulls the Lorax aside.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Will you just, be nice? This is my family. And I'm going to need their help if my company's going to get bigger. Okay?<\/dialogue>\n    <character>LORAX<\/character>\n    <dialogue>Bigger?<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>Yeah! This isn't some rinky-dink operation anymore. I've got plans! Big plans! A vision...of a world filled with Thneeds! It's gonna be huge!<\/dialogue>\n    <scene_description>The Lorax looks the Once-ler right in the eyes.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Which way does a tree fall?<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>Uh...down?<\/dialogue>\n    <character>LORAX<\/character>\n    <dialogue>A tree falls the way it leans. Be careful which way you lean.<\/dialogue>\n    <scene_description>The Lorax gives the Once-ler a sad look, then turns away. The Once-ler watches him go. Then rolls his eyes. INT: ONCE-LER'S COTTAGE - PAST - DAY The Once-ler sits at his desk excitedly working on designs for a new factory.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>I mean look at this. It's amazing. I am so proud of me.<\/dialogue>\n    <character>ONCE-LER'S MOM<\/character>\n    <dialogue>Oncie, we've got us a little problem.<\/dialogue>\n    <scene_description>The Once-ler looks over and sees his Mom standing outside his window.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Problem?<\/dialogue>\n    <character>ONCE-LER'S MOM<\/character>\n    <dialogue>Mm-hm. See, we're not making Thneeds fast enough.<\/dialogue>\n    <scene_description>Uncle Ubb walks by, pushing a large cart full of harvested Truffula tufts.<\/scene_description>\n    <character>UNCLE UBB<\/character>\n    <dialogue>Harvesting the tufts takes too long.<\/dialogue>\n    <scene_description>Once-ler looks out the window and sees Brett slowly pick a tuft with mechanical gloves at the end of long lazy tongs. Then he hands it to Chet who walks all the way over to the cart. It's clearly the least efficient way to work. The Once-ler turns to his Mom.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Well what else can we do?<\/dialogue>\n    <character>ONCE-LER'S MOM<\/character>\n    <dialogue>Well...and this just came to me...we could always start chopping down the trees.<\/dialogue>\n    <scene_description>Once-ler bolts upright.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Uncle Ubb walks by pushing the now empty cart.<\/scene_description>\n    <character>UNCLE UBB<\/character>\n    <dialogue>Woo! Now you're thinking! That would speed things up.<\/dialogue>\n    <scene_description>The Once-ler reacts to this, unsure.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>But--<\/dialogue>\n    <character>ONCE-LER'S MOM<\/character>\n    <dialogue>No buts, Oncie. You're running a business now. You have to do what's best for the company. And your Momma.<\/dialogue>\n    <scene_description>The Once-ler looks deep in thought. It's moment of truth time.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Well, I guess it couldn't hurt to chop down a few trees.<\/dialogue>\n    <scene_description>The Once-ler's Mom hugs him through the window.<\/scene_description>\n    <character>ONCE-LER'S MOM<\/character>\n    <dialogue>You've made me so proud, Oncie. Come here!<\/dialogue>\n    <character>UNCLE UBB<\/character>\n    <dialogue>Hey, I love this guy!<\/dialogue>\n    <scene_description>Brett and Chet pick up axes and run off. EXT: TRUFFULA VALLEY - PAST - DAY The Lorax plays with the Baby Animals having them balance on each other when he hears something. He listens closely to make out what it is. Brett and Chet running through the valley WIELDING AXES, with big crazy smiles on their faces. The stack of Baby Animals topples over. Brett and Chet begin CHOPPING down trees. The Lorax sees this and tries to stop them. But it's no use.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>No, no, no! Stop it! Please stop! Whoa, whoa!<\/dialogue>\n    <character>BRETT AND CHET<\/character>\n    <dialogue>Take that you stupid tree! BOOM!<\/dialogue>\n    <scene_description>The Lorax sees Brett and Chet going at the trees. Storms toward the Once-ler's cottage. He's almost to the door when suddenly Great-Aunt Grizelda appears, stopping him with a pitchfork.<\/scene_description>\n    <character>GREAT-AUNT GRIZELDA<\/character>\n    <dialogue>Where do you think you're going?<\/dialogue>\n    <scene_description>She scoops him up with the pitchfork and grabs him by the scruff of the neck.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Excuse me, sir, I need to talk with your boss.<\/dialogue>\n    <scene_description>The Once-ler closes the flap of his tent.<\/scene_description>\n    <character>GREAT-AUNT GRIZELDA<\/character>\n    <dialogue>Oh, I'm sorry, but Mr. Once-ler's not seeing anyone right now.<\/dialogue>\n    <character>LORAX<\/character>\n    <dialogue>Yeah, well, he'll see me, so--Hey! Keep your paws off me!<\/dialogue>\n    <character>GREAT-AUNT GRIZELDA<\/character>\n    <dialogue>Give me a reason, shortie!<\/dialogue>\n    <scene_description>The Lorax sees the Once-ler watching from his window.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Hey! You broke your promise!<\/dialogue>\n    <scene_description>VHHIIPPP. The Once-ler closes his shade. The Lorax reacts, getting a heart-breakingly sad look on his face. Calls out to the Once-ler.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>You're better than this! You gotta stop! This is bad!<\/dialogue>\n    <scene_description>Great-Aunt Grizelda wraps the Lorax up in a Thneed. Swings him around like a slingshot, then sends him flying.<\/scene_description>\n    <character>GREAT-AUNT GRIZELDA<\/character>\n    <dialogue>Have a nice day!<\/dialogue>\n    <scene_description>INT: ONCE-LER'S COTTAGE - PAST - DAY The Once-ler sits in front of a MIRROR with his guitar.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Bad? I'm not bad. I'm the good guy here! He just doesn't get it. Do you think I'm bad?<\/dialogue>\n    <scene_description>Bill is perched on the end of his guitar. He HONKS.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Thank you! I mean something good finally happens to me, and he just has to come along and rain on my parade? What's his problem?<\/dialogue>\n    <scene_description>Bill HONKS.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>See?!<\/dialogue>\n    <scene_description>The Once-ler strums his guitar. Shaking his head. That Lorax is crazy.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <parenthetical>(rolling his eyes)<\/parenthetical>\n    <dialogue>Yeah \"bad,\" right.<\/dialogue>\n    <scene_description>The Once-ler strums his guitar again and walks towards the door. Bill HONKS. EXT: TRUFFULA VALLEY - PAST - CONTINUOUS The Once-ler opens the door revealing the beatific landscape in front of him, complete with a rainbow. SONG: \"HOW BAD CAN I BE?\" The Once-ler leads a group of animals into the valley with his guitar. All of the animals dance along with the Once- ler.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>How bad can I be? I'm just doin' what comes naturally How bad can I be? I'm just followin' my destiny<\/dialogue>\n    <scene_description>Lou imitates the Once-ler and shakes his butt along to the music. The Once-ler walks down a dirt path with the animals following behind him. Great Aunt Grizelda and the rest of the family enter into the frame, sweeping the animals away.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>How bad can I be? I'm just doin' what comes naturally How bad can I be? How bad can I possibly be?<\/dialogue>\n    <scene_description>INT: VOID - PAST - DAY The Once-ler slips on his green gloves, puts on his green suit, a bigger green hat, and a pair of sunglasses.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Well, there's a principle in nature<\/dialogue>\n    <character>FAMILY<\/character>\n    <dialogue>Principle in nature<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>That almost every creature knows Called survival of the fittest<\/dialogue>\n    <character>FAMILY<\/character>\n    <dialogue>Survival of the fittest<\/dialogue>\n    <scene_description>The Once-ler grabs a guitar and starts playing in the spotlight. Behind him, the Lorax is in another spotlight. He marches toward the Once-ler to confront him, when a trap door opens underneath him and he disappears down it.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>And check it, this is how it goes: The animal that wins got to scratch and fight and claw and bite and punch, And the animal that doesn't Well, the animal that doesn't<\/dialogue>\n    <scene_description>The Lorax falls down into a cauldron on a table. The Once- ler's family pops up holding forks and knives. The Once-ler grinds pepper onto the Lorax's head. The Lorax bounces away offscreen in the cauldron.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Winds up someone else's La-la-la-la lunch!<\/dialogue>\n    <character>FAMILY<\/character>\n    <dialogue>Munch munch munch munch munch!<\/dialogue>\n    <scene_description>EXT: TRUFFULA VALLEY - PAST - DUSK The Once-ler marches down the street playing his guitar with his family twirling axes behind him like batons. They throw the axes high up into the air.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>I'm just sayin' How bad can I be? I'm just doin' what comes naturally<\/dialogue>\n    <scene_description>The axes fall down near the Lorax who dodges and weaves to avoid them. The Lorax stops and hold his hand up to say stop.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>How bad can I be? I'm just followin' my destiny<\/dialogue>\n    <scene_description>Then an Axe Hacker drives toward the Lorax and chases him off screen. The Axe Hacker chops down trees in it's path. The biggered factory rises up from behind it.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>How bad can I be? I'm just doin' what comes naturally How bad can I be? How bad can I possibly be?<\/dialogue>\n    <scene_description>Great Aunt Grizelda rides a profit arrow up into the sky.<\/scene_description>\n    <character>FAMILY<\/character>\n    <dialogue>Ahhh!<\/dialogue>\n    <scene_description>INT: ONCE-LER'S OFFICE - PAST - DAY The Once-ler now has an AMAZING OFFICE. He presents a chart of rising profits to his family.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>There's a principle in business<\/dialogue>\n    <character>FAMILY<\/character>\n    <dialogue>Principle in business<\/dialogue>\n    <scene_description>INT: THNEED FACTORY - PAST - DAY The Once-ler rides on the conveyor belt that takes the Truffula tufts into the factory and converts them into Thneeds.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>That everybody knows is sound It says the people with the money<\/dialogue>\n    <character>FAMILY<\/character>\n    <dialogue>The people with the money<\/dialogue>\n    <scene_description>The Once-ler walks on a large gear and the Lorax tries to run up the other side to catch up with him.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Make this ever-loving world go round<\/dialogue>\n    <scene_description>Just then, a girder swings into the Lorax and the Once-ler hops onto it.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>So I'm biggering my company And biggering my factory Biggering my corporate sign!<\/dialogue>\n    <scene_description>As they swing on the girder through the air, the FACTORY grows up around them. The old \"THNEEDS\" SIGN is replaced with a much bigger one.<\/scene_description>\n    <character>FAMILY<\/character>\n    <dialogue>Bigger bigger bigger bigger bigger!<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>Everybody out there, you take care of yours<\/dialogue>\n    <scene_description>The Lorax slips off the girder and falls down into the Once- ler's arms. INT: VOID - PAST - CONTINUOUS Many Once-lers pop up from the ground surrounding the Lorax.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>I'll take care of Mine mine mine mine mine<\/dialogue>\n    <scene_description>Great-Aunt Grizelda pops into frame, singing with an incredibly low voice.<\/scene_description>\n    <character>GREAT AUNT GRIZELDA<\/character>\n    <dialogue>Shake that bottom line!<\/dialogue>\n    <scene_description>EXT: FACTORY - PAST - DAY The Once-ler operates levers that cause the factory SMOKESTACKS spew smog into the air, making flying Swomee- Swans cough.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Let me hear you say Smogulous Smoke!<\/dialogue>\n    <character>FAMILY<\/character>\n    <dialogue>Smogulous Smoke!<\/dialogue>\n    <scene_description>EXT: POND - PAST - DAY A MASSIVE PIPE spews SCHLOPPITY-SCHLOPP into a Humming-Fish pond.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Schloppity Schlopp!<\/dialogue>\n    <character>FAMILY<\/character>\n    <dialogue>Schloppity Schlopp!<\/dialogue>\n    <scene_description>Feathers drops down from above onto the fish, so they look like they've been tar and fathered. The Once-ler reaches down and takes a piece of fruit from a Bar-Ba-Loot and eats it.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Complain all you want, it's never ever ever gonna stop!<\/dialogue>\n    <scene_description>The Family's large heads pop up from behind a mountain and sing, knocking the animals out of frame.<\/scene_description>\n    <character>FAMILY<\/character>\n    <dialogue>Sto-o-o-o-p!<\/dialogue>\n    <scene_description>INT: ONCE-LER'S OFFICE - PAST - DAY The Once-ler walks down the long circular stairs from his desk to the floor in his office. Piles of money rise up from the floor into the air around him.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Come on! How bad can I possibly be?<\/dialogue>\n    <character>ONCE-LER &amp; FAMILY<\/character>\n    <dialogue>How bad can I be?<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>I'm just building the economy!<\/dialogue>\n    <character>ONCE-LER &amp; FAMILY<\/character>\n    <dialogue>How bad can I be?<\/dialogue>\n    <scene_description>INT: VOID - PAST - DAY The Once-ler pulls on Pipsqueak's cheeks.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Just look at me petting this puppy!<\/dialogue>\n    <scene_description>Pipsqueak falls to the ground. Paparazzi show up and take pictures of the Once-ler as he drops a PENNY in a TIN CAN marked \"Charity\" held by an OLD MAN.<\/scene_description>\n    <character>ONCE-LER &amp; FAMILY<\/character>\n    <dialogue>How bad can I be?<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>A portion of proceeds go to charity!<\/dialogue>\n    <scene_description>The Old Man removes a fake beard and we see it's actually Uncle Ubb.<\/scene_description>\n    <character>ONCE-LER &amp; FAMILY<\/character>\n    <dialogue>How bad can I be?<\/dialogue>\n    <scene_description>A limousine drives through frame and the Once-ler drops the Lorax into the trunk and slams the door. It drives off.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>How bad could I possibly be? Let's see!<\/dialogue>\n    <scene_description>People wearing Thneeds in different configurations move past camera.<\/scene_description>\n    <character>FAMILY<\/character>\n    <dialogue>How bad can we be?<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>All the customers are buying!<\/dialogue>\n    <character>FAMILY<\/character>\n    <dialogue>How bad can we be?<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>And the money's multiplying!<\/dialogue>\n    <scene_description>EXT: THNEEDS, INC. - PAST - NIGHT The Lorax holds up his hand to the Once-ler and gestures to the sickly, hungry animals. The Once-ler walks off as the Lorax grabs his coattails to try to pull him back. The Lorax is stopped by a CAMERAMAN, while someone off screen tosses him a Thneed. FLASH!<\/scene_description>\n    <character>FAMILY<\/character>\n    <dialogue>How bad can we be?<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>And the PR people are lying!<\/dialogue>\n    <scene_description>EXT: THNEEDVILLE - PAST - DAY A billboard shows the Lorax holding a Thneed: \"Lorax- approved.\" INT: ONCE-LER'S OFFICE - PAST - DAY A huge version of the Once-ler rises up from the ground in front of the factory, looming over the valley.<\/scene_description>\n    <character>FAMILY<\/character>\n    <dialogue>How bad can we be?<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>And the lawyers are denying!<\/dialogue>\n    <character>FAMILY<\/character>\n    <dialogue>How bad can we be?<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>Who cares if a few trees are dying?<\/dialogue>\n    <scene_description>An army of AXE-HACKERS chop down trees left and right. It's a nightmarish scene, like Hitler invading Poland.<\/scene_description>\n    <character>FAMILY<\/character>\n    <dialogue>How bad can we be?<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>This is all so gratifying! HOW BAD? HOW BAD CAN THIS POSSIBLY BE?<\/dialogue>\n    <scene_description>EXT: THNEEDS, INC. - PAST - DAY Establishing. Now we see a fully mechanized factory working at full capacity. Smoke bellows from smokestacks as giant mechanical arms load Truffula Trees onto a conveyor belt leading into the monstrous factory. A group of pollution-covered animals sit around a pond of Gluppity-Glupp. One miserable Humming-Fish looks traumatized. In the background, an Axe Hacker continues to chop down more trees. INT: THNEEDS, INC. - PAST - DAY The busy Once-ler, completely transformed into a big businessman, walks down the halls of Thneeds, Inc. past a large ticker showing the amount of Thneeds sold, \"5,268,902.\" Underneath it is a large poster of the Once-ler with the words, \"Too big too fail\" written on it. Brett and Chet hold the doors open as he hangs up and enters his office. The doors close behind him. INT: ONCE-LER'S OFFICE - PAST - CONTINUOUS The Once-ler sits down at his desk. Looks over plans for Thneedville. Behind him, we can see the Lorax sitting on his balcony.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>So how are things?<\/dialogue>\n    <scene_description>The Once-ler turns to see the Lorax.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>What are you doing here?!<\/dialogue>\n    <character>LORAX<\/character>\n    <dialogue>Happy yet? You fill that hole deep down inside you? Or do you still need more?<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>Look, if you've got a problem with what I'm doing, why haven't you used your quote, unquote \"powers\" to stop me?<\/dialogue>\n    <character>LORAX<\/character>\n    <dialogue>I told you. That's not how it works.<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>Right, I forgot, you're a fraud. I need you to get out. Now.<\/dialogue>\n    <character>LORAX<\/character>\n    <dialogue>Why? Do I make you uncomfortable? Remind you of the promises you made? The man you used to be?<\/dialogue>\n    <scene_description>The Once-ler confronts the Lorax angrily, backing him down his balcony steps that lead back down to the ground.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>You know what? You can just shut your mustache! My conscience is clear. I have done nothing illegal. I have my rights, and I intend to keep on biggering and biggering and turning more Truffula trees into Thneeds.<\/dialogue>\n    <scene_description>The Lorax falls backwards and hits the ground.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>And nothing is going to stop me!<\/dialogue>\n    <scene_description>Just then, in the distance, we hear a THWACK! The Once-ler and Lorax both look...and see the VERY LAST TRUFFULA TREE chopped down by a Super Axe-Hacker.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>Well, that's it. The very last one.<\/dialogue>\n    <parenthetical>(grimly)<\/parenthetical>\n    <dialogue>That may stop you.<\/dialogue>\n    <scene_description>The Once-ler stares out into the valley. All that can be seen for miles and miles is stumps. The Truffula trees are all gone. EXT: TOWN SQUARE - PAST - DAY TWO WORKERS remove the Thneed ad from a billboard. One of the workers looks up at the image of the Thneed.<\/scene_description>\n    <character>TALL WORKER<\/character>\n    <parenthetical>(shaking his head)<\/parenthetical>\n    <dialogue>Somebody sure made a bundle on that thing.<\/dialogue>\n    <character>TALL WORKER<\/character>\n    <dialogue>Wonder what the next million-dollar invention's gonna be?<\/dialogue>\n    <scene_description>The Tall Worker fans the smoggy air away from his face, coughing. Then the Short Worker turns around and we see that it is-- A YOUNG ALOYSIUS O'HARE. He watches his partner fanning the smog away from his face, still coughing. Looks up at the billboard, wheels turning.<\/scene_description>\n    <character>YOUNG O'HARE<\/character>\n    <dialogue>Yeah. I wonder.<\/dialogue>\n    <scene_description>EXT: THNEEDS, INC. - PAST - DAY The Once-ler stands in front of his family's RV. His mother shakes her head disapprovingly.<\/scene_description>\n    <character>ONCE-LER'S MOM<\/character>\n    <dialogue>Son, you have let me down. Brett, you are now my favorite child.<\/dialogue>\n    <scene_description>VROOM! The RV speeds away. The Once-ler watches it go, his completely deserted factory behind him. He stands there all alone. And then he sees something approaching in the distance. It's the Lorax, leading a massive crowd of animals. The Once- ler holds up his hands as they approach.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Hey, look, I don't want any trouble.<\/dialogue>\n    <character>LORAX<\/character>\n    <dialogue>And you won't get any. Not from them. Thanks to you and your hacking and smogging and glupping, they can't live here anymore. So I'm sending them off. Hopefully they'll be able to find a better place out there somewhere.<\/dialogue>\n    <scene_description>He gives the Once-ler a pointed look. The animals continue their march, heading for the horizon. The Once-ler then sees Melvin leaving with all of the animals. His face falls.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Melvin? Melvin!<\/dialogue>\n    <scene_description>The mule looks back, shaking his head in disappointment.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Hey, Pipsqueak.<\/dialogue>\n    <scene_description>Pipsqueak turns back to the Once-ler who offers him a marshmallow.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>He shakes his head in disappointment and walks off with the rest of the animals. Once the animals are gone, it's just the Lorax and the Once- ler. The Lorax stands on a pile of rocks. The Once-ler takes off his biggered hat in shame. Then pulls himself up by the seat of his pants and magically floats up through the air. The Once-ler watches, amazed. The Lorax then disappears through a hole in the smog. The Once-ler is stunned. Who was this guy? What have I done? He looks down at the pile of rocks. We now see that the pile of rocks has the word \"UNLESS\" carved into one. EXT: LERKIM - PRESENT - DAY Ted stares down at the word \"UNLESS\" in the rocks. Ted looks up at the window, shaking his head.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>So this is really all your fault. You destroyed everything.<\/dialogue>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>Yes. And each day since the Lorax left I've sat here regretting everything I've done. Staring at that word--\"unless\"--and wondering what it meant.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But now I'm thinking...well, maybe you're the reason the Lorax left that word there.<\/dialogue>\n    <scene_description>Ted looks up, stunned.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Me? Why would he leave that for me?<\/dialogue>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>Because unless someone like you cares a whole awful lot, nothing is going to get better. It's not.<\/dialogue>\n    <scene_description>The Once-ler disappears from view and we hear him furiously rummaging around the Lerkim. Finally his arms reappear in the window. He tosses something down to Ted. Ted catches it. It's a SEED. Ted stares at it.<\/scene_description>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>The last Truffula Seed.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You need to plant it, Ted.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Yeah, but nobody cares about trees anymore.<\/dialogue>\n    <character>ONCE-LER<\/character>\n    <dialogue>Then make them care. Plant the seed in the middle of town, where everyone can see. Change the way things are.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I know it may seem small and insignificant, but it's not about what it is...it's about what it can become. That's not just a seed.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Any more than you're just a boy.<\/dialogue>\n    <scene_description>Ted looks up at the Once-ler, deep in thought. Gets a determined look. His fist closes around the seed. Ted nods. Then walks over to his scooter and starts it up.<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>(calls out)<\/parenthetical>\n    <dialogue>I won't let you down.<\/dialogue>\n    <scene_description>Ted drives off toward Thneedville. The Once-ler's eyes watch him go. For the first time shining with the hope they had when he was young.<\/scene_description>\n    <character>ONCE-LER (O.S.)<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>EXT: THNEEDVILLE STREETS - PRESENT - DAY Ted peers out from under a manhole cover. He spots the Robotic Cat surveying the area and throws his scooter helmet at him, knocking him out.<\/scene_description>\n    <character>ROBOTIC CAT<\/character>\n    <dialogue>Meow. Meow. Meow.<\/dialogue>\n    <scene_description>Ted revs his scooter and drives right over the Robotic Cat, smashing it to pieces.<\/scene_description>\n    <character>ROBOTIC CAT<\/character>\n    <dialogue>Meoooooooow...<\/dialogue>\n    <scene_description>Thinking he's alone, he takes out the seed to make sure it's okay. In the background, we see the Robotic Cat's eyes turn on and record him holding the seed. EXT: STREET - PRESENT - DAY Ted stops his scooter in front of Audrey's house. HONKS his horn.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Hey, Audrey! Audreeeeeey!<\/dialogue>\n    <scene_description>Audrey opens up the door, covered with paint and holding a PAINTBRUSH.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Ted? What are you doing?!<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Meet me at my house!<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Wait, but--<\/dialogue>\n    <scene_description>And he takes off.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>My house! Okay?!<\/dialogue>\n    <scene_description>Audrey watches him go, confused. INT: TED'S BEDROOM - PRESENT - DAY Ted crawls inside. Rushes over to his desk. Sets the seed on it and begins searching around his room, talking to himself.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Gotta plant the seed. Gotta plant the seed. Okay, we're going to need...uh... water...<\/dialogue>\n    <scene_description>Ted grabs a large water bottle and sets it on the desk and looks around the room.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>And...uh...something to dig with... um... What do I have? What do I have?<\/dialogue>\n    <character>TED'S MOM (O.S.)<\/character>\n    <dialogue>Ted!<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Mom. I'm busy, Mom!<\/dialogue>\n    <character>TED'S MOM (O.S.)<\/character>\n    <dialogue>Theodore Wiggins! Get down here right now and I am not kidding with you!<\/dialogue>\n    <scene_description>Ted grimaces and exits his room, SLAMMING the door behind him. KA-LUNK! The slamming door causes the water bottle to tip over and water begins DRIPPING on the seed. INT: FAMILY ROOM - PRESENT - CONTINUOUS Ted makes his way down the stairs. Gets to the bottom and turns, seeing-- Aloysius O'Hare and his men standing there. With his mother.<\/scene_description>\n    <character>TED'S MOM<\/character>\n    <dialogue>Ted, I'd like you to meet Mr. O'Hare--the most powerful man in town.<\/dialogue>\n    <character>O'HARE<\/character>\n    <dialogue>There he is. Hello, Ted.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Uh...hi.<\/dialogue>\n    <character>TED'S MOM<\/character>\n    <dialogue>Isn't he clever, Mr. O'Hare?<\/dialogue>\n    <parenthetical>(forces Ted to shake hands with O'Hare)<\/parenthetical>\n    <dialogue>He knows his own name and everything.<\/dialogue>\n    <character>O'HARE<\/character>\n    <parenthetical>(to Ted's Mom)<\/parenthetical>\n    <dialogue>You know what I would love right now, Mrs. Wiggins? A delicious cookie.<\/dialogue>\n    <character>TED'S MOM<\/character>\n    <dialogue>Uh...<\/dialogue>\n    <character>O'HARE<\/character>\n    <dialogue>Wonderful. Teddy and I'll stay here and talk.<\/dialogue>\n    <character>TED'S MOM<\/character>\n    <dialogue>Sure. Why don't you go ahead and adopt him?!<\/dialogue>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>I'm just kidding. That was a joke.<\/dialogue>\n    <scene_description>She walks towards the kitchen.<\/scene_description>\n    <character>TED'S MOM<\/character>\n    <dialogue>I was joking, because you know, I just--I'll get your cookie.<\/dialogue>\n    <scene_description>She gives Ted a look. \"Be good!\" Then leaves the room, escorted by O'Hare's men. O'Hare turns to Ted.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>I know you have it, Ted. So let's put an end to this nonsense, shall we? Hand it over.<\/dialogue>\n    <scene_description>O'Hare holds out his hand for the seed. It's moment of truth time for Ted. He looks O'Hare in the eye.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>I'm sorry. I don't know what you're talking about.<\/dialogue>\n    <scene_description>O'Hare frowns.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>Really? Well, then I guess you wouldn't mind us checking your room.<\/dialogue>\n    <scene_description>Ted's face falls.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>No-no-no-no!<\/dialogue>\n    <character>O'HARE<\/character>\n    <dialogue>Mooney! McGurk! Find the seed!<\/dialogue>\n    <scene_description>O'Hare's men return and head upstairs.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>No, no! You can't go up there!<\/dialogue>\n    <scene_description>Ted tries to push them back down with all his might.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>No, guys, this is ridiculous! Stop! Hey, ah!<\/dialogue>\n    <scene_description>O'Hare is behind them, pushing them up with all of his might.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>No you can't come in my room!<\/dialogue>\n    <scene_description>Despite his best efforts, they back Ted up the stairs and to his door. INT: TED'S BEDROOM - PRESENT - CONTINUOUS Mooney and McGurk knock the door down and burst into the room with O'Hare.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>Find it!!!<\/dialogue>\n    <scene_description>Ted watches as O'Hare's men turn the place upside down. He looks nervously at his desk and sees-- THE SEED IS GONE. No longer on the desk where he left it. He looks around, confused. They dig through drawers, empty his closet, turn over his bed, etc. But, of course, don't find the seed.<\/scene_description>\n    <character>O'HARE (O.S.)<\/character>\n    <dialogue>Find it!<\/dialogue>\n    <scene_description>Ted's Mom enters the room with a plate of cookies. Sees O'Hare threatening Ted.<\/scene_description>\n    <character>TED'S MOM<\/character>\n    <dialogue>What? What is going on here?!<\/dialogue>\n    <character>O'HARE<\/character>\n    <dialogue>This doesn't involve you. Get back downstairs.<\/dialogue>\n    <scene_description>This does not sit well with her.<\/scene_description>\n    <character>TED'S MOM<\/character>\n    <dialogue>Excuse me down there?!<\/dialogue>\n    <parenthetical>(points)<\/parenthetical>\n    <dialogue>I don't care who you are you little crazy baby man! Get out of my house! Now! This is outrageous!<\/dialogue>\n    <scene_description>O'Hare stares back at Ted's Mom. It's a stand-off. Finally, he lets go of Ted.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>Fine. Sorry. Must've been a misunderstanding. We'll be leaving now.<\/dialogue>\n    <parenthetical>(to Ted)<\/parenthetical>\n    <dialogue>And my apologies, Ted.<\/dialogue>\n    <parenthetical>(gives him a threatening look)<\/parenthetical>\n    <dialogue>You be safe.<\/dialogue>\n    <scene_description>Ted gulps at this threat. O'Hare heads for the door and grabs the plate with the cookie on the way out. Ted and his mom listen for the front door slam.<\/scene_description>\n    <character>TED'S MOM<\/character>\n    <dialogue>What? Mind telling me what's going on here?<\/dialogue>\n    <scene_description>Ted begins furiously searching his desk for the seed.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>The seed! Where is it?!<\/dialogue>\n    <character>TED'S MOM<\/character>\n    <dialogue>Seed?<\/dialogue>\n    <scene_description>And then Ted finds Grammy's cane under his desk He smiles.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Where's Grammy?!<\/dialogue>\n    <scene_description>He takes off running out of the room. His mom follows him. INT: FAMILY ROOM - PRESENT - CONTINUOUS Ted and his mom arrive to find Grammy Norma standing in the family room holding the seed, which now has a tiny sprout, and admiring it, mesmerized.<\/scene_description>\n    <character>GRAMMY NORMA<\/character>\n    <dialogue>It's alive.<\/dialogue>\n    <scene_description>She whispers to the seed.<\/scene_description>\n    <character>GRAMMY NORMA<\/character>\n    <dialogue>I remember you.<\/dialogue>\n    <scene_description>Ted and his mom join Grammy, caught up in the wonder of the spouting seed. Clearly moved by it.<\/scene_description>\n    <character>TED'S MOM<\/character>\n    <dialogue>Ted, what--<\/dialogue>\n    <parenthetical>(gasps)<\/parenthetical>\n    <dialogue>DING-DONG! DING-DONG! It's the doorbell. Ted runs and opens it, revealing Audrey. Smiles upon seeing her.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Audrey.<\/dialogue>\n    <scene_description>With the door open, Ted can see the O'Hare Air truck parked right across the street. His face falls.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Hey, did you want to--<\/dialogue>\n    <scene_description>He quickly pulls Audrey inside and closes the door.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Well, okay!<\/dialogue>\n    <scene_description>Ted closes the door and shuts the curtains.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Ted, what is this about?<\/dialogue>\n    <scene_description>Ted holds up the seed for Audrey.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>It's about this.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Wait, wait, wait-- Is that?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Yes. The last Truffula seed. And you're going to help me plant it right in the middle of town. Where everyone can see it.<\/dialogue>\n    <scene_description>Audrey looks at Ted, impressed with his take-charge attitude.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>I could just kiss you right now.<\/dialogue>\n    <character>TED'S MOM<\/character>\n    <dialogue>We don't have time for that!<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I don't know, we have a little time...<\/dialogue>\n    <parenthetical>(feeling awkward)<\/parenthetical>\n    <dialogue>But, you know what? Let's just go! Let's go. Forget about it.<\/dialogue>\n    <scene_description>EXT: STREET - PRESENT - DAY Mooney sits in an O'Hare Air truck reading a newspaper. Across the street, the garage door opens and Ted's Mom pulls out into the street and peels out. She flies right by the O'Hare Air truck and Mooney sees Ted in the passenger's seat. Mooney quickly takes off after her. INT: TED'S MOM'S CAR - PRESENT - SAME Ted's Mom drives like crazy, in and out of traffic loving that she is taking Mooney for a ride. EXT: STREET - PRESENT - SAME She drives her small car in between two rows of traffic that's too small for the truck. Mooney engages the truck's nitros, which blasts him through traffic like a rocket, knocking the other cars off the road. Ted's Mom sees the truck gaining on her in the rear view mirror.<\/scene_description>\n    <character>TED'S MOM<\/character>\n    <dialogue>Oh! Here it comes!<\/dialogue>\n    <scene_description>The truck bumps her car from behind. She sees a street up ahead that's blocked off by traffic cones.<\/scene_description>\n    <character>TED'S MOM<\/character>\n    <dialogue>Whoa! I'm going for it!<\/dialogue>\n    <scene_description>She makes a quick turn down the street. She looks back to see the O'Hare Air truck is still following her. Then turns back around to find the road ahead is out. She SCREAMS and slams on the brakes, stopping just short of the edge. Mooney jumps out and flings open the passenger door. He sees a FAKE TED MADE OF AN O'HARE AIR BOTTLE.<\/scene_description>\n    <character>TED'S MOM<\/character>\n    <dialogue>Oh, hello...<\/dialogue>\n    <scene_description>Ted's Mom LAUGHS at him. Mooney GROWLS IN FRUSTRATION. EXT: STREET - PRESENT - SAME Ted, Audrey and Grammy race through the neighborhood on Ted's scooter (Audrey holding on to Ted and Grammy Norma in the back). Audrey sees the shadow of O'Hare's blimp rising over them.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Ted, Ted! Big scary blimp coming!<\/dialogue>\n    <scene_description>Ted sees the blimp catching up to them. O'Hare LAUGHS as he locks a strap around his waist. McGurk fires up a rocket pack helmet and dives off the blimp towards Ted's scooter. We reveal O'Hare strapped to his chest like a baby bjorn. He holds a bull horn in his hands.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>You won't get away with this, boy! Bam!<\/dialogue>\n    <scene_description>O'Hare and McGurk weave in and out of traffic past the fun cars we saw in Thneedville. They get stuck behind a Man riding a very tall scooter. O'Hare calls to him on the megaphone.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>Go faster, you idiot!<\/dialogue>\n    <scene_description>McGurk slaps the Man out of the way as they take off after Ted.<\/scene_description>\n    <character>GRAMMY NORMA<\/character>\n    <dialogue>Step on it, Ted!<\/dialogue>\n    <scene_description>Ted makes a hard turn. Mooney drives out of a tunnel towards them and Ted makes an evasive maneuver around the tunnel wall, narrowly avoiding him. McGurk and O'Hare turn the corner, heading towards Mooney's truck.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>Whaaa!<\/dialogue>\n    <scene_description>SLAM! McGurk and O'Hare slam into Mooney's windshield and slide off like squashed bugs.<\/scene_description>\n    <character>MOONEY<\/character>\n    <dialogue>Oooh...<\/dialogue>\n    <character>O'HARE<\/character>\n    <parenthetical>(squashed against the windshield)<\/parenthetical>\n    <dialogue>You're fired!<\/dialogue>\n    <scene_description>Grammy Norma LAUGHS as she think they've escaped, but O'Hare gets up and takes chase on foot.<\/scene_description>\n    <character>GRAMMY NORMA<\/character>\n    <dialogue>Whoa, Ted, look out!<\/dialogue>\n    <scene_description>Ted turns back around and sees he's gone off the road. And is heading right towards an OPEN ELEVATOR leading to the KITE PARK.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Whoa!<\/dialogue>\n    <scene_description>People in the elevator SCREAM. SCREEECH! Ted slams on the brakes. The scooter spins and comes to a gentle stop inside the elevator next to a LITTLE BOY holding a kite. They look outside the elevator and see O'Hare and his goons running toward them.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Ted...<\/dialogue>\n    <scene_description>Ted, panicking, presses the \"CLOSE DOORS\" button repeatedly. O'Hare and his goons are getting closer.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>Nobody beats--!<\/dialogue>\n    <scene_description>The doors close just in the nick of time. DING.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>Dammit!<\/dialogue>\n    <scene_description>INT: ELEVATOR - PRESENT - CONTINUOUS Everyone on the elevator stars awkwardly at Ted, Audrey, and Grammy Norma. EXT: KITE PARK - PRESENT - CONTINUOUS DING! The elevator doors open, and they speed out into the Kite Park, which is at the top of Thneedville's tallest building. Ted weaves in and out of the KIDS flying kites powered by GIANT FANS. They stop at the edge of the building.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Not good! How's it doing?<\/dialogue>\n    <scene_description>Audrey looks down at the seed and O'Hare spots it from down in the street with his binoculars. McGurk gives him a gun that shoots metal pinchers. He fires it at Audrey, but misses the seed and grabs onto one of the giant fans behind them.<\/scene_description>\n    <character>GRAMMY NORMA<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>Loser!<\/dialogue>\n    <character>O'HARE<\/character>\n    <dialogue>Oh, really?<\/dialogue>\n    <scene_description>O'Hare tugs the line redirecting the fan toward them. WHOOOOOSH! The power of the fans BLOWS the seed right out of Audrey's hand!<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Oh no. The seed!<\/dialogue>\n    <scene_description>The three of them watch helplessly as the seed flies up in the air. From the ground, O'Hare spies it with his binoculars.<\/scene_description>\n    <character>O'HARE<\/character>\n    <parenthetical>(to his goons)<\/parenthetical>\n    <dialogue>Get that seed!<\/dialogue>\n    <scene_description>McGurk goes after it on his scooter as O'Hare hops in the sidecar. Up above, Ted sees this and revs up his scooter.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Hang on! Here we go!<\/dialogue>\n    <scene_description>He rides off the edge of the roof, landing in the snow of the ski slope below. SWOOOSH! Grammy falls off.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Grammy!<\/dialogue>\n    <scene_description>Grammy Norma pushes a GUY off his snowboard and borrows it to catch up with Ted's scooter. She gets her legs and starts to have fun.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Oh, wow! Seriously?! How cool is your Gramma?!<\/dialogue>\n    <scene_description>She blows a kiss to a SKIER, who does a double take, not watching where he's going. The Skier slams right into a fake fir tree. Ted watches as the seed continues falling past the ski slopes toward the ground.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>Grammy Norma pulls to a stop at the bottom and Ted catches up with her.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>C'mon!<\/dialogue>\n    <scene_description>EXT: STREET - PRESENT - SAME Down below in the street, O'Hare spots it with his binoculars.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>There it is!<\/dialogue>\n    <scene_description>The seed floats down and lands right inside the empty air bottle. The O'Hare Delivery Man goes to pick up the bottle, but sees O'Hare's trucks coming right at him and runs away.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>Hey, hey, hey! Watch the road, you meathead!<\/dialogue>\n    <scene_description>Still looking through the binoculars while driving, Mooney accidentally crashes his truck into the building. And all of the EMPTY AIR BOTTLES in the back spill out! There must be hundreds of them. They all begin ROLLING down the hilly street, sweeping the bottle with the seed in it up with them. It's an awesome sight as they all roll and bounce down the hill. The bottles smack O'Hare in the face and the one with the seed bounces by before he can grab it.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>Hey, ow-ow-ow! Oh! C'mon!<\/dialogue>\n    <scene_description>McGurk turns the scooter around and goes after it. Just then, Ted's scooter approaches at the bottom of the hill. O'Hare catches up to the bottle with the seed and grabs it, LAUGHING in victory. But his hand gets stuck and he can't reach the seed.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>What the--?!<\/dialogue>\n    <scene_description>He holds out his arm to Mooney in the other truck.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>Get it unstuck! Get it unstuck!<\/dialogue>\n    <scene_description>Ted drives toward him playing chicken.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>Bring it on, Teddy! You don't have the guts!<\/dialogue>\n    <scene_description>Grammy SCREAMS.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Ted!<\/dialogue>\n    <scene_description>At the last second, Ted leans the scooter over and skids underneath O'Hare and the bottle. It goes into slo-mo.<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>(in slo-mo)<\/parenthetical>\n    <dialogue>Grammy!<\/dialogue>\n    <scene_description>Grammy hooks the bottle with her cane and yanks it away from O'Hare. Ted rights the bike and the scene goes back to normal speed.<\/scene_description>\n    <character>TED &amp; AUDREY &amp; GRAMMY<\/character>\n    <dialogue>Yeah! Yes! Wahoo!<\/dialogue>\n    <scene_description>McGurk is distracted and they head right toward the two Marketing Guys sharing a milkshake at an outdoor cafe.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>Hey, hey, hey!<\/dialogue>\n    <character>MARKETING GUYS<\/character>\n    <parenthetical>(in unison)<\/parenthetical>\n    <dialogue>Hey, it's Mr. O--!<\/dialogue>\n    <scene_description>SMASH! Ted speeds away.<\/scene_description>\n    <character>GRAMMY NORMA<\/character>\n    <dialogue>Take that shorty!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN SQUARE - PRESENT - CONTINUOUS<\/stage_direction>\n    <scene_description>Ted drives up onto the curb and screeches to a halt right in the center of town by the STATUE OF O'HARE. Ted, Audrey and Grammy Norma quickly get off the scooter. Grammy Norma hits her cane against the ground, but it's paved over.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Okay, we have to get this in the ground.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>But where? There's no dirt anywhere!<\/dialogue>\n    <character>GRAMMY NORMA<\/character>\n    <dialogue>Ooh!<\/dialogue>\n    <scene_description>Grammy Norma smiles and scampers over to the BULLDOZER parked by the \"COMING SOON! ANOTHER PARKING LOT!\" construction site. Climbs into the cab.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>No, um, Grammy...<\/dialogue>\n    <scene_description>BA-RUUUUMMMBLE! She fires up the bulldozer and starts pulling levers. The bulldozer growls like a dinosaur and immediately begins spinning out of control. VRRRRUUUUMBL!<\/scene_description>\n    <character>GRAMMY NORMA<\/character>\n    <dialogue>Whoopsy!<\/dialogue>\n    <scene_description>She pulls another lever and the bulldozer arm swings around and severs the head off the O'HARE STATUE. The head falls to the ground, cracking open the pavement and revealing-- A PATCH OF DIRT. The bulldozer stops. Grammy Norma climbs down to join them.<\/scene_description>\n    <character>GRAMMY NORMA<\/character>\n    <dialogue>See? What'd I tell you? Easy. Huh?<\/dialogue>\n    <character>WOMAN (O.S.)<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>Then they turn to find dozens of townspeople have gathered to see what the commotion is.<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>They broke O'Hare's head!<\/dialogue>\n    <character>ANOTHER WOMAN<\/character>\n    <dialogue>What do you think you're doing, kid?<\/dialogue>\n    <scene_description>Ted stares at the crowd. Busted.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Um...I'm...I'm looking for a place to plant a tree. A real one.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Why would we need a tree?<\/dialogue>\n    <character>O'HARE (O.S.)<\/character>\n    <dialogue>Exactly.<\/dialogue>\n    <scene_description>Everyone turns and sees O'Hare leaning on his broken statue's head. All eyes are on him. Ted cringes.<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>Oh, man.<\/dialogue>\n    <scene_description>O'Hare addresses people in the crowd individually like a politician.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>Folks, the last thing you want around here is trees. They're filthy, spewing that sticky, nasty sap all over the place.<\/dialogue>\n    <parenthetical>(to Marie)<\/parenthetical>\n    <dialogue>They bring poisonous ants and stinging bees.<\/dialogue>\n    <scene_description>He sticks his finger into Marie's ice cream cone. Then licks it off.<\/scene_description>\n    <character>MARIE<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <character>O'HARE<\/character>\n    <dialogue>Ouch.<\/dialogue>\n    <parenthetical>(to the Marie's Mom)<\/parenthetical>\n    <dialogue>Think about the kids.<\/dialogue>\n    <scene_description>Marie runs to her Mom, scared.<\/scene_description>\n    <character>O'HARE<\/character>\n    <parenthetical>(to a Maintenance Worker)<\/parenthetical>\n    <dialogue>And... I just thought of, you know, they make leaves! I mean, you know that right?! And these leaves they just fall. They just fall where ever they want.<\/dialogue>\n    <scene_description>The Crowd GASPS. A MAN in the Crowd faints. The crowd murmurs, concerned. The tide is definitely against Ted.<\/scene_description>\n    <character>AUDREY<\/character>\n    <parenthetical>(to the crowd)<\/parenthetical>\n    <dialogue>Oh COME ON! We know why you're REALLY against trees! Because they produce fresh air!<\/dialogue>\n    <scene_description>O'Hare frowns.<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>(to the crowd)<\/parenthetical>\n    <dialogue>For free!<\/dialogue>\n    <scene_description>The crowd starts murmuring at this.<\/scene_description>\n    <character>O'HARE<\/character>\n    <parenthetical>(gasps)<\/parenthetical>\n    <dialogue>I am wounded! You have lied!<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>It is not a lie! It's called photosynthesis!<\/dialogue>\n    <character>O'HARE<\/character>\n    <dialogue>Oh, come on! She's making that up! That's a made up word, people! Thneedville is perfect just the way it is. We don't need trees!<\/dialogue>\n    <parenthetical>(points accusingly at Ted)<\/parenthetical>\n    <dialogue>That boy has a seed! We need to stop him! Who's with me? C'mon!<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>O'Hare's right!<\/dialogue>\n    <character>MARKETING GUY #2<\/character>\n    <dialogue>Seeds will ruin us all!<\/dialogue>\n    <character>CROWD<\/character>\n    <dialogue>Stop it! Yeah! I'm afraid of bees! Grab him!<\/dialogue>\n    <scene_description>O'Hare moves menacingly toward Ted, the crowd following him.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>Last chance, kid. Hand it over.<\/dialogue>\n    <scene_description>Audrey turns to Ted. What do we do now? Ted gets an idea. Quickly hops up onto the bulldozer.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>Where do you think you're going?<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>(to Grammy and Audrey)<\/parenthetical>\n    <dialogue>C'mon, let's go. Get in. Get in!<\/dialogue>\n    <scene_description>They join him in the bulldozer's cab. He hands Audrey the seed and puts the bulldozer in gear and drives away.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>Stop that maniac!<\/dialogue>\n    <scene_description>Ted HONKS the HORN and O'Hare runs out of the way.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Excuse me! Excuse me! Watch out!<\/dialogue>\n    <scene_description>The bulldozer drives out of Town Square and O'Hare runs after them. The crowd follows. Ted heads straight for the wall surrounding the town.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Ted, you're gonna hit the wall!<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Yeah, I know.<\/dialogue>\n    <scene_description>SMASH!!! The bulldozer connects with the wall. Then...CRACK. A line appears in the wall. It grows...and expands...until finally a huge section of it CRUMBLES to the ground. Revealing the desolate landscape outside. Everyone stares in stunned silence. O'Hare tries take the focus off the landscape.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>Wow! Did you see that? Who does this kid think he is? Huh?<\/dialogue>\n    <scene_description>Ted leaps onto the top of the bulldozer.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>I am Ted Wiggins.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And I speak for the trees.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And the fact is things aren't perfect here in Thneedville. And they're only going to get worse unless we do something about it. Unless we change our ways. And we can start by planting this!<\/dialogue>\n    <scene_description>Ted holds up the seed. The crowd GASPS IN AWE as the little sprout opens up, revealing the first signs of a tuft. O'Hare grimaces. Addresses the crowd.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>Okay, come on now, everything's fine. Right? I say we tell this kid what we think about that seed! People, c'mon!<\/dialogue>\n    <scene_description>The crowd doesn't know what to do. O'Hare pulls the Singing Delivery Man aside.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>You! Get out there right now and get these people on my side! Or else you're fired!<\/dialogue>\n    <parenthetical>(so crowd can here)<\/parenthetical>\n    <dialogue>Go on! Tell 'em what you think!<\/dialogue>\n    <scene_description>SONG: \"LET IT GROW\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN SQUARE - PRESENT - CONTINUOUS<\/stage_direction>\n    <scene_description>The Singing Delivery Man stares at all the people.<\/scene_description>\n    <character>SINGING DELIVERY MAN<\/character>\n    <dialogue>You don't know me, but my name's Cy, I'm just the O'Hare Deliver Guy, But it seems like trees might be worth a try, So I say let it grow<\/dialogue>\n    <scene_description>Ted and Audrey smile at this. O'Hare frowns. What? Then a couple, DAN and ROSE, step forward, emboldened by the Singing Delivery Man's words. They address the crowd.<\/scene_description>\n    <character>DAN<\/character>\n    <dialogue>My name is Dan<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>And my name's Rose.<\/dialogue>\n    <scene_description>Standing next to them is their son, the Glowing Boy.<\/scene_description>\n    <character>DAN AND ROSE<\/character>\n    <dialogue>Our son Wesley kind of glows. And that's not good, so we suppose We should let it grow!<\/dialogue>\n    <scene_description>Several members of the crowd nod, agreeing. Ted's Mom addresses the crowd.<\/scene_description>\n    <character>TED'S MOM<\/character>\n    <dialogue>Let it grow Let it grow<\/dialogue>\n    <scene_description>Ted looks up at his Mom, impressed by her amazing singing voice.<\/scene_description>\n    <character>TED'S MOM, SINGING DELIVERY MAN, AND<\/character>\n    <dialogue>MAINTENANCE WORKERS<\/dialogue>\n    <scene_description>You can't reap what you don't sow. Plant a seed inside the earth, People from around the town hear them sing and walk over to join the crowd.<\/scene_description>\n    <character>TED'S MOM, SINGING DELIVERY MAN, AND<\/character>\n    <dialogue>MAINTENANCE WORKERS<\/dialogue>\n    <scene_description>Just one way to know its worth, Let's celebrate the world's rebirth- - We say let it grow! The little girl, Marie, steps forward.<\/scene_description>\n    <character>MARIE<\/character>\n    <dialogue>My name's Marie, and I am three I would really like to see a tree<\/dialogue>\n    <scene_description>The crowd reacts to her undeniable cuteness.<\/scene_description>\n    <character>EVERYONE<\/character>\n    <dialogue>Awwwwwww...<\/dialogue>\n    <character>MARIE<\/character>\n    <dialogue>La la la la la la la la la la lee I say let it grow<\/dialogue>\n    <scene_description>Grammy Norma slides down from the bulldozer and addresses the crowd.<\/scene_description>\n    <character>GRAMMY NORMA<\/character>\n    <dialogue>I'm Grammy Norma, I'm old, and I've got gray hair But I remember when trees were everywhere<\/dialogue>\n    <scene_description>The crowd is moved by this. O'Hare can see he's losing ground.<\/scene_description>\n    <character>GRAMMY NORMA<\/character>\n    <dialogue>And no one had to pay for air<\/dialogue>\n    <parenthetical>(pokes O'Hare with her cane)<\/parenthetical>\n    <dialogue>So I say let it grow!<\/dialogue>\n    <scene_description>The whole crowd now joins in on the chorus. O'Hare can see he's losing ground. Ted leads everyone back down towards town square.<\/scene_description>\n    <character>CROWD<\/character>\n    <dialogue>Let it grow Let it grow Like it did so long ago! It is just one tiny seed But it's all we really need It's time to change the life we lead Time to let it grow!<\/dialogue>\n    <scene_description>Now O'Hare steps out of the middle of the crowd onto the top of his severed statue's head.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>My name's O'Hare, I'm one of you, I live here in Thneedville too. The things you say just might be true, It could be time to start anew, And maybe change my point of view...<\/dialogue>\n    <scene_description>Everyone is touched by O'Hare's willingness to change.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>Naw! I say let it die!<\/dialogue>\n    <scene_description>O'Hare now tries to get everyone singing with him.<\/scene_description>\n    <character>O'HARE<\/character>\n    <dialogue>Let it die Let it die<\/dialogue>\n    <character>O'HARE<\/character>\n    <dialogue>Let it shrivel up and...<\/dialogue>\n    <parenthetical>(no one's singing along)<\/parenthetical>\n    <dialogue>Come on! Who's with me? Huh?<\/dialogue>\n    <scene_description>The crowd just stares back at him. Even his own men look away.<\/scene_description>\n    <character>MARIE<\/character>\n    <dialogue>Nobody.<\/dialogue>\n    <character>SINGING DELIVERY MAN<\/character>\n    <dialogue>You greedy dirtbag!<\/dialogue>\n    <scene_description>Everyone surrounds O'Hare and points to him accusingly.<\/scene_description>\n    <character>CROWD<\/character>\n    <dialogue>Let it grow Let it grow Let the love inside you show<\/dialogue>\n    <scene_description>Mooney slaps the rocket helmet to O'Hare's head and sends him flying off screen.<\/scene_description>\n    <character>CROWD<\/character>\n    <dialogue>Plant a seed inside the earth, Just one way to know its worth, Let's celebrate the world's rebirth-- We say let it grow!<\/dialogue>\n    <character>O'HARE<\/character>\n    <dialogue>Noooooooooo!<\/dialogue>\n    <character>CROWD<\/character>\n    <dialogue>Let it grow Let it grow You can't reap what you don't sow<\/dialogue>\n    <scene_description>EXT: LERKIM - PRESENT - SAME The Once-ler's eyes appear in the boarded up window. He looks toward Thneedville, trying to make out the faint music he hears in the distance.<\/scene_description>\n    <character>TOWNSPEOPLE (O.S.)<\/character>\n    <dialogue>It is just one tiny seed But it's all we really need<\/dialogue>\n    <scene_description>The Once-ler turns his ear to the window, but it's still too faint. He disappears back inside his Lerkim. INT: LERKIM - PRESENT - SAME It's hard to make out anything in the dark and shadowy room. Then the Once-ler's gloved hands appear, grabbing the handle of a RUSTY OLD AXE next to the Great-Great-Great Grandfather snail on his desk. We can barely make out the silhouette of the Once-ler raising the axe over his head, then...<\/scene_description>\n    <character>TOWNSPEOPLE (O.S.)<\/character>\n    <dialogue>It's time to banish all your greed<\/dialogue>\n    <scene_description>WHACK! He chops away at the boards covering his window. WHACK! CRACK! The axe breaks through the boards and sunlight shines into the room for the first time in years.<\/scene_description>\n    <character>TOWNSPEOPLE (O.S.)<\/character>\n    <dialogue>Imagine Thneedville flowered and treed!<\/dialogue>\n    <scene_description>Then, the Once-ler steps into the light and moves toward the window. We see his face for the first time. Old and wrinkled, with an enormous, Lorax-like moustache. The Old Once-ler leans out of the window and listens. Far off in the distance, he hears voices singing.<\/scene_description>\n    <character>TOWNSPEOPLE (O.S.)<\/character>\n    <dialogue>Let this be our solemn creed!<\/dialogue>\n    <scene_description>The Once-ler's sad old eyes slowly widen as he realizes what he's hearing. Tears begin to well up as he looks down at the \"Unless\" stones below him, then back toward Thneedville. A proud smile creeps across his face.<\/scene_description>\n    <character>ONCE-LER<\/character>\n    <dialogue>Thank you, Ted.<\/dialogue>\n    <scene_description>EXT: TOWN SQUARE - PRESENT - SAME The crowd of people watch as Ted and Audrey prepare to plant the little seed into the ground. Rocks surround the hole in a protective circle (an echo of what the Lorax and animals did earlier).<\/scene_description>\n    <character>EVERYONE<\/character>\n    <dialogue>We say let it grow (in Thneedville)<\/dialogue>\n    <scene_description>Audrey leans in and surprises Ted with a kiss on the cheek. His eyes go wide.<\/scene_description>\n    <character>EVERYONE<\/character>\n    <dialogue>We say let it grow (it's a brand new dawn)<\/dialogue>\n    <character>EVERYONE<\/character>\n    <dialogue>We say let it grow (in Thneedville) We say let it grow It's a brand new dawn...<\/dialogue>\n    <scene_description>Grammy Norma walks over with a watering can as Ted plants the seed. She waters it and the tree begins to grow towards camera in time-lapse. EXT: LERKIM - PRESENT - DAY Cross dissolve from the sapling in Town Square to one growing in the desolate wasteland outside of the Lerkim. The Old Once-ler steps outside with a watering can in hand. He makes his way over to the UNLESS stones where some small patches of grass are beginning to grow around the tiny Truffula tree. The Once-ler carefully sprinkles water on a few saplings and smiles. Then, he hears a faint sound off in the distance. The same sound he heard when the Lorax disappeared into the sky years ago. He looks up and sees the smoggy clouds beginning to part. A ray of sunshine falls upon him and a SWOMEE-SWAN swoops down from above. The amazed Once-ler watches the bird fly by then turns to the UNLESS stones where he sees-- The Lorax. Floating back down to the stones. Smiling. The Once-ler can't contain himself and LAUGHS IN JOY.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>You done good, beanpole. You done good.<\/dialogue>\n    <scene_description>The Old Once-ler kneels down and gives him a hug.<\/scene_description>\n    <character>LORAX<\/character>\n    <dialogue>By the way, nice mustache.<\/dialogue>\n    <scene_description>FADE TO BLACK. TITLE CARD: \"Unless someone like you cares a whole awful lot, nothing is going to get better. It's not.\" -- Dr. Seuss FADE TO BLACK. CREDIT BEGIN:<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Twelve-year-old Ted Wiggins lives in Thneedville, a walled city where all vegetation is artificial. Ted is infatuated with a teenage girl named Audrey and decides to impress her with a \"real tree\". His grandmother, Norma, tells him about the Once-ler, who knows what happened to the trees. Ted leaves Thneedville and discovers that the land outside of his home town is a barren, contaminated wasteland. He finds the Once-ler, who agrees to tell Ted the story of the trees over multiple visits. He tells Ted the first part of the story and then stops and tells Ted to come again tomorrow. The next time he tries to leave town, Ted encounters Thneedville's greedy mayor, Aloysius O'Hare, whose company sells bottled oxygen. Explaining that trees and the oxygen they produce pose a threat to his business, O'Hare intimidates Ted to stay in town, but Ted continues to visit the Once-ler. The Once-ler recounts how, as a young inventor, he arrived in a lush forest of Truffula trees. Upon chopping down a tree, he was confronted by the Lorax, the self-proclaimed \"guardian of the forest\". After attempting to force the Once-ler out, the Lorax made him promise not to cut down any more trees. The Once-ler used the Truffula fibers to create the \"Thneed\", a knitted garment with numerous uses, which became a major success. He harvested the Truffula tufts in a sustainable manner until his unscrupulous relatives arrived and persuaded him to resume cutting down trees, leading to large profits, but breaking his promise to the Lorax and causing deforestation and pollution. After the final Truffula tree fell, the Once-ler was ruined and abandoned by his family. With the region uninhabitable, the Lorax sent the native animals away and vanished into the sky, leaving behind a pile of rocks etched with the word \"Unless\". The Once-ler gives Ted the last Truffula seed and urges him to plant it. Ted returns home to plant the seed, but is spotted by O'Hare's city-wide surveillance system. Enlisting the help of Audrey and his family, Ted flees to the center of town with the seed. O'Hare chases him and rallies the citizens against Ted, saying trees are dangerous and filthy. Ted uses a bulldozer to knock down a section of the city wall, revealing the environmental desolation outside. Inspired by Ted's conviction, the crowd turns on O'Hare, whose henchmen banish him, and the seed is finally planted. As time passes, the land begins to recover. New trees sprout, animals start to return, and the elderly Once-ler reunites with the Lorax. The film ends with a quote from Dr. Seuss: \"Unless someone like you cares a whole awful lot, nothing is going to get better. It's not.\""}
{"movie_name":"Never Rarely Sometimes Always_2020","imdb_id":"tt7772582","script":"<script>\n  <scene>\n    <scene_description>NEVER RARELY SOMETIMES ALWAYS Written by Eliza Hittman Production Draft - 1\/28\/2019<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL AUDITORIUM - NIGHT<\/stage_direction>\n    <scene_description>A group of excited teenagers wait in the wings of a dark empty high school stage. They are dressed in home-made costumes from the 1950's. The girls in chiffon scarves, poodle skirts, and saddle shoes. The boys in letterman jackets. As the lights come up, they get into position center stage. The audience cheers. A piano plays an upbeat song from the period and the students perform a sock hop dance. They dance in couples, the girls are far more coordinated and committed than the boys. CUT TO: An ELVIS IMPERSONATOR, 14, stands in front of a microphone crooning a young Elvis song. His pelvis gyrates.<\/scene_description>\n    <character>ELVIS IMPERSONATOR<\/character>\n    <dialogue>A rhythm with a beat Bring me to the door I want a rhythm with a rock Lead me to the floor I want a rhythm with a roll Goes down to my feet I wanna hear them play that rock 'n roll beat<\/dialogue>\n    <scene_description>CUT TO: Three TEENAGE BOYS wearing matching cardigans sing an overly sentimental doo-wop song about finding true love and getting their hearts broken.<\/scene_description>\n    <character>TEENAGE BOYS<\/character>\n    <dialogue>Cause there's nothing left for me to do Or say Though I'd always hoped that you'd be mine someday<\/dialogue>\n    <scene_description>CUT TO: AUTUMN, 17, walks onto the stage carrying a guitar. She adjusts the microphone. She has dark circles under her eyes, as if she hasn't slept in weeks. She's dressed like a 1950's rebel or greaser, wearing jeans and a satin pink jacket. She starts to strum and sing. Her voice is filled with sadness. She sings something much darker from the period, He's Got the Power.<\/scene_description>\n    <character>AUTUMN<\/character>\n    <dialogue>He makes me do things I don't want to do He makes me say things I don't want to say And even though I want to break away I can't stop saying I adore him I can't stop doing things for him He's got the power The power of love over me<\/dialogue>\n    <scene_description>Autumn looks into the audience. Several rows in, she sees her proud but ineffective young MOTHER (34). Her mother sits with her deadbeat boyfriend and a couple of small kids. Autumn looks away from her mom and back out toward the general audience.<\/scene_description>\n    <character>AUTUMN<\/character>\n    <dialogue>He makes me stay when I don't want to stay He makes me go when I don't want to go And though I try to break the spell I know I can't stop saying I adore him<\/dialogue>\n    <scene_description>She looks around the audience again while singing. A group of boys watch her and whisper. One ROWDY STUDENT cups his hand around his mouth. He disguises his voice, making it sound deeper and shouts-<\/scene_description>\n    <character>ROWDY STUDENT<\/character>\n    <dialogue>SLUUUUUUUUUUUT!!!!!<\/dialogue>\n    <scene_description>They laugh, but the joke goes nowhere. Autumn freezes at first, but pushes through the moment and continues to sing.<\/scene_description>\n    <character>AUTUMN<\/character>\n    <dialogue>I can't stop doing things for him He's got the power The power of love over me<\/dialogue>\n    <scene_description>She holds the note and her voice trembles through the entire auditorium. CUT TO BLACK: NEVER RARELY SOMETIMES ALWAYS<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL - HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Students flood the hallway greeting their parents. The energy is filled with post-performance excitement and adrenaline. Autumn waits off to the side. Her mom runs over and takes Autumn's face in her hands and kisses her cheeks. Autumn's response is stiff.<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>You sounded so beautiful.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>No really...Who taught you to sing like that???<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Mom. Stop.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>But you sounded so sad. You actually made me cry.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>What do you have to be so sad about?<\/dialogue>\n    <scene_description>Autumn pulls away. Her cousin SKYLAR (16) squeezes her. She's full of positivity but senses something is wrong. Skylar hands Autumn some flowers.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>You were the best. Hands down.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>Tell her. She's not listening to me. Let's all go celebrate.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>But I didn't win.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>Who cares.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>No, I'm really tired.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>But aren't all your friends going out?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I just wanna go to bed.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>What's wrong?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I don't feel well.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Come on. Let's go. Please...<\/dialogue>\n    <scene_description>Autumn looks trapped.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCAL RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Autumn sits with her winter coat still on across the table from her mother, her mom's younger deadbeat boyfriend TED (27), and Skylar. The grown-ups are wasted. Ted has a dominating presence. Autumn has two younger sisters, HAYDEN and SIERRA (10 and 6), who sit with them. They have long stringy uncombed hair. They dip french fries into ketchup and lick the ketchup off the end of the fries. The restaurant is loud and filled with high school students celebrating. Everyone at the table eats greasy wings, pizza, and fries, except Autumn.<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Tell her how great she was.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>She knows.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>She didn't hear it from you though.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>She knows she was good.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>Tell her.<\/dialogue>\n    <scene_description>Ted looks at her and drinks his beer.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Hard to want to compliment someone who is always in a foul mood.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>No I'm not.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>It's a phase.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Keep telling yourself that.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>Just tell her.<\/dialogue>\n    <scene_description>PAUSE<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Your mother wants me to tell you how great you are.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Shut up.<\/dialogue>\n    <scene_description>He smirks and drinks his beer.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>See.<\/dialogue>\n    <scene_description>Autumn looks around the room. A group of boys at a nearby table watch her and whisper. She looks at the Rowdy Student who shouted slut during the talent show. She looks away.<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Why aren't you eating?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>...I said I don't feel well.<\/dialogue>\n    <scene_description>Autumn looks at the table full of greasy wings and discarded bones. It's totally nauseating. Ted finishes one beer and starts the next. Autumn sees the boys at the other table continue to look at her and laugh. The Rowdy kid makes a lewd gesture. Autumn gets up. Autumn walks over to their table. She throws a glass of ice water in his face. They laugh at her more. She storms out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOCAL RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Autumn exits the restaurant. She walks quickly through the quiet empty streets. She keeps her head down. There's a gloominess to the area. The downtown area feels abandoned and run down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COAL COUNTRY, PA - RESIDENTIAL STREET - NIGHT<\/stage_direction>\n    <scene_description>Autumn walks home alone up a steep quiet residential street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUTUMN'S HOUSE<\/stage_direction>\n    <scene_description>Autumn enters into her dark house and greets her dog.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUTUMN'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Autumn changes out of her costume. The waistline is too tight and cuts into her skin. She puts on more comfortable clothes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUTUMN'S BEDROOM - LATER<\/stage_direction>\n    <scene_description>Autumn lies in bed and waits anxiously for day. She's too restless to sleep.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUTUMN'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>Autumn lies in bed awake. She pulls back the curtain, and sunlight creeps in. A small sliver of sunlight hits her face.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUTUMN'S HOUSE - EARLY MORNING<\/stage_direction>\n    <scene_description>Hayden and Sierra sit at the table eating bowls of cereal without spoons. They dip their fingers into the milk and pluck out cereal. They watch cartoons on a tablet at the table. Her mom feeds the dog with an oversized bag of food. She overfills the bowl and food spills everywhere. Ted turns on the exhaust fan above the stove and smokes a cigarette. He exhales into the fan. He wears boxers with the fly opening slightly too wide, which gives him easy access to keep adjusting himself. The smoke hangs in the air. Autumn puts on her coat and watches them from a distance.<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Have some cereal before you go.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I'm not hungry.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>Are you feeling better?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Not really.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>Did you get some rest?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>Do you want me to call Dr. Pat?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>It's in her head. She just needs her head checked.<\/dialogue>\n    <scene_description>Autumn waves the smoke out of her face and leaves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COAL COUNTRY, PA - MORNING<\/stage_direction>\n    <scene_description>Autumn walks down a steep hill through downtrodden residential streets. It's a brisk winter morning and she looks more tired than the night before.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOMEN'S CARE CENTER - DAY<\/stage_direction>\n    <scene_description>Autumn walks up to a nondescript building. She leans in and looks. On the door, a sign is stenciled that says \"FREE TESTING\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WOMEN'S CARE CENTER - DAY<\/stage_direction>\n    <scene_description>A bell chimes as Autumn enters. A RECEPTIONIST, an old woman, sits doing nothing, behind the counter. She's a small-town type with an empty friendliness. The waiting room is empty. The space feels trapped somewhere between a church basement, a thrift store, and a medical office.<\/scene_description>\n    <character>RECEPTIONIST #1<\/character>\n    <dialogue>Well good morning.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Morning.<\/dialogue>\n    <character>RECEPTIONIST #1<\/character>\n    <dialogue>How can I help you?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I wanted to see if it'd be possible to take a test.<\/dialogue>\n    <character>RECEPTIONIST #1<\/character>\n    <dialogue>That's what we do. That's what we're here for.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>RECEPTIONIST #1<\/character>\n    <dialogue>Sure. Why don't you sign in, hang up your coat, and have a seat.<\/dialogue>\n    <scene_description>Autumn signs in. Her hand shakes a little bit as she writes. She hangs up her coat. She walks to the sitting area. The Receptionist picks up the phone and makes a call.<\/scene_description>\n    <character>RECEPTIONIST #1<\/character>\n    <dialogue>Hi, we got a girl out here for a test.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WOMEN'S CARE CENTER - WAITING AREA<\/stage_direction>\n    <scene_description>Autumn sits and waits. She looks around the room. There are small religious signs. There are toddler toys. There are bags of donations. She chews on the tips of her hair. Finally, a door opens and an old woman, the CENTER DIRECTOR, (75), small and shrinking with hunched shoulders, enters. She wears a lab coat and a name tag. She puts on her reading glasses. The receptionist hands her the sign-in sheet.<\/scene_description>\n    <character>CENTER DIRECTOR<\/character>\n    <dialogue>Autumn? Are you ready?<\/dialogue>\n    <scene_description>Autumn lets the hair fall from her mouth. She stands up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WOMEN'S CARE CENTER - HALLWAY<\/stage_direction>\n    <scene_description>They walk down a hallway together. Beth reads the clipboard.<\/scene_description>\n    <character>CENTER DIRECTOR<\/character>\n    <dialogue>Another cold day isn't it?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>CENTER DIRECTOR<\/character>\n    <dialogue>We turned up the heat this morning, but no matter what we do, there's always a chill. My name is Beth by the way. Autumn?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Hi.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WOMEN'S CARE CENTER - OFFICE<\/stage_direction>\n    <scene_description>The Center Director and Autumn walk into a private office. It's all cozy thrift store furniture, filing cabinets, a sofa.<\/scene_description>\n    <character>CENTER DIRECTOR<\/character>\n    <dialogue>Come on in. Make yourself at home.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>CENTER DIRECTOR<\/character>\n    <dialogue>We can sit here and talk for a minute.<\/dialogue>\n    <scene_description>Autumn sits. The Center Director takes notes as she asks questions.<\/scene_description>\n    <character>CENTER DIRECTOR<\/character>\n    <dialogue>Can you tell me a little about the symptoms that brought you in today?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I just haven't really been feeling well.<\/dialogue>\n    <character>CENTER DIRECTOR<\/character>\n    <dialogue>How long has that been going on?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>A while.<\/dialogue>\n    <character>CENTER DIRECTOR<\/character>\n    <dialogue>How long?<\/dialogue>\n    <scene_description>She shrugs.<\/scene_description>\n    <character>CENTER DIRECTOR<\/character>\n    <dialogue>When was your last period?<\/dialogue>\n    <scene_description>She shrugs.<\/scene_description>\n    <character>AUTUMN<\/character>\n    <dialogue>I don't really know exactly. I'm kind of irregular.<\/dialogue>\n    <character>CENTER DIRECTOR<\/character>\n    <dialogue>I understand. Today we are going to do a self-administered test. But I wanna let you know something. Even if it's negative, it could still be positive.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>What does that mean exactly?<\/dialogue>\n    <character>CENTER DIRECTOR<\/character>\n    <dialogue>I mean, if it's negative, you might wanna redo the test in a few weeks, if you are still concerned.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WOMEN'S CARE CENTER - BATHROOM<\/stage_direction>\n    <scene_description>Blackness. The Center Director turns on the light to a small bathroom. She hands Autumn a pee cup and a blue rubber glove and hands them to Autumn.<\/scene_description>\n    <character>CENTER DIRECTOR<\/character>\n    <dialogue>You can just go in here. I'll be waiting right outside.<\/dialogue>\n    <scene_description>She leaves and closes the door. Autumn pulls her pants down. She sits on the toilet. Her hand trembles slightly as she puts on a blue rubber glove. It's comically big on her hand. She puts the cup between her legs. The dixie cup is decorated with cartoons. She sits and waits and waits. Finally, she pees into the cup. She stands up and puts the cup on a baby changing table. She opens the door a crack.<\/scene_description>\n    <character>AUTUMN<\/character>\n    <dialogue>I'm finished.<\/dialogue>\n    <scene_description>The Center Director walks back in with a store-bought pregnancy test in a box.<\/scene_description>\n    <character>AUTUMN<\/character>\n    <dialogue>Is that from the supermarket?<\/dialogue>\n    <character>CENTER DIRECTOR<\/character>\n    <dialogue>Yes. Yes, it is.<\/dialogue>\n    <scene_description>Beth opens it up and spreads the materials out on the table. She hands Autumn a plastic eye dropper.<\/scene_description>\n    <character>CENTER DIRECTOR<\/character>\n    <dialogue>Now just put a little in here.<\/dialogue>\n    <scene_description>Autumn puts the eye dropper into the urine sample, squeezes and fills it up. Autumn puts a few drops of urine on the pregnancy test. Her hand trembles a bit. She can't control her nerves. The urine begins to absorb and slowly spread on the test. One blue line begins to form on the test. The urine continues to spread. Another blue line begins to form. She continues to read the instructions. She looks at Autumn to see how she's processing it.<\/scene_description>\n    <character>CENTER DIRECTOR<\/character>\n    <dialogue>That looks like a positive...<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>If the test is positive, is there a chance that it's actually really negative?<\/dialogue>\n    <character>CENTER DIRECTOR<\/character>\n    <dialogue>No, a positive is definitely positive.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WOMEN'S CARE CENTER - RECEPTION<\/stage_direction>\n    <scene_description>The Receptionist hands Autumn a shiny gold gift bag that's sitting on the counter. In the waiting area, a young mother sits with a whining and impatient baby.<\/scene_description>\n    <character>RECEPTIONIST #1<\/character>\n    <dialogue>This is for you. Our sonogram technician is in tomorrow. 9am.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I don't think I can be here at 9. Is it possible to come at 3?<\/dialogue>\n    <character>RECEPTIONIST #1<\/character>\n    <dialogue>No, I'm afraid, that's all we have for tomorrow. See you then?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>But I'll have to miss class.<\/dialogue>\n    <character>RECEPTIONIST #1<\/character>\n    <dialogue>I'm sure they'll understand.<\/dialogue>\n    <scene_description>Autumn takes the shiny gold gift bag and leaves. The bell rings on the way out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTOWN - COAL COUNTRY, PA - DAY<\/stage_direction>\n    <scene_description>Autumn walks through town carrying her shiny gold gift bag. Her eyes are glassy. She keeps her head down, so no one notices. There are banners everywhere that announce the politics of the place: WEALTH THROUGH COAL, JOBS JOBS JOBS, COAL IS CLEAN.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RESIDENTIAL STREET - DAY<\/stage_direction>\n    <scene_description>Autumn walks up a steep hill home.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUTUMN'S HOUSE<\/stage_direction>\n    <scene_description>Autumn enters her quiet empty house. She dumps her school bag and coat by the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUTUMN'S BEDROOM<\/stage_direction>\n    <scene_description>Autumn sits on her bed. She empties the shiny gold bag. Pamphlets fall out. She reads them. How to Have a Healthy Relationship You Are Not Alone Rights and Responsibilities of the Father Lastly, there is a small little Bible. She flips through it like a flip book, from front to back, from back to front. There is an appointment card tucked inside that falls out. It reads: 9:00 AM She looks around her room, and accidentally sees her own reflection in a mirror. She looks at herself.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUTUMN'S HOUSE - KITCHEN<\/stage_direction>\n    <scene_description>Autumn rummages through the cabinets. There's a few cans of tomato soup, beef stew, etc. She finds a safety pin. She turns on the stove. She sterilizes it in the flames.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM<\/stage_direction>\n    <scene_description>Autumn holds an ice cube to her nose. She takes the safety pin and pierces the skin. It takes effort to push it all the way through. Her nose bleeds and she takes tissues to blot it. She looks at herself in the mirror with the pin sticking through her nose.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RESIDENTIAL STREET<\/stage_direction>\n    <scene_description>Autumn walks downhill towards town. Her nose pierced with a stud and still red.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Autumn crosses through a parking lot. She enters through a set of automatic doors into a Supermarket.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOYER'S FOOD MARKET - CHANGE ROOM<\/stage_direction>\n    <scene_description>Autumn opens a locker, she reaches for a coat hanger. She hangs her coat up. She grabs her uniform shirt. She takes off her shirt. Her bra is clearly too tight and it leaves a red impression in her skin. She takes off her bra and throws it in the locker.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOYER'S FOOD MARKET - NIGHT<\/stage_direction>\n    <character>AUTUMN'S REGISTER<\/character>\n    <dialogue>Autumn works at register number 12. She looks over at the manager's office door which has a two-way mirror. She can feel someone behind it watching her.<\/dialogue>\n    <scene_description>She scans item after item. She is disconnected from what she is doing. There is panic in her eyes. The line of people at her lane grows in length. She can't quite keep up. Autumn looks over to another check out lane. She sees her cousin Skylar working nearby. The supermarket plays music from the 1950's all the time. SKYLAR'S REGISTER Skylar makes small talk with a customer. She's a chatty and diligent worker. An older guy is at her lane checking out items like chips, dip, and red plastic cups. He scopes her out.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>GUY IN SUPERMARKET<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Looks suspiciously like you are throwing a party.<\/dialogue>\n    <character>GUY IN SUPERMARKET<\/character>\n    <dialogue>Are you inviting yourself?<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>No no. Just an observation.<\/dialogue>\n    <character>GUY IN SUPERMARKET<\/character>\n    <dialogue>Why not? Don't you like to party?<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>No no, sorry that's not what I meant.<\/dialogue>\n    <character>GUY IN SUPERMARKET<\/character>\n    <dialogue>Well what time do you get off work?<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Late.<\/dialogue>\n    <character>GUY IN SUPERMARKET<\/character>\n    <dialogue>Well I'll give you the address in case you change your mind.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>That's nice, but not tonight.<\/dialogue>\n    <character>GUY IN SUPERMARKET<\/character>\n    <dialogue>How about another night then?<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Sorry, I'm taken.<\/dialogue>\n    <character>GUY IN SUPERMARKET<\/character>\n    <dialogue>Ok. I can take a hint.<\/dialogue>\n    <scene_description>He smiles at her. She ignores him.<\/scene_description>\n    <character>AUTUMN'S REGISTER<\/character>\n    <dialogue>At Autumn's lane, A FEMALE CUSTOMER (25) with a toddler unloads diapers, wipes and teething biscuits at her register. Autumn rings her up.<\/dialogue>\n    <dialogue>The total balance is $150.00, she pays with WIC checks, government food assistance checks for women, infants, and children.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>This brand isn't covered by WIC.<\/dialogue>\n    <character>A FEMALE CUSTOMER<\/character>\n    <dialogue>Well, I'm pretty sure I got this here last time.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I'm sorry, I don't think so. You have to go back and get an approved brand of formula.<\/dialogue>\n    <scene_description>The customer becomes visibly irritated, leaves all her groceries and goes. Autumn looks over to the Manager's office window. His silhouette is in the window. He steps away and clears the frame when he realizes she sees him. Autumn clears the items off her lane.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOYER'S FOOD MARKET - OFFICE<\/stage_direction>\n    <scene_description>Skylar and Autumn stand outside an office door and ring a buzzer. BUZZ.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOYER'S FOOD MARKET - OFFICE<\/stage_direction>\n    <scene_description>In the office, they take out their cash envelopes from their apron pockets. They each start counting at the same time. 10, 20, 30, 40.: 10, 20, 30, 40.:<\/scene_description>\n    <character>AUTUMN<\/character>\n    <dialogue>Wait, not at the same time. You'll fuck me up.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <scene_description>They count silently. They fill in little boxes on the envelopes. Five $50s. Ten $20s. Six $5s. They fill in their change. They pass a pen back and forth and each write the total on the envelope. Skylar hands her drawer in first. She reaches her hand through a mail slot and hands the envelope and her cash register drawer to someone on the other side. When her hand passes through the slot, she makes a face. She's grossed about something. Autumn reaches her hand through next.<\/scene_description>\n    <character>OTHER SIDE OF THE SLOT<\/character>\n    <dialogue>The Manager on the other side of the mail slot takes the envelope and grabs her hand and kisses it.<\/dialogue>\n    <dialogue>Autumn cringes and her arm tenses.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COAL COUNTRY, PA - NEIGHBORHOOD - NIGHT<\/stage_direction>\n    <scene_description>Skylar and Autumn walk together and climb a steep hill home. Wind chimes chime.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>Why weren't you at school today?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I wasn't feeling well. Went to the doctor.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Did you remember to get a note?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>No. I forgot. I will.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>What's wrong anyway?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Girl problems.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Bad cramps?<\/dialogue>\n    <character>PAUSE.<\/character>\n    <dialogue>AUTUMN<\/dialogue>\n    <scene_description>Yeah.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>I get those too. I pretty much burn through a bottle of painkillers every month.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Same.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Don't you ever wish you were a dude?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>All the time.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Life would be so much easier.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Seriously.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Is there anything I can do?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>No. I'm ok. Thanks though.<\/dialogue>\n    <scene_description>Skylar stops and peels off to her house. Autumn continues to walk home.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUTUMN'S HOUSE - LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Autumn watches TV with her Mom, Ted. Autumn sits on the couch with them, but at a distance. The dog wanders over to Ted and puts her nose in his crotch.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>At least someone in this house loves me.<\/dialogue>\n    <scene_description>Ted gets up and lies on the floor with the dog.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>That'a girl. Spread your legs. You little slut.<\/dialogue>\n    <character>MOM<\/character>\n    <dialogue>Stop.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Come on. Look how easy she is...<\/dialogue>\n    <scene_description>The dog spreads her legs. He laughs and rubs her stomach. Autumn watches.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUTUMN'S HOUSE - BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>Autumn goes into the medicine cabinet and finds a bottle of NyQuil. She drinks from the bottle.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUTUMN'S BEDROOM<\/stage_direction>\n    <scene_description>Autumn tries to sleep. She can't. She lies in bed wide awake all night worrying.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WOMEN'S CARE CENTER - SONOGRAM ROOM - DAY<\/stage_direction>\n    <scene_description>Autumn lies on an exam table. The room is a bit chilly, and she shivers. Goosebumps appear on her skinny arms and legs. The Ultrasound TECHNICIAN (40) female, and the Center Director stand beside her. The technician is overly sweet, almost babying her.<\/scene_description>\n    <character>TECHNICIAN<\/character>\n    <dialogue>Now this is going to feel a little cold on your tummy.<\/dialogue>\n    <scene_description>Autumn nods. The TECHNICIAN puts a little squirt of blue gel on her stomach. She puts the wand against her stomach. Autumn turns her head slightly, reluctantly. The technician performs a routine measurement.<\/scene_description>\n    <character>TECHNICIAN<\/character>\n    <dialogue>This is your beautiful baby.<\/dialogue>\n    <scene_description>Autumn looks at the distorted blob on the monitor.<\/scene_description>\n    <character>TECHNICIAN<\/character>\n    <dialogue>You are about 10 weeks along. Hard to say precisely. But, everything looks pretty normal.<\/dialogue>\n    <scene_description>The Technician stops. She fiddles with some buttons.<\/scene_description>\n    <character>TECHNICIAN<\/character>\n    <dialogue>And this is the most magical sound you will ever hear.<\/dialogue>\n    <scene_description>She turns up the volume on the ultrasound scanner. A beating heart like a racehorse. It's fast, arrhythmic, and terrifying. Autumn looks away from the monitor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WOMEN'S CARE CENTER - OFFICE<\/stage_direction>\n    <scene_description>Autumn quickly puts her coat on and fusses with the zipper. The Center Director notices she's in a hurry.<\/scene_description>\n    <character>CENTER DIRECTOR<\/character>\n    <dialogue>Are you ok?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Ya I'm fine.<\/dialogue>\n    <character>CENTER DIRECTOR<\/character>\n    <dialogue>I know this is a lot to take in. But I'm sure once you have that beautiful baby in your arms you'll forget you had any doubts. I know these things. I'm a mother.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I just can't imagine that for myself.<\/dialogue>\n    <character>CENTER DIRECTOR<\/character>\n    <dialogue>Well, there are many wonderful people who want children and can't have them. We can connect you to an adoption agency.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I just don't know what I want to do right now.<\/dialogue>\n    <character>PAUSE<\/character>\n    <dialogue>CENTER DIRECTOR<\/dialogue>\n    <scene_description>Are you abortion-minded?<\/scene_description>\n    <character>AUTUMN<\/character>\n    <dialogue>Is that a possibility?<\/dialogue>\n    <character>CENTER DIRECTOR<\/character>\n    <dialogue>Do you have a minute? Can I show you something?<\/dialogue>\n    <scene_description>Autumn nods. The Center Director gets up and puts a DVD into a nearby player. Autumn sits in a chair to face the TV. Autumns watches \"THE HARD TRUTH\", an infamous Anti-abortion video that begins with a warning. Warning: Very strong content; viewer discretion is advised.<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>The video you are about to see unmasks the terrible truth that abortion is an act of violence Which kills a baby. Some of the children we will show you represent typical 9 and 10 week abortions. Because abortions are never committed prior to the sixth week of pregnancy...<\/dialogue>\n    <scene_description>A series of grotesque images of dead fetuses plays on the TV.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS - COAL COUNTRY, PA<\/stage_direction>\n    <scene_description>Autumn walks down the street, shaken by what she has seen.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUTUMN'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>Autumn sits on her bed. The curtain is drawn but a sliver of light sneaks in. She opens her laptop and goes right to Google. She searches for something. The light from the computer hits her face. Can someone under 18 get an abortion in Pennsylvania? She reads information about parental consent laws and judicial bypass. Discouraged, she tries a new search. How do I give myself an abortion...?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUTUMN'S HOUSE - KITCHEN<\/stage_direction>\n    <scene_description>Autumn searches the pantry. She grabs an old bottle of Vitamin C. She spills out a handful. She swallows them one by one. She gags and chokes on some of them. She lets it all digest and spits in the sink. She drinks water from the faucet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUTUMN'S BEDROOM<\/stage_direction>\n    <scene_description>Autumn looks in a full length mirror. She slowly lifts up her shirt and violently punches herself in the stomach. She does it again and again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOYER'S FOOD MARKET - NIGHT<\/stage_direction>\n    <scene_description>Autumn stands at her lane. She looks pale and tired and sick. The conveyor belt is on. She scans items. Her Manager watches her through the mirrored glass window. Autumn looks queasy. She drinks some water out of a plastic bottle. The customer looks at her. The customer can tell something is wrong. Autumn stops what she is doing and quickly walks away. The customer is confused and left alone. Skylar sees and follows her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOYER'S FOOD MARKET<\/stage_direction>\n    <scene_description>Autumn quickly walks past all the meats. It's sickening. Skylar follows her in the distance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOYER'S FOOD MARKET<\/stage_direction>\n    <scene_description>Autumn bolts up a flight of stairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOYER'S BATHROOM<\/stage_direction>\n    <scene_description>Autumn goes into the bathroom stall and locks the door. She vomits and vomits. Skylar taps on the door.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>Should I call your mom?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>No. I'm ok now.<\/dialogue>\n    <scene_description>Autumn vomits again.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>Are you sure?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Autumn opens the door.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>What's wrong?<\/dialogue>\n    <scene_description>She comes out and takes a sip of water from the sink.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>What did the doctor say?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I didn't go to the doctor.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I tried.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>I don't understand.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I took a test.<\/dialogue>\n    <character>PAUSE<\/character>\n    <dialogue>SKYLAR<\/dialogue>\n    <scene_description>What test? She shrugs.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>Chemistry?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>What test? Math?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Autumn goes back to the stall and vomits again. Skylar realizes and doesn't know what to say.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOYER'S FOOD MARKET - NIGHT<\/stage_direction>\n    <scene_description>Skylar and Autumn buzz into the office.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>Excuse me...<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>My cousin isn't feeling well.<\/dialogue>\n    <scene_description>He rolls his eyes.<\/scene_description>\n    <character>MANAGER<\/character>\n    <dialogue>Ok?<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>I think I need to take her home.<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>She's on the schedule for two more hours. Can't she wait?<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>He looks at Autumn. She looks sickly in the doorway. He looks at the clock.<\/scene_description>\n    <character>MANAGER<\/character>\n    <dialogue>It's really just a few more hours. You can do it. Besides, I'd get lonely if you left.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I'll be ok.<\/dialogue>\n    <scene_description>Skylar looks at her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOYER FOOD MARKET<\/stage_direction>\n    <scene_description>Autumn and Skylar stand in their lanes. Autumn looks ill. The supermarket is practically empty. Music from the 1950s plays. The manager, in silhouette watches them from the office window.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOYER'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Skylar and Autumn count the money from their drawer. They fill in little boxes on the envelopes. While she counts, Skylar slides a few bills off the stack and tucks them into her pocket. Autumn realizes what she is doing and looks up to the security camera. They are being watched. They put their envelopes through the slot. Autumn's hand is kissed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOYER'S FOOD MARKET - PARKING LOT - NIGHT<\/stage_direction>\n    <scene_description>They leave the store quickly. The lights glow behind them. The wind blows around them. Skylar stops and shoves money in Autumn's backpack as they walk away. Neither of them says anything to each other. They walk away and don't look back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUTUMN'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Skylar and Autumn sit on the bed looking at the laptop. The glow from the computer hits their faces in the dark room. They type and search together. On the screen - they scroll through bus schedules. Skylar opens a suitcase and begins putting things in. She overpacks and grabs random things from Autumn's drawers. Autumn counts the money. She passes it to Skylar. Skylar counts the money.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUTUMN'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Skylar and Autumn lie in bed together nose to nose. Skylar closes her eyes and begins to drift to sleep. She can feel that Autumn is tense and wired. Skylar reaches over and tries to manually shut Autumn's eye lids, but they spring back open.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RESIDENTIAL STREET - DAWN<\/stage_direction>\n    <scene_description>Skylar and Autumn drag a big brown suitcase down the steep hill. The streets are quiet. Autumn walks with her hood up and arms crossed. Wind chimes chime.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTOWN COAL COUNTRY, PA - DAWN<\/stage_direction>\n    <scene_description>Autumn and Skylar sit together on the curb of an empty street, with a big brown suitcase. They wait and wait and wait. The sun slowly comes up. A big white charter bus arrives. The driver opens up the baggage compartment and throws their suitcase on. Autumn takes out her money. She reluctantly pays him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS (SHAMOKIN TO WILKES-BARRE)- DAWN<\/stage_direction>\n    <scene_description>They get on the bus. It's totally empty. They walk down the aisle. Skylar takes an entire row to herself, curls up, and goes to sleep. Autumn sits in her own row and looks out the window. She puts in her earbuds, and listens to music. She's clearly on edge. Out the window, she watches the landscapes change... ...from coal mines... ...to small towns.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS (SHAMOKIN TO WILKES-BARRE) - LATER<\/stage_direction>\n    <scene_description>Autumn's phone buzzes. She shuts off her music and answers.<\/scene_description>\n    <character>AUTUMN<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>CENTER DIRECTOR (O.S.)<\/character>\n    <dialogue>It's Beth.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>CENTER DIRECTOR (O.S.)<\/character>\n    <dialogue>I'm sorry I missed you earlier. I just stepped out.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>It's ok.<\/dialogue>\n    <character>CENTER DIRECTOR (O.S.)<\/character>\n    <dialogue>Can you come back in later today? I'd love to sit with you more and talk.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Ummm-- Can I call you back?<\/dialogue>\n    <character>CENTER DIRECTOR (O.S.)<\/character>\n    <dialogue>Of course. Or I can try you again in a little while. Either way.<\/dialogue>\n    <scene_description>Autumn hangs up. She looks out the window. Shifting landscapes: Mountains.... Open highway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS (SHAMOKIN TO WILKES-BARRE)- LATER<\/stage_direction>\n    <scene_description>The bus pulls into a big parking lot. Autumn wakes Skylar up. Skylar sits up confused.<\/scene_description>\n    <character>AUTUMN<\/character>\n    <dialogue>I think we have to switch here.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I don't know why. We just do.<\/dialogue>\n    <scene_description>They grab their things and get off the bus.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - DAY<\/stage_direction>\n    <scene_description>They stretch their legs in between the two long buses. Skylar gives Autumn a bear hug and lifts her off the ground. Autumn is stiff in her arms.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - DAY<\/stage_direction>\n    <scene_description>The doors open. They get onto a different bus.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANOTHER BUS (WILKES-BARRE TO NYC)<\/stage_direction>\n    <scene_description>It's the same but with slightly different fabric on the seats. Autumn grabs the same seat as she was in before, next to the window. Skylar takes her own row. The driver turns around and howls at them.<\/scene_description>\n    <character>BUS DRIVER #2<\/character>\n    <dialogue>This bus is gonna fill up. I wouldn't spread out unless you wanna sit separate.<\/dialogue>\n    <scene_description>Skylar sits next to Autumn. She falls back asleep easily. Autumn looks out the window. She sees: a fancy car pull up next to the bus. In the front seat a dad (50) and his son, JASPER (20). They argue about something. His dad slips him a little cash. Autumn get up and tries not to wake Skylar. She walks to the back of the bus.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS (WILKES-BARRE TO NYC) - BATHROOM<\/stage_direction>\n    <scene_description>Autumn reaches into her backpack and takes out a wad of money. She counts it and counts it again. She stuffs it back in. She puts water on her face and sees herself in the mirror. She looks ghostly. She covers up her reflection.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS (WILKES-BARRE TO NYC) - DAY<\/stage_direction>\n    <scene_description>The bus idles as Autumn walks back down the aisle. The kid from the car, Jasper, gets on the bus at the other end and walks toward Autumn. Jasper wears a T-shirt and a flimsy denim jacket. He's under- dressed given the temperature outside. He's equally charming and off-putting. Autumn sits down and unexpectedly, he sits across the aisle from them, even though there are plenty of empty seats. The bus takes off.<\/scene_description>\n    <character>JASPER<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>Skylar is half-awake and half-ignoring him. Autumn ignores him completely.<\/scene_description>\n    <character>JASPER<\/character>\n    <dialogue>Hey. Excuse me.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Do you know what time this bus gets in?<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>I don't know. Like 2pm?<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>That's what I thought actually.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Cool.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Are you going all the way?<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Yep.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>I fucking love New York. Don't you?<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>It's kind of my favorite city.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Us too.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Philly's cool and all, it's definitely got history. But New York, because of the way the city is set up and everything, it's like one massive communal space.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>You are forced to interact with people who are nothing like you.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Kind of like the bus.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Funny... What are you doing there?<\/dialogue>\n    <scene_description>Skylar looks at Autumn.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>Seeing family and stuff.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Sounds fun.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>It's not really that kind of trip.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Oh no. Is someone sick or something? Did someone die?<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Neither.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Well what happened?<\/dialogue>\n    <scene_description>PAUSE.<\/scene_description>\n    <character>JASPER<\/character>\n    <dialogue>Sorry. I'm really nosy. Well, I know you'll be busy and all, but by any chance, do you girls like live music?<\/dialogue>\n    <scene_description>Skylar looks at Autumn.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>Autumn loves live music. She's actually a live singer.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>No I'm not.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Oh that's cool. Lemme hear you sing.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Come on. Don't be shy.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>I'm kidding. What kind of music do you like?<\/dialogue>\n    <scene_description>She shrugs.<\/scene_description>\n    <character>AUTUMN<\/character>\n    <dialogue>Like all different kinds.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Well I'm going to see some live music. Meet up with some friends...<\/dialogue>\n    <scene_description>He reaches across the aisle and taps her knee with his fist. Autumn watches.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>We're gonna be pretty busy.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Yeah, I get it.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Well if you give me your number, I'll text you the info. Maybe you'll change your mind?<\/dialogue>\n    <scene_description>Skylar takes his phone and enters her number in. Autumn watches. She gives it back. Her phone buzzes.<\/scene_description>\n    <character>JASPER<\/character>\n    <dialogue>There. I just texted you.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Got it. We're probably not going to have any time.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Yeah, I get it. But maybe you can come. You'll see. Right?<\/dialogue>\n    <scene_description>Autumn puts on her ear buds and tries to ignore what's happening. She looks out the window. A flat landscape quickly becomes more and more industrial as they begin to come into New Jersey.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS (WILKES-BARRE TO NYC) - LATER<\/stage_direction>\n    <scene_description>The bus goes from bright to very dark as it goes into the tunnel. The fluorescent lights strobe. Autumn's eyes are full of anticipation. The lights flicker in her eyes. The lights flicker in her pupils.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PORT AUTHORITY - DAY<\/stage_direction>\n    <scene_description>The bus driver opens up the baggage compartment. Autumn and Skylar grab their big suitcase from underneath the bus.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PORT AUTHORITY - ARRIVALS AND DEPARTURES - DAY<\/stage_direction>\n    <scene_description>Autumn and Skylar enter into the Arrivals and Departures Hall. They look totally lost. They take out their phones and start looking things up. Jasper walks up behind them carrying only a backpack.<\/scene_description>\n    <character>JASPER<\/character>\n    <dialogue>You girls know where you are going?<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Yup.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>You sure?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>He keeps walking and looks back.<\/scene_description>\n    <character>JASPER<\/character>\n    <dialogue>Gonna be a drag to lug that thing on the subway.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>We'll be ok.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>I'll text you.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Cool.<\/dialogue>\n    <scene_description>He keeps walking. Skylar and Autumn deliberately wait a moment until he's out of sight. Then they drag their suitcase through the hall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PORT AUTHORITY - INFORMATION DESK<\/stage_direction>\n    <scene_description>Skylar and Autumn drag their bag up to the information booth.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>Excuse me. Do you know what train we need to take to get to 44 Court Street?<\/dialogue>\n    <scene_description>She takes Autumn's phone and shows the man behind the counter. He is also behind bullet proof glass. The man reluctantly looks at her phone.<\/scene_description>\n    <character>PORT AUTHORITY INFORMATION OFFICER<\/character>\n    <dialogue>Yeah, you need the A or C downtown and get off at Jay.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>J? Sorry can you repeat that?<\/dialogue>\n    <character>PORT AUTHORITY INFORMATION OFFICER<\/character>\n    <dialogue>Yes. You need to jump on the A or C train heading downtown, but go all the way into Brooklyn and get off at Jay Street MetroTech.<\/dialogue>\n    <scene_description>They both look confused, so the man hands them a map. He opens it up. He shows them on the map and circles the station with a pen. They take the map and look for the subway signs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PORT AUTHORITY - MTA CORRIDOR<\/stage_direction>\n    <scene_description>Autumn and Skylar push through the doors that connect Port Authority to the Subway. They see a busker playing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY STATION - KIOSK<\/stage_direction>\n    <scene_description>Autumn and Skylar stand at the Metro-card kiosk. They both press buttons trying to figure out how the machine works. They take out the money they have and reluctantly feed a $20 bill into the machine. It spits it back out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY STATION - TURNSTILE<\/stage_direction>\n    <scene_description>They slide their cards a few times. The turnstile instructs them to please slide again. They can't quite find the right speed. They look at each other helplessly. The suitcase doesn't fit under the turnstile. They awkwardly lift it up and pass it over the turnstile.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY STEPS<\/stage_direction>\n    <scene_description>They drag the suitcase down the steps. It's a two person effort.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY PLATFORM<\/stage_direction>\n    <scene_description>They walk along the platform.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A TRAIN - DAY<\/stage_direction>\n    <scene_description>Autumn and Skylar ride the subway. They stand right next to the subway map and stare at it over the heads of two passengers. Their enormous suitcase is in everyone's way.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BROOKLYN STREET - DAY<\/stage_direction>\n    <scene_description>Autumn and Skylar pull their suitcase down a busy Brooklyn street. Autumn checks her phone to see if they are at the right location.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOAN MALIN BROOKLYN HEALTH CENTER - DAY<\/stage_direction>\n    <scene_description>Autumn and Skylar enter into a building. A gruff security guard stops them. They look at each other.<\/scene_description>\n    <character>SECURITY GUARD<\/character>\n    <dialogue>IDs Please?<\/dialogue>\n    <scene_description>They both take out their school IDs and pass them across the counter. They walk through a metal detector.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOAN MALIN BROOKLYN HEALTH CENTER - WAITING ROOM<\/stage_direction>\n    <scene_description>Autumn and Skylar enter the waiting area. The waiting area is big, crowded and impersonal. The pace is faster. Autumn signs in. The receptionist quickly reads it and hands her a clip board. Autumn sits down next to Skylar and begins to fill out the form. Autumn tries to shield her answers from Skylar who can't help but try and see.<\/scene_description>\n    <character>RECEPTIONIST #3<\/character>\n    <dialogue>Autumn, room 4.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOAN MALIN BROOKLYN HEALTH CENTER - HALLWAY<\/stage_direction>\n    <scene_description>Autumn wanders the halls looking for the right consultation room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOAN MALIN BROOKLYN HEALTH CENTER - OFFICE<\/stage_direction>\n    <scene_description>Autumn sits across a desk from JOAN MALIN SOCIAL WORKER (45). She's straight forward, all business.<\/scene_description>\n    <character>JOAN MALIN SOCIAL WORKER<\/character>\n    <dialogue>I just wanna take a minute to review some of your information, then we'll get you all set up.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Ok.<\/dialogue>\n    <character>JOAN MALIN SOCIAL WORKER<\/character>\n    <dialogue>Can you start by verifying your name and date of birth please?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Autumn Callahan, October 9, 2003<\/dialogue>\n    <character>JOAN MALIN SOCIAL WORKER<\/character>\n    <dialogue>Along with doing a pregnancy test, and sonogram, we recommend testing for STDs like gonorrhea, and chlamydia. Is that ok?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Well. That's fine. But I did already take a test and a sonogram.<\/dialogue>\n    <character>JOAN MALIN SOCIAL WORKER<\/character>\n    <dialogue>Ok. I understand. But, we always have to go by the one that we take today in our office with our technician and on our equipment.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOAN MALIN BROOKLYN HEALTH CENTER - EXAM ROOM<\/stage_direction>\n    <scene_description>A Nurse checks Autumn's vitals, as she sits on an exam table. The nurse checks her blood pressure and pulse.<\/scene_description>\n    <character>NURSE #1<\/character>\n    <dialogue>Can you lift up your sleeve and make a fist?<\/dialogue>\n    <scene_description>She checks her height and weight. Autumn lies on the table. She looks up at the ceiling and sees a cloud-like light fixture. The nurse lifts the back of her shirt. Her small baby bump exposed. Her stomach is covered in bruises. The nurse looks at them uncomfortably. Blue gel is applied to her stomach. Then a sonogram wand moves all around.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOCIAL WORKER'S OFFICE - DAY - LATER<\/stage_direction>\n    <scene_description>Autumn waits and waits alone in an office. She looks around. A child's elementary school class pictures are pinned to a bulletin board. The phone rings and rings. The screen-saver floats across the computer screen. It's mesmerizing and she begins to nod off when the Social Worker comes back. Autumn sits up. The Social Worker has her sonogram and paperwork in hand.<\/scene_description>\n    <character>JOAN MALIN SOCIAL WORKER<\/character>\n    <dialogue>Are you ok?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Yeah. Just tired.<\/dialogue>\n    <character>JOAN MALIN SOCIAL WORKER<\/character>\n    <dialogue>So, the sonogram is showing that you are about 18 weeks. Is that about as far along as you thought?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>No. I'm sorry, what?<\/dialogue>\n    <character>JOAN MALIN SOCIAL WORKER<\/character>\n    <dialogue>It's showing that you are close to 18 weeks.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>No, when I did a sonogram before, they said I was ten.<\/dialogue>\n    <character>JOAN MALIN SOCIAL WORKER<\/character>\n    <dialogue>Well there is a small margin of error, but it's usually within a 3- 4 day range, which is why we always need to do them again.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>The place I went to before definitely said I was ten weeks.<\/dialogue>\n    <character>JOAN MALIN SOCIAL WORKER<\/character>\n    <dialogue>Where was that?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>In my town.<\/dialogue>\n    <character>JOAN MALIN SOCIAL WORKER<\/character>\n    <dialogue>Where exactly?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I don't remember the name of it.<\/dialogue>\n    <character>JOAN MALIN SOCIAL WORKER<\/character>\n    <dialogue>At a doctor's office?<\/dialogue>\n    <scene_description>She shrugs.<\/scene_description>\n    <character>AUTUMN<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>PAUSE<\/scene_description>\n    <character>JOAN MALIN SOCIAL WORKER<\/character>\n    <dialogue>Was it free?<\/dialogue>\n    <scene_description>PAUSE<\/scene_description>\n    <character>AUTUMN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>PAUSE<\/scene_description>\n    <character>JOAN MALIN SOCIAL WORKER<\/character>\n    <dialogue>I need to let you know something. At this specific facility, in- clinic abortions are offered up to 12 weeks and 6 days after the start of your last menstrual period.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>So what am I suppose to do?<\/dialogue>\n    <character>JOAN MALIN SOCIAL WORKER<\/character>\n    <dialogue>Well, we can still help you find the care that you need. We just can't help you here.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Ok?<\/dialogue>\n    <character>JOAN MALIN SOCIAL WORKER<\/character>\n    <dialogue>I am going to send you to our other facility. Make a referral and you'll be able to get in there first thing tomorrow.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I can't really wait until tomorrow.<\/dialogue>\n    <character>JOAN MALIN SOCIAL WORKER<\/character>\n    <dialogue>By the time you make it over there they'll be closed.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Can you please please call and see if they can take me now?<\/dialogue>\n    <character>JOAN MALIN SOCIAL WORKER<\/character>\n    <dialogue>I can call. But I can tell you, they are going to say tomorrow.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I really really can't wait until then.<\/dialogue>\n    <character>JOAN MALIN SOCIAL WORKER<\/character>\n    <dialogue>Do you have a place to stay while you are here?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Yes. But I really need to get home tonight.<\/dialogue>\n    <character>JOAN MALIN SOCIAL WORKER<\/character>\n    <dialogue>I just don't think that's possible, but I can check. Regardless we are going to get you the care you need as soon as possible.<\/dialogue>\n    <scene_description>She picks up the phone and calls. Autumn waits and waits...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JOAN MALIN BROOKLYN HEALTH CENTER - NIGHT<\/stage_direction>\n    <scene_description>Autumn and Skylar exit the clinic. It's night. Autumn looks visibly stunned. Skylar looks concerned. They have nowhere to go.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY<\/stage_direction>\n    <scene_description>The subway moves through a dark tunnel. Autumn looks out the front window. There are layers of glass creating a distorted hallucination-like journey through the underground rails. Lights flare. The brakes screech as the train pulls into a station.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMFORT INN - MIDTOWN<\/stage_direction>\n    <scene_description>Autumn and Skylar drag their suitcase through the lobby of a hotel and up to the reception desk. It's a chain, nothing fancy. Autumn sits on the couch. Skylar goes into her backpack and takes out their money and stuffs it into her coat pocket. Autumn watches as Skylar approaches the counter.<\/scene_description>\n    <character>HOTEL PERSON<\/character>\n    <dialogue>Good evening, do you have a reservation? Checking in?<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Hi, no I don't, but I was wondering if you have any rooms available?<\/dialogue>\n    <character>HOTEL PERSON<\/character>\n    <dialogue>Let me see.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>He types and types on the computer.<\/scene_description>\n    <character>HOTEL PERSON<\/character>\n    <dialogue>We do have one double available which comes with complimentary Wifi access and a complimentary breakfast buffet.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>How much?<\/dialogue>\n    <character>HOTEL PERSON<\/character>\n    <dialogue>$250 a night.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Is there any wiggle room?<\/dialogue>\n    <character>HOTEL PERSON<\/character>\n    <dialogue>Wiggle room? I could maybe drop it down to $200.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Could you go lower?<\/dialogue>\n    <character>HOTEL PERSON<\/character>\n    <dialogue>What were you thinking?<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Like $75?<\/dialogue>\n    <character>HOTEL PERSON<\/character>\n    <dialogue>No sorry, that's not possible.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>If the room is empty, why not right?<\/dialogue>\n    <character>HOTEL PERSON<\/character>\n    <dialogue>Why not what?<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Why not fill it?<\/dialogue>\n    <character>HOTEL PERSON<\/character>\n    <dialogue>I'm sorry. I just can't go lower than $200.00.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Isn't it better to make something rather than nothing?<\/dialogue>\n    <character>HOTEL PERSON<\/character>\n    <dialogue>Sorry, I can't go that low with the room. We usually fill up.<\/dialogue>\n    <scene_description>Skylar looks discouraged.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PORT AUTHORITY - MTA CORRIDOR<\/stage_direction>\n    <scene_description>Autumn and Skylar wander back through the main hall. It's flooded with people.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PORT AUTHORITY<\/stage_direction>\n    <scene_description>They take the escalator down underground. Classical music still plays. They wander around looking for a quiet place to hang out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PORT AUTHORITY - NIGHT<\/stage_direction>\n    <scene_description>They sit on benches. Autumn types a message to her mother. Skylar lies with her head in Autumn's lap. She also sends a text. Hi...Just getting off. Crashing at Skylar's. Autumn shows Skylar her phone. She gives a thumbs up.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>Look at this.<\/dialogue>\n    <scene_description>She shows Autumn her phone. There is a mystery message that just reads Hi.<\/scene_description>\n    <character>AUTUMN<\/character>\n    <dialogue>Who's that?<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <scene_description>Another message comes in that says: THE ECHO CHAMBER. They look at each other confused. And then another message that says: 9:15! Come thru?<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>It's that kid.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Don't encourage him.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>How many times did he write you?<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>He sent me 3 messages.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Did you write back?<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Delete. Delete. Delete.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Yup.<\/dialogue>\n    <scene_description>A transit cop walks by.<\/scene_description>\n    <character>TRANSIT COP<\/character>\n    <dialogue>Sorry. You can't sleep here. Gotta clear out.<\/dialogue>\n    <scene_description>They get up and leave.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY - NIGHT<\/stage_direction>\n    <scene_description>Autumn and Skylar ride the subway in the middle of the night. The train is empty. Skylar sleeps on Autumn. Autumn is wide awake keeping watch. A group of drunk people jump on at one station. They are loud and singing something. A couple makes out. The train stops and they jump off at the next station. Autumn looks around. Keeping track of everyone around them. A man gets on the other side of the train. He's white and drunk and in a disheveled suit, as if he's had a long night partying. He makes eye contact. His blue eyes are bloodshot. Autumn looks at him too. She sits up slightly. Autumn looks at him up and down. He smiles at her. She smiles nervously back. She watches him for a minute and sees his hand is moving back and forth in a mechanical way. All of a sudden she realizes that he's masturbating. She jumps up and wakes Skylar. She drags her to the door. He never stops looking at them. The doors open. Autumn gives him the finger and his face lights up with happiness. This is the biggest turn-on ever.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHINATOWN - NIGHT<\/stage_direction>\n    <scene_description>Skylar and Autumn walk down a street in Chinatown. It's quiet and somewhere between night and dawn. They see some flashing lights. They wander toward them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHINATOWN ARCADE - NIGHT<\/stage_direction>\n    <scene_description>They walk into an all night arcade and look around. The space is filled with new and old video games with blinking lights and a cacophony of game music and sounds. It's empty with only a few people playing games.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHOTO BOOTH<\/stage_direction>\n    <scene_description>Autumn and Skylar take a series of photos together in a booth. Skylar tries to change position in each flash of the camera. In one frame Skylar is silly. In another Skylar is serious. In the last one Skylar kisses Autumn on the cheek. Autumn sits making the same neutral expression throughout.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHINATOWN ARCADE<\/stage_direction>\n    <scene_description>Skylar does the Dance Dance Revolution game. Her movement is loose and uninhibited. Autumn walks deep into the back of the arcade and sees an old game with flashing lights. It says TIC TAC TOE Chicken. In a glass case, an old, live, sickly chicken pecks at a bowl of water. Autumn goes up and looks at it. She puts in some change and plays. She presses a button X and the chicken pecks from the inside O. They play an entire game and Autumn loses. A sound cue indicates that she's the loser. Autumn looks irritated.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHINATOWN - BAKERY - EARLY MORNING<\/stage_direction>\n    <scene_description>Skylar and Autumn look at the dim sum sweets behind the counter. They are colorful and enticing.<\/scene_description>\n    <character>AUTUMN<\/character>\n    <dialogue>Can we have that one and that one and that one?<\/dialogue>\n    <scene_description>The Woman behind the counter rings them up and gives them a bag.<\/scene_description>\n    <character>BAKERY EMPLOYEE<\/character>\n    <dialogue>That's $5 dollars.<\/dialogue>\n    <scene_description>Autumn goes into her backpack and takes out the wad of singles. She puts some down on the counter reluctantly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHINATOWN - BAKERY - BATHROOM<\/stage_direction>\n    <scene_description>They brush their teeth together at the sink. Skylar takes a paper towel. She folds it up a bunch of times, soaks it with water. First she wipes down her arm pits and then wipes her crotch with it.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>This is called a French whore bath.<\/dialogue>\n    <scene_description>Autumn laughs and takes out their money and sits on the floor and counts it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY STATION - EARLY MORNING<\/stage_direction>\n    <scene_description>They look in the token booth. No one is there. They study the map, it's impossible to understand. They push the suitcase under the turnstile. They swipe once and push through together.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY - EARLY MORNING<\/stage_direction>\n    <scene_description>They ride back uptown. The subway is packed with morning commuters. People give them dirty looks for the suitcase. They share their treats on the train. Autumn devours them all.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BLEECKER STREET - MORNING<\/stage_direction>\n    <scene_description>They cross the street towards the clinic. As they approach, they see a group of peaceful protesters quietly praying and clutching rosary beads.<\/scene_description>\n    <character>PROTESTORS<\/character>\n    <dialogue>Jesus, remember me when you come into your Kingdom. Jesus, remember me when you come into your Kingdom.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLEECKER STREET CLINIC - MORNING<\/stage_direction>\n    <scene_description>Skylar and Autumn enter the clinic. They dig into their pockets and take out their school IDs, anticipating what comes next.<\/scene_description>\n    <character>SECURITY GUARD #2<\/character>\n    <dialogue>Hello. Can I please see your IDs?<\/dialogue>\n    <scene_description>They go through the metal detectors again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLEECKER STREET CLINIC - WAITING AREA<\/stage_direction>\n    <scene_description>Autumn and Skylar sit down again. They get comfortable as there is no way to predict the wait. They play games on their phones. They watch the flat screen TV in the waiting room.<\/scene_description>\n    <character>RECEPTIONIST #4<\/character>\n    <dialogue>Autumn?<\/dialogue>\n    <scene_description>Autumn stands up and gathers her things.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>Are you sure you don't want company?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I'll be ok.<\/dialogue>\n    <scene_description>Autumn gets up and walks past the reception desk. She looks back as she goes through a door to the clinic.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLEECKER STREET CLINIC - ELEVATOR<\/stage_direction>\n    <scene_description>Autumn takes the elevator up a level.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLEECKER STREET CLINIC<\/stage_direction>\n    <scene_description>She wanders around looking for the right office.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLEECKER STREET CLINIC - OFFICE<\/stage_direction>\n    <scene_description>Autumn sits down with the FINANCIAL COUNSELOR (Female, 45). She is dressed in a somewhat more conservative suit. Her office is extremely organized.<\/scene_description>\n    <character>FINANCIAL COUNSELOR<\/character>\n    <dialogue>Hi, come on in.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>FINANCIAL COUNSELOR<\/character>\n    <dialogue>So I'm going to help you sort out the payment for today. How do you want to handle it? With insurance or go out of pocket?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I'm not really sure.<\/dialogue>\n    <character>FINANCIAL COUNSELOR<\/character>\n    <dialogue>Do you have private insurance?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>FINANCIAL COUNSELOR<\/character>\n    <dialogue>Are you currently insured?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>FINANCIAL COUNSELOR<\/character>\n    <dialogue>May I look at your insurance card?<\/dialogue>\n    <scene_description>Autumn takes out her wallet, which is a mess of cards and torn pieces of paper. She slides it across the table and reluctantly takes it back.<\/scene_description>\n    <character>AUTUMN<\/character>\n    <dialogue>I am not sure I can use this one.<\/dialogue>\n    <character>FINANCIAL COUNSELOR<\/character>\n    <dialogue>No?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>If I do, would my family get some kind of bill?<\/dialogue>\n    <character>FINANCIAL COUNSELOR<\/character>\n    <dialogue>They would get a statement. That's correct.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I can't do that.<\/dialogue>\n    <character>FINANCIAL COUNSELOR<\/character>\n    <dialogue>I can try and set you up for emergency medicaid as an alternative.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>How does that work exactly?<\/dialogue>\n    <character>FINANCIAL COUNSELOR<\/character>\n    <dialogue>Well first we need to see if you qualify. Eligibility requirements are based on income. Are you from NY state?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>NY. No.<\/dialogue>\n    <character>FINANCIAL COUNSELOR<\/character>\n    <dialogue>Where are you from?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Pennsylvania.<\/dialogue>\n    <character>FINANCIAL COUNSELOR<\/character>\n    <dialogue>Steel country?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Coal.<\/dialogue>\n    <character>FINANCIAL COUNSELOR<\/character>\n    <dialogue>Well in that case you don't qualify. I can only enroll people from NY State.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>How much is it going to cost without insurance?<\/dialogue>\n    <character>FINANCIAL COUNSELOR<\/character>\n    <dialogue>At 18 weeks, the out of pocket cost is $1500.<\/dialogue>\n    <scene_description>She starts to panic.<\/scene_description>\n    <character>AUTUMN<\/character>\n    <dialogue>I don't have that.<\/dialogue>\n    <character>FINANCIAL COUNSELOR<\/character>\n    <dialogue>I understand. Well, what is your ability to pay?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I can pay something.<\/dialogue>\n    <character>FINANCIAL COUNSELOR<\/character>\n    <dialogue>Well we aren't going to turn you away. I'm just trying to get this sorted out.<\/dialogue>\n    <scene_description>Autumn takes her backpack and unzips it. She takes out all the money that she came with. She puts it on the desk like a peace offering of some kind.<\/scene_description>\n    <character>FINANCIAL COUNSELOR<\/character>\n    <dialogue>Go ahead and just hold on to that. That'll be for downstairs for payment. All I need you to do is fill out this form.<\/dialogue>\n    <scene_description>Autumn stuffs the money back into her bag and fills out another form.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLEECKER STREET CLINIC - HALLWAY<\/stage_direction>\n    <scene_description>Autumn exits one office in a long hallway and enters another office.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLEECKER STREET CLINIC - OFFICE - LATER<\/stage_direction>\n    <scene_description>She sits down and waits. The BLEECKER STREET SOCIAL WORKER comes in. She sees her and how young she is and shifts gears. The Bleecker Street Social Worker is friendly. She wears chunky hip eye glasses and has a natural way of getting patients to open up. Her office is exactly the same as the one before, but much messier.<\/scene_description>\n    <character>BLEEKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Hi Autumn. I'm Kelly, I'm your counselor. How are you doing?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Ok.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>You look so sleepy.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I'm ok.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Are you sure? Are you missing any school to be here today?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Yes. Just a couple days.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Oh no, what's that going to be like for you to be missing school?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Are you concerned about it? Do you miss a lot?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Not really.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>If you want, I can call your school and connect with your guidance counselor about it. Would that be helpful?<\/dialogue>\n    <scene_description>She nods. The Social Worker scribbles a note on her chart and begins the intake process.<\/scene_description>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>So you had a sonogram at the Planned Parenthood in Brooklyn. And the sonogram is showing that you are 18 weeks pregnant. Is that what you thought?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Umm. No.<\/dialogue>\n    <character>BLEEKER STREET SOCIAL WORKER<\/character>\n    <dialogue>How many weeks did you think you were?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I thought I was ten weeks.<\/dialogue>\n    <character>BLEEKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Ten weeks? Ok, that happens sometimes. Because you're 18 weeks and you're in the second trimester this is going to be a two-day procedure, okay?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Is there any chance you can do it all today?<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Unfortunately, that's not possible. It has to be done over the course of two days. We have to put dilators in the cervix so that the cervix can open slowly overnight. That way the procedure can be done safely tomorrow. Will you be able to come back tomorrow?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>BLEEKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Okay. I also need to know that you're absolutely sure of your decision to terminate this pregnancy? Are you sure of your decision?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>BLEEKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Okay. Because if you for any reason change your mind there could be serious medical considerations if you don't finish the second part of the procedure.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Ok.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Do you have a place to stay tonight? I know you came from far away.<\/dialogue>\n    <scene_description>She shrugs.<\/scene_description>\n    <character>AUTUMN<\/character>\n    <dialogue>Yeah. Yeah.<\/dialogue>\n    <character>BLEEKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Where are you going to stay?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I don't know. I was just going to go to a hotel or something.<\/dialogue>\n    <character>BLEEKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Ok. Hotels are pretty expensive. Do you have money for that?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I'll figure it out.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Are you sure? We work with volunteers that can help you with a place to stay. I can reach out to them if you want me to.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>No no, we'll figure it out.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>We? Who did you come with today?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I came with someone.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Great, who?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>My cousin.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Is that person supporting your decision to come here today?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Are they forcing you at all to come here?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>No. Not at all. We are really close.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>What a good cousin. Are you sure about your decision to get an abortion today?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Okay. Can you tell me what led to your decision to terminate the pregnancy?<\/dialogue>\n    <scene_description>Autumn pauses.<\/scene_description>\n    <character>AUTUMN<\/character>\n    <dialogue>I'm just not ready to be a mom. Is that ok?<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>That's totally fine. Whatever your decision is is totally fine as long as it's yours. Is there anyone who's pressuring you to be here today to terminate this pregnancy?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Okay. I'm going to ask you some questions about your medical history. Okay? There's lot of questions just answer as best you can.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Ok.<\/dialogue>\n    <scene_description>The Social Worker breezes through the medical history part quickly, ticking off boxes as she goes.<\/scene_description>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Do you take any medication, including birth control or use any drugs on a regular basis?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Have you taken any medication or drugs of any kind today?<\/dialogue>\n    <scene_description>She shakes her head no.<\/scene_description>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Are you allergic to any drugs?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Latex allergy?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Any surgeries or hospitalizations?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>My tonsils.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Problems with anesthesia?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I don't think so.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Are your vaccinations all up to date?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Good. Please, please tell me you got a flu shot this year.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Ok ok, but you've seen a doctor or pediatrician and had an annual physical?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Good. Do you smoke cigarettes?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Do you drink or smoke Marijuana?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Not a lot.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Good. Good. Okay, good. Any recent life changes or stresses?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>I want to take a minute and talk a little about your sexual history. These are questions we typically ask everyone. And everything you say in here is obviously confidential.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Ok.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Unless you tell me that you are being hurt or forced to have sex by someone or are suicidal - those things I would have to report, ok?<\/dialogue>\n    <scene_description>Autumn doesn't answer.<\/scene_description>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Ok?<\/dialogue>\n    <scene_description>She nods her head yes.<\/scene_description>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>At what age did you first have sex?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>BLEECKER STREET SOCIAL WORKER<\/dialogue>\n    <scene_description>What types of sexual activity have you had? Vaginal, Anal, Oral? She answers quietly.<\/scene_description>\n    <character>AUTUMN<\/character>\n    <dialogue>All of them.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>How many sexual partners do you currently have?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>One.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Could your partner(s) have any other partner(s)?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Probably.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Okay. And how many sexual partners have you had in the last 12 months?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Two.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>And how about in your lifetime.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Six?<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Do you use condoms or other barriers to protect yourself against HIV or other sexually transmitted infections?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Sometimes.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Have you ever had an HIV test?<\/dialogue>\n    <scene_description>She shakes her head no.<\/scene_description>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Would you like to have one done today?<\/dialogue>\n    <scene_description>She shrugs ambiguously.<\/scene_description>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>I recommend it. It can be hard to want to do it, but it's important.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Ok.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>I want to spend a few minutes talking to you about your relationships, okay?<\/dialogue>\n    <scene_description>Autumn nods.<\/scene_description>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Because they can affect your health. Did you know that? No? All right. So I'm going to ask you some questions... they can be really personal. And all you have to do is answer either Never, Rarely, Sometimes, or Always. It's kind of like multiple choice but it's not a test.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Ok.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>In the past year, your partner refused to use a condom. Never, Rarely, Sometimes, Always?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Sometimes.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Okay. In the past year, has your partner messed with your birth control or tried to get you pregnant?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Never.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Autumn, has your partner ever threatened or frightened you? Never, Rarely, Sometimes, Always?<\/dialogue>\n    <scene_description>Autumn looks away.<\/scene_description>\n    <character>AUTUMN<\/character>\n    <dialogue>Why are you asking me that?<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>I want to make sure that you're safe. Your partner's threatened or frightened you. Never, Rarely, Sometimes, Always?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Rarely.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Has your partner hit, slapped, or physically hurt you. Never, Rarely, Sometimes, Always?<\/dialogue>\n    <scene_description>Autumn can't answer. She holds back.<\/scene_description>\n    <character>BLEEKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Has your partner ever hit you, slapped you, or physically hurt you? Is someone hurting you?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Some -<\/dialogue>\n    <scene_description>She holds back more.<\/scene_description>\n    <character>BLEEKER STREET SOCIAL WORKER<\/character>\n    <dialogue>It's okay. It's just a couple more questions, all right? Your partner has made you have sex when you didn't want to? Never? Rarely. Sometimes? Always?<\/dialogue>\n    <scene_description>Autumn's flood gates open. She breaks down.<\/scene_description>\n    <character>BLEEKER STREET SOCIAL WORKER<\/character>\n    <dialogue>It's okay. I want to make sure you're safe and I want to help you if I can. I have just one more question for you, okay Autumn? Has anyone forced you into a sexual act ever in your lifetime, yes or no?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Okay. Do you want to tell me about it?<\/dialogue>\n    <scene_description>Autumn shakes her head no. She is too upset to speak.<\/scene_description>\n    <character>AUTUMN<\/character>\n    <dialogue>No. Not now.<\/dialogue>\n    <character>BLEEKER STREET SOCIAL WORKER<\/character>\n    <dialogue>It's okay. I'm going to give you my number. And you can call me. We don't have to talk about it today, but you can call me if you need to talk or if you need some help, okay?<\/dialogue>\n    <scene_description>The Social Worker writes it down on a card and passes it across the table.<\/scene_description>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Do you have any questions you want to ask me?<\/dialogue>\n    <scene_description>She collects herself.<\/scene_description>\n    <character>AUTUMN<\/character>\n    <dialogue>Is the procedure- is it going to be painful?<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>It's going to be a little uncomfortable. Have you ever had a GYN exam before?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Okay. It's going to be in an operating room. There's going to be a doctor, there's going to be a nurse, there's going to be a medical assistant. I can be there with you if you want me to be. Would you like me to go with you?<\/dialogue>\n    <scene_description>Autumn nods.<\/scene_description>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Okay so it's kind of like having a GYN exam today. They're going to put a speculum in the vagina, they're going to put laminaria into the cervix and that's what's going to help the cervix open overnight. All right?<\/dialogue>\n    <dialogue>So it's going to feel uncomfortable kind of like pressure, kind of like you have to pee, but it shouldn't hurt.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Ok.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Okay? If you have any really bad pain tonight you have to call us.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Ok.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Okay? Then when you come back tomorrow for the second part of the procedure, for that part you're going to be asleep. Okay? And I can be with you then too.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Am I going to go under?<\/dialogue>\n    <scene_description>She begins to get very nervous.<\/scene_description>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Just for about 10 minutes. It's pretty quick, all right?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Ok.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>And then... when you wake up you'll be in the recovery room, you're going to be all done. Then you can go home.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Ok.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Are you ready?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Think so?<\/dialogue>\n    <scene_description>Autumn takes a sip of water and a deep breath.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLEECKER STREET CLINIC - OPERATING ROOM - CHANGE AREA<\/stage_direction>\n    <scene_description>Autumn closes the curtain. She puts on the gown. She slides her underwear off. She nervously tucks them into the pockets of her pants and shoves her bra into the sleeve of her shirt. She opens the curtain.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLEECKER STREET CLINIC - OPERATING ROOM<\/stage_direction>\n    <scene_description>Autumn walks into an exam room with bright lights. Autumn gets up on the table. She wears mismatched socks. The doctor comes in and puts on gloves. The Social Worker comes in wearing scrubs.<\/scene_description>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>You are going to need to scooch your bottom all the way to the edge.<\/dialogue>\n    <scene_description>She scooches and scooches.<\/scene_description>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>All the way to the end.<\/dialogue>\n    <scene_description>She scooches and scooches. The doctor takes her legs and drapes them over the leg stirrups. She straps her in.<\/scene_description>\n    <character>LATER<\/character>\n    <dialogue>The Doctor opens up the speculum and inserts it into her vagina and then the laminaria.<\/dialogue>\n    <dialogue>Autumn clasps the Social Worker's hand. Her eyelashes flutter with discomfort and nervousness as the whole first part of the procedure take place.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLEECKER STREET CLINIC - RECOVERY ROOM - LATER<\/stage_direction>\n    <scene_description>Autumn sits in a gown in a recovery area. She takes a sip of water from a plastic cup.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLEECKER STREET CLINIC - WAITING ROOM - LATER<\/stage_direction>\n    <scene_description>Skylar sits and waits and watches the closed door next to the reception desk. Autumn finally emerges.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Are you ok?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I think so.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>What do you want to do?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Nothing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BLEECKER STREET<\/stage_direction>\n    <scene_description>Autumn and Skylar walk slowly down the street, dragging their suitcase. Autumn avoids eye contact.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BLEECKER STREET - 6 STATION<\/stage_direction>\n    <scene_description>They haul their suitcase back down the stairs to the subway station. It slips from their hands and tumbles all the way down to the bottom of the stairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY STATION - DAY<\/stage_direction>\n    <scene_description>Autumn takes out her Metrocard and slides it through. She tries to push through but it doesn't work. She tries again. She reads the message on the toll booth and it says INSUFFICIENT FARE. Skylar looks at Autumn. Skylar starts to unzip the backpack. Autumn looks at her and shakes her head.<\/scene_description>\n    <character>AUTUMN<\/character>\n    <dialogue>I needed all of it to pay for the appointment.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>They wouldn't take your insurance?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>No. It was out of state.<\/dialogue>\n    <scene_description>Skylar looks around. She quickly ducks under the turnstile and opens the emergency door. Autumn quickly drags their suitcase through.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY PLATFORM - DAY<\/stage_direction>\n    <scene_description>Skylar looks for the train. Autumn avoids eye contact.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>Why couldn't they do it all in one day?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Don't ask me, I'm not a doctor.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PORT AUTHORITY - DAY<\/stage_direction>\n    <scene_description>They walk around Port Authority. Classical music still playing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PORT AUTHORITY - GREYHOUND BUS<\/stage_direction>\n    <scene_description>Skylar approaches the counter and speaks the to GREYHOUND BUS TICKET SELLER behind thick glass.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>GREYHOUND BUS TICKET SELLER<\/character>\n    <dialogue>How can I help you?<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>We lost our tickets. Is there any way you can reprint them?<\/dialogue>\n    <character>GREYHOUND BUS TICKET SELLER<\/character>\n    <dialogue>Do you have a receipt?<\/dialogue>\n    <scene_description>She digs in her pockets.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>No we lost that too.<\/dialogue>\n    <character>GREYHOUND BUS TICKET SELLER<\/character>\n    <dialogue>I can't reissue the tickets without proof of purchase.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>How much are two tickets to Shamokin, PA.<\/dialogue>\n    <character>GREYHOUND BUS TICKET SELLER<\/character>\n    <dialogue>$65 each.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PORT AUTHORITY - DAY<\/stage_direction>\n    <scene_description>They plug their phones into the charging station. The terminal is quiet around them.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>Do you want me to write my mom?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Do you want me to write your mom?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Well what do you want me to do?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Fuck off.<\/dialogue>\n    <scene_description>Skylar gets up and sits across the hall from her. They're both on their phones, not paying attention to each other. Time passes. They're both in their own worlds. Autumn takes some Ibuprofen. There's distance between them. Autumn sees Skylar typing messages on her phone. Skylar gets up and walks down the hallway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PORT AUTHORITY - BATHROOM<\/stage_direction>\n    <scene_description>Autumn enters the bathroom and finds Skylar putting on make- up. She puts on dramatic eyeliner and red lipstick. Autumn watches. Then Skylar puts make-up on Autumn. She smears lipstick on her cheeks and rubs it in. She puts under-eye concealer on her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PORT AUTHORITY - STREET - NIGHT<\/stage_direction>\n    <scene_description>Skylar and Autumn wait outside Port Authority. It's cold outside. Autumn looks around at Times Square. They are surrounded by neon lights, busy streets, and traffic sounds. They look around and wait and wait to see if he's going to show up. Through a crowd of people, Jasper emerges.<\/scene_description>\n    <character>JASPER<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>How was your family thing?<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>It was ok.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>I wasn't sure if I was gonna hear from you.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>We were busy.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Yeah, I thought so, but still. I'm happy you wrote. You wanna come with me to this thing downtown?<\/dialogue>\n    <scene_description>He indicates that he wants to leave.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>Actually, we kind of need to hang here.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Here?<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Ok let's go get a drink.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>I'm not 21 and I don't have a fake ID.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>How old are you?<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>JASPER<\/dialogue>\n    <scene_description>No one really cards in New York.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>Maybe we can just have a bite or something inside?<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Ok?<\/dialogue>\n    <scene_description>They enter into the Port Authority.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PORT AUTHORITY - NIGHT<\/stage_direction>\n    <scene_description>Jasper leads them through Port Authority. He leads them through the big main hall. Autumn trails behind.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PORT AUTHORITY - FAST FOOD RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Autumn and Skylar stand nervously with him at the counter. It's a small burger place in the middle of a terminal. It's not intimate or quiet or very restaurant-like.<\/scene_description>\n    <character>JASPER<\/character>\n    <dialogue>Are you getting anything?<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>No we are ok.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>It's always so embarrassing to eat in front of people you don't really know. It's even worse, when you are the only one eating.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>We just ate. But thanks.<\/dialogue>\n    <character>PAUSE<\/character>\n    <dialogue>JASPER<\/dialogue>\n    <scene_description>Can I have a cheese burger?<\/scene_description>\n    <character>CASHIER<\/character>\n    <dialogue>$10.50<\/dialogue>\n    <scene_description>He gets his order.<\/scene_description>\n    <character>TABLE AREA<\/character>\n    <dialogue>They all sit down.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>The show was super fun. Well actually it was more like an event than a show. It was in an abandoned subway station. But I just feel like there's no such thing as trespassing in urban spaces. Are you sure you don't wanna check it out?<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Another time, you know?<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>This city has a lot of secrets. Subterranean levels.<\/dialogue>\n    <scene_description>Skylar looks at his french fries. She reluctantly reaches across the table and steals a fry.<\/scene_description>\n    <character>JASPER<\/character>\n    <dialogue>Take take.<\/dialogue>\n    <scene_description>She steals some more. He eats and talks with his mouth full.<\/scene_description>\n    <character>JASPER<\/character>\n    <dialogue>I have to admit there's something about the legal and physical risks that made it even more of an intense concert. And the acoustics...<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Excuse me for a second.<\/dialogue>\n    <scene_description>She gets up and goes to the bathroom, leaving Autumn alone with him. He eats and susses her out. Autumn sits in pain, holding her stomach.<\/scene_description>\n    <character>JASPER<\/character>\n    <dialogue>Do you want some?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>No thanks.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>So, where are you from exactly?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Pennsylvania.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Cool. Where exactly?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Central. Northumberland County.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Sounds exciting.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>It's ok. I like it.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>And what do you like to do there?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Normal things.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Like?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>School and work.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Fascinating...<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I mean, it's a nice place. A fun place to grow up. But you know it's kind of limited.<\/dialogue>\n    <scene_description>Skylar comes back from the bathroom.<\/scene_description>\n    <character>JASPER<\/character>\n    <dialogue>Are you sure you don't wanna come with me to this thing?<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>We can't really.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PORT AUTHORITY - NIGHT<\/stage_direction>\n    <scene_description>They ride up an escalator. Jasper leads the way. They wander toward some fluorescent pink lights, a club-like space inside the transit terminal.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRAMES BOWLING ALLEY - NIGHT<\/stage_direction>\n    <scene_description>A club-like bowling alley. There's a full bar and disco lighting. Jasper goes up to the counter. A BOWLING ALLEY PERSON stands behind the counter.<\/scene_description>\n    <character>JASPER<\/character>\n    <dialogue>Hi, how's it going?<\/dialogue>\n    <character>BOWLING ALLEY PERSON<\/character>\n    <dialogue>Good evening, do you have a reservation?<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>No, are there any lanes open?<\/dialogue>\n    <character>BOWLING ALLEY PERSON<\/character>\n    <dialogue>I think we can squeeze you in.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Perfect.<\/dialogue>\n    <character>BOWLING ALLEY PERSON<\/character>\n    <dialogue>How many players today?<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Three of us.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I'm not playing.<\/dialogue>\n    <character>BOWLING ALLEY PERSON<\/character>\n    <dialogue>So two players?<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>What??<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <character>BOWLING ALLEY PERSON<\/character>\n    <dialogue>Would you like to pay hourly?<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>One hour is plenty.<\/dialogue>\n    <character>BOWLING ALLEY PERSON<\/character>\n    <dialogue>It's $90.47 including tax and shoes.<\/dialogue>\n    <scene_description>Skylar and Autumn look at each other.<\/scene_description>\n    <character>JASPER<\/character>\n    <dialogue>I got it.<\/dialogue>\n    <scene_description>He takes out his wallet.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>He pays.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRAMES BOWLING ALLEY - NIGHT<\/stage_direction>\n    <scene_description>Skylar and Jasper sit and put their shoes on. Autumn sits off to the side and watches them. Skylar gets up to bowl and throws a strike.<\/scene_description>\n    <character>JASPER<\/character>\n    <dialogue>No!!!<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Shut up.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Starting out killing it. Are you hustling me?<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>You know it...<\/dialogue>\n    <scene_description>Skylar looks at Autumn.<\/scene_description>\n    <character>JASPER<\/character>\n    <dialogue>No. Seriously. Am I gonna, like, wake up in a bathtub with a missing organ or something???<\/dialogue>\n    <scene_description>Skylar sits and Jasper gets up to bowl. He takes his turns. Blue lights and videos of the ocean stream across multiple flat screen TV's. Autumn sits uncomfortably, her discomfort begins to grow. Skylar looks at her and notices.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>Are you ok?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Do you need something to drink?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Just water or whatever.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Why don't I order a pitcher of beer?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I'll just have some water.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Will you drink with me?<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Ummm. Sure.<\/dialogue>\n    <scene_description>Skylar is getting more comfortable and having a little fun. Autumn gets up and leaves.<\/scene_description>\n    <character>LANES<\/character>\n    <dialogue>She walks across the entire bowling alley towards the bathroom. In the background, there are the flat screen TVs with images of ocean waves crashing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRAMES - BATHROOM<\/stage_direction>\n    <scene_description>Autumn goes into the bathroom. She's in physical discomfort. She goes into a stall. She pulls down her pants. There are dark blood clots in her underwear. She panics. She grabs a wad of toilet paper and folds it up and puts it between her legs to absorb the bleeding. She takes off her underwear and crumples them up and puts them in the garbage. She takes out her phone and makes a call.<\/scene_description>\n    <character>MOM (O.S.)<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>Autumn doesn't say anything.<\/scene_description>\n    <character>MOM (O.S)<\/character>\n    <dialogue>Hi, baby is that you?<\/dialogue>\n    <scene_description>Autumn breathes holding back her words.<\/scene_description>\n    <character>MOM (O.S)<\/character>\n    <dialogue>Where are you? Are you ok?<\/dialogue>\n    <scene_description>Autumn hangs up. The phone immediately rings back, but she declines the call. It rings again. She shuts it off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM - NIGHT<\/stage_direction>\n    <scene_description>Jasper sings a song and sips on a drink that spills while he dances around. Skylar and Autumn watch him.<\/scene_description>\n    <character>JASPER<\/character>\n    <dialogue>It's not the way you look It's not the way that you smile Although there's something to them It's not the way you have your hair It's not that certain style It could be that with you If I had a photograph of you It's something to remind me I wouldn't spend my life just wishing It's not the make up And it's not the way that you dance It's not the evening sky It's more the way your eyes are Laughing as they glance Across the great divide If I had a photogaph of you It's something to remind me I wouldn't spend my life just wishing It's not the things you say It's not the things you do It must be something more And if I feel this way for so long Tell me is it all for nothing Just don't walk out the door If I had a photograph of you It's something to remind me I wouldn't spend my life just wishing<\/dialogue>\n    <scene_description>Skylar claps as the song ends.<\/scene_description>\n    <character>JASPER<\/character>\n    <dialogue>Your turn.<\/dialogue>\n    <scene_description>He sits down in between them. He casually touches Skylar's legs. They scroll through the choices.<\/scene_description>\n    <character>JASPER<\/character>\n    <dialogue>I feel like you can tell everything about a person by what they choose to sing for Karaoke.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Like what?<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>It's not just their taste in music. It's like you understand everything about a person's soul by what they choose.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>No pressure or anything.<\/dialogue>\n    <scene_description>Autumn scrolls through all the choices.<\/scene_description>\n    <character>JASPER<\/character>\n    <dialogue>Spears, Springsteen...<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>I can only do it if I'm really drunk.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Should I order more drinks?<\/dialogue>\n    <scene_description>Autumn keeps scrolling.<\/scene_description>\n    <character>AUTUMN<\/character>\n    <dialogue>I don't really feel like singing.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I'm not in the mood.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Come on you're a singer. A real singer.<\/dialogue>\n    <scene_description>She stops scrolling. She picks something. She is in physical pain as she sings.<\/scene_description>\n    <character>AUTUMN<\/character>\n    <dialogue>Don't let the sun catch you cryin' The night's the time for all your tears Your heart may be broken tonight But tomorrow in the morning light Don't let the sun catch you cryin' The night-time shadows disappear And with them go all your tears For the morning will bring joy For every girl and boy So don't let the sun catch you cryin' We know that cryin's not a bad thing But stop your cryin' when the birds sing It may be hard to discover That you've been left for another But don't forget that love's a game And it can always come again<\/dialogue>\n    <scene_description>Oh don't let the sun catch you cryin' Don't let the sun catch you cryin' During the song, Jasper whispers something in Skylar's ear. He puts his arm around her. Skylar is stiff in his arms, but doesn't push him away. Autumn watches them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PORT AUTHORITY - OUTSIDE FRAMES<\/stage_direction>\n    <scene_description>They leave the club. They awkwardly stand around.<\/scene_description>\n    <character>JASPER<\/character>\n    <dialogue>I guess I'm glad I didn't go back to the show. You guys are cool. I mean, we could probably still go if you were interested but it's probably too far right? What time is your bus?<\/dialogue>\n    <character>PAUSE<\/character>\n    <dialogue>SKYLAR<\/dialogue>\n    <scene_description>Actually, we needed to ask you something. We lost our bus tickets and I can't get in touch with my mom at this hour.<\/scene_description>\n    <character>JASPER<\/character>\n    <dialogue>Oh no.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Is it possible to borrow a few bucks?<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>PAUSE<\/character>\n    <dialogue>JASPER<\/dialogue>\n    <scene_description>Come with me downtown and we can stop at an ATM on the way.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>We just don't have time.<\/dialogue>\n    <character>PAUSE<\/character>\n    <dialogue>JASPER<\/dialogue>\n    <scene_description>I'm not sure there's an ATM in here. Everything is closed. Skylar looks around. Everything is actually closed.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>Ok...<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>Maybe across the street?<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Thanks so much.<\/dialogue>\n    <scene_description>Jasper looks at Autumn and the suitcase.<\/scene_description>\n    <character>JASPER<\/character>\n    <dialogue>You are probably tired of lugging that around. We'll go and run out and be right back.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Ok.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>We'll be quick.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Are you sure?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Yeah. I'm fine.<\/dialogue>\n    <scene_description>He takes Skylar by the shoulder and walks off with her. Skylar looks back. Autumn slides down the wall and sits by herself with the big suitcase and waits for a long time.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PORT AUTHORITY - MUCH LATER<\/stage_direction>\n    <scene_description>Autumn gets up. She looks for Skylar. It's pretty empty and no one is really around. She stops and texts her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PORT AUTHORITY<\/stage_direction>\n    <scene_description>She leaves Port Authority and walks down the front steps. She looks around outside. There are crowds of people in Times Square. She begins to panic.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 44TH STREET<\/stage_direction>\n    <scene_description>She walks around the block looking for her. The night and lights are dizzying and disorienting around her. Her eyes dart around the street looking for them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PORT AUTHORITY - OUTSIDE FRAMES - NIGHT<\/stage_direction>\n    <scene_description>She wanders through Port Authority. She turns a corner and sees Skylar and Jasper in the distance. Jasper has her pinned up against a column and kisses her intensely. He gropes her. Autumn sneaks up to them. She reaches out and touches Skylar's hand to let her know she's there. Autumn and Skylar's hands touch. Their pinkies lock. This is their secret.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 44TH STREET<\/stage_direction>\n    <scene_description>Jasper stands in front of an ATM. He puts his card into the machine. He presses a button. Then another button. Then another button. And finally the last one. The machine pauses. It makes quiet sounds, processing his request. The machine spits out several 20 dollar bills. He hands it to Skylar.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>Thanks. We'll get you back.<\/dialogue>\n    <character>JASPER<\/character>\n    <dialogue>No worries. I'll text you.<\/dialogue>\n    <scene_description>He kisses her. Autumn watches. Jasper crosses the street and heads toward the subway. They watch him go.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY - NIGHT<\/stage_direction>\n    <scene_description>Skylar sleeps in an empty train car. Autumn, wide awake, watches to see who gets on at every stop. Out the window, she watches the shifting landscapes from the darkness of tunnels to the bright station, back to darkness, back to light, etc. Day breaks and the train is above ground.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY - DAWN<\/stage_direction>\n    <scene_description>The train stops somewhere in Queens in the Rockaways. It stops for a long time. Skylar wakes up and looks out the window. She sees something. She gets up and pokes her head out of the train. Autumn gets up and follows her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOARDWALK - MORNING<\/stage_direction>\n    <scene_description>They walk along the empty blustery boardwalk. They leave their suitcase and walk down onto the beach.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH - MORNING<\/stage_direction>\n    <scene_description>They walk to the ocean. The wind around them blows and blows. They cover up their faces to keep the sand from blowing into them. They walk to the shore. They both sit down. They both take off their shoes and socks. They put their feet into the water. It's freezing cold, but they do it anyway. They walk along the water's edge barefoot.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLEECKER STREET CLINIC BUILDING - DAY<\/stage_direction>\n    <scene_description>They go through security again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLEECKER STREET CLINIC - WAITING ROOM - DAY<\/stage_direction>\n    <scene_description>Skylar sits down and settles in, like she knows the place very well. Autumn looks distracted and unsettled. Skylar takes a rubber band out of her hair.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>Wanna see a trick?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>She shows her the rubber band wrapped around two fingers. She opens and closes her hand and the rubber band magically jumps to another two fingers.<\/scene_description>\n    <character>AUTUMN<\/character>\n    <dialogue>Lemme see again.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Watch.<\/dialogue>\n    <scene_description>She repeats the trick. Autumn takes the rubber band and tries to do it herself but can't.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLEECKER STREET CLINIC - SOCIAL WORKER'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Autumn sits uncomfortably.<\/scene_description>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Hi there. How was your night?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>It was ok.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>What did you do?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Karaoke.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Fun! Did you get some sleep?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Sorta.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Did you have any cramping or bleeding?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Not too bad.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Are you ready for today?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I think so.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>I just want to make sure we make you an appointment for a post-op follow up visit.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I have to come back?<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Well let me look into it. It's important and I'm sure there's an OBGYN who can help you somewhere in the vicinity of where you live. And we will want to discuss birth control options going forward.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>That's ok. I can figure it out.<\/dialogue>\n    <character>BLEECKER STREET SOCIAL WORKER<\/character>\n    <dialogue>Are you sure I can't give you some options?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>No, thanks though. I'll look into it when I get back home.<\/dialogue>\n    <scene_description>She nods her head.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLEECKER STREET CLINIC - OPERATING ROOM<\/stage_direction>\n    <scene_description>Autumn lies on a table with her legs strapped in. She holds the Social Worker's hand. Her eyes dart around the room as people prep her for surgery. The DOCTOR (50), female, takes down her gown revealing her chest and puts on E.K.G. electrodes to her to monitor her heart rate. Autumn's legs are spread and her bottom is pushed all the way to the edge of the table. She is exposed and vulnerable and holding herself in an awkward position.<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>Can you tell me your name, age, and birthplace?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Autumn Callahan, 16, Scranton.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>Good. Why are you here today?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>What procedure are you having done?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I don't understand?<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>We are just making sure you know why you are here.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I'm having an abortion.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>Good. Thank you.<\/dialogue>\n    <character>ANESTHESIOLOGIST<\/character>\n    <dialogue>Count backwards from ten for me, please.<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>10, 9, 8, 7, 6...<\/dialogue>\n    <scene_description>Autumn deliriously looks around the room. The room is blurry. Her slowly eyes close. The Social Worker looks at her and taps her forehead with one finger.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLEECKER STREET CLINIC - RECOVERY ROOM - DAY<\/stage_direction>\n    <scene_description>Autumn opens her eyes. She sits in the recovery area surrounded by strangers.<\/scene_description>\n    <character>NURSE #2<\/character>\n    <dialogue>Did you check your bleeding?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Yeah<\/dialogue>\n    <scene_description>She nibbles on crackers. They are dry and the crumbs stick to her lips. She wipes them away. She takes small sips of water.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLEECKER STREET CLINIC - WAITING ROOM - DAY<\/stage_direction>\n    <scene_description>Autumn comes into the waiting room.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>Are you done?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>What do you want to do?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>I'm really hungry.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>So let's eat and head back?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Yeah. Sounds good.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHINATOWN BAKERY<\/stage_direction>\n    <scene_description>They enter the bakery. They pick a bunch of different desserts. They take an orange tray to a table. They both zone out and Autumn eats and eats and eats and eats, as if she hasn't eaten in days. Skylar watches her.<\/scene_description>\n    <character>SKYLAR<\/character>\n    <dialogue>How was it?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>What was it like?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>It was kinda whatever.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Did it hurt?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Not really. But sorta.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>Were they nice?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Nice enough. But I mean I wouldn't wanna go back.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>I get that. Did it hurt?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Just uncomfortable.<\/dialogue>\n    <character>SKYLAR<\/character>\n    <dialogue>How do you feel now?<\/dialogue>\n    <character>AUTUMN<\/character>\n    <dialogue>Just tired.<\/dialogue>\n    <scene_description>Skylar looks at her. Autumn smiles and stuffs her face.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PORT AUTHORITY - DAY<\/stage_direction>\n    <scene_description>They walk through Port Authority. Classical music plays from a piano somewhere...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PORT AUTHORITY<\/stage_direction>\n    <scene_description>They haul their suitcase down the escalator.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PORT AUTHORITY GATES TERMINAL - DAY<\/stage_direction>\n    <scene_description>They drag their suitcase looking for their gate. They finally find it. They wait on line to board, anxious to get home. Autumn swallows some ibuprofen and drinks water.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS (NYC TO WILKES-BARRE) - DAY<\/stage_direction>\n    <scene_description>They get on the bus with several other passengers. They sit next to each other. Autumn takes the window. Skylar takes the aisle. Autumn settles in and turns off her phone. They look at each other with a shared sense of relief. The bus leaves on the same route that it came in. They go through Lincoln Tunnel, which is dark except for the flicker of fluorescent lights. The light strobes in Autumn's eyes. The light strobes in Autumn's pupils. The bus re-emerges into the light. Autumn finally drifts into a deep sleep.<\/scene_description>\n    <character>BLACK<\/character>\n  <\/scene>\n<\/script>","summary":"Seventeen-year-old Autumn Callahan suspects she is pregnant and goes to a crisis pregnancy center. At the center, she takes a drugstore test that confirms she is pregnant. She is told she is 10 weeks along, given literature on adoption, and shown an anti-abortion video. After learning that she cannot get an abortion in Pennsylvania without parental consent, she tries to induce a miscarriage by swallowing pills and punching herself in the stomach. When those methods fail, she tells her cousin, Skylar, that she is pregnant. Skylar steals cash from the grocery store where they work, and the two buy bus tickets to New York City. On the bus they meet Jasper, a young man persistently interested in Skylar even though she tries to blow him off. At a Planned Parenthood clinic in Brooklyn, Autumn learns that the crisis pregnancy center lied to her about how far along she was and that she is actually 18 weeks pregnant. Though she is still able to get an abortion, she must go to a Manhattan clinic the next morning to have it performed. Autumn and Skylar spend an uncomfortable night riding the subway and playing games at an arcade. The next morning at the clinic, Autumn learns that a second-trimester abortion is a two-day procedure and that paying for it will take most of her funds. The counselor also asks her a series of questions about her sexual partners that reveal that Autumn's partners have been physically and sexually abusive. Out of money, Skylar realizes the two have no way of going home. As Autumn asks Skylar not to call either of their mothers, Skylar reaches out to Jasper, who takes them bowling and to karaoke. At the end of the night, Skylar asks Jasper to lend them money for their bus tickets, and he agrees. Skylar leaves with Jasper to find an ATM, and Autumn later goes looking for them. She finds them kissing. Realizing Skylar is only doing it for the loan, Autumn discreetly grabs Skylar's hand to comfort her. In the morning, Autumn goes to her appointment and has the abortion. Autumn and Skylar go to a restaurant, where Skylar asks her questions about the procedure, which Autumn answers tersely. The two ride a bus back to Pennsylvania."}
{"movie_name":"Cellular_2004","imdb_id":"tt0337921","script":"<script>\n  <scene>\n    <stage_direction>TITLES OVER YELLOW BACKGROUND.<\/stage_direction>\n    <scene_description>We PULL BACK to reveal we 're looking at THE SUN . In the distance lie the gorgeous San Gabriel Mountains and the Downtown Los Angeles skyline . In ONE LONG TRACKING SHOT , we CRANE PAST some trees to reveal the vast expansive homes scattered in the hills of Brentwood . HOMEOWNERS walk dogs , a PAPERBOY chucks papers fr9m a gleaming mountain bike . It 's early in the morning , and the landscapers have n't come with their leaf blowers yet . CONTINUE BOOMING DOWN to road level to face the resplendent Martin residence . We STEADICAM down the fr ont walk , able to admire the manicured hedges and the black E scalade in the driveway , to the front door decorated with a whimsical placard that reads , `` The Martins '' - and we pass THROUGH THE KEYHOLE into the foyer .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JESSICA'S HOUSE - MORNING<\/stage_direction>\n    <scene_description>We TRACK through the living room , passing framed photos of an athletic eleven year old boy , and we hear a WOMAN 'S VOICE as she comes down the stairs with a GOLDEN RETRIEVER at her side .<\/scene_description>\n    <character>WOMAN<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Yes Donna, I'm out the door. We TRACK over the Woman's shoulder and follow her into the kitchen, unable to see her face.<\/dialogue>\n    <character>WOMAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Just inform Kayleigh that anesthesia is on the way to prep the epidural and I'll be there as soon as I can.<\/dialogue>\n    <scene_description>Still looking over her shoulder , we watch her absently straighten a PHOTOGRAPH of her son on the fridge as she talks .<\/scene_description>\n    <character>WOMAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And promise her she's about to have a woooonnderful labor.<\/dialogue>\n    <scene_description>As the woman pours herself a fresh cup of coffee , her HOUSEKEEPER enters the kitchen with a full laundry basket . They give each other a silent wave .<\/scene_description>\n    <character>WOMAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Right, I'll see you in twenty.<\/dialogue>\n    <scene_description>She hangs up her cordless and takes a breath as we COME AROUND to finally REVEAL JESSICA MARTIN ; slightly weary , but ready for the day ahead .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Buenas dias, Rosario.<\/dialogue>\n    <character>ROSARIO<\/character>\n    <dialogue>Good morning Miss Jessica.<\/dialogue>\n    <scene_description>Jessica sees her answering machine blinking , hits PLAY . In the background , a cheerful Rosario enters frame and heads for the back door carrying the basket of laundry .<\/scene_description>\n    <character>MALE VOICE<\/character>\n    <parenthetical>( on machine . )<\/parenthetical>\n    <dialogue>Honey? Honey, wake up. Pick up the -<\/dialogue>\n    <scene_description>And as she brings the coffee cup to her lips - SLAMM ! The door EXPLODES open and a squad of FIVE GUNMEN storm in , wearing SKI - MASKS . Everything is a whirlwind of quick cuts , noise and confusion . Jessica 's DOG starts to lunge at the men and - thup ! - is stilled by a silenced pistol before its second bark . Rosario runs for the ALARM SYSTEM -<\/scene_description>\n    <character>LEAD GUNMAN<\/character>\n    <dialogue>Get away from there! Do n't touch that -!<\/dialogue>\n    <scene_description>- but as she reaches out for the PANIC BUTTON - BLAM ! He blows her away , too . The Gunman curses , then turns on Jessica .<\/scene_description>\n    <character>LEAD GUNMAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( dire . )<\/parenthetical>\n    <dialogue>Where is he? Jessica cringes.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Where is who?<\/dialogue>\n    <character>LEAD GUNMAN<\/character>\n    <dialogue>Wrong answer.<\/dialogue>\n    <scene_description>The bastard hauls back and - WHAM I - punches her in the face , knocking Jessica cold . Then he turns to his men .<\/scene_description>\n    <character>LEAD GUNMAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Search the house.<\/dialogue>\n    <scene_description>And as the answering machine fills the silence :<\/scene_description>\n    <character>CRAIG<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( on machine . )<\/parenthetical>\n    <dialogue>- I'll call back later.<\/dialogue>\n    <scene_description>The LEAD GUNMAN spins around , and we PUSH INTO the blackness of his masked face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KIDNAPPERS' SAFEHOUSE - DAY<\/stage_direction>\n    <scene_description>The BLACKNESS of a BLACK VAN and ESCALADE passing below us . We quickly CRANE DOWN to see the vehicles traveling through : An IRON GATE at the edge of an aband9ned property . They bounce down a long lonely driveway lined with barren trees - ANGLE ON : THE KIDNAPPERS ' VAN as it arrives at its destination ; an isolated HOUSE in the Hills . The grass is dead . The trees are dead . It 's the kind of place you could scream for a week and no one would hear a thing . As the van stops -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARKENED ATTIC - KIDNAPPERS' SAFEHOUSE<\/stage_direction>\n    <scene_description>A door CRASHES open . Light slices through the dark revealing the dusty , skeletal interior . Jessica is hurled into the room and falls to the floor . With bound hands , she frantically pulls her blindfold off to see - THE LEAD SKI - MASKED KIDNAPPER Standing in front of her . Sturdier than the rest . Solid . Imposing .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Wh. what do you want?<\/dialogue>\n    <scene_description>Unsettlingly , the Kidnapper says nothing , staring at her . Jessica tries to remain calm under his angry gaze . Then suddenly , the Kidnapper turns and exits the room . Jessica breathes a sigh of relief . but it catches in her throat as he returns ten seconds later - with a BASEBALL BAT . Grim as death , he stalks toward her -<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>No, wait.<\/dialogue>\n    <scene_description>And reaching.her , he hauls back and SWINGS -<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>NO! PLEASE - \/ \/<\/dialogue>\n    <scene_description>SMASH ! The bat connects with a wooden beam an inch above Jessica 's head , OBLITERATING the ROTARY DIAL TELEPHONE that hung there . As phone guts shower down on her , the Lead Kidnapper turns and stomps away , slamming the attic door shut and locking Jessica in the darkness . Only now that they 're gone does Jessica allow her fear to show through . Trembling , tears running down her face , Jessica finally breaks down , pleading to the empty attic -<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Wha. what the hell is happening?!<\/dialogue>\n    <scene_description>The attic 's suffocating silence is the only answer she gets . THE OCEAN Skimming along the water . And we TILT UP to reveal the majestic beaches of Southern California , and at the center of it all , the SANTA MONICA PIER .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA MONICA PIER - MORNING - ESTABLISHING<\/stage_direction>\n    <scene_description>It would be a typical day , except for that some PEOPLE are preparing for a `` HEAL THE BAY '' rally at the end of the pier . VENDORS set up , preparing for the daily grind ahead . BIKERS gather around a bad - ass HELLCAT G2 CONFEDERATE MOTORCYCLE and admire its cutting - edge design . HOT CHICKS in bikinis try on sunglasses at a stand . FISHERMEN crack beers while awaiting the next bite .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANTA MONICA PIER - ARCADE - MORNING<\/stage_direction>\n    <scene_description>ANGLE ON - ARCADE GAME SCREEN . The screen displays a car - race arcade game . A computer generated hot - rod passes other racers at breakneck speed . Playing the sit - down game , DAYTONA USA , is : RYAN ACKERMAN , early twenties , looks like he grew up on the beach without so much as a pot to piss in . His lethal reflexes and bold recklessness , however , have made him a Jedi Master of the game . Ryan 's score approaches the HIGH SCORE at the top of the screen .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>You recording this?<\/dialogue>\n    <character>CHAD<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Yeah, sure.<\/dialogue>\n    <scene_description>CHAD , his best bud , aims a BLUE TOOTH VIDEOSTREAMING CELLPHONE at some CUTE GIRLS instead . We can see their faces on the tiny SCREEN of the cellphone . Ryan 's car gets caught behind a blue speedster , then passes on the shoulder .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Move, bitch.<\/dialogue>\n    <scene_description>He gets an EXTENDED PLAY and the screen flashes `` NEW RECORD . '' Nearby , a KID watching the game nods .<\/scene_description>\n    <character>KID<\/character>\n    <dialogue>Nice.<\/dialogue>\n    <scene_description>The HIGH SCORE starts rising to match Ryan 's score .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Get that?<\/dialogue>\n    <scene_description>Ryan turns around to see Chad has shoved the cellphone down the front of his tattered shorts . And he 's freeballing it .<\/scene_description>\n    <character>CHAD<\/character>\n    <dialogue>Check it ; Attack of the Bubblegum Monster in Hi - Def videostream -<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>C'mon Chad, I got ta put my mouth on that.<\/dialogue>\n    <scene_description>Holding a cup of soda between his teeth , Chad pulls the cellphone out of his pants and hits `` SEND '' .<\/scene_description>\n    <character>CHAD<\/character>\n    <parenthetical>( through cup - holding teeth . )<\/parenthetical>\n    <dialogue>Sweet. It's going to my email right now.<\/dialogue>\n    <scene_description>S9me soda inadvertently SPILLS onto the cellphone and Chad wipes it dry on his pants .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Watch it dude, I got ta return that thing in seven days.<\/dialogue>\n    <character>CHAD<\/character>\n    <dialogue>They are n't giving you shit yet?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Nah, whenever I return it, I just list off why the phone sucks and they give me a new model. Figure by the tenth time I'll have to go somewhere else.<\/dialogue>\n    <scene_description>Ryan 's car finally CRASHES in a wall of flames . Game Over . THE OCEAN As seen looking over the rail of the pier . The tide is in , but it 's still a forty foot drop . RYAN stares over the railing like a death row inmate contemplating his last meal .<\/scene_description>\n    <character>CHAD<\/character>\n    <dialogue>Go already. No one's looking.<\/dialogue>\n    <scene_description>His left hand holds his WALLET .<\/scene_description>\n    <character>CHAD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( re : wallet . )<\/parenthetical>\n    <dialogue>Need me to hold that?<\/dialogue>\n    <scene_description>Ryan sticks it in the pocket of his surfer shorts - he zips a zipper , tucks a Velcro flap . Pats his pocket proudly .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Waterproof.<\/dialogue>\n    <scene_description>But as soon as Ryan covertly CLIMBS ONTO THE RAIL , his left leg starts trembling like crazy .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>This is stupid. I could get killed. Pick another dare. Chad lowers the phone, irritated.<\/dialogue>\n    <character>CHAD<\/character>\n    <dialogue>My ass. Not after you made me march in the Gay Pride Parade wearing a thong.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Screw it then. In one. Two. Two and a half -<\/dialogue>\n    <character>CHAD<\/character>\n    <dialogue>Whole numbers only, Rabbitfoot. Ryan stares at the waves crashing below. His leg starts snaking like crazy. And he chickens out, hopping back to the deck.<\/dialogue>\n    <character>CHAD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Just so you know, I'm emailing this to every chick you ever met. But suddenly Ryan's oblivious to the dare. His eyes are glued to something else -<\/dialogue>\n    <character>CHAD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( speaking like HAL 900 . )<\/parenthetical>\n    <dialogue>Transmitting pussy file now.<\/dialogue>\n    <scene_description>CHLOE , early 20s , a head turner , confident , funny ; she can pull you in like a tractor beam . She and some CUTE FRIENDS carry heavy cardboard boxes toward a table set up for the `` Heal The Bay '' rally . Ryan walks over like he owns the place .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Got any more? I'm here to help.<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>Thanks, but no, we got'em all.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>What's in'em?<\/dialogue>\n    <scene_description>Chloe opens the box . Hands him a `` Heal The Bay '' pamphlet .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Cool, you're handing these out during the concert?<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>Yeah, wan na help?<\/dialogue>\n    <scene_description>Ryan tries to ignore his thundering heart .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Hell yeah. I'm all about `` Heal the Bay.''<\/dialogue>\n    <scene_description>His eyes ricochet off the pamphlet in his hand .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Me an Chad do the monthly cleanup thing, of course.<\/dialogue>\n    <scene_description>An awesome wing - man , Chad appears over Chloe 's shoulder , pretending to read a pamphlet , but really holding it up so Ryan can see it . Piece of cake , now .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>We've collected water samples with the Stream Team, raised money on the Promenade. I'm surprised I have n't seen you.<\/dialogue>\n    <scene_description>He offers his hand .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Ryan.<\/dialogue>\n    <scene_description>She takes it .<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>Chloe.<\/dialogue>\n    <scene_description>The handshake lingers a second longer than necessary , and they both smile at each other . Chad splits .<\/scene_description>\n    <character>CHLOE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I ca n't tell if you're full of it.<\/dialogue>\n    <scene_description>Ryan stops posturing , gets real .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>You ever go up to Santa Barbara? My dad used to take me there all<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>the time. Their pier is amazing, clear water, huge crabs everywhere, oysters right there on the rocks, starfish. Hard to believe it's the same ocean sometimes.<\/dialogue>\n    <scene_description>He 's managed to win her back .<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>Maybe you and I can take a break later when Pat Benatar goes on.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Sounds like a plan.<\/dialogue>\n    <scene_description>There 's a moment . Then -<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>Oh no - I forgot. I still have to pick up a box of T - shirts at the Kinkos on Venice.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>I'll do it for you. if you want.<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>Seriously, you would?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Sure. How much is the bill?<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>Nothing. It's been paid up front.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Do you promise not to go anywhere?<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>Done.<\/dialogue>\n    <scene_description>Ryan makes a graceful exit . Turns back .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Okay, I wo n't be long.<\/dialogue>\n    <character>CHLOE<\/character>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>Bye.<\/dialogue>\n    <scene_description>Ryan grabs Chad , and as they walk out of earshot :<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Dude, does Santa Barbara have a harbor or a pier?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VENICE - DAY<\/stage_direction>\n    <scene_description>A short time later , Ryan cruises through a Venice neighborhood . Ryan drives an early 70 's Ford Bronco ; clothes are strewn across the backseat , and a box of `` Heal the Bay '' T - SHIRTS now sits on the shotgun seat . Ryan reaches into the glove box and pulls out a toothbrush . He sips warm soda from a bottle and begins brushing . Checking himself out in the mirror , he sniffs his pits , whoa , and grabs the cellphone .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Dex, wassup? You wo n't believe the hotties I just met at the pier. Smoking. You wan na meet them? Yeah? Well do n't get too excited'cause I need my money.<\/dialogue>\n    <scene_description>Ryan stops at a red light .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Bullshit, you're not going anywhere.<\/dialogue>\n    <parenthetical>( quickly adding . )<\/parenthetical>\n    <dialogue>I'm pulling up right now.<\/dialogue>\n    <scene_description>Some AMBULANCES SPEED BY , SIRENS BLARING . It 's deafening . Ryan lays on the horn . When the light changes , Ryan peels away angrily .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( covering his ear . )<\/parenthetical>\n    <dialogue>What? Yeah, you better be. And I need your shower, I'm talkin' code red stankage -<\/dialogue>\n    <scene_description>The CELLPHONE begins to CRACKLE with STATIC just as Ryan drives under an OVERPASS . Suddenly - The car ahead of him STOPS in the middle of the street . Ryan notices too late and has to jam on the brakes . The car skids , he SCREAMS . and comes to a stop an inch before hitting the other car 's bumper . He lifts the phone receiver to his ear but the call is WASHED WITH STATIC .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Dex? You still there?<\/dialogue>\n    <scene_description>And as has happened to all of us , he loses the call .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Damn.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY OVERPASS - MOMENTS LATER<\/stage_direction>\n    <scene_description>As traffic resumes and Ryan clears the overpass - SFX : THE CELLPHONE RINGS . Ryan picks up the phone .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Sorry, got cut off. Hey - what's my Caller ID say?<\/dialogue>\n    <scene_description>But there 's no voice on the other end , only shuffling sounds .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Yo Dex?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KIDNAPPERS' ATTIC<\/stage_direction>\n    <scene_description>ECU - A TANGLE OF PHONE WIRES Their insulation picked off and spliced together . PAN ALONG the attic floor , past the rubble of the shattered phone , foll9wing the crudely repaired wires to JESSICA 'S HANDS , tapping the dialer wires together . She 's trying so hard to simulate a NUMERIC PULSE that she almost does n't hear :<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>Jessica 's hands go suddenly still , then - WHOOM ! - her head slams down INTO FRAME on top of the crushed earpiece , a desperate hope filling her eyes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORD BRONCO - CONTINUOUS<\/stage_direction>\n    <scene_description>With still no answer , Ryan pulls the phone from his ear -<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Whatever. Signing off -<\/dialogue>\n    <scene_description>- and is just about to hit END CALL when he hears a tiny female voice on the other end .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Wait! Do n't hang up!<\/dialogue>\n    <scene_description>Ryan puts the phone back to his ear .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>There's not much time! I need you to go to the police. My name is Jessica Martin ; I've been kidnapped!<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>( not buying . )<\/parenthetical>\n    <dialogue>Oh really? Kidnapped, huh?<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Please. I know what you're thinking, but it's real! I'm in an attic somewhere. I think they're going to kill me! You need to -<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Awfully polite kidnappers to give you a phone.<\/dialogue>\n    <scene_description>Jessica 's voice TREMBLES uncontrollably . Desperate , fearful and frustrated .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>No! You do n't understand!<\/dialogue>\n    <scene_description>Suddenly , the cellphone BLIPS twice in Ryan 's ear . He pulls it away and looks at its faceplate . INSERT SHOT - THE CELLPHONE The LCD reads : CALL WAITING . ACCEPT ?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SURFACE STREETS - DAY<\/stage_direction>\n    <character>RYAN<\/character>\n    <dialogue>If you were really in trouble, you would've called the cops, not me. Now I've got a real call on the other line -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC<\/stage_direction>\n    <scene_description>A WIDER SHOT so we see Jessica 's bound hands . Her bruised face . Whispering frantically into the DEMOLISHED TELEPHONE she 's JERI - RIGGING back together as she talks .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Goddamn it, listen to me! The phone I'm on. it's shattered! There's no dialer! I've been clicking wires together for hours trying to get someone, anyone, and you're the only connection I was able to make!<\/dialogue>\n    <parenthetical>( important beat . )<\/parenthetical>\n    <dialogue>If you hang up, I may not get anyone else.<\/dialogue>\n    <scene_description>INTERCUT CALL - RYAN IN FORD BRONCO\/JESSICA BOUND IN ATTIC SFX : Ryan 's call waiting BLIPS again . He considers everything Jessica has said , then :<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Hmm. Sucks to be you. Try crank yanking someone else. Late.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Wait! Do n't hang up! DO N'T HANG UP!<\/dialogue>\n    <scene_description>But - CLICK ! Ryan flashes over to the next call .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Dex?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TELEMARKET BULLPEN - DAY<\/stage_direction>\n    <scene_description>A TELEMARKETER checks Ryan 's name on a list , then glances at the script .<\/scene_description>\n    <character>TELEMARKETER<\/character>\n    <dialogue>Hello, Mr. Ackerman. My name is Mark and I'd like to discuss with you the benefits of Mastercharge Credit Union's -<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Awesome, I can totally use a credit card. Tell me more.<\/dialogue>\n    <character>TELEMARKETER<\/character>\n    <dialogue>Absolutely. We've lowered our APR -<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>- Shucks, now's really not a good time, but why do n't I get your number and get back to you later.<\/dialogue>\n    <character>TELEMARKETER<\/character>\n    <dialogue>Sure, it's 818.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>That's the office number?<\/dialogue>\n    <character>TELEMARKETER<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Why do n't you give me your number instead. That way I can call you when you're having dinner with your family.<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>TELEMARKETER<\/character>\n    <dialogue>Sorry to have bothered you.<\/dialogue>\n    <scene_description>Click ! The Telemarketer hangs up .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Damn skippy.<\/dialogue>\n    <scene_description>And that 's when he notices the message flashing on the phone 's faceplate : CALL ON HOLD . Ryan clicks the FLASH button to pick it up . and Jessica is still there . INTERCUT CALL - RYAN IN CAR\/JESSICA IN ATTIC<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>- an you hear me?!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>You still there? You're getting kinda creepy, lady. See ya.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>No! Do n't! They're going to kill me! They're going to kill me!<\/dialogue>\n    <scene_description>A silent beat . A calculated look in her eyes . RYAN pulls the phone from his ear and is about to hang up . when he hears the one sound that stops all men cold . On the other end , Jessica begins to CRY .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Oh, it's like that, huh? Nice with the fake tears, lady.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Please. I just need help. But Ryan wo n't be manipulated.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>You need acting lessons. Now go take your meds and bug someone else.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>These men! -<\/dialogue>\n    <scene_description>Jessica stops herself short , quieting the rising hysteria in her voice before it gives her away . She glances anxiously at the attic door , then continues , more in control .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>These men killed my housekeeper. My dog. You have to help me.<\/dialogue>\n    <scene_description>Ryan bristles at being saddled with anything , much less this .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>No, actually -LRB- I do n't. Not with a hot chick waiting for me at the pier.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Please. you're my only hope.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>What's your name?<\/dialogue>\n    <scene_description>That catches Ryan off - guard . He stalls , not wanting to make this personal .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Why, you writing a book -?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>- Please, just tell me your name!<\/dialogue>\n    <scene_description>Ryan glances around the street , his eyes falling on a stone fountain outside a French Restaurant .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Uh. Johnny. Johnny Fountain.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Johnny. What if it was your mother who was calling for help? How would you feel?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Well, I'd be damn impressed, considering she's dead.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Goddamn it, how difficult is it to hand this phone off to the police?! I'll pay you!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>How much?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Five thousand dollars.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Sure you will. I'm hanging up now.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>No, wait! WAIT! Even if there's a eighty percent chance I'm lying, you nave a one in five chance to make five grand f9r a lousy twenty minutes of your life.<\/dialogue>\n    <parenthetical>( panics as Ryan is silent . )<\/parenthetical>\n    <dialogue>Have n't you ever bet on a horse or bought a Lottery ticket? I'm talking one - in - five odds, twenty minutes.<\/dialogue>\n    <scene_description>Ryan slaps the radio off .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>What do you want me to do?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 15TH PRECINCT - STATION DESK - DAY<\/stage_direction>\n    <scene_description>SOMEONE 'S POV . In EXTREME SLOW - MOTION , chaos unfolds around us like a nightmare - OFFICERS manhandle a drunk toward the back , a HOOKER screams at us with unholy rage , in the far corner , a JUNKIE spits on an OFFICER 'S FACE and there 's a lethal race for disinfectant through invisible soup . Sounds are distant , eerily muffled . A HIGH - PITCHED WHINE lets us know we 're in hell . CLOSE UP : BOB MOONEY 'S EYES . Concerned , but not panicked . MOONEY 'S POV . Still surreal , SLOW - MOTION , as an Officer with a CREWCUT responds by spinning the Junkie 's face into a wall , legal but hard . SFX : A HEARTBEAT . OURS . FAST . And possibly IRREGULAR ? CLOSE UP - SLOW MOTION - The RIGHT THUMB presses into the LEFT WRIST . MOONEY 'S EYES . Watching . Counting . Suddenly - WHAM ! Back to reality when a YOUNG GANGBANGER is slammed into the station desk by a ROOKIE .<\/scene_description>\n    <character>ROOKIE OFFICER<\/character>\n    <dialogue>Problem, Mooney. If I put this one in with the others, there's gon na be a bloodbath.<\/dialogue>\n    <character>GANGBANGER<\/character>\n    <dialogue>Put me in there! I'll waste all them pussies!<\/dialogue>\n    <scene_description>REVEAL SERGEANT BOB MOONEY - a tough , fifty - something beat cop who 's fighting growing old every step of the way . He rolls his eyes at the situation and takes a bite of PIZZA .<\/scene_description>\n    <character>MOONEY<\/character>\n    <dialogue>Come on Powell, put the Sharks with the Sharks, the Jets with the Jets and make room.<\/dialogue>\n    <scene_description>Rookie Powell suppresses his irritation and roughly yanks the Gangbanger back over to the holding cells . Mooney puts down the pizza , no appetite , and stares at the news story playing on the TV mounted in the corner .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>ON THE TELEVISION<\/stage_direction>\n    <scene_description>a NEWS REPORTER is in the middle of a segment . Over him , FOOTAGE rolls of six guilty - looking cops testifying in court ; being led away in handcuffs .<\/scene_description>\n    <character>NEWS REPORTER<\/character>\n    <dialogue>was somber when the indictments came down this afternoon in the 23rd Precinct corruption scandal. Though the names of six police officers were read aloud, the District Attorney stated that this was merely the `` tip of the iceberg'' and that unfortunately many other arrests are likely to be coming as the investigations proceed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>BACK TO POLICE STATION<\/stage_direction>\n    <scene_description>As DETECTIVE JACK TOMLIN passes Mooney , he nods toward the TV .<\/scene_description>\n    <character>DETECTIVE TOMLIN<\/character>\n    <dialogue>Sucks for the fellas at the Two - Three right now, huh?<\/dialogue>\n    <character>MOONEY<\/character>\n    <dialogue>Dirty pricks deserve what they get. Public hates us enough without this shit.<\/dialogue>\n    <character>DETECTIVE TOMLIN<\/character>\n    <parenthetical>( leaving . )<\/parenthetical>\n    <dialogue>There's good men over there.<\/dialogue>\n    <scene_description>A FEMALE OFFICER passes Mooney and reaches for his box of pizza .<\/scene_description>\n    <character>FEMALE OFFICER<\/character>\n    <dialogue>Mooney? What are you doing? You ca n't be eating this crap.<\/dialogue>\n    <scene_description>Mooney plants his own firm grip on the box .<\/scene_description>\n    <character>MOONEY<\/character>\n    <dialogue>Keep walking, Shelly. Nothing to see here.<\/dialogue>\n    <scene_description>A friendly tug of war .<\/scene_description>\n    <character>FEMALE OFFICER<\/character>\n    <dialogue>You sure you wan na do that? What would your wife say?<\/dialogue>\n    <scene_description>That 's it . Mooney snatches his lunch back and turns to lecture this little girl .<\/scene_description>\n    <character>MOONEY<\/character>\n    <dialogue>She'd say nothing,'cause she's not gon na know about it! Christ, Shel, my old man had eleven heart attacks. Eleven! I have one little infarction and you guys start treating me like an invalid! I'm a grown man! Leave me alone, will you?!<\/dialogue>\n    <character>FEMALE OFFICER<\/character>\n    <parenthetical>( abashed . )<\/parenthetical>\n    <dialogue>I was merely referring to your cottage - cheese ass.<\/dialogue>\n    <scene_description>Mooney sighs and lifts his pizza to his mouth when - WHAMM ! The station doors burst open and two dozen GANG MEMBERS are bum - rushed into the room by a squad of COPS in riot gear . The screaming is deafening .<\/scene_description>\n    <character>MOONEY<\/character>\n    <dialogue>I hate this place.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 15TH PRECINCT - CONTINUOUS<\/stage_direction>\n    <scene_description>The Ford Bronco roars up ; snags the handicapped spot . Ryan hops out and limps theatrically the first few steps until he 's far enough away from the car to start running .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>I'm here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 15TH PRECINCT - CONTINUOUS<\/stage_direction>\n    <scene_description>Cops try to wrangle the dozens of shouting GANG MEMBERS who cram the Station Desk , waiting to be booked . Ryan takes a deep breath and shoves his way through the mayhem to the extremely shorthanded Station Desk where : MOONEY is busy doing ten things at once . Signing release papers . Booking a DRUNK whose wife - beater Tee is drenched in blood , Etc. .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Excuse me, officer -<\/dialogue>\n    <scene_description>But Mooney ignores him in favor of the three cops that suddenly need arrest sheets signed .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hey, I've got an emergency here -<\/dialogue>\n    <scene_description>Just then , CREWCUT OFFICER shoulders his way through with a cuffed CRACKHEAD TRANNIE in tow . The Trannie 's wrists ache .<\/scene_description>\n    <character>CRACKHEAD TRANNIE<\/character>\n    <dialogue>Loosen these, man, please?! Jus' gim me a chance -<\/dialogue>\n    <character>CREWCUT OFFICER<\/character>\n    <dialogue>Hey, Moon! Where do you want me to put Whitney Houston?<\/dialogue>\n    <character>MOONEY<\/character>\n    <dialogue>Christ, I've only got two hands here! Stick him in the can, will ya?<\/dialogue>\n    <scene_description>Crewcut nods and moves off towards the bathroom .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( shoving forward . )<\/parenthetical>\n    <dialogue>Come on, man! I've got some lady on the phone here who says she's been kidnapped!<\/dialogue>\n    <scene_description>Ryan holds up the phone . Mooney looks around .<\/scene_description>\n    <character>MOONEY<\/character>\n    <dialogue>Nice try, kid, but I got no time for pranks.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Seriously, a lady was murdered!<\/dialogue>\n    <character>MOONEY<\/character>\n    <dialogue>Which is it, a kidnapping or a murder?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Take the phone and find out moron!<\/dialogue>\n    <scene_description>A COP snickers somewhere .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KIDNAPPERS' ATTIC<\/stage_direction>\n    <scene_description>Jessica holds her breath . She stares apprehensively at the attic door , praying for Mooney to just take the damn phone .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Please.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>BACK TO POLICE STATION<\/stage_direction>\n    <scene_description>Ryan looks sincere . Mooney deliberates , then sighs .<\/scene_description>\n    <character>MOONEY<\/character>\n    <dialogue>Okay. Give it here.<\/dialogue>\n    <scene_description>Ryan thrusts the phone at him , happy to get rid of it .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( barely audible whisper . )<\/parenthetical>\n    <dialogue>Oh thank God! You've got to help me. My name's Jessica Martin and I've been kidnapped. This morning five men broke into my home in Brentwood and kidnapped -<\/dialogue>\n    <scene_description>Mooney strains to hear . His eyes go wide and he quickly jots notes on a pad . Mooney 's eyes shift as three TWEAKERS , wide eyed and sweating profusely , are led inside by their ARRESTING OFFICERS .<\/scene_description>\n    <character>MOONEY<\/character>\n    <dialogue>Ah shit.<\/dialogue>\n    <scene_description>Mooney holds out the phone .<\/scene_description>\n    <character>MOONEY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hurry kid, take this upstairs to Robbery\/Homicide and ask for Detective Tomlin.<\/dialogue>\n    <scene_description>Ryan reluctantly takes the phone back as more people converge on the Station Desk .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KIDNAPPERS' ATTIC<\/stage_direction>\n    <scene_description>Jessica hears the phone being shuffled around .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Where?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Hello? Officer? Hello?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>BACK TO POLICE STATION<\/stage_direction>\n    <scene_description>Mooney , recognizing an emergency when he hears one , ignores the incoming CROWD him long enough to assist Ryan .<\/scene_description>\n    <character>MOONEY<\/character>\n    <dialogue>Up the stairs, Tomlin!<\/dialogue>\n    <scene_description>Ryan turns away , and as he returns the cellphone to his ear , he 's startled to hear -<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( terrified . )<\/parenthetical>\n    <dialogue>Oh my God.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>What? What is it?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KIDNAPPERS' ATTIC<\/stage_direction>\n    <scene_description>Jessica hears : SFX : FOOTSTEPS . RIGHT OUTSIDE HER DOOR .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Lady, what's going on?!<\/dialogue>\n    <scene_description>Jessica drops the phone . Has just enough time to shove it behind her before - SLAM ! - the attic door swings open and two of the masked kidnappers stride in . When they reach her , they stand silently , trying to unnerve her .<\/scene_description>\n    <character>LEAD KIDNAPPER<\/character>\n    <dialogue>Where's your husband?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>What? I do n't -<\/dialogue>\n    <scene_description>The masked leader SLAPS HER SHARPLY across the face ! Jessica wants to collapse to the ground , but remains sitting TO KEEP THE PHONE HIDDEN behind her . The Leader bends down and yells right in her face .<\/scene_description>\n    <character>LEAD KIDNAPPER<\/character>\n    <dialogue>Where is he!?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>At work! Why, what do you want -?<\/dialogue>\n    <scene_description>SLAP ! This one 's even nastier than the first .<\/scene_description>\n    <character>LEAD KIDNAPPER<\/character>\n    <dialogue>NEGATIVE! WHERE WOULD HE RUN?!<\/dialogue>\n    <scene_description>RYAN - IN THE POLICE STATION STAIRWELL Phone to his ear . Wide - eyed . Hearing it all . For the first time , starting to believe Jessica 's story .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Oh shit.<\/dialogue>\n    <scene_description>Panicking , Ryan turns and walks , then jogs , then all - out runs for the station stairwell .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KIDNAPPERS' ATTIC<\/stage_direction>\n    <scene_description>The Lead Kidnapper stands ominously over the trembling Jessica - Oh God ! Does he see the phone cord ?<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Please, he should be at work! That's all I know.<\/dialogue>\n    <scene_description>The Leader nods , then turns away . Jessica exhales with relief that he did n't spot the phone . But her victory is short - lived as :<\/scene_description>\n    <character>LEAD KIDNAPPER<\/character>\n    <dialogue>You have a little boy, right? Ricky? The Wyman School in Westwood?<\/dialogue>\n    <scene_description>Jessica gasps like a sledgehammer just hit her in the chest .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>NO! NO -.'.' STAY AWAY FROM MY SON! LEAVE HIM ALONE!<\/dialogue>\n    <scene_description>But - the men silently head out the door - SLAM ! The door locks . Jessica scrambles back to the phone .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Johnny!<\/dialogue>\n    <scene_description>INTERCUT CALL - RYAN RUNNING UP STAIRWELL\/JESSICA IN ATTIC<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>I know. I'm trying to get help.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>My son -<\/dialogue>\n    <scene_description>Suddenly , as Ryan reaches the first landing - STATIC starts breaking up the call .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( worried . )<\/parenthetical>\n    <dialogue>Oh my God! What's happening?!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>It's just static. I'm running upstairs to the detectives. Hold on, I might lose you for a sec -<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( realizing . )<\/parenthetical>\n    <dialogue>No, do n't! Stop. You ca n't lose me -<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>( still running . )<\/parenthetical>\n    <dialogue>Wait, we're almost there.<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( panics , losing her cool . )<\/parenthetical>\n    <dialogue>Stop! Johnny, goddamn it, stop! STOP! IF YOU LOSE ME, I'M DEAD!<\/dialogue>\n    <scene_description>Hearing her fearful tone , Ryan stops reluctantly .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Well, what the hell am I supposed to do?!<\/dialogue>\n    <scene_description>Ryan looks at himself , standing on the stairs like an idiot .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Jesus! I'm almost there!<\/dialogue>\n    <scene_description>Ryan checks the SIGNAL STRENGTH INDICATOR on the phone . There 's only one bar left . Defiantly , Ryan takes a step UP . and the bar DISAPPEARS . He quickly hops BACK DOWN .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Crap!<\/dialogue>\n    <parenthetical>( shouts up stairs . )<\/parenthetical>\n    <dialogue>HELLO? DETECTIVE TOMLIN! WILL SOMEONE GET TOMLIN FOR ME, PLEASE?!<\/dialogue>\n    <scene_description>There 's no response . Ryan ca n't believe this .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You're shitting me.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Johnny, what time is it?! Johnny!<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>( checking his watch . )<\/parenthetical>\n    <dialogue>Who? Oh - one - twenty.<\/dialogue>\n    <parenthetical>( yells upstairs . )<\/parenthetical>\n    <dialogue>IS ANYONE UP THERE?!<\/dialogue>\n    <scene_description>Jessica calms herself , resolving to save her child 's life .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Johnny, listen to me. My son's school lets out at 1:45.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Good, then if I get a cop -<\/dialogue>\n    <scene_description>Ryan exits the stairwell to find Mooney - but Mooney 's not there anymore ! There 's some NEW GUY - and he 's SWAMPED !<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>No. There's not enough time. You have to pick him up before they -<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Pick him up? Hell no, lady! I ai n't goin' nowhere else -<\/dialogue>\n    <scene_description>Ryan tries to get the NEW GUY 's attention , in a dream .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Please please stop standing there! He's just a little boy!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>But I'm in a police station!<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Go!<\/dialogue>\n    <scene_description>Ryan grunts in frustration .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 15TH PRECINCT - MOMENTS LATER<\/stage_direction>\n    <scene_description>ECU - THE FORD BRONCO 'S TIRES - Burning rubber .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KIDNAPPERS' SAFEHOUSE - GROUND FLOOR - LIVING ROOM<\/stage_direction>\n    <scene_description>The furniture in this abandoned house is all covered with sheets giving the entire place a creepy , haunted feel . FOLLOW the LEAD KIDNAPPER as he descends a nearby stairwell and pulls off his mask - REVEAL GREER Forties , salt and pepper hair . He looks to his crew : THE KIDNAPPERS They 're all trim . Athletic . In good shape . They 're UNMASKED , watching the TV with interest . The news on the corruption scandal . Greer snaps the TV off . Checks his watch and nods grimly .<\/scene_description>\n    <character>GREEK<\/character>\n    <dialogue>Go get the kid.<\/dialogue>\n    <scene_description>Instantly , a hulk of a man -LRB- DEASON -RRB- and an arrogant , red - headed prick -LRB- ELLIS -RRB- stand and exit the house . As Greer stalks away -LRB- BOOM DOWN the bar to REVEAL a telephone sitting there , unnoticed by the men - and on its face , the LINE - IN - USE INDICATOR LIGHT is lit . PUSH IN on the flashing orange light that threatens to give Ryan and Jessica 's call away . Closer and closer , until we ENTER the phone and TRAVEL THROUGH THE WIRES to - A MATCHING LIGHT ON RYAN 'S CELLPHONE As we PULL BACK we see that we 're in the Ford Bronco , racing through :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY STREETS - DAY<\/stage_direction>\n    <scene_description>Ryan guns the engine as Jessica panics on the other end of the phone . We can hear her hyperventilating . \\<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Where are you now?!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>I just got off the 405.<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>You've got to go faster, Johnny!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>You've got ta chill! You're stressing the crap out of me!<\/dialogue>\n    <parenthetical>( looking around . )<\/parenthetical>\n    <dialogue>Where the hell is a cop hiding in a speed trap when you need one?<\/dialogue>\n    <scene_description>Ryan takes a hard right , tires squealing . Pushing it against his better judgment .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What do these guys want, anyway?<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>How should I know?!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>What do you do?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>I'm an obstetrician. They do n't want anything from me.<\/dialogue>\n    <scene_description>Ryan slaloms around other cars like a racecar driver .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>So your husband's like, uber - rich?<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What -? No. He's an accountant. I make more money than he does.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Could they've mistaken you for someone else?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>No! I do n't know. None of this makes any sense.<\/dialogue>\n    <scene_description>Jessica starts losing it completely , upsetting Ryan so much that he takes the next corner too fast and - SKKRRASH ! -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD CONSTRUCTION - CONTINUOUS<\/stage_direction>\n    <scene_description>The BRONCO EXPLODES through an orange - and - white `` ROAD CLOSED '' CONSTRUCTION BARRIER ! And dead ahead is a CONSTRUCTION CREW resurfacing the road !<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Oh. SHIT!<\/dialogue>\n    <scene_description>Ryan SLAMS on the brakes and SWERVES to avoid hitting a group of workers - and OBLITERATES THE BRONCO 'S PASSENGER SIDE MIRROR against another BARRIER - Ryan cringes with every muscle ! And the mirror ricochets off the ground - and smashes through the windshield of a recently waxed Acura Legend !<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( smirking . )<\/parenthetical>\n    <dialogue>. Ai n't that a bitch.<\/dialogue>\n    <scene_description>As the heavily - muscled workers start running to beat the shit out of him , Ryan floors the gas , sending a shower of wet asphalt all over the cursing workers as he peels away , CRASHING through a FINAL BARRIER . More cautiously , Ryan rounds the next corner and -<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>There's the school.<\/dialogue>\n    <scene_description>Ryan 's right . Just ahead , we see :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE WYMAN SCHOOL - DAY<\/stage_direction>\n    <scene_description>private prep school for boys . Ryan pull : A private prep it . Walks quickly toward the building . school for boys . Ryan pulls over and hops out ,<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Okay, I'm here.<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>How much time do we have?<\/dialogue>\n    <scene_description>Ryan checks his watch . It reads : `` 1:40 PM '' . He enters .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Five minutes. What's your kid's name?<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Ricky.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Ricky what?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Martin.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Ricky Martin? You named your kid Ricky Martin?! Why did n't you tattoo `` kick me'' on his ass while you were at it?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>He was named before the singer ever -<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Forget it. What does he look like?<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He's eight years old. Blonde hair. Green eyes. Small for his age. He's wearing a light blue shirt and dark blue pants -<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>They're all wearing blue shirts and pants!<\/dialogue>\n    <scene_description>Ryan turns down a hallway and we see that he 's right . It 's filled with IDENTICALLY - UNIFORMED LITTLE BOYS . As a TIMID BLONDE BOY passes in front of him , Ryan grabs him and wheels him around .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Ricky Martin?<\/dialogue>\n    <scene_description>The Boy 's eyes get huge . He tries to pull away .<\/scene_description>\n    <character>TIMID BOY<\/character>\n    <dialogue>Do n't touch me!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>No, kid, it's okay! I did n't mean to -<\/dialogue>\n    <character>TIMID BOY<\/character>\n    <dialogue>Help! Do n't touch me! Do n't touch!<\/dialogue>\n    <scene_description>Ryan quickly moves on . aware that other ADULTS are now beginning to take notice of him .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( INTO PHONE . )<\/parenthetical>\n    <dialogue>Does he have anything else? A jacket? A backpack? What's his lunch box look like?<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I do n't remember.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>You do n't remember your own kid's lunch box?!<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>I do n't pack it! Rosario, our housekeeper does! Sometimes Craig, but.<\/dialogue>\n    <scene_description>Jessica begins to sob , which causes Ryan to panic further .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Ricky Martin, where are you!?<\/dialogue>\n    <scene_description>None of the Stepford kids respond .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( through tears . )<\/parenthetical>\n    <dialogue>I wish I could give you more.<\/dialogue>\n    <scene_description>Now Ryan 's running . He yells into a BATHROOM .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Ricky Martin?<\/dialogue>\n    <character>MALE VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Can I help you, sir?<\/dialogue>\n    <scene_description>Ryan turns to see a MUSCULAR GYM TEACHER looming there . Clearly , the guy thinks Ryan 's peeping into the boys ' room .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>I'm looking for a little blond boy -.<\/dialogue>\n    <parenthetical>( off his shocked look . )<\/parenthetical>\n    <dialogue>- No, no! Not like that!<\/dialogue>\n    <character>GYM TEACHER<\/character>\n    <dialogue>Sir, come with me, please!<\/dialogue>\n    <scene_description>Ryan is n't going anywhere . And that 's when the BELL RINGS . Like a nightmare , HUNDREDS OF UNIFORMED LITTLE BOYS come racing out of their classes .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Oh shit.<\/dialogue>\n    <scene_description>As the boys stampede by , Ryan yanks the WHISTLE from around the Gym Teacher 's thick neck and starts blowing it like crazy .<\/scene_description>\n    <character>GYM TEACHER<\/character>\n    <dialogue>HEY - 11<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>RICKY MARTIN! DOES ANYONE KNOW WHERE RICKY MARTIN IS? 1 I ca n't believe I'm yelling this at an all - boys school.<\/dialogue>\n    <scene_description>All hell is breaking loose . The kids ignore him . The huge Gym Teacher races after him . Jessica yells in his ear .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Was that the bell? Was that the bell?!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Yes. RICKY! RICKY MARTIN!<\/dialogue>\n    <scene_description>Ryan wades through the sea of uniforms .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He'11 go to the parents' pick - up spot. Oh God, they're going to get him!<\/dialogue>\n    <scene_description>'' \\ Ryan turns around and starts bulling through . The Gym Teacher violently grabs his arm and yanks -<\/scene_description>\n    <character>GYM TEACHER<\/character>\n    <dialogue>Where do you think you're going?<\/dialogue>\n    <scene_description>- causing the phone to fly out of Ryan 's hand and - crack ! - hit the pavement .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>No -!<\/dialogue>\n    <scene_description>Ryan tugs his arm free and races to the phone . The LCD display GLASS is cracked into a SPIDERWEB .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( desperate into phone . )<\/parenthetical>\n    <dialogue>Jessica? You still there?!<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Yes?<\/dialogue>\n    <scene_description>Relieved , Ryan turns and races for the front of the school .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>No one's gon na get your kid! He's not slow, is he?<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What -? No!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Then he wo n't go anywhere with strangers.<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Unless they have our Escalade. Ricky'11 think it's Rosario and hop right in!<\/dialogue>\n    <scene_description>She 's got a point . Ryan picks up the pace and arrives at the pick - up spot . Scans the lot .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>What color?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Black!<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>( looks . )<\/parenthetical>\n    <dialogue>Of course it is.<\/dialogue>\n    <scene_description>PAN AROUND to see what Ryan sees - three black Cadillac Escalades .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>There's three of them. What's your plate?<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>4. 7. wait, no. 3 - Oh my God, I do n't remember!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Like you do n't remember the lunch box? Or anything else about your kid -.<\/dialogue>\n    <parenthetical>( stops , realizing . )<\/parenthetical>\n    <dialogue>Oh, man. This is a prank, is n't it?<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>No!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Bullshit! Oh, you're good lady. Your friends too. Getting me to scream out ` Ricky Martin' at a boys school. Damn, you really nailed me.<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>No - This is great, the police think I'm a whack job. The school thinks I'm some kind of perv child molester. I'll probably get the Herpes from the gym teacher's whistle -<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>No, Johnny, you have to listen to me - \/.'<\/dialogue>\n    <scene_description>But Ryan 's had enough . He turns to leave -<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>I'm done being your entertainment for the day. I'm going back to the pier while I still have a chance -<\/dialogue>\n    <scene_description>- and passes right by a blonde - haired , green - eyed , EIGHT - YEAR - OLD BOY carrying a Lord of the Rings lunchbox . Ryan hesitates and is about to stop the kid . but then decides `` screw it '' , and keeps on hoofing . Ryan rounds a corner to leave - and is confronted by the Gym Teacher and a RENT - A - COP SECURITY GUARD .<\/scene_description>\n    <character>GYM TEACHER<\/character>\n    <dialogue>Here he is! He's the one that's been stalking the students.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Stalking?! No, I can explain -<\/dialogue>\n    <scene_description>The Rent - a - Cop mumbles into his walkie .<\/scene_description>\n    <character>RENT-A-COP #1<\/character>\n    <dialogue>Okay, we got him. We're at the front of the school.<\/dialogue>\n    <parenthetical>( then , to Ryan . )<\/parenthetical>\n    <dialogue>Sir, come with us.<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>( as they grab him . )<\/parenthetical>\n    <dialogue>Hey, HEY RENT - A - DUDE -! Hang on a sec! This is a huuuge misunderstanding -<\/dialogue>\n    <scene_description>A little RENT - A - COP CAR -LRB- think geeky , wan na - be cop car -RRB- pulls up in the driveway below . The Security Guard starts forcibly leading Ryan toward it , but as he gets close -<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( interrupting . )<\/parenthetical>\n    <dialogue>Lord of the Rings! I forgot his father bought him a Lord of the Rings lunchbox last week!<\/dialogue>\n    <scene_description>Ryan 's heart stops in his chest . He turns to see the Boy with the Lord or the Rings lunchbox racing down the school steps and up to one of the waiting Escalades .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( struggling . )<\/parenthetical>\n    <dialogue>RICKY MARTIN!<\/dialogue>\n    <scene_description>The Boy opens the car door . but turns as he hears his name called . For the briefest moment , Ricky and Ryan lock eyes - - and that 's when a HAND reaches out , snags his backpack and YANKS Ricky into the dark of the car ! Instantly , the door slams shut and the Escalade begins to take off . WHIP PAN to Ryan 's shocked reaction . He 's the only one who 's seen it . He tries to struggle free of the Guard .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oh shit! You just see that?!<\/dialogue>\n    <scene_description>Losing control of Ryan , the Rent - a - Cop calls to his partner in the car .<\/scene_description>\n    <character>RENT-A-COP #1<\/character>\n    <dialogue>Roy, some help over here!<\/dialogue>\n    <scene_description>Below , the Escalade is leaving the driveway .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( struggling harder . )<\/parenthetical>\n    <dialogue>Goddamn it, that little kid was just kidnapped! Do something!<\/dialogue>\n    <character>RENT-A-COP #1<\/character>\n    <dialogue>Roy -!!<\/dialogue>\n    <scene_description>The second Rent - a - Cop , hops out of his car and runs over , but as he gets near - Ryan breaks free !<\/scene_description>\n    <character>RENT-A-COPS<\/character>\n    <dialogue>HEY -!!<\/dialogue>\n    <scene_description>They chase after him , but Ryan hops over the hood of the idling RENT - A - COP CAR and throws himself into its driver 's seat . Rent - a - Cop # 1 reaches through the open window and grabs Ryan 's collar - and is dragged twenty feet as Ryan throws the little car in gear and burns away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RENT-A-COP CAR - RACING DOWN A RESIDENTIAL STREET<\/stage_direction>\n    <scene_description>Trying to catch the Escalade , a quarter - mile ahead . Ryan feels completely conspicuous in the security car as he slaloms through the streets of East Hollywood .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What's happening, Ryan?!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Do n't worry, I can fix this.<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Oh my God.<\/dialogue>\n    <scene_description>There are three cars between Ryan and the Escalade .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>It's okay, I can see them ahead.<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Do n't lose them! If you follow them back here, you can tell the police where they're holding us!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Okay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE KIDNAPPERS' ESCALADE<\/stage_direction>\n    <scene_description>The mountainous Deason drives as Ellis sits shotgun . In the back sits Jessica 's son , RICKY ; who eyes the two men suspiciously . CCR plays on the RADIO . Ellis , turns down the radio . Faking sincerity , he turns to face Ricky .<\/scene_description>\n    <character>ELLIS<\/character>\n    <parenthetical>( gesturing to the radio . )<\/parenthetical>\n    <dialogue>Do you want me to change the station to something else?<\/dialogue>\n    <scene_description>Ricky refuses to answer . Ellis turns around , his fake smile quickly vanishing .<\/scene_description>\n    <character>ELLIS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Yeah. I like Creedence too.<\/dialogue>\n    <scene_description>He 's about to turn the radio volume up when -<\/scene_description>\n    <character>RICKY<\/character>\n    <dialogue>Where's Rosario?<\/dialogue>\n    <character>ELLIS<\/character>\n    <dialogue>I told you, kid, she had a doctor's appointment, so your mother asked us to pick you up. Do n't worry, you'll see your mommy in a few minutes.<\/dialogue>\n    <scene_description>Ricky nods . but we can tell by the look on his face that he 's not buying their story one bit .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RENT-A-COP CAR<\/stage_direction>\n    <scene_description>Cautiously , so as not to give himself away , Ryan PASSES one commuter car . Then the next . Narrowing the gap between the rent - a - cop car and the Escalade to one last auto . It takes Ryan literally standing on the gas pedal to get up enough speed to get around the final car . Now the Escalade is dead ahead . Ryan begins gently closing the distance between them , and is just starting to relax , when - A CITY BUS merges into traffic from a Bus Stop right ahead of him !<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>SHIT!<\/dialogue>\n    <scene_description>Ryan SLAMS on his breaks and is forced to crawl along at a painful 25 m.p.h . Worse , he has his view of the Escalade glocked by the bus ' titanic silver ass .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Johnny!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Damn! There's this stupid bus -<\/dialogue>\n    <scene_description>Ryan jags left and right , catching glimpses around the bus of the Escalade still ahead .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( taps his horn . )<\/parenthetical>\n    <dialogue>Come on!<\/dialogue>\n    <scene_description>But the bus does n't pull over . Ryan tries flashing the security car 's CLEAR BUBBLE LIGHTS on the roof , but who the hell would pull over for that ? The bus sure does n't .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Jesus.'<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Ca n't you go around it?<\/dialogue>\n    <scene_description>There 's an ungodly amount of opposing traffic - But suddenly there 's a break in the flow ! Seizing the moment , Ryan SLAM - SH IFTS the rent - a - cop car 's uni - cylinder engine into gear and starts to tear around the bus - but has to SWERVE BACK as a SPEEDING TRASH TRUCK rounds a bend and almost creams him !<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Goddamn it!<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What?! Did you lose him?!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>No, I just almost got killed, is all.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Oh thank God!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Thank God?<\/dialogue>\n    <parenthetical>( irritated . )<\/parenthetical>\n    <dialogue>That's nice.<\/dialogue>\n    <scene_description>Just then , the bus signals that it 's pulling over .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hey, here we go!<\/dialogue>\n    <scene_description>As the bus pulls aside , Ryan floors the wan na - be cop car around it . but directly in front of him is a HOMELESS MAN , dressed like a sheik , dragging his caravan of TWO COVERED SHOPPING CARTS .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>SON - OF - A - II<\/dialogue>\n    <scene_description>Ryan SLAMS on the brakes , SWERVES HARD to avoid a collision - and loses cont rol of the car ! The rent - a - cop car goes POWER SLIDING across oncoming traffic , HORNS BLARING AT HIM and heads straight for a the FLOOR TO CEILING WINDOW of a CAR DEALERSHIP .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR DEALERSHIP<\/stage_direction>\n    <scene_description>SMASH ! The car goes through the window and RACES down the center aisle . CAR SALESMEN and PATRONS are forced to dive out of the way as the rent - a - cop car MOWS DOWN DISPLAYS and everything else in its path .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE KIDNAPPERS' ESCALADE<\/stage_direction>\n    <scene_description>The mountainous Deason drives . In back , Ellis sits with Jessica 's son , RICKY , who eyes the two men suspiciously . CREEDENCE CLEARWATER REVIVAL plays on the RADIO .<\/scene_description>\n    <character>ELLIS<\/character>\n    <parenthetical>( to Deason . )<\/parenthetical>\n    <dialogue>Anyone following us?<\/dialogue>\n    <scene_description>Deason checks : THE REARVIEW MIRROR We see the bus about five car lengths behind , but the rent - a - cop car is nowhere to be seen . Deason flashes an evil grin .<\/scene_description>\n    <character>DEASON<\/character>\n    <dialogue>Nan.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAR DEALERSHIP<\/stage_direction>\n    <scene_description>The rent - a - cop car exits the dealership , SMASHING through another GLASS WINDOW ! Ryan quickly regains control of the car and steers it back on the street . Only to find that the Escalade has disappeared !<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What's happening?! Are you okay?!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>SHIT I<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What?! Yo u lost -<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>No, No! just give me a second -<\/dialogue>\n    <scene_description>As Jessica goes off , Ryan tosses the phone down and focuses on finding the Escalade . He floors the rent - a - cop car , engine CLATTERING , to the intersection . Ryan franticly searches in every direction , but the Escalade is nowhere to be seen . He floors it .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Jesus! Where the hell did they go?<\/dialogue>\n    <scene_description>Dreading talking to Jessica , Ryan slowly picks up the receiver .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Jessica, I -<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>You let them get away.<\/dialogue>\n    <scene_description>Ryan wants to snap at her , but guilt crushes it right out of him . He knows she 's right .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 15TH PRECINCT - LOCKER ROOM - DAY<\/stage_direction>\n    <scene_description>Mooney changes out of his blues , his ears glued to THREE COPS in the corner , boasting about an arrest .<\/scene_description>\n    <character>COP ONE<\/character>\n    <dialogue>- so of course everyone's playing dumb to what kind of drugs he's on.<\/dialogue>\n    <scene_description>The cops start to snicker ; they 've all heard that one before .<\/scene_description>\n    <character>COP ONE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So I start searching the place. I'm about to open a closet door when a kid with a Mac 10 jumps out of the bathroom. He shoots. Misses me and hits one of the E.M.T's. Fires again, but the gun jams and BAM! Blows half his face off. Had enough black tar heroin in the closet to resurface the 405.<\/dialogue>\n    <scene_description>Mooney tries to join in on the conversation .<\/scene_description>\n    <character>MOONEY<\/character>\n    <dialogue>It must've been around' 84, when.<\/dialogue>\n    <scene_description>The Cops turn around , while grabbing their stuff .<\/scene_description>\n    <character>COP TWO<\/character>\n    <dialogue>Sorry Moon, we're late for a briefing.<\/dialogue>\n    <scene_description>Mooney waves them on , but looks disappointed for not being able to join in .<\/scene_description>\n    <character>DEEP MALE VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I'll bet in your day you had some stories.<\/dialogue>\n    <scene_description>Mooney whips his head around to see DETECTIVE JACK TOMLIN .<\/scene_description>\n    <character>MOONEY<\/character>\n    <dialogue>Hey Tomlin.<\/dialogue>\n    <character>DETECTIVE TOMLIN<\/character>\n    <dialogue>Taking off?<\/dialogue>\n    <character>MOONEY<\/character>\n    <parenthetical>( hardly thrilled . )<\/parenthetical>\n    <dialogue>My anniversary. You know, duty calls ; pricey dinner and then some crap - ass play.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Hey, I sent some college kid down to see you this morning. Had some rap about a kidnapping -<\/dialogue>\n    <character>DETECTIVE TOMLIN<\/character>\n    <dialogue>I have n't seen anyone, but I'll ask around. Kidnapping, huh?<\/dialogue>\n    <character>MOONEY<\/character>\n    <dialogue>I thought it was a prank at first, but the kid was so worked up -<\/dialogue>\n    <character>DETECTIVE TOMLIN<\/character>\n    <dialogue>Well, do n't you get worked up.<\/dialogue>\n    <parenthetical>( slaps Mooney 's chest . )<\/parenthetical>\n    <dialogue>If the kid comes back, page me, and I'll be sure to see him.<\/dialogue>\n    <character>MOONEY<\/character>\n    <parenthetical>( swallowing his pride . )<\/parenthetical>\n    <dialogue>Yeah. Okay, Jack. Thanks.<\/dialogue>\n    <scene_description>And as Tomlin walks off -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RENT-A-COP CAR - CHUGGING THROUGH WEST L.A.<\/stage_direction>\n    <scene_description>Ryan lead - foots the gas . The speedometer climbs . Forty . Fifty . Sixty miles an hour .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Look, Johnny, you've got to go back to the cops -<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Are you high?! I just jacked a car!<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Goddamn it, stop thinking about just yourself! You can explain everything to them later!<\/dialogue>\n    <scene_description>SUDDENLY - SFX : RYAN 'S PHONE BEGINS BEEPING .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>What now?<\/dialogue>\n    <scene_description>Ryan pulls the phone away from his ear and checks it out . INSERT SHOT - CELLPHONE FACE PLATE The BATTERY INDICATOR is flashing : LOW BATT . LOW BATT .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Great! Now the battery's dying.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Do n't you have a charger?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>It's in my car! Hold on.<\/dialogue>\n    <scene_description>SFX : BEEP - BEEP ! The battery indicator has lost another bar . Ryan fumbles around in the armrest . Finds nothing . Opens the glovebox and - a snub - nosed .38 SPECIAL tumbles out .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Jesus -!<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>What's going on? Did you find one?<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>( staring at the gun . )<\/parenthetical>\n    <dialogue>Not exactly.<\/dialogue>\n    <scene_description>SFX : BEEP - BEEP ! Jessica starts growing afraid .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Johnny, do n't lose me!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Well what the hell do you expect me to do?!<\/dialogue>\n    <scene_description>Just then , Ryan rounds a corner - and sees traffic GRIDLOCKED to a halt ahead . He tries to maneuver around it , but is almost immediately boxed in . SFX : BEEP - BEEP - BEEP !<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Johnny -!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>I know, Jessica!<\/dialogue>\n    <scene_description>The phone starts a STEADY BEEPING now , dying imminent . And traffic is n't going anywhere . Ryan looks around desperately . Nothing . No emergency lane . No shoulder . Just a long drop down a HILL to a strip mall below - STRIP MALL ?! Ryan scans it and does a double - take on one of the store 's signs : `` VERIZON WIRELESS '' . Traffic inches forward . Now he sees an OFF - RAMP a quarter - mile ahead - but at this rate , it 'll take forever to make it there . SFX : BEEP - BEEP - BEEP . ' . ' Ryan 's got to do something . Now .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You know that money you promised me?<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>I'm giving myself a raise.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VERIZON MALL HILL - CONTINUOUS<\/stage_direction>\n    <scene_description>And with that , Ryan CRANKS the steering wheel hard right and HITS THE GAS ! Despite other drivers ' protests , the little Rent - a - Cop vehicle blasts across the gridlock , TEARS through the rusty GUARD RAIL and - VROOOOM ! - flies off the side of the hill ! Ryan lets out a frightened yell as he SAILS through the clear blue sky .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>HOOOOLLYYY SHIIII -<\/dialogue>\n    <scene_description>THUMP ! The Rent - a - Cop car touches down on a steep downslope . Ryan struggles to control the bucking automobile , miraculously avoiding the minefield of ROCKS and TREE STUMPS . He needs both hands for the job and holds the phone by its antenna in his teeth . There 's so much noise , the only thing Jessica could possibly hear is a CACOPHONY OF NOISE and Ryan HYPERVENTILATING .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What's going on?!<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>( with phone in teeth . )<\/parenthetical>\n    <dialogue>mmmrrmph mrm mrmph!<\/dialogue>\n    <scene_description>Ryan is bounced around like a corn kernel in a popper until the car hits a jutting rock and - WHOOOOM ! - goes up on two wheels . It looks like it 's going to roll but gravity brings it back down - SLAMM ! - so hard that the phone goes flying across the car !<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Shit!<\/dialogue>\n    <scene_description>Ryan scrabbles for the phone - but gives it up when he bounces over a rise and sees A BILLBOARD DEAD AHEAD !<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>WHOAAAAAA!<\/dialogue>\n    <scene_description>Ryan whips the wheel and navigates the little car between the billboard 's concrete posts , but - WHAM ! - obliterates the rent - a - cop 's BUBBLE LIGHTS on the billboard 's lower edge . Somehow , Ryan muscles the bucking econocar safely down the rest of the hill and into the strip mall parking lot , where it SKIDS OUT .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( grabbing phone . )<\/parenthetical>\n    <dialogue>Jessica?! Can you hear me?!<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I'm here!<\/dialogue>\n    <scene_description>Ryan hops out and races inside -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>THE VERIZON WIRELESS STORE - CONTINUOUS<\/stage_direction>\n    <scene_description>And of course , they 're having a sale and the place is packed . Every SALESPERSON is beyond busy in the feeding frenzy . SFX : BEEP - BEEP - BEEP ! Panicking , Ryan pushes his way to the front of the counter -<\/scene_description>\n    <character>IRATE CUSTOMERS<\/character>\n    <dialogue>Hey, what do you think you're doing? There's a line!<\/dialogue>\n    <scene_description>- to the OVERLY - PERKY SALESMAN helping someone else .<\/scene_description>\n    <character>OVERLY-PERKY SALESMAN<\/character>\n    <dialogue>and if you get the new Nokia 9200, you can switch out faceplates to match your mood! And we have a special today on tiger stripes. Are you feeling fierce?<\/dialogue>\n    <scene_description>The salesman makes a playful paw swipe with his hand .<\/scene_description>\n    <character>EASILY-EXCITABLE CUSTOMER<\/character>\n    <dialogue>Oh, how fun!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Excuse me -<\/dialogue>\n    <character>OVERLY-PERKY SALESMAN<\/character>\n    <dialogue>I'm sorry, sir, I'm with a customer now.<\/dialogue>\n    <parenthetical>( indicates a number dispenser . )<\/parenthetical>\n    <dialogue>But if you take a number, someone will be with you shortly.<\/dialogue>\n    <scene_description>Ryan glances at the dispenser . A BIG YELLOW SMILEY FACE with tickets ejected from the mouth . The next ticket it offers is '' # 97 '' . and the Now - Serving Display on the wall reads '' # 71 '' . SFX : BEEP - BEEP - BEEP ! I Just then , a BUSY SALESWOMAN walks by . Ryan grabs her .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Hey! Hey! I've got an emergency here -<\/dialogue>\n    <character>BUSY SALESWOMAN<\/character>\n    <dialogue>Sorry, I'm on break -<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Damn it, will you listen to me?! I've got a life and death call on this phone and my battery's dying! Do you have a charger?<\/dialogue>\n    <character>BUSY SALESMAN<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <parenthetical>( walks away . )<\/parenthetical>\n    <dialogue>Take a number and one of the sales associates will grab you one when your turn comes up.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Bu t -!<\/dialogue>\n    <scene_description>SFX : BEEP - BEEP - BEEP - BEEP ! Ryan breaks out in a cold sweat . Ca n't catch his breath . As a SALESWOMAN rushes by , Ryan reaches for her .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Help, I -<\/dialogue>\n    <character>SALESWOMAN<\/character>\n    <dialogue>Take a number.<\/dialogue>\n    <scene_description>The room starts spinning around him . It 's clear no one 's going to help him . Like the clap of doom , the NOW - SERVING DISPLAY on the wall flips happily to '' # 72 '' SFX : BEEP - BEEP - BEEP - BEEP ! Frantic , Ryan glances at the phone . And just as the last BATTERY BAR on the power indicator FLICKERS and DISAPPEARS -<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Aw, screw this.<\/dialogue>\n    <scene_description>Ryan pulls the rent - a - cop 's big .38 SPECIAL from his pocket and BLOWS THE SMILEY FACE DISPENSER TO DUST ! Instantly , people hit the dirt .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oh look! Now serving thirty eight special!<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>NOW WHO'S GON NA GET ME THAT GODDAMN CHARGER?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE STATION - PARKING BAY<\/stage_direction>\n    <scene_description>Mooney exits the mayhem of the s tation and walks to a SQUAD CAR . Gets in . As he pulls his seatbelt on , something CRINKLES in his breast pocket . He pulls it out - the SCRAP OF PAPER where the scribbled the words `` JESSICA MARTIN '' and `` BRENTWOOD '' when Ryan handed him the phone . Mooney crumples the paper and is about to throw it away . but stops himself . He stares at the words , then unable to let it go , punches keys on the MOBILE DATA TERMINAL . A name and address appear on the screen : JESSICA KATE MARTIN . 327 ELMWOOD ESTATES , BRENTWOOD . Mooney stares at the name . Then , after a moment , he sighs and pulls a LA LAKERS cellphone from his coat . Dials .<\/scene_description>\n    <character>MOONEY<\/character>\n    <dialogue>Hi, honey. Yeah, I'm gon na be a few minutes late.<\/dialogue>\n    <scene_description>And as Mooney closes the door and starts up the engine -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JESSICA'S LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>We PAN PAST PHOTOGRAPHS of Jessica 's family over to - AN ANSWERING MACHINE RINGS . ANSWERS . We hear Jessica 's outgoing message , then a BEEP and -<\/scene_description>\n    <character>MALE VOICE<\/character>\n    <parenthetical>( over machine . )<\/parenthetical>\n    <dialogue>Jessica? Damn, where are you?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I called earlier and. Jess, I'm in serious trouble. I ca n't explain right now, but we're all in danger. Please, just grab Ricky and meet me in left field.<\/dialogue>\n    <scene_description>PAN UP to an ATTRACTIVE WOMAN listening to the machine .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RENT-A-COP CAR - RACING OFF THROUGH THE CITY<\/stage_direction>\n    <scene_description>Just as the phone literally dies - Ryan rips a new CHARGER from its packaging , slaps it into the phone and voila , it begins CHARGING .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Whew! That was so no bueno!<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>You found a charger?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Among other things.<\/dialogue>\n    <scene_description>Ryan glances at piles of phone gear he 's appropriated from Verizon . EARBUD MIKES . MANUALS . RECEPTION BOOSTERS . INTERCUT CALL - RYAN IN CAR\/JESSICA IN ATTIC Ryan fiddles with the now war - torn phone .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Thank you for doing all this, Johnny.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Yeah, look, about that.<\/dialogue>\n    <parenthetical>( awkward beat . )<\/parenthetical>\n    <dialogue>My - name is n't really Johnny Fountain.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Good, it sounded like a porn star name.<\/dialogue>\n    <parenthetical>( then softly . )<\/parenthetical>\n    <dialogue>It's okay. I know. You do n't have to tell me -<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>It's Ryan. Ryan Ackerman. I'm a bar - back. I'm twenty - two, and just a little freaked out right now.<\/dialogue>\n    <scene_description>Jessica is moved with emotion by his honesty .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Thank you, Ryan.<\/dialogue>\n    <scene_description>But before they can say any more , suddenly - SFX : FEET ON THE STAIRS - COMING TOWARD THE ATTIC ! Jessica JUMPS with a start . Tries to push the PHONE GUTS behind a beam with her foot as Greer enters - but fails . The receiver sits in front of the beam , EXPOSED ! Greer crosses the room and sits on a box next to Jessica . He stares at her for long , uncomfortable moments . Then :<\/scene_description>\n    <character>GREEK<\/character>\n    <dialogue>Do you want to die here?<\/dialogue>\n    <scene_description>Jessica drains white - Does he see the phone ?! RYAN - IN THE RENT - A - COP CAR Slams on the brakes and skids up to the curb . Covers the mouthpiece .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Oh shit!<\/dialogue>\n    <scene_description>54 BACK TO ATTIC 54 Greer 's question still hangs in the air .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>N - no.<\/dialogue>\n    <scene_description>Jessica scoots away , trying to draw Greer 's eyes in another direction from the phone that lies OUT IN THE OPEN .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>but I am going to, are n't I?<\/dialogue>\n    <character>GREER<\/character>\n    <dialogue>Up to you. Your husband left a message asking you to meet him in left field. Where's that?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>What? I do n't understand -?<\/dialogue>\n    <scene_description>Greer winds up and BAM ! Hits Jessica in the stomach , knocking the wind out of her and causing her to fall to the ground .<\/scene_description>\n    <character>GREER<\/character>\n    <dialogue>- A base ball field!? Wh ich o ne does he mean?!<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( choking out the words . )<\/parenthetical>\n    <dialogue>I. I do n't know what you want me to say. I swear -<\/dialogue>\n    <character>GREER<\/character>\n    <dialogue>Shut up! Which field?! He would n't leave a message that did n't make sense to you!<\/dialogue>\n    <scene_description>Greer tightens his fist and is about to hit Jessica again -<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Wait! The bleachers behind left field at Dodger Stadium! That's where we first met.<\/dialogue>\n    <scene_description>Greer stares at Jessica for a long uncomfortable moment , searching her soul . She 's lying .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Please! Believe me. That has to be where he means. I swear to God.<\/dialogue>\n    <scene_description>Then he stands , looking away for just a moment - but long enough for Jessica to NUDGE the phone back behind the beam !<\/scene_description>\n    <character>GREER<\/character>\n    <dialogue>Working in my profession as long as I have, you begin to recognize the truth when you hear it.<\/dialogue>\n    <scene_description>Jessica , trembling , hangs on Greer 's every word .<\/scene_description>\n    <character>GREER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( turning back . )<\/parenthetical>\n    <dialogue>Go to the window, Jessica. There's something I want you to see.<\/dialogue>\n    <scene_description>Relieved at hiding the phone , Jessica gets up and moves to the attic window - and GASPS . JESSICA 'S POV - THE YARD BELOW Down in the yard below , Jessica 's eleven - year - old son Ricky stands uncomfortably in the middle of a basketball half - court as one of the kidnappers -LRB- a severe - looking ex - con named HODGES -RRB- stands nearby , watching .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC<\/stage_direction>\n    <scene_description>Jessica 's knees nearly buckle .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Ricky!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE YARD BELOW<\/stage_direction>\n    <scene_description>Hodges looks up and sees Jessica 's face in the window . Then turns and tosses a basketball to Ricky .<\/scene_description>\n    <character>HODGES<\/character>\n    <dialogue>Shoot hoops.<\/dialogue>\n    <character>RICKY<\/character>\n    <dialogue>I. I do n't feel like it.<\/dialogue>\n    <character>HODGES<\/character>\n    <parenthetical>( threatening . )<\/parenthetical>\n    <dialogue>Shoot.<\/dialogue>\n    <scene_description>Nervously , Ricky begins to bounce the ball .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC<\/stage_direction>\n    <scene_description>Jessica sees her son start shooting the ball - completely oblivious to Hodges , who flicks open his coat , revealing SILENCED PISTOL tucked into his waistband .<\/scene_description>\n    <character>GREEK<\/character>\n    <dialogue>You have three seconds to tell me where he really is or you're going to a funeral.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE RENT-A-COP CAR<\/stage_direction>\n    <scene_description>Ryan 's listening . Helpless . There 's nothing he can do .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Oh Jesus! Oh Jesus!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC \/ EXT. SAFEHOUSE<\/stage_direction>\n    <scene_description>Jessica drains ghost - white . On the verge of passing out . Down below , Ricky shoots baskets , unaware of Hodges closing his hand around his gun .<\/scene_description>\n    <character>GREER<\/character>\n    <dialogue>One.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Please! Please, believe me!<\/dialogue>\n    <scene_description>Ricky plays innocently - while Hodges now COCKS his pistol .<\/scene_description>\n    <character>GREER<\/character>\n    <dialogue>Two.<\/dialogue>\n    <scene_description>Frantic , Jessica locks eyes with Hodges , silently pleading for him not to do this . Hodges stares back with glacial ice .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( sobbing uncontrollably . )<\/parenthetical>\n    <dialogue>Please, he's just a child!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RENT-A-COP CAR<\/stage_direction>\n    <scene_description>Ryan is more frenzied than Jessica .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>Goddamn it, listen to her! She does n't know!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC \/ EXT. SAFEHOUSE<\/stage_direction>\n    <scene_description>Ricky backs up to retrieve a high rebound . Jessica watches in horror as Hodges begins to slowly DRAW HIS GUN .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>No. no.' I swear that's all I know!<\/dialogue>\n    <scene_description>Greer gives a sigh of disbelief -<\/scene_description>\n    <character>GREEK<\/character>\n    <dialogue>Thre -<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>OKAY! okay.<\/dialogue>\n    <parenthetical>( breaking down . )<\/parenthetical>\n    <dialogue>LAX Airport! There's a bar called Left Field. That's where we met. We were in college on our way to Mardi - gras.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RENT-A-COP CAR<\/stage_direction>\n    <scene_description>Ryan 's completely floored by Jessica 's admission . She knew all along ?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC - CONTINUOUS<\/stage_direction>\n    <character>JESSICA<\/character>\n    <dialogue>Please God, I swear that's the truth. Do n't kill my son!<\/dialogue>\n    <character>GREER<\/character>\n    <parenthetical>( looking impressed . )<\/parenthetical>\n    <dialogue>Most people do n't get past two.<\/dialogue>\n    <scene_description>Greer signals , and :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAFEHOUSE - DAY<\/stage_direction>\n    <scene_description>Hodges tucks his gun away . just as Ricky turns around . The kid startles that Hodges was so close .<\/scene_description>\n    <character>HODGES<\/character>\n    <dialogue>Okay, kid. Let's go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC - CONTINUOUS<\/stage_direction>\n    <scene_description>Jessica watches as her son is led away to the GUEST HOUSE across the yard . Once he 's inside and out of view , Jessica collapses in a heap on the floor . Greer is about to exit the attic - when Jessica speaks .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>You wo n't get away with this. When I did n't show up at the hospital, someone must have called the police -<\/dialogue>\n    <character>GREER<\/character>\n    <dialogue>The police are the last people on earth I'm worried about.<\/dialogue>\n    <scene_description>Greer pulls a Police Scanner out of his jacket and shows it to Jessica . RYAN - SITTING IN THE RENT - A - COP CAR listening to the call with every fiber of his being .<\/scene_description>\n    <character>GREER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>We get one hit on the scanner about you, we'll be picking out family plots, comprende?<\/dialogue>\n    <scene_description>Suddenly , a HUMMER , with the BASS THUMPING at ear - shattering decibels , pulls alongside Ryan 's car . DMX .<\/scene_description>\n    <character>RAP TUNE<\/character>\n    <dialogue>`` SOME NIGGAS THAT YOU DO N'T WAN NA TRY.<\/dialogue>\n    <parenthetical>( MY NIGGAS . )<\/parenthetical>\n    <dialogue>SOME NIGGAS JUST ABOUT DO OR DIE.<\/dialogue>\n    <parenthetical>( MY NIGGAS . )<\/parenthetical>\n    <dialogue>.''<\/dialogue>\n    <scene_description>THE ATTIC Jessica hears it first . The pumping cacophony coming from the phone behind the beam . It 's subtle at first , but grows increasingly louder . She closes her eyes , praying Greer wo n't hear it - But Greer does hear it . On the verge of leaving the room , Greer stops . Cocks an ear . Instantly , Jessica tries to cover it with her own voice .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Do you honestly expect me to believe we're going to walk away from this alive?<\/dialogue>\n    <scene_description>But Greer is n't listening to her . He strides back into the room , listening to the noise under her voice .<\/scene_description>\n    <character>GREER<\/character>\n    <parenthetical>( to Jessica . )<\/parenthetical>\n    <dialogue>Shut up.<\/dialogue>\n    <scene_description>RYAN - IN THE RENT - A - COP CAR Oblivious of Jessica desperately trying to clue him in .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>How can I SHUT UP? You threaten to kill my child and you expect me to act like a MUTE?! If this -<\/dialogue>\n    <scene_description>Suddenly , it hits Ryan like a punch to the face . And he scrambles , trying to cover the phone .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Oh shit! Where's mute?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC - CONTINUOUS<\/stage_direction>\n    <character>ESSICA<\/character>\n    <dialogue>your child, then -<\/dialogue>\n    <scene_description>BLAMM ! - Greer shoots a hole in the wall next to Jessica 's head . Afraid , she shuts her mouth . and prays . BUT AT EXACTLY THE SAME MOMENT -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RENT A COP CAR - CONTINUOUS<\/stage_direction>\n    <scene_description>Ryan finds the MUTE BUTTON . Presses it and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC - CONTINUOUS<\/stage_direction>\n    <scene_description>Greer listens intently . and HEARS NOTHING but silence in the still attic . Soon , he turns to leave . Only when he 's gone does Jessica 's heart start beating again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RENT A COP CAR<\/stage_direction>\n    <scene_description>The HUMMER finally pulls away .<\/scene_description>\n    <character>RAP TUNE<\/character>\n    <parenthetical>( MY NIGGAS . )<\/parenthetical>\n    <dialogue>IF THEY COULD.<\/dialogue>\n    <parenthetical>( MY NIGGAS . )<\/parenthetical>\n    <dialogue>they would.<\/dialogue>\n    <parenthetical>( my niggas . )<\/parenthetical>\n    <dialogue>.<\/dialogue>\n    <scene_description>As the thumping bass subsides , Ryan sighs with relief .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KIDNAPPERS' SAFEHOUSE - HALLWAY OUTSIDE ATTIC<\/stage_direction>\n    <scene_description>Deason and Ellis wait for Greer , who enters , pulling off his mask .<\/scene_description>\n    <character>ELLIS<\/character>\n    <dialogue>Well?<\/dialogue>\n    <character>GREER<\/character>\n    <dialogue>The Left Field sports bar at LAX.<\/dialogue>\n    <character>ELLIS<\/character>\n    <dialogue>Are you positive?<\/dialogue>\n    <scene_description>Greer ignores him . Then turns to Deason .<\/scene_description>\n    <character>GREER<\/character>\n    <dialogue>Tell Hodges we move in ten.<\/dialogue>\n    <scene_description>Deason nods and moves off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC<\/stage_direction>\n    <scene_description>Jessica lies on the floor , sobbing into her knees . Soft as an insect 's buzz , we can hear Ryan calling to her on the broken phone .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Jessica? Answer me, goddamn it I<\/dialogue>\n    <scene_description>Soon , his voice pierces the suffocating gloom around her and she crawls desperately over to it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RENT-A-COP CAR - IDLING AT THE CURB<\/stage_direction>\n    <scene_description>Ryan 's freaking out .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I'm here.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>You all right?! I thought they -<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I'm okay.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>What are you doing? Why'd you lie to them?<\/dialogue>\n    <scene_description>INTERCUT PHONE CALL - RYAN IN RENT - A - COP CAR\/JESSICA IN ATTIC<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( welling up with tears . )<\/parenthetical>\n    <dialogue>Do you think I like gambling with my son's life?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>I ca n't tell. You seem pretty good at it -<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Do n't you see, Ryan? Once they get Craig, we're all gon na die.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>You ca n't know that for sure.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Be realistic. Does letting us live benefit them in any way? No! The only chance he's got is if you can get to the airport and find him before they do.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Wait, wait -!<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Ryan, please! There's no time! Just get to the airport -<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>It's suicide. They'll kill me! J. JESSICA They wo n't! You're invisible to them! They do n't know who you are. They do n't know anything about you. Please! You've got to try!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Lady, I've jacked two cars, been accused of being a child molester, obliterated a car dealership, and busted three caps in a Verizon store. - Do n't tell me I'm not trying!<\/dialogue>\n    <scene_description>Jessica tries another tack .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Look, I have no right to ask you this Ryan, but you re my family's only chance. and I am asking.<\/dialogue>\n    <scene_description>Something in the way she says that last sentence , a mixture of strength and vulnerability , gets through to Ryan . And against his own will , he 's swayed .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( gives in . )<\/parenthetical>\n    <dialogue>I'll get the phone to your husband, but that's got ta be it, okay?!<\/dialogue>\n    <scene_description>Ryan , heading toward the airport , floors the gas .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRENTWOOD   NEIGHBORHOOD - DAY<\/stage_direction>\n    <scene_description>A PATROL CAR prowls down a quaint residential block . Comes to a stop in the driveway of what we know to be Jessica Martin 's house . Mooney gets out . Knocks . The door opens , revealing the ATTRACTIVE YOUNG WOMAN from before .<\/scene_description>\n    <character>MOONEY<\/character>\n    <dialogue>Ms. Martin?<\/dialogue>\n    <character>ATTRACTIVE WOMAN<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>MOONEY<\/character>\n    <dialogue>Jessica Kate Martin?<\/dialogue>\n    <scene_description>The Woman nods . Mooney is plainly disillusioned by the woman . Maybe his hunch was wrong .<\/scene_description>\n    <character>ATTRACTIVE WOMAN<\/character>\n    <dialogue>Cam I help you, Officer?<\/dialogue>\n    <scene_description>She scans Mooney 's badge .<\/scene_description>\n    <character>MOONEY<\/character>\n    <dialogue>Mooney.<\/dialogue>\n    <parenthetical>( shakes his head . )<\/parenthetical>\n    <dialogue>No. No, I guess not. Must've been a prank. I m sorry to have b9thered you, Ms. Martin. Have a nice day.<\/dialogue>\n    <scene_description>The Woman smiles and nods , and Mooney walks off . When he gets to his car , he CRUMPLES the paper with Jessica 's name and address , and shakes his head , chuckling at himself . As Mooney drives off - THE ATTRACTIVE WOMAN walks back into the house and flips open her CELLPHONE . When she finishes dialing , a familiar DEEP MALE VOICE answers .<\/scene_description>\n    <character>DEEP MALE VOICE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <character>ATTRACTIVE WOMAN<\/character>\n    <dialogue>It's Bayback. Remember the Fusco brothers?<\/dialogue>\n    <scene_description>Silence .<\/scene_description>\n    <character>ATTRACTIVE WOMAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Well, I've got an itch that needs scatching.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A ROOM - DAY<\/stage_direction>\n    <scene_description>ECU - THE MAN ON THE OTHER END OF THE CALL Too close to make out who it is just yet -<\/scene_description>\n    <character>DEEP MALE VOICE<\/character>\n    <dialogue>What's the problem?<\/dialogue>\n    <character>ATTRACTIVE WOMAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>We're in the middle of a shit storm, and I need you to put a leash put on an officer.<\/dialogue>\n    <character>DEEP MALE VOICE<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>ATTRACTIVE WOMAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>An Officer Mooney from your division. Know him?<\/dialogue>\n    <scene_description>Now , we start PULLING BACK , revealing the man 's features .<\/scene_description>\n    <character>DEEP MALE VOICE<\/character>\n    <dialogue>Mooney? He's a desk sergeant. What would you want with him?<\/dialogue>\n    <character>ATTRACTIVE WOMAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I had to do a B &amp; E and he came snooping around the house looking for the owner.<\/dialogue>\n    <character>DEEP MALE VOICE<\/character>\n    <dialogue>And what did you say?<\/dialogue>\n    <character>ATTRACTIVE WOMAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>That I was her, of course.<\/dialogue>\n    <scene_description>Continue PULLING BACK . We can almost recognize him now .<\/scene_description>\n    <character>DEEP MALE VOICE<\/character>\n    <dialogue>Did he believe you?<\/dialogue>\n    <character>ATTRACTIVE   WOMAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I think so. He said he thought someone was pulling a prank on him.<\/dialogue>\n    <character>DEEP MALE VOICE<\/character>\n    <dialogue>Mooney doing an investigation? What's are you really up to?<\/dialogue>\n    <scene_description>The man swivels around in his chair and we see clearly it 's -<\/scene_description>\n    <character>DETECTIVE TOMLIN<\/character>\n    <dialogue>And no bullshit. Right now you're entire department's hot, so if I'm gon na get in the tub, I've got to know how deep it is.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RENT-A-COP CAR - BURNING DOWN SEPULVEDA BOULEVARD<\/stage_direction>\n    <scene_description>Ryan drives like madman toward the airport , blowing through lights . Jessica is frantic .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Where are you now?!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>I'll be at the airport in twenty minu -<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Twenty minutes! Oh my God, Ryan, you've got to drive faster! Please -<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>( snapping . )<\/parenthetical>\n    <dialogue>Jessica, this car has a sewing machine for an engine! I ca n't go any faster!<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Sorry. I just.<\/dialogue>\n    <scene_description>SI INTERCUT PHONE CALL - RYAN IN RENT - A - COP CAR\/JESSICA IN ATTICS 1 Jessica 's voice trails off as she catches a glimp se of herself in an OLD MIRROR standing in the corner . Bruised . Clothes torn . Staring at her own cracked reflect ion , she breaks down , but silently this time , locked in he r own personal hell . For Ryan , the silence is deafening . Despite his frantic driving , he feels her pain . And hates being unable to help .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Jessica?<\/dialogue>\n    <scene_description>There 's an emotional beat , then -<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Do you think God will forgive me?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>What do you mean -?<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>For what I've done. For giving up Craig.<\/dialogue>\n    <scene_description>Ryan is moved by the emotion in her voice .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Jessica, they have your kid. You had no choice.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>I do n't know. I do n't know.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>1 know. I heard what they were doing to you over there. You held out for as long as you could.<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( grim beat . )<\/parenthetical>\n    <dialogue>My son and I are going to die here, Ryan. They already have us. But maybe I could've saved Craig.<\/dialogue>\n    <scene_description>The truth of this has a profound effect on Ryan . And just when Jessica is about to lose herself to despair - Ryan finds a resolve within himself even he did n't know he had .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Jessica, listen to me. I promise you, I'm not going to let that happen. I could care less about your money. I'm risking my life cause I know I'm gon na get you and your family out of this. You hear what I'm sayin'?<\/dialogue>\n    <scene_description>There is a moment between them , two people connecting on a human level . But the moment is suddenly cut short as a STATICKY VOICE start bleeding into their phone call - some BRITISH ASSHOLE having his own phone call .<\/scene_description>\n    <character>BRITISH ASSHOLE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>- Yeah, the show just bought me a Cadillac XLR convertible. No, you ca n't ride in it. Not until you do something with that road kill you call hair. And what's with your makeup? Kabuki Theatre is not in style -<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>( interrupting . )<\/parenthetical>\n    <dialogue>Jessica? Are you still there?<\/dialogue>\n    <character>BRITISH ASSHOLE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Hey, hey?! This is a private call!<\/dialogue>\n    <scene_description>Jessica 's voice starts fading as the CROSSTALK gets worse .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( washed in static . )<\/parenthetical>\n    <dialogue>I'm. ere, but y. reaking up!<\/dialogue>\n    <character>BRITISH ASSHOLE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Get off my line! Are you there? Mom? I<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Listen dude, this woman's in serious -<\/dialogue>\n    <character>BRITISH ASSHOLE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>- That's not my problem, lady.<\/dialogue>\n    <scene_description>Lady ?! Suddenly , STATIC starts drowning out Ryan 's side of the call .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( yelling over the static . )<\/parenthetical>\n    <dialogue>Jessica, do n't hang up! You hear me?! Whatever happens -<\/dialogue>\n    <character>BRITISH ASSHOLE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Look woman, tell your kidnapping story to someone who gives a shit.<\/dialogue>\n    <scene_description>Ryan ca n't hear Jessica 's side of the conversation ; only the British Asshole 's , which comes in loud and clear .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Jessica?! Jessica?!<\/dialogue>\n    <scene_description>As Ryan goes mental , a CAR PASSES HIM on the opp9site side of the road - a new Cadillac XLR convertible ! Inside is an appropriately asshole - ish looking guy . He could only be the British Asshole .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Gotcha.<\/dialogue>\n    <scene_description>Ryan pulls a HARROWING 180 DEGREE TURN , barely missing an oncoming car by inches . He RACES up to the Cadillac , which has a VANITY PLATE that reads , `` IDOL MKR . '' Ryan looks through the window at -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CADILLAC XLR CONVERTIBLE<\/stage_direction>\n    <scene_description>The driver , who in a typical LA celebrity sighting , turns out to be none other than SIMON COWELL , host of American Idol . Simon continues his spittle - spraying rant - at no one . It appears he 's using the car 's SPEAKERPHONE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/ EXT. RENT-A-COP CAR - BURNING DOWN SEPULVEDA BLVD.<\/stage_direction>\n    <scene_description>Ryan eyes Simon 's mouth while hearing :<\/scene_description>\n    <character>SIMON COWELL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( over Ryan 's cellphone . )<\/parenthetical>\n    <dialogue>Murdered your housekeeper? Do n't bullshit me ; I work in the Industry that invented it you stupid COW!<\/dialogue>\n    <scene_description>Ryan sees Simon Cowell MOUTH THE WORDS `` STUPID COW '' in synch with the conversation . BINGO ! Ryan floors the Rent - a - cop car ahead of the Cadillac and PULLS A 90 DEGREE turn at an intersection ; cutting Cowell off ! SCREEEECH ! Cowell , trying to avoid a collision , SLAMS on the brakes , causing the Cadillac to SKID twenty feet . Ryan jumps out of the rent - a - cop car he 's left in the middle or the intersection and runs over to the Cadillac , banging on the window with the .38 Special . Cowell practically jumps out of his skin at the sight of the gun and the kid with the crazy look in his eyes .<\/scene_description>\n    <character>SIMON COWELL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>BLOODY HELL!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Give me that phone. or I shoot your car!<\/dialogue>\n    <scene_description>Cowell is prepared to comply - but suddenly behind them - SFX : HONK - HONK ! - Ryan notices a 10 - TON SEMI heading straight for the Rent - a - cop car too late . The DRIVER SLAMS his brakes , but - KABLLAAAAMMM ! THE RENT - A - COP CAR EXPLODES into tiny pieces of junk as the semi PLOUGHS THROUGH IT ! Flaming debris rains down around Ryan , and he covers his mouth , unable to believe his shitty luck .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Ai n't that a bitch!<\/dialogue>\n    <scene_description>Ryan turns back to Simon Cowell .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Out of the car! Now!<\/dialogue>\n    <scene_description>Cowell all but dives out .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Where's your phone?!<\/dialogue>\n    <character>SIMON COWELL<\/character>\n    <dialogue>It's on speaker!<\/dialogue>\n    <scene_description>Ryan turns to the car . Calls out .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Jessica?<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Ryan?! I'm here!<\/dialogue>\n    <scene_description>Her voice says she ca n't believe her ears . Relieved , Ryan jumps in the Cadillac XLR and tosses his phone on the passenger seat , next to a LAPTOP computer . Guns the engine and STOMPS the gas . As he passes the ruins of his rent - a - cop car , he slows just enough to open the Cadillac 's door and snatch up his bag of Verizon goodies laying on the pavement - then peels away . Practically frothing at the mouth , Simon Cowell chases after on foot , cursing as his beautiful new Cadillac disappears in the distance -<\/scene_description>\n    <character>SIMON COWELL<\/character>\n    <dialogue>Your career's over! YOU HEAR ME?! OVER!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CADILLAC XLR<\/stage_direction>\n    <scene_description>As Jessica 's voice RESOUNDS around him , he notices the phone 's controlled through the radio . He turns it up .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( still shaken . )<\/parenthetical>\n    <dialogue>I thought they. I thought I was -<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>You're okay. It's okay now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIRPORT TERMINAL - ESTABLISHING<\/stage_direction>\n    <scene_description>Along with the million other cars , FIND the Cadillac threading its way up to the main terminal .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CADILLAC XLR - AIRPORT<\/stage_direction>\n    <scene_description>Ryan tries to avoid eye contact with the TRAFFIC COP assisting the flow of cars .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( INTO PHONE . )<\/parenthetical>\n    <dialogue>I'm here. Oh shit!<\/dialogue>\n    <scene_description>SCREEEECH ! Ryan steps on the brakes , seeing something ahead . WHIP PAN AROUND to see what Ryan 's staring at . Just ahead , JESSICA 'S ESCALADE is pulling up to the curb .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Your car's here.<\/dialogue>\n    <scene_description>Ryan pulls along side the red curb and watches as four tough - looking men exit the vehicle . We recognize them as Greer , Deason , Ellis and Hodges .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Hurry, Ryan! Just find Craig!<\/dialogue>\n    <scene_description>Ryan hops out - but stops when the car CALLS OUT TO HIM .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Wait, Ryan! What about me -?!<\/dialogue>\n    <scene_description>Ryan searches the car and finds the HANDSET in the armrest . As he grabs it and races after Greer into the airport , a Traffic Cop comes up to the car .<\/scene_description>\n    <character>TRAFFIC COP<\/character>\n    <dialogue>HEY, YOU CA N'T PARK HERE!<\/dialogue>\n    <scene_description>But it 's too late . Ryan 's already gone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAX AIRPORT - CONTINUOUS<\/stage_direction>\n    <scene_description>Greer and his men stride through the airport like sharks honing in on bleeding prey . Soon , the Kidnappers break up into two groups : Greer and Ellis heading for the DEPARTURE GATES ; Deason and Hodges go the other way towards the INFORMATION KIOSK . Ryan heads toward the -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SECURITY CHECKPOINT - LAX<\/stage_direction>\n    <scene_description>Greer , who waits in the LINE OF PASSENGERS waiting to pass through airport 's METAL DETECTORS . This is Ryan 's chance . He cuts through the line .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Oops. Excuse me. Pardon me. My grandmother needs her walker.<\/dialogue>\n    <scene_description>Soon , he makes his way to the front , right behind Greer and BUMPS into him . As he does , NOTICE - ECU of Ryan slyly slipping the rent - a - cop 's tiny .38 Special into Greer 's heavy motorcycle jacket . Greer turns , glaring - But no one 's there . Greer looks around , and there 's a heart - stopping moment that we 're afraid he 's going to notice Ryan , who now stands innocently the next line over - - but Greer 's eyes pass right over him as he scans the crowd . Ryan breathes a sigh of relief as Greer finally turns away to walk through the metal detector and . SFX : BZZZZZZZTTH . sets off the alarm .<\/scene_description>\n    <character>DETECTOR OPERATOR<\/character>\n    <dialogue>Excuse me, sir. Would you mind emptying your pockets over here?<\/dialogue>\n    <scene_description>Confused , Greer does . He lays his wallet on the table , then his keys . Then looks baffled as he pulls out - the GUN 1<\/scene_description>\n    <character>DETECTOR OPERATOR<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Code red! Code red!<\/dialogue>\n    <scene_description>The response she gets is stunning . SECURITY GUARDS jump out of the woodwork with guns drawn . ALARMS go off . SECURITY GATES start coming down . Travelers start SCREAMING and PANICKING !<\/scene_description>\n    <character>SECURITY GUARDS<\/character>\n    <dialogue>GET DOWN! GET ON THE GROUND!<\/dialogue>\n    <character>ELLIS<\/character>\n    <parenthetical>( reaching for something . )<\/parenthetical>\n    <dialogue>Wait, this is a mistake -<\/dialogue>\n    <character>TENSE GUARD<\/character>\n    <dialogue>HANDS \/ HANDS!<\/dialogue>\n    <scene_description>As one , the entire security force POUNCES on Greer and Ellis , TACKLING them to the ground and IMMOBILIZING their limbs . And while that chaos is going on , Ryan slowly backs through to the metal detector . and starts running for Left Field .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAX AIRPORT - METAL DETECTORS - CONTINUOUS<\/stage_direction>\n    <scene_description>GREER AND ELLIS are crushed under the dogpile of security . Behind them , a door slams open and a formation of NATIONAL GUARDSMEN race on - scene , showing just how seriously security is taken in the wake of Sept. 11th .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONCOURSE - LAX<\/stage_direction>\n    <scene_description>Ryan jogs down the concourse when -<\/scene_description>\n    <character>PUBLIC ADDRESS SYSTEM<\/character>\n    <dialogue>Attention travelers. Due to a security problem, all persons are required to clear the terminal and return immediately to the security checkpoint at the entrance to Concourse B.<\/dialogue>\n    <scene_description>At once , everyone begins filing out of the terminal . Ryan looks like a salmon swimming upstream , the only figure moving against the tide of people rushing to get out .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>`` Left Field'' is in Terminal C.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Listen to me! They're clearing the terminal. Before your husband passes me, what does he look like?<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He's thirty - eight. Six feet. Trim build. Thinning hair.<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>( scanning the passengers . )<\/parenthetical>\n    <dialogue>That's not enough! What's he wearing?<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I do n't know! We have completely different schedules. I was fast aslee p -.<\/dialogue>\n    <parenthetical>( thinking it through . )<\/parenthetical>\n    <dialogue>- A suit. He wears glasses, thick rims, like Buddy Holly or -<\/dialogue>\n    <scene_description>Bingo ! The Buddy Holly glasses is what did it . Ryan sees a man in the distance hurrying in his direction - CRAIG .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Found him! And just as Ryan bee - lines it towards Craig -<\/dialogue>\n    <character>VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Excuse me, sir - Ryan turns and finds a NATIONAL GUARDSMAN right behind him.<\/dialogue>\n    <character>NATIONAL GUARDSMAN<\/character>\n    <dialogue>You ca n't be here now. You have to leave the area.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>But -<\/dialogue>\n    <character>NATIONAL GUARDSMAN<\/character>\n    <dialogue>Now, sir. And as Ryan is marched away he sees -<\/dialogue>\n    <scene_description>GREER AND ELLIS Knees in their necks . Hands covering their faces .<\/scene_description>\n    <character>GREER<\/character>\n    <dialogue>- if you'd just listen to me! I can explain! Someone reach into my coat pocket! Goddamn it, reach into my pocket!<\/dialogue>\n    <scene_description>A YOUNG GUARDSMAN does - and in a big reveal , we see that he WITHDRAWS A BADGE . A Los Angeles policeman 's badge . Ryan 's jaw drops . He ca n't believe it - they 're cops ?!<\/scene_description>\n    <character>YOUNG GUARDSMAN<\/character>\n    <dialogue>Hey, this one's on the job.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Holy shit, Jessica, these guys are cops!<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What?!<\/dialogue>\n    <scene_description>The Guardsman 's SUPERIOR OFFICER examines it . Is it real ?<\/scene_description>\n    <character>SUPERIOR OFFICER<\/character>\n    <dialogue>Run it.<\/dialogue>\n    <parenthetical>( the Guardsman runs off ; turns back to Greer . )<\/parenthetical>\n    <dialogue>Is that your gun?<\/dialogue>\n    <character>GREER<\/character>\n    <parenthetical>( hesitates . )<\/parenthetical>\n    <dialogue>- yes. Yes. It's my piece.<\/dialogue>\n    <character>SUPERIOR OFFICER<\/character>\n    <dialogue>Well, you're supposed to declare it.<\/dialogue>\n    <character>GREEK<\/character>\n    <dialogue>I know. We just got focused on a rabbit we're here to nab.<\/dialogue>\n    <scene_description>Just then , the Young Guardsman returns .<\/scene_description>\n    <character>YOUNG GUARDSMAN<\/character>\n    <dialogue>He's clean. Badge matches his I.D.<\/dialogue>\n    <character>SUPERIOR OFFICER<\/character>\n    <parenthetical>( grumbles . )<\/parenthetical>\n    <dialogue>Unhook'em. Stand down security.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAX AIRPORT - CONCOURSE - DAY<\/stage_direction>\n    <scene_description>Ryan looks relieved when the airport 's alarms SHUT OFF . _ The P.A. system cheerily thanks everyone for their cooperation and , all around , security gates begin to rise .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( noticing ; to Guard . )<\/parenthetical>\n    <dialogue>Hey, can I go now? Can I go?!<\/dialogue>\n    <scene_description>The Guard nods , and Ryan takes off like a shot , racing back towards the bar . Ryan spots Craig Martin outside the Left Field sports bar . Ryan grabs him by the elbow and starts hustling him through the concourse .<\/scene_description>\n    <character>CRAIG<\/character>\n    <dialogue>Hey, what the hell?! Get your hands off m -!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Shut up and keep walking. If they see us they'll kill us both.<\/dialogue>\n    <character>CRAIG<\/character>\n    <dialogue>What -?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Your wife sent me.<\/dialogue>\n    <character>CRAIG<\/character>\n    <dialogue>She did? But how -?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Would you hurry your ass?! You need to hide. They're here, and they're looking for you. They already have your family.<\/dialogue>\n    <scene_description>Craig looks at him , growing terrified .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>In here!<\/dialogue>\n    <scene_description>Ryan pulls Craig into the MENS RESTROOM .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAX RESTROOM<\/stage_direction>\n    <character>CRAIG<\/character>\n    <dialogue>I do n't understand -<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>It's okay. She'll explain it to you.<\/dialogue>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Okay, Jessica, I'm handing you over now.<\/dialogue>\n    <scene_description>INTERCUT CALL - JESSICA IN ATTIC \/ RYAN IN LAX MENS ROOM Relief can be traced on Jessica 's face .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( welling up . )<\/parenthetical>\n    <dialogue>Ryan, you've done so much. I do n't know how to repay you.<\/dialogue>\n    <scene_description>An awkward , emotional pause falls between them .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Forget about the cash. Just get you and y9ur son home safely and we'll call it even.<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>I will. I promise.<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I know you will.<\/dialogue>\n    <scene_description>RYAN hands the cellphone over to Craig .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm gon na be outside this door. Do n't come out unless I get you. Got it?<\/dialogue>\n    <character>CRAIG<\/character>\n    <parenthetical>( confused . )<\/parenthetical>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Ryan walks out the restroom door as Craig puts the phone to his ear . He sighs with relief - it 's finally over .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAX AIRPORT - CONCOURSE - CONTINUOUS<\/stage_direction>\n    <scene_description>GREER and ELLIS stride toward the bar .<\/scene_description>\n    <character>ELLIS<\/character>\n    <parenthetical>( sotto voce . )<\/parenthetical>\n    <dialogue>Nice move. What the hell you bring a gun for?<\/dialogue>\n    <character>GREEK<\/character>\n    <dialogue>I did n't.<\/dialogue>\n    <character>ELLIS<\/character>\n    <parenthetical>( sounding nervous . )<\/parenthetical>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>GREER<\/character>\n    <dialogue>Just keep your eyes open! Something weird is going on.<\/dialogue>\n    <scene_description>Greer stares daggers at everyone he passes . Ellis Io9ks around before glancing down at a PHOTO COPY of a California driver 's license .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAX AIRPORT - OUTSIDE MEN'S ROOM - DAY<\/stage_direction>\n    <scene_description>Trying to act inconspicuous , Ryan guards the entrance to the Men 's Room . He 's starts to check out a magazine rack at an adjacent concession stand when he hears :<\/scene_description>\n    <character>CRAIG<\/character>\n    <dialogue>HEY, RYAN? RYAN!<\/dialogue>\n    <scene_description>Ryan turns . RACK FOCUS past Ryan to Craig standing fifty feet back , holding the phone out .<\/scene_description>\n    <character>CRAIG<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>This is n't my wife.<\/dialogue>\n    <scene_description>ECU ON RYAN 'S FACE As it sinks in . Disbelief . Anger . Dread .<\/scene_description>\n    <character>CRAIG<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>My wife's name is Patty. I'm not Craig. I'm Paul. Paul Boyd.<\/dialogue>\n    <scene_description>In utter disbelief , Ryan turns back toward the gate - and sees Greer , Ellis , Hodges and Deason , cornering another MAN . Tall . Lean . Thinning hair . And wearing Buddy Holly glasses . The real CRAIG MARTIN .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Shit!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAX AIRPORT - CONCOURSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Greer seizes Craig by the arm .<\/scene_description>\n    <character>GREEK<\/character>\n    <dialogue>Make a scene and you'll never see your family again. Now who's here with you?<\/dialogue>\n    <scene_description>Craig 's eyes swell with fear .<\/scene_description>\n    <character>CRAIG<\/character>\n    <dialogue>Who, what? No one! Nobody!<\/dialogue>\n    <character>GREER<\/character>\n    <dialogue>Answer me!<\/dialogue>\n    <scene_description>Greer looks around the crowded airport .<\/scene_description>\n    <character>CRAIG<\/character>\n    <dialogue>I'll forget I saw anything, just leave them alone!<\/dialogue>\n    <scene_description>Whatever . Greer manhandles Craig toward the exit .<\/scene_description>\n    <character>GREER<\/character>\n    <dialogue>For your family's sake, you better not have done anything stupid.<\/dialogue>\n    <scene_description>RYAN snatches the phone from the bogus Craig Martin - and hauls ass through a sea of travelers , trying to catch up to - GREER AND ELLIS who scan the crowd bulling their way through throngs of people , leading Craig Martin between them . BUT RYAN Has more difficulty . Gets STALLED and SWEPT AWAY in the crowd long enough for the kidnappers to make it outside -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ESCALADE - LOADING ZONE - CONTINUOUS<\/stage_direction>\n    <scene_description>To their car . Craig is forced into the ESCALADE between Greer and Ellis .<\/scene_description>\n    <character>CRAIG<\/character>\n    <dialogue>You goddamn animals better not have hu rt -<\/dialogue>\n    <scene_description>Greer surprises him with a vicious ELBOW to the face .<\/scene_description>\n    <character>GREER<\/character>\n    <dialogue>Animals?<\/dialogue>\n    <scene_description>Ellis whips a burlap hood over Craig 's head and they drive off just as -<\/scene_description>\n    <character>MARILYN<\/character>\n    <dialogue>Yes. He said you looked distracted when you left. He wants you to relax, Bob. He said they found that kid you were looking for and that you were right, it was all a prank. Nothing to worry about.<\/dialogue>\n    <character>MOONEY<\/character>\n    <dialogue>Yeah, I know.<\/dialogue>\n    <scene_description>She pulls him back down for another kiss .<\/scene_description>\n    <character>MARILYN<\/character>\n    <dialogue>What am I gon na do with you?<\/dialogue>\n    <character>MOONEY<\/character>\n    <dialogue>You're gon na dance with me all night long, until we're too pooped to pop. Well almost.<\/dialogue>\n    <scene_description>A giggle . They kiss .<\/scene_description>\n    <character>MARILYN<\/character>\n    <dialogue>You'll never change.<\/dialogue>\n    <character>MOONEY<\/character>\n    <dialogue>Yes I will, after I shower.<\/dialogue>\n    <scene_description>They both share a laugh .<\/scene_description>\n    <character>MARILYN<\/character>\n    <dialogue>Lame ass. Come on.<\/dialogue>\n    <scene_description>She pushes herself down the hallway and he follows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JESSICA'S ESCALADE<\/stage_direction>\n    <scene_description>As it pulls off the road onto the driveway of the kidnappers safe house and parks . Craig still wears the hood as Greer exits the car .<\/scene_description>\n    <character>GREER<\/character>\n    <dialogue>Get out!<\/dialogue>\n    <scene_description>As Craig reaches blindly for a door handle , Ellis opens the door and shoves him out onto the driveway . Greer yanks him up by his collar .<\/scene_description>\n    <character>GREER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>GET UP! WALK!<\/dialogue>\n    <scene_description>With guns at his back , Craig is dragged inside the house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC<\/stage_direction>\n    <scene_description>The darkness is oppressive . Craig is pushed inside and pulls the hood off .<\/scene_description>\n    <character>CRAIG<\/character>\n    <dialogue>Goddamn it, what the hell are you people going to -<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Craig?<\/dialogue>\n    <scene_description>Craig stops dead , hearing the voice . Scans the cobweb - filled room , seeing nothing - then from the depths of the shadows , Jessica materializes looking haunted and lifeless as a ghost .<\/scene_description>\n    <character>CRAIG<\/character>\n    <dialogue>Jessica?<\/dialogue>\n    <scene_description>Jessica races for the safety of Craig 's arms , but just as she 's about to be embraced , Greer steps forward and YANKS Jessica back by her hair . She squeals in pain .<\/scene_description>\n    <character>CRAIG<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>HEY - \/ \/<\/dialogue>\n    <scene_description>Craig moves to object , but - OOF ! - Deason sends him gasping to the floor with a sledgehammer fist to the gut .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>No, do n't hurt him!<\/dialogue>\n    <scene_description>Jessica struggles and , with an annoyed shove , Greer sends her spilling into Craig . She hugs tightly against him . When Craig gets his wind back , he comes to his knees and manages to croak out -<\/scene_description>\n    <character>CRAIG<\/character>\n    <dialogue>Ricky?<\/dialogue>\n    <scene_description>Jessica nods gravely . He 's here , too . Craig looks at his wife 's face , bruised and hurt , and tears rise in his eyes .<\/scene_description>\n    <character>CRAIG<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oh, God, Jess. What have they done to you?<\/dialogue>\n    <scene_description>But Jessica wo n't let this moment be about pity .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Who are they, Craig?<\/dialogue>\n    <scene_description>Craig does n't know what to say .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Tell them, Craig. Tell them they have the wrong family. Tell them they've made a mistake -<\/dialogue>\n    <scene_description>But something in his eyes disagrees .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What?! What is it?<\/dialogue>\n    <character>CRAIG<\/character>\n    <dialogue>This is n't a mistake, Jess.<\/dialogue>\n    <scene_description>And that 's all it takes for Jessica 's world to shatter . GREEK emerges from the shadows , startling them , and backhands Craig 's jaw with the butt of his gun .<\/scene_description>\n    <character>GREEK<\/character>\n    <dialogue>Where is the disc now?<\/dialogue>\n    <scene_description>Blood trickles from the corner of Craig 's mouth .<\/scene_description>\n    <character>CRAIG<\/character>\n    <dialogue>You have to promise. If I give it to you. you'll let my family go.<\/dialogue>\n    <character>GREER<\/character>\n    <dialogue>I'll tell you what, you tell me where it is -.<\/dialogue>\n    <parenthetical>( turns his gun on Jessica . )<\/parenthetical>\n    <dialogue>- and I wo n't blow her brains all over you right now.<\/dialogue>\n    <scene_description>Greer traces the barrel of the gun down Jessica 's cheek . Craig looks utterly helpless .<\/scene_description>\n    <character>GREEK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Your call Craig. It's an eighty - five'' cent bullet to me.<\/dialogue>\n    <scene_description>Greer lowers the gun to her neckline -LRB- pulls her shirt lower . She pleads `` no '' at Craig with her eyes , but he finally breaks .<\/scene_description>\n    <character>CRAIG<\/character>\n    <dialogue>Okay. Enough, you win. But if anything -<\/dialogue>\n    <character>GREER<\/character>\n    <parenthetical>( training gun on Craig . )<\/parenthetical>\n    <dialogue>Just shut up and talk.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SURFACE STREETS - DAY<\/stage_direction>\n    <scene_description>Ryan rides back into the city in a cab . He listens some more , then covers the phone 's mouthpiece and taps the CABBIE on the shoulder .<\/scene_description>\n    <character>CRAIG<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I dropped it down the mail chute at work. It's got ta be in the mailroom.<\/dialogue>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( for Ryan 's benefit , weakly . )<\/parenthetical>\n    <dialogue>You hid it downtown?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Change of plans. I need to get to downtown fast.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC<\/stage_direction>\n    <scene_description>Greer pulls Craig to his feet .<\/scene_description>\n    <character>GREEK<\/character>\n    <dialogue>Get up. We're going.<\/dialogue>\n    <character>CRAIG<\/character>\n    <dialogue>How will I know she's okay?<\/dialogue>\n    <character>HODGES<\/character>\n    <parenthetical>( shoving him . )<\/parenthetical>\n    <dialogue>Move!<\/dialogue>\n    <scene_description>When he gets near the door , Jessica is overcome with emotion and races to her husband .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Wait! WAIT!<\/dialogue>\n    <scene_description>She brushes past Hodges and hugs on tight to her husband , tears flowing from her eyes . v Hodges goes to pull them apart , but Greer stops him . He knows this is going to be their last time together .<\/scene_description>\n    <character>CRAIG<\/character>\n    <dialogue>I love you.<\/dialogue>\n    <scene_description>Craig squeezes the good years of their marriage into a strong , loving embrace . Jessica hugs him closer . Leans into his ear to seemingly whisper her love in return - but what she actually whispers takes Craig by surprise .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( quickly ; sotto voce . )<\/parenthetical>\n    <dialogue>Pretend I'm telling you that I love you. There's an open phone line in here. You'll have help at the office, but if you give these men what they want, we're dead.<\/dialogue>\n    <scene_description>Jessica kisses her husband on the lips and withdraws , leaving Craig with an utterly confused expression on his face . But before his look can betray him -<\/scene_description>\n    <character>GREER<\/character>\n    <dialogue>Let's go.<\/dialogue>\n    <scene_description>- Greer and Hodges move forward , ushering Craig out of the room . When the door locks behind them , Jessica once again rushes to the phone .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Ryan?! They're going to Fegan Securities, 4th and Figuroa.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 10 FREEWAY - DAY<\/stage_direction>\n    <scene_description>Ryan , in the cab , weaves through cars .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( INTO PHONE . )<\/parenthetical>\n    <dialogue>I'm already on my -<\/dialogue>\n    <scene_description>Suddenly , the cab rounds a bend - and grinds to a halt from backed up traffic !<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You've got ta be kidding me!<\/dialogue>\n    <parenthetical>( to cabbie . )<\/parenthetical>\n    <dialogue>Ca n't you back it up?<\/dialogue>\n    <scene_description>The cabbie tries , but is hopelessly locked in by cars pulling up behind him . Shrugs . About a hundred yards up the road , Ryan sees the 4th Street\/Figuroa Exit . He 's so close .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Aw, screw this!<\/dialogue>\n    <scene_description>Ryan throws some bills at the driver , hops out the passenger side and starts RUNNING .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SURFACE STREETS - DAY<\/stage_direction>\n    <scene_description>A short time later , Ryan -LRB- drenched in sweat , sees Craig 's office building in the distance -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FEGAN SECURITIES, INC. BUILDING - ESTABLISHING<\/stage_direction>\n    <scene_description>With an all cement exterior -LRB- and few windows -RRB- , it 's a cellphone user 's nightmare .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SURFACE STREETS - DAY<\/stage_direction>\n    <scene_description>As Ryan huffs and puffs toward the building , he sees a BIKE MESSENGER bullshitting with a HOT DOG VENDOR . Ryan stops and stares at the PACKAGE POUCH on the seat and a flashy red BIKE HELMET hanging on the handlebars . The helmet is futuristic , like something The Flash might wear . Ryan eyes the Messenger , grabs the bike , hops on and peddles for dear life toward Craig 's building with the Messenger hot on his heels .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FEGAN SECURITIES, INC. BUILDING<\/stage_direction>\n    <scene_description>As Ryan arrives at the building , the Escalade pulls up in front of him and Greer , Hodges and Ellis file into the building . Ryan skids to a stop . Eyes the carrying pouch .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FEGAN SECURITIES, INC. - LOBBY - DAY<\/stage_direction>\n    <scene_description>Ryan , carrying the carrying pouch and bike helmet , enters the lobby . Greer and the others disappear into an ELEVATOR . N9W inside , STATIC starts playing hell with their connection . Fine in some areas , terrible in others .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Wait, we -.<\/dialogue>\n    <parenthetical>( bzzt ! )<\/parenthetical>\n    <dialogue>- ve to think! What -.<\/dialogue>\n    <parenthetical>( bzzt ! )<\/parenthetical>\n    <dialogue>- re we going to do?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>I have an idea.<\/dialogue>\n    <scene_description>Ryan fights his way through the tourists to the elevator bay . Quickly scans the DIRECTORY . Among the long list of CPAs , there 's a MAILROOM on the 3rd floor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOONEY'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>Mooney -LRB- looking damn awkward in a suit and tie -RRB- , lies on the bed , watching the news . In the background , Marilyn can be seen in the master bathroom , sitting before the vanity mirror in her wheelchair . She puts on makeup .<\/scene_description>\n    <character>MARILYN<\/character>\n    <dialogue>In five minutes, I'll need you to give me a hand.<\/dialogue>\n    <character>MOONEY<\/character>\n    <dialogue>Whenever you're ready, hon.<\/dialogue>\n    <scene_description>Still wearing his holster , he shifts uncomfortably on the bed as he watches the news .<\/scene_description>\n    <character>NEWS ANCHOR<\/character>\n    <dialogue>and authorities are now asking your help in identifying this man -<\/dialogue>\n    <scene_description>Mooney jolts upright as they display A FUZZY PHOTO OF RYAN from the Verizon surveillance cameras .<\/scene_description>\n    <character>NEWS ANCHOR<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>- believed to be responsible for today's bizarre string of crimes, most notably the theft of an $ 80,000 Cadillac at gunpoint.<\/dialogue>\n    <character>MOONEY<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Mooney watches as they continue to detail Ryan 's `` wild crime spree '' , but gets the bigger picture , realizing that every event - the Verizon store ; searching for the Martin kid ; stealing the Cadillac - centers around the cellphone call Ryan tried to tell him about this morning . Detective gears turning , Mooney reaches for the phone on the bedside table . Dials 411 .<\/scene_description>\n    <character>OPERATOR<\/character>\n    <dialogue>Thank you for using Pacbell. This is Claire, how may I help you?<\/dialogue>\n    <character>MOONEY<\/character>\n    <dialogue>I need the phone number for a residence. Jessica Martin in Brentwood.<\/dialogue>\n    <character>OPERATOR<\/character>\n    <dialogue>That number is.<\/dialogue>\n    <parenthetical>( 310 . )<\/parenthetical>\n    <dialogue>555 - 8364. For an extra seventy five cents -<\/dialogue>\n    <scene_description>Mooney hangs up , dials the number . The phone rings and rings . Eventually , an answering machine picks up .<\/scene_description>\n    <character>JESSICA'S VOICE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Hi, you've reached the hom e of Craig and Jessica Martin. We ca n't get to the phone right now, but if you leave your name and a message -<\/dialogue>\n    <scene_description>Mooney listens intently - and is troubled .<\/scene_description>\n    <character>MOONEY<\/character>\n    <parenthetical>( to an oblivious Marilyn . )<\/parenthetical>\n    <dialogue>The woman at the house did n't have an accent.<\/dialogue>\n    <scene_description>Marilyn smiles , realizing he 's really talking to himself . Mooney hangs up , thoughts racing . He reaches behind him , and without looking he grabs his wallet and keys . He then walks over to Marilyn and kisses the top of her head . She knows him , and knows something 's up .<\/scene_description>\n    <character>MOONEY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm sorry honey -LRB- but I have to check on something real quick.<\/dialogue>\n    <character>MARILYN<\/character>\n    <dialogue>You've got to be kidding -<\/dialogue>\n    <character>MOONEY<\/character>\n    <dialogue>Delay the reservation if you have to ; I'll be back in twenty minutes.<\/dialogue>\n    <scene_description>And Mooney 's gone .<\/scene_description>\n    <character>MARILYN<\/character>\n    <dialogue>Twenty minutes my foot.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR - DAY<\/stage_direction>\n    <scene_description>A few SECRETARIES get out on the second floor . Alone with the others , Greer eyes the mysterious .38 Special .<\/scene_description>\n    <character>GREER<\/character>\n    <parenthetical>( re : .38 Special . )<\/parenthetical>\n    <dialogue>Keep your eyes open.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FEGAN SECURITIES, INC. - THIRD FLOOR - DAY<\/stage_direction>\n    <scene_description>Dripping with sweat , Ryan shambles out of the stairwell , the bike helmet now strapped to his head and the pouch over his shoulder - just as the ELEVATOR ARRIVES behind him ! As Greer , Hodges and Craig get out , Ryan turns and searches for the mailroom that 's supposed to be here ! Where the hell is - Ah I He finds it and hustles into -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAILROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>A wide COUNTER separates Ryan and a few BUSINESS MEN and WOMEN from the MAIL CLERKS that busily work the other side . Ryan leans against the wall , pretending to be an ordinary bike messenger waiting for a package as Craig and the dirty cops enter , brushing right past him . Craig scans the faces of the other patrons as they enter , desperately trying to figure out who is his secret ally . He ignores Ryan completely , whose face is mostly hidden by the tinted plastic VISOR attached to the helmet . Craig notices an AGING SECURITY GUARD stationed in the area , but knows better than to make any waves .<\/scene_description>\n    <character>MAILROOM SUPERVISOR<\/character>\n    <parenthetical>( recognizing Craig . )<\/parenthetical>\n    <dialogue>Anything I can help you with Mr. Martin?<\/dialogue>\n    <character>CRAIG<\/character>\n    <dialogue>Hey, Benny. This might sound ridiculous, but I dropped a DVD mailer into the chute this morning and I forgot to put down an address.<\/dialogue>\n    <character>MAILROOM SUPERVISOR<\/character>\n    <dialogue>Happens all the time. Let me see what's back there. Gim me a sec'.<\/dialogue>\n    <scene_description>The Supervisor disappears into the back room . Greer and Hodges take a seat only a few feet away from Ryan . The moment is uncomfortable . and gets infinitely worse as -<\/scene_description>\n    <character>MAIL CLERK<\/character>\n    <dialogue>Excuse me, sir? Sir? Sir?<\/dialogue>\n    <scene_description>Ryan turns , realizing with horror that another MAIL CLERK is speaking to him .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Me?<\/dialogue>\n    <character>MAIL CLERK<\/character>\n    <dialogue>You waiting for a package?<\/dialogue>\n    <scene_description>Now everyone 's looking at Ryan . Including Greer .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( facing away . )<\/parenthetical>\n    <dialogue>Sure, uh. I'm supposed to pick something up for Mr. Fountain over at the Bonaventure.<\/dialogue>\n    <character>MAIL CLERK<\/character>\n    <dialogue>From what department?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>I'm not sure. They said it was a contract, though, I know that, so what would that be, Legal?<\/dialogue>\n    <character>MAIL CLERK<\/character>\n    <dialogue>What's the tracking number?<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>( patting himself down . )<\/parenthetical>\n    <dialogue>Uh. Right. Tracking number.<\/dialogue>\n    <scene_description>It 's looking grim . Thankfully , the Supervisor reappears .<\/scene_description>\n    <character>MAILROOM SUPERVISOR<\/character>\n    <dialogue>Mr. Martin? I found a number of things that could be what you're looking for. Mind coming back to take a look?<\/dialogue>\n    <scene_description>Hodges shoots Craig a look , `` go '' .<\/scene_description>\n    <character>CRAIG<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>The Supervisor leads Hodges and Craig away to the back room . Unfortunately , Greer stays behind .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( patting himself . )<\/parenthetical>\n    <dialogue>I might. Maybe it's on the clipboard on my bike?<\/dialogue>\n    <scene_description>Ryan watches Greer out of the corner of his eye as Hodges and Craig disappear inside the vault .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I, uh, may need to call somebody.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAILROOM - BACK ROOM<\/stage_direction>\n    <scene_description>There 's an entire shelf that serves as a dead letter office . One plastic bin is filled with reusable interoffice envelopes , another bin is overflowing with small mailers , computer disks , unlabeled video tapes , Etc .<\/scene_description>\n    <character>MAILROOM SUPERVISOR<\/character>\n    <dialogue>Help yourself.<\/dialogue>\n    <scene_description>HODGES cautiously watches Craig shuffle through the mailers , opening two or three before finding - he turns one upside down - and a DVD case slides out ! A quick glance at the label , `` ADT Digital Surveillance ' . 5\/19\/05 06:00 - 07:00 '' confirms it 's the disc .<\/scene_description>\n    <character>CRAIG<\/character>\n    <dialogue>This is it.<\/dialogue>\n    <scene_description>Hodges seems uncomfortable with the Supervisor hovering over his shoulder .<\/scene_description>\n    <character>HODGES<\/character>\n    <dialogue>Let's go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAILROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Ryan now sits by the window , cellphone pressed to his ear . Feigning frustration .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>You believe this? Everyone's got their head up their ass over there.<\/dialogue>\n    <scene_description>The Mail Clerk ignores him almost as much as Greer wants to . Greer opens his cellphone to make a call , but when the signal is no good , he wanders outside the mailroom toward the window at the end of the hall .<\/scene_description>\n    <character>MAIL CLERK<\/character>\n    <parenthetical>( impatiently . )<\/parenthetical>\n    <dialogue>Sir? You think you could just go outside and get your clipboard?<\/dialogue>\n    <scene_description>Just then , Hodges and Craig come marching out of the vault .<\/scene_description>\n    <character>MAIL CLERK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Sir?<\/dialogue>\n    <scene_description>Ryan glances at Greer , momentarily distracted on the phone . At Hodges , almost out of the bank . As he and Craig near the door - A moment where Craig finally locks eyes with Ryan - and suddenly realizes : This is the guy ! It 's now or never . Ryan has to do something .<\/scene_description>\n    <character>MAIL CLERK<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Sir!?<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>( to Clerk . )<\/parenthetical>\n    <dialogue>Screw the package.<\/dialogue>\n    <scene_description>Ryan stands and , unable to find anything better , snatches a metal HAND TRUCK sitting by the door , and as Hodges walks by -<\/scene_description>\n    <character>MAIL CLERK<\/character>\n    <dialogue>WHAT ARE YOU DOING -?!<\/dialogue>\n    <scene_description>- swings it full - force into Hodges ' face - WHAMM ! Hodges drops like a slaughterhouse cow . Instantly , employees hit the ground ; scream ; run for their lives . Craig dives for the DVD case . The Security Guard has come to life ; drawing down on them .<\/scene_description>\n    <character>SECURITY GUARD<\/character>\n    <dialogue>FREEZE!<\/dialogue>\n    <scene_description>Craig does . But Ryan grabs him and moves , racing out of the bank .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>COME ON, LET'S GO!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - OUTSIDE MAILROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>At the end of the hall , GREER sees Craig and Ryan running out of the mailroom . Drops his phone , draws his gun -<\/scene_description>\n    <character>SECURITY GUARD<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>FREEZE!<\/dialogue>\n    <scene_description>- just as the Guard comes running out . His gun was fixed on Ryan , but now that he sees Greer with a piece , he trains his gun on him instead .<\/scene_description>\n    <character>SECURITY GUARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>DROP YOUR WEAPON!<\/dialogue>\n    <scene_description>Ryan and Craig are struck in the middle of the crossfire .<\/scene_description>\n    <character>GREER<\/character>\n    <parenthetical>( flashing his badge . )<\/parenthetical>\n    <dialogue>L.A.P.D! I'M A COP!<\/dialogue>\n    <character>SECURITY GUARD<\/character>\n    <dialogue>DROP IT NOW!<\/dialogue>\n    <scene_description>The instant Ryan and Craig try to escape into a nearby stairwell - Greer turns his gun on the SECURITY GUARD - BANG ! BANG ! - The Security Guard drops and Greer aims his weapon at Craig again ! BANG ! - Greer fires . Craig , SHOT IN THE BACK , slams against Ryan with the impact . They fall half - in\/half - out of the stairwell . Craig weakly shoves the DVD into Ryan 's hands .<\/scene_description>\n    <character>CRAIG<\/character>\n    <dialogue>run.<\/dialogue>\n    <scene_description>But Ryan is overwhelmed . His legs feel like a thousand pounds of jelly .<\/scene_description>\n    <character>CRAIG<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>. ruuuUUUUNNNNNN!<\/dialogue>\n    <scene_description>As Craig slumps to the ground , Ryan stares in shock - but when Greer starts sending a hail of bullets toward them , he DIVES into :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRWELL - DAY<\/stage_direction>\n    <scene_description>He starts flying down the stairs . but when he sees four BUILDING SECURITY GUARDS racing up from below -<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Damn!<\/dialogue>\n    <scene_description>- he turns around and starts RUNNING UP instead .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAILROOM - DAY<\/stage_direction>\n    <scene_description>Hodges gets to his feet . Stumbles out , holding his gushing , broken nose . Yells at Greer , who 's racing into the stairwell .<\/scene_description>\n    <character>HODGES<\/character>\n    <dialogue>The kid!<\/dialogue>\n    <character>GREER<\/character>\n    <dialogue>No shit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRWELL - DAY<\/stage_direction>\n    <scene_description>With the Guards and Greer only a floor behind , Ryan thinks fast and CHUCKS HIS BIKE HELMET down the corridor , ELBOWS the In - Case - Of - Emergency Glass , setting off the FIRE ALARM - and starts running UP . Seconds later , when they reach that level , one of the Guards sees Ryan 's helmet and the broken glass leading away .<\/scene_description>\n    <character>GUARD<\/character>\n    <parenthetical>( racing down the hall . )<\/parenthetical>\n    <dialogue>This way!<\/dialogue>\n    <scene_description>The other Guards follow . but Greer is n't convinced . On a hunch , he turns and continues running UP also . Peeking over the edge from the floor above - RYAN Sees Greer and Hodges coming . Big - ass guns out and ready . Shit . ' THE ALARM BELLS SCREAM . PEOPLE start filling the stairwell on every floor . Forcing his body to its very limits , Ryan bolts up the stairs until he sees the ROOF EXIT on the next floor up . He shoves open the nearest door and continues running up to the roof . He slips out and silently closes the door behind him just as -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRWELL - DAY<\/stage_direction>\n    <scene_description>GREER and HODGES reach the floor beneath . See the door swinging shut - but neither fall for the bait . They runs up toward the -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOF - DAY<\/stage_direction>\n    <scene_description>Ryan 's eyes SCAN the rooftop . Construction is in progress up here ; tarpapering . Huge ROLLS OF TARPAPER lie about , PALATTES holding supplies covered with TARPS , an industrial AIR CONDITIONER . Ryan quickly shoves a 2 `` x4 '' under the doorknob to jam it . Heart pounding , he races to the building 's edge and looks down . Nothing but a straight drop 60 feet down . Footsteps are approaching ! POUNDING on the door ! Ryan darts behind a tarp - covered mass of supplies just as -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOF - DAY<\/stage_direction>\n    <scene_description>GREER shakes the 2 `` x4 '' loose . He and Hodges explode out onto the roof , looking for Ryan . Greer encircles the huge air - conditioner while Hodges hunts behind a large SATELLITE DISH . No Ryan .<\/scene_description>\n    <character>GREER<\/character>\n    <parenthetical>( to Hodges . )<\/parenthetical>\n    <dialogue>Here.<\/dialogue>\n    <scene_description>Cop - instincts crackling , Greer stands on one side of the tarp - covered stockpile and waits for Hodges to secure the other . This is it ; they signal go at each other and spring around - But Ryan 's nowhere to be found !<\/scene_description>\n    <character>GREER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Dammit!<\/dialogue>\n    <scene_description>No , wait ! Greer turns and sees a LARGE ALUMINUM CHUTE that leads from the roof and elbows down toward a DUMPSTER on ground level . Greer peers down the chute for long seconds . but nothing can be seen from this angle . It all falls to blackness . THE ALARM STOPS . Greer cocks his head in the sudden eerie silence . The only sounds are INCOHERENT SCREAMS coming from the stairwell . He eyes where the chute empties into the dumpster , thinks . REVEAL -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. METAL CHUTE - CONTINUOUS<\/stage_direction>\n    <scene_description>RYAN , wedging himself against the sides of the chute , tries to be as still as possible . Every slight movement makes the ALUMINUM BUCKLE AND GROAN . From his shirt pocket , Jessica 's tiny desperate voice pleads .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Ryan? Ryan, please answer me I<\/dialogue>\n    <scene_description>But Ryan just sits there . Afraid to move . Terrified to discuss Craig .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOF - CONTINUOUS<\/stage_direction>\n    <scene_description>Greer picks up a large roll of tarpaper and starts lugging it toward the open mouth of the chute .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. METAL CHUTE - CONTINUOUS<\/stage_direction>\n    <scene_description>Ryan holds his breath . Trembling . His leg threatening to rabbit - foot again . Straining to hear Greer , it 's impossible not to hear :<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>You have to talk to me! Ryan, please you have to talk to me -.'<\/dialogue>\n    <scene_description>The sweat from his hands causes the tiniest SLIP - and as he catches himself , there is a soft metallic BOOOONG from the stressed metal . Unable to ignore her pleas any longer , Ryan carefully pulls the cellphone from his pocket and presses it to his ear . Desperate to console her , Ryan - BANG ! The TARPAPER ROLL flies down the chute . Ryan looks up to see it angrily launching itself right at him ! He has to let go of the walls to avoid being hit . He presses himself to one side but - WHAM ! The bloodthirsty roll bashes his wrist - and he DROPS SIMON COWELL 'S CELLPHONE ! Ryan reaches out , but the phone goes sliding down the chute !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC<\/stage_direction>\n    <scene_description>Jessica hears a loud SCRAAAAPE , CRASH and a wash of STATIC .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Ryan?! OH MY GOD, RYAN?! RYAN -?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KIDNAPPERS' SAFEHOUSE - LIVING ROOM - SAME TIME<\/stage_direction>\n    <scene_description>The hulking Deason hears Jessica 's PANICKED VOICE and stands with a start . As he moves toward the attic , he notices a small RED LIGHT FLASHING behind the bar . As he passes , he checks it out and -<\/scene_description>\n    <character>DEASON<\/character>\n    <dialogue>WHAT THE -?!<\/dialogue>\n    <scene_description>WHIP PAN DOWN to what Deason sees : The red light is on one of the house phones . The LINE - IN - USE INDICATOR . And it 's lit . Shaking like a bear pissing pineapples , Deason rages away toward the attic .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATTIC - CONTINUOUS<\/stage_direction>\n    <scene_description>Jessica is curling herself into a tiny sobbing ball on the floor when - WHAMM ! - the attic door crashes open . Jessica jumps . Deason looms there . Sees the phone .<\/scene_description>\n    <character>DEASON<\/character>\n    <dialogue>YOU STUPID BITCH!<\/dialogue>\n    <scene_description>Jessica hurls the phone receiver away .<\/scene_description>\n    <character>DEASON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>WHO HAVE YOU TOLD?! WHO HAVE YOU TOLD?!<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>NO, DON' T H URT M E -<\/dialogue>\n    <scene_description>Deason roars up and grabs Jessica 's neck with one hand . HURLS her across the attic and into the OLD MIRROR , shattering it in a million pieces around her . Desperate for anything , Jessica PALMS a TINY SHARD as she struggles to her feet . A two - inch chip .<\/scene_description>\n    <character>DEASON<\/character>\n    <dialogue>YOU AND YOUR KID ARE DEAD!<\/dialogue>\n    <scene_description>She lowers her arm , defeated , out of breath . You win .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Do n't hurt me, and I'll do anything. Anything.<\/dialogue>\n    <scene_description>There is a promise in what Jessica offers that Deason responds to . His fist FLASHES toward her throat , making her flinch . But rather than hitting her , he wraps his meaty fingers around her throat , almost daring her to stop him . Jessica trembles , but that is all , and just as Deason begins to enjoy his work , Jessica JABS at his face , but he predicted as much and easily moves to deflect it - SNICKK ! - she flicks her wrist up and SLICES the underside of his upper arm . Deason flinches a little bit , like a bee sting , then laughs as he notices the tiny SHARD in her hand -<\/scene_description>\n    <character>DEASON<\/character>\n    <parenthetical>( sarcastic . )<\/parenthetical>\n    <dialogue>Oooh.<\/dialogue>\n    <scene_description>but that 's when he HEARS it . A DRIPPING SOUND . Deason looks down at his arm and is confused to see his entire shirt sleeve SOAKED IN BLOOD . It literally pours from his arm onto the floor like a river . Deason drains white ; dizzy . He looks at Jessica , confused .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Brachial artery. Pumps up to 30 liters of blood per minute. and there's only five liters in the human body.<\/dialogue>\n    <scene_description>Three seconds later , Deason crumbles . and Jessica leaves the attic .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRASH CHUTE - DAY<\/stage_direction>\n    <scene_description>RYAN 'S still trapped . Sounds of approaching SIRENS in the distance . Ryan listens for Greer ; is he still there ? BANG ! BANG ! Two more heavy TARPAPER ROLLS come right at him ! The first one he gets lucky with , but the second NAILS HIM before bouncing furiously away and Ryan loses his grip completely and slides out of control .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOF - DAY<\/stage_direction>\n    <scene_description>GREER watches amazed when Ryan actually tumbles out of the ass - end of the metal chute into the dumpster . He drops the next roll of tarpaper ready to go and reaches for his gun -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INSIDE DJUMPSTER - CONTINUOUS<\/stage_direction>\n    <scene_description>RYAN is in serious pain . He frantically fishes through the refuse to find : SIMON COWELL 'S CELLPHONE Or rather , what 's left of it : A million shattered pieces scattered everywhere . Ryan sifts through the plastic debris as if he had secretly hoped he could still use it . Yeah , right . He 's barely able to sit up when - BLAM ! BLAM ! BLAM ! He ducks back down as bullets ricochet off the steel dumpster . As SIRENS get louder , closer , Ryan 's got to make his move - he jumps out of the dumpster , landing on his ass on the opposite side of Greer . BLAMM - BLAMM - BLAMM ! Bullets ricochet off the steel dumpster and Ryan summons his courage - and takes off limping !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOF - CONTINUOUS<\/stage_direction>\n    <scene_description>BLAMM - BLAMM - BLAMM ! Greer 's pistol is ill equipped for long - range shooting . The kid 's too far away by now . He grabs his walkie -<\/scene_description>\n    <character>GREER<\/character>\n    <parenthetical>( into walkie . )<\/parenthetical>\n    <dialogue>The kid's outside, headed toward the front of the building -<\/dialogue>\n    <character>HODGES<\/character>\n    <dialogue>- Got ta go, boss. The Guard's dead.<\/dialogue>\n    <scene_description>Hodges waits by the rooftop door , looking concerned as COPS spill out around him onto the roof .<\/scene_description>\n    <character>COPS<\/character>\n    <dialogue>Who the hell's shooting up here?<\/dialogue>\n    <scene_description>Greer points to Ryan bolting around the corner .<\/scene_description>\n    <character>GREER<\/character>\n    <dialogue>Sonofabitch shot the poor bastard right in front of us!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KIDNAPPERS' SAFEHOUSE - DAY<\/stage_direction>\n    <scene_description>Jessica races across the dead brown lawn toward the guest house\/prison that holds her son . Getting her first good look at the secluded premises she 's on confirms that screaming would do no good . She 's on her own . When she reaches the guest house , she 's shocked to find a HUGE LOCK on the front door . Frantic , she makes her way around the structure to a BIG BAY WINDOW . Though it 's protected by SECURITY BARS , she can see Ricky through the glass . Jessica pounds on the glass , and Ricky turns . When her son sees her , he races to the bars .<\/scene_description>\n    <character>RICKY<\/character>\n    <dialogue>Mom!<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Baby! Are you okay?!<\/dialogue>\n    <character>RICKY<\/character>\n    <dialogue>I ca n't get out!<\/dialogue>\n    <scene_description>Jessica looks around for something to bend the bars with . There 's nothing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE MARTIN HOUSE - LATE AFTERNOON<\/stage_direction>\n    <scene_description>A gold FORD TAURUS pulls up in front . The driver door opens and Mooney gets out . Walks to the front door and KNOCKS . But this time , there 's no answer . Mooney rings the bell . Still nothing . Suspicious , he checks around the side . and sees the back door SWAYING in the wind .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARTIN HOUSE - KITCHEN - DAY<\/stage_direction>\n    <scene_description>Mooney 's cop senses scream as he walks inside . A POLICE SCANNER chatters in the background . The place is a shambles . Someone 's been looking for something . He then sees - BLOOD STREAKS the floor . It leads from over by the telephone to underneath the pantry door .<\/scene_description>\n    <character>MOONEY<\/character>\n    <parenthetical>( calling into house . )<\/parenthetical>\n    <dialogue>Hello? L.A.P.D. Anybody home?<\/dialogue>\n    <scene_description>No answer . Drawing his gun , Mooney stalks carefully into -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARTIN HOUSE - THE ENTRYWAY - DAY<\/stage_direction>\n    <scene_description>A SMALL STAIRCASE leads up to the second floor . As Mooney starts up the steps , BOOM UP to the top to REVEAL : THE IMPOSTER JESSICA MARTIN -LRB- BAYBACK -RRB- Hiding in ambush at the top of the stairs , gun in hand . She listens to Mooney 's footsteps and when she thinks he 's neared the top - she springs out , blasting away down the staircase ! But Mooney 's not there .<\/scene_description>\n    <character>MOONEY<\/character>\n    <dialogue>Drop your gun, now. I got you.<\/dialogue>\n    <scene_description>Now we see him . Still down in the entryway , behind some cover , gun aimed and steady .<\/scene_description>\n    <character>MOONEY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I said drop it.'<\/dialogue>\n    <scene_description>Bayback relaxes - then WHIRLS around , disappearing down the hall ! Mooney curses and quietly jogs up the stairs , following her into -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHADOWY CORRIDOR - CONTINUOUS<\/stage_direction>\n    <scene_description>A narrow hallway with multiple OPEN DOORWAYS on each side . The Imposter Jessica could be hiding in any one of them . Taking care not to give himself away , Mooney inches down the hallway . And just when he 's thinking that he may have successfully created an element of surprise for himself - SFX : SQUEEEEAK - the floorboards of the old house groan softly - GIVING HIS POSITION AWAY ! Instantly Bayback swings out from a doorway right next to Mooney , taps her gun to his chest pulls the tang - But Mooney DIVES OUT OF THE WAY ! BLAMM - BLAMM - BLAMM ! Two miss , but the third shot NAILS HIS SHOULDER ! OOF ! Mooney lands hard . Blood spreading out under his white dress shirt . He cocks his head . listening for the sound of - BAYBACK EJECTS A MAGAZINE and is about to reload - Mooney JUMPS UP , RETURNS FIRE - slamming Bayback against the wall with two .38 caliber slugs . She collapses to the floor .<\/scene_description>\n    <character>MOONEY<\/character>\n    <dialogue>Damn it! DAMN IT!<\/dialogue>\n    <scene_description>Angry , the adrenaline drowning out the pain , Mooney turns to the kidnapper laying in the hall , bleeding out . Kicks her gun away and kneels . But for the first time , Bayback is n't tough . Just scared .<\/scene_description>\n    <character>BAYBACK<\/character>\n    <dialogue>a - ambulance.<\/dialogue>\n    <character>MOONEY<\/character>\n    <dialogue>Tell me where Jessica Martin is or you bleed to death right here.<\/dialogue>\n    <character>BAYBACK<\/character>\n    <dialogue>p - please. call. I. I'm a -<\/dialogue>\n    <scene_description>Fuck this , Mooney kicks her ribs .<\/scene_description>\n    <character>MOONEY<\/character>\n    <dialogue>WHERE IS SHE?!<\/dialogue>\n    <scene_description>Bayback struggles for air , reaching for him -<\/scene_description>\n    <character>BAYBACK<\/character>\n    <dialogue>I'm a cop.<\/dialogue>\n    <scene_description>Bayback squeezes her eyes shut against a wave of pain - and DIES . Mooney stares at her . What did she say ? Starts patting her down . And that 's when he finds her BADGE . L.A.P.D. 23rd Precinct . She is a cop .<\/scene_description>\n    <character>MOONEY<\/character>\n    <dialogue>Oh shit.<\/dialogue>\n    <scene_description>Mooney grits his teeth against a fresh wave of pain and picks up the phone , dials 911 .<\/scene_description>\n    <character>MOONEY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Request emergency back up and medical units! Officers down at -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY STREETS - DAY<\/stage_direction>\n    <scene_description>Ryan wanders the streets . Checks his wallet - a measly four bucks . Despair overtakes him and he almost gets CRUSHED as a - TOW TRUCK speeds by - An old Hyundai mounts it like a hippo ! A lightbulb clicks on for Ryan .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Ho - shit!<\/dialogue>\n    <scene_description>Ryan bolts to the nearest BUS STOP just as a BLUE LINE BUS pulls up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KIDNAPPERS' SAFEHOUSE - DAY<\/stage_direction>\n    <scene_description>Jessica SMASHES A REAR WINDOW with a long thick branch and uses it to try to pry the bars apart . The limited leverage wo n't enable her to bend them enough for Ricky to squeeze through .<\/scene_description>\n    <character>RICKY<\/character>\n    <dialogue>Faster Mom!<\/dialogue>\n    <scene_description>And just then - SFX : GRAVEL CRUNCHING IN THE DRIVEWAY Jessica leans her head around the back corner of the guesthouse - and sees the Escalade pulling in !<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( to Ricky . )<\/parenthetical>\n    <dialogue>Get down! Get down!<\/dialogue>\n    <scene_description>And Jessica DUCKS OUT OF VIEW just as the -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KIDNAPPERS' SAFEHOUSE \/ INT. ESCALADE<\/stage_direction>\n    <scene_description>Pulls into the driveway . Greer and his team are going over surveillance photos taken from the cameras at the Fegan Securities Building . The hotos are useless , though , as Ryan 's face is obscured by his E helmet and visor .<\/scene_description>\n    <character>GREER<\/character>\n    <dialogue>These are the best pictures you could get of him?!<\/dialogue>\n    <character>ELLIS<\/character>\n    <dialogue>He was wearing a visor.<\/dialogue>\n    <scene_description>Greer glares at him - no shit - and throws the pictures .<\/scene_description>\n    <character>GREER<\/character>\n    <dialogue>Useless!<\/dialogue>\n    <scene_description>The car parks and Greer storms out , followed by Ellis and Hodges . They head for the house , and the moment they enter - Jessica reappears . But now she 's STARING at something . The Escalade .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( to son ; through window . )<\/parenthetical>\n    <dialogue>Baby, listen to me. I want you to get away from this window. I want you to go to the other side of the room as far away from the door as you can -<\/dialogue>\n    <character>RICKY<\/character>\n    <dialogue>No, do n't leave me! Do n't leave me!<\/dialogue>\n    <scene_description>The terror in his voice breaks Jessica 's heart .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Honey, I'm getting you out of there!<\/dialogue>\n    <character>RICKY<\/character>\n    <dialogue>Where are you going?!<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>I'm only gon na be gone a second, and then we're gon na go home, but you have to do this first. It's gon na be loud, but do n't be scared, okay? Now go find somewhere safe like I told you.<\/dialogue>\n    <scene_description>Ricky nods and runs off into another room of the house . And as Jessica rushes for the Escalade -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JESSICA'S HOUSE - LATE AFTERNOON<\/stage_direction>\n    <scene_description>PARAMEDICS apply a bandage to Mooney 's shoulder . Mooney 's pretty shaken up .<\/scene_description>\n    <character>PARAMEDIC #1<\/character>\n    <dialogue>You're lucky. Shot went clean through. A few inches either way.<\/dialogue>\n    <scene_description>Mooney watches other PARAMEDICS carry sheet - covered corpses into awaiting ambulances . Flashbulbs POP from inside . A sedan pulls up and Mooney 's relieved to see Tomlin get out .<\/scene_description>\n    <character>DETECTIVE TOMLIN<\/character>\n    <dialogue>What the hell, Moon? It's all over the radio.<\/dialogue>\n    <character>MOONEY<\/character>\n    <dialogue>Jack, she did n't identify herself.<\/dialogue>\n    <character>DETECTIVE TOMLIN<\/character>\n    <dialogue>What are you saying?<\/dialogue>\n    <character>MOONEY<\/character>\n    <dialogue>I shot a cop!<\/dialogue>\n    <parenthetical>( lowering his voice . )<\/parenthetical>\n    <dialogue>Dana Bayback. From the 23rd. She was one of the kidnappers.<\/dialogue>\n    <scene_description>Tomlin looks stunned by the revelation .<\/scene_description>\n    <character>DETECTIVE TOMLIN<\/character>\n    <dialogue>Let me call the tw9 ~ three. See what the hell's going on.<\/dialogue>\n    <scene_description>Tomlin pulls out a cellphone .<\/scene_description>\n    <character>MOONEY<\/character>\n    <dialogue>I hate to think more cops are involved, but -<\/dialogue>\n    <character>DETECTIVE TOMLIN<\/character>\n    <dialogue>Did she say anything about the Martin woman?<\/dialogue>\n    <character>MOONEY<\/character>\n    <dialogue>Never got the chance.<\/dialogue>\n    <scene_description>Detective Tomlin frowns .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE. IMPOUND YARD - LATE AFTERNOON - ESTABLISHING<\/stage_direction>\n    <scene_description>A GONZOLEZ TOW TRUCK drives up -LRB- like the one we saw at the airport -RRB- , and stops temporarily beside : Simon Cowell , from the CADILLAC XLR incident , who stands at the window , screaming at the JADED CASHIER . His car idles just on the other side of an IMPOSING FENCE .<\/scene_description>\n    <character>SIMON COWELL<\/character>\n    <dialogue>Just give me my goddamned car!<\/dialogue>\n    <character>JADED CASHIER<\/character>\n    <dialogue>Do n't take that tone of voice with me, sir. I've already told you, we do not release vehicles until all impound fees are paid.<\/dialogue>\n    <scene_description>In the E.G. , NOTICE Ryan skulking closer , behind the GONZALEZ AUTO TOW TRUCK .<\/scene_description>\n    <character>SIMON COWELL<\/character>\n    <dialogue>But I did n't cause it to get impounded! Ca n't you understand that?! It was stolen from me!<\/dialogue>\n    <character>JADED CASHIER<\/character>\n    <dialogue>Sir, do you want the car back or not?<\/dialogue>\n    <scene_description>Noticing Cowell standing at the window , Ryan presses further into the shadows , not wanting to be noticed .<\/scene_description>\n    <character>SIMON COWELL<\/character>\n    <dialogue>Yes! But I'm not paying for it!<\/dialogue>\n    <scene_description>The Cashier signals a GRUNGY YARD WORKER on the other side of the fence .<\/scene_description>\n    <character>JADED CASHIER<\/character>\n    <dialogue>Nevermind, Howie. Take ` er back.<\/dialogue>\n    <scene_description>Howie nods , and just as he 's about to drive the Cadillac back into the yard -<\/scene_description>\n    <character>SIMON COWELL<\/character>\n    <dialogue>Wait, wait! All right you bloody fascist, I'll pay. But if there's even the slightest scratch on it.<\/dialogue>\n    <scene_description>Howie smiles , thought so , gets out and splits . As Cowell angrily starts making out a check , the Cashier flicks the switch to open the gate , and as it opens - Ryan slips in . He sneaks behind the wheel of the idling Cadillac . And the moment Cowell hands over his check - VRRRROOOM ! Ryan burns rubber out of there .<\/scene_description>\n    <character>SIMON COWELL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hey, that's my car!<\/dialogue>\n    <scene_description>Cowell chases it - and watches in horror as Ryan takes a speed bump too fast and TEARS THE REAR BUMPER OFF THE CADILLAC XLR CONVERTIBLE IN AN EXPLOSION OF SPARKS !<\/scene_description>\n    <character>SIMON COWELL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>NOooooooo!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SURFACE STREETS - LATE AFTERNOON<\/stage_direction>\n    <scene_description>As he zooms away , Ryan searches the passenger seat with his free hand . He hunts through the car and finds - HIS BLUE TOOTH VIDEO CELL PHONE !<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Thank you!<\/dialogue>\n    <scene_description>As he flips it open , his eyes spot THE LAPTOP on the floor of the passenger seat . Ryan thinks , pulls out his SECURITY DVD and pops it in . At first , the SCREEN is a mere wash of digital gobbledygook - And as Ryan grunts with frustration - - a Hi - Res QUICKTIME MOVIE suddenly fills the screen : ANGLE ON LAPTOP MONITOR - FOUR WAY SPLIT SCREEN The Fagen Securities Building parking lot . A police pursuit in progress . Three Police Cars skillfully box in a BMW with TWO HISPANIC YOUTHS , forcing it to come to a dead stop . GREER and HODGES explode from their cars , guns drawn . BAYBACK and ELLIS come from the back . DEASON appears , and he and HODGES yank the teens out of the car , who struggle frantically to avoid vicious baton blows . When one decks Hodges and tries to run , ELLIS SHOOTS HIM in the back ! Inside the building , CRAIG gets up from his chair , hurries into - WE PAN DOWN TO ANOTHER ANGLE As Craig enters frame inside the Security Office . And watches live - GREER wastes no time in SHOOTING the second man execution style !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>IN THE CADILLAC XLR CONVERTIBLE<\/stage_direction>\n    <scene_description>RYAN watches in horror . He PULLS OVER , too riveted to drive and watch simultaneously . Finally understanding the magnitude of this disc . ANOTHER ANGLE : 149 And as BAYBACK drags a DEAD HISPANIC YOUTH out of the frame , legs disappear off - screen in short bursts . And more terrifying , GREER stops picking up shell casings , turning his head ominously toward the CAMERA ! Noticing us ! Greer motions to several others ; DEASON and BAYBACK , who rush OUT OF FRAME toward the front entrance . ANGLE ONE : At the SIDE DOOR , ELLIS and HODGES start kicking in the door with full force . ANGLE TWO : GREER , outside , unholstering his GUN at the DELIVERY ENTRANCE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SURFACE STREETS - AFTERNOON<\/stage_direction>\n    <scene_description>RYAN glances at the cellphone in his hand - gets an idea ! ANGLE ONE : Ellis and Hodges finally kick open the door and 151 rush inside - ANGLE THREE : The COPS rush inside the building , consult the Directory . ANGLE FOUR : Craig , panicked , reaches over to the DVD Recorder -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SURFACE STREETS - AFTERNOON<\/stage_direction>\n    <scene_description>THE LAPTOP MONITOR - ALL STATIC . The recording has stopped .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>I'm so screwed.<\/dialogue>\n    <scene_description>As Ryan speeds away from the curb , he fingers his cellphone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KIDNAPPERS' SAFEHOUSE - DAY<\/stage_direction>\n    <scene_description>GREER walking up the safehouse stairs , step by step nearing the attic that Jessica 's supposed to still be in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KIDNAPPERS' SAFEHOUSE - DAY<\/stage_direction>\n    <scene_description>- JESSICA quietly opening the door of the Escalade -LRB- trying not to give herself away . She climbs in behind the wheel , and says a silent prayer of thanks when she sees that the keys are still dangling in the ignition .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SURFACE STREETS - DAY<\/stage_direction>\n    <scene_description>- RYAN , in the speeding Cadillac XLR , selects LAST INCOMING CALL on the cellphone . Holds his breath .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KIDNAPPERS' SAFEHOUSE - STAIRWELL LEADING TO ATTIC<\/stage_direction>\n    <scene_description>As Greer reaches the first landing , the HOUSE PHONE starts RINGING . Ignoring it , Greer continues on and is about to turn the corner to the attic when -<\/scene_description>\n    <character>HODGES<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Boss, you better take this.<\/dialogue>\n    <scene_description>Greer stops , a footstep away from seeing the open attic door . From the bottom of the steps , Hodges tosses him a CORDLESS PHONE . Greer puts it to his ear .<\/scene_description>\n    <character>GREER<\/character>\n    <dialogue>What?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SURFACE STREETS - DAY<\/stage_direction>\n    <scene_description>Ryan , inside the Cadillac XLR , growls into the cellphone .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Shut up and listen to me, asswipe. I got what you want.<\/dialogue>\n    <character>MALE VOICE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Who is this?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>You know who this is, shithead!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TELEMARKET BULL PEN - DAY\/EXT. SURFACE STREETS<\/stage_direction>\n    <scene_description>To our surprise , Ryan is n't talking to Greer . but to the same TELEMARKETER that called him earlier .<\/scene_description>\n    <character>TELEMARKETER<\/character>\n    <dialogue>Look, sir, we can take your name off our list if you want, but you do n't have to get nasty -<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What -? Who is this?<\/dialogue>\n    <character>TELEMARKETER<\/character>\n    <dialogue>Mark. At Mastercharge Credit Union -<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>A frickin' telemarketer? But I just hit `` Last Incoming Call'' -<\/dialogue>\n    <scene_description>Ryan suddenly puts it together .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>You bastard.<\/dialogue>\n    <scene_description>The Telemarketer quickly hangs up before it gets ugly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KIDNAPPERS' SAFEHOUSE - JUST OUTSIDE ATTIC<\/stage_direction>\n    <scene_description>Greer listens intently to a call . So who is on his end of the phone ? Tomlin .<\/scene_description>\n    <character>TOMLIN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Look, Captain, we've got to do everything we can to protect this guy. I mean, shit, with all his years in he's owed a little.<\/dialogue>\n    <scene_description>INTERCUT CALL - GREER JUST OUTSIDE ATTIC TOMLIN STANDING NEXT TO MOONEY OUTSIDE JESSICA 'S HOUSE<\/scene_description>\n    <character>GREER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He's with you? How'd he find out?<\/dialogue>\n    <character>TOMLIN<\/character>\n    <dialogue>Said something about a kid who came into the station earlier -<\/dialogue>\n    <scene_description>Greer grimaces , putting it together .<\/scene_description>\n    <character>GREER<\/character>\n    <dialogue>Early twenties? Stumbled out of Brian Wilson's hamper?<\/dialogue>\n    <character>TOMLIN<\/character>\n    <dialogue>Yeah. Something like that.<\/dialogue>\n    <character>GREER<\/character>\n    <dialogue>Tomlin. Take care of him. No witnesses.<\/dialogue>\n    <scene_description>That 's more than Tomlin bargained for .<\/scene_description>\n    <character>TOMLIN<\/character>\n    <dialogue>Are you sure that's necessary, sir?<\/dialogue>\n    <character>GREER<\/character>\n    <dialogue>You know once the shitstorm starts, there's nothing I can do to save you.<\/dialogue>\n    <character>TOMLIN<\/character>\n    <dialogue>Sure. That's what I thought. I'll tell him.<\/dialogue>\n    <scene_description>Tomlin hangs up with a calm FLICK . The Paramedic finishes up Mooney 's bandage .<\/scene_description>\n    <character>PARAMEDIC #1<\/character>\n    <dialogue>Keep pressure on it until you get it stitched.<\/dialogue>\n    <character>MOONEY<\/character>\n    <dialogue>What's the word?<\/dialogue>\n    <character>TOMLIN<\/character>\n    <dialogue>Not g9od. I.A.'s not throwing out any lifelines with all that's going on.<\/dialogue>\n    <parenthetical>( re : Mooney 's sh9ulder . )<\/parenthetical>\n    <dialogue>Come on. You can write a statement while I take you to the hospital.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KIDNAPPERS' SAFEHOUSE - STAIRWELL LEADING TO THE ATTIC<\/stage_direction>\n    <scene_description>Greer slips the cordless into his jacket pocket , continuing up the stairs . Hodges follows , staring expectantly .<\/scene_description>\n    <character>HODGES<\/character>\n    <dialogue>Well? What'd he say?<\/dialogue>\n    <character>GREER<\/character>\n    <dialogue>You know a desk jockey named Mooney?<\/dialogue>\n    <character>HODGES<\/character>\n    <dialogue>- HOLY SHIT!<\/dialogue>\n    <scene_description>Greer sees Hodges gaping up the stairwell . Following his look , Greer turns . and sees the attic door WIDE OPEN ! Further in , he can make out Deason 's bloody body and the rigged - together phone . In fact , the only thing Greer does n't see is Jessica .<\/scene_description>\n    <character>GREER<\/character>\n    <dialogue>NO!<\/dialogue>\n    <scene_description>Greer turns and pounds down the stairs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KIDNAPPERS' SAFEHOUSE - DAY<\/stage_direction>\n    <scene_description>JESSICA - IN THE ESCALADE She TWISTS the key and STOMPS the gas , sending the monster SUV on a collision course with - SMASHHH - the guest house window ! The bay window SHATTERS and the security bar SNAP LIKE TWIGS as the Escalade BULLDOZES through ! Unable to open the door because of all the debris , Jessica rolls down the window and yells to her son -<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Ricky! Come on!<\/dialogue>\n    <scene_description>but he 's frozen in fear at all the noise and dust . He shakes his head . No .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Baby, please! It's okay now. We're gon na go home!<\/dialogue>\n    <parenthetical>( glances back nervously . )<\/parenthetical>\n    <dialogue>Ricky, please!<\/dialogue>\n    <scene_description>Somehow , the kid digs deep and finds the courage to run to the Escalade , where his mother scoops him up into the cab just as - The kitchen door bursts open and Greer 's team spills out into the yard . They spot her instantly .<\/scene_description>\n    <character>ELLIS<\/character>\n    <dialogue>Get out of the car! Get out of the goddamned car!<\/dialogue>\n    <scene_description>As they rush at her -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KIDNAPPERS' SAFEHOUSE\/INT. ESCALADE - CONTINUOUS<\/stage_direction>\n    <scene_description>Jessica throws the big car in reverse and tries to back out - but the Escalade 's stuck ! Caught by the debris , the wheels just spin .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Come on! COME ON!<\/dialogue>\n    <scene_description>Jessica rocks the car forward , and back . Forward , and back . And just as it finally comes loose - KRRRAAASHHH ! The window next to Jessica 's head EXPLODES in a shower of tempered glass , shocking us . Two arms snake in and wrap around Jessica 's neck . Greer . But Jessica STOMPS ON THE GAS , hoping the big car will pull her free . It does n't . As the Escalade surges away across the lawn , Greer 's vice - like grip holds , PULLING JESSICA OUT the broken window and - THUMP ! - to the guest house debris below . As Jessica watches in horror : THE DRIVERLESS ESCALADE Careens down the driveway and crashes into a pillar . Hodges races over and yanks Ricky out . GREER Balls his fist in Jessica 's hair and yanks her around hard .<\/scene_description>\n    <character>GREER<\/character>\n    <dialogue>WHO DID YOU TELL?!<\/dialogue>\n    <character>JESSICA<\/character>\n    <dialogue>Nobody!<\/dialogue>\n    <character>GREEK<\/character>\n    <dialogue>LYING BITCH!! WHO WAS THAT KID IN THE MAIL ROOM?!<\/dialogue>\n    <scene_description>Jessica screams as he yanks her to her knees .<\/scene_description>\n    <character>RICKY<\/character>\n    <dialogue>Stop it! Do n't hurt her!<\/dialogue>\n    <scene_description>Seething mad , Greer rips his gun from its holster and is literally about to blow Jessica 's brains out when - SFX : THE CORDLESS PHONE IN GREER 'S POCKET STARTS RINGING ! The entire world stops . There 's an awkward moment : Jessica cowering , Greer recovering , the phone just ringing and ringing . The telephone is the only sound in the world , getting louder and louder with each ring until - Greer answers it .<\/scene_description>\n    <character>GREER<\/character>\n    <dialogue>Bad timing, Tomlin.<\/dialogue>\n    <scene_description>But it is n't Tomlin on the phone this time . It 's -<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Feel like a trade?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RYAN IN CADILLAC \/ EXT. GREER OUTSIDE SAFEHOUSE<\/stage_direction>\n    <scene_description>Greer snaps his fingers at Hodges , indicating it 's Ryan .<\/scene_description>\n    <character>GREER<\/character>\n    <dialogue>The mysterious bike messenger. How did you get this number?<\/dialogue>\n    <scene_description>In the Cadillac , PUSH IN on Ryan t9 show the CELLPHONE MANUAL he picked up at the Verizon store in his hand .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Got ta love modern technology. My new phone knows the numbers of the last fifty incoming calls.<\/dialogue>\n    <character>GREER<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Just the woman and her kid.<\/dialogue>\n    <character>GREER<\/character>\n    <dialogue>Who are you? What's your name?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>My name is F you. I've got your shit, pal, it does n't work that way.<\/dialogue>\n    <character>GREEK<\/character>\n    <dialogue>Really?<\/dialogue>\n    <parenthetical>( turns to Ellis . )<\/parenthetical>\n    <dialogue>Go cut the kid's throat.<\/dialogue>\n    <scene_description>Though Ryan 's eyes widen in panic , his voice remains cool .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Fine. Your loss. Nice talking to you.<\/dialogue>\n    <scene_description>And Ryan hangs up . He waits nervously , sweating , staring at the phone for the longest seconds of his life -<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Ring. C'mon, damn it, ring! RING!<\/dialogue>\n    <scene_description>Then it does . Ryan waits a couple rings , slowing his speeding heart , then nonchalantly picks up .<\/scene_description>\n    <character>GREER<\/character>\n    <dialogue>So, how do you want to do this?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Put on a big ass Ronald McDonald smile, apologize to the kid and the woman and bring'em to the Santa Monica pier.<\/dialogue>\n    <character>GREER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>No. Somewhere quieter.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Dude, you're lucky I'm still talkin' to your sorry ass. You do as I say, exactly as I say, or I hang up now and slap this bitch on Nightline, you know what I'm sayin'?<\/dialogue>\n    <scene_description>There 's a long beat .<\/scene_description>\n    <character>GREER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Fine. But you come alone.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Done.<\/dialogue>\n    <character>GREER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>How will I recognize you?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>You let me worry about that. What's your cell number?<\/dialogue>\n    <character>GREER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( 310 . )<\/parenthetical>\n    <dialogue>555 - 8342. An hour then?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>I can hardly wait.<\/dialogue>\n    <scene_description>Ryan hangs up . A scared , but satisfied smile .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WAREHOUSE DISTRICT - DAY<\/stage_direction>\n    <scene_description>MOONEY - In the sedan 's shotgun seat , is trying to write his statement . But with his bad shoulder , it 's useless . He winces in pain when the sedan jerks at a four - way stop .<\/scene_description>\n    <character>MOONEY<\/character>\n    <parenthetical>( to Tomlin . )<\/parenthetical>\n    <dialogue>Should n't we be on Pico?<\/dialogue>\n    <scene_description>To the right , some PEOPLE wait for a bus . Tomlin turns left .<\/scene_description>\n    <character>TOMLIN<\/character>\n    <dialogue>County will have a six hour wait. Ten if they know you're a cop.<\/dialogue>\n    <scene_description>Mooney grunts his gratitude as Tomlin heads toward a wasteland of warehouses . And just as any potential witnesses vanish from sight - Tomlin 's cellphone RINGS ! He lowers the gun and answers the call .<\/scene_description>\n    <character>TOMLIN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Yeah?<\/dialogue>\n    <character>GREER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Is it taken care of?<\/dialogue>\n    <character>TOMLIN<\/character>\n    <dialogue>Not yet.<\/dialogue>\n    <character>GREER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Good. We're making a trade with the kid at the Santa Monica Pier. Your boy can ID the kid for us. Bring him down.<\/dialogue>\n    <character>TOMLIN<\/character>\n    <parenthetical>( relieved . )<\/parenthetical>\n    <dialogue>I'm on it.<\/dialogue>\n    <scene_description>Tomlin flips his phone closed and turns the car around .<\/scene_description>\n    <character>TOMLIN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>We caught a break with the kid. He's been spotted on the pier. Think you can hang on a little longer? Just enough to ID the kid before we patch you up?<\/dialogue>\n    <scene_description>Mooney clearly does n't want to say `` no . '' But it hurts .<\/scene_description>\n    <character>TOMLIN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Whaddaya say? Up to you.<\/dialogue>\n    <scene_description>Beat .<\/scene_description>\n    <character>MOONEY<\/character>\n    <dialogue>Let's solve the goddamn thing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>THE OCEAN - SUNSET<\/stage_direction>\n    <scene_description>An AERIAL SHOT at magic hour , tracking up the coast to the -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA MONICA PIER - SUNSET<\/stage_direction>\n    <scene_description>Boats clog the water , and th9usands of SPECTATORS line the shores of the Pacific , watching the HEAL THE BAY concert on the pier . With all the CHEERING , DANCING and DRINKING going on , it 's like Times Square on New Years Eve .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE BLUFF - CONTINUOUS<\/stage_direction>\n    <scene_description>Ryan drives up in the Cadillac XLR and parks . A group of COLLEGE FRIENDS stare enviously at the car as Ryan gets out .<\/scene_description>\n    <character>ENVIOUS COLLEGE KID<\/character>\n    <dialogue>Lucky bastard.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>You like it?<\/dialogue>\n    <parenthetical>( tosses him the keys . )<\/parenthetical>\n    <dialogue>Happy Birthday.<\/dialogue>\n    <scene_description>THUD . The Friends ' jaws hit the ground . And as they run to the Cadillac XLR , Ryan disappears into the crowd .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>THE KIDNAPPERS' BLACK VAN - SANTA MONICA PIER<\/stage_direction>\n    <scene_description>Creeps down the wooden bridge and stops at the bottom ; the base of the pier . Inside , Hodges sits behind the wheel ; Jessica and Ricky lay bound and gagged in back . Hodges lifts his Nextel and thumbs the button .<\/scene_description>\n    <character>HODGES<\/character>\n    <dialogue>I'm in position.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAROUSEL ROOF<\/stage_direction>\n    <scene_description>Greer and Ellis are on top of the CAROUSEL BUILDING . Ellis lays on his belly with a POLICE SNIPER RIFLE and some fuzzy PHOTOS of Ryan from the mailroom .<\/scene_description>\n    <character>GREEK<\/character>\n    <dialogue>Copy.<\/dialogue>\n    <scene_description>POV - THROUGH ELLIS ' SNIPER SCOPE Excellent magnification . We skim the faces of the crowd , hunting for Ryan and locates HODGES .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAROUSEL ROOFTOP - OVERLOOKING THE PIER<\/stage_direction>\n    <scene_description>Greer is talking to Ellis , who 's scanning the crowd ROCKING to the concert -<\/scene_description>\n    <character>GREER<\/character>\n    <dialogue>Only take the kid out if it's clean. No guess work. The last thing we need's a stampede.<\/dialogue>\n    <scene_description>Greer paces anxiously - when suddenly his Nextel RINGS . He answers it , though it 's hard to hear over the music .<\/scene_description>\n    <character>GREER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You here?<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Greer nods to Ellis - It 's him . Find him .<\/scene_description>\n    <character>GREER<\/character>\n    <dialogue>How do you want to do this?<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>First show me that Jessica and the kid are okay.<\/dialogue>\n    <character>GREER<\/character>\n    <dialogue>Do you have the disc?<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Yes. Where are they?<\/dialogue>\n    <character>GREER<\/character>\n    <dialogue>See the black van at the bottom of the bridge? Passenger side window.<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Hang on.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Okay, got it.<\/dialogue>\n    <scene_description>Greer muffles the phone against his leg . Whispers to Ellis :<\/scene_description>\n    <character>GREER<\/character>\n    <dialogue>He's within visual of the car.<\/dialogue>\n    <scene_description>Greer takes his police walkie and toggles it .<\/scene_description>\n    <character>GREEK<\/character>\n    <parenthetical>( INTO WALKIE ; CONT 'D . )<\/parenthetical>\n    <dialogue>Hodges, show the woman. Lower the passenger side window only.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KIDNAPPERS' VAN<\/stage_direction>\n    <scene_description>The PASSENGER - SIDE TINTED WINDOW rolls down . Hodges sits Jessica up , then her kid , displaying them for a few seconds before powering the window back up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAROUSEL ROOFTOP<\/stage_direction>\n    <character>GREER<\/character>\n    <parenthetical>( INTO PHONE . )<\/parenthetical>\n    <dialogue>Did you see that?<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Greer muffles the phone again . Whispers to Ellis .<\/scene_description>\n    <character>GREER<\/character>\n    <dialogue>He's around the passenger side. Have you found him yet?<\/dialogue>\n    <character>ELLIS<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <parenthetical>( throws his photos . )<\/parenthetical>\n    <dialogue>I do n't know what the hell he looks like!<\/dialogue>\n    <character>GREER<\/character>\n    <dialogue>He's the one on the cellphone, you idiot 1<\/dialogue>\n    <scene_description>POV - ELLIS - THROUGH HIS SNIPER SCOPE Everyone in the crowd is on a cellphone .<\/scene_description>\n    <character>ELLIS<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Everyone's on a cellphone! I've got like fifty possible targets here!<\/dialogue>\n    <scene_description>Ellis ' cross hairs flit from one person on a cell , to another , to another .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA MONICA PIER<\/stage_direction>\n    <scene_description>TOMLIN AND MOONEY move along the crowd , scanning the sea of spectators for Ryan . Mooney moves more slowly behind Tomlin , skin looking pale , sheened in sweat and laboring for breath as they hike up the bridge . 100 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAROUSEL ROOFTOP<\/stage_direction>\n    <character>GREER<\/character>\n    <dialogue>Your turn. Now you show me something.<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>No. Put them on the Ferris wheel. I want to see them safe first.<\/dialogue>\n    <character>GREER<\/character>\n    <dialogue>That was n't part of the deal.<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Deal's changed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA MONICA PIER - BLUFF - NIGHT<\/stage_direction>\n    <scene_description>The top of the bluffs , overlooking the pier below . Among the crowd , some SKATE RATS scare the ELDERLY .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I've been thinking. Does me no good to hand over the DVD and then you and the funky bunch take us out.<\/dialogue>\n    <character>GREER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I swore I would n't do that.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Like you swore to protect and serve?<\/dialogue>\n    <scene_description>The reference brings Greer up short . There 's a moment , then :<\/scene_description>\n    <character>GREER<\/character>\n    <dialogue>You know a lot.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>And I'll forget a lot, too. But not until they're both out of danger.<\/dialogue>\n    <scene_description>Now PAN AROUND TO REVEAL Ryan among the crowd , wearing a SURFING WINDBREAKER ; HOODED with WATERPROOF POCKETS - but where 's his cellphone ? Moving closer , we see Ryan 's wearing the EARBUD MIKE from the Verizon store . With the earbud concealed under the loose hood , Ryan looks like anyone else just watching the show .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Your choice, man. The Martins or the DVD. Either way, I'm not hanging around any longer. You got five seconds, then I disconnect your ass.<\/dialogue>\n    <character>GREEK<\/character>\n    <dialogue>You sure you know what you're doing?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>One. Two.<\/dialogue>\n    <scene_description>On the other end of the phone :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAROUSEL ROOFTOP - CONTINUOUS<\/stage_direction>\n    <scene_description>GREER wrestles with his better judgment -<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Three. Four.<\/dialogue>\n    <scene_description>- but Ryan 's got him by the balls . Angrily , Greer lifts his walkie .<\/scene_description>\n    <character>GREER<\/character>\n    <dialogue>Okay! Okay.<\/dialogue>\n    <parenthetical>( into walkie . )<\/parenthetical>\n    <dialogue>Hodges, put'em on the Ferris wheel.<\/dialogue>\n    <character>HODGES<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What? I<\/dialogue>\n    <character>GREER<\/character>\n    <dialogue>Shut up and do it!<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Not bad. Most people never get past two.<\/dialogue>\n    <scene_description>Greer flinches as his own taunts are used against him .<\/scene_description>\n    <character>GREER<\/character>\n    <parenthetical>( to Ellis . )<\/parenthetical>\n    <dialogue>Keep an eye on them. As soon as we make the trade, take the woman and her kid out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA MONICA PIER - BLUFF - NIGHT<\/stage_direction>\n    <scene_description>RYAN watches from a distance as Hodges exits the van .<\/scene_description>\n    <character>GREER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Do n't screw me kid, y9u wo n't live long enough to enjoy it.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Oooh, I think I just pissed myself.<\/dialogue>\n    <scene_description>Ryan looks optimistic when Hodges gets out and opens the back door . And just as he 's on the brink of success -<\/scene_description>\n    <character>FEMALE VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>HEY -!<\/dialogue>\n    <scene_description>A woman 's HAND grabs the hood of Ryan 's windbreaker and rips it away from his face . Wheels him around . It 's :<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>There you are! Where the hell were you!?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>Chloe! Get away from here!<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>Know how many hours I waited for you to bring back those stupid shirts?! What'd you do? Sell them on the Prominade yourself -?<\/dialogue>\n    <scene_description>But Ryan 's got no time for this .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>GO! NOW!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA MONICA PIER - NIGHT<\/stage_direction>\n    <scene_description>A sickly - looking MOONEY glances at the commotion - and sees the hoodless Ryan .<\/scene_description>\n    <character>MOONEY<\/character>\n    <parenthetical>( motioning to Tomlin . )<\/parenthetical>\n    <dialogue>That's him! There he is!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA MONICA PIER - BLUFF - NIGHT<\/stage_direction>\n    <scene_description>Ryan desperately tries to shoo Chloe away .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>It is n't safe to talk, get it? I - People are after me!<\/dialogue>\n    <character>CHLOE<\/character>\n    <parenthetical>( shrugs free . )<\/parenthetical>\n    <dialogue>What - are you high?<\/dialogue>\n    <scene_description>Suddenly , Mooney steps up beside Ryan and grabs him .<\/scene_description>\n    <character>MOONEY<\/character>\n    <parenthetical>( winded . )<\/parenthetical>\n    <dialogue>I've been. looking for. you, kid -<\/dialogue>\n    <scene_description>But Ryan struggles , thinking Mooney is with the bad guys . Mooney grabs him as he tries to make a break for it .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Let go of me! Sonofabitch, let go!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAROUSEL ROOF - NIGHT<\/stage_direction>\n    <scene_description>GREER 's pissed . Pacing on the roof , when :<\/scene_description>\n    <character>ELLIS<\/character>\n    <dialogue>I've got him!<\/dialogue>\n    <scene_description>Instantly , Greer jams the walkie to his face , and we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE KIDNAPPERS' VAN - NIGHT<\/stage_direction>\n    <scene_description>HODGES is about to let Jessica out of the van , when he hears -<\/scene_description>\n    <character>GREER<\/character>\n    <parenthetical>( OVER WALKIE . )<\/parenthetical>\n    <dialogue>Hodges, do not let them go! Do you hear me? Do not let them go!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA MONICA PIER - NIGHT<\/stage_direction>\n    <scene_description>RYAN struggles with Mooney . The crowd completely ignores them in favor of the raucous concert . In the heat of battle , Ryan 's cellphone clatters by Chloe ' s feet .<\/scene_description>\n    <character>MOONEY<\/character>\n    <parenthetical>( sweating profusely . )<\/parenthetical>\n    <dialogue>Jesus, kid, calm down!<\/dialogue>\n    <scene_description>Trying to break Mooney 's stronghold , Ryan SHOVES him backwards , SLAMMING his injured shoulder into the PIER RAILING . Mooney SCREAMS out in pain and grabs his shoulder , releasing - Ryan , who BREAKS AWAY and turns to see Mooney COLLAPSE to the ground , holding his blood - soaked shoulder . Ryan looks over to Chloe , whose face is a combination of shock and confusion .<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>Oh my God -.<\/dialogue>\n    <parenthetical>( checking Mooney . )<\/parenthetical>\n    <dialogue>Someone call 911!<\/dialogue>\n    <scene_description>A CROWD starts to gather when - Ryan feels the barrel of a gun nudging his back . Tomlin 's gun .<\/scene_description>\n    <character>TOMLIN<\/character>\n    <dialogue>It's over kid.<\/dialogue>\n    <scene_description>Fuck ! Ryan 's got no choice but to slowly walk toward the end of the pier . MOONEY - From his prone position , he catches a glimpse of Tomlin backing Ryan quietly into the crowd . Not trying to help . Not calling for an ambulance . In that instant , Mooney knows he 's been betrayed . Tomlin 's in on this .<\/scene_description>\n    <character>TOMLIN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>For all the trouble you've caused, you'd better have that goddamned disc. Where is it?<\/dialogue>\n    <scene_description>Just then , Greer appears through the crowd ahead of him . Like a nightmare , he closes in . Ryan slowly slips his phone into a waterproof pocket in his windbreaker and zips it up .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Aw shit.<\/dialogue>\n    <scene_description>Ryan 's world is spinning - the NOISE , the CROWDS , the TENSION . He KICKS BACK hard into Tomlin 's SHIN . It is enough for Tomlin to release his grip and Ryan bolts . Tomlin recovers and raises his GUN to get a bead on Ryan , but it causes the crowd around him to PANIC .<\/scene_description>\n    <character>CROWD GOER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Dude's got ta gun!<\/dialogue>\n    <scene_description>Ryan navigates through the fleeing crowd and turns to see Greer and Tomlin quickly gaining ground . He has to make a choice , either go over the railing , or deal with Greer and Tomlin . Ryan decides on the ocean . He runs to a MAN FISHING WITH HIS SON and uses their ice chest as a step . Just as he JUMPS THE RAIL - Tomlin gets off a SHOT ! SLIIIIIICEE ! The bullet tears through Ryan 's shoulder as he spins headlong into the Pacific ! TOMLIN AND GREER run to the railing and see Ryan HIT the CHOPPY WATER below .<\/scene_description>\n    <character>GREER<\/character>\n    <dialogue>Under the pier. Go! Go!<\/dialogue>\n    <scene_description>UNDERWATER POV Ryan flails , panicking , exhaling all his air and sucking in the dark water of the ocean - UNDERWATER Ryan is struggling . Bleeding . Sinking . Dying . His lungs convulse , trying to breathe , burning like a thousand red - hot needles are pushing their way through his chest . The WAVES POUND against the thick pylons below the pier . Just as Ryan comes up for air he 's SLAMMED into a wooden pylon ! Ryan fights for his life as the surge churns him underwater , BASHING him repeatedly against the pillars . It 's not pretty . As he struggles toward the shore , he 's constantly thrown back and forth underwater like a rag doll .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA MONICA PIER - NIGHT<\/stage_direction>\n    <scene_description>TOMLIN races down the pier towards the beach - GREEK aims his weapon at the ocean , daring Ryan to surface .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNDER THE SANTA MONICA PIER - BEACH - NIGHT<\/stage_direction>\n    <scene_description>Ryan finally makes it to shore ; coughing , retching . He crawls up the sand , out of breath , blood trailing behind him . He unzips the waterproof pocket of his shorts , pulling out the cellphone , which thank God is actually dry . Ryan forces himself into action ; stumbling , exhausted into a -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STORAGE DORY - UNDER THE PIER - NIGHT<\/stage_direction>\n    <scene_description>The place is dark . Empty . An array of rowing shells covered in ghostly , flapping tarps make the place look vaguely haunted . This place is also filled with storage equipment , such as buoys and safety netting used by the beach patrol .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNDER THE SANTA MONICA PIER - BEACH - NIGHT<\/stage_direction>\n    <scene_description>TOMLIN - racing through the sand under the pier . He spots Ryan 's bloody footprints and follows them toward the -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DORY - NIGHT<\/stage_direction>\n    <scene_description>RYAN - sees Tomlin coming . Ryan 's trapped like a rat - and dripping blood everywhere . He looks for anything that 'll save him , but finds only useless boating tools -LRB- sanders , saws , box cutters , etc. -RRB-<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>Think! Think!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA MONICA PIER - NIGHT<\/stage_direction>\n    <scene_description>Chloe hands Mooney a cup of water and frantically looks around for the paramedics . Mooney starts rising to his feet .<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>You better lie still. The paramedics should be here shortly.<\/dialogue>\n    <scene_description>But Mooney 's obstinate . He rises despite her best efforts .<\/scene_description>\n    <character>MOONEY<\/character>\n    <dialogue>Just keep that ambulance close by.<\/dialogue>\n    <scene_description>And as he stumbles off -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE DORY ENTRANCE - NIGHT<\/stage_direction>\n    <scene_description>TOMLIN - By the time his eyes adjust to the dark , Ryan is nowhere to be seen . TARPS undulate over jumbles of boxes and equipment everywhere - a hundred places to hide . Alone , Tomlin stalks among the equipment . Gun out . Hunting Ryan like a snake on the scent or prey .<\/scene_description>\n    <character>TOMLIN<\/character>\n    <dialogue>You're wounded kid, just give me what I came for, and I'll let you all go.<\/dialogue>\n    <scene_description>Police sirens in the distance grow louder . Tomlin 's offer goes unanswered . That 's when he notices the BLOOD on the ground . Tomlin smiles , following Ryan 's trail to a PILE OF BLOOD - SMEARED TARPS - where the trail ends ! It 's obvious Ryan used these to staunch his wound . Shit ! He 's gon na have to search this whole place - Then , suddenly , Tomlin gets an idea . He pulls out his phone , making sure it 's concealed from view , and writes a TEXT MESSAGE to -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA MONICA PIER - NIGHT<\/stage_direction>\n    <scene_description>Greer pulls out his ringing cell phone . On the text screen it says , `` CALL HIM '' . Greer flashes an wicked grin , and dials the last number on his call log .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DORY - CONTINUOUS<\/stage_direction>\n    <scene_description>Tomlin 's ready to pounce . SFX : Nearby , Ryan 's cellphone starts to RING , betraying him ! Instantly , Tomlin hones in on the noise - coming from under a bulky tarp along the far wall - and EMPTIES HIS GUN at it ! The tarp shreds . Nothing could survive the assault . Tomlin walks calmly across the room to stand before the tarp .<\/scene_description>\n    <character>TOMLIN<\/character>\n    <dialogue>Shoulda stayed at home this morning, kid.<\/dialogue>\n    <scene_description>And just then , Tomlin throws off the shredded tarp exposing - Ryan 's cellphone . And nothing else .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Funny. I was about to say the same to you.<\/dialogue>\n    <character>TOMLIN<\/character>\n    <dialogue>What the -<\/dialogue>\n    <scene_description>And in the instant Tomlin realizes he 's been tricked , he turns and - WHAM ! RYAN HITS TOMLIN in the face with a 2x4 , SMASHING his TEETH and sending him backwards . Before Tomlin has time to rec9ver , Ryan swings again . CRACK ! - And his KNEE CAP is obliterated . Ryan , looking like a psychotic Babe Ruth , gives Tomlin two more vicious WHACKS before grabbing his cellphone and high - tailing it out of there .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KIDNAPPERS' VAN - NIGHT<\/stage_direction>\n    <scene_description>HODGES - has no luck on the walkie .<\/scene_description>\n    <character>HODGES<\/character>\n    <dialogue>Tomlin? Anyone copy?<\/dialogue>\n    <scene_description>Jessica , cuffed from behind , covertly wriggles the handcuffs under her ass toward her feet . Ricky , terrified , screams `` no '' with his eyes . But she knows she 's out of time .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA MONICA BEACH - NIGHT<\/stage_direction>\n    <scene_description>RYAN - losing blood , he does his best to move quickly through the sand . He stumbles , but regains his footing as he makes his way towards the STAIRS LEADING UP TO THE PIER .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAROUSEL ROOF - NIGHT<\/stage_direction>\n    <scene_description>ELLIS - still on the roof , scans the pier . POV - THROUGH ELLIS ' SNIPER SCOPE Hodges locates Ryan emerging from the stairs .<\/scene_description>\n    <character>ELLIS<\/character>\n    <dialogue>Got him. He's in the parking lot.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KIDNAPPERS' VAN - NIGHT<\/stage_direction>\n    <scene_description>HODGES - listening intently to the walkie .<\/scene_description>\n    <character>ELLIS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I've got a clean shot.<\/dialogue>\n    <character>GREEK<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>No! We do n't have the DVD. Just hold his location. Hodges, parking lot now!<\/dialogue>\n    <scene_description>Just as Hodges reaches for the door handle - Jessica wraps her cuffs around his throat , throws her legs against the back of his seat and pulls like her life depended on it . Hodges chokes , flails , digs , and claws at the cuffs , but his fingertips are no match for Jessica 's muscular legs .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Ricky run! Find help!<\/dialogue>\n    <scene_description>Ricky 's paralyzed with fear .<\/scene_description>\n    <character>JESSICA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>RUN!<\/dialogue>\n    <scene_description>Ricky bolts from the car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA MONICA PIER - BRIDGE - NIGHT<\/stage_direction>\n    <scene_description>POLICE CRUISERS race down the pier bridge , desperately trying to avoid the fleeing crowd .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KIDNAPPERS' VAN - NIGHT<\/stage_direction>\n    <scene_description>JESSICA - finishes squeezing the last bit of life out of Hodges . She finally exits the van , but not before grabbing the WALKIE TALKIE and GUN .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - NIGHT<\/stage_direction>\n    <scene_description>RYAN - sneaking his way through parked cars , heads in the direction of the Police Cruisers on the bridge .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAROUSEL - NIGHT<\/stage_direction>\n    <scene_description>MOONEY - scanning the pier for Ryan , hears -<\/scene_description>\n    <character>ELLIS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>He's heading for the cops. We should do it now.<\/dialogue>\n    <scene_description>Mooney looks to the roof of the carousel and sees Ellis .<\/scene_description>\n    <character>MOONEY<\/character>\n    <dialogue>`` Freeze! Drop your weapon!<\/dialogue>\n    <scene_description>Ellis quickly swings his rifle and - BAM ! Mooney shoots Ellis in the head , causing him to slide off the carousel roof .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - NIGHT<\/stage_direction>\n    <scene_description>RYAN - stopping in his tracks , looks in the direction of the gun shot . He turns around only to find - A PISTOL pointed right at his face - Greer 's pistol . He PUSHES Ryan behind a SUV so as not to be seen by the cops .<\/scene_description>\n    <character>GREEK<\/character>\n    <dialogue>No more bullshit! Just give me the goddamn disc!<\/dialogue>\n    <scene_description>Ryan slowly unzips his front jacket pocket and removes the DVD . Greer snatches it and SMASHES it to pieces . Fragments fall through the cracks in the pier , to the ocean below . Ryan , pale as ghost , knows he 's seconds from meeting his maker .<\/scene_description>\n    <character>GREER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>This is about to be the most enjoyable part of an extremely shitty day.<\/dialogue>\n    <scene_description>And just as he 's about to pull the trigger - BLAM ! Jessica fires a WARNING SHOT . Greer -LRB- startled , spins around to see Jessica pointing Hodges ' gun in his face .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Tell me why I should n't kill you.<\/dialogue>\n    <scene_description>For the first time , Greer actually looks frightened . Recognizing the homicidal look in her eyes , he SPUTTERS , but nothing comes out . Ryan , weak and pale with blood loss , looks up at his guardian angel .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Jess. Jessica? Do n't.<\/dialogue>\n    <scene_description>Jessica trembles with rage , a tear falls .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>I. I have to.<\/dialogue>\n    <character>MOONEY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Lower the weapon, Jessica.<\/dialogue>\n    <scene_description>Jessica looks behind her and sees Mooney , surrounded by EIGHT POLICE OFFICERS .<\/scene_description>\n    <character>MOONEY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( trying to reason with her . )<\/parenthetical>\n    <dialogue>Ricky's safe. It's all going to be okay. Put it down.<\/dialogue>\n    <scene_description>Jessica slowly lowers the gun and looks into Ryan 's face .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Thank you for keeping your promise.<\/dialogue>\n    <scene_description>As the cops move in and drag Greer to his feet , Ryan calls out to him .<\/scene_description>\n    <character>RYAN<\/character>\n    <dialogue>Hey man, your shitty day is about to get a whole lot shittier.<\/dialogue>\n    <scene_description>Ryan flips open his phone and on the SCREEN plays the SECURITY FOOTAGE of the murder in the parking lot . We see that Ryan must 've copied the DVD with his videophone .<\/scene_description>\n    <character>RYAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Ai n't that a bitch?<\/dialogue>\n    <scene_description>And through the tears , Jessica manages a laugh . A small one . But enough to let us know everything 's going to be okay . And as we PULL BACK on the scene -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL DAYROOM - NIGHT<\/stage_direction>\n    <scene_description>The ECU OF A TELEVISION SCREEN showing an aerial shot of the Santa Monica Pier . PULL OUT to reveal - CHLOE AND RYAN , sitting in a hospital dayroom , engrossed in the NEWS REPORT that plays in the far corner of the room . Ryan 's shoulder has now been BANDAGED , his arm 's in a sling .<\/scene_description>\n    <character>NEWS ANCHOR<\/character>\n    <dialogue>The Santa Monica Pier was the latest setting in the ongoing 23rd Precinct corruption scandal. Ryan Ackerman, a local resident, risked his life to save a family kidnapped by officers to cover up.<\/dialogue>\n    <scene_description>Chloe strokes Ryan 's scalp with her fingers .<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>`` How does it feel to be a hero?<\/dialogue>\n    <character>RYAN<\/character>\n    <parenthetical>( re : his wounds . )<\/parenthetical>\n    <dialogue>It hurts. But you're making it way better. I'm just glad it's over.<\/dialogue>\n    <character>CHLOE<\/character>\n    <parenthetical>( smiling . )<\/parenthetical>\n    <dialogue>Modesty can be sexy.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>And to think this was our first date.<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>Next time, skip the shower.<\/dialogue>\n    <scene_description>In the background , Jessica and Ricky exit a hospital room and join the two lovebirds .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>Craig's very weak, but the doctors say it looks promising. He's probably going to have to walk with a cane, but that's the worst of it. I'm just thankful.<\/dialogue>\n    <scene_description>Chloe senses that Jessica and Ryan might need a moment alone .<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>Come on Ricky, let's get a hot chocolate.<\/dialogue>\n    <scene_description>A small smile forms on Ricky 's exhausted face . Chloe leads Ricky down the hall .<\/scene_description>\n    <character>JESSICA<\/character>\n    <dialogue>I ca n't believe I almost lost everything that means. I do n't know how I can ever thank you.<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>I do.<\/dialogue>\n    <parenthetical>( weak smile . )<\/parenthetical>\n    <dialogue>Do n't ever call me again.<\/dialogue>\n    <scene_description>A shared laugh , then as they turn to the television - ECU OF SECURITY FOOTAGE OF THE PARKING LOT MURDER A CELL PHONE RINGS on a nearby table . They turn to look at it , neither one apparently having any idea to whom it might belong . But this time , as we PULL BACK on the scene , we realize no one 's going to answer it . CUT TO BLACK .<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Jessica Martin (Kim Basinger), a high school biology teacher, takes her son Ricky to the bus stop for school. After she returns home, several men break into her house and kill her housekeeper. The men kidnap Jessica and confine her in the attic of their safe house. Ethan Greer (Jason Statham), the group leader, smashes the landline telephone hanging on one of the beams in the attic. Jessica uses the wires of the broken phone and contacts the random number of the cellphone, Nokia 6600 belonging to Ryan (Chris Evans), a carefree young man who has just been dumped by his girlfriend, Chloe, (Jessica Biel). Jessica persuades Ryan to go to the police station, where he reports to Sergeant Bob Mooney (William H. Macy). When a fight between several police officers and apprehended gang members breaks out, Mooney is forced to intervene and tells Ryan to report the kidnapping to the robbery-homicide division. When Jessica denies knowledge of information Ethan wants, he leaves to get Ricky. Overhearing them, Ryan gets to Ricky's school, only to see the boy kidnapped. He hijacks a security officer's car and gives chase. When his phone battery runs out, he takes the gun in the car, holds up a store and demands a charger. Deciding to check on Ryan's kidnapping claim, Mooney visits Jessica's house. He meets Dana Bayback (Valerie Cruz), the kidnappers' accomplice, posing as Jessica. Believing the claim is a false alarm, Mooney leaves. With Ricky in tow, Ethan returns and asks Jessica about a place her husband Craig mentioned, \"The Left Field\", and Jessica confesses that it is a bar at the Los Angeles International Airport. A cross-connection between phone lines causes Ryan to rob a nearby lawyer's cellphone and car to maintain connection. At the airport, Ryan plants the gun on one of the kidnappers, triggering the alarm. When security intervenes, the kidnappers are revealed to be police officers and they proceed to apprehend Craig. After viewing a news report of Ryan holding up a store for a charger, Mooney calls Jessica's home. He notices the voice on the answering machine is different from that of the woman he met. The kidnappers escort Craig to his safe deposit box at a bank to retrieve a bag. Ryan intervenes and flees with the bag, but drops the lawyer's cellphone while being chased by the kidnappers. When Ryan opens Craig's bag, he finds Craig's video camera, on which Craig unintentionally filmed LAPD Detectives Ethan, Mad Dog, Dimitri, Bayback, Deason, and Jack Tanner (Noah Emmerich), robbing and murdering two drug dealers, marking them as dirty cops. Ryan steals the lawyer's car from the impound lot and retrieves his own cellphone. Mooney returns to the Martin residence, where he kills Bayback in self-defense when she shoots at him. Back at the safe house, Mad Dog learns that Jessica has been trying to contact help and attacks her. Jessica purposely cuts his brachial artery, and he bleeds to death in seconds. Before Jessica and Ricky can escape, Ethan's gang returns with Craig and are about to execute the family when Ryan contacts Ethan and makes a deal: the videotape in exchange for the Martin family at the Santa Monica Pier. At the pier, Ryan disguises himself but is inadvertently exposed by Chloe. Tanner sends Mooney away for medical attention, arrests Ryan and brings him to Ethan. Ethan destroys the videotape, and Tanner radios the order to execute the Martins; however, Mooney overhears the transmission. Ryan escapes, following a distraction by his friend Chad. Mooney overpowers Dimitri and handcuffs him, then returns to the pier. Tanner and Ethan confront Ryan in a boathouse where Ryan knocks out Tanner. Ethan tries to kill Ryan, but Mooney shows up. After a brief chase, Ryan notices Ethan has circled behind Mooney and calls Ethan's cell phone. The phone's ring betrays Ethan's position, and Mooney shoots him. Jessica strangles Deason with her handcuff chain in the van, then frees her husband and son. However, Deason was merely stunned and aims his gun at them. Ryan intervenes and slams Deason head in the car door.  While Ryan and Mooney are being treated by medics, Tanner is also exposed, because Ryan had copied the video recording onto his cellphone.  Jessica finally meets Ryan, the man who risked his life to save her family.  When she tells him she doesn't know how to thank him, Ryan humorously tells her to never call him again."}
{"movie_name":"Knight Moves_1992","imdb_id":"tt0104627","script":"<script>\n  <scene>\n    <scene_description>KNIGHT MOVES by Brad Mirman<\/scene_description>\n    <character>PROPERTY OF KNIGHT MOVES PRODUCTIONS<\/character>\n    <parenthetical>(third draft)<\/parenthetical>\n    <scene_description>FADE IN:<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>AUDITORIUM - 1972 - DAY<\/dialogue>\n    <scene_description>TWO BOYS sit on opposite sides of a chessboard. One is NINE, the other FOURTEEN. The room is SILENT, the tension between the two young players severe. All the ADULT PLAYERS that have been eliminated from this match by the two boys stand around watching. On the wall is a BANNER that reads: 1972 WASHINGTON STATE TOURNAMENT. The FOURTEEN year old moves and hits his TIMER. Frustration fills the NINE year old's face. He moves. The FOURTEEN year old moves and calls CHECK. The NINE year old frantically searches the board for a solution. He moves. Again the FOURTEEN year old moves and calls CHECK. The NINE year is stunned. He picks up his KING to lay it on it's side and signal defeat. Suddenly, he rakes the pieces off the board, grabs his fountain pen and lunges at the FOURTEEN year old, stabbing him repeatedly in the chest. They fall to the floor. The ADULTS try to pull them apart. The NINE year old struggles ferociously, SCREAMING and kicking like a mad man.<\/scene_description>\n    <character>INT.<\/character>\n    <dialogue>HOSPITAL WARD - 1972 - DUSK<\/dialogue>\n    <scene_description>In the b.g. we see the Nine year old Boy sleeping. A DOCTOR and the boy's FATHER, a hard-looking MAN in his forties, walk through the door. We MOVE with them down the hall.<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>The pressures and demands players with your son's abilities put on themselves to win are incredible. The stress and tension are difficult enough for adults to handle, yet alone a nine year old.<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>I can't afford to keep him in here forever, you know.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>I'd just like to keep him here over<\/dialogue>\n    <scene_description>night, then start sessions with a child psychologist.<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>I knew this would happen. This is his mother's doing. She's not strict enough with him. I work all day. She lays in bed drunk and the boy does whatever he wants.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>After he's released it's crucial that he's supervised. The most important thing is that during his treatment he's not allowed anywhere near a chessboard.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE, BACKYARD - 1972 - DUSK<\/stage_direction>\n    <scene_description>A small, tract home. The Boy sits on the ground, drawing in the dirt with a stick. He does not notice as his Father walks up and stands behind him.<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <scene_description>The Boy is startled. He stands up quickly. In the DIRT we see he has drawn a CHESSBOARD.<\/scene_description>\n    <character>BOY<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <scene_description>The Father SLAPS him across the face.<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>Don't lie to me! What did the doctor's tell you about playing chess! Get in the house!<\/dialogue>\n    <scene_description>The Father drags his foot across the dirt, erasing the board.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - 1972 - NIGHT<\/stage_direction>\n    <scene_description>The Boy is sitting on his bed. In the b.g. we HEAR the VOICES of his PARENTS.<\/scene_description>\n    <character>FATHER (OS)<\/character>\n    <dialogue>I've had it! I've got a drunk for a wife and a lunatic for a son. I don't need this shit anymore!<\/dialogue>\n    <scene_description>We HEAR FOOTSTEPS.<\/scene_description>\n    <character>FATHER (OS)<\/character>\n    <dialogue>You're crazy! Both of you.<\/dialogue>\n    <scene_description>We HEAR a DOOR SLAM. The Boy shows no sign of emotion.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY BLACK SCREEN - NIGHT<\/stage_direction>\n    <scene_description>All is quiet except for a faint DRIPPING SOUND. A door is slowly opened. Light streaks out into a hallway. We see the NINE year old. He is barefoot and wearing pajamas. He looks up. Drops of BLOOD drip from a crack in the ceiling above. The Boy moves towards a staircase at the end of the hall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - 1972 - NIGHT<\/stage_direction>\n    <scene_description>The Boy enters, takes a few steps into the room and stops. He stares ahead blankly. HIS POV: WOMAN'S ARM - CLOSE SHOT The arm hangs off the bed, blood flows out of a deep gash in her wrist and pools on the floor. The CAMERA moves up the arm. A WOMAN in her forties lays in bed. The blood flows from her other wrist, soaking into the mattress. Her eyes are closed, head titled away from him. The Boy shows no sign of emotion. He walks over to the nightstand and starts to open her purse. There is a MOAN from the WOMAN as she opens her eyes and turns her head toward the boy. They lock eyes for a moment, then slowly, her eyes close. The boy removes a key from the purse and walks to a dresser. He unlocks a drawer and removes a box, then leaves the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - 1972 - NIGHT<\/stage_direction>\n    <scene_description>The Boy walks over to the table with a glass of MILK and COOKIES. He sits down, his feet dangling from the chair and opens the box. Inside is a CHESSBOARD and PIECES. He removes them, sets up the board and starts to play. CLOSE ON CHESSBOARD: The CAMERA moves from one side of the board to the other, weaving through the chess pieces, then PULLS BACK over the heads of the AUDIENCE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - PRESENT DAY - NIGHT<\/stage_direction>\n    <scene_description>&gt;From the rear of the room, over the HEADS of the AUDIENCE, we see THREE TABLES on stage. A large board of the game is presented on the wall behind each table. CLOSE SHOT - PLAYER'S EYES: We cut back and forth. Deep, probing eyes, intensely focused and determined. CLOSE ON THE CLOCK: It ticks methodically, and is the only sound we hear. THE AUDIENCE: watches with anticipation, their eyes locked on the viewing board. PETER SANDERSON sits on one side of the board. He is a handsome man, in his early thirties. Well-dressed in an expensive suit, there is an air of confidence about him. Peter makes a move, then hits the timer. Peter's opponent, GRANDMASTER LUTZ, a quirky-looking little man in his fifties makes a tentative move. JEREMY EDMONDS, Peter's trainer, a distinguished-looking man in his fifties, watches from his WHEELCHAIR. He grins and nods his head, knowing that Peter has got the game. Lutz studies the board, makes a move, then hits his timer. Peter moves, then hits his timer. He is in control. Frustration shows on Lutz's face. He surveys the board, then slowly reaches over and lifts up his KING and lays it on it's side signaling defeat. Peter stands, shakes his hand, waves to the crowd, then leaves the stage.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>A NEWSCASTER is positioned by the stage door.<\/scene_description>\n    <character>NEWSCASTER<\/character>\n    <dialogue>Today concludes the second week of competition in this round-robin candidates tournament. Each of the players will play four games against the other and the winner will earn the right to play for the world title next year.<\/dialogue>\n    <scene_description>Peter walks through the doorway and down the hall, accepting congratulations. Jeremy wheels himself along side of him.<\/scene_description>\n    <character>NEWSCASTER<\/character>\n    <dialogue>But the big story is the amazing comeback of Peter Sanderson who is currently leading the tournament. America's best hope since Bobby Fischer, Sanderson stunned the chess world three years ago when he walked out in the middle of last candidates tournament while leading by three games and forfeited the match to Viktor Yurilivich who is only two games behind Sanderson in this match.<\/dialogue>\n    <scene_description>Peter stops to sign a few autographs. A young attractive WOMAN in her twenties walks over to Peter. She is wearing a CHESS FEDERATION BLAZER and a NAME TAG identifying her as DEBI RUTLEGE.<\/scene_description>\n    <character>DEBI<\/character>\n    <dialogue>Mister Sanderson, here is your schedule for tomorrow.<\/dialogue>\n    <scene_description>Peter takes it. They lock eyes. She smiles at him. A REPORTER sticks a MICROPHONE in Peter's face.<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>Peter, could we have a moment please?<\/dialogue>\n    <scene_description>The moment is broken, as ERICA SANDERSON, Peter's daughter, a bright-faced ten year rushes up to him and hugs him.<\/scene_description>\n    <character>ERICA<\/character>\n    <dialogue>Congratulations, dad.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(to the press)<\/parenthetical>\n    <dialogue>My cheering section.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETER'S HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Peter sits across a CHESSBOARD from Jeremy, who has just finished making an opening move.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>You opened with the English. Lutz won't use it. He opened his first game with it.<\/dialogue>\n    <character>JEREMY<\/character>\n    <dialogue>He knows you're aware of that.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Then I'll transpose.<\/dialogue>\n    <character>JEREMY<\/character>\n    <dialogue>On a variation, yes -- but it must be a variation that is unique.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I suppose you have something in mind?<\/dialogue>\n    <scene_description>Peter gets up and begins to pace.<\/scene_description>\n    <character>JEREMY<\/character>\n    <parenthetical>(quickly moving the pieces)<\/parenthetical>\n    <dialogue>At this point you'll move Bishop to e4. He'll capture your Knight e6. Rook to b5, begins his counterplay. D6 takes your Rook, your advantage is lost -- but watch -- Queen f5 check. He takes your Knight -- Now, Rook to d3 -- he's finished.<\/dialogue>\n    <scene_description>There is a KNOCK on the door and a MESSAGE is slipped under. Peter picks it up.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>It's a good play, but risky.<\/dialogue>\n    <character>JEREMY<\/character>\n    <dialogue>You don't win by playing it safe, Peter.<\/dialogue>\n    <scene_description>Peter opens the MESSAGE and reads it. Erica appears in the doorway to her room.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>What are you doing up?<\/dialogue>\n    <character>ERICA<\/character>\n    <dialogue>I can't sleep. My beds lumpy.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I see. You forgot to bring you're night-light, didn't you?<\/dialogue>\n    <character>ERICA<\/character>\n    <dialogue>That has nothing to do with it.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You want to sleep in my bed tonight?<\/dialogue>\n    <character>ERICA<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>JEREMY<\/character>\n    <dialogue>I'll tuck you in.<\/dialogue>\n    <scene_description>Erica kisses Peter, then runs into his room. Jeremy wheels after her.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Jeremy, have someone pick up a night- light tomorrow.<\/dialogue>\n    <scene_description>Jeremy nods and leaves the room. Peter picks up the phone and dials.<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Debi..?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBI'S APARTMENT, BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Peter and Debi move passionately on the bed, their bodies moving rhythmically. Peter pulls her up to a sitting position, guiding her up and down as he runs his lips sensually over her breasts. She arches her back, MOANING softly as she gives way to her pleasure.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEBI'S HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Peter kisses Debi goodbye. He walks off and she closes the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBI'S BATHROOM - LATER - NIGHT<\/stage_direction>\n    <scene_description>Debi is soaking in the bath. The DOORBELL RINGS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBI'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Debi slips on a ROBE as she walks to the door.<\/scene_description>\n    <character>DEBI<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>MAN'S VOICE<\/character>\n    <parenthetical>(static; barely audible)<\/parenthetical>\n    <dialogue>It's me. I forgot something.<\/dialogue>\n    <scene_description>She smiles and pushes the button, then opens the door, leaving it ajar, and walks out of the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBI'S BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>Debi quickly fixes her face, grins and leaves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBI'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>It is dark. She enters and tries the light switch. It doesn't work.<\/scene_description>\n    <character>DEBI<\/character>\n    <dialogue>Very funny.<\/dialogue>\n    <scene_description>CLOSE ON DEBI: She senses something is very wrong. She turns around slowly, her eyes squinting to see through the darkness. Suddenly, terror fills her face as a FLASH of BRIGHT LIGHT fills the screen.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FERRY LANDING - MORNING<\/stage_direction>\n    <scene_description>Quaint and charming. Boats bob lazily in the water. TOURISTS walk along the waterfront shops. ANDY WAGNER, a tough-looking cop in his twenties, smokes a cigarette as he waits on the dock. CHIEF OF POLICE, FRANK SEDMAN, walks towards him. He's a large, slightly over-weight man in his forties. He takes one last drag of a cigar, then crushes it out on the dock.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Sorry to ruin your trip to the city, but we got a real nut on our hands, Frank.<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>(all business)<\/parenthetical>\n    <dialogue>Run it down.<\/dialogue>\n    <scene_description>Frank starts to walk. Andy follows.<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>(looking at note-pad)<\/parenthetical>\n    <dialogue>Debi Rutlege. Female. Caucasian. Twenty four. Worked over at the Four Oaks Hotel.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Local?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>No. She just moved here last month from Portland.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEBI'S APARTMENT BUILDING - MORNING<\/stage_direction>\n    <scene_description>Several BLACK and WHITE units are in front of the building. Uniformed OFFICERS keep back a CROWD of onlookers. A CAR drives up and stops in front of the building. Frank and Andy get out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBI'S LIVING ROOM - MORNING<\/stage_direction>\n    <scene_description>The room is filled with FORENSIC TEAM MEMBERS along with UNIFORM OFFICERS. Frank enters with Andy. UNIFORMED OFFICERS are standing around talking.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>This isn't a party. Everybody that doesn't need to be here get out!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBI'S BEDROOM - MORNING<\/stage_direction>\n    <scene_description>Frank enters the room with Andy. He stops and stares at the sight before him. Debi Rutlege is laying on her bed. Her face is a deathly white and has been painted awkwardly with rouge and lipstick giving her a macabre appearance. She is draped in the sheet which is tucked tightly around her body, her hands folded carefully across her chest. Above the bed written in blood is REMEMBER.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>I moved out here from the city so I could get away from this kind of shit.<\/dialogue>\n    <scene_description>STEVE NOLAN, from the forensic team, who has been kneeling on the other side of the bed stands up.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Whaddaya got, Nolan?<\/dialogue>\n    <character>NOLAN<\/character>\n    <parenthetical>(continuing; holding up a plastic bag)<\/parenthetical>\n    <dialogue>Not much. There's no sign of a break in. I think she let him in.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>How long has she been dead?<\/dialogue>\n    <character>NOLAN<\/character>\n    <dialogue>Six, eight hours tops.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Any sign of rape?<\/dialogue>\n    <character>NOLAN<\/character>\n    <dialogue>Not that I can see. We'll know more once I get the lab reports back from Seattle.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>What she die of?<\/dialogue>\n    <scene_description>Nolan turns over her arms. There are deep gashes in each wrist.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>You think whoever did this wanted it to look like it was a suicide?<\/dialogue>\n    <character>NOLAN<\/character>\n    <dialogue>No. He would have taken more care not to the leave rope burns on her wrists. The way I got it figured is he tied her up, slit her wrists, then sat back and watched her bleed to death. But that's not the main thing. What's wrong with this picture?<\/dialogue>\n    <scene_description>A beat. Suddenly, Frank sees it.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>There's no blood. Where's the fuckin' blood?<\/dialogue>\n    <character>NOLAN<\/character>\n    <dialogue>Bingo.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEBI'S APARTMENT, COURTYARD - MORNING<\/stage_direction>\n    <scene_description>Frank and Andy walks across the yard.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Who found her?<\/dialogue>\n    <scene_description>Andy points to MISS GREENWELL, a middle-aged woman talking to a UNIFORMED OFFICER in the b.g.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>The landlady. Alice Greenwell. She came for the rent check. The door was ajar.<\/dialogue>\n    <scene_description>Frank walks over to Miss Greenwell.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Miss Greenwell, I'm Captain Sedman. Did Miss Rutlege have a boyfriend?<\/dialogue>\n    <character>MISS GREENWELL<\/character>\n    <dialogue>I guess so.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>What do you mean, you guess so?<\/dialogue>\n    <character>MISS GREENWELL<\/character>\n    <dialogue>I know she had company last night.<\/dialogue>\n    <parenthetical>(confidentially)<\/parenthetical>\n    <dialogue>A man.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>How do you know that?<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Well, her bedroom is on the other side of mine. The walls are very thin. I could hear them.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>What were they doing? Humping?<\/dialogue>\n    <character>MISS GREENWELL<\/character>\n    <dialogue>They were having sex, yes--<\/dialogue>\n    <scene_description>Andy grins.<\/scene_description>\n    <character>MISS GREENWELL<\/character>\n    <dialogue>-- not that I was intentionally listening -- but with the walls being so thin--<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I understand. Thank you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - AFTERNOON<\/stage_direction>\n    <scene_description>Frank and Andy stand before several UNIFORMED OFFICERS.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>First of all, I'd like to say that a lot of us haven't got to know each other since I replaced Captain Waters last month. A lot of you think that I'm an outsider who came over and took away a job that should have gone to a local... but that's the way it worked out. So, all I can say is tough shit. You want to bitch about it, that's fine -- but you will tow the line in my department. That means the next time an Officer is responding to a homicide call he seals off the crime scene and nobody -- nobody but but Detective Wagner and I go in.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>Also, if anyone talks about the message on the wall or the blood I'll personally cut their balls off with a butter knife.<\/dialogue>\n    <parenthetical>(to Andy)<\/parenthetical>\n    <dialogue>Get 'em going - then meet me at the car. We're going over to the hotel.<\/dialogue>\n    <scene_description>Frank heads to the door.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Campbell, you check with the FBI see if they got anything like this on file...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION, HALLWAY - AFTERNOON<\/stage_direction>\n    <scene_description>Frank steps into the hall and bumps into Nolan. They walk together.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Anything?<\/dialogue>\n    <character>NOLAN<\/character>\n    <dialogue>Not much. I don't think she was raped. There's no bruising, or any signs of trauma to the pelvic region -- and no trace of sperm which makes sense because she took a bath.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>What about prints?<\/dialogue>\n    <character>NOLAN<\/character>\n    <dialogue>No prints.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>You mean, no prints but hers?<\/dialogue>\n    <character>NOLAN<\/character>\n    <dialogue>No Frank. No prints.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETER'S LIVING ROOM - AFTERNOON<\/stage_direction>\n    <scene_description>Peter is sitting at a chessboard with Jeremy. Peter studies the board. There is a KNOCK on the door. Peter gets up and opens the door. Frank and Andy are outside.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Mister Sanderson? I'm Frank Sedman, Bainbridge P.D. and this is Detective Wagner. We'd like to ask you a few questions about Debi Rutlege.<\/dialogue>\n    <scene_description>Peter opens the door and they enter.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>I know you're busy so I'll get right to it. Did you know her?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Only in passing. To say hello to.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>I've talked to a few people who say you and her were... friendly?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Chess tournaments can be boring sometimes. People have a lot of free time. They like to gossip.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Could you tell me where you were last night?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Here. I played Gregory Lutz.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I know. You won two games against him and left the auditorium at eight forty five. Where did you go after that?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>To my room and then I went for a walk.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>By yourself?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Frank takes out a piece of paper from his jacket pocket.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>This is a printout from the hotel computer for all the messages logged to your room. Here's one at 9:04 pm. It says: From Debi. Please call me at home.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>She called to give me my schedule for tomorrow.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>What's interesting about it is you say you only knew her in passing. Yet, she says on her message for you to call her at home and she doesn't leave a number. That would imply you already knew the number.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I got it from the tournament directory.<\/dialogue>\n    <scene_description>Frank takes out a small book.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>There's no Debi Rutlege listed in the directory.<\/dialogue>\n    <scene_description>Peter's irritation starts to show. He opens a dresser drawer and removes a small book.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>You're looking in the general directory. The player's directory lists everyone connected to the tournament.<\/dialogue>\n    <scene_description>A beat. Frank and Peter have reached a stalemate.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>We seem to have a little problem here?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>What kind of problem?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>I think you're lying. That's what kind of problem.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>What are you saying?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>We're not saying anything right now. We're just trying to put a few pieces together.<\/dialogue>\n    <scene_description>Frank and Andy leave. Peter turns and stares at Jeremy.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL GROUNDS - AFTERNOON<\/stage_direction>\n    <scene_description>Frank and Andy walk along the grounds, heading back towards the main hotel.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>He's got an answer for everything, but he doesn't have an alibi.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>You think he's dirty?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I don't know, but I think you're right. He's lying.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - AFTERNOON<\/stage_direction>\n    <scene_description>On the stage is three tables each flanked by two chairs. Several CHESS OFFICIALS along with the PRESIDENT of the CHESS FEDERATION attend to the GRANDMASTERS at their respective boards. Peter sits in a chair and swivels back and forth.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I want another chair. This one killed me yesterday.<\/dialogue>\n    <parenthetical>(points to big board)<\/parenthetical>\n    <dialogue>Also, the pieces on the board move too slowly. I can see them out of the corner of my eye. Can they be sped up?<\/dialogue>\n    <character>PRESIDENT<\/character>\n    <dialogue>David?<\/dialogue>\n    <scene_description>DAVID WILLERMAN, a computer technician sits at a computer off to the side of the stage.<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>No problem. It's just a matter of adjusting the response time.<\/dialogue>\n    <scene_description>He taps in a few commands on the keyboard. We see a piece quickly move across the board.<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>That should do it.<\/dialogue>\n    <scene_description>Grandmaster Lutz walks over and stands by the board.<\/scene_description>\n    <character>GRANDMASTER LUTZ<\/character>\n    <dialogue>You're acting like a superstitious schoolboy, Peter. What's next? Incense and rosary beads?<\/dialogue>\n    <character>PRESIDENT<\/character>\n    <parenthetical>(points to a chair)<\/parenthetical>\n    <dialogue>Grandmaster Lutz, you'll be sitting here for your next match.<\/dialogue>\n    <character>GRANDMASTER LUTZ<\/character>\n    <dialogue>Oh no -- no, I can't sit there. I must be facing North. My power comes from the North.<\/dialogue>\n    <scene_description>Peter smiles and starts to walk off stage. VIKTOR YURILIVICH, a tall, slender man in his forties, walks on stage. The two men stand face to face, their eyes locked on each other.<\/scene_description>\n    <character>YURILIVICH<\/character>\n    <dialogue>Hello, Peter. You played an interesting game last night. Even though sacrificing your Queen at b-5 is the game I played against Valsney in<\/dialogue>\n    <dialogue>'82. I'm glad it helped you.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I'm sure you are.<\/dialogue>\n    <character>YURILIVICH<\/character>\n    <dialogue>No, I want you to do good. That way when I beat you at the end I'll look that much better.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You're getting sloppy, Yurilivich. You're nervous?<\/dialogue>\n    <character>YURILIVICH<\/character>\n    <dialogue>I'm not nervous.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Well, you should be, because this time I'm going to win.<\/dialogue>\n    <character>YURILIVICH<\/character>\n    <dialogue>Well, then this time you'll have to stay for the whole match, won't you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL TERRACE - AFTERNOON<\/stage_direction>\n    <scene_description>Peter sits at a table across from Erica. They play a game of checkers as they eat their ice cream. Peter is grinning.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Who told you that?<\/dialogue>\n    <character>ERICA<\/character>\n    <dialogue>Mrs. Lutz. She also told me that Mr. Lutz goes to a medium to try and contact great Grandmasters in the spirit world.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Has he gotten through to any?<\/dialogue>\n    <character>ERICA<\/character>\n    <dialogue>No, but he did contact a dead parcheesi champion from Ohio.<\/dialogue>\n    <scene_description>They both LAUGH. A WAITER comes over with a CORDLESS PHONE.<\/scene_description>\n    <character>WAITER<\/character>\n    <dialogue>There's a call for you Mister Sanderson.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>The \"CALLERS\" VOICE we HEAR is FILTERED through some type of electronic devise that alters the voice. It is low, resonant, with a macabre quality to it.<\/scene_description>\n    <character>CALLER (OS)<\/character>\n    <dialogue>Hello, Peter.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Who is this?<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>Someone who's going to become an important part of your life.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>I want to play a game with you.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I haven't got time for this.<\/dialogue>\n    <scene_description>Peter starts to hang up, when...<\/scene_description>\n    <character>CALLER (OS)<\/character>\n    <dialogue>You had time for Debi.<\/dialogue>\n    <scene_description>Peter freezes.<\/scene_description>\n    <character>CALLER (OS)<\/character>\n    <dialogue>Don't worry, I wiped off all your prints.<\/dialogue>\n    <scene_description>Peter slowly lowers the phone back on the cradle. He is visibly shaken.<\/scene_description>\n    <character>ERICA<\/character>\n    <dialogue>What is it, dad?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Nothing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY - AFTERNOON<\/stage_direction>\n    <scene_description>As Peter walks across the room the DESK CLERK calls out to him.<\/scene_description>\n    <character>DESK CLERK<\/character>\n    <dialogue>Mister Sanderson, there's message for you.<\/dialogue>\n    <scene_description>Peter walks over to the desk. The Clerk hands him an envelope. Peters walks away and starts to open it. CLOSE SHOT: The back of a POLAROID PHOTOGRAPH. Letters have been clipped out of a magazine and spell out a message: THE GAME HAS BEGUN. WILL CALL AGAIN TOMORROW AT ELEVEN. The photograph is turned over. It is a shot of DEBI RUTLEGE exactly as the police found her. The word REMEMBER written on the wall. Peter slides the picture back into the envelope, thinks for a moment, then looks at the DESK CLERK.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Get me the police.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETER'S ROOM - AFTERNOON<\/stage_direction>\n    <scene_description>Peter is with Frank and Andy.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Why didn't you tell us you were there earlier?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I don't know. I was afraid there'd be hours of questions. I can't afford to miss a game.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>We wouldn't want someone's death to interfere with your games.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>What was your relationship with her?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Casual.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Casual? You were boning her weren't you?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>It wasn't serious. What's your problem?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>You are! I don't like you.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Fine, don't ask me out on a date.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Don't worry I won't. I've seen how your dates end up.<\/dialogue>\n    <scene_description>Peter takes a step towards Andy. They both square off.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Take it easy. Both of you.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>I'm sorry, this is just too convenient.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>What's that supposed to mean?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>It means, if I were a killer and I thought the police were closing in on me I might invent someone to try and put them off the scent.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>That's crazy! Why would I draw attention to myself like that?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>You like to play games, don't you, Peter?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>He says on the photo he'll call tomorrow at eleven. Why not come back then and listen for yourself.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Oh, we'll be back. You can bet on it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - AFTERNOON<\/stage_direction>\n    <scene_description>Peter sits across from GRANDMASTER LUTZ. He looks over a few tables and stares at Yurilivich. Meanwhile, Lutz takes out a compass. He checks his reading then starts shifting the board slightly. Peter looks at him.<\/scene_description>\n    <character>LUTZ<\/character>\n    <dialogue>Do you mind?<\/dialogue>\n    <scene_description>Peter shrugs his shoulders indicating he doesn't. The President walks over to Peter's table and starts his timer. Peter makes a move.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAINBRIDGE INSTITUTE - DUSK<\/stage_direction>\n    <scene_description>Frank and Andy sit at a table with DOCTOR ALAN FULTON. A tall, thin man in his fifties. Doctor Fulton studies the photographs, then looks up at Frank.<\/scene_description>\n    <character>DOCTOR FULTON<\/character>\n    <dialogue>You must understand that this is not my field?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>It ain't mine either but I can tell this guy's crazy. That's your business ain't it, doc? You deal with crazy people.<\/dialogue>\n    <character>DOCTOR FULTON<\/character>\n    <dialogue>I deal with people with problems... and there are all different types of problems.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Doctor Fulton, we don't have a budget out here like Seattle. We can't afford to hire outside Psychological help. I'll take whatever you can give me.<\/dialogue>\n    <character>DOCTOR FULTON<\/character>\n    <dialogue>Well, he appears to be acting out some kind of fantasy. We're talking about a deeply disturbed person.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>No shit!<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Could someone this disturbed give the appearance of being normal?<\/dialogue>\n    <character>DOCTOR FULTON<\/character>\n    <dialogue>Absolutely.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>We've got a suspect but no hard evidence. If you met him do you think you could tell?<\/dialogue>\n    <character>DOCTOR FULTON<\/character>\n    <dialogue>Tell what?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>If he's crazy?<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>(askance at Andy)<\/parenthetical>\n    <dialogue>If he's... disturbed.<\/dialogue>\n    <character>DOCTOR FULTON<\/character>\n    <dialogue>It's possible, but not likely. There's only one opinion I can offer with any certainty.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>He's going to kill again.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL GYM - NIGHT<\/stage_direction>\n    <scene_description>Peter is on the bench press straining to finish his set. Although he is clearly tired, it's a battle of will over muscle. Although his face is red, veins bugling, he does his three last presses, then replaces the bar. He sits up and buries his face in his towel. When he looks up he sees... KATHY SHEPPARD, a beautiful woman in her twenties is standing against the wall, her eyes on him. Peter smiles at her. She smiles back, then walks out of the room. Peter lays back down and starts another set.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEAM ROOM - NIGHT<\/stage_direction>\n    <scene_description>Peter enters, a towel wrapped around his waist. He takes a few steps into the room, then stops when he sees Kathy through the steam.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Sorry. I thought it was empty.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>It's alright.<\/dialogue>\n    <scene_description>Peter sits down a few feet from her. Steam swirls through the room. Kathy's eyes drift over to him. HER POV: Beads of sweat roll down his chest and stomach. Peter looks over at her, their eyes meet. She looks away. Peter closes his eyes and takes a few deep, meditative breaths. Kathy looks over at him again. As if sensing he is being watched Peter opens his eyes. A beat. Their eyes linger on each others.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Is this your first time here?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I love this hotel. I stay here every time I visit my parents.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>How come you don't stay with them?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Because I love them, but they drive me crazy. You know how parents are?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>No. I don't.<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Are you with the tournament?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Uh huh.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Are you one of the players?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I've always wanted to learn how to play chess. I don't have the patience for it. When did you start playing?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>When I was very young.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>It seems like such a complicated game.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Not really. You see your goal and you go after it. Anything that gets in the way is an obstacle and must be destroyed.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Sounds very violent.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Chess is a reflection of life. Life is violent. The strong win. The weak perish.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>--but you enjoy being the stronger one? You like the control.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>If you're asking me if I'm passionate about what I do, the answer is yes. Without passion, nothing moves us. What's your passion?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>That's a very personal question.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I see. This is going to be a very polite conversation. What shall we discuss? The weather? Movies?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Are you disappointed that I won't answer you?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I had just hoped there would be more substance to the conversation.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I thought opening too quickly was a fatal mistake in chess.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(grinning)<\/parenthetical>\n    <dialogue>It is.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Do you always open quickly?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Are we talking about me, or chess?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>You.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Each circumstance requires a different tactic.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Well, I hope you remember that tomorrow when you play Krikorian.<\/dialogue>\n    <scene_description>Peter stares at Kathy for a moment. She's made a mistake and she knows it. She stands up.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Well, I think I've had enough.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Getting too hot in here for you?<\/dialogue>\n    <scene_description>She feigns a smile and starts towards the door. Suddenly, his hand shoots out, grabbing her arm. She freezes. Peter stands up, his body trapping her between him and door, his lips almost touching her ear.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>What are you looking for?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Nothing. I just came in for a steam.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>No you didn't.<\/dialogue>\n    <scene_description>He spins her around. They are face to face.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>What are you? A reporter? Just how far were you going to go?<\/dialogue>\n    <scene_description>A beat. Peter lets her go and backs off. She opens the door and leaves. Peter smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL - NIGHT<\/stage_direction>\n    <scene_description>Kathy walks across the grounds. Frank catches up with her and walks along side.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Well?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Well what? I told you this was a stupid idea. You can't learn anything from someone in a few minutes.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>You didn't pick up any vibes from the guy?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I'm a psychologist, Frank... not a psychic. What's this all about anyway?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>What did Dr. Fulton tell you?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Only that you wanted someone from the institute to talk to Sanderson for some case you're working on. What'd he do?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>We're not sure.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>What do you think he did?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>We think he could be a suspect in a murder investigation.<\/dialogue>\n    <scene_description>Kathy stops dead in her tracks and stares at him.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>The girl that was killed last night?<\/dialogue>\n    <scene_description>Frank's silence tells her she's right. She stares at him for a moment, then walks off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOCTOR FULTON'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Kathy is BANGING loudly on the front door. A moment later it is answered by Dr. Fulton. In the b.g a DINNER PARTY is going on.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOCTOR FULTON'S STUDY - NIGHT<\/stage_direction>\n    <scene_description>Dr. Fulton sits on the couch. Kathy paces the room.<\/scene_description>\n    <character>DOCTOR FULTON<\/character>\n    <dialogue>You might not have done it had you known.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>You're damn right! I'm a child psychologist and you send me into a room with someone who could be a murderer!<\/dialogue>\n    <character>DOCTOR FULTON<\/character>\n    <dialogue>Would you mind keeping your voice down? I have guests.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Oh, well we wouldn't want to disturb your guests, would we?<\/dialogue>\n    <character>DOCTOR FULTON<\/character>\n    <dialogue>The police came to me for help. What could I do?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>You could have been honest with me for starters. We work together. I have to be able to trust you.<\/dialogue>\n    <character>DOCTOR FULTON<\/character>\n    <parenthetical>(checks his watch)<\/parenthetical>\n    <dialogue>I admit I handled it badly. Sanderson wasn't going to talk to me... but you're young, attractive--<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>--the same type as the girl who got killed. Jesus, Alan, the guy could be<\/dialogue>\n    <dialogue>a psychopath.<\/dialogue>\n    <character>DOCTOR FULTON<\/character>\n    <dialogue>They asked who would be best suited for this and you--<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Don't patronize me! You sent me into a potentially dangerous situation and didn't warn me!<\/dialogue>\n    <scene_description>She walks to the door and opens it.<\/scene_description>\n    <character>DOCTOR FULTON<\/character>\n    <dialogue>It worked out alright, didn't it?<\/dialogue>\n    <character>KATHY<\/character>\n    <parenthetical>(loudly)<\/parenthetical>\n    <dialogue>Fuck off!<\/dialogue>\n    <scene_description>All the GUESTS are sitting at the dinner table, eating soup. They stare at Kathy. Fulton.<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>(to the guests)<\/parenthetical>\n    <dialogue>That's what I would have said to the chef if I caught him shaving over the soup.<\/dialogue>\n    <scene_description>She walks out. Slowly, several of the GUESTS lower the soup spoons and push their bowls away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE, LOBBY - NIGHT<\/stage_direction>\n    <scene_description>The LOBBY appears empty. One of the office doors opens and CHRISTIE EASTMAN, A young, attractive woman, comes out carrying a stack of files. She walks out of the lobby, LOCKING the door behind her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR - NIGHT<\/stage_direction>\n    <scene_description>As the car descends, Christie looks through one of the files. She turns a page and the file falls to the floor. She bends down to pick it up. As she does the elevator stops and the doors open. A pair of black boots stand before her. She looks up to see a MAN in his fifties. He smiles and gets in. The doors close and the car starts down again. Christie stares at the floor indicator, somewhat unnerved by the man's presence. The car stops at the lobby and the man gets out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - NIGHT<\/stage_direction>\n    <scene_description>Christie walks across the deserted parking lot towards her car. She HEARS a SOUND and stops and looks around. CHRISTIE'S POV: As her eyes scan the desolate parking lot, she sees nothing unusual. Christie starts to walk again. She arrives at her car, gets inside, then rolls down the window.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - NIGHT<\/stage_direction>\n    <scene_description>Christie starts the car, then takes out a cigarette from her pocket and lights it. She takes a deep drag, then looks into... CLOSE ON REAR VIEW MIRROR: From the back seat we see TWO DARK EYES staring at her from behind a PORCELAIN MASK. She turns around. Her face filled with fear. FLASH! The screen is filled with BRIGHT LIGHT.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAINBRIDGE INSTITUTE - MORNING<\/stage_direction>\n    <scene_description>A car drives up the gravel path and stops in front of the entrance. Frank gets out and walks towards the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OBSERVATION ROOM - MORNING<\/stage_direction>\n    <scene_description>Kathy is watching a young GIRL through a two-way mirror in the next room as she plays and interacts with dolls and toys. She makes a few notes, then the door opens and Frank walks in.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>I'm busy right now.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>It's important.<\/dialogue>\n    <scene_description>Kathy goes through a door into the observation room. Through the mirror we see her kneel down next to the girl and smile. She says something to her as she points to a door leading out of the room. The girl gives her a big hug. A moment later we see Frank join her in the room. He says something and they start to argue. Kathy points towards the door. CLOSE ON COMPUTER MONITOR: A chess program. A piece is moved. The screen reads: CHECKMATE! YOU WIN. PULL BACK.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETER'S HOTEL ROOM - MORNING<\/stage_direction>\n    <scene_description>Peter is at the computer. Jeremy sits beside him. Frank walks over to Andy who is with a TECHNICIAN setting up tracing equipment.<\/scene_description>\n    <character>TECHNICIAN<\/character>\n    <dialogue>We're all set.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>I still think this is a crock of shit.<\/dialogue>\n    <scene_description>There's a KNOCK at the door. Andy opens it. Kathy enters.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>I'm glad you could make it.<\/dialogue>\n    <scene_description>Peter looks at Frank, then Kathy with confusion.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Mister Sanderson, this is Doctor Sheppard. She's a psychologist helping us out.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>We've already met. Haven't we... Doctor.<\/dialogue>\n    <character>KATHY<\/character>\n    <parenthetical>(she smirks)<\/parenthetical>\n    <dialogue>I see you're still having problems with your openings.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>And this Jeremy--<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>--Edmonds. I know. You lost to Karpov in '82, didn't you?<\/dialogue>\n    <character>JEREMY<\/character>\n    <dialogue>Yes. However, that's not exactly how I prefer to be remembered.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>Well, I'm going to get out of your way. Peter, I'll see you this afternoon.<\/dialogue>\n    <scene_description>CLOSE ON ASHTRAY: A cigarette is snuffed out. PULL BACK. Andy finishes putting out his cigarette, then glances up at Peter who is pacing back and forth. Andy checks his watch.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Eleven oh six.<\/dialogue>\n    <scene_description>He looks at Peter with a grin. A beat as the two men stare at each other. The moment is broken as the PHONE RINGS LOUDLY. Peter's head snaps towards the phone.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Remember, try to keep him on as long as you can. Don't confront him. Let him answer the questions I gave you.<\/dialogue>\n    <scene_description>The Technician starts his tape machine and tracing equipment. Peter picks up his CORDLESS PHONE.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>We HEAR the CALLER'S distorted VOICE.<\/scene_description>\n    <character>CALLER (OS)<\/character>\n    <dialogue>Hello, Peter.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(stalling)<\/parenthetical>\n    <dialogue>Just a second.<\/dialogue>\n    <parenthetical>(a beat, then)<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>Very amateurish, Peter. I'm surprised you would use such an obvious tactic.<\/dialogue>\n    <parenthetical>(there is anger in his voice)<\/parenthetical>\n    <dialogue>I'm not an idiot! Don't treat me as one! I'll call you everyday... You get one minute, whether you put me on hold or talk is up to you! Are you ready to play?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Yes. Why did you kill Debi Rutlege?<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>To get your attention.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Did you know her?<\/dialogue>\n    <character>CALLER(OS)<\/character>\n    <dialogue>No, only the path she chose to travel.<\/dialogue>\n    <scene_description>Peter is trying to keep the conversation moving.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>And -- what path is that?<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>We all have paths to follow. You hope yours will lead you to me.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Why did you write remember on the wall?<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>That's something you'll have to figure out for yourself. Really, Peter, you can't expect me to answer such direct questions.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>You don't want to think and that's why I'll win! I'm already two points ahead.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>I did another one last night. You might have saved her, but you didn't want to play.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Where is she?<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>You'll find her.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>If you got something to say to me, just come out and say it!<\/dialogue>\n    <scene_description>Andy picks up the extension phone.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Where is she you sonofabitch!<\/dialogue>\n    <scene_description>There's a chuckle from the Caller.<\/scene_description>\n    <character>CALLER (OS)<\/character>\n    <dialogue>Ah... Detective Wagner. I'm sorry but you'll have to get off the line and go back to your tracing equipment. If I wanted to play the game with a moron I would have called you.<\/dialogue>\n    <scene_description>Frank angrily motions Andy to get off. Andy hangs up.<\/scene_description>\n    <character>CALLER (OS)<\/character>\n    <dialogue>I suppose you want to know where I'm going to kill tonight, Peter?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You're not going to tell me that.<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>\"Wee Willie Winkie runs through the town. Upstairs and downstairs in his nightgown. Crawling through the window. At the end of Miss Emma's street. Her God has gone and left his home. So her and I can meet.\"<\/dialogue>\n    <scene_description>The line goes dead. A beat. Everyone reflects on what they have just heard.<\/scene_description>\n    <character>FRANK<\/character>\n    <parenthetical>(to Andy)<\/parenthetical>\n    <dialogue>Are you out of your fuckin' mind picking up the phone!<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>(to Technician)<\/parenthetical>\n    <dialogue>Anything?<\/dialogue>\n    <character>TECHNICIAN<\/character>\n    <dialogue>Nothing. We'd have a better chance if we could tap in at the junction box.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Thanks Mister Sanderson.<\/dialogue>\n    <parenthetical>(to Kathy and Andy)<\/parenthetical>\n    <dialogue>Let's go.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You want me to go with you? Maybe I can help.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>That's alright. We'll take it from here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL GROUNDS - MORNING<\/stage_direction>\n    <scene_description>Kathy, Frank and Andy leave Peter's room and walk back towards the hotel.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>You should be an actor, Frank. You<\/dialogue>\n    <dialogue>looked like you were really mad. The veins popping out on your neck was a really nice touch.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>You weren't mad at him for picking up the phone?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>No. I told him to. I wanted to make sure there was someone on the other end.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>But we heard him.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>It could have been a tape. A prerecorded conversation between Sanderson and himself.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE CONFERENCE ROOM - AFTERNOON<\/stage_direction>\n    <scene_description>A room set up to deal with the murder. PHOTOGRAPHS are pinned to a cork board. Frank is at a table with Kathy, Andy and Nolan. On the chalkboard in the rhyme the Caller recited earlier.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>The F.B.I. has nothing remotely similar to this guy. I think he's a first- timer.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Check with the State. If he's never killed outside of Washington the F.B.I. wouldn't have it. Nolan?<\/dialogue>\n    <character>NOLAN<\/character>\n    <dialogue>He tapes their mouths shut. We found traces of adhesive around the victims mouths. We're doing a chemical analysis for components, but it's probably a standard brand you can buy in any hardware store.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>There's only two hardware stores on the whole Island. We'll check that out. What about the blood?<\/dialogue>\n    <character>NOLAN<\/character>\n    <dialogue>Not a drop. Maybe the guy works for the Red Cross.<\/dialogue>\n    <scene_description>Frank looks at Nolan askance.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Kathy?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Well, the fact that he views this as a game suggests that he is trying to prove some sense of superiority -- and the way he murders confirms a need to be in complete control of his victim.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>What about the way he arranged the body?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>That would indicate he's playing out a fantasy. Power-control killers usually fantasize about their actions long before they commit them. Once they become a reality though, they reach a sense of euphoria and need to repeat the act to sustain it. But, in all the research I've read on Serial Killers, I've never heard of one moving so fast. It's as if the game is the catalyst for the murders -- not the other way around.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Anything else?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Yes. Why disguise your voice if no one knows it?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I was thinking the same thing. He must be local. It's logical for him to assume that the police would be there, but he recognized Andy's voice and called him by name.<\/dialogue>\n    <parenthetical>(points to the rhyme)<\/parenthetical>\n    <dialogue>What about this?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I would think it's some type of clue as to where he's going to kill next?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Why does he call Sanderson?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>He's one of the best Chess players in the world. Who better to play a game with?<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>(to Andy)<\/parenthetical>\n    <dialogue>You still having a problem with this?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Yeah, I am. I think he's playing us. If I was a killer and the police were trying to make a case against me, what better why to draw them off than to put their attention on someone else?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Sending yourself anonymous notes in the mail is one thing -- but who called him today?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>I don't know. Maybe there's two of them. Maybe he hired some Wino to make the calls.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Maybe you're reaching a bit? I think Sanderson should be in on this. There's a reason why the killer's calling him.<\/dialogue>\n    <scene_description>A UNIFORMED OFFICER KNOCKS and enters.<\/scene_description>\n    <character>OFFICER<\/character>\n    <dialogue>Captain, we found her.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WAREHOUSE - WIDE SHOT - AFTERNOON<\/stage_direction>\n    <scene_description>Several BLACK and WHITE UNITS are parked in the rear of the building. Frank and Andy walk up the loading dock steps in silence.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAREHOUSE - AFTERNOON<\/stage_direction>\n    <scene_description>The body of CHRISTIE EASTMAN is laying on top of a large crate. Her body has been draped tightly with a sheet and her arms are folded across her chest. Her face is deathly white and has been made up with the same clumsy makeup. Written in blood on the wall behind her is: EVENTUALLY<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAGE WINGS - EVENING<\/stage_direction>\n    <scene_description>Peter paces back and forth waiting for the match to begin. Yurilivich is sitting in a chair, watching Peter with a grin. Peter turns around and almost bumps into Lutz who is wearing a ridiculous hat with sheets of aluminium foil sticking out.<\/scene_description>\n    <character>\\[LUTZ<\/character>\n    <dialogue>They're trying to control my thoughts.<\/dialogue>\n    <parenthetical>(points to the hat)<\/parenthetical>\n    <dialogue>Aluminium foil. It repels the thought rays.\\]<\/dialogue>\n    <scene_description>Peter stares at him. In the b.g. Kathy enters, looks around, then walks over to Peter.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>They couldn't break the riddle.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Did you think it was going to be easy? You think he was going to lay it out at your feet?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>We need your help.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I offered my help this morning and Sedman turned me down.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>But you're the key. The one he wants to play the game with.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I can't right now. I've got a game.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>She could be dead after the game.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>She could be dead now.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>What if she isn't? Where are your priorities? You have to think between someone's life and a chess game?<\/dialogue>\n    <parenthetical>(raising her voice)<\/parenthetical>\n    <dialogue>The girl he killed last night was only twenty one years old! He dumped her body behind a warehouse like a sack of garbage!<\/dialogue>\n    <scene_description>Everyone is now staring at Kathy and Peter who are staring at each other. In the b.g. The President appears.<\/scene_description>\n    <character>PRESIDENT<\/character>\n    <dialogue>Gentlemen...<\/dialogue>\n    <scene_description>The GRANDMASTERS walk onto stage as Peter and Kathy continue to stare at each other. A beat. Peter starts to move towards the stage. Kathy takes a step after him. She takes a envelope from her jacket pocket and puts it into Peter's jacket pocket.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>These are for you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - NIGHT<\/stage_direction>\n    <scene_description>Peter sits across from GRANDMASTER KRIKORIAN. He makes a move, then hits his timer. On the BOARD behind him the move is duplicated. Krikorian studies the board. Peter is staring out over the AUDIENCE deep in thought. Krikorian makes a move and hits the timer. Peter continues to stare, unaware that it is his move. A beat. All eyes are on him. Peter turns around and stares at the big board, then walks over and makes a move. Krikorian studies his position. Peter reaches into his pocket for a cigarette. He removes the envelope Kathy gave him, then his cigarettes. A beat. He stares at the envelope, flicking his finger against it. Krikorian looks up annoyed. Peter opens the envelope. CLOSE ON PHOTOGRAPHS: We see several PHOTOGRAPHS of Christie Eastman before her death. Peter turns through them. Next, we see the grisly PHOTOS taken at the crime scene. He is a man struggling to make a decision. Krikorian makes a move. Peter does not react. He replaces the PHOTOS and stares at the envelope, then looks up at Krikorian who is watching him. A beat. Peter replaces the envelope in his pocket, then makes a move.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE CONFERENCE ROOM - NIGHT<\/stage_direction>\n    <scene_description>Kathy sits with Frank and Andy. Coffee cups litter with table. The nursery rhyme is written on the BLACKBOARD and reads: WEE WILLIE WINKIE RUNS THROUGH THE STREET, UPSTAIRS AND DOWNSTAIRS IN HIS NIGHTGOWN; CRAWLING THROUGH THE WINDOW, AT THE END OF MISS EMMA'S STREET, HER GOD HAS GONE AND LEFT HIS HOME, SO HER AND I CAN MEET.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>\"Her God has gone and left his home?\"<\/dialogue>\n    <scene_description>Everyone shakes there head indicating they don't understand the reference.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Why these girls? How does he pick them?<\/dialogue>\n    <scene_description>Frank points to a LARGE MAP of the CITY on the wall, with TWO RED PINS in different locations.<\/scene_description>\n    <character>FRANK<\/character>\n    <parenthetical>(pointing to the map)<\/parenthetical>\n    <dialogue>I don't think it matters. Last nights victim, Christie Eastman was found in a warehouse on the outskirts of town. The night before, Debi Rutlege was found in the center.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Meaning?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Meaning, it looks like his victims are chosen at random.<\/dialogue>\n    <character>PETER (OS)<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Peter is standing in the doorway. He enters the room.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>What do you mean, no?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>He says it's a game. All games have a strategy.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>All you gotta do is look at the map.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>His victims aren't random. It only means that they appear to be random. There's a connection, we just have to find it.<\/dialogue>\n    <scene_description>Peter turns his attention to the blackboard.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>What have you come up with on the riddle?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>\"Wee Willie Winkie runs though the street.\" We think he might be making a reference to himself.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Maybe, but I don't think so. I think it's just a tease.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Upstairs and downstairs in his night gown -- He could be saying the house he's picked is two stories.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - NIGHT - KILLER'S POV<\/stage_direction>\n    <scene_description>As he approaches a TWO STORY house. The POV stops moving, as if to decide which way to go... then goes around the right side of the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE CONFERENCE ROOM - NIGHT<\/stage_direction>\n    <scene_description>Peter, Kathy, Frank and Andy continue to unravel the message.<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>(offering)<\/parenthetical>\n    <dialogue>\"Crawling through the window\"... We think that's how he's going to get in?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIDE OF HOUSE - KILLER'S POV - NIGHT<\/stage_direction>\n    <scene_description>A crowbar is placed under a window and pried up until the lock breaks. We see two GLOVED HANDS open the window.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE CONFERENCE ROOM - NIGHT<\/stage_direction>\n    <scene_description>Peter has taken his jacket off and is pacing the room. Kathy, Frank and Andy stare at the board.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>That's it?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>We think he might be making a reference to drugs? Miss Emma is a street term used by junkies for Morphine.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Could Emma be the name of the girl he's going to kill?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>We've checked. There's no one with the last name of Emma on the Island.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Maybe he's going to drug her?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>He's killed both girls exactly the same way. It's almost ritualistic. Why would he change now?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Morpheus.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Not what -- who. Morpheus. The Greek God of dreams. Look at the next line. \"Her God has gone and left his home.\"<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>His home would be... Mount Olympus.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Call dispatch. Double the patrols. I want that area blanketed.<\/dialogue>\n    <scene_description>Frank and Andy rush from the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LORAINE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>LORAINE OLSEN, a YOUNG, ATTRACTIVE GIRL in her twenties enters the room and walks over to the CLOSET as she takes off her jacket. She reaches for the DOORKNOB when the PHONE RINGS. She hesitates for a moment, deciding whether to open the door, but decides to answer the phone first. She walks over and picks it up.<\/scene_description>\n    <character>LORAINE<\/character>\n    <dialogue>Hello?... Oh hi Mom... No I just got in... No I haven't forgotten. Tomorrow, ten o'clock... Yes... Yes... Okay, I'll see you in the morning. Bye.<\/dialogue>\n    <scene_description>She hangs up, walks back to the CLOSET and opens the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLOSET - NIGHT<\/stage_direction>\n    <scene_description>is a large WALK-IN, the back filled with LONG HANGING DRESSES that almost reach the floor. Below them is a row of SHOES, neatly aligned on the floor. Loraine hangs up her jacket, takes off her shirt, then puts on a tee shirt.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LORAINE'S BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>Loraine finishes brushing her teeth. She turns off the water, but we still HEAR a DRIPPING SOUND. She looks over at the bath tub with the SHOWER CURTAINS DRAWN. She opens the curtain and tightly turns the handle to stop the nozzle from leaking.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LORAINE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Loraine sits on the edge of her bed and peels herself out of her tight pants.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LORAINE'S CLOSET - NIGHT<\/stage_direction>\n    <scene_description>She enters the closet and hangs up her pants. As she does so we see: Among the row of shoes is a pair of BLACK HIGH-TOP TENNIS SHOES. Loraine starts to leave. The TENNIS SHOES move forward. CLOSE ON LORAINE: A GLOVED HAND reaches over and CLAMPS down tightly over her mouth, muffling her SCREAM as,<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>The CLOSET DOOR is SLAMMED SHUT. SILENCE. A FLASH of light fills the frame of the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WATERFRONT - NIGHT<\/stage_direction>\n    <scene_description>Colorful SHOPS and RESTURANTS line the street. Peter grabs a HOT DOG from a VENDOR and takes a big bite, then looks at Kathy.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>You sure you don't want to eat something?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I don't think I could.<\/dialogue>\n    <scene_description>They start to walk agin.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>It's going to be a long night. It could take hours before we know something. You should try to eat.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>You sound like my mother.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>It wasn't intentional.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Does what's going on bother you at all? Or are you just wearing your game face?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I think it's interesting.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Another kind of game?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>In a way.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>This isn't a game.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Oh, but it is. He's killing a person everyday and challenging us to catch him. That's a game. It has rules and objectives.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>How can you look at it so clinically?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Take your average cop. They deal with death everyday. If they let emotions get in the way it would cloud their judgement.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>That's true -- but the emotion is still there. They just learn to control it.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>What about you? Aren't there times when a young child is telling you a story so sad you just want to cry?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Do you?<\/dialogue>\n    <character>KATHY<\/character>\n    <parenthetical>(uncomfortable)<\/parenthetical>\n    <dialogue>Let's change the subject.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Okay. So, tell me about yourself. Are you married?<\/dialogue>\n    <scene_description>Kathy stops.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>How did we get to that subject?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I'm just curious.<\/dialogue>\n    <character>KATHY<\/character>\n    <parenthetical>(uncomfortable)<\/parenthetical>\n    <dialogue>I think it's best if we don't ask too many personal questions -- I want to keep things on a professional level.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You mean like in the steam room?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>That's not fair!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Are you going to tell me you didn't feel something in there?<\/dialogue>\n    <scene_description>Kathy is growing more uncomfortable by the moment.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>You're projecting your own desires and reading more into what happened than what actually did.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Very good. Spoken like a true psychologist. When confronted with the prospect of your own reality, hide behind quotations. What is that Masters and Johnson?<\/dialogue>\n    <scene_description>The tension breaks. Kathy smiles.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>You have to win every point, don't you?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I just wanted to know if you're involved with anyone?<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>Let me ask you something? Do your colleagues know if you're involved or<\/dialogue>\n    <dialogue>not?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Because I work with them.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Aren't you working with me?<\/dialogue>\n    <scene_description>Kathy smiles again, amused by Peter's tactics.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You're not?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>No -- I'm not involved.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>And I plan on keeping it that way.<\/dialogue>\n    <scene_description>Kathy walks off, leaving Peter staring after her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LORAINE'S KITCHEN - MORNING<\/stage_direction>\n    <scene_description>Kathy, Frank and Andy are in the room with Nolan. Nolan is on his knees at the base of a window. On the floor beside him is a RULER and a SHEET OF RUBBERIZED PAPER.<\/scene_description>\n    <character>NOLAN<\/character>\n    <parenthetical>(proudly)<\/parenthetical>\n    <dialogue>This is where he forced his way in. We found some fibers on the windowsill, probably particles of clothing that rubbed off when he climbed through. I'll know more once I get it under the microscope.<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>(not impressed)<\/parenthetical>\n    <dialogue>That's great.<\/dialogue>\n    <character>NOLAN<\/character>\n    <dialogue>Wait, I've saved the best for last. Andy, hit the lights, will you?<\/dialogue>\n    <scene_description>Andy looks for the light switch. Kathy realizes she's standing in front of it and moves out of the way. Andy turns off the lights and the room goes dark. Nolan turns on a FLASHLIGHT and gets down on his knees, then SHINES the LIGHT at a LOW ANGLE across the floor. THE FLOOR - CLOSE SHOT: We can clearly see the impression of a<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SHOE PRINT.<\/stage_direction>\n    <character>NOLAN<\/character>\n    <dialogue>It's a tennis shoe. Pretty old by the individual characteristics. About a size ten or eleven. This guy is big.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>What's this?<\/dialogue>\n    <scene_description>Andy points to a JAGGED LINE in the impression.<\/scene_description>\n    <character>NOLAN<\/character>\n    <dialogue>Don't know. Looks like a cut or a gash in the sole of the shoe. We'll blow it up back at the lab.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - MORNING<\/stage_direction>\n    <scene_description>Frank, Andy and Kathy follow Nolan towards the bedroom. Frank stops and taps Kathy on the shoulder.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Before we go in I gotta tell you this isn't going to be pretty.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I know that. I've seen the photo's.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>This ain't no photo.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LORAINE'S BEDROOM - MORNING<\/stage_direction>\n    <scene_description>Frank, Andy and Kathy enter the room. Loraine's body is laying on the bed, her appearance is like all the others. On the wall written in blood is: REVENGE. Kathy stares at the sight, horrified. She starts to gag and runs from the room.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Same as the others?<\/dialogue>\n    <character>NOLAN<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>How long she been dead?<\/dialogue>\n    <character>NOLAN<\/character>\n    <dialogue>I'd say at least eighteen hours.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>That means she was dead before we even finished figuring out the message.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Or before Sanderson ever showed up to help us with the riddle. He figured it out pretty quick, didn't he? Maybe it's not to hard if you wrote it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETER'S HOTEL ROOM - MORNING<\/stage_direction>\n    <scene_description>Peter enters in his SWEATS to find Erica, Jeremy and David sitting around a computer.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Good morning.<\/dialogue>\n    <scene_description>Erica runs over to him and gives him a kiss.<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>(to Jeremy)<\/parenthetical>\n    <dialogue>We got a problem?<\/dialogue>\n    <character>JEREMY<\/character>\n    <dialogue>Our computer went on the fritz again. David came up to fix it.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Is it serious?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Naw, it's all fixed. I also loaded up a program that'll analyze your games three hundred percent faster.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Peter walks over to the MONITOR. A COMPUTER GAME is on.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>What's this?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Oh, I put a few games on for your daughter. I hope you don't mind.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Of course not.<\/dialogue>\n    <character>\\[DAVID<\/character>\n    <dialogue>Well, I've got to go over Lutz's room now. He thinks someone has tapped into his computer and is monitoring his practice games.\\]<\/dialogue>\n    <scene_description>David picks up his bag and starts to leave.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Don't you have something you want to say to David?<\/dialogue>\n    <character>ERICA<\/character>\n    <dialogue>Thanks, David.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Your welcome.<\/dialogue>\n    <scene_description>David leaves.<\/scene_description>\n    <character>ERICA<\/character>\n    <dialogue>You ready?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>For what?<\/dialogue>\n    <character>ERICA<\/character>\n    <dialogue>You told me you'd take me over to Seattle today.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I'm sorry, honey, I can't. Not today.<\/dialogue>\n    <character>ERICA<\/character>\n    <dialogue>But you promised.<\/dialogue>\n    <scene_description>Erica stares at him sadly.<\/scene_description>\n    <character>JEREMY<\/character>\n    <dialogue>I'll take you.<\/dialogue>\n    <scene_description>She forces a smile for Jeremy's sake, then leaves the room.<\/scene_description>\n    <character>JEREMY<\/character>\n    <dialogue>Peter...<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I've got be here for the police when they come. Then I've got to practise. In case you forgot I'm in the middle of a match right now.<\/dialogue>\n    <character>JEREMY<\/character>\n    <dialogue>You're always in the middle of a match.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I want to be the best I can.<\/dialogue>\n    <character>JEREMY<\/character>\n    <dialogue>Sometimes I think you'd rather be the best chess player, than the best father. Instead of thinking about what kind of day your daughter had, you would rather think about the Sicilian Najdorf opening or a counter to the Tartokover Bondarevsky System.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>A relationship is not a chessboard. You can't walk away from it and come back whenever you want and still expect all the pieces to be there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETER'S ROOM - MORNING<\/stage_direction>\n    <scene_description>Peter enters from the bathroom wearing only his jeans. He goes over to his briefcase and starts to take out a paper. He stops, then slowly takes out an OLD, WORN, ENVELOPE. He stares at it. There is a KNOCK on the door. Peter replaces the ENVELOPE. He opens the door to find a pale and shaken Kathy. She walks into the room.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>They found the third girl. Her name was Loraine Olsen. I just came from the crime scene. It was horrible. How can anybody do something like that? You got anything to drink around here?<\/dialogue>\n    <scene_description>Peter walks over to the bar and pours her a brandy. He brings it over to her and sits beside her on the couch. Kathy gulps it down.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Relax.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>How the hell can I relax after seeing what I just saw.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I know it was bad.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>How could you? Unless you were there.<\/dialogue>\n    <scene_description>Their eyes lock for a moment, each probing the others.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Sorry, I didn't mean that the way it sounded.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I know you didn't<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>You know, Andy thinks you're doing this.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Doesn't that scare you?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Because I think he's wrong.<\/dialogue>\n    <scene_description>Peter takes her hand and holds it in his. There is a KNOCK at the door. Peter opens it to find Frank and Andy.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Come with us.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL HALLWAY - MORNING<\/stage_direction>\n    <scene_description>Peter follows Frank and Andy as they walk down a utility hallway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL BASEMENT - MORNING<\/stage_direction>\n    <scene_description>Damp and dark. A large cavernous room built under the hotel. SEVERAL SMALLER ROOMS, OR ALCOVES, CONNECT TO THE MAIN ROOM THROUGH A SERIES OF JOINING DOORS. FLORESCENT LIGHTS spaced on the ceiling cast long shadows through the room. Large water pipes and electrical mains run across the ceiling. Frank, Andy, Peter and Kathy enter. Frank walks over to the TECHNICIAN we saw before. He is setting up his tracing equipment at the main TELEPHONE JUNCTION BOX.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>How's it going?<\/dialogue>\n    <character>TECHNICIAN<\/character>\n    <parenthetical>(points to a phone)<\/parenthetical>\n    <dialogue>While we're down here all calls coming<\/dialogue>\n    <dialogue>into Mr. Sanderson's room will be routed to extenion 611. I've also--<\/dialogue>\n    <scene_description>The PHONE RINGS. It echoes through the room. Peter's face tenses. He walks over and picks it up. A LOUDSPEAKER is activated.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>Do you know what I'm doing right now, Peter? I'm looking at the name of the girl I'm going to kill tonight.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You know her?<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>Not really.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Why her?<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <parenthetical>(a trace of anger)<\/parenthetical>\n    <dialogue>Because she's the type.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>But you said you didn't know her.<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <parenthetical>(annoyed)<\/parenthetical>\n    <dialogue>I know what I said! She looks just like...<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Just like who?<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>I really wish you'd stop trying to maneuver me. I find it irritating, not to mention insulting.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I'm just trying to play the game.<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>You're not playing very well. There are clues all around you and you keep missing them.<\/dialogue>\n    <scene_description>Peter's frustration grows. He decides to try a different line.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Listen, if you're just going to call up to gloat, I don't want to hear it!<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>I'm sure there are other people who would be interested in what I have to say.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Then call them!<\/dialogue>\n    <scene_description>Peter slams down the phone. Kathy, Frank and Andy are stunned that Peter would end the conversation.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Are you crazy?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Let's see how much he wants to play.<\/dialogue>\n    <scene_description>SILENCE fills the room. Peter stares at the phone expectantly. A moment later it RINGS. Peter waits and lets it ring. Finally he answers it on the fourth ring.<\/scene_description>\n    <character>CALLER (OS)<\/character>\n    <dialogue>Just for that no hint today.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Why are you doing this? You must have some idea of the pain you're causing people.<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>Pain? Pain is just a state of mind. It's something you learn to live with. I have.<\/dialogue>\n    <scene_description>Kathy hands Peter a note she has written.<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>(reading the note)<\/parenthetical>\n    <dialogue>And you want these girls to feel your pain?<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>Please, I don't want to get into the psychological aspects of my actions. It would detract from the game.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>How?<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>I couldn't say it any better than Huxley.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Huxley's quote also says, \"his play is always fair and just.\"<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>So is mine, within the framework of my rules.<\/dialogue>\n    <scene_description>The line goes dead. Peter hangs up.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>What in the hell do you think you're doing? Slamming down the phone in the middle of the trace.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You think you're going to catch him on a trace? Everything he does is planned out well in advance. The only way we're going to get him is to rattle him -- make him slip up.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>You never know how you're going to catch a suspect.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Peter's right, Captain. He's got to be forced into making a mistake.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>We didn't ask for your opinion, Doctor.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Maybe you should.<\/dialogue>\n    <scene_description>Peter stares at Andy defiantly.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>You don't tell us how to run our investigation. You got that?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You don't have an investigation without me. You got that?<\/dialogue>\n    <scene_description>The two men lock eyes hostilely.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>What were you going to say, Kathy?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Well, I think you have to play to his ego. He thinks he's superior. The more secure he feels, the more chances he'll take.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>What did he mean by Huxley?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>He was referring to a quote by Thomas Henry Huxley.<\/dialogue>\n    <parenthetical>(quoting)<\/parenthetical>\n    <dialogue>\"The chess board is the world, the pieces are the phenomena of the universe, the rules of the game are what we call Nature. The player on the other side is hidden from us. We know that his play is always fair, just, and patient. But also, we know, to our cost, that he never overlooks a mistake, or makes the smallest allowances for ignorance.\"<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PUGET SOUND - AFTERNOON<\/stage_direction>\n    <scene_description>Peter and Kathy are sitting on the beach. Peter draws squares in the sand like a chessboard and starts moving shells and rocks around. Kathy grins.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Are you playing chess?<\/dialogue>\n    <scene_description>Peter smiles like a boy with his hand caught in the cookie-jar.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>When I was little I'd watch the other kids playing baseball from my room. In the evening, when their parents would call them in to put their bats and balls away, I'd watch them from my window, forcing, expressions of disappointment, trying to gain another few minutes outside so they could play -- but no one could stop me from playing.<\/dialogue>\n    <parenthetical>(he closes his eyes)<\/parenthetical>\n    <dialogue>All I had to do was close my eyes and my whole world became a chessboard. I could see the pieces, and sometimes it felt like if I reached out I could almost touch them. I ordered them and they obeyed.<\/dialogue>\n    <scene_description>Kathy stares at him for a moment, unsure what to make of his speech. Peter opens his eyes, there is a beat as he seems to bridge the gap back to this world. He smiles.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Can you go fifteen minutes without thinking about it?<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(thinks for a moment)<\/parenthetical>\n    <dialogue>No. But I'm open to distractions.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I'm sure you are.<\/dialogue>\n    <scene_description>He smiles at her. He destroys the pattern in the sand, takes her hand and they start walking.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>You know, you're not the easiest person in the world to get close to.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>You always want to talk about me. What about you?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Wasn't I just talking about me?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>No. You were talking about chess.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Alright. What about me?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I dunno. Where's Erica mother?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>She died in a car accident.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>It's alright. It was a long time ago.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>It must've been very hard on Erica?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>It was.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>And you?<\/dialogue>\n    <scene_description>Peter stops and smiles.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Do you want me to lay down, Doctor?<\/dialogue>\n    <scene_description>Kathy grins.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Look, why don't you just come out and ask me what you want to know?<\/dialogue>\n    <scene_description>Kathy hesitates.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Was it serious between Debi and me? No. Have I known a lot of girls like her?<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>None of your business.<\/dialogue>\n    <scene_description>Kathy stares at him, almost studying him for a moment.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Have you noticed that every time we start to talk about something serious you start to play games.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I'm not playing a game now.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Yes you are. You're playing word games.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(defensive)<\/parenthetical>\n    <dialogue>What is this?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I'm just trying to get to know you, Peter.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>What? By attacking me?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Nobody could attack you. You set your life up like one of your chessboards. You're impregnable -- but at the same time you've become trapped behind your own defenses. You're cut off from everyone around you.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>What are you talking about? You don't even know me.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Does anyone?<\/dialogue>\n    <scene_description>He starts to walk away.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Are you forfeiting?<\/dialogue>\n    <scene_description>He stops dead in his tracks, turns and walks back.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I just don't want to fight with you.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Then show me who you are.<\/dialogue>\n    <scene_description>Peter thinks. There's a seriousness we haven't seen before.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>This frightens me -- because I'm starting to feel things I haven't felt in a long time.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>You've got to face the things you feel.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(a little grin)<\/parenthetical>\n    <dialogue>I thought you were the woman who didn't want to get involved.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I said I didn't plan on getting involved.<\/dialogue>\n    <scene_description>He moves closer. She takes a step back.<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>(moving closer)<\/parenthetical>\n    <dialogue>What happened to facing the things we feel?<\/dialogue>\n    <character>KATHY<\/character>\n    <parenthetical>(giving in)<\/parenthetical>\n    <dialogue>You can turn everything around so easily. This is not just another game, is it?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>They stare at each other, each of them probing the others eyes. Peter leans forward and gently kisses her on the lips. He kisses her again. Their passion builds until they throw their arms around each other and embrace passionately.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETER'S LIVING ROOM - AFTERNOON<\/stage_direction>\n    <scene_description>Peter pins her against the wall and kisses her. She wraps her legs around his waist as he holds her against the wall. They continue to kiss as they move along the wall, knocking pictures off the wall. Peter carries her over to a LARGE CHESSBOARD. With one hand he sweeps the PIECES off onto the floor, then sits her down on it. They kiss each other furiously, each of them groping at the others clothing. Their hands move along each others bodies, exploring, touching, feeling. He un- buttons her blouse, then kisses her neck, working his way to her breasts. Kathy closes her eyes, submitting to the pleasure of his touch.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETER'S BEDROOM - AFTERNOON<\/stage_direction>\n    <scene_description>TWO SILHOUETTES. Bodies intertwined. The SOUNDS of love making fill the room. SLOW FADE TO BLACK:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETER'S BEDROOM - LATER - NIGHT<\/stage_direction>\n    <scene_description>DARK. SILENCE.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>I'm hungry.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Call room service.<\/dialogue>\n    <scene_description>A LIGHT COMES on. Kathy lays next to Peter. She rolls over and kisses him.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>I hate hotel food. Rondi's Pizza is just down the street.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>What do you want on it?<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(nibbling at her neck)<\/parenthetical>\n    <dialogue>You.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Would you settle for pepperoni?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>If I have to. I'm going to take a shower.<\/dialogue>\n    <scene_description>Peter goes into the bathroom. Kathy sits up and throws on a t- shirt. She goes to the desk. By the phone is a copy of the WHITE PAGES. She starts to look up the number. In b.g. we HEAR the SHOWER. CLOSE ON PHONE BOOK: In the middle of the page a name is underlined in RED. It reads: RUTLEGE, DEBI Kathy stares at the name. A beat. Slowly she turns through the pages. CLOSE ON PHONE BOOK: The name EASTMAN, CHRISTIE is UNDERLINED. The pages are quickly turned again until we see the name OLSEN, LORAINE UNDERLINED. Kathy is stunned. She thinks for a second, then gets up and starts getting dressed. In the b.g. we HEAR the SHOWER stop.<\/scene_description>\n    <character>PETER (OS)<\/character>\n    <dialogue>Did you call?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>The line was busy. I'll try again.<\/dialogue>\n    <scene_description>She finishes dressing then heads for the door. She opens the door and stops, then looks back. HER POV: Her PURSE is on the nightstand. She hesitates, then quickly walks back to get it. She picks it up and starts back for the door when... Peter steps out of the bathroom. He stares at her.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Where are you going?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>They're not delivering. I'm going to go pick up the pizza.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(moving closer to her)<\/parenthetical>\n    <dialogue>I thought you said the line was busy?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I tried again and got through.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(still closer)<\/parenthetical>\n    <dialogue>What's wrong?<\/dialogue>\n    <character>KATHY<\/character>\n    <parenthetical>(backing away)<\/parenthetical>\n    <dialogue>Nothing.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(following her)<\/parenthetical>\n    <dialogue>Then why are you backing up?<\/dialogue>\n    <scene_description>Peter waits for an answer. There isn't one. He looks around the room, retracing in his mind what could have happened. He sees the open PHONE BOOK on the dresser next to him. He stares at it for a moment, then back at Kathy.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>This?<\/dialogue>\n    <scene_description>She doesn't answer. Peter appears disappointed.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I was looking for correlations between their names, addresses, anything that might be the same.<\/dialogue>\n    <scene_description>Kathy looks away.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>You're as bad as Andy... maybe worse.<\/dialogue>\n    <scene_description>He walks over to a chair and sits down, freeing the path to the door.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Peter, you have to admit--<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>--admit what? That I was right about you in the steam room? That you're willing to do anything to find out what you want? Would you like me to leave so you can search the rest of the room?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Peter...<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(cutting her off; hurt)<\/parenthetical>\n    <dialogue>How could you think that, Kathy? How could you even consider it?<\/dialogue>\n    <scene_description>A beat. Kathy thinks for a moment, then walks to the door and leaves. A beat. Peter gets up, stares at the phone book, then closes it softly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM WINGS - NIGHT<\/stage_direction>\n    <scene_description>Peter seems deep in thought. Behind him Lutz is pacing back and forth. He is wearing a ridiculous hat with sheets of aluminium foil sticking out. Peter stares at him.<\/scene_description>\n    <character>LUTZ<\/character>\n    <dialogue>They're trying to control my mind.<\/dialogue>\n    <parenthetical>(points to his hat)<\/parenthetical>\n    <dialogue>Aluminium foil. It repels the thought rays.<\/dialogue>\n    <scene_description>Peter stares at him blankly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHY'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Kathy enters her house and checks her messages. There are none.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Very popular.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - NIGHT<\/stage_direction>\n    <scene_description>Peter walks out on stage. Yurilivich is waiting for him at the CHESSBOARD. The other two tables are vacant\\_ The President addresses the audience.<\/scene_description>\n    <character>PRESIDENT<\/character>\n    <dialogue>Since Grandmaster Sanderson leads the tournament with nine wins, and Grandmaster Yurilivich is in second with eight -- it as become apparent that with only four games remaining, the other players, should they win all four of their remaining games, would still not be in a position to win the tournament. Therefore, we have decided that the remaining games between Grandmaster Sanderson and Yurilivich will be held separately.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHY'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Kathy sits on the couch, reading a book entitled: CASE STUDIES OF SERIAL KILLRS. She appears distracted. She looks off and thinks about Peter. Finally, she grabs her coat and leaves the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - NIGHT<\/stage_direction>\n    <scene_description>Yurilivich makes a moves, then hits his timer. The PIECE moves on the board behind them. Jeremy grabs Erica's arm excitedly.<\/scene_description>\n    <character>ERICA<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>JEREMY<\/character>\n    <dialogue>Mate in five.<\/dialogue>\n    <scene_description>Peter makes a move. There is a slight MOAN from the crowd. Jeremy looks at the BIG BOARD reflecting Peter's move then over at Erica.<\/scene_description>\n    <character>JEREMY<\/character>\n    <dialogue>He didn't see it.<\/dialogue>\n    <scene_description>Yurilivich makes a move.<\/scene_description>\n    <character>YURILIVICH<\/character>\n    <dialogue>Check.<\/dialogue>\n    <scene_description>Peter is stunned at his position. He looks at the board, frustration fills his face. Slowly he picks up his KING and lays it on his side. At the door to the auditorium we see Kathy watching him. She turns and leaves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>A tired-looking Peter walks to his door. He starts to put in his key when he notices the door is ajar. A beat. He slowly pushes it open.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETER'S HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Dark. Peter enters. He tries the light switch. It doesn't work. He walks slowly across the room. As he nears the hall a FIGURE OF A MAN stands up out of one of the high-backed chairs. Peter senses something and spins around. A LIGHT on the desk comes on. Andy stares at him with a grin.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Scare you?<\/dialogue>\n    <scene_description>Peter doesn't answer. He stares at Andy hostilely.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>You know, I figure that's pretty much how these girl's feel just before they get it. You think I'm right?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I wouldn't know.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>That's right. I guess only the killer would know that.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>How'd you get in here?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>The door was open.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>No it wasn't.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Of course it was. Otherwise I'd be breaking and entering. That's a felony.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>You ever do any hunting, Peter?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>I used to. With my old man. He taught me how to hunt and trap. Trapping's a lot harder than most people think. We used to go after Raccoons mostly. They'd get into our garbage, our fields. When an animal can't live peacefully with those around it, it has to be destroyed. But they're crafty little devils. You see the trick is, you can put your trap down, but no Raccoon is going come near it unless you lay down the scent. You ever smell Raccoon scent? Smells like shit, but to a male Raccoon it smells just like pussy. He'll walk right up to that trap, even though it don't look nothing<\/dialogue>\n    <scene_description>like a Raccoon and stick his Goddam head right in it. You know why? Cause he can't help himself. The scent drives him. So, if you want to catch a Raccoon all you gotta do is figure out where he is -- lay down the scent -- and sooner or later he'll walk right into the trap.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>What if he doesn't bite? What if he's an exceptionally bright Raccoon?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Well then, you just gotta find out where he is -- and once you're sure where he is -- you shoot the fucker.<\/dialogue>\n    <scene_description>A beat. They stare at each other. Andy walks to the door and leaves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PETER'S HOTEL ROOM, BALCONY - NIGHT<\/stage_direction>\n    <scene_description>Peter sits outside, thinking. Jeremy and Erica join him.<\/scene_description>\n    <character>ERICA<\/character>\n    <dialogue>Hi dad.<\/dialogue>\n    <scene_description>She hugs him. He hugs her back.<\/scene_description>\n    <character>ERICA<\/character>\n    <dialogue>He just got lucky tonight, that's all. You'll cream him next time.<\/dialogue>\n    <scene_description>Peter smiles. There is a long pause. Peter looks at Jeremy. They stare at each other.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>You have something you want to say?<\/dialogue>\n    <character>JEREMY<\/character>\n    <dialogue>Just thought you might want to talk.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>About what?<\/dialogue>\n    <character>JEREMY<\/character>\n    <dialogue>Whatever's on your mind.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Who says something's on my mind.<\/dialogue>\n    <scene_description>Jeremy pulls out a printout of chess board with pieces in different positions. He shows it to Peter.<\/scene_description>\n    <character>JEREMY<\/character>\n    <dialogue>What do you see here?<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(after a moment)<\/parenthetical>\n    <dialogue>Mate in five.<\/dialogue>\n    <character>JEREMY<\/character>\n    <dialogue>Exactly... and you did this.<\/dialogue>\n    <scene_description>Jeremy moves an imaginary piece. Peter stares at the paper for a moment. He can't believe he could miss such an obvious move.<\/scene_description>\n    <character>JEREMY<\/character>\n    <dialogue>Is it Kathy?<\/dialogue>\n    <character>ERICA<\/character>\n    <dialogue>Who's Kathy?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>No, it's not Kathy.<\/dialogue>\n    <scene_description>Jeremy stares at him with a knowing expression.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>It isn't Kathy.<\/dialogue>\n    <character>ERICA<\/character>\n    <dialogue>Who's Kathy?<\/dialogue>\n    <character>JEREMY<\/character>\n    <dialogue>Peter, I know you better than you think.<\/dialogue>\n    <character>FADE TO BLACK<\/character>\n    <dialogue>Over the BLACK we hear<\/dialogue>\n    <character>ERICA<\/character>\n    <dialogue>Who's Kathy??<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT - BLACK SCREEN - NIGHT<\/stage_direction>\n    <scene_description>FLASH! As we see the word IS written in blood on a wall, we HEAR the SOUND of a POLAROID CAMERA pushing out the photo. DARKNESS FLASH! We see a new GIRL laying in her bed, the sheet draped over her body, her face made up. DARKNESS FLASH! A CLOSE UP of the girl's ghastly face. DARKNESS. CLOSE ON: GLOVED HANDS as they pull a photo from the camera.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>All the apartment LIGHTS are out. We see SEVERAL FLASHES of LIGHT from an upstairs window.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INSTITUTE - MORNING<\/stage_direction>\n    <scene_description>Kathy walks up a dirt path towards the side of the building. She comes to a depression in the earth. She stops, lifts her skirt, as she gets ready to jump over, when something catches her eye. HER POV: in the soft ground she sees A perfect imprint of the Killer's distinctive tennis shoe\\_ Kathy stares at it as the thought that the killer is nearby becomes more frightening. She starts to back up slowly when... She bumps into Dr. Fulton behind her. She SCREAMS, then turns around quickly. Fulton is startled at her action.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Jesus, Alan, you scared the crap outta me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. APARTMENT BUILDING - MORNING - WIDE SHOT<\/stage_direction>\n    <scene_description>Several BLACK AND WHITE UNITS are in front of the building. Frank and Andy are off to the side talking to an ATTRACTIVE GIRL in her twenties.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>If you can think of anything else give us a call.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>You know, I hate to say I told you so, but I warned her. Coming home at all hours of the night. A young girl new to the city. This neighborhood ain't what it used to be.<\/dialogue>\n    <scene_description>A UNIFORMED OFFICER standing by a BLACK and WHITE UNIT yells over.<\/scene_description>\n    <character>OFFICER<\/character>\n    <dialogue>Captain, you got a call!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE CONFERENCE ROOM - MORNING<\/stage_direction>\n    <scene_description>CLOSE ON PHOTOGRAPH: OF THE KILLER'S SHOE: Pull back to see another PHOTOGRAPH just like it on the wall. A distraught Kathy sits on a chair, sipping a cup of coffee with both hands. Frank and Andy stand up waiting for Nolan's appraisal.<\/scene_description>\n    <character>NOLAN<\/character>\n    <dialogue>It's the same shoe alright.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Was there anyone else on the grounds?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>A few people.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Did anyone stand out?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>What do you mean, stand out?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Did anyone look suspicious? Think!<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Now that you mention it there was somebody who looked suspicious.<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>(excited)<\/parenthetical>\n    <dialogue>What was suspicious about him?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>He was holding a sign that said \"Serial Killer\".<\/dialogue>\n    <scene_description>Frank LAUGHS. Andy does a slow burn, then smiles. Through the GLASS WINDOW Frank sees the GIRL from the apartment walking down the hall. He thinks about something for a moment, then springs from his seat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - MORNING<\/stage_direction>\n    <scene_description>Frank steps into the hall. Andy follows.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Excuse me... you said earlier that Mary Albert just moved in. How long ago was that?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Ten days ago.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Do you know how she found the apartment?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Through a rental agency.<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>(to Andy)<\/parenthetical>\n    <dialogue>Didn't you tell me that Debi Rutlege had just moved into her place also?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANK'S OFFICE - MORNING<\/stage_direction>\n    <scene_description>Kathy is standing off to the side, listening to Frank and Andy as they both speak on the phone.<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>(into the phone)<\/parenthetical>\n    <dialogue>Uh huh... Thank you very much.<\/dialogue>\n    <scene_description>He hangs up, looks at Frank and NODS with a grin.<\/scene_description>\n    <character>FRANK<\/character>\n    <parenthetical>(into the phone)<\/parenthetical>\n    <dialogue>No, I really appreciate it. Thanks.<\/dialogue>\n    <parenthetical>(he hangs up)<\/parenthetical>\n    <dialogue>That's it! All the women moved into their homes in the last three months and all of them found them through Homesearchers!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - MORNING<\/stage_direction>\n    <scene_description>An UNMARKED CAR is parked down the street from HOMESEARCHERS. Frank and Andy get out and walk towards a building with TWO DETECTIVES.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOMESEARCHERS - MORNING<\/stage_direction>\n    <scene_description>A MIDDLE AGED WOMAN stands behind the counter. She stares at Frank with a bewildered expression.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Who else works here beside you?<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>There's a girl that helps at the counter, part time and that's it.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Who else has access to these files?<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>No one.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETER'S LIVING ROOM - MORNING<\/stage_direction>\n    <scene_description>There is a KNOCK on the door. Erica opens it to find Kathy outside.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>You must be Erica.<\/dialogue>\n    <character>ERICA<\/character>\n    <dialogue>Uh huh.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I'm Kathy.<\/dialogue>\n    <scene_description>Erica grins.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Is your dad here?<\/dialogue>\n    <character>ERICA<\/character>\n    <dialogue>He went down to the lobby for a minute. He should be right back. Would you like come in?<\/dialogue>\n    <scene_description>Kathy enters and sits on the couch. Erica sits beside her and stares at her, evaluating her.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>So, are you having a good time on the Island?<\/dialogue>\n    <character>ERICA<\/character>\n    <dialogue>Not really. It's pretty boring.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>That's only because you don't know where to go. You like hiking?<\/dialogue>\n    <parenthetical>(Erica nods no)<\/parenthetical>\n    <dialogue>Fishing?<\/dialogue>\n    <parenthetical>(Erica nods no)<\/parenthetical>\n    <dialogue>Sailing?<\/dialogue>\n    <parenthetical>(Erica nods no)<\/parenthetical>\n    <dialogue>What do you like?<\/dialogue>\n    <character>ERICA<\/character>\n    <dialogue>Boys.<\/dialogue>\n    <scene_description>Kathy grins and they LAUGH together.<\/scene_description>\n    <character>ERICA<\/character>\n    <dialogue>Do you like my dad?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>Erica stares at her.<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>(getting it)<\/parenthetical>\n    <dialogue>Oh... do you mean do I like, like him?<\/dialogue>\n    <scene_description>Erica waits expectantly. Kathy grins, but doesn't answer.<\/scene_description>\n    <character>ERICA<\/character>\n    <parenthetical>(confidentially)<\/parenthetical>\n    <dialogue>I know he really likes you.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>How do you know that? Did he say something?<\/dialogue>\n    <character>ERICA<\/character>\n    <dialogue>No... but I can tell. A woman knows these things.<\/dialogue>\n    <scene_description>Kathy smiles. She looks up and sees Peter standing in the doorway. There is a moment of embarrassment between them.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Honey, why don't you run down to Jeremy's now.<\/dialogue>\n    <character>ERICA<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <parenthetical>(to Kathy)<\/parenthetical>\n    <dialogue>Nice meeting you.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Nice meeting you.<\/dialogue>\n    <scene_description>She walks over to Peter and gives him a kiss.<\/scene_description>\n    <character>ERICA<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>I like her. She's nice.<\/dialogue>\n    <scene_description>Erica leaves. There is an uncomfortable moment between Peter and Kathy. They look at each other, probing each others eyes. There is a KNOCK on the door. Frank and Andy enter, their expressions are serious.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Another one?<\/dialogue>\n    <parenthetical>(Frank nods)<\/parenthetical>\n    <dialogue>What word did he leave?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>\"Is\".<\/dialogue>\n    <parenthetical>(to Kathy)<\/parenthetical>\n    <dialogue>Did you tell him about the institute?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL BASEMENT - MORNING<\/stage_direction>\n    <scene_description>Peter is on the phone with the Caller. Kathy sits beside him. Frank and Andy are with the Technician.<\/scene_description>\n    <character>CALLER (OS)<\/character>\n    <dialogue>Have you any idea what the message is?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>If it's so important, why don't you just tell me?<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>I couldn't tell you that. It would ruin the game. Not that you're playing it very well.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You like to brag, don't you?<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>Credit should be given where it's due. I'm not worldly like you, Peter. I'm not an internationally known figure. I'm just a poor guy who has never been anywhere, but I'm beating you.<\/dialogue>\n    <scene_description>The Caller's statement hits home. Slowly a look of determination covers Peter's face.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>So, why were you looking for Doctor Sheppard today?<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You heard me. Why did you go out to the institute looking for her?<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>What makes you think I was there?<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(using his words)<\/parenthetical>\n    <dialogue>I couldn't tell you that. It would<\/dialogue>\n    <scene_description>ruin the game.<\/scene_description>\n    <character>CALLER (OS)<\/character>\n    <dialogue>The game's almost over, Peter, and you're running out of time.<\/dialogue>\n    <scene_description>Peter's face hardens, eyes intensely staring off in the distance.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>It's you who's running out of time. You're starting to make mistakes now. You're wondering just how much I really know. Just how close I'm getting? Well, I'm closer than you think, pal -- and I'm gonna nail your ass to the wall!<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>Very nice speech, Peter. Did you rehearse that, or was it impromptu?<\/dialogue>\n    <parenthetical>(Peter doesn't answer)<\/parenthetical>\n    <dialogue>There's an old wooden bench in the garden. Next to it is a rock. You'll find a message for you under it. Let's see if you're as clever as you think you are.<\/dialogue>\n    <scene_description>The line goes dead. Peter hangs up, his frustration shows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE CONFERENCE ROOM - AFTERNOON<\/stage_direction>\n    <scene_description>Peter sits across the desk from Frank. Kathy stands by the window. The room is crowded with the Caller's clues. The MAP with colored pins in it. The words: REMEMBER EVENTUALLY REVENGE IS... A copy of the Caller's NOTE written on the blackboard. It reads: PETER: IN A FIERCE MAGAZINE YOU WILL FIND A HINT OF MY ACTION TO COME: AS LARGE AS YOU MAYBE IN THE WORLD OF PAWNS AND CASTLES YOU ARE STILL LIGHT YEARS FROM REACHING ME. INVISIBLE AS THE AIR, ONE HUNDRED MEN WITH THEIR DESPERATE PLEAS TO STOP, CAN'T MOVE ME Peter walks over to the BLACKBOARD and studies the note.<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>In a fierce magazine you'll find a hint of my actions to come... Why does he set this line apart?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>For emphasis?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Exactly. It's the key.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>But what does he mean by a fierce magazine? Violent?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>A fierce magazine... brutal...<\/dialogue>\n    <parenthetical>(thinking aloud)<\/parenthetical>\n    <dialogue>An angry magazine... A war magazine... a mercenary magazine... fierce...<\/dialogue>\n    <parenthetical>(he gets it)<\/parenthetical>\n    <dialogue>Mad.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Where's the note?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>You got it on the board.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>No, I need the original note.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>There's a photostat of the original on the wall.<\/dialogue>\n    <scene_description>Peter gets up and takes the note off the wall and studies it for a moment, then starts to fold it in half.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>My daughter reads Mad Magazine all the time. If you fold the back cover a certain way, the text reads differently.<\/dialogue>\n    <scene_description>Peter moves the crease of the paper in and out until it forms the correct margin. The NOTE now reads: IN A FIERCE ACTION TO COME: AS LARGE AS CASTLES, YOU ARE STILL LIGHT AS THE AIR, ONE HUNDRED MEN CAN'T MOVE ME. Kathy looks at Peter, impressed.<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>As large as castles. You are still light as air, one hundred men can't move me.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>It doesn't make sense.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>It doesn't make sense because we don't understand it.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>But a hundred men could move him.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(losing patience)<\/parenthetical>\n    <dialogue>He's not talking about himself.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Then what's he talking about?<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(on edge)<\/parenthetical>\n    <dialogue>If we knew that we'd know the answer to the riddle, wouldn't we? He's telling us where he's going to kill tonight and we can't see it.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Maybe we should back up a minute and take a look at what we do have. All the girls that have been killed have been killed at night. They're all the same type. All moved into their homes within the last three months -- and all of them found their homes through Homesearchers.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I thought that Homesearchers was a dead end?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>It can't be a coincidence. The woman that owns it has a son. She says he's been on vacation in Montana for the last ten days. We're trying to locate him. There's also a cleaning service that comes in once a week. We're checking that out too.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>He moves around a lot. Why?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>He finds his victims through Homesearchers. He goes where they are.<\/dialogue>\n    <scene_description>Peter is only half-listening to the conversation. He appears deep in thought.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>But they rent lots of apartments. He could probably find them all in a localized area. Why move all over the Island?<\/dialogue>\n    <scene_description>Peter slowly comes to a realization. His eyes open wide as a thought crashes into his mind.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Jesus! It can't be that easy!<\/dialogue>\n    <scene_description>Peter walks to the MAP of the victims locations on the wall. He moves his finger from point to point, examining each location. Kathy, Frank and Andy watch him. Peter continues to move his finger in various GEOMETRIC LINES across the map.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>You want to tell us what the hell you're doing?<\/dialogue>\n    <scene_description>Peter doesn't answer. He stares at the MAP for a few more seconds, as the excitement of his realization grows. He takes a step back and turns to Kathy.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>He told us and we missed it! He said he's never been anywhere. Therefore, this Island is the world to him.<\/dialogue>\n    <parenthetical>(pointing to the map)<\/parenthetical>\n    <dialogue>As far as he's concerned, this is a map of the world. That's why he quoted Huxley. \"The chessboard is the world.\"<\/dialogue>\n    <scene_description>Peter takes a MARKS-O-LOT off Kathy's desk and DRAWS a LARGE SQUARE BORDER on the MAP, OUTLINING THE GRIDS, EIGHT BY EIGHT.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>He's using the map as a chessboard! The sonofabitch is playing chess with me!!<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>How can he be playing Chess with you? You're not making any moves against him.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Maybe I already have.<\/dialogue>\n    <scene_description>Peter rushes towards the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - AFTERNOON<\/stage_direction>\n    <scene_description>Peter is with Kathy, Frank, Andy and David at the computer station.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Can you get into the Federation records?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Sure. We've got a modem line hooked up with the data base in New York.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Can we correlate data? Look for specific things, like player's ages... stuff like that?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>No problem.<\/dialogue>\n    <parenthetical>(hits a few buttons)<\/parenthetical>\n    <dialogue>We're in.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Okay. Run a search to see if there are any players with a rating above two thousand that live on the Island.<\/dialogue>\n    <scene_description>David enters the commands on the keyboard.<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>Nope. Nothing.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Set up some pieces on the big board?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I still don't see how he could be playing chess against you. There's<\/dialogue>\n    <dialogue>only enough grids on the map to be half a board.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>That's all he needs. He's making the moves. It's an opening. I just can't remember the name.<\/dialogue>\n    <parenthetical>(looks at the board)<\/parenthetical>\n    <dialogue>Okay, it's a game. He's starting it, so he moves first. He's white. e2-e4.<\/dialogue>\n    <scene_description>The pieces on the board move, following Peter's instructions.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>D2-d4... b1-c3... and c1-f4.<\/dialogue>\n    <parenthetical>(he studies the board)<\/parenthetical>\n    <dialogue>It's the number two variation of the Tarakoss opening.<\/dialogue>\n    <parenthetical>(thinks for a moment)<\/parenthetical>\n    <dialogue>David, can you bring up the tournament records for the last ten years.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Mister Sanderson, they'll be hundreds of thousands of games.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>We're only interested in people who have played against me.<\/dialogue>\n    <scene_description>David enters the data.<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>Now what?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Have computer search for anyone that's used that opening against me. There can't be more than a handful.<\/dialogue>\n    <scene_description>David enters the information and waits.<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>There's three. The first is 1983. Lionel Baines. The Boston...<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Never mind. He died two years ago.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>1985. Hans Korshaud.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>He's in his seventies and lives in Holland.<\/dialogue>\n    <scene_description>David presses a button and looks at the next one. He hesitates and looks at Peter awkwardly.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>DAVID<\/character>\n    <parenthetical>(a beat; hesitantly)<\/parenthetical>\n    <dialogue>New York. 1986. Viktor Yurilivich.<\/dialogue>\n    <scene_description>A quiet rage spreads across Peter's face.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Print out the game.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETER'S LIVING ROOM - AFTERNOON<\/stage_direction>\n    <scene_description>Peter, Kathy, and all stand around a map of the Island. Peter looks at a PRINTOUT.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>He's replaying the game I played against him move by move, using these girls as the Chess pieces.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>All the girls have been found in their homes except Christie Eastman, who was found in back of a warehouse. Why?<\/dialogue>\n    <character>KATHY<\/character>\n    <parenthetical>(making the connection)<\/parenthetical>\n    <dialogue>Because to follow the game he played he had to move to that grid?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Right.<\/dialogue>\n    <parenthetical>(he searches the map and points to a spot)<\/parenthetical>\n    <dialogue>Here! c-4.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>It's a commercial area. No one lives there.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>But he had to dump the body there to make the move.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Now that you know what stage of the game he's at, can we figure out where his next move is going to be?<\/dialogue>\n    <scene_description>Peter walks over to the MAP and traces his finger over it, then looks at the computer printout.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>His last move was c1-f4. I would move f8-g7. His next move using the Tarakoss would be... e2-e3... that would be...<\/dialogue>\n    <parenthetical>(points to a spot)<\/parenthetical>\n    <dialogue>Right here!<\/dialogue>\n    <scene_description>There is a moment of silence as Kathy, Frank and Andy both digest what they have heard.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Each of those grids represents almost a square mile.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>That's a big area to cover.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Then let's narrow it down.<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>(knowingly)<\/parenthetical>\n    <dialogue>Homesearchers.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOMESEARCHERS - AFTERNOON<\/stage_direction>\n    <scene_description>Andy stands at the desk with the WOMAN they talked to before. He holds out a THOMAS GUIDE and places it on the desk next to the computer.<\/scene_description>\n    <character>WOMAN<\/character>\n    <parenthetical>(shocked)<\/parenthetical>\n    <dialogue>You want me to what?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>I want you to feed every street in this grid into your computer.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>It'll take hours. You can't make me do this.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>You're right, I can't make you do it. Besides, you're probably gonna be too busy with the Franchise Tax Board anyway.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>I gotta friend over there. He was telling me things are kind of slow. So, I figured I'd give him a call, have him come down here and look through your records. You know, give him something to do.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>What's the first street?<\/dialogue>\n    <scene_description>The CAMERA PULLS BACK through the window until we are...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOMESEARCHERS - AFTERNOON<\/stage_direction>\n    <scene_description>Peter, Kathy and Frank stand on the sidewalk. Peter looks at the NOTE and folds it to read the message.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>As large as castles, you are still light as the air, one hundred men can't move me. It's posed as a question. What am I?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>A building?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>A building isn't as light as air. What's large, but as light as air and can't be moved?<\/dialogue>\n    <character>KATHY<\/character>\n    <parenthetical>(correcting him)<\/parenthetical>\n    <dialogue>As large as castles.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Yes. Why not just say a building if he meant any general type of structure?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>He's not going to give us direct hints. He's going to skirt around it.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>He uses castles...plural -- then says \"can't move me.\" Singular. Not can't move us.<\/dialogue>\n    <scene_description>Kathy stretches her arms above her head. Her shadow falls across the lawn. Peter stares at the ground for a moment.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>A shadow. What's as big a castle? As light as air , but one hundred men can't move it? The shadow of the castle. Are there any buildings that have the name Castle in it that cast a shadow long enough to fall across another building?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Wait a minute. There's an apartment in that area called the Castle Arms.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>That's got to be it.<\/dialogue>\n    <scene_description>Peter rushes inside Homesearchers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE CONFERENCE ROOM - EVENING<\/stage_direction>\n    <scene_description>Frank stands Andy and SIX DETECTIVES. One of them is a WOMAN named JANET MCLELLAN.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Okay. Homesearchers gave us the name Laura Owens. She just moved into an apartment across the street from the Castle Arms one week ago. We've moved her to her parents house in Seattle and S.P.D. is going to keep a watch on her tonight.<\/dialogue>\n    <parenthetical>(pointing)<\/parenthetical>\n    <dialogue>Officer McLellan will spend the night at her apartment.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>Andy, you're going to go to the hotel and pick up Yurilivich at the tournament. Stay with him until it ends, then follow him wherever he goes. If things work out right we'll wrap this up tonight.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - NIGHT<\/stage_direction>\n    <scene_description>Peter walks out on stage to join Yurilivich who is already seated. Peter stares at him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAURA OWENS BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Frank is standing over a bed. Officer McLellan is under the covers.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>You all set?<\/dialogue>\n    <scene_description>McLellan pulls down the blanket to reveal her .38 and nods.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAURA OWENS KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Frank joins a DETECTIVE and begins to wait in the darkness.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - NIGHT<\/stage_direction>\n    <scene_description>The game continues. Peter makes a move. Andy watches the game from the back of the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>An OUTLINE of SOMEONE walks down the street, then stops for a moment. Under s STREET LAMP we see that it's a WOMAN in her fifties walking her dog.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - NIGHT<\/stage_direction>\n    <scene_description>Yurilivich makes a move, then hits his timer. Peter studies the board. He looks up at Yurilivich. Both of them stare at each other intensely. Peter looks back at the board and makes a move. On the BIG BOARD a PIECE MOVES, then STOPS halfway between a square. A moment later the entire board breaks up into an unreadable mass of lines. There's a GROAN from the crowd. The President walks over to David and confers with him quickly, then goes to the players.<\/scene_description>\n    <character>PRESIDENT<\/character>\n    <dialogue>The board's going to take several hours to repair. I think we should adjourn until tomorrow.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIDE OF APARTMENT BUILDING - NIGHT<\/stage_direction>\n    <scene_description>The POV of someone walking slowly along the side of the building.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT, BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Officer McLellan stirs in bed, the tension of waiting beginning to take affect on her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIDE OF BUILDING - NIGHT<\/stage_direction>\n    <scene_description>The POV of someone looking through a bedroom window and looks inside. We can see the outline of a WOMAN in bed. Slowly the window is open by TWO GLOVED HANDS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT, BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>The POV climbs through the window and studies the WOMAN in bed for a moment. She is on her SIDE, her back to him. Sensing something the WOMAN turns over. THE WOMAN IS NOT OFFICER MCLELLAN! Her eyes widen with terror... then FLASH! BRIGHT LIGHT fills the screen.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAURA OWENS KITCHEN - LATER - NIGHT<\/stage_direction>\n    <scene_description>Frank looks impatient. He checks his watch.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>I'm getting a bad feeling about this. If Yurilivich was making a move we would have heard something from Andy by now.<\/dialogue>\n    <character>DETECTIVE<\/character>\n    <dialogue>You think we're in the wrong place?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>This has to be the right place. It all fits. This is the only building that has the word castle in it.<\/dialogue>\n    <character>DETECTIVE<\/character>\n    <dialogue>No. There's the Castle Courts Apartments over on Pine Road.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>But that's all the way across town. It's in another grid.<\/dialogue>\n    <scene_description>Frank thinks for a moment, then checks his watch again.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>You hold things down here. I'm going to take a run over there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CASTLE COURTS APARTMENTS - NIGHT<\/stage_direction>\n    <scene_description>A bracket-shaped, one story building in a less expensive part of town. Frank drives up in his car and gets out. He starts to walk towards the building. FRANK'S POV: From a window in the back we see a series of FLASHES. Frank grabs his radio microphone.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>This is Sedman. It's going down in the back apartment of the Castle Courts.<\/dialogue>\n    <scene_description>He runs towards the building.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CASTLE COURTS, APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>The front door crashes open as Frank breaks it down. He enters the room, his .38 readied. We MOVE with him as he works his way towards the hall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT HALL - NIGHT<\/stage_direction>\n    <scene_description>Frank slowly moves towards the bedroom. He stops at the door, takes a deep breath, then lunges in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Frank enters. The room is lit by moonlight. The rear window is open. On the bed is the WOMAN we saw earlier. She is naked. Her arms tied to the bed frame. There are two deep GASHES in her wrists. Blood flows from her wrists into large plastic bags. Her mouth is taped. Still conscious she struggles, her eyes opened wide in a horror-filled stare. On the wall behind her, written in blood is CAREFULLY. Frank runs to the window. The b.g. we HEAR the SOUND of FOOTSTEPS running away. Frank turns back towards the Woman and quickly moves to the bed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CASTLE COURTS APARTMENTS - NIGHT<\/stage_direction>\n    <scene_description>BLACK and WHITE UNITS are parked in front, their lights flashing. Frank looks drained as he watches an AMBULANCE pull away. He walks over to Andy who is at a POLICE CAR on the RADIO.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>How is she?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>She's unconscious, but they think she's going to make it.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>You alright?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I've seen a lot of things in my time on the job, but nothing like this. Yurilivich?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>I was with him the whole time until I got the call at the hotel.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Sanderson?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>I spoke to Jeremy. He's watching Sanderson's kid. Sanderson went out after the match and hasn't come back since.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Find him! I want to talk to him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PUGET SOUND - NIGHT<\/stage_direction>\n    <scene_description>Peter sits on the beach. He stares out over the water with a pained expression. He reaches into his pocket and removes the ENVELOPE we saw earlier and stares at it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHY'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>We HEAR the DOORBELL. Kathy glances at her watch as she walks across the living room to the front door. She looks through the viewing-hole, then opens the door to reveal a tired-looking Peter on the doorstep.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Can I come in?<\/dialogue>\n    <scene_description>Kathy thinks about it for a moment,then opens the door wider, signaling for him to come in. Kathy sits down on the arm-rest of a chair, Peter stands. A beat.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>The other night -- I said some things that maybe I shouldn't have. I mean, you haven't known me very long and I can see how you thought what you did.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I'm not looking for an apology, Peter.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I was thinking that... maybe when this is all over we could...<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I want someone I can get close to. I don't know if that's possible with you.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You really haven't seen my best side.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Peter...<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>No, listen. You have no idea of the kind of pressure I'm under right now.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>That's still no excuse. You treat everything like a game.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I can't think any more, unless it's about you. I'll be in the middle of a match and instead of thinking about my next move, I think about how you look when you smile.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>Remember how you said that I hide behind my chessboard? Ever since my wife died I've been...<\/dialogue>\n    <parenthetical>(this isn't easy)<\/parenthetical>\n    <dialogue>I've been afraid of getting too close to someone again -- afraid of losing them.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>You're wife died. You can't feel responsible for that.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You don't understand.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Then help me to understand. I want to understand.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>It's not that easy.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Of course it isn't. It's always difficult when someone you love dies.<\/dialogue>\n    <scene_description>But you can't feel responsible because she had a car accident.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>But I do.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Because she killed herself!!<\/dialogue>\n    <parenthetical>(softer)<\/parenthetical>\n    <dialogue>She killed herself.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>She drove her car over that cliff!<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>Oh, the police said it was an accident -- but I knew. I've always known. I closed myself off to her and after I found the letter I closed myself off to everything else. Beating Yurilivich and playing for the title was all I could think about -- but I snapped. I had a breakdown in the middle of the match. I don't remember too much about it.<\/dialogue>\n    <scene_description>He removes the envelope from his pocket.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>This letter. I've never opened it.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Because I know what it says.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Maybe you're afraid of what it says.<\/dialogue>\n    <scene_description>A beat. Peter walks to the couch and sits down. He stares at the envelope, then starts to open it. He stops and looks up at Kathy who nods her head. Kathy starts to leave<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Will you stay with me?<\/dialogue>\n    <scene_description>Kathy sits beside him. He opens the envelope and starts to read.<\/scene_description>\n    <character>WOMAN'S VOICE<\/character>\n    <dialogue>Peter. There are many pains we feel in this world -- but loving someone who has shut you out of his life has to be<\/dialogue>\n    <dialogue>the most unbearable of them all. I knew when we married that you were a man consumed with ambition, but somewhere along the way, your chessboard became your wife, and I became your mistress.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>I know now that you cannot change, cannot give me the things I need. You may think that I'm a coward for what I am about to do, but it is my choice. My release. I only ask that you shield Erica from the truth, and that you forgive me for being so weak. Jennifer.<\/dialogue>\n    <scene_description>His eyes fill with tears. The guilt he has carried for so long is released. Kathy puts her arm around him. He turns to her and rests his head on her shoulder. INSERT TELEVISION REPORTERS stand outside the police station. We see Kathy walking down the steps. PULL BACK to reveal we are in...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETER'S LIVING ROOM - MORNING<\/stage_direction>\n    <scene_description>Jeremy is watching the TV. He does not notice the door open behind and Peter enter.<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>Doctor Sheppard, what goes on in the mind of someone like this?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>That's a very difficult question to answer.<\/dialogue>\n    <character>REPORTER<\/character>\n    <dialogue>Is there a usual scenario?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Well -- yes... usually we find they've had a traumatic childhood. He was probably abused by a dominant female figure. That, coupled with the fact that these girls have not been raped leads me to believe that he is either impudent or a latent homosexual. Regardless, he's acting out some type of revenge fantasy that fulfills some sick sexual needs.<\/dialogue>\n    <scene_description>Jeremy notices Peter. He turns off the TV.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Hi. Where's, Erica?<\/dialogue>\n    <character>JEREMY<\/character>\n    <dialogue>She went into town with Mrs. Lutz. Did they get him?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>JEREMY<\/character>\n    <dialogue>Feel like practicing?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Yeah. Just let me grab a shower.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT - MORNING<\/stage_direction>\n    <scene_description>Peter enters the room to find Frank and Andy staring at him angrily.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Where were you last night?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Are we going to go through this again?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Answer the question.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I went out.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Don't fuck with us! Where did you go!<\/dialogue>\n    <character>KATHY (OS)<\/character>\n    <dialogue>He was with me?<\/dialogue>\n    <scene_description>Kathy is standing in the doorway. Frank and Andy look at her as she enters.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>What time did he get there?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>About a quarter to one.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>We're interested in where you were from the time you left the auditorium until you got there.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I was at the beach.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>You sure you weren't over on Pine Road?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I'm positive.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>You're a lying bastard!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Fuck you! I'm tired of your goddam accusations! If you want to arrest me go ahead! Otherwise back off.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>It's all a big game isn't it? A sick, fuckin' game. I don't know if there's two of you involved, or what -- but we're going to find out. Last night you gave us just enough to send us to the wrong place. It must've shocked the hell out to you when Frank walked in on Pine Road and you couldn't finish.<\/dialogue>\n    <scene_description>Peter starts to walk away.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I'm not going to listen to this.<\/dialogue>\n    <scene_description>Andy grabs him forcefully.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Yes you are.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(pushing him)<\/parenthetical>\n    <dialogue>Get off me!<\/dialogue>\n    <scene_description>Andy explodes. He pushes Peter backward into a GLASS FIRE EXTINGUISHER CASE. It breaks as Peter's HAND SMASHES THROUGH THE GLASS. Peter raises his hand. Blood pours out from a cut on his wrist. Anger floods across his face. He raises his hand to hit Andy. Andy quickly pulls out his gun and points it at Peter's head.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Go ahead. Do it.<\/dialogue>\n    <scene_description>A beat. Peter stares at him. Slowly a crazed grin spreads across his face. He moves closer, pressing his forehead against the barrel of the gun, his eyes locked on Andy's.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>You want to shoot me? Go ahead. Shoot me!<\/dialogue>\n    <scene_description>Peter and Andy lock eyes. Everyone in the room is stunned by Peter's action. The tension is broken as the phone RINGS. Peter and Andy continue to stare at each other. Slowly, Andy backs off. Peter doesn't move. The PHONE continues to RING.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>You going to answer that?<\/dialogue>\n    <scene_description>A beat. The PHONE continues to RING. Peter stares at Andy.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Peter. Please.<\/dialogue>\n    <scene_description>Peter walks to the phone and answers it. Kathy wraps a towel around his hand to stop the bleeding.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>Last night was very exciting, wasn't it? Have you figured out what I'm doing?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You're playing the Tarakoss opening.<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>Very good.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You're next move should have been e2- e3.<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>I used a variation. You should have anticipated that. Have you figured out the message?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>What word did you leave last night?<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>The police haven't told you?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>They think that you and I are doing this together.<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <parenthetical>(a pause)<\/parenthetical>\n    <dialogue>Interesting concept. I hadn't thought of that. If you think about how Anton Berger plays chess you might get it.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I'm beginning to think it doesn't mean anything. Remember eventually revenge- -<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>--you're hopeless! You can't even read a sentence! Didn't they teach you punctuation in school? The game ends tonight!<\/dialogue>\n    <scene_description>The line goes dead.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE CONFERENCE ROOM - AFTERNOON<\/stage_direction>\n    <scene_description>Kathy sits with Frank at the table. Andy paces. Frank and Kathy look at the PHOTOGRAPHS of MESSAGE-WORDS on the wall.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Remember eventually revenge is carefully... Have you tired juxtaposing the words?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Oh, c'mon. We're not going to spend any more time on this crap, are we? It doesn't mean anything. It's Sanderson!<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>It isn't him. Frank, you brought me in on this in the beginning because you wanted my opinion if he was capable of doing this.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Jesus, you're sleeping with the guy. You've lost your perspective. You can't possibly be unbiased.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>He's right, Kathy.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>What are you saying? That I'm seeing what I want to see? That I'm protecting a murderer? What?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>We can't rely on your judgement anymore.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>What does that mean?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>It means you're off the case.<\/dialogue>\n    <scene_description>Kathy looks at Frank.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>I'm afraid I have no choice. I can't run the risk of compromising what little we do know and the future actions of this department by sharing knowledge with someone who is emotionally involved with the prime suspect.<\/dialogue>\n    <scene_description>Kathy stands up and stares at Frank angrily.<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>(pointing to Andy)<\/parenthetical>\n    <dialogue>And what if he's wrong. If you were one hundred percent sure it was Peter you would've arrested him. If it is someone else then he's going to kill again tonight and you're sitting here ignoring the message.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>We're going to work on the message.<\/dialogue>\n    <character>KATHY<\/character>\n    <parenthetical>(angry)<\/parenthetical>\n    <dialogue>This stinks! You want to know what I think? I think there have been five murders and you've got shit to go on. You need to blame someone and he's the easiest choice.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>The most logical choice.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>You don't have a shred of evidence!<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>We'll find the evidence.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>You couldn't find your dick in a wind storm!<\/dialogue>\n    <scene_description>Kathy storms out of the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JEREMY'S BEDROOM - AFTERNOON<\/stage_direction>\n    <scene_description>Peter enters.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Jeremy?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL LOBBY - AFTERNOON<\/stage_direction>\n    <scene_description>Peter walks through the room. He bumps into Lutz.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Have you seen Jeremy today?<\/dialogue>\n    <character>LUTZ<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>If you do will you tell him I'm looking for him?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHY'S HOUSE - EVENING<\/stage_direction>\n    <scene_description>Peter is sitting on the couch writing on a piece of paper. Kathy walks over holding two cups of COFFEE.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>If we could just figure out what the next word is going to be. He said the game's going to end tonight so there's only going to be one more word.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>It could be anything.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>It's got to be grammatically correct.<\/dialogue>\n    <scene_description>Peter gets up and starts pacing.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Remember eventually revenge is carefully... carefully what?<\/dialogue>\n    <scene_description>Kathy looks at Peter with a stunned expression.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>How did you know it was \"carefully\"?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Frank told me.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>No he didn't.<\/dialogue>\n    <scene_description>A beat. Peter stares at her for a moment.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>You're right. The killer told me.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>He didn't tell you either.<\/dialogue>\n    <scene_description>A beat. Their eyes lock.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Yes, he did. He said, \"think about how Anton Berger plays chess\". Anton Berger wrote one of the most famous books on chess called \"Principals and Tactics\". Every beginning player reads it. The first chapter is his three rules to good play: Carefully. Carefully. Carefully.<\/dialogue>\n    <scene_description>Peter looks at her, studying her for a reaction.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>This isn't going to be like the phone book, is it?<\/dialogue>\n    <character>KATHY<\/character>\n    <parenthetical>(weakly)<\/parenthetical>\n    <dialogue>Of course not.<\/dialogue>\n    <scene_description>A beat. Kathy checks her watch.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>You're going to be late for your match.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Are you going to come tonight?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Yeah. I'll be there later.<\/dialogue>\n    <scene_description>Peter walks over to her and kisses her good-bye. Kathy forces a smile. Peter walks to the door, opens it, then looks back at her, then leavess. Kathy stares at the door, her mind racing. She starts to pace as she thinks, then walks to her phone book and looks up a number. She dials and waits as it rings.<\/scene_description>\n    <character>WOMAN'S VOICE<\/character>\n    <dialogue>Bainbridge Books.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Hi, Sara. This is Doctor Sheppard. I was wondering if you could tell me if you have a book on chess called \"Principals and Tactics\" by Anton Berger.<\/dialogue>\n    <character>WOMAN'S VOICE<\/character>\n    <dialogue>I can check and call you back.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Thank you. I'm at 639-7393.<\/dialogue>\n    <character>WOMAN'S VOICE<\/character>\n    <dialogue>We'll call you back.<\/dialogue>\n    <scene_description>Kathy hangs up. There is a KNOCK on the door. She walks towards it.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>MAN'S VOICE (OS)<\/character>\n    <dialogue>It's me. I forgot something.<\/dialogue>\n    <scene_description>Kathy hesitates a moment, then opens the door. Terror fills her face. HER POV: A man wearing a black RAIN COAT stands outside. His face is covered by a porcelain MASK. FLASH! A bright light goes off. Kathy is blinded. The Man lunges inside, pushing Kathy to the floor. He enters and SLAMS the door shut. Kathy gets up and starts to run towards the back of the house. The MAN tackles her to the ground. Kathy kicks her way free. She crawls backwards, pushing herself back with her legs. The MAN crawls after her groping for her legs with his GLOVED HANDS. He grabs her ankle, then sits on top of her, pinning her to the ground. HE SPEAKS IN A WHISPER.<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>You shouldn't have said those things about me today. You have no idea what I am.<\/dialogue>\n    <scene_description>He raises a STILETTO. CLICK! The BLADE just out. He holds it before her eyes. KATHY'S POV: There is a DEEP CUT on his wrist.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Peter...<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>Peter, isn't here anymore.<\/dialogue>\n    <scene_description>The PHONE RINGS. The MAN snaps his head towards the sound. Kathy quickly pushes him backwards and rolls over. The Man falls backwards. Kathy gets up and runs to the front door, SCREAMING.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KATHY'S HOUSE - EVENING<\/stage_direction>\n    <scene_description>Kathy runs out into the street, SCREAMING for help. She runs across the street and BANGS on the front door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KATHY'S HOUSE - LATER - NIGHT<\/stage_direction>\n    <scene_description>It has begun to RAIN lightly as Kathy sits in the passenger seat of a PATROL CAR. Frank and Andy are with her.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Did you see his face?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>No. He was wearing a mask... but I saw the cut on his wrist. It was Peter.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I can't arrest someone for having a cut on their wrist. Do you have someone you can stay with tonight?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I've got a room at the institute I use when I stay late.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Okay. Why don't you go out there. We'll check in with you later.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - NIGHT<\/stage_direction>\n    <scene_description>Peter walks out on stage and sits across from Yurilivich. He sits down and makes a move, then looks out into the audience. PETER'S POV: The place where Jeremy usually sits is empty.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE CAR - NIGHT<\/stage_direction>\n    <scene_description>Andy drives. Frank sits in the passenger seat. A VOICE crackles over the radio.<\/scene_description>\n    <character>MAN'S VOICE (OS)<\/character>\n    <dialogue>King base one. This is King fifteen.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>This is Sedman.<\/dialogue>\n    <character>MAN'S VOICE (OS)<\/character>\n    <dialogue>Captain, this is Harton. I'm out at Hollow Bluffs. I think you should get out here.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>It better be important.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOLLOW BLUFFS - NIGHT<\/stage_direction>\n    <scene_description>A PATROL CAR is parked at the base of a CLIFF. OFFICER HARTON is standing by it on the RADIO. In the light from the HEAD LIGHTS we can see the body of JEREMY laying on the rocks, his WHEELCHAIR in the b.g.<\/scene_description>\n    <character>OFFICER HARTON<\/character>\n    <dialogue>It is, sir.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOLLOW BLUFFS - LATER - NIGHT<\/stage_direction>\n    <scene_description>Frank and Andy study Jeremy's battered body. Frank looks through Jeremy's jacket and removes a NOTE. He reads it, then looks up at Andy.<\/scene_description>\n    <character>FRANK<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>\"Peter, I'm sorry but I just can't do it anymore\".<\/dialogue>\n    <scene_description>They stare at each other. OFFICER HARTON walks over holding something.<\/scene_description>\n    <character>OFFICER HARTON<\/character>\n    <dialogue>I found this over by the wheelchair.<\/dialogue>\n    <scene_description>Frank takes it and looks at it.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>It's a voice modulator.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>He was never there when the calls came in. He was covering for Sanderson the whole time.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE CAR - NIGHT<\/stage_direction>\n    <scene_description>Frank and Andy drive back towards town. Frank is on the RADIO.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>I want you to find Judge Meyerson and have a search warrant for Peter Sanderson by the time I get back to town.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOCTOR FULTON'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Doctor Fulton is at his desk working on a computer. Kathy enters. She looks tired.<\/scene_description>\n    <character>DOCTOR FULTON<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <scene_description>Kathy doesn't answer. She walks wearily into the room.<\/scene_description>\n    <character>DOCTOR FULTON<\/character>\n    <dialogue>Kathy, what is it?<\/dialogue>\n    <scene_description>She is on the verge of tears.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>I've been such an idiot!<\/dialogue>\n    <scene_description>Doctor Fulton walks over to her. Tears flow down her cheeks. He hugs her and she falls into his arms weeping.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PETER'S HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Frank and Andy walk towards the door with a HOTEL EMPLOYEE. Frank KNOCKS, waits a moment, then motions for the Employee to open the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - NIGHT<\/stage_direction>\n    <scene_description>Peter and Yurilivich continue their match. Peter looks confidant.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETER'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Frank looks through the desk. We HEAR Andy call from another room.<\/scene_description>\n    <character>ANDY (OS)<\/character>\n    <dialogue>Frank, c'mere.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETER'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Frank enters and joins Andy at the nightstand. Andy points to a DRAWER that he's pulled out.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Take a look under here.<\/dialogue>\n    <scene_description>Frank looks under the drawers, then at Andy. He removes several POLAROID PHOTOGRAPHS taped to the bottom. He looks through them. CLOSE ON PHOTOGRAPHS: Each one shows a different girl, her face filled with terror.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - NIGHT<\/stage_direction>\n    <scene_description>The match continues. Peter makes another move. Yurilivich looks nervous as he studies his position. In the back of the room the doors crash open as Frank and Andy barge into the room. Peter watches them from the stage as they approach. They walk up the steps and stop before him.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Peter Sanderson. You're under arrest.<\/dialogue>\n    <scene_description>Peter bolts up from his seat.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>This is...<\/dialogue>\n    <scene_description>Before he can finish Andy grabs him and SLAMS him down onto the chessboard. He removes his HANDCUFFS.<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>(cuffing him)<\/parenthetical>\n    <dialogue>You have the right to remain silent. If you give up that right anything you say can and will be used against you in a court of law... (Con't)<\/dialogue>\n    <scene_description>Andy snaps the cuffs on tightly and jerks Peter upright, then pushes him off the stage. Andy continues reading Peter his rights as he pushes him down the aisle towards the doors.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOCTOR FULTON'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Kathy sits by the window. LIGHTNING lights up the night sky. She sips a cup of coffee. Doctor Fulton stands behind her.<\/scene_description>\n    <character>DOCTOR FULTON<\/character>\n    <dialogue>Feeling better?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I just can't believe it.<\/dialogue>\n    <character>DOCTOR FULTON<\/character>\n    <dialogue>You don't want to believe it. It's a normal reaction.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>How come the police never had a record of Sanderson before. This doesn't come out of nowhere, there has to be a history.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE CONFERENCE ROOM - NIGHT<\/stage_direction>\n    <scene_description>Peter is sitting on a chair, his hands cuffed. He looks stunned. Frank and Andy sit before him.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Jeremy would have never killed himself.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Maybe he just got tired of covering for you.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>This is insane! Can't you see what's going on. The killer wants me out of the way. He's setting me up.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>You set yourself up tonight when you attacked Kathy, you crazy fuck!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>She saw the cut on your wrist, Peter.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION, FRONT DESK - NIGHT<\/stage_direction>\n    <scene_description>The PHONE RINGS. Officer Harton answers it.<\/scene_description>\n    <character>OFFICER HARTON<\/character>\n    <dialogue>Bainbridge Police Department.<\/dialogue>\n    <character>MAN'S VOICE<\/character>\n    <dialogue>This is Richard Farrington. I've been retained by the Chess Federation as council for Peter Sanderson.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOCTOR FULTON'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Kathy sits at Doctor Fulton's desk, staring at the phone. A beat. She picks up the receiver and dials.<\/scene_description>\n    <character>WOMAN'S VOICE<\/character>\n    <dialogue>Bainbridge Books.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Sara, this is Doctor Sheppard. I called you earlier about a book.<\/dialogue>\n    <character>WOMAN'S VOICE<\/character>\n    <dialogue>Yes, Doctor Sheppard. We called you back but you weren't home. We have the book.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Could you please do me a big favor? In the first chapter the author mentions his three rules of chess. Could you look and tell me what they are?<\/dialogue>\n    <character>WOMAN'S VOICE<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <parenthetical>(a long pause)<\/parenthetical>\n    <dialogue>Yes, here it is.<\/dialogue>\n    <parenthetical>(a little laugh)<\/parenthetical>\n    <dialogue>Why, they're all the same?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>What are they, please?<\/dialogue>\n    <character>WOMAN'S VOICE<\/character>\n    <dialogue>\"Carefully\". \"Carefully\". \"Carefully\".<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE CONFERENCE ROOM - NIGHT<\/stage_direction>\n    <scene_description>Frank is at the door with Officer Harton. Andy glares at Peter hostilely. Frank puts a piece of paper on the table.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>The Chess Federation got you an attorney. Here's his number. You've got three minutes.<\/dialogue>\n    <scene_description>Frank, Andy and Harton leave. Peter looks at the paper and dials the number on the phone. It RINGS.<\/scene_description>\n    <character>MAN'S VOICE (OS)<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>This is Peter Sanderson calling for Richard Farrington.<\/dialogue>\n    <scene_description>We HEAR the CALLER'S distorted VOICE.<\/scene_description>\n    <character>CALLER (OS)<\/character>\n    <dialogue>Hello, Peter.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You sonofabitch!<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>Emotional? I expected more from you.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>If you kill tonight and I'm in jail the police will know I'm innocent.<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>By that time the game will be over.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I've figured out the message.<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>No you haven't. And even if you had it doesn't matter. Who would you tell? The police don't believe you, and you've just used your only phone call.<\/dialogue>\n    <scene_description>We HEAR the Caller LAUGH, then the line goes dead. Peter turns his attention to the WORDS. He springs from his seat.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Alright, Peter, think. The game ends tonight. He'll leave one more word. Remember eventually revenge is carefully... carefully what? Planned? Arranged? Contrived?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION, FRONT DESK - NIGHT<\/stage_direction>\n    <scene_description>Frank stands with Andy. Andy checks his watch.<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Ready for round two?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I've got a feeling we're going to go<\/dialogue>\n    <dialogue>the distance with him. Let him sweat for a little while.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOCTOR FULTON'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Kathy paces the room. Doctor Fulton is at his desk working on the computer.<\/scene_description>\n    <character>DOCTOR FULTON<\/character>\n    <dialogue>Kathy, please. You're going to wear a hole in the carpet.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I'm just nervous. Sorry.<\/dialogue>\n    <character>DOCTOR FULTON<\/character>\n    <dialogue>You're safe. He wouldn't come here.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>He already did once.<\/dialogue>\n    <scene_description>Kathy thinks about something for a moment.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Why did he?<\/dialogue>\n    <character>DOCTOR FULTON<\/character>\n    <dialogue>Why did he what?<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Come here.<\/dialogue>\n    <character>DOCTOR FULTON<\/character>\n    <dialogue>He was watching you.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Yeah -- that's what we've always thought -- but what if he wasn't? What if I had nothing to do with the reason he came here?<\/dialogue>\n    <character>DOCTOR FULTON<\/character>\n    <dialogue>You're losing me.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>What if he came here because he's a patient. An out-patient?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE CONFERENCE ROOM - NIGHT<\/stage_direction>\n    <scene_description>Peter paces the room, his mind racing. Remember eventually... remember eventually... grammar... Peter walks to the PHOTOGRAPH of the word REMEMBER. He points to a smudge after the word.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Period! That's what he meant about punctuation. Remember. Remember what?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOCTOR FULTON'S - NIGHT<\/stage_direction>\n    <scene_description>Kathy is at a computer. Doctor Fulton works at his desk. FILES from the computer MONITOR scroll past, reflecting off Kathy's GLASSES.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE CONFERENCE ROOM - NIGHT<\/stage_direction>\n    <scene_description>Peter writes on the blackboard. He is writing: Eventually revenge... He stops.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Okay. Remember is a separate sentence. They key is in the long sentence Everything with him has been word games.<\/dialogue>\n    <scene_description>He erases what he wrote and starts to write again. EVENTUALLY REVENGE IS CAREFULLY PLANNED He stands back and studies it. His eyes dart across the message like a chessboard, calculating, evaluating.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION, FRONT DESK - NIGHT<\/stage_direction>\n    <scene_description>Frank taps Andy on the shoulder and they start back down the hall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE CONFERENCE ROOM - NIGHT<\/stage_direction>\n    <scene_description>Peter erases the word \"PLANNED\" and adds \"ARRANGED\" at the bottom. He studies it for a moment, then closes his eyes. He turns around and takes a few steps, then stops dead in his tracks. His eyes open wide as a thought crashes into his mind. He turns around and stares at the board confirming what he already knows.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Oh my God!<\/dialogue>\n    <scene_description>Frank and Andy walk into the room. Peter is on the verge of being hysterical.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>The message! I figured out--<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Sit down!<\/dialogue>\n    <scene_description>Andy moves towards Peter and grabs him. Peter plows into him, slamming his full body weight him.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>He's going to kill my daughter!!<\/dialogue>\n    <scene_description>Peter gets the blackboard and erases all of the letters but the first one of each word. It now spells:<\/scene_description>\n    <character>E<\/character>\n    <dialogue>R<\/dialogue>\n    <character>I<\/character>\n    <dialogue>C<\/dialogue>\n    <character>A<\/character>\n    <dialogue>Frank and Andy look at each other.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETER'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>A full-blown storm is raging outside as Erica enters the room. She turns on the lights and walks towards the back.<\/scene_description>\n    <character>ERICA<\/character>\n    <dialogue>Dad?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE CONFERENCE ROOM - NIGHT<\/stage_direction>\n    <scene_description>Frank stands before Peter. He is frantic.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Don't you understand what I'm telling you? That's why he wants me out of the way.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I understand that this is just another<\/dialogue>\n    <dialogue>one of your games.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Look, I'll do anything you want! I'll sign anything you want! Just send a car out to the hotel.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ERICA'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Erica sits on her bed. Behind her the DRAPES to her WINDOW are OPEN. Outside LIGHTNING FLASHES SILHOUETTING a MAN standing on the BALCONY in the rain. Erica senses something and turns around. A moment later there is another FLASH OF LIGHTNING, but the MAN is no longer there.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE CONFERENCE ROOM - NIGHT<\/stage_direction>\n    <scene_description>Peter slams his hand down on the table.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Alright! I confess! I killed them!! I killed them all! Now, will you please send a car to the hotel?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOCTOR FULTON'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Kathy continues searching through the files. She brings up another one and stares at it. Confusion fills her face.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Oh no.<\/dialogue>\n    <scene_description>She raises her finger to the screen, tracing the words as she reads them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE CONFERENCE ROOM - NIGHT<\/stage_direction>\n    <scene_description>Frank watches Peter as he signs a confession. Frank grabs his arm.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Alright, c'mon Peter. We're moving you to a cell.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I signed the confession. What about the car?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION, FRONT DESK - NIGHT<\/stage_direction>\n    <scene_description>Frank leads Peter into the room. Officer Harton is behind the desk.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Where the hell is Andy?<\/dialogue>\n    <character>OFFICER HARTON<\/character>\n    <dialogue>He took off about ten minutes ago.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(to Harton)<\/parenthetical>\n    <dialogue>Did you send the car?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>It's over, Peter. Let's stop the games. I'm not sending a car.<\/dialogue>\n    <scene_description>Something in Peter snaps. Rage fills him as he crashes his body into Frank's, then quickly strips Frank's pistol out of his belt. He holds it out in his handcuffed hands, pointing at Harton before he can even get up from his seat.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Get up! Real slow and put your hands on the desk.<\/dialogue>\n    <scene_description>Harton does what he's told.<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>(to Frank)<\/parenthetical>\n    <dialogue>Drop the keys to the cuffs on the ground and kick them over to me.<\/dialogue>\n    <scene_description>Frank drops the keys and kicks them over. Peter bends down, his eyes on Frank and Harton. Slowly he removes the cuffs.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Alright! Let's move down the hall.<\/dialogue>\n    <scene_description>WE MOVE down the hall with them. Peter motions for them to go inside the Conference room. They do. Peter closes the door and LOCKS it from the outside. As Peter runs out of the station the PHONE starts to RING.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOCTOR FULTON'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>She is at her desk, on the PHONE, listening as it RINGS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE STATION - NIGHT<\/stage_direction>\n    <scene_description>Peter runs out and gets into Frank's car. He drives.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETER'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>The CAMERA MOVES IN towards a WINDOW on the other side of the DARKENED ROOM. Suddenly, a GLOVED HAND smashes through the GLASS and reaches inside. At the same time a CLAP of THUNDER booms overhead, covering most of the noise.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ERICA'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Erica is watching TV. She gets up, thinking she has heard something.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM, HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Erica enters the DARK ROOM and cautiously walks over to the LIGHT SWITCH located next to a DOOR that leads to the living room. She is just about to turn the SWITCH when... There is a LONG FLASH OF LIGHTNING. Suddenly, her expression turns to one of horror as she sees something in the next room. ERICA'S POV: On the other side of the LIVING ROOM is a LARGE MIRROR. The LIGHTNING LIGHTS the room well enough for her to see A MAN'S SILHOUETTE in the MIRROR. He is standing on the other side of the doorway, his back pressed up against the wall, waiting for her to enter the room. INSERT LIGHT SWITCH: Erica slowly starts to move her hand away from the SWITCH when a HAND GRABS her firmly by the WRIST. ON ERICA: She is startled, but quickly relaxes as she looks up at someone.<\/scene_description>\n    <character>ERICA<\/character>\n    <dialogue>Boy! You scared me.<\/dialogue>\n    <scene_description>There is a KNOCK at the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL, PARKING LOT - NIGHT<\/stage_direction>\n    <scene_description>Peter pulls his car in and skids to stop. As he gets out he sees Andy's car parked close by. He runs towards the building.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Peter rushes frantically towards room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETER'S HOTEL SUITE - NIGHT<\/stage_direction>\n    <scene_description>Peter rushes inside and runs across the room.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Erica! Erica!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM, HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Peter runs towards Erica's room. A NOTE is taped to her door. It reads: CHECK!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL - NIGHT - WIDE SHOT<\/stage_direction>\n    <scene_description>Lightning lights up the sky. Before the THUNDER comes we HEAR Peter's frantic cry.<\/scene_description>\n    <character>PETER (VO)<\/character>\n    <dialogue>No!!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - NIGHT<\/stage_direction>\n    <scene_description>We see Kathy through the windshield as she drives through the storm.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETER'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Peter sits by the phone in the dark. He stares at the PHONE almost willing it to ring. In a FLASH OF LIGHTNING he sees a pool of blood flowing out under the closet door. Slowly Peter walks towards the door, he reaches to open it, then hesitates, afraid of what might be behind the door. He takes a deep breath, then opens it quickly. PETER'S POV: A FLASH OF LIGHTNING highlights Andy's lifeless body as it falls out of the closet. Peter is startled as he backs away from the body.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION, FRONT DESK - NIGHT<\/stage_direction>\n    <scene_description>Two UNIFORMED OFFICERS enter and notice that no one is at the desk. In the b.g. they HEAR someone POUNDING on a door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE STATION - NIGHT<\/stage_direction>\n    <scene_description>The RAIN falls in sheets. Frank runs out and gets into a patrol car and drives off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETER'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>The PHONE RINGS. Peter runs to the cordless phone and lifts it up.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>Congratulations on your daring escape. You just missed me by a few seconds.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>It's check, Peter.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Let me speak to my daughter.<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>She's in the other room. I just wanted you to know she wasn't dead... yet. But it's time for her to die now.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Please... wait.<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>The game's over. You lost.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>It's me you want. Not her.<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>No. As usual you're wrong. It is her I want. Killing you would be easy. Living with the consequences of losing will be much more of a defeat.<\/dialogue>\n    <scene_description>Peter HEARS a faint RATTLING SOUND in the background.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>That wouldn't be very sporting. Remember Huxley? \"His play is always fair and just.\"<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>You're groping. I have been fair. It's my move now.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I'll give you anything you want. Anything! Please!<\/dialogue>\n    <character>CALLER (OS)<\/character>\n    <dialogue>Don't beg, Peter. She has to die. I can't win unless she dies.<\/dialogue>\n    <scene_description>Peter hears the SOUND again.<\/scene_description>\n    <character>CALLER (OS)<\/character>\n    <dialogue>I was thinking about leaving the phone line open so you could hear her die -- but I've decided it's better if you don't know exactly when I kill her. Good-bye Peter.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>No! Wait!!<\/dialogue>\n    <scene_description>The line goes dead. Peter's mind races.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>A few seconds! Where could he have gone in a few seconds? Think! Think, Goddamit!<\/dialogue>\n    <scene_description>He looks towards the window. PETER'S POV: of the wind blowing through the trees outside. Peter's face floods with realization.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Steam pipes!<\/dialogue>\n    <scene_description>Peter dials a THREE DIGIT number on the phone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL BASEMENT - NIGHT<\/stage_direction>\n    <scene_description>The MAN wearing a black rain-coat walks across the room towards an alcove. The door to the alcove is OPEN and we see Erica who is tied to a chair and gagged. WATER FLOODS in through cracks in the foundation flooding the room. THE PHONE RINGS. He stops, startled by the sound, his head snapping towards the phone. The MAN is stunned. His mind races. He thinks for a moment. He walks back to the phone and slowly lifts the receiver.<\/scene_description>\n    <character>PETER (OS)<\/character>\n    <dialogue>I know where you are.<\/dialogue>\n    <character>CALLER<\/character>\n    <dialogue>Very good. How did you know?<\/dialogue>\n    <character>PETER (VO)<\/character>\n    <dialogue>The pipes.<\/dialogue>\n    <scene_description>The MAN looks at the PIPES. They RATTLE. The realization of his mistake dawns on him.<\/scene_description>\n    <character>CALLER<\/character>\n    <dialogue>Excellent. It doesn't matter. You<\/dialogue>\n    <dialogue>still lose. She'll still be dead before you can get down here.<\/dialogue>\n    <scene_description>The MAN slams down the receiver. CLICK! The blade snaps out of the STILETTO. He walks quickly back towards the alcove, the KNIFE clutched tightly in his hand. He stops for a moment at the door, as he prepares for the act ahead. Erica stares at him as he approaches with wide-eyed terror! The MAN moves towards her then stops, sensing something is wrong. The door slowly CLOSES revealing Peter standing behind it, Frank's gun aimed at him in one hand, the CORDLESS PHONE in the other.<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>(dryly)<\/parenthetical>\n    <dialogue>Checkmate!<\/dialogue>\n    <scene_description>Peter turns on the LIGHTS. The MAN turns around. It is David, the computer technician. He slowly brings the KNIFE to his side, hiding it behind his leg.<\/scene_description>\n    <character>CALLER<\/character>\n    <dialogue>How'd you know I wouldn't be in the same room with her?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You told me. When you called you said she was in the other room. Drop the knife.<\/dialogue>\n    <scene_description>The Caller shrugs his shoulder, then drops it. They stare at each other. David takes a little step closer.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Computers. That's how you got into Homesearchers records. You can get into anything. But why? Why?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>You still haven't figured it out, have you? You think that I've put you through an ordeal. My scars run so much deeper than yours.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>What scars?<\/dialogue>\n    <character>DAVID<\/character>\n    <parenthetical>(moving closer)<\/parenthetical>\n    <dialogue>The scars on your chest. From where I stabbed you with my fountain pen.<\/dialogue>\n    <scene_description>Shock pours over Peter's face as his mind drifts back to a tournament twenty years ago.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>We were only children.<\/dialogue>\n    <scene_description>David lunges at Peter. Peter raises the gun. Too late! David is too close. He pushes Peter's hand away. They struggle over the gun.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETER'S HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Kathy enters and starts to move down the hall.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Erica!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL GROUNDS - NIGHT<\/stage_direction>\n    <scene_description>Kathy runs outside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL BASEMENT - NIGHT<\/stage_direction>\n    <scene_description>The struggle continues. David butts his head into Peter's nose, then slams him into the wall again. THE GUN FIRES into the air. At the same moment a CLAP OF THUNDER BOOMS overhead.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL GROUNDS - NIGHT<\/stage_direction>\n    <scene_description>Kathy does not HEAR the SHOT. In the b.g. we see Frank running towards her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL BASEMENT - NIGHT<\/stage_direction>\n    <scene_description>David repeatedly smashes Peter's hand into the wall. THE GUN FIRES INTO THE AIR SEVERAL TIMES. A bullet hits an over head PIPE. STEAM FLOODS the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL GROUNDS - NIGHT<\/stage_direction>\n    <scene_description>Frank hears the shots and runs towards the SOUND.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL BASEMENT - NIGHT<\/stage_direction>\n    <scene_description>David smashes Peter's hand into the wall until the gun falls to the ground, disappearing under the water. He grabs Peter, lifting him into the air, displaying brute strength, his rage is unleashed. He slams Peter's back into the wall, knocking the wind out of him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL UTILITY CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>Frank races through the hallway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL BASEMENT - NIGHT<\/stage_direction>\n    <scene_description>The fight continues. STEAM SWIRLS through the room. David slams his elbow into Peter's face. Blood pours out of Peter's nose. David raises his knee, kicking Peter in the stomach. Peter doubles over. David picks up a lamp off the desk and smashes it over Peter's head. Peter drops to the ground. David picks up his knife and walks over to Peter, then lifts his head out of the water.<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>They took everything from me -- because of you -- and now I'm going to take everything from you.<\/dialogue>\n    <scene_description>David opens the door to the alcove, then walks back to Peter. He bends down and presses the BLADE to Peter's neck. For a moment we sense he is going to kill Peter, then, he grabs him by the hair, lifting his head up so he can see. PETER'S POV: Erica is sitting in the alcove, tied to the chair. Peter is only semi-conscious. David starts to leave. David is just about at the alcove door when Frank enters the room, his weapon drawn. Then looks at Peter, then David.<\/scene_description>\n    <character>DAVID<\/character>\n    <parenthetical>(moving towards Frank)<\/parenthetical>\n    <dialogue>Thank God you're here. I heard Erica scream and came in to see what was going on. Mister Sanderson was going to stab her.<\/dialogue>\n    <parenthetical>(holds up the knife)<\/parenthetical>\n    <dialogue>With this.<\/dialogue>\n    <scene_description>Frank looks at the knife. FRANK'S POV: There is a DEEP CUT on David's wrist, exactly like Peter's. Frank's face registers the cut. David notes it. Before Frank can even look at him, David thrusts the blade into his stomach. The force drives Frank back against the wall. His gun drops from his hand as Frank slides to the floor. Peter tries to grab David's leg as he heads towards the alcove. Frank pulls up his pant leg revealing his backup gun. He tries to reach for it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL BASEMENT, ALCOVE - NIGHT<\/stage_direction>\n    <scene_description>David enters the room. Through the STEAM he sees Kathy trying to untie Erica. David stares at them, his lips spread into maniacal grin. The OVERHEAD LIGHTS FLASH on and off intermittently.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>This isn't going to help, David. You're mother's dead. You can't undo it.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>You don't understand.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>Yes, I do. I found your file. I know what happened.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>They took away the game because of him. My father left and my mother... There was so much blood... It covered everything.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I know, but this isn't going to bring her back.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Don't you see? I had to make it right. I ignored my mother's crossing. I sat with them all. I held their hands. I stroked their hair. I was with them to the end. I took away the blood. I washed them. Their crossing was peaceful.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I think your mother knows that now. Why don't you put the knife down. Put it down, David.<\/dialogue>\n    <scene_description>For a moment it appears he is thinking about it. He lowers the blade, but his need to kill is to strong. He raises it again.<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>She has to die!<\/dialogue>\n    <scene_description>His face tenses. He lunges towards Erica. BANG! A shot tears through his chest. The impact blows him off his feet. He falls back into the murky water and disappears. Peter stands in the doorway, straining to stay conscious, Frank's GUN aimed at David. Kathy quickly finishes untying Erica. They run to the corner of the room. Kathy holds her close. Peter slowly staggers forward. He probes the water with his feet, checking for David's body. The MURKY WATER, THE STEAM and the BLINKING LIGHTS don't make it easy. Peter leans over, pointing the gun at the ground. PETER'S POV: The MURKY WATER. Suddenly, a HAND streaks out of the water. The hand grabs Peter around the neck. David stands up quickly. They struggle over the gun. They both fall backwards into the water. Peter surfaces and crawls backwards. David stands up. They locks eyes. Peter stares back with a deadly calmness.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>The game's over, asshole!<\/dialogue>\n    <scene_description>David starts to lunge for him. Peter empties the GUN into him. His body jerks backwards violently, smashing into the wall, then he slides down and dies, slowly disappearing under the surface of the water.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL GROUNDS - LATER - NIGHT<\/stage_direction>\n    <scene_description>BLACK and WHITE UNITS fill the area, their RED LIGHTS FLASHING. UNIFORMED OFFICERS hold back the CROWD of on-lookers. Peter sits off to the side. He looks worn to the point of exhaustion. A PARAMEDIC attends to the wounds on his face. Erica sits beside him, clinging to his arm. TWO MEN carry a STRETCHER, the body on it is covered. Peter stares at it blankly as it passes. Kathy is standing at the rear of an AMBULANCE. The doors close and it drives off. She walks over to Peter and Erica.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Frank's going to be alright. They don't think any major arteries were severed.<\/dialogue>\n    <scene_description>The information doesn't seem to register with Peter. He continues to stare ahead blankly.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Peter, you beat him.<\/dialogue>\n    <scene_description>He slowly looks over at her, but says nothing.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>You beat him.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I got lucky.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>There's a girl in the hospital who is going to live because of you. You made a difference.<\/dialogue>\n    <scene_description>Peter just continues to stare at her.<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Peter, I'm sorry I doubted you, but--<\/dialogue>\n    <scene_description>Peter reaches forwards and places his fingers on her lips.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>It's over now.<\/dialogue>\n    <character>KATHY<\/character>\n    <dialogue>I just wanted you to know in case you thought about it in the future.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Do we have a future?<\/dialogue>\n    <scene_description>A beat. Kathy leans in a kisses him. Erica smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - DAY<\/stage_direction>\n    <scene_description>Yurilivich is at his seat. The seat across the board from him is vacant. THE AUDIENCE waits, silently. THE PRESIDENT: Checks his watch, then gets up to address the crowd. We HEAR the SOUND of DOORS opening. CHESSBOARD CLOCK: It TICKS methodically. CLOSE ON YURILIVICH'S HAND: his fingers taps on the table. KATHY AND ERICA: in the audience. Kathy checks her watch. She is anxious. Peter enters and limps towards the stage. Slowly he climbs the steps, then sits down across from Yurilivich. He looks out into the audience. Kathy smiles. Erica nods to him. CLOSE ON PETER: He looks at the board and makes a move, then hits his timer. Slowly he looks up at Yurilivich. A huge smile covers his face. FREEZE FRAME: FADE TO BLACK<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In 1972 David and Peter face each other in a chess match. David, the loser, stabs the winner Peter with a fountain pen. The loser's savage attack on his childhood opponent after his public humiliation and defeat leads to the dissolution of his parents' marriage. His father leaves forever, and the boy finds his mother dying from suicide from a slashed wrist, yet he ignores her and retrieves his locked-away chessboard. The boy spends the next twenty years in and out of asylums and foster care and is never seen again. In the meantime, Peter becomes one of the youngest, most successful chess grandmasters in history. A brilliant yet troubled widower with a beloved daughter, he suddenly finds himself a suspect in his casual lover's murder. When more homicides occur, newly-appointed Police Captain Frank Sedman and his partner Detective Andy Wagner determine that a serial killer is at work. As the chess master becomes more and more connected to the deaths, psychologist Kathy Sheppard is brought in to figure out if the chess prodigy is as innocent as he claims to be."}
{"movie_name":"Blockers_2018","imdb_id":"tt2531344","script":"<script>\n  <scene>\n    <character>CHERRIES<\/character>\n    <dialogue>by<\/dialogue>\n    <scene_description>Jim &amp; Brian Kehoe DMG Entertainment 310.275.3750 FADE IN<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN NEIGHBORHOOD, LONG ISLAND, NY - DAY<\/stage_direction>\n    <scene_description>An upscale neighborhood. Perfectly manicured lawns. Early summer, flowers in full bloom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - DAY<\/stage_direction>\n    <scene_description>PETE HARRINGTON (40, friendly and responsible) ties balloons to his front porch. A kind-looking MAILMAN approaches.<\/scene_description>\n    <character>MAILMAN<\/character>\n    <dialogue>Afternoon, Pete! What's the occasion?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>My daughter is going to prom tonight, so I'm hosting a little pre-party for the kids and their parents.<\/dialogue>\n    <character>MAILMAN<\/character>\n    <dialogue>No way! Little Julie? Geez, seems like only yesterday I was delivering Highlights Magazine. They grow up so fast.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Tell me about it.<\/dialogue>\n    <character>MAILMAN<\/character>\n    <parenthetical>(getting nostalgic)<\/parenthetical>\n    <dialogue>Prom. What a wondrous night...<\/dialogue>\n    <scene_description>Pete nods.<\/scene_description>\n    <character>MAILMAN<\/character>\n    <dialogue>First time I got my dick wet.<\/dialogue>\n    <character>PETE<\/character>\n    <parenthetical>(uncomfortable)<\/parenthetical>\n    <dialogue>You don't say.<\/dialogue>\n    <character>MAILMAN<\/character>\n    <dialogue>Carla Minnifield. She was smokin'. YUUUUGE tits.<\/dialogue>\n    <scene_description>He motorboats two PARTY BALLOONS, then pantomimes hitting a SPEED BAG and smiles at Pete.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <scene_description>The Mailman nods and strokes Pete's rolled-up mail. Pete steps inside his front door.<\/scene_description>\n    <character>MAILMAN<\/character>\n    <parenthetical>(peeking inside)<\/parenthetical>\n    <dialogue>Send Julie out for a sec so I can get a peek at her in her little dress.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Not gonna happen.<\/dialogue>\n    <scene_description>Pete slowly begins to close the door in his face.<\/scene_description>\n    <character>MAILMAN<\/character>\n    <dialogue>Don't forget your-<\/dialogue>\n    <scene_description>Pete grabs the mail and shuts the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETE'S HOUSE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Pete searches the mail and smiles when he sees a brochure that reads \"Camp on Lake George!\" He rushes upstairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JULIE'S ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>JULIE (16, All-American, adorable) does her hair as Pete walks in and dances around to her music.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Ahh, yeah, is this my boy Skrillex? His new album just dropped, right?<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>Yeah, I downloaded it to your iPod last night.<\/dialogue>\n    <scene_description>Julie smiles and tosses the iPod to him. Pete kisses her forehead.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Hey, check it out. They renovated the cabins on Lake George! We should nail down dates ASAP. We won't have to bring the shovel this year... Indoor plumbing!<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>I'm not sure I'll be able to go camping this summer.<\/dialogue>\n    <scene_description>Pete stops dancing.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Of course you're going. We go every year. It's our thing.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>I don't have a lot of summers left with my friends.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Are they dying?<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>Austin's going to college in September. And I'll be going to college soon, too.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>You're only a sophomore.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>I'm gonna be a junior.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>It's only a few days...<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>It's a whole week. But can we talk about it later? I really need to get ready.<\/dialogue>\n    <character>PETE<\/character>\n    <parenthetical>(hurt)<\/parenthetical>\n    <dialogue>Yeah... of course.<\/dialogue>\n    <scene_description>Pete looks at her RED PROM DRESS on the bed.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>I wish your mom was here to see this. She looked beautiful in red, too.<\/dialogue>\n    <scene_description>Julie smiles.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>I'll just leave this here for you to check out... Just in case.<\/dialogue>\n    <scene_description>He puts the BROCHURE on the bed and walks out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MITCHELL'S CAR - EARLY EVENING<\/stage_direction>\n    <scene_description>MITCHELL FORDE (40, pessimistic, kind of a pussy) drives with his wife MARCIE and their daughter KAYLA (15, self-centered) who is dressed in a very revealing prom dress.<\/scene_description>\n    <character>KAYLA<\/character>\n    <dialogue>You know, you guys really don't have to come. Most of the parents won't even be there.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>We wouldn't miss your prom party for the world, sweetie. And we've already got the sitter.<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>But it's gonna be super lame. You should go do something fun instead.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>It's fun for us to spend time with you.<\/dialogue>\n    <scene_description>Hint not taken, Kayla sits back and chews her lip.<\/scene_description>\n    <character>KAYLA<\/character>\n    <dialogue>Whatevs.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>So who's this Dex boy you're going with tonight?<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>He's just a guy from school.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Anything we should know about him for when you introduce us?<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>I'm NOT introducing you.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>But-<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>He's a senior. Please don't do this to me! Mom?!<\/dialogue>\n    <character>MARCIE<\/character>\n    <dialogue>Stop antagonizing her, Mitchell.<\/dialogue>\n    <scene_description>He shrugs, what was I doing?<\/scene_description>\n    <character>KAYLA<\/character>\n    <dialogue>Pull over here. Right here!<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>What? Why? The Harrington's house is at the end of the block.<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>I think I know where my best friend lives.<\/dialogue>\n    <scene_description>Mitchell pulls over and they all hop out of the car. Kayla notices some KIDS in front of the house.<\/scene_description>\n    <character>KAYLA<\/character>\n    <dialogue>Mom, you guys are gonna wait a few minutes before you come in, like we talked about, right?<\/dialogue>\n    <character>MARCIE<\/character>\n    <dialogue>Yes, honey.<\/dialogue>\n    <scene_description>Mitchell looks confused. Marcie shoots him a look.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Okay, Peanut. We'll give you a five minute head start.<\/dialogue>\n    <scene_description>Kayla notices that her dad is wearing CAPRI PANTS.<\/scene_description>\n    <character>KAYLA<\/character>\n    <dialogue>Make it ten.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HUNTER'S HOUSE - EARLY EVENING<\/stage_direction>\n    <scene_description>SAM (15, artsy and pretty, but self-conscious) waits in the living room with her mother, Hunter's attractive EX-WIFE.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Dad, c'mon!<\/dialogue>\n    <parenthetical>(to her mother)<\/parenthetical>\n    <dialogue>I can't believe he's still in the shower.<\/dialogue>\n    <character>HUNTER (O.S.)<\/character>\n    <dialogue>Being on time is for losers, Sam. You know that!<\/dialogue>\n    <scene_description>Sam sighs, turns to her mother.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Do I look okay?<\/dialogue>\n    <character>HUNTER'S EX-WIFE<\/character>\n    <dialogue>Are you kidding? You look beautiful, sweetheart!<\/dialogue>\n    <scene_description>Sam nervously fidgets with her prom dress, then shakes her head in frustration and looks down a hallway, impatiently.<\/scene_description>\n    <character>HUNTER'S EX-WIFE<\/character>\n    <dialogue>Hunter, are you coming?<\/dialogue>\n    <character>HUNTER (O.S.)<\/character>\n    <dialogue>Almost, give me one minute!<\/dialogue>\n    <character>HUNTER'S EX-WIFE<\/character>\n    <dialogue>Hurry up!<\/dialogue>\n    <character>HUNTER (O.S.)<\/character>\n    <dialogue>Please stop talking!<\/dialogue>\n    <scene_description>Sam paces, upset.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I wanted to get there before Kayla. And she's probably already there!<\/dialogue>\n    <character>HUNTER'S EX-WIFE<\/character>\n    <dialogue>Why? Is something going on with you and Kayla?<\/dialogue>\n    <scene_description>Sam shakes her head, upset; she clearly doesn't want to talk about it. Annoyed, Hunter's Ex-Wife heads for his bedroom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HUNTER'S BEDROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>She knocks and HUNTER PHELPS (40, a likeable wise-ass) opens the door a crack. He's in a towel, his hair still wet.<\/scene_description>\n    <character>HUNTER'S EX-WIFE<\/character>\n    <dialogue>What the hell, Hunter? Sam's gonna be late and you take the longest shower ever?<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Sorry, but I was really dirty.<\/dialogue>\n    <scene_description>A NAKED HOT GIRL walks past the door and spots Hunter's Ex- Wife. She waves to Hunter's Ex-Wife, embarrassed. Caught, Hunter smiles and shrugs.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>She was filthy, too, god bless her.<\/dialogue>\n    <scene_description>Hunter's Ex-Wife shakes her head, disgusted.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DIMLY LIT ROOM - LATER<\/stage_direction>\n    <scene_description>CLOSE ON a pair of giant distorted EYES searching with binoculars. The binoculars dip, revealing ELI (15, nerdy). He scans the yard from the safety of his bedroom and locks in on his target: Julie -- as she talks with Kayla in a gazebo.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Hello, my love. Yes, the sun is rather strong. Of course I'll rub suntan oil on your back. I happen to have some right here.<\/dialogue>\n    <scene_description>PLLLFFFF. Lotion squirts from a bottle.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>How does that feel? Is it too rough? Oh, it's just right, my darling? Mmmm.<\/dialogue>\n    <character>WOMAN'S VOICE (O.S.)<\/character>\n    <dialogue>Eli! There's no toilet paper in here!<\/dialogue>\n    <scene_description>Eli shakes off the distraction, continues with his business.<\/scene_description>\n    <character>ELI<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>Stay in the zone.<\/dialogue>\n    <character>ELI'S MOM<\/character>\n    <dialogue>Eli!?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Not now, Mom!<\/dialogue>\n    <parenthetical>(back to Julie)<\/parenthetical>\n    <dialogue>Now, where were we, my love?<\/dialogue>\n    <character>WOMAN'S VOICE<\/character>\n    <dialogue>Hurry up! It was NOT a clean break!<\/dialogue>\n    <scene_description>The moment ruined, Eli angrily rubs the lotion in his hand into his elbows.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Okay!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PETE'S HOUSE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Hunter, his Ex-Wife and Sam walk up the path to the house.<\/scene_description>\n    <character>HUNTER'S EX-WIFE<\/character>\n    <dialogue>Do you have anything you want to say, Hunter?<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Like what?<\/dialogue>\n    <scene_description>His Ex-Wife motions toward Sam. Hunter looks confused.<\/scene_description>\n    <character>HUNTER'S EX-WIFE<\/character>\n    <dialogue>How does she look?<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <parenthetical>(to Sam)<\/parenthetical>\n    <dialogue>We both look great, honey. Let's do this shit.<\/dialogue>\n    <scene_description>Sam shakes her head. His Ex-Wife shoots him a look, but he pays no attention.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PETE'S BACKYARD - CONTINUOUS<\/stage_direction>\n    <scene_description>Julie talks with Kayla by the gazebo.<\/scene_description>\n    <character>KAYLA<\/character>\n    <dialogue>I wish Tina was coming with us instead of Sam.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>I wish we were all going together, but you know Tina couldn't come.<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>I know. And I'm not saying I hate Sam, just that I don't want her in our limo because she's super lame... I guess I do hate her a little bit.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>We've been talking about going to prom together since we were in third grade. So don't be a dick.<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>Fine. But I swear to god, if she says one more word about Katniss-<\/dialogue>\n    <character>SAM (O.S.)<\/character>\n    <dialogue>Hey guys.<\/dialogue>\n    <scene_description>Julie and Kayla turn to see Sam.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Oh, hey!<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>I need a refill.<\/dialogue>\n    <scene_description>Kayla walks away as Julie and Sam hug each other hello.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PETE'S BACKYARD - EARLY EVENING<\/stage_direction>\n    <scene_description>PROM-GOERS and PARENTS enjoy the food and drinks at the catered party. Mitchell talks to Pete as he samples the hors d'oeuvres.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Delicious.<\/dialogue>\n    <scene_description>Pete nods. Across the yard, Mitchell sees some kids looking in his direction and laughing. Are they laughing at his pants?<\/scene_description>\n    <character>MITCHELL<\/character>\n    <parenthetical>(suddenly insecure)<\/parenthetical>\n    <dialogue>I was filling out an application at Macy's when the salesgirl talked me into these pants. She said this is the style these days.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Is that right?<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>I thought Kayla might like them, but I can't get a read. Thoughts?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>They're... seasonally appropriate.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Would you wear them?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>If I had your calf development, maybe. I don't, though. So, no, I wouldn't consider wearing them.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <parenthetical>(glances at his calves)<\/parenthetical>\n    <dialogue>I do take stairs when I can.<\/dialogue>\n    <character>MAN'S VOICE (O.S.)<\/character>\n    <dialogue>Dude, you can't afford pants that go all the way down?<\/dialogue>\n    <scene_description>Mitchell shakes his head. He doesn't need to look; he knows it's Hunter. Hunter hugs Pete, then Mitchell.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>You guys catch that Mets game? Just caught the end on the radio on the ride over. Craziness.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>I recorded it, so don't-<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>They won 4-3 in ten.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Ass.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>I just saved you three hours.<\/dialogue>\n    <scene_description>Just then, an attractive SINGLE MOM walks by.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>What do we have here?<\/dialogue>\n    <scene_description>Single Mom smiles suggestively at Pete, who quickly looks away.<\/scene_description>\n    <character>RANDOM PARENT (O.S.)<\/character>\n    <dialogue>Smile!<\/dialogue>\n    <scene_description>Pete, Mitchell and Hunter turn to the camera and smile.<\/scene_description>\n    <character>HUNTER<\/character>\n    <parenthetical>(through smiling teeth)<\/parenthetical>\n    <dialogue>You should be tearing that ass apart, Pete.<\/dialogue>\n    <character>PETE<\/character>\n    <parenthetical>(through smiling teeth)<\/parenthetical>\n    <dialogue>No one's ass is getting torn.<\/dialogue>\n    <scene_description>The camera CLICKS, the Random Parent walks away and the guys get back to checking out Single Mom, who is bent over, fixing the hemline on her daughter's prom dress.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>Dude, what the hell? It's been eight years!<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>I know that. I've been a little busy raising my daughter.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Well, there's no rule that says you can't slap a milf in the face with your dick and still be a good dad.<\/dialogue>\n    <scene_description>Mitchell nods in apparent agreement. It's a Hallmark moment.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JULIE'S ROOM - EVENING<\/stage_direction>\n    <scene_description>ON SAM AND KAYLA, who both look confused. Julie holds an unraveled CONDOM. The girls move in for a closer inspection. Kayla catches a whiff.<\/scene_description>\n    <character>KAYLA<\/character>\n    <dialogue>Ew! Do they come in any other smells?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Wait! Does this mean...<\/dialogue>\n    <character>JULIE<\/character>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>Austin's been very patient. So-<\/dialogue>\n    <character>KAYLA<\/character>\n    <parenthetical>(excited; laughing)<\/parenthetical>\n    <dialogue>You whorebag!<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>So, you're gonna do it with him? Like... all of it?<\/dialogue>\n    <scene_description>Kayla rolls her eyes. Sam notices, embarrassed.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>He's going to college soon. I want to be his first and I want him to be mine.<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>Does he know?<\/dialogue>\n    <character>JULIE<\/character>\n    <parenthetical>(nodding)<\/parenthetical>\n    <dialogue>He didn't need much convincing.<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>I'm proud of you, skank.<\/dialogue>\n    <scene_description>Sam sees how impressed Kayla is with Julie and jumps in:<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I'll probably do it, too. With Chad.<\/dialogue>\n    <scene_description>Incredulous, Julie and Kayla turn to Sam.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Huh? You barely know him.<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>He only asked you because he's Austin's friend and he didn't have a date.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>So what? It's prom. Why not have the sex?<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>I call bullshit.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>What's bullshit? I'm definitely getting some sausage tonight.<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>Sausage?<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>(uncomfortable)<\/parenthetical>\n    <dialogue>Weiner. Dong. Whatever.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>Sam, you don't have to-<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'm tired of doing boring shit. I'm ready for some cock action tonight.<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>You're serious?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>As first period gym.<\/dialogue>\n    <scene_description>Kayla raises a brow, is she for real?<\/scene_description>\n    <character>KAYLA<\/character>\n    <dialogue>Then count me in.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>So we're all doing it tonight.<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>Looks like it.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Awesome.<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>Amazing.<\/dialogue>\n    <scene_description>Both girls nod. Julie watches the back and forth.<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>(challenging)<\/parenthetical>\n    <dialogue>Maybe we should put it in writing.<\/dialogue>\n    <character>KAYLA<\/character>\n    <parenthetical>(eyes narrowing; not backing down)<\/parenthetical>\n    <dialogue>I'd like that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PETE'S YARD - LATER<\/stage_direction>\n    <scene_description>Pete, Hunter and Mitchell talk in the yard.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>I'm excited for the kids.<\/dialogue>\n    <scene_description>Julie, Sam and Kayla hang out with AUSTIN (Julie's boyfriend, well-mannered) and CHAD (Sam's date, lanky with Beiber hair). Austin and Chad have CARROT STICKS up their noses and they're barking like walruses. The girls laugh.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>They're gonna have so much fun.<\/dialogue>\n    <character>HUNTER<\/character>\n    <parenthetical>(checks his watch; disinterested)<\/parenthetical>\n    <dialogue>Yeah, should be a blast. When are they leaving?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Chad seems like a nice kid, huh, Hunter?<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Not a clue.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Has Sam been dating him long?<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>What, am I in the PTA?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>I thought you might know, since Chad's mom is Debbie Doyle.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Debbie Doyle from high school? Top- of-the-pyramid Debbie Doyle?<\/dialogue>\n    <scene_description>Pete nods.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>I always wanted to nail Debbie Doyle. But she was a tough crack to nut.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>She'll probably make an appearance here.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Sweet!<\/dialogue>\n    <character>MITCHELL<\/character>\n    <parenthetical>(to Pete)<\/parenthetical>\n    <dialogue>Which one is Kayla's date?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>That one. Dex.<\/dialogue>\n    <scene_description>Pete points to the other side of the yard where DEX (18 but looks 25, enormous) smokes a cigarette. Dex leans out over the deck and checks out the women at the party like a vulture. He rubs his patchy mustache. Mitchell's face falls.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>I do not like the looks of this Dex person.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>He looks like the type who owns exotic pets.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Don't listen to him, Mitchell.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Seriously, though, I'd get Kayla started on a Z pack first thing in the morning.<\/dialogue>\n    <scene_description>Mitchell looks really nervous.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>I'm going to set him straight before they leave, just in case.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Please let us know when you're gonna do that.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Yeah, we do not wanna miss that.<\/dialogue>\n    <scene_description>Pete notices something, excuses himself and walks away. ACROSS THE YARD...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>.. Eli has tried to climb into the yard, but is stuck on top of the fence, his shirt caught on one of the posts. His legs dangle helplessly. Pete walks over.<\/stage_direction>\n    <character>PETE<\/character>\n    <dialogue>Is that you, Eli?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Oh hey, Mr. Harrington, did we luck out with this weather or what?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Sure did. Let me give you a hand.<\/dialogue>\n    <scene_description>Pete helps Eli over the fence. Eli is wearing a shirt and tie.<\/scene_description>\n    <character>PETE<\/character>\n    <parenthetical>(re: his clothes)<\/parenthetical>\n    <dialogue>Looking sharp.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Naturally.<\/dialogue>\n    <scene_description>Pete nods.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Hope you don't mind my dropping by.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>You know you're always welcome here.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Thanks. I'm just gonna let Julie know I picked up Serenity on BluRay. Criterion Collection.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Just in case she's over this prom business.<\/dialogue>\n    <scene_description>Eli shoots an air gun at him and walks away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PETE'S BACKYARD - LATER<\/stage_direction>\n    <scene_description>Mitchell approaches and stands face-to-neck with Dex.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>So... Dex, right?<\/dialogue>\n    <character>DEX<\/character>\n    <dialogue>I prefer Silver Back. It's my D.J. name.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>I'm Mr. Forde. You're taking my daughter to prom. So I guess you know each other from school?<\/dialogue>\n    <character>DEX<\/character>\n    <dialogue>Oh, yeah. I seen her in the hall a few times. Nice situation. Front and back.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <parenthetical>(ignores the comment)<\/parenthetical>\n    <dialogue>Oh, you don't know each other well. So I assume you asked her to the prom as friends, right?<\/dialogue>\n    <character>DEX<\/character>\n    <dialogue>Katie asked me. Austin and Julie hooked it up.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Katie? You mean Kayla?<\/dialogue>\n    <character>DEX<\/character>\n    <dialogue>I guess.<\/dialogue>\n    <scene_description>Mitchell bites his lip. Kayla spots her dad talking to her date. This is an emergency!<\/scene_description>\n    <character>KAYLA<\/character>\n    <dialogue>Pictures! Everyone outside!<\/dialogue>\n    <scene_description>Kayla quickly grabs Dex and pulls him away. ON PETE AND HUNTER...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>.. who watch Mitchell walk back toward them. Mitchell breaks into a strut and smile. The guys look at him expectantly.<\/stage_direction>\n    <character>MITCHELL<\/character>\n    <dialogue>Smell that? Poor kid practically shit himself.<\/dialogue>\n    <scene_description>The guys nod, uh huh.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRONT YARD - LATER<\/stage_direction>\n    <scene_description>The couples are lined up in front of the LIMOS as PARENTS take pictures and shout for the kids to \"look over here\" and \"smile!\" The couples all attempt to look sexy. As Pete takes a few pictures, he notices only one smile coming from the group. The smile belongs to Eli, who has taken a knee in front of Julie.<\/scene_description>\n    <character>ELI<\/character>\n    <parenthetical>(quietly; to Julie)<\/parenthetical>\n    <dialogue>I know you don't \"love\" sci-fi, but Whedon is a master of crossing genre boundaries.<\/dialogue>\n    <character>JULIE<\/character>\n    <parenthetical>(complaining about Eli)<\/parenthetical>\n    <dialogue>Dad!<\/dialogue>\n    <character>PETE<\/character>\n    <parenthetical>(waving him away)<\/parenthetical>\n    <dialogue>Eli.<\/dialogue>\n    <scene_description>Eli reluctantly steps out of the picture, then slips unnoticed into Pete's house. Hunter chats with DEBBIE DOYLE, Chad's pretty mom.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>Can you believe my little girl is going to the prom with your son?!<\/dialogue>\n    <character>DEBBIE<\/character>\n    <dialogue>I know. Sam is so cute. You did a great job with her.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Yes, I did. Chad seems great, too. Is your husband here?<\/dialogue>\n    <character>DEBBIE<\/character>\n    <dialogue>No. We're divorced, so...<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Excellent. I mean, that's too bad.<\/dialogue>\n    <scene_description>She smiles, picking up on his flirtation.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>Ahh, Debbie, Debbie, Debbie... Hey, can you still do a split?<\/dialogue>\n    <character>DEBBIE<\/character>\n    <dialogue>Yup.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>We should schedule a play date.<\/dialogue>\n    <character>DEBBIE<\/character>\n    <dialogue>The kids are a bit old for that.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Who's talking about the kids?<\/dialogue>\n    <scene_description>Debbie smiles. ON MITCHELL...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>.. as his wife nudges him to the front of the crowd to take a photo. Mitchell maneuvers for a shot of Kayla.<\/stage_direction>\n    <character>MITCHELL<\/character>\n    <dialogue>Look here! Kayla! Kayla, over here!<\/dialogue>\n    <scene_description>Kayla is embarrassed. She looks in every direction but Mitchell's.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Kayla! Kayla! Peanut!<\/dialogue>\n    <scene_description>Kayla turns bright red.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>D.J. Silver Back!<\/dialogue>\n    <scene_description>Dex immediately turns and looks at Mitchell. Noticing, Kayla turns, too. They flash their sexiest pose.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Great! Beautiful!<\/dialogue>\n    <scene_description>Mitchell checks the camera.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <parenthetical>(to no one in particular)<\/parenthetical>\n    <dialogue>No card. I have no SD card!<\/dialogue>\n    <character>KAYLA<\/character>\n    <parenthetical>(to Dex)<\/parenthetical>\n    <dialogue>I'm adopted.<\/dialogue>\n    <scene_description>The other parents look at Mitchell, as he has a mini- meltdown. Then he has an idea and pulls out his ancient flip phone.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Don't worry, sweetheart, I'll use the Razr!<\/dialogue>\n    <scene_description>ANGLE ON...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>.. the sleazy-looking limo driver, SETH, who ambles over to Pete and leans against the limo.<\/stage_direction>\n    <character>SETH<\/character>\n    <dialogue>Kids, huh?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Uh, yeah.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>How much do you love them, right?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Yeah. A lot.<\/dialogue>\n    <scene_description>Pete nods, uncomfortable. After an awkward pause, Seth gets a bit annoyed. He cuts to the chase.<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>So do you want to tip at the end of the night or... ?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>It was my understanding that the tip was included in the price.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Yeah, still supposed to tip me personally.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Oh, I didn't know. Sorry.<\/dialogue>\n    <scene_description>Pete digs into his pocket.<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Don't beat yourself up.<\/dialogue>\n    <scene_description>Pete hands him some cash. Seth is truly offended.<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Whoa, a little discretion, chief.<\/dialogue>\n    <scene_description>Pete has no idea what to do. A moment passes.<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Would you like to shake hands with a limo driver?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Uh, sure.<\/dialogue>\n    <scene_description>They shake hands and Pete awkwardly transfers the cash. Seth nods his thanks and walks away. He walks past Hunter, who claps as Debbie does a split in the front yard. ON MITCHELL...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..who flips through a collection of dark, blurry Razr photos. He notices Seth at his side.<\/stage_direction>\n    <character>SETH<\/character>\n    <dialogue>Kids, huh?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PETE'S HOUSE - LATER<\/stage_direction>\n    <scene_description>Julie gives her dad a kiss on the cheek.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Have fun, honey.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>I will, dad.<\/dialogue>\n    <scene_description>Austin, demonstrating his good manners, opens the door for Julie, who climbs in. Pete looks at Austin.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Seatbelts.<\/dialogue>\n    <character>AUSTIN<\/character>\n    <dialogue>Don't worry, Mr. Harrington.<\/dialogue>\n    <scene_description>The other kids climb into the limo. The guys watch Dex slap Kayla's ass as she climbs in. The limo takes off.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Who's up for some binge drinking?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMO - LATER<\/stage_direction>\n    <scene_description>The kids are having fun in the back seat. Sam suddenly leans over and kisses a surprised Chad. Kayla, in response, snuggles up to Dex, who dives in for a raunchy tongue-flailing makeout. Kayla engages for a few seconds then pulls away and laughs nervously. Austin looks at Julie, what's going on here? Julie shrugs. In the front seat, Seth is out of his tuxedo and is now sporting stained cargo shorts and a Garbage Pail Kids t- shirt. He zips down the partition.<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Hey, my name is Seth. Shit's gonna get epic up in here now that the 'rents are in the rearview!<\/dialogue>\n    <scene_description>The kids look at each other.<\/scene_description>\n    <character>KAYLA<\/character>\n    <parenthetical>(disgusted)<\/parenthetical>\n    <dialogue>Put the partition back up... Seth.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>That's cool!<\/dialogue>\n    <scene_description>The kids laugh as the partition slides back up, then immediately slides back down.<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Before I vamanos, though, let me just say that I see some long faces back there.<\/dialogue>\n    <scene_description>The kids look at each other again, what the fuck is with this guy?<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>I got just the thing to turn those frowns upside down. Who's down for a little...<\/dialogue>\n    <parenthetical>(waves a baggie)<\/parenthetical>\n    <dialogue>Crystal? Made it myself. I'm no Heisenberg, but it's good shit. Who's down?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'd do a bag.<\/dialogue>\n    <scene_description>Julie and Kayla are shocked.<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>(to Julie and Kayla)<\/parenthetical>\n    <dialogue>What? I'm up for anything tonight.<\/dialogue>\n    <parenthetical>(quickly; to Seth)<\/parenthetical>\n    <dialogue>But no one else wants any, so no thanks. I can't eat a whole bag by myself.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>I get it. No tweakers on board. How about we make it snow up in this bitch?!<\/dialogue>\n    <scene_description>He waves another baggie filled with coke.<\/scene_description>\n    <character>DEX<\/character>\n    <dialogue>We could use some beers later.<\/dialogue>\n    <character>CHAD<\/character>\n    <dialogue>And some energy drinks!<\/dialogue>\n    <scene_description>Dex shoots him a look.<\/scene_description>\n    <character>CHAD<\/character>\n    <dialogue>But mostly beer.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Beer? Seriously?<\/dialogue>\n    <parenthetical>(deflated)<\/parenthetical>\n    <dialogue>Yeah, I can do that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JULIE'S BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>Eli pokes around. He opens the medicine cabinet. He applies Julie's deodorant. Heaven. He picks up Julie's toothbrush and licks it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PETE'S BACKYARD - NIGHT<\/stage_direction>\n    <scene_description>Pete and Hunter sit around a FIRE PIT drinking beer. Hunter and Mitchell have tequila shots.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>We should all be proud of ourselves. We've raised three pretty great girls.<\/dialogue>\n    <scene_description>The guys raise a glass and drink.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Isn't it crazy? In a few years, they'll be off to college.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Nuts.<\/dialogue>\n    <scene_description>Hunter throws back a shot.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>I'm sure going to miss Kayla around the house. The nice talks and the hugs. I'll miss the hugs the most.<\/dialogue>\n    <scene_description>Mitchell then downs an entire beer in a few seconds.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Sorry, guys. What I just said there, that was bullshit. There are no hugs. I actually think Kayla's embarrassed of me.<\/dialogue>\n    <character>PETE<\/character>\n    <parenthetical>(lying)<\/parenthetical>\n    <dialogue>I doubt that.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Seriously? It's pretty fucking obvious.<\/dialogue>\n    <scene_description>Pete shoots him a look.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>She hasn't called me \"dad\" in a year. She's just calls me \"hey.\" As in, \"hey, is that what you're wearing?\" and \"hey, ever heard of a courtesy flush?\"<\/dialogue>\n    <scene_description>Mitchell sighs, then throws back a shot.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>It's because I lost my job.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Are you getting any interviews?<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>No. And my resume is all over Monster. What else can I do?<\/dialogue>\n    <scene_description>Pete shrugs.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Maybe I am an embarrassment.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Hey, that's bullshit, man.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Yeah, look at you.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>You've got... a lot of... good stuff going on.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Like...?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>You're a great friend!<\/dialogue>\n    <scene_description>Mitchell shrugs, that's not doing it for him. Pete and Hunter think hard...<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>Look at those calves!<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Yeah, I mentioned those earlier.<\/dialogue>\n    <scene_description>The guys try, but can't think of much else until...<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>You're awesome at sound effects! That honking horn sound? You could be the next Michael Winslow!<\/dialogue>\n    <scene_description>Mitchell makes a bicycle honking noise with his mouth.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>That's the one! So good.<\/dialogue>\n    <scene_description>The guys muster a laugh. Mitchell cheers up.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>I am pretty good at that.<\/dialogue>\n    <scene_description>The guys nod.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>You dudes wanna hear some of the new ones I've been working on?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Maybe later.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Mitchell smiles and nods.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>I'll get a few more logs for the fire.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <parenthetical>(seizing the opportunity)<\/parenthetical>\n    <dialogue>Put another shrimp on the barbie!<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Maybe stick with the sound effects. Accents aren't in your wheelhouse.<\/dialogue>\n    <scene_description>Mitchell nods. He makes the honking sound as he walks away.<\/scene_description>\n    <character>HUNTER<\/character>\n    <parenthetical>(quietly; to Pete)<\/parenthetical>\n    <dialogue>Why do we hang out with him?<\/dialogue>\n    <scene_description>Pete smiles. Mitchell returns with a couple of logs.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>You know, you're not the only one with daughter problems, Mitchell. Julie's bailing on our annual camping trip.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>That shit is normal, guys. Kids pull away from their parents. And you know those three girls. They're attached at the hip. With the soccer and karate and whatever else.<\/dialogue>\n    <scene_description>Pete and Mitchell share a confused look.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>Sam and I have an unspoken understanding. We give each other space and we'll reconnect sometime during her mid to late-twenties.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JULIE'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Eli opens Julie's underwear drawer and his jaw drops as if he's found the Lost Arc of the Covenant. He spots a bottle of HAND LOTION on top of the dresser.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>You've been out in the sun for a long time, Julie. Time to reapply.<\/dialogue>\n    <scene_description>SPLOOSH, SPLOOSH. He pumps some lotion into one hand and picks up a pair of panties with the other. He notices the CAMPING BROCHURE in the drawer. He eyes it curiously.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PETE'S BACKYARD - NIGHT<\/stage_direction>\n    <scene_description>Mitchell is drunk and in a much better mood, playing drums on the table with a couple of serving spoons.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>Alright, this was a solid pre-game. Let's hit Taste of Honey.<\/dialogue>\n    <scene_description>Pete shakes his head.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>Fucking pussies. Afraid of a strip club.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>We're not pussies. We're parents.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>C'mon, dude, when's the last time you had an entire night without Julie? Let's pillage!<\/dialogue>\n    <scene_description>Suddenly, SMOKE pours out from the garage door.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Uh, Pete!<\/dialogue>\n    <scene_description>Pete frantically runs over and hits the garage door opener. Smoke billows out!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARAGE - CONTINUOUS<\/stage_direction>\n    <scene_description>The garage is filled with smoke. The guys start coughing. When the smoke clears, they find Eli sitting in Pete's beat up 2004 VOLVO STATION WAGON.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Oh, hey, Mr. Harrington, gentlemen.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETE'S HOUSE, LIVING ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Pete and Mitchell carry Eli, who looks fine, but distraught, into the house. Hunter slaps him across the face.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>What the hell?! I'm awake!<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Why are you trying to off yourself in my garage?<\/dialogue>\n    <scene_description>Without a word, Eli hands Pete the CAMPING BROCHURE.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>This kid really hates camping.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Turn it over.<\/dialogue>\n    <character>PETE<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>We, Kayla, Julie and Sam, who have known each other our whole lives, wish to this night one that we will never forget...<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>That's sweet-<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>-Keep reading.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>...and hereby swear that tonight, on the occasion of our first ever prom, we will all have...<\/dialogue>\n    <parenthetical>(strains to read)<\/parenthetical>\n    <dialogue>I can't make out this word.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Sorry. It's smudged from my tears. Sex. The word is sex. We all agree to have sex for the first time with our prom dates.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>What? WHAT??<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>No, that... can't be right. What is this?!<\/dialogue>\n    <scene_description>Hunter grabs it.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>It's some sort of contract.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>It's a fuck pact!<\/dialogue>\n    <scene_description>The guys look around at each other, completely STUNNED.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Is that... binding?<\/dialogue>\n    <scene_description>HARD CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETE'S CAR - MOMENTS LATER<\/stage_direction>\n    <scene_description>Pete drives the crappy Volvo wagon while on his cell. Mitchell rides shotgun; Hunter and Eli are in the back. The tension is palpable.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Straight to voicemail again.<\/dialogue>\n    <parenthetical>(frustrated)<\/parenthetical>\n    <dialogue>I'm sure this is some kind of mistake. I would have known about this.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>I knew I shouldn't have gotten her that HPV vaccine!<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>If this kid has sex with Sam, I can forget about getting with Debbie. And after all these years, that would be tragic.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>We're almost there. Let's talk strategy.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Get in, spread out. Grab the kids off the dance floor, forbid them from having intercourse.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>No! No! No! Check the dance floor last. Handicapped bathroom stalls first. Regular people stalls second.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Bathrooms? It's their first time for chrissake!<\/dialogue>\n    <parenthetical>(to Pete, re: Eli )<\/parenthetical>\n    <dialogue>Why the hell did you bring him?<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Seriously. Pull over. Let's dump his ass at the Arby's.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>He's a good kid.<\/dialogue>\n    <parenthetical>(softly; to Mitchell)<\/parenthetical>\n    <dialogue>And I have rope and cutlery in my garage.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I'm just saying there probably won't be any sex happening on the dance floor. But bathrooms are in play. Last week, my cousin Freddie sixty-nined with a lady in a port-o- potty behind Subway!<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>That couldn't have been pretty. Meatball is the five dollar footlong this month.<\/dialogue>\n    <scene_description>Pete reacts by giving it a bit more gas.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>The point is that teenagers will have sex anywhere they can.<\/dialogue>\n    <scene_description>Eli notices Pete look at him in the rearview.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Not me, though. Not with Julie. Our first time will be magical. I have it all planned. No jackhammering.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Stop talking, Eli.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>The loser may have a point. My first time was with Dawn Sadler in a sewer drain next to a rotting raccoon carcass.<\/dialogue>\n    <scene_description>Mitchell shakes his head in disgust.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>See?<\/dialogue>\n    <character>HUNTER<\/character>\n    <parenthetical>(bragging)<\/parenthetical>\n    <dialogue>We did it four times.<\/dialogue>\n    <scene_description>Eli nods, impressed. Pete hits the gas even harder. The wagon shakes as it hauls ass down residential streets.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRAND BALLROOM - NIGHT<\/stage_direction>\n    <scene_description>The tastefully decorated room is packed with horny PROM- GOERS. It's a beautiful evening. Julie and Austin dance together and have a great time.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>It's going to be a special night.<\/dialogue>\n    <scene_description>Austin nods and kisses her romantically. Sam sees Kayla looking over and responds by grinding on Chad, who's surprised.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>So do you think you're more of a Gale or a Peeta to my Katniss?<\/dialogue>\n    <character>CHAD<\/character>\n    <dialogue>I have no idea what you're saying right now.<\/dialogue>\n    <scene_description>Sam keeps grinding, but with a little less interest. Kayla tries to mimic Sam's moves. Dex is into it, but is distracted by the 50 YEAR OLD D.J., who looks terminally bored.<\/scene_description>\n    <character>DEX<\/character>\n    <dialogue>I wish I had my tables. I would totally battle D.J. Fossil right now. I'm not feeling this guy's beats at all.<\/dialogue>\n    <scene_description>Kayla grinds hard. Dex takes notice.<\/scene_description>\n    <character>DEX<\/character>\n    <dialogue>You are so slammin...<\/dialogue>\n    <scene_description>Kayla raises a brow. Dex looks at his palm and sees smudged ink on it.<\/scene_description>\n    <character>DEX<\/character>\n    <dialogue>...Something with a \"K.\"<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>Kayla.<\/dialogue>\n    <character>DEX<\/character>\n    <dialogue>Riiiiight.<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>We don't have to talk so much.<\/dialogue>\n    <scene_description>Kayla smiles. Dex nods, appreciatively.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>The guys continue driving to the prom. Pete takes a hard turn. Eli slides across the back seat into Hunter. Eli shuffles back to his spot. He looks at Hunter for a moment.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Hey, can you see any reason you can see why Julie won't give me the time of day?<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Where should I start?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I mean, I know I'm not very macho. I'd ask my dad, but he left a while back.<\/dialogue>\n    <scene_description>Hunter feels bad. He wasn't expecting that response.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>Maybe I could... give you some tips.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>You'd do that?<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Why not? You kinda remind me of the dorks I used to beat up in school.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Cool. I'm a romantic, so I'm good there. But if it wasn't for porn, I'd know nothing about sex.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Here's something: don't try to kill yourself in a girl's house. For most of them, complete turnoff.<\/dialogue>\n    <scene_description>Eli nods.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>Maybe you just need to relax a bit. Be a kid, cut loose. Do something unexpected. Chicks like bad boys.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Bad boys, huh?<\/dialogue>\n    <scene_description>Hunter nods. Eli loosens his tie, undoes his top button and turns to Hunter.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>Well, baby steps.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY CLUB - NIGHT<\/stage_direction>\n    <scene_description>An elegant facility lit with stunning landscape lighting. Pete's car flies like a bucking bronco over a speed bump! The car SCREECHES to a halt and the guys hurry to the door. LOUD HIP-HOP MUSIC PUMPS from inside.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Sounds like it's popping off!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRAND BALLROOM - NIGHT<\/stage_direction>\n    <scene_description>The ballroom is ALMOST EMPTY - a handful of LESS ATTRACTIVE PROM-GOERS and a pair of HANDSY CHAPERONES remain. The Chaperones make out while kids watch. Some STRAGGLER KIDS dance; others including a BOY WITH HORRIBLE ACNE and a KID IN A WHEELCHAIR sit alone at tables, no doubt debating the merits of suicide. The guys meet at the front doors.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Anything?<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>No, all the bathrooms are empty.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Shit!<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Wow. Is this the prom for some kind of special school?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>No, we're in the right place. The cool kids are gone. The only people left are the drama fags and the regular fags.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <parenthetical>(heartfelt)<\/parenthetical>\n    <dialogue>Poor bastards... where to next?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Austin's house.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>5721 Haverford Drive.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>That's where the kids were going after the prom.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Let's go now. This shit might be contagious.<\/dialogue>\n    <scene_description>Pete, feeling bad for the Kids, calls out:<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>It gets better!!<\/dialogue>\n    <scene_description>The Boy With Horrible Acne gives Pete a thumbs up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 7-11 - NIGHT<\/stage_direction>\n    <scene_description>Seth talks with Austin, Dex and Chad outside the limo.<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Hundred bucks should do it.<\/dialogue>\n    <character>DEX<\/character>\n    <parenthetical>(getting in Seth's face)<\/parenthetical>\n    <dialogue>For a case of Bud?! I'll rip your head off-<\/dialogue>\n    <scene_description>Austin puts out a hand, calming Dex.<\/scene_description>\n    <character>AUSTIN<\/character>\n    <parenthetical>(pleading with Seth)<\/parenthetical>\n    <dialogue>We're in high school. We don't have that kind of cash. Come on, Seth.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Don't \"come on\" me.<\/dialogue>\n    <scene_description>The guys laugh. Seth is embarrassed, but brushes it off.<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Look, I've got two strikes. I could get life for making this purchase. So if you want those Buds, daddy's gonna need a hundy.<\/dialogue>\n    <scene_description>Dex looks like he wants to strangle Seth.<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Do you wanna keep this party rolling or not? Because if not, maybe I should be dropping these fine young ladies off at home.<\/dialogue>\n    <scene_description>Austin, Dex and Chad share a look, then reach into their wallets.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - LATER<\/stage_direction>\n    <scene_description>The guys fly down a residential street.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>It's a left here, Pete.<\/dialogue>\n    <parenthetical>(as they pass the turn)<\/parenthetical>\n    <dialogue>Left!<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Meadow Lane is faster.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>No, it's slower with all of the stop signs. You just cost us five minutes.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Do you have any idea how many times a teenage boy can ejaculate in five minutes?!<\/dialogue>\n    <scene_description>Pete blows a stop sign and a SIREN wails!<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>Nice work, Pete.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>I knew we shouldn't have gone this way! Did I call it? Did I?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>You called it.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Totally called it!<\/dialogue>\n    <scene_description>Pete pulls over.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>We're drunk. And we are totally screwed.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>I'm not drunk. I had a couple of beers.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Tell them you've had nothing. Zero beers. Deny, deny, deny.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>I'm not gonna lie. I'm fine.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I have some gum, Mr. H.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>I do, too.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>I don't need it.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Act casually and breathe through your noses.<\/dialogue>\n    <scene_description>Mitchell grabs his and Eli's gum and shoves it in Pete's mouth. A young Hispanic cop, OFFICER HERNANDEZ, shines his flashlight into the car and leans in.<\/scene_description>\n    <character>HERNANDEZ<\/character>\n    <dialogue>Good evening, gentlemen.<\/dialogue>\n    <scene_description>Pete works hard to chew a GIANT WAD OF GUM.<\/scene_description>\n    <character>PETE<\/character>\n    <parenthetical>(mouth full)<\/parenthetical>\n    <dialogue>Officer.<\/dialogue>\n    <scene_description>The guys all nod hello. Pete hands him his license and registration. Hernandez looks at the documents, then into the car and sees Mitchell and Eli conspicuously tight-lipped.<\/scene_description>\n    <character>HERNANDEZ<\/character>\n    <dialogue>Have you gentlemen been drinking tonight?<\/dialogue>\n    <character>PETE<\/character>\n    <parenthetical>(mouth still full)<\/parenthetical>\n    <dialogue>I had a couple beers earlier. But as you can see, I'm perfectly fine now. So if you don't mind, just write me a ticket and we'll be on our way. We're in a hurry.<\/dialogue>\n    <character>HERNANDEZ<\/character>\n    <dialogue>Oh, is that right?<\/dialogue>\n    <scene_description>Pete nods and continues chewing. Hernandez looks at his fat veteran partner, OFFICER DONOHUE, who shakes his head in disgust. Hernandez gives Pete a hard look.<\/scene_description>\n    <character>HERNANDEZ<\/character>\n    <dialogue>Who's the kid?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Just a friend.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>It's okay, officer. This isn't a Sandusky situation.<\/dialogue>\n    <scene_description>That did not allay Hernandez's concerns.<\/scene_description>\n    <character>HERNANDEZ<\/character>\n    <dialogue>Sir, I'm going to ask you to step out of the car.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <scene_description>Hernandez stares at Pete for a moment and puts his hand on his holster.<\/scene_description>\n    <character>HERNANDEZ<\/character>\n    <dialogue>Because I fucking said so.<\/dialogue>\n    <scene_description>Hernandez looks at Donohue, who gives him a thumbs up. Pete looks at the guys, worried. He spits out the gum and gets out of the car.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Hunter, Mitchell and Eli are all looking out the window of the car as Pete is being given a Breathalyzer test.<\/scene_description>\n    <character>HERNANDEZ<\/character>\n    <dialogue>Blow, blow, blow, keep blowing!<\/dialogue>\n    <scene_description>Hernandez looks at the test. Pete blows a .06, below the legal limit. Donohue, who has a snarling GERMAN SHEPHERD at his side, looks disappointed.<\/scene_description>\n    <character>PETE<\/character>\n    <parenthetical>(to the guys)<\/parenthetical>\n    <dialogue>Point oh six!<\/dialogue>\n    <scene_description>The guys celebrate in the car - high fives all around. The Cops don't look pleased.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Alright, thank you officers. Sincerely. You know, I thought about being a cop myself, but then I-<\/dialogue>\n    <parenthetical>(regretting it as the words come out)<\/parenthetical>\n    <dialogue>-got into college.<\/dialogue>\n    <scene_description>Donohue turns to Hernandez. They both look pissed.<\/scene_description>\n    <character>DONOHUE<\/character>\n    <dialogue>Oh, wow. College boy, huh? Color us impressed.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>No, that came out wrong. I just-<\/dialogue>\n    <character>DONOHUE<\/character>\n    <dialogue>You know, I haven't calibrated the Breathalyzer recently. We better conduct a field sobriety test.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Guys, please, don't do this.<\/dialogue>\n    <character>HERNANDEZ<\/character>\n    <dialogue>Nah, let's just take him in. Get a blood test, just to be safe.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Let's do the field sobriety test, okay? What do you need me to do?<\/dialogue>\n    <character>DONOHUE<\/character>\n    <dialogue>How about some running in place?<\/dialogue>\n    <character>HERNANDEZ<\/character>\n    <dialogue>Yeah, let's see some of that.<\/dialogue>\n    <scene_description>The Cops share a smirk. Grizzly barks at Pete as he runs in place.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETE'S CAR - MOMENTS LATER<\/stage_direction>\n    <scene_description>Mitchell, Hunter and Eli sit in the car.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>What the fuck is going on out there?<\/dialogue>\n    <scene_description>REVEAL Pete doing squat thrusts.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>We're losing valuable time while Pete's blasting his quads!<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>This is like a horror movie. It's the Prom Night Hymen Massacre.<\/dialogue>\n    <scene_description>Eli checks his cell phone, then yells out the window:<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Not for nothing, Mr. Harrington, but Austin's house has five bedrooms. I Zillowed it!<\/dialogue>\n    <scene_description>ON PETE, who shakes his head in frustration and stops the squat thrusts.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Alright, guys. I think we're done here. I'm sober and pretty sweaty.<\/dialogue>\n    <scene_description>Suddenly, Donohue takes a defensive stance and quickly moves his right hip away from Pete.<\/scene_description>\n    <character>DONOHUE<\/character>\n    <dialogue>Whoa, hey, buddy! Stay back!<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Pete hasn't moved and looks confused.<\/scene_description>\n    <character>DONOHUE<\/character>\n    <parenthetical>(to Hernandez)<\/parenthetical>\n    <dialogue>You see this guy just make a move for my sidearm?!<\/dialogue>\n    <character>HERNANDEZ<\/character>\n    <parenthetical>(catching on)<\/parenthetical>\n    <dialogue>Oh, yeah! Totally saw that! Your sidearm. He made a move.<\/dialogue>\n    <character>DONOHUE<\/character>\n    <dialogue>College boy's going to matriculate downtown. I'll load Grizzly. You cuff his ass!<\/dialogue>\n    <scene_description>Hernandez grabs Pete as Donohue walks the dog to the Cruiser. After a beat of hesitation, Pete SHOVES HERNANDEZ TO THE GROUND and sprints to his car!<\/scene_description>\n    <character>HERNANDEZ<\/character>\n    <dialogue>We've got a runner!!!<\/dialogue>\n    <scene_description>SCREECH!!! Donohue turns to see that Pete has peeled out!<\/scene_description>\n    <character>DONOHUE<\/character>\n    <dialogue>Holy fuck!<\/dialogue>\n    <scene_description>Hernandez gets up. He and Donohue look dazed, not knowing how to respond. After a beat, they hop in the Cruiser and take off after the guys.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETE'S CAR - CONTINUOUS<\/stage_direction>\n    <scene_description>The guys are STUNNED as Pete flies down the road.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>What the hell are you doing?!<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>We were going to be there all night! We have very little time to find the girls.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>He's right, they were fucking with him! I've never done the running man during a sobriety check.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>They have your license! We're all going to jail!<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>I know, but what choice did I have?!<\/dialogue>\n    <scene_description>Pete spots the Cruiser in his rear view, lights flashing and sirens blaring. Pete cranks the wheel hard and turns.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Pull over! Marcie's never gonna let me hang out with you guys again!<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>If anyone survives, tell Julie I loved her and I will live in her room when I'm a ghost!<\/dialogue>\n    <scene_description>Pete makes another sharp turn.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>I'm not pulling over. If any of you want out, I'll slow down and you can jump.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Then I don't get to bang Debbie and the dream dies. Fuck that!<\/dialogue>\n    <scene_description>Hunter starts pounding the ceiling of the car with his hand.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Yeah, keep hope alive!<\/dialogue>\n    <scene_description>Eli starts banging the ceiling, too. Mitchell, somewhat more reluctantly, joins in. Pete makes a series of hard turns, then pulls into a random driveway and kills the lights.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Get down!<\/dialogue>\n    <scene_description>Everyone ducks in the car and a moment later, the police cruiser flies by down the street!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE CAR - MOMENTS LATER<\/stage_direction>\n    <scene_description>The Cops look down each street as they drive by.<\/scene_description>\n    <character>HERNANDEZ<\/character>\n    <dialogue>Goddammit!<\/dialogue>\n    <scene_description>Donohue punches the steering wheel.<\/scene_description>\n    <character>DONOHUE<\/character>\n    <dialogue>Where the fuck do they think they're going? We have the guy's information.<\/dialogue>\n    <scene_description>Donohue holds Pete's driver's license. Hernandez shrugs.<\/scene_description>\n    <character>DONOHUE<\/character>\n    <dialogue>You know, I expect stupid shit like that from my son, but those were grown ass men!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETE'S CAR - MOMENTS LATER<\/stage_direction>\n    <scene_description>Pete and the guys sit up in the car.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Wow!<\/dialogue>\n    <scene_description>The guys laugh nervously, surprised they've gotten away.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>I know we're fucked and we're going to be arrested, but by then, our daughters will be home.<\/dialogue>\n    <scene_description>The guys nod. Pete backs out of the driveway, hits the lights and heads the other way.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AUSTIN'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Pete pulls his car in front of Austin's house.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>I don't hear a party going on.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Me either.<\/dialogue>\n    <scene_description>The guys hurry up to the house. Eli runs to a bay window and looks in.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Julie, no! You whore! You fucking whore... I loved you!<\/dialogue>\n    <scene_description>Pete, Mitchell and Hunter run over and looks in. Inside, they see a GUY in a tuxedo plowing a GIRL with a RED PROM DRESS hiked up. Her legs are in the air.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>We're too late!<\/dialogue>\n    <character>HUNTER<\/character>\n    <parenthetical>(to Mitchell)<\/parenthetical>\n    <dialogue>Alright, Julie's cherry is busted, but Sam and Kayla could still be intact.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Wait, Austin's not balding.<\/dialogue>\n    <scene_description>The MAN now leans back and the guys can see it's not Austin. It's RON, 45, boning his WIFE.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Oh, thank god. It's just Austin's parents.<\/dialogue>\n    <scene_description>Ron continues pumping until he makes a hideous o-face. The guys recoil in horror!<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>He was looking at me when he finished.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Shit, you know what that means... his load is in your soul.<\/dialogue>\n    <scene_description>Eli looks at Hunter, are you serious? Hunter shakes his head, nah. Eli smiles and fist bumps Hunter. Pete bangs on the door and a winded Ron opens it.<\/scene_description>\n    <character>RON<\/character>\n    <dialogue>Hey fellas. What's up?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Where are the girls, Ron?<\/dialogue>\n    <character>RON<\/character>\n    <dialogue>Come in.<\/dialogue>\n    <scene_description>The guys step inside. Ron's Wife covers herself. Hunter nods a hello at her. She smiles shyly and quickly heads upstairs.<\/scene_description>\n    <character>RON<\/character>\n    <dialogue>Alright, you got me. Guilty as charged. The kids aren't here.<\/dialogue>\n    <scene_description>The guys are stunned.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>What the hell's going on here?<\/dialogue>\n    <character>RON<\/character>\n    <dialogue>Just a little prom night role play. Keeping the spark alive. You guys made it an exciting ending.<\/dialogue>\n    <parenthetical>(to Mitchell)<\/parenthetical>\n    <dialogue>Especially you. When we locked eyes as I climaxed? Intense, right!?<\/dialogue>\n    <scene_description>Mitchell looks sick.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>That's fucking gross, Ron.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Where are the girls?<\/dialogue>\n    <character>RON<\/character>\n    <dialogue>Who wants a glass of pinot?<\/dialogue>\n    <scene_description>Eli raises a hand.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>You lied about throwing a post-prom party? You called me to go over the snack list to make sure it was okay with Julie's allergies.<\/dialogue>\n    <character>RON<\/character>\n    <dialogue>Hey, had to sell it, right?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>You were so specific. Teriyaki- glazed beef jerky?<\/dialogue>\n    <character>RON<\/character>\n    <dialogue>Look, the kids just wanted to have some harmless fun without parents bothering them. It's prom. So don't bother them, okay?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>One of you guys is gonna hit him, right?<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Can we go? It smells like semen in here.<\/dialogue>\n    <character>PETE<\/character>\n    <parenthetical>(to Ron)<\/parenthetical>\n    <dialogue>Where'd they go?<\/dialogue>\n    <character>RON<\/character>\n    <dialogue>I don't know. But they'll be back late tonight. Safe and sound.<\/dialogue>\n    <scene_description>Pete shakes his head and turns to leave with the guys in tow.<\/scene_description>\n    <character>RON<\/character>\n    <dialogue>Pete, hold up.<\/dialogue>\n    <scene_description>Pete turns as the guys walk out.<\/scene_description>\n    <character>RON<\/character>\n    <dialogue>What are you so worried about? Austin is a good kid. You know that. And there is no way that Austin is having sex with Julie tonight...<\/dialogue>\n    <scene_description>Long beat.<\/scene_description>\n    <character>RON<\/character>\n    <dialogue>... without a condom. I told him how important it is to wear one.<\/dialogue>\n    <scene_description>Pete heads for the door and spots something on the table. It's a CONDOM. Pete picks it up and shows Ron.<\/scene_description>\n    <character>RON<\/character>\n    <parenthetical>(remembering)<\/parenthetical>\n    <dialogue>You know, I did mention how much better it feels without one. That's my bad.<\/dialogue>\n    <scene_description>Pete storms out.<\/scene_description>\n    <character>RON<\/character>\n    <parenthetical>(shouting)<\/parenthetical>\n    <dialogue>There's no disputing that!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIMO - NIGHT<\/stage_direction>\n    <scene_description>The limo is parked at the side of the busy highway. Passing cars HONK as the boys laugh while they piss on some bushes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMO - CONTINUOUS<\/stage_direction>\n    <scene_description>Julie, Kayla and Sam sip beer in the back of the limo.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>At first I didn't like beer. But with each sip, it gets less gross.<\/dialogue>\n    <scene_description>She takes another big sip.<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>(wincing)<\/parenthetical>\n    <dialogue>So good!<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>I can't get enough of the stuff.<\/dialogue>\n    <scene_description>She takes a long swig, clearly hating it. Sam takes a long chug; Kayla matches it.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Want some, Julie? It's the best thing I've ever tasted.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>No, beer tastes awful.<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>Totally wrong.<\/dialogue>\n    <scene_description>Sam nods. They each swig again.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I can't wait to get with Chad. I'm gonna bounce on him like a yoga ball.<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>I am going to ride Dex like I'm trying to saw it off.<\/dialogue>\n    <scene_description>Julie shakes her head, disgusted.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETE'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Pete drives into town, no one saying a word.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>What's the plan, Pete? We can't just drive around aimlessly all night.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Should we check the hospitals and morgues?<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Oh my god, they could be dead!<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>They're not dead.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>You're right. I'm sorry.<\/dialogue>\n    <scene_description>Mitchell takes a deep breath.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Can we make a quick stop at Mickey Dees? I think the fumes are affecting me.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>We're on a mission here, Eli. We don't have time-<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Just hit the drive-through, Pete. We have no plan and the kid needs sugar.<\/dialogue>\n    <scene_description>Pete sighs and turns into the McDonald's drive-through.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>We're all frustrated. Let's just crush a McFlurry and get our heads right.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>It's vanilla ice cream mixed with Oreos. Julie turned me onto them. They're terrific.<\/dialogue>\n    <character>HUNTER<\/character>\n    <parenthetical>(to Eli)<\/parenthetical>\n    <dialogue>Order me up one of those bad boys, too. Extra large, playa.<\/dialogue>\n    <scene_description>Eli nods. Fist bump, then Eli zips his window down.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Do you want me to ask if they're hiring, Mr. Forde?<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Fuck you very much, Eli.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>He's only trying to help.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>You're right. Sorry, Eli... Ask if they offer dental.<\/dialogue>\n    <scene_description>Eli nods.<\/scene_description>\n    <character>MCDONALD'S EMPLOYEE (O.S.)<\/character>\n    <dialogue>Welcome to McDonald's. Can I take your order?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Yes, thanks. We'd like-<\/dialogue>\n    <scene_description>Through the glass, Pete spots Julie hanging out of the limo at the drive-through pick-up window.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Holy shit, it's Julie! There they are!<\/dialogue>\n    <scene_description>The guys see Julie grabbing the food (including a McFlurry) and disappearing back into the limo.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Told you she loves the McFlurry!<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Get over there, Pete!<\/dialogue>\n    <scene_description>Pete nails the gas, then slams the brakes -- there's a car two feet in front of them. He puts it in reverse, but there's a car right behind them. There's nowhere to go!<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>We're trapped!<\/dialogue>\n    <scene_description>The girls' limo leaves the McDonald's.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>They're getting away!<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Austin will probably use the McFlurry to stimulate her nipples.<\/dialogue>\n    <scene_description>Hunter nods, definitely. Pete fumes and turns the wheel hard.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Hang on!<\/dialogue>\n    <scene_description>He punches the gas and the car climbs up the curb and tears into the bushes lining the drive-through.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Fuck yeah, Mr. H!<\/dialogue>\n    <scene_description>Bush debris flies all over the crowded parking lot and CUSTOMERS dive out of the way of the car! Finally free of the line, Pete fishtails onto the road.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>They were headed toward Atlantic!<\/dialogue>\n    <scene_description>Pete makes another sharp turn. Mitchell spots the limo.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>There. That's them!<\/dialogue>\n    <scene_description>Pete floors it. The shitty car shakes like a bastard as he weaves in and out of traffic.<\/scene_description>\n    <character>ELI<\/character>\n    <parenthetical>(re: the car)<\/parenthetical>\n    <dialogue>Christ, this thing's a pile of shit. Time for a new car, dude.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <parenthetical>(sensitively)<\/parenthetical>\n    <dialogue>You do spend an awful lot of time repairing it.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>This was Jessica's car.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>We know, man. We understand.<\/dialogue>\n    <scene_description>Pete nods.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>But you've gotta move on. If you worked that widower angle properly, you could be blowing your bag all over town.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Can we discuss this later?!<\/dialogue>\n    <scene_description>Pete finally catches up to the limo. Its windows are tinted completely black. The guys can't see in.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>You're sure that's them?<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>I'm positive. I remember the license plate.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Pull up next to it.<\/dialogue>\n    <scene_description>Pete pulls up beside the limo. Hunter yells out the window:<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>Pull the fucking limo over NOW!<\/dialogue>\n    <scene_description>Pete honks the horn. The limo accelerates!<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>What's this driver doing?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>I had a bad feeling about him when he fleeced me for an extra ten bucks!<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>He took me for fifty!<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>You fell for that shit?<\/dialogue>\n    <scene_description>The limo cranks a hard turn, desperate to lose the guys.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>What the hell?!<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>He's taking evasive maneuvers!<\/dialogue>\n    <scene_description>Pete follows, gaining on the limo. The limo suddenly takes an impossible right turn, but can't make it. It clips the curb at a high rate of speed, and flips on its side, scraping along the street, shooting sparks for 50 feet!! The limo heads toward a BOWLING ALLEY, where a sign displaying TEN BOWLING PINS sit atop two posts. The limo slides between the posts, taking out eight of the pins, but leaving the dreaded 7-10 split. The guys look on in HORROR.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>JULIE!<\/dialogue>\n    <scene_description>Mitchell is frozen in the car. Pete, Eli and Hunter hop out and race to the limo!<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Please be okay!<\/dialogue>\n    <scene_description>Pete and Hunter climb up the car and reach the door, which is badly dented. They struggle to open the door. Finally, a BRIDE and GROOM pop out of the sunroof.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>It's okay! It's not the girls! It's just some newlyweds.<\/dialogue>\n    <scene_description>IN PETE'S CAR... Mitchell exhales, relieved. AT THE LIMO... The guys help the couple out.<\/scene_description>\n    <character>PETE<\/character>\n    <parenthetical>(to the couple)<\/parenthetical>\n    <dialogue>Congratulations!<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Great dress!<\/dialogue>\n    <scene_description>ON HUNTER...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>.. who helps the Limo Driver out.<\/stage_direction>\n    <character>HUNTER<\/character>\n    <parenthetical>(to the Limo Driver)<\/parenthetical>\n    <dialogue>Why didn't you just pull over, man?!<\/dialogue>\n    <character>LIMO DRIVER<\/character>\n    <dialogue>Would you pull over when a bunch of aggro assholes in a hoopdie are screaming and waving at you?<\/dialogue>\n    <scene_description>Hunter nods, good point. He hurries back to Pete and Eli, who talk to the couple but are backing up toward Pete's car.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>Let's roll!<\/dialogue>\n    <character>GROOM<\/character>\n    <parenthetical>(to Pete and Eli)<\/parenthetical>\n    <dialogue>Some bumps and bruises, but we're okay. God must have been looking over us because-<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>We get the idea! Sorry!<\/dialogue>\n    <scene_description>The guys hustle into the car and SCREECH, they take off! The couple eats exhaust.<\/scene_description>\n    <character>BRIDE<\/character>\n    <dialogue>Do you think your mother had something to do with this?<\/dialogue>\n    <character>GROOM<\/character>\n    <dialogue>Don't be ridiculous.<\/dialogue>\n    <scene_description>The Bride looks unconvinced.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>At the scene of the limo, a few POLICEMEN and PARAMEDICS surround the area. The Cops look at the totaled limo.<\/scene_description>\n    <character>HERNANDEZ<\/character>\n    <dialogue>Lucky they walked away from this one.<\/dialogue>\n    <character>DONOHUE<\/character>\n    <dialogue>Yeah, they've got a big night of boning ahead of them.<\/dialogue>\n    <scene_description>Hernandez nods, excitedly. Donohue turns serious.<\/scene_description>\n    <character>DONOHUE<\/character>\n    <dialogue>That's off the record.<\/dialogue>\n    <character>HERNANDEZ<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>DONOHUE<\/character>\n    <dialogue>Did you catch the description? Sounds like our skells.<\/dialogue>\n    <character>HERNANDEZ<\/character>\n    <dialogue>Yeah, exactly.<\/dialogue>\n    <character>DONOHUE<\/character>\n    <dialogue>You believe the size of the scrotes on these guys?<\/dialogue>\n    <character>HERNANDEZ<\/character>\n    <dialogue>Felony evading, reckless driving, maybe attempted vehicular homicide? Gigantic scrotes!<\/dialogue>\n    <character>DONOHUE<\/character>\n    <dialogue>We nail them, we make detective for sure.<\/dialogue>\n    <character>HERNANDEZ<\/character>\n    <dialogue>It'd be nice not to have to pick up dog shit at work.<\/dialogue>\n    <scene_description>Donohue nods. They climb back into their cruiser.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GAS STATION - MOMENTS LATER<\/stage_direction>\n    <scene_description>Pete gasses up the car. The guys stand around.<\/scene_description>\n    <character>HUNTER<\/character>\n    <parenthetical>(glaring at Mitchell)<\/parenthetical>\n    <dialogue>\"Definitely their limo?\"<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>There was definitely a six in the license plate!<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>This really sucks.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Hey, at least your girls are with decent kids. Kayla's date has VD written all over him.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Yeah, I wouldn't be surprised if that kid has the hiv.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Oh my god, you're right. I didn't even think of that.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Kayla's gonna get AIDS. And not Magic Johnson AIDS. The bad kind.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Hey, I have an idea.<\/dialogue>\n    <scene_description>Eli whips out his phone and goes online. He navigates to SILVER BACK'S home page.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Check it out!<\/dialogue>\n    <scene_description>CLOSE ON the web page: Two HUGE GORILLAS growl angrily at each other, then one mounts the other and they bang aggressively to a techno track.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>That's disturbing.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Why would you show us that? I am not into it.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>No, look! The girls aren't answering their cells, right?<\/dialogue>\n    <scene_description>He points to the bottom of the page, which reads \"To book, call Silver Back's cell directly.\" The guys exchange looks, then Mitchell quickly dials.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>It's ringing!<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Put it on speaker.<\/dialogue>\n    <scene_description>Mitchell hits the speaker button.<\/scene_description>\n    <character>DEX'S VOICE (O.S.)<\/character>\n    <dialogue>And... Go.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Dex?<\/dialogue>\n    <character>DEX'S VOICE (O.S.)<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <parenthetical>(reluctantly)<\/parenthetical>\n    <dialogue>Silver Back?<\/dialogue>\n    <character>DEX'S VOICE (O.S.)<\/character>\n    <dialogue>Go for Silver Back.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>It's Mitchell. Kayla's dad.<\/dialogue>\n    <character>DEX'S VOICE (O.S.)<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Katie's dad.<\/dialogue>\n    <character>DEX'S VOICE (O.S.)<\/character>\n    <dialogue>Oh, okay. What do you want?<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Listen, we're looking for the girls.<\/dialogue>\n    <character>DEX'S VOICE (O.S.)<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>I'm gonna be straight with you. The girls are young and vulnerable and going through a rebellious stage, so they signed a pact to have sex with you guys tonight.<\/dialogue>\n    <scene_description>Pete, Hunter and Eli look like they could kill him. What the fuck are you doing?!<\/scene_description>\n    <character>DEX'S VOICE (O.S.)<\/character>\n    <dialogue>Thanks for the heads up!<\/dialogue>\n    <scene_description>CLICK.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Sure thing. We just need to know where you are. Hello?<\/dialogue>\n    <parenthetical>(turns to guys)<\/parenthetical>\n    <dialogue>Ahh, must've lost him. Fucking T- Mobile.<\/dialogue>\n    <scene_description>The guys can't believe it. Eli turns to Pete and Hunter.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>One of you guys is gonna hit him, right?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETE'S CAR - LATER<\/stage_direction>\n    <scene_description>Pete drives around aimlessly. Everyone is silent... worried.<\/scene_description>\n    <character>ELI<\/character>\n    <parenthetical>(to Hunter)<\/parenthetical>\n    <dialogue>I had a beautiful evening planned for Julie's first time.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Here we go...<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>There's a cozy little inn at the end of Dune Road in Montauk. It's off the beaten path, beyond the glitz and shallowness of the Hamptons. It's nearly a hundred years old. It has a wrap-around porch overlooking the Atlantic. Julie and I would stay there on the night we agreed that our love for one another was eternal. We'd walk along the beach after a romantic dinner, then back in our room, I'd light a dozen candles and que up Michael Buble's \"Come Fly With Me\" - - disc one, of course.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Gotta go disc one.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Then we'd kiss passionately for a while as we bathed in the claw-foot tub, then climb into bed and once again proclaim our love, only this time allowing our genitals to do the talking.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>More than enough. Thank you, Eli.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Indulge me, Mr. H. The fantasy is all that remains. Following a few hours of love-making, we'd sit out on the balcony overlooking the lighthouse. Julie would rehydrate with a Gatorade as I massaged her feet. We'd sit there in silence, content, and listen to the waves crashing on the beach. And perhaps, should it be the right time of year, we'd be serenaded by the migrating whales singing not far off shore.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>That sounds nice.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>It really does.<\/dialogue>\n    <scene_description>Eli nods and wipes away a tear...<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>A little later, round two. Maybe reverse cowgirl. That looks fun.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>It's fantastic.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Look, Eli, we're running out of time. You know how these kids think. Where could they be?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I wouldn't know. I'm not cool.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Don't sell yourself short. You've got potential. And you're our best shot at finding them.<\/dialogue>\n    <scene_description>Eli thinks about it.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Maybe Tina would know...<\/dialogue>\n    <character>HUNTER<\/character>\n    <parenthetical>(of course!)<\/parenthetical>\n    <dialogue>Tina, right!<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Who's Tina?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Seriously, Hunter? She was one of Julie's and Sam's best friends.<\/dialogue>\n    <scene_description>Hunter shrugs.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>She's a really nice girl. They were always together until...<\/dialogue>\n    <parenthetical>(glancing at Mitchell)<\/parenthetical>\n    <dialogue>... recently.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Nothing. It's just that she used to come around a lot more. I got the idea that Kayla didn't like Tina anymore, then I noticed that Tina stopped coming around.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>So... I think Kayla's a bad influence.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Kayla is?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Yeah, don't look so surprised. I mean, I'm sure this pact was all her idea.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Kayla's idea?! How the hell would you know that? They all signed it!<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>It was Kayla's handwriting! And you saw what she was wearing tonight!<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>What's wrong with her dress?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Dress? I thought it was a belt.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>He's got a point, Mitchell. Kayla seems way more sexually advanced than Julie or Sam.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Oh, right, like Sam wouldn't know anything about sex? You should have a turnstile on your bedroom door!<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Hate the game, bro.<\/dialogue>\n    <scene_description>Eli nods.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>I'll have you know that Kayla was a girl scout!<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>She was a girl scout, so she couldn't be promiscuous?!<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Well, she's a virgin isn't she!?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>I know. That's the most shocking part of this whole fucking night!<\/dialogue>\n    <scene_description>Mitchell shoots a death glare at Pete.<\/scene_description>\n    <character>HUNTER<\/character>\n    <parenthetical>(to Eli)<\/parenthetical>\n    <dialogue>Girl scouts are usually pretty easy. I finger blasted so many girl scouts when I was a kid that my pinky still smells like thin mints.<\/dialogue>\n    <scene_description>Eli's jaw drops.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Just drive, Pete!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMO - NIGHT<\/stage_direction>\n    <scene_description>Austin makes out with Julie. Sam, a bit tipsy, looks over at Kayla, then rubs Chad's thigh. Chad's eyes, among other things, grow huge. He laughs nervously. Kayla, also tipsy, leans over and rubs Dex's leg. He slides forward, which moves her hand on his crotch. She quickly removes her hand and he laughs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TINA'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>The house is dark. Not a single light is on. Pete's car pulls up in front of the house.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Looks like they're asleep.<\/dialogue>\n    <character>PETE<\/character>\n    <parenthetical>(still annoyed)<\/parenthetical>\n    <dialogue>Really? In the total darkness at night? You think?<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Fuck off, Pete.<\/dialogue>\n    <scene_description>Before the guys can get out of the car, Eli is out and climbing a tree in the front yard. Pete gets out and hurries over to him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TINA'S HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Pete looks up at Eli.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>This is the quickest way to Tina's room. Her window is open. I'll stop at nothing to preserve Julie's hymen.<\/dialogue>\n    <scene_description>Pete climbs up the tree behind Eli.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Stop saying hymen.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TINA'S BEDROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>The room is lit by moonlight. Eli slips in the open window and sits on the bed. He shakes Tina, who is passed out.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Hey Tina. Are you sleeping?<\/dialogue>\n    <scene_description>TINA is 15, but looks younger in her sleep gear and retainer, which makes her lisp.<\/scene_description>\n    <character>TINA<\/character>\n    <dialogue>What the fuckf are you doing in my froomf?<\/dialogue>\n    <scene_description>She grabs a TROPHY from her night stand and wields it like a weapon.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Tina, it's me. Eli. From Mr. Cristofel's art class. How are you?<\/dialogue>\n    <character>TINA<\/character>\n    <dialogue>Make onef moofve and I will bash your fskull.<\/dialogue>\n    <scene_description>Eli smiles.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Sorry. It just sounds funny with the...<\/dialogue>\n    <scene_description>She nods and removes the retainer.<\/scene_description>\n    <character>TINA<\/character>\n    <dialogue>I will bash your fucking skull.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Better. Much more menacing!<\/dialogue>\n    <scene_description>Pete taps at the glass. Tina sees Pete in the window.<\/scene_description>\n    <character>TINA<\/character>\n    <dialogue>Mr. Harrington? What's going on?<\/dialogue>\n    <scene_description>Pete climbs inside the window and gets a full view of Tina, who is very PREGNANT.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Oh, wow. I didn't know you were-<\/dialogue>\n    <character>TINA<\/character>\n    <dialogue>Yeah, Julie didn't want you to know.<\/dialogue>\n    <scene_description>Pete sighs.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Look, Julie's getting in over her head tonight and I'm trying to find her. Do you know where they were going after the prom?<\/dialogue>\n    <scene_description>Tina looks hesitant.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Please, Tina! Help us save Julie from this...<\/dialogue>\n    <parenthetical>(staring at her belly)<\/parenthetical>\n    <dialogue>... huge mistake.<\/dialogue>\n    <scene_description>Tina looks offended.<\/scene_description>\n    <character>TINA<\/character>\n    <dialogue>I'm sorry, Mr. Harrington. I'd help if I could. You're an awesome dad. But I don't know where they were going.<\/dialogue>\n    <scene_description>Pete nods, disappointed.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Okay, thanks.<\/dialogue>\n    <scene_description>They turn back to the window, then Pete turns back to her.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>You know, Tina, if you ever need any help...<\/dialogue>\n    <character>TINA<\/character>\n    <dialogue>Oh, no, we're gonna be fine.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Oh, the father is still in the picture?<\/dialogue>\n    <character>TROY (O.S.)<\/character>\n    <dialogue>Yeah, still here.<\/dialogue>\n    <scene_description>TROY (18, goofy), BUCK NAKED, springs out of bed. Pete and Eli get a full frontal view. Pete reels backward and knocks over a lamp, which falls with a loud CRASH!<\/scene_description>\n    <character>TINA'S DAD (O.S.)<\/character>\n    <parenthetical>(shouting, enraged)<\/parenthetical>\n    <dialogue>If he's here again, I'M GONNA KILL HIM!<\/dialogue>\n    <character>TINA<\/character>\n    <dialogue>Everyone should probably leave now.<\/dialogue>\n    <scene_description>Troy, Pete and Eli scramble out the window as TINA'S DAD bursts in swinging a BASEBALL BAT!<\/scene_description>\n    <character>TINA'S DAD<\/character>\n    <dialogue>Nobody runs a train on my daughter!<\/dialogue>\n    <scene_description>The most experienced, Troy is first out the window. Tina's dad takes a swing as Pete and Eli dive out the window and onto...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TINA'S HOUSE, ROOF - CONTINUOUS<\/stage_direction>\n    <scene_description>Troy jumps onto a tree branch, then hangs and drops safely to the ground. Pete and Eli get to the edge of the roof as Tina's Dad swings his bat.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Go, go, go!<\/dialogue>\n    <scene_description>Pete and Eli inexplicably hold hands as they jump off the roof! They grab the branch, then smile at each other, relieved. CRACK! The branch snaps under their weight. They crash down into a bush.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Fuck, that hurts!<\/dialogue>\n    <scene_description>They race to the car. Pete turns the key, but the car won't start!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - LATER<\/stage_direction>\n    <scene_description>The two Cops are parked eating a late dinner. Hernandez passes a piece of burrito to Grizzly, who wolfs it down.<\/scene_description>\n    <character>DONOHUE<\/character>\n    <dialogue>No, don't give him jalapenos. It gives him crazy gas!<\/dialogue>\n    <scene_description>Hernandez looks apologetic. A call comes in:<\/scene_description>\n    <character>RADIO (O.S.)<\/character>\n    <dialogue>Sexual assault by multiple male suspects of an underage girl. 732 Stuyvesant Avenue. Suspects fled in a blue Volvo station wagon.<\/dialogue>\n    <character>DONOHUE<\/character>\n    <dialogue>That's our guys!<\/dialogue>\n    <parenthetical>(on radio)<\/parenthetical>\n    <dialogue>324. Show us responding.<\/dialogue>\n    <character>HERNANDEZ<\/character>\n    <dialogue>They're escalating!<\/dialogue>\n    <scene_description>Donohue nods. He flips on the siren, whips the car around and heads toward Tina's house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE CAR - MOMENTS LATER<\/stage_direction>\n    <scene_description>SIREN BLARING, the police car zips by Pete's car, which slowly heads in the opposite direction. The cops see it's being pushed by Hunter, Mitchell, Eli and a still-naked Troy.<\/scene_description>\n    <character>HERNANDEZ<\/character>\n    <dialogue>That was them!<\/dialogue>\n    <scene_description>Donohue spins the car around in a hard 180!<\/scene_description>\n    <character>DONOHUE<\/character>\n    <dialogue>You thinking what I'm thinking?<\/dialogue>\n    <character>HERNANDEZ<\/character>\n    <parenthetical>(excited)<\/parenthetical>\n    <dialogue>Grizzly?!<\/dialogue>\n    <character>DONOHUE<\/character>\n    <dialogue>Turn him loose!<\/dialogue>\n    <scene_description>Hernandez pops the door and Grizzly, the angry German Shepherd, takes off after the guys! Donohue and Hernandez give chase, too. ON PETE...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>.. who waits for the car to gain speed.<\/stage_direction>\n    <character>PETE<\/character>\n    <dialogue>A little faster guys!<\/dialogue>\n    <scene_description>The guys push with everything they have as Grizzly quickly approaches! 35 feet. 25 feet. 15 feet!<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>Holy shit! The fucking dog is almost on us!<\/dialogue>\n    <character>TROY<\/character>\n    <dialogue>My genitals are exposed!<\/dialogue>\n    <scene_description>Pete cranks the engine and it turns over!<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Okay, get in!<\/dialogue>\n    <scene_description>The guys race to the open doors and jump in. Grizzly takes a swipe and bites Mitchell's leg! Mitchell pulls with all he's got and gets free, but the dog rips off a chunk of his pants!<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>My capris!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - MOMENTS LATER<\/stage_direction>\n    <scene_description>ON PETE as he drives. He hears the guys gasping for breath in the back seat.<\/scene_description>\n    <character>MITCHELL (O.S.)<\/character>\n    <dialogue>I can't believe this.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>I know. She probably won't even finish high school.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Her poor dad...<\/dialogue>\n    <scene_description>The guys ride in stunned silence for a moment.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>So, uh, Pete, are you gonna introduce us to your friend?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>That's Troy, Tina's boyfriend.<\/dialogue>\n    <scene_description>REVEAL: Troy, still naked, sitting on Mitchell's lap.<\/scene_description>\n    <character>TROY<\/character>\n    <dialogue>Hey dudes.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Stop shifting.<\/dialogue>\n    <character>TROY<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I know where they went after the prom. Austin's my boy. Give me a ride home and I'll tell you. Cool?<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Yeah, cool.<\/dialogue>\n    <character>TROY<\/character>\n    <dialogue>He said they were headed down to the piers by Battery Park.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Battery Park? They're going into the city?<\/dialogue>\n    <scene_description>Troy nods. The dads look VERY WORRIED. HARD CUT TO: Troy stands on a corner, still naked, as Pete's car peels out.<\/scene_description>\n    <character>TROY<\/character>\n    <dialogue>Hey, we had a deal!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE CAR - NIGHT<\/stage_direction>\n    <scene_description>The Cops load Grizzly back into the car, frustrated.<\/scene_description>\n    <character>HERNANDEZ<\/character>\n    <dialogue>What the hell are these guys into now?<\/dialogue>\n    <character>DONOHUE<\/character>\n    <dialogue>Pretty obvious. Sex trafficking.<\/dialogue>\n    <scene_description>Hernandez nods. The guys suddenly catch a whiff of something and make a disgusted face.<\/scene_description>\n    <character>DONOHUE<\/character>\n    <dialogue>You see? The jalapenos!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MANHATTAN - NIGHT<\/stage_direction>\n    <scene_description>The incomparable NYC skyline glows brightly on this clear night.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETE'S CAR - MOMENTS LATER<\/stage_direction>\n    <scene_description>Pete flies down the FDR toward Battery Park. The guys look out the windows, concern growing on their faces.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>I can't believe the kids are in the city alone. Don't they know how dangerous this place is?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Word is, Kayla's into the Saturday night rave scene downtown.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>She is not. She goes to Pete's house on Saturday nights. She and Julie take guitar lessons.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Uh, no.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>No?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>No. Julie told me that she and Kayla were taking guitar lessons at your house on Saturday nights.<\/dialogue>\n    <scene_description>Pete and Mitchell are stewing.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>Great. That means Sam is mixed up in whatever the hell they're doing on Saturday nights, too.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Nah, they don't hang out with Sam.<\/dialogue>\n    <scene_description>Hunter looks surprised as Pete and Mitchell share a look.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Julie goes to Austin's place on Saturday nights.<\/dialogue>\n    <scene_description>Pete looks at Eli.<\/scene_description>\n    <character>ELI<\/character>\n    <parenthetical>(reluctantly admitting)<\/parenthetical>\n    <dialogue>I've followed her a bunch of times.<\/dialogue>\n    <scene_description>Pete's not sure whether to be happy or angry about that.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>It's okay, Mr. H. I have binoculars and to my knowledge, nothing other than light to moderate petting has occurred.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Wait, what do you mean they don't hang out with Sam?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Kayla doesn't like Sam. Julie still does, but Sam's not in the crew anymore.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>She's not in the crew? Is it... is it drugs?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>No. She hangs with the art freaks now.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Art freaks?<\/dialogue>\n    <scene_description>Eli nods. Hunter is floored.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>Why couldn't it have been drugs?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>It all happened during spring break. She didn't tell you?<\/dialogue>\n    <scene_description>Hunter shakes his head.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Pink streak in her hair. Dead giveaway.<\/dialogue>\n    <character>HUNTER<\/character>\n    <parenthetical>(to Mitchell)<\/parenthetical>\n    <dialogue>What the fuck? Kayla is too good for Sam? Give me a fucking break.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>It has nothing to do with us, Hunter. I feel really bad about it.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Me, too...<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>You knew about this, too?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Yeah, I assumed you knew until you said something about the girls in karate class. They haven't done that in years.<\/dialogue>\n    <scene_description>Hunter sighs.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Sorry, man. I thought it was obvious that something was wrong with her.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>I didn't even notice...<\/dialogue>\n    <scene_description>Hunter sits back, feeling terrible...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BATTERY PARK AREA - NIGHT<\/stage_direction>\n    <scene_description>The guys walk around the piers along New York Harbor. Drunk and stoned KIDS are everywhere.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>We're never gonna find them down here.<\/dialogue>\n    <scene_description>They spot some PROSTITUTES on the corner.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>Maybe they've seen the girls.<\/dialogue>\n    <scene_description>The guys head over.<\/scene_description>\n    <character>PROSTITUTE #1<\/character>\n    <dialogue>Hey handsome, you want a date?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>No, thanks. But maybe you ladies can help us.<\/dialogue>\n    <character>PROSTITUTE #2<\/character>\n    <dialogue>I'm sure we can, sugar!<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Great. We're looking for some young girls.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Fifteen year olds.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Very cute.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Two brunettes and a blonde.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>The blonde is mine.<\/dialogue>\n    <scene_description>The Prostitutes look at each other with disgust, then one whips out a GUN and the other a BATON! A POLICE SIREN WAILS as a POLICE CAR flies around the corner and blasts its HIGH BEAMS on the terrified guys!<\/scene_description>\n    <character>PROSTITUTE<\/character>\n    <dialogue>ON THE GROUND, SCUMBAGS!!<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>No, you don't underst-<\/dialogue>\n    <scene_description>She CRACKS Pete behind the knees with the baton and he drops like a sack of shit. The UNDERCOVER COPS cuff the guys. Just then, the kids' limo pulls up. ON THE KIDS... As they file out of the limo, they spot the guys laying on their bellies on the pavement, getting cuffed. They're not close, so they don't recognize them.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>What a bunch of losers.<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>Perverts!<\/dialogue>\n    <scene_description>The kids walk down a pier over which hangs a banner that reads \"BOOZE CRUISE AROUND THE STATUE OF LIBERTY!\" Austin steps across the gap and onto the boat. He helps Julie cross onto the boat. Dex hops on next and heads inside. Austin helps Kayla and Sam aboard.<\/scene_description>\n    <character>KAYLA<\/character>\n    <dialogue>Thanks, Austin.<\/dialogue>\n    <character>AUSTIN<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>ON THE GUYS...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>.. Who spot the girls, but it's too late as the kids board a<\/stage_direction>\n    <scene_description>PARTY BOAT. HARD CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - LATER<\/stage_direction>\n    <scene_description>Mitchell, Hunter and Eli are handcuffed, leaning against a wall.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>I guess you'll never get to play with Debbie's pom poms now.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>I don't give a shit about Debbie. I'm worried about Sam.<\/dialogue>\n    <scene_description>One of the female UNDERCOVER COPS walks over.<\/scene_description>\n    <character>UNDERCOVER COP<\/character>\n    <dialogue>So let me get this straight, you're two of the girls' fathers?<\/dialogue>\n    <parenthetical>(off their nods; to Eli)<\/parenthetical>\n    <dialogue>And who are you again?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I'm the neighbor slash love interest.<\/dialogue>\n    <scene_description>Mitchell raises his cuffed hand.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Question. Are you currently hiring? I feel as though I could be a real asset to the force.<\/dialogue>\n    <character>UNDERCOVER COP<\/character>\n    <parenthetical>(looks him up and down)<\/parenthetical>\n    <dialogue>I don't see it.<\/dialogue>\n    <scene_description>ON PETE, who speaks with MAYA, one of the undercover cops dressed as a prostitute. She's very attractive. Maya pops the cuffs off and Pete rubs his wrist.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Thanks for not taking us in. I'm just trying to do the right thing here.<\/dialogue>\n    <parenthetical>(struggling to maintain his composure)<\/parenthetical>\n    <dialogue>Sorry, It's been a long night.<\/dialogue>\n    <scene_description>Pete drops his head. Maya pats his arm.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>I'm a single parent with a teenager, too, so I know how tough it can be. Cut yourself some slack.<\/dialogue>\n    <scene_description>They share a smile. ON ELI AND HUNTER: Eli gestures to Pete and Maya.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Check it. That hot lady cop is into Mr. H.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Too bad he won't do anything about it.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>What should he do?<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>She's throwing off serious signals. Now's the time to break the spacial barrier. Touch her. Gently, but in a firm way. Something that says \"I'm here for you. I care deeply. My cock is here with us, too.\"<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>He's not doing any of that.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>No, there's no room in his life for anyone but Julie.<\/dialogue>\n    <scene_description>ON PETE AND MAYA as the other guys and the other Undercover Cop walk over:<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>I live right near you. Take my card. If there's anything I can do. Or if you just want to...<\/dialogue>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>... call me sometime.<\/dialogue>\n    <scene_description>She smiles. Pete smiles back. There's real chemistry here.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>I'd really like-<\/dialogue>\n    <character>UNDERCOVER COP<\/character>\n    <dialogue>Apologies for the beat down, but this area is full of scumbags just waiting to get their filthy hands on young, naive girls so they can get them hooked on drugs and turn 'em out. Next thing you know, these poor girls are so strung out on crank, they can't keep track of which veins still work or whose dicks they're sucking.<\/dialogue>\n    <scene_description>Pete and Maya's nice moment has been decimated.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>On that note...<\/dialogue>\n    <scene_description>Maya nods.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PIER - MOMENTS LATER<\/stage_direction>\n    <scene_description>The guys look out at several PARTY BOATS in the harbor.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>We're gonna need a boat.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>There!<\/dialogue>\n    <scene_description>The guys hurry toward a dock with several boats.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>So, Mr. Harrington, did you get that chick's math or what?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Give it up, Pete. It was so obvious. She took forever patting you down.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>You should tear that ass up!<\/dialogue>\n    <scene_description>Fist bump with Hunter.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Eli, some guys will have sex with any woman who comes along. Others of us want to be in love first.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>And that's why Mitchell's only had sex with two women.<\/dialogue>\n    <scene_description>Mitchell offers no rebuttal.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>My only frame of reference is porn. But is sex really different when you're in love?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Yes, Eli. It is.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>I'd like to disagree, but the truth is, I can't. I remember the first time I made love to my wife. It felt like an earthquake. I can't even put it into words. It's a beautiful memory.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>I still beat off to it sometimes.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Wow, that sounds amazing.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>It really was...<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>How many times did you cum in her face?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOAT - NIGHT<\/stage_direction>\n    <scene_description>A post-prom booze cruise is raging as it cruises toward the Statue of Liberty. Austin walks over with a drink for Julie. She smiles. He kisses Julie's neck, but she's distracted. She watches Sam downing beers from plastic cups.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Drink up, you fucking losers!<\/dialogue>\n    <scene_description>Everyone around her cheers and drinks. Kayla throws back a beer, overwhelmed by Sam's pace.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Be right back.<\/dialogue>\n    <scene_description>Austin grabs her gently and whispers in her ear.<\/scene_description>\n    <character>AUSTIN<\/character>\n    <dialogue>I have a huge boner right now.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>That's sweet.<\/dialogue>\n    <scene_description>Julie walks over to Sam, who is WASTED.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Hey guys. Fun, huh?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Um, yes.<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>Amazing.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>Are you okay, Sam?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Yeah, I'm great.<\/dialogue>\n    <character>JULIE<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Maybe you should slow down.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Maybe you should speed up.<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>I gotta piss.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Yeah, me three.<\/dialogue>\n    <scene_description>Kayla and Sam walk away, leaving Julie standing there looking concerned.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOAT - MOMENTS LATER<\/stage_direction>\n    <scene_description>Kayla and Sam approach the bathroom and see a long line. Sam taps a BIG GUY on the shoulder.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Is that the line for the crapper?<\/dialogue>\n    <scene_description>He nods.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Fuck. That.<\/dialogue>\n    <scene_description>Sam heads back outside. Curious, Kayla follows. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOAT - MOMENTS LATER<\/stage_direction>\n    <scene_description>Kayla laughs while standing near the bow of the boat, which cruises by the STATUE OF LIBERTY.<\/scene_description>\n    <character>SAM (O.S.)<\/character>\n    <parenthetical>(shouting)<\/parenthetical>\n    <dialogue>I'm the king of the world!<\/dialogue>\n    <scene_description>REVEAL Sam sitting over the BOAT RAILING, pissing.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Hold my leg, bitch!<\/dialogue>\n    <scene_description>Kayla, still laughing, grabs Sam's leg. Julie hurries out and grabs Sam's other leg.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Sam, get down!<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Lady Liberty fought for my right to do this!<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>(off Julie's confused look)<\/parenthetical>\n    <dialogue>Make yourself useful, Julie. Hand me that cocktail napkin.<\/dialogue>\n    <scene_description>Julie hands her a napkin from under a BEER CUP on the railing. Sam takes care of business and hops down.<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>(to Kayla)<\/parenthetical>\n    <dialogue>Alright, I'll help you, then we get back to the guys. Cuz' we gotsta' get some dick tonight.<\/dialogue>\n    <scene_description>Julie looks at Kayla, who looks out over the railing.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Don't tell me you're scared.<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>Of course not.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Then go!<\/dialogue>\n    <scene_description>Kayla can't back down now. She climbs up.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I'm letting you go overboard if you shit.<\/dialogue>\n    <scene_description>Julie looks even more concerned.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PIER - NIGHT<\/stage_direction>\n    <scene_description>The guys walk along the pier, looking for a boat.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>That one!<\/dialogue>\n    <scene_description>Eli points to a GLEAMING SPEEDBOAT.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>Yes, that's exactly what we need. We can speed out there in no time and do it in style.<\/dialogue>\n    <scene_description>Pete and Mitchell nod. They see a GUY next to the boat and the hurry out to him.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>The Guy looks over.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>We're in a bit of a bind and need a boat. Would you rent us yours?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>She's my pride and joy. I would never rent her.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>We have cash.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I'm listening.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>How does a hundred bucks sound?<\/dialogue>\n    <scene_description>Guy lifts his leg and lets out a growler of a FART. His point has been made. Smellily.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Sounds like a hundred won't cut it, guys.<\/dialogue>\n    <scene_description>The guys dig into their wallets and add up what they've got.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>We've got four hundred and seventy two bucks.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Deal. But you have to be careful on the motor. She's real sensitive.<\/dialogue>\n    <scene_description>Hunter hands the Guy the cash. The guys excitedly climb into the beautiful boat.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Hold up. What are you doing?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Taking out your boat.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>That's not my boat. THAT'S my boat.<\/dialogue>\n    <scene_description>He points to a SHITTY WOODEN SKIFF with a tiny engine. The guys look pissed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOAT - MOMENTS LATER<\/stage_direction>\n    <scene_description>On the dance floor, Kayla tries to keep up with Sam, who thrust her pelvis at Chad. Kayla slithers seductively down Dex's body and bobs her head, simulating blowing him, then slides up and bites his lip.<\/scene_description>\n    <character>DEX<\/character>\n    <dialogue>You know, Austin got a hotel room tonight.<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>DEX<\/character>\n    <dialogue>Def. We'll get one, too. Don't worry about the money... we can split it.<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>I've gotta be home tonight.<\/dialogue>\n    <character>DEX<\/character>\n    <dialogue>So does Julie, so they're getting a hotel close to home.<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>Oh. Well, I don't know if-<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Fuckin' A right, we're all gonna need rooms!<\/dialogue>\n    <scene_description>Chad looks surprised.<\/scene_description>\n    <character>DEX<\/character>\n    <dialogue>Nice. I'll reserve one for you, too, bro.<\/dialogue>\n    <character>CHAD<\/character>\n    <parenthetical>(tentatively)<\/parenthetical>\n    <dialogue>Uh, yeah, okay.<\/dialogue>\n    <parenthetical>(trying to be cool)<\/parenthetical>\n    <dialogue>Def.<\/dialogue>\n    <character>DEX<\/character>\n    <dialogue>That's what the fuck I'm talking about!<\/dialogue>\n    <scene_description>Dex aggressively high fives Chad, mangling Chad's hand. He hides the pain and quickly grabs a cold beer in his hand to soothe the pain.<\/scene_description>\n    <character>CHAD<\/character>\n    <dialogue>A non-smoking room, please.<\/dialogue>\n    <character>DEX<\/character>\n    <dialogue>I'm not sure about you, bro.<\/dialogue>\n    <scene_description>Sam grabs the beer and pours it over her mouth, wearing more than she drinks.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Woooooooooooooooo!!!!!<\/dialogue>\n    <scene_description>Dex laughs, then smacks Kayla's ass as he walks away, cell phone in hand. Kayla continues dancing, but something is different. She looks NERVOUS... the reality of the pact is settling in. She sees Julie looking over and smiles, then dances again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK HARBOR - NIGHT<\/stage_direction>\n    <scene_description>The guys are crammed on the skiff as it slowly chugs out into the choppy bay. It's a rough ride.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Can this thing go any faster, Hunter?<\/dialogue>\n    <character>HUNTER<\/character>\n    <parenthetical>(sarcastically)<\/parenthetical>\n    <dialogue>Oh, yeah. Way faster, but I thought we should take it slowly. Enjoy the sea air.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Good one.<\/dialogue>\n    <scene_description>Hunter nods.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <parenthetical>(re: a party boat)<\/parenthetical>\n    <dialogue>That one!<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Are you sure?<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <scene_description>LATER... The guys approach the party boat. There is no one on the deck, but they see glimpses of people inside the boat in tuxedoes and gowns. They tie the boat to the side and all climb aboard the ladder. The music is pumping on the boat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PARTY BOAT - MOMENTS LATER<\/stage_direction>\n    <scene_description>The first TUXEDOED GUY they encounter is in his 30s and drunk. He looks surprised to see the guys.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Geez, these kids look older and older every year.<\/dialogue>\n    <scene_description>The guys hear a MAN talking on a mic:<\/scene_description>\n    <character>MAN (O.S.)<\/character>\n    <dialogue>Thanks everyone for celebrating with us today. I'm sure you've all heard by now...<\/dialogue>\n    <scene_description>The guys enter the main cabin of the party boat and see a MAN at a podium -- it's the GROOM the guys ran off the road!<\/scene_description>\n    <character>GROOM<\/character>\n    <dialogue>We almost didn't make it here this evening. Wait - is that...?<\/dialogue>\n    <scene_description>All eyes turn to the guys.<\/scene_description>\n    <character>BRIDE<\/character>\n    <dialogue>Son of a bitch! They're back to finish the job!<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>No-<\/dialogue>\n    <scene_description>The Bride whips the CAKE KNIFE across the room. Pete ducks and the knife sticks in the wall!<\/scene_description>\n    <character>GROOM<\/character>\n    <dialogue>Grab those guys!<\/dialogue>\n    <scene_description>Several GUESTS step toward the guys.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Sorry, wrong boat!<\/dialogue>\n    <character>HUNTER<\/character>\n    <parenthetical>(to Pete re: Mitchell)<\/parenthetical>\n    <dialogue>Why do we keep listening to him?!<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Let's haul ass!<\/dialogue>\n    <scene_description>The guys take off! They run out on the deck. Hunter turns to climb down the ladder, but there's no time.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Go!<\/dialogue>\n    <scene_description>Pete shoves Hunter, who flies off the deck and hits the water next to the boat! Pete and Eli jump into the water. An ELDERLY WOMAN grabs Mitchell, who shoves her, then jumps, landing HARD in the boat!<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>AHHHH!<\/dialogue>\n    <scene_description>The guys scramble into the boat and Hunter cranks the tiny engine! ON THE PARTY BOAT The Bride looks at the Groom.<\/scene_description>\n    <character>BRIDE<\/character>\n    <dialogue>Are you sure this was not your mother?<\/dialogue>\n    <character>GROOM<\/character>\n    <dialogue>Pretty sure!<\/dialogue>\n    <scene_description>Both look at the GROOM'S MOTHER, suspiciously, as she does the chicken dance. GUESTS throw things at the boat: shoes, the wedding cake and an ice sculpture, which puts a split in the floor of the skiff! ON THE SKIFF<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Gun it!!!<\/dialogue>\n    <scene_description>They move away from the party boat as the skiff takes on water.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>I think we're safe.<\/dialogue>\n    <scene_description>The guys look momentarily relieved. Suddenly, Pete and Mitchell in the front of the boat are moving away from Eli and Hunter in the back of the boat. The boat has split in half.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK HARBOR - LATER<\/stage_direction>\n    <scene_description>The four guys hold onto a chunk of the boat and kick their way back toward the pier as the girls' PARTY BOAT cruises by in the distance.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>I bet that's the girls' boat.<\/dialogue>\n    <character>PETE<\/character>\n    <parenthetical>(no shit)<\/parenthetical>\n    <dialogue>Thanks, Mitchell.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>This sucks. The rumors I've heard about the motion of the ocean and all that, any truth to that?<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>I'm afraid so. When I had my boat, I did more offshore drilling than BP.<\/dialogue>\n    <scene_description>LATER... The PARTY BOAT docks and the guys see the girls and their dates step onto the pier. ON THE GUYS...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>.. still kicking.<\/stage_direction>\n    <character>PETE\/ELI<\/character>\n    <dialogue>JUUUUULIEEEEEEE!!!!!<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>KAAAAAAAYLAAAAA!!!!!<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>They can't hear you, guys. Forget it. It's over...<\/dialogue>\n    <scene_description>They watch, helplessly, as the kids get into the limo and drive away.<\/scene_description>\n    <character>ELI<\/character>\n    <parenthetical>(getting upset)<\/parenthetical>\n    <dialogue>I'm sorry I found the pact, guys. I shouldn't have been snooping in Julie's room in the first place.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>None of this is your fault, Eli. This is on us. Tonight is about our failings as fathers.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Yeah, Kayla's acting out because she's embarrassed of me. She probably did instigate this whole thing.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>No, Mitchell. I'm sorry about saying that.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>No, it's probably true. I want my kids to respect me, but I can't even find a job. I'm not worthy of their respect.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Well, I didn't even know Sam was being excluded. I'm so wrapped up in my own shit that I had no idea about the pain she must be feeling. I don't know anything about her.<\/dialogue>\n    <scene_description>Hunter is choked up. The guys look at him - they've never seen him like this.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>The truth is, I'm terrified of her. I expected to have a boy. What do I have in common with a 15 year old girl? So I just... I don't even try. I'm a terrible father.<\/dialogue>\n    <scene_description>Pete puts his arm on Hunter's shoulder.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>There's plenty of blame to go around. When I lost Jessica, I tried so hard to be Julie's friend that I smothered her. She was desperate to prove her independence. I drove her to this.<\/dialogue>\n    <scene_description>Beat. Eli realizes he's the only one kicking.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Are you guys counting on the tide here or what?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETE'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Back on Long Island, Pete exits the highway. The guys sit silently, soaking wet and feeling horrible about themselves.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>You guys shouldn't be so hard on yourselves. At least you're around. My dad left when I was six.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>His loss, Eli.<\/dialogue>\n    <scene_description>Eli nods a \"thank you.\" He starts to sob. Hunter puts his arm around Eli.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>It's gonna be okay.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Yeah, it's just that all my hopes and dreams are dead... And my pain is just beginning. I bet Julie and Austin will be doing it all the time now. Once you pop, you can't stop.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Julie is a terrific kid. But you'll meet someone else.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I don't think so...<\/dialogue>\n    <scene_description>They drive past a 7-11 and Pete spots something.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Holy shit!<\/dialogue>\n    <scene_description>Pete whips the minivan into a U-turn and screeches to a stop in the 7-11 parking lot.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>What are you doing, Pete!?<\/dialogue>\n    <scene_description>Pete points at Seth, the limo driver, walking into the 7-11.<\/scene_description>\n    <character>MITCHELL (CONT'D<\/character>\n    <dialogue>I told you there was a six in the license plate!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 7-11 - NIGHT<\/stage_direction>\n    <scene_description>The guys rush over to Seth, who leans against a Slurpee machine, enjoying a cold one.<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>What can I do for you fellas?<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>You know what we want.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Coupla' eight balls?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Our daughters. They were in your limo tonight.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Oh right. I'd love to help you out, but I'm not at liberty to say where they went. Because of limo driver\/passenger privilege. Confidentiality and all that.<\/dialogue>\n    <parenthetical>(rubbing fingers together, looking for a bribe)<\/parenthetical>\n    <dialogue>You understand.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>I gave you fifty bucks earlier tonight!<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>I'm back to funerals until next summer, man. Do you have any idea how poorly grieving people take hints?<\/dialogue>\n    <scene_description>Out of cash, the guys look defeated. Suddenly, a fist connects with Seth's jaw, knocking him down. The guys look over at Eli, who rubs his hand.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>Nice.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I knew none of you would hit him.<\/dialogue>\n    <character>PETE<\/character>\n    <parenthetical>(to Seth)<\/parenthetical>\n    <dialogue>Where are they?<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>(struggles to get it out)<\/parenthetical>\n    <dialogue>I just dropped them off at the Courtyard by Marriott.<\/dialogue>\n    <scene_description>As the guys look on, Eli turns on the Slurpie machine which pours a steady stream of blue Slurpie onto Seth, who remains on the floor. Eli exits the 7-11 as a man.<\/scene_description>\n    <character>HUNTER<\/character>\n    <parenthetical>(re: Eli)<\/parenthetical>\n    <dialogue>The kid's balls dropped tonight.<\/dialogue>\n    <scene_description>Mitchell nods, impressed with Eli.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PETE'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Hernandez and Donohue sit in their cruiser staring at Pete's house. The RADIO chirps to life.<\/scene_description>\n    <character>RADIO (O.S.)<\/character>\n    <dialogue>Assault and battery at the 7-11 1738 West Babylon Turnpike. Multiple male suspects in a blue Volvo wagon.<\/dialogue>\n    <scene_description>Cops look at each other and nod.<\/scene_description>\n    <character>DONOHUE<\/character>\n    <dialogue>324. Show us responding!<\/dialogue>\n    <scene_description>Hernandez pumps a fist! Donohue hits the gas!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTYARD BY MARRIOTT - LATER<\/stage_direction>\n    <scene_description>The boys get their keys at the front desk as the girls wait outside.<\/scene_description>\n    <character>KAYLA<\/character>\n    <dialogue>Well, this is it.<\/dialogue>\n    <scene_description>She looks right at Sam, who doesn't flinch.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Can't wait.<\/dialogue>\n    <scene_description>Kayla nods.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>It's not too late to back out of this thing, you know?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Why would I do that? I'm all about the cock.<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>I'm also pretty much all about the cock as well, so...<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>This conversation is foul.<\/dialogue>\n    <scene_description>The boys walk out of the lobby and the three couples split up and head to their rooms.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Okay, well... we're going to our room now.<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>We're going to ours, too.<\/dialogue>\n    <scene_description>The three couples stand there awkwardly for a moment until Julie and Austin walk away.<\/scene_description>\n    <character>DEX<\/character>\n    <dialogue>The fuck are we waiting for?<\/dialogue>\n    <scene_description>Sam grabs Chad's hand and starts walking. Kayla nervously walks away with Dex. Sam looks back at Kayla, who is looking back at her. Neither flinches...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETE'S CAR - CONTINUOUS<\/stage_direction>\n    <scene_description>Pete flies down the road until the guys spot the police cruiser again, lights on and sirens blaring.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>Shit!<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>No, not now! Not now!<\/dialogue>\n    <scene_description>Pete turns hard.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE CAR - CONTINUOUS<\/stage_direction>\n    <scene_description>The Cops smile.<\/scene_description>\n    <character>HERNANDEZ<\/character>\n    <dialogue>These clowns think they're getting away!<\/dialogue>\n    <character>DONOHUE<\/character>\n    <dialogue>Not this time, buddy!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETE'S CAR - CONTINUOUS<\/stage_direction>\n    <scene_description>Pete spots a second POLICE CRUISER join the chase. He turns hard again and the two cruisers follow.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>Another bogey!<\/dialogue>\n    <scene_description>Suddenly, a POLICE HELICOPTER appears in the sky, spot light blasting on Pete's car.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Oh crap!<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Eye in the sky!<\/dialogue>\n    <scene_description>Pete whips the car down an alley and they emerge in a commercial area. The spotlight still shines on the car.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>We can't shake it!<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>This is a dead end!<\/dialogue>\n    <character>HELICOPTER COP (O.S.)<\/character>\n    <dialogue>He's got nowhere to go.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>There!<\/dialogue>\n    <scene_description>Pete points to a parking garage.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>That's crazy. We'll be trapped!<\/dialogue>\n    <scene_description>Pete slides hard into the parking garage and flies up the levels. IN THE CRUISER... Hernandez is on the radio.<\/scene_description>\n    <character>HERNANDEZ<\/character>\n    <dialogue>Suspects have driven into a parking garage on Lafayette and Grand. Only two ways in or out. We'll take the North entrance.<\/dialogue>\n    <character>SECOND POLICE CRUISER (O.S.)<\/character>\n    <dialogue>Copy. We've got the East entrance.<\/dialogue>\n    <scene_description>The Cruisers drive into the two garage entrances.<\/scene_description>\n    <character>HERNANDEZ (INTO RADIO)<\/character>\n    <dialogue>Suspects surrounded. We've got it from here. Thanks for the help.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELICOPTER - CONTINUOUS<\/stage_direction>\n    <scene_description>The helicopter circles.<\/scene_description>\n    <character>HELICOPTER COP<\/character>\n    <dialogue>Roger that.<\/dialogue>\n    <scene_description>The helicopter banks and takes off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARAGE - CONTINUOUS<\/stage_direction>\n    <scene_description>The garage is dark. Donohue turns the corner onto the fourth floor and spot Pete's car slowly driving toward them at about 2 miles an hour.<\/scene_description>\n    <character>DONOHUE<\/character>\n    <dialogue>What the fuck are these guys up to?<\/dialogue>\n    <scene_description>Donohue stops the cruiser and the two cops hop out, guns drawn and pointed at Pete's car. The COPS from the second car stand behind their doors, also with guns pointed. Pete's car picks up speed down the slight decline.<\/scene_description>\n    <character>DONOHUE<\/character>\n    <dialogue>Stop the vehicle and get out with your hands up!<\/dialogue>\n    <scene_description>Nothing. The car continues toward them, only twenty feet away. Fifteen feet. Ten feet. Donohue motions to his partner and the two OPEN FIRE!! Glass explodes! The car continues toward them and the two cops step to the side to avoid the slow-moving vehicle. The car hits the wall! Donohue nods to Hernandez, who approaches the car, gun still drawn. Donohue and the other two Cops hang back. Hernandez reaches out and whips open the driver's door.<\/scene_description>\n    <character>HERNANDEZ<\/character>\n    <dialogue>HANDS UP, MOTHERFUCKERS!!<\/dialogue>\n    <scene_description>The car is EMPTY. The car is in NEUTRAL. The cops look confused.<\/scene_description>\n    <character>HERNANDEZ<\/character>\n    <dialogue>Shit!<\/dialogue>\n    <scene_description>He kicks Pete's car.<\/scene_description>\n    <character>DONOHUE<\/character>\n    <dialogue>Let's search the garage. If they're not here, we'll check the hotel. These guys are going down.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PARKING GARAGE - FIRST LEVEL<\/stage_direction>\n    <scene_description>The guys all sit in a MINIVAN with a smashed-in driver's window. The electronics hang below the steering wheel. The engine idles.<\/scene_description>\n    <character>HUNTER<\/character>\n    <parenthetical>(to Pete)<\/parenthetical>\n    <dialogue>I guess all that work you did on Jessica's beater paid off.<\/dialogue>\n    <scene_description>Pete nods, but looks upset.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>It's alright, Pete. You'll get the car back.<\/dialogue>\n    <character>ELI<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>When you get out of prison.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Okay, here we go. Nice and easy.<\/dialogue>\n    <scene_description>Pete slowly pulls the minivan out of the garage, flips on the lights and casually cruises away from the parking lot.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTYARD BY MARRIOTT - NIGHT<\/stage_direction>\n    <scene_description>Soft music plays. Austin lights a couple of candles. It's romantic... for high school kids.<\/scene_description>\n    <character>AUSTIN<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>It's really nice.<\/dialogue>\n    <scene_description>He smiles. They kiss on top of the made bed.<\/scene_description>\n    <character>AUSTIN<\/character>\n    <dialogue>You're sure you want to do this, right?<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>AUSTIN<\/character>\n    <dialogue>Thank you!<\/dialogue>\n    <scene_description>Julie laughs.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Stop asking. I love you and I want to be with you.<\/dialogue>\n    <character>AUSTIN<\/character>\n    <dialogue>I love you, too.<\/dialogue>\n    <scene_description>Julie stands and unzips her dress. It drops to the floor. Austin stares at Julie's body.<\/scene_description>\n    <character>AUSTIN<\/character>\n    <dialogue>Thanks again!<\/dialogue>\n    <scene_description>Julie laughs and gets into bed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KAYLA AND DEX'S HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Kayla checks out the room while Dex lays on the bed. He looks like a cheetah about to pounce on a weakened gazelle.<\/scene_description>\n    <character>KAYLA<\/character>\n    <dialogue>The room is bigger than I expected.<\/dialogue>\n    <character>DEX<\/character>\n    <dialogue>I'll show you something bigger than you expected.<\/dialogue>\n    <scene_description>Kayla chuckles nervously.<\/scene_description>\n    <character>KAYLA<\/character>\n    <dialogue>Should we order some room service?<\/dialogue>\n    <character>DEX<\/character>\n    <dialogue>Oh are you hungry? I got something that will fill you up.<\/dialogue>\n    <scene_description>He smiles, pleased with himself.<\/scene_description>\n    <character>DEX<\/character>\n    <parenthetical>(to clear up any potential confusion)<\/parenthetical>\n    <dialogue>I'm talking about this.<\/dialogue>\n    <scene_description>He grabs his package.<\/scene_description>\n    <character>KAYLA<\/character>\n    <dialogue>Yeah, I got that.<\/dialogue>\n    <scene_description>He pats the bed next to him and she reluctantly sits down. He moves in aggressively for a kiss. His tongue whips around like a weed whacker.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAM AND CHAD'S HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>The hotel room is filled with sounds of SLURPING.<\/scene_description>\n    <character>SAM (O.S.)<\/character>\n    <parenthetical>(mouth full)<\/parenthetical>\n    <dialogue>How's that?<\/dialogue>\n    <character>CHAD (O.S.)<\/character>\n    <dialogue>Too much teeth.<\/dialogue>\n    <scene_description>ON CHAD, who looks uncomfortable. REVEAL Sam sucking aggressively on his... toes.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I am going to eat you alive.<\/dialogue>\n    <character>CHAD<\/character>\n    <dialogue>Uh, okay.<\/dialogue>\n    <scene_description>Chad could not look any more confused. He flinches repeatedly, trying hard to stifle his laugh reflex.<\/scene_description>\n    <character>CHAD<\/character>\n    <dialogue>No, not the pinky toe!<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Fuck yes, the pinky toe! He's my bitch!<\/dialogue>\n    <scene_description>Not sexy.<\/scene_description>\n    <character>CHAD<\/character>\n    <dialogue>You know, this isn't doing much for me. Can we try something else?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I thought you'd never ask...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MINIVAN - NIGHT<\/stage_direction>\n    <scene_description>The car flies down the road toward a light that turns RED.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Red light! Red light!<\/dialogue>\n    <scene_description>Pete blows the light. HONK!!! Pete swerves, narrowly avoiding an accident with a truck! Out of control, the minivan screeches a hard turn into the parking lot of the hotel. The back of the minivan fishtails, taking out a bush and the neon VACANCY SIGN. Smoke rises from the crushed sign as the minivan stops in front of the lobby.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTYARD BY MARRIOTT - CONTINUOUS<\/stage_direction>\n    <scene_description>The guys charge out of the minivan. Down the hall, the Groom is carrying the Bride across the threshold. They spot the guys and look terrified.<\/scene_description>\n    <character>GROOM<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>Okay, it's true! My mother never liked you!<\/dialogue>\n    <scene_description>He rushes into the room, banging her head on the door jamb, then slams the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTYARD BY MARRIOTT - MOMENTS LATER<\/stage_direction>\n    <scene_description>Mitchell steps to the front desk and rings the bell. Nothing. Impatient, he pounds the bell. A HOTEL CLERK appears from the back room and slides the bell away from Mitchell.<\/scene_description>\n    <character>HOTEL CLERK<\/character>\n    <dialogue>Can I help you gentlemen?<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Yes. We're looking for our daughters. It's prom and we have reason to believe they're staying here.<\/dialogue>\n    <character>HOTEL CLERK<\/character>\n    <dialogue>We get a lot of kids on prom nights. We usually have to burn those sheets.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Terrific! This is a picture of them.<\/dialogue>\n    <scene_description>Mitchell shows a picture on his Motorola Razor. The Hotel Clerk squints.<\/scene_description>\n    <character>HOTEL CLERK<\/character>\n    <dialogue>Sorry, what am I looking at?<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>This is the kids in front of the limo.<\/dialogue>\n    <character>HOTEL CLERK<\/character>\n    <dialogue>How old is this phone? I can't make out shit in this picture. Maybe you could draw her.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Just let us see a list of the hotel guests.<\/dialogue>\n    <character>HOTEL CLERK<\/character>\n    <dialogue>Sorry, buddy. No can do.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>You can't or won't?<\/dialogue>\n    <character>HOTEL CLERK<\/character>\n    <dialogue>Both, I guess.<\/dialogue>\n    <scene_description>Mitchell shakes his head.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>I did not want to do this.<\/dialogue>\n    <scene_description>Mitchell moves his hands below the counter and makes the sound of a SHOTGUN BEING LOADED.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>You're going to give us that information now, aren't you?!<\/dialogue>\n    <character>HOTEL CLERK<\/character>\n    <dialogue>Because you just made some half- assed gun sound? I could see your mouth.<\/dialogue>\n    <scene_description>Mitchell turns to the guys.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>I need to work on that one.<\/dialogue>\n    <scene_description>Pete sighs. He leans closer to the Hotel Clerk and takes a softer tone.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Look, buddy, do you have kids?<\/dialogue>\n    <scene_description>The Hotel Clerk nods.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>It's prom night and our teenaged daughters are in your hotel somewhere with their dates. They're about to make the biggest mistake of their lives.<\/dialogue>\n    <scene_description>Pete turns and faces Mitchell and Hunter for effect.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>None of us have been perfect fathers. But tonight -- right now -- we have a chance to make up for all the mistakes we've made and save our girls from doing something they'll regret for the rest of their lives.<\/dialogue>\n    <scene_description>Hunter pats Pete on the back. Mitchell nods, emotional.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>So I'm asking you, one father to another. What do you say?<\/dialogue>\n    <character>HOTEL CLERK<\/character>\n    <parenthetical>(emotionless, shrugs)<\/parenthetical>\n    <dialogue>I have boys, so...<\/dialogue>\n    <scene_description>Eli approaches the counter and starts swinging, but he can't reach the bewildered Hotel Clerk.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>You bastard!<\/dialogue>\n    <scene_description>The guys drag Eli away.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>I give up. I'm gonna get some air.<\/dialogue>\n    <scene_description>Mitchell winks at the guys and leaves the lobby. Hunter looks at Pete, who shrugs.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>What the fuck do we do now? Run up and down the hallway screaming their names?<\/dialogue>\n    <scene_description>The PHONE rings and the Hotel Clerk answers.<\/scene_description>\n    <character>HOTEL CLERK<\/character>\n    <dialogue>Hello?.. A bomb, huh? Yeah, I should probably evacuate the rooms then, I guess.<\/dialogue>\n    <scene_description>The Hotel Clerk nonchalantly hangs up the phone.<\/scene_description>\n    <character>HOTEL CLERK<\/character>\n    <dialogue>Can you let your friend know I can see him through the glass?<\/dialogue>\n    <scene_description>The guys look out the window and see Mitchell standing right in front of the lobby on his cell. He gives them the thumbs up.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>I have an idea.<\/dialogue>\n    <scene_description>Pete takes out his cell.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KAYLA AND DEX'S HOTEL ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Kayla is standing at the sink in the bathroom looking at herself in the mirror.<\/scene_description>\n    <character>DEX (O.S.)<\/character>\n    <parenthetical>(frustrated)<\/parenthetical>\n    <dialogue>You know, I could have gone to the prom with a million other girls who would love to be here right now.<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>I'll be right there.<\/dialogue>\n    <character>DEX<\/character>\n    <dialogue>Oh, hard to get, huh?<\/dialogue>\n    <scene_description>Dex walks into the bathroom.<\/scene_description>\n    <character>DEX<\/character>\n    <dialogue>You can skip that shit. I know all about the pact.<\/dialogue>\n    <scene_description>He leans into her and starts kissing her neck. Kayla looks surprised... and scared.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAM AND CHAD'S HOTEL ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Sam dry humps Chad, who tries to squirm away until he finds himself on his belly. Sam is grinding against his back.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Dude, you're doing it wrong.<\/dialogue>\n    <scene_description>He slips out from under her and lands on the floor.<\/scene_description>\n    <character>CHAD<\/character>\n    <dialogue>I'm sorry... I'm not ready for this, Sam.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>What?<\/dialogue>\n    <parenthetical>(re: his hard-on)<\/parenthetical>\n    <dialogue>You seem ready.<\/dialogue>\n    <character>CHAD<\/character>\n    <dialogue>Well, I'm not. I can't have sex with you.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Seriously?<\/dialogue>\n    <scene_description>Chad nods.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Is it someone else?<\/dialogue>\n    <character>CHAD<\/character>\n    <dialogue>Yes. It's Jesus.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I made him a promise. I gave him my word to stop at third.<\/dialogue>\n    <scene_description>Sam looks repulsed. LATER...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>.. MAYA, the woman cop, still dressed as a prostitute, shows her badge to the Hotel Clerk.<\/stage_direction>\n    <scene_description>He reluctantly slides a sheet of paper to the guys. It's got the girls' room numbers on it.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>Thanks, asshole.<\/dialogue>\n    <scene_description>Mitchell looks at a HELP WANTED SIGN on the desk.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <parenthetical>(gesturing toward it)<\/parenthetical>\n    <dialogue>What's the situation here?<\/dialogue>\n    <character>HOTEL CLERK<\/character>\n    <dialogue>Uh, yeah, I'm not hiring you.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Yeah? Well, I wasn't really interested anyway, so... whatevs.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOBBY - MOMENTS LATER<\/stage_direction>\n    <scene_description>The guys all exit the lobby together.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>I don't know how to thank you.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Buy me a coffee sometime.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>I'd like that.<\/dialogue>\n    <parenthetical>(to the guys)<\/parenthetical>\n    <dialogue>Let's bring our girls home.<\/dialogue>\n    <scene_description>Mitchell and Hunter nod and take off.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>It was my pleasure taking on this mission with you, Mr. H. Whatever happens -- hymen or no hymen -- you're a great father.<\/dialogue>\n    <scene_description>Pete nods and leaves the lobby with Maya.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Pete and Maya rush down a hallway and into...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR - CONTINUOUS<\/stage_direction>\n    <scene_description>Pete frantically hits the 4th floor button.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>What are you going to do when you get to the room?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>I hadn't thought that far ahead.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>So this guy she's with. Real scumbag, huh?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>What? No, he's a nice boy. They've been dating for over a year.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Oh, I guess I just assumed...<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>No, it's just... Julie and I are really close. And I didn't even know she was planning this tonight.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Well, I remember when I told my dad when I was about to have sex. Great memory!<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>No. Never happened.<\/dialogue>\n    <scene_description>Pete thinks about it as the elevator climbs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL, HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Hunter races down a long hallway. He stops in front of a room and bangs on the door. It swings open on its own.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>Sam? Are you in there?<\/dialogue>\n    <scene_description>Hunter steps inside the room.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>I'm coming in! Anything inside my daughter is coming off!<\/dialogue>\n    <scene_description>He finds an empty room. The bed is a mess and looks well used.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>I'm too late...<\/dialogue>\n    <scene_description>He collapses into a chair and sits with his thoughts. He starts to break down. He cries quietly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL LOBBY - CONTINUOUS<\/stage_direction>\n    <scene_description>Anxious to follow through on the pact, Sam walks to a HEAVYSET MAN in his late 20s at a vending machine.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Hey old-timer. Getting your late night grub on, huh?<\/dialogue>\n    <scene_description>He looks around to see if she's talking to him. She is.<\/scene_description>\n    <character>HEAVYSET MAN<\/character>\n    <dialogue>Yeah, just getting some M&amp;Ms.<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>(seductively)<\/parenthetical>\n    <dialogue>I like M&amp;Ms too. Original, peanut... I love 'em all.<\/dialogue>\n    <character>HEAVYSET MAN<\/character>\n    <dialogue>That's good.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Wanna fuck?<\/dialogue>\n    <scene_description>The Heavyset Man looks surprised. He nods.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Then let's get you out of those huge clothes.<\/dialogue>\n    <scene_description>Eli, pacing outside the lobby, spots Sam as she and the Heavyset Man walk down the hallway.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Sam?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Eli?<\/dialogue>\n    <scene_description>Eli walks over to her.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Hey, what's going on?<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>(eating M&amp;Ms)<\/parenthetical>\n    <dialogue>I'm gonna go do this old dude because Chad fagged out on me.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>Sam turns and heads into the guy's room...<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Wait.<\/dialogue>\n    <scene_description>Eli walks over and the Heavyset Man goes to shut the door. Eli sticks his foot in the door.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>I don't think you should bang this guy. He seems like a complete loser. No offense.<\/dialogue>\n    <scene_description>Despite Eli's comment, the Heavyset Man does appear offended.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KAYLA AND DEX'S HOTEL ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Dex is on top of Kayla on the bed. He's kissing her aggressively. He slides his hand up her shirt.<\/scene_description>\n    <character>KAYLA<\/character>\n    <dialogue>Alright, slow down, Dex.<\/dialogue>\n    <character>DEX<\/character>\n    <dialogue>I'm a gorilla, baby!<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>No, you're an asshole!<\/dialogue>\n    <scene_description>Dex doesn't stop.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Eli continues reasoning with Sam.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>I know you want to fit in. We all do.<\/dialogue>\n    <scene_description>Sam drops her head.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>But you don't have to do this. You don't have to do...<\/dialogue>\n    <parenthetical>(with disgust)<\/parenthetical>\n    <dialogue>HIM. He's a zero. Again, no offense.<\/dialogue>\n    <scene_description>The Heavyset Man is offended again. Sam looks at the guy, then at Eli.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>You've always been really sweet to me. I can't just let you do this without trying to stop you. I mean, look at you. You're beautiful. And look at this guy.<\/dialogue>\n    <scene_description>Sam looks at the Heavyset Man, who tries to suck in his gut. She smiles at Eli.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Let's get out of here.<\/dialogue>\n    <scene_description>She thinks about it for a moment, then turns to the Heavyset Man and hands him the bag of M&amp;Ms.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <scene_description>He nods as she leaves with Eli.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Pete hurries down a hallway.<\/scene_description>\n    <character>PETE<\/character>\n    <parenthetical>(realizing)<\/parenthetical>\n    <dialogue>I can stop her tonight, but what about tomorrow night? What about next week?<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>At some point, you have to trust that you've done a good job with her and let her live her life.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Yeah, I know. But she's only 16.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>How old were you when you lost your virginity?<\/dialogue>\n    <scene_description>Caught. Pete swallows.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>I don't see how that's relevant.<\/dialogue>\n    <scene_description>She shoots him a look - of course you do.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Mitchell runs up to a door and checks the number. This is it. He tentatively knocks on the door.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Peanut?<\/dialogue>\n    <scene_description>He hears Kayla inside:<\/scene_description>\n    <character>KAYLA (O.S.)<\/character>\n    <dialogue>I said get the fuck off!<\/dialogue>\n    <scene_description>Mitchell steps back from the door. He's freaking out. Suddenly, he steps back and rams the door HARD with his shoulder. It makes a lot of noise, but doesn't give. He tries again. Still nothing. He looks down, lifts his capri pant leg and looks at his large calf. He quickly kicks the door handle and the door finally gives way!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KAYLA AND DEX'S HOTEL ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Mitchell runs into the room!<\/scene_description>\n    <character>DEX<\/character>\n    <dialogue>What the fuck?!<\/dialogue>\n    <scene_description>Kayla quickly covers herself, mascara running down her face with tears. Mitchell grabs Dex by the throat. Dex throws a punch and Mitchell blocks it. Mitchell unleashes a devastating uppercut Blood explodes across Dex's face as he goes to the floor. Dex loses a front tooth. Dex groans as he rolls around on the floor. Kayla jumps into her father's arms.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Are you okay?!<\/dialogue>\n    <scene_description>She nods, a tear streaming down her face.<\/scene_description>\n    <character>DEX<\/character>\n    <dialogue>Who the hell is this guy?!<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>That's my daddy, asshole!<\/dialogue>\n    <scene_description>Mitchell is taken aback by her calling him daddy.<\/scene_description>\n    <character>KAYLA<\/character>\n    <dialogue>I'm so sorry, dad.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>It's okay, baby. Let's get out of here.<\/dialogue>\n    <scene_description>Kayla kicks Dex in the gut on the way out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL - MOMENTS LATER<\/stage_direction>\n    <scene_description>Eli and Sam sit on a bench near the lobby. She smiles at him. He realizes how pretty she is.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I'm so embarrassed.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Don't be. We're kids. We're supposed to make mistakes.<\/dialogue>\n    <scene_description>She laughs.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>If you wanna talk about it, I'm here for you.<\/dialogue>\n    <scene_description>He reaches out and strokes her arm gently, but in a firm way.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I felt so much pressure because my friends are in such a rush to do everything. It was a mistake. I wasn't ready to go all the way.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>I totally get it. You'll know when you're ready.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'm more comfortable now. With you.<\/dialogue>\n    <scene_description>She looks at him, this is his window.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>You've had a lot to drink tonight. I don't want to take advantage.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I puked four times. I'm good now.<\/dialogue>\n    <scene_description>Eli considers the offer.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>As much as it turns me on to hear that, you said yourself, you're not ready.<\/dialogue>\n    <scene_description>Sam looks disappointed. Long beat.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>Do you think your mouth is ready?<\/dialogue>\n    <scene_description>Sam smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Pete and Maya get to Julie's room and Pete hesitates. He takes a deep breath and raises his hand to knock on the door. He lingers, then drops his hand.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>I've had a hard time moving on from my wife. Julie will be going to college soon and I'll be alone.<\/dialogue>\n    <scene_description>Maya puts his hand on his shoulder.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>And now... I'm not even sure I'm doing this for Julie.<\/dialogue>\n    <scene_description>He sighs.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Let's get out of here before I change my mind.<\/dialogue>\n    <scene_description>Maya nods and slips her arms through Pete's. They walk away.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>How about that cup of coffee?<\/dialogue>\n    <character>MAYA<\/character>\n    <parenthetical>(re: her hooker outfit)<\/parenthetical>\n    <dialogue>Maybe after a change of clothes?<\/dialogue>\n    <scene_description>Pete smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTYARD BY MARRIOTT - NIGHT<\/stage_direction>\n    <scene_description>Hunter walks toward the car as Eli and Sam walk out from a row of bushes. Eli looks elated... and spent.<\/scene_description>\n    <character>ELI<\/character>\n    <dialogue>And the season is right, so we'll be able to hear the whales serenading us.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I can't wait!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Bring your Serenity BluRay.<\/dialogue>\n    <scene_description>Eli beams.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>Sweetheart!<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Oh, hey dad.<\/dialogue>\n    <scene_description>Hunter runs over and grabs Sam and to her surprise, hugs her. He wipes tears from his eyes.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I'm fine, dad. Nothing happened.<\/dialogue>\n    <scene_description>Hunter pumps a fist.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>I'm sorry I haven't been a better dad. I should have known you were going through a tough time with your friends.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>It's okay.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>No, it's not. I haven't been involved enough in your life and you're the most important thing in the world to me.<\/dialogue>\n    <scene_description>Sam smiles.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>But it's not too late. I'm gonna make it up to you. Okay, Sammy?<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>(emotional)<\/parenthetical>\n    <dialogue>I'd like that, dad.<\/dialogue>\n    <scene_description>They hug again. Sam takes Eli's hand.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>What's that about?<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>You were right. I can move on. I love her, Hunter.<\/dialogue>\n    <scene_description>Hunter takes a moment, then nods. Sam smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL - NIGHT<\/stage_direction>\n    <scene_description>Mitchell and Kayla walk out of the Hotel.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>You know, Kayla. I know you're embarrassed of me. And I don't blame you. I'm sure it's not easy having a dad who's unemployed.<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>You're unemployed?<\/dialogue>\n    <character>MITCHELL<\/character>\n    <parenthetical>(stunned)<\/parenthetical>\n    <dialogue>Yeah. Going on eight months.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>If you didn't know, why are so embarrassed of me?<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>I'm a teenager. I have my own issues. If it makes you feel any better, you're no more or less embarrassing than anyone else's dad.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Thanks, Peanut. That means a lot.<\/dialogue>\n    <scene_description>They approach the minivan.<\/scene_description>\n    <character>KAYLA<\/character>\n    <dialogue>Whose minivan?<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>We had to steal it to ditch the cops. I'll explain later. Or not.<\/dialogue>\n    <scene_description>Kayla smiles, impressed.<\/scene_description>\n    <character>KAYLA<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>Bad. Ass.<\/dialogue>\n    <scene_description>Kayla climbs into the car and hugs Sam.<\/scene_description>\n    <character>KAYLA<\/character>\n    <dialogue>I'm sorry I was such a bitch to you.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Don't worry about it.<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>Friends again?<\/dialogue>\n    <scene_description>Sam nods. Kayla notices Eli who smiles and nods to her.<\/scene_description>\n    <character>KAYLA<\/character>\n    <dialogue>What's he doing here?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>He's with me.<\/dialogue>\n    <character>KAYLA<\/character>\n    <dialogue>Cool.<\/dialogue>\n    <scene_description>Pete and Maya walk over to the guys. Suddenly, the POLICE CRUISER flies into the lot.<\/scene_description>\n    <character>MITCHELL<\/character>\n    <dialogue>Oh shit.<\/dialogue>\n    <character>PETE<\/character>\n    <parenthetical>(resigned)<\/parenthetical>\n    <dialogue>We knew this was gonna happen.<\/dialogue>\n    <character>MITCHELL<\/character>\n    <parenthetical>(hugging Kayla)<\/parenthetical>\n    <dialogue>It was worth it.<\/dialogue>\n    <character>HUNTER<\/character>\n    <parenthetical>(nods)<\/parenthetical>\n    <dialogue>Time to pay the piper.<\/dialogue>\n    <scene_description>The cops hop out with their guns drawn!<\/scene_description>\n    <character>DONOHUE<\/character>\n    <dialogue>On the ground, assholes!!<\/dialogue>\n    <scene_description>The guys put their hands up. Hernandez handcuffs the dads and Eli. Suddenly, Dex comes stumbling out by the lobby. Donohue spots him.<\/scene_description>\n    <character>DONOHUE<\/character>\n    <dialogue>Poindexter? What are you doing here?<\/dialogue>\n    <scene_description>ON KAYLA AND SAM<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Poindexter?!<\/dialogue>\n    <scene_description>Kayla laughs. ON DONOHUE<\/scene_description>\n    <character>DONOHUE<\/character>\n    <dialogue>What the hell's going on?<\/dialogue>\n    <parenthetical>(re: his bloody face)<\/parenthetical>\n    <dialogue>What happened to you, son?<\/dialogue>\n    <scene_description>Dex doesn't know what to say. He looks at the kids, then turns to Donohue.<\/scene_description>\n    <character>DEX<\/character>\n    <dialogue>It's not my fault! She signed a pact!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTYARD BY MARRIOTT - MOMENTS LATER<\/stage_direction>\n    <scene_description>Donohue talks with Mitchell, Pete and Hunter as Hernandez uncuffs them.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>We'll pay for all of the damages. Thanks for not taking us in.<\/dialogue>\n    <character>DONOHUE<\/character>\n    <dialogue>Thank you for not pressing charges. I promise he will not get a free pass on this.<\/dialogue>\n    <scene_description>ON KAYLA AND SAM...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>.. who look at Eli, still handcuffed.<\/stage_direction>\n    <character>KAYLA<\/character>\n    <dialogue>I think I get why you're into Eli. He's kind of a bad boy, huh?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I think he might be.<\/dialogue>\n    <scene_description>ON DONOHUE...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>.. who grabs Dex by the ear and drags him to the police car. Dex now looks like the large boy he still is.<\/stage_direction>\n    <character>DONOHUE<\/character>\n    <dialogue>Get in the car right now... And no turntables for a month!<\/dialogue>\n    <character>DEX<\/character>\n    <dialogue>But dad!!<\/dialogue>\n    <scene_description>Donohue slams the car door. He and Hernandez get in. Grizzly licks and slobbers on Dex's face. He looks miserable as they drive off. ON PETE...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>.. who turns to Hunter, Mitchell and Eli.<\/stage_direction>\n    <character>PETE<\/character>\n    <dialogue>What a night, huh?<\/dialogue>\n    <character>MITCHELL<\/character>\n    <dialogue>Awful.<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Crazy.<\/dialogue>\n    <character>ELI<\/character>\n    <dialogue>Best night of my life.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>It was something, alright.<\/dialogue>\n    <scene_description>Hunter begins to laugh hard. They look at him.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>HUNTER<\/character>\n    <dialogue>Mitchell has two more daughters!<\/dialogue>\n    <scene_description>Everyone laughs but Mitchell. Maya pulls up in her car.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>I'll see you guys later.<\/dialogue>\n    <scene_description>Hunter, Mitchell and Eli nod to him as Pete climbs into the car. Hunter hops in the minivan driver's seat.<\/scene_description>\n    <character>HUNTER<\/character>\n    <dialogue>Now how about that McFlurry!<\/dialogue>\n    <scene_description>The minivan drives across the hotel parking lot. Its front bumper drags, then falls off as the minivan peels out onto the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETE'S HOUSE - LATE NIGHT<\/stage_direction>\n    <scene_description>The front door opens and Julie walks in quietly. A LOUD NOISE comes from the kitchen.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Dad?<\/dialogue>\n    <scene_description>She walks...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - CONTINUOUS<\/stage_direction>\n    <scene_description>... where she finds Pete standing on the opposite side of the island.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>Hey, sweetheart. How was your night?<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>It was... amazing.<\/dialogue>\n    <scene_description>Pete nods, knowing far more than he should about her night.<\/scene_description>\n    <character>PETE<\/character>\n    <parenthetical>(sincerely)<\/parenthetical>\n    <dialogue>I'm glad.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>Thanks for letting me go.<\/dialogue>\n    <character>PETE<\/character>\n    <parenthetical>(recognizing the double meaning)<\/parenthetical>\n    <dialogue>It wasn't easy...<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>I know. I'm glad you're my dad.<\/dialogue>\n    <scene_description>Pete smiles.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>I'm tired. I'm gonna head up to bed.<\/dialogue>\n    <scene_description>Pete nods. Julie stops and turns back to Pete.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>How about the first week in August?<\/dialogue>\n    <scene_description>Pete looks confused.<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>For our camping trip?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>What about Austin and your friends?<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>I wanna spend some time with you.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Sounds perfect.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>I love you, dad.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>I love you, too, sweetheart.<\/dialogue>\n    <scene_description>Julie leans across the island, gives him a kiss and walks out of the kitchen. It's a nice moment as he stands there, thinking. A REVERSE SHOT REVEALS Pete's BARE ASS. Maya is crouched down naked next to him. They start laughing.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>That was close.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>I'll get going.<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>No. Stay. I want to introduce you two tomorrow.<\/dialogue>\n    <scene_description>Maya smiles as we... FADE OUT<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Single mother Lisa takes her young daughter, Julie, to her first day of kindergarten. She watches as Julie is befriended by two other girls, Kayla and Sam. Kayla's father Mitchell and Sam's father Hunter introduce themselves and the three become close friends after seeing the bond between their children. Twelve years later, Julie shares with Kayla and Sam that she plans to lose her virginity to her boyfriend Austin on their upcoming prom night. Kayla pledges to do so as well, though on a casual basis with her lab partner, Connor. Sam, a closeted lesbian who is unsure about her feelings, also joins the pact and arranges to attend the prom with the harmless Chad. Lisa throws a pre-party for the parents and kids. The girls and their dates then head to the prom, texting each other about their sex pact. The three parents hear Julie's laptop and intercept the messages. Hunter deciphers their emoji codes and uncovers their plan. Lisa and Mitchell rush to stop their daughters; Hunter tries to dissuade them from interfering and shares his intuition that Sam is gay, but upon seeing her force herself to kiss Chad, he becomes determined to stop her from doing something she doesn't want to do. Having been told that the after-party would be at Austin's house, the parents go there but find only Austin's parents Ron and Cathy engaging in sex games. Ron reveals that the after-party is at a lake house but refuses to give the address. The trio realizes that Mitchell's wife Marcie may have it and retrieve the address against her wishes, as she supports Kayla's right to make her own decisions. However, the parents are unable to catch their daughters when the partygoers disperse to avoid the police. As the group struggles to find their daughters, it becomes clear that each parent has their own motivation: Mitchell is in denial over his daughter growing up, Hunter feels guilty for neglecting Sam during his bitter divorce from her cheating mother, and Lisa is struggling to let go of her only child who secretly plans to leave for a distant university against her wishes; Lisa is confronted with this when Julie angrily states that she's going to UCLA to get away from Lisa's clinginess. Knowing that Austin and Ron have been texting, the parents return to Ron's house to steal his phone. Encountering the couple playing a blindfolded sex game, Hunter and Mitchell are forced to play along as Lisa steals the phone, which reveals that the girls are at a hotel. There, a drunk Sam goes to bed with Chad but decides she does not want to have sex. Kayla and Connor go to bed, but she also changes her mind and they limit their intimacy to Connor performing oral sex on Kayla. Mitch finds Kayla with Connor and throws him against the wall, infuriating Kayla. Mitch confesses his struggles with her becoming a woman, his good intentions ultimately making amends with Kayla. Hunter finds Sam and they also share a tender moment, where he reveals that a good night was the best he could give her in return for his neglect. Sam comes out to her father, who is deeply moved at being the first person she told. Lisa sneaks into Julie and Austin's room and, realizing how much they clearly love each other, leaves unnoticed. On her father's advice, Sam comes out to Julie and Kayla, who embrace her and affirm their lifelong friendships. They leave Sam with her crush Angelica who shares a romantic kiss with her. Mitch, Lisa and Hunter acknowledge their own friendships have been strengthened and drink to their daughters' futures. Three months later, the parents celebrate the departure of Sam, Kayla, Julie and Austin as they depart on a road trip to drop off Austin and Julie at UCLA. As they leave, Lisa starts receiving the girls' group text, filled with plans to use drugs and have unprotected sex. The parents panic until the girls text that it was a prank, and send a final \"I love you\" to them."}
{"movie_name":"Death Wish_2018","imdb_id":"tt1137450","script":"<script>\n  <scene>\n    <character>'DEATH WISH'<\/character>\n    <dialogue>Inspired by the novel 'Death Wish' by Brian Garfield<\/dialogue>\n    <scene_description>Screenplay by Joe Carnahan<\/scene_description>\n    <character>9-9-12<\/character>\n    <dialogue>Paramount\/MGM OVER BLACK<\/dialogue>\n    <dialogue>A VOICE. Powerful and profound in issuing the following--<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>--And this is what guns do guys--<\/dialogue>\n    <scene_description>The erratic, cacophonous din of a TRAUMA E.R. overtakes--<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>--CLEAR OFF!<\/dialogue>\n    <scene_description>Defib-paddles FIRE. The low thump of voltage follows. A HEART MONITOR falters, then fails to the drone of a flatline. SMASH CUT ON UP ON: A GUNSHOT VICTIM (GSV) prone on a gurney, his last breath evaporating inside a respirator mask.<\/scene_description>\n    <character>E.R. NURSE<\/character>\n    <dialogue>He's coding. Full arrest.<\/dialogue>\n    <scene_description>The VOICE belongs to this man--<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>--forget it. I'm gonna split him. Fifteen.<\/dialogue>\n    <scene_description>PAUL KERSEY, 40, possesses the relentless sense of purpose and hawk-eyed precision common to his calling: Trauma Surgeons wield out-sized egos and skill-sets which tend to separate them from their Hippocratic contemporaries. The E.R. NURSE hands him a scalpel with a 15 series blade. He pauses before passing it quickly over the sternum. The skin splits like stretched silk. A bone saw follows the scalpel's path, cleaving through the dense mass of breast plate.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <parenthetical>(urgently precise)<\/parenthetical>\n    <dialogue>Spreaders. Move. Let's go guys. Losing time.<\/dialogue>\n    <scene_description>A set of RETRACTORS slot inside the rib cage and actuate, separating the two halves of the chest cavity with a sickening thunk... ...the victim's heart appears. Quivering in full arrest. Only crucial seconds remain before it shuts down completely. Paul remains composed and in full command.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Rapid Onset of cardiac tamponade, let's peel him, pericardiocentesis.<\/dialogue>\n    <scene_description>He's handed a surgical needle and isolating the sub-xyphoid region sets about gently puncturing the pericardium...the protective sac surrounding the heart. Blood floods up through the chamber fast, spilling over--<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>--he's hemorrhaging. I'm pulling it, I'm pulling it...<\/dialogue>\n    <scene_description>The pericardium is torn free like tripe as Paul strips off his surgical gloves, reaches in with his bare hands and gently removes the man's heart. He begins massaging it manually. Short, compact, sure-handed compressions. He concentrates. The glistening surface of the heart distends lightly with each squeeze but the organ refuses to restart.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <parenthetical>(imperceptible then grows)<\/parenthetical>\n    <dialogue>...if you start me up...if you start me up, I'll never stop...<\/dialogue>\n    <scene_description>Paul keeps massaging. His thumbs patiently working either side of the heart's ventricles. The song increases in volume.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>...If you start me up, I'll never stop, never stop, never, never never stop--<\/dialogue>\n    <scene_description>--suddenly, the heart seems to leap to life inside his hands. Beating hastily, irregularly before slowly settling into an abnormal but stable rhythm. Paul can't help himself, keeps singing along to the 'Stones.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>...you make a grown man cry...you make a grown man cry...<\/dialogue>\n    <scene_description>The Trauma Team actually applaud and laugh aloud as the respirator mask begins to mist with new breath. Paul Kersey issues the smallest of smiles...Some internal confirmation...gratitude for gifts given...a saver of lives. He meets the gaze of JANINE RAY, 30's, Chief anesthesiologist and proof that sometimes long hours, constant stress and sheer exhaustion simply cannot dent or diminish great beauty. She smiles. Paul winks at her as the patient's vitals return. He then carefully replaces the beating heart inside the chest cavity. MUSIC slowly rises up over the SCENE. Smentana's 'Ma Vlast' Overture. The Trauma Team works quickly to stabilize the patient and get him sewn up. Paul sits down on a corner stool gazing down absently at his blood-soaked hands. The MUSIC SWELLS... A droplet of blood beads off his index finger and hangs there, suspended...we wait an eternity for it to drop but it never does as WE CUT TO: A WOMAN'S HAND Lovely and fine and slender. Age is just beginning to show in the small, tributary-like veins tracing her palm. Kersey clasps his hand overtop. It's rough and calloused against the soft refinement of her fingers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DISNEY CONCERT HALL - NIGHT<\/stage_direction>\n    <scene_description>The Orchestra in full measure. A beautiful crescendo rises and swells before gently ebbing away to a lone cello. Paul grips the hand tighter. Its owner squeezes back and turns toward him, giving us a look at her face for the first time...Dark shoulder-length hair framing delicate features and perfect, pale blue eyes. AUDREY KERSEY is nearly 40 but looks ten years younger and her husband gazes at her like it's something he will never tire of doing. A tear slips free, the cello solo getting the better of her. She smiles as if caught. Paul grins, thumbing the tear away. She indicates the goose bumps on her arm. He runs his hand over them, bringing her hand up and kissing it, kneading her fingers before kissing them again. The MUSIC CONTINUES as we CUT TO: Paul and his wife make love in their bed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KERSEY HOME - NIGHT<\/stage_direction>\n    <scene_description>Slow and sensual. They whisper to one another throughout. Audrey rolls over on her stomach. Sweat beads off her shoulder blades as Kersey kisses her neck, roaming down her back and over her ass. Her eyes flutter as she grips the sheets tight, building toward a slow, shuddering climax-- --when the sudden chime of their doorbell destroys the moment entirely. Audrey, breathless, then incredulous--<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>--Oh no! What!? What time is it?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Who is that??<\/dialogue>\n    <scene_description>Paul rolls out of bed, trying to catch his breath as he grabs a towel off the floor and cinches it around his waist.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Paul?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <parenthetical>(moving to the window)<\/parenthetical>\n    <dialogue>Baby, how would I know who's ringing the doorbell?<\/dialogue>\n    <scene_description>He peers out. A HANCOCK SECURITY VEHICLE is parked at the curb.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Security.<\/dialogue>\n    <scene_description>Audrey sits up in bed. Squints at the clock.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>It's almost 2am.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Something must be up.<\/dialogue>\n    <scene_description>He starts out of the bedroom.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Tell 'em they screwed up my orgasm, will you?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <parenthetical>(as he exits)<\/parenthetical>\n    <dialogue>I don't think they patrol that part of the complex babe.<\/dialogue>\n    <scene_description>She laughs and hurls a pillow out after him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. KERSEY HOME - MOMENTS LATER<\/stage_direction>\n    <scene_description>Paul opens the door on a bleary-eyed NIGHT PATROLMAN: Hispanic. Large and imposing with a thick, keg-like gut. Tattoo removals have scarred the skin on both sets of knuckles. Paul guesses gang ink. The man smiles, semi-pleasant.<\/scene_description>\n    <character>NIGHT PATROLMAN<\/character>\n    <dialogue>Mr. Kersey--<\/dialogue>\n    <parenthetical>(extending his hand)<\/parenthetical>\n    <dialogue>Henry--<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <parenthetical>(returning the handshake)<\/parenthetical>\n    <dialogue>--yeah, Hi, Henry, I know. We've met. What's up?<\/dialogue>\n    <scene_description>Henry's massive paw swallows Paul's as he shakes exuberantly, prolonging the greeting as a form of apology.<\/scene_description>\n    <character>HENRY<\/character>\n    <dialogue>Sorry about the hour but we had a complaint. Some strange characters loitering in the neighborhood.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>'Strange characters?'<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>Might be nothing but we're checking in with all of our residents, making sure everything's ok.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Things were better than ok until you rang the doorbell Henry.<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>Sorry sir?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Nothing. I'm kidding.<\/dialogue>\n    <parenthetical>(an exhale to convey the end of the conversation)<\/parenthetical>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I haven't seen or heard anything weird tonight, so--<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>--and can I ask, do you own a weapon sir?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Do I--?<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>--A pistol? Any sort of firearm?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Ohh, no, no, not in this house. We don't do that. We don't do guns.<\/dialogue>\n    <parenthetical>(beat, a bit alarmed)<\/parenthetical>\n    <dialogue>Why? Is there that kind of cause for concern?<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>No, not at all but we had a house burglarized over on Windsor Blvd. about a month back and a couple of handguns were stolen. One of these guns was then involved in an armed robbery, so if you do happen to own one, just make sure it's registered and on file--<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>--I don't and I most likely won't.<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>Ok sir.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>And as I said, it's been pretty quiet tonight.<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>Well, if that changes.<\/dialogue>\n    <scene_description>As Paul closes the door...<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>...You'll be the first to know. G'nite Henry.<\/dialogue>\n    <scene_description>The door closes. Henry lingers an extra beat longer before returning to his car. SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EMERGENCY ROOM - DAY<\/stage_direction>\n    <scene_description>A 17 year old African-American KID in complete hysterics, thrashing inside a head restraint, his face soaked with tears and stained with blood as he BLEATS-- --NO! NO! PLEASE-PLEASE-PLEASE-- M'GOIN' T'DIE!? M'GOIN T'DIE? M'GOIN T'DIE!? His clothing is cut away, stab wounds and lacerations cover his abdomen, A SCREWDRIVER, snapped off at the grip, protrudes from his partially punctured spleen. The trauma unit works with frenetic speed and pinpoint skill. --I DIDN'T DO SHIT-- WHY? I-- I-- WHY THEY DO THAT? I DIDN'T DO NUTHIN'-- Paul Kersey bends down over him, steady, reassuring.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Jamal, I need you calm down now. Ok son? I need you nice and calm.<\/dialogue>\n    <scene_description>But Jamal is inconsolable, babbling breathless and pulling at his surgical restraints. His heart rate and respiration race. THEY JUST STARTED STABBING ME N'SHIT! I DIDN'T DO NUTHIN'--!! IS IT BAD? IS IT BAD? M'GOING T'DIE!? Intravenous drugs are prepped and administered. Transfusion bags are strung on portable stands and tied into the drips.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Nobody dies in here dude. I don't let that happen but I need your vitals, which is your heart rate and your breathing, to slow down so we can do our thing and get you situated.<\/dialogue>\n    <character>JAMAL<\/character>\n    <dialogue>Why I feel like I'm sliding!! Like I'm sliding off the-- why's it feel like I'm falling!<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>That's shock Jamal. You're going into shock. That's why I need you to chill and calm down for me so that doesn't get out of hand. Ok?<\/dialogue>\n    <scene_description>Sweat cascades down the kid's face as he clutches the table, distracted by the swarm of activity swirling above, his eyes darting everywhere. Paul tries to hold his focus.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>How old are you Jamal? Jamal how o--<\/dialogue>\n    <character>JAMAL<\/character>\n    <dialogue>--Seventeen.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Seventeen? You're a good-looking kid, big kid-- y'got a girlfriend?<\/dialogue>\n    <scene_description>Jamal shakes his head 'no...'<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Ahh, so you got a couple of 'em!<\/dialogue>\n    <scene_description>Janine, who is nearby, prepping the anesthesia, grins.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>My daughter Amanda is sixteen.<\/dialogue>\n    <parenthetical>(matter-of-factly)<\/parenthetical>\n    <dialogue>Where do you go to school?<\/dialogue>\n    <scene_description>Jamal seems overwhelmed, terrified. Paul places himself directly in the kid's eye-line.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Where do you go to school?<\/dialogue>\n    <scene_description>A beat. Jamal winces as they insert a shunt into his side.<\/scene_description>\n    <character>JAMAL (AFRICAN-AMERICAN KID)<\/character>\n    <dialogue>Hillcrest in Inglewood.<\/dialogue>\n    <scene_description>Paul doesn't miss a beat.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>So does my daughter!<\/dialogue>\n    <scene_description>Jamal's blinks. Blinks again. Head cocked, 'What!?<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Nah, I'm playing with you, she goes to Archer on the West Side. She's a pain-in-the-ass rich kid.<\/dialogue>\n    <scene_description>Janine carefully affixes a respirator mask over Jamal's face.<\/scene_description>\n    <character>JANINE RAY<\/character>\n    <dialogue>I just want you to breathe now Jamal. Ok? Slow and steady hon.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>You're gonna take a little nap and when you wake up, there's gonna be all these flowers and good food and your whole family is gonna be here.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Cool?<\/dialogue>\n    <scene_description>A sluggish nod as Jamal succumbs and slips away under the anesthesia. Kersey dons his scrubs and pulls on his surgical mask, staring down at the partial screwdriver impaled in Jamal's side. He sighs, shakes his head.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Let's get this poor kid patched up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BREAKROOM - LATER<\/stage_direction>\n    <scene_description>Paul reads the LA Times, absently sipping on a cold cup of coffee, post-surgery. Janine enters, stretching, yawning, scanning the vending machine selections.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>The coffee's coming out ice cold.<\/dialogue>\n    <character>JANINE RAY<\/character>\n    <dialogue>They have no intention of ever fixing this machine, do they?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I think it's an elaborate plot to piss us off.<\/dialogue>\n    <character>JANINE RAY<\/character>\n    <dialogue>Well then, it's proceeding according to plan.<\/dialogue>\n    <parenthetical>(turning back to Kersey)<\/parenthetical>\n    <dialogue>Y'know, you were very sweet with that kid in there.<\/dialogue>\n    <parenthetical>(with great warmth)<\/parenthetical>\n    <dialogue>That's a gift.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>What is?<\/dialogue>\n    <character>JANINE RAY<\/character>\n    <dialogue>Compassion. Being sincere. I worked two other trauma wards before Keck and the attending physicians were like blocks of ice by comparison.<\/dialogue>\n    <scene_description>Janine turns back to the vending machine, feeds it quarters.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Well, kid's had a screwdriver plunged into him and he's losing blood by the pint, some basic 'kindness' should be built-in at that point, no?<\/dialogue>\n    <character>JANINE RAY<\/character>\n    <dialogue>No.<\/dialogue>\n    <parenthetical>(beat, punches buttons)<\/parenthetical>\n    <dialogue>Not from what I've experienced.<\/dialogue>\n    <scene_description>The machine deposits a bag of trail mix. She retrieves it.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Then you my dear have spent far too much of your professional life working with assholes.<\/dialogue>\n    <character>JANINE RAY<\/character>\n    <dialogue>Amen...<\/dialogue>\n    <parenthetical>(opening bag of trail mix)<\/parenthetical>\n    <dialogue>Nice to see that they aren't all that way.<\/dialogue>\n    <scene_description>She starts out of the breakroom.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Oh no, I'm an asshole, I'm just less obvious about it. Keep an eye on me, you'll see shimmers of it.<\/dialogue>\n    <scene_description>Janine, this little head turn, hair toss...nothing overt but flirtatious just the same.<\/scene_description>\n    <character>JANINE RAY<\/character>\n    <dialogue>I'm always keeping an eye on you.<\/dialogue>\n    <scene_description>Paul raises his coffee cup in a mock toast as she exits.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIMI VALLEY HOME - DAY<\/stage_direction>\n    <scene_description>Backyard BBQ. Buffet. Bucket of beer. Balloons. A banner: 'HAPPY 21st B-DAY MOMMY...FOR THE FOURTEENTH TIME!' A surprise party for TARA KERSEY, Paul's sister-in-law and wife of his brother, FRANK KERSEY is in full swing. Tara, a lean, striking redhead with a runner's physique, stalks her twin boys, EVAN and SEAN, 5, with an open bottle of sunscreen as they dart through a sprinkler squealing and diving headfirst down a Slip 'N Slide. As many exhaustive laps as they've done, they're still able to elude capture by their mother and she finally resigns her pursuit.<\/scene_description>\n    <character>TARA<\/character>\n    <dialogue>Ok, you little freaks want to fry, don't blame me if you get wrinkles early in life.<\/dialogue>\n    <scene_description>The twins bleat and bay at mom. A garble of barely formed thoughts at decibel-defying levels. She waves them off.<\/scene_description>\n    <character>TARA<\/character>\n    <dialogue>No, no, go on now, I'm done chasing you two. Go find your father and torment him, Mommy wants to enjoy her wine with aunt Audrey. It's Mommy's magic juice that makes 24-7 with you two, tolerable--<\/dialogue>\n    <scene_description>--Evan crashes into her anyway, wet and covered in cut grass.<\/scene_description>\n    <character>TARA<\/character>\n    <dialogue>Evan! C'mon 'goose' Mommy needs a break on her birthday! It's adult time now baby.<\/dialogue>\n    <scene_description>At a nearby picnic table, AMANDA, Paul and Audrey's 16 year old daughter gossips with her cousin Marie. Also 16.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Sweetie, Mandy.<\/dialogue>\n    <parenthetical>(firm now as she's clearly being ignored by her kid)<\/parenthetical>\n    <dialogue>Amanda.<\/dialogue>\n    <scene_description>Amanda deadpans her mother with that classic, half-lidded look of adolescent annoyance.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Would you get a couple of towels for the twins?<\/dialogue>\n    <character>AMANDA<\/character>\n    <parenthetical>(with mock disdain)<\/parenthetical>\n    <dialogue>Mom, why would I know where the towels are?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>Well is that not your cousin sitting next to you sweetheart?<\/dialogue>\n    <parenthetical>(A beat before maternal sarcasm at its finest)<\/parenthetical>\n    <dialogue>Might she know? Dare we ask?<\/dialogue>\n    <scene_description>Amanda launches off the bench in a huff and hangdogs it inside the house. Marie clambers to her feet and follows.<\/scene_description>\n    <character>AUDREY<\/character>\n    <parenthetical>(to Tara)<\/parenthetical>\n    <dialogue>Oh, it's all such a chore, poor things.<\/dialogue>\n    <scene_description>The women titter as they polish off their Pinot Grigio.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARAGE - CONTINUOUS<\/stage_direction>\n    <scene_description>FRANK KERSEY, Paul's older brother, leans against the grill of a newly restored '83 HURST OLDS, securing the wingnut over the carburetor cover. Frank is everything Paul is not. From bearing to behavior: A reform school kid who became the scrubbed clean state college standout as his brother conquered Stanford Medical school. Beyond a vague physical resemblance no one would ever confuse these two for relatives much less siblings. Still, they are as close and connected as two brothers could possibly be. WE ENTER THE SCENE mid-conversation--<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>--then the patrolman, Diaz, he gets a little bit closer and the guy says. 'Hey man, I don't give a shit, I've got full blown HIV, I don't care about dying, I swear, you guys keep coming toward me, I'm gonna jump...'<\/dialogue>\n    <scene_description>Paul snickers, nursing a Bud Light.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>But wait, what are you even doing up there?<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Sergeants's bars boyo. Promotion. I ride around doing field checks, supervising crime scenes. Anyway, the other kid, Diaz's partner, I can't remember his name, he can't handle heights, has uh, um-- what is it, agoraphobia--?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>--Acrophobia. How does he graduate the academy and not disclose that.<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>No idea. So. This asshole is gonna jump and I decide to state the obvious, which is 'Pal, it's not even 20 feet to the ground. If you jump, you ain't gonna die.'<\/dialogue>\n    <scene_description>Paul blurts out a laugh and beer erupts from his nose. Frank is laughing now as well. Paul waves his hands frantically--<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>--wait, wait, the kid, the other cop, he couldn't go up on a 20 foot roof!?<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>You ruining the punchline man. So this putz, the HIV guy, he's like 'Try me, take a step closer, see what happens' and he's all tough about the whole thing and I can't resist, so I take another step and this fucking idiot jumps...<\/dialogue>\n    <scene_description>A gale of laughter cripples Paul as he fumbles his beer, catching it before it spills.<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>...lands, shatters both legs. He's rolling around on the ground crying and screaming and I haven't laughed that hard in, I can't even tell you how long.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Jesus Christ, that's classic!<\/dialogue>\n    <scene_description>Frank slams the car's hood closed with a big smile.<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Alright Andretti, you ready?<\/dialogue>\n    <parenthetical>(a hopeful beat)<\/parenthetical>\n    <dialogue>Let's turn it over.<\/dialogue>\n    <scene_description>Paul opens the driver's side door and slides in behind the wheel. He looks up at Frank. A perfectly timed beat and a grin just before he cranks the ignition over and that gorgeous Olds V-8 rumbles to life. This chugging, throaty growl that's given gearheads everywhere proof that God resides in the Motor City. Paul's face furrows with sheer satisfaction as he mashes the pedal to the floor, listening to the engine ROAR.<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <parenthetical>(over the engine noise)<\/parenthetical>\n    <dialogue>You sure you want your daughter and my niece rolling around in this? Why don't you get her a Jetta or a little VW cabriolet. A chick car.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <parenthetical>(letting off the gas)<\/parenthetical>\n    <dialogue>'Cuz she loves old cars, like her old man.<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Does Audrey approve?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>What do you think? She hated my '67 Shelby Fastback, which is, c'mon--<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>--oh man, that car. That was a sweet ass ride.<\/dialogue>\n    <scene_description>Paul cuts the engine, retrieving his beer from the console.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Y'think I should give it to her tonight?<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Don't spoil the surprise! When's her birthday? Day after tomorrow?<\/dialogue>\n    <scene_description>Paul nods. Drains his Bud.<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Yeah, wait till then. Does she have any idea?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>She thinks she's getting a I-pad.<\/dialogue>\n    <scene_description>Paul clambers out of the car and wanders over to the fridge, digging out two bottles of beer and tossing one to Frank.<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>You're a good dad. This is about a million times more than the old man would've done for either one of us.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>But here we are, drinking like fish on a Saturday afternoon, throwing 'em back like he used to--<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>--difference being, our cut-off is three or four, not thirty or forty and chased with a bottle of Jamey.<\/dialogue>\n    <parenthetical>(old bile bubbling up)<\/parenthetical>\n    <dialogue>I wish I would've blasted him. Just once. Might be shitty to say this now but there was a night I was with him, he was in hospice, tubes up his nose, those chemo-scabs and he said something really nasty to me about mom and I was, literally--<\/dialogue>\n    <parenthetical>(indicates with fingers)<\/parenthetical>\n    <dialogue>--this close to just plowing him. Punching him right in the mouth.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>That would've accomplished what?<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Well it would've knocked him out, one, which would have felt good, two.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>We had vastly different relationships with him.<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Yeah, you chose to indulge and disguise his bullshit and abuse and I didn't.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>He was a drunk. He had a disease.<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>He was a horribly violent asshole who never got the Hammer-Of-God beating that he had coming to him.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>You still want to fist-fight our dead father?<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <parenthetical>(mock hopeful)<\/parenthetical>\n    <dialogue>Could you arrange that?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Why lug that shit around Frank? What good does it do you?<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Keeps me sharp. Gives me the third eye.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Good. Then be grateful.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Maybe it's why you became a cop. Hm? Get to beat up the bad guys? Do right by those wronged?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Avenge a childhood spent getting the shit slapped out of you by a grown man, twice your size...<\/dialogue>\n    <scene_description>Paul's voice clenches suddenly, like he's let too much off the spool and wants to reel it back in. Then:<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Is that the last time you were hit?<\/dialogue>\n    <scene_description>Paul stops mid-sip. He wipes his mouth on his wrist. A beat.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>With dad.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Was that the last time anyone struck you?<\/dialogue>\n    <scene_description>Paul seems embarrassed but tries to bluff past with...<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>...what do you mean, 'struck'?<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>What does it sound like I mean?<\/dialogue>\n    <scene_description>Frank leans back against the Olds. Beer pressed to his chest. He doesn't seem to be prodding or probing but when Paul's silence stretches to the point of being staid--<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>--have you been in any kind of physical altercation, since we were kids?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Name one.<\/dialogue>\n    <scene_description>Paul shrugs. Stalls. His gaze plays over the garage floor. Finally, with this odd, harried tone, he says--<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>--I don't know, little bullshit stuff here and there! High school.<\/dialogue>\n    <parenthetical>(trying to redirect)<\/parenthetical>\n    <dialogue>I wasn't the street fighter Frank, that was you.<\/dialogue>\n    <parenthetical>(off Frank's non-reply)<\/parenthetical>\n    <dialogue>You remember all of your fights?<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>No but that's because they number in the hundreds. The math shouldn't be that complicated for you.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Was our childhood, the last time you were in a physical altercati--<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>--this is dumb<\/dialogue>\n    <character>KERSEY<\/character>\n    <dialogue>man...<\/dialogue>\n    <parenthetical>(polishing off his beer)<\/parenthetical>\n    <dialogue>...and I don't get the point.<\/dialogue>\n    <scene_description>Paul tosses the empty bottle into a recycling bin.<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>The point is, we responded to our upbringing, the trauma of what that was, in very different ways. Our professions are reflections of that, no?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Frank, listen I love you to death but nothing is worse, or more brutally boring, than beer drinkers pontificating and laying bare their souls, so can we please stop.<\/dialogue>\n    <scene_description>Paul raises his bottle up to toast. Part capitulation, part coping mechanism. The subject of their childhood is rocky ground to travel over. Frank clinks the bottles together if only for his younger brother's benefit.<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Here's to our dead father, long may he rot-- c'mon! I'm kidding!<\/dialogue>\n    <scene_description>Paul cracks up laughing as Frank wraps an arm around him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIMI VALLEY HOME - LATER<\/stage_direction>\n    <scene_description>Paul sits down behind Audrey, looping his arms around her and nuzzling her neck, inhaling, sighing, relieved somehow.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>Is the monstrosity road ready?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Babe, it's an '83 Hurst Olds anniversary edition.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>That doesn't have air-bags. Anti- lock brakes--<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>--You mean like the cars we grew up driving?<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>If we can do better for our kids.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>She's gonna be fine. It's L.A. Are we really worried about a fender bender in the land of the Prius.<\/dialogue>\n    <parenthetical>(like this will comfort)<\/parenthetical>\n    <dialogue>Guess who wins that one?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And she loves that car, trust me.<\/dialogue>\n    <character>AUDREY<\/character>\n    <dialogue>God knows why.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>She has her mother's good looks, intelligence, wit, common sense and kindness--<\/dialogue>\n    <scene_description>Audrey smirks back at him.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>--Then what's left?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Her father's awesomeness.<\/dialogue>\n    <scene_description>Audrey titters as Paul buries his face in her neck and burrows, bringing her to hysterics.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOCCER FIELD - DAY<\/stage_direction>\n    <scene_description>Amanda Kersey steals the opposing team's inbound pass and rockets up the wing like a gazelle. Paul leaps to his feet.<\/scene_description>\n    <character>KERSEY<\/character>\n    <dialogue>There she goes! There she goes!<\/dialogue>\n    <parenthetical>(yelling)<\/parenthetical>\n    <scene_description>GO MANDY! GO! CROSS BABY! CROSS IT! Amanda launches a cross from the corner but the opposing keeper is able to knock the ball down and send it up the the other way. Paul sags back down to his seat.<\/scene_description>\n    <character>AUDREY<\/character>\n    <dialogue>She's gassed. They don't have enough subs.<\/dialogue>\n    <character>KERSEY<\/character>\n    <parenthetical>(paternally indignant)<\/parenthetical>\n    <dialogue>What's with this other team!? It's like they cloned the same blonde, kid and bred an entire battalion of 'em! And are they all named Brianna or Brittany or Brie!? Jesus.<\/dialogue>\n    <scene_description>A gym-muscled dope with the douchebag's de riguer wraparound shades, berates one of the opposing team's pubescent blonde zombies. This is MMA DAD.<\/scene_description>\n    <character>MMA DAD<\/character>\n    <dialogue>--Bury their little asses Brianne! Don't you let up! All 60 minutes! You go hard for 60! YOU GO HARD!<\/dialogue>\n    <scene_description>Paul eyeballs this clown: Gold's Gym tank. Jet-Ski tan. The previous night's Vodka binge leeching up through his pores. The polite gathering of PARENTS titter nervously, trying to the ignore his increasingly profane outbursts. He persists.<\/scene_description>\n    <character>MMA DAD<\/character>\n    <dialogue>Get back on the ball. Shit! MOVE!<\/dialogue>\n    <scene_description>He smashes the chain-link fence with his fists. BRIANNE! MOVE YOUR ASS! Audrey looks imploringly at Paul. He nods quiet. Then--<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>--Hey pal.<\/dialogue>\n    <scene_description>MMA DAD turns, seething, sheathed in hangover sweat. These bloodshot, bovine-like eyes that are bereft of anything resembling intelligence, compassion or sensitivity...<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <parenthetical>(indicates small children)<\/parenthetical>\n    <dialogue>We've got kids here.<\/dialogue>\n    <scene_description>MMA DAD'S dulled gaze darts around. No one will look him directly in the eye.<\/scene_description>\n    <character>MMA DAD<\/character>\n    <dialogue>I'm not talking to you bro.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>No, I'm talking to you. Be respectful.<\/dialogue>\n    <scene_description>MMA DAD leers back at Paul, half-turned, a physical taunt in the form of flexed biceps, embossed with fratboy tribal ink. His true punk pedigree surfaces like a shark fin.<\/scene_description>\n    <character>MMA DAD<\/character>\n    <dialogue>I wouldn't say anything else to me.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I won't, I just asked you t--<\/dialogue>\n    <scene_description>--And with no further provocation, MMA DAD lunges toward the bleachers and vaults up the steps so aggressively quick and purposeful, that gasps escape more than one bystander in anticipation of something horrible about to happen. Paul gazes up into this violent, vein-bulged visage BOOMING down at him, a VOICE like a bull-horn-- --TOLD YOU NOT TO SAY ANYTHING ELSE TO ME MOTHERFUCKER! Paul's fear saturates, short-circuiting physical and mental fluency. His balls shrink and flee. His throat constricts despite a queasy surge tunnelling up it. His hands tremble. His mouth twitches. He feels like a fool for feeling faint... ...he wonders if his wife sees any of this. MMA DAD, like the most brutal of bullies, senses fear and feeds on the scent. He balls his fists. Loom\/Lords over. Paul's physical space is completely violated and occupied. He tries to placate. An appeal that sounds like pleading.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <parenthetical>(strained, weak)<\/parenthetical>\n    <dialogue>We have kids here. Please.<\/dialogue>\n    <scene_description>Audrey. Ten times more forceful than her husband.<\/scene_description>\n    <character>AUDREY KERSEY<\/character>\n    <dialogue>Back off!<\/dialogue>\n    <scene_description>MMA DAD has no qualms about eye-fucking her in front of her feckless husband and issuing a salacious little sneer and theatrical flex just for her. He glowers back over at Paul. Leans in. The waft of recently belched Vodka brings the following admonishment..<\/scene_description>\n    <character>MMA DAD<\/character>\n    <dialogue>...I kick your faggot ass in front of your wife, there's no living that down dude...<\/dialogue>\n    <scene_description>Paul. Incapacitated. Impotenct and powerless. The gut- wreching reality of being considered less than a man. He blinks up, then blurts out in this mewling voice--<\/scene_description>\n    <character>PAUL KERSEY KERSEY<\/character>\n    <dialogue>--I don't want to fight with you.<\/dialogue>\n    <scene_description>Kersey's warbling delivery draws MMA DAD's biggest grin: Small, Skoal-stained teeth yellowed like curdled custard.<\/scene_description>\n    <character>MMA DAD<\/character>\n    <parenthetical>(sneering)<\/parenthetical>\n    <dialogue>Shut the fuck up.<\/dialogue>\n    <scene_description>He stands and assumes this swaggered thrust that brings his pelvis far too close to Kersey's face, like a convict asserting dominance over a newly acquired cellmate. Audrey fumbles open her purse, foraging for her cellphone.<\/scene_description>\n    <character>AUDREY KERSEY<\/character>\n    <dialogue>You back off now or I'm going to call the police.<\/dialogue>\n    <scene_description>The gathered parents, bolstered by her show of bravery, begin chastising MMA DAD until he backpedals down the steps, scowl fixed on Kersey before abruptly stalking off and shooting Akimbo middle-fingers over his shoulder for all concerned. Kersey. Still reeling, gazes out at absently, gauges spiked, his blood just beginning to settle. He feels disconnected from everything all at once.<\/scene_description>\n    <character>PAUL KERSEY KERSEY<\/character>\n    <parenthetical>(mumbles uncertain)<\/parenthetical>\n    <dialogue>...hell was that...?<\/dialogue>\n    <scene_description>Audrey lays her hand on his. Feels the tremors rippling across but doesn't acknowledge them. Paul sees one of his daughter's teammates whispering to her, pointing at him from across the field. Amanda squints in his direction, puzzled, then looks back at her teammate as if she'd made some mistake. The teammate shakes her head emphatically. Amanda stares across the field at her father, crestfallen...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - LATER<\/stage_direction>\n    <scene_description>Stifled silence hangs like a summer storm cloud. An unspoken subtext of 'what if's' seems to be bouncing back and forth between husband and wife. Finally:<\/scene_description>\n    <character>AMANDA KERSEY<\/character>\n    <dialogue>What was that guy's problem?<\/dialogue>\n    <character>AUDREY KERSEY<\/character>\n    <dialogue>I'm sure he has several, ongoing, clinical.<\/dialogue>\n    <character>AMANDA KERSEY<\/character>\n    <dialogue>Did he just freak out on you Dad?<\/dialogue>\n    <scene_description>Kersey inhales tight.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Pretty much, yeah.<\/dialogue>\n    <character>AMANDA KERSEY<\/character>\n    <dialogue>About what?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Doesn't matter babe. Guy like that isn't worth the trouble.<\/dialogue>\n    <scene_description>Paul feels for his wife's wavering. For this sense that she's lost some vital, unrecoverable form of respect for him...but he feels nothing like that and sighs a silent relief.<\/scene_description>\n    <character>AMANDA KERSEY<\/character>\n    <dialogue>You should have just nut-shot him.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I should've what?<\/dialogue>\n    <character>AMANDA KERSEY<\/character>\n    <dialogue>Nut-shot. Punched him right in The Throne Room.<\/dialogue>\n    <scene_description>Audrey cackles. Can't help herself.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>'Home Room?'<\/dialogue>\n    <scene_description>Audrey and Amanda, in stereo exasperation--<\/scene_description>\n    <character>AUDREY AND AMANDA<\/character>\n    <dialogue>--Throne Room!<\/dialogue>\n    <character>AMANDA KERSEY<\/character>\n    <dialogue>God Dad!<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Well who the hell calls it 'throne room?' How would I know that?<\/dialogue>\n    <character>AUDREY KERSEY<\/character>\n    <dialogue>Sooooo unhip!<\/dialogue>\n    <scene_description>Paul seizes his wife's leg, tickling her in retaliation for the snide comment.<\/scene_description>\n    <character>AMANDA KERSEY<\/character>\n    <dialogue>Hey, can we have my birthday dinner somewhere cool, like 'Cut.'<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>'Cut'? The steak house?<\/dialogue>\n    <character>AMANDA KERSEY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>If it's just us three, sure--<\/dialogue>\n    <character>AMANDA KERSEY<\/character>\n    <dialogue>--no--<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>--then nooo, little girl. I'm not springing for sixty dollar steaks for you and Team 'Teen Angst.'<\/dialogue>\n    <character>AMANDA KERSEY<\/character>\n    <dialogue>It'll just be me, Valentina, Shavonne, Bailey, --<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <parenthetical>(like a game-show buzzer)<\/parenthetical>\n    <dialogue>--AAAAAAAANNNNNNNKKKKK-- wrong! Not at 'Cut.' Now, 'Chucky Cheese' in the valley? Done. You can invite your whole class.<\/dialogue>\n    <character>AMANDA KERSEY<\/character>\n    <dialogue>DAD! Chucky Cheese is gross!<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Those animatronic animals are darling! Sure they smell like pizza grease and B.O. but besides that!<\/dialogue>\n    <character>AMANDA KERSEY<\/character>\n    <dialogue>I'm turning sixteen! It's a milestone!<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>So are thousand dollar dinner tabs.<\/dialogue>\n    <character>AMANDA KERSEY<\/character>\n    <dialogue>Baby, if you wanna go to 'Cut' we'll go to 'Cut' your Dad is just being old.<\/dialogue>\n    <character>AMANDA KERSEY<\/character>\n    <dialogue>He's brilliant at that!<\/dialogue>\n    <scene_description>Paul cuts a 'be careful' look to the rear-view mirror--<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>--keep it up smartass. There's a 'Sizzler' right on Western, always empty. Homeless people in the parking lot. $5.99 Sirloins, yummy!<\/dialogue>\n    <scene_description>Amanda busts up laughing, can't help it<\/scene_description>\n    <character>AMANDA KERSEY<\/character>\n    <dialogue>You are sooo bizarre! Why!?<\/dialogue>\n    <scene_description>Paul smiles. Things seem to have quelled and gone quietly back to normal.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Keeps my family entertained.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOME - MOMENTS LATER<\/stage_direction>\n    <scene_description>They pull up. Amanda, already engrossed in a flurry of texting, leaps out.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Mandy, hey, ho-- wait a minute!<\/dialogue>\n    <character>AMANDA KERSEY<\/character>\n    <dialogue>Dad, I have mid-terms this week and I have to Facetime Patricio--<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>--Ok, fine, two minutes, I need to talk to you.<\/dialogue>\n    <scene_description>Amanda deflates with a big 'for show' sigh.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Two minutes and you're not in trouble.<\/dialogue>\n    <scene_description>She veers into her dad who wraps an arm around her.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>When did this whole thing start? This impatience streak?<\/dialogue>\n    <character>AMANDA KERSEY<\/character>\n    <dialogue>You should talk!<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I'm a grown man, I earned the right to be impatient, you're a punk kid and should have plenty of time at all times.<\/dialogue>\n    <scene_description>Paul tickles her, she squeals, caught off guard, tries to squirm free but her father gets her in a mock headlock.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>C'mon.<\/dialogue>\n    <scene_description>He drags her toward the garage, winking back at Audrey. She mouths 'Now?' He nods. She rushes after them, fumbling with her camera phone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARAGE - DAY<\/stage_direction>\n    <scene_description>Dark until sunlight filters in from an open door and Amanda is greeted by the sight of the '83 Hurst Olds with a red bow atop the hood. She immediately dissolves into a fit of tears, waving her hands excitedly in front of her face, near-frantic, repeating over and over--<\/scene_description>\n    <character>AMANDA KERSEY<\/character>\n    <dialogue>--ohmygod, ohmygod, ohmygod!<\/dialogue>\n    <scene_description>She spins and launches herself into her father, wrapping her arms around him and nearly knocking him over. Audrey snaps pictures, her eyes misting up.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>So you like it?<\/dialogue>\n    <character>AMANDA KERSEY<\/character>\n    <dialogue>I LOVE IT DADDY! I'm shaking, I'm so freaked out right now!<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Better than an I-pad?<\/dialogue>\n    <character>AMANDA KERSE<\/character>\n    <parenthetical>(squealing anew as she peers inside the car)<\/parenthetical>\n    <dialogue>OHMYGOD! It has the lightning-rod shifting!<\/dialogue>\n    <scene_description>Paul shrugs back at his wife...'what did I tell you...' She nods. Smiling warmly. Wiping tears.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOME - KITCHEN - MOMENTS LATER<\/stage_direction>\n    <scene_description>Amanda bounds in ahead of her parents, bouncing on the balls of her feet, a font of exuberance and excitement--<\/scene_description>\n    <character>AMANDA KERSEY<\/character>\n    <dialogue>--when then?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Right after dinner I'll take you, didn't you say you had to study for mid-terms?<\/dialogue>\n    <character>AMANDA KERSEY<\/character>\n    <dialogue>I want to show the car to Patty!<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>We'll drive over after we eat boo.<\/dialogue>\n    <character>AUDREY KERSEY<\/character>\n    <dialogue>Get your work done sweetie.<\/dialogue>\n    <character>AMANDA KERSEY<\/character>\n    <dialogue>Ok. On it.<\/dialogue>\n    <scene_description>She dashes upstairs to tackle her studies.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>What do we want to do about dinner?<\/dialogue>\n    <character>AUDREY KERSEY<\/character>\n    <dialogue>You mean 'what do I want to do about dinner'<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Babe, if you want me to cook--<\/dialogue>\n    <character>AUDREY KERSEY<\/character>\n    <parenthetical>(mimicking him)<\/parenthetical>\n    <dialogue>--babe if you want me to cook--<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>That's just so transparently lame.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>You have an incredible touch in the kitchen and your husband loves your cooking, boo-hoo, poor baby.<\/dialogue>\n    <scene_description>He dive-bombs the back of her neck. Kissing her hard. It gets amorous fast as he runs his hands over her ass. She leans back into him, grinding on his crotch.<\/scene_description>\n    <character>AUDREY KERSEY<\/character>\n    <dialogue>Ok, you win. I'll make that chicken before it goes off.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <parenthetical>(a last kiss and squeeze)<\/parenthetical>\n    <dialogue>--And I'll read the Sunday Times down in the den. See? Good marriages are about teamwork!<\/dialogue>\n    <scene_description>She grabs a sink towel and cracks it at him as he flees the kitchen laughing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWNSTAIRS DEN - LATER<\/stage_direction>\n    <scene_description>Paul reads, eyes heavy, mid-day sun playing across the couch. He folds the paper across his lap and gradually drifts off... A DREAM Flophouse hotel. Dingy. Dark. Fluorescent ballasts buzz overhead. Acrylic casings burned yellowed with neglect. The silhouettes of dead moths scattered across inside. Entombed. He sits on a bed. Soaking wet. Shoeless. Sleeves rolled. Fresh, gaping track-mark scabs pave the crooks of his elbows. The walls leak like sieves. Sheet rock crumbles away in clumps. Brown-ringed water damage stretches ceiling to floor. Fluid snakes down in rivulets of something oily. Paul looks across and finds himself staring back. On the opposing bed. His mirror image, only naked with a disturbing shock of white hair and cobalt blue eyes. His doppelganger is completely still. Motionless. Unblinking. Paul stares. Moments lapse like milenia. The irregular electrical thrum of the lights is the only sound in the room. Then, his doppelganger leans forward slowly, as if he were falling and like a reflection, Paul mimics the movement, leaning forward as well...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..and they come to rest, their faces inches apart, this odd twin 'profile'...staring back at one another.<\/stage_direction>\n    <scene_description>The doppelganger's lips peel back like an alien pod splitting open, exhuming these putrid black teeth right before he abruptly rams the crown of his skull into Paul's face-- --His nose explodes, blood bursting from his shattered septum. His doppelganger, this clown's mask of frozen gaze and pasted perma-smile, begins smashing him in the face. Brutally bashing him with his fists. Each blow like a felled redwood. Paul stumbles up. Gags. Blood hydrants from his head. He holds up his hands as another blow lands, then another. He lunges, reaching, breaking the plane between sleep and consciousness with a shuddering, gasping surge.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEN - DAY<\/stage_direction>\n    <scene_description>On his couch, sitting up, the throb of pain still on him from the dream... ...his head pounds as the cobwebs clear, the gauze of slumber slowly lifts...and that's when he notices the droplets of blood hitting the newspaper in his lap. He reaches up dully, touching his head. Feeling wetness-- --then he HEARS someone snicker in the room-- he startles, looks up and is struck by something hard and metal. He feels teeth crack and loose as he collapses, a piece of shattered molar is in his mouth, he gags, it tumbles down his throat, sharp and dragging-- --WAIT, WHAT-WAIT-- --someone kicks him hard, a steel-toed boot tip bows his ribs as air explodes from his lungs-- another snicker, a hideously cruel CACKLE right behind it-- --I'M, I'M, THIS IS WRON-- --blood smears across his field of vision, flooding his sinuses, the smell of battery acid-- his mind fights for reason, fragmenting, imploding into shock and pain-- --NO-NO-NO-WHAT'S HAPPE--I DI-- --An errant punch strafes his right eyelid, splitting it like ripe fruit, he coughs up a mouthful of blood as a knuckle ring grazes his browline and catches, tearing-- a sensation like he's being scalped. --PLEASE-- I DI-- --that boot crashes defiantly back down, destroying two fingers on his left hand. --N'T DO ANYTHI-- I DON'T-- --that cackle again-- another boot stomp, his wristwatch snaps free-- Paul struggles to his knees, an excruciating searing stab, like a thousand ice-picks impaling his spine-- --MY W--WHERE IS MY WIF-- --someone straddles his back like he's been saddled and begins pummeling him with wild, breathless, giggling glee, the heels of their fists hammering his temples over and over-- --PLEASE STOP, STOP-- --a piercing sonic hiss fills his head, scrambling what remains of his senses-- his right eardrum has been ruptured, he hears blood filling the canal and overflowing-- --stop...stop...stop...plea-- --the base of his skull is struck, a blow that cancels consciousness-- his vision flutter-flickers and burns out black........................................................<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>............................................................<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>.......................VOID.................................<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>....nothing.................................................<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>...................................black....................<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>...then...........................................sound.....<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>........................dulled and muffled....seeping in....<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>............................................................<\/stage_direction>\n    <scene_description>Awake. Alive. This terrible squelched frequency, like the futz of a blown speaker, fills my right ear...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>...struggle to crack my eyes open, badly swollen slits gummed with blood...everything numb, buzzing...<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>..I look back up along these horribly bruised arms, hematomas bloom yellow-black...<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>..boot stomp marks imprinted on my biceps in mottled bluish rings, skin splayed wide from a sharp steel heel, blubber- white muscle exposed... ...heavy-braided boating rope I recognize from my garage is cinched thickly around my wrists and ankles and wrapped around a ceiling stanchion, secured tight as I try to tug b--<\/stage_direction>\n    <scene_description>--A SCREAM. Audrey. Upstairs. My head snaps straight up-- --Ohmygod--Ohmygod-- --she SCREAMS again, pleading, her voice choked with fear--<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>--no-no-no-no-no--!<\/dialogue>\n    <parenthetical>(yelling at ceiling)<\/parenthetical>\n    <scene_description>HEY!! --footfalls above now. Skittering away. Furniture shudders as it shifts-- --AUDREY!! --She's running-- my vision pulses and blurs-- --CALL THE POLICE!! CALL THE POLICE!! --that CACKLE echoes down like a taunt, heavier footfalls follow, wood creaks with a man's running weight-- --STOP! STOP WHOEVER YOU ARE!! PLEASE STOP!!! YOU CAN HAVE THE MONEY! I HAVE MONEY!! Haul on the rope restraints-- plant my feet and pull-- --AUDREY!!! AMANDA--!! --the rope constricts and digs, lacerating my wrists, exert every last ounce-- feel my veins rise-- my face bloat red and overheat with effort-- CAN YOU HEAR ME!!! --A SCREAM suddenly fills my head-- my daughter's-- over and over until it dries up hoarse-- AMANDA! (beat) PLEASE WHOEVER YOU ARE!! PLEASE, TAKE ANYTHING!! DON'T HURT THEM!! I'M BEGGING YOU!! --keep wrenching on my restraints-- the rope sinks deeper into gaping wrist wounds-- --PLEASE GOD! PLEASE GOD! DON'T LET THIS HAPPEN! --something heavy topples, lands, dust is loosed from the ceiling above...the wood creaks with weight... Weeping...pleading...female. Muted laughter follows...MALE. Foot scuffs-- something is being dragged-- --DON'T LET THIS HAPPEN! DON'T-LET- THIS-HAPPEN TO ME!! The rope digs deep, peeling skin away like a rind, scraping the tendons-- raw white pain rips in hot knife-points-- sobs surge up and spill out-- I'M BEGGING YOU! I'M BEGGING YOU! ...blood pulses, squeezed from the wounds, flooding up over the rope-- PULL-PULL-PULL-PULL-! --GODDAMN YOU! NO! NO! NO!-- --PULL HARDER--! ---FUCKING GET FREE!!! --PULL YOUR FUCKING ARMS OUT OF THEIR SOCKETS YOU WEAK MOTHERFUC--!! --feel both wrists dislocate with a hollow pop. A HOWL expands up my throat, exploding in a desperate rasp-- HELP US!! HELP ME!! --these prolonged, agonized SCREAMS from above-- and then they're gone, snatched out of the air like a cord was cut-- ..silence....................................................<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>............................................................<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>............................................................<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>............................................................<\/stage_direction>\n    <scene_description>The door leading downstairs is opened. A SHADOW falls across the wall. Someone is up there. Breathing shallow. Winded.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..please god, let it be her...<\/stage_direction>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>...Audrey?<\/dialogue>\n    <scene_description>--that LAUGH. That CACKLE. Then, A VOICE...<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>............................................that was fun.<\/dialogue>\n    <scene_description>Something metal clatters down the steps and lands-- --A GAS CAN, upended, spilling its contents to the floor. --A FLOOSH from above-- --FLAMES appear, racing down the steps and engulfing the can. The wall follows, tendrils of fire lick up the face, devouring the plaster and wood, smoke pours from it-- Feel your head fade and go light. ...don't fight it...don't fight... Flame unfurls fast across the ceiling above, combusting from the chemicals, feeding. Feel your vision pinhole and go gray at the edges. ...you know they're dead... Pitch black smoke encircles you like a shroud. Suffocating. ...you let them die... Feel the heat singe and burn as the flames surround you. ...your girls are gone... Blisters rise and bubble and burst from your exposed flesh. ...they're gone... Smoke scorches your lungs. Burning. ...and you couldn't protect them... Another fire ignites now...rising from within. ...they died terrified... Anger. ...they died screaming... Fury. ...they died in vain... Rage. ...they died like you're about to... NO...Feel nothing now. Not the flames spreading over you. ...don't pass out... Not the skin hanging in melted strands from your arms. ...concentrate... Not the buttons on your shirt being branded into your chest. ...stare at those rope restraints, blackening, fraying... Not the embers showering you from above as the roof shifts and groans. ...pull... Not the smoldering clumps of hair sluicing off your skull-- --the ropes give-- --CRAWL NOW-- --vision smeared-- breathing soot-- --you're blacking out-- --get to...t-e do-r-- it's ac-oss th- r--m. --you're shutting down-- --han- ov-r h-nd acros- the fl-- --don't die now-- --t-- door is r--ght ther-- --reach for the knob, turn-- BLACK................................shimmers................ .....................blood................................... .....burning................................................. .................................................faces....... ..........bludgeoned......................................... .............................audrey.......................... amanda.....................................fists............. .........lifeless............ &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; SOUND........................................................ &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; A HEARTBEAT MONITOR.......................................... &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; My heartbeat &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt; &gt;&gt;<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Bandages. Both arms in casts. Trussed up in traction rigs. ...what happened..? Senses sedative-numbed. Heavy meds to moderate my mood. ...did I dream it...? Swelling squeezes my vision to a blurred slice. ...why am I here then...in this hospital...? I can smell my brother's colonge. ...I didn't dream it...they're dead. Pain plunges in and gouges me like something serrated and barbed. ...everything you ever loved on this earth... A SOUND RISES that I don't recognize, shrill and helpless. ...you're alone... This stillborn scream ...all alone... It's coming from me. Suffering that feels like my soul being slashed in half. Torment I cannot withstand. Frank hovers over of me now. Tears spilling. Bucking sobs. He places his hand on my head, mouthing something. ...I can't hear you... A HOWL rips free of me, like a wild animal. A tidal rush of tears flow down my face. Parched lips I can barely part-- --I push my brother's name past them--<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>--frank--<\/dialogue>\n    <scene_description>--he breaks down and buries his head in my bandages, blubbering, his words fumbling forth like a confession--<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>--they're gone Paul...the girls are gone...<\/dialogue>\n    <scene_description>I close my eyes and wish for the world's end. BLACK OUT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>........................................................DAYS<\/stage_direction>\n    <scene_description>PASS.........................................................<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>............................................................<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>............................................................<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>.......................WEEKS................................<\/stage_direction>\n    <scene_description>The sky dissolves. Light and dark. Minutes melt into hours, days, weeks. No sense of time passing. Drugged sleep. Deep and black. Awaken suddenly with a shudder, confused, alarmed--<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <parenthetical>(sputtering)<\/parenthetical>\n    <dialogue>--Audrey--<\/dialogue>\n    <scene_description>--My wife's face flitters across the dark ceiling above me... ...drifts and fades... ...fades and drifts...and disappears completely. CUT TO BLACK: FADE UP ON:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - UNKNOWN<\/stage_direction>\n    <scene_description>Dope pumped. Drifting in and out. Languid. Barely lucid. Janine is there. Ellipses of her. Feel her soft hands for only a second... ...the drugs drag me through....dark, then light again. NT. HOSPITAL ROOM - NIGHT My eyes snap open. Room empty. A light flare trails as I gape around, vitreous floaters blot my vision. The meds still manage my state. Keep me semi-lucid.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..thank God...<\/stage_direction>\n    <scene_description>My body feels waterlogged, loose insides slosh around. Find the clock. 10:33pm. Flowers everywhere. Get well cards. My head pounds. Squeeze past the pain. Look. Bandages thinned. Swelling down. Arms and legs removed from the traction rigs. Everything aches...like I haven't moved a muscle in years. Broken bones slow to reset. Muscles at the edge of atrophy. Bedsores just beginning to fester and spread.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..get up... Swing my legs around. They feel wooden. Unnatural.<\/stage_direction>\n    <scene_description>Feet to the floor. Let the weight settle on one...then the other.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..stand...<\/stage_direction>\n    <scene_description>Woozy. A wave of nausea rushes in like a flash flood. The world tilts. Grip the bed's hand-rail for balance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..get to a mirror...<\/stage_direction>\n    <scene_description>Feet pad in a slow, painful stagger to the bathroom. Dark inside. Grope the wall for the light-switch. Flip it. The fluorescents cycle on, this irregular electrical futz and buzz as the filaments ignite, crackling to life...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..and illuminate your likeness for the first time in months.<\/stage_direction>\n    <scene_description>A face you don't recognize...A man you don't know. Gaunt. Ghoulish. Pitch black pupils glowering back. The sheen of anti-burn gel over denuded skin, falling away in charred flakes as you crane your neck, examining...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..who the FUCK are you...?<\/stage_direction>\n    <scene_description>Bring a splinted hand slowly up to the mirror like what you're seeing is an optical illusion<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..that can't be you staring back...<\/stage_direction>\n    <scene_description>Touch your face in disbelief. Run your fingers over its surface: The cold congealing of stitches.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..look what they did to you...<\/stage_direction>\n    <scene_description>The burst capillaries spidering from either side of your nose. The stippling of gashes and abrasions everywhere.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..and they laughed...<\/stage_direction>\n    <scene_description>The butterfly sutures holding your brow-line in place.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..they laughed while they tortured and terrorized... The milky red nebula of broken blood vessels in either eye.<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>..and killed your entire family...<\/stage_direction>\n    <scene_description>Pull your hospital gown up. A hemostatic dressing, partially bled-through, covers your lower abdomen.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..and you didn't do anything...<\/stage_direction>\n    <scene_description>Remove your hospital cap. Head shaved from surgery. Touch it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..you weren't strong enough...<\/stage_direction>\n    <scene_description>Rough silvery black stubble, crisscrossed with a lattice of catgut and subcuticular stitching.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..you weren't strong enough to stop them...<\/stage_direction>\n    <scene_description>This sudden purge. Sobs overtake me before I feel them coming...crying so hard it feels like wretching. The tears wash down my face. Collect in my stitches. Evaporate into my stubble...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..the sobbing slowly subsides.<\/stage_direction>\n    <scene_description>Stand there. Nearly motionless. Surveying your face. Reach back from the wall switch now. Flip it off. The room goes black.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..stare into that mirror...<\/stage_direction>\n    <scene_description>Your silhouette...dark and still...stares back. CUT TO BLACK<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - DAYS LATER<\/stage_direction>\n    <scene_description>Frank sits close. He's whispering. Two LAPD DETECTIVES crowd the doorway to my room. Their heads bowed. Silent. Somber.<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>...if you don't want to. It's up to you. I don't want to push this right now, if you--<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>--no...<\/dialogue>\n    <scene_description>This razored-rasp addles my voice now.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>...I want to talk.<\/dialogue>\n    <scene_description>Frank pats my clasped hands. The splints have been removed. Permanent scars, fibrous and rough, cover my knuckles.<\/scene_description>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>Mr. Kersey, I'm Detective Garcia--<\/dialogue>\n    <parenthetical>(indicating other man)<\/parenthetical>\n    <dialogue>--and this is Detective Raines. Thanks for seeing us.<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Paul, these men are with RHD, 'Homicide Special' and they're the best investigators in the city.<\/dialogue>\n    <scene_description>Raines forages his coat pocket, producing a notepad and pen.<\/scene_description>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>Mr. Kersey, before we begin this interview, you should know and take whatever comfort you can, from the fact that we will apprehend and punish the men responsible.<\/dialogue>\n    <scene_description>Nod your appreciation, even as a heat rises and radiates within like it's going to burn a hole right though you.<\/scene_description>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>We have no greater priority as professionals, than to see them locked away for life, or put to death.<\/dialogue>\n    <scene_description>Tears fill Frank's eyes and he's quickly overcome by emotion, turning away to compose himself. ...reach out and take his hand... He turns back, nodding down at you, embarrassed, ashamed. He wants to be a rock for you right now but he can't. Garcia presses ahead without further prompt.<\/scene_description>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>Can you recall the events of that day, in any kind of detail?<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>And nothing is too small Mr. Kersey, every bit is helpful, so if it occurs to you--<\/dialogue>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>--just say it. We'll sort out the chronology.<\/dialogue>\n    <scene_description>Feel the hairs on your arm bristle. Your fists flex. ...relive it...<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>...we...we came home, from my daughter's game, I gave-- showed her, her gift...<\/dialogue>\n    <scene_description>Tears burn out before they can form, ignited by this roiling down deep inside, rising swiftly...hardening into hate.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>...her birthday was--<\/dialogue>\n    <scene_description>...but you need this...this nothingness...<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>--was the next day. We went inside, into the house. I went downstairs to read. I woke up...<\/dialogue>\n    <scene_description>...you need it to avenge this...<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>...and they were on me. Beating me.<\/dialogue>\n    <scene_description>...that laugh...that cackle...<\/scene_description>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>How many assailants. If you had to guess?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Two.<\/dialogue>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>Two of them, for sure?<\/dialogue>\n    <scene_description>Nod. They note this in their notepads.<\/scene_description>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>Could you describe either one?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>White? Black? Hispanic?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>White.<\/dialogue>\n    <scene_description>Another notation.<\/scene_description>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>What about their height? Build?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>The type of clothing they were wearing--?<\/dialogue>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>--tattoos, jewelry, do you remember any rings or wristwatches--?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>DETECTIVE RAINE<\/character>\n    <dialogue>Did they have an accent, a lisp? Something about the way they spoke?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>Anything else you might recall?<\/dialogue>\n    <scene_description>Shake your head 'no'...then tell them a lie.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I lost consciousness. When I woke up. Everything was on fire. I don't remember anything else.<\/dialogue>\n    <scene_description>Raines and Garcia scribble notes. A strained silence slowly suffuses the room.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>...do you have any suspects?<\/dialogue>\n    <scene_description>Raines stops writing. Garcia pockets his pen.<\/scene_description>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>Not yet.<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>We're proceeding with our investigation under the theory that this was a random home invasion.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Random?<\/dialogue>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>Crime of opportunity.<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>There was a similar incident in Los Feliz late last year. Two intruders followed a family home, forced their way in...<\/dialogue>\n    <scene_description>Raines' voice tapers off behind horrors he'd rather not verbalize. ...ask him anyway...<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>...survivors?<\/dialogue>\n    <scene_description>Garcia. A curt head shake 'no'--<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>--ok guys. Let me have some time alone with my brother, huh? I'll do a follow-up, get you whatever else you might need.<\/dialogue>\n    <scene_description>Raines and Garcia nod their acknowledgment, pocketing their notepads as each of them produce a business card.<\/scene_description>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>Our cellphones are right there on the front, call anytime. If you can't get ahold of us--<\/dialogue>\n    <parenthetical>(nods to Frank)<\/parenthetical>\n    <dialogue>--your brother can have us paged. We'll get back to you right away.<\/dialogue>\n    <scene_description>Extend your hand. Shake theirs.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I appreciate everything you're doing.<\/dialogue>\n    <scene_description>Both issue tepid handshakes to avoid doing harm to still healing bones. They depart. Frank locks the door behind them. He returns to your beside, sits and after a moment, takes ahold of your hand in his...saying nothing...staring off. You close your eyes and lean your head back... ...the quiet, dulcet sounds of your brother's breathing reminds you of being a boy and listening to him fall asleep, long before you were able to... FADE OUT: SUPER: ONE WEEK LATER FADE UP ON:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANK KERSEY'S HOME - GUEST ROOM - DAY<\/stage_direction>\n    <scene_description>Tara opens the door for me. I step inside. I've slept here twice before...with Audrey. Too much to drink after a dinner party. ...we laughed till we passed out... Tara is saying something, pointing to the bed. A box sits atop it. I recognize my handwriting on the side. It's from our storage unit in Culver City. Pry it open. Old clothes inside. Winter wear: A peat coat, a knit cap, a hooded sweatshirt, work boots. ...I haven't seen this stuff in years...<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>There's nothing left is there?<\/dialogue>\n    <scene_description>Tara hears my question but pretends she doesn't.<\/scene_description>\n    <character>TARA<\/character>\n    <dialogue>Hmm?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>From the fire. My house.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>There's nothing left.<\/dialogue>\n    <scene_description>Then, from behind me--<\/scene_description>\n    <character>MARIE<\/character>\n    <dialogue>--Uncle Paul?<\/dialogue>\n    <scene_description>I turn. My niece Marie. Red-eyed. She's been crying.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Hi sweetheart.<\/dialogue>\n    <scene_description>I extend my arms for her, she walks into my embrace.<\/scene_description>\n    <character>MARIE<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>I don't want to hug you too hard.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <parenthetical>(whispering back)<\/parenthetical>\n    <dialogue>You can't hug me too hard honey.<\/dialogue>\n    <scene_description>Kiss her forehead, she steps back, wiping her eyes, holding something out for me.<\/scene_description>\n    <character>MARIE<\/character>\n    <dialogue>Mandy left her I-Pod over here. I thought you might want to have it.<\/dialogue>\n    <scene_description>Take it from her. Hoping to feel your kid for even a second.<\/scene_description>\n    <character>MARIE<\/character>\n    <dialogue>I don't think it's charged but I can, if you want, I can--<\/dialogue>\n    <scene_description>--Marie starts to cry. Pull her in. Hold her. This soft, muffled, tear-soaked voice...<\/scene_description>\n    <character>MARIE<\/character>\n    <dialogue>...I miss her so much...<\/dialogue>\n    <scene_description>Catch our reflection in the mirror...it looks like I'm holding my own daughter.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I know you do baby...I do too.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETARY - DAY<\/stage_direction>\n    <scene_description>Black everywhere. Suits. Dresses. Men. Women. Indistinguishable. A Priest prattles on over a pair of closed coffins. Mourners I don't remember or recognize. Faces I've forgotten or forsaken. Strangers stealing looks. Frank sits next to me. Tara on the other side. My hands feel dead inside theirs. Standing now. Numb. People embrace me. Smells overpower. Sickening. Perfume. Cologne. My head begins to throb. Too many people now. Crowding. Smothering. I try to move. They surge forward, sudden and abrupt like a convulsion. A panic. This sense that I'm being swallowed. Red droplets fall, splatter my face. Look up. My doppelganger gapes down. Suspended in mid-air above me. Blood beads off black, bared teeth. He vomits down a horrible torrent of red. Both coffins burst into flames. My wife and daughter explode out SCREAMING, engulfed-- SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>--Head under a cold tap. Let the water run and rinse the nightmare off me. Stand up from the sink. Catch my reflection in the window. A rebuilt face. Grim. Grave. Galvanized somehow. My soft jawline is gone. Replaced by the hollows of hard right angles. Striations of scar tissue that read like a lifetime of combat Shock ward eyes. A thousand yard stare that I'll never shake. Lean your head back. The light from above makes your shorn skull an almost phosphorous white. The color of your eyes changes, shifts...notice a child's rainbow prism, hung up over the window sill. The refracted light-play in the glass makes your eyes appear blue. Fix your gaze into that glass... ....and watch as your reflection grins back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOAT - DAY<\/stage_direction>\n    <scene_description>Standing at the stern. Balance shifting with the swells. Frank and his family are arrayed behind me. Heads bowed. I lift the urn containing my wife's ashes and cast them out onto the sea breeze. They hover is a swirling mote, then drift down into the tumbling surf.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>...there is no one I ever loved as magnificently as I loved you my sweet...and that love will be forever without end.<\/dialogue>\n    <scene_description>Amanda's urn now...last time I allow myself to shed tears.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>...baby girl...you were my heart's content...I couldn't have been more proud or honored to have you as my daughter...and I love you more than life...safe journey...<\/dialogue>\n    <scene_description>The ashes arc away beautifully, whirling and dancing in the wind as they scatter across the sea. Feel what remains of my family approach from behind. Turn and embrace them tightly. They weep...I don't.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANK KERSEY'S HOME - DEN - NIGHT<\/stage_direction>\n    <scene_description>House still. Everyone asleep. Walk in. Flip the lamp on. A stack of papers near the fireplace. Sort through them. Looking for something. Beneath more recent editions of the L.A. TIMES. The followed headline hits you. 'Hancock Park Physician Assaulted, Family Slain.' Flip through the back editions as the story; the murder of your family goes from headline to back page as the days and weeks elapse. Toss the stack into the empty fireplace. Turn the gas on the mantle. Light a match...watch the stack roast. Framed photos of Frank and our family adorn the wall behind his desk, alongside LAPD commendations. A decanter of Scotch sits on a sideboard. Pour a tumbler to the top of the glass. Gulp it back as you examine one photograph in particular Audrey and Amanda on either side of me, kissing my face... Your gaze travels across the room to a gun safe. Approach it. It's locked. Return to your brother's desk, ease open the top drawer, sift around, rummage through...find the key. Unlock the gun safe. Pull the weighted steel door open... ...The FIREARMS inside are arranged with great care. Reach out. Remove a SEMI-AUTOMATIC PISTOL from Frank's trussed up shoulder-holster. It sits flat in your hand. Study it. Feel its heft and weight. Assess its power. Light refracts off the weapon, revealing the manufacturer's name...SIG-SAUER. Look down the iron sight. Your index finger moves along the barrel. Your thumb flicks the slide release repeatedly. The grip is embossed with the marking P229. A small, circular, metal-grooved button sits to the left of this marking. Press it. The magazine suddenly slides out-- You catch it before it falls and hits the floor. Gleaming, brass-jacketed rounds are glimpsed inside the magazine. You reinsert it into the stock, pushing it up until it resets with a pleasing metallic snap...You stare. Something suddenly prompts you to pull the pistol's slide back. It locks...you look...chambered inside the weapon's breach is one of the brass-jacketed rounds. Your thumb returns to the slide release. You flick it down. The slide ratchets forward. The hammer cocks back. The pistol is loaded and ready to be fi--<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>--Paul.<\/dialogue>\n    <scene_description>Whip around-- Frank is standing there in his robe.<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>...would you put that down please?<\/dialogue>\n    <scene_description>Look back down at the gun. This red-handed guilt.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>...first time I've ever held one.<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Which is why I'm asking you to please put it down, on my desk, with the barrel facing away.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Relax.<\/dialogue>\n    <scene_description>Read his expression: Pity camouflaged as 'concern.'<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>That won't be a problem--<\/dialogue>\n    <parenthetical>(like a lecture)<\/parenthetical>\n    <dialogue>--when you put that down. On my desk. With the barrel facing away.<\/dialogue>\n    <scene_description>Seethe at Frank's unspoke suggestion of 'suicide.'<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>You can't be thinking what I think you're thinking, 'cuz that would, fucking infuriate me Frank.<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Paul, you have a loaded firearm and no experience handling one.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Tell me you don't believe that I would take my own life--<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>--Paul--<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>--Tell me. It's important.<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>I don't believe you would take your own life but I also don't believe that you holding a handgun right now, does anyone, any goddamn good.<\/dialogue>\n    <scene_description>Set it down. Step away. Frank walks over, picks up the gun, jacks the slide and pops the chambered round free before returning it to his holster inside the safe.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEN - LATER<\/stage_direction>\n    <scene_description>Frank and I sit in silence. Two glasses of Scotch between us.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>...I wasn't strong enough to stop them.<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Don't let your mind linger there and pick over that shit Paul--<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>--I let...strangers...these animals, take my girls away.<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>You did no such thing.<\/dialogue>\n    <parenthetical>(as though he's trying to convince himself)<\/parenthetical>\n    <dialogue>You did no such thing.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Weak.<\/dialogue>\n    <parenthetical>(like something spit out)<\/parenthetical>\n    <dialogue>...fucking weak.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I've known I was a coward for a long time...just able to bluff by.<\/dialogue>\n    <scene_description>Frank looks up at me-- shocked by what I've just revealed or surprised that it's taken me this long to realize.<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Don't say that. Paul, it's pointless to-- what could you have done? You were ambushed. You were attacked in your sleep--<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>--they never called for me.<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>...what?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Audrey. Amanda.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>It's like they knew...they knew I'd be useless, so they never called out for me. Not once.<\/dialogue>\n    <scene_description>Frank flashes the slightest flicker of suspicion. The cop in him hard-wired to doubt and distrust everyone at all times.<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>How would you know that though? You blacked out--<\/dialogue>\n    <scene_description>--shit, you slipped up-- Nod your confirmation fast. Keep your story intact and mollify him. Frank seems satisfied as he leans forward purposefully, determined to make his point.<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>We're gonna get these guys Paul. Paul, we will capture these pieces a'shit, I swear to you...as your brother and someone who loves you dearly and deeply, there aren't enough miles for them to run, or a hole deep enough for them to hide in. I promise.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>What have they found so far? Those detectives? Are there leads?<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Let 'em work the case. Those guys are doorkickers. Something will shake but patience, unfortunately, is what you need in surplus. This is gonna be a really frustrating time for you and it's gonna piss you off because things won't move like you think they should.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>So what do I do now?<\/dialogue>\n    <scene_description>Frank sips scotch, trying to sort out some words of advice.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>What do I do Frank?<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>You stay here with us. You get healthy. Then you go back to work when you're ready.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>So I just stand still--<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>--that's not what I said--<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>--stand down--<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>--Paul. That is not what I said.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>That's exactly what you're saying Frank.<\/dialogue>\n    <parenthetical>(pause, flatly)<\/parenthetical>\n    <dialogue>I want to learn to shoot.<\/dialogue>\n    <scene_description>Frank's head sinks into his hands with a sigh--<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>--you said I didn't know how to handle a gun and you're right. I want to learn how.<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Then take a training course.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Like the one you teach every week?<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>That's for cops.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>And that's the training I want.<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I can't sleep. I don't sleep. I'm exhausted and I'm scared.<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Then the last thing, you should be messing around with right now is a gun. Jesus, you see what those things do to people every day Paul! Somebody shows up on your table, shot to shit--<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>--I'm asking you for this Frank. To help me. To give me some peace of mind. I could've gone out and bought one and figured it out on my own but I don't want to do that.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>...I'm never gonna feel that fucking powerless again Frank...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>...please.<\/dialogue>\n    <scene_description>Frank considers this, takes a sip of Scotch and stares off. SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FIRING RANGE - DAY<\/stage_direction>\n    <scene_description>The gun shudders and kicks in my hand as I FIRE. The rounds go wide of my ringed target. I pull off my ear protection.<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Don't lock your arms out, leave a little give in the elbows, let's the recoil absorb up through your arms and not your shoulders, which throws your aim off.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Ok. Gun down.<\/dialogue>\n    <scene_description>I set it down. Frank takes up his pistol, aims downrange and burns a full mag before reloading lightning fast, spent clip out, fresh clip in-- the slide racks forward to ready-fire.<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>That's a combat reload, my eyes never leave the target and all the weapons manipulation--<\/dialogue>\n    <parenthetical>(indicates with his hands)<\/parenthetical>\n    <dialogue>--is right in here, in this triangle, so I'm not looking down and losing the target for even a second.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>We don't need to get into that though.<\/dialogue>\n    <scene_description>The perforated targets cycle forward on the conveyor. Frank swaps them out for silhouettes.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Let's just get you shooting straight.<\/dialogue>\n    <parenthetical>(points to a specific gun)<\/parenthetical>\n    <dialogue>Try that. That's an H&amp;K 9mm USP. I like this gun. It's got very little kick, smooth and light and it sits really nicely in your hand.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Ok. Load.<\/dialogue>\n    <scene_description>Gun pointed down. Finger on the trigger-guard. Slide a full clip in. Pull the action back to hammer-lock. The silhouettes travel down the conveyor as Frank makes small adjustments to my stance.<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Don't square your body when you shoot, it's a bad habit. You want to be more sideways--<\/dialogue>\n    <parenthetical>(Frank demonstrates)<\/parenthetical>\n    <dialogue>--like this.<\/dialogue>\n    <scene_description>The silhouette settles about sixty feet away from me.<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Ok. Safety off. Get yourself lined up to target.<\/dialogue>\n    <parenthetical>(adjusts the gun down)<\/parenthetical>\n    <dialogue>Lower. Center mass is best. Aim for the middle, chest and gut. Forget the head.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>That weapon is a little over a pound and a half in weight so it won't bite.<\/dialogue>\n    <scene_description>Pull. The sharp crack of the gun's report and recoil ripple through me as I put a round right through the silhouette target's sternum.<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Nice.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>In the practiced hand, a gun is a precision instrument Paul. Just like a scalpel. You know how to cut with that...<\/dialogue>\n    <parenthetical>(beat, aiming downrange)<\/parenthetical>\n    <dialogue>...you'll learn how to cut with this.<\/dialogue>\n    <scene_description>Frank draws down and FIRES his gun, putting three more holes in a ring right around mine.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FIRING RANGE LOBBY - DAY<\/stage_direction>\n    <scene_description>Frank confers with the MAN at the counter. I see a familiar face laughing with a group of off-duty cops and wander over.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>...Detective Raines?<\/dialogue>\n    <scene_description>Raines turns, still chuckling from whatever comical exchange just took place between he and his fellow cops. His expression doesn't register any familiarity with me at all.<\/scene_description>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Paul Kersey.<\/dialogue>\n    <scene_description>Extend your hand and to his horror, he realizes--<\/scene_description>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>--Oh Christ, Mr. Kersey! I'm sorry. I didn't recognize you.<\/dialogue>\n    <scene_description>He shakes your hand vigorously by way of contrition.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Well you wouldn't. Would you. I look a lot different now.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>What's happening with the case?<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>Good. It's going good. We're confident we're gonna put it down and catch these guys.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Mm-hmm. How so?<\/dialogue>\n    <scene_description>Raines is thrown. This small head cock as response. His demeanor then turns mildly defensive.<\/scene_description>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>We're pursuing every available lead.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>So what do you have?<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>Well, the fire destroyed a lot of the physical evidence, so it's been time consuming, sifting through that. In addition to the theft of your wife's vehicle, it appears some valuables were taken. We found two jewelry boxes about a half mile from the crime scene, your sister- in-law Tara identified them as belonging to your wife, there was also a cigar humidor--<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>--that was mine.<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>Do you recall what was in it?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Watches. Two Panerai watches I think. I had some rings in there.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And you know, on the day of the attack, I didn't recall it before but I had an Oris wristwatch on.<\/dialogue>\n    <scene_description>Raines nods but doesn't bother taking this information down.<\/scene_description>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>I know this must be miserable for you right now Mr. Kersey because what you want and really all that matters is end result and that means an arrest--<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>--or killing the men that did it.<\/dialogue>\n    <scene_description>Watch Raines react. Perplexed by this comment. ...lean in, let him know...<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I don't care how they're caught Detective Raines...I only care that someone catches them.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - DUSK<\/stage_direction>\n    <scene_description>Smog-diffused sunlight creates a dull grey glare that makes my eyes sore. Slow-mo drive time traffic slogs by outside.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>What are the actual chances that they apprehend these guys Frank?<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Homicide Special has the best detectives in the LAPD Paul.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>But it's been what? Six weeks? I thought the first 48 hours were the most crucial and after that your chances of solving a case fall dramatically-- drastically, no?<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Not with something like this.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>What's 'something like this'? Why is this case any different?<\/dialogue>\n    <scene_description>Frank looks over at me as though I've insulted him.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I know why it matters to you and to me...and I know it can't possibly matter that much to them.<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>I can tell you that it's a top priority.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Frank, the murder of my wife and daughter and your niece and sister- in-law, doesn't get solved at a fucking shooting range.<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Just because you don't see Raines on the job doesn't mean he isn't engaged Paul. These cases run 24-7.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>C'mon, I feel like you're sticking up for 'em now. This 'fraternal' bullshit, 'Brotherhood of cops'--<\/dialogue>\n    <parenthetical>(beat, remind him)<\/parenthetical>\n    <dialogue>--Y'got one brother Frank--<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <parenthetical>(frustrated,)<\/parenthetical>\n    <dialogue>--Paul, what do you want me to say to you? What do you want--<\/dialogue>\n    <scene_description>I erupt--<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>--WHAT I WANT, IS MY FUCKING LIFE<\/dialogue>\n    <character>BACK! WHICH IS MY GIRLS! WHAT I<\/character>\n    <dialogue>WANT IN LIEU OF THAT, YOU DON'T<\/dialogue>\n    <character>WANT TO KNOW...<\/character>\n    <dialogue>Feel this surge ebb through you. Like a fevered heat that can be tempered and controlled...<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>...and I don't want to think about.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUEST BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Wide awake. Wired tight. Watching the crack at the bottom of my bedroom door...waiting for the kitchen light to switch off, signalling that Frank is turning in for the night. The kitchen goes dark. Ease out of bed. Pull that peat coat and knit cap on. Edge toward the door. Climb quietly into my boots as I wait...and listen for the door to the master-bedroom to close and lock... ...it does. Move. TIME CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRANK KERSEY'S HOME - NIGHT<\/stage_direction>\n    <scene_description>Head down. Hands in your pockets. Hood up. Long strides. Your legs feel fresh. Your pulse pounds strong and purposeful. The night air feels good. The Santa Anas have cleared out the smog and you can smell everything: Exhaust fumes. Eucalyptus. Every single sense feels super-charged. Everything single thing appears crisp and vivid and clear. The world feels brand new to you now. Block after block. Mile after mile. Your pace doesn't falter.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KERSEY HOME - LATE NIGHT<\/stage_direction>\n    <scene_description>Your house is gone...reduced to manageable mountains of charred debris, demarcated by LAPD crime scene tape. You move over the remnants like a man crossing a minefield. You stoop down and sift through a pile, hoping to recover a reminder or a keepsake; a photo or piece of jewelry...some small token of your life, your family, your time together... ...but only rubble and ash remain.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. GARAGE - CONTINUOUS<\/stage_direction>\n    <scene_description>Push past the taped off door. Duck under the makeshift cordon Your daughter's birthday gift...The '83 Olds...badly damaged and blackened by the fire but intact. Walk around to the driver's side. Pry the door open and look inside...the keys are still in the ignition. A flashlight strafes you from behind. A VOICE follows.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Hancock Security! Identify yourself!<\/dialogue>\n    <scene_description>Recognize the voice. Blink back the beam in your eyes.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Henry, it's Paul Kersey.<\/dialogue>\n    <scene_description>The light falls as this hulking form steps from the shadows.<\/scene_description>\n    <character>HENRY<\/character>\n    <dialogue>Mr-- Kersey, I-- I'm sorry sir, I didn't.<\/dialogue>\n    <scene_description>Say nothing. Be still and stare.<\/scene_description>\n    <character>HENRY<\/character>\n    <dialogue>How did you get into the complex?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>How did the men who murdered my family get in Henry?<\/dialogue>\n    <scene_description>He blanches, bloodless white, blurts out his rebuttal--<\/scene_description>\n    <character>HENRY<\/character>\n    <dialogue>--I wasn't here-- I'm-- sir, you don't know how, horrible, and...<\/dialogue>\n    <parenthetical>(his thoughts trail off)<\/parenthetical>\n    <dialogue>...I haven't really slept since this happened. I sat with the Detectives for the third time yesterday. I gave them every last bit of-- everything I could remember.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Which is what, exactly?<\/dialogue>\n    <scene_description>SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUARD SHACK - NIGHT<\/stage_direction>\n    <scene_description>A bank of VIDEO MONITORS displaying live security feeds from around the complex. Henry is foraging for something in back. Another GUARD that I don't recognize, can't stop stealing little sidelong glances at me. I turn and catch him cold and stare right through him. He looks away just as fast, mumbling some excuse to Henry as he stumbles out of the guard shack. It confirms a feeling I've had. ...you can intimidate people now... Henry returns with a DVD and slots it into the machine.<\/scene_description>\n    <character>HENRY<\/character>\n    <dialogue>The detectives took the original but we had to made a copy first--<\/dialogue>\n    <parenthetical>(struggles to say)<\/parenthetical>\n    <dialogue>--for, uh, legal reasons.<\/dialogue>\n    <scene_description>He presses 'play'...a grainy image appears. An OVERHEAD ANGLE showing a long concrete wall which encircles the complex. A TIME STAMP reads: 7-13-13 3:43am TWO MEN appear at the top of the wall and drop down one at a time. They wear hoodies which they pull snug as they crouch along the wall and head toward the camera... ...hold your breath... They approach. Henry pauses the image just before they pass. Their features are murky. Their faces unrecognizable.<\/scene_description>\n    <character>HENRY<\/character>\n    <dialogue>I think this was them. They snuck into the complex on the morning it happened.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Can you shuttle this, a frame at a time?<\/dialogue>\n    <scene_description>Henry nods and starts to frame advance the IMAGE. I put my face less than two inches from the screen and study every single pixel.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Stop.<\/dialogue>\n    <scene_description>The IMAGE freezes. Lean in. Look. Study it. ...see something they didn't see... The two are mid-stride, right beneath a street lamp. ...some clue... You scan and study and scrutinize every square inch of the frame until it abruptly crunches and splinters, the screen breaking right before your eyes... ...and it's only then that you realize that you've just struck the glass with your fist and shattered it. You turn your still closed fist over. Little fissures of blood leak up over slivers of glass. You stand and stare down at it as the blood pools to a bead under your palm. Henry says nothing as he steps out of the guard shack. SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS OF DOWNTOWN LOS ANGELES - NIGHT<\/stage_direction>\n    <scene_description>The '83 Hurst Olds...the car my daughter never got to drive, rolls through the streets of downtown like something scorned. This spectral wraith...blackened and burned but not beaten. Find yourself cruising the seedier section of downtown L.A. Looking for two men you've never met... ...Two men who took everything from you. ...Two men that must be made to pay.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - LATER<\/stage_direction>\n    <scene_description>Park. Climb out. You're on the outskirts of downtown near the dreaded Dogtown projects. Start walking. This strong, steady, unhurried stride. Looking for trouble and letting your surroundings know... ...it doesn't take long to find you... THREE THUGS start shadowing me from the opposite side of the street. They mirror me for one block, then another. I can hear them conspiring. Heated whispers from a moving huddle. One of them crosses at an angle designed to cut off my path.<\/scene_description>\n    <character>HOOD #1<\/character>\n    <dialogue>Wassup holmes!?<\/dialogue>\n    <scene_description>Look over. Casual. Keep my stride the same. He picks his up.<\/scene_description>\n    <character>HOOD #1<\/character>\n    <dialogue>Orale Gavacho!? If y'lookin' for ass, you on the wrong track holmes. The bitches don't stroll down here.<\/dialogue>\n    <scene_description>One of the HOODS drops back, crossing the street directly behind me. The other one runs ahead and then across the street, thirty or so yards in front of me. A series of shuttered businesses and burned out storefronts blocks any escape to my right.<\/scene_description>\n    <character>HOOD #1<\/character>\n    <dialogue>Y'look lost holmes.<\/dialogue>\n    <scene_description>He's close now. I can make out his features. A meth-scabbed wannabe Vato white kid with fraying cornrows.<\/scene_description>\n    <character>HOOD #1<\/character>\n    <dialogue>Y'get fucked up out here, y'lose your way ese.<\/dialogue>\n    <scene_description>Up the block, his buddy approaches. The other is rushing up behind, launching their low-grade, ghetto-level Pincer move. Wait for that familiar surge of fear to seize hold...for the panic that constricts your insides like a chokehold... ...but it never comes. --you smile just as you're hit flush from behind at full speed, a form tackle hard enough to jar your vision and empty your lungs. ...it's okay...don't resist... The other two rush in with frenzied, hyenic glee, pouncing and pounding and braying. ...you're not afraid... Cornrows boot stomps the back of your neck, sending a stinger along your spine. ...they can't hurt you... One of them misses with a punch and trips, slamming his fist into the sidewalk and landing near your boot heel. His face is right there. You kick out hard and feel a sickening, pleasing crunch. He squeals a mouthful of blood as it ruptures from his crushed nasal cavity.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..BUT YOU CAN HURT THEM...<\/stage_direction>\n    <scene_description>Another punch wings me. Then another. My stitches snap. I feel fresh blood flow, collecting in my brow and draining down the inside of my nose. I lunge for a disembodied leg and bite down. I gnash my teeth and pull, jaw-locked-terrier-tight as I thrash my head madly. A frenzied, caterwauling SCREAM erupts from above. Blood fills my mouth with the taste of dirty pennies. I spit. Cornrows VOICE climbs in shrill octaves as he realizes that I'm getting back on my feet. He rushes in with a flailing barrage of windmill punches, thrown wild and off balance. I see it like it's happening in slow-motion and slip the attack, letting his momentum take him past me, then without even realizing it, my left hand lashes out in short, sharp, snapping jab that craters the side of his face. He crumbles. My right hand feels for the steel on my waist, cold and true and pulls it-- --Cornrows looks up and finds himself staring down the business end of my brother Frank's Sig-Sauer P229. The two other Thugs abandon their aggression altogether and go stock still. Hands hovering, half-raised. I thumb the pistol's hammer back as punctuation. Cornrows cups his bleeding ear as he staggers to his feet, beaming this shit-scared, bug-eyed boggle up at me that looks like begging. I feel my heart pounding in my ears. The adrenaline surge fires through me in a way I've never experienced. I just beat them...and it feels fucking good. Then A VOICE issues forth from me...One that I have no recollection of ever constructing much less hearing...<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>...I could murder all three of you motherfuckers right now and not a single soul would miss you.<\/dialogue>\n    <scene_description>I tighten my finger over the trigger. The Thug directly behind me bolts back up the sidewalk in full flight. The other one flees as well. I glower at Cornrows. I want to see his will wilt completely. ...there's no one around... I scan the street for witnesses before I shift my stance, set my weight...and prepare to shoot him. ...do it... Cornrows turns and sprints away as I lick the gathering blood off my upper lip and fight the urge to blast him in the back. He clips the curb and spills to the sidewalk but pops up limping a second later, in visible pain but putting as much distance on me as possible. I keep my aim on him until he disappears down the block.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. OLDSMOBILE - NIGHT<\/stage_direction>\n    <scene_description>Park it a few streets over from Frank's house. Tarp in the trunk. Pull it overtop so neighbors can't eyeball the damage. Check my surroundings. Clear. Check my watch: 4:07am.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANK KERSEY'S HOME - DEN - EARLY MORNING<\/stage_direction>\n    <scene_description>House silent. Everyone still asleep. I slip quietly inside the den, replace the Sig-Sauer in the safe and lock it. My hand is still shaking...I stare at it until it stops.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUEST ROOM BATHROOM - LATER<\/stage_direction>\n    <scene_description>Check my reflection. Nearly healed wounds have been reopened. A careful mesh of medical stitches above my left eyelid has torn. Reach up. Pinch the frayed piece between your fingers and slowly pull, drawing the stitching back out of your brow. Wipe the blood off with a handful of toilet paper. Flush. Another stitch has been ripped free along your jaw, just beneath your right ear. Remove it. The stitches unspool slowly, pleasingly. It doesn't hurt... ...and you don't want these wounds to heal. Prescription meds line the sink basin, three deep. Grab the trash bin off the floor and toss out every last bottle. FADE OUT: FADE UP ON:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KECK HOSPITAL - THE NEXT MORNING<\/stage_direction>\n    <scene_description>Walk into the Admittance area. Whiplash doubles-takes turn into triple-takes from passing staff.<\/scene_description>\n    <character>MAN IN SCRUBS<\/character>\n    <dialogue>--hey, that's--<\/dialogue>\n    <character>NURSE<\/character>\n    <dialogue>--oh my God--<\/dialogue>\n    <scene_description>No one recognizes my new face. I try to smile to remind them that it's me...but who I am now is nothing like they remember This procession of shocked-to-somber faces and sudden tears as co-workers and colleagues fill the halls to greet me. I tune out their sympathies while absently allowing for them. This bullshit sense of 'shared grief' that I go along with. I return embraces warmly, reassure old friends and do my best to hide my emerging self...determined to conceal the violence coursing through me. Janine is standing in front of me now. A weak smile and wiped tears as she loops her arms around my neck. I pull her in tight and inhale her.<\/scene_description>\n    <character>JANINE RAY<\/character>\n    <parenthetical>(whimpering, faint)<\/parenthetical>\n    <dialogue>...I'm so sorry Paul. So, so sorry...<\/dialogue>\n    <scene_description>Hold her a little longer.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>...it's ok...I'm gonna be ok...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BREAKROOM - NIGHT<\/stage_direction>\n    <scene_description>Janine sits across from me. Tentative. Fingers tented. Her brow knits at the awkward silence stretching out between us. I see no reason to fill it...finally:<\/scene_description>\n    <character>JANINE RAY<\/character>\n    <dialogue>There was press all over the place for awhile.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I imagine there was.<\/dialogue>\n    <character>JANINE RAY<\/character>\n    <dialogue>Honestly, to look at you, you could've walked right in here past them. I barely recognize your face from before...<\/dialogue>\n    <scene_description>She reaches out and brushes my hair back.<\/scene_description>\n    <character>JANINE RAY<\/character>\n    <dialogue>...you look so different.<\/dialogue>\n    <scene_description>She's suddenly self-conscious and draws her hand away.<\/scene_description>\n    <character>JANINE RAY<\/character>\n    <dialogue>So how are you holding up? I mean, I know that sounds--<\/dialogue>\n    <scene_description>(shakes her head as if correctly herself --but in terms of, just physically, recovery-wise, how you doing? PAUL KERSEY I've still got some stitches, some pain, swelling...stuff that'll become chronic over time.<\/scene_description>\n    <character>JANINE RAY<\/character>\n    <dialogue>They put you on some good meds?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>They did. I got rid of them.<\/dialogue>\n    <character>JANINE RAY<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I wasn't feeling it.<\/dialogue>\n    <character>JANINE RAY<\/character>\n    <dialogue>It?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>The loss. The totality of it all.<\/dialogue>\n    <scene_description>Janine nods, looking down at the table top.<\/scene_description>\n    <character>JANINE RAY<\/character>\n    <dialogue>Do you think that's-- I mean, I'm not questioning that or saying you're wrong but why do that to yourself? Why dwell in that?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>It would feel fake not to. Like I wasn't honoring them. Audrey and Amanda, and I'm not gonna do that. I'm not gonna go through this doped up-- in disguise...that make sense?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>At the same time, I don't want to come back here and endure these endlessly sad faces, people worried about what to say to me.<\/dialogue>\n    <character>JANINE RAY<\/character>\n    <dialogue>Yeah but you can't-- no one knows what to say after something like this Paul. Look, I'm tongue-tied just sitting here, talking to you now. It's beyond words, it's beyond anybody's ability to express grief or, sympathy-- y'know?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I just don't want to have to deal with all that right now.<\/dialogue>\n    <character>JANINE RAY<\/character>\n    <dialogue>Are they requiring that you attend any type of therapy?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>How did you know?<\/dialogue>\n    <character>JANINE RAY<\/character>\n    <dialogue>Friend of mine was mugged, she was a third year emergency room resident and they made her do some therapy sessions before she was cleared to return to work.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>They're 'requesting' that I go but it doesn't feel like I'm being given much of a choice.<\/dialogue>\n    <character>JANINE RAY<\/character>\n    <dialogue>Would you skip it if you could?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I need to fix some things Janine. On my own, by myself.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I need to make some things right.<\/dialogue>\n    <character>JANINE RAY<\/character>\n    <dialogue>Then you should Paul.<\/dialogue>\n    <parenthetical>(puts her hand over mine)<\/parenthetical>\n    <dialogue>You should take care of the things that need taking care of.<\/dialogue>\n    <scene_description>...She has no idea.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTOWN L.A. - NIGHT<\/stage_direction>\n    <scene_description>Rolling east on Olympic. The walled manses and manicured lawns give way to creeping industrial decay and ramshackle single level businesses and homes. Pre-Prowl. Cruising. Looking for a place to bunk down and disappear.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL - NIGHT<\/stage_direction>\n    <scene_description>Ease the '83 Olds into the parking lot of long forsaken and forgotten, pre-War, bungalow-style hotel block. An ancient neon sign radiates: 'VACANCY.'<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL\/BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>A dingy, rundown room. Paint-chipped plaster, rotted with age, swollen with water damage. Linoleum floors ripped up to the foundation. A kitchenette with a partially plugged sink. A gas stove-top missing all four grates. The shower has gone green with mildew. The broken toilet bowl is bone-dry I toss my duffel bag down on an abused-looking bed. Home.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MTA STATION - NIGHT<\/stage_direction>\n    <scene_description>Hop the MTA Train in Little Tokyo, East to Maravilla Station. A crew of Cholos have commandeered the far end of a mostly empty car. Chinos. Wife-beaters. The tattoos tell me they're 'White Fence' gangbangers. They mad-dog me. Hate glares aimed my way. Splif smoke wafts up. I stare back. Dead-eyed. They make me for crazy and ignore me until they empty at the next stop. There is a stagnant, stifling quality to me as a person now but I enjoy the edge it affords...the enmity...it's freeing. I jump off at Maravilla station. It's nearly midnight.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. METRO BUS - NIGHT<\/stage_direction>\n    <scene_description>Late night and the bus is nearly at capacity. Condensation from heat and sweat collects and beads off the windows. Knit cap pulled tight. Hood up. Head down. Staring at my bandaged\/taped fingers...Boxer's hands I haven't earned. I disembark the bus and start walking through South Central, Los Angeles. A white face at this hour, this far south, glows like a Martian's and says one of two things...Cop or Crazy.<\/scene_description>\n    <character>DR. REDMOND (V.O.)<\/character>\n    <dialogue>...there's certainly a percentage of people who don't see the need for counseling or therapy after a horrible tragedy such as this...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THERAPIST'S OFFICE - DAY<\/stage_direction>\n    <scene_description>DR. REDMOND, a polite, left-leaning, academic-looking sort sits across from me. He's maybe mid-40's, maybe older. He hasn't given me his first name...I doubt he will.<\/scene_description>\n    <character>DR. REDMOND<\/character>\n    <dialogue>...but that's not you.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I can't say yet.<\/dialogue>\n    <character>DR. REDMOND<\/character>\n    <dialogue>Does it put you off at all? The hospital mandating these visits?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>DR. REDMOND<\/character>\n    <dialogue>Why? If I can ask.<\/dialogue>\n    <scene_description>...don't let him dissect you...<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>It implies damage.<\/dialogue>\n    <character>DR. REDMOND<\/character>\n    <dialogue>Damage? To you?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>To me. Emotionally. Mentally. It also suggests some basic failure that would make me unfit.<\/dialogue>\n    <character>DR. REDMOND<\/character>\n    <dialogue>To return to work?<\/dialogue>\n    <scene_description>Nod along. Keep him appeased.<\/scene_description>\n    <character>DR. REDMOND<\/character>\n    <dialogue>And that's something that's important to you? Your work?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>It's what I've done for nearly twenty years.<\/dialogue>\n    <character>DR. REDMOND<\/character>\n    <dialogue>Certainly but is it important to you? To your well-being? To your emotional state?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Work in general is important to me right now...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 'GUN RANGE' - SOUTH CENTRAL L.A. - NIGHT<\/stage_direction>\n    <scene_description>Feel the 9mm pistol as I squeeze the trigger. Zero recoil. I'm the sole shooter on this ghetto gun range, secreted from the cops on an abandoned cul-de-sac.<\/scene_description>\n    <character>DR. REDMOND (V.O.)<\/character>\n    <dialogue>...how so?<\/dialogue>\n    <scene_description>A series of strung-together shower curtains denote firing lanes, surplus sandbags from the DWP are stacked twelve feet at the back of the alley to absorb bullets.<\/scene_description>\n    <character>PAUL KERSEY (V.O.)<\/character>\n    <dialogue>To occupy the mind, the spirit...<\/dialogue>\n    <scene_description>Henry, my new protector\/purveyor has brought me. Homeboys and hood rats congregate...but my emerging madness gives me the gravitas of a hand grenade...and they refuse to fuck with me.<\/scene_description>\n    <character>PAUL KERSEY (V.O.)<\/character>\n    <dialogue>...to give purpose and drive.<\/dialogue>\n    <scene_description>Reload. Resume my stance. Fire a full clip into the target.<\/scene_description>\n    <character>DR. REDMOND (V.O.)<\/character>\n    <dialogue>Can I ask you to elaborate?<\/dialogue>\n    <scene_description>Bring the target forward hand-over-hand on the jerry-rigged conveyor of clothes-lines.<\/scene_description>\n    <character>PAUL KERSEY (V.O.)<\/character>\n    <dialogue>Elaborate on...?<\/dialogue>\n    <scene_description>Center mass shots. Chest and sternum. Perfect spacing.<\/scene_description>\n    <character>DR. REDMOND (V.O.)<\/character>\n    <dialogue>That. That sense of direction and drive. I'd really like to hear what those things mean to you...<\/dialogue>\n    <scene_description>Hang the line with a new silhouette. Send it down range. Extend your arm. Sight down the target. Aim. Squeeze. FIRE. SMASH RETURN TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THERAPIST'S OFFICE - CONTINUOUS<\/stage_direction>\n    <scene_description>Don't respond. Smile. Mask yourself from him.<\/scene_description>\n    <character>VOICE (V.O.)<\/character>\n    <dialogue>The H&amp;K 9 mil model's a flat badass gun...<\/dialogue>\n    <scene_description>CUT BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 'GUN RANGE' - LATER<\/stage_direction>\n    <scene_description>Standing at a picnic table\/sales counter listening to GLEN 'G- BO' TATUM, mid-20's, whip smart and built like a butcher's block. We're looking over ordnance: A half-dozen handguns of different makes and manufacturers, arranged in front of me.<\/scene_description>\n    <character>G-BO<\/character>\n    <dialogue>...that's the official sidearm of the Bundeswehr, which is German Special Forces. You shot one?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I have. I like it.<\/dialogue>\n    <character>G-BO<\/character>\n    <dialogue>H&amp;K also make a .40 caliber and .45 ACP version but if a short recoil is what you like, stick with the 9.<\/dialogue>\n    <scene_description>Pick up the pistol. Let my fingers settle over the grip.<\/scene_description>\n    <character>HENRY<\/character>\n    <dialogue>G-Bo did-- what dog? 2 tours? 3?<\/dialogue>\n    <character>G-BO<\/character>\n    <dialogue>Three and a half. Force Recon, 33rd Marine Expeditionary Unit. Sixteen months in Baghdad as a street sweeper, Another seven in 'Asscrapistan' spelunkin' caves, huntin' 'skinnies.'<\/dialogue>\n    <scene_description>I nod my show of appreciation for his military service.<\/scene_description>\n    <character>G-BO<\/character>\n    <dialogue>Listen, I just picked up this USP ELITE 9mm Parabellum last week that's just cuts dead to target...<\/dialogue>\n    <parenthetical>(lifts weapon off table)<\/parenthetical>\n    <dialogue>...beautiful lil' gun. My cold shot double tap was spaced--<\/dialogue>\n    <parenthetical>(indicates with fingers)<\/parenthetical>\n    <dialogue>--'bout this far apart.<\/dialogue>\n    <scene_description>Take it from him. It feels good in your hand. Lighter than Frank's version of the same gun. G-Bo indicates features:<\/scene_description>\n    <character>G-BO<\/character>\n    <dialogue>Finger recesses right here in the grip frame, tapered magazine for faster reloading and this model is fixed with a LEM trigger variant--<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>And that's what exactly?<\/dialogue>\n    <character>G-BO<\/character>\n    <dialogue>'Law Enforcement Modification.' It ain't considered street carry but if you're just shredding paper with the shit--<\/dialogue>\n    <parenthetical>(as he smiles broad)<\/parenthetical>\n    <dialogue>--I can't see the harm.<\/dialogue>\n    <parenthetical>(now, the sales pitch)<\/parenthetical>\n    <dialogue>Now normally, gun with these specs run y'upwards of 2k, easy. Since you appear to be a responsible, straight-laced, professional type, I'll go eighteen-hundo for the 9mm.<\/dialogue>\n    <scene_description>I spot an odd looking, revolver-style pistol in his gear bag.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>What's that one there?<\/dialogue>\n    <scene_description>G-Bo beams 'proud papa' as he retrieves the gun from his bag.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Y'like that? That's the Rhino .357 Magnum Revolver. Odd lookin' lil' muthafucka but my boy here bangs. I got a six-inch in my trunk. This is the three-inch for concealed carry, fires from the bottom barrel, so it 'centers' the recoil in your hand and make your follow up shots fast and accurate as fuck.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>What's it run?<\/dialogue>\n    <character>G-BO<\/character>\n    <parenthetical>(nods to Henry)<\/parenthetical>\n    <dialogue>Since my man Henry steered you right, I'll go $850.00<\/dialogue>\n    <scene_description>Remove my money clip deliberately.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>And for both?<\/dialogue>\n    <scene_description>G-Bo fixes a Pavlovian-like stare on me as I count out bills.<\/scene_description>\n    <character>G-BO<\/character>\n    <dialogue>Knock another $150 off and toss in two boxes of Super X Silvertip and a box of German BAT ammo, pure hollow-point round, very rare and hard to find. $2500 out t'door.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>And isn't there a 'waiting period' on a handgun purchase?<\/dialogue>\n    <scene_description>G-Bo flashes me a big gold-plated grin.<\/scene_description>\n    <character>G-BO<\/character>\n    <dialogue>Fifteen days mandated by law but...<\/dialogue>\n    <scene_description>Return his grin with my own. Henry passes out cans of beer.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>...but?<\/dialogue>\n    <character>G-BO<\/character>\n    <dialogue>There are ways around that Mr. Kersey.<\/dialogue>\n    <parenthetical>(nodding to my money clip)<\/parenthetical>\n    <dialogue>Hundreds of ways.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JERRY'S FLYING FOX RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Henry and I are at a booth in a divey, cracked-leather, soul food spot off Martin Luther King and Crenshaw Blvds.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <parenthetical>(between mouthfuls)<\/parenthetical>\n    <dialogue>I finally feel hungry.<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>I would've taken you to a Taqueria I know in Boyle Heights, La Estrella, hands down, best tacos in L.A., best ever but they're closed.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And I never get to grub on soul food. My ex was a homegirl, lived up off of Crenshaw and 57th, Park Mesa Heights, not that far from here. She used to make the baddest shit, BBQ Okra, braised collard greens, best fried chicken on the planet. I mean it was all fat and grease but somehow--<\/dialogue>\n    <parenthetical>(pats his substantial gut)<\/parenthetical>\n    <dialogue>--I didn't mind that much.<\/dialogue>\n    <scene_description>I find a smile for that and take a big draw off my bottle of Bud. Henry has a question he's keeping to himself. I take another bite, wait for him to ask it and when he doesn't--<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>--I don't want you to worry about this Henry, what you did for me, setting this up tonight. It won't come back on you.<\/dialogue>\n    <scene_description>Henry nods...I watch him for a moment...now I know.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>But that's not what you're worried about, is it?<\/dialogue>\n    <scene_description>Henry glances up from his food, wiping his mouth.<\/scene_description>\n    <character>HENRY<\/character>\n    <dialogue>Worried about where you're going Mr. Kersey...and how it all ends.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>How what ends?<\/dialogue>\n    <scene_description>Henry sets his fork down, wipes his massive hands, threads them together, leans on his elbows and looks over at me.<\/scene_description>\n    <character>HENRY<\/character>\n    <dialogue>Y'know my brother Leonard barely made it to 20. Thug shit, like our old man, old Veterano, 'Hazard Grande'...We grew up in City Terrace, Ramona Garden housing projects, so our whole life was a hustle. Y'gotta lay on armor early, get mean young, live in the hood.<\/dialogue>\n    <parenthetical>(beat, sips beer)<\/parenthetical>\n    <dialogue>Leonard was jumping cats, rival Klikas, doin' beatdowns and strong arms, time he was eleven years old. Killed his first man at twelve, killed five more men 'fore he turned eighteen...and if my mother said this once, she said it a hundred times about my brother. 'Ese chico lleva la muerte.'<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>'That boy carries death.'<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>He was killed when I was ten years old but I remember exactly how it felt to be around him as a kid and I had forgotten about that feeling until the other night.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>What 'other night'?<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>When I found you at your house Mr. Kersey. S'the first time in almost twenty-five years that I felt my brother Leonard. That I remembered that thing about him, that dread. That terror he had to him, the sense that at any second, shit could just explode.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>'Ese chico lleva la muerte.'<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>It's all over you too. You carry it the way my brother did.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Do you believe in vengeance Henry?<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>We build shrines to it in the hood. Revenge is a religion.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But I fell from that faith--<\/dialogue>\n    <scene_description>--Henry rubs his knuckles where those tattoos were taken off--<\/scene_description>\n    <character>HENRY<\/character>\n    <dialogue>--and don't worship the way I did.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>So what would you do--?<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>--I'd want 'em dead.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I didn't ask what you wanted, I asked what you'd do.<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>You're gonna get caught or you're gonna get killed Mr Kersey.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Why do you say that?<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>Because you don't give a shit. You want blood.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>You see that?<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>That's all I can see.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>That's all there is. That's the only thing I think about or feel.<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>Then hide it.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I have been.<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>Do a better job.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KECK HOSPITAL - OFFICE - DAY<\/stage_direction>\n    <scene_description>Dumping dated mailers and trade publications into the trash. Straightening up my office after more than a months long absence. A KNOCK behind me. I turn. Frank. ...fuck... Try to keep cool-- remember Henry's admonishment.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Where you been!?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I got a place downtown. Hotel.<\/dialogue>\n    <parenthetical>(off his look)<\/parenthetical>\n    <dialogue>'Dark cloud' man, c'mon, you don't want that around your family.<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>You are my family.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I'm doing you a favor right now.<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Where are you staying?<\/dialogue>\n    <scene_description>He's nosing around now. The detective in him can't help it.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I told you, I'm downtown. It's nice. Let's me be alone, spend some time sorting things out.<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>I disagree with that.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>And I respect that but it's what I need right now. I'm seeing a therapist through work and I feel like I'm-- starting to put it back together, it's, a battle, but...<\/dialogue>\n    <scene_description>...trying to bait him off topic. It doesn't work.<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>How you getting around?<\/dialogue>\n    <scene_description>No way you can duck the question, so use your answer to divert him off.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>The 'Olds. Mandy's car.<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>You went back to the scene?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I went back to my house Frank.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>The car was all that was left.<\/dialogue>\n    <scene_description>Watch Frank feel some sense of shame for saying 'scene.'<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>I'm worried about you.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I know you are but I'm fine.<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>I don't believe that Paul.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>You don't have to but I promise, I'm doing my best and-- that's it Frank...I'm doing my best.<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Well, can we get you back over to the house for dinner soon?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>Frank's eyes still roam around my office...searching.<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>When?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I don't know, I'm gonna pull some extended shifts, keep my myself busy for awhile.<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Maybe we can go shoot too, huh?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Hmm?<\/dialogue>\n    <parenthetical>(shit-- recover)<\/parenthetical>\n    <dialogue>Oh, yeah-- yeah, I'd like that.<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>You been out since? Since we went?<\/dialogue>\n    <scene_description>Lie.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>No, so it'd be good to get out again. Maybe we can hit the range later this week, then grab dinner.<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Ok. Call me tomorrow then.<\/dialogue>\n    <scene_description>Initiate the hug between you two.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Thanks for checking up on me.<\/dialogue>\n    <scene_description>Then, as you break--<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>--You didn't ask me about the case.<\/dialogue>\n    <scene_description>My brother is concerned but the cop bluffs to see if I bite.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>If you haven't told me anything by now, then there's nothing to tell.<\/dialogue>\n    <scene_description>SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INDUSTRIAL SHOOTING RANGE - NEAR SAN PEDRO - NIGHT<\/stage_direction>\n    <scene_description>Blasting the middle out of a silhouetted target with the USP ELITE 9mm. Perfecting the combat reload. Getting fast and fluid with this gun. The .357 is next. Leave the target hung up. Load. Extend. FIRE. Four out of five shots strike the face and head.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. METRO BUS - NIGHT<\/stage_direction>\n    <scene_description>Back on the bus. Eavesdropping on urban drama: A young PROSTITUTE cowers in the corner at the rear, being verbally berated and abused by a hulking PIMP. The girl has a horribly split lip and recent bruising around her eyes, blood-mixed-with-mascara. She's been beaten before...she'll get beaten again.<\/scene_description>\n    <character>PIMP<\/character>\n    <dialogue>--getcha shit on lock Trick then I ain't gotta get in that ass!<\/dialogue>\n    <scene_description>She nods obedient, shrinking further into her seat.<\/scene_description>\n    <character>PIMP<\/character>\n    <dialogue>...y'ain't got the legs f'runnin' from me bitch! Ain't no point. I find you, then we back, doin' this same ol' bullshit, I gotta tighten y'ass up, put my goon hand down.<\/dialogue>\n    <parenthetical>(grabs her for emphasis)<\/parenthetical>\n    <dialogue>Y'ain't got the legs to run! Y'hear what the fuck m'sayin to you!?<\/dialogue>\n    <scene_description>I watch without realizing I'm staring, then--<\/scene_description>\n    <character>PIMP<\/character>\n    <dialogue>--y'best cut your eyes and get'm off my business muthafucka--<\/dialogue>\n    <parenthetical>(growling aggressive)<\/parenthetical>\n    <dialogue>--Fuck y'lookin' back here fo'?<\/dialogue>\n    <scene_description>...he's talking to you...keep staring. He stands. 6'5 maybe 350 and lumbers up the aisle toward me. Built like a bull elephant. Big, over-sized fists flexing. He's got something metal in his hand, could be a knife--<\/scene_description>\n    <character>PIMP<\/character>\n    <dialogue>--If it ain't one bitch I got t'get right, it's another.<\/dialogue>\n    <scene_description>Ten feet away from me and I've still said nothing. ...I don't have to... The .357 leaps out of my coat pocket FIRING. The Pimp's right knee denotates-- flying apart like a blown tire. He grunts his surprise at being shot. I pull my aim and put two more rounds into his left thigh. The BUS DRIVER HEARS the shots and slams on the brakes, sending us sidelong into a rough, shuddering skid. The slingshot of the sudden momentum shift and the loss of both legs claims the pimp in this ugly, lurching collapse as he timbers into the aisle, the shock now engulfing him in full in the form of halting, hyperventilated SHRIEKS. The Driver and two other PASSENGERS abandon the bus. I stand overtop of the pimp, brandishing the smoking .357. The young prostitute gapes up at me from the back of the bus, unsure of my intentions... ...I flash her what humanity remains in me.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Go.<\/dialogue>\n    <scene_description>She does. Dumping her heels in favor of stocking feet and fleeing. I lean over the downed pimp as I pass and deliver the following just loud enough for him to hear:<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Now you ain't got the legs to run.<\/dialogue>\n    <scene_description>I step off the bus, stuff my hands in my pockets and set a brisk stride, walking west.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL - OUTSKIRTS OF DOWNTOWN L.A. - MORNING<\/stage_direction>\n    <scene_description>The sunrise is just beginning to rim the skyscrapers of downtown...just after dawn and the streets are still quiet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL - MOMENTS LATER<\/stage_direction>\n    <scene_description>Store both guns in an ancient, key-punched hotel safe. Empty your pockets of ammo: Two speedloaders and two 9mm mags. Close the safe. Yank the handle hard to ensure it's locked. Flip on the battered, wall-mounted Zenith. Tune to the K-Cal local morning show. News update. Top of the hour...no mention of the bus shooting. Tune to another station. Again, no mention. A third station-- wait, the newscaster in mid-report-- A CHYRON GRAPHIC depicts a mugshot of the pimp with the heading: 'FUGITIVE SHOT ON BUS'...crank the volume up.<\/scene_description>\n    <character>NEWSCASTER (ON SCREEN)<\/character>\n    <dialogue>--ay was considered a dangerous fugitive and was wanted by the both the local police and the Los Angeles County Sheriff's department for outstanding warrants stemming from a 2009 domestic violence incident and the unrelated murder of a Torrance man from 2011...<\/dialogue>\n    <scene_description>Footage from the bus...A CCTV CAM. The image is pixelated and distorted. I'm too far down the aisle to be accurately ID'ed.<\/scene_description>\n    <character>NEWSCASTER (ON SCREEN)<\/character>\n    <dialogue>...Tremay was taken to White Memorial Medical Center for treatment and will be transferred to the LA County Correctional facility to await arraignment...<\/dialogue>\n    <scene_description>The pimp approaches me in time lapsed single frames, a muzzle flash, then he's down. The bus driver and passengers flee. I exit a few frames later.<\/scene_description>\n    <character>NEWSCASTER (ON SCREEN)<\/character>\n    <dialogue>...the gunman remains at large and police are asking anyone with information about this incident to contact the LAPD's Crime Hotline at 800-222-8477.<\/dialogue>\n    <scene_description>Feel this flood of satisfaction for the first time in forever. This sense that I did something, stopped something. That I turned violence on violence for a greater good.<\/scene_description>\n    <character>DR. REDMOND (V.O.)<\/character>\n    <dialogue>...I'm sensing this shift in you Paul...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THERAPIST'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Back on the couch. A stern Dr. Redmond methodically fills a steno pad with notes and 'observations' on me.<\/scene_description>\n    <character>DR. REDMOND<\/character>\n    <dialogue>...since our last session, you seem to be developing this 'distance.'<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I wasn't aware of that.<\/dialogue>\n    <character>DR. REDMOND<\/character>\n    <dialogue>Do you feel engaged? Sitting here? Discussing this with me?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Honestly, I feel indifferent.<\/dialogue>\n    <character>DR. REDMOND<\/character>\n    <dialogue>To therapy?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>At the moment, yeah.<\/dialogue>\n    <character>DR. REDMOND<\/character>\n    <dialogue>So, you don't see the benefit?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I didn't say that. I've advocated it for people in the past, I believe in it but in this instance, it isn't specific enough for me.<\/dialogue>\n    <character>DR. REDMOND<\/character>\n    <dialogue>How so?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Are you opening up my head and examining what's inside?<\/dialogue>\n    <character>DR. REDMOND<\/character>\n    <dialogue>In a manner of speaking, yes I am.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>When I open someone up, it's not in a manner of speaking, it's with a scalpel and I see everything not the 'imagined' or 'perceived' damage but the actual bullet that punched through some kid's back and is now embedded in his spine.<\/dialogue>\n    <scene_description>DR. REDMOND So you don't believe I have the ability to diagnose you? PAUL KERSEY I think in my situation a dart board would work just as well because you'd be basing a diagnosis on what you think because it's impossible to see. DR. REDMOND What I see is a man in great pain. What I see is a professional ego that won't allow itself any assistance but as a trauma surgeon you should recognize your situation for exactly that. A man afflicted. Traumatized-- PAUL KERSEY --bullshit. That's assumption. Someone's personal pain. 'Well I know how I'd feel, so they must feel the same. No. You don't. You can't-- You cannot know the true measure of yourself as a man until you've been to the very brink. To the very edge, of the end, of your life. Till you're all but blind and breathing blood and your body is shutting down...until then, you don't know a fucking thing, about who you truly are. DR. REDMOND And who are you, truly? PAUL KERSEY I know who I'm not. DR. REDMOND Who's that? PAUL KERSEY Paul Kersey. Husband and Father. That man is no more.<\/scene_description>\n    <character>DR. REDMOND<\/character>\n    <dialogue>Meaning?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Meaning he didn't survive...Listen, I could sit here and go on and on about 'recovery' and 'getting my life back together' but that life is gone. It was leveled and there's nothing left standing.<\/dialogue>\n    <character>DR. REDMOND<\/character>\n    <dialogue>You're still standing.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>But for what? Pity? Loss?<\/dialogue>\n    <parenthetical>(beat, teeth clench)<\/parenthetical>\n    <dialogue>How 'bout reprisal? Retribution?<\/dialogue>\n    <scene_description>...how about revenge...<\/scene_description>\n    <character>DR. REDMOND<\/character>\n    <dialogue>Is violence met with violence your answer?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Is fighting fire with firewood yours?<\/dialogue>\n    <character>DR. REDMOND<\/character>\n    <dialogue>What does the Avenger do, if not abdicate life for death? Abandon the present for the past? Where is his mercy and compassion?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>White flags. Tools of the weak.<\/dialogue>\n    <character>DR. REDMOND<\/character>\n    <dialogue>Where is his forgiveness?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>You listen to the sounds of your family being raped and murdered right above you, then, by all means, feel free to lecture me on the finer points of forgiveness.<\/dialogue>\n    <character>DR. REDMOND<\/character>\n    <dialogue>Paul, all I'm trying to do here is help heal what I see as--<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>--there is nothing to heal.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>We're all so fucking fixated on mending and healing that we fail to see the power that can be derived from devastation. From being completely destroyed...That's where strength comes from. From the ability to rebuild and remake yourself. Nature does it all the time. A white dove dies out from smoke stack pollution during the industrial revolution and its entire population is reborn black as night and they thrive.<\/dialogue>\n    <character>DR. REDMOND<\/character>\n    <dialogue>Is that what you've done? Rebuilt yourself?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>That's what I'm doing because of what was done. To me.<\/dialogue>\n    <character>DR. REDMOND<\/character>\n    <dialogue>So if I'm not sitting with you, Paul. Who am I sitting with?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Who are you?<\/dialogue>\n    <scene_description>Think but don't say...black as night and thriving.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANK KERSEY'S HOME - NIGHT<\/stage_direction>\n    <scene_description>Frank answers his ringing house phone.<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>DR. REDMOND (V.O.)<\/character>\n    <dialogue>Mr. Kersey?<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>DR. REDMOND (V.O.)<\/character>\n    <dialogue>This is Philip Redmond, I'm a occupational therapist with Keck--<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>--yeah, yes.<\/dialogue>\n    <character>DR. REDMOND (V.O.)<\/character>\n    <dialogue>--Your brother Paul has been coming to see me, it was a hospital requirement in order to--<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>--Yeah, he mentioned he was doing therapy. Is everything alright?<\/dialogue>\n    <character>DR. REDMOND (V.O.)<\/character>\n    <dialogue>There's nothing wrong per say and I don't want to be an alarmist here, your brother is clearly dealing with a tremendous amount of emotional turmoil and anger but I'm hearing things from him, things he's saying in session that are of, concern to me...<\/dialogue>\n    <scene_description>SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EMERGENCY ROOM - DAY<\/stage_direction>\n    <scene_description>EMT's plow in with a gurney, post haste. The victim has been I-V bagged and put on a respirator. One of the PARAMEDICS feeds back incident particulars--<\/scene_description>\n    <character>PARAMEDIC<\/character>\n    <dialogue>--This is Clemons Eppert, 32, white male, he's a suspected mugger and was stabbed in a street altercation, weapon was a linoleum tile cutter--<\/dialogue>\n    <scene_description>The Trauma unit mobilizes around him. Surgical shears cut away his blood-sodden shirt.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Awww-- he's a mess.<\/dialogue>\n    <scene_description>Too many voices start competing. Too many people pinballing off one another. Commotion that requires clarity.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Hey! Listen up please, if you're not part of the trauma service, not a nurse helping out, not blood bank, not radiology, then I need you behind the red line or emptying out of this room, right now! ONE VOICE! Mine. Listen to it.<\/dialogue>\n    <scene_description>Scan the victim's injuries and make surgical assessments.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Multiple thoracic and mid-thoracic puncture-style wounds, looks like a a massive amount of tissue damage to the anterior mediastinum, internal bleeding and a hem--<\/dialogue>\n    <character>ATTENDING NURSE<\/character>\n    <dialogue>--we need a chest tube set up!<\/dialogue>\n    <scene_description>SEE IT-- his right index finger: STANFORD '91. My class ring. Look back at Epperts. He's black. It's not him. ...He wasn't one of them.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>--let's get him off the litter and onto the table--<\/dialogue>\n    <scene_description>I move to the Eppert's side, near that hand as the EMT's bookend him top and bottom--<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Lift him up in 3-2-1--!<\/dialogue>\n    <scene_description>--Hoist him up-- and slip my ring off his finger. The heartbeat and respiration monitors begin sounding 'failing vitals' klaxons as the patient abruptly flat-lines.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Crash cart! C'mon! C'MON GUYS!<\/dialogue>\n    <scene_description>The Defib cart is wheeled in. The paddles are charged with a pitched electrical whine and FIRED. Eppert's body leaps with the surge of voltage but he remains non-responsive. The Defibrillator is recharged and Epperts is jolted again. I press two fingers to his carotid and find no pulse.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Hit him again!<\/dialogue>\n    <scene_description>The whine. The charge. The paddles discharge... ...nothing. I begin working on him furiously. Doing rapid chest compressions in concert with the Defib paddles. Determined to save this man if for no other reason than to acquire answers. The flatline drones on. I work in spite of it. SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCRUB ROOM - POST SURGERY - DAY<\/stage_direction>\n    <scene_description>Staring at my Stanford ring as I pull Detective Raines business card from my wallet and grab my cellphone, dialing. Something stops me mid-dial and I disconnect the call. Thinking this through as my finger hovers over 'redial'... I finally pocket my cellphone as I tear up Raines' business card and toss it into the trash.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ADMITTING AREA - MOMENTS LATER<\/stage_direction>\n    <scene_description>RHEA, the desk nurse gives me a warm smile when she sees me.<\/scene_description>\n    <character>RHEA<\/character>\n    <dialogue>How's my favorite surgeon?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Still your favorite I hope.<\/dialogue>\n    <character>RHEA<\/character>\n    <dialogue>Without a doubt.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Rhea, the stabbing victim we lost, Epperts, were his personal belongings checked in?<\/dialogue>\n    <parenthetical>(hold up my ring)<\/parenthetical>\n    <dialogue>Found this on the operating table.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Have his next of kin been notified?<\/dialogue>\n    <scene_description>She holds her hand out in anticipation of receiving the ring.<\/scene_description>\n    <character>RHEA<\/character>\n    <dialogue>No, but I can take care of that Doctor Kersey.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>You know what, I'd like to call them myself. We worked pretty hard to save him and I want them to hear that from me.<\/dialogue>\n    <character>RHEA<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <parenthetical>(pointing)<\/parenthetical>\n    <dialogue>I think we labeled the bin but didn't file it, it should be on that table in there, next to the wall charts.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Thanks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NURSE'S STATION - CONTINUOUS<\/stage_direction>\n    <scene_description>A plastic tray containing Eppert's personal belongings. Rifle through them. No credit cards. An expired Driver's license and nothing else of interest beyond a betting slip with a phone number scrawled on back. I'm about to pocket this when--<\/scene_description>\n    <character>JANINE RAY<\/character>\n    <dialogue>--Hey--<\/dialogue>\n    <scene_description>--Jump, caught out cold-- play it off.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>JANINE RAY<\/character>\n    <dialogue>I heard you lost one.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <parenthetical>(holding up the slip)<\/parenthetical>\n    <dialogue>Looking for a phone number. I want to call his family myself.<\/dialogue>\n    <character>JANINE RAY<\/character>\n    <dialogue>Let someone else handle that Paul.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>No. He was on my table. In my care.<\/dialogue>\n    <scene_description>Janine nods, yawning...she suspects nothing.<\/scene_description>\n    <character>JANINE RAY<\/character>\n    <dialogue>Listen, if you want to, I mean, if you're free and feeling up to it, maybe we get together for lunch?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Yeah. That'd be great. When?<\/dialogue>\n    <character>JANINE RAY<\/character>\n    <dialogue>This weekend? Earlier if you like.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Ok. Let's play it by ear but Friday could work.<\/dialogue>\n    <character>JANINE RAY<\/character>\n    <dialogue>Okay, I'll check back in tomorrow.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You ok otherwise?<\/dialogue>\n    <scene_description>Force a smile.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I'm ok otherwise.<\/dialogue>\n    <scene_description>She smiles back and blows me a little kiss. I wait for her to get halfway down the hall before I bolt the nurse's station and exit the hospital through a maintenance door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PAYPHONE - DUSK<\/stage_direction>\n    <scene_description>Eppert's betting slip in hand, tremors ripple across my fingers as I dial the number...It rings through. A VOICE answers: Gravelled, Baltic-- Russian or Ukrainian.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Divik Pawn.<\/dialogue>\n    <scene_description>Hang up. Grab the sun-bleached tome connected by a security cable to the booth and flip to the yellow pages. Skim the 'D's'... scroll down and find: 'DIVIK PAWN SHOP' Tear the page out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NORTH HOLLYWOOD - NIGHT<\/stage_direction>\n    <scene_description>Park the Olds in front of a burned out storefront on an abandoned stretch of storefront off Van Nuys Blvd.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLDSMOBILE - CONTINUOUS<\/stage_direction>\n    <scene_description>Your cellphone buzzes on the passenger seat. The CALLER I.D. reads 'FRANK'...let it go to Voicemail. Climb out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DIVIK PAWN - NORTH HOLLYWOOD - CONTINUOUS<\/stage_direction>\n    <scene_description>Divik Pawn is the centerpiece of a forsaken strip mall. Glaring Cyrillic-lettered neon beams out behind greasy display glass that hasn't been cleaned in years. Security shutters hover halfway up the windows, like they're spring-loaded and ready to slam down. It looks overheated and unwelcoming. A battered buzzer with an ad hoc duct-taped repair sign reads: 'RING.' I do. The buzzer blares inside and sounds like an electrocution. A heavy lock retracts a second later. I press my way inside. The front door is heavy with steel reinforcement. The humid smell of Shchi soup and sour milk hits me, pungent and overpowering. A humorless, heavily-bearded MAN in his late 50's is waiting for me as I walk around the corner. I nod a 'hello' and begin browsing. I can feel him eyeballing me. ...be cool... I grip the .357 inside my coat pocket for reassurance and keep my back to him. Another MAN slips into my periphery. Younger. Block-headed. Big. He wears an ill-fitting v-neck tee, stretched over his expansive bulk. ...watch yourself... I turn and approach the counter and begin casually scanning the items beneath the glass, when this borscht-soaked growl is belched across the counter at me--<\/scene_description>\n    <character>BEARDED MAN<\/character>\n    <dialogue>--what you looking for?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Just looking.<\/dialogue>\n    <scene_description>Further down the display case-- one of my Panerais...then my spine goes ice cold as I recognize my Oris wristwatch. Broken. The face cracked. Imprinted with the time and date of the end of my world. One row over I SEE the diamond tennis bracelet I bought Audrey for our 5th wedding anniversary. My mouth goes dry.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <parenthetical>(voice trembling)<\/parenthetical>\n    <dialogue>Could I see that?<\/dialogue>\n    <scene_description>The bearded man trundles over with a set of keys. I can feel his hulking counterpart moving around behind me. The bearded man unlocks the case and scoops up the tennis bracelet, handing it across the counter. I reach for it as small spasms cramp my fingers. I turn the bracelet over...and SEE that the inscription has been scratched off. That VOICE again. Emanating from me. Foreign and unnatural... ...and I realize that this is sound of my Doppelganger.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>This used to read: 'I've loved you like nothing else in my world for the last five years...and I'll love you till that world ends.'<\/dialogue>\n    <scene_description>Look up the bearded man. Let it register-- then feel a truncheon land across my back-- a concussive blow that seems to bows my shoulder blades inward and send me sprawling over the display case. --Try to breathe in but my lungs are locked. The bearded man slams the K-Bar knife he was concealing behind his back down onto the counter, splintering glass-- trying to impale my hand but missing me. I fall backwards, groggy from the blow, groping for my coat pocket. I land flat-- looking up at the massive Russian, preparing to brain me with a short-barrelled baseball bat. I yank the .357 and squeeze, blasting straight up his body. Bullets ripping into his mid-section. He doubles over like a gut-punched man and topples headlong into the display case. I backpedal on my ass BLASTING away-- blowing out the display glass, catching the bearded man hip-high as he's reaching for a .44 Magnum from behind the register. He grunts and falters to a knee, swearing at me in Russian. I dump the .357 on the floor and reengage him with the HSP 9mm, FIRING. The shots travel wide, punching holes in the wall behind him, plumes of plaster explode and strafe his eyes-- I leap up with the pistol, sighting him down. DON'T FUCKING MOVE MAN! He spits. I see blood blossoming beneath his arm as he digs plaster dust from his eyes. I kick the .44 across the floor. LAY DOWN! FACE DOWN! He falls forward onto his elbows. I plant the gun barrel in his back and shove him the rest of the way down. DON'T MOVE FROM THERE! Look back. The big Russian is still breathing but motionless. Keep an eye on him-- make sure he doesn't move. Pull a bag out from behind the counter and begin looting the display case. I recognize random pieces of my wife's jewelry; earrings, necklaces. I grab my watches, sense something-- look up and SEE an old security camera aimed down at me. ...they recorded you... Shoulder your way into the office. Four separate B&amp;W video monitors on a desk...a hard-drive on the floor beneath it. ...take it... Yank the cables clean. The video feeds go black. Lug the hard-drive up and lay across your shoulder-- return to the store. A blue log book is lodged between a pair of binders next to the register. Open it. A ledger. Names and Driver's licenses. Items pawned. Cash paid out. Run your finger along till you find the items: 'Diamond Bracelet, earrings, emerald necklace, jade ring, Panerai and Oris watches, cufflinks, class ring, Garmin GPS' Stop. Wait-- LOOK-- two display cases over. The GPS Audrey kept in her car. The case is locked. Smash it open with the butt of the 9mm. Dig the unit out. Tuck it under your arm. Refill your gun hand as you move over the bearded man. Keep The 9mm trained on his prone form as you pass. Blood pools beneath him. His complexion has gone a ghastly white. Flip the wall phone from its cradle. It crashes down to the counter, dial 9-1-1 with the tip of the 9mm barrel, it rings. Keep moving. Grab the .357 off the floor before bashing out the front door. Fresh air burns. Like breathing in acid. You lungs boil.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DIVIK PAWN - NORTH HOLLYWOOD - CONTINUOUS<\/stage_direction>\n    <scene_description>Your head swims for the entire block before finally settling. Reach the Olds. Pop the trunk. Dump the hard-drive inside. Cover it with the car tarp. Check both shoulders. Not a soul in sight. No sirens. Nothing. Slide into the front seat. Crank the ignition. Lay smoke off the curb.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Flip the light on. Close and dead-bolt the front door. Toss the bag of jewelry down on the bed. Hustle to the bathroom. Place a '7-11' bag on the counter. Dump the hard-drive into the bath tub. Pull up the drain plug. Turn both faucets full. Pop the clip on the 9mm and place it in the sink. Follow suit with the .357. Soap them up with your hands. Bath water crests the hard-drive. It lists and sinks. Pull the drain plug. The tub empties. Rinse off both guns. Dry them thoroughly. Wrap both in hand towels and secure them in the safe. Your cellphone buzzes...it's Frank again...let it go to VM. Return to the bathroom. Remove a bottle of lighter fluid from the 7-11 bag. Douse the hard-drive. Drop a match. Smoke roils toxic from the engulfed drive. Let it burn until the walls of the tub turn black and the smoke detector sounds. Hit the shower full. The hard-drive bubbles and pops.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL - NIGHT<\/stage_direction>\n    <scene_description>Out back. A trash dumpster. The half-melted hard-drive inside a pillow case. Hoist and hammer-throw it over the lip of the bin and slam the lid shut. SMASH CUT TO BLACK. FADE UP:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DIVIK PAWN - NORTH HOLLYWOOD - PRE-DAWN<\/stage_direction>\n    <scene_description>News vans and satellite trucks pump live feeds as REPORTERS jockey for prime camera placement, arrayed around the front of the now police-cordoned pawn shop. Detectives Raines and Garcia slalom through the press scrum, ignoring a barrage of questions as they brace a PATROL SARGEANT on scene.<\/scene_description>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>Sargeant, I'm Raines with RHD. Who's holding my swag?<\/dialogue>\n    <character>PATROL SARGEANT<\/character>\n    <parenthetical>(looking, pointing)<\/parenthetical>\n    <dialogue>I think-- there's-- one of the CS guys bagged it.<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>Which one, the redheaded guy?<\/dialogue>\n    <character>PATROL SARGEANT<\/character>\n    <dialogue>Yeah. Ask him.<\/dialogue>\n    <scene_description>Raines and Garcia crunch broken display case glass on their way over to a CS (CRIME SCENE) TECH, labelling evidence.<\/scene_description>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>Raines and Garcia, RHD.<\/dialogue>\n    <character>CS TECH<\/character>\n    <dialogue>Hey, ok-- you guys are-- you're working the Kersey--<\/dialogue>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>--Yep.<\/dialogue>\n    <scene_description>The Tech forages over a counter-top, looking for something.<\/scene_description>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>Security cameras give us anything?<\/dialogue>\n    <character>CS TECH<\/character>\n    <dialogue>Most likely, but the shooter stole the hard-drive. System wasn't backed up, so, no bueno.<\/dialogue>\n    <scene_description>The Tech locates a glassine evidence bag. There's a ring inside. A braided gold band...a piece of jewelry Paul missed.<\/scene_description>\n    <character>CS TECH<\/character>\n    <dialogue>The Kersey woman, the wife, she was named 'Audrey?'<\/dialogue>\n    <scene_description>Raines takes the evidence bag from him.<\/scene_description>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>That's right.<\/dialogue>\n    <character>CS TECH<\/character>\n    <dialogue>Right there, inside the band.<\/dialogue>\n    <parenthetical>(points to inscription)<\/parenthetical>\n    <scene_description>A.K. 2-7-73. (beat) Most of the time these guys will acid-out the inscriptions so they can resell the pieces. They either missed this one, or... Garcia takes it from Raines, holds it up to the light. Squints to read.<\/scene_description>\n    <character>CS TECH<\/character>\n    <dialogue>The owner and his younger brother were taken out of here, GSW--<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>--Yeah, they're both in the I.C.U., so we can't speak to them.<\/dialogue>\n    <character>DETECTIVE GARCIA<\/character>\n    <parenthetical>(looking around)<\/parenthetical>\n    <dialogue>I'm wondering why whoever sacked this shithole didn't steal everything, wasn't bolted down.<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>He would have bought time, taking the hard-drives, security feed.<\/dialogue>\n    <parenthetical>(to the Tech)<\/parenthetical>\n    <dialogue>How close are you to finishing an inventory?<\/dialogue>\n    <character>CS TECH<\/character>\n    <dialogue>How close are you to retirement?<\/dialogue>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>Y'gotta press for us. Push this to the top. If our shooter-- shooters are the same duo, did the Kersey multiple, then we got a break.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - MORNING<\/stage_direction>\n    <scene_description>Examining my broken Oris watch. I slip it on. Blue log book opened. Every single transaction notated. Troubled by the list of pawned items. Everything accounted for and in my possession excepting a gold ring I overlooked. Ignore it for now. Underline the name DONALD KOTT. Plug the GPS into the wall socket. Let the system boot up. The other plug is occupied by Amanda's I-Pod. I look at the face. It's fully charged. I hesitate before powering it up. Photos of her begin dissolving on and off the screen. I set The I-pod down quickly...I can't bear to see these now. I return to the GPS. Select 'PREVIOUS DESTINATIONS' from the main screen and see a recognizable list show up on-screen with one exception: 71452 San Carlos Ave. I don't know that address. Scribble it down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAN CARLOS AVE - MORNING<\/stage_direction>\n    <scene_description>Sitting inside Henry's tricked out '70 Chevy Stepside. Rolling slow past 71452 San Carlos. Henry downloads me with Donald Kott's verbal dossier.<\/scene_description>\n    <character>HENRY<\/character>\n    <dialogue>...Kott used to claim Hoover Street but he made too many beefs inside the set and they banished his shit.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Rumor was he put a half dozen heads out off Normandy last year, big crip BBQ, some kid's birthday, he turn up with a .12 gauge shotty and unloaded it into the crowd. He tortures and kills dogs for fun and likes to fuck old ladies. Forcibly.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>If he's laid up there and you feel like running at him Mr. Kersey, you better have both your hands full.<\/dialogue>\n    <scene_description>Stare at the house as we pass. It looks dark and fortified, even behind the smog-suffused scrim of L.A. sunlight.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET CORNER - DAY<\/stage_direction>\n    <scene_description>Henry drops me off. I'm halfway out of his truck when--<\/scene_description>\n    <character>HENRY<\/character>\n    <dialogue>--you pop some dude on a metro line Mr. Kersey?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Pop?<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>Shot. Shot this man in his legs.<\/dialogue>\n    <scene_description>No point prevaricating.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I did. A friend?<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>Hell no. Lamont Tremay. Rough trade. '<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>Bout as bad as Kott and you should know he put a number out on you, somewhere just south'a 5 G's and that's a lotta rent money, folks down this way.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>What can I do about that Henry?<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>Hide.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>That's not happening.<\/dialogue>\n    <character>HENRY<\/character>\n    <dialogue>Then this is when we part ways sir.<\/dialogue>\n    <parenthetical>(extends his hand)<\/parenthetical>\n    <dialogue>I got a three year old and an eight year old and I can't afford to fight any man's battles but my own.<\/dialogue>\n    <scene_description>Shake his hand...let him know how much this mattered.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I understand Henry.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Thank you. You're a good man.<\/dialogue>\n    <scene_description>Henry stares after me.<\/scene_description>\n    <character>HENRY<\/character>\n    <dialogue>Don't drown in all this Mr. Kersey. We can't breathe blood.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>We need air. And light.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Some of us...Not all.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL - DAY - LATER<\/stage_direction>\n    <scene_description>Pop the trunk on the Olds. Pull the car tarp out, lay it lengthwise across the Olds. Line up a specific area over the front windshield. Pull a pen-knife from your pocket and start cutting. SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - DAY<\/stage_direction>\n    <scene_description>Raines and Garcia enter the room, trailed by Frank Kersey. Handcuffed to the gurney with both legs bandaged is LAMONT TREMAY, the pimp that Paul shot on the bus. He scowls at their arrival. Frank takes up a position against the wall, allowing the Detectives to work their routine.<\/scene_description>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>Lamont! What happened homey? We heard you got bitched on the city bus!<\/dialogue>\n    <scene_description>Tremay stays tight-lipped, eyes fixed in a 'fuck you' glare.<\/scene_description>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>Some wild gunman knee-capped you? Did you in front of your girl?<\/dialogue>\n    <character>LAMONT TREMAY<\/character>\n    <dialogue>Fuck is 'one-time' fuck'n with me for? I'm stretchin' in County so kick rocks 'witcha bullshit.<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>How much'a that stretch you wanna do? Two years in state for aggravated assault or six months on a county tier for the same beef?<\/dialogue>\n    <scene_description>Garcia holds up a smashed .357 round.<\/scene_description>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>This slug was pulled out of the belly of a comatose Russian this morning.<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>Shot in a pawn shop in North Hollywood last night.<\/dialogue>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>It's a .357 wadcutter.<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>Just like the ones they dug out of your legs.<\/dialogue>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>And fired from the exact same gun.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAN CARLOS AVE - DAY<\/stage_direction>\n    <scene_description>The street sign spray-painted over with shitty graffiti\/gang scrawl...the tarp-covered '83 Olds sits half a block away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLDSMOBILE - CONTINUOUS<\/stage_direction>\n    <scene_description>A pen-knife slit in the car tarp gives me a perfect view of 71452 San Carlos. Check my watch. 10am. The stakeout begins.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - DAY<\/stage_direction>\n    <scene_description>Raines and Garcia continue their shakedown of Lamont Tremay.<\/scene_description>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>You haven't given the investigating officers jackshit here Lamont.<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>You saw this guy. You can I.D. him.<\/dialogue>\n    <character>LAMONT TREMAY<\/character>\n    <dialogue>This nigga don't snitch.<\/dialogue>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>Even on the fool that shot your ass? And put you in here?<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>You don't dime him out!?<\/dialogue>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>You don't dime him out 'cuz it's comin' up off the street that you put a 'burner' on this guy, 'ghetto bounty.' Yeah?<\/dialogue>\n    <scene_description>Tremay's scowl intensifies.<\/scene_description>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>How deep into your pocket y'going Lamont? Couple hundo? Couple thou?<\/dialogue>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>What's his head worth? 'specially since it looks like you're gonna walk with a limp for a long time.<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>Like 'rest-of-your-fucking-life' long time.<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Guys, lemme have a minute here huh?<\/dialogue>\n    <scene_description>Raines and Garcia exchange a look, then exit the room a moment later. Frank drags a chair toward Tremay's bedside.<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Lamont, I'm not gonna make threats, promise you a reduced sentence and I refuse to fuck around with you a split-second longer than I have to. You put a price on this cat, good. He winds up dead, and you take tribute, I could give a shit. Doesn't weigh with me.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But I want you to hear what does.<\/dialogue>\n    <parenthetical>(beat, sitting)<\/parenthetical>\n    <dialogue>The man that did this to you may have been one of the two men that raped and murdered my niece and my sister-in-law, after nearly beating my brother to death, before burning his house to the ground.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>At this moment in time, I'm not talking to you like a cop or looking at you like a criminal. I see another man, just like myself and I'm asking for his help. 'Cuz for whatever shit you've done in your life, for whatever shit you're sorry about, or asked forgiveness for...for all your cold-blood Lamont, you're not a killer--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLDSMOBILE - DUSK<\/stage_direction>\n    <scene_description>Waiting. Watchful. Vigilant. I've been here for hours now.<\/scene_description>\n    <character>FRANK KERSEY (V.O.)<\/character>\n    <dialogue>--but the man who shot you is.<\/dialogue>\n    <scene_description>An older model Impala pulls to the curb in front of 71452 San Carlos. Two MEN climb out and head into the house. I waistband the .357 and slip the 9mm into my coat pocket. CUT BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL CORRIDOR - LATER<\/stage_direction>\n    <scene_description>Frank emerges from Tremay's room. His expression oddly muted.<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>White man. Late 30's, early 40's.<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>On that bus? At that hour?<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>What reason would he have to lie?<\/dialogue>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>Your brother made the initial I.D. of his assailants as white men.<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>And one of 'em just up and blasts Lamont on the metro bus for no apparent reason--<\/dialogue>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>If he did a double murder, nearly two months old, no one's tapped him on the shoulder, fuck does he care?<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Lamont was knocking this trick around, girl on the bus with him.<\/dialogue>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>And that's why Lamont thinks he got shot?<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>On his way out of the bus, the shooter said to him 'Now you ain't got the legs to run' because Lamont was saying the same thing to this girl, she was ghosting on him, he caught her, beat her ass.<\/dialogue>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>Do we make either of the assholes responsible for a double murder, giving a shit, some hooker's catchin' hell from her pimp?<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>I don't.<\/dialogue>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>And what's he doing in a pawn shop in North Hollywood the next night.<\/dialogue>\n    <scene_description>Frank shrugs.<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>It's something and it's nothing.<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>You gonna tell your brother about the ring we booked into evidence?<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Yeah, he can confirm it belonged to her-- to Audrey.<\/dialogue>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>I wish there was something more we could give him...<\/dialogue>\n    <scene_description>Frank nods, troubled by something he can't get a grasp on yet. This terrible sense of dread that's slowly descending.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. YARD - NIGHT<\/stage_direction>\n    <scene_description>Slide down a stockade-style fence and creep quiet across a barren patch of backyard. Discarded old furniture and auto parts lie strewn about. Dozens of trash bags overflow. A rotting, rusted-out doughboy pool brims with rancid water. SEE a half-dozen dead animals. Pit-Bulls. Fighting dogs. Their bodies flung carelessly into a pile. Their fur is eaten away at and discolored. Several empty bottles of bleach sit nearby...an effort to conceal the smell. Flies swarm. Keep moving to the back door. Try it. It's unlocked...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - CONTINUOUS<\/stage_direction>\n    <scene_description>The concentrated stink of cigarette smoke and congealed cooking grease floods your sinuses. The kitchen is filthy and hasn't been touched in months, maybe longer. Roaches roam free. Ant trails span the walls and ceiling from the sink. VOICES bellow and bark from an adjoining room. Laughter. Listen for it...that cackle...say a little prayer...please. Grip the 9mm. Feel the heft and the accompanying swell of bloodlust. The overpowering urge to bust in, gun blazing-- --fail to notice the THUG rounding the corner to the kitchen until he's standing right in front of you-- --WH-- WHAT THE FUC--!! --instinct overrides everything as muscle memory floods over with fight or flight and you find yourself squeezing the trigger with the gun still in your pocket. Bullets slam into the archway, detonating molded wood and wainscotting. The thug shoulder-charges, somehow slipping between the gunshots and hitting you chest high. You stagger-slip together-- two more errant shots and the 9mm jams, the heat roasting your hand. You're grappling with it when the thug rips an elbow across your snout and you feel cartilage crunch and blood begin draining down your throat-- --You slam into the sink basin together, dishes topple and shatter, you fill your free hand with broken shards and grind them into the his face. He rolls off shrieking, clawing at his eyes -- HEAR a pump- gauge rack close and feel the BOOM-- a concussive crack that cancels your hearing and replaces it with a relentless buzz. Smoke chokes. Heat singes. You're dazed and half-deaf staring at a stovepipe jam in the 9mm. Look over in time to SEE the other THUG re-racking a sawed- off pump shotgun. Kick the refrigerator door out as he hip aims the gauge and FIRES. Lead shot shreds. Fumble for the .357 with your offhand as you skitter out the back door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. YARD - CONTINUOUS<\/stage_direction>\n    <scene_description>Motor skills muddled. Fingers that won't function. Guns in both hands and you can't find the focus to FIRE either -- --another SHOTGUN BLAST from behind-- the doughboy pool implodes in front of you, collapsing in a torrent of water that takes your balance and shoulder-rolls you against the stockade fence-- loosing the .357 from your grip. Facedown in fetid water, gagging as you grope for your lost gun. Smash the 9mm into the fence and pop the jammed round free-- rack the slide fast and FIRE BLIND over your back-- HEAR as the thug hit by a stray, a grunt followed by a guttural WAIL-- Wipe the water from your eyes and SEE HIM, pacing in half-circles and staring down at himself, HOLLERING for help as blood spreads over his upper groin. Stand spitting up stagnant water-- the first thug, his face streaming rivulets of red, bashes through the screen door wielding a snubnose revolver-- train your aim and FIRE the 9mm to slide-lock, blowing him back through the screen door-- --swap the 9mm for the .357. Shell casings spill over your shirt front as you struggle with a slippery reload-- the cylinder drops, stuff the speedloader down, snap it shut-- Advance on the first thug as he sits down in gutted sofa chair, the flow of blood from his pierced torso fascinates and fixates him-- the pump gauge lies draped across his lap.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Donald Kott!?<\/dialogue>\n    <scene_description>He gapes up, glassy-eyed, then returns his attention to the bleeding, his hand playing absently over the shotgun's grip-- --DON'T DO THAT! He looks up again, glowering...this fury filling his eyes-- --TAKE YOUR HAND OFF THE G-- --the business end of the barrel jumps up in his lap. I drill three holes in his chest, blowing him against the sofa back. ...ohmyGod... His weight sags forward and he goes completely still. ...you killed him... Approach slowly. Waiting for him to move. ...you just killed a man... He wheezes this low, disturbing death rattle. I let the last of him expire, then quickly move in and strip his pockets: a partially damaged cellphone, no wallet, no other I.D.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Rush back in. The other thug lies on his side. Dead gray eyes staring at the open refrigerator. You step over the blood pooling around his form. ...you killed them both... Vomit into the sink. Your stomach roils and spasms uncontrollably. Rinse your mouth out as you heave for air and hyperventilate-- --shovel cold water in your face and just fucking breathe... Get your bearings. Ransack the counter tops now-- mail, overdue bills, anything with a name. Jam your coat pockets till they overflow and exit through the front door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 71452 SAN CARLOS<\/stage_direction>\n    <scene_description>A gunfight in the ghetto gets closed blinds and extinguished porch lights. Run. Reach the car, haul the tarp off and only when searing hot pain rips from your lower ass to rib-cage, do you realize that you've been shot. Feel the damage with your fingers. Buried pellets under your skin read like Braille. Your hand returns wet with blood. Wipe it on the seat as you slide inside the Olds.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLDSMOBILE - CONTINUOUS<\/stage_direction>\n    <scene_description>A POLICE CRUISER rounds up the block ahead, sirens full. Start the Olds and floor it back up the street in reverse, running over the car tarp, your head-lamps off. Pitch the Olds around the corner, power-sliding it 180 degrees as you engage the lightning-rod shifters. Roar up the block, lamps still extinguished. A slow-moving CRUISER appears, spotlight searching the alleyway, rip a hard right before the light can find you. Punch the gas. Pop the headlamps. Blow a handful of stop signs and run a red light at over 100mph, narrowly avoiding a sideswipe. Transition to an adjacent alley, then another. A LAPD helicopter appears over the horizon. Xenon-light strafing. Turn the headlamps off, pull in behind another parked car, roll under the dash, kill the ignition and wait. The chopper rotors by overhead, you track the Xenon as it darts erratically over the alleyway, playing over the parked cars as it gradually recedes away. Sit back up the seat, crank the ignition and peel off. Check your mirrors-- no police in sight.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAN CARLOS AVE - MORNING<\/stage_direction>\n    <scene_description>News choppers swarm the air space above. A crush of REPORTERS crowd saw-horse barricades that have been built up at either end of the street. Garcia stalks up to 71452, YELLING into his cell, finger jammed in his ear against the thwack of rotors above.<\/scene_description>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>It's too late-- Tom, it's too late, horse is outta the barn, this is a two-bagger and both Dave and I think it's the same shooter from the pawn shop in North Hollywood.<\/dialogue>\n    <parenthetical>(shielding his eyes as he looks up at the choppers)<\/parenthetical>\n    <dialogue>C'mon, they're pigs in shit, are you serious 'leaked' how's this one supposed to stand still T? It's got serial gunman all over it.<\/dialogue>\n    <parenthetical>(to a COP on scene)<\/parenthetical>\n    <dialogue>There's a five hundred foot ceiling within city limits, get ASD Astro up there and control that airspace.<\/dialogue>\n    <parenthetical>(back into the cell)<\/parenthetical>\n    <dialogue>T, I'll getcha back.<\/dialogue>\n    <scene_description>He clicks off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 71452 SAN CARLOS - CONTINUOUS<\/stage_direction>\n    <scene_description>Weaving his way through the front room. Raines is there, pulling off a pair of plastic gloves as he finishes conferring with a pair of UNIFORMS.<\/scene_description>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>Neighbor, this old lady across the street saw a car, parked under a tarp, wasn't from the neighborhood.<\/dialogue>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>She see the actual car?<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>No. Tarp's lying in the street out there.<\/dialogue>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>She hear the shots?<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>'Course she did and then did what everybody else in the 'G' does, they hear gunfire--<\/dialogue>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>--hit the floor. Fuck me.<\/dialogue>\n    <scene_description>Raines turns over his palm, showing Garcia a smashed bullet sitting next to a folded jackknife.<\/scene_description>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>Dug this outta the archway. 9mm boat-tail hollow-point or I buy the beer for the next month.<\/dialogue>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>The Russians at the pawn shop, the old one, that was a hollow-point they pulled outta him--?<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>--fuckin'A bubba. Exotic. Some German-made, hard to find handload.<\/dialogue>\n    <parenthetical>(entre nous)<\/parenthetical>\n    <dialogue>Vic out back, by the door, hit in the throat and upper sternum, I eyeballed the damage, HP entry, tissue collapse, thru and thru, second Vic in the sofa chair, three pattern grouping, high-chest, it's a fucking different weapon.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>357?<\/stage_direction>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>If it is, then we got five people shot, two dead in three days...<\/dialogue>\n    <character>DETECTIVE GARCIA<\/character>\n    <dialogue>...by the same sonofabitch.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - DAY<\/stage_direction>\n    <scene_description>Pounding on my hotel room door. Plod toward it. Open it on JANINE. She looks me up and down, this horrified expression as she assesses my state--<\/scene_description>\n    <character>JANINE RAY<\/character>\n    <dialogue>--OhmyGod Paul! What happened to you!?<\/dialogue>\n    <scene_description>Pull her inside. Shut and lock the door. Limp to the bed.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I got mugged. I was shot.<\/dialogue>\n    <scene_description>She sets supplies down on the night stand.<\/scene_description>\n    <character>JANINE RAY<\/character>\n    <dialogue>Let me see.<\/dialogue>\n    <scene_description>Peel off a full-sized bath towel soaked through with blood.<\/scene_description>\n    <character>JANINE RAY<\/character>\n    <dialogue>Good God, I can't-- When did this happen!?<\/dialogue>\n    <scene_description>Sit on the bed.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Last night.<\/dialogue>\n    <scene_description>Janine rips a hemostatic dressing out of its packaging and preps a syringe of Lidocaine.<\/scene_description>\n    <character>JANINE RAY<\/character>\n    <dialogue>Why didn't you go to emergency room!? Come to Keck, we're just--<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>--I couldn't wander in there, looking like this, it would be like a bad joke, what I've been through.<\/dialogue>\n    <scene_description>She goes to work right away, slathering Dibucaine anaesthetic over my raised wounds.<\/scene_description>\n    <character>JANINE RAY<\/character>\n    <dialogue>Shotgun?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>JANINE RAY<\/character>\n    <dialogue>These look like grazing wounds, thank God but they could be infected already. You feeling any wetness or heaviness in your chest?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>No. I don't think they penetrated beyond the posterior.<\/dialogue>\n    <scene_description>A syringe slips in. Feel the pinch as the plunger depresses.<\/scene_description>\n    <character>JANINE RAY<\/character>\n    <dialogue>Give the Lidocaine a minute, get you numbed up.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>This would be a lot easier if I could put you in the tub.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATH ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Lowering myself down onto my side into a warm tub.<\/scene_description>\n    <character>JANINE RAY<\/character>\n    <dialogue>What are you doing staying down here anyway!? It's no wonder something like this happened.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Lift your arm for me.<\/dialogue>\n    <scene_description>Remain silent as she goes to work with a pair of surgical tweezers, pulling out pellets and fragmented lead shot. Bath water ebbs a faint pink before turning blood red. She sets the extracted pieces along the tub basin.<\/scene_description>\n    <character>JANINE RAY<\/character>\n    <dialogue>Did you see who mugged you?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>JANINE RAY<\/character>\n    <dialogue>Where were you when it happened?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Just walking.<\/dialogue>\n    <character>JANINE RAY<\/character>\n    <dialogue>Where?<\/dialogue>\n    <scene_description>Wince intentionally, trying to distract\/draw her off this line of questioning.<\/scene_description>\n    <character>JANINE RAY<\/character>\n    <dialogue>Are you feeling that?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>A lot. Yeah.<\/dialogue>\n    <character>JANINE RAY<\/character>\n    <dialogue>Ok. Try to relax and keep still. I need about 30 minutes to do this. I won't talk if you don't want me to.<\/dialogue>\n    <scene_description>Just nod and confirm the ensuing silence between us...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - LATER<\/stage_direction>\n    <scene_description>Lie down gingerly on my good side, bath towel around my waist. Janine close. Feel her hands gently guiding me down.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Please don't mention any of this.<\/dialogue>\n    <scene_description>She nods and smiles soft. I hold her hand and let mine linger over it a little longer, caressing these slender fingers that remind me of Audrey-- --suddenly she's overtop of me and I'm pulling her down and kissing her before I can make any sense of it-- Ignore the dull throb and pain rippling up my side as my hands fumble over her form and we roll onto the bed full. Clothes are pulled at and tugged free. Her mouth is on mine. The contours of her back dip and arch, her hair spills across my face, fanning over me. We break suddenly and stare at one another, breathless and dazed. I sweep away a strand of hair in front of her eyes. I'm shaking my head from side to side without knowing why and tasting tears before I feel them streaming down my face. She whispers something and kisses me. I hold her tight and feel her heartbeat against my chest. I roll over onto her and make love to her like it's the last thing I'll ever do...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL - LATER<\/stage_direction>\n    <scene_description>Wake with a start. Sweating out from under another nightmare. Become aware of Janine standing next to the bed, staring down at me. She extends her closed fist and unclasps it, letting loose bullets spill onto the bed. I look down at them, scattering across the sheets.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>...please don't ask me anything...<\/dialogue>\n    <scene_description>She sniffs. Tears well.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>...you didn't do anything wrong Janine and I won't let you be hurt by this. By what I'm doing.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>By what I have to do.<\/dialogue>\n    <character>JANINE RAY<\/character>\n    <dialogue>You're hunting them Paul. Aren't you? You're hunting the men who murdered your family.<\/dialogue>\n    <scene_description>No need to confirm this for her...she already knows.<\/scene_description>\n    <character>JANINE RAY<\/character>\n    <dialogue>They could kill you.<\/dialogue>\n    <parenthetical>(gesturing to my bandages)<\/parenthetical>\n    <dialogue>They nearly did.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I don't care.<\/dialogue>\n    <character>JANINE RAY<\/character>\n    <dialogue>You're a physician. You're a preserver of life. It's what you've trained your entire career to do. To keep death at bay. Not invite it in...not work hand in hand with it.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Do you really believe this is what your wife would want? Or your daughter? You sacrificing your own life to avenge theirs?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>What will you have won? The satisfaction of snuffing out these lives? Then what will be left of you in the end?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>The end came and went. The end was Audrey and Amanda.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COFFEE SHOP - MORNING<\/stage_direction>\n    <scene_description>Frank Kersey sits in a booth in his police P.T. gear, post- workout. His coffee cup hangs frozen above the front page of the L.A. TIMES. The headline: 'SERIAL GUNMAN ON SHOOTING SPREE THROUGH THE SOUTHLAND' He reads. His expression rigid. He quickly fishes a cellphone from his gym bag and dials. The CALLER I.D. SCREEN reads 'PAUL' as it call connects...rings...and goes to VM. Frank disconnects and dials another number. An LAPD line.<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Dave? Frank Kersey. Listen brother, I need a quiet tap and trace on a cellphone. Can you hook me up?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Take the number down then, you got something to write with?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KECK HOSPITAL - BREAK ROOM - MORNING<\/stage_direction>\n    <scene_description>Janine watches the KTLA newscast. Unsettled.<\/scene_description>\n    <character>NEWSCASTER<\/character>\n    <dialogue>...law enforcement officials are considering putting an emergency curfew of into effect, covering the greater downtown and southeast areas of the city. This follows the formation of an LAPD Task Force. But with no additional leads, authorities are reluctant to comment on the ongoing investigation any further. The victims named are not being released by the police and sources close to the case have confirmed--<\/dialogue>\n    <scene_description>MATCH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - DAY<\/stage_direction>\n    <scene_description>Splayed out on the bed. Surrounded by mail from Donald Kott's home. I stare at the television.<\/scene_description>\n    <character>NEWSCASTER<\/character>\n    <dialogue>--that a single suspect is being sought in these shootings.<\/dialogue>\n    <scene_description>Click off. Retrieve Kott's damaged cellphone from a wall plug...it's only a matter of time before everybody knows he's dead. ...notice Amanda's old I-pod, sitting nearby...ignore it. Scroll back through Kott's call log. Check old text messages. Find One from someone named 'BLANO' dated the night before the murders. ...read it and feel your guts tighten like a vise... might hav a litl knokdown in HCP,rich pussy marvin iso'd, all cake,bring bats, Make 'HCP' Hancock Park. Make a mental note of 'MARVIN.' Kott's reply: --can't roll, got drama-- Examine Kott's other texts. Read his replies, study his syntax\/writing style, pick up his patois, his pattern of speech...and mimic it. Now text Blano. Your fingers tremble as you type out: dog i got shit we can hit, bev hill, serious $$$, u an Marvin down? Send the text. Drop the phone on the bed. Realize you need to catch you breath...the phone buzzes back inside ten seconds. Fuk yah , whur?wen? Scroll his phone. Find reference to a place. 740 Club. 740 club, pop bottles. 10? Hit 'Send.' Blano's response is instantaneous. bet, c u ther Toss it. Your cellphone chirps on the nightstand. Check the caller I.D.: the number comes up 'LOS ANGELES POLICE DEPT.' Feel your chest flutter, your throat tighten-- suppress this sudden barrage of nerves and answer it.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>DETECTIVE RAINES (V.O.)<\/character>\n    <dialogue>Paul? It's Detective Greg Raines, LAPD. How are you?<\/dialogue>\n    <scene_description>...fuck...<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Detective Raines. Hello. Yeah, I'm alright. What's going on?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PARKER CENTER - DAY<\/stage_direction>\n    <scene_description>Raines is at his desk.<\/scene_description>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>You're a hard man to get ahold of.<\/dialogue>\n    <scene_description>INTERCUT<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Sorry, I've been busy. I'm back at work now--<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>--that's great to hear. Listen, Ray and I, Detective Garcia and myself, we'd really like to sit down with you, some things have been happening, I don't know if you've been following the news.<\/dialogue>\n    <scene_description>...oh no...<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>The news?<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>Yeah, there's been a-- well, there's been some shootings over the past few nights and we feel that they may be related to you--<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>--to me?<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>To your case. Some stolen property, your property was fenced at a pawn shop in North Hollywood and both proprietors were shot.<\/dialogue>\n    <scene_description>...bluff by now...<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Jesus.<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>We think one of the suspects in the murder of your family might be the shooter and it would benefit us a ton, if we could sit you down and get a more thorough, more in-depth statement from you. I know you don't want to rehash that but it's important and could move our investigation forward.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>When?<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>As soon as possible. Tomorrow?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>You have the address? Parker Center downtown?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I'll get it.<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>9am work? We're on the 5th floor.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Ok, I'll see you then. Thanks for the call.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - NIGHT<\/stage_direction>\n    <scene_description>Frank Kersey sits in his unmarked, his window rolled down, observing something O.S. His cellphone rings. He answers and Raines's VOICE crackles over the vehicle's speakers.<\/scene_description>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>Frank?<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>Greg Raines.<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Hey man.<\/dialogue>\n    <character>DETECTIVE RAINES<\/character>\n    <dialogue>I finally got ahold of your brother and updated him on everything, he's coming in to see us tomorrow morning, you wanna be there?<\/dialogue>\n    <scene_description>WE SEE what Frank is looking at...the front of Paul's hotel.<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>I do.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL - NIGHT<\/stage_direction>\n    <scene_description>Finish cleaning the .357. Pull the 9mm out of the safe and wipe it down. Load both weapons. Prepare the speed loaders and two extra clips. Lose rounds rattle around. Low on ammo. Tuck the weapons into my coat. Feel sweat gathering across my forehead. Cold to the touch. I feel off. Leaden. Feverish. Check the bandages along my side. They're seeping. Forage through the drugs Janine brought. Find the Lidocaine and syringe and administer small self-injections. Layer the bled-through bandages with toilet paper and tissue. Slip my broken Oris wristwatch on. ...time to hunt...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL - NIGHT<\/stage_direction>\n    <scene_description>Heading toward the Olds. Feel like I'm being watched. Nerves tweaked from the news report. Spooked for good reason. Do a slow 360. Keep moving toward the Olds. Stop. Look it over. On my hands and knees, peering under the chassis. Climb in. Pull away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLDSMOBILE - NIGHT<\/stage_direction>\n    <scene_description>Slashing in and out of dense traffic migrating downtown along Olympic Blvd-- eyes cutting from the road to the rear-view mirror, looking for tails. ...you're being paranoid... Run a red light at Western in Koreatown. Horns blare in protest. Punch the gas, clipping 90mph on surface streets as you cross over Normandy, Hoover St, then Alvarado-- --SEE a darkened stretch of curb and pull in, parking the car impulsively as a City Bus slows to a stop near the corner. Hop out. Lock the Olds. Rush over and board the bus.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNMARKED CAR - CONTINUOUS<\/stage_direction>\n    <scene_description>Frank Kersey watches his brother hop aboard a Bus. He holds a moment before pulling off an alleyway and resuming his tail.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS - NIGHT<\/stage_direction>\n    <scene_description>Slide into a seat near the rear with a good view of the street...traffic flows normally along E. Olympic behind you.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNMARKED CAR - CONTINUOUS<\/stage_direction>\n    <scene_description>Frank curbs his car as the bus makes its stop a block ahead.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. BUS - CONTINUOUS<\/stage_direction>\n    <scene_description>Jump up as the bus slows and crowd the folding exit doors, pressing through as they open. Scan the street before crossing against heavy traffic and into a residential area.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNMARKED CAR - CONTINUOUS<\/stage_direction>\n    <scene_description>Frank observes Paul crossing over Olympic and waits for him to disappear before slapping a portable red-light on his roof and flashing the lights without the accompanying siren. He swerves across oncoming traffic and barrels across and up a parallel street to the one Paul fled down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>Running. The pain returns. Stop to check your side. Blood saturates the bandages, soaking through the belt-line of your pants. Sweat drips like a spigot. Slow to a walk, clutching your side. Check the street behind you as you move onto the next block.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNMARKED CAR - CONTINUOUS<\/stage_direction>\n    <scene_description>Frank hangs back, headlights off, staying just behind Paul and out of sight.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>SEE an MTA STATION SIGN ahead. Hustle up the block and around the corner toward the steps leading down to the MTA platform.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNMARKED CAR - CONTINUOUS<\/stage_direction>\n    <scene_description>Frank catches a sliver of his brother retreating down the MTA steps at Pico Station. He yanks his car to the curb and leaps out on foot, tearing off after him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MTA - PICO STATION - MOMENTS LATER<\/stage_direction>\n    <scene_description>Look around the crowded platform. See if you can catch a stranger stealing looks, slow your gaze to study faces. The inbound train arrives. Next stop. 7th Street Metro Station. You board it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MTA - PICO STATION - CONTINUOUS<\/stage_direction>\n    <scene_description>Frank Kersey slips into a rear car as Paul steps onto the train, two cars ahead. A few more passengers rush to aboard.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MTA TRAIN - CONTINUOUS<\/stage_direction>\n    <scene_description>Watch the doors. A two-tone alert sounds and they begin to slide shut. Quickly slip between them and back out onto the platform as they close and seal. The train pulls away. ...now get moving...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MTA TRAIN - CONTINUOUS<\/stage_direction>\n    <scene_description>A pissed off Frank Kersey, trapped on a moving train, watches his brother Paul retreat up the stairs toward the street. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLUB 740 - NIGHT<\/stage_direction>\n    <scene_description>A line of CLUB-GOERS stretches up the block and wraps around the back side of the building. Proceed to the front of the sprawl. Pull a rubber-banded roll of $100's from your front pocket. Flash the DOORMAN. He nods his consent as you palm him the cash and start into the club. A BOUNCER suddenly braces you for a frisk as you approach the door and you find yourself raising your hands in horror as he steps in to pat you down and in doing so, discover both guns.<\/scene_description>\n    <character>DOORMAN<\/character>\n    <dialogue>--No Dre, he's cool. Let him pass.<\/dialogue>\n    <scene_description>The Bouncer nods to the Doorman and waves you through.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLUB 740 - CONTINUOUS<\/stage_direction>\n    <scene_description>Hip-hop remixes and house music pound out across a packed dance floor. Wall-sized monitors displaying everything from 'SportsCenter' to 'Real Housewives of Beverly Hills' play out in muted pantomime throughout the club. Keep your gaze light, liquid...looking for him. ...this is it... You can't make out a soul. Faces streaked with strobes. Details dipping in and out of darkness. Keep pressing through the throng. Maybe pure proximity will signal his whereabouts. Climb the stairs leading to the second level. A clear view of the bar and the dance floor below. Kott's phone vibrates. Grab it, read the text: 'Whur U?' Respond. 'At the bar' Watch the bar. Blano texts back a moment later. 'Me 2. Got sum bitches' Look. There, near the end of a crowded bar. A shaved head, sleeves of tattoos, prison-built bulk. He's chatting up a pair of CLUB GIRLS and sipping champagne from the bottle. He laughs at his own joke...erupting in that familiar cackle. Feel a feeling like a hot iron hitting a nerve ending. ...there he is... But no Marvin. Text Blano. 'Marvin with u?' Press back through the crush of club-goers, eyes locked on Blano, watching him text back as you struggle through the teeming mass. His response arrives. Read: 'Nah, ain't herd from hm' ...fuck... Look back up for Blano-- his attention is diverted to something O.S. He stands off the barstool abruptly. Alarmed. Stop. Spin back. A monitor right behind you: 10pm News. SEE the on-screen graphic. 'SHOOTING VICTIMS NAMES RELEASED.' A Donald Kott mugshot follows... Turn back to the bar. Blano is gone-- --GO! Plow through the swarm of people, elbowing them out of the way, realize it's taking too long-- --brandish the .357 in full view. It has the intended effect. People cower and shriek, confusion and fear fuel chaos as the crowd cleaves in half and scatters, allowing you access down. SHOUTS barked from security. Pull your hood up to conceal your face as you flee. A back door closes near the bar. Barrel toward it and bash through at full pelt.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 740 CLUB - BACK HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>I carom off the wall, extending the gun as I SEE Blano running shoeless down the corridor in front of me. My aim dips and falters as I leap up and stumble after him. He collides with the exit ahead, scrambling outside. Fresh pain scorches my side as I try and steady my aim, sweat burning my eyes and blurring my vision. I reach the exit a second later and shoulder through, spilling out onto the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOUTH BROADWAY - NIGHT - CONTINUOUS<\/stage_direction>\n    <scene_description>Blano rushes over to a slow moving vehicle held up in late night traffic and tears open the passenger side door. SCREAMS from inside. A woman's. Terror stricken as Blano crawls inside the cab and begins battering her with his fists. She's ejected from the driver's side door-- --I see a clear shot and squeeze. --this sharp tangle of limbs as Blano spasms unexpectedly, the bullet hitting him in the side. FIRE again. Blood bursts like a popped balloon over the dash and windscreen. The car's owner scrambles to her feet and runs off SCREAMING. Gears grind and gnash as the car lurches forward, bashing off a smaller vehicle in front of it which quickly speeds away. Blano does a lazy loop, steering into the opposing lane when he's suddenly hammered sidelong by an oncoming car. The impact vehicle banks off ugly and careens into a post. An older MAN, baffled and in shock, staggers out of the car and simply plops down on the curb, staring back at the wreckage. I stalk toward the car Blano jacked as traffic swerves wildly around me. Blano falls from the cab and pendulums off the seat-belt, re-gripping it for balance as he tries to haul himself upright. He's contused and bleeding from both ears. SIRENS approach. ...hurry and end this... Reach Blano just as he collapses against the stolen car. Kneel down so that I'm eye level with him. He gapes at me groggily, vacant. Look at him for a long as you can, then bring Amanda's I-Pod up...photos of my wife and daughter flash, illuminating his bloodied face this close.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Do you see them?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Do you know now?<\/dialogue>\n    <scene_description>Resist the need to bash in the face with gun butt. Put the barrel to his head instead. Press it into his skull.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Where's Marvin?<\/dialogue>\n    <scene_description>His eyes stray from mine as turns away from the gun, on all fours now, trying to crawl away. Car headlights shone, illuminating him as he drags himself toward them. Shoot him in the spine. He shrieks and goes prone, sobbing and begging as he rolls over onto his back, hands flailing in front of his face. Let this moment refresh your rage as you tuck the .357 away and pull the 9mm from your coat pocket. Empty the entire clip into his chest. Lean in close and put the gun barrel flush with his face as he breathes his last...<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>...this is for Audrey--<\/dialogue>\n    <scene_description>--FIRE--<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>--and this is for Amanda--<\/dialogue>\n    <scene_description>--FIRE. Now flee. Turn and sprint up the block, your speed flagging badly. WITNESSES point at you from a distance. Veer into a parking structure as red and blue strobes descend on the scene. The pain in your side is unbearable now, legs sticky with rushing blood as you fight to stay on your feet. Bolt out the backside of the parking structure to the adjacent street. A CAB is rounding the corner. Hail it. The driver fails to see you. Another CAB sits idling a block back. Rush toward it. Pile in. A startled CABBIE appears behind his newspaper. Glaring.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Hospital. I've been shot.<\/dialogue>\n    <character>CABBIE<\/character>\n    <dialogue>Call ambulance.<\/dialogue>\n    <scene_description>Fish your front pockets, drop crumbled $20's over the seat.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Please.<\/dialogue>\n    <character>CABBIE<\/character>\n    <dialogue>No, notify an ambulan--<\/dialogue>\n    <scene_description>--Fuck this. The .357 comes out, the hammer goes back. TAKE ME TO THE HOSPITAL NOW! The Cabbie spins back in his seat, bitching under his breath in Arabic as he starts the car and lurches onto the street, moving south down Flower, away from the downtown corridor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Frank searches through Paul's hotel room when his cellphone goes off. He snatches it on the first ring. It's Raines. His voice is bleak.<\/scene_description>\n    <character>RAINES (V.O.)<\/character>\n    <dialogue>Frank. Greg.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>This guy Darren Blano was just executed outside the 740 Club downtown. We've got good reason to believe he was one of the two men behind the murders of your brother's family. The other, we think is a man named Marvin Blaylock.<\/dialogue>\n    <scene_description>Frank swallows hard. Hoping...<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>...is Blaylock the shooter?<\/dialogue>\n    <scene_description>A loaded beat. The worst kind. Frank can feel his stomach bottom out.<\/scene_description>\n    <character>RAINES<\/character>\n    <dialogue>Blaylock has been in county holding for the last six days awaiting arraignment for aggravated assault.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Frank...where's your brother Paul?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KECK HOSPITAL - NIGHT<\/stage_direction>\n    <scene_description>Graveyard staff. Weeknight quiet. Wait for an ORDERLY to clear the hallway in front you and creep quiet through a stairwell entrance and down the hall toward the E.R. An unoccupied exam room. Slip inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EXAM ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Lock the door. Strip down shirtless behind throbbing pain. Ball up your clothes and bury them in the medical hazard bin. Check the mirror. Your gunshot wounds have become infected and you're bleeding badly. Go to the cabinet. It's locked. Force it open, snapping the bolt hasp. Grab hemostatic dressings, gauze and anti- bacterials. Begin ministering to yourself. The door knob is toggled. Then again. A VOICE from outside.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Why is Exam room five locked?<\/dialogue>\n    <scene_description>Shit.<\/scene_description>\n    <character>ANOTHER VOICE<\/character>\n    <dialogue>Shouldn't be.<\/dialogue>\n    <scene_description>A knock now. Freeze. Don't answer. The door is tried again.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>It's locked. Who's got the keys?<\/dialogue>\n    <scene_description>Look around the room...There's no way out-- spot a disposable bin for gowns and scrubs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>An ORDERLY fetches a ring of keys for an older SURGEON.<\/scene_description>\n    <character>SURGEON<\/character>\n    <dialogue>If janitorial's doing this, locking the rooms, tell 'em to stop.<\/dialogue>\n    <character>ORDERLY<\/character>\n    <parenthetical>(approaches with the keys)<\/parenthetical>\n    <dialogue>I cleaned this one out awhile ago. Thought I left it unlocked.<\/dialogue>\n    <scene_description>The Orderly finds the appropriate key, slots the lock and turns, opening the door and flipping on the light switch to reveal: PAUL. In medical scrubs, lying on the exam table, acting as though he'd just been awoken from a nap.<\/scene_description>\n    <character>SURGEON<\/character>\n    <dialogue>Paul?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <parenthetical>(rubbing eyes)<\/parenthetical>\n    <dialogue>Hey Mitch.<\/dialogue>\n    <character>SURGEON<\/character>\n    <dialogue>I didn't know you were on call.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Yeah, I've been grabbing extra shifts, not sleeping a lot--<\/dialogue>\n    <character>SURGEON<\/character>\n    <dialogue>--Wondered why this was locked.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <parenthetical>(stretching)<\/parenthetical>\n    <dialogue>Just popped in for a nap.<\/dialogue>\n    <character>SURGEON<\/character>\n    <dialogue>Well, we'll leave you to it.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>No, I'm getting up now. Do me a favor, is my coat right there? I left it in the hall.<\/dialogue>\n    <character>SURGEON<\/character>\n    <parenthetical>(turning back to the hall)<\/parenthetical>\n    <dialogue>I don't see it. You need one?<\/dialogue>\n    <character>ORDERLY<\/character>\n    <dialogue>I'll grab you one Doctor Kersey.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Who's that? Keith?<\/dialogue>\n    <character>ORDERLY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Yeah, if you could. Thanks.<\/dialogue>\n    <parenthetical>(back to Surgeon)<\/parenthetical>\n    <dialogue>What time is it?<\/dialogue>\n    <character>SURGEON<\/character>\n    <parenthetical>(checking watch)<\/parenthetical>\n    <dialogue>Still got fifteen minutes or so.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I didn't see you on the roster for tonight.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Yeah, I've been pinch-hitting here and there.<\/dialogue>\n    <scene_description>The Orderly appears with a white lab coat. Paul accepts it.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Appreciate it. Keep misplacing mine.<\/dialogue>\n    <scene_description>The Surgeon closes the exam room door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>The Surgeon turns back to the Orderly just as two UNIFORMED COPS round the hallway ahead.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EXAM ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Blood has soaked through the back of the scrubs. Forage through the cabinet for a compression garment. Slide it on, cinch it tight. Slip both guns snug on either side and pull the coat on over. Wait a beat. Woozy. Steady yourself. Wipe the sweat from your forehead as your breath begins to rasp and wheeze. ...hold it together...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Two steps into the hallway--<\/scene_description>\n    <character>OFFICER<\/character>\n    <dialogue>--Excuse me, Doctor?<\/dialogue>\n    <scene_description>Turn. The Surgeon is standing with a pair of COPS. Approach them, this faint feeling like you're consciousness is about to capsize. Perspiration seeps from your hairline. Mop it on the sly. Stuff your sweat-soaked hands into the coat pockets.<\/scene_description>\n    <character>SURGEON<\/character>\n    <dialogue>Paul, these officers are saying that a wounded man was dropped off--<\/dialogue>\n    <character>OFFICER<\/character>\n    <dialogue>--A cabbie said he dropped the guy about a half hour ago, bled all over his cab. We had a shooting outside a club downtown, we think this man was involved.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Well, I just got here a bit ago.<\/dialogue>\n    <character>OFFICER #2<\/character>\n    <dialogue>Did you see anyone? Wounded man?<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Hospital is typically filled with those officer, can you be more specific?<\/dialogue>\n    <character>SURGEON<\/character>\n    <dialogue>Is this the gunman? The one from the news?<\/dialogue>\n    <scene_description>Look down...blood gathers pre-drip on the seam of your left pant leg. ...don't move...<\/scene_description>\n    <character>OFFICER<\/character>\n    <dialogue>Can't say. We've got the cabbie on his way back, help us with an I.D.<\/dialogue>\n    <parenthetical>(to Surgeon)<\/parenthetical>\n    <dialogue>We'll need to alert the rest of your staff.<\/dialogue>\n    <character>OFFICER #2<\/character>\n    <dialogue>We're going to want to lockdown the hospital as well. There's an LAPD task force on their way down, so for now, let's just quietly inform your people, have everyone remain calm.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I can help with that Mitch.<\/dialogue>\n    <character>SURGEON<\/character>\n    <dialogue>Let's just go by wards, let the supervisor on each floor know.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>I'll start downstairs in pediatrics.<\/dialogue>\n    <scene_description>Remain rooted to the spot as they peel off and take the two cops with them. Move your left boot to one side. Blood smears beneath it. Turn and travel the length of the hallway as fast as possible, trailing blood the entire way, pain searing with each step. Approach the sliding glass doors. POLICE CRUISERS arrive outside, braking right up to the curb. Detour down an adjacent corridor, past a sparsely populated waiting room-- --stop. ON-SCREEN, a LIVE NEWS REPORT from the scene of the shooting. A REPORTER, her voice muted behind the glass, holds up a rough sketch of the shooting suspect... ...it looks exactly like you... Keep moving, hobbled by this horrible pain. Stairwell ahead. Try the door. It's locked. Find yourself leaning against it, your breathing labored. Head light. ...they're gonna catch you... Shove yourself off the door, legs like jelly as you carom down another corridor, catching sight of a circular mirror mounted on the wall ahead... ...Raines and Garcia's reflections appear in it as they arrive at the hospital with a host of uniformed cops. Try the door to the Administrative offices. LOCKED. Double back as the cops converge at the head of the hallway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNMARKED CAR - NIGHT<\/stage_direction>\n    <scene_description>Frank Kersey slaloms late-night traffic. His police band radio blaring:<\/scene_description>\n    <character>POLICE DISPATCH (O.S.)<\/character>\n    <dialogue>...four-thirty-one-six, suspect is a white male, late 30's possible GSW, last seen in the vicinity of Marengo and Brittania, LAC-USC Medical center--<\/dialogue>\n    <scene_description>Frank punches the gas.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RECOVERY ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Push your way into an empty recovery room, pull the privacy curtain closed and slide down the wall, winded, wiped out. Kick your boots off. Blood pours from them like pitchers. Pull the sheath-covering free from an examination chair. Use one of the leg stirrups to stand as you peel off your socks. Wipe your feet clean of blood and douse them with rubbing alcohol. You flank feels like its caught fire the pain is so intense. The door to the recovery room opens abruptly-- get prone and army crawl across the tile under the next section of curtain as the one behind you gets yanked open.<\/scene_description>\n    <character>COP VOICE<\/character>\n    <dialogue>Bunch of blood here! He was in here!<\/dialogue>\n    <scene_description>Keep crawling. Stuffing yourself into the cabinet beneath an exam table and quickly closing the shutter-style doors just as the cops throw the next section of curtain open.<\/scene_description>\n    <character>COP VOICE<\/character>\n    <dialogue>Get all these rooms swept, everything on this floor!<\/dialogue>\n    <scene_description>Radio chatter and squelch crisscross at high volume as the cops coordinate the search...wait till the noise recedes. Tumble out of the cabinet and stagger to your feet. Your exhausted mind in full revolt, your body losing blood. ...you're not gonna make it... Edge into the hallway. See a placard for the INFIRMARY. Dash across the hallway and inside before anyone spots you.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INFIRMARY - MOMENTS LATER<\/stage_direction>\n    <scene_description>Loot the cabinets, locate an I-V bag; 250ml Dextrose solution. A catheter. Transfusion tubing-- epinephrine pen. Pull the cap off with your teeth and plunge it into your leg, depressing the pin...Adrenaline surges. Cobwebs clear fast. Grab a I-V bag. Connect the tubing, prep the catheter as you prime the vein in the crook of your elbow. Slip the catheter in, connect the tubing and crank the flow control full. The drip begins. Squeeze the I-V bag rhythmically, over and over... ...be reminded of the human hearts that you have held in those same hands, pulsing them back to life. Plop the I-V bag into your coat pocket.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KECK HOSPITAL - NIGHT<\/stage_direction>\n    <scene_description>A perimeter of police cruisers surround the hospital as you slip out near an unattended emergency room exit, leading into the ambulance bay. The cops are everywhere. ...there's no way out of here... --then you SEE Janine, walking toward her car in the parking lot, puzzled by the massive police presence. Watch her expression shift as she figures out what this is about. You can signal her. You can sneak around to her car and have her get you the hell out of h-- --No....no. Don't involve her any longer. She's done enough. Watch as she glances around furtively, searching for me. Stay hidden. Out of sight. This flicker of panic from her as she fishes out her car keys, still surreptitiously scanning... ...One last look before she climbs into her car and somehow she spots me. Her eyes plead, desperate. Her gaze shifts to the police, then back to me. The invitation is there. She's still willing to help, rescue me from the moment... ...I could have loved this woman... I shake my head 'no...' She holds my gaze for a moment longer, I can see her tears from here. Finally she climbs into her car and drives off. ...you're stranded now... ...think...think...think. An idea takes hold. Pull your cellphone. Dial.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Nine-One-One, what is your emergency?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. KECK HOSPITAL - NIGHT<\/stage_direction>\n    <scene_description>TWO EMT'S rush out and climb aboard an ambulance. They flip on their sirens and roar out of the parking lot on their way to a call.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMBULANCE - REAR - CONTINUOUS<\/stage_direction>\n    <scene_description>Stay hidden beneath the gurney until Keck's facade fades from view. Roll out onto your back. Wait for the next stop.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAFFIC LIGHT - CONTINUOUS<\/stage_direction>\n    <scene_description>The ambulance slows at a red light as I fall from the rear doors and begins running. One of the EMT's, alerted to my presence, YELLS after-- --HEY!!! Don't look back. Just run.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAZARD PARK - NIGHT<\/stage_direction>\n    <scene_description>Sprinting blind. The wail of SIRENS everywhere. More than I've ever heard at one time, closing in, cutting me off-- --hide from a CRUISER as it blows past at high speed, it's spotlight barely missing me through the trees. Vault a chain length fence at San Pablo Street. Stick close to the shadow of the buildings but run... ...across East Valley Blvd and into Lincoln Heights. Rush into the lake surrounding Plaza De La Raza, belly flop into six inches of water as a fast moving LAPD Suburban blasts by. Two CHOPPERS approach, their searchlights moving over football-sized fields. I haul myself up, muscles screaming as I stagger toward 7th street in the distance. Halfway there when a CAR appears, high-beams blinding me, lamps lit red, braking just a few feet in front of me. ...it's over... I fall to my knees. All out of fight. I clasp my hands above my head and sob as the last of my will melts away. I'm hauled roughly to my feet and tossed into the back of the cop car. I hear the door slam shut and the car pull away. I want to apologize or offer some explanation, I open my mouth to speak and HEAR my brother Frank's voice from the front seat.<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Stay down.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Frank?<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Don't talk Paul. Don't say a thing.<\/dialogue>\n    <scene_description>Frank pulls the rooftop lamp into the car and kills his high- beams, racing across an open expanse of Lincoln park and crashing out onto a parking lot... ...I glimpse a street sign: 'N. SOHO' just before I pass out. BLACK FADE UP FROM BLACK<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNMARKED CAR - NIGHT<\/stage_direction>\n    <scene_description>Awake. My hands are plastered to the vinyl seat. I pull them free, palms spackled brown with dried blood. Frank sits in the bench-style seat in front, chin across his forearm, looking back at me. No telling how long we've been parked here...or what he's been thinking. I blink up at him. A long, leaden silence ensues, broken by:<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Give me the guns.<\/dialogue>\n    <scene_description>Wince as I retrieve the .357 from my injured side. Hand it across the seat silently, follow it with the 9mm. Draw myself up into a sitting position, slouched, neck slack, propped up against plastic sheaths of Frank's dry-cleaning. We're at the water's edge somewhere. Maybe the L.A. Harbor. A light rain is falling. Water beads off the windscreen...<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>...I was awake Frank. Conscious.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I listened to them die.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>That's how I knew they never called out for me...<\/dialogue>\n    <scene_description>Frank remains mute. There's really no other response to that.<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>...this whole fucking thing found me Frank. It found me. Some guy, stabbing victim, lands on my table, wearing my Stanford class ring.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You think that's coincidence? And if so, what's the difference between that and fate?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You know the thing that, confuses me the most, but still gives me an odd sense of peace, is that I now believe that this is who I am and who I've always been. I wasn't transformed so much as the fraud in me, the good father, husband, physician, was exposed.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>A killer who had never killed.<\/dialogue>\n    <scene_description>Frank exhales with a kind of pain that sounds like part of his soul escaping.<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>That night, the night I found you with my gun. I think I knew then that...that we'd wind up here.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I couldn't nail down the reason why I agreed to teach you to shoot and put a gun in your hand, until now.<\/dialogue>\n    <parenthetical>(beat, fighting emotion)<\/parenthetical>\n    <dialogue>Whatever that attack did to you and took from you, whatever was left of my brother. The man that remained--<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>--I wanted to arm.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And make strong...<\/dialogue>\n    <scene_description>Tears flood Frank's eyes. FRANK KERSEY ...but I'm asking you to stop now Paul...and shut this down. PAUL KERSEY God couldn't shut me down now. FRANK KERSEY You'll be caught or you'll be killed, if you keep going and I'll lose you. PAUL KERSEY I'm already lost. (long pause) I'm running on blood Frank. So much of it, so much rage. This darkness, I can't even measure much less contain. I want so badly to touch my wife one more time, part of me thinks I can manifest her, make her whole again, if I wipe out every single fucking thing that took her from me. FRANK KERSEY Half the LAPD is hunting you Paul and the other half is about to start. PAUL KERSEY Then give me back those guns and let me put this last piece of shit down and be done with it. FRANK KERSEY The man you want, Marvin Blaylock, is in country lock-up and probably on his way to the state pen. (before I can respond) --Paul, there is no scenario, where you can get to him, without engaging law enforcement head on and potentially hurting innocent people, so you have to trust me when I tell you, the system will do him. He won't last. Blaylock will die and die badly. The word will be out on him, the second he hits that cellblock. I'll make certain of it. PAUL KERSEY And you would put your faith in that Frank?<\/scene_description>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>No. I'd ask that you put your faith in me and when I tell you this will be taken care of and that that motherfucker won't make it, you believe me and you stop short of obliterating the rest of you life.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>That doesn't matter to me.<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>It does to me. To me it matters because I don't want to look at my little brother behind fucking glass for the next fifty years. The Mayor's office, the LAPD brass, you running around L.A., revenge- killing after what happened to your family is their worst fear. That's why they'll never come after you unless you get caught and making a run on Blaylock gets you just that. Then prosecuted, then imprisoned for the rest of your life.<\/dialogue>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>Why not come after me anyway?<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>The press. They'd lose. The public would see you as hero.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>The violent crime index dropped 57%, city-wide over the last week. 53% of that decrease happened in the last two days.<\/dialogue>\n    <scene_description>Something stirs in me. Some deep sense of satisfaction. I can't recall ever feeling it so strongly or succinctly. This long, drawn out silence envelops us for a moment. Then:<\/scene_description>\n    <character>PAUL KERSEY<\/character>\n    <dialogue>No one misses them...the men I've killed. No one lost anyone that mattered. I know that. If anything society is lighter. Less afraid.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I never realized how brilliant a bullet could be Frank...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>..or how clean it could cut.<\/dialogue>\n    <character>FRANK KERSEY<\/character>\n    <dialogue>Paul. You have to go. You have to leave L.A. and let what needs to happen, happen. I'm begging you man. Please know that this is the only way it can end.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Because from this moment forward, you're a murder suspect and I'm a fucking cop and you must understand everything that that means. I've been your brother up to this point but I can't go any further. I'll be forced to join in the hunt that hands you over to the law.<\/dialogue>\n    <parenthetical>(beat, this plead)<\/parenthetical>\n    <dialogue>Please Paul, listen to me...<\/dialogue>\n    <scene_description>Lay my head back. Let the scenario play out in my mind. The 'lose-lose' of it all. The car goes crypt-quiet again save the steady patter of rain as I finally glance up at my brother... ...and nod my consent... ...End game.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY HALL - MORNING<\/stage_direction>\n    <scene_description>A SPOKESMAN for the office of the Mayor addresses the ravenous press ranks packing the steps outside city hall.<\/scene_description>\n    <character>MAYOR'S SPOKESMAN<\/character>\n    <dialogue>...the Office Of The Mayor wishes to extend its deepest condolences to the families of the victims of these senseless killings as well as our assurance that those responsible...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNION STATION - BATHROOM - DAY<\/stage_direction>\n    <scene_description>Paul finishes buttoning up one of Frank's dry-cleaned suits, discarding his bloody clothes in the trash.<\/scene_description>\n    <character>MAYOR'S SPOKESMAN (V.O.)<\/character>\n    <dialogue>...for such wanton and callous disregard for human life will be captured and prosecuted to the fullest measure of the law...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNION STATION - TRAIN PLATFORM - DAY<\/stage_direction>\n    <scene_description>Paul and Frank Kersey bid goodbye to one another. Paul embraces his brother long and hard and whispers something to him before clambering aboard a train bound for San Francisco.<\/scene_description>\n    <character>MAYOR'S SPOKESMAN (V.O.)<\/character>\n    <dialogue>...there have been widespread rumors about the nature of these killings...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN CAR - DAY<\/stage_direction>\n    <scene_description>Paul sits as the train pulls away, leaning his head back and letting the sunlight find his face as he watches the buildings begin to recede and give way to the sprawling industrial area surrounding the downtown. His reflection passes in and out of shadow as the train travels along, offering us these elliptical glimpses of his still present Doppelganger...<\/scene_description>\n    <character>MAYOR'S SPOKESMAN (V.O.)<\/character>\n    <dialogue>...attributed as vigilante-style, 'revenge' murders and carried out by a renegade private citizen...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY HALL - CONTINUOUS<\/stage_direction>\n    <scene_description>The Mayor's Spokesman continues his oratory.<\/scene_description>\n    <character>MAYOR'S SPOKESMAN<\/character>\n    <dialogue>...these rumors do in fact have some basis in truth but are largely the product of the panic and hysteria that have gripped our city over the last few days...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAIN STOP - ALHAMBRA, CA - DAY<\/stage_direction>\n    <scene_description>The train pulls in. Passengers pile on, en masse. One pair of well worn boots disembark and WE FOLLOW THEM...<\/scene_description>\n    <character>MAYOR'S SPOKESMAN (V.O.)<\/character>\n    <dialogue>...and we vow to bring a swift and decisive end to this crisis, utilizing the considerable resources and talents of one of the most vaunted and respected police departments in the entire country...our very own LAPD...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - DAY<\/stage_direction>\n    <scene_description>Frank Kersey drives from the train station. Tired. Troubled. A jolt of panic overcomes him as he gropes for his jacket and pulls his lapel back to reveal an empty shoulder holster.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLSIDE - DAY<\/stage_direction>\n    <scene_description>Paul Kersey removes his brother's SIG-SAUER P229 pistol from his jacket pocket and replaces it in his rear waistband as he stalks up a steep hillside overgrown with ragweed and scrub.<\/scene_description>\n    <character>MAYOR'S SPOKESMAN (V.O.)<\/character>\n    <dialogue>...there is a singular system of justice available to us as Angelenos and that system must be managed and implemented by our law enforcement agencies and our courts.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Regardless of the crime, citizens have rights and the protection and enforcement of those rights fall to us. Therefore we will not allow due process to be dragged into the street. Nor we will permit the prosecution and sentencing of our citizenry...<\/dialogue>\n    <scene_description>As Paul crests the hillside, THE CAMERA BOOMS UP with him, revealing the smog-blanketed spires and buildings of downtown Los Angeles in the distance.<\/scene_description>\n    <character>MAYOR'S SPOKESMAN (V.O.)<\/character>\n    <dialogue>...and will punish with grim resolve and grave consequence, those that act in direct defiance of these statutes. The lawful right to judge, try and condemn the guilty, belongs to our system of justice...<\/dialogue>\n    <scene_description>Paul stalks up over the barren hillside and vanishes behind it.<\/scene_description>\n    <character>MAYOR'S SPOKESMAN (V.O.)<\/character>\n    <dialogue>...and not any one man.<\/dialogue>\n    <scene_description>SMASH CUT TO BLACK THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Trauma surgeon Paul Kersey lives with his wife, Lucy, and daughter, Jordan, in Chicago. When the family visits a restaurant with Paul's brother Frank, Miguel the valet secretly copies their address after hearing that they plan to stay out. Paul is suddenly called to the hospital, though, and Jordan and Lucy return home just as three armed criminals break in, leading to Lucy and Jordan being shot when they try to fight back. Lucy is killed and Jordan survives, but is left in a coma. Paul becomes frustrated with the lack of police progress on the case, contemplating purchasing a firearm. When a gang member is brought to the hospital and his gun falls out, Paul secretly takes it and practices shooting. He later uses it to stop a carjacking, injuring his left hand in the process. A captured video of the carjacking goes viral, earning Paul the nickname \"Grim Reaper\". After treating a boy who was attacked for refusing to sell drugs for a dealer calling himself the \"Ice Cream Man\", Paul guns him down in broad daylight. News reports consistently demonstrate divided opinions of support and condemnation of Paul's developing war against violent criminals. Later on at Paul's hospital, Paul recognizes a dying Miguel on his operating table wearing a watch stolen from his home. Paul hacks into Miguel's phone, leading him to a liquor store that fences stolen goods. The owner, Ponytail, recognizes Paul and messages another criminal, Fish. Fish sneaks in and accidentally kills Ponytail while trying to shoot Paul. Fish identifies the second member of the group, Joe, before Paul kills him. The cops visit Paul to discuss the case. Afterwards, he destroys the phones to cover his tracks. Finding Joe at an auto body shop, he tortures him. Joe divulges that the third robber, Knox, murdered Lucy, before Paul kills him. Knox calls Paul, arranging to meet in a nightclub bathroom, where they exchange fire and wound each other. Paul gets away while Knox goes to the police and gives them a physical description of Paul. Arriving home, Paul is confronted by Frank, who then answers the front door and is questioned by the detectives of his brother's whereabouts. During the intervention, the hospital calls to tell Paul that Jordan has regained consciousness. A week later, Paul leaves the hospital with Jordan and legally buys weapons to defend his family. As Knox cases his house for an ambush, Paul glimpses a man running across the lawn and orders Jordan to hide and call the police. After killing Knox's men, Paul is shot and wounded by Knox, but manages to pull out a hidden rifle and kills him. The police arrive and accept Paul's story after he hints that he is done with vigilantism. Months later, Paul drops off Jordan at New York University. Spotting a man stealing a bag from a bellhop, he calls out and points a finger gun at him."}
{"movie_name":"The Hand of God_2021","imdb_id":"tt12680684","script":"<script>\n  <scene>\n    <scene_description>THE HAND OF GOD Written by Paolo Sorrentino<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NAPLES. HIGHWAY. SUNSET<\/stage_direction>\n    <scene_description>An airplane slices the clear blue sky. The camera, perched on a helicopter, follows it for a second, then turns its attention to a brand new 1929 Isotta Fraschini, seen from above. Shiny, black, and beautiful, with tinted windows, it glides along the deserted highway. In the oncoming lane, contemporary cars zip by at regular intervals. The Isotta Fraschini, seen from above, rolls along the highway. The opening credits roll with it. A pan shot swivels away from the car to reveal to us the most beautiful city in the world: Naples. The camera embraces the city, Vesuvius, the sea, Capri, and the sun as it drops behind Ischia. The airplane, tiny now, flies into the setting sun. It's 1984, and this is the title: THE HAND OF GOD<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PIAZZA DEL PLEBISCITO. BUS STOP. EVENING<\/stage_direction>\n    <scene_description>Traffic and chaos. The shops are still open. Swarms of people. The Isotta Fraschini pulls over at a bus stop. The back window lowers slowly, revealing the aged, handsome face of a sixty-year-old man. Hair dyed a ferocious black and playboy Ray-bans. He's wearing an impeccable black tux. He calls out in a mellifluous voice.<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>Ciao, Patrizia!<\/dialogue>\n    <scene_description>Patrizia, surprised, turns. Forty years old, a woman of extraordinary beauty and allure. She's waiting for the bus, along with a bunch of other people - all of them short, ugly, poor, working class. But none of them - who knows why - seem even to notice that there's a 1929 Isotta Fraschini smack in the middle of 1984 Naples. No one but Patrizia, that is.<\/scene_description>\n    <character>PATRIZIA<\/character>\n    <dialogue>I'm Patrizia. But who are you?<\/dialogue>\n    <scene_description>The man, sitting in the back seat, flashes an amused smile. He takes off his sunglasses, revealing aquamarine eyes.<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>What do you mean, who am I? I am San Gennaro.<\/dialogue>\n    <scene_description>Patrizia is stunned. The other people at the bus stop are oblivious. They keep waiting for the bus, staring impatiently at the horizon.<\/scene_description>\n    <character>PATRIZIA<\/character>\n    <dialogue>How do you know my name?<\/dialogue>\n    <character>SAN GENNARO<\/character>\n    <dialogue>How do I know your name? Jesus, Patrizia, I told you, I'm San Gennaro!<\/dialogue>\n    <scene_description>Patrizia glances at the driver: a young man in uniform, complete with a chauffeur's cap, sits behind the wheel.<\/scene_description>\n    <character>SAN GENNARO<\/character>\n    <dialogue>Waiting for the 412?<\/dialogue>\n    <scene_description>Patrizia nods in bewilderment.<\/scene_description>\n    <character>SAN GENNARO<\/character>\n    <dialogue>Who knows when that will be! You could be waiting here for two hours. Want a ride? We can take you home if you like, me and Luigino Serra here.<\/dialogue>\n    <scene_description>He nods toward the driver, who turns slowly, revealing a face that is ugly as shit. And then, in a voice like a thief's.<\/scene_description>\n    <character>LUIGI SERRA<\/character>\n    <dialogue>Pleased to meet you. I'm Luigi Serra.<\/dialogue>\n    <scene_description>Patrizia grows suspicious, distrustful.<\/scene_description>\n    <character>PATRIZIA<\/character>\n    <dialogue>No thanks. I'll wait for the bus.<\/dialogue>\n    <scene_description>Silence. San Gennaro stares at her with a vague, inscrutable half smile.<\/scene_description>\n    <character>SAN GENNARO<\/character>\n    <dialogue>You can't have children, Patrizia, isn't that right?<\/dialogue>\n    <scene_description>A chill runs down her spine. All she can do is nod helplessly at San Gennaro.<\/scene_description>\n    <character>SAN GENNARO<\/character>\n    <dialogue>So get in then. I'll take you home and, along the way, I'll explain how you can have a child with your husband Franco.<\/dialogue>\n    <scene_description>A dazed, numb Patrizia climbs in next to San Gennaro. The Isotta Fraschini pulls away. Patrizia, nervous, says.<\/scene_description>\n    <character>PATRIZIA<\/character>\n    <dialogue>My heart's pounding.<\/dialogue>\n    <scene_description>San Gennaro is imperturbable. Luigi Serra, without turning around, comments definitively.<\/scene_description>\n    <character>LUIGI SERRA<\/character>\n    <dialogue>We know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RUN-DOWN OLD APARTMENT BUILDING. STAIRS. EVENING<\/stage_direction>\n    <scene_description>A noble-looking apartment building that has seen better days. The crumbling staircase is dark and sinister. In the corners, votive lights dimly illuminate discouraged, defenseless Madonnas. In the courtyard, Luigi Serra - seen in profile - leans against the Isotta Fraschini, smoking a cigarette like some pretentious dandy. Patrizia glances around as she climbs the stairs; San Gennaro, behind her, ogles her legs beneath her knee-length skirt. She turns. He quickly looks away.<\/scene_description>\n    <character>PATRIZIA<\/character>\n    <dialogue>Where are we going?<\/dialogue>\n    <character>SAN GENNARO (REASSURING BUT BRUSQUE)<\/character>\n    <dialogue>We're just stopping at my place for a minute. I can explain things more calmly there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAN GENNARO'S GRAND APARTMENT. NIGHT<\/stage_direction>\n    <scene_description>San Gennaro flips a switch. A magnificent crystal chandelier, an enormous antique, which is lying on its side on the floor like a beached whale, a wire running up to the ceiling, illuminates - in a fade in of light - the entrance hall, as spacious as a parade ground. It's a bare, dilapidated hall, but we can tell that it must have been splendid once, very luxurious. Patrizia appears in the doorway now, gaping in wonder. San Gennaro next to her. The sound of dripping water makes Patrizia look up: on the ceiling is a fading fresco, which is slowly being devoured by a patch of mildew. The faces of angels and virgins, besieged by tentacles of encroaching mold. The pitter patter of footsteps from one of the rooms. They come closer. A nine-year-old boy appears, dressed as a monk. His face is hidden by his habit's pointed hood. Patrizia is entranced. Incredulous, she exclaims:<\/scene_description>\n    <character>PATRIZIA<\/character>\n    <dialogue>The Little Monk!!!<\/dialogue>\n    <character>SAN GENNARO<\/character>\n    <dialogue>Exactly! It's really him, the Little Monk. Come over here, you Little Monk, you!<\/dialogue>\n    <scene_description>The boy steps closer, pulls 200.000 lire out of his habit, and tucks it in Patrizia's coat pocket, without ever revealing his face.<\/scene_description>\n    <character>SAN GENNARO<\/character>\n    <dialogue>Now Patr\u00ec, kneel down and kiss the Little Monk's head. It brings good luck, you know.<\/dialogue>\n    <scene_description>Patrizia, as if in a trance, bends over to kiss the boy's hooded head. San Gennaro takes advantage of her bending to place his hand on her ass. And says, in an authoritative voice:<\/scene_description>\n    <character>SAN GENNARO<\/character>\n    <dialogue>There, you can have all the children you want now, my pretty Patrizia.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANCO AND PATRIZIA'S HOME. EVENING<\/stage_direction>\n    <scene_description>A contemporary apartment in the Vomero neighborhood. Franco, a strapping, handsome 45-year-old with that respectable, lower-middle-class look, waits at the door, a severe expression on his face. The sound of keys in the lock. The door opens and a breathless Patrizia appears.<\/scene_description>\n    <character>FRANCO<\/character>\n    <dialogue>It's ten o'clock. Where have you been?<\/dialogue>\n    <character>PATRIZIA<\/character>\n    <dialogue>You won't believe it, but I had to wait two hours for the 412.<\/dialogue>\n    <scene_description>Patrizia tries to go around him, but Franco blocks her path. Franco thrusts his hand in her coat pocket and immediately discovers the 200.000 lire. He flies into a rage. She is afraid and tries to get away from him, but he forcibly restrains her.<\/scene_description>\n    <character>FRANCO<\/character>\n    <dialogue>Again? You did it again!<\/dialogue>\n    <scene_description>He slaps her so hard she falls to the floor. He hurls himself at her, and is about to start kicking her, but she is faster than he is. She races off, and Franco ends up kicking a brass umbrella stand. He howls in pain. Patrizia darts across the hall and locks herself in a room. Franco flings himself at the door, pounding and kicking it. Patrizia, tears streaming down her cheeks, sits on the double bed. Her hand trembles, but she manages to make a phone call.<\/scene_description>\n    <character>PATRIZIA<\/character>\n    <dialogue>Maria, come quick. Franco's trying to kill me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VIA SAN DOMENICO PARK. EVENING<\/stage_direction>\n    <scene_description>The Vomero neighborhood. There, in the middle of a cluster of 1960s apartment buildings is a dignified central square. With plants, parked cars, a slide, and a low wall for hanging out. Mariettiello, 40 years old, a Nietzsche-style mustache, greasy hair plastered to his scalp, a speech pattern that reveals an intellectual disability, and the eyes of a good soul, is fanatically dusting a spotless, brown Fiat 127. In one hand is a cigarette, which he holds with the grace of a countess. Near him is Fabietto, 17 years old: an anonymous, good-boy face, typical teenage acne, wavy hair. He's eating a mandarin orange as he stares hungrily at Mariettiello's hand, mesmerized by the way he holds his cigarette. A pair of twenty-year-old twins goes by on a Piaggio Ciao motor scooter.<\/scene_description>\n    <character>FIRST TWIN (IN A LOUD VOICE)<\/character>\n    <dialogue>Mariettiello!<\/dialogue>\n    <scene_description>Mariettiello turns happily.<\/scene_description>\n    <character>SECOND TWIN<\/character>\n    <dialogue>Hey, handsome!<\/dialogue>\n    <scene_description>Handsome he is not. The twins disappear. Mariettiello laughs. Fabietto smiles. Then he notices something peculiar: Mariettiello has taped a photo of himself leaning against his Fiat inside the rear window.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>That's a little weird, Mario, the photo?<\/dialogue>\n    <character>MARIETTIELLO<\/character>\n    <dialogue>That way everybody knows whose car it is, Fabi\u00e8.<\/dialogue>\n    <character>FABIETTO (SMILES)<\/character>\n    <dialogue>Do you even have your license, Mario?<\/dialogue>\n    <character>MARIETTIELLO<\/character>\n    <dialogue>Of course! Pap\u00e0 got it for me.<\/dialogue>\n    <scene_description>A woman's voice, breathless and upset, shouts from a window.<\/scene_description>\n    <character>WOMAN (V.O.)<\/character>\n    <dialogue>Fabietto, come home, now.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Coming, mamma.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VIA MANZONI. NIGHT<\/stage_direction>\n    <scene_description>Via Manzoni offers a panoramic view of the sea and the city with its twinkling lights. Three people, all without helmets, go by on a Vespa 125. Fabietto's driving. Fast. Maria's in the middle: 50 years old, plump, short blond hair. Saverio comes last: 52 years old, he bears a vague resemblance to Jean-Paul Belmondo. White hair, prominent nose. Saverio, perched precariously on the very edge of the seat, clings with all his might to Maria, who, in turn, clings with all her might to Fabietto.<\/scene_description>\n    <character>SAVERIO (DISTRAUGHT)<\/character>\n    <dialogue>I'm falling off!<\/dialogue>\n    <scene_description>Fabietto and Maria both laugh.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANCO AND PATRIZIA'S HOME. EVENING<\/stage_direction>\n    <scene_description>An inferno. The scuffle must have been pretty violent. Saverio, Maria, and Fabietto freeze in the doorway, their mouths open, gaping at the mess. They're astounded. Franco is in the hallway, sitting on the floor, his clothes torn, his face covered in scratches. We glimpse Patrizia in the bedroom at the far end of the hall. Her dress has been ripped to shreds. The bedroom door has been forced open.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>What is going on?<\/dialogue>\n    <scene_description>Franco is on the verge of tears.<\/scene_description>\n    <character>FRANCO<\/character>\n    <dialogue>She did it again, that whore, okay? She went and prostituted herself again.<\/dialogue>\n    <scene_description>Patrizia screams from the far end of the hall, desperate to be believed.<\/scene_description>\n    <character>PATRIZIA<\/character>\n    <dialogue>It's not true! I met San Gennaro, he took me to meet the Little Monk, he's the one who gave me the 200.000 Lire, he told me I can get pregnant now. That's why I was late, you shit of a man, you, so I could give you a son.<\/dialogue>\n    <scene_description>Maria, Saverio, and Fabietto wade through the wreckage to get to Patrizia. Her nose is bleeding. But Saverio and Fabietto, father and son, both notice something else, at exactly the same time, which pierces them to the quick: in the scuffle, beautiful Patrizia's dress has been torn open, exposing her splendid breasts. Maria, on the other hand, is focused on Patrizia's bleeding nose. She turns to the males of her family, whom she realizes only have eyes for Patrizia's breasts. She barks severely.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>Sav\u00e8, did you even notice that my sister's nose is bleeding? Get me a damp cloth.<\/dialogue>\n    <scene_description>Saverio, called to order, bolts for the kitchen. Fabietto, in a daze, continues to ogle his aunt's breasts.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>You too? Enough already!<\/dialogue>\n    <scene_description>Fabietto snaps to. Saverio walks from the kitchen to the bedroom, carrying a damp cloth, which he hands to his wife. Patrizia, in a pleading voice, is trying to convince Maria.<\/scene_description>\n    <character>PATRIZIA<\/character>\n    <dialogue>It really was the Little Monk, Mar\u00ec, I swear to God.<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>Enough, Patr\u00ec, please.<\/dialogue>\n    <scene_description>Fabietto listens to their exchange, then goes over and joins his father, who is in the hallway with Franco. Saverio speaks in a low voice so Patrizia won't hear.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>You gotta knock it off, Franco!<\/dialogue>\n    <character>FRANCO<\/character>\n    <dialogue>She's a whore!<\/dialogue>\n    <character>SAVERIO<\/character>\n    <dialogue>No, Franco, she's not a whore! She's sick. Even the psychiatrist said so. This thing, not being able to have kids, it sends her over the edge. She's depressed, let's put it that way.<\/dialogue>\n    <character>FRANCO<\/character>\n    <dialogue>She's a whore.<\/dialogue>\n    <scene_description>Fabietto overcomes his shyness to say.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>What if she really did see the Little Monk, Uncle Franco?<\/dialogue>\n    <scene_description>Franco and Saverio turn in unison and stare silently at this other crazy creature.<\/scene_description>\n    <character>FRANCO<\/character>\n    <dialogue>You're as batshit as she is.<\/dialogue>\n    <scene_description>Fabietto, dismayed, catches his father's eyes.<\/scene_description>\n    <character>SAVERIO (PATERNAL)<\/character>\n    <dialogue>You keep spoutin' crap like that and you'll flunk out. You understand your pap\u00e0?<\/dialogue>\n    <scene_description>Father and son hold each other's eye, but it's a complicit look. They're trying not to laugh. If they did, Franco would kill them both.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FABIETTO'S HOME. DAY<\/stage_direction>\n    <scene_description>Early morning. An apartment in the Vomero neighborhood. Lower middle class. Maria is in the kitchen, squeezing orange juice for Fabietto. We hear banging coming from the apartment above. Three knocks, to be precise. Maria snorts, routinely grabs the broom, and bangs three times on the ceiling. As if in response.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>Mamma, have you ever seen the baroness's house?<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>I used to go all the time when her husband was alive. But ever since he died, she's never let anybody in.<\/dialogue>\n    <scene_description>Maria offers Fabietto the orange juice.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>What's it like, her house?<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>Normal.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>And her husband? I don't remember him.<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>Mr. Attilio? Such a good man. She treated him like a doormat, though. She'd only let him go out on Saturday, and only for twenty minutes. She'd fill out the gambling slip, and he'd go place the bet.<\/dialogue>\n    <scene_description>CUT TO: The kids' room. Decorated in a nautical theme. Marchino, 26 years old, is sleeping soundly. Fabietto, in the dark, is getting dressed for school.<\/scene_description>\n    <character>SAVERIO (V.O.)<\/character>\n    <dialogue>Fabietto, wake Marchino up, he's got to go to class.<\/dialogue>\n    <scene_description>Fabietto shakes him.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>March\u00ec, wake up.<\/dialogue>\n    <scene_description>Marchino, annoyed, merely rolls over. Fabietto leaves the room and heads down the hall to the bathroom. The door is closed. His father is there too, waiting impatiently. He issues a command.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>Daniela, out!<\/dialogue>\n    <character>DANIELA (FROM THE BATHROOM)<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>SAVERIO<\/character>\n    <dialogue>Come out, right this minute! I have to go to work. Fabietto has to go to school.<\/dialogue>\n    <character>DANIELA (V.O.)<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>SAVERIO (TO FABIETTO)<\/character>\n    <dialogue>Did your brother get up?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Are you kidding! He must have gotten in at four...five.<\/dialogue>\n    <scene_description>Saverio snorts in exhaustion. He shouts to his daughter in the bathroom.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>What are you doing in there?<\/dialogue>\n    <character>DANIELA (V.O.)<\/character>\n    <dialogue>Cutting my nails.<\/dialogue>\n    <character>SAVERIO<\/character>\n    <dialogue>Can't you cut them in your room?<\/dialogue>\n    <character>DANIELA (V.O.)<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>SAVERIO<\/character>\n    <dialogue>Where'd you get all this brashness from?<\/dialogue>\n    <character>DANIELA (V.O.)<\/character>\n    <dialogue>From you!<\/dialogue>\n    <scene_description>Saverio walks off. Fabietto follows his father.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>Pap\u00e0, do you think Maradona'll really come? Yesterday they said...<\/dialogue>\n    <character>SAVERIO (INTERRUPTS)<\/character>\n    <dialogue>Don't get it in your head, Fabi\u00e8. Can you imagine him leaving Barcelona for this shit hole!<\/dialogue>\n    <character>DANIELA (SHOUTS FROM THE<\/character>\n    <dialogue>BATHROOM)(V.O.)<\/dialogue>\n    <scene_description>He's not coming!<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>Did you hear your sister? Who knows how she does it, but she acquires of a lot of information there in that bathroom.<\/dialogue>\n    <scene_description>CUT TO: THE FRONT DOOR. Maria opens the door. Standing there, all dressed in black, as if in mourning, is the corpulent, colossal Baroness Focale. The widow who lives upstairs. 60 years old, 6'2\", her face petrified in a perpetually pissed expression, perfidious, and mean, a massive amount of white hair, pulled back in a chignon, and bushy white eyebrows. Maria lets her in, as a matter of routine. The baroness, in slippers, shuffles into the kitchen without saying a word, and sits on a stool. Maria follows her.<\/scene_description>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>Well. Rumors are flying. People are saying you're building a chalet in Roccaraso. Is it true?<\/dialogue>\n    <character>MARIA (DOWNPLAYING)<\/character>\n    <dialogue>A chalet, is it? More like a two- room condo.<\/dialogue>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>With a yard! You must be making good money! My dearly departed husband always wanted to buy a house in the mountains. I told him I'd throw him in the trash if he ever did anything so foolish.<\/dialogue>\n    <scene_description>Maria isn't even listening.<\/scene_description>\n    <character>BARONESS FOCALE (SIGHING HEAVILY)<\/character>\n    <dialogue>Anyway...humanity is just horrendous. Did they tell you?<\/dialogue>\n    <character>MARIA (BRUSQUE)<\/character>\n    <dialogue>No, no one tells me anything. Baroness, would you mind if I kept straightening up while we chat?<\/dialogue>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>If you must. Have you met your sister-in-law's boyfriend?<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>No, Sunday. We're going to Agerola, we'll meet him then.<\/dialogue>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>Agerola is such a vulgar place.<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>The air is good.<\/dialogue>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>Vulgar places always have good air.<\/dialogue>\n    <scene_description>Maria steps into the small dining room and straightens her husband's tie. Fabietto is there too, about to go out. Fabietto and his father catch a glimpse through the glass door of Baroness Focale, planted on her stool.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>Have you noticed that the baroness looks just like Pope Wojtyla?<\/dialogue>\n    <scene_description>He's absolutely right. Maria snickers and goes back into the kitchen.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>It's true, I never noticed before.<\/dialogue>\n    <character>SAVERIO<\/character>\n    <dialogue>The pope's sexier, though.<\/dialogue>\n    <scene_description>They laugh. Saverio nods goodbye to Maria through the glass door. She nods back. He and Fabietto leave the house. We stay in the kitchen, listening to the baroness and Maria's gossip.<\/scene_description>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>So your next door neighbor went to that wedding on Saturday.<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>Ah! How was it?<\/dialogue>\n    <character>BARONESS FOCALE (PERFIDIOUS)<\/character>\n    <dialogue>To hear her tell it, you'd think it was the wedding of Charles and Diana. It's all \"incredible, marvelous, enchanting, elegant, fabulous.\"<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>Nice.<\/dialogue>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>What do you mean, nice! Can you imagine! It had to have been beyond boorish. Imagine, a wedding on Procida! Capri I could see, but Procida!<\/dialogue>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>Anyway, she says - but I don't believe it - that Franco Zeffirelli was there, that he kissed her hand somehow and said: \"Such a beautiful woman!\"<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>Why don't you believe it, Baroness?<\/dialogue>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>Because Zeffirelli goes the other way! So just imagine if he would dish out compliments to that ugly Graziella!<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>You really don't like Graziella, do you?<\/dialogue>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>Graziella. She puts on airs! Her, her husband, and their children. They all act so superior, just because they're from Trentino Alto Adige. As if it were some sort of privilege, being from Trentino Alto Adige! They think of themselves as part of the Austro-Hungarian Empire, these dimwits!<\/dialogue>\n    <character>MARIA (IRONIC)<\/character>\n    <dialogue>How dare they? When we're from the Kingdom of Naples!<\/dialogue>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>Don't make fun of me, Mar\u00ec!<\/dialogue>\n    <scene_description>Maria suddenly remembers something she needs to do.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>Just a minute, Baroness.<\/dialogue>\n    <scene_description>Maria runs to the window. Saverio, down in the street, is perched behind Fabietto on the Vespa, waiting. Maria whistles to him, a conventional tune, and Saverio repeats it back to her. Only now can he leave for work. Maria pulls her head back in. The baroness is disgusted.<\/scene_description>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>Such sappy sentimentality! My husband loved all that sappy stuff, too.<\/dialogue>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>I told him straight away, in rhyme: \"Attiliuccio, with me it's a no go. I am as cantankerous as an army general, you know.\" I'm going upstairs, I've had quite enough.<\/dialogue>\n    <scene_description>Off she goes, moving like a mammoth.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>Should I bring you some lunch later on?<\/dialogue>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>Thank you, dear. Leave it outside my door and bang five times, as usual, so I know it's there.<\/dialogue>\n    <scene_description>She says as she vanishes on the landing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SALESIAN SCHOOL. COURTYARD. DAY<\/stage_direction>\n    <scene_description>The Salesian school courtyard. In the morning, before class, the boys play soccer there: 25 matches going on simultaneously, all under the watchful eye of four priests. Which means that there are 50 goalies at the nets; 25 balls in play on the field; and 400 teenager boys running around, shouting and sweating. Total chaos, as you can imagine. There are scuffles, head butts, falls, players who start running with the ball between their feet, but it's the wrong ball, it belongs to another match, so insults fly left and right. Or someone scores but accidentally kicks it into the net of another match. Every kid is shouting, pretending to be Maradona, naturally. One kid makes a cross kick and hits a pigeon flying by. His teammates roll on the ground in laughter. There, in this orgy of males devoted to an impossible sort of soccer, is Fabietto. He almost never touches the ball. The bell rings. They all slowly collect their knapsacks and, like deportees, head off to face the school day, under the watchful eyes of the priests. Fabietto heads for the door too, gazing sadly at his classmates, who are all grouped together in front of him. He can't stand their laughter, their gaiety, so he puts on his headphones. But we can't hear what he is listening to on his Walkman. An elderly priest gestures to him. Fabietto sees him and takes off his headphones.<\/scene_description>\n    <character>ELDERLY PRIEST<\/character>\n    <dialogue>Do you need to make confession?<\/dialogue>\n    <scene_description>Fabietto gives him a melancholy nod.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALESIAN CHURCH. DAY<\/stage_direction>\n    <scene_description>The church is empty. And dark. Fabietto and the elderly priest sit facing each other on two chairs in a corner at the far end of the nave - a confessional of sorts.<\/scene_description>\n    <character>ELDERLY PRIEST (KINDLY)<\/character>\n    <dialogue>So Fabietto, do you want to tell me your sins?<\/dialogue>\n    <scene_description>Fabietto, his eyes lowered, hesitates.<\/scene_description>\n    <character>ELDERLY PRIEST<\/character>\n    <dialogue>Now, now, courage!<\/dialogue>\n    <scene_description>Fabietto lifts his head, gives the priest a disarming look.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>I feel alone.<\/dialogue>\n    <character>ELDERLY PRIEST<\/character>\n    <dialogue>But you're not alone, Fabietto. God is with you.<\/dialogue>\n    <character>FABIETTO (SERIOUS)<\/character>\n    <dialogue>I don't see him, though. Do you?<\/dialogue>\n    <scene_description>The elderly priest looks at Fabietto. And says nothing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARONESS FOCALE'S LANDING. DAY<\/stage_direction>\n    <scene_description>An opulent, pretentious gold plaque on the door: \"BARONESS ELISABETTA FOCALE\". Below the plaque is a crude pen drawing, which someone tried unsuccessfully to erase. So we can still make out the blurry outline of a giant penis. Maria sets down a couple of containers of food outside the baroness's door. Curious, she puts her ear against the door, but silence reigns inside. Maria withdraws and descends the stairs. The sound of creaking hinges makes her stop. She turns and sneaks a glance, but all she can see is the plump, bejeweled hand of the baroness who, as stealthy as a thief, collects her lunch through the half-open door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AGEROLA. FARMHOUSE. DAY<\/stage_direction>\n    <scene_description>A country farmhouse clings to the cliffs. Far below lies the Amalfi coast and the spectacular blue sea. It's three in the afternoon. Thirty people - all related - sit at a long wooden table in the shade of an oak tree. They're happily eating a ripe, juicy watermelon. Uncle Alfredo: 60 years old, a kind face, a cream-colored linen suit - the epitome of old-fashioned elegance - and inconsolably depressed. With two little nephews in his arms, he wearily acts out that silly old nursery rhyme \"Vola Gigino, vola Giggetto.\"<\/scene_description>\n    <character>UNCLE ALFREDO<\/character>\n    <dialogue>Vola Dieghito, vola Dieghetto. Arriva Dieghito, arriva Dieghetto.<\/dialogue>\n    <scene_description>The nephews laugh gleefully. Uncle Alfredo doesn't laugh, though. Lost in thought, he stares blankly into space. Patrizia and Franco don't say a word. They keep to themselves, frowning and tense. Saverio and Fabietto, sitting at the table, devour their watermelon as they watch Maria, who is sitting with an elderly woman in an incongruous fur coat, in the shade of a grape vine.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>Look at your mother! Look how she's trying to goad Signora Gentile. She loves making her say bad words.<\/dialogue>\n    <scene_description>Fabietto laughs. He catches melancholy Patrizia's eye. She gives him a sad smile. Fabietto awkwardly returns the smile. Nenella - Saverio's fat, 55-year-old sister - speaks up.<\/scene_description>\n    <character>NENELLA<\/character>\n    <dialogue>Signora Gentile is the nastiest woman in all of Naples. Everybody knows that.<\/dialogue>\n    <character>NENELLA<\/character>\n    <dialogue>But who ends up with her as an in- law? Me! My daughter's married to her son.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Is she cold?<\/dialogue>\n    <character>NENELLA<\/character>\n    <dialogue>Cold? Heavens, no, she just wants us all to know that she has a fur coat.<\/dialogue>\n    <character>SAVERIO (TO FABIETTO)<\/character>\n    <dialogue>Let me tell you something, Fabietto. Signora Gentile never looks anyone in the eye. No one has ever earned the privilege of being loved by her. Which is why everyone desires her.<\/dialogue>\n    <character>FABIETTO (TEASING HIM)<\/character>\n    <dialogue>That's deep, dad, real deep.<\/dialogue>\n    <character>SAVERIO (LAUGHS)<\/character>\n    <dialogue>Wiseguy!<\/dialogue>\n    <scene_description>Maria, smiling up her sleeve, brings out the shrew in Signora Gentile, who is chomping on a giant mozzarella.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>Signora Gentile, you're spilling all over yourself.<\/dialogue>\n    <character>SIGNORA GENTILE (HER MOUTH FULL)<\/character>\n    <dialogue>Fuck off!<\/dialogue>\n    <scene_description>Maria laughs to herself. Then she feigns graciousness.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>Why don't you come join the rest of us?<\/dialogue>\n    <character>SIGNORA GENTILE (IN A LOUD VOICE)<\/character>\n    <dialogue>Because you people are trash. That's why!<\/dialogue>\n    <scene_description>Maria laughs and turns to look at her husband. Nenella, who has overheard Signora Gentile, jumps up, ready to punch her, but Saverio grabs his sister's arm, holding her back.<\/scene_description>\n    <character>SAVERIO (IN A LOUD VOICE, TO MARIA)<\/character>\n    <dialogue>What nice things does Signora Gentile have to say, Maria?<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>Making use of an elaborate turn of phrase, she says that she holds us in the highest regard.<\/dialogue>\n    <scene_description>Saverio, Fabietto, and Marchino all laugh. Maria joins her family at the table. Annarella, a 20-year-old niece with an enormous nose, asks her.<\/scene_description>\n    <character>ANNARELLA<\/character>\n    <dialogue>Aunt Maria, why didn't Daniela come?<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>She was in the bathroom. We waited for her for two hours. But then we got fed up.<\/dialogue>\n    <character>A NEPHEW (8 YEARS OLD)<\/character>\n    <dialogue>Aunt Maria, will you do that trick with the oranges?<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>Of course, dear.<\/dialogue>\n    <scene_description>Maria takes three oranges from the table and starts to juggle. Everyone watches in delight. Saverio is proud and incredulous. He addresses the table.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>How the heck does she do that?<\/dialogue>\n    <scene_description>Maria drops an orange. The show is over. But everyone claps. Maria goes over to her sister Patrizia, and asks her sweetly.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>What's wrong, Patr\u00ec?<\/dialogue>\n    <character>PATRIZIA<\/character>\n    <dialogue>Let me be, Mar\u00ec.<\/dialogue>\n    <scene_description>Maria drops it. Instantly in a good mood again, she says to Nenella.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>Nenella, you haven't eaten a thing, not even the peppers.<\/dialogue>\n    <character>NENELLA (PROUD)<\/character>\n    <dialogue>Especially the peppers. I'm doing Weight Watchers.<\/dialogue>\n    <scene_description>Her husband, Albertino, hugs her and says proudly.<\/scene_description>\n    <character>ALBERTINO<\/character>\n    <dialogue>She's already lost three and a half kilos.<\/dialogue>\n    <character>SIGNORA GENTILE<\/character>\n    <dialogue>If she loses another sixty, she'll snag Pavarotti.<\/dialogue>\n    <scene_description>Nenella looks daggers at her, but Signora Gentile doesn't notice, because she never looks anyone in the eye. Saverio is anxious. He shouts to one of his nephews, a 10- year-old, who is wielding a pair of binoculars. He's keeping watch on the road below, which winds its way up here.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>Riccardino, do you see them?<\/dialogue>\n    <character>RICCARDINO<\/character>\n    <dialogue>Not yet, Uncle Saverio.<\/dialogue>\n    <character>SAVERIO (TO NENELLA)<\/character>\n    <dialogue>So what's he like, your sister's boyfriend? Anybody laid eyes on him yet?<\/dialogue>\n    <character>NENELLA<\/character>\n    <dialogue>No, not yet, but Luisella says he's handsome.<\/dialogue>\n    <character>SAVERIO<\/character>\n    <dialogue>I highly doubt it, Nen\u00e8, our sister's always been butt ugly, and let's admit it, also a little retarded!<\/dialogue>\n    <scene_description>Laughter.<\/scene_description>\n    <character>NENELLA<\/character>\n    <dialogue>Do me a favor, at any rate. Even if you don't like this one either, don't start with your crap. Luisella's a dingbat, she's 42 years old, who knows how she managed to find this moron!<\/dialogue>\n    <character>FABIETTO (RECITING BOMBASTICALLY)<\/character>\n    <dialogue>As the great poet said, \"Lucean carriere zitellesche, innanzi\"!\\[comic reference to the romantic aria from Tosca: \"E lucevan le stelle\"\\]<\/dialogue>\n    <scene_description>Saverio's the only one who laughs at his son's joke. He says proudly to his brother-in-law Albertino.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>The kid's studying the classics, Albert\u00ec, if you know what I mean!<\/dialogue>\n    <scene_description>Here comes Nenella's son-in-law, who owns the farm: Geppino - it's hard to say how old he is - dressed a bit like a rich dandy, with a brightly colored shirt and a pair of striped Bermuda shorts, neatly pressed. A real prick. He says, in an affected, high-pitched voice.<\/scene_description>\n    <character>GEPPINO<\/character>\n    <dialogue>How's the watermelon? Tell me the truth. A veterinarian friend of mine from Cava de' Tirreni gave it to me. Be honest now, please!<\/dialogue>\n    <scene_description>To make him happy, everyone chimes in, mouths full: \"Good! Good!\" Geppino is delighted, and rejoices like a lunatic, raising his fingers, V for victory. Fabietto, sitting next to his father Saverio, says.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>Pap\u00e0, exactly how big an idiot is Geppino?<\/dialogue>\n    <character>SAVERIO (IN A LOW VOICE)<\/character>\n    <dialogue>Real big. You know what he does, the moron? Turns a blind eye to the sanitary inspections vets have to pass. And in exchange, they give him champagne and watermelons.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>And maybe even a fur coat, for his sister.<\/dialogue>\n    <character>SAVERIO<\/character>\n    <dialogue>Absolutely! You'll see, sooner or later he's gonna end up in jail. You'll see! Riccardino, anybody coming?<\/dialogue>\n    <scene_description>Riccardino studies the path with his binoculars.<\/scene_description>\n    <character>RICCARDINO<\/character>\n    <dialogue>Nobody, Uncle Saverio.<\/dialogue>\n    <scene_description>Saverio, anxious, turns to a 29-year-old niece.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>Silvana, you really don't know anything about Luisella's new boyfriend?<\/dialogue>\n    <character>SILVANA<\/character>\n    <dialogue>No...Nothing. Only that his name is Aldo.<\/dialogue>\n    <character>SAVERIO<\/character>\n    <dialogue>What does he do?<\/dialogue>\n    <character>SILVANA (UNCOMFORTABLE)<\/character>\n    <dialogue>I don't know!<\/dialogue>\n    <character>SAVERIO (SEVERE)<\/character>\n    <dialogue>You're not telling me the truth, Silvanella. You do know!<\/dialogue>\n    <scene_description>Silvana, to save herself further discomfort, leaps to her feet and starts clearing the table.<\/scene_description>\n    <character>SAVERIO (TO HIS SON MARCHINO)<\/character>\n    <dialogue>March\u00ec, does she know?<\/dialogue>\n    <character>MARCHINO<\/character>\n    <dialogue>How do I know, pap\u00e0.<\/dialogue>\n    <scene_description>Albertino, Nenella's husband, says to Fabietto's brother Marchino, in a loud voice.<\/scene_description>\n    <character>ALBERTINO<\/character>\n    <dialogue>So March\u00ec, how's the acting career going?<\/dialogue>\n    <character>MARCHINO<\/character>\n    <dialogue>Don't needle me, Uncle Albertino.<\/dialogue>\n    <character>MARIA (PROUD)<\/character>\n    <dialogue>Come on! You have an audition with Fellini on Monday.<\/dialogue>\n    <character>MARCHINO<\/character>\n    <dialogue>It's not an audition, mamma. Fellini's coming to Naples to look for extras. He's going to see four thousand people.<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>Alright, but it's still an audition of sorts.<\/dialogue>\n    <character>SAVERIO<\/character>\n    <dialogue>Riccardino, are they coming?<\/dialogue>\n    <character>RICCARDINO<\/character>\n    <dialogue>Not yet.<\/dialogue>\n    <scene_description>CUT TO: CLOSE-UP OF THE FARMHOUSE. This is the situation Geppino finds his 8-year-old twins in: one's got his head stuck between the iron bars of a railing, and the other's got his head jammed in an umbrella stand. They're both moaning that they can't get out.<\/scene_description>\n    <character>GEPPINO<\/character>\n    <dialogue>What kind of morons are you? Get out.<\/dialogue>\n    <character>GEPPINO'S TWIN SONS<\/character>\n    <dialogue>We can't, pap\u00e0.<\/dialogue>\n    <character>GEPPINO<\/character>\n    <dialogue>You mean you've got expanding heads? What are you, jellyfish?! So now I've got to call a blacksmith? On a Sunday, who knows if he'll even come.<\/dialogue>\n    <scene_description>He marches off, back to his sister, Signora Gentile.<\/scene_description>\n    <character>GEPPINO<\/character>\n    <dialogue>What do you think, Sis? Will the blacksmith come on a Sunday?<\/dialogue>\n    <character>SIGNORA GENTILE<\/character>\n    <dialogue>Don't Sis me! Anyway, forget about it, you little shit! You still owe him 60,000 lire.<\/dialogue>\n    <scene_description>Geppino changes the subject.<\/scene_description>\n    <character>GEPPINO<\/character>\n    <dialogue>Would you like a slice of watermelon, Sis?<\/dialogue>\n    <character>SIGNORA GENTILE (IN A LOUD VOICE)<\/character>\n    <dialogue>Don't bust my balls, Geppino!<\/dialogue>\n    <scene_description>Geppino swallows. The others have heard her and are laughing on the sly. CUT TO: THE TABLE IN THE FARMHOUSE COURTYARD AGAIN.<\/scene_description>\n    <character>ALBERTINO<\/character>\n    <dialogue>Alfr\u00e8, if you ask me, Pel\u00e8, and even Di Stefano, are better than Maradona.<\/dialogue>\n    <scene_description>Uncle Alfredo flies off the handle, as if he were personally offended somehow. Resigned to the monumental stupidity of the human race, he pontificates.<\/scene_description>\n    <character>UNCLE ALFREDO<\/character>\n    <dialogue>When did you all become so disappointing? Why are you so sure of yourselves? Why do you talk about things you know nothing about? Just focus on eating and drinking, the one thing you know how to do.<\/dialogue>\n    <scene_description>Fabietto laughs. Albertino ignores Alfredo.<\/scene_description>\n    <character>ALBERTINO<\/character>\n    <dialogue>At any rate, did you know, a friend of mine, he owns a bar in Torino, told me that Agnelli's pretty much sealed the deal with Maradona?<\/dialogue>\n    <scene_description>Uncle Alfredo grips his chest with his hand, faking a heart attack.<\/scene_description>\n    <character>SAVERIO (MILDLY REPROACHFUL)<\/character>\n    <dialogue>Alb\u00e8, don't say such things in front of Alfredo!<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>I don't believe it!<\/dialogue>\n    <character>ALBERTINO<\/character>\n    <dialogue>I swear. Agnelli has coffee at my friend's bar every morning, he confided in him.<\/dialogue>\n    <character>MARCHINO<\/character>\n    <dialogue>Yeah right! Agnelli goes to your friend's bar!<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Yeah! What a load of crap, Uncle Albertino!<\/dialogue>\n    <character>SAVERIO<\/character>\n    <dialogue>Fabi\u00e8, you really believe Maradona's going to come play for Napoli? That's the sort of bullshit they write to sell papers. Ferlaino's never ponied up. I know him pretty well, Ferlaino. He comes into the bank all the time.<\/dialogue>\n    <scene_description>Uncle Alfredo grabs Fabietto's arm and speaks one-on-one to him, his tone is deadly serious.<\/scene_description>\n    <character>UNCLE ALFREDO<\/character>\n    <dialogue>Fabi\u00e8, if Maradona doesn't come play for Napoli, I'll kill myself. You understand what I'm saying? I'll kill myself!<\/dialogue>\n    <character>RICCARDINO (SHOUTING)<\/character>\n    <dialogue>They're here!<\/dialogue>\n    <scene_description>In a flash, everyone leaps from the table - everyone except Patrizia and Franco - all excited to see Luisella's infamous boyfriend. A wild grab for the binoculars!<\/scene_description>\n    <character>RICCARDINO<\/character>\n    <dialogue>He's a cripple.<\/dialogue>\n    <character>SAVERIO (VERY ALARMED)<\/character>\n    <dialogue>What do you mean, a cripple?<\/dialogue>\n    <character>NENELLA<\/character>\n    <dialogue>He's not a cripple! He must have hurt himself!<\/dialogue>\n    <scene_description>Saverio tears the binoculars from Riccardino's hands. He's peering down at the street now: his sister Luisella, obese, about 45, but looks older, is sweating her way up the hill. Her boyfriend Aldo hobbles along behind her: 70, bald, sweaty, limping. He's wearing an incongruous jacket and tie for the occasion.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>What is he, a war vet? He's got a lame leg.<\/dialogue>\n    <scene_description>Everyone's all excited. Saverio starts laying on the humor.<\/scene_description>\n    <character>SAVERIO (SHOUTING)<\/character>\n    <dialogue>He's ugly as shit.<\/dialogue>\n    <scene_description>Signora Gentile laughs to herself for a couple of seconds. Fabietto and Marchino convulse with laughter. Saverio, pissed off, grabs his niece Silvana by the arm.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>You knew, you bitch!<\/dialogue>\n    <scene_description>Silvana can't keep from laughing.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>Silvan\u00e8, I'm done with you. From now on, I swear on the Virgin Mary, I only love your sister Annarella.<\/dialogue>\n    <scene_description>Silvana keeps on laughing with her cousins Fabietto and Marchino. Nenella grabs the binoculars from him. She takes a look and notices that Aldo, in addition to having a limp, is using one of those devices to amplify his voice to talk to Luisella.<\/scene_description>\n    <character>NENELLA<\/character>\n    <dialogue>Oh blessed virgin, I feel sick! He's a monster!<\/dialogue>\n    <scene_description>Nenella collapses into a chair. The kids laugh and start shouting that the monster's coming. Other family members are screaming that they need to close the kids in the house to avoid making a truly shitty impression. They start dragging the kids inside. Nenella's having trouble breathing. Albertino comes to her aid.<\/scene_description>\n    <character>ALBERTINO<\/character>\n    <dialogue>What's wrong?<\/dialogue>\n    <character>NENELLA<\/character>\n    <dialogue>I can't breathe.<\/dialogue>\n    <character>ALBERTINO<\/character>\n    <dialogue>Okay, let me give you mouth to mouth.<\/dialogue>\n    <scene_description>And he does. Distraught, he pulls away and cries.<\/scene_description>\n    <character>ALBERTINO<\/character>\n    <dialogue>She's been eating peppers on the sly!<\/dialogue>\n    <scene_description>Rebellious laughter. Nenella feels better already.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARN. DAY<\/stage_direction>\n    <scene_description>To keep them from making a bad impression, the children have been closed in a huge barn, where a dozen or so farm women, young and old, are canning tomatoes. One of the jars explodes. The children shriek. The women laugh.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FARMHOUSE. DAY<\/stage_direction>\n    <scene_description>They all try to pull themselves together because Luisella and Aldo are finally arriving. The relatives form a receiving line. Aldo smiles kindly at them all. He introduces himself, speaking with that electronic, amplified voice, and - as if that wasn't enough - exhibiting a squint right eye. He shakes everyone's hand, offering one and all the same servile introduction. Here it is, as delivered to the depressed Uncle Alfredo.<\/scene_description>\n    <character>ALDO<\/character>\n    <dialogue>A pleasure, I am Aldo Cavallo, retired carabiniere from the Veneto, amateur pastry cook, and official fianc\u00e9 of your sister Luisella Schisa. My intentions are highly serious.<\/dialogue>\n    <character>UNCLE ALFREDO (SIGHS IN DEFEAT)<\/character>\n    <dialogue>When did you all become so disappointing?<\/dialogue>\n    <character>ALDO (ILL AT EASE)<\/character>\n    <dialogue>I wouldn't know, exactly.<\/dialogue>\n    <scene_description>Aldo turns and introduces himself to Patrizia. They all try not to laugh.<\/scene_description>\n    <character>ALDO<\/character>\n    <dialogue>A pleasure, I am Aldo Cavallo, retired...<\/dialogue>\n    <character>PATRIZIA (INTERRUPTS HIM, WHISPERS)<\/character>\n    <dialogue>Go, get out of here. Listen to me. Just go, now. This isn't a family. It's a herd of ferocious beasts.<\/dialogue>\n    <scene_description>Aldo, shaken, turns to introduce himself to Saverio.<\/scene_description>\n    <character>ALDO<\/character>\n    <dialogue>A pleasure, I am Aldo Cavallo, retired carabiniere from the Veneto, amateur pastry cook, and official fianc\u00e9 of your sister Luisella Schisa. My intentions are highly serious.<\/dialogue>\n    <character>SAVERIO (SERIOUS)<\/character>\n    <dialogue>What intentions?<\/dialogue>\n    <scene_description>All the relatives tense.<\/scene_description>\n    <character>ALDO<\/character>\n    <dialogue>I want to marry her. And make her happy for all eternity.<\/dialogue>\n    <character>SAVERIO<\/character>\n    <dialogue>All eternity? How about till Christmas. You must be eighty years old.<\/dialogue>\n    <character>LUISELLA (FURIOUS)<\/character>\n    <dialogue>Saverio!!!<\/dialogue>\n    <character>NENELLA<\/character>\n    <dialogue>My brother! He's always joking!<\/dialogue>\n    <scene_description>She says, giving Saverio the evil eye. They all try to hide their laughter. Aldo is a gentleman and doesn't bat an eye. He counters with a conciliatory smile.<\/scene_description>\n    <character>ALDO<\/character>\n    <dialogue>I am seventy years old. I don't smoke, I don't drink, and I exercise every morning. I'm still a vigorous young man.<\/dialogue>\n    <character>LUISELLA (WITH AN IDIOTIC LAUGH)<\/character>\n    <dialogue>A handsome young man!<\/dialogue>\n    <scene_description>Saverio is about to reply, but Maria is quicker, eager to keep things from degenerating further. She says mischievously.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>We must introduce Aldo to Signora Gentile.<\/dialogue>\n    <scene_description>Fabietto laughs. Geppino, greatly alarmed, interjects.<\/scene_description>\n    <character>GEPPINO<\/character>\n    <dialogue>No, I beg you, not to Sis. What do you say if, to celebrate Aldo and Luisella's engagement, we all go for a swim instead? We can take my new boat.<\/dialogue>\n    <scene_description>Exultation and general appreciation at the idea.<\/scene_description>\n    <character>GEPPINO<\/character>\n    <dialogue>Are you coming, Uncle Alfredo?<\/dialogue>\n    <character>UNCLE ALFREDO<\/character>\n    <dialogue>A swim in the sea is always disappointing, just like you!<\/dialogue>\n    <character>ALBERTINO<\/character>\n    <dialogue>He says that because he doesn't know how to swim.<\/dialogue>\n    <character>MARIA (IN A LOUD VOICE)<\/character>\n    <dialogue>Signora Gentile, are you coming for a swim?<\/dialogue>\n    <character>SIGNORA GENTILE<\/character>\n    <dialogue>Go get yourself a chinotto!<\/dialogue>\n    <scene_description>They all laugh. Everyone but Aldo, that is. He's from the Veneto, and doesn't know that, in Naples, \"chinotto\" can also be a blowjob.<\/scene_description>\n    <character>ALDO<\/character>\n    <dialogue>What does she mean by \"chinotto\"?<\/dialogue>\n    <character>GEPPINO<\/character>\n    <dialogue>You know, the soda? Chinotto. Mammina wants us to offer you something to drink.<\/dialogue>\n    <scene_description>The children have gotten out of the barn and are running to join the adults.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE ISLAND OF ISCA. SEA\/WOODEN BOAT. AFTERNOON<\/stage_direction>\n    <scene_description>They all go for a swim off the coast of Isca, a tiny island with only a single villa, which belonged to the Neapolitan actor and author Eduardo De Filippo. A joyous mood. Saverio monopolizes the conversation.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>And so, in honor of my greatly beloved Eduardo, who resided here on the island of Isca, I will recite for you, my beloved Maria, \"Si t'o sap\u00e8sse ric\u00e8re\".<\/dialogue>\n    <scene_description>Maria is charmed. Everyone is happy. Like an old windbag, Saverio starts reciting a love poem in Neapolitan.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>Ah si putesse dicere. Chell' c'o core dice. Quanto sarria felice. Si t'o sapesse d\u00ec. E si putesse sentere. Chell'c'o core sente. Dicisse: \"eternamente voglio rest\u00e0 cu'tte.<\/dialogue>\n    <scene_description>The only ones still on Geppino's boat are Luisella and Aldo - he hasn't even removed his jacket and tie - and, in the bow, the beautiful, solitary, snobby Patrizia, sunbathing in a bikini. Aldo, using his electronic thingy, is chatting endlessly to Luisella. Right now he's explaining how to make sponge cake. It's like listening to the radio. Luisella has already had enough of his blather, and her eye keeps wandering to her bathing relatives, whom Saverio is entertaining with his poems.<\/scene_description>\n    <character>ALDO<\/character>\n    <dialogue>Then you place a fine mesh sieve over the mixing bowl and add the flour and cornstarch. Sift it. That's the secret that the world forgets: you have to sift it thoroughly, my dear!<\/dialogue>\n    <scene_description>Luisella gathers her courage.<\/scene_description>\n    <character>LUISELLA (INTERRUPTS ALDO)<\/character>\n    <dialogue>Excuse me Aldo, I'm a little hot, would you mind if I took a dip?<\/dialogue>\n    <character>ALDO<\/character>\n    <dialogue>Of course not, my love.<\/dialogue>\n    <character>LUISELLA<\/character>\n    <dialogue>Usually I dive in head first, but this time I'd like to show you my \"cannonball.\"<\/dialogue>\n    <character>ALDO<\/character>\n    <dialogue>Good! Novelty is always nice.<\/dialogue>\n    <scene_description>Luisella, fat and stupid, plops in the water like a blue whale, splashing gallons of water on Aldo's suit, but he pretends not to notice. Saverio, in the water, sees Luisella's cannonball and says.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>The mammal has gone down! Will she reemerge?<\/dialogue>\n    <scene_description>Everyone laughs. Everyone but Aldo. Fabietto shouts exuberantly.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>Submersed! Submersed!<\/dialogue>\n    <character>SILVANELLA<\/character>\n    <dialogue>What does that mean?<\/dialogue>\n    <character>SAVERIO<\/character>\n    <dialogue>It's a poetic term for \"sunk.\"<\/dialogue>\n    <character>MARCHINO (TO FABIETTO)<\/character>\n    <dialogue>They've gone to your head, all those classics you study!<\/dialogue>\n    <scene_description>Luisella, doing the breaststroke, swims out to meet the others. Aldo focuses his attention on the only person left in the boat: Patrizia. And, loquacious man that he is, he starts right in.<\/scene_description>\n    <character>ALDO<\/character>\n    <dialogue>Now, Signora Patrizia, I was explaining to Luisella the various stages of preparation for making the perfect sponge cake. The procedure is far from easy. So...<\/dialogue>\n    <scene_description>Patrizia doesn't think twice. She gets up, goes to the stern of the boat, and says to Aldo.<\/scene_description>\n    <character>PATRIZIA<\/character>\n    <dialogue>Would you let me see that little gadget for your voice?<\/dialogue>\n    <character>ALDO<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>He offers it to her. Patrizia, without saying a word, opens it, extracts the battery, and tosses it in the water. Then she hands him back his device, returns to the bow, and resumes sunbathing. Poor Aldo is literally speechless. CUT. A silence brimming with awkwardness. All the relatives are back on the boat now, more than twenty of them, so it's crowded. They're toweling off after their swim. And glancing furtively at the prow. Saverio, Fabietto, and Marchino are even more interested than the others. What is so interesting, there on the prow of the boat? Patrizia. She's still sunbathing, but now without her bikini. Completely naked. She looks like a sun-kissed goddess. Franco, Patrizia's husband, is a bundle of rage. He would like to explode, but controls himself. He growls between his teeth.<\/scene_description>\n    <character>FRANCO<\/character>\n    <dialogue>She's crazy. Crazy. Crazy and a whore!<\/dialogue>\n    <scene_description>Amid the silence and general embarrassment, a noise shatters the unreal calm: a midnight blue Gagliotta - the motorboat smugglers prefer - with a Customs police patrol vessel in pursuit, is heading straight for our wooden boat. Just a few yards from hitting it, the whole family shrieking in fear, the Gagliotta executes a champion turn, forcing the police to swing wide, a maneuver that sends them way off course. Crazy waves make the boat rock dramatically. The only one who isn't scared is Fabietto. He has watched the whole thing in astonishment. Because he saw the person driving the smugglers' boat: an obese 21-year-old. We'll meet him later. His name is Fat Armando. Bare chested, hair already thinning, a terrycloth headband with Maradona's face on it. He steers that motorboat so artfully, and, standing there on the bridge, with that confident expression of his, he looks like a Roman emperor. Fabietto is thunderstruck. Aldo, who can no longer speak, gestures to ask what is happening. Saverio narrates what we are seeing.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>The Customs police are chasing the cigarette smugglers, but they're not going to let themselves be caught until they've dumped all the goods in the water. At that point, the police can't touch them.<\/dialogue>\n    <scene_description>Which is exactly what is happening: Armando is pirouetting recklessly, at an insane speed; the police are trying in vain to keep on him while two other smugglers are busy tossing the entire haul of cigarettes into the water. At that point, the police slow and the smugglers' boat races off at incredible speed, disappearing into the blue horizon. Fabietto goes back to peeping at naked Aunt Patrizia. She feels his eyes on her and, with a deliberately erotic inflection, murmurs.<\/scene_description>\n    <character>PATRIZIA<\/character>\n    <dialogue>Fabietto, would you hand your Aunt a towel?<\/dialogue>\n    <scene_description>Fabietto, trembling, aroused and excited, approaches Patrizia's sumptuous, naked body. She sees him up close now, as he hands her the towel. She eyes his bathing suit, which is a little swollen, and, with unrivaled sensuality, says.<\/scene_description>\n    <character>PATRIZIA<\/character>\n    <dialogue>You've gotten big, now, haven't you, Fabietto?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MASSA LUBRENSE. MARINA. AFTERNOON<\/stage_direction>\n    <scene_description>Geppino's wooden boat has docked, and our little group is stepping out onto the jetty. Fabietto is in a daze. He spots the smugglers' boat, it's refueling at the gas pump. Armando, all 400 pounds of him, is lying on the wooden bow, eyes closed, smoking like a king taking his repose. Fabietto can't tear his eyes away from this image. The image of freedom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AGEROLA. FARMHOUSE. SUNSET<\/stage_direction>\n    <scene_description>The sun sinks into the sea, painting a sunset that looks like the end - or the beginning - of the world, depending on your state of mind, amid this sweet scenario of spring turning into summer, beautiful images of this small world. The blacksmith is almost done. In the waning light, he is using a metal cutter to saw open the umbrella stand and free one of the twins. Sparks illuminate, a second at a time, a row of tired, sweaty farm women. They are sitting in the courtyard, resting now that they have finished canning the tomatoes. They are enjoying the shining spectacle. Uncle Alfredo, depressed, lying in a hammock, his hands joined in prayer, delivers a heartfelt lamentation.<\/scene_description>\n    <character>UNCLE ALFREDO<\/character>\n    <dialogue>San Genn\u00e0, I beg you, make it so that Maradona comes to Napoli. This is the last chance to recover from this long and wearying disappointment that is life. Understand?<\/dialogue>\n    <scene_description>The perfidious Signora Gentile has fallen asleep on her chair under the grape vine. The mozzarella falls from her hand and rolls down her fur coat, leaving a white trail before landing on the ground like a tennis ball. One of the farm women places a basin of hot water near Signora Gentile's swollen feet. The blacksmith has finished. The twins are free and happy, but they have lost their sense of equilibrium and are staggering about like boats in a storm, toppling like bowling pins. The farm women look on and laugh merrily. The group of relatives, silent and weary, is making its way back up to the farm. Shadows lengthening across the dirt road, the salt on their skin, damp towels around their necks, an unparalleled happiness in their eyes. Aldo, upset and silent now, without the batteries for his gadget, growls and flails his arms at an irritated Luisella. Fabietto and Patrizia, bringing up the rear, smile as they observe Aldo and Luisella argue.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>What's he saying?<\/dialogue>\n    <character>PATRIZIA<\/character>\n    <dialogue>They'll have to go buy more batteries.<\/dialogue>\n    <scene_description>Then Patrizia, wise and knowing, pulls her hair back as she looks up and smiles at Fabietto. A smile that holds everything and thus is indecipherable. Fabietto, petrified, is dying inside, overcome with emotion as, enraptured, he studies her neck and bare shoulders now that her hair is up in a ponytail. The synthesis of this entire, incredible day. An image that will never leave him. Never. Aunt Patrizia, like a midsummer night's dream, wanders off. Fabietto, stock still, turns and realizes that he is standing next to Signora Gentile. He stares at her. Signora Gentile has one foot in the basin of water, one foot out. Her legs are spread. Her corpulent self is sprawled on the chair, ignorant of this incongruous sight. Her head thrown back, her face turned up toward the starry sky. Eyes closed and mouth open, as if prey to some frozen, abstruse, savage pleasure. Fabietto stares at her swollen, inflamed feet, at her legs scored with varicose veins. Signora Gentile, without opening her eyes, as if she senses his presence there, says helplessly.<\/scene_description>\n    <character>SIGNORA GENTILE<\/character>\n    <dialogue>Don't look at me. There's nothing to see.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FABIETTO'S HOUSE. NIGHT<\/stage_direction>\n    <scene_description>Saverio's in bed, a large blueprint of the chalet spread across his lap. He's put on his reading glasses to see it better. His wife Maria comes in.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>So I talked with Nenella for a bit. There's some hot rumors going around.<\/dialogue>\n    <character>SAVERIO<\/character>\n    <dialogue>Now what?<\/dialogue>\n    <character>MARIA (TEASING HIM)<\/character>\n    <dialogue>Sizzling even!<\/dialogue>\n    <character>SAVERIO (IMPATIENT)<\/character>\n    <dialogue>I got it! But what, exactly?<\/dialogue>\n    <character>MARIA (LAUGHING)<\/character>\n    <dialogue>Aldo gave Luisella a pair of hot pink stockings.<\/dialogue>\n    <character>SAVERIO (DISGUSTED)<\/character>\n    <dialogue>Please, don't make me sick! Come see the house.<\/dialogue>\n    <scene_description>Maria laughs and climbs in bed next to him.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>Where's Daniela?<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>Where do you think? In the bathroom.<\/dialogue>\n    <character>SAVERIO<\/character>\n    <dialogue>Look. This is where the fireplace will go.<\/dialogue>\n    <character>MARIA (DREAMY)<\/character>\n    <dialogue>Jesus, the fireplace. I've always dreamed of having a house with a fireplace.<\/dialogue>\n    <scene_description>CUT TO: IN FABIETTO AND MARCHINO'S ROOM. The brothers, each in their own bed. They lie there, staring at the ceiling.<\/scene_description>\n    <character>MARCHINO<\/character>\n    <dialogue>Will you come with me to my audition tomorrow?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>I don't know, I have a math test.<\/dialogue>\n    <character>MARCHINO<\/character>\n    <dialogue>Exactly. And you always fail. So why bother?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Do you think Diego'll come?<\/dialogue>\n    <scene_description>Marchino takes his time. Fabietto trembles in anticipation, as if the outcome truly depended on his brother.<\/scene_description>\n    <character>MARCHINO<\/character>\n    <dialogue>No, I don't.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>I do.<\/dialogue>\n    <character>MARCHINO<\/character>\n    <dialogue>So how would you rate Aunt Patrizia, today, all naked, on a scale of one to a hundred?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>A billion.<\/dialogue>\n    <character>MARCHINO<\/character>\n    <dialogue>If you had to choose between Maradona coming to Napoli and screwing Aunt Patrizia, what would you choose?<\/dialogue>\n    <character>FABIETTO (REFLECTS)<\/character>\n    <dialogue>Maradona.<\/dialogue>\n    <character>MARCHINO<\/character>\n    <dialogue>Good night.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Night.<\/dialogue>\n    <scene_description>Fabietto puts on his Walkman headphones, but we don't hear what he is listening to.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TERMINUS HOTEL. AUDITION WAITING ROOM. DAY<\/stage_direction>\n    <scene_description>The whole spectrum of the most eccentric creatures that Naples can offer is gathered there, waiting: wannabe playboys, elderly ballet dancers, traveling salesmen, acrobats, retired circus workers. All waiting for the maestro Fellini, whose melodious, incomprehensible voice we hear coming from a room in the distance, talking and asking questions of whoever's turn it is. Fabietto, intimidated, is hunched on a chair. He glances at all the odd-looking people, but peers above all at the woman sitting across from him: she must be six feet tall, incredibly sophisticated, elegant, refined, and knowingly displaying her perfect, bare leg. It's the middle of the day and we're in a simple office, but she is wearing an incongruous red evening gown. This unforgettable beauty smokes slowly, lewdly, like a real vamp. Not looking any of the others in the face, she wearily lets her long red hair, like Gilda's, fall first to this side, then to that. She could be Scandinavian, or French, or American. Marchino suddenly exits the audition room.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>How'd it go?<\/dialogue>\n    <character>MARCHINO<\/character>\n    <dialogue>A disaster. He told me I have a conventional face. I asked him what he meant and he said: you look like a janitor from Treviso.<\/dialogue>\n    <scene_description>Marchino starts chatting intensely with another guy. We gather that they're both disappointed. Fabietto, meanwhile, as if obeying an unspoken order, peeks through the half-open door into the room where Fellini is. He can't see the maestro, but he can hear his voice. Fellini is instructing an assistant to hang photos on the wall. From where he is standing, Fabietto manages to see the photos: all women, all of them fabulous, in all sorts of ways. Vamps and innocents, mothers and prostitutes. Fellini - we can hear his authoritative voice - confidently announces the role each of them will play. Fabietto stands there, open- mouthed, instantly captivated by the magic of this world. Marchino comes up to him.<\/scene_description>\n    <character>MARCHINO<\/character>\n    <dialogue>Hey, shall we go?<\/dialogue>\n    <character>FABIETTO (IN A TRANCE)<\/character>\n    <dialogue>No. I don't ever want to leave this place.<\/dialogue>\n    <scene_description>One of Fellini's assistants bursts in, shouting.<\/scene_description>\n    <character>FELLINI ASSISTANT<\/character>\n    <dialogue>Who's next?<\/dialogue>\n    <scene_description>The marvelous woman in red leaps to her feet.<\/scene_description>\n    <character>MARVELOUS WOMAN<\/character>\n    <dialogue>Me.<\/dialogue>\n    <character>FELLINI'S ASSISTANT<\/character>\n    <dialogue>What's your name, you splendid creature?<\/dialogue>\n    <scene_description>The woman in red speaks with a noticeable Neapolitan accent, which shatters all the erotic charge she emanated when she sat there silently.<\/scene_description>\n    <character>MARVELOUS WOMAN<\/character>\n    <dialogue>Eugenia Savastano, but everyone calls me \"Legs of Positano.\"<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET. DAY<\/stage_direction>\n    <scene_description>Marchino and Fabietto Schisa are on their way back from Marchino's disastrous audition. They walk side by side, sadly staring at the ground.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>Well, so what else did Fellini have to say?<\/dialogue>\n    <character>MARCHINO<\/character>\n    <dialogue>Nothing. At a certain point, this journalist calls, and Fellini says to him: \"Cinema's not good for anything. It distracts you, that's all.\" Distracts you from what?<\/dialogue>\n    <character>MARCHINO<\/character>\n    <dialogue>The journalist must have asked. And Fellini tells him: \"From reality. I don't like reality.\"<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>That's all he said?<\/dialogue>\n    <character>MARCHINO<\/character>\n    <dialogue>That's not enough for you?<\/dialogue>\n    <scene_description>They stop at a red light. It turns green, but right as the Schisa brothers are about to cross, they are struck by a totally surreal sight: everyone around them, for about fifty yards, stops moving. They're all completely still. As if the entire city, or at least this portion of it, had frozen. Immobile, they're all staring at the same spot. Fabietto and Marchino do likewise, turning their gaze toward a black, two- door BMW stopped at the light. Behind the wheel - without a shadow of doubt - sits the 24-year-old Diego Armando Maradona. A 65-year-old woman holding a bag of groceries falls to her knees, as if she were in front of the Madonna of Civitavecchia. Hers is the only movement in this stillness.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FABIETTO'S HOUSE. NIGHT<\/stage_direction>\n    <scene_description>Before dinner. Maria is in the kitchen frying up pizzette. Three bangs on the ceiling. Maria looks up and says to herself.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>Not right now, Baron\u00e8, I can't.<\/dialogue>\n    <scene_description>In the dining room, Saverio is contemplating a painting he just bought.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>Hey, Fabi\u00e8, do you like this painting I bought? It's a lithograph by Guttuso. Remember, he's one of ours, Guttuso.<\/dialogue>\n    <scene_description>Fabietto is trying to convince his father.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>Listen to me, Pap\u00e0, I swear, it really was Maradona. Ask Marchino when he gets home.<\/dialogue>\n    <scene_description>Saverio shows his son the front page of the Corriere dello Sport, the sports newspaper.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>What crap! Here, read this: \"It's final: Maradona stays with Barcelona.\"<\/dialogue>\n    <scene_description>The front door opens and Marchino comes in. Maria appears carrying a pan of fried pizzette.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>How'd the audition go?<\/dialogue>\n    <character>MARCHINO<\/character>\n    <dialogue>Never mind!<\/dialogue>\n    <scene_description>Maria suddenly remembers something.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>Oh, speaking of auditions, I'd forgotten.<\/dialogue>\n    <scene_description>She puts the pizzette on the table and disappears down the hallway.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>March\u00ec, tell pap\u00e0 it really was Maradona.<\/dialogue>\n    <character>MARCHINO<\/character>\n    <dialogue>It did look like him.<\/dialogue>\n    <scene_description>He says distractedly as he places a VHS of \"Once Upon a Time in America\" on top of the TV.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>What did you rent?<\/dialogue>\n    <character>MARCHINO<\/character>\n    <dialogue>\"Once Upon a Time in America.\"<\/dialogue>\n    <character>SAVERIO<\/character>\n    <dialogue>The one with De Niro? Let's watch it later.<\/dialogue>\n    <scene_description>CUT TO: IN THE BEDROOM. Maria, as furtive as a thief, talks on the phone. She disguises her Neapolitan accent with on a Tuscan one, awkwardly aspirating the letter \"c\".<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>Signora Pichler?...Good evening, this is Maestro Zeffirelli's assistant... The maestro tells me he met you at a wedding, if I remember correctly, and was particularly struck by your face. \"Luminous and vivacious\" is how he put it. Now, as the maestro is about to make a film about Callas, and is searching for his protagonist, well, he would like to see you. Do you think it might be possible to come to Rome to meet with him?<\/dialogue>\n    <scene_description>CUT TO: IN THE DINING ROOM. Saverio is changing channels with an intriguing, homemade remote control: a broom handle, which he reaches out toward the Toshiba. He targets the control panel on the side of the TV set and - a complicated maneuver - presses the button without getting up from his chair.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>Pap\u00e0, why don't we just buy a TV with a remote, like everyone else?<\/dialogue>\n    <character>SAVERIO<\/character>\n    <dialogue>Don't talk nonsense! I'm a communist.<\/dialogue>\n    <scene_description>Maria reappears from the hallway.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>Did you go to the bathroom?<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>If only! Daniela's in there.<\/dialogue>\n    <scene_description>The sound of someone knocking at the door. Considerable commotion coming from the other side. Maria opens the door. The entire Pichler family - who live next door - come tumbling in like an avalanche. They're excited, to put it mildly. Graziella, 60 years old, her husband, and three kids, all around 35. They're all enormous, and they're all talking at once, overcome with an irrepressible enthusiasm, so it's impossible to understand a word anyone says. Graziella is about to faint with emotion, so her husband, with his thick Bolzano accent, talks for her.<\/scene_description>\n    <character>GRAZIELLA'S HUSBAND<\/character>\n    <dialogue>Friends, incredible news. Zeffirelli's assistant called. He wants Graziella to star in his next film.<\/dialogue>\n    <scene_description>Marchino would like to die. Maria laughs excitedly. Saverio stares at her, suspicious. Uncontrollable commotion and compliments. At the front door, which has been left ajar, inevitably appears the Baroness Focale, drawn by all the confusion.<\/scene_description>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>What's going on here?<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>Fabulous news. Graziella's going to make a film with Zeffirelli. She's going to be Callas.<\/dialogue>\n    <scene_description>Even Marchino and Fabietto are growing suspicious now.<\/scene_description>\n    <character>MARCHINO<\/character>\n    <dialogue>How did you know she'll play Callas?<\/dialogue>\n    <scene_description>Maria is unruffled.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>Jesus, I read it in \"Gente\". I smell an Oscar, Graziella. Remember, don't forget about us when you get to Hollywood.<\/dialogue>\n    <scene_description>Graziella, moved and melodramatic, takes Maria's hand and says, teary-eyed.<\/scene_description>\n    <character>GRAZIELLA<\/character>\n    <dialogue>I'll never forget you, Maria.<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>How well you delivered that line!<\/dialogue>\n    <scene_description>Graziella is grateful. Then she snaps to, a sudden intuition.<\/scene_description>\n    <character>GRAZIELLA<\/character>\n    <dialogue>Let's get back home. What if Zeffirelli calls again?<\/dialogue>\n    <scene_description>Shrieking with delight, the Pichler family, like a hurricane, rushes back home. The baroness, irritated, withdraws as well.<\/scene_description>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>I'm not going to the premi\u00e8re. It's bound to be a vulgar spectacle. I'm going back upstairs, I'm fed up.<\/dialogue>\n    <scene_description>Maria closes the door. The entire family stares at the guilty party: Maria. Marchino and Fabietto laugh, and Maria joins in. But not Saverio. He doesn't laugh. He waits for their laughter to die down and then declares severely.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>You really don't want to knock it off, do you, playing jokes on people? You're gonna kill her, though. You'll kill her.<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>She'll never know it was me.<\/dialogue>\n    <character>SAVERIO (SEVERE)<\/character>\n    <dialogue>Oh no, Mar\u00ec, she'll know, alright! Because you are going to go over there right now and tell her it was all a joke. We are communists. We are honest people, to the core.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PICHLER HOME. NIGHT<\/stage_direction>\n    <scene_description>In a dining room that looks like it belongs in the mountains of Madonna di Campiglio - all light walnut - Maria and Fabietto sit at a long table. Facing them is the entire Pichler family, serious and frowning. Graziella, who is frustration personified, goes over to a plate rack and flings it onto the floor in rage. Everyone jumps. Then, on the verge of a nervous breakdown, she points her finger threateningly at Maria and says in a thunderous voice.<\/scene_description>\n    <character>GRAZIELLA<\/character>\n    <dialogue>You Neapolitans...you Neapolitans, it's not true what everybody says, that you're all so nice. You are mean. Wicked. That's what you are. I never want to see you again, Maria.<\/dialogue>\n    <scene_description>Fabietto stares, open-mouthed. Then he notices something irresistible on the table: a tray of bread dumplings. He reaches furtively for one. But Graziella is peremptory.<\/scene_description>\n    <character>GRAZIELLA<\/character>\n    <dialogue>And you, don't you dare take a dumpling.<\/dialogue>\n    <scene_description>Maria and Fabietto have to struggle to keep from laughing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FABIETTO'S HOME. NIGHT<\/stage_direction>\n    <scene_description>The phone rings in the middle of the night. Maria turns on the light on her bedside table and answers.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>WOMAN (V.O.)<\/character>\n    <dialogue>Has your husband talked to you?<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>You bitch, what do you want?<\/dialogue>\n    <character>WOMAN (V.O.)<\/character>\n    <dialogue>He hasn't talked to you yet? Well, tell him he better.<\/dialogue>\n    <scene_description>She hangs up. In the meantime, Saverio has woken up as well. And he's afraid. CUT TO: FABIETTO AND MARCHINO'S ROOM. In the dark of the night, Marchino and Fabietto, sitting immobile on their beds, listen to the shouts and stomping coming from the rest of the house, which is all lit up.<\/scene_description>\n    <character>MARIA (SHOUTS)(V.O.)<\/character>\n    <dialogue>You're going to leave that whore, now, you hear me? You promised me you'd never see her again.<\/dialogue>\n    <character>FABIETTO (TO MARCHINO)<\/character>\n    <dialogue>Who is she talking about? Aunt Patrizia?<\/dialogue>\n    <character>MARCHINO<\/character>\n    <dialogue>What Aunt Patrizia! She's talking about Signora Villa, pap\u00e0's colleague. He's been seeing her for years.<\/dialogue>\n    <character>SAVERIO (SHOUTS)(V.O.)<\/character>\n    <dialogue>I can't! You know it's complicated.<\/dialogue>\n    <character>VOCE MARIA<\/character>\n    <dialogue>The only thing that's complicated here is your genital apparatus.<\/dialogue>\n    <scene_description>Marchino can't help but laugh at that. But now we hear the sounds of a a violent scuffle. CUT TO: IN THE HALLWAY. Saverio, in a rage, tries to enter the bathroom, but the door is locked.<\/scene_description>\n    <character>SAVERIO (SHOUTS ANGRILY)<\/character>\n    <dialogue>Daniela, get out of there.<\/dialogue>\n    <character>DANIELA (V.O.)<\/character>\n    <dialogue>No, you get out.<\/dialogue>\n    <scene_description>Saverio, filled with rage, storms into the bedroom and slams the door. All of a sudden, we go from hellish chaos to an unreal silence. CUT TO: FABIETTO AND MARCHINO'S ROOM. Fabietto can't stand the deafening silence. He gets up and leaves his room, in pajamas. He's only 17, and his acne is so bad that he is completely ostracized. Barefoot, he heads down the hallway. Fabietto is afraid, he doesn't know what to expect from this silence. He opens the door to the living room, which we have never seen before - the door has always been closed. The room is shrouded in shadows, with flowered sheets covering the furniture, to keep it from getting dusty. In the middle of this vast, strange room, Fabietto catches sight of his mother from behind, standing there in the dark. She is holding three oranges, trying to juggle them, but is having a hard time. She starts to cry, a low rattle that gradually grows louder, stronger. A frightening sound. Marchino appears and gently takes Fabietto by the arm, saying.<\/scene_description>\n    <character>MARCHINO<\/character>\n    <dialogue>Let's go back to bed.<\/dialogue>\n    <scene_description>CUT TO: IN FABIETTO AND MARCHINO'S ROOM. Fabietto and Marchino, sitting on the edge of their beds again. But their mother's sobbing, which they can hear from the dining room, is overwhelming. Devastating pain. And it simply doesn't stop. Something happens to Fabietto which he has never experienced before: his legs start to shake, jerking uncontrollably. It's almost like an epileptic attack. But it's not. It's a panic attack. Marchino goes over, puts his arms around him, tries to soothe him. He whispers insistently.<\/scene_description>\n    <character>MARCHINO<\/character>\n    <dialogue>Don't think about it. Think about Aunt Patrizia. Think about Maradona.<\/dialogue>\n    <scene_description>Fabietto is still trembling like an epileptic.<\/scene_description>\n    <character>MARCHINO (ALARMED)<\/character>\n    <dialogue>What the hell's wrong with you?<\/dialogue>\n    <scene_description>The phone rings again. Again, the world comes to a halt. CUT TO: IN THE KITCHEN Maria, in a rage, hurls herself at the phone. CUT TO: THE BEDROOM. But Saverio is quicker. He answers. Listens silently. Marchino and Fabietto appear at their bedroom door. Maria arrives, in a frosty rage.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>Pass me the whore.<\/dialogue>\n    <scene_description>But Saverio gestures to them all to keep quiet. He listens attentively, not saying a word. They all wait. Saverio, as if in a trance, merely says.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>Okay, ciao.<\/dialogue>\n    <scene_description>He hangs up and looks at his wife and sons. In a daze, Saverio says.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>That was Filippo Anzalone, a colleague of mine. He stayed late at the bank, dealing with all the paperwork. He wanted to let me know right away.<\/dialogue>\n    <scene_description>The others look at him uncomprehendingly.<\/scene_description>\n    <character>MARCHINO<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Then, in a flat voice, Saverio says.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>Thirteen billion in bank guarantees. Napoli has bought Maradona.<\/dialogue>\n    <scene_description>Marchino and Fabietto are weeping. And we'll never know what for! Fabietto whispers to his brother.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>We have to tell Uncle Alfredo right away.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANK OF NAPLES. DAY<\/stage_direction>\n    <scene_description>The Bank of Naples headquarters on Via Toledo is a majestic example of rationalist architecture, laden with polished marble and spacious halls that inspire a certain reverential awe. Fabietto enters cautiously. He eyes a doorman and asks deferentially.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>Saverio Schisa.<\/dialogue>\n    <character>DOORMAN<\/character>\n    <dialogue>Fifth floor. Third door on the right.<\/dialogue>\n    <scene_description>Fabietto heads toward the elevator. Every now and then a man goes by in a jacket and tie, or a woman in a suit. Fabietto searches for signs of a possible Signora Villa on every female face. CUT TO: SAVERIO'S OFFICE. A typical bank manager's office. A glass divider gives on to a large room where a dozen or so employees are stationed around a large table, all on the phone, all talking non-stop. Fabietto, alone in his father's office, stares at the table of bank employees. No sign of Saverio yet. The thing that strikes him most are the shoulder rests they all have, which cradle the receiver against their ears. He's never seen one before. He shifts his gaze to his father's desk, and notes that there are photos of him and his brother Marchino, but none of his sister. Saverio comes in, wearing a jacket and tie. He makes an effort to appear normal.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>Hey Fabi\u00e8, happy birthday.<\/dialogue>\n    <scene_description>He kisses him on the cheek.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>You've never been here before?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>When I was little, but I'd forgotten.<\/dialogue>\n    <character>SAVERIO<\/character>\n    <dialogue>So, what are you doing tonight, to celebrate? Have you made plans with your friends?<\/dialogue>\n    <scene_description>Fabietto, uncomfortable, doesn't reply. Saverio is embarrassed.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>I won't be coming home tonight, unfortunately. So we won't be able to celebrate together. Mamma is real pissed, you know...<\/dialogue>\n    <character>FABIETTO (INTERRUPTS HIM)<\/character>\n    <dialogue>I don't have any friends, pap\u00e0.<\/dialogue>\n    <scene_description>Saverio freezes. He doesn't know what to say. Fabietto turns his back to him and says, all in one breath.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>All I have is you and mamma, and I try to stay close to Marchino. But it gets harder all the time, he's eight years older than me.<\/dialogue>\n    <scene_description>Saverio comes out with something truly inappropriate.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>Don't you have a girlfriend?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Yeah, right!<\/dialogue>\n    <scene_description>Saverio tries to act like a normal father, but he can't. He goes over to his son, takes him by the shoulders and turns him around to face him. He looks him in the eyes, which are brimming with tears. He tries to comfort him, in his own way.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>Look. Soon, and I mean very soon, you're going to have yourself a girlfriend, and all this sadness, you won't even remember it anymore.<\/dialogue>\n    <scene_description>Fabietto nods, struggling to hold back his tears.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>But listen to your pap\u00e0. Let me give you a little advice.<\/dialogue>\n    <scene_description>Fabietto waits.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>The first time...the first time, just take what comes. Understand? No need to go for subtleties. Even a dog-face will do. You just have to get this first time the fuck out of the way, understand what your pap\u00e0 is saying?<\/dialogue>\n    <scene_description>Fabietto can't help but laugh. Even Saverio starts laughing, a little relieved. They've managed to reconnect, at least for a moment. Saverio puts his hand in his jacket pocket and pulls out an envelope.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>Your birthday present.<\/dialogue>\n    <scene_description>Fabietto opens the envelope: a season ticket for the soccer stadium. Fabietto can't believe his eyes. Saverio is glad.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>Curva B, naturally.<\/dialogue>\n    <scene_description>Fabietto, in a daze.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>Thank God.<\/dialogue>\n    <scene_description>Saverio, as he goes to put on his coat, says.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>Don't thank God, thank me, I'm the one who bought you the season ticket.<\/dialogue>\n    <scene_description>Saverio looks at his watch, in a rush.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>Walk with me a bit?<\/dialogue>\n    <scene_description>Fabietto nods. His father grabs his coat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VIA SAN DOMENICO PARK. DAY<\/stage_direction>\n    <scene_description>Maria, sad, makes her way along the flower-lined street, lugging two heavy bags of groceries. She catches sight of Mariettiello, polishing his brown 127 Fiat. When he sees her, he stops his polishing and runs to help her.<\/scene_description>\n    <character>MARIETTIELLO<\/character>\n    <dialogue>Signora Maria, let me help you.<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>Thanks, Mario.<\/dialogue>\n    <scene_description>She hands him the grocery bags and they walk together toward her building.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>How's your pap\u00e0, Mario?<\/dialogue>\n    <character>MARIETTIELLO<\/character>\n    <dialogue>Pap\u00e0 loves me.<\/dialogue>\n    <scene_description>Maria is jolted with tenderness. When they are almost at her building, Maria glimpses her son Marchino, hunched furtively behind a car, kissing a splendid girl with all the passion of young love. She pretends not to see him, and keeps walking with Mariettiello to her door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR. DAY<\/stage_direction>\n    <scene_description>Maria, Mariettiello, and the grocery bags make their silent ascent in the elevator. Maria catches her reflection in the mirror. She scrutinizes her face, and finds that she is sad and exhausted, that she has grown ugly and old. Her eyes begin to fill with tears. Mariettiello notices. He is dismayed, but says nothing. He does do something though. He takes a big black marker out of his pocket and starts drawing on the elevator wall: a giant cock. Maria, astounded, says to him.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>Mario, what are you doing?<\/dialogue>\n    <scene_description>Mariettiello, in an innocent, natural voice, replies.<\/scene_description>\n    <character>MARIETTIELLO<\/character>\n    <dialogue>I wanted to make you laugh, Signora Maria.<\/dialogue>\n    <scene_description>And Maria, in the midst of her tears, finds the strength to do just that.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GALLERIA UMBERTO \/ PIAZZETTA SERAO. AFTERNOON<\/stage_direction>\n    <scene_description>Fabietto and Saverio stroll through the Galleria. All of a sudden, as if seized by a melancholy memory, Saverio stops in his tracks and stares at a gated archway. Fabietto looks at his father, whose gaze is glued to a specific point at the entrance.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SAVERIO<\/character>\n    <dialogue>See that column over there?<\/dialogue>\n    <scene_description>He gestures with his eyes to a column near one of the shops, with a boy leaning against it.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>I spent the entire war leaning against that column. I was younger than you. Then, one day, Luigino, the doorman's son, came to get me.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>And he took you far away!<\/dialogue>\n    <scene_description>A smile chases away Saverio's melancholy.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>No, just to there, to Piazzetta Serao. Come see.<\/dialogue>\n    <scene_description>Saverio leads the way. He opens the gate and, still talking, they step inside the tiny, empty Piazzetta Serao.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>What was there?<\/dialogue>\n    <character>SAVERIO<\/character>\n    <dialogue>A fifty-year-old lady. For a bit of sugar, or anything to eat, really, this lady would give us kisses, long and slow, on the mouth. And since we kids were all different ages, she had set out bricks for us to stand on, to accommodate all different shapes and sizes.<\/dialogue>\n    <scene_description>Silence. Saverio's smile has disappeared and the melancholy has returned to his face.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>Ingenious, wasn't it? Women are always ingenious.<\/dialogue>\n    <scene_description>Fabietto studies his father's face. Saverio broods, cloaked in sad memories.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>So actually, Luigino really did take me far away.<\/dialogue>\n    <scene_description>Saverio turns, as if on a tour of painful memories. He points in the direction of Via Roma. We see a slice of the street - people racing by.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>And down there, on Via Roma, that's where I first saw your mother. She was running toward Piazzetta Augusteo, that's where the bomb shelter was, where we'd go during the raids. She was late. And worried. And beautiful.<\/dialogue>\n    <scene_description>His eyes glisten with tears.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>She still is.<\/dialogue>\n    <character>SAVERIO<\/character>\n    <dialogue>Yes, she still is.<\/dialogue>\n    <scene_description>But his voice is sad, and lacking conviction. Saverio places his hands on Fabietto's shoulders. Gives him a serious look.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>Fabi\u00e8, stand by your mother. Understand?<\/dialogue>\n    <scene_description>Fabietto nods. Saverio turns and, walking boldly, disappears into the Galleria Umberto. Fabietto follows him with his eyes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FABIETTO'S HOUSE. NIGHT<\/stage_direction>\n    <scene_description>The evening of Fabietto's birthday. He and his mother - and a whole lot of melancholy - sit at the table together, making milk porridge.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>Really? Are you sure all you want for your birthday is milk porridge? Don't you want me to make you something special?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Milk porridge is special. Besides, I remember, when I was little, and pap\u00e0 would go to Milan for work and you didn't feel like cooking, we would make ourselves some milk porridge and then you'd let me sleep in your bed.<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>Maybe he wasn't really going to Milan.<\/dialogue>\n    <scene_description>Fabietto doesn't know what to say. Maria tries to chase all these sad thoughts from her head.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>What do you want to do after high school?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Philosophy.<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Or maybe learn to play the guitar. Oh! I don't really know.<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>You want to play the guitar? Then play the guitar. You have to do what you like.<\/dialogue>\n    <scene_description>She speaks with a loving tenderness we haven't seen before. Then she sinks back into thoughts about her husband.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>Well, I kicked him out because I had to! But I'll let him come back in a few days. Besides, where's he going to go? To her? To a woman who doesn't even know how to make milk porridge? Where else is your father going to find it so good?<\/dialogue>\n    <scene_description>Fabietto says nothing. His mother continues to brood.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>Yes, I'll have him come home on Thursday, so that Friday we can take the furniture to the house in Roccaraso.<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>They finally finished it. I made you tiramisu, you want some?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>What about Marchino?<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>We've lost Marchino. I saw him with a girl today. Very pretty, I have to say.<\/dialogue>\n    <scene_description>Fabietto is surprised. Saddened, he absorbs the blow. His mother notices and tries awkwardly to cheer him up.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>Want to play hide and seek? Remember how you'd always hide in my closet?<\/dialogue>\n    <character>FABIETTO (SNORTS)<\/character>\n    <dialogue>Mamma, I don't fit in your closet anymore.<\/dialogue>\n    <character>MARIA (AN EMOTIONAL SMILE)<\/character>\n    <dialogue>You're right. You've gotten big.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VIA SAN DOMENICO PARK. EVENING<\/stage_direction>\n    <scene_description>Fabietto and Mariettiello have given themselves over to the evening's silence. Fabietto sits on the low wall, legs dangling, while Mariettiello untiringly dusts the hood of his Fiat 127.<\/scene_description>\n    <character>MARIETTIELLO<\/character>\n    <dialogue>I meant to get you a present, Fabi\u00e8, but I forgot!<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>That's okay, Mario. It's the thought that counts.<\/dialogue>\n    <scene_description>They hear a voice.<\/scene_description>\n    <character>KID (V.O.)<\/character>\n    <dialogue>Mari\u00e8ttiello!<\/dialogue>\n    <scene_description>Mariettiello turns. The twins race by on their Ciao motor scooter.<\/scene_description>\n    <character>DRIVING TWIN<\/character>\n    <dialogue>Hey, handsome.<\/dialogue>\n    <character>OTHER TWIN<\/character>\n    <dialogue>We brought you some pizza!<\/dialogue>\n    <scene_description>He hurls a steaming Margherita pizza at Mariettiello and then they zoom away. La pizza hits Mariettiello and his 127 head on. Mariettiello laughs stupidly. Fabietto grows even sadder. He gets on his Vespa and drives out of the park.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>30A. (EX 55) EXT. STREET\/GALLERIA UMBERTO. NIGHT<\/stage_direction>\n    <scene_description>Sad and melancholy, Fabietto roams around on his Vespa. He slows down when he gets to the Galleria Umberto, from which emanates a strange, blinding light. Fabietto parks and heads for the entry. It's like entering a whole new world. Revealing. A different reality. The first thing Fabietto sees is a man hanging upside-down, a rope around his feet, in the center of the Galleria. Perfectly illuminated, he sways as like a dead man, dangling thirty feet above the floor. To Fabietto's eyes, it is a powerful, perfect image. Unique. Fabietto spots a bunch of onlookers huddled behind a barrier. He joins them, but a bit off to one side, where it's less crowded. From here he can hungrily observe the galvanizing appeal of a film set. His eyes shine watching the grip crew mounting the dolly, the electricians up on towers angling on the lights, the photography director and his crew gathered around the queen of cinema - the majestic 35mm camera - and the agitated comings and goings of young assistants, whose specific duties escape him. Fabietto is bewitched by it all. He likes everything about it. Nearby is a young nerd with small glasses who seems as interested as he is in the glittering life of the set. Fabietto asks him.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>What is it? A Fellini film?<\/dialogue>\n    <character>YOUNG NERD<\/character>\n    <dialogue>No! It's a film by a director named Antonio Capuano.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Where is he?<\/dialogue>\n    <character>YOUNG NERD<\/character>\n    <dialogue>He's not here yet. He only arrives when they're ready to shoot. And he doesn't have a car pick him up at his house. No. He walks to the set.<\/dialogue>\n    <scene_description>He is bursting with joy as he says this, the nerd who knows everything. The director's absence excites Fabietto. A stocky, muscular man with brusque mannerisms directs a dozen or so frightened extras to a certain point. He makes it clear that they are not to move. Fabietto studies the extras, and realizes he recognizes one: Legs of Positano. But now, in modest dress and no makeup, she has lost all the cockiness and glamorous appeal she exhibited in Fellini's waiting room. A persuasive female voice catches Fabietto's attention: a charming 20-year-old with a French accent is speaking loudly with the assistant director.<\/scene_description>\n    <character>FRENCH ACTRESS<\/character>\n    <dialogue>So can you remind Capuano please? I'm at Galleria Toledo.<\/dialogue>\n    <character>ASSISTANT DIRECTOR<\/character>\n    <dialogue>Relax. He knows, he said he would be there.<\/dialogue>\n    <character>FRENCH ACTRESS<\/character>\n    <dialogue>Tell him he won't regret it, the show is really beautiful, and it's doing well.<\/dialogue>\n    <scene_description>As she says this, she feels someone's eyes on her. She turns and distractedly catches sight of Fabietto, who is staring at her with a dazed, insistent look. Fabietto, embarrassed, quickly looks away. The actress goes back to talking with the assistant director.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FABIETTO'S HOUSE. NIGHT<\/stage_direction>\n    <scene_description>The phone rings. Maria picks up the receiver.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <scene_description>Silence on the other end. She loses her patience immediately.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>Hello. Who is this?<\/dialogue>\n    <scene_description>Then, out of the silence, comes the familiar sound of Maria and Saverio's whistle. It's Saverio on the other end. He whistles soft and tender. Maria listens as an involuntary, instinctive smile appears on her face. CUT TO: BEDROOM. Maria and Fabietto are in the same bed together, like when Fabietto was little. Fabietto sleeps the way all teenagers do: pimples showing, mouth open, irregular breathing. Maria doesn't sleep, because she is watching her son. Her eyes betray her emotion as she caresses his cheek.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STADIUM. DAY<\/stage_direction>\n    <scene_description>Curva B. Sunday afternoon. Napoli-Lazio. Fabietto is by himself in the heart of the stadium, Ultras all around him. Like everyone, he is focused on Maradona's prowess. The scoreboard reveals that we're stuck at nil nil. The Ultra leaders, standing on the railings, are incessantly inciting the fans to cheer on the team. All of a sudden, a super fat kid climbs on the railing. It's Fat Armando. He's screaming.<\/scene_description>\n    <character>ARMANDO<\/character>\n    <dialogue>So guys? We wanna make ourselves heard, or what?<\/dialogue>\n    <scene_description>But clearly he's not one of them, because the Ultras all start shouting \"stupid, stupid\" and the leaders, in no uncertain terms, tell him to get down from the railing. He follows orders. But Fabietto has recognized him and decides to go meet him. He elbows his way through the crowd and saddles up next to him. He wants to say something, but lacks the courage. All of a sudden, Maradona scores. Instant bedlam. Everyone is hugging everyone else. Armando and Fabietto hug and shout as if possessed. They're all still cheering when Maradona scores again, an extraordinary, unforgettable blind lob. Armando and Fabietto go wild.<\/scene_description>\n    <character>ARMANDO<\/character>\n    <dialogue>Oh, Fatso, you really do bring good luck! We gotta watch all the games together!<\/dialogue>\n    <scene_description>They turn their attention back to the game. Fabietto furtively studies his new friend, then plucks up his courage.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>I've seen you before, you were driving that smugglers' motorboat at Massa Lubrense.<\/dialogue>\n    <character>ARMANDO<\/character>\n    <dialogue>Could be. The sea is my life, man!<\/dialogue>\n    <scene_description>Hat trick. Maradona scores from the corner. The stadium explodes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. ROCCARASO. CONDOMINIUM BUILDING. NIGHT<\/stage_direction>\n    <scene_description>The final pieces of furniture to be moved. Two young guys are in the yard, maneuvering a bulky couch through the French doors. Maria is overseeing the operation. Saverio is in the yard, smoking a pipe. Tourist season is over, so there is nothing but silence and darkness. All of a sudden, the two movers turn and stare at the hedge, as if they've heard something. They look worried. Maria notices.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <scene_description>Neither mover answers her. They put the couch down and continue to peer at the hedge. Saverio notices them now as well.<\/scene_description>\n    <character>FIRST MOVER<\/character>\n    <dialogue>There's something out there, on the other side of the hedge.<\/dialogue>\n    <scene_description>They all turn to look. A rustling noise. Maria, Saverio, and the mover are all alarmed. The rustling grows louder. Saverio tries to reassure them.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>It's just a cat!<\/dialogue>\n    <character>SECOND MOVER<\/character>\n    <dialogue>Or a wolf!<\/dialogue>\n    <character>MARIA (WORRIED)<\/character>\n    <dialogue>A wolf?<\/dialogue>\n    <scene_description>Saverio is afraid too, but he tries to hide it.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>Come on! It's a cat. Or a dog.<\/dialogue>\n    <scene_description>Now, a hoarse sound from the other side of the hedge. The first mover sounds scared.<\/scene_description>\n    <character>FIRST MOVER<\/character>\n    <dialogue>That's a bear.<\/dialogue>\n    <scene_description>Saverio laughs sardonically.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>Yeah, right! A bear in Roccaraso!<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>I'm going in. I'm scared.<\/dialogue>\n    <character>FIRST MOVER<\/character>\n    <dialogue>Me too. Why don't you come in too, sir.<\/dialogue>\n    <scene_description>Maria and the two movers go inside.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>What nonsense!<\/dialogue>\n    <scene_description>But he's alone now, standing in the yard in front of the hedge. Maria and the two movers are at the window, watching Saverio out in the yard. Saverio, alone out there, stares at the hedge, pretending not to be worried. He calls out in a falsetto voice.<\/scene_description>\n    <character>SAVERIO<\/character>\n    <dialogue>Meow! Hey kitty kitty!<\/dialogue>\n    <scene_description>Just then, a huge, hairy mass rises up like a hurricane on the other side of the hedge, and lets out a rough growl. Lit from behind, it really does look like a bear. Maria and the movers scream. Saverio, in a total panic, makes a run for the door. He races up the stairs, but is so frightened that he trips and falls into the house, landing flat on his stomach as his pipe rolls across the floor.<\/scene_description>\n    <character>MARIA (SCREAMING IN TERROR)<\/character>\n    <dialogue>Saverio, he's right behind you!<\/dialogue>\n    <scene_description>Saverio, overcome by panic, squeals senselessly. A solemn voice behind Saverio.<\/scene_description>\n    <character>SOLEMN VOICE<\/character>\n    <dialogue>And now, Saverio, the bear of Roccaraso is going to gobble you up in one bite.<\/dialogue>\n    <scene_description>Saverio rolls over and sees the bear inside the house, but it's clear that it's actually a man in a bear suit. In fact, he now removes his furry mask to reveal the face of the third mover, the youngest of the group. Maria and the other two movers convulse with laughter. Saverio is really pissed. Panting, he says.<\/scene_description>\n    <character>SAVERIO (TO MARIA)<\/character>\n    <dialogue>What kind of idiot are you?! You could have given me a heart attack. You need to knock it off with these damn pranks, Maria!<\/dialogue>\n    <scene_description>Maria can't even speak because she is doubled over with laughter. As are the movers. Saverio struggles to get up. His leg hurts. He locates his pipe and tries to get a hold of himself. Maria, still laughing, opens her purse, takes out some cash, and tips the movers.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>Well done, guys. You were terrific. And you - the bear - you deserve a little something extra.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALBERTINO AND NENELLA'S HOUSE. DAY<\/stage_direction>\n    <scene_description>It's unbearably hot. Everyone is gathered in a pleasant dining room, along with a forest of electric fans and bottles of ice water. The whole troop of Saverio's relatives is there: Albertino, Nenella, Silvanella, Annarella, Luisella, Aldo, Geppino, Signora Gentile in her incomprehensible fur coat, and a swarm of children. They're all watching the historic game of the 1986 World Cup: Argentina-England. Uncontrolled excitement. An endless chorus of enthusiastic shouts to egg on Maradona. Joy reigns supreme.<\/scene_description>\n    <character>SILVANELLA (TO SIGNORA GENTILE)<\/character>\n    <dialogue>Signora Gentile, aren't you sweating in that fur coat?<\/dialogue>\n    <character>SIGNORA GENTILE (SCORNFUL)<\/character>\n    <dialogue>Chic women do not sweat. And I - when are you gonna get it through your thick skull - am chic!<\/dialogue>\n    <scene_description>They all laugh up their sleeves. The doorbell rings. Geppino, all sweaty, gets up and leaves the room. He arrives at the front door, opens it: two carabinieri in uniform. Geppino blanches.<\/scene_description>\n    <character>CARABINIERE<\/character>\n    <dialogue>Good evening. Geppino Lettieri?<\/dialogue>\n    <character>GEPPINO<\/character>\n    <dialogue>Good evening. Yes, I'm Geppino. What's going on? We were watching the game.<\/dialogue>\n    <character>CARABINIERE<\/character>\n    <dialogue>The game is over.<\/dialogue>\n    <scene_description>Geppino trembles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FABIETTO'S HOME. DAY<\/stage_direction>\n    <scene_description>To try and beat the heat, the TV set has been moved out onto the balcony, thanks to an extension cord. Sweaty and excited, they're all huddled together to watch the Argentina-England match: Saverio, Maria, Fabietto, Marchino and his girlfriend, Mariettiello, Baroness Focale, and Uncle Alfredo. All of a sudden, on the TV, Maradona, like a puma, bursts out of nowhere and executes his famous Hand of God goal. Everyone explodes. Only now do we see that the same thing is happening on lots of balconies: unrestrained explosions of joy from the inhabitants, who have all moved their TVs outside to escape the heat. Saverio exchanges joyous gestures with a tenant across the way, as if to say: what a goal! Maria, vacillating between joy and melancholy, observes her husband, who is an orgy of happiness. Mariettiello rejoices in an unseemly manner, posing as if he were a bodybuilder in front of a mirror. Baroness Focale, immobile and restrained, looks at Mariettiello the way you'd look at a strange and unpredictable beast. Marchino celebrates by kissing his girlfriend. Fabietto looks at them, feeling extraneous. Then Marchino's girlfriend kisses him on the cheek, a gesture which only partially makes up for his solitude. Uncle Alfredo, hand on his heart to ward off a heart attack, sniffs smelling salts and watches the replay on TV. Tears in his eyes. Then he pontificates proudly.<\/scene_description>\n    <character>UNCLE ALFREDO<\/character>\n    <dialogue>With his hand! This god has scored with his hand! He has avenged the great people of Argentina, oppressed by the ignoble, imperialist Falklands War. A genius! Genius! Genius! A political act. A revolution!<\/dialogue>\n    <scene_description>Uncle Alfredo weeps as he says all this, grasping Fabietto's arm.<\/scene_description>\n    <character>UNCLE ALFREDO<\/character>\n    <dialogue>He humiliated them, understand? He humiliated them!<\/dialogue>\n    <scene_description>Now, Saverio and Maria, happy and moved, have gone back to watching the match. They hold hands. Fabietto gives them sidelong glances. He is happy for their rediscovered happiness. Happy and moved.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. ALBERTINO AND NENELLA'S HOUSE. DAY<\/stage_direction>\n    <scene_description>The game continues on TV, but no one's following it anymore. They've all flocked to the window, to see what is happening down below. Out on the street, the carabinieri are putting Geppino, in handcuffs and in tears, inside the police cruiser. They pull away, sirens blaring. Signora Gentile stands in the street all alone, wrapped in her fur coat, staring severely as her brother is taken away. A tragedy. The group inside withdraws from the window. The mood is one of mourning now. No one speaks. They all sit or lean against the wall, reflecting sadly on what has transpired. Signora Gentile comes back inside, looking as impassive as a painting. She is still sad, but now her eyes are filled with rage instead of tears. No one dares look at her. Signora Gentile turns a perfidious eye on Albertino and Nenella. Her words cut like a knife.<\/scene_description>\n    <character>SIGNORA GENTILE<\/character>\n    <dialogue>It's your fault. All your fault that they arrested my brother. You knew he was swindling and you didn't stop him. Because the only thing you care about is money.<\/dialogue>\n    <scene_description>Dismay. Everyone throwing sidelong glances at everyone else. Nenella finally speaks up: she goes over to her granddaughter, who is riding a kid's bike with training wheels, and says.<\/scene_description>\n    <character>NENELLA<\/character>\n    <dialogue>Ludovica, let Grandma have your bike a minute.<\/dialogue>\n    <scene_description>The little girl gets off.<\/scene_description>\n    <character>NENELLA<\/character>\n    <dialogue>Signora Gentile, you have really busted my balls.<\/dialogue>\n    <scene_description>She grabs the bicycle and before anyone has time to stop her, hurls it at Signora Gentile. Signora Gentile bombards Nenella with unrepeatable insults. A tremendous brawl ensues, a lynching rather: Nenella, Albertino, and all the others, children included, throw themselves at Signora Gentile, beating her up. Silvanella and Annarella rip her fur coat off. Silvanella, livid, puts a lighter to the fur. Signora Gentile realizes what is happening and starts screaming like one possessed.<\/scene_description>\n    <character>SIGNORA GENTILE<\/character>\n    <dialogue>Noooo, not my fur! Don't you dare, you fucking little bitch!<\/dialogue>\n    <scene_description>In all the ruckus, no one notices that, on TV, Maradona, after a 50-meter breakaway, is making the most beautiful goal in the history of soccer. Final score: Argentina-England 2-1. FADE TO BLACK.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FABIETTO'S HOME. DAY<\/stage_direction>\n    <scene_description>Saverio, in the living room, is putting a pair of Rossignol skis in their bag. Maria, a bag over her shoulder, sticks her head in Fabietto's room. He's in there, studying.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>Fabi\u00e8, sure you don't want to come to Roccaraso with us?<\/dialogue>\n    <character>FABIETTO (CHEERFUL)<\/character>\n    <dialogue>We're playing Empoli tomorrow, Mamma. I can't not go to the match. Diego's expecting me.<\/dialogue>\n    <scene_description>Maria smiles. She goes over to give him a kiss and says.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>There's some gnocchi in the fridge, you just have to heat them up.<\/dialogue>\n    <character>FABIETTO (IN AN IRONIC, DECLAMATORY<\/character>\n    <dialogue>VOICE)<\/dialogue>\n    <scene_description>Poscia, pi\u00f9 che 'l dolor, pot\u00e8 il digiuno. (Then hunger proved a greater power than grief - Dante, Inferno)<\/scene_description>\n    <character>MARIA (REFLECTS)<\/character>\n    <dialogue>Sometimes your mother just doesn't understand you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROCCARASO. MOUNTAIN CONDO. NIGHT<\/stage_direction>\n    <scene_description>The fireplace is lit. Maria is knitting in front of the fire. Saverio pokes inexpertly at the flames. The fire flares up. He goes back to his chair, sitting next to Maria. He picks up his book again: \"A Man,\" by Oriana Fallaci. Maria is tired, her eyes droop as she knits. Saverio is tired too, he keeps nodding off. The book drops into his lap. They are both falling asleep. Maria sticks her knitting needles between the cushions of her chair. Eyelids heavy, she turns to Saverio, takes his hand, and, soft as a whisper, whistles their tune. Saverio, eyes closed, instinctively whistles back the same tune. Maria, half-asleep, mumbles.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>Watch out for the bear.<\/dialogue>\n    <scene_description>Saverio, drifting off, smiles. Happy and satisfied now, they slide into a deep sleep.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VIA SAN DOMENICO PARK. EVENING<\/stage_direction>\n    <scene_description>Fabietto, a Napoli scarf still around his neck, and Mariettiello, smoking, are sitting side by side on the low wall, lazing silently. Mariettiello doesn't inhale - he only smokes to look sophisticated - but the way he holds his cigarette, like a sacred relic, makes Fabietto smile sardonically. He studies his friend's extravagant, joyous way of smoking. An Alfa Romeo Giulietta approaches at full speed, them slams on the brakes. It's Marchino and two friends. Fabietto's and Marchino's eyes meet. Fabietto is immediately alarmed - his brother's face is sheer tension.<\/scene_description>\n    <character>MARCHINO<\/character>\n    <dialogue>Fabi\u00e8, we have to go to Roccaraso. Now.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>What's happened?<\/dialogue>\n    <character>MARCHINO<\/character>\n    <dialogue>Mamma and pap\u00e0 are in the hospital.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGHWAY. CAR. NIGHT<\/stage_direction>\n    <scene_description>Marchino's friend Maurizio drives the Giulietta at 135 an hour. Marchino next to him. Fabietto and Marchino's other friend in the back. All Maurizio has to do is flash his high beams, and all the other cars instantly get out of his way. No one says a word. Fabietto turns and looks at the guy next to him: haggard-looking, studded leather jacket, in a cold sweat. Fabietto looks away. He puts on his headphones, but we don't hear what he is listening to.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CASTEL DI SANGRO. HOSPITAL. NIGHT<\/stage_direction>\n    <scene_description>Breathless, disheveled, walking briskly, Fabietto, Marchino and his two friends step inside the vast, deserted hospital entryway. It's the middle of the night. A young doctor is there, as if he were expecting them. They go over to him. The doctor looks at 17-year-old Fabietto.<\/scene_description>\n    <character>MARCHINO<\/character>\n    <dialogue>Schisa. We're their sons. What happened?<\/dialogue>\n    <scene_description>The doctor, uncomfortable, doesn't respond right away. Then he says.<\/scene_description>\n    <character>YOUNG DOCTOR<\/character>\n    <dialogue>Wait here a minute.<\/dialogue>\n    <scene_description>He disappears inside. Marchino and Fabietto nervously pace back and forth. The friend who drove collapses on a chair, exhausted from the relentless speed. Another doctor arrives. But she doesn't know what to say either.<\/scene_description>\n    <character>FEMALE DOCTOR<\/character>\n    <dialogue>Just a moment, excuse me.<\/dialogue>\n    <scene_description>Marchino starts to cry. But not Fabietto. He stares blankly, fixing his eyes on a sink. Another doctor arrives. 60 years old. As awkward as the others.<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>There was a carbon monoxide leak in your parents' house.<\/dialogue>\n    <scene_description>Fabietto stares at him open-mouthed.<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>Your mother passed away at home. Your father here in the hospital.<\/dialogue>\n    <scene_description>Marchino, in tears, babbles.<\/scene_description>\n    <character>MARCHINO<\/character>\n    <dialogue>A and...then? Th...that's all?<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>Your father, before he passed, said something.<\/dialogue>\n    <character>MARCHINO (IN A FEEBLE VOICE)<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>\"Don't joke, Mar\u00ec.\"<\/dialogue>\n    <scene_description>Fabietto finds the strength to say, his voice breaking.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>You have to let me see them.<\/dialogue>\n    <scene_description>The elderly doctor shakes his head.<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>It's better that you don't!<\/dialogue>\n    <scene_description>Fabietto begins to shout, piercing the unreal silence.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>You have to let me see them. You have to let me see them. You have to let me see them.<\/dialogue>\n    <scene_description>He tries to run past him, but the doctor blocks him.<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>They are unrecognizable. It would only frighten you.<\/dialogue>\n    <scene_description>Fabietto keeps shouting, over and over.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>You have to let me see them! You have to let me see them!<\/dialogue>\n    <scene_description>The doctors, Marchino, and his friends forcibly carry Fabietto out of the hospital, him still shouting all the while.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CASTEL DI SANGRO. HOSPITAL PARKING LOT. NIGHT<\/stage_direction>\n    <scene_description>The silence of the mountains. In this semi-deserted parking lot, Fabietto, Marchino, and the two friends lean against the Giulietta. Staring at the ground. Marchino is crying. Fabietto is not. A little ways off, the female doctor exits the hospital. She has finished her shift. She walks hand in hand with her son, a 10-year-old kid, chubby, glasses, and an incongruous green loden coat, which makes him seem like quite the \"little man.\" They are almost at their car when the doctor says to him.<\/scene_description>\n    <character>FEMALE DOCTOR<\/character>\n    <dialogue>Wait here, Matteo, I forgot something.<\/dialogue>\n    <scene_description>She goes back inside. Her son in his green coat waits by the car. The boy starts to stare at the four guys leaning against the Giulietta. They stare back. They all just look at each other. The boy takes off his glasses, breathes on the lenses, wipes then with a cloth, like a grown up. Then he goes back to staring at them. Out of the blue, Maurizio, still staring at the boy in the green coat, says stupidly to him.<\/scene_description>\n    <character>MAURIZIO<\/character>\n    <dialogue>Yeah, fuck-face?<\/dialogue>\n    <scene_description>The boy doesn't even understand the insult. Fabietto, Marchino, Maurizio, and the other friend can't help themselves. Slowly but surely, they go from grieving to snickering, their eyes still glued to the ground.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NAPLES. CEMETERY. DAY<\/stage_direction>\n    <scene_description>They are placing the caskets in the burial niches. Marchino's girlfriend and friends have clustered around him, to try and bolster him. Fabietto leans against a wall, not even watching. All the relatives we met in Agerola process by him. Albertino, Nennella, Luisella, Aldo with his electronic gadget. They all offer their condolences. Fabietto, like an automaton, doesn't speak, doesn't cry. He lets himself be kissed. Now it's Luisella's turn. She is sobbing.<\/scene_description>\n    <character>LUISELLA<\/character>\n    <dialogue>Why don't you cry on your aunt's shoulder? Crying will do you good!<\/dialogue>\n    <scene_description>Fabietto gives her a ruthless look.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>E se non piangi, di che pianger suoli? (If you do not weep now, when will you weep? Dante - Inferno)<\/dialogue>\n    <scene_description>Luisella does not understand and walks away in tears. When it comes to cousin Silvana's turn, Fabietto asks.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>Geppino?<\/dialogue>\n    <character>SILVANA<\/character>\n    <dialogue>He asked permission to come, but they wouldn't let him. But they've given him a single cell, thank God.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Pap\u00e0 used to say that Geppino was an idiot.<\/dialogue>\n    <character>SILVANA (SIGHS)<\/character>\n    <dialogue>It would have been better if he'd told me that before I married him.<\/dialogue>\n    <scene_description>Fabietto smiles slightly. Silvana smiles too. Annarella intervenes.<\/scene_description>\n    <character>ANNARELLA<\/character>\n    <dialogue>Daniela didn't come?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Of course she did.<\/dialogue>\n    <character>ANNARELLA<\/character>\n    <dialogue>Where is she?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>She went to the bathroom for a second.<\/dialogue>\n    <scene_description>Uncle Franco comes over now. He kisses Fabietto.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>Aunt Patrizia didn't come?<\/dialogue>\n    <character>FRANCO<\/character>\n    <dialogue>She's not well, Fabi\u00e8. They admitted her to the psych ward.<\/dialogue>\n    <scene_description>Fabietto is disappointed. Aunt Patrizia was the only person he would have liked to see.<\/scene_description>\n    <character>FRANCO<\/character>\n    <dialogue>Go see her sometime. She'd like that. You always were her favorite nephew.<\/dialogue>\n    <scene_description>A noise catches Fabietto's attention, causing him to turn: they are placing his mother in the niche. Fabietto stares but does not shed a tear. Then he senses a presence before him. He is surprised to discover Signora Gentile in front of him. She stares at his chest, not looking him in the eye. Fabietto doesn't say anything. Signora Gentile takes her time, then quotes dryly:<\/scene_description>\n    <character>SIGNORA GENTILE<\/character>\n    <dialogue>Per me si va nella citt\u00e0 dolente, per me si va nell'eterno dolore, per me si va tra la perduta gente. (Dante's Inferno, inscription on the gates of Hell)<\/dialogue>\n    <scene_description>Only now does she lift her perfidious eyes to his face. But those perfidious eyes glisten with emotion. Then she walks off. Uncle Alfredo comes over next. He kisses Fabietto.<\/scene_description>\n    <character>UNCLE ALFREDO<\/character>\n    <dialogue>Why didn't you go to Roccaraso? You like to ski.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Napoli was playing. I had to see Maradona.<\/dialogue>\n    <scene_description>Uncle Alfredo's eyes light up. As if he'd had a revelation. He grabs Fabietto's arm and says excitedly.<\/scene_description>\n    <character>UNCLE ALFREDO<\/character>\n    <dialogue>It was him! It was him who saved you!<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>UNCLE ALFREDO (AS IF IN A TRANCE)<\/character>\n    <dialogue>It was him! It was the hand of God!<\/dialogue>\n    <scene_description>And he really believes it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAN PAOLO STADIUM. DAY<\/stage_direction>\n    <scene_description>It's clouded over, and threatening to rain. Napoli is practicing. The event is open to the public. A few onlookers watch from the stands. Fabietto and Marchino are among them. Fabietto, in jacket and good trousers, rests his chin on his hands. They've come right from the funeral to the stadium. Sad. In a daze. They're watching Maradona practice free kicks. He has set up a barrier of fake metal men. A ball boy places ball after ball for him and Maradona practices his cross kick. The goalie dives but can't block it. Goal.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>You don't want to try being an actor anymore?<\/dialogue>\n    <character>MARCHINO (SHRUGS)<\/character>\n    <dialogue>Cinema is too hard. And besides, I'd have to go to Rome...<\/dialogue>\n    <scene_description>Maradona, like an automaton, repeats the same exact kick, twenty times in a row. Always from the corner. He always scores. Then, as if those kicks were the most natural thing in the world, he has the ball boy hand him his sweat jacket and heads for the dressing room. Marchino says to Fabietto.<\/scene_description>\n    <character>MARCHINO<\/character>\n    <dialogue>Do you know what that's called, what Maradona just did?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Free kick.<\/dialogue>\n    <character>MARCHINO<\/character>\n    <dialogue>No, it's called perseverance. Something I will never have. So you're going to have to have it, Fabi\u00e8.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FABIETTO'S HOME. NIGHT<\/stage_direction>\n    <scene_description>The empty house. In all its details. The broom handle for changing channels. The video of \"Once Upon a Time in America\" still sitting on the VCR. The orange juice squeezer in the kitchen. The broom for communicating with the baroness in a corner. Fabietto, impassive, stares at all these things. The doorbell rings. Fabietto opens the door. Standing on the landing is Graziella, their neighbor from Trentino, her cheeks stained with tears. Without saying a word, she hands Fabietto a plate of bread dumplings. Fabietto forces himself to smile as he accepts the plate.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>He closes the door again. Banging coming from the ceiling, it's Baroness Focale calling. Fabietto ignores her, sliding down the hallway instead. CUT. IN THE BEDROOM. Fabietto stares at his parents' bed, the phone on the nightstand. Everything is still. Fabietto tries to cry, but he can't bring himself to. He hears his sister's voice, calling to him.<\/scene_description>\n    <character>DANIELA (V.O.)<\/character>\n    <dialogue>Fabietto.<\/dialogue>\n    <scene_description>He gives up trying to cry and steps into the storage room, adjacent to the bathroom. The two rooms are separated by a large frosted-glass window, through which the siblings can talk.<\/scene_description>\n    <character>DANIELA (V.O.)<\/character>\n    <dialogue>Did you cry?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>I can't.<\/dialogue>\n    <character>DANIELA (V.O.)<\/character>\n    <dialogue>What are you going to do now?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>I thought I'd watch \"Once Upon a Time in America.\"<\/dialogue>\n    <character>DANIELA (V.O.)<\/character>\n    <dialogue>If you wait for me to come out, we can watch it together.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Okay, but when are you coming out of this bathroom?<\/dialogue>\n    <character>DANIELA (AFTER A MOMENT)(V.O.)<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <scene_description>A thin, sad smile crosses Fabietto's face. He makes to leave the storage room, but there's his sister's voice again.<\/scene_description>\n    <character>DANIELA (V.O.)<\/character>\n    <dialogue>Do you know why pap\u00e0 could never make up his mind to leave Signora Villa?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>No, I don't.<\/dialogue>\n    <character>DANIELA (V.O.)<\/character>\n    <dialogue>Because eight years ago, they had a child together.<\/dialogue>\n    <scene_description>Fabietto is speechless. He reflects. And then says in an angry voice.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>When did you think you were going to tell me?<\/dialogue>\n    <scene_description>Daniela doesn't answer right away. She attempts a response.<\/scene_description>\n    <character>DANIELA (V.O.)<\/character>\n    <dialogue>When you were bigger.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>When would that be?<\/dialogue>\n    <character>DANIELA (DECISIVE)(V.O.)<\/character>\n    <dialogue>Now. You're bigger now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VIA SAN DOMENICO PARK. EVENING<\/stage_direction>\n    <scene_description>Fabietto, Mariettiello, and the twins are sitting on the wall together, doing nothing.<\/scene_description>\n    <character>MARIETTIELLO<\/character>\n    <dialogue>I liked your mother.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>But not my father?<\/dialogue>\n    <character>MARIETTIELLO<\/character>\n    <dialogue>No, not your father.<\/dialogue>\n    <scene_description>Fabietto doesn't react. Mariettiello awkwardly places his hand on Fabietto's shoulder, to console him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL. ROOM IN THE PSYCH WARD. DAY<\/stage_direction>\n    <scene_description>Bars on the windows. Bare rooms. And, sitting next to a window, Aunt Patrizia. But she is no longer the beauty she once was. The meds, the pain, the forced hospitalization, have transformed her into the memory of a beautiful woman. Now it's only a mask of pain that stares at Fabietto from a twin bed. Patrizia finally breaks the excruciating silence.<\/scene_description>\n    <character>PATRIZIA<\/character>\n    <dialogue>How are you?<\/dialogue>\n    <character>FABIETTO (FEELING GUILTY)<\/character>\n    <dialogue>I can't bring myself to cry, Aunt Patrizia.<\/dialogue>\n    <character>PATRIZIA<\/character>\n    <dialogue>Don't worry. It means that it's not time yet. What do you want to do when you grow up, Fabi\u00e8?<\/dialogue>\n    <character>FABIETTO (EMBARRASSED)<\/character>\n    <dialogue>I'm ashamed to tell you. Besides, it'll never happen. It's a crazy idea.<\/dialogue>\n    <character>PATRIZIA<\/character>\n    <dialogue>Well, if it's crazy, you're talking to the right person.<\/dialogue>\n    <scene_description>They both smile slightly. Fabietto musters his courage.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>A film director. That's what I'd like to do.<\/dialogue>\n    <character>PATRIZIA<\/character>\n    <dialogue>What a wonderful idea, Fabi\u00e8! Call me if you make it, I'll be your muse.<\/dialogue>\n    <scene_description>They laugh slightly.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>You already are my muse.<\/dialogue>\n    <scene_description>Patrizia gives him a pained smile. And then takes his hand.<\/scene_description>\n    <character>PATRIZIA<\/character>\n    <dialogue>Do you remember that night you came to my house, you, your mother and your father? That night when Franco beat me?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>I remember every time I ever saw you, Aunt Patrizia.<\/dialogue>\n    <scene_description>Patrizia nods, as if it were inescapable.<\/scene_description>\n    <character>PATRIZIA<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>They look at each other. Fabietto is embarrassed.<\/scene_description>\n    <character>PATRIZIA<\/character>\n    <dialogue>That night, Uncle Franco and I made up. And we made love. And you want to know something, Fabi\u00e8? I got pregnant. But the next week, Franco beat me again, and I lost the baby. I got by on pills for a while, but I couldn't take it anymore, so I said: bring me here, or I'll kill myself.<\/dialogue>\n    <scene_description>Fabietto is speechless. They look at each other.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>Aunt Patrizia, do you remember when you told me you saw the Little Monk?<\/dialogue>\n    <scene_description>She nods sadly.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>I believed you.<\/dialogue>\n    <scene_description>Patrizia looks up at him, her eyes brimming with tears. Then she blows him a kiss. And for an instant - but only for an instant - she is beautiful again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SALESIAN SCHOOL. COURTYARD. DAY<\/stage_direction>\n    <scene_description>The usual chaos in the courtyard, where 25 soccer matches are being played simultaneously. 25 balls flying, 400 boys running around like maniacs, shouting, colliding. Fabietto is one of them. But all of a sudden, for no apparent reason, Fabietto stops running. He stops playing and, right there in the middle of all that kicking and sweating, he bursts into uncontrollable sobs. Some of his classmates notice, and are embarrassed. One makes to go over to him, but another grabs his arm, holds him back. So that's how it ends, with Fabietto weeping while the soccer goes on around him, without stopping. Without ever stopping. The elderly priest who confessed him sees, though. Standing on the edge of the field, he watches Fabietto.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALESIAN CHURCH. DAY<\/stage_direction>\n    <scene_description>Two chairs facing each other at the far end of the deserted church. The priest is listening to Fabietto's confession. They look at each other.<\/scene_description>\n    <character>ELDERLY PRIEST<\/character>\n    <dialogue>Do you feel alone?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Not anymore. Now I am alone.<\/dialogue>\n    <character>ELDERLY PRIEST<\/character>\n    <dialogue>God is always at your side.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>He should have been at their side.<\/dialogue>\n    <character>ELDERLY PRIEST<\/character>\n    <dialogue>He was, he was at your parents' side, too.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>What a load of crap. And you, Father, will go to Hell for all the crap you say.<\/dialogue>\n    <scene_description>They glare defiantly at each other, without saying anything more.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FABIETTO'S HOME. NIGHT<\/stage_direction>\n    <scene_description>Fabietto sits staring at the dusty video of \"Once Upon a Time in America.\" He has decided. He's going to watch the film. He picks up the cassette, removes the wrapping, and is about to put it in the VCR when the banging from the ceiling distracts him. It's the baroness. Fabietto snorts. He puts the cassette on the VCR. And goes to the door. Picks up his keys. And leaves the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARONESS FOCALE'S HOUSE. NIGHT<\/stage_direction>\n    <scene_description>The mammoth Baroness Focale opens the door, wrapped in a brown velvet dressing gown that looks more like a curtain.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>What's wrong, Baroness?<\/dialogue>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>There's a bat in the living room, Fabietto. Do you know how to get rid of him?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>I can try.<\/dialogue>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>Thank you, Fabietto.<\/dialogue>\n    <scene_description>She leads the way through the house. Fabietto is surprised and curious, seeing this mysterious house for the first time. From the kitchen, which is completely anonymous, we end up in a hallway with old beige wallpaper. Sinister shadows reign here, pierced only by a blanket of dim votive lights that illuminate - just barely - dozens of photographs, all of the same subject: the baroness's dead husband. All in black and white, all taken when he was young and fit.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>Is that your husband, Baroness?<\/dialogue>\n    <scene_description>She nods and sighs. She opens the door to an ancient living room.<\/scene_description>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>It's in here, the bat.<\/dialogue>\n    <scene_description>Fabietto steps into the room. The baroness quickly closes the door behind him, leaving Fabietto alone with the bat. All is still. Silent. The only illumination is a dim light coming through the window. Fabietto is afraid. Suddenly, out of nowhere, a small black shadow flaps about madly, heading right for Fabietto. Terrified, he instinctively crouches on the floor. He grabs for the door handle and sneaks out of the room, carefully closing the door behind him. He's in the hallway again now, alone with the saintly images of the dead husband. Fabietto is more afraid than before. He hears the baroness calling him.<\/scene_description>\n    <character>BARONESS FOCALE (V.O.)<\/character>\n    <dialogue>Fabietto, I'm in my bedroom.<\/dialogue>\n    <scene_description>THE BARONESS'S BEDROOM. Fabietto, shy and embarrassed, appears at the door and peers into the shadows. The hideous baroness is in her four-poster bed, leaning against the headboard. She's wearing a loose nightgown, covered in lace. Nothing else. All around her, on the dresser and the nightstands, are countless more photos of her husband as a young man, lit by dim cemetery lamps. Fabietto looks around uncomfortably.<\/scene_description>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>Did you get rid of him?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>It seems an impossible task, Baroness. But I trapped him in the living room.<\/dialogue>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>That's fine. Besides, I never use that room. Now, sit down.<\/dialogue>\n    <scene_description>Fabietto, embarrassed, sit on the very edge of the foot of the bed - the only place to sit in the whole room.<\/scene_description>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>How are you? Do you miss your parents?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>What a fucking ridiculous question, Baron\u00e8!<\/dialogue>\n    <scene_description>The baroness gives a quick laugh.<\/scene_description>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>You're right. It is a fucking ridiculous question.<\/dialogue>\n    <scene_description>They sit there silently. Fabietto studies the photos.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>Do you think about him all the time, your husband?<\/dialogue>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>Attiliuccio? No. I've forgotten him. Just as you will forget your mother and father someday.<\/dialogue>\n    <character>FABIETTO (PREEMPTORY)<\/character>\n    <dialogue>No, I'll never forget them.<\/dialogue>\n    <scene_description>Baroness Focale, with more compassion than we thought her capable of, says maternally.<\/scene_description>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>It's time to look to the future, Fabi\u00e8.<\/dialogue>\n    <scene_description>Fabietto nods politely.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>I should be going.<\/dialogue>\n    <scene_description>He gets up and heads for the door. She follows him with her eyes. And calls out to him just as he is about to cross the threshold.<\/scene_description>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>Fabietto, could you do me a favor, could you bring me my brush, on top of the dresser?<\/dialogue>\n    <scene_description>Fabietto goes over to the dresser, which is covered in photos of her dead husband, and gets her brush. He brings it to her.<\/scene_description>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>One last favor: Would you brush my hair?<\/dialogue>\n    <scene_description>As she says this, she lets down her long white hair, which we now see covers the whole length of her back. Fabietto is embarrassed. He stands there like a fool because all that loose, long hair on an old woman reveal two things: an unexpected intimacy, and the twisted d\u00e9j\u00e0 vu of youth.<\/scene_description>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>Sit behind me and brush my hair.<\/dialogue>\n    <scene_description>Fabietto, trembling, hesitant, sits behind her and starts brushing her long hair from top to bottom. But as the bottom coincides with her tailbone, Fabietto is already stirred up. The baroness leans forward slightly to make Fabietto's task easier, and in doing so her nightgown opens a little. Fabietto can't help but peek at her cleavage, prey to her enormous, sagging breasts. She is well aware of this, and in fact says to him.<\/scene_description>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>Are you looking at me?<\/dialogue>\n    <character>FABIETTO (HIS VOICE TREMBLING)<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>He keeps brushing, and peeping. After a while...<\/scene_description>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>Okay, Fabietto, that's enough.<\/dialogue>\n    <scene_description>A little disappointed, Fabietto gets to his feet, goes over to the dresser, puts down the brush. That's when the baroness says to him.<\/scene_description>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>Why did you put it back?<\/dialogue>\n    <character>FABIETTO (HESITANT)<\/character>\n    <dialogue>Because I'm done.<\/dialogue>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>Not at all. You still have to brush my slit.<\/dialogue>\n    <scene_description>Fabietto stares at her uncomprehendingly.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>What do you mean, your slit?<\/dialogue>\n    <scene_description>It's at this point that Baroness Focale does something unimaginable. She pulls up her soft nightgown, spreads her large, flabby legs, and exposes her giant, dark sex, bristling with black hairs.<\/scene_description>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>This is my slit.<\/dialogue>\n    <scene_description>She says with a terrifying wink. Fabietto, astounded, stretches his neck like a giraffe to gaze at that dark cave between her legs.<\/scene_description>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>Attiliuccio used to call it my super pussy.<\/dialogue>\n    <scene_description>This super pussy sparks Fabietto's primordial excitement. He goes over to her, crouches at her feet, reaches his trembling arm toward her dark cave, and begins brushing the baroness's super pussy. She throws her head back in lascivious, immoral pleasure.<\/scene_description>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>Now put down that brush and climb on top of me.<\/dialogue>\n    <scene_description>Fabietto, in a sort of erotic, electric trance, does what he is told. He comes face to face with the baroness. When he is only an inch away from her face, his expression changes from arousal to doubt: he realizes that the baroness looks just like Pope Wojtyla. She is incredibly ugly. But the baroness knows and understands. Which is why she says.<\/scene_description>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>Don't look at me. Bury your face in my shoulder and think about a girl you like.<\/dialogue>\n    <scene_description>Fabietto obeys, and says to her.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>Now tell me what her name is.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Patrizia.<\/dialogue>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>Good. Now you have to do two things. Move like this inside of me, and call me Patrizia.<\/dialogue>\n    <scene_description>The baroness, her hands on Fabietto's hips, guides his movement. Fabietto follows her lead, giving himself over to the rhythm, and ten seconds later, panting the name \"Patrizia,\" he has already come. Now, lying there, feeble and forgotten on top of her, he sighs heavily, as if he has freed himself of all the worries of the world. The baroness laughs gently, a veil of sadness on her face. This is Fabietto's first time. And as his father had advised him, he did not go for subtleties.<\/scene_description>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>You're big now.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>That's the second time I've been told that recently.<\/dialogue>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>And do you know what makes you big?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>The fact that you and I have a secret. Now go!<\/dialogue>\n    <scene_description>Fabietto rouses himself, gets to his feet, and starts to zip up his fly. He is happy and says proactively.<\/scene_description>\n    <character>FABIETTO (SMILING)<\/character>\n    <dialogue>That was great. Next time...<\/dialogue>\n    <character>BARONESS FOCALE (INTERRUPTS HIM)<\/character>\n    <dialogue>The next time will be with a girl your age. I have completed my task.<\/dialogue>\n    <character>FABIETTO (DISAPPOINTED)<\/character>\n    <dialogue>What was that?<\/dialogue>\n    <character>BARONESS FOCALE<\/character>\n    <dialogue>To help you look to the future, Fabi\u00e8.<\/dialogue>\n    <scene_description>Fabietto understands. His eyes are shining now. Eyes that look to the future.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>52. (EX 53) EXT. WATERFRONT. VIA CARACCIOLO. NIGHT<\/stage_direction>\n    <scene_description>Fabietto drives his Vespa along the shore. Headphones on, an unlit cigarette between his lips, a moronic expression on his face - the look of one who has touched happiness. With a sigh of relief, he glides along the waterfront, floating past beach houses and lovers, all full of life.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>53. (EX 54) EXT. NAPLES. STREET. NIGHT<\/stage_direction>\n    <scene_description>Fabietto, on his Vespa, goes from the beach to Piazza Trieste e Trento. He passes the San Carlo Theater, and notices the entrance of Galleria Umberto. He stops, parks his Vespa, removes his headphones, and heads for the entrance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GALLERIA UMBERTO \/ PIAZZETTA SERAO. NIGHT<\/stage_direction>\n    <scene_description>The Galleria is empty. Fabietto's footsteps echo in the silence as he walks. When he gets to the gate that gives on to Piazzetta Serao, he turns, sensing someone's presence. On the other side of the gate, in the piazzetta, he glimpses a woman verging on 50. A timid, unassuming prostitute, neither ugly nor beautiful: the picture of normality. She is staring right at him. They gaze at each other through the grating. Then she gestures to him, inviting him to join her. Fabietto, adopting the incongruous attitude of a man of the world, responds with a smile and a shake of his head. She swallows his refusal, she's used to it, hers is a lifetime of refusals. But Fabietto keeps staring at her. She becomes irritated and says.<\/scene_description>\n    <character>PROSTITUTE<\/character>\n    <dialogue>What the fuck are you still staring at?<\/dialogue>\n    <scene_description>Fabietto, embarrassed, immediately looks away. Tail between his legs, he hurries off to his Vespa.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>55. (EX 52) INT. FABIETTO'S HOME. DAY<\/stage_direction>\n    <scene_description>Fabietto and Marchino, each in his own bed. Marchino is asleep. Fabietto is awake, staring at the ceiling, a satisfied look on his face. Marchino wakes up, stares at his brother. And yawns.<\/scene_description>\n    <character>MARCHINO<\/character>\n    <dialogue>We're thinking of going to Stromboli this summer. Want to join us?<\/dialogue>\n    <character>FABIETTO (STARING AT THE CEILING)<\/character>\n    <dialogue>We'll see.<\/dialogue>\n    <scene_description>Marchino looks more closely at his brother, intuits the truth.<\/scene_description>\n    <character>MARCHINO<\/character>\n    <dialogue>You fucked!<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>What?!<\/dialogue>\n    <character>MARCHINO<\/character>\n    <dialogue>Yeah, yeah! That's it! You fucked yesterday, for the first time!<\/dialogue>\n    <scene_description>He laughs. Fabietto turns bright red, but then he starts laughing too.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GALLERIA TOLEDO THEATER. HALL. NIGHT<\/stage_direction>\n    <scene_description>Black. On stage, a candle is lit. The feeble flame illuminates the 20-year-old actress we saw earlier, who holds it in her hands. From what we can tell in the darkness, she is beautiful, wearing nothing but a white, transparent robe that reveals her perfect body. She recites the final lines in her French accent.<\/scene_description>\n    <character>FRENCH ACTRESS<\/character>\n    <dialogue>Spartans, when death comes for me, I shall not be found.<\/dialogue>\n    <scene_description>She blows out the candle. Blackness again. The audience applauds. The lights come up. The actress thanks the public with a joyful smile. Fabietto is in the audience. He sits open-mouthed: for the beauty of the actress, for the performance, for the warm atmosphere. He claps enthusiastically, peering around for Capuano. But in vain. The French actress, up on stage, searches as well. But she can't find him. More resounding applause. The director, 50 years old, appears on stage. Hand in hand with Juliette, they thank the audience.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. QUARTIERI SPAGNOLI NEIGHBORHOOD. GALLERIA TOLEDO.<\/stage_direction>\n    <scene_description>NIGHT Small groups of spectators linger in the alleyway outside the theater. The French actress is chatting with Capuano's assistant director.<\/scene_description>\n    <character>ASSISTANT DIRECTOR<\/character>\n    <dialogue>I'm sorry, Juliette, Capuano wanted to come but he couldn't make tonight, either.<\/dialogue>\n    <character>JULIETTE (DISAPPOINTED AND WORRIED)<\/character>\n    <dialogue>Have I done something to upset him?<\/dialogue>\n    <character>ASSISTANT DIRECTOR<\/character>\n    <dialogue>No! Not at all! It's just that he's really wrapped up in editing the film.<\/dialogue>\n    <scene_description>Fabietto, hiding behind a column like a thief, listens attentively to their conversation. His eyes are glued to Juliette, but this time she doesn't notice him. A small group of young actors gesture to Juliette. She kisses the assistant director on the cheek and heads off with her friends. Fabietto watches it all with death in his heart. Disconsolate, he heads down an alleyway. A Yamaha XT 600 motorcycle brakes daringly right next to him. Fabietto is afraid and steps back. But the driver is none other than Fat Armando. He smiles at him.<\/scene_description>\n    <character>ARMANDO<\/character>\n    <dialogue>Bello, what are you doing here?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>I went to the theater.<\/dialogue>\n    <character>ARMANDO<\/character>\n    <dialogue>I haven't seen you at the stadium anymore.<\/dialogue>\n    <character>FABIETTO (EMBARRASSED)<\/character>\n    <dialogue>I...I've had some difficulties.<\/dialogue>\n    <character>ARMANDO<\/character>\n    <dialogue>Get on.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>ARMANDO<\/character>\n    <dialogue>What do you mean where? Climb on. Let's get ourselves a beer.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Really, I...<\/dialogue>\n    <character>ARMANDO (RESOLUTE)<\/character>\n    <dialogue>Really, you don't have a damn thing to do. Come on, get on!<\/dialogue>\n    <scene_description>Fabietto, hesitant, climbs on the back of Armando's motorcycle.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. VIA MARINA. PUB. NIGHT<\/stage_direction>\n    <scene_description>A notorious spot for dock workers, teeming with shady-looking Americans and Neapolitans. At the bar, Fabietto is still on his first beer, whereas Fat Armando, in Bermudas and flip flops, is already on his seventh gin and tonic. He's not drunk, though.<\/scene_description>\n    <character>ARMANDO<\/character>\n    <dialogue>What did you say your name was, Fatso?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Fabietto Schisa.<\/dialogue>\n    <scene_description>Silence. Armando looks around, lights a cigarette. Fabietto keeps stealing glances at him. Observation, it's his specialty. Then, to break the silence, he says.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>You're a smuggler, right?<\/dialogue>\n    <character>ARMANDO<\/character>\n    <dialogue>At the moment. But I want to be an offshore pilot. You?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Cinema, maybe.<\/dialogue>\n    <character>ARMANDO<\/character>\n    <dialogue>You want to open a cinema? Good idea. If you want, I know a guy who could lend you some money!<\/dialogue>\n    <scene_description>Fabietto equivocates. An American girl saddles up to the bar. Armando doesn't waste any time.<\/scene_description>\n    <character>ARMANDO<\/character>\n    <dialogue>You're beautiful, you know?<\/dialogue>\n    <scene_description>Her boyfriend appears instantly, a big American brute. He places himself between his girl and Armando, gives him a stern look. Armando doesn't lose his cool in the slightest. He gives the American a weary look. Fabietto is already panicking.<\/scene_description>\n    <character>AMERICAN<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>ARMANDO<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>AMERICAN<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <scene_description>Armando turns to Fabietto.<\/scene_description>\n    <character>ARMANDO<\/character>\n    <dialogue>Hear that? He said: go fuck your mother.<\/dialogue>\n    <character>FABIETTO (TERRIFIED)<\/character>\n    <dialogue>No, he didn't say \"go fuck your mother!\" He asked you what you want.<\/dialogue>\n    <character>ARMANDO<\/character>\n    <dialogue>No way, Fatso, I heard him fine, he said \"go fuck your mother.\"<\/dialogue>\n    <scene_description>Fabietto is about to try to explain again, but he doesn't have time before Armando leaps to his feet and head-butts the American in the mouth. Caught off guard, the guy goes reeling backwards. Armando, without giving even the Holy Father time to think, and despite the fact that he is wearing flip flops, starts kicking the American like crazy. Everyone is screaming, running away. Fabietto trembles with fear in the middle of the bar. The American, writhing on the ground and oozing blood, pulls out a knife. Armando sees the knife and says lucidly.<\/scene_description>\n    <character>ARMANDO<\/character>\n    <dialogue>Now that is something I had not anticipated. Let's get outta here, Fatso.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Right, but with dignity.<\/dialogue>\n    <scene_description>Armando turns and looks at Fabietto. He is both amused and impressed by his remark. The American is coming closer. Armando and Fabietto flee without dignity. CUT TO: OUTSIDE THE BAR. The American races out, wielding his knife, but he is just in time to see them, already in the distance, racing off on Armando's Yamaha.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VIA MARINA. NIGHT<\/stage_direction>\n    <scene_description>The obese Armando, straddling his motorcycle, cigarette between his lips, does a wheelie all the way down Via Marina. Hanging off the back, on the edge of the seat, clinging to Armando's enormous belly, Fabietto is insane with fear. In a feeble, desperate voice, he manages to say.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>I'm falling off.<\/dialogue>\n    <character>ARMANDO<\/character>\n    <dialogue>Nobody falls when they're with me!<\/dialogue>\n    <scene_description>Fabietto uses all his strength to hold on to Armando's voluminous girth. And, after a long time, he is finally happy.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA LUCIA. TOURIST PORT. NIGHT<\/stage_direction>\n    <scene_description>At the pier, surrounded by identical blue smugglers' motorboats, Armando is seeing to the final preparations before setting out. Fabietto looks worried.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>Where are we going?<\/dialogue>\n    <character>ARMANDO<\/character>\n    <dialogue>Dancing. Twenty minutes and we're already on Capri.<\/dialogue>\n    <scene_description>Fabietto is dubious. Armando stares at him and smiles.<\/scene_description>\n    <character>ARMANDO<\/character>\n    <dialogue>I'm gonna make you have fun!<\/dialogue>\n    <scene_description>He casts off, the motor stutters, and they head out into the night.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE SEA. MOTORBOAT. NIGHT<\/stage_direction>\n    <scene_description>The blue motorboat aims straight for Capri, moving at an insane speed. Armando at the helm and, next to him, Fabietto, all excited. On their faces is that sort of happiness you only live once. In your youth. All of a sudden, in the middle of the gulf, far from Naples and Capri, Armando lowers the throttle and turns off the engine. The boat stops. Silence suddenly. Only the sound of the sea lapping against the boat and the creaking of the wooden deck.<\/scene_description>\n    <character>ARMANDO<\/character>\n    <dialogue>Now I'm gonna show you something real nice.<\/dialogue>\n    <scene_description>Armando takes a big plastic bag out of a storage compartment, opens it. Safety flares. He shoots them off, painting three trails of light across the night sky. Fabietto and Armando, in raptures, watch the spectacle. It doesn't last long though, and they've used up the only three flares. Then Armando takes out a small plastic bag from his pocket, pours some coke on the motor footplate, cuts some lines, takes out a 50,000 lire note, rolls it, snorts, then hands the bill to Fabietto. It's obvious that this is Fabietto's first time. He gathers his courage and snorts a line too. Then they relax on the bottom of the boat, sitting in the silence, in the dark, in the middle of the sea, in the light of the moon.<\/scene_description>\n    <character>ARMANDO<\/character>\n    <dialogue>You know how an offshore hull sounds when it's going at 200 an hour?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>No, how?<\/dialogue>\n    <scene_description>Armando, as if in a trance, makes the sound of the boat hitting the water.<\/scene_description>\n    <character>ARMANDO<\/character>\n    <dialogue>Tuf...tuf...tuf tuf...tuf...<\/dialogue>\n    <scene_description>Fabietto looks at him and laughs. Armando keeps going though, eyes closed.<\/scene_description>\n    <character>ARMANDO<\/character>\n    <dialogue>Tuf...tuf...tuf...<\/dialogue>\n    <scene_description>Fabietto stares at Armando.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>You're nuts!<\/dialogue>\n    <character>ARMANDO (SNICKERS)<\/character>\n    <dialogue>No, I'm not nuts. I'm young. Aren't you?<\/dialogue>\n    <character>FABIETTO (SAD)<\/character>\n    <dialogue>No, no I'm not.<\/dialogue>\n    <scene_description>Armando opens his eyes. He gives Fabietto a serious look, taking in all the pain on his face.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAPRI. PIAZZETTA. NIGHT<\/stage_direction>\n    <scene_description>Everything's closed. Not a soul stirring. The chairs at the bars are all stacked up. Armando and Fabietto are the only people there. They're sprawling in two wicker chairs they've claimed.<\/scene_description>\n    <character>ARMANDO<\/character>\n    <dialogue>We made a mistake! We shouldda gone to Ischia! It's a morgue, Capri. I thought some places would still be open at 4.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Just as well. I don't know how to dance.<\/dialogue>\n    <scene_description>So they sit there like that, disconsolate, tired, in the absolute silence of the heart of the night. Then, in the distance, they hear a clicking sound. Footsteps and high heels. Someone appears in the distance. Fabietto and Armando turn and look. Two people are making their way toward them. From the far end of the piazzetta, as exotic as a Middle Eastern fairy tale, come a dumpy old sheikh, 5 feet tall, accompanied by a female who incarnates all the vulgarity of beauty, or - if you prefer - all the beauty of vulgarity. Slim, sheathed in a sparkling minidress covered in sequins, which seems to be slipping off her. Fabietto, entranced, murmurs.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>Khashoggi!<\/dialogue>\n    <character>ARMANDO<\/character>\n    <dialogue>Who the hell is that?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>The world's richest man. And she is...what's her name?<\/dialogue>\n    <scene_description>Khashoggi and the girl are walking right toward Fabietto and Armando, who don't take their eyes off this odd couple for a second. Armando concentrates solemnly on the girl's ring: a diamond the size of a candied almond. Fabietto, his jaw dropping, moronic, can't take his eyes off the girl. She feels his eyes on her, and when they walk by, she says indignantly, in a thick Venetian accent.<\/scene_description>\n    <character>SHEIKH'S GIRLFRIEND<\/character>\n    <dialogue>What are you looking at?<\/dialogue>\n    <scene_description>Fabietto, humiliated, immediately lowers his gaze. Armando rushes to his friend's defense. He says to her, in even thicker Neapolitan.<\/scene_description>\n    <character>ARMANDO<\/character>\n    <dialogue>Go fuck yourself, you dog!<\/dialogue>\n    <scene_description>She doesn't understand a word. She stares at Armando as if he were speaking a foreign language, but she senses that, whatever it was, it wasn't kind. With the arrogance of the nouveau riche, they ignore Armando and Fabietto and disappear down a side street.<\/scene_description>\n    <character>ARMANDO<\/character>\n    <dialogue>Come on, let's go for a swim.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAPRI. BLUE GROTTO. DAWN<\/stage_direction>\n    <scene_description>It's all for them, the magnificent Blue Grotto at dawn. One of the most beautiful places in the world. Fabietto and Armando swim in the turquoise glow, as calm and clear as an Alpine lake. They are happy.<\/scene_description>\n    <character>ARMANDO<\/character>\n    <dialogue>After a night like this, you know what we've become, Fatso?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>No, what?<\/dialogue>\n    <character>ARMANDO<\/character>\n    <dialogue>Friends.<\/dialogue>\n    <scene_description>Fabietto smiles at him. Armando smiles back, revealing an unimagined goodness.<\/scene_description>\n    <character>ARMANDO<\/character>\n    <dialogue>So we're gonna go do something. I'll introduce you to mamm\u00e0, pap\u00e0 I can't, cause he's in jail, and then you can introduce me to your parents someday.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>We can only do the first part.<\/dialogue>\n    <character>ARMANDO<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Because I'm an orphan.<\/dialogue>\n    <scene_description>It's the first time he says it, and a lump rises in his throat. Armando, beneath his 400 pounds, has the sensitivity to understand. He doesn't say anything, just gives him a serious look. And then, after a while, he says.<\/scene_description>\n    <character>ARMANDO<\/character>\n    <dialogue>Let's head back, I'll let you drive the boat.<\/dialogue>\n    <scene_description>Fabietto, to avoid showing how moved he is, sinks below the surface of the water.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOTORBOAT. EARLY MORNING<\/stage_direction>\n    <scene_description>A spectacular summer morning. The blue motorboat plows through the waves at frightening speed, heading for Naples there in the distance, majestic and slumbering. Fabietto, happy, is steering. Armando stands at his side, the wind ravaging his hair. They cross a motorboat going in the opposite direction. It is coming closer. Armando's jaw drops in surprise. He's all excited, can't take his eyes off it: an Offshore hull, aerodynamic, white with its sponsor painted on the side, speeding like a rocket, piloted by three men with helmets and goggles. They look at each other the way you do at sea: for as long as you can.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE PALLONETTO OF SANTA LUCIA. DAY<\/stage_direction>\n    <scene_description>Fabietto stands in front of a tumbledown building, a bag slung over his shoulder. Armando appears on a narrow little balcony above.<\/scene_description>\n    <character>ARMANDO<\/character>\n    <dialogue>Hey Fatso, come up a minute so I can introduce you to mamm\u00e0.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARMANDO'S HOUSE. DAY<\/stage_direction>\n    <scene_description>Armando, in his mother's bedroom, is packing some clothes in a bag. It's a small house, modest but well-kept. The only other room is the kitchen. Fabietto stands here, facing Armando's mother, who is sitting in an armchair. A TV set in the corner. She's about 50 but looks 10 years older. Cigarette in her mouth. All she does is stare at Fabietto. He's embarrassed, feeling himself scrutinized like this. After a while, Armando's mother says to her son.<\/scene_description>\n    <character>ARMANDO'S MOTHER<\/character>\n    <dialogue>Arm\u00e0, Feola was looking for you, for that thing.<\/dialogue>\n    <character>ARMANDO<\/character>\n    <dialogue>Yeah, I know, I talked to him, we'll do it when I get back. There's still time.<\/dialogue>\n    <character>ARMANDO'S MOTHER (TO FABIETTO)<\/character>\n    <dialogue>Ok, exam's over. You look like a good kid.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Thank you, Signora.<\/dialogue>\n    <character>ARMANDO'S MOTHER<\/character>\n    <dialogue>Where are you going?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Stromboli.<\/dialogue>\n    <character>ARMANDO'S MOTHER<\/character>\n    <dialogue>Where's that?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Sicily. It's an island.<\/dialogue>\n    <scene_description>Fabietto, uncomfortable, glances at Armando, who is finishing packing. His mother continues to stare at Fabietto, then says definitively.<\/scene_description>\n    <character>ARMANDO'S MOTHER<\/character>\n    <dialogue>Armando's a good kid too.<\/dialogue>\n    <scene_description>Fabietto nods.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FERRY FOR STROMBOLI. DAWN<\/stage_direction>\n    <scene_description>The bridge. Armando, in a sleeping bag, sleeps flat on his back, like a beached whale. Fabietto in a sleeping bag next to him. A little ways away, at a coffee table, Marchino, his girlfriend Gigliola, Maurizio, and five other friends, guys and girls, are merrily playing backgammon. Fabietto wakes up, slips out of his sleeping bag, looks around sleepily, and then, there she is, in the distance: Stromboli, unforgettable, backlit by the dawn. Fabietto, excited, goes over to the railing right as the volcano sends up a spectacular spray of lava. Fabietto's jaw drops. He is ecstatic. He turns and can't believe his eyes when a second spectacle materializes right before him: Juliette, the beautiful actress from that theater in Galleria Toledo, stands next to him. Fabietto can't resist. He says.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>Hey, I saw you at the theater, you were terrific, and also really beautif...<\/dialogue>\n    <scene_description>Juliette turns to him, her eyes brimming with tears. She interrupts him and says in her marvelous, theatrical French accent.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>The dawn just kills me. It really kills me. How about you?<\/dialogue>\n    <scene_description>Fabietto, caught off guard, stammers.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>Me...me...let's say it gives me saudade.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>That typical nostalgia South American soccer players feel when they come play in the Italian leagues.<\/dialogue>\n    <character>JULIETTE (DISAPPOINTED)<\/character>\n    <dialogue>Ah, I see.<\/dialogue>\n    <scene_description>She goes back to watching the volcano, ignoring Fabietto. Fabietto, on the other hand, is in a daze. He steals glances at her. From the backgammon board, Gigliola realizes what's going on and gestures to Marchino to look at his brother. They smile mockingly as they eye Fabietto who, awkward and shy, stands there like a dummy, gaping at Juliette. Armando wakes up, rubs his eyes. He notices Fabietto standing next to Juliette. Fabietto makes a heroic effort to win Juliette's attention again.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>Anyway, as I was saying, I've seen you...<\/dialogue>\n    <character>JULIETTE (INTERRUPTS HAUGHTILY)<\/character>\n    <dialogue>Everybody's already seen me.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Let's not exaggerate now. People have other things to do too...<\/dialogue>\n    <character>JULIETTE (ANNOYED, INTERRUPTS)<\/character>\n    <dialogue>Might it be possible to enjoy the dawn in silence?<\/dialogue>\n    <scene_description>Fabietto is dismayed.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <scene_description>She doesn't pay him any further attention.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PATH UP THE VOLCANO. DAY<\/stage_direction>\n    <scene_description>Fabietto and Armando make their way up the volcano under a punishing sun. The path is as steep as a diamond-level ski slope. Armando is done in by the effort and the heat.<\/scene_description>\n    <character>ARMANDO<\/character>\n    <dialogue>Where the fuck are you taking me? Your mother's cunt, Fabi\u00e8.<\/dialogue>\n    <scene_description>Fabietto turns around. Armando is overcome with guilt.<\/scene_description>\n    <character>ARMANDO<\/character>\n    <dialogue>Sorry, I didn't mean to...<\/dialogue>\n    <character>FABIETTO (INTERRUPTS)<\/character>\n    <dialogue>It's okay.<\/dialogue>\n    <scene_description>He laughs.<\/scene_description>\n    <character>ARMANDO<\/character>\n    <dialogue>I'm not gonna make it, Fabi\u00e8. I'm about to burst! I'm heading back down, see you tonight.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Armando turns back. Fabietto continues to climb the volcano.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VOLCANO CRATER. SUNSET<\/stage_direction>\n    <scene_description>Fabietto has reached the top of the volcano, which offers one of the most beautiful lunar views on the entire planet. Fabietto looks around, his eyes glistening. Then he pulls on his headphones, but we don't hear what he's listening to.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FORGIA VECCHIA BEACH. DAY<\/stage_direction>\n    <scene_description>Fabietto and Armando, sitting on the black stones under the noonday sun, stare greedily, surprisedly, at a point further down the beach, more remote, with lots of rocks. They're surprised because Marchino, Gigliola, and their other friends - both sexes - are going naked. Happy and carefree, they swim, dry off, and joke around, indifferent to everything except the happiness of their wonderful bodies and their youth, which looks as if it will never end. Armando gazes at the girls, his eyes filled with desire. But then says defeatedly.<\/scene_description>\n    <character>ARMANDO<\/character>\n    <dialogue>I feel like crying!<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Me too.<\/dialogue>\n    <scene_description>But they don't. They don't laugh, either. They just sit there, ready to gaze at that spectacle of nudity till the end of their days.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STROMBOLI WATERFRONT\/BAR. NIGHT<\/stage_direction>\n    <scene_description>A little, open-air bar along the island's dark waterfront. Fabietto and Armando, sitting with two beers and very few other customers, are half-watching a soccer match on the TV hanging in a corner. Fabietto is bored. He gets up, goes to look at the water in the dark. Down on the beach, all alone, is a girl. She has brought two candles with her and is reading a book. CUT Fabietto hesitates, then decides to join her. It's Juliette. She looks up at him.<\/scene_description>\n    <character>JULIETTE (AMUSED)<\/character>\n    <dialogue>Have you been looking for me, saudade?<\/dialogue>\n    <scene_description>This time Fabietto is prepared.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>I've been looking for you for three days. If I didn't find you, I would have killed myself. You are - to me - what the dawn is to you. You kill me.<\/dialogue>\n    <scene_description>Juliette laughs.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>You practiced that.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>No, I merely sketched it out on the climb up the volcano.<\/dialogue>\n    <scene_description>She's beautiful in her simple summer dress. And she does something that really is going to kill Fabietto. She takes his hand and, as if it were nothing, leads him down to the beach. Armando, still at the bar, turns and sees Fabietto and Juliette step onto the beach. Armando's face is tinged with a strange sadness.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH. NIGHT<\/stage_direction>\n    <scene_description>Fabietto and Juliette walk along the beach.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>What's your name?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Fabietto. But my friend Armando calls me Fatso. Even though he's the fatso.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Shall we go for a swim?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Are you nuts? It drops off really steep after a few meters.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>So? Don't you know how to swim?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Sure, I know how to swim, but in the dark, with fifty meters of water below me, that scares me. And besides, I saw some jellyfish this morning!<\/dialogue>\n    <character>JULIETTE (AMUSED)<\/character>\n    <dialogue>I guess I should let you go again.<\/dialogue>\n    <scene_description>As she says this, she slips off her dress. In just her underpants now, she runs to the water.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>I hate scaredy-cats.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>So do I.<\/dialogue>\n    <scene_description>Fabietto, beside himself with joy, sits on the water's edge and gazes at Juliette as she swims. Fabietto trembles with excitement. After a while, Juliette emerges from the water and goes and curls up next to him, like a little girl. They don't kiss or anything, they just stay like that, sitting close. She notices that he is trembling.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Are you cold?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Yes, because I'm excited.<\/dialogue>\n    <scene_description>She smiles. In a feeble voice, he ventures a question.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>Do you want to go out with me?<\/dialogue>\n    <character>JULIETTE (LAUGHS)<\/character>\n    <dialogue>No one's used that expression with me since I was in junior high.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>I'm an old-fashioned type. And...anyway...you know, by chance...what do you say?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>No, I don't want to go out with you.<\/dialogue>\n    <scene_description>Fabietto is crushed. He lifts his eyes to the sky, at the unbelievable canopy of stars. He recites.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>E quindi uscimmo a riveder le stelle. (And so we emerged to see - once more - the stars. Dante, Inferno)<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Jesus! It's Dante!<\/dialogue>\n    <scene_description>Juliette kisses him suddenly, a kiss of infinite sweetness. Fabietto doesn't know how to kiss, because this is his first time, but he does his best.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUESTHOUSE. NIGHT<\/stage_direction>\n    <scene_description>Fabietto quietly enters their simple twin room at the guesthouse. He turns on the bedside lamp. And notices that Armando's bed is empty. Then he spots a note on the nightstand, written in a shaky, uncertain hand: \"HAVE FUN, FABIETTO. I HAVE TO GET BACK TO NAPLES. STROMBOLI'S NOT THE PLACE FOR ME. IT MAKES ME A LITTLE MELANCHOLY.\" Fabietto is sad again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STROMBOLI PIER. NIGHT<\/stage_direction>\n    <scene_description>The ferry is about to depart. Those who are staying behind dive from the pier, shouting goodbye. Such is the tradition here.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FERRY. NIGHT<\/stage_direction>\n    <scene_description>Armando, his face veiled in sadness, sits at the stern. Smoking and drinking a beer. Behind him, in the distance, the volcano erupts. Everyone lets out an amazed \"oooh\". Everyone except him. He doesn't even look. He turns his back to the island.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FORGIA VECCHIA BEACH. DAY<\/stage_direction>\n    <scene_description>Fabietto and Juliette have joined the nudists on the rocks. Nearby are Marchino, Gigliola, and their friends, happy and full of life.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>What time are you leaving?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Two. I'm taking the hydrofoil. When are you coming back?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>As soon as possible. As soon as I find a space on the ferry. That way we can see each other in Naples.<\/dialogue>\n    <character>JULIETTE (CHANGING THE SUBJECT)<\/character>\n    <dialogue>Armando's your best friend?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Yeah. To tell you the truth, he's also my only friend.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Are you always so honest?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>For now, yes. What about you? Are you honest?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>I hope to be, in the future.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>What are you going to do when you get back to Naples?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>I'll pick up with the theater for a while, but then I'm starring in Capuano's new film.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Fantastic. They say he's really good, Capuano.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Yeah, he's a genius. And you, what do you want to do when you grow up?<\/dialogue>\n    <character>FABIETTO (UNCONVINCED)<\/character>\n    <dialogue>I might go into banking, like my father.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>But it's not what you want to do.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>No. I'd like to be a film director.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>So you have to go to Rome.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>But you're in Naples!<\/dialogue>\n    <scene_description>Juliette doesn't reply. He steals a glance at her. She blushes.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Come on, let's take one last swim.<\/dialogue>\n    <scene_description>They get up and, naked, walk toward the water. Fabietto is embarrassed, but Juliette is easy. They swim out toward the horizon, but then stop. Just in front of them is a platoon of jellyfish, beautiful and menacing. Fabietto, afraid, decides to swim back to shore. Juliette, on the other hand, stares at the jellyfish, then fearlessly dives down ten feet. That's how she avoids them. Carefree, she keeps swimming out to the open sea.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NAPLES. ARMANDO'S HOUSE. DAY<\/stage_direction>\n    <scene_description>A tiny, decrepit bathroom. Armando, cigarette between his lips, sits in the small bathtub -- it's not big enough to do anything but sit. Deep in thought, he stares at the shiny void of mismatched tiles. His mother, also with a cigarette and a resigned air, perches on the edge of the tub. She washes her son's back with a soapy sponge. She's done now.<\/scene_description>\n    <character>ARMANDO'S MOTHER<\/character>\n    <dialogue>Rinse off, Arm\u00e0. Feola's waiting for you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>77A. EXT. STROMBOLI. WATERFRONT. SUNSET<\/stage_direction>\n    <scene_description>Fabietto, dressed now, with his bag over his shoulder. Marchino, dripping wet, barefoot, in nothing but a bathing suit. They walk side by side, the setting sun hanging on Strombolicchio behind them. Every now and then a three- wheeler Ape zips by, loaded with luggage.<\/scene_description>\n    <character>MARCHINO<\/character>\n    <dialogue>Why don't you stay another week? It's only August 9th.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>No, I was lucky to find a space on the ferry. And besides, I'm going to be with Juliette.<\/dialogue>\n    <scene_description>He says happily. Marchino is less certain.<\/scene_description>\n    <character>MARCHINO<\/character>\n    <dialogue>Be careful?<\/dialogue>\n    <scene_description>Fabietto turns, a worried look on his face. He stops.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>Of what?<\/dialogue>\n    <character>MARCHINO<\/character>\n    <dialogue>Of everything.<\/dialogue>\n    <scene_description>They exchange a serious, solemn look. Fabietto has something he wants to say.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>March\u00ec, listen to me. Mamma and pap\u00e0 aren't here anymore. And we aren't rich. We have to think about what we want to do when we grow up.<\/dialogue>\n    <scene_description>Marchino is ready with his answer, sincere and resolute.<\/scene_description>\n    <character>MARCHINO<\/character>\n    <dialogue>No, Fabi\u00e8. I don't want to think about that. It's the summer. It's August 9th. I want to think about Gigliola, about getting high, about my friends, pizza, laughter, and sunsets like this one. I want to think about happiness, Fabi\u00e8. Don't you?<\/dialogue>\n    <scene_description>Fabietto doesn't reply. Marchino insists.<\/scene_description>\n    <character>MARCHINO<\/character>\n    <dialogue>Don't you?<\/dialogue>\n    <scene_description>Fabietto is touched.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>Honestly, after what happened to mamma and pap\u00e0, I don't know if I can be happy.<\/dialogue>\n    <scene_description>They look at each other, these two brothers. They are both moved. Marchino instinctively hugs his brother and gives him a big kiss on the forehead. When he pulls away, he says, his eyes sparkling with joy.<\/scene_description>\n    <character>MARCHINO<\/character>\n    <dialogue>Have a good trip, Fabi\u00e8.<\/dialogue>\n    <scene_description>And before Fabietto can even respond, Marchino runs off. He jogs along the beach and dives into the sea, framed by the setting sun. Happy. Fabietto, sad, follows him with his eyes. Then he turns and heads toward the ferry, along with other passengers leaving the island.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NAPLES. MERGELLINA. CAR. NIGHT<\/stage_direction>\n    <scene_description>Armando climbs in a Golf parked in the piazza. Next to him is a 60-year-old, bald and anonymous looking.<\/scene_description>\n    <character>ARMANDO<\/character>\n    <dialogue>Hey, Feola.<\/dialogue>\n    <scene_description>Feola shows him a packet wrapped in scotch tape in a bag. He hands it to Armando.<\/scene_description>\n    <character>FEOLA<\/character>\n    <dialogue>So Arm\u00e0, it's real simple. You board the sailboat, hand Chihuahua the goods, and he hands you the money. You count to make sure it's all there, and you leave.<\/dialogue>\n    <character>ARMANDO<\/character>\n    <dialogue>And if it's not?<\/dialogue>\n    <character>FEOLA<\/character>\n    <dialogue>That's not a realistic hypothesis.<\/dialogue>\n    <scene_description>Now Feola hands him a gun. Armando is afraid. He stares at Feola, who grins.<\/scene_description>\n    <character>FEOLA<\/character>\n    <dialogue>You don't have to use it. It's just to let 'm see that we're not assholes!<\/dialogue>\n    <character>ARMANDO<\/character>\n    <dialogue>I don't want to do this, Feola.<\/dialogue>\n    <scene_description>Feola doesn't lose his cool. He says.<\/scene_description>\n    <character>FEOLA<\/character>\n    <dialogue>I talked with those guys with the Offshore motorboats. They want to see you, next week, in Rapallo. They're willing to give you a try.<\/dialogue>\n    <scene_description>Armando gives him a serious look. Feola returns it, then snorts some coke. He offers a line and a rolled up bill to Armando, who reflects for a second, then snorts it. He makes up his mind, Armando does. He tucks the gun in his belt, takes the bag, and gets out of the Golf. He heads for the waterfront.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. PIER. SAILBOAT. NIGHT<\/stage_direction>\n    <scene_description>Armando boards a 26-foot sailboat. He looks around. All is quiet. He goes down into the cabin. A 70-year-old with dyed hair and a chihuahua in his arms is waiting for him.<\/scene_description>\n    <character>ARMANDO<\/character>\n    <dialogue>Are you Chihuahua?<\/dialogue>\n    <character>CHIHUAHUA<\/character>\n    <dialogue>You must be Armando.<\/dialogue>\n    <scene_description>Armando opens the bag and puts the packet wrapped in cellophane on the table. Chihuahua takes out a scale, weighs the packet. Then he hands Armando a briefcase with the money. Armando starts to count when Chihuahua says drying.<\/scene_description>\n    <character>CHIHUAHUA<\/character>\n    <dialogue>Problem.<\/dialogue>\n    <scene_description>Armando turns. Behind him, inside and outside the cabin, are about twenty police officers. Chihuahua is one of them. In fact, he's the one handcuffing him. Summer's over. FADE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CINEMA. EVENING<\/stage_direction>\n    <scene_description>Projected on the screen is an absolute, magnificent image: a man hangs upside down, thirty feet from the ground, a rope around his feet. He sways in the deserted Galleria Umberto I, in a nightmarish silence and a blinding light. Fabietto, along with a few other spectators, is watching in amazement Capuano's film. It's the scene he saw being shot.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PALLONETTO. ARMANDO'S HOUSE. DAY<\/stage_direction>\n    <scene_description>Fabietto stands under Armando's balcony. He shouts up to him.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>Armando. Armando.<\/dialogue>\n    <scene_description>Armando's mother leans out. She doesn't say a word. They just look at each other. Her eyes glisten. Fabietto frowns, he realizes that something has happened.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FABIETTO'S HOME. NIGHT<\/stage_direction>\n    <scene_description>Fabietto is home alone. Devoured by sadness. He calls Juliette, but one of those odious answering machines picks up. So he turns on the TV and flops on the couch. He uses the broom stick to change the channel. Incessant pounding from above. The Baroness wants to see him. Fabietto puts on his headphones to block out the baroness's banging. We don't hear what he's listening to, though.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON. VISITING ROOM. DAY<\/stage_direction>\n    <scene_description>Armando and Fabietto sit facing each other amid the hellish chaos of the prison visiting room, where fifty other people are doing the same thing: talking. Armando is wasting away. Oh, he's still fat, for heaven's sake, but he's really been put to the test. The two friends look at each other, not knowing what to say at first. It's Armando who finally breaks the ice.<\/scene_description>\n    <character>ARMANDO<\/character>\n    <dialogue>She's pretty, your girlfriend. What's her name?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Juliette. But she's not my girlfriend.<\/dialogue>\n    <scene_description>Fabietto is sad. Armando scrutinizes him.<\/scene_description>\n    <character>ARMANDO<\/character>\n    <dialogue>Once summer's over, they don't give a shit about you.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>I've been calling her for three weeks, but she never answers.<\/dialogue>\n    <character>ARMANDO<\/character>\n    <dialogue>Women are like that. They make us want them.<\/dialogue>\n    <scene_description>Fabietto can't help but laugh.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>What do you know about that?<\/dialogue>\n    <scene_description>Armando turns gloomy.<\/scene_description>\n    <character>ARMANDO<\/character>\n    <dialogue>You're right. What do I know?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>How are you doing here?<\/dialogue>\n    <character>ARMANDO<\/character>\n    <dialogue>I can't complain. I even get to see my father in our hour outside. Luckily, I had a few days of vacation with you before I ended up in here.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>How many years did they give you?<\/dialogue>\n    <character>ARMANDO<\/character>\n    <dialogue>I'm still awaiting trial. Maybe fifteen, maybe ten. But let's not talk about sad stuff.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>We can't talk about anything, then.<\/dialogue>\n    <character>ARMANDO<\/character>\n    <dialogue>What? Are you mad?<\/dialogue>\n    <scene_description>Fabietto shrugs.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>The incredible thing is, you're the one in jail, but I'm the unhappy one.<\/dialogue>\n    <character>ARMANDO<\/character>\n    <dialogue>You're not unhappy. You're mad. Orphans are always mad.<\/dialogue>\n    <scene_description>Fabietto looks up suddenly, eyeing Armando.<\/scene_description>\n    <character>ARMANDO<\/character>\n    <dialogue>Sure, okay, I know, I have my mamma and pap\u00e0, but let me tell you, I'm an orphan too, in one way or another! Anyway, you're alone, Fabi\u00e8. That's your problem.<\/dialogue>\n    <scene_description>Fabietto nods, fighting back tears.<\/scene_description>\n    <character>ARMANDO<\/character>\n    <dialogue>But you're free. Free! Don't you ever forget it.<\/dialogue>\n    <scene_description>Fabietto nods.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>What can I do for you?<\/dialogue>\n    <character>ARMANDO<\/character>\n    <dialogue>Go see mamm\u00e0 every now and then. She took a liking to you. And if you can, come see me again, too.<\/dialogue>\n    <scene_description>Fabietto nods. He gets up, makes to go. Armando has something else to say, though, which he does with a tenderness we haven't seen before.<\/scene_description>\n    <character>ARMANDO<\/character>\n    <dialogue>Anyway, I know you won't do either one, but I love you just the same.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GALLERIA TOLEDO. NIGHT<\/stage_direction>\n    <scene_description>Juliette is on stage. She's delivering one of those monologues that actors are always over the moon for. She despairs, she spits, she plays the crazy, the epileptic, she throws herself on the floor, she soils herself, rails, screams, cries. The hall is packed, everyone hanging on her every word. Fabietto is there, one of the devoted spectators. Juliette's been going on for a good while with this virtuoso performance when a voice cries out from the audience.<\/scene_description>\n    <character>VOICE IN THE AUDIENCE<\/character>\n    <dialogue>Juliette, cut!<\/dialogue>\n    <scene_description>The audience is amazed. Juliette stops. Then shouts furiously.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Who said that?<\/dialogue>\n    <character>VOICE IN THE AUDIENCE<\/character>\n    <dialogue>Me. Capuano.<\/dialogue>\n    <scene_description>Antonio Capuano gets to his feet. He's 55, a lean, nervous physique, a tight-fitting T-shirt and jeans, glasses with thick lenses, curly grey hair. Capuano has no mercy, like all those who love the truth.<\/scene_description>\n    <character>CAPUANO<\/character>\n    <dialogue>Cut, Juliette, cut. You've entered onto the ornamental now, it's all tinsel, zero nuance. You've become self-referential, you're fraying at the seams. All in all, Juliette, you've busted my balls!<\/dialogue>\n    <scene_description>The audience is stunned. Speechless. As is Juliette, who runs behind the curtains, devastated. Capuano applauds theatrically. And shouts.<\/scene_description>\n    <character>CAPUANO<\/character>\n    <dialogue>Brava! You've buggered off! Now's when you deserve a round of applause. It's what everyone here wanted, but they didn't have the courage!<\/dialogue>\n    <scene_description>Fabietto is appalled. Capuano ups and leaves. So Fabietto dashes behind the curtains to go console Juliette, but he gets there too late. The aged theater director is already there, embracing and consoling Juliette, which all leads to a kiss. Fabietto, pierced to the heart, watches for a second. Then he runs off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS. NIGHT<\/stage_direction>\n    <scene_description>Fabietto, in tears, runs down the street. Without realizing it, he has caught up with Capuano who, a sweater draped over his shoulders, is walking quickly down Via Roma. Fabietto, excited, falls in with him.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>Capuano, Capuano, I'm Fabietto Schisa.<\/dialogue>\n    <character>CAPUANO<\/character>\n    <dialogue>What the fuck do I care who you are!<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>I'm a big fan of yours.<\/dialogue>\n    <character>CAPUANO<\/character>\n    <dialogue>I got admirers coming out my ass! I like conflict, kid. Understand? If there's no conflict, there's no progress. If there's no conflict, it's all just sex. And sex isn't good for anything.<\/dialogue>\n    <scene_description>Capuano's walking so fast that Fabietto has to run to keep up with him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VIA POSILLIPO. NIGHT<\/stage_direction>\n    <scene_description>They're practically crossing the whole city on foot. Capuano doesn't even break a sweat. Fabietto is exhausted, but he doesn't give up. He keeps up, staring right at him.<\/scene_description>\n    <character>CAPUANO<\/character>\n    <dialogue>You still here? What are you looking at?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Nothing. Looking is the only thing I know how to do.<\/dialogue>\n    <character>CAPUANO<\/character>\n    <dialogue>What do you want from me?<\/dialogue>\n    <character>FABIETTO (LIKE ONE POSSESSED)<\/character>\n    <dialogue>What do I want? Everything. Everything. That thing you said in the theater...it really shook me. I didn't think one could do that, get up at the theater and start protesting.<\/dialogue>\n    <character>CAPUANO<\/character>\n    <dialogue>One doesn't do it, in fact. But I do. I do whatever the fuck I want. I am free. Are you free?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>I'd rather answer that some other time.<\/dialogue>\n    <scene_description>That makes Capuano smile. Fabietto grows more confident and speaks honestly, openly, all in one breath, an outpouring that's been ready to burst for a long time.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>Life, now that my family has disintegrated, the way it is now, I don't like it anymore. Capuano, I don't like it anymore! I want another life, an imaginary life, like the one I had before. Reality, I don't like it anymore. That's why I want to do cinema, even if I've only seen three films, four max.<\/dialogue>\n    <scene_description>Capuano laughs mockingly. They turn and head toward Marechiaro.<\/scene_description>\n    <character>CAPUANO<\/character>\n    <dialogue>Cinema! Cinema! Everybody wants to do fucking cinema. But you need balls to do cinema, kid. You got balls?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>I strongly doubt it.<\/dialogue>\n    <character>CAPUANO<\/character>\n    <dialogue>Well, if you don't got balls, you need a lot of pain. You got any pain, kid?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>Pain, yeah, I just told you my pain. On that front, I'm doing just fine.<\/dialogue>\n    <character>CAPUANO<\/character>\n    <dialogue>What did you tell me? Your pain? No, that's not pain. That's hope! But hope only makes for comforting films. Hope is a trap.<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>They left me all alone, Capuano. That's real pain.<\/dialogue>\n    <character>CAPUANO<\/character>\n    <dialogue>It's not enough, Schisa. Everybody's been left all alone! So you're alone? Well, bust my ass! You're hardly unique. Listen to me, kid: forget about your pain and think about having fun. Then you'll have done cinema.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>86A. EXT. MARECHIARO. BEACH. DAWN<\/stage_direction>\n    <scene_description>They've arrived at Marechiaro beach. It's cold, but Capuano, as if he does this all the time, strips down to his underwear and wades into the water.<\/scene_description>\n    <character>CAPUANO<\/character>\n    <dialogue>You have to have something to say. You got anything to say, Schisa? Because fantasy, creativity, they're nothing but false myths. They're not fucking good for anything!<\/dialogue>\n    <scene_description>Fabietto, standing on the beach, stammers.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>I don't know if I have anything to say. How am I supposed to know?<\/dialogue>\n    <character>CAPUANO<\/character>\n    <dialogue>Uff! How the fuck do I know! Me, I've got four things to say. Only four. You?<\/dialogue>\n    <character>FABIETTO<\/character>\n    <dialogue>I don't know, I thought I'd go to Rome, do some cinema, that way I'd figure out if I'm cut out for it.<\/dialogue>\n    <character>CAPUANO<\/character>\n    <dialogue>Rome? The great escape? A fucking stopgap! In the end you always come back to yourself, Schisa.<\/dialogue>\n    <character>CAPUANO<\/character>\n    <dialogue>You come back here. Back to your failure. Because everything's a failure. It's all shit! Understand? No one escapes his failure. And no one ever really escapes this city.<\/dialogue>\n    <scene_description>Capuano dives in, takes a couple of strokes. He surfaces again and says.<\/scene_description>\n    <character>CAPUANO<\/character>\n    <dialogue>Rome? Jesus! What the fuck are you going to do in Rome? Only assholes go to Rome, have you seen how many things there are to tell in this city?<\/dialogue>\n    <scene_description>He gestures broadly, inviting Fabietto to look around. Fabietto follows Capuano's sweeping gesture. Now, standing here, he embraces the entire city with his eyes. Dawn is breaking. In this moment, Naples is the most beautiful city in the world. Capuano, standing waist-deep in the water, looks at him and shouts.<\/scene_description>\n    <character>CAPUANO<\/character>\n    <dialogue>Is it really possible that this city doesn't offer you anything to say?<\/dialogue>\n    <scene_description>Fabietto is more excited than he has ever been. They look at each other. Capuano's provoking him. One of his specialties.<\/scene_description>\n    <character>CAPUANO<\/character>\n    <dialogue>In short, Schisa, you got anything to say? Or are you just a shit like everyone else?<\/dialogue>\n    <scene_description>Fabietto crushes his emotion, buries his tongue in the hollow of his cheek. Capuano doesn't give up. He keeps shouting.<\/scene_description>\n    <character>CAPUANO<\/character>\n    <dialogue>You got something to recount, or not?<\/dialogue>\n    <scene_description>Emotion burns on Fabietto's face. He bursts out.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>Yes! Yes, I do have something to recount.<\/dialogue>\n    <character>CAPUANO (SMILES PROVOCATIVELY)<\/character>\n    <dialogue>Ah! Finally! Well tell me, then!<\/dialogue>\n    <scene_description>Fabietto, his eyes glistening, bursts out again, shouting at the top of his lungs.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>When they died, they didn't let me see them.<\/dialogue>\n    <scene_description>Fabietto pants with emotion. His eyes glisten. Capuano grows serious now. He stares at Fabietto from the water. And reflects. Then he shouts, his voice piercing the stillness of the dawn.<\/scene_description>\n    <character>CAPUANO<\/character>\n    <dialogue>Don't come apart, Fabio.<\/dialogue>\n    <scene_description>Fabietto starts. He is moved. He takes a step back, as if to take his leave - he's afraid. Capuano shouts to him again.<\/scene_description>\n    <character>CAPUANO<\/character>\n    <dialogue>Don't come apart, Fabio.<\/dialogue>\n    <scene_description>Fabietto is deeply moved.<\/scene_description>\n    <character>FABIETTO<\/character>\n    <dialogue>Everybody calls me Fabietto.<\/dialogue>\n    <character>CAPUANO<\/character>\n    <dialogue>Well now it's time they called you Fabio. Don't come apart, Fabio.<\/dialogue>\n    <scene_description>Fabietto backs away, his eyes still fixed on Capuano, who keeps shouting, as if giving an order.<\/scene_description>\n    <character>CAPUANO<\/character>\n    <dialogue>Don't come apart!<\/dialogue>\n    <scene_description>Fabietto keeps backing away, overcome with emotion. Capuano yells to him like one possessed.<\/scene_description>\n    <character>CAPUANO<\/character>\n    <dialogue>Don't come apart, Schisa. Don't ever come apart!<\/dialogue>\n    <scene_description>Capuano, far away now, shouts one final thing.<\/scene_description>\n    <character>CAPUANO<\/character>\n    <dialogue>Listen to me, don't go to Rome. Come see me. I'm always here. We'll make cinema together, kid.<\/dialogue>\n    <scene_description>And with that, Capuano dives and starts swimming freestyle. When he stops and turns to see if Fabietto is still there, he notes regretfully that the kid is gone. Capuano says to himself.<\/scene_description>\n    <character>CAPUANO<\/character>\n    <dialogue>Go fuck yourself, Fabietto Schisa. You didn't understand a fucking thing!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FABIETTO'S HOME. EARLY MORNING<\/stage_direction>\n    <scene_description>Fabietto goes to enter the bathroom, but the door is closed, as usual. His sister's in there. He heads for his parents' room. That door is closed too. Moans of pleasure coming from inside. Marchino and Gigliola are in there. So Fabietto goes back to his room. He sees the unmade beds, his and his brother's, the photos of Maradona hanging on the walls, a broken clothespin jammed in the shutter pull, to keep it from dropping. Fabietto goes to the dining room. The TV is on: footage of all the Neapolitans who have spilled out into the streets to celebrate Napoli winning its first championship. Fabietto listens, devoid of emotion. He switches off the TV. He takes in the dining room and the kitchen with his eyes, one final embrace. He catches sight of the \"Once Upon a Time in America\" video, forgotten and covered in dust. No one ever saw it, that film. Now he thinks he can hear Baroness Focale banging with her broom. Fabietto smiles. Then Fabietto, determined to escape his ghosts, grabs his bag and rushes out of the house for good.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VIA SAN DOMENICO PARK. DAY<\/stage_direction>\n    <scene_description>In the silence, he makes his way out of the neighborhood. He spots Mariettiello next to his Fiat 127, which he is polishing carefully while smoking in that voluptuous way of his. Their eyes meet. Fabietto stops. Neither one says a word. Mariettiello gives him a melancholy look. Which Fabietto returns. Then he slips away like a thief. He doesn't have the courage to say goodbye. Mariettiello allows himself a voluptuous puff on his cigarette, with all the class of an English nobleman. A melancholy Baroness Focale watches through the window as Fabietto departs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>88A. EXT.\/INT. PSYCHIATRIC HOSPITAL. ROOM \/ COURTYARD. DAY<\/stage_direction>\n    <scene_description>Patrizia, with her ruined, absent face, sits near the window with bars on it. The TV is on, the same crass celebrations for Napoli's victory. She's not even watching. She's gazing out the window, down into the courtyard. Fabietto appears in the courtyard, his bag over his shoulder. They look at each other. Fabietto smiles at her. She smiles too, a faint hint of a smile. They hold each other's gaze for a while, then Patrizia beckons to him. Fabietto goes and stands under her window. She grabs the remote control and switches off the TV. She stares at the buttons on the remote. Turns it over. Stares at the back of it. Fabietto, standing down in the courtyard, watches her. Patrizia hurls something out the window. It lands on the ground. Fabietto picks it up: the battery from the remote. He smiles, then looks up at the window again. But Patrizia is no longer there.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HISTORIC BUILDING. DAY<\/stage_direction>\n    <scene_description>Fabietto lurks behind a car with his bag. He stares at the front door of this handsome bourgeois apartment building. The sound of car horns and shouting. Motor scooters zipping past, waving Napoli banners. Happiness reigns for everyone but Fabietto. The door opens and a beautiful woman, about 45 years old, emerges with her 10-year-old son, who is carrying a Napoli banner. Fabietto follows them with his eyes. Merry and carefree, they make their way down the street, joining other fans. Fabietto, impassive, watches them until they turn a corner and disappear from sight. Then Fabietto does something he has never done before. He puts a cigarette in his mouth and lights it. Awkwardly feigning the nonchalance of adults. Now - not before - now he's big. Fabietto has grown up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FABIETTO'S HOME. DAY<\/stage_direction>\n    <scene_description>The bathroom door suddenly swings open. Fabietto's sister Daniela comes out for the first time. 30 years old, blonde. She looks at the camera, her eyes brimming with tears. Perhaps she realizes that Fabietto is gone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. TRAIN. DAY<\/stage_direction>\n    <scene_description>Fabietto sits in a train compartment, near the window. The train slowly comes to a halt in the middle of nowhere, in the countryside between Naples and Rome. The train conductor appears in the hallway and announces.<\/scene_description>\n    <character>TRAIN CONDUCTOR<\/character>\n    <dialogue>We've had a breakdown. We'll arrive in Rome an hour behind schedule.<\/dialogue>\n    <scene_description>Fabietto doesn't bat an eye. An air of sadness about him. Then he hears a whistle, as if someone is calling him from outside. It's the same whistle his parents used to use to convey their love. Fabietto turns and looks out the window: there, in the middle of the countryside, standing still and staring at Fabietto as he whistles, is the Little Monk. His pointed hood hides his face. Fabietto looks at him and smiles. The train slowly starts to pull away. The Little Monk removes his hood, revealing his face. He looks like a young Maradona. He waves at Fabietto with his tiny hand. Fabietto smiles back at him. Then he looks straight ahead and puts on his headphones. Only now, for the first time, do we hear what he is listening to on his Walkman. A song called \"Bullet proof,\" by This Is The kit. BLACK. Closing credits.<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In the 1980s, young Fabietto lives at home in Naples with his father Saverio Schisa and mother Maria Schisa. He doesn\u2019t have many friends or a lover, and wants to study philosophy in college. For the time being, he mainly spends time listening to music and watching Diego Maradona play for his home team, Napoli. His brother Marchino takes him to acting auditions and sympathizes with his affection for their emotionally troubled aunt Patrizia. Fabietto\u2019s parents are building a new home in Roccaraso. They visit the home without Fabietto who decides to stay at home. His parents die of carbon monoxide from the fireplace in the new home. Due to this, Fabietto comes of age in a cruel and brutal manner."}
{"movie_name":"Set It Up_2018","imdb_id":"tt5304992","script":"<script>\n  <scene>\n    <character>SET IT UP<\/character>\n    <dialogue>by<\/dialogue>\n    <scene_description>Katie Silberman Treehouse Pictures 10.6.15 OVER BLACK:<\/scene_description>\n    <character>MAN (O.S.)<\/character>\n    <dialogue>Bobby!<\/dialogue>\n    <character>WOMAN (O.S.)<\/character>\n    <dialogue>Rachel!<\/dialogue>\n    <character>OLDER MAN (O.S.)<\/character>\n    <dialogue>Jonathan!<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Elizabeth!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE - DAY<\/stage_direction>\n    <scene_description>A NERVOUS ASSISTANT sits at her cubicle, eyes darting around like she's waiting for something terrible to-- WHAT'S-YOUR-FACE!<\/scene_description>\n    <character>NERVOUS ASSISTANT<\/character>\n    <dialogue>Coming!!<\/dialogue>\n    <scene_description>She jumps up, knocking over her chair as she hurries into her boss's office. MUSIC STARTS as we CUT TO....<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DIFFERENT OFFICE - DAY<\/stage_direction>\n    <scene_description>An ASSISTANT getting angry ON THE PHONE--<\/scene_description>\n    <character>ASSISTANT ON THE PHONE<\/character>\n    <dialogue>Well guess what, Janet, I've got a masters in sociology and nothing else to do today, so put me on hold for as long as you want 'cause I'm not hanging up until his seat's bumped to first class.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFE - DAY<\/stage_direction>\n    <scene_description>A FRANTIC ASSISTANT looks through a lunch pick-up.<\/scene_description>\n    <character>FRANTIC ASSISTANT<\/character>\n    <dialogue>No, I said no onions. I said onions were fatal. As in if there are onions, I will be killed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VARIOUS - DAY<\/stage_direction>\n    <scene_description>--ASSISTANT #1 walks out of a DRY CLEANERS with 40 pounds of clothes, balancing a phone to his ear:<\/scene_description>\n    <character>ASSISTANT #1<\/character>\n    <dialogue>I'll be right there.<\/dialogue>\n    <scene_description>--ASSISTANT #2 answers the phone at dinner:<\/scene_description>\n    <character>ASSISTANT #2<\/character>\n    <dialogue>I'll be right there.<\/dialogue>\n    <scene_description>--ASSISTANT #3 answers the phone in bed, mid-sex:<\/scene_description>\n    <character>ASSISTANT #3<\/character>\n    <dialogue>I'll be right there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>An ASSISTANT walks her boss's PSYCHOTIC DOG. It BARKS and lunges toward a POLICEMAN as she struggles to hold on-- The Policeman gets out pepper spray but the dog stops short of him and takes a huge horse-sized poop at his feet.<\/scene_description>\n    <character>DOG WALKING ASSISTANT<\/character>\n    <parenthetical>(sheepish)<\/parenthetical>\n    <dialogue>Do you by chance have a bag?<\/dialogue>\n    <scene_description>The Policeman just gives her a look. QUICK CUT TO.... The Dog Walking Assistant picks up the poop with something white. WIDER REVEALS it's her shirt. She stands in the middle of the street in her bra.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DIFFERENT OFFICE - DAY<\/stage_direction>\n    <scene_description>The Assistant on the phone is still on hold as everybody else leaves for lunch. He tries to roll his chair to the next desk over to grab a bag of chips, but it's too far.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. VARIOUS - DAY<\/stage_direction>\n    <scene_description>--On the STREET, ASSISTANT #4 pleads with a METER MAID:<\/scene_description>\n    <character>ASSISTANT #4<\/character>\n    <dialogue>Please, she was only gone for a few minutes, is there any way--<\/dialogue>\n    <scene_description>--In a COURTROOM, ASSISTANT #5 pleads with a judge:<\/scene_description>\n    <character>ASSISTANT #5<\/character>\n    <dialogue>He's not gonna be able to serve, so let's make some sort of deal. What if I serve on three juries....<\/dialogue>\n    <scene_description>--In an OFFICE, ASSISTANT #6 on the phone:<\/scene_description>\n    <character>ASSISTANT #6<\/character>\n    <dialogue>He wanted me to let you know he's breaking up with you and needs you out of the apartment by 6 tonight.<\/dialogue>\n    <scene_description>THREE QUICK CUTS of cups hitting desks: --A CUP OF COFFEE --A CUP OF ALCOHOL --A SPECIMEN CUP OF URINE A grossed-out ASSISTANT puts the specimen cup in a brown paper bag. His BOSS walks by--<\/scene_description>\n    <character>URINE BOSS<\/character>\n    <dialogue>It better still be warm when it gets there.<\/dialogue>\n    <character>ASSISTANT #7<\/character>\n    <dialogue>No problem!<\/dialogue>\n    <scene_description>He runs down the hall with it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DIFFERENT OFFICE - NIGHT<\/stage_direction>\n    <scene_description>The Assistant on Hold groans, head on his hands, as everyone else packs up to go. He sits up and accidentally hits a button -- then hears a dial tone.<\/scene_description>\n    <character>ASSISTANT ON THE PHONE<\/character>\n    <dialogue>No. Hello? HELLO?! NO!!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VARIOUS - NIGHT<\/stage_direction>\n    <scene_description>QUICK CUTS of all the Assistants we've seen before finally going home: slamming laptops closed, grabbing bags, escaping so quickly their chairs are still spinning.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUILDING - NIGHT<\/stage_direction>\n    <scene_description>A LAST ASSISTANT bursts out of the building. She beams up at the sky, finally free, as we pan UP AND AWAY.... But then we STOP ABRUPTLY -- at one lonely office with its light still on, where HARPER HALL (27, bright, always too eager) has her face pressed up against the glass, a low-paid, under-appreciated prisoner of war.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \"THE RUNDOWN\" OFFICES - NIGHT<\/stage_direction>\n    <scene_description>At the window, Harper watches the Last Assistant leave. Her hair is unbrushed, she looks like she got dressed in the dark, everything about her is frazzled.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Be free, turtle dove. Save yourself...<\/dialogue>\n    <scene_description>She heads back through a sea of empty cubicles, passing the only other person still here, her boss, KIRSTEN (39, vain, intense), typing furiously in her office. Harper gets to her desk and falls into her chair and opens her laptop to a GUY'S DATING PROFILE. She checks the time, curses, and keeps one eye on Kirsten as she calls her date--<\/scene_description>\n    <character>HARPER (ON PHONE)<\/character>\n    <dialogue>Heeey, it's Harper again!<\/dialogue>\n    <parenthetical>(listening, then)<\/parenthetical>\n    <dialogue>Nope, not there yet. I'm so sorry but I'm still at work. I know I've already done this twice and we've never actually met so you may want to continue to never meet, but I think I'll be free around 2 or 3am.<\/dialogue>\n    <parenthetical>(trying to be flirty)<\/parenthetical>\n    <dialogue>Can you think of something we could do that would be worth waiting for?<\/dialogue>\n    <parenthetical>(listens, then, horrified)<\/parenthetical>\n    <dialogue>Are you kidding me? Absolutely not. Not a chance. That comes after love, and marriage, and like, a Valium. Are people really doing that on first dates? Is that a thing? Hello?<\/dialogue>\n    <scene_description>He's hung up. She hangs up, sighs, and deletes his profile. She quits Safari, revealing a HALF-WRITTEN ARTICLE open on her computer, cursor blinking. She reads it to herself--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>\"Some call it a field, some call it a pitch, but to soccer phenom Sophie Seymour, it's a spa, a church, a librar\"--oh my GOD.<\/dialogue>\n    <scene_description>She groans and deletes the entire thing, just as Kirsten leans out of her office.<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>Are you trying to starve me? My bones are eating themselves just to stay alive. Order me that thing I like from that place with that gay waiter. The closeted one.<\/dialogue>\n    <character>HARPER<\/character>\n    <parenthetical>(super upbeat)<\/parenthetical>\n    <dialogue>Sure! So we are doing second dinner?<\/dialogue>\n    <scene_description>Kirsten tosses her a FITBIT--<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>And make sure this is at 10,000 steps before Chad gets here tomorrow because I don't want him to think I haven't been working out between sessions.<\/dialogue>\n    <character>HARPER<\/character>\n    <parenthetical>(super duper upbeat)<\/parenthetical>\n    <dialogue>Great!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \"THE RUNDOWN\" OFFICES - NIGHT<\/stage_direction>\n    <scene_description>Harper wears Kirsten's Fitbit as she runs laps around the office and orders dinner.<\/scene_description>\n    <character>HARPER (ON PHONE)<\/character>\n    <dialogue>So the truffle mac and cheese, a kale salad, and a turkey burger. Perfect. 45 minutes?<\/dialogue>\n    <parenthetical>(kill me)<\/parenthetical>\n    <dialogue>Yep! I'll be here.<\/dialogue>\n    <scene_description>She hangs up and keeps running as we CUT TO....<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY CLUB - NIGHT<\/stage_direction>\n    <scene_description>A stone-faced DOORMAN guards the entrance to the CITY CLUB, a fancy building oozing money and exclusivity. CHARLIE (26, sweet but trying too hard) paces on the sidewalk outside. A BALD MAN exits the building, typing on his Blackberry, and when Charlie sees him, he lights up. Charlie watches him walk away, then turns back to the Doorman, star-struck.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>That was David Walsh! Of Walsh Associates! He was on Shark Tank!<\/dialogue>\n    <scene_description>Charlie shakes his head, amazed, as he dials someone on his cell phone and absentmindedly sits on the front steps--<\/scene_description>\n    <character>CITY CLUB DOORMAN<\/character>\n    <dialogue>Steps are for members only.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Totally. Sorry. I'm just waiting for my boss.<\/dialogue>\n    <scene_description>The Doorman doesn't care.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAR - NIGHT \\[INTERCUT\\]<\/stage_direction>\n    <scene_description>An insanely hot girl, SUZE, answers her phone in this boisterous bar, shouting over the MUSIC-- HELLO?!<\/scene_description>\n    <character>CHARLIE (ON PHONE)<\/character>\n    <dialogue>Hey baby. I'm still here, Rick hasn't left yet, so I'm just gonna have to meet you at your place later.<\/dialogue>\n    <character>SUZE (ON PHONE)<\/character>\n    <parenthetical>(frowny face)<\/parenthetical>\n    <dialogue>Baby....<\/dialogue>\n    <character>CHARLIE (ON PHONE)<\/character>\n    <dialogue>What are you wearing? Will you send me a photo?<\/dialogue>\n    <parenthetical>(she MUMBLES something)<\/parenthetical>\n    <dialogue>What?!<\/dialogue>\n    <character>SUZE (ON PHONE)<\/character>\n    <dialogue>Nothing, some guy's getting me a drink!<\/dialogue>\n    <character>CHARLIE (ON PHONE)<\/character>\n    <dialogue>No! That's-- I get you drinks. Let me buy you a drink! Give the bartender my credit card number, okay? Ready? 4407--<\/dialogue>\n    <scene_description>Suddenly RICK (45, an angry live wire in the most expensive suit) walk out of the building. Charlie throws his cellphone against the building wall as if he'd never been on it, perking up with a mix of adoration and terror--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>What? No one. Nothing. What'd you think? Are you gonna invest?<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>I'll invest in that company when they figure out how to dip their dicks in ink and write the Japanese symbol for \"horseshit.\"<\/dialogue>\n    <scene_description>A VALET GUY screeches a super-expensive car to a stop in front of them and hurries over to Rick. Rick walks to take the keys and Charlie waves--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>See you tomorrow!<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>What are you talking about? We're going back to the office.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Oh! Okay. Do you want me to order you dinner?<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>You know I'm on a cleanse.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Yeah, it's just that sometimes you end up wanting dinner anyw--<\/dialogue>\n    <scene_description>Rick shuts him up with a look of death. Charlie reaches for the passenger door but Rick gives him another look--<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>Am I an Uber driver? Are you Miss Daisy? What's happening here?<\/dialogue>\n    <scene_description>Charlie jumps back as Rick floors it and zooms away. Charlie waits a beat, then dashes over to his cell phone--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Suze? Baby?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KIRSTEN'S OFFICE - \"THE RUNDOWN\" OFFICES - NIGHT<\/stage_direction>\n    <scene_description>Harper stands in Kirsten's office, sweaty and out of breath from the laps. Kirsten's looking at a wall-sized corkboard full of story ideas, names, and teams as Harper takes notes--<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>I want a young woman to do the profile on Coach Brown, so he'll think it's a puff piece. Someone smart but who can play innocent.<\/dialogue>\n    <scene_description>Kirsten looks right at her and Harper straightens, excited--<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>Did you return that jacket?<\/dialogue>\n    <character>HARPER<\/character>\n    <parenthetical>(hiding her deflation)<\/parenthetical>\n    <dialogue>I did! And after a two-hour drive to their warehouse and a very intense conversation with a saleswoman that ended with both of us crying, I got you a full refund.<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>I want it back.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Terrific! Will do.<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>What else?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I'm getting a present for your niece's birthday next week and you still owe RSVP's to a few parties--<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>What kind of parties?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Let's see.... Polly's wedding. Annie's engagement party. Bridget's baby shower....<\/dialogue>\n    <scene_description>Kirsten's eyes get narrower with each invitation--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Alice's son's birthday. You RSVP- ed to Jane's wedding and they just need to confirm you're okay sharing a room with Helen since you're--<\/dialogue>\n    <scene_description>Harper finally registers Kirsten's face but it's too late.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Both...coming...alone.<\/dialogue>\n    <scene_description>Kirsten slams her desk. Harper jumps.<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>I'm starting a business! I don't have time to celebrate some friend of a friend's third kid. From now on just decline all of them and send a $200 gift. Don't even ask me anymore.<\/dialogue>\n    <parenthetical>(then, angrier)<\/parenthetical>\n    <dialogue>And we should have three times this many feature ideas by now!<\/dialogue>\n    <character>HARPER<\/character>\n    <parenthetical>(blurting out)<\/parenthetical>\n    <dialogue>I have a story idea!<\/dialogue>\n    <scene_description>Harper immediately regrets it, but Kirsten looks at her, expectant, so she has to keep going.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>It's not fleshed out, or anything, it's not--I haven't cracked it.<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>Why are you telling me it's bad before I've heard it?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>But there's this soccer player, she was born in Germany, but she was obsessed with the US soccer team, and then she found out her father-- she had a single mom, I should have said that earlier-- and in high school she finally met her dad, and he's American, so she has citizenship, and now she's trying out for our national team--<\/dialogue>\n    <scene_description>Harper's voice breaks and she tries to shake it off--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>--with her heroes, and she never thought she'd be here, and she's learning what it means to be an American...<\/dialogue>\n    <parenthetical>(voice straining)<\/parenthetical>\n    <dialogue>I'm sorry. I get really emotional when I talk about sports....<\/dialogue>\n    <parenthetical>(trying again)<\/parenthetical>\n    <dialogue>But she's taking a chance with....<\/dialogue>\n    <scene_description>Kirsten just stares at her. Harper's cell RINGS, saving her.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Your dinner! I'll leave this room now to go get it.<\/dialogue>\n    <scene_description>She hurries out of Kirsten's office, shaking her head. As she goes she passes a window, where we see the only other light on in the building and CUT TO.....<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCKELVY CAPITAL OFFICES - NIGHT<\/stage_direction>\n    <scene_description>Charlie takes notes as he follows Rick through the empty desks toward Rick's palatial corner office.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>Their 5-year plan is really a 2- year plan, their market capital is overvalued, and their name is stupid. People using a private chef want to feel fancy, they're not gonna open an app called \"Chef- Me.\" What do I have tomorrow?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I moved your lunch to Delfine's, and your ex-wife wants you to call her to discuss your daughter's parent-teacher conferences.<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>Tell Kiki she can suck my left nut.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Like, if she calls? Or....<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>Ask Kiki if she's still fucking our real estate agent in the house I bought for us.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I don't actually communicate--<\/dialogue>\n    <scene_description>Rick stops at Charlie's desk-- it's covered in lemons.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>What is this?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Oh, this is your daughter's science project! It's actually coming along really well. It'll be a fun play on \"When life gives you lemons,\" 'cause I'm using a lemon battery to power a lemonade--<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>Where's my dinner?<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Did you want dinner? 'Cause you said....<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>No, I'm just asking for its location so I have a more complete image when I jack off to it later.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(trying not to panic)<\/parenthetical>\n    <dialogue>No problem. Coming right up.<\/dialogue>\n    <scene_description>Charlie grins too widely and backs out of the room. As soon as he's out of Rick's view, he sprints to the elevator.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUILDING LOBBY - NIGHT<\/stage_direction>\n    <scene_description>Harper and a DELIVERY GUY stand in the empty, echoing lobby. He holds two bags of food as Harper tears through her wallet.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>I have three credit cards. I can write you a check.<\/dialogue>\n    <character>DELIVERY GUY<\/character>\n    <dialogue>I'm sorry, it's cash only.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>What if I told you I could pay you triple tomorrow?<\/dialogue>\n    <character>DELIVERY GUY<\/character>\n    <dialogue>Cash only.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>What if I told you this face was just a mask and I'm really a hundred-year-old gypsy who will curse your family for generations if you don't give me that food?<\/dialogue>\n    <character>DELIVERY GUY<\/character>\n    <dialogue>Cash only.<\/dialogue>\n    <scene_description>Harper stifles a scream of frustration. On the other side of the lobby, Charlie bursts out of an elevator on the phone.<\/scene_description>\n    <character>CHARLIE (ON PHONE)<\/character>\n    <dialogue>What good is a 24-hour grocery store if you can't cook the food you sell?! Do you sell microwaves?<\/dialogue>\n    <scene_description>He comes around the corner to see Harper arguing--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>I cannot go up there and ask for cash and I cannot go up there without food so it seems like my only two options are for you to help me out or for me to finally commit a felony.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>HEY!<\/dialogue>\n    <parenthetical>(hangs up, sprints over)<\/parenthetical>\n    <dialogue>Whose food is this?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>It's mine. Charlie takes out his wallet, giddy.<\/dialogue>\n    <character>DELIVERY GUY<\/character>\n    <dialogue>You got cash, it's all yours.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I have cash! I have so much cash! Holy shit, you're saving my life--<\/dialogue>\n    <scene_description>Harper slaps his wallet out of his hand.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Stop! This is my boss's dinner and I don't have any cash and if I don't bring it back up I'm fucked.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>Can I borrow some money?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Um, no, because now this is my boss's dinner and if I'm not upstairs in two minutes I'm fucked.<\/dialogue>\n    <scene_description>He reaches for the food but she grabs his hand, emotional:<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Please. Help me.<\/dialogue>\n    <scene_description>Charlie hesitates. He recognizes the look of misery and exhaustion in her eyes. But--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <scene_description>Charlie gives the guy cash, takes the food and walks away.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>There are two!<\/dialogue>\n    <parenthetical>(Charlie stops)<\/parenthetical>\n    <dialogue>There are two dinners, one for me and one for her. We can split it. You take one to your boss and I'll take one to mine.<\/dialogue>\n    <parenthetical>(before he can respond)<\/parenthetical>\n    <dialogue>PLEASE. This is DEF-CON 5.<\/dialogue>\n    <scene_description>Charlie sighs. Finally--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>What are the meals?<\/dialogue>\n    <scene_description>Harper squeals with relief, then dives into the bag.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>I can take her the truffle mac and cheese and you can have the burger--<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I'm not bringing him a plain hamburger, he's a man of taste.<\/dialogue>\n    <scene_description>Harper opens the food containers, scooping some of the cheese from the mac-and-cheese onto the burger.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Fine, look, now it's a...truffle cheeseburger...<\/dialogue>\n    <parenthetical>(putting some salad on it)<\/parenthetical>\n    <dialogue>With kale. This burger would win an award!<\/dialogue>\n    <scene_description>She takes the pickle but he snatches it out of her hand.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>The pickle's my dinner!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I can't give him a truffle cheeseburger without a pickle.<\/dialogue>\n    <scene_description>Charlie grabs his food and they hurry to the elevators.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Thank you so, so, so much. I swear I'll pay you back tomorrow!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>With interest. 80%. Liquidity preference.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Are you serious? Do I look like someone who can afford interest? I steal my toilet paper from the office bathroom.<\/dialogue>\n    <scene_description>Charlie shrugs as he steps onto his elevator. Harper steps onto the elevator across from him.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>You should really keep cash on you.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>You should really order dinner earlier.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>The pickle isn't for my boss, it's for me.<\/dialogue>\n    <scene_description>He takes a big bite as their doors close. Harper gasps--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>You're a monster!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHARLIE'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Charlie races down the empty highway as he calls Suze.<\/scene_description>\n    <character>CHARLIE (ON PHONE)<\/character>\n    <dialogue>Don't fall asleep. I'm coming!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUZE'S BUILDING - NIGHT<\/stage_direction>\n    <scene_description>Charlie's old, dilapidated car screeches to a stop. He tries to get out so fast he gets stuck in his seat belt, then manages to escape and sprints to the building's INTERCOM, buzzing over and over until--<\/scene_description>\n    <character>SUZE (O.S.)<\/character>\n    <parenthetical>(half-asleep)<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I'm here! I'm here!<\/dialogue>\n    <character>SUZE (O.S.)<\/character>\n    <dialogue>It's three a.m.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Do you still wanna watch a movie?<\/dialogue>\n    <character>SUZE (O.S.)<\/character>\n    <dialogue>I'm in bed, Charlie.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Perfect! I'll get in with you!<\/dialogue>\n    <character>SUZE (O.S.)<\/character>\n    <dialogue>I'm already asleep.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I could wake you up.<\/dialogue>\n    <parenthetical>(sing-songy)<\/parenthetical>\n    <dialogue>With my penis.<\/dialogue>\n    <parenthetical>(immediately)<\/parenthetical>\n    <dialogue>Not with my penis, you'll be awake before it touches you. You know what I mean.<\/dialogue>\n    <character>SUZE (O.S.)<\/character>\n    <dialogue>I have an early meeting. I'll just call you tomorrow.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Okay, sure! Whatever you want.<\/dialogue>\n    <scene_description>Charlie turns back to his car to see a creepy HOMELESS GUY smiling at him.<\/scene_description>\n    <character>HOMELESS GUY<\/character>\n    <dialogue>You could wake me up.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Nope, no thank you.<\/dialogue>\n    <character>HOMELESS GUY<\/character>\n    <parenthetical>(sing-songy)<\/parenthetical>\n    <dialogue>With your penis.<\/dialogue>\n    <scene_description>Charlie rushes away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHARLIE &amp; DUNCAN'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>A clean, stylish guy's apartment. DUNCAN, 26, a corn-fed jock, does PULL-UPS in a doorway. Charlie walks in.<\/scene_description>\n    <character>DUNCAN<\/character>\n    <dialogue>Good morning! Want some coffee?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Why are you awake?<\/dialogue>\n    <character>DUNCAN<\/character>\n    <dialogue>I can't wake up early and make my best friend breakfast to hear about his okay I need to tell you something. I didn't want to mention it until it was official, but...I bought a place.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>What's a place?<\/dialogue>\n    <character>DUNCAN<\/character>\n    <dialogue>I bought an apartment.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>Bought it, like, you own it?<\/dialogue>\n    <character>DUNCAN<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Who's gonna live in it?<\/dialogue>\n    <character>DUNCAN<\/character>\n    <dialogue>I am.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>WHAT?! That-- But-- We live here!<\/dialogue>\n    <character>DUNCAN<\/character>\n    <dialogue>I know, but our lease is up in two months, and this was a great financial opportunity--<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Financial opportunity?! How much money do you have?<\/dialogue>\n    <character>DUNCAN<\/character>\n    <dialogue>You know I love living with you. But we're 27--<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(offended)<\/parenthetical>\n    <dialogue>I'm 26!<\/dialogue>\n    <character>DUNCAN<\/character>\n    <dialogue>And I'm ready for my own space. To decorate, to bring guys home--<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>You can bring guys here! I'm completely cool with it.<\/dialogue>\n    <character>DUNCAN<\/character>\n    <dialogue>You get a little weird.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I do not!<\/dialogue>\n    <scene_description>POP TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHARLIE &amp; DUNCAN'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Duncan flirts with a GUY on the couch. Charlie glides into the room with a platter of snacks and condoms. He whispers--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I'm not here.<\/dialogue>\n    <scene_description>He puts the platter on the coffee table, grins, and glides back out of the room. BACK TO SCENE:<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I'm sorry I want my best friend to never go hungry and stay STD-free!<\/dialogue>\n    <character>DUNCAN<\/character>\n    <dialogue>Honestly, your hours are so shitty, we'll probably see each other more when we don't live together.<\/dialogue>\n    <scene_description>Charlie runs a hand through his hair, freaking out.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>This is insane. Buying apartments is for grown-ups. I can't even afford the HBO package!<\/dialogue>\n    <character>DUNCAN<\/character>\n    <dialogue>I know. That's why I pay for the HBO package.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(quietly furious)<\/parenthetical>\n    <dialogue>We've had HBO this whole time?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARPER &amp; BECCA'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Harper, in sweatpants, sets her alarm for 5:45AM and settles into the couch. She pulls her computer on her lap and opens a YouTube clip: Olympic runner Derek Redmond tearing his hamstring mid-race and Derek's father running down to help his son limp across the finish line. Harper tears up as she watches, mouthing along with the announcer. Just then BECCA (27, beautiful, wild) bursts in, a little drunk, guided by her boyfriend, MIKE (30, sweet, put- together). Becca sees Harper and jumps on her--<\/scene_description>\n    <character>BECCA<\/character>\n    <dialogue>YOU'RE HOME! How was your date?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Amazing! He's in my room drinking Gatorade to recover from our vigorous lovemaking.<\/dialogue>\n    <character>BECCA<\/character>\n    <dialogue>Really?!<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Of course not. I worked too late and didn't make it in time.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Aw man, again?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>How was the party?<\/dialogue>\n    <character>BECCA<\/character>\n    <dialogue>Fine. Gilbert was there.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>He WAS? Have you seen him since...<\/dialogue>\n    <scene_description>She pantomimes something, trying to be secretive.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Since she had sex with him in the handicapped bathroom on the Acela?<\/dialogue>\n    <character>HARPER<\/character>\n    <parenthetical>(whipping around to Becca)<\/parenthetical>\n    <dialogue>You told him that?!<\/dialogue>\n    <character>BECCA<\/character>\n    <dialogue>I tell him everything. And it wasn't the Acela, it was the Northwest Regional, I'm not a maniac.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>If we had to avoid every guy she ever had sex with on some sort of public transportation, we could never leave the apartment.<\/dialogue>\n    <scene_description>Becca smacks him. Mike gives her a cute smirk.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I'm gonna fart. Don't come in your room for a minute.<\/dialogue>\n    <character>BECCA<\/character>\n    <dialogue>You're disgusting!<\/dialogue>\n    <scene_description>He heads to her room. She watches him go adoringly.<\/scene_description>\n    <character>BECCA<\/character>\n    <dialogue>Look at his little khakis. Who wears khakis to a bar?!<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>So many people. Like everyone who ever went to private school.<\/dialogue>\n    <character>BECCA<\/character>\n    <dialogue>How was your day?<\/dialogue>\n    <character>HARPER<\/character>\n    <parenthetical>(trying to be positive)<\/parenthetical>\n    <dialogue>I only cried once!<\/dialogue>\n    <character>BECCA<\/character>\n    <dialogue>If I ever see Kirsten on the street I'm gonna punch her in the throat.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>You never will, because she's always at the office, but I love the sentiment.<\/dialogue>\n    <character>BECCA<\/character>\n    <dialogue>I love you!<\/dialogue>\n    <scene_description>She kisses Harper and skips to her room. Harper smiles sadly and heads to her own room, when suddenly BECCA SCREAMS. Harper whips around, grabs an UMBRELLA by the door and wields it like a club as she races toward Becca's room.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>I KNEW IT! No one wears khakis to a bar except Jeffrey Dahmer--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BECCA'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Harper kicks the door in, ready to take Mike out-- GET OFF OF HER YOU-- She stops suddenly: Mike's on one knee, slipping an engagement ring on Becca's finger.<\/scene_description>\n    <character>BECCA<\/character>\n    <dialogue>I said no! Just kidding I SAID YES!<\/dialogue>\n    <scene_description>Mike laughs. Harper drops her umbrella, stunned.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>We're not old enough to get married.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>What? Nothing!! Oh my God, CONGRATULATIONS!!!<\/dialogue>\n    <scene_description>She jumps on Becca, squealing. Mike joins in on the hug.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Mike!! MIKE!!! I love you!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I love you too, Harper!<\/dialogue>\n    <scene_description>Becca and Mike kiss. Then they start really making out. Harper tries to squeeze out of their group hug.<\/scene_description>\n    <character>HARPER<\/character>\n    <parenthetical>(ducking under Mike's arm)<\/parenthetical>\n    <dialogue>Oh-- uh-huh. Get into it! You guys keep doing that-- I'm gonna get outta here.<\/dialogue>\n    <scene_description>Mike throws Becca on the bed. Her shirt's already off. Harper hurries out--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Okay have so much fun!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARPER'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Harper lies in bed, staring at the ceiling, unable to sleep. Her alarm starts BEEPING: time for work again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \"THE RUNDOWN\" OFFICES - DAWN<\/stage_direction>\n    <scene_description>Harper walks into the dark office, hands full of bags and coffees. She clicks on the lights on the way to her desk. She drops the bags on her desk and sighs, a rare moment of quiet, and goes to take a sip of coffee--<\/scene_description>\n    <character>KIRSTEN (O.S.)<\/character>\n    <dialogue>I'll need my own room!<\/dialogue>\n    <scene_description>Harper jumps and turns to see Kirsten marching in.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Kirsten! You're here so early--<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>Helen met some fat bank manager last week and she's dragging him to Jane's wedding so make sure they know I'll need my own room.<\/dialogue>\n    <parenthetical>(then, pleasantly)<\/parenthetical>\n    <dialogue>Also, what are they paying you?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>ESPN. To sabotage my site from the inside. Whatever it is, you deserve a raise, because the writing samples you sent me last night had no attachment.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>They did, I'm sure they did--<\/dialogue>\n    <scene_description>She frantically clicks through her email, but Kirsten just storms in her office. Then she storms back out--<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>Do you think she knows how desperate it looks? To bring the first man she matched with on some $8\/month dating site to a destination wedding? I mean, I feel bad for her.<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>Sharing a room with some hairy stranger instead of actually getting to relax and enjoy the hotel.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Totally.<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>I just think it's really transparent. What she's doing. And embarrassing.<\/dialogue>\n    <scene_description>Kirsten dives into the bag of food and pulls out a bagel.<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>Is this flaccid?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I was just about to toast it--<\/dialogue>\n    <scene_description>Harper grabs the bagel and hurries to the kitchen as fast as she can, her shitty day already starting.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCKELVY CAPITAL OFFICE - DAY<\/stage_direction>\n    <scene_description>Charlie scrolls through Suze's Instagram at his desk when-- CHARLIE!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RICK'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Charlie hurries inside. Rick's sitting back in his chair, a disconcertingly wide smile on his face.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>Apparently Jason Fox Investments had breakfast with the Chef-Me guys at the City Club this morning before he made a $500,000 angel investment.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>That's-- good, right? Because we hate him, and he's wasting his money on a bad idea--<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>It was my bad idea. Mine. They came to me, they were hard for my money, and now he's turning my shit into gold? Only I turn my shit into gold! Get out!<\/dialogue>\n    <scene_description>Charlie hurries away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCKELVY CAPITAL OFFICE - LATER<\/stage_direction>\n    <scene_description>Charlie keeps scrolling through Suze's Instagram feed -- Suze in a bikini, Suze pretending she just woke up, Suze giving duck face. Charlie frowns longingly. He looks up and notices a meek INTERN (20) heading for the door--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Intern!<\/dialogue>\n    <character>INTERN<\/character>\n    <dialogue>My name is Bo.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I don't give a shit.<\/dialogue>\n    <character>INTERN<\/character>\n    <dialogue>It's just, it has fewer syllables than \"intern.\"<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I'm gonna get Rick's lunch and you're gonna cover his phones.<\/dialogue>\n    <character>INTERN<\/character>\n    <parenthetical>(terrified)<\/parenthetical>\n    <dialogue>What? How?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Don't pee, don't zone out, don't sneeze, just put his calls through and try not to exist. And do not, EVER, connect his ex-wife.<\/dialogue>\n    <character>INTERN<\/character>\n    <dialogue>Do I tell him if she calls?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Yeah, and then you slather my dick in ink and use it to write the hieroglyphic for \"no.\"<\/dialogue>\n    <scene_description>The Intern just stares at him, confused.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>That-- no. Don't tell him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BY THE ELEVATORS - CONTINUOUS<\/stage_direction>\n    <scene_description>Charlie's on the phone, happily jabbing the elevator button.<\/scene_description>\n    <character>CHARLIE (ON PHONE)<\/character>\n    <dialogue>Baby! I have 30 minutes, let's--<\/dialogue>\n    <scene_description>BANG! There's a huge crash behind him. He turns, concerned.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCKELVY CAPITAL OFFICE - CONTINUOUS<\/stage_direction>\n    <scene_description>Charlie runs back in to see Rick trying to tear apart his office. He's not strong enough to really break anything so he ends up kind of just throwing paper and pens everywhere. The rest of the office watches, scared. Charlie races over--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>What happened?!<\/dialogue>\n    <character>INTERN<\/character>\n    <parenthetical>(two octaves too high)<\/parenthetical>\n    <dialogue>I think he's upset about the invitation?<\/dialogue>\n    <scene_description>The Intern hands Charlie a wedding invitation: Kiki McKelvy &amp; Michael Posada. Charlie looks up, horrified--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>No. No. This is his ex-wife-- you showed him this?! She's getting married in their old house and you showed him?!<\/dialogue>\n    <character>INTERN TWO<\/character>\n    <dialogue>You didn't say anything about his mail!<\/dialogue>\n    <scene_description>CRASH. Rick tries to throw his chair out the window but it bounces back and hits him.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>What is this, BULLET-PROOF GLASS?!<\/dialogue>\n    <scene_description>He storms out of his office--<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>Where is that pencil dick?<\/dialogue>\n    <character>INTERN<\/character>\n    <parenthetical>(raising his hand)<\/parenthetical>\n    <dialogue>I feel like I'm pencil dick.<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>You're fired.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Rick, he's a hard worker--<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>ALL THE INTERNS ARE FIRED.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>What?! Fire this idiot, but the others aren't even in today--<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>I'm going to Delfine's.<\/dialogue>\n    <scene_description>Rick marches out of the office. The Intern dumps a TOWER OF FILES on to Charlie's desk, sadly.<\/scene_description>\n    <character>INTERN<\/character>\n    <dialogue>I'm very average-sized. I just want that to be clear....<\/dialogue>\n    <scene_description>The Intern slumps out of the office as Charlie stares at the pile, his workload tripled, and puts his head on his hands.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUILDING - NIGHT<\/stage_direction>\n    <scene_description>TIME LAPSE as most people flow out of the office and into their cars, driving off. Only two lights are still on.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \"THE RUNDOWN\" OFFICES - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Harper slowly types out a sentence on her computer. She looks up when Kirsten walks a WRITER to the door of her office as their meeting ends. Kirsten speaks warmly--<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>You're talented. Stop trying to convince us. Cut every adjective and send it back to me and we'll see what we really need.<\/dialogue>\n    <character>WRITER<\/character>\n    <dialogue>Totally. Thank you so much, Kirsten. This is so helpful.<\/dialogue>\n    <scene_description>They hug. Harper watches, incredulous. The Writer starts to leave, stopping at Harper's desk to lean over and whisper--<\/scene_description>\n    <character>WRITER<\/character>\n    <dialogue>Kirsten is amazing. You're so lucky to work for such a nice person!<\/dialogue>\n    <scene_description>Harper forces a smile and nod as her eyes go black. Kirsten calls out to Harper as the Writer leaves--<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>I'm taking a nap. Wake me up at midnight.<\/dialogue>\n    <scene_description>She closes the door before Harper can respond. Harper turns back to her computer, noticing POST-IT on her desk: \"Pay back pickle thief.\" Harper glances at her computer, the half-written article staring her in the face, then snatches the post-it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCKELVY CAPITAL OFFICE - NIGHT<\/stage_direction>\n    <scene_description>As usual, the office is dark and quiet except for the lamp on Charlie's desk, where he's filing the pile of paperwork the Intern left for him. Harper walks up, handing him $20--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Here you go.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(jumps, startled)<\/parenthetical>\n    <dialogue>Holy shit, Pickles. What are you still doing here? Are you like, a janitor, or something?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>What? No! I work for Kirsten Jones, the sports writer.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>But why are you here?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I can't leave 'til she leaves, and she never leaves. I'm always the last one here.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>No, I'm always the last one here.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Kirsten keeps a cot in her office.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Rick keeps a cot in his office. It's a tempurpedic. It's like the Tesla of cots. He also drives a Tesla. He's like the Tesla of humans.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Kirsten's like if Miss Piggy and Voldemort had a baby, and that baby had low blood sugar and also hadn't had sex in a year.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Ew, a baby shouldn't ever have sex. And Rick is worse.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I check off every day like a prisoner at Alcatraz.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>How many?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Days? 604. But it'll all be worth it.<\/dialogue>\n    <scene_description>He takes something out of his wallet: a torn-out magazine ad of Suze laughing as she opens a TAMPON. Charlie hands it to Harper, as he turns back to his work.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Why do you keep a tampon ad in your wallet?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(super proud)<\/parenthetical>\n    <dialogue>That's my girlfriend.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Oh. Sure. She lives in Canada? And can never video chat?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(snatching it back)<\/parenthetical>\n    <dialogue>She's very real, and she's hotter in person.<\/dialogue>\n    <scene_description>Charlie reaches into his trash can and pulls out a brand new bottle of Scotch with a big red BOW wrapped around it.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>And while she's out there being lusted after by every non-asexual in Los Angeles, I will do the work of three unpaid sophomores drinking the liquor Rick throws away because it cost less than $200.<\/dialogue>\n    <parenthetical>(opens it, then)<\/parenthetical>\n    <dialogue>You want a glass?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>We're at work.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>It's after midnight.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>It's been so long, I have the tolerance of a fetus.<\/dialogue>\n    <scene_description>She smells it and recoils. CUT TO.... LATER. Harper pours herself another glass. She's really feeling it, splayed across a rolling chair. Charlie sits with his feet on his desk, still reading his paperwork.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>I miss everything. I haven't been to a party or made out with a guy in so long I've forgotten how to do it. My tongue has atrophied.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(totally not listening)<\/parenthetical>\n    <dialogue>Suze is always just out in the world, being looked at by guys with more time and more money.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>When my mom was my age, she had me. I've never even had a boyfriend.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>But you're like, a grown-up.<\/dialogue>\n    <scene_description>TAKE THAT BACK.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Not even at camp?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I've dated guys, I've just never had an in-love, real...thing.<\/dialogue>\n    <parenthetical>(then, intense)<\/parenthetical>\n    <dialogue>I am so happy for Becca.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Who's Becca?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I don't want it to seem like I'm not happy for her. Mike is perfect and she should be engaged because she's experienced everything. She's seen it all and done it all and done all of them.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Seriously who is Becca?<\/dialogue>\n    <scene_description>Harper sits up, the whiskey hitting her.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>I've never had sex on a plane. I've never even had sex outside! I don't get to go outside! Do you have any idea how long it takes to show a man my boobs?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>.... No.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>A long time. I don't even have time to blow dry my hair--<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>You should do that.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Let alone go on dates. And given my average date-to-sex ratio, if I want to sleep with as many guys as Becca did, I'll get married when I'm seven-hundred-and-forty-DEAD.<\/dialogue>\n    <scene_description>She tries to chug her whiskey, but hacks and coughs as soon as it touches her lips. Through her coughs--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>I'm gonna be the maid of honor and I'm not gonna be able to go to her engagement party, her bachelorette party, I'll be lucky if I get to her WEDDING! I'm gonna end up like Kirsten. Buying thousand-dollar throw blankets and sleeping with my laptop every night.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>That's why she's so mean. She's sleeping with a laptop. She needs to get laid.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>She needs to be made love to.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Rick needs to get laid.<\/dialogue>\n    <parenthetical>(thinking, then)<\/parenthetical>\n    <dialogue>Is it still illegal to hire a prostitute if it's for someone else?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>They're always in this stupid building, let's just lock them in a room and they can have sex with each other.<\/dialogue>\n    <scene_description>Charlie laughs. But Harper's thinking.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>I'm serious. We could Cyrano them out of the office. And when they're banging, we're free.<\/dialogue>\n    <scene_description>Charlie drinks another sip of whiskey, sighing--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I don't need to be free. I just need to get promoted before my birthday. I already made a reservation at Delfine's and I'm not gonna sit there with Suze and still be an assistant. I refuse to be an assistant at 28. That's the age it gets sad, you know?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I'm 28.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Oh. I'm sorry.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>For you. That's sad for you.<\/dialogue>\n    <scene_description>Harper smirks at him and kicks off Charlie's desk, sailing away in the wheelie chair. As she rolls away:<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Byyyyyyye!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(calling after her)<\/parenthetical>\n    <dialogue>That's my chair!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARPER &amp; BECCA'S APARTMENT - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Harper lays in bed, staring at the ceiling, thinking hard. Muffled whispers and laughs come from Becca's room. A beat, then Harper jumps out of bed and grabs her computer.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCKELVY CAPITAL OFFICE - DAY<\/stage_direction>\n    <scene_description>Charlie clicks through Suze's Facebook page as Rick works in the office behind him. Harper tiptoes in with her laptop--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>Charlie jumps out of his seat again--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Oh my GOD! Why are you so quiet?! You move like a Prius.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I made something.<\/dialogue>\n    <scene_description>She hands him her laptop, open to a HUGE SPREADSHEET.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>What is this?<\/dialogue>\n    <character>HARPER<\/character>\n    <parenthetical>(\"obviously\")<\/parenthetical>\n    <dialogue>It's a Google doc of Kirsten's likes, dislikes, past relationships--<\/dialogue>\n    <parenthetical>(off his blank look)<\/parenthetical>\n    <dialogue>To set them up. For our Cyrano.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>That was a joke.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>But it doesn't have to be! What's Rick's favorite food?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>The filet from Delfine's.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Where will he be at 3pm tomorrow?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>At the Mandarin for a meeting with the guys from JP Morgan.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>What does he hate more than anything?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Bryant Gumbel and sour cream.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>We know everything about them -- what they like, what they hate. We control their entire schedule. We're the men behind the curtain.<\/dialogue>\n    <scene_description>Charlie stands, gathering his stuff--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>That's insane. I barely have time to do my actual job and keep my girlfriend. I can't do this, too.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>But this could save us!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I gotta go.<\/dialogue>\n    <scene_description>He runs past her out the door. She watches him go, deflated.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEMENTARY SCHOOL AUDITORIUM - DAY<\/stage_direction>\n    <scene_description>A bright, colorful auditorium set up for a play. EXCITED PARENTS mill about, taking seats. Suze, dressed for a nightclub, walks in, confused. Every DAD in the audience notices her immediately.<\/scene_description>\n    <character>CHARLIE (O.S.)<\/character>\n    <dialogue>Suze!!<\/dialogue>\n    <scene_description>Charlie waves happily from the front row, where he's reserved the four center seats with his blazer. Suze walks over and Charlie goes to kiss her but she gives him her cheek so he just kisses her cheek really sexually.<\/scene_description>\n    <character>SUZE<\/character>\n    <dialogue>I thought we were getting lunch.<\/dialogue>\n    <character>SWEET MOTHER<\/character>\n    <dialogue>Excuse me, are--<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>They're all taken, yes.<\/dialogue>\n    <parenthetical>(turning back to Suze)<\/parenthetical>\n    <dialogue>I brought lunch to us! Two kale chicken caesar salads and a soy latte for some mid-afternoon theater. You look so hot. How was your meeting?<\/dialogue>\n    <character>SUZE<\/character>\n    <dialogue>It was good. I booked that Old Navy print campaign.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Are you kidding?! Baby! That's incredible!<\/dialogue>\n    <character>SUZE<\/character>\n    <dialogue>Look, Charlie--<\/dialogue>\n    <scene_description>A GLARING MOM tries to take one of the seats--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>This seat is saved, he'll be here any minute, thank you.<\/dialogue>\n    <character>SUZE<\/character>\n    <dialogue>It's shooting in New York, and I'm gonna be traveling so much, and you're already so busy--<\/dialogue>\n    <scene_description>Charlie can feel where this is going and his voice goes high--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I'm not that busy.<\/dialogue>\n    <character>SUZE<\/character>\n    <dialogue>I barely see you as it is. I don't want to eat a to-go salad at some weird school. I want to be wooed. Maybe our schedules are too much to keep dating.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(too loud)<\/parenthetical>\n    <scene_description>NO! Everybody jumps. Charlie clears his throat, then, calmer--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>What I mean is that's silly. Things are going so well, we're having fun--<\/dialogue>\n    <scene_description>An ANGRY MOM tries to move Charlie's blazer and take a seat. He stops her, intense--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I'd lay my life down for these seats and if you can't say the same I'd MOVE ON!<\/dialogue>\n    <parenthetical>(back to Suze)<\/parenthetical>\n    <dialogue>We can totally make this work. My schedule's about to get so much easier.<\/dialogue>\n    <character>SUZE<\/character>\n    <dialogue>It is?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Yes! I can be around whenever you're home. I'm gonna take care of you. You're a print model! This is gonna be fine. I promise.<\/dialogue>\n    <scene_description>The lights go down. Charlie's PHONE BEEPS with a text and all the parents glare at him. It's from Rick: \"Not coming, get back now.\" Charlie jumps up and takes Suze's hand, crouching and crawling over the other parents in the row--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Excuse me. Excuse me.<\/dialogue>\n    <scene_description>The ANGRY MOM re-crosses her legs and knees him in the balls. Charlie groans and folds over.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \"THE RUNDOWN\" OFFICES - DAY<\/stage_direction>\n    <scene_description>Charlie limps in and makes a beeline for Harper. She looks up and sees him coming--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I'm in.<\/dialogue>\n    <parenthetical>(off her confusion)<\/parenthetical>\n    <dialogue>When they're boning, we're free, right?<\/dialogue>\n    <scene_description>Harper smiles, getting it--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>When they're boning, we're free.<\/dialogue>\n    <scene_description>She does a weird hand motion like birds flying away.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>What was that?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>It was supposed to be birds being free, don't worry about it.<\/dialogue>\n    <parenthetical>(then, intense)<\/parenthetical>\n    <dialogue>Let's do this.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COFFEE SHOP - DAY<\/stage_direction>\n    <scene_description>Harper and Charlie walk out of a coffee shop, each balancing a tray of drinks. They power-walk back to their office, darting in and out of the sidewalk crowd.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>He's usually at the City Club.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Could she run into him there?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Oh, yeah, sure. She'll just \"run into\" him. After she's been nominated by two current members and one former member and then get approved by the board, and then also had a sex change because technically women are allowed--<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I get it.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(thinking)<\/parenthetical>\n    <dialogue>All Rick cares about is winning. Literally. We just need to make your boss seem like a business deal or a softball game.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>All Kirsten cares about is the website. It's her baby.<\/dialogue>\n    <scene_description>CHARLIE Because she doesn't have a real baby?<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>How DARE you. But yes I do think that's a huge part of it.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>We need a meet cute. Every great romance has a meet cute. Like, how'd your grandparents meet?<\/dialogue>\n    <scene_description>CHARLIE My grandmother was running to catch a train, and a man put his foot out to keep the door open, but the door broke his foot and she took him to the hospital.<\/scene_description>\n    <character>HARPER<\/character>\n    <parenthetical>(emotional)<\/parenthetical>\n    <dialogue>Oh my God.<\/dialogue>\n    <scene_description>CHARLIE And at the hospital he got a staph infection and died and my grandmother married the doctor who treated him.<\/scene_description>\n    <character>HARPER<\/character>\n    <parenthetical>(\"what the fuck\")<\/parenthetical>\n    <dialogue>Oh my God.<\/dialogue>\n    <scene_description>CHARLIE Pop Pop.... I miss him. HARPER How do people even meet now? How'd you meet your tampon lady? CHARLIE If you mean Suze, my girlfriend, I was like Babe Ruth.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>.... Fat?<\/dialogue>\n    <scene_description>CHARLIE She was on a date, with like, an MMA fighter, but I saw her across the bar and pointed at her and said \"she's gonna be my girlfriend.\" So I waited until he went to take a dump and then I walked over, super cool, and I bought her every single drink on the menu and said, (super dramatic) \"Take your pick.\"<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>That worked?!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Of course it did. And then I wore her down over weeks of texts and flowers and chocolates and concert tickets and shopping trips.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>That's insane.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(shrugs, sweetly)<\/parenthetical>\n    <dialogue>She was the most beautiful girl I'd ever seen in my entire life.<\/dialogue>\n    <scene_description>He says it so nicely it stops Harper a little. She gets to the crosswalk and jabs at the button--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>We need a classic. Getting-stuck- in-an-elevator or something. What's our getting stuck in an elevator?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Why don't we just get them stuck in an elevator?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Because how would we do that.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Oh, you don't know Creepy Tim?<\/dialogue>\n    <scene_description>The walk signal turns and he starts off as we CUT TO....<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUILDING MAINTENANCE ROOM - DAY<\/stage_direction>\n    <scene_description>CREEPY TIM, super high and very pale, sits in the bowels of the building. Harper looks around, concerned, as Charlie hands Tim a plant.<\/scene_description>\n    <character>CREEPY TIM<\/character>\n    <dialogue>My succulent!<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Can you grow plants down here?<\/dialogue>\n    <character>CREEPY TIM<\/character>\n    <parenthetical>(pleasantly)<\/parenthetical>\n    <dialogue>Oh no, they just slowly die.<\/dialogue>\n    <scene_description>Harper gives Charlie a freaked-out look.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>So buddy, we wanted to shut down an elevator for a few minutes so two people can fall in love.<\/dialogue>\n    <character>CREEPY TIM<\/character>\n    <dialogue>The only thing I love more than love is love in enclosed spaces. And succulents. But you already gave me one of those. Let's do this.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCKELVY CAPITAL OFFICE - DAY<\/stage_direction>\n    <scene_description>Rick walks towards the elevator, staring at his phone. He presses the button.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \"THE RUNDOWN\" OFFICES - DAY<\/stage_direction>\n    <scene_description>Kristin walks towards the elevator, staring at her phone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUILDING MAINTENANCE ROOM - DAY<\/stage_direction>\n    <scene_description>Harper skids into the room, where Charlie and Tim are watching the SECURITY MONITORS.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>She's on the move. She's headed to the nest.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>You're not the secret service, you can say elevator.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \"THE RUNDOWN\" OFFICES - DAY<\/stage_direction>\n    <scene_description>Kirsten is about to press the elevator button, then stops.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUILDING MAINTENANCE ROOM - DAY<\/stage_direction>\n    <scene_description>Harper watches Kirsten root through her purse on the monitor.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>No no no, she's looking for her glasses.<\/dialogue>\n    <parenthetical>(yelling at the monitor)<\/parenthetical>\n    <dialogue>They're in the zipper pouch of your bag, you beautiful idiot!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(to Tim)<\/parenthetical>\n    <dialogue>Just stop it at her floor!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \"THE RUNDOWN\" OFFICES - DAY<\/stage_direction>\n    <scene_description>Kirsten turns around to go back to her office when -- DING! The elevator doors open. That's weird. Just then she finds her glasses, and turns around to get on the elevator.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR - DAY<\/stage_direction>\n    <scene_description>Kirsten gives Rick a polite smile. He doesn't respond. She drops her smile, annoyed. They both go back to their phones.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUILDING MAINTENANCE ROOM - DAY \\[INTERCUT\\]<\/stage_direction>\n    <scene_description>Harper and Charlie watch the monitors.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Does no one look each other in the eye anymore?! I hate technology!<\/dialogue>\n    <scene_description>The doors are about to close when a UPS GUY slips in, carrying a big package.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Whoa whoa whoa? Who's this?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Get out! GET OUT, SIR!<\/dialogue>\n    <scene_description>But the doors slide closed. Kirsten and Rick stare at their phones as the UPS Guy stares straight ahead.<\/scene_description>\n    <character>CREEPY TIM<\/character>\n    <dialogue>Are you thinking what I'm thinking?<\/dialogue>\n    <character>HARPER\/CHARLIE<\/character>\n    <dialogue>Abort mission.\/Call it off.<\/dialogue>\n    <character>CREEPY TIM<\/character>\n    <dialogue>IT'S GO TIME.<\/dialogue>\n    <scene_description>Creepy Tim hits the button and the elevator STOPS.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>What the fuck?!<\/dialogue>\n    <character>CREEPY TIM<\/character>\n    <dialogue>Wait, what did you guys say?<\/dialogue>\n    <scene_description>In the elevator, Rick, Kirsten and the UPS Guy jolt as it stops. They look around, startled.<\/scene_description>\n    <character>UPS GUY<\/character>\n    <dialogue>Oh my God. Oh my God. No.<\/dialogue>\n    <scene_description>In the Maintenance Room, Harper turns to Creepy Tim--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Start it. Start it back up.<\/dialogue>\n    <scene_description>Creepy Tim hits a button and the elevator GROANS to a start. On the monitor the UPS Guy breathes out, relieved.<\/scene_description>\n    <character>UPS GUY (ON MONITOR)<\/character>\n    <dialogue>Oh thank God. I'm really claustrophobic.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Let it go. Let it go, Rick.<\/dialogue>\n    <character>RICK (ON MONITOR)<\/character>\n    <dialogue>You work in a truck. Your job is to take elevators. How can you be claustrophobic?<\/dialogue>\n    <character>UPS GUY (ON MONITOR)<\/character>\n    <dialogue>Usually I take the stairs. Today was a really big day for me.<\/dialogue>\n    <scene_description>Kirsten shoots Rick a look--<\/scene_description>\n    <character>KIRSTEN (ON MONITOR)<\/character>\n    <dialogue>Okay, let's not make this any worse.<\/dialogue>\n    <scene_description>Suddenly the elevator STOPS AGAIN. Rick, Kirsten and the UPS guy stumble again. Creepy Tim pounds on the keys.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Why did you stop it?!<\/dialogue>\n    <character>CREEPY TIM<\/character>\n    <dialogue>This wasn't me. This I think might be an actual system malfunction.<\/dialogue>\n    <scene_description>In the elevator, the UPS Guy starts hyperventilating and feeling the walls.<\/scene_description>\n    <character>UPS GUY<\/character>\n    <dialogue>Yep. This is how my nightmares start. Here we go. We all need to just CALM DOWN!!<\/dialogue>\n    <scene_description>He starts to take his clothes off. Like all of them.<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>What is he doing?<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>Stop. Stop that right now.<\/dialogue>\n    <character>UPS GUY<\/character>\n    <dialogue>I need to be free of this!<\/dialogue>\n    <scene_description>The UPS Guy shimmies out of the last of his clothes. Kirsten goes for the emergency phone as Rick takes out his cell.<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>I'm calling 911.<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>Don't, I'm calling on my cell.<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>This phone is specifically designed for this exact emergency.<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>Exactly. We want actual emergency response team, not the assholes assigned to elevator squad.<\/dialogue>\n    <scene_description>The UPS Guy is tying his discarded clothing together--<\/scene_description>\n    <character>UPS GUY<\/character>\n    <dialogue>Maybe we could make a rope....<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>You won't get service and this phone's already ringing.<\/dialogue>\n    <scene_description>Rick reaches over and hangs up the emergency phone.<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>Excuse me!<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>If we both call it in it might confuse the system.<\/dialogue>\n    <scene_description>The UPS Guy starts opening his package--<\/scene_description>\n    <character>UPS GUY<\/character>\n    <dialogue>I have to pee. I'm gonna pee.<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>If you pee I will end your life.<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>This is STRESS PEE, stressing him out more won't help!<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>I get men to do what I want for a living, I know what I'm doing.<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>Well I write about men full of shit for a living--<\/dialogue>\n    <character>UPS GUY<\/character>\n    <dialogue>I gotta listen to my body!<\/dialogue>\n    <scene_description>He pulls a cooper pot out of the package-- DO NOT PEE IN THAT. He starts peeing in the pot. Kirsten closes her eyes. The pee echoes so, so, so loudly. Just then, the elevator STARTS AGAIN. The UPS Guy just keeps peeing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY - DAY<\/stage_direction>\n    <scene_description>The elevator opens and Rick and Kirsten storm out, pissed. A MAN starts to get on, then sees the naked UPS Guy, scattered clothes, pot full of pee. UPS Guy gives an awkward wave.<\/scene_description>\n    <character>UPS GUY<\/character>\n    <dialogue>Hello.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUILDING MAINTENANCE ROOM - DAY<\/stage_direction>\n    <scene_description>Charlie and Harper just stare at the monitors.<\/scene_description>\n    <character>CREEPY TIM<\/character>\n    <dialogue>I'm not great at reading rooms, how'd that go?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>It was okay, Creepy Tim.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Are you kidding me? That was a disaster. They hate each other!<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Hate is good. Hate we can work with.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KIRSTEN'S OFFICE - LATER THAT DAY<\/stage_direction>\n    <scene_description>Harper goes over her notes from the doorway--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>I proofread the Jackson article and found a few typos.<\/dialogue>\n    <parenthetical>(very casually)<\/parenthetical>\n    <character>HARPER<\/character>\n    <dialogue>And apparently some guy you were in an elevator with today asked security for your contact info?<\/dialogue>\n    <scene_description>Kirsten stops typing, concerned.<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>A delivery man?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>No! No. Some bigshot who works in the building. I guess he has a crush on you, or something. But don't worry, I told them we don't give out your number.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Okay, I'll send these e-mails!<\/dialogue>\n    <scene_description>Harper turns and walks out. Behind her, Kirsten smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCKELVY CAPITAL OFFICE - DAY<\/stage_direction>\n    <scene_description>Rick comes back into his office. Charlie looks up nervously.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I heard you got stuck in an elevator with Jason Fox's girlfriend.<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>Jason Fox from Fox Capital?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Yeah. Maybe he's just trying to date her, I can never remember. Do you want your third juice?<\/dialogue>\n    <scene_description>Rick walks into his office, thinking. Charlie watches him go, then calls Harper.<\/scene_description>\n    <character>CHARLIE (ON PHONE)<\/character>\n    <dialogue>Okay, I said it. What now?<\/dialogue>\n    <character>HARPER (O.S.)<\/character>\n    <dialogue>Does Rick have good Dodgers tickets?<\/dialogue>\n    <character>CHARLIE (ON PHONE)<\/character>\n    <dialogue>No, he watches from the nosebleeds like a common hoodlum. Of course he has home plate seats. What does that have to do with anything?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DODGER STADIUM - SUNSET<\/stage_direction>\n    <scene_description>The sun sets behind Dodgers Stadium as fans buzz around excitedly -- peanuts, beer, hot dogs, baseball! Charlie waits outside the stadium, in a full suit. He checks his watch, annoyed. Harper races up to him in a Dodgers jersey, hat, wearing a foam finger.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Sorry sorry sorry. I got here so early that I thought I had time to dick around so I went to the gift shop and I tried on like seventeen things but then I lost track of time and suddenly I was late.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>That's the dumbest thing I've ever heard. That's not a real thing.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Yes it is. It's the dick-around thing. It's very common.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Did you cancel on whoever she was supposed to be going with?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I never even called him in the first place.<\/dialogue>\n    <scene_description>She high-fives herself with the foam finger, then notices--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>What are you wearing?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>A suit. I'm not on the team, why would I wear the jersey? I don't wear scrubs to the doctors office.<\/dialogue>\n    <scene_description>Harper rolls her eyes and drags him inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DODGERS STADIUM - EVENING<\/stage_direction>\n    <scene_description>Harper leads Charlie around the stadium, looking for something. She finally spots it--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Bobby!<\/dialogue>\n    <scene_description>BOBBY, a huge COSTUMED MASCOT that looks like an oversized BOBBLE-HEAD turns, sees Harper, and waves. Charlie jumps.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>OhmyGod--<\/dialogue>\n    <character>BOBBY THE MASCOT<\/character>\n    <dialogue>Harper!<\/dialogue>\n    <scene_description>Bobby bounds over and leans down to hug Harper. She squeezes him around his waist. Charlie backs up, uncomfortable. When Bobby talks it's MUFFLED through his costume head:<\/scene_description>\n    <character>BOBBY THE MASCOT<\/character>\n    <dialogue>Why didn't you tell me you were coming?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I didn't know until tonight!<\/dialogue>\n    <scene_description>Charlie reaches up to try and take off Bobby's costume head. Bobby swats his hand away.<\/scene_description>\n    <character>BOBBY THE MASCOT<\/character>\n    <dialogue>Dude.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I need to see it without a head or I'm gonna have nightmares.<\/dialogue>\n    <scene_description>Harper gives him a weird look, then turns to Bobby--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>I have a favor to ask.<\/dialogue>\n    <scene_description>She hands Bobby a piece of paper. He tries to take it with his huge foam costume hands, but he can't. Harper shoves it in his mouth hole.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>We need them to make out.<\/dialogue>\n    <scene_description>Bobby does an elaborate dance that ends in a nod. Harper and Charlie watch, confused--<\/scene_description>\n    <character>BOBBY THE MASCOT<\/character>\n    <dialogue>That's my Yes Dance! I'll give this to the jumbotron guy.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Thank you!!<\/dialogue>\n    <scene_description>She jumps up and hugs him. Charlie pretends to hug him, then reaches around to try and take off the head again. Bobby swats at Charlie's hands-- DUDE!!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NOSEBLEEDS SEATS - DODGER STADIUM - EVENING<\/stage_direction>\n    <scene_description>In the highest, farthest-away row, Harper and Charlie step over people in their row on the way to get to their seats.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I need to see the human inside, otherwise it's just a nightmare come to life!<\/dialogue>\n    <scene_description>The game's just started. Harper takes out some BINOCULARS and Charlie eats popcorn. She sees Rick sitting behind home plate, yelling at someone on his phone.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Rick's here!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Kirsten better get here soon. Once he realizes his meeting isn't coming he'll go.<\/dialogue>\n    <scene_description>Harper settles back into her seat, and starts swiping through Tinder on her phone. Charlie looks over.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Ahh, online dating. I remember that old wily beast. Desperately searching for the nearest available genitals. Can you match with someone in the section where they give out free hot dogs?<\/dialogue>\n    <parenthetical>(she ignores him)<\/parenthetical>\n    <dialogue>Want me to take your photo here? Guys love girls who like sports.<\/dialogue>\n    <scene_description>HA! (off his look) Wait, are you serious?<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>They do.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>That's one of the world's great myths. Guys think they like girls who like sports. What they actually like is a girl in a very tight sports jersey serving them wings and getting the terminology wrong. They like girls who like guys who like sports.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>That's not true. Think of every beer commercial.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Exactly. No guy actually wants to talk to a girl about offensive line coaches or batting averages. They want a girl to blow them while they're watching the Super Bowl.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Sure, that too. Suze loves sports.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>No she doesn't. You can't love sports until you've gotten goosebumps watching Jesse Owens on the medal podium. Or Doug Flutie's Hail Mary. Abby Wambach scoring in the 122nd minute at the women's world cup.<\/dialogue>\n    <parenthetical>(getting emotional)<\/parenthetical>\n    <dialogue>Al Michael's voice breaking as he asked if we believed in miracles--<\/dialogue>\n    <scene_description>She tries to keep talking but she just ends up mouthing the words so she doesn't really cry. Charlie laughs, eyes wide--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>What is happening?!<\/dialogue>\n    <scene_description>Harper takes a deep breath and gets control of herself.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>I'm just saying Suze doesn't get sports. Sports are about the human spirit, the joy in seeing people do incredible things. The way that SHE'S HERE!<\/dialogue>\n    <scene_description>Harper whips up her binoculars -- behind home plate, Kirsten stares at her phone, walking toward her seat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOME PLATE SEATS - DODGERS STADIUM - NIGHT \\[INTERCUT\\]<\/stage_direction>\n    <scene_description>Kirsten gets to her seat, just a few away from Rick. Rick sees her and does a double-take.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <scene_description>Kirsten looks up, then recognizes Rick, surprised.<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>Oh. Hi.<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>This is an odd coincidence.<\/dialogue>\n    <scene_description>Kirsten blushes, nervous. She tries to joke--<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>Hope you took the stairs.<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>I did. We both did. To get down here.<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <parenthetical>(so bad at this)<\/parenthetical>\n    <dialogue>That's-- lucky...for us. 'Cause no one peed.<\/dialogue>\n    <scene_description>A long awkward beat.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>Are you here with anyone?<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>I'm supposed to meet with a colleague, but I guess he's not here yet.<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>Meeting an investor. He must be stuck in traffic.<\/dialogue>\n    <scene_description>Kirsten nods. They sit in silence. Up in the nosebleeds, Charlie watches with the binoculars, freaking out--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Why aren't they talking?<\/dialogue>\n    <parenthetical>(Harper doesn't respond)<\/parenthetical>\n    <dialogue>Why aren't they talking?<\/dialogue>\n    <parenthetical>(she doesn't respond)<\/parenthetical>\n    <dialogue>Why aren't they saying anything?! This is a disaster--<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Shut up! Silence is only bad when you're worried you actually don't have anything to say anymore. This is just new silence.<\/dialogue>\n    <scene_description>Down at the good seats, Kirsten and Rick sit in silence. The batter SWINGS and misses, striking out. They both groan--<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>Oh, come on! You know his slider drops like that! Do you research!<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>You're paid at the elite level, give a fucking elite performance!<\/dialogue>\n    <scene_description>They share a shy smile. A beat, then--<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>You're welcome to take this seat. The view's better.<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>Barely.<\/dialogue>\n    <scene_description>But she hides a smile and moves over next to him. Up in the nosebleeds, Harper takes Charlie's popcorn tub and shakes it like it's a champagne celebration-- THAT'S WHAT I'M TALKING ABOUT!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NOSEBLEEDS - DODGER STADIUM - NIGHT<\/stage_direction>\n    <scene_description>Charlie and Harper eat popcorn, watching the game, when suddenly the familiar music starts -- it's the KISS CAM.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Kiss Cam that's the Kiss Cam music--<\/dialogue>\n    <scene_description>The very first couple is Rick and Kirsten! BOBBY YOU FURRY MAGICIAN! It takes Rick and Kirsten a second to realize they're on camera. Kirsten blushes and Rick rolls his eyes, embarrassed. He shakes his head -- \"we're not together.\" A few scattered people BOO.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Come on!<\/dialogue>\n    <scene_description>The Kiss Cam cuts to a NEW COUPLE, two BASEBALL BROs, who happily oblige and start making out.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Nooo! You have to give them time!<\/dialogue>\n    <scene_description>BOOOOO-- (then, realizing) Not 'cause they're gay! For something else! Harper and Charlie fall back in their seats, upset, as the Kiss Cam keeps cutting to new couples.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>They're nervous, this was too soon--<\/dialogue>\n    <scene_description>And then the Kiss Cam cuts BACK to Rick and Kirsten! The crowd LAUGHS as Rick and Kirsten jump, thinking they were home free. They're both blushing but they still won't kiss.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>KISS!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>IT'S THE LAW!<\/dialogue>\n    <scene_description>The stadium starts BOOING good-naturedly. Kirsten shakes her head. Rick looks away as if he can't see the camera. The Kiss Cam cuts to a cute LITTLE BOY who kisses his MOM. Charlie and Harper MOAN, heads in their hands--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Oh my GOD.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>What else can we do? Should we send some popcorn or cotton candy down there--<\/dialogue>\n    <scene_description>The Kiss Cam comes back to Rick and Kirsten a third time! Rick looks like he wants to murder someone. Kirsten blushes furiously. Now the whole stadium CHEERS encouragingly. Harper grips Charlie's arm, on the edge of their seats....<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>COME ON!<\/dialogue>\n    <scene_description>Rick and Kirsten share a glance -- \"just to shut them up?\" Rick adjusts in his seat and Kirsten pushes her hair back and they finally, shyly kiss in front of 50,000 people. The crowd CHEERS. Harper and Charlie leap to their feet--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>YESS!!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>YEAH!!!!<\/dialogue>\n    <scene_description>CRACK! A Dodger whacks a home run. The stadium ERUPTS, no one cheering louder than Harper and Charlie, still watching as Rick and Kirsten make out behind home plate.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DODGER STADIUM - NIGHT<\/stage_direction>\n    <scene_description>Downtown sparkles behind the stadium. The game's still going as Harper and Charlie hurry out to the parking lot. Harper checks her phone and looks up, amazed--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>No e-mails!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(delighted)<\/parenthetical>\n    <dialogue>You can't bark orders when your tongue's down someone's throat!<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Okay, have fun with Suze!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Yep, you too! I mean, not with Suze, but, you know....<\/dialogue>\n    <scene_description>Charlie clicks his key and it BEEPS somewhere far away. Harper clicks hers, it BEEPS close by, but she can't find it. They walk past each other, beeping their keys--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Yep, bye!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Bye-bye.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARPER &amp; BECCA'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Harper pulls a big hoodie on backwards, so the hood is right below her face, and fills the hood with popcorn. She flips through guys on Tinder on her phone, hesitating on one, and finally typing: Any sports moments make you cry?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUZE'S BEDROOM - LATER<\/stage_direction>\n    <scene_description>Charlie and Suze walk into her room. Charlie's giddy.<\/scene_description>\n    <character>SUZE<\/character>\n    <dialogue>I can't believe you made it before I fell asleep.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I told you my schedule was gonna get better!<\/dialogue>\n    <parenthetical>(as they climb in hed)<\/parenthetical>\n    <dialogue>You like sports, right?<\/dialogue>\n    <character>SUZE<\/character>\n    <dialogue>Duh! I love basketball, and the one with no hands.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Soccer? You don't know the word for soccer?<\/dialogue>\n    <scene_description>Suze climbs on top of him.<\/scene_description>\n    <character>SUZE<\/character>\n    <dialogue>That's the one with balls, right?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Mmm-hmm. You know everything.<\/dialogue>\n    <scene_description>She reaches under the covers. His eyes flutter.<\/scene_description>\n    <character>SUZE<\/character>\n    <dialogue>Should I not use my hands?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>No! You can be the goalie.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \"THE RUNDOWN\" OFFICES - THE NEXT DAY<\/stage_direction>\n    <scene_description>Harper races in, fumbling with a tray of coffees, bags falling off her shoulders, and sprints to her desk--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>I'm so sorry!! There was a new barista and then a huge accident on Fairfax I'm so so sorry--<\/dialogue>\n    <scene_description>She realizes Kirsten's office is empty. Harper checks her watch, confused.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCKELVY CAPITAL OFFICES - DAY<\/stage_direction>\n    <scene_description>Charlie's freaking out as he decorates Rick's daughter's science project poster board and calls Harper.<\/scene_description>\n    <character>HARPER (O.S.)<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Rick's still not here.<\/dialogue>\n    <character>HARPER (O.S.)<\/character>\n    <dialogue>Neither is Kirsten.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>What if a psychopath saw them on the kiss cam and followed them home and murdered them?! Legally, where are we in that scenario?<\/dialogue>\n    <scene_description>Just then Charlie sees Rick sauntering in the office. Charlie hangs up and straightens. Rick smiles--<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>Morning! I could use a coffee. Do you mind grabbing me a flat white?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Do I mind? It would be my honor...<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>And we should probably order some lunch. I'll have the pork belly from Delfine's. And then whatever you want.<\/dialogue>\n    <scene_description>Rick walks into his office. Charlie almost tears up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \"THE RUNDOWN\" OFFICES - DAY<\/stage_direction>\n    <scene_description>Harper's staring at a notebook, trying to scribble ideas, when Kirsten floats into the office. As she passes Harper:<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>Harper, my office?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KIRSTEN'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Harper follows behind her and stands in the doorway as Kirsten falls into her desk chair. She stares off for a long beat, then turns--<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>I spent the night with a man.<\/dialogue>\n    <character>HARPER<\/character>\n    <parenthetical>(overacting)<\/parenthetical>\n    <dialogue>Whaaaaat? That's amazing! Get it, girl!<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>We didn't sleep together. We did everything but.<\/dialogue>\n    <character>HARPER<\/character>\n    <parenthetical>(eyes wide)<\/parenthetical>\n    <dialogue>Oh wow.<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>I'm still a lady. And it has been...a while. A while.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Mmm-hmm.<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>Even when he was being gentle, you could sense the possibility of strength hovering in his touch. Like when that huge gorilla held and stroked that tiny kitten....<\/dialogue>\n    <scene_description>She gets lost in her train of thought. Harper's frozen. Finally Kirsten turns to Harper, blushing.<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>He doesn't know anything about baseball. But, you can't have everything.<\/dialogue>\n    <scene_description>Kirsten smiles. Harper smiles back. Then, all business--<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>Did that guy from the Post call?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>He did, I'll return right now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCKELVY CAPITAL OFFICE - DAY<\/stage_direction>\n    <scene_description>Charlie's packing up when Harper runs in, giddy--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>She just left!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>So did Rick! IT'S DAYLIGHT!!<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I'm getting out of here before Kirsten comes back and it was all a terrible prank. I have a date with a guy I messaged last night. We're going mini-golfing.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>That's a terrible idea. You have a Dave Matthews concentration face.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>No I don't.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I saw you write cursive one time.<\/dialogue>\n    <scene_description>He does a version of her concentration face -- it does look like Dave Matthews. She flips him off.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Have fun on your date. Let him win a few holes.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Excuse me, I only have one hole. Two on birthdays.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Oh my God, I meant at mini golf.<\/dialogue>\n    <scene_description>Harper starts to reply, then blushes a red so deep she may pass out, then hurries away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHARLIE &amp; DUNCAN'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Duncan walks in, sweaty in gym clothes, to find Charlie cooking an elaborate dinner.<\/scene_description>\n    <character>DUNCAN<\/character>\n    <dialogue>You finally quit?!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>No! I just got out early. I'm making Suze dinner.<\/dialogue>\n    <character>DUNCAN<\/character>\n    <parenthetical>(voice too high)<\/parenthetical>\n    <dialogue>Oh. Suze is coming here?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Yeah-- What is that tone? Why'd your voice go up like that? What does that mean?<\/dialogue>\n    <character>DUNCAN<\/character>\n    <dialogue>She's just... she's kinda...boring.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>No she's NOT!<\/dialogue>\n    <character>DUNCAN<\/character>\n    <dialogue>If you're not distracted by her face or her boobs, you realize that she's not really saying anything.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>That is the most heterophobic thing I've ever heard in my life. You just don't know her.<\/dialogue>\n    <scene_description>Charlie takes a sip of his sauce. A beat.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Get me the take-out menus, I gotta Mrs. Doubtfire this shit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MINI GOLF COURSE - NIGHT<\/stage_direction>\n    <scene_description>A worn-down, charming Mini Golf Course, dotted with a few happy FAMILIES or COUPLES. Harper and her MINI GOLF DATE (20s, sweet face) cross a tiny bridge over a neon-blue river on their way to the next hole.<\/scene_description>\n    <character>MINI GOLF<\/character>\n    <dialogue>...and I just figured graphic design was the closest thing to drawing comic books besides... actually drawing comic books.<\/dialogue>\n    <scene_description>Harper goes to putt at the next hole. She tries to keep her face slack, but it's distracting and she whiffs the ball.<\/scene_description>\n    <character>MINI GOLF<\/character>\n    <dialogue>You're not letting me win to boost my ego, are you?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Are you kidding? I want to destroy you. I'm just trying not to do my concentration face.<\/dialogue>\n    <character>MINI GOLF<\/character>\n    <dialogue>Oh, no. I've got the John Mayer.<\/dialogue>\n    <scene_description>He does his John Mayer concentration face. Harper laughs.<\/scene_description>\n    <character>MINI GOLF<\/character>\n    <dialogue>Why don't I just get behind you, and then you can make whatever face you want.<\/dialogue>\n    <scene_description>He steps behind her, almost touching, as she bends over to hit her ball. It's kind of sexy. Then Mini Golf gently pokes Harper in the butt with his golf club.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>I really hope that's your golf club. Because it feels very small.<\/dialogue>\n    <scene_description>Mini Golf laughs. Harper grins and whacks her putt.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KIRSTEN'S OFFICE - THE NEXT DAY<\/stage_direction>\n    <scene_description>Harper's still smiling to herself at her desk when an IM pops up from Charlie: How was the date? Harper quickly responds: PERFECT. We played three rounds because we couldn't stop talking. Behind her, Kirsten reloads her e-mail over and over, annoyed, and calls out--<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>Harper! My phone is broken. The messages aren't coming through.<\/dialogue>\n    <scene_description>Harper thinks for a moment, then IM's Charlie: Rick needs to call Kirsten ASAP.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \"THE RUNDOWN\" OFFICES - LATER<\/stage_direction>\n    <scene_description>Harper's phone rings with the caller ID: McKelvy Investments. Kirsten leaps for it--<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>I'll get it! I've got it.<\/dialogue>\n    <parenthetical>(answers, \"sexy\")<\/parenthetical>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>At her desk, Harper smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCKELVY CAPITAL OFFICE - DAY<\/stage_direction>\n    <scene_description>Rick's on a call with a COLLEAGUE. Charlie listens and works on the science project, lemon juice squirting everywhere.<\/scene_description>\n    <character>RICK (ON PHONE)<\/character>\n    <dialogue>Dating's so much easier now. Everybody's sexting all the time. And waxing! Kiki never waxed, just to punish me. I'll never have to have sex with an un-waxed woman again.<\/dialogue>\n    <scene_description>Charlie puts his head on the desk.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR - DAY<\/stage_direction>\n    <scene_description>Harper steps up to see Charlie already there. Charlie waits for the doors to close so they're alone, then--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Kirsten needs to get a bikini wax.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Tell her to get one. You're girls, you talk about this stuff.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Oh, yeah, I walk in every morning and hand her a latte and then we talk about merkins and the cyclical popularity of the full bush--<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>What's a merkin?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>It's a pubic hair wig.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I miss the time when I didn't know what that was.<\/dialogue>\n    <character>HARPER<\/character>\n    <parenthetical>(annoyed)<\/parenthetical>\n    <dialogue>Why don't you go tell your girlfriend to get a bikini wax?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I don't have to, Suze is totally hairless, like a beautiful tan dolphin.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Well in a frozen apocalypse she'd retain no body heat and be the first to die so who's laughing now?<\/dialogue>\n    <scene_description>The elevator doors open and she marches off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALON - DAY<\/stage_direction>\n    <scene_description>A HEAVY SALON ATTENDANT grins, preparing her wax.<\/scene_description>\n    <character>SALON ATTENDANT<\/character>\n    <dialogue>It has been a long, long time, yes? You are ready?<\/dialogue>\n    <scene_description>Reveal: Harper is on the table, knees up to her chin.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Yep. I mean, I don't want it to happen, but yes, ready.<\/dialogue>\n    <character>SALON ATTENDANT<\/character>\n    <dialogue>You don't want it?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Of course I don't want it, I hate you. But it has to happen.<\/dialogue>\n    <character>SALON ATTENDANT<\/character>\n    <dialogue>So don't do?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I need you to do it. Do it before I stop you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \"THE RUNDOWN\" OFFICES - DAY<\/stage_direction>\n    <scene_description>Harper types at her desk when Kirsten walks by, smiling to herself, dressed up. Harper watches her go, thinking. Then she picks up her cell.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUILDING COURTYARD - DAY<\/stage_direction>\n    <scene_description>Charlie sneaks in to find Harper already pacing.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>If we hadn't intervened, Rick would have never called her and Kirsten's 70s bush would've turned him off and there would be no second date.<\/dialogue>\n    <parenthetical>(then, serious)<\/parenthetical>\n    <character>HARPER<\/character>\n    <dialogue>We can't just kick them out of the nest. They're baby birds and they're careening to their death. We need to actually Cyrano them.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Absolutely. Totally. Which is what we were doing before and is now what we're doing now.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>You do know what Cyrano is, right?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I'm not an idiot. It's when assistants...set up...their bosses I do not know what Cyrano is.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I've said it like fourteen times!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I thought I knew what it was the first few times you said it and then it was too late to ask!<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>It's about a nerdy guy who helps a handsome guy date the girl he's in love with by telling him what to say and do.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>We can't just set them up, we need to help them keep dating.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Um, does Cyrano know he stole his entire plot from a Steve Martin movie?<\/dialogue>\n    <scene_description>MUSIC UP as we CUT TO....<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. VARIOUS - DAY\/NIGHT<\/stage_direction>\n    <scene_description>--Kirsten finds a HUGE BOUQUET on her desk. She beams. Out by her desk, Harper air-fives no one. --Rick smiles when he finds expensive-as-hell SCOTCH with a red bow on his desk. Out at his desk, Charlie air-fives no one. --Harper sits on Charlie's desk as they scroll through DRESSES on a clothing website.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Oooh, that one. He's an ass man.<\/dialogue>\n    <scene_description>--Rick's on the phone with Kirsten--<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>What about Tuesday night?<\/dialogue>\n    <scene_description>At Charlie's desk, Harper and Charlie listen to the call. Harper adds an event on Kirsten's calendar for Tuesday night.<\/scene_description>\n    <character>KIRSTEN (O.S.)<\/character>\n    <dialogue>Hmmm, I can't Tuesday.<\/dialogue>\n    <character>RICK (O.S.)<\/character>\n    <dialogue>Friday?<\/dialogue>\n    <scene_description>Harper adds an event for Kirsten on Friday night.<\/scene_description>\n    <character>KIRSTEN (O.S.)<\/character>\n    <dialogue>I'm busy Friday, too.<\/dialogue>\n    <character>RICK (O.S.)<\/character>\n    <parenthetical>(flirty)<\/parenthetical>\n    <dialogue>You're a hard woman to track down.<\/dialogue>\n    <scene_description>Harper and Charlie high-five for real. --Harper listens to Kirsten on the phone with Rick.<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>Harper, drop off the call.<\/dialogue>\n    <scene_description>Harper gives her a thumbs-up, presses a random button so it beeps, mutes her phone, and keeps listening, taking notes....<\/scene_description>\n    <character>KIRSTEN (ON PHONE)<\/character>\n    <dialogue>It's just us now.<\/dialogue>\n    <character>RICK (O.S.)<\/character>\n    <dialogue>You are so hot.<\/dialogue>\n    <scene_description>Harper grimaces but keeps taking notes. --Harper's giving Charlie instructions.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>There are two kinds of compliments to give a woman. The things she already thinks about herself but she wants confirmed, and the things she doesn't think anybody else notices. He's only giving her the first kind. The second kind matters more.<\/dialogue>\n    <scene_description>--Charlie writes a note from Rick on the next set of flowers. He thinks, then write: \"I love how competitive you are.\" --Charlie walks up, ready to wait outside, but the Doorman opens the door--<\/scene_description>\n    <character>DOORMAN<\/character>\n    <dialogue>He said you can wait in the lobby.<\/dialogue>\n    <scene_description>Charlie tries to hide his huge smile and walk in casually, but he goes too casual and accidentally strolls in like a very fancy old man. --At night, Kirsten waves happily as she heads out--<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>Have a great night, Harper!<\/dialogue>\n    <scene_description>--ANOTHER DAY, Kirsten leaves as the sun sets--<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>You can cancel my dinner.<\/dialogue>\n    <scene_description>--ANOTHER DAY, Kirsten leaves at lunch--<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>I'm taking the rest of the day.<\/dialogue>\n    <scene_description>--Charlie, on the phone, looks out the window to see Rick walking to his car--<\/scene_description>\n    <character>CHARLIE (ON PHONE)<\/character>\n    <dialogue>Baby, wanna get lunch?<\/dialogue>\n    <scene_description>--Harper, in her bathrobe, wearing a clay face mask, blow- dries her hair, smiling happily. --Harper strides into the office, hair blown out like a queen. --Charlie snuggles on the couch with Suze. He thinks for a moment, then--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I love how you look when you first put on your glasses.<\/dialogue>\n    <scene_description>She looks up at him, surprised and pleased. He grins. --Harper laughs at a romantic dinner with Mini Golf. --Only two lights are still on in the building -- and then those two lights click off. MUSIC OUT.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CACTUS CANTINA MEXICAN RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Harper and Charlie clink WATER GLASSES at the bar.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I took a nap today. A fucking nap.<\/dialogue>\n    <scene_description>The exasperated WAITER approaches.<\/scene_description>\n    <character>CACTUS CANTINA WAITER<\/character>\n    <dialogue>Are you ready to order yet?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Still deciding. Can we get some more chips, though?<\/dialogue>\n    <scene_description>The Waiter glares at her as he walks away. Charlie picks up one of the chips and grimaces.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>When I get promoted I'm never eating at a place with photos of their food on the menus again.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>First of all, rude. Secondly, naps are great but Becca's engagement party is this weekend and I need to guarantee I can go.<\/dialogue>\n    <scene_description>She slides something across the bar. Charlie picks it up, intrigued, and reads it, confused--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>This is just a bar menu.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I know, I just thought that seemed dramatic. I reserved them a romantic weekend for two in Ojai. Friday to Sunday. And there's no service out there. We'll have the entire weekend to ourselves.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>That's PERFECT. Suze's agency is throwing some big pool party this weekend! I'll finally be able to go instead of sitting around thinking about all the guys looking at her in her bathing suit.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Isn't she a bathing suit model?<\/dialogue>\n    <scene_description>Charlie smirks at her. Harper's phone DINGS with a text and she reads it, grins, and starts typing a reply. Charlie takes a swig of his beer and reads it over her shoulder--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Easy with the ha-ha's.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>That's a fine amount of haha.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>You like his joke, you're not a clown on meth. Read it out loud. \"Hahahahaha--\"<\/dialogue>\n    <scene_description>Harper smacks him.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>If really you like him then you should go out with three other guys, this week.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>What? Why?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>You know how when you were little, if you had three salamanders, you would play with each of them for a little bit every day, and they'd live for years, but if you only had one salamander, you held it and loved it and played with it so much that it died almost immediately?<\/dialogue>\n    <character>HARPER<\/character>\n    <parenthetical>(so weirded out)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Well, men are like that. If you're only focusing on one, he can sense it, and you're gonna accidentally kill him and hide him in your drawer so your mom doesn't find out.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I like my one salamander.<\/dialogue>\n    <parenthetical>(standing)<\/parenthetical>\n    <dialogue>Let's get out of here.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>We haven't ordered anything.<\/dialogue>\n    <scene_description>Harper pretends to answer her cell, yelling loudly--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>What? What kind of emergency? No, I was going to pay for a meal at this restaurant, but I better come straight to the hospital!<\/dialogue>\n    <scene_description>Harper opens her bag and pours the rest of the chips into it.<\/scene_description>\n    <character>HARPER<\/character>\n    <parenthetical>(overracting)<\/parenthetical>\n    <dialogue>The whole leg?? I'll be right there!<\/dialogue>\n    <scene_description>She sprints out of the restaurant. Charlie hops up awkwardly and hurries after her. The waiter calls after them--<\/scene_description>\n    <character>CACTUS CANTINA WAITER<\/character>\n    <dialogue>I mean, I saw your phone not ring. It's not legally a crime but I think you know this isn't right.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \"THE RUNDOWN\" OFFICES - DAY<\/stage_direction>\n    <scene_description>Harper listens to Kirsten on a call in her office. Kirsten's face lights up.<\/scene_description>\n    <character>KIRSTEN (ON PHONE)<\/character>\n    <dialogue>I've never been to Ojai.<\/dialogue>\n    <scene_description>At her desk, Harper hides a grin.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARPER &amp; BECCA'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Harper, dressed up, opens the door to Mini Golf.<\/scene_description>\n    <character>MINI GOLF<\/character>\n    <dialogue>Hey! You ready?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Yes! But I was thinking maybe instead of dinner we could stay in and have sex and watch Netflix.<\/dialogue>\n    <scene_description>Mini Golf doesn't say anything. Harper backtracks--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Or we can go out let's go to dinner out in public, I'm thinking of seeing other people, two other salamanders--<\/dialogue>\n    <scene_description>Mini Golf picks her up and carries her into the apartment. Harper shrieks happily.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHARLIE'S APARTMENT - THE NEXT MORNING<\/stage_direction>\n    <scene_description>Charlie whistles in his boxers, making PANCAKES in the shape of a penis and two boobs. Suze comes up behind him and hugs him around the waist.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARPER'S BEDROOM - MORNING<\/stage_direction>\n    <scene_description>Sun pours in Harper's room. She stirs, startled for a second to see Mini Golf asleep next to her. Then she smiles and traces her finger along his back, happy and a tiny bit nervous.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCKELVY CAPITAL OFFICE - DAY<\/stage_direction>\n    <scene_description>Charlie saunters in the office, beaming, fresh from morning sex, ready to take on the-- BAM. A printer slams into the wall next to him. Charlie ducks and screams a Mariah-Carey-falsetto. In his office, Rick going full Hulk again. WHY DO I ONLY HAVE A 2D PRINTER?! AM I A CAVEMAN?!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \"THE RUNDOWN\" OFFICES - DAY<\/stage_direction>\n    <scene_description>Harper settles into her desk for the day. Her phone rings. She sees it's Charlie and answers--<\/scene_description>\n    <character>HARPER (ON PHONE)<\/character>\n    <dialogue>Yes, I did bang someone last night, thank you so much for asking--<\/dialogue>\n    <character>CODE RED!<\/character>\n    <dialogue>Before Harper can respond, she sees Kirsten walk in -- face<\/dialogue>\n    <character>CODE BLACK! CODE SHIT!<\/character>\n    <dialogue>puffy, eyes red, still leaking tears. Harper hangs up as Kirsten straightens her shoulders--<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>Change of plans. I will be in town this weekend. Make sure they know we'll need the office open from seven to seven Saturday and Sunday.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <parenthetical>(then, delicately)<\/parenthetical>\n    <dialogue>Is everything all right?<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>Why would you ask me that?<\/dialogue>\n    <scene_description>Tears are still pouring out of her eyes.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>No reason.<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>I'm a successful woman who's launching a website and doesn't need to travel with pathetic man- children who can't feed themselves or take a joke.<\/dialogue>\n    <scene_description>Kirsten storms into her office, then she storms back out--<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>Here's a riddle. Would you tell me you \"love\" Korean barbecue if you'd never eaten it and didn't know what it was?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>....No? No.<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>And if I took you there, would you claim to know what you were doing, eat a slab of raw tenderloin, swallow it rather than admit that I was right, and then vomit on the hot grill? And then blame ME?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>No. Never. What a jerk.<\/dialogue>\n    <scene_description>Kirsten's eyes flare, even more mad.<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>I'm worried that your abrasiveness and general demeanor will hinder you in the workplace.<\/dialogue>\n    <scene_description>Kirsten stalks past Harper into her office.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR - DAY<\/stage_direction>\n    <scene_description>Charlie and Harper pace, each on the phone--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>How could you let them pick the restaurant?!<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>It was your turn to choose!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>No! You chose last time!<\/dialogue>\n    <parenthetical>(realizing)<\/parenthetical>\n    <dialogue>Dammit!<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I'm going to kill you.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>This is worse than before! Rick just tried to fire a mailman! Mailmen work for the US government!<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>The only thing worse than being single and miserable is being dumped and miserable. We have to get them back together before they kill us.<\/dialogue>\n    <parenthetical>(intense, quiet)<\/parenthetical>\n    <dialogue>I feel in my bones that Kirsten is capable of murder.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>What do we do?!<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I don't know! You did this, fix it!<\/dialogue>\n    <scene_description>She storms off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCKELVY CAPITAL OFFICE - DAY<\/stage_direction>\n    <scene_description>Charlie thinks hard as he walks back to his desk. Rick, in his office, slams on his laptop.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>This stupid piece of shit is saying my password is wrong!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>That--<\/dialogue>\n    <scene_description>Rick throws the laptop to the ground and STOMPS on it.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>That's my laptop.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \"THE RUNDOWN\" OFFICES - NIGHT<\/stage_direction>\n    <scene_description>Kirsten walks out with her bag and coat.<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>I'll need breakfast and a coffee before I get here tomorrow morning. Sometime between 6 and 9. And I need those articles sent to my iPad since apparently printing is beyond your capabilities.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I didn't realize you wanted hard copies. I can print--<\/dialogue>\n    <scene_description>Kirsten stops and looks Harper right in the eye.<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>You're bad at your job. If I pay you to make my life easier but you're making it harder, you're useless to me. Do you understand that?<\/dialogue>\n    <scene_description>Harper blinks, hurt, and starts to respond, but Kirsten walks out past her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCKELVY CAPITAL OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Harper walks in, still stung. She sees Rick's empty office and brightens a little, heading for Charlie's desk.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Well, my life is over and I may have just gotten fired, but at least Kirsten left. I'm gonna see if Mini Golf--<\/dialogue>\n    <scene_description>She stops when she sees Charlie's desk: total lemon carnage. The science project is smashed to bits. Charlie's miserably trying to fix it.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Oh my God, what is this?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Rick's daughter's science project.<\/dialogue>\n    <parenthetical>(bitterly)<\/parenthetical>\n    <dialogue>Life gave me lemons and I used them to battery power lemonade!<\/dialogue>\n    <scene_description>Harper delicately picks up a smashed lemon.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Can you fix it?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I have to try. It's due tomorrow.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Get outta here while you still can. Save yourself.<\/dialogue>\n    <scene_description>Harper watches him for a beat, then pulls a chair up to his desk and sits.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>I think we have to start over.<\/dialogue>\n    <scene_description>Charlie looks over, surprised--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>What about Mini Golf?<\/dialogue>\n    <scene_description>Harper shrugs.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>I don't wanna squeeze my salamander too hard, right?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>That's what my dad told me at 13 when he was worried I would masturbate myself to death.<\/dialogue>\n    <scene_description>Harper laughs, then rubs her hands together, thinking--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>We need some food coloring and a new poster board.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCKELVY CAPITAL OFFICE - LATER<\/stage_direction>\n    <scene_description>It's late into the night, the building empty and quiet. Charlie's telling a story as Harper laughs and sets out plastic plates, a carton of milk, and some dish soap.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>And he made this noise, like-- imagine if a duck were on meth, and you were holding his meth supply and refused to give it to him -- he sounded like that duck.<\/dialogue>\n    <scene_description>Harper laughs louder as she pours milk into a plate. Charlie can't help laughing too.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Why do you work for him? He sounds insane.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>He totally is. But no one can do anything about it, because he's so goddamn cool. He can be the biggest asshole or totally wrong but he's so rich and smart that nobody says anything! Have you seen his house? His car? That's the life I wanna live.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Why do you work for Kirsten?<\/dialogue>\n    <scene_description>Harper pours DISH SOAP on another plate as she grabs a few different bottles of FOOD COLORING.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Because I wanna be a sports journalist and she's the best editor there is, and I'm a sadist, apparently.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Has she read any of your stuff?<\/dialogue>\n    <scene_description>Harper delicately drops different colored food coloring on to the plate of milk (the drops stay where they are).<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>No. Because I haven't really written anything. My day is so long, and exhausting, and if I ever actually have free time--<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(kindly)<\/parenthetical>\n    <dialogue>I get it.<\/dialogue>\n    <scene_description>Harper dips a Q-TIP in the plate of dish soap. A beat.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>And everything I write is bad.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>That's probably not true.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>It is. I want to impress her, and I wanted her to like me, and I feel like I've worked so hard to be a great assistant that I've killed any writing skill I ever had.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>That's definitely not true. You're not a great assistant.<\/dialogue>\n    <scene_description>Harper laughs. Charlie smiles.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Ready?<\/dialogue>\n    <scene_description>She dips the soaped-up Q-tip in the plate of milk and the colors from the food coloring EXPLODE around the plate in beautiful circles and streaks. It looks like a kaleidoscope.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Holy shit. How does this work?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I have no idea. We should Google it.<\/dialogue>\n    <scene_description>They sit in silence as they watch the different colors spiraling out and away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCKELVY CAPITAL OFFICE - LATER<\/stage_direction>\n    <scene_description>Charlie works on a new poster board: Magic Milk! Harper sleeps on the desk next to him. Rick walks in, grumpy.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Hey! So, everything she needs is in this bag, she just drops the food coloring into the--<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>This isn't as good as the lemon shit. She's not even gonna ribbon.<\/dialogue>\n    <scene_description>Rick grabs the bag and walks out. Charlie deflates.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \"THE RUNDOWN\" OFFICES - LATER THAT DAY<\/stage_direction>\n    <scene_description>Harper, sleepy but in new clothes, signs for a messenger's envelope. She opens it and a BLUE RIBBON falls out. A note's attached; This is purely symbolic, they haven't even judged yet. But call me, I have an idea.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KIRSTEN'S OFFICE\/RICK'S OFFICE - DAY \\[INTERCUT\\]<\/stage_direction>\n    <scene_description>Harper and Charlie stand in their boss's respective doorways. CUT BETWEEN THEM as they pitch their bosses--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I was just thinking. You still have the Ojai reservation, right?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>You should just go yourself. Take some Kirsten time.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Since it's a nonrefundable trip, isn't it kind of financially short- sighted if no one goes?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>He's already paid for it and you deserve to be coated in ancient mud with cucumbers on your eyes.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Take in a round of golf, lay by the pool, tan up the ol' body leather.<\/dialogue>\n    <scene_description>Harper plays her Ace--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>What are you gonna do, go to another godforsaken baby shower?<\/dialogue>\n    <scene_description>Kirsten sits back, thinking about it.<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>I could use a massage.<\/dialogue>\n    <scene_description>Charlie plays his Ace--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I mean, I can go, just so it's not a waste of money--<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>Absolutely not. I'll go.<\/dialogue>\n    <scene_description>Charlie tries not to smile.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHARLIE &amp; DUNCAN'S APARTMENT - THE NEXT DAY<\/stage_direction>\n    <scene_description>Charlie's on his cell, in a very short swimsuit. He opens the apartment door to find Harper in the doorway. He lets her in while he talks on the phone--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Yes. Rose petals all over the bed. And candles everywhere.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Kirsten's car is 45 minutes out.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Okay perfect. Thank you.<\/dialogue>\n    <parenthetical>(he hangs up, then)<\/parenthetical>\n    <dialogue>The room's all set. It's gonna be Boner City in there.<\/dialogue>\n    <scene_description>Duncan walks out, also in a bathing suit.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Harper this is Duncan, the best, most handsome, most perfect man in the world, but he's gay, so keep your ovaries in your pants.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Good to know, I'll shove 'em back in. I just have one super quick question, where are the rest of your shorts?<\/dialogue>\n    <scene_description>Duncan laughs. Charlie looks down, sensitive--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>These are cool. Suze likes short shorts on guys.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>You look like John Stockton's slutty sister.<\/dialogue>\n    <scene_description>Duncan laughs again.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Who is that?! Is that mean? Stop making Duncan laugh.<\/dialogue>\n    <character>DUNCAN<\/character>\n    <parenthetical>(to Harper)<\/parenthetical>\n    <dialogue>He doesn't know anything about sports.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Oh, I know.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Stop! You guys aren't friends! You're each my friend!<\/dialogue>\n    <character>DUNCAN<\/character>\n    <parenthetical>(to Harper)<\/parenthetical>\n    <dialogue>Please tell me you're coming to Suze's party.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I would, but I have to sit on my bed and stare at my phone until a man calls me back.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Mini Golf?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Technically I haven't heard from him since we had sex, which I'm totally fine and happy and not at all concerned about, but he told me he'd come to Becca's engagement party, so I'm just going to get ready at home and wait--<\/dialogue>\n    <character>DUNCAN<\/character>\n    <dialogue>No. You're coming.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>It'll be a good distraction. And you can meet Suze!<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I don't have a bathing suit.<\/dialogue>\n    <character>DUNCAN<\/character>\n    <dialogue>You can wear one of my shirts.<\/dialogue>\n    <scene_description>Duncan takes off his shirt and hands it to her. She does a double-take: Duncan's body is AMAZING. She turns to Charlie--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>You're Urkel and Duncan's like your Stefon Urquelle.<\/dialogue>\n    <character>DUNCAN<\/character>\n    <dialogue>I love you.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>That's genuinely very hurtful.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POOL PARTY - DAY<\/stage_direction>\n    <scene_description>MUSIC PUMPS at the most fun party ever: a gorgeous green backyard, a huge splashy pool, tan shiny people in swimsuits, beer and liquor everywhere, food on the grill. Harper (wearing Duncan's shirt), Charlie and Duncan walk in. Harper and Charlie's eyes light up like they're seeing Oz.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Look at all these people who live in sunlight, who breathe in real air, who are young and free and wild as horses!<\/dialogue>\n    <scene_description>A GUY walks by with a hot dog and Harper takes it off his plate, taking a huge bite--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>I knew this was what was happening when we were at work!!<\/dialogue>\n    <scene_description>Suze, in the world's tiniest bikini, runs up to him. Charlie lights up and picks her up in a hug.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Baby! You look so hot! This is my friend Harper.<\/dialogue>\n    <scene_description>Harper goes in for a hug, too, which Suze wasn't expecting.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Oh my God, you're so light. Even I can pick you up!<\/dialogue>\n    <scene_description>Harper does pick up Suze. It's awkward. She drops her.<\/scene_description>\n    <character>SUZE<\/character>\n    <dialogue>Baby, will you get me a drink?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Always!<\/dialogue>\n    <scene_description>He puts his arm around her and leads her to the bar. She checks out his swimsuit they go:<\/scene_description>\n    <character>SUZE<\/character>\n    <dialogue>Your shorts are so long!<\/dialogue>\n    <scene_description>Harper gives Duncan a look. He rolls his eyes, then--<\/scene_description>\n    <character>DUNCAN<\/character>\n    <dialogue>Wanna do the Slip 'N Flip?<\/dialogue>\n    <scene_description>CUT TO: THE SLIP 'N FLIP: a slip-and-side down a small hill that ends at a flip cup table. Harper and Duncan line up at the top.<\/scene_description>\n    <character>RANDOM GUY<\/character>\n    <dialogue>Aaaaaaand GO!<\/dialogue>\n    <scene_description>They FLING themselves down the slip n' slide, screaming happily, then POP UP at the end and wobble to the flip cup table. It's neck-and-neck, they're downing beer and flipping cups over, but Harper wins at the last second! She throws her arms in the air-- I'M YOUNG AND I'M FREE!!!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POOL PARTY - LATER<\/stage_direction>\n    <scene_description>Charlie's laughing and firing TWO WATER GUNS at people when Harper runs up on her cellphone--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Great! Yes, thank you! Thank you!<\/dialogue>\n    <parenthetical>(hangs up, freaking out)<\/parenthetical>\n    <dialogue>Two people just ordered room service and more towels up to the suite! They're there! Together! It worked!!<\/dialogue>\n    <scene_description>YES!!!! They jump up and down and dance in celebration. Charlie fires his water guns into the air, then fires one at Harper. It gets in her eye and she yelps, rubbing her face--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Ow! What is that?!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Oh sorry, it's vodka.<\/dialogue>\n    <scene_description>He grins and squirts some in his mouth. Harper grabs the other water gun and sprays it into her mouth, then chokes, coughing and spitting it out.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Oh shit, that one's just pool water.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POOL PARTY - LATER<\/stage_direction>\n    <scene_description>Harper and Duncan play Charlie and Suze in beer pong. Harper SINKS a ball and Duncan cheers, delighted. Harper bows. HOW ARE YOU DOING THIS?! Suze laughs with some SKINNY GIRLS off to the side, not really paying attention. Charlie tries to get her attention--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Sweetie-- do you wanna drink this one, baby? I can if you want--<\/dialogue>\n    <scene_description>Duncan and Harper bounce two balls in simultaneously. They cheer and do an elaborate handshake celebration.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>You don't have a secret handshake! YOU GUYS ARE NOT FRIENDS!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POOL PARTY - LATER<\/stage_direction>\n    <scene_description>Suze talks with a JACKED GUY across the party. Charlie stands next to her, holding a sun umbrella over her like he's Fonsworth Bentley. He tries to join in on the conversation, but they're not really listening to him. Across the party, Harper watches. She catches his eye and raises her eyebrows, giving him a look. He ignores her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POOL PARTY - LATER<\/stage_direction>\n    <scene_description>Harper, a little drunk, checks her phone off to the side. Duncan and Charlie approach. Duncan hands her a drink. Charlie slaps the phone out of her hand.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Stop. A watched phone never pings.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Maybe he accidentally drove into a ditch and is running out of food and he can't make outgoing calls, he can only receive calls--<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Stop! So he's not calling you. It's not a big deal.<\/dialogue>\n    <character>HARPER<\/character>\n    <parenthetical>(too loud)<\/parenthetical>\n    <dialogue>Yes it is! I slept with him!<\/dialogue>\n    <scene_description>Harper catches herself, vulnerable, but then admits:<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>That's a big deal to me.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I've only done it with two other people and one of them came out while he was inside me.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I hate that I'm the one explaining this to you, but that's actually how sex works, it goes in and out.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>No, he actually came out. Of the closet.<\/dialogue>\n    <scene_description>POP TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DORM ROOM - DAY<\/stage_direction>\n    <scene_description>A very nervous COLLEGE GUY shifts on top of an excited-but- nervous Harper, under the covers.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Ready?<\/dialogue>\n    <character>COLLEGE GUY<\/character>\n    <dialogue>Mmm-hmmm.<\/dialogue>\n    <scene_description>He closes his eyes, wincing as he enters her-- III'M GAY! BACK TO SCENE: Charlie laughs. Duncan nods--<\/scene_description>\n    <character>DUNCAN<\/character>\n    <dialogue>Sometimes we don't know until we've tried it. And then we really know.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Mini Golf isn't like that. He was perfect.<\/dialogue>\n    <character>DUNCAN<\/character>\n    <dialogue>You can't know if something's perfect right away.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Yes you can, I knew Suze was perfect at first sight.<\/dialogue>\n    <scene_description>He realizes Harper is texting again and slaps the phone out of her hand again--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Stop! Don't text him. It's time to play a little hard to get.<\/dialogue>\n    <scene_description>Harper's just drunk enough to rant--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Why does everyone say that?! \"Hard to get\" makes no sense! It is EVOLUTIONARILY UNSOUND! Why would cavemen want a cavewoman who was like, \"Go get me food, and then, I don't know, maybe there will be a cave for you, maybe there won't.\" He would die! Men should want the women who are very obviously going to keep the warmest coziest cave for them! They need shelter! I am guaranteeing shelter!<\/dialogue>\n    <scene_description>She hangs her head. Duncan rubs her back sweetly.<\/scene_description>\n    <character>DUNCAN<\/character>\n    <dialogue>Maybe it's because all cavemen did was shoot animals or climb mountains, and the harder the animal was to kill, the better it tasted. So they probably learned that anything worth anything is going to be hard.<\/dialogue>\n    <scene_description>That hits Harper -- and it hits Charlie, too. Harper takes Duncan's hand, emotional.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>I wish it was the 50's and you had to pretend to be straight and we had a passionless and confusing marriage.<\/dialogue>\n    <character>DUNCAN<\/character>\n    <dialogue>Simpler times.<\/dialogue>\n    <scene_description>Charlie looks over at Suze, flirting with a group of guys by the pool, and decides something. He turns back--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Fuck Mini Golf.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I did fuck Mini Golf! That's why I'm having this problem!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>No, I mean, forget him. I'll go with you. I'll be your date. I'll other-salamander you tonight.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>What about Suze?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>She should see what it's like when her cave doesn't have any fire.<\/dialogue>\n    <parenthetical>(then, realizing)<\/parenthetical>\n    <dialogue>I'm not the cavewoman, I'm still the guy-- let's just go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOP - DUSK<\/stage_direction>\n    <scene_description>A downtown LA rooftop with a gorgeous view, hanging twinkly lights, great food passed around. Guests mingle in pretty dresses and blazers, drinking, laughing. Charlie, a button-down over his bathing suit, and Harper, still in Duncan's t-shirt, move through the crowd, searching for Becca. Harper spots her talking to an OLDER COUPLE and bounds over, hip-checking the Older Couple out of the way, picking Becca up in a hug. YOU'RE GETTING MARRIED!!!<\/scene_description>\n    <character>BECCA<\/character>\n    <dialogue>You're here!!<\/dialogue>\n    <parenthetical>(seeing Charlie)<\/parenthetical>\n    <dialogue>Is this Mini Golf?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>No, this is Charlie, from work.<\/dialogue>\n    <character>BECCA<\/character>\n    <parenthetical>(surprised but happy)<\/parenthetical>\n    <dialogue>Oh my gosh, hi!<\/dialogue>\n    <scene_description>She hugs him as Harper grabs a passing appetizer plate.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Do you have a funnel, or something, I can use for these?<\/dialogue>\n    <scene_description>She jokingly pours the plate into her mouth but she tips it too far and they all fall on her face. Mike approaches--<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Yep, there she is.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOP - LATER<\/stage_direction>\n    <scene_description>The sun is setting. Becca's giving a speech. Mike looks up at her adoringly. Charlie brings Harper a champagne and they watch from the side.<\/scene_description>\n    <character>BECCA<\/character>\n    <dialogue>I've dated a lot of guys, and I liked things about each of them. And then I met Mike, and there was so much to not like about him. Harper pointed out that he dressed like a step-dad--<\/dialogue>\n    <scene_description>People laugh. Harper calls out--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>It was true!<\/dialogue>\n    <character>BECCA<\/character>\n    <dialogue>And he has terrible taste in music. He listens to Linda Rondsadt, non- ironically. His feet are something out of Lord of the Rings.<\/dialogue>\n    <character>MIKE<\/character>\n    <parenthetical>(good-naturedly)<\/parenthetical>\n    <dialogue>This is super fun for me.<\/dialogue>\n    <scene_description>Everybody laughs.<\/scene_description>\n    <character>BECCA<\/character>\n    <dialogue>But he loves me. And I am completely in love with him.<\/dialogue>\n    <scene_description>Harper sees Becca getting emotional and starts getting emotional herself.<\/scene_description>\n    <character>BECCA<\/character>\n    <dialogue>When I was little my grandma told me, \"you like because, and you love despite.\" You like someone because of all of their qualities, and you love someone despite some of their qualities. I never thought I'd find someone who loves me so much that he likes my worst qualities. But that's Mike, and that's me, and I just can't wait to marry him.<\/dialogue>\n    <scene_description>Harper smiles, so happy for her friend and a tiny bit sad.<\/scene_description>\n    <character>BECCA<\/character>\n    <dialogue>Now please go get wasted so I can tell fun stories next week.<\/dialogue>\n    <scene_description>Everybody cheers and we CUT TO..... LATER. Charlie, Harper, Becca and Mike do shots. Harper winces as she swallows and we CUT TO..... LATER. A DANCE FLOOR's broken out. Becca glides around Mike, laughing. Charlie's actually a great dancer -- he might be technically terrible, but he's fearless and hilarious to watch. Harper watches, incredulous--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Why are you good at this?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Just stop thinking! Just do your thing, no one cares!<\/dialogue>\n    <scene_description>Harper moves stiffly, basically just walking.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Imagine you're paralyzed, and then you gain feeling back in your limbs, what would you do?<\/dialogue>\n    <scene_description>She tries, but she's helpless. She jerks around as Charlie watches, horrified--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>That's-- you look like a scarecrow. I've never seen a human body move like this before.<\/dialogue>\n    <parenthetical>(she tries something else)<\/parenthetical>\n    <dialogue>You look like a magician being electrocuted.<\/dialogue>\n    <scene_description>Harper laughs as the song end and a SLOW SONG starts. There's a small awkward beat, but then Charlie grabs her--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Don't be weird.<\/dialogue>\n    <scene_description>They dance for a beat. It's nice.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>What's Rick and Kirsten's \"and yet?\"<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>That like because, love despite thing. When there are all these reasons why it shouldn't work out, but they don't care. Like Romeo and Juliet: \"Our families are mortal enemies, and yet...\" Or Beauty and the Beast: \"I'm a bookish librarian suffering from Stockholm Syndrome, and you're technically an animal, and yet....\"<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>\"You're a black man who works for my father and I accidentally accused you of rape, and yet...\"<\/dialogue>\n    <parenthetical>(off her look)<\/parenthetical>\n    <dialogue>To Kill a Mockingbird? Read a book.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I'm worried Kirsten and Rick don't have one.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Are you insane? We just got them back together. We're hanging on by a thread.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>But even friendships have them. Becca's wild and drinks too much and has never paid a bill on time, and yet, I love her. You like douchey things and let a 23-year- old walk all over you, and yet, you're tolerable.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>You're nice instead of honest and a know it all and you're a terrible dancer, and yet, you're kind of fun.<\/dialogue>\n    <scene_description>Charlie twirls her. She meets eyes with Becca, who's watching them, grinning. Harper gives her a look: \"don't start.\" The slow song ends, and a fast one starts. CUT TO... LATER. Harper and Charlie pound another shot. CUT TO.... LATER. An entire day of drinking is starting to really hit Charlie and Harper. They dance under hanging lights, twirling, not self-conscious at all. Harper laughs, happy, then suddenly gets very serious--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>I NEED PIZZA.<\/dialogue>\n    <scene_description>CUT TO: Over by the bar, Becca laughs with some FRIENDS. Harper squeezes through the group like Red Rover and hugs Becca around the waist.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>You look. So beautiful.<\/dialogue>\n    <character>BECCA<\/character>\n    <parenthetical>(delighted)<\/parenthetical>\n    <dialogue>You're drunk!<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>It was an accident but it was also incredibly on purpose.<\/dialogue>\n    <scene_description>Harper takes Becca's head in her hands, too aggressively.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>You're the love of my life, I'm so happy for you and I'll remember this night until my death, but there's no pizza on this roof and so I have to go. Do you mind if we sneak out?<\/dialogue>\n    <scene_description>Becca sees Charlie holding Harper's coat behind them and smiles.<\/scene_description>\n    <character>BECCA<\/character>\n    <dialogue>Get outta here.<\/dialogue>\n    <scene_description>Harper squeezes Becca, kisses her on the cheek, and skips over to Charlie. Becca watches them go and smiles. A beat later, a PIZZA DELIVERY GUY walks in behind Becca, holding a stack of at least a dozen pizzas.<\/scene_description>\n    <character>PIZZA DELIVERY GUY<\/character>\n    <dialogue>Where do you want these?<\/dialogue>\n    <character>BECCA<\/character>\n    <parenthetical>(turning around)<\/parenthetical>\n    <dialogue>On the table, wherever.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PIZZA PLACE - NIGHT<\/stage_direction>\n    <scene_description>A dinky late-night pizza place. A few people chew silently. Charlie gets a soda while Harper waits for her pizza with a thousand yard stare. Suddenly-- WHERE THE HELL ARE THE GOO GOO DOLLS?! A few people jump, but Harper just goes back to her stare.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>Charlie and Harper walk toward his building, wobbly drunk. Harper tries to open the box to smell the pizza--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>No! Don't let its smell out.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>This smells the way I imagine heroin feels. I wish this box was my bed!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY OUTSIDE CHARLIE'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>They amble to his apartment.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>I just-- when I was little and I thought of myself getting married and having kids, I always pictured a different person doing that. Who was a lot more put together and mature and prettier. But now I'm realizing -- that person has to be me! Doesn't that freak you out?!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I know this isn't gonna sound like how I mean it to sound, but.... I wanna fuck this pizza.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I get it. I mean, you shouldn't ever say that to anyone else, but I get it.<\/dialogue>\n    <scene_description>Charlie opens his door, then slams it closed, eyes wide.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(whispered)<\/parenthetical>\n    <dialogue>Oh my God. Oh my God. Duncan's hooking up with a guy in there.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>What?! Are they 69-ing?<\/dialogue>\n    <scene_description>She tries to open the door but Charlie holds it closed.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(whispering fiercely)<\/parenthetical>\n    <dialogue>We-can't-interrupt-them! He has to know this is a safe space!<\/dialogue>\n    <parenthetical>(thinks, then)<\/parenthetical>\n    <dialogue>There's another way in.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHARLIE'S APARTMENT BUILDING - NIGHT<\/stage_direction>\n    <scene_description>They stumble outside to a FIRE ESCAPE outside Charlie's window. Harper jumps on the ladder, climbing up.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Okay, I'll get to the top and then you hand me the pizza--<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Absolutely not. Your hands are too small.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I can palm a child-sized basketball!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I'll hold it and I'll climb with one hand like a monkey.<\/dialogue>\n    <scene_description>He starts to climb, balancing the pizza.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Oh my God, keep the top up! The cheese is gonna slide, oh my God--<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Shut up you're distracting me!<\/dialogue>\n    <scene_description>She tries to grab it but he slaps her hand away--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>If you fall I will spend all of my efforts to catch this pizza and I will let you die! Don't put me in this position!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Don't make me laugh!<\/dialogue>\n    <scene_description>Harper bursts out laughing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHARLIE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Harper crawls into the window, falling on Charlie's floor. The pizza appears in the window behind her and she grabs it. Charlie's face follows and he hoists himself up, tumbling into the room. Harper laughs. He shushes her. Harper takes the pizza and sits on the floor against Charlie's bed, inhaling the smell. Charlie crawls over to the pizza, sprawled on the floor, and takes a slice.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Thank God.<\/dialogue>\n    <scene_description>She takes a bite of pizza and moans. He inhales his slice. They chew in pleasant silence, smiling, so happy, just the right amount of drunk. Finally, Harper whispers--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>This is the best meal I've ever had in my entire life.<\/dialogue>\n    <scene_description>Charlie smiles. They keep eating in silence. It's relaxing, and nice, and kind of intimate. Maybe too intimate. After a moment Harper realizes that they're in his room, on his bed.... She offers him a shy smile and stands.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>I should probably get out of here.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>A slice for the road?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I'm a lady. Two slices for the road.<\/dialogue>\n    <parenthetical>(he hands them to her)<\/parenthetical>\n    <dialogue>Roll it crust side out, I'm not a monster.<\/dialogue>\n    <scene_description>They roll up two slices and Harper holds one in each hand, salutes him, and climbs down the fire escape out of view. Charlie watches her go, then flops down on his bed and eats his pizza, in a weirdly good mood. His phone PINGS -- it's a text from Suze. He ignores it and takes another bite.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARPER'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Harper lays in her bed in almost the same position, a plate of pizza on her chest, eating her slice and thinking. After a beat she smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \"THE RUNDOWN\" OFFICES - THE NEXT DAY<\/stage_direction>\n    <scene_description>Harper walks up to her desk with her morning coffees and sees a note scribbled on her desk: Meet me on 12th floor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCKELVY CAPITAL OFFICE - DAY<\/stage_direction>\n    <scene_description>Harper walks up to Charlie's desk. He brightens.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>They smile, a little shy from their adventure. Harper's about to say something when Rick leans out of his office--<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>Come in. Both of you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RICK'S OFFICE - DAY<\/stage_direction>\n    <scene_description>They walk in to find Kirsten sitting perched on Rick's desk.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>Charlie, this is Kirsten, and her assistant, Harlowe.<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>Harper.<\/dialogue>\n    <scene_description>Charlie and Harper shake hands, very formal, eyes smiling.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Nice to meet you.<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>You guys are gonna need to know each other, because Kirsten and I are getting married.<\/dialogue>\n    <scene_description>Harper and Charlie's heads whip up.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>What?!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Are you serious?<\/dialogue>\n    <scene_description>Kirsten takes Rick's hand, absolutely glowing.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>It happened quickly, but when you know you know.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>That's-- amazing.<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>We wanna fly down to St. John's and elope on the beach.<\/dialogue>\n    <scene_description>He squeezes Kirsten's hand and she blushes.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>Super romantic. At sunset, all that bullshit. And we need you two to plan it.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>We can do that. We can totally do that. Consider me J.Lo. From her movie The Wedding Planner. About planning weddings--<\/dialogue>\n    <character>HARPER<\/character>\n    <parenthetical>(cutting him off)<\/parenthetical>\n    <dialogue>Whatever you need, we'll make it happen. When do you want to go?<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>This Saturday.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>That's my birthday!<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>I don't care.<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>Harper, I'll be gone for so long with little to do in the office, so maybe now's a good time to prepare a draft of that soccer article you were weeping about.<\/dialogue>\n    <character>HARPER<\/character>\n    <parenthetical>(trying to hide her joy)<\/parenthetical>\n    <dialogue>That's-- yes. Yeah. I would love that. I'll do that.<\/dialogue>\n    <scene_description>Harper tries to hide her joy but she can't. Kirsten smiles happily. Rick looks between them, not wanting to be outdone--<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>Also Charlie you're promoted.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>Not now, I still need you to be my assistant. But when we get back. You can train the new bastard for a few weeks so they can get up to your level.<\/dialogue>\n    <scene_description>Charlie beams.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Absolutely. Of course.<\/dialogue>\n    <scene_description>He and Harper steal a look: holy shit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCKELVY CAPITAL OFFICE - DAY<\/stage_direction>\n    <scene_description>Harper and Charlie walk out, trying to be cool, but as soon as they're out of sight of Rick's office they freak out, jumping up and down and whispering frantically--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Oh my God!!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Holy shit!!<\/dialogue>\n    <scene_description>They hug. The hug lasts that half-second too long that gives you a drop in your stomach. They pull away quickly.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>You're getting promoted! Before your birthday!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Dude! You get to write an article!<\/dialogue>\n    <scene_description>Harper inhales, eyes wide, excited but nervous, as Rick and Kirsten walk out of Rick's office.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>Grab my bag, Charlie, we can work from the City Club today.<\/dialogue>\n    <scene_description>Charlie gives Harper his most excited look, then drops it to look casual, grabs his bag and hurries after Rick.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEAM ROOM - CITY CLUB - DAY<\/stage_direction>\n    <scene_description>A few OLDER MEN men sit, eyes closed, sweating profusely. Rick enters in a towel. Charlie follows him, also in a towel, looking around like he's in the North Pole. Rick sits on a bench, puts his arms back, and closes his eyes. Charlie sits next to him, legs swinging, just excited to be there. He keeps trying to catch someone's eye to say something, but everyone ignores him. Eventually he closes his eyes and tries to relax.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM - CITY CLUB - DAY<\/stage_direction>\n    <scene_description>Charlie follows Rick down a fancy food buffet, in a sea of blue blazers and bloated rich guys.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>We were smart to wait on Chef-Me. What we really want is to get in on the Series A. Fuck angel investments.<\/dialogue>\n    <parenthetical>(taking a bite of bread)<\/parenthetical>\n    <dialogue>And make sure my wife knows.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>About Chef-Me?<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>No, idiot, about the wedding. And the date. Six weeks before hers.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I was just gonna send her an invitation when I sent the rest out.... Do you want me to call her, or something?<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>No I'll do it.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>You know what? Let's send her flowers instead. Some \"fuck you\" flowers. Really big daisies. She hates daisies.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Awesome. What should they say?<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>Say.... \"I'm gonna beat you to the altar. And I'm gonna fuck you harder tonight than I did last week.\"<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(a frozen beat)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>Or maybe, \"I'm getting hitched first, but you can come first.\" No, that's gross. The first one.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(clearing his throat)<\/parenthetical>\n    <dialogue>I just...I thought you were gonna marry Kirsten.<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>We are. And it better be spectacular. Speaking of which, we need a ring, right? Tomorrow you should go to a jewelry store and pick out something that looks expensive.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Okay....<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>Let me know when Kiki gets the flowers. And tell Kirsten I've got a meeting tonight.<\/dialogue>\n    <scene_description>Rick picks up a lobster tail, frowning--<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>God the food here sucks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KIRSTEN'S OFFICE - LATER<\/stage_direction>\n    <scene_description>Harper stands in the doorway, juggling papers as she goes over the calendar.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>The coders and designers will need a few days to prepare the mock-ups for your approval, so it's pretty easy to clear next week.<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>I really don't want to delay the launch. Can we squeeze anything in this weekend?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Totally, you just have Mary's baby shower but I already declined--<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>Ugh, I'll go to that.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>To the baby shower? What about the moratorium?<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>This time I'll have something to talk about. Or at least something they'll wanna listen to.<\/dialogue>\n    <scene_description>Harper rolls her eyes, but Kirsten's face softens.<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>I love this job. This site is my dream and I wouldn't do a single thing differently. But.... I was lonely.<\/dialogue>\n    <scene_description>Harper freezes, totally thrown by this vulnerability--<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>Men don't wanna date you when you're beating them to a story. I used to think there was something wrong with me. That everyone else had found someone and I was the only loser alone. But I wasn't going to meet the person for me until I'd done what I wanted and become the person I am.<\/dialogue>\n    <parenthetical>(a beat, then)<\/parenthetical>\n    <dialogue>I know I've been a cunt to you.<\/dialogue>\n    <character>HARPER<\/character>\n    <parenthetical>(startled)<\/parenthetical>\n    <dialogue>Oh my God, no you haven't, don't say that--<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>Don't be one of those women who can't say \"cunt.\" It's just a word. And I've been cunty. Partly because you're young and your skin bounces back and it annoys me. But also because I think you're talented.<\/dialogue>\n    <character>HARPER<\/character>\n    <parenthetical>(even more startled)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>People are shitty to talented, driven women. They're gonna be awful to you. So if I'm the most awful to you, when this testicle- dominated shitstorm of an industry is hard on you, you'll be prepared. And you'll dominate.<\/dialogue>\n    <scene_description>Harper smiles, touched and a little stunned.<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>Which is why I'm not gonna stop. I asked for those wedding dress mock- ups an hour ago.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I've got them--<\/dialogue>\n    <scene_description>She hurries out of the office, smile faltering, suddenly feeling really guilty.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCKELVY CAPITAL OFFICES - DAY<\/stage_direction>\n    <scene_description>Harper walks in. Charlie sees her and spins around in his chair, trying to keep things light--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Okay so I just talked to the Caneel Bay Resort, and we can get them a sunset slot next Saturday and the second-best honeymoon suite--<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Charlie, is this crazy?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>It just feels like it's getting out of hand. They're gonna link their bank accounts because we wanted some free time? They don't even know each other!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>That's-- No! They know each other. And they're obviously happier together than they were apart. They both want to be married. This is good for them!<\/dialogue>\n    <scene_description>Harper takes a deep breath.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Okay. Tell me about our flower choices.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \"THE RUNDOWN\" OFFICES - LATER THAT DAY<\/stage_direction>\n    <scene_description>Harper's working when her phone rings.<\/scene_description>\n    <character>HARPER (ON PHONE)<\/character>\n    <dialogue>Hello?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY \\[INTERCUT\\]<\/stage_direction>\n    <scene_description>Charlie's walking down the street on his cell--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Will you come and help me pick out the ring?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>No. I've already stood up like four times today.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Please? You're so good at this. You're better at this than me. I need your female expertise.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCKELVY CAPITAL OFFICE - DAY<\/stage_direction>\n    <scene_description>Harper walks in. She sees Rick in his office on the phone and tiptoes over to Charlie's desk. She moves some papers around, opens a drawer, searching for the credit card. She finds a PHOTO of Suze and Charlie taking a goofy selfie and picks it up for a second, until she hears Rick--<\/scene_description>\n    <character>RICK (O.S.)<\/character>\n    <dialogue>No. Because you look so hot in that dress I can't concentrate.<\/dialogue>\n    <scene_description>Harper looks over to Rick talking on the phone. She smiles. Then she frowns, thinking of something. She takes out her phone and checks Kirsten's calendar: Kirsten's in a meeting. Harper thinks a beat, then picks up Charlie's phone to hear:<\/scene_description>\n    <character>KIKI (O.S.)<\/character>\n    <dialogue>You shouldn't be concentrating on anything but my tits.<\/dialogue>\n    <scene_description>Harper's face falls. That's not Kirsten's voice.<\/scene_description>\n    <character>RICK (ON PHONE)<\/character>\n    <dialogue>What are you wearing right now?<\/dialogue>\n    <character>KIKI (O.S.)<\/character>\n    <dialogue>The bra you bought me on our honeymoon.<\/dialogue>\n    <character>RICK (ON PHONE)<\/character>\n    <dialogue>Did you get what Charlie sent you?<\/dialogue>\n    <scene_description>Harper slams the phone down like it's on fire.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JEWELRY STORE - DAY<\/stage_direction>\n    <scene_description>Harper walks in as Charlie talks with a RING SALESMAN at the counter. The Ring Salesman notices Harper--<\/scene_description>\n    <character>RING SALESMAN<\/character>\n    <dialogue>Is this the lucky lady?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(turns and sees her)<\/parenthetical>\n    <dialogue>Finally! Okay, how does Kirsten feel about blood diamonds?<\/dialogue>\n    <scene_description>Harper hands him the credit card, studying his face.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>It was so weird, when I got the card, I heard Rick flirting with somebody on the phone, but I think Kirsten's in a meeting. What do you think that was?<\/dialogue>\n    <scene_description>Harper watches Charlie go a little pale. He clears his throat, voice faltering--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I don't know. I bet he was leaving Kirsten a voice mail. For her to hear later. And be happy.<\/dialogue>\n    <scene_description>Harper's face falls. Charlie tries to change the subject--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Does she like topaz?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I don't know? Does Kiki like topaz? She didn't mention it when she and Rick were having PHONE SEX!<\/dialogue>\n    <scene_description>She slams the counter and the rings go flying.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>How do you know about that?!<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>You are such a LIAR!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Look, it was one time, it was a mistake, it didn't mean anything--<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>After everything we did for him? We gave him everything he wanted!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>He's confused! He just needed to get it out of his system before the wedding--<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>The WEDDING?! They can't get married!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Yes they can! Harper, we can keep this from her...we control their schedule, their e-mail-- she never has to know.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Are you being serious? You would ruin someone's life so you can hang out with a girl who treats you like shit and work longer hours at a job that doesn't matter?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Whose life am I ruining?! Your lonely boss? She has no life! We're giving her a husband!<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>OH MY GOD. You're worse than Rick! Rick's a selfish, superficial asshole, but he can't help it. You're better than that, you could be great, but you want to be an asshole. You're choosing to be a piece of shit! You don't care about anybody but yourself!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Stop pretending this is some moral dilemma. You're just scared not to be an assistant anymore. You're going to ruin my life and their lives because you'd rather run around getting Kirsten coffee than actually have to write something.<\/dialogue>\n    <scene_description>Harper flinches, stung. She almost tears up, but reels it back in, standing up straighter--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>I'm telling Kirsten.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Harper--<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>The whole truth, ALL OF IT!<\/dialogue>\n    <parenthetical>(as she goes)<\/parenthetical>\n    <dialogue>Congratulations on your promotion from assistant douchebag to full douchebag, and all before your 28th birthday!<\/dialogue>\n    <scene_description>She storms out, face crumpling. Charlie watches her go, pissed and confused. Fuck. A beat.<\/scene_description>\n    <character>RING SALESMAN<\/character>\n    <parenthetical>(pulling out another tray)<\/parenthetical>\n    <dialogue>I'd be happy to show you our \"I fucked-up\" selection...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEAUTIFUL HOUSE - DAY<\/stage_direction>\n    <scene_description>A classy, sterile, mini-mansion covered in baby decorations. Harper enters, holding a present, and glides through clumps of LADIES in pastels laughing and drinking. She spots Kirsten across the room, talking to a crowd of WOMEN. Kirsten sees Harper and gives her a confused smile. Harper gestures -- \"I need to talk you\" -- and Kirsten excuses herself and walks over to her.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>I'm so sorry to just show up, you forgot the present--<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>Honestly, you saved me. If I hear one more woman talk about how much their nipples have changed since giving birth, I'll kill myself. I swear to God, Harper, I walked in here with a fiance and it's like suddenly I was a member of a club.<\/dialogue>\n    <scene_description>She says it like it's a bad thing but she's clearly happy. They get to a corner away from everybody else.<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>All they wanna talk about is when I'm gonna have kids. I told them, first I have to learn to be a stepmother--<\/dialogue>\n    <character>HARPER<\/character>\n    <parenthetical>(blurting it)<\/parenthetical>\n    <dialogue>Rick is cheating on you.<\/dialogue>\n    <scene_description>Kirsten freezes. A beat.<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>He's sleeping with his ex-wife. I'm so sorry.<\/dialogue>\n    <parenthetical>(quickly)<\/parenthetical>\n    <dialogue>But it's actually not as bad as it seems! Because you don't actually like him.<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>This whole thing-- it's not real. His assistant and I, we.... we set you up. We made you think you liked each other. We shut down the elevator. So you'd meet. And the game! The Dodgers game wasn't real, we made you meet there and the Kiss Cam, that was me.<\/dialogue>\n    <scene_description>Kirsten flinches at each memory, but Harper doesn't notice--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Even Ojai, we sent the flowers, we did the meal... The whole relationship... it isn't real. You don't even know him. I know you better than Rick does. What you feel for him, it's not real.<\/dialogue>\n    <parenthetical>(desperate)<\/parenthetical>\n    <dialogue>So it's not as bad....<\/dialogue>\n    <scene_description>Kirsten's face stays completely still. Another long beat. Harper waits, scared. Then, calmly--<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>You're fired.<\/dialogue>\n    <scene_description>Harper winces as Kirsten holds her head up and walks away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOYER - MINI MANSION - DAY<\/stage_direction>\n    <scene_description>Harper walks out, crying, and passes a group of KIRSTEN'S FRIENDS gossiping by the appetizers.<\/scene_description>\n    <character>KIRSTEN'S FRIEND<\/character>\n    <dialogue>I think it's a financial thing. They get married and he can put all his bad assets in Kirsten's name.<\/dialogue>\n    <scene_description>The others laugh. Harper stops.<\/scene_description>\n    <character>KIRSTEN'S FRIEND #2<\/character>\n    <dialogue>She's acting like she invented getting engaged. It's like, I've been engaged three times. It's not that hard.<\/dialogue>\n    <character>KIRSTEN'S FRIEND #3<\/character>\n    <dialogue>I just hope her vows include working all the time and leaving him at home to jerk off.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <scene_description>The women turn.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>You're lucky to even be Kirsten's friend. Do you have any idea what a big deal she is? What she's done for sports journalism? I can tell you don't because if you did you would WORSHIP her. And she still comes to your shitty showers and parties and brunches-- Carol, she spent four hours at your water birth. She'll never be able to unsee that. She's tough and she's smart and she doesn't put up with any bullshit and I want to be just like her when I'm older. In some ways. Not in every way, but in a lot of them-- most of her qualities are great. And you're all a bunch of c--<\/dialogue>\n    <scene_description>She tries to say \"cunts\" but she can't get it out.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>C--hmmmmm. Damnit--<\/dialogue>\n    <parenthetical>(furious, but can't do it)<\/parenthetical>\n    <dialogue>C-words. You're all a bunch of C- words.<\/dialogue>\n    <parenthetical>(then, just as mad)<\/parenthetical>\n    <dialogue>This home is beautiful thank you for having me.<\/dialogue>\n    <scene_description>She grabs an appetizer from the plate by the door, glares at them one more time, and storms out to the door. She passes a hallway where Kirsten stands, hidden, having heard the entire exchange.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCKELVY CAPITAL OFFICE - THE NEXT DAY<\/stage_direction>\n    <scene_description>Charlie fidgets at his desk, waiting for Rick. Rick finally walks in and Charlie sits up, nervous, but--<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>Good morning! Is this mine?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(very confused)<\/parenthetical>\n    <dialogue>Uh, yeah. Yes.<\/dialogue>\n    <parenthetical>(then, fishing)<\/parenthetical>\n    <dialogue>So your tickets are all set for tomorrow. For the wedding....<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>Great.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>A car will pick you and Kirsten up from the building?<\/dialogue>\n    <scene_description>Rick just goes into his office. Charlie watches him, even more confused.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARPER &amp; BECCA'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Harper's sprawled on the couch in her bathrobe and sweatpants, staring at a blank page blinking on her laptop. Becca walks out of her room, surprised to see her.<\/scene_description>\n    <character>HARPER<\/character>\n    <parenthetical>(trying to sound excited)<\/parenthetical>\n    <dialogue>I got fired!<\/dialogue>\n    <scene_description>THAT'S AMAZING! Harper bursts into tears. Becca hurries over.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>I spent a year there and didn't write a single thing and now Kirsten hates me and will never help me. I wasted all that time.<\/dialogue>\n    <parenthetical>(gesturing to her laptop)<\/parenthetical>\n    <dialogue>And I'm bad. I'm bad at this. I have been trying to write the same article for months and it's so bad I can't even finish it.<\/dialogue>\n    <scene_description>She starts crying again. Becca leans in to hug her, then shoves her instead. Harper looks up, surprised--<\/scene_description>\n    <character>BECCA<\/character>\n    <dialogue>Of course your first draft is bad. It's gonna be terrible. And then you make it better. But you can't make it better until you do it.<\/dialogue>\n    <scene_description>That hits Harper. She sits back.<\/scene_description>\n    <character>BECCA<\/character>\n    <dialogue>You learned a lot from that psychopath, you've just never had time to actually use it. And now you do. So go do it!<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>BECCA<\/character>\n    <dialogue>Okay!<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I'm gonna go write the shittiest thing I've ever written.<\/dialogue>\n    <character>BECCA<\/character>\n    <dialogue>It's gonna suck ass! I can't wait to read it!<\/dialogue>\n    <scene_description>Harper grabs her laptop, kisses Becca on the cheek, and sprints out of the apartment.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CACTUS CANTINA MEXICAN RESTAURANT - DAY<\/stage_direction>\n    <scene_description>Harper marches into the restaurant, still in her bathrobe. She slams into a seat at the bar and opens her laptop.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>I'm not leaving this chair until I write an entire article.<\/dialogue>\n    <character>CACTUS CANTINA WAITER<\/character>\n    <dialogue>That's great. That's great news for me.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Free chips and water, please!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCKELVY CAPITAL OFFICE - DAY<\/stage_direction>\n    <scene_description>Charlie stares at his phone, then picks it up, dials Harper--<\/scene_description>\n    <character>NEW INTERN (O.S.)<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Uh...is Harper there?<\/dialogue>\n    <character>NEW INTERN (O.S.)<\/character>\n    <dialogue>Who's Harper?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Kirsten's assistant.<\/dialogue>\n    <character>NEW INTERN (O.S.)<\/character>\n    <dialogue>I'm Kirsten's assistant. Can I help you with something?<\/dialogue>\n    <scene_description>Charlie slams the phone down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CACTUS CANTINA MEXICAN RESTAURANT - DAY<\/stage_direction>\n    <scene_description>Harper types maniacally. The Waiter approaches, so frustrated. Harper notices him and realizes--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Oh, God, I should probably eat something.<\/dialogue>\n    <scene_description>She pulls a GRANOLA BAR out of her bag and opens it. She stuffs it in her mouth and goes back to typing--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Keep that water coming!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DELFINE'S - THAT NIGHT<\/stage_direction>\n    <scene_description>A condescending HOST leads Charlie and Suze through an unbearably fancy restaurant. Charlie tugs at his nicest suit. Suze's dress catches every eye in the room. She takes Charlie's hand, thrilled--<\/scene_description>\n    <character>SUZE<\/character>\n    <dialogue>I've always wanted to eat here!<\/dialogue>\n    <scene_description>Charlie smiles. They arrive at a tiny table shoved awkwardly in the back corner.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Oh. I think we requested a table by the window, actually...<\/dialogue>\n    <character>DELFINE'S HOST<\/character>\n    <dialogue>I think you're mistaken.<\/dialogue>\n    <scene_description>The Host leaves. Charlie frowns, annoyed, but sits.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CACTUS CANTINA MEXICAN RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>The restaurant's pretty empty. Harper types a last sentence and sits back, surprised.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>I finished.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <scene_description>I FINISHED! She grabs two handfuls of chips and crushes them in her hands like she's the Hulk. Then she realizes something. She checks the time, then shoves her computer in her bag--<\/scene_description>\n    <character>CACTUS CANTINA WAITER<\/character>\n    <dialogue>Nope. Not again--<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I actually do have to be somewhere! I really have to go!<\/dialogue>\n    <scene_description>YOU HAVE TO ORDER SOMETHING!!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DELFINE'S - NIGHT<\/stage_direction>\n    <scene_description>Suze picks up her wine glass to cheers--<\/scene_description>\n    <character>SUZE<\/character>\n    <dialogue>Happy birthday, baby. 28 is going to be the best year.<\/dialogue>\n    <scene_description>Charlie manages a smile. He takes a bite of his steak and chews, unimpressed. Suze takes a bite and moans.<\/scene_description>\n    <character>SUZE<\/character>\n    <dialogue>Oh my God. This is the best meal I've ever had.<\/dialogue>\n    <scene_description>Charlie watches her, realizing something.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>The best meal I ever had was a $5 piece of pizza that was thrown up a fire escape.<\/dialogue>\n    <character>SUZE<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>He looks around the restaurant, the fancy tablecloths and stuffy people...<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I don't want this anymore.<\/dialogue>\n    <character>SUZE<\/character>\n    <dialogue>Do you want to order something else?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>No. Delfine's sucks. That guy is an asshole and everything's too quiet in here and this steak is delicious but it's not worth $70. I could buy two bikes for that.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I don't want to want to be an asshole.<\/dialogue>\n    <character>SUZE<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>If my 15 year-old self was here he would punch me in the dick. But I can't do this anymore, Suze.<\/dialogue>\n    <scene_description>Suze is literally shocked. Charlie stands.<\/scene_description>\n    <character>SUZE<\/character>\n    <dialogue>But-- that-- you're my backup.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I know. And you're gonna find someone much hotter and more appropriate for you and be happier.<\/dialogue>\n    <scene_description>He kisses her on the cheek and hands her his credit card.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Order whatever you want, on me.<\/dialogue>\n    <parenthetical>(leaves, then turns back)<\/parenthetical>\n    <dialogue>What the fuck am I doing, you're not my girlfriend anymore, gimme that. I'm not a Rockefeller!<\/dialogue>\n    <scene_description>He snatches the card back and sprints away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEFLINE'S - NIGHT<\/stage_direction>\n    <scene_description>Charlie races over to the VALET GUY, waving his ticket--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I need my car! This is an emergency! I have to get to the airport to stop someone from getting married!<\/dialogue>\n    <scene_description>The Valet Guy just stares at him. Charlie checks his watch.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Oh, actually, I have plenty of time. The flight's not for another four hours.<\/dialogue>\n    <parenthetical>(a long awkward beat)<\/parenthetical>\n    <dialogue>How's your night going so far?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHARLIE'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Charlie calmly drives towards the airport. He passes the far- away DISCOUNT PARKING LOT and shrugs--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I got time.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT SHUTTLE BUS STOP - NIGHT<\/stage_direction>\n    <scene_description>Charlie waits as the SHUTTLE BUS pulls up to the parking lot. He lets an OLDER LADY board before him--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Please, go ahead.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPORT STARBUCKS - NIGHT<\/stage_direction>\n    <scene_description>Charlie steps up to the Barista, pondering the menu--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>What's the difference between an Americano and a latte, again?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPORT BOOKSTORE - NIGHT<\/stage_direction>\n    <scene_description>Charlie sips his coffee and flips through a book. An EMPLOYEE approaches--<\/scene_description>\n    <character>AIRPORT BOOKSTORE EMPLOYEE<\/character>\n    <dialogue>Sir, we're closing in five minutes.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(checks his watch)<\/parenthetical>\n    <dialogue>I did the dick-around thing!<\/dialogue>\n    <scene_description>He sprints off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPORT TERMINAL - NIGHT<\/stage_direction>\n    <scene_description>Charlie hurries through people waiting to go through security. He searches the crowd, frantic, then finally sees Rick and Kirsten in line and sprints over--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Kirsten! Stop!<\/dialogue>\n    <scene_description>Rick and Kirsten turn, surprised to see him.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Rick, I quit. And Kirsten, you can't marry him, because he's a huge dick.<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I said you are a huge dick, not you have a huge dick.<\/dialogue>\n    <parenthetical>(to Kirsten)<\/parenthetical>\n    <dialogue>You deserve better than this.<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <scene_description>Some of the crowd starts to realize what's happening.<\/scene_description>\n    <character>TSA AGENT<\/character>\n    <dialogue>Is this some sort of sick joke?<\/dialogue>\n    <character>DO IT!<\/character>\n    <dialogue>CHARLIE<\/dialogue>\n    <character>GO WITH THE YOUNG GUY!<\/character>\n    <dialogue>Oh, gross, no. I mean-- not gross, she's a handsome woman, but no--<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>Charlie, I don't know what you think you're doing--<\/dialogue>\n    <scene_description>HEY! Charlie turns-- Harper's on the other side of security, waving at them, pissed.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>What are you doing?!<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I came to stop them! I was worried I was gonna do the dick around thing so I bought a ticket to meet them at the gate and it was EXPENSIVE AS SHIT!<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Don't do it, Kirsten! You don't have to settle for him!<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>What is going on?!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(turning to Kirsten)<\/parenthetical>\n    <dialogue>I know we've never really met, but I know a lot about you. Because Harper's always talking about you. And even when Harper's saying mean things, you can hear how much she admires you.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>You're a badass, Kirsten! Whatever you think you're getting from doing this, you don't need it.<\/dialogue>\n    <scene_description>Kirsten's armor starts to crack. Rick takes her arm and tries to move toward the gate--<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>Charlie, you are fired as fuck.<\/dialogue>\n    <scene_description>I ALREADY QUIT! Kirsten stops him.<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>What's my favorite food?<\/dialogue>\n    <scene_description>On instinct, Rick looks to Charlie. Charlie glares at him.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>Steak tartare--<\/dialogue>\n    <scene_description>IT'S GREEN CURRY YOU DOUCHETARD!<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>Where's my favorite place?<\/dialogue>\n    <scene_description>Rick starts to say something, but he's got nothing.<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>It's Squam Lake, New Hampshire, you douchetard.<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>Kirsten, this is ridiculous--<\/dialogue>\n    <scene_description>Kirsten takes her bag from Rick's hand, puts her shoulders back, clears her throat, and takes a deep breath.<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>Harper? Can you remove the wedding from my calendar?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Absolutely!<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Charlie smiles. The crowd CHEERS and starts chanting--<\/scene_description>\n    <character>KISS!<\/character>\n    <dialogue>CHARLIE<\/dialogue>\n    <character>KISS!<\/character>\n    <dialogue>Ew, no. Again, not \"ew,\" just, this is not a sexual thing--<\/dialogue>\n    <scene_description>Kirsten marches away with her rolling bag. Rick chases her.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>Kirsten! Stop!<\/dialogue>\n    <scene_description>Charlie watches them go, then turns to Harper, but Harper's already walking away. HARPER! Harper turns back.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I, um-- I broke up with Suze.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Congratulations.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I'm sorry I was an asshole.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>It's fine.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>It's not fine! Don't say it's fine.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Do you want to get a pizza?<\/dialogue>\n    <character>HARPER<\/character>\n    <parenthetical>(a beat, then, sadly)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <scene_description>She turns and walks away.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Harper....<\/dialogue>\n    <scene_description>Her face falls but she doesn't turn around.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHARLIE &amp; DUNCAN'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Duncan and Charlie pack up the apartment, moving boxes everywhere. Duncan puts all of the kitchen stuff in a box marked \"Duncan.\" Charlie puts a single chipped cereal bowl in a tiny box marked \"Charlie.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \"THE RUNDOWN\" OFFICES - DAY<\/stage_direction>\n    <scene_description>Harper walks into the empty office with a cardboard box for her things. She gets to her desk and starts packing up her few personal items, then stops, surprised, when she sees Kirsten walking out of her office, frantic.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>Hi--<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>Thank God you're here. I can't find that article on lesbian soccer players in Nigeria.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>It's probably still in your downloads folder.<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>Also, I can't find Geoff's number.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>You made me change his name to \"Satan\" in your contacts.<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>Also, come back to work.<\/dialogue>\n    <character>HARPER<\/character>\n    <parenthetical>(a surprised beat)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>You crossed every line, ever. Last week I genuinely considered setting you up for a white collar crime and letting you rot in jail.<\/dialogue>\n    <scene_description>Kirsten glares at her, but there's a warmness to it.<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>But I...understand, in some ways, what you were trying to... you're a smart girl.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Also I have no idea how you did all of this and I can't do it without you. This place is falling apart. Come back and do this with me.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>I learned so much from you and admire you so much...but by my age you were already starting your own magazine, because that's what you wanted to do, and I want to be a writer. So I think I need to write. But I'd love to help you find a new assistant.<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>You're fired again. I hate you.<\/dialogue>\n    <scene_description>Harper nods and turns to go. Kirsten calls after her--<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>Harper!<\/dialogue>\n    <parenthetical>(Harper turns back)<\/parenthetical>\n    <dialogue>Do you have a first draft?<\/dialogue>\n    <parenthetical>(off Harper's confusion)<\/parenthetical>\n    <dialogue>Of your article.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Yes! Yes.<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>Send it to me. We can go over it and when it's in good enough shape, I'll send it to some friends.<\/dialogue>\n    <scene_description>Harper beams and nods.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHARLIE'S NEW APARTMENT - DAY<\/stage_direction>\n    <scene_description>A much smaller studio. Charlie unpacks his lone box, drinking a beer. Someone knocks on the door and Charlie goes to open it-- it's Rick.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>You live here?<\/dialogue>\n    <parenthetical>(looking around)<\/parenthetical>\n    <dialogue>This is disgusting.<\/dialogue>\n    <scene_description>Charlie starts to close the door but Rick stops it.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>I need some information. On my wife. My ex-wife.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Like what?<\/dialogue>\n    <scene_description>Rick clears his throat and pulls out a notebook.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>Assorted favorites, like food or flowers or clothing. Ideal vacations or romantic gestures.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Are you serious?<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>I should know these things, but you always did them for me.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>RICK<\/character>\n    <parenthetical>(awkwardly)<\/parenthetical>\n    <dialogue>And I want her back.<\/dialogue>\n    <scene_description>Charlie's shocked -- for the first time Rick looks a tiny bit vulnerable. Charlie softens.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I have an old Kiki folder. I'll send it to you.<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>I'd really appreciate that.<\/dialogue>\n    <scene_description>Charlie nods. Duncan walks up with an iced coffee.<\/scene_description>\n    <character>DUNCAN<\/character>\n    <dialogue>Rick! How are you?<\/dialogue>\n    <parenthetical>(to Charlie)<\/parenthetical>\n    <dialogue>You don't work for him anymore, right?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <scene_description>Duncan tosses his iced coffee on Rick's shirt. Rick recoils, shocked, as Duncan walks past him into Charlie's apartment.<\/scene_description>\n    <character>DUNCAN<\/character>\n    <dialogue>This place is great!<\/dialogue>\n    <scene_description>Charlie gives Rick a salute and closes the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARPER &amp; BECCA'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Becca reads her laptop on the couch when Harper walks in.<\/scene_description>\n    <character>BECCA<\/character>\n    <dialogue>How'd it go?<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>She's gonna help me with my story and then send it to a few people.<\/dialogue>\n    <character>BECCA<\/character>\n    <dialogue>That's amazing!!<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>Yeah! It's awesome.<\/dialogue>\n    <scene_description>Harper's trying to be excited but she sounds miserable. Becca watches her for a beat, then jumps up.<\/scene_description>\n    <character>BECCA<\/character>\n    <dialogue>Let's go, we're getting free chips.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CACTUS CANTINA MEXICAN RESTAURANT - DAY<\/stage_direction>\n    <scene_description>Harper walks in, talking to Becca behind her.<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>I honestly think I cry harder at the speech Murray gives when he loses Wimbledon. Because it's so--<\/dialogue>\n    <scene_description>Harper freezes-- Charlie's sitting at the bar. He looks up, just as surprised.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Did Duncan invite you, too?<\/dialogue>\n    <scene_description>Harper turns, but Becca's gone. Harper looks outside and just catches Becca getting into Duncan's car. GO!! Duncan floors it and Becca leans out the window as they squeal away--<\/scene_description>\n    <character>BECCA<\/character>\n    <dialogue>Just make up and make out!! You're driving us crazy!!!<\/dialogue>\n    <scene_description>Harper and Charlie watch them go, stunned. Harper turns back to Charlie. She thinks a beat. Then sits at his table. Charlie clears his throat, nervous.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I like you so, so much. You're not hard to get, at all. But you're hard to earn. And that's better.<\/dialogue>\n    <scene_description>Harper doesn't say anything for a long time.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Is this the good kind of silence--<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>You displayed a total lack of character when it mattered.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>You have the sexual and romantic personality of a seventh grader.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I don't think a seventh grader, I think at least high school--<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>You wear suits to sports games.<\/dialogue>\n    <scene_description>Charlie realizes what she's doing. He starts smiling.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>You can be really judgmental.<\/dialogue>\n    <character>HARPER<\/character>\n    <dialogue>You're terrible at beer pong.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>You've never used less than four exclamation points.<\/dialogue>\n    <scene_description>A beat. Harper's trying her hardest to hide it but she can't help smiling. Finally she shrugs--<\/scene_description>\n    <character>HARPER<\/character>\n    <dialogue>And yet....<\/dialogue>\n    <scene_description>Charlie leaps over the table and kisses her. Harper throws her arms around him and they make out, oblivious to the world. The Waiter walks over.<\/scene_description>\n    <character>CACTUS CANTINA WAITER<\/character>\n    <dialogue>I mean, this is not your home. This is a public space. That-- keep your feet on the floor.<\/dialogue>\n    <scene_description>Charlie picks Harper up onto the table, swiping it clear and sending a bowl of chips CRASHING to the ground as we-- FADE OUT.:<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Harper Moore is the assistant to Kirsten Stevens, a former journalist and now editor of an online sports journalism empire. Charlie Young is the assistant to high-strung venture capitalist Rick Otis. They work in the same building and meet one night when their bosses need dinner. Harper has ordered dinner for Kirsten but has no cash to pay for it; Charlie, who was not able to order dinner for Rick, pays for it to give to Rick. When Harper tells him she will be fired if she does not return with food, Charlie allows her to take one of the meals. The next day Harper reimburses Charlie for the food, and they talk about their jobs. Though Rick is abrasive, his connections would guarantee Charlie a promotion. Harper admires Kirsten's career and aspires to write sports journalism. Both assistants complain that they have no time for their personal lives. Harper jokes that both of their bosses need to get laid, then reasons that if their bosses were dating each other, they would have less time to overwork their assistants. After his girlfriend Suze almost breaks up with him due to his lack of free time, Charlie agrees. Initially, the two plan to orchestrate a \"meet cute\" by having Rick and Kirsten's elevator stalled, with the help of janitor Creepy Tim, however, their plot goes awry when they are joined by a delivery man suffering from claustrophobia who starts stripping and urinating. Charlie and Harper then arrange for the two to sit beside each other at a baseball game, bribing the operator of the kiss-cam to pressure them into kissing. After three attempts, Rick and Kirsten kiss. They begin dating, leaving Charlie time to spend with Suze, and Harper time to date. However, things between Rick and Kirsten quickly become bumpy and Harper and Charlie realize they must work hard to keep their bosses together. They manipulate the two into staying together by secretly planning dates, leaving notes and gifts, and organizing a weekend getaway for them. When Charlie is ignored by Suze, he accompanies Harper to her best friend Becca's engagement party. Returning from their vacation, Rick and Kirsten reveal they are now engaged. Harper and Charlie are thrilled, but Charlie learns that Rick proposed to Kirsten to aggravate his ex-wife Kiki, who he is still sleeping with. Harper discovers this when she overhears Rick having phone sex with Kiki. She confronts Charlie and is disappointed to learn that he knew about it and still wants Kirsten and Rick to get married. Harper goes to Kirsten and explains that she and Charlie manipulated them into dating; Kirsten fires her and plans to go on with the wedding. Charlie, realizing he doesn't love Suze, breaks up with her and runs to the airport, where Rick and Kirsten are about to leave to elope. Charlie quits his job and tells Kirsten that Rick doesn't love her and doesn't know her at all. Kirsten realizes it is true and leaves Rick. Harper goes through a crisis with her writing, but Becca encourages her to make progress. Rick asks for Charlie's help in reuniting with his ex-wife. Harper goes to her office to pick up her things. Kirsten tries to hire her back but Harper refuses, choosing to focus on her writing. Kirsten offers to edit her article. As she is leaving, Harper sees Charlie, who has been called there by Kirsten. They realize that Kirsten is attempting to set them up. Charlie reveals that he now works as a temp, hoping to learn what he actually wants to do. Harper and Charlie kiss upon confessing that they like each other, despite having many reasons not to. In a mid-credits scene, Creepy Tim watches the couple through security cameras."}
{"movie_name":"Absolute Power_1997","imdb_id":"tt0118548","script":"<script>\n  <scene>\n    <stage_direction>INT. WASHINGTON MUSEUM - DAY<\/stage_direction>\n    <scene_description>The saddest eyes you ever saw . We are looking at an El Greco drawing . It is a study for one of his paintings . PULL BACK TO REVEAL - A bunch of art students are doing sketches of the eyes , the elongated fingers , the slender hands El Greco drew so brilliantly . Most of the students are around 20 . A couple of suburban housewives are there too . And one older man . This is LUTHER WHITNEY . Mid 60s , very fit , neatly dressed . At quick glance , he seems as if he might be a successful company executive . As we watch him draw we can tell he is capable of great concentration . And patient . With eyes that miss nothing : He has pilot 's eyes . We 'll find out more about him as time goes on , but this is all you really have to know : Luther Whitney is the hero of this piece . As we watch him draw - Luther 's sketchbook . He is finishing his work on the eyes , and he 's caught the sadness : It 's good stuff . Luther . It 's not good enough for him . He looks at his work a moment , shakes his head .<\/scene_description>\n    <character>GIRL STUDENT<\/character>\n    <dialogue>Do n't give up.<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>I never do.<\/dialogue>\n    <character>GIRL STUDENT<\/character>\n    <dialogue>May I?<\/dialogue>\n    <scene_description>She 's indicated his sketchbook . He nods . She starts thumbing through . The sketchbook as the pages turn . Detail work . Eyes and hands . The eyes are good . The hands are better . Very skillful . The GIRL hands it back . Impressed .<\/scene_description>\n    <character>GIRL STUDENT<\/character>\n    <dialogue>You work with your hands, do n't you?<\/dialogue>\n    <scene_description>CLOSEUP - LUTHER An enigmatic smile . Now , from that -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RED'S BAR - DAY<\/stage_direction>\n    <scene_description>A nice working class part of town . Nothing fancy here but there 's a pleasant feel . The streets are clean , the houses neat and well tended . Luther , carrying his sketchbook , walks along . It 's afternoon now . Up ahead is a local bar : RED 'S .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RED'S BAR - DAY<\/stage_direction>\n    <scene_description>Luther walks in . Nothing fancy here . Strictly working class . And relatively empty . An overweight bald man Luther 's age works behind the bar . This is RED . They are good enough friends not to ask each other questions .<\/scene_description>\n    <character>LUTHER<\/character>\n    <parenthetical>( as they nod to each other . )<\/parenthetical>\n    <dialogue>Redhead.<\/dialogue>\n    <character>RED<\/character>\n    <dialogue>Luther.<\/dialogue>\n    <parenthetical>( as Luther hands him a videotape . )<\/parenthetical>\n    <dialogue>Your life would be a whole lot simpler if you could learn to operate a V.C.R.<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>My only failing.<\/dialogue>\n    <scene_description>As he turns -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEIGHBORHOOD - LUTHER'S HOUSE - DAY<\/stage_direction>\n    <scene_description>A street of small row houses . Clean , well tended . Luther walks toward one . Later in the afternoon . He carries half a dozen small shopping bags , from the market , the hardware store , the drug store , the cleaners .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LUTHER'S HOUSE - DAY<\/stage_direction>\n    <scene_description>A terra cotta planter to the right of the front door . Luther shifts his packages , tilts the planter slightly , bends down , pulls out a key , inserts it in the front door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUTHER'S HOUSE - KITCHEN - DAY<\/stage_direction>\n    <scene_description>as he enters . Neat , tidy . A Cuisinart , a cheese slicer , lots of other nice equipment . As he begins putting food away -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUTHER'S HOUSE - DINING AREA - NIGHT<\/stage_direction>\n    <scene_description>Evening now . Table set for one . A single candle . Beside the candle is Luther 's sketch pad . Now Luther himself moves INTO VIEW , carrying a tray . He puts it down . A gorgeous omelet is on a fine china plate , parsley sprinkled neatly on top . An elegant green salad is on another plate , covered with thinly sliced parmesan cheese . An expensive water pitcher , a lovely glass . Clearly , a great deal of thought has gone into dinner . Luther lights the single candle . We are now aware of a photograph nearby . The picture is old . A pretty little girl stands in the center , smiling . Her mother stands alongside , smiling too . A man is with them , looking at them happily . It 's Luther . When he was young . Luther studies the photo a moment . Then he turns , looks out the window . POV SHOT - SLIVER OF MOON is visible . Lovely . Peaceful . LUTHER Now Luther opens the sketch pad , quickly flips past the hands and eyes and faces - - we are looking at something totally different : a mansion . HOLD ON Luther 's drawing of the mansion . KEEP HOLDING . PULL BACK to reveal -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN MANSION - NIGHT<\/stage_direction>\n    <scene_description>In the moonlight - it looks exactly like his drawing . But no drawing could convey the size of the place - we are looking at ten thousand square feet . Wealth and power . We 're in rolling hill country . The mansion is dark . Totally deserted . Silence . Now a sound - TIRES ON GRAVEL . A car comes rolling INTO VIEW . The motor of the car has been turned off . The lights of the car have been turned off . The car slides to a stop . Again , silence . HOLD ON mansion , a couple of hundred yards away . There is a small field between the car and the estate . Now -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN MANSION\/INT. LUTHER'S CAR - NIGHT<\/stage_direction>\n    <scene_description>A man holds binoculars , studying the place . He wears dark clothes , tennis shoes . He puts down the binoculars , begins to smear his face with black camouflage cream - - it 's Luther , and he 's been a professional thief his entire life . He 's a three - time loser , but his last sentence was so long ago and his skills are now so vast , so refined , that it is unlikely he will ever get caught again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN MANSION - GROUNDS - NIGHT<\/stage_direction>\n    <scene_description>The grounds as Luther glides through it . He wears a backpack . The night is cool . He stops . All that separates him from the mansion now is a stretch of gorgeous lawn . Except for Luther , it is n't gorgeous - it 's no - man 's land . One final check of his surroundings - then he sets off , in graceful motion , long strides eating up the ground . He makes no sound at all .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN MANSION - FRONT DOOR - NIGHT<\/stage_direction>\n    <scene_description>Thick wood with reinforced steel . Luther stops by the door , takes off his backpack , opens it . He puts on plastic gloves that have a special layer of padding at the fingertips and palms . Now he takes a key , inserts it in the front door , turns it , and the instant he pushes the door open - ZOOM TO :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MANSION - FOYER - NIGHT<\/stage_direction>\n    <scene_description>The infrared SECURITY DETECTOR - it immediately starts to BEEP and you can see the seconds being counted down : forty , thirty - nine , thirty - LUTHER - in his hands now is an automatic screwdriver , no more than six inches long - - he sets to work on the security panel that is inside in the foyer next to the front door . The screwdriver undoes the first screw , the second - SECURITY DETECTOR Thirty - one , thirty , twenty - SCREWDRIVER Now the third and fourth screws are in hands and he lifts the security panel away . The BEEPING sound is constant - - and getting louder . A tiny device , no bigger than a pocket calculator . It has two wires protruding from it . It is , we are about to find out , a tiny computer . Luther holds it like a baby . SECURITY DETECTOR Eighteen , seventeen - LUTHER probing with the wires into the heart of the security panel . The BEEPING is LOUDER still . The security panel . Luther is attempting delicate work and it 's dark so it is n't easy but he continues to probe with the wires and - SECURITY DETECTOR Eleven , ten - LUTHER and he 's got it attached ! COMPUTER Now the face of the tiny computer is alive with numbers - they fly by much too fast for us to make them out clearly . SECURITY DETECTOR Four , three , two - FACE OF TINY COMPUTER as five numbers lock - 7 - 13 - 19 - 8 - 11 - The BEEPING sound dies . LUTHER A glance across the foyer - the lights of the security detector go from red to a warm looking green . Safe . He allows himself to exhale . Then he 's busy again , unhooking the computer . His fingers , as always , work quickly , precisely .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MANSION - FOYER - NIGHT<\/stage_direction>\n    <scene_description>The foyer as Luther , once again carrying his backpack , moves across it . Behind him , the front door is again shut , the security panel back on , screws all in place . It 's as if he had n't been there at all .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MANSION - STAIRCASE - NIGHT<\/stage_direction>\n    <scene_description>Luther walks quickly up - and here we get a sense of the vast size of the place - it feels bigger inside than it looked in the moonlight . A Van Gogh at the head of the stairs . Luther moves past it , then stops , goes back , studies the painting . It 's a late one , when the madness had him and things were sliding away . Very sad . Luther looks at it admiringly for another moment - - then surprisingly he raises his hand , and for just an instant traces the lines of the painting in the air , as if trying to figure out how the magic was done , as if getting ready for his next museum session - - then almost grudgingly , he moves on , up toward the third floor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MANSION - THIRD-FLOOR LANDING - NIGHT<\/stage_direction>\n    <scene_description>Here 's a Hopper . One of the great ones , filled with an overpowering sense of being alone - - Luther stares at it almost in awe , whispers `` wow , '' moves on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MANSION - HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Luther , walking down the third - floor corridor . The corridor walls . No paintings here - instead we see a series of framed photographs . The first is of a baby girl , the next one of the same child at three . We watch the child grow up in these photos . At ten she is already pretty . At fifteen a stunner . Not a classic beauty by any means , she is turning into , if you will a latter - day Ann - Margret . The kind of girl you ached for in high school . The perfect cheerleader . These are pictures , we will come to know , of Christy Sullivan . A high school graduation shot at eighteen , a shot in front of a Burger King at twenty . CLOSEUP - WEDDING PHOTOGRAPH Christy , looking just fabulous , is 24 and smiling happily . We can only see her face and the wedding veil here . Now - PULL BACK to reveal - A glorious and expensive white wedding dress . Christy holds a bouquet of flowers . Breathtaking . KEEP PULLING BACK . And now we can see the groom . Walter Sullivan . Walter is smiling too , one arm proudly around his lovely bride . Walter , it might be noted , is eighty years old . Luther , staring at the photo , shakes his head . Now he moves on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MANSION - MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Luther opens the DOOR . It SQUEAKS . He goes inside , closes the door firmly . Next , he puts his backpack down , takes out a low - power non - glare work light , sets it up . Now he looks around . A huge room , a gigantic canopied bed . A nightstand alongside , which contains a small silver clock , three Danielle Steel novels piled neatly one atop the other , several more photos of the happy couple - - and an antique silver - plated letter opener with a thick leather handle . Luther . He studies himself in front of a very large full - length mirror across from the canopied bed . Now we realize something - he is n't studying himself , he 's studying the mirror itself . He turns , goes to the sitting area where there are chairs and a sofa and a large TV and VCR . Three remotes on a side table . Luther carefully picks up the middle one , crosses the room with it , points it at the large mirror , clicks once - - and the mirror swings silently open . A room is revealed . All we can see of it so far is this : There is an armchair in the middle facing where the mirror had been . Luther turns back toward the sitting area , the remote held in his hand . The side table . Luther puts the remote down - very carefully . In the exact position it had been . Now he takes a moment , blows on his hands , rubs them together . Then - Luther takes a collapsible duffel bag out of his backpack , moves with the work light into the revealed room -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - VAULT - NIGHT<\/stage_direction>\n    <scene_description>It 's a vault ! And it 's FULL ! There 's cash , naturally , piles of the stuff . Plus all kinds of other valuables we 'll get around to . Luther 's a little stunned - it 's more than he hoped for . He glances at the armchair - there is a remote on it that is identical to the one he replaced at the side table . Now he opens his duffel all the way and sets to work . First the cash goes in - all neatly bundled . Large denominations . Lots of bundles . Next are a series of slender boxes - The first box as Luther opens it . Jewelry . Into the duffel it goes . Luther , emptying more jewelry boxes into the duffel . And still more . As he continues to do this -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>All is quiet . High on a wall , the security light beams a friendly green . Now , from somewhere , a distant sound . LAUGHTER ? Was it laughter ? Does n't matter , it 's gone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN VAULT - NIGHT<\/stage_direction>\n    <scene_description>Luther has moved deeper into it - he 's finished with the jewelry . Now he 's examining piles of bonds . Into the duffel they go . He takes a breath , glances around . Perfect . Coins . Antique ones . They disappear into the duffel . Stamp books . Gone into the swelling duffel . Luther as he hears now the DISTANT LAUGHTER . Not so perfect .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>He moves quickly out of the vault , takes a step toward the door - the GIGGLING is getting LOUDER , closer . Two people . A man and a woman . Luther stops , mutters `` shit ! '' - glances around - No place to hide . Luther , grabbing his backpack , moves into the vault , turns off his work light , and shuts the door with the remote . The DOOR CLICKS -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN VAULT - NIGHT<\/stage_direction>\n    <scene_description>- Luther is alone in the darkness . A burst of LAUGHTER now . Growing nearer still . Luther moves into the back of the vault , crouches down , doing his best to hide behind the armchair . Trapped , Luther waits in silence , trying not to breathe . Now he can hear a SQUEAK - the BEDROOM DOOR has opened . HOLD .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Dark - except for a slant of light from the hall outside the open bedroom door . Two people are briefly visible as they enter , a MAN and a WOMAN . The CLINK of GLASS . Stifled LAUGHTER . The Woman closes the bedroom door . Darkness again . And now the LAUGHING sound increases . GIGGLING , really .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN VAULT - NIGHT<\/stage_direction>\n    <scene_description>Luther in the pitch - black vault . The GIGGLING is MUTED but it is there . He is starting to perspire .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>The woman flicks on the lights and as she does -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN VAULT - NIGHT<\/stage_direction>\n    <scene_description>Luther as the burst of light hits him like a fist - and it 's over . Luther blinks , confused , looks around - - because it is n't over , he has n't been caught . The door to the vault is suddenly gone . Luther is staring straight into the goddamn bedroom . Because the door is a two way mirror . Now it 's as if he was watching the bedroom on a giant TV screen . Just a few feet away , just outside the door . Where things are clearly starting to heat up . Luther moves to the armchair , sits . There is nothing to do now but wait . He settles in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>They are staring at each other . We have seen the woman already - she 's CHRISTY SULLIVAN . But the pictures in the corridor did not do her justice . This is a fabulous - looking twenty - five - year - old woman . Long , golden hair , a round face that sets off her deep blue eyes , a tanned , curving body . A bare - shouldered black dress . An expensive necklace . One more thing : she is staggering drunk . The man is ALAN RICHMOND , wealthy , successful , handsome and fit . Mid - forties . He wears an elegantly - cut suit . Two additional points : -LRB- 1 -RRB- Richmond is clearly not the husband in the wedding photo . -LRB- 2 -RRB- He is drunker than she is . Richmond carries a vodka bottle and two tumblers . He fills them , gives one to her . They touch glasses . Down the hatch . Tight laughter . He looks at her . She looks at him . There 's a lot of sexual tension in the air . But now he begins looking around , checking things out . She spots this .<\/scene_description>\n    <character>CHRISTY<\/character>\n    <parenthetical>( drunk . )<\/parenthetical>\n    <dialogue>It's okay - I told him I was sick - anyway, he's gone - relax.<\/dialogue>\n    <scene_description>He nods then , more at ease . And he blows her a kiss . She catches it - and now she starts to parade for him . Her body moving very slowly . He pours himself another shot , chugs it , watches . Now -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN VAULT - NIGHT<\/stage_direction>\n    <scene_description>Luther suddenly terrified and we find out why .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Christy , fumbling with her necklace , looks across the room - What she 's looking at : the side table with the remote that opens the vault .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN VAULT - NIGHT<\/stage_direction>\n    <scene_description>Luther , frozen , as Christy starts toward the table .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>The table and the remote waiting there .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN VAULT - NIGHT<\/stage_direction>\n    <scene_description>Luther , mouth dry .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Richmond , reaching out for her , then as she passes him ; he takes her by the hand - - and now they are dancing , their bodies pressed together . They move slowly . She hums . He tries to get fancy , spin her with one arm - - no good . They 're too drunk for it , starts to lose balance , separate . They giggle . Smile at each other . Now Christy manages to unhook her necklace , and as she starts to drop it in the drawer of the nightstand -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN VAULT - NIGHT<\/stage_direction>\n    <scene_description>Luther . A genuine sigh of relief - - which suddenly dies -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Christy , as she spins toward the table again , still with the necklace in her hand .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN VAULT - NIGHT<\/stage_direction>\n    <scene_description>Luther , and there 's nothing he can do now but watch .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Richmond , watching too , emptying the vodka bottle into his tumbler , chugging it down and now . The table as Christy reaches out , grabs a remote , turns .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN VAULT - NIGHT<\/stage_direction>\n    <scene_description>Luther dead in the water because - CHRISTY 'S pointing the goddam thing at him - - and as she CLICKS it -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN VAULT - NIGHT<\/stage_direction>\n    <scene_description>Luther , and for a moment , he 's like a goddam deer caught in the headlights - - but now here comes another sigh of relief and we find out why .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Suddenly there 's ROMANTIC MUSIC PLAYING - she 's turned the STEREO ON . Christy starts humming , replaces the clicker , drops the necklace in the drawer . Then they are into each other 's arms . Their bodies press . Their bodies sway . He moves a hand to her breasts - - Christy breaks loose , shakes a finger at him , as if to say , `` naughty , naughty '' - - then with one hand , she pulls a zipper down . The dress falls off her body . Her breasts spring free . She is wearing only her panties now and high heels . And a smile . She is stunning looking and she knows it and men have always gone nuts over her and she knows that too . And Richmond ca n't resist her either , goes to her , bends her back , caresses her neck , begins sucking her nipples . Christy moans .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN VAULT - NIGHT<\/stage_direction>\n    <scene_description>Luther , in the chair , embarrassed , averting his eyes . But the MOANING from the other room GROWS LOUDER , more insistent .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Christy , pulling away for a moment , starting to work at Richmond 's tie , shakes him out of his suit jacket , reaches for his belt , loosens it . She is working at his shirt buttons now and their breathing is audible and in a moment he is down to his boxer shorts and then her panties are off , her shoes kicked away and they are near the vault mirror now . As they approach it , they stare at themselves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN VAULT - NIGHT<\/stage_direction>\n    <scene_description>Luther , moving farther back in his chair as their faces are just a couple of feet away -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - CLOSEUP - CHRISTY - NIGHT<\/stage_direction>\n    <scene_description>as Richmond 's hands move across her wondrous body and she is hot and drifting into drunken fantasy and her eyes close and - CLOSE ON RICHMOND as his eyes are open - - the look on his drunken face is scary .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN VAULT - NIGHT<\/stage_direction>\n    <scene_description>Luther , transfixed by that look , transfixed and worried .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - CHRISTY AND RICHMOND IN CLOSEUP - NIGHT<\/stage_direction>\n    <scene_description>looking at each other now , and she is smiling happily and looking at him and he is smiling happily and looking at her , and whatever was on his face just before has gone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN VAULT - NIGHT<\/stage_direction>\n    <scene_description>Luther , watching as they turn for the gigantic canopied bed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>The bed as they stop alongside it and kiss - it 's their first . And her arms go around his neck and she holds him like that , her eyes shut tight -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN VAULT - NIGHT<\/stage_direction>\n    <scene_description>Luther - watching because Richmond 's eyes are not shut , they are wide open and they stare at the mirror and the awful look from before is back , only worse , and then without warning , he grips her buttocks roughly - - and slaps her hard on the ass , over and over and Christy is shocked , surprised , pulls away . Richmond smiles at her sweetly . Christy . Shaking her head . Richmond . He continues to smile , makes a courtly gesture , kissing her fingertips in apology . Christy . She smiles in acknowledgement and they move onto the bed . She pushes him down and straddles him . Richmond , from her POINT OF VIEW - a wonderfully - handsome man . Christy , from his POINT OF VIEW . A glorious , vibrant young woman . She smiles , touches her lips to a finger , reaches out , touches the finger to his mouth . It 's a sweet moment . They smile . Then he reaches up , and without a word , grabs her breasts and squeezes and twists them brutally and Christy is shocked and she tries to make him stop but he wo n't , and she cries out in pain but he still wo n't stop so she slaps him in the face . He slaps her back , viciously , right in the mouth and now there is blood mixing with her lipstick and she rolls off the bed onto the floor . Christy sits there stunned .<\/scene_description>\n    <character>CHRISTY<\/character>\n    <parenthetical>( slurred . )<\/parenthetical>\n    <dialogue>You fucking bastard.<\/dialogue>\n    <scene_description>And on that - Richmond , standing now , reaches down to help her up . Christy hesitates , finally takes his hand and as soon as she is on her feet - Christy , kicking him with all she has , in the stomach .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN VAULT - NIGHT<\/stage_direction>\n    <scene_description>Luther , silently applauding .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Richmond , the air momentarily out of him , falling drunkenly to the floor , stunned for just a moment and clearly in pain , but he is a big man and he is strong and he grabs her ankle , yanks , and then both are laboring on the floor and Christy kicks him again and again - - but he will not release her ankle . Each kick only inflames his drunken rage .<\/scene_description>\n    <character>RICHMOND<\/character>\n    <parenthetical>( very slurred - . )<\/parenthetical>\n    <dialogue>You little whore -<\/dialogue>\n    <scene_description>And now they both try and stand . Neither one does it gracefully , neither one does it quickly , but Richmond gets there first and as soon as he is on his feet he begins to strangle her . Christy , gasping , terrified , she claws at his arms , her fingers scratching deeply - - but he will not let go . She twists and jerks her body - - no good - he continues to tighten his grip on her throat - - and spreads his legs for better balance . The bed table , as Christy , beyond desperation reaches around for something , anything - her fingers finally close on the letter opener and in one wild stroke , she slashes his right arm . Now he lets go . And stares , stunned , at his bleeding arm . Then he crunches her flush in the mouth , a brutal blow , and blood pours from her nose and mouth and if she were n't so scared , maybe it would have stopped her , but it does n't - because somehow she manages to maintain balance - - and knees him all she has , in the nuts . It 's over - Richmond falls to the floor , helpless . He lies on his back , holding his crotch . But it is n't over . Christy , blood pouring down her face , stands over him , the letter opener still tight in her hand . And in her eyes you can see it , the homicidal rage - - and she drops to her knees beside him - - and Richmond can only lie there , watching her - - and she gets a better grip on the letter opener - - and Richmond still only lies there , watching her - -LRB- 2 -RRB- - and she raises the letter opener slowly very high above her head , the point aimed at his heart - - and Richmond screams one time - - and as Christy starts to kill him , two well - dressed men in business suits burst through the bedroom doorway , GUNS in their hands , and they BLOW HER BRAINS OUT before the opener reaches Richmond 's heart .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN VAULT - NIGHT<\/stage_direction>\n    <scene_description>Luther , in SLOW MOTION and this is what he does - - he reels back in the chair , eyes wide , jaw slack , mouth open - - this is a man who has seen everything but nothing has prepared him for this - - his arms flop over the arms of the chair , his body loses strength , he tries to look away , ca n't - - and this is what he sees -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Christy , fighting for another instant of life - - no chance - - the two bullets have shattered her brain , her eyes roll up into her head , the letter opener drops to the rug , she collapses like a rag doll - - and blood is everywhere .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN VAULT - NIGHT<\/stage_direction>\n    <scene_description>Luther . Back in regular motion now . Pale , barely able to breathe .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>The two well - dressed men in business suits . BILL BURTON is the more formidable . Mid - 40s , he looks like a retired tight end . No body fat . Intimidating . But right now he is shaking and he ca n't stop it . He puts his gun away , goes to Richmond . TIM COLLIN is closing in on 30 . Handsome . In wonderful shape . Burton is more physical , Collin more lethal . He puts his gun away , goes to Christy . Richmond is trying to sit . He is as drunk as before but now he is also close to shock . He reaches over , manages to pick up the bloody letter opener .<\/scene_description>\n    <character>RICHMOND<\/character>\n    <dialogue>Kill her?<\/dialogue>\n    <scene_description>Collin , by the body , nods .<\/scene_description>\n    <character>BURTON<\/character>\n    <dialogue>No choice in the matter.<\/dialogue>\n    <scene_description>His words are efficient but clearly , he has been rocked . Richmond , staring stupidly at the letter opener . He drops it back to the floor , tries to stand , ca n't . Burton helps him back to the bed . Which is when he passes out cold . Burton and Collin look at each other now .<\/scene_description>\n    <character>BURTON<\/character>\n    <dialogue>Jesus, Tim, what did we do?<\/dialogue>\n    <character>COLLIN<\/character>\n    <parenthetical>( echoing Burton . )<\/parenthetical>\n    <dialogue>No choice in the matter.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN VAULT - NIGHT<\/stage_direction>\n    <scene_description>Luther , staring at it all . The shock is still there but so is something new : anger . And on that -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>GLORIA RUSSELL moving through the bedroom door . Russell 's 40 , well - dressed , attractive and very smart . Now she sees what 's happened , stops dead . Now she moves forward , looks at Burton and Collin . It 's very clear from the outset : these three are not friendly .<\/scene_description>\n    <character>RUSSELL<\/character>\n    <parenthetical>( to Burton and Collin . )<\/parenthetical>\n    <dialogue>Do you realize what a shitstorm we're in?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Go on - tell me.<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>Nothing to tell. He screamed.<\/dialogue>\n    <character>RUSSELL<\/character>\n    <dialogue>And you heard no sounds of violence'til then?<\/dialogue>\n    <character>BURTON<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Nothing we have n't heard before.<\/dialogue>\n    <scene_description>Richmond , on the bed , out . Russell studies his face as Burton moves toward the telephone .<\/scene_description>\n    <character>BURTON<\/character>\n    <dialogue>Maybe I should call the police now.<\/dialogue>\n    <scene_description>CLOSEUP - RUSSELL<\/scene_description>\n    <character>RUSSELL<\/character>\n    <parenthetical>( soft . )<\/parenthetical>\n    <dialogue>Bill? Why do n't you think about that?<\/dialogue>\n    <parenthetical>( beat - starting to move toward him . )<\/parenthetical>\n    <dialogue>Take a second and just think about that.<\/dialogue>\n    <parenthetical>( closing in on Burton , furious . )<\/parenthetical>\n    <dialogue>Think. real. fucking. hard.<\/dialogue>\n    <scene_description>BURTON He is strong enough to snap her neck with one hand .<\/scene_description>\n    <character>BURTON<\/character>\n    <parenthetical>( backing away . )<\/parenthetical>\n    <dialogue>Probably not a good idea.<\/dialogue>\n    <character>RUSSELL<\/character>\n    <parenthetical>( taking charge . )<\/parenthetical>\n    <dialogue>Okay - here's what happened tonight - poor Christy came home alone and interrupted a burglary. That sound logical?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN VAULT - NIGHT<\/stage_direction>\n    <scene_description>Luther in the closet . He nods .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Burton and Collin nod , too .<\/scene_description>\n    <character>RUSSELL<\/character>\n    <dialogue>We're going to have to sanitize this place.<\/dialogue>\n    <parenthetical>( shaking Richmond . )<\/parenthetical>\n    <dialogue>Alan, did you have sex with her?<\/dialogue>\n    <scene_description>Richmond , eyes barely open .<\/scene_description>\n    <character>RICHMOND<\/character>\n    <dialogue>Don'. ` member.<\/dialogue>\n    <character>RUSSELL<\/character>\n    <dialogue>Bill, you're going to have to examine her.<\/dialogue>\n    <character>BURTON<\/character>\n    <dialogue>I'm no gynecologist.<\/dialogue>\n    <character>RUSSELL<\/character>\n    <parenthetical>( she takes nothing from nobody . )<\/parenthetical>\n    <dialogue>I just made you one.<\/dialogue>\n    <scene_description>End of discussion .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - NIGHT (LATER)<\/stage_direction>\n    <scene_description>A clock on the side table beside the three clickers . There is the sound of a VACUUM - it 's later now . The place is incredibly changed . Christy is lying as before - except now she is fully dressed . The bed has been made with clean sheets . There is a large black garbage bag that Collin shoves the sheets in , dumps in Christy 's jewelry . Burton is VACUUMING the rug . Richmond is visible , still in terrible shape , finishing putting his clothes on in the open master bedroom . Everyone wears gloves . Everything that is incriminating is gone - - except the letter opener , which has been put in a clear plastic bag . Collin reaches for it , starts to dump it in along with the sheets and the jewelry .<\/scene_description>\n    <character>RUSSELL<\/character>\n    <dialogue>I'll take that.<\/dialogue>\n    <character>COLLIN<\/character>\n    <parenthetical>( surprised . )<\/parenthetical>\n    <dialogue>It's got their prints on it.<\/dialogue>\n    <character>RUSSELL<\/character>\n    <parenthetical>( she holds out her hand . )<\/parenthetical>\n    <dialogue>Thanks for sharing.<\/dialogue>\n    <scene_description>Collin glances at Burton , shrugs , hands it over . Russell puts it in her handbag , puts the handbag on the bed table when suddenly - Richmond , careening into the room , wide - eyed , crying out -<\/scene_description>\n    <character>RICHMOND<\/character>\n    <dialogue>Gloria - I killed her -<\/dialogue>\n    <scene_description>Russell , turning , shocked as Richmond bears down - - she holds out her arms for him , but he is staggering and he collides hard with her , spins against the wall , uses the bed table to try to steady himself .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN VAULT - NIGHT<\/stage_direction>\n    <scene_description>Luther , stunned , staring .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>What he 's staring at : the letter opener has spilled from her open purse and fallen behind the bed , out of sight . Russell , calm , going to Richmond , starting to lead him from the room -<\/scene_description>\n    <character>RUSSELL<\/character>\n    <dialogue>It's all going to be fine, Alan.<\/dialogue>\n    <character>RICHMOND<\/character>\n    <dialogue>But she's dead.<\/dialogue>\n    <character>RUSSELL<\/character>\n    <dialogue>I'll take care of everything just like I always do.<\/dialogue>\n    <parenthetical>( to Burton and Collin . )<\/parenthetical>\n    <dialogue>Gentlemen?<\/dialogue>\n    <scene_description>She gestures to leave . Burton and Collin finish up - Collin grabs the large plastic bag . Burton glances around one final time and backs toward the door , vacuuming carefully . Then - Collin stops dead . He stares across at the bed table .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN VAULT - NIGHT<\/stage_direction>\n    <scene_description>Luther , holding his breath .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - BURTON AND COLLIN - NIGHT<\/stage_direction>\n    <character>COLLIN<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <character>BURTON<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>In reply , Collin dashes back toward the bed table , grabs Russell 's purse , snaps it shut , tucks it under one arm and leaves . Burton flicks the light out , closes the door . The room is lit by moonlight now . Christy looks beautiful and still . HOLD for a moment .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MANSION - FRONT DOOR - NIGHT<\/stage_direction>\n    <scene_description>It 's open and Russell leads a staggering Richmond outside . Two dark Towncars are parked in the driveway . Burton is behind them , turning off all lights . Collin is last , with Russell 's purse , the garbage bag . As he follows them outside , he closes the front door firmly - it makes a loud , solid sound .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN VAULT - LUTHER - NIGHT<\/stage_direction>\n    <scene_description>The sound is barely audible . He has been looking at his watch - The watch face is illuminated in the darkness . The second hand is fifteen seconds away from the top . Luther takes a deep breath , waits in silence . The WATCH face : the sound is loud , like `` 60 Minutes . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN MANSION - DRIVEWAY - NIGHT<\/stage_direction>\n    <scene_description>Burton and Russell moving with Richmond toward one of the cars . Burton takes the man in his arms , leaving Russell free to open the back door . Collin dumps the plastic bag into the trunk , shuts it , moves quickly so that he can get a decent view of the road . The road in front of the house . Empty . Collin hurries to the Towncar where Burton is struggling to get Richmond comfortably stretched out on the back seat .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN VAULT - NIGHT<\/stage_direction>\n    <scene_description>The second hand on Luther 's watch hits the top and he moves into action . - He points the clicker at the door - - the door starts to swing open - - Luther , backpack in hand , strides quickly into the bedroom , turns , points the clicker again and as the door starts to swing shut - Luther carefully tosses the clicker back inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN VAULT - ARMCHAIR - NIGHT<\/stage_direction>\n    <scene_description>as the clicker lands - dead - solid perfect -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Luther , in the bedroom , moving to the nightstand , carrying his backpack - - he slows as he circles the body of Christy Sullivan , looks sadly down at her , continues on as we MOVE TO . The bed table . First , Luther opens the drawer and pockets the necklace . Tense , he kneels , probes behind the table , reaches farther and then - the letter opener ! In the plastic bag . Luther grabs it . He rises , opener in hand , and goes to the far window that has a view of the front of the house . He looks out , grimaces .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN MANSION - DRIVEWAY - NIGHT<\/stage_direction>\n    <scene_description>The cars are still there . Burton is visible helping Russell in . Collin hands over her purse , closes the door . He and Burton move to the front doors .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Luther , going to the rear window . He opens the window slowly and silently . He ties one end of the rope around the leg of a heavy , wooden chest of drawers - - now he carefully plays the knotted rope out the window .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN DRIVEWAY - TOWNCAR - NIGHT<\/stage_direction>\n    <scene_description>Collin heads to one of the Towncars . In the other Burton and Russell are getting settled in the front . Richmond lies in a stupor , stretched along the rear seat . Russell - - a moment of relief . She breathes deep . And as Russell starts to open her purse -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN MANSION - KNOTTED ROPE - NIGHT<\/stage_direction>\n    <scene_description>as it snakes down the brick mansion - it reaches the ground .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Luther , putting his backpack on securely . The window - Luther glances out and down . HIS POV - GROUND OUTSIDE SULLIVAN MANSION - NIGHT Forty feet below . And it 's dark .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Luther - he does n't much like this - but taking hold of the rope , he puts one leg out the window - only the damn backpack makes it complicated and he 's caught for a moment , clumsily trapped with one leg in , one leg out and the backpack wedged against the corner of the window - - and at that moment , there is a SCREAM .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN DRIVEWAY\/INT. TOWNCAR - NIGHT<\/stage_direction>\n    <scene_description>Gloria Russell , as every nightmare she has ever had comes true - the fucking letter opener is n't in her purse and as she screams again -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN MASTER BEDROOM - WINDOW - NIGHT<\/stage_direction>\n    <scene_description>Luther , cursing to himself , forcing his way out the window and it is n't easy , but he makes it and then the rope slips in his hands and for one precarious moment , he is in serious trouble and .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN MANSION - DRIVEWAY - NIGHT<\/stage_direction>\n    <scene_description>The Towncar doors bursting open as Burton and Collin come barrelling out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN MANSION - NIGHT<\/stage_direction>\n    <scene_description>Luther , getting his grip on the nylon rope again , starting to go down - but it 's difficult going for him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN MANSION - FOYER - NIGHT<\/stage_direction>\n    <scene_description>Burton and Collin tearing into the house , Collin in the lead .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN MANSION - NIGHT<\/stage_direction>\n    <scene_description>Luther in the night , thirty feet up , and he can hear COMMOTION inside the house and he tries to go faster - - but it 's not easy ; the man is , after all , in his 60s and he 's dangerously high and his visibility is rotten , so he 's doing the best he can , but he is n't exactly flying .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN MANSION - DRIVEWAY - NIGHT<\/stage_direction>\n    <scene_description>Russell , standing by the Towncar , staring in at the house and from the look on her face , you know she thinks her life might be over .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MANSION - STAIRCASE - NIGHT<\/stage_direction>\n    <scene_description>Burton and Collin , racing up the second floor staircase toward the top .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN MANSION - NIGHT<\/stage_direction>\n    <scene_description>Luther , halfway down .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MANSION - HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Burton and Collin , tearing along the third floor corridor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN MANSION - NIGHT<\/stage_direction>\n    <scene_description>Luther , ten feet off the ground now .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MANSION - NIGHT<\/stage_direction>\n    <scene_description>The bedroom door , flying open .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN MANSION - NIGHT<\/stage_direction>\n    <scene_description>Luther , six feet to go , three , and he lets go , drops the rest of the way , hits the ground running .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Burton , racing toward the window , Collin goes to the night table .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN MANSION - NIGHT<\/stage_direction>\n    <scene_description>Luther , at the end of the house , turning a corner .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Burton , staring out the window and Luther is gone .<\/scene_description>\n    <character>BURTON<\/character>\n    <dialogue>Shit!<\/dialogue>\n    <scene_description>Collin , looking around the table and the letter opener is gone .<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>Shit!<\/dialogue>\n    <scene_description>And without another word , they bolt out the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN MANSION - GROUNDS - NIGHT<\/stage_direction>\n    <scene_description>Luther , crashing through the field . He is in wonderful shape - - for a man his age . And he gives it all he has but is it going to be enough ?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN DRIVEWAY - NIGHT<\/stage_direction>\n    <scene_description>The Towncar as Collin yanks something out of the glove compartment , and then he is racing off into the night after Burton who is a few steps ahead .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN DRIVEWAY\/INT. TOWNCAR - NIGHT<\/stage_direction>\n    <scene_description>Russell staring after them - in the back seat , Richmond is in a half - slumber .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN MANSION - GROUNDS - NIGHT<\/stage_direction>\n    <scene_description>Luther , bursting out of the underbrush - - up ahead is the most dangerous place for him - - one hundred yards of open field . He runs on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN GROUNDS - BURTON AND COLLIN - NIGHT<\/stage_direction>\n    <scene_description>as Collin catches up to the other man , tosses what he took from the glove compartment . Thermal goggles . They put them on , on the fly and . THERMAL POV The world ahead of them as they see it : their FIELD OF VISION now resembles a rough computer game . THERMAL IMAGES register in red , everything else is dark green .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN GROUNDS - OPEN AREA - LUTHER - NIGHT<\/stage_direction>\n    <scene_description>Beginning to tire now - and he 's only halfway through the open field and . Burton and Collin , behind him , ca n't see him yet , but they are moving faster - - and Burton could probably destroy anyone in a fight - - but Collin can fly . And he begins to leave Burton behind . Luther , and twenty yards ahead of him are some woods that spur him on , he pumps his arms , his body straining and his breath coming in gasps and . Collin , graceful and young and in fabulous shape and just ahead is the open field and as he starts into it - THERMAL POV What Collin sees : a THERMAL figure ; a man running out of the open and then disappearing into the woods .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN GROUNDS - OPEN AREA - NIGHT<\/stage_direction>\n    <scene_description>The sight of the figure is enough to kick Collin into overdrive and he has never run this fast as he crosses the open area .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN GROUNDS - WOODS - NIGHT<\/stage_direction>\n    <scene_description>Luther , running through the woods - he can hear THEM now , and he knows they 're closing on him and he glances back - - and smashes into a fucking tree ! hard . and it rocks him , drops him to his knees -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN GROUNDS - OPEN AREA - NIGHT<\/stage_direction>\n    <scene_description>Collin and he could be jet propelled .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN GROUNDS - WOODS - NIGHT<\/stage_direction>\n    <scene_description>Luther , forcing himself back to his feet and running again , giving it everything he has left and he 's dodging through the trees now .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN GROUNDS - NEAR WOODS - NIGHT<\/stage_direction>\n    <scene_description>Burton , behind Collin , but he draws his gun anyway - Collin , in the woods , and his gun 's drawn too - Luther , out of the woods and now his car is visible - Collin , in the woods but they 're coming to an end . THERMAL POV The figure up ahead is approaching a car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN GROUNDS - LUTHER'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Luther , throwing the car door open , ripping off his backpack , tossing it inside , jumping in behind the wheel .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN GROUNDS - WOODS - NIGHT<\/stage_direction>\n    <scene_description>Burton . Pulling up , gasping terribly . He sinks to one knee . Collin , out of the woods ! - Still amazingly without the least sign of tiring - - and now there is a sound : a CAR MOTOR STARTING .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN GROUNDS - LUTHER'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Luther in his car , wheels spinning .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN GROUNDS - WOODS - NIGHT<\/stage_direction>\n    <scene_description>Collin has his pistol ready but it 's impossible to hit anything when you 're running like this .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN GROUNDS\/INT. LUTHER'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Luther , in the car , GUNNING AWAY .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN GROUNDS - WOODS - NIGHT<\/stage_direction>\n    <scene_description>Collin . Slowing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN GROUNDS - LUTHER'S CAR - NIGHT<\/stage_direction>\n    <scene_description>The car . A swirl of dust . The dust clears . The car rounds a corner , is gone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN GROUNDS - NIGHT<\/stage_direction>\n    <scene_description>Collin . He stands there , rips off his thermal goggles - - and surprisingly , he smiles . Burton , getting to his feet , his breath still not steady . He takes his goggles off too as Collin approaches .<\/scene_description>\n    <character>COLLIN<\/character>\n    <parenthetical>( still the smile . )<\/parenthetical>\n    <dialogue>I got his license number.<\/dialogue>\n    <scene_description>Now on that -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Russell - back in the bedroom , with Burton and Collin who are moving around constantly , checking the place out . Things are just amazingly tense .<\/scene_description>\n    <character>RUSSELL<\/character>\n    <parenthetical>( close to losing it . )<\/parenthetical>\n    <dialogue>Gee, guys, maybe it was the bogeyman - do n't forget to check under the bed -.<\/dialogue>\n    <parenthetical>( exploding . )<\/parenthetical>\n    <dialogue>- You may have buried us! -<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>- relax, I got his license number, remember? -<\/dialogue>\n    <character>RUSSELL<\/character>\n    <parenthetical>( whirling on him . )<\/parenthetical>\n    <dialogue>- you think he's going to just sit around waiting for us? - Asshole -<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>- take it easy, Miss Russell -<\/dialogue>\n    <character>BURTON<\/character>\n    <parenthetical>( trying for calm . )<\/parenthetical>\n    <dialogue>- everybody shut up, all right?<\/dialogue>\n    <scene_description>He is staring at his reflection in the big mirror . He crosses to it , goes to his knees , studies the rug . The rug - indentations in the expensive carpet .<\/scene_description>\n    <character>BURTON<\/character>\n    <dialogue>Oh boy.<\/dialogue>\n    <scene_description>Burton and Collin with a crowbar , working at the mirror . The MIRROR ; there is a TEAR and a POP and it swings open .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN VAULT - NIGHT<\/stage_direction>\n    <scene_description>All three going inside , looking around . The chair , the looted shelves . The truth thuds home . Russell turns , looks out at the bedroom through the door .<\/scene_description>\n    <character>RUSSELL<\/character>\n    <parenthetical>( dead . )<\/parenthetical>\n    <dialogue>A two - way mirror.<\/dialogue>\n    <scene_description>Silently , they move out into the bedroom .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - NIGHT<\/stage_direction>\n    <character>COLLIN<\/character>\n    <dialogue>- I better get cracking on that license number -<\/dialogue>\n    <character>RUSSELL<\/character>\n    <parenthetical>( no anger now . )<\/parenthetical>\n    <dialogue>- it's all we've got - and he's got the letter opener - blood, fingerprints - Jesus, think what he can do -<\/dialogue>\n    <character>BURTON<\/character>\n    <parenthetical>( a powerful man who speaks softly . )<\/parenthetical>\n    <dialogue>- the man is a thief - a thief who witnessed a murder -.<\/dialogue>\n    <parenthetical>( gesturing around . )<\/parenthetical>\n    <dialogue>- it looks like he stole a whole bunch of money - I'll tell you what he's going to do.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>He's going to run like hell.<\/dialogue>\n    <scene_description>And on that -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WASHINGTON MUSEUM - DAY<\/stage_direction>\n    <scene_description>The saddest eyes you ever saw . It 's the next morning and Luther is back at the same old stand , looking at El Greco . The other art students are there too . So are the suburban housewives . Everything is as it was - calm and peaceful - - now a museum guard moves into the doorway , scanning the room . Luther - a quick glance over , then back to his sketchbook - and from that glance it 's clear all is not calm and peaceful . The guard checks the room again . Edgy , Luther still works away . The guard leaves . Luther gets set to do the same .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RED'S BAR - DAY<\/stage_direction>\n    <scene_description>Red , alone in his empty bar , sipping coffee . It 's before the place has opened for the day . Luther comes in the back . Red slides the videocassette over , Luther pockets it .<\/scene_description>\n    <character>RED<\/character>\n    <dialogue>Jordan beat us at the buzzer.<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>Bad night.<\/dialogue>\n    <scene_description>And as he turns , goes -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JOGGING PARK - PARKING AREA - DAY<\/stage_direction>\n    <scene_description>A YOUNG WOMAN parking her car - a high rocky area above the Potomac . Below , a jogging path is visible , full of runners . The Young Woman gets out , locks her car , starts down a narrow walk toward the joggers . She 's in her mid - thirties . A good face . And there 's something familiar about her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JOGGING PARK - DAY<\/stage_direction>\n    <scene_description>Luther , standing by the edge of the jogging path , studying the runners . Now he registers something : and smiles . The Woman in her mid - thirties as she comes jogging along . She runs well . Luther . An imperceptible straightening of his clothes . The jogger . We realize who she is : the little girl in the photo on Luther 's dining room table . All grown up . Now her face registers something : his presence . Her eyes go down to the path , she increases her speed . Luther . Waving , calling out .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Kate.<\/dialogue>\n    <parenthetical>( as she runs on . )<\/parenthetical>\n    <dialogue>Kate.<\/dialogue>\n    <scene_description>She slows , hesitates , stops . Kate , hands on hips , breathing deeply , moving to the edge of the path as he approaches . The river flows behind them . Runners pass by . Beat .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Probably too late for me to take it up.<\/dialogue>\n    <scene_description>She says nothing - he gestures toward the path .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>The jogging.<\/dialogue>\n    <character>KATE<\/character>\n    <parenthetical>( YOUNG WOMAN . )<\/parenthetical>\n    <dialogue>Ahh.<\/dialogue>\n    <scene_description>Beat .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Dumb way to start this, I guess.<\/dialogue>\n    <scene_description>Beat .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Wanted to talk to you.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>About?<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>Believe it or not, the weather.<\/dialogue>\n    <parenthetical>( as she waits . )<\/parenthetical>\n    <dialogue>Nights are starting to get cold.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>That happens this time of year.<\/dialogue>\n    <scene_description>Luther speaks quickly now , his voice low .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>I was thinking of maybe relocating. Someplace with a kinder climate.<\/dialogue>\n    <parenthetical>( nothing shows on her face . )<\/parenthetical>\n    <dialogue>I just wanted to check it out with you first.<\/dialogue>\n    <parenthetical>( still nothing . )<\/parenthetical>\n    <dialogue>. you're the only family I've got.<\/dialogue>\n    <scene_description>And on that - Kate speaks quickly now , her voice low .<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Luther, you do n't have me.<\/dialogue>\n    <scene_description>The last words in this world he wanted to hear , but you ca n't tell from his face .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Kate -<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>- you know what it's like being the only kid in show and tell who got to talk about visiting day?<\/dialogue>\n    <scene_description>-LRB- 2 -RRB-<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>This move - I'm talking permanent, you understand.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>We do n't see each other anyway - we have n't seen each other since Mom died and that's a year.<\/dialogue>\n    <parenthetical>( a step toward him . )<\/parenthetical>\n    <dialogue>Look, you chose your life. You had that right. You were never around for me. Fine. But I have no plans to be around for you.<\/dialogue>\n    <scene_description>And now she stops , turns away toward the path - - Luther can say nothing , watches her - - then she spins back -<\/scene_description>\n    <character>KATE<\/character>\n    <parenthetical>( louder now . )<\/parenthetical>\n    <dialogue>- wait a minute - you're lying about something, are n't you? -<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>- no -<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>- are you active again? - is that why you're here now?<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>- no -<\/dialogue>\n    <scene_description>Kate moves in close now -<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>- I do n't believe you -.<\/dialogue>\n    <parenthetical>( big . )<\/parenthetical>\n    <dialogue>- Christ, Father, what have you done?<\/dialogue>\n    <scene_description>And on those words -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - DAY<\/stage_direction>\n    <scene_description>Christy Sullivan 's body . We 're back in the master bedroom but now there is a lot of police activity - people work around the corpse . The place is covered with black fingerprint powder . SETH FRANK moves into the room - Bogart at 40 . Chief Homicide Detective of Middleton County , Virginia but he had a decade of top work in New York City . Bright , funny , and tough enough for anything you want to throw at him . He kneels beside the body next to an older man . This is the MEDICAL EXAMINER , fat and bored . Seth studies Christy ; sadly shakes his head .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Christy Sullivan?<\/dialogue>\n    <character>MEDICAL EXAMINER<\/character>\n    <parenthetical>( nods . )<\/parenthetical>\n    <dialogue>Wife of Walter - most likely came home and stumbled onto a burglary -<\/dialogue>\n    <character>WOMAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>- some burglary.<\/dialogue>\n    <scene_description>LAURA SIMON . Laura is early 30s , and the best lab technician Seth has ever known , and he knew some good ones in New York .<\/scene_description>\n    <character>LAURA SIMON<\/character>\n    <dialogue>I wish my carpets were this clean. And I ca n't find a single decent fingerprint.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>You serious, Laura?<\/dialogue>\n    <character>LAURA SIMON<\/character>\n    <parenthetical>( bewildered . )<\/parenthetical>\n    <dialogue>It's like Mary Poppins was here.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Could someone have let him in?<\/dialogue>\n    <character>LAURA SIMON<\/character>\n    <dialogue>Sorry, Seth, but the entire Sullivan household went to Barbados two days ago.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Thank you for your support.<\/dialogue>\n    <scene_description>-LRB- 2 -RRB-<\/scene_description>\n    <character>LAURA SIMON<\/character>\n    <dialogue>Wait - it gets worse -.<\/dialogue>\n    <parenthetical>( moving to the door . )<\/parenthetical>\n    <dialogue>- the shots came from here. If she interrupted a burglary, she should have been here -.<\/dialogue>\n    <parenthetical>( moving to the bed now . )<\/parenthetical>\n    <dialogue>- she was killed where she is - all the blood patterns indicate that. But she was looking toward the bed - what in hell was she looking at?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN VAULT - DAY<\/stage_direction>\n    <scene_description>Seth says nothing as he and Laura go in the vault . Seth stares at the chair .<\/scene_description>\n    <character>LAURA SIMON<\/character>\n    <dialogue>Looks like someone sat here - but I could n't find any prints.<\/dialogue>\n    <parenthetical>( lowering her voice - indicating the one - way mirror . )<\/parenthetical>\n    <dialogue>You think Sullivan holed up in the chair and watched his wife perform?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>I hope not -.<\/dialogue>\n    <parenthetical>( shakes his head . )<\/parenthetical>\n    <dialogue>- he's such a great man.<\/dialogue>\n    <scene_description>He moves back into the bedroom .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN MASTER BEDROOM - DAY<\/stage_direction>\n    <scene_description>Another cop is working on the wall by the bed table where a hole the size and shape of a bullet is visible .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( as he moves past . )<\/parenthetical>\n    <dialogue>Careful digging that out.<\/dialogue>\n    <scene_description>The cop nods .<\/scene_description>\n    <character>MEDICAL EXAMINER<\/character>\n    <dialogue>Looks like he tried to strangle her.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>So he tried to strangle her, then went to the door and shot her from behind?<\/dialogue>\n    <character>MEDICAL EXAMINER<\/character>\n    <dialogue>He also inspected her vagina.<\/dialogue>\n    <scene_description>Seth . Stunned .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>He did what? Why?<\/dialogue>\n    <character>LAURA SIMON<\/character>\n    <dialogue>Maybe he could n't remember if he fucked her.<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( has to laugh . )<\/parenthetical>\n    <dialogue>A strong burglar with a weak mind - obviously another open and shut case.<\/dialogue>\n    <scene_description>As he stares around , baffled .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LUTHER'S SAFE HOUSE APT. BUILDING - DAY<\/stage_direction>\n    <scene_description>A high rise . It 's in a different part of Washington than we 've seen thus far . Afternoon now . An old salesman type is trudging into the building . He 's slumped , carries heavy salesman type suitcases . He wears a battered hat . As he goes inside -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUILDING - FOYER\/MAIL AREA - DAY<\/stage_direction>\n    <scene_description>The salesman is opening a mail slot with the name `` Hawthorne '' on the outside . A good bit of mail , most of it unsolicited . Hawthorne pockets it , unlocks the foyer , heads toward the elevator .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUILDING - HALLWAY - DAY<\/stage_direction>\n    <scene_description>The elevator and Hawthorne slowly getting out , heading toward a corner apartment , taking out some keys - - there are three locks on the door . he takes out keys -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUTHER'S SAFE HOUSE APARTMENT - DAY<\/stage_direction>\n    <scene_description>Hawthorne walks in , puts the suitcases down , flings his hat toward a long sofa - - it 's Luther and this , we will come to learn , is what he keeps as his safe house . It 's neatly furnished , modern and clean . Now he moves quickly - - first he opens a suitcase - it contains his full backpack from the robbery - - then he opens a locked closet door , revealing a very large and sophisticated safe . As he begins to work the dial -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUTHER'S SAFE HOUSE APARTMENT - DAY (LATER)<\/stage_direction>\n    <scene_description>- the TV ON in the living room as he slides the video cassette Red gave him into his machine . Everything has been put away . The TV as Michael Jordan is introduced to the crowd - Luther sits , nurses a beer , watches intently .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MORGUE - DAY<\/stage_direction>\n    <scene_description>An old man silently weeping . This is WALTER SULLIVAN , one of the giants of the era . A self - made billionaire . Remarkably , the man has few enemies . At 80 , his body may be betraying him - he was once handsome - but his mind is that of a young man . We 've seen him before - in the wedding picture on the wall of his mansion . With his young bride Christy . He is with her again now , at the morgue . A sheet covers her body . The toe tag is visible . Walter , shattered and desolate , stares at her once joyous face . PULL BACK to reveal -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MORGUE - OBSERVATION ROOM - DAY<\/stage_direction>\n    <scene_description>Seth Frank , studying Walter THROUGH a two way mirror . Seth is moved at depth of the old man 's grief . Anyone would be . Walter slowly rises -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MORGUE - DAY<\/stage_direction>\n    <scene_description>SANDY LORD waiting in an anteroom as Walter enters . Sandy Lord is Walter Sullivan 's lawyer . He is 60 , abrasive , powerful . Sandy moves to Walter , gestures toward the front door . Seth appears through another door , intercepts them .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Mr. Sullivan? - I'm Seth Frank, senior homicide detective for Middleton County -<\/dialogue>\n    <character>SANDY LORD<\/character>\n    <parenthetical>( protectively . )<\/parenthetical>\n    <dialogue>- my client is in no mood for conversation, sir.<\/dialogue>\n    <character>WALTER SULLIVAN<\/character>\n    <dialogue>It's all right, Sandy -.<\/dialogue>\n    <parenthetical>( looks at Seth . )<\/parenthetical>\n    <dialogue>- you're in charge of the case?<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( nods . )<\/parenthetical>\n    <dialogue>I have to ask some questions, but it can be tomorrow.<\/dialogue>\n    <character>WALTER SULLIVAN<\/character>\n    <dialogue>You want what, positive identification? Yes, that was my wife. Anything else?<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( notebook in hand . )<\/parenthetical>\n    <dialogue>You'd been in Barbados for two days?<\/dialogue>\n    <character>WALTER SULLIVAN<\/character>\n    <parenthetical>( nods . )<\/parenthetical>\n    <dialogue>I took the entire staff down - always do this time of year.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>But Mrs. Sullivan did n't come.<\/dialogue>\n    <character>WALTER SULLIVAN<\/character>\n    <dialogue>She was, had it all planned, but you know women, they change their minds.<\/dialogue>\n    <parenthetical>( to Seth , softly . )<\/parenthetical>\n    <dialogue>I'd been married to my Rebecca for forty - seven years and when she died, I decided I never wanted that pain again. One thing I knew about Christy : she was going to outlive me.<\/dialogue>\n    <character>SANDY LORD<\/character>\n    <dialogue>I think that's enough for today.<\/dialogue>\n    <scene_description>Takes Walter 's arm .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I have to ask about the vault.<\/dialogue>\n    <scene_description>And on that - Walter . Holds to Sandy for a moment , then lets go .<\/scene_description>\n    <character>WALTER SULLIVAN<\/character>\n    <dialogue>You mean the contents of the vault of course -.<\/dialogue>\n    <parenthetical>( turns to Sandy . )<\/parenthetical>\n    <dialogue>- Sandy, you go on, I'm all right.<\/dialogue>\n    <parenthetical>( as Sandy looks at him a moment . )<\/parenthetical>\n    <dialogue>Really. Go to the reception - obviously I ca n't make it, but I'm sure everyone will understand.<\/dialogue>\n    <scene_description>Sandy nods , exits . Seth and Walter are alone . Beat . Then -<\/scene_description>\n    <character>WALTER SULLIVAN<\/character>\n    <dialogue>I know it's not the contents -.<\/dialogue>\n    <parenthetical>( as Seth embarrassed , stands there . )<\/parenthetical>\n    <dialogue>You mean the chair. You have to ask about the chair.<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( soft . )<\/parenthetical>\n    <dialogue>Yessir, I do.<\/dialogue>\n    <character>WALTER SULLIVAN<\/character>\n    <dialogue>But why? Are they connected?<\/dialogue>\n    <scene_description>-LRB- 2 -RRB-<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>I think someone sat in it - and I think that someone may have been involved in the murder.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You were my father's hero, Mr. Sullivan, I promise you this wo n't make my highlight reel.<\/dialogue>\n    <scene_description>CLOSEUP - WALTER Humiliated .<\/scene_description>\n    <character>WALTER SULLIVAN<\/character>\n    <dialogue>I'd hoped I could satisfy her. but you know. she had needs and she did n't want to go behind my back. she suggested the chair. she hoped I might get to like sitting there.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>. I did n't.<\/dialogue>\n    <parenthetical>( takes a breath . )<\/parenthetical>\n    <dialogue>I've tried for eighty years to live a decent life. I've given a billion dollars to charity. If this comes to trial, none of that will be remembered - I'll just go out as the joke of the world.<\/dialogue>\n    <scene_description>Seth . He closes his notebook .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>I understand, sir ; I'll do what I can.<\/dialogue>\n    <character>WALTER SULLIVAN<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Will you listen to me whine? Please forgive me, Mr. Frank. Just do your job.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>And I'll do mine.<\/dialogue>\n    <scene_description>Walter slowly moves to the door . Seth watches him . Sadly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITE HOUSE - MAGIC HOUR<\/stage_direction>\n    <scene_description>A gorgeous SHOT of a very famous place . The sun is setting . It all looks magical .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE HOUSE - NORTH PORTICO - NIGHT<\/stage_direction>\n    <scene_description>A room filled with well - dressed men and women . Formal attire . The rich and the famous . But the only one we recognize is Sandy Lord , deep in conversation with several other men . Now , someone says his name .<\/scene_description>\n    <character>MAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Sandy.<\/dialogue>\n    <parenthetical>( as Sandy turns . )<\/parenthetical>\n    <dialogue>Is there anything I can do?<\/dialogue>\n    <character>SANDY LORD<\/character>\n    <dialogue>Mr. President.<\/dialogue>\n    <scene_description>And on those words - The 44th President of the United States . He has all the natural charm in the world . He is remarkably bright , with a phenomenal memory . He is , also , at this moment , one of the most popular men in American history , three years into a brilliant first term , a shoo - in for re - election when that ritual comes . His name , by the way , is Alan Richmond , and we 've seen him before , most recently lying drunk in the back seat of a dark Towncar .<\/scene_description>\n    <character>RICHMOND<\/character>\n    <dialogue>Take a walk with me.<\/dialogue>\n    <scene_description>He and Sandy start out of the room . A well - dressed woman moves with them . She is Chief of Staff and her name is GLORIA RUSSELL . Two men in suits follow behind . Burton and Collin are their names and they are the best the Secret Service has to offer .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE HOUSE - CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>The group , as they leave the room , come to a wide corridor .<\/scene_description>\n    <character>RICHMOND<\/character>\n    <dialogue>Tell me about Walter - how is he?<\/dialogue>\n    <character>SANDY LORD<\/character>\n    <dialogue>Eighty and alone, Mr. President.<\/dialogue>\n    <character>RICHMOND<\/character>\n    <dialogue>He understands officially my hands are tied?<\/dialogue>\n    <character>SANDY LORD<\/character>\n    <dialogue>Mr. President, he's touched at your concern.<\/dialogue>\n    <character>RICHMOND<\/character>\n    <dialogue>Any news of the killer?<\/dialogue>\n    <parenthetical>( as Sandy indicates `` no '' . )<\/parenthetical>\n    <dialogue>Well, why is n't there? Who's in charge of the case?<\/dialogue>\n    <character>SANDY LORD<\/character>\n    <dialogue>Top man - eight years homicide work in New York. But I understand how you feel - it's hard to be patient.<\/dialogue>\n    <character>RICHMOND<\/character>\n    <parenthetical>( terribly upset . )<\/parenthetical>\n    <dialogue>No one understands how I feel - I'm supposed to have all this power but I ca n't help my oldest friend - you know and I know that more than any man alive Walter Sullivan put me here - and now when he most needs me, he must feel abandoned.<\/dialogue>\n    <scene_description>CLOSEUP - RICHMOND On fire -<\/scene_description>\n    <character>RICHMOND<\/character>\n    <dialogue>- I'll hold a press conference - and I'll have Walter come - and I will embrace him before the world.<\/dialogue>\n    <scene_description>Sandy . Listening . Moved .<\/scene_description>\n    <character>SANDY LORD<\/character>\n    <dialogue>He'll treasure that, Mr. President. What a generous gesture. Thank you. Thank you.<\/dialogue>\n    <scene_description>And he reaches out , shakes Richmond 's hand , squeezes Richmond 's arm and - Richmond - suddenly screaming in pain - Sandy pulls back , shocked . Richmond looks embarrassed .<\/scene_description>\n    <character>RICHMOND<\/character>\n    <parenthetical>( quick smile . )<\/parenthetical>\n    <dialogue>Damn tennis elbow is killing me.<\/dialogue>\n    <scene_description>And on that -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY OUTSIDE OVAL OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Richmond , immediately after , and he sure is n't smiling now - he storms toward the Oval Office , Russell , Burton and Collin hurrying to keep up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OVAL OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Burton opens the door for them , closes it once they 're inside .<\/scene_description>\n    <character>RICHMOND<\/character>\n    <parenthetical>( throws off his jacket , turns on Russell . )<\/parenthetical>\n    <dialogue>This thing's worse, Gloria. I need to see a doctor.<\/dialogue>\n    <character>RUSSELL<\/character>\n    <dialogue>The country would have to be informed, Mr. President.<\/dialogue>\n    <character>RICHMOND<\/character>\n    <dialogue>What happened to my right to privacy?<\/dialogue>\n    <parenthetical>( rolls up his sleeve , studies his cut . )<\/parenthetical>\n    <dialogue>I think she nicked a tendon.<\/dialogue>\n    <character>RUSSELL<\/character>\n    <dialogue>Burton says it's a flesh wound -<\/dialogue>\n    <character>RICHMOND<\/character>\n    <parenthetical>( to Burton . )<\/parenthetical>\n    <dialogue>- when did you become such an expert, Bill? - Ever been wounded? -<\/dialogue>\n    <character>BURTON<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>Yes, sir. Many times.<\/dialogue>\n    <scene_description>The fireplace . Richmond goes to it , rubs his arm , stares at the flames .<\/scene_description>\n    <character>RUSSELL<\/character>\n    <dialogue>Are you serious about that press conference, Alan?<\/dialogue>\n    <character>RICHMOND<\/character>\n    <dialogue>Of course I am - Walter's been like a father to me.<\/dialogue>\n    <character>RUSSELL<\/character>\n    <dialogue>Shall I bring Mrs. Richmond home for it?<\/dialogue>\n    <scene_description>Richmond , turning from the fire now , quietly .<\/scene_description>\n    <character>RICHMOND<\/character>\n    <dialogue>I think Mrs. Richmond's mission to help the poor in Asia should not be interrupted.<\/dialogue>\n    <parenthetical>( takes a breath , starts to button his shirt . )<\/parenthetical>\n    <dialogue>We know anything yet?<\/dialogue>\n    <character>RUSSELL<\/character>\n    <dialogue>We checked his license plate - he stole the car from a police impoundment lot.<\/dialogue>\n    <character>RICHMOND<\/character>\n    <dialogue>We're not dealing with a fool here.<\/dialogue>\n    <parenthetical>( gestures toward his jacket , as Russell helps him into it . )<\/parenthetical>\n    <dialogue>Has he initiated contact?<\/dialogue>\n    <character>RUSSELL<\/character>\n    <dialogue>Burton does n't think he will.<\/dialogue>\n    <character>RICHMOND<\/character>\n    <dialogue>I agree.<\/dialogue>\n    <parenthetical>( checking himself in a mirror . )<\/parenthetical>\n    <dialogue>Sorry about my behavior - wo n't happen again ; think of it as a blip on the screen. And as far as I'm concerned, so is he.<\/dialogue>\n    <character>RUSSELL<\/character>\n    <dialogue>He could be a little more than that, Alan - he saw.<\/dialogue>\n    <scene_description>Richmond . Big .<\/scene_description>\n    <character>RICHMOND<\/character>\n    <dialogue>He saw nothing - a drunk woman who liked rough sex too much. And he's a burglar. Who's going to believe him?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>After all, it's not as if he had evidence or anything.<\/dialogue>\n    <scene_description>And on those words -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUTHER'S SAFE HOUSE APARTMENT - LETTER OPENER  NIGHT<\/stage_direction>\n    <scene_description>Luther holds it . It 's the middle of the night . Luther turns the weapon over and over in his big hands .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITE HOUSE REAR GATE - NIGHT (LITTLE LATER)<\/stage_direction>\n    <scene_description>Burton is alone in his car , exiting the gate and driving home . He turns onto the main road .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET NEAR WHITE HOUSE\/INT. BURTON'S CAR - NIGHT<\/stage_direction>\n    <scene_description>He picks up speed . Glances around - no cars are following . Burton reaches into his pocket , takes out a MICRO - CASSETTE RECORDER , flicks it ON .<\/scene_description>\n    <character>RICHMOND<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What happened to my right to privacy?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I think she nicked a tendon.<\/dialogue>\n    <scene_description>Burton clicks the cassette off , puts it back into his pocket . Drives into the night .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATE'S APARTMENT - TINY KITCHEN - DAY<\/stage_direction>\n    <scene_description>A stove with one burner on high . A tea kettle is over the flame . It is morning and Kate is clearly not fully awake . She is finishing making instant coffee with lowfat milk and Sweet 'n Low ; next she goes to the front door of her apartment , opens it , picks up the morning Washington Post . She unfolds the paper as she starts back to the kitchen - INSERT - WASHINGTON POST Huge headlines - as big as you can get without a war . WALTER SULLIVAN 'S WIFE MURDERED BACK TO SCENE Kate looks at it only a moment , shakes her head , then starts to turn her attention to another section of the paper - - she does n't get that far . Kate : she has seen something she did n't catch before - The front page again . And the headline is still there - - but there is a smaller headline beneath it : Jewel Thief Sought . Kate sits down hard . Trying for control . Entering a nightmare . She stares at the paper . The front page . Pictures of the mansion , of Walter smiling on his wedding day , of Christy . But Kate 's eyes keep coming back to the smaller headline : Jewel Thief Sought . She tries to sip coffee , spills . She closes her eyes - in the kitchen , the pot of WATER starts to SHRIEK . Kate does not move .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VALERIE'S MIDDLE CLASS NEIGHBORHOOD - DAY (EARLY AFTERNOON)<\/stage_direction>\n    <scene_description>Kids riding bicycles . Very Norman Rockwell .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VALERIE'S BASEMENT - DAY<\/stage_direction>\n    <scene_description>A bald man . There is the sound of a CLICK . We realize after a moment that the bald man is Luther . Another SHOT of Luther looking very different - full beard . Again , a CLICK . Luther again - elegant beard this time . CLICK . PULL BACK to reveal - We are in the basement game room of one of the suburban homes . But our attention is on a whole string of Polaroids of Luther . Two people are present : Luther and VALERIE . Valerie is very small , and does n't miss much . She has been photographing him , and as the last photo slides out of the camera , she blows on it , puts it alongside the others .<\/scene_description>\n    <character>VALERIE<\/character>\n    <parenthetical>( as they study the pictures . )<\/parenthetical>\n    <dialogue>You always did disappear good, Luther.<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>You mean I've got a weak face. Thanks, Val.<\/dialogue>\n    <character>VALERIE<\/character>\n    <dialogue>You're lucky is all - some of my customers, they stand out no matter what.<\/dialogue>\n    <scene_description>An order form book . Valerie licks a pencil with her tongue .<\/scene_description>\n    <character>VALERIE<\/character>\n    <dialogue>How many passports you need?<\/dialogue>\n    <character>LUTHER<\/character>\n    <parenthetical>( thinks . )<\/parenthetical>\n    <dialogue>Four should cover it.<\/dialogue>\n    <character>VALERIE<\/character>\n    <parenthetical>( writes this down . )<\/parenthetical>\n    <dialogue>Now you'll want different looks, and matching international driver's licenses - I'll throw in some dummy credit cards, seeing it's you. How the rugs I made you holding up?<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>They're good. Beards and mustaches, too.<\/dialogue>\n    <character>VALERIE<\/character>\n    <parenthetical>( pleased . )<\/parenthetical>\n    <dialogue>I try to give value for money. Leaving the country permanent?<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>It may come to that.<\/dialogue>\n    <scene_description>-LRB- 2 -RRB-<\/scene_description>\n    <character>VALERIE<\/character>\n    <dialogue>Matter where you've been? - I hate doing those goddam Asian passport stamps.<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>Europe's fine. Maybe the Caribbean for winters. When can I pick up?<\/dialogue>\n    <character>VALERIE<\/character>\n    <dialogue>Usually takes some time, but for you, I'll rush it.<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>Thanks, Val. I've always been able to count on you.<\/dialogue>\n    <scene_description>Valerie puts the order book down , studies him .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>VALERIE<\/character>\n    <dialogue>I do n't want to know what you're into, but leaving forever.<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>Finish it.<\/dialogue>\n    <character>VALERIE<\/character>\n    <dialogue>I never figured you for a runner - thirty percent of my runners kill themselves within five years.<\/dialogue>\n    <character>LUTHER<\/character>\n    <parenthetical>( kisses her forehead . )<\/parenthetical>\n    <dialogue>Five years does n't sound so bad to me just now.<\/dialogue>\n    <scene_description>And as he heads out -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE HEADQUARTERS - CRIMINAL LAB - DAY<\/stage_direction>\n    <scene_description>Seth and Laura in the good - sized criminal lab . Loaded with up - to - date equipment . Seth has drawn a picture of the crime scene . Words like `` Bedroom Door , '' `` Exit Window , '' `` Vault , '' `` Bed , '' `` Victim '' are written neatly to scale . He holds a sheaf of papers . It 's late afternoon and things are already getting crazed . NOISE in the b.g. throughout .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>See if any of this makes sense.<\/dialogue>\n    <scene_description>Seth mimes opening the `` bedroom door , '' stepping inside , closing it . He makes a click with his tongue .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>I am Christy Sullivan and I walk in and surprise a burglar.<\/dialogue>\n    <scene_description>Seth moves to the `` vault door , '' mimes closing that , makes a grunt .<\/scene_description>\n    <character>LAURA<\/character>\n    <dialogue>Now you're the burglar coming out of the vault and being surprised.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Gold star.<\/dialogue>\n    <parenthetical>( aims his finger like a pistol . )<\/parenthetical>\n    <dialogue>I draw my gun -<\/dialogue>\n    <character>LAURA<\/character>\n    <parenthetical>( cutting in . )<\/parenthetical>\n    <dialogue>- then why do you bother to strangle her when you could just shoot?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>That's nothing - why do I bother to have her strip and then put her clothes back on?<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>There I can help you - see, before you were a burglar you were a dry cleaner and you still love beautiful clothes.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>And I dress her because?<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>She was a good customer and you did n't want her embarrassed when the police came.<\/dialogue>\n    <scene_description>CLOSEUP - SETH Frustrated .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>She had a point - 21 blood alcohol level. - she was too drunk to drive. I've checked every cab and limo company in the area and not one of them knows anything. Someone drove her home. Goddamit, who? And why have n't they come forward?<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>Maybe whoever drove her home killed her.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>You saying the burglar drove her home?<\/dialogue>\n    <parenthetical>( pissed . )<\/parenthetical>\n    <dialogue>I hate this case.<\/dialogue>\n    <scene_description>An open door behind them . A TELEPHONE REPAIRMAN appears . Nice looking kid with a dazzling smile .<\/scene_description>\n    <character>TELEPHONE REPAIRMAN<\/character>\n    <dialogue>Lieutenant? - sorry to bother you -.<\/dialogue>\n    <parenthetical>( as Seth turns . )<\/parenthetical>\n    <dialogue>I've got your phone working again, should n't give you any more trouble.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Good service, thanks.<\/dialogue>\n    <character>TELEPHONE REPAIRMAN<\/character>\n    <parenthetical>( dazzling smile as he goes . )<\/parenthetical>\n    <dialogue>Part of the job.<\/dialogue>\n    <scene_description>Seth and Laura . Seth 's lost his train of thought . Then -<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Oh yeah - remember that bullet hole in the wall? Had the lab dig out the slug - guess what - no slug - why does the burglar take the time to do that?<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>Different from the one in her body?<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( getting more and more upset . )<\/parenthetical>\n    <dialogue>Oh I like that a lot - two different guns means two different burglars. Two guys broke in? And they both went out the window? Bullshit.<\/dialogue>\n    <parenthetical>( big . )<\/parenthetical>\n    <dialogue>And oh, by the way, why does he - or they - go out the window in the first place when he - or they - got in by breaking a zillion - dollar security system? -<\/dialogue>\n    <character>COP<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>- Seth?<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( whirling . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>COP<\/character>\n    <parenthetical>( in doorway . )<\/parenthetical>\n    <dialogue>A Bill Burton of the Secret Service in the parking lot.<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( gives papers to Laura . )<\/parenthetical>\n    <dialogue>Here, you solve the goddam thing.<\/dialogue>\n    <parenthetical>( as he starts away . )<\/parenthetical>\n    <dialogue>Did I mention that I hate this case? I really truly hate this case - you can not imagine how much I hate it -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE HEADQUARTERS - PARKING LOT - DAY<\/stage_direction>\n    <scene_description>Burton waits by his car as Seth walks up .<\/scene_description>\n    <character>BURTON<\/character>\n    <parenthetical>( as they shake . )<\/parenthetical>\n    <dialogue>Bill Burton, hi -<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>- hi, Seth Frank -<\/dialogue>\n    <character>BURTON<\/character>\n    <dialogue>- I know you must be going crazy - but the boss is very interested in your progress. Maybe we can help each other.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>What did you have in mind?<\/dialogue>\n    <character>BURTON<\/character>\n    <dialogue>You know how close he and Sullivan are?<\/dialogue>\n    <parenthetical>( as Seth nods . )<\/parenthetical>\n    <dialogue>The minute anything breaks, if you'd call me, I'd tell the President. That way, he'd be the first to alert Mr. Sullivan - it would mean a lot to him. And any red tape you want cut - done.<\/dialogue>\n    <parenthetical>( as he takes out card . )<\/parenthetical>\n    <dialogue>Here are my numbers.<\/dialogue>\n    <scene_description>He turns , opens his front car door .<\/scene_description>\n    <character>BURTON<\/character>\n    <parenthetical>( getting in . )<\/parenthetical>\n    <dialogue>Leads?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Still trying to figure out what might have happened -<\/dialogue>\n    <character>BURTON<\/character>\n    <dialogue>- I loved playing Sherlock Holmes.<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( surprised . )<\/parenthetical>\n    <dialogue>You Secret Service guys do that?<\/dialogue>\n    <character>BURTON<\/character>\n    <dialogue>I was State Trooper here ten years ago before the Government got me.<\/dialogue>\n    <scene_description>Seth . It just pops out .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>You're that Bill Burton.<\/dialogue>\n    <scene_description>Burton . Embarrassed .<\/scene_description>\n    <character>BURTON<\/character>\n    <dialogue>I was younger and dumber then.<\/dialogue>\n    <parenthetical>( quickly . )<\/parenthetical>\n    <dialogue>Keep in touch.<\/dialogue>\n    <scene_description>Seth waves as Burton drives away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET NEAR POLICE HEADQUARTERS - DAY<\/stage_direction>\n    <scene_description>Burton . He drives alertly along , turns a corner . Up ahead , a telephone repair truck has stopped . The Repairman leans out . He has a dazzling smile . He and Burton wave to each other .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN DINING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Quietly elegant . Two men are finishing dinner . Walter Sullivan we know . MICHAEL McCARTY , his dinner companion , is 35 , fit , handsome , beautifully dressed . He is , at present , torn by a silver tray of small French pastries .<\/scene_description>\n    <character>WALTER SULLIVAN<\/character>\n    <parenthetical>( noting McCarty 's temptation . )<\/parenthetical>\n    <dialogue>The chef makes them especially for me - I promise you they're sinful.<\/dialogue>\n    <scene_description>McCarty grabs one , downs it , grins sheepishly .<\/scene_description>\n    <character>McCARTY<\/character>\n    <dialogue>You're a salesman, Mr. Sullivan.<\/dialogue>\n    <scene_description>Sullivan nods as they rise .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SULLIVAN LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Tastefully appointed , as one would expect .<\/scene_description>\n    <character>WALTER SULLIVAN<\/character>\n    <dialogue>This is a new arena for me, but from what I'm told, you have a flawless reputation, Mister McCarty - which is why I need to employ you.<\/dialogue>\n    <character>McCARTY<\/character>\n    <dialogue>Understood.<\/dialogue>\n    <character>WALTER SULLIVAN<\/character>\n    <dialogue>I have no idea who I'm after. Until I do, you will have to wait in Washington for instructions.<\/dialogue>\n    <character>McCARTY<\/character>\n    <dialogue>Out of the question, I'm afraid.<\/dialogue>\n    <parenthetical>( explaining as they walk . )<\/parenthetical>\n    <dialogue>Mine is n't particularly creative work - I only do it because I enjoy living beyond my means. I ca n't afford to just sit around.<\/dialogue>\n    <scene_description>A sofa . Walter gestures for them to sit .<\/scene_description>\n    <character>WALTER SULLIVAN<\/character>\n    <dialogue>When I was 10 my father died - he was a miner and lung disease killed him. I became rich at 25 and the first thing I did was purchase that mine, close it, and give every miner there fifty thousand dollars to retire on.<\/dialogue>\n    <parenthetical>( beat ; staring at McCarty now . )<\/parenthetical>\n    <dialogue>You will come to Washington, Mr. McCarty. You will put one million dollars expenses into the Swiss bank account of your choosing.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>And, when the time comes, two million dollars a bullet.<\/dialogue>\n    <character>McCARTY<\/character>\n    <parenthetical>( smiles , nods . )<\/parenthetical>\n    <dialogue>You are a salesman, sir.<\/dialogue>\n    <character>WALTER SULLIVAN<\/character>\n    <dialogue>Selling sin is easy.<\/dialogue>\n    <scene_description>Now , sharply .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SETH'S OFFICE - CLOSEUP - OLD MUG SHOT OF LUTHER  DAY<\/stage_direction>\n    <scene_description>PULL BACK to reveal . Seth and Laura , in his office . The mug shot is on his desk , along with some folders . Seth beckons to her .<\/scene_description>\n    <character>LAURA<\/character>\n    <parenthetical>( studying photo . )<\/parenthetical>\n    <dialogue>Who is he?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Luther Whitney -.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>- one of the great thieves of the world.<\/dialogue>\n    <scene_description>Seth . The words pour out .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Been going nuts with this thing, up all night and I remembered your notion how it might be two burglars, and around dawn I thought, wait, what if it was n't two burglars but what if it was one guy trying to throw us off by making it look like two?<\/dialogue>\n    <parenthetical>( faster . )<\/parenthetical>\n    <dialogue>Called a buddy at the Bureau - they keep track of this stuff internationally - he says maybe only a half a dozen guys alive could have pulled off the Sullivan job - I'm tracing all six -.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>- but Whitney's the only one lives in Washington.<\/dialogue>\n    <scene_description>Laura . Looking at Seth now . Starting to get excited , too .<\/scene_description>\n    <character>LAURA<\/character>\n    <dialogue>Why have n't I ever heard of him?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Because he has n't been arrested in thirty years.<\/dialogue>\n    <character>LAURA<\/character>\n    <parenthetical>( indicating mug shot . )<\/parenthetical>\n    <dialogue>This his graduation picture from Harvard?<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( waving her off . )<\/parenthetical>\n    <dialogue>Ancient history - he was n't a jewel thief back then. Just a kid, just part of a gang, a three - time loser. But since he got out the last time, he's only worked alone -.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>- and no one's touched him.<\/dialogue>\n    <parenthetical>( shakes his head . )<\/parenthetical>\n    <dialogue>He gets questioned whenever anything big comes up. But nothing sticks.<\/dialogue>\n    <character>LAURA<\/character>\n    <parenthetical>( really excited now . )<\/parenthetical>\n    <dialogue>Seth - we can make this stick - I'll bet you anything this is our guy - a local? - ca n't ask for more -<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( makes a face . )<\/parenthetical>\n    <dialogue>We've got a problem.<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>- what? -<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Whitney has n't killed anyone in 45 years.<\/dialogue>\n    <scene_description>Laura does n't get it .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Korea.<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>Big deal, so he's a veteran.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Not just a veteran - a wounded veteran.<\/dialogue>\n    <parenthetical>( indicating folder . )<\/parenthetical>\n    <dialogue>Got his combat record here. Battles, commendations, decorations up the kazoo. Lives alone on his disability. Says he does anyway.<\/dialogue>\n    <parenthetical>( glum . )<\/parenthetical>\n    <dialogue>And I do n't do war heroes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WASHINGTON MUSEUM - DAY<\/stage_direction>\n    <scene_description>Luther - it 's a beautiful morning now and he 's walking up the steps to the art museum . He seems in a terrific mood as he goes inside - - HOLD . Seth has been on the steps of the museum , watching him . Now quickly -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WASHINGTON MUSEUM - DAY<\/stage_direction>\n    <scene_description>Luther , inside , peering back out at Seth . And he does n't seem in as terrific a mood now . He hesitates , keeps on going .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WASHINGTON MUSEUM - DAY<\/stage_direction>\n    <scene_description>Seth . Outside - and he knows Luther was watching .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WASHINGTON MUSEUM - DAY<\/stage_direction>\n    <scene_description>El Greco . The usual group has gathered , sketching away . Luther is deeply engrossed in his labors . Seth enters the room , casually taking it all in . He approaches the group , ends up behind Luther who is intent on getting the hands right .<\/scene_description>\n    <character>LUTHER<\/character>\n    <parenthetical>( not looking . )<\/parenthetical>\n    <dialogue>Boy, you must be smart.<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( really taken aback . )<\/parenthetical>\n    <dialogue>Sorry?<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>Usually takes a week for you guys to get to me.<\/dialogue>\n    <parenthetical>( turns , smiles . )<\/parenthetical>\n    <dialogue>You look just like your picture, Seth. I'm Luther Whitney.<\/dialogue>\n    <scene_description>He reaches out to shake a surprised Seth 's hand -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSEUM - COFFEE SHOP - DAY<\/stage_direction>\n    <scene_description>They walk in , go to the food line . There is , throughout , a bantering tone . Not that it matters , but these two , in a different world , would like each other - they 're both , in their own ways , deeply moral men .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>So, do you want my confession now or after coffee?<\/dialogue>\n    <scene_description>As Luther draws some coffee from an urn -<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( doing the same . )<\/parenthetical>\n    <dialogue>Before I send you away for life, I should probably check out your alibi.<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>Watched the Bullets game with Red Bransford. Prison buddy of mine - runs a bar - want to question me about the game? I'm probably lying.<\/dialogue>\n    <scene_description>They each give the cashier some money and we see a quiet table in the corner as they head for it .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>You been following the case?<\/dialogue>\n    <character>LUTHER<\/character>\n    <parenthetical>( nods vigorously . )<\/parenthetical>\n    <dialogue>I love true crime -<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>- F.B.I. feels only a few guys could have handled something as hard as the Sullivan job.<\/dialogue>\n    <parenthetical>( touches his notebook . )<\/parenthetical>\n    <dialogue>I've got a list here ; you're on it.<\/dialogue>\n    <character>LUTHER<\/character>\n    <parenthetical>( nothing shows . )<\/parenthetical>\n    <dialogue>I wish it was true.<\/dialogue>\n    <parenthetical>( shakes his head . )<\/parenthetical>\n    <dialogue>Your robber actually went in the front door but came out down a rope in the dark in the middle of the night?<\/dialogue>\n    <parenthetical>( as Seth nods ; Luther sighs . )<\/parenthetical>\n    <dialogue>If only I could do stuff like that - I'd be the star of my A.A.R.P. meetings.<\/dialogue>\n    <scene_description>Luther and Seth as they sit . Seth smiles , looks at Luther .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Luther? Why was this so hard?<\/dialogue>\n    <scene_description>Luther . Now he 's surprised . He kind of smiles .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>You want me to help solve your case?<\/dialogue>\n    <scene_description>-LRB- 2 -RRB-<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Just looking for insight. How would you - scratch that - how would one go about it? What kind of person do you think I should be looking for?<\/dialogue>\n    <character>LUTHER<\/character>\n    <parenthetical>( like a shot . )<\/parenthetical>\n    <dialogue>Older fella. Like me.<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( now he smiles . )<\/parenthetical>\n    <dialogue>Because?<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>Need patience. The secret is just research, research, research - from everything I've read.<\/dialogue>\n    <scene_description>Seth . This has n't gone at all the way he thought - and he 's starting to get fascinated .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Research for what?<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>Well, from what I can tell on the tube, it's not a small house.<\/dialogue>\n    <parenthetical>( as Seth nods . )<\/parenthetical>\n    <dialogue>There had to be an architect, right? You'd be able to tell which one from public records in the library. And once you know the office, you could break in and find the plans and Xerox them, get them back before morning.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Not just steal them?<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>Seth - breaking in is n't hard - what's hard is breaking in so no one knows you've been there. Now, after the architect, next you'd want the contractor's office - and the security company's office.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You know the skill involved breaking the security of a security company?<\/dialogue>\n    <parenthetical>( shakes his head . )<\/parenthetical>\n    <dialogue>I wonder how those guys do it?<\/dialogue>\n    <scene_description>-LRB- 3 -RRB-<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Why go to all that trouble?<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>Papers said he kept the money in a vault, yes?<\/dialogue>\n    <parenthetical>( as Seth nods . )<\/parenthetical>\n    <dialogue>Well, I'm guessing there was probably some secret way to open it -<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( casually . )<\/parenthetical>\n    <dialogue>- clicker -<\/dialogue>\n    <character>LUTHER<\/character>\n    <parenthetical>( fascinated . )<\/parenthetical>\n    <dialogue>- explain -<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>- gizmo - looked like a V.C.R. remote -<\/dialogue>\n    <character>LUTHER<\/character>\n    <parenthetical>( shaking his head . )<\/parenthetical>\n    <dialogue>- amazing -.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>- must have been a lot of money inside.<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( sipping casually ; a pause . )<\/parenthetical>\n    <dialogue>Five million.<\/dialogue>\n    <scene_description>And on those words - Luther , more than he thought , a lot more - but of course nothing shows - instead he breaks out laughing .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Why's that funny?<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>The way you said it - as if you were trying to surprise me.<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>I was trying to surprise you.<\/dialogue>\n    <character>LUTHER<\/character>\n    <parenthetical>( smiles back . )<\/parenthetical>\n    <dialogue>There you go.<\/dialogue>\n    <scene_description>-LRB- 4 -RRB- Seth sips his coffee , takes out his notebook , opens it .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Would the burglar use a disguise?<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>Seth, you've got to get with the program you expect to catch this guy - most likely it is a guy, am I right? Some kind of weird loner?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Maybe like you.<\/dialogue>\n    <character>LUTHER<\/character>\n    <parenthetical>( could n't agree more . )<\/parenthetical>\n    <dialogue>I'm the perfect prototype.<\/dialogue>\n    <parenthetical>( sipping away . )<\/parenthetical>\n    <dialogue>But you see any face often enough, you'll start putting things together. That's why these top guys disguise themselves. I read a great article a couple of years back - damn, I wish I could remember where - anyway, it was about these makeup experts some of them use - wigmakers, people like that.<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( flipping a page . )<\/parenthetical>\n    <dialogue>Go on about the wigmakers.<\/dialogue>\n    <character>LUTHER<\/character>\n    <parenthetical>( glancing at his watch . )<\/parenthetical>\n    <dialogue>I'd love that but I'm late as it is - got to get my pacemaker checked.<\/dialogue>\n    <parenthetical>( he likes Seth . )<\/parenthetical>\n    <dialogue>- all this excitement, you understand.<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( and he likes Luther . )<\/parenthetical>\n    <dialogue>A. -RRB- You do n't have a pacemaker, and B. -RRB- I'll be back tomorrow.<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>Tomorrow is promised to no one.<\/dialogue>\n    <scene_description>HOLD ON Luther .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUTHER'S SMALL HOUSE - BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Luther is throwing clothes into a suitcase while talking on the phone -<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Not'til morning?<\/dialogue>\n    <parenthetical>( makes a face . )<\/parenthetical>\n    <dialogue>- I'll be by early -<\/dialogue>\n    <scene_description>He hangs up , shuts the suitcase , takes off out the door -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATE'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>A place we 've seen briefly before . Dark . Moonlight through the windows . The sound of a KEY IN the DOOR . Luther enters , takes out a tiny flashlight . We 're in one largish room , books all over . The home of someone who does n't care a whole lot about their home .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Luther enters . He opens the fridge . Disaster - still water , sparkling water , carrot sticks .<\/scene_description>\n    <character>LUTHER<\/character>\n    <parenthetical>( sadly , muttering . )<\/parenthetical>\n    <dialogue>Katie darling, you've got ta try real food sometime.<\/dialogue>\n    <scene_description>He closes the door , moves back into the room -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATE'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>A graduation photo of Kate . Luther touches it with a fingertip , moves on through the silence .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATE'S APARTMENT - BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Luther by the bed now , he flashes his light around - - what the light illuminates : a bed table full of law books . Expected . A phone\/answering machine . The mandatory lamp . And photographs . A proud mother and daughter picture . The daughter is Kate . The mother is a fine - looking woman with a kind face . Half a dozen more shots as Kate grew up , the mother grew older . Mother and daughter , mother and daughter . Nothing unusual here at all . So why is Luther so sad ? HOLD .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIDDLETON COUNTY COURTHOUSE - DAY<\/stage_direction>\n    <scene_description>10 A.M. . A white - brick , weather - beaten building , Old Glory fighting the breeze .<\/scene_description>\n    <character>RICHMOND<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I am having this press conference here because.<\/dialogue>\n    <scene_description>Richmond , speaking on a podium . The press corps stands in front of him , TV crews of all kinds , CNN the most noticeable .<\/scene_description>\n    <character>RICHMOND<\/character>\n    <dialogue>it is here, at this courthouse, that Christine Sullivan's killer will be tried for his crime.<\/dialogue>\n    <scene_description>Burton and Collin , in the b.g. , scanning the crowd . Gloria Russell stands behind them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPORT LOUNGE - DAY<\/stage_direction>\n    <scene_description>The same shot - only now it 's grainy - we 're watching it on a TV SCREEN . CNN ON the TUBE . A BARTENDER cleaning glasses ; otherwise , not a whole lot going on . Now Luther enters , dressed for travel . He goes to a stool , orders a ginger ale , puts his passport and ticket on the bar , glances toward the TV .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Turn that off, okay?<\/dialogue>\n    <character>BARTENDER<\/character>\n    <parenthetical>( finishing up the glasses . )<\/parenthetical>\n    <dialogue>In a sec.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIDDLETON COUNTY COURTHOUSE - DAY<\/stage_direction>\n    <scene_description>Richmond at his press conference . He speaks without notes and he speaks beautifully .<\/scene_description>\n    <character>RICHMOND<\/character>\n    <dialogue>As you know, I came from an impoverished family in an impoverished town - but we lived with our doors unlocked.<\/dialogue>\n    <scene_description>Russell watching , listening ; she loves hearing him talk .<\/scene_description>\n    <character>RICHMOND<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>We all lock our doors now, but that is not what concerns me.<\/dialogue>\n    <scene_description>Burton and Collin , scanning the crowd .<\/scene_description>\n    <character>RICHMOND<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>we are also locking our hearts. that is the sadness, that is the loss.<\/dialogue>\n    <scene_description>Richmond , and suddenly he 's like a Southern minister .<\/scene_description>\n    <character>RICHMOND<\/character>\n    <dialogue>We are locking our hearts to the cries of the weary, we are locking our hearts to the poor and their pain.<\/dialogue>\n    <scene_description>An old man , standing behind Russell . We realize it 's Walter Sullivan .<\/scene_description>\n    <character>RICHMOND<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Sisters and brothers, we are locking our hearts to ourselves.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPORT LOUNGE - DAY<\/stage_direction>\n    <scene_description>Walter Sullivan . Grainy now . CNN . He has aged shockingly in the past couple of days . Luther staring sympathetically at the devastated old man . - Sullivan 's image suddenly is gone - - The Bartender has TURNED OFF the TELEVISION .<\/scene_description>\n    <character>LUTHER<\/character>\n    <parenthetical>( politely . )<\/parenthetical>\n    <dialogue>Put it back on.<\/dialogue>\n    <character>BARTENDER<\/character>\n    <parenthetical>( starting to argue . )<\/parenthetical>\n    <dialogue>You said -<\/dialogue>\n    <character>LUTHER<\/character>\n    <parenthetical>( cutting through . )<\/parenthetical>\n    <dialogue>Do it -<\/dialogue>\n    <scene_description>CNN . Walter Sullivan is still there .<\/scene_description>\n    <character>RICHMOND<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>We feel savagery and violence must be allowed a place at table.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>That is wrong. That is not America. I shall fight that battle.<\/dialogue>\n    <scene_description>Luther , staring at the image of Walter Sullivan , who is heartsick and beaten . Luther is simply transfixed - - Richmond on CNN and now he has turned and is beckoning for Walter Sullivan to join him . Sullivan for a moment is uncertain . He points to himself - `` do you mean me ? '' Richmond nods , opens his arms out wide . Sullivan gets up , comes forward . Luther , as he gets up too , also comes forward , leaving the stool , walking close to the television . Richmond and Sullivan , grainy on CNN as Richmond embraces Sullivan , holds him in a loving embrace .<\/scene_description>\n    <character>RICHMOND<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Dear friend, old friend, we shall fight that battle.<\/dialogue>\n    <scene_description>Sullivan , too overcome by the moment , can only nod .<\/scene_description>\n    <character>RICHMOND<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Who can explain the ways of chance? If we had never met, I would not be President. If Christine had not taken ill, she would be with you in Barbados even now. Oh, Walter, you've always been like a father to me. I would give the world to lessen your pain.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIDDLETON COUNTY COURTHOUSE - DAY<\/stage_direction>\n    <scene_description>The press corps . Subdued , saddened . Richmond and Walter . They turn , face the cameras . The president 's arm is still around the old man ; they both blink back tears and now - - here it comes ! -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPORT LOUNGE - EXTREME CLOSEUP - LUTHER - DAY<\/stage_direction>\n    <scene_description>Tears of rage in his eyes . A rage so deep it shocks him -<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>You - heartless - prick -.<\/dialogue>\n    <parenthetical>( building . )<\/parenthetical>\n    <dialogue>- you - fucking - bastard -<\/dialogue>\n    <scene_description>The Bartender , surprised , turning toward Luther . He starts to say something , stops ; something tells him to shut up and he does .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIDDLETON COUNTY COURTHOUSE - DAY<\/stage_direction>\n    <scene_description>Richmond , wiping away tears , alone on camera .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPORT LOUNGE - DAY<\/stage_direction>\n    <scene_description>Luther , wiping away tears , in the bar . A SHOT of the two of them , Luther and Richmond , one on CNN , one in reality , because Luther has moved so close to the TV he and Richmond could almost be staring at each other .<\/scene_description>\n    <character>LUTHER<\/character>\n    <parenthetical>( whispered now . )<\/parenthetical>\n    <dialogue>I'm not running - not from you.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I'm going to bring you down.<\/dialogue>\n    <scene_description>HOLD ON the two men .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE HOUSE - NORTH PORTICO - DAY<\/stage_direction>\n    <scene_description>Seventy very excited people we 've never seen before . They stare around at their surroundings - they are in the White House . On a guided tour . A bright late morning of what 's going to be a beautiful day . A guide leads the people through a doorway . They troop happily along . Luther is with them ; he seems happy too .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE HOUSE - NORTH PORTICO AREA - DAY<\/stage_direction>\n    <scene_description>The guide leads the people through . They look around , chat with their friends , follow the guide out . Luther follows the guide out too . HOLD ON the room . All is as it was . Except a large envelope has been dropped on a side table . MOVE IN ON the envelope - - it 's addressed to Gloria Russell .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE HOUSE - GLORIA RUSSELL'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Gloria Russell . Terrified . Her doors are closed , Russell is at her desk . Burton stands alongside . Collin , silent , sits in a corner . And on her desk , half out of the envelope , is a photo - graph of the letter opener .<\/scene_description>\n    <character>RUSSELL<\/character>\n    <dialogue>He was in the building - he took a guided tour.<\/dialogue>\n    <scene_description>Burton pulls the picture all the way out , studies it .<\/scene_description>\n    <character>RUSSELL<\/character>\n    <dialogue>I've never dealt with blackmail -<\/dialogue>\n    <character>BURTON<\/character>\n    <parenthetical>( trying for calm . )<\/parenthetical>\n    <dialogue>- he does n't want money -<\/dialogue>\n    <character>RUSSELL<\/character>\n    <parenthetical>( exploding . )<\/parenthetical>\n    <dialogue>- you a mind reader too?<\/dialogue>\n    <character>BURTON<\/character>\n    <parenthetical>( under control . )<\/parenthetical>\n    <dialogue>No, I just looked on the back -.<\/dialogue>\n    <parenthetical>( shows her . )<\/parenthetical>\n    <dialogue>- see? -<\/dialogue>\n    <scene_description>Luther has written something .<\/scene_description>\n    <character>RUSSELL<\/character>\n    <parenthetical>( reading . ) '<\/parenthetical>\n    <dialogue>I do n't want money.'<\/dialogue>\n    <scene_description>Russell is more upset . Burton almost smiles .<\/scene_description>\n    <character>LUTHER<\/character>\n    <parenthetical>( admiringly . )<\/parenthetical>\n    <dialogue>This guy sure has the guts of a burglar. Wish we had him.<\/dialogue>\n    <scene_description>Collin laughs .<\/scene_description>\n    <character>RUSSELL<\/character>\n    <dialogue>You finished your recruiting speech? Because I'd like to know how I handle this.<\/dialogue>\n    <character>BURTON<\/character>\n    <dialogue>Like you handled the letter opener?<\/dialogue>\n    <scene_description>Russell . She studies Burton . Then -<\/scene_description>\n    <character>RUSSELL<\/character>\n    <dialogue>Gee, Bill, that could be construed as criticism. Do you really want me as an enemy?<\/dialogue>\n    <scene_description>Burton stands there , massively powerful . His voice , when he speaks , is his usual voice : polite , considerate .<\/scene_description>\n    <character>BURTON<\/character>\n    <dialogue>Miss Russell, I should have called the police that night. But I was weak. You convinced me to stay silent. I regret that.<\/dialogue>\n    <parenthetical>( another pause . )<\/parenthetical>\n    <dialogue>Know this : every time I see your face I want to rip your throat out.<\/dialogue>\n    <scene_description>Russell . Silence . -LRB- 2 -RRB-<\/scene_description>\n    <character>RUSSELL<\/character>\n    <dialogue>Fine - you win the pissing contest -.<\/dialogue>\n    <parenthetical>( then suddenly almost like a little girl . )<\/parenthetical>\n    <dialogue>- what should I do?<\/dialogue>\n    <character>BURTON<\/character>\n    <dialogue>Nothing - because he's making a terrible mistake, he thinks he has time - he does n't - Seth Frank's too good. He'll bring him in.<\/dialogue>\n    <character>RUSSELL<\/character>\n    <dialogue>Then what?<\/dialogue>\n    <character>COLLIN<\/character>\n    <parenthetical>( his first words . )<\/parenthetical>\n    <dialogue>Then I kill him.<\/dialogue>\n    <scene_description>Now , from them -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATE'S OFFICE - DAY<\/stage_direction>\n    <scene_description>She is , we will find , a top prosecutor for the Common - wealth of Virginia . Her office is a zoo . On her desk , a baby picture of Kate and her mom smiling - but there is something a little different about it . Seth enters and they shake . He glances around - - sees the photograph , glances away . Kate has risen now - and in the silence it 's clear that even though they are both standing still , they are both circling .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( trying for a smile . )<\/parenthetical>\n    <dialogue>For a tough prosecutor, you do n't resemble your reputation, Miss Whitney.<\/dialogue>\n    <character>KATE<\/character>\n    <parenthetical>( the same . )<\/parenthetical>\n    <dialogue>Is that good or bad?<\/dialogue>\n    <parenthetical>( before Seth can reply . )<\/parenthetical>\n    <dialogue>Look, Lieutenant - I told you on the phone, I'm simply not involved with my father, so this may not be a waste of time for you, but it sure is for me.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>What would you do if I just turned around and left?<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Report you as an incompetent.<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( a real smile now . )<\/parenthetical>\n    <dialogue>You're exactly like your reputation, Miss Whitney -<\/dialogue>\n    <scene_description>As they head out -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOUNGE OUTSIDE KATE'S OFFICE - DAY<\/stage_direction>\n    <scene_description>They enter . It 's empty .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( the instant they 're alone . )<\/parenthetical>\n    <dialogue>I'm assuming your father's a big part of you -<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>- what? -<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>- You think it's all coincidence? He's a thief and you just happen to be the toughest prosecutor in the area?<\/dialogue>\n    <character>KATE<\/character>\n    <parenthetical>( just amazed . )<\/parenthetical>\n    <dialogue>Wow - that never crossed my mind - you think there might be some connection? - Like maybe I'm somehow compensating? - I better write that down.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>- Luther disappeared.<\/dialogue>\n    <scene_description>No reaction . A banged - up couch . Kate sits , shrugs .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>I think you can help me.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Lieutenant - I do n't know the man - he was in jail when I was a kid, when he got out my mother and I went off to live by ourselves. We do n't make contact. He does n't care about me. I've seen him all of once this past year.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>When?<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Couple days ago. He said he might be going away. There. I just helped you. Can I go back to work now?<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( shakes his head . )<\/parenthetical>\n    <dialogue>Any idea where he might have gone?<\/dialogue>\n    <scene_description>Seth and Kate realize something : In a different world , under different circumstances , they 'd probably be starting an affair .<\/scene_description>\n    <character>KATE<\/character>\n    <parenthetical>( snappishly . )<\/parenthetical>\n    <dialogue>Quit wasting my time - if he does n't want you to find him, you're not going to find him.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>You saying he's left town, skipped the country, what?<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>I'm saying you wo n't recognize him. I'm saying he could be just around the corner - he always kept a safe house -<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( cutting in . )<\/parenthetical>\n    <dialogue>- where? -<\/dialogue>\n    <scene_description>-LRB- 2 -RRB-<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>He never said -<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>- Then where'd you hear this?<\/dialogue>\n    <scene_description>CLOSEUP - KATE<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>- my mother loved him, all right? - Even after she left him - even when she was dying she always talked about him - ` If only he had n't this,' ` if only he could have that' -<\/dialogue>\n    <scene_description>She stops . Seth , watching her .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>And?<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>I meet a lot of asshole cops like you - guys who O.D.'d on Columbo -<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>- Lady, I may be an asshole cop but you do n't know me well enough to call me one -<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>- There's something else, is n't there? Something you want me to do? - But you wo n't say -<\/dialogue>\n    <scene_description>Seth . There is . But he wo n't say . Kate . For the first time now , apprehension . Now -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LUTHER'S HOUSE - DAY<\/stage_direction>\n    <scene_description>The row of small , neat houses - where Luther lived . Kate and Seth get out of his car , go to the front door .<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>How long did he live here?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Years.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Never been.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LUTHER'S FRONT DOOR - DAY<\/stage_direction>\n    <scene_description>Seth stoops , gets the key from under the terra cotta planter .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Strange place for a thief to leave a key, do n't you think?<\/dialogue>\n    <character>KATE<\/character>\n    <parenthetical>( quick memory . )<\/parenthetical>\n    <dialogue>He always did that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUTHER'S HOUSE - LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>They enter . It 's surprisingly tidy . Seth and Kate as they move along . Seth is watching Kate who suddenly stops dead . The mantle . A large blowup of the same picture Kate had in her office , the one of Kate and her mom - - with one startling change : Luther is in this shot , standing there proud and smiling . She has ripped his presence out of her photo . Seth , silently watching Kate . She turns sharply away . He gestures for her to follow .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUTHER'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>They enter . Clothes tossed all over .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>He sure took off in a hurry. What scares a professional thief like that?<\/dialogue>\n    <scene_description>Kate . No reply . She has seen something across the tiny room and is drawn to it - Luther 's bed table - - and here it is ! Call it a montage , call it a collage , call it what you will , we are looking at dozens of photographs - - all of them featuring Kate . Many of them we saw in her apartment - only here , as in the photo over the mantle , Luther is there with Kate and her mom . We are looking at a shrine ! And there are newer photos too - Kate at her college graduation , Kate at her law school graduation , Kate and her mother coming out of an elegant restaurant , Kate alone on the steps of Middleton County Courthouse - - these are not posed shots . She looks wonderful and alive in all of them - Kate . She looks dead now . All energy gone . She sits heavily down on the bed .<\/scene_description>\n    <character>KATE<\/character>\n    <parenthetical>( fighting tears . )<\/parenthetical>\n    <dialogue>. but he was n't at those places.<\/dialogue>\n    <parenthetical>( pointing to the grown - up photos . )<\/parenthetical>\n    <dialogue>. college graduation ; law school graduation ; the night Mom and I celebrated when I got a job ; and me alone on the steps? - I'd just won my first case, I was so proud.<\/dialogue>\n    <parenthetical>( still fighting . )<\/parenthetical>\n    <dialogue>. I used to think. sometimes I'd come home and I'd sense he'd been in my apartment, checking the fridge, shaking his head because he never thought I ate right. It's crazy but I just knew Daddy was watching over me.<\/dialogue>\n    <scene_description>And now she loses it , starts crying silently . Seth kneels alongside her , gives her a handkerchief .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>You can do a good thing, Kate -.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>- help me bring him in. Just leave a message on his phone machine, you're worried about him.<\/dialogue>\n    <scene_description>-LRB- 2 -RRB-<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>It's the truth - you are worried about him - this is n't your normal case - his life may be in danger - you can save him, make the call -<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>He wo n't come.<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( indicating the pictures . )<\/parenthetical>\n    <dialogue>Of course he'll come. You're all he has.<\/dialogue>\n    <scene_description>Kate , staring at the photos , trying to get control .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( moving in . )<\/parenthetical>\n    <dialogue>Kate, he's on the run and he's scared and he's right to be scared because he's going to get caught - you do n't know the heat on this.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>He's not a murderer.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Maybe you're right. Maybe he is innocent. If so I'll have him home and dry in a few hours. But what happens if some hotshot who's trying to make a reputation tracks him down?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I can guarantee his safety. You make the call, I make a promise : You'll have your father, home and dry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATE'S APARTMENT - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Kate alone . Totally wiped out . She is on the phone with Seth . Outside , the sun is dying .<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>I left a message on his machine, he called back within an hour ; we're meeting tomorrow afternoon.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SETH'S OFFICE - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Seth , taking it down .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>KATE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>An open - air place near my office, the Cafe Alonzo -<\/dialogue>\n    <scene_description>Seth 's excited .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TREASURY BUILDING - BURTON'S OFFICE - BURTON  LATE AFTERNOON<\/stage_direction>\n    <scene_description>taking it down .<\/scene_description>\n    <character>KATE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Four o'clock - it's deserted then.<\/dialogue>\n    <scene_description>Burton 's excited too . HOLD .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKY - MOON - NIGHT<\/stage_direction>\n    <scene_description>high in the sky - middle of the night now .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATE'S APARTMENT - KATE - NIGHT<\/stage_direction>\n    <scene_description>Wired . Pacing across her small apartment , back and forth , back and forth .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SETH'S OFFICE - SETH - NIGHT<\/stage_direction>\n    <scene_description>alone in his office , going over plans , sipping coffee to stay awake .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BURTON'S BEDROOM - BURTON - NIGHT<\/stage_direction>\n    <scene_description>alone in his bed , staring at the ceiling , a nearly empty Scotch bottle in one hand . OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUTHER'S SAFE HOUSE APARTMENT - LUTHER - NIGHT<\/stage_direction>\n    <scene_description>listening to the PHONE MACHINE . We hear KATE 'S VOICE . `` Daddy . I miss you . I 'm worried . call me . '' A CLICK . Luther hangs up , immediately dials again . We hear the message start over . `` Daddy . I miss you . '' As he continues to listen -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIRING RANGE - DAY (EARLY MORNING)<\/stage_direction>\n    <scene_description>- on what 's going to be a gorgeous day . Burton , yawning , blowing into a steaming paper cup of coffee . Collin , wide awake , moves alongside . Collin is carrying a rifle . - we are at a government firing range . Collin squints into the morning sun . Burton , putting down the coffee cup , picking up a pair of binoculars . Burton and Collin staring out - - A distant target is being raised . Collin . He strokes the barrel of his high - powered rifle . TARGET A long way off . BURTON as he has focused the binoculars - BINOCULAR POV - TARGET seen through the binoculars as it comes clear - the bull 's eye is small . COLLIN with his rifle . His fingers still move along the barrel . No hurry whatsoever - - and then it all goes fast , and in one motion he is aiming and FIRING and FIRING again and the sound explodes and - Burton , dazed . TARGET - the bull 's eye has been totally blown away . OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWNTOWN MEN'S STORE - DAY<\/stage_direction>\n    <scene_description>Luther and a SALESMAN are engaged in conversation . Luther is buttoning a new raincoat to the throat . The Salesman holds several hats . Luther picks one , tries it on .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>I need to look really good today.<\/dialogue>\n    <scene_description>He does n't like the hat .<\/scene_description>\n    <character>SALESMAN<\/character>\n    <dialogue>Business?<\/dialogue>\n    <parenthetical>( as Luther tries the other hat - very rakish , he likes it . )<\/parenthetical>\n    <dialogue>It's a woman, I can tell.<\/dialogue>\n    <parenthetical>( as Luther nods . )<\/parenthetical>\n    <dialogue>Never too late, is it?<\/dialogue>\n    <scene_description>Luther . Beaming .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>You got that right.<\/dialogue>\n    <scene_description>Now , from his happy face -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE ALONZO BUILDING - THREE CURSING WORKMEN - DAY<\/stage_direction>\n    <scene_description>PULL BACK to reveal the workmen are on a scaffolding two stories up , struggling to replace a glass panel that has cracked . The glass panel is heavy and bulky and the workmen are having a bitch of a time with it . The entire front of the building is glass panels . It mirrors the area across the street - a bunch of dilapidated brownstones .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BROWNSTONES ACROSS FROM CAFE ALONZO - DAY<\/stage_direction>\n    <scene_description>They are empty and , according to a sign , are due for demolition . All the windows of the brownstones are closed - except one . On an upper story .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROWNSTONE - DAY<\/stage_direction>\n    <scene_description>Inside the window . Michael McCarty , who we last met at Walter Sullivan 's , is there . He looks out . HIS POV The glass building and the struggling workmen and , on the ground floor , a few tables are set outside , with large umbrellas alongside each . There is a sign : CAFE ALONZO .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROWNSTONE - DAY<\/stage_direction>\n    <scene_description>McCarty . Beside him is a leather case . He opens it . The case . A very high - powered rifle . McCarty begins to expertly assemble it , taut and businesslike .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE HEADQUARTERS DEBRIEFING ROOM - DAY<\/stage_direction>\n    <scene_description>Seth , taut and businesslike , stands by a blown - up map of the Cafe Alonzo area . The restaurant is circled - and around it are marked places for policemen to wait - Seth is giving instructions to those policemen now - - fifty of them . And no one 's smiling .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Kate . Dressed and ready . Lying on her bed . Afternoon now . She gets up , makes it halfway to the front door - - ca n't do it - she turns , goes back to bed , lies down again , frozen .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE ALONZO BUILDING - DAY<\/stage_direction>\n    <scene_description>The cursing workmen . The glass panel is so damn cumbersome they are having a miserable time .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE ALONZO - DAY<\/stage_direction>\n    <scene_description>An elderly couple sits at one of the half dozen outdoor tables . The place is empty .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE HEADQUARTERS - PARKING LOT - DAY<\/stage_direction>\n    <scene_description>Seth , outside headquarters now , giving instructions to police officers . Behind them : two dozen unmarked cars . SUN Later in the afternoon .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE HEADQUARTERS - PARKING LOT - DAY<\/stage_direction>\n    <scene_description>Burton , getting out of his car at Seth 's Police Headquarters . Seth , finishing instructing a dozen motorcycle cops . Burton moves up behind Seth , waits quietly . As Seth is done , he sees Burton , they nod , start toward Seth 's car .<\/scene_description>\n    <character>BURTON<\/character>\n    <dialogue>The Boss is very grateful. Thanks.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Figured he'd like an eyewitness report of the capture. This is our guy - if he's innocent, he sure took off awful fast.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE ALONZO BUILDING - DAY<\/stage_direction>\n    <scene_description>The three workmen . Making some headway with the bulky glass panel - GUNSCOPE POV - now crosshairs cover them and we - PULL BACK to reveal -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROWNSTONE - DAY<\/stage_direction>\n    <scene_description>McCarty , staring out the window of the brownstone , the rifle pointed - very relaxed , he pulls the trigger - the RIFLE 'S not loaded yet - and the STACCATO `` CLICK '' is all we hear .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFE ALONZO BUILDING - LOBBY<\/stage_direction>\n    <scene_description>Seth and Burton moving quickly into the lobby of the glass office building that adjoins the Cafe Alonzo - the lobby has a clear view of the outdoor part of the cafe . Around and behind them , dozens of cops get in position .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - CAFE ALONZO BUILDING - DAY<\/stage_direction>\n    <scene_description>Around the corner from the glass building - unmarked cars .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANOTHER STREET - NEAR THE CAFE BUILDING - DAY<\/stage_direction>\n    <scene_description>Motorcycles , waiting in shadow , out of sight .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFE ALONZO BUILDING - LOBBY - DAY<\/stage_direction>\n    <scene_description>Seth and Burton . They 've both seen a lot - which does n't mean they 're not tense . Burton takes out some Tums , offers them to Seth . Seth shakes his head , brings out Tums of his own . SUN Starting down .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE ALONZO BUILDING - DAY<\/stage_direction>\n    <scene_description>The three workmen and they hate their job . One of them glances down .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE ALONZO - DAY<\/stage_direction>\n    <scene_description>Empty . Now , from the workmens ' angle , a woman moves to one of the tables . It 's Kate . They do n't pay much attention .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE ALONZO - DAY<\/stage_direction>\n    <scene_description>Kate . She hesitates , then decides on the front table . She takes a breath . Sits . Motionless . GUNSCOPE POV - CLOSEUP ON KATE - now crosshairs cover her face and we - PULL BACK to reveal -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROWNSTONE - DAY<\/stage_direction>\n    <scene_description>McCarty as before , with his weapon . He pulls the trigger again and again , there is the `` CLICK '' - now he flicks away a grain of dust from the barrel - - then he puts the weapon down , reaches out and - ONE BULLET . It 's supersonic ammo . McCarty picks it up , blows on it gently . He might be holding a child .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFE ALONZO BUILDING - LOBBY - DAY<\/stage_direction>\n    <scene_description>Burton and Seth . They can see Kate sitting alone in the late afternoon .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( mutters . )<\/parenthetical>\n    <dialogue>Fuck.<\/dialogue>\n    <scene_description>- And a goddamn WAITER has appeared and is walking out toward Kate . He is Asian and very young .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE ALONZO<\/stage_direction>\n    <scene_description>Kate , startled as the Waiter calls out from behind her .<\/scene_description>\n    <character>WAITER<\/character>\n    <dialogue>Miss?<\/dialogue>\n    <parenthetical>( as she spins around . )<\/parenthetical>\n    <dialogue>What you want please?<\/dialogue>\n    <scene_description>His English could be a lot better .<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Nothing, thank you.<\/dialogue>\n    <character>WAITER<\/character>\n    <dialogue>Got to.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Pardon?<\/dialogue>\n    <character>WAITER<\/character>\n    <parenthetical>( gesturing . )<\/parenthetical>\n    <dialogue>You sit you eat please.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFE ALONZO BUILDING - LOBBY - DAY<\/stage_direction>\n    <scene_description>Seth and Burton . Stunned .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>This is not part of my brilliant master plan.<\/dialogue>\n    <scene_description>More Tums .<\/scene_description>\n    <character>BURTON<\/character>\n    <dialogue>Unfuckingbelievable.<\/dialogue>\n    <scene_description>They both crunch away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROWNSTONE - DAY<\/stage_direction>\n    <scene_description>McCarty , watching the Waiter and Kate . He 's not happy either . He points a finger at the Waiter , goes `` Boom . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE ALONZO - DAY<\/stage_direction>\n    <scene_description>Kate , and it 's almost four o'clock and she 's not at her best .<\/scene_description>\n    <character>KATE<\/character>\n    <parenthetical>( gesturing around . )<\/parenthetical>\n    <dialogue>I'm waiting for someone.<\/dialogue>\n    <character>WAITER<\/character>\n    <dialogue>He must eat too, please.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Oh he will, we both will - we'll order half the menu - but just not now -<\/dialogue>\n    <scene_description>The Waiter nods , finally he turns , starts off . Kate . Trembling . The Waiter returning .<\/scene_description>\n    <character>WAITER<\/character>\n    <dialogue>Cheesecake gone.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Thank you so much.<\/dialogue>\n    <scene_description>The Waiter nods again , and this time he does go . Kate , watching him , making sure . Now she sits straight - CLOSEUP - KATE Very shaky , trying to hold it together . And now crosshairs cover her face as we PULL BACK to reveal -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. UNMARKED VAN ON STREET NEAR CAFE BUILDING  DAY<\/stage_direction>\n    <scene_description>Collin . He holds a very high - powered weapon . It looks like it could kill from a thousand yards away . Where he is - and it 's not a thousand yards away - he 's in an unmarked van on the street , even closer than McCarty . Collin , loading his weapon . His movements are skilled . His concentration is total .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROWNSTONE -    DAY<\/stage_direction>\n    <scene_description>McCarty , glancing out at the office building area . The three workmen on the scaffolding are fighting to right the glass panel . One of them grabs a rope connected to a block and tackle . He pulls on the rope . Slowly , the piece begins to rise .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE ALONZO - DAY<\/stage_direction>\n    <scene_description>Kate , sitting alone , studying her hands .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFE ALONZO BUILDING - LOBBY - DAY<\/stage_direction>\n    <scene_description>Seth and Burton . The waiting is agony .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE ALONZO - DAY<\/stage_direction>\n    <scene_description>Kate . It 's worse for her . She glances around - - nothing , no one .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROWNSTONE - DAY<\/stage_direction>\n    <scene_description>McCarty . All the time in the world .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNMARKED VAN - DAY<\/stage_direction>\n    <scene_description>Collin . Blows on his weapon slightly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE ALONZO - DAY<\/stage_direction>\n    <scene_description>Kate , and it 's a question of how much longer she can take it . Her trembling is almost out of control - she glances around again and - - and there he is ! Luther Whitney himself , and he looks splendid in his new raincoat and hat - - he moves along in the shadow of the office building , toward the cafe , walking with his usual grace - Luther always seems to glide .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROWNSTONE - DAY<\/stage_direction>\n    <scene_description>McCarty in the window . Spotting Luther - - totally controlled .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNMARKED VAN - DAY<\/stage_direction>\n    <scene_description>Collin does the same .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY - DAY<\/stage_direction>\n    <scene_description>Seth and Burton , and the instant Luther is visible , Seth gestures toward the policemen : Get ready .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROWNSTONE - McCARTY - DAY<\/stage_direction>\n    <scene_description>raising his rifle .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNMARKED VAN - DAY<\/stage_direction>\n    <scene_description>Collin , raising his .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE ALONZO BUILDING - DAY<\/stage_direction>\n    <scene_description>The three workmen , raising the glass panel .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE ALONZO - DAY<\/stage_direction>\n    <scene_description>Kate . Watching her father come closer . Luther . It 's hard to suppress a smile as he walks towards his daughter . Kate , still watching . Luther , almost there . Speaks softly .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>I did not kill that woman, Kate.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROWNSTONE - DAY<\/stage_direction>\n    <scene_description>McCarty , flipping off the safety .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNMARKED VAN - DAY<\/stage_direction>\n    <scene_description>Collin , doing the same .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE ALONZO - DAY<\/stage_direction>\n    <scene_description>Luther and Kate , and he starts to sit -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY - DAY<\/stage_direction>\n    <scene_description>Seth , right hand raised - he 's about to start it all in motion .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROWNSTONE - DAY<\/stage_direction>\n    <scene_description>McCarty , his finger floating to the trigger .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNMARKED VAN - DAY<\/stage_direction>\n    <scene_description>Collin , doing the same .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE ALONZO - DAY<\/stage_direction>\n    <scene_description>Luther , seated now and as at last , he reaches out for his daughter 's hand -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE ALONZO BUILDING - DAY<\/stage_direction>\n    <scene_description>- The three workmen , and for a moment the glass panel slips and tilts and as it catches the afternoon sun -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROWNSTONE - DAY<\/stage_direction>\n    <scene_description>- McCarty , blinded as the red reflection hits his eyes but he FIRES .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE ALONZO - DAY<\/stage_direction>\n    <scene_description>Luther and Kate as suddenly the umbrella at their table is severed and starts to topple .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNMARKED VAN - DAY<\/stage_direction>\n    <scene_description>Collin , startled , and he FIRES too .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE ALONZO - DAY<\/stage_direction>\n    <scene_description>Luther , instantly diving toward Kate as the second BULLET EXPLODES in the pavement close by .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY - DAY<\/stage_direction>\n    <scene_description>Seth , stunned , because this is crazy and Burton , stunned , eyes wide .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE ALONZO - DAY<\/stage_direction>\n    <scene_description>Luther , taking Kate down to the sidewalk , protecting her body with his body and - Madness ! - because all goes nuts now as there are shouts and screams and people running this way , that way -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY - DAY<\/stage_direction>\n    <scene_description>- Seth is in the center of it all , shouting instructions , racing with Burton out of the building -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET\/CAFE ALONZO BUILDING - DAY<\/stage_direction>\n    <scene_description>- unmarked cars fill the street - - a hundred uniformed policemen charge - - MOTORCYCLES ROAR in from everywhere -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE ALONZO - DAY<\/stage_direction>\n    <scene_description>- Kate lies dazed - staring at the chaos - here come thirty uniformed policemen - - and here come thirty more -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. REAR OF BROWNSTONE - DAY<\/stage_direction>\n    <scene_description>- McCarty races out of the back of the building , leaps into a SPORTSCAR , GUNS away -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNMARKED VAN - DAY<\/stage_direction>\n    <scene_description>- Collin disassembles his rifle , scrambles from the van -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY - DAY<\/stage_direction>\n    <scene_description>- Burton stays close to Seth , watching it all -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE ALONZO BUILDING - DAY<\/stage_direction>\n    <scene_description>- The three workmen look down at it all - then they look at each other in total confusion - what the fuck is going on ? - - because what they see is that the recently - deserted plaza is now stuffed with cops and more cops and vehicles and here come more and here come even more -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE ALONZO - DAY<\/stage_direction>\n    <scene_description>And Kate sits now , staring around , looking for Luther - - and Seth in the middle of it all stares around , looking for Luther - - because where the hell is he ? A black police lieutenant , shouting for his men to spread out . Burton , turning , turning , trying to make sense of it all . Three police sergeants on MOTORCYCLES , GUNNING through the crowd . Kate , standing now , looking down - and then she sees it - on the ground where Luther was : a new raincoat and a new hat and - Seth , and it 's all gone wrong and it 's all going crazy and there is noise and there are shouts and there are whistles . The black police lieutenant , breaking into a run , chasing after someone we ca n't quite make out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFE ALONZO - DAY<\/stage_direction>\n    <scene_description>A tall uniformed police lieutenant , entering Cafe Alonzo - - he passes a couple of guys in chef 's hats and the Chinese waiter who just gapes out toward what was his service area - - the tall uniformed police lieutenant moves gracefully past - - it 's Luther . He goes to the front door of the place , glances back toward where the NOISE is still mounting - shakes his head - out the door and gone !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATE'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>The door to Kate 's apartment opening and Seth coming in with Kate . Evening . Kate is as drained as you 'd expect .<\/scene_description>\n    <character>KATE<\/character>\n    <parenthetical>( glancing around . )<\/parenthetical>\n    <dialogue>Messy.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>I like that in a woman.<\/dialogue>\n    <scene_description>She does n't smile . Seth , giving her back her keys and a piece of paper . His voice is raw from all the shouting .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Top number's local police -.<\/dialogue>\n    <parenthetical>( as she nods . )<\/parenthetical>\n    <dialogue>- other two are my office and home.<\/dialogue>\n    <parenthetical>( off another nod . )<\/parenthetical>\n    <dialogue>I live alone, too, call anytime. Want me to get someone to spend the night?<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>I just need some sleep.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>I've got surveillance outside. And I'm keeping it on'til this is over. I've got a feeling he's going to try and contact you.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>You're on a hot streak, I guess.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Listen, I'm sorry.<\/dialogue>\n    <scene_description>Kate . Nothing to say .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Anything unusual, call me right away - not a bother, I live alone.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>You said.<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( he knows that . )<\/parenthetical>\n    <dialogue>Feeble, huh?<\/dialogue>\n    <scene_description>She nods . They look at each other . Then he starts toward the door . Slowly .<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Anything for the road? I've got water and water.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Deal.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATE'S APARTMENT - KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>They enter and she opens the fridge - - and it 's full of food : milk and fruit and cookies . Kate stares , then quickly glances at Seth . He just points to a bottle .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Pelligrino would be great.<\/dialogue>\n    <parenthetical>( off Kate , who ca n't help it , breaks out laughing . )<\/parenthetical>\n    <dialogue>What's funny, I say it wrong?<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Tired is all.<\/dialogue>\n    <scene_description>As she hands him a bottle .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATE'S APARTMENT - FRONT DOOR - NIGHT<\/stage_direction>\n    <scene_description>as they move toward it . He opens it .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>I do n't think I've told you this, but I live alone.<\/dialogue>\n    <parenthetical>( and this time , as she does smile , and he does go . )<\/parenthetical>\n    <dialogue>Lock it behind me.<\/dialogue>\n    <character>KATE<\/character>\n    <parenthetical>( LOCKING it loudly . )<\/parenthetical>\n    <dialogue>How's that?<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Real good. Try and sleep.<\/dialogue>\n    <scene_description>His FOOTSTEPS get softer , DISAPPEAR .<\/scene_description>\n    <character>KATE<\/character>\n    <parenthetical>( still facing door , her back to her apartment . )<\/parenthetical>\n    <dialogue>I betrayed you, Luther. You better know that now.<\/dialogue>\n    <character>LUTHER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>You're not the first.<\/dialogue>\n    <scene_description>As Kate turns , Luther , standing there , is looking at her .<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>Why'd you come?<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>You have to know I'm not a murderer.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>No, this afternoon. To the restaurant. Why'd you come then? You must have suspected something, or you would n't have been prepared.<\/dialogue>\n    <character>LUTHER<\/character>\n    <parenthetical>( simply . )<\/parenthetical>\n    <dialogue>My daughter wanted to see me.<\/dialogue>\n    <scene_description>He points to the couch - as Kate sits . Luther , and before she 's even seated , he 's into it .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>The robbery went fine'til they came in. They were drunk. I hid in the vault. Sex got rough. He was going to kill Christy, but she turned the tables, was going to kill him. Two guys came in, shot her dead.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>The same two guys who tried for you this afternoon?<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>Probably only one of them. I think Walter Sullivan might have hired the other.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Pretty powerful enemy ; good going.<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>Not as powerful as the President of the United States.<\/dialogue>\n    <scene_description>Kate just looks at him . Dead silence .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Richmond was drunk. The two guys are Secret Service. Chief of Staff Russell planned the coverup.<\/dialogue>\n    <scene_description>Kate just looks at him . -LRB- 2 -RRB- Dead silence . Luther . Studying her . Not a great reaction . Kate . Little shake of the head .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Every word true.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>You're saying you're innocent of the murder? Why in the world should I believe you?<\/dialogue>\n    <scene_description>CLOSEUP - LUTHER Long pause .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Because I swear on Mattie's grave.<\/dialogue>\n    <scene_description>KATE Rocked - Luther , going to her .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>On your mother's grave, Kate - you know I'd kill myself before I'd lie about that.<\/dialogue>\n    <scene_description>Kate . Looking at him . Because he would n't lie , not about that . Everything he 's told her , all true . The air goes out of her . Silence .<\/scene_description>\n    <character>KATE<\/character>\n    <parenthetical>( soft . )<\/parenthetical>\n    <dialogue>Jesus, Luther.<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>They'll kill you.<\/dialogue>\n    <scene_description>-LRB- 3 -RRB-<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>Can you run?<\/dialogue>\n    <scene_description>Luther as he sits beside her on the couch .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>I was set to. At the airport. All the money I'd ever need.<\/dialogue>\n    <scene_description>CLOSEUP - LUTHER<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>But I saw that bastard using Sullivan on the T.V. - maybe I could n't have saved that woman, Kate. But I did n't even try.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I know what you think of me and I know what we've been to each other -.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>- have n't been to each other. And it's not the time to try and explain my life -<\/dialogue>\n    <scene_description>KATE watching his face now .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>- but I've never robbed anyone could n't afford it and I've never stiffed a waitress.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>And Alan Richmond has to pay.<\/dialogue>\n    <character>KATE<\/character>\n    <dialogue>What can you do?<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>Not much, maybe - but I only went to jail when I had partners.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>People betray each other, Kate - nowadays, when there's a group, someone wants to write a book -.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>- these people hate each other. And if I can drive them just a little bit nuts, who knows how they'll react under pressure?<\/dialogue>\n    <parenthetical>( rises and looks at her . )<\/parenthetical>\n    <dialogue>Glad for the talk, wish we'd had more.<\/dialogue>\n    <scene_description>Luther crosses to the door , turns .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>This is probably it ; you understand that.<\/dialogue>\n    <parenthetical>( as she does , he still looks at her .<\/parenthetical>\n    <parenthetical>Then - . )<\/parenthetical>\n    <dialogue>I was never going to tell you this, but I watched you argue a case last year - thank God you got your brains from your mother.<\/dialogue>\n    <scene_description>Kate standing now , too - they 're across the room from each other .<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>It's dangerous outside.<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>It always is -.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>- and I may not make you proud, Kate -.<\/dialogue>\n    <parenthetical>( soft . )<\/parenthetical>\n    <dialogue>- but I'm not going down alone.<\/dialogue>\n    <scene_description>And on that .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RUSSELL APARTMENT BUILDING - DAY<\/stage_direction>\n    <scene_description>An elegant high - rise in Washington . Crisp , cool afternoon . A DOORMAN stands outside , enjoying the day . A well - dressed man rounds the corner ; he holds a small , beautifully - wrapped package with a small envelope attached . He moves to the Doorman .<\/scene_description>\n    <character>WELL-DRESSED MAN<\/character>\n    <parenthetical>( it 's Luther . )<\/parenthetical>\n    <dialogue>For Miss Gloria Russell.<\/dialogue>\n    <scene_description>He hands it over .<\/scene_description>\n    <character>DOORMAN<\/character>\n    <parenthetical>( taking it . )<\/parenthetical>\n    <dialogue>Want me to sign anything?<\/dialogue>\n    <character>LUTHER<\/character>\n    <parenthetical>( shakes head . )<\/parenthetical>\n    <dialogue>I trust you.<\/dialogue>\n    <scene_description>And he turns , walks quickly away as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RUSSELL'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>The envelope being opened . It 's early evening now . The message inside is short and clear - `` Gloria , Thanks for the rescue . AR '' Russell smiles , and as she opens the package -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE HOUSE - EAST ROOM - NIGHT<\/stage_direction>\n    <scene_description>A beautiful necklace . Antique mostly likely . And tasteful - we hear the sound of an ORCHESTRA PLAYING WALTZES . PULL BACK to reveal Gloria Russell , looking just splendid , the necklace around her throat , entering a large and very impressive White House dinner - dance . Clearly an important affair of state . We 've never seen Russell quite like this - relaxed , secure in her femininity . She nods distantly to Burton and Collin who are , as always , close the President . For the first time now , we realize something : Gloria Russell is hot for Alan Richmond . Richmond , on the edge of the dance floor , chatting with some elderly couples , several of them European , all of them wealthy .<\/scene_description>\n    <character>RICHMOND<\/character>\n    <parenthetical>( as Russell approaches . )<\/parenthetical>\n    <dialogue>You're a vision this evening, Miss Russell.<\/dialogue>\n    <character>RUSSELL<\/character>\n    <dialogue>Thank you, Mr. President.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>And thank you, Mr. President.<\/dialogue>\n    <character>RICHMOND<\/character>\n    <parenthetical>( does n't understand . )<\/parenthetical>\n    <dialogue>For?<\/dialogue>\n    <parenthetical>( off her , radiant , indicating the necklace . )<\/parenthetical>\n    <dialogue>Come again?<\/dialogue>\n    <scene_description>This time she touches it - he bends close to her .<\/scene_description>\n    <character>RUSSELL<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>You sent it to me this afternoon.<\/dialogue>\n    <scene_description>Long pause - then . CLOSEUP - RICHMOND So happy .<\/scene_description>\n    <character>RICHMOND<\/character>\n    <dialogue>Well, of course.<\/dialogue>\n    <parenthetical>( now , to the others . )<\/parenthetical>\n    <dialogue>Excuse me, all - I am overcome with the desire to dance with my Chief of Staff.<\/dialogue>\n    <scene_description>A hand to her - Russell , beaming , moves out onto the dance floor with him . Everyone at the gathering , watching them . Richmond and Russell , very much aware that all eyes are on them - - what we do n't know is this : they are both wonderful dancers . And they seem to be reveling in their moves - - because throughout this , they never stop smiling .<\/scene_description>\n    <character>RICHMOND<\/character>\n    <dialogue>What is this nonsense? I'm hoping there's an explanation.<\/dialogue>\n    <scene_description>-LRB- 2 -RRB-<\/scene_description>\n    <character>RUSSELL<\/character>\n    <parenthetical>( surprised . )<\/parenthetical>\n    <dialogue>Your gift, Alan - I was overwhelmed - and your note was so gratifying -<\/dialogue>\n    <character>RICHMOND<\/character>\n    <parenthetical>( cutting in . )<\/parenthetical>\n    <dialogue>- I sent a note?<\/dialogue>\n    <character>RUSSELL<\/character>\n    <dialogue>Yes, yes, you think I do n't know your writing? I assumed you wanted me to wear it tonight.<\/dialogue>\n    <scene_description>The necklace . He looks at it as they spin gracefully .<\/scene_description>\n    <character>RICHMOND<\/character>\n    <dialogue>It is lovely, Gloria - and you know what else?<\/dialogue>\n    <scene_description>They do a perfect dip .<\/scene_description>\n    <character>RUSSELL<\/character>\n    <dialogue>What, Alan?<\/dialogue>\n    <character>RICHMOND<\/character>\n    <dialogue>Christy Sullivan wore it the night she was killed.<\/dialogue>\n    <scene_description>Russell , a quick glint of panic , a gentle peal of feminine laughter . Richmond and Russell - he bends her back , their mouths are close .<\/scene_description>\n    <character>RICHMOND<\/character>\n    <dialogue>You realize what this means? Whitney's been heard from.<\/dialogue>\n    <scene_description>CLOSEUP - RUSSELL They spin and glide . Long pause . Then -<\/scene_description>\n    <character>RUSSELL<\/character>\n    <dialogue>It's not precisely the first time, Mr. President.<\/dialogue>\n    <scene_description>The MUSIC is BUILDING TO CLIMAX now . Their movements become more grand .<\/scene_description>\n    <character>RICHMOND<\/character>\n    <parenthetical>( so happy . )<\/parenthetical>\n    <dialogue>You've been keeping things from me?<\/dialogue>\n    <character>RUSSELL<\/character>\n    <dialogue>Only because you have so much on your plate, Alan ; we wanted to spare you.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>He sent me a Polaroid of the letter opener yesterday.<\/dialogue>\n    <scene_description>CLOSEUP - RICHMOND A kick in the teeth - - he summons all his control , goes into even more complicated movements . The crowd of elegant men and women , it 's really wonderful dancing they 're seeing - they start to applaud . Richmond and Russell , hearing the sound . Richmond acknowledges it with a smile as they come to climax .<\/scene_description>\n    <character>RICHMOND<\/character>\n    <dialogue>Well, now -.<\/dialogue>\n    <parenthetical>( a final flourish . )<\/parenthetical>\n    <dialogue>- I need time to think - come see me in my office in the morning -.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>This will certainly make for an interesting chapter in my memoirs.<\/dialogue>\n    <scene_description>And as they bow . The crowd applauding louder , while on the dance floor , the President of the United States and the Chief of Staff applaud happily back . As the sound builds -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BURTON'S HOUSE - ROOF - NIGHT<\/stage_direction>\n    <scene_description>Luther in the night . Silence . He is moving across the rooftop of a home . He carries a briefcase - Luther 's making business calls . Ahead is an attic window - as he slides it open -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BURTON'S HOUSE - ATTIC - NIGHT<\/stage_direction>\n    <scene_description>Luther , slipping inside . Some stairs are just across . He goes down them , opens the door -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BURTON'S HOUSE - HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Luther stepping into the main part of the dark house . He stops . No noise at all except that of someone BREATHING DEEPLY , coming from an open bedroom door . Luther passes by - for an instant we can see that Burton is asleep , an empty bottle by his head .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLIN'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Luther rounding a corner - - and we can tell immediately he 's in a different house now . Burton 's had only old furnishings , these are modern and new . Luther pauses , listening . Nothing . He moves forward then , turns another corner -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RUSSELL'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>- and now we can tell he 's someplace else - this is an apartment with a large window looking out on the city . Luther does n't stop to admire the view . He moves silently on . HOLD ON the window . And suddenly : Dawn - the sun is starting to rise . PULL BACK to reveal -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RUSSELL'S APARTMENT - BEDROOM - DAWN<\/stage_direction>\n    <scene_description>Gloria Russell , as the ALARM GOES OFF . She sits - - she stretches - - then she stares - something has been taped to her lamp . We are looking at an issue of the Washington Post - Russell 's photo smiles out - there is a headline that says simply : RUSSELL TO BE CHIEF OF STAFF . Written across her picture are the words : `` This shitstorm is your fault - if we go down , you go down ! '' Russell takes the paper down , stares at it . Furious .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BURTON'S HOUSE - KITCHEN - MORNING<\/stage_direction>\n    <scene_description>Burton , hung over , staggering into the kitchen of his home , stopping dead . A newspaper is set beside his coffee pot . A front page of the Washington Post . Years back . The lead article reports that a siege has been successfully broken - - Burton , bloody and wounded , is being carried to an ambulance . A hero . Across the top these words have been written : HOW DID THIS HAPPEN , YOU GUTLESS FUCK ? Burton stares . Steaming .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLIN'S HOUSE - BATHROOM - MORNING<\/stage_direction>\n    <scene_description>Collin , yawning , going into his bathroom - - across his mirror is taped a large white piece of paper , across which is written in thick black marker - `` If you could shoot for shit , we 'd be out of this . '' Collin angrily rips it down .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTOWN NEWSSTAND - MORNING<\/stage_direction>\n    <scene_description>A bunch of commuters and businessmen are buying papers . The newspapers . Washington , New York , Philadelphia - and they 're all different front pages , of course , but one photo in all of them is the same - - every one of them is running the mug shot of Luther . And the sense of the stories is the same too : HAVE YOU SEEN THIS MAN ? COMMUTERS crowded around , making their purchases . Some of them are young , some of them are half asleep . One of them is in his 60 's and very wide awake - - it 's Luther - - as he buys a paper , looks at the headline - fascinated .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BURTON'S OFFICE<\/stage_direction>\n    <scene_description>Still early morning - Collin is going through Burton 's desk hurriedly - - when Burton surprises him -<\/scene_description>\n    <character>BURTON<\/character>\n    <parenthetical>( pissed . )<\/parenthetical>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>COLLIN<\/character>\n    <parenthetical>( closes the desk , shrugs . )<\/parenthetical>\n    <dialogue>Needed a pen.<\/dialogue>\n    <character>BURTON<\/character>\n    <parenthetical>( pointing to his desktop . )<\/parenthetical>\n    <dialogue>There's pens -.<\/dialogue>\n    <parenthetical>( moving in . )<\/parenthetical>\n    <dialogue>- you do n't trust me? -<\/dialogue>\n    <character>COLLIN<\/character>\n    <parenthetical>( pissed . )<\/parenthetical>\n    <dialogue>- I do n't answer to you, asshole -<\/dialogue>\n    <scene_description>Russell in the doorway now , glaring at them .<\/scene_description>\n    <character>RUSSELL<\/character>\n    <dialogue>You're both assholes, now move -<\/dialogue>\n    <scene_description>And on that -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OVAL OFFICE - DAY<\/stage_direction>\n    <scene_description>The note that was sent to Russell and the Polaroid of the letter opener . PULL BACK to reveal - The Polaroid and the note are on Richmond 's desk . He studies them . Russell , Burton and Collin stand silently watching him , their hatred of each other clear . The smell of death 's in the room .<\/scene_description>\n    <character>RICHMOND<\/character>\n    <parenthetical>( holding the note now , his voice is , when he speaks , calm ; to Burton . )<\/parenthetical>\n    <dialogue>Any idea who could have forged it?<\/dialogue>\n    <character>BURTON<\/character>\n    <dialogue>I talked to Seth Frank - apparently Whitney learned how in prison.<\/dialogue>\n    <character>RICHMOND<\/character>\n    <dialogue>Very gifted man.<\/dialogue>\n    <scene_description>The window as he walks to it , looks out .<\/scene_description>\n    <character>RICHMOND<\/character>\n    <dialogue>And are we close to stopping him?<\/dialogue>\n    <character>RUSSELL<\/character>\n    <dialogue>We're working round the clock.<\/dialogue>\n    <character>RICHMOND<\/character>\n    <dialogue>Good to know that.<\/dialogue>\n    <character>BURTON<\/character>\n    <dialogue>He'll make a mistake.<\/dialogue>\n    <character>RICHMOND<\/character>\n    <dialogue>Good to know that too.<\/dialogue>\n    <scene_description>CLOSEUP - RICHMOND With more meaning than the words convey -<\/scene_description>\n    <character>RICHMOND<\/character>\n    <dialogue>There is one other thing you'll want to take care of.<\/dialogue>\n    <scene_description>The other three , looking at Richmond .<\/scene_description>\n    <character>BURTON<\/character>\n    <dialogue>You're sure you want to do that?<\/dialogue>\n    <character>RICHMOND<\/character>\n    <parenthetical>( nods . )<\/parenthetical>\n    <dialogue>She's a young prosecutor, prosecutors ask questions - she might know what he knows.<\/dialogue>\n    <parenthetical>( a reassuring smile . )<\/parenthetical>\n    <dialogue>Let's get cracking, shall we?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Show you love your country.<\/dialogue>\n    <scene_description>On those words -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATE'S APARTMENT BUILDING HALLWAY - DAY<\/stage_direction>\n    <scene_description>Kate Whitney , getting into the elevator . Off to work . She pushes for the lobby . The doors close and the elevator starts down .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR - DAY<\/stage_direction>\n    <scene_description>Kate checks her purse to see if she has everything . INSERT - ELEVATOR BUTTON The `` L '' is lit - - but when the elevator gets there , it does not stop but goes straight on down to the basement .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR - KATE - DAY<\/stage_direction>\n    <scene_description>That 's strange . She instinctively moves to the rear of the car . ODD SOUNDS from the basement . Kate 's just the least bit tense .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR IN BASEMENT - DAY<\/stage_direction>\n    <scene_description>The ODD SOUNDS are LOUDER . And the doors do n't open when they should .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR - KATE - DAY<\/stage_direction>\n    <scene_description>and now she 's starting to get a little scared .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT - ELEVATOR DOORS - DAY<\/stage_direction>\n    <scene_description>The doors sliding open and the Super standing there with tools .<\/scene_description>\n    <character>SUPER<\/character>\n    <parenthetical>( smiling . )<\/parenthetical>\n    <dialogue>Sorry, Miss Whitney, but this thing's giving us a little trouble.<\/dialogue>\n    <scene_description>Kate nods , smiles back , relieved .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KATE'S APARTMENT BUILDING - DAY<\/stage_direction>\n    <scene_description>Kate , leaving her building , going toward her car , getting in . Down the block is a police car . Two surveillance cops inside . Kate starts to drive - and so do they . Kate turns a corner - - and so do they - - and as they do , they pass Luther , parked on the corner . Watching . Satisfied , he drives off in another direction .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTER CITY ROAD (WASHINGTON) - DAY<\/stage_direction>\n    <scene_description>Luther , heading out of the city . The sun is higher in the sky .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY ROAD - DAY<\/stage_direction>\n    <scene_description>Several cars . Traffic is moving slowly . Luther continues to drive .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KATE'S OFFICE BUILDING - DAY<\/stage_direction>\n    <scene_description>Kate , coming out of her office building , hurrying along the sidewalk . Lunch hour . She goes past some brownstones - the two cops walk behind - - the window of one of the brownstones is open , shadowy movement from inside - - Kate hurries past , not paying attention . Cops do n't either .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BROWNSTONE - DAY<\/stage_direction>\n    <scene_description>Now a figure begins to appear in the window - The figure holds something long and thin , like a rifle barrel - - it 's a large woman with a long mop - as she shakes it - Afternoon and the sun is strong .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SULLIVAN MASTER BEDROOM - DAY<\/stage_direction>\n    <scene_description>Sunlight , streaming in an open bedroom window . Whose bedroom , though ? Two maids are cleaning it - - and now we realize where we are : Walter Sullivan 's bedroom , but it 's all been changed , different rug , different fabrics , different furnishings . The maids work silently and well . A final sweep of a dust rag here , a last tug at the bedspread there . Done . They go to the door , take a last look around . Perfect . They go . HOLD ON the empty room . Keep HOLDING . Now , silently , the vault door opens - a gardener steps out , clicker in hand . The gardener - it 's Luther - he clicks it , tosses it back inside - - the door starts to close - - but before it shuts , we can see he 's returned what he took the night of the robbery . And as he moves silently toward the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GAS STATION (WASHINGTON CITY LIMITS) - DAY<\/stage_direction>\n    <scene_description>The outskirts of Washington . Mid - afternoon now . Luther 's at a pay phone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SETH'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Seth , as he picks up the phone -<\/scene_description>\n    <character>LUTHER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Kate okay?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Where are you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PAY PHONE - DAY<\/stage_direction>\n    <scene_description>Luther . Fast .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>I'm not staying on long enough for you to track this, just answer me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SETH'S OFFICE - DAY<\/stage_direction>\n    <character>SETH<\/character>\n    <dialogue>She could n't be in better hands - talk about catching a break, Secret Service called me. They're taking over surveillance -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PAY PHONE - DAY<\/stage_direction>\n    <scene_description>The telephone swinging back and forth - - and in the b.g. , a car MOTOR ROARING away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATE'S APARTMENT BUILDING - ELEVATOR - DAY<\/stage_direction>\n    <scene_description>Kate , coming down the elevator again - in her jogging clothes now . She has pushed the lobby button . The elevator stops suddenly on the second floor - - The Super gets in , smiles .<\/scene_description>\n    <character>SUPER<\/character>\n    <dialogue>Got it working fine, Miss Whitney.<\/dialogue>\n    <scene_description>Kate nods , smiles back -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WASHINGTON STREET - DAY<\/stage_direction>\n    <scene_description>Luther , driving like crazy through the city .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KATE'S APARTMENT BUILDING - DAY<\/stage_direction>\n    <scene_description>Kate , getting into her car in front of her building , driving off - no one is behind her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WASHINGTON - ANOTHER STREET - DAY<\/stage_direction>\n    <scene_description>Luther , HONKING his HORN as he barrels around a corner , scattering traffic .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JOGGING PARK ENTRANCE - DAY<\/stage_direction>\n    <scene_description>Kate drives into the park past a sign reading : `` PARKING LOT . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD NEAR JOGGING PARK - DAY<\/stage_direction>\n    <scene_description>Luther , gunning along - up ahead the park is visible now .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JOGGING PARK - PARKING LOT - ENTRANCE ROAD - DAY<\/stage_direction>\n    <scene_description>Kate , following an arrow that leads to the parking lot . Luther , in the park , now , suddenly shouting `` Shit '' as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JOGGING PARK - PARKING LOT - DAY<\/stage_direction>\n    <scene_description>A `` DETOUR '' sign . Kate , entering the parking lot .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JOGGING PARK - PARKING LOT AREA - DAY<\/stage_direction>\n    <scene_description>Luther , out of his car now , running like crazy through the park . Ahead is a sign saying : `` JOGGING PATH . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JOGGING PARK - PARKING AREA - DAY<\/stage_direction>\n    <scene_description>Not many other cars so she gets a space in front , overlooking the river , and as she stops , takes out her keys - BURTON AND COLLIN Collin at the wheel , ROARING in behind her , rear - ending her hard . - there is a SCREECH of BRAKES and a SCREAM -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JOGGING PARK - TRAIL - DAY<\/stage_direction>\n    <scene_description>Luther as he hears the terrible sound , keeps running .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - INT. KATE'S CAR - DAY<\/stage_direction>\n    <scene_description>Kate in her car as it teeters at the edge and then starts its long fall to the jogging path far below .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JOGGING PARK - PARKING AREA - DAY<\/stage_direction>\n    <scene_description>Burton and Collin in their car , driving like hell away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JOGGING PARK - TRAIL - DAY<\/stage_direction>\n    <scene_description>Luther , running INTO VIEW , stopping dead , helpless now , staring at the worst thing in the world - OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JOGGING PARK CLIFF - DAY<\/stage_direction>\n    <scene_description>Kate 's car , careening against a rocky ledge , then cart wheeling the rest of the way down , landing horribly , spinning , finally coming to rest upside down and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOTTOM OF CLIFF - DAY<\/stage_direction>\n    <scene_description>Luther running to the car ; hands shaking , he manages to pull front door open and reach inside - - now there are cries as other joggers stop and stare and - Kate , as Luther pulls her body out of the wreckage .<\/scene_description>\n    <character>LUTHER<\/character>\n    <parenthetical>( terrified . )<\/parenthetical>\n    <dialogue>. Kate?<\/dialogue>\n    <scene_description>- no response - it 's impossible to tell if she 's alive - - in the distance now , the sound of an AMBULANCE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WASHINGTON HOSPITAL EMERGENCY ENTRANCE - EVENING<\/stage_direction>\n    <scene_description>The AMBULANCE , SIREN SCREAMING . PULL BACK to reveal - Early evening now , getting dark , and the ambulance braking in front of the emergency room of a large city hospital - - as doctors and attendants with gurneys come pouring out -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WASHINGTON HOSPITAL - KATE'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>A private room . Later . Kate is bandaged and attached to a bunch of equipment - - but however faintly her breathing , it 's still breathing and it 's steady . She 's alone for the moment in the semi - darkened room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>Empty . A doctor comes walking along - it 's Collin .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - KATE'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Kate in her room , sleeping . Another doctor is with her now , checking her charts .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>Collin . He sees what 's going on , stops , pulls out a small notebook , pretends to read it , all the while glancing toward Kate 's room with the one doctor still there - - now from around the corner , NOISE , COMING CLOSER - SEVERAL PEOPLE APPROACHING , perhaps more . Collin turns away from the sound , curses , then stops - - The doctor is done with Kate 's charts . From around the corner now , the group coming closer still . Kate 's doorway as the doctor exits and Collin enters - they pass each other -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - KATE'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>- Collin moves a step further into the room - - and now there is something in his hand - - a hypodermic needle . Kate . Out of it . Lying there , eyes closed . Collin , the needle ready , moving silently toward the bed . Kate is barely breathing . And now suddenly Collin is barely breathing - - because the other doctor 's arms have viced around Collin 's neck , forcing the air out of him . Collin , stunned , trying to struggle - The doctor jerking Collin 's body into the air - his feet are dangling now - the hypodermic needle drops to the bed as the struggle goes on - - and Collin 's in fabulous shape . He 's young and power - ful and he 's been in terrible situations before and he knows how to fight and he 's been taught to defend himself and - - tough shit - - the doctor - it 's Luther - relentlessly increases the pressure against Collin 's throat - - Collin ca n't even gasp now - - his feet ca n't kick anymore - - his body starts to go limp - - his eyes start to slide up into his head - - silence in the room - - it 's almost over - - which is when suddenly Luther lets go . Collin , eyes flickering open as Luther lays him down on the floor . All this next is whispered .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Scream. Go on. Which do you want most, for me to kill you or life in jail forever?<\/dialogue>\n    <scene_description>He has gone across the room to the bed . Collin tries to move , ca n't . The hypodermic needle as Luther picks it up carefully , starts back to Collin .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>Going to guess this was n't to pep her up.<\/dialogue>\n    <scene_description>-LRB- 2 -RRB-<\/scene_description>\n    <character>COLLIN<\/character>\n    <parenthetical>( staring , eyes wide . )<\/parenthetical>\n    <dialogue>. you're not going to kill me.<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>why do you think that?<\/dialogue>\n    <character>COLLIN<\/character>\n    <dialogue>you could have but you did n't.<\/dialogue>\n    <scene_description>Luther . Kneeling by Collin now .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>That's because you did n't know your crime, prick.<\/dialogue>\n    <scene_description>- and now he jams the needle against Collin 's neck . Collin tries to cry out , but Luther covers his mouth .<\/scene_description>\n    <character>LUTHER<\/character>\n    <parenthetical>( kneeling close , almost whispering into Collin 's ear . )<\/parenthetical>\n    <dialogue>I did n't mind you tried to shoot me at the restaurant - I would n't have minded if you'd nailed me at Sullivan's - part of the job -.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>- but you fucked with blood.<\/dialogue>\n    <scene_description>Collin . Terrified .<\/scene_description>\n    <character>COLLIN<\/character>\n    <dialogue>mercy.<\/dialogue>\n    <scene_description>Luther , bending over him . Luther pushes the plunger .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>I'm fresh out.<\/dialogue>\n    <scene_description>Collin dying now . His breathing is getting strange , his body starting to stiffen . And on that -<\/scene_description>\n    <character>KATE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Daddy?<\/dialogue>\n    <scene_description>Kate , eyes barely open . From her position Luther is simply kneeling , nothing else is visible .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>go to sleep, honey.<\/dialogue>\n    <scene_description>-LRB- 3 -RRB- She tries to stay awake , ca n't make it , drifts off . Kate . She closes her eyes . Collin . Luther closes his eyes for him . Now -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>A gurney with a figure on it being pushed by a doctor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOSPITAL - NIGHT<\/stage_direction>\n    <scene_description>A dumpster outside - - the gurney is there - - the figure is n't - - the sound of a CAR GUNNING into the night and we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SETH'S BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>Seth coming out of the shower . He puts a towel around him , wipes the steam off the mirror , cries out - - Luther is standing there .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>I need one answer - when you interviewed Walter Sullivan, did he say why Christy did n't go to Barbados?<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( shakes his head . )<\/parenthetical>\n    <dialogue>Just that she changed her mind.<\/dialogue>\n    <parenthetical>( studying Luther . )<\/parenthetical>\n    <dialogue>You know who did it, do n't you?<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>So will you - check your phones -<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( incredulous . )<\/parenthetical>\n    <dialogue>- who'd tap a police officer?<\/dialogue>\n    <scene_description>No reply - Luther 's already headed for the door as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGETOWN MANSION - NIGHT<\/stage_direction>\n    <scene_description>Walter Sullivan , getting into his limousine in front of a Georgetown mansion . Later in the evening . The car starts to move . Walter looks frail and very old now . And somehow smaller .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGETOWN\/INT. LIMO - NIGHT<\/stage_direction>\n    <scene_description>Walter huddled in the back seat , as the street lights illuminate him . He might even be ill . In any case , a sad figure .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGETOWN - NIGHT<\/stage_direction>\n    <scene_description>The limousine , turning a corner .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMO - NIGHT<\/stage_direction>\n    <scene_description>Walter . Blinking .<\/scene_description>\n    <character>WALTER SULLIVAN<\/character>\n    <dialogue>Is this a shortcut, Tommy?<\/dialogue>\n    <character>CHAUFFEUR<\/character>\n    <parenthetical>( turns ; it 's Luther . )<\/parenthetical>\n    <dialogue>I'm your replacement driver for the evening, sir. Do n't worry, Tommy's fine.<\/dialogue>\n    <character>WALTER SULLIVAN<\/character>\n    <dialogue>Very unusual - what do I call you?<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>Luther, sir.<\/dialogue>\n    <character>WALTER SULLIVAN<\/character>\n    <dialogue>And are you familiar with how to get to my home, Luther?<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>I know the way, sir - I'm the man who robbed you -<\/dialogue>\n    <scene_description>Sullivan says nothing ; stares unsmiling .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>- and you're the man who tried to have me killed -<\/dialogue>\n    <character>WALTER SULLIVAN<\/character>\n    <dialogue>- I'm sorry I missed - I believe in the Old Testament, sir - there is nothing wrong with an eye for an eye when a terrible deed has been done.<\/dialogue>\n    <parenthetical>( ice . )<\/parenthetical>\n    <dialogue>A deed such as yours.<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>You want to believe that, do n't you? - Makes your life a lot simpler if you believe that, is n't that right?<\/dialogue>\n    <parenthetical>( big now . )<\/parenthetical>\n    <dialogue>What do you think I gain being here?<\/dialogue>\n    <scene_description>Sullivan . Contempt .<\/scene_description>\n    <character>WALTER SULLIVAN<\/character>\n    <dialogue>Have no idea - you going to rob me again? -<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>I do n't need your money, Mr. Sullivan. Look in your vault lately?<\/dialogue>\n    <character>WALTER SULLIVAN<\/character>\n    <parenthetical>( he has . )<\/parenthetical>\n    <dialogue>I'm afraid we're a little late for an attempt at leniency.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGETOWN - STREET - NIGHT<\/stage_direction>\n    <scene_description>The CAR . A SCREAMING TURN .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMO - NIGHT<\/stage_direction>\n    <character>LUTHER<\/character>\n    <dialogue>Shit's coming down tonight, Mr. Sullivan, do you want to be a player or not?<\/dialogue>\n    <parenthetical>( bigger . )<\/parenthetical>\n    <dialogue>Do you want to know what happened, or not? I saw. Your call.<\/dialogue>\n    <character>WALTER SULLIVAN<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I want to know.<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>Are you up to hearing about it? - Do you want to hear how he beat the shit out of her and tried to strangle her - you have enough left for that? -<\/dialogue>\n    <character>WALTER SULLIVAN<\/character>\n    <parenthetical>( a nod . )<\/parenthetical>\n    <dialogue>- I could walk through fire -<\/dialogue>\n    <scene_description>Luther , fast now .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>I was in the chair when they came in.<\/dialogue>\n    <parenthetical>( as Sullivan says nothing . )<\/parenthetical>\n    <dialogue>They were drunk - at first he only wanted to bruise her - she fought back, he went for the kill - she turned the tables. Then he screamed for help.<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>WALTER SULLIVAN<\/character>\n    <dialogue>Who else was in my house?<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>Secret Service shot her.<\/dialogue>\n    <character>WALTER SULLIVAN<\/character>\n    <parenthetical>( does n't like it . )<\/parenthetical>\n    <dialogue>Nonsense.<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>Gloria Russell handled the cover up.<\/dialogue>\n    <character>WALTER SULLIVAN<\/character>\n    <dialogue>Stop this -<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>- do n't you want to know who the man was?<\/dialogue>\n    <character>WALTER SULLIVAN<\/character>\n    <parenthetical>( desperate . )<\/parenthetical>\n    <dialogue>It was you.<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>We're too old to bullshit each other, Mr. Sullivan.<\/dialogue>\n    <scene_description>-LRB- 2 -RRB-<\/scene_description>\n    <character>WALTER SULLIVAN<\/character>\n    <parenthetical>( big . )<\/parenthetical>\n    <dialogue>Who was it then?<\/dialogue>\n    <character>LUTHER<\/character>\n    <parenthetical>( bigger . )<\/parenthetical>\n    <dialogue>You know!<\/dialogue>\n    <scene_description>Sullivan , shaking his head as Luther roars on .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>You fucking well do, do n't shake your head at me - when you're alone at night, when the rage takes you and you think of what you'd do to revenge her, on those nights you put a face to your enemy.<\/dialogue>\n    <character>WALTER SULLIVAN<\/character>\n    <parenthetical>( coming apart . )<\/parenthetical>\n    <dialogue>Stop the car -<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>- we're going all the way, Walter -<\/dialogue>\n    <character>WALTER SULLIVAN<\/character>\n    <dialogue>- it's too terrible.<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>It sure is.<\/dialogue>\n    <scene_description>Walter Sullivan . A long , shaky moment , then -<\/scene_description>\n    <character>WALTER SULLIVAN<\/character>\n    <dialogue>I know about Alan's reputation as a philanderer. but. he would never dream of betraying me. I gave him the Presidency.<\/dialogue>\n    <scene_description>Luther and Walter as Luther turns a sharp corner and the WHEELS SCREAM -<\/scene_description>\n    <character>LUTHER<\/character>\n    <parenthetical>( pressing it . )<\/parenthetical>\n    <dialogue>The press conference - remember? - he held you in his arms and said if only Christy had n't gotten sick she would have been with you in Barbados -.<\/dialogue>\n    <parenthetical>( bigger . )<\/parenthetical>\n    <dialogue>- how do you think he knew she was sick? You did n't tell anybody. But he heard it, all right. He heard it from her. That night. And I heard every word -<\/dialogue>\n    <scene_description>Walter . For a moment , no reaction . Then he sits back hard . The air 's out of him . He just breathes quietly . Then -<\/scene_description>\n    <character>WALTER SULLIVAN<\/character>\n    <dialogue>That's not real proof.<\/dialogue>\n    <scene_description>Luther . Handing something back .<\/scene_description>\n    <character>LUTHER<\/character>\n    <dialogue>And this?<\/dialogue>\n    <scene_description>Sullivan takes it - - it 's the letter opener . Sullivan leans back , shuts his eyes .<\/scene_description>\n    <character>WALTER SULLIVAN<\/character>\n    <dialogue>You could have stolen this.<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>I did steal it. But that is n't my blood and those are n't my prints.<\/dialogue>\n    <scene_description>CLOSEUP ON SULLIVAN Eyes still shut - - and he 's very old and you expect tears - - but he did n't get to be Walter Sullivan by crying - - HOLD ON Walter - - and this incredible shriek of rage explodes ! - Luther , suddenly stopping the car -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITE HOUSE GATE - NIGHT<\/stage_direction>\n    <scene_description>- and we 're at the rear of the White House .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMO - NIGHT<\/stage_direction>\n    <scene_description>Walter . He sits in the back a moment . Then he gets out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITE HOUSE GATE\/EXT. LIMO - NIGHT<\/stage_direction>\n    <scene_description>Luther has gotten out too . They stand close to each other . They nod . Then Walter starts away .<\/scene_description>\n    <character>WALTER SULLIVAN<\/character>\n    <parenthetical>( turns - quiet now , at peace . )<\/parenthetical>\n    <dialogue>I did love her, you know.<\/dialogue>\n    <scene_description>And he walks away . A White House SECURITY GUARD as Walter approaches .<\/scene_description>\n    <character>WALTER SULLIVAN<\/character>\n    <dialogue>Is he working late? I have n't an appointment but I'd like to see him if I might.<\/dialogue>\n    <character>GUARD<\/character>\n    <dialogue>You do n't need an appointment, Mr. Sullivan.<\/dialogue>\n    <scene_description>And as he waves him through - Luther , standing there , watching the old man . Walter , a final turn back , a nod of the head . Luther . He nods back , returns to the car , gets in - - and now we begin a BLIZZARD OF CUTS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WASHINGTON STREET\/INT. LIMO - NIGHT<\/stage_direction>\n    <scene_description>Luther driving through the night .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. NORTH PORTICO ENTRANCE - NIGHT<\/stage_direction>\n    <scene_description>Walter entering the White House proper .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE HOUSE - BURTON'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Seth , with a bunch of other officers , standing in front of an office with the name `` BILL BURTON '' on a plaque - he opens the door - - Burton has blown his brains out . A note alongside reads : `` I am so sorry . '' Alongside the note is a micro - cassette recorder and a dozen tapes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WASHINGTON STREET\/INT. LIMO - NIGHT<\/stage_direction>\n    <scene_description>Luther . Driving faster .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE HOUSE HALLWAY - SECURITY AREA - NIGHT<\/stage_direction>\n    <scene_description>Walter Sullivan approaching a METAL DETECTOR - he starts to go through - - it GOES OFF - Walter 's embarrassed . He holds up his wrist , showing his watch . The security guards smile , wave him to go ahead . Walter continues on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMO - NIGHT<\/stage_direction>\n    <scene_description>Luther , tense , ROARING along .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RUSSELL'S - NIGHT<\/stage_direction>\n    <scene_description>Gloria Russell - Seth is with her - he cuffs her , leads her out -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AREA OUTSIDE OVAL OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Walter , by the door of the Oval Office . The letter opener is tight in his hand now . The door opens . Richmond , arms out , comes to embrace him , as he embraced him at the Press Conference .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOSPITAL PARKING LOT - NIGHT<\/stage_direction>\n    <scene_description>Luther pulling up into the parking lot of the hospital , getting out , passing the parking lot attendant who is listening transfixed to a small radio .<\/scene_description>\n    <character>RADIO ANNOUNCER #1<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>in the greatest shock to the nation since the Kennedy assassination, President Alan Richmond's death has rocked.<\/dialogue>\n    <scene_description>Luther has moved past now ; we ca n't hear the radio anymore .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL RECEPTION AREA - NIGHT<\/stage_direction>\n    <scene_description>Luther enters . A number of people are present , all of them listening to a large radio , on the desk of the Information Clerk .<\/scene_description>\n    <character>RADIO ANNOUNCER #2<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Richmond died violently in the Oval Office and Walter Sullivan.<\/dialogue>\n    <scene_description>Luther has moved past now ; we ca n't hear the radio anymore .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATE'S HOSPITAL ROOM - NIGHT<\/stage_direction>\n    <scene_description>She dozes . Luther sits alongside in a chair . Outside , the moon is high in the sky . Kate blinks , half opens her eyes , sees Luther .<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>you're still here?<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>Have n't budged.<\/dialogue>\n    <scene_description>She dozes again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL LOUNGE - NIGHT<\/stage_direction>\n    <scene_description>A coffee machine in a lounge . Empty . But a TELEVISION SET IS PLAYING SOFTLY . Luther enters , gets some coffee . The TV is SHOWING the PRESS CONFERENCE Richmond held . As we WATCH , Walter Sullivan moves down toward the President and they embrace . Now the Press Conference is over and we are LIVE AT the FRONT OF the North Portico of the WHITE HOUSE . A ton of reporters - - and Walter Sullivan , in their midst , beckoning for quiet .<\/scene_description>\n    <character>REPORTER #1<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Mister Sullivan, have you no idea why the President took his own life?<\/dialogue>\n    <scene_description>Luther stops making coffee , looks at the screen .<\/scene_description>\n    <character>WALTER SULLIVAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( voice soft . )<\/parenthetical>\n    <dialogue>I know he's been feeling the pressure of office more than ever lately. We've talked about it a great deal.<\/dialogue>\n    <character>REPORTER #2<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>But why would he stab himself?<\/dialogue>\n    <character>WALTER SULLIVAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( sadly . )<\/parenthetical>\n    <dialogue>That's a question that will haunt me forever. Of course I tried to stop him -.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>- Alan was like a son to me.<\/dialogue>\n    <scene_description>Luther smiles , takes his coffee , leaves the room as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATE'S HOSPITAL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Kate sleeping . Seth stands there now . Luther enters with his coffee . Seth sees him and they both move to the door and confer silently - - Seth indicates Kate . Luther crosses his fingers . Seth says something we ca n't make out . Luther nods . Seth glances a final time at Kate , then leaves them . Luther moves to Kate , studies her face .<\/scene_description>\n    <character>KATE<\/character>\n    <parenthetical>( eyes still closed . )<\/parenthetical>\n    <dialogue>. was that Seth?<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>He was just checking in. When you're up to it, he said we might come over for dinner. He mentioned -<\/dialogue>\n    <character>KATE<\/character>\n    <parenthetical>( eyes half open . )<\/parenthetical>\n    <dialogue>I know, he lives alone -<\/dialogue>\n    <character>LUTHER<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Watch it now.<\/dialogue>\n    <scene_description>He arranges her sheets .<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>you do n't have to fuss.<\/dialogue>\n    <character>LUTHER<\/character>\n    <dialogue>You were forever catching colds.<\/dialogue>\n    <scene_description>She nods , drifts and we - MOON starting to fall out of the sky now . LUTHER stands by the window , looking out . Soon , dawn . He stretches , crosses to her .<\/scene_description>\n    <character>KATE<\/character>\n    <dialogue>am I going to be all right?<\/dialogue>\n    <character>LUTHER<\/character>\n    <parenthetical>( long pause . )<\/parenthetical>\n    <dialogue>We'll be fine.<\/dialogue>\n    <scene_description>Kate nods , drifts . Luther watches her . Then he goes to his chair - - reaches down - - pulls out his sketchbook . He turns the pages . Drawings of Kate . He turns to a new page . Starts drawing her again . He 's really getting good . HOLD ON Luther and Kate . FINAL FADE OUT . THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Master thief Luther Whitney (Clint Eastwood) breaks into the mansion of billionaire Walter Sullivan (E. G. Marshall), but is forced to hide upon the arrival of Sullivan\u2019s wife Christy (Melora Hardin), on a drunken rendezvous with Alan Richmond (Gene Hackman), the President of the United States. Hidden behind the bedroom vault\u2019s one-way mirror, Whitney watches in horror as Richmond becomes sexually violent; Christy, in self-defense, stabs him with a letter opener. Richmond screams for help, and Secret Service agents Bill Burton (Scott Glenn) and Tim Collin (Dennis Haysbert) burst in and fatally shoot Christy. Chief of Staff Gloria Russell (Judy Davis) arrives, and they stage the scene to look like a burglary gone wrong. Whitney is unnoticed until he makes his getaway, pursued by the agents, but he manages to escape with millions in valuables as well as the incriminating letter opener. Detective Seth Frank (Ed Harris) heads the murder investigation. Though Whitney, known to authorities as a high-profile burglar, becomes a prime suspect, Frank does not believe he is a murderer. Burton asks Frank to keep him informed on the case and wiretaps Frank's office telephone. Just as Whitney is about to flee the country, he sees Richmond on television publicly commiserating with Sullivan - a close friend and financial supporter of the president - on his loss. Incensed, Whitney decides to bring Richmond to justice. He taunts Russell, leaving her a photograph of the letter opener. Whitney's estranged daughter Kate (Laura Linney), a prosecutor, accompanies Frank to Whitney's home in search of clues. She agrees to set her father up, arranging a meeting at an outdoor caf\u00e9 where the police can take him into custody. Frank guarantees Whitney's safety, but Burton learns of the plan through the wiretap, and both Collin and McCarty (Richard Jenkins) - a hitman hired by a vengeful Sullivan - prepare to kill Whitney. The two snipers, each unaware of the other, try to shoot Whitney when he meets with Kate. Both miss, and Whitney escapes disguised as a police officer. Whitney later explains to Kate exactly how Christy was killed and by whom. Whitney tricks Russell into wearing Christy's diamond necklace during a White House event. Suspecting that Kate must know the truth, Richmond decides she must be eliminated. When Whitney learns from Frank that the Secret Service has taken over surveillance of Kate, he races back to Washington, D.C. to protect her. Whitney arrives moments after Collin forces Kate\u2019s car off a cliff, but she survives. Collin tries again to kill Kate at the hospital with a poison-filled syringe, but Whitney subdues him with a syringe of his own. Collin pleads for mercy, but Whitney delivers a fatal dose. Whitney replaces Sullivan's chauffeur, and tells Sullivan what truly happened the night his wife was killed. Sullivan is unconvinced until Whitney explains how Richmond lied in his speech about Christy's excuse for staying home that night, which he could only have learned from her. He gives Sullivan the letter opener with Richmond's blood and fingerprints, and tells him that he has since returned the stolen items. Whitney drops Sullivan off outside the White House. Sullivan passes through security with the letter opener and enters the Oval Office. Meanwhile, alerted by Whitney that his phone has been bugged, Frank discovers that a remorseful Burton has committed suicide and uses the evidence Burton left behind to arrest Russell. On television the next morning comes the shocking news from Sullivan that Richmond committed suicide by stabbing himself to death (it is uncertain if Richmond died by his own hand or by Sullivan's). Whitney is satisfied that justice has prevailed, and happy his daughter is safe and part of his life again. At the hospital, Whitney watches over Kate\u2019s recovery. Detective Frank visits briefly, whereupon Whitney suggests to Kate that Frank join them for supper sometime."}
{"movie_name":"Asteroid City_2023","imdb_id":"tt14230388","script":"<script>\n  <scene>\n    <scene_description>A S T E R O I D C I T Y HOST CONRAD EARP (playwright) AUGIE STEENBECK\/JONES HALL (war photographer\/actor) WOODROW (Augie's son) MIDGE CAMPBELL\/MERCEDES FORD (movie star\/actress) DINAH (Midge's daughter) STANLEY ZAK (Augie's father-in-law) GRIF GIBSON (five-star general) DR. HICKENLOOPER (astronomer) JUNE (school teacher) MONTANA\/ASQUITH EDEN (cowboy\/actor) J.J. KELLOGG (advertising executive) CLIFFORD (J.J.'s son) SANDY BORDEN (Cookie Troopers regional headmistress) SHELLY\/LUCRETIA SHAVER (Sandy's daughter\/actress) ROGER CHO\/LINUS MAO (architect\/actor) RICKY (Roger's son) MECHANIC\/WALTER GERONIMO (mechanic\/actor) MOTEL MANAGER (entrepreneur) SCHUBERT GREEN (theatre director) POLLY (Schubert's wife) AIDE-DE-CAMP (to the General) DRIVER\/BODYGUARD (to Midge Campbell) ALIEN<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TELEVISION STUDIO. EVENING<\/stage_direction>\n    <scene_description>Black and white. A 1950's-era broadcast soundstage. Cameras on pneumatic pedestals. Microphones on telescoping booms. A team of technicians encircling the studio floor. The lights come up on our host, Brylcreemed in a dark suit and necktie. He addresses the audience:<\/scene_description>\n    <character>HOST<\/character>\n    <dialogue>Tonight's program takes us backstage to witness first-hand the creation, start to finish, of a new play mounted on the American stage.<\/dialogue>\n    <scene_description>The lights change to reveal the \"theatre district\" of a miniature metropolis: skyscrapers, streetlights, a canyon of box- office marquees.<\/scene_description>\n    <character>HOST<\/character>\n    <dialogue>\"Asteroid City\" does not exist. It is an imaginary drama created expressly for this broadcast. The characters are fictional, the text hypothetical, the events an apocryphal fabrication -- but together they present an authentic account of the inner-workings of a modern theatrical production.<\/dialogue>\n    <scene_description>The metropolis splits in two, sliding open like a curtain as the host continues:<\/scene_description>\n    <character>HOST<\/character>\n    <dialogue>Our story begins, of course, with an ink ribbon.<\/dialogue>\n    <scene_description>Revealed behind the moving scenery: a man (middle-aged, balding, in a cowboy\/western-style dressing gown with embroidered lassos and bedroom slippers with jingling decorative spurs) hunts and pecks at a typewriter.<\/scene_description>\n    <character>HOST<\/character>\n    <dialogue>Conrad Earp, playwright, native of upper Wyoming. Well-known for his romantic\/ poetic tapestries of life west of the Rocky Mountains.<\/dialogue>\n    <scene_description>The playwright sips at a highball then continues to type at some length before the host finally interjects:<\/scene_description>\n    <character>HOST<\/character>\n    <dialogue>There is little amusement to be had, however, in watching a man type. Skip<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <character>HOST<\/character>\n    <dialogue>ahead, then, past the lonely, agonized months of composing, revising, polishing, editing, rewriting, cutting, pasting, pacing, doodling, and solitary drinking --<\/dialogue>\n    <scene_description>The lights change again to reveal a full-scale, intricately decorated theatre proscenium with curtains, footlights, and a constellation of chalk-arrows and tape-marks zig-zagging across the boards. Stagehands criss-cross carrying sofas and tables, raising and lowering sandbags, removing the playwright's typewriter and chair, etc.<\/scene_description>\n    <character>HOST<\/character>\n    <dialogue>-- and join our company as they take the stage for their first read-through rehearsal. Location: the Tarkington Theatre, 345 South Northwest Avenue.<\/dialogue>\n    <scene_description>The host exits. The stagehands clear the floor and wait. The room falls quiet. The playwright, center-stage, now holds in his hands the manuscript for his completed play. He looks to the audience; he looks to the wings; he clears his throat; he begins to read:<\/scene_description>\n    <character>PLAYWRIGHT<\/character>\n    <dialogue>Curtain rises on a desert bus-stop halfway between Parched Gulch and Arid Plains.<\/dialogue>\n    <scene_description>The playwright gestures to various as-yet-unconstructed scenic elements and installations.<\/scene_description>\n    <character>PLAYWRIGHT<\/character>\n    <dialogue>Main scenography includes: a twelve-stool luncheonette, a one-pump filling station, and a ten-cabin motor-court hotel.<\/dialogue>\n    <scene_description>In the nearby wings: stagehands listen next to racks of ropes and pulleys; electricians listen next to rows of sockets and fuses; a property master silently inventories his kit.<\/scene_description>\n    <character>PLAYWRIGHT<\/character>\n    <dialogue>Up-stage left: the Tomahawk Mountains (highest peak: 11,000 feet). Up-stage right: an unfinished highway overpass which vaults up twenty feet then chops off mid-air behind a permanent road- block. Down-front: an impact crater a hundred feet in depth and diameter encircled by a low Little League-variety chainlink fence. Off-stage, distant: a 650-car freight train which click-clacks by at five miles an hour. Note to chief electrician:<\/dialogue>\n    <scene_description>Up above: a stagehand on a catwalk listens as he operates a spot.<\/scene_description>\n    <character>PLAYWRIGHT<\/character>\n    <dialogue>The light of the desert sun is neither warm nor cool, but always clean -- and, above all: unforgiving.<\/dialogue>\n    <scene_description>The playwright introduces the players, an assembly of professional actors and actresses, not in costume\/not in character, several in their early teens. They periodically flip the pages of their dog-eared scripts, pencilling notes. First: a handsome, compact actor, T-shirt with sweater tied around the waist, brush-cut hairdo, in a folding chair turned backwards; a reedy boy fidgeting beside him.<\/scene_description>\n    <character>PLAYWRIGHT<\/character>\n    <dialogue>Cast: Augie Steenbeck, war photographer, early forties. His son, Woodrow, fourteen (also known as \"Brainiac\").<\/dialogue>\n    <scene_description>Next: a brunette actress in discreet, precise make-up, hands in lap, seated bolt upright in a pencil-skirt and tailored jacket; a bobby-soxer filing her nails beside her.<\/scene_description>\n    <character>PLAYWRIGHT<\/character>\n    <dialogue>Midge Campbell, late-thirties, film actress. Her daughter, Dinah, fifteen.<\/dialogue>\n    <scene_description>Next: a blowsy\/smudged actress with an unsuccessful permanent; a former professional quarterback.<\/scene_description>\n    <character>PLAYWRIGHT<\/character>\n    <dialogue>June Douglas, schoolteacher. Grif Gibson, five-star-general.<\/dialogue>\n    <scene_description>Next: an actor in a cardigan sweater; an actor in a sailor's peacoat; an actress in a woolen cap; more teenagers (among them a short-haired gamine in black turtleneck, tights, and leotard).<\/scene_description>\n    <character>PLAYWRIGHT<\/character>\n    <dialogue>J.J. Kellogg, Roger Cho, Sandy Borden; Clifford, Ricky, Shelly.<\/dialogue>\n    <scene_description>Finally: a man-about-town in last night's dinner jacket, overcoat, and patent-leather shoes. He sits with his legs crossed, at ease.<\/scene_description>\n    <character>PLAYWRIGHT<\/character>\n    <dialogue>Stanley Zak, sixty-five, retired.<\/dialogue>\n    <scene_description>The lights dim once more. The playwright pauses before he concludes with reserved drama:<\/scene_description>\n    <character>PLAYWRIGHT<\/character>\n    <dialogue>The action of the play takes place in September of 1955. Act I. Friday morning, 7am. Act II. The next day. Act III. One week later.<\/dialogue>\n    <scene_description>Lights fade to black. Silence. TITLE SEQUENCE: Widescreen\/color. A super-extended freight train rolls along rusty tracks, curving through canyons and mesas, chugging over trusses and trestles. The engineer leans from a locomotive window, pulling his whistle. A pilotman rides seated on the caboose platform with his feet on an iron step-stool. The brakeman squats perched on the roof of a boxcar, rolling a cigarette. Cargo: stacked Pontiacs; white gravel; horses and cattle; avocados, pecans, grapefruits, almonds, artichokes; a tractor and a bulldozer; a tank wagon of raw milk; and a short-range ballistic missile labeled: 10 Megaton Nuclear Warhead Caution: DO NOT DETONATE without Presidential Approval<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY. DAY<\/stage_direction>\n    <scene_description>A warning bell rings at a railroad crossing. The train slowly rattles over a blacktop interstate which descends, sidewinding, from a distant plateau down to a concise desert town circumvented by towering cactus, yucca, and sagebrush. Dry winds blow red dust and tangled scrub. A roadrunner darts and sprints. In the remote background: a range of faraway mountains encircling the vast, sandy arena. In the close foreground: a decorative covered-wagon roadside sign which reads \"Asteroid City, Pop. 87\" in carved orange letters. The town itself: a caf\u00e9, a motel, a gas station. A parked Chrysler sedan, a Ford with a running board. White, wooden, ranch-style fencing punctuated by telephone poles, electric wires, and palm trees in tight clusters. A few barns and bungalows dot the outskirts, along with a billboard advertising an Indian reservation casino 250 miles ahead. On the edge of the town: the ruins of the uncompleted\/chopped- off elevated highway-spur with an official roadblock warning: Route-Calculations Error RAMP CLOSED INDEFINITELY Department of Roads and Rails A hundred yards into the desert: a modestly-sized astronomical observatory; a field of small radio telescopes; a chainlink fence with regional-monument\/point-of-interest marker; a flight of steep, skinny wooden steps which descends into a wide crater with, at center, ensconced in a rebar display-cage: a pock- marked metallic rock the size of a cantaloupe.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AUTO GARAGE. DAY<\/stage_direction>\n    <scene_description>The filling station. A hanging sign gently creaks. \"Ice, Tires, Service.\" The roadrunner trots to the center of the road and sniffs at a sun-dried (dead) snake. A hazy speck shimmers-up over a rise down the highway. The bird watches, then jolts back into the brush. The speck, as it approaches, takes the form of a sand-beaten tow-truck pulling a wood-paneled station wagon in its winch. The brief convoy pulls under the shade of the fuel- pump awning and crunches to a stop. Four doors open (two on the cab, two on the wagon), and release a weary, sweaty group which includes: a small man in his early forties, bearded, dressed in a safari jacket with a Swiss camera around his neck. He is Augie. A gangly boy, fourteen, dressed in Bermuda shorts and tinted plastic sun-visor labeled: \"Brainiac.\" He is Woodrow. Three girls with matted hair, aged four, five, and six, dressed in a mixed combination of bathing suits, pixie costumes, pajamas, ruby slippers, etc. They are Andromeda, Pandora, and Cassiopeia. (NOTE: we recognize various performers as they appear in the story, now costumed and in-character, from their earlier introduction in the teleplay broadcast.) A grizzled mechanic\/tow-truck driver dressed in a grease- speckled overall jumpsuit powers up his winch, lowering the station wagon with a clanking rumble. Woodrow scribbles in a small notebook. The three girls wander vaguely in a daze, whispering and humming. Augie sticks a pipe into his mouth, produces a Zippo lighter from one of his numerous pockets, and fuels it straight from the gasoline pump. He lights his pipe and puffs. (NOTE: throughout the story, Augie employs an excess of self- conscious\/actorly business: with his pipe, with his lighter, with his camera, with his beard, etc.)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUNCHEONETTE. DAY<\/stage_direction>\n    <scene_description>A narrow, checkered-tile, chrome-and-bakelite caf\u00e9 with soda fountain, chalkboard specials, and a short-order window communicating to the kitchen. Slatted blinds paint light\/shadow stripes over the long counter. Country music plays on the jukebox. A chime jingles as Augie, Woodrow, and the three girls enter. The door clatters shut. A trapped fly buzzes against the screen. Behind the counter, two women: a sun-spotted cashier in her sixties seated behind the register; and a Key-lime-green- uniformed waitress in her seventies thumbing through a Sears catalogue. They both look up at the arriving family. Augie says (almost inaudible) in a faintly old-Brooklyn accent:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>Five orders of flapjacks and a black coffee.<\/dialogue>\n    <scene_description>The waitress nods and directs the group to sit. They occupy their stools, side-by-side. A lanky cook, forty, in a white cap and apron, snatches down the order-slip and peers out from the kitchen. Augie says bluntly:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>Who needs to pee?<\/dialogue>\n    <scene_description>The girls respond with an adamant, unconvincing chorus: \"Not me.\" \"I don't.\" \"Nobody needs to pee.\" Woodrow looks up from his notebook and says, matter-of-fact:<\/scene_description>\n    <character>WOODROW<\/character>\n    <dialogue>Our average speed is eighty-three feet per second. Poor fuel efficiency due to excess wind resistance. (Probably the luggage rack.) Based on data before the loss of power, obviously.<\/dialogue>\n    <scene_description>Augie nods, weary. Woodrow resumes his scribbling. The sisters mix a potion of salt, pepper, and mustard in an ashtray as they whisper sinister incantations. The waitress interjects:<\/scene_description>\n    <character>WAITRESS<\/character>\n    <dialogue>What do you little princesses want to drink?<\/dialogue>\n    <scene_description>The sisters respond suddenly, more or less in unison:<\/scene_description>\n    <character>ANDROMEDA<\/character>\n    <dialogue>We're not princesses.<\/dialogue>\n    <character>CASSIOPEIA<\/character>\n    <dialogue>I'm a vampire.<\/dialogue>\n    <character>PANDORA<\/character>\n    <dialogue>I'm a mummy in Egypt who got buried alive and came back to life with his head chopped off.<\/dialogue>\n    <character>CASSIOPEIA<\/character>\n    <dialogue>I suck people's blood.<\/dialogue>\n    <character>ANDROMEDA<\/character>\n    <dialogue>I'm a fairy.<\/dialogue>\n    <scene_description>Pause. The waitress says agreeably:<\/scene_description>\n    <character>WAITRESS<\/character>\n    <dialogue>How about a glass of strawberry milk?<\/dialogue>\n    <scene_description>A distant boom shudders the building. Augie and Woodrow frown. Augie says, alarmed:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>What was that?<\/dialogue>\n    <character>CASHIER<\/character>\n    <parenthetical>(inevitably)<\/parenthetical>\n    <dialogue>Another atom bomb test.<\/dialogue>\n    <scene_description>Augie hesitates. He leans out the open window (followed by Woodrow). Fifty miles away, beyond the mountains: a massive mushroom cloud billows up into the sky. Augie's eyes widen. He holds up his camera and snaps a photograph.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUTO GARAGE. DAY<\/stage_direction>\n    <scene_description>The station wagon is now hoisted up on a hydraulic repair-lift. The mechanic, Augie, Woodrow, and the three girls look up from below the vehicle into the grease-and-dirt-coated agglomeration of pipes, shafts, wires, and widgets. The mechanic explains:<\/scene_description>\n    <character>MECHANIC<\/character>\n    <dialogue>I've seen this combination of symptoms twice before in the '52 Estate Model. In one case, it was a quick fix of a 75 cent part. In the other case, it was a difficult, costly, time-consuming disassembly and remantling of the entire drivetrain and lubrication mechanism which didn't work. The motor exploded itself, and the body was stripped and sold for scrap. (There it is.)<\/dialogue>\n    <scene_description>The mechanic points to the corroded remains of a similar-model station wagon in a small junkyard next door. Augie frowns.<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>Which one've we got?<\/dialogue>\n    <character>MECHANIC<\/character>\n    <dialogue>We're about to find out.<\/dialogue>\n    <scene_description>The mechanic opens a small cardboard box and removes a fresh, clean, hexagonal nut. He displays it briefly to the group. He steps up onto a footstool and reaches up to carefully fit the nut onto the end of a threaded post. He slowly twists. Augie and the children move closer to watch. The mechanic twists tighter and tighter. He pauses to switch to a wrench. He gently twists until the nut resists, then gives it a little extra goose. He looks down at the group. He descends from the footstool and climbs up into the station wagon. He inserts the car key. He looks down at the group again. A hopeful nod. Augie watches, anxious. The mechanic turns on the ignition, and the motor whirs to life.<\/scene_description>\n    <character>MECHANIC<\/character>\n    <dialogue>You got the first one.<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(relieved)<\/parenthetical>\n    <dialogue>How much do I owe you?<\/dialogue>\n    <character>MECHANIC<\/character>\n    <dialogue>Nothing. Ten dollars for the tow.<\/dialogue>\n    <scene_description>At that instant, simultaneously: both the vehicle's twin mufflers\/exhaust tailpipes backfire and explode with a muted, concussive thud; all four tires spontaneously blow-out and drain flat, hissing; the engine seizes and goes dead; and a sizable, oil-coated, mechanical assembly (cast-iron, rubber-gasketed) drops free from the undercarriage into the drip-basin below where it sputters, vibrates, gasps, and squeals faintly, scooting and hopping nervously in the shallow viscosity. Augie asks, stunned:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <scene_description>The mechanic stares, intrigued and slightly frightened, from the driver's seat above. He says quietly:<\/scene_description>\n    <character>MECHANIC<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <scene_description>The mechanic quickly descends. He sprays down the assembly with a high-pressure hose until it ceases its seizure. Augie and the children watch in perplexed amazement. Silence.<\/scene_description>\n    <character>MECHANIC<\/character>\n    <dialogue>I think you got a third problem we've never seen before.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY. DAY<\/stage_direction>\n    <scene_description>A free-standing telephone booth next to a fence-post in the corner of a vacant plot between the gas station and the motel entrance. Bits of rubble and bottle-caps litter the dry, cracked earth. A single wire extends diagonally up from the top of the booth to an overhead line. Augie waits with the receiver to his ear. (Woodrow lingers nearby scribbling periodically in his notebook while his three sisters run in circles singing eerily and swirling soap bubbles into the air with plastic wands). SPLIT-SCREEN: On one side: the interior of the telephone booth with chipped paint and pencil-graffitied numbers with abbreviated exchange- names. On the other side: the vast, wood-and-stone, low-ceiling living room of a luxurious ranch house overlooking a golf course. A houseboy in a yellow butler's jacket answers:<\/scene_description>\n    <character>HOUSEBOY<\/character>\n    <dialogue>Zak residence.<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>Romulus, this is Augie Steenbeck.<\/dialogue>\n    <character>HOUSEBOY<\/character>\n    <dialogue>Good morning, Mr. Augie. The gate is open.<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>We're not there.<\/dialogue>\n    <character>HOUSEBOY<\/character>\n    <parenthetical>(mildly surprised)<\/parenthetical>\n    <dialogue>You're not here?<\/dialogue>\n    <scene_description>The houseboy checks his watch and frowns.<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>May I speak to Mr. Zak?<\/dialogue>\n    <character>HOUSEBOY<\/character>\n    <dialogue>Yes, Mr. Augie.<\/dialogue>\n    <scene_description>The houseboy sets down the telephone and hurries away from camera, through the deep room, out via louvered double-doors. Augie mops his brow with a handkerchief. Faintly: the sounds of a siren and a distant motor. Augie leans out of the booth and squints. Camera pans away, down the highway, to a black Chevy sedan roaring toward, whizzing past, then racing away from the telephone booth -- followed immediately by a state trooper in pursuit, lights flashing. A few exchanged gunshots pop. Camera continues panning (now 360 degrees) back to Augie watching, perturbed. (Woodrow, in the background, adds this event to his notebook.) In the meantime: a tall, silver-haired seventy-year-old dressed in tartan trousers and clacking, spiked golf shoes enters the living room followed by the houseboy and approaches the telephone. He carries a tumbler of orange juice. He is Stanley. He picks up the receiver.<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>You're not here?<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>We're not there. The car exploded. Come get the girls.<\/dialogue>\n    <character>STANLEY<\/character>\n    <parenthetical>(surprised)<\/parenthetical>\n    <dialogue>The car -- exploded?<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>Parts of the car. Exploded itself, yes. Come get the girls.<\/dialogue>\n    <character>STANLEY<\/character>\n    <parenthetical>(stiffening)<\/parenthetical>\n    <dialogue>I'm not the chauffeur. I'm the grandfather. Where are you?<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>Asteroid City. Farm-route Six, mile 75. Come get the girls. I have to stay here with Woodrow.<\/dialogue>\n    <character>STANLEY<\/character>\n    <parenthetical>(perplexed)<\/parenthetical>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(irritated)<\/parenthetical>\n    <dialogue>The thing. For Woodrow. We're there.<\/dialogue>\n    <scene_description>Augie motions obliquely to the motel: a classic motor court with individual clapboard bungalows. A sign next to the entrance reads: \"Welcome, Junior Stargazers and Space Cadets!\"<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>Hm.<\/dialogue>\n    <scene_description>Silence. Stanley says grimly:<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>How'd they take it?<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(reluctant)<\/parenthetical>\n    <dialogue>They didn't.<\/dialogue>\n    <character>STANLEY<\/character>\n    <parenthetical>(puzzled)<\/parenthetical>\n    <dialogue>No?<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>STANLEY<\/character>\n    <parenthetical>(in disbelief)<\/parenthetical>\n    <dialogue>No!<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Augie and Stanley say simultaneously, almost inaudibly:<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>You didn't tell them. Still.<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>I still didn't tell them.<\/dialogue>\n    <character>STANLEY<\/character>\n    <parenthetical>(frustrated)<\/parenthetical>\n    <dialogue>You promised.<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>Augie stares into space. He closes his eyes and shakes his head.<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>The time is never right.<\/dialogue>\n    <scene_description>Stanley nods slowly. He shares his advice, firm but philosophical:<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>The time is always wrong.<\/dialogue>\n    <scene_description>Augie contemplates this. Stanley asks, less important\/aside:<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>Are you OK?<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(lightly)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Silence. Both men begin to quietly, almost imperceptibly, cry. Augie says -- just now realizing:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>You never liked me, did you?<\/dialogue>\n    <character>STANLEY<\/character>\n    <parenthetical>(more precisely)<\/parenthetical>\n    <dialogue>I never loved you.<\/dialogue>\n    <scene_description>Augie nods. They both expand on the point:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>You always thought I wasn't good enough for her.<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>I always thought she could've done better.<\/dialogue>\n    <character>STANLEY<\/character>\n    <parenthetical>(pleased)<\/parenthetical>\n    <dialogue>Yes. We're saying the same thing.<\/dialogue>\n    <scene_description>Augie takes a deep breath. Stanley drinks his orange juice, then gives two orders (one to the houseboy, one to Augie):<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>Gas up the Cadillac. Tell the kids.<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>I will.<\/dialogue>\n    <character>HOUSEBOY<\/character>\n    <dialogue>OK.<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>I'll be there when I get there.<\/dialogue>\n    <scene_description>Augie and Stanley bluntly hang up. Woodrow and his sisters stand next to Augie, alongside the telephone booth, waiting. Augie opens the door and looks into the near distance. Pause. He takes a photograph, then says:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>It's the end of that car.<\/dialogue>\n    <scene_description>Augie begins to march across the highway. He issues clipped instructions as Woodrow and his sisters follow behind him:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>Andromeda: check under the floor mats. Pandora: check the side pockets. Cassiopeia: check the cracks between the seats. Take everything.<\/dialogue>\n    <parenthetical>(aside)<\/parenthetical>\n    <dialogue>What do you think, Woodrow?<\/dialogue>\n    <character>WOODROW<\/character>\n    <dialogue>I think it's kind of sad.<\/dialogue>\n    <scene_description>Camera pans to the station wagon, now parked outside the garage on its four flat tires. The mechanic continues to examine it. Augie approaches the vehicle, steps up onto the rear bumper, and disconnects a roof-rack strap. He pulls down valises and camera cases, handing them to Woodrow, who lines them up in a row. The three sisters open doors and windows and begin to throw things out onto the ground, haphazard: bags, boxes, cartons; half-naked dolls and stuffed animals; partially-uneaten snacks, stray socks, books, etc. Augie opens the glove box and withdraws: gloves, a packet of pipe-tobacco, a selection of maps and documents, and an old roll of exposed 120mm film. He flips open the passenger-side ashtray. He pauses. He stares. He bites his lip. INSERT: A cigarette butt smudged with red lipstick. CUT TO: A high-angle view of the entire, compact municipality. Augie, Woodrow, and the three girls re-cross the highway (heading to the motel) lugging their suitcases, bags, and boxes. From one direction: a trio of assorted station wagons enters the town, followed immediately by an Army Jeep tugging a small, steel-and- rivet trailer. From the other direction: two more station wagons, plus a cross-country bus which stops in front of the luncheonette.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LUNCHEONETTE\/MOTEL. DAY<\/stage_direction>\n    <scene_description>The door of the bus flings open. The driver, burly, in cap and uniform, descends first and shouts:<\/scene_description>\n    <character>BUS DRIVER<\/character>\n    <dialogue>Rest stop!<\/dialogue>\n    <parenthetical>(checking his watch)<\/parenthetical>\n    <dialogue>Thirteen minutes.<\/dialogue>\n    <scene_description>The bus driver ambles around to the nose of the bus, withdraws a wax paper-wrapped ham sandwich from his pocket, and takes a bite. Assorted passengers without baggage (a traveling salesman, a small church group with collared minister, an old man with two canes, a posse of cowboys and ranch hands) spill out and spread in various directions to stretch their legs, use the bathrooms (entrance on the outside of the building), smoke cigars\/ cigarettes, and dart into the luncheonette. The screened door bangs open and shut repeatedly, chiming, as hamburger-coffee-and- doughnut-orders are called out in urgent voices. Finally, a class of ten eight-year-old pupils accompanied by two elderly- lady chaperones emerges from the bus carrying small suitcases and a picnic basket with, behind them: a seasoned but youthful schoolteacher. She wears a cardigan with knitted flowers stitched to it, a white collar, hair sharply parted, heels. She is June. One of the cowboys (name: Montana) briefly sidles back into frame to discreetly give her the once-over. June stops the group as they reach the ground, announcing:<\/scene_description>\n    <character>JUNE<\/character>\n    <dialogue>Head count! Boys and girls?<\/dialogue>\n    <scene_description>The children immediately gather close and look up at June as each chirps his\/her number, one to ten. June nods officiously.<\/scene_description>\n    <character>JUNE<\/character>\n    <dialogue>Plus Libby, Margie, and me. All present. Let's give thanks for a safe journey. Billy?<\/dialogue>\n    <scene_description>The children briskly fold their hands and bow their heads. A freckled boy improvises:<\/scene_description>\n    <character>FRECKLED BOY<\/character>\n    <dialogue>Dear Heavenly Father, We thank Thee kindly for a terrific bus ride. I ate three boxes of Crackerjacks and got a dog- whistle and a miniature map of the original thirteen colonies. Also: we saw a coyote get run over by a fourteen- wheeler, and it left him flat as a pancake. Boy, oh, boy! What else? The bus driver had to stop twice because Bernice couldn't hold it.<\/dialogue>\n    <scene_description>A girl with curly red hair opens her eyes and interjects sharply:<\/scene_description>\n    <character>CURLY-HAIRED GIRL<\/character>\n    <dialogue>Could so!<\/dialogue>\n    <character>JUNE<\/character>\n    <parenthetical>(loudly)<\/parenthetical>\n    <dialogue>Amen.<\/dialogue>\n    <scene_description>\"Amens\" all around; then June calls out, commanding but pleasant:<\/scene_description>\n    <character>JUNE<\/character>\n    <dialogue>Lunchtime! Line up single-file.<\/dialogue>\n    <parenthetical>(NOTE: an increasing traffic of criss-crossing people appear in the foreground and background of this scene, welcoming arriving parties, preparing accommodations, rushing.)<\/parenthetical>\n    <dialogue>Car doors swing open and whang shut as families disembark from the newly-arrived station wagons parked at various angles between the luncheonette and the motel. First: a strikingly blonde woman in her mid-thirties, glamorous in dark sunglasses, accompanied by her gum-chewing fifteen-year-old daughter. They are Midge and Dinah. Their driver\/bodyguard is a tall, burly man in chinos and a blazer. His eyes scan left and right, checking security. Midge says, perspiring:<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>My word! It's hot.<\/dialogue>\n    <character>DINAH<\/character>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>It's the desert. What'd you expect?<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>Well, I don't know if I expected one thing or another -- but I'm wilting like a cut petunia.<\/dialogue>\n    <scene_description>Next: a businessman in his late forties, summer suit, straw hat tipped back, accompanied by his son, fourteen, in tennis clothes. They are J.J. and Clifford. Clifford plucks a tiny, bright red pepper from a vine on a trellis outside the luncheonette and holds it up to his father:<\/scene_description>\n    <character>CLIFFORD<\/character>\n    <dialogue>You dare me?<\/dialogue>\n    <character>J.J.<\/character>\n    <parenthetical>(absently)<\/parenthetical>\n    <dialogue>Dare you what?<\/dialogue>\n    <character>CLIFFORD<\/character>\n    <parenthetical>(brightly)<\/parenthetical>\n    <dialogue>To eat this hot pepper. It's an experiment.<\/dialogue>\n    <character>J.J.<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Clifford bites the pepper in half. J.J. waits. Next: a woman, forty-five, accompanied by her daughter, fourteen, both in brown-and-white gingham girl scout-type uniforms (labeled \"Cookie Troopers\"). They are Sandy and Shelly. Sandy wears a badge which reads \"Regional Headmistress\" and nibbles from a carton of Cookie Trooper Jam-Crispies. (She keeps a box of this kind in hand at all times throughout the story.) Shelly carries a movie magazine (\"Screen Dreamboats\") tucked under her arm. She whispers to her mother, furtive but awestruck, peering back past the other families:<\/scene_description>\n    <character>SHELLY<\/character>\n    <dialogue>Holy Toledo. That's Midge Campbell.<\/dialogue>\n    <character>SANDY<\/character>\n    <parenthetical>(alerted)<\/parenthetical>\n    <dialogue>Where? Who?<\/dialogue>\n    <character>SHELLY<\/character>\n    <dialogue>Right smack in back of you. Don't look.<\/dialogue>\n    <scene_description>Next: inside the open front window of the motor court check-in office, the motel manager (tall, rangy, amiable, in a bolo tie and Western shirt) greets a scientist (fifty, Hawaiian shirt\/white trousers) accompanied by his aviator-spectacled son, fifteen. They are Roger and Ricky. The motel manager guesses correctly:<\/scene_description>\n    <character>MOTEL MANAGER<\/character>\n    <dialogue>Mr. Cho? You're in cabin seven. Well, tent seven. Here's the key, but there's no door (just a flap). Ha-ha.<\/dialogue>\n    <scene_description>The motel manager smiles, uneasy. Roger hesitates, skeptical:<\/scene_description>\n    <character>ROGER<\/character>\n    <dialogue>Tent?<\/dialogue>\n    <character>MOTEL MANAGER<\/character>\n    <parenthetical>(regretfully)<\/parenthetical>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>In the background: Clifford enters hyperventilating with his tongue sticking out. He begins to fill up\/guzzle down paper cones of water one after another from a dispenser in the corner while the motel manager continues to explain to Roger:<\/scene_description>\n    <character>MOTEL MANAGER<\/character>\n    <dialogue>I upgraded the electrical system Tuesday morning. Better lighting, power for the ice-machine, and a wall-mounted bug- zapper. Unfortunately, a mistake got made, and cabin seven burned to the ground. It's a tent now.<\/dialogue>\n    <character>ROGER<\/character>\n    <parenthetical>(in disbelief)<\/parenthetical>\n    <dialogue>We don't want to sleep in a tent.<\/dialogue>\n    <character>MOTEL MANAGER<\/character>\n    <parenthetical>(soothing)<\/parenthetical>\n    <dialogue>Of course, I understand. May I say: I think you'll find it very comfortable.<\/dialogue>\n    <parenthetical>(distracted)<\/parenthetical>\n    <dialogue>Is the young gentleman in distress?<\/dialogue>\n    <scene_description>The motel manager points. Clifford is now kneeling below the water dispenser, drinking directly from its spigot. J.J. waits in the doorway nearby:<\/scene_description>\n    <character>J.J.<\/character>\n    <dialogue>He's thirsty.<\/dialogue>\n    <character>MOTEL MANAGER<\/character>\n    <dialogue>Of course, I understand.<\/dialogue>\n    <parenthetical>(to Roger)<\/parenthetical>\n    <dialogue>Juice preference, please. Apple, orange, or tomato?<\/dialogue>\n    <scene_description>Just outside: an arcade of fifteen vending machines (sodas, candy, snacks, coffee, milk, fruit, toiletries, nylon stockings). The posse of cowboys and ranch hands loiters as Montana fights with the cigarette machine, banging it with his fists, then kicking it. The motel manager pokes his head out the window and shouts, anxious:<\/scene_description>\n    <character>MOTEL MANAGER<\/character>\n    <dialogue>Excuse me, sir?<\/dialogue>\n    <character>MONTANA<\/character>\n    <parenthetical>(frustrated)<\/parenthetical>\n    <dialogue>This bucket of nuts just stole my quarter.<\/dialogue>\n    <character>MOTEL MANAGER<\/character>\n    <parenthetical>(apologetic)<\/parenthetical>\n    <dialogue>I beg your pardon.<\/dialogue>\n    <scene_description>The motel manager ducks back inside. All the vending machines light up at once and begin to hum. Montana tries the machine again and receives his pack of cigarettes. Camera now makes its way through the neat, little compound of freshly painted bungalows and small palm trees; past a cabin which has incinerated completely to a cinder except for its bathtub; past an immediately adjacent canvas tent; past a communal shower where a woman in a bathrobe and slippers is waiting outside clutching a folded towel and a bar of soap; and finally to Augie and his family, who have arranged themselves, seated on suitcases, stumps, and footstools, outside the open door of a bungalow marked \"Cabin #10.\" An unseen figure inside operates a vacuum cleaner. In his hands, Augie holds: a green and yellow Tupperware salad bowl, sealed. In the background: a gardener\/handyman tends to a flower bed; the breeze rustles linens hanging from a clothesline; a yipping terrier chases a thrown stick; big band music plays softly from a radio. Augie says, pained, as camera comes to a stop:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>And, to put it bluntly, after all the surgeries, therapies, and interventions, after two years of struggling and suffering: she succumbed to her illnesses.<\/dialogue>\n    <scene_description>Woodrow and his sisters are immobile and thunderstruck. Tears run down Augie's cheeks.<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>I'm sorry. I didn't know how to tell you then. I couldn't figure out how to tell you later. I didn't know what to do. The time was never right.<\/dialogue>\n    <scene_description>Silence. Woodrow finally asks:<\/scene_description>\n    <character>WOODROW<\/character>\n    <dialogue>You're saying our mother died three weeks ago?<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>The three girls begin to cry continuously at a low decibel from this point through the end of the scene. Andromeda asks, sobbing:<\/scene_description>\n    <character>ANDROMEDA<\/character>\n    <dialogue>When is she coming back?<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(excruciatingly)<\/parenthetical>\n    <dialogue>She's not coming back. Let's say she's in heaven, which doesn't exist for me, of course -- but you're Episcopalian.<\/dialogue>\n    <scene_description>Augie hugs the family together. They sit for a minute, absorbing the situation. Augie says to Woodrow:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>Did you know? Already.<\/dialogue>\n    <character>WOODROW<\/character>\n    <dialogue>I think so.<\/dialogue>\n    <scene_description>Augie nods. He says softly:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>She'd been away so long.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>We're going to be OK. Your grandfather's on his way. We're going to stay with him for -- a period of time which has yet to be determined how long it's going to be.<\/dialogue>\n    <scene_description>Woodrow points at the bowl. Augie nods again, holding back tears as he says with the slightest twinkle at the absurdity of it:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>Yes. She's in the Tupperware.<\/dialogue>\n    <scene_description>Pause. Augie suddenly clarifies for the girls, who look slightly confused:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>Cremated.<\/dialogue>\n    <scene_description>Woodrow peels open a corner of the top of the bowl and peers inside. He reseals it. Pandora asks, weeping:<\/scene_description>\n    <character>PANDORA<\/character>\n    <dialogue>Are we orphans now?<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>No, because I'm still alive.<\/dialogue>\n    <scene_description>Pandora nods. Augie reaches into the past:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>When my father died, my mother told me, \"He's in the stars.\" I told her, \"The closest star other than that one --\"<\/dialogue>\n    <parenthetical>(pointing to the sun)<\/parenthetical>\n    <dialogue>\"-- is four and half light years away with a surface temperature over 5000 degrees centigrade. He's not in the stars,\" I said. \"He's in the ground.\" She thought it would comfort me. (She was an atheist.) The other thing she said which is incorrect: \"Time heals all wounds.\" No. Maybe it can be a Band-Aid. Your concept of time is completely distorted, though. I don't think any of you except Woodrow even understands what fifteen minutes means.<\/dialogue>\n    <character>PANDORA<\/character>\n    <parenthetical>(whimpering)<\/parenthetical>\n    <dialogue>Fifteen minutes is sixty-two hundred hours.<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>Exactly. That's not your fault. I definitely handled this wrong, by the way -- but handling it right wouldn't've helped, either.<\/dialogue>\n    <scene_description>Woodrow and his sisters gaze into space. Augie says finally, hopeful:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>If you could have anything in the world to eat right now: what would it be?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUNCHEONETTE. DAY<\/stage_direction>\n    <scene_description>The three sisters sit at the counter eating banana splits, eyes red from crying. Woodrow sips a vanilla milkshake with a striped straw. Augie sadly tamps his pipe. In the background, outside the window: the posse of cowboys and ranch hands rush into view and hurriedly grab up baggage left behind for them on the tarmac (including guitar\/banjo\/bass fiddle cases) and race scrambling after the bus; but it drives away without them. Then: the Chevy pursued by the state trooper races by again in the opposite direction, dragging its muffler. (A pair of motorcycle police have now joined the chase.) The sounds of the engines and popping gunshots diminish. Pause. Augie looks down the length of the diner. At the far end: Midge and Dinah are finishing a late breakfast. (The driver\/bodyguard seated alone in a corner, works on a crossword puzzle.) Augie watches for a moment, then winds his camera and takes a picture. Midge looks to Augie directly after the shutter clicks. She frowns. She says loudly across the room with food in her mouth:<\/scene_description>\n    <character>MIDGE<\/character>\n    <dialogue>You took a picture of me.<\/dialogue>\n    <scene_description>Woodrow and Dinah look up. Augie answers:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>Uh-huh.<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>I'm a photographer.<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>You didn't ask permission.<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>I never ask permission.<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>Because I work in trenches, battlefields, and combat zones.<\/dialogue>\n    <character>MIDGE<\/character>\n    <parenthetical>(surprised)<\/parenthetical>\n    <dialogue>Really?<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>Uh-huh.<\/dialogue>\n    <character>MIDGE<\/character>\n    <parenthetical>(intrigued)<\/parenthetical>\n    <dialogue>You mean you're a war photographer.<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(vaguely)<\/parenthetical>\n    <dialogue>Mostly. Sometimes I cover sporting events. My name is Augie Steenbeck.<\/dialogue>\n    <scene_description>Long pause. Woodrow and Dinah meet eyes. Woodrow quickly returns to his milkshake. Dinah watches him coolly. Midge presses on:<\/scene_description>\n    <character>MIDGE<\/character>\n    <dialogue>What are you going to do with it? That picture.<\/dialogue>\n    <scene_description>Augie considers this. He says theoretically:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>If it's any good, I guess I'll try to sell it to a magazine, now that you mention it. \"Midge Campbell Eating a Waffle.\"<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>Make me a print first. To approve.<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>Uh-huh.<\/dialogue>\n    <scene_description>Dinah raises her hand. Midge looks at her.<\/scene_description>\n    <character>MIDGE<\/character>\n    <dialogue>This is Dinah.<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>This is Woodrow.<\/dialogue>\n    <character>DINAH<\/character>\n    <dialogue>I have a question.<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Uh-huh.<\/dialogue>\n    <character>DINAH<\/character>\n    <dialogue>Have you ever been shot? With bullets.<\/dialogue>\n    <scene_description>Midge looks at her daughter and raises an eyebrow. Augie says, slightly reluctant:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>Once or twice. Just grazed.<\/dialogue>\n    <character>WOODROW<\/character>\n    <dialogue>He got shrapneled in the back of the head, too.<\/dialogue>\n    <parenthetical>(to Augie)<\/parenthetical>\n    <dialogue>Show her.<\/dialogue>\n    <scene_description>Augie sighs. He twists, and Woodrow points to a bald dot above the nape of Augie's neck. Dinah nods, interested. Midge turns back to her waffles -- but says pointedly (without looking):<\/scene_description>\n    <character>MIDGE<\/character>\n    <dialogue>I don't say I forgive you yet, by the way.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. METEOR CRATER. DAY<\/stage_direction>\n    <scene_description>A congregation has assembled at the bottom\/center of the impact crater below the observatory. The audience of parents, guardians, schoolchildren, and military personnel sits in folding chairs in front of a make-shift stage and dais. A banner decorated with stars, comets, and rockets reads:<\/scene_description>\n    <character>ASTEROID DAY 1955<\/character>\n    <dialogue>Sponsored by the United States Military-science Research and Experimentation Division &amp; the LARKINGS Foundation \"For a Powerful America\"<\/dialogue>\n    <scene_description>A uniformed aide-de-camp stands next to an American flag waving on a short flagpole. A business executive in a dark suit (with a badge on the lapel: \"LARKINGS Corp.\") sits discreetly in the background. Woodrow, Dinah, Clifford, Roger, and Shelly wait on display in an uneasy row behind a table arranged with five neat red-white-and-blue velvet boxes. Augie is in the audience with the girls who are now made-up as witches and goblins with plastic fangs and claws. A cameraman films the proceedings in 16mm from a tripod on a rickety scaffolding tower. (NOTE: from this scene forward most of the visiting parents, students, judges, et al. wear tags displaying their full names and the stars\/comets\/rockets motif.) At a lectern also decorated with the stars\/comets\/rockets motif stands: a tall, square-jawed, broad-shouldered, immaculately pressed and polished five-star officer in his mid-fifties. He is General Gibson. His voice reverberates over a P.A. speaker:<\/scene_description>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>Welcome! From the United States Military- science Research and Experimentation Division (in conjunction with the Larkings Foundation). We salute you.<\/dialogue>\n    <scene_description>Reserved applause as General Gibson salutes in various directions. He refers to his notes (typewritten, orderly) and begins:<\/scene_description>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>Each year we celebrate \"Asteroid Day,\" commemorating September 23, 3007 B.C. when the Arid Plains meteorite made earth- impact.<\/dialogue>\n    <scene_description>General Gibson motions to the small, spherical rock within the rebar cage at the center of the crater.<\/scene_description>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>The itinerary for this three-day celebration includes a tour of the newly refurbished observatory with Dr. Hickenlooper and her staff --<\/dialogue>\n    <scene_description>General Gibson motions to a woman (age: fifty) dressed in red plaid trousers, climbing boots, and a belted leather jacket. She is Dr. Hickenlooper. Her younger assistant wears a white lab coat.<\/scene_description>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>-- a picnic supper of chili and frankfurters with evening fireworks display --<\/dialogue>\n    <scene_description>General Gibson motions to the waitress, cashier, and cook seated together in the audience; and, next to them, the mechanic who now wears a badge: \"Pyrotechnics Expert.\"<\/scene_description>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>-- the viewing of the Astronomical Ellipses at its peak (just before midnight tonight) --<\/dialogue>\n    <scene_description>General Gibson looks up at the sky. He looks back down to the audience.<\/scene_description>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>-- and finally, the awarding of the annual Hickenlooper Scholarship after Monday's banquet lunch.<\/dialogue>\n    <scene_description>General Gibson motions to the aide-de-camp, who holds up: a giant-sized cashier's check in the amount of $5,000 made out to \"New Hickenlooper Scholar.\" He looks briefly to the five teenagers and motions to the boxes on the table.<\/scene_description>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>I'll start by presenting the commemorative medals -- but, first, I'll do my speech, first (which you'll also receive in a folio edition as a souvenir).<\/dialogue>\n    <scene_description>During the following recitation, General Gibson gives a carefully rehearsed performance, modulating pace, volume, and emphasis for dramatic effect:<\/scene_description>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>\"Chapter one: I walked to school eighteen miles each morning, milked the goats, plucked the chickens, played hooky, caught fireflies, went skinny-dipping in the watering hole, said my prayers every night, and got whipped with a maple switch twice a week. That was life. Chapter two: my father went off to fight in the war to end all wars (it didn't), and what-was-left-of-him came back in a pine box with a flag on top. End of chapter two. Next: I went to officer school and twenty years passed at the speed of a dream. A wife, a son, a daughter, a poodle. Chapter three: another war. Arms and legs blown off like popcorn. Eyeballs gouged out, figuratively and literally. The men put on shows under the palm fronds dressed as women in hula skirts. That was life. In the meantime, somebody else's story: a man thinks up a number, divides it by a trillion, plugs it into the square root of the circumference of the earth multiplied by the speed of a splitting atom -- and voila! Progress. I'm not a scientist. You are. End of chapter three. Junior Stargazers and Space Cadets --\"<\/dialogue>\n    <scene_description>General Gibson motions to the schoolchildren, seated with June and the chaperones.<\/scene_description>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>\"-- we watch, transfixed, as you enter into uncharted territories of the brains and spirit. If you wanted to live a nice, quiet, peaceful life: you picked the<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>wrong time to get born.\" That's my speech.<\/dialogue>\n    <scene_description>Silence. Suddenly: enthusiastic (if slightly puzzled) applause from the whole group.<\/scene_description>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>Be notified: you are each the guardian of your own safety. Maintain alert caution throughout the following demonstrations.<\/dialogue>\n    <scene_description>MONTAGE: First: Ricky (in safety helmet, gloves, and boots) manipulates the controls of a roaring jet-pack as he hovers twenty feet above the cowering audience, blasting them with dust and dirt. His father, grimacing on the ground, clings to the end of a rope tether, struggling to prevent his son from rocketing up higher into the sky.<\/scene_description>\n    <character>GENERAL GIBSON (V.O.)<\/character>\n    <dialogue>To Ricky Cho, for his work in the field of Aeronautical Induction:<\/dialogue>\n    <scene_description>General Gibson pops open one of the velvet boxes and presents the contents to Ricky as he announces his prize:<\/scene_description>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>\"The Collapsing Star Ribbon of Success.\"<\/dialogue>\n    <scene_description>Next: a heavy, clay plate catapults into the air as Clifford hoists a metallic-and-plastic electromagnetic death-ray up to his shoulder and pulls the trigger, silently zapping the plate into a shower of glowing dots which linger in space, sizzling, then pop away like electric soap bubbles.<\/scene_description>\n    <character>GENERAL GIBSON (V.O.)<\/character>\n    <dialogue>To Clifford Kellogg, for his work in the study of Particle Disintegration:<\/dialogue>\n    <scene_description>General Gibson presents\/announces Clifford's prize:<\/scene_description>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>\"The Black Hole Badge of Triumph.\"<\/dialogue>\n    <scene_description>Next: faces crowd all around a terracotta pot filled with black soil inside a glass incubation box.<\/scene_description>\n    <character>GENERAL GIBSON (V.O.)<\/character>\n    <dialogue>To Dinah Campbell, for her work in the area of Botanical Acceleration:<\/dialogue>\n    <scene_description>Dinah turns a dial. A quartet of coiled tubes at the upper corners of the box begin to hum and vibrate, and a green stem pokes up out of the dirt, uncurls, grows, and finally delivers a perfect geranium blossom -- which almost immediately withers and sheds its petals.<\/scene_description>\n    <character>DINAH<\/character>\n    <dialogue>It's fueled by cosmic radiation instead of sunlight. Unfortunately, it makes vegetables toxic.<\/dialogue>\n    <scene_description>General Gibson presents\/announces Dinah's prize:<\/scene_description>\n    <character>GENERAL GIBSON (V.O.)<\/character>\n    <dialogue>\"The Red Giant Sash of Honor.\"<\/dialogue>\n    <scene_description>Next: Shelly stands next to a large periodic table on a stand as she displays a hunk of doughy, grey paste in a mason jar.<\/scene_description>\n    <character>GENERAL GIBSON (V.O.)<\/character>\n    <dialogue>To Shelly Borden, for her work in the realm of Mineral Fabrication:<\/dialogue>\n    <scene_description>Shelly opens the jar, shakes the hunk of paste into her hand, and squishes it slightly. She politely announces:<\/scene_description>\n    <character>SHELLY<\/character>\n    <dialogue>I synthesized an extraterrestrial element. It's going to be added to the periodic table next year.<\/dialogue>\n    <scene_description>General Gibson presents\/announces Shelly's prize:<\/scene_description>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>\"The Distant Nebula Laurel Crown.\"<\/dialogue>\n    <scene_description>Next: Woodrow glances now and then to the sky as he carefully adjusts the angles of hinged lenses and mirrors on a doughnut- shaped erection of beams, posts, and braces.<\/scene_description>\n    <character>GENERAL GIBSON (V.O.)<\/character>\n    <dialogue>To Woodrow Steenbeck, for his work in the sphere of Astronomical Imaging:<\/dialogue>\n    <scene_description>Woodrow steps back and double-checks a list in his notebook. He clicks a switch, illuminating a circle of light bulbs. A hologram of the moon the size of a beach ball appears at the center of the device, rotating slowly, pocked with crisply- rendered craters. General Gibson presents\/announces Woodrow's prize:<\/scene_description>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>\"The White Dwarf Medal of Achievement.\"<\/dialogue>\n    <scene_description>Not yet finished: Woodrow drops a small, glass slide into a slot, casting the image of an American flag onto the surface of the hologram-moon. He points up. Everyone looks. In the clear, afternoon sky: the American flag appears in full color on the surface of the actual moon itself. A collective gasp from the audience. Spontaneous, giddy applause. Woodrow says calmly:<\/scene_description>\n    <character>WOODROW<\/character>\n    <dialogue>It may have applications in the development of interstellar advertising.<\/dialogue>\n    <scene_description>Finally: the five teenagers (now wearing their various pins, medals, sashes, etc.) bow and smile, politely accepting an enthusiastic ovation.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OBSERVATORY. DAY<\/stage_direction>\n    <scene_description>A classroom separated by glass-partition-walls from the adjacent laboratory offices and dormitory chambers. Children\/teenagers sit in school desks. Adults (parents, teachers, military) stand crowded around the edges of the room. Outside: the field of spinning radio telescopes. Dr. Hickenlooper, at a table in front, concludes:<\/scene_description>\n    <character>DR. HICKENLOOPER<\/character>\n    <dialogue>Our little tour ends here. Thank you for your attention -- and thank you to the Larkings Foundation for their generous funding.<\/dialogue>\n    <scene_description>The audience filters their way out the door. Woodrow lingers next to Dr. Hickenlooper as she puts on lipstick in a compact mirror. He points to a small display on the terrace outside: a scoreboard decorated with varicolored light-bulbs and blinking panels. It emits a repetitive combination of electronic noises.<\/scene_description>\n    <character>WOODROW<\/character>\n    <dialogue>What do those pulses indicate?<\/dialogue>\n    <character>DR. HICKENLOOPER<\/character>\n    <parenthetical>(zipping her handbag)<\/parenthetical>\n    <dialogue>What? Oh, the beeps and blips. We don't know. Indecipherable radio emissions from outer space. Probably a red herring.<\/dialogue>\n    <character>WOODROW<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Does it change? Ever.<\/dialogue>\n    <character>DR. HICKENLOOPER<\/character>\n    <dialogue>Not to my knowledge.<\/dialogue>\n    <character>WOODROW<\/character>\n    <dialogue>It's a date. Maybe.<\/dialogue>\n    <scene_description>Dr. Hickenlooper squints at the display. She nods slowly.<\/scene_description>\n    <character>DR. HICKENLOOPER<\/character>\n    <dialogue>It's a date? Maybe.<\/dialogue>\n    <character>WOODROW<\/character>\n    <dialogue>On the galactic calendar.<\/dialogue>\n    <character>DR. HICKENLOOPER<\/character>\n    <parenthetical>(hollering)<\/parenthetical>\n    <dialogue>Mary!<\/dialogue>\n    <scene_description>Dr. Hickenlooper's assistant appears at her side, curious. Dr. Hickenlooper nods at Woodrow as she speculates:<\/scene_description>\n    <character>DR. HICKENLOOPER<\/character>\n    <dialogue>We think it's a date on the galactic calendar.<\/dialogue>\n    <character>ASSISTANT<\/character>\n    <parenthetical>(surprised)<\/parenthetical>\n    <dialogue>Wow!<\/dialogue>\n    <scene_description>Woodrow checks his watch. He frowns.<\/scene_description>\n    <character>WOODROW<\/character>\n    <dialogue>Is it always today?<\/dialogue>\n    <scene_description>Dr. Hickenlooper checks her own watch. She looks at Woodrow, puzzled\/impressed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOTEL GARDEN. EVENING<\/stage_direction>\n    <scene_description>Strung lights in the shapes of little planets festoon the palm trees. The juke box (now outdoors) plays a lush\/romantic orchestral tune. The luncheonette waitress and cook serve from pots and trays (chili, hot dogs, potato chips and potato salad, pickles, stacks of white bread) at a buffet on the edge of an arrangement of white-papered picnic tables which seat festive groups in mid-supper: the five teenagers; the parents\/guardians; the military personnel; the school group; Dr. Hickenlooper and her assistant; the posse of cowboys and ranch hands who missed the bus. Table #1: the freckled boy says grace for his classmates, teacher, and chaperones:<\/scene_description>\n    <character>FRECKLED BOY<\/character>\n    <dialogue>We thank Thee for the ketchup, and we thank Thee for the mustard. We thank Thee for the relish, and we thank Thee for the onions. We thank Thee for the --<\/dialogue>\n    <character>JUNE<\/character>\n    <parenthetical>(suddenly)<\/parenthetical>\n    <dialogue>Head count!<\/dialogue>\n    <scene_description>The children\/chaperones hesitate, looking at each other, uncertain. They chirp their numbers once again -- but there is a silence after \"six.\" June frowns. She says, anxious:<\/scene_description>\n    <character>JUNE<\/character>\n    <dialogue>Where's Dwight?<\/dialogue>\n    <scene_description>Table #2: J.J., Roger, and Sandy engage in a slightly combative debate:<\/scene_description>\n    <character>J.J.<\/character>\n    <dialogue>Less than zero-point-zero-zero-zero-zero- zero-zero percent chance exists of extraterrestrial life in the entire universe. It's a scientific fact. Other than space bugs and microscopic worms.<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>I assertively disagree.<\/dialogue>\n    <character>SANDY<\/character>\n    <dialogue>So do I. It's not a scientific fact.<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>It's not even a number.<\/dialogue>\n    <character>SANDY<\/character>\n    <dialogue>Pass the pickles, please.<\/dialogue>\n    <scene_description>The motel manager interjects as he lights sparklers and passes them to his guests:<\/scene_description>\n    <character>MOTEL MANAGER<\/character>\n    <dialogue>How's the chili?<\/dialogue>\n    <character>J.J.<\/character>\n    <parenthetical>(without looking up)<\/parenthetical>\n    <dialogue>Fine.<\/dialogue>\n    <character>MOTEL MANAGER<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>J.J.<\/character>\n    <dialogue>Once you add the hot sauce.<\/dialogue>\n    <character>ROGER<\/character>\n    <parenthetical>(passing the pickles)<\/parenthetical>\n    <dialogue>Consider the constants: endless space and immeasurable time. The likelihood is increased by a factor of infinity.<\/dialogue>\n    <character>J.J.<\/character>\n    <parenthetical>(distracted)<\/parenthetical>\n    <dialogue>Where'd you get that?<\/dialogue>\n    <scene_description>The driver\/bodyguard, listening nearby, sips a dry martini from an undersized glass. The motel manager chimes in warmly:<\/scene_description>\n    <character>MOTEL MANAGER<\/character>\n    <dialogue>The cantina machine.<\/dialogue>\n    <scene_description>Roger and Sandy perk up considerably. Augie and Midge, opposite each other at the head and foot of the table, conduct a separate\/simultaneous conversation:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>Can you see anything? With those on your face.<\/dialogue>\n    <scene_description>Midge points to her dark sunglasses (\"These?\"), then removes them -- revealing a severe black-eye\/shiner with purple, pink, and yellow highlights. Augie looks surprised but responds with clinical stoicism:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>Gadzooks. What'd you do to deserve that?<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>Who hit you?<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>Nobody.<\/dialogue>\n    <scene_description>Midge licks her finger and rubs the bruise. It smudges slightly. Augie squints. Midge explains:<\/scene_description>\n    <character>MIDGE<\/character>\n    <dialogue>It's greasepaint. To feel like my character. It's there on purpose.<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(intrigued\/confused)<\/parenthetical>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>Augie contemplates this for a moment. He says finally:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>How does she get a black eye? In the story.<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>She doesn't. In the story. It's on the inside.<\/dialogue>\n    <scene_description>Table #3: General Gibson and the business executive review a sheaf of documents:<\/scene_description>\n    <character>EXECUTIVE<\/character>\n    <dialogue>The Larkings Foundation claims permanent, incontestable rights to all patents or inventions derived from any and every submission, without exception.<\/dialogue>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>Not for teenagers. (Read the fine print.) The projects all belong to Uncle Sam.<\/dialogue>\n    <scene_description>Table #4 (\"Reserved for Junior Stargazer Honorees\"): Clifford does a yo-yo trick for Dinah, Ricky, and Shelly.<\/scene_description>\n    <character>CLIFFORD<\/character>\n    <dialogue>I call it: \"Triple Orbit and Return without Burning up in the Atmosphere.\"<\/dialogue>\n    <scene_description>Clifford swirls the yo-yo three times into the air, then whips it back quickly. He watches to see how impressed the others are. (Hard to judge.) Dinah looks away -- then says suddenly to an off-screen character:<\/scene_description>\n    <character>DINAH<\/character>\n    <dialogue>Why are you sitting there all by yourself?<\/dialogue>\n    <scene_description>At a remove of approximately twenty feet: Woodrow is perched on a metal camper's ice chest with his dinner plate in his lap. He looks around in all directions to determine if he is the person actually being addressed.<\/scene_description>\n    <character>DINAH<\/character>\n    <dialogue>Are you shy?<\/dialogue>\n    <character>WOODROW<\/character>\n    <parenthetical>(long pause)<\/parenthetical>\n    <dialogue>I'm a late bloomer. So I've been told (by my parents).<\/dialogue>\n    <character>CLIFFORD<\/character>\n    <parenthetical>(bluntly)<\/parenthetical>\n    <dialogue>Are you intimidated by us?<\/dialogue>\n    <character>WOODROW<\/character>\n    <parenthetical>(short pause)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <character>CLIFFORD<\/character>\n    <dialogue>Let's do a personality test. (What's your name, again?)<\/dialogue>\n    <character>WOODROW<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>Woodrow L. Steenbeck.<\/dialogue>\n    <character>RICKY<\/character>\n    <dialogue>What's the \"L\" for?<\/dialogue>\n    <character>WOODROW<\/character>\n    <dialogue>Lindbergh.<\/dialogue>\n    <character>CLIFFORD<\/character>\n    <dialogue>Everybody: look at Woodrow.<\/dialogue>\n    <scene_description>Dinah, Clifford, Ricky, and Shelly all stare intently at Woodrow. Woodrow turns bright red, but meets their eyes. Clifford nods wisely.<\/scene_description>\n    <character>CLIFFORD<\/character>\n    <dialogue>I agree: shy, but not intimidated.<\/dialogue>\n    <character>RICKY<\/character>\n    <dialogue>Move over here, Woodrow.<\/dialogue>\n    <scene_description>Ricky nods to a vacant seat at the picnic table. Woodrow reluctantly transports himself and his dinner. (In the background, Clifford climbs an ivied trellis.) Dinah points at Woodrow's hat as he sits:<\/scene_description>\n    <character>DINAH<\/character>\n    <dialogue>\"Brainiac.\" It sort of goes without saying, doesn't it? Everybody already knows we're abnormally intelligent.<\/dialogue>\n    <character>WOODROW<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>That's true. My mother made it for me. It's supposed to be funny (according to her sense of humor) -- but it's not as hilarious as it was originally.<\/dialogue>\n    <character>DINAH<\/character>\n    <dialogue>How come?<\/dialogue>\n    <character>WOODROW<\/character>\n    <dialogue>Because she was alive then. Now she's dead.<\/dialogue>\n    <character>DINAH<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>WOODROW<\/character>\n    <parenthetical>(oddly)<\/parenthetical>\n    <dialogue>Ha-ha.<\/dialogue>\n    <scene_description>Ricky and Shelly look away\/down, nod and murmur, uncomfortable. Dinah asks Woodrow:<\/scene_description>\n    <character>DINAH<\/character>\n    <dialogue>What was she like?<\/dialogue>\n    <scene_description>Woodrow thinks for a moment. Dinah, Ricky, and Shelly stare intently at him again. They suddenly look concerned. Woodrow, as before, has turned bright red, now with puffy eyes and tears streaming down his face. He appears to be, nevertheless, still searching for an answer. Dinah, Ricky, and Shelly wait, speechless. Woodrow reaches into his pocket and takes out a photograph. He shows it.<\/scene_description>\n    <character>WOODROW<\/character>\n    <dialogue>Like this.<\/dialogue>\n    <scene_description>INSERT: A snapshot of a dazzling, dark-eyed, thirty-year-old brunette in a one-piece bathing suit laughing, exuberant, as she bathes in an inflatable swimming pool on a downtown fire-escape. Dinah studies the picture. She says, solemn:<\/scene_description>\n    <character>DINAH<\/character>\n    <dialogue>When'd you lose her?<\/dialogue>\n    <character>WOODROW<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>Officially? This morning (but I think I already knew).<\/dialogue>\n    <scene_description>Dinah looks shocked\/confused. Clifford's voice interrupts, calling from off-screen:<\/scene_description>\n    <character>CLIFFORD (O.S.)<\/character>\n    <dialogue>Howdy!<\/dialogue>\n    <scene_description>Woodrow, Dinah, Ricky, and Shelly look all around -- then up: Clifford has climbed onto the roof of the closest bungalow where he stands, hands on hips, legs apart, casually heroic. Shelly frowns.<\/scene_description>\n    <character>SHELLY<\/character>\n    <dialogue>What are you doing up there?<\/dialogue>\n    <character>CLIFFORD<\/character>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>Just enjoying the night air.<\/dialogue>\n    <scene_description>Woodrow, Dinah, Ricky, and Shelly watch Clifford briefly, faintly annoyed. Clifford continues:<\/scene_description>\n    <character>CLIFFORD<\/character>\n    <dialogue>You dare me?<\/dialogue>\n    <character>SHELLY<\/character>\n    <parenthetical>(blankly)<\/parenthetical>\n    <dialogue>Dare you what?<\/dialogue>\n    <character>CLIFFORD<\/character>\n    <dialogue>To jump off this bungalow. It's an experiment.<\/dialogue>\n    <character>RICKY<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Clifford leaps off the rooftop (flailing deliberately as he aims for a patch of thick grass which he partially misses) and bangs into a garbage can which spills orange peels, soups cans, processed meat tins, etc. He stands up, limping but pleased, and picks grass off his skin. Woodrow (who, looking at his watch, appears to have timed the descent) says, aside:<\/scene_description>\n    <character>WOODROW<\/character>\n    <dialogue>I love gravity. It might be my favorite law of physics, at the moment.<\/dialogue>\n    <scene_description>INSERT: A vending machine labeled \"Martini with Twist.\" In a window on the front of the unit: a lemon on a little spool spins while an automated paring knife curls free a sliver of peel -- which drops down to garnish a clear liquid in a glass cup.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOTEL OFFICE. EVENING<\/stage_direction>\n    <scene_description>The motel manager passes the martini to J.J., who is just finishing a previous cup. Roger's and Sandy's are half-full\/half- empty.<\/scene_description>\n    <character>J.J.<\/character>\n    <dialogue>Be that as it may, I strongly question whether your daughter's Silly-Putty resembles anything from outer space.<\/dialogue>\n    <character>SANDY<\/character>\n    <dialogue>It's not Silly-Putty.<\/dialogue>\n    <character>J.J.<\/character>\n    <dialogue>I'm sorry, but I doubt it.<\/dialogue>\n    <character>SANDY<\/character>\n    <dialogue>It's called S'morestozium.<\/dialogue>\n    <scene_description>J.J. clinks Sandy's glass and takes a sip. He is impressed.<\/scene_description>\n    <character>J.J.<\/character>\n    <dialogue>This is excellent.<\/dialogue>\n    <character>MOTEL MANAGER<\/character>\n    <parenthetical>(modest but proud)<\/parenthetical>\n    <dialogue>Thank you. It's really all the machine's doing.<\/dialogue>\n    <character>SANDY<\/character>\n    <dialogue>What the devil do you know about Astrogeology, anyway, J.J. (whatever that stands for)?<\/dialogue>\n    <character>MOTEL MANAGER<\/character>\n    <dialogue>I just maintain the workings.<\/dialogue>\n    <character>SANDY<\/character>\n    <dialogue>Shelly's thesis is supported by --<\/dialogue>\n    <character>ROGER<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>\"Flimsy, outdated evidence.\"<\/dialogue>\n    <character>SANDY<\/character>\n    <parenthetical>(slightly taken aback)<\/parenthetical>\n    <dialogue>I beg your pardon?<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>Not in my opinion. I liked the Silly- Putty (or S'morestozium, in fact). I'm quoting what he said.<\/dialogue>\n    <scene_description>Roger points at J.J. The motel manager laughs suddenly. J.J. frowns. He responds to Roger:<\/scene_description>\n    <character>J.J.<\/character>\n    <dialogue>Your son's project very well might've killed us all today, by the way.<\/dialogue>\n    <character>SANDY<\/character>\n    <parenthetical>(gently icy)<\/parenthetical>\n    <dialogue>Coming from the family that brought us the electromagnetic death-ray.<\/dialogue>\n    <character>J.J.<\/character>\n    <parenthetical>(obviously)<\/parenthetical>\n    <dialogue>It's a weapon. Of course, it's lethal.<\/dialogue>\n    <character>SANDY<\/character>\n    <parenthetical>(twizzling her drink)<\/parenthetical>\n    <dialogue>So you admit it!<\/dialogue>\n    <character>J.J.<\/character>\n    <dialogue>Not to mention Brainiac's flag. Is he trying to provoke World War III?<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>The jet propulsion belt is eminently safe. I'd allow an eight-year-old boy to operate it. In fact, I did (Ricky's cousin Chip), and he broke the solo- flight altitude record.<\/dialogue>\n    <character>MOTEL MANAGER<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>They're strange aren't they? Your children. Compared to normal people.<\/dialogue>\n    <scene_description>On this point: J.J., Sandy, and Roger all sharply agree (and are even slightly emotional contemplating the subject).<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOTEL CABIN #7. EVENING<\/stage_direction>\n    <scene_description>Between the burned ruin and the canvas tent: the five teenagers sit together in a circle on the ground (under a pink oleander, near a humming air conditioning unit). Dinah rapidly explains the rules of a game:<\/scene_description>\n    <character>DINAH<\/character>\n    <dialogue>After that, the second person says the name the first one said and adds another; then the third person says both plus a new name; then the next person keeps going and so on in a circle. It's a memory game. Get it?<\/dialogue>\n    <character>RICKY<\/character>\n    <dialogue>I think so.<\/dialogue>\n    <character>DINAH<\/character>\n    <dialogue>I'll start. Cleopatra.<\/dialogue>\n    <character>RICKY<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Cleopatra, Jagadish Chandra Bose. Like that?<\/dialogue>\n    <scene_description>Dinah nods. The five teenagers adjust and re-situate themselves, physically and mentally. Shelly picks up where Ricky left off:<\/scene_description>\n    <character>SHELLY<\/character>\n    <dialogue>Cleopatra, Jagadish Chandra Bose, Antonie van Leeuwenhoek.<\/dialogue>\n    <character>CLIFFORD<\/character>\n    <parenthetical>(eagerly)<\/parenthetical>\n    <dialogue>Cleopatra, Jagadish Chandra Bose, Antonie van Leeuwenhoek -- Paracelsus.<\/dialogue>\n    <scene_description>Clifford raises an eyebrow. Woodrow points to each player as he recalls his\/her name:<\/scene_description>\n    <character>WOODROW<\/character>\n    <dialogue>Cleopatra, Jagadish Chandra Bose, Antonie van Leeuwenhoek, Paracelsus --<\/dialogue>\n    <parenthetical>(pointing to himself)<\/parenthetical>\n    <dialogue>Kurt G\u00f6del.<\/dialogue>\n    <scene_description>A murmur of appreciation. Camera now pans from one player to the next as Dinah lists:<\/scene_description>\n    <character>DINAH<\/character>\n    <dialogue>Cleopatra, Jagadish Chandra Bose, Antonie van Leeuwenhoek, Paracelsus, Kurt G\u00f6del --<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>William Bragg.<\/dialogue>\n    <scene_description>Clifford and Ricky interject immediately:<\/scene_description>\n    <character>CLIFFORD<\/character>\n    <dialogue>Which one?<\/dialogue>\n    <character>RICKY<\/character>\n    <dialogue>There's two.<\/dialogue>\n    <scene_description>Dinah quickly clarifies:<\/scene_description>\n    <character>DINAH<\/character>\n    <dialogue>William Henry Bragg.<\/dialogue>\n    <scene_description>A murmur of acceptance. Exchanged looks as the group prepares for the next round. Ricky pauses, then recites speedily:<\/scene_description>\n    <character>RICKY<\/character>\n    <dialogue>Cleopatra, Jagadish Chandra Bose, Antonie van --<\/dialogue>\n    <scene_description>Ricky hesitates an instant. Everyone chimes in just as he remembers:<\/scene_description>\n    <character>RICKY<\/character>\n    <dialogue>Leeuwenhoek.<\/dialogue>\n    <character>OTHERS<\/character>\n    <dialogue>Leeuwenhoek.<\/dialogue>\n    <character>RICKY<\/character>\n    <parenthetical>(continuing)<\/parenthetical>\n    <dialogue>Paracelsus, Kurt G\u00f6del, William Henry Bragg.<\/dialogue>\n    <scene_description>Ricky nods, satisfied. He says suddenly (as Dinah chimes in):<\/scene_description>\n    <character>RICKY<\/character>\n    <dialogue>Lord Kelvin.<\/dialogue>\n    <character>DINAH<\/character>\n    <dialogue>Add the new one.<\/dialogue>\n    <character>SHELLY<\/character>\n    <parenthetical>(immediately)<\/parenthetical>\n    <dialogue>Cleopatra, Jagadish Chandra Bose, Antonie van Leeuwenhoek, Paracelsus, Kurt G\u00f6del, William Henry Bragg, Lord Kelvin --<\/dialogue>\n    <scene_description>Pause. Shelly looks to Dinah and says, embarrassed\/excited:<\/scene_description>\n    <character>SHELLY<\/character>\n    <dialogue>-- Midge Campbell. (Can I say her?)<\/dialogue>\n    <character>DINAH<\/character>\n    <parenthetical>(impassive)<\/parenthetical>\n    <dialogue>As long as she's a real person. You can say anybody you like.<\/dialogue>\n    <character>CLIFFORD<\/character>\n    <dialogue>Cleopatra, Jagadish Chandra Bose --<\/dialogue>\n    <character>DINAH<\/character>\n    <dialogue>Including my mother.<\/dialogue>\n    <character>SHELLY<\/character>\n    <dialogue>She's my idol.<\/dialogue>\n    <character>CLIFFORD<\/character>\n    <parenthetical>(bristling)<\/parenthetical>\n    <dialogue>My turn. Jagadish Chandra Bose, Antonie van Leeuwenhoek, Paracelsus, Kurt G\u00f6del, William Bragg (the father), Lord Kelvin (the mathematical physicist), Midge Campbell (your mother) --<\/dialogue>\n    <parenthetical>(pleasantly)<\/parenthetical>\n    <dialogue>-- Konstantin Tsiolkovsky (the rocket scientist).<\/dialogue>\n    <scene_description>A murmur of annoyance. Ricky says, uncertain:<\/scene_description>\n    <character>RICKY<\/character>\n    <dialogue>I don't know if this game works with us. Brainiacs, I mean. I think it might go on forever.<\/dialogue>\n    <character>SHELLY<\/character>\n    <dialogue>I don't mind. In my school, nobody'd play this game with me in a million years -- plus the names'd be too obvious.<\/dialogue>\n    <character>CLIFFORD<\/character>\n    <dialogue>I know my next one. Diophantus.<\/dialogue>\n    <scene_description>A murmur of further annoyance. Dinah proposes to Woodrow:<\/scene_description>\n    <character>DINAH<\/character>\n    <dialogue>Try it backwards, Brainiac. Say the new one first.<\/dialogue>\n    <scene_description>Woodrow pauses. He points to himself first:<\/scene_description>\n    <character>WOODROW<\/character>\n    <dialogue>H\u014dj\u014d Tokiyuki.<\/dialogue>\n    <scene_description>Woodrow then goes carefully backwards through the group:<\/scene_description>\n    <character>WOODROW<\/character>\n    <dialogue>Konstantin Tsiolkovsky, Midge Campbell, Lord Kelvin, William Henry Bragg, Kurt<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <character>WOODROW<\/character>\n    <dialogue>G\u00f6del, Paracelsus, Antonie van Leeuwenhoek, Jagadish Chandra Bose --<\/dialogue>\n    <scene_description>Woodrow stops at Dinah. Pause.<\/scene_description>\n    <character>WOODROW<\/character>\n    <dialogue>Cleopatra.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT. EVENING<\/stage_direction>\n    <scene_description>Outside the fence at the rear the motel: the posse of cowboys and ranch hands have pitched camp for the night (an open fire, a circle of sleeping bags, saddles and tack, a strummed banjo) fifty yards into the desert. They perch on rocks and rucksacks, smoking cigarettes and sipping at bottles of beer. They watch as June swings one leg then another over the fence, agile, and strides out toward them. She arrives, glaring.<\/scene_description>\n    <character>JUNE<\/character>\n    <dialogue>Put out that cigarette, Dwight.<\/dialogue>\n    <scene_description>One of June's pupils (a boy with a cowlick) puffs a last puff at a cigarette butt. He darts it into the fire.<\/scene_description>\n    <character>JUNE<\/character>\n    <dialogue>You men should be ashamed of yourselves.<\/dialogue>\n    <scene_description>The cowboys and ranch hands exchange looks: puzzled, amused, embarrassed. June presses the question:<\/scene_description>\n    <character>JUNE<\/character>\n    <dialogue>Are you?<\/dialogue>\n    <scene_description>Montana stands up. He interjects, courtly and (perhaps) honest:<\/scene_description>\n    <character>MONTANA<\/character>\n    <dialogue>Yes, ma'am. We didn't give him that.<\/dialogue>\n    <character>MONTANA<\/character>\n    <dialogue>(clarifying)<\/dialogue>\n    <character>JUNE<\/character>\n    <dialogue>(coolly)<\/dialogue>\n    <scene_description>That cigarette. Didn't you?<\/scene_description>\n    <character>MONTANA<\/character>\n    <dialogue>No, ma'am. He just must've got it his own self.<\/dialogue>\n    <scene_description>Montana smiles\/laughs. June looks to the boy. The boy shrugs. June and Montana study each other briefly. June says (less cool):<\/scene_description>\n    <character>JUNE<\/character>\n    <dialogue>I almost believe you.<\/dialogue>\n    <parenthetical>(to the boy)<\/parenthetical>\n    <dialogue>Let's go.<\/dialogue>\n    <scene_description>The boy reluctantly drags himself to his feet, nodding to the men as they murmur polite goodbyes. Montana tips his hat to June. June rolls her eyes. She takes the boy by the hand and starts briskly back toward the fence.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL CABINS #9\/10. EVENING<\/stage_direction>\n    <scene_description>Cabin #9: Midge paces back and forth in the open window of her bathroom while she reads aloud from a screenplay, rehearsing herself (half off-book):<\/scene_description>\n    <character>MIDGE<\/character>\n    <dialogue>\"Was I ever there? Was I ever there? Was I ever there? Did you actually --\"<\/dialogue>\n    <scene_description>Cabin #10: a roller-blind zings open in another bathroom window (directly opposite, just across a narrow driveway). Inside, Augie has set up a darkroom with blankets and strings, a red lamp and enlarger, etc. He looks out, wiggling and fanning a damp print. Midge pauses and sees him.<\/scene_description>\n    <character>MIDGE<\/character>\n    <dialogue>Memorizing my lines.<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>Uh-huh.<\/dialogue>\n    <scene_description>Augie reverses the photograph to show: \"Midge Campbell Eating a Waffle.\" Beautifully lit, perfectly natural, wildly flattering. Pause.<\/scene_description>\n    <character>MIDGE<\/character>\n    <dialogue>Approved.<\/dialogue>\n    <scene_description>Augie turns away to hang the print (next to his photo of the atomic explosion) to dry with clothespins. Midge sits down inside her window. Augie sits down inside his.<\/scene_description>\n    <character>MIDGE<\/character>\n    <dialogue>I do a nude scene. Want to see it?<\/dialogue>\n    <scene_description>Silence. Augie suddenly flickers alert:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>Did I say, \"Yes?\"<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>You didn't say anything.<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>I meant, \"Yes.\" My mouth didn't speak.<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>It's a monologue. It starts when I turn off the shower.<\/dialogue>\n    <scene_description>Midge stands up. She walks into the bathroom, turns on the shower, takes off her clothes, steps into the bathtub, closes the curtain, and stands under the running water for five seconds. She turns off the shower. She steps back out. She wraps herself in a towel. Backlit in the bathroom doorway, she recites:<\/scene_description>\n    <character>MIDGE<\/character>\n    <dialogue>\"When you first picked me out of the secretarial pool, I had a hundred and eleven dollars in my bank account. I lived alone with a cat and a parakeet in a one-room dishwater flat. I sold the DeSoto to lend you the down-payment for my engagement ring. It was spring... I'm not sore: I know you're a good man. I'm not sorry: I never deceived you. Remember me as a blur in the rearview mirror. Was I ever there? Did you actually see me? I can't even see myself anymore -- but here I am.<\/dialogue>\n    <scene_description>Midge unwraps her towel, dangles it slowly, then lets it slip to the floor. She stares at Augie. Augie stares back, serenely frozen. Midge says, hopeful\/resigned\/determined:<\/scene_description>\n    <character>MIDGE<\/character>\n    <dialogue>Let's get divorced.\"<\/dialogue>\n    <scene_description>Silence. Midge says eventually:<\/scene_description>\n    <character>MIDGE<\/character>\n    <dialogue>It'll be done tastefully, of course. We cut to the back of my legs when the towel falls down.<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Sometimes they do a stunt-double.<\/dialogue>\n    <character>MIDGE<\/character>\n    <parenthetical>(undecided)<\/parenthetical>\n    <dialogue>Sometimes. I don't know if I like beards, by the way.<\/dialogue>\n    <scene_description>Augie nods. He puts his pipe into his mouth and lights it. Midge flips two switches on the wall: turning off the overhead bathroom light and turning on a pair of dressing-table mirror- tubes, which illuminate her softly in blue-ish. She reaches for a peignoir -- but Augie interrupts (reacting to the entire vignette):<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>Oh. Can I take another picture? Not for publication.<\/dialogue>\n    <character>MIDGE<\/character>\n    <parenthetical>(long pause)<\/parenthetical>\n    <dialogue>I thought you never ask permission.<\/dialogue>\n    <scene_description>Augie shrugs. Midge holds still (for a very long exposure) as Augie snaps the photograph. Midge puts on her dressing gown and returns to her window-seat. She confides to Augie:<\/scene_description>\n    <character>MIDGE<\/character>\n    <dialogue>I prefer to play abused, tragic alcoholics, and one day I'll probably be discovered lifeless in an overflowing bathtub with an empty bottle of sleeping pills spilled all over the floor -- but the sad thing is: I'm actually a very gifted comedienne.<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(genuinely)<\/parenthetical>\n    <dialogue>That's true.<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>Are you married?<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>I'm a widower -- but don't tell my kids.<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>Why not? I mean: I wasn't going to. I'm sorry.<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>Thank you. They do know, by the way -- but just barely.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOTEL CABIN #10. EVENING<\/stage_direction>\n    <scene_description>In an alley behind the cabin: Andromeda, Pandora, and Cassiopeia crouch on their knees as they dig a small hole in the ground with a fork, a spoon, and a popsicle stick. The Tupperware salad bowl waits beside them. In the background: a mint-green Cadillac Eldorado convertible curls from the highway, rolls into the driveway, and stops. Pandora commands her sisters:<\/scene_description>\n    <character>PANDORA<\/character>\n    <dialogue>Put the potion in it.<\/dialogue>\n    <scene_description>Stanley (in golfing attire, as before) gets out of the car and slowly approaches as: Andromeda produces the previously-prepared ashtray of salt, pepper, and mustard; Pandora decants the remaining drops of a jar of vinegar into the mixture; and Cassiopeia stirs it all together, then scoops out bits at a time with the popsicle stick, shoveling the potion down the hole in the ground as she invents\/recites:<\/scene_description>\n    <character>CASSIOPEIA<\/character>\n    <dialogue>Friskity, triskity, briskity, boo; knickerty, knockerty, tockerty, too! And with this spell: Mama comes back -- alive!<\/dialogue>\n    <scene_description>The girls wait for a moment while nothing happens. Stanley pauses just behind them. Andromeda pronounces:<\/scene_description>\n    <character>ANDROMEDA<\/character>\n    <dialogue>God save these bones.<\/dialogue>\n    <scene_description>The girls place the bowl into the hole, throw dead flowers on top, and begin to spoon\/fork dirt in after. Stanley says finally:<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>What's in the Tupperware?<\/dialogue>\n    <scene_description>The girls look up at their grandfather, startled, and stare. Stanley studies the expressions on their faces; then says, slightly heartbroken:<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>He finally told you.<\/dialogue>\n    <scene_description>The girls turn back to the gravesite. Stanley comes closer and kisses the girls on the tops of their heads, one by one. Pandora murmurs as he does this:<\/scene_description>\n    <character>PANDORA<\/character>\n    <dialogue>Who's this old man?<\/dialogue>\n    <character>CASSIOPEIA<\/character>\n    <dialogue>Poppy, I think.<\/dialogue>\n    <character>STANLEY<\/character>\n    <parenthetical>(deeply offended)<\/parenthetical>\n    <dialogue>You don't remember me?<\/dialogue>\n    <character>ANDROMEDA<\/character>\n    <dialogue>I remember his smell.<\/dialogue>\n    <scene_description>Stanley frowns. He sniffs at his hands and arms. He makes an official decision:<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>We're not going to abandon my daughter at a motel in the middle of the desert buried next to the communal showers.<\/dialogue>\n    <scene_description>Stanley kneels down, removes the flowers, and begins to carefully dig up the bowl. The girls, at first frozen in shock, quickly go into a frenzied panic, squealing and shrieking:<\/scene_description>\n    <character>CASSIOPEIA<\/character>\n    <dialogue>You're ruining the funeral!<\/dialogue>\n    <character>PANDORA<\/character>\n    <dialogue>He's making her go to hell!<\/dialogue>\n    <scene_description>Andromeda strikes a threatening pose and clarifies the situation, seething:<\/scene_description>\n    <character>ANDROMEDA<\/character>\n    <dialogue>If you torture us, we'll sacrifice you.<\/dialogue>\n    <scene_description>Stanley pauses as he is about to pull the bowl up from the dirt. He sighs.<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>I understand. Thank you for your -- clarity. I'll tell you what: we'll leave her alone in the ground until tomorrow morning. Then we'll exhume the Tupperware, bring her with us in the Cadillac, and bury her again this weekend in the backyard next to the seventh hole at Rancho Palms where I live in a beautiful house with a swimming pool. Agreed?<\/dialogue>\n    <scene_description>The girls whimper and nod. Stanley re-buries the salad bowl.<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>Let's hope a coyote doesn't dig her up in the meantime. Nothing we can do about it, anyway. Look at that.<\/dialogue>\n    <scene_description>Stanley points as a fireworks display, modest but exciting, commences in the desert just beyond the motel grounds. Stanley and the three girls watch, bereft and dazzled.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOTEL OFFICE. EVENING<\/stage_direction>\n    <scene_description>As the fireworks continue to pop: Montana retrieves a toothbrush from the toiletries vending machine, then pauses to study another machine which advertises \"Deeds.\" He asks the motel manager, curious\/suspicious:<\/scene_description>\n    <character>MONTANA<\/character>\n    <dialogue>What do you swap for out a'this pertickler jukebox, mister?<\/dialogue>\n    <character>MOTEL MANAGER<\/character>\n    <dialogue>Of course, I understand. This machine: sells land.<\/dialogue>\n    <character>MONTANA<\/character>\n    <dialogue>Land, you say?<\/dialogue>\n    <character>MOTEL MANAGER<\/character>\n    <dialogue>Yes, indeed. The properties just beyond these cottages, in fact.<\/dialogue>\n    <scene_description>The motel manager motions toward a desolate, cactus-studded flat in the near distance. Montana asks, dubious:<\/scene_description>\n    <character>MONTANA<\/character>\n    <dialogue>Out a' this here soder-pop machine?<\/dialogue>\n    <character>MOTEL MANAGER<\/character>\n    <dialogue>Yes, indeed.<\/dialogue>\n    <character>MONTANA<\/character>\n    <dialogue>Well, now, I ain't callin' you a liar to your face, but that sounds to me like some kind a' toadswindle.<\/dialogue>\n    <character>MOTEL MANAGER<\/character>\n    <parenthetical>(slightly defensive)<\/parenthetical>\n    <dialogue>Of course, I understand. It's not a toadswindle. You put in the money: you receive a notarized deed to the land.<\/dialogue>\n    <character>MONTANA<\/character>\n    <parenthetical>(skeptical)<\/parenthetical>\n    <dialogue>How big a spread?<\/dialogue>\n    <character>MOTEL MANAGER<\/character>\n    <dialogue>For $10 in quarters: approximately half a tennis court.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. METEOR CRATER. NIGHT<\/stage_direction>\n    <scene_description>The congregation has re-assembled, this time seated on picnic blankets. They sip and crunch a midnight snack of root beer and peanuts. Dr. Hickenlooper stands at the lectern (flanked by her assistant on one side of the dais and General Gibson on the other), uplit by a reading lamp. She begins enthusiastically over the P.A. speaker:<\/scene_description>\n    <character>DR. HICKENLOOPER<\/character>\n    <dialogue>Tonight you're in for a real treat. I don't know how many of you ever observed an Astronomical Ellipses before. Can we get a show-of-hands?<\/dialogue>\n    <scene_description>Only Dr. Hickenlooper herself raises her hand. She looks surprised.<\/scene_description>\n    <character>DR. HICKENLOOPER<\/character>\n    <dialogue>Nobody! Wow. OK, well, what you're going to see is a very simple, \"dot, dot, dot\": three pin-points of light inside your refracting-box, which may not sound very exciting, at first -- until you consider how those dots managed to transmit themselves across a thousand billion miles of space onto that little scrap of black cardboard. Twice every fifty-seven years, when the earth, the sun, the moon, and the galactic plane of the Milky Way all combobulate along the same angle of orbital interest, the radiant energy of three neighboring stellar systems induces a parallel ecliptic transit; thus, all but proving the hypothesis of Celestial Flirtation. The hitch, of course, is that the math doesn't work! But maybe one of you, one day, will be the genius who solves that problem.<\/dialogue>\n    <parenthetical>(checking her watch)<\/parenthetical>\n    <dialogue>The event will begin in thirty seconds.<\/dialogue>\n    <scene_description>Dr. Hickenlooper turns off the reading lamp. The young people and most of the adults stand up eagerly and begin to fit home- made, cardboard box and wax-paper viewing devices over their heads. The military personnel use similar but industrial- manufactured, weapons-grade versions of the apparatus (nylon and stainless-steel fittings; calibrated dials and gauges). Andromeda, Cassiopeia, and Pandora use shoeboxes. Stanley sits next to them with his own normal-sized box\/device.<\/scene_description>\n    <character>DR. HICKENLOOPER<\/character>\n    <dialogue>Remember: if you look directly at the ellipses rather than through your refracting-box, not only will you not actually see the effect -- but you'll burn the dots straight into your retina, probably permanently. I know that for a fact, because they're still burned into mine from when I was eleven-going-on- twelve. That's when I realized I wanted to be an astronomer, which is another story.<\/dialogue>\n    <parenthetical>(urgently)<\/parenthetical>\n    <dialogue>Here we go!<\/dialogue>\n    <scene_description>Dr. Hickenlooper puts on her own viewing device. CUT TO: Woodrow's face inside his box. He squints. Through a tinfoil sieve on top: a beam of amber light shines neatly, diagonally, onto a black construction-paper rectangle masking-taped to the cardboard directly in front of his eyes. A small, red dot appears -- followed by a white one, then a blue -- along a perfectly-spaced, horizontal line. Woodrow says, pleased:<\/scene_description>\n    <character>WOODROW<\/character>\n    <dialogue>There it is.<\/dialogue>\n    <scene_description>All around the crater: \"ooh's\" and \"ahh's\" among the children, parents, and military personnel. Enchanted laughter and dazzled whispering. The breeze blows. An owl hoots. Crickets chirp. Bells ring at the railroad crossing as another freight train locomotes in the dark. Dr. Hickenlooper provides a bit of commentary, speaking into the microphone from inside her box at a whisper:<\/scene_description>\n    <character>DR. HICKENLOOPER<\/character>\n    <dialogue>These are just marvelously luminous colors, aren't they? Very exciting! Who doesn't see it?<\/dialogue>\n    <character>FRECKLED BOY<\/character>\n    <parenthetical>(airily)<\/parenthetical>\n    <dialogue>I don't! I just see a staple.<\/dialogue>\n    <scene_description>Dr. Hickenlooper lifts her viewing device and looks to the freckled boy. She studies him briefly as he looks up at her with the box on his head. She twists the box 180 degrees backwards. The freckled boy stiffens and yelps:<\/scene_description>\n    <character>FRECKLED BOY<\/character>\n    <dialogue>Yipe! It works.<\/dialogue>\n    <scene_description>Dr. Hickenlooper puts her box back on. On another\/nearby picnic blanket: Midge tilts the box off her head and looks at Shelly (under her own box with her movie magazine tucked under her arm). She asks bluntly:<\/scene_description>\n    <character>MIDGE<\/character>\n    <dialogue>Are you Shelly?<\/dialogue>\n    <character>SHELLY<\/character>\n    <parenthetical>(startled)<\/parenthetical>\n    <dialogue>Huh? Yeah!<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>I'm your idol. What's your rank?<\/dialogue>\n    <scene_description>Shelly tilts back her box. She says, transfixed:<\/scene_description>\n    <character>SHELLY<\/character>\n    <dialogue>Commanding-secretary.<\/dialogue>\n    <scene_description>Shelly points to a patch on her uniform. Midge takes the magazine out of Shelly's hand and flips pages.<\/scene_description>\n    <character>MIDGE<\/character>\n    <dialogue>I was a Cookie Trooper, myself.<\/dialogue>\n    <scene_description>Midge finds a staged photo of herself (in a kitchen, wearing an apron, frying eggs) and autographs it. She hands back the magazine. Shelly says, awed:<\/scene_description>\n    <character>SHELLY<\/character>\n    <dialogue>Really? Wow! What'll they say in Squad 75?<\/dialogue>\n    <scene_description>Suddenly: the radio telescopes spinning above the crater all rotate in unison to face in a single, fixed direction. Dead silence. CUT TO: Woodrow's black construction-paper rectangle again. A fourth dot (green, unexpected) appears in position immediately to the right of the original three. Woodrow frowns.<\/scene_description>\n    <character>WOODROW<\/character>\n    <dialogue>Hm?<\/dialogue>\n    <scene_description>Woodrow tilts the box off his head and looks up. Woodrow's mouth opens. His eyes widen. He holds his breath and stares, frozen. A faint, green glow begins to irradiate his face, slowly increasing in luminosity. Dr. Hickenlooper, her assistant, General Gibson, the aide-de- camp, Augie, Midge, and the other gathered people begin to remove their own viewing devices and watch the sky -- agog. From above: a green-and-neon hexagonal spacecraft exactly the diameter of the crater silently descends and hovers at an altitude of fifty feet. It twists and bounces slightly, creaking. After a moment, a fan or motor of some kind engages, whirs briefly, then shuts off again. The group of statues below watches, stunned. A round hatch on the underside of the spacecraft irises open. A metallic pole jolts out with a clank, extends downwards three feet, and stops. A ladder-rung folds out, buzzing, at the bottom of the pole and locks into position. Among the watching group: hyperventilation, difficulty swallowing, a few tears. General Gibson's hand instinctively moves to the sidearm holster on his belt. He snaps off the safety. From the hatch again: a foot (size approximately 20-AAA, red\/orange, nine-toed) pokes down and cautiously tests the ladder-rung. Then: a second foot; followed by (as the pole slowly and silently extends a few feet further downward before pausing again) two extremely long, double-jointed legs; a brief, carapaced torso; spindly arms; protracted, scraggly fingers; and a pleasant, red\/orange, tiny-mouthed face with large and immediately lively (even anxious) eyes. The alien looks down at the group from its perch, hesitant. (Roger and J.J. exchange a look: \"See?\"\/\"Yes.\") The alien twists a handle-grip, and the pole descends like an elevator (at first, gingerly; then quickly). When it finally stops: the end of the pole (and the alien) sways gently one foot above the ground near the center of the crater. With a little plickity-plack, a small tripod unfolds at the end of the pole, touching its three ends onto the hard-packed dirt. The alien looks to the group -- as if awaiting permission. It steps onto the earth. Pause. It crouches and leans, reaching toward the rebar cage. Pause. It lifts off the cage like a cake- dome (weightless), sets it aside, and places its hands on the sides of the meteorite. Pause. It picks up the rock and looks all around for any objection. Augie slowly raises his camera to his eyes. He corrects exposure and focus. The alien looks to him, adjusts its pose, and waits. Augie snaps \"the picture.\" He lowers his camera, eyes locked with the alien, and winds the film. Woodrow looks to his father, impressed. The alien makes a quiet sound as if clearing its throat. It tucks the meteorite under its arm and steps back onto the ladder- rung. The pole rapidly ascends\/retracts all the way up and into the spacecraft. The hatch spirals shut. The green-and-neon lights flicker to a new configuration. The vessel rises straight up a thousand feet, twists one rotation in place, then cruises away at an angle high above and across the moonlit desert before vanishing into space. Silence. Augie, at a loss, finally states the obvious:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>The alien stole the asteroid.<\/dialogue>\n    <scene_description>No one moves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TELEVISION STUDIO. EVENING<\/stage_direction>\n    <scene_description>Black and white. The host resumes his narration, spotlit in the dark, as the lights slowly come up on a new set: a writer's study in a shingled beach house. It contains a typewriter stand; a braided rug; a pine table; wicker chairs; neatly over-stuffed bookcases; faintly homoerotic paintings of horses, steers, cowboys, ranch hands; and a whirring electric fan. Tall reeds shiver in the window before a painted theatrical background of dunes and surf at dusk. Sounds of rolling waves and seagulls.<\/scene_description>\n    <character>HOST<\/character>\n    <dialogue>The character of Augie Steenbeck in the imaginary tale of our production was to become famously and indelibly connected to the actor who \"created\" the role -- a former carpenter discovered in a bit part by the play's director, Schubert Green.<\/dialogue>\n    <scene_description>The playwright, perspiring in his Western costume, finishes clacking away at a letter and zips it out of his machine just as a middle-aged secretary enters with a rack of buttered toast on a tray.<\/scene_description>\n    <character>PLAYWRIGHT<\/character>\n    <dialogue>I've finished my correspondence, Analisse. Please, bring me my cocktail and my pill.<\/dialogue>\n    <character>SECRETARY<\/character>\n    <parenthetical>(correction)<\/parenthetical>\n    <dialogue>Remember, the gentleman --<\/dialogue>\n    <character>PLAYWRIGHT<\/character>\n    <parenthetical>(horrified)<\/parenthetical>\n    <dialogue>Oh, no.<\/dialogue>\n    <character>SECRETARY<\/character>\n    <dialogue>-- referred by Mr. Green. Has arrived --<\/dialogue>\n    <character>PLAYWRIGHT<\/character>\n    <parenthetical>(determined)<\/parenthetical>\n    <dialogue>Send him away. Put him up at the Salty Skipper (or the Lighthouse Inn) and tell him to come back in the morning --<\/dialogue>\n    <parenthetical>(important:)<\/parenthetical>\n    <dialogue>-- but not before eleven.<\/dialogue>\n    <scene_description>The secretary sighs. She exits, and the actor who plays Augie almost immediately enters the room. He wears a soldier's khaki uniform -- but in a stylish\/relaxed fashion (contrary to regulation): cap at a tilt, necktie loose, sleeves rolled up, sweat under the armpits. The host explains:<\/scene_description>\n    <character>HOST<\/character>\n    <dialogue>The occasion of the first meeting between playwright and player is now (in our fanciful telling) a matter of theatrical lore and legend. Setting: late autumn,<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <character>HOST<\/character>\n    <dialogue>late afternoon, a seaside village outside the grand metropolis.<\/dialogue>\n    <scene_description>The host exits. The playwright finally notices the actor in his study and says, startled:<\/scene_description>\n    <character>PLAYWRIGHT<\/character>\n    <dialogue>Oh, no, again. I beg your pardon. I'm sorry: did Miss Watson not inform you? I'm indisposed.<\/dialogue>\n    <character>ACTOR\/AUGIE<\/character>\n    <dialogue>I know, but the ice cream would've melted.<\/dialogue>\n    <scene_description>The actor plants a large, oblong mass -- paper-wrapped, twine- bound, frayed and tattered -- onto the table with a thump. He draws a slightly frightening lock-blade hunting knife from an ankle strap and begins to hack and chop at the package. The playwright retreats a step, concerned.<\/scene_description>\n    <character>PLAYWRIGHT<\/character>\n    <dialogue>What's this?<\/dialogue>\n    <character>ACTOR\/AUGIE<\/character>\n    <parenthetical>(hacking\/chopping)<\/parenthetical>\n    <dialogue>I think it's the one you like. Gooseberry Wriggle from the Frosty Spoon on East Rotterdam. I wrapped it in sawdust, newspaper, and peanut shells.<\/dialogue>\n    <scene_description>From beneath the layers of thermal insulation: a carton of ice cream begins to emerge. The playwright quickly recognizes a gooseberry-motif on the lid. He is simultaneously deeply touched, mildly suspicious, and uncomfortable. He says, tentatively playful:<\/scene_description>\n    <character>PLAYWRIGHT<\/character>\n    <dialogue>You shouldn't waste your spending money on an old fool like me.<\/dialogue>\n    <character>ACTOR\/AUGIE<\/character>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>They gave me ten dollars bus fare, so I bought us a half-bucket, hitch-hiked, and pocketed the change.<\/dialogue>\n    <scene_description>The actor flips the sizable blade shut, then (from a trouser pocket) unfolds a collapsible camping spoon. He lifts the carton's lid and plugs the spoon into the cream-and-purple substance. He holds out a bite to the playwright's mouth. The playwright hesitates, then leans forward and eats the spoonful of ice cream like a child. Clearly, it has survived the journey intact:<\/scene_description>\n    <character>PLAYWRIGHT<\/character>\n    <dialogue>Cool and delicious.<\/dialogue>\n    <scene_description>The actor and the playwright trade the spoon back and forth, two strangers eating together in silence. The playwright says eventually, politely:<\/scene_description>\n    <character>PLAYWRIGHT<\/character>\n    <dialogue>How long have you been in the service?<\/dialogue>\n    <character>ACTOR\/AUGIE<\/character>\n    <parenthetical>(frowns)<\/parenthetical>\n    <dialogue>The service. What service? I don't know what you're talking about.<\/dialogue>\n    <character>PLAYWRIGHT<\/character>\n    <parenthetical>(stiffening)<\/parenthetical>\n    <dialogue>Well, unless I've been deliberately misinformed, I believe those stripes indicate the status of a Ranking Corporal, 2nd class.<\/dialogue>\n    <character>ACTOR\/AUGIE<\/character>\n    <dialogue>Oh. No.<\/dialogue>\n    <parenthetical>(giggles)<\/parenthetical>\n    <dialogue>I'm G.I. #3 in \"Bugle Boy Blows the Blues.\" Was, anyway. We closed tonight.<\/dialogue>\n    <character>PLAYWRIGHT<\/character>\n    <parenthetical>(intrigued)<\/parenthetical>\n    <dialogue>I see. Property of the wardrobe department.<\/dialogue>\n    <character>ACTOR\/AUGIE<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Not anymore.<\/dialogue>\n    <scene_description>The actor declines the return of the spoon and begins to wander around the edges of the room, studying book titles and old snapshots as the playwright continues to eat.<\/scene_description>\n    <character>PLAYWRIGHT<\/character>\n    <dialogue>How was it, by the way?<\/dialogue>\n    <character>ACTOR\/AUGIE<\/character>\n    <parenthetical>(distracted)<\/parenthetical>\n    <dialogue>The play? It stunk. You mind if I crack open a window?<\/dialogue>\n    <character>PLAYWRIGHT<\/character>\n    <dialogue>Not at all. It's sweltering, isn't it?<\/dialogue>\n    <scene_description>The actor struggles briefly at the window, pressing and jabbing the rickety, wooden sash. The playwright watches him, doubtful.<\/scene_description>\n    <character>PLAYWRIGHT<\/character>\n    <dialogue>Even the daisies and buttercups are drooping in the --<\/dialogue>\n    <parenthetical>(suddenly)<\/parenthetical>\n    <dialogue>That window sticks a bit.<\/dialogue>\n    <scene_description>The actor smashes his fist through a pane, flips a latch, then (now easily) slides the window open. He looks to the playwright; both laugh out loud. Pause. The actor asks, pointed but gentle:<\/scene_description>\n    <character>ACTOR\/AUGIE<\/character>\n    <dialogue>Why does Augie burn his hand on the Quicky-Griddle?<\/dialogue>\n    <character>PLAYWRIGHT<\/character>\n    <parenthetical>(long pause)<\/parenthetical>\n    <dialogue>Well, I don't even know, myself, to tell you the truth. I hadn't planned it that way -- he just sort of did it while I was typing. Is it too extraordinary?<\/dialogue>\n    <character>ACTOR\/AUGIE<\/character>\n    <parenthetical>(short pause)<\/parenthetical>\n    <dialogue>I guess the way I read it: he was looking for an excuse why his heart was beating so fast.<\/dialogue>\n    <character>PLAYWRIGHT<\/character>\n    <parenthetical>(enchanted)<\/parenthetical>\n    <dialogue>Oh. What an interesting sentiment. I love that idea. Maybe he should say it? It's a very good line.<\/dialogue>\n    <scene_description>The actor shrugs. He shakes his head. The playwright agrees:<\/scene_description>\n    <character>PLAYWRIGHT<\/character>\n    <dialogue>I suppose not. Not necessary.<\/dialogue>\n    <scene_description>The playwright watches as: the actor takes down one of the playwright's freshly pressed shirts from a laundry box on a shelf; pulls out the packing-tissue and begins to stuff it under his shirt (padding for a fake belly); peels off a fake moustache and sticks it into one pocket; replaces it with a fake beard tugged out of another; rubs typewriter ink into his eyebrows; exits into a small closet and closes the door -- then reemerges with the familiar Swiss camera looped around his neck. He now speaks in Augie's quiet, regional\/city accent:<\/scene_description>\n    <character>ACTOR\/AUGIE<\/character>\n    <dialogue>\"It's a fact: we're not alone. The alien stole the asteroid. 'Long-thought to be a lunar splinter fragmented from the lesser moon of the hypothetical planet Magnavox- 27; now considered a rogue pygmy<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <character>ACTOR\/AUGIE<\/character>\n    <dialogue>cometette.' (According to the encyclopedia.) Obviously, she would've said something to him. I'm certain of it. Your mother, I mean. She would've gotten him to tell us the secrets of the universe or yelled at him or made him laugh. She would've had a hypothesis. You remind me of her more than ever. She wasn't shy. You'll grow out of that. (I think your sisters might be aliens, too, by the way.) When I met your mother she was only nineteen. She was smoking a cigarette\/reading a paperback\/taking a bath in a swimsuit on a rusty fire escape a flight and a half below my camera position. Sometimes I sometimes --<\/dialogue>\n    <parenthetical>(searching)<\/parenthetical>\n    <dialogue>I sometimes -- I sometimes still think I still hear her -- here --<\/dialogue>\n    <parenthetical>(with a finger to his ear)<\/parenthetical>\n    <dialogue>-- breathing -- in the dark.<\/dialogue>\n    <scene_description>The actor looks up at the ceiling. Long pause. When he finally looks back down, his eyes are red, his face is tear-streaked, his voice cracks:<\/scene_description>\n    <character>ACTOR\/AUGIE<\/character>\n    <dialogue>Who knows, Woodrow? Maybe she is in the stars.\"<\/dialogue>\n    <scene_description>The actor sits down in one of the wicker chairs. He folds his hands in his lap -- then looks suddenly to the playwright, breaking the spell. The playwright stares. He says slowly:<\/scene_description>\n    <character>PLAYWRIGHT<\/character>\n    <dialogue>Normally, I'd offer my advice and suggestions, but your interpretation is so perceptive and precise -- anything you do is bound to be dramatically true. You're perfect. I don't think there's anything else to say.<\/dialogue>\n    <scene_description>Silence. The actor takes off his shirt, then his trousers and socks. The lights dim except in the window. The host re-enters frame:<\/scene_description>\n    <character>HOST<\/character>\n    <dialogue>Often, it is the unexpected human connections which lead to the surprises of artistic discovery.<\/dialogue>\n    <scene_description>The beach house rotates away on a turntable to reveal another new set:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SLEEPING COMPARTMENT<\/stage_direction>\n    <scene_description>A sleeping compartment (with sitting room and bed already made up) on an overnight passenger train. The actress who plays Midge, dressed in a silvery skirt suit and matching hat, surrounded by small suitcases, hand baggage, folded fur coat, sits with her legs tucked under her as a porter serves a bottle of beer with a chilled glass. Outside: the train accelerates through a cavernous metropolitan station (as rendered by a painted theatrical backdrop winding by on rollers). A stationmaster blowing a whistle slides by; followed by the head of a young man, twenty-two, clean cut, sprinting on the platform alongside the sleeping car. (He is the actor who plays Woodrow.) He hops a bit, trying to peek into the window, then speeds ahead, out of view. An instant later, we clear the station and enter the darkness of the tunnel that will deliver the train out of the city.<\/scene_description>\n    <character>HOST<\/character>\n    <dialogue>Players of the stage, a tribe of troubadours and non-conformists; they lead unconventional, sometimes dangerous, lives which nourish and elevate their artistic aspirations -- and illuminate the human condition. Next: ten weeks later, the eve of \"Asteroid City's\" first public preview, a drawing room onboard the Apache Plainsliner bound for the California coast.<\/dialogue>\n    <scene_description>The porter exits. The actress lights a cigarette and opens the pages of a fashion magazine. A knock on the door. The actress looks up, frowning, and waits.<\/scene_description>\n    <character>ACTRESS\/MIDGE<\/character>\n    <dialogue>It's open.<\/dialogue>\n    <scene_description>The door swings to the wall with a clack. The sprinting young man lunges into the compartment, gasping and panting, and bangs the door shut behind him. He is dressed Ivy League, winter. He says immediately, without catching his breath:<\/scene_description>\n    <character>YOUNG MAN\/WOODROW<\/character>\n    <dialogue>Schubert says you got to come back.<\/dialogue>\n    <scene_description>The actress stares at the young man evenly. Pause.<\/scene_description>\n    <character>ACTRESS\/MIDGE<\/character>\n    <dialogue>If I'm so important, why isn't he here himself?<\/dialogue>\n    <scene_description>The young man shrugs, still gasping, and makes an educated guess:<\/scene_description>\n    <character>YOUNG MAN\/WOODROW<\/character>\n    <dialogue>Probably too busy. Too busy to go chasing after you. They sent me. You know who I am?<\/dialogue>\n    <character>ACTRESS\/MIDGE<\/character>\n    <dialogue>I think so. Understudy.<\/dialogue>\n    <character>YOUNG MAN\/WOODROW<\/character>\n    <dialogue>Understudy. That's right. Let me just --<\/dialogue>\n    <scene_description>The young man digs into his pockets, producing various scraps of paper, ticket stubs, dollar bills, bits of lint, some of which fall onto the floor. He isolates two specific tiny, folded, creased, damp, tattered documents. He displays one in each hand.<\/scene_description>\n    <character>YOUNG MAN\/WOODROW<\/character>\n    <dialogue>He said if you're crying, I read you this one.<\/dialogue>\n    <parenthetical>(swapping pages)<\/parenthetical>\n    <dialogue>That's not it. Here it is.<\/dialogue>\n    <parenthetical>(swapping again)<\/parenthetical>\n    <dialogue>If you're hopping mad, I read you this one.<\/dialogue>\n    <scene_description>Silence. The actress says, stony:<\/scene_description>\n    <character>ACTRESS\/MIDGE<\/character>\n    <dialogue>Give me both.<\/dialogue>\n    <scene_description>The young man shakes his head, frazzled, and attempts to clarify the options:<\/scene_description>\n    <character>YOUNG MAN\/WOODROW<\/character>\n    <dialogue>Not what he said. He said if you're --<\/dialogue>\n    <character>ACTRESS\/MIDGE<\/character>\n    <dialogue>Give me both.<\/dialogue>\n    <scene_description>The young man hands the actress both documents, two hands to two hands. She reads out loud from the first one:<\/scene_description>\n    <character>ACTRESS\/MIDGE<\/character>\n    <dialogue>\"Tell her she's a stuck up, low-class snob -- but she's got no good reason to be. If she sasses you, sass her back. Tell her she's a borderline neurotic with an Achilles Heel complex.\"<\/dialogue>\n    <scene_description>The actress looks at the young man. He nods, confirming the message, and jams his hands into his pockets, shifting from foot to foot. The actress places the document face up on the table and moves on to the second one:<\/scene_description>\n    <character>ACTRESS\/MIDGE<\/character>\n    <dialogue>\"Tell her she relies on her beauty like a wobbly crutch. It's her deepest weakness. Tell her she's got the potential for genuine greatness -- but I say with absolute certainty: she will never achieve it.\"<\/dialogue>\n    <scene_description>The actress places the second document down next to the first. She looks to the young man again.<\/scene_description>\n    <character>ACTRESS\/MIDGE<\/character>\n    <dialogue>Anything else?<\/dialogue>\n    <scene_description>The young man, nodding again, slightly less winded now, reaches inside his coat and withdraws a sealed envelope.<\/scene_description>\n    <character>YOUNG MAN\/WOODROW<\/character>\n    <dialogue>Uh-huh. He said if you're cool and collected (which I think is what I think you seem to be), then that means you probably really don't want to come back, and I got to give you this.<\/dialogue>\n    <scene_description>The young man holds out the envelope. The actress, cool and collected, does not move.<\/scene_description>\n    <character>ACTRESS\/MIDGE<\/character>\n    <dialogue>Read it.<\/dialogue>\n    <character>YOUNG MAN\/WOODROW<\/character>\n    <parenthetical>(shaking his head again)<\/parenthetical>\n    <dialogue>Not what he said. He said this one's private. Just the two of you. He said --<\/dialogue>\n    <scene_description>The young man swallows and gives up. He opens the envelope and reads, start to finish:<\/scene_description>\n    <character>YOUNG MAN\/WOODROW<\/character>\n    <dialogue>\"Dear Kim, I'm sorry I shouted and called you a spoiled bitch and a minor talent (and broke your glasses and threw them out the window). Given that I have always considered you to be the most consummately gifted living actress and a person of great intelligence and character, these statements (and actions) do not accurately reflect my true feelings. Yes, I may be a 'manipulative snake', as you once characterized me behind my back (you see, I do have my sources) -- but I love you like a sister, other than that one time in the bathroom the day we met which has never been<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <character>YOUNG MAN\/WOODROW<\/character>\n    <dialogue>repeated, as we both know. I never meant to hurt you or insult you or offend you in any way -- only to try with the few tools I have at my disposal to do my job which is: to make it work. Forgive me. We open tomorrow night, with or without you. Without: our entire devoted company will suffer complete disaster and tragic calamity -- as will a brilliant, fragile genius named Conrad Earp. With: you will enjoy the triumph of your career, which does not matter in the least. All that matters is: every second of life on stage -- and our friendship. Your servant, your director, and (if I may) your devoted mentor. -- Schubert Green.\"<\/dialogue>\n    <scene_description>The sound of the train changes suddenly (loud to soft) as it exits the tunnel. A new winding\/painted backdrop reveals the city, now distant, at dusk. Snowflakes flurry and telephone poles whisk by. The actress unpins her hat, removes it, and loosens her hair. She looks the young man up and down, head to toe. Silence.<\/scene_description>\n    <character>ACTRESS\/MIDGE<\/character>\n    <dialogue>What's your name, understudy?<\/dialogue>\n    <scene_description>The young man stares, dumb. The host re-enters the frame and looks from young man to actress to camera. He raises an eyebrow.<\/scene_description>\n    <character>HOST<\/character>\n    <dialogue>They continued through the night as far as Ohio, then disembarked and caught the return flight arriving two hours prior to curtain. (The talented understudy immediately replaced the original \"Woodrow.\")<\/dialogue>\n    <scene_description>Scene to black. The host remains lit. He continues:<\/scene_description>\n    <character>HOST<\/character>\n    <dialogue>Schubert Green, born Shylock Grzworvszowski.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THEATRE PROSCENIUM<\/stage_direction>\n    <scene_description>Behind the host, the lights come up on the theatre proscenium set -- turned around to face the audience, with painted backdrop depicting the empty house: seats, boxes, balconies. A wiry, intense, shirtless man works onstage repainting a backdrop. He is the director.<\/scene_description>\n    <character>HOST<\/character>\n    <dialogue>Actor, immigrant, former student of the great theatrical guru Saltzburg Keitel.<\/dialogue>\n    <scene_description>The director wanders into the wings: adjusting a lamp; resewing the trim of a costume; briefly touching-up a young actor's old- age make-up.<\/scene_description>\n    <character>HOST<\/character>\n    <dialogue>Known for his limitless energy, his voracious enthusiasms (a well-known actress described him, sexually, as: \"an animal -- specifically a rabbit\"), and his long, deep, and intimate relationship with success.<\/dialogue>\n    <scene_description>The director arrives at a makeshift bedroom installation -- fake walls, folding bunk, sink basin, toaster and hot plate -- in a deep backstage corner behind crates, carts, and flats (all labeled: Property of \"Asteroid City Scenic Department\" and vaguely recognizable as the luncheonette). In the background, a hulking stagehand finishes stapling lace curtains along the sides of a fake window. They both survey the space.<\/scene_description>\n    <character>DIRECTOR<\/character>\n    <dialogue>What do you think, Lunky?<\/dialogue>\n    <character>STAGEHAND<\/character>\n    <parenthetical>(deepest basso)<\/parenthetical>\n    <dialogue>Good.<\/dialogue>\n    <scene_description>The director begins to shadow-box in the corner. Off-screen: an annoyed\/perplexed woman's voice says:<\/scene_description>\n    <character>POLLY (O.S.)<\/character>\n    <dialogue>I'm not going to ask what the hell's going on here.<\/dialogue>\n    <scene_description>In the fake doorway: a woman in a raincoat. Black hair with bangs, bright red lipstick, late thirties. She is Polly.<\/scene_description>\n    <character>HOST<\/character>\n    <dialogue>His wife, Polly, left him for an All Star second baseman during the first week of rehearsals.<\/dialogue>\n    <scene_description>The stagehand stares, uneasy. The director milks it:<\/scene_description>\n    <character>DIRECTOR<\/character>\n    <dialogue>My living quarters.<\/dialogue>\n    <scene_description>Polly moves slowly into the room, eye-balling the stagehand as he sheepishly evaporates. She reaches into her pocket and withdraws a legal-sized envelope:<\/scene_description>\n    <character>POLLY<\/character>\n    <dialogue>Sign this.<\/dialogue>\n    <scene_description>The director stiffens. He takes the envelope. He opens it and studies a document. He says, overwhelmingly relieved:<\/scene_description>\n    <character>DIRECTOR<\/character>\n    <dialogue>It's Clark's report card.<\/dialogue>\n    <scene_description>Polly, rearranging the decor slightly (swapping a vase, shifting a chair), responds, distracted:<\/scene_description>\n    <character>POLLY<\/character>\n    <dialogue>Uh-huh. What'd you think it was?<\/dialogue>\n    <character>DIRECTOR<\/character>\n    <dialogue>I thought maybe we were already divorced.<\/dialogue>\n    <character>POLLY<\/character>\n    <dialogue>Oh. Not yet -- but eventually.<\/dialogue>\n    <scene_description>The director signs the document, slips it back into the envelope, and returns it.<\/scene_description>\n    <character>DIRECTOR<\/character>\n    <dialogue>He made the honor roll again.<\/dialogue>\n    <scene_description>Polly nods. She looks to the director with her knuckles on her hips.<\/scene_description>\n    <character>POLLY<\/character>\n    <dialogue>I'm staying at Diego's penthouse; Clark's at my mother's; the apartment's empty. Why don't you just go home?<\/dialogue>\n    <character>DIRECTOR<\/character>\n    <parenthetical>(simply)<\/parenthetical>\n    <dialogue>I don't think I should be alone in a building with real windows.<\/dialogue>\n    <scene_description>The director looks out through the fake window. (Outside: more crates.) He continues:<\/scene_description>\n    <character>DIRECTOR<\/character>\n    <dialogue>Props makes my lunches and dinners. Make- up cuts my hair and shaves me. Costumes washes my dungarees. This is where I belong. For now.<\/dialogue>\n    <scene_description>The director reaches into a box on the table and brings out a model of the stage-version of the hexagonal spacecraft. He flips it over, studying the design. Polly examines it over his shoulder.<\/scene_description>\n    <character>POLLY<\/character>\n    <dialogue>Much better. Did you do the green?<\/dialogue>\n    <scene_description>The director grunts. He presses a button on the model. It illuminates, dazzling. Polly looks pleased. She says gently:<\/scene_description>\n    <character>POLLY<\/character>\n    <dialogue>It's been a great ten years, Schubert. I don't regret a second of it. Clark still loves you. I still love you.<\/dialogue>\n    <character>DIRECTOR<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>But not like before.<\/dialogue>\n    <character>POLLY<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>But not like before.<\/dialogue>\n    <scene_description>Polly kisses the director softly on the lips and exits directly through the fake doorway. The director starts doing chin-ups from a costume rack as the host re-enters the frame:<\/scene_description>\n    <character>HOST<\/character>\n    <dialogue>Schubert Green lived in the scenic bay of the Tarkington Theatre for all 785 performances of \"Asteroid City.\" Dark nights, he stayed in the Governor's Suite of the Nebraska Hotel.<\/dialogue>\n    <scene_description>Polly pokes her head back in. The director freezes mid-chin-up.<\/scene_description>\n    <character>POLLY<\/character>\n    <dialogue>One last note: when Midge makes her exit in Act 3, Scene V -- try having her say the line after she closes the door.<\/dialogue>\n    <scene_description>The director pictures this. He nods. He says wisely:<\/scene_description>\n    <character>DIRECTOR<\/character>\n    <dialogue>I will.<\/dialogue>\n    <scene_description>Polly smiles. She exits again and closes the fake door. The director stands and waits. Through the fake door, Polly says:<\/scene_description>\n    <character>POLLY<\/character>\n    <dialogue>Goodbye.<\/dialogue>\n    <scene_description>The director laughs\/cries. Polly's diminishing footsteps echo on the cement floor. Lights to black.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY. DAY<\/stage_direction>\n    <scene_description>Widescreen\/color. A reinforced military barricade encircles and isolates the entire town. Signs on roadblocks read: Strict Quarantine! Do Not Enter (or Exit) by order of the United States Military-science Research and Experimentation Division Armed guards occupy security-posts on low scaffoldings at frequent intervals along the perimeter. A fleet of parked jeeps and troop transports provide additional fortification. Civilian vehicles in a queue on the highway wait to U-turn, one by one, as soldiers direct them to alternate routes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OBSERVATORY. DAY<\/stage_direction>\n    <scene_description>The classroom. The school desks now seat military officers, technicians, and scientific advisors (including the business executive). Soldiers stand in the corners with rifles shouldered\/sidearms holstered. A door opens. General Gibson strides into the room followed by his aide-de-camp (handcuffed to a metallic briefcase). He sits at the table in front and studies his audience. (NOTE: throughout this and subsequent scenes, a slightly stunned\/dazzled quality of uncertainty and disbelief informs the speech, deportment, and expression of the entire cast.)<\/scene_description>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>I've just informed the president. He authorized me to read and implement the provisions of National Security Emergency Scrimmage Plan X. Here I go.<\/dialogue>\n    <scene_description>The aide-de-camp snaps open the briefcase and passes a nylon pouch to General Gibson. The general opens it and removes a laminated envelope with a plastic seal. He reads a message on the cover:<\/scene_description>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>\"The following Top Secret directive was mandated into law on July first, 1950.\"<\/dialogue>\n    <scene_description>General Gibson cracks open the seal and withdraws a thin stack of multicolored card-stock pages. He begins:<\/scene_description>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>\"In the event of unforeseen engagement with intelligent life-form or -forms from any planet not specifically defined as our 'earth', be advised to initiate the following protocols:<\/dialogue>\n    <parenthetical>(flipping to next card)<\/parenthetical>\n    <dialogue>(more)<\/dialogue>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>One. Confirm said life-form is not operating under the guidance of any hostile foreign terrestrial government.\"<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Well, I don't think he's working for the Russians (or the Red Chinese) -- but you never know.<\/dialogue>\n    <character>AIDE-DE-CAMP<\/character>\n    <dialogue>He certainly didn't give me that impression.<\/dialogue>\n    <character>GENERAL GIBSON<\/character>\n    <parenthetical>(flipping to next card)<\/parenthetical>\n    <dialogue>\"Two. Confirm the life-form does not intend to annex, colonize, vaporize, or expropriate the resources of the sovereign territories of the United States of America.\"<\/dialogue>\n    <character>AIDE-DE-CAMP<\/character>\n    <dialogue>I doubt it. He took the asteroid and went.<\/dialogue>\n    <character>GENERAL GIBSON<\/character>\n    <parenthetical>(flipping to next card)<\/parenthetical>\n    <dialogue>\"Three. Identify and detain all possible witnesses and place them under group arrest for a period of no less than one week (defined as seven calendar days), during which time they be subjected to a prescribed battery of medical and psychological examinations and cross- examinations.\"<\/dialogue>\n    <character>AIDE-DE-CAMP<\/character>\n    <dialogue>Standard procedure. Already in the works.<\/dialogue>\n    <character>GENERAL GIBSON<\/character>\n    <parenthetical>(flipping to next card)<\/parenthetical>\n    <dialogue>\"Four. Secure the site; cease the dissemination of information; collect and transport the totality of evidence to a hermetically-enclosed\/deep-underground secret storage facility; and publicly deny all aspects of the event including its existence for a period of no less than 100 years (defined as 36,500 days).\" End of directive.<\/dialogue>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>(unsurprised)<\/dialogue>\n    <character>AIDE-DE-CAMP<\/character>\n    <dialogue>(also unsurprised)<\/dialogue>\n    <scene_description>That's pretty clear. Ha. General Gibson passes the stack of cards to the aide-de-camp. He immediately begins running them through a hand-cranked paper shredder. The business executive raises a question:<\/scene_description>\n    <character>EXECUTIVE<\/character>\n    <dialogue>What do we tell them?<\/dialogue>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>EXECUTIVE<\/character>\n    <dialogue>The Junior Stargazers. The Space Cadets. The moms and dads.<\/dialogue>\n    <character>AIDE-DE-CAMP<\/character>\n    <parenthetical>(cheerily)<\/parenthetical>\n    <dialogue>Midge Campbell.<\/dialogue>\n    <scene_description>A murmur among the soldiers. Whispers and tittering. General Gibson thinks. He suggests:<\/scene_description>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>Tell them -- it didn't happen?<\/dialogue>\n    <scene_description>Silence. Sudden laughter. General Gibson raises an eyebrow, then says gravely:<\/scene_description>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>No, obviously, we'll need to formulate a suitable cover story.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUNCHEONETTE. DAY<\/stage_direction>\n    <scene_description>The caf\u00e9 has been converted into a temporary triage\/evaluation unit with dividing screens and curtains on racks and rails. The rivet trailer is parked in front, linked to the front door by a transparent plastic corridor (which ripples in the breeze). Guards outside, scientists inside. \"Station #1: Medical\": J.J. and Clifford lie on adjacent gurneys, restrained, wired, and intubated to a bank of beeping\/blinking devices registering pulse rate, body temperature, blood oxygen, radiation levels, brainwave patterns, etc. A technician in a lab coat makes a notation on a clipboard and exits. Clifford points to a button on a gadget overtly warning-labeled \"DO NOT PRESS\" and asks slyly:<\/scene_description>\n    <character>CLIFFORD<\/character>\n    <dialogue>You dare me? To press that button.<\/dialogue>\n    <character>J.J.<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>CLIFFORD<\/character>\n    <dialogue>It's an experiment.<\/dialogue>\n    <character>J.J.<\/character>\n    <parenthetical>(seething)<\/parenthetical>\n    <dialogue>I'll break your neck.<\/dialogue>\n    <scene_description>\"Station #2: Psychological\": Sandy and Shelly sit side by side at a table facing another technician in a lab coat. The technician displays inkblots and records Shelly's responses in a ledger:<\/scene_description>\n    <character>SHELLY<\/character>\n    <dialogue>That's an alien doing jumping jacks. That's an alien in a top hat. That's an alien climbing a ladder. That's an alien on a racehorse.<\/dialogue>\n    <scene_description>\"Station #3: Debriefing\": black felt tenting encloses an interrogation booth where Ricky sits in a metal chair under a hot lamp. Two military detectives pace and circle around him. Roger sits silent in the corner, frowning.<\/scene_description>\n    <character>DETECTIVE #1<\/character>\n    <dialogue>Let's take it from the top.<\/dialogue>\n    <character>RICKY<\/character>\n    <parenthetical>(frustrated)<\/parenthetical>\n    <dialogue>I told you fifty times. The alien picked up the asteroid --<\/dialogue>\n    <character>DETECTIVE #2<\/character>\n    <parenthetical>(correction)<\/parenthetical>\n    <dialogue>Alleged alien.<\/dialogue>\n    <character>RICKY<\/character>\n    <parenthetical>(exploding)<\/parenthetical>\n    <dialogue>I know what I saw!<\/dialogue>\n    <character>DETECTIVE #1<\/character>\n    <dialogue>It's called a meteorite.<\/dialogue>\n    <character>RICKY<\/character>\n    <dialogue>An extraterrestrial being.<\/dialogue>\n    <character>DETECTIVE #2<\/character>\n    <parenthetical>(holding up a tiny canister)<\/parenthetical>\n    <dialogue>This is a microfiche of your school newspaper. Your byline accompanies an article criticizing the principal's disciplinary methods. Who were your sources?<\/dialogue>\n    <character>RICKY<\/character>\n    <parenthetical>(steely)<\/parenthetical>\n    <dialogue>I was in the sixth grade --<\/dialogue>\n    <character>DETECTIVE #2<\/character>\n    <parenthetical>(angry)<\/parenthetical>\n    <dialogue>Just answer the question!<\/dialogue>\n    <character>RICKY<\/character>\n    <parenthetical>(enraged)<\/parenthetical>\n    <dialogue>-- and I will not name names!<\/dialogue>\n    <scene_description>The driver\/bodyguard, in his corner working on another crossword puzzle, looks up briefly. He takes a bite of a grilled cheese sandwich and resumes his puzzling.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SILO. DAY<\/stage_direction>\n    <scene_description>A scaffold perch at the top of a metallic staircase. Woodrow stares through a massive telescope out the open bay of the silver dome. He looks up from the eyepiece and squints at the sky, intense and determined. He adjusts focus. On a platform one flight below: Dinah stands next to Dr. Hickenlooper in front of a large model of the meteor crater. She asks:<\/scene_description>\n    <character>DINAH<\/character>\n    <dialogue>Which way did he go?<\/dialogue>\n    <scene_description>Dr. Hickenlooper indicates with a pencil: a low position immediately over the crater; straight up above as high as she can reach; diagonally across the cylindrical room; out the porthole window.<\/scene_description>\n    <character>DR. HICKENLOOPER<\/character>\n    <dialogue>He went from here. To here. To here.<\/dialogue>\n    <parenthetical>(quietly\/entranced)<\/parenthetical>\n    <dialogue>To I don't know where.<\/dialogue>\n    <scene_description>Woodrow refers to an enormous astronomical map wallpapering all around the interior of the tower as he recalls loudly:<\/scene_description>\n    <character>WOODROW<\/character>\n    <dialogue>My mother couldn't remember which was which, so she made up her own constellations.<\/dialogue>\n    <parenthetical>(pointing)<\/parenthetical>\n    <dialogue>That one's \"The Coat Hanger.\" That one's \"The Leaky Faucet.\" Over there's \"Fried Egg with Spatula.\"<\/dialogue>\n    <character>DINAH<\/character>\n    <parenthetical>(pensive)<\/parenthetical>\n    <dialogue>My mother is a constellation. At least, part of one. A Swiss scientist named a hypothetical star after her.<\/dialogue>\n    <character>DR. HICKENLOOPER<\/character>\n    <dialogue>What's it called?<\/dialogue>\n    <character>DINAH<\/character>\n    <dialogue>Midge Campbell X-9 Major.<\/dialogue>\n    <scene_description>Dr. Hickenlooper withdraws a reference book from a shelf and flips pages as she mutters:<\/scene_description>\n    <character>DR. HICKENLOOPER<\/character>\n    <dialogue>I'll look it up.<\/dialogue>\n    <character>WOODROW<\/character>\n    <parenthetical>(loudly again)<\/parenthetical>\n    <dialogue>Is she interested in astronomy? Your mother.<\/dialogue>\n    <character>DINAH<\/character>\n    <dialogue>Not exactly. She's interested in stardom. I don't mean that as a criticism, by the way. It's her job. (To be famous.) Anyway: I'm tired of her face, but I love her voice. She should do more radio.<\/dialogue>\n    <character>DR. HICKENLOOPER<\/character>\n    <parenthetical>(still studying her book)<\/parenthetical>\n    <dialogue>I never had children. Sometimes I wonder if I wish I should've. (I discovered a hypothetical star myself, by the way.)<\/dialogue>\n    <character>DINAH<\/character>\n    <dialogue>Which one?<\/dialogue>\n    <character>WOODROW<\/character>\n    <dialogue>Where is it?<\/dialogue>\n    <character>DR. HICKENLOOPER<\/character>\n    <parenthetical>(pointing)<\/parenthetical>\n    <dialogue>Right there. It's partly blocked by that burnt-out lightbulb.<\/dialogue>\n    <scene_description>Dr. Hickenlooper looks up and down at wallpaper\/book in search of Midge Campbell X-9 Major. Dinah ascends the metallic staircase. Woodrow's eyes widen as he sees her clanking up to join him. He chivalrously hops aside to allow her to look through the eyepiece. As Dinah leans into the telescope: Woodrow, transfixed, reverse-bumps into a lever -- then (to catch his balance) slaps his hand onto panel of buttons and knobs -- which sends the entire upper tower into a brisk, humming, shuddering rotation. Woodrow and Dinah straighten, alarmed. The telescope and platform begin to rise\/dip and counter-spin. Dr. Hickenlooper shouts up from below:<\/scene_description>\n    <character>DR. HICKENLOOPER<\/character>\n    <dialogue>Don't spin it around! I had it how I want it. What's happening?<\/dialogue>\n    <scene_description>Woodrow and Dinah quickly study the levers, buttons, and knobs. They exchange a look. Together: they click, twist, and pull. The telescope halts with a jolt, banging the two teenagers into each other. They regain their balance and brush themselves off, slightly breathless. An interesting silence; then Woodrow and Dinah simultaneously jolt back toward the telescope, bonk their heads together, then look at each other half-laughing\/half- dazed.<\/scene_description>\n    <character>WOODROW<\/character>\n    <dialogue>After you.<\/dialogue>\n    <scene_description>Woodrow motions for Dinah to go first again. He watches (in close-up) as she peers through the telescope: her eyelashes flutter; she licks her lips; she says in a soft voice:<\/scene_description>\n    <character>DINAH<\/character>\n    <dialogue>Sometimes, I think, mentally: I feel more at home outside the earth's atmosphere.<\/dialogue>\n    <character>WOODROW<\/character>\n    <parenthetical>(enchanted)<\/parenthetical>\n    <dialogue>Me, too.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL CABINS #9\/10. DAY<\/stage_direction>\n    <scene_description>Cabin #10: Augie's roller-blind zings open. He is working in his darkroom again, wiggling and fanning another damp print. Cabin #9: Midge, memorizing lines in her own window, watches from across the narrow driveway. Pause.<\/scene_description>\n    <character>MIDGE<\/character>\n    <dialogue>Did it come out?<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(abruptly)<\/parenthetical>\n    <dialogue>All my pictures come out.<\/dialogue>\n    <scene_description>Augie reverses the photograph to show: the alien holding the meteorite (perfectly posed\/exposed). Midge squints.<\/scene_description>\n    <character>MIDGE<\/character>\n    <dialogue>I mean the other one.<\/dialogue>\n    <scene_description>Augie hesitates. He looks at the photo. He realizes:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>Augie hangs the photo of the alien (with clothespins) and produces another new\/damp print: the nude of Midge outside her bathroom. It is also excellent. Midge nods, pleased, appreciative. Augie clips it up next to the alien. He sits down in his window. Midge asks abstractly:<\/scene_description>\n    <character>MIDGE<\/character>\n    <dialogue>You feel different?<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I don't feel anything at all.<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>Me, neither.<\/dialogue>\n    <scene_description>Silence. Midge says suddenly:<\/scene_description>\n    <character>MIDGE<\/character>\n    <dialogue>I'm not a good mother.<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>Uh-huh.<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>I love my daughter, but I'm not a good mother, because (unfortunately for her): she's not my first priority. On account of there's always already the thing I plan to do next. I love my daughter, by the way.<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>Of course. You said.<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>I love all my children.<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>We have a magical time when we're together. I have another girl and a boy. They live with my second ex-husband in Utah.<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>Uh-huh.<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>He rarely sees them, either.<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>Uh-huh.<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>I wish, at least, I felt guilty -- but I don't experience that emotion (if I understand it correctly). I've played it, of course.<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(surprised only mildly)<\/parenthetical>\n    <dialogue>You never feel guilty? In real life.<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>Not to my knowledge. I think because of my history with violent men (which began with my father, brother, and uncles).<\/dialogue>\n    <scene_description>Augie pauses, curious\/sympathetic, before choosing not to pursue the matter:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>Uh-huh. There's always already the thing I plan to do next, too. Usually, it's a war. Nobody can compete with that. Can they?<\/dialogue>\n    <character>MIDGE<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Probably not. (I did a U.S.O. tour once. It was thrilling.)<\/dialogue>\n    <scene_description>Augie tamps and lights his pipe while Midge studies him carefully. Finally, she understands:<\/scene_description>\n    <character>MIDGE<\/character>\n    <dialogue>I think I see how I see us.<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>Hm?<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>I mean, I think I know now what I realize we are: two catastrophically wounded people who don't express the depths of their pain -- because we don't want to. That's our connection. Do you agree?<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(long pause)<\/parenthetical>\n    <dialogue>Uh-huh.<\/dialogue>\n    <scene_description>Augie starts to faintly laugh. He mumbles:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>Let's change the subject.<\/dialogue>\n    <scene_description>Midge laughs faintly, too. A knock on the door of her bedroom.<\/scene_description>\n    <character>MIDGE<\/character>\n    <dialogue>It's open.<\/dialogue>\n    <scene_description>The sound of the door jolting open (off-screen). Stanley's voice calls out:<\/scene_description>\n    <character>STANLEY (O.S.)<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>In here.<\/dialogue>\n    <scene_description>Pause. Stanley's head peers in through the bathroom door. (He does not see Augie in the window.)<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>Hello! I'm just your neighbor. Stanley Zak. I wanted to make sure you and your daughter have everything you might need, at the moment.<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>Thank you. I think so.<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>What a strange experience this is, isn't it? I went to law school with your former agent, by the way.<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>Mort?<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>Mort.<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>Yes. Mort. Oh --<\/dialogue>\n    <scene_description>Stanley has now seen Augie. He frowns slightly and observes the two photographs: alien and nude. About one or the other he says simply:<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>That came out.<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(abruptly again)<\/parenthetical>\n    <dialogue>All my pictures come out.<\/dialogue>\n    <scene_description>The driver\/bodyguard appears next to Stanley, suspicious. Stanley frowns. Midge signals: \"I'm OK.\" The driver\/bodyguard shrugs. Stanley says coolly:<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>Anyway, as I say, we're just across the driveway, as my son-in-law seems to have established. Send my best wishes to Mort.<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>I will.<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>And his family.<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>If and when we're permitted contact with the outside world -- though I don't speak to him, to tell you the truth.<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>I love your hairdo like that.<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Stanley lingers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOTEL GARDEN. DAY<\/stage_direction>\n    <scene_description>The schoolchildren (notebooks and pencil-cases laid out in front of them) occupy one of the picnic tables. June (a bit frazzled) stands next to a blackboard illustrated with a brightly colorful rendering of the solar system in multiple chalk colors. The two chaperones stand by, uneasy. June begins:<\/scene_description>\n    <character>JUNE<\/character>\n    <dialogue>I'm going to attempt to proceed with the lesson plan I originally prepared. Just to keep orderliness under the circumstances. I expect some of our information about outer space may no longer be completely accurate; but, anyway, there's still only nine planets in the solar system, as far as we know.<\/dialogue>\n    <parenthetical>(reluctantly)<\/parenthetical>\n    <dialogue>Billy?<\/dialogue>\n    <scene_description>The freckled boy has raised his hand. He blurts:<\/scene_description>\n    <character>FRECKLED BOY<\/character>\n    <dialogue>Except now there's a' alien!<\/dialogue>\n    <character>JUNE<\/character>\n    <parenthetical>(calmly)<\/parenthetical>\n    <dialogue>True, by all appearances. Nevertheless: Neptune. Fourth largest planet (by diameter), Neptune orbits the sun only once every 165 years.<\/dialogue>\n    <parenthetical>(reluctantly)<\/parenthetical>\n    <dialogue>Bernice?<\/dialogue>\n    <scene_description>The little girl with curly red hair has raised her hand. She blurts:<\/scene_description>\n    <character>CURLY-HAIRED GIRL<\/character>\n    <dialogue>Maybe the alien went there!<\/dialogue>\n    <character>JUNE<\/character>\n    <parenthetical>(calmly)<\/parenthetical>\n    <dialogue>Well -- maybe? I don't think anybody knows where the alien went or came from.<\/dialogue>\n    <parenthetical>(reluctantly)<\/parenthetical>\n    <dialogue>Dwight?<\/dialogue>\n    <scene_description>The boy with the cowlick has raised his hand. He says philosophically:<\/scene_description>\n    <character>BOY WITH COWLICK<\/character>\n    <dialogue>At first, I thought the alien was kind of sneaky, but now I think he was probably nervous to go to earth. He's never been here before, I betch'a.<\/dialogue>\n    <character>FRECKLED BOY<\/character>\n    <parenthetical>(debating)<\/parenthetical>\n    <dialogue>Then why'd he steal our asteroid then, if he's such a gentleman?<\/dialogue>\n    <character>JUNE<\/character>\n    <parenthetical>(calmly)<\/parenthetical>\n    <dialogue>These are all reasonable questions; but, at this time, let's stick to Neptune -- because I haven't had time to prepare any lesson plan on this subject we're talking about.<\/dialogue>\n    <character>FRECKLED BOY<\/character>\n    <dialogue>The alien!<\/dialogue>\n    <character>JUNE<\/character>\n    <dialogue>The alien, yes. Neptune: named after the god of the sea, of course -- and, by the way, I'm not trying to evade your questions. I want to emphasize: you're safe. We all are. (Here on earth.) Your parents have been notified of, at least, something. America remains at peace.<\/dialogue>\n    <parenthetical>(surprised)<\/parenthetical>\n    <dialogue>Yes, Montana?<\/dialogue>\n    <scene_description>Montana appears next to June. He takes off his cowboy hat and holds it like a suitor as he proposes:<\/scene_description>\n    <character>MONTANA<\/character>\n    <dialogue>I'd like to parley a notion, myself, if I could, June.<\/dialogue>\n    <scene_description>June hesitates. She nods. Montana addresses the class in a gentle, thoughtful, protective voice:<\/scene_description>\n    <character>MONTANA<\/character>\n    <dialogue>I figger this here alien come from a tribe we don't know nothin' 'bout, do we? Anything we say'd just be pure speckalation! But I tell you what I reckon: I reckon that alien don't mean no harm 'tall. I reckon he just took hisself down here to have a looksy at the land<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <character>MONTANA<\/character>\n    <dialogue>and the peoples on it. In the spirit a' expluration. See, I don't look on a feller alien all suspicious-like. No, he ain't American; no, he ain't a creature a God's green earth; but he's a creature a somewheres -- and so're we. Now let's show the ol' feller some hospitality, and if he turns out to be a dirty dog (which I reckon he ain't), well, that'll be a job for the United States armed forces, and they ain't never lost a war yet. Thanky-do.<\/dialogue>\n    <scene_description>Montana puts his hat back on and smiles to June and the schoolchildren. June looks at Montana with both puzzlement and admiration. She touches his dusty arm briefly. She says to the group:<\/scene_description>\n    <character>JUNE<\/character>\n    <dialogue>I agree with Montana. Now: Neptune.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT. DAY<\/stage_direction>\n    <scene_description>Outside the fence at the rear the motel: the motel manager explains the terms of a sale to J.J. as Clifford stands beside them doing tricks with his yo-yo. J.J. clutches a paper from the vending machine: \"Deed of Sale.\"<\/scene_description>\n    <character>MOTEL MANAGER<\/character>\n    <dialogue>You see that wonderful crackly-patch right out there between the dead cactuses and the dried-up riverbed?<\/dialogue>\n    <character>J.J.<\/character>\n    <dialogue>I think so.<\/dialogue>\n    <character>MOTEL MANAGER<\/character>\n    <dialogue>That's your parcel.<\/dialogue>\n    <scene_description>The motel manager sweeps his arm slowly toward the barren nothingness, marveling. J.J. squints.<\/scene_description>\n    <character>J.J.<\/character>\n    <dialogue>How much of it? Do I own.<\/dialogue>\n    <character>MOTEL MANAGER<\/character>\n    <dialogue>Well, it's actually an interesting financial mechanism. You don't technically own anything outright. You own stock in the town. In the form of a loan. With a fifty year maturity rate. Then: at the end -- the loan is forgiven.<\/dialogue>\n    <scene_description>Clifford pockets his yo-yo. He chimes in:<\/scene_description>\n    <character>CLIFFORD<\/character>\n    <dialogue>You dare me?<\/dialogue>\n    <scene_description>J.J. ignores the question. He continues the real-estate discussion:<\/scene_description>\n    <character>J.J.<\/character>\n    <dialogue>How about water?<\/dialogue>\n    <character>MOTEL MANAGER<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>Of course, I understand. There isn't any. This is a desert opportunity.<\/dialogue>\n    <scene_description>J.J. looks skeptical. Clifford attempts to reiterate:<\/scene_description>\n    <character>CLIFFORD<\/character>\n    <dialogue>You dare me?<\/dialogue>\n    <character>J.J.<\/character>\n    <dialogue>I heard you.<\/dialogue>\n    <character>CLIFFORD<\/character>\n    <dialogue>It's an experiment.<\/dialogue>\n    <character>J.J.<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>I don't care anymore. I dare you, or I don't dare you. It doesn't matter. Do what you wish. I give up.<\/dialogue>\n    <scene_description>Clifford goes silent, wounded. The motel manager, curious, looks back and forth between father and son. J.J. asks Clifford sincerely:<\/scene_description>\n    <character>J.J.<\/character>\n    <dialogue>What's the cause? What's the meaning? Why do you always have to dare something?<\/dialogue>\n    <character>CLIFFORD<\/character>\n    <parenthetical>(long pause)<\/parenthetical>\n    <dialogue>I don't know. Maybe it's because I'm afraid, otherwise, nobody'll -- notice -- my existence -- in the universe?<\/dialogue>\n    <scene_description>Silence. J.J. turns to the motel manager. The motel manager nods slowly. They both turn to Clifford. Clifford shrugs and sniffles. He looks like he is about to cry (but does not). Suddenly:<\/scene_description>\n    <character>J.J.<\/character>\n    <dialogue>Dare you what?<\/dialogue>\n    <character>MOTEL MANAGER<\/character>\n    <dialogue>Dare you what?<\/dialogue>\n    <character>CLIFFORD<\/character>\n    <parenthetical>(sadly)<\/parenthetical>\n    <dialogue>To climb that cactus out there.<\/dialogue>\n    <character>J.J.<\/character>\n    <dialogue>(adamant)<\/dialogue>\n    <character>MOTEL MANAGER<\/character>\n    <dialogue>(worried)<\/dialogue>\n    <scene_description>Lord, no. Please, don't. Clifford, perhaps out of a sense of obligation, walks deliberately toward a high cactus in the middle-distance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY. DAY<\/stage_direction>\n    <scene_description>Augie and Stanley flank Woodrow (in a mystified reverie) as they walk down the center of the roadblocked highway through the little town. The three girls trail behind them, stalking a dragonfly with a butterfly net. Further in the background: troops drill patrol along the barricades.<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>If I sleep on a cot instead of the sofa- bed that might leave room for me to set up a darkroom in the pool house. Is that possible? As a compromise.<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>Depends on the measurements. I can actually carpool the girls to school by golf-cart, you know. If I cut across the fourteenth tee.<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(surprised)<\/parenthetical>\n    <dialogue>It's that close? The elementary.<\/dialogue>\n    <character>WOODROW<\/character>\n    <parenthetical>(in disbelief)<\/parenthetical>\n    <dialogue>How can you two even think about this? The world will never be the same!<\/dialogue>\n    <scene_description>Augie and Stanley nod, sympathetic rather than deeply engaged. Woodrow continues:<\/scene_description>\n    <character>WOODROW<\/character>\n    <dialogue>What happens next? Nobody knows! Will he visit us again? Will he speak to us? What will he say? Why did he steal our asteroid? Was it ours in the first place? Does he -- like us? Nobody knows!<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>That's true.<\/dialogue>\n    <character>WOODROW<\/character>\n    <parenthetical>(re: the universe)<\/parenthetical>\n    <dialogue>What's out there? Something! The meaning of life? Maybe there is one!<\/dialogue>\n    <scene_description>Stanley frowns. He says to Woodrow:<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>I hope you're still Episcopalian.<\/dialogue>\n    <scene_description>Woodrow ignores this question. He says, electrified:<\/scene_description>\n    <character>WOODROW<\/character>\n    <dialogue>You took his picture, Dad!<\/dialogue>\n    <scene_description>Augie nods. He shrugs. Woodrow drifts away, looking up at the sky and writing in his notebook. Augie sits on the hood of his now-derelict station wagon. He says to Stanley genuinely:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>You really want us, Stanley?<\/dialogue>\n    <character>STANLEY<\/character>\n    <parenthetical>(bluntly)<\/parenthetical>\n    <dialogue>No, but you need me.<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(long pause)<\/parenthetical>\n    <dialogue>She did love me, you know.<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>Who says she didn't? I've been on my own for twelve years, after all (and, remember: my wife drank herself to death).<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I don't know what that means.<\/dialogue>\n    <scene_description>Stanley sits next to Augie. He says carefully:<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>In my loneliness (or, perhaps, because of it), I've learned not to judge people; to take people as I find them, not as others find them; and, most of all, to give complete and unquestioning faith to the people I love. That doesn't include you, but it included my daughter -- and your four children -- and you're welcome to stay with me as long as you wish, whether I like it or not (which I don't, by the way).<\/dialogue>\n    <scene_description>Augie grits his teeth. Stanley takes a deep breath. Augie stage- whispers:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>Stop helping us. We're in grief!<\/dialogue>\n    <scene_description>Stanley, puzzled, stage-whispers back:<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>Me, too!<\/dialogue>\n    <scene_description>Stanley grips Augie by the shoulders and shakes him gently in mock\/genuine frustration. Woodrow suddenly re-appears. He points a finger at his father.<\/scene_description>\n    <character>WOODROW<\/character>\n    <dialogue>Are you planning to abandon us?<\/dialogue>\n    <scene_description>Long pause. Stanley looks baffled. Augie says eventually:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>I was (as a temporary measure) --<\/dialogue>\n    <character>STANLEY<\/character>\n    <parenthetical>(stunned)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>-- but I decided against it.<\/dialogue>\n    <character>WOODROW<\/character>\n    <dialogue>I knew it. I sensed it.<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>I didn't!<\/dialogue>\n    <scene_description>Augie and Stanley debate briefly, aside:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>I would've hired a babysitter. In addition to you.<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>I'm the grandfather. I'm not the wet nurse.<\/dialogue>\n    <scene_description>Augie returns his attention to Woodrow. He clarifies:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>I'm not planning to abandon you. Anymore. Even as a temporary measure (which is all it ever would've been).<\/dialogue>\n    <character>WOODROW<\/character>\n    <dialogue>I forgive you for considering it.<\/dialogue>\n    <scene_description>Woodrow drifts away again. Augie takes a deep breath. He looks at the girls and asks:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>What about you?<\/dialogue>\n    <character>ANDROMEDA<\/character>\n    <dialogue>We're going to sleep under the floor of the house in a secret prison powered by electricity from an erupting volcano.<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>OK. Who needs to pee? Let's go inside and order some chili.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. METEOR CRATER. EVENING<\/stage_direction>\n    <scene_description>The crater floor remains decorated exactly as last seen during the alien's brief visit (including picnic blankets, root beer, peanuts, viewing devices); but hundreds of tags and markers stuck in the dirt now indicate names, times, distances, and other statistical information. An empty divot where the meteorite previously sat is now taped off and isolated -- as is the pair of peculiar footprints next to it. Guards stand at attention while men in rubber suits search with metal detectors, scan with Geiger counters, take rock and soil samples, analyze atmospheric conditions, etc. Cameras and recording devices flutter and hum. General Gibson, at his lectern, explains to a small team of assembled scientists and military personnel (including Dr. Hickenlooper) over the P.A. speaker:<\/scene_description>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>For the official Military-science Division archive: this is a forensic re- enactment of events that occurred on this site exactly sixteen hours ago --<\/dialogue>\n    <parenthetical>(checking his watch)<\/parenthetical>\n    <dialogue>-- now.<\/dialogue>\n    <scene_description>General Gibson puts on his viewing device. Everyone else follows suit.<\/scene_description>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>Dr. Hickenlooper, would you like to repeat the remarks you said yesterday? To the best of your recollection.<\/dialogue>\n    <character>DR. HICKENLOOPER<\/character>\n    <dialogue>Well, I began by describing various properties of the Astronomical Ellipses.<\/dialogue>\n    <parenthetical>(suddenly)<\/parenthetical>\n    <dialogue>What's that noise?<\/dialogue>\n    <scene_description>The general silence has been broken by the sound of prominent, crunchy chewing. Dr. Hickenlooper lifts the corner of her viewing device and peers out. From inside the box on his head, the aide-de-camp says with his mouth full of food:<\/scene_description>\n    <character>AIDE-DE-CAMP<\/character>\n    <dialogue>Fritos.<\/dialogue>\n    <character>DR. HICKENLOOPER<\/character>\n    <parenthetical>(frowning)<\/parenthetical>\n    <dialogue>Were you eating those last night? When the alien came.<\/dialogue>\n    <character>AIDE-DE-CAMP<\/character>\n    <dialogue>How could I? The snack machine was turned off.<\/dialogue>\n    <character>DR. HICKENLOOPER<\/character>\n    <dialogue>Then give it.<\/dialogue>\n    <scene_description>The aide-de-camp reluctantly hands his package of corn chips to Dr. Hickenlooper. Dr. Hickenlooper clears her throat and presses on:<\/scene_description>\n    <character>DR. HICKENLOOPER<\/character>\n    <dialogue>Twice every fifty-seven years, when the earth, the sun, the moon, and the galactic plane of the Milky Way --<\/dialogue>\n    <character>AIDE-DE-CAMP<\/character>\n    <parenthetical>(suddenly)<\/parenthetical>\n    <dialogue>What's that contraption?<\/dialogue>\n    <scene_description>The aide-de-camp points to: the mechanic, nearby, cradling the cast-iron assembly which fell from the underside of Augie's car. He explains to Dr. Hickenlooper and General Gibson:<\/scene_description>\n    <character>MECHANIC<\/character>\n    <dialogue>I've never seen an assembly of this kind on any American make or model (nor foreign, actually) in all my experience. I thought maybe it might be some kind of hot rod power-booster (unusual for a station wagon); but, then, after what occurred and so on, I figured it's my duty to bring it to the attention of the proper authorities. In case it comes from outer space.<\/dialogue>\n    <scene_description>General Gibson examines the assembly. He muses:<\/scene_description>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>It might be from space, or it might be from earth. Impossible to tell.<\/dialogue>\n    <parenthetical>(to the executive)<\/parenthetical>\n    <dialogue>What do you think?<\/dialogue>\n    <character>EXECUTIVE<\/character>\n    <dialogue>No idea.<\/dialogue>\n    <character>GENERAL GIBSON<\/character>\n    <parenthetical>(to the aide-de-camp)<\/parenthetical>\n    <dialogue>Put it in a box and mark it: \"unknown.\"<\/dialogue>\n    <character>AIDE-DE-CAMP<\/character>\n    <dialogue>Yes, sir. Like we always do.<\/dialogue>\n    <scene_description>Dr. Hickenlooper looks at General Gibson and the executive, skeptical. She continues her address (now eating corn chips as she speaks):<\/scene_description>\n    <character>DR. HICKENLOOPER<\/character>\n    <dialogue>After that, I said something like, \"Boy, aren't these just luminously marvelous colors?\" Then I warned everybody not to look right at it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY. NIGHT<\/stage_direction>\n    <scene_description>After dark. The middle of the town, quiet and empty. A guard sits in a chair in front of the telephone booth. A sign on a barricade behind him reads: Public Telephone Service Suspended Official Use Only by order of the United States Military-science Research and Experimentation Division The night wind blows gently. Moths flutter under a roadside lamp. Clifford saunters out of the dimness, practicing his yo- yo. (His face and hands are now covered with numerous, tiny bandages.) He approaches the guard and smiles.<\/scene_description>\n    <character>CLIFFORD<\/character>\n    <dialogue>Evening, Chief.<\/dialogue>\n    <scene_description>The guard nods, blank. Clifford finishes an offhand trick then pockets his yo-yo.<\/scene_description>\n    <character>CLIFFORD<\/character>\n    <dialogue>Can I ask you to stick this dime in the payphone for me, please?<\/dialogue>\n    <scene_description>Clifford holds out a dime. The guard answers, stony:<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>All public telephone service has been suspended until further notice.<\/dialogue>\n    <character>CLIFFORD<\/character>\n    <dialogue>I know it. The thing is: right before the hubbub yesterday, I made a trunk call to my cousin (long distance), and the<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <character>CLIFFORD<\/character>\n    <dialogue>operator let me owe the surcharge because all I had was three pennies. I don't feel right stealing from the telephone company.<\/dialogue>\n    <scene_description>Silence. The guard shrugs. He takes the dime, unlocks\/opens a special triple-latch on the door of the telephone booth, and reaches inside to slip the dime into its slot. The dime clinks. The payphone clacks. The guard closes the door and re-locks it. Camera booms up: through the roof of the little booth, diagonally along the telephone line up to the top of a nearby utility pole, horizontally across the parking area and motor court gardens -- to a jerry-rigged junction spliced with clamps, clips, and electrical tape which branches off and descends down (via what appears to be a pair of automobile jumper cables) into Tent #7. The exterior wall of the tent dissolves away to reveal, inside: a tidy, canvas motel room on a wooden platform floor with braided rugs. It is furnished exactly as the surrounding cabins. Ricky, wearing a radio headset, listens at a complicated, improvised telecommunications console. Woodrow, Dinah, and Shelly sit beside him, waiting. Woodrow and Dinah are in mid- conversation, animated:<\/scene_description>\n    <character>DINAH<\/character>\n    <dialogue>Although it might convey a different meaning on his planet.<\/dialogue>\n    <character>WOODROW<\/character>\n    <dialogue>That's true -- if he even has a planet, by the way! He might be nomadic?<\/dialogue>\n    <scene_description>Dinah considers this. Ricky's eyes light up. He holds up his finger for silence.<\/scene_description>\n    <character>RICKY<\/character>\n    <dialogue>Operator? Kismet-nine, seven-seven-oh. Station to station. Thank you.<\/dialogue>\n    <scene_description>Clifford pokes his head through the tent flap. Ricky looks at him and nods. Clifford slips inside. SPLIT-SCREEN: On one side: Ricky with the others in the tent. On the other side: a telephone rings in a suburban kitchen. A carefully coiffed and made-up mother, svelte in a stylish dress and apron, dries her hands on a dishtowel as she picks up the receiver and answers, a bit sharp:<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>Hello? Who's calling?<\/dialogue>\n    <character>RICKY<\/character>\n    <dialogue>Good evening, Mrs. Weatherford. It's Ricky Cho. May I have a word with --<\/dialogue>\n    <character>MOTHER<\/character>\n    <parenthetical>(checking her watch)<\/parenthetical>\n    <dialogue>It's after nine, Ricky. He's already drinking his Ovaltine. Can't this wait until tomorrow?<\/dialogue>\n    <character>RICKY<\/character>\n    <parenthetical>(unfortunately)<\/parenthetical>\n    <dialogue>I'm afraid not, Mrs. Weatherford. I wouldn't disturb you if it weren't of the utmost importance to the Weekly Bobcat. I just need a minute of his time.<\/dialogue>\n    <character>MOTHER<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>All right, Ricky. Hold the line.<\/dialogue>\n    <scene_description>The mother exits. Ricky looks to his colleagues; Clifford distributes Raisinets; Shelly asks Woodrow and Dinah (a bit blunt):<\/scene_description>\n    <character>SHELLY<\/character>\n    <dialogue>Some kind of romance between the two of you?<\/dialogue>\n    <scene_description>Woodrow turns bright red again. He says:<\/scene_description>\n    <character>WOODROW<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>SHELLY<\/character>\n    <dialogue>Who. You.<\/dialogue>\n    <character>DINAH<\/character>\n    <parenthetical>(coolly)<\/parenthetical>\n    <dialogue>Who?<\/dialogue>\n    <character>SHELLY<\/character>\n    <dialogue>(louder)<\/dialogue>\n    <character>WOODROW<\/character>\n    <dialogue>(flustered)<\/dialogue>\n    <scene_description>You know who! Us?<\/scene_description>\n    <character>DINAH<\/character>\n    <parenthetical>(evenly)<\/parenthetical>\n    <dialogue>We only met yesterday.<\/dialogue>\n    <character>WOODROW<\/character>\n    <parenthetical>(mortified)<\/parenthetical>\n    <dialogue>I feel she doesn't like me in that way.<\/dialogue>\n    <scene_description>Dinah looks at Woodrow briefly, calm. Woodrow takes a deep breath. Shelly concludes:<\/scene_description>\n    <character>SHELLY<\/character>\n    <dialogue>Uh-huh. Well, I think you're pretty smart, but I think you're pretty dumb.<\/dialogue>\n    <scene_description>In the meantime: a sleepy boy in pajamas and a tartan bathrobe enters the kitchen (sipping a glass of warm\/chocolatey milk with a straw) and picks up the receiver:<\/scene_description>\n    <character>SLEEPY BOY<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>RICKY<\/character>\n    <parenthetical>(to the others:)<\/parenthetical>\n    <dialogue>Shh!<\/dialogue>\n    <parenthetical>(to the sleepy boy:)<\/parenthetical>\n    <dialogue>Skip? Ricky. We got a scoop.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TELEVISION STUDIO. DAY<\/stage_direction>\n    <scene_description>Black and white. The lights come up on another set: a rehearsal space in a converted cast-iron building (formerly a garment factory). Sprung wooden floor, low platform stage, pressed tin ceiling. One wall of expansive windows looks out at a painted theatrical background depicting an elevated train station platform; another wall is fully mirrored like a dance studio. Wooden chairs seat twenty students, aged twenty-five to forty, well-dressed in jackets with neckties and skirts with scarves. Some smoke cigarettes. One of them is the host. He turns briefly to address camera:<\/scene_description>\n    <character>HOST<\/character>\n    <dialogue>The first hints of the future existence of \"Asteroid City\" were revealed during a special seminar scheduled at the playwright's request.<\/dialogue>\n    <scene_description>The teacher\/guru, shoeless in a narrow suit of Communist origin, bright-eyed and commanding, sits perched on a threadbare but comfortable settee. He begins (in faintly mittel-Europa accent):<\/scene_description>\n    <character>TEACHER<\/character>\n    <dialogue>Conrad Earp: how can we help you?<\/dialogue>\n    <scene_description>The playwright, seated on the stage alone, answers, hopeful:<\/scene_description>\n    <character>PLAYWRIGHT<\/character>\n    <dialogue>Well, the thing is, Saltzie: I'd like to make a scene where all my characters are each gently\/privately seduced into the<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <character>PLAYWRIGHT<\/character>\n    <dialogue>deepest, dreamiest slumber of their lives as a result of their shared experience of a bewildering and bedazzling celestial mystery --<\/dialogue>\n    <character>TEACHER<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>A sleeping scene.<\/dialogue>\n    <character>PLAYWRIGHT<\/character>\n    <parenthetical>(reluctantly clarifying)<\/parenthetical>\n    <dialogue>A scene of sleeping -- but I don't know how to write it!<\/dialogue>\n    <character>TEACHER<\/character>\n    <dialogue>Yet.<\/dialogue>\n    <character>PLAYWRIGHT<\/character>\n    <dialogue>Yet. I thought, perhaps, if you and your wonderfully talented pupils just improvise? Something might reveal itself.<\/dialogue>\n    <scene_description>The host stands up and moves among the students as he continues his narration:<\/scene_description>\n    <character>HOST<\/character>\n    <dialogue>Who wasn't going to be famous? On any given day: roll-call in Saltzburg Keitel's classroom was a now-dazzling list of undiscovered luminaries:<\/dialogue>\n    <scene_description>The host points out various notable figures: the actor who plays Roger, the actress who plays Shelly, the actor who plays the mechanic, the actor who plays Montana, the actress who plays Midge -- and (behind them all, in the corner of the back row, seated on the floor, near the door) the actor who plays Augie.<\/scene_description>\n    <character>HOST<\/character>\n    <dialogue>Linus Mao, Lucretia Shaver, Walter Geronimo, Asquith Eden, Mercedes Ford. Even, unofficially: Jones Hall.<\/dialogue>\n    <scene_description>The actor who plays Roger raises his hand to ask:<\/scene_description>\n    <character>ACTOR\/ROGER<\/character>\n    <dialogue>What's it about? The play.<\/dialogue>\n    <character>PLAYWRIGHT<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Infinity, and I don't know what else.<\/dialogue>\n    <scene_description>The actress who plays Shelly chimes in:<\/scene_description>\n    <character>ACTRESS\/SHELLY<\/character>\n    <dialogue>Is there a title?<\/dialogue>\n    <character>PLAYWRIGHT<\/character>\n    <dialogue>I'm torn. Perhaps: \"The Cosmic Wilderness.\" Do you like that one?<\/dialogue>\n    <character>ACTRESS\/MIDGE<\/character>\n    <dialogue>Not really.<\/dialogue>\n    <scene_description>The room echoes in agreement. The actor who plays Montana asks (in an English accent):<\/scene_description>\n    <character>ACTOR\/MONTANA<\/character>\n    <dialogue>What's the other? Title, I mean.<\/dialogue>\n    <character>PLAYWRIGHT<\/character>\n    <dialogue>It's the name of the small town on the California\/Nevada\/Arizona desert where the story takes place.<\/dialogue>\n    <scene_description>The teacher rises from his settee and begins to prowl the stage, ruminating. He demands:<\/scene_description>\n    <character>TEACHER<\/character>\n    <dialogue>Who here has fallen asleep ever onstage during a live performance? In front of a paying audience.<\/dialogue>\n    <scene_description>A voice answers from an unseen corner of the room:<\/scene_description>\n    <character>DIRECTOR (O.S.)<\/character>\n    <dialogue>Me.<\/dialogue>\n    <scene_description>The teacher and his students all turn to see: the director. The director smiles slyly. So does the teacher. Students whisper.<\/scene_description>\n    <character>DIRECTOR<\/character>\n    <dialogue>I spent the first three-quarters of Act II of \"The Welterweight\" on a massage table with no lines until the last minute and a half. One night, I nodded off.<\/dialogue>\n    <character>TEACHER<\/character>\n    <dialogue>On purpose? You did this.<\/dialogue>\n    <character>DIRECTOR<\/character>\n    <parenthetical>(absolutely not)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <character>TEACHER<\/character>\n    <dialogue>Did you miss your cue?<\/dialogue>\n    <character>DIRECTOR<\/character>\n    <dialogue>Almost. I heard it, and I woke up (very scared) -- but I knew my lines.<\/dialogue>\n    <scene_description>Silence. The teacher tips an imaginary hat.<\/scene_description>\n    <character>TEACHER<\/character>\n    <dialogue>Good morning, Schubert.<\/dialogue>\n    <character>DIRECTOR<\/character>\n    <dialogue>Good morning, Saltzie.<\/dialogue>\n    <character>TEACHER<\/character>\n    <dialogue>What brings you here today? Haven't seen you in six weeks.<\/dialogue>\n    <character>DIRECTOR<\/character>\n    <dialogue>\"Lavender and Lemons\" opened last night (to very good, I might say, raves, by the way). I'm available.<\/dialogue>\n    <scene_description>Both the teacher and the director now look significantly to the playwright: available. The director says quietly:<\/scene_description>\n    <character>DIRECTOR<\/character>\n    <dialogue>Hello, Connie.<\/dialogue>\n    <scene_description>The playwright nods, demure and pleased. The host, now behind\/beside the teacher, director, and playwright, interjects:<\/scene_description>\n    <character>HOST<\/character>\n    <dialogue>What did he teach? Example:<\/dialogue>\n    <character>TEACHER<\/character>\n    <dialogue>Sleep: is not death. The body keeps busy (breathing air, pumping blood, thinking). Maybe you pay visit to your dead mother. Maybe you go to bed with ex-wife. Or husband! Maybe you climb the Matterhorn. Connie: you wake up with new scene three- quarters written in the head already. Schubert: you wake up with a hangover. Important things happen. Is there something to play? I think so. Let's work on scene from the outside in: be inert -- then dream.<\/dialogue>\n    <scene_description>On cue: the students all go inert -- then dream: yawning, snoring, sleepwalking\/sleeptalking, tossing and turning, singing a lullaby, thumbsucking with a security blanket, etc. The teacher turns to the playwright and says, shouting over the din:<\/scene_description>\n    <character>TEACHER<\/character>\n    <dialogue>Where are we, Connie? And when. Talk to us!<\/dialogue>\n    <character>PLAYWRIGHT<\/character>\n    <parenthetical>(startled)<\/parenthetical>\n    <dialogue>All right.<\/dialogue>\n    <scene_description>As the playwright speaks, the lights begin to slowly fade -- leaving him alone, spotlit in the darkness:<\/scene_description>\n    <character>PLAYWRIGHT<\/character>\n    <dialogue>One week later. Our cast of characters' already tenuous grasp of reality has further slipped in quarantine, and the group begins to occupy a space of the most peculiar emotional dimensions. Meanwhile: the information blockade spearheaded by General Grif Gibson has been, it appears, incomplete...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY. DAY<\/stage_direction>\n    <scene_description>Widescreen\/color. In all directions encircling the town: an ambush of press and public (beyond\/outside the military barricades). Television crews; radio reporters; newspapermen and women; visitors by the dozen with picnic baskets and transistor radios; vendors selling popcorn, toy meteorites, and postcards of a crude but generally accurate rendering of the alien with the meteorite tucked under his arm (evidently based on Ricky's description). Parked cars, trucks, and vans everywhere. Campers camping. A Ferris wheel. An arriving passenger train bannered \"Asteroid City Alien Special\" jammed with tourists leaning out windows and clambering down from doors -- among them a newsboy carrying a stack of papers. He shouts:<\/scene_description>\n    <character>NEWSBOY<\/character>\n    <dialogue>Extra! Extra! Late Edition!<\/dialogue>\n    <scene_description>INSERT: The front page of a daily newspaper (The Arid Plains Desert Post). Headline: \"High School Student Breaks Alien Invasion Story: Exposes Military Cover-up.\" A sidebar begins: \"Junior Stargazer, Ace Reporter: Ricky Cho (of the Coldcreek High School Weekly Bobcat).\" Augie's photograph of the alien is top\/center with a caption: Augie Steenbeck\/French Press International.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OBSERVATORY. DAY<\/stage_direction>\n    <scene_description>The classroom. General Gibson sits, as before, at the table in front. Ricky, in a school desk, faces him. Also present: Roger, the business executive, two guards. (Tacked to the wall: numerous photographs of the alien's footprints.) General Gibson is offended, disappointed, angry:<\/scene_description>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>I hope you're aware: you and your accomplices may still face felony prosecution. Possibly, even, a treason charge.<\/dialogue>\n    <character>RICKY<\/character>\n    <parenthetical>(unfazed)<\/parenthetical>\n    <dialogue>I'll fight it all the way to the Supreme Court, if necessary -- and win.<\/dialogue>\n    <scene_description>The door opens, and the aide-de-camp enters to deliver a yellow envelope to General Gibson.<\/scene_description>\n    <character>AIDE-DE-CAMP<\/character>\n    <dialogue>This just in: from the president.<\/dialogue>\n    <scene_description>General Gibson tears open the envelope. He speed-reads a telegram. He tosses papers fluttering into the air as he groans, wounded:<\/scene_description>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>He's furious. Thanks, Ricky.<\/dialogue>\n    <character>ROGER<\/character>\n    <parenthetical>(sympathetic)<\/parenthetical>\n    <dialogue>I don't know what to say, General Gibson. I'm sorry.<\/dialogue>\n    <character>RICKY<\/character>\n    <dialogue>Don't apologize, Dad. The public has a right to the truth.<\/dialogue>\n    <character>ROGER<\/character>\n    <parenthetical>(gently)<\/parenthetical>\n    <dialogue>You made your point.<\/dialogue>\n    <character>RICKY<\/character>\n    <parenthetical>(shouting)<\/parenthetical>\n    <dialogue>This tribunal is a mockery!<\/dialogue>\n    <scene_description>Ricky strides to the door, father in tow. The business executive inquires, aside, to General Gibson:<\/scene_description>\n    <character>EXECUTIVE<\/character>\n    <dialogue>What about Steenbeck? Who took the photograph. It's on the front page of every newspaper on the planet. Can't we arrest him, as well?<\/dialogue>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>Unfortunately, no. He dropped a print in the mail (to his photo-agency) first thing Tuesday morning, and the postman got it before we did. He's innocent. Supposedly, he did a nude of Midge Campbell, too.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT. DAY<\/stage_direction>\n    <scene_description>An improvised shooting range behind the luncheonette. A barrage of machine-gun bullets rips into a row of paper targets (adapted from Augie's alien photograph) pinned to a bank of hay bales, shredding them. A dozen soldiers, flat on the ground in a row, quickly reload. One of them (the guard from the telephone booth) notices something off-screen and frowns. A hundred yards away: a beer bottle catapults into the air. J.J. hoists Clifford's electromagnetic death-ray up to his shoulder and pulls the trigger, silently zapping the bottle into glowing dots which linger\/sizzle\/pop. J.J. recharges the death-ray while Sandy observes at his side. Stanley distributes fresh martinis from the cantina machine. (He retains another round in his free hand, clasped by a finger in each cup.)<\/scene_description>\n    <character>SANDY<\/character>\n    <dialogue>How long can they keep us in Asteroid City? Legally, I mean.<\/dialogue>\n    <character>J.J.<\/character>\n    <dialogue>Well, I'm not an attorney, but I'd say: \"As long as they like.\" I think we'd have to file an injunction and successfully argue the case. Six months to a year? Of course, we'd also initiate a civil suit for loss of income.<\/dialogue>\n    <character>STANLEY<\/character>\n    <parenthetical>(pleasantly)<\/parenthetical>\n    <dialogue>Maybe we should just walk out right now. I'm not sure they can stop us. Without killing somebody.<\/dialogue>\n    <character>J.J.<\/character>\n    <dialogue>Interesting idea. What kind of mileage you think that jet pack gets?<\/dialogue>\n    <character>SANDY<\/character>\n    <parenthetical>(taking the death-ray)<\/parenthetical>\n    <dialogue>Ask Roger (or his son). Apparently, he's being prosecuted for revealing state secrets.<\/dialogue>\n    <character>J.J.<\/character>\n    <parenthetical>(dismissive)<\/parenthetical>\n    <dialogue>They'll never make it stick.<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>I'm in no hurry. I like the desert. I like aliens.<\/dialogue>\n    <scene_description>J.J. places another beer bottle into the launcher and catapults it. Sandy aims the death-ray -- but an off-screen voice interrupts brusquely:<\/scene_description>\n    <character>GUARD (O.S.)<\/character>\n    <dialogue>How'd you get that back?<\/dialogue>\n    <scene_description>J.J., Sandy, and Stanley turn suddenly, startled. (The bottle falls to the ground, unzapped, and shatters.) The telephone booth guard (still armed for target practice) stands behind the group. J.J. retrieves the death-ray from Sandy, possessive.<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>The projects remain under secure lockdown. No Stargazer is permitted personal access without the express permission --<\/dialogue>\n    <character>J.J.<\/character>\n    <parenthetical>(righteous)<\/parenthetical>\n    <dialogue>My son invented this death-ray.<\/dialogue>\n    <character>GUARD<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>That may be true; but my orders --<\/dialogue>\n    <scene_description>The guard reaches toward the death-ray. J.J. swings up the nose of the device.<\/scene_description>\n    <character>J.J.<\/character>\n    <dialogue>Step back!<\/dialogue>\n    <character>STANLEY<\/character>\n    <parenthetical>(concerned\/bemused)<\/parenthetical>\n    <dialogue>Easy, fellas. We're not in Guadalcanal anymore.<\/dialogue>\n    <scene_description>The aide-de-camp jogs briskly from another direction to intervene. He carries a military-issue handheld two-way radio. He says soothingly:<\/scene_description>\n    <character>AIDE-DE-CAMP<\/character>\n    <dialogue>OK! Calm down, please. Everybody. It's been a difficult quarantine.<\/dialogue>\n    <scene_description>J.J. and the guard are now pointing their weapons at each other, point-blank. They shout\/scream:<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>You stole your projects!<\/dialogue>\n    <character>J.J.<\/character>\n    <dialogue>I'll zap you right now!<\/dialogue>\n    <scene_description>The aide-de-camp's radio crackles: \"Stand down!\" The aide-de- camp nods and says sharply to the guard:<\/scene_description>\n    <character>AIDE-DE-CAMP<\/character>\n    <dialogue>Stand down! You see? General Gibson says, \"Stand down.\" We'll re-confiscate the projects at a later time. Probably after dinner.<\/dialogue>\n    <character>J.J.<\/character>\n    <parenthetical>(grimly)<\/parenthetical>\n    <dialogue>Try it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL CABINS #9\/10. DAY<\/stage_direction>\n    <scene_description>Cabin #10: Augie's roller-blind zings open once again as he wiggles\/fans another damp print. (Hanging from clothespins behind him: a print of the Steenbeck family station wagon on blocks.) He says loudly without looking:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>This was on an old roll I forgot to develop in the glove box.<\/dialogue>\n    <scene_description>Augie reverses the photograph to show: himself in a smoky\/misty jungle, hair matted with blood, more blood caked black on the side of his neck, puffing his pipe, holding up a bloody\/twisty metal shard.<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>\"Self-portrait with Shrapnel.\"<\/dialogue>\n    <scene_description>As he hangs the print Augie finally sees in Cabin #9, across the driveway: Midge, lifeless in an overflowing bathtub with an empty bottle of sleeping pills spilled all over the floor. Augie freezes, squints, and stares. Midge says motionless, eyes closed, mascara streaked:<\/scene_description>\n    <character>MIDGE<\/character>\n    <dialogue>Do page forty-five.<\/dialogue>\n    <scene_description>Augie hesitates. He disappears briefly -- then returns holding a copy of Midge's script. He sits and reads out loud:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>\"What've you done? How could you?\"<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>It says, \"shouting and crying.\"<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>Uh-huh.<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>So shout and cry.<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(shouting\/crying)<\/parenthetical>\n    <dialogue>\"How could you!<\/dialogue>\n    <character>MIDGE<\/character>\n    <parenthetical>(evenly)<\/parenthetical>\n    <dialogue>How couldn't I?<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(stupefied)<\/parenthetical>\n    <dialogue>How -- couldn't -- you?<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>That's what I'm asking.<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(wounded)<\/parenthetical>\n    <dialogue>It was over. Already. You were free. What's the point of committing suicide when there's nothing left to escape?<\/dialogue>\n    <character>MIDGE<\/character>\n    <parenthetical>(opening her eyes)<\/parenthetical>\n    <dialogue>Maybe that was the problem all along.\"<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(out of character)<\/parenthetical>\n    <dialogue>Now it says I smash everything off the shelf.<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>So smash everything off the --<\/dialogue>\n    <scene_description>Augie makes shattering\/crashing sounds and bashes imaginary plates and vases off imaginary shelves in every direction, enraged. He reels back to Midge and says, baffled:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>\"Such a sickening waste. Think of the people. Think of the places. Think of the --\"<\/dialogue>\n    <character>MIDGE<\/character>\n    <parenthetical>(directing)<\/parenthetical>\n    <dialogue>Use your grief.<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(stiffening)<\/parenthetical>\n    <dialogue>For a rehearsal? I'm not even in this picture. I'm a war photographer.<\/dialogue>\n    <scene_description>Midge shrugs. Long pause. Augie tries again, crushed\/ heartbroken -- and improved:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>\"Such a sickening waste. Think of the people. Think of the places. Think of the world you could've seen, Dolores.<\/dialogue>\n    <character>MIDGE<\/character>\n    <parenthetical>(inevitably)<\/parenthetical>\n    <dialogue>I've already seen it.\"<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(out of character)<\/parenthetical>\n    <dialogue>Is she a ghost?<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>It's not clear.<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(skimming\/paraphrasing)<\/parenthetical>\n    <dialogue>Then the coroner comes in. Orders me out of the room. I slowly turn away and close the door. Scene. My sandwich is burning.<\/dialogue>\n    <scene_description>Augie stands up and exits the bathroom. Camera dollies to the next window to reveal Augie forking a grilled cheese from a hot plate on the table. Midge enters her own bedroom (opposing window), wrapping her dressing gown around her as she sits. She says, suddenly tense:<\/scene_description>\n    <character>MIDGE<\/character>\n    <dialogue>My daughter saw us.<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(alarmed)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>Dinah saw us. Through this window. In your bedroom yesterday.<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(resourceful)<\/parenthetical>\n    <dialogue>Did you tell her we were rehearsing again?<\/dialogue>\n    <character>MIDGE<\/character>\n    <parenthetical>(regretful)<\/parenthetical>\n    <dialogue>I didn't think of that. I should've. Now it's too late, because I admitted everything.<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(short pause, uneasy)<\/parenthetical>\n    <dialogue>Did she tell Woodrow?<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>Hard to say. She can keep a secret. I don't know if she will.<\/dialogue>\n    <scene_description>Augie and Midge simultaneously look away and sigh. Midge begins to carefully funnel sleeping pills back into their bottle. She says quietly:<\/scene_description>\n    <character>MIDGE<\/character>\n    <dialogue>This isn't the beginning of something, Augie.<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Isn't it?<\/dialogue>\n    <character>MIDGE<\/character>\n    <parenthetical>(surprised)<\/parenthetical>\n    <dialogue>Is it?<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(resigned)<\/parenthetical>\n    <dialogue>Probably not.<\/dialogue>\n    <scene_description>Another pause. Then, simultaneously:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>(hopeful\/desperate)<\/dialogue>\n    <character>MIDGE<\/character>\n    <dialogue>(hopeful\/affectionate)<\/dialogue>\n    <scene_description>Although you never know. Unless maybe it is? Augie and Midge stare at each other. Augie says oddly:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>I don't like the way that guy looked at us.<\/dialogue>\n    <character>MIDGE<\/character>\n    <parenthetical>(not following)<\/parenthetical>\n    <dialogue>Which guy?<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>The alien.<\/dialogue>\n    <character>MIDGE<\/character>\n    <parenthetical>(surprised)<\/parenthetical>\n    <dialogue>Oh. How'd he --<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>Like we're doomed.<\/dialogue>\n    <scene_description>A beat. Augie looks down to: INSERT: The electric hot plate (patterned with diagonal zig-zag lightning bolts). Brand: \"Quicky-Griddle.\" Augie slaps down his palm on the burner. He yelps and jerks his hand away. Midge frowns.<\/scene_description>\n    <character>MIDGE<\/character>\n    <dialogue>What'd you just do?<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(frozen)<\/parenthetical>\n    <dialogue>I burned my hand on the Quicky-Griddle.<\/dialogue>\n    <character>MIDGE<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>Why?<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>It's not clear.<\/dialogue>\n    <character>MIDGE<\/character>\n    <parenthetical>(deeply perplexed)<\/parenthetical>\n    <dialogue>Show me.<\/dialogue>\n    <scene_description>Augie holds up his hand. The palm is seared with griddled lightning bolts. Midge looks shocked.<\/scene_description>\n    <character>MIDGE<\/character>\n    <dialogue>You really did it! That actually happened.<\/dialogue>\n    <scene_description>Augie looks at his hand, bewildered. He frowns.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOTEL GARDEN. DAY<\/stage_direction>\n    <scene_description>The schoolchildren sit, once again, at their picnic table. June (now wearing slightly more make-up than usual, with one extra blouse button unbuttoned and her hair looser, in waves) stands next to her blackboard which is still illustrated with the colorful solar system and now includes numerous moons and detailed size\/distance\/mass measurements. The two chaperones remain uneasy. The motel gardener\/handyman studies a user's manual and tinkers with pliers and screwdrivers behind a large cabinet housing a tiny television screen (tuned to static) situated on a rolling cart. Adjacent: a pedestal-mounted television camera. June begins:<\/scene_description>\n    <character>JUNE<\/character>\n    <dialogue>As you know, boys and girls, your parents arrived late last night by military helicopter. They've been sequestered in that metal hut over there --<\/dialogue>\n    <scene_description>June points to, just outside the town perimeter\/barricades, between throngs of festive visitors: a mobile Quonset hut with a Sikorsky helicopter parked next to it.<\/scene_description>\n    <character>JUNE<\/character>\n    <dialogue>-- for the past several hours while the government scientists explain the situation to them (although everything's already in the newspapers). It's my understanding they're about to go onto this closed-circuit television set? At any moment.<\/dialogue>\n    <character>GARDENER\/HANDYMAN<\/character>\n    <dialogue>Everything's connected, but nothing's working.<\/dialogue>\n    <scene_description>The gardener\/handyman continues to tinker. June continues:<\/scene_description>\n    <character>JUNE<\/character>\n    <dialogue>Let's carry on with the lesson plan, then. Jupiter:<\/dialogue>\n    <parenthetical>(reluctantly)<\/parenthetical>\n    <dialogue>Billy?<\/dialogue>\n    <scene_description>The freckled boy has raised his hand. He blurts:<\/scene_description>\n    <character>FRECKLED BOY<\/character>\n    <dialogue>I did the alien's flying saucer with a hubcap and a chicken pot pie tin.<\/dialogue>\n    <scene_description>The freckled boy displays an intricately constructed scale model of the alien's spacecraft (employing toothpicks, paperclips, sequins, glitter, pipe cleaners, and cotton ball smoke). A critical\/appreciative murmur among the other schoolchildren.<\/scene_description>\n    <character>JUNE<\/character>\n    <dialogue>Good work. Very accurate. Fifth planet from the sun, largest in our solar system, Jupiter --<\/dialogue>\n    <parenthetical>(reluctantly)<\/parenthetical>\n    <dialogue>Bernice?<\/dialogue>\n    <scene_description>The girl with curly red hair has raised her hand. She blurts:<\/scene_description>\n    <character>CURLY-HAIRED GIRL<\/character>\n    <dialogue>I did the alien on his home planet.<\/dialogue>\n    <scene_description>The curly-haired girl displays a crayon drawing of the alien (in thinker-pose, mysteriously smiling) perched on a rock in front of a futuristic mansion in a barren desert. Another critical\/appreciative murmur.<\/scene_description>\n    <character>JUNE<\/character>\n    <dialogue>Well done. How wonderful. Due to extreme atmospheric conditions, an anticyclonic storm has raged on Jupiter's surface for over --<\/dialogue>\n    <parenthetical>(reluctantly)<\/parenthetical>\n    <dialogue>Dwight?<\/dialogue>\n    <scene_description>The boy with the cowlick has raised his hand. He blurts:<\/scene_description>\n    <character>BOY WITH COWLICK<\/character>\n    <dialogue>I wrote a song about him.<\/dialogue>\n    <scene_description>The boy with the cowlick displays a wide-ruled sheet of pencilled lyrics. June hesitates, uneasy.<\/scene_description>\n    <character>JUNE<\/character>\n    <dialogue>Oh. Um. This may not be the time for a musical performance. Let's --<\/dialogue>\n    <parenthetical>(surprised)<\/parenthetical>\n    <dialogue>Yes, Montana?<\/dialogue>\n    <scene_description>Montana appears next to June (again), tuning a rattly lap-steel guitar as the entire posse of other cowboys and ranch hands filters into formation behind him, briskly arranging several hay bales and tuning their own instruments. The boy with the cowlick steps in front. Montana explains:<\/scene_description>\n    <character>MONTANA<\/character>\n    <dialogue>Pardon th' interuption, June. The boys and I heard ol' Dwight was scribblin' up a little warble, so we learned ourselves to play it.<\/dialogue>\n    <scene_description>The group launches directly into a haunting western chant with ominous, plucked accompaniment. The boy with the cowlick steeples his hands as if in prayer and sings:<\/scene_description>\n    <character>BOY WITH COWLICK<\/character>\n    <dialogue>Dear alien, who art in heaven, Lean and skinny, 'bout six-foot-seven; Though we know ye ain't our brother: Are you friend or foe (or other)?<\/dialogue>\n    <scene_description>The chorus brings the song instantly into the upbeat skiffle\/rodeo genre with full country orchestration and the entire posse singing in unison (in three octaves):<\/scene_description>\n    <character>CHORUS<\/character>\n    <dialogue>Hop on one foot, Skip on two; Dance the Spaceman, Howdly-do! Bounce on four foot, Spring on three; Let's be Spacemen,<\/dialogue>\n    <parenthetical>(in twelve-part harmony:)<\/parenthetical>\n    <dialogue>Howdly-dee!<\/dialogue>\n    <scene_description>The children, ecstatic, clap and bounce with the joyful music. Montana sets aside his lap-steel, hops over to June, takes her hand, and pulls her into a dance while the other musicians (and, now, the gardener\/handyman, as well) continue to play a round of exquisite\/repeated \"Howdly-dees!\" with whoops and stomps etc. June, caught off-guard, laughs as Montana swings her in a circle. Unobserved on the T.V. set: the parents (clustered together inside a small hangar, hot, haggard, weary, unkempt, slightly terrified) have finally been connected. They watch, mystified. (NOTE: the lyric \"or other\" might, perhaps, be sung by one of the ranch hands in extreme, deepest basso profondo.)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOTEL CABIN #7. DAY<\/stage_direction>\n    <scene_description>The five teenagers sit together (once again) in a circle on the ground between the burned ruins and the canvas tent. One of the radio telescopes from the field outside the observatory has been relocated into the immediate background. It spins quietly in its familiar manner. As Dinah lists names (periodically pointing to Ricky, Clifford, and\/or Shelly as \"out\"), Dr. Hickenlooper appears (unnoticed) behind them. She inspects the radio telescope, surprised\/irritated. She watches the game briefly. (NOTE: Woodrow and Dinah, the only players not \"out,\" stare only at each other during the game. The other participants look back and forth between them, invested in the outcome of the competition -- but also intrigued by the noticeable chemistry in the air. Clifford performs an occasional yo-yo trick.)<\/scene_description>\n    <character>DINAH<\/character>\n    <dialogue>-- Tab Hunter, Doris Day, out, Jack the Ripper, out, Bing Crosby, Shirley Temple, out, out, Orson Welles, Lucille Ball, out, Marlon Brando, out, Queen Elizabeth, Mickey Mantle, out, out, Yul Bryner, Louis Armstrong, out, Lana Turner, out --<\/dialogue>\n    <scene_description>Dr. Hickenlooper follows a low, suspended electrical cable into the tent. Camera dollies with her to reveal: a much-expanded array of sophisticated gadgetry and wiring (humming, blinking, beeping) which now fills the entire space beyond its capacity. (Dinah's plant-growing device appears to have cultivated a beanstalk which extends out through a hole in the roof of the tent.) Dr. Hickenlooper shakes her head. She returns to the group while Dinah continues:<\/scene_description>\n    <character>DINAH<\/character>\n    <dialogue>-- Betty Grable, Ella Fitzgerald, out, out, Rock Hudson, out, Jerry Lewis, out, out --<\/dialogue>\n    <character>DR. HICKENLOOPER<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>Who's responsible for stealing my radio telescope, my signal-processing receiver, and my entire spectrographical monitoring network?<\/dialogue>\n    <scene_description>The five startled teenagers look to each other, worried. Woodrow answers:<\/scene_description>\n    <character>WOODROW<\/character>\n    <dialogue>We're trying to contact the alien.<\/dialogue>\n    <scene_description>Dr. Hickenlooper struggles to convey the depths of her profoundly wounded annoyance as she responds:<\/scene_description>\n    <character>DR. HICKENLOOPER<\/character>\n    <dialogue>I appreciate that -- but what about Dr. Hickenlooper? I personally designed most of this equipment. I lobbied for congressional support. I cultivated dubious relationships in the private sector (a necessary compromise). Plus: I sit up there in my observatory every night. Watching and listening. If you're trying to contact the alien: include me!<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Did you hear anything from him? So far.<\/dialogue>\n    <character>WOODROW<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Dr. Hickenlooper scoffs: \"Ha.\" She motions with a thumb back towards the tent:<\/scene_description>\n    <character>DR. HICKENLOOPER<\/character>\n    <dialogue>The squiggle control is disabled, by the way.<\/dialogue>\n    <character>RICKY<\/character>\n    <parenthetical>(speculating)<\/parenthetical>\n    <dialogue>We thought that might reduce resistance in the secondary circuit.<\/dialogue>\n    <character>DR. HICKENLOOPER<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I doubt it. If you want to borrow my stuff, ask first. What's all this?<\/dialogue>\n    <scene_description>Dr. Hickenlooper points. Camera pans slightly to reveal a bulletin board displaying a large concept-drawing which depicts the moon with the American flag projected onto it; and, thumb- tacked around it, alternative symbols: a cross, a Star of David, a pentagram, an eye, a pyramid, a yin\/yang, the Coca-Cola logo, and the photograph of Woodrow's mother. Woodrow explains:<\/scene_description>\n    <character>WOODROW<\/character>\n    <dialogue>I put the American flag just to be patriotic. Now we need to really mean something. A universal message. Not only to earthlings.<\/dialogue>\n    <character>RICKY<\/character>\n    <dialogue>We already thought of everything we could think of: a cross, a star, a four-leaf- clover; letters, numbers, hieroglyphics.<\/dialogue>\n    <character>DR. HICKENLOOPER<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>What's the point of projecting a star onto the moon?<\/dialogue>\n    <character>WOODROW<\/character>\n    <dialogue>Exactly.<\/dialogue>\n    <character>DR. HICKENLOOPER<\/character>\n    <dialogue>I ask that sincerely.<\/dialogue>\n    <character>SHELLY<\/character>\n    <parenthetical>(hopeful)<\/parenthetical>\n    <dialogue>How about \"E=mc2?\" I still think --<\/dialogue>\n    <character>DINAH<\/character>\n    <dialogue>They know that.<\/dialogue>\n    <character>CLIFFORD<\/character>\n    <dialogue>It's too easy.<\/dialogue>\n    <character>WOODROW<\/character>\n    <dialogue>This is our chance to be actually -- worthwhile. In our lifetimes.<\/dialogue>\n    <character>DR. HICKENLOOPER<\/character>\n    <parenthetical>(long pause)<\/parenthetical>\n    <dialogue>I see what you mean. Whose turn was it?<\/dialogue>\n    <character>DINAH<\/character>\n    <dialogue>The middle of mine. I better start over. Cleopatra, Jagadish Chandra Bose, Antonie van Leeuwenhoek, Paracelsus, Kurt G\u00f6del, William Henry Bragg, Lord Kelvin, Midge Campbell, Konstantin Tsiolkovsky --<\/dialogue>\n    <scene_description>As Dinah effortlessly continues down her list, Dr. Hickenlooper signals for Woodrow to join her, aside:<\/scene_description>\n    <character>DR. HICKENLOOPER<\/character>\n    <dialogue>A word, Woodrow. About the settings on the spectrograph. Note: the warning label indicates --<\/dialogue>\n    <scene_description>Woodrow follows Dr. Hickenlooper into the tent as she continues to pretend to study\/consult about the stolen gear:<\/scene_description>\n    <character>DR. HICKENLOOPER<\/character>\n    <dialogue>-- the risk of electrocution is sharply increased when --<\/dialogue>\n    <scene_description>Dr. Hickenlooper raises an eyebrow. She whispers with authority:<\/scene_description>\n    <character>DR. HICKENLOOPER<\/character>\n    <dialogue>It's all worthwhile. In your lifetime. This, I mean.<\/dialogue>\n    <scene_description>Dr. Hickenlooper refers to the jumble of scientific apparatus (and what it represents to her). Woodrow hesitates.<\/scene_description>\n    <character>WOODROW<\/character>\n    <dialogue>OK.<\/dialogue>\n    <character>DR. HICKENLOOPER<\/character>\n    <dialogue>Your curiosity is your most important asset. Trust it.<\/dialogue>\n    <character>DR. HICKENLOOPER<\/character>\n    <dialogue>Trust your curiosity.<\/dialogue>\n    <character>WOODROW<\/character>\n    <dialogue>OK.<\/dialogue>\n    <character>DR. HICKENLOOPER<\/character>\n    <dialogue>The resources of my lab will always be available to you. After this thing is over, I mean. You can sort of be my prot\u00e9g\u00e9, if you like.<\/dialogue>\n    <character>WOODROW<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Maybe we can prove the hypothesis of Celestial Flirtation (and get the math right, finally).<\/dialogue>\n    <character>DR. HICKENLOOPER<\/character>\n    <parenthetical>(touched)<\/parenthetical>\n    <dialogue>Let's try.<\/dialogue>\n    <character>WOODROW<\/character>\n    <parenthetical>(squinting)<\/parenthetical>\n    <dialogue>I think I see the dots. From space. Burned into your eyeballs.<\/dialogue>\n    <scene_description>Woodrow stares into Dr. Hickenlooper's eyes. Long pause.<\/scene_description>\n    <character>DR. HICKENLOOPER<\/character>\n    <dialogue>I'm sorry about your mother. I miss mine, too. She died forty-six years ago.<\/dialogue>\n    <character>WOODROW<\/character>\n    <parenthetical>(blankly)<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Tears stream down Woodrow's face again. Dr. Hickenlooper hugs him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOTEL OFFICE. EVENING<\/stage_direction>\n    <scene_description>The motel manager stands at the \"Deeds\" vending machine and makes his pitch to an off-screen customer:<\/scene_description>\n    <character>MOTEL MANAGER<\/character>\n    <dialogue>I've already petitioned the State Assembly to change the name of the town from \"Asteroid City\" to \"Alien Landing, U.S.A.\" This municipality might end up being the center of a vast community of -- Stargazers and Space Cadets. It's a historic offering.<\/dialogue>\n    <scene_description>CUT TO: The freckled boy cupping a handful of forty quarters. He bites his lip, weighing his options. His eyes wander to the candy machine.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. METEOR CRATER. EVENING<\/stage_direction>\n    <scene_description>The entire congregation has re-assembled once more at the bottom\/center of the impact crater. Folding chairs. American flag. Cameraman filming. \"Asteroid Day\" banner (a bit crumpled). The five Junior Stargazers' projects on display. The mechanic stands off to the side holding a small, cardboard box labeled \"Unknown.\" In the audience: Augie's hand is now carefully bandage-wrapped. At his lectern: General Gibson speaks.<\/scene_description>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>As you know, the \"Asteroid Day\" itinerary had to be suspended last week due to the factual reality of -- our circumstances. However: I have an announcement to make. Dr. Hickenlooper and the Military-science Research and Experimentation Division (in conjunction with the Larkings Foundation) have officially selected a recipient for this year's Hickenlooper Scholarship --<\/dialogue>\n    <parenthetical>(brief\/dramatic pause)<\/parenthetical>\n    <dialogue>-- and you're all going home. First thing tomorrow morning. The president has opted to lift the quarantine (by executive decree).<\/dialogue>\n    <scene_description>The group explodes into cheers, applause, hugs, tears. The aide- de-camp appears with the giant-sized $5,000 check. General Gibson says with uneasy warmth\/relief:<\/scene_description>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>I'd like to take this opportunity -- and, by the way, all of this year's projects (setting aside my own differences of opinion with Ricky Cho) --<\/dialogue>\n    <scene_description>General Gibson motions to Ricky, cool but respectful. Ricky nods, also respectful but also cool.<\/scene_description>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>-- were of the very highest calibre, without exception -- to formally declare and congratulate the winner of the 1955 Hickenlooper Scholarship --<\/dialogue>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>What's happening now?<\/dialogue>\n    <scene_description>Whispers and murmuring. Everyone has turned to watch: Woodrow, frozen, pointing to the \"date\" display\/scoreboard. He states ominously:<\/scene_description>\n    <character>WOODROW<\/character>\n    <dialogue>It's today again.<\/dialogue>\n    <scene_description>Dr. Hickenlooper frowns. Suddenly: the congregation is illuminated in the familiar green light. They all look up. The spacecraft is hovering silently above. The round hatch on its underside irises open. The alien's scraggly fingers reach out slowly into view, cupping the meteorite in their careful grip, and thrust\/toss the rock (as if releasing a bird or butterfly), which then drops straight down, landing with a thump more or less in its original divot. The hatch spirals shut, and the vessel departs exactly as before (with an additional\/horizontal loop-de-loop flourish). Everyone stares, mouths open, frozen\/agog. Silence. Augie finally clarifies the situation:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>I think he only borrowed the asteroid.<\/dialogue>\n    <scene_description>INSERT: The meteorite. General Gibson's hands gingerly touch the surface of the rock, then flip it over to reveal, on the bottom: a hand- painted inventory labeling of indecipherable runic characters. Pause.<\/scene_description>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>It's been inventoried.<\/dialogue>\n    <scene_description>General Gibson carefully places the rock back in position precisely as it fell. He looks to the business executive, tense. The business executive says immediately:<\/scene_description>\n    <character>EXECUTIVE<\/character>\n    <dialogue>Re-confiscate the projects.<\/dialogue>\n    <scene_description>General Gibson sighs. He strides back to his lectern\/microphone to address the group with urgent wariness:<\/scene_description>\n    <character>GENERAL GIBSON<\/character>\n    <dialogue>Under the provisions of National Security Emergency Scrimmage Plan X: the lifting of the quarantine (which I just announced) is now canceled (or, at least, postponed) due to the unexpected\/new event which just --<\/dialogue>\n    <scene_description>J.J. zaps the P.A. speaker with Clifford's electromagnetic death- ray. It sizzles\/pops\/disappears. General Gibson test-taps the dead microphone. The entire congregation erupts into a riot, hurling chairs, knocking over tags and markers, tearing down the banner, etc. Roger rockets up into the air on Ricky's jet-pack, blasting and roaring above the fracas. Sandy throws extraterrestrial rocks at soldiers. J.J. continues to zap pieces of equipment. (Clifford and Shelly egg their parents on. Ricky clings to the rope tether to prevent his father from rocketing into the sky.) Andromeda, Pandora, and Cassiopeia cast spells, swooshing wands, swishing glitter, jumping and shrieking. Stanley laughs hysterically and keeps hold of them by their sleeves, belts, and ribbons. The cowboys and ranch hands swing lassos and holler. The schoolchildren scamper, ecstatic, in every direction as June and the chaperones try to wrangle them. The mechanic yelps as the box in his hands suddenly begins to jump and twist. He drops it on the ground, and the box splits open to reveal the peculiar assembly as it repeats its earlier sputtering, squealing, scooting, etc. Woodrow adjusts a knob on his device\/project, gently shielding it from the hubbub. The moon hologram blinks on. Dinah looks up at the sky. Projected on the surface of the actual moon itself: the initials \"W.S. + D.C\" (inside the outline of a heart-shape). Woodrow and Dinah kiss, a breathless\/delirious clutch. Augie stands immobile at the center of the chaos. He says to Midge, at his side, internal-struggling:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>Why does Augie burn his hand on the Quicky-Griddle?<\/dialogue>\n    <parenthetical>(simply)<\/parenthetical>\n    <dialogue>I still don't understand the play.<\/dialogue>\n    <scene_description>Augie turns and walks briskly to the edge of the crater -- which reveals itself to be a painted backdrop. He opens it (swinging open, along with the rocky terrain, a small section of painted mountains and sky). He exits.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TELEVISION STUDIO. EVENING<\/stage_direction>\n    <scene_description>Black and white. The host stands on the theatre proscenium set (now seen from backstage, behind plywood flats mounted on two-by-four joist- frames). A door opens (unfinished plywood on one side, painted crater\/mountains\/sky on the other) to reveal the actor playing Augie (with bandage-wrapped hand). In the background (onstage): the actors playing Midge, General Gibson, and Dr. Hickenlooper watch, puzzled. Beyond them: footlights and darkness. The actor closes the door. The host hesitates. He asks the actor:<\/scene_description>\n    <character>HOST<\/character>\n    <dialogue>Where you going?<\/dialogue>\n    <character>ACTOR\/AUGIE<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I'll be right back.<\/dialogue>\n    <scene_description>The actor crosses into the wings, past a make-up table where the actor playing the alien is in the process of applying his alien prosthetics. Overheard (with the actress who plays Shelly) as we pass:<\/scene_description>\n    <character>ACTOR\/ALIEN<\/character>\n    <dialogue>I don't play him as an alien, actually. I play him as a metaphor. That's my interpretation.<\/dialogue>\n    <character>ACTRESS\/SHELLY<\/character>\n    <parenthetical>(vaguely interested)<\/parenthetical>\n    <dialogue>Metaphor for what?<\/dialogue>\n    <character>ACTOR\/ALIEN<\/character>\n    <parenthetical>(working on it)<\/parenthetical>\n    <dialogue>I don't know yet.<\/dialogue>\n    <scene_description>The actor continues past a live television camera with a confused operator assisted by a puzzled electrician and into the makeshift bedroom installation (unlit) where the director lies sleeping on his folding bunk. The actor stands and says, insistent:<\/scene_description>\n    <character>ACTOR\/AUGIE<\/character>\n    <dialogue>Schubert. Schubert. Schubert.<\/dialogue>\n    <scene_description>The lights come up on the set (slightly disorderly: too bright\/too dark, blinking on\/off) and the director opens his eyes. He bolts upright.<\/scene_description>\n    <character>DIRECTOR<\/character>\n    <dialogue>Huh? Yes! What's wrong?<\/dialogue>\n    <parenthetical>(checks his watch)<\/parenthetical>\n    <dialogue>Are you on?<\/dialogue>\n    <character>ACTOR\/AUGIE<\/character>\n    <dialogue>Technically, but General Gibson just started the scene where the president doesn't accept his resignation. I've got six-and-a-half minutes before my next line. I need an answer to a question I want to ask.<\/dialogue>\n    <character>DIRECTOR<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <character>OK.<\/character>\n    <dialogue>ACTOR\/AUGIE<\/dialogue>\n    <scene_description>Am I doing him right? Long pause. The director twists and sets his bare feet onto the floor. He answers as he stands up, stretches, then slides a chair from across the room over to the bedside:<\/scene_description>\n    <character>DIRECTOR<\/character>\n    <dialogue>Well, I told you before: there's too much business. With the pipe, with the lighter, with the camera, with the eyebrow; but, aside from that, on the whole, in answer to your question --<\/dialogue>\n    <scene_description>The director directs the actor to sit in the chair. The actor sits. The director kneels on the floor in front of the actor and says, looking into the actor's eyes with his undivided attention:<\/scene_description>\n    <character>DIRECTOR<\/character>\n    <dialogue>-- you're doing him just right. In fact, in my opinion, you didn't just become Augie: he became you.<\/dialogue>\n    <character>ACTOR\/AUGIE<\/character>\n    <dialogue>I feel lost.<\/dialogue>\n    <character>DIRECTOR<\/character>\n    <dialogue>Good!<\/dialogue>\n    <character>ACTOR\/AUGIE<\/character>\n    <dialogue>I still don't understand the play.<\/dialogue>\n    <character>DIRECTOR<\/character>\n    <dialogue>Good!<\/dialogue>\n    <character>ACTOR\/AUGIE<\/character>\n    <dialogue>He's such a wounded guy. He had everything he wanted -- then lost it. Before he even noticed! I feel like my heart is getting broken. My own, personal heart. Every night.<\/dialogue>\n    <character>DIRECTOR<\/character>\n    <dialogue>Good!<\/dialogue>\n    <character>ACTOR\/AUGIE<\/character>\n    <dialogue>Do I just keep doing it?<\/dialogue>\n    <character>DIRECTOR<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <character>ACTOR\/AUGIE<\/character>\n    <dialogue>Without knowing anything?<\/dialogue>\n    <character>DIRECTOR<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <character>ACTOR\/AUGIE<\/character>\n    <dialogue>Isn't there supposed to be some kind of answer? Out there in the cosmic wilderness. Woodrow's line about the meaning of life?<\/dialogue>\n    <character>DIRECTOR<\/character>\n    <dialogue>\"Maybe there is one!\"<\/dialogue>\n    <character>ACTOR\/AUGIE<\/character>\n    <dialogue>Right. Well, that's my question. I still don't understand the play.<\/dialogue>\n    <character>DIRECTOR<\/character>\n    <dialogue>It doesn't matter. Just keep telling the story. You're doing him right.<\/dialogue>\n    <character>ACTOR\/AUGIE<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I need a breath of fresh air.<\/dialogue>\n    <character>DIRECTOR<\/character>\n    <parenthetical>(checks his watch)<\/parenthetical>\n    <dialogue>OK: but you won't find one.<\/dialogue>\n    <scene_description>The director crawls back into bed as the actor exits the makeshift bedroom installation. Camera moves past a booth at the stage door, through the exterior wall of the building to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY<\/stage_direction>\n    <scene_description>Outside in an alley between the docks of two adjacent theatres. (Half-seen marquees read: \"Asteroid City\" and \"Fruit of a Withering Vine.\") A delicate snowfall dusts the air. Whizzing taxis zip through the background. The actor closes the stage door and stands on a fire escape a short ladder's flight above a row of trash cans. He takes out Augie's pipe and starts to light it -- then pauses, puts it back into his pocket, and produces a pack of cigarettes, instead. He lights one. An off-screen voice says:<\/scene_description>\n    <character>ACTRESS\/WIFE (O.S.)<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <scene_description>The actor looks side to side, up and down, then across the alley -- where he sees, smoking a cigarette on a similar fire escape next to a similar stage door: the actress in the photograph of Woodrow's mother\/Augie's deceased wife. She is dressed in Elizabethan costume with starched ruff-collar. The actor hesitates.<\/scene_description>\n    <character>ACTOR\/AUGIE<\/character>\n    <dialogue>Oh! It's you. The wife who played my actress.<\/dialogue>\n    <scene_description>The actress nods. Pause.<\/scene_description>\n    <character>ACTRESS\/WIFE<\/character>\n    <dialogue>My scene was cut after one rehearsal.<\/dialogue>\n    <scene_description>The actor nods. He shrugs.<\/scene_description>\n    <character>ACTOR\/AUGIE<\/character>\n    <dialogue>We still use your photograph.<\/dialogue>\n    <scene_description>The actress thinks. Pause.<\/scene_description>\n    <character>ACTRESS\/WIFE<\/character>\n    <dialogue>Do you remember the dialogue?<\/dialogue>\n    <scene_description>The actor thinks. Pause.<\/scene_description>\n    <character>ACTOR\/AUGIE<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>The actor and actress puff on their cigarettes. Pause.<\/scene_description>\n    <character>ACTRESS\/WIFE<\/character>\n    <dialogue>We meet in a dream on the alien's planet.<\/dialogue>\n    <scene_description>The actor remembers. He nods.<\/scene_description>\n    <character>ACTOR\/AUGIE<\/character>\n    <dialogue>Magnavox-27. Actually, it's one of the moons of it.<\/dialogue>\n    <scene_description>Pause. The actress recites (with precision and feeling):<\/scene_description>\n    <character>ACTRESS\/WIFE<\/character>\n    <dialogue>You say: \"Did you talk to the alien?\" I say: \"Not yet.\" You say: \"Why not? I thought for sure you would've yelled at him or made him laugh.\" I say: \"Or asked him the secrets of the universe?\" You say: \"Exactly!\" I say: \"I think he's shy.\" You say: \"So's Woodrow, but I'm sure he'll grow out of it. I mean, at least, I hope he will. Without a mother.\" I say: \"He's a late bloomer -- but maybe, I think, you'll need to replace me.\" You say: \"What? Why? How? I can't.\" I say: \"Maybe, I think, you'll need to try. I'm not coming back, Augie.\" Then you take a picture of me and start crying, and I say: \"I hope it comes out.\"<\/dialogue>\n    <scene_description>The actor nods. He remembers the last line:<\/scene_description>\n    <character>ACTOR\/AUGIE<\/character>\n    <dialogue>And I say: \"All my pictures come out.\"<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Good memory. Why'd they cut it?<\/dialogue>\n    <character>ACTRESS\/WIFE<\/character>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>Running time? Now I'm First Lady-in- Waiting to the Queen Consort in \"Fruit of a Withering Vine.\"<\/dialogue>\n    <scene_description>The door cracks open. The actor playing the motel manager leans out and says abruptly:<\/scene_description>\n    <character>ACTOR\/MOTEL MANAGER<\/character>\n    <dialogue>You missed your cue! June and the cowboy are already necking in the station wagon. They're bandaging the understudy's hand right now.<\/dialogue>\n    <scene_description>The actor throws away his cigarette and darts inside. The door slams behind him. The actor playing the motel manager lingers. He takes out a cigarette and says:<\/scene_description>\n    <character>ACTOR\/MOTEL MANAGER<\/character>\n    <dialogue>Oh! It's you. We almost would've had a scene together. Hello.<\/dialogue>\n    <scene_description>Across the alley: the actress nods and smiles as she continues to smoke. Camera leaves her and the actor playing Stanley behind as it dollies away across the television soundstage to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PLAYWRIGHT'S DESK<\/stage_direction>\n    <scene_description>Seated at his little desk, clacking at his typewriter, spotlit in the darkness: the playwright. The host, also spotlit, explains:<\/scene_description>\n    <character>HOST<\/character>\n    <dialogue>Six months into the run, the company received the news: a catastrophic automobile accident. Conrad Earp, American playwright unequaled in passion and imagination, dead at fifty.<\/dialogue>\n    <scene_description>The playwright stops typing and looks to camera. Lights\/sound slowly fade from him as he speaks -- while, behind him, lights\/sound come up on the rehearsal space (Saltzburg Keitel's classroom).<\/scene_description>\n    <character>PLAYWRIGHT<\/character>\n    <dialogue>I'd like to make a scene where all my characters are each gently\/privately seduced into the deepest, dreamiest slumber of their lives as a result of their shared experience of a bewildering and bedazzling celestial mystery...<\/dialogue>\n    <scene_description>The students pick up their improvisations exactly where they left off: yawning, snoring, sleepwalking\/sleeptalking, tossing and turning, singing a lullaby, thumbsucking with a security blanket, etc. The playwright joins the acting teacher and the director, observing. Eventually, out of the hullaballoo, the actor who plays Augie says from the back of the room:<\/scene_description>\n    <character>ACTOR\/AUGIE<\/character>\n    <dialogue>You can't wake up if you don't fall asleep.<\/dialogue>\n    <scene_description>Other actors murmur a response: \"What's that mean?\" \"So what?\" \"Who said it?\" More snoring\/tossing\/singing, etc. The actress who plays Shelly now says loudly:<\/scene_description>\n    <character>ACTRESS\/SHELLY<\/character>\n    <dialogue>You can't wake up if you don't fall asleep.<\/dialogue>\n    <scene_description>Another round of responses, more forceful: \"That's not true!\" \"Who cares?\" \"Say it again!\" The actor who plays the mechanic now says loudly:<\/scene_description>\n    <character>ACTOR\/MECHANIC<\/character>\n    <dialogue>You can't wake up if you don't fall asleep.<\/dialogue>\n    <scene_description>The other students, on their feet, raise their voices: \"Maybe not?\" \"Why should you?\" \"Of course!\" The actors who play Roger and Montana shout together:<\/scene_description>\n    <character>ACTOR\/ROGER<\/character>\n    <dialogue>You can't wake up if you don't fall asleep!<\/dialogue>\n    <character>ACTOR\/MONTANA<\/character>\n    <dialogue>You can't wake up if you don't fall asleep!<\/dialogue>\n    <character>ACTRESS\/MIDGE<\/character>\n    <parenthetical>(nodding)<\/parenthetical>\n    <dialogue>You can't wake up if you don't fall asleep!<\/dialogue>\n    <scene_description>The teacher's face lights up. He murmurs: \"Infinity -- and I don't know what else!\" He grabs the playwright's hand and joins the chant, exuberant:<\/scene_description>\n    <character>TEACHER<\/character>\n    <dialogue>You can't wake up if you don't fall asleep!<\/dialogue>\n    <scene_description>The playwright laughs, confused\/enchanted. The director and all the other students, jolting from place to place around the room, repeat the chant, first chaotic, then in unison, over and over -- as the alien himself (now fully made-up, with inventoried meteorite tucked under his arm) emerges from the pandemonium (ignored by everyone) and moves to the front of the stage. The lights dim to half-level on the shouting\/uproarious classroom with the alien alone in bright spotlight. The host, nearby, watching, turns to camera. He smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY. DAY<\/stage_direction>\n    <scene_description>Widescreen\/color. The town: deserted. No barricades. No roadblocks. No guards, cars, jeeps. No press. No public. No vendors, vans, campers. No \"Asteroid City Alien Special\" passenger train. Only: fluttering litter, empty bottles, and hundreds of tire tracks cross- hatching the barren outskirts. The only remaining people: a crew of two men at work breaking down the Ferris wheel. A single sign on a post has been amended to read: Strict Quarantine! LIFTED by order of the United States Military-science Research and Experimentation Division<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL CABINS #9\/10. DAY<\/stage_direction>\n    <scene_description>Cabin #10: the roller-blind zings open once again on Augie's makeshift darkroom. Augie, dressed in pajamas, lights his pipe and looks across\/into the bathroom window of Cabin #9. The motel manager (reviewing a clipboard check-list) inspects for dust while a maid (off-screen) runs a vacuum cleaner. The occupants have moved out. Augie squints. He says suddenly:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>Where'd they go?<\/dialogue>\n    <scene_description>The motel manager looks up. He sees Augie. He smiles and approaches the window as he says brightly:<\/scene_description>\n    <character>MOTEL MANAGER<\/character>\n    <dialogue>Good morning, Mr. Steenbeck! Juice preference? Apple, orange, or tomato.<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(looking left\/right)<\/parenthetical>\n    <dialogue>Where'd they go? Everybody.<\/dialogue>\n    <character>MOTEL MANAGER<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>Of course, I understand. The president lifted the quarantine, after all. At midnight! He sent the whole gang home. The troops, the cowboys, the Junior Stargazers and Space Cadets. Even the lookie-loos. You're free to return -- back to wherever you came from. (Maybe he's going to change his mind, but nobody stuck around to find out.) We had eleven check-outs this morning.<\/dialogue>\n    <parenthetical>(cheerily)<\/parenthetical>\n    <dialogue>I guess you overslept. They returned your science projects, by the way.<\/dialogue>\n    <scene_description>The motel manager points to Woodrow's project, boxed\/crated, on the doorstep. A label reads: \"PROPERTY of the LARKINGS Foundation (on permanent loan to Woodrow Steenbeck).\" Long pause. Augie says finally:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>Tomato.<\/dialogue>\n    <character>MOTEL MANAGER<\/character>\n    <dialogue>Right away!<\/dialogue>\n    <scene_description>Camera dollies from Augie's bathroom\/darkroom window to his bedroom window. Inside: the three sisters sleep in one bed while Stanley and Woodrow each occupy a folding cot. They are all five sprawled, snoring, tangled in sheets, etc. Augie appears in the doorway and watches\/listens for a moment.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOTEL CABIN #10. DAY<\/stage_direction>\n    <scene_description>In the alley behind the cabin: Stanley, also in pajamas, crouching on his knees, attempts to dig in the ground with a gardener's trowel while Andromeda, Pandora, and Cassiopeia, in nightgowns, gasp and shriek, blocking him. The partially unearthed Tupperware salad bowl pokes up from the dirt. Stanley and Woodrow watch, solemn. In the background: Stanley's parked Eldorado. Stanley defends his actions:<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>The plan was to shovel it up and take her with us. Like I said: we'll exhume the Tupperware. We don't have any burial rights to this plot here.<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(interjecting)<\/parenthetical>\n    <dialogue>I would question whether it even is a plot.<\/dialogue>\n    <character>STANLEY<\/character>\n    <parenthetical>(sharply)<\/parenthetical>\n    <dialogue>It isn't.<\/dialogue>\n    <scene_description>Stanley attempts to resume his digging. The girls, once again, go into a frenzied panic:<\/scene_description>\n    <character>CASSIOPEIA<\/character>\n    <dialogue>Don't murder my mother's body!<\/dialogue>\n    <character>PANDORA<\/character>\n    <dialogue>He's killing her ashes!<\/dialogue>\n    <scene_description>Stanley stops\/freezes. Andromeda commands him:<\/scene_description>\n    <character>ANDROMEDA<\/character>\n    <dialogue>Let us pray.<\/dialogue>\n    <scene_description>Silence. The motel manager appears at some distance with a glass of tomato juice on a tray. He pauses, puzzled. Andromeda screams:<\/scene_description>\n    <character>ANDROMEDA<\/character>\n    <dialogue>Poppy!<\/dialogue>\n    <scene_description>The motel manager disappears. Stanley, spirit crushed, presses on:<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>Ugh. Dear Heavenly Father, we thank Thee for the life of this magnificent woman, who was once just a little girl like these three -- witches? In-training.<\/dialogue>\n    <scene_description>The girls murmur their corrections: \"Not in training.\" \"Real witches.\" \"Part-witch, part-alien.\" Stanley continues:<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>Like these three witches, at one time. We had no intention of permanently burying her next to this unmarked cactus, but I no longer have the strength to fight for her dignity, nor\/neither does Augie. (Do you?)<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>So we'll defer to the wishes of her stubborn daughters. Woodrow? Any final farewell.<\/dialogue>\n    <character>WOODROW<\/character>\n    <dialogue>I don't believe in God anymore.<\/dialogue>\n    <scene_description>Stanley takes this in stride. He shrugs.<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>Fair enough. Amen.<\/dialogue>\n    <scene_description>\"Amens\" all around. The three sisters avidly re-bury the Tupperware and stamp down the dusty surface. Tears stream down Stanley's and Augie's faces. Woodrow holds his father's hand. The girls arrange flowers around the gravesite and repeat their whispered incantation: \"Friskity, triskity, briskity, boo; knickerty, knockerty, tockerty, too...\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUNCHEONETTE. DAY<\/stage_direction>\n    <scene_description>The chime jingles as Augie, Stanley, Woodrow, and the three sisters enter. Augie says to the waitress:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>Five orders of flapjacks and two black coffees.<\/dialogue>\n    <scene_description>The waitress nods and scribbles. The cook snatches down the order-slip. The family sits.<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>Who needs to pee?<\/dialogue>\n    <scene_description>The girls respond with their unconvincing chorus: \"Not me.\" \"I don't.\" \"Nobody needs to pee.\" The waitress asks them:<\/scene_description>\n    <character>WAITRESS<\/character>\n    <dialogue>How about a glass of strawberry milk?<\/dialogue>\n    <scene_description>The girls perk up. They nod and \"uh-huh\" eagerly. The waitress sets to work preparing the beverages. The girls change their minds: \"I do need to pee.\" \"Where's the powder room?\" \"Let's go.\" They scramble away, out the door, around the side of the building. Augie tamps his pipe. Woodrow writes in his notebook. A thought occurs to Stanley:<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>Did somebody win? That scholarship.<\/dialogue>\n    <character>WOODROW<\/character>\n    <parenthetical>(without looking up)<\/parenthetical>\n    <dialogue>I did.<\/dialogue>\n    <character>AUGIE<\/character>\n    <parenthetical>(surprised)<\/parenthetical>\n    <dialogue>When?<\/dialogue>\n    <character>WOODROW<\/character>\n    <dialogue>Last night. General Gibson slipped it to me in line at the communal showers. I think he just wanted to get it over with. It's actually a standard-sized check of typical dimensions. The big one's only for show.<\/dialogue>\n    <scene_description>Woodrow digs into his pocket. He produces\/hands over a normal- sized check for $5000. Augie says, enormously excited:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>Congratulations, Woodrow. That's stupendous!<\/dialogue>\n    <character>STANLEY<\/character>\n    <parenthetical>(deeply impressed)<\/parenthetical>\n    <dialogue>You must be some kind of genius.<\/dialogue>\n    <character>AUGIE<\/character>\n    <dialogue>I agree.<\/dialogue>\n    <character>STANLEY<\/character>\n    <parenthetical>(rephrasing it)<\/parenthetical>\n    <dialogue>You must be some kind of -- \"Brainiac.\"<\/dialogue>\n    <scene_description>Woodrow smiles, good-natured, and goes back to his notebook. Stanley stares at the check for a moment and asks:<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>Has it got any strings attached to it? It's made out to you, personally. How you plan to use it?<\/dialogue>\n    <scene_description>Woodrow takes back the check. He examines it. He shrugs.<\/scene_description>\n    <character>WOODROW<\/character>\n    <dialogue>Probably spend it on my girlfriend.<\/dialogue>\n    <scene_description>Woodrow re-pockets the check and returns to his notebook. Augie and Stanley exchange a look. Stanley asks Woodrow, curious:<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>What do you write? In that little book.<\/dialogue>\n    <scene_description>Woodrow looks at Stanley briefly (not sure he can trust him). He shows him a page.<\/scene_description>\n    <character>WOODROW<\/character>\n    <dialogue>Next year's project. Confidentially.<\/dialogue>\n    <scene_description>Stanley and Augie study the notebook. They look utterly fascinated. They mutter simultaneously, concentrating:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>Wow. Is that possible?<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>Gee whiz. Look at that.<\/dialogue>\n    <scene_description>Woodrow withdraws the notebook suddenly. He resumes his work. The waitress appears with a little slip of paper (folded in half) which she slides to Augie.<\/scene_description>\n    <character>WAITRESS<\/character>\n    <dialogue>Midge Campbell left you her address. (It's just a post office box.)<\/dialogue>\n    <scene_description>Augie raises an eyebrow. He nods. He opens the slip of paper and reads. He and Stanley exchange another\/different look. Stanley leans to Augie and whispers something inaudible into his ear. Augie says, taken aback:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>That's none of your business, Stanley.<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>I know. Of course, it isn't. (I only ask because Woodrow told me Dinah told him.)<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <character>STANLEY<\/character>\n    <dialogue>I went to law school with her former agent. Anyway: I don't object.<\/dialogue>\n    <parenthetical>(encouraging)<\/parenthetical>\n    <dialogue>She's actually a very gifted comedienne.<\/dialogue>\n    <scene_description>Long pause. Augie says sadly\/gladly\/genuinely:<\/scene_description>\n    <character>AUGIE<\/character>\n    <dialogue>That's true.<\/dialogue>\n    <scene_description>A distant boom shudders the building (once again). Only Stanley reacts, alarmed. Down the counter, the cashier dismisses the matter:<\/scene_description>\n    <character>CASHIER<\/character>\n    <dialogue>Another atom bomb test.<\/dialogue>\n    <scene_description>Stanley hesitates. He nods slowly. Breakfast continues.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY. DAY<\/stage_direction>\n    <scene_description>The blacktop interstate. At the meteor crater: the radio telescopes continue their perpetual spinning. At the filling station: there are now two station wagons on blocks in the adjacent small junkyard. At the chopped-off elevated highway- spur: the sounds of approaching sirens, motors, gunshots; then the Chevy (still dragging its muffler, which pops off and spirals into the air) roars through, down the highway, pursued by the state trooper and motorcycle police. At the motor court hotel: the gardener\/handyman finishes replacing the letters on his sign which now reads: \"Welcome to Alien Landing, U.S.A. Limited quantity of land parcels still available.\" (In the background, beyond the mountains, a mushroom cloud lingers in the sky.) At the luncheonette: Augie, Stanley, Woodrow, and the three girls climb into the Eldorado, now overflowing with boxes and luggage. The waitress, standing in the doorway, drying her hands on her apron, nods goodbye. At the railroad crossing, beyond the covered-wagon sign: the warning bell rings as a freight train passes through (opposite direction from opening scene); and finally the Eldorado pulls up, waits for the caboose to clear, then drives away, into the hot desert.<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In a retro-futuristic version of the 1950s, a television host introduces a documentary about the creation and production of Asteroid City, a play by the famed playwright Conrad Earp. The play's events are depicted in widescreen and stylized color, while the television special is seen in black-and-white Academy ratio. In the play, a youth astronomy convention is held in the fictional desert town of Asteroid City. War photojournalist Augie Steenbeck arrives early to the Junior Stargazer convention with Woodrow, his intellectual teenage son, and his three younger daughters. When their car breaks down, Augie phones his father-in-law, Stanley, asking his help. Stanley, who dislikes his son-in-law, persuades him to tell the children about their mother's recent death, which Augie had concealed. Augie and Woodrow meet Midge Campbell, a famous but world-weary actress, and her daughter Dinah, who, like Woodrow, will be honored at the convention. Augie and Midge, and Woodrow and Dinah, gradually fall in love throughout the play. The other convention participants arrive: five-star General Grif Gibson, astronomer Dr. Hickenlooper, three additional teenaged honorees (Ricky, Clifford, and Shelly) and their parents (J.J., Roger, and Sandy), a busload of elementary-school children chaperoned by young teacher June Douglas, and a cowboy band led by singer Montana. A local motel provides everyone's accommodations. Gibson welcomes the attendees at the Asteroid City crater where the teenagers are to receive awards for various inventions. A UFO suddenly appears above the crater; an alien emerges and steals the remnant of the meteorite that created the crater. Augie photographs the alien. General Gibson, with instructions from the president, places the town under military quarantine, and everyone is subjected to medical and psychiatric examinations. Meanwhile, a romance blossoms between Montana and June, who assure the students that the alien is likely peaceful. The Stargazer honorees use Dr. Hickenlooper's equipment to attempt to contact the alien. Tricking the guard watching the pay phone, Ricky calls his school newspaper to relay the quarantine details and cover-up to the outside world. The Asteroid City events become national news. A furious General Gibson is about to end the quarantine when the UFO reappears, dropping the meteorite back into its former position; the General sees new markings on it and deduces that it has been \"inventoried.\" Gibson reinstates the quarantine; the children, scientists, and parents revolt, using the honorees' inventions to overpower the military. In the play's epilogue, Augie and his family are the last to leave Asteroid City after General Gibson lifts the quarantine. Woodrow reveals he has won the fellowship funding, and Midge leaves Augie her mailing address. Augie and his family quietly drive away. Throughout the film, the play's creation is interspersed with the play itself in the television documentary. Some time after Conrad Earp started writing, he meets with actor Jones Hall, who performs an audition in Earp's home and is immediately cast. During the same interaction, Earp and Hall kiss, establishing their relationship as lovers. Earp writes the play with help from a local acting school and recruits most cast members from it, including Mercedes Ford, a temperamental yet talented actress who plays Midge. During the recorded performance of the play, Hall, who plays Augie, confronts the play's director Schubert Green, saying he \"still doesn't understand the play\", and asks Green if he is \"doing him right\". Green tells Hall to keep playing Augie the same way despite being uncertain, and that he is doing him right. After that interaction, while taking a smoke break on a balcony, Hall runs into the actress who was cast to play Augie's wife before her only scene was cut. She recites the deleted scene's text to him, and he appears to gain new insight from it. Six months into the play's run, Conrad Earp dies in an automobile accident."}
{"movie_name":"Respect_2021","imdb_id":"tt2452150","script":"<script>\n  <scene>\n    <character>RESPECT<\/character>\n    <dialogue>Screenplay by<\/dialogue>\n    <scene_description>Tracey Scott Wilson Story by Callie Khouri and Tracey Scott Wilson<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANKLIN HOME, ARETHA'S ROOM - NIGHT (1952)<\/stage_direction>\n    <scene_description>Sounds of a party. We hear music and people chattering and laughing. Ten-year-old ARETHA FRANKLIN sleeps soundly in bed, cradling a black doll. There is a picture of Aretha with her mother, Barbara, on the bedside table, along with a clock that reads 1:15. Outside her window is a large oak tree. The door opens. A MAN in an impeccable suit and tie comes and sits on the side of the bed. He gently shakes Aretha awake.<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>Ree, Ree, wake up, baby.<\/dialogue>\n    <scene_description>Aretha opens her eyes to see her father, C.L. FRANKLIN (37). She wipes the sleep from her eyes.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>They want to hear you sing. You want to sing?<\/dialogue>\n    <character>ARETHA<\/character>\n    <parenthetical>(nods)<\/parenthetical>\n    <dialogue>Yes, please!<\/dialogue>\n    <scene_description>C.L. smiles at Aretha.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANKLIN HOME, STAIRCASE\/LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Aretha, in a bathrobe and slippers, holds C.L.'s hand. She is happy, smiling. This is her element. He walks her down the staircase packed with beautiful, hip BLACK MUSICIANS and ARTISTS. People smoke (cigarettes and weed), drink, laugh. Welcome to Aretha's world. A WOMAN comes over to C.L.<\/scene_description>\n    <character>WOMAN<\/character>\n    <parenthetical>(To C.L.)<\/parenthetical>\n    <dialogue>Clarence, Ella is looking for you.<\/dialogue>\n    <character>C.L.<\/character>\n    <parenthetical>(To Aretha)<\/parenthetical>\n    <dialogue>Wait here baby, I'll be right back.<\/dialogue>\n    <scene_description>C.L. walks away. ART TATUM is playing on the piano. There is a group of folks around the piano listening to him as Aretha walks over to them.<\/scene_description>\n    <character>MAN<\/character>\n    <parenthetical>(To Aretha)<\/parenthetical>\n    <dialogue>How does a man with one eye play like he has four hands?<\/dialogue>\n    <scene_description>Aretha sits next to Art on the piano bench and watches his hands move lightening fast on the keys. Art winks at Ree.<\/scene_description>\n    <character>ART<\/character>\n    <dialogue>You been practicing?<\/dialogue>\n    <character>ARETHA<\/character>\n    <parenthetical>(nods)<\/parenthetical>\n    <dialogue>Yes. Mr. Tatum.<\/dialogue>\n    <scene_description>Aretha mimes Art's movements on the piano. Art laughs and plays faster. Aretha keeps up her shadow playing then gets up and walks through a sea of legs and bodies, searching for her father. She passes TWO GAY BLACK MEN (30's) who are flirting with each other.<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>You know you the finest cat here, right?<\/dialogue>\n    <character>JACKSON<\/character>\n    <dialogue>Nigger, I know that. What else you got?<\/dialogue>\n    <scene_description>She sees SAM COOKE who is surrounded by half a dozen BEAUTIFUL BLACK WOMEN. Sam waves at Aretha.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Hi, Ree.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Hi, Uncle Sam.<\/dialogue>\n    <scene_description>Aretha walks through the crowd. She sees DINAH WASHINGTON, drunkenly and loudly holding court. CLARA WARD stands next to her.<\/scene_description>\n    <character>DINAH<\/character>\n    <dialogue>I said to them, \"I'm so happy to be performing in England, but just remember. There's one heaven. One earth. And one Queen. Me! Dinah Washington! That Elizabeth on y'all throne is an imposter.<\/dialogue>\n    <character>CLARA<\/character>\n    <dialogue>You didn't!<\/dialogue>\n    <character>DINAH<\/character>\n    <dialogue>Oh, yes I did! And I made the audience bow before me!<\/dialogue>\n    <scene_description>Dinah sees Aretha.<\/scene_description>\n    <character>DINAH<\/character>\n    <dialogue>Look out, y'all! The entertainer's here!<\/dialogue>\n    <scene_description>Aretha sees C.L. who stands talking to ELLA FITZGERALD, DUKE ELLINGTON and BILLY ESKSTINE. Aretha looks at Ella, Duke and Billy.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Hi, Aunt Ella, Uncle Duke, Uncle Billy.<\/dialogue>\n    <character>C.L.<\/character>\n    <parenthetical>(To Aretha)<\/parenthetical>\n    <dialogue>You ready, Ree?<\/dialogue>\n    <scene_description>Aretha nods.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>Excuse me everyone!<\/dialogue>\n    <scene_description>The Guests quiet.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>For those of you visiting my home for the first time, this is my daughter, Aretha. She'd like to sing a little something for you.<\/dialogue>\n    <parenthetical>(turns to Aretha)<\/parenthetical>\n    <dialogue>What do you want to sing, baby?<\/dialogue>\n    <scene_description>She whispers in his ear. A FEMALE GUEST turns to CLARA WARD.<\/scene_description>\n    <character>FEMALE GUEST<\/character>\n    <dialogue>How old is she?<\/dialogue>\n    <character>CLARA<\/character>\n    <dialogue>Ten, but her voice is going on thirty, honey.<\/dialogue>\n    <scene_description>C.L. nods at Aretha. He looks at his Guests.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>Aretha would like to perform, \"My Baby Likes to Bebop.\"<\/dialogue>\n    <scene_description>Random applause.<\/scene_description>\n    <character>DINAH<\/character>\n    <dialogue>Damn, I was gonna record that on my next album.<\/dialogue>\n    <parenthetical>(to Aretha)<\/parenthetical>\n    <dialogue>Can we do a duet?<\/dialogue>\n    <scene_description>Laughter. Art Tatum plays while Aretha sings \"My Baby Likes to Bebop\" with the voice and confidence of an adult. Dinah watches with envy and admiration. During the interlude, Aretha plays along with Art then finishes singing the song with a flourish. The room gives a standing ovation, but Aretha only wants her father's approval. C.L., beaming, watches the applause, takes it as if it's for him. He prods her to take a bow. Aretha, thrilled that her father is happy, curtsies.<\/scene_description>\n    <character>C.L.<\/character>\n    <parenthetical>(to Aretha)<\/parenthetical>\n    <dialogue>Back to bed with you.<\/dialogue>\n    <scene_description>The Guests laugh and keep clapping.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANKLIN HOME, TV ROOM - DAY<\/stage_direction>\n    <scene_description>Aretha, Cecil, Erma, Carolyn and Mama Franklin are watching the CLARA WARD SINGERS performing on The Danny Thomas Show. Aretha is enraptured with Clara Ward. They are singing \"When the Saints Go Marching In\" in front of an all white audience. Aretha starts singing along with Clara.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Oh, when the saints go marching in...<\/dialogue>\n    <scene_description>Cecil, Erma and Carolyn join in.<\/scene_description>\n    <character>CAROLYN, ERMA, CECIL<\/character>\n    <dialogue>I want to be in that number, When the saints go marching in...<\/dialogue>\n    <scene_description>On TV, Clara does a praise dance. Mama Franklin laughs.<\/scene_description>\n    <character>MAMA FRANKLIN<\/character>\n    <dialogue>Those white folks don't know what to do with her.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Sock it to 'em, Clara!<\/dialogue>\n    <character>CECIL, ERMA, CAROLYN, ARETHA<\/character>\n    <dialogue>Sock it to 'em! Sock it to 'em!<\/dialogue>\n    <scene_description>The kids do a praise dance. The doorbell rings.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Momma's here!<\/dialogue>\n    <scene_description>Aretha runs to the door and runs out to BARBARA (35) who is now standing by the car. Barbara holds onto her tightly.<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>Oh... I missed you so much.<\/dialogue>\n    <scene_description>The other kids run out and hug Barbara.<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>My babies. My babies.<\/dialogue>\n    <scene_description>Mama Franklin and C.L. stand on the porch and look at Barbara. Aretha looks longingly at C.L., then at Barbara, hoping for some kindness between them. C.L. stares Barbara down. Barbara smiles at Aretha.<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>Let's go!<\/dialogue>\n    <scene_description>The kids run to the car.<\/scene_description>\n    <character>ERMA<\/character>\n    <parenthetical>(O.S.)<\/parenthetical>\n    <dialogue>Bye Grandma!<\/dialogue>\n    <scene_description>Mama Franklin waves goodbye.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MODEST HOUSE, DETROIT - LIVING ROOM - AFTERNOON<\/stage_direction>\n    <scene_description>Aretha leans against Barbara as she plays and sings \"I'll be Seeing You\" on a simple upright piano. Through the window, we see Cecil, Carolyn and Erma playing on the lawn. Aretha claps at the end of the song. Barbara smiles.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Sing another one, Momma.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Ree, that's the third song, now.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Please?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>I want to talk.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Pll---eee---aaa--sss--eee!<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>What if I sing-talk?<\/dialogue>\n    <scene_description>Barbara plays a chord on the piano, then sings --<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>How is Aretha doing?<\/dialogue>\n    <scene_description>Aretha laughs, starts singing too --<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Aretha is doing alright!<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Just alright?<\/dialogue>\n    <scene_description>They play riffs to and fro, building on the other's chords.<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>What about church?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>We praising the Lord, Momma!<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>You're praising the Lord!<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Praising! Praising! Praising!<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>All Day Long! All Day Long!<\/dialogue>\n    <scene_description>Barbara finishes with a flourish. They both crack up laughing. Barbara turns to Aretha.<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>You still singing at the Saturday night parties?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Don't say \"yeah.\" \"Yeah\" is common. \"Yes.\"<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Do you enjoy it?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Look at me, Ree.<\/dialogue>\n    <scene_description>Aretha looks at Barbara. Barbara searches Aretha's face.<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>If you ever don't want to sing, Ree, don't.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I love singing.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>I know you do. But you...<\/dialogue>\n    <parenthetical>(chooses her words carefully)<\/parenthetical>\n    <dialogue>Singing is sacred. And you shouldn't do it just because somebody wants you to.<\/dialogue>\n    <scene_description>Aretha stares back. The thought of disobeying C.L. is insane.<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>Your daddy doesn't own your voice, Ree. Nobody does but God. You don't have to fear any man.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You understand?<\/dialogue>\n    <scene_description>Aretha struggles to understand.<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>You are worthy, Ree. Never let anybody tell you otherwise.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Yes, Momma.<\/dialogue>\n    <scene_description>Barbara looks out the window. A moment.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRANKLIN HOME - DAY<\/stage_direction>\n    <scene_description>Barbara stands outside holding a crying Aretha She looks in the doorway and sees C.L. standing, watching.<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>Don't cry, Ree. I'll see you for your birthday.<\/dialogue>\n    <character>ARETHA<\/character>\n    <parenthetical>(holds tighter)<\/parenthetical>\n    <dialogue>Three weeks is a long time.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>I know. But I'm with you all the time. Even when I'm not there.<\/dialogue>\n    <scene_description>Barbara wipes Aretha's tears away, kisses her. Aretha reluctantly goes towards the house with her suitcase. She goes towards the door, looks at a smiling C.L. She looks back at her mother, who is driving away. Aretha drops her bag and runs into the street.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>Ree! Get back here!<\/dialogue>\n    <scene_description>Aretha waves and blows kisses at the car as Barbara drives away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW BETHAL BAPTIST CHURCH - SUNDAY MORNING<\/stage_direction>\n    <scene_description>A large and well-appointed church packed with over a thousand Congregants. We see SEVERAL PEOPLE from the Saturday night party, bleary eyed and hungover, in the pews. A 50-member CHURCH CHOIR marches down the aisle singing \"Marching to Zion.\" Clara Ward, standing at the front of the church, sings lead while James Cleveland accompanies on the piano. C.L., impeccable in a three piece suit, holding a bible, follows in procession behind the Choir. The other Franklin children ERMA (14) CECIL (12), and CAROLYN (8), and C.L.'s mother, MAMA FRANKLIN (50s), follow behind them. Aretha is behind Erma and Cecil. C.L. pulls Aretha from the back, takes her hand, and walks with her. Erma sucks her teeth.<\/scene_description>\n    <character>ERMA<\/character>\n    <dialogue>I'm the oldest. I should be in front.<\/dialogue>\n    <character>MAMA FRANKLIN<\/character>\n    <parenthetical>(to Erma)<\/parenthetical>\n    <dialogue>Hush.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW BETHAL BAPTIST CHURCH - LATER<\/stage_direction>\n    <scene_description>C.L., his collar askew, wiping the sweat from his brow, is in the middle of preaching a fiery sermon, whipping the church into a frenzy. He's \"whooping,\" a style of preaching that is half-speaking, half-singing. Cleveland plays chords on the piano. C.L. bangs on the pulpit.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>We have nothing to fear, church... what is the white man compared to God... Oh, Lord... What is any law, any injustice, compared to the power of our Lord... He will deliver us from the den like Daniel... And Daniel... Daniel went into that lion's den... do you hear me, church?<\/dialogue>\n    <scene_description>Aretha watches as Nurses in white uniforms attend to WOMEN fainting and overcome with emotion, feeling the spirit. She sees WORSHIPPERS jumping up and down, running around the aisles. She looks at her father who is causing all this emotion and chaos.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>Daniel went into that lion's den... not yelling nor fussing... not crying nor complaining....<\/dialogue>\n    <scene_description>C.L. is full on whooping\/singing now until the end of the sermon.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>...praising the Lord... oh... yes... praising His name... because he knew the Lord was with him... he feared no man... nor animal. Oh, yes... oh... yes...<\/dialogue>\n    <scene_description>ANGLE ON Aretha. Mama Franklin stands and lifts her hands, praising God. Aretha stands up and imitates her. Mama Franklin smiles at Aretha. ANGLE ON C.L.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>I wish somebody would pray with me. He will... He will... He will... shut the jaws of segregation and any man, person or institution who would dare to stand against us... He took us from slavery, took us through the valleys of reconstruction.<\/dialogue>\n    <scene_description>C.L. starts a call and response with the congregation.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>Freedom!<\/dialogue>\n    <character>CONGREGATON<\/character>\n    <dialogue>Freedom!<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>Freedom!<\/dialogue>\n    <character>CONGREGATON<\/character>\n    <dialogue>Freedom!<\/dialogue>\n    <scene_description>Aretha stares at C.L. in awe, amazed at how he can inspire.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Praise Him! Praise him.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Preach, Daddy! Preach!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRANKLIN HOME - NIGHT<\/stage_direction>\n    <scene_description>Another raucous party, usual suspects driving up, entering, exiting. Lights blazing on the first floor, dark upstairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANKLIN HOME, ARETHA'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Aretha is sound asleep in bed, holding her black doll. The sounds of the party downstairs trickle into her room. The bedroom door opens. A BLACK MALE TEENAGER (17) comes in and sits on the side of the bed. He is wearing a ring. He gently shakes Aretha awake. Aretha sits up and rubs the sleep out of her eyes.<\/scene_description>\n    <character>TEENAGER<\/character>\n    <dialogue>Why you not singing tonight?<\/dialogue>\n    <character>ARETHA<\/character>\n    <parenthetical>(shrugging)<\/parenthetical>\n    <dialogue>My Daddy didn't ask me too.<\/dialogue>\n    <scene_description>He touches Aretha's doll.<\/scene_description>\n    <character>TEENAGER<\/character>\n    <dialogue>My sister has a doll just like this. What's your doll's name?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Dee.<\/dialogue>\n    <character>TEENAGER<\/character>\n    <dialogue>That's a pretty name.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You're pretty, too.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>What's your boyfriend's name?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I don't have a boyfriend.<\/dialogue>\n    <character>TEENAGER<\/character>\n    <dialogue>I'll be your boyfriend. Would you like that?<\/dialogue>\n    <scene_description>Aretha is confused.<\/scene_description>\n    <character>TEENAGER<\/character>\n    <dialogue>We'll have fun.<\/dialogue>\n    <scene_description>Aretha doesn't respond. He goes towards the door. Aretha sees partygoers right outside her door as he closes it. He goes towards her. Aretha is paralyzed with fear.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANKLIN HOME, ARETHA'S ROOM - TIME CUT - LATER<\/stage_direction>\n    <scene_description>The Teenager is gone. Aretha anxiously sits in bed. Sounds of the party still going on downstairs. Aretha gets up and puts a chair under the doorknob. She gets back in bed and stares.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANKLIN HOME, KITCHEN - NEXT MORNING<\/stage_direction>\n    <scene_description>Aretha, holding her doll, lost in thought, sits in a stool, waiting to get her hair straightened as Mama Franklin finishes straightening Carolyn's hair. Cecil is playing underneath the table. Erma, hair freshly straightened, sits nearby. Mama Franklin is almost finished with Carolyn's hair. She indicates Aretha should get in the chair.<\/scene_description>\n    <character>MAMA FRANKLIN<\/character>\n    <parenthetical>(to Aretha)<\/parenthetical>\n    <dialogue>Come on, Ree.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I don't want to.<\/dialogue>\n    <character>MAMA FRANKLIN<\/character>\n    <dialogue>Ree, I will beat your behind.<\/dialogue>\n    <scene_description>Aretha looks at Mama Franklin. She puts her doll down, bends over the chair waiting for her beating. Mama Franklin is taken aback.<\/scene_description>\n    <character>MAMA FRANKLIN<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I don't care if you beat me. I don't want my hair done.<\/dialogue>\n    <character>ERMA<\/character>\n    <dialogue>Don't you want to look pretty for church tomorrow?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>Mama Franklin is frightened. Something is really wrong.<\/scene_description>\n    <character>MAMA FRANKLIN<\/character>\n    <parenthetical>(to the kids)<\/parenthetical>\n    <dialogue>Y'all wait in the living room.<\/dialogue>\n    <scene_description>Erma, Cecil and Carolyn quickly scramble away.<\/scene_description>\n    <character>MAMA FRANKLIN<\/character>\n    <parenthetical>(to Erma and Carolyn)<\/parenthetical>\n    <dialogue>Don't sweat out all my work! That's gotta last you all week.<\/dialogue>\n    <scene_description>Mama Franklin looks at Aretha.<\/scene_description>\n    <character>MAMA FRANKLIN<\/character>\n    <dialogue>You want to tell me what's wrong?<\/dialogue>\n    <scene_description>Aretha shakes her head, \"no.\"<\/scene_description>\n    <character>MAMA FRANKLIN<\/character>\n    <dialogue>Ree-Ree...<\/dialogue>\n    <scene_description>Aretha is silent.<\/scene_description>\n    <character>MAMA FRANKLIN<\/character>\n    <dialogue>I know you don't want to tell me but you can always tell the Lord, Ree. He loves you no matter what.<\/dialogue>\n    <scene_description>Aretha just stares at Mama Franklin.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANKLIN HOME, C.L.'S STUDY - NEXT DAY<\/stage_direction>\n    <scene_description>C.L. is sitting on a chair, drink in hand. He's listening to the Sam Cooke &amp; the Soul Stirrers song \"How Far Am I From Canaan?\". Aretha comes in wearing her nightgown.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>You supposed to be in bed.<\/dialogue>\n    <scene_description>Aretha stands there.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>Come sit with me a while.<\/dialogue>\n    <scene_description>Aretha sits on her father's lap. They listen to the music.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>What if I wasn't here?<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>What do you mean by that?<\/dialogue>\n    <character>ARETHA<\/character>\n    <parenthetical>(considers)<\/parenthetical>\n    <dialogue>I don't know.<\/dialogue>\n    <scene_description>They listen to the music. The phone rings in the other room. We hear Mama Franklin answer it, followed by muffled talking.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>See how nice their voices are blending? They let Sam take the proper lead. Too many members of our choir try to stand out instead of supporting the soloist.<\/dialogue>\n    <scene_description>Mama Franklin comes in the room. She looks troubled.<\/scene_description>\n    <character>MAMA FRANKLIN<\/character>\n    <dialogue>Clarence, come to the phone.<\/dialogue>\n    <scene_description>C.L. hands Aretha a record.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>Play this next.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Ok.<\/dialogue>\n    <scene_description>C.L. follows her out of the room. The song ends. Aretha overhears Mama Franklin and C.L. talking.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>How?<\/dialogue>\n    <character>MAMA FRANKLIN<\/character>\n    <dialogue>Heart attack.<\/dialogue>\n    <scene_description>C.L. looks at Aretha.<\/scene_description>\n    <character>C.L. (O.S.)<\/character>\n    <dialogue>I'll tell them in the morning, Ma.<\/dialogue>\n    <character>MAMA FRANKLIN (O.S.)<\/character>\n    <dialogue>No! You can't wait until tomorrow to tell them their Momma is dead.<\/dialogue>\n    <scene_description>Aretha absorbs this. She sits there a moment. It can't be true. She stands up quickly, knocking a glass over. C.L. looks at Aretha.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>Ree...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRANKLIN HOME, STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>Aretha, completely distraught, runs into the street and stands at the same spot she stood when she waved goodbye to her mother in the previous scene. C.L. runs over to her.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>Ree!<\/dialogue>\n    <scene_description>C.L. holds Aretha as she sobs uncontrollably in his arms.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>I'm sorry, baby.<\/dialogue>\n    <scene_description>He gently picks her up, carries her back home.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANKLIN HOME, DINING ROOM - DAY (MARCH 1953)<\/stage_direction>\n    <scene_description>Aretha stares blankly as Clara Ward brings in a cake filled with candles, and places it on the table. Mama Franklin, JAMES CLEAVELAND and C.L. are behind her. They sing \"Happy Birthday.\" Aretha looks at the cake, says nothing.<\/scene_description>\n    <character>MAMA FRANKLIN<\/character>\n    <dialogue>Come on, now.<\/dialogue>\n    <character>CLARA<\/character>\n    <dialogue>She just miss her momma.<\/dialogue>\n    <character>MAMA FRANKLIN<\/character>\n    <dialogue>They all missing her but.. how long she gonna keep silent? Going on three weeks. She gotta...<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>She just needs a little time, that's all.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>Ree, Miss Clara made this beautiful cake. And Rev. James came especially for you. What do you say, Ree?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Do you say thank you? Do you say something?<\/dialogue>\n    <scene_description>Aretha doesn't respond. C.L. bangs the table in frustration. Everyone but Aretha jumps at the noise. Clara puts her hand on C.L's back. C.L. shrugs her hand off.<\/scene_description>\n    <character>CAROLYN<\/character>\n    <dialogue>Make a wish, Ree.<\/dialogue>\n    <scene_description>Aretha has only one wish, for Barbara to be alive. She bursts into tears. Carolyn, triggered by the grief, starts to cry.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>I can't do this.<\/dialogue>\n    <scene_description>C.L. walks out. Cecil blows out the candles. Aretha continues to cry.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRANKLIN HOME - LATER - DUSK - ESTABLISHING<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANKLIN HOME, LIVING ROOM - LATER - DUSK<\/stage_direction>\n    <scene_description>Aretha stands in the doorway and watches James Cleveland play \"What a Friend we Have in Jesus\" on the piano. James sees her.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Why you hiding over there? Come on over here and have your lesson.<\/dialogue>\n    <scene_description>Aretha sits next to James at the piano.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I'm teaching this to the choir tonight.<\/dialogue>\n    <scene_description>James plays \"What a Friend we have in Jesus.\"<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>You know this one. I'll be the choir. You play the lead.<\/dialogue>\n    <scene_description>She joins him. They play four-hand call-and-response piano. C.L. stands in the door. He watches them for a moment. James sees C.L.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Ree is helping me with my arrangements.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>I see.<\/dialogue>\n    <parenthetical>(to James)<\/parenthetical>\n    <dialogue>Has she spoken to you?<\/dialogue>\n    <character>JAMES<\/character>\n    <parenthetical>(singing)<\/parenthetical>\n    <dialogue>We ain't gotten that far.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>You think you can stay silent forever, Ree?<\/dialogue>\n    <scene_description>James and Aretha stop playing. C.L. goes over to them.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>Look at me.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>We must honor the gifts that God has given us, Ree.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You will be singing in church tomorrow.<\/dialogue>\n    <scene_description>Aretha, terrified at the thought, shakes her head \"no\" and backs away from C.L. C.L. turns to James.<\/scene_description>\n    <character>C.L.<\/character>\n    <parenthetical>(to James)<\/parenthetical>\n    <dialogue>James, can you prepare her?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>C.L. looks at Ree a moment and then exits. Aretha is on the verge of tears. James faces her.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Don't let nothing come between you and your music, Ree. Music will save your life.<\/dialogue>\n    <scene_description>Off Aretha, absorbing this.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALABAMA CHURCH - DAY (1956)<\/stage_direction>\n    <scene_description>C.L. is finishing up a sermon at the pulpit.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>God holds our hand! Though him we can do anything! He's a catcher, a dream catcher! Amen!<\/dialogue>\n    <character>CONGREGATON<\/character>\n    <dialogue>Amen!<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>And now, my daughter Aretha, will bless us with song.<\/dialogue>\n    <scene_description>Fourteen-year-old Aretha steps up to the microphone to sing. As we hear the first few lines \"There's a Fountain Filled with Blood\" and we CUT TO...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALABAMA CHURCH - DAY (1960)<\/stage_direction>\n    <scene_description>...Eighteen-year old Aretha singing \"There's a Fountain Filled with Blood\" in front of a congregation. MARTIN LUTHER KING, JR. (30) is sitting on the dais. C.L. sits in the front pew next to OTHER MINISTERS. The Congregation, inspired and greatly moved, stands and cheers for Aretha. C.L. goes to Aretha and wipes her sweaty brow as she continues to sing. While Aretha goes to her seat on stage, C.L. faces the congregation.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>I wonder do you feel alright!<\/dialogue>\n    <scene_description>The Congregation cheers.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>Then let's give my daughter Aretha another hand!<\/dialogue>\n    <scene_description>The Congregation cheers.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>Amen. Amen.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm ecstatic to report that the day before yesterday we filled up the jail.<\/dialogue>\n    <scene_description>The Congregation claps.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>We have already won a victory here in Birmingham due, in no small part, to the valiant work of our leader, a man I'm honored to call my friend, the Dr. Martin Luther King, Jr.<\/dialogue>\n    <scene_description>King stands and hugs C.L. warmly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALABAMA CHURCH - DAY - LATER<\/stage_direction>\n    <scene_description>Martin Luther King, Jr. is in the middle of preaching. Aretha watches him with awe and admiration.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Some people think we are crazy for taking on this fight. But the forces against us are strong and they are determined to stop us. But we are just as determined to go on, non-violently with love, as long as it takes to win our freedom. And Jesus is here with us every single step of the way.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Yes, he is. Amen<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALABAMA CHURCH, STREET - DAY<\/stage_direction>\n    <scene_description>Aretha and Martin walk and talk. There is a easy familiarity and comfort between them.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Uncle Martin...<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Don't call me Uncle Martin anymore. Makes me feel old.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I want to march.<\/dialogue>\n    <scene_description>Martin looks concerned.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Don't look at me like I'm still a child.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm not afraid.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>You not? Well, damn. Then you need to be leading this movement and teaching me how to not be terrified of these crazy white folks.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Martin...<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Why do you want to march?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Why? After all this time traveling with you? After all the horror we've seen? What kind of question is that?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>You running from your Daddy?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>You tell him you want to march?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I don't have to. It's my decision.<\/dialogue>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>I'm a grown woman, remember?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>You ready to orphan your kids?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Are you?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>But you do it anyway.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>I have to.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>And I don't?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Singing for the movement, sending folks into battle with a song is not enough anymore. I need to be with them.<\/dialogue>\n    <scene_description>They arrive at the tour bus. C.L. is waiting outside for them. Aretha's demeanor changes. She smiles at C.L.<\/scene_description>\n    <character>C.L.<\/character>\n    <parenthetical>(to Aretha)<\/parenthetical>\n    <dialogue>You have a good talk?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Aretha gets on the bus. C.L. turns to Martin. Well?<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>It was a good talk.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>Brother, come on.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>She's restless I can tell.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>I don't know if it's restless.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Wants to do more.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>What kind of more?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRANKLIN HOME, FRONT PORCH - DAY<\/stage_direction>\n    <scene_description>The Tour Bus comes down the street. It stops across the street from the house. Aretha comes off the bus followed by C.L. and SEVERAL MINISTERS and MUSICIANS. While C.L. chats with them, the front door opens. Mama Franklin comes outside with Aretha's children, CLARENCE (5) and EDWARD (3).<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Clarence! Eddie! Where are my babies?!?<\/dialogue>\n    <scene_description>CLARENCE (5) and EDWARD (3) run towards her.<\/scene_description>\n    <character>CLARENCE<\/character>\n    <dialogue>Momma!<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Momma!<\/dialogue>\n    <scene_description>In his enthusiasm, Clarence pushes Edward who falls to the ground and starts wailing. Aretha runs over to them and comforts Edward.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Baby, are you alright?<\/dialogue>\n    <scene_description>Mama Franklin comes outside.<\/scene_description>\n    <character>MAMA FRANKLIN<\/character>\n    <dialogue>Clarence go in your room and wait for me.<\/dialogue>\n    <scene_description>Clarence leaves. Edward runs to Mama Franklin.<\/scene_description>\n    <character>MAMA FRANKLIN<\/character>\n    <parenthetical>(to Edward)<\/parenthetical>\n    <dialogue>It's alright, baby. You're alright.<\/dialogue>\n    <scene_description>Edward calms down. Aretha, heartbroken, watches Edward getting comfort from Mama Franklin. Mama wipes Edward's tears.<\/scene_description>\n    <character>ARETHA<\/character>\n    <parenthetical>(To Mama Franklin)<\/parenthetical>\n    <dialogue>Every time I come back, they want me less.<\/dialogue>\n    <character>MAMA FRANKLIN<\/character>\n    <dialogue>That's not true.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <character>MAMA FRANKLIN<\/character>\n    <dialogue>They talk about you all the time. Every night I show them where you are on the map.<\/dialogue>\n    <parenthetical>(To Edward)<\/parenthetical>\n    <dialogue>One cookie.<\/dialogue>\n    <scene_description>Edward runs into the house. Mama Franklin goes over to Aretha.<\/scene_description>\n    <character>MAMA FRANKLIN<\/character>\n    <parenthetical>(to Aretha)<\/parenthetical>\n    <dialogue>Fix your face now. This party is for y'all.<\/dialogue>\n    <scene_description>C.L. walks over to them. Several Ministers trail behind him. C.L. kisses Mama Franklin.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>How you, Mama?<\/dialogue>\n    <character>MAMA FRANKLIN<\/character>\n    <dialogue>God is good!<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>All the time!<\/dialogue>\n    <character>MAMA FRANKLIN<\/character>\n    <dialogue>Amen!<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>Let's eat! I'm starving.<\/dialogue>\n    <scene_description>They head into the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRANKLIN HOME, BACKYARD - DAY - LATER<\/stage_direction>\n    <scene_description>The Franklin family is having a barbecue. Aretha is sitting with Erma (now 22) and Carolyn (now 16). They are drinking out of plastic cups.<\/scene_description>\n    <character>ERMA<\/character>\n    <dialogue>So where y'all heading?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>We go to Tennessee, then Georgia, then North Carolina, then back to Alabama, I think.<\/dialogue>\n    <character>ERMA<\/character>\n    <dialogue>Damn. Martin's tour schedule is busier than Daddy's.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Erma, sometimes we'd hit two states in one day.<\/dialogue>\n    <character>CAROLYN<\/character>\n    <dialogue>What was that story about Aunt Mahalia not paying you?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>She said I would receive my reward in heaven.<\/dialogue>\n    <scene_description>The sisters laugh. Aretha doesn't react because she is staring at TED WHITE (28), standing across the lawn looking hip, dapper and handsome. Carolyn and Erma notice.<\/scene_description>\n    <character>ERMA<\/character>\n    <dialogue>No, Ree. Uh-Uh.<\/dialogue>\n    <scene_description>Aretha goes towards him. Ted notices Aretha looking, smiles. SMOKEY ROBINSON (20) along with CECIL, intercepts Aretha.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Smokey!<\/dialogue>\n    <character>CECIL<\/character>\n    <parenthetical>(re: Smokey)<\/parenthetical>\n    <dialogue>He's got some news, Ree.<\/dialogue>\n    <scene_description>They hug warmly. Aretha is still checking Ted out.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>I heard you were cutting a record.<\/dialogue>\n    <character>SMOKEY<\/character>\n    <dialogue>I am. With Berry at Motown.<\/dialogue>\n    <character>CECIL<\/character>\n    <dialogue>They got some nice sounds, Ree. They're signing a bunch of folks from the neighborhood.<\/dialogue>\n    <character>SMOKEY<\/character>\n    <dialogue>We trying to put Detroit on the map. You got to join us.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I would love that. Cecil, let me talk to Daddy about it. Don't bring it up until I say.<\/dialogue>\n    <character>SMOKEY<\/character>\n    <dialogue>Let Berry talk to him.<\/dialogue>\n    <character>CECIL<\/character>\n    <dialogue>Or better yet his sister. She can talk ice out of the devil's mouth.<\/dialogue>\n    <scene_description>Aretha looks down at her cup, sees it's almost empty. When she looks up she sees Ted White.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>What are you drinking?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Iced tea.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Just iced tea?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>With a little bourbon.<\/dialogue>\n    <scene_description>Ted takes out a flask, discretely pours it into Aretha's glass. Cecil and Smokey roll their eyes and walk away. C.L. sees Aretha talking to Ted.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>You look like a bourbon girl.<\/dialogue>\n    <scene_description>They don't take their eyes off each other. It's delicious.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>How long are you in town for?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>A week. Then I return to Tennessee.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Well, then, I won't waste any time. I'd like to take you out.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I'd like you to take me out.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>How about tonight?<\/dialogue>\n    <scene_description>C.L. whispers to Mama Franklin. Mama Franklin calls out to Aretha.<\/scene_description>\n    <character>MAMA FRANKLIN<\/character>\n    <dialogue>Ree, come help me set this table.<\/dialogue>\n    <character>ARETHA<\/character>\n    <parenthetical>(to Ted)<\/parenthetical>\n    <dialogue>Yes, to tonight.<\/dialogue>\n    <character>ARETHA<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Excuse me a moment.<\/dialogue>\n    <scene_description>Aretha walks away. C.L. comes over to Ted.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Reverend.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>I put up with you coming to my house all these years 'cause you were friends with my friends, but I don't want you around here anymore.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>May I give you some council, Reverend? Ephesians 6:4 says: Fathers, do not exasperate your children; instead, bring them up in the training and instruction of the Lord.\"<\/dialogue>\n    <character>C.L.<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>Lord, give me strength. Are you serious?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>You may want to loosen your grip on Aretha. Every minister's daughter I've ever known has had a rebellious streak because...<\/dialogue>\n    <scene_description>C.L. steps closer to Ted.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>Nigger, you don't want to mess with me... or mine.<\/dialogue>\n    <scene_description>SEVERAL GUESTS look over at Ted and C.L. Ted glares at C.L. Cecil goes over to C.L. to see if he needs help. A moment of tension then Ted leaves.<\/scene_description>\n    <character>C.L.<\/character>\n    <parenthetical>(to Cecil)<\/parenthetical>\n    <dialogue>I got this.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>I got it.<\/dialogue>\n    <scene_description>Aretha looks over and sees Ted leaving the party.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRANKLIN HOME, BACKYARD - DAY<\/stage_direction>\n    <scene_description>The party is in full swing. GUESTS are eating, dancing, etc.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>Everyone! Everyone! Please gather around. Aretha will you join me, please?<\/dialogue>\n    <scene_description>People gather around C.L. Aretha stands next to him on the porch.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>This party is not just a homecoming. It's also an announcement. God is moving us on to our next chapter. I've been talking to a number of record producers about Aretha. There were many who were interested in working with her.<\/dialogue>\n    <scene_description>C.L. hands Aretha an envelope.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>Tell everyone what it is.<\/dialogue>\n    <scene_description>She opens it. She's shocked.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>A plane ticket to New York City.<\/dialogue>\n    <scene_description>Guests ohhh and ahhh. Cecil and Smokey are visibly disappointed. The Guests applaud.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>Congratulations, Ree.<\/dialogue>\n    <scene_description>Aretha hugs C.L.<\/scene_description>\n    <character>ARETHA<\/character>\n    <parenthetical>(To C.L.)<\/parenthetical>\n    <dialogue>Thank you!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOOLWORTH BUILDING - DAY<\/stage_direction>\n    <scene_description>C.L. and Aretha stand outside the iconic building in awe of its beauty and grandeur.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>This is it.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Wow.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WOOLWORTH BUILDING, LOBBY - DAY<\/stage_direction>\n    <scene_description>Aretha's jaw drops as she looks up at the vaulted mosaic ceilings and ornate, cathedral-like decorations. C.L. stops at the front desk and talks to the RECEPTIONIST.<\/scene_description>\n    <character>C.L.<\/character>\n    <parenthetical>(O.S.)<\/parenthetical>\n    <dialogue>Excuse me. I have a meeting with John Hammond of Columbia Records.<\/dialogue>\n    <scene_description>Aretha walks around, taking in the majesty of the building. After a moment, C.L. walks over to Aretha and guides her to the elevator. The elevator arrives.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>You ready?<\/dialogue>\n    <scene_description>Aretha, facing the enormity of the situation, inhales deeply, then nods and smiles at C.L.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>I'm ready!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLUMBIA RECORDS OFFICE, JOHN HAMMOND'S OFFICE - DAY<\/stage_direction>\n    <scene_description>C.L. and Aretha are meeting with JOHN HAMMOND (50), a tall, handsome, down-to-earth WASP, in his large, tastefully decorated office.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>I've always seen Aretha as more than a gospel singer.<\/dialogue>\n    <character>HAMMOND<\/character>\n    <dialogue>Clearly from her demo she is so much more.<\/dialogue>\n    <scene_description>Aretha glances around the office and sees gold and platinum records on the wall.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>Stand up, Ree. Turn around.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>There can sometimes be a lack of effortlessness of the kind you find in a Lena Horne or Dorothy Dandridge, but what Aretha lacks in formal education, she has more than made up for in experience.<\/dialogue>\n    <scene_description>Aretha walks around the office and looks at all the gold records and artists photos on the wall. She's impressed and badly wants that success and validation.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>She has performed before every type of crowd imaginable, from small churches to an audience of thousands.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You can sit now, Ree.<\/dialogue>\n    <character>HAMMOND<\/character>\n    <parenthetical>(to Aretha)<\/parenthetical>\n    <dialogue>I'm curious. Who are your favorite artists?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Dinah Washington, Ella Fitzgerald, Sam Cooke.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>All family friends. Sam very much wants Aretha to sign with R.C.A.<\/dialogue>\n    <character>HAMMOND<\/character>\n    <parenthetical>(looks at C.L.)<\/parenthetical>\n    <dialogue>Well, we can't have that.<\/dialogue>\n    <scene_description>He reaches his hand out to Aretha.<\/scene_description>\n    <character>HAMMOND<\/character>\n    <dialogue>Welcome to Columbia Records.<\/dialogue>\n    <scene_description>Aretha smiles but C.L. shakes Hammond's hand.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLUMBIA RECORDING STUDIO, LIVE ROOM - DAY - LATER<\/stage_direction>\n    <scene_description>A FULL ORCHESTRA of woodwinds, percussion, brass, and strings, all white men, sits in front of music stands with sheet music. C.L. is in the control booth. Hammond walks Aretha over to the glass isolation booth.<\/scene_description>\n    <character>HAMMOND<\/character>\n    <dialogue>Prove yourself as a jazz artist and everything else will follow.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I understand.<\/dialogue>\n    <scene_description>Aretha goes inside. Hammond goes inside the control booth with C.L.<\/scene_description>\n    <character>HAMMOND<\/character>\n    <parenthetical>(on mic, to Aretha)<\/parenthetical>\n    <dialogue>Are you ready, Aretha?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Yes, Mr. Hammond.<\/dialogue>\n    <character>HAMMOND<\/character>\n    <dialogue>Wonderful. The Conductor will point at you when it's time to begin.<\/dialogue>\n    <scene_description>The Conductor starts up the orchestra. After a few bars he points at Aretha, who sings \"Accentuate the Positive.\" C.L. and John Hammond watch Aretha from the booth. C.L. is loving it. He taps his feet and bops his head.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>She sounds wonderful, doesn't she?<\/dialogue>\n    <character>HAMMOND<\/character>\n    <dialogue>She does.<\/dialogue>\n    <scene_description>They listen for a few more beats.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>Like a black Judy Garland.<\/dialogue>\n    <scene_description>Hammond looks at C.L. Is that what he wants? MONTAGE OF ARETHA'S COLUMBIA JAZZ ALBUMS FROM 1961 TO 1964.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLAGE VANGUARD - NIGHT (1962)<\/stage_direction>\n    <scene_description>NEW YORKERS and TOURIST hang out outside, smoking, talking, etc...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VILLAGE VANGUARD, STAGE - NIGHT<\/stage_direction>\n    <scene_description>A JAZZ TRIO is on stage waiting to play.<\/scene_description>\n    <character>ANNOUNCER (O.S.)<\/character>\n    <dialogue>Ladies and Gentlemen, the Village Vanguard is proud to present... Miss Aretha Franklin debuting her latest record, Unforgettable.<\/dialogue>\n    <scene_description>Aretha enters from the wings and sits at the piano. She looks over the audience and sees Dinah Washington, who smiles at her.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Good evening, ladies and gentlemen. We hope you enjoy the show tonight. I see an old family friend, Dinah Washington, is in the audience, and I'd like to sing a song in honor of her great artistry and talent.<\/dialogue>\n    <scene_description>Aretha whispers to the Trio. They nod. Aretha sings \"This Bitter Earth.\" She doesn't get very far before there is an earth-shattering crash from the audience. Aretha stops. All eyes turn to the source of the crash: An enraged Dinah behind the table she overturned, plates and glasses shattered all around her. She points at Aretha.<\/scene_description>\n    <character>DINAH<\/character>\n    <dialogue>Bitch, don't you ever sing the Queen's songs when the Queen is right in front of you!<\/dialogue>\n    <scene_description>Aretha, mortified, runs off the stage, crying.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VILLAGE VANGUARD, ARETHA'S DRESSING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Aretha is crying. Dinah Washington burst in.<\/scene_description>\n    <character>DINAH<\/character>\n    <dialogue>What the hell were you thinking?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>DINAH<\/character>\n    <dialogue>You want to take me on?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>DINAH<\/character>\n    <dialogue>Liar. You wouldn't be here if you didn't want to replace me and every other bitch singing out here.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>How many albums have you had?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Four.<\/dialogue>\n    <character>DINAH<\/character>\n    <dialogue>And no hits.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>DINAH<\/character>\n    <dialogue>You're out here, but I can see you still that little girl in your Daddy's living room. You singing everything and anything. \"Shoop Shoop\" one day, \"Skylark\" the next. Then some Billie Holiday blues. You all over the place. What do you want to sing?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>DINAH<\/character>\n    <dialogue>You don't know?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I want hits. I just want hits.<\/dialogue>\n    <character>DINAH<\/character>\n    <dialogue>You need to let go of that \"up with the race\" Booker T. Washington proper Negro shit. That's not you. Your Daddy likes to pretend that's who he is, but that's not him either. Y'all church folks are the nastiest people out here. Ray Charles told me the best sex he ever had was when he was singing on the gospel circuit.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Honey, find the songs that suit you. That move you. Until you do that, you ain't going nowhere.<\/dialogue>\n    <scene_description>Aretha takes that in. Dinah notices Aretha's eyes are swollen from crying.<\/scene_description>\n    <character>DINAH<\/character>\n    <dialogue>Put some tea bags on that to get that puffiness down.<\/dialogue>\n    <scene_description>Aretha grabs a tissue and continues to cry.<\/scene_description>\n    <character>DINAH<\/character>\n    <dialogue>How's Big Mama?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>She's alright.<\/dialogue>\n    <character>DINAH<\/character>\n    <dialogue>The kids?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>They're good.<\/dialogue>\n    <character>DINAH<\/character>\n    <dialogue>Child, you ever gonna tell us who their Daddy is?<\/dialogue>\n    <scene_description>Aretha looks at Dinah.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARETHA'S APARTMENT - DAY\/NIGHT<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARETHA'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>The apartment is a mess. Dirty dishes, empty liquor bottles and debris are everywhere. Aretha hasn't showered or moved for a couple of days. She sits on the edge of the bed, haunted by memories. A SERIES OF FLASHBACKS:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANKLIN HOME, ARETHA'S ROOM - NIGHT (1952)<\/stage_direction>\n    <scene_description>Ten-year old Aretha sits on the edge of her bed and stares at her closed bedroom door, terrified of who might enter.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANKLIN HOME, KITCHEN - DAY (1952)<\/stage_direction>\n    <scene_description>Mama Franklin tries to get Aretha to talk after refusing to get her hair straightened.<\/scene_description>\n    <character>MAMA FRANKLIN<\/character>\n    <dialogue>Ree, Ree, you want to tell me what's wrong?<\/dialogue>\n    <scene_description>Aretha shakes her head, \"no.\"<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>I can't.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARETHA'S APARTMENT - NIGHT (1963)<\/stage_direction>\n    <scene_description>The phone rings. Aretha ignores it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANKLIN HOME, KITCHEN - DAY (1953)<\/stage_direction>\n    <scene_description>Eleven-year old Aretha, visibly pregnant, drinks a glass of milk.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARETHA'S APARTMENT - NIGHT (1963)<\/stage_direction>\n    <scene_description>Aretha curls up on the bed while the phone rings and rings.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLUMBIA RECORDING STUDIO, LIVE ROOM - DAY<\/stage_direction>\n    <scene_description>Hammond has just called Aretha.<\/scene_description>\n    <character>HAMMOND<\/character>\n    <parenthetical>(To C.L.)<\/parenthetical>\n    <dialogue>No answer.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>Call her again.<\/dialogue>\n    <scene_description>Just then they see Aretha enter the Live Room. Aretha is surprised to see C.L. there.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>I didn't know you were coming in today, Daddy.<\/dialogue>\n    <character>C.L.<\/character>\n    <parenthetical>(glares)<\/parenthetical>\n    <dialogue>You are sixty-eight minutes late. Mr. Hammond asked me to come in. You've been skipping interviews and gigs.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>That demon is back.<\/dialogue>\n    <parenthetical>(to Hammond)<\/parenthetical>\n    <dialogue>Ree has a tendency to indulge in her pain.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Can we talk about this somewhere else?<\/dialogue>\n    <character>C.L.<\/character>\n    <parenthetical>(to Hammond)<\/parenthetical>\n    <dialogue>John, it's important that you understand that her behavior is not a reflection of her upbringing or her race.<\/dialogue>\n    <character>HAMMOND<\/character>\n    <dialogue>I worked with Bessie Smith and Billie Holiday. Aretha is a saint in comparison.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>She wasn't raised in whorehouses like them. She was raised in a proper home with every convenience and luxury. But still there was this darkness that would descend on her. I called it the demon. She locks herself away, won't speak, eat or move. She just... wallows... in whatever imaginary pain...<\/dialogue>\n    <scene_description>Aretha, in anger, knocks down music stand, then immediately regrets it. C.L. and Hammond are taken aback. They've never seen such emotion from her.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>You told me before we came out here you had it under control.<\/dialogue>\n    <character>ARETHA<\/character>\n    <parenthetical>(barely above a whisper)<\/parenthetical>\n    <dialogue>I have control.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>You keep complaining about not having hits. This is why you don't have hits. Acting like a trifling nigg...<\/dialogue>\n    <scene_description>C.L. stops himself, takes a breathe.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>Apologize to Mr. Hammond.<\/dialogue>\n    <character>HAMMOND<\/character>\n    <dialogue>I don't need an apology. Let's just forget about this and...<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>That's not why I don't have hits.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You don't pick good songs for me.<\/dialogue>\n    <scene_description>C.L. slaps Aretha. Hammond looks away. Aretha does not cry. She touches her cheek, looks at Hammond.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>I apologize for being late, Mr. Hammond. It won't happen again. I'm ready to record whenever you are. Please excuse me for a moment while I go to the ladies' room.<\/dialogue>\n    <scene_description>Aretha walks out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HARLEM BROWNSTONE - NIGHT<\/stage_direction>\n    <scene_description>Party goers talk and linger on the steps.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARLEM APARTMENT - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>It looks like a thousand people are in there. Folks are stoned, drunk, and having a great time. Music plays on a cheap record player cranked up high. People are dancing wherever they can. Aretha is in the corner of the room with, VANESSA.<\/scene_description>\n    <character>VANESSA<\/character>\n    <dialogue>So you want to go with us this weekend?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I have a gig.<\/dialogue>\n    <character>VANESSA<\/character>\n    <dialogue>We can go after your gig.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You work too hard.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Not according to my Daddy.<\/dialogue>\n    <character>VANESSA<\/character>\n    <dialogue>You need some fun.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Come with us!<\/dialogue>\n    <scene_description>Vanessa looks at Aretha, who is staring at something across the room. Vanessa follows her eyes to... Ted White, looking dapper as ever. He stands with a black man, VERNON (20s). Ted has spotted Aretha. He smiles at her. INTERCUT between Ted and Aretha.<\/scene_description>\n    <character>VANESSA<\/character>\n    <dialogue>Can you introduce me to his friend?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I don't know him.<\/dialogue>\n    <scene_description>Ted and Aretha go towards each other when A MAN accidentally knocks over the record player. The music stops. The GUESTS groan. Ted and Aretha don't take their eyes off each other as the music starts back up and everyone dances again. Ted takes Aretha's hand and hurriedly leads her out the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HARLEM STREETS - LATER<\/stage_direction>\n    <scene_description>Ted and Aretha walk.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>You were supposed to take me out in Detroit.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>One of my singers ran into trouble out of town. Had to take care of it.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I think my father said something to you, made you reconsider.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>That's a nice little fable you have going on in your head.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I know what you do. It doesn't bother me.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Oh, I know it doesn't bother you.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You like it, rebelling against your daddy.<\/dialogue>\n    <scene_description>Aretha starts to protest.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>I don't mind. Listen, you want to use me for my body.<\/dialogue>\n    <parenthetical>(twirls around)<\/parenthetical>\n    <dialogue>Use me baby. Wring me dry.<\/dialogue>\n    <scene_description>Aretha looks at Ted.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>You and me been through it. We can move past all the flowers and promises and love bullshit and just have some fun.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I like fun.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>And we're going to have it.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>I just want one thing from you.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>To hear you sing. Just for me.<\/dialogue>\n    <character>ARETHA<\/character>\n    <parenthetical>(considers)<\/parenthetical>\n    <dialogue>And what do I get in return?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Best night of your life.<\/dialogue>\n    <scene_description>Ted kisses Aretha. It is passionate, hot. After a beat, they pull away and walk a bit, both surprised by the intensity. Ted hails a cab. Aretha gets in. Ted stands outside. Aretha is confused. Ted bends down to the window and talks to her.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>I want you to think about me when you sing tomorrow.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>You not coming home with me?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>What about the best night of my life?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I didn't say it would be tonight.<\/dialogue>\n    <scene_description>Ted throws the cabbie some money and walks away. Aretha watches him walk away and smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLUMBIA RECORDING STUDIO, ISOLATION BOOTH - DAY<\/stage_direction>\n    <scene_description>There is a Full Orchestra. Aretha is in the middle of singing \"Nature Boy.\" Hammond is in the Control Booth with an ENGINEER.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>There was a boy\/A very strange enchanted boy\/They say he wandered very far, very far\/Over land and sea<\/dialogue>\n    <scene_description>Aretha is thinking of Ted and that kiss.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>A little shy\/And sad of eye\/But very wise\/Was he<\/dialogue>\n    <scene_description>Ted, Ted, Ted, Ted, Ted. Aretha stops.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>HAMMOND<\/character>\n    <parenthetical>(on mic)<\/parenthetical>\n    <dialogue>You want to take a break, Aretha?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>No. I'll get it right this time.<\/dialogue>\n    <character>HAMMOND<\/character>\n    <parenthetical>(on mic)<\/parenthetical>\n    <dialogue>Fingers crossed. Take Twelve.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HARLEM STREET, SUBWAY STOP - NIGHT<\/stage_direction>\n    <scene_description>Ted waits outside a subway stop. Aretha bounds up the stairs. He smiles and starts to greet her but before he can get a word out she kisses him passionately. She backs him up against a pole. HARLEMITES stare, smile, and disapprove.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TED'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Aretha and Ted walk in. They are all over each other.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TED'S APARTMENT, BEDROOM - NEXT MORNING<\/stage_direction>\n    <scene_description>Aretha wakes. There was clearly a night of passion. She gets out of bed, wrapping a sheet around herself, and goes into...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TED'S APARTMENT, LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Very clean, organized and tastefully decorated, with modern art on the walls. Bookshelves filled with books, a state of the art record player and albums in every kind of genre stacked neatly in every corner. Ted and Aretha's clothes, have been strewn all over the place on the way to the bedroom. Aretha goes through Ted's albums. After a moment, Ted comes in. He immediately starts picking up their clothes off the floor.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>You've got all my records.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>You like them?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I bought them.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Which one you like best?<\/dialogue>\n    <scene_description>Ted struggles to answer.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>They've all got something.<\/dialogue>\n    <scene_description>Aretha hold up one of her albums.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Is this your favorite?<\/dialogue>\n    <scene_description>Ted takes it from her. Aretha shows him another album.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Or this one?<\/dialogue>\n    <parenthetical>(holds up another)<\/parenthetical>\n    <dialogue>Or this?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>ARETHA<\/character>\n    <parenthetical>(holds up another)<\/parenthetical>\n    <dialogue>This one made it to sixty-four on the charts.<\/dialogue>\n    <parenthetical>(holds up another)<\/parenthetical>\n    <dialogue>You didn't even open up this one.<\/dialogue>\n    <scene_description>Ted takes the albums from her.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>You don't like them.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I didn't say that.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Then say it.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I won't be upset. No one likes them.<\/dialogue>\n    <scene_description>Ted takes the unopened album from her.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>First, I've listened to all your albums including this one, more than once. As you can see, I like things neat and clean so I keep it in the plastic so it doesn't get scratched.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Secondly, I love music. I take it seriously. I managed my first artist when I was fifteen.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Thirdly, what you experienced yesterday, seventeen takes on one song? That happens to me every time I listen to you sing. My brain gets all... muddled.<\/dialogue>\n    <scene_description>Aretha smiles.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Well, first, my apologizes for putting you through so much pain. Secondly, you shouldn't have told me about your Achilles heel...<\/dialogue>\n    <scene_description>Aretha goes towards him.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>... on our first date...<\/dialogue>\n    <scene_description>She holds him, sings intimately into his ear.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Ah... damn it.<\/dialogue>\n    <scene_description>Ted melts into her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANKLIN HOME, DINING ROOM - SUNDAY AFTERNOON<\/stage_direction>\n    <scene_description>Aretha, Carolyn and Erma are setting the table for dinner. Aretha is wearing a sexy, hip outfit. Aretha puts down an extra plate at the table.<\/scene_description>\n    <character>ERMA<\/character>\n    <dialogue>I didn't think you were coming home for two weeks.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I missed my babies.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And y'all.<\/dialogue>\n    <scene_description>Aretha puts a plate on the table.<\/scene_description>\n    <character>CAROLYN<\/character>\n    <dialogue>Who's that plate for?<\/dialogue>\n    <character>ARETHA<\/character>\n    <parenthetical>(hesitating, then)<\/parenthetical>\n    <dialogue>Ted.<\/dialogue>\n    <character>CAROLYN<\/character>\n    <dialogue>Oh... sweet Jesus... are you crazy?<\/dialogue>\n    <scene_description>The doorbell rings. Mama Franklin goes to answer it.<\/scene_description>\n    <character>ERMA<\/character>\n    <dialogue>What are you thinking, Ree?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Please help me with Daddy.<\/dialogue>\n    <scene_description>Mama Franklin, looking ashen, comes in with Ted White, who has a bouquet of flowers.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Good Sunday, everybody.<\/dialogue>\n    <scene_description>Mama leaves to get C.L. Ted kisses Aretha as C.L. and Mama Franklin enter.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>What the hell is this?<\/dialogue>\n    <character>TED<\/character>\n    <parenthetical>(to Aretha)<\/parenthetical>\n    <dialogue>You didn't tell them I was coming?<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>I don't know what you think you're doing here. I don't care. Just leave now.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Aretha asked me to come.<\/dialogue>\n    <scene_description>Ted looks at Aretha.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Aretha can ask me to leave.<\/dialogue>\n    <scene_description>C.L. looks at Ree.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>I want him to stay.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>This is my house. Since when do you get to tell me who can be in my house, Ree? Huh?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I want you to get to know him. He's not what you think.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>You pregnant again?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>No! We just want to be together.<\/dialogue>\n    <scene_description>Ted looks at Aretha.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>I love your daughter, Reverend.<\/dialogue>\n    <scene_description>Aretha looks at Ted. That's the first time she's heard that.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>I think she loves me.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I do.<\/dialogue>\n    <character>MAMA FRANKLIN<\/character>\n    <dialogue>Oh, my Lord.<\/dialogue>\n    <character>CAROLYN<\/character>\n    <dialogue>No! No! No!<\/dialogue>\n    <character>ERMA<\/character>\n    <dialogue>Oh, Ree...<\/dialogue>\n    <character>C.L.<\/character>\n    <parenthetical>(to Ted)<\/parenthetical>\n    <dialogue>Didn't I tell you not to mess with me or mine?<\/dialogue>\n    <scene_description>C.L. pulls out a gun and points it at Ted.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>Didn't I tell you?<\/dialogue>\n    <scene_description>Mama Franklin gets in between C.L. and Ted.<\/scene_description>\n    <character>MAMA FRANKLIN<\/character>\n    <dialogue>Clarence! Don't you put your church and your soul in jeopardy over this man.<\/dialogue>\n    <scene_description>Mama Franklin takes the gun away. C.L. steps back.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Reverend, we have to figure this out. I'm not going anywhere.<\/dialogue>\n    <scene_description>C.L. looks at Ree.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>You can't see through this hustler?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>You the greatest hustler I ever seen. Every night she picks herself apart because of you. She thinks it's her hair, her body, her voice. She worries about failing you but it's your failure. Dressing her like a forty-year old woman, making her sing the same ten standards over and over.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>Get out! Get out!<\/dialogue>\n    <scene_description>Aretha goes over to C.L.<\/scene_description>\n    <character>ARETHA<\/character>\n    <parenthetical>(To C.L.)<\/parenthetical>\n    <dialogue>I know you're busy, Daddy. You have so much going on all time.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Running your church, speaking engagements, managing Carolyn...<\/dialogue>\n    <scene_description>Aretha looks at Carolyn. Carolyn didn't know she knew.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>I know about your contract at Horizon Records.<\/dialogue>\n    <character>CAROLYN<\/character>\n    <dialogue>I was going to tell you.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>When? When the damn album came out?<\/dialogue>\n    <character>ERMA<\/character>\n    <dialogue>Nobody can tell you anything, Ree. You get so jealous.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Jealous? Of you two?<\/dialogue>\n    <character>CAROLYN<\/character>\n    <dialogue>You saying we're not as good as you?<\/dialogue>\n    <character>ERMA<\/character>\n    <dialogue>That's exactly what she's saying.<\/dialogue>\n    <scene_description>They bicker.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>Quiet!<\/dialogue>\n    <scene_description>They are silent.<\/scene_description>\n    <character>C.L.<\/character>\n    <parenthetical>(to Ree)<\/parenthetical>\n    <dialogue>You are not leaving this family for this piece of trash.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I need a change.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I want to sing what I want to sing and dress like I want to dress.<\/dialogue>\n    <scene_description>Aretha comes to a realization.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>And I want Ted to manage me.<\/dialogue>\n    <scene_description>This is news to Ted. A moment as C.L absorbs this.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>He's not worth the shit on the bottom of my shoe. So that means you think I'm worth less than that. After all we been through. After all I've done for you.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I have to do this, Daddy.<\/dialogue>\n    <scene_description>C.L. is taken aback by her boldness. He's humiliated, hurt, enraged.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>You gonna beg for me to take you back, but I won't. I won't.<\/dialogue>\n    <scene_description>C.L. leaves. Aretha watches him go.<\/scene_description>\n    <character>ARETHA<\/character>\n    <parenthetical>(To Mama Franklin)<\/parenthetical>\n    <dialogue>I'm gonna say goodbye to the kids and then we'll go.<\/dialogue>\n    <scene_description>Aretha goes to her kids, Mama follows closely behind. Erma and Carolyn glare at Ted.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Y'all not gonna fix me a plate?<\/dialogue>\n    <scene_description>Erma and Carolyn storm off. BEGIN MONTAGE:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TED'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Aretha has moved into Ted's apartment. There is a wedding photo of them on a side table. Ted comes in. Aretha is trying to feed TED, JR.(2), by moving the food around on a fork towards his mouth like it's an airplane. Ted throws bloody money in Aretha's pocketbook then goes straight to the kitchen and ices his bloody knuckles.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>If you keep beating these club owners up, there won't be any other clubs left for me to sing at.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>No one disrespects us.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLUMBIA RECORDS OFFICE, JOHN HAMMOND'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Aretha and Ted meet with Hammond. Aretha looks devastated.<\/scene_description>\n    <character>HAMMOND<\/character>\n    <dialogue>It's my failure. Not yours. I just don't know what else to do. After nine albums...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TED &amp; ARETHA'S APARTMENT - MORNING<\/stage_direction>\n    <scene_description>Aretha, in her nightgown, sits at the piano. There is a glass with whiskey on it. Aretha watches Ted who paces back and forth talking on the phone.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>This is Ted White. I'm trying to reach Mr. Whitfield.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Uh-huh. I want to speak to him about Aretha Franklin.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TED'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Aretha is sitting on Ted's lap. They are still trying to get Ted Jr. to eat.<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>(singing to Ted Jr.)<\/parenthetical>\n    <dialogue>Mommy can't cook either...<\/dialogue>\n    <scene_description>Aretha laughs and playfully hits Ted. END MONTAGE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATLANTIC RECORDS OFFICES, JERRY WEXLER'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Ted and Aretha meet with JERRY WEXLER (48). He is the polar opposite of John Hammond, all nerves and energy. The man has trouble staying in a chair.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I'm gonna be honest with you. Your version of \"Skylark\" is one of my favorite songs.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Thank you, Mr. Wexler.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Call me Jerry. You know what Etta James said to me when she heard it?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>She said that you \"pissed all over that song,\" and she would never sing it again. You ruined that song for her, it was so good.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And I'm not bullshitting you. These guys out here will say anything to get into your drawers. But I...<\/dialogue>\n    <parenthetical>(off her blushing)<\/parenthetical>\n    <dialogue>I'm sorry. I'm crude. You're a church girl and I should watch my mouth.<\/dialogue>\n    <scene_description>Aretha looks at Ted.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>You can talk, don't you? Not just sing?<\/dialogue>\n    <parenthetical>(off her smile)<\/parenthetical>\n    <dialogue>You are the sweetest thing, Aretha.<\/dialogue>\n    <scene_description>Aretha doesn't like his instant familiarity.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>I'd like you to call me Miss Franklin.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Alright then, Miss Franklin. What songs do you want to sing?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I want hits.<\/dialogue>\n    <scene_description>Jerry waits for more.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>We're done with standards. We want original songs made for Aretha only.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>We are speaking the same language right now, my man.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>One of the songwriters I represent wrote a good song for Aretha, \"I Never Loved a Man.\"<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I've got the perfect place for you to record. I've been working with this little studio in Alabama.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Aretha has only recorded in New York.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Which is part of the problem. It's overproduced, too polished. These boys down there...<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Boys?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Don't be offended. I call them boys because they're young like Areth... Miss Franklin, not because they're Negroes. But they're the best musicians I have ever worked with in my life. They know how to riff and play off each other. They don't need to read charts. They just feel it out.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>What do you think?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>That sounds fine.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I'm not controlling like Hammond. I'm gonna give you plenty of room to do your thing. This is your show Miss Franklin. Your record.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - ALABAMA - DAY<\/stage_direction>\n    <scene_description>Ted and Aretha are in the backseat of a car on the way to FAME Studio. A BLACK MAN (40s) drives them. Aretha and Ted look out the windows. Aretha is anxious, lost in her thoughts. Ted looks out the window and sees BLACK SHARECROPPERS picking cotton. Dirt drifts in the car. Ted rolls up the window, looks at Aretha.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FAME STUDIOS - DAY<\/stage_direction>\n    <scene_description>Aretha and Ted pull up to FAME Studio. They get out of the car and stare at the small, depressing studio. There are THREE WHITE MUSICIANS smoking outside.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>This is it?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>What did all the glamour at Columbia get me?<\/dialogue>\n    <scene_description>They walk towards the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FAME STUDIO, LIVE ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Rick and Jerry are screaming in each others faces. The Musicians stare.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>You don't like it! Leave!<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Do you know who your messing with?<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>Do you know who your messing with, Jerry.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>You trying to screw me over?!?<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>You're in my town, buddy!<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>(screaming)<\/dialogue>\n    <scene_description>Why couldn't you just do what I asked of you!<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>This is mine! All of this is mine! You....<\/dialogue>\n    <scene_description>Just then, Aretha and Ted enter. They stare at a red-faced Jerry. Jerry goes over to them.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Welcome! Welcome. This is uh...<\/dialogue>\n    <character>RICK<\/character>\n    <parenthetical>(stepping forward)<\/parenthetical>\n    <dialogue>I'm Rick. This is my place.<\/dialogue>\n    <scene_description>Ted and Aretha come face to face with the Muscle Shoals band. To Ted, they look like a bunch of white hillbillies who could easily lynch him. The Band don't quite know what to make of Ted and his fancy, expensive clothes.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>You don't have any Negro musicians in this town?<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>Not today.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>We were just discussing that.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Not today?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>There was some miscommunication.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Negroes only allowed to pick cotton in these parts?<\/dialogue>\n    <scene_description>A moment of tension.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>Percy Sledge had that same look on his face when he came in here the first time, then he heard 'em play and he was very satisfied with his record.<\/dialogue>\n    <scene_description>Rick takes a bottle of liquor from his back pocket.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>I think you will be too.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Drink?<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>(appalled)<\/parenthetical>\n    <dialogue>We don't have time for that.<\/dialogue>\n    <scene_description>Ted takes a sip. Rick smiles.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>I like your style. Where can I get a jacket like that?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>You'll have to come to Harlem.<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>I always wanted to go to Harlem.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FAME STUDIO, LIVE ROOM - LATER - DAY<\/stage_direction>\n    <scene_description>The liquor bottle's on the table. Everyone listens to the demo recording of \"I Never Loved a Man (The Way I Love You)\" sung by the songwriter, a black male. It is a slow mediocre blues record, nothing at all like the iconic version. It's obvious Rick and the Musicians, which in addition to Jack includes ROGER HAWKINS (Drums) TOMMY COGBILL, JIMMY JOHNSON (Guitar), CHARLIE CHALMERS (tenor sax), JOE ARNOLD (sax), and DAVID HOOD (trombone) hate it.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>Who's this singing?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>The songwriter.<\/dialogue>\n    <scene_description>The Musicians laugh.<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>He sings like a writer.<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>Rick, you want drums on this or you just want to keep it boring?<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>I don't know Roger. You know any good drummers around here?<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>I don't....actually.<\/dialogue>\n    <character>JIMMY<\/character>\n    <parenthetical>(re:song)<\/parenthetical>\n    <dialogue>Just... slow. A little slow.<\/dialogue>\n    <scene_description>The Musicians nod in agreement.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Come on, guys. Hang with me. It's a good song.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>It's a great song.<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>It is what it is.<\/dialogue>\n    <scene_description>The demo ends. Aretha sits down at the piano.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Let's see what we can make of it.<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>Spooner, you think we should keep the shuffle or straighten it out?<\/dialogue>\n    <character>SPOONER<\/character>\n    <dialogue>Let's straighten it out.<\/dialogue>\n    <character>RICK<\/character>\n    <parenthetical>(To Musicians)<\/parenthetical>\n    <dialogue>Straighten her out.<\/dialogue>\n    <scene_description>Chips plays a riff.<\/scene_description>\n    <character>CHIPS<\/character>\n    <dialogue>Put some fatback on it.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>A King Curtis deal?<\/dialogue>\n    <scene_description>Jimmy plays a riff.<\/scene_description>\n    <character>ROGER<\/character>\n    <dialogue>That's groovy, man.<\/dialogue>\n    <scene_description>Roger twirls his sticks, is about to hit the drums when Aretha plays a B7 chord on the piano that draws everyone's attention. Rick, Ted, Tom and Jerry go into the Control Booth.<\/scene_description>\n    <character>CHIPS<\/character>\n    <dialogue>Alright! Let's go with that.<\/dialogue>\n    <scene_description>Chips answers with a soulful guitar riff. Aretha plays a gospel version of the song. Roger joins in with a backbeat and soon all the players settle into a tempo. Aretha sings an inspired version of the song that is clearly better than the demo. Jerry interrupts.<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>(on mic)<\/parenthetical>\n    <dialogue>Hold it. Hold it.<\/dialogue>\n    <scene_description>The Musicians stop.<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>(on mic)<\/parenthetical>\n    <dialogue>Sounds like Sunday service.<\/dialogue>\n    <character>RICK<\/character>\n    <parenthetical>(on mic)<\/parenthetical>\n    <dialogue>I was just about to say it's too churchy.<\/dialogue>\n    <scene_description>Jerry glares at Rick.<\/scene_description>\n    <character>JACK<\/character>\n    <parenthetical>(looking at Aretha)<\/parenthetical>\n    <dialogue>I liked it.<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>Come on, let's find another pocket.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Something that swings more.<\/dialogue>\n    <character>HAWKINS<\/character>\n    <dialogue>Speed it up.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>No. Don't speed up.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>Follow me.<\/dialogue>\n    <scene_description>Aretha hits a chord on the piano.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FAME STUDIO, LIVE ROOM - LATE AFTERNOON<\/stage_direction>\n    <scene_description>They've been at it a couple of hours. Ashtrays are filled to the brim. Still haven't found it. Jack is notating parts for the horns.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Stop. Stop.<\/dialogue>\n    <scene_description>Aretha stops playing. The Musicians stop.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>It's too busy. Let the song do the work.<\/dialogue>\n    <character>TOM<\/character>\n    <parenthetical>(on mic)<\/parenthetical>\n    <dialogue>Stop showing off, guys.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>(To Musicians)<\/parenthetical>\n    <dialogue>You boys trying to impress me? It's not working.<\/dialogue>\n    <character>RICK<\/character>\n    <parenthetical>(To Musicians)<\/parenthetical>\n    <dialogue>More importantly. It's ticking me off.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Maybe we should try something closer to the original arrangement.<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>Nah.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>No. That's done.<\/dialogue>\n    <scene_description>Aretha starts playing the song again. Spooner watches Aretha. They exchange glances.<\/scene_description>\n    <character>CHIPS<\/character>\n    <parenthetical>(To Jimmy)<\/parenthetical>\n    <dialogue>You kept stepping on me.<\/dialogue>\n    <character>JIMMY<\/character>\n    <parenthetical>(To Chips)<\/parenthetical>\n    <dialogue>You were all over the neck. I couldn't tell what you were doing.<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>Pick your lane, Jimmy.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Look whose talking. They could hear your crash in Texas.<\/dialogue>\n    <scene_description>Aretha continues to play, oblivious to everyone else. Spooner watches her closely.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Well, my horn arrangement is killer. Y'all let me know when you're ready for it.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>You think you gonna save the song, Jack?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>As I have on many an occasion.<\/dialogue>\n    <scene_description>Aretha starts humming along with the tune she's playing. Spooner plays what Aretha is humming on his Wulitzer and we hear one of the most famous song intros in recorded music. The Band and Aretha look at each other. They know this is what the song was missing.<\/scene_description>\n    <character>CHIPS<\/character>\n    <dialogue>Spooner's got it! Spooner's got it!<\/dialogue>\n    <scene_description>Spooner continues to play his riff while Tommy supports him with a simple pulsing baseline. Roger finds his groove on the drums. While the rhythm section settles on a beat, Jack finishes his chart and silently shows the horn players their cues. Aretha eyes each musician and nods approval. She looks last at Jack who smiles as she begins to sing.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>You're a no good heart breaker You're a liar and you're a cheat And I don't know why I let you do these things to me My friends keep telling me That you ain't no good But oh, they don't know That I'd leave you if I could<\/dialogue>\n    <scene_description>Jack's eyes are locked on Aretha as he cues the horn section to enter at the B section. The saxes and trumpet provide the perfect counterpoint as the vocal continues. Ted watches all of this with jealousy and admiration.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>I guess I'm uptight And I'm stuck like glue Cause I ain't never I ain't never, I ain't never, no, no (loved a man) (The way that I, I love you)<\/dialogue>\n    <scene_description>The song bleeds seamlessly into the next scene where...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FAME STUDIOS - LATER - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Everyone is listening to the recording. Aretha is smoking and pacing, absorbing every sound.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>That is rocking.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Sound pretty good.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I think I could do better.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>It's the perfect mixture of blues, gospel...<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>And sex! Baby, that's some of the best singing and playing I ever heard.<\/dialogue>\n    <scene_description>Jack puts his arm around Aretha. Aretha, still thinking about the song, is not paying attention, and her arms remain limply at her side. Jack does not remove his arm from around Aretha until she turns to Jerry, shaking his arm loose.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>I want to overdub some backup vocals on the chorus.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I was just thinking that. We'll find some local talent.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>No, I want to do it.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Even better. Save me some money.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Jerry, let me talk to you a moment.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Uh... alright.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALABAMA HOTEL - NIGHT<\/stage_direction>\n    <scene_description>Cars in the parking lot.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALABAMA HOTEL, TED &amp; ARETHA'S ROOM - EVENING<\/stage_direction>\n    <scene_description>Aretha and Ted are in a full on fight. Ted is drinking liquor straight from the bottle.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>I wasn't looking at nobody. I was trying to do my work!<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>He was looking at you.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Thought he was gonna get him some nigger tail. Pack the bags.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>It sounded good. Real good. It was really coming together and you had to show your ignorant ass!<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I oughta leave you here and let these crackers have a go at you.<\/dialogue>\n    <scene_description>Aretha takes that in.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>That's the best I ever sounded. Couldn't you hear that?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>We gonna finish this in New York with my musicians.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Your musicians ain't shit.<\/dialogue>\n    <scene_description>Aretha goes to the door.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>You not gonna mess this up for me! I waited too long for this.<\/dialogue>\n    <scene_description>Aretha goes to the door.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Where the hell you think you going?<\/dialogue>\n    <scene_description>Ted slams the door and pushes Aretha against the wall. He starts choking her when there's a knock at the door.<\/scene_description>\n    <character>RICK (O.S.)<\/character>\n    <dialogue>Ted, It's Rick Hall. Open up.<\/dialogue>\n    <scene_description>Ted bolts to the door.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>This cracker here.<\/dialogue>\n    <scene_description>Ted opens the door. Rick is drunk.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>Good evening. May I come inside?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Rick slips in before Ted can slam the door.<\/scene_description>\n    <character>RICK<\/character>\n    <dialogue>I thought we should talk.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I got nothing to say to your hillbilly ass.<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>I wish you wouldn't call me names. Do I call you names?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>What name would you like to call me, whitey.<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>I came here to make peace.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I don't want to make peace with you, cracker.<\/dialogue>\n    <scene_description>Rick tries to keep his shit together, steps away from Ted.<\/scene_description>\n    <character>RICK<\/character>\n    <parenthetical>(To Aretha)<\/parenthetical>\n    <dialogue>I came here to tell you I fired that horn player that was troubling you.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>How did it feel to take orders from a nigger?<\/dialogue>\n    <character>RICK<\/character>\n    <parenthetical>(To Ted)<\/parenthetical>\n    <dialogue>I don't hate you because you're a...<\/dialogue>\n    <parenthetical>(wait for it...)<\/parenthetical>\n    <dialogue>... Negro. I hate you because you're a giant asshole. Don't step foot near my studio ever again.<\/dialogue>\n    <parenthetical>(to Aretha)<\/parenthetical>\n    <dialogue>Miss Franklin, you are welcome at any time.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Don't speak to my wife, cracker.<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>You keep pushing me...<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>What you gonna do, redneck?<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>... and pushing me.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Peckerwood.<\/dialogue>\n    <character>RICK<\/character>\n    <dialogue>You gonna \"redneck\" me one more time, gonna \"whitey\" me one more time, and I'm gonna \"nigger\" you...<\/dialogue>\n    <scene_description>Ted hits Rick. Aretha screams. They go at it. Aretha watches in the corner, trying not to get caught in the melee. It's brutal and bloody.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALABAMA HOTEL, TED &amp; ARETHA'S ROOM - NEXT MORNING<\/stage_direction>\n    <scene_description>The room is a wreck. Aretha has a black eye and has slept in her clothes on what's left of the bed. She wakes. No Ted. She looks around the room. She's alone, truly alone. She's terrified. She gets up, starts packing her bag.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRANKLIN HOME - DAY<\/stage_direction>\n    <scene_description>Aretha, exhausted, demoralized, her bruised face covered with make-up emerges from a taxi, holding Ted Jr. She looks at her childhood home with relief and shame.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRANKLIN HOME, FRONT PORCH - DAY<\/stage_direction>\n    <scene_description>Aretha opens the door. Mama Franklin is there. She looks at her bruised face, hugs her tenderly.<\/scene_description>\n    <character>MAMA FRANKLIN<\/character>\n    <dialogue>You hungry?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I'm alright.<\/dialogue>\n    <scene_description>They walk inside the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANKLIN HOME, FOYER - DAY<\/stage_direction>\n    <character>MAMA FRANKLIN<\/character>\n    <parenthetical>(calling out)<\/parenthetical>\n    <dialogue>Ree is home!<\/dialogue>\n    <scene_description>Carolyn and Erma come into the room, see the state Aretha is in. Erma and Carolyn hug Aretha.<\/scene_description>\n    <character>ERMA<\/character>\n    <dialogue>That bastard.<\/dialogue>\n    <character>CAROLYN<\/character>\n    <dialogue>I'm gonna kill him.<\/dialogue>\n    <scene_description>Aretha cries. C.L. comes into the room. He looks at Aretha. His heart breaks for her, but... his pride is strong. They look at each other a moment.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>You here for long?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Not sure.<\/dialogue>\n    <scene_description>C.L. nods.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANKLIN HOUSE, LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Aretha is playing with Clarence, Ted, Jr., and Edward. Otis Redding's \"Respect\" is playing on the radio. Holding a microphone as a mic, she playfully stomps around like an angry man while singing.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Hey, little girl\/You're so sweet little honey\/Give me all your money!<\/dialogue>\n    <scene_description>The kids laugh and imitate her. Mama Franklin and Erma watch.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Come on, Big Mama! Sing with us!<\/dialogue>\n    <scene_description>The Kids pull Big Mamma in their game. The phone rings. Carolyn answers.<\/scene_description>\n    <character>CAROLYN<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>Carolyn looks irritated.<\/scene_description>\n    <character>CAROLYN<\/character>\n    <dialogue>She's not here.<\/dialogue>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>If you ever touch her again...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Go to hell.<\/dialogue>\n    <scene_description>She hangs up the phone and goes over to Aretha and the kids.<\/scene_description>\n    <character>CAROLYN<\/character>\n    <dialogue>Can I be a backup singer with y'all?<\/dialogue>\n    <character>ERMA<\/character>\n    <dialogue>Me too! Me too!<\/dialogue>\n    <scene_description>Aretha smiles appreciatively at her sisters. They dance around. After a moment, C.L., holding Ted Jr., stands in the doorway and watches.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATLANTIC RECORDS OFFICES - DAY<\/stage_direction>\n    <scene_description>Jerry Wexler comes into the office. He looks like he hasn't slept in days, and he hasn't.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Has Aretha Franklin called?<\/dialogue>\n    <character>SECRETARY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Call her. If you can't get her, call Ted White. If you can't get him...<\/dialogue>\n    <scene_description>Jerry hands the Secretary a crumpled piece of paper.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Start calling everybody on that list.<\/dialogue>\n    <scene_description>Jerry goes into his office.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DETROIT, HASTINGS STREET - DAY<\/stage_direction>\n    <scene_description>Aretha, Cecil, holding hands with a BEAUTIFUL WOMAN (20's), Erma, with her two kids, THOMAS (12) AND SABRINA (8), Carolyn, Clarence, Edward, Ted, Jr., C.L., and Mama Franklin walk down the busy commercial street. The kids have ice cream cones. C.L. points to a store.<\/scene_description>\n    <character>C.L.<\/character>\n    <parenthetical>(to Ted Jr.)<\/parenthetical>\n    <dialogue>Your Momma cut her first record at that store. \"Jesus be A Fence.\"<\/dialogue>\n    <scene_description>Aretha looks back at C.L.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>Folks lined up around the block to buy it.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>They lined up to buy your records too.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>I'm about to tell him that story now.<\/dialogue>\n    <scene_description>Aretha laughs. \"I Never Loved a Man (The Way I Loved You)\" blasts from the record store. At first no one hears it, then...<\/scene_description>\n    <character>CLARENCE<\/character>\n    <dialogue>Momma, ain't that...?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Don't say \"ain't.\"<\/dialogue>\n    <character>CLARENCE<\/character>\n    <dialogue>But ain't that you singing?<\/dialogue>\n    <scene_description>Everyone stops to listen. They look at the car blasting the song. DRIVER and PASSENGERS are rocking out to it.<\/scene_description>\n    <character>CAROLYN<\/character>\n    <dialogue>That's your song?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>They released it?<\/dialogue>\n    <character>ERMA<\/character>\n    <dialogue>God, Ree... You sound so damn good.<\/dialogue>\n    <character>CECIL<\/character>\n    <dialogue>It's a hit! That's a hit!<\/dialogue>\n    <character>CLARA<\/character>\n    <dialogue>It's wonderful, Ree.<\/dialogue>\n    <parenthetical>(To C.L.)<\/parenthetical>\n    <dialogue>Don't you think so, honey?<\/dialogue>\n    <scene_description>They listen for a bit. They love it. Aretha looks at C.L., She still longs for his approval. C.L. listens, then smiles.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>It's amazing, Ree.<\/dialogue>\n    <scene_description>Aretha's smiles, relieved.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANKLIN HOME, LIVING ROOM - MORNING<\/stage_direction>\n    <scene_description>Aretha holds the phone to her ear. It's ringing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATLANTIC RECORDS OFFICES, JERRY WEXLER'S OFFICE -<\/stage_direction>\n    <scene_description>MORNING Phone rings. Jerry hurriedly answers, fumbling the receiver.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Mr. Wexler, I'm ready to record.<\/dialogue>\n    <scene_description>Jerry sags with relief.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Thank God.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I want to work with the Muscle Shoals band. Those boys have soul.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Yes, they do.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I'll provide the back up singers.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ATLANTIC RECORDING STUDIO - DAY<\/stage_direction>\n    <scene_description>Aretha, Erma and Carolyn walk into Atlantic Studios like they own the place.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATLANTIC RECORDING STUDIO, LIVE ROOM - DAY<\/stage_direction>\n    <scene_description>Aretha, Carolyn, Erma, and the Muscle Shoals band record, Aretha at the piano, Erma and Carolyn singing backup. Jerry and Tom Dowd are in the Control Booth. Ted is not there. Aretha sings \"Do Right Woman, Do Right Man.\"<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Yeah, yeah, they say that it's a man's world\/But you can't prove that by me\/And as long as we're together, baby\/Show some respect for me\/If you want a do right, all days woman\/You've got to be a do right, all night man<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TED &amp; ARETHA'S APARTMENT - NIGHT<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TED &amp; ARETHA'S APARTMENT - NIGHT - CONTINUOUS<\/stage_direction>\n    <scene_description>Aretha looks out the window. She's working out a melody in her head and quietly sings the lyrics to what will become the song \"Dr. Feelgood\"<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Sitting around me and that man...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TED &amp; ARETHA'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Aretha is at the piano. She's playing the chords that will become the song \"Dr. Feelgood.\"<\/scene_description>\n    <character>ARETHA<\/character>\n    <parenthetical>(singing)<\/parenthetical>\n    <dialogue>Be it my mother, my brother or my sister...<\/dialogue>\n    <scene_description>Ted walks in the front door. A moment.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>You can't treat me like that...<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I know. I know. I know.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I got demons too. Help me fight mine like I help you fight yours.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I will, baby.<\/dialogue>\n    <scene_description>He slowly cups her face, tenderly kisses her nose. She presses her face into his neck. He squeezes her tight.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>I love you so much.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I love you too.<\/dialogue>\n    <scene_description>They kiss passionately.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVERSIDE PARK - DAY<\/stage_direction>\n    <scene_description>Aretha, Erma and Carolyn are walking through the park. Erma and Carolyn are nervous about discussing Ted with Aretha. Aretha is anxious about them bringing it up. Erma and Carolyn exchange glances. Aretha sees it. Carolyn starts to speak. Aretha interrupts.<\/scene_description>\n    <character>CAROLYN<\/character>\n    <dialogue>Ree... We've been talking...<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>How is Clara doing?<\/dialogue>\n    <character>ERMA<\/character>\n    <dialogue>She's fine.<\/dialogue>\n    <character>CAROLYN<\/character>\n    <dialogue>Good.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Is Daddy ever gonna marry Clara?<\/dialogue>\n    <scene_description>Carolyn and Erma laugh.<\/scene_description>\n    <character>CAROLYN<\/character>\n    <dialogue>I can't believe she's stayed this long.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Why would she leave? They're church royalty.<\/dialogue>\n    <character>ERMA<\/character>\n    <dialogue>Same reason they all leave.<\/dialogue>\n    <character>CAROLYN<\/character>\n    <dialogue>Same reason Mama left.<\/dialogue>\n    <character>ERMA<\/character>\n    <dialogue>Same reason you need to leave Ted.<\/dialogue>\n    <scene_description>A moment of tension.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Ted is nothing like Daddy.<\/dialogue>\n    <character>CAROLYN<\/character>\n    <dialogue>The way you two go at it...<\/dialogue>\n    <character>ERMA<\/character>\n    <dialogue>Just like Momma and Daddy...<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Momma and Daddy didn't fight.<\/dialogue>\n    <scene_description>Carolyn and Erma laugh and then they realize Aretha is serious.<\/scene_description>\n    <character>ERMA<\/character>\n    <dialogue>Wait...<\/dialogue>\n    <character>CAROLYN<\/character>\n    <dialogue>You're not joking?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Joking about what?<\/dialogue>\n    <character>ERMA<\/character>\n    <dialogue>You don't remember?<\/dialogue>\n    <character>CAROLYN<\/character>\n    <dialogue>Even I remember and I was just three or four.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Remember what?<\/dialogue>\n    <scene_description>Erma looks at Aretha in disbelief.<\/scene_description>\n    <character>ERMA<\/character>\n    <dialogue>Aretha!<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>We used to hide up on the roof and sing as loud as we could to drown them out.<\/dialogue>\n    <character>CAROLYN<\/character>\n    <dialogue>How could you forget that?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I still have nightmares about it.<\/dialogue>\n    <scene_description>A moment as Aretha absorbs this.<\/scene_description>\n    <character>ERMA<\/character>\n    <dialogue>I was glad when Mama finally left.<\/dialogue>\n    <scene_description>A moment as Aretha absorbs this.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TED &amp; ARETHA APARTMENT, BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Aretha sits at the edge of the bed, smoking. Ted is sound asleep. FLASHBACK<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MODEST HOUSE, DETROIT - LIVING ROOM - AFTERNOON<\/stage_direction>\n    <scene_description>Aretha sits next to her mother at the piano.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Why did you leave?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>You don't remember?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Remember what?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <scene_description>Barbara hugs Aretha.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TED &amp; ARETHA APARTMENT, LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Carolyn is asleep on the couch. Aretha sings and plays a few chords from \"Respect\", waking Carolyn.<\/scene_description>\n    <character>CAROLYN<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Get Erma.<\/dialogue>\n    <scene_description>Carolyn goes to get Erma from another room. Aretha keeps playing like she's possessed. After a moment, Carolyn drags a groggy Erma into the living room to see Aretha singing \"Respect.\"<\/scene_description>\n    <character>ARETHA<\/character>\n    <parenthetical>(singing)<\/parenthetical>\n    <dialogue>All I'm asking for is a little respect when you get home...<\/dialogue>\n    <parenthetical>(beat, to her sisters)<\/parenthetical>\n    <dialogue>Give me...<\/dialogue>\n    <parenthetical>(singing)<\/parenthetical>\n    <dialogue>Just a little bit...<\/dialogue>\n    <scene_description>They sing while Aretha plays.<\/scene_description>\n    <character>CAROLYN<\/character>\n    <dialogue>Just a little bit.<\/dialogue>\n    <character>ERMA<\/character>\n    <dialogue>Just a little bit.<\/dialogue>\n    <character>ARETHA<\/character>\n    <parenthetical>(to Erma)<\/parenthetical>\n    <dialogue>Sing a third below Carolyn.<\/dialogue>\n    <scene_description>Erma sings a third below Carolyn.<\/scene_description>\n    <character>CAROLYN<\/character>\n    <dialogue>Just a little bit.<\/dialogue>\n    <character>ERMA<\/character>\n    <dialogue>Just a little bit.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>That's it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TED AND ARETHA APARTMENT, LIVING ROOM - NIGHT - LATER<\/stage_direction>\n    <scene_description>The Franklin sisters continue to work on the song. They've had a few drinks.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Is give it to me when you get home...<\/dialogue>\n    <character>CAROLYN<\/character>\n    <dialogue>Just a little bit.<\/dialogue>\n    <character>ERMA<\/character>\n    <dialogue>Just a little bit.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Yeah, baby...<\/dialogue>\n    <character>CAROLYN<\/character>\n    <dialogue>Just a little bit.<\/dialogue>\n    <character>ERMA<\/character>\n    <dialogue>Just a little bit.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Sock it to me!<\/dialogue>\n    <scene_description>They crack up laughing.<\/scene_description>\n    <character>ERMA<\/character>\n    <dialogue>Awwww. Big Momma.<\/dialogue>\n    <scene_description>A groggy, grouchy Ted comes in.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>What the hell? It's 3 am!<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>We're writing a hit song.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>That's Otis Redding's song.<\/dialogue>\n    <character>ERMA<\/character>\n    <dialogue>Just a little bit!<\/dialogue>\n    <scene_description>The Sisters laugh. Ted storms out the room.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>You really like it?<\/dialogue>\n    <character>ERMA<\/character>\n    <dialogue>It's great!<\/dialogue>\n    <character>CAROLYN<\/character>\n    <dialogue>It's wonderful, Ree!<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>You sure...? Don't just tell me...<\/dialogue>\n    <character>CAROLYN<\/character>\n    <dialogue>Uh-uh. Don't do that. I love it!<\/dialogue>\n    <scene_description>Carolyn and Erma go to either side of Aretha at the piano to reassure her.<\/scene_description>\n    <character>ERMA<\/character>\n    <dialogue>We love it, Ree-Ree!<\/dialogue>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Ree-Ree<\/dialogue>\n    <scene_description>Carolyn imitates Erma.<\/scene_description>\n    <character>CAROLYN<\/character>\n    <dialogue>(singing)<\/dialogue>\n    <character>ERMA<\/character>\n    <dialogue>(singing)<\/dialogue>\n    <scene_description>Ree-Ree... Ree-Ree<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TED AND ARETHA APARTMENT, LIVING ROOM - NIGHT - LATER<\/stage_direction>\n    <scene_description>Aretha listens as Erma and Carolyn, still sitting on either side of Aretha, play chords and sing...<\/scene_description>\n    <character>CAROLYN<\/character>\n    <dialogue>Re-re-re-re-re...<\/dialogue>\n    <character>ERMA<\/character>\n    <dialogue>Re-re-re-re-re...<\/dialogue>\n    <scene_description>They are singing Aretha's nickname in the iconic chorus!<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>That's really good!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATLANTIC STUDIOS, LIVE ROOM - DAY<\/stage_direction>\n    <scene_description>Aretha is accompanying Carolyn and Erma on the piano as they work out the tag for the Muscle Shoals band. Jerry, Tom and Ted listen around the piano as the iconic song, still bare bones, takes shape. It's a party and recording session all at once. Roger joins in on drums playing a funky beat. Tommy joins in playing a boring baseline.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>I need a Harlem baseline Tommy, not Alabama.<\/dialogue>\n    <scene_description>Tommy smiles. Roger laughs.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>I ain't been to Harlem yet but how's this?<\/dialogue>\n    <scene_description>Tommy plays something closer to the baseline we know.<\/scene_description>\n    <character>ARETHA<\/character>\n    <parenthetical>(To Tommy)<\/parenthetical>\n    <dialogue>That's nice!<\/dialogue>\n    <scene_description>Aretha points to Chips. He plays a lick.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>That's rocking!<\/dialogue>\n    <parenthetical>(To Spooner)<\/parenthetical>\n    <dialogue>Come on in, Spooner. What you got?<\/dialogue>\n    <scene_description>Spooner plays.<\/scene_description>\n    <character>SPOONER<\/character>\n    <dialogue>I'ma keep it simple.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Like you always do.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>That's groovy.<\/dialogue>\n    <scene_description>Angle on Tom and Jerry.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>It's her song now! Otis who?<\/dialogue>\n    <scene_description>Aretha looks at Charlie and the horns. Charlie plays a riff on the saxophone. Chyron: 1968 Madison Square Garden<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MADISON SQUARE GARDEN - NIGHT<\/stage_direction>\n    <scene_description>As RESPECT continues to play,<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MADISON SQUARE GARDEN - NIGHT<\/stage_direction>\n    <scene_description>Aretha, with the Muscle Shoals band, belts out the anthem. Carolyn, Erma and her cousin BRENDA sing backup, the INTERRACIAL CROWD of thousands lose their minds. BEGIN MONTAGE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROCKEFELLER CENTER - NIGHT<\/stage_direction>\n    <scene_description>Aretha exits a limo draped in furs and diamonds, Ted in tow.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROCKEFELLER CENTER, RAINBOW ROOM - NIGHT<\/stage_direction>\n    <scene_description>Cameras flash as Aretha and Ted enter the Rainbow Room where there is a surprise birthday party for Aretha. James Cleveland, Erma, Carolyn, Cecil, Smokey Robinson, Jerry, along with HUNDREDS of CELEBRITIES, DIGNITARIES, and monied ELITE all standing, smiling at her screaming, \"Surprise\" etc. Aretha looks at Ted, shocked. They kiss.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROCKEFELLER CENTER, RAINBOW ROOM - NIGHT - LATER<\/stage_direction>\n    <scene_description>Aretha walks through the party greeting WELL WISHERS, FRIENDS and SYCOPHANTS. Smokey comes over to her.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Smokey!<\/dialogue>\n    <scene_description>Aretha hugs Smokey warmly.<\/scene_description>\n    <character>SMOKEY<\/character>\n    <dialogue>Nobody's talking about Motown anymore. All they want to talk about is Aretha Franklin!<\/dialogue>\n    <parenthetical>(emotional)<\/parenthetical>\n    <dialogue>You did it, Ree.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I did it.<\/dialogue>\n    <scene_description>Ted whisks Aretha onto the dance floor. This is like a first dance at a wedding. The entire room is admiring them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAINBOW ROOM - NIGHT - LATER<\/stage_direction>\n    <scene_description>Aretha admires a giant cake filled with candles with the words \"HAPPY 25TH BIRTHDAY REE\" on it. She closes her eyes, makes a wish, then blows out the candles.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>What'd you wish for?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>More hits!<\/dialogue>\n    <scene_description>Everyone laughs and cheers. CUT TO: JERRY LOOKING ON AS ARETHA HOLDS UP A SIGNED CONTRACT WITH ATLANTIC RECORDS B96 A MAGAZINE PICTURE OF ARETHA HOLDING UP TWO GRAMMY AWARDS.B96 D96 A PHOTO OF ARETHA, TED AND JERRY HOLDING UP PLATINUM RECORDS D96: END MONTAGE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATLANTIC STUDIOS, LIVE ROOM - DAY<\/stage_direction>\n    <scene_description>A WHITE MALE REPORTER with a microphone talks to the camera. He walks while he's talking...<\/scene_description>\n    <character>MALE REPORTER<\/character>\n    <dialogue>Soul Music has taken over the charts. But what is Soul Music? The musician having the biggest influence on this genre is Grammy winning soul singer, Aretha Franklin.<\/dialogue>\n    <scene_description>He goes over to where Aretha and Ted sit on the piano bench. Ted is sitting very close to Aretha.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>From a very young age, I saw that Aretha possessed an extraordinary talent.<\/dialogue>\n    <character>ARETHA FRANKLIN<\/character>\n    <dialogue>Ted is my husband, manager.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>And favorite critic.<\/dialogue>\n    <scene_description>Aretha smiles at Ted.<\/scene_description>\n    <character>TED WHITE<\/character>\n    <parenthetical>(to Aretha)<\/parenthetical>\n    <dialogue>Right now gospel is the main influence on contemporary rhythm and blues and that's due to Aretha. Others have mixed gospel and so- called secular music before her, but Aretha puts a unique spin on it that people can relate to.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATLANTIC STUDIOS, LIVE ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Jerry is being interviewed by a Reporter.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>It's always great when families sing together because there is a language between siblings that you can't recreate with just hired hands. \"Ain't No Way\" is a song written by Carolyn for Aretha and something Aretha can relate to because, I think, they know each other so well.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATLANTIC STUDIOS, LIVE ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Aretha is at the piano with Carolyn and Erma. The Muscle Shoals band is there along with Charlie Chalmers, a FOUR PIECE HORN section Ted, Tom Dowd and Jerry Wexler. Carolyn is teaching Aretha \"Ain't No Way,\" Aretha is playing the verse chords.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Show me how the melody goes in the verse.<\/dialogue>\n    <scene_description>Carolyn and Erma sing while Carolyn claps out the rhythm.<\/scene_description>\n    <character>CAROLYN AND ERMA<\/character>\n    <dialogue>Ain't no way \/ For me to love you \/ If you won't let me.<\/dialogue>\n    <scene_description>Aretha, following Carolyn's instruction, plays. Ted, Tom Dowd Chips and Jerry go around the piano to see what Aretha is doing.<\/scene_description>\n    <character>CAROLYN<\/character>\n    <parenthetical>(to Aretha)<\/parenthetical>\n    <dialogue>Uh-huh. That's it.<\/dialogue>\n    <scene_description>Tom, clearly digging the song, hums the background melody to Ted. Ted nods, smiles.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Let me try.<\/dialogue>\n    <scene_description>Aretha starts the song from the top and sings \"Ain't No Way.\" Carolyn and Erma sing chorus. The Muscle Shoals band along with CHARLIE CHALMERS and a FOUR PIECE horn section accompany her. Carolyn and Erma glare at Ted. This song is about you, motherfucker. Carolyn and Erma sing harmony with Aretha.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>And then it just fades out here?<\/dialogue>\n    <character>CAROLYN<\/character>\n    <parenthetical>(To Aretha)<\/parenthetical>\n    <dialogue>That's it. You genius you.<\/dialogue>\n    <character>ERMA<\/character>\n    <dialogue>You're really feeling this song, huh, Ree?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I love it.<\/dialogue>\n    <character>ERMA<\/character>\n    <dialogue>Uh-huh. I can tell.<\/dialogue>\n    <scene_description>Ted glares at Carolyn and Erma.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATLANTIC STUDIOS, LIVE ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Aretha and Ted are at the piano bench.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>She's just being completely honest in the song about what she feels at any given moment. I think that's why the audience relates to her.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I'm still trying to figure out who I am. I'm not sure yet, but I want to find the answer.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DETROIT ARENA, COBO HALL - NIGHT<\/stage_direction>\n    <scene_description>There is a sign outside with a picture of Aretha. Over her photo is sticker that says: SOLD OUT.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DETROIT ARENA, COBO HALL - NIGHT<\/stage_direction>\n    <scene_description>Aretha is on stage with Martin Luther King, Jr. Ted, C.L., Cecil, Erma, Carolyn, James Cleveland, Mama Franklin, Clarence, Ted, Jr., are in the audience. Martin is holding a proclamation.<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>I'm not just here as a family friend. I'm here to honor Aretha, or \"Ree,\" as I like to call her --<\/dialogue>\n    <parenthetical>(laughter from the audience)<\/parenthetical>\n    <dialogue>-- for her tireless work for the civil rights movement. Every time I ask Aretha to sing at a fundraiser, church event or conference, she shows up. No matter where she is, what she's doing. She answers the call. I am so honored to present Aretha with this proclamation today. I wish everyday was Aretha Franklin day.<\/dialogue>\n    <scene_description>Martin gives her the proclamation and a tender hug. Aretha takes the microphone from Martin, speaks to the crowd.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Well, after all that there's only one thing I can say, right?<\/dialogue>\n    <scene_description>Aretha sings \"Natural Woman.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DETROIT HOTEL, LOBBY - NIGHT<\/stage_direction>\n    <scene_description>Later that night. Ted holds Aretha's hand as they walk towards the elevator. People stare at Aretha and point. A BLACK WOMAN goes over to Aretha.<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>I don't mean to bother you Miss Franklin.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>It's alright.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>I just have to tell you. When you sing, I feel like you're talking about my life. When I'm happy, when I'm sad, when I'm mad, you have a song for all of it. It makes me... It helps me 'cause it's hard out here and you understand. And... I just want to thank you, Miss Franklin.<\/dialogue>\n    <scene_description>Aretha, greatly moved, hugs the Woman.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Stay strong, alright?<\/dialogue>\n    <scene_description>The Woman nods.<\/scene_description>\n    <character>TED<\/character>\n    <parenthetical>(To Woman)<\/parenthetical>\n    <dialogue>We have to go now. Thank you.<\/dialogue>\n    <scene_description>Ted leads Aretha to the elevator.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>I'm flying to Atlanta tomorrow to do a benefit for Snick.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Cancel it. I've got some meetings and interviews scheduled.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Hell no. Martin and Daddy asked me to help. I'm going.<\/dialogue>\n    <scene_description>The elevator arrives. They get in, stand at the opposite ends.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATLANTIC RECORDS OFFICE, CONFERENCE ROOM - AFTERNOON<\/stage_direction>\n    <scene_description>Aretha comes in with Ted. The ENTIRE OFFICE gives them a standing ovation as they head towards the conference room. TWENTY WHITE MALE EMPLOYEES and one handsome black man, KEN CUNNINGHAM, sit around a conference room table. Jerry greets them.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Aretha!<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Jerry!<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I love it when you call me Jerry, means you're not mad at me.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>Hello, Ted.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Jerry.<\/dialogue>\n    <scene_description>She sits at the head of the table next to Ted. Clearly there is tension between them.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>First up for discussion. European tour. Ken, tell us what you've set up.<\/dialogue>\n    <character>KEN<\/character>\n    <dialogue>Everyone wants you, Miss Franklin.<\/dialogue>\n    <scene_description>Aretha smiles. Ted doesn't like it.<\/scene_description>\n    <character>KEN<\/character>\n    <dialogue>We've got interest in France, England, Germany...<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>No need to name every country. All of Europe. The continent wants you, Aretha. We want to schedule something...<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>We should schedule a tour to coincide with the new album.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>We could do that. Or... we could send her out now and increase the appetite for the new album.<\/dialogue>\n    <character>KEN<\/character>\n    <dialogue>I think that's best. I have six venues ready...<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>And who are you... brother?<\/dialogue>\n    <character>KEN<\/character>\n    <dialogue>Ken Cunningham. I'm the tour manager.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Tour manager?<\/dialogue>\n    <parenthetical>(to Jerry)<\/parenthetical>\n    <dialogue>So you already booked the tour?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>No, not booked...<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>He said the venues were ready.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>They're available if we want them. We have to gauge interest early so...<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I know how tours work.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>No? No, what?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>No European tour now. We have some TV dates we want to schedule first.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>With who?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I'm getting calls every hour about it. Carol Burnett, Andy Williams, Mike Douglass.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Those shows will all be here when she gets back. We have a chance here to expand Aretha's reach all over the world. To become a global superstar. You know how rare an opportunity that is?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>I'm considering some movie offers as well.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Movies? You want to act, Aretha?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I think I could.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Of course you could, you can do any damn thing you want to.<\/dialogue>\n    <scene_description>Jerry tries to keep his shit together.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>You thought you could just bring us in here, tell us where to go, what to do and send us on our way? You should know by now, Jerry, that's not how I do business.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Ken, how much would Aretha make from this tour?<\/dialogue>\n    <character>KEN<\/character>\n    <dialogue>I don't have firm numbers.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Estimate.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Please.<\/dialogue>\n    <character>KEN<\/character>\n    <dialogue>A quarter of a million.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>(to Ted)<\/parenthetical>\n    <dialogue>Carol Burnett is not paying that. Movies are not paying that.<\/dialogue>\n    <scene_description>Ted considers.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>We'll consider it, with the right band.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>The Muscle Shoals guys have started their own label. But I've got King Curtis ready to go.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Curtis is rocking!<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>He's perfect for you.<\/dialogue>\n    <scene_description>Everyone looks at Ted.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Curtis is good.<\/dialogue>\n    <scene_description>Jerry sighs in relief.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>But I've got some people lined up too.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Five minutes ago you didn't even want to go on this tour but now you've got people lined up.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Check your tone.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I'm sorry, Ted. Forgive me for my tone.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>What musicians do you have lined up, Ted?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>George Davidson, Miller Brisker...<\/dialogue>\n    <scene_description>Jerry can't hide his disdain.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Russell Conway...<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>(calmly)<\/parenthetical>\n    <dialogue>Ted, you cannot have the premier singer of our time touring Europe with a ragtag bunch of amateurs suitable for backing up a third rate blues singer in some bucket of blood in loserville, Louisiana.<\/dialogue>\n    <scene_description>Ted is about to explode. Aretha puts her hand on Ted's to calm him.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>I want to use Ted's musicians, Mr. Wexler.<\/dialogue>\n    <scene_description>Ted smiles at Aretha.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Mr. Wexler? Oh, God... Aretha... please...<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Let's move on to the next item on the agenda.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>(defeated)<\/parenthetical>\n    <dialogue>Whatever you say, Miss Franklin.<\/dialogue>\n    <scene_description>Ted looks at her with gratitude. Aretha smiles. CHYRON: 1968 EUROPEAN TOUR<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE CONCERTGEBOUW BUILDING - NIGHT (1968)<\/stage_direction>\n    <scene_description>Marquee reads: \"Queen of Soul Aretha Franklin - ONE NIGHT ONLY\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CONCERTGEBOUW BUILDING, BACKSTAGE HALLWAY -<\/stage_direction>\n    <scene_description>NIGHT We follow Aretha and Ted as they enter backstage closely followed by Ken. Aretha is holding a bouquet of flowers. They walk past SECURITY, MUSICIANS, PHOTOGRAPHERS, REPORTERS. Aretha nods to musicians and fans.<\/scene_description>\n    <character>KEN<\/character>\n    <parenthetical>(To Aretha and Ted)<\/parenthetical>\n    <dialogue>So they do this funny thing in Amsterdam. When they really love a performer, they pelt them with flowers. I warned them not to get to crazy with it but you might get hit with a few.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CONCERTGEBOUW BUILDING, STAGE - NIGHT<\/stage_direction>\n    <scene_description>Aretha, Erma, Carolyn and Brenda walk onstage as the band plays \"Chain of Fools.\" They're surrounded on all sides by a standing room only audience of THOUSANDS who hold up her albums, her picture, scream her name and pelt her with flowers. Aretha tries to sing as flowers are thrown at her by the 100s. A WHITE FAN tries to put a wreath of flowers around Aretha's neck. A SECURITY GUARD pushes him away. More and more flowers are thrown. Ted goes on stage and tries to calm the crowd and gets aggressively pelted.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE CONCERTGEBOUW BUILDING - NIGHT<\/stage_direction>\n    <scene_description>REPORTERS from all over the continent surround Aretha as she and Ted, holding hands, leave the theater with Erma, Carolyn and Ken Cunningham. They shout questions through a FEMALE INTERPRETER, who translates to Aretha, then to Reporters.<\/scene_description>\n    <character>INTERPRETER<\/character>\n    <dialogue>Can you comment on the recent Time Magazine cover story?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I haven't read it yet, but it is a great honor to grace the cover of such a prestigious magazine.<\/dialogue>\n    <scene_description>Reporters shout more questions.<\/scene_description>\n    <character>INTERPRETER<\/character>\n    <dialogue>They want to know about the part in the article that says that your husband beat you?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <scene_description>Reporters shout.<\/scene_description>\n    <character>INTERPRETER<\/character>\n    <dialogue>The Time article says that your husband beat you in a hotel lobby?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Is this true?<\/dialogue>\n    <scene_description>Aretha is shocked and embarrassed. Ted rushes her away.<\/scene_description>\n    <character>KEN<\/character>\n    <dialogue>No more questions.<\/dialogue>\n    <scene_description>Ken gets in front of them, protects them from Reporters.<\/scene_description>\n    <character>KEN<\/character>\n    <dialogue>Make way! Make way! No more questions.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMSTERDAM HOTEL - NIGHT - ESTABLISHING<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMSTERDAM HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Ted is on the phone screaming at his lawyer. Aretha is standing and drinking.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>It's a lie. A dirty lie.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>That's too low. I want ten million dollars.<\/dialogue>\n    <scene_description>Aretha watches him rant and rave. She recalls: FLASHBACK:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DETROIT HOTEL, ELEVATOR\/LOBBY - NIGHT<\/stage_direction>\n    <scene_description>Just as the elevator door closes, we see Ted raise his hand to strike Aretha. The door opens again. Aretha runs out of the elevator, her nose bleeding. Ted grabs her arm, tries to drag her back. She struggles to get away from him. END FLASHBACK<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMSTERDAM HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Ted slams the phone down.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>They gonna be sorry they wrote that shit.<\/dialogue>\n    <parenthetical>(pacing)<\/parenthetical>\n    <dialogue>Your daddy doesn't come across too good either. He might sue 'em his damn self.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>How are you going to prove that you didn't hit me?<\/dialogue>\n    <scene_description>Ted is taken aback.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>You did. And everybody saw it.<\/dialogue>\n    <scene_description>Aretha moves away, goes to the door, starts to open it. Ted slams the door shut.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Another man would have killed you by now, the crazy way you act.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Get out of my way!<\/dialogue>\n    <scene_description>Ted doesn't move.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>I mean it!<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>What you gonna do?<\/dialogue>\n    <scene_description>She goes to the phone, picks it up. Ted takes it from her, slams it down.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>You would still be singing some Al Jolson shit if it wasn't for me. I wrote half your hits.<\/dialogue>\n    <scene_description>Aretha laughs grimly.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>You laughing at me?<\/dialogue>\n    <scene_description>Ted gets in Aretha's face. She stands firm.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>You know damn well you didn't write one word, one note of anything. I just let you put your name on it to keep you from throwing a fit.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>\"I Never Loved a Man\" came from me. My songwriter.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>That song was nothing until I rearranged it and I sang the hell out of it because it was about you. A lying, no good, useless, psychopath...<\/dialogue>\n    <scene_description>Ted goes to hit Aretha.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>NO!<\/dialogue>\n    <scene_description>The force of her words startles Ted. He puts his hand down.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>I'm done with you.<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>You've said that before. Wait until that demon comes back.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>After living with you, I'm ready for him.<\/dialogue>\n    <scene_description>Aretha walks out the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OLYMPIA - PARIS - NIGHT<\/stage_direction>\n    <scene_description>Marquee says (in French) QUEEN OF SOUL: ARETHA FRANKLIN<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLYMPIA, BACKSTAGE - PARIS - NIGHT<\/stage_direction>\n    <scene_description>Aretha goes toward the stage with Erma and Carolyn who walk on either side of Aretha with their arms around her, gently guiding her along. Aretha walks onstage to cheers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLYMPIA, STAGE - PARIS - NIGHT<\/stage_direction>\n    <character>ARETHA<\/character>\n    <dialogue>This song is for anyone who has ever felt mistreated.<\/dialogue>\n    <scene_description>She performs \"Think\" with power and intensity. The audience is losing their minds. Aretha sings joyfully and defiantly. A broken Ted watches Aretha sing her goodbye to him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TED &amp; ARETHA'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Aretha walks in the door. The DOORMAN brings in her suitcases. While he puts her things down, Aretha stands there and takes in the uncomfortable silence.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TED &amp; ARETHA'S APARTMENT, LIVING ROOM - LATER<\/stage_direction>\n    <scene_description>Aretha has pulled out all of Ted's belongings and put them in a dozen garbage bags.<\/scene_description>\n    <character>ARETHA<\/character>\n    <parenthetical>(on phone)<\/parenthetical>\n    <dialogue>I have some garbage I need taken downstairs. Yes, right now, please. Thank you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TED &amp; ARETHA'S APARTMENT, LIVING ROOM - LATER<\/stage_direction>\n    <scene_description>Aretha is sitting on the couch drinking a glass of wine. She has been drinking for a while and her face is puffy from crying. She's on the phone.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Just come over.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I know.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I don't care.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Just... be with me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TED &amp; ARETHA'S APARTMENT, APARTMENT DOOR - NIGHT<\/stage_direction>\n    <scene_description>Aretha stands by the door in anticipation. There is a knock on the door. Aretha takes a deep breath, steels herself, smiles and opens to door to... Ken Cunningham.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TED &amp; ARETHA'S APARTMENT, BEDROOM - NEXT MORNING<\/stage_direction>\n    <scene_description>Ken wakes up. Aretha is asleep next to him. Ken spoons Aretha. She tucks into him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TED &amp; ARETHA'S APARTMENT, KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Aretha is cooking dinner. Ken is there along with Cecil who is there with another gorgeous girlfriend, WILMA. They are drinking, laughing having a good time. Cecil watches Aretha put an ingredient in the pot.<\/scene_description>\n    <character>CECIL<\/character>\n    <dialogue>You sure that's not too much, Ree?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Listen, you about to have the meal of your life.<\/dialogue>\n    <character>KEN<\/character>\n    <dialogue>Uh-Uh. She put her foot in it. You hear what I'm saying to you...<\/dialogue>\n    <scene_description>The phone rings. Ken goes to answer it.<\/scene_description>\n    <character>KEN<\/character>\n    <parenthetical>(on phone)<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>This meal right here would bring Big Mama to her knees.<\/dialogue>\n    <character>CECIL<\/character>\n    <dialogue>You going to hell for that!<\/dialogue>\n    <scene_description>Ken is distraught.<\/scene_description>\n    <character>KEN<\/character>\n    <parenthetical>(on phone)<\/parenthetical>\n    <dialogue>No, no, no, no, no.<\/dialogue>\n    <scene_description>Cecil goes to Ken<\/scene_description>\n    <character>CECIL<\/character>\n    <parenthetical>(To Ken)<\/parenthetical>\n    <dialogue>What's wrong?<\/dialogue>\n    <scene_description>Ken, too upset to speak hands the phone to Cecil.<\/scene_description>\n    <character>CECIL<\/character>\n    <parenthetical>(on phone)<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>What?.... What?<\/dialogue>\n    <scene_description>Aretha sees Ken is upset.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>KEN<\/character>\n    <parenthetical>(To Aretha)<\/parenthetical>\n    <dialogue>It's Martin... They... they shot him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JACKSON STREET, ATLANTA - DAY (STOCK FOOTAGE)<\/stage_direction>\n    <scene_description>Aretha, Cecil, Erma, Carolyn, C.L., Mama Franklin, Clara Ward, and hundreds of MOURNERS walk towards Morehouse Auditorium.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOREHOUSE AUDITORIUM - DAY<\/stage_direction>\n    <scene_description>Aretha sings \"Precious Lord\" at King's Memorial Service in Atlanta. Tears stream down her face as she sings.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATLANTA HOTEL, BAR - LATE NIGHT<\/stage_direction>\n    <scene_description>C.L. and Aretha sit at the nearly empty bar, tipsy, drinking.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>He kept telling me they were going to get him but I said, Martin, the Lord has more for you to do. You're going to be alright. But he knew.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>He knew.<\/dialogue>\n    <scene_description>A moment. Aretha has never seen C.L. vulnerable.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>Other ministers were jealous of him, but I never was. He was my friend. I ministered him, advised him, prayed with him more times than I can count. I loved him, Ree.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>He loved you.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>Whose gonna lead us now?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>They don't listen to me anymore.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>You still have the biggest church in Detroit.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>I still know how to get them going.<\/dialogue>\n    <scene_description>Clara comes in the bar looking for C.L., comes over to them.<\/scene_description>\n    <character>CLARA<\/character>\n    <dialogue>Can I join you?<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Daddy!<\/dialogue>\n    <character>CLARA<\/character>\n    <dialogue>It's alright. It's alright.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>I just want to talk to Ree. Can I do that?<\/dialogue>\n    <character>CLARA<\/character>\n    <dialogue>Of course. I'll be over there when you want me.<\/dialogue>\n    <scene_description>Clara walks to the other side of the bar. Aretha watches her slink away. A moment.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>They need leadership, Ree. You should see the way these fools are stepping over Martin's body to be in charge. I don't want no part of that. And these young revolutionaries out here don't want any part of what we built.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>They want to free our people.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>They're all talk.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Not all of them. I like Angela Davis.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>The communist?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>She's more than that. She doesn't care about public opinion. She's not afraid to speak her mind and stand up to these pigs or anybody else.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>Pigs?<\/dialogue>\n    <scene_description>C.L. looks at Aretha like she's insane.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Yes. Pigs. You saw what they did to us during the rebellion.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>Riots.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Why shouldn't we fight back?<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>And start a full on war? You think we can win that?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>We're tired of getting our heads kicked in.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>Nonviolence got us our civil rights, the right to vote.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>At what price to our souls? Our dignity?<\/dialogue>\n    <scene_description>A moment.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>I been thinking... We should hit the road again.<\/dialogue>\n    <scene_description>Aretha is taken aback.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>Why not? We can start in Detroit, then go to Watts, Chicago. A Northern tour. Me preaching. You singing.<\/dialogue>\n    <scene_description>C.L. can see Aretha is conflicted.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>Think on it. You don't have to decide tonight.<\/dialogue>\n    <character>ARETHA<\/character>\n    <parenthetical>(a moment, then)<\/parenthetical>\n    <dialogue>I'm not going to do that, Daddy.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>I know you have a very busy touring and recording schedule. I won't interfere with that.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>No.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm done with that. I can't go back to headlining with you.<\/dialogue>\n    <scene_description>C.L. is shattered. She's rejecting him again.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>You're not walking in the spirit anymore.<\/dialogue>\n    <scene_description>Aretha is devastated.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>That's not true.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>I been noticing it more and more. You're drinking, whoring around...<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Same as you.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>You still not too old for me to...<\/dialogue>\n    <scene_description>C.L. stands up and stumbles off the bar stool. Clara runs over to them.<\/scene_description>\n    <character>CLARA<\/character>\n    <dialogue>Is everything alright?<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>Mind your damn business.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Don't talk to her like that.<\/dialogue>\n    <scene_description>C.L. and Clara look at Aretha, shocked.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>Have you lost your damn mind?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Maybe.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Maybe I found it.<\/dialogue>\n    <character>CLARA<\/character>\n    <dialogue>Come on. Let's get you to bed.<\/dialogue>\n    <scene_description>Clara tries to help C.L. out of the bar. He shoos Clara away. Aretha and Clara watch him stumble off.<\/scene_description>\n    <character>CLARA<\/character>\n    <dialogue>I heard your conversation.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I'm not sorry.<\/dialogue>\n    <character>CLARA<\/character>\n    <dialogue>You got nothing to be sorry for.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Just do your thing, Ree. Do it as as big and as loud and as long as you can.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARETHA'S LOS ANGELES MANSION - DAY - ESTABLISHING<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARETHA'S LOS ANGELES MANSION - DAY<\/stage_direction>\n    <scene_description>Aretha is at piano. Ken and Cecil are there along with Jerry. Ken is watching TV.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Listen to it again. I've got a great feeling about this song. The Beatles are getting restless. They say they'll do it if you won't.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>The song's Catholic. I'm a Baptist.<\/dialogue>\n    <scene_description>Ken calls out.<\/scene_description>\n    <character>KEN<\/character>\n    <dialogue>They caught Angela Davis!<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>What? No, no, no, no.<\/dialogue>\n    <scene_description>Aretha goes over to Ken and watches TV.<\/scene_description>\n    <character>NEWSCASTER<\/character>\n    <parenthetical>(on TV)<\/parenthetical>\n    <dialogue>Angela Davis, the young black militant who has been hunted for nearly two months on murder and kidnapping charges was arrested yesterday at a hotel in midtown Manhattan by agents of the Federal Bureau of Investigation.<\/dialogue>\n    <scene_description>Aretha looks at Angela Davis in handcuffs on TV.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRESS CONFERENCE ROOM - DAY<\/stage_direction>\n    <scene_description>Aretha talks to DOZENS OF REPORTERS. Cecil and Ken are there.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Angela Davis must go free. Black people will be free. My daddy says I don't know what I'm doing. Well, I respect him, of course, but I'm going to stick by my beliefs. I know you got to disturb the peace when you can't get no peace.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARETHA'S LOS ANGELES MANSION, LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>The room is filled with Aretha's Grammys, awards, and gold records along with pictures of her with Presidents, dignitaries, movie stars and royalty. Ken is there with Mama Franklin, Teddy (8) and CALF (2), her son with Ken. Erma and Carolyn are also there. Aretha storms in the room with a date book in her hand. She throws it at Cecil.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>What the hell is this tour schedule?!?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Half the dates are gone!<\/dialogue>\n    <character>CECIL<\/character>\n    <dialogue>Alright. Alright.<\/dialogue>\n    <character>CECIL<\/character>\n    <dialogue>We were just about to have a talk with you about this.<\/dialogue>\n    <scene_description>Aretha looks at her siblings.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>We?!?<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>Oh... We're not just having a family barbecue. This is one of Ken's hippy talk things.<\/dialogue>\n    <character>CAROLYN<\/character>\n    <parenthetical>(To Ken)<\/parenthetical>\n    <dialogue>I told you it wouldn't work.<\/dialogue>\n    <character>KEN<\/character>\n    <parenthetical>(To Carolyn)<\/parenthetical>\n    <dialogue>Just...<\/dialogue>\n    <scene_description>Ken takes a deep breath.<\/scene_description>\n    <character>ERMA<\/character>\n    <dialogue>Ree, you need a break.<\/dialogue>\n    <scene_description>Aretha ignores Erma.<\/scene_description>\n    <character>ARETHA<\/character>\n    <parenthetical>(To Cecil)<\/parenthetical>\n    <dialogue>Put the dates back!<\/dialogue>\n    <character>KEN<\/character>\n    <dialogue>Don't do it, Cecil. Listen, Ree...<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>You work for me, Cecil.<\/dialogue>\n    <character>CECIL<\/character>\n    <dialogue>You overbook, don't show up for half the dates. Then I have to deal with the fallout.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>That's your damn job!<\/dialogue>\n    <character>CAROLYN<\/character>\n    <dialogue>We're trying to help you!<\/dialogue>\n    <character>ERMA<\/character>\n    <dialogue>You need to slow down.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Stop for five minutes and they forget about you!<\/dialogue>\n    <character>ERMA<\/character>\n    <dialogue>That's ridiculous.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>How would you know, Erma? You barely had one hit.<\/dialogue>\n    <character>KEN<\/character>\n    <dialogue>Ree, you haven't slept in months!<\/dialogue>\n    <character>CAROLYN<\/character>\n    <dialogue>And you look like it.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>You don't want me to tell you what you look like, Carolyn!<\/dialogue>\n    <character>ERMA<\/character>\n    <dialogue>Next time you break down and go to the looney bin, don't call us, alright?!?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Oh, I won't.<\/dialogue>\n    <scene_description>Mama takes the kids out of the room.<\/scene_description>\n    <character>MAMA FRANKLIN<\/character>\n    <dialogue>Come on. Let's go outside.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>And don't you call me when you need a gig, or want me to write liner notes on your jive ass albums, or want me to introduce you to some producer! Or just need to borrow some cash that you never pay back.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>If I don't work, y'all don't eat.<\/dialogue>\n    <scene_description>They take that in.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Right.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>Put the damn dates back, Cecil.<\/dialogue>\n    <scene_description>Cecil puts the dates back.<\/scene_description>\n    <character>CECIL<\/character>\n    <dialogue>Three venues in three states in three days. You happy now?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Yes. I am. And don't you ever pull that bullshit again. I know how to run my business.<\/dialogue>\n    <parenthetical>(To Erma and Carolyn)<\/parenthetical>\n    <dialogue>You just want to take my crown.<\/dialogue>\n    <character>CAROLYN<\/character>\n    <dialogue>Oh God...<\/dialogue>\n    <character>ERMA<\/character>\n    <dialogue>Please...<\/dialogue>\n    <character>KEN<\/character>\n    <dialogue>Ree, think about our son. This is not good for him.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Don't tell me I'm a bad mother.<\/dialogue>\n    <character>KEN<\/character>\n    <dialogue>I never said that!<\/dialogue>\n    <character>CAROLYN<\/character>\n    <dialogue>Here comes the paranoia!<\/dialogue>\n    <scene_description>The Maid brings another drink. Ken turns to her.<\/scene_description>\n    <character>KEN<\/character>\n    <dialogue>Olga, bring Miss Franklin a fruit juice.<\/dialogue>\n    <character>ARETHA<\/character>\n    <parenthetical>(to Olga)<\/parenthetical>\n    <dialogue>Don't you dare!<\/dialogue>\n    <scene_description>Olga is frozen.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>What are you staring at? Bring me some lunch.<\/dialogue>\n    <scene_description>Olga runs off.<\/scene_description>\n    <character>ARETHA<\/character>\n    <parenthetical>(To Erma and Carolyn)<\/parenthetical>\n    <dialogue>Tell me you don't want what I got!<\/dialogue>\n    <scene_description>Cecil packs up his things.<\/scene_description>\n    <character>CECIL<\/character>\n    <dialogue>Forget it. I can't talk to you when that demon takes hold.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Y'all have no idea what I been through. What I go through.<\/dialogue>\n    <character>CAROLYN<\/character>\n    <dialogue>Tell us, then!<\/dialogue>\n    <character>ERMA<\/character>\n    <dialogue>We been asking for twenty years.<\/dialogue>\n    <character>CECIL<\/character>\n    <dialogue>We love you, Ree.<\/dialogue>\n    <character>CAROLYN<\/character>\n    <dialogue>Why can't you see that?<\/dialogue>\n    <scene_description>Carolyn tears up. Aretha can't take the emotion.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Get the hell out of my house!<\/dialogue>\n    <character>KEN<\/character>\n    <dialogue>No! Nobody move! We're going to deal with this, Ree!<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Out! Out! Out!<\/dialogue>\n    <scene_description>She goes over to the piano and plays, \"Young, Gifted and Black.\" There is no artistry in it. She just wants to drown everything out.<\/scene_description>\n    <character>KEN<\/character>\n    <dialogue>Come on, baby... Don't...<\/dialogue>\n    <scene_description>Aretha plays louder.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Teddy, Calf, come here and help Mommy sing!<\/dialogue>\n    <scene_description>Teddy and Calf run into the room. They get on the piano bench and sing along with Aretha, off key and loudly. Big Mama goes over to Ken.<\/scene_description>\n    <character>MAMA FRANKLIN<\/character>\n    <dialogue>I'm gonna take the kids back to Detroit with me.<\/dialogue>\n    <scene_description>Cecil and Ken nod.<\/scene_description>\n    <character>KEN<\/character>\n    <dialogue>I think that's best.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARETHA'S LOS ANGELES MANSION, BEDROOM - DAY<\/stage_direction>\n    <scene_description>Aretha and Ken sit on the bed. He's staring at her.<\/scene_description>\n    <character>KEN<\/character>\n    <dialogue>What are you thinking right now?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Just... things.<\/dialogue>\n    <character>KEN<\/character>\n    <dialogue>What things?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Private things.<\/dialogue>\n    <character>KEN<\/character>\n    <dialogue>After all this time, you still keeping stuff from me?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Don't you keep stuff from me?<\/dialogue>\n    <character>KEN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>You should.<\/dialogue>\n    <character>KEN<\/character>\n    <dialogue>Why? I trust you. Don't you trust me?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Sometimes.<\/dialogue>\n    <character>KEN<\/character>\n    <dialogue>What do I have to do to make it all the time?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Just let me be.<\/dialogue>\n    <character>KEN<\/character>\n    <dialogue>I know what to do.<\/dialogue>\n    <scene_description>Ken gives Aretha a foot massage. She loves it. Ken laughs.<\/scene_description>\n    <character>KEN<\/character>\n    <dialogue>Uh-huh. You gonna tell me all your business in a minute.<\/dialogue>\n    <scene_description>Aretha relaxes, takes a deep breath.<\/scene_description>\n    <character>KEN<\/character>\n    <dialogue>Feels good, right?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Uh-huh.<\/dialogue>\n    <scene_description>He rubs her feet more.<\/scene_description>\n    <character>KEN<\/character>\n    <dialogue>Just let go, Ree. Be here with me. Try not to think about anything. Just let your mind go quiet for a moment.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>That would be easier if you stopped talking.<\/dialogue>\n    <scene_description>Ken laughs. Rubs her feet. A moment. Aretha's mind quiets. It's too much. She suddenly sits up.<\/scene_description>\n    <character>KEN<\/character>\n    <dialogue>What's wrong?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Nothing... I...<\/dialogue>\n    <scene_description>Aretha gets up.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>I have to make some calls.<\/dialogue>\n    <character>KEN<\/character>\n    <dialogue>Now? To who?<\/dialogue>\n    <scene_description>Aretha stands up. Ken gently pulls her back down.<\/scene_description>\n    <character>KEN<\/character>\n    <dialogue>You don't have to call anybody, Ree.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>You don't know what I have to do.<\/dialogue>\n    <scene_description>Ken holds Aretha.<\/scene_description>\n    <character>KEN<\/character>\n    <dialogue>Don't go to that dark place. Tell me what's wrong, baby.<\/dialogue>\n    <scene_description>A moment. Aretha struggles to communicate. He talks gently in her ear.<\/scene_description>\n    <character>KEN<\/character>\n    <dialogue>You're shaking.<\/dialogue>\n    <scene_description>Aretha cries. A moment. Aretha sinks into Ken.<\/scene_description>\n    <character>KEN<\/character>\n    <dialogue>You act all tough but I can see the little scared girl in you.<\/dialogue>\n    <scene_description>That's too much. Aretha jumps up, accidentally hitting Ken in the nose.<\/scene_description>\n    <character>KEN<\/character>\n    <dialogue>Shit!<\/dialogue>\n    <parenthetical>(his nose bleeds)<\/parenthetical>\n    <dialogue>Shit! Shit! Shit!<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I'm sorry... I'm so...<\/dialogue>\n    <scene_description>She pulls away and curls up in a fetal position while Ken bleeds.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARETHA'S LOS ANGELES MANSION, LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Aretha lies on the couch. Ken, sitting beside her, is on the phone with Cecil.<\/scene_description>\n    <character>KEN<\/character>\n    <dialogue>She can't do it, Cecil.<\/dialogue>\n    <character>CECIL (O.S.)<\/character>\n    <dialogue>Put her on the phone.<\/dialogue>\n    <scene_description>Ken looks at Aretha. Aretha shakes her head, no.<\/scene_description>\n    <character>KEN<\/character>\n    <dialogue>She's asleep right now. Her migraine.<\/dialogue>\n    <character>CECIL (O.S.)<\/character>\n    <dialogue>Man, who you think you bullshitting? Tell Ree she's gonna get sued again.<\/dialogue>\n    <scene_description>Cecil hangs up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARENA #3, BACKSTAGE - CONTINUOUS<\/stage_direction>\n    <scene_description>Cecil and Ken hold up a very drunk Aretha as she walks towards the stage. She stumbles. They pick her up. Aretha manages to make it on stage. She starts singing \"I Say a Little Prayer.\" She walks to the footlights. Disoriented by the lights, she falls off stage, breaking her arm. She cries out in pain. Ken runs to her, gently picks her up and carries her offstage. Tears in his eyes, he whispers in her ear.<\/scene_description>\n    <character>KEN<\/character>\n    <dialogue>I can't do this anymore.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARETHA'S LOS ANGELES MANSION, BEDROOM - DAY<\/stage_direction>\n    <scene_description>The place is a mess, liquor bottles and full ashtrays everywhere. Aretha wakes. She puts a cigarette in her mouth and reaches for a bottle. All of them are empty or half empty.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARETHA'S LOS ANGELES MANSION, ENTRYWAY - NIGHT<\/stage_direction>\n    <scene_description>Aretha moves through the living room, halls, and into the bedroom, sees all the empty liquor bottles and food. She comes across a full bottle. Stares at it. Opens it. Smells it. She takes a sip. Then another. Another. She guzzles it all down then slides to her knees to pray. The words won't come. The song won't come.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Please.... Please... I...<\/dialogue>\n    <scene_description>Aretha is in a dream state. Everything is hazy, unclear. Aretha feels a hand on her shoulder. She reaches out to the hand. It's Barbara. Barbara gets down on her knees next to Aretha, gently wraps her in her arms and sings \"Amazing Grace,\" a capella. After a moment, Aretha starts to pray.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARETHA'S LOS ANGELES MANSION - EARLY MORNING<\/stage_direction>\n    <scene_description>Aretha hasn't slept all night but she looks better. Her eyes are clearer and she is lighter. A burden has been lifted. She hears a key in the door. Ken comes in. They look at each other a moment then Aretha gets a garbage bag and put the liquor bottles in it. Ken watches her a moment, then helps her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW TEMPLE MISSIONARY BAPTIST CHURCH - AFTERNOON<\/stage_direction>\n    <scene_description>James holds choir rehearsal with the SOUTHERN CALIFORNIA CHOIR. He sits at the piano. ALEXANDER HAMILTON (30s) stands in front of the choir. Aretha wearing a fur coat and sunglasses walks down the aisle towards them. The Choir stares at Aretha in awe. James smiles.<\/scene_description>\n    <character>JAMES<\/character>\n    <parenthetical>(To Aretha)<\/parenthetical>\n    <dialogue>You always did know how to make an entrance.<\/dialogue>\n    <scene_description>Aretha takes her sunglasses off. James can see Aretha is troubled. He reaches out his hand to her and squeezes it.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>You sit.<\/dialogue>\n    <scene_description>Aretha sits at the piano<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>What y'all want to sing?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JERRY WEXLER'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Jerry and Aretha and Ken are having a meeting. Aretha is holding Calf in her lap.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>An all gospel album has very limited appeal.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I don't care.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>You do. Six years ago you sat in my office and told me you wanted hits and you still do.<\/dialogue>\n    <character>ARETHA<\/character>\n    <parenthetical>(considers this, then)<\/parenthetical>\n    <dialogue>I'm making this album, Jerry.<\/dialogue>\n    <scene_description>Ken takes a fussy Calf from Aretha, stands up and paces to calm him.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Just hear me out please.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I'm making this album, or I'll never make another album with you again.<\/dialogue>\n    <scene_description>Jerry takes this in.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>All I want to do is drink right now.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I can get you in a program.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I'm in a program but I need church. I need the spirit. It has always gotten me through and it will get me through again.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>(moved)<\/parenthetical>\n    <dialogue>Alright, can we at least...<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>This album is not for me or you or anybody else.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>It's for God and you can't jive God, Jerry, so stop trying.<\/dialogue>\n    <scene_description>Ken laughs.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I'm not trying to jive you or Jesus. OK?<\/dialogue>\n    <scene_description>Jerry paces.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>A gospel record.... It's 1972 for Christ's sake. Sorry... I....<\/dialogue>\n    <parenthetical>(Pause)<\/parenthetical>\n    <dialogue>Hey! How about we make a documentary to go along with the album?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>So your international fans and the hippies and atheists like me can see you in your element and understand this music that made you.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>You mean for white people? That's a great idea.<\/dialogue>\n    <scene_description>Jerry laughs.<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>So you're not going to leave me?<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>We're not done yet. I want to produce the album too.<\/dialogue>\n    <scene_description>Jerry sighs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW TEMPLE MISSIONARY BAPTIST CHURCH - NIGHT<\/stage_direction>\n    <scene_description>The CHOIR is coming in for rehearsal.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW TEMPLE MISSIONARY BAPTIST CHURCH - LATER<\/stage_direction>\n    <scene_description>Choir rehearsal. Alexander is at the piano. Aretha is pacing in front of the choir, paying attention to every phrase. James leads the choir in \"Precious Memories.\"<\/scene_description>\n    <character>CHOIR<\/character>\n    <dialogue>Precious memories\/How they linger\/ How they ever flood my soul.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Hold.<\/dialogue>\n    <scene_description>The Choir stops singing.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>You have to do something with these long notes. You're not giving yourself anyplace to go. Start straight, then hit your vibrato halfway through.<\/dialogue>\n    <character>ALEXANDER<\/character>\n    <parenthetical>(To Choir)<\/parenthetical>\n    <dialogue>Tension and release, y'all.<\/dialogue>\n    <character>JAMES<\/character>\n    <parenthetical>(To Choir)<\/parenthetical>\n    <dialogue>This song is a lot more... deliberate.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Take it from where we left off.<\/dialogue>\n    <scene_description>Alexander plays. The Choir sings.<\/scene_description>\n    <character>CHOIR<\/character>\n    <dialogue>In the stillness\/Of the midnight\/ Sacred secrets to unfold.<\/dialogue>\n    <scene_description>This time they are technically perfect and emotionally powerful. After a moment, Aretha hums along with them. Memories, both good and bad, flood her mind. Overcome with emotion, she sings. Aretha starts \"whooping\" and improvising lyrics like C.L.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Oh, I remember. I remember so many things. Oh, Lord, you were with me. I know you were with me. Through the precious, the precious memories good and bad. Oh, Lord.<\/dialogue>\n    <scene_description>James, Alexander, and the Choir are moved. They praise God. Aretha, overwhelmed with emotion, stops singing and sobs.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Lord. Oh. Lord.<\/dialogue>\n    <scene_description>James stops rehearsal.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Let's take ten.<\/dialogue>\n    <scene_description>James goes over to Aretha. Alexander stays at the piano working out an arrangement.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>You alright?<\/dialogue>\n    <scene_description>Aretha nods.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>I can't make a fool of myself. There's gonna be a film crew up in here. If I break down like I did just now, they'll think I lost my damn mind.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>The spirit is the spirit and it moves when it moves. What do you want us to do? Behave like Episcopalians?<\/dialogue>\n    <scene_description>Aretha smiles.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>What's really bothering you?<\/dialogue>\n    <scene_description>Aretha considers.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>You told me once that music will save my life.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Yes, I did.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>What if it doesn't? The demon is strong.<\/dialogue>\n    <scene_description>James considers.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>There's no demon haunting you, Ree. There never was. Just the pain you been running from your whole life.<\/dialogue>\n    <scene_description>Aretha is shocked to hear that.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>You've got to let it go, Ree. Give it to God. It wasn't your fault. And He knows that.<\/dialogue>\n    <scene_description>Aretha looks at James.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I can't tell you what's gonna happen at the concert, with the documentary or the album, or anything after that, but you in church right now, Ree. You safe. So let's just have church.<\/dialogue>\n    <scene_description>Aretha takes that in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW TEMPLE MISSIONARY BAPTIST CHURCH - NIGHT (1972)<\/stage_direction>\n    <scene_description>We see a mostly BLACK AUDIENCE coming into the church. They are excited and enthusiastic.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW TEMPLE MISSIONARY BAPTIST CHURCH - NIGHT<\/stage_direction>\n    <scene_description>The FILM CREW is recording as people settle into their seats and the BAND warms up. We see SIDNEY POLLACK there along with Jerry.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW TEMPLE MISSIONARY BAPTIST CHURCH, BACKSTAGE<\/stage_direction>\n    <scene_description>- NIGHT Aretha waits backstage for her cue to go on. She's nervous. We hear the sounds of the band playing and an audience chattering in anticipation. Aretha waits for her cue. She closes her eyes and prays. She feels a hand on her. Aretha reaches out to the hand, slowly turns around. It's C.L. A moment.<\/scene_description>\n    <character>ARETHA<\/character>\n    <dialogue>Hi, Daddy.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>It's good to see you.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>We were in California and heard you were...<\/dialogue>\n    <scene_description>C.L. tries to find the words.<\/scene_description>\n    <character>C.L.<\/character>\n    <dialogue>Clara dragged me here.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Clara can't make you do anything.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>She's gotten feisty since you last saw her.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>I'm glad you came.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>That surprises me. We haven't been getting on as of late.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>You told me I wasn't walking in the spirit.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>I was angry.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You are with God. You always have been.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>He was with me. I tried to run from him but he brought me back.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>Like Jonah.<\/dialogue>\n    <character>ARETHA<\/character>\n    <dialogue>Like Jonah.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You taught me every song I'm singing today.<\/dialogue>\n    <character>C.L.<\/character>\n    <dialogue>I did my best.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You have exceeded every dream I had for you. I'm about to bust wide open and you've only just started. I can't imagine what you'll do next because you can do anything, Ree.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW TEMPLE MISSIONARY BAPTIST CHURCH, SANCTUARY -<\/stage_direction>\n    <scene_description>James is at the pulpit.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>First giving honor to God who is the head of all of our lives.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I'm sure you've all noticed the cameras by now. Don't get distracted by it. We're here to have church, right?<\/dialogue>\n    <scene_description>Congregation says \"amen\" etc.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>This is the first religious recording by our first Lady of Soul. Give a warm round of applause for Miss Aretha Franklin.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW TEMPLE MISSIONARY BAPTIST CHURCH - NIGHT<\/stage_direction>\n    <scene_description>Aretha enters the sanctuary to applause. As she walks down the aisle, she reaches out to touch Cecil, Carolyn, Erma, Mama Franklin, Calf, Ted Jr., Clara, and Ken Cunningham. Aretha sings \"Amazing Grace.\" With every note, she is healing herself and the audience at once. C.L. starts crying, full of pride. He finally sees her as her own person. As the crowd catches the spirit, too, we see Aretha being made whole as her voice soars.<\/scene_description>\n    <character>THE END<\/character>\n  <\/scene>\n<\/script>","summary":"In 1952, 10-year-old Aretha Franklin lives with her father C.L., pastor of Detroit\u2019s largest Baptist church, and her siblings Cecil, Erma, and Carolyn. Aretha\u2019s father often has her sing for parties at their home, while her mother Barbara, separated from C.L., encourages her independence. The predatory actions of a family friend, combined with the sudden death of Barbara, traumatizes Aretha, who ceases to speak for weeks until her father demands that she sing at church. Seven years later, Aretha is a teen mother of two boys, but refuses to name their father. Touring as a gospel singer with family friend Dr. Martin Luther King Jr., she meets local producer Ted White, but C.L. warns him to stay away. C.L. surprises Aretha with a meeting with Columbia Records executive John Hammond. She accepts a contract to record jazz standards, including \"Ac-Cent-Tchu-Ate the Positive.\" Four albums later, Aretha lacks a signature hit. At a club, she attempts to honor family friend Dinah Washington by performing one of Dinah\u2019s songs; outraged, Dinah advises Aretha to find songs that move her. Struggling with the controlling influence of her father, Aretha begins a relationship with Ted. She brings him home to meet her family, leading C.L. to nearly shoot him, but announces Ted as her manager. Two years later, Ted and Aretha are married with a child. After nine albums with no real success, Aretha is dropped by Columbia. Ted secures a deal with veteran producer Jerry Wexler of Atlantic Records, who introduces her to a group of white musicians in Muscle Shoals in 1967. There, Aretha records \"I Never Loved A Man (The Way I Love You)\", but a jealous Ted becomes violent with her. Returning to Detroit with a black eye, Aretha reconnects with her family. Realizing her song has been released, becoming her first hit, Aretha takes a more hands-on role in her career. She makes her sisters her new backup singers and, despite their misgivings, reunites with Ted. Aretha and Carolyn are inspired to re-arrange Otis Redding's \"Respect\"; their version becomes a #1 single, launching Aretha to stardom by her 25th birthday. At a Detroit concert, Dr. King honors Aretha for her support of the Civil Rights Movement, proclaiming February 16 \"Aretha Franklin Day\". She has another signature hit, \"(You Make Me Feel Like) A Natural Woman\", but her career is complicated by Ted's increasingly volatile behavior. Embarking on a European tour in 1968, Aretha is confronted with a Time magazine cover story about Ted's abuse, and finally casts him out of her life. Dating her tour manager Ken Cunningham, Aretha eventually has her fourth child. In the wake of Dr. King's assassination, Aretha's father drunkenly argues with her over the direction of the Movement, telling her that she no longer walks in the Spirit. Aretha continues to release hits but overworks herself, coping with the pressure through alcohol, and rejects her family's attempts to help her. During a performance in Columbus, Georgia, a drunken Aretha falls from the stage. On a downward spiral and estranged from Ken and her family, she is consoled by a vision of her late mother. Aretha finds the strength to quit drinking, leading Ken to reconcile with her, and returns to her gospel roots. She approaches Wexler with the idea to produce her own gospel album, and he agrees on the condition that the recording of the album be filmed for a documentary. Beginning rehearsals, Aretha confides in family friend James Cleveland, now a respected gospel artist. The day of the album's recording, her father arrives to reconcile with her. The service begins and, with her family in attendance, Aretha sings her arrangement of the hymn, Amazing Grace. An epilogue reveals Aretha Franklin's legacy as a world-famous artist and the \u201cQueen of Soul\u201d."}
{"movie_name":"Bad Times at the El Royale_2018","imdb_id":"tt6628394","script":"<script>\n  <scene>\n    <scene_description>BAD TIMES AT THE EL ROYALE by Drew Goddard Final Shooting Draft<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL ROOM - DAY\/NIGHT<\/stage_direction>\n    <scene_description>It's 1958. We're in a lonely motel room. A key hits the lock. A MAN throws open the door and races into the room. He slams the door. He peeks out the window and studies the parking lot. He struggles to catch his breath. We may notice blood on the sleeves of his suit. This is FELIX O'KELLY. He steps away from the window. He's carrying a RED DUFFEL BAG. He sets it down and surveys his room.<\/scene_description>\n    <character>CUT TO:<\/character>\n    <dialogue>Felix shoves the bed to the side of the room.<\/dialogue>\n    <dialogue>\\[Note: for the duration of this sequence, the camera remains in the same position. Fast jump cuts.\\]<\/dialogue>\n    <dialogue>Felix opens his red duffel bag. He removes a crowbar. A hammer. A handgun.<\/dialogue>\n    <character>CUT TO:<\/character>\n    <dialogue>Felix, his jacket off now, yanks up the carpet from the corner of the room, revealing the WOODEN FLOOR BOARDS below.<\/dialogue>\n    <dialogue>Felix looks at the floor boards. Looks at his tools. Thinks.<\/dialogue>\n    <character>CUT TO:<\/character>\n    <dialogue>Felix adjusts THE RADIO antenna. Static. He fiddles with the dial. Fifties folk-pop fills the room as Felix finds a station playing \"26 Miles\" by The Four Preps.<\/dialogue>\n    <dialogue>Twenty-six miles across the sea, Santa Catalina is a-waiting for me...<\/dialogue>\n    <dialogue>Felix turns up the volume.<\/dialogue>\n    <character>CUT TO:<\/character>\n    <dialogue>Felix hammers the crowbar between slats in the center of the room. The sound is somewhat muffled by the radio.<\/dialogue>\n    <scene_description>CONTINUED: He pries up the floorboards one by one.<\/scene_description>\n    <character>CUT TO:<\/character>\n    <dialogue>Santa Catalina, the island of romance, romance, romance...<\/dialogue>\n    <dialogue>We may notice it's NIGHT outside now. Felix has his shirtsleeves rolled up. He's covered in sweat. There's now a large hole in the floor. The floorboards are all neatly stacked to the side.<\/dialogue>\n    <dialogue>Felix zips up the duffel bag. We never get a good look at what's inside.<\/dialogue>\n    <dialogue>He drops the bag inside the hole.<\/dialogue>\n    <character>CUT TO:<\/character>\n    <dialogue>Felix replaces the floor boards. He hammers the nails in time to the music. He smokes while he works.<\/dialogue>\n    <character>CUT TO:<\/character>\n    <dialogue>Felix rolls the carpet back. Stamps it down in the corner.<\/dialogue>\n    <dialogue>He looks down at the hammer in his hand. Looks at the crowbar on the bed. Thinks.<\/dialogue>\n    <character>CUT TO:<\/character>\n    <dialogue>The room is empty now. Through the open door, we can see it's raining outside. We hear a trunk SLAM.<\/dialogue>\n    <character>CUT TO:<\/character>\n    <dialogue>A soaking wet Felix crawls on his hands and knees and scoops up the sawdust on the carpet. He stands. Surveys the room. Looks good.<\/dialogue>\n    <dialogue>Felix catches a glimpse of himself in the LARGE MIRROR mounted on the wall. Looks less good.<\/dialogue>\n    <character>CUT TO:<\/character>\n    <dialogue>Felix stands in front of his mirror. He combs his hair with a black plastic comb.<\/dialogue>\n    <dialogue>Twenty-six miles across the sea...<\/dialogue>\n    <character>CUT TO:<\/character>\n    <dialogue>CONTINUED: (2)<\/dialogue>\n    <scene_description>Felix paces back and forth. He stubs out one cigarette and lights another.<\/scene_description>\n    <character>CUT TO:<\/character>\n    <dialogue>Felix sits in the wooden chair in the corner. He smokes. The ashtray next to him is filled with butts.<\/dialogue>\n    <dialogue>HEADLIGHTS flare the curtains. Felix stubs out his cigarette.<\/dialogue>\n    <dialogue>Forty kilometers in a leaky old boat...<\/dialogue>\n    <dialogue>There's a knock at the door.<\/dialogue>\n    <dialogue>Felix grabs the handgun from the night stand. Moves to the peephole. Studies the outside world.<\/dialogue>\n    <dialogue>Any old thing that'll stay afloat...<\/dialogue>\n    <dialogue>His shoulders relax when he sees who it is.<\/dialogue>\n    <dialogue>Felix throws the latch. Opens the door. Gestures for the person to come on in...<\/dialogue>\n    <dialogue>BOOM. A shotgun BLAST hits Felix O'Kelly square in the back. He's launched clear across the room, and the second his body SLAMS INTO CAMERA, blood splashing the lens --<\/dialogue>\n    <scene_description>CUT TO TITLE: Bad Times At The El Royale Over black. Title clears. A new song (\"25 Miles\") signals a new era. Driving sixties soul as Edwin Starr calls out, \"All right, feet, start moving...\" TITLE: Ten years later<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EL ROYALE - DAY<\/stage_direction>\n    <scene_description>The El Royale is a motor lodge nestled in the woods north of Lake Tahoe. It once had dreams of being a mid-level vacation hideaway. Those dreams do not appear to have been realized. \"You've got to get me there...\" A wooden arch bears the name of the establishment, welcomes visitors to the mostly-empty parking lot. A dented gray Studebaker drives through the arch. CONTINUED: The defining characteristic of the parking lot is A RED LINE that bisects the lot dead center and leads straight to the double doors of the lobby lodge. \"It's twenty-five miles from home...\" The Studebaker parks. The driver opens her door. We get a better look at her: Late thirties. African-American. As she stares at the El Royale, we can almost hear her thinking, \"How in the Lord's name did I end up in this lonely place?\" This is DARLENE SWEET. She opens her trunk and removes HER ODD BAGS. One is a large flowered suitcase. The other appears to be an enormous roll of fabric, bound with a rope around it. It would be too much luggage for a lumberjack, let alone Darlene. But she lifts the burden without complaint, balancing one in each arm. As she approaches the lodge, she notices A MAN standing in the parking lot: He's in his sixties. He's wearing a priest collar. He's staring at the hotel. He looks lost and confused. This is FATHER DANIEL FLYNN. Darlene slows when she sees him.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>Are... you lost, Father?<\/dialogue>\n    <scene_description>Flynn almost jumps when he hears her. His eyes become clear again, as though he just awoke from a dream. He smiles.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>No. No, I suppose not.<\/dialogue>\n    <parenthetical>(looks down)<\/parenthetical>\n    <dialogue>According to this, I'm in Nevada.<\/dialogue>\n    <scene_description>ON THE GROUND: the RED LINE runs right between them. On the west side of the line, stenciled letters read \"California.\" On the east side of the line, \"Nevada.\"<\/scene_description>\n    <character>DARLENE<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>I've never been to Nevada. What's it like?<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>Not bad. Looks like it might rain. What's California like?<\/dialogue>\n    <scene_description>Darlene looks over her shoulder to the west.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>Still sunny.<\/dialogue>\n    <scene_description>Flynn picks up his valise.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>Can I give you a hand there?<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>That's very kind of you, thank you.<\/dialogue>\n    <scene_description>She hands him the flowered suitcase. If Flynn is curious about the strange roll of fabric in Darlene's arms, he gives no indication. They walk towards the motel. The border leads straight to a set of doors, one door on each side of the line. They enter through the California side.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOUNGE - DAY<\/stage_direction>\n    <scene_description>Ring-ring. The front door chimes as Darlene and Flynn enter and study the unique accommodations: The interior of the El Royale plays on the same border theme. The line bisects the large room perfectly in two. ON THE CALIFORNIA SIDE: everything is decorated in warm orange hues. We may notice a bar, a set of tables, a lounge seating area. ON THE NEVADA SIDE: everything is decorated in cool purple hues. We may notice the front desk, some gaming tables, a black and white television currently showing coverage of Richard Nixon's 1969 inauguration speech. At the back of the room, half in California and half in Nevada, is a colorful JUKEBOX. Flynn looks down at the border, Darlene follows his gaze. They're both standing in California. Flynn gestures: be my guest. Darlene smiles. Takes a mock deep breath... And steps across the border. CONTINUED:<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>How are you enjoying Nevada so far?<\/dialogue>\n    <scene_description>Darlene shrugs. So far, so good.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Those are my accoutrements...<\/dialogue>\n    <scene_description>The voice has a thick Mississippi accent. It's coming from behind the bar on the California side. A man wearing a charmingly rumpled seersucker suit reveals himself: This is LARAMIE SEYMOUR SULLIVAN.<\/scene_description>\n    <character>LARAMIE<\/character>\n    <parenthetical>(points)<\/parenthetical>\n    <dialogue>At the front desk there.<\/dialogue>\n    <scene_description>They look to the front desk, where a large amount of luggage has been piled.<\/scene_description>\n    <character>LARAMIE<\/character>\n    <dialogue>That's my trunk, that's my fortnighter, that's my hat case. And I'd ask that you folk respect my claim when it comes time to divvy the rooms. Though when that'll be is anyone's guess. I been ringin' that bell so long my hand's sore and my ears is tired and my constitution needs coffee. So. That's why I'm back here scroungin'.<\/dialogue>\n    <scene_description>He holds up a pack of coffee grounds. He dumps it into the elaborate machine behind the counter.<\/scene_description>\n    <character>LARAMIE<\/character>\n    <dialogue>Success! Though I can't say I vouch for the quality.<\/dialogue>\n    <scene_description>He starts the machine. While it grinds and grumbles, Laramie crosses the room, extends his hand to Flynn.<\/scene_description>\n    <character>LARAMIE<\/character>\n    <dialogue>Laramie Seymour Sullivan. Sales manager, Calhoun Appliances. My name may not be on the masthead, but that don't mean it ain't a family business.<\/dialogue>\n    <scene_description>He hands Flynn a business card. Tips his hat to Darlene. CONTINUED: (2)<\/scene_description>\n    <character>LARAMIE<\/character>\n    <dialogue>Ma'am.<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>LARAMIE<\/character>\n    <dialogue>What should I call you, Father?<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>Daniel Flynn. It is nice to meet you.<\/dialogue>\n    <character>LARAMIE<\/character>\n    <dialogue>Father Flynn, huh. That's easy to remember, alliterative and such. Whereabouts is your parish?<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>The Immaculate Heart of Mary's in Bloomington, Indiana.<\/dialogue>\n    <scene_description>A beat as Laramie sizes up Flynn.<\/scene_description>\n    <character>LARAMIE<\/character>\n    <dialogue>Well.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Let me just say up front that me and the good people of East Biloxi Baptist may have our differences with your Pope, but in our hearts we both believe in the divinity of Jesus Christ, and that makes us brothers as far as I'm concerned. Who handles your hospitality at the Heart of Mary?<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>I'm sorry?<\/dialogue>\n    <character>LARAMIE<\/character>\n    <dialogue>You know, who keeps the place clean and tidy?<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>Her... name is Barbara.<\/dialogue>\n    <character>LARAMIE<\/character>\n    <dialogue>Could I trouble you for Barbara's phone number? I believe the good Lord has put me in your path to make her life easier.<\/dialogue>\n    <scene_description>CONTINUED: (3) Flynn studies Laramie. Thinks.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>I confess my memory is not what it used to be. But I have it written down in my valise. I'd be happy to get it for you once I check-in and am squared away.<\/dialogue>\n    <character>LARAMIE<\/character>\n    <dialogue>I'd sure appreciate it. Though, again, Lord only knows when that'd be.<\/dialogue>\n    <scene_description>He points to the brass bell on the front desk.<\/scene_description>\n    <character>LARAMIE<\/character>\n    <dialogue>You can go ahead and give it a whirl. I ain't had much luck with it.<\/dialogue>\n    <parenthetical>(turns)<\/parenthetical>\n    <dialogue>How 'bout you, darlin' -- you in the hospitality business?<\/dialogue>\n    <scene_description>Darlene seems genuinely taken aback.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>I -- how did you know my name?<\/dialogue>\n    <character>LARAMIE<\/character>\n    <dialogue>Your name is \"Darlin'?\" Ain't that a pip! And they say fate died in '63.<\/dialogue>\n    <scene_description>Darlene realizes the mistake.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>Oh. Sorry. I thought you said... never mind. I'm not in the hospitality business. No.<\/dialogue>\n    <character>LARAMIE<\/character>\n    <dialogue>Well, I'll give you my card nonetheless. I'm sure you know some gals who need a vacuum.<\/dialogue>\n    <scene_description>A beat. Then Father Flynn rings the bell. The group waits in awkward silence. No response. Laramie rolls his eyes: see what I mean? CONTINUED: (4)<\/scene_description>\n    <character>LARAMIE<\/character>\n    <dialogue>This your first time at the El Royale?<\/dialogue>\n    <scene_description>Both Flynn and Darlene nod. Laramie crosses back to the bar.<\/scene_description>\n    <character>LARAMIE<\/character>\n    <dialogue>It didn't always used to be like this. And I don't jus' mean you could find the clerk come check-in. Naw, this place used to be hustlin' and bustlin'. Tahoe's best kept secret. I mean, it was always a novelty, but there's state fair novelty and old horse novelty and we are now firmly in the old horse variety.<\/dialogue>\n    <scene_description>He removes the coffee carafe from the machine and grabs three cups. As he starts making his way back across the room:<\/scene_description>\n    <character>LARAMIE<\/character>\n    <dialogue>'66 this place had swing. Hell, I'm sure I couldn't get a main lodge room if I tried.<\/dialogue>\n    <scene_description>He points to the photographs adorning the California wall.<\/scene_description>\n    <character>LARAMIE<\/character>\n    <dialogue>It was a hidey hole for the Tahoe swells.<\/dialogue>\n    <scene_description>Darlene looks at the photos. The El Royale in more boisterous times. There's Frank Sinatra lounging by the pool. There's Martin Luther King, Jr. shaking hands with a crowd of well-wishers. There's Bobby Kennedy making pop- superstar VESTA SHEARS laugh.<\/scene_description>\n    <character>LARAMIE<\/character>\n    <dialogue>Dean Martin even sang a song about it. \"Half In California With Judy?\"<\/dialogue>\n    <parenthetical>(off their looks)<\/parenthetical>\n    <dialogue>No?<\/dialogue>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>Wasn't one of his best. Coffee?<\/dialogue>\n    <scene_description>Flynn nods. Sure. Darlene shakes her head.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>No, thank you.<\/dialogue>\n    <scene_description>CONTINUED: (5)<\/scene_description>\n    <character>LARAMIE<\/character>\n    <dialogue>Aw, come on. I made a whole pot. Can't let it go to waste.<\/dialogue>\n    <scene_description>He hands her a cup. Take it. She relents.<\/scene_description>\n    <character>LARAMIE<\/character>\n    <parenthetical>(as he pours)<\/parenthetical>\n    <dialogue>Atta girl. I'll let the clerk give you the whole spiel, should he ever show up, I mean. But the part they tend to leave out is about, oh, a year ago this place lost its gambling license. Some problems with the commission or something. And so the swells took their business elsewhere. Now the main lodge is all that's open and the pool is filled with ducks and they rent rooms by the hour if you ask quiet-like.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>'Course, if we're bein' honest, that's probably why a priest, a vacuum salesman, and a Negro can afford freight here, right Father?<\/dialogue>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>I'm just funnin'. My stay's on Calhoun Appliances, if I'm bein' truthful, which is why room choice is so important and I ask you to respect my accoutrements there as a proxy for my person. I intend to lavish myself. Always wanted to stay in The Honeymoon Suite.<\/dialogue>\n    <scene_description>He holds up his left hand. His ring finger is bare.<\/scene_description>\n    <character>LARAMIE<\/character>\n    <dialogue>Though I am not currently on my honeymoon.<\/dialogue>\n    <scene_description>They wait in awkward silence. They sip their coffee. A light bulb goes off over Flynn's head. As though he's been thinking about something else this entire time:<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <parenthetical>(turns)<\/parenthetical>\n    <dialogue>\"Darlene.\"<\/dialogue>\n    <scene_description>Darlene nods. Smiles. CONTINUED: (6)<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>Nice to meet you, Darlene.<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>Nice to meet you too, Father.<\/dialogue>\n    <character>LARAMIE<\/character>\n    <dialogue>Well, hell. We have to wait much longer, I might as well open up that there trunk and set up the Calhoun Electrovax. Give you folks a proper demonstration. You sure you ain't in the hospitality business, darlin'?<\/dialogue>\n    <scene_description>Darlene, once again, shakes her head.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>No, sir. I am not.<\/dialogue>\n    <scene_description>She walks behind the front desk to THE DOOR that says \"Employees Only.\" Gives it a proper thumping with her fist. Wham wham wham. There's a THUD from behind the door.<\/scene_description>\n    <character>LARAMIE<\/character>\n    <dialogue>Ho! The lady's got a luckier hand than we do, Father. Shame these here tables is decommissioned, we could make ourselves some real money.<\/dialogue>\n    <scene_description>We hear fumbling. Footsteps. The door finally swings open, revealing a twenty-year-old kid with a baby face and an ill- fitting desk clerk jacket. He looks a bit like a wet rat. This is MILES MILLER.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>I'm very sorry to keep you waiting.<\/dialogue>\n    <scene_description>If you had to guess how long it has been since Miles has last slept, you'd probably go with \"Five days.\"<\/scene_description>\n    <character>LARAMIE<\/character>\n    <dialogue>Damn, boy, I been in this lobby so long, I'm due for a shave. What's wrong with you?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>I'm very sorry.<\/dialogue>\n    <scene_description>CONTINUED: Miles stops cold. If it's possible for him to go paler, he does when he sees Father Flynn.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Wh... what are you doing here, Father?<\/dialogue>\n    <scene_description>Flynn seems genuinely unsettled.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>Do I know you, son?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>No. But... I mean... this is not a place for a priest, Father. You shouldn't be here.<\/dialogue>\n    <character>LARAMIE<\/character>\n    <dialogue>We may need to work on your sales pitch, boy. \"The El Royale: Ain't No Place For A Priest.\"<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>There are other hotels, Father. Maybe closer to Tahoe? I could help you find one, I'm sure you'd be happier there.<\/dialogue>\n    <scene_description>Flynn recovers. Smiles a patronly smile. Looks at Miles' name tag.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>\"Miles,\" is it? If this is not a place for a priest, Miles, then this is exactly where the Lord wants me.<\/dialogue>\n    <character>LARAMIE<\/character>\n    <dialogue>Well, the Lord don't want you in The Honeymoon Suite, I promise you that much. Miles, those is my accoutrements there, and I stake my claim as such. But you can go ahead and check them in first for all I care.<\/dialogue>\n    <parenthetical>(looks in mirror, rubs chin)<\/parenthetical>\n    <dialogue>Any luck I'll have a full Jeb Stuart by the time we're done.<\/dialogue>\n    <scene_description>Miles looks back and forth between Laramie and Flynn. He continues to seem genuinely anxious. CONTINUED: (2)<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>It's all right, son.<\/dialogue>\n    <character>LARAMIE<\/character>\n    <dialogue>Go ahead, boy. Give 'em the spiel. \"The El Royale...\"<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>The El Royale is a bi-state establishment. You have the option to stay in either the great state of California OR the great state of Nevada. Which would you prefer?<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>What's the difference?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Between California and Nevada?<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>Between the rooms.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Well, for starters, rooms in California cost a dollar more.<\/dialogue>\n    <character>LARAMIE<\/character>\n    <parenthetical>(whistles)<\/parenthetical>\n    <dialogue>Shoot. Really. When that happen? What makes 'em a dollar better?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>They're in California.<\/dialogue>\n    <character>LARAMIE<\/character>\n    <dialogue>And that's worth a dollar?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Some people think so.<\/dialogue>\n    <character>LARAMIE<\/character>\n    <dialogue>You got a number for those people? 'Cause I got a vacuum they might be interested in. Speaking of which! Who's your Head of Hospitality here?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Currently that is also me.<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>LARAMIE<\/character>\n    <parenthetical>(grimaces)<\/parenthetical>\n    <dialogue>Well. Then let's worry about that later then.<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>May I see a map of the hotel?<\/dialogue>\n    <scene_description>Miles nods. He pulls out A MAP. From above, the El Royale looks like an upside-down \"U\" with the parking lot in the middle. As Father Flynn looks it over --<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Only the main lodge is available in the off-season.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>You can still use the California amenities if you choose to stay in Nevada.<\/dialogue>\n    <character>LARAMIE<\/character>\n    <parenthetical>(chuffs)<\/parenthetical>\n    <dialogue>What exactly is a \"California amenity?\"<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>For instance, we are not allowed to sell liquor in Nevada.<\/dialogue>\n    <character>LARAMIE<\/character>\n    <dialogue>Lost that when you lost your gamblin' license? So, you're saying, if we want to drink, we gotta do it on this side of the room?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>That's correct, sir. Also, coffee is twenty-five cents a cup.<\/dialogue>\n    <character>LARAMIE<\/character>\n    <dialogue>Let me guess, you're also the bartender.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>That's correct, sir.<\/dialogue>\n    <scene_description>Laramie rolls his eyes. Removes a quarter from his pocket. Slaps it on the desk next to Flynn, who seems genuinely rattled by the map. CONTINUED: (4)<\/scene_description>\n    <character>LARAMIE<\/character>\n    <dialogue>Feel free to flip that if you need to make a decision, Father. Starting to cost me money waitin' around here.<\/dialogue>\n    <scene_description>The quiet of the lobby is suddenly disturbed by the ROAR of an engine from outside. All four people turn towards the windows to see a GREEN DODGE CHARGER scream into the lot. Tires SQUEAL as the Charger screeches to a stop. Flynn turns his attention back to the map. Shakes his head. Picks up Laramie's quarter and flips it. Heads. Shrugs.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>I'll take Room Four.<\/dialogue>\n    <scene_description>Miles looks away from the window. Gets a key from the wall behind him. Laramie moves closer to the window for a better look. IN THE CAR: we can make out A WOMAN in the driver's seat. She seems to be watching the road behind her intently.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>I'll need one night in advance. Eight dollars. And twenty-five cents for the coffee. Please sign the ledger.<\/dialogue>\n    <scene_description>There's a large leather ledger on the desk. Flynn takes out $8.25 and puts it on the counter. Picks up the fountain pen. CLOSE AS HE SIGNS: Father Daniel Flynn.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Who's next?<\/dialogue>\n    <scene_description>Laramie is still interested in the car outside. He gestures to Darlene. Go ahead. She steps forward.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>I'd like a room in Nevada, please.<\/dialogue>\n    <scene_description>Miles nods. Grabs a key. Slaps it on the desk.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Room Five.<\/dialogue>\n    <character>DARLENE<\/character>\n    <parenthetical>(uncomfortable)<\/parenthetical>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>CONTINUED: (5)<\/scene_description>\n    <character>DARLENE<\/character>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Is there another room available, possibly? Further away. Maybe at the end?<\/dialogue>\n    <scene_description>OUTSIDE: the car door slams. The WOMAN starts walking towards the lodge. She's in a hurry. Laramie turns his attention back to the desk.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>These rooms have not been serviced and are unsuitable.<\/dialogue>\n    <character>LARAMIE<\/character>\n    <dialogue>He does the housekeeping, remember.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>There are rooms in California available, ma'am.<\/dialogue>\n    <character>LARAMIE<\/character>\n    <parenthetical>(losing patience)<\/parenthetical>\n    <dialogue>She doesn't want to be near the priest.<\/dialogue>\n    <scene_description>Flynn, who was collecting his belongings and moving to exit, stops in his tracks. I'm sorry?<\/scene_description>\n    <character>LARAMIE<\/character>\n    <parenthetical>(to Flynn)<\/parenthetical>\n    <dialogue>Like we don't see her walkin' in here with her own bedrolls under her arms.<\/dialogue>\n    <parenthetical>(to Darlene)<\/parenthetical>\n    <dialogue>Don't worry, darlin', we ain't here to judge. Father here can even teach you 'bout Mary Magdalene and forgiveness and what not.<\/dialogue>\n    <scene_description>Darlene's eyes flash with embarrassment and anger. Ring-ring. Right then, the woman from outside walks into the El Royale. She's in her late twenties. Looks to be a card-carrying member of the flower generation. She's trying her best not to look distressed. And failing. This is EMILY SUMMERSPRING. Emily stops in her tracks, not expecting to find this many people in the lobby. What did I just walk into? CONTINUED: Darlene turns her attention back to Miles, eager to get out of there. She takes a small coin purse from her jacket and counts out eight one-dollar bills.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>Room Five will be fine.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Please sign the ledger. And it's twenty-five cents for the coffee.<\/dialogue>\n    <scene_description>Darlene's eyes instinctively look to Laramie. He's not making eye contact.<\/scene_description>\n    <character>DARLENE<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Okay. Of course.<\/dialogue>\n    <scene_description>As she starts to reach for her coin purse. Clack. A hand puts a quarter on the desk. Darlene sees it belongs to Flynn. He nods. It's on me. Darlene nods back. Thank you. She grabs the pen. CLOSE ON THE LEDGER as she writes: Darlene Sweet. She grabs her bags.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>Can I give you a hand to your room?<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>She stops herself, realizing this man is not the one who deserves her anger.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>Sorry, Father. That's kind of you. But I can manage from here.<\/dialogue>\n    <scene_description>Ring. Laramie makes a show of holding the door for her.<\/scene_description>\n    <character>LARAMIE<\/character>\n    <parenthetical>(tips hat)<\/parenthetical>\n    <dialogue>Ma'am.<\/dialogue>\n    <scene_description>Flynn waits a beat. Gathers his valise. Moves to leave. Nods to Emily as he passes.<\/scene_description>\n    <character>FLYNN<\/character>\n    <dialogue>Afternoon.<\/dialogue>\n    <scene_description>CONTINUED: (2) She gives him a curt nod. Ring. Flynn exits. And then there were three. Miles looks to both of them. Who's next? Laramie just shakes his head. Throws up his hands.<\/scene_description>\n    <character>LARAMIE<\/character>\n    <dialogue>Please. Be my fuckin' guest.<\/dialogue>\n    <parenthetical>(yells to window)<\/parenthetical>\n    <dialogue>Sorry, Father.<\/dialogue>\n    <scene_description>Emily shrugs. Fine. I'll go. Steps forward.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>I need a room.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>The El Royale is a bi-state establishment. You have the option to choose a room in either --<\/dialogue>\n    <scene_description>She grabs the map from the desk. Studies it. Taps it.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>I'll take that one.<\/dialogue>\n    <scene_description>Miles looks down at her choice. His shoulders slump just slightly. His weary eyes look back to Laramie.<\/scene_description>\n    <character>LARAMIE<\/character>\n    <dialogue>Don't fuckin' tell me.<\/dialogue>\n    <scene_description>Emily removes a large wad of cash from her jeans.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>I'll take Room One.<\/dialogue>\n    <character>LARAMIE<\/character>\n    <dialogue>You can't have Room One.<\/dialogue>\n    <scene_description>Emily turns and stares at him. Defiant. Why not?<\/scene_description>\n    <character>LARAMIE<\/character>\n    <dialogue>Do you see my fortnighter right there at your feet? Is this really happening?<\/dialogue>\n    <parenthetical>(to Miles)<\/parenthetical>\n    <dialogue>Am I really about to explain the concept of a free market claim stake to the goddamn hippie?<\/dialogue>\n    <scene_description>Emily just stares at him with cold eyes. CONTINUED: (3) Then she relents. Turns back to the map.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>Give me something along this wall.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>The available rooms on that wall have yet to be cleaned.<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>I don't give a shit. How much?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Eight dollars.<\/dialogue>\n    <scene_description>She peels off eight dollars. He puts a key on the desk. Room Seven. She reaches for it. He slides it away.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Please sign the ledger.<\/dialogue>\n    <scene_description>Emily stares at him. Really? He stares back. Yes. She grabs the pen. Scrawls something fast. Grabs the key. Heads towards the door. Ring.<\/scene_description>\n    <character>LARAMIE<\/character>\n    <dialogue>You have yourself a pleasant day, now.<\/dialogue>\n    <scene_description>Laramie steps forward. Finally. He grabs the pen. Looks down at the ledger. Sees Emily's signature.<\/scene_description>\n    <character>LARAMIE<\/character>\n    <dialogue>Nice.<\/dialogue>\n    <scene_description>CLOSE ON THE LEDGER: Fuck You. Laramie signs his name at the bottom of the page. CLOSE ON THE LEDGER as he writes with flourish: Laramie Seymour Sullivan. CLOSE ON LARAMIE as he looks up at Miles and smiles.<\/scene_description>\n    <character>LARAMIE<\/character>\n    <dialogue>I'll take Room One.<\/dialogue>\n    <scene_description>CUT TO BLACK.: TITLE: Room One<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM ONE - DAY<\/stage_direction>\n    <scene_description>We hear the sound of a key jangling. Click. Laramie enters, hits the lights. He carries his accoutrements into the room. Takes off his hat and jacket. Folds the jacket carefully and lays it over the back of a chair. Rolls up his white shirt sleeves. Studies the room. The Honeymoon Suite is on the California side of the border, and thus decorated in warm orange hues. It would never be described as luxurious by any means, but it does have a notable king bed on a raised platform and a jacuzzi tub in the floor. CLOSE SHOTS: locks flip. A suitcase swings open, revealing: neatly folded clothes. Everything feels regimented. A hand removes A DOPP KIT. CLOSE SHOTS: items are placed along a sink. A toothbrush. A soap case. A small bottle of shampoo. A hair tonic. All meticulously ordered just so. CLOSE SHOTS: locks flip. The trunk swings open, revealing: the Calhoun Electrovax. The vacuum is removed. Click. A false bottom is removed from the trunk. A BLACK BRIEFCASE is removed and placed on the bed. The briefcase swings open, revealing an array of SMALL TOOLS. CLOSE SHOTS: a pair of glasses are removed from a case. Laramie sits on the bed. In his shirtsleeves and wireframed glasses now, he looks a far cry from the seersucker southerner we met moments ago. He removes a pair of pliers and a screwdriver from the case. He thinks of something. He checks his watch. Does a small double take. Picks up the phone and dials it. Listens. Then.<\/scene_description>\n    <character>LARAMIE<\/character>\n    <dialogue>Hi, my love. I know, I know... check-in took a little longer than I expected...<\/dialogue>\n    <scene_description>And as Laramie talks, we may notice that his thick Mississippi accent is now GONE.<\/scene_description>\n    <character>LARAMIE<\/character>\n    <dialogue>Is she still up?<\/dialogue>\n    <scene_description>CONTINUED: While Laramie waits, he takes the screwdriver and begins to unscrew the baseplate of the phone receiver. He works quickly, with clinical precision.<\/scene_description>\n    <character>LARAMIE<\/character>\n    <dialogue>Hi rabbit! I know, I'm sorry. I got delayed. Yes, the clock is right. Daddy's wrong.<\/dialogue>\n    <scene_description>And between the accent, the wife, the child, and the toolkit, it should obvious that this man has not been honest about who he is. In fact, we should probably start calling him by his real name. This is not Laramie Seymour Sullivan... This is DWIGHT BROADBECK.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>But I got you before you went down. Ready? Of course. I'm on my knees.<\/dialogue>\n    <scene_description>Dwight pulls off the baseplate, flips the housing over. Looks under the receiver...<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>\"Now I lay me down to sleep, pray the Lord my soul to keep...\"<\/dialogue>\n    <scene_description>Dwight removes a SMALL BLACK MICROPHONE from the receiver. Holds it up to the light. Nods, pleased. He sets it down on the night stand.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>\"And if I should die before I wake, I pray the Lord --\"<\/dialogue>\n    <parenthetical>(listens)<\/parenthetical>\n    <dialogue>What do you mean we're not saying that anymore?<\/dialogue>\n    <parenthetical>(listens)<\/parenthetical>\n    <dialogue>How do you even know what \"morbid\" means -- what does Mommy want us to say?<\/dialogue>\n    <scene_description>Dwight begins to reassemble the phone.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>Okay. \"When I wake in the morning light --\" Okay, okay, from the beginning...<\/dialogue>\n    <scene_description>Dwight frowns. Something's WRONG. He holds the receiver up to the light to get a better look. Grabs his pliers. CONTINUED: (2)<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>\"Now I lay me down to sleep, pray the Lord my soul to keep. And when I wake in the morning light...\"<\/dialogue>\n    <scene_description>Dwight removes something else from the phone with the pliers. Holds it up to the light.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>\"Teach me to do what's right.\"<\/dialogue>\n    <scene_description>It's another microphone. This one's different than the other. Smaller. Tan in color. Dwight stares at it, confused. Clearly troubled.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>Amen.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I gotta go, Rabbit. Tell Mommy I love her, okay?<\/dialogue>\n    <parenthetical>(listens)<\/parenthetical>\n    <dialogue>A couple days. I love you.<\/dialogue>\n    <scene_description>He hangs up. Places the tan bug on the night stand next to the black bug. Stares at the two different microphones. His eyes narrow. He looks to the rest of the room.<\/scene_description>\n    <character>CUT TO:<\/character>\n    <dialogue>Dwight stands on the armchair. Unscrews the wall sconce. Reaches behind the light with a pair of pliers.<\/dialogue>\n    <dialogue>CLOSE SHOT: an identical black bug is placed beside the first.<\/dialogue>\n    <dialogue>Dwight pulls the light fixture from the wall. Frowns.<\/dialogue>\n    <dialogue>CLOSE SHOT: an identical tan bug is placed beside the first.<\/dialogue>\n    <character>CUT TO:<\/character>\n    <dialogue>Dwight's in the bathroom now. Covered in sweat. Unscrews the light. Frowns.<\/dialogue>\n    <dialogue>CLOSE SHOT: Four black bugs are now on the night stand. Dwight's hand places a fourth tan bug in the row beneath it. And then a fifth tan bug.<\/dialogue>\n    <character>CUT TO:<\/character>\n    <dialogue>CONTINUED: (3)<\/dialogue>\n    <scene_description>Dwight stands in the center of the room. Arms folded. Staring at the night stand covered in surveillance bugs. Deep in thought. He shakes his head. None of this makes sense. He turns. Something catches his attention. And the hair stands up on the back of Dwight's neck. We follow his gaze... To the large MIRROR mounted on the back wall. In the reflection, he can see a full view of the bed in the center of the room. Dwight stares at the mirror. Thinks.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EL ROYALE - DUSK<\/stage_direction>\n    <scene_description>CLOSE: A brown shoe steps carefully through the pine twigs. A second shoe steps directly in front of it, placing heel in front of toe. Dwight, still in shirtsleeves and glasses, walks carefully along the east edge of the El Royale. Heel-to-toe. Heel-to- toe. Heel-to-toe. He's measuring the hotel. Dwight reaches the corner. Folds his arms. Stares at the hotel. Thinks.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOUNGE - DUSK<\/stage_direction>\n    <scene_description>Ring-ring. Dwight steps into the lobby. Looks the place over. It's empty. The black and white television is still on, casting flickering pale light all around the room. ON THE TELEVISION: a SPECIAL NEWS REPORT breaks into the Nixon coverage. We see shots of police cars outside a large mansion. News logo reads: \"Malibu Beach Massacre.\" Dwight opens the front desk drawer. Sees the room keys. Spots THE MASTER. He takes it. Dwight unlocks the door marked \"Employees Only.\" He eases the door open...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY<\/stage_direction>\n    <scene_description>Dwight steps into the narrow hallway. We can hear music coming from somewhere. \"Bend Me Shape Me\" by The American Breed. Dwight surveys. At the far end of the hallway, there's a HEAVY METAL DOOR. CONTINUED: Closer to Dwight, there's another door with the words \"MAINTENANCE CLOSET.\" \"Bend me shape me anyway you want me...\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAINTENANCE CLOSET<\/stage_direction>\n    <scene_description>Dwight eases the door open, looks into the room. His face falls. Reverse to reveal -- A cramped closet. A cot. A hot plate. A transistor radio. And Miles. Passed out cold. Slumped against the wall. A bent spoon on the floor beside him. A syringe still hanging from his bloodied arm. \"As long as you love me, it's all right...\" Dwight closes the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY<\/stage_direction>\n    <scene_description>Dwight approaches the HEAVY GRAY DOOR at the end of the hallway. Tries the handle. It's LOCKED. He tries THE MASTER KEY. It doesn't work. Dwight reaches into his pocket. Pulls out a case of LOCKPICKS. Drops to his knees. Works the lock. Click.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - WEST<\/stage_direction>\n    <scene_description>Dwight steps into a dimly-lit corridor. Shuts the door behind him. Music stops. The world goes silent. Dwight steps carefully down the corridor. At the end of the corridor, the corridor branches. West or East. Dwight chooses West. Careful not to make a sound. Rounds the corner... And finds the mirror. Or, rather, the OBSERVATION WINDOW. A perfectly framed rectangle looking into a hotel room. Specifically... His hotel room. He stares at Room One. Arms folded. Thinks. Looks down at the feet. Takes note of THREE SCUFF MARKS on the floor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - EAST<\/stage_direction>\n    <scene_description>Dwight enters the East Corridor. Looking for something. There. Way down at the other end of the hall. It looks like... A 16MM CAMERA. Mounted on a tripod. \\[Note: from this point forward, this entire scene will be done in ONE CONTINUOUS TAKE.\\] Dwight starts walking down the hall. Passes ANOTHER OBSERVATION WINDOW. The room's dark. Dwight squints. Seems empty. Dwight keeps moving. We track with him. Watch him STOP SHORT when he gets to the next window. Room Four. As Dwight stares, we angle around to reveal: FATHER DANIEL FLYNN. Unaware that he's being watched, Father Flynn's busy shoving his twin bed up against the wall. He reaches into his valise, pulls out what looks like A CROWBAR and A HAMMER. He goes to the corner of the room... And starts yanking the carpet free of the tacks. Dwight stares. The corridor eerily silent as the priest works. Father Flynn yanks an entire swath of the carpet free, exposing the old wood boards underneath. Flynn takes the crowbar... and starts hammering it into the floorboards. Dwight can't believe what he's seeing. What the hell is this old priest doing? Dwight watches in silence for a second. Then turns his attention back towards THAT CAMERA. Keeps moving. But stops in his tracks yet again when he passes... Room Five. Darlene Sweet's room. And, yes, there she is... Also doing something strange. She's standing on her dresser, trying to hang what looks like a large swath of fabric on her west wall. She has thumbtacks in her mouth, she uses them to secure the fabric in place. She hops off the dresser. Grabs another roll. Goes back to work hanging it on the wall. CONTINUED: And she unrolls it, Dwight realizes this fabric is the \"bedding\" Darlene was carrying earlier. It's not bedding at all... It's soundproofing foam. Darlene fastens the last piece in place. Steps back and surveys her handiwork. Her look seems to say: Well, it's not great, but it'll do. Darlene reaches into her bag. Removes A METRONOME. Sets it on her table beside her. Sits down. Starts the metronome. The pendulum rod starts to swing back and forth, but we can't hear anything. Darlene closes her eyes. She takes a deep breath. Her lips start to move. It looks like she's singing. Dwight frowns. Looks down. Notices, there, below the window... A SPEAKER. And a SWITCH. Dwight flips the switch. Darlene's voice fills the corridor.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>I try hard to hide, my hurt inside, this ol' heart of mine, always keeps me crying...<\/dialogue>\n    <scene_description>Dwight jumps. The singing is LOUD. He half expects someone else to hear him. Instinctively looks to the corridor. Nobody's coming. He turns his attention back to Darlene. Her rendition of The Isley Brothers' \"This Old Heart of Mine\" is haunting. No music. Just HER VOICE and the click of the metronome. Dwight watches. Transfixed. Then, concerned, he walks back to... Room Four. And there's Father Flynn. Standing waist deep in the floorboards of his room. Perfectly still. He's staring at the wall next to him.<\/scene_description>\n    <character>DARLENE (O.S.)<\/character>\n    <dialogue>Maybe it's my mistake to show this love I feel inside...<\/dialogue>\n    <scene_description>CONTINUED: (2) Father Flynn slowly climbs out of his floor. Empty handed. He walks to the wall. Puts his ear up against it. Listens. Dwight walks back down the corridor. Room Five. Darlene's belting it out now. Swaying in time to the music. Clapping.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>'But I... I love you. This ol' heart... is weak for you.<\/dialogue>\n    <scene_description>Dwight stares for a moment longer. Then remembers... THAT CAMERA. Starts moving down the hallway. Room Six. Empty. Room Seven. Also empty. But seems to be inhabited. There's a bag on the dresser. And ROPE. And A HUNTING KNIFE. Dwight stops. Frowns. And just then... Emily kicks open the door to Room Seven. Dwight jumps. Surprised. Emily hurries into the room. Dragging something heavy. It almost looks like A PERSON. Emily kicks the door shut behind her. Carries her burden RIGHT UP CLOSE to the observation window. Dumps it in A CHAIR. It's a person, all right... This is ROSE. She's unconscious. Looks to be about eighteen years old. Waifish. Half-dressed. She slumps forward, her head hits the mirror. Thump. Dwight instinctively edges backwards.<\/scene_description>\n    <character>DARLENE (O.S.)<\/character>\n    <dialogue>This ol' heart of mine been broke a thousand times, each time you break away...<\/dialogue>\n    <scene_description>Emily stares at the unconscious body in the chair. Breathing hard. She looks scared. She runs her hands though her hair. The look on her face says what do I do next? CONTINUED: (3) She grabs the knife. She grabs the rope. She starts lashing Rose to the chair. This all happens RIGHT UP CLOSE TO THE WINDOW. Emily cuts the rope, ties Rose to the chair. Steps back. Thinks. Grabs a bandana. Uses it to GAG Rose. Rose never flutters. Out cold. Dwight watches. Stunned. Can't believe what he's watching. He tells himself to stay on task. Keeps walking. Room Eight. End of the line. Empty. But the 16 MM Camera is there. Mounted on the tripod. Dwight studies the camera. Opens the case. It's empty. No film. Dwight turns. Looks back down the hall from where he came. Thinks. Then. Starts walking back. Room Seven. There's Rose. Unconscious and bound. Right up close to the glass. Dwight stops. Stares at her. Gets close to her. Puts his hand on the window. Keep moving, Dwight. He starts back down the hall. Moving faster. Room Five. There's Darlene. On her feet now. Swaying and clapping and dancing.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>You got me never knowing if I'm coming or going but I --<\/dialogue>\n    <scene_description>Click. Dwight flips the speaker. The corridor goes SILENT. We see Darlene still singing. Dwight doesn't break stride. Room Four. CONTINUED: (4) Dwight passes. Exits frame. We HOLD on the observation window. There's Father Flynn. He's taken a chair and placed it against the wall he shares with Darlene's room. He sits with the back of his head against the wall. Looking to the ceiling. Hands in his lap. He listens to Darlene sing. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EL ROYALE - PARKING LOT - DUSK<\/stage_direction>\n    <scene_description>Dwight exits the lobby doors. Moving fast. With purpose. Doesn't even look up as the RUMBLE of THUNDER overhead signals an incoming STORM. He's heading to the other side of the parking lot. Where a lonely PAYPHONE stands beside the gate. He grabs the phone. Dials a number from memory.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>Director's office. Case 246673.<\/dialogue>\n    <scene_description>Dwight waits. RUMBLE. That thunder clap makes Dwight look up. Pat pat pat... The first drops of RAIN start to fall. Dwight straightens up as a voice answers on the other end.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>Director Hoover. This is Special Agent Broadbeck. I'm on site at the El Royale.<\/dialogue>\n    <scene_description>CLOSE ON DWIGHT as he stares back at the hotel. Rumble.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>Sir, we have a problem.<\/dialogue>\n    <scene_description>CUT TO BLACK.: TITLE: Room Five OVER BLACK, we hear the upbeat tempo of The Crystals singing \"He's A Rebel...\"<\/scene_description>\n    <character>THE CRYSTALS<\/character>\n    <dialogue>See the way he walks down the street...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STARDREAMS STUDIO - FLASHBACK<\/stage_direction>\n    <scene_description>A genuine WALL OF SOUND hits us as we find ourselves moving through a SIXTIES RECORDING STUDIO in full swing: There's the LIVE BAND. The DRUMMER snapping the snare. The PIANIST tapping out that iconic rhythm. The SAX PLAYER waiting to come on in... Over there... in the isolation booth... there's the lead singer. Her name is VESTA SHEARS. She's in her early twenties, and in six months Dick Clark is gonna call her \"the future of pop music\" on live television. But for now, she's singing her heart out while THE MEN BEHIND THE GLASS watch.<\/scene_description>\n    <character>VESTA SHEARS<\/character>\n    <dialogue>My he holds his head up high when he goes walking by-y-y-y...<\/dialogue>\n    <scene_description>We keep moving through the studio... There's THE THREE BACKUP SINGERS. We're moving down the line of them as they sing their parts. All wearing bright, colorful dresses. All sporting bouffant hairdos.<\/scene_description>\n    <character>BACKUP SINGERS<\/character>\n    <dialogue>Ooooo.... Oooooo...<\/dialogue>\n    <scene_description>And THERE... at the end of the backup trio, is a face we recognize... There's DARLENE SWEET. She looks at least ten years younger, even though the reality is only half that. She's wearing a green dress. Her eyes are closed. Lost in the music. Smiling bright as she belts it out:<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>He's a rebel and he'll never ever be... any good...<\/dialogue>\n    <scene_description>There, watching her through the window, that's British wunderkind producer BUDDY SUNDAY himself. He's dressed in his standard Savile Row suit and scarf. His arms are crossed. He's glowering. Staring right at Darlene. Even though she's only the third backup singer in this whole elaborate affair. CONTINUED:<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>But he's not a rebel, no no no, he's not a rebel, no no --<\/dialogue>\n    <character>BUDDY (FROM THE BOOTH)<\/character>\n    <dialogue>Cut. Cut. Cut it.<\/dialogue>\n    <scene_description>They all stop playing. Buddy looks exasperated.<\/scene_description>\n    <character>BUDDY (FROM THE BOOTH)<\/character>\n    <dialogue>Let's take a break, everyone. Darlene... a word.<\/dialogue>\n    <scene_description>The other singers give Darlene sympathetic looks.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STARDREAMS STUDIOS - DAY<\/stage_direction>\n    <scene_description>The musicians file out of the studio as Buddy enters. Darlene watches as he stops Vesta before she leaves. He cups her cheek. Tender. Nurturing. We can barely make out their conversation:<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>...no, no, you were brilliant. This is why I have you tracked solo.<\/dialogue>\n    <character>VESTA SHEARS<\/character>\n    <dialogue>I can come in stronger...<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>I don't want you thinking, pet. I want you to stay in this --<\/dialogue>\n    <parenthetical>(waves his hand over her body)<\/parenthetical>\n    <dialogue>And let me worry about the knobs and dials. Okay? Now. Get some air. This'll be but a minute.<\/dialogue>\n    <scene_description>Vesta exits. Leaving Darlene alone with Buddy. Buddy approaches. His eyes go cold as he studies Darlene. Lights a cigarette.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>Where were you last night?<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>I'm very sorry. I wasn't feeling well. I called your house and spoke with your... butler.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>Valet.<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>He said he would give you the message. I figured I should rest. So I could be fresh today.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Is that your assessment of your performance thus far? \"Fresh?\"<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>I... I don't know, sir.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>I told you, please, call me Buddy. Or Mr. Sunday, if you must. But never Mr. Buddy. Impossible not to make that sound patronizing. Sounds like a chocolate bar. Do you know how much my time is worth, Darlene?<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>No, sir. Mr. Sunday.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Columbia Records does.<\/dialogue>\n    <scene_description>He points to the paperwork he has spread out on the mix console.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>Columbia Records currently values my time at two hundred dollars an hour. Are you currently in a position where you can turn down two... four... six hundred dollars when it is offered to you?<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>No. I am not.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Six hundred dollars of my time. But, instead, you wanted to stay fresh. Which, apparently, means flat on the intro and sharp on the harmonies.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>I'll get it right, Mr. Sunday. I promise.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>Do you know how much your time is worth, Darlene?<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>Twelve dollars a session.<\/dialogue>\n    <character>BUDDY<\/character>\n    <dialogue>No matter how long the session. Which, I suppose, means the longer I keep you, the less your time is worth.<\/dialogue>\n    <scene_description>He offers her a cigarette. She politely declines.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>You have a choice here, Darlene. Give me one year of your time. And I can make you a star. You'll be singing lead. You'll be staying at The Carlyle. You'll be headlining the Riviera. Or. You can continue to treat my time as disposable. And you can keep scrounging for twelve dollar backup gigs until they dry up. And in five years you'll find yourself shuffling between shit hotels, begging for the opening slot on waffle night in...<\/dialogue>\n    <parenthetical>(shudders)<\/parenthetical>\n    <dialogue>Reno.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>All right. Darlene? Do we understand?<\/dialogue>\n    <scene_description>CLOSE ON DARLENE as we PRELAP the sound of tick... tick... tick... tick... MATCH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM FIVE - NIGHT<\/stage_direction>\n    <scene_description>SAME FRAMING. Darlene sits in silence as the metronome sways back and forth. Tick... tick... tick... tick... She reaches out, stops the metronome. Silence. CONTINUED: She looks at her luggage. Her suitcase is open. Something catches her eye. She reaches in, pulls out HER SHOW DRESS. Holds it up. She notices the seam is split. Her shoulders slump. This will have to be sewn. We get the sense this happens a lot. There's a KNOCK at the door. Darlene jumps in surprise. Who could that be? She frowns.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>FATHER FLYNN (THOUGH DOOR)<\/character>\n    <dialogue>Hello, Darlene? It's Father Flynn. From earlier.<\/dialogue>\n    <scene_description>She leaves the chain intact. Opens the door. Father Flynn looks at her through the crack. Behind him, the rain is beginning to pour.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>I'm so sorry. I was making too much noise, wasn't I?<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>No, no. Not at all...<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>I have a show tomorrow, and I have to rehearse, I tried to make it quiet, but...<\/dialogue>\n    <parenthetical>(shakes head)<\/parenthetical>\n    <dialogue>I'm so sorry. I won't bother you. I'll figure something out.<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>It's no bother. Quite the opposite, actually. It's lovely.<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>Oh. Thank you.<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>What was that you were singing? Did you write that?<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>No. No -- that's The Isley Brothers.<\/dialogue>\n    <scene_description>CONTINUED: (2) There's a rumble of thunder on her line.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>Your brothers wrote that?<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>No.<\/dialogue>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>It's a famous song. It's been on the radio.<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <parenthetical>(sorry)<\/parenthetical>\n    <dialogue>I don't know much about the radio these days.<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>I'm very sorry, Father. I promise I'll keep it --<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>I'm gonna go find some food. In the lounge. I thought I'd see if you want to join? With this place, there's probably strength in numbers.<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>Oh. No, that's all right.<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>You sure? On me. You can consider it payment for earlier. For letting me listen to you sing.<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>That's...<\/dialogue>\n    <parenthetical>(softens)<\/parenthetical>\n    <dialogue>That's a very nice thing to say.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RECEPTION DESK - NIGHT<\/stage_direction>\n    <scene_description>Ding. The lounge is empty. Flynn and Darlene wait for a moment, just to see if anyone arrives. Nobody arrives.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>Why even have a bell?<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>I suspect we're on our own.<\/dialogue>\n    <scene_description>CONTINUED: Flynn reaches into his pocket. Slaps a handful of pocket change on the desk.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>I handle food, you handle entertainment?<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>Deal.<\/dialogue>\n    <scene_description>Darlene takes a couple quarters, glances at the television on the desk.<\/scene_description>\n    <character>NEWSCASTER<\/character>\n    <dialogue>Police are still searching for suspects in the grisly murder of a Beverly Hills banker and his --<\/dialogue>\n    <scene_description>Darlene shudders. Click. She turns off the television. Flynn makes his way over to the California side of the room. Notices THE FIREPLACE. Come to think of it, it is a little chilly in here... Darlene heads towards the jukebox.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>So you've really never heard of The Isley Brothers?<\/dialogue>\n    <scene_description>Flynn shakes his head as he strikes a match and lights the fireplace. Darlene makes her way to THE JUKEBOX: a beautiful Wurlitzer bubbler stocked full of .45s.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>Then we have some work to do.<\/dialogue>\n    <parenthetical>(scans)<\/parenthetical>\n    <dialogue>How 'bout The Four Tops? You've heard of them.<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <parenthetical>(thinks)<\/parenthetical>\n    <dialogue>I'm aware there is a group called The Four Tops. But that's about as much as I got.<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>Well. Then. You are in for it.<\/dialogue>\n    <scene_description>She puts in a quarter. Loads up some selections. CONTINUED: (2)<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>I almost envy you.<\/dialogue>\n    <scene_description>\"I Got a Feeling\" by The Four Tops starts to play. \"When you're in my arms... oh when you're in my arms...\" Darlene sways a bit. Flynn nods. I like it.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>How you making out over there?<\/dialogue>\n    <scene_description>Flynn is standing in front of a 1950s sandwich vending machine.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>I think you're better at your job than I am at mine.<\/dialogue>\n    <scene_description>Darlene walks over. Sees the vending carousels of food. Sandwiches, fruit, pastries. Everything looks gray.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>Oof.<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>How lucky are you feeling tonight?<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>Definitely not eat-that-sandwich- lucky.<\/dialogue>\n    <scene_description>They stare at the machine. Music plays.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>Pie?<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>Pie works.<\/dialogue>\n    <scene_description>CLOSE SHOTS: Quarters drop. Pie spins. Flynn and Darlene sit in the banquet on the California side of the room. They eat their pie. It's not bad. They both bop their heads to the music.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>You really never heard this before?<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>My knowledge of what's going on ends somewhere in the fifties.<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>At a certain point, you get left behind. It's good, though.<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>You gotta listen to something.<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>We got a pretty good choir at the Heart of Mary.<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>That's how I got started. Church choir. St. Paul's Evangelical in Decatur. Lutheran. We don't have to get into all that, though.<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>You're forgiven.<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>I'm sure we sing some of the same stuff. Let's see... you got \"Nearer My God to Thee?\" \"Alleluia! Sing to Jesus?\"<\/dialogue>\n    <scene_description>Flynn nods. Sure.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>How about \"Lift Me In Your Arms, Hold Me On High?\" That was my first solo. You got that?<\/dialogue>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>\"Lift me in your arms, hold me on high...\"<\/dialogue>\n    <scene_description>Flynn shifts uncomfortably in his seat. He seems almost embarrassed.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>To be honest... my memory isn't quite what it was.<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>Oh. Okay.<\/dialogue>\n    <scene_description>They sit in awkward silence for a moment.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>I think I'm going to have a toddy. Can I interest you?<\/dialogue>\n    <scene_description>CONTINUED: (4)<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>No, thank you.<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>You sure? Nothing like whiskey on a cold night.<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>I'm fine.<\/dialogue>\n    <scene_description>Flynn stands up and heads to the bar. CLOSE SHOTS: The record ends. The jukebox switches out the .45. \"Bernadette\" by The Four Tops starts to play.<\/scene_description>\n    <character>DARLENE<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>This one. This is a record.<\/dialogue>\n    <scene_description>She lip syncs along. \"Bernadette, people are searchin' for the kind of love that we possessed...\" CLOSE SHOTS: Whiskey pours into a glass. A pencil writes \"I.O.U. - Whiskey\" then makes a slash next to it. Flynn sits back down. Takes a drink of whiskey.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>That's where you're from? Georgia?<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>Illinois. People make that mistake all the time. I'm not quite sure why the world needs two Decaturs.<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>What are you doing out here?<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>I live in Bakersfield now. But I got a job singing in Reno tomorrow.<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>That's exciting.<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>That's not exactly the word I'd use to describe a six o'clock shift at a keno lounge. But. It's a job.<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>Why are you staying here?<\/dialogue>\n    <scene_description>CONTINUED: (5)<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>It's not a good job. Don't pay nothing. If I stayed in Reno proper I'd end up in the hole. Outskirts are cheaper.<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>Why do it at all?<\/dialogue>\n    <scene_description>Darlene hesitates. Sadness in her eyes. She shrugs. I don't know...<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>Some days... I ask myself that same question.<\/dialogue>\n    <scene_description>She recovers.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>Singin's singin', I guess.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>How 'bout you? How'd you end up at the El Royale?<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>I was up in Oakland. Visiting my brother. Making my way back to Indiana. Had to get off the road before dark. My eyes are bad at night.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Ritz-Carlton was booked. So here we are.<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>I'm guessing the church pays about the same as a Reno keno parlor?<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <parenthetical>(nods)<\/parenthetical>\n    <dialogue>About that.<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>You and your brother close?<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>We used to be.<\/dialogue>\n    <scene_description>He thinks about it. Drinks.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>We used to be.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <scene_description>CONTINUED: (6)<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>Can I confess something to you, Darlene?<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>Isn't it supposed to be the other way 'round?<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>We can make allowances for that, if need be. But...<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>When I said my memory wasn't what it used to be... I may have been understating things a tad.<\/dialogue>\n    <parenthetical>(drinks)<\/parenthetical>\n    <dialogue>For the last few years, I've been having problems with my recall. And I don't think it's just my age.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I'm certain it's not just age.<\/dialogue>\n    <scene_description>\"But how can they control you, Bernadette? When they cannot control themselves, Bernadette?\"<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>I wake up some days, and I can't remember who I am. I have moments where I lose time... when you saw me in the parking lot, today, actually. I had completely forgotten where I was. What I was doing. It's the strangest feeling. You look around and you're someone else. And you don't know who that is.<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>Father... can I say something?<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>It sounds like you should see a doctor.<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>I did.<\/dialogue>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>He agrees with my assessment that it's not just age.<\/dialogue>\n    <character>DARLENE<\/character>\n    <parenthetical>(oh)<\/parenthetical>\n    <dialogue>I'm sorry.<\/dialogue>\n    <scene_description>CONTINUED: (7)<\/scene_description>\n    <character>DARLENE<\/character>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I'm very sorry.<\/dialogue>\n    <scene_description>He smiles a kindly smile.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>I wasn't looking for pity. Might be for the best, in fact. Some parts of my life aren't worth remembering. No, I'm just telling you because, if I seem scattered... I don't mean offense.<\/dialogue>\n    <scene_description>She pats his hand.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>None taken.<\/dialogue>\n    <scene_description>Flynn finishes his drink. Exhales.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>I could use another.<\/dialogue>\n    <scene_description>He stands up. Makes his way back to the bar. She gets up, too. Carries their dirty plates over to the bar.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>Sure I can't tempt you? My memory may be spotty, but I do recall it's a sin to let an old priest drink alone.<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>Okay, sure. One drink.<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>Grand.<\/dialogue>\n    <scene_description>Darlene walks back over to the jukebox. CLOSE SHOTS: Flynn pours two drinks. Flynn glances up at Darlene. Confirms she's not looking at him. She's lost in the music. And in this moment, as he stares at Darlene, Father Flynn's face changes. The kindly old priest disappears. And is replaced by a different man. A much harder man. CONTINUED: (8)<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>Perhaps I could even tempt you to grace me with a song again later?<\/dialogue>\n    <scene_description>Father Flynn reaches into his jacket and removes a small glass vial. He pours a clear liquid into Darlene's drink. Darlene doesn't see any of this happen.<\/scene_description>\n    <character>DARLENE<\/character>\n    <parenthetical>(back turned)<\/parenthetical>\n    <dialogue>Don't push your luck, Father. But. If you happen to find yourself in Reno tomorrow... I go on at six.<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>I'd like that.<\/dialogue>\n    <scene_description>HOLD ON FLYNN. His face drifts again. As though he's forgotten, once again, where he is. Or. Perhaps he's having second thoughts about what he's about to do. He repeats the words to himself, as though he's realizing he really means them:<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>I'd like that.<\/dialogue>\n    <scene_description>But. Then. His face hardens with resolve. He picks up the glasses. He turns around...<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>But until then --<\/dialogue>\n    <scene_description>And Darlene bashes him in the face with a wine bottle. CRASH! The bottle SHATTERS. Blood and glass flies everywhere. Father Daniel Flynn goes down in a wet heap. Darlene stares down at his unconscious body. On the jukebox we hear Levi Stubbs scream out:<\/scene_description>\n    <character>LEVI STUBBS (O.S.)<\/character>\n    <dialogue>Bernadette!<\/dialogue>\n    <scene_description>CUT TO BLACK.: TITLE: 950 Pennsylvania Avenue We hear two voices: CONTINUED:<\/scene_description>\n    <character>DWIGHT (ON TAPE)<\/character>\n    <dialogue>...in the process of retrieving our equipment, I discovered an additional wiretap and four microphones.<\/dialogue>\n    <scene_description>TITLE: Washington, D.C. TITLE: 5th Floor<\/scene_description>\n    <character>HOOVER (ON TAPE)<\/character>\n    <dialogue>Did you recognize the equipment?<\/dialogue>\n    <scene_description>TITLE: Northeast Corner Suite<\/scene_description>\n    <character>DWIGHT (ON TAPE)<\/character>\n    <dialogue>I do not believe it was ours, sir.<\/dialogue>\n    <scene_description>TITLE: Anteroom<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DIRECTOR'S OFFICE - ANTEROOM - NIGHT<\/stage_direction>\n    <scene_description>HELEN GANDY began working for J. Edgar Hoover in 1918. She will remain his executive assistant until his death in 1972. Her fingers fly across the typewriter as she transcribes his conversation from earlier.<\/scene_description>\n    <character>DWIGHT (ON TAPE)<\/character>\n    <dialogue>Upon investigation, I discovered the room also had a two-way mirror. I found similar rooms in this hotel, along with camera equipment.<\/dialogue>\n    <character>HOOVER (ON TAPE)<\/character>\n    <dialogue>Did you find film?<\/dialogue>\n    <character>DWIGHT (ON TAPE)<\/character>\n    <dialogue>No sir. I called as soon as I discovered the camera.<\/dialogue>\n    <character>HOOVER (ON TAPE)<\/character>\n    <dialogue>No one is to leave there, Agent Broadbeck, until you have any and all existing surveillance materials in your possession.<\/dialogue>\n    <character>DWIGHT (ON TAPE)<\/character>\n    <dialogue>Understood, sir.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EL ROYALE - NIGHT<\/stage_direction>\n    <scene_description>Rain is pouring down now as Dwight makes his way through the parking lot. He's watching the front carefully, he does not want to be seen. He slides up to Emily's Mustang, pops the hood. Yanks the DISTRIBUTOR COIL CABLE free. Pockets it in his raincoat. CUT TO: Dwight repeats the process on Flynn's Futura. CUT TO: Dwight repeats the process on Darlene's Studebaker. He shuts the hood... and stares at the hotel.<\/scene_description>\n    <character>DWIGHT (ON TAPE)<\/character>\n    <dialogue>Sir... there's something else. While investigating the observation corridor, I witnessed what appeared to be a kidnapping in process. A young woman, Caucasian, holding another woman hostage. Also Caucasian.<\/dialogue>\n    <character>HOOVER (ON TAPE)<\/character>\n    <dialogue>The priority is the surveillance material, Agent Broadbeck. Peripheral matters are not our concern.<\/dialogue>\n    <scene_description>Dwight stands in the rain. Staring at the hotel.<\/scene_description>\n    <character>DWIGHT (ON TAPE)<\/character>\n    <dialogue>Sir...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DIRECTOR'S OFFICE - ANTEROOM - NIGHT<\/stage_direction>\n    <scene_description>Tape reels spin as Helen transcribes:<\/scene_description>\n    <character>HOOVER (ON TAPE)<\/character>\n    <dialogue>I am not in the habit of repeating myself, Agent Broadbeck, but I will do so here to ensure there is no confusion....<\/dialogue>\n    <scene_description>CLOSE ON HELEN'S PAGE as her keys type:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM ONE - NIGHT<\/stage_direction>\n    <scene_description>Dwight stands in front of his mirror. Soaking wet. Breathing hard. Thinking. He glances at himself in the mirror. CUT TO BLACK.: TITLE: Room Seven We HEAR the gentle sound of crashing waves...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA MONICA - BEACH - DAY<\/stage_direction>\n    <scene_description>A solitary trail of BOOT PRINTS leads up the beach to where a young eighteen-year-old girl sits beside a large Army duffel. It's Rose. She's wearing cowboy boots and jeans. She sits in the sand with her knees to her chest. She's crying. A BAREFOOT MAN walks along the boot prints. Theirs are the only footprints on the beach.<\/scene_description>\n    <character>BAREFOOT MAN<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>Rose looks up and squints. The man is BACKLIT by the setting California sun. We never get a good look at his face.<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>BAREFOOT MAN<\/character>\n    <dialogue>I like your boots.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>They're my Daddy's.<\/dialogue>\n    <character>BAREFOOT MAN<\/character>\n    <dialogue>Don't look like they're your Daddy's no more.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>That why you're crying?<\/dialogue>\n    <scene_description>Rose shrugs. CONTINUED:<\/scene_description>\n    <character>BAREFOOT MAN<\/character>\n    <dialogue>Don't get a lot of girls down here in boots. You come straight from the station?<\/dialogue>\n    <scene_description>Rose shrugs.<\/scene_description>\n    <character>BAREFOOT MAN<\/character>\n    <dialogue>It's all right, Boots. You don't got to say nothin'. I'll figure it out in three guesses. Watch. Tennessee.<\/dialogue>\n    <scene_description>Rose just looks at him.<\/scene_description>\n    <character>BAREFOOT MAN<\/character>\n    <dialogue>Nah. Too easy. And you ain't no Texas girl, I know that much for sure. West Virginia?<\/dialogue>\n    <parenthetical>(she shakes her head)<\/parenthetical>\n    <dialogue>'Course not. \"Let's not be insulting, Billy Lee.\" Nah, I'm just messin' about with you. I knew it the second I saw these bootprints in this beach.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>You're an Alabama girl.<\/dialogue>\n    <scene_description>OFF HER LOOK.<\/scene_description>\n    <character>BAREFOOT MAN<\/character>\n    <dialogue>See. Told you I could do it in three.<\/dialogue>\n    <scene_description>He takes his shirt off, drops it next to her.<\/scene_description>\n    <character>BAREFOOT MAN<\/character>\n    <dialogue>Now you got to come swimming with me.<\/dialogue>\n    <character>ROSE<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>That wasn't the deal.<\/dialogue>\n    <character>BAREFOOT MAN<\/character>\n    <dialogue>Sure it was. You knew the game the second we started playing.<\/dialogue>\n    <scene_description>He unbuckles his belt. Slips out of his jeans. Naked. He walks towards the ocean. CONTINUED: (2)<\/scene_description>\n    <character>BAREFOOT MAN<\/character>\n    <dialogue>C'mon, Boots. You got no reason to cry no more...<\/dialogue>\n    <scene_description>CLOSE ON ROSE as she hears:<\/scene_description>\n    <character>BAREFOOT MAN<\/character>\n    <dialogue>You're in California now.<\/dialogue>\n    <scene_description>MATCH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM SEVEN - NIGHT<\/stage_direction>\n    <scene_description>SAME FRAMING. CLOSE ON ROSE. Bound and gagged. Her eyes flutter. She groans. Emily looks up from across the room, where she's busy stashing her gear under the bed. She hurries over to Rose, kneels down next to her.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>Rose? Rosie? It's okay. You're safe. You're here with me. It's Em.<\/dialogue>\n    <scene_description>Rose's eyes from fear to recognition to anger in a flash. She strains against her bonds.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>Rosie. Stop. You're safe. But I can't untie you. Not 'til you're right. We gotta get you right.<\/dialogue>\n    <parenthetical>(Rose struggles)<\/parenthetical>\n    <dialogue>I 'spect you're all kinds of mad at me. And some extent you're right to be. But we're gonna wait this out. We're gonna wait 'til you're clear. Then we'll have it out.<\/dialogue>\n    <scene_description>She kisses Rose on the forehead. Rose looks at her with malice.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>I had to get you away from him, Rosie. He's all kinds of bad. And we gotta get as far away from him as possible. You'll understand. We just gotta get you clear... and you'll understand.<\/dialogue>\n    <scene_description>And right then... there's a KNOCK at the door. CONTINUED: Both jump in surprise. Emily hops to her feet, grabs her handgun. Locks eyes with Rosie. Holds a finger to her lips. Shhhhh... Emily creeps to the door. We hear Dwight's VOICE outside:<\/scene_description>\n    <character>DWIGHT (O.S.)<\/character>\n    <dialogue>Ma'am? Hello? I'm so sorry to bother you.<\/dialogue>\n    <scene_description>Emily looks through the keyhole. Frowns.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Ma'am, it's Laramie Sullivan. We met earlier in the lobby. Would you mind opening up the door?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>No, I ain't gonna do that.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Of course. I certainly respect that. Good to be cautious. We can talk through the door if that suits you.<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Storm's wreckin' hell on the hotel. Gettin' all kinds of complaints with people's power and such. Boy up front asked me to help check on the women, make sure everyone's safe.<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>I'm fine.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>That's good news.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Listen... if you wouldn't mind --<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>Fuck. Off.<\/dialogue>\n    <scene_description>There's a long silence. CONTINUED: (2)<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>I'm very sorry to have spooked you, ma'am. Have a safe night.<\/dialogue>\n    <scene_description>We hear footsteps walking away. Rose watches Emily in the mirror. Emily watches through the keyhole. Waits. Turns back towards Rose... And Dwight kicks in the door. Wham! The door hits Emily -- she spins to fire -- but before she can, Dwight BACKHANDS her with the butt of his gun. She goes down hard, between the two beds. Her gun goes skittering across the floor. Dwight puts his foot on Emily's gun. Kicks it into the bathroom. Keeps his gun trained on Emily. But she's unconscious. Not moving. Rose CRIES OUT beneath her gag. Dwight hurries over to her.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>It's okay -- it's okay. I'm the law. It's all right...<\/dialogue>\n    <scene_description>He reaches into his pocket. Pulls out a switchblade. Starts cutting free her ropes.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>You're safe now.<\/dialogue>\n    <scene_description>ON THE GROUND. Emily groans as blood drips from her temple. MATCH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUMMERSPRING HOUSE - NIGHT<\/stage_direction>\n    <scene_description>SAME FRAMING. Eight-year-old EMILY on the ground. Blood dripping from her head.<\/scene_description>\n    <character>MAN'S VOICE<\/character>\n    <dialogue>Don't touch it. Let it bleed.<\/dialogue>\n    <scene_description>HER POV: we see THOSE BOOTS from earlier walking away from her across the wood floor. The voice belongs to her father, HUTCH SUMMERSPRING. CONTINUED:<\/scene_description>\n    <character>MAN'S VOICE<\/character>\n    <dialogue>Next time you want to get smart you look down at all that red and you think twice.<\/dialogue>\n    <scene_description>Tears well up in Emily's eyes. HER POV: Hutch walks to the kitchen. Opens the fridge.<\/scene_description>\n    <character>HUTCH<\/character>\n    <dialogue>Where's Rosie?<\/dialogue>\n    <scene_description>Emily struggles to her feet. Races up the stairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSTAIRS - NIGHT<\/stage_direction>\n    <scene_description>An angelic FOUR-YEAR-OLD is fast asleep in her bed.<\/scene_description>\n    <character>YOUNG EMILY<\/character>\n    <dialogue>Rose? Rosie? Get up. It's okay. Come with me.<\/dialogue>\n    <scene_description>Downstairs. We hear glass breaking. The man yelling. Emily leads a half-asleep Rose to what looks like a guest room. There's a four-post bed. She pushes Rose under the bed. Gets on her hands and knees. Looks Rose in the eye.<\/scene_description>\n    <character>YOUNG EMILY<\/character>\n    <dialogue>Don't you come out, okay? No matter what you hear, you stay put.<\/dialogue>\n    <character>HUTCH (O.S.)<\/character>\n    <dialogue>Where's Rosie?<\/dialogue>\n    <scene_description>Rose's POV: looking at her big sister from under the bed.<\/scene_description>\n    <character>YOUNG EMILY<\/character>\n    <dialogue>No matter what you hear, don't make a sound.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM SEVEN - NIGHT<\/stage_direction>\n    <scene_description>SAME FRAMING. Looking at Emily from under the bed. She winces in pain. Her eyes struggle to find focus. She locks on something. She's looking right at us. Emily's POV: under the bed, a green army duffel. Sticking out of it: CONTINUED: A SHOTGUN. ACROSS THE ROOM -- Dwight finishes untying Rose. Pulls the gag down out of her mouth.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>You don't have any reason to be scared. You're safe now.<\/dialogue>\n    <character>ROSE<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>Okay, good.<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>Rosie...<\/dialogue>\n    <scene_description>They turn as Emily rises.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>Get out of the way.<\/dialogue>\n    <scene_description>Rose steps aside. Revealing Emily. Pointing her shotgun. Right at Dwight. BOOM. The shot is DEAFENING. Emily shoots Dwight right in the chest. Both barrels. His chest explodes. Behind him, the mirror SHATTERS. Dwight's body hits the ground in a bloody mess. Rose stares down at his dead body. Curious. Surprisingly calm for what's just transpired. Emily struggles to catch her breath. Struggles to process what the fuck just happened. She lowers the shotgun. Looks to the dead body. Looks to her sister. And then she looks to where the mirror used to be. Because there's not a wall behind that mirror. Instead, there's A BLACK HOLE. And there seems to be sounds coming from that hole. Somebody is screaming. Emily and Rose look to each other. Look back to the hole. CONTINUED: (2) Camera floats between the two girls... over Dwight's dead body... towards what's left of that mirror... and into the BLACK HOLE. CUT TO BLACK.:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOUNGE - NIGHT<\/stage_direction>\n    <scene_description>RAPID FIRE shots bring us back to earlier: The second-hand on the wall clock ticks forward. Darlene grabs a wine bottle from the rack. WHAM! She bashes Dock in the head. He crashes down HARD. CLOSE SHOTS: the mechanical arm chooses another record in the Wurlitzer. Drops it onto the turntable. The needle hits the vinyl. We hear THE CRYSTALS start singing:<\/scene_description>\n    <character>THE CRYSTALS<\/character>\n    <dialogue>Well he walked up to me and he asked me if I wanted to dance...<\/dialogue>\n    <scene_description>Father Daniel Flynn lies unconscious on the California side of the lobby. Broken glass and puddles of booze.<\/scene_description>\n    <character>THE CRYSTALS<\/character>\n    <dialogue>He looked kind of nice and so I said I might take a chance...<\/dialogue>\n    <scene_description>We hear footsteps. TENNIS SHOES run into frame.<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Father? Oh no...<\/dialogue>\n    <scene_description>It's Miles. He races to Flynn's side.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Father Flynn -- Father Flynn -- oh no no -- wake up -- Father --<\/dialogue>\n    <scene_description>Flynn groans as Miles pats his face. He gasps. Disoriented. Shoves Miles away. Fear in his eyes. Tries to sit upright.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Father, don't try to move --<\/dialogue>\n    <scene_description>Flynn looks at Miles with dazed eyes.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>I'm not your father.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Take it easy. Take it real easy. You're hurt. What the heck happened?<\/dialogue>\n    <scene_description>Father Flynn touches the wound on his head. Rubs the blood between his fingers. His eyes drift as he listens.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>What's this song?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Father... do you know where you are?<\/dialogue>\n    <scene_description>Clarity starts to creep into Flynn's eyes.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>That's what I'm askin' you. I just found you like this. On the floor. You got glass in your head.<\/dialogue>\n    <scene_description>Flynn picks broken glass out of his head.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>Where's... where's...<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Was I alone?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Yeah. Why? Was you with somebody?<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <parenthetical>(thinks; then)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Flynn gets to his feet. But as he takes a step, his knees get weak. He manages to slide into the banquet.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>Kid... what's your name again?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Miles.<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>Miles. I need a drink.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Fix me a drink.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>I'm not so sure that's a good idea.<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>Just one drink. To clear my head. I'd do it myself, but...<\/dialogue>\n    <parenthetical>(gestures to mess)<\/parenthetical>\n    <dialogue>Look what happens.<\/dialogue>\n    <scene_description>Miles hesitates. Unsure.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>I fell down, Miles. I'm old. Shit happens. Get the whiskey.<\/dialogue>\n    <scene_description>Miles heads towards the bar. Flynn sits in the banquet and listens to the music. He catches a glimpse of himself in the reflections on the wall. Sees the priest collar.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Father... I was hoping...<\/dialogue>\n    <parenthetical>(pours drink)<\/parenthetical>\n    <dialogue>I was hoping I could ask for your help. I been gone. I been gone from the church for a while now...<\/dialogue>\n    <scene_description>He hands Flynn a glass of whiskey and a towel.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>But I was devout. My whole life. Baptized. Confirmed. Never missed a Sunday 'til I left Indiana.<\/dialogue>\n    <scene_description>Flynn drinks. Still a little woozy.<\/scene_description>\n    <character>FLYNN<\/character>\n    <dialogue>I was born in Indiana.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Really? No kiddin'. Whereabouts?<\/dialogue>\n    <scene_description>Flynn doesn't respond. He takes the towel and dabs his head. Looks at his own blood.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Father... I was hoping... see...<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I got things I need to confess.<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>Not right now, kid.<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Okay, Father. Right. Of course. It's just... I'm penitent, Father, I promise. I'm penitent and I'm afraid for my soul.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I've done horrible things.<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>So's everybody. You'll be fine.<\/dialogue>\n    <scene_description>Flynn finishes the drink. Stands. Takes a few steps. He's got his sea legs back.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>You got a master key to this place?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Did you lock yourself out of your room?<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <parenthetical>(nods)<\/parenthetical>\n    <dialogue>Like I said, kid, I'm old.<\/dialogue>\n    <scene_description>CLOSE SHOT: the drawer slides open, revealing the room keys.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Should be right here...<\/dialogue>\n    <scene_description>But it's not. There's an empty hook instead. Miles looks distressed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAINTENANCE CLOSET - NIGHT<\/stage_direction>\n    <scene_description>Miles rummages through his cramped closet. Looking for the key. He can't find it. Knows something's wrong. Flynn watches over Miles' shoulder. Miles sees Flynn looking at his heroin rig.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Father...<\/dialogue>\n    <scene_description>Flynn shrugs. Does a quick sign of the cross on Miles. You're forgiven.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>Where's the key?<\/dialogue>\n    <scene_description>Miles shakes his head. Walks towards THE CORRIDOR. CONTINUED:<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>I told you this wasn't a good place, Father.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>Miles walks round the corner. Flynn follows. Stepping with caution. What the fuck is this place? Miles stops in front of the first window. Head down in shame. Flynn steps forward. Sees it's his room.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>You watched me?<\/dialogue>\n    <scene_description>His eyes flash. He grabs Miles by the throat. Slams him up against the wall. Miles cries out in pain.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>What did you see?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>I didn't see nothin'! I didn't -- I only watch who they tell me to watch.<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>Who's \"they?\"<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Management. I get a call, \"So-and- sos checking in, set up the camera.\" Hasn't happened as much since the election...<\/dialogue>\n    <scene_description>Flynn's head whips around. He sees THE CAMERA down at the end of the hall. Flynn lets go of Miles. He starts walking towards the camera. Stops at the next room... Darlene's room.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Mostly they just want, you know, people... screwin'.<\/dialogue>\n    <scene_description>It's empty. No sign of Darlene anywhere. But the sound baffles are still on the walls. Flynn stares at them. CONTINUED:<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>What do you do with the film?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Develop it in one of the back cabins. Mail it to Management. P.O. Box in Pennsylvania.<\/dialogue>\n    <scene_description>Hold on Flynn. His mind racing. He keeps walking down the hall. Miles follows.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>You ever keep any of the film?<\/dialogue>\n    <scene_description>Miles doesn't respond.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>Miles.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Last year. The big celebration. Man stayed with us... he was known. A big deal. You know? Management wanted him. They really wanted him. But he was kind to me. So I told them there wasn't no woman in his room.<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>But you kept the film?<\/dialogue>\n    <scene_description>Miles doesn't say anything. Tears start to well in his eyes.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Father... this ain't even what I was tryin' to confess. I done so much worse than this...<\/dialogue>\n    <scene_description>Miles puts his head in his hands.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>Miles...?<\/dialogue>\n    <scene_description>But something catches their attention. Light flickers, shadows move on the wall across from Room Seven. Miles steps forward. And stops right in his tracks. Flynn joins him. And we angle around to reveal: Rose. Bound and gagged. Right up close to the window. CONTINUED: (2)<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Who is that?! Jesus.<\/dialogue>\n    <scene_description>Emily crosses from the other side of the room. Squats down next to her. Starts talking. We can't hear her. Miles flips the intercom switch.<\/scene_description>\n    <character>EMILY (IN ROOM)<\/character>\n    <dialogue>You're safe. But I can't untie you. Not 'til you're right. We gotta get you right...<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>We gotta help her.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>We gotta help her, Father.<\/dialogue>\n    <scene_description>Flynn stares at Emily and Rose. Mind racing. Makes his decision. Grabs Miles. Pushes up so he can't see in the room anymore.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>What did you do with the film?<\/dialogue>\n    <character>MILES<\/character>\n    <parenthetical>(panicked)<\/parenthetical>\n    <dialogue>Father, we gotta do something. We gotta help her --<\/dialogue>\n    <scene_description>Flynn speaks with a calm, gentle voice.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>Miles. Listen to me.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>The Lord wants you to tell me where the film is.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAINTENANCE CLOSET - NIGHT<\/stage_direction>\n    <scene_description>Flynn yanks the mattress off Miles' cot. Sees the cinder blocks underneath. Lifts one up, revealing a little hiding place: Some heroin bindles. A bible. And a can of 16mm film.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OBSERVATION CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>Miles watches in growing horror as Emily stands with her handgun, talking to Dwight through the door:<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>Fuck. Off.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>I'm very sorry to have spooked you, ma'am. Have a safe night.<\/dialogue>\n    <scene_description>WHAM! Miles jumps as Dwight kicks the door open, BACKHANDS EMILY across the room.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Father Flynn!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAINTENANCE CLOSET - NIGHT<\/stage_direction>\n    <scene_description>Flynn has unspooled a length of the 16mm film. He's holding it up to the light. He turns his head as he hears Miles screaming for him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OBSERVATION CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>Flynn comes hurrying around the corner, sees a panicked Miles down at the end of the hall.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Father Flynn get down here that vacuum man just busted down the door and he beat up that other girl and he's got a gun --<\/dialogue>\n    <scene_description>Flynn races forward.<\/scene_description>\n    <character>EMILY (O.S.)<\/character>\n    <dialogue>Rosie -- get out of the way.<\/dialogue>\n    <scene_description>We hear the cold metal RACK of the shotgun.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>Kid -- GET AWAY FROM THE WINDOW!<\/dialogue>\n    <scene_description>KA-BOOM! The window EXPLODES in the shotgun blast. Miles disappears in a storm of BUCKSHOT and GLASS. Flynn jumps, slams on the brakes. Watches in horror as Miles hits the ground. HOLD ON FLYNN. Staring at the hole where the window used to be. He looks down at Miles. CONTINUED: And Miles starts to move. His face is a mess of blood and glass and buckshot. But he seems to be alive. He CRIES OUT in pain. HOLD ON FLYNN. Frozen. Not knowing what to do. Miles cries out on the ground.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Ahhhhhh... help me...<\/dialogue>\n    <scene_description>Flynn takes a step forward. Moving to help him. But then thinks twice. Flynn stops. He starts backing up. He turns and runs. We're at the far end of the hall. He races past us, rounding the corner. And just as Flynn disappears from view -- Emily sticks the shotgun through the hole. Swings it towards us. Scans the corridor. Sees the bloodied boy on the ground.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>Jesus Fucking Christ!<\/dialogue>\n    <scene_description>CUT TO BLACK.:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOUNGE - NIGHT<\/stage_direction>\n    <scene_description>CLOSE SHOTS. The mechanical arm chooses a record. \"Bernadette\" starts to play. TICK! The clock ticks forward. WHAM! Darlene bashes Flynn in the face with the bottle. WHUMP! Flynn hits the ground in a heap.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - NIGHT<\/stage_direction>\n    <scene_description>RING-RING. Darlene races out of the lobby, into the rainstorm. Panic on her face. Breathing hard. She scans the parking lot. Think, Darlene...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM FIVE - NIGHT<\/stage_direction>\n    <scene_description>Darlene grabs her keys from her night stand. Grabs her purse. Looks to the rest of her belongings. No time. Leave them behind. She bolts towards the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - NIGHT<\/stage_direction>\n    <scene_description>RUMBLE. The rain is a genuine deluge. The crashing sounds of water and thunder drown out all other noise. But Darlene creeps through the darkness nonetheless. Stepping carefully. Keeping an eye on THE LOBBY. She sees NO MOVEMENT through the windows. Okay, good. Breathe, Darlene. Breathe. Time to go. She turns to step out of the darkness, into the parking lot, when -- WHUMP. She hears something. A muffled thump in the parking lot. She turns, and sees -- Dwight. He just shut the hood of Flynn's Futura. He's making his way over to the Studebaker. Darlene's car. Darlene stays crouched in the shadows. Watches in growing horror. What is this man doing? Dwight pops Darlene's hood. He searches around in her engine. RIPS something out of it. Then Dwight steps forward. Stares at the hotel. HOLD on Darlene. Staring at this man. Standing motionless in the middle of the storm. It's unsettling. Dwight walks to his room. Disappears. Darlene waits. Oh god, what did he do? She bolts through the rain to her car. Slips into the driver's seat. Fumbles with her keys. Hands shaking. C'mon, Darlene. She manages to get the key into the ignition. Turns it... Nothing. CONTINUED: The car's dead. No. She tries again. Click. And again. Click. Nothing. And all the fear and panic that Darlene's been keeping at bay, it all comes home. She starts pounding at the steering wheel... No no no no NO... Hold it together, Darlene. She grips the steering wheel tight. What do I do what do I do? She closes her eyes. Tries to keep her voice calm.<\/scene_description>\n    <character>DARLENE<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Dear Lord, please give me guidance. I am here in darkness and I need your light.<\/dialogue>\n    <scene_description>She sees something outside. It's Dwight again. He's left his room. He's heading towards Room Seven. Now what? Darlene watches from the covered darkness of her car: Dwight knocks on the door. Dwight seems to be having a conversation with the person inside. Dwight seems to be getting frustrated. Dwight steps away from the door. Dwight pulls HIS GUN out of his coat. Darlene's eyes go wide as Dwight steps quickly to the door and KICKS IT OPEN. Darlene JUMPS -- oh my god -- as Dwight disappears into the room. Darlene opens her door. Moving on instinct -- through the rain -- staying covered. Trying to get a better look at what's happening inside that room. There's Dwight, cutting Rose free. There's Emily getting to her feet. With a shotgun. Before Darlene can scream -- BOOM. Emily shoots Dwight. Darlene claps her hands over her mouth to stifle her scream. Oh god NO. Darlene's POV: Emily and Rose look at each other in shock. Look to the shattered window. Emily steps forward. Cautious. She pokes her head through the hole. CONTINUED: (2)<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>Jesus Fucking Christ!<\/dialogue>\n    <scene_description>The storm around Darlene makes it hard to hear exactly what's being said in the room. We hear distant screaming. Words come through muffled.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>What is this?<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Keep your fucking hands where I can see them! What the hell is this?<\/dialogue>\n    <scene_description>Emily thinks. Looks to Rose.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>Rosie. Stay right there.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Emily takes the shotgun, clears the remaining glass on the edge of the window. She CLIMBS THROUGH the hole, keeping her gun trained on the ground below. Then she disappears.<\/scene_description>\n    <character>EMILY (O.S.)<\/character>\n    <dialogue>I said keep your hands where I can see them!<\/dialogue>\n    <scene_description>HOLD ON DARLENE. Crouched in the pouring rain. Watching these strange horrors unfold: Rose steps forward. Looks through the hole in the window. Huh. A curious child. Then Rose turns away. Surveys the room. Something catches her attention... The telephone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM SEVEN - NIGHT<\/stage_direction>\n    <scene_description>In the room now. We can hear things much clearer. Emily YELLING. Miles SCREAMING.<\/scene_description>\n    <character>MILES (O.S.)<\/character>\n    <dialogue>I don't have a gun -- You shot me in the face --<\/dialogue>\n    <character>EMILY (O.S.)<\/character>\n    <dialogue>What are you doing? Jesus!<\/dialogue>\n    <scene_description>CONTINUED: Rose picks up the phone. Glances back towards THE HOLE. No sign of Emily. She dials a number from memory. Listens. When she hears the voice on the other end, her face LIGHTS UP with happiness. Speaks quietly:<\/scene_description>\n    <character>ROSE (INTO PHONE)<\/character>\n    <dialogue>Hi! It's me.<\/dialogue>\n    <parenthetical>(listens)<\/parenthetical>\n    <dialogue>I don't know. I'm with Em. She had me all tied up. I think she shot a cop.<\/dialogue>\n    <character>EMILY (O.S.)<\/character>\n    <dialogue>What is this place?<\/dialogue>\n    <character>ROSE (INTO PHONE)<\/character>\n    <dialogue>We're in a hotel. I don't know.<\/dialogue>\n    <parenthetical>(smiles bright)<\/parenthetical>\n    <dialogue>You will? Okay, let me look...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - NIGHT<\/stage_direction>\n    <scene_description>Darlene watches Rose talk on the phone. Can't quite make out what she's saying. Sees Rose start to open drawers. Looking for something...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM SEVEN - NIGHT<\/stage_direction>\n    <scene_description>Rose holds up A MATCHBOOK.<\/scene_description>\n    <character>ROSE (INTO PHONE)<\/character>\n    <dialogue>It says \"El Royale.\"<\/dialogue>\n    <character>EMILY (O.S.)<\/character>\n    <dialogue>Rosie -- c'mon --<\/dialogue>\n    <character>ROSE (INTO PHONE)<\/character>\n    <dialogue>I gotta go.<\/dialogue>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>Okay. See you soon.<\/dialogue>\n    <scene_description>Rose hangs up. She walks back across the room. Looks down at Dwight's lifeless body. Huh.<\/scene_description>\n    <character>EMILY (O.S.)<\/character>\n    <dialogue>Get up! MOVE.<\/dialogue>\n    <scene_description>We hear Miles CRY OUT in pain. Rose hops up on the window. Slips through the hole into the darkness. CONTINUED:<\/scene_description>\n    <character>EMILY (O.S.)<\/character>\n    <dialogue>What the hell are you doing back here?<\/dialogue>\n    <scene_description>HOLD on the empty room as the sounds of Emily, Miles, and Rose recede. Camera drifts back towards THE FRONT DOOR. Rain and lightning and thunder. Darlene's head peeks into the room. She steps forward tentatively, eyes on that window, ready to bolt at the first sign of movement. She creeps into the room. Heart pounding. Keep it together, Darlene. Eyes LOCKED on that window. She slides up next to Dwight's dead body. Starts patting his bloodied chest. Where is it? Where is it? There. She reaches into his jacket. Eyes still watching that window. Pulls out... The distributor coil cable. Actually, to be precise, she pulls out three distributor coil cables. And they're all bloodied. And they look like they've been chewed with buckshot. Darlene's heart falls. Panic takes hold once again. Not right now, Darlene. Her eyes glance down to Dwight's face. His glassy, empty eyes stare up at her. Get moving, Darlene. She starts to head back the way she came. But then she stops. Sees something across the room. There. On the floor... Dwight's gun. Darlene grabs it. Bolts from the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - NIGHT<\/stage_direction>\n    <scene_description>Darlene pops the hood of her Studebaker. Stares at the engine. Looks at the bloodied cables in her hands. What do I do with these? She searches for where they might fit. Her hands shake. It's dark. She can barely see the engine, let alone discern where the cable might go. She makes her best guess. Tries to lock one of the cables in place. She closes the hood.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STUDEBAKER - NIGHT<\/stage_direction>\n    <scene_description>Darlene gets in her car. Shuts the door. Her hands fumble for her keys. C'mom... c'mon... She puts the key in the ignition. Take a breath. Please. Darlene turns the key. The engine groans. But doesn't turn over. She grips the steering wheel so tight her knuckles turn white.<\/scene_description>\n    <character>DARLENE<\/character>\n    <parenthetical>(closes her eyes)<\/parenthetical>\n    <dialogue>Lord...<\/dialogue>\n    <scene_description>There's a KNOCK at the passenger's side window. Darlene CRIES OUT in surprise. She reaches into her coat, pulls out the gun, points it RIGHT AT -- Father Flynn. He's at the passenger window. Holding both hands where Darlene can see them. Don't shoot. I mean no harm. He gestures for Darlene to roll down the window. After a moment, she does. Never taking the gun off him.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>I just want to talk. Can I get in?<\/dialogue>\n    <scene_description>Darlene thinks about it for a moment.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>I will shoot you in the face.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>I believe you.<\/dialogue>\n    <scene_description>He doesn't wait for further invitation. He opens the door. Sits down in the passenger seat slowwwwwwly. He rolls up the window. He wipes the rain from his forehead. He stares at the hotel.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>Well.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>We're in a bit of a pickle here.<\/dialogue>\n    <scene_description>Darlene just stares at him. Tries to keep the gun from shaking as she points it right at him.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>I'm sorry I tried to drug you back there in the lobby.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I wasn't trying to diddle you or nothing like that. I just needed to break into your room and I didn't want to hurt you. More than need be, I mean.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>No hard feelings about bashing me in the head, is what I'm saying.<\/dialogue>\n    <scene_description>Flynn stares at the hotel. Thinks.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>I'm pretty sure those girls just killed a cop of some sort.<\/dialogue>\n    <character>DARLENE<\/character>\n    <parenthetical>(nods)<\/parenthetical>\n    <dialogue>They did.<\/dialogue>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>You saw it?<\/dialogue>\n    <scene_description>Darlene nods.<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>That his gun?<\/dialogue>\n    <scene_description>She nods again. Flynn thinks. CONTINUED: (2)<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>This is not so good for us.<\/dialogue>\n    <scene_description>He looks at her. Almost as an afterthought:<\/scene_description>\n    <character>FATHER FLYNN<\/character>\n    <dialogue>I'm not really a priest.<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>No shit.<\/dialogue>\n    <scene_description>CUT TO BLACK.: TITLE: Room Four We HEAR what sounds like sleigh bells jingling. And is that some sort of Christmas music in the distance?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. ARMORED CAR - DAY<\/stage_direction>\n    <scene_description>SAME FRAMING. CLOSE ON the man we know as Father Flynn. At least, we think that's him... it's hard to know for sure beneath that BLACK HAT and MASK he's wearing. We should probably start calling this man by his real name now: This is DOCK O'KELLY. We start slowly tracking back... ROTATING as we do so... Dock seems to be frantically shoving CASH into a familiar RED BAG. Cash seems to flip and flutter in the air around us... we keep pulling back... snowflakes drift in among the cash... Dock turns, climbs towards us, and we reveal we are in: 1958. Small town, main street U.S.A. Christmas time. Festive lights frame the folksy storefronts. Decorations and snowdrifts line the streets. And right in the middle of it all... A horrible car accident. AN ARMORED CAR has been flipped completely upside down by a black Chevy truck. It's chaos. Smoke billows from the cars. Cash and snow drift through the air. Dock climbs out of the back of the car, moving fast, shotgun in one hand, red bag in the other. He looks to LARSEN ROGERS, who is similarly dressed in a suit, hat, and mask. Larsen is crouched down, looking at the TWO UNCONSCIOUS GUARDS near the wreckage. CONTINUED:<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>Are they dead?<\/dialogue>\n    <character>LARSEN<\/character>\n    <dialogue>They'll live.<\/dialogue>\n    <character>DOCK<\/character>\n    <parenthetical>(angry)<\/parenthetical>\n    <dialogue>Where'd you learn to drive?<\/dialogue>\n    <character>LARSEN<\/character>\n    <dialogue>They swerved.<\/dialogue>\n    <character>DOCK<\/character>\n    <dialogue>They tend to do that when you're box sweepin' 'em --<\/dialogue>\n    <character>LARSEN<\/character>\n    <dialogue>\"Stay on his fender.\" That's what you said. \"I want 'em scared.\"<\/dialogue>\n    <character>DOCK<\/character>\n    <dialogue>Scared. Not... comatose.<\/dialogue>\n    <character>LARSEN<\/character>\n    <parenthetical>(sheepish)<\/parenthetical>\n    <dialogue>Comas are scary.<\/dialogue>\n    <scene_description>SCRREECH. A ROARING BUICK tears around the corner, expertly swerving to a stop in the middle of the action. The third member of the team hops out of the car... FELIX O'KELLY. Dock's brother. The same man we saw at the beginning of the film. He surveys the wreckage. Steps towards Larsen. Angry.<\/scene_description>\n    <character>FELIX<\/character>\n    <dialogue>Are they dead?<\/dialogue>\n    <character>LARSEN<\/character>\n    <dialogue>Okay...<\/dialogue>\n    <character>FELIX<\/character>\n    <dialogue>Where'd you learn to drive?<\/dialogue>\n    <character>LARSEN<\/character>\n    <dialogue>We've been over this --<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>Shut your fucking mouth. Get the money. Not one more word.<\/dialogue>\n    <scene_description>Larsen begrudgingly starts scooping up what loose money he can from the ground.<\/scene_description>\n    <character>DOCK<\/character>\n    <parenthetical>(to Felix)<\/parenthetical>\n    <dialogue>They ain't dead.<\/dialogue>\n    <character>FELIX<\/character>\n    <dialogue>Praise the Lord. We can't leave this here...<\/dialogue>\n    <scene_description>Felix hops behind the wheel of the wrecked Chevy. Turns it over. The engine groans and rumbles... but it starts. Felix slams it into reverse, pulling it free from the armored car. He backs up a few feet, right next to Dock. The two men listen to the clanking engine.<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>Will it run?<\/dialogue>\n    <scene_description>Felix just shrugs. Who the fuck knows? They stare at Larsen as he scoops up the money.<\/scene_description>\n    <character>FELIX<\/character>\n    <dialogue>Think the kid's bent or just stupid?<\/dialogue>\n    <character>DOCK<\/character>\n    <dialogue>I'm going with stupid but I'm willing to be persuaded.<\/dialogue>\n    <scene_description>ACROSS THE WAY: ONLOOKERS peek out from a CHRISTMAS TREE LOT.<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>Hang on, I better scatter these kids...<\/dialogue>\n    <scene_description>Dock steps towards the Christmas trees. He RACKS the shotgun and yells at two children:<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>This'll cut your little legs off at the fucking kneecaps!<\/dialogue>\n    <scene_description>The kids run. Dock turns back to Felix.<\/scene_description>\n    <character>FELIX<\/character>\n    <dialogue>You're starting to sound like Mom.<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>Don't start.<\/dialogue>\n    <scene_description>In the distance, we HEAR SIRENS.<\/scene_description>\n    <character>FELIX<\/character>\n    <dialogue>What do we do, Dock?<\/dialogue>\n    <scene_description>HOLD ON DOCK. Standing in the middle of this chaos. Thinking. Then.<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>Get out of the car, Felix.<\/dialogue>\n    <scene_description>Dock opens the door. Hands Felix the RED BAG.<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>Take the kid. Ditch the Buick at Rocklin and split up. I'll lead them south and burn this once I'm clear.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>We'll meet at the El Royale.<\/dialogue>\n    <scene_description>There's a moment as these two brothers stand in the center of the storm. Snow drifts down as they lock eyes.<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>Felix...<\/dialogue>\n    <scene_description>Dock glances at Larsen.<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>Play it close.<\/dialogue>\n    <scene_description>Felix nods. Dock slides behind the wheel of the truck.<\/scene_description>\n    <character>FELIX<\/character>\n    <dialogue>You sure about this?<\/dialogue>\n    <scene_description>CLOSE ON DOCK. As he stares out at the CHAOS.<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>I got it under control.<\/dialogue>\n    <character>VOICE (PRE-LAP)<\/character>\n    <dialogue>Please rise...<\/dialogue>\n    <scene_description>MATCH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>SAME FRAMING. CLOSE ON DOCK. Now cleaned up in a cheap suit and tie as he stands up next to his lawyer and awaits his sentence.<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Donald O'Kelly. On the charges of grand larceny and conspiracy to commit larceny, I hereby sentence you to fifteen years in the federal penitentiary.<\/dialogue>\n    <scene_description>HOLD ON DOCK as he hears his sentence. Pre-lap the sounds of A MAN SCREAMING... MATCH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON CELL - NIGHT<\/stage_direction>\n    <scene_description>SAME FRAMING. Though now Dock's lying on his back. And he looks a decade older. His wild, terrified eyes look up at us as he thrashes about in his bunk.<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>Where am I where am I where am I?<\/dialogue>\n    <scene_description>His CELLMATE is a large, tattooed man named SAMMY WILDS. He tries to roust Dock from what seems like a waking nightmare.<\/scene_description>\n    <character>SAMMY<\/character>\n    <dialogue>Dock, Dock -- stop -- hey -- HEY -- You're okay --<\/dialogue>\n    <scene_description>Dock sits up. Stares at his cramped cell. Confused. Terrified. Gasping for air. A frightened child.<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>Where am I?<\/dialogue>\n    <character>SAMMY<\/character>\n    <dialogue>Same place you've been for the last ten fucking years. Cell Block Four. Just breathe... you're okay...<\/dialogue>\n    <scene_description>Sammy's voice seems to be calming Dock down. We get the sense this happens a lot. CONTINUED:<\/scene_description>\n    <character>SAMMY<\/character>\n    <parenthetical>(exhales)<\/parenthetical>\n    <dialogue>Jesus, Dock. We gotta do something about this.<\/dialogue>\n    <scene_description>HOLD ON DOCK as he stares at his cell. Trying to remember who he is. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON HOSPITAL - DAY<\/stage_direction>\n    <scene_description>SAME FRAMING. CLOSE ON AN X-RAY of a skull. DR. WILLIAM LAURENCE studies the X-Ray. Takes a drag off his cigarette. Dock sits in a prison hospital bed. He's wearing his prison clothes. One hand is handcuffed to the bed rail. He's got a black eye and a bandaged forehead.<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <character>DR. LAURENCE<\/character>\n    <dialogue>I think you should stop fighting with the niggers, for starters.<\/dialogue>\n    <character>DOCK<\/character>\n    <dialogue>Mexicans. This time. And I didn't do nothing.<\/dialogue>\n    <character>DR. LAURENCE<\/character>\n    <dialogue>I'd hate to see what it looks like when you do something. They tell me that boy down the hall may not walk again.<\/dialogue>\n    <character>DOCK<\/character>\n    <dialogue>They jumped me.<\/dialogue>\n    <character>DR. LAURENCE<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>Dr. Laurence stares at the chart. Lost in thought.<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>It's not the fighting.<\/dialogue>\n    <scene_description>Dr. Laurence takes a drag off his cigarette. Grave. CONTINUED:<\/scene_description>\n    <character>DR. LAURENCE<\/character>\n    <parenthetical>(agrees)<\/parenthetical>\n    <dialogue>It's not the fighting.<\/dialogue>\n    <scene_description>He wheels himself closer to Dock.<\/scene_description>\n    <character>DR. LAURENCE<\/character>\n    <dialogue>Tell me about your family. Any history of dementia? Alzheimer's?<\/dialogue>\n    <scene_description>Dock nods.<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>My mother.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Her father.<\/dialogue>\n    <scene_description>Dr. Laurence offers Dock one of his cigarettes. Dock takes it. Dr. Laurence lights it for him.<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>How long do I got?<\/dialogue>\n    <scene_description>Dr. Laurence thinks. Smokes.<\/scene_description>\n    <character>DR. LAURENCE<\/character>\n    <dialogue>When are you up for parole?<\/dialogue>\n    <character>DOCK<\/character>\n    <dialogue>Six months.<\/dialogue>\n    <character>DR. LAURENCE<\/character>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>You should make it 'til then.<\/dialogue>\n    <scene_description>OFF DOCK -- MATCH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STUDEBAKER - NIGHT<\/stage_direction>\n    <scene_description>SAME FRAMING. Dock sits in the passenger seat. Stares out at the rain. Darlene keeps the gun on him.<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>Ten years ago, my brother Felix and I robbed an armored car in Sacramento. Job went bad. I think we got burned by our crew. I went to prison, Felix got killed at the meetup. Which was here. At the El Royale. We had a plan, case things went south.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>Bury the money in the floor of the room. When they found his body, they never made no mention of the money.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I couldn't remember what room we said. Either four or five. It was true what I said back there about my mind not being what it was. I guessed wrong. So. I think there's a whole mess of money buried in your room.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>And I need your help to get it.<\/dialogue>\n    <scene_description>They sit in silence for a bit. The rain pours down.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>And you expect me to believe all that.<\/dialogue>\n    <scene_description>Dock considers her question.<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>Um. Well. It's the truth. So there's that. But... no. I get it.<\/dialogue>\n    <parenthetical>(frowns)<\/parenthetical>\n    <dialogue>How'd you know I wasn't on the up- and-up in the first place?<\/dialogue>\n    <character>DARLENE<\/character>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>You spend your life gettin' shook, you learn to spot a shaker.<\/dialogue>\n    <scene_description>Dock nods. Likes the way that sounds.<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>Is that from a song?<\/dialogue>\n    <scene_description>Darlene shakes her head.<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>What if you were wrong? You'd have bashed a priest in the face for no reason.<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>I'd find a way to forgive myself.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>DOCK<\/character>\n    <parenthetical>(thinks)<\/parenthetical>\n    <dialogue>I suppose I'd do the same if I was in your situation.<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>And now? What would you do if you was me?<\/dialogue>\n    <scene_description>Dock thinks about it.<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>I guess my first instinct would be to shoot this old man in the face and clear out of Dodge.<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>You're dead right so far.<\/dialogue>\n    <character>DOCK<\/character>\n    <dialogue>But then I'd think that through. The cars don't work, and this storm isn't letting up. How far am I getting on foot tonight? People are gonna come looking for that dead cop soon enough. And I sure don't want to be the black woman in the woods with the gun when they do.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>So. Then I start thinking about my other options. I suppose I could walk back in there and take my chances with those kids...<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>I promise you I ain't thinking that.<\/dialogue>\n    <character>DOCK<\/character>\n    <dialogue>Which leads me to option three. Maybe I hear this old man out. Maybe he's telling the truth. Maybe he can help me.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Maybe there really is money in my room. And maybe this old man... maybe he doesn't have a lot of time left. And he's fine with fifty percent of whatever we find in that floor.<\/dialogue>\n    <scene_description>HOLD ON DARLENE. Staring at Dock. CONTINUED: (3)<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>If I'm wrong, I can still shoot him later. But if I'm right, I just might survive this night.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>If I'm right... I can walk out of here with enough money to change my life forever.<\/dialogue>\n    <scene_description>Darlene stares at Dock O'Kelly. Seeing him for who he is. Seeing what he's offering. She thinks. She glances at The El Royale. Then.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>How much money we talking about exactly?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOUNGE - NIGHT<\/stage_direction>\n    <scene_description>The mechanical arm chooses another record. The needle hits vinyl. Click click click... \"Give me a ticket for an aeroplane... ain't got time to take a fast train...\" Rose stands motionless in the dead center of the room. Staring UP. It's unclear why. After a moment, she exits frame... and returns with a CHAIR. She seems to be building something. Her movement carries us over to Emily, who has tied up Miles in a chair across the room. She sits down across from him. Looks him in the eye.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>So what is this? Some sort of pervert hotel?<\/dialogue>\n    <scene_description>Miles is in rough shape. His face peppered with buckshot and glass. He's whimpering. She slaps him out of it.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>Hey -- c'mon --<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>No? Yes? I don't know. You shot me in the face.<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>Let's be clear. I shot another man who had it comin'. You were back there being creepy and caught a face of buckshot for your trouble. Hold still. You got glass in your head.<\/dialogue>\n    <scene_description>She looks over his wounds. Brushes some of the larger chunks of glass away.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>How's it look?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>I honestly can't remember what you looked like before this, but you should probably make peace with the fact that things have changed.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Are you gonna kill me?<\/dialogue>\n    <character>EMILY<\/character>\n    <parenthetical>(thinks)<\/parenthetical>\n    <dialogue>How can I not, after what you've seen?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>I seen worse. And I ain't said a thing.<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>You've seen worse than a man gettin' sawn in half with a shotgun?<\/dialogue>\n    <scene_description>Miles thinks about it. His haunted eyes start to drift.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>I seen all sorts of bad.<\/dialogue>\n    <scene_description>In the background, Rose continues to build her project. CONTINUED: (2)<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>I seen a Senator beat up a whore so bad she had to shove her own stockings back where her teeth used to be, to keep from bleedin' out through the mouth. I seen... I seen a junkie paint \"Sorry\" on the wall in his own filth, like that'd make it easier when I cleaned all that shit off his cold body.<\/dialogue>\n    <parenthetical>(thinks)<\/parenthetical>\n    <dialogue>I saw a man lay with a wolf once. Guy drags a full grown, feral wolf on a choke-chain into his room. Ties it up to the bed. Then takes off all his clothes, climbs in bed beside it, and holds the thing all night. Like, it wasn't sexual, but it wasn't not sexual, either.<\/dialogue>\n    <parenthetical>(thinks)<\/parenthetical>\n    <dialogue>Guy just lay there crying. Saying \"Help me\" while he held that wolf. All night.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I never told nobody 'bout none of that.<\/dialogue>\n    <character>EMILY<\/character>\n    <parenthetical>(Jesus Christ)<\/parenthetical>\n    <dialogue>I ain't so sure you shoulda told me that now.<\/dialogue>\n    <scene_description>A beat. And then we hear Rose's footsteps ring out as she begins to run... climbing up the furniture stack and leaping into the air... Rose catches hold of THE CHANDELIER. She swings back and forth with glee, like a child at the playground. The light in the room swings back and forth, back and forth... Emily stares at Rose. I can't even deal with this shit right now. She lights a cigarette. She and Miles watch Rose swing back and forth for a beat. Miles glances back at Emily.<\/scene_description>\n    <character>MILES<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>You don't have to kill me.<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>What could I even say about you anyway? \"Some girls shot a guy who was gonna shoot them?\" I don't even know your names.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>I'm Rose!<\/dialogue>\n    <scene_description>Miles winces. So does Emily.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>Don't tell him your --<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>Rose Summerspring.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>That's my sister Emily.<\/dialogue>\n    <scene_description>Emily's eyes fall. A hint of sadness now as she glances at Miles. They share a look. As though they both know what this means. Emily thinks. Then she picks up her shotgun and walks over to the front desk. Miles watches Rose swing.<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>What's your name?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Miles. Miles Miller.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>Nice to meet you, Miles.<\/dialogue>\n    <scene_description>CLOSE ON THE LEDGER. Emily rips the page free. She looks at the names. Thinks.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>Where are the others?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM FIVE - NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON THE METRONOME. A finger comes into frame. Starts the pendulum rod. Tick... tick... tick... Darlene sits in a chair in the middle of her room. We start creeping towards her. CONTINUED: Tick... tick... tick... She reaches up, grabs her hair. Pulls at it. It's A WIG. She tosses it aside. She glances up at herself in THE MIRROR. Tick... tick... tick... She begins to sing.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>I need love, love, to ease my mind... I need to find time, someone to call mine...<\/dialogue>\n    <scene_description>Her voice is soft at first. Timid. Weak.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>My mama said...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - CONTINUOUS<\/stage_direction>\n    <scene_description>Emily walks through the dark corridor. She's carrying the shotgun. She walks past Room Four. Stops at Room Five. Sees Darlene sitting in the middle of her room. Hands in her lap. Singing. Emily frowns. Flips the switch on the intercom.<\/scene_description>\n    <character>DARLENE (IN ROOM)<\/character>\n    <dialogue>...no you just have to wait... she said love don't come easy, it's a game of give and take...<\/dialogue>\n    <scene_description>Emily watches. Darlene takes up most of the window. We may notice the beds behind her have been moved slightly.<\/scene_description>\n    <character>DARLENE (IN ROOM)<\/character>\n    <dialogue>You can't hurry love... no you just have to wait... you got to trust, give it time... no matter how long it takes...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM FIVE - CONTINUOUS<\/stage_direction>\n    <scene_description>IN THE ROOM. Darlene closes her eyes. Voice starting to get STRONGER. CONTINUED:<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>But how many heartaches must I stand? Before I find a love to let me live again...<\/dialogue>\n    <scene_description>As she sings, camera starts to drift... behind Darlene... to floor space between the beds...<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>Right now the only thing... that keeps me hanging on...<\/dialogue>\n    <scene_description>...where Dock is busy trying to tear up the floor.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>...when I feel my strength, yeah is almost gone... I remember mama said...<\/dialogue>\n    <scene_description>It's tough goings. Dock has to stay low between the beds. He's got the carpet torn up, and he's trying to wedge the crowbar in between the boards.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>You can't hurry love, no you just have to wait...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - CONTINUOUS<\/stage_direction>\n    <scene_description>Emily steps closer to the mirror.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>She said love don't come easy, it's a game of give and take...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM FIVE - NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON DOCK. Sweat dripping down his brow as he works.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>How long must I wait? How much more can I take?<\/dialogue>\n    <scene_description>DOCK'S POV. Down the canyons of the beds, he has a clear view of Darlene in her chair. He watches her sing.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>Before loneliness will cause my heart... heart to break?<\/dialogue>\n    <scene_description>Darlene claps her hands. Stands up. Losing herself in the music now. CONTINUED:<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>No I can't bear to live my life alone...<\/dialogue>\n    <scene_description>She claps in time to the beat. Dock grabs his hammer.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>I grow impatient for a love to call my own...<\/dialogue>\n    <scene_description>She locks eyes with Dock for a moment while she dances.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>But when I feel that I, I can't go on...<\/dialogue>\n    <scene_description>She claps. Dock strikes his hammer at the exact same time.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>These precious words keep me hanging on...<\/dialogue>\n    <scene_description>She claps. Dock strikes.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>I remember mama said... you can't hurry love... you just have to wait...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - CONTINUOUS<\/stage_direction>\n    <scene_description>CLOSE ON EMILY.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>She said love don't come easy, it's a game of give and take...<\/dialogue>\n    <scene_description>In the corridor, the claps and DARLENE'S VOICE cover any sound of Dock working. But Emily keeps watching.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>You can't hurry love... no, you just have to wait... she said trust, give it time... no matter how long it takes...<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Now break...<\/dialogue>\n    <scene_description>Tick... tick... tick...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM FIVE - CONTINUOUS<\/stage_direction>\n    <scene_description>Song break. The room goes entirely silent. Just the sound of that metronome. Tick... tick... tick... Darlene sways. She catches a glimpse of Dock between the beds. Crowbar under the boards. Ready to pry. Frozen. Watching Darlene. Darlene squares herself to the mirror. Tick... tick... tick...<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>No, love, love... don't come easy...<\/dialogue>\n    <scene_description>She walks towards the mirror. We follow.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>But I keep on waiting... anticipating...<\/dialogue>\n    <scene_description>She's belting it out now. Her voice full of power. She walks right up close to the mirror... looks herself in the eye...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - CONTINUOUS<\/stage_direction>\n    <scene_description>It looks like Emily and Darlene are standing nose-to-nose.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>For that soft voice... to talk to me at night... for some tender arms... to hold me tight...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM FIVE - CONTINUOUS<\/stage_direction>\n    <scene_description>And Darlene screams:<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>I keep waiting...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - CONTINUOUS<\/stage_direction>\n    <scene_description>Emily jumps back. Startled. But Darlene keeps swaying.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>I keep on waiting...<\/dialogue>\n    <scene_description>CONTINUED: She claps. It almost looks like she's having fun.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>But it ain't easy...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM FIVE - CONTINUOUS<\/stage_direction>\n    <scene_description>CLOSE ON DOCK. As he pries up the boards under cover of Darlene's singing.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>It ain't easy. But mama said...<\/dialogue>\n    <scene_description>The board clears. There. Down in the dirt. THE RED BAG.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>You can't hurry love... no you just have to wait...<\/dialogue>\n    <scene_description>Darlene sways back into Dock's view.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>She said to trust, give it time...<\/dialogue>\n    <scene_description>They LOCK EYES. It's there. Darlene's eyes dance.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>No matter how long it takes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>Emily turns away.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>You can't hurry love... no --<\/dialogue>\n    <scene_description>Click. Emily shuts off the intercom. The world goes eerily silent once again. Emily walks through the halls. Stops at Room Four. It's empty. She stares at it. Thinks.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOUNGE - NIGHT<\/stage_direction>\n    <scene_description>\"I Think We're Alone Now\" by Tommy James &amp; the Shondells plays on the jukebox. The chandelier is now on the ground, smashed. Rose seems unfazed. She pulls a log out of the fireplace and uses it to light the braziers around the room.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Rose? That's your name, right? Please, Rose... please don't kill me.<\/dialogue>\n    <scene_description>Rose stands motionless in the center of the room.<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>It ain't entirely up to me.<\/dialogue>\n    <scene_description>FLASHBACK TO: MALIBU MANSION - NIGHT Same framing. Rose stands over what looks like a DEAD BODY. BACK TO: LOUNGE - CONTINUOUS<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>You can talk to her. She's your sister? She'll listen to you.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>It's not up to her, either.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Who's it up to?<\/dialogue>\n    <scene_description>OFF ROSE, MATCH CUT TO: MALIBU MANSION - NIGHT CLOSE ON ROSE. As she stares down at the body, we see the SHADOW OF A MAN in the WINDOW behind her. BACK TO: LOUNGE - CONTINUOUS Rose doesn't respond to Miles. She turns to light another brazier. CONTINUED: Emily enters. Deep in thought. She sets the shotgun down on the front desk. She drums her fingers on the desk. Something about this is not right...<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>Where's the priest?<\/dialogue>\n    <scene_description>She looks across the room. Miles shifts uncomfortably.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>Miles?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <scene_description>Emily moves towards him.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>But you know something, don't you?<\/dialogue>\n    <scene_description>She reaches into her pocket. Pulls out Miles' heroin. Slaps it on the table.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>This is yours?<\/dialogue>\n    <scene_description>Miles nods.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>You want it?<\/dialogue>\n    <scene_description>Miles stares at the heroin. Nods.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>Where's the priest?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>I don't know. I promise. I want to find him, too. Please.<\/dialogue>\n    <scene_description>Tears start to well up in his eyes.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Please. I'll do whatever you want. Just let me talk to the priest when you find him.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Just let me talk to him before you kill me.<\/dialogue>\n    <scene_description>In the background, Rose pirouettes on the border. CONTINUED: (2)<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>I been trying to tell him, we might not have to kill him. But it's not up to us.<\/dialogue>\n    <scene_description>Emily's face falls. Wait. What?<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>Who's it up to?<\/dialogue>\n    <scene_description>A CHILL runs down her spine as she looks to her sister.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>Rosie... what did you do?<\/dialogue>\n    <scene_description>In the darkness behind Emily, the shadows MOVE...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOM FIVE - NIGHT<\/stage_direction>\n    <scene_description>Darlene and Dock slip out of Room Five. Darlene holds the gun, Dock holds the bag. They keep their eyes locked on THE LOBBY as they creep towards the parking lot. They give each other a look. We did it. Darlene motions for Dock to wait. She creeps forward, stares at the front windows of the lobby. It's DARK. Why's it so dark? She waits as the sound of thunder crashes around them. We can feel Darlene's heart pounding. Something is wrong... but, if we're gonna move, we better move now. Darlene turns to Dock... let's go... And a man has a knife at Dock's throat. Darlene's eyes go wide with shock. She starts to raise the gun... a hand whips out of the shadows behind her, grabs her arm, puts a knife to Darlene's throat... It all happens FAST in the flashing tempest of the storm. \"Twelve-Thirty\" by The Mamas &amp; the Papas starts to play. I used to live in New York City... Everything there was dark and dirty... A MAN approaches. He's walking towards them though the deluge. As the lightning FLASHES, we catch glimpses of THIS MAN: He's young. Late-twenties, if we'd had to guess. He's wearing a white shirt, open all the way to his navel. CONTINUED: He's barefoot. His feet step through the parking lot with rhythm, as though he can hear music nobody else can. Darlene and Dock lock eyes. Stare at this approaching figure. Outside my window, there's a steeple... The man stops as he nears. Lifts his face to the rain. Bathes in the storm as though it was a warm shower. With a clock that always reads twelve-thirty... The man smiles. The music SWELLS to CRESCENDO.<\/scene_description>\n    <character>MAN IN THE RAIN<\/character>\n    <dialogue>Howdy.<\/dialogue>\n    <scene_description>CUT TO BLACK.: TITLE: Billy Lee The four-part harmony sings: \"Young girls are coming to the canyon...\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOPANGA CANYON - DAY<\/stage_direction>\n    <scene_description>We're looking STRAIGHT DOWN on a field of yellow wildflowers. A nude man runs through the field, cutting the frame. \"And in the mornings I can see them walking...\" We finally get a good look at HIS FACE. This is BILLY LEE. As he walks through the field of wildflowers, we can see a group of mostly-naked followers behind him. We may see Rose back there. Billy Lee leads them through the yellow. Feels the sun.<\/scene_description>\n    <character>BILLY LEE (PRE-LAP)<\/character>\n    <dialogue>How long you lookin' to stay with us?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - DUSK<\/stage_direction>\n    <scene_description>Billy stares at Emily. It's just the two of them. They're both clothed. They walk through the dense oaks and eucalyptus trees. CONTINUED: Emily shifts under his gaze.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>I'll be here as long as my sister is, I suppose.<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <dialogue>You don't get to be part of the family just 'cause you're kin. Why do you want to be here?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>Rosie says you treat her good. I 'ppreciate that.<\/dialogue>\n    <scene_description>They come upon a large, gnarled oak. Billy Lee sizes it up, starts climbing it. Emily watches.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>That's the second time you brought up your sister when I was askin' 'bout you. Don't worry about Rosie. Rosie's right where she needs to be.<\/dialogue>\n    <parenthetical>(climbs)<\/parenthetical>\n    <dialogue>You comin' up?<\/dialogue>\n    <scene_description>Emily stays right where she is.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>I'm fine.<\/dialogue>\n    <scene_description>Billy Lee leaps from bough to branch to bough with relative ease. Clearly at home up in the treetops.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Don't get me wrong. I know what you've done for your sister. She'd still be in that house in Alabama without you. So thank you. Sincerely. For sendin' her our way.<\/dialogue>\n    <character>EMILY<\/character>\n    <parenthetical>(bristles)<\/parenthetical>\n    <dialogue>Rosie... she told you about where we come from?<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <dialogue>Sure. Not that I particularly care. You know who else has a rough past, Emily? Fuckin' everyone.<\/dialogue>\n    <scene_description>CONTINUED: (2) He climbs higher and higher.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>These trees don't care about your past. This canyon don't care about your past. You want to be someone else?<\/dialogue>\n    <scene_description>He rips free a handful of leaves, tosses them down towards Emily with flourish.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Poof!<\/dialogue>\n    <scene_description>The leaves flutter all around Emily.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>You're someone else.<\/dialogue>\n    <scene_description>The leaves settle. Billy Lee looks down at Emily with THOSE EYES.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Or maybe you're still you.<\/dialogue>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>I don't know. We'll see, I guess.<\/dialogue>\n    <scene_description>Emily stares up at Billy Lee. He breaks gaze first. Smiles.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>You sure you ain't coming up?<\/dialogue>\n    <scene_description>CLOSE ON BILLY LEE. As he stares out from the bough. Leaves framing his face.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>You can see the whole world from up here.<\/dialogue>\n    <scene_description>MATCH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BONFIRE - NIGHT<\/stage_direction>\n    <scene_description>SAME FRAMING. CLOSE ON BILLY LEE. The bonfire flames frame his face:<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>What does God mean to you?<\/dialogue>\n    <scene_description>He stares at the assembled crowd of HIS FOLLOWERS: All young. Nobody over thirty. Everybody half-clothed. Free. They drape over one another in the firelight. CONTINUED:<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Is He some being in the sky? Do you pray to Him at night? Do you ask Him to watch over you?<\/dialogue>\n    <scene_description>There's Emily. Watching from the edge. Billy Lee starts to drift towards her.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Is He here with us now?<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Would you know God if he was standing right in front of you?<\/dialogue>\n    <scene_description>He locks eyes with Emily.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Or maybe... maybe there is no God.<\/dialogue>\n    <parenthetical>(mock whispers)<\/parenthetical>\n    <dialogue>Maybe it's all lies.<\/dialogue>\n    <scene_description>He turns his attention back to the crowd. Warm again.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>I honestly don't know the answer. Part of me thinks that if I just keep talking 'til the drugs kick in, you all will think I'm insightful. Is it working? Give it a second.<\/dialogue>\n    <scene_description>Everyone laughs. They're all enraptured by him.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>I ain't saying I got it all figured out. But. I do see the game. They define right and wrong and then make you choose. That's how it all starts. With a simple choice. Which side are you on? Up\/Down. Good\/Evil. Right\/Wrong. God... or no God. It's simple. Just pick.<\/dialogue>\n    <parenthetical>(to Rose)<\/parenthetical>\n    <dialogue>Boots. Quick. Choose. Are you good or are you bad?<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>I'm neither.<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <dialogue>She's cheating. She knows what answer I'm looking for.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>I'm giving a whole speech here, Rosie. In front of people. Don't mess this up for me.<\/dialogue>\n    <parenthetical>(crowd laughs)<\/parenthetical>\n    <dialogue>They'll get you to pick. You get older, the world changes. Sooner or later, you'll need something. And they'll get you to pick a side. You won't even know what happened. Watch. I'll do it right now.<\/dialogue>\n    <parenthetical>(locks eyes with Emily)<\/parenthetical>\n    <dialogue>I'll do it right now with my star pupil.<\/dialogue>\n    <scene_description>He smiles. Turns to Rose.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Boots, why don't you come up here and help me out?<\/dialogue>\n    <scene_description>He chooses another girl.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>And Millie, why don't you join us, too. We're gonna have a tussle tonight.<\/dialogue>\n    <scene_description>The crowd cheers, excited.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Been a while since we've had a tussle, right? Oh, but Rosie don't want to tussle, right? She's smart enough to know not to play the game, right? But this is how I get her. I dangle something she really wants. You two are gonna have a proper tussle tonight. And the winner... well, the winner gets to sleep in the big house with me tonight. How'd that be?<\/dialogue>\n    <scene_description>And from the looks on both Rose and Millie's faces, it's clear this is quite an honor.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>See? Now we got skin in the game, as they say.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>What do you think, Boots? Want to play?<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>ROSE<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <dialogue>So pick a side. Do want to be Right or do you want to be Wrong?<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>I'll be Right.<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <dialogue>Then Millie will be Wrong. Let's have ourselves an allegory.<\/dialogue>\n    <scene_description>The girls nod. They size each other up and down. Billy circles the crowd. Positions himself so he's between the girls and Emily.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>You girls make sure you stop when I tell you to stop. Not like last time, Millie, you hear me.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>All right, then. Have at it.<\/dialogue>\n    <scene_description>The girls charge each other. It happens fast. They SLAM into each other and crash into the ground. It's surprisingly violent. Emily steps forward to help her sister. But Billy Lee steps right in her way.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Easy, Emily. She's a big girl. She can take care of herself.<\/dialogue>\n    <scene_description>Emily's eyes dart to her sister. ON THE GROUND: Rose belts Millie in the face. Millie claws at Rose. The crowd roars approval.<\/scene_description>\n    <character>BILY LEE<\/character>\n    <parenthetical>(back to crowd)<\/parenthetical>\n    <dialogue>Now. Here's the important part. While they're fighting, what am I doing? Cause I sure as hell ain't fighting. What am I doing? I'm watching them. Gettin' off on it. And then, while they're distracted, I'm coming over here. I'm taking what's theirs.<\/dialogue>\n    <scene_description>CONTINUED: (4) He goes over to where Rose was sitting. Grabs her bag. Pulls out her cigarettes, stuffs them in his pocket.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>I'm the one already sleeping in the big house, and I'm robbing them blind. This is all mine now. And they don't even notice, 'cause they're too busy playing my game.<\/dialogue>\n    <scene_description>ON THE GROUND. Rose spits blood as Millie cracks her. Emily steps forward, but Billy Lee flashes her a look that says don't you fucking dare. Rose lets out a primal scream and head-butts Millie in the face. Millie goes momentarily limp. Rose rolls on top of her. WHACK. Punches her right in the face. WHACK. Hits her again.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>All right.<\/dialogue>\n    <scene_description>But Rose doesn't stop.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>All right, Rosie. Shit.<\/dialogue>\n    <scene_description>He pulls Rose off Millie. Gestures to one of his lieutenants, WADE, to help up Millie.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>You did good. Tussle's over. Now love each other.<\/dialogue>\n    <scene_description>The crowd cheers. People slap congratulations to Rose and Millie. Rose gives Millie a hug. Millie looks dazed. Beaten. Ashamed. Rose wipes her lip. She has blood on her face.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>What are we doing out here, anyway? We just a bunch of kids doing drugs and fucking each other in the woods?<\/dialogue>\n    <parenthetical>(thinks about it)<\/parenthetical>\n    <dialogue>That doesn't sound so bad, actually, now that I say it out loud.<\/dialogue>\n    <parenthetical>(everyone laughs)<\/parenthetical>\n    <scene_description>CONTINUED: (5)<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Shit, maybe we do have it figured out after all.<\/dialogue>\n    <scene_description>Everyone laughs, cheers. Billy Lee lets the crowd settle. Billy Lee cups Rose's face. Kisses her lips. Tastes her blood. Looks to the crowd.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Maybe we won't play their game no more.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Maybe we won't listen to their lies.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Maybe the only truth in this world is here...<\/dialogue>\n    <scene_description>He places his hand on his own chest. He puts his hand on the woman next to him. And the man next to her. Goes down the line.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>And here... and here... and right here.<\/dialogue>\n    <scene_description>The crowd cheers. He circles back to Rose and holds her. He locks eyes with Emily across the fire.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Maybe. For tonight. We get to be our own Gods.<\/dialogue>\n    <scene_description>The crowd erupts into cheers. Emily holds his gaze. MATCH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOUNGE - NIGHT<\/stage_direction>\n    <scene_description>Emily stares forward as Wade cinches ropes tight around her. Next to her, ANNABELL, a wiry woman in her twenties, is cinching ropes around a panicked Miles.<\/scene_description>\n    <character>MILES<\/character>\n    <parenthetical>(looks to Dock)<\/parenthetical>\n    <dialogue>Bless me Father for I have sinned --<\/dialogue>\n    <scene_description>CONTINUED: ROMAN and FLICKER, two men in their twenties, are now busy cinching ropes around both Dock and Darlene. Across the room, in California, Billy Lee is on the couch holding Rose in his arms.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Kid, if you don't shut up, I'm gonna tie your mouth shut.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Father, please --<\/dialogue>\n    <scene_description>Billy Lee looks to Annabell. Do it. She takes the bandana from her neck and ties it around Miles' mouth. Billy Lee kisses Rose. Smooths her hair. Picks up the red bag. And the film can. As he crosses, we get a better look at the room: Dock, Darlene, Emily, and Miles are all now tied in chairs near a roulette table in Nevada. Billy Lee takes the red bag and dumps all the cash on the roulette table. He stares at Dock and Darlene. Tosses the film can on the table as well. Darlene looks at the film can. Looks at Dock. What is that? Dock says nothing. Billy Lee stares at them. Thinks. He grabs THE LEDGER PAGE.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>So I'm guessing you're Father Flynn, which makes the dead guy in seven Laramie Seymour Sullivan. And you're Darlene Sweet, right? Though I suppose you could be Fuck You, but something tells me that's my Emily here. Any other people in this hotel?<\/dialogue>\n    <scene_description>The four of them trade glances. Eyes look to Miles. He shakes his head. No.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <parenthetical>(reads name tag)<\/parenthetical>\n    <dialogue>Miles. I'm gonna have my friends search this hotel. They find any other souls, you die bad. Understand?<\/dialogue>\n    <scene_description>Miles nods. CONTINUED: (2)<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Any other people here?<\/dialogue>\n    <scene_description>Miles shakes his head. Billy studies him. Thinks.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Annabell, Wade. You two are on sentry. Stand behind these four. They try to get out of those seats, shoot 'em in the back of the head.<\/dialogue>\n    <scene_description>They do as instructed. Wade has a rifle. Annabell picks up Emily's shotgun.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Flicker, Roman -- go get that body out of room seven. Find his car keys, stick the body and all his stuff in the trunk. After that, go room to room. Find anybody, bring 'em here. In fact, you find anything of interest, you bring it here.<\/dialogue>\n    <character>FLICKER<\/character>\n    <dialogue>Define \"of interest.\"<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <dialogue>\"Oh wow oh wow, Billy Lee should see this.\"<\/dialogue>\n    <scene_description>Flicker and Roman nod. Head towards the door. As they go:<\/scene_description>\n    <character>FLICKER<\/character>\n    <parenthetical>(re: the four)<\/parenthetical>\n    <dialogue>And them?<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <dialogue>I don't know. But I'd leave some room in that trunk.<\/dialogue>\n    <scene_description>Ding. Flicker and Roman leave. Billy Lee crosses to the bar. Pours himself a drink. Crosses back into Nevada. Sits down at the table.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Hiya, Em.<\/dialogue>\n    <scene_description>She stares at him. CONTINUED: (3)<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>Billy Lee.<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <dialogue>You left without sayin' goodbye.<\/dialogue>\n    <scene_description>She doesn't respond.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Did you think I wouldn't take offense?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>Naw, I figured you would.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>But I'd be ready when you did.<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <dialogue>You don't look ready.<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>You caught me on a bad night.<\/dialogue>\n    <scene_description>Billy Lee almost laughs at that.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Ain't that the luck.<\/dialogue>\n    <parenthetical>(then, quietly)<\/parenthetical>\n    <dialogue>You tell them what she did?<\/dialogue>\n    <scene_description>Emily shakes her head. No.<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>What'd I do?<\/dialogue>\n    <parenthetical>(remembers)<\/parenthetical>\n    <dialogue>Oh. Right.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I'm sorry 'bout all that.<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <dialogue>That's okay, Boots. We'll deal with that when we get back to California.<\/dialogue>\n    <parenthetical>(looks around)<\/parenthetical>\n    <dialogue>We got us a Nevada problem now.<\/dialogue>\n    <scene_description>Billy Lee takes a drink. Thinks. Looks to Miles.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>So what is this -- some sort of pervert hotel?<\/dialogue>\n    <scene_description>The four sit in silence. Miles looks at a loss. What? CONTINUED: (4)<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>The kid can't answer you. You tied his mouth shut.<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <dialogue>Why don't I ask you, then? Why don't I ask the priest walking out of the hotel with a bag full of money?<\/dialogue>\n    <character>DOCK<\/character>\n    <dialogue>All right.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Yes. I think it's some sort of pervert hotel.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Kid told me he films people doing... what not, then sends the films off to his bosses.<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <dialogue>Who are his bosses?<\/dialogue>\n    <character>DOCK<\/character>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>People who own the hotel? I don't know. Does it really matter?<\/dialogue>\n    <scene_description>Billy Lee studies Miles. Shrugs. I guess it doesn't.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>And he just offered this up to you?<\/dialogue>\n    <character>DOCK<\/character>\n    <dialogue>I think he was trying to confess. I think it's been weighing on him.<\/dialogue>\n    <parenthetical>(looks at Miles)<\/parenthetical>\n    <dialogue>I think he's trying to confess right now. Because he knows how this is gonna go. And he fears for his soul.<\/dialogue>\n    <scene_description>Tears well up in Miles' eyes. He nods. That's right. Billy Lee rolls his eyes. Pats Miles on the face.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>If you're so worried about your soul, kid, maybe you shouldn't been doing all this bad shit in the first place, huh?<\/dialogue>\n    <scene_description>CONTINUED: (5) He opens the film can. Unspools the 16mm film. Holds it up to the light to get a better look. Squints. He jumps in surprise. Holy shit.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Is that who I think it is?<\/dialogue>\n    <scene_description>Miles nods.<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>Who? I want to see.<\/dialogue>\n    <scene_description>Billy Lee tosses Rose the film. Studies Dock.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Now what's a man of God like yourself doing with that in your coat?<\/dialogue>\n    <scene_description>Rose holds the film up to the light.<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>It's just people fucking.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Wait... I know him.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>He's dead.<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <parenthetical>(nods)<\/parenthetical>\n    <dialogue>That he is, Rose. That he is.<\/dialogue>\n    <scene_description>Billy Lee drums his fingers on his face. Looks to Darlene.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Where's the money come from?<\/dialogue>\n    <character>DOCK<\/character>\n    <dialogue>It's --<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <dialogue>I ain't asking you right now, Father.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Where's the money come from?<\/dialogue>\n    <scene_description>Hold on Darlene. As she stares at these children around her. Then. Defiant:<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>It's mine.<\/dialogue>\n    <scene_description>CONTINUED: (6)<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>It's yours.<\/dialogue>\n    <parenthetical>(all right then)<\/parenthetical>\n    <dialogue>So where's a girl like you get all this money from?<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>I earned it. Singing.<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <parenthetical>(okay)<\/parenthetical>\n    <dialogue>You must be one hell of a singer, then.<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>I am.<\/dialogue>\n    <scene_description>She holds his gaze. After a moment, Billy Lee looks away. He turns his attention back to Dock.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Where's the money come from?<\/dialogue>\n    <character>DOCK<\/character>\n    <dialogue>She's telling you the truth. That's her money. She earned it singing.<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <dialogue>And you're a man of the cloth.<\/dialogue>\n    <character>DOCK<\/character>\n    <dialogue>I am.<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <dialogue>I forgot to mention...<\/dialogue>\n    <scene_description>Billy Lee finishes his drink. Leans in close to Dock. Stares at him with THOSE EYES.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>I hate priests.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>You want to change your story?<\/dialogue>\n    <scene_description>Dock doesn't flinch. Stares right back.<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <scene_description>CONTINUED: (7) Hold for a moment. These two men staring each other down. Then. Billy Lee smiles.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Alrighty then.<\/dialogue>\n    <scene_description>He hops up.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Boots, why don't you find us something to listen to on that there jukebox. It's too quiet in here. Gives me the willies.<\/dialogue>\n    <scene_description>He grabs Dock's change from where it fell on the floor earlier. Tosses Rose a quarter. She picks a song. \"Hush\" by Deep Purple starts playing. Rose and Billy Lee sway a bit to the bass line. HOLD ON DOCK AND DARLENE as the music plays around them. Darlene tense. Dock listening.<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>Who's this?<\/dialogue>\n    <scene_description>Darlene looks at him. Realizes he's serious.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>It's... Deep Purple. I think. But, it was originally someone else. Billy Joe Royal, maybe?<\/dialogue>\n    <scene_description>Dock listens. Frowns. Shakes his head.<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>It's not for me.<\/dialogue>\n    <scene_description>Billy Lee crosses back over to the table. We may notice he has THE REVOLVER tucked into the front of his jeans.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <parenthetical>(to Dock and Darlene)<\/parenthetical>\n    <dialogue>I want you two to pay real close attention to what happens next.<\/dialogue>\n    <scene_description>CONTINUED: (8)<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>And keep it right up there in the front of your mind when I ask you questions looking for truthful answers.<\/dialogue>\n    <scene_description>He sits down at the end of the table close to Emily and Miles. He stares right at Emily.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Emily.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Pick a color. Red or black.<\/dialogue>\n    <scene_description>Across the room, Rose looks up from the film. Emily stares at Billy Lee. Then she shakes her head.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Well that's not hardly nice. I'm offering you a chance here on account of the fact that we're practically family. That's downright charitable of me, considering.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Boots, you hear what your sister's doing?<\/dialogue>\n    <scene_description>Rose looks at Emily with sad eyes.<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>Emily... if Billy Lee's offering you a chance... you should take it.<\/dialogue>\n    <scene_description>Billy Lee smiles. Nods. Locks those eyes on Emily.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <parenthetical>(leans in)<\/parenthetical>\n    <dialogue>Did you really think you could take what's mine and I wouldn't come a- huntin'?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>She ain't yours.<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <parenthetical>(oh yeah?)<\/parenthetical>\n    <dialogue>Rosie? Are you mine?<\/dialogue>\n    <scene_description>Rose smiles.<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>Of course!<\/dialogue>\n    <scene_description>CONTINUED: (9) Billy Lee shrugs. There you go. He pours himself another drink.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>We used to raise goats out on the farm. Boer goats, 'cause you can breed 'em year round. Bucks are ready to go once they're about seven weeks old. Seven weeks!<\/dialogue>\n    <parenthetical>(looks to Wade)<\/parenthetical>\n    <dialogue>Can you imagine? Think of something that happened to you seven weeks ago. If you were a baby then, you'd be fucking now.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>'Cause you're male, I mean. The does take about eight months 'fore they're much use. And you learn. When you got a litter, you learn to separate the females before those bucks come ruttin'. 'Cause once those does go into heat... they'll kill each other. I seen it over and over. They'll bash each others heads until their brains spill out in the dirt. Happens with mothers- daughters, too. Something about the blood, I guess. But it ain't like the sisters.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Ain't nothing as violent as sisters.<\/dialogue>\n    <scene_description>He finishes his drink.<\/scene_description>\n    <character>EMILY<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>None of that is true.<\/dialogue>\n    <scene_description>Billy Lee looks at her. I'm sorry?<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>There wasn't no violence 'til you.<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <dialogue>Maybe. Maybe not. But it's there now, though, isn't it?<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Pick a color, Em. I ain't askin' again.<\/dialogue>\n    <scene_description>HOLD ON EMILY. As she studies this man. As she looks to her sister. As she sees her sister nod. Do it, Em... CONTINUED: (10) Emily's shoulders fall. Then.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>Red.<\/dialogue>\n    <scene_description>Billy Lee looks mildly surprised. Good. He gives Annabell a look. She steps in closer behind the four.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Well then I guess that makes you black, alter boy.<\/dialogue>\n    <scene_description>And Billy Lee spins the roulette ball. Everyone TENSES as they realize what's happening. The ball whips around the wheel. Wade and Annabell lean in with their guns. Their eyes saying stay in your fucking seats. Miles coughs beneath his gag. Billy Lee takes pity on him.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>You got some prayers, you can say 'em now.<\/dialogue>\n    <scene_description>Billy Lee pulls down Miles' gag.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Forgive me Father for I have sinned, please -- I done so much worse than you know --<\/dialogue>\n    <scene_description>Billy Lee starts laughing.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Father Flynn, please, I have sinned and I repent --<\/dialogue>\n    <scene_description>Dock stares at Miles. Genuine sadness on his face. He shakes his head.<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>Kid...<\/dialogue>\n    <scene_description>Clack. The ball slows in its revolution, letting out a sharp crack as it bounces in the tray.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Father Flynn --<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <dialogue>Do you want to tell him or you want me to do it?<\/dialogue>\n    <scene_description>CONTINUED: (11) Clack. I HAVE SINNED AND I REPENT --<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>Miles...<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <dialogue>He's not a fucking priest, kid.<\/dialogue>\n    <scene_description>CLOSE ON MILES. As Billy Lee's words land. As he sees Dock, finally, for who he really is. And he realizes he's going to Hell. Clack. The ball comes to a stop in the tray. Red.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Well, it looks like the Lord hasn't forsaken you yet.<\/dialogue>\n    <scene_description>Billy Lee pulls his revolver. And shoots Emily right in the chest. BANG BANG BANG. She pitches straight backwards. Knocking over Miles. She crashes to the floor. We're CLOSE ON HER as she hits the ground. On impact, we -- MATCH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUMMERSPRING HOUSE - NIGHT<\/stage_direction>\n    <scene_description>YOUNG EMILY screams out as her sister is ripped out from under the bed beside her. MATCH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOUNGE - NIGHT<\/stage_direction>\n    <scene_description>Emily's eyes look up to her sister. Billy Lee steps in beside Rose.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>I gave her a fair shake, Rose.<\/dialogue>\n    <scene_description>CONTINUED: CLOSE ON ROSE, as she nods -- MATCH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUMMERSPRING HOUSE - NIGHT<\/stage_direction>\n    <scene_description>YOUNG ROSE, in her father's arms, stares back at her sister as she's carried away. Her father holds her close. MATCH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOUNGE - NIGHT<\/stage_direction>\n    <scene_description>Billy Lee holds Rose. Emily's eyes go dim. ON MILES. On the ground, rocking back and forth. Crying. Hands still bound in front of him. Staring at Emily's dead body.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Now then. Who wants to play next?<\/dialogue>\n    <scene_description>Darlene and Dock tense in their seats.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Ah ah -- Wade, Annabell -- keep a close eye there. Everyone's liable to get more squirrelly now that they know the stakes.<\/dialogue>\n    <parenthetical>(to Dock)<\/parenthetical>\n    <dialogue>She'll cut you in half with that shotgun.<\/dialogue>\n    <scene_description>Billy Lee sits down across from Dock and Darlene. Grabs the roulette ball. Tosses it back and forth in his hand.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>You two gonna be more forthcoming?<\/dialogue>\n    <scene_description>Dock thinks about it. Nods.<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Could I have some of that whiskey?<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <parenthetical>(studies him)<\/parenthetical>\n    <dialogue>Why not.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Boots! Get the padre here a glass.<\/dialogue>\n    <scene_description>CONTINUED: She does. As she crosses back to the table, her eyes linger on the body of her dead sister. Miles whimpers on the ground. He's muttering something to himself as he rocks back and forth.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Kid, you don't shut the fuck up, I'm gonna make you play again.<\/dialogue>\n    <scene_description>Miles quiets down. Rose puts the glass on the table. Billy Lee pours Dock a drink. Dock's hands are tied behind his back. He doesn't know what to do. Rose looks at Billy Lee. You want me to untie him?<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>No. His hands stay tied.<\/dialogue>\n    <scene_description>Billy Lee picks up the drink. Holds it to Dock's lips. Dock drinks.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Where's the money from?<\/dialogue>\n    <character>DOCK<\/character>\n    <dialogue>I stole it from a bank about a decade ago. I hid it here, but got myself caught by the cops. Did some time. Got out a few days ago. Came back tonight to retrieve it.<\/dialogue>\n    <scene_description>And he says it real matter-of-fact. So much so, it takes Billy Lee a second to absorb it. Then he laughs.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Tonight.<\/dialogue>\n    <scene_description>Dock nods.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Why you dressed up like a priest?<\/dialogue>\n    <scene_description>ON MILES. Watching Dock across the room.<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>I didn't want too many questions. People tend to look the other way when you're wearing a collar.<\/dialogue>\n    <scene_description>Billy Lee nods. Satisfied. Looks to Darlene.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>And you?<\/dialogue>\n    <scene_description>CONTINUED: (2) Darlene shifts a bit in her seat.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>I'm just a singer. The money happened to be hid in my room. He said he'd split it with me if I helped him get it back.<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <dialogue>'Course he did. 'Cause that ain't even the real score, is it, padre? No, 'cause you found this.<\/dialogue>\n    <scene_description>Billy Lee picks up the film. Brings it back to the table.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <parenthetical>(to Darlene)<\/parenthetical>\n    <dialogue>I bet he didn't tell you about this, did he? Don't you even want to see who's on it?<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>No. I don't. It doesn't matter.<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>Darlin', then you ain't understandin' what's on this --<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>Stop. Stop talking.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I don't need to look at the film. Let me guess: it's some man who talks a lot. He talks so much he thinks he believes in something. But really... he just wants to fuck who he wants to fuck.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I've seen that enough. I'm not even angry about it anymore. I'm just tired. I'm just bored. Of men like you. You think I don't see you for what you are? A fragile little man. Preying on the weak and the lost.<\/dialogue>\n    <scene_description>He starts to speak, but she cuts him off --<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>I've heard it. I don't care.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>I'd rather sit here and listen to the rain.<\/dialogue>\n    <scene_description>Billy Lee's eyes flash. Darlene doesn't blink. The whole room seems to hold its breath. We hear the rain outside. It seems to be getting louder. Then. Billy Lee breaks Darlene's gaze. The violence in his eyes vanishes as quickly as it appeared. He throws a patronizing shrug Darlene's way --<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>You go right ahead.<\/dialogue>\n    <scene_description>And turns his attention back to Dock.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Why didn't you just leave when you had the film? That's worth way more than some bag of money.<\/dialogue>\n    <scene_description>Dock considers.<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>I did time for that money. My brother died for that money. That money's mine.<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>That money's ours.<\/dialogue>\n    <character>DOCK<\/character>\n    <dialogue>That money's ours.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>Why's that filmstrip worth so much anyway? That guy's dead. Who cares?<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <dialogue>Well, Boots... sometimes, the memory of a man matters more than the man himself. Ain't that right, padre?<\/dialogue>\n    <character>DOCK<\/character>\n    <dialogue>If you say so.<\/dialogue>\n    <scene_description>Billy Lee drums his fingers. Thinks. CONTINUED: (4)<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Who's gonna come looking for this money?<\/dialogue>\n    <character>DOCK<\/character>\n    <dialogue>Nobody.<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <dialogue>Somebody's always looking for money.<\/dialogue>\n    <character>DOCK<\/character>\n    <dialogue>They're all gone. 'Cept me.<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <dialogue>And who are you again? Let's say I want to check this story out... who am I looking for? What's your real name, father?<\/dialogue>\n    <character>DOCK<\/character>\n    <parenthetical>(nods)<\/parenthetical>\n    <dialogue>It's...<\/dialogue>\n    <scene_description>And Dock's face goes blank.<\/scene_description>\n    <character>DOCK<\/character>\n    <parenthetical>(searches)<\/parenthetical>\n    <dialogue>It's, um...<\/dialogue>\n    <scene_description>Dock almost laughs at the absurdity. He can't remember his own name. But then we see real fear in his eyes, just like we saw in the prison. Just like we saw when we first met him, standing in the parking lot. He can't remember. He looks to Miles.<\/scene_description>\n    <character>DOCK<\/character>\n    <parenthetical>(hang on)<\/parenthetical>\n    <dialogue>It's...<\/dialogue>\n    <scene_description>Billy Lee rolls his eyes. Dock looks to Darlene. Almost pleading.<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>Did I tell you my real name?<\/dialogue>\n    <scene_description>Darlene looks at Dock with sympathetic eyes. CONTINUED: (5)<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>You never did.<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <dialogue>Really? Now you want to start playing games again?<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>He can't remember. His mind -- it ain't all there no more.<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <dialogue>That's what he told you.<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>He did.<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <dialogue>And you believe anything this old crook says.<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>I believe that much. Yeah.<\/dialogue>\n    <scene_description>Billy Lee stares at both of them. Fed up with all of this.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Well then. Let's see if we can't jog his memory.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Darlene. Pick a color.<\/dialogue>\n    <scene_description>BOOM. Right then, a violent CLAP of thunder shakes the hotel. And all the power goes out in the room. Everyone jumps in surprise. Dock and Darlene realize, too late, they missed a chance. But Annabell and Wade still have guns trained at their heads. Billy Lee holds up his hands. Take it easy, take it easy... Everything QUIET. The jukebox silent. Billy Lee starts laughing.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Oof. That's right unsettling.<\/dialogue>\n    <scene_description>The only light comes from the firepits around the room. CONTINUED:<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <parenthetical>(shivers)<\/parenthetical>\n    <dialogue>It's quiet again.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>I don't like it.<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <dialogue>No, I don't like it either.<\/dialogue>\n    <parenthetical>(thinks)<\/parenthetical>\n    <dialogue>Ain't you supposed to be a singer? Why don't you sing something for us, then, Darlene?<\/dialogue>\n    <scene_description>Darlene's eyes go cold. She stares at Billy Lee. After a moment, she shakes her head.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>No thank you.<\/dialogue>\n    <scene_description>Billy Lee smiles.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Tell you what. You sing something for us. And if you're as good as you say, I won't make you play the game.<\/dialogue>\n    <character>DOCK<\/character>\n    <dialogue>Don't do it.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>He's gonna do what he's gonna do. But he don't deserve to hear you sing.<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>No. He does not.<\/dialogue>\n    <scene_description>Billy Lee stares at both of them. Unable to mask his anger at Dock's words.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Suit your fuckin' selves.<\/dialogue>\n    <scene_description>Billy Lee spins the roulette ball.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>Wait.<\/dialogue>\n    <scene_description>Billy Lee catches the roulette ball. Everything goes silent. Everyone stares at Darlene. CONTINUED: (2) HOLD ON DARLENE. As she looks at these people around her. These felons, these criminals, these children. All of them. She closes her eyes.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>Oh... My love...<\/dialogue>\n    <scene_description>Her body relaxes. As though she's no longer here in this dead-end border hotel. Her words come out quiet, never weak.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>My darling, I've... hungered for your touch...<\/dialogue>\n    <scene_description>Everyone dead still as she sings. The firelight casting orange flickering shadows on their faces as they watch.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>A long, lonely time.<\/dialogue>\n    <scene_description>Her voice grows LOUDER.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>And time... goes by, so slowly.... And time, can do so much...<\/dialogue>\n    <parenthetical>(belting it out now)<\/parenthetical>\n    <dialogue>Are you, still --<\/dialogue>\n    <character>BILLY LEE<\/character>\n    <dialogue>I've heard better.<\/dialogue>\n    <scene_description>He spins the roulette ball. Dock's eyes go blood simple. WHAM! Dock explodes out of his seat, shattering his chair. He slams his forehead right into Billy Lee's face. Blood SPLATTERS as Billy Lee's nose SHATTERS -- Billy Lee and Dock topple backwards -- And a bunch of things happen ALL AT ONCE: -- Dock and Billy Lee crash right into one of the firepits, sending fire and embers and flaming logs everywhere. -- Annabell, surprised by the violence, FIRES HER SHOTGUN. BOOM! The sound rips through the room, the buck shot cutting through the air where Dock just was, blasting flames and shredding furniture. -- Darlene, moving on terror and instinct, kicks herself backwards, away from the table. The table FLIPS -- CONTINUED: -- Everyone hits the ground in a mess of CASH, CHIPS, WHISKEY, and GLASS. Dock lands right on top of Billy Lee. Billy Lee's gun goes skittering across the floor. And stops right between Darlene and Miles. Annabell raises her shotgun again. Pulls the trigger. But Rose grabs the barrel at the last second.<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>NO!<\/dialogue>\n    <scene_description>BOOM. The shot cuts the room. Blows another brazier into a fireball.<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>You'll hit Billy Lee!<\/dialogue>\n    <scene_description>Dock and Billy Lee tear into each other on the ground. Violent and feral -- two men desperately trying to kill each other. Billy Lee bashes Dock -- Dock grabs a FLAMING LOG -- WHAM! He bashes Billy Lee in the face again and AGAIN -- ashes and FLAMES spread -- Rose SCREAMS. She dives at Dock. Tackles him off of Billy Lee. Annabell and Wade can't get clean shots. FLAMES leap throughout the lobby, burning the rugs, the couches, the walls. ON THE GROUND: Darlene looks at the gun. Just feet from her. But her hands are tied behind her back. She looks Miles in the eyes. He can grab it.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>Miles --<\/dialogue>\n    <scene_description>But Miles is terrified. No longer fully with us anymore. Rocking back and forth on the ground. Crying. We start to hear what he's been muttering this entire time:<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>I can't I swore to God I can't kill no more people --<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>Miles, HELP US --<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>I can't kill no more people.<\/dialogue>\n    <scene_description>CONTINUED: And Darlene finally realizes what he's saying. Wait. What? Her words come out almost as a reflex:<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>H-how many people have you killed, Miles?<\/dialogue>\n    <scene_description>CLOSE ON MILES as he thinks about it.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>One-hundred and twenty-three.<\/dialogue>\n    <scene_description>CUT TO BLACK.: TITLE: Maintenance Closet<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MILLER FARM - DAY<\/stage_direction>\n    <scene_description>SAME FRAMING. Eight-year-old MILES MILLER raises a rifle. He takes his time, sites the rifle... CRACK. Whump. Widen to reveal Miles is standing on his family farm. They're having some sort of family gathering. Brothers and sisters, aunts and uncles all eating food, drinking moonshine, having a day. But everyone's watching Miles. CRACK. Whump. This little eight-year-old boy is shooting sparrows out of the air while they're in flight with a rifle. Miles' AUNTIE RUTH stands next to his momma, GINGER.<\/scene_description>\n    <character>AUNTIE RUTH<\/character>\n    <dialogue>Ho my heavens, Ginger! Look what your boy can do. If you're not careful, you're gonna have an army sniper in the family.<\/dialogue>\n    <character>GINGER<\/character>\n    <dialogue>Over my dead body. Daddy'd roll in his grave if I let Miles join the Army. No sir...<\/dialogue>\n    <scene_description>CONTINUED: ON MILES. Firing his rifle. We can see Ruth and Ginger in the background.<\/scene_description>\n    <character>GINGER<\/character>\n    <dialogue>That boy is a Marine if there ever was one.<\/dialogue>\n    <scene_description>MATCH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KHE SAHN - NIGHT<\/stage_direction>\n    <scene_description>SAME FRAMING. Miles, now grown, fires his sniper rifle as fast as he can as the cacophony of war rings out all around him. Two SOLDIERS stand in the frame where Auntie Ruth and Ginger stood. They look up at the sound of --<\/scene_description>\n    <character>SOLDIER<\/character>\n    <dialogue>INCOMING!<\/dialogue>\n    <scene_description>BOOM. The soldiers are obliterated. Miles is blasted down the hill. The blood of his company all over him. We're in Khe Sanh, January, 1968. One of the bloodiest battles of the entire war. All around us: bullets fly, artillery explodes, men scream. SERGEANT RENFRO races forward. Yanks Miles to his feet.<\/scene_description>\n    <character>SERGEANT RENFRO<\/character>\n    <dialogue>Miller! Why the fuck have you stopped shooting!?<\/dialogue>\n    <scene_description>Miles' head is ringing. He's clearly in shock. Terrified. As he stares at the war around him --<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>I can't -- I can't do it no more --<\/dialogue>\n    <character>SERGEANT RENFRO<\/character>\n    <dialogue>Get back on your fucking post! We don't hold this line, WE ALL DIE!<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <character>MILLER!<\/character>\n    <dialogue>Miles shakes his head. He's gone. Clearly in shock. Renfro stares at him. Genuine compassion in his eyes.<\/dialogue>\n    <character>SERGEANT RENFRO<\/character>\n    <dialogue>Miles.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Miles. I don't want to die here. I don't want to die here on this hill tonight.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>SERGEANT RENFRO<\/character>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I want to go home.<\/dialogue>\n    <scene_description>Miles stares at Renfro. Hearing him.<\/scene_description>\n    <character>SERGEANT RENFRO<\/character>\n    <dialogue>Do you want to go home?<\/dialogue>\n    <scene_description>Miles stares at the violence all around him. He nods.<\/scene_description>\n    <character>SERGEANT RENFRO<\/character>\n    <dialogue>Good.<\/dialogue>\n    <scene_description>Sergeant Renfro thrusts the rifle back in Miles' hands.<\/scene_description>\n    <character>SERGEANT RENFRO<\/character>\n    <dialogue>Now shoot every fucking thing that moves.<\/dialogue>\n    <scene_description>Miles nods. He raises his rifle once again. CRACK. Whump. CRACK. Whump. ANGLE IN ON MILES. Crack. Whump. Settling close on HIS EYES. Crack. Whump. MATCH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KHE SANH - DAY<\/stage_direction>\n    <scene_description>SAME FRAMING. Miles' eyes SNAP OPEN. He gasps for air. As though awakening from a horrible nightmare. WIDEN. It's three days later. Miles is half-buried in the jungle. A mess of ruined bunker and debris all around him. It's day now. It's clear. It's quiet. Miles pulls himself from his shallow grave. He steps out of the clearing. His face blank. Deep in shock. The walking dead. He face doesn't react to what he's seeing. We angle around to reveal: The aftermath of The Bloody Battle of Khe Sanh. Dead bodies EVERYWHERE. Hundreds... no... thousands... North Vietnamese and U.S. Solders, all around. All half-buried in the sordid muck of Vietnam. CONTINUED: Miles walks through the carnage. His hands start shaking. He drops to his knees. He begins to pray.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOUNGE - NIGHT<\/stage_direction>\n    <scene_description>SAME FRAMING. ON MILES. Shaking his head. Near-catatonic.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>I can't do it... I swore to God... I can't kill no more people... I can't...<\/dialogue>\n    <scene_description>ON DARLENE. Watching Miles. And, yes, there's no real way she can know what he's done, but she can see enough in his face. She can see he's in agony. She can see he's lost. Her face softens. Genuine compassion in her voice.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>It's all right, Miles. You don't have to kill no more people.<\/dialogue>\n    <scene_description>Those words seem to get through to Miles. Darlene closes her eyes.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>I don't want to die. Please don't let me die here, Lord.<\/dialogue>\n    <scene_description>Miles looks at her. ACROSS THE ROOM: Wade CRACKS Dock across the back of the head with the rifle. Dock goes limp. Billy Lee skitters free. Wade and Annabell pummel Dock. AROUND THEM: smoke and fire fill the room. Billy Lee struggles to his feet. His nose destroyed. His face covered in blood. Fury in his eyes. Billy Lee grabs Annabell's shotgun from the floor. Finds loose shells. Reloads it.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Get him up.<\/dialogue>\n    <scene_description>Wade and Annabell yank Dock to his feet. CONTINUED: Dock's face is beat up pretty good. But he's alert. His eyes still register when Billy Lee takes the shotgun and sticks it right up under Dock's chin.<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>See if you can't remember this.<\/dialogue>\n    <scene_description>Click. Billy Lee freezes as he hears the unmistakable sound of a revolver being cocked behind him. Everyone turns. To find Miles. On his feet. Pointing the gun right at Billy Lee. Billy Lee holds his hand up. Calm down...<\/scene_description>\n    <character>BILLY LEE<\/character>\n    <dialogue>Take it easy, alter-bo--<\/dialogue>\n    <scene_description>CRACK. Miles shoots Billy Lee right between the eyes. Rose lets out a horrific, primal scream.<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>NOOOOOO!<\/dialogue>\n    <scene_description>Wade swings his rifle, Annabell reaches for Billy Lee's shotgun... CRACK CRACK. Two shots. On the move. Miles drills them both right between the eyes. Whump whump. Rose cradles Billy Lee's body in her arms. Screaming.<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>No BILLY LEE no!<\/dialogue>\n    <scene_description>Miles keeps moving. We see the soldier now. He checks the load on the revolver. One bullet left. He grabs the hunting knife off the floor. Hands Dock the revolver. Keeps moving. Miles kicks Wade's rifle up to himself. Catches it in a smooth motion. Dives towards the front window. CRASH! He breaks the front window with the butt of his rifle.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - NIGHT<\/stage_direction>\n    <scene_description>Remember Flicker and Roman? They had just finished loading Dwight's body into the trunk when they heard the commotion. CONTINUED: And now they're frozen in the parking lot. Crouched behind cars. Holding their guns. They peek their heads up, trying to get a sightline to the front window. Trying to figure out what the hell's going on in that lobby. Flicker and Roman lock eyes. Ready to move. Flicker peeks over the car. CRACK. Flicker's head explodes. Roman jumps in surprise. CRACK. Roman takes it right between the eyes. Whump. Whump. Two down. INT LOUNGE - NIGHT Dock cuts Darlene free, helps to her feet. She rubs her wrists. They look towards -- ROSE. Screaming and crying on the ground. Rocking Billy Lee's dead body in her arms.<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>No no no no no... don't leave me, Billy Lee, don't leave me...<\/dialogue>\n    <scene_description>Miles listens to her cries. The soldier falls away. The innocent boy returns. He drops his rifle. Walks over to her. Puts his hand on her shoulder.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>I'm sorry. I'm so sorry.<\/dialogue>\n    <scene_description>Rose's eyes narrow. She pulls THE KNIFE out of Billy Lee's belt. SHRACK. She cuts Miles' stomach open. Miles pitches backwards. Whump. His body lands right on the border between California and Nevada.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>NO --<\/dialogue>\n    <scene_description>BANG. Dock shoots Rose in the chest with the revolver. She slumps dead. Still entangled in California with Billy Lee. ON THE GROUND. Miles gasps. Looks at his hands. Blood everywhere. Oh god. Darlene races to him. Holds this terrified boy.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>No no no no -- I can't die. I don't want to die... not yet --<\/dialogue>\n    <scene_description>Darlene looks at Miles wound. Sees how bad it is. Looks to Dock for help. Dock's frozen. Flames starting to burn all around him.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>No no Lord please no I can't die not like this --<\/dialogue>\n    <character>DARLENE<\/character>\n    <dialogue>Help him.<\/dialogue>\n    <scene_description>Dock steps across the line into Nevada. Kneels down next to them. Sees the bad news for himself. There's nothing to be done...<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>I can't.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Please God I don't want to die not yet --<\/dialogue>\n    <scene_description>Darlene grabs Dock's shoulder. Looks him in the eye.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>Help him.<\/dialogue>\n    <scene_description>CLOSE ON DOCK. As he realizes what she's saying. As clarity washes over him.<\/scene_description>\n    <character>DOCK<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Confess.<\/dialogue>\n    <scene_description>He takes Miles in his arms.<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>My son. Confess.<\/dialogue>\n    <scene_description>Miles stares up at Dock. Confused. Dying. He shakes his head. Blood coughing from his lips. CONTINUED:<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>You're not... You're not a...<\/dialogue>\n    <character>DOCK<\/character>\n    <dialogue>Miles Miller. My name is Father Daniel Flynn. And I am here to absolve you of your sins.<\/dialogue>\n    <scene_description>ON MILES. As he stares at Dock. A calm starting to wash over him.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Bless me, Father, for I have sinned...<\/dialogue>\n    <scene_description>Dock holds him. Nods. Continue.<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>I've sinned, I've sinned more times than I can count. I've killed, I've killed so many people... in war, here, I know it was wrong they told me to do it and I know it was wrong and I did it anyway... I'm so sorry, Father...<\/dialogue>\n    <character>DOCK<\/character>\n    <dialogue>It's all right.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>It's not. I did so much bad. I lied. I stole. I hurt people. I killed people. I did it all even though I know it was wrong... I'm so sorry, Father...<\/dialogue>\n    <scene_description>ON DOCK. Staring at this terrified boy in his arms.<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>Do you seek absolution for your sins?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>I do. Yes.<\/dialogue>\n    <character>DOCK<\/character>\n    <dialogue>Do you give yourself to the mercy of the Lord?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>Will you give to Him the time you have left?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>I'm too late.<\/dialogue>\n    <character>DOCK<\/character>\n    <dialogue>It is never too late, my son.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Yes. I will try. I will try to be better. I will try to be a better man.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I repent. Father Flynn, I repent.<\/dialogue>\n    <parenthetical>(coughs blood)<\/parenthetical>\n    <dialogue>Lord, I'm sorry. I'm so sorry.<\/dialogue>\n    <scene_description>Dock takes his hand, places it on Miles' chest. Holds his gaze. Shh.<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>You are forgiven.<\/dialogue>\n    <scene_description>Miles begins to relax as soon as he hears those words.<\/scene_description>\n    <character>DOCK<\/character>\n    <dialogue>Miles Miller. In the name of the Father, the Son, and the Holy Spirit... you are forgiven.<\/dialogue>\n    <scene_description>Miles nods. His eyes drift to the middle distance. At peace, finally. He dies in Dock's arms. A moment. Dock and Darlene share a look. Dock lays Miles' body down gently to the ground. Darlene closes his eyes. Dock and Darlene stand. They look around. The flames are now crawling the walls. Smoke billows through the room. They glance at each other. A silent agreement. They spring to action. They both scoop up what cash they can. They stuff it into the red bag. Time to go. As they're leaving, Dock sees THE FILM CAN. CONTINUED: He picks it up. Thinks. Hands it to Darlene. She stares at it for a moment. Then she throws it into the fire. WHUMP. We're CLOSE on the film reel as it burns and twists and smokes in the heat. Somebody tosses THE LEDGER PAGE on top of it as well. We see the names, underlit by the flames: Laramie Seymour Sullivan... Fuck You... Darlene Sweet... Father Daniel Flynn... Dock and Darlene head for the door. HOLD ON THE PAPER. The names burst into flame. WIDE ON THE ROOM. As flames devour the El Royale, Dock opens the Nevada door for Darlene. We see the first rays of dawn on the horizon. Ring-ring. CUT TO BLACK.: TITLE: Reno OVER BLACK, we hear the sounds of a not-so-bustling keno parlor. People talking, slot machines ringing... We hear the voice of MILTON WYRICK, our emcee for the evening...<\/scene_description>\n    <character>MILTON (O.S.)<\/character>\n    <dialogue>Folks, I feel like we've got a genuine Humdinger Jackpot in here tonight, I really do...<\/dialogue>\n    <scene_description>TITLE: Humdinger Lounge<\/scene_description>\n    <character>MILTON (O.S.)<\/character>\n    <dialogue>Last time I felt this way, we gave away a brand new, candy-apple red Chrysler De Soto to a lovely couple from St. Paul, Minnesota.<\/dialogue>\n    <scene_description>TITLE: 6 p.m. shift CONTINUED:<\/scene_description>\n    <character>MILTON (O.S.)<\/character>\n    <dialogue>Bill and Elaine... McIntyre, I want to say. Good people. Could be you. Here we go...<\/dialogue>\n    <scene_description>TITLE: Wednesday<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HUMDINGER LOUNGE - NIGHT<\/stage_direction>\n    <scene_description>We're FOLLOWING A MAN as he walks through the Humdinger Lounge, Reno's sixth-best combination dinner lounge and keno parlor. We hear the sound of the emcee calling to us from another room:<\/scene_description>\n    <character>MILTON (O.S.)<\/character>\n    <dialogue>Seven, nine, sixteen, thirty-one, forty-two, forty-seven, sixty- three, seventy-six, and... eighty.<\/dialogue>\n    <scene_description>The man makes his way through the smoke-filled rows of people playing slots. He's heading towards the back lounge, where a group of musicians are setting up on a small corner stage. The man stops at the threshold. He rubs his hands on his pants. As though he's not quite sure what to do. He looks for a seat in the lounge. (There are plenty available.)<\/scene_description>\n    <character>MILTON (ONSTAGE)<\/character>\n    <dialogue>If you hit, come see the cashier so we can get you down before the next draw.<\/dialogue>\n    <scene_description>The man sits down. We see his face. It's Dock.<\/scene_description>\n    <character>MILTON<\/character>\n    <dialogue>Now, we've got a special treat for you tonight. Coming to you all the way from beautiful Los Angeles, California. You've heard her sing on records with artists such as The Crystals, Martha Reeves, The Marvelettes, Wilson Pickett, and The Miracles. Ladies and gentlemen, let's give a warm, Reno welcome to... Darlene Sweet!<\/dialogue>\n    <scene_description>CONTINUED: (2) Darlene steps on stage to a scattering of applause. We may notice she has a brand new dress. She nods hello to her band for the evening. Hi boys. She looks to the audience.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>Thank y'all for coming out to listen to me tonight.<\/dialogue>\n    <scene_description>A moment. As she stands in the light. Grateful for her life.<\/scene_description>\n    <character>DARLENE<\/character>\n    <dialogue>It means the world.<\/dialogue>\n    <scene_description>She sees Dock. Sitting alone in the back of the room. She almost seems surprised to see him. It's you. He nods hello. She smiles. Hello, Dock. Then. Back to business. Two, three, four... Darlene grabs the microphone. CUT TO BLACK.: The End OVER CREDITS: Darlene Sweet and her backup band level the 6 p.m. Wednesday crowd at the Humdinger Lounge with an absolutely blistering cover of Sam &amp; Dave's \"Hold On, I'm Coming.\" Don't you ever be sad... Lean on me, when times are bad... Just hold on. I'm coming.<\/scene_description>\n  <\/scene>\n<\/script>","summary":"The El Royale, once popular with the wealthy until losing its gambling license, is a hotel that straddles the California\u2013Nevada border. In 1959, Felix O'Kelly hides a money bag under the floorboards of his room. His accomplice arrives and shoots him dead. A decade later, Catholic priest Daniel Flynn, singer Darlene Sweet, salesman Laramie Seymour Sullivan, and hippie Emily Summerspring arrive at the hotel, now run solely by heroin addict Miles Miller, and book separate rooms. Upon checking into the honeymoon suite, Laramie begins removing wiretaps but unexpectedly finds a second set as well. After stealing the hotel's master key, he discovers a secret corridor where every room can be observed through one-way mirrors and filmed with a camera. Laramie sees Darlene singing, Daniel removing the floorboards of his room, and Emily holding a young woman captive. In the parking lot, Laramie calls into the FBI, revealing himself to be Special Agent Dwight Broadbeck. He is instructed by J. Edgar Hoover to focus on his mission of collecting the surveillance materials the FBI had planted and ignore the 'kidnapping'. Believing the mission has been compromised, Dwight is also told to prevent the guests from leaving. To do so, Dwight disables all their cars. Daniel invites Darlene to join him for dinner in the hotel lounge. There, Darlene says she is practicing for a performance in Reno and Daniel reveals his memory is deteriorating. While he is getting drinks, she sees him spiking her beverage and she knocks him unconscious with a bottle. Miles later finds and revives Daniel, telling him that he wants to undertake a confession but Daniel refuses. Miles, looking for the missing master key, leads Daniel to the secret corridor, explaining that he used to regularly film intimate encounters that he had to send to his superiors. Miles also admits to having withheld one incriminating film of a deceased public figure who had been kind to him. When Daniel leaves to evaluate said film, Miles witnesses through the one-way mirror Dwight attempting to rescue Emily's hostage, who is revealed to be her younger sister, Rose. When Emily kills Dwight with a shotgun, it also shoots out the mirror, revealing the corridor and injuring Miles. Before these events, Emily had forcibly removed her sister from a dangerous cult, led by Billy Lee. In the present, Rose secretly calls Billy to tell him where she is. A witness to Dwight's murder, Darlene tries to escape but fails due to his tampering with her vehicle. Daniel arrives and reveals to her that he is Dock O'Kelly, imprisoned since a bank robbery in 1959. Recently paroled, he arrived in disguise to retrieve the money hidden by his brother Felix. Due to Dock's failing memory, he picked the wrong room and tried to drug Darlene to gain access to hers. To gain her trust, he offers to split the cash with her. After retrieving the money, Billy and his cult arrive and take the pair, Emily, and Miles hostage. In a flashback, Billy tells his cult how people are forced to choose sides and, as an allegory, gets Rose to fight another girl for the chance to sleep with him as Emily watches nearby. In the present, a compliant Rose watches Billy as he interrogates the group and finds the film, which he realizes is more valuable than the money. He forces Emily to choose a color in a game of roulette between her and Miles, and kills her when she loses. Before Billy completes another round of roulette, Dock attacks him, a melee ensues, and a fire begins to spread. When Darlene implores Miles to pick up a gun and help, it is revealed that he served in the Vietnam War as a sniper and killed 123 people. A defiant Miles kills Billy and his followers, but a distraught Rose stabs him in the stomach before being shot by Dock. Darlene convinces \"Father Flynn\" to absolve Miles of the guilt over his wartime actions before he dies. They then toss the film into the fire and leave with the money. Sometime later in Reno, Dock attends Darlene's soul performance at a nightclub."}
{"movie_name":"Jerry Maguire_1996","imdb_id":"tt0116695","script":"<script>\n  <scene>\n    <stage_direction>JERRY MAGUIRE<\/stage_direction>\n    <scene_description>EARTH FROM SPACE The blue marble as seen from space . We hear the calm voice of Jerry Maguire , talking just to us .<\/scene_description>\n    <character>JERRY'S VOICE<\/character>\n    <dialogue>Airight so this is the world and there are five billion people on it. When I was a kid there were three. It's hard to keep up.<\/dialogue>\n    <scene_description>AMERICA FROM SPACE The great continent through mist and swirling skies . -LRB- Satellites and other pieces of skycasting equipment float by . -RRB-<\/scene_description>\n    <character>JERRY'S VOICE<\/character>\n    <dialogue>That's better. That's america. See, America still sets the tone for the world.<\/dialogue>\n    <scene_description>KID ON BASKETBALL COURT A puberty - ravaged kid dribbles a basketball , stares straight at us .<\/scene_description>\n    <character>JERRY'S VOICE<\/character>\n    <dialogue>In Indiana - Clark Hodd. 13. The best point guard in the country. Puberty has n't been easy.<\/dialogue>\n    <scene_description>Discreetly , his hand slips into his pants and scratches . Girl on a high dive she 's poised . A faraway look in her eyes .<\/scene_description>\n    <character>JERRY'S VOICE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Becky Farling. You'll see her in the next Olympics.<\/dialogue>\n    <scene_description>She launches her dive into mid - air , into nothingness . ON TEENAGE GIRL BOXER throwing punches toward the camera .<\/scene_description>\n    <character>JERRY'S VOICE<\/character>\n    <dialogue>Seattle, Washington. Dallas Malloy. Went to court to be allowed to box professionally. She's 16.<\/dialogue>\n    <scene_description>ON A YOUNG BASEBALL PLAYER at bat .<\/scene_description>\n    <character>JERRY'S VOICE<\/character>\n    <dialogue>Art Stallings, Indio, California. Check out what pure joy looks like.<\/dialogue>\n    <scene_description>He swats a pitch - not out of the park , it 's much sweeter than that . He drills it over the first baseman 's head , just out of reach of his glove . Art runs to first , laughing . Pats the first baseman 's butt . Gotcha . ON GOLDEN BOY QUARTERBACK - FRANK CUSHMAN A line of NFL scouts watch a dazzling pass from a future star .<\/scene_description>\n    <character>JERRY'S VOICE<\/character>\n    <dialogue>In Odessa, Texas, the great Frank Cushman. Cush is 20. Quarterback, role model, my client. He'll probably go number one in the draft this year.<\/dialogue>\n    <scene_description>Cush turns into a closer shot . He 's a living magazine cover . A YOUNG CHAMPIONSHIP GOLFER eyeing a long but level putt .<\/scene_description>\n    <character>JERRY'S VOICE<\/character>\n    <dialogue>There's genius everywhere, but until they turn pro, it's like popcorn in the pan. Some pop.<\/dialogue>\n    <scene_description>The kid misses the shot , whips his club at his coach .<\/scene_description>\n    <character>JERRY'S VOICE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>. some do n't.<\/dialogue>\n    <scene_description>Hold on the kid , he 's all youthful adrenalin , breathing hard . Portrait of an intense young competitor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NFL OWNERS MEETING\/PALM DESERT FOUR SEASONS -- DAY<\/stage_direction>\n    <scene_description>A wall of new NFL merchandise . Television monitors blink with the latest endorsement films . Into frame moves JERRY MAGUIRE , 35 . He walks briskly and smoothly , yellow legal tablet in hand , at home in this lobby filled with Athletes and Sports Team Owners . We hear Herb Alpert 's epic instrumental , `` The Lonely Bull . ''<\/scene_description>\n    <character>JERRY'S VOICE<\/character>\n    <dialogue>Now I'm the guy you do n't usually see. I'm the one behind the scenes. I'm the sports agent.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NFL OWNER'S MEETING LOBBY -- MINUTES LATER<\/stage_direction>\n    <scene_description>Jerry sits in a red leather chair , across from an agitated General Manager . He cooly works out figures on a yellow legal tablet .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Easy now, we can spread these numbers over five years.<\/dialogue>\n    <character>JERRY'S VOICE<\/character>\n    <dialogue>You know those photos where the new player holds up the team jersey and poses with the owner?<\/dialogue>\n    <scene_description>Flash of photo Anonymous Athlete holds up jersey , standing next to Team Owner . Zoom in on someone 's shirt - sleeve on left of frame .<\/scene_description>\n    <character>JERRY'S VOICE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>That's me on the left.<\/dialogue>\n    <scene_description>ON ANONYMOUS NEWPORT BEACH BUILDING<\/scene_description>\n    <character>JERRY'S VOICE<\/character>\n    <dialogue>Inside that building, that's where I work. Sports Management International.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMI CONFERENCE ROOM -- DAY<\/stage_direction>\n    <scene_description>The SMI agents are a fierce , happy bunch . They sit in a carefully appointed conference room . Sports photos and posters are framed on the walls . The signs of global marketing are omnipresent . Each agent has a silver tray containing soft drinks and a glass pitcher of water . Through the glass window , we see a large office divided up into many cubicles .<\/scene_description>\n    <character>JERRY'S VOICE<\/character>\n    <dialogue>Thirty - three out of shape agents guiding the careers of 2,120 of the most finely - tuned athletes alive.<\/dialogue>\n    <scene_description>Near the end of the table sits Jerry Maguire . The word `` millions '' appears often and easily in his conversation . Shot moves in .<\/scene_description>\n    <character>JERRY'S VOICE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>. in this economy, sometimes emotions run a little high.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDERGROUND PARKING GARAGE -- HOUSTON -- DAY<\/stage_direction>\n    <scene_description>An unmarked car pulls into the underground parking facility of the Houston Police Department . A cluster of chattering media members move in on the car . -LRB- `` Baja ! '' `` Baja , over here ! '' -RRB- Back doors open , and out steps Jerry Maguire with huge offensive lineman , BOBBY `` BAJA '' BRUNARD , 22 . He is angry , and he is handcuffed .<\/scene_description>\n    <character>WOMAN REPORTER<\/character>\n    <dialogue>Was the girl 16 or seventeen?<\/dialogue>\n    <character>MAN REPORTER<\/character>\n    <dialogue>Were you aiming at anyone when you fired the shot in the 7\/l1?<\/dialogue>\n    <scene_description>Jerry whips in between Baja and the taunting media , blocking him off and forcing him through the glass doors into the police department . Professional smile in place , Maguire attempts spin .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Listen, there's no proof of anything except that this guy is a sensational athlete.<\/dialogue>\n    <scene_description>In the background , we hear baja bellowing insults at the press .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATLANTA RED CARPET ROOM -- ANOTHER DAY<\/stage_direction>\n    <scene_description>Jerry now sits next to a towering white 27 year - old basketball player with a bad haircut . He is CALVIN NACK . They are signing a contract in the airport lounge . A little BOY approaches the player with a basketball trading card .<\/scene_description>\n    <character>LITTLE BOY<\/character>\n    <dialogue>Are you Calvin Nack? Could you sign my card?<\/dialogue>\n    <scene_description>Nack bends down with a kindly - looking face .<\/scene_description>\n    <character>CALVIN NACK<\/character>\n    <dialogue>I'm sorry little fella. I ca n't sign that particular brand of card. I can only sign Pro - Jam Blue Dot cards.<\/dialogue>\n    <scene_description>The Little Boy looks confused . As Calvin Nack turns to grab an orange juice from a barmaid , Jerry smoothly dishes off a business card to the little boy .<\/scene_description>\n    <character>JERRY'S VOICE<\/character>\n    <dialogue>Lately, it's gotten worse.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL BEDROOM -- NIGHT<\/stage_direction>\n    <scene_description>Hockey Player STEVE REMO , 33 , is a big man in a small bed . He is in traction , with concussion . DOCTOR stands nearby , shoots Jerry a look of concern . Family is nearby .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>Do you know your name?<\/dialogue>\n    <character>STEVE REMO<\/character>\n    <dialogue>I uh. wait. Wait, here it comes. I have it. My name is Steve Remo. I play for the Blackhawks.<\/dialogue>\n    <parenthetical>( now on a roll . )<\/parenthetical>\n    <dialogue>You are my son. This pretty lady is my wife. And you are.<\/dialogue>\n    <scene_description>Jerry nods encouragingly , presents his best `` familiar '' face .<\/scene_description>\n    <character>STEVE REMO<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>My agent!<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <character>STEVE REMO<\/character>\n    <dialogue>And I got ta play this weekend, Doc. If I play in 65 % of the games, I make my bonus.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOSPITAL HALLWAY -- NIGHT<\/stage_direction>\n    <scene_description>Remo 's 14 year - old SON -LRB- JESSE -RRB- confronts Jerry outside the hospital room . He 's a hulking kid , a Pop Warner football player himself . His voice is in the process of changing .<\/scene_description>\n    <character>SON<\/character>\n    <dialogue>This is his fourth concussion. Should n't somebody get him to stop?<\/dialogue>\n    <scene_description>As he talks , Jerry 's cellular phone rings in his bag .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( glib , easy . )<\/parenthetical>\n    <dialogue>Come on - it'd take a tank to stop your dad. It would take all five Super Trooper VR Warriors, right?<\/dialogue>\n    <scene_description>The kid stares at Maguire . It feels as if the kid is peering into his soul . and all he sees is trash .<\/scene_description>\n    <character>SON<\/character>\n    <dialogue>Fuck you.<\/dialogue>\n    <scene_description>The kid turns and exits in disgust . He leaves Jerry standing in the hallway . Devastated . Music .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RENTAL CAR SHUTTLE -- DAY<\/stage_direction>\n    <scene_description>Jerry Maguire upset in a rental shuttle . Passing through frame . Music . Phone still ringing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIAMI HOTEL ROOM -- DAY<\/stage_direction>\n    <scene_description>Jerry sleeps .<\/scene_description>\n    <character>JERRY'S VOICE<\/character>\n    <dialogue>Two nights later in Miami at our corporate conference, a breakthrough. Breakdown? Breakthrough.<\/dialogue>\n    <scene_description>Jerry 's eyes open . Breathing strangely . Trembling , he holds onto the nightstand for grounding . He gets up , takes a few gulps of air , walks to mini - bar . Gathers some tiny ice cubes in his hand , smears them across his face . This feeling is new to him .<\/scene_description>\n    <character>JERRY'S VOICE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>It was the oddest, most unexpected thing. I began writing what they call a Mission Statement for my company. You know - a Mission Statement - a suggestion for the future.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIAMI HOTEL ROOM -- NIGHT<\/stage_direction>\n    <scene_description>Jerry types , a pot of coffee and tray of room service nearby . we watch his face , alive now . There is a direct line from the deepest part of him to the words he 's typing . His fingers fly . Even his eyes grow moist .<\/scene_description>\n    <character>JERRY'S VOICE<\/character>\n    <dialogue>What started out as one page became twenty - five. Suddenly I was my father's son. I was remembering the simple pleasures of this job, how I ended up here out of law school, the way a stadium sounds when one of my players performs well on the field. I was remembering even the words of the late Dicky Fox, the original sports agent, who said :<\/dialogue>\n    <scene_description>SHOT OF DICKY FOX<\/scene_description>\n    <character>DICKY FOX<\/character>\n    <dialogue>The key to this job is personal relationships.<\/dialogue>\n    <scene_description>As Jerry continues typing , his voice is excited now .<\/scene_description>\n    <character>JERRY'S VOICE<\/character>\n    <dialogue>And suddenly it was all pretty clear. The answer was fewer clients. Caring for them, caring for ourselves, and the games too. Starting our lives, really.<\/dialogue>\n    <scene_description>SHOT OF SENTENCE : We must embrace what is still virginal about our own enthusiasm , we must crack open the tightly clenched fist and give back a little for the common good , we must simply be the best versions of ourselves . that goodness will be unbeatable and the money will appear . He pauses , and wipes his eyes , still considering the sentence .<\/scene_description>\n    <character>JERRY'S VOICE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Hey, I'll be the first to admit it. What I was writing was somewhat `` touchy feely.''<\/dialogue>\n    <scene_description>He deletes it . And then - zip - he restores it and continues on , boldly .<\/scene_description>\n    <character>JERRY'S VOICE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>I did n't care. I had lost the ability to bullshit. It was the me I'd always wanted to be.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KINKO'S COPIES -- NIGHT<\/stage_direction>\n    <scene_description>Jerry in T - shirt stands proudly watching copies pumped out . Wired college students , band guys , other Copy People of the Night nearby .<\/scene_description>\n    <character>JERRY'S VOICE<\/character>\n    <dialogue>I printed it up in the middle of the night, before I could re - think it.<\/dialogue>\n    <scene_description>Industrial , multi - pierced Kinko 's copy guy examines the first printed copy of the Mission Statement . He nods approvingly , taps his heart in tribute . He slides a copy across the counter , for Jerry 's approval . THE THINGS WE THINK AND DO NOT SAY -LRB- The Future of Our Business -RRB- .<\/scene_description>\n    <character>KINKO'S GUY<\/character>\n    <dialogue>That's how you become great, man. You hang your ba11s out there.<\/dialogue>\n    <scene_description>Jerry nods . It 's 3 AM , and this guy sounds and looks like a prophet . In fact , everyone in Kinko 's at 3 AM does .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( self - effacing . )<\/parenthetical>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>ON MEMOS being stuffed into mail - slots .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM -- MORNING<\/stage_direction>\n    <scene_description>Jerry splashes water onto his face . The sun is coming up . He looks younger , lighter . ON TV MOVIE -LRB- JERRY WATCHING -RRB- Suddenly , dramatic movie score . It 's Dana Andrews , showing Gene Tierney the newspaper reports of her death in Laura . -LRB- `` Someone was murdered in this room last night . any idea who it was ? '' -RRB- Camera whips to Jerry , standing watching as he packs . A slight concern on his face . He moves to the phone , and dials with urgency .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Hi, it's jerry maguire. Uh, listen did those manuscripts get. Oh they did. No no no no no, that's fine.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR -- DAY<\/stage_direction>\n    <character>JERRY<\/character>\n    <dialogue>Jerry in suit, alone with his luggage. Dry throat. clammy, holds onto the handrail to steady himself.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY -- DAY<\/stage_direction>\n    <scene_description>The lobby is filled with SMI agents . The blue Mission Statement is in evidence everywhere . Jerry inconspicuously turns the corner , yearns to blend in . It 's impossible , the recognition ripples through the lobby . Underling agent BOB SUGAR , 25 , is the first to grab Maguire by the shoulders . -LRB- `` Finally , someone said it ! '' -RRB- Suddenly another agent begins to clap , then reluctantly , another . Soon , the ovation rocks the lobby . -LRB- In a three - shot near the front desk , we see a 26 year - old female employee of SMI applauding with Mission Statement in hand , her sleepy son at her side . -RRB- Jerry motions for them all to stop , but clearly he could listen forever . It is a watershed moment in his life .<\/scene_description>\n    <character>JERRY'S VOICE<\/character>\n    <dialogue>I was 35. I had started my life.<\/dialogue>\n    <scene_description>Swing off Maguire to find two agents standing clapping enthusiastically near the elevator . One offers gum to the other .<\/scene_description>\n    <character>AGENT # 1<\/character>\n    <parenthetical>( RACHEL . )<\/parenthetical>\n    <dialogue>How long you give him?<\/dialogue>\n    <character>AGENT # 2<\/character>\n    <parenthetical>( CHRIS . )<\/parenthetical>\n    <dialogue>Mmmm. A week.<\/dialogue>\n    <scene_description>ON AIRPLANE WHEELS folding up into a plane , as music and credits end .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPLANE\/FIRST CLASS -- NIGHT<\/stage_direction>\n    <scene_description>We move past a snoring businessman , onto tired but adrenalized Jerry Maguire . He sits in first - class , working on his laptop , a pile of newspapers and magazines nearby . The WOMAN PASSENGER next to him , 3oish , finishes up a spicy phone conversation with her boyfriend .<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Monkeyface. monkeyface, listen. I'm not going to say it here. no.<\/dialogue>\n    <scene_description>Jerry continues to work , as his laptop now beeps . Battery 's low .<\/scene_description>\n    <character>WOMAN<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>. oh listen, I got you the perfect white shirt, at this out of the way place. no. quit trying to make me say it!<\/dialogue>\n    <scene_description>Jerry shuts off his laptop and prepares for sleep . Trying not to listen .<\/scene_description>\n    <character>WOMAN<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>how about if I do it and do n't say it. mmmm. see you soon.<\/dialogue>\n    <scene_description>She laughs seductively and hangs up . She is still buzzed from the conversation . Jerry turns to her , surprising her .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I have to ask.<\/dialogue>\n    <character>WOMAN<\/character>\n    <parenthetical>( protective . )<\/parenthetical>\n    <dialogue>What -<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Where'd you find the perfect white shirt?<\/dialogue>\n    <scene_description>She laughs , it 's an infectious laugh - two strangers enjoying the good life - as we DRIFT BACK three rows , past the panel separating the cool comfort of first class from the stuffy airless and uncomfortable world of coach . We meet DOROTHY BOYD , 26 . A harried passenger on this bus in the sky . Her clothes are part - contemporary , part mother - functional . She is never as composed or in control as she wants to be . Right now she is devoted to the sneezing kid in the wrinkled white - shirt sitting next to her . It is RAY , her five - year old son . Dorothy is covered in toys and books . Stuffed into the side pocket is Jerry 's Mission Statement . The easy laughter from three rows ahead washes over her like cold water , as she rings again for a Flight Attendant . The overworked ATTENDANT arrives , pissed , snapping off the bell .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>Look, my son is allergic to the material in these blankets -<\/dialogue>\n    <character>ATTENDANT<\/character>\n    <dialogue>That's all we have.<\/dialogue>\n    <scene_description>The Attendant offers a bundle of soggy cocktail napkins and is about to exit as Ray makes a gagging noise . He 's about to get sick . Both women reach for an airsick bag , and get it to his mouth just in time . Their faces are now inches apart .<\/scene_description>\n    <character>ATTENDANT<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>I'm sorry I was rude just then -<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>It's okay. We're in it together now.<\/dialogue>\n    <scene_description>The Attendant now exits helpfully with the bag .<\/scene_description>\n    <character>WOMAN'S VOICE<\/character>\n    <dialogue>Do n't take anything I say seriously! I love to flirt!<\/dialogue>\n    <scene_description>Dorothy , irritated , leans out into the aisle to look for the heads that belong to these voices . BACK TO JERRY AND WOMAN<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>You're with the sports people on the plane, right?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Jerry Maguire. SMI.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Bobbi Fallon. BPI. I'm producing the Coke commercials for the playoffs.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Well. Good luck with that -<\/dialogue>\n    <scene_description>He nods , as he reaches up to shut off the light . Politely stifles another yawn . He shuts his eyes , settles into sleep . Bobbi leans into his darkness .<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Can I just get a quick `` man's'' opinion from you on something?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  FIRST CLASS SEATS -- LATER<\/stage_direction>\n    <scene_description>Bobbi is intense now , unburdening , as tired Jerry listens like a priest .<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>And I ca n't say his name without laughing I want to eat him up. I want to say goodbye to every bad thought I ever had about relationships. I mean, I crave this guy. and yet. why. why did I have that affair this weekend? Does that mean I'm not in love with my boyfriend?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I think you'll know when you see him at the gate.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>It's the death rattle of my singlehood, right? Because I finally see the white picket fence looming and I love it\/hate it\/love it\/hate it \/ love it. you're right, I'll know when I see him. Why is it so easy to talk with you?! Tell me about your fiancee.<\/dialogue>\n    <scene_description>Maguire fights another yawn .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I uh. do n't think we're quite at your pitch yet.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Tell me, and then you can sleep.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>She's an NFL publicist. amazing sense of style. former athlete. volleyball. world class. really knows how to live every moment of her life, which is why I should take a nap now.<\/dialogue>\n    <scene_description>BACK TO DOROTHY Her sleeping son now silent , she ca n't help but listen .<\/scene_description>\n    <character>WOMAN'S VOICE<\/character>\n    <dialogue>Tell me how you proposed. I collect romantic proposal stories.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>No no.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <parenthetical>( impatient . )<\/parenthetical>\n    <dialogue>Oh, tell the story.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Oh, tell the story.<\/dialogue>\n    <scene_description>BACK TO JERRY - LATER<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>- so our first date, she told me about her favorite place in the world, the seven pools of Hana on the island of Maui.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Gorgeous.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>A year - and - a - half later, we were both in Hawaii for the Pro Bowl. Now I've always hit a wall at 18 months. Every serious girlfriend lasts 18 months. It's like - ka - boom. The curse of 18 months.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>That's when you need to cement, and define define define.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Exactly. And the world does not need another 35 year - old bachelor. I knew I wanted to propose, so I took her there.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>To the pools?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>To the pools. Now she's Miss Rock Climber, and I'm more the Non - Rock Climber, but we're hiking up through the pools and there's a fine mist in the air, and I have the ring in my pocket, and I'm a little nervous, I'm lagging behind, and she says to me, get this - `` Hurry up, klutz.''<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Oh no -<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Well, it bothered me somewhat. And I got quiet. And now she's quiet and we're both pouting a little, you know. And I decide I'm not going to propose. The mood is not right. Why be impulsive? Now at this point I know she knows that I was going to propose and did n't. And she knows I know. So the entire sixty mile ride back to the airport, we do n't speak. And we're both good at that. We fly to Honolulu in silence. We check into the Pro Bowl hotel -<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>How sad -<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>But wait.<\/dialogue>\n    <scene_description>BACK TO DOROTHY She is now craning out into the aisle to hear this story . The plane is now quieter . She listens to the easy sound of Jerry discussing his charmed life .<\/scene_description>\n    <character>RAY<\/character>\n    <parenthetical>( waking up . )<\/parenthetical>\n    <dialogue>Mama -<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Shhh. Mommy's eavesdropping.<\/dialogue>\n    <scene_description>He sneezes , three big ones in a row . She hands him more kleenex , riveted on the story . And listens .<\/scene_description>\n    <character>JERRY'S VOICE<\/character>\n    <dialogue>Now little do I know that my assistant. has assumed that I've now proposed. So she has gotten the lounge band to actually play `` Here Comes The Bride'' when we walk back in.<\/dialogue>\n    <scene_description>Dorothy laughs to herself , somewhat derisively . She tries to share the laugh with her son , who stares at her . BACK TO JERRY - LATER<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Which they do. And we're standing there. All the football guys are in the lobby, watching, there's even an ESPN crew. So I turn to her and sort of grandly say, `` Well, this is me, Klutz, asking you, Goddess of Rock Climbing, to marry me.'' And I took out the ring, and I do n't much like big scenes, but she said `` yes'' right there in the lobby and some of the toughest men in football wept like babies. We're getting married in February.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Jerry. You two will be together forever.<\/dialogue>\n    <scene_description>BACK TO DOROTHY She takes one of her son 's kleenex sheets , as an elegant Flight Attendant shuts the curtain to first class . Dorothy blows her nose , moved against her will .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>What's wrong, mom?<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>First class is what's wrong. It used to be a better meal. Now it's a better life.<\/dialogue>\n    <scene_description>She pulls out the Mission Statement , aware that she 's been listening to its author . She opens it and begins to read .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAX AIRPORT TERMINAL -- MORNING<\/stage_direction>\n    <scene_description>Jerry Maguire exits the plane a few steps behind Bobbi Fallon .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( quietly , like a coach . )<\/parenthetical>\n    <dialogue>You'll know when you see him. You'll know when you see him.<\/dialogue>\n    <scene_description>Bobbi scans the crowd . She spots Monkeyface , large and burly in tiger - print sweats . He looks like Mickey Dolenz . He holds flowers .<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Oh my God, you're right. I know.<\/dialogue>\n    <parenthetical>( Jerry smiles . )<\/parenthetical>\n    <dialogue>He's not The One. He's not the One.<\/dialogue>\n    <scene_description>Jerry 's face falls . Bobbi Fallon moves into the embrace , faking it . Jerry moves ahead , turning back to see the doomed couple . Melancholy now , he continues forward through the crowded airport and the expectant faces of those waiting for loved ones . Music .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUGGAGE AREA -- MORNING<\/stage_direction>\n    <scene_description>Dorothy looks through the rubber flaps of the luggage conveyor belt . She clutches a cup of coffee . In the background , other SMI agents ' grab their bags and exit .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>Ray! Ray!<\/dialogue>\n    <scene_description>Maguire enters picture , joining her as she looks into the dark depths behind the flaps .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Can I help?<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Oh. Hi. I work in your office. I was on the junket to the conference. I'm -<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I know who y6u are. You're Dorothy Boyd. You're in. wait. you're in Accounts. You have the middle cubicle toward the back with that poster of Albert Einstein morphed onto Shaquille 0 Neal's body.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <parenthetical>( surprised . )<\/parenthetical>\n    <dialogue>Hmm. Pretty good.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Now what did you lose?<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>My son. my mind.<\/dialogue>\n    <scene_description>Over her shoulder , Maguire sees Ray rounding the corner , riding the luggage conveyor belt like Washington crossing the Delaware .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Well, while I go look for him, why do n't you hang onto this curious gentleman behind you -<\/dialogue>\n    <scene_description>Dorothy turns , is greatly relieved to see Ray , and snatches him off the belt . She bends down into his face . She speaks softly but intensely , with no frills .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>Remember `` imagination?''. remember what that means? Well, this is one of my bosses so you will now IMAGINE me screaming at you right now. Do NOT do that again. Ever ever EVER.<\/dialogue>\n    <scene_description>She rises , shifting back to being a somewhat relaxed young woman of 26 . It 's a transition she makes , oh , 500 times a day .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Well, thanks.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Well, take care.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>And have fun at your bachelor party.<\/dialogue>\n    <scene_description>Jerry pauses just a moment , but it 's long enough . Dorothy freezes .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Oh no.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>No no. I knew.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <parenthetical>( slow sigh . )<\/parenthetical>\n    <dialogue>Nnnnn. I just killed the surprise.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>No, I'm just. anxiously looking past it. I already had my bachelor party. It was called `` my twenties.'' See you later.<\/dialogue>\n    <scene_description>Jerry takes off .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>I loved your memo, by the way.<\/dialogue>\n    <scene_description>He stops . Turns . She flashes the well - thumbed copy in her purse . Jerry takes a step closer , interested and flattered .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Thanks. actually, it was just a `` Mission Statement.''<\/dialogue>\n    <scene_description>Ray has taken Jerry 's free hand , and begun swinging on him .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>I think in this age, optimism like that. it's a revolutionary act.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( eager for feedback . )<\/parenthetical>\n    <dialogue>You think so?<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Oh tsht. Yes.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I appreciate that, because some of that stuff. you know, it was two in the morning and.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>- the part about `` we should embrace what it is still virginal about our enthusiasm'' -<\/dialogue>\n    <scene_description>Jerry looks slightly edgy at the naked vulnerability of his words .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>- `` and we should all force open the tightly - clenched fist of commerce, and give a little back for the greater good.'' I mean, I was inspired, and I'm an accountant. Ray, do n't spill my coffee.<\/dialogue>\n    <scene_description>Jerry looks more nervous , as Ray has now taken his mother 's hand . He is now swinging on both of them .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>One - two - three. swing.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Hey. To respect yourself enough to say it out loud, to put yourself out there, so openly.<\/dialogue>\n    <parenthetical>( shakes her head . )<\/parenthetical>\n    <dialogue>. I do n't know, it got me.<\/dialogue>\n    <scene_description>Now Jerry looks concerned , as Ray continues swinging happily .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>One - two - three, swing.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Thanks. May I offer you both a ride?<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Oh no. I'm sure it would just make your day to drive us all the way to Manhattan Beach, taking that left down to little tiny Waterloo street where you have to play chicken with oncoming traffic, and your life flashes before your eyes, but - hey, I've obviously had too much coffee and all - here's my sister Laurel to pick us up. Thanks, though. Bye.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( amused . )<\/parenthetical>\n    <dialogue>Dorothy. Ray. A pleasure.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>One - two.<\/dialogue>\n    <scene_description>Jerry lets Ray down easy . The kid is a little disappointed . But Maguire bows , always courtly , and exits to get his bag . He then realizes something amiss and returns quickly , pulling Ray 's hand up again and completing the swing .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>three, swing.<\/dialogue>\n    <scene_description>Ray is now happy , in love even , as Jerry exits . Dorothy laughs , as her sister arrives . LAUREL BOYD is 36 . No make - up , no bullshit . Laurel has a pin on her sweater , which catches on dorothy 's shirt as they hug .<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Come on, I'm double - parked.<\/dialogue>\n    <scene_description>Dorothy returns to the world of motherhood , bending down , gathering Ray 's toys . She wipes at Ray 's hair . -LRB- `` Do n't put food in your hair . '' -RRB- She is surprised that she 's a little jazzed from her encounter with Jerry Maguire . She ca n't help but look back at Jerry , who catches her looking . He salutes her , with mock circumstance . She returns it with a guilty smile . He disappears , and she finds herself oddly short of breath .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <parenthetical>( to herself . )<\/parenthetical>\n    <dialogue>Hmmph. Whoever snagged him must be some classy babe -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AVERY'S BEDROOM -- NIGHT<\/stage_direction>\n    <scene_description>AVERY BISHOR , 29 , makes love to Jerry Maguire at fever pitch . They are standing on the bed , which is in the corner .<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>Do n't ever stop fucking me!<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Sooner. or later. I'll have to stop.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Oh Gawd, oh yes, it's never been better. Never BETTER!<\/dialogue>\n    <scene_description>Nearby , a large and sleepy German Shepard yawns .<\/scene_description>\n    <character>AVERY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Never BETTER!<\/dialogue>\n    <scene_description>The dog snaps awake , a little shook . Avery suddenly yanks away . Breathing hard , she just looks at Jerry . Sex is a very serious business with Avery .<\/scene_description>\n    <character>AVERY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Open your eyes.<\/dialogue>\n    <parenthetical>( he does . )<\/parenthetical>\n    <dialogue>If you ever want me to be with another woman for you, I would do it. I'm not interested in it. There was a time, yes, it felt normal for me, but it was a phase, a college thing, like torn Levi's or law school for you. people change, but if you ever feel like being adventurous in that way, I would do it for you. You want anything from the kitchen I'm going to get some fruit -<\/dialogue>\n    <scene_description>She skips off like a colt . Jerry digests what he 's just been told .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( to the next room . )<\/parenthetical>\n    <dialogue>You know. I do n't think we need to do the thing where we tell each other everything!<\/dialogue>\n    <character>AVERY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>Jerry, this is what intimacy is!<\/dialogue>\n    <scene_description>Jerry rubs his face , as he does often when processing complex information .<\/scene_description>\n    <character>AVERY<\/character>\n    <parenthetical>( 0.5 . )<\/parenthetical>\n    <dialogue>Oh - do n't forget tomorrow we have dinner with Wade Cooksey.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( 0.5 . )<\/parenthetical>\n    <dialogue>I know about the bachelor party.<\/dialogue>\n    <scene_description>Avery returns . Her robo body , half - lit now in the hallway , is a glorious life - long project .<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>Who told you?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>One of the accountants.<\/dialogue>\n    <scene_description>She makes a pissed - off sound . She then walks over , taking his shoulders and bending them forward . She is an expert at body manipulation , loosening him as she talks .<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>Jerry. Your buddy Dooler worked his ass off to make you a tribute film. All those guys from the office are coming. Everybody loves you. Just calm down, relax, act surprised, and have an amazing time. And you'll never guess who narrates your bachelor movie.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FANCY HOTEL SUITE -- NIGHT<\/stage_direction>\n    <scene_description>Jerry enters the hotel suite and over - acts surprise . He falls down , clutching his heart , feigning an attack . He looks around for a bigger reaction than he actually gets . THE FILM - SHOWN ON BIG - SCREEN T.V. . It is hosted by MICHAEL JORDAN .<\/scene_description>\n    <character>MICHAEL JORDAN<\/character>\n    <dialogue>I have often wondered where my career would have been had Jerry Maguire been my agent. The answer - Yugoslavia.<\/dialogue>\n    <scene_description>Tepid laughs , as many of the agents turn and grab furtive looks at Maguire , who stands at the back of the room with his friend BILL DOOLER . Dooler , husky , 30 , looks like a beatnik on steroids .<\/scene_description>\n    <character>DOOLER<\/character>\n    <dialogue>You hear those courtesy laughs, Jerry? There is a seething wrongness at the edges of this party.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Oh come on -<\/dialogue>\n    <character>DOOLER<\/character>\n    <dialogue>This is fuckin Michael Jordan, man! They should be screaming.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( eying crowd . )<\/parenthetical>\n    <dialogue>You're imagining it.<\/dialogue>\n    <scene_description>They are joined by unctuous agent Bob Sugar . Sugar is a Maguire wannabee . Puts an arm on Jerry 's shoulder .<\/scene_description>\n    <character>SUGAR<\/character>\n    <dialogue>We still having lunch tomorrow, Jerry? Looks like Carl Denton tested positive for marijuana. That moves Cush solidly up to numero uno in the draft.<\/dialogue>\n    <character>DOOLER<\/character>\n    <dialogue>Oh, that'll really help this party! Let's all talk business!<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Dooler, you know Bob Sugar.<\/dialogue>\n    <character>SUGAR<\/character>\n    <parenthetical>( smoothly . )<\/parenthetical>\n    <dialogue>The best commercial director in the business. I hail you.<\/dialogue>\n    <character>DOOLER<\/character>\n    <dialogue>Sorry I yelled. You have exquisite taste.<\/dialogue>\n    <character>SUGAR<\/character>\n    <dialogue>Everybody's having a great time. You're both nuts - the movie's great.<\/dialogue>\n    <scene_description>Sugar moves on , cheerfully .<\/scene_description>\n    <character>DOOLER<\/character>\n    <dialogue>I like that guy.<\/dialogue>\n    <scene_description>-LRB- The movie , which plays simultaneously with the conversation , is a Hi - 8 confessional of Jerry 's former girlfriends . MICHAEL JORDAN is cut into this , nodding , as if he were actually interviewing . The effect is funny , but the confessions are brutally honest . There is The One He Was Too Good For , The One He Was n't Good Enough For -LRB- `` He hated being alone . '' -RRB- The Still in Love Girlfriend , The Punk Rock girlfriend -LRB- `` Sports makes me ill '' -RRB- , The Now Married With Kids Girlfriend , The Cynical Girlfriend -LRB- `` Beneath the cute exterior , more cute exterior . '' -RRB- The Purely Sexual Girlfriend , The Brainy Girlfriend , -LRB- `` Great at friendship , bad at intimacy '' -RRB- and even the Girlfriend Who Does A Great Jerry Imitation -LRB- rubbing her face , she does a flawless Jerry - on - his - way - to - the - airport -RRB- . All seem to agree on some basic points -LRB- and if necessary maybe Jordan narrates the following information to underscore it . -RRB- Jerry always has a girlfriend , and many met him on the first day he 'd broken up with the last one . The relationship always competes with his job , and the job always wins . The final confrontation happens somewhere around the 18 - month mark . Sequence ends with Avery in character , wielding a blowtorch , threatening to burn all these old phone numbers . -RRB-<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( wounded good sport . )<\/parenthetical>\n    <dialogue>. this is. uh. too funny.<\/dialogue>\n    <character>DOOLER<\/character>\n    <dialogue>They ai n't laughing, man. Something's wrong.<\/dialogue>\n    <scene_description>Jerry nods , takes a swig of beer . He knows the response is little more than polite . None of the other agents can keep eye contact with him . Dooler is right . On the screen , the finale features a good - humored collage of Jerry photos , cut to music .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMI OFFICE -- DAY<\/stage_direction>\n    <scene_description>Elevator doors open . Maguire is now paranoid . He walks through the buzzing SMI headquarters , heading for his corner office . He is like an FBI man searching treetops and corners for the Gunman . Everywhere he looks is a potential Grassy Knoll . He passes Fellow Agents , always smiling , giving a word of encouragement to an Agent having an emotional hallway conversation with an Athlete , even bends down to check the sheet of slides being approved by a very large but seated Basketball Player . Moving forward . There is trouble in the air , but only he seems to sense it . He turns corner and is met by assistant WENDY , who hands him a long list of calls . The sheet flaps against his leg as she moves with him toward his back office .<\/scene_description>\n    <character>WENDY<\/character>\n    <parenthetical>( as in ` get ready ' . )<\/parenthetical>\n    <dialogue>Marcee's here. She's already in your office.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Thanks, Wendy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JERRY MAGUIRE'S OFFICE -- DAY<\/stage_direction>\n    <scene_description>Jerry enters his corner office overlooking both the shiny waters of Newport Beach and a large mall parking lot . Already standing , reading the mail on his desk is lively MARCEE TIDWELL , 25 . African - American , gorgeous , a heat - seeking smartbomb . She is also five months pregnant .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Marcee. How's my favorite player's wife?<\/dialogue>\n    <character>MARCEE<\/character>\n    <dialogue>Jerry, Rod is very very upset. Tyson, no!<\/dialogue>\n    <scene_description>Across the room , 4 year - old menace TYSON ceases trying to pry a plexiglass case off the wall .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Tyson, hello.<\/dialogue>\n    <scene_description>Tyson just stares at Jerry . Jerry has little luck with kids . He gives Marcee a quick peck and heads for the fridge . He grabs a two - pint bottle of orange Gatorade - another habit - and sits down at his desk . He slips into crisis mode like an old shirt .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>How can I make your life better?<\/dialogue>\n    <character>MARCEE<\/character>\n    <dialogue>I know you say to take the Arizona offer, but my husband needs more recognition. He is the biggest, fastest, raddest wide - receiver in the league. Now I do n't know what you do for your four - percent<\/dialogue>\n    <scene_description>- The door opens , Bob Sugar pokes his head in .<\/scene_description>\n    <character>SUGAR<\/character>\n    <dialogue>Cronin's okay for lunch?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Marcee - this is one of our agents. This is Bob Sugar, who needs to learn to knock.<\/dialogue>\n    <character>SUGAR<\/character>\n    <dialogue>Pleasure.<\/dialogue>\n    <character>MARCEE<\/character>\n    <dialogue>You've called our house, right?<\/dialogue>\n    <character>SUGAR<\/character>\n    <dialogue>Sorry to interrupt you guys.<\/dialogue>\n    <scene_description>Sugar exits . Marcee resumes at the exact point , at the exact level of intensity .<\/scene_description>\n    <character>MARCEE<\/character>\n    <dialogue>Now I do n't know what you do for your five - percent, but this man, my husband has a whole plan, an image. we majored in marketing, Jerry, and when you put him in a Waterbed Warehouse commercial, excuse me, you are making him common. He is pure gold and you're giving him `` Waterbed Warehouse'' when he deserves the big four - shoe, car, clothing - line, soft - drink. The four jewels of the celebrity endorsement dollar.<\/dialogue>\n    <scene_description>Jerry finds himself admiring her drive , and she commands the best in him . The desk buzzes , and Jerry ignores it .<\/scene_description>\n    <character>MARCEE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>You gon na get that -<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Not a chance.<\/dialogue>\n    <scene_description>She smiles .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Marcee, things are changing around here. You and Rod will have my total personal attention.<\/dialogue>\n    <character>MARCEE<\/character>\n    <parenthetical>( upping the ante . )<\/parenthetical>\n    <dialogue>Damn right, and you can start by taking Rod's poster and putting it where people can see it!<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( it 's infectious . )<\/parenthetical>\n    <dialogue>Damn right.<\/dialogue>\n    <scene_description>He climbs up on the edge of his sofa , and reaches for the poster with his hanging device . True to Marcee 's complaint , the poster hangs in the upper Siberian region of his wall .<\/scene_description>\n    <character>MARCEE<\/character>\n    <dialogue>Look at that handsome man, trying to build a life up there by the air - conditioner. We're coming to get ya, darlin! We are so close to having it all!<\/dialogue>\n    <scene_description>ON THE POSTER - CLOSE It is the kind of poster that is strictly the domain of second - tier players . Commanding wide - receiver ROD TIDWELL , 27 , stands shirtless , hands on hips , looking vaguelyl uncomfortable . Emplazoned above his head : IN ROD WE TRUST . Elsewhere in the room , we hear the inevitable crash -LRB- `` Tyson ! '' -RRB- .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CRONIN'S GRILL -- AFTERNOON<\/stage_direction>\n    <scene_description>Crowded outdoor restaurant in the business district . Jerry sits down opposite Bob Sugar , still making a few notes .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Gim me a second here. Tidwell. Arizona contract. new glass cabinet.<\/dialogue>\n    <character>SUGAR<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( looking up . )<\/parenthetical>\n    <dialogue>I'm fine. What's up?<\/dialogue>\n    <character>SUGAR<\/character>\n    <dialogue>I came here to let you go.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Pardon me?<\/dialogue>\n    <character>SUGAR<\/character>\n    <dialogue>Came here to fire you, Jerry.<\/dialogue>\n    <scene_description>For a long moment there is only silence . They study each other . These are two smart boys , each one anticipating the other 's next three or four moves .<\/scene_description>\n    <character>SUGAR<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>It's real, Jerry. You. you should say something.<\/dialogue>\n    <scene_description>Suddenly he 's flushed , a little embarrassed .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Aw shit. the crowded restaurant. so there's no scene.<\/dialogue>\n    <character>SUGAR<\/character>\n    <dialogue>I know. It sucks. I suck.<\/dialogue>\n    <scene_description>In a back room , the waiters are singing the restaurant 's `` Birthday Song '' to someone else . Jerry is dying .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>You.<\/dialogue>\n    <character>SUGAR<\/character>\n    <parenthetical>( razor sharp . )<\/parenthetical>\n    <dialogue>You did this to yourself. You said `` fewer clients.'' You put it all on paper. Scully was very upset. Heart attacks make some people sweeter, but not him. You did this to yourself -<\/dialogue>\n    <scene_description>Jerry 's mouth opens to finish his sentence , but before he can speak , Sugar continues .<\/scene_description>\n    <character>SUGAR<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>- although I do got ta hand it to you. For about five minutes you had everyone applauding smaller revenues.<\/dialogue>\n    <scene_description>Quietly , Maguire finishes the sentence he started earlier .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>You. ungrateful. unctuous.<\/dialogue>\n    <character>SUGAR<\/character>\n    <parenthetical>( unctuous . )<\/parenthetical>\n    <dialogue>. dick?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Dick.<\/dialogue>\n    <scene_description>Maguire reaches for water . The sound of the ice cubes jangling is suddenly very loud to him . He is drowning .<\/scene_description>\n    <character>SUGAR<\/character>\n    <dialogue>Give me a little credit for doing this face - to - face! What I went through knowing I was going to do this to my mentor! Can you get past yourself for a second?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>You'll lose.<\/dialogue>\n    <character>SUGAR<\/character>\n    <parenthetical>( musically . )<\/parenthetical>\n    <dialogue>You wanted smaller.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I'm over it. Now I want all my clients and yours too.<\/dialogue>\n    <character>SUGAR<\/character>\n    <dialogue>Jerry -<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>- and I'll get'em.<\/dialogue>\n    <character>SUGAR<\/character>\n    <parenthetical>( patronizing . )<\/parenthetical>\n    <dialogue>You'll always be my hero, Jerry. Always always always. We're bringing other elements in, we're focusing on endorsements - it's not about handholding anymore. We're no longer babysitters -<\/dialogue>\n    <scene_description>Jerry fights the desire to use his fists . Hangs onto the table . He 's starting to freak out now . Trying to calm down . Sugar 's mouth keeps moving , but we hear the music in Jerry 's mind . Rising percussive music .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET -- DAY<\/stage_direction>\n    <scene_description>Jerry tries to move briskly down the street , through the lunchtime businessmen traffic . Back to the office .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CRONIN'S -- DAY<\/stage_direction>\n    <scene_description>Sugar dines alone now . Casually whips out a portable phone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMI ELEVATOR -- DAY<\/stage_direction>\n    <scene_description>Jerry in the elevator , eyes wide , mind racing . Dorothy Boyd sees him , raises a hand to say hello . Decides this is not a good time .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMI OFFICE -- DAY<\/stage_direction>\n    <scene_description>Close on Maguire as he moves through the office , heading to the back office . Music<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JERRY'S OFFICE -- DAY<\/stage_direction>\n    <scene_description>Maguire rolls the fax machine over to his desk . He takes a breath , and begins to go to work . From within his bottom drawer , he withdraws a Powerbook . Then from another drawer , a phone book . And then from his inner jacket pocket , a third smaller phone book . They are lined in front of him now , as he dials .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CUSHMAN HOME\/ODESSA -- DAY<\/stage_direction>\n    <scene_description>Frank `` Cush '' Cushman picks up the phone . Today , the young football God wears a yellow scarf on his head . He 's still playing NBA Jam on his Gameboy ' as he talks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CRONIN'S -- DAY<\/stage_direction>\n    <scene_description>Sugar at the table . Chameleon - like , he adopts the personality of whomever he talks to .<\/scene_description>\n    <character>SUGAR<\/character>\n    <dialogue>Cush. Hey Dudeboy! It's Bob Sugar. Listen, I'm callin' ya first'cause you're the most important guy in sports.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JERRY'S OFFICE -- DAY<\/stage_direction>\n    <scene_description>Maguire on the telephone , fighting hard , as he feeds a fax into the machine at the same time .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Carla, right now you're paying 25 % of your endorsments to SMI, I would cut my commission by 7 %.<\/dialogue>\n    <scene_description>As he talks , he takes a stack of his Mission Statements , once proudly set on his desk , and sentences them to the bottom drawer .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET -- DAY<\/stage_direction>\n    <scene_description>Sugar strolls back to the office , talking on the portable .<\/scene_description>\n    <character>SUGAR<\/character>\n    <dialogue>You read that memo I snuck to you, the guy's tired of the job. Tired of making you money.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JERRY'S OFFICE -- DAY<\/stage_direction>\n    <scene_description>Maguire feeds a fax , types another fax on his Powerbook , all while he talks quickly on the phone .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>And when I got you that big contract in Chicago, and the fan poll in the Sun - Times was 93 % against you, who went and found you that sympathetic journalist who turned it all around, it was me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUGAR'S OFFICE -- DAY<\/stage_direction>\n    <scene_description>Several other agents working the cause behind Sugar , who breezes through the calls .<\/scene_description>\n    <character>SUGAR<\/character>\n    <dialogue>He's costing you money, Debra. he's oldschool.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JERRY'S OFFICE -- DAY<\/stage_direction>\n    <scene_description>Jerry on the toilet . Not a minute to spare .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>SMI represents all three quarterbacks on your team, where's their loyalty going to be? You stay with me, I'd fight for YOU alone. You'd be my only client on that team.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUGAR'S OFFICE -- DAY<\/stage_direction>\n    <character>SUGAR<\/character>\n    <dialogue>I've got the clients. I've got the juice.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMI OFFICE -- DAY<\/stage_direction>\n    <scene_description>Dorothy walks the center hallway with some contracts . To the right and left of her are the phones are ringing . Something is amiss . She stops at the desk of fellow Accounts Exec CLEO , 32 .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <character>CLEO<\/character>\n    <parenthetical>( no big deal . )<\/parenthetical>\n    <dialogue>They fired Jerry Maguire. Did it at Cronin's.<\/dialogue>\n    <scene_description>Dorothy groans softly , as she lowers herself into her seat . She is strangely affected by the news . She scoots back on her roller chair , and looks down the hallway to Maguire 's office door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JERRY'S OFFICE -- DAY<\/stage_direction>\n    <scene_description>The pace has accelerated .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>- personal attention -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUGAR'S OFFICE -- DAY<\/stage_direction>\n    <scene_description>Sugar talks faster .<\/scene_description>\n    <character>SUGAR<\/character>\n    <dialogue>- more money, more endorsements -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JERRY'S OFFICE -- DAY<\/stage_direction>\n    <scene_description>Jerry talks faster than sugar .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>- a family of athletes -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUGAR'S OFFICE -- DAY<\/stage_direction>\n    <scene_description>Sugar talks faster than Jerry .<\/scene_description>\n    <character>SUGAR<\/character>\n    <dialogue>- the millenium, eight - hundred channels more endorsements. Think of me, think of dollars.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JERRY'S OFFICE -- DAY<\/stage_direction>\n    <scene_description>Jerry shows signs of tiring .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Kathy! Hi, it's Jerry Maguire.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REHEARSAL ROOM -- DAY<\/stage_direction>\n    <scene_description>KATHY SANDERS , 22 year - old figure skater , sits on a couch . Nearby are cardboard stand - ups , souvenirs of past endorsements . Also , the famous gold - medal shot from the Olympics . Kathy 's adoring Mom and Dad sit next to her , listening in on the extension . The Mission Statement is folded open on Dad 's lap . Kathy chokes on every other word , such is her anguish .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>I already heard from Bob Sugar. Jerry I want to cry for what they did to you at SMI. You helped me win that gold at the Olympics, we have history, and. oh Jerry. if we were n't in the middle of the Accura deal, you know I'd go with you!<\/dialogue>\n    <parenthetical>( starts to break down . )<\/parenthetical>\n    <dialogue>Oh Jerry, oh God.<\/dialogue>\n    <scene_description>There is a click on the line . She is pained and outraged .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>. Call Waiting. who could be calling me now?<\/dialogue>\n    <scene_description>She clicks the phone once . Her voice is suddenly cheery .<\/scene_description>\n    <character>KATHY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Hiyee.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JERRY'S OFFICE<\/stage_direction>\n    <character>JERRY<\/character>\n    <dialogue>Still me, Kathy.<\/dialogue>\n    <scene_description>She instantly starts `` crying '' again .<\/scene_description>\n    <character>KATHY<\/character>\n    <dialogue>Ohhhhhhhh.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUGAR'S OFFICE -- DUSK<\/stage_direction>\n    <scene_description>Sugar crosses off another name on his list .<\/scene_description>\n    <character>SUGAR<\/character>\n    <dialogue>It's not show `` friends''. It's show business.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JERRY'S OFFICE -- DUSK<\/stage_direction>\n    <scene_description>Jerry on the phone . It 's getting harder to crank it up .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Rod! How ya doing? Jerry Maguire.<\/dialogue>\n    <scene_description>INTERCUT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TIDWELL KITCHEN\/HOUSE -- DAY<\/stage_direction>\n    <scene_description>ROD TIDWELL , 27 , begins this conversation in the kitchen . He is a powerful physical presence , and he holds a hot new cellular phone . He fixes young son Tyson a bowl of cereal as he talks . In the background , monitoring the crisis is Marcee Tidwell .<\/scene_description>\n    <character>ROD TIDWELL<\/character>\n    <dialogue>`` How am I doing?'' I'll tell you. I'm sweatin, dude! That's how I'm `` doin.'' I'm sweatin my contract. I'm sweatin' Bob Sugar calling and telling me I'm blowing the big endorsements if I stay with you. I'm sweatin'. You hear what I'm saying?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I hear what you're saying.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>No. I hear that you hear what I'm saying. But do you hear what I'm saying?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUGAR'S OFFICE -- SAME TIME<\/stage_direction>\n    <scene_description>Sugar works off a wristwatch . He spends no longer than three minutes on each call .<\/scene_description>\n    <character>SUGAR<\/character>\n    <dialogue>I'll bet he has n't even called you yet, right Jennifer? Wait, I need to cough.<\/dialogue>\n    <scene_description>He covers the phone , as another agent hands him a cellular with another call on it .<\/scene_description>\n    <character>SUGAR<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Hi, Ben, it's Sugar, hold on a second, have you heard from Maguire? You have n't? Well, that tells you a lot. Hold on, got ta cough.<\/dialogue>\n    <scene_description>Back to the other call .<\/scene_description>\n    <character>SUGAR<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>So Jennifer.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JERRY'S OFFICE<\/stage_direction>\n    <scene_description>Jerry is still on the same Tidwell call . Looking at his watch .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>Alright, we're just getting started on my list of things you need to know. Take notes if you want to.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( dying . )<\/parenthetical>\n    <dialogue>Okay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TIDWELL HALLWAY -- NIGHT<\/stage_direction>\n    <scene_description>Tidwell walks down the hallway , past clippings and citations from his career . Marcee follows , always listening .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>Good,'cause see, I am a valuable commodity. I go across the middle. I see the ball and a dude coming right at me, wanting to kill me, I tell my brain `` get killed, catch the ball.'' That's New York Steak, baby. Rare. And yet, nobody's giving me LOVE. Nobody's giving me PROPS. Nobody. I went to Arizona State, I'm from Arizona, I break Arizona records, I'm a Sun Devil, man!<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Now you want Arizona dollars.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Exactly. And I'm sitting here with an ant problem, look! And my brother Tee Pee's room is flooded with water. Say hello to Jerry Maguire -<\/dialogue>\n    <scene_description>We meet the messy - haired and slightly overweight brother of Tidwell , TEE PEE , 24 . Tee Pee , who lives free of charge in Rod 's house , is a nakedly jealous and more political version of his brother . He says into the phone :<\/scene_description>\n    <character>TEE PEE<\/character>\n    <dialogue>Hello Jerry Maguire.<\/dialogue>\n    <scene_description>Tidwell takes the phone back , and continues through the house , with Tee Pee now following the procession of family monitoring the important call .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>- the house is fallin' apart, we do n't even know where we're gon na live in a year, and I'm supposed to be a `` superstar,'' man! Are you catching my flow, here?<\/dialogue>\n    <scene_description>Jerry looks at his watch . Doomed .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I need a decision from you, Rod.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUGAR'S OFFICE -- NIGHT<\/stage_direction>\n    <scene_description>Sugar has three phones going .<\/scene_description>\n    <character>SUGAR<\/character>\n    <dialogue>Killer, Steve, good decision.<\/dialogue>\n    <parenthetical>( next call . )<\/parenthetical>\n    <dialogue>So it's yes, right? Excellente.<\/dialogue>\n    <parenthetical>( next call . )<\/parenthetical>\n    <dialogue>Tell me it's yes. yes? YES!<\/dialogue>\n    <scene_description>Tidwell enters bedroom . Marcee , Tyson and Tee Pee in tow .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>- now to recap, I want to stay in Arizona, I want my new contract, I like you, you're nice to my wife, I will stay with you, that's what I'm doing for you, but here's what you're gon na do for me. You listening?<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( dying . )<\/parenthetical>\n    <dialogue>Mmm. Hmm.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>It's a very personal, very important thing. It's a family motto. So I want to share it with you. You ready?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Here it is. `` Show me the money.''<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Show. Me. The. Money.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I got it.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Now does n't that just make you feel good to say it? Say it with me.<\/dialogue>\n    <scene_description>The lights have gone down in the city , and he has n't had a chance to turn his own light on . He sits in the oncoming darkness , watching the blinking white lights on the phone bank on the desk .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Show. Me. The. Money.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Congratulations. You're still my agent.<\/dialogue>\n    <scene_description>Tidwell hangs up . Feeling good about the decision , he enters his closet and adds today 's shoes to an enormous shoe collection . Nearby , Tee Pee shakes his head .<\/scene_description>\n    <character>TEE PEE<\/character>\n    <dialogue>An African - American man running with a little ball, working for white owners and white agents. It's the iconography of rascism.<\/dialogue>\n    <parenthetical>( off Tidwell 's dismissive look . )<\/parenthetical>\n    <dialogue>. but I woulda stayed at the bigger company.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUGAR'S OFFICE -- DAY<\/stage_direction>\n    <scene_description>Sugar crosses the last call off his sheet , and throws himself on the sofa . He lands in reclining mode with a soft pooof . The younger turks watch their new leader . Victory is his .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JERRY'S OFFICE -- NIGHT<\/stage_direction>\n    <scene_description>Jerry stands at the door , holding some belongings . He looks back and symbolically flips the light switch off . Unfortunately he has n't realized the lights are already off . So , in his final gesture , surprising himself , he has weirdly turned the lights on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CORNER OFFICE -- NIGHT<\/stage_direction>\n    <scene_description>Bam . Jerry 's door opens . He exits his office with box . He is now in a state of advancing melancholy , slightly unhinged . Many of the other agents now try not to watch him leaving .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Well, do n't worry! I'm not going to do what you think I'm going to do, which is FLIP OUT!<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Jerry goes to a water dispenser , calming himself , and fills a small Dixie cup . Downs it and fills it again , rubbing his face .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>But let me just say, as I ease out of the office I helped build - sorry, but it's a fact -<\/dialogue>\n    <scene_description>ON DOROTHY - WATCHING from her cubicle .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>- that there is such a thing as manners. A way of treating people.<\/dialogue>\n    <scene_description>He notices the fish tank nearby . He attemps to be profound .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>These fish have manners! They have manners.<\/dialogue>\n    <scene_description>And now Jerry feels bravado , mixed with a wave of anger . Another cup of water as he finds power .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>In fact. They're coming with me! I'm starting a new company, and the fish will come with me and. you can call me sentimental.<\/dialogue>\n    <scene_description>He begins dipping into the tank , grabbing the one exotic fish that failed to escape his cup . It 's a fire - tailed Peruvian beauty . He grabs a baggie from an assistant 's desk , shakes out some crumbs , and dumps the fish inside .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing ; to fish . )<\/parenthetical>\n    <dialogue>it's okay. it's okay.<\/dialogue>\n    <scene_description>Nearby , a Xerox Repair Guy watches the human train wreck .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>But if anybody else wants to come with me, this moment will be the ground floor of something real and fun and inspiring and true in this godforsaken business and we will do it together! Who's coming with me besides. `` Flipper'' here?<\/dialogue>\n    <scene_description>But clearly even Flipper is not happy with the new arrangement . Panicked , he whips around the small baggie .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Anybody going with me?<\/dialogue>\n    <scene_description>Silence , someone coughs , as agents and office personnel look on with equal parts pity and embarrassment . Jerry downs another small cup of water . His lid is blowing off with each second .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Wendy? Shall we?<\/dialogue>\n    <scene_description>Assistant Wendy looks at Maguire . Painfully polite :<\/scene_description>\n    <character>WENDY<\/character>\n    <dialogue>I'm three months away from the pay increase, Jerry. I have to, uh. you know, stay.<\/dialogue>\n    <scene_description>Jerry absorbs the blow , and takes the keys from the top of her desk . She ca n't look at him . Jerry stands alone , the blue Mission Statement on Wendy 's desk sits accusingly in frame . There is only silence now , the loudest kind .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Okay, anybody else?<\/dialogue>\n    <scene_description>ON DOROTHY She looks around . Does n't anybody believe in the very thing they were applauding three days ago ? She has an odd reaction , a muscle twitch of the soul . Before she knows it , she stands boldly , unfortunately knocking a cup of coffee onto herself in the process .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>I'll go with you.<\/dialogue>\n    <parenthetical>( quietly , on her coffee mess . )<\/parenthetical>\n    <dialogue>Wonderful.<\/dialogue>\n    <scene_description>She dabs at her pants . Next to her , Cleo looks on sadly . ON JERRY halfway across the office .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Dorothy Boyd! Thank you!<\/dialogue>\n    <scene_description>She gathers her things , increasingly aware of what she 's done .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>We will see you all again. Sleep tight!<\/dialogue>\n    <scene_description>He walks to Dorothy , and together they exit down the hallway corridor , past the framed posters and awards . WIDE - SHOT rising over the huge office . For the first time , we see the full expanse of the huge SMI headquarters . And down in the corner of the frame , two small figures leave carrying boxes .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( to Dorothy . )<\/parenthetical>\n    <dialogue>Let's see how they do without us.<\/dialogue>\n    <scene_description>A beat of silence , then noise returns to its normal commercial roar . A couple of fleas have been swatted off the carcass of an immense beast .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR -- NIGHT<\/stage_direction>\n    <scene_description>The tragic - sounding beep of the elevator passing floors . Jerry Maguire stands with Dorothy , both still charged with adrenalin . And then the first pangs of dread . There is silence . The elevator stops . A young , amorous Couple enters . Both are about 24 , and the Guy presses a number five flights down . In a moment , we realize they are deaf . They sign to each other , murmuring noises of love . And then the Guy signs something , obviously powerful , because the Girl emits a delighted gasp , as does Dorothy . The Couple are truly in their own world . They kiss before exiting on their floor . And suddenly the elevator seems empty without them .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Wonder what he said.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>My favorite aunt is hearing impaired. He said `` you complete me.''<\/dialogue>\n    <scene_description>They continue on in silence .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUILDING LOBBY -- NIGHT<\/stage_direction>\n    <scene_description>Jerry and Dorothy pass through another office 's party . Loud music . It 's a pre - Easter party thrown for the building employees and their children . Jerry and Dorothy squeeze through with boxes and fish .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SMI PARKING LOT -- NIGHT<\/stage_direction>\n    <scene_description>Jerry and Dorothy walk to their cars . Music in distance .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>So I know this is a bad time, but - you will have a medical program, right?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Sure. Yes. Medical, I do n't know.<\/dialogue>\n    <scene_description>He spaces out for a moment . Awkwardly , she touches him briefly .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>And I guess we did n't talk about money. So, I'll just dive in -<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Give me your number. I'll call tomorrow. I'm just a little. I'm a little insane right now.<\/dialogue>\n    <parenthetical>( off her look . )<\/parenthetical>\n    <dialogue>But it's going to be great.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>No no, I know -<\/dialogue>\n    <scene_description>They arrive at her red Camry . She writes her number on the back of a business card .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>But I mean really. wonderfully.<\/dialogue>\n    <parenthetical>( out of steam . )<\/parenthetical>\n    <dialogue>great.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <parenthetical>( unsure . )<\/parenthetical>\n    <dialogue>Absolutely.<\/dialogue>\n    <scene_description>She climbs into her car , rolls down the window .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>And when you think about what you've done later, do n't panic.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Me? No. My sister - it's a good bet.<\/dialogue>\n    <scene_description>She starts the engine .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>That took guts.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Same to you.<\/dialogue>\n    <scene_description>She salutes him as she drives off . His own move , played back to him . Camera moves away from Jerry , as he stands alone in the parking lot . Salutes her in return . Herb Alpert . `` The Lonely Bull . '' Stripped of power , his once mighty theme now seems puny . FADE TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOROTHY'S HOME -- NIGHT<\/stage_direction>\n    <scene_description>Lights glow inside this small - but - cozy home on a side street in Manhattan Beach . Windows open . The sound of women 's voices .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM -- NIGHT<\/stage_direction>\n    <scene_description>A living room filled with ten earnest , talkative Divorced Women . This is their talk group . We meet JAN , 30 , who speaks shyly , thoughtfully , covering her braces often as she speaks . She holds a too - full glass of red wine . -LRB- Much of the talk in this Women 's Group will be improved by our cast of actresses -RRB-<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>I love men. I respect men. But that does n't change the fact that most of them belong in cages.<\/dialogue>\n    <scene_description>The other nine women nod with deep understanding .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN -- NIGHT<\/stage_direction>\n    <scene_description>Dorothy does the dishes . Across the room , Laurel has her nightly cigarette , blowing smoke out the window . She is a no - frills woman . She has some time ago shut off those aspects of her life spent pursuing the opposite sex . They are in mid - argument .<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>What about medical?<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Of course, medical!<\/dialogue>\n    <character>LAUREL<\/character>\n    <parenthetical>( unconvinced . )<\/parenthetical>\n    <dialogue>You are a single mother. You have given up the right to be frivolous.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <parenthetical>( irritated . )<\/parenthetical>\n    <dialogue>If you'd read what he wrote, you would have left with him too.<\/dialogue>\n    <character>LAUREL<\/character>\n    <parenthetical>( more irritated . )<\/parenthetical>\n    <dialogue>You know how much those Well Child exams cost -<\/dialogue>\n    <character>DOROTHY<\/character>\n    <parenthetical>( overlapping . )<\/parenthetical>\n    <dialogue>Of course I know -<\/dialogue>\n    <character>LAUREL\/DOROTHY<\/character>\n    <dialogue>A hundred and fifty dollars.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>And that's just when he's well -<\/dialogue>\n    <scene_description>They talk over each other arguing for a moment and then :<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>Wait. Where is he?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>He's in the living room asleep.<\/dialogue>\n    <scene_description>Dorothy dries her hands , flicking in a hurry .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>Wonderful. Next time you lecture me, do n't leave my little boy in a room with your Divorced Women's Group.<\/dialogue>\n    <scene_description>She exits in a hurry , as Laurel throws her cigarette into the garbage disposal . She has a hard time saying this , so she says it so nobody can hear :<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Sorry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM -- NIGHT<\/stage_direction>\n    <scene_description>Ray dreams sweetly in the middle of this rockbed of Women 's Woes . Dorothy strokes his head , as she plucks him up . In frame another woman , ALICE , 50 , speaks passionately to the group .<\/scene_description>\n    <character>ALICE<\/character>\n    <dialogue>Okay I've finally, finally, gotten my anger straight here. I'm going to visualize Carl being here and finally tell him -<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Shhhh!<\/dialogue>\n    <scene_description>Dorothy exits , protectively stroking her son 's head .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Come on, buddy, we're going to bed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY-- NIGHT<\/stage_direction>\n    <scene_description>She stops for a moment , little boy in her hands . The enormity of the day arrives with a thud .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <parenthetical>( to herself . )<\/parenthetical>\n    <dialogue>What did I do?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JERRY'S CONDO -- NIGHT<\/stage_direction>\n    <scene_description>Jerry is quickly packing for a road trip . Avery looks on . They are both in a manic state .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>The power move is to go unannounced.<\/dialogue>\n    <parenthetical>( sotto . )<\/parenthetical>\n    <dialogue>Black suit, right?<\/dialogue>\n    <character>AVERY<\/character>\n    <parenthetical>( sotto . )<\/parenthetical>\n    <dialogue>And the egyptian cotton shirt that works with or without the jacket.<\/dialogue>\n    <parenthetical>( full volume . )<\/parenthetical>\n    <dialogue>Tell me again, how was it left with Cush?<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( perfect imitation . )<\/parenthetical>\n    <dialogue>`` Dad says we gwan sleep on it.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Ugh!<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( turns , with clothes . )<\/parenthetical>\n    <dialogue>Seventy - two clients. ONE stayed.<\/dialogue>\n    <parenthetical>( sotto . )<\/parenthetical>\n    <dialogue>Jacket on, tie in pocket.<\/dialogue>\n    <character>AVERY<\/character>\n    <parenthetical>( sotta . )<\/parenthetical>\n    <dialogue>Good.<\/dialogue>\n    <parenthetical>( full volume . )<\/parenthetical>\n    <dialogue>They're all heatseekers! All of them, everybody. You keep one superstar and they'll all follow. There's no real loyalty, and the first person who told me that, Jerry Maguire, was you.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I think I was trying to sleep with you at the time.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Well, it worked, and I will not let you fail. You are Jerry Ma - fuckin - guire.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>That's right.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>King of the Housecalls! Master of the Living Room!<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Okay, this is working.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>You are not a loser.<\/dialogue>\n    <scene_description>Jerry stops , turns . The way she says `` loser '' is the most elegant of disses . She wraps her lips around it like a cheap hot dog .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Who said anything about `` loser?'' Where do you get this word `` loser?''<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>I'm sorry. I was on a roll. I meant something else. When do you want to leave?<\/dialogue>\n    <scene_description>Jerry zips his brown travel bag shut . He is packed and ready .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Now.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Let's go. I'll drive you.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( stops , an odd thought . )<\/parenthetical>\n    <dialogue>What if I do n't get him?<\/dialogue>\n    <scene_description>Avery takes his bag , heads for the door .<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>Function function function. Forward motion is everything. Cush saves all.<\/dialogue>\n    <scene_description>Jerry takes a breath , exits . Music . AIRPLANE WHEELS folding up . Music continues .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RENT-A-CAR -- MORNING<\/stage_direction>\n    <scene_description>Jerry drives the bumpiest Texas backroad ever . Music continues .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CUSHMAN DOOR -- DAY<\/stage_direction>\n    <scene_description>Jerry exits car . Adjusts the jacket . Takes the tie off too , returns to the car and tosses it inside . He walks to the front door with purpose . Suddenly an intercom crackles , jolting him with a booming and cheerful voice :<\/scene_description>\n    <character>MATT CUSHMAN'S VOICE<\/character>\n    <dialogue>No sports agents allowed! Ha ha.<\/dialogue>\n    <scene_description>Jerry spots the small electronic camera pointed at him from the upper - corner of this rustic home . The door buzzes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CUSHMAN HALLWAY\/DEN -- DAY<\/stage_direction>\n    <scene_description>Jerry follows the voice down a hallway loaded with Cush memorabilia . Righteous indignation building .<\/scene_description>\n    <character>MATT CUSHMAN'S VOICE<\/character>\n    <dialogue>I'm in the back den, Jerry.<\/dialogue>\n    <scene_description>He moves into the den , finding MATT CUSHMAN , 40 , who stands at the living room bar . Two framed game jerseys on the wall . A large draped American flag above the bar . He is a J. Crew cowboy .<\/scene_description>\n    <character>MATT<\/character>\n    <dialogue>You like a Bloody Beer, Jerry? Beer and tomato juice -<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>No thanks.<\/dialogue>\n    <scene_description>Maguire takes a breath , and sharply begins his pitch .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Matt, I came here because in all honesty your son is just another piece of cattle to SMI. But to me -<\/dialogue>\n    <character>MATT<\/character>\n    <parenthetical>( overlapping . )<\/parenthetical>\n    <dialogue>We decided to stay with you.<\/dialogue>\n    <scene_description>On pure instinct , he hugs Matt Cushman . The move surprises them both . And somewhere out of nowhere , come a few surprising tears of relief . He has been spared .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Oh, thank you.<\/dialogue>\n    <character>MATT<\/character>\n    <dialogue>Told myself - if he shows up, we'll stick with him.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>You know, I'm not a hugger and yet. I ca n't let go.<\/dialogue>\n    <scene_description>Matt laughs , as Cush lopes in from the kitchen . Little brother KEITH , 14 , enters with him .<\/scene_description>\n    <character>CUSH<\/character>\n    <dialogue>Hey, Jerry, what's been going on?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEN -- LATER DAY -- HANDHELD<\/stage_direction>\n    <scene_description>Cush , Matt and Jerry brainstorm around the ceremonial `` wagon - wheel table '' where decisions are made in this house . Jerry is giddy , charged up , a part of the human race again .<\/scene_description>\n    <character>MATT<\/character>\n    <dialogue>I want him to go number one in the draft, and I want him to play.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>It's either going to be Denver or San Diego trading up to take him.<\/dialogue>\n    <character>CUSH<\/character>\n    <parenthetical>( big grin . )<\/parenthetical>\n    <dialogue>Hell, I'll either surf or ski. I do n't care.<\/dialogue>\n    <character>MATT<\/character>\n    <dialogue>Denver is where he should be.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I'll give it everything.<\/dialogue>\n    <character>MATT<\/character>\n    <dialogue>You know I do n't do `` contracts.'' But ` cha do have my word, and it's stronger than oak.<\/dialogue>\n    <scene_description>Jerry toasts Matt with a bloody beer . A good day .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RENT-A-CAR\/TEXAS -- DAY<\/stage_direction>\n    <scene_description>Jerry drives back on the same bumpy road . On the radio , it 's the Rolling Stones . He wants to sing along . He thinks he knows the words , but .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( sings . )<\/parenthetical>\n    <dialogue>Feelin.<\/dialogue>\n    <scene_description>He realizes he does n't know the words at all . He switches channels . Finds a Rush song , with ornate lyrics . No one will ever know what the words are . He switches again and finds `` Let 's Groove Tonight '' by Earth , Wind and Fire . Excellent . He begins singing nonsense noises , passionately . Switches again . All he wants is to sing along with a song he knows . Finally he finds Tom Petty and the Heartbreakers ' `` Refugee . '' He drives through the countryside , singing the call and response of the song , like a happy idiot .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DALLAS\/FT. WORTH AIRPORT -- DAY<\/stage_direction>\n    <scene_description>Jerry turns into shot . He 's on the pay - phone . He 's jacked .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Dorothy? Jerry Maguire! Is Avery there? Where can I reach her?<\/dialogue>\n    <scene_description>INTERCUT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHY\/LAUREL'S HOUSE -- DAY<\/stage_direction>\n    <scene_description>Dorothy is at her home work desk . Curious and nervous about the new arrangement .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>Uh, she had to fly to Atlanta, did n't leave me her hotel number.<\/dialogue>\n    <scene_description>Through the back kitchen door comes CHAD THE NANNY , 29 , red hair cropped above the ear . Baggy overalls . Slipping through life with little turbulence . He 's with Ray , who holds pieces of wood and a hammer .<\/scene_description>\n    <character>CHAD<\/character>\n    <dialogue>The new playhouse rocks, Dotty.<\/dialogue>\n    <character>RAY<\/character>\n    <parenthetical>( jumping . )<\/parenthetical>\n    <dialogue>Yeah!<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Honey - later, okay?<\/dialogue>\n    <parenthetical>( Ray jumps on her . )<\/parenthetical>\n    <dialogue>Whoop. Wait.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>DOROTHY<\/character>\n    <parenthetical>( back to phone . )<\/parenthetical>\n    <dialogue>Sorry, that's my son and the nanny. I had the calls transferred to my home so I could go over your stuff.<\/dialogue>\n    <scene_description>Chad now notices the slight excited tone in her demeanor . He sits down nearby and listens to her talk to Maguire .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>No, that's fine. What calls came in today?<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Wait. That's yesterday, from the other office. Today is.<\/dialogue>\n    <scene_description>She flips the call record from yesterday - 150 calls - to today , which is blank .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>. light.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Shit, it's just so frustrating to not be able to talk to Avery -<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Wait a minute, it has to be one of the NFL hotels we do business with - let me look - but in the meantime, about this job -<\/dialogue>\n    <scene_description>She reaches over Ray to get to her laptop and buzzes through a list of phone numbers . Jerry ca n't help but share the qood news :<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( importantly . )<\/parenthetical>\n    <dialogue>Dorothy, let me tell you something, we are back. We are so very very back. I re - signed Cush. We're set.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>We are?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>It's all going to work.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>I just got goosebumps.<\/dialogue>\n    <scene_description>She examines her own skin with surprise .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( manic , quiet . )<\/parenthetical>\n    <dialogue>It's all going to work. We're going to save the world.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Well, I'm happy for you.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Happy for us.<\/dialogue>\n    <scene_description>Oddly , the phrase affects her physically .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>Happy for us. okay. Here's the number. 404 - 453 - 2222.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Call me later, hon.<\/dialogue>\n    <scene_description>She hangs up , and looks over to Laurel and Chad . Both of them stare at her .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Wait. Did I just say `` hon'' to him?<\/dialogue>\n    <character>CHAD<\/character>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>Yeah, Dotty. You did.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Twenty six years old. I'm already saying `` hon''. Hug your mother quickly -<\/dialogue>\n    <scene_description>Chad looks at her , something is different about Dorothy . Laurel walks away , sharing a look with Chad .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DALLAS AIRPORT -- DAY<\/stage_direction>\n    <scene_description>Jerry is now teeming with energy , professional and sexual .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Avery, I signed Cush. Again.<\/dialogue>\n    <scene_description>INTERCUT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATLANTA HOTEL SUITE -- DAY<\/stage_direction>\n    <scene_description>Avery in mid - conference with four other NFL men in background .<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>YA - HOOOO - SIE!<\/dialogue>\n    <scene_description>It is the victory call of the competitive girl , and she falls back into a chair , kicking her expensive shoes onto the bed . In the b.g. we see the hungry look of her male co - workers . Part of them lusts after her . The larger part knows she would demolish them , and pick her teeth with their bones .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I know. Sorry I threw a scare into our lives there -<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Do n't worry about it - I never told you what I thought of that memo either -<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Well, no you did n't -<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>You lost your head, it happens.<\/dialogue>\n    <parenthetical>( quickly . )<\/parenthetical>\n    <dialogue>I'm so fuckin jazzed! Listen. I'm going to have to fly to Chicago tomorrow, how ` bout if we meet in the Dallas airport and we all fly into New York together for the draft?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>It's a plan - -<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>I'll set it up with your girl. Woo! This is when it's good, Jerry. Enjoy it. Live it. Love it. And when I see you, I'm going to give you the best blow job of your life.<\/dialogue>\n    <scene_description>He hangs up , staring at the phone . In the room with Avery , the co - workers look at each other . She is far , far out of their league .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHY'S CAR -- LATER MORNING -- DRIVING<\/stage_direction>\n    <scene_description>Dorothy Boyd speeds Jerry to the airport , the electricity fills the car . On the radio , a sports station debates the future of Cushman . as Jerry whips through a stack of sports pages .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>Avery'll meet you at the B gate at 4:15. Do n't be late. Tidwell will already be there.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( nods to Ray . )<\/parenthetical>\n    <dialogue>Hey, man, you know they have big balloons built into cars?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>They do, my brother.<\/dialogue>\n    <character>RAY<\/character>\n    <parenthetical>( giggling . )<\/parenthetical>\n    <dialogue>I'm not your brother!<\/dialogue>\n    <scene_description>Dorothy continues , business on her mind .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>I put Tidwell on the same floor at the Marriott Marquis. I think it's great you're taking him to the draft. He does n't smoke, right? I have no idea.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I have no idea.<\/dialogue>\n    <parenthetical>( continuing to Ray . )<\/parenthetical>\n    <dialogue>So Ray, if there's an accident or something, it goes pwoooooooof -.<\/dialogue>\n    <parenthetical>( simulates air - bag . )<\/parenthetical>\n    <dialogue>- and you go booooong. And you're safe.<\/dialogue>\n    <scene_description>Jerry bounces against the imaginary balloon . Ray is delighted by Jerry . Dorothy notes that he 's great with her son . She pats Jerry on the shoulder . Her hand lingers perhaps a millisecond too long . She pulls away quickly , always feeling on the edge or embarrassing herself around this guy .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>Okay, have we gone over everything? Back on Tuesday, right?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Yep. Have a good time at school, Ray. Wish me luck.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Luck.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>LUCK!<\/dialogue>\n    <scene_description>Jerry nods and exits . They watch as Jerry inches into the crowded airport . Into frame , obscuring their view of Jerry , enters another Couple , who embrace each other and their small girl . It 's a genuinely sweet goodbye , and we linger on Dorothy and Ray who both watch with private fantasies of the goodbye they did n't get . Mother and son look at each other , communicating volumes . They pull back into traffic .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DALLAS AIRPORT -- DAY<\/stage_direction>\n    <scene_description>Jerry struggles through the Dallas airport , is the last , of his party to arrive at the B gate in Dallas . Avery , tall and cool in plaid skirt and shades , is in combat mode . Nearby , Cush is surrounded by fans and fawning Airline Employees . -LRB- `` Where do you think you 're gon na end up , Cush ? '' `` You gon na be rich , dude ! '' -RRB- Tidwell looks jealous and ingnored as he leans against the airline counter , unnoticed . A lone kid approaches Tidwell .<\/scene_description>\n    <character>KID<\/character>\n    <dialogue>Are you Hootie?<\/dialogue>\n    <character>TIDWELL<\/character>\n    <parenthetical>( irritated . )<\/parenthetical>\n    <dialogue>No man, I'm not Hootie.<\/dialogue>\n    <scene_description>Kid leaves disappointed . Tidwell sinks lower . Does n't anyone know his stardom , his essence , his power ?<\/scene_description>\n    <character>BOARDING ANNOUNCEMENT<\/character>\n    <dialogue>All those disabled, and Frank Cushman can board now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPLANE -- DAY<\/stage_direction>\n    <scene_description>Jerry sits next to Cushman , who is reading Bukowski 's Notes of a Dirty Old Man . Across the aisle is Tidwell , who sits next to Avery . They are a small family , and Jerry feels at home with his operation . Cush looks up suddenly .<\/scene_description>\n    <character>CUSH<\/character>\n    <parenthetical>( a big thought . )<\/parenthetical>\n    <dialogue>Jerry. Why does God sometimes reward the evil and punish the good?<\/dialogue>\n    <scene_description>Jerry shares a look with Avery , who is on the other side of Cush . Her stockings swish as she crosses her legs .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Let me think about that. Want something to drink?<\/dialogue>\n    <character>CUSH<\/character>\n    <parenthetical>( thoughtful pause . )<\/parenthetical>\n    <dialogue>I see what you're saying.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Wait. What do you mean?<\/dialogue>\n    <scene_description>The two men have now totally confused each other . Tidwell leans across the aisle to Cush , attempting comraderie .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>Hey man, I wish I had a quarterback like you in Arizona. You're the shit.<\/dialogue>\n    <scene_description>Cush looks up . Compliments blow off him like a summer breeze .<\/scene_description>\n    <character>CUSH<\/character>\n    <dialogue>Thank ya.<\/dialogue>\n    <scene_description>Tidwell waits for a compliment of his own , but Cush does n't offer one . He returns to the book . Tidwell feels slighted .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <parenthetical>( loud mumble . )<\/parenthetical>\n    <dialogue>Well you ai n't that mothafuckin good.<\/dialogue>\n    <character>CUSH<\/character>\n    <dialogue>Say what?<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>I said - last I heard, Jesus Christ was still in heaven. And you ai n't even played in the NFL.<\/dialogue>\n    <scene_description>Cush throws his book away , ready for anything , as Tidwell rises . Nearby passengers begin to panic .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>This ca n't be happening to me.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Jerry! Do something -<\/dialogue>\n    <scene_description>Jerry throws himself in front of Cushman .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>HEY. Knock it off. What are you, five years old? Am I taking the kids to Chuck E. Cheese here? Grow up, both of you! We are a family. And we go to the draft in an ORDERLY FASHION.<\/dialogue>\n    <scene_description>Beat . Jerry wonders if he 's pushed his mealtickets around too much .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>Hey, man, I dig Check E. Cheese.<\/dialogue>\n    <character>CUSH<\/character>\n    <dialogue>Me too, dude. Especially that big old singin' Elvis Monkey. That's just insanity, man.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Heard that.<\/dialogue>\n    <scene_description>Tidwell reaches over , he and Cush exchange a fingertips five . Briefly , the two clients bond . Past Tidwell , Avery smiles engagingly at Jerry . He handled the situation well . She crosses her legs , stockings swishing . The workplace excites her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARRIOTT MARQUIS -- NIGHT<\/stage_direction>\n    <scene_description>The headquarters for the NFL draft is buzzing with activity . Limo doors open and out pours Maguire and company . Media lights flick on , bathing Cush . Reporters chatter . -LRB- `` Is it San Diego or Denver , Cush ? N `` Cush ! '' -RRB- Fans at the outskirts are calling out to the young star -LRB- `` Go get the big chi - ching , Cush ! '' -RRB- Avery smoothly pulls ESPN into the front position . Telegenic Cush shrugs and smiles . -LRB- `` I 'll either surf or ski . '' -RRB- Jerry admires his fiancee . There is nothing more attractive than a person burningly efficient at their job . Shot drifts off this media bubble to find Tidwell watching at the outskirts . He turns and exits unnoticed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GIFT SHOP -- NIGHT -- LATER<\/stage_direction>\n    <scene_description>Tidwell hides out in the gift shop , thumbing through magazines . The chip on his shoulder grows by the minute . Elsewhere in the gift shop , he sees the very real and emotional scene of a young athlete and his mother . Both wear self - promoting colorful homemade t - shirts with the young athlete 's face on it . Something about them , their pure enthusiasm , rubs Tidwell in an odd way . He almost cries , for himself , for humanity , as Jerry enters . Tidwell is embarrassed to have been caught in this misty state .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>At last I find you.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <parenthetical>( sharply . )<\/parenthetical>\n    <dialogue>Why the fuck am I here? I feel like I'm five years late for the Prom.<\/dialogue>\n    <scene_description>In a look , Jerry sizes up the situation . With a hand on Tidwell 's large shoulder , he smoothly pumps up the big man 's ego .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Come on. Come with me. We're going to take a walk through this lobby. I want every media guy, every player rep, everybody to see you for what you are. The best - kept secret in the NFL. The biggest wide - receiver in the game. Let'em see ya, Rod. And Whatever you do, do n't sit down. Let'em see how big you are. You ready? Let's do it.<\/dialogue>\n    <scene_description>He is privately thrilled , but offers only :<\/scene_description>\n    <character>TIDWELL<\/character>\n    <parenthetical>( begrudgingly . )<\/parenthetical>\n    <dialogue>A'right. Let's walk.<\/dialogue>\n    <scene_description>We hear the ripping guitar explosion of The Who 's `` Magic Bus '' from Live at Leeds .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARRIOTT LOBBY -- NIGHT<\/stage_direction>\n    <scene_description>Maguire and Tidwell move through the brightly - lit lobby , past the reporters , the competing agents , the team representatives , the already blasted Jets fans , past even a Nike crew filming an NFL spot in the lobby . Portable phones everywhere , in every hand . There is a heavy white media light bathing everything - as if life had become a t.v. show , and everything within it concerned making other t.v. shows . Jerry works hard , introduces Tidwell around . And Tidwell is natural , polite and charming , as they move through the pre - draft crowd . He does not sit down . Music continues .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARRIOTT BAR -- DAY<\/stage_direction>\n    <scene_description>Tough red - headed beat reporter PATRICIA LOGAN watches Maguire and Tidwell from the opposite corner .<\/scene_description>\n    <character>PATRICIA<\/character>\n    <dialogue>Dennis, try not to laugh. Jerry Maguire brought Rod Tidwell to the draft.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARIZONA CARDINALS WAR ROOM PHOENIX) -- NIGHT<\/stage_direction>\n    <scene_description>Arizona General Manager DENNIS WILBURN , 48 , is on the phone here in the command center for the Arizona Cardinals . All around him , we see the boards and graphs for their upcoming draft selections .<\/scene_description>\n    <character>WILBURN<\/character>\n    <dialogue>Good, I hope he unloads him so I can buy a decent quarterback. Who's he talking to?<\/dialogue>\n    <character>PATRICIA<\/character>\n    <dialogue>Right now, Dallas. Ha ha.<\/dialogue>\n    <character>WILBURN<\/character>\n    <dialogue>They do n't look interested do they?<\/dialogue>\n    <character>PATRICIA<\/character>\n    <dialogue>Actually.<\/dialogue>\n    <scene_description>Wilburn looks concerned .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARRIOTT ESCALATOR -- NIGHT<\/stage_direction>\n    <scene_description>Jerry and Tidwell rise triumphantly to the mezzanine level above the bright - white lobby . Maguire looks down at the scene . He breathes in the commotion . In another twelve hours , he will be at the very epicenter with Cushman .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>I came all the way here for that? To walk the lobby?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Yeah. And it might have even worked too.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Let's do it again.<\/dialogue>\n    <scene_description>Jerry does n't respond . Down in the lobby , Jerry catches a glimpse of a familiar - looking agent . It 's Sugar . Jerry is consumed with a thousand other thoughts , but Tidwell continues talking .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>You believe they're shooting a Nike ad down there? Did I ever tell you my Nike story?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I got ta get back to Cushman.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Okay, I understand. I'll boil it down for ya. Fuck Nike. All they do is ignore me.<\/dialogue>\n    <scene_description>Jerry turns to Tidwell , finally focusing totally on him .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>You know what was great about you down there? For about five minutes, you unloaded that rather expansive, let me just say `` large'' chip that resides right there on your shoulder, and you know what? You were brilliant. Take care.<\/dialogue>\n    <scene_description>Jerry starts to exit .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>You're loving me now, are n't ya?<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( mock serious . )<\/parenthetical>\n    <dialogue>I'm not about love - I'm about `` showing you the money.''<\/dialogue>\n    <scene_description>Tidwell nods deeply , respectfully .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>Good. I was just testing ya.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>But just you saying that? Makes me love ya.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Get some sleep. See you tomorrow.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Sure you do n't want to go out and find some karoake? I'm a very good singer, man -<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Call me tomorrow.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>I might call you later!<\/dialogue>\n    <scene_description>Tidwell moves off , still feeling good about the walk . A small pack of diehard Jets fans pass , looking for autographs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CUSH'S SUITE -- NIGHT<\/stage_direction>\n    <scene_description>We glide into Frank Cushman 's suite overlooking Times Square . It 's filled with NFL swag - free t - shirts , athletic bags , sweatpants , and more . Half - finished room service food abounds . Matt , Keith and Cush 's stylish college girlfriend ANNE - LOUISE mill about the room , basking in the glow of the man of the moment . Cush , who holds a guitar in his lap , wears the odd combination of a Nirvana t - shirt and a NFL jacket . He signs for more room service and continues strumming the only song he knows on guitar , Cobain 's `` Something In The Way . '' Jerry enters on a rush of adrenalin .<\/scene_description>\n    <character>CUSH<\/character>\n    <parenthetical>( to hotel waiter . )<\/parenthetical>\n    <dialogue>Hey, what size are you?<\/dialogue>\n    <character>WAITER<\/character>\n    <dialogue>Eleven.<\/dialogue>\n    <character>CUSH<\/character>\n    <parenthetical>( grandly . )<\/parenthetical>\n    <dialogue>Why do n't you grab a couple pairs of them new Nikes by the door -<\/dialogue>\n    <scene_description>Waiter spots a very tall stack of new Nikes by the door .<\/scene_description>\n    <character>WAITER<\/character>\n    <dialogue>Dude, you're like a God.<\/dialogue>\n    <character>CUSH<\/character>\n    <parenthetical>( immediately . )<\/parenthetical>\n    <dialogue>God, you're like a dude.<\/dialogue>\n    <scene_description>It 's a great line , and the room breaks up . This is charisma , the future of the NFL . Waiter exits , as Cush continues strumming . And now Jerry speaks , importantly .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Cush, Matt - we have a decision to make.<\/dialogue>\n    <character>CUSH<\/character>\n    <dialogue>`` It's okay to eat fish,'cause they Do n't have any feelings.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Okay. San Diego just came in with a last - minute scenario. It's big.<\/dialogue>\n    <character>CUSH<\/character>\n    <dialogue>`` Something in the way. Yeah.''<\/dialogue>\n    <character>MATT<\/character>\n    <dialogue>Well, he's got ta go number one.<\/dialogue>\n    <character>CUSH<\/character>\n    <dialogue>`` Ooooooo.''<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>He still goes number one, but San Diego wants to trade up with New England - they want him bad.<\/dialogue>\n    <scene_description>Cush turns to his curiously ambivalent father , who walks to the window and looks out at the big Jumbotron with Keith .<\/scene_description>\n    <character>MATT<\/character>\n    <dialogue>What happened to Denver?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Denver got very silent about a day ago. San Diego's got a fever for Cush. This stuff tends to happen the night before a draft. People get crazy. And San Diego, you should know, is crazy to the tune of seven years for thirty. Signing bonus of eight.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Million.<\/dialogue>\n    <scene_description>Anne - Louise whistles loudly . She is instantly embarrassed , and puts a hand up . Sorry . In the next room , the phone is ringing .<\/scene_description>\n    <character>MATT<\/character>\n    <dialogue>I do n't know, Jerry.<\/dialogue>\n    <character>KEITH<\/character>\n    <dialogue>Should I unplug the phone?<\/dialogue>\n    <character>CUSH<\/character>\n    <dialogue>Reporters, Jerry. They been callin' all night.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Just be friendly and say `` no comment.''<\/dialogue>\n    <character>CUSH<\/character>\n    <dialogue>Talking and saying nothing, man, it's an art I have not mastered.<\/dialogue>\n    <scene_description>Jerry holds up a finger - watch me . Jerry picks up the ringing phone . He offers a near - perfect imitation .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>`` This is Cush.''<\/dialogue>\n    <scene_description>Suddenly , everyone is , laughing . The room lightens .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOB SUGAR'S HOTEL ROOM -- DAY<\/stage_direction>\n    <scene_description>Bob Sugar talks on his hotel phone .<\/scene_description>\n    <character>SUGAR<\/character>\n    <dialogue>It's Sugar. He must be there, right? Just sniff or something if he's there.<\/dialogue>\n    <parenthetical>( Jerry sniffs , panicked . )<\/parenthetical>\n    <dialogue>Alright, buddydude. Just remember. You're swimming with the big boys now. You let your dad do all the talking. I'm the one who got you the deal you needed. This is business not friendship. Be strong. You're global now.<\/dialogue>\n    <scene_description>Sugar hangs up .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>`` No comment.<\/dialogue>\n    <scene_description>Jerry hangs up . The room is still laughing . His head is spinning .<\/scene_description>\n    <character>KEITH<\/character>\n    <dialogue>Hey, it's Cush on the big t.v. again!<\/dialogue>\n    <character>CUSH<\/character>\n    <dialogue>Hell, I'm already sick of me. I got `` Cushlash.''<\/dialogue>\n    <scene_description>More laughs . Jerry sits across from Matt , reeling quietly . He speaks casually , directly .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Look, before I go back to Denver. I think we should put something down on paper. Something that says, `` hey, I'm with Jerry Maguire.''<\/dialogue>\n    <scene_description>He pulls out a yellow legal tablet . He scribbles a few lines , as Matt looks increasingly nervous .<\/scene_description>\n    <character>MATT<\/character>\n    <dialogue>Not right now, Jerry.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Do I know everything there is to know here?<\/dialogue>\n    <parenthetical>( silent beat . )<\/parenthetical>\n    <dialogue>You fellas are n't talking with Bob Sugar, are you?<\/dialogue>\n    <scene_description>More silence .<\/scene_description>\n    <character>MATT<\/character>\n    <dialogue>Apparently, Denver wanted to deal with him instead of you.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( quickly . )<\/parenthetical>\n    <dialogue>Said who? Sugar?<\/dialogue>\n    <character>MATT<\/character>\n    <dialogue>Hey, I'm learning as I go.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>So you empowered Bob Sugar to deal with Denver behind my back?<\/dialogue>\n    <character>MATT<\/character>\n    <dialogue>I'm sorry, I -<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I brought Denver to twenty million. Denver deals with me all the time. You listened to Sugar? You let that snake in the door.<\/dialogue>\n    <scene_description>Jerry touches the coffee table . Calms himself .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>It's okay. You want Denver. I'll fix this up. You did n't sign anything with Sugar, right?<\/dialogue>\n    <scene_description>Another rough silence is broken by little brother Keith .<\/scene_description>\n    <character>KEITH<\/character>\n    <parenthetical>( blurts . )<\/parenthetical>\n    <dialogue>Mr. Maguire, someday I'm gon na be a famous athlete and I'm gon na sign with you'.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Shut up!<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I'm sorry. sorry.<\/dialogue>\n    <character>KEITH<\/character>\n    <parenthetical>( sympathy for Jerry . )<\/parenthetical>\n    <dialogue>S' cool.<\/dialogue>\n    <scene_description>Shot moves in on Jerry .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Now. Wait. You did n't actually sign with Sugar, did you? Tell me you did n't sign.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Because I'm still sort of moved by your `` my word is stronger'n oak'' thing -<\/dialogue>\n    <character>MATT<\/character>\n    <dialogue>We signed an hour ago. You were in the lobby with the black fella.<\/dialogue>\n    <scene_description>Jerry moans . Silently , he rises and begins to gather his things . Cush hangs on to his guitar .<\/scene_description>\n    <character>CUSH<\/character>\n    <dialogue>I'm sorry, Jerry.<\/dialogue>\n    <character>MATT<\/character>\n    <dialogue>They say it's show `` business,'' Jerry, not show friends.<\/dialogue>\n    <scene_description>Jerry takes a breath before he exits . He surveys the room , settling on Cush . Visible behind Maguire is Times Square , in all it 's neon logo glory .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Well. Okay. Of course. You're twenty years old, and I'm just another guy in a suit. It's all business. It did n't work out. You did n't buy my product, which is, unfortunately, mm. Let me see, there's a speech that I'm supposed to make - right! - `` I'll be out there cheering for you.'' `` The door is always open!'' See? I'm a class act.<\/dialogue>\n    <parenthetical>( breath , directly . )<\/parenthetical>\n    <dialogue>But maybe this would have all worked, us being real human beings, coming through for each other, really, and now I'll never know. You'll never know. Were n't you curious?<\/dialogue>\n    <parenthetical>( they are n't . )<\/parenthetical>\n    <dialogue>No. Okay, well, I'll be fine. And you'll be fine. And Keith I bope you do call me.<\/dialogue>\n    <scene_description>Flushed and embarrassed , he exits . We hang a beat on the silent Cushman hotel livingroom , as Cush now continues on guitar .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY -- NIGHT<\/stage_direction>\n    <scene_description>Jerry exits elevator dazed , at full trot . The Marriott lobby is packed . He is looking for Avery . Beat reporter Patricia Logan reappears . She relishes asking brutal questions , innocently .<\/scene_description>\n    <character>PATRICIA LOGAN<\/character>\n    <dialogue>Jerry, is it true that Tidwell's had three concussions?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I'm sorry. excuse me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BALLROOM -- NIGHT<\/stage_direction>\n    <scene_description>Jerry enters the grand ballroom , looking for Avery . Endorsement placards in evidence everywhere . NFL reps and media workers move tables and work out camera and seating arrangements . Elevated in a open ESPN booth six feet off the ground , host Chris Berman records voice - overs for tomorrow 's draft . Fans heckle him by singing the ESPN theme . He rolls with it , expertly . Jerry spots Avery across the empty ballroom , moving fast , passing out media packets on the empty tables .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ADJACENT BUFFET ROOM -- NIGHT<\/stage_direction>\n    <scene_description>Jerry finally catches up with Avery in the empty side - room .<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>I just heard.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>What do I do? How do I spin this?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>Oh honey. It's spun.<\/dialogue>\n    <scene_description>She keeps moving , adding an extra snap to the packets .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>What did I do to you?<\/dialogue>\n    <scene_description>She is furious with his question . Does n't he know ?<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>It's all about you, is n't it? Soothe me, save me, love me -<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Could you just stop moving?<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>I have to finish my job -<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Everything's on the fucking run! Everything -<\/dialogue>\n    <scene_description>She stops . Walks to him , framed by a bank of t.v. monitors .<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>Jerry. You and I are salespeople. We sell -<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Look, I do n't want a -<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>It's not `` love me.'' It's not `` trust my handshake.'' It's make the sale. Get it signed. There should n't be `` confusion'' about that.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Go ahead. Jump right on into my nightmare. The water's warm.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>So honesty is outlawed here, I ca n't be honest?<\/dialogue>\n    <scene_description>She turns and exits again . He follows .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Tell you what - I'd prefer loyalty.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>What was our deal when we first got together? Brutal truth, remember?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I think you added the `` brutal.''<\/dialogue>\n    <scene_description>She stops , slaps down another media packet . Blows a troublesome piece of hair out of her face .<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>Jerry, there is a `` sensitivity'' thing that some people have. I do n't have it. I do n't cry at movies. I do n't gush over babies. I do n't start celebrating Christmas five months early, and I do n't tell a man who just screwed up both of our lives - ` oh, poor baby.' That's me. For better or worse. But I do love you.<\/dialogue>\n    <scene_description>Jerry looks at his fiancee . Standing here , watching Avery coldly clasping her media packs to her chest , she looks different to him .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Avery -<\/dialogue>\n    <scene_description>She knows what 's coming . She moves fast to avoid him .<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>Do n't say it. We're both ragged out right now.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>- stop -<\/dialogue>\n    <scene_description>She exits back into the main ballroom . For a moment , she stops . They face off . This is it . They are quickly interrupted by overweight , talk - show voiced CURTIS WEINTRAUB ,<\/scene_description>\n    <character>CURTIS WEINTRAUB<\/character>\n    <dialogue>Hey! Curtis Weintraub from the Sports Popper! Have n't seen you two since the Cuervo Gold Rock'n Sock Charity Six Flags Budfest! Hello!<\/dialogue>\n    <scene_description>Neither look at him , they remain fixed on each other . Curtis gets a whiff of what he walked into .<\/scene_description>\n    <character>CURTIS WEINTRAUB<\/character>\n    <parenthetical>( continuing ; exiting quickly . )<\/parenthetical>\n    <dialogue>Goodbye!<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>I'm warning you. Do n't say it. You wo n't have another chance.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Listen to me!<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>It's over -<\/dialogue>\n    <scene_description>She continues moving into the next room .<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>Did n't hear it.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>There is something missing here.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>You've never been alone and you ca n't be alone -<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Listen to me, it's over.<\/dialogue>\n    <scene_description>She can barely believe it . She blinks .<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>No one has ever dumped me.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I'm not trying to make history.<\/dialogue>\n    <character>AVERY<\/character>\n    <dialogue>I did the 23 hour nose - route to the top of El Capitan in 6 hours! I can make this work.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( it slips out . )<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <scene_description>She takes a breath . It sinks in . From somewhere , the small voice of her vulnerability .<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>Oh Jerry.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( steps closer . )<\/parenthetical>\n    <dialogue>You know I did n't ever want to hurt you.<\/dialogue>\n    <scene_description>She gets an odd look , shaking her head . Starts to step away , then thinks better of it . She WALLOPS him in the face with the back of her hand . Jerry stands like a woozy boxer . She hits him again with a fist , then again in the chest . He sinks to the floor , sagging . backwards . She straddles him , addresses him fully , right in his bruised face .<\/scene_description>\n    <character>AVERY<\/character>\n    <dialogue>I wo n't let you hurt me, Jerry. I'm too strong for you. Loser.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JFK AIRPORT -- NEXT MORNING<\/stage_direction>\n    <scene_description>Jerry moves through the crowded airport with Rod Tidwell . Both wear sunglasses .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>You love me now, do n't you?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Very much.<\/dialogue>\n    <scene_description>ON TV MONITOR - ROY FIRESTONE is leaning forward , expressively , talking with a weepy athlete .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RED CARPET LOUNGE -- DAY<\/stage_direction>\n    <scene_description>Tidwell watches next to Jerry , as they wait for the flight . Jerry nurses a stiff drink .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>Everybody on this show cries now.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Rod -<\/dialogue>\n    <character>TIDWELL<\/character>\n    <parenthetical>( off t.v . )<\/parenthetical>\n    <dialogue>You feel bad you tested positive? Quit doing blow! You feel bad about your baby girl? Why did you leave the mother?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>What are you doing with me, Rod?<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Do n't you even see - I'm finished. I'm fucked. Twenty - four hours ago, I was hot. Now. I'm a cautionary tale!<\/dialogue>\n    <scene_description>Tidwell looks at Jerry , impassive .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>See this jacket I'm wearing? You like it? I do n't really need it, because I'm CLOAKED IN FAILURE. I lost the number one draft pick the night before the draft. They will teach my story to other agents on `` do not do this'' day in agent school. Why? Let's recap. Because a hockey player's kid made me feel like a superficial jerk, I had two slices of bad pizza, went to bed, grew a conscience and wrote a 25 - page Manifesto of Doom!<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Well, boo - fucking - hoo.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>The least you could do is nod and act sympathetic -<\/dialogue>\n    <character>TIDWELL<\/character>\n    <parenthetical>( shaking head . )<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>It's a quality that might come in handy for a commercial sometime.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>You are not allowed to act this way.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Why not?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPLANE -- LATER DAY<\/stage_direction>\n    <scene_description>They sit together . Jerry holds another drink .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>Man, I got a shelf life of ten years, tops! My next contract's got ta bring me the dollars that'11 last me and mine a very long time. I'm out of this sport in five years. What's my family gon na live on? What you get me. So I do n't want to hear about ya shit, your `` nya nya nya.''<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( ruefully , to attendant . )<\/parenthetical>\n    <dialogue>Another drink please.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Anybody else would have left you by now, but I'm sticking with you. I said I would. And if I got to ride your ass like Zorro, you're gon na show me the money.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( the hell that never ends . )<\/parenthetical>\n    <dialogue>Oh my God.<\/dialogue>\n    <scene_description>He looks straight ahead , at the airphone in front of him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PORCH -- NIGHT<\/stage_direction>\n    <scene_description>Dorothy finds Laurel on their small porch . There is only room for a miniature garden and one comfortable seat . Laurel sits in it .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>He's coming over.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>At eleven at night?<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>He just lost his best client. He called from the plane. I invited the guy over.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Dotty - this is not `` guy.'' This is a `` syndrome.'' It's called Early Midlife, About - To - Marry, Hanging Onto The - Bottom - Rung Dear - God - Do n't - Let - Me - Be - Alone, I'll - Call - My - Newly Long - suffering - Assistant - Without Medical - For - Company Syndrome. And if, knowing all that, you still allow him to come over, more power to you.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Honey, he's engaged. And for the first time in my professional life, I'm a part of something I believe in.<\/dialogue>\n    <scene_description>Dorothy exits . Laurel shakes her head , calls to next room .<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Okay, but he better not be good looking!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAY'S BEDROOM -- NIGHT<\/stage_direction>\n    <scene_description>Dorothy puts Ray to bed .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>` Night buddy. This is my favorite part of your head.<\/dialogue>\n    <scene_description>She kisses the corner of his forehead , rising up into the mirror . She checks her look , in spite of herself . Visible on the wall above Ray 's bed , is her ex - husband 's photo . Music .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAB -- NIGHT<\/stage_direction>\n    <scene_description>Jerry in back of a cab , wearing sunglasses , three drinks later , post - flight , rolling with anything .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Okay, turn here! Sharp right turn. 8831\u00a03\/4 Waterloo.<\/dialogue>\n    <scene_description>The cab turns onto a very small street . Cars parked on both sides . Down the street , another pair of headlights . Jerry 's cab refuses to give in , in fact he floors it . Same with the oncoming car .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Yes, good, floor it, kill us!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOROTHY'S FRONT PORCH -- NIGHT<\/stage_direction>\n    <scene_description>Door opens to reveal Jerry Maguire with brown bag , shoulder hang - up bag , disheveled hair and sunglasses .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I'm Jerry Maguire.<\/dialogue>\n    <character>LAUREL<\/character>\n    <parenthetical>( super pleasant . )<\/parenthetical>\n    <dialogue>You seem just the way I pictured you. I'm her disapproving sister Laurel.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Honesty. Thank you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM<\/stage_direction>\n    <scene_description>Jerry enters , as Dorothy rounds the corner .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>Hey you.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>The lights are low and his glasses are very dark .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Thanks for inviting me over. Where's the little guy?<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>He's asleep. Watch out for that lamp.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I'm glad you're home. That `` alone'' thing is. not my specialty.<\/dialogue>\n    <scene_description>He ducks the lamp , barely . Laurel exits through his shot , miming `` drinking '' behind his back . Jerry takes off his glasses , revealing a welt and a cut below his eye .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>Oh my God.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Yeah. That too. I broke up with Avery.<\/dialogue>\n    <scene_description>Dorothy 's entire body chemistry changes in ways she does n't quite understand .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>Too bad.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Better now than later. We'll still be friends. I'm dying here.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Jesus, it's a real gash, is n't it?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>And just think if I got her the ring she really wanted.<\/dialogue>\n    <scene_description>Dorothy laughs . He looks at her strangely . Suddenly she feels very nervous , as he sets down his bags .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>Sorry. Uh, let me see, have a seat. I'll get you some aloe vera for that cut too.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Do you have something to drink?<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Sure -<\/dialogue>\n    <scene_description>She moves to the kitchen door . She is about to exit , when Jerry begins to unburden .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>My brother works for the White House. He pretends he's an intellectual. He pretends he's from the east coast.<\/dialogue>\n    <scene_description>She turns , not quite sure what his point is . She waits politely for Jerry to finish before exiting into the kitchen .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>I was supposed to be the successful one. But I do n't want to talk about it. And yet! My family. I grew up with repression as a. a religion - you do n't bitch. No moaning! Head down. Do it, whatever `` it'' may be. My dad. he worked for the United Way for 38 years! You know what he said when he retired? He said, `` I wish I'd had a more comfortable chair.'' 38 years he sat in it! Do you know what I'm saying, Dorothy? Repression as a religion. I'm almost as old as his chair.<\/dialogue>\n    <scene_description>He rubs his face . She looks at him , and the situation slightly overwhems her . Here he is , wide - open , ripe for the taking .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>Beer okay?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Yeah, thanks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN<\/stage_direction>\n    <scene_description>Laurel smokes a cigarette and blows it out the window . Dorothy goes for the refrigerator , finds a couple beers .<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>I heard.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>No kidding. I looked over and saw the shadow of two curious shoes in the doorway of the kitchen.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>This guy would go home with a gardening tool right now if it showed interest.<\/dialogue>\n    <parenthetical>( off Dorothy 's look . )<\/parenthetical>\n    <dialogue>Wait. Use the frosted glasses.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <parenthetical>( surprised . )<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Look, here's some of that chicken with salsa too, I warmed it up -<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>That's the girl I love.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>But you just got ta hear me out on one thing. You're very responsible with Ray and you know it's not right for a little boy to hear some strange man's voice in the house.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>As opposed to twenty angry women?<\/dialogue>\n    <scene_description>Dorothy turns quickly and the beer , sisters and chicken collide in the small kitchen . Dorothy deftly catches the food in her t - shirt , and dumps it back onto the plate . But her shirt is now stained . She starts to quietly implode , and Laurel takes command . They know each other well .<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Come on, let's get you another top -<\/dialogue>\n    <scene_description>They exit to nearby laundry room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE\/WINDOW OUTSIDE LAUNDRY ROOM -- NIGHT<\/stage_direction>\n    <scene_description>Now camera starts to move around the house , from this window showing the two sisters in the laundry room , to the living room where Jerry sits alone . We see Ray wander into the room and stare at Jerry .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM -- NIGHT<\/stage_direction>\n    <scene_description>Jerry , who is playing with a kaleidoscope on the table , looks up to see Ray .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Hi Ray.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAUNDRY ROOM -- SAME TIME<\/stage_direction>\n    <character>LAUREL<\/character>\n    <dialogue>All I'm saying. You do n't have the luxury of falling for some drowning man. Be practical. Now. Which top?<\/dialogue>\n    <scene_description>She holds up two tops . One is sexier with a dipped down front . The other is striped , cute , functional .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>Okay, you want to talk about practical? Let's talk about my wonderful life. Do you know what most other women my age are doing right now? They are partying in clubs, trying to act stupid, trying to get a man, trying to keep a man. not me. I'm trying to RAISE a man.<\/dialogue>\n    <scene_description>She grabs the sexier top , and puts it on .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>I've got a 24 hour a day reminder of Roger, for the rest of my life. I have had three lovers in four years, all boring, all achingly self - sufficient all friends of yours I might add, and all of them running a distant second to a warm bath. Look at me, Laurel, look at me. I'm the oldest 26 year old in the world! How do I look?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Good.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Thanks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM -- NIGHT<\/stage_direction>\n    <scene_description>Jerry and Ray have a great conversation , playing tug with a piece of rope .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>And then my dad died and my mom took me to the zoo and I love the zoo. Do you hate the zoo or do you love the zoo?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Wait. I want to tell you more about my dad.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Let's go the zoo.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Okay. I've been hogging it. You're right. All my life I've been trying to talk, really talk, and no one wants to listen. You know that feeling?<\/dialogue>\n    <scene_description>Ray nods vigorously .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Let's go right now. Let's go to the zoo.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Aw, the fucking thing. I mean, the zoo is closed.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>You said `` fuck''.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Yeah I know. I did.<\/dialogue>\n    <scene_description>Ray loves this guy . He pats Jerry 's knee .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>I wo n't tell.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>We'll go to the zoo sometime. Okay? I think I might have some time on my hands.<\/dialogue>\n    <scene_description>Ray looks at Jerry 's hands .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>I do n't see any.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( points respectfully . )<\/parenthetical>\n    <dialogue>Funny.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Funny.<\/dialogue>\n    <parenthetical>( imitates him . )<\/parenthetical>\n    <parenthetical>( hears mom approaching . )<\/parenthetical>\n    <dialogue>I better go to bed.<\/dialogue>\n    <scene_description>Ray hugs Jerry and exits . Jerry sits contemplating the kid for a moment . The door swings open and a harried Dorothy appears in the sexier top , but with a distinctly less sexy attitude , and a tray .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>Drinks. Food. Plus, I called you a cab.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( slightly confused . )<\/parenthetical>\n    <dialogue>Good idea. Thank you.<\/dialogue>\n    <scene_description>And we should keep our voices down a little . I have a little boy asleep .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Right. Of course.<\/dialogue>\n    <scene_description>Jerry tries to twist open the beer , ripping at his palm . It 's not a twist - off . She hands him an opener . He opens it , inelegantly .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>So. Our company.<\/dialogue>\n    <scene_description>She watches the drunken man , who drinks . Then coughs a little . Then stands .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Okay. Lil' speech before I go.<\/dialogue>\n    <scene_description>He gets up , woozy , but loose . Powerfully :<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Do. Not. Worry. About. Your. Job.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Our company is in good shape. You and your son. we. are just fine. You still have a job. I want you to feel confident! In. Me. And I have a problem with people who talk about themselves in the third person, but let me tell you something about Jerry Maguire.<\/dialogue>\n    <scene_description>His confidence nicely fueled , Jerry reaches for a fireplace poker . He begins to joust with an imaginary opponent .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Come after me and you will lose I am a survivor! Do not underestimate Jerry Maguire! I've got wits! I've got the instincts of a panther!<\/dialogue>\n    <parenthetical>( joust . )<\/parenthetical>\n    <dialogue>I've got Dorothy Boyd on my side!<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Do n't worry about me. I can get jobs -<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>We will be fine!<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>- especially one like this.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>And I am.<\/dialogue>\n    <scene_description>He becomes very aware of himself . Acting out in a virtual stranger 's small - but - comfortable living room .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>I am drunk.<\/dialogue>\n    <scene_description>He collapses onto the sofa , embarrassed . Shaking his head . Dorothy scoots closer in an adjacent chair . She breaks the personal barrier , carefully touching his wound with the wet tip of the aloe vera plant .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>Truth?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>Dorothy turns to see that Laurel 's two shoes are still very visible at the kitchen door . Decides to ignore them . She gets closer .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>Sure, I care about the job. Of course. But mostly.<\/dialogue>\n    <parenthetical>( very honest . )<\/parenthetical>\n    <dialogue>. I want to be inspired.<\/dialogue>\n    <scene_description>There is something inspiring about the way she says the word `` inspiring . ''<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Me too.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>What you wrote inspired me.<\/dialogue>\n    <scene_description>He is catching a scent of that most ancient elixer . A woman 's affection . Their heads inch closer together .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>I'm working with you because of that memo.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Mission. statement.<\/dialogue>\n    <scene_description>They kiss . It turns rather passionate . She places a cool hand on his cheek . He places a hand on her breast . The taxi beeps outside . She pulls away . Both regard the hand on her breast .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>Well.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Sorry about this hand.<\/dialogue>\n    <parenthetical>( he rises unsteadily . )<\/parenthetical>\n    <dialogue>You know that feeling - you're not completely embarrassed yet, but you glimpe tomorrow's embarrassment?<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Do n't worry about it, boss.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Oh shit. You said `` boss.''<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Yeah, I did.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Now I feel like Clarence Thomas.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>No. No do n't feel like Clarence Thomas.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>No, I do. I feel like Clarence Thomas.<\/dialogue>\n    <parenthetical>( the worst day ever . )<\/parenthetical>\n    <dialogue>I'm like. harrassing you. right now.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>I may not sue.<\/dialogue>\n    <scene_description>He laughs a little . Music . Unsure what more to say , Jerry rubs his face . And then :<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Well, good evening.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Good evening.<\/dialogue>\n    <scene_description>He stands , returns the fireplace poker to her , and exits . Stumbling slightly on the first step leading down from the front porch , he recovers with style .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>We'll be okay. And I'm going to take my. one client and we're gon na go all the way.<\/dialogue>\n    <scene_description>He takes a few more steps , re - balancing bags , coughs a little . He is a mess , and he knows it .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing ; loving the dark humor . )<\/parenthetical>\n    <dialogue>Hey. I'm back.<\/dialogue>\n    <scene_description>She laughs , waves , and exits back into the kitchen . She regards the poker still in her hand . Laurel watches her conflicted , slightly lovesick sister .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAB -- NIGHT<\/stage_direction>\n    <scene_description>Jerry in the back of the cab . He turns for a moment , looking back at the warm house he 's just left . Something is scratching at his soul , trying to get in . Music continues . He was strangely comfortable there , as the house disappears from his view . FADE TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TEMPE PRACTICE AREA -- DAY<\/stage_direction>\n    <scene_description>Rod Tidwell races to catch up to a wobbly , overthrown pass . He snags it out of the air , and moves gracefully downfield . He turns back to shout at the quarterback for the wobbly pass , and slams into a padding post . Dennis Wilburn , the GM we met earlier , crosses in front of Maguire , giving him a look . Maguire forges ahead anyway .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>We got ta talk about his contract, Dennis.<\/dialogue>\n    <character>WILBURN<\/character>\n    <dialogue>Your timing is impeccable, Maguire. Gee, I ca n't imagine how you ever lost Cush.<\/dialogue>\n    <scene_description>Wilburn moves on , scoffing loudly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCKER ROOM SHOWER AREA -- DAY<\/stage_direction>\n    <scene_description>Jerry stands in pre - season locker - room . Off - stage we hear a shower . In the b.g. , one of those locker - room psych - up signs like : Injuries happen first in the mind .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I started talking with Dennis Wilburn about your renegotation.<\/dialogue>\n    <scene_description>Rod emerges naked , dripping wet , pissed .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>Did you tell him about the `` ten million for four years?''<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Uh, not today, but -<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>John Taylor. J.J. Stokes. Andre Rison. I SMOKE all these fools, and yet they're making the big sweet dollars. They're making the money, and I got an agent that ai n't even put the number on the table.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I understand your anxiety.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Maybe you do n't. Because it's not just the money I deserve. It's not just the `` coin.'' It's the.<\/dialogue>\n    <scene_description>He says this next word royally , as if it 's fine silk .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>- the kwan.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>That's your word?<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Yeah, man, it means love, respect, community. and the dollars too. The package. The kwan.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( impressed . )<\/parenthetical>\n    <dialogue>But how did you get `` kwan?''<\/dialogue>\n    <character>TIDWELL<\/character>\n    <parenthetical>( irritated . )<\/parenthetical>\n    <dialogue>I got there from `` coin,'' dude. Coin, coin. kwaaaan.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Great word. Towel?<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>No, I air - dry.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Rod, I say this with great respect, but those players you mentioned are marquee players and -<\/dialogue>\n    <scene_description>A portable phone beeps .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>Is that your porty or mine?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>You.<\/dialogue>\n    <scene_description>Tidwell rummages in his bag . Finds one of two porties and answers the one with a Polaroid of Marcee taped to it .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>Hi baby. Yeah, I'm just breakin' in the new agent. He says I'm not marquee. I know. I know.<\/dialogue>\n    <scene_description>Tidwell holds up the phone so Jerry can hear the sound of Marcee going off .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>My wife is upset with you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCKER ROOM MIRROR -- DAY<\/stage_direction>\n    <scene_description>The conversation continues as Tidwell fixes hair in the mirror . Jerry speaks to the reflection , taking him on , gesturing passionately . Tidwell , still naked , may or may not be listening .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Here's what I'm saying. This is a renegotiation. We want more from them, so let's show them more from us. Let's show them your pure joy of the game, let's bury the Attitude a little, let's show them -<\/dialogue>\n    <character>TIDWELL<\/character>\n    <parenthetical>( irritated . )<\/parenthetical>\n    <dialogue>You're telling me to dance.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>No, I'm saying to be -<\/dialogue>\n    <scene_description>He mimes a dainty little showboat - touchdown dance .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <parenthetical>( little voice . )<\/parenthetical>\n    <dialogue>`` Love me love me love me. put me on t.v.'' -LRB- pissed. -RRB- That's the iconography of rascism, man!<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Rod, I'm not a rascist. I'm telling you to be the best version of you, to get back to the guy who first started playing this game. Way back when you were a kid. It was n't just about the money, was it?<\/dialogue>\n    <scene_description>Tidwell gives him a look . Money was always a factor .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>Do your job, man, do n't tell me to dance.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <scene_description>He begins gathering his things .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>I'm an athlete, not an entertainer. These are the ABC's of ME. Get it? I do n't dance.<\/dialogue>\n    <scene_description>Jerry rubs face .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>What's wrong.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Forget it. Forget it.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>No tell me.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I'm out here for you! You do n't know what it's like to be me out here for you. It is an up - at - dawn pride - swallowing seige that I will never fully tell you about! Okay?! Help me help you help me help you.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>You're hanging by a very thin thread, dude. And I dig that about you.<\/dialogue>\n    <scene_description>Jerry has had enough for one day .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( loopy , punch - drunk , arms flailing . )<\/parenthetical>\n    <dialogue>Hey. I'm happy to entertain you! I'll see you in L.A!<\/dialogue>\n    <scene_description>Tidwell watches his agent lurch off , muttering and swaying .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>See, man, that's the difference. between us. You think we're fighting, I think we're finally talking!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAX AIRPORT -- DAY<\/stage_direction>\n    <scene_description>Jerry moves slowly through crowded airport , preoccupied with thought .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JERRY'S HOME OFFICE -- LATER DAY<\/stage_direction>\n    <scene_description>Jerry enters , carrying bags , weary . Dorothy greets him . They are stuck in his small condo , and the scent of their previous encounter is still in the air . She hands him a list of his calls .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>Dennis Wilburn called from Arizona to say he's faxing in the new Tidwell offer on Thursday morning, and you'll be happy.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( jolted into happiness . )<\/parenthetical>\n    <dialogue>Happy. He said `` happy?''<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Actually he said `` glad.''<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Good. Good. Glad is good.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Plus, you could use that commission.<\/dialogue>\n    <scene_description>She hands him a financial report she 's done . He takes a quick look , seeing the thorough work she 's already done .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I sunk most of what I had into this condo, which devalued, and -<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>You do n't have to explain.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Look, the other night, I want to apologize.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <parenthetical>( ca n't read her . )<\/parenthetical>\n    <dialogue>Yeah, what happened there.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>We're two people working together and we ca n't have an atmosphere.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>I'm relieved you said that.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I mean, the other night was. I felt like you understood something I could barely even say, something way down deep in the murk -.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>- but we have a company here to think about. I wo n't ever take advantage of you in that way again.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <parenthetical>( evenly . )<\/parenthetical>\n    <dialogue>Oh good.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>You walked out on a job for me, and I wo n't ruin that.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Exactly because I know this is a time when you need to be alone with your thoughts. Think about everything that's gone wrong, how to fix them, and just be. alone, alone, alone.<\/dialogue>\n    <scene_description>Dorothy in the background of the shot , watching his reaction .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>You want to go out to dinner?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHY'S LIVING ROOM -- DAY<\/stage_direction>\n    <scene_description>Dorothy looks for a jacket as Laurel helms the Divorced Women 's group in the living room . Jan speaks through her whistly braces , gesturing with a too - full glass of red wine .<\/scene_description>\n    <character>JAN<\/character>\n    <dialogue>I broke up with the Cowboy. And now he's stalking me.<\/dialogue>\n    <character>ALICE<\/character>\n    <dialogue>What's the current definition of stalking?<\/dialogue>\n    <character>WOMAN # 1<\/character>\n    <dialogue>Coming over uninvited.<\/dialogue>\n    <character>JAN<\/character>\n    <parenthetical>( thoughtful . )<\/parenthetical>\n    <dialogue>So Romeo under the trellis. was a stalker.<\/dialogue>\n    <scene_description>Meaningful sounds of revelation , as Dorothy finds the jacket .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY -- NIGHT<\/stage_direction>\n    <scene_description>Dorothy stops in the hallway to see that Jerry Maguire has arrived at the back - kitchen door . She watches unseen as Maguire shakes hands with Chad the Nanny and is hit suddenly by a flying hug from Ray . He gives the kid an athletic bag , which is filled with state - of - the - art promotional athletic wear , etc. -LRB- `` Brought you some swag . '' -RRB- Ray continues hugging Jerry .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN -- NIGHT<\/stage_direction>\n    <scene_description>Jerry is a little embarrassed by the affections of the kid . Dorothy enters . Expertly breezy .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>Hey, looks like you've got a fan.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( outdressed . )<\/parenthetical>\n    <dialogue>Wow. That's more than a dress. That's an Audrey Hepburn movie.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Yeah - guess I got revved up at the idea of an evening among adults - no offense buster.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>You meet Chad the nanny?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Yeah, I did - am I dressed okay? I guess I did n't realize we were.<\/dialogue>\n    <scene_description>He does n't finish the words `` going out on a date . '' The cacaphony of the Boyd home swirls around Maguire . It 's a new sensation for this bachelor .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>Do n't let him stay up too late.<\/dialogue>\n    <character>CHAD<\/character>\n    <parenthetical>( grandly . )<\/parenthetical>\n    <dialogue>Hey, man, tonight I'm going to teach Ray about jazz.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Good, that'll put him to sleep early. No offense.<\/dialogue>\n    <scene_description>She twirls toward the door , grabbing her purse .<\/scene_description>\n    <character>CHAD<\/character>\n    <dialogue>You know, you people have a jazz problem in this house.<\/dialogue>\n    <scene_description>Laurel enters , adding to the chaos , adlibbing hellos .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>I wan na go too.<\/dialogue>\n    <scene_description>Laurel gives Ray a look . Ray backs down , as Jerry hears snatches of the Women 's group going full blast in the living room .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>We'll see you soon, honey. Bye.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Bye you guys.<\/dialogue>\n    <scene_description>Ray extends his arms , he wants a hug . Jerry bends down awkwardly to give him one , and Ray plants a kiss on Jerry 's cheek . All are surprised , especially Jerry . Dorothy is struck and moved . Shot falls on Ray who watches Jerry exit with wonder . Even at his age , he knows a prize when he sees one .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN-- NIGHT<\/stage_direction>\n    <scene_description>Laurel looks out the window , watches her sister exiting . She is equal parts jealous and protective . She spots keys on counter . She grabs them and runs out to catch her sister on the lawn . `` All Shook Down . '' Replacements .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOROTHY'S HOUSE -- NIGHT<\/stage_direction>\n    <scene_description>Jerry and Dorothy exit through the many cars which we now see are parked on the street and the front lawn . The sound of the Women 's group is heard in the warmly glowing house behind them .<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>As Jerry moves ahead to the car , Dorothy retreats so she can have privacy with her sister .<\/scene_description>\n    <character>LAUREL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Forgot your keys -<\/dialogue>\n    <character>DOROTHY<\/character>\n    <parenthetical>( privately . )<\/parenthetical>\n    <dialogue>That's the first time I ever saw him kiss a man, like a dad, was n't that just. thrilling?<\/dialogue>\n    <parenthetical>( eyes tear up . )<\/parenthetical>\n    <dialogue>I mean, he must have been needing that.<\/dialogue>\n    <scene_description>Women 's group laughter in the distance as Laurel attempts to glue her emotional sister back together . She holds her arm .<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>No no. Do n't cry at the beginning of the date.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <parenthetical>( laughing , wiping tear . )<\/parenthetical>\n    <dialogue>Oh, knock it off!<\/dialogue>\n    <character>LAUREL<\/character>\n    <parenthetical>( ca n't help it . )<\/parenthetical>\n    <dialogue>And do n't be a shoulder for him to cry on either.<\/dialogue>\n    <scene_description>We stay with Laurel as she watches her sister exit . Music continues . Lit by streetlight , Dorothy runs like a young girl , across the lawns of this car - filled neighborhood , slapping away the leaves of a tree , running to Jerry down the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTONIO'S RESTAURANT -- NIGHT<\/stage_direction>\n    <scene_description>Jerry and Dorothy sit at the table of this Mexican restaurant . In the background , Mariachis play .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>It was laziness1 my whole breakup with Avery. You know that thing you say, `` it's nobody's fault.'' It's one of the great lies, right? Someone is always to blame - if you go for it, go for it like you do a job, work at it -<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Maybe love should n't be such hard work. I know, but -<\/dialogue>\n    <scene_description>Mariachis approach the table .<\/scene_description>\n    <character>HEAD MARIACHI<\/character>\n    <dialogue>A song for the lovers?<\/dialogue>\n    <character>JERRY\/DOROTHY<\/character>\n    <parenthetical>( too quickly . )<\/parenthetical>\n    <dialogue>No. No thanks.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>We work together.<\/dialogue>\n    <scene_description>Jerry slips the guy a few bucks to go away . They do so , reluctantly .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>See, you choose. If you fall for someone, if you make a commitment, you should make it work. It's only when `` options'' entered the picture that things got bad. I'm speaking historically now. It's a modern day concept, nueroticism - how do I feeeeeel? - I think the only good thing to come from this period in history is probably the movie `` Annie Hall.''<\/dialogue>\n    <character>DOROTHY<\/character>\n    <parenthetical>( evenly . )<\/parenthetical>\n    <dialogue>Maybe you should call her.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>No no no. I just underestimated her.<\/dialogue>\n    <parenthetical>( touches wound . )<\/parenthetical>\n    <dialogue>her temper, I guess. Why are we even talking about this?<\/dialogue>\n    <scene_description>A FLOWER GIRL approaches the table with an armful of roses .<\/scene_description>\n    <character>FLOWER GIRL<\/character>\n    <dialogue>A rose for the lady.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>You want a -<\/dialogue>\n    <character>DOROTHY<\/character>\n    <parenthetical>( scoffs . )<\/parenthetical>\n    <dialogue>No. No way.<\/dialogue>\n    <scene_description>Jerry gives her few bucks , she exits .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Yeah. It was n't like my marriage to Roger was so great, even before -.<\/dialogue>\n    <parenthetical>( stops herself . )<\/parenthetical>\n    <dialogue>Jerry?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>DOROTHY<\/character>\n    <parenthetical>( simply . )<\/parenthetical>\n    <dialogue>Let's not tell our sad stories.<\/dialogue>\n    <scene_description>Jerry laughs to himself . He admires her directness .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>I'll be right back. Quit thinking those murky thoughts, okay? We're young, we're semi - successful. Life is good.<\/dialogue>\n    <scene_description>She exits and we hang on him for a moment .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM -- NIGHT -- MINUTES LATER<\/stage_direction>\n    <scene_description>Dorothy on the phone outside the bathroom .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>No, now. come on. let Chad catch the bee in a glass. He wo n't hurt it. Aw, buddy, you got such a good heart. I love you, I'll be home soon. Ca n't wait to see you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BATHROOM<\/stage_direction>\n    <scene_description>Sbe exits the bathroom and stops at the sight of what is happening at the table . Jerry , hand on face , is embarrassingly being serenaded by the Mariachis , who now play a mournful `` Tears in Heaven . '' She smiles at the image , in fact the poetry charms her . Dorothy moves forward , grinning , fishes some bucks out of her pocket , and sends the Mariachis in another direction .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>Come on, let's take a walk.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHY'S PORCH -- NIGHT<\/stage_direction>\n    <scene_description>Music feathers into sounds of night . A bug buzzing from the nearby light , Jerry swats it away .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Well - this would be goodnight.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Good night.<\/dialogue>\n    <scene_description>They do n't kiss . They take great care not to touch too much .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I'll see you tomorrow.<\/dialogue>\n    <scene_description>They do n't move . On impulse , she grabs him and pulls him close . Kisses him . It 's a good one .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>Good night.<\/dialogue>\n    <scene_description>But they do n't move . He pulls her closer by her straps . They break . She holds them up , nervous now . His lips travel down . He kisses her upper chest . She sighs deeply , she 's missed this feeling . Jerry rises to kiss her lips again , tying her straps back on . Her expression says there is a decision to make . She concentrates on the styrofoam container she 's brought back from the restaurant .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <parenthetical>( continuing ; breath . )<\/parenthetical>\n    <dialogue>I think you should not come in, or come in depending on how you feel.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Same to you.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>No. I have to go in. I live here.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Right. I'll come in.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Okay. Wait here a second.<\/dialogue>\n    <parenthetical>( beat , then . )<\/parenthetical>\n    <dialogue>Do we really want to do this?<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( half - unsure . )<\/parenthetical>\n    <dialogue>Oh hell yes.<\/dialogue>\n    <scene_description>She exits , as shot lingers on Jerry . That odd moment when you 've crossed the line . He takes a breath .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM -- NIGHT<\/stage_direction>\n    <scene_description>Dorothy enters to find Chad watching t.v. . The house is now quiet , the remains of the Divorced Women 's group is still in evidence .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>He's asleep, right?<\/dialogue>\n    <character>CHAD<\/character>\n    <dialogue>Yeah, how'd it go with Sportboy?<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Still going.<\/dialogue>\n    <scene_description>Chad raises his eyebrows .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Shhh.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PORCH -- NIGHT<\/stage_direction>\n    <scene_description>Jerry on the porch , as Chad exits . Chad now fully plays the part of friend with seniority . Looks the taller Jerry up and down .<\/scene_description>\n    <character>CHAD<\/character>\n    <dialogue>Treat her right, man. She's.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( self - conscious . )<\/parenthetical>\n    <dialogue>Yeah. well.<\/dialogue>\n    <character>CHAD<\/character>\n    <dialogue>She's great. And I know this is a little awkward, but I want you to use this.<\/dialogue>\n    <scene_description>Chad ruumages in bag for a moment . Jerry is somewhat horrified at what Chad might be giving him . Out comes a cassette tape .<\/scene_description>\n    <character>CHAD<\/character>\n    <parenthetical>( continuing ; intense . )<\/parenthetical>\n    <dialogue>This. is Miles Davis and John Coltrane. Stockholm. 1963. two masters of freedom, playing in a time before their art was corrupted by a zillion cocktail lounge performers who destroyed the legacy of the only American artform - JAZZ.<\/dialogue>\n    <scene_description>Jerry takes the tape , as the front door squeaks open . Dorothy shoos Chad away , quietly leads Jerry inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM-- NIGHT<\/stage_direction>\n    <scene_description>Fierce , driving jazz . Dorothy and Jerry making out on bed . Getting hotter . The music gets wilder . Finally it is impossible to ignore , and Jerry collapses backwards on the bed laughing . She is left frozen , her arms open but he is gone .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>What is this MUSIC?<\/dialogue>\n    <scene_description>They both crack up , and she kisses him as the music plays . He looks at her . She turns away , then back again , he 's still looking at her . It 's a powerful moment for her . Laughter continues , the music is ridiculous . -LRB- Their sex is a big difference from the let 's - be - intense sex with Avery . -RRB-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN -- NIGHT -- SAME TIME<\/stage_direction>\n    <scene_description>Laurel just home from work in nurse uniform , has a late - night joint and carefully blows the smoke out the window . Laughter from the next room . She pops open the styrofoam appetizers her sister brought back from dinner .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHY'S BEDROOM -- MORNING<\/stage_direction>\n    <scene_description>Radio clicks on . It 's still dark . Only the glow of the digital lamp . Jerry alone in bed . He gets up , coughs , pulls on some pants . Manuevers through a strange bedroom , steps on toys .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN -- MORNING<\/stage_direction>\n    <scene_description>Dorothy and Laurel in the kitchen , waiting far the first possible drops of coffee .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>I'm getting him up, do n't worry.' Ray will never see his mother's raging physical needs.<\/dialogue>\n    <scene_description>She starts to exit , but Laurel pulls her back far a second .<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>First you got ta tell me something.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>No -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY -- MORNING<\/stage_direction>\n    <scene_description>Jerry moving dawn the hallway , hears voices .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN -- MORNING<\/stage_direction>\n    <character>LAUREL<\/character>\n    <dialogue>Because I'm worried that you're putting your faith in this guy who, because of the way things are going, may not have an emotional marble in his head.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Please, if I start talking -<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Guys are just different people when they're hanging onto the bottom rung.<\/dialogue>\n    <scene_description>ON JERRY listening . Pinned to the wall , listening to the kind of honesty an agent rarely hears .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>so what am I, for taking the opportunity, Laurel? Maybe I am taking advantage. Am I a bad person? All I know is that I found someone who was charming and popular and not - so - nice to me - and he died. Okay? So why should I let this guy go, when everything in my body says This One is The One.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Easy, hon, I was just looking for fun details -<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Oh, well, why did n't you say so? And oh, I do n't know if you're interested in this detail, but I was just about to tell you that I love him. I love him, and I do n't care what you think. I love him for the guy he wants to be, and I love him for the guy he almost is. I love him.<\/dialogue>\n    <scene_description>They look at each other . The cat is way , way out of the bag . ON JERRY rubbing his face .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Hi Jerry!<\/dialogue>\n    <scene_description>Dorothy leans into the hallway now , sees Jerry standing there , well within earshot . As Ray pounds down the hallway in his new over - sized shirt , brought by Jerry , Dorothy begins to crumble . The lack of control in her life is overwhelming her .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>Oh God.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Easy, easy -<\/dialogue>\n    <scene_description>Jerry enters the kitchen , stands near Laurel .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>I could pretend I did n't hear, but I wo n't, I heard everything.<\/dialogue>\n    <parenthetical>( to Laurel . )<\/parenthetical>\n    <dialogue>Thank you for your honesty, as always.<\/dialogue>\n    <character>LAUREL<\/character>\n    <parenthetical>( frozen polite . )<\/parenthetical>\n    <dialogue>Coffee, Jerry?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Oh, no thanks. We bottom - feeders prefer cereal first -<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Let's have Apple Jacks!<\/dialogue>\n    <scene_description>Apple Jacks it is . Dorothy , good morning , darling . He kisses her on the cheek , in full view of Ray . Dorothy , still embarrassed , not sure what is going on , reaches for cereal . Jerry sits down for breakfast . They are an odd , but fairly complete - looking family .<\/scene_description>\n    <character>RAY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>What's going on, Jerry?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>A lot. We got a big fax today. we need this commission, buddy.<\/dialogue>\n    <scene_description>The sisters look at each other . Ray looks around , he feels happy , but there is something else in the room . He shrugs and continues to feel happy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JERRY'S HOME OFFICE -- LATER DAY<\/stage_direction>\n    <scene_description>Jerry and Dorothy prepare for the Tidwells , cleaning up the cramped office , unstacking chairs and making room .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>That was great of you this morning.<\/dialogue>\n    <scene_description>The Tidwells honk , arriving in the driveway .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( friendly , dismissive . )<\/parenthetical>\n    <dialogue>Look, let's just root for a big offer so we can move out of this room to a real office.<\/dialogue>\n    <scene_description>She feels slightly slapped down , but covers . She opens a window quickly , and busies herself with the clutter at hand . ON FAX Connecting . FOUR FACES waiting for the results . Everybody has a stake in this fax . Lives are very clearly hanging on this results . Marcee shuts her eyes .<\/scene_description>\n    <character>MARCEE<\/character>\n    <dialogue>Read it to me, and do n't say anything unless it's over nine.<\/dialogue>\n    <scene_description>There is a stunning disappointment on the fax . Jerry 's heart sinks . His face slackens .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Aw shit -<\/dialogue>\n    <scene_description>Rod turns away . Dorothy shuts her eyes , as Marcee opens hers .<\/scene_description>\n    <character>MARCEE<\/character>\n    <dialogue>One - point - seven for three years. That's below average. We owe more than that.<\/dialogue>\n    <scene_description>It is so very painful for her , as Tidwell slinks off to sit in a seat too small for him .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I'll go back to them.<\/dialogue>\n    <character>MARCEE<\/character>\n    <parenthetical>( explodes . )<\/parenthetical>\n    <dialogue>And say what? `` Please remove your dick from my ass?!''<\/dialogue>\n    <scene_description>Both men look at her . The outburst has surprised even Marcee .<\/scene_description>\n    <character>MARCEE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>I'm sorry. I'm a little pregnant right now.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>I feel like crying. I feel like breaking the room up.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Okay, we do n't take this emotionally. We roll with this problem.<\/dialogue>\n    <character>MARCEE<\/character>\n    <dialogue>What are you talking about - `` do n't get emotional.'' If you ask me, you have n't gotten emotional ENOUGH about this man.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Marcee -<\/dialogue>\n    <character>MARCEE<\/character>\n    <dialogue>What DO you stand for?<\/dialogue>\n    <scene_description>Dorothy looks right and left , ca n't hold back .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>How about a little piece of integrity in this world that is so filled with greed and a lack of honorability that I do n't know what to tell my kid except take a look at a guy who is n't shouting `` show me the money,'' he's quietly broke and working for you for free!<\/dialogue>\n    <parenthetical>( off Jerry 's pained look . )<\/parenthetical>\n    <dialogue>Well, I'm sorry, I'm not as good at the insults as she is.<\/dialogue>\n    <character>MARCEE<\/character>\n    <dialogue>No, that was pretty good.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <parenthetical>( impressed . )<\/parenthetical>\n    <dialogue>No shit.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>In fact, you should read something that meant the world to me.<\/dialogue>\n    <scene_description>She opens a drawer , and withdraws the Mission Statement . She is headed across the room to give it to Marcee , when Jerry swiftly intercepts it .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Another time, okay Dorothy?<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Fine, I just -<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>And I appreciate that impulse.<\/dialogue>\n    <scene_description>Jerry throws the Mission Statement into a bottom drawer . Camera moves to Tidwell , and we see him for the first time without his protective shield of attitude . Scared .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>Tell me what to do, Jerry. You tell me to eat lima beans, I'll eat lima beans. If you say take the shitty deal, that's all we can get -<\/dialogue>\n    <character>MARCEE<\/character>\n    <dialogue>`` All we can get?''<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Can I SPEAK with my agent here?<\/dialogue>\n    <scene_description>Marcee is passionate . Focused on Rod .<\/scene_description>\n    <character>MARCEE<\/character>\n    <dialogue>You know what you're qonna do, Rodney. You're gon na reject this shitty contract. You're gon na play out your existihg shitty contract and go be a free agent next year and the hell with Arizona. This is us, and we determine our worth. You're a fine, proud, surviving, splendid black man.<\/dialogue>\n    <scene_description>Beat . Truer words . The big man looks into his wife 's eyes .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>Honey, you are just -<\/dialogue>\n    <scene_description>No one else in the world exists . They are focused totally on each other . Jerry and Dorothy in the background , just watching the intricate machinery of this marriage .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>- the shit.<\/dialogue>\n    <scene_description>She caresses the back of his neck . He pulls her to him . He gives her a small kiss . Dorothy and Jerry look at the couple , fascinated and somewhat uncomfortable . There is a palpable forcefield around the Tidwells . They are a couple in every passionate sense of the word . After a beat :<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>If you get injured, you get nothing.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Wo n't happen. I'm strong in my mind.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>It's a risk.<\/dialogue>\n    <scene_description>Jerry looks over to Dorothy , who grits her teeth at the implications of the decision .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>Bet on me, dude. Bet on me like I bet on you.<\/dialogue>\n    <scene_description>Tidwell puts his hand out . Maguire is conflicted , but he takes a breath and shakes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JERRY'S HOME OFFICE -- LATE AFTERNOON<\/stage_direction>\n    <scene_description>Tidwell and Marcee exit . Dorothy and Jerry on the lawn .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I'll get you some quick work -<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Good deal, man.<\/dialogue>\n    <character>MARCEE<\/character>\n    <dialogue>I'm sorry what I said back there.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Do n't be silly.<\/dialogue>\n    <character>MARCEE<\/character>\n    <dialogue>My husband believes in you. We're gon na make it. Bye bye Dorothy.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Take care you guys.<\/dialogue>\n    <scene_description>Tidwells exit . Finally , Dorothy and Jerry are alone . The Tidwell situation has left an ominious feeling in the air .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Look. I was up for a job in San Diego before I left SMI. It's with the Chargers.<\/dialogue>\n    <scene_description>AIRPLANE WHEELS touching down .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Do n't even talk about that yet. I'll find something fast for Tidwell. We'll stay afloat.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COMMERCIAL SET\/TAYLOR CHEVROLET\/ARIZONA -- DAY<\/stage_direction>\n    <scene_description>Tidwell stands on the set of a regional Arizona car commercial . It is a hot day . Three other bored , large Arizona athletes wait by a coffee machine , as Jerry 's friend , director Bill Dooler appears ready to implode . Dooler is arguing with Tidwell . Maguire stands slightly away , acting as referee . Nearby , a camel .<\/scene_description>\n    <character>DOOLER<\/character>\n    <dialogue>Look, Rod, just get on the camel!<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Bill, Rod, wait -<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Dude, know your art form. If you put the camera down here, looking up, I look more powerful. There's no need for a camel. you got ME.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Rod, get on the camel.<\/dialogue>\n    <character>DOOLER<\/character>\n    <parenthetical>( shoots look to Jerry . )<\/parenthetical>\n    <dialogue>The sponsor wants a camel -<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Jerry, back me up. It's either the camel or me.<\/dialogue>\n    <scene_description>Tidwell waves his arms , spooking the camel , who spits and stormps . Several crew members scatter in various directions .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( takes the bullet . )<\/parenthetical>\n    <dialogue>Airight. Enough. I'm pulling him out of this. This is n't what I had in mind anyway.<\/dialogue>\n    <character>DOOLER<\/character>\n    <dialogue>Then you should n't have begged me to hire him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SET -- LATER<\/stage_direction>\n    <scene_description>Jerry and Tidwell walk quickly from the set . In the background , another athlete rides the camel .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>There you go, dude. You're learning how to represent me. We ai n't gon na bring Nike to their knees with some regional camel ad -<\/dialogue>\n    <scene_description>Jerry rubs his face .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Can I ask you a question totally unrelated to your career?<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Oh, we gon na be friends now?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>What do you know about dating a single mother?<\/dialogue>\n    <scene_description>Tidwell warms to the personal question .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>Oh I know plenty. I was raised by a single mother.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Tell me, because it's been a month, and she's about to take another job in San Diego.<\/dialogue>\n    <scene_description>Tidwell is always happy to hold forth .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>First, single mothers do n't `` date.'' They have been to the circus, you know what I'm saying? They have been to the puppet show and they have seen the strings. You love her?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>How do I know?<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>You know when you know. It makes you shivver, it eats at your insides. You know?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>No, I do n't know.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Then you got ta have The Talk.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>But I sure do n't like that she's leaving.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Well, that ai n't fair to her. A single mother, that's a sacred thing, man.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>The kid is amazing.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <parenthetical>( shaking head . )<\/parenthetical>\n    <dialogue>No. A real man does not shoplift the `` pooty'' from a single mom.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I did n't `` shoplift the pooty.'' We were thrown together and - I mean it's two mutual people who -.<\/dialogue>\n    <parenthetical>( a look . )<\/parenthetical>\n    <dialogue>Alright, I shoplifted the pooty.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Shame on you. SHAME on you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ZOO -- DAY<\/stage_direction>\n    <scene_description>Jerry , Dorothy and Ray at the zoo . Ray straining at Jerry 's arm . Life - changing decisions in the air .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>They offered me everything I asked for, it's only 2 hours away. I think it's good for us.<\/dialogue>\n    <scene_description>Jerry feels tugged in many directions , and not just by Ray . They approach the reptile house .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Show me the animal, Jerry!<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Right up ahead, buddy -<\/dialogue>\n    <scene_description>They approach the Reptile House , where a small crowd is gathered .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>- I give you my favorite animal in the zoo. Are you ready for the weirdness, the strange perfection and truth of.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I'm scared. What is it?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>It's in a cage. Do not be scared of.<\/dialogue>\n    <scene_description>A few people peel away , revealing .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>The Two - Headed Corn Snake.<\/dialogue>\n    <scene_description>THE TWO - HEADED CORN SNAKE A friendly but confused looking reptile . The snake has two heads , both identical , both twisting and battling each other for direction . Aw - ed chatter around the animal ranges from `` weird '' and `` wow '' to `` mira mira ! Dos cabezas ! '' Few can turn away .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Whoa.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>Two heads. My God.<\/dialogue>\n    <scene_description>Jerry is happy to play tour - guide .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Both heads have brains. Both heads eat, both heads battle for direction all day long.<\/dialogue>\n    <parenthetical>( meaningful . )<\/parenthetical>\n    <dialogue>Man, can I relate.<\/dialogue>\n    <scene_description>The odd animal moves forward , fighting itself constantly .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Me too.<\/dialogue>\n    <scene_description>Dorothy just looks at the two men in her life . She turns to Anonymous Man standing nearby , staring at the animal .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>Is this a guy thing?<\/dialogue>\n    <character>ANONYMOUS MAN<\/character>\n    <dialogue>It is, and it is n't.<\/dialogue>\n    <scene_description>ON THE TWO - HEADED CORN SNAKE strangely endearing , jittering and moving around the cage .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOROTHY'S FRONT YARD -- DAY<\/stage_direction>\n    <scene_description>A U - Haul is parked in the driveway . Inside the cab , a very sad Ray . Jerry approaches carefully . Ray does not look at him . He opens the door , scoots the kid over , and sits next to him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOROTHY'S LIVING ROOM -- DAY<\/stage_direction>\n    <scene_description>Laurel and Dorothy say goodbye .<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>You're doing the right thing. I mean, come on. You need to start your life and he. he needs a warm body to cushion the fall. Check out exhibit A on the front lawn -<\/dialogue>\n    <scene_description>POV - THE SISTERS We see Jerry , following Chad back to the house , saying goodbye too many times . He 's anxious not to be left alone . Finally Chad grabs him by the shoulders , says goodbye , as a sad Ray trudges to the cab of the U - Haul . Jerry now follows Ray to the car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOROTHY'S PLACE -- DAY<\/stage_direction>\n    <scene_description>Jerry scoots a very sad Ray over , and talks to him in the car .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I'm not good at this.<\/dialogue>\n    <scene_description>Ray begins to cry . Jerry is incapable of dealing with it .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>I'll see you this weekend, okay? Promise.<\/dialogue>\n    <scene_description>Ray wails . Jerry squeezes his shoulder , it does nothing , so he exits . He rises and faces Dorothy , keys in hand .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Sure you're okay to drive this?<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>This rig? Phht. No problem.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>So I'll see you this weekend.<\/dialogue>\n    <scene_description>She accepts it casually , with a shrug .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>Airight, so goodbye and -.<\/dialogue>\n    <parenthetical>( simple , with shrug . )<\/parenthetical>\n    <dialogue>I love you.<\/dialogue>\n    <scene_description>Jerry blinks .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( too quick , weirdly . )<\/parenthetical>\n    <dialogue>. I love you too, you know.<\/dialogue>\n    <scene_description>She reacts with an odd look . The words do n't sound right , and he knows that she knows .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>What -<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Look, just in case this weekend becomes next month and next month becomes. whatever.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Do n't make a joke of your life. Go back and read what you wrote. You're better than the rest of them, better than the Bob Sugars, and do n't forget it.<\/dialogue>\n    <scene_description>He shudders a little with the intimacy of her words . She kisses him , and moves quickly toward the car , leaving him alone in frame . He grows increasingly uncomfortable . He watches her leave .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Wait a second.<\/dialogue>\n    <scene_description>ON DOROTHY moving to her car . She hears him . It 's not loud enough for her .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>WAIT A SECOND!<\/dialogue>\n    <scene_description>She stops , smiling very slightly to herself , biting her lip . She turns and he is now close to her .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>I know a way to s. to save on Medical and rent and. look.<\/dialogue>\n    <scene_description>He grips one hand with the other . Dorothy looks at his strange behavior . He looks over to the cab , where Ray is making a sad face at him through the window .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>. what if we stayed together? What if we uh. got married.<\/dialogue>\n    <scene_description>She looks at him . It 's an odd proposal .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>If I said that, would you stay?<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>No no. Do n't do that. Do n't say that if you do n't.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Will you marry me?<\/dialogue>\n    <scene_description>She looks at him , full of love , dabbing at her mascara .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOROTHY'S BACKYARD -- DAY<\/stage_direction>\n    <scene_description>Rod Tidwell sings Marvin Gaye 's `` What 's Going On '' at the wedding for assorted guests gathered here in the backyard . Contrary to his own belief , Rod is not a gifted singer . In the wedding band , standing on a small stage in the corner , are Chad and Dooler . ON JERRY who stands watching , smile pasted on , with stoic FATHER and well - dressed BROTHER .<\/scene_description>\n    <character>BROTHER<\/character>\n    <dialogue>Where are all your friends?<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( looking around . )<\/parenthetical>\n    <dialogue>In the band.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHY'S LIVING ROOM -- NIGHT<\/stage_direction>\n    <scene_description>We are close on Ray now as we hear the sound of a Reverend reading wedding vows . Ray holds the ring , and waits for his cue to offer it . But he has forgotten the cue . And every time the Reverend pauses , he starts to offer the ring . Dorothy 's leg and hand are visible in frame . She calms him with a hand on the shoulder . And finally the cue comes and he offers the ring .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHY'S HALLWAY\/KITCHEN -- NIGHT<\/stage_direction>\n    <scene_description>The bride and groom catch each other , post - wedding , in the hallway of the small home where the event has taken place .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>Wow. We actually -<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Yeah, we did.<\/dialogue>\n    <scene_description>Giddy , Dorothy heads into the living room where Friends and relatives watch the video of the wedding . And now the enormity is evident on Jerry 's face . Warm laughter in the b.g. . More laughter and family noise in the background now . He holds onto a table for a moment , steadies himself . Jerry takes a breath and moves into the kitchen . Finds a beer . He turns and finds himself alone with Laurel , for the first time . She raises her beer . They toast , warily .<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>If you fuck this up, I'll kill you.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( as she exits . )<\/parenthetical>\n    <dialogue>Glad we had this talk!<\/dialogue>\n    <scene_description>Nearby , Tidwell watches all . He moves to Jerry . Confidentially :<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>You never had The Talk, did you?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Well, this was another way to go.<\/dialogue>\n    <scene_description>Jerry smiles . Dorothy brings Jerry a Poloraid someone took , and for a moment the couple stands awkwardly together . Tidwell rubs Jerry 's shoulders a little , announcing to the room :<\/scene_description>\n    <character>TIDWELL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>This is my agent, man! And we're all gon na have a great season!<\/dialogue>\n    <scene_description>He pounds Jerry on the back , hard , shaking him like a pinata . FADE TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PHILADELPHIA PLAYING FIELD -- DAY<\/stage_direction>\n    <scene_description>Tidwell catches the ball , takes a vicious hit . The season is on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHILADELPHIA PRESS BOX -- DAY<\/stage_direction>\n    <scene_description>Across the room , he sees GM Dennis Wilburn standing with Avery . He turns away , passing a monitor where elsewhere in the country , Frank Cushman is having another sensational Sunday .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TIDWELL LIVING ROOM\/PHOENIX -- DAY<\/stage_direction>\n    <scene_description>This is the Tidwell family ritual of watching Rod 's games on the big - screen home t.v. . At the center is Marcee Tidwell . Everything flows from her . Next to her is Tyson , and then the cousins , the neighborhood friends . At this particular moment , they are all screaming for Rod , who is taking a beating , but is having a hell of a game . In front of the t.v. , Tyson does the `` Daddy Dance , '' a dance of pure joy .<\/scene_description>\n    <character>TYSON<\/character>\n    <parenthetical>( proudly , to family . )<\/parenthetical>\n    <dialogue>That's my motherfucker!<\/dialogue>\n    <scene_description>Marcee reaches out and collars her dancing son .<\/scene_description>\n    <character>MARCEE<\/character>\n    <dialogue>Why do n't you be the first man in your family not to say that word? And then we'll let you live.<\/dialogue>\n    <scene_description>Tyson nods , wide - eyed .<\/scene_description>\n    <character>MARCEE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Now go kiss your daddy, quick.<\/dialogue>\n    <character>TEE PEE<\/character>\n    <parenthetical>( cooly . )<\/parenthetical>\n    <dialogue>That's why they cheer, you know. The white man sending the black man into battle.<\/dialogue>\n    <scene_description>Marcee shoots him a look , as Tidwell takes another rough hit .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STADIUM HALLWAY -- NIGHT<\/stage_direction>\n    <scene_description>Jerry stands waiting . Bob Sugar nearby , greeting quarterback JOHN SWENSON . Still no Tidwell .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PHILADELPHIA LOCKER ROOM -- NIGHT<\/stage_direction>\n    <scene_description>Finally , here comes Tidwell , moving very slowly with garmet bag .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>How's your head? Bubblicious.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Tidwell moves to a tan in a wheelchair, signs an autograph and moves on. Jerry alongside. The quarterback sucks, man. He's gon na get me killed.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I'm a little worried -<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>I'm worried too. I'm worried that the only reason I'm here getting my brains blown loose is that you were n't asshole enough to get my ten million three months ago.<\/dialogue>\n    <character>INSANE FAN<\/character>\n    <parenthetical>( interrupting loudly . )<\/parenthetical>\n    <dialogue>FUCKIN ROD TIDWELL YOU RULE YOU RULE! I WON A FUCKIN, A FUCKIN MUG ON YOU IN MY ROTISS. ROTLISS.<\/dialogue>\n    <scene_description>With great skill , Tidwell pats the fan and moves him along to other tired players .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>Peace, my drunken brother. Ahd do n't discuss gambling with me.<\/dialogue>\n    <scene_description>Insane fan moves to another player . Jerry proceeds carefully .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>We can still take the offer, Rod.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <parenthetical>( stops . )<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Jerry regards his slightly befuddled friend .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Well, just stay healthy. I will show you the kwan.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <parenthetical>( irritated . )<\/parenthetical>\n    <dialogue>Hey, that's my word, okay?<\/dialogue>\n    <scene_description>Tidwell wearily heads for the bus . Jerry stands in the parking lot .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>I'll see you in Arizona.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>I'm gon na have the game of my life on Monday Night Football, and show all these motherfuckers.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Take care, okay? You're my entire client roster.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Do n't I know. Now go home to your wife.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>What's that supposed to mean?<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Why are you even here, man? You could have told me all this over the phone.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I do n't know - how's `` dedication'' for an answer?<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>You do n't want to go home, do you?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Why are you doing this to me, Rod?<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>I'm asking you a question -<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>No, you're -<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>I'm trying to talk to you. How's your marriage?<\/dialogue>\n    <scene_description>Jerry looks at Rod for a moment . It is the simplest question , and one in which he has no quick answer .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Not everyone has what you have.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Then why'd you get married? I'm asking you as a friend.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( shaking his head . )<\/parenthetical>\n    <dialogue>You're jabbing at me.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>I'm sorry I asked.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>No, I'm going to answer you. You want an answer? I'll give it to you.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Loyalty. She was loyal.<\/dialogue>\n    <parenthetical>( unconvincing . )<\/parenthetical>\n    <dialogue>Everything grew from there.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>That's an answer.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Damn right.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <parenthetical>( jab . )<\/parenthetical>\n    <dialogue>For loyalty, you buy a dog. For love, you get married.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Look. I'm happy to entertain you, as always, but I have a question for you. Are we really `` friends?''<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Why not -<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Well, friends can tell each other anything, right? If we have our `` friends'' hats on -<\/dialogue>\n    <character>TIDWELL<\/character>\n    <parenthetical>( wary . )<\/parenthetical>\n    <dialogue>I think so.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( intense . )<\/parenthetical>\n    <dialogue>Airight. Here's why you do n't have your ten million dollars yet. You are a paycheck player. You play with your head. Not your heart. In your personal life?<\/dialogue>\n    <parenthetical>( points . )<\/parenthetical>\n    <dialogue>Heart. But when you get on the field -.<\/dialogue>\n    <parenthetical>( finger rises to Tidwell 's head . )<\/parenthetical>\n    <dialogue>- you're a businessman. It's wide - angle lenses and who fucked you over and who owes you for it. That's not what inspires people. I'm sorry, but that's the truth, can you handle it? Just a `` question,'' Rod. Between friends.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>I do n't want to be friends anymore.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Beautiful.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( angry . )<\/parenthetical>\n    <dialogue>We still having dinner in L.A?<\/dialogue>\n    <character>TIDWELL<\/character>\n    <parenthetical>( anqry . )<\/parenthetical>\n    <dialogue>Only'cause my wife likes your wife!<\/dialogue>\n    <scene_description>Jerry exits . Tidwell is pissed . And hurt .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>`` No heart.'' `` No heart?''.<\/dialogue>\n    <parenthetical>( yells after him . )<\/parenthetical>\n    <dialogue>I'm all heart, motherfucker!<\/dialogue>\n    <scene_description>He gets on the bus .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CRAB RESTAURANT -- NIGHT<\/stage_direction>\n    <scene_description>The Tidwells and the Maguires . Tyson and Ray run around the table of this family - style restaurant . Marcee is very very pregnant . They crack crabs for each other , seasoning for each other , feeding each other like one many - armed and loving body .<\/scene_description>\n    <character>MARCEE<\/character>\n    <dialogue>- so I go to see a so - called `` black'' film the other day -.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>- honey, no more salt for you, I do n't want you dehydrated for Monday Night Football. Most important game of your career.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>- TWENTY minutes of coming attractions. All black films, all violent, I'm talking about brothers shooting brothers, Wesley Snipes with guns the size of our house, killing, blood flowing, cars crashing. blood blood blood blood. Is this all they think we want to see? Come on! I enjoyed Shindler's List. Give me a little credit, I mean hooo -<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>I hate you going to movies alone withoutme -<\/dialogue>\n    <character>MARCEE<\/character>\n    <dialogue>Oh baby -<\/dialogue>\n    <scene_description>He cracks more crab , gives her the biggest piece . SHOT OF JERRY AND DOROTHY Sitting across the table , stunned , just watching this intricate and perfect marriage . SHOT OF MARCEE She takes a breath and gets a weird look .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>What baby?<\/dialogue>\n    <character>MARCEE<\/character>\n    <dialogue>Baby. Baby. Baby.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM -- NIGHT<\/stage_direction>\n    <scene_description>Marcee gives birth , Rod assisting . Jerry and Dorothy watch from behind thick glass . She hangs her arm on his shoulder , looks at him . Jerry stares straight ahead . Mortified , with dry throat .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHY AND JERRY'S BEDROOM -- NIGHT<\/stage_direction>\n    <scene_description>Jerry and Dorothy exhausted , alone , getting ready for bed . Dorothy sits down near him on the bed .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>What were you thinking tonight? Watching them go through the complete human emotional experience?<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>I was thinking I hope he does n't get injured. I felt responsible.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Sometimes I ca n't tell at all, what's going through that head of yours.<\/dialogue>\n    <scene_description>He makes a noise . As in - it 's no big mystery .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>And I really do n't know your noises yet.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Well, when you wonder, ask me.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <parenthetical>( unsatisfied . )<\/parenthetical>\n    <dialogue>Okay. I will.<\/dialogue>\n    <scene_description>Beat . He feels inadequate .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Why do you love me?<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Why do you love me?<\/dialogue>\n    <scene_description>It is , of course , the better question . And before he can answer , there is a pounding at the door .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Jerry, can I come in and watch t.v?<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>I'll come visit you in a second -<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Just for a few minutes, buddy -<\/dialogue>\n    <scene_description>The door flies open and Ray comes bounding in , onto the bed , stations himself in the center and begins wrestling Jerry for the remote control . Dorothy watches , disconnected . A steeliness comes over her that we have not yet seen .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRESCHOOL -- NEXT DAY<\/stage_direction>\n    <scene_description>Dorothy drops Ray at preschool , and stands in the doorway of the playroom . She watches the boys and girls playing together in a room full of bright colors and games . Music . Anxiety building .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RAY'S PLAYHOUSE -- NIGHT<\/stage_direction>\n    <scene_description>Jerry sits finishing a phone call to an advertising account exec . He has come here , to Ray 's playhouse for privacy .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Tonight. Yeah, the red - eye, I'll be in Arizona on Monday.<\/dialogue>\n    <scene_description>Jerry adlibs some salesmanship on Tidwell 's behalf . Dorothy approaches . She gives him a few phone messages , sits down . Beat of silence . He sees a look on her face that is unfamiliar .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>It's my fault.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>What -<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>It's not fair to you. This whole -<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( instant crisis mode . )<\/parenthetical>\n    <dialogue>Tell me - let me help -<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>I took advantage of you and worst of all, I'm not alone. I did this with a kid. I was just on some ride where I thought I was in 1ove enough for both of us. I did this. And at least I can do something about it now.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( damage control . )<\/parenthetical>\n    <dialogue>Well - I'm not the guy who's going to run. I stick.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>I do n't need you to `` stick.''<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>You want.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>I do n't know -<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( it slips out . )<\/parenthetical>\n    <dialogue>. my soul or something.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Why fucking not! I deserve it.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( direct . )<\/parenthetical>\n    <dialogue>Dorothy - what if I'm just not built that way?<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>I think we made a mistake here.<\/dialogue>\n    <scene_description>But now he ca n't stop .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>What if it's true? `` Great at friendship bad at intimacy.'' I mean, come on. It's the theme of my bachelor film -<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>I know. I watched it. I sort of know it by heart.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( absorbs it . )<\/parenthetical>\n    <dialogue>I do n't like to give up.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Oh please. My need to make the best of things, and your need to be what, `` responsible''. if one of us does n't say something now we might lose ten years being polite about it. Why do n't we call this next road trip what it is. A nice long break.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>What about Ray?<\/dialogue>\n    <scene_description>She notes the only real glimpse of ache , in that question .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>There's no question you'll be friends. Of course you'll be friends.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>So this break. is a break - up.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Come on, Jerry. You know this is n't easy for me. I mean, on the surface, you'd almost think everything was fine. See, I've got this great guy who loves my kid -.<\/dialogue>\n    <parenthetical>( resolute , no tears . )<\/parenthetical>\n    <dialogue>- and he sure does like me a lot.<\/dialogue>\n    <scene_description>Jerry Maguire , a man who speaks for a living , has nothing to say .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>I ca n't live that way. It's not the way I'm `` built.''<\/dialogue>\n    <scene_description>He moves to embrace her . She pulls away first .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAY'S ROOM -- NIGHT<\/stage_direction>\n    <scene_description>Jerry kisses sleepy Ray goodbye .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Do n't wake up.<\/dialogue>\n    <scene_description>And then faces the exotic fish who now resides on Ray 's table . He once lived in a tank the size of a Cadillac . The fish now hangs in a too - small bowl , looking at him .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing ; defensive . )<\/parenthetical>\n    <dialogue>. it was just a Mission Statement.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPORT --  DAY<\/stage_direction>\n    <scene_description>Jerry Maguire stretches his arms out . A security wand passes over him . Deadness in his eyes . The glaze of the road on him . Music .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUN DEVIL STADIUM -- ARIZONA<\/stage_direction>\n    <scene_description>We are hovering in the sky , just above Sun Devil Stadium . The classic Monday Night Football shot from the blimp .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TIDWELL LIVING ROOM -- NIGHT<\/stage_direction>\n    <scene_description>Tidwell 's family in the living room . A buzz in the air . The pregame show is on , sound - muted . Old - school on the stereo . Everybody is happy . Marcee sits in the position of honor , her new baby KAYDEE in her arms . She is a tired mother , and the family celebrates her .<\/scene_description>\n    <character>TEE PEE<\/character>\n    <dialogue>He'd better not mess up on Monday Night Football.<\/dialogue>\n    <scene_description>Marcee shoots Tee Pee a look .<\/scene_description>\n    <character>TEE PEE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>What did I say? He gets nervous for the t.v. games. it's not a secret.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TUNNEL AREA\/PRE-GAME -- NIGHT<\/stage_direction>\n    <scene_description>Nervous Tidwell chews a toothpick as he stands checking out the field . Nearby , some cheerleaders and a man in a Pickle suit .<\/scene_description>\n    <character>PICKLE MAN<\/character>\n    <dialogue>Nothing like Monday Night, huh? What is it, 2 billion viewers?<\/dialogue>\n    <character>TIDWELL<\/character>\n    <parenthetical>( irritated . )<\/parenthetical>\n    <dialogue>Should n't you be out there doing some pickle dance or something - Pickle Man nods and goes out to dance for the crowd.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Hey Rod - hey Buddydude -<\/dialogue>\n    <scene_description>Tidwell turns . It 's Bob Sugar approaching . Laser - like , ready to feed on his insecurity .<\/scene_description>\n    <character>SUGAR<\/character>\n    <dialogue>Listen, I spoke to your quarterback. He's my client, you know. And I said, `` take care to get those passes down, let Tidwell look good on t.v.''<\/dialogue>\n    <scene_description>Tidwell looks at him , chews his toothpick .<\/scene_description>\n    <character>SUGAR<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>You should let me do more for you. I would have had you your deal by tonight. Al Michaels is a friend of mine. I would have had him on the air, talking about you, tonight, when it counts.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Get outta here. Go.<\/dialogue>\n    <character>SUGAR<\/character>\n    <dialogue>Where's your agent tonight?<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Do n't know.<\/dialogue>\n    <character>SUGAR<\/character>\n    <dialogue>Rod. I know this is `` uncool'' to do this now, but you belong with the big boys. You belong with the money. You belong with -<\/dialogue>\n    <scene_description>Here comes Jerry Maguire .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Get the fuck away from my guy, Sugar.<\/dialogue>\n    <scene_description>Tidwell ca n't help it . He beams as he sees his agent approach .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>Jerry! You made it -<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( off Sugar . )<\/parenthetical>\n    <dialogue>Go. Flee.<\/dialogue>\n    <scene_description>Sugar retreats , offering one final look to Rod , think about what I said .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>Thanks for coming.<\/dialogue>\n    <character>JERRY<\/character>\n    <parenthetical>( bittersweet . )<\/parenthetical>\n    <dialogue>I missed ya. What can I say?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TIDWELL HOME -- NIGHT<\/stage_direction>\n    <scene_description>They watch the game .<\/scene_description>\n    <character>GIFFORD<\/character>\n    <parenthetical>( ON T.V . )<\/parenthetical>\n    <dialogue>It's a bruiser out there tonight.<\/dialogue>\n    <character>MICHAELS<\/character>\n    <parenthetical>( ON T.V . )<\/parenthetical>\n    <dialogue>Arizona refusing to go into the quiet night of this rough football season. Come on, I'm trying to be poetic here.<\/dialogue>\n    <scene_description>Tidwell takes a rough hit , and they respond loudly .<\/scene_description>\n    <character>DIERDORF<\/character>\n    <parenthetical>( ON T.V . )<\/parenthetical>\n    <dialogue>Ooof. Another rough hit across the middle on Rod Tidwell. Nothing poetic about that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRESS BOX -- NIGHT<\/stage_direction>\n    <scene_description>Maguire moves through the box .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FIELD -- NIGHT<\/stage_direction>\n    <scene_description>Tidwell takes a hit . Hangs onto the ball .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TIDWELL LIVING ROOM -- NIGHT<\/stage_direction>\n    <scene_description>The Tidwell clan are banging on t.v. trays and whooping loudly . But in the middle of the cheers , Marcee sees the unsettled look on young Tyson 's face . She pulls him over to her , giving him preference over baby Kaydee . He is the only thing in her world , as she says :<\/scene_description>\n    <character>MARCEE<\/character>\n    <dialogue>What does daddy say?<\/dialogue>\n    <character>TYSON<\/character>\n    <dialogue>`` It looks worse than it is.<\/dialogue>\n    <scene_description>Marcee gives him a kiss , as Tidwell makes another grueling gain on the field .<\/scene_description>\n    <character>FRANK GIFFORD'S VOICE<\/character>\n    <dialogue>They do n't pay enough for a man to take that kind of ugly hit -<\/dialogue>\n    <character>MARCEE<\/character>\n    <parenthetical>( to others . )<\/parenthetical>\n    <dialogue>Boy, no s - h - i - t.<\/dialogue>\n    <scene_description>Big laughs from the living room . Except Tee Pee .<\/scene_description>\n    <character>TEE PEE<\/character>\n    <dialogue>He's gon na have nothing left for next season. They're letting him kill himself.<\/dialogue>\n    <character>MARCEE<\/character>\n    <dialogue>Can you be quiet?<\/dialogue>\n    <character>TEE PEE<\/character>\n    <dialogue>What'd I say?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRESS BOX -- NIGHT<\/stage_direction>\n    <scene_description>Maguire watches as Arizona 's quarterback John Swenson drops back for a pass , and is sacked . Philadelphia fans cheer wildly . The game is turning uglier by the minute . Jerry looks up to the monitor for a closet look at the next play . ON PRESS BOX MONITOR Swenson , the Arizona quarterback , throws a wobbly pass into the end - zone . Tidwell leaps for the catch , tucks the ball in and is promptly and brutally hit by two defenders from two different sides . This hit is bad . Worse than bad . Tidwell flips and comes down like a sack of potatoes , with a thud , ball still in his hands . His head hits the astroturf , hard . Tidwell is out cold . And the ripple effect of the injury shoots through the stadium . Jerry stares at the monitor , stunned by the sudden brutality .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARIZONA FIELD -- NIGHT<\/stage_direction>\n    <scene_description>We are thrust into the vortex , inside the game . Tidwell lies still on turf . Overhead , the fight music continues for a few seconds before disappearing abruptly . Players and coaches begin to gather around the still body of Rod Tidwell . TV MONITOR - SLO - MO The hit in replay . It is brutal . And we can see a flash of his pride as he catches the lousy pass , and then . like two bulls , the Philadelphia defenders enter from each side . One cuts his legs out from under him , and Rod 's taut body literally flips . The second defender then hits him at the shoulders . Tidwell lands on the back of his neck , crumpling downwards . Still holding the ball . Still .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TIDWELL LIVING ROOM -- NIGHT<\/stage_direction>\n    <scene_description>Silence . Utter silence .<\/scene_description>\n    <character>GIFFORD'S VOICE<\/character>\n    <dialogue>- you sure hope his family was n't watching that.<\/dialogue>\n    <scene_description>And then , in a cry that gurgles from way down deep , Marcee begins to sob . Camera catches the face of Tyson , now panicked . Scared , he embraces his mother .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOWELS OF SUN DEVIL STADIUM<\/stage_direction>\n    <scene_description>Maguire sprints through the inner bowels of the stadium . He turns the corner , into the tunnel , talking his way past a guard , heading into the bright t.v. light of the football field .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TIDWELL LIVING ROOM -- NIGHT<\/stage_direction>\n    <scene_description>Gathering around the television , the family waits through a commercial for more information on Rod 's injury .<\/scene_description>\n    <character>TEE PEE<\/character>\n    <dialogue>He should have kept his head tucked down.<\/dialogue>\n    <character>MARCEE<\/character>\n    <parenthetical>( immediately . )<\/parenthetical>\n    <dialogue>Shut up!<\/dialogue>\n    <character>TEE PEE<\/character>\n    <dialogue>I'm not putting him down, I just have a commitment to the truth.<\/dialogue>\n    <scene_description>Marcee lunges for him .<\/scene_description>\n    <character>MARCEE<\/character>\n    <dialogue>Ca n't you be loyal to your brother who LOVES you?<\/dialogue>\n    <parenthetical>( she is held back . )<\/parenthetical>\n    <dialogue>Get out of my house!<\/dialogue>\n    <scene_description>Across the room , the phone starts ringing . A COUSIN answers .<\/scene_description>\n    <character>COUSIN<\/character>\n    <dialogue>It's Jerry Maguire!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARIZONA FIELD -- NIGHT<\/stage_direction>\n    <scene_description>Jerry Maguire on the portable .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>He took a shot. He's unconscious.<\/dialogue>\n    <character>MARCEE<\/character>\n    <dialogue>I'm freakin out. Oh God I'm -<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Keep the phone open. I'll call back. Stay calm. He's got some good doctors out there.<\/dialogue>\n    <character>MARCEE<\/character>\n    <dialogue>`` Stay calm?'' I'm freakin.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Alright, I'm freaking too. But they need you to stay calm. I'll call back.<\/dialogue>\n    <character>MARCEE<\/character>\n    <dialogue>My whole life is this family, Jerry. It does n't work without him.<\/dialogue>\n    <scene_description>She takes a big gulp , as Jerry watches an overzealous Trainer run out onto the field to join the cluster around the fallen Tidwell . Jerry covers phone and yells onto the field .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>DO N'T TOUCH HIM!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTER OF PLAYING FIELD -- NIGHT<\/stage_direction>\n    <scene_description>We 're now just a few inches in front of his peaceful , sleeping face . They are all . YELLING , trying to pull him out . SHOTS OF NATIONAL TELEVISION AUDIENCES 1 -RRB- A full sports bar in arizona silently watches Monday Night Football . 2 -RRB- Generic living room of sports fans , all watching Tidwell pinned to the screen . 3 -RRB- Generic outdoor bar - b - que as white fans watch t.V. 4 -RRB- Tidwell living room . All gathered around the television . 5 -RRB- Maguire straining at the sideline . ON TIDWELL - CLOSE Dead to the world as sound disappears . There is now only silence . POV TIDWELL - SLO - MO - SILENCE The Doctors and the Trainers are now truly panicked . We do n't hear them . We see them , their motions increasingly manic . Shoving fingers in front of him . Screaming . We read their lips . -LRB- `` Rod ! '' `` Rod can you hear us ! '' -RRB- We see the anguish and escalating fear on their faces . The Trainer leans in close , bellowing , he spreads his hands wide to clap right in front of Rod 's still face . His hands head toward each other . closer . bringing with them the first inkling of sound . getting closer and then finally coming together , bringing with him the sounds of the stadium . ON TIDWELL who blinks back to life . Concerned men are yelling very loudly , right in his face . Tidwell becomes aware he is the absolute center of attention of the entire stadium . As crowd noise begins to rise .<\/scene_description>\n    <character>TRAINER<\/character>\n    <dialogue>Let's get you off the field!<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Wait.<\/dialogue>\n    <character>TRAINER<\/character>\n    <dialogue>Can you feel your legs?<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>Yeah. Just let me enjoy this for a minute.<\/dialogue>\n    <scene_description>ON JERRY who watches . Only marginally relieved . Is he okay ? ON FANS Crowd noise rises . Is he okay ? ON TIDWELL Can he move ? Is he okay ? ON TIDWELL 'S LIVING ROOM Not a breath is taken . Is he okay ? He rises . Stadium explodes . At first on wobbly feet , he raises the football and for the first time - salutes the crowd . Crowd noise doubles . ON MAGUIRE gasping for breath . ON TIDWELL Has never felt like this before in his life . It is the pure and absolute love of the spotlight . And his fans . And then . it 's real and he feels it . Tidwell breaks out in a small but unmistakable move - a flutter step . He does a high - stepping move , all his own , for about ten yards . ON JERRY MAGUIRE who watches , now in complete disbelief . Tidwell will not let go of the spotlight . ON TIDWELL 'S LIVING ROOM Going absolutely nuts . Marcee hysterical , laughing and crying .<\/scene_description>\n    <character>MARCEE<\/character>\n    <parenthetical>( to Tee Pee . )<\/parenthetical>\n    <dialogue>You ai n't talking now, are you? You're a silent motherfucker!<\/dialogue>\n    <scene_description>Tyson watches in silent awe of his mother . BACK ON TIDWELL - CLOSE Finishes his small but heartfelt dance . It is a personal catharsis he is sharing now with 2 billion people .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>Nike.<\/dialogue>\n    <scene_description>He moves past Jerry Maguire on his way off the field . Jerry , casually thumps his heart twice . Jerry Maguire is overcome with emotion . He sits down on a camera case , head in his hands . Behind him , a stadium cheers a new hero .<\/scene_description>\n    <character>OVERHEARD FAN<\/character>\n    <dialogue>I always knew he was great.<\/dialogue>\n    <scene_description>Maguire rubs his face . Overcome . Photographers and others rush past to be closer to Tidwell .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TUNNEL -- LATER<\/stage_direction>\n    <scene_description>Jerry Maguire surrounded by well - wishers and backslappers and Sportswriters . Success has returned , in all of it 's superficial grandeur . He is a star again , by association . We catch the look on Maguire 's face . Try as he might , he ca n't manufacture the joy of the moment . There is a void . Over the heads of the heatseekers we see Dennis Wilburn nodding , holding a thumbs up . He tries to get to Maguire , but can not . And then a commotion behind them all .<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>It's Tidwell!<\/dialogue>\n    <scene_description>Tidwell exits the locker room . Press and media surround him . Even the grizzled old - time stadium workers reach in to squeeze him , to slap him , to touch him . He works his way to Maguire . They hug . Cameras flash . Tears roll down from beneath his purple shades .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>We did it.<\/dialogue>\n    <scene_description>And now , in the middle of this emotional union , a portable phone rings . Both men reach for their porties . It 's Maguire 's . With anticipation , he answers .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>It's Marcee. She says she could n't get through on your phone.<\/dialogue>\n    <scene_description>Tidwell grabs the phone , and joyously shares the moment with his wife . Jerry watches , as Tidwell leans on his shoulder . ON SUGAR AND SWENSON -LRB- WATCHING THEM -RRB- Bob Sugar watches from the nearby wall where he stands with his client , quarterback John Swenson .<\/scene_description>\n    <character>SWENSON<\/character>\n    <dialogue>Why do n't we have that kind of relationship?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARIZONA KAROAKE BAR -- NIGHT<\/stage_direction>\n    <scene_description>Rod Tidwell sings karoake , on stage . He 's struggling through U2 's `` One . '' In the audience are many Arizona players , as well as most of Tidwell 's family .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>One love. you got to share it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TIDWELL HOME -- NIGHT<\/stage_direction>\n    <scene_description>Tee Pee is stuck at home , babysitting twenty kids .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KAROAKE BAR -- NIGHT<\/stage_direction>\n    <scene_description>We move past many Big Men celebrating Tidwell , singing along , sharing their Monday Night victory , onto melancholy Jerry Maguire . He watches , cellular at his side , as a YOUNG AGENT approaches .<\/scene_description>\n    <character>YOUNG AGENT<\/character>\n    <dialogue>Jerry Maguire. I'm Tommy Bendis. You do n't know me, I'm a new agent, just getting started. I represent that place kicker over there.<\/dialogue>\n    <parenthetical>( indicates kicker . )<\/parenthetical>\n    <dialogue>I wondered if you would sign this for me. Because it inspired me.<\/dialogue>\n    <scene_description>He withdraws a well - thumbed copy of Jerry 's Mission Statement . The blue cover is ripped along one edge . It clearly has served as a manifesto for this younger man 's career . ON JERRY MAGUIRE He feels the cover , flips through it a little . Memories flood with the passing pages . Shot holds on Jerry 's face , as Tidwell continues singing in the background . Suddenly , an odd feeling . A shiver runs up and down his spine . His forehead tingles . He rubs his face . All he can do is think of Dorothy .<\/scene_description>\n    <character>AGENT<\/character>\n    <dialogue>Just make it out `` To Tommy''.<\/dialogue>\n    <character>JERRY<\/character>\n    <dialogue>Tommy. I love you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPORT -- NIGHT<\/stage_direction>\n    <scene_description>Jerry Maquire sprints through the empty airport , heading for the last flight out of town . Music .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOROTHY'S LIVING ROOM -- NIGHT<\/stage_direction>\n    <scene_description>The Divorced Women 's Group in session . Laurel stands near the doorway , blowing cigarette smoke into the night . Dorothy is now a part of this group .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <dialogue>I've listened to you all tell a thousand sob stories, and I have been very judgmental. Frankly, I think you've all been waaaay too comfortable with your pain. Plus, Jan, you always spill your red wine on the couch.<\/dialogue>\n    <parenthetical>( off Jan 's guilty look . )<\/parenthetical>\n    <dialogue>I've not been fair to you. Women need to stick together, and not depend on the affections of a man to `` fix'' their lives. Maybe you're all correct. Men are the enemy.<\/dialogue>\n    <scene_description>Murmurs of agreement .<\/scene_description>\n    <character>DOROTHY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>But I still love the enemy.<\/dialogue>\n    <scene_description>Murmurs of disappointment .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOROTHY'S HOUSE -- NIGHT<\/stage_direction>\n    <scene_description>Jerry exits cab , holding hang - up bag . Looks at the house . On the other side of that window is a world he hopes he 's still a part of .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM -- NIGHT<\/stage_direction>\n    <scene_description>Jerry enters . Dorothy is seated toward the back .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Hello. I'm looking for my wife.<\/dialogue>\n    <scene_description>Dorothy looks up , robbed of words . Stunned , she does not move .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Alright. If this is where it has to happen, then this is where it has to happen.<\/dialogue>\n    <scene_description>Dorothy says nothing .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>I'm not letting you get rid of me. How about that?<\/dialogue>\n    <scene_description>He shares a look with some of the other women . She 's not going to say a word . Neither do they .<\/scene_description>\n    <character>JERRY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>This used to be my specialty. I was good in a living room. Send me in there, I'll do it alone. And now I just. I do n't know. but on what was supposed to be the happiest night of my business life, it was n't complete, was n't nearly close to being in the same vicinity as complete, because I could n't share it with you. I could n't hear your voice, or laugh about it with you. I missed my wife. We live in a cynical world, and we work in a business of tough competitors, so try not to laugh -.<\/dialogue>\n    <parenthetical>( directly . )<\/parenthetical>\n    <dialogue>I love you. You complete me.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Aw, shut up. You had me at hello.<\/dialogue>\n    <scene_description>He moves to her . They embrace . Ray watches in b.g. Jerry has given this room hope . It 's on their faces . At last , even Laurel gets off on her sister 's happiness , as she shares a look with Chad .<\/scene_description>\n    <character>JAN<\/character>\n    <parenthetical>( sloshing wine . )<\/parenthetical>\n    <dialogue>I think we'd better go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROY FIRESTONE SHOW -- NIGHT<\/stage_direction>\n    <scene_description>Roy Firestone leans forward .<\/scene_description>\n    <character>FIRESTONE<\/character>\n    <dialogue>your father who left the family on Christmas eve, the mother who cleaned the steps of a prison to make your tuition. The older brother who lost a leg in that tragic bass fishing accident -<\/dialogue>\n    <scene_description>Tidwell is wearing glasses now , in a somewhat scholarly mode .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>No, Roy. I'm not gon na cry.<\/dialogue>\n    <character>FIRESTONE<\/character>\n    <dialogue>- well, Rod, your agent passed me a note before the show. He says that your deal memo has been signed by the Arizona Cardinals. Four years for ten - point - two million dollars. Playing in the state where you grew up.<\/dialogue>\n    <scene_description>ON TIDWELL - WEEPING<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>I. I love everybody, man. I love my wife. My kids. Little Tyson. My new baby Kaydee. My brother Tee Pee. I love my friends, my teammates, who am I leaving out?<\/dialogue>\n    <character>FIRESTONE<\/character>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>It's only a half - hour show, Rod.<\/dialogue>\n    <scene_description>ON TIDWELL 'S FRIENDS AND FAMILY watching off - camera . Marcee crying too . Shot takes us to Jerry , Dorothy and Ray .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>Wan na send some beautiful love out to my offensive line, just a beautiful bunch of dudes, wan na thank a beautiful individual - God, and of course the entire Arizona organization, a little slow, but they do come around. I'm leaving somebody out.<\/dialogue>\n    <scene_description>Amused and finally glimpsing the end of a long journey , Jerry leans over to Marcee .<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Take care, Marcee. We'll see you at the restaurant.<\/dialogue>\n    <scene_description>She nods , emotionally , biting her lip .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <dialogue>Oh yes. Jerry Maguire! My agent! This is a fierce, loving individual, I love this man, he is love, he is about love - my ambassador of kwan.<\/dialogue>\n    <character>FIRESTONE<\/character>\n    <dialogue>Ten seconds, Rod.<\/dialogue>\n    <character>TIDWELL<\/character>\n    <dialogue>And I love my fans, of which he is one. Wan na thank them for all my Sundays, and of course my Monday nights too. That about says it.<\/dialogue>\n    <scene_description>Jerry watches wonderously at the monitor before leaving . TV credits are rolling on the show .<\/scene_description>\n    <character>TIDWELL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Wait! And thank you Melvin from the Casual Man, thank you for the suit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT -- DAY<\/stage_direction>\n    <scene_description>Jerry , Dorothy , Ray exit into the daylight . They walk to Jerry 's car . From across the fence , a stray baseball from a pick - up game flies into the parking lot and bounces ahead of them . Ray picks it up . In an easy fluid motion , he whips it back over the fence to the game on the other side . A few kids on the other side of the fence shout their approval of a great little throw . Jerry and Dorothy stop , looking at Ray who has just shown shocking natural ability . They are quiet for a moment , turning slowly to look at each other . And then , not ready to deal with it , not even close to ready to deal with it , they say quickly to the boy :<\/scene_description>\n    <character>JERRY<\/character>\n    <dialogue>Come on, Ray.<\/dialogue>\n    <character>DOROTHY<\/character>\n    <dialogue>Ray, let's go.<\/dialogue>\n    <scene_description>Happily Ray joins them as they walk to the car . A family . Music . FADE OUT THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Jerry Maguire (Tom Cruise) is a glossy 35-year-old sports agent working for Sports Management International (SMI). After experiencing a life-altering epiphany about his role as a sports agent, he writes a mission statement about perceived dishonesty in the sports management business and his desire to work with fewer clients to produce better quality. In turn, SMI management decides to send Bob Sugar (Jay Mohr), Jerry's prot\u00e9g\u00e9, to fire him. Consequently, Jerry and Sugar each call all of Jerry's clients to try and convince them not to hire the services of the other. Jerry speaks to Arizona Cardinals wide receiver Rod Tidwell (Cuba Gooding Jr.), one of his clients who is disgruntled with his contract. He needs a $10 million contract for his family to live on. Jerry informed him if he gets injured for the season, he will get no money from the Cardinals. Rod tests Jerry's resolve through a very long telephone conversation, while Sugar is able to persuade the rest of Jerry's clients to stick with SMI instead. Leaving the office, Jerry announces that he will start his own agency and asks if anyone is willing to join him, to which only 26-year-old single mother Dorothy Boyd (Ren\u00e9e Zellweger) agrees. Meanwhile, Frank \"Cush\" Cushman (Jerry O'Connell), a superstar quarterback prospect who expects to be the number one pick in the NFL Draft, initially also stays with Jerry after he makes a visit to the Cushman home. However, Sugar is able to persuade Cushman and his father to sign with SMI over Jerry the night before the draft. Cushman's father implies they decided to sign with Sugar over Jerry when they saw Jerry attending to Tidwell instead of his son. After an argument, Jerry breaks up with his disgruntled fianc\u00e9e Avery (Kelly Preston). He then turns to Dorothy, becoming closer to her young son, Ray (Jonathan Lipnicki), and eventually starts a relationship with her. Dorothy contemplates moving to San Diego as she has a secure job offer there, however she and Jerry agree to get married. Jerry concentrates all his efforts on Rod, now his only client, who turns out to be very difficult to satisfy (\"Show me the money\"). Over the next several months, the two direct harsh criticism towards each other with Rod claiming that Jerry is not trying hard enough to get him a contract while Jerry claims that Rod is not proving himself worthy of the money for which he asks; one point of contention is that Rod is not very likable and comes across as aloof from the fans. Rod takes Jerry's advice to prove he is worthy of his contract. Rod is playing well and his team is winning. Meanwhile, Jerry's marriage with Dorothy gradually deteriorates and they eventually separate. During a Monday Night Football game between the Cardinals and the Dallas Cowboys, Rod plays well but appears to receive a serious injury when catching a winning touchdown, securing a spot for the Cardinals in the playoffs. He recovers, however, and dances for the wildly cheering crowd. Afterwards, Jerry and Rod embrace in front of other athletes and sports agents and show how their relationship has progressed from a strictly business one to a close personal one, which was one of the points Jerry made in his mission statement. He then flies back home to meet Dorothy, telling her that he loves her and wants her in his life, which she accepts, uttering the movie's other famous line \"You had me at hello\". Rod later appears on Roy Firestone's sports show. Unbeknownst to him, Jerry has secured him an $11.2 million contract with the Cardinals allowing him to finish his pro football career in Arizona. The visibly emotional Rod proceeds to thank everyone and extends warm gratitude to Jerry. Jerry speaks with several other pro athletes, some of whom have read his earlier mission statement and respect his work with Rod. The movie ends with Ray throwing a baseball up in the air, surprising Jerry. Jerry then discusses Ray's possible future career in the sports industry with Dorothy."}
{"movie_name":"Win Win_2011","imdb_id":"tt1606392","script":"<script>\n  <scene>\n    <stage_direction>EXT. WATCHUNG RESERVATION - DAWN.<\/stage_direction>\n    <scene_description>It 's a bitter cold January morning . The woods are quiet . Desolate . In the far off distance a man is jogging . He banks around the end of a small pond and runs right at us . This is MIKE FLAHERTY , FORTY - TWO . He is running hard . Or at least as hard as he can . Suddenly TWO JOGGERS blow past him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE, BEDROOM - SAME.<\/stage_direction>\n    <scene_description>A HOME MADE STAIN GLASS ANGEL hangs on a window . It falls to the ground . ABBY FLAHERTY , SIX - YEARS OLD , stirs and gets out of her bed out . She picks up the Bird and inspects it . It 's broken .<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>Shit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE, BEDROOM - LATER.<\/stage_direction>\n    <scene_description>JACKIE FLAHERTY , THIRTY - SEVEN is still sleeping . Abby walks into the room . Jackie opens her eyes .<\/scene_description>\n    <character>ABBY<\/character>\n    <parenthetical>( WHISPERS . )<\/parenthetical>\n    <dialogue>Mommy, can we play croquet today?<\/dialogue>\n    <scene_description>Jackie lifts Abby onto the bed .<\/scene_description>\n    <character>ABBY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Where's Daddy?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>He's running.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>From what?<\/dialogue>\n    <scene_description>Jackie smiles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE AND JACKIE'S HOUSE, BEDROOM - LATER.<\/stage_direction>\n    <scene_description>STELLA , TWO YEARS OLD is standing up in her crib crying . Mike comes in and picks her up .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>OK. OK. Hi there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE AND JACKIE'S HOUSE, KITCHEN - LATER.<\/stage_direction>\n    <scene_description>Jackie prepares some food . She knocks a glass over into the sink and it breaks .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <scene_description>She looks over at Abby who is immersed in her coloring . Then she sets the food down in front of Stella who is sitting in a high chair . Mike enters wearing a suit and tie .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>How was the run?<\/dialogue>\n    <character>MIKE JACKIE<\/character>\n    <dialogue \/>\n    <scene_description>Good . It was good . Abby , finish your cereal .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( TO MIKE . )<\/parenthetical>\n    <dialogue>I'm very impressed with you keeping it up.<\/dialogue>\n    <scene_description>Mike shrugs and takes a yogurt from the refrigerator .<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>I do n't like it.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>You do too, so stop drawing and eat.<\/dialogue>\n    <character>MIKE ABBY<\/character>\n    <dialogue \/>\n    <scene_description>What brand is this ? Daddy , look . It 's your team .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>They're all the same.<\/dialogue>\n    <scene_description>Mike looks at the drawing . It looks nothing like a team .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>That's my team? That's great, honey. Are they winning?<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Maybe you should show the team.<\/dialogue>\n    <scene_description>Abby knocks over a glass of water . It spills onto the drawing .<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Honey, you ca n't use that word. It's a bad word.<\/dialogue>\n    <scene_description>Off Mike 's look .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What? Do n't look at me.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Uh huh. Bye sweetie.<\/dialogue>\n    <scene_description>He kisses Abby .<\/scene_description>\n    <character>ABBY MIKE<\/character>\n    <dialogue \/>\n    <scene_description>Bye daddy . Bye .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Hey. You OK?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>You sure?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah. I'm good. Why?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Just checking.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>OK. Bye guy's.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Can I have more juice?<\/dialogue>\n    <scene_description>Mike leaves . Jackie is not convinced .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Just a minute.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIKE AND JACKIE'S HOUSE - LATER.<\/stage_direction>\n    <scene_description>Mike walks outside toward his car . He opens the car door .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Mike?<\/dialogue>\n    <scene_description>Mike turns . Jackie is standing at the door .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Did you call Fenn about the tree?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>No. I will today.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Please do. I do n't want it coming down on the house.<\/dialogue>\n    <scene_description>Mike looks at a VERY DEAD TREE in the side yard .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Yeah. You're right. I will.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Mike?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>I love you.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I love you too, sweetie. Bye.<\/dialogue>\n    <scene_description>Jackie shuts the door . Mike looks up at the tree .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Shit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUNKIN' DONUTS - LATER.<\/stage_direction>\n    <scene_description>Mike pays for his coffee and bagel and starts to leave . He nods to a group of FIVE OLD MEN who wave him over . He tries to keep moving but they continue to engage him . Finally he joins the table . The group shares a laugh .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIKE'S OFFICE - LATER.<\/stage_direction>\n    <scene_description>Mike 's car pulls into a driveway of an OLD HOUSE that has been converted into TWO OFFICES . A SIGN on the lawn reads : `` MICHAEL S. FLAHERTY , COUNSELOR AT LAW '' and `` STEPHEN VIGMAN , CPA ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIKE'S OFFICE, PARKING LOT - CONTINUOUS.<\/stage_direction>\n    <scene_description>Mike parks his car as a WORKMAN walks up from the basement of the house and gets into his VAN and pulls away . Mike gets out of his car and walks toward the back door carrying his briefcase . He stops at the basement steps .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Vig?<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Down here.<\/dialogue>\n    <scene_description>Mike walks down the stairs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S OFFICE, BASEMENT - CONTINUOUS.<\/stage_direction>\n    <scene_description>It 's an old , musty basement filled with endless shelves of files .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>What's up, Vig?<\/dialogue>\n    <character>VIGMAN<\/character>\n    <dialogue>Donna's out sick and ca n't find anything without her. It sucks.<\/dialogue>\n    <scene_description>STEPHEN VIGMAN , FIFTY , emerges carrying some files .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Who was that guy?<\/dialogue>\n    <character>VIGMAN<\/character>\n    <dialogue>Oh, that sucks more. He's the plumber. I called him to look at that piece of crap of boiler.<\/dialogue>\n    <scene_description>Vigman points to an ANCIENT HOT WATER BOILER .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>VIGMAN<\/character>\n    <dialogue>That clanking is driving me nuts. Ca n't you hear it down in your office?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah. I just figured it's old.<\/dialogue>\n    <character>VIGMAN<\/character>\n    <dialogue>Well it is but he took one look at it and said we should replace it before it blows.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>What?! We just had it fixed three months ago.<\/dialogue>\n    <character>VIGMAN<\/character>\n    <dialogue>Yeah, he said that job was crap. The guy did crap work. Can you believe that? That little scumbag!<\/dialogue>\n    <character>MIKE VIGMAN<\/character>\n    <dialogue \/>\n    <scene_description>Jesus . All they care about is getting paid . Makes me sick . No one wants to do the work anymore .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>How much to fix it, Vig? Did he say?<\/dialogue>\n    <character>VIGMAN<\/character>\n    <dialogue>Six grand to replace everything.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Holy shit.<\/dialogue>\n    <character>VIGMAN<\/character>\n    <dialogue>Tell me about it. I got ta be honest, Mike, it's not a good time for me. My business is off and my step son wants to get Lasik.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Really? Is n't he too young?<\/dialogue>\n    <character>VIGMAN<\/character>\n    <dialogue>I do n't really care at this point. If it makes him happy, he can have it. I get nothing from that kid. Nothing. He has an unnatural attachment to his father.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Right. So what do you want to do?<\/dialogue>\n    <character>VIGMAN<\/character>\n    <dialogue>Well I was thinking we could leave it for now and just cover the file cabinets in plastic to be safe. How about you?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah. I guess I'm good with that.<\/dialogue>\n    <scene_description>CLANK . CLANK . CLANK . The boiler barks . They both jump .<\/scene_description>\n    <character>VIGMAN<\/character>\n    <dialogue>Let's get out of here before it blows. I'll pick some up plastic before practice.<\/dialogue>\n    <scene_description>They both hurry back up the stairs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S OFFICE - LATER<\/stage_direction>\n    <scene_description>Mike walks into his office . SHELLY , the receptionist , is at her computer working . She 's mid - 20s and pure Jersey .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Hey Shelly, How you doing?<\/dialogue>\n    <character>SHELLY<\/character>\n    <dialogue>I'm a little hung over and my boyfriend's a moron.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Oh. Sorry to hear that.<\/dialogue>\n    <character>SHELLY<\/character>\n    <dialogue>How'd the team do last night?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>We lost.<\/dialogue>\n    <character>SHELLY<\/character>\n    <dialogue>Bummer. Your noon canceled so you just have a 10:30 and 3pm.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>OK. Anything else?<\/dialogue>\n    <character>SHELLY<\/character>\n    <dialogue>The toilet is n't flushing again. Should I just call someone this time?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>No. I'll take a look at it. Who do I have at ten - thirty?<\/dialogue>\n    <character>SHELLY<\/character>\n    <parenthetical>( APOLOGETICALLY . )<\/parenthetical>\n    <dialogue>Frank.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Great.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S OFFICE - LATER.<\/stage_direction>\n    <scene_description>Mike is sitting with FRANK , an elderly man , jotting notes .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>And you think your son stole it?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Yeah. I know he did.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Why would he steal your cat, Frank?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>He's jealous of her. Very jealous.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S OFFICE - LATER<\/stage_direction>\n    <scene_description>Mike is on his phone as he cleans his keyboard .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I understand but that's my fee for that particular service. Uh huh. Right. Well maybe I can adjust that a little bit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S OFFICE - LATER<\/stage_direction>\n    <scene_description>Mike is eating lunch at his desk . He hears a noise and looks out the back window and see 's Vigman pulling a LARGE ROLL OF PLASTIC TARP out of the trunk of his car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S OFFICE, BATHROOM - LATER<\/stage_direction>\n    <scene_description>Mike , on his knees , plunges the broken toilet .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S OFFICE - LATER<\/stage_direction>\n    <scene_description>Mike is sitting with LEO POPLAR , 82 and his HOME HEALTH AID , JOLIE , FORTY - FIVE and AFRICAN AMERICAN .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Well Leo, remember you got lost and the police had to help you a few times. That's why we brought Jolie into help you, right?<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>So now what happens?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Well if that Judge deems you incapacitated then you will need a guardian. And if we ca n't find your daughter then the state.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>She ca n't find herself.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>OK but if we ca n't find her then the State will have to become your guardian.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Who's the state?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>You know. the state. of New Jersey.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>That's crazy. I do n't need New Jersey's help. I got Jolie now. And there's no funny business between us so you know.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Right. I'm sure there's not. Let's just first see if we can find your daughter and then we'll go from there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHELLY'S OFFICE.<\/stage_direction>\n    <scene_description>SHELLY flips through some DOCUMENTS . The boiler sounds off . CLANK CLANK CLANK . She jumps . She picks up the documents and walks into Mike 's office setting the documents down .<\/scene_description>\n    <character>SHELLY<\/character>\n    <dialogue>Am I still hung over or is that noise getting louder?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>You're probably still hung over. What's that?<\/dialogue>\n    <character>SHELLY<\/character>\n    <dialogue>Leo's financial statements. He's loaded, huh?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yes, he is. You find his daughter?<\/dialogue>\n    <character>SHELLY<\/character>\n    <dialogue>No. That lady is gone and does n't want to be found.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Crap.<\/dialogue>\n    <scene_description>Mike takes the STATEMENTS and puts them in LEO 'S FILE .<\/scene_description>\n    <character>SHELLY<\/character>\n    <dialogue>Ca n't the state just leave him in his home? That's what the guy wants.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>They could but they never will. It's too much work. They'll probably move him into Oak Knoll. Hand me one of their brochures?<\/dialogue>\n    <scene_description>Shelly grabs an OAK KNOLL BROCHURE from a stack .<\/scene_description>\n    <character>SHELLY<\/character>\n    <dialogue>But he has Jolie now. She can handle it.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>No, she ca n't. His guardian still has to make every single decision. It's the difference between a baby sitter and a parent.<\/dialogue>\n    <scene_description>She hands it to Mike who takes it and paper clips in on the inside of Leo 's file .<\/scene_description>\n    <character>SHELLY<\/character>\n    <dialogue>I wish I could do it. I could use an extra 1,500 bucks a month.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>$ 1,500. Is that what it is?<\/dialogue>\n    <character>SHELLY<\/character>\n    <dialogue>Yeah. It's in his file.<\/dialogue>\n    <parenthetical>( Answering the phone . )<\/parenthetical>\n    <dialogue>Mike Flaherty's office.<\/dialogue>\n    <scene_description>Mike opens Leo 's file .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW PROVIDENCE HIGHSCHOOL GYM, THE PIT - LATER.<\/stage_direction>\n    <scene_description>Mike and Vigman are coaching wrestling practice at the public highschool . They are in the small , dingy back gym just off the main gymnasium . This is a no - frills program . The team of 12 WRESTLERS are doing a spinning drill . Vigman holds up a singlet .<\/scene_description>\n    <character>VIGMAN<\/character>\n    <dialogue>Whose singlet is this? What did I say about leaving them around?<\/dialogue>\n    <scene_description>A WRESTLER runs over and Vig flings it at him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WATCHUNG RESERVATION - EARLY MORNING.<\/stage_direction>\n    <scene_description>Mike and TERRY DELFINO are running . Terry is the same age as Mike but dressed in a better gear . They are both breathing hard .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>How's the team doing?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Not good.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>What the hell happened? We used to be good.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah, well we're not anymore.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Can we walk for a bit?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>They both stop . Terry is completely winded .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>That sucked. You're running good, buddy. Kicking my ass.<\/dialogue>\n    <scene_description>Terry 's blackberry beeps . He takes it out and reads it .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Yeah. I've been getting out here a bit more often.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>You got ta be kidding me.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Lori's texting me at seven in the morning to ask me if I want an antique sewing table that we bought together.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Do you?<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>No. I want my fucking house back!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Is she still with that guy?<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>You mean my contractor? The guy I hired? Yeah, she is. I can just picture that little scumbag walking around my house wearing his tool belt. Here.<\/dialogue>\n    <scene_description>He hands Mike his blackberry .<\/scene_description>\n    <character>TERRY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Take a picture for me.<\/dialogue>\n    <scene_description>Terry pulls down his pants and moons Mike .<\/scene_description>\n    <character>TERRY MIKE<\/character>\n    <dialogue \/>\n    <scene_description>Take it ! Jesus , Ter !<\/scene_description>\n    <character>TERRY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hurry! It's cold.<\/dialogue>\n    <scene_description>Mike takes the picture . Terry takes the blackberry back .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Do n't send it.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Too late. I hate her.<\/dialogue>\n    <scene_description>They start to walk .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Maybe you should move back into the city? Get a new job. Shake it up a bit.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Nah. Finley called me. He's starting up a new fund out here in May so I'm gon na wait for that.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>That guy's starting another fund?<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Yeah. He's an animal. He prints money. Come on, let's finish strong.<\/dialogue>\n    <scene_description>Terry starts to run . Mike follows . After about thirty feet , Mike pulls up . He 's breathing is labored .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Hold up!<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Just. hold up.<\/dialogue>\n    <scene_description>Mike is really breathing hard now . He 's making some funny noises .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>You alright?<\/dialogue>\n    <scene_description>Mike just holds up a hand . He ca n't really speak . TERRY . -LRB- CONT'D. -RRB- MIKE Mike , what the fuck ? What 's -LRB- Barely audible -RRB- wrong ? Yeah . Fine . I just . He drops to a knee . He 's not alright .<\/scene_description>\n    <character>TERRY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Holy fuck! Mike? Hang on pal.<\/dialogue>\n    <scene_description>Terry takes out his black berry but immediately fumbles it into the wet mud .<\/scene_description>\n    <character>TERRY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Fuck! Fuck!<\/dialogue>\n    <scene_description>He grabs it and shakes it out but it 's dead .<\/scene_description>\n    <character>TERRY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You got ta be kidding me. Shit.<\/dialogue>\n    <scene_description>Mike is still wheezing . Terry turns his attention .<\/scene_description>\n    <character>TERRY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Is it your heart, buddy? Are you having a heart attack?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>No! I'm not having a heart attack! I just. ca n't breathe.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>That could be a heart attack, Mike. You should lie down.<\/dialogue>\n    <scene_description>Terry tries to help him but it 's only seems to annoy Mike .<\/scene_description>\n    <character>MIKE TERRY<\/character>\n    <dialogue \/>\n    <scene_description>Get off me ! Just lie down .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>No! It's wet. I do n't want to lie down.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Who cares? You might be dying. Are you cold? Do you feel cold?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah. I'm lying on the ground.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Look into my eyes, Mike. Look into my eyes.<\/dialogue>\n    <scene_description>They are now engaged in a weird wrestling match . WOMAN . -LRB- O.S . -RRB- Are you alright ? Terry looks to see TWO FORTY YEAR OLD WOMEN in jogging gear staring at them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - LATER<\/stage_direction>\n    <scene_description>An ambulance pulls away revealing Mike and Terry sitting in the open back of Terry 's LEXUS SUV .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>OK dude, how long has that been happening?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Couple of months. The doctor says it's stress.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Seriously? Did he prescribe anything for you?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah. Jogging. Why the hell you think I'm doing this?<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Jesus. That scared the shit out of me. What are you so stressed about, Mike?<\/dialogue>\n    <character>MIKE<\/character>\n    <parenthetical>( SHEEPISH . )<\/parenthetical>\n    <dialogue>I do n't know. Work. Money. Everything.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Is it that bad?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah. It is. I do n't know how much longer I can keep my practice going.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Really? Holy shit, Mike! What're you gon na do?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I have no frickin' idea. I've been trying everything.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Have you told Jackie?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Not yet. I do n't want to freak her out.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Good call. So we just need a new strategy, that's all. What about that Judge that's always throwing work your way? Ca n't she help you out?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Judge Lee, yeah. If it was n't for her I'd probably be out of business already. I just need more.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Is there anything else you can do for money?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>What the hell am I gon na do? Bartend? I'm a lawyer, Ter. I practice law. MIKE.<\/dialogue>\n    <parenthetical>( CONT'D. ) TERRY<\/parenthetical>\n    <dialogue \/>\n    <scene_description>And it 's not like I 'm some I know . scumbag . I help old people for Christ sake . No offense but your pal , Finley does n't give a crap about anything but making money .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>Yeah. But that's why he makes it.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>No shit, Ter. Thanks for the update.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>The office is dark aside from Mike 's desk light . Shelly is gone . Mike 's blackberry rings .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Hi, honey. I'm still at the office. Yeah. I came back after practice, I'll be home in a bit.<\/dialogue>\n    <parenthetical>( Checking his blackberry . )<\/parenthetical>\n    <dialogue>Oh, hey, let me go, Jack. I've been waiting for this call. Bye.<\/dialogue>\n    <scene_description>Mike hangs up the phone and answers his blackberry .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hey Tom. Thanks for getting back to me. I'm good. I'm good. Yeah, I was just following up to see if you had any overflow. It's been a slow month on this end and I was.<\/dialogue>\n    <scene_description>Mike listens . The news from Dunleavy is n't good .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oh. OK. No, yeah of course. I appreciate that. Thanks, Tom. Bye.<\/dialogue>\n    <scene_description>Mike hangs up the phone and sits at his desk . After a moment , he slams his hand on the desk . And then something catches his eye . It 's LEO POPLAR 'S FILE . He opens the file and see 's the PAMPHLET FOR OAK KNOLL . He flips through the file and lands on a particular page and a particular line item . Monthly Commission : $ 1,508.00 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNION COUNTY COURT HOUSE - DAY<\/stage_direction>\n    <scene_description>Mike walks with Leo Poplar up the steps of the courthouse .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNION COUNTY COURT HOUSE, SECURITY DESK - LATER.<\/stage_direction>\n    <scene_description>Leo walks through the metal detector . Mike watches him and then walks through himself but something beeps . The guards stops Mike . Leo starts to wander away .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Hey, Leo. Leo hold on!<\/dialogue>\n    <parenthetical>( to the Guard . )<\/parenthetical>\n    <dialogue>Can you stop him, please?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNION COUNTY COURT HOUSE, COURTROOM - LATER.<\/stage_direction>\n    <scene_description>It 's a very drab , no frills courtroom . JUDGE LEE is seated on the bench looking over some documents . Mike is sitting next Leo . Seated at the next table is STU THATCHER , ATTORNEY FOR THE OFFICE OF PUBLIC GUARDIAN . Mike is tapping his pen .<\/scene_description>\n    <character>JUDGE LEE<\/character>\n    <dialogue>Any word from his daughter? Mr. Flaherty?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Oh. no, Your Honor. I have the two certified letters returned unclaimed. And there is no phone number for her. We ca n't find her.<\/dialogue>\n    <character>JUDGE LEE<\/character>\n    <dialogue>And she is the only living family, is that correct?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yes, your Honor, she is. But Mr. Poplar has n't seen her for over twenty years.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Your daughter.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>She's late? She's probably at the store buying some crap or something.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>OK.<\/dialogue>\n    <scene_description>Mike turns back to the Judge and shrugs .<\/scene_description>\n    <character>JUDGE LEE<\/character>\n    <dialogue>OK, then as, Mr. Poplar has been deemed incapacitated by this court, I'm appointing the Office of Public Guardian to serve as the guardian for his person and property. Do you have the order for me to sign, Mr. Thatcher?<\/dialogue>\n    <character>THATCHER<\/character>\n    <dialogue>Yes, I do, Your Honor.<\/dialogue>\n    <character>JUDGE LEE<\/character>\n    <dialogue>Then please approach.<\/dialogue>\n    <scene_description>Thatcher stands and takes out the order . Mike 's wheels are spinning . He seizes his moment .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Your Honor, if it pleases the Court.<\/dialogue>\n    <character>JUDGE LEE<\/character>\n    <dialogue>Yes, Mr. Flaherty?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I would be willing to serve as Mr. Poplar's guardian.<\/dialogue>\n    <character>THATCHER<\/character>\n    <parenthetical>( Stopping . )<\/parenthetical>\n    <dialogue>Really?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>THATCHER<\/character>\n    <dialogue>How long have you known him? Two weeks?<\/dialogue>\n    <scene_description>Mike is suddenly put on the spot .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>More like five.<\/dialogue>\n    <character>THATCHER<\/character>\n    <dialogue>Really? And now you want to be his guardian?<\/dialogue>\n    <scene_description>Mike looks at Leo and the Judge .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>May I approach, your honor?<\/dialogue>\n    <character>JUDGE LEE<\/character>\n    <dialogue>Council approach.<\/dialogue>\n    <scene_description>Mike collects himself and approaches . JUDGE LEE . -LRB- CONT'D. -RRB- What 's going on Mike ?<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Well Judge, I think I'd be a better candidate then the state in this case.<\/dialogue>\n    <character>THATCHER<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah, and stop saying really, it's annoying.<\/dialogue>\n    <scene_description>THE STENOGRAPHER raises in eyebrow . MIKE . -LRB- CONT'D. -RRB- THATCHER Your Honor , I live in the Proximity hardly qualifies same town as Mr. Poplar . him as a guardian , Your Honor .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And, as his lawyer, I feel like I'm in a better position to execute what my client wants.<\/dialogue>\n    <character>THATCHER<\/character>\n    <dialogue>Your Honor, Mr. Flaherty is Mr. Poplar's court appointed attorney.<\/dialogue>\n    <character>JUDGE LEE<\/character>\n    <dialogue>I know, Stu, I appointed him.<\/dialogue>\n    <character>THATCHER<\/character>\n    <dialogue>Yeah, well that hardly qualifies him to be Leo's Guardian. What's the motivation here?<\/dialogue>\n    <scene_description>Thatcher is turning up the heat . He obviously wants Poplar . Mike is starting to feel it .<\/scene_description>\n    <character>JUDGE LEE<\/character>\n    <dialogue>Mike?<\/dialogue>\n    <scene_description>Mike looks back at Leo who is trying to unscrew the cap on his water bottle , completely uninterested in the proceedings . He makes a decision .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Your Honor, Leo told me he wants to live at home. He has the money to do that and I want to make sure that happens. If the State can do that then fine.<\/dialogue>\n    <character>THATCHER<\/character>\n    <dialogue>Counsel knows we ca n't do that, your Honor. We're spread too thin for that kind of individual attention. But they have an excellent elder care facility in Mr. Poplar's town. We'll put him there.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Mr. Poplar wants to live at home.<\/dialogue>\n    <character>JUDGE MALONE<\/character>\n    <parenthetical>( TO MIKE . )<\/parenthetical>\n    <dialogue>You can do that, Mike?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yes, I can.<\/dialogue>\n    <parenthetical>( TO THATCHER . )<\/parenthetical>\n    <dialogue>Really.<\/dialogue>\n    <scene_description>Leo is putting papers in his briefcase . Mike sits down next to him .<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>Did we win?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah. I think so.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Good.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEO POPLAR'S HOUSE - DAY.<\/stage_direction>\n    <scene_description>Mike walks toward his car carrying AN OLD TV SET . He puts it into the back of his car which is packed with ITEMS from Leo 's house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S CAR - LATER.<\/stage_direction>\n    <scene_description>Mike and Leo are driving .<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>Are we going to the park?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>No. We're not, Leo. I'm gon na help you get settled into a new place to live right here in town.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>I do n't need a new place. I have a house. I'm not fancy that way.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I know. But I need you to stay in this new place for a while. It's nice. You'll like it.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Is that what the judge said?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah, that's what he said.<\/dialogue>\n    <scene_description>Leo considers the news and looks out the window .<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>Ah shit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OAK KNOLL SENIOR LIVING - DAY.<\/stage_direction>\n    <scene_description>Mike and Leo arrive at Oak Knoll .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OAK KNOLL SENIOR LIVING, PRIVATE ROOM - LATER.<\/stage_direction>\n    <scene_description>It is a nice place . Mike sits on a small couch filling out paperwork as a FEMALE STAFF MEMBER helps to prepare Leo 's room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. QUICK CHECK - DUSK.<\/stage_direction>\n    <scene_description>Mike pulls up and walks into the Convenience Store . He buys cigarettes and walks outside . He walks outside , around the corner and then behind the store . He lights a cigarette and then throws the pack into the dumpster . He stands there smoking .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OUR LADY OF PEACE CHURCH- MORNING.<\/stage_direction>\n    <scene_description>AN ENORMOUS CRUCIFIX hangs over the alter . A COLLECTION BASKET is passed from person to person . Abby deposits TWO DOLLARS into the basket and looks up at Mike . He smiles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUR LADY OF PEACE CHURCH - LATER.<\/stage_direction>\n    <scene_description>Jackie and Stella are waiting in the parking lot . Mike is lagging behind carrying Abby and chatting with some OLDER PARISHIONER 'S . He 's charming and he 's working it . He finally catches up with Jackie and they walk toward the car .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Let's go, Mr. Mayor. It's cold and I need to pick up some bagels for your mom's.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>OK. OK. I just have to make one stop first.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I have to swing by a client's house and shut off the water.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Because it's freezing and I do n't want his pipes to burst.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>No, I mean why are you doing it?<\/dialogue>\n    <character>MIKE<\/character>\n    <parenthetical>( CASUALLY . )<\/parenthetical>\n    <dialogue>What? Oh, because I'm his guardian.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>What? Since when?<\/dialogue>\n    <character>MIKE ABBY<\/character>\n    <dialogue \/>\n    <scene_description>Just last week . Mommy , I want a bagel .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>That's a big deal, Mike. Were you even gon na tell me?<\/dialogue>\n    <character>MIKE JACKIE<\/character>\n    <dialogue \/>\n    <scene_description>It 's not a big deal . And yes , It is too . I was gon na tell you .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You do n't have time to be taking care of some old man.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Jack, he's in Oak Knoll. They do everything. I just have to check in on him from time to time.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>And who pays for that?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>He does. It comes out of his estate and he can afford it. Trust me.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>I do n't get it. You've never done it before.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>No I have n't.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>So why are you doing it now?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>It's just. the right thing to do, alright. We could n't find his daughter and I'm just trying to help the guy. It's really not a big deal.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Well, it sounds like a big deal. And you should have told me.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>What's a big deal?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Ask your daddy, sweetie. Maybe he'll tell you.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Daddy, what's a big deal?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S CAR - LATER<\/stage_direction>\n    <scene_description>Mike pulls up to Leo 's house . It 's a small house in a working class section of town . A TEENAGER is sitting on the front stoop .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Is that his house?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>JACKIE<\/character>\n    <parenthetical>( Re : the Young Man . )<\/parenthetical>\n    <dialogue>Who's that?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>No idea.<\/dialogue>\n    <scene_description>Mike gets out of the car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEO POPLAR'S HOUSE - LATER<\/stage_direction>\n    <scene_description>Mike walks up the front walk . The YOUNG MAN is listening to his Ipod and smoking a cigarette . Mike approaches and waves . The YOUNG MAN removes his headphones . He has a BRUISE on his left eye .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>How you doing? Can I help you?<\/dialogue>\n    <character>YOUNG MAN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Are you looking for Mr. Poplar?<\/dialogue>\n    <character>YOUNG MAN<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Well, he does n't live here anymore.<\/dialogue>\n    <character>YOUNG MAN<\/character>\n    <dialogue>Where does he live?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>You mind telling me why you're looking for him first?<\/dialogue>\n    <scene_description>The Young Man sizes Mike up . Then .<\/scene_description>\n    <character>YOUNG MAN<\/character>\n    <dialogue>He's my Grandfather. I came to live with him.<\/dialogue>\n    <scene_description>Mike is momentarily stunned by the news . Then he looks back at the car where Jackie gives him a `` What 's going on ? '' look . Uh oh .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S CAR - LATER<\/stage_direction>\n    <scene_description>Mike is driving . The Young Man is in the back seat next to Abby and Stella .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>So do you live around here, Kyle?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>No. Ohio.<\/dialogue>\n    <scene_description>Jackie looks at Mike who tries to avoid her piercing gaze .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Ohio? And where are your parents?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>It's just my mother and me. She's back in Columbus. She could n't come.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>So how did you get here?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Bus.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Really? All by yourself?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>That sounds like a big deal.<\/dialogue>\n    <scene_description>Jackie looks at Mike . From the mouths of babes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OAK KNOLL SENIOR LIVING, HALLWAY - LATER<\/stage_direction>\n    <scene_description>Mike knocks on Leo 's door . After a moment , Leo opens it .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Hey, Leo, you have a visitor.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Who? Him?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Come on in. I'll turn off the TV.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OAK KNOLL SENIOR LIVING, LEO'S ROOM - SAME.<\/stage_direction>\n    <scene_description>Leo turns off the TV and then turns and looks at Kyle . He does n't recognize him .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>This is Kyle Timmons, Leo. He's your grandson. He came from Ohio to see you.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>I do n't have a Grandson.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Yeah, you do. We just never met.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Are you bringing me home?<\/dialogue>\n    <scene_description>Kyle looks to Mike , unsure of what to say .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Kyle's just here for a visit, Leo.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Oh. You want to watch TV?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>OK.<\/dialogue>\n    <scene_description>Leo turns on the TV and sits down . Kyle joins him .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>OK. So I'll come back to pick you up in an hour. You OK?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>You alright, Leo?<\/dialogue>\n    <parenthetical>( Leo does n't respond . )<\/parenthetical>\n    <dialogue>OK, see you in a bit.<\/dialogue>\n    <scene_description>Mike leaves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GINA FLAHERTY'S HOUSE - LATER.<\/stage_direction>\n    <scene_description>The house is smaller than Mike 's house . GINA , MIKE 'S MOTHER , and Jackie clean up after breakfast . Mike sits with Abby at the kitchen table .<\/scene_description>\n    <character>GINA<\/character>\n    <dialogue>So did you call his mother?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>No. Not yet. Oh and he was smoking too. He's sixteen!<\/dialogue>\n    <character>GINA<\/character>\n    <dialogue>He's probably on drugs.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>GINA<\/character>\n    <dialogue>What are you going to do with him?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>We're going to send him back is what we're going to do.<\/dialogue>\n    <character>GINA<\/character>\n    <dialogue>Well I hope so. You have your hands full over there. And now taking care of that old man too. That sounds like a lot, Mike.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Thank you, Gina. I agree. He somehow forgot to tell me about it.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I told you.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Not until I asked.<\/dialogue>\n    <character>GINA<\/character>\n    <dialogue>His daughter should be taking care of him. Not you. You have me to worry about.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I do n't have to worry about him. He's at Oak Knoll.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Daddy? Can we play croquet today?<\/dialogue>\n    <character>GINA<\/character>\n    <dialogue>The whole thing just sounds crazy.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>It is crazy. It's crazy.<\/dialogue>\n    <character>ABBY<\/character>\n    <parenthetical>( TO MIKE . )<\/parenthetical>\n    <dialogue>Who's crazy?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OAK KNOLL SENIOR LIVING - LATER<\/stage_direction>\n    <scene_description>Mike and Kyle exit he building and walk toward the parking lot .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>How did the visit go?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>OK. He fell asleep watching TV. So he lives there now?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah. Your grandfather is in the early stages of dementia, Kyle. So sometimes he does things and says things that do n't make sense.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Are you a friend of his or something?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I'm his guardian.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>What's that mean?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>It means I make sure he's well taken care of.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>That's cool.<\/dialogue>\n    <scene_description>Kyle lights a cigarette .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S AND JACKIE'S HOUSE, BASEMENT - NIGHT.<\/stage_direction>\n    <scene_description>Kyle 's is fiddling with KID 'S KEYBOARD . Jackie walks downstairs .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Everything alright?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Did you reach your mom?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Yeah. I told her I was coming home.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Did she want to talk to me or anything?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Well, I'm sorry you ca n't stay longer but maybe you can come back with your mom and visit again.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Yeah. If I want to smoke should I go outside?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>You should n't be smoking.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>I know. But if I do.<\/dialogue>\n    <scene_description>Jackie decides not to engage .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Yeah. You should go outside.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>OK. Good night, Jackie.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Good night, Kyle.<\/dialogue>\n    <scene_description>Jackie nods and leaves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE AND JACKIE'S HOUSE, KITCHEN - SAME.<\/stage_direction>\n    <scene_description>Mike is leaning against the counter eating ice cream . Jackie emerges from the stairs , shuts basement door behind her and slides a dead bolt locking it .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>We have kids, Mike. I'm not taking any chances with Eminem down there.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>There's not even a bathroom down there.<\/dialogue>\n    <scene_description>Jackie thinks about this and then unlocks the door in a huff and walks up stairs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OAK KNOLL SENIOR LIVING, DINING ROOM - DAY.<\/stage_direction>\n    <scene_description>Mike and Kyle are sitting with Leo who is eating breakfast .<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>Hey Mike, could you talk to them about getting Coco Puffs? I like that kind.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Sure thing, Leo.<\/dialogue>\n    <character>LEO<\/character>\n    <parenthetical>( TO KYLE . )<\/parenthetical>\n    <dialogue>Mike's a stand up guy. You need cereal then talk to him.<\/dialogue>\n    <scene_description>Kyle and Mike smile . Mike checks his watch .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>We should go, Kyle.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>OK. Bye Leo.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Are you going to work?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>No. I'm going home.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Well, do n't take any shit from any of those guys.<\/dialogue>\n    <scene_description>Kyle smiles . He does n't always understand this guy but he likes him .<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>I wo n't.<\/dialogue>\n    <scene_description>He leaves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUS STATION - LATER.<\/stage_direction>\n    <scene_description>Mike and Kyle are waiting for the bus . Mike pulls out his wallet .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Here's fifty bucks in case you need it.<\/dialogue>\n    <scene_description>Mike counts his cash .<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>I have money.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Actually it's only forty - three but take it. You never know.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>I have enough money. But thanks.<\/dialogue>\n    <scene_description>The bus pulls up .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Well, good luck, Kyle.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Yeah. You too, Mike.<\/dialogue>\n    <scene_description>Kyle gets on the bus . Mike watches it pull away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S AND JACKIE'S HOUSE, BEDROOM - NIGHT.<\/stage_direction>\n    <scene_description>Mike and Jackie are sleeping . The phone rings and Mike answers the phone .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Hello? Yes, it is. Yes. OK.<\/dialogue>\n    <scene_description>Jackie sits up and turns on the light .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>OK. Thanks. I'll be right down.<\/dialogue>\n    <scene_description>He hangs up the phone .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>It was the police. They have Kyle.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>What? Why?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Breaking and entering.<\/dialogue>\n    <scene_description>Mike gets up .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>What?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE STATION - LATER.<\/stage_direction>\n    <scene_description>Mike and Kyle walk out of the New Providence Police Station .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>So what happened?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>I decided not to go home.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>And then you decided you'd break into your Grandfather's house?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>You mind if I have a quick smoke?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah, I do. Get in the car.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S CAR - SAME.<\/stage_direction>\n    <scene_description>Kyle fastens his seat belt .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>So you want to tell me what happened?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Not really.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah. Well good luck with that, pal.<\/dialogue>\n    <scene_description>Kyle looks at Mike .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You'll see.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE AND JACKIE'S HOUSE - LATER.<\/stage_direction>\n    <scene_description>Jackie is waiting . Kyle is on the hot seat . Mike is watching .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Kyle?<\/dialogue>\n    <scene_description>Kyle can barely look at her .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>We ca n't help you if you do n't tell us what's going on. Is there a reason you do n't want to go home?<\/dialogue>\n    <scene_description>Kyle remains silent .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What happened to your eye, Kyle?<\/dialogue>\n    <scene_description>Kyle shifts . Avoiding .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Kyle. You can trust us.<\/dialogue>\n    <scene_description>Kyle looks up at them . Trust is obviously an issue .<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>I ca n't live there anymore.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>With your Mom? Did she do that to your eye?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>No. She's not even there. She's in a clinic or hospital or whatever. I'm living with Craig.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Who's Craig?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Her boyfriend, I guess, but he's an asshole.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Does she even know you're here?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>My mom? She does n't care about me.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>How do you know? She's probably worried sick and just does n't know how to reach you.<\/dialogue>\n    <scene_description>Kyle reaches into his pocket and takes out his cell phone .<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>She could've called, right?<\/dialogue>\n    <scene_description>The sincerity of his question is heartbreaking and Jackie is cut to the quick . She looks at Mike . Brutal .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIKE AND JACKIE'S HOUSE - LATER.<\/stage_direction>\n    <scene_description>Kyle is sitting on the back steps and smoking a cigarette .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S AND JACKIE'S HOUSE, BEDROOM - LATER.<\/stage_direction>\n    <scene_description>Mike is sitting up in bed . His wheels are spinning . JACKIE . -LRB- O.S . -RRB- We do n't have a choice now .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>So what are we gon na do? Adopt him?<\/dialogue>\n    <scene_description>Jackie walks into the room putting on face moisturizer .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>No. But I'm not sending him back until I talk to his mother. She better freaking call me back.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Honey, I know it's tough but we're not in a position to take care of another kid right now.<\/dialogue>\n    <scene_description>She gets in the bed .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I do n't care. I'm not sending him back there, Mike. I ca n't. And for the record, I'm not very happy about it either!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Then we do n't have to do this.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Yes, we do, Mike! We do. It makes me so angry and so damn sad to see that poor kid in that kind of situation. He's just a kid.<\/dialogue>\n    <scene_description>Jackie starts to break . Mike buckles .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I know. I know. You're right.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>I just want to go to Ohio and. beat the crap out of his mom.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>I do. I want to beat the crap out of her and her stupid boyfriend.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>OK.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>I'm serious.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I know. I'm just not sure that beating the crap out of everybody is the best solution.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Well it feels like it. I'm leaving her another message.<\/dialogue>\n    <scene_description>Jackie picks up her phone and dials .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Now?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Yes. Now. Shush!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRYSIDE - DAY.<\/stage_direction>\n    <scene_description>Terry is sitting in his parked car , talking on his cell . TERRY . -LRB- O.S . -RRB- So get rid of him again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TERRY'S CAR - SAME.<\/stage_direction>\n    <scene_description>Terry watches as a PICK UP TRUCK pulls into a beautiful country house . MIKE . -LRB- O.S . -RRB- I ca n't . Not until we figure what 's going on back there .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>Have you talked to his mother?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>No. Not yet. Jack's left her about thirty messages.<\/dialogue>\n    <scene_description>A STRAPPING CONTRACTOR wearing a TOOL BELT gets out and walks into the house .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>Mother fucker. He's wearing his tool belt. MIKE.<\/dialogue>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>What? Who?<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>No. Sorry dude, I was distracted. MIKE.<\/dialogue>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Where are you? Are you watching Lori's house again?<\/dialogue>\n    <scene_description>Terry quickly pulls out .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>It's my fucking house and no. I'm just driving. Where's the kid now?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S OFFICE - CONTINUOUS.<\/stage_direction>\n    <scene_description>Mike is sitting at his desk .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>He's sitting in my waiting room. Jackie made me take him with me. TERRY.<\/dialogue>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Alright, listen pal, this is not the time to long that stock, you know what I mean?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>No. What does that mean?<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>It means you should n't be taking care of another kid. Especially a convict.<\/dialogue>\n    <character>MIKE<\/character>\n    <parenthetical>( ON PHONE . )<\/parenthetical>\n    <dialogue>Yeah, well.<\/dialogue>\n    <scene_description>Shelly pops her head in .<\/scene_description>\n    <character>SHELLY<\/character>\n    <dialogue>I found her.<\/dialogue>\n    <scene_description>Mike spins in his chair .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Let me call you back. TERRY.<\/dialogue>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Fine. But get rid of the convict, Mike!<\/dialogue>\n    <scene_description>Mike hangs up .<\/scene_description>\n    <character>SHELLY<\/character>\n    <dialogue>She's in a drug treatment program in Columbus. She has five weeks to go.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Jesus. Can I talk to her?<\/dialogue>\n    <character>SHELLY<\/character>\n    <dialogue>They said she would call you.<\/dialogue>\n    <scene_description>Mike shakes his head . Nothing is easy here .<\/scene_description>\n    <character>SHELLY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>He's kind of a sweet kid but what's up with hair?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Who knows?<\/dialogue>\n    <scene_description>A knock on the door .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Kyle opens it .<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>Can I go visit Leo?<\/dialogue>\n    <scene_description>Mike looks to Shelly who just shrugs .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Uh. yeah. OK. You know where it is?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Yeah. Just down the street.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>OK, yeah. Just stay there and I'll pick you up at about three.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>OK.<\/dialogue>\n    <scene_description>Kyle shuts the door . Mike looks at Shelly .<\/scene_description>\n    <character>SHELLY<\/character>\n    <dialogue>That's some crazy hair, I'm just saying.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW PROVIDENCE HIGHSCHOOL GYM, THE PIT - LATER.<\/stage_direction>\n    <scene_description>Kyle is sitting in the corner watching . Mike is standing and watching . He does n't like what he sees .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Hey, Rew, what are you doing? Coach, can you get on Pill.<\/dialogue>\n    <character>VIGMAN<\/character>\n    <dialogue>Get up, Rew.<\/dialogue>\n    <scene_description>REW gets up and Vigman gets down on the other wrestler , PILL .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Everyone watch because none of you are doing it right. You want to put your chest into his side.<\/dialogue>\n    <scene_description>Vig does it but he 's a bit off .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Just slide back a bit, Vig. A bit more. Yeah. Right there. Then you give him your full weight. Go ahead Vig.<\/dialogue>\n    <scene_description>Vig does . Pill starts to buckle . Vig is big .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Then you ride the crotch and break him down with a cross - face.<\/dialogue>\n    <scene_description>Vigman grabs Pill under the crotch , applies a stiff cross - face and then drives him hard to the mat . Another Wrestler , STEMLER chimes in . Stemler is wearing a STAR WARS t - shirt .<\/scene_description>\n    <character>STEMLER<\/character>\n    <dialogue>Oh man, how'd that feel, Pill? We'll just call you `` pancake''!<\/dialogue>\n    <scene_description>Stemler 's a bit off .<\/scene_description>\n    <character>PILL<\/character>\n    <dialogue>Shut up, Chewbaka.<\/dialogue>\n    <character>STEMLER<\/character>\n    <dialogue>Yeah, right. More like the `` Secret Apprentice''.<\/dialogue>\n    <character>FEENEY<\/character>\n    <dialogue>What are you, ten years old, Stemler?<\/dialogue>\n    <scene_description>Mike loses it .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Hey! We're trying to teach you guys something and you're all just goofing off. Shut up!<\/dialogue>\n    <character>VIG<\/character>\n    <dialogue>Quiet!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Last time I checked we have n't won a match! Right coach?!<\/dialogue>\n    <character>VIG<\/character>\n    <dialogue>It's embarrassing, guys.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>It's embarrassing. But you're all acting like you do n't care! Well, I'm not getting paid enough to just jerk around here.<\/dialogue>\n    <parenthetical>( gestures to Vig . )<\/parenthetical>\n    <dialogue>I do n't know about you?<\/dialogue>\n    <character>VIG<\/character>\n    <dialogue>I'm not getting paid enough.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I care about what I do and so should you!<\/dialogue>\n    <character>VIG<\/character>\n    <dialogue>I care!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>So does coach Vig, and so should you! Run em, Coach. I ca n't look at them anymore!<\/dialogue>\n    <character>VIG<\/character>\n    <dialogue>Let's go ladies!<\/dialogue>\n    <scene_description>Mike storms out past Kyle who watches him go .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE AND JACKIE'S HOUSE, DINING ROOM - LATER.<\/stage_direction>\n    <scene_description>Mike , Jackie , Abby and Kyle are eating dinner together . Abby is coloring . Mike watches Kyle as he finishes his big glass of milk .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Here, have some more corn.<\/dialogue>\n    <scene_description>She gives him the bowl of corn .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'll get you some more milk too.<\/dialogue>\n    <scene_description>Kyle finishes off the corn . Jackie gets up for the milk .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Did you call Fenn about the tree, Mike?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Uh. yeah I did but Terry said he'd help and I think we can.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Mike. Do n't start. You two are not cutting down that tree. Just call Fenn.<\/dialogue>\n    <scene_description>Stella starts to cry on the BABY MONITOR .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm going to give her some Tylenol.<\/dialogue>\n    <scene_description>And Jackie is gone .<\/scene_description>\n    <character>ABBY<\/character>\n    <parenthetical>( TO KYLE . )<\/parenthetical>\n    <dialogue>Do you want to play croquet?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Now?<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>When it's warm.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Yeah, maybe.<\/dialogue>\n    <scene_description>Mike gets up and begins to load the dishwasher .<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>Daddy, can I watch TV?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Uh. yeah but just for a half hour.<\/dialogue>\n    <scene_description>Abby leaves . Kyle turns to Mike .<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>Hey Mike, you think I could practice with you guys tomorrow?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah, if you want. Sure. And by the way, what I did in there today, yelling like that. I do n't usually do that.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>You were right, they deserved it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW PROVIDENCE HIGH SCHOOL, BACK GYM - DAY.<\/stage_direction>\n    <scene_description>Mike and Kyle are walking into the gym .<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>I do n't have wrestling shoes.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Do n't worry about it. You ever wrestle before?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Vigman is already running the team through a drill .<\/scene_description>\n    <character>VIGMAN<\/character>\n    <dialogue>Get that ankle. Get that ankle! Time!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Hey Vig. Alright, guys, listen up! Kyle's going to be working out with us for a little while.<\/dialogue>\n    <character>STEMLER<\/character>\n    <parenthetical>( LOUDLY . )<\/parenthetical>\n    <dialogue>What's up Kyle!<\/dialogue>\n    <scene_description>The team laughs . Kyle just nods to Stemler .<\/scene_description>\n    <character>VIGMAN<\/character>\n    <dialogue>Carlos, you and Jimmy rotate him in.<\/dialogue>\n    <scene_description>Kyle nods and walks over to Carlos and Jimmy .<\/scene_description>\n    <character>VIGMAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>OK. Let's go. Ten seconds to get an ankle. Then we switch it up. Ready? Wrestle!<\/dialogue>\n    <scene_description>Jimmy sits against the wall and Mike blows his whistle again the wrestlers all go at each other . Mike watches Kyle . He moves well . Fluidly . Carlos keeps trying to grab Kyle 's ankle but Kyle easily defends against it . Mike checks his watch . Then blows his whistle .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Time. Switch. And. wrestle!<\/dialogue>\n    <scene_description>Mike blows his whistle again and Kyle goes on the offensive . He gives Carlos a quick head fake and before Carlos knows what 's happened , Kyle has grabbed his ankle and tripped him down to the mat . Carlos looks shocked . Kyle pops back up but stays focused on Carlos . Mike looks to Vigman who raises an eyebrow , impressed . One thing is certain , Kyle can wrestle .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW PROVIDENCE HIGH SCHOOL PARKING LOT - NIGHT.<\/stage_direction>\n    <scene_description>Kyle and Mike are walking toward the car .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>You have fun?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>When's the last time you wrestled?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>A couple years ago.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Why'd you stop?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Just felt like it.<\/dialogue>\n    <scene_description>Kyle just shrugs and Mike let 's it go . They arrive at Mike 's car and Mike talks to Kyle over the roof .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>So let me ask you something, Kyle. How good are you?<\/dialogue>\n    <scene_description>Kyle just looks at Mike , almost blank .<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>I'm pretty good.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE AND JACKIE'S HOUSE, MIKE'S OFFICE NOOK - LATER.<\/stage_direction>\n    <scene_description>Mike is looking at his computer screen .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Holy shit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TERRY'S CONDO - LATER.<\/stage_direction>\n    <scene_description>Mike runs inside . It 's a sparsely furnished bachelor pad with all the toys . MIKE . -LRB- O.S . -RRB- You check out that link I sent you ? TERRY . -LRB- O.S . -RRB- Yeah . Kyle Timmons . That 's the kid ? MIKE . -LRB- O.S . -RRB- Yeah . That 's the kid !<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>Holy shit!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I know, right? Can you believe that?!<\/dialogue>\n    <scene_description>Terry is in the den at his computer , reading excitedly .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>Holy shit! He was thirty - five and one as a freshman!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I know. He finished second at the states. In Ohio!<\/dialogue>\n    <scene_description>Mike walks into the kitchen and grabs a beer .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>This kid had seventeen pins. He's a killer.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I know. It's nuts. And he quit after his freshman year.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I do n't know. He does n't talk much. He's kind of a weird kid. Why ca n't I have one kid like that on my team? Just one.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>What're you talking about? You do. You have him. You can take this kid to the states, Mike.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>He's not on the team, Ter. He's not even a student. He's been here for three days.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>So what? Enroll him!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I'm not enrolling him. He's just here until we reach his mother and figure this out.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>So he's got ta do something, right? Let him wrestle. Look at this way, you're helping out the old man and this kid's a little bonus for doing the right thing.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I'm not just helping out the old man, Ter. It's not like it's charity work. I'm getting paid for it.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>No. Shit, everyone gets paid, but think about it, Mike. What are the chances that this kid ends up on your door step and he can wrestle like that? It's a sign, pal.<\/dialogue>\n    <scene_description>This lands with Mike . Terry sits down at his computer .<\/scene_description>\n    <character>TERRY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Check this out. There's a video link of him wrestling in some tournament.<\/dialogue>\n    <scene_description>Terry presses play . It 's grainy and amateur but good enough . Mike looks on .<\/scene_description>\n    <character>TERRY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Look at that kid.<\/dialogue>\n    <scene_description>Mike gets sucked in .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Wow. He's gon na throw him. Look, he's setting him up. He's setting him up!<\/dialogue>\n    <scene_description>Mike and Terry explode . They high five and hug .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE AND JACKIE'S HOUSE, FOYER - MORNING.<\/stage_direction>\n    <scene_description>Kyle is standing , waiting . Jackie walks out with her purse .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Here's five dollars for lunch. I have no idea what it costs but let me know when you find out.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>I have money.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Good for you. Save it. Now take this, it's too early to argue.<\/dialogue>\n    <scene_description>Kyle takes it . Mike arrives .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>OK. Let's go, pal.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Bye Jackie.<\/dialogue>\n    <scene_description>Kyle leaves . Mike kisses Jackie .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hey, you sure we should do this?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Why not? Whether he's here for two more days or two weeks it gives him something to do all day. Unless you want him hanging out here?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>OK. Go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW PROVIDENCE HIGHSCHOOL, MAIN OFFICE - DAY.<\/stage_direction>\n    <scene_description>Mike and Kyle are waiting . After a moment , STEVE DELUCA , THE PRINCIPAL , emerges from his office and greets them . They all walk into his office .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S OFFICE - DAY.<\/stage_direction>\n    <scene_description>Mike is working at his desk . Shelly opens the door .<\/scene_description>\n    <character>SHELLY<\/character>\n    <dialogue>Hey Mike, we got a check from Leo Poplar's trust for $ 1,500 but it's made out to you and not the firm.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Right. I'll take that.<\/dialogue>\n    <scene_description>Mike gets up and takes the check .<\/scene_description>\n    <character>SHELLY<\/character>\n    <dialogue>Should n't I deposit it in the business account?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>No. It's not a legal fee. It's a personal fee.<\/dialogue>\n    <character>SHELLY<\/character>\n    <dialogue>For what?<\/dialogue>\n    <scene_description>He puts on his coat .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Oh, I ended up taking on Leo's guardianship.<\/dialogue>\n    <character>SHELLY<\/character>\n    <parenthetical>( SURPRISED . )<\/parenthetical>\n    <dialogue>Really?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah, I thought I mentioned that to you.<\/dialogue>\n    <character>SHELLY<\/character>\n    <dialogue>No, you definitely did n't mention that.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah, well, it just played out that way. I have to get going.<\/dialogue>\n    <scene_description>He turns off his computer .<\/scene_description>\n    <character>SHELLY<\/character>\n    <dialogue>Well can we put some of that in the business account so they do n't take our copier back?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Uh. not this time. Next month. Promise.<\/dialogue>\n    <scene_description>He grabs his briefcase and leaves .<\/scene_description>\n    <character>SHELLY<\/character>\n    <dialogue>We need our copier, Mike.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I know. Bye Shelly.<\/dialogue>\n    <scene_description>CLANK . CLANK . CLANK .<\/scene_description>\n    <character>SHELLY<\/character>\n    <dialogue>And that noise is getting louder. I'm not hung over today!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BANK - LATER.<\/stage_direction>\n    <scene_description>Mike walks out of the bank and dials his cell phone .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Hey honey. I'm good. Could you do me a favor and drop that health insurance check in the mail? I just forgot to mail it. Yeah, it's on my desk. Thanks. I'll call you later.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW PROVIDENCE HIGHSCHOOL, LOCKER ROOM - LATER.<\/stage_direction>\n    <scene_description>Terry is walking through the locker room . A few WRESTLERS and BASKETBALL PLAYERS are getting dressed .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>What's up Fella's? Hitting the showers, huh?<\/dialogue>\n    <parenthetical>( TO HIMSELF . )<\/parenthetical>\n    <dialogue>That sounded weird.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW PROVIDENCE HIGHSCHOOL, COACHES OFFICE - SAME.<\/stage_direction>\n    <scene_description>Mike and Vigman are in their office looking over a board .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>Oh yeah!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>What's up? Hey Vig.<\/dialogue>\n    <character>VIGMAN<\/character>\n    <dialogue>Hi Terry.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>What do you think? I have to see this kid.<\/dialogue>\n    <character>VIGMAN<\/character>\n    <dialogue>He's incredible. Just incredible. And he's good to wrestle.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Great. So what's next?<\/dialogue>\n    <scene_description>Terry pulls up a stool .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>We're trying to figure out where he can wrestle?<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Where ever the hell he wants, right?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>No. Not right.<\/dialogue>\n    <scene_description>Kyle knocks at the door .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hey Kyle. Come on in. How was school?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>OK.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>This is my friend Terry.<\/dialogue>\n    <scene_description>Terry , pops up , a bit too excitedly .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>Hey man! Nice to meet you! Really nice to meet you. Welcome.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Mike tries to cover .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>How the shoe's fit?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Good.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>So let me ask you something, Kyle. You think you might want to wrestle in a match?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>OK.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Great. We have a match on Saturday. What do you wrestle?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>One - nineteen.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Excellent. Done.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Is anyone there now?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah. Jimmy Reed. But I think he might be better off at 125.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Do n't you think we should wrestle off? MIKE\/TERRY\/VIG Yeah.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW PROVIDENCE HIGHSCHOOL, THE PIT - LATER.<\/stage_direction>\n    <scene_description>KYLE 's tying his NEW WRESTLING SHOES . The rest of the team is sitting around the mat .<\/scene_description>\n    <character>VIGMAN<\/character>\n    <dialogue>Alright, let's go guys. Wrestle off.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Vig, you keep time?<\/dialogue>\n    <scene_description>Mike holds up a stop watch .<\/scene_description>\n    <character>VIGMAN<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>I'll do it.<\/dialogue>\n    <scene_description>Terry grabs the watch from Mike .<\/scene_description>\n    <character>TERRY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You do n't mind, do you?<\/dialogue>\n    <character>VIGMAN<\/character>\n    <dialogue>No. Go ahead.<\/dialogue>\n    <scene_description>Mike gives Terry a look . Vig minds . Kyle and JIMMY REED shake hands . And set themselves on their marks .<\/scene_description>\n    <character>VIGMAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Ready? And. wrestle.<\/dialogue>\n    <scene_description>Vigman blows his whistle and the room erupts in cheering . Most of it for Jimmy Reed except for Stemler who is rooting for Kyle . Jimmy and Kyle lock arms but Kyle pushes him away . Jimmy locks again but Kyle pushes him away again . Jimmy comes in hard this time and Kyle uses his momentum to quickly throw him to the ground . Jimmy tries to scramble to his knees but Kyle is all over him . He quickly locks Jimmy in a cradle and rocks him onto his back . It looks easy . Vigman calls the pin . The room is quiet . except for Terry .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>Wow!<\/dialogue>\n    <scene_description>Mike shoots Terry a look . Kyle helps Jimmy off the mat .<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>Good match.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Did n't feel good.<\/dialogue>\n    <scene_description>Vigman turns to Mike and Terry .<\/scene_description>\n    <character>VIGMAN<\/character>\n    <dialogue>I do n't think we can teach him anything.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DIMAIO'S PIZZERIA - LATER.<\/stage_direction>\n    <scene_description>Mike , Terry , Kyle , Jackie and the kids are eating pizza .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>I do n't know why we did n't quit. Just the smell of that room brought back the memories. I hated it, it was like a form of self - abuse.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Were you guys that bad?<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Mike was average. I sucked. Sorry Abby.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>It's OK.<\/dialogue>\n    <scene_description>Mike checks his watch .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I got ta stop by the office and deal with the computer. Should I?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>No, I'll take him.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>We both should have quit. Then we could have joined the ski club and gotten busy with Allison Shepard on the overnights.<\/dialogue>\n    <character>MIKE JACKIE<\/character>\n    <dialogue \/>\n    <scene_description>Hey ! Yo ! Terry !<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>Who was busy?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Your Uncle Terry is just silly.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Sorry Abby. Getting busy is bad.<\/dialogue>\n    <scene_description>Kyle cracks up . Terry catches his eye .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S OFFICE - LATER.<\/stage_direction>\n    <scene_description>Terry is sitting in Mike 's office . A bottle of scotch and two glasses on the desk .<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>Hey, how do you think we'd do against Kyle? Now? MIKE.<\/dialogue>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>He'd kill us. Both of us. Together.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Yeah, you're right. The kid has man strength, dude.<\/dialogue>\n    <scene_description>Mike emerges from under the desk .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Man strength?<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Yeah. You know. Not kid strength. Man strength.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah. I would n't say that around the locker room.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>What the hell are you doing anyway?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Trying to figure out what's wrong with my fricking back - up system.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Just call your IT guy?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I do n't have an IT guy. IT guys cost money.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>OK. I'm just gon na say what's on my mind. I want to be an assistant coach too.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Seriously?<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Yeah. Why not? I'm value added. Especially compared to Vig.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>How are you value added?<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Well first of all I'm fun. No denying that. And secondly, unlike Vig, I actually used to wrestle.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah, but Ter, you sucked.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>That does n't matter, your team sucks. Plus I even look more like a coach then Vig.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah, that's not really value added.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Look, Mike, I'm serious here. I need some distraction in my life right now. All I do is sit in my condo and think about Lori and that guy having sex in the jacuzzi I paid for. It's fucking unhealthy. I've been really kind of going crazy. Really.<\/dialogue>\n    <scene_description>Mike looks at his friend . He can tell he 's serious .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>We start at 3:30 pm. Do n't be late.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>My brother! I will not let you down. To the team.<\/dialogue>\n    <scene_description>Terry raises his glass . Mike toasts .<\/scene_description>\n    <character>TERRY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hey, what should I wear to practice?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Just a singlet.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah, so we can see your man strength.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Good one, Coach! See, it's already fun.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE AND JACKIE'S HOUSE, BASEMENT - NIGHT.<\/stage_direction>\n    <scene_description>Jackie is hanging laundry . She hears a phone ringing from the laundry room . She peeks around the corner and sees that Kyle is not there . She crosses to his phone and picks it up . It reads `` Mom '' . She answers it .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Hello? Hello, this Jackie Flaherty. Kyle is staying with us. Hello?<\/dialogue>\n    <parenthetical>( She closes the phone . )<\/parenthetical>\n    <dialogue>I'm gon na kill that lady.<\/dialogue>\n    <scene_description>She sets the phone down and turns . Kyle is standing on the stairs . His hair is wet and he 's carrying his towel .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oh. Hi. I heard your phone ringing and.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>You answered it?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Yeah, well, I saw it was your Mom and we've been waiting to hear from her.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>What'd she say?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>She did n't say anything. She hung up. Have you talked to her?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>No. Can you not answer my phone anymore?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Yeah. OK. I can do that. I'm sorry.<\/dialogue>\n    <scene_description>Jackie heads back to laundry room . She stops at the stairs .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oh. Here's a bucket. You should n't be smoking but if you do could you put the cigarettes in here.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>I quit now that I'm wrestling<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Oh. Good. OK.<\/dialogue>\n    <scene_description>She leaves . Kyle walks over the couch and picks up his phone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE AND JACKIE'S HOUSE - EARLY MORNING.<\/stage_direction>\n    <scene_description>Mike and Jackie are sleeping . A sound from downstairs . Then a door opens and shut . Mike sits up and listens .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Is that Abby?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>If it is, she just ran away.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE AND JACKIE'S HOUSE, KITCHEN - CONTINUOUS.<\/stage_direction>\n    <scene_description>Mike walks into the kitchen . Kyle is drinking water .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Were you outside?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Yeah. I went for a run.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>It's pretty early. You do this every morning?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>In season, yeah. I like to get my run in early and then drill some moves for an hour before school.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Oh. Wow.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Yeah. so I'm gon na do it. See you.<\/dialogue>\n    <scene_description>Kyle walks downstairs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S AND JACKIE'S HOUSE, BEDROOM - LATER.<\/stage_direction>\n    <scene_description>Mike climbs back into bed . Jackie barely moves .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>It was Kyle.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>What's he doing?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Working out.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Is he gon na do it every morning?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>In season. Yeah.<\/dialogue>\n    <scene_description>Beat .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I hate you.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW PROVIDENCE HIGHSCHOOL, LOCKER ROOM - DAY.<\/stage_direction>\n    <scene_description>Kyle takes off his shirt and stands on the scale wearing only his underwear . He 's lean and muscular . He has a TATOO on his right arm and PAIR OF WINGS TATOO on his shoulder blades .<\/scene_description>\n    <character>VIGMAN<\/character>\n    <dialogue>Jesus! Look at those tats.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>This kid is just fricking cool.<\/dialogue>\n    <character>REF<\/character>\n    <dialogue>Timmons. One nineteen. Good.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW PROVIDENCE HIGHSCHOOL, MAIN GYM - LATER.<\/stage_direction>\n    <scene_description>The New Providence team jogs out to the mat . There are maybe twenty people there . A PUNK ROCK SONG is playing .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>This song sucks.<\/dialogue>\n    <character>VIGMAN<\/character>\n    <dialogue>Rew picked it. He's an odd one.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Hey Vig, which kid is yours anyway?<\/dialogue>\n    <character>VIGMAN<\/character>\n    <dialogue>None of them. He quit.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Really? You're son quit?<\/dialogue>\n    <character>VIGMAN<\/character>\n    <dialogue>My step son and yes. Do n't get me started, I thought becoming a coach might be a nice way for us to bond. He said it was n't fierce and he quit.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Harsh. So why you still doing it?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Vig is leading by example. Winners never quit.<\/dialogue>\n    <character>VIGMAN<\/character>\n    <dialogue>That's right, even if it sucks. This team is just depressing sometimes.<\/dialogue>\n    <scene_description>Terry sits next to Mike .<\/scene_description>\n    <character>VIGMAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>That's where I sit, Ter.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Sorry buddy. I got to be near, Mike. It's good luck.<\/dialogue>\n    <character>VIGMAN<\/character>\n    <dialogue>Say's who?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Guys. I do n't think we should fight about our seats in front of the kids.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW PROVIDENCE HIGHSCHOOL, MAIN GYM - LATER.<\/stage_direction>\n    <scene_description>The Pioneers are getting beat . Carlos is wrestling and putting up a good fight but time is running out and he 's down by three points . He tries a desperate takedown but it backfires and the other wrestler picks up another two points . The buzzer sounds . Match over . The team gets up to greet Carlos . Kyle strips off his sweats and buckles up his head gear . He walks up to Mike for a pep talk .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>OK. You ready?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>This kid is good. So just. you know. be ready out there.<\/dialogue>\n    <scene_description>Terry gives Vigman a look . `` Be ready ? ''<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>Can you give me a slap?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Give me a slap. Across the face. Like your waking me up.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Uh, OK.<\/dialogue>\n    <scene_description>Mike cuffs Kyle on the side of the head gear .<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>Can you do it harder?<\/dialogue>\n    <scene_description>Mike slaps him hard . And Kyle sprints to the mat and takes his stance . The Ref blows the whistle and the wrestlers circle each other . The OTHER WRESTLER is clearly on the offensive .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>Come on, Kyle. Take this punk out.<\/dialogue>\n    <character>MIKE<\/character>\n    <parenthetical>( Under his breath . )<\/parenthetical>\n    <dialogue>Ter! Cut the shit! You're a coach. You're not sitting in the stands.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Sorry. I'm just excited. You know me.<\/dialogue>\n    <scene_description>The Other Wrestler shoots a single and takes Kyle down . Two points .<\/scene_description>\n    <character>TERRY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What's he doing?<\/dialogue>\n    <character>VIGMAN<\/character>\n    <dialogue>Losing.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>It's his first match. Give him a break.<\/dialogue>\n    <scene_description>The Other Wrestler is relentless . Kyle keeps trying to get up and the kid keeps breaking him down . Kyle stands up and Other Wrestler slams him to the mat . Kyle is getting beat up . The two Wrestlers go out of bounds and the Ref stops the action . Kyle gets up and Mike checks in with him .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hey! You OK?<\/dialogue>\n    <character>KYLE<\/character>\n    <parenthetical>( SLIGHT SMILE . )<\/parenthetical>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Kyle gets into the bottom position .<\/scene_description>\n    <character>VIGMAN<\/character>\n    <dialogue>Did he smile?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah. I think he did.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Good. That's good, right?<\/dialogue>\n    <scene_description>The Ref blows the whistle and Kyle explodes to his feet , kicking a leg back between the Other Wrestler 's legs . He lower 's his body , reaches behind him and whips the Other Wrestler to the mat . He drops down and puts him a double arm bar and runs the Other Wrestler right up over his own shoulders . The Ref drops to the mat and calls the pin . Match over . The Team jumps up and cheers .<\/scene_description>\n    <character>TERRY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( TO VIGMAN . )<\/parenthetical>\n    <dialogue>See. I'm good luck.<\/dialogue>\n    <character>VIGMAN<\/character>\n    <dialogue>That's got nothing to do with luck.<\/dialogue>\n    <scene_description>Kyle shakes the other wrestler 's hands and the Ref raises his hand in victory . Kyle crosses to the opposing coaches and shakes their hands . Then he runs to back to his bench . Mike greets him with a handshake .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>How'd that feel? Pretty good?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Yeah, pretty good.<\/dialogue>\n    <scene_description>Mike smiles and Kyle sits down . The next wrestler , Jimmy steps up to Mike .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>You ready?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Yeah. Can you slap me too, Coach?<\/dialogue>\n    <scene_description>Mike laughs . And then he slaps him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE AND JACKIE'S HOUSE, DEN - NIGHT.<\/stage_direction>\n    <scene_description>Mike , Kyle and Abby are watching TV . Jackie walks in putting on her coat .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I'm going to the market. I'll be back in a bit.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Can I go with you?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Uh. yeah OK.<\/dialogue>\n    <scene_description>Kyle gets up to get his coat . Jackie looks at Mike who just shrugs .<\/scene_description>\n    <character>ABBY<\/character>\n    <dialogue>I want to go with Kyle.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>No, honey. It's almost bed time.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GROCERY STORE - LATER.<\/stage_direction>\n    <scene_description>Jackie is shopping . Kyle catches up to her . He is carrying two BOXES OF CEREAL . He does n't put them in the basket .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Coco Puffs. Is that your brand?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>It's for Leo.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Nice. Drop it in, it's on me. Go ahead.<\/dialogue>\n    <parenthetical>( KYLE DOES . )<\/parenthetical>\n    <dialogue>How's he doing?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>He's doing OK. He can say some pretty funny things. Yesterday he told me I was fired.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Fired? For what?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>I do n't know. He just fired me.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>I think I have to meet this Leo.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Yeah. He's a pretty funny dude.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>You have any home work?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>A little but I already did it.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Impressive. You ever think about going to college?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Yeah but just to wrestle. My old coach thought I could get a scholarship.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Yeah, I hear you're pretty good. So why'd you quit?<\/dialogue>\n    <scene_description>Kyle just shrugs .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You do n't have to tell me. It's alright.<\/dialogue>\n    <scene_description>They keep walking . Jackie grabs a box of tacos from the shelf .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Do you like tacos?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Me, too. I make a mean taco.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW PROVIDENCE HIGH SCHOOL, THE PIT - LATER.<\/stage_direction>\n    <scene_description>The team is jogging in circles around the mat . Mike , Vigman , and Terry , stand in the middle of the circle talking .<\/scene_description>\n    <character>VIGMAN<\/character>\n    <dialogue>Let's go! Circle up!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Alright. I want to spend this week working on bottom position. Did you all see Kyle the other day? He exploded up. Kyle, show the guys what you did.<\/dialogue>\n    <scene_description>Kyle is caught off guard . He hesitates<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>It's kind of my own thing.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>So can you share it with us?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Well, it's not a move or anything, I just tell myself that the guy on top is going to take my head and shove it under water and kill me. And if I do n't want to die on the bottom, I just got ta do what ever the fuck it takes to get out.<\/dialogue>\n    <scene_description>This kid is intense . His words really land with Mike .<\/scene_description>\n    <character>VIGMAN<\/character>\n    <dialogue>OK. So the move is called `` whatever the fuck it takes.'' Let's go. Let's work on it. Come on. `` Whatever the fuck it takes.''<\/dialogue>\n    <scene_description>Vigman claps and the wrestlers start to move .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OAK KNOLL SENIOR LIVING, COMMUNAL ROOM - DAY.<\/stage_direction>\n    <scene_description>Kyle sitting in the communal room at a table with Leo . Kyle is doing homework . Leo is staring out the window . Court TV is playing in the background .<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>You're mother did n't want to come?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>She's a tough kid that one. She tell you bad things about me?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Yeah. But I never believe her anyway.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>You should, she's your mother. Respect that.<\/dialogue>\n    <parenthetical>( Pointng to the TV . )<\/parenthetical>\n    <dialogue>Can you turn that down? I hate that judge. I would n't be in this place if it was n't for her.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>But this place is pretty nice.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>It's not my damn house! I paid for that house. Damn Judge. Turn it off!<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>You want to take a walk outside, Leo?<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Yeah. Let's go to my park.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Your park, huh?<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Yeah. My park.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIKE AND JACKIE'S HOUSE - NIGHT.<\/stage_direction>\n    <scene_description>Mike and Kyle get out of the car and unload a couple of small mats from the backseat .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>You bring the tape?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Yeah. It's in my bag.<\/dialogue>\n    <scene_description>Mike grabs his briefcase from the trunk .<\/scene_description>\n    <character>KYLE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hey, Mike, can I ask you something?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah. Of course. What?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Leo told me that some Judge made him move into that place. Is that true or is he just making that up?<\/dialogue>\n    <scene_description>Mike was n't expecting this .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>No. That's true, pal.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Well because they can take good care of him there, Kyle.<\/dialogue>\n    <scene_description>Mike 's phone rings .<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>But he wants to live at home.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I know, pal. Hang on a minute.<\/dialogue>\n    <parenthetical>( Into cell phone . )<\/parenthetical>\n    <dialogue>Hello? Yes. This is him.<\/dialogue>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oh. Can you hang for a moment?<\/dialogue>\n    <parenthetical>( TO KYLE . )<\/parenthetical>\n    <dialogue>Hey, I have to take this. I'll be right in, OK? We can talk in a minute.<\/dialogue>\n    <scene_description>Kyle walks inside . Mike watches him go , already regretting the lie . He exhales .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( INTO PHONE . )<\/parenthetical>\n    <dialogue>Hi. Sorry to keep you waiting. Yeah. How are you doing?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE AND JACKIE'S HOUSE, KITCHEN - LATER.<\/stage_direction>\n    <scene_description>Jackie it the sink . Stella is eating . Mike is sitting at the table with a beer .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>What? She does n't even know us!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah, well I think she heard that I'm a lawyer and I have a family and that was good enough.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>For how long?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Another month, I guess, until she gets out of rehab. She said that Craig guy took off. She sounded pretty shaky.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>I ca n't believe this lady.<\/dialogue>\n    <scene_description>Jackie joins Mike at the table .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Yeah. I know. Where is he anyway?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>In the basement with Abby.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>This is crazy.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yes, it is. So what do we do?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>We let him stay. I do n't know, do we even have a choice?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I guess we do n't.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW JERSEY COUNTRY SIDE - DAY<\/stage_direction>\n    <scene_description>A school bus drives through the New Jersey Farm country .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL BUS - DAY<\/stage_direction>\n    <scene_description>Kyle is siting on the bus listening to his Ipod . Stemler is sitting next to him .<\/scene_description>\n    <character>STEMLER<\/character>\n    <dialogue>You nervous?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>STEMLER<\/character>\n    <dialogue>I am.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>You're not wrestling.<\/dialogue>\n    <character>STEMLER<\/character>\n    <dialogue>I know. I'm just nervous a lot.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>You ever think about wrestling in a match?<\/dialogue>\n    <character>STEMLER<\/character>\n    <dialogue>Yeah. I'm just waiting for the green light from Coach. But I'm glad I'm not wrestling today. These guys are ranked fourth in the state. And you're wrestling Kenny Randall. He's undefeated. He is tough! Really tough.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Thanks for letting me know.<\/dialogue>\n    <scene_description>Vigman stands up at the front of the bus .<\/scene_description>\n    <character>VIGMAN<\/character>\n    <dialogue>Hey! Cut the chatter! You should all be playing the `` what if'' game. What if he shoots a single leg? What if he controls my wrists?<\/dialogue>\n    <character>STEMLER<\/character>\n    <dialogue>What if we all get pinned like last year?<\/dialogue>\n    <character>VIGMAN<\/character>\n    <dialogue>Shut up, Stemler! Or I'll throw you off the bus myself!<\/dialogue>\n    <scene_description>Vigman sits back down next to Terry .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>Did they really pin all of you?<\/dialogue>\n    <character>VIGMAN<\/character>\n    <dialogue>Just about. It's gon na be a fucking bloodbath.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILBURN HIGH SCHOOL - LATER<\/stage_direction>\n    <scene_description>Multiple Pins . It 's a bloodbath . Jackie , Abby and Stella are in the stands and they look depressed . Kyle 's next up .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>OK. This is Kenny Randall. He's very good.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Yeah, I heard.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>But you have an advantage here, he has no idea who you are, right? So he's gon na be overconfident. You take advantage of that and when you get your shot, put him away.<\/dialogue>\n    <scene_description>Kyle nods and Mike slaps him across the face and Kyle sprints to his place on the mat and gets ready . Mike turns to the team .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>See how he runs out there? I want that kind of intensity from all of you.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Why did Daddy hit Kyle?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>I do n't know, honey.<\/dialogue>\n    <scene_description>The Ref blows the whistle and the match starts . As Mike predicted KENNY RANDALL tries to end the match quickly with a throw but Kyle is too strong and too good . Kyle counters and throws Kenny to his back . Before anyone can blink , Kyle pins him . Mike , Terry , and Vigman explode off their chairs . MIKE . -LRB- CONT'D. -RRB- TERRY Yeah ! Holy shit !<\/scene_description>\n    <character>VIGMAN<\/character>\n    <dialogue>He just pinned Kenny Randall. Are you kidding me?!<\/dialogue>\n    <scene_description>Kenny Randall looks shocked . He throws off his head gear and gets up . The MILBURN COACHES look equally shocked . The Ref raises Kyle 's hands . Kyle runs over to shake the Milburn Coaches hand and then he runs back to his bench and is greeted by Mike .<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>He know's who I am now.<\/dialogue>\n    <scene_description>Mike smiles as the team greets him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE AND JACKIE'S HOUSE, DEN - LATER.<\/stage_direction>\n    <scene_description>Jackie and Stella are sitting on the ground . Kyle walks in .<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>Hi, can I watch TV in here?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Yeah but I want to show you something. Stella, who's that?<\/dialogue>\n    <character>STELLA<\/character>\n    <dialogue>Ky..<\/dialogue>\n    <scene_description>Kyle laughs .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>She started saying it at the match today.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>That's cool.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>OK. So I have to ask, those tatoo's must have hurt, right?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Not really.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Do n't lie to me. Look.<\/dialogue>\n    <scene_description>Jackie lifts her pant leg . She has a small tatoo on her ankle .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I got it on Spring Break. Hurt like hell.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>What's it say?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>JBJ. Jon Bon Jovi. I'm a fan. You got a problem with that?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>No I do not.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>That was fun today. You're good. I'm glad you started wrestling again.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Yeah. Me too.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>No quitting this time, you got that?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Can I tell you something?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>I did n't quit my old team. I got thrown off.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>I stole a car.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>What? You're do n't even drive.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Yeah. That was part of the problem.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Who's car did you steal?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>A teacher's.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Oh my God.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>It was really stupid.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Yeah. It was stupid. You could have killed yourself.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Yeah. Everything just got messed up after that.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Yeah, well we all do stupid things. But the best part is that you got a another chance and now you're kicking butt.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>I guess.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>It's true. And you know who would agree with me?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Mike?<\/dialogue>\n    <scene_description>Jackie lifts her leg .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Nope. JBJ.<\/dialogue>\n    <scene_description>Jackie lifts her leg exposing her tatoo . Kyle smiles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW PROVIDENCE HIGHSCHOOL, MAIN GYM - DAY.<\/stage_direction>\n    <scene_description>The Pioneers race out onto the mat to do warm - ups before a home match . They are fired up . There are more fans in the stands . Terry and Vig bob their head to the music . Kyle looks up at Jackie , Shelly and kids who are also rocking out in the stands .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARK - DAY.<\/stage_direction>\n    <scene_description>Kyle and Jackie walk through a park with Leo .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW PROVIDENCE HIGH SCHOOL, HALLWAY - DAY.<\/stage_direction>\n    <scene_description>The wrestling team sprints through the empty hallways .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEMLER'S HOUSE - DAY.<\/stage_direction>\n    <scene_description>Kyle and Stemler are battling it out on the Wii . Stemler is wearing a helmet .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S AND JACKIE'S HOUSE, KITCHEN - MORNING.<\/stage_direction>\n    <scene_description>Mike pours himself some coffee . Jackie is feeding the kids . The basement door opens and Kyle walks out followed by Feeney , Jimmy , Carlos , and Stemler . They are all sweating profusely . Mike is about to sip his coffee when Terry walks out . He nods and follows the gang .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIKE'S AND JACKIE'S HOUSE - DAY.<\/stage_direction>\n    <scene_description>Terry and Kyle stand side by side holding onto two ropes . Mike is cutting down the dead tree with a chain saw . Jackie Abby watch from the front porch . Mike finishes cutting and Terry and Kyle pull the tree over . Success . Mike lifts his arms in triumph .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW PROVIDENCE HIGHSCHOOL, COACHES OFFICE - DAY.<\/stage_direction>\n    <scene_description>Mike , Vigman and Terry are preparing for the match .<\/scene_description>\n    <character>VIGMAN<\/character>\n    <dialogue>They do n't have anyone at heavyweight.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Really? Korsic will be happy. Tell him now so he does n't puke.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Why does he puke? He's a heavyweight. He does n't have to lose weight.<\/dialogue>\n    <character>VIGMAN<\/character>\n    <dialogue>Nerves.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Sweet Lord. This is a team for the ages.<\/dialogue>\n    <scene_description>Kyle knocks on the door . Stemler is with him .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>What's up, guys?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Stemler wants to wrestle today.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>You do?<\/dialogue>\n    <character>STEMLER<\/character>\n    <dialogue>Yeah, Coach. I'm pretty sure I'm ready. Right?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Where you gon na wrestle?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>He could wrestle 119. I could bump up and get a pin at 125 and Jimmy goes 130. Then we're only giving up one weight class and we got a shot.<\/dialogue>\n    <scene_description>Vig and Terry look at Mike .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Huh. Vig?<\/dialogue>\n    <character>VIG<\/character>\n    <dialogue>Yeah. He's right. It's possible.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Have you ever wrestled in a match before Stemler?<\/dialogue>\n    <character>STEMLER<\/character>\n    <dialogue>No, I have not.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>You're just waiting for the green light, right?<\/dialogue>\n    <character>STEMLER<\/character>\n    <dialogue>Right. I think now is my time. I can feel the force.<\/dialogue>\n    <scene_description>The three coaches all look at each other .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW PROVIDENCE HIGHSCHOOL, LOCKER ROOM - LATER.<\/stage_direction>\n    <scene_description>Terry holds up a CUP OF STICKS with weight classes written on them . The BERKLEY HEIGHTS COACH selects a stick and reads the weight .<\/scene_description>\n    <character>BH COACH<\/character>\n    <dialogue>One twenty - five.<\/dialogue>\n    <scene_description>Vigman reads off the roster .<\/scene_description>\n    <character>VIGMAN<\/character>\n    <dialogue>We start at 125 pounds. Depasquale and Timmons. We'll finish at 119 pounds. Tomlinson and Stemler. STEMLER.<\/dialogue>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I'm ready Coach.<\/dialogue>\n    <scene_description>The Coaches all turn to see Stemler already wearing his singlet and headgear .<\/scene_description>\n    <character>STEMLER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Show time.<\/dialogue>\n    <character>VIGMAN<\/character>\n    <dialogue>Thanks for the update Stemler.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>We're dead.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>No. It's gon na be fine.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW PROVIDENCE HIGHSCHOOL, MAIN GYM - LATER.<\/stage_direction>\n    <scene_description>The SCORE BOARD reads 33 - 31 . The 112 pound weight class is wrestling .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Hook the arm! Carlos, hook the arm!<\/dialogue>\n    <scene_description>Carlos does and holds on for the win . The team cheers . Mike turns to Vigman and Terry .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>How we doing?<\/dialogue>\n    <character>VIGMAN<\/character>\n    <dialogue>With that win, we're up by five. If Stemler does n't get pinned, we win.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>That's a huge fucking `` if''. STEMLER.<\/dialogue>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I can hear you, Coach.<\/dialogue>\n    <scene_description>They all turn . Stemler is standing right there . He looks petrified .<\/scene_description>\n    <character>VIGMAN<\/character>\n    <dialogue>Good job, Ter.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Sorry, Stemler. You're a champ.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Come here, Stemler.<\/dialogue>\n    <scene_description>Mike takes Stemler by the shoulders .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You've been practicing for a long time. You're ready for this. You hear me?<\/dialogue>\n    <scene_description>Stemler nods .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>If you get in trouble out there, you just listen to me. I'm right here, OK?<\/dialogue>\n    <scene_description>Stemler nods again . Too scared to respond .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>OK. You are not going to get pinned! You hear me! No way!<\/dialogue>\n    <character>STEMLER<\/character>\n    <parenthetical>( BARELY AUDIBLE . )<\/parenthetical>\n    <dialogue>No way. No way.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Good. Now I'm going to slap you. Ready?<\/dialogue>\n    <character>STEMLER<\/character>\n    <dialogue>Yeah but not so hard.<\/dialogue>\n    <scene_description>Mike gives him an odd half - slap and Stemler runs out to the mat and takes his place at the line . The team cheers . But then the other WRESTLER runs out . He is wearing a BLACK PROTECTIVE FACE MASK . Stemler spins away from the line and looks pleading at Mike .<\/scene_description>\n    <character>STEMLER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Holy shit! It's Darth Vader! Are you kidding me? No way!<\/dialogue>\n    <scene_description>He does look like Darth Vader . But in a singlet . MIKE\/TERRY\/VIGMAN Do n't worry . It 's just a mask . You are ready ! Get on that line . Now !<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>Hey, Stemler. Come here.<\/dialogue>\n    <scene_description>Stemler walks over .<\/scene_description>\n    <character>KYLE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>If he's Darth Vader then you're the Secret Apprentice. You got this.<\/dialogue>\n    <scene_description>Stemler buys it .<\/scene_description>\n    <character>STEMLER<\/character>\n    <dialogue>Yeah. You're right.<\/dialogue>\n    <scene_description>Stemler returns to the line slightly more confident . The Ref blows the whistle and the match starts . Stemler is immediately taken down . Terry looks at his feet .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>I ca n't watch.<\/dialogue>\n    <character>LATER -<\/character>\n    <dialogue \/>\n    <scene_description>It 's late in third period . Stemler is losing 13 - 0 . Stemler is flat on his belly and he 's getting mauled . The Ref calls him for stalling . One point . 14 - 0 . Thirty seconds to go .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Keep moving, Stemler. Keep working!<\/dialogue>\n    <character>VIGMAN<\/character>\n    <parenthetical>( Reading score card . )<\/parenthetical>\n    <dialogue>Oh shit. Oh shit!<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>VIGMAN<\/character>\n    <dialogue>He's one point away from a tech fall and we'd lose on criteria.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Shit. Really?<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>What the hell does that mean?<\/dialogue>\n    <character>VIGMAN<\/character>\n    <dialogue>If he falls behind by fifteen points it's a technical fall. They get five team points. If that happens the score would be tied but we'd lose the match on criteria.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Seriously?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Fuck this!<\/dialogue>\n    <scene_description>Mike drops to the mat .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Stemler! Stemler!<\/dialogue>\n    <scene_description>Stemler looks over . His eyes are wild .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You need to get up! He's trying to drown you! He wants you dead. But you are not going to die on the bottom! Do you hear me? Do you?!<\/dialogue>\n    <scene_description>Stemler manages a nod , albeit a terrified one .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Good! Now just do the move we worked on in practice.<\/dialogue>\n    <scene_description>Off Stemler 's confused look .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>`` Whatever the fuck it takes!''<\/dialogue>\n    <scene_description>Stemler almost manages a smile and then he hits `` the move '' . It 's not pretty but somehow he manages to get up and out . The team goes nuts . One point for Stemler . 15 - 1 . The Other kid frantically tries to take him down but Stemler holds him off dancing wildly around the mat . The buzzer sounds . The team goes nuts . The Ref raises the other wrestler 's hand in victory but it 's Stemler who celebrates as if he just won the states . He runs off the mat and into the arms of his teammates .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW PROVIDENCE HIGHSCHOOL, HALLWAY - LATER.<\/stage_direction>\n    <scene_description>Mike and Kyle walk through the empty hallway .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Hey, I'm proud of what you did today. That win meant a lot to the guys.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Cool. It was good coaching with Stemler.<\/dialogue>\n    <scene_description>Mike laughs . Then he just looks at Kyle .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Let me ask you something. What's it like? Being as good as you are? What's it feel like?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>I do n't know. I guess it just feels like I'm in control. Of everything. You know what I mean?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah, I do. Must be nice.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>It is.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNION HIGHSCHOOL - DAY<\/stage_direction>\n    <scene_description>The DISTRICT TOURNAMENT . Kyle is ahead in points going into the second period . He chooses the top position . The Ref blows the whistle and the OTHER WRESTLER sits out and Kyle simply sucks him onto his back . It almost looks too easy .<\/scene_description>\n    <character>VIGMAN<\/character>\n    <dialogue>That's it.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>District champ, baby.<\/dialogue>\n    <character>VIGMAN<\/character>\n    <dialogue>Pure fucking poetry.<\/dialogue>\n    <scene_description>The Ref slaps the mat and it 's over .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OAK KNOLL SENIOR LIVING - DAY.<\/stage_direction>\n    <scene_description>Kyle walks into Leo 's room .<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>Hey, Leo. Guess who won the Districts?<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Me. And Mike said he got a call from a college scout about me.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Oh. VOICE.<\/dialogue>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hi baby.<\/dialogue>\n    <scene_description>A THIRTY - EIGHT YEAR OLD WOMAN standing in the door way . This is CINDY TIMMONS . Kyle 's mother .<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>I came to get you, honey. And to see Grandpa. I missed you so much. Can I have a hug, baby?<\/dialogue>\n    <scene_description>Kyle looks at Leo who just shrugs . Finally , he walks toward her but then veers away and runs from the room .<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>Where's he going?<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>Oh, he's just had to go somewhere, Dad. Do you want some juice?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE AND JACKIE'S HOUSE, LIVING ROOM - NIGHT.<\/stage_direction>\n    <scene_description>Mike is watching Stella who is playing on the ground . Jackie comes up from the basement .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>How is he?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>He's upset. I do n't blame him. It's weird that she just shows up like that.<\/dialogue>\n    <parenthetical>( Checking her watch . )<\/parenthetical>\n    <dialogue>And of course she's late, the druggie.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Honey. Can you stop, please?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>You're gon na talk to her, right?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah. I am. If you do n't punch her first.<\/dialogue>\n    <scene_description>Car lights in the window . Mike looks out the window .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It's a cab. It's her.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>It's not my fault if I punch her.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah, it is. That will be your fault.<\/dialogue>\n    <scene_description>Jackie picks up Stella . The door bell rings . Mike answers it . Cindy is standing there . She looks nervous .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hi. I'm Mike Flaherty. Come in, please.<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>And this is my wife, Jackie and my daughter, Stella.<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Hi, Cindy. Nice to meet you.<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>She's very cute.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Thanks. Abby, our six year old, is downstairs with Kyle.<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>Oh. OK.<\/dialogue>\n    <scene_description>Awkward pause .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Do you want to sit down?<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>Thanks. This is a very nice house.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Thank you very much.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Can I get you a drink or something?<\/dialogue>\n    <scene_description>Jackie shoots Mike a look . A drink ?<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Water or soda or anything?<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>No. No thanks. I'm fine.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Right. OK. So I'll go get Kyle.<\/dialogue>\n    <scene_description>Mike starts to go but Cindy does n't quite seem ready .<\/scene_description>\n    <character>CINDY<\/character>\n    <dialogue>How's he doing?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Oh, he's doing really well. He's going to the high school here and he's wrestling on the team actually.<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>Really? That's good. He loves wrestling so much.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>He's a really sweet kid. Our girls love him.<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>That's nice.<\/dialogue>\n    <scene_description>Cindy starts to tremble .<\/scene_description>\n    <character>CINDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I am so sorry about this. it's just been such a difficult time.<\/dialogue>\n    <scene_description>Jackie and Mike share a look . Then Jackie caves and slides over next to her .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Oh hey. these things happen, Cindy. And we've loved having him.<\/dialogue>\n    <scene_description>Mike rolls his eyes . So much for beating the crap out of her . Abby walks upstairs .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Hi, honey. This is Abby.<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>Hi Abby.<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Abby, can you go get Kyle for us?<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>He left.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>He left? What do you mean?<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>He left out the window.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S CAR - NIGHT.<\/stage_direction>\n    <scene_description>Mike and Cindy are driving .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I'm really sorry about this.<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>That's okay. Thanks.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>You know Kyle's doing really well with wrestling here, Cindy. The regions are this weekend and if he wins there then he goes to the states.<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>That's great.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah. It is and it could be really good for him. It might even mean a scholarship. Anyway, I was wondering if you could stay here for another three weeks until that's all over.<\/dialogue>\n    <scene_description>Cindy thinks about it .<\/scene_description>\n    <character>CINDY<\/character>\n    <dialogue>I'd like to but do n't think I can afford to stay in the hotel for that long. Do you think we could stay in my dad's house?<\/dialogue>\n    <scene_description>This is not what Mike wanted but he 's stuck .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Uhh. yeah. We could probably make that work.<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>Then, yeah, I could stay.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>OK. Good. That's great.<\/dialogue>\n    <scene_description>Mike 's phone rings .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hey. TERRY.<\/dialogue>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hey. Kyle's here.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Really?<\/dialogue>\n    <parenthetical>( TO CINDY . )<\/parenthetical>\n    <dialogue>We found him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TERRY'S CONDO - SAME.<\/stage_direction>\n    <scene_description>Terry looks into the other room . Kyle is playing on the Wii .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>Yeah. We're playing Wii Golf. I'm destroying him. Dude, this kid really hates his mother.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S CAR - SAME.<\/stage_direction>\n    <scene_description>Mike is driving .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Yeah, OK. TERRY.<\/dialogue>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I mean like more then I hate my ex wife.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Great, Ter. Thanks. Bye.<\/dialogue>\n    <parenthetical>( Mike hangs up . )<\/parenthetical>\n    <dialogue>He went to my friend's house. We can go get him.<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>Maybe I'll just go back to the hotel. It might just be too much for him tonight. I can see him tomorrow.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>You sure?<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>Yeah. I think maybe that's better. I know how Kyle can be.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>OK. I'll drop you off.<\/dialogue>\n    <scene_description>Mike keeps driving .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S NEIGHBORHOOD - EARLY MORNING.<\/stage_direction>\n    <scene_description>Mike and Kyle are jogging . Kyle 's mood is dark .<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>So when wrestling's over I have to go?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I'm afraid so, pal. She's staying so you can finish the season. That's pretty nice of her.<\/dialogue>\n    <scene_description>They arrive back at Mike 's house . Mike is really winded .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I told her you'd go see her today, Kyle.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Where ever you want. She could come here or we could go see her at Leo's house. She moving in this morning.<\/dialogue>\n    <scene_description>Kyle thinks .<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>I'll go see her at Leo's before practice. But I want to go alone.<\/dialogue>\n    <character>MIKE<\/character>\n    <parenthetical>( HESITANT . )<\/parenthetical>\n    <dialogue>Yeah, that's OK but Kyle but you have to promise me.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Do n't worry, Mike. I'll go.<\/dialogue>\n    <scene_description>Mike turns and spots his OLD NEIGHBOR watching him .<\/scene_description>\n    <character>OLD NEIGHBOR<\/character>\n    <dialogue>Hi Mike.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Hi Betty. How's the foot?<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>Better.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S OFFICE, BATHROOM - DAY.<\/stage_direction>\n    <scene_description>Mike is attempting to plunge the toilet . Shelly approaches him .<\/scene_description>\n    <character>SHELLY<\/character>\n    <dialogue>Mike? Cindy's here.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Really? Did she say why?<\/dialogue>\n    <character>SHELLY<\/character>\n    <dialogue>No. But she's here with an attorney.<\/dialogue>\n    <scene_description>Mike gets up and opens the door to his office . Eleanor and Cindy stand to greet him .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Hi Cindy. Hi, I'm Mike Flaherty.<\/dialogue>\n    <scene_description>Cindy nods .<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Hi, I'm Eleanor Cohen.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Please come in.<\/dialogue>\n    <scene_description>He leads them into his office .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I was n't aware that Cindy was represented by council.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>She retained me last week to help sort out her father's situation.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Last week? I thought she just arrived two days ago.<\/dialogue>\n    <parenthetical>( MIKE SITS . )<\/parenthetical>\n    <dialogue>How long have you been here?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>She wanted a little time to settle in and spend some time with her father.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>So how can I help?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Cindy has decided that she wants a more active role in her father's care.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>What kind of a role is that?<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>I want to take care of him.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Really? So you want to move here?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>No. Cindy would like to bring her father back to Columbus.<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>That's where my support network is now. It's home.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Well I'm not sure that's what Leo wants.<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>I already talked to him about it. He seem to like the idea.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I understand that, Cindy. But you have n't seen Leo in a long time and he's battling dementia now so it puts me in a tough position here.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>She is the presumed Guardian, Mr Flaherty.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I understand that.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>And we do hope to avoid litigation.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>So do I and I'm sure we can. Now, I'm sorry, but I actually have to go see a client so we'll have to set up another time to discuss this.<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>Kyle's still coming to see me today, right?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah. Of course. After school.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>I'll have my office call. Come on Cindy.<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>Thanks Mike.<\/dialogue>\n    <scene_description>Mike nods and Eleanor and Cindy leave . Mike watches them go . CLANK . CLANK . CLANK .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. QUICK CHECK - LATER.<\/stage_direction>\n    <scene_description>Mike walks out of the Convenience Store , around the corner and behind the store . He lights a cigarette . TERRY . -LRB- V.O . -RRB- I do n't get it . Is it that bad ?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW PROVIDENCE HIGH SCHOOL - LATER.<\/stage_direction>\n    <scene_description>Mike and Terry are standing outside talking .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Yeah, it's that bad.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Just take her to court, you'll kill her.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I ca n't.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Why not? She's a freaking mess. You're a pillar of the community, Mike.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I just ca n't go back in front of Judge Lee, it wo n't look good, trust me.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>So maybe you'll get a different judge.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>She's the only Judge who handles these cases and if I look bad in front of her right now, I'm screwed. I'll have to close my fricking doors.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Then dump it. Give her Poplar. It sucks but you've got your practice to worry about, right?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah, I do.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Incoming, dude.<\/dialogue>\n    <scene_description>Mike turns . Kyle approaches .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Hey, pal.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Do you know she wants to take Leo back to Ohio?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah. She just told me today.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>You're not gon na let her do that are you?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I do n't know Kyle. It's complicated.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>What's complicated about it? She does n't give a shit about Leo. They hate each other. You ca n't let her take him.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>OK. OK. Look, just go get ready for practice and I'll deal with it.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Fine but I told her I'm staying with you guys until we leave.<\/dialogue>\n    <scene_description>Kyle leaves . Terry just looks at Mike .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>Wow. What's your play?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I have no idea. I have no freaking idea!<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>She's looking for a payout, dude. Just buy her stake and give her an exit.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>What the hell does that mean?<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Just give her some of Leo's money and send her home. He's not gon na miss it. He's in happy land.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>No, I ca n't do that. She's not even in his.<\/dialogue>\n    <scene_description>Mike stops . A flash of inspiration .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>That's right. She's not and she does n't and that's my play.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>What's your play?<\/dialogue>\n    <scene_description>Mike takes out his phone and dials .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Do n't worry about it. I just need to make a call. Can you get practice started?<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Really? You want me to slap your face? Get you psyched up for the call?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>No. I really do n't.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUSINESS CENTER - DAY.<\/stage_direction>\n    <scene_description>Mike walks into the brick and glass tower . MIKE . -LRB- O.S . -RRB- Look , we 're all concerned with what 's best for Leo so I 'm hoping we can settle this in an amicable way .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEANOR COHEN'S OFFICE - SAME.<\/stage_direction>\n    <scene_description>Mike is siting down with Eleanor and Cindy .<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>So do we.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Good, well, I thought I'd start by laying all the cards on the table, so maybe you can understand why I'm hesitating in turning Leo over to Cindy.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>OK.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Cindy, your father disinherited you from his will. Completely. And I'm afraid that ca n't change now that he's been declared incapacitated.<\/dialogue>\n    <character>CINDY<\/character>\n    <parenthetical>( TO ELEANOR . )<\/parenthetical>\n    <dialogue>Is that true?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>We'll have to see a copy of the will, Mike.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah. I actually brought you a copy.<\/dialogue>\n    <scene_description>Mike reaches into his briefcase and puts the A COPY OF THE WILL on Eleanor 's desk .<\/scene_description>\n    <character>CINDY<\/character>\n    <dialogue>Who did he leave it too? Did he leave it to Kyle?!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>Then who? You?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>No. He left everything to the municipal parks system. He wanted the town park dedicated in his name.<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>That scumbag! He never cared about anyone but himself and his fucking money. Did you know about this?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Cindy please!<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>Please what?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <parenthetical>( Annoyed to Mike . )<\/parenthetical>\n    <dialogue>I'd like to discuss this with my client, Mr. Flaherty.<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>What's to discuss? I'm not taking care of him if I'm not getting anything for it.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Cindy, please.<\/dialogue>\n    <parenthetical>( TO MIKE . )<\/parenthetical>\n    <dialogue>We're finished here.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>OK.<\/dialogue>\n    <scene_description>Mike gets up and walks out . A smile creeps across his face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNION HIGH SCHOOL, GYM - DAY.<\/stage_direction>\n    <scene_description>Jackie , Gina and the kids settle into the bleachers . A LARGE BANNER reads NORTHEAST REGIONAL TOURNAMENT .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNION HIGH SCHOOL, HALLWAY - DAY.<\/stage_direction>\n    <scene_description>Mike and Terry walking down the hallway eating SNICKER BARS .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>Brass balls, buddy. Brass balls.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah. And she's gone back to the motel.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>That's good.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yes, it is. Yeah, I think it worked.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>It totally worked. They opened their kimono and you made them eat the trade.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I do n't what know what your talking about half the time.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah. Really.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNION HIGHSCHOOL, BACK GYM - LATER.<\/stage_direction>\n    <scene_description>Kyle is warming up . Vigman is watching . Mike and Terry enter .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>It's time, Coach.<\/dialogue>\n    <parenthetical>( TO KYLE . )<\/parenthetical>\n    <dialogue>You ready?<\/dialogue>\n    <scene_description>Kyle just walks out of the warm - up room .<\/scene_description>\n    <character>VIGMAN<\/character>\n    <dialogue>He's ready.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Yeah, he is.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNION HIGHSCHOOL GYM - LATER.<\/stage_direction>\n    <scene_description>The four men walk into the huge gym . It 's packed . Kyle is completely focused .<\/scene_description>\n    <character>VIGMAN<\/character>\n    <dialogue>Wow. This is big time. I bet there are scouts here.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Definitely. And wait till we get to the states! Atlantic City here we come, baby.<\/dialogue>\n    <character>VIGMAN<\/character>\n    <dialogue>Atlantic City. Fierce.<\/dialogue>\n    <scene_description>Mike smiles but then his smile fades . Cindy Timmons is standing against the wall . She steps forward and Kyle sees<\/scene_description>\n    <character>HER<\/character>\n    <dialogue \/>\n    <character>CINDY<\/character>\n    <dialogue>Good luck, baby.<\/dialogue>\n    <scene_description>Kyle keeps his head down and keeps walking . Mike looks shocked but also keeps walking .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNION HIGH SCHOOL, GYM - LATER.<\/stage_direction>\n    <scene_description>Mike and Kyle are face to face .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Listen to me. One more win and we are going to the states. That's what counts. That's all that matters. You hear me?<\/dialogue>\n    <scene_description>Kyle nods . Mike can tell that he 's half listening .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hey! Kyle. Stay in this, OK. This is your place. You are in control, remember! You control it. Now go get him. Finish this!<\/dialogue>\n    <scene_description>Mike slaps him . And Kyle races to the mat . The wrestlers slap hands and THE REF blows the whistle . Kyle immediately shoots in for a double leg . The Other Wrestler tries to sprawl but Kyle is in too deep . Kyle lifts him high and dumps him hard to the mat . The audience reacts and the Ref stops the action . The other wrestler bravely pops up but he is obviously stung .<\/scene_description>\n    <character>REF<\/character>\n    <dialogue>Warning. Red. One point.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Kyle! Hey! Control! Control!<\/dialogue>\n    <scene_description>Kyle looks at Mike and nods but his eyes are wild . The Ref blows the whistle and Kyle and the Other Wrestler lock up . They dance a bit and finally the Other Wrestler tries to wrap Kyle up . Kyle back pedals and then literally throws the Other Wrestler off the mat . The Ref has seen enough . He quickly issues Kyle his second warning and disqualifies him from the match . It 's over . The Other Wrestler pops up and runs at Kyle . Kyle responds . The Coaches all intervene . It 's a melee .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNION HIGH SCHOOL, LOCKER ROOM - DAY.<\/stage_direction>\n    <scene_description>Kyle is sitting on the bench , perfectly still . Mike walks in and sits down next to him .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>How you doing?<\/dialogue>\n    <scene_description>Kyle stares at the floor .<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Hey, it's alright.<\/dialogue>\n    <scene_description>Mike puts his arm on his shoulder and Kyle starts to cry . Mike squeezes him .<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>I do n't want to go with her. I do n't.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>OK, pal. OK.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNION HIGH SCHOOL, PARKING LOT - LATER.<\/stage_direction>\n    <scene_description>Mike , Terry and Kyle walk out of the school . The entire family is waiting for them . Jackie gives Kyle a big hug . Abby takes his hand . They all get into their car . Mike is just about to get in but then he sees Cindy standing by her car watching . He shuts his door and crosses to her .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Why are you here?<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>I wanted to see my son wrestle.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah, well your son had a pretty good chance to do something special in there. Maybe even change his life and that's gone now. I hope you're happy.<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>That's not my fault.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>It is n't? Why do you think he lost his shit in there, huh?! What do you want, lady?<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>I want my father.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>It did n't sound like that the other day. It sounded like you hated the guy.<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>You have no idea what my father used to be like. No idea! He was n't like he is now! He treated me like shit and he was all I had!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>So now you want to return the favor? Is that it?!<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>I want that commission! That should be mine!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>And that's why you're doing all this? For fifteen hundred dollars a month?<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>Is n't that why you did it?<\/dialogue>\n    <scene_description>This stops Mike in his tracks .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Alright, I'll tell you what. You want the commission? You can have it. And you do n't even have to take Leo. I'll take care of him for free and I'll send you the check every month. On one condition.<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>You leave Kyle here. With us. Until he finishes high school.<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>I'm his mother. He belongs with me.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Are you sure he feels that way?<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>Do n't tell me what my son feels! He's coming with me and there is n't anything you can do about that.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Then you ca n't have that commission.<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>We'll see about that.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah, we will.<\/dialogue>\n    <scene_description>Mike turns and walks away .<\/scene_description>\n    <character>CINDY<\/character>\n    <dialogue>I want to see my son!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Then call him! You have his number!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE AND JACKIE'S HOUSE, BACK PORCH - DUSK.<\/stage_direction>\n    <scene_description>Mike sits on the back porch nursing a beer . Terry stands in the yard facing away from him .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>We were right there, Mike. Right fucking there. And now we have nothing. Nothing!<\/dialogue>\n    <scene_description>Terry screams . It 's a primal scream . Mike just looks at him .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>You OK?<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Terry drinks . Mike watches him . Jackie pops out from the kitchen .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Mike, your mom's here and dinner's almost ready. Have you seen Kyle?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>He's not in the basement?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>I'll track him down.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Thanks, Terry.<\/dialogue>\n    <character>TERRY<\/character>\n    <parenthetical>( TO JACKIE . )<\/parenthetical>\n    <dialogue>What a day, huh?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Yeah, right.<\/dialogue>\n    <scene_description>Terry goes inside . Jackie sits next to Mike .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You OK?<\/dialogue>\n    <scene_description>Mike shrugs .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What are we gon na do, Mike?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>There's nothing to do. I ca n't stop her. She's gon na leave and she's gon na take Kyle and Leo with her.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>And you do n't think you'd beat her in court?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>No. I do n't.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Why? It's so obvious she's just wants him for the money.<\/dialogue>\n    <scene_description>Mike turns to Jackie . He wants to tell her but just ca n't .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I just ca n't win this one, Jackie. Trust me.<\/dialogue>\n    <scene_description>Jackie misinterprets Mike 's guilt for pain . She backs off .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I do.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CINDY'S MOTEL ROOM - LATER.<\/stage_direction>\n    <scene_description>Cindy is smoking next to the open window . She is nervous . A knock on the door . She throws the cigarette out the window and closes it . She checks herself in the mirror and opens the door . Kyle is standing there .<\/scene_description>\n    <character>CINDY<\/character>\n    <dialogue>Kyle, honey, come in. I'm so glad you came.<\/dialogue>\n    <scene_description>She steps back and he enters .<\/scene_description>\n    <character>CINDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Have a seat, honey. Do you want a soda or something?<\/dialogue>\n    <scene_description>He sits on one bed .<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>No. What do you want?<\/dialogue>\n    <scene_description>She sits on the other facing him .<\/scene_description>\n    <character>CINDY<\/character>\n    <dialogue>I just wanted to say how sorry I was about the match and if I did anything to cause it then I will never forgive myself. I know how much wrestling means to you, baby.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Is that why you called me. Just to tell me that?<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>No. I also wanted to say that I'll do whatever you think is best for Leo. I promise.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Then leave him here. Where he is.<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>OK. I will. If that's what you want. But I have to be honest, I'm not sure that's what Leo wants.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>Here. Read this.<\/dialogue>\n    <scene_description>She hands him a piece of paper .<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>It's the court transcript from when Leo was in court. My lawyer got it. Read the parts in yellow. See what it says.<\/dialogue>\n    <scene_description>Kyle reluctantly reads it .<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>This is n't real. The Judge told Leo he had to live there.<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>No, honey. This is official from the court. It's what Mike said.<\/dialogue>\n    <scene_description>Kyle reads it again .<\/scene_description>\n    <character>CINDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>He gets paid for being Leo's guardian, Kyle. And then he just put him in that place so he did n't have to worry about him.<\/dialogue>\n    <scene_description>Kyle stares at the page .<\/scene_description>\n    <character>CINDY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Leo belongs with us, Kyle.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <scene_description>Cindy is caught of guard by the question .<\/scene_description>\n    <character>CINDY<\/character>\n    <dialogue>Why what?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Why does he belong with us?<\/dialogue>\n    <scene_description>Cindy judges her son 's look and speaks from the heart .<\/scene_description>\n    <character>CINDY<\/character>\n    <dialogue>Because we deserve that money, Kyle. Not some lawyer. You're a big boy. You can understand that.<\/dialogue>\n    <scene_description>Kyle looks at the page on more time and then suddenly , without warning , pounces on his mother pinning her to the bed . She screams . He gets in her face .<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>Shut up! Shut up!<\/dialogue>\n    <scene_description>She finally quiets . Terrified .<\/scene_description>\n    <character>KYLE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Listen to me! I do n't care about this. It's all bullshit. Leave Leo alone. He belongs here. Do you hear me? Do you?<\/dialogue>\n    <scene_description>Cindy can only cry and nod . Kyle grabs the paper and runs out the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S HOUSE - LATER.<\/stage_direction>\n    <scene_description>Mike paces around talking on the phone .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>OK. Thanks, Karen. I appreciate it. Bye.<\/dialogue>\n    <scene_description>Jackie walks into the room .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Anything?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>He's not at Stemler's.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>This is crazy, where could he be?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I do n't know, he's upset, maybe he went for a walk.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Well we should take a drive, your mom can stay with the kids.<\/dialogue>\n    <scene_description>His phone rings . Jackie stops .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Hello. Yes, this is him. What?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OAK KNOLL SENIOR LIVING, RECEPTION - LATER.<\/stage_direction>\n    <scene_description>A STAFF MEMBER is at the desk .<\/scene_description>\n    <character>STAFF MEMBER<\/character>\n    <dialogue>Sir, stay calm, we'll find him.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Stay calm? You've lost my ward!<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Mike! Calm down.<\/dialogue>\n    <character>MIKE TERRY<\/character>\n    <dialogue \/>\n    <scene_description>Calm down ?! We are gon na sue you guys , silly . He 's a laywer ! The Staff Member picks up the phone .<\/scene_description>\n    <character>STAFF MEMBER<\/character>\n    <dialogue>Look, he's definitely not on the premises. A lot of the time they just try to go home. We're about to go there.<\/dialogue>\n    <scene_description>Mike and Jackie share a look and leave . Terry turns to some residents who are looking on .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>Hey folks, listen up! Watch out for each other. MIKE.<\/dialogue>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Terry!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEO POPLAR'S HOUSE - LATER.<\/stage_direction>\n    <scene_description>Mike 's car pulls up . They all get out and run up to the house .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>There's a light on.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>It's got to be him. Do have the key?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>No. I did n't bring it with me.<\/dialogue>\n    <scene_description>They arrive at the front door . Mike tries the knob . It 's locked .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Shit.<\/dialogue>\n    <scene_description>Mike goes to edge of the porch , climbs up onto the railing and looks into the side window . Leo is sitting in a chair watching TV .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>There he is!<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>What's he doing?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Watching TV.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>What's he watching?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Who cares?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Leo? Hey Leo?<\/dialogue>\n    <scene_description>Mike knocks on the window . Leo does n't register it .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>He's not responding. Ring the bell.<\/dialogue>\n    <scene_description>Jackie does . Leo still does n't respond .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Nothing. Fuck.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>This is freaking spooky.<\/dialogue>\n    <scene_description>Mike climbs down back onto the porch .<\/scene_description>\n    <character>TERRY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Should we break in?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I have a key back at the office. I could go get it.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Is he OK?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>He seems it. He's just sitting there.<\/dialogue>\n    <scene_description>Suddenly the door opens . Leo is standing there .<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>Hi. MIKE\/TERRY\/JACKIE Hi. \/ Hey.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Come on in.<\/dialogue>\n    <scene_description>Leo walks away . They all follow him .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>OK. That is very creepy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEO POPLAR'S HOUSE - SAME.<\/stage_direction>\n    <scene_description>They walk into the house following Leo into the living room . He sits back in his chair and start watching TV again .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>You OK, Leo?<\/dialogue>\n    <scene_description>Leo just watches TV .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>How did you get here, pal?<\/dialogue>\n    <scene_description>Mike stoops over and tries to connect with Leo .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( GENTLY . )<\/parenthetical>\n    <dialogue>Did you walk here, Leo?<\/dialogue>\n    <scene_description>Leo turns and looks at them as if he is about to speak . The all wait for his reply and then . KYLE . -LRB- O.S . -RRB- I brought him here . They all jump .<\/scene_description>\n    <character>JACKIE MIKE<\/character>\n    <dialogue \/>\n    <scene_description>Kyle ? You took Leo ?<\/scene_description>\n    <character>KYLE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Yeah.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Have you lost your mind?! We've been worried sick about him!<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>About both of you!<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>You do n't have to worry about us.<\/dialogue>\n    <scene_description>Kyle walks out of the room .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>OK. That's super spooky. Just saying.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEO POPLAR'S KITCHEN - CONTINUOUS.<\/stage_direction>\n    <scene_description>Kyle walks into the kitchen , he turns off a pot of boiling water and strains some pasta .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Kyle, What the hell are you doing?<\/dialogue>\n    <character>KYLE<\/character>\n    <parenthetical>( VERY CALMLY . )<\/parenthetical>\n    <dialogue>Making spaghetti.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Have you lost your mind?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Kyle, why did you do this? Please just tell us. Leo needs to be in a home.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>This is where he belongs.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Kyle he needs to be at Oak Knoll.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Kyle, we talked about this.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Yeah. We did! Listen to this.<\/dialogue>\n    <scene_description>Kyle takes a piece of paper out of his pocket .<\/scene_description>\n    <character>KYLE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( READING . )<\/parenthetical>\n    <dialogue>Mike Flaherty : Mr. Poplar wants to live at home. Judge Lee : You can do that Mike? Mike Flaherty : Yes, I can. Really.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>What is that?<\/dialogue>\n    <scene_description>Jackie takes it and looks at it .<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>It's from the court.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Where did you get this?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>From my mother.<\/dialogue>\n    <parenthetical>( TO MIKE . )<\/parenthetical>\n    <dialogue>It's true is n't, Mike?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Mike?<\/dialogue>\n    <scene_description>Mike ca n't answer . Kyle 's seen enough .<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>You're just like her.<\/dialogue>\n    <scene_description>He runs out . They all give chase .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEO POPLAR'S HOUSE - CONTINUOUS.<\/stage_direction>\n    <scene_description>Mike runs outside and see 's Kyle crossing the lawn . He quickly catches up to him . Terry and Jackie follow close behind .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Hey. Hey, Kyle.<\/dialogue>\n    <scene_description>Kyle keeps walking .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hey can you hold on a second?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Leave me alone!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Kyle please.<\/dialogue>\n    <scene_description>Mike grabs Kyle one more time . Kyle rips his arm away and tries to push Mike back .<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>Do n't touch me!<\/dialogue>\n    <scene_description>Mike deflects Kyle and Kyle spills to the ground .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>Oh shit.<\/dialogue>\n    <scene_description>Kyle gets up and starts to circle Mike . Mike has no choice but reciprocate .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Would you let me explain?!<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Explain what? How you lied to me? How you lied to Leo?<\/dialogue>\n    <scene_description>Kyle head pumps . Mike takes the bait and jumps back .<\/scene_description>\n    <character>MIKE TERRY<\/character>\n    <dialogue \/>\n    <scene_description>Kyle wait . Watch the head fake !<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Kyle I do n't want to wrestle you.<\/dialogue>\n    <character>JACKIE TERRY<\/character>\n    <dialogue \/>\n    <scene_description>Kyle , stop for a minute . Keep your hands out , Mike . Hands out .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Terry, stop it!<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>I'm just trying to help.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>You're not helping.<\/dialogue>\n    <scene_description>Kyle head fakes again but this time he 's in . Before Mike knows what hits him , he 's on his back .<\/scene_description>\n    <character>MIKE TERRY<\/character>\n    <dialogue \/>\n    <scene_description>Ow ! Oh shit .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Mike, stop it!<\/dialogue>\n    <scene_description>Kyle is all over Mike . Mike 's trying to fight back but it 's useless and even kind of pathetic .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I'm trying to stop it!<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Sit out Mike! Sit out!<\/dialogue>\n    <character>JACKIE MIKE<\/character>\n    <dialogue \/>\n    <scene_description>Shut up , Terry ! Kyle , stop it ! Mike gets up to hands and knees but Kyle drives him hard to the ground . MIKE . -LRB- CONT'D. -RRB- TERRY Ow ! Shit ! Ouch ! He 's getting killed .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Would you stop coaching and break that up!<\/dialogue>\n    <scene_description>Terry rushes in and tries to pull Kyle off but he 's lost it . Finally , he wraps his arms around Kyle and pulls him off . Kyle spins free and fronts Terry . Terry immediately puts up his hands .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>I'm the ref. I'm just the ref!<\/dialogue>\n    <scene_description>Kyle turns and runs off .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Kyle! Stop! Please!<\/dialogue>\n    <scene_description>He does n't stop . Jackie turns to Mike .<\/scene_description>\n    <character>JACKIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Is that true, Mike?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah, it is.<\/dialogue>\n    <scene_description>Mike gets up .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>So why'd you move him if he wanted to stay here.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Because it would have been too much work to leave him here. I could n't have done it.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Then you should n't have taken him.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I had to, alright?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Why?!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Because I needed the money! We needed the money.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>You moved an old man out of his house to make money? Have you lost your freaking mind?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>No! I just did n't think it would get this complicated.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Really? Or you just did n't think you'd get caught? This stops Mike in his tracks. He ca n't answer. Jackie turns and walks away.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Jack! Jack, where are you going?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Home! She walks away.<\/dialogue>\n    <scene_description>137 INT . STEMLER HOUSE , BASEMENT - SAME . 137 Stemler is sleeping on one couch . Kyle on the other . Kyle 's cell phone rings . He wakes up and checks it . He answers it .<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>Hello. Hello. Mom? She's not there. He hangs up. Kyle starts to put on his shoes.<\/dialogue>\n    <character>STEMLER<\/character>\n    <dialogue>Did your mom just crank call you?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>STEMLER<\/character>\n    <dialogue>So you and Coach Mike get in a fight because you lost?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>No. We got in a fight because he's an asshole.<\/dialogue>\n    <character>STEMLER<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Yeah, really, Stem.<\/dialogue>\n    <character>STEMLER<\/character>\n    <dialogue>Well I'm sure he'll make it up to you, bro. You're the best wrestler he's ever had. I mean he's always been cool to me and I suck.<\/dialogue>\n    <scene_description>This comment lands with Kyle .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OAK KNOLL SENIOR LIVING - MORNING.<\/stage_direction>\n    <scene_description>Mike is sleeping on a love seat . He wakes up . Leo is sitting there watching him .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Hey Leo.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I fell asleep. I'm sorry.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Sorry for what?<\/dialogue>\n    <scene_description>That 's a big question . Mike cuts to the chase .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>You want to go home?<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Yeah.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE AND JACKIE'S HOUSE - LATER.<\/stage_direction>\n    <scene_description>Jackie is sitting with Stella and a cup of coffee . The front door opens and closes . Mike walks into the kitchen .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Hi. Is he here?<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>No. He slept at Stemler's. How about you?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Oak Knoll.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>You're right, that's not who I am.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>So what are you going to do?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I have to go court.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>You ca n't. You told the Judge you were keeping Leo at home.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>So then tell her you changed your mind. No one can question that.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I ca n't, Jack.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Because it's not true.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Well I'm glad your done lying now, just in time to lose your practice. That's how we survive, Mike. Your family. You ever think of that?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah. All the time.<\/dialogue>\n    <scene_description>Jackie quickly crosses to the sink . She starts to clean . She breaks something .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <scene_description>She braces herself against the sink and exhales . Mike just watches her .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I'm sorry, Jack. I really am.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>A noise from the basement . Mike heads down the stairs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE AND JACKIE'S HOUSE, BASEMENT - CONTINUOUS.<\/stage_direction>\n    <scene_description>Jackie and Mike walk downstairs . Kyle is angrily gathering his stuff and putting it in his back pack .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Hey Kyle. How'd you get down here?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>The window.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Are you hungry? I was gon na make some pancakes.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>No. I'm leaving. I just came to get my shit.<\/dialogue>\n    <scene_description>They share a look and walk over to Kyle .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Kyle, listen, I just wanted to say I'm sorry.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>I know, Mike, you're sorry. Everyone's always sorry.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I moved Leo back home, Kyle. And I'm gon na fight to keep him there.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>It's too late. You'll lose. My mother's gon na take him.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Maybe but I'm still gon na try.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>So what?! You want me to forgive you now? Is that it, Mike?!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>No. I just want you to give me another chance. That's all I'm asking.<\/dialogue>\n    <scene_description>Mike 's sincerity is undeniable . Kyle looks to Jackie . They connect . Kyle shakes his head , turns around , and then throws his bag .<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>This is bullshit!<\/dialogue>\n    <scene_description>Mike looks at Jackie .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Hey, Kyle, listen -<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>I want to be alone.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>KYLE<\/character>\n    <parenthetical>( Without looking at them . )<\/parenthetical>\n    <dialogue>I JUST WANT TO BE DOWN HERE ALONE!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>OK. All right. Yeah.<\/dialogue>\n    <scene_description>Jackie and Mike turn and start to walk upstairs but Jackie stops .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>Kyle, I just wan na say - we love you.<\/dialogue>\n    <scene_description>Kyle keeps his back turned to them as they continue up the stairs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - LATER.<\/stage_direction>\n    <scene_description>Tight on the Baby Monitor . We hear Stella crying and Jackie talking to Abby . JACKIE . -LRB- O.S . -RRB- Abby , just pick a shirt and put it on . Please . Mike is sitting alone at the kitchen table drinking a cup of coffee . The remnants of a pancake breakfast are on the table . There is one clean plate where Kyle usually sits . After a moment , Kyle comes up from the basement and sits down at the table without saying anything . He just looks at Mike . Then he serves himself a few pancakes . Mike passes him the bottle of syrup . He takes it and puts some on his pancakes . He eats . Mike watches .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNION COUNTY COURT HOUSE - DAYS LATER.<\/stage_direction>\n    <scene_description>The group is walking up the front steps of the court house . Terry joins .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>Hi guys.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Dude, I'm your assistant coach. And just notice who is n't here.<\/dialogue>\n    <scene_description>Mike smiles .<\/scene_description>\n    <character>TERRY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Stephen Vigman.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah, I got it.<\/dialogue>\n    <scene_description>Terry puts his arm on his friend 's shoulder .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNION COUNTY COURT HOUSE - LATER.<\/stage_direction>\n    <scene_description>The whole gang is walking toward to the courtroom .<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Mike?<\/dialogue>\n    <scene_description>Mike turns . Eleanor approaches .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Hi Eleanor.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Can I talk to you?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>Mike and Eleanor step to the side . She looks at Mike .<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>You know the transcript alone is enough to hang you.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah, well, we'll see what happens.<\/dialogue>\n    <scene_description>Eleanor just looks at him , Judge and Jury . Mike blinks .<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Shame on you counselor.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Is that it?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>No. My client would like to talk to you.<\/dialogue>\n    <scene_description>Mike and Eleanor walk over to Cindy . She is barely holding it together .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Hi Cindy.<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>Hi. Is your deal still available?<\/dialogue>\n    <scene_description>Mike tries to conceal his shock .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>What about Kyle?<\/dialogue>\n    <scene_description>Cindy and Eleanor share a look .<\/scene_description>\n    <character>CINDY<\/character>\n    <dialogue>He can stay.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Then yes. It is.<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>And you'll send me the checks?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Every month.<\/dialogue>\n    <character>CINDY<\/character>\n    <dialogue>You take good care of him.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>We will.<\/dialogue>\n    <scene_description>Cindy nods .<\/scene_description>\n    <character>CINDY<\/character>\n    <dialogue>I want to say goodbye.<\/dialogue>\n    <scene_description>Mike turns and waves Kyle over . Kyle look to Jackie who gives him the OK . He walks over as Mike steps away . He just looks at his mother . She gently touches his face . He does n't move . Everyone looks on as Cindy says a few words to Kyle , hugs him hard and then quickly turns and walks away . Kyle watches her go .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIKE AND JACKIE'S HOUSE - EARLY EVENING.<\/stage_direction>\n    <scene_description>A croquet ball hits a stick . ABBY . -LRB- O.S . -RRB- Your turn . Abby , Kyle , and Stemler are playing on the front lawn .<\/scene_description>\n    <character>STEMLER<\/character>\n    <dialogue>I know. Do n't rush me.<\/dialogue>\n    <scene_description>Stemler hits a shot and the ball goes into the garden .<\/scene_description>\n    <character>STEMLER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>This mallet is crap! You see that?<\/dialogue>\n    <scene_description>Mike pulls up and gets out of his car , wearing a suit and carrying his briefcase .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Hi guys!<\/dialogue>\n    <character>ABBY<\/character>\n    <dialogue>Hi, Daddy. I'm winning.<\/dialogue>\n    <character>STEMLER KYLE<\/character>\n    <dialogue \/>\n    <scene_description>What 's up , coach ? Hi .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>That's great, honey. Kyle, can you drag those garbage cans to the side of the house for me?<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>OK.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Thanks, pal.<\/dialogue>\n    <scene_description>He runs inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE AND JACKIE'S HOUSE - CONTINOUS.<\/stage_direction>\n    <scene_description>Mike drops his briefcase and takes off his coat .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Hi Honey. JACKIE.<\/dialogue>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>How was work?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Good. I got stuck at the office with a client.<\/dialogue>\n    <scene_description>Jackie walks in from the other room , gives Mike a kiss .<\/scene_description>\n    <character>JACKIE<\/character>\n    <dialogue>I know, Shelly called. Oh, I dropped off the fan at Leo's today.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Thanks for doing that.<\/dialogue>\n    <scene_description>Mike heads upstairs .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'll be right back down.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Do you have time to eat.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I'll eat there.<\/dialogue>\n    <character>JACKIE<\/character>\n    <dialogue>Make sure you do.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE AND JACKIE'S HOUSE, BEDROOM - LATER.<\/stage_direction>\n    <scene_description>Mike takes off his suit and throws it on the bed . He puts on a casual button down blue shirt . He takes a hard look himself in the mirror , almost as if he 's steeling himself for something . Mike smiles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAR - NIGHT.<\/stage_direction>\n    <scene_description>Terry walks in and crosses to the bar . He sits down .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>Can I get a banana daiquiri, please?<\/dialogue>\n    <scene_description>The Bartender turns . It 's Mike .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>Mike opens a beer and sets it down in front of Terry .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You want an umbrella with that?<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Nah. I'm good. But keep these coming.<\/dialogue>\n    <scene_description>Mike checks a ticket and prepares two drinks .<\/scene_description>\n    <character>TERRY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So how you doing, pal?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Me? I'm pretty good.<\/dialogue>\n    <scene_description>We hold on Mike as he continues to work . BLACK OUT .<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Small-town New Providence, New Jersey, attorney Mike Flaherty moonlights as a wrestling coach and struggles to keep his practice solvent, while shielding his wife Jackie and their two young girls, Abby and Stella, from the extent of the problem. When his court-appointed client, Leo Poplar, who is suffering from early dementia, turns out to have no locatable relatives, he persuades a judge to appoint him as guardian, for which he will receive a stipend of $1,508 per month. Mike, however, has no intention of taking care of Leo and moves him to a senior care facility while he continues to get paid for guardianship. When Leo's troubled teenage grandson, Kyle, shows up from Columbus, Ohio, looking to live with him, Mike and Jackie let him stay with them instead. Kyle tries to break into Leo's old house, and when Mike and Jackie question him about it, he reveals his troubled family life: His mom is in rehab, she lives with her boyfriend, and he doesn't want to go back. Upon hearing this, Jackie refuses to allow Kyle to return home and lets him stay in their household. After Kyle sits in on practice, they discover that he is a talented wrestler and enroll him at Mike's high school, where he can resume his education and wrestle on Mike's losing team, helping to make them viable contenders in their league. This \"everyone benefits\" setup is disrupted when Kyle's mother Cindy shows up, fresh out of rehab. Cindy attempts to gain custody of her father and her son, and with them her father's substantial estate. However, Mike explains to Cindy and her lawyer that Leo had disinherited her from his will, causing her to become furious. Later, Cindy calls Kyle to her hotel room to show him court documents proving that Mike is supposed to keep Leo at home and not at the elderly home. Kyle reacts violently towards his mother before running away. Upon learning the truth about Mike, the boy rejects him as a money-seeking opportunist no better than his mother. Realizing the mistake of his earlier actions, and seeking instead to do what's best for both Leo and Kyle, Mike offers Cindy the monthly stipend in exchange for leaving them in his care. He and Jackie take Kyle into their home permanently and return Leo to his, with Mike instead taking a job as a bartender to address his financial problems."}
{"movie_name":"The Lunchbox_2013","imdb_id":"tt2350496","script":"<script>\n  <scene>\n    <scene_description>The Lunchbox by Ritesh Joginder Batra OVER BLACK - The sounds of early morning - a rooster crows, a milk man rings his bicycle bell, and a train chugs on tracks, another train joins in the morning symphony... FADE IN: Two Mumbai Local trains pass each other in the morning haze. SHOTS: - Pigeons, hundreds of them, on a rooftop, all the same colors and stripes - People, in hordes, descend upon a railway platform, the morning commute in office pastels and whites, indinguishable, just like the pigeons - A LUNCHBOX DELIVERYMAN aka a DABBAWALLAH, in stark white lugs a wood tray filled with lunchboxes over his head - Lunchbox Delivery Men, hauling lunchboxes, hop on to a train as it departs - At another station, the train slows down, people get off The montage continues as LUNCHBOXES get in and PEOPLE get out, at times it is the other way around. The conveyor belt of the city transports Lunchboxes and People...In and out, up and down. Its like the people are the Luncboxes. Finally - a LUNCHBOX DELIVERYMAN, focused, navigates a bicycle laden with luncboxes through the busy Mumbai traffic. This is Ila's Dabbawallah.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S ROOM - DAY<\/stage_direction>\n    <scene_description>A neck tie sits over a little girl's eyes like a blindfold, this is YASHVI, 6, as her mother tries to pull the neck tie down over her head. Finally she succeeds, and tucks it under the collar of Yashvi's school uniform and fastens it. The mother- ILA, 30s, pretty, frantically readies Yashvi for school. Next, she puts Yashvi's socks over her little feet.<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>Look both ways before you cross the street.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>People drive like crazy these days...And be very careful on the way back too...ok?<\/dialogue>\n    <scene_description>Yashvi nods along. A pressure cooker WHISTLES. Ila looks to the kitchen. This is a modest but comfortable apartment, the little girl's room has a lot of toys in it- old and new, and her own art work on the walls.<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>Don't walk under a tree...branches fall in the monsoons.<\/dialogue>\n    <character>YASHVI<\/character>\n    <dialogue>But its not raining now...<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>It can start raining again, can't it?<\/dialogue>\n    <scene_description>A horn BLARES. Ila looks out the window - Three storeys down - an autorickshaw converted into a school bus blares its horn again, CHILDREN are packed like sardines in it. The whistle of the pressure cooker goes off again. Ila looks between the kitchen and the school bus, torn. Meanwhile Yashvi finishes tying her shoe laces and runs out the room. Ila watches from the window - Yashvi runs across the street to the rickshaw, looking both ways. The pressure cooker whistle shrieks, calling out to Ila. Ila rushes to the kitchen.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - CONTINUOUS<\/stage_direction>\n    <scene_description>Ila is over the cooking range by the window. The cooking range is brand new, it stands out in this kitchen. She pops open the pressure cooker and tastes the daal. She cringes, disappointed. Ila A voice from above -<\/scene_description>\n    <character>MRS. DESHPANDE (O.S.)<\/character>\n    <dialogue>Did you remember all the masalas?<\/dialogue>\n    <scene_description>Mrs. Deshpande, the voice of experience. Ila shouts out the window -<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>No auntie, I forgot...<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>MRS. DESHPANDE (O.S.)<\/character>\n    <dialogue>I knew it from the first whistle itself...<\/dialogue>\n    <scene_description>Ila grabs her spice box from the shelf, opens it, she scans the little compartments for the missing spice.<\/scene_description>\n    <character>MRS. DESHPANDE<\/character>\n    <dialogue>Here you go...<\/dialogue>\n    <scene_description>At the window, a basket has been lowered down by rope from the floor above.<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>Thank you Auntie...<\/dialogue>\n    <scene_description>Ila grabs the bottle of the spice from it, and the basket is pulled up again. She sprinkles it over her daal.<\/scene_description>\n    <character>MRS. DESHPANDE (O.S.)<\/character>\n    <dialogue>Just a little bit does it...remember, the way to a man's heart is through his stomach.<\/dialogue>\n    <scene_description>Ila laughs, not really believing it.<\/scene_description>\n    <character>MRS. DESHPANDE (O.S.)<\/character>\n    <dialogue>I am serious, don't believe me now, but one day you will see...<\/dialogue>\n    <scene_description>Ila mixes in the new addition, whiffs of steam rise up.<\/scene_description>\n    <character>MRS. DESHPANDE (O.S.)<\/character>\n    <dialogue>...Mmmm...there...its perfect...One bite of this and he will build you a Taj Mahal.<\/dialogue>\n    <scene_description>Close on Ila, she laughs<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>Taj Mahal is a tomb auntie...<\/dialogue>\n    <character>MRS. DESHPANDE<\/character>\n    <parenthetical>(embarrassed-)<\/parenthetical>\n    <dialogue>...Yes, I knew that...<\/dialogue>\n    <scene_description>Ila glances out the window, the DABBAWALLAH- parks his bicycle laden with lunchboxes in the compound. Ila grabs the three tiered metal lunchbox from the counter. The doorbell rings. CONTINUED: (2) She pours daal in one tier, dry mixed vegetables in the other, and two rotis in the last one. And secures it shut.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOORWAY - MOMENTS LATER<\/stage_direction>\n    <scene_description>Ila opens the door to - the DABBAWALLAH, 40s, slim and beaten down by the Sun and hard work, he wears stark white, and a white Nehru cap sits on his head. He has been waiting.<\/scene_description>\n    <character>DABBAWALLAH<\/character>\n    <dialogue>Madam...<\/dialogue>\n    <scene_description>Ila hands him the lunchbox. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>A bead of sweat trickles down the Dabbawallah's forehead as he cycles with a load of lunchboxes, weaving through traffic, slowing down for pedestrians that cross in front of him, avoiding a pothole every now and then... CLOSE ON. Ila's lunchbox, it peeks out of the jute bag dangling from the handle bar along with several other lunchboxes. INSERT TITLE - 'THE LUNCHBOX' LUNCHBOX POV. - The city is a labyrinth of noises, traffic, big streets, and small alleyways... The Dabbawallah cycles on with an air of urgency.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KANDIVILI STATION -MOMENTS LATER<\/stage_direction>\n    <scene_description>A hub of DABBAWALLAHS on a busy platform. All in the same white uniform, white Nehru caps over their heads, some even wear the same mustache. Our Dabbawallah passes the dabbas one-by-one to the others. The Dabbawallahs check the code of colors and symbols on each lunchbox with the air of experts. They sort and load the lunchboxes on to large wood trays, thirty five to a tray. This is an exercise in precision. A Mumbai Local chugs in, and the flurry of sorting activity on the platform culminates right on time. CONTINUED: As people jump on and off of the local train, the Dabbawallahs launch themselves into the packed local, carrying the wood trays loaded with lunchboxes over their heads.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN - CONTINUOUS<\/stage_direction>\n    <scene_description>We are in the train with a Dabbawallah, a different one, but wearing the same clothes, cap and mustache as every other dabbawallah. The train heads South towards the business district. Along the way, when it stops at a station, wood trays are passed out and new trays loaded with lunchboxes are passed in. All within the few seconds that the train stops.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCHGATE STATION - LATER<\/stage_direction>\n    <scene_description>The train chugs into the last station on the western line. Here, the dabbas are unloaded and the reverse process of sorting them from the wood trays to the jute bags that hang from bicycles begins.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - MOMENTS LATER<\/stage_direction>\n    <scene_description>A dabbawallah pushes a handcart down the streets of South Bombay with jute bags full of dabbas.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE - RECEPTION AREA - MOMENTS LATER<\/stage_direction>\n    <scene_description>A Dabbawallah deposits a bunch of dabbas in the reception area of WESTERN RAILWAY INSURANCE CLAIMS OFFICE, a large enterprise of 9 to 5 drudgery. Close on - the lunchboxes sit at the reception, PEOPLE pass in front of them - delivery men, nervous sales people, and even more nervous job applicants. A PEON comes in and grabs all the waiting dabbas by their handles, several in each hand. He walks into -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DESK FARM - CONTINUOUS<\/stage_direction>\n    <scene_description>Endless rows of desks. The Peon walks down one row, depositing dabbas on desks in his wake. The Peon puts the lunchbox on to a desk with a thump. SAAJAN FERNANDES, 56, salt and pepper hair, and the moustache and bearing of a jaded bureaucrat. He looks up from his work, regards the lunchbox and then goes back to his file totaling numbers, and making small check marks on the papers. CONTINUED: It all looks mind numbing, but Saajan does it with the speed of someone who has been checking numbers all his life. The lunchbox sits on his desk, waiting.<\/scene_description>\n    <character>MR. SHROFF<\/character>\n    <dialogue>Mr. Fernandes...<\/dialogue>\n    <scene_description>The boss - MR. SHROFF, 40s looks into the cubicle. He wears a suit over a crisp shirt. He is flanked by SHAIKH, 30, a man with an easy smile and the eagerness of a new recruit.<\/scene_description>\n    <character>MR. SHROFF<\/character>\n    <dialogue>Mr. Fernandes, this is Mr. Shaikh, Shaikh...Saajan Fernandes.<\/dialogue>\n    <scene_description>Shaikh leans in eagerly and offers his hand, Saajan has no choice but to give him a weak handshake.<\/scene_description>\n    <character>MR. SHROFF<\/character>\n    <dialogue>Mr. Shaikh used to work in Saudi Arabia as a chief accountant in a small firm. He will take over your responsibilities when you leave us next month...He comes with good references...<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>Very pleased to meet you sir... Shaikh beams. Saajan gives Shaikh a quick nod.<\/dialogue>\n    <character>MR. SHROFF<\/character>\n    <dialogue>I had him join us early, I need that you train him in...all that you do in Claims...<\/dialogue>\n    <scene_description>A beat of silence as Saajan merely nods but doesn't say anything. Mr. Shroff breaks the silence -<\/scene_description>\n    <character>MR. SHROFF<\/character>\n    <dialogue>OK then, I will leave you both to it. Thank you gentlemen...<\/dialogue>\n    <scene_description>Shroff leaves but not before patting Shaikh on the back, as if to wish him luck.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>Mister Shroff speaks very highly of you sir.<\/dialogue>\n    <scene_description>Shaikh beams, Saajan merely nods and starts to tinker with his calculator again. CONTINUED: (2)<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>He says you have been here for thirty five years?<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>Yes...<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>That's a long time, you will surely be missed here...I am sure...<\/dialogue>\n    <scene_description>Saajan looks at him for a small beat - he won't be missed. He nods nevertheless as he punches numbers in the calculator.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>How do you feel sir?<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>I mean...your golden years are about to start...How does it feel?<\/dialogue>\n    <scene_description>Saajan looks at Shaikh, not too pleased at him.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>Fantastic<\/dialogue>\n    <scene_description>Shaikh smiles<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>When can we begin the training sir?<\/dialogue>\n    <scene_description>Saajan indicates at the lunchbox.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>It's lunchtime. And then I have a lot of work...Why don't you come back at say...four forty five?<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>Four forty five sir, good. Thank you sir...Nice to meet you.<\/dialogue>\n    <scene_description>Shaikh leaves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CANTEEN - MOMENTS LATER<\/stage_direction>\n    <scene_description>GROUPS of employees chat as they gorge on their lunch. The buzz of the lunch crowd, much like a fish market fills the room. CONTINUED: Saajan enters with the lunchbox and a bottle of water, he walks past several tables and finds a spot in the corner, away from everyone else. He extracts the 3-tiered lunchbox from the container, and opens the boxes up one by one. Steam rises from the daal, still hot. Saajan takes it in, surprised. He leans in and inhales, his eye glasses steam up. He wipes them clean. Next, as he examines the texture of the fluffy rotis, his surprise only heightens. He takes a bite of his food, it is ecstasy. He glances at the other tables, people are busy chatting and eating from their own 3-tiered metal lunchboxes. Saajan takes quick bites. The bottle of water sits on the table, untouched as Saajan gorges on the food. We stay with him for several beats as he eats.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RECEPTION AREA - LATER<\/stage_direction>\n    <scene_description>Empty lunchboxes lie to the side. A dabbawallah picks them up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>The dabbawallah pushes his handcart down the streets of South Bombay, laden with the lunchboxes he just picked up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCHGATE STATION - DAY<\/stage_direction>\n    <scene_description>Dabbawallahs sort through thousands of lunchboxes and load them on to large wood trays.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCHGATE STATION - DAY<\/stage_direction>\n    <scene_description>A dabbawallah carries a wood tray filled with lunchboxes down the platform.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUGGAGE COMPARTMENT - DAY<\/stage_direction>\n    <scene_description>Trays filled with empty lunchboxes sit by the door, as the train chugs north. Nearby, the dabbawallahs sit in a circle, singing animatedly, unlike their race against time in the morning.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S HOUSE, BATHROOM - LATER<\/stage_direction>\n    <scene_description>Ila sorts through the laundry bucket. Turning the clothes inside out, she separates the whites from the colors, creating two mountains of clothes. A cooking show plays on the radio- a recipe for paneer. The doorbell rings. Ila runs to the door, today will be the day...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S DOORSTEP - CONTINUOUS<\/stage_direction>\n    <scene_description>Ila answers the door to - the Dabbawallah<\/scene_description>\n    <character>DABBAWALLAH<\/character>\n    <dialogue>Madam...<\/dialogue>\n    <scene_description>He hands her the lunchbox back, and takes off just as fast. Ila's hand goes up and down, she is surprised at how light the lunchbox is. She shakes it, curious, she opens it up at her doorstep itself - every compartment is empty.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S KITCHEN - CONTINUOUS<\/stage_direction>\n    <scene_description>Ila goes to the window.<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>Auntie...auntie...<\/dialogue>\n    <scene_description>Mrs. Deshpande's voice comes in from above.<\/scene_description>\n    <character>MRS. DESHPANDE<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>He ate it! Not only did he eat it, he finished it, he licked it clean!!<\/dialogue>\n    <scene_description>A beat, Mrs. Deshpande is just as surprised as her. And then-<\/scene_description>\n    <character>MRS. DESHPANDE (O.S.)<\/character>\n    <parenthetical>(laughs-)<\/parenthetical>\n    <dialogue>Didn't I used to tell you? This is just the beginning...you will see...<\/dialogue>\n    <scene_description>Ila smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE - DAY<\/stage_direction>\n    <scene_description>Saajan is holed up behind his desk. He glances at the office clock- It is 4:45. He peers down the hall. Saajan's POV. - Shaikh has been intercepted, he chats with someone, a mile a minute. Saajan reaches for his bag, this is his chance. He sneaks out the cubicle, and walks in the opposite direction. He glances over his shoulder - Shaikh is still busy talking. Saajan turns the corner and circles around, he makes his way to the reception, taking quick strides. He looks over his shoulder as he exits, making sure... CONTINUED: Saajan exits the office, without as much as a nod or a goodbye to anyone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - LATER<\/stage_direction>\n    <scene_description>Saajan has made his escape, he walks past Flora Fountain, and the High Court building... Walking alongside the rest of the evening commute all in the same direction - like items going down an assembly line. He walks past a STREET ARTIST perched on the footpath, painting deftly. The Artist has several paintings on sale, all identical of the scene in front, the traffic, hordes of people. Saajan strides past him like the rest of the evening commute.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN - MOMENTS LATER<\/stage_direction>\n    <scene_description>Saajan stands in the crowded compartment as the train makes its way North. At every station, people jostle to get in and out in mere seconds, the people are the lunchboxes. Nearby, TWO BEGGAR CHILDREN, one plays the harmonium, the other sings. A Yuppie in wire frame glasses, in office clothes chats, animated, in the background. Saajan struggles to stay awake as the train chugs northward.<\/scene_description>\n    <character>BEGGAR<\/character>\n    <dialogue>Pardesi pardesi...jaana nahin...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANDRA STATION - LATER<\/stage_direction>\n    <scene_description>Saajan alights the train at a crowded station, jostling and pushing a sea of commuters to get out. He walks down the platform.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. BUS STOP - MOMENTS LATER<\/stage_direction>\n    <scene_description>Saajan boards the bus from the bus stop outside the station, the number 211 bus. Saajan stands in the crowded bus, holding on to the handlebar. The beggar's song, perhaps in his head, continues over all this.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S HOUSE - LATER<\/stage_direction>\n    <scene_description>A song plays at Mrs. Deshpande's house above.<\/scene_description>\n    <character>SONG<\/character>\n    <dialogue>Pardesi pardesi...jaana nahin...<\/dialogue>\n    <scene_description>CONTINUED: Ila mumbles, singing along as she puts finishing touches to her make up. The doorbell rings. Ila, now with a touch of make-up, subtle yet noticeable, she looks beautiful. On her way to the door, she screams out the window-<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>Auntie, turn off the music Rajeev is here...<\/dialogue>\n    <character>MRS. DESHPANDE (O.S.)<\/character>\n    <dialogue>OK...<\/dialogue>\n    <scene_description>The music goes off. She opens the door with a smile.<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>How was your day?<\/dialogue>\n    <scene_description>Standing in front of her is RAJEEV, 30s, he wears metal framed glasses and a crisp shirt and pants, the attire of a yuppie executive, trying too hard. He is her husband. Rajeev walks in, past Ila, without noticing her make up, the earrings dangling from her ears.<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>Did you like the lunch today?<\/dialogue>\n    <scene_description>Ila follows him, as they walk into -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Rajeev dumps his briefcase on to the bed and takes off his shoes.<\/scene_description>\n    <character>RAJEEV<\/character>\n    <dialogue>It was very good.<\/dialogue>\n    <scene_description>Ila is surprised at the low key response. She takes his shoes and puts them in the drawer for shoes...<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>Just good?<\/dialogue>\n    <character>RAJEEV<\/character>\n    <dialogue>Good like everyday...<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>So what was it?<\/dialogue>\n    <scene_description>Rajeev laughs, amused at her question, at the test, he thinks for a beat, CONTINUED:<\/scene_description>\n    <character>RAJEEV<\/character>\n    <dialogue>Cauliflower...<\/dialogue>\n    <scene_description>Rajeev's phone rings.<\/scene_description>\n    <character>RAJEEV<\/character>\n    <parenthetical>(into the phone-)<\/parenthetical>\n    <dialogue>Yes...yes...I just got home...Ok...hmmm...<\/dialogue>\n    <scene_description>As Rajeev talks on the phone, Ila leaves the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S KITCHEN - CONTINUOUS<\/stage_direction>\n    <scene_description>Ila stands by the window sill. We can still hear Rajeev talking on the phone in the other room.<\/scene_description>\n    <character>RAJEEV (O.S.)<\/character>\n    <dialogue>...Yes...yes...I agree, hmmm...yes...<\/dialogue>\n    <scene_description>Ila calls out to Mrs. Deshpande.<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>Auntie...auntie...<\/dialogue>\n    <scene_description>No response. Ila waits by the window sill as Rajeev's phone conversation comes in. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>Saajan walks, he is on the streets of Bandra, he walks past an old Church. He goes past the wall that demarcates the church compound.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RESTAURANT - CONTINUOUS<\/stage_direction>\n    <scene_description>This is no fancy restaurant, a cheap establishment. The OWNER sits at a counter, he sees Saajan approaching and stiffens, as if working up his defenses. A pyramid of identical metal lunchboxes is stacked up behind him, all with the same green covering as Ila's Lunchbox.<\/scene_description>\n    <character>OWNER<\/character>\n    <dialogue>What now Sir?<\/dialogue>\n    <scene_description>The Owner looks at Saajan warily bracing himself for what is to come, the two men have sparred many times before. CONTINUED:<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>I am retiring at the end of this month. This will be the last month of my dabba service...<\/dialogue>\n    <character>OWNER<\/character>\n    <dialogue>Ok, I will note it.<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>I will settle at the end of the month.<\/dialogue>\n    <character>OWNER<\/character>\n    <dialogue>OK'ing problem.<\/dialogue>\n    <scene_description>Saajan hovers at the counter. The Owner eyes him warily.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>...The dabba was very good today.<\/dialogue>\n    <character>OWNER<\/character>\n    <dialogue>What!?<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>The dabba was good. Maintain the same standard...<\/dialogue>\n    <scene_description>Saajan walks out with a quick, curt nod. The Owner looks on in shock, reeling from the compliment. He turns to one of his WAITERS.<\/scene_description>\n    <character>OWNER<\/character>\n    <parenthetical>(scoffs-)<\/parenthetical>\n    <dialogue>Who would have known...lets make cauliflower again tomorrow?...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAAJAN'S HOUSE: RANWAR VILLAGE - MOMENTS LATER<\/stage_direction>\n    <scene_description>This is an old nook in the middle of the city, houses rather than buildings. A surviving pocket of old charm, holding out against the sky scrapers. A group of CHILDREN with cricket gear wait around in front of the house. Saajan walks in and unlocks the door. One of the children, the batsman - Anne D'SOUZA, 10 musters the courage, the other children congregate behind her, backing her up.<\/scene_description>\n    <character>ANNE<\/character>\n    <dialogue>Good evening Mr. Fernandes...<\/dialogue>\n    <scene_description>CONTINUED: Saajan fumbles for his keys, not bothering to reply.<\/scene_description>\n    <character>ANNE<\/character>\n    <dialogue>Can we...have our ball? Our ball went into your balcony...<\/dialogue>\n    <scene_description>Saajan opens the gate.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>Do I look like your servant?<\/dialogue>\n    <character>ANNE<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Little Anne blinks, the children look up to Saajan in fear.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>If you play in front of my door again, I'll chase you down the street...<\/dialogue>\n    <scene_description>With that Saajan enters the old house and BANGS the gate shut. Little Anne and his friends are still reeling from the outburst, no one makes a move.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Ila, Rajeev and Yashvi sit at the dinner table watching TV an inane singing show plays. Yashvi plays with her food. Ila eyes Rajeev, he is into the show. We stay with them for many beats as they eat together, and yet they all eat alone... PRE-LAP - the sound of a running tap. ILA'S KITCHEN - LATER Ila does dishes at the sink. The sound of the game show on TV comes in from the living room.<\/scene_description>\n    <character>MRS. DESHPANDE (O.S.)<\/character>\n    <dialogue>Ila...Ila...oh Ila...<\/dialogue>\n    <scene_description>Ila turns the tap on so her conversation does not carry to the next room, goes to the window.<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>Yes auntie...<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>MRS. DESHPANDE (O.S.)<\/character>\n    <dialogue>You called me before? I was changing Mr. Deshpande's diaper...How did it go? What did he say!?<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>Nothing auntie...<\/dialogue>\n    <character>MRS. DESHPANDE (O.S.)<\/character>\n    <dialogue>Nothing?<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>My dabba went to someone else, someone else liked it, and finished it...<\/dialogue>\n    <character>MRS. DESHPANDE (O.S.)<\/character>\n    <dialogue>But they never deliver it wrong, its impossible...<\/dialogue>\n    <character>YASHVI<\/character>\n    <dialogue>Ma, is there something sweet?<\/dialogue>\n    <scene_description>Yashvi peeks into the kitchen, how long has she been standing there? She looks at the running tap and then at Ila.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAAJAN'S BALCONY - NIGHT<\/stage_direction>\n    <scene_description>Saajan stands on his balcony and smokes. Ranwar village around him, the skyscrapers creeping in beyond. A white tennis ball that came into the balcony lies on the floor. Laughter comes in from somewhere. Saajan looks across the courtyard into the house next door, the dinner table has been set at the D'Souza household. More laughter. Saajan watches through the D'Souza's window, he looks at the food they are eating, the dishes that lie on the table and they pile on to their plates... And then, Little Anne D'Souza, the same girl that Saajan had scolded earlier, appears at the window. Their eyes meet. Saajan. Little Anne bangs the window shut on Saajan looks away and takes a deep drag of his cigarette. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAAJAN'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Saajan reads a yellowed paperback and eats from take out polyethylene bags, it all looks very unappetising, the opposite of his lunch in the day. CUT TO: THREE MUMBAI LOCALS CRISSCROSS, THE CONVEYOR BELT OF THE CITY AT WORK AGAIN...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN - DAY<\/stage_direction>\n    <scene_description>Saajan stands with the rest of the commute, rocking to the motions of the train. The chugging of the train is flogging the spark of the life out of these people, and its only morning. Oblivious to its effects, Rajeev chats with someone far in the background.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE - DAY<\/stage_direction>\n    <scene_description>Saajan works in his cube, doing the same thing as the day before. Shaikh approaches.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>Good morning sir...<\/dialogue>\n    <scene_description>Saajan looks up from his work.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>Good Morning.<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>How are you sir?<\/dialogue>\n    <scene_description>Saajan merely nods, as his fingers work the calculator.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>I came by yesterday, at four forty five...you were not here. I was here.<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>You were late.<\/dialogue>\n    <character>SHAIKH<\/character>\n    <parenthetical>(confused-)<\/parenthetical>\n    <dialogue>No sir...four forty five I came...<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>You were late.<\/dialogue>\n    <scene_description>CONTINUED: Saajan is buried in his work. Shaikh hovers at Saajan's desk for a beat, he has no choice - He looks at the file the Saajan is working on.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>Are these claims files sir?<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>This is the Claims department.<\/dialogue>\n    <scene_description>Shaikh laughs, as though Saajan has cracked a joke.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>Can we start the training today Sir?<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>I am busy, lets talk after lunch.<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>Why don't I just come by after lunch?<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>OK...<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>For sure you'll be here right?<\/dialogue>\n    <scene_description>Saajan doesn't respond.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>OK sir...see you after lunch...<\/dialogue>\n    <scene_description>Shaikh departs, Saajan's look of disdain follows him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CANTEEN - LATER<\/stage_direction>\n    <scene_description>The canteen is filled with the lunch crowd. Saajan sits alone, away from everyone else. He opens up the lunchbox, steam rises up from the food, the aroma hits him. And instantly, he is seduced by it. He takes a bite of the food, and very quickly one roti is finished. He goes for another, and comes up with a folded piece of paper instead. He looks around- is someone playing a prank on him? Laughter at another table. Saajan unfolds it curiously - it is a letter-<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>Hello, I hope you are enjoying the food...<\/dialogue>\n    <scene_description>CONTINUED: Saajan glances around, just the busy chattering lunch crowd around him. He continues reading.<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>Thank you for polishing off this dabba yesterday...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S KITCHEN - EARLIER THAT DAY<\/stage_direction>\n    <scene_description>Steam rises from the pot, onions fry in another pan. It is hot in this kitchen.<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>...It was the best thing that happened to me in years...<\/dialogue>\n    <scene_description>Ila stands over the cooking range.<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>For a few hours I thought my husband ate the food I cooked for him, he wiped it clean and would come home and tell me that it was very good.<\/dialogue>\n    <scene_description>VARIOUS SHOTS - Of Ila's hands as she crafts this meal. Its like she has infused herself in this food. We see only her hands as a complete picture of her emerges in Saajan's mind.<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>Of course none of those things happened. But for a few hours they happened over and over, inside my imagination...And in return for that I am cooking for you again...Just this once. Today its paneer, my husband's favorite, I hope you enjoy it. Ila.<\/dialogue>\n    <scene_description>Ila folds the note, once, twice...<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>Auntie...I am not sure we should send this...<\/dialogue>\n    <character>MRS. DESHPANDE<\/character>\n    <dialogue>You owe a thank you...<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>What if it goes to Rajeev?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>MRS. DESHPANDE<\/character>\n    <dialogue>Let it go, yesterday he ate someone else's food and didn't even notice...let him notice today...<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>So should I write something else?<\/dialogue>\n    <character>MRS. DESHPANDE (O.S.)<\/character>\n    <dialogue>Keep it short!<\/dialogue>\n    <scene_description>Ila pauses for a beat and then - She tucks the folded note between the two pieces of bread.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CANTEEN - CONTINUOUS<\/stage_direction>\n    <scene_description>The note that is in Saajan's hands now, he is intrigued. BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S KITCHEN - LATER<\/stage_direction>\n    <scene_description>The dabba is back in Ila's hands. She opens it, and once again every compartment is polished clean. In the last one she finds - a piece of paper. She unfolds it - A reply. Ila looks at the piece of paper, incredulously, she turns it over and examines both sides to make sure...<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>Auntie...auntie..<\/dialogue>\n    <scene_description>Mrs. Deshpande's voice comes in from above -<\/scene_description>\n    <character>MRS. DESHPANDE (O.S.)<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>I got a reply<\/dialogue>\n    <character>MRS. DESHPANDE (O.S.)<\/character>\n    <dialogue>A reply!? I told you he would get a jolt...and write back...<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>Its not Rajeev's handwriting.<\/dialogue>\n    <character>MRS. DESHPANDE (O.S.)<\/character>\n    <dialogue>What does it say?<\/dialogue>\n    <scene_description>Ila reads from the note - CONTINUED:<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>'Dear Ila, the food was very salty today.'<\/dialogue>\n    <character>MRS. DESHPANDE<\/character>\n    <dialogue>What else does it say?<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>Nothing, just- 'Dear Ila, the food was very salty today.'<\/dialogue>\n    <character>MRS. DESHPANDE (O.S.)<\/character>\n    <dialogue>No thank you...no namaste...no nothing?<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>Just - 'Dear Ila, the food was very salty today.'<\/dialogue>\n    <character>MRS. DESHPANDE (O.S.)<\/character>\n    <dialogue>Wait a minute...<\/dialogue>\n    <scene_description>Mrs. Deshpande trails off.<\/scene_description>\n    <character>MRS. DESHPANDE (O.S.)<\/character>\n    <dialogue>He doesn't like salt does he!? Lets give him something else tomorrow...<\/dialogue>\n    <scene_description>Mrs. Deshpande's basket is lowered by rope. On it - hot chilies.<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>Auntie...no...I will tell the dabbawallah that its going to the wrong address and...<\/dialogue>\n    <character>MRS. DESHPANDE (O.S.)<\/character>\n    <dialogue>What do you mean? What does he think? The gall! Not even a thank you!<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>Auntie, I don't like all this...<\/dialogue>\n    <character>MRS. DESHPANDE<\/character>\n    <dialogue>Its not like you know him...<\/dialogue>\n    <scene_description>Ila hesitates for a beat as she considers the chilies on the basket. Mrs. Deshpande shakes the basket, urging her to take the chilies.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FILING AREA - DAY<\/stage_direction>\n    <scene_description>Saajan searches for some files.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>Good afternoon sir, how are you?<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>Good<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>I went to your desk sir, didn't find you there, so I came here...<\/dialogue>\n    <scene_description>Saajan keeps looking for his files.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>I saw you in the canteen, in the corner table...I wanted to come over and sit with you, but you were reading something so I didn't want to disturb.<\/dialogue>\n    <scene_description>No response. Shaikh presses on-<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>What a wonderful aroma from your tiffin box sir...waah! I could taste the food by just the whiff of it...<\/dialogue>\n    <scene_description>Saajan offers no opening, Shaikh valiantly tries again.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>Very wonderful aroma sir, you are a lucky man, your wife must be a very good cook.<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>My wife is dead.<\/dialogue>\n    <scene_description>Saajan goes into his cubicle leaving Shaikh hanging behind, and tongue tied. Shaikh sighs in defeat, he could kick himself.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. BUS - LATER<\/stage_direction>\n    <scene_description>The evening Sun spreads an orange hue over the sky. overcast. A soft drizzle falls over the city. It is Saajan sits in the c. He walks past the church and then past its adjoining cemetery. CONTINUED: His pace slows, he glances over the cemetery wall, scanning the gravestones, there are flowers on some of them... He keeps on walking, leaving the cemetery behind. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE - DAY<\/stage_direction>\n    <scene_description>Saajan looks to his watch. It is a little past noon. He peeks out of his cubicle, down the aisle. The peon approaches - distributing dabbas along the way. The lunchbox lands on his desk. Curious, Saajan unzips it and takes in the aroma, the aroma of Ila's food. His neighbor eyes him quizzically. He gets back to work. But only for a beat or two, intoxicated by the aroma. Much to the surprise of his Neighbor, Saajan closes his file shut, and turns the calculator off, takes the lunchbox in his hand and takes off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CANTEEN - MOMENTS LATER<\/stage_direction>\n    <scene_description>Saajan opens up the dabba, and spreads out the boxes of food. He takes in the aroma. Before he eats, he first checks between the rotis. He finds nothing. He checks under the last roti, again, nothing. Saajan puts the container down, and takes a bite of the food in front of him and chews on it. He coughs violently, and reaches for the water bottle, and gulps some water down. He goes back to the food, the spices bring tears to his eyes, yet he keeps eating.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S DOORSTEP - LATER<\/stage_direction>\n    <scene_description>The doorbell rings, Ila answers it.<\/scene_description>\n    <character>DABBAWALLAH<\/character>\n    <dialogue>Madam<\/dialogue>\n    <scene_description>The dabbawallah hands her the dabba and takes off. Once again it is light, Ila feels the weight of it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S KITCHEN - MOMENTS LATER<\/stage_direction>\n    <scene_description>Ila stands by the window sill, the empty dabba, polished clean, sits on the counter. She reads Saajan's reply - in neat meticulous hand. CONTINUED:<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>Dear Ila, The salt was fine today, the chili was a bit on the higher side...But I had two bananas after lunch...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BANANA CART - DAY<\/stage_direction>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>...They helped to extinguish the fire in my mouth,...<\/dialogue>\n    <scene_description>Saajan stands by a banana cart munching on a banana, several flies buzz around him, the banana cart is busy with people and flies.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>...And I think it will also be good for the motions.<\/dialogue>\n    <scene_description>Saajan flicks a buzzing fly away as he eats.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S KITCHEN - CONTINUOUS<\/stage_direction>\n    <scene_description>A fly comes in and hovers over Ila's letter. Ila flicks it away and reads on -<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>There are so many people in the city who eat only a banana or two for lunch...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BANANA CART - DAY<\/stage_direction>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>...It is cheap and it fills you up.<\/dialogue>\n    <scene_description>Saajan looks to the other people eating bananas around him Some are LABORERS, others OFFICEGOERS. He munches on the banana. BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S KITCHEN - CONTINUOUS<\/stage_direction>\n    <scene_description>Ila gapes at Saajan's abrupt letter, she turns it over to make sure there is nothing on the other side.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>The street sounds of Saajan's letter slowly fade away... and we come back to Ila's reality. CONTINUED: Its like Saajan's letter was a brief outing outside of this flat, too brief. Rajeev snores, Yashvi lies in the middle of Ila and Rajeev. Ila stares up at the rotating ceiling fan, sleepless. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CANTEEN - DAY<\/stage_direction>\n    <scene_description>Many old ceiling fans creak in the canteen. Below - Saajan sits at this usual table. He opens up the lunchbox. And the compartments one by one. He checks between the rotis again, and this time he uncovers a note. Saajan opens the note up and reads -<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>Hello, My husband came home late last night...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S LIVING ROOM - PREVIOUS NIGHT<\/stage_direction>\n    <scene_description>Ila and Yashvi sit at the dinner table doing homework.<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>...He did not said a single word.<\/dialogue>\n    <scene_description>Rajeev changes out of his office clothes. Ila eyes him from the dinner table.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S ROOM - EARLIER TODAY<\/stage_direction>\n    <scene_description>Rajeev - in a crisp shirt combs his hair in front of a mirror, grooming himself with great care.<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>...This morning after my husband left for work and my daughter for school...,I started cooking with Mrs. Deshpande...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S KITCHEN - EARLIER TODAY<\/stage_direction>\n    <scene_description>Ila cooks, adding garlic to golden brown fried onions, chopping vegetables...Mrs. Deshpande's basket is lowered from above, Ila grabs spices from it. CONTINUED:<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>Mrs. Deshpande lives in the flat above us. Her husband has been in a coma for the past fifteen years...It's not exactly a coma.. One morning she found him staring at the ceiling fan. Since then he does just that...stares at the ceiling fan all day long until he falls asleep at night, and then the next morning he opens his eyes and stares at the same fan again. Nobody can get a word out of him, even the doctors have given up.<\/dialogue>\n    <scene_description>Ila adds a spice to the food, and stirs it in.<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>Mrs. Deshpande never switches the fan off...It is an old model Orient ceiling fan.<\/dialogue>\n    <scene_description>As Ila stirs, swirls form on the gravy, like a rotating fan.<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>Mrs. Deshpande thinks it sustains him, it keeps him alive.<\/dialogue>\n    <scene_description>The gravy boils, bubbles form on its surface and it rises. Ila turns the flame off. And the surface calms...<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>Once, when the electricity went, The fan stopped...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CANTEEN - CONTINUOUS<\/stage_direction>\n    <scene_description>Saajan pauses and looks up, the fan above him has stopped moving. He glances around, all other fans rotate with gusto. Saajan goes back to reading the letter, intrigued.<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>Mr. Deshpande's eye balls disappeared behind his sockets and his heart beat slowed...<\/dialogue>\n    <scene_description>Saajan wipes sweat from her brow.<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>Luckily the lights came back on...<\/dialogue>\n    <scene_description>CONTINUED: A whir comes in, Saajan looks up, the fan above him is working again. He goes back to reading<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>Since then Mrs. Deshpande has installed a generator...Mr. Deshpande stares at the ceiling fan, my husband stares at his phone...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S KITCHEN - EARLIER TODAY<\/stage_direction>\n    <scene_description>VARIOUS SHOTS - Ila prepares the dabba as usual, and inserts a note into it, between the two rotis.<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>...As though life has no meaning...<\/dialogue>\n    <scene_description>Ila mumbles to herself<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>What do we live for?<\/dialogue>\n    <scene_description>BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CANTEEN - CONTINUOUS<\/stage_direction>\n    <scene_description>Saajan reads the note. The weight of Ila's question over the buzz of the canteen. Saajan puts the note down and takes a bite of Ila's food, it is ecstacy. He savors it as he munches on it thoughtfully. BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S KITCHEN - LATER<\/stage_direction>\n    <scene_description>Ila waits by the window sill, she looks as the dabbawallah cycles in and parks his bicycle.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S DOORSTEP - MOMENTS LATER<\/stage_direction>\n    <scene_description>Ila opens the door before the Dabbawallah can ring the bell. He pauses, surprised, and hands her the lunchbox.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S KITCHEN - LATER<\/stage_direction>\n    <scene_description>Ila stands by the window sill, the empty dabba, polished clean, sits on the counter. She reads Saajan's reply - CONTINUED:<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>Dear Ila, Your husband sounds like a very busy man. Life is very busy these days...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STREET - LATER<\/stage_direction>\n    <scene_description>Saajan walks to the station along with the rest of the evening commute down the assembly line that is Mumbai, his voiceover continues<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>There are too many people, and everyone wants what the other has...<\/dialogue>\n    <scene_description>He walks by large hoardings advertising - LOW INTEREST HOME LOANS, SPECIAL OFFERS ON ELECTRONICS...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN - MOMENTS LATER<\/stage_direction>\n    <scene_description>Saajan stands in the packed local.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>Years ago, you could find a place to sit in the train every now and then, but these days...no chance. Its always packed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS - CONTINUOUS<\/stage_direction>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>If Mr. Deshpande wakes up, he will see the difference and probably go back to his Orient ceiling fan...<\/dialogue>\n    <scene_description>An OLD MAN, perhaps Mr. Deshpande, looks away from the camera as though he is dying to get home and get back to his Orient ceiling fan. Camera pans to Saajan, it is a standing room only crowd in this bus, Saajan holds the handlebar and stands along with the commute.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>When my wife died, she got a horizontal burial plot. I tried to buy a burial plot for myself the other day, and what they offered me was a vertical one.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>I have spent my whole life standing in trains, and buses, now I will have to stand even when I am dead.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S KITCHEN - CONTINUOUS<\/stage_direction>\n    <scene_description>Ila reads the letter standing by the window sill.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>Why don't you have another child? Sometimes having a child can help a marriage...<\/dialogue>\n    <scene_description>The letter is not signed. Ila looks out the window, the note in her hand.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - LATER<\/stage_direction>\n    <scene_description>Saajan walks the streets of Bandra, he walks past the church. But instead of walking past the cemetery, this time he enters.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CEMETERY - MOMENTS LATER<\/stage_direction>\n    <scene_description>Saajan walks past rows of graves. We stand back and watch from far - as Saajan goes towards the back of the cemetery. He stops at a grave that sits on an overgrown patch of grass, not visited in a while, and looks at the grave stone. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Rajeev puts his suitcase on to the bed and takes his shoes off.<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>I have left Yashvi at her friend's place today...she wanted to spend the night.<\/dialogue>\n    <character>RAJEEV<\/character>\n    <dialogue>Hmmm...good.<\/dialogue>\n    <scene_description>Ila is in a salwar kameez that is a little tight.<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>You got late in the office today?<\/dialogue>\n    <character>RAJEEV<\/character>\n    <dialogue>Where else?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>How is this?<\/dialogue>\n    <scene_description>She displays her outfit out to him. Rajeev looks her over in a matter of factly way<\/scene_description>\n    <character>RAJEEV<\/character>\n    <dialogue>Its nice...<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>You remember it? I wore it at the honeymoon...have not worn it since Yashvi...still fits, doesn't it?<\/dialogue>\n    <scene_description>Rajeev nods in agreement, it is a little too tight.<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>I thought if you came early today, we could go out somewhere...<\/dialogue>\n    <character>RAJEEV<\/character>\n    <dialogue>I was in the office...they are closing the books for the financial year, there is a lot of work...<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>Three months ago was also the financial year end...no?<\/dialogue>\n    <scene_description>Rajeev sighs, as he looks through his closet.<\/scene_description>\n    <character>RAJEEV<\/character>\n    <dialogue>How can the financial year end twice in the same year? That was the quarter end.<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>I was thinking today...when we came back from the honeymoon we had no idea Yashvi was on the way, for two months we didn't know...<\/dialogue>\n    <scene_description>She laughs to herself as she feels her womb, she is in a different time. A beat.<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>You didn't make much money when Yashvi was born, and then she brought us luck...didn't she?<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>RAJEEV<\/character>\n    <parenthetical>(laughs-)<\/parenthetical>\n    <dialogue>These days things are so expensive, luck is not enough. And why do you keep making me cauliflower for lunch...did you buy it in bulk?<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>Rajeev, what if Yashvi had a sibling?...<\/dialogue>\n    <character>RAJEEV<\/character>\n    <dialogue>You had a sibling, what happened...<\/dialogue>\n    <scene_description>Rajeev catches himself mid-sentence. Ila backs off, wounded. Rajeev tries to make up<\/scene_description>\n    <character>RAJEEV<\/character>\n    <dialogue>Don't make cauliflower everyday...it gives me gas.<\/dialogue>\n    <scene_description>Rajeev walks into the bathroom, The shower comes on. Ila remains, with his dirty clothes. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAAJAN'S BALCONY - NIGHT<\/stage_direction>\n    <scene_description>Saajan stands on his balcony. He looks across, the D'Souza's window is closed shut. He cannot see much through the tinted window panes, just hear music and the muffled laughter of the family. He goes back to smoking his cigarette. The laughter comes in again, Saajan kills the cigarette and goes into the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAAJAN'S LIVING ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Saajan sits alone at his dinner table and eats, as he reads an old yellowed paperback. The house is so silent, Saajan can hear himself munching. He stops and swallows the food down, as he turns the page.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. BUS - MOMENTS LATER<\/stage_direction>\n    <scene_description>Another day, another commute. Saajan stands on the bus to Bandra station, holding on to a bar. Around him - the morning commute - officegoers, students. The bus is hopelessly stuck in the morning traffic. Horns blare everywhere. Saajan looks to his watch, it is - 8:45. He wades through the crowded bus and gets off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>Saajan walks in a hurry, taking long strides past the stalled traffic.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUTORICKSHAW - MOMENTS LATER<\/stage_direction>\n    <scene_description>Saajan's autorickshaw, stalled in the traffic.<\/scene_description>\n    <character>AUTO RICKSHAW DRIVER<\/character>\n    <dialogue>Bus, rickshaw, aeroplane, everything gets stuck in the Mumbai traffic sahib...<\/dialogue>\n    <scene_description>Saajan peeks ahead impatiently.<\/scene_description>\n    <character>AUTO RICKSHAW DRIVER<\/character>\n    <dialogue>This road is blocked from the morning...A woman jumped off with her little girl from that highrise building ahead...<\/dialogue>\n    <scene_description>Saajan freezes, instinctively<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>What was her name? The woman's name...<\/dialogue>\n    <character>AUTO RICKSHAW DRIVER<\/character>\n    <dialogue>What do I know sahib? I am not related to her.<\/dialogue>\n    <scene_description>The driver is more than eager to share gossip. Saajan peeks out of the rickshaw, he sees only traffic<\/scene_description>\n    <character>AUTO RICKSHAW DRIVER<\/character>\n    <dialogue>She must have some family problems...Do you know someone in that building?<\/dialogue>\n    <scene_description>Saajan shakes his head, no. They remain stuck in traffic for a beat or two, Saajan tries to peer ahead, sees only traffic. An ambulance siren draws closer, and an ambulance zips past them going in the opposite direction. Saajan peeks out from the other side of the rickshaw. The ambulance draws away, siren blaring, Saajan looks on. The wait is even more excruciating now.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE CUBICLE - LATER<\/stage_direction>\n    <scene_description>Saajan sits in his cubicle, working. He peers down the aisle between the desks every now and then, checks his watch. Finally, he spots the Peon distributing dabbas. He waits nervously for the Peon to come into his cubicle. THUMPS as lunchboxes land of various tables. This is taking awhile. THUMP. The Peon deposits a dabba on his desk and moves on. Saajan waits for a beat till the peon is out of earshot, he then grabs the dabba, and quickly unfastens it. He unzips the case and breathes in. The aroma of Ila's food hits him and he lets out an AUDIBLE sigh of relief.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CANTEEN - MOMENTS LATER<\/stage_direction>\n    <scene_description>Saajan sits alone at his usual table, his back to the lunch crowd. He reads from a piece of paper.<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>Hello, this morning I switched the radio on after my husband left for work and my daughter left for school.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S ROOM - LAST NIGHT<\/stage_direction>\n    <scene_description>Ila is alone in her room, going through a trunk. She flips through old photographs of a young man- her brother.<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>When my brother died...everyone said he should have had courage...so what if he failed in his exams...he should have had courage...What must have gone through that woman's mind...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Ila takes her bangles, chain and earring off...<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>She must have taken all her jewelry off...bangles, earrings, chain...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRWELL - NIGHT<\/stage_direction>\n    <scene_description>Ila walks up towards the roof hand in hand with Yashvi. CONTINUED:<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>It must have been so hard to go up to the roof with her daughter...<\/dialogue>\n    <character>YASHVI<\/character>\n    <dialogue>Mummy, where are we going?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOP - NIGHT<\/stage_direction>\n    <scene_description>Ila ties the blindfold over Yashvi's eyes. Her hands tremble as she secures the blindfold with a second knot. The moon shines down on them, silence, except for the wind. Ila carries Yashvi to the ledge, the wall that separates the small terrace from the drop down to the street below. She looks over the ledge - five stories down...the empty street.<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>Doesn't it take courage to jump from tall buildings?<\/dialogue>\n    <character>SHAIKH (O.S.)<\/character>\n    <dialogue>Sir...sir...<\/dialogue>\n    <scene_description>BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CANTEEN - CONTINUOUS<\/stage_direction>\n    <scene_description>Saajan looks up, Shaikh stands in front of him.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>I am busy... actually.<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>When do we start the training sir?<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>Its lunchtime, come later<\/dialogue>\n    <scene_description>Saajan goes back to his letter. Shaikh still hovers over him.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>They told me not to expect anything from you.<\/dialogue>\n    <scene_description>Saajan looks to Shaikh. CONTINUED:<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>Everyone did...they told me you are a bitter old man, a selfish person...that you won't teach me nothing.<\/dialogue>\n    <scene_description>A beat as the two men glare at each other. Saajan, a man of a few words in normal circumstances, has no words now.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>My name is Aslam Shaikh, and I am an orphan...I gave myself this name. I have taught myself everything I know.<\/dialogue>\n    <scene_description>Shaikh's eyes well up as he talks, his voice cracks with emotion.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>And I can teach myself this job too, I don't need you to teach me anything...Whether you teach me or not, I will learn it. I am here to tell you that.<\/dialogue>\n    <scene_description>A long beat, as Saajan reels from the outburst. Shaikh walks away.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>Listen...<\/dialogue>\n    <scene_description>Saajan calls out from behind, Shaikh pauses tentatively and turns.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>Go to my cubicle...on the table are the files from the Ahemdabad sector ...calculate the claim amount, prepare the pay orders, and send them to Accounts...<\/dialogue>\n    <scene_description>Shaikh breaks into a smile.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>Yes sir, why not sir, thank you sir...<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>Ok<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>Right away sir...I will finish it and be back.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>No...you don't come back...go and work.<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>Right away sir...<\/dialogue>\n    <scene_description>Shaikh leaves with a sense of purpose. Saajan goes back to the letter. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S KITCHEN - DAY<\/stage_direction>\n    <scene_description>Ila reads Saajan's letter.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>Dear Ila, Please don't think like that...Things are never as bad as they seem. One day I was on the train on my way to work...<\/dialogue>\n    <scene_description>And we see just that-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN - ONE DAY<\/stage_direction>\n    <scene_description>Saajan in the jam-packed morning local. the door, sandwiched by the crowd. He stands close to He is weirded out by a strange sensation below.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>...And then suddenly I felt something. Someone touching me...down...down there you know...<\/dialogue>\n    <scene_description>He scans the people around him - An OLD WOMAN- toothless, smiles at him.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>And then I felt it again...<\/dialogue>\n    <scene_description>The Toothless Old Woman smiles at him again.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>And again and again...Mahim came and went, then Matunga, Dadar...Mahalaxmi, Bombay Central...<\/dialogue>\n    <scene_description>CONTINUED: The train stops and starts, the Old Woman remains smiling at Saajan each time he glances in her direction. He is trapped.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>...Then, I finally mustered up the courage to look down...<\/dialogue>\n    <scene_description>Saajan looks down and much to his surprise he sees - a file. The Man in front of him holds a file wedged between his legs, so his hands are free to hold the handlebars. The file has been hitting up against Saajan's crotch this whole time. We stay with Saajan and his realization for a beat. Despite himself, he smiles at the Old Woman, she smiles back - her toothless smile.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S KITCHEN - CONTINUOUS<\/stage_direction>\n    <scene_description>Ila laughs as she reads the letter, despite herself. She folds the note.<\/scene_description>\n    <character>MRS. DESHPANDE (O.S.)<\/character>\n    <dialogue>Are you laughing?<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>Yes auntie...I remembered a joke...<\/dialogue>\n    <character>MRS. DESHPANDE (O.S.)<\/character>\n    <dialogue>Tell me the joke...will you?<\/dialogue>\n    <scene_description>Ila thinks fast.<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>I forgot.<\/dialogue>\n    <character>MRS. DESHPANDE (O.S.)<\/character>\n    <dialogue>You forgot!? Soak five almonds everything and eat them in the morning...its a tonic for memory!<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>I will, right away auntie...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CIGERETTE STALL - LATER<\/stage_direction>\n    <scene_description>Saajan buys cigarettes, waits for his change.<\/scene_description>\n    <character>SHAIKH (O.S.)<\/character>\n    <dialogue>SIR! SIR!<\/dialogue>\n    <scene_description>Shaikh comes in from nowhere. CONTINUED:<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>To the station sir?<\/dialogue>\n    <scene_description>Saajan nods.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>I get off at Bombay Central...I live in Dongri...And you sir?<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>Bandra<\/dialogue>\n    <scene_description>They stand alongside in silence for a couple of beats.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>Sir, please don't mind...one of the office girls says...she saw you kick a cat out of your way while walking...<\/dialogue>\n    <scene_description>Shaikh hesitates<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>...She said it came under a bus but you kept on walking...?<\/dialogue>\n    <scene_description>Silence from Saajan, Shaikh in deep regret over his question.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>Actually, it was a blind man. He asked me for directions...I pushed him and he came under the bus...<\/dialogue>\n    <scene_description>Shaikh looks at him, incredulous.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>So you better be careful.<\/dialogue>\n    <scene_description>Saajan walks off.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>Give me a cigarette...<\/dialogue>\n    <scene_description>Shaikh quickly buys Saajan's brand and runs to catch up with him. They walk on together.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>You were joking,...right?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN - MOMENTS LATER<\/stage_direction>\n    <scene_description>Saajan and Shaikh have found seats in the crowded local. They sit side by side as the train heads north.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>How long have you lived in Bandra sir?<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>The same place...always.<\/dialogue>\n    <scene_description>Shaikh opens up his brief case on his lap. Inside- along with office files, there are vegetables- onions, potatoes, carrots, coriander, and a knife. Shaikh proceeds to chop onions as he talks.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>I grew up in Dongri, we just got our house, Meherunissa and I...until last year I was in Saudi, then on one of my trips back I met Meherunissa and just stayed.<\/dialogue>\n    <scene_description>Saajan eyes Shaikh expertly chopping onions into the suitcase. Shaikh notices his surprise.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <parenthetical>(laughs-)<\/parenthetical>\n    <dialogue>Meherunissa works very far sir, in Mulund. By the time she's back, its very late, so I chop the vegetables in the train and cook when I reach home. Everything is ready by the time she comes...She doesn't know how to cook anyway sir.<\/dialogue>\n    <scene_description>Shaikh proceeds to chop the potatoes.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>Where did you learn how to chop vegetables like that?<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>I used to work in a restaurant in Saudi sir, do the accounts, cook, clean, everything...all in one.<\/dialogue>\n    <scene_description>Shaikh smiles. He keeps chopping fast. CONTINUED:<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>It used to be long days, accounts in the morning, then in the kitchen all day, and cleaning at night. Now, I have my evening free so I cook and wait for Meherunissa, sometimes we go for a walk. What do you do in the evenings sir?<\/dialogue>\n    <scene_description>Saajan contemplates the question for a beat and then -<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>I watch TV...sometimes...<\/dialogue>\n    <scene_description>Shaikh does a double take, he takes in the emptiness of Saajan's evenings...<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>Why don't you come over to our place for dinner?<\/dialogue>\n    <scene_description>Saajan smiles, uncomfortable, not used to getting an invitation and to responding to one.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>Today I am making pasanda sir...<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>Pasanda what's that...<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>Its a mutton dish sir, we make it with fine chopped pieces...I am a specialist in it...<\/dialogue>\n    <scene_description>Saajan smiles<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>I will come sometime...<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>Sir, please come today sir...<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>Today as in now?<\/dialogue>\n    <character>SHAIKH<\/character>\n    <parenthetical>(insists-)<\/parenthetical>\n    <dialogue>Yes sir, you must...<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>No, not today, I have some important work, I'll come some other time...<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>Next time for sure sir?<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>Yes...yes...<\/dialogue>\n    <scene_description>The train comes to a stop at a station.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>See you tomorrow sir...<\/dialogue>\n    <scene_description>Shaikh closes his suitcase of vegetables shut, and takes off. Saajan looks on. SOMEONE ELSE takes Shaikh's spit instantly. The train moves again, Saajan sits there, reflecting on his encounter.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAAJAN'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Saajan rummages through a stack of side drawers - Old show pieces, rusted metal tins, old newspapers. And then he finds what he is looking for - beneath all the old junk, a bunch of old video cassettes, some cracked. He wipes the dust off of them and reads the labels. Saajan looks over an old VCR, the kind where the tape slot pops up, he inserts a tape and watches it from the couch. The laughter track plays as an old sitcom begins.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CANTEEN - DAY<\/stage_direction>\n    <scene_description>Saajan sits alone at his usual table and unfolds Ila's note, he eats as he reads it.<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>Hello, last night my husband came back from the office late. Then he got a call and had to go back to the office...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S ROOM - LAST NIGHT<\/stage_direction>\n    <scene_description>Ila is alone in her room, going through a trunk. CONTINUED:<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>After Yashvi fell asleep, I was alone so I started going through my old things...Things that I had brought with me when I got married...<\/dialogue>\n    <scene_description>Ila finds an old lined note book<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>I found my mother's old recipe book, it has all my grandmother's recipes in it, written in her own hand...<\/dialogue>\n    <scene_description>Ila leafs through the book.<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>I looked through it to see what I should cook today...I found this recipe...<\/dialogue>\n    <scene_description>BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CANTEEN - CONTINUOUS<\/stage_direction>\n    <scene_description>Saajan reads the letter.<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>My grandmother's special spring apple subzi, they are in season these days. I think you will like it.<\/dialogue>\n    <scene_description>Saajan takes a bite, it is ecstasy.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>Sir...<\/dialogue>\n    <scene_description>Instinctively, Saajan tucks Ila's note away.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>May I join you?<\/dialogue>\n    <scene_description>Saajan nods. Shaikh produces two bananas from inside a plastic bag. Saajan looks at his meager lunch.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>Here, try some.<\/dialogue>\n    <scene_description>He pushes Ila's subzi forward. Shaikh takes a bite. CONTINUED:<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>Its great sir!<\/dialogue>\n    <scene_description>He chews slowly, concentrating.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>Who cooks your food sir?<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>A restaurant near my house...<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>Sir, book a lunchbox for me as well...<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>I can't, its going to shut down soon.<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>Such great food, and its going to shut down!?<\/dialogue>\n    <scene_description>Saajan ponders for a beat.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>...There is no value for talent in this country.<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>Yes sir, you are absolutely right!<\/dialogue>\n    <scene_description>He proceeds to take one more bite, and then another, almost gorging the food down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S KITCHEN - DAY<\/stage_direction>\n    <scene_description>Ila reads Saajan's letter.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>Dear Ila, the spring apple subzi was very good. Even better than my favorite - eggplants... Yesterday, even I found something from many years ago...I found old TV shows that my wife used to record...you must have been a child when they played on TV or not even born yet...<\/dialogue>\n    <scene_description>Ila, offended at being called a child. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAAJAN'S HOUSE - LAST NIGHT<\/stage_direction>\n    <scene_description>Saajan rummages through the old things in a drawer. Beneath everything else he uncovers - dusty video cassettes. He wipes the dust off, and tries to read the yellowed labels on them.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>My wife used to love them...<\/dialogue>\n    <scene_description>The yellowed labels in neat hand read - 'Humlog', 'Yeh Jo Hai Zindagi', 'Nukad'...There are many tapes.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>She would watch them again and again. It used to make me very annoyed... Especially on Sundays...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAAJAN'S LIVING ROOM - LAST NIGHT<\/stage_direction>\n    <scene_description>Saajan stands outside the video shop, smoking.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>I never watched them with her. But yesterday...I don't know why, I wanted to see them.<\/dialogue>\n    <scene_description>Saajan watches an episode of 'Yeh Jo Hai Zindagi', an old TV show.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>I watched for hours...<\/dialogue>\n    <scene_description>He sits on the couch and gazes intently, impassive, the laughter track plays after each joke.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>I went through them show by show, episode by episode...<\/dialogue>\n    <scene_description>Day breaks...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAAJAN'S HOUSE - DAY<\/stage_direction>\n    <scene_description>The morning light floods the room.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>And then finally after staying up all night...I realized what it was that I was looking for...<\/dialogue>\n    <scene_description>A show still plays on the TV, but Saajan is not on his couch anymore. The room is empty, smoke comes in through the iron bars.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAAJAN'S HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Saajan is outside, looking at the TV through the iron bars of the window. Saajan puffs on his cigarette as he watches his TV inside, one of the 80s shows still playing on it.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>Every Sunday when she watched the shows, I was outside, repairing my bicycle, or just smoking...and I'd glance through the window every now and then...just for a second...<\/dialogue>\n    <scene_description>Saajan's POV.-Of the TV playing 'Yeh Jo Hai Zindagi'<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>...I would see her reflection on the TV screen, laughing...laughing at the same jokes over and over...each time as if she was hearing it for the very first time...I wish... I had kept on looking back then...<\/dialogue>\n    <scene_description>Saajan takes a deep drag from his cigarette and keeps on watching the TV from outside for several beats. BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S KITCHEN - DAY<\/stage_direction>\n    <scene_description>Ila finishes reading Saajan's note. She folds it, and looks out the window, contemplating what she just read.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CANTEEN - NEXT DAY<\/stage_direction>\n    <scene_description>Saajan opens up the dabba. Out of nowhere, Shaikh joins him, seating himself across the table.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>Hello sir, I sent all those pay orders to accounts...<\/dialogue>\n    <scene_description>He is now wearing a more sober shirt like Saajan's, this is not lost on Saajan.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>OK<\/dialogue>\n    <scene_description>Shaikh removes fruits from a plastic bag. CONTINUED:<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>Today sir, I have got you bananas and apple.<\/dialogue>\n    <scene_description>Shaikh offers him an apple. Saajan knows what Shaikh wants-<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>Here, have some...<\/dialogue>\n    <scene_description>He pushes Ila's food forward.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>No no sir, you eat.<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>It is too much for me, have some...<\/dialogue>\n    <scene_description>Shaikh doesn't need much convincing. He happily goes for a roti, and uncovers - Ila's note, tucked between the two rotis. Saajan eyes the note, embarrassed.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>What is this?<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>Sir... seems to be a paper..<\/dialogue>\n    <scene_description>Saajan takes it in his hands and examines it as though it was a foreign object he has never seen, then he tucks the note in his pocket and eats as though nothing happened. Shaikh eyes him suspiciously. The WATERBOY passes, just in time<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>Can I have some water please...?<\/dialogue>\n    <scene_description>As the Waterboy pours the water-<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>How the food?<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>I love this...<\/dialogue>\n    <scene_description>Saajan grabs a second roti and starts eating as if nothing happened.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAAJAN'S OFFICE - LATER<\/stage_direction>\n    <scene_description>Saajan reads Ila's note from the safety of his desk, as though he were reading a comic book in class.<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>Hello, my mother loves the old TV shows. She still talks about them sometimes...I wanted to say...you should not smoke. My father has lung cancer...They say you lose five minutes for every cigarette you smoke. When the pain gets very bad, my father says he should have smoked thousands more so he would not have to go through these years. I hope you don't mind me saying this...<\/dialogue>\n    <scene_description>Saajan folds Ila's note, and tucks it under a file in the corner. Music begins and carries over to...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAAJAN'S BALCONY - NIGHT<\/stage_direction>\n    <scene_description>Saajan stands on his balcony holding an imaginary cigarette in his hand, and taking deep drags from it and blows the imaginary smoke in the air. Then he pauses, and puts his hands behind his back. He inhales deeply, taking in the evening air, then he exhales. He does it again, and again, the music mounts as Saajan takes fresh air into his lungs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S KITCHEN - LATER<\/stage_direction>\n    <scene_description>Ila washes the eggplants in the sink.<\/scene_description>\n    <character>MRS. DESHPANDE (O.S.)<\/character>\n    <dialogue>Ila...oh Ila...<\/dialogue>\n    <scene_description>Ila turns the tap off.<\/scene_description>\n    <character>MRS. DESHPANDE (O.S.)<\/character>\n    <dialogue>Did you get my carrots?<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>Yes auntie<\/dialogue>\n    <scene_description>Ila grabs the bag of carrots as Mrs. Deshpande's basket is lowered to her window. She places the carrots in the basket and takes the money that Mrs. Deshpande has placed on it. CONTINUED:<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>Here there are. They were for just ten rupees...<\/dialogue>\n    <scene_description>As the basket is pulled up-<\/scene_description>\n    <character>MRS. DESHPANDE<\/character>\n    <dialogue>What else did you get?<\/dialogue>\n    <scene_description>Ila glances at the eggplants she is washing.<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>Nothing else auntie.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - LATER<\/stage_direction>\n    <scene_description>Ila sorts through the laundry bucket - her's, Yashvi's and Rajeev's clothes. Turning the clothes inside out, sorting the colors from the whites. She picks up one Rajeev's work shirts and turns it inside out. She is about to place it in the pile it belongs, but she hesitates and then she sniffs at it, and then again, just to be sure. She pulls out another one of Rajeev's shirts from the laundry and sniffs at it. A realization dawns. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI - DAY<\/stage_direction>\n    <scene_description>Ila is in a taxi with Yashvi, still in her school uniform. Ila looks out at the city flashing by, she is still visibly upset, this is not lost on Yashvi.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DILAPIDATED BUILDING - MOMENTS LATER<\/stage_direction>\n    <scene_description>The taxi stops outside an old building. CHILDREN play cricket in the street. Ila and Yashvi exit the taxi. We see them go up the stairwell- exposed by the broken plaster, as the taxi pulls away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ILA'S PARENTS FLAT - MOMENTS LATER<\/stage_direction>\n    <scene_description>ILA'S MOTHER, 60s, slim, in a simple sari opens the door. A house that has seen better days, everything is now faded and falling apart. The wall paper covers up the leakage on the walls, but only barely. Ila and her Mother sit alongside on the frayed sofa. At their feet - Yashvi sits and plays with one of Ila's old dolls. CONTINUED:<\/scene_description>\n    <character>ILA'S MOTHER<\/character>\n    <parenthetical>(in hushed tones-)<\/parenthetical>\n    <dialogue>The new medicine is good for the pain but it is ruining his liver...he feels groggy and sleeps most of the day but at least he doesn't moan in pain anymore. The doctor has said that he has to be very regular with this, if he stops...very soon life support will be the only option...I only give him soft foods now...<\/dialogue>\n    <character>ILA<\/character>\n    <parenthetical>(interrupts-)<\/parenthetical>\n    <dialogue>Do you need some money?<\/dialogue>\n    <character>ILA'S MOTHER<\/character>\n    <dialogue>No, we are fine.<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>How much will the medicine cost?<\/dialogue>\n    <character>ILA'S MOTHER<\/character>\n    <dialogue>We are fine beta, don't need any money, I have...some...<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>How will you buy the medicine?<\/dialogue>\n    <character>ILA'S MOTHER<\/character>\n    <dialogue>If my son was still alive, I would have to ask no one for money...<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>I'll...ask Rajeev...<\/dialogue>\n    <character>ILA'S MOTHER<\/character>\n    <dialogue>No beta...don't...we are the girl's side...does it look nice? Asking for money all the time...<\/dialogue>\n    <scene_description>Ila sees her point, she is about to reveal her own predicament, when-<\/scene_description>\n    <character>ILA'S MOTHER<\/character>\n    <dialogue>OK, if you insist, but don't tell your father this...That should cover the cost of the medicine for this month...Next month, something will turn up...<\/dialogue>\n    <scene_description>CONTINUED: (2) She indicates at the room, where Ila's father is. Ila watches her father from down the hall- Inside a bedroom, lies an OLD MAN with a drip over his bed, this is ILA'S FATHER, his breathing labored ...<\/scene_description>\n    <character>ILA'S MOTHER<\/character>\n    <dialogue>Go and see him...I will wake him up.<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>No ma, we should get back home...<\/dialogue>\n    <scene_description>At their feet, Yashvi makes the old doll mimic her grandfather's position on the bed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S KITCHEN\/LIVING ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Ila stands at the window looking at the street below. Yashvi plays a game of pretend blind man's bluff with the old doll, she has tied a blindfold over the doll's eyes. Ila spots the dabbawallah slowing down, and getting off of his bicycle. He makes his way up with Ila's dabba. The doorbell rings, Ila goes to the door. Yashvi's game continues, as Ila retrieves the Dabba from the dabbawallah. Ila comes back with the empty dabba, and sits on the dining table. She opens up Saajan's note. Close on Ila as she reads the note-<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>Dear Ila, you won't believe what happened to me on the way to work yesterday...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - YESTERDAY EVENING<\/stage_direction>\n    <scene_description>Saajan and Shaikh walk towards the station.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>In the evening as I was walking to the station with Shaikh...Shaikh and I, we work together...<\/dialogue>\n    <scene_description>They walk past the Street Artist as he deftly draws up the busy scene in front of him. Saajan pauses to look at his work. CONTINUED:<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>I stopped to look at a painter's works. All his paintings are exactly the same...<\/dialogue>\n    <scene_description>Saajan looks - Several rows of paintings hang - they are exactly the same scene - the busy traffic and the hordes of people in front of them...<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>But when I looked close, real close...<\/dialogue>\n    <scene_description>Saajan peers at the paintings closely, as his eyes scan over the paintings, he begins to see...<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>I saw that they were different. Each slightly different from the other, a different car here, a different man day dreaming on the bus there...a stray dog gallantly crossing the street...whatever caught the painter's fancy on that day...<\/dialogue>\n    <scene_description>Saajan stops scanning the paintings and picks one up.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>In one of them, I even saw myself...At least I think it is me.<\/dialogue>\n    <scene_description>Saajan looks closely at the painting he just picked up - it could be him. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN - LATER<\/stage_direction>\n    <scene_description>MOS\\_- Saajan stands in the crowded compartment with Shaikh, Shaikh talks, a mile a minute, Saajan holds the painting, wrapped in newspaper, close to his chest.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>And then when I reached my station...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUTORICKSHAW - CONTINUOUS<\/stage_direction>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>I treated myself to an autorickshaw.<\/dialogue>\n    <scene_description>CONTINUED: Saajan sits in the rickshaw as it zips in and out of streets, he looks up at tall buildings, rows of shops. The painting still tucked under his arm.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>The old houses of boys I used to play with when I was a child are gone now...my old school too...<\/dialogue>\n    <scene_description>He looks at new mall as they ride past.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>But some things are still the same...the old post office is still there...and the hospital where I was born, and where my parents died...and my wife...<\/dialogue>\n    <scene_description>Saajan's POV. The hospital flashes past... They ride through the streets as Saajan looks on... BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>We are back with Ila as she reads the letter.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>Life is strange...I think we forget things if we have no one to tell them to...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUTORICKSHAW - YESTERDAY<\/stage_direction>\n    <character>AUTO RICKSHAW DRIVER<\/character>\n    <dialogue>Sir, did you say something?<\/dialogue>\n    <scene_description>Saajan sits in the autorickshaw as it navigates the narrow streets to his home.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>AUTO RICKSHAW DRIVER<\/character>\n    <dialogue>Did you just say something?<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>No...<\/dialogue>\n    <scene_description>BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Ila folds the letter. She looks at Yashvi playing blind man's bluff with the doll still.<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>Don't...don't cover her eyes like that...<\/dialogue>\n    <character>YASHVI<\/character>\n    <dialogue>But I am playing blind man's bluff...<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>The dolly must be tired of shutting her eyes so tight...<\/dialogue>\n    <scene_description>Yashvi ponders, this makes sense to her.<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>Should I tell you what we used to play?<\/dialogue>\n    <scene_description>Yashvi smiles<\/scene_description>\n    <character>YASHVI<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Ila removes the blindfold from the doll and contemplates it<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>We used to play house with it... I used to play the papa, and your uncle used to play the mummy, my wife...<\/dialogue>\n    <scene_description>Ila and Yashvi smile at the memory...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CANTEEN - DAY<\/stage_direction>\n    <scene_description>Saajan sits on his regular table in the canteen. He opens up the dabba. In the first compartment he finds - eggplant! He smiles. He opens up the other compartment, and retrieves Ila's note from between the two rotis. He looks around to make sure Shaikh is not approaching, and then unfolds it.<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>Hello, you are right, life is strange. I think my husband is seeing another woman.<\/dialogue>\n    <scene_description>Saajan pauses CONTINUED:<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>At first I thought I should confront him, but then I realized I don't have the courage. I also found out that I don't have the courage to leave him, because I have nowhere to go...That is not completely true because I do have one place to go...<\/dialogue>\n    <scene_description>Saajan leans forward, uncomfortable. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Ila and Yashvi sit in bed, the old doll lies in front of them. They are drawing - a scenery in Yashvi's drawing book - snowcapped mountains, endless meadows, animals, singing birds...<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>My daughter learnt in school the other day, that in Bhutan everyone is happy, they don't measure themselves in money, but with something called Gross National Happiness. Wouldn't it be wonderful if we had that here?<\/dialogue>\n    <scene_description>BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CANTEEN - CONTINUOUS<\/stage_direction>\n    <scene_description>Saajan munches on the eggplant. He is distracted as he eats. The food he usually gorges down is almost untouched today. And then he puts the roti down and stops eating. He just sits there, the lunch crowd buzzes around him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN - DAY<\/stage_direction>\n    <scene_description>Ila's Lunchbox on a wood tray by the door of the luggage compartment, its strap dances to the wind and to the chant of the dabbawallahs, as they sing to their deity... Prelap- doorbell<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S DOORSTEP - LATER<\/stage_direction>\n    <scene_description>Ila answers the door. The dabbawallah hands her the lunchbox.<\/scene_description>\n    <character>DABBAWALLAH<\/character>\n    <dialogue>Madam...<\/dialogue>\n    <scene_description>CONTINUED: Ila takes it in her hands. She feels how heavy it is. The dabbawallah takes off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S LIVING - MOMENTS LATER<\/stage_direction>\n    <scene_description>Ila unfolds Saajan's note and reads it. Ila gapes at it, surprised. She reads the note over again. INSERT NOTE - 'What if I come to Bhutan with you?' CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN - LATER<\/stage_direction>\n    <scene_description>Saajan gazes outside the window absentmindedly as he and Shaikh ride the train home together. Shaikh peers at him.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>You look very distracted today sir...Is everything OK?<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>Shaikh...Have you been to Bhutan?<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>Bhutan? I have only been to Saudi sie...<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>I have been thinking...instead of Nasik, maybe I should go retire in Bhutan...<\/dialogue>\n    <character>SHAIKH<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>I have only been to Saudi. But Bhutan might be good...our one rupee is equal to five there...<\/dialogue>\n    <scene_description>A beat<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>And my mother always says -... sometimes the wrong train can take you to the right station.<\/dialogue>\n    <scene_description>Saajan looks at him for a beat, thoughtful<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>Your mother? You told me you were an orphan.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>I am sir, but when I say -'my mother always says...' people take it more seriously... And it feels good...<\/dialogue>\n    <scene_description>Saajan smiles, he looks out the window again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAAJAN'S BALCONY - NIGHT<\/stage_direction>\n    <scene_description>Saajan sits on an old rocking chair tunes an ancient radio. A lot of intermittent static, he tunes past several stations.<\/scene_description>\n    <character>RADIO<\/character>\n    <dialogue>You are listening to radio Bhutan...<\/dialogue>\n    <scene_description>More static A Bhutanese song comes in. Saajan leans back and listens, moving his foot to the beat of the music.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CANTEEN - DAY<\/stage_direction>\n    <scene_description>The Bhutanese song continues over- Saajan reading Ila's note.<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>Hello, How can you come with me to Bhutan? I don't even know your name.<\/dialogue>\n    <scene_description>Saajan smiles, almost blushes.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>How are you sir?<\/dialogue>\n    <scene_description>Music ends. Saajan tucks the note in the pocket of his shirt as Shaikh seats himself across. Saajan pushes the food forward. Shaikh takes in the aroma.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>You are glowing today sir...You look ten years younger, touch wood.<\/dialogue>\n    <scene_description>Shaikh munches on the food, enjoying each morsel.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>Your mother always says...sometimes the wrong train can get you to the right station?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>My mother is always right sir.<\/dialogue>\n    <scene_description>Wide on - they eat together in the crowded canteen.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>How is the food?<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>I love this.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S LIVING ROOM - LATER<\/stage_direction>\n    <scene_description>Ila unfolds Saajan's note, and reads it. She suppresses a smile.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S KITCHEN - MOMENTS LATER<\/stage_direction>\n    <scene_description>Ila goes over to the kitchen window, clutching Saajan's note in hand. She calls out the kitchen window.<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>Auntie...<\/dialogue>\n    <scene_description>A beat. Mrs. Deshpande's voice comes in from above<\/scene_description>\n    <character>MRS. DESHPANDE (O.S.)<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>Would you have a tape? Of that movie...Saajan...<\/dialogue>\n    <character>MRS. DESHPANDE<\/character>\n    <dialogue>Maybe...Why?<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>Just...I remembered the songs this morning...they were good...no?<\/dialogue>\n    <character>MRS. DESHPANDE<\/character>\n    <dialogue>They are OK...just average...<\/dialogue>\n    <scene_description>Ila hesitates for a beat<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>Can you play that tape for me now?<\/dialogue>\n    <character>MRS. DESHPANDE<\/character>\n    <dialogue>One second...wait...<\/dialogue>\n    <scene_description>CONTINUED: Ila waits. After a few beats, a song comes in... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S KITCHEN - MOMENTS LATER<\/stage_direction>\n    <scene_description>A nasal voice sings -<\/scene_description>\n    <character>TAPE<\/character>\n    <dialogue>My heart is so crazy, it has the audacity to love you...oh my Saajan...Saajan...Saajan...<\/dialogue>\n    <scene_description>Ila makes chai and hums along.<\/scene_description>\n    <character>TAPE<\/character>\n    <dialogue>..Oh my Saajan...Saajan...Saajan...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN - LATER<\/stage_direction>\n    <character>BEGGAR<\/character>\n    <dialogue>...Saajan...Saajan...oh my Saajan!...<\/dialogue>\n    <scene_description>TWO BEGGAR CHILDREN, one plays the harmonium, the other sings. Saajan is by the door in the crowded train.<\/scene_description>\n    <character>BEGGAR<\/character>\n    <dialogue>My heart is so crazy, it has the audacity to love you...but it is scared to say so...<\/dialogue>\n    <scene_description>Saajan leans out of the train, and feels the breeze going through his hair, as the beggar children sing, and Shaikh looks on - amused. BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>The song continues from Mrs. Deshpande's tape. Ila composes a letter sitting on the dining table, her back to us.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CANTEEN - DAY<\/stage_direction>\n    <scene_description>The crowded canteen. Saajan opens up the dabba, he looks around to make sure Shaikh will not pop by, and then he unfolds Ila's note and reads.<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>Hello, Yesterday, Mrs. Deshpande played this tape...of the movie 'Saajan'. A strange coincidence.<\/dialogue>\n    <scene_description>CONTINUED: Saajan smiles.<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>Mrs. Deshpande has every Hindi movie audio tape, she doesn't have a CD player...or an Mp3 player. She is keeping the audio cassette industry alive all by herself.<\/dialogue>\n    <scene_description>The next line is scratched off several times over. Saajan looks closely trying to read. But he cannot. He reads on-<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>You must be trying to figure out what I scratched off...<\/dialogue>\n    <scene_description>Saajan nods<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>Well, I don't know...this is very strange. Us. Like this. I can't tell you things, I mean there is so much I can tell you, because its easy to write. But the thing that I scratched off, I can only tell you in person...<\/dialogue>\n    <scene_description>Saajan gapes at the note.<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>I think we should meet. Do you know Kullad caf\u00e9 in Matunga? I heard they have very good kheema pao...My favorite...<\/dialogue>\n    <scene_description>Saajan laughs<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>Should we meet there? At one tomorrow?<\/dialogue>\n    <scene_description>Saajan checks his watch in anticipation.<\/scene_description>\n    <character>PEON (O.S.)<\/character>\n    <dialogue>Saajan sir...<\/dialogue>\n    <scene_description>The Peon stands over him, Saajan has no idea for how long he has been here. He quickly tucks the note in his pocket.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>PEON<\/character>\n    <dialogue>The boss has called you.<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>I will come after lunch<\/dialogue>\n    <scene_description>The Peon lingers on-<\/scene_description>\n    <character>PEON<\/character>\n    <dialogue>It is urgent.<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>I will be there in a minute...<\/dialogue>\n    <scene_description>Saajan sits there and contemplates whether he should eat before he sees the boss or not. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOSS'S CABIN - MOMENTS LATER<\/stage_direction>\n    <scene_description>Saajan enters. Shaikh is already there, downcast. Saajan looks at him, something is terribly wrong. Mr. Shroff is menacing behind his desk. They are silent for a beat as Mr. Shroff examines a file.<\/scene_description>\n    <character>MR. SHROFF<\/character>\n    <dialogue>Fernandes, have you seen these files of the Ahmedabad sector?<\/dialogue>\n    <scene_description>He tosses the files across the desk. Saajan picks one up.<\/scene_description>\n    <character>MR. SHROFF<\/character>\n    <dialogue>I had a meeting with the accounts department today. The most embarrassing meeting of my life!!<\/dialogue>\n    <scene_description>Saajan flips through the file.<\/scene_description>\n    <character>MR. SHROFF<\/character>\n    <dialogue>They said, its like our Claims department does not exist! How could we not find such an obvious mistake in the accounts!?<\/dialogue>\n    <scene_description>Mr. Shroff's voice trails off in anger.<\/scene_description>\n    <character>MR. SHROFF<\/character>\n    <dialogue>Mr. Shaikh's initials are all over the place. And to think I was going to have this man replace you!?<\/dialogue>\n    <scene_description>CONTINUED: Saajan looks to Shaikh, he could break down crying at any moment.<\/scene_description>\n    <character>MR. SHROFF<\/character>\n    <dialogue>I need you to review this, stay all night if you must, fix it. And as for you Mr. Shaikh, get out of my sight, your incompetence...<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>It is my mistake sir.<\/dialogue>\n    <scene_description>Mr. Shroff is taken aback, and so is Shaikh.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>I reviewed this, I asked Shaikh to initial because we were working together. But it's my mistake.<\/dialogue>\n    <character>MR. SHROFF<\/character>\n    <dialogue>Fernandes, you don't have to defend him.<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>I am not defending him sir.<\/dialogue>\n    <scene_description>Mr. Shroff is still not buying it, he looks at Shaikh.<\/scene_description>\n    <character>MR. SHROFF<\/character>\n    <dialogue>Thirty five years of service and you have not made one single error...<\/dialogue>\n    <scene_description>Saajan stands his ground.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>Sir, you know I would not defend anyone.<\/dialogue>\n    <scene_description>A beat, Mr. Shroff relents-<\/scene_description>\n    <character>MR. SHROFF<\/character>\n    <dialogue>OK Fernandes, I will handle the accounts department.<\/dialogue>\n    <scene_description>Shaikh, still reeling from the close call, nods.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>Its OK sir, no problem.<\/dialogue>\n    <scene_description>As they leave- CONTINUED: (2)<\/scene_description>\n    <character>MR. SHROFF<\/character>\n    <dialogue>And one more thing...Why do these files smell of vegetables - onions, potatoes...even garlic...<\/dialogue>\n    <scene_description>Instinctively, both shrug. Shaikh looks away, avoiding Saajan's eyes, he wipes the files with his sleeve. Saajan shrugs, feigning cluelessness, as they leave the office.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CANTEEN - LATER<\/stage_direction>\n    <scene_description>Saajan works in the canteen, empty now, fixing the accounts. A PEON mops in the background. Shaikh enters, tentative, and seats himself across from Saajan.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>Thank you sir, you saved my life sir...<\/dialogue>\n    <scene_description>Saajan stops, angry<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>Don't ever cut vegetables over the office files.<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>OK sir, I will put a plastic bag over the files and cut...<\/dialogue>\n    <scene_description>Saajan glares at him<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>OK sir, no vegetables.<\/dialogue>\n    <scene_description>Saajan lowers his voice<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>And these are not the accounts of an udipi restaurant in Saudi, these are government records! If you cannot do this, leave!<\/dialogue>\n    <character>SHAIKH<\/character>\n    <parenthetical>(insists-)<\/parenthetical>\n    <dialogue>Sorry sir. I won't leave. You will teach me...?<\/dialogue>\n    <scene_description>Saajan glares at him for a few beats. CONTINUED:<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>Did your mother also tell you to get a real job with fake degrees<\/dialogue>\n    <scene_description>Shaikh looks away, guilty as charged.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>My mother must have got confused...<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>What kind of a person are you Mr. Shaikh!?<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>Why don't you come over for dinner sir?<\/dialogue>\n    <scene_description>Saajan cannot believe him, he looks at Shaikh, he should be angry but he likes this guy.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>Unbelievable Mr. Shaikh, unbelievable...<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>Sir, you are coming for dinner, right?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHAIKH'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>A one room dwelling, the kitchen to the side, in the corner of the room. And yet it looks cozy, like a home. Saajan and Shaikh, and Shaikh's wife- MEHERUNISSA, 20s, pretty. They sit around the floor and eat.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>Have more chicken sir...<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>Its very good, everything is great...<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>Its my own recipe sir, different each time...<\/dialogue>\n    <character>MEHERUNISSA<\/character>\n    <dialogue>My father warned me...don't marry this man, he will make you cook, tie you to the stove...<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>He is a very dangerous man sir, her father, he hasn't smiled since the nineteen eighty three world cup. He is a sour face like Prithviraj Kapur from Mughle-Azam...<\/dialogue>\n    <scene_description>They laugh.<\/scene_description>\n    <character>MEHERUNISSA<\/character>\n    <dialogue>What does your wife do sir?<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>I am sorry sir, she doesn't know.<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>Its OK Shaikh.<\/dialogue>\n    <parenthetical>(to Meherunissa-)<\/parenthetical>\n    <dialogue>My wife is dead.<\/dialogue>\n    <character>MEHERUNISSA<\/character>\n    <dialogue>I am sorry.<\/dialogue>\n    <scene_description>They go back to eating, an uncomfortable silence hangs over them.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>But I have a girlfriend.<\/dialogue>\n    <character>MEHERUNISSA<\/character>\n    <dialogue>You!?...<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>Yes...<\/dialogue>\n    <scene_description>An awkward beat.<\/scene_description>\n    <character>MEHERUNISSA<\/character>\n    <dialogue>What is her name?<\/dialogue>\n    <scene_description>Saajan feels strange saying this, he takes his time as he munches on his food.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>Ila.<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>I knew it sir! The dabba, the notes, Bhutan...<\/dialogue>\n    <scene_description>Its like the air is back in the room. Saajan looks at both of them sitting in front of him. CONTINUED: (2)<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>When did you both get married?<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>The thing about marriage sir is that sometimes it feels like 35 years, sometimes 25, sometimes 10 and at time it feels like yesterday...<\/dialogue>\n    <character>MEHERUNISSA<\/character>\n    <dialogue>Why don't you have some more sir?<\/dialogue>\n    <scene_description>Shaikh piles food on to his plate, against Saajan's resistance<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>Its my recipe sir...<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>I will, I will<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>You are not eating at all...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BALCONY - LATER<\/stage_direction>\n    <scene_description>Saajan and Shaikh stand in the common balcony outside, and eat kheer in silence. The traffic sounds come in from below. Shaikh clear his throat.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>Sir, I wanted to ask you something...<\/dialogue>\n    <scene_description>Shaikh hesitates.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>Go on...<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>You asked just now - when we got married?... I lied to you. We are not married.<\/dialogue>\n    <scene_description>An awkward silence. CONTINUED:<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>Meherunissa's family was against her marrying an orphan, and add to that, someone short and dark like me...so she ran away. But she never wanted to get married without her family...so we are not married...yet.<\/dialogue>\n    <character>SAAJAN<\/character>\n    <parenthetical>(uncomfortable-)<\/parenthetical>\n    <dialogue>I am sorry, I didn't know...I won't tell anyone.<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>No no sir, what I wanted to ask you is something different... we are getting married in a few days... her family has agreed now!<\/dialogue>\n    <scene_description>Shaikh laughs<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>Her family is big sir, nine brothers and sisters, their husbands and wives, children, uncles, aunts, everyone will be there...and there is no one from my side. I wanted to ask...if you wouldn't mind...being a witness from my side.<\/dialogue>\n    <scene_description>Saajan is overwhelmed by Shaikh's proposal.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>Me?<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>If Ila madam can also come with you..?<\/dialogue>\n    <scene_description>Saajan contemplates this.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>Of course, we...we will come.<\/dialogue>\n    <scene_description>Shaikh beams<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>Thank you sir. Her father insists on giving me a scooter. I refused to take any dowry, he says its a gift for my promotion...<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>Your promotion? But I am not going to retire...<\/dialogue>\n    <scene_description>A beat, Shaikh gapes at Saajan.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>I was thinking...of not taking the early retirement, I will talk to the boss and ask him to make you my assistant. So your promotion might not happen yet...<\/dialogue>\n    <character>SHAIKH<\/character>\n    <parenthetical>(interrupts-) )<\/parenthetical>\n    <dialogue>That is one more good news for me today sir! What could be better!<\/dialogue>\n    <scene_description>Saajan smiles, relieved.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>Just don't mention it to my father- in-law when you meet him, else he will take the scooter back...<\/dialogue>\n    <scene_description>Saajan laughs<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>I will tell Meherunissa the good news?... Thank you sir!<\/dialogue>\n    <scene_description>Shaikh hurries inside. Saajan is left outside on the balcony, he looks at the city below. Music begins and continues into...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAAJAN'S ROOM - DAY<\/stage_direction>\n    <scene_description>Saajan fixes his tie in front of the mirror attached to the ancient wardrobe. The music continues, the piano anticipating the big meeting... He notices a patch of white he missed shaving on his cheek.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Saajan enters the bathroom. He examines the patch he missed shaving and inhales deeply, he stands watching himself in the mirror for a beat. The music fades. He then applies shaving cream and leans into the mirror with a razor in his hand, and starts to shave the stubble off of a spot on his chin that he had missed. CONTINUED: PRE-LAP - The sound of a train chugging on tracks.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN - LATER<\/stage_direction>\n    <scene_description>Saajan stands in the crowded Bandra local on his way to work, he is somber. The train rocks him back and forth along with the rest of the morning commute. A YOUNG MAN stands up from his seat.<\/scene_description>\n    <character>YOUNG MAN<\/character>\n    <dialogue>Uncle, would you like to sit?<\/dialogue>\n    <scene_description>Saajan snaps out his thoughts.<\/scene_description>\n    <character>YOUNG MAN<\/character>\n    <dialogue>Yes, you uncle, you want to sit?<\/dialogue>\n    <scene_description>Saajan shakes his head, no.<\/scene_description>\n    <character>YOUNG MAN<\/character>\n    <dialogue>No, please sit uncle, I am getting off at the next station anyway.<\/dialogue>\n    <scene_description>Saajan regards the seat that has just been vacated for him. He sits. Close on - Saajan as he sits, resigned to the motions of the train. An OLD MAN eyes him as he takes the empty seat. Saajan rocks to the rhythms of the train.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE - LATER<\/stage_direction>\n    <scene_description>The rhythms of the train carry over into the office. The peon is handing out dabbas. Saajan sits at his cubicle over files and papers strewn over his desk. Saajan remains glued to his seat, working on his files, writing furiously.<\/scene_description>\n    <character>MR. SHROFF<\/character>\n    <dialogue>Fernandes?<\/dialogue>\n    <scene_description>The train sounds fade away. Saajan looks up, Mr. Shroff peeks into his cubicle.<\/scene_description>\n    <character>MR. SHROFF<\/character>\n    <dialogue>You wanted to talk to me?<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>No sir.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>MR. SHROFF<\/character>\n    <dialogue>My secretary said you wanted to talk to me.<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>It was a question about the invoices from China...I solved it...<\/dialogue>\n    <scene_description>Mr. Shroff looks at him, unconvinced.<\/scene_description>\n    <character>MR. SHROFF<\/character>\n    <dialogue>OK Mr. Fernandes.<\/dialogue>\n    <scene_description>He leaves. Saajan looks to his watch. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RESTAURANT - CONTINUOUS<\/stage_direction>\n    <scene_description>The place buzzes with the chatter of the lunch crowd. Ila sits at the corner table alone, fidgeting nervously. She scans the place, it is crowded, lots of people wait for a table. A waiter stops by.<\/scene_description>\n    <character>WAITER<\/character>\n    <dialogue>Order please.<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>Give me a minute...<\/dialogue>\n    <scene_description>The waiter hurries away, impatient. Ila looks to the door, it opens, yuppie officegoers come in laughing. She is disappointed. She looks to her watch. Wide - every table occupied, Ila is the only one sitting alone. She fidgets nervously. She gulps on water. The impatient waiter passes by again, eyeing her with annoyance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Ila lies in bed, wide awake as Yashvi and Rajeev sleep. She is in deep thought. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE - DAY<\/stage_direction>\n    <scene_description>The peon distributes dabbas as he walks down the rows of desks. He leaves one on Saajan's table with a HOLLOW THUMP. Saajan looks up from his work, he regards the Dabba. He picks it up tentatively. Once again, his Neighbor peeks over with interest. It is very light, he shakes it. He unscrews the top and opens it up, pulling out the three tiered tiffin box. He opens the first box, its empty. And the third is empty as well. The second, also empty, Saajan sits there with the empty lunchbox in front of him.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <parenthetical>(pre-lap)<\/parenthetical>\n    <dialogue>Dear Ila,....<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S HOUSE - LATER<\/stage_direction>\n    <scene_description>Ila stands by the window sill and reads Saajan's note.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>I got the lunchbox today, there was nothing in it...and I deserve that. Yesterday, you waited in the restaurant for me...for a long time... But before that, that same morning, I...forgot something in the bathroom...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAAJAN'S ROOM - YESTERDAY<\/stage_direction>\n    <scene_description>Saajan in front of the mirror, feels the missed spot on his chin.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>I went back in to get it...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Saajan stands there and looks at himself in the mirror.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>And the bathroom smelt the same, exactly the same as it used to after my grandfather had been in the shower. It was like my grandfather had been there...<\/dialogue>\n    <scene_description>CONTINUED: Close on - Saajan's reflection. He picks up the razor, he leans into the mirror, and starts to shave the stubble off of a spot on his chin that he had missed.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>But he had not, it was just me...<\/dialogue>\n    <scene_description>Saajan examines his chin to make sure he took care of the missed spot.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>Just me and the smell of an old man.<\/dialogue>\n    <scene_description>Saajan steps to the middle of the bathroom, looking around, just him and the smell of an old man. The trains chugs come in. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN - YESTERDAY<\/stage_direction>\n    <scene_description>Saajan stands in the crowded Bandra local as it goes North.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>I don't know when I became old...Maybe it was that morning...maybe it was many many mornings ago...and maybe if I had forgotten something in the bathroom before I would have found out sooner...<\/dialogue>\n    <character>YOUNG MAN<\/character>\n    <dialogue>Uncle, would you like to sit?<\/dialogue>\n    <scene_description>The scene we have seen before plays out again. Saajan regards the seat that has been vacated for him. Cut to- he is sitting on it. He sits there rocking with the motions of his train.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>Life kept on going and lulled me with its motions, I kept rocking back and forth as it threw me left<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>and then it threw me right...and then before I knew it...<\/dialogue>\n    <scene_description>BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE - DAY<\/stage_direction>\n    <scene_description>Saajan stacks up the lunchbox again-<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>...No one buys yesterday's lottery ticket Ila.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Ila still reads the letter by the window.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>I came to the restaurant while you were waiting.<\/dialogue>\n    <scene_description>Ila pauses, surprised, she thinks, recreating the scene at the restaurant in her mind, scanning the faces of the lunch crowd...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RESTAURANT - PREVIOUS DAY<\/stage_direction>\n    <character>SAAJAN<\/character>\n    <dialogue>There you were...<\/dialogue>\n    <scene_description>Saajan's POV.Ila sits shuffling nervously, alone, looking around.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>...Fidgeting with your purse, drinking all that water...<\/dialogue>\n    <scene_description>Ila does just that, she gulps a glass of water.<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>I wanted to come up to you and tell you all this in person. But I just watched you wait...You looked beautiful.<\/dialogue>\n    <scene_description>Ila taps the floor with her heel impatiently, she does look beautiful. CONTINUED:<\/scene_description>\n    <character>SAAJAN (V.O.)<\/character>\n    <dialogue>You are young. You can dream. And for some time, you let me into your dreams. And I want to thank you for that...<\/dialogue>\n    <scene_description>Ila sits there waiting, Saajan sits there watching her. We stay with them in that restaurant, for several beats.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEDDING HALL - DAY<\/stage_direction>\n    <scene_description>Claps Meherunissa's RELATIVES clap and cheer.<\/scene_description>\n    <character>PHOTOGRAPHER<\/character>\n    <dialogue>A photo with the witnesses please...<\/dialogue>\n    <scene_description>They gather together for a photo - The Happy Couple in the center, and the witnesses - A PRIEST, THE BRIDE'S FATHER, an old man with a prominent black mark on his forehead from praying five times a day, this man never smiles, and Saajan.<\/scene_description>\n    <character>PHOTOGRAPHER<\/character>\n    <dialogue>Smile please...<\/dialogue>\n    <scene_description>Meherunissa's father doesn't.<\/scene_description>\n    <character>PHOTOGRAPHER<\/character>\n    <dialogue>One...two...three...<\/dialogue>\n    <scene_description>The camera flashes.<\/scene_description>\n    <character>PHOTOGRAPHER (O.C.)<\/character>\n    <dialogue>Now a photo with everyone! The girl's side to the right, and the boy's side to the left please...<\/dialogue>\n    <scene_description>One by one, Meherunissa's family comes into the frame, following the instructions - sisters, brothers, uncles, aunts, cousins, nieces, nephews... As the right side to the couple swells, gradually the camera pans, and they get pushed from the center to the edge of the frame. Finally, Saajan stands on the left edge peeking into the picture, by the happy couple, the only one on the boy's side. On their right is Meherunissa's entire clan. CONTINUED:<\/scene_description>\n    <character>PHOTOGRAPHER<\/character>\n    <dialogue>Smile please...One...two...three... The camera flashes again.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DONGRI - MOMENTS LATER<\/stage_direction>\n    <scene_description>Shaikh and Saajan stand outside, waiting to hail a passing taxi. The wedding guest chatter in the background.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>You are going sir...feels like a drought has hit the city...<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>This is the new scooter?<\/dialogue>\n    <scene_description>Saajan indicates at a brand new Kinetic Honda that stands at a distance, a garland of marigolds over it, and roses stuck all over.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>Yes sir...but if you stay, I will tell my father-in-law that there is no promotion and return it...<\/dialogue>\n    <scene_description>Saajan laughs<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>Taxi...<\/dialogue>\n    <scene_description>As the taxi drives up and stops in front of them.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>Goodbye Shaikh.<\/dialogue>\n    <scene_description>Saajan makes his way to the taxi. Shaikh musters courage steps forward.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>Sir...When I came in the train with you for the first time sir,...that day I did not have first class pass. I spent the whole journey till Bombay Central praying that the T.C doesn't show up and catch me...and what would you think of me then?<\/dialogue>\n    <scene_description>Saajan looks at him, quizzically. CONTINUED:<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>But the next day itself I got a first class pass made.<\/dialogue>\n    <scene_description>Saajan smiles. He pats Shaikh, awkward.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>You will be a good husband Shaikh.<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>Thank you very much sir.<\/dialogue>\n    <scene_description>Saajan gets into the taxi and puts a cigarette between his lips.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <parenthetical>(to the taxi driver-)<\/parenthetical>\n    <dialogue>Wait a minute.<\/dialogue>\n    <parenthetical>(to Shaikh-)<\/parenthetical>\n    <dialogue>Come to Nasik sometime...<\/dialogue>\n    <scene_description>The taxi takes off, leaving Shaikh standing, looking on.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Sounds of the mid-day traffic come in from below. Ila does laundry, absent mindedly. A TELEPHONE RING pierces through everything, Ila keeps dusting, she is in another World as the phone rings... Ila goes for the phone, we stay with the dirty clothes.<\/scene_description>\n    <character>ILA (O.S.)<\/character>\n    <dialogue>...Hello...Ma...go to the neighbors. I am coming...<\/dialogue>\n    <scene_description>The sound of phone going back to the cradle. Ila's sobs come in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. TAXI - MOMENTS LATER<\/stage_direction>\n    <scene_description>Ila is on the back seat as the taxi races to her parent's house.<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>Stop right here...ahead, on the right.<\/dialogue>\n    <scene_description>The TAXI DRIVER slows down and comes to a stop.<\/scene_description>\n    <character>TAXI DRIVER<\/character>\n    <dialogue>Eighty rupees...<\/dialogue>\n    <scene_description>CONTINUED: Ila pays and gets off the taxi. The driver leans out and turns his taxi meter off. Ila walks away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. PARENT'S LIVING ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Ila enters her parent's house, outside - a sea of slippers and sandals. The place is packed with MOURNERS. The somber silence that happens in a presence of dead body, some whispers fly around. Ila's Mother and Ila sit side by side in silence. Ila glances into the bedroom - Ila's Father's dead body is being wrapped in a white sheet by ORDERLIES, as they wrap up all the medical paraphernalia around him.<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>Rajeev is on his way. He was in a meeting...he will come straight to the crematorium...<\/dialogue>\n    <scene_description>They sit in silence for a few beats. Ila's Mother regards the dead body.<\/scene_description>\n    <character>ILA'S MOTHER<\/character>\n    <dialogue>I am hungry, I am craving parathas...<\/dialogue>\n    <scene_description>Ila looks to her mother.<\/scene_description>\n    <character>ILA'S MOTHER<\/character>\n    <dialogue>I didn't eat breakfast this morning, I was making breakfast for him...<\/dialogue>\n    <scene_description>Her Mother goes on.<\/scene_description>\n    <character>ILA'S MOTHER<\/character>\n    <dialogue>I was always worried, of what would happen to me when he passed away, he was so unwell lately...But now, I just feel hungry...<\/dialogue>\n    <scene_description>Ila's Mother laughs, surprised at herself. Some of the mourners give disapproving glances.<\/scene_description>\n    <character>ILA'S MOTHER<\/character>\n    <dialogue>I never loved him.<\/dialogue>\n    <character>ILA<\/character>\n    <parenthetical>(interrupts-)<\/parenthetical>\n    <dialogue>Ma..<\/dialogue>\n    <scene_description>But her mother goes on- CONTINUED:<\/scene_description>\n    <character>ILA'S MOTHER<\/character>\n    <dialogue>Maybe in the beginning I did, when you were born...For many years now...twenty five years I think...I have not loved him...but I made breakfast for him, every morning. Lunch. Dinner....breakfast, lunch, dinner...<\/dialogue>\n    <scene_description>Ila looks away, contemplating her own life. Her Mother sighs deeply.<\/scene_description>\n    <character>ILA'S MOTHER<\/character>\n    <dialogue>When your brother died, that old ambulance with a red light had come, those old Matador buses...what one has come now?<\/dialogue>\n    <scene_description>Ila snaps out of it.<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>The new one, with the blue light...<\/dialogue>\n    <scene_description>Ila's Mother's stomach growls, loud. She falls into a silence again. Ila looks at her mother, and then at her father's dead body. Close on - Ila, a grim resolve comes over her. She looks to the exit. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - LATER<\/stage_direction>\n    <scene_description>Ila glances at the street below every now and then, checking. Finally, she sees - the dabbawallah cycles into the building.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S DOORWAY - MOMENTS LATER<\/stage_direction>\n    <scene_description>Ila opens the door, before the Dabbawallah can ring the doorbell.<\/scene_description>\n    <character>DABBAWALLAH<\/character>\n    <dialogue>Madam...<\/dialogue>\n    <scene_description>The dabba is in Ila's hand, but she doesn't hand it over. She swallows slowly, trying to come up with her strange request - CONTINUED:<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>I want to ask you...the dabba...it has been going to the wrong address...<\/dialogue>\n    <scene_description>The dabbawallah is surprised.<\/scene_description>\n    <character>DABBAWALLAH<\/character>\n    <dialogue>That is impossible madam, we never deliver to the wrong address...<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>It has not been reaching my husband...it goes somewhere else...<\/dialogue>\n    <character>DABBAWALLAH<\/character>\n    <dialogue>Harvard people came and did a study on us...we always deliver right they said and you say we deliver wrong?<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>My dabba has not been reaching my husband! I am telling you the truth...<\/dialogue>\n    <character>DABBAWALLAH<\/character>\n    <parenthetical>(with confidence-)<\/parenthetical>\n    <dialogue>The king of England has also come, he has seen our delivery system, invited us to his wedding...<\/dialogue>\n    <scene_description>Ila sighs, exasperated.<\/scene_description>\n    <character>DABBAWALLAH<\/character>\n    <dialogue>We never deliver to the wrong address madam, never.<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>My lunchbox has not been going to the right address...<\/dialogue>\n    <character>DABBAWALLAH<\/character>\n    <dialogue>It goes to the right place...<\/dialogue>\n    <scene_description>Ila puts the lunchbox in his hands and indicates at the code on it<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>I want the address of the building it goes to.<\/dialogue>\n    <scene_description>CONTINUED: (2) The Dabbawallah looks at her like she is crazy. Ila stands her ground, determined.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI - MOMENTS LATER<\/stage_direction>\n    <scene_description>Ila sits on the back seat of the taxi. It slows down in front of a school, and stops.<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>One minute...<\/dialogue>\n    <scene_description>Ila runs in. We stay in the taxi. Moments later- Ila runs out of the main gate, with Yashvi in tow. They get into the taxi and it races off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Ila strides into the office. Ila She turns the corner, walking fast. She is confronted by the endless rows of desks as far as the eye can see. Ila looks around. She leans into a desk - a MAN on the phone.<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>Where does Saajan Fernandes sit?<\/dialogue>\n    <scene_description>The Man points her down the hall. Ila walks down tentatively, past the other desks. She is met with strange looks as she walks down to Saajan's cube - Shaikh is on the phone with Meherunissa. Ila clears her throat. Shaikh looks up at her.<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>They told me this is Saajan Fernandes's desk...<\/dialogue>\n    <scene_description>Shaikh looks at her.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <parenthetical>(into the phone-)<\/parenthetical>\n    <dialogue>Hold for a minute...<\/dialogue>\n    <parenthetical>(to Ila-)<\/parenthetical>\n    <dialogue>Saajan sir left...<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>Where can I find him?<\/dialogue>\n    <character>SHAIKH<\/character>\n    <dialogue>He...he left for Nasik.<\/dialogue>\n    <scene_description>CONTINUED: Ila looks away, the news sets in. She stands there for a beat in front of him, exposed, the people around looking at her, some peep over their desks curiously. She nods and makes a move to leave.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>You are Ila madam?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VICTORIA TERMINUS PLATFORM - DAY<\/stage_direction>\n    <scene_description>The bustling platform of the station. A train waits at the platform, the train to Nasik. People check for their names on reservation lists pasted to the compartments, long good-byes at the door, Coolies hauling luggage stride past, a choir of vendors...<\/scene_description>\n    <character>BISLERI MAN<\/character>\n    <dialogue>Bisleri bisleri bisleri....<\/dialogue>\n    <character>SANDWICH SELLER<\/character>\n    <dialogue>Sandich...sandich...sandich...<\/dialogue>\n    <scene_description>Saajan sits at the window of the 1st class, non A\/C compartment, watching the commotion outside. The train horn blares, the first signal to go, people hurry into the train, the coolies strain their muscles, the vendors shout louder...<\/scene_description>\n    <character>SANDWICH SELLER<\/character>\n    <dialogue>Sandich...sandich...sandich...<\/dialogue>\n    <scene_description>Saajan removes a cigarette from his pocket and lights up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN - CONTINUOUS<\/stage_direction>\n    <scene_description>Saajan smokes by the window, he eyes the coupe he is in, his suitcase at his feet, above - a chain and the sign - 'TO STOP TRAIN PULL CHAIN' &amp; 'RS. 10,000 FINE'<\/scene_description>\n    <character>OLD MAN (O.S.)<\/character>\n    <dialogue>Young man, can you help me?<\/dialogue>\n    <scene_description>Saajan looks - an OLD MAN, 80s has entered the coupe hauling a heavy suitcase. Saajan jams his cigarette into a plastic coffee cup reluctantly, and gets up to help him with the luggage. As Saajan struggles to shove the heavy suitcase underneath the seat- CONTINUED:<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>Cigarettes are no good, when you are my age you will realize...<\/dialogue>\n    <scene_description>Finally Saajan succeeds in stowing away the suitcase and goes back to his seat.<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Saajan merely nods. The Old Man is not discouraged, he plops himself on the seat across from Saajan.<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>So you are going to Nasik?<\/dialogue>\n    <character>SAAJAN<\/character>\n    <dialogue>Yes<\/dialogue>\n    <character>OLD MAN<\/character>\n    <dialogue>Are you shifting there?<\/dialogue>\n    <scene_description>Saajan smiles at him.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>OLD MAN<\/character>\n    <dialogue>I moved years ago, I come to meet my son every now and then, but I just can't wait to go back. This city is shit...the filth...the crowds...look...look at all this...<\/dialogue>\n    <scene_description>He indicates at the bustling platform outside. The train horn blares, Saajan is alarmed, the train pushes off from the platform and picks up speed. The Old Man laughs. Saajan gapes at him. Saajan gapes at the Old Man, who in turn is looking out at Bombay wistfully. As the train gathers speed, Saajan looks at the Old Man's wrinkled hands, and his fingers crooked by arthritis. Saajan looks away, out the window, the city passes by.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS - DAY<\/stage_direction>\n    <scene_description>Shaikh rides his scooter, weaving through the evening traffic. Ila sits behind. They ride in silence. CONTINUED: Shaikh pulls to a stop in front of taxi stand. Ila and Yashvi gets off of the scooter.<\/scene_description>\n    <character>ILA<\/character>\n    <dialogue>Thank you...<\/dialogue>\n    <scene_description>She walks away.<\/scene_description>\n    <character>SHAIKH<\/character>\n    <dialogue>Ila madam...I am sorry.<\/dialogue>\n    <scene_description>Ila looks at him, embarrassed. And then gets into the taxi with Yashvi. As they depart- Shaikh waits for a beat and looks on after them, and then he kick starts his scooter and leaves. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RANWAR VILLAGE - DUSK<\/stage_direction>\n    <scene_description>The children of Ranwar play street cricket in the last few minutes of day light.<\/scene_description>\n    <character>CHILD<\/character>\n    <dialogue>Come on boys!<\/dialogue>\n    <scene_description>Claps all around as the bowler, little Anne D'Souza takes the crease. Anne runs up the crease and hurls the ball, the Batsman swings his bat and makes contact, a CRACK. The ball flies, all eyes on it. It hits Saajan Fernandes's padlocked gate, the old lock swings from side to side. The children break into cheers. The ball rolls to the ground. A pair of familiar shoes stop the ball. Saajan puts his suitcase down and picks up the ball, he looks to his gate. And to the children - they quiet down instantly. Little Anne is in the lead, the other children congregate around him, backing him up. Little Anne looks on with dread at Saajan Fernandes standing in front of his house with the ball in hand.<\/scene_description>\n    <character>ANNE<\/character>\n    <dialogue>Good evening Mr. Fernandes...<\/dialogue>\n    <scene_description>Silence<\/scene_description>\n    <character>ANNE<\/character>\n    <dialogue>We thought you left...<\/dialogue>\n    <scene_description>CONTINUED: Saajan regards them and the ball.<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>I left...but then I came back.<\/dialogue>\n    <character>KID<\/character>\n    <dialogue>Why?<\/dialogue>\n    <scene_description>Saajan looks down at the kids, they gape at him in silence. The question lingers and then-<\/scene_description>\n    <character>SAAJAN<\/character>\n    <dialogue>You play here...just don't break my windows OK?<\/dialogue>\n    <scene_description>He tosses the ball over to them. The children are taken aback, they look at him, speechless. A beat.<\/scene_description>\n    <character>ANNE<\/character>\n    <dialogue>Thank you Mr. Fernandes.<\/dialogue>\n    <scene_description>Saajan unlocks the gate, and enters his home. The children go back to their game.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S KITCHEN - CONTINUOUS<\/stage_direction>\n    <scene_description>The smoke from Ila's cooking. She stirs the daal on the stove.<\/scene_description>\n    <character>MRS. DESHPANDE (O.S.)<\/character>\n    <dialogue>Ila...oh Ila...<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>Yes auntie?<\/dialogue>\n    <character>MRS. DESHPANDE (O.S.)<\/character>\n    <dialogue>Everything is OK? I was calling out to you before...<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>I had gone to the market...<\/dialogue>\n    <character>MRS. DESHPANDE<\/character>\n    <dialogue>I got worried...<\/dialogue>\n    <character>ILA<\/character>\n    <dialogue>Everything is fine auntie.<\/dialogue>\n    <character>MRS. DESHPANDE<\/character>\n    <dialogue>You know Ila... what I did today? I cleaned your uncle's fan... I cleaned a moving fan...<\/dialogue>\n    <scene_description>CONTINUED: She laughs with glee. Ila glances out the window in her direction listening to her glee, scared by it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAAJAN'S BALCONY - NIGHT<\/stage_direction>\n    <scene_description>The buzz of the Bombay traffic comes in from a distance. Saajan takes a drag of his cigarette, he looks at the city around, and the sliver of the Sea that he can see, the Sun is almost gone, its dying rays on the water... Saajan takes another deep drag of his cigarette, and exhales heavily. Soft music comes in from somewhere. Saajan looks across- Little Anne D'Souza waves at him from his window. Saajan raises his hand and acknowledges her. Anne goes to the family dinner, leaving the windows wide open. Saajan looks - The D'Souzas are gathered around their dinner table, chatting animatedly, poking fun at each other, laughing. Saajan watches this family ritual play out, transfixed. He has front row seats now. The D'Souza family breaks into laughter again. Saajan looks on at the D'Souzas across for several beats as music begins and continues over- CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Rajeev snores, his back to Ila. Yashvi sleeps between them. Ila lies, wide awake. Ila takes off her jewelry one by one as the music continues - her chain, bangles, earrings... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET BELOW - DAY<\/stage_direction>\n    <scene_description>The school bus autorickshaw honks, and the music fades. Yashvi looks up and pauses.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Ila watches her from above, she waves back. She indicates to Yashvi to cross the street. Yashvi goes over to the other side. The metal gate of the autorickshaw closes and it races off. Yashvi's little hand pops out through the gate and keeps waving, Ila waves back as the autorickshaw pulls away. Close on Ila. CONTINUED:<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>Hello, you must have reached Nasik...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN - CONTINUOUS<\/stage_direction>\n    <scene_description>Saajan holds on to a handle bar and hangs out of a compartment, packed with the morning commute. The wind ruffles his hair. He wears white shirt and jacket, reserved for special occasions.<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>This morning you must have made your tea...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATION - CONTINUOUS<\/stage_direction>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>Or you must have gone for a morning walk.<\/dialogue>\n    <scene_description>Saajan walks out the station and into the crowd of Dabbawallahs sorting lunchboxes. He pauses, and looks around,... Finally, he approaches a group of Dabbawallahs with purpose. We watch as Saajan strikes up a conversation. The dabbawallahs congregate around Saajan as he inquires, one or two more dabbawallahs join the group. Saajan and the Dabbawallahs talk, and we watch from a distance. Ila's voice over plays over all this.<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>I woke up this morning and sold all my jewelry. Some bangles, a chain, earrings. Its not a lot... but I have heard that our one rupee is five in Bhutan, so we will be OK for a while. And after that...we'll see. When Yashvi comes back from school, we will take the afternoon train.<\/dialogue>\n    <scene_description>BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Ila is still at the window, looking out.<\/scene_description>\n    <character>ILA (V.O.)<\/character>\n    <dialogue>Perhaps I will send you this letter, and your new postman will deliver it to you. Or perhaps, I will keep it and read it again years from now. I had read somewhere that sometimes the wrong train can get you to the right station... Lets see.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOMBAY LOCAL - LUGGAGE COMPARTMENT - CONTINUOUS<\/stage_direction>\n    <scene_description>The dabbawallahs sing, chanting to their deity... Saajan sits in a circle of dabbawallahs in the train, on their afternoon commute to return the empty lunchboxes. They clap and sing. Saajan looks out the window in anticipation, the next station is his destination. BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ILA'S HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>The dabbawallah's chorus continues over Ila as she still stands at the window, looking out. She stands there and listens intently as though she can hear the chants, there is much to do before she leaves, and so little time... FADE TO BLACK: CREDITS ROLL<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In Mumbai, Ila is a young wife seeking her husband Rajeev's attention. She tries to put romance back into her marriage by cooking delicious lunches for him. However, when she tries to send the lunchbox to his office, the dabbawala system which is to deliver his lunch has a mix-up, and the lunchbox accidentally reaches Saajan Fernandes instead. Saajan is a widower who is about to retire from his accountancy job. When Ila realises the mistake she writes a letter to Saajan informing him of the mix-up and places it in the lunchbox the next day. An exchange of messages between Ila and Saajan via the lunches thus ensues, igniting a friendship between the two, as they share memories and events from their lives. At his job, Saajan is tasked with training his replacement Aslam Sheikh. Socially distant after his wife's death, Saajan is initially reluctant to interact with Sheikh and train him. After Sheikh reveals that he is an orphan who taught himself accounting, Saajan gradually warms to him; eventually the duo strike a close friendship. At one point, Saajan saves Shaikh's job by covering for his blatant mistakes and becomes his best man at his marriage. Meanwhile, after Ila finds out that Rajeev is having an affair, she gives up hope on rekindling her marriage. In one of the lunchbox letters, she suggests moving to Bhutan where the cost of living is much cheaper than in India. Saajan writes back suggesting that the two move there together. Ila then offers to meet in person at a popular restaurant but at the appointed time, Saajan does not show up. Upon receiving an empty lunchbox on the next day, Saajan writes back to the dejected Ila and apologises to her, saying that he did arrive and saw her from a distance but could not approach her. He explains how young and beautiful she looked, while surmising that he is too old for her and advising her to move on. Some time later, Ila's father, battling with lung cancer, dies in the care of her mother who confesses how unhappy her marriage was. Ila gets the address of Saajan's office only to learn from Sheikh that he has already retired and headed to Nashik. She writes a last farewell message to Saajan announcing that she has decided to leave Rajeev and move to Bhutan with her young daughter.  Meanwhile, Saajan changes his mind and returns to Mumbai. The film ends with Ila waiting for her daughter to return from school and Saajan heading to her house with the dabbawala who regularly picked up and delivered the eponymous lunchbox."}
{"movie_name":"Amadeus_1984","imdb_id":"tt0086879","script":"<script>\n  <scene>\n    <stage_direction>INT. STAIRCASE OUTSIDE OLD SALIERI'S SALON - NIGHT - 1823<\/stage_direction>\n    <scene_description>Total darkness . We hear an old man 's voice , distinct and in distress . It is OLD SALIERI . He uses a mixture of English and occasionally Italian .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <dialogue>Mozart! Mozart! Mozart. Forgive me! Forgive your assassin! Mozart!<\/dialogue>\n    <scene_description>A faint light illuminates the screen . Flickeringly , we see an eighteenth century balustrade and a flight of stone stairs . We are looking down into the wall of the staircase from the point of view of the landing . Up the stair is coming a branched candlestick held by Salieri 's VALET . By his side is Salieri 's COOK , bearing a large dish of sugared cakes and biscuits . Both men are desperately worried : the Valet is thin and middle - aged ; the Cook , plump and Italian . It is very cold . They wear shawls over their night - dresses and clogs on their feet . They wheeze as they climb . The candles throw their shadows up onto the peeling walls of the house , which is evidently an old one and in bad decay . A cat scuttles swiftly between their bare legs , as they reach the salon door . The Valet tries the handle . It is locked . Behind it the voice goes on , rising in volume .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <dialogue>Show some mercy! I beg you. I beg you! Show mercy to a guilty man!<\/dialogue>\n    <scene_description>The Valet knocks gently on the door . The voice stops .<\/scene_description>\n    <character>VALET<\/character>\n    <dialogue>Open the door, Signore! Please! Be good now! We've brought you something special. Something you're going to love.<\/dialogue>\n    <scene_description>Silence .<\/scene_description>\n    <character>VALET<\/character>\n    <dialogue>Signore Salieri! Open the door. Come now. Be good!<\/dialogue>\n    <scene_description>The voice of Old Salieri continues again , further off now , and louder . We hear a noise as if a window is being opened .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <dialogue>Mozart! Mozart! I confess it! Listen! I confess!<\/dialogue>\n    <scene_description>The two servants look at each other in alarm . Then the Valet hands the candlestick to the Cook and takes a sugared cake from the dish , scrambling as quickly as he can back down the stairs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE STREET OUTSIDE SALIERI'S HOUSE - VIENNA - NIGHT<\/stage_direction>\n    <scene_description>The street is filled with people : ten cabs with drivers , five children , fifteen adults , two doormen , fifteen dancing couples and a sled and three dogs . It is a windy night . Snow is falling and whirling about . People are passing on foot , holding their cloaks tightly around them . Some of them are revelers in fancy dress : they wear masks on their faces or hanging around their necks , as if returning from parties . Now they are glancing up at the facade of the old house . The window above the street is open and Old Salieri stands there calling to the sky : a sharp - featured , white - haired Italian over seventy years old , wearing a stained dressing gown .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <dialogue>Mozart! Mozart! I can not bear it any longer! I confess! I confess what I did! I'm guilty! I killed you! Sir I confess! I killed you!<\/dialogue>\n    <scene_description>The door of the house bursts open . The Valet hobbles out , holding the sugared cake . The wind catches at his shawl .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <dialogue>Mozart, perdonami! Forgive your assassin! Piet\u02c6! Piet\u02c6! Forgive your assassin! Forgive me! Forgive! Forgive!<\/dialogue>\n    <character>VALET<\/character>\n    <parenthetical>( looking up to the window . )<\/parenthetical>\n    <dialogue>That's all right, Signore! He heard you! He forgave you! He wants you to go inside now and shut the window!<\/dialogue>\n    <scene_description>Old Salieri stares down at him . Some of the passersby have now stopped and are watching this spectacle .<\/scene_description>\n    <character>VALET<\/character>\n    <dialogue>Come on, Signore! Look what I have for you! I ca n't give it to you from down here, can I?<\/dialogue>\n    <scene_description>Old Salieri looks at him in contempt . Then he turns away back into the room , shutting the window with a bang . Through the glass , the old man stares down at the group of onlookers in the street . They stare back at him in confusion .<\/scene_description>\n    <character>BYSTANDER<\/character>\n    <dialogue>Who is that?<\/dialogue>\n    <character>VALET<\/character>\n    <dialogue>No one, sir. He'll be all right. Poor man. He's a little unhappy, you know.<\/dialogue>\n    <scene_description>He makes a sign indicating ` crazy , ' and goes back inside the house . The onlookers keep staring .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LANDING OUTSIDE OLD SALIERI'S SALON - NIGHT<\/stage_direction>\n    <scene_description>The Cook is standing holding the candlestick in one hand , the dish of cakes in the other . The Valet arrives , panting .<\/scene_description>\n    <character>VALET<\/character>\n    <dialogue>Did he open?<\/dialogue>\n    <scene_description>The Cook , scared , shakes his head : no . The Valet again knocks on the door .<\/scene_description>\n    <character>VALET<\/character>\n    <dialogue>Here I am, Signore. Now open the door.<\/dialogue>\n    <scene_description>He eats the sugared cake in his hand , elaborately and noisily .<\/scene_description>\n    <character>VALET<\/character>\n    <dialogue>Mmmm - this is good! This is the most delicious thing I ever ate, believe me! Signore, you do n't know what you're missing! Mmmm!<\/dialogue>\n    <scene_description>We hear a thump from inside the bedroom .<\/scene_description>\n    <character>VALET<\/character>\n    <dialogue>Now that's enough, Signore! Open!<\/dialogue>\n    <scene_description>We hear a terrible , throaty groaning .<\/scene_description>\n    <character>VALET<\/character>\n    <dialogue>If you do n't open this door, we're going to eat everything. There'll be nothing left for you. And I'm not going to bring you anything more.<\/dialogue>\n    <scene_description>He looks down . From under the door we see a trickle of blood flowing . In horror , the two men stare at it . The dish of cakes falls from the Cook 's hand and shatters . He sets the candlestick down on the floor . Both servants run at the door frantically - once , twice , three times - and the frail lock gives . The door flies open . Immediately , the stormy , frenzied opening of Mozart 's Symphony No. 25 -LRB- the Little G Minor -RRB- begins . We see what the servants see .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLD SALIERI'S SALON - NIGHT<\/stage_direction>\n    <scene_description>Old Salieri lies on the floor in a pool of blood , an open razor in his hand . He has cut his throat but is still alive . He gestures at them . They run to him . Barely , we glimpse the room - an old chair , old tables piled with books , a forte - piano , a chamber - pot on the floor - as the Valet and the Cook struggle to lift their old Master , and bind his bleeding throat with a napkin .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BALLROOM - NIGHT<\/stage_direction>\n    <scene_description>Twenty - five dancing couples , fifty guests , ten servants , full orchestra . As the music slows a little , we see a Masquerade Ball in progress . A crowded room of dancers is executing the slow portion of a dance fashionable in the early 1820 's .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET OUTSIDE SALIERI'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>As the fast music returns , we see Old Salieri being carried out of his house on a stretcher by two attendants , and placed in a horse - drawn wagon under the supervision of a middle - aged doctor in a tall hat . This is DOCTOR GULDEN . He gets in beside his patient . The driver whips up the horse , and the wagon dashes off through the still - falling snow .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOUR STREETS OF VIENNA AND<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE WAGON - NIGHT<\/stage_direction>\n    <scene_description>The wagon is galloping through the snowy streets of the city . Inside the conveyance we see Old Salieri wrapped in blankets , half - conscious , being held by the hospital attendants . Doctor Gulden stares at him grimly . The wagon arrives outside the General Hospital of Vienna .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A HOSPITAL CORRIDOR - LATE AFTERNOON<\/stage_direction>\n    <scene_description>A wide , white - washed corridor . Doctor Gulden is walking down it with a priest , a man of about forty , concerned , but somewhat self - important . This is Father VOGLER , Chaplain at the hospital . In the corridor as they walk , we note several patients - some of them visibly disturbed mentally . All patients wear white linen smocks . Doctor Gulden wears a dark frock - coat ; Vogler , a cassock .<\/scene_description>\n    <character>DOCTOR GULDEN<\/character>\n    <dialogue>He's going to live. It's much harder to cut your throat than most people imagine.<\/dialogue>\n    <scene_description>They stop outside a door .<\/scene_description>\n    <character>DOCTOR GULDEN<\/character>\n    <dialogue>Here we are. Do you wish me to come in with you?<\/dialogue>\n    <character>VOGLER<\/character>\n    <dialogue>No, Doctor. Thank you.<\/dialogue>\n    <scene_description>Vogler nods and opens the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLD SALIERI'S HOSPITAL ROOM - LATE AFTERNOON<\/stage_direction>\n    <scene_description>A bare room - one of the best available in the General Hospital . It contains a bed , a table with candles , chairs , a small forte - piano of the early nineteenth century . As Vogler enters , Old Salieri is sitting in a wheel - chair , looking out the window . His back is to us . The priest closes the door quietly behind him .<\/scene_description>\n    <character>VOGLER<\/character>\n    <dialogue>Herr Salieri?<\/dialogue>\n    <scene_description>Old Salieri turns around to look at him . We see that his throat is bandaged expertly . He wears hospital garb , and over it the Civilian Medal and Chain with which we will later see the EMPEROR invest him .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>VOGLER<\/character>\n    <dialogue>I am Father Vogler. I am a Chaplain here. I thought you might like to talk to someone.<\/dialogue>\n    <character>OLD SALIERI<\/character>\n    <dialogue>About what?<\/dialogue>\n    <character>VOGLER<\/character>\n    <dialogue>You tried to take your life. You do remember that, do n't you?<\/dialogue>\n    <character>OLD SALIERI<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>VOGLER<\/character>\n    <dialogue>In the sight of God that is a sin.<\/dialogue>\n    <character>OLD SALIERI<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>VOGLER<\/character>\n    <dialogue>Do you understand that you have sinned? Gravely.<\/dialogue>\n    <character>OLD SALIERI<\/character>\n    <dialogue>Leave me alone.<\/dialogue>\n    <character>VOGLER<\/character>\n    <dialogue>I can not leave alone a soul in pain.<\/dialogue>\n    <character>OLD SALIERI<\/character>\n    <dialogue>Do you know who I am? You never heard of me, did you?<\/dialogue>\n    <character>VOGLER<\/character>\n    <dialogue>That makes no difference. All men are equal in God's eyes.<\/dialogue>\n    <character>OLD SALIERI<\/character>\n    <dialogue>Are they?<\/dialogue>\n    <character>VOGLER<\/character>\n    <dialogue>Offer me your confession. I can offer you God's forgiveness.<\/dialogue>\n    <character>OLD SALIERI<\/character>\n    <dialogue>I do not seek forgiveness.<\/dialogue>\n    <character>VOGLER<\/character>\n    <dialogue>My son, there is something dreadful on your soul. Unburden it to me. I'm here only for you. Please talk to me.<\/dialogue>\n    <character>OLD SALIERI<\/character>\n    <dialogue>How well are you trained in music?<\/dialogue>\n    <character>VOGLER<\/character>\n    <dialogue>I know a little. I studied it in my youth.<\/dialogue>\n    <character>OLD SALIERI<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>VOGLER<\/character>\n    <dialogue>Here in Vienna.<\/dialogue>\n    <character>OLD SALIERI<\/character>\n    <dialogue>Then you must know this.<\/dialogue>\n    <scene_description>He propels his wheelchair to the forte - piano , and plays an unrecognizable melody .<\/scene_description>\n    <character>VOGLER<\/character>\n    <dialogue>I ca n't say I do. What is it?<\/dialogue>\n    <character>OLD SALIERI<\/character>\n    <dialogue>I'm surprised you do n't know. It was a very popular tune in its day. I wrote it. How about this?<\/dialogue>\n    <scene_description>He plays another tune .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <dialogue>This one brought down the house when we played it first.<\/dialogue>\n    <scene_description>He plays it with growing enthusiasm .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE STAGE OF AN OPERA HOUSE - NIGHT - 1780'S<\/stage_direction>\n    <scene_description>We see the pretty soprano KATHERINA CAVALIERI , now about twenty - four , dressed in an elaborate mythological Persian costume , singing on stage . She 's near the end of a very florid aria by Salieri . The audience applauds wildly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLD SALIERI'S HOSPITAL ROOM - LATE AFTERNOON - 1823<\/stage_direction>\n    <character>OLD SALIERI<\/character>\n    <parenthetical>( taking his hands off the keys . )<\/parenthetical>\n    <dialogue>Well?<\/dialogue>\n    <character>VOGLER<\/character>\n    <dialogue>I regret it is not too familiar.<\/dialogue>\n    <character>OLD SALIERI<\/character>\n    <dialogue>Can you recall no melody of mine? I was the most famous composer in Europe when you were still a boy. I wrote forty operas alone. What about this little thing?<\/dialogue>\n    <scene_description>Slyly he plays the opening measure of Mozart 's Eine Kleine Nachtmusik . The priest nods , smiling suddenly , and hums a little with the music .<\/scene_description>\n    <character>VOGLER<\/character>\n    <dialogue>Oh, I know that! That's charming! I did n't know you wrote that.<\/dialogue>\n    <character>OLD SALIERI<\/character>\n    <dialogue>I did n't. That was Mozart. Wolfgang Amadeus Mozart. You know who that is?<\/dialogue>\n    <character>VOGLER<\/character>\n    <dialogue>Of course. The man you accuse yourself of killing.<\/dialogue>\n    <character>OLD SALIERI<\/character>\n    <dialogue>Ah - you've heard that?<\/dialogue>\n    <character>VOGLER<\/character>\n    <dialogue>All Vienna has heard that.<\/dialogue>\n    <character>OLD SALIERI<\/character>\n    <parenthetical>( eagerly . )<\/parenthetical>\n    <dialogue>And do they believe it?<\/dialogue>\n    <character>VOGLER<\/character>\n    <dialogue>Is it true?<\/dialogue>\n    <character>OLD SALIERI<\/character>\n    <dialogue>Do you believe it?<\/dialogue>\n    <character>VOGLER<\/character>\n    <dialogue>Should I?<\/dialogue>\n    <scene_description>A very long pause . Salieri stares above the priest , seemingly lost in his own private world .<\/scene_description>\n    <character>VOGLER<\/character>\n    <dialogue>For God's sake, my son, if you have anything to confess, do it now! Give yourself some peace!<\/dialogue>\n    <scene_description>A further pause .<\/scene_description>\n    <character>VOGLER<\/character>\n    <dialogue>Do you hear me?<\/dialogue>\n    <character>OLD SALIERI<\/character>\n    <dialogue>He was murdered, Father! Mozart! Cruelly murdered.<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>VOGLER<\/character>\n    <parenthetical>( almost whispering . )<\/parenthetical>\n    <dialogue>Yes? Did you do it?<\/dialogue>\n    <scene_description>Suddenly Old Salieri turns to him , a look of extreme innocence .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <dialogue>He was my idol! I ca n't remember a time when I did n't know his name! When I was only fourteen he was already famous. Even in Legnago - the tiniest town in Italy - I knew of him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A SMALL TOWN SQUARE IN LOMBARDY, ITALY - DAY - 1780'S<\/stage_direction>\n    <scene_description>There are twelve children and twenty adults in the square . We see the fourteen - year - old Salieri blindfolded , playing a game of Blindman 's Bluff with other Italian children , running about in the bright sunshine and laughing .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I was still playing childish games when he was playing music for kings and emperors. Even the Pope in Rome!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A SALON IN THE VATICAN - DAY - 1780'S<\/stage_direction>\n    <scene_description>We see the six - year - old MOZART , also blindfolded , seated in a gilded chair on a pile of books , playing the harpsichord for the POPE and a suite of CARDINALS and other churchmen . Beside the little boy stands LEOPOLD , his father , smirking with pride .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I admit I was jealous when I heard the tales they told about him. Not of the brilliant little prodigy himself, but of his father, who had taught him everything.<\/dialogue>\n    <scene_description>The piece finishes . Leopold lowers the lid of the harpsichord and lifts up his little son to stand on it . Mozart removes the blindfold to show a pale little face with staring eyes . Both father and son bow . A Papal Chamberlain presents Leopold with a gold snuff box whilst the cardinals decorously applaud . Over this scene Old Salieri speaks .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>My father did not care for music. He wanted me only to be a merchant, like himself. As anonymous as he was. When I told how I wished I could be like Mozart, he would say, Why? Do you want to be a trained monkey? Would you like me to drag you around Europe doing tricks like a circus freak? How could I tell him what music meant to me?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A COUNTRY CHURCH IN NORTH ITALY - DAY - 1780'S<\/stage_direction>\n    <scene_description>Serene music of the Italian Baroque - Pergolesi 's Stabat Mater - sung by a choir of boys with organ accompaniment . We see the outside of the 17th - century church sitting in the wide landscape of Lombardy : sunlit fields , a dusty , white road , poplar trees .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CHURCH AT LEGNAGO - DAY - 1780'S<\/stage_direction>\n    <scene_description>The music continues and swells . We see the twelve - year - old Salieri seated between his plump and placid parents in the congregation , listening in rapture . His father is a heavy - looking , self - approving man , obviously indifferent to the music . A large and austere Christ on the cross hangs over the altar . Candles burn below his image .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Even then a spray of sounded notes could make me dizzy, almost to falling.<\/dialogue>\n    <scene_description>The boy falls forward on his knees . So do his parents and the other members of the congregation . He stares up at Christ who stares back at him .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Whilst my father prayed earnestly to God to protect commerce, I would offer up secretly the proudest prayer a boy could think of. Lord, make me a great composer! Let me celebrate your glory through music - and be celebrated myself! Make me famous through the world, dear God! Make me immortal! After I die let people speak my name forever with love for what I wrote! In return I vow I will give you my chastity - my industry, my deepest humility, every hour of my life. And I will help my fellow man all I can. Amen and amen!<\/dialogue>\n    <scene_description>The music swells to a crescendo . The candles flare . We see the Christ through the flames looking at the boy benignly .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And do you know what happened? A miracle!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM IN THE SALIERI HOUSE - DAY - 1780'S<\/stage_direction>\n    <scene_description>CU , a large cooked fish on a thick china plate . Camera pulls back to show the Salieri family at dinner . Father Salieri sits at the head of the table , a napkin tucked into his chin . Mother Salieri is serving the fish into portions and handing them round . Two maiden aunts are in attendance , wearing black , and of course the young boy . Father Salieri receives his plate of fish and starts to eat greedily . Suddenly there is a gasp - he starts to choke violently on a fish bone . All the women get up and crowd around him , thumping and pummeling him , but it is in vain . Father Salieri collapses .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLD SALIERI'S HOSPITAL ROOM - LATE AFTERNOON - 1823<\/stage_direction>\n    <character>OLD SALIERI<\/character>\n    <dialogue>Suddenly he was dead. Just like that! And my life changed forever. My mother said, Go. Study music if you really want to. Off with you! And off I went as quick as I could and never saw Italy again. Of course, I knew God had arranged it all ; that was obvious. One moment I was a frustrated boy in an obscure little town. The next I was here, in Vienna, city of musicians, sixteen years old and studying under Gluck! Gluck, Father. Do you know who he was? The greatest composer of his time. And he loved me! That was the wonder. He taught me everything he knew. And when I was ready, introduced me personally to the Emperor! Emperor Joseph - the musical king! Within a few years I was his court composer. Was n't that incredible? Imperial Composer to His Majesty! Actually the man had no ear at all, but what did it matter? He adored my music, that was enough. Night after night I sat right next to the Emperor of Austria, playing duets with him, correcting the royal sight - reading. Tell me, if you had been me, would n't you have thought God had accepted your vow? And believe me, I honoured it. I was a model of virtue. I kept my hands off women, worked hours every day teaching students, many of them for free, sitting on endless committees to help poor musicians - work and work and work, that was all my life. And it was wonderful! Everybody liked me. I liked myself. I was the most successful musician in Vienna. And the happiest. Till he came. Mozart.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE ARCHBISHOP OF SALZBURG'S RESIDENCE - VIENNA - DAY  1780'S<\/stage_direction>\n    <scene_description>A grand room crowded with guests . A small group of Gypsy musicians is playing in the background . Thirteen members of the Archbishop 's orchestra - all wind players , complete with 18th - century wind instruments : elaborate - looking bassoons , basset horns , etc. and wearing their employer 's livery - are laying out music on stands at one end of the room . At the other end is a large gilded chair , bearing the arms of the ARCHBISHOP OF SALZBURG . A throng of people is standing , talking , and preparing to sit upon the rows of waiting chairs to hear a concert .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>One day he came to Vienna to play some of his music at the residence of his employer, the Prince - Archbishop of Salzburg. Eagerly I went there to seek him out. That night changed my life.<\/dialogue>\n    <scene_description>We see Salieri , age thirty - one , a neat , carefully turned - cut man in decent black clothes and clean white linen , walking through the crowd of guests . We follow him .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>As I went through the salon, I played a game with myself. This man had written his first concerto at the age of four ; his first symphony at seven ; a full - scale opera at twelve. Did it show? Is talent like that written on the face?<\/dialogue>\n    <scene_description>We see shots of assorted young men staring back at Salieri as he moves through the crowd .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Which one of them could he be?<\/dialogue>\n    <scene_description>Some of the men recognize Salieri and bow respectfully . Then suddenly a servant bearing a large tray of cakes and pastries stalks past . Instantly riveted by the sight of such delights , Salieri follows him out of the Grand Salon .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A PALACE CORRIDOR - DAY - 1780'S<\/stage_direction>\n    <scene_description>The servant marches along bearing his tray of pastries aloft . Salieri follows him . The servant turns into :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUFFET ROOM IN THE PALACE - DAY - 1780'S<\/stage_direction>\n    <scene_description>Salieri 's POV : several tables , dressed to the floor with cloths are loaded with many plates of confectionery . It is , in fact , Salieri 's idea of paradise ! The servant puts his tray down on one of the tables and withdraws from the room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A PALACE CORRIDOR - DAY - 1780'S<\/stage_direction>\n    <scene_description>Salieri turns away so as not to be noticed by the servant . As soon as the man disappears , Salieri sneaks into the buffet room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUFFET ROOM IN THE PALACE - DAY - 1780'S<\/stage_direction>\n    <scene_description>Salieri enters the room and looks about him cautiously . He is salivating with anticipation as he stares at the feast of sweet things . His attention is attracted in particular by a huge pile of dark chocolate balls arranged in the shape of a pineapple . He reaches out a hand to steal one of the balls , but at the same moment he hears giggling coming toward him . He ducks down behind the pastry table . A girl - CONSTANZE - rushes into the room . She runs straight across it and hides herself behind one of the tables . After a beat of total silence , MOZART runs into the room , stops , and looks around . He is age twenty - six , wearing a fine wig and a brilliant coat with the insignia of the Archbishop of Salzburg upon it . He is puzzled ; Constanze has disappeared . Baffled , he turns and is about to leave the room , when Constanze suddenly squeaks from under the cloth like a tiny mouse . Instantly Mozart drops to all fours and starts crawling across the floor , meowing and hissing like a naughty cat . Watched by an astonished Salieri , Mozart disappears under the cloth and obviously pounces upon Constanze . We hear a high - pitched giggle , which is going to characterize Mozart throughout the film .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE GRAND SALON - DAY - 1780'S<\/stage_direction>\n    <scene_description>The throng is mostly seated . The musicians are in their places , holding their various exotic - looking wind instruments ; the candles are all lit . A Majordomo appears and bangs his staff on the floor for attention . Immediately COLLOREDO , Prince - Archbishop of Salzburg enters . He is a small self - important figure of fifty in a wig , surmounted by a scarlet skullcap . He is followed by his Chamberlain , the Count ARCO . Everyone stands . The Archbishop goes to his throne and sits . His guests sit also . Arco gives the signal to start the music . Nothing happens . Instead , a wind musician gets up , approaches the Chamberlain and whispers in his ear . Arco in turn whispers to the Archbishop .<\/scene_description>\n    <character>ARCO<\/character>\n    <dialogue>Mozart is not here.<\/dialogue>\n    <character>COLLOREDO<\/character>\n    <dialogue>Where is he?<\/dialogue>\n    <character>ARCO<\/character>\n    <dialogue>They're looking for him, Your Grace.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A PALACE CORRIDOR - DAY - 1780'S<\/stage_direction>\n    <scene_description>Three servants are opening doors and looking into rooms going off the corridor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE GRAND SALON - DAY - 1780'S<\/stage_direction>\n    <scene_description>The guests are turning around and looking at the Archbishop . The musicians are watching . There is puzzlement and a murmur of comment . The Archbishop tightens his lip .<\/scene_description>\n    <character>COLLOREDO<\/character>\n    <parenthetical>( to Arco . )<\/parenthetical>\n    <dialogue>We'll start without him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   PALACE BUFFET ROOM - DAY - 1780'S<\/stage_direction>\n    <scene_description>Mozart is on his knees before the tablecloth , which reaches to the floor . Under it is Constanze . We hear her giggling as he talks .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Miaouw! Miaouw! Mouse - wouse? It's Puss - wuss, fangs - wangs. Paws - claws. Pounce - bounce!<\/dialogue>\n    <scene_description>He grabs her ankle . She screams . He pulls her out by her leg .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>Stop it. Stop it!<\/dialogue>\n    <scene_description>They roll on the floor . He tickles her .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>Stop it!<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>I am! I am! I'm stopping it - slowly. You see! Look, I've stopped. Now we are going back.<\/dialogue>\n    <scene_description>He tries to drag her back under the table .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>No! No! No!<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Yes! Back! Back! Listen - do n't you know where you are?<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>We are in the Residence of the Fartsbishop of Salzburg.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Fartsbishop!<\/dialogue>\n    <scene_description>She laughs delightedly , then addresses an imaginary Archbishop .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>Your Grace, I've got something to tell you. I want to complain about this man.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Go ahead, tell him. Tell them all. They wo n't understand you anyway.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Because here everything goes backwards. People walk backwards, dance backwards, sing backwards, and talk backwards.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>That's stupid.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Why? People fart backwards.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Do you think that's funny?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Yes, I think it's brilliant. You've been doing it for years.<\/dialogue>\n    <scene_description>He gives a high pitched giggle .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>Oh, ha, ha, ha.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Sra - I'm - sick! Sra - I'm sick!<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Yes, you are. You're very sick.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>No, no. Say it backwards, shit - wit. Sra - I'm - sick Say it backwards!<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <parenthetical>( working it out . )<\/parenthetical>\n    <dialogue>Sra - I'm - sick. Sick - kiss I'm - my Kiss my! Sra - I'm - sick - Kiss my arse!<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Em iram! Em iram!<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>No, I'm not playing this game.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>No, this is serious. Say it backwards.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Just say it - you'll see. It's very serious. Em iram! Em iram!<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Iram - marry Em - marry me! No, no! You're a fiend. I'm not going to marry a fiend. A dirty fiend at that.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Ui - vol - i - tub!<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Tub - but i - tub - but I vol - love but I love ui - You. I love you!<\/dialogue>\n    <scene_description>The mood becomes suddenly softer . She kisses him . They embrace . Then he spoils it .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Tish - I'm tee. What's that?<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Tish - I'm - tee.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Eat<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Eat my - ah!<\/dialogue>\n    <scene_description>Shocked , she strikes at him . At the same moment the music starts in the salon next door . We hear the opening of the Serenade for Thirteen Wind Instruments , K.<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>My music! They've started! They've started without me!<\/dialogue>\n    <scene_description>He leaps up , disheveled and rumpled and runs out of the room . Salieri watches in amazement and disgust .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE CORRIDOR - DAY - 1780'S<\/stage_direction>\n    <scene_description>The music is louder . Mozart hastens towards the Grand Salon away from the buffet room , adjusting his dress as he goes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRAND SALON - DAY - 1780'S<\/stage_direction>\n    <scene_description>The opening of the Serenade is being tentatively conducted by the leader of the wind - musicians . Guests turn around as Mozart appears - bowing to the Archbishop - and walks with an attempt at dignity to the dais where the wind band is playing . The leader yields his place to the composer and Mozart smoothly takes over conducting . Constanze , deeply embarrassed , sneaks into the room and seats herself at the back .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE BUFFET ROOM - DAY - 1780'S<\/stage_direction>\n    <scene_description>The music fades down . Salieri stands shocked from his inadvertent eavesdropping . After a second he moves almost in a trance toward the door ; the music dissolves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRAND SALON - DAY - 1780'S<\/stage_direction>\n    <scene_description>Mozart is conducting the Adagio from his Serenade -LRB- K. 361 -RRB- , guiding the thirteen wind instrumentalists . The squeezebox opening of the movement begins . Salieri appears at the door at the back of the salon . He stares in disbelief at Mozart .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>So that was he! That giggling, dirty - minded creature I'd just seen crawling on the floor. Mozart. The phenomenon whose legend had haunted my youth. Impossible.<\/dialogue>\n    <scene_description>The music swells up and Salieri listens to it with eyes closed - amazed , transported - suddenly engulfed by the sound . Finally it fades down and away and changes into applause . Salieri opens his eyes . The audience is clearly delighted . Mozart bows to them , also delighted . Colloredo rises abruptly , and without looking at Mozart or applauding and leaves the Salon . Count Arco approaches the composer . Mozart turns to him , radiant .<\/scene_description>\n    <character>ARCO<\/character>\n    <dialogue>Follow me, please. The Archbishop would like a word.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Certainly!<\/dialogue>\n    <scene_description>He follows Arco out of the room , through a throng of admirers .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANOTHER PALACE CORRIDOR - DAY - 1780'S<\/stage_direction>\n    <scene_description>Mozart and Arco walk side by side . They pass Salieri who is staring at Mozart in fascination . As they disappear , he steals toward the music stands , unable to help himself .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Well, I think that went off remarkably well, do n't you?<\/dialogue>\n    <character>ARCO<\/character>\n    <dialogue>Indeed.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>These Viennese certainly know good music when they hear it.<\/dialogue>\n    <character>ARCO<\/character>\n    <dialogue>His Grace is very angry with you.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <scene_description>They arrive at the door of Colloredo 's private apartment .<\/scene_description>\n    <character>ARCO<\/character>\n    <dialogue>You are to come in here and ask his pardon.<\/dialogue>\n    <scene_description>Arco opens the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARCHBISHOP'S PRIVATE ROOM - DAY - 1780'S<\/stage_direction>\n    <scene_description>The Archbishop is sitting , chatting to quests . Among them are several ladies . Arco approaches him obsequiously .<\/scene_description>\n    <character>ARCO<\/character>\n    <dialogue>Your Grace.<\/dialogue>\n    <character>COLLOREDO<\/character>\n    <dialogue>Ah, Mozart. Why?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Why what, sir?<\/dialogue>\n    <character>COLLOREDO<\/character>\n    <dialogue>Why do I have to be humiliated in front of my guests by one of my own servants?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Humiliated?<\/dialogue>\n    <character>COLLOREDO<\/character>\n    <dialogue>How much provocation am I to endure from you? The more license I allow you, the more you take.<\/dialogue>\n    <scene_description>The company watches this scene , deeply interested .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>If His Grace is not satisfied with me, he can dismiss me.<\/dialogue>\n    <character>COLLOREDO<\/character>\n    <dialogue>I wish you to return immediately to Salzburg. Your father is waiting for you there patiently. I will speak to you further when I come.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>No, Your Grace! I mean with all humility, no. I would rather you dismissed me. It's obvious I do n't satisfy.<\/dialogue>\n    <character>COLLOREDO<\/character>\n    <dialogue>Then try harder, Mozart. I have no intention of dismissing you. You will remain in my service and learn your place. Go now.<\/dialogue>\n    <scene_description>He extends his hand to be kissed . Mozart does it with a furious grace , then leaves the room . As he opens the door we see :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE CORRIDOR - DAY - 1780'S<\/stage_direction>\n    <scene_description>A group of people who have attended the concert , among them Constanze , are standing outside the private apartment . At sight of the composer they break into sustained applause . Mozart is suddenly delighted . He throws the door wide open so that the guests can see into the private apartment where the Archbishop sits - and he can see them . Colloredo is clearly discomfited by this reception of his employee . He smiles and bows uneasily , as they include him in the small ovation . Mozart stands in the corridor , out of the Archbishop 's line of sight , bowing and giggling , and encouraging the applause for the Archbishop with conducting gestures . Suddenly irritated , Colloredo signs to Arco , who steps forward and shuts the door , ending the applause .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE GRAND SALON - DAY - 1780'S<\/stage_direction>\n    <scene_description>Salieri , in this vast room , is standing and looking at the full score of the Serenade . He turns the pages back to the slow movement . Instantly , we again hear its lyrical strains . CU , Salieri , reading the score of the Adagio in helpless fascination . The music is played against his description of it .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Extraordinary! On the page it looked nothing. The beginning simple, almost comic. Just a pulse - bassoons and basset horns - like a rusty squeezebox. Then suddenly - high above it - an oboe, a single note, hanging there unwavering, till a clarinet took over and sweetened it into a phrase of such delight! This was no composition by a performing monkey! This was a music I'd never heard. Filled with such longing, such unfulfillable longing, it had me trembling. It seemed to me that I was hearing a voice of God.<\/dialogue>\n    <scene_description>Suddenly the music snaps off . Mozart stands before him as he lays down the score .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Excuse me!<\/dialogue>\n    <scene_description>He takes the score , bows , and struts briskly out of the room . Salieri stares uncomprehendingly after the jaunty little figure .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>But why?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823<\/stage_direction>\n    <character>OLD SALIERI<\/character>\n    <dialogue>Why? Would God choose an obscene child to be His instrument? It was not to be believed! This piece had to be an accident. It had to be!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE DINING ROOM - DAY - 1780'S<\/stage_direction>\n    <scene_description>At the table sits the EMPEROR JOSEPH II , eating his frugal dinner and sipping goat 's milk . He is an intelligent , dapper man of forty , wearing a military uniform . Around him but standing , are his Chamberlain , JOHANN VON STRACK : stiff and highly correct . COUNT ORSINI - ROSENBERG : a corpulent man of sixty , highly conscious of his position as Director of the Opera . BARON VON SWIETEN , the Imperial Librarian : a grave but kindly and educated man in his mid - fifties . FIRST KAPELLMEISTER GIUSEPPE BONNO : very Italian , cringing and time - serving , aged about seventy . And Salieri , wearing decorous black , as usual . At a side - table , two Imperial secretaries , using quill pens and inkstands , write down everything of importance that is said .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>How good is he, this Mozart?<\/dialogue>\n    <character>VON SWIETEN<\/character>\n    <dialogue>He's remarkable, Majesty. I heard an extraordinary serious opera of his last month. Idomeneo, King of Crete.<\/dialogue>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>That? A most tiresome piece. I heard it, too.<\/dialogue>\n    <character>VON SWIETEN<\/character>\n    <dialogue>Tiresome?<\/dialogue>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>A young man trying to impress beyond his abilities. Too much spice. Too many notes.<\/dialogue>\n    <character>VON SWIETEN<\/character>\n    <dialogue>Majesty, I thought it the most promising work I've heard in years.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Ah - ha. Well then, we should make some effort to acquire him. We could use a good German composer in Vienna, surely?<\/dialogue>\n    <character>VON STRACK<\/character>\n    <dialogue>I agree, Majesty, but I'm afraid it's not possible. The young man is still in the pay of the Archbishop.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Very small pay, I imagine. I'm sure he could be tempted with the right offer. Say, an opera in German for our National Theatre.<\/dialogue>\n    <character>VON SWIETEN<\/character>\n    <dialogue>Excellent, sire!<\/dialogue>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>But not German, I beg your Majesty! Italian is the proper language for opera. All educated people agree on that.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Ah - ha. What do you say, Chamberlain?<\/dialogue>\n    <character>VON STRACK<\/character>\n    <dialogue>In my opinion, it is time we had a piece in our own language, sir. Plain German. For plain people.<\/dialogue>\n    <scene_description>He looks defiantly at Orsini - Rosenberg .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>Ah - ha. Kapellmeister?<\/dialogue>\n    <character>BONNO<\/character>\n    <parenthetical>( Italian accent . )<\/parenthetical>\n    <dialogue>Majesty, I must agree with Herr Dirretore. Opera is an Italian art, solamente. German is - scusate - too bruta for singing, too rough.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Ah - ha. Court Composer, what do you say?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>I think it is an interesting notion to keep Mozart in Vienna, Majesty. It should really infuriate the Archbishop beyond measure - if that is your Majesty's intention.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>You are cattivo, Court Composer.<\/dialogue>\n    <parenthetical>( briskly , to Von Strack . )<\/parenthetical>\n    <dialogue>I want to meet this young man. Chamberlain, arrange a pleasant welcome for him.<\/dialogue>\n    <character>VON STRACK<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Well. There it is.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM IN SALIERI'S APARTMENT - DAY - 1780'S<\/stage_direction>\n    <scene_description>A somber room which serves both as a bedroom and a study . We see a four - poster bed . Also , a marble mantelpiece above which hangs a handsome cross in olivewood , bearing the figure of a severe Christ . Opposite this image sits Salieri at his desk , on which stands a pile of music paper , quill pens and ink . On one side of him is an open forte - piano on which he occasionally tries notes from the march he is composing , with some difficulty . He scratches notes out with his quill , and ruffles his hair - which we see without a powdered wig . There is a knock at the door .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Si.<\/dialogue>\n    <scene_description>A servant admits LORL , a young lower - class girl , who appears carrying a basket in which is a box covered with a napkin . She has just come from the baker 's shop .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Ah! Here she comes. Fraulein Lorl, good morning.<\/dialogue>\n    <character>LORL<\/character>\n    <dialogue>Good morning, sir.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>What have you got for me today? Let me see.<\/dialogue>\n    <scene_description>Greedily he unwraps the napkin and lifts the lid on the box .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Ah - ha! Siena macaroons - my favourites. Give my best thanks to the baker.<\/dialogue>\n    <character>LORL<\/character>\n    <dialogue>I will, sir.<\/dialogue>\n    <scene_description>He takes a biscuit and eats .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Thank you. Are you well today, Fraulein Lorl?<\/dialogue>\n    <character>LORL<\/character>\n    <dialogue>Yes, thank you, sir.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Bene! Bene!<\/dialogue>\n    <scene_description>She gives a little curtsey , flattered and giggling and is shown out . Salieri turns back to his work , chewing . He plays through a complete line of the march . He smiles , pleased with the result .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Grazie, Signore.<\/dialogue>\n    <scene_description>He inclines his head to the Christ above the fireplace , and starts to play the whole march , including the phrase which pleased him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A WIGMAKER'S SHOP - VIENNA - DAY - 1780'S<\/stage_direction>\n    <scene_description>The march continues on the forte - piano as we see Mozart , seated in front of a mirror , wearing an extravagant wig . On either side of him stands a SALESMAN , one of them holding another wig , equally extravagant . Mozart takes off the first wig , to reveal his own blonde hair , of which he is extremely proud , and hands it back .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>And the other one?<\/dialogue>\n    <scene_description>The Salesman puts the second wig on his head . Mozart pulls a face of doubt in the mirror .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>And the other one?<\/dialogue>\n    <scene_description>He takes it off and the other Salesman replaces it with the first wig on his head .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Oh, they're both so beautiful, I ca n't decide. Why do n't I have two heads?<\/dialogue>\n    <scene_description>He giggles . The music stops .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRAND SALON - THE ROYAL PALACE - DAY - 1780'S<\/stage_direction>\n    <scene_description>A door opens . We glimpse in the next room the Emperor Joseph bidding goodbye to a group of military officers standing around a table .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>Good, good, good.<\/dialogue>\n    <scene_description>He turns and comes into the salon , where another group awaits him . It consists of Von Strack , Orsini - Rosenberg , Bonno , Von Swieten and Salieri . The room contains several gilded chairs dotted about , and a forte - piano .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>Good morning, gentlemen.<\/dialogue>\n    <scene_description>All bow and say , Good morning , Your Majesty !<\/scene_description>\n    <character>JOSEPH<\/character>\n    <parenthetical>( to Von Strack . )<\/parenthetical>\n    <dialogue>Well, what do you have for me today?<\/dialogue>\n    <character>VON STRACK<\/character>\n    <dialogue>Your Majesty, Herr Mozart -<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Yes, what about him?<\/dialogue>\n    <character>VON STRACK<\/character>\n    <dialogue>He's here.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Ah - ha. Well. There it is. Good.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Majesty, I hope you wo n't think it improper, but I have written a little March of Welcome in his honour.<\/dialogue>\n    <scene_description>He produces a paper .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>What a charming idea. May I see?<\/dialogue>\n    <character>SALIERI<\/character>\n    <parenthetical>( handing it over . )<\/parenthetical>\n    <dialogue>It's just a trifle, of course.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>May I try it?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Majesty.<\/dialogue>\n    <scene_description>The Emperor goes to the instrument , sits and plays the first bars of it . Quite well .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>Delightful, Court Composer. Would you permit me to play it as he comes in?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>You do me too much honour, Sire.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Let's have some fun.<\/dialogue>\n    <parenthetical>( to the waiting Majordomo . )<\/parenthetical>\n    <dialogue>Bring in Herr Mozart, please. But slowly, slowly. I need a minute to practice.<\/dialogue>\n    <scene_description>The Majordomo bows and goes . The Emperor addresses himself to the march . He plays a wrong note .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>A - flat, Majesty.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Ah - ha!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE CORRIDOR - VIENNA - DAY - 1780'S<\/stage_direction>\n    <scene_description>Taking his instructions literally , the Majordomo is marching very slowly toward the salon door . He is followed by a bewildered Mozart , dressed very stylishly and wearing one of the wigs from the perruqier .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROYAL PALACE GRAND SALON - DAY - 1780'S<\/stage_direction>\n    <scene_description>Joseph finishes the march . The door opens .<\/scene_description>\n    <character>MAJORDOMO<\/character>\n    <dialogue>Herr Mozart.<\/dialogue>\n    <scene_description>Mozart comes in eagerly . Immediately the march begins , played by His Majesty . All the courtiers stand , listening with admiration . Joseph plays well , but applies himself fiercely to the manuscript . Mozart , still bewildered , regards the scene , but does not seem to pay attention to the music itself . It finishes and all clap obsequiously .<\/scene_description>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>Bravo, Your Majesty!<\/dialogue>\n    <character>VON STRACK<\/character>\n    <dialogue>Well done, Sire!<\/dialogue>\n    <scene_description>The Emperor rises , pleased with himself . He snatches the manuscript off the stand and holds it in his hand for the rest of the scene .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>Gentlemen, gentlemen, a little less enthusiasm, I beg you. Ah, Mozart.<\/dialogue>\n    <scene_description>He extends his hand . Mozart throws himself to his knees , and to Joseph 's discomfort kisses the royal hand with fervour .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Your Majesty!<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>No, no, please! It is not a holy relic.<\/dialogue>\n    <parenthetical>( raising Mozart up . )<\/parenthetical>\n    <dialogue>You know we have met already? In this very room. Perhaps you wo n't remember it, you were only six years old.<\/dialogue>\n    <parenthetical>( to the others . )<\/parenthetical>\n    <dialogue>He was giving the most brilliant little concert here. As he got off the stool, he slipped and fell. My sister Antoinette helped him up herself, and do you know what he did? Jumped straight into her arms and said, Will you marry me, yes or no?<\/dialogue>\n    <scene_description>Embarrassed , Mozart bursts into a wild giggle . Joseph helps him out .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>You know all these gentlemen, I'm sure.<\/dialogue>\n    <scene_description>Von Strack and Bonno nod .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>The Baron Von Swieten.<\/dialogue>\n    <character>VON SWIETEN<\/character>\n    <dialogue>I'm a great admirer of yours, young man. Welcome.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Oh, thank you.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>The Director of our Opera. Count Orsini - Rosenberg.<\/dialogue>\n    <character>MOZART<\/character>\n    <parenthetical>( bowing excitedly . )<\/parenthetical>\n    <dialogue>Oh sir, yes! The honour is mine. Absolutely.<\/dialogue>\n    <scene_description>Orsini - Rosenberg nods without enthusiasm .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>And here is our illustrious Court Composer, Herr Salieri.<\/dialogue>\n    <character>SALIERI<\/character>\n    <parenthetical>( taking his hand . )<\/parenthetical>\n    <dialogue>Finally! Such an immense joy. Diletto straordinario!<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>I know your work well, Signore. Do you know I actually composed some variations on a melody of yours?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Mio caro Adone.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Ah!<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>A funny little tune, but it yielded some good things.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>And now he has returned the compliment. Herr Salieri composed that March of Welcome for you.<\/dialogue>\n    <character>MOZART<\/character>\n    <parenthetical>( speaking expertly . )<\/parenthetical>\n    <dialogue>Really? Oh, grazie, Signore! Sono commosso! E un onore per mo eccezionale. Compositore brilliante e famossissimo!<\/dialogue>\n    <scene_description>He bows elaborately . Salieri inclines himself , dryly .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>My pleasure.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Well, there it is. Now to business. Young man, we are going to commission an opera from you. What do you say?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Majesty!<\/dialogue>\n    <character>JOSEPH<\/character>\n    <parenthetical>( to the courtiers . )<\/parenthetical>\n    <dialogue>Did we vote in the end for German or Italian?<\/dialogue>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>Well, actually, Sire, if you remember, we did finally incline to Italian.<\/dialogue>\n    <character>VON STRACK<\/character>\n    <dialogue>Did we?<\/dialogue>\n    <character>VON SWIETEN<\/character>\n    <dialogue>I do n't think it was really decided, Director.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Oh, German! German! Please let it be German.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Why so?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Because I've already found the most wonderful libretto!<\/dialogue>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>Oh? Have I seen it?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>I - I do n't think you have, Herr Director. Not yet. I mean, it's quite n - Of course, I'll show it to you immediately.<\/dialogue>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>I think you'd better.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Well, what is it about? Tell us the story.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>It's actually quite amusing, Majesty. It's set - the whole thing is set in a - in a -<\/dialogue>\n    <scene_description>He stops short with a little giggle .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>Yes, where?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>In a Pasha's Harem, Majesty. A Seraglio.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Ah - ha.<\/dialogue>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>You mean in Turkey?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Exactly.<\/dialogue>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>Then why especially does it have to be in German?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Well not especially. It can be in Turkish, if you really want. I do n't care.<\/dialogue>\n    <scene_description>He giggles again . Orsini - Rosenberg looks at him sourly .<\/scene_description>\n    <character>VON SWIETEN<\/character>\n    <parenthetical>( kindly . )<\/parenthetical>\n    <dialogue>My dear fellow, the language is not finally the point. Do you really think that subject is quite appropriate for a national theatre?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Why not? It's charming. I mean, I do n't actually show concubines exposing their! their! It's not indecent!<\/dialogue>\n    <parenthetical>( to Joseph . )<\/parenthetical>\n    <dialogue>It's highly moral, Majesty. It's full of proper German virtues. I swear it. Absolutely!<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Well, I'm glad to hear that.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Excuse me, Sire, but what do you think these could be? Being a foreigner, I would love to learn.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Cattivo again, Court Composer. Well, tell him, Mozart. Name us a German virtue.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Love, Sire!<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Ah, love! Well of course in Italy we know nothing about that.<\/dialogue>\n    <scene_description>The Italian faction - Orsini - Rosenberg and Bonno - laugh discreetly .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>No, I do n't think you do. I mean watching Italian opera, all those male sopranos screeching. Stupid fat couples rolling their eyes about! That's not love - it's just rubbish.<\/dialogue>\n    <scene_description>An embarrassed pause . Bonno giggles in nervous amusement .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Majesty, you choose the language. It will be my task to set it to the finest music ever offered a monarch.<\/dialogue>\n    <scene_description>Pause . Joseph is clearly pleased .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>Well, there it is. Let it be German.<\/dialogue>\n    <scene_description>He nods - he has wanted this result all the time . He turns and makes for the door . All bow . Then he becomes aware of the manuscript in his hand .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>Ah, this is yours.<\/dialogue>\n    <scene_description>Mozart does not take it .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Keep it, Sire, if you want to. It is already here in my head.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>What? On one hearing only?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>I think so, Sire, yes.<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>Show me.<\/dialogue>\n    <scene_description>Mozart bows and hands the manuscript back to the Emperor . Then he goes to the forte - piano and seats himself . The others , except for Salieri , gather around the manuscript held by the King . Mozart plays the first half of the march with deadly accuracy .<\/scene_description>\n    <character>MOZART<\/character>\n    <parenthetical>( to Salieri . )<\/parenthetical>\n    <dialogue>The rest is just the same, is n't it?<\/dialogue>\n    <scene_description>He plays the first half again but stops in the middle of a phrase , which he repeats dubiously .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>That really does n't work, does it?<\/dialogue>\n    <scene_description>All the courtiers look at Salieri .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Did you try this? Would n't it be just a little more -?<\/dialogue>\n    <scene_description>He plays another phrase .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Or this - yes, this! Better.<\/dialogue>\n    <scene_description>He plays another phrase . Gradually , he alters the music so that it turns into the celebrated march to be used later in The Marriage of Figaro , Non Piu Andrai . He plays it with increasing abandon and virtuosity . Salieri watches with a fixed smile on his face . The court watches , astonished . He finishes in great glory , takes his hands off the keys with a gesture of triumph - and grins .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM IN SALIERI'S APARTMENT - DAY - 1780'S<\/stage_direction>\n    <scene_description>We see the olivewood cross . Salieri is sitting at his desk , staring at it .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Grazie, Signore.<\/dialogue>\n    <scene_description>There is a knock at the door . He does not hear it , but sits on . Another knock , louder .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <scene_description>Lorl comes in .<\/scene_description>\n    <character>LORL<\/character>\n    <dialogue>Madame Cavalieri is here for her lesson, sir.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Bene.<\/dialogue>\n    <scene_description>He gets up and enters :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSIC ROOM IN SALIERI'S APARTMENT - DAY - 1780'S<\/stage_direction>\n    <scene_description>KATHERINA CAVALIERI , a young , high - spirited soprano of twenty is waiting for him , dressed in a fashionable dress and wearing on her head an exotic turban of satin , with a feather . Lorl exits .<\/scene_description>\n    <character>CAVALIERI<\/character>\n    <parenthetical>( curtseying to him . )<\/parenthetical>\n    <dialogue>Maestro.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Good morning.<\/dialogue>\n    <character>CAVALIERI<\/character>\n    <parenthetical>( posing , in her turban . )<\/parenthetical>\n    <dialogue>Well? How do you like it? It's Turkish. My hairdresser tells me everything's going to be Turkish this year!<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Really? What else did he tell you today? Give me some gossip.<\/dialogue>\n    <character>CAVALIERI<\/character>\n    <dialogue>Well, I heard you met Herr Mozart.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Oh? News travels fast in Vienna.<\/dialogue>\n    <character>CAVALIERI<\/character>\n    <dialogue>And he's been commissioned to write an opera. Is it true?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>CAVALIERI<\/character>\n    <dialogue>Is there a part for me?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>CAVALIERI<\/character>\n    <dialogue>How do you know?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Well even if there is, I do n't think you want to get involved with this one.<\/dialogue>\n    <character>CAVALIERI<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Well, do you know where it's set, my dear?<\/dialogue>\n    <character>CAVALIERI<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>In a harem.<\/dialogue>\n    <character>CAVALIERI<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>A brothel.<\/dialogue>\n    <character>CAVALIERI<\/character>\n    <dialogue>Oh!<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>A Turkish brothel.<\/dialogue>\n    <character>CAVALIERI<\/character>\n    <dialogue>Turkish? Oh, if it's Turkish, that's different. I want to be in it.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>My dear, it will hardly enhance your reputation to be celebrated throughout Vienna as a singing prostitute for a Turk.<\/dialogue>\n    <scene_description>He seats himself at the forte - piano .<\/scene_description>\n    <character>CAVALIERI<\/character>\n    <dialogue>Oh. Well perhaps you could introduce us anyway.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Perhaps.<\/dialogue>\n    <scene_description>He plays a chord . She sings a scale , expertly . He strikes another chord . She starts another scale , then breaks off .<\/scene_description>\n    <character>CAVALIERI<\/character>\n    <dialogue>What does he look like?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>You might be disappointed.<\/dialogue>\n    <character>CAVALIERI<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Looks and talent do n't always go together, Katherina.<\/dialogue>\n    <character>CAVALIERI<\/character>\n    <parenthetical>( airily . )<\/parenthetical>\n    <dialogue>Looks do n't concern me, Maestro. Only talent interests a woman of taste.<\/dialogue>\n    <scene_description>He strikes the chord again , firmly . Cavalieri sings her next scale , then another one , and another one , doing her exercises in earnest . As she hits a sustained high note the orchestral accompaniment in the middle of Martern Aller Arten from Il Seraglio comes in underneath and the music changes from exercises to the exceedingly florid aria . We DISSOLVE on the singer 's face , and she is suddenly not merely turbaned , but painted and dressed totally in a Turkish manner , and we are on :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OPERA STAGE - VIENNA - 1780'S<\/stage_direction>\n    <scene_description>The heroine of the opera -LRB- Cavalieri -RRB- is in full cry addressing the Pasha with scorn and defiance . The house is full . Watching the performance - which is conducted by Mozart from the clavier in the midst of the orchestra - we note Von Strack , Orsini - Rosenberg , Bonno and Von Swieten , all grouped around the Emperor , in a box . In another box we see an overdressed , middle - aged woman and three girls , one of whom is Constanze . This is the formidable MADAME WEBER and her three daughters , Constanze , JOSEFA and SOPHIE . All are enraptured by the spectacle and Madame Weber is especially enraptured by being there at all . Not so , Salieri , who sits in another box , coldly watching the stage . Cavalieri is singing Martern aller Arten from the line Doch du bist entschlossen .<\/scene_description>\n    <character>CAVALIERI<\/character>\n    <dialogue>Since you are determined, Since you are determined, Calmly, with no ferment, Welcome - every pain and woe. Bind me then - compel me! Bind me then - compel me! Hurt me. Break me! Kill me! At last I shall be freed by death!<\/dialogue>\n    <scene_description>After a few moments of this showy aria , with the composer and the singer staring at each other - he conducting elaborately for her benefit , and she following his beat with rapturous eyes - the music fades , and Salieri speaks over it .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>There she was. I had no idea where they met - or how - yet there she stood on stage for all to see. Showing off like the greedy songbird she was. Ten minutes of ghastly scales and arpeggios, whizzing up and down like fireworks at a fairground.<\/dialogue>\n    <scene_description>Music up again for the last 30 bars of the aria .<\/scene_description>\n    <character>CAVALIERI<\/character>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>Be freed at last by death! Be freed at last by death! At last I shall be freed By! Death!<\/dialogue>\n    <scene_description>Before the orchestral coda ends , cut to :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823<\/stage_direction>\n    <scene_description>Through the window we see that night has fallen .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <dialogue>Understand, I was in love with the girl. Or at least in lust. I was n't a saint. It took me the most tremendous effort to be faithful to my vow. I swear to you I never laid a finger on her. All the same, I could n't bear to think of anyone else touching her - least of all the Creature.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   THE OPERA HOUSE - VIENNA - NIGHT - 1780'S<\/stage_direction>\n    <scene_description>The brilliant Turkish finale of Seraglio bursts over us . All the cast is lined up on stage . Mozart is conducting with happy excitement .<\/scene_description>\n    <character>CAST OF SERAGLIO<\/character>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>Pasha Selim May he Live forever! Ever, ever, ever, ever! Honour to his regal name! Honour to his regal name! May his noble brow emblazon Glory, fortune, joy and fame! Honour be to Pasha Selim Honour to his regal name! Honour to his regal name!<\/dialogue>\n    <scene_description>The curtains fall . Much applause . The Emperor claps vigorously and - following his lead - so do the courtiers . The curtains part . Mozart applauds the singers who applaud him back . He skips up onto the stage amongst them . The curtains fall again as they all bow . In the auditorium , the chandeliers descend , filling it with light .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OPERA HOUSE STAGE -  VIENNA - NIGHT - 1780'S<\/stage_direction>\n    <scene_description>The curtains are down , and an excited hubbub of singers in costume surround Mozart and Cavalieri , all excited and chattering . Suddenly a hush . The Emperor is seen approaching from the wings , lit by flunkies holding candles . Von Strack , Orsini - Rosenberg and Von Swieten , amongst others , follow him . Also Salieri . The singers line up . Joseph stops at Cavalieri who makes a deep curtsey .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>Bravo, Madame. You are an ornament to our stage.<\/dialogue>\n    <character>CAVALIERI<\/character>\n    <dialogue>Majesty.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <parenthetical>( to Salieri . )<\/parenthetical>\n    <dialogue>And to you, Court Composer. Your pupil has done you great credit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACKSTAGE CORRIDOR -  VIENNA - NIGHT - 1780'S<\/stage_direction>\n    <character>MADAME WEBER<\/character>\n    <dialogue>Let us pass, please! Let us pass at once! We're with the Emperor.<\/dialogue>\n    <character>FLUNKY<\/character>\n    <dialogue>I am sorry, Madame. It is not permitted.<\/dialogue>\n    <character>MADAME WEBER<\/character>\n    <dialogue>Do you know who I am?<\/dialogue>\n    <parenthetical>( pointing to Constanze . )<\/parenthetical>\n    <dialogue>This is my daughter. I am Frau Weber. We are favoured guests!<\/dialogue>\n    <character>FLUNKY<\/character>\n    <dialogue>I am sorry, Madame, but I have my orders.<\/dialogue>\n    <character>MADAME WEBER<\/character>\n    <dialogue>Call Herr Mozart! You call Herr Mozart immediately! This is insupportable!<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Mother, please!<\/dialogue>\n    <character>MADAME WEBER<\/character>\n    <dialogue>Go ahead, Constanze. Just ignore this fellow.<\/dialogue>\n    <parenthetical>( pushing her . )<\/parenthetical>\n    <dialogue>Go ahead, dear!<\/dialogue>\n    <character>FLUNKY<\/character>\n    <parenthetical>( barring the way . )<\/parenthetical>\n    <dialogue>I am sorry, Madame, but no! I can not let anyone pass.<\/dialogue>\n    <character>MADAME WEBER<\/character>\n    <dialogue>Young man, I am no stranger to theatres. I'm no stranger to insolence!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OPERA HOUSE STAGE -  VIENNA - NIGHT - 1780'S<\/stage_direction>\n    <scene_description>All are applauding Cavalieri . The Emperor turns to Mozart .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>Well, Herr Mozart! A good effort. Decidedly that. An excellent effort! You've shown us something quite new today.<\/dialogue>\n    <scene_description>Mozart bows frantically : he is over - excited .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>It is new, it is, is n't it, Sire?<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Yes, indeed.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>And German?<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Oh, yes. Absolutely. German. Unquestionably!<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>So then you like it? You really like it, Your Majesty?<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Of course I do. It's very good. Of course now and then - just now and then - it gets a touch elaborate.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>What do you mean, Sire?<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Well, I mean occasionally it seems to have, how shall one say?<\/dialogue>\n    <parenthetical>( he stops in difficulty ; to Orsini - Rosenberg . )<\/parenthetical>\n    <dialogue>How shall one say, Director?<\/dialogue>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>Too many notes, Your Majesty?<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Exactly. Very well put. Too many notes.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>I do n't understand. There are just as many notes, Majesty, as are required. Neither more nor less.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>My dear fellow, there are in fact only so many notes the ear can hear in the course of an evening. I think I'm right in saying that, are n't I, Court Composer?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Yes! yes! er, on the whole, yes, Majesty.<\/dialogue>\n    <character>MOZART<\/character>\n    <parenthetical>( to Salieri . )<\/parenthetical>\n    <dialogue>But this is absurd!<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>My dear, young man, do n't take it too hard. Your work is ingenious. It's quality work. And there are simply too many notes, that's all. Cut a few and it will be perfect.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Which few did you have in mind, Majesty?<\/dialogue>\n    <scene_description>Pause . General embarrassment .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>Well. There it is.<\/dialogue>\n    <scene_description>Into this uncomfortable scene bursts a sudden eruption of noise and Madame Weber floods onto the stage , followed by her daughters . All turn to look at this amazing spectacle .<\/scene_description>\n    <character>MADAME WEBER<\/character>\n    <dialogue>Wolfi! Wolfi, my dear!<\/dialogue>\n    <scene_description>She moves toward Mozart with arms outstretched in an absurd theatrical gesture , then sees the Emperor . She stares at him , mesmerized , her mouth open , unable even to curtsey .<\/scene_description>\n    <character>MADAME WEBER<\/character>\n    <dialogue>Oh!<\/dialogue>\n    <scene_description>Mozart moves forward quickly .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Majesty, this is Madame Weber. She is my landlady.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Enchanted, Madame.<\/dialogue>\n    <character>MADAME WEBER<\/character>\n    <dialogue>Oh, Sire! such an honour! And, and, and these are my dear daughters. This is Constanze. She is the fiancee of Herr Mozart.<\/dialogue>\n    <scene_description>Constanze curtsies . CU , of Cavalieri , astonished at the news . CU , of Salieri , watching her receive it .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>Really? How delightful. May I ask when you marry?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Well - Well we have n't quite received my father's consent, Your Majesty. Not entirely. Not altogether.<\/dialogue>\n    <scene_description>He giggles uncomfortably .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>Excuse me, but how old are you?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Twenty - six.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Well, my advice is to marry this charming young lady and stay with us in Vienna.<\/dialogue>\n    <character>MADAME WEBER<\/character>\n    <dialogue>You see? You see? I've told him that, Your Majesty, but he wo n't listen to me.<\/dialogue>\n    <scene_description>Cavalieri is glaring at Mozart . Mozart looks hastily away from her .<\/scene_description>\n    <character>MADAME WEBER<\/character>\n    <dialogue>Oh, Your Majesty, you give such wonderful - such impeccable - such royal advice. I - I - May I?<\/dialogue>\n    <scene_description>She attempts to kiss the royal hand , but faints instead . The Emperor contemplates her prone body and steps back a pace .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>Well. There it is. Strack.<\/dialogue>\n    <scene_description>He nods pleasantly to all and leaves the stage , with his Chamberlain . All bow . Cavalieri turns with a savage look at Mozart and leaves the stage the opposite way , to her dressing room , tossing her plumed head . Salieri watches . Mozart stays for a second , indecisive whether to follow the soprano or help Madame Weber .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <parenthetical>( to Mozart . )<\/parenthetical>\n    <dialogue>Get some water!<\/dialogue>\n    <scene_description>He hurries away . The daughters gather around Madame Weber .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAVALIERI'S DRESSING ROOM - NIGHT - 1780'S<\/stage_direction>\n    <scene_description>Katherina sits fuming at her mirror . A dresser is taking the pins out of her wig as she stares straight ahead of her . Mozart sticks his head round the door .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Katherina! I'll tell you what I'm going to do. I'm going to write another aria for you. Something even more amazing for the second act. I have to get some water. Her mother is lying on the stage.<\/dialogue>\n    <character>CAVALIERI<\/character>\n    <dialogue>Do n't bother!<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CAVALIERI<\/character>\n    <dialogue>Do n't bother.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>I'll be right back.<\/dialogue>\n    <scene_description>He dashes off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OPERA HOUSE STAGE - VIENNA - NIGHT - 1780'S<\/stage_direction>\n    <scene_description>Constanze and Mozart make their way quickly through a crowd of actors in turbans and caftans , and stagehands carrying bits of the dismantled set of Seraglio . We see all the turmoil of backstage after a performance . A fireman passes Mozart carrying a small bucket of water . Mozart snatches it from him and pushes his way through the crowd to Madame Weber , who still lies prone on the stage . Mozart pushes through the crowd surrounding her and throws water on her face . She is instantly revived by the shock . Constanze assists her to rise .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>Are you all right?<\/dialogue>\n    <scene_description>Instead of being furious , Madame Weber smiles at them rapturously .<\/scene_description>\n    <character>MADAME WEBER<\/character>\n    <dialogue>Ah, what an evening! What a wise man we have for an Emperor. Oh, my children!<\/dialogue>\n    <parenthetical>( with sudden , hard briskness . )<\/parenthetical>\n    <dialogue>Now I want you to write your father exactly what His Majesty said.<\/dialogue>\n    <scene_description>The activity continues to swirl around them .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>You should really go home now, Frau Weber. Your carriage must be waiting.<\/dialogue>\n    <character>MADAME WEBER<\/character>\n    <dialogue>But are n't you taking us?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>I have to talk to the singers.<\/dialogue>\n    <character>MADAME WEBER<\/character>\n    <dialogue>That's all right ; we'll wait for you. Just do n't take all night.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAVALIERI'S DRESSING ROOM - NIGHT - 1780'S<\/stage_direction>\n    <scene_description>Cavalieri , still in costume , is marching up and down , very agitated .<\/scene_description>\n    <character>CAVALIERI<\/character>\n    <dialogue>Did you know? Had you heard?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CAVALIERI<\/character>\n    <dialogue>The marriage!<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Well, what does it matter to you?<\/dialogue>\n    <character>CAVALIERI<\/character>\n    <dialogue>Nothing! He can marry who he pleases. I do n't give a damn.<\/dialogue>\n    <scene_description>She catches him looking at her and tries to compose herself .<\/scene_description>\n    <character>CAVALIERI<\/character>\n    <dialogue>How was I? Tell me honestly.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>You were sublime.<\/dialogue>\n    <character>CAVALIERI<\/character>\n    <dialogue>What did you think of the music?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Extremely clever.<\/dialogue>\n    <character>CAVALIERI<\/character>\n    <dialogue>Meaning you did n't like it.<\/dialogue>\n    <scene_description>Mozart comes in unexpectedly .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Oh - excuse me!<\/dialogue>\n    <character>CAVALIERI<\/character>\n    <dialogue>Is her mother still lying on the floor?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>No, she's fine.<\/dialogue>\n    <character>CAVALIERI<\/character>\n    <dialogue>I'm so relieved.<\/dialogue>\n    <scene_description>She seats herself at her mirror and removes her wig .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Dear Mozart, my sincere congratulations.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Did you like it, then?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>How could I not?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>It really is the best music one can hear in Vienna today. Do n't you agree?<\/dialogue>\n    <character>CAVALIERI<\/character>\n    <dialogue>Is she a good fuck?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CAVALIERI<\/character>\n    <dialogue>I assume she's the virtuoso in that department. There ca n't be any other reason you'd marry someone like that.<\/dialogue>\n    <scene_description>Salieri looks astonished . There is a knock on the door .<\/scene_description>\n    <character>CAVALIERI<\/character>\n    <dialogue>Come in!<\/dialogue>\n    <scene_description>The door opens . Constanze enters .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>Excuse me, Wolfi. Mama is not feeling very well. Can we leave now?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>CAVALIERI<\/character>\n    <dialogue>No, no, no, no. You ca n't take him away now. This is his night. Wo n't you introduce us, Wolfgang?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Excuse us, Fraulein. Good night, Signore.<\/dialogue>\n    <scene_description>Mozart hurries Constanze out of the door . Cavalieri looks after them as they go , her voice breaking and rising out of control .<\/scene_description>\n    <character>CAVALIERI<\/character>\n    <dialogue>You really are full of surprises, are n't you? You are quite extraordinary, you little shit!<\/dialogue>\n    <scene_description>She turns and collapses , crying with rage , into Salieri 's arms . We focus on him .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>At that moment I knew beyond any doubt. He'd had her. The Creature had had my darling girl.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1820'S<\/stage_direction>\n    <scene_description>The old man speaks passionately to the priest .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <dialogue>It was incomprehensible. What was God up to? Here I was denying all my natural lust in order to deserve God's gift and there was Mozart indulging his in all directions - even though engaged to be married! - and no rebuke at all! Was it possible I was being tested? Was God expecting me to offer forgiveness in the face of every offense, no matter how painful? That was very possible. All the same, why him? Why use Mozart to teach me lessons in humility? My heart was filling up with such hatred for that little man. For the first time in my life I began to know really violent thoughts. I could n't stop them.<\/dialogue>\n    <character>VOGLER<\/character>\n    <dialogue>Did you try?<\/dialogue>\n    <character>OLD SALIERI<\/character>\n    <dialogue>Every day. Sometimes for hours I would pray!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALIERI'S APARTMENT - BEDROOM - DAY - 1780'S<\/stage_direction>\n    <scene_description>The young Salieri is kneeling in desperation before the Cross .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Please! Please! Send him away, back to Salzburg. For his sake as well as mine.<\/dialogue>\n    <scene_description>CU , Christ staring from the Cross .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDIENCE HALL - ARCHBISHOP'S PALACE - SALZBURG - DAY  1780'S<\/stage_direction>\n    <scene_description>We see Leopold kneeling now not to the Cross but to Archbishop Colloredo , sitting impassively on his throne . Count Arco stands beside him . Leopold is a desperate , once - handsome man of sixty , now far too much the subservient courtier .<\/scene_description>\n    <character>COLLOREDO<\/character>\n    <dialogue>No! I wo n't have him back.<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>But he needs to be here in Salzburg, Your Grace. He needs me and he needs you. Your protection, your understanding.<\/dialogue>\n    <character>COLLOREDO<\/character>\n    <dialogue>Hardly.<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>Oh sir, yes! He's about to make the worst mistake of his life. Some little Viennese slut is trying to trick him into marriage. I know my son. He is too simple to see the trap - and there is no one there who really cares for him.<\/dialogue>\n    <character>COLLOREDO<\/character>\n    <dialogue>I'm not surprised. Money seems to be more important to him than loyalty or friendship. He has sold himself to Vienna. Let Vienna look out for him.<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>Sir -<\/dialogue>\n    <character>COLLOREDO<\/character>\n    <dialogue>Your son is an unprincipled, spoiled, conceited brat.<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>Yes, sir, that's the truth. But do n't blame him. The fault is mine. I was too indulgent with him. But not again. Never again, I promise! I implore you - let me bring him back here. I'll make him give his word to serve you faithfully.<\/dialogue>\n    <character>COLLOREDO<\/character>\n    <dialogue>And how will you make him keep it?<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>Oh, sir, he's never disobeyed me in anything. Please, Your Grace, give him one more chance.<\/dialogue>\n    <character>COLLOREDO<\/character>\n    <dialogue>You have leave to try.<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>Oh, Your Grace - I thank Your Grace! I thank you!<\/dialogue>\n    <scene_description>In deepest gratitude he kisses the Archbishop 's hand . He motions Leopold to rise . We hear the first dark fortissimo chord which begins the Overture to Don Giovanni : the theme associated with the character of the Commendatore .<\/scene_description>\n    <character>LEOPOLD<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>My dear son.<\/dialogue>\n    <scene_description>The second fortissimo chord sounds .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A BAROQUE CHURCH - DAY - 1780'S<\/stage_direction>\n    <scene_description>We see a huge CU , of Mozart 's head , looking front and down , as if reading his father 's letter . We hear Leopold 's voice over this image , no longer whining and anxious , but impressive .<\/scene_description>\n    <character>LEOPOLD<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I write to you with urgent news. I am coming to Vienna. Take no further steps toward marriage until we meet. You are too gullible to see your own danger. As you honour the father who has devoted his entire life to yours, do as I bid, and await my coming.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>I will.<\/dialogue>\n    <scene_description>The camera pulls back to see that he is in fact kneeling beside Constanze . A PRIEST faces them . Behind them are Madame Weber , Josefa and Sophie Weber , and a very few others . Among them , a merry looking lady in bright clothes : the BARONESS WALDSTADTEN .<\/scene_description>\n    <character>PRIEST<\/character>\n    <dialogue>And will you, Constanze Weber, take this man, Wolfgang to be your lawful husband?<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>I will.<\/dialogue>\n    <character>PRIEST<\/character>\n    <dialogue>I now pronounce you man and wife.<\/dialogue>\n    <scene_description>The opening kyrie of the great Mass in C Minor is heard . Mozart and Constanze kiss . They are in tears . Madame Weber and her daughters look on approvingly . The music swells and continues under the following :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A ROOM IN LEOPOLD'S HOUSE - SALZBURG - NIGHT - 1780'S<\/stage_direction>\n    <scene_description>There is a view of a castle in background . Leopold sits alone in his room . He is reading a letter from Wolfgang . At his feet are his trunks , half - packed for the journey he will not now take . We hear Mozart 's voice reading the following letter and we see , as the camera roves around the room , mementos of the young prodigy 's early life : the little forte - piano made for him ; the little violin made for him ; an Order presented to him . We see a little starling in a wicker cage . And we see portraits of the boy on the walls , concluding with the familiar family portrait of Wolfgang and his sister Nannerl seated at the keyboard with Leopold standing , and the picture of their mother on the wall behind them .<\/scene_description>\n    <character>MOZART<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Most beloved father, it is done. Do not blame me that I did not wait to see your dear face. I knew you would have tried to dissuade me from my truest happiness and I could not have borne it. Your every word is precious to me. Remember how you have always told me Vienna is the City of Musicians. To conquer here is to conquer Europe! With my wife I can do it. I vow I will become regular in my habits and productive as never before. She is wonderful, Papa, and I know that you will love her. And one day soon when I am a wealthy man, you will come and live with us, and we will be so happy. I long for that day, best of Papas, and kiss your hand a hundred thousand times.<\/dialogue>\n    <scene_description>The music of the Mass fades as Leopold crumples the letter in his hand .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE IMPERIAL GARDENS - VIENNA - DAY - 1780'S<\/stage_direction>\n    <scene_description>Salieri stands waiting , hat in hand . Beside him stands a royal servant . Behind him , gardeners are glimpsed tending the shrubs and bushes along a grassy ride . Down this ride are seen cantering two people on horseback : the Emperor Joseph and his niece , the PRINCESS ELIZABETH . They are mounted on glossy horses . The Princess rides side - saddle . Running beside her is a panting groom . The Emperor rides elegantly ; his niece , a dumpy little Hapsburg girl of sixteen , like a sack of potatoes . As they draw level with Salieri they stop , and the groom holds the head of the Princess ' horse . Salieri bows respectfully .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>Good morning, Court Composer. This is my niece, the Princess Elizabeth.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Your Highness.<\/dialogue>\n    <scene_description>Out of breath , the Princess nods nervously .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>She has asked me to advise her on a suitable musical instructor. I think I've come up with an excellent idea.<\/dialogue>\n    <scene_description>He smiles at Salieri .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Oh, Your Majesty, it would be such a tremendous honour!<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>I'm thinking about Herr Mozart. What is your view?<\/dialogue>\n    <scene_description>Salieri 's face falls , almost imperceptibly .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>An interesting idea, Majesty. But -<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>You already commissioned an opera from Mozart.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>And the result satisfies.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Yes, of course. My concern is to protect you from any suspicion of favouritism.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Ah - ha. Favouritism. But I so want Mozart.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>I'm sure there is a way, Majesty. Some kind of a little contest. I could perhaps put together a small Committee, and I could see to it naturally that it will select according to Your Majesty's wishes.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>You please me, Court Composer. A very clever idea.<\/dialogue>\n    <character>SALIERI<\/character>\n    <parenthetical>( bowing . )<\/parenthetical>\n    <dialogue>Sire.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Well. There it is.<\/dialogue>\n    <scene_description>He rides on . The groom releases her horse 's head , and runs on after the Princess .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHAMBERLAIN VON STRACK'S STUDY - DAY - 1780'S<\/stage_direction>\n    <scene_description>Von Strack sits stiffly behind his gilded desk . Mozart stands before him , trembling with anger .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>What is this, Herr Chamberlain?<\/dialogue>\n    <character>VON STRACK<\/character>\n    <dialogue>What is what?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Why do I have to submit samples of my work to some stupid committee? Just to teach a sixteen - year - old girl.<\/dialogue>\n    <character>VON STRACK<\/character>\n    <dialogue>Because His Majesty wishes it.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Is the Emperor angry with me?<\/dialogue>\n    <character>VON STRACK<\/character>\n    <dialogue>On the contrary.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Then why does n't he simply appoint me to the post?<\/dialogue>\n    <character>VON STRACK<\/character>\n    <dialogue>Mozart, you are not the only composer in Vienna.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>No, but I'm the best.<\/dialogue>\n    <character>VON STRACK<\/character>\n    <dialogue>A little modesty would suit you better.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Who is on this committee?<\/dialogue>\n    <character>VON STRACK<\/character>\n    <dialogue>Kapellmeister Bonno, Count Orsini - Rosenberg and Court Composer Salieri.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Naturally, the Italians! Of course! Always the Italians!<\/dialogue>\n    <character>VON STRACK<\/character>\n    <dialogue>Mozart -<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>They hate my music. It terrifies them. The only sound Italians understand is banality. Tonic and dominant, tonic and dominant, from here to Resurrection!<\/dialogue>\n    <parenthetical>( singing angrily . )<\/parenthetical>\n    <dialogue>Ba - ba! Ba - ba! Ba - ba! Ba - ba! Anything else is morbid.<\/dialogue>\n    <character>VON STRACK<\/character>\n    <dialogue>Mozart -<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Show them one interesting modulation and they faint. Ohime! Morbidezza! Morbidezza! Italians are musical idiots and you want them to judge my music!<\/dialogue>\n    <character>VON STRACK<\/character>\n    <dialogue>Look, young man, the issue is simple. If you want this post, you must submit your stuff in the same way as all your colleagues.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Must I? Well, I wo n't! I tell you straight : I will not!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOZART'S APARTMENT - BEDROOM - VIENNA - DAY - 1780'S<\/stage_direction>\n    <scene_description>The room is very small and untidy . Constanze is marching up and down it , upset . Mozart is lying on the bed .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>I think you're mad! You're really mad!<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Oh, leave me alone.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>One royal pupil and the whole of Vienna will come flocking. We'd be set up for life!<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>They'll come anyway. They love me here.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>No, they will not. I know how things work in this city.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Oh yes? You always know everything.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Well, I'm not borrowing any more money from my mother, and that's that!<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>You borrowed money from your mother?<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Well, do n't do that again!<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>How are we going to live, Wolfi? Do you want me to go into the streets and beg?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Do n't be stupid.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>All they want to see is your work. What's wrong with that?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Shut up! Just shut up! I do n't need them.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>This is n't pride. It's sheer stupidity!<\/dialogue>\n    <scene_description>She glares at him , almost in tears .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALIERI'S MUSIC ROOM - LATE AFTERNOON - 1780'S<\/stage_direction>\n    <scene_description>Salieri is giving a lesson to a girl student , who is singing the Italian art song , Caro Mio Ben . There is a knock on the door .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>A SERVANT enters .<\/scene_description>\n    <character>SERVANT<\/character>\n    <dialogue>Excuse me, sir, there is a lady who insists on talking to you.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Who is she?<\/dialogue>\n    <character>SERVANT<\/character>\n    <dialogue>She did n't say. But she says it's urgent.<\/dialogue>\n    <character>SALIERI<\/character>\n    <parenthetical>( to the pupil . )<\/parenthetical>\n    <dialogue>Excuse me, my dear.<\/dialogue>\n    <scene_description>Salieri goes into the salon .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE SALON - LATE AFTERNOON - 1780'S<\/stage_direction>\n    <scene_description>Constanze stands , closely veiled , holding a portfolio stuffed with manuscripts . The singing lesson ends , with two chords on the instrument . Salieri enters the salon . Constanze drops him a shy curtsey .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>Excellency!<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Madame. How can I help you?<\/dialogue>\n    <scene_description>Shyly , she unveils .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Frau Mozart?<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>That's right, Your Excellency. I've come on behalf of my hus band. I'm - I'm bringing some samples of his work so he can be considered for the royal appointment.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>How charming. But why did he not come himself?<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>He's terribly busy, sir.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>I understand.<\/dialogue>\n    <scene_description>He takes the portfolio and puts it on a table .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>I will look at them, of course, the moment I can. It will be an honour. Please give him my warmest.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Would it be too much trouble, sir, to ask you to look at them now? While I wait.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>I'm afraid I'm not at leisure this very moment. Just leave them with me. I assure you they will be quite safe.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>I - I really can not do that, Your Excellency. You see, he does n't know I'm here.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>My husband is a proud man, sir. He would be furious if he knew I'd come.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Then he did n't send you?<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>No, sir. This is my own idea.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>I see.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Sir, we really need this job. We're desperate. My husband spends far more than he can ever earn. I do n't mean he's lazy - he's not at all - he works all day long. It's just! he's not practical. Money simply slips through his fingers, it's really ridiculous, Your Excellency. I know you help musicians. You're famous for it. Give him just this one post. We'd be forever indebted!<\/dialogue>\n    <scene_description>A short pause .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Let me offer you some refreshment. Do you know what these are?<\/dialogue>\n    <scene_description>He indicates a dish piled high with glazed chestnuts .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Cappezzoli di Venere. Nipples of Venus. Roman chestnuts in brandied sugar. Wo n't you try one? They're quite surprising.<\/dialogue>\n    <scene_description>He offers her the dish . She takes one and puts it in her mouth . He watches carefully .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>Oh! They're wonderful.<\/dialogue>\n    <scene_description>He takes one himself . We notice on his finger a heavy gold signet - ring .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>Thank you very much, Your Excellency.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Do n't keep calling me that. It puts me at such a distance. I was not born a Court Composer, you know. I'm from a small town, just like your husband.<\/dialogue>\n    <scene_description>He smiles at her . She takes another chestnut .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Are you sure you ca n't leave that music, and come back again? I have other things you might like.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>That's very tempting, but it's impossible, I'm afraid. Wolfi would be frantic if he found those were missing. You see, they're all originals.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Originals?<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>A pause . He puts out his hand and takes up the portfolio from the table . He opens it . He looks at the music . He is puzzled .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>These are originals?<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Yes, sir. He does n't make copies.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823<\/stage_direction>\n    <scene_description>The old man faces the Priest .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <dialogue>Astounding! It was actually beyond belief. These were first and only drafts of music yet they showed no corrections of any kind. Not one. Do you realize what that meant?<\/dialogue>\n    <scene_description>Vogler stares at him .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <dialogue>He'd simply put down music already finished in his head. Page after page of it, as if he was just taking dictation. And music finished as no music is ever finished.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALIERI'S SALON - LATE AFTERNOON - 1780'S<\/stage_direction>\n    <scene_description>CU , The manuscript in Mozart 's handwriting . The music begins to sound under the following :<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Displace one note and there would be diminishment. Displace one phrase, and the structure would fall. It was clear to me. That sound I had heard in the Archbishop's palace had been no accident. Here again was the very voice of God! I was staring through the cage of those meticulous ink - strokes at an absolute, inimitable beauty.<\/dialogue>\n    <scene_description>The music swells . What we now hear is an amazing collage of great passages from Mozart 's music , ravishing to Salieri and to us . The Court Composer , oblivious to Constanze , who sits happily chewing chestnuts , her mouth covered in sugar , walks around and around his salon , reading the pages and dropping them on the floor when he is done with them . We see his agonized and wondering face : he shudders as if in a rough and tumbling sea ; he experiences the point where beauty and great pain coalesce . More pages fall than he can read , scattering across the floor in a white cascade , as he circles the room . Finally , we hear the tremendous Qui Tollis from the Mass in C Minor . It seems to break over him like a wave and , unable to bear any more of it , he slams the portfolio shut . Instantly , the music breaks off , reverberating in his head . He stands shaking , staring wildly . Constanze gets up , perplexed .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>Is it no good?<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>It is miraculous.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Oh yes. He's really proud of his work.<\/dialogue>\n    <scene_description>Another pause .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>So, will you help him?<\/dialogue>\n    <scene_description>Salieri tries to recover himself .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Tomorrow night I dine with the Emperor. One word from me and the post is his.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Oh, thank you, sir!<\/dialogue>\n    <scene_description>Overjoyed , she stops and kisses his hand . He raises her - and then clasps her to him clumsily . She pushes herself away .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Come back tonight.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Tonight?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Alone.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>What for?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Some service deserves service in return. No?<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Is n't it obvious?<\/dialogue>\n    <scene_description>They stare at one another : Constanze in total disbelief .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>It's a post all Vienna seeks. If you want it for your husband, come tonight.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>But! I'm a married woman!<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Then do n't. It's up to you. Not to be vague, that is the price.<\/dialogue>\n    <scene_description>He glares at her .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>He rings a silver bell for a servant and abruptly leaves the roam . Constanze stares after him , horrified . The servant enters . Shocked and stunned , Constanze goes down an her knees and starts picking up the music from the floor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823<\/stage_direction>\n    <scene_description>CU , Father Vogler , horrified .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <dialogue>Yes, Father. Yes! So much for my vow of chastity. What did it matter? Good, patient, hard - working, chaste - what did it matter? Had goodness made me a good composer? I realized it absolutely then - that moment : goodness is nothing in the furnace of art. And I was nothing to God.<\/dialogue>\n    <character>VOGLER<\/character>\n    <parenthetical>( crying out . )<\/parenthetical>\n    <dialogue>You can not say that!<\/dialogue>\n    <character>OLD SALIERI<\/character>\n    <dialogue>No? Was Mozart a good man?<\/dialogue>\n    <character>VOGLER<\/character>\n    <dialogue>God's ways are not yours. And you are not here to question Him. Offer him the salt of penitence. He will give you back the bread of eternal life. He is all merciful. That is all you need to know.<\/dialogue>\n    <character>OLD SALIERI<\/character>\n    <dialogue>All I ever wanted was to sing to Him. That's His doing, is n't it? He gave me that longing - then made me mute. Why? Tell me that. If He did n't want me to serve Him with music, why implant the desire, like a lust in my body, then deny me the talent? Go on, tell me! Speak for Him!<\/dialogue>\n    <character>VOGLER<\/character>\n    <dialogue>My son, no one can speak for God.<\/dialogue>\n    <character>OLD SALIERI<\/character>\n    <dialogue>Oh? I thought you did so every day. So speak now. Answer me!<\/dialogue>\n    <character>VOGLER<\/character>\n    <dialogue>I do not claim to unravel the mysteries. I treasure them. As you should.<\/dialogue>\n    <character>OLD SALIERI<\/character>\n    <parenthetical>( impatiently . )<\/parenthetical>\n    <dialogue>Oh yes, yes, yes, yes, yes! Always the same stale answers!<\/dialogue>\n    <parenthetical>( intimately to the priest . )<\/parenthetical>\n    <dialogue>There is no God of Mercy, Father. Just a God of torture.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALIERI'S APARTMENT - BEDROOM - NIGHT - 1780'S<\/stage_direction>\n    <scene_description>Salieri sits at his desk , staring up at the cross .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Evening came to that room. I sat there not knowing whether the girl would return or not. I prayed as I'd never prayed before.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Dear God, enter me now. Fill me with one piece of true music. One piece with your breath in it, so I know that you love me. Please. Just one. Show me one sign of your favour, and I will show mine to Mozart and his wife. I will get him the royal position, and if she comes, I'll receive her with all respect and send her home in joy. Enter me! Enter me! Please! Te imploro.<\/dialogue>\n    <scene_description>Long , long silence . Salieri stares at the cross . Christ stares back at him impassively . Finally in this silence we hear a faint knocking at the door . Salieri stirs himself . A servant appears .<\/scene_description>\n    <character>SERVANT<\/character>\n    <dialogue>That lady is back, sir.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Show her in. Then go to bed.<\/dialogue>\n    <scene_description>The Servant bows and leaves . We follow him through :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSIC ROOM IN SALIERI'S APARTMENT - NIGHT - 1780'S<\/stage_direction>\n    <scene_description>The Servant crosses it and enters :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALON IN SALIERI'S APARTMENT - NIGHT - 1780'S<\/stage_direction>\n    <scene_description>Constanze is sitting on an upright chair , veiled as before , the portfolio of music on her lap . Through the far door leading from the hall , another servant is peering at her . The first servant joins him and shuts the door on the girl , leaving her alone . We stay with her . The clock ticks on the mantelpiece . We hear an old carriage pass in the street below . Nervously she lifts her veil and looks about her . Suddenly Salieri appears from the music room . He is pale and very tight . They regard each other . She smiles and rises to greet him , affecting a relaxed and warm manner , as if to put him at his ease .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>Well, I'm here. My husband has gone to a concert. He did n't think I would enjoy it.<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>I do apologize for this afternoon. I behaved like a silly girl. Where shall we go?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Should we stay here? It's a charming room. I love these candlesticks. Were they here earlier? I did n't notice them I suppose I was too nervous.<\/dialogue>\n    <scene_description>As she talks , she extinguishes the candles in a pair of Venetian candelabra and subsequently other candles around the room .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>Wolfgang was given some candlesticks by King George in England, but they were only wood. Oh, excuse me. Let's not talk about him. What do you think of this? It's real lace. Brussels.<\/dialogue>\n    <scene_description>She turns and takes off her shawl .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>Well, it's much too good for every day. I keep saying to Wolfi, do n't be so extravagant. Presents are lovely, but we ca n't afford them. It does n't do any good. The more I tell him, the more he spends. Oh, excuse me! There I go again.<\/dialogue>\n    <scene_description>She picks up the portfolio .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>Do you still want to look at this? Or do n't we need to bother anymore? I imagine we do n't, really.<\/dialogue>\n    <scene_description>She looks at him inquiringly , and drops the portfolio on the floor ; pages of music pour out of it . Instantly we hear a massive chord , and the great Qui Tollis from the Mass in C Minor fills the room . To its grand and weighty sound , Constanze starts to undress , watched by the horrified Salieri . Between him and her , music is an active presence , hurting and baffling him . He opens his mouth in distress . The music pounds in his head . The candle flickers over her as she removes her clothes and prepares for his embrace . Suddenly he cries out .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Go! Go! Go!<\/dialogue>\n    <scene_description>He snatches up the bell and shakes it frantically , not stopping until the two servants we saw earlier appear at the door . The music stops abruptly . They stare at the appalled and frightened Constanze , who is desperately trying to cover her nakedness .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Show this woman out!<\/dialogue>\n    <scene_description>Constanze hurls herself at him .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>You shit! You shit! You rotten shit!<\/dialogue>\n    <scene_description>He seizes her wrists and thrusts her back . Then he leaves the room quickly , slamming the door behind him . Constanze turns and sees the two servants goggling at her in the room .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>What are you staring at?<\/dialogue>\n    <scene_description>Wildly , she picks up the candelabrum and throws it at them . It shatters on the floor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALIERI'S APARTMENT - BEDROOM - NIGHT - 1780'S<\/stage_direction>\n    <scene_description>CU , Salieri standing , his eyes shut , shaking in distress . He opens them and sees Christ across the room , staring at him from the wall .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>From now on, we are enemies, You and I!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823<\/stage_direction>\n    <scene_description>The old man is reliving the experience . Vogler looks at him , horrified .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <dialogue>Because You will not enter me, with all my need for you ; because You scorn my attempts at virtue ; because You choose for Your instrument a boastful, lustful, smutty infantile boy and give me for reward only the ability to recognize the Incarnation ; because You are unjust, unfair, unkind, I will block You! I swear it! I will hinder and harm Your creature on earth as far as I am able. I will ruin Your Incarnation.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALIERI'S APARTMENT - BEDROOM - NIGHT - 1780'S<\/stage_direction>\n    <scene_description>CU , the fireplace . In it lies the olivewood Christ on the cross , burning .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What use after all is Man, if not to teach God His lessons?<\/dialogue>\n    <scene_description>The cross flames up and disintegrates . Salieri stares at it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1780'S<\/stage_direction>\n    <scene_description>The front door bursts open . Mozart stumbles in , followed by EMMANUEL SCHIKANEDER , three young actresses , and another man , all fairly drunk . Schikaneder -LRB- who appears everywhere accompanied by young girls -RRB- is a large , fleshy , extravagant man of about thirty - five .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Stanzi! Stanzi! Stanzi - Manzi!<\/dialogue>\n    <scene_description>The others laugh .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Sssh!<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <parenthetical>( imitating Mozart . )<\/parenthetical>\n    <dialogue>Stanzi - Manzi - Banzi - Wanzi!<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Sssh! Stay here.<\/dialogue>\n    <scene_description>He walks unsteadily to the bedroom door and opens it .<\/scene_description>\n    <character>SCHIKANEDER<\/character>\n    <parenthetical>( to the girls , very tipsy . )<\/parenthetical>\n    <dialogue>Sssh! You're dishgrashful!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1780'S<\/stage_direction>\n    <scene_description>Constanze lies in bed , her back turned to her husband , who comes into the room and shuts the door .<\/scene_description>\n    <character>MOZART<\/character>\n    <parenthetical>( playfully . )<\/parenthetical>\n    <dialogue>Stanzi? How's my mouse? Mouse - wouse? I'm back - puss - wuss is back!<\/dialogue>\n    <scene_description>She turns around abruptly . She looks dreadful ; her eyes red with weeping . Mozart is shocked .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Stanzi!<\/dialogue>\n    <scene_description>He approaches the bed and sits on it . Immediately she starts crying again , desperately .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>What's the matter? What is it? Stanzi!<\/dialogue>\n    <scene_description>He holds her and she clings to him in a fierce embrace , crying a flood of tears .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Stop it now. Stop it. I've brought some friends to meet you. They're next door waiting. Do we have anything to eat? They're all starving.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Tell them to go away. I do n't want to see anybody.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>What's the matter with you?<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Tell them to go!<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Sssh. What is it? Tell me.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>I love you! I love you!<\/dialogue>\n    <scene_description>She starts crying again , throwing her arms around his neck .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>I love you. Please stay with me. I'm frightened.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE ROYAL PALACE - DINING ROOM - DAY - 1780'S<\/stage_direction>\n    <scene_description>Joseph sits eating . A butler serves him goat 's milk to drink . Joseph is holding a memorandum from Salieri in his hand . Salieri stands before him .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>I do n't think you understand me, Court Composer.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Majesty, I did. Believe me, it was a most agonizing. decision. But finally, I simply could not recommend Herr Mozart.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Well, Sire, I made some inquiries in a routine way. I was curious to know why he had so few pupils. It is rather alarming.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Oh?<\/dialogue>\n    <scene_description>With a gesture Joseph dismisses the butler , who bows and leaves the room .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Majesty, I do n't like to talk against a fellow musician.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Of course not.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>I have to tell you, Mozart is not entirely to be trusted alone with young ladies.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>As a matter of fact, one of my own pupils - a very young singer - told me she was - er - well!<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Molested, Majesty. Twice, in the course of the same lesson.<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>Ah - ha. Well. There it is.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALIERI'S HOUSE - STAIRCASE - VIENNA - DAY - 1780'S<\/stage_direction>\n    <scene_description>Salieri has just returned from the palace and is coming up the staircase . He is met by his servant .<\/scene_description>\n    <character>SERVANT<\/character>\n    <dialogue>Sir, there is a Herr Mozart waiting for you in the salon.<\/dialogue>\n    <scene_description>Salieri is plainly alarmed .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>What does he want?<\/dialogue>\n    <character>SERVANT<\/character>\n    <dialogue>He did n't say, sir. I told him I did n't know when you would be back, but he insisted on waiting.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Come with me. And stay in the room.<\/dialogue>\n    <scene_description>He mounts the stairs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALIERI'S APARTMENT - SALON - DAY - 1780'S<\/stage_direction>\n    <scene_description>Mozart is waiting for Salieri , holding a portfolio . Salieri approaches him nervously . Mozart stands not belligerently , but humbly .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Herr Mozart, what brings you here?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Your Excellency, you requested some specimens of my work. Here they are. I do n't have to tell you how much I need your help. I truly appreciate your looking at these. I have pressures on me - financial pressures. As you know, I'm a married man now.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>So you are. How is your pretty wife?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>She is well. She is - well, actually, I'm about to become a father! She only told me last night. You are the first to know.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>I'm flattered. And congratulations to you, of course.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>So you see, this post is very important to me right now.<\/dialogue>\n    <scene_description>Salieri looks at him in distress .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Why did n't you come to me yesterday, Mozart? This is a most painful situation. Yesterday I could have helped you. Today, I ca n't.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Why? Here is the music. It's here. I am submitting it humbly. Is n't that what you wanted?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>I have just come from the palace. The post has been filled.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Filled? That's impossible! They have n't even seen my work. I need this post. Please, ca n't you help me? Please!<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>My dear Mozart, there is no one in the world I would rather help, but now it is too late.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Whom did they choose?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Herr Sommer.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Sommer? Herr Sommer? But the man's a fool! He's a total mediocrity.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>No, no, no : he has yet to achieve mediocrity.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>But I ca n't lose this post, I simply ca n't! Excellency, please. Let's go to the palace, and you can explain to the Emperor that Herr Sommer is an awful choice. He could actually do musical harm to the Princess!<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>An implausible idea. Between you and me, no one in the world could do musical harm to the Princess Elizabeth.<\/dialogue>\n    <scene_description>Mozart chuckles delightedly . Salieri offers him a glass of white dessert and a spoon . Mozart takes it absently and goes on talking .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Look, I must have pupils. Without pupils I ca n't manage.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>You do n't mean to tell me you are living in poverty?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>No, but I'm broke. I'm always broke. I do n't know why.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>It has been said, my friend, that you are inclined to live somewhat above your means.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>How can anyone say that? We have no cook, no maid. We have no footman. Nothing at all!<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>How is that possible? You give concerts, do n't you? I hear they are quite successful.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>They're stupendously successful. You ca n't get a seat. The only problem is none will hire me. They all want to hear me play, but they wo n't let me teach their daughters. As if I was some kind of fiend. I'm not a fiend!<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Of course not.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Do you have a daughter?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>I'm afraid not.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Well, could you lend me some money till you have one? Then I'll teach her for free. That's a promise. Oh, I'm sorry. I'm being silly. Papa's right - I should put a padlock on my mouth. Seriously, is there any chance you could manage a loan? Only for six months, eight at most. After that I'll be the richest man in Vienna. I'll pay you back double. Anything. Name your terms. I'm not joking. I'm working on something that's going to explode like a bomb all over Europe!<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Ah, how exciting! Tell me more.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>I'd better not. It's a bit of a secret.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Come, come, Mozart ; I'm interested. Truly.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Actually, it's a big secret. Oh, this is delicious! What is it?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Cream cheese mixed with granulated sugar and suffused with rum. Crema al Mascarpone.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Ah. Italian?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Forgive me. We all have patriotic feelings of some kind.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Two thousand, two hundred florins is all I need A hundred? Fifty?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>What exactly are you working on?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>I ca n't say. Really<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>I do n't think you should become known in Vienna as a debtor, Mozart. However, I know a very distinguished gentleman I could recommend to you. And he has a daughter. Will that do?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MICHAEL SCHLUMBERG'S HOUSE - MORNING - 1780'S<\/stage_direction>\n    <scene_description>Hysterical barking and howling . The hall is full of dogs , at least five , all jumping up and dashing about and making a terrific racket . Mozart , dandified in a new coat and a plumed hat for the occasion , has arrived to teach at the house of a prosperous merchant , MICHAEL SCHLUMBERG . Bluff , friendly and coarse - looking , he stands in his hall amidst the leaping and barking animals , greeting Mozart .<\/scene_description>\n    <character>SCHLUMBERG<\/character>\n    <dialogue>Quiet! Quiet! Quiet! Down there, damn you.<\/dialogue>\n    <parenthetical>( to Mozart . )<\/parenthetical>\n    <dialogue>Welcome to you. Pay no attention, they're impossible. Stop it, you willful things! Come this way. Just ignore them. They're perfectly harmless, just willful. I treat them just like my own children.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>And which one of them do you want me to teach?<\/dialogue>\n    <character>SCHLUMBERG<\/character>\n    <dialogue>What? Ha - ha! That's funny - I like it. Which one, eh? You're a funny fellow.<\/dialogue>\n    <parenthetical>( shouting . )<\/parenthetical>\n    <dialogue>Hannah! Come this way.<\/dialogue>\n    <scene_description>He leads Mozart through the throng of dogs into a salon furnished with comfortable middle - class taste .<\/scene_description>\n    <character>SCHLUMBERG<\/character>\n    <dialogue>Hannah!<\/dialogue>\n    <scene_description>FRAU SCHLUMBERG appears : an anxious woman in middle life .<\/scene_description>\n    <character>SCHLUMBERG<\/character>\n    <parenthetical>( to Mozart . )<\/parenthetical>\n    <dialogue>You wo n't be teaching this one either. She's my wife.<\/dialogue>\n    <character>MOZART<\/character>\n    <parenthetical>( bowing . )<\/parenthetical>\n    <dialogue>Madame.<\/dialogue>\n    <character>SCHLUMBERG<\/character>\n    <dialogue>This is Herr Mozart, my dear. The young man Herr Salieri recommended to teach our Gertrude. Where is she?<\/dialogue>\n    <character>FRAU SCHLUMBERG<\/character>\n    <dialogue>Upstairs.<\/dialogue>\n    <character>SCHLUMBERG<\/character>\n    <dialogue>Gertrude!<\/dialogue>\n    <character>FRAU SCHLUMBERG<\/character>\n    <dialogue>You ca n't be Herr Mozart!<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>I'm afraid I am.<\/dialogue>\n    <character>SCHLUMBERG<\/character>\n    <dialogue>Of course, it's him. Who do you think it is?<\/dialogue>\n    <character>FRAU SCHLUMBERG<\/character>\n    <dialogue>I've heard about you for ages! I thought you must be an old man.<\/dialogue>\n    <character>SCHLUMBERG<\/character>\n    <dialogue>Gertrude!<\/dialogue>\n    <character>FRAU SCHLUMBERG<\/character>\n    <dialogue>It's such an honour for us to have you here, Herr Mozart. And for Gertrude.<\/dialogue>\n    <character>SCHLUMBERG<\/character>\n    <dialogue>People who know say the girl's got talent. You must judge for yourself. If you think she stinks, say so.<\/dialogue>\n    <character>FRAU SCHLUMBERG<\/character>\n    <dialogue>Michael, please! I'm sure you will find her most willing, Herr Mozart. She's really very excited. She's been preparing all morning.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>FRAU SCHLUMBERG<\/character>\n    <dialogue>Ah, now! Here she comes.<\/dialogue>\n    <scene_description>GERTRUDE SCHLUMBERG appears in the doorway : an awkward girl of fifteen in her best dress , her hair primped and curled . She is exceedingly nervous .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Good morning, Fraulein Schlumberg.<\/dialogue>\n    <character>SCHLUMBERG<\/character>\n    <dialogue>Strudel, this is Herr Mozart. Say good morning.<\/dialogue>\n    <scene_description>Gertrude giggles instead .<\/scene_description>\n    <character>FRAU SCHLUMBERG<\/character>\n    <parenthetical>( to Mozart . )<\/parenthetical>\n    <dialogue>Perhaps a little refreshment first? A little coffee, or a little chocolate?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>I'd like a little wine, if you have it.<\/dialogue>\n    <character>FRAU SCHLUMBERG<\/character>\n    <dialogue>Wine?<\/dialogue>\n    <character>SCHLUMBERG<\/character>\n    <dialogue>Quite right. He's going to need it.<\/dialogue>\n    <parenthetical>( calling and clapping his hands . )<\/parenthetical>\n    <dialogue>Klaus! A bottle of wine. Prestissimo! Now let's go to it. I've been waiting all day for this.<\/dialogue>\n    <scene_description>He leads the way into :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSIC ROOM - DAY - 1780'S<\/stage_direction>\n    <scene_description>A forte - piano is open and waiting . All the dogs follow him . After them come Mozart Frau and Fraulein Schlumberg . To Mozart 's dismay , husband and wife seat themselves quite formally on a little narrow sofa , side by side .<\/scene_description>\n    <character>SCHLUMBERG<\/character>\n    <parenthetical>( To the dogs . )<\/parenthetical>\n    <dialogue>Now sit down all of you and behave. Zeman, Mandi, absolutely quiet!<\/dialogue>\n    <parenthetical>( to a young beagle . )<\/parenthetical>\n    <dialogue>Especially you, Dudelsachs - not one sound from you.<\/dialogue>\n    <scene_description>The dogs settle at their feet . Husband and wife smile encouragingly at each other .<\/scene_description>\n    <character>SCHLUMBERG<\/character>\n    <dialogue>Come on, then. Up and at it!<\/dialogue>\n    <scene_description>Mozart gestures to the music bench . Reluctantly , the girl sits at the instrument . Mozart sits beside her .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Now, please play me something. Just to give me an idea. Anything will do.<\/dialogue>\n    <character>GERTRUDE<\/character>\n    <parenthetical>( to parents . )<\/parenthetical>\n    <dialogue>I do n't want you to stay.<\/dialogue>\n    <character>FRAU SCHLUMBERG<\/character>\n    <dialogue>That's all right, dear. Just go ahead, as if we were n't here.<\/dialogue>\n    <character>GERTRUDE<\/character>\n    <dialogue>But you are here.<\/dialogue>\n    <character>SCHLUMBERG<\/character>\n    <dialogue>Never mind, Strudel. It's part of music, getting used to an audience. Are n't I right, Herr Mozart?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Well, yes! on the whole. I suppose.<\/dialogue>\n    <parenthetical>( to Gertrude . )<\/parenthetical>\n    <dialogue>How long have you been playing, Fraulein?<\/dialogue>\n    <character>FRAU SCHLUMBERG<\/character>\n    <dialogue>Just one year.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Who was your teacher?<\/dialogue>\n    <character>FRAU SCHLUMBERG<\/character>\n    <dialogue>I was. But she quite outgrew the little I could show her.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Thank you, Madame.<\/dialogue>\n    <parenthetical>( to Gertrude . )<\/parenthetical>\n    <dialogue>Come on now - courage. Play me something you know.<\/dialogue>\n    <scene_description>In response the wretched girl just stares down at the keyboard without playing a note . An awkward pause .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Perhaps it would be better if we were left alone. I think we're both a little shy.<\/dialogue>\n    <scene_description>Husband and wife look at each other .<\/scene_description>\n    <character>SCHLUMBERG<\/character>\n    <dialogue>Nonsense. Strudel's not shy. She's just willful! You give into her now, you'll be sorry later. Strudel - play.<\/dialogue>\n    <scene_description>Silence . The girl sits unmoving . Schlumberg bellows :<\/scene_description>\n    <character>SCHLUMBERG<\/character>\n    <dialogue>I said play!<\/dialogue>\n    <character>FRAU SCHLUMBERG<\/character>\n    <dialogue>Michael!<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Perhaps if I were to play a little first, it might encourage the Fraulein.<\/dialogue>\n    <parenthetical>( to the girl . )<\/parenthetical>\n    <dialogue>Why do n't you let me try the instrument? All right?<\/dialogue>\n    <scene_description>Suddenly the girl rises . Mozart smiles at the parents . They smile nervously back . Mozart slides along the bench , raises his hands and preludes over the keys . Instantly a dog howls loudly . Startled , Mozart stops . Schlumberg leaps to his feet and goes over to the beagle .<\/scene_description>\n    <character>SCHLUMBERG<\/character>\n    <dialogue>Stop that, Dudelsachs! Stop it at once!<\/dialogue>\n    <parenthetical>( to Mozart . )<\/parenthetical>\n    <dialogue>Do n't let him disturb you. He'll be all right. He's just a little willful too. Please, please - play. I beg you.<\/dialogue>\n    <scene_description>Mozart resumes playing . This time it is a lively piece , perhaps the Presto Finale from the K. 450 . The dog howls immediately .<\/scene_description>\n    <character>SCHLUMBERG<\/character>\n    <dialogue>Stop it! STOP!<\/dialogue>\n    <scene_description>Mozart stops .<\/scene_description>\n    <character>SCHLUMBERG<\/character>\n    <dialogue>No, not you. I was talking to the dog. You keep playing. It's most important. He always howls when he hears music. We've got to break them of the habit. Play, please. Please!<\/dialogue>\n    <scene_description>Amazed , Mozart starts to play the Rondo again . The dog howls louder .<\/scene_description>\n    <character>SCHLUMBERG<\/character>\n    <dialogue>That's it. Now keep going, just keep going.<\/dialogue>\n    <parenthetical>( to the beagle . )<\/parenthetical>\n    <dialogue>Now you stop that noise, Dudelsachs, you stop it this instant! This instant, do you hear me? Keep going, Herr Mozart, that's it. Go on, go on!<\/dialogue>\n    <scene_description>Mozart plays on . Suddenly the dog falls silent . Schlumberg smiles broadly .<\/scene_description>\n    <character>SCHLUMBERG<\/character>\n    <dialogue>Good, good, good! Very good dog! Very, very good Dudelsachs.<\/dialogue>\n    <parenthetical>( to his wife , snapping his fingers . )<\/parenthetical>\n    <dialogue>Quick, quick, dear, bring his biscuit.<\/dialogue>\n    <scene_description>The wife scurries to get a jar of biscuits . A servant brings in an open bottle of wine and a full glass on a tray . He puts it down beside Mozart as Schlumberg addresses the silent dog with deepest affection .<\/scene_description>\n    <character>SCHLUMBERG<\/character>\n    <dialogue>Now guess who's going to get a nice reward? Clever, clever Dudi.<\/dialogue>\n    <scene_description>He gives the biscuit to the dog who swallows it greedily . Mozart stops playing and stands up .<\/scene_description>\n    <character>SCHLUMBERG<\/character>\n    <dialogue>It's a miracle, Herr Mozart!<\/dialogue>\n    <character>MOZART<\/character>\n    <parenthetical>( barely controlling himself . )<\/parenthetical>\n    <dialogue>Well, I'm a good teacher. The next time you wish me to instruct another of your dogs, please let me know. Goodbye, Fraulein, goodbye, Madame! goodbye, Sir!<\/dialogue>\n    <scene_description>He bows to them and leaves the room . They look after him in puzzled astonishment .<\/scene_description>\n    <character>FRAU SCHLUMBERG<\/character>\n    <dialogue>What a strange young man.<\/dialogue>\n    <character>SCHLUMBERG<\/character>\n    <dialogue>Yes. He is a little strange.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A BUSY STREET IN VIENNA - DAY - 1780'S<\/stage_direction>\n    <scene_description>A cheerful scene . We see Mozart strutting and beaming , making his way through the crowd of porters , carriers and hawkers , sellers of sausages and pastries , vendors of hats and ribbons . Horses and carriage clatter past him . His mood is best expressed by a bubbling version of Non piu Andrai played on the forte - piano . Still in the same mood , he enters the door of his own house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOZART'S HOUSE - HALLWAY -  DAY - 1780'S<\/stage_direction>\n    <scene_description>Suddenly , he stops . He looks up the stairs . The grim opening chords from the Overture to Don Giovanni cut across the march from Figaro . What he sees , looking up the stairs , is a menacing figure in a long , grey cape and dark grey hat , standing on the landing . The light comes from behind the figure so that we see only its silhouette as it unfolds its arms towards Mozart in an alarming gesture of possession . It takes a beat in which the air of sinister mystery is held before Mozart realizes who it is . Then , as the music continues , he hastily sets down the bottle of wine and rushes joyfully up the stairs and hurls himself into the figure 's arms .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Papa! PAPA!<\/dialogue>\n    <scene_description>Both men embrace . The music slowly fades .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOZART'S LIVING ROOM - DAY - 1780'S<\/stage_direction>\n    <scene_description>A cramped , low - ceilinged little room which nobody has tidied for ages . We see music lying everywhere . Also there are many empty wine bottles ; musical instruments - among them a mandolin , a viola , a forte - piano with the black and white keys reversed - books and abandoned plates of food . Mozart clasps his father 's arms . Leopold is now seen as an aging , travel - stained man in clothes that need repair . His face is lined , and he is obviously not in perfect health .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Why are you here?<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>Am I not welcome?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Of course, welcome! Welcome ten thousand times. Papa! my Papa!<\/dialogue>\n    <scene_description>He kisses his hands .<\/scene_description>\n    <character>LEOPOLD<\/character>\n    <dialogue>You're very thin. Does she not feed you, this wife of yours?<\/dialogue>\n    <scene_description>Mozart ducks away and fetches his father 's bags from the landing .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Feed? Well, of course she feeds me. She stuffs me like a goose all day long. She's the best cook in the world. I mean, since Mama. Just wait, you'll see.<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>Is she not here?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>I do n't know. Stanzi? Stanzi!<\/dialogue>\n    <scene_description>Leopold looks about him at the mess in the room .<\/scene_description>\n    <character>LEOPOLD<\/character>\n    <dialogue>Do you always live like this?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Oh, yes. Oh, I mean no - not exactly like this. I mean today - just today, Stanzi - I remember now. She had to go - yes! She had to help her mother. Yes, she's like that. Her mother's a very sweet woman, you'll see.<\/dialogue>\n    <scene_description>He carries the bag across the room and opens the door of the bedroom . Constanze lies in bed . She sits up , startled .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Oh! I did n't know you were home. Stanzi, this is my father.<\/dialogue>\n    <scene_description>Constanze , who looks ill and tired , stares at Leopold . Leopold stares back from the doorway .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>We'll wait, we'll wait. Why do n't you get up now, darling?<\/dialogue>\n    <scene_description>He closes the door again .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>She's very tired, poor creature. You know me : I'm a real pig. It's not so easy cleaning up after me.<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>Do n't you have a maid?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Oh we could, if we wanted to, but Stanzi wo n't hear of it. She wants to do everything herself.<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>How is your financial situation?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>It could n't be better.<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>That's not what I hear.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>What do you mean? It's wonderful. Really, it's - it's marvelous! People love me here.<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>They say you're in debt.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Who? Who says that? Now that's a malicious lie!<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>How many pupils do you have?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Pupils?<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>How many?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>I do n't know. It's not important. I mean, I do n't want pupils. They get in the way. I've got to have time for composition.<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>Composition does n't pay. You know that.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>This one will.<\/dialogue>\n    <scene_description>He picks up some pages of manuscript .<\/scene_description>\n    <character>LEOPOLD<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Oh, let's not talk about it.<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>It's a secret.<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>You do n't have secrets from me.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>It's too dangerous, Papa. But they're going to love it. Ah, there she is!<\/dialogue>\n    <scene_description>Constanze comes into the room . She is wearing a dressing gown and has made a perfunctory attempt to tidy her hair . We see that she is clearly pregnant .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>My Stanzi - look at her! Is n't she beautiful? Come on now, confess, Papa. Could you want a prettier girl for a daughter?<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Stop it, Wolfi. I look dreadful. Welcome to our house, Herr Mozart.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>He's not Herr Mozart. Call him Papa.<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>I see that you're expecting.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Oh, yes.<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>When, may I ask?<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>In three months! Papa.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Is n't that marvelous? We're delighted.<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>Why did n't you mention it in your letters?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Did n't I? I thought I did. I'm sure I did.<\/dialogue>\n    <scene_description>He gives a little giggle of embarrassment .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>May I offer you some tea, Herr Mozart?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Tea? Who wants tea? Let's go out! This calls for a feast. You do n't want tea, Papa. Let's go dancing. Papa loves parties, do n't you?<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Wolfi!<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>What? How can you be so boring? Tea!<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Wolfi, I think your father's tired. I'll cook us something here.<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>Thank you. That'll be fine. Do n't spend any money on me.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Why not? Oh, come, Papa! What better way could I spend it than on you? My kissable, missable, suddenly visible Papa!<\/dialogue>\n    <scene_description>The jaunty tune of Ich Mochte Wohl Der Kaiser sein -LRB- K. 539 -RRB- sounds through all the following . This is an alternate song from Il Seraglio : a very extroverted tune for baritone and orchestra and a prominent part for bass drum . The vocal part should be arranged for trumpet .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET IN VIENNA - DAY - 1780'S<\/stage_direction>\n    <scene_description>Mozart and Constanze with Leopold between them . We see couples shopping .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A COSTUME SHOP - VIENNA - DAY - 1780'S<\/stage_direction>\n    <scene_description>This is a shop where one can buy costumes for masquerades . It is filled with extravagant costumes of various kinds . Wolfgang is wearing a costume , a mask pushed up on his forehead ; Constanze is wearing a little white velvet mask . Amidst the merriment , Leopold is helped by two assistants to put on a dark grey cloak and a dark grey tricorne hat , to which is attached a full mask of dark grey . Its mouth is cut into a fixed upward smile . He turns and looks at his son through this mask .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A LARGE PARTY ROOM - VIENNA - NIGHT - 1780'S<\/stage_direction>\n    <scene_description>We are in the full whirl of a Masquerade Ball . Couples are dancing around dressed in fantastic costumes . The music of Ich Mochte Wohl Der Kaiser sein increases in volume and persists . We see the musicians thumping it out on a balustrade above the dancers . A steer is being roasted . Through the bobbing crowd we see a group , headed by the figure of Bacchus : this is Schikaneder in a Greek costume , wearing vine leaves in his hair . He is accompanied by his usual trio of actresses and three other men . Constanze as Columbine and Mozart as Harlequin are pulling Leopold by the hand of his dark cloak and smiling mask . This whole group threads its way across the crowded room and disappears through a door . As they go , they are watched by Salieri , standing alone in a corner , wearing ordinary evening clothes . He turns away hastily to avoid being seen by them . As soon as they disappear into the far room , Salieri goes quickly to a lady in the corner who is giving guests domino masks off a tray . He quickly takes a small black mask and puts it on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A GROTTO ROOM NEXT DOOR - NIGHT - 1780'S<\/stage_direction>\n    <scene_description>A fantastic room designed as a rocky grotto , lit by candles . A forte - piano to one side is being played by Schikaneder : the music of Ich Mochte Wohl Der Kaiser sein cross - fades to another tune . This is Vivat Bacchus from Il Seraglio which Schikaneder , dressed as Bacchus , is humming as he plays . The music is actually accompanying a game of Forfeits , which has begun . Five couples -LRB- the group we have just seen -RRB- are dancing in the middle of a ring made by nine chairs . When the music stops they will each have to find a chair , and the one who fails must pay a forfeit . Constanze is dancing with Leopold ; Mozart is dancing with one of the actresses ; the two other actresses are dancing with two other gentlemen ; and two children dance together - a little boy and a little girl . The scene is watched by a circle of bystanders ; among them - from the doorway - is Salieri . Schikaneder stops playing . Immediately the couples scramble for the chairs . Leopold and Constanze meet on the same chair , bumping and pushing at each other to get sole possession of it . To the amusement of the people around , the chair over - balances and they both end up on the floor . Constanze immediately gets up again , sets the chair on its feet , and tries to pretend she was sitting in it all the time . But Schikaneder calls out from the forte - piano .<\/scene_description>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>No, no! You both lost. You both lost. You both have to forfeit. And the penalty is you must exchange your wigs.<\/dialogue>\n    <scene_description>People are delighted by the idea of this penalty . The children jump up and down with excitement . The three actresses immediately surround Leopold , reaching for his hat and mask and wig , whilst he tries to hold on to them . Mozart takes off Constanze 's wig - an absurd affair with side - curls . Constanze laughingly surrenders it .<\/scene_description>\n    <character>LEOPOLD<\/character>\n    <dialogue>No, please! This is ridiculous! No, please!<\/dialogue>\n    <scene_description>Despite his protests an actress takes off his hat , to which the smiling mask is attached , to reveal his outraged face showing a very different expression underneath . Another actress snatches off his wig to reveal very sparse hair on the old man 's head . The third actress takes Constanze 's wig from Mozart and attempts to put it on his father 's head .<\/scene_description>\n    <character>LEOPOLD<\/character>\n    <dialogue>No, really!<\/dialogue>\n    <character>MOZART<\/character>\n    <parenthetical>( calling to him . )<\/parenthetical>\n    <dialogue>This is just a game, Papa.<\/dialogue>\n    <scene_description>Constanze echoes him with a touch of malice in her voice .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>This is just a game, Papa!<\/dialogue>\n    <scene_description>Laughingly , the bystanders take it up , especially the children .<\/scene_description>\n    <character>BYSTANDERS<\/character>\n    <dialogue>This is just a game, Papa!<\/dialogue>\n    <scene_description>As Leopold glares furiously about him , the actress succeeds in getting Constanze 's wig firmly onto his head . Everybody bursts into applause . Delightedly , Constanze puts on Leopold 's wig , hat and mask : from the waist up she now looks like a weird parody of Leopold in the smiling grey mask , and he looks like a weird parody of her in the silly feminine wig . Schikaneder starts to play again , and the couples start to dance . Leopold angrily takes off Constanze 's wig and leaves the circle ; his partner , Constanze , is left alone . Seeing this , Mozart leaves his partner and catches his father entreatingly by the arm .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Oh no, Papa, please! Do n't spoil the fun. Come on. Here, take mine.<\/dialogue>\n    <scene_description>He takes off his own wig and puts it on Leopold 's uncovered head . The effect , if not as ridiculous , is still somewhat bizarre , since Wolfgang favours fairly elaborate wigs . He takes Constanze 's wig from his father . As this happens , the music stops again . Mozart gently pushes his father down onto a nearby chair ; the others scramble for the other chairs ; and he is left as the Odd Man Out . He giggles . Schikaneder calls out to Leopold from the keyboard .<\/scene_description>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>Herr Mozart, why do n't you name your son's penalty?<\/dialogue>\n    <scene_description>Applause .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Yes, Papa, name it. Name it. I'll do anything you say!<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>I want you to come back with me to Salzburg, my son.<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>What did he say? What did he say?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Papa, the rule is you can only give penalties that can be performed in the room.<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>I'm tired of this game. Please play without me.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>But my penalty. I've got to have a penalty.<\/dialogue>\n    <scene_description>All the bystanders are watching .<\/scene_description>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>I've got a good one. I've got the perfect one for you. Come over here.<\/dialogue>\n    <scene_description>Mozart runs over to the forte - piano , and Schikaneder surrenders his place at it .<\/scene_description>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>Now, I want you to play our tune - sitting backwards.<\/dialogue>\n    <scene_description>Applause .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Oh, that's really too easy. Any child can do that.<\/dialogue>\n    <scene_description>Amused sounds of disbelief .<\/scene_description>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>And a fugue in the manner of Sebastian Bach.<\/dialogue>\n    <scene_description>Renewed applause at this wicked extra penalty . Mozart smiles at Schikaneder - it is the sort of challenge he loves . He defiantly puts on Constanze 's wig and seats himself with his back to the keyboard . Before the astonished eyes of the company he proceeds to execute this absurdly difficult task . His right hand plays the bass part , his left hand the treble , and with this added difficulty he improvises a brilliant fugue on the subject of the tune to which they have been dancing . Attracted by this astonishing feat , the players draw nearer to the instrument . So does Salieri , cautiously , with some of the bystanders . Constanze watches him approach . Only Leopold sits by himself , sulking . The fugue ends amidst terrific clapping . The guests call out to Mozart .<\/scene_description>\n    <character>GUESTS<\/character>\n    <dialogue>Another! Do another! Someone else.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Give me a name. Who shall I do? Give me a name.<\/dialogue>\n    <character>GUESTS<\/character>\n    <dialogue>Gluck! Haydn! Frederic Handel!<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Salieri! Do Salieri!<\/dialogue>\n    <scene_description>SMASH CUT : Salieri 's masked face whips around and looks at her .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Now that's hard. That's very hard. For Salieri one has to face the right way around.<\/dialogue>\n    <scene_description>Giggling , he turns around and sits at the keyboard . Then , watched by a highly amused group , he begins a wicked parody . He furrows his brow in mock concentration and closes his eyes . Then he begins to play the tune to which they danced , in the most obvious way imaginable , relying heavily on a totally and offensively unimaginative bass of tonic and dominant , endlessly repeated . The music is the very essence of banality . The bystanders rock with laughter . Mozart starts to giggle wildly . Through this excruciating scene , Salieri stares at Constanze , who suddenly turns her head and looks challengingly back at him . Mozart 's parody reaches its coarse climax with him adding a fart noise instead of notes to end cadences . He builds this up , urged on in his clowning by everyone else , until suddenly he stops and cries out . The laughter cuts off . Mozart stands up , clutching his behind as if he has made a mess in his breeches . The momentary hush of alarm is followed by a howl of laughter . CU , Salieri staring in pain .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823<\/stage_direction>\n    <scene_description>CU , The old man is shaking at the very recollection of his humiliation .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <dialogue>Go on. Mock me. Laugh, laugh!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GROTTO - NIGHT - 1780'S<\/stage_direction>\n    <scene_description>A repetition of the shot of Mozart at the forte - piano , wearing Constanze 's wig and emitting a shrill giggle .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALIERI'S APARTMENT - BEDROOM - NIGHT - 1780'S<\/stage_direction>\n    <scene_description>Salieri sits at his desk . He holds in his hand the small black party mask and stares in hatred at the place on the wall where the crucifix used to hang . Faintly we see the mark of the cross .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>That was not Mozart laughing, Father. That was God. That was God! God laughing at me through that obscene giggle. Go on, Signore. Laugh. Rub my nose in it. Show my mediocrity for all to see. You wait! I will laugh at You! Before I leave this earth, I will laugh at You! Amen!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOZART'S WORKROOM - DAY - 1780'S<\/stage_direction>\n    <scene_description>It is littered with manuscripts . In the middle stands a billiard table . The beautiful closing ensemble from Act IV of Figaro : Ah , Tutti contenti ! Saremo cosi plays in the background . Standing at the billiard table , Mozart is dreamily hearing the music and playing shots on the table . From time to time he drifts over to a piece of manuscript paper and jots down notes . He is very much in his own world of composition and the billiard balls are an aid to creation . Presently , however , we hear a knocking at the door .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <parenthetical>( outside the door . )<\/parenthetical>\n    <dialogue>Wolfi! Wolfgang!<\/dialogue>\n    <scene_description>The music breaks off .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <scene_description>He opens the door .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>There's a young girl to see you.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>What does she want?<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Well, ask her!<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>She wo n't talk to me. She says she has to speak to you.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Oh, damn!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOZART'S APARTMENT - LIVING ROOM -  DAY - 1780'S<\/stage_direction>\n    <scene_description>Mozart comes out . Framed in the doorway from outside stands Lorl , the maid we noticed in Salieri 's house . From his bedroom Leopold peeps out to watch . Mozart goes to the girl . Constanze follows .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>LORL<\/character>\n    <dialogue>Are you Herr Mozart?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>That's right.<\/dialogue>\n    <character>LORL<\/character>\n    <dialogue>My name is Lorl, sir. I'm a maidservant. I was asked to come here and offer my services to you.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>LORL<\/character>\n    <dialogue>They'll be paid for by a great admirer or yours who wishes to remain anon - anonymous.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>What do you mean? What admirer?<\/dialogue>\n    <character>LORL<\/character>\n    <dialogue>I ca n't tell you that, ma'am.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Are you saying that someone is paying you to be our maid and does n't want us to know who he is?<\/dialogue>\n    <character>LORL<\/character>\n    <dialogue>Yes. I can live in or out just as you wish.<\/dialogue>\n    <scene_description>Mozart turns to his father .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Papa, is this your idea?<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>Mine?<\/dialogue>\n    <scene_description>The old man emerges from his bedroom . His son looks at him delightedly .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Are you playing a trick on me?<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>I never saw this girl in my life.<\/dialogue>\n    <parenthetical>( to Lorl . )<\/parenthetical>\n    <dialogue>Is this a kind of joke?<\/dialogue>\n    <character>LORL<\/character>\n    <dialogue>Not at all, sir. And I was told to wait for an answer.<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>Young woman, this wo n't do at all. My son ca n't possibly accept such an offer, no matter how generous, unless he knows who is behind it.<\/dialogue>\n    <character>LORL<\/character>\n    <dialogue>But I really ca n't tell you, sir.<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>Oh, this is ridiculous.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>What is ridiculous? Wolfi has many admirers in Vienna. They love him here. People send us gifts all the time.<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>But you ca n't take her without reference. It's unheard of!<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Well, this is none of your business.<\/dialogue>\n    <parenthetical>( to Lorl . )<\/parenthetical>\n    <dialogue>Whoever sent you is going to pay, no?<\/dialogue>\n    <character>LORL<\/character>\n    <dialogue>That's right, ma'am.<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>So now we are going to let a perfect stranger into the house?<\/dialogue>\n    <scene_description>Constanze looks furiously at him , then at Lorl .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>Who is we? Who is letting who?<\/dialogue>\n    <parenthetical>( to Lorl . )<\/parenthetical>\n    <dialogue>Could you please wait outside?<\/dialogue>\n    <character>LORL<\/character>\n    <dialogue>Yes, ma'am.<\/dialogue>\n    <scene_description>Lorl goes outside and closes the door . Constanze turns on Leopold .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>Look, old man, you stay out of this. We spend a fortune on you, more than we can possibly afford, and all you do is criticize, morning to night. And then you think you can -<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Stanzi!<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>No, it's right he should hear. I'm sick to death of it. We ca n't do anything right for you, can we?<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>Never mind. You wo n't have to do anything for me ever again. I'm leaving!<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Papa!<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>Do n't worry, I'm not staying here to be a burden.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>No one calls you that.<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>She does. She says I sleep all day.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>And so you do! The only time you come out is to eat.<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>And what do you expect? Who wants to walk out into a mess like this every day?<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Oh, now I'm a bad housekeeper!<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>So you are! The place is a pigsty all the time.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <parenthetical>( to Mozart . )<\/parenthetical>\n    <dialogue>Do you hear him? Do you?<\/dialogue>\n    <scene_description>Explosively she opens the door .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <parenthetical>( to Lorl . )<\/parenthetical>\n    <dialogue>When can you start?<\/dialogue>\n    <character>LORL<\/character>\n    <dialogue>Right away, ma'am.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Good! Come in. You'll start with that room there.<\/dialogue>\n    <parenthetical>( indicating Leopold 's room . )<\/parenthetical>\n    <dialogue>It's filthy!<\/dialogue>\n    <scene_description>She leads the maid into Leopold 's room . Mozart steals back into his workroom and gently closes the door . Leopold is left alone .<\/scene_description>\n    <character>LEOPOLD<\/character>\n    <dialogue>Sorry, sorry! I'm sorry I spoke! I'm just a provincial from Salzburg. What do I know about smart Vienna? Parties all night, every night. Dancing and drinking like idiot children!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOZART'S WORKROOM - DAY - 1780'S<\/stage_direction>\n    <scene_description>Mozart stands trying to blot out the noise of his father 's shouting from the next room .<\/scene_description>\n    <character>LEOPOLD<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Dinner at eight! Dinner at ten! Dinner when anyone feels like it! If anyone feels like it!<\/dialogue>\n    <scene_description>The ensemble of Ah , Tutti contenti ! Saremo cosi from Act IV of Figaro resumes , coming to his aid and rising to greet the listener with its serene harmonies . Relieved , Mozart languidly picks up his cue and plays a shot on the billiard table : he is sucked back into his own world of sound .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALIERI'S SALON - NIGHT - 1780'S<\/stage_direction>\n    <scene_description>The music fades . We see Lorl , dressed in a walking cloak , sitting before a desk , talking to someone confidentially .<\/scene_description>\n    <character>LORL<\/character>\n    <dialogue>They're out every night, sir. Till all hours.<\/dialogue>\n    <scene_description>A hand comes into frame offering a plate of sugared biscuits . On its finger we see the gold signet ring belonging to Salieri .<\/scene_description>\n    <character>LORL<\/character>\n    <parenthetical>( taking one . )<\/parenthetical>\n    <dialogue>Oh, thank you, sir.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Do any pupils come to the house?<\/dialogue>\n    <character>LORL<\/character>\n    <dialogue>Not that I've seen.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Then how does he pay for all this? Does he work at all?<\/dialogue>\n    <character>LORL<\/character>\n    <dialogue>Oh, yes, sir, all day long. He never leaves the house until evening. He just sits there, writing and writing. He does n't even eat.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Really? What is it he's writing?<\/dialogue>\n    <character>LORL<\/character>\n    <dialogue>Oh, I would n't know that, sir.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Of course not. You're a good girl. You're very kind to do this. Next time you're sure they'll be out of the house, let me know, will you?<\/dialogue>\n    <scene_description>Confused , the girl hesitates . He hands her a pile of coins .<\/scene_description>\n    <character>LORL<\/character>\n    <dialogue>Oh, thank you, sir!<\/dialogue>\n    <scene_description>She accepts them , delighted .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOZART'S HOUSE - VIENNA STREET - AFTERNOON - 1780'S<\/stage_direction>\n    <scene_description>The final movement of Mozart 's Piano Concerto in E - flat -LRB- K. 482 -RRB- begins . To its lively music , the door of the house bursts open and a grand forte - piano augmented with a pedal is carried out of it by six men , who run off with it down the street . Following them immediately appear Wolfgang , Constanze and Leopold , all three dressed for an occasion . They climb into a waiting carriage which drives off after the forte - piano . As soon as it goes , Lorl appears in the doorway , peering slyly around to see that they are out of sight . Then she shuts the door and hurries off in the opposite direction .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AN ORNAMENTAL GARDEN - VIENNA - AFTERNOON - 1780'S<\/stage_direction>\n    <scene_description>An outdoor concert is being given . Mozart is actually playing the final movement of his E - flat concerto with an orchestra . Listening to him is a sizable audience , including the Emperor , flanked by Strack and Von Swieten . The crowd is in a happy and appreciative mood : it is a delightful open - air scene . We hear the gayest and most complex passage . Leopold and Constanze listen to Mozart , who plays his own work brilliantly . We stay with this scene for a little while and then<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VIENNA STREET - AFTERNOON - 1780'S<\/stage_direction>\n    <scene_description>A carriage clopping through the streets . Lorl is sitting up on the box beside the driver . Inside the vehicle , we glimpse the figure of Salieri .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AN ORNAMENTAL GARDEN - VIENNA - 1780'S<\/stage_direction>\n    <scene_description>We hear more of the concerto . Perhaps the slow interlude in the last movement of K. 482 . Mozart is conducting and playing in a reflective mood . Abruptly we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOZART' S APARTMENT - AFTERNOON - 1780'S<\/stage_direction>\n    <scene_description>Lorl is opening the door admitting Salieri . They go in . The door shuts .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOZART'S LIVING ROOM - AFTERNOON - 1780'S<\/stage_direction>\n    <scene_description>The room is considerably tidier as a result of Lorl 's ministrations . Salieri stands looking about him with tremendous curiosity .<\/scene_description>\n    <character>LORL<\/character>\n    <dialogue>I think I've found out about the money, sir.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Yes what?<\/dialogue>\n    <scene_description>She opens a drawer in a sideboard . Inside we see one gold snuff box : it is the one we saw Mozart being presented with as a child in the Vatican .<\/scene_description>\n    <character>LORL<\/character>\n    <dialogue>He kept seven snuff boxes in here. I could swear they were all gold. And now look there's only one left. And inside, sir, look - I counted them - tickets from the pawnshop. Six of them.<\/dialogue>\n    <scene_description>Salieri turns to look around him .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Where does he work?<\/dialogue>\n    <character>LORL<\/character>\n    <dialogue>In there, sir.<\/dialogue>\n    <scene_description>She points across the room to the workroom . Salieri crosses and goes in alone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOZART'S WORKROOM - AFTERNOON - 1780'S<\/stage_direction>\n    <scene_description>Salieri enters the private quarters of Amadeus . He is immensely excited . He moves slowly into the ` holy of holies ' picking up objects with great reverence - a billiard ball ; a discarded wig ; a sock ; a buckle - then objects more important to him . Standing at Mozart 's desk , strewn with manuscripts , he picks up Mozart 's pen and strokes the feather . He touches the inkstand . He lays a finger on the candlestick with its half - expired candle . He touches each object as if it were the memento of a beloved . He is in awe . Finally his eye falls on the sheets of music themselves . Stealthily he picks them up . CU , The pages . We see words set to music . Against each line of notes is the name of a character : Contessa , Susanna , Cherubino . Then another page - the title page - written in Mozart 's hand . Le Nozze di Figaro Comedia per musica tratta dal Francese in quattro atti . CU , The word Figaro . CU , Salieri . He stares amazed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ORNAMENTAL GARDEN - VIENNA - AFTERNOON - 1780'S<\/stage_direction>\n    <scene_description>Mozart is playing the cadenza and coda of Piano Concerto -LRB- K. 482 -RRB- . He completes the work with a flourish . There is loud applause . The Emperor rises and all follow suit . Mozart comes down to be greeted by him .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>Bravo, Mozart. Most charming. Yes, indeed. Clever man.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Thank you, Sire!<\/dialogue>\n    <character>VON SWIETEN<\/character>\n    <dialogue>Well done, Mozart. Really quite fine.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Baron!<\/dialogue>\n    <scene_description>He sees his wife and father standing by in the crowd . Leopold is signaling insistently .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Majesty, may I ask you to do me the greatest favour?<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>May I introduce my father? He is on a short visit here and returning very soon to Salzburg. He would so much like to kiss your hand. It would make his whole stay so memorable for him.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Ah! By all means.<\/dialogue>\n    <scene_description>Leopold comes forward eagerly and fawningly kisses the royal hand .<\/scene_description>\n    <character>LEOPOLD<\/character>\n    <dialogue>Your Majesty.<\/dialogue>\n    <scene_description>Constanze curtsies .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>Good evening.<\/dialogue>\n    <parenthetical>( to Leopold . )<\/parenthetical>\n    <dialogue>We have met before, Herr Mozart.<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>That's right, Your Majesty. Twenty years ago. No, twenty - two! twenty - three! And I remember word for word what you said to me. You said - you said -<\/dialogue>\n    <scene_description>He searches his memory .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>Bravo?<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>No! Yes, ` bravo,' of course ` bravo'! Everybody always says ` bravo' when Wolfi plays. Like the King of England. When we played for the King of England, he got up at the end and said, ` Bravo! Bravo! Bravo!' three times. Three bravo's. And the Pope four! Four bravo's from the Holy Father, and one ` bellissimo.'<\/dialogue>\n    <scene_description>All the courtiers around are looking at him .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Father -<\/dialogue>\n    <character>LEOPOLD<\/character>\n    <dialogue>Hush! I'm talking to His Majesty. Your Majesty, I wish to express only one thing - that you who are the Father of us all, could teach our children the gratitude they owe to fathers. It is not for nothing that the Fifth Commandment tells us : ` Honour your Father and Mother, that your days may be long upon the earth.'<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Ah - ha. Well. There it is.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ORSINI-ROSENBERG'S STUDY - DAY - 1780'S<\/stage_direction>\n    <scene_description>The Director sits at his table with Salieri and Bonno .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>I've just learned something that might be of interest to you, Herr Director.<\/dialogue>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Mozart is writing a new opera. An Italian opera.<\/dialogue>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>Italian?<\/dialogue>\n    <character>BONNO<\/character>\n    <dialogue>Aie!<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>And that's not all. He has chosen for his subject, Figaro. The Marriage of Figaro.<\/dialogue>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>You mean that play?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Exactly.<\/dialogue>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>He's setting that play to music?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>You must be mad.<\/dialogue>\n    <character>BONNO<\/character>\n    <dialogue>What is this Marriage of Figaro?<\/dialogue>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>It's a French play, Kapellmeister. It has been banned by the Emperor.<\/dialogue>\n    <character>BONNO<\/character>\n    <dialogue>Hah!<\/dialogue>\n    <scene_description>He crosses himself , wide - eyed with alarm .<\/scene_description>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>Are you absolutely sure?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>I've seen the manuscript.<\/dialogue>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Never mind.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHAMBERLAIN VON STRACK'S STUDY - DAY - 1780'S<\/stage_direction>\n    <character>VON STRACK<\/character>\n    <dialogue>I know we banned this play, but frankly I ca n't remember why. Can you refresh my memory, Herr Director?<\/dialogue>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>For the same reason, Herr Chamberlain, that it was banned in France.<\/dialogue>\n    <character>VON STRACK<\/character>\n    <dialogue>Oh yes, yes. And that was?<\/dialogue>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>Well, the play makes a hero out of a valet. He outwits his noble master and exposes him as a lecher. Do you see the implications? This would be, in a grander situation, as if a Chamberlain were to expose an Emperor.<\/dialogue>\n    <character>VON STRACK<\/character>\n    <dialogue>Ah.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE EMPEROR'S STUDY - DAY - 1780'S<\/stage_direction>\n    <scene_description>The Emperor stands in the middle of the room in close conversation with Von Strack , Orsini - Rosenberg , Von Swieten , and Bonno . Salieri is not present . A door opens and a lackey announces :<\/scene_description>\n    <character>LACKEY<\/character>\n    <dialogue>Herr Mozart.<\/dialogue>\n    <scene_description>They all turn . Mozart approaches , rather apprehensively , and kisses Joseph 's hand .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>Sit down, gentlemen, please.<\/dialogue>\n    <scene_description>They all sit , save Mozart . The room suddenly looks like a tribunal . Joseph is in a serious mood .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>Mozart, are you aware I have declared the French play of Figaro unsuitable for our theatre?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Yes, Sire.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Yet we hear you are making an opera from it. Is this true?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Who told you this, Majesty?<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>It is not your place to ask questions. Is it true?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Well, yes, I admit it is.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Would you tell me why?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Well, Majesty, it is only a comedy.<\/dialogue>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>What you think, Mozart, is scarcely the point. It is what His Majesty thinks that counts.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>But, Your Majesty -<\/dialogue>\n    <character>JOSEPH<\/character>\n    <parenthetical>( motioning him to be silent . )<\/parenthetical>\n    <dialogue>Mozart, I am a tolerant man. I do not censor things lightly. When I do, I have good reason. Figaro is a bad play. It stirs up hatred between the classes. In France it has caused nothing but bitterness. My own dear sister Antoinette writes me that she is beginning to be frightened of her own people. I do not wish to see the same fears starting here.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Sire, I swear to Your Majesty, there's nothing like that in the story. I have taken out everything that could give offense. I hate politics.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>I think you are rather innocent, my friend. In these dangerous times I can not afford to provoke our nobles or our people simply over a theatre piece.<\/dialogue>\n    <scene_description>The others look at their king solemnly , all save Mozart .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>But, Majesty, this is just a frolic. It's a piece about love.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Ah, love again.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>But it's new, it's entirely new. It's so new, people will go mad for it. For example, I have a scene in the second act - it starts as a duet, just a man and wife quarreling. Suddenly the wife's scheming little maid comes in unexpectedly - a very funny situation. Duet turns into trio. Then the husband's equally screaming valet comes in. Trio turns into quartet. Then a stupid old gardener - quartet becomes quintet, and so on. On and on, sextet, septet, octet! How long do you think I can sustain that?<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>I have no idea.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Guess! Guess, Majesty. Imagine the longest time such a thing could last, then double it.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Well, six or seven minutes! maybe eight!<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Twenty, sire! How about twenty? Twenty minutes of continuous music. No recitatives.<\/dialogue>\n    <character>VON SWIETEN<\/character>\n    <dialogue>Mozart -<\/dialogue>\n    <character>MOZART<\/character>\n    <parenthetical>( ignoring him . )<\/parenthetical>\n    <dialogue>Sire, only opera can do this. In a play, if more than one person speaks at the same time, it's just noise. No one can understand a word. But with music, with music you can have twenty individuals all talking at once, and it's not noise - it's a perfect harmony. Is n't that marvelous?<\/dialogue>\n    <character>VON SWIETEN<\/character>\n    <dialogue>Mozart, music is not the issue here. No one doubts your talent. It is your judgment of literature that's in question. Even with the politics taken out, this thing would still remain a vulgar farce. Why waste your spirit on such rubbish? Surely you can choose more elevated themes?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Elevated? What does that mean? Elevated! The only thing a man should elevate is - oh, excuse me. I'm sorry. I'm stupid. But I am fed up to the teeth with elevated things! Old dead legends! How can we go on forever writing about gods and legends?<\/dialogue>\n    <character>VON SWIETEN<\/character>\n    <parenthetical>( aroused . )<\/parenthetical>\n    <dialogue>Because they do. They go on forever - at least what they represent. The eternal in us, not the ephemeral. Opera is here to ennoble us. You and me, just as much as His Majesty.<\/dialogue>\n    <character>BONNO<\/character>\n    <dialogue>Bello! Bello, Barone. Veramente.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Oh, bello, bello, bello! Come on now, be honest. Would n't you all rather listen to your hairdressers than Hercules? Or Horatius? Or Orpheus? All those old bores! people so lofty they sound as if they shit marble!<\/dialogue>\n    <character>VON SWIETEN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>VON STRACK<\/character>\n    <dialogue>Govern your tongue, sir! How dare you?<\/dialogue>\n    <scene_description>Beat . All look at the Emperor .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Forgive me, Majesty. I'm a vulgar man. But I assure you, my music is not.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>You are passionate, Mozart! But you do not persuade.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Sire, the whole opera is finished. Do you know how much work went into it?<\/dialogue>\n    <character>BONNO<\/character>\n    <dialogue>His Majesty has been more than patient, Signore.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>How can I persuade you if you wo n't let me show it?<\/dialogue>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>That will do, Herr Mozart!<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Just let me tell you how it begins.<\/dialogue>\n    <character>VON STRACK<\/character>\n    <dialogue>Herr Mozart -<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>May I just do that, Majesty? Show you how it begins? Just that?<\/dialogue>\n    <scene_description>A slight pause . Then Joseph nods .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>Please.<\/dialogue>\n    <scene_description>Mozart falls on his knees .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Look! There's a servant, down on his knees. Do you know why? Not from any oppression. No, he's simply measuring a space. Do you know what for? His bed. His wedding bed to see if it will fit.<\/dialogue>\n    <scene_description>He giggles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OPERA HOUSE - DAY - 1780'S<\/stage_direction>\n    <scene_description>Mozart sits on stage at a harpsichord rehearsing the singers taking the parts of Figaro and Susanna in the opening bars of the first act of The Marriage of Figaro . We watch Figaro measuring the space for his bed on the floor , singing and Susanna looking on , trying on the Countess ' hat .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALIERI'S SALON - DAY - 1780'S<\/stage_direction>\n    <scene_description>Orsini - Rosenberg and Bonno are sitting with Salieri .<\/scene_description>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>Well, Mozart is already rehearsing.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Incredible.<\/dialogue>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>The Emperor has given him permission.<\/dialogue>\n    <character>BONNO<\/character>\n    <dialogue>Si, si! Veramente.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Well, gentlemen, so be it. In that case I think we should help Mozart all we can and do our best to protect him against the Emperor's anger.<\/dialogue>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>What anger?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>About the ballet.<\/dialogue>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>Ballet? What ballet?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Excuse me - did n't His Majesty specifically forbid ballet in his opera?<\/dialogue>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>Yes, absolutely. Is there a ballet in Figaro?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Yes, in the third act.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE OPERA HOUSE - DAY - 1780'S<\/stage_direction>\n    <scene_description>It is a full orchestral rehearsal . Mozart is conducting from the harpsichord with his hands ; he does not use a baton . The singers are all in practice clothes , not costumes . We are in the Act III and we hear the recitativo exchange just before the march begins . Orsini - Rosenberg and Bonno sit watching chairs . Suddenly the march starts . Peasants and friends start to dance in and at the same moment , Orsini - Rosenberg gets up and comes down to Mozart . He is accompanied by an anxious Bonno .<\/scene_description>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>Mozart! Herr Mozart, may I have a word with you please. Right away.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Certainly, Herr Director.<\/dialogue>\n    <scene_description>He signals to the cast to break off .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Five minutes, please!<\/dialogue>\n    <scene_description>The company disperses , curious . The musicians look at Orsini - Rosenberg .<\/scene_description>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>Did you not know that His Majesty has expressly forbidden ballet in his operas?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Yes, but this is not a ballet. This is a dance at Figaro's wedding.<\/dialogue>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>Exactly. A dance.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>But surely the Emperor did n't mean to prohibit dancing when it's part of the story.<\/dialogue>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>It is dangerous for you to interpret His Majesty's edicts. Give me your score, please.<\/dialogue>\n    <scene_description>Mozart hands him the score from which he is conducting .<\/scene_description>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>He rips out a page . Bonno watches in terror .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <scene_description>He rips out three more .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>What are you doing, Herr Director?<\/dialogue>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>Taking out what you should never have put in.<\/dialogue>\n    <scene_description>He goes on tearing the pages determinedly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALIERI'S SALON - DAY - 1780'S<\/stage_direction>\n    <scene_description>A servant opens the door to announce .<\/scene_description>\n    <character>SERVANT<\/character>\n    <dialogue>Herr Mozart.<\/dialogue>\n    <scene_description>Mozart brushes past him straight towards Salieri , who rises to greet him . The little man is near hysterics .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Please! Please. I've no one else to turn to. Please!<\/dialogue>\n    <scene_description>He grabs Salieri .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Wolfgang, what is it? Sta calmo, per favore. What's the matter?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>It's unbelievable! The Director has actually ripped out a huge section of my music. Pages of it.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Really? Why?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>I do n't know. They say I've got to re - write the opera, but it's perfect as it is. I ca n't rewrite what's perfect. Ca n't you talk to him?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Why bother with Orsini - Rosenberg? He's obviously no friend of yours.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Oh, I could kill him! I mean really kill him. I actually threw the entire opera on the fire, he made me so angry!<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>You burned the score?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Oh no! My wife took it out in time.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>How fortunate.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>It's not fair that a man like that has power over our work.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>But there are those who have power over him. I think I'll take this up with the Emperor.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Oh, Excellency, would you?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>With all my heart, Mozart.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Thank you! Oh, thank you.<\/dialogue>\n    <scene_description>He kisses Salieri 's hand .<\/scene_description>\n    <character>SALIERI<\/character>\n    <parenthetical>( withdrawing it ; imitating the Emperor . )<\/parenthetical>\n    <dialogue>No, no, no, Herr Mozart, please. It's not a holy relic.<\/dialogue>\n    <scene_description>Mozart giggles with relief and gratitude .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823<\/stage_direction>\n    <character>OLD SALIERI<\/character>\n    <dialogue>I'm sure I do n't need to tell you I said nothing whatever to the Emperor. I went to the theatre ready to tell Mozart that His Majesty had flown into a rage when I mentioned the ballet, when suddenly, to my astonishment, in the middle of the third act, the Emperor - who never attended rehearsals - suddenly appeared.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OPERA HOUSE - DAY - 1780'S<\/stage_direction>\n    <scene_description>In the background the same recitativo before the March . The Emperor steals in surreptitiously with Von Strack , his finger to his lips . He motions everyone not to rise , and slips into a chair behind Salieri , Orsini - Rosenberg and Bonno . The three conspirators look at each other wide - eyed . The recitativo summons up the march , but instead there is silence . Mozart lays down his baton . The musicians lay down their instruments . The celebrants of Figaro 's wedding come in with a few pitiful dance steps , in procession , only to come presently to a halt , lacking their music . The singers try to go on singing , but they have no cues from their conductor or from the accompaniment . Everyone on stage looks lost , though they attempt to go on with the story for a while . Consternation grows on the faces of the conspirators . Mozart glances back at the group seated in the theatre . Finally , the Emperor speaks , in a whisper .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>What is this? I do n't understand. Is it modern?<\/dialogue>\n    <character>BONNO<\/character>\n    <dialogue>Majesty, the Herr Director, he has removed a balleto that would have occurred at this place.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>It is your regulation, Sire. No ballet in your opera.<\/dialogue>\n    <scene_description>Mozart strains to hear what they are saying but can not .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>Do you like this, Salieri?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>It is not a question of liking, Your Majesty. Your own law decrees it, I'm afraid.<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Well, look at them.<\/dialogue>\n    <scene_description>We do look at them . The spectacle on stage has now ground to a complete halt .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>No, no, no! This is nonsense. Let me hear the scene with the music.<\/dialogue>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>But, Sire -<\/dialogue>\n    <character>JOSEPH<\/character>\n    <dialogue>Oblige me.<\/dialogue>\n    <scene_description>Orsini - Rosenberg acknowledges his defeat .<\/scene_description>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>Yes, Majesty.<\/dialogue>\n    <scene_description>Orsini - Rosenberg rises and goes down to where Mozart sits anxiously with the musicians , watching his approach .<\/scene_description>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>Can we see the scene with the music back, please?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Oh yes, certainly. Certainly, Herr Director!<\/dialogue>\n    <scene_description>He looks back deliriously at Salieri , trying to indicate his gratitude . Salieri acknowledges with a slight and subtle nod . Orsini - Rosenberg returns to his king .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Ladies and gentlemen, we're going from where we stopped. The Count : Anches so. Right away, please!<\/dialogue>\n    <scene_description>The singers scatter offstage to begin the scene again .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <parenthetical>( to Orsini - Rosenberg . )<\/parenthetical>\n    <dialogue>What I hoped by that edict, Director, was simply to prevent hours of dancing like in French opera. There it is endless, as you know.<\/dialogue>\n    <character>ORSINI-ROSENBERG<\/character>\n    <dialogue>Quite so, Majesty.<\/dialogue>\n    <scene_description>CUT BACK TO Mozart at the forte - piano , raising his hands . The musicians raise their bows . With a flourish the happy composer begins a reprise of the scene which had been cut out . The music of the march begins faintly ; the celebrants of Figaro 's wedding start to enter as the Count and the Countess sit in their chairs . In the theatre we see increasing pleasure on the Emperor 's face , sullenness and defeat on the courtiers ' . Then , suddenly , without interruption , on a crescendo repeat of the march , we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  OPERA HOUSE - NIGHT - 1780'S<\/stage_direction>\n    <scene_description>The theatre is brilliantly lit for the first public performance of Figaro . Everybody is there : the Emperor , Von Strack , Bonno Orsini - Rosenberg , Von Swieten , even Madame Weber and her daughters in a box . The musicians all wear imperial livery ; the actors on stage are now in costume . Mozart , conducting , wears his Order of the Golden Spur . The company wheels in and around to the music of the restored march , which reaches a triumphant climax .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823<\/stage_direction>\n    <character>OLD SALIERI<\/character>\n    <parenthetical>( to Vogler . )<\/parenthetical>\n    <dialogue>So Figaro was produced in spite of me. And in spite of me, a wonder was revealed. One of the true wonders of art. The restored third act was bold and brilliant. The fourth was a miracle.<\/dialogue>\n    <scene_description>The descending scale of strings in the final ensemble -LRB- Ah , Tutti contenti . Saremo cosi -RRB- fades in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OPERA HOUSE - NIGHT - 1780'S<\/stage_direction>\n    <scene_description>We see the tableau on stage with the Count kneeling to the Countess . All are singing .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I saw a woman disguised in her maid's clothes hear her husband speak the first tender words he has offered her in years, only because he thinks she is someone else. I heard the music of true forgiveness filling the theatre, conferring on all who sat there a perfect absolution. God was singing through this little man to all the world - unstoppable - making my defeat more bitter with each passing bar.<\/dialogue>\n    <scene_description>CU , Salieri in his box , tears on his cheeks . He watches the ensemble and we listen to it for a long moment . Finally it fades , but continues underneath the following :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823<\/stage_direction>\n    <character>OLD SALIERI<\/character>\n    <dialogue>And then suddenly - a miracle!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OPERA HOUSE - NIGHT - 1780'S<\/stage_direction>\n    <scene_description>The ensemble reaches its climax , and fades away to the very quiet , slow chords immediately preceding the boisterous final chord . Salieri becomes aware that some of the audience are asleep and many mare are apathetic . In the near silence we see the Emperor yawn behind his hand . Those nearby look at him . Orsini - Rosenberg smiles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823<\/stage_direction>\n    <character>OLD SALIERI<\/character>\n    <dialogue>Father, did you know what that meant? With that yawn I saw my defeat turn into a victory. And Mozart was lucky the Emperor only yawned once. Three yawns and the opera would fail the same night ; two yawns, within a week at most. With one yawn the composer could still get -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALIERI'S SALON - DAY - 1780'S<\/stage_direction>\n    <scene_description>Mozart is pacing up and down . Salieri is listening sympathetically .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Nine performances! Nine! That's all it's had - and withdrawn.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>I know ; it's outrageous. Still, if the public does n't like one's work one has to accept the fact gracefully.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>But what is it they do n't like?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Well, I can speak for the Emperor. You made too many demands on the royal ear. The poor man ca n't concentrate for more than an hour and you gave him four.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>What did you think of it yourself? Did you like it at all?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>I think it's marvelous. Truly.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>It's the best opera yet written. I know it! Why did n't they come?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>I think you overestimate our dear Viennese, my friend. Do you know you did n't even give them a good bang at the end of songs so they knew when to clap?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>I know, I know. Perhaps you should give me some lessons in that.<\/dialogue>\n    <character>SALIERI<\/character>\n    <parenthetical>( fuming . )<\/parenthetical>\n    <dialogue>I would n't presume. All the same, if it would n't be imposing, I would like you to see my new piece. It would be a tremendous honour for me.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Oh no, the honour would be all mine.<\/dialogue>\n    <character>SALIERI<\/character>\n    <parenthetical>( bowing . )<\/parenthetical>\n    <dialogue>Grazie, mio caro, Wolfgang!<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Grazie, a lei, Signor Antonio!<\/dialogue>\n    <scene_description>He bows too , giggling .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OPERA HOUSE - NIGHT - 1780'S<\/stage_direction>\n    <scene_description>A performance of Salieri 's grand opera , Axur : King of Ormus . Deafening applause from a crowded house . We see the reception of the aria which we saw Cavalieri singing on the stage near the start of the film . Cavalieri , in a mythological Persian costume , is bowing to the rapturous throng ; below her is Salieri . We see the Emperor , Von Strack , Orsini - Rosenberg , Bonno and Von Swieten , all applauding . We hear great cries of ` Salieri ! Salieri ! ' and ` Bravo ! ' and ` Brava ! ' CU , Salieri looking at the crowd with immense pleasure . Then suddenly at : CU , Mozart standing in a box and clapping wildly . Behind him , seated , are Schikaneder and the three girls we saw before in Mozart 's apartment . CU , Salieri staring fixedly at Mozart , then Mozart still clapping , apparently with tremendous enthusiasm .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What was this? I never saw him excited before by any music but his own. Could he mean it?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823<\/stage_direction>\n    <character>OLD SALIERI<\/character>\n    <parenthetical>( to Vogler . )<\/parenthetical>\n    <dialogue>Would he actually tell me my music had moved him? Was I really going to hear that from his own lips? I found myself actually hurrying the tempo of the finale.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OPERA HOUSE - NIGHT - 1780'S<\/stage_direction>\n    <scene_description>Salieri conducting the last scene from Axur : King of Ormus . On stage we see a big scene of acclamation : the hero and heroine of the opera accepting the crown amidst the rejoicing of the people . The decor and costumes are mythological Persian . The music is utterly conventional and totally uninventive . CU , Mozart watching this in his box , with Schikaneder and the three actresses . He passes an open bottle of wine to them . He is evidently a little drunk , but keeps a poker face . The act comes to an end . Great applause in which Mozart joins in , standing and shouting ` Bravo ! Bravo ! ' Then he leaves the box with Schikaneder and the girls .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR OF THE OPERA HOUSE - NIGHT - 1780'S<\/stage_direction>\n    <character>MOZART<\/character>\n    <parenthetical>( to Schikaneder . )<\/parenthetical>\n    <dialogue>Well?<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <parenthetical>( mock moved . )<\/parenthetical>\n    <dialogue>Sublime! Utterly sublime!<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>That kind of music should be punishable by death.<\/dialogue>\n    <scene_description>Schikaneder laughs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAGE OF THE OPERA HOUSE - NIGHT - 1780'S<\/stage_direction>\n    <scene_description>A crowd of people rings Salieri at a respectful distance . The Emperor is holding out the Civilian Medal and Chain .<\/scene_description>\n    <character>JOSEPH<\/character>\n    <dialogue>I believe that is the best opera yet written, my friends. Salieri, you are the brightest star in the musical firmament. You do honour to Vienna and to me.<\/dialogue>\n    <scene_description>Salieri bows his head . Joseph places the chain around his neck . The crowd claps . Salieri makes to kiss his hand , but Joseph restrains him , and passes on . Cavalieri , smiling adoringly , gives him a deep curtsey , and he raises her up . The crowd all flock to Salieri with cries and words of approval . All want to shake his hand . They tug and pat him . But he has eyes for only one man - he looks about him , searching for him and then finds him . Mozart stands there . Eagerly Salieri moves to him .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Mozart. It was good of you to come.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>How could I not?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Did my work please you?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>How could it not, Excellency?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>I never knew that music like that was possible.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>You flatter me.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Oh no! One hears such sounds and what can one say, but - Salieri!<\/dialogue>\n    <scene_description>Salieri smiles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1780'S<\/stage_direction>\n    <scene_description>Explosive laughter as Mozart and Schikaneder enter the apartment , very pleased with themselves and accompanied by the three actresses . The front door opens , very gingerly . Mozart , still rather drunk , sticks his head into the room , anxious not to make a noise . He sees the strangers and breaks into a smile .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Oh. Everybody's here! We've got guests. Good. I've brought some more.<\/dialogue>\n    <scene_description>He opens the door wide to admit Schikaneder and the girls .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>We'll have a little party. Come in. Come in. You know Herr Schikaneder?<\/dialogue>\n    <parenthetical>( to a girl . )<\/parenthetical>\n    <dialogue>This is! a very nice girl.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <parenthetical>( standing up . )<\/parenthetical>\n    <dialogue>Wolfi.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Yes, my love?<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>These gentlemen are from Salzburg.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Salzburg. We were just talking about Salzburg.<\/dialogue>\n    <parenthetical>( to the two men , jubilantly . )<\/parenthetical>\n    <dialogue>If you've come from my friend the Fartsbishop, you've arrived at just the right moment. Because I've got good news for him. I'm done with Vienna. It's over, finished, done with! Done with! Done with!<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Wolfi! Your father is dead.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Your father is dead.<\/dialogue>\n    <scene_description>The first loud chord of the Statue scene from Don Giovanni sounds . Mozart stares .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AN OPERA HOUSE - NIGHT - 1780'S<\/stage_direction>\n    <scene_description>The second chord sounds . On stage we see the huge figure of the Commendatore in robes and helmet , extending his arms and pointing in accusation .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AN OPERA HOUSE - NIGHT - 1780'S<\/stage_direction>\n    <scene_description>The second chord sounds . On stage we see a huge nailed fist crash through the wall of a painted dining room set . The giant armoured statue of the COMMENDATORE enters pointing his finger in accusation at Don Giovanni who sits at the supper table , staring - his servant Leporello quaking with fear under the table .<\/scene_description>\n    <character>THE COMMENDATORE<\/character>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>Don Giovanni!<\/dialogue>\n    <scene_description>The figure advances on the libertine . We see Mozart conducting , pale and deeply involved . Music fades down a little .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>So rose the dreadful ghost in his next and blackest opera. There on the stage stood the figure of a dead commander calling out ` Repent! Repent!'<\/dialogue>\n    <scene_description>The music swells . We see Salieri standing alone in the back of a box , unseen , in semi - darkness . We also see that the theatre is only half full . Music fades down .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And I knew - only I understood - that the horrifying apparition was Leopold, raised from the dead. Wolfgang had actually summoned up his own father to accuse his son before all the world. It was terrifying and wonderful to watch.<\/dialogue>\n    <scene_description>Music swells up again . We watch the scene on stage as the Commendatore addresses Giovanni . Then back to Salieri in the box . Music down again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823<\/stage_direction>\n    <character>OLD SALIERI<\/character>\n    <dialogue>Now a madness began in me. The madness of a man splitting in half. Through my influence I saw to it Don Giovanni was played only five times in Vienna. But in secret I went to every one of those five - all alone - unable to help myself, worshipping sound I alone seemed to hear.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AN OPERA HOUSE - NIGHT - 1780'S<\/stage_direction>\n    <character>OLD SALIERI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And hour after hour, as I stood there, understanding even more clearly how that bitter old man was still possessing his poor son from beyond the grave, I began to see a way - a terrible way - I could finally triumph over God, my torturer.<\/dialogue>\n    <scene_description>Music swells . On stage Don Giovanni is seized and gripped by the Statue 's icy hand . Flames burst from obviously artificial rocks . Demons appear and drag the libertine down to Hell . The scene ends . CU , Salieri , staring wide - eyed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHIKANEDER'S THEATRE - VIENNA - NIGHT - 1780'S<\/stage_direction>\n    <scene_description>We see huge and attractive posters and billboards advertising Schikaneder 's troupe . The camera concentrates on the one which reads as follows : EMMANUEL SCHIKANEDER , Impresario de luxe , The Celebrated SCHIKANEDER TROUPE OF PLAYERS IN An Evening of PARODY . Music ! Mirth ! Magic ! ALL SONGS AND SPEECHES WRITTEN BY EMMANUEL SCHIKANEDER who personally will appear in every scene !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHIKANEDER'S THEATRE - NIGHT - 1780'S<\/stage_direction>\n    <scene_description>Noise ; smoke ; the audience is sitting at tables for an evening of vaudeville . Mozart , Constanze and their son Karl , now about two years old , and sitting on his mother 's lap , are watching a parody scene by Schikaneder 's troupe . They are rowdy , bawdy and silly , incorporating motifs , situations and tunes from Mozart 's operas which we have seen and heard . Before them on the table are bottles of wine and beer , plates of sausages , etc. . THE PARODY On stage we see a set which parodies the dining room in Don Giovanni 's palace , shown before . Schikaneder as Don Giovanni is dancing with the three actresses to the minuet from Don Giovanni -LRB- end of Act I -RRB- , played by a quartet of tipsy musicians . Leporello is handing around wine on a tray . Suddenly there is a tremendous knocking from outside . The music slithers to a stop . All look at each other in panic . Leporello drops his tray with a crash . All go quiet . One more knock is heard . Then all musicians , actresses , Don Giovanni and Leporello make a dash to hide under the table which is far too small to accommodate them all . The table rocks . Schikaneder is pushed out . He is terrified . He shakes elaborately . Three more knocks are heard ; louder .<\/scene_description>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>Who is it?<\/dialogue>\n    <scene_description>One more knock .<\/scene_description>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>C - c - c - come in!<\/dialogue>\n    <scene_description>In the pit a chromatic scale from the Overture to Don Giovanni turns into a anticipatory vamp . This grows more and more menacing until the whole flat representing the wall at the back falls down . An absurd pantomime horse gallops in . It has a ridiculous expression , and is manned by four men inside . Standing precariously on its back is a dwarf , wearing a miniature version of the armour and helmet worn by the Commendatore . He sings in a high , nasal voice :<\/scene_description>\n    <character>COMMENDATORE<\/character>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>Don Giovannnnnnnnnni!<\/dialogue>\n    <scene_description>He tries to keep his balance as he trots in , but fails . He falls off onto the stage . He beats at the horse , trying to get back on .<\/scene_description>\n    <character>COMMENDATORE<\/character>\n    <dialogue>Down! Down!<\/dialogue>\n    <scene_description>Bewildered , the horse looks about him , but can not see his small rider who is below his level of sight .<\/scene_description>\n    <character>COMMENDATORE<\/character>\n    <dialogue>I'm here! I'm here!<\/dialogue>\n    <scene_description>The horse , amidst laughter from the audience , fails to locate him . Exasperated , the dwarf signals to someone in the wings . A tall man strides out carrying a see - saw ; on his shoulders stands another man . The dwarf stands on the lowered end of the see - saw . There is a drum roll and the man above jumps down onto the raised end and the Commendatore is abruptly catapulted back onto the horse , only backwards so that he is facing away from Don Giovanni . The two men bow to the applauding audience , and retire off - stage . The Commendatore tries to extend his arms in the proper menacing attitude , and at the same time turn around to face Don Giovanni . This he finds difficult .<\/scene_description>\n    <character>COMMENDATORE<\/character>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>Don Giovannnnnnnni!<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>Who the devil are you? What do you want?<\/dialogue>\n    <character>COMMENDATORE<\/character>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>I've come to dinnnnnner!<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>Dinner? How dare you? I am a nobleman. I only dine with people of my own height.<\/dialogue>\n    <character>COMMENDATORE<\/character>\n    <dialogue>Are you drunk? You invited me. And my horse. Here he is. Ottavio!<\/dialogue>\n    <scene_description>The horse takes a bow . The dwarf almost falls off again .<\/scene_description>\n    <character>COMMENDATORE<\/character>\n    <dialogue>Whoa! Whoa! Stop it!<\/dialogue>\n    <scene_description>The three girls rush to his aid and reach him just in time . They sing in the manner of the Tree Ladies later to be put into The Magic Flute .<\/scene_description>\n    <character>FIRST LADY<\/character>\n    <parenthetical>( running and singing . )<\/parenthetical>\n    <dialogue>Be careful!<\/dialogue>\n    <character>SECOND LADY<\/character>\n    <parenthetical>( running and singing . )<\/parenthetical>\n    <dialogue>Be careful!<\/dialogue>\n    <character>THIRD LADY<\/character>\n    <parenthetical>( running and singing . )<\/parenthetical>\n    <dialogue>Be careful!<\/dialogue>\n    <character>ALL THREE TOGETHER<\/character>\n    <parenthetical>( close harmony . )<\/parenthetical>\n    <dialogue>Hold tight now!<\/dialogue>\n    <scene_description>They grab him .<\/scene_description>\n    <character>COMMENDATORE<\/character>\n    <parenthetical>( angry . )<\/parenthetical>\n    <dialogue>Leave me alone! Stop it! I'm a famous horseman.<\/dialogue>\n    <character>OTTAVIO<\/character>\n    <dialogue>And I'm a famous horse!<\/dialogue>\n    <scene_description>He gives the ladies a radiant smile . The three ladies sing , as before , in close harmony .<\/scene_description>\n    <character>FIRST LADY<\/character>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>He's adorable!<\/dialogue>\n    <character>SECOND LADY<\/character>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>Adorable!<\/dialogue>\n    <character>THIRD LADY<\/character>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>Adorable!<\/dialogue>\n    <scene_description>An orchestral chord . The three ladies turn to Ottavio and sing to him .<\/scene_description>\n    <character>THREE LADIES<\/character>\n    <parenthetical>( singing together . )<\/parenthetical>\n    <dialogue>Give me your hoof, my darling, And I'll give you my heart! Take me to your stable, And never more we'll part!<\/dialogue>\n    <character>OTTAVIO<\/character>\n    <parenthetical>( singing : four male voices . )<\/parenthetical>\n    <dialogue>I'm shy and very bashful. I do n't know what to say.<\/dialogue>\n    <character>THREE LADIES<\/character>\n    <parenthetical>( singing together . )<\/parenthetical>\n    <dialogue>Do n't hesitate a second. Just answer yes and neigh.<\/dialogue>\n    <scene_description>Ottavio neighs loudly , and runs at the girls .<\/scene_description>\n    <character>COMMENDATORE<\/character>\n    <parenthetical>( speaking . )<\/parenthetical>\n    <dialogue>Stop it. What are you doing? Remember who you are! You're a horse and they are whores.<\/dialogue>\n    <scene_description>Boos from the audience .<\/scene_description>\n    <character>SCHIKANEDER<\/character>\n    <parenthetical>( speaking . )<\/parenthetical>\n    <dialogue>This is ridiculous. I wo n't have any of it. You're turning my house into a circus!<\/dialogue>\n    <scene_description>A trapeze sails in from above . On it stands a grand soprano wearing an elaborate Turkish costume , like a parody of Cavalieri 's in Il Seraglio . She comes in singing a mad coloratura scale in the manner of Martern aller Arten .<\/scene_description>\n    <character>SCHIKANEDER<\/character>\n    <parenthetical>( speaking . )<\/parenthetical>\n    <dialogue>Shut up. Women, women, women! I'm sick to death of them.<\/dialogue>\n    <scene_description>He marches off stage .<\/scene_description>\n    <character>SOPRANO<\/character>\n    <parenthetical>( singing dramatically . )<\/parenthetical>\n    <dialogue>Dash me! Bash me! Lash me! Flay me! Slay me! At last I will be freed by death!<\/dialogue>\n    <character>COMMENDATORE<\/character>\n    <dialogue>Shut up.<\/dialogue>\n    <character>SOPRANO<\/character>\n    <parenthetical>( swinging and singing . )<\/parenthetical>\n    <dialogue>Kill me! Kill me! Kill me! Kill me! At last I shall be freed by death. At last I shall be freed by dea -<\/dialogue>\n    <scene_description>The Commendatore pulls out his sword , reaches up and thrusts her through with it . The soprano collapses on the bar of the trapeze . The audience applauds . At the same moment eight dwarves march in bearing a huge cauldron of steaming water . They sing as they march to the sound of the march that was cut from Act III of Figaro . They are dressed as miniature copies of the chorus in that scene except that they are wearing cooks ' hats .<\/scene_description>\n    <character>EIGHT DWARVES<\/character>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>We're going to make a soprano stew! We're going to make a soprano stew! And when you make a soprano stew! Any stupid soprano will do! Any stew - stew - stew - stew - stew! Any stewpid soprano will do!<\/dialogue>\n    <scene_description>They set the giant pot down in the middle of the stage . The trapeze with the dead soprano is still swinging above the stage . We hear the chromatic scale from the Don Giovanni overture again , repeated and repeated , only now fast and tremolando . To this exciting vamp Schikaneder suddenly rides in on a real horse , waving a real sword . With this he cuts the string of the trapeze , and the soprano falls into the pot . A tremendous splash of water . Schikaneder rides out . More applause . All the dwarves produce long wooden cooking spoons and climb up the sides of the pot . The three girls produce labeled bottles from under their skirts . The first is SALT .<\/scene_description>\n    <character>FIRST LADY<\/character>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>Behold!<\/dialogue>\n    <scene_description>PEPPER<\/scene_description>\n    <character>SECOND LADY<\/character>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>Behold!<\/dialogue>\n    <scene_description>She sneezes . AND SCHNAPPS<\/scene_description>\n    <character>THIRD LADY<\/character>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>Behold!<\/dialogue>\n    <scene_description>She hiccups . They throw them into the pot .<\/scene_description>\n    <character>COMMENDATORE<\/character>\n    <parenthetical>( speaking to the dwarves . )<\/parenthetical>\n    <dialogue>How long does it take to cook a soprano?<\/dialogue>\n    <character>DWARVES<\/character>\n    <parenthetical>( all together . )<\/parenthetical>\n    <dialogue>Five hours, five minutes, five seconds.<\/dialogue>\n    <character>COMMENDATORE<\/character>\n    <parenthetical>( speaking . )<\/parenthetical>\n    <dialogue>I ca n't wait that long. I'm starving!<\/dialogue>\n    <character>OTTAVIO<\/character>\n    <parenthetical>( speaking ; four voices . )<\/parenthetical>\n    <dialogue>So am I.<\/dialogue>\n    <scene_description>Schikaneder marches in as Figaro .<\/scene_description>\n    <character>SCHIKANEDER<\/character>\n    <parenthetical>( singing to the tune of Non piu ante . )<\/parenthetical>\n    <dialogue>In the pot, I have got a good dinner. Not a sausage or stew, but a singer. Not a sausage or stew but a singer. Is the treat that I'll eat for my meat!<\/dialogue>\n    <character>COMMENDATORE<\/character>\n    <dialogue>Oh shut up. I'm sick to death of that tune.<\/dialogue>\n    <scene_description>CU , Mozart laughing delightedly with the audience .<\/scene_description>\n    <character>THE THREE GIRLS<\/character>\n    <parenthetical>( singing again to the horse . )<\/parenthetical>\n    <dialogue>Give me your hoof, my darling, and I'll give you my heart.<\/dialogue>\n    <character>COMMENDATORE<\/character>\n    <dialogue>Shut up. I'm sick of that one too.<\/dialogue>\n    <scene_description>All the dwarves climb up the rim of the pot . As they climb , they all hum together the opening of Eine Kleine Nachtmusik .<\/scene_description>\n    <character>COMMENDATORE<\/character>\n    <dialogue>And that one, too!<\/dialogue>\n    <scene_description>The soprano rises , dripping with water in the middle of the pot .<\/scene_description>\n    <character>SOPRANO<\/character>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>Oil me! Broil me! Boil me!<\/dialogue>\n    <scene_description>All the dwarves beat her back down into the pot with their long wooden spoons .<\/scene_description>\n    <character>SOPRANO<\/character>\n    <parenthetical>( from inside the pot . )<\/parenthetical>\n    <dialogue>Soil me! Foil me! Spoil me!<\/dialogue>\n    <character>HORSE<\/character>\n    <dialogue>I ca n't eat her. Sopranos give me hiccups. I want some hay!<\/dialogue>\n    <character>FIRST LADY<\/character>\n    <parenthetical>( singing to Schikaneder . )<\/parenthetical>\n    <dialogue>Hey!<\/dialogue>\n    <character>SECOND LADY<\/character>\n    <parenthetical>( singing to Schikaneder . )<\/parenthetical>\n    <dialogue>Hey!<\/dialogue>\n    <character>THIRD LADY<\/character>\n    <parenthetical>( singing to Schikaneder . )<\/parenthetical>\n    <dialogue>Hey!<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>Hey what?<\/dialogue>\n    <character>ALL THREE LADIES<\/character>\n    <parenthetical>( singing to La oi daram . )<\/parenthetical>\n    <dialogue>Give him some hay, my darling, and I'll give you my heart!<\/dialogue>\n    <character>COMMENDATORE<\/character>\n    <dialogue>Shut up.<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>Leporello! We want some hay - prestissimo! Leporello - where are you?<\/dialogue>\n    <scene_description>The table is raised in the air by Leporello sitting under it on a bale of hay .<\/scene_description>\n    <character>FIRST LADY<\/character>\n    <parenthetical>( singing to horse . )<\/parenthetical>\n    <dialogue>Behold!<\/dialogue>\n    <character>SECOND LADY<\/character>\n    <parenthetical>( singing to horse . )<\/parenthetical>\n    <dialogue>Behold!<\/dialogue>\n    <character>THIRD LADY<\/character>\n    <parenthetical>( singing to horse . )<\/parenthetical>\n    <dialogue>Behold!<\/dialogue>\n    <scene_description>Ottavio the horse gives a piercing neigh and runs down to the hay .<\/scene_description>\n    <character>COMMENDATORE<\/character>\n    <parenthetical>( holding on . )<\/parenthetical>\n    <dialogue>Hey! Hey! Watch out!<\/dialogue>\n    <scene_description>The vamp starts again vigorously . The horse 's rear - end swings around on a hinge to turn his hind - quarters straight on to the audience . The rest of him stays sideways . His tail springs up in the air to reveal a lace handkerchief modestly hiding his arsehole . Schikaneder offers him a handful of hay . The horse eats it , and out the other end comes a long Viennese sausage . The audience roars with laughter . Another handful of hay and out of the other end falls a string of sausages . Then a large pie , crust and all . Then a shower of iced cakes ! Suddenly - silence . Schikaneder produces an egg from his pocket . Ottavio the horse rears up in disgust .<\/scene_description>\n    <character>COMMENDATORE<\/character>\n    <dialogue>Whoa! Whoa, Ottavio! Whoa!<\/dialogue>\n    <scene_description>Leporello pries open the horse 's mouth . Schikaneder pops the egg into it . A breathless pause as a drum roll builds the tension , up and up and up , and then suddenly out of the horse 's rear - end flies a single white dove . Wild applause . It flies into the audience . Immediately all the cast start humming the lyrical finale from Figaro : Tutti Contenti . More and more doves fly out from the wings and fill the theatre . Everybody picks up the sausages and cakes and begins to eat . The end of the sketch is unexpectedly lyrical and magical , and then , suddenly , the tempo changes and the coarse strains of Ich Mochte wohl Der Kaiser take over and the whole company is dancing , frantically . A general dance as the curtain falls . It rises immediately . The audience - including Mozart - is delighted . They applaud vigorously . Schikaneder takes a bow amongst his troupe . Among much whistling and clapping , he finally jumps off the stage and strides through the audience toward the table where Mozart sits with his family . On stage , a troupe of bag pipers immediately appears to play an old German tune . Some of the audience joins in singing it .<\/scene_description>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>Well, how do you like that?<\/dialogue>\n    <scene_description>Mozart is smiling ; he has been amused . Constanze has been less amused and is looking apprehensive .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Wonderful!<\/dialogue>\n    <parenthetical>( indicating his baby son . )<\/parenthetical>\n    <dialogue>He liked the monkey, did n't you?<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>Yes, well, it's all good fun.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>I liked the horse.<\/dialogue>\n    <scene_description>Schikaneder sits at the table , and drinks from a bottle of wine .<\/scene_description>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>Is n't he marvelous? He cost me a bundle, that horse, but he's worth it. I tell you, if you'd played Don Giovanni here it would have been a great success. I'm not joking. These people are n't fools. You could do something marvelous for them.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>I'd like to try them someday. I'm not sure I'd be much good at it.<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>` Course you would. You belong here, my boy, not the snobby Court. You could do anything you felt like here - the more fantastic the better! That's what people want, you know : fantasy. You do a big production, fill it with beautiful magic tricks and you'll be absolutely free to do anything you want. Of course, you'd have to put a fire in it, because I've got the best fire machine in the city and a big flood - I can do you the finest water effects you ever saw in your life. Oh, and a few trick animals. You'd have to use those.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Animals?<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>I tell you I picked up a snake in Dresden last week - twelve foot long - folds up to six inches, just like a paper fan. It's a miracle.<\/dialogue>\n    <scene_description>Mozart laughs .<\/scene_description>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>I'm serious. You write a proper part for me with a couple of catchy songs, I'll guarantee you'll have a triumph - de - luxe. Mind you, it'll have to be in German.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>German!<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>Of course! What else do you think they speak here?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>No, no, I love that. I'd want it to be in German. I have n't done anything in German since Seraglio.<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>So there you are. What do you say?<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>How much will you pay him?<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>Ah. Well. Ah.<\/dialogue>\n    <parenthetical>( to Mozart . )<\/parenthetical>\n    <dialogue>I see you've got your manager with you. Well, Madame, how about half the receipts?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Half the receipts! Stanzi!<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>I'm talking about now. How much will you give him now? Down payment?<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>Down payment? Who do you think I am? The Emperor? Whoops, I have to go.<\/dialogue>\n    <scene_description>He rises in haste for his next number .<\/scene_description>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>Stay where you are. You're going to like this next one. We'll speak again. Triumph - de - luxe, my boy!<\/dialogue>\n    <scene_description>He winks at Mozart and disappears toward the stage . Mozart looks after him , enchanted .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>You're not going to do this?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Why not? Half the house!<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>When? We need money now. Either he pays now, or you do n't do it.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Oh, Stanzi.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>I do n't trust this man. And I did n't like what he did with your opera. It was common.<\/dialogue>\n    <character>MOZART<\/character>\n    <parenthetical>( to Karl . )<\/parenthetical>\n    <dialogue>Well, you liked it, did n't you? Monkey - flunki - punki.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Half the house! You'll never see a penny. I want it here, in my hand.<\/dialogue>\n    <character>MOZART<\/character>\n    <parenthetical>( dirty . )<\/parenthetical>\n    <dialogue>Stanzi - manzi, I'll put it in your hand!<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Shut up! I'll not let you put anything in my hand until I see some money.<\/dialogue>\n    <scene_description>He giggles like a child .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHLUMBERG HOUSE - HALLWAY - DAY 1780'S<\/stage_direction>\n    <scene_description>Dogs are barking wickedly . Michael Schlumberg comes in from his salon . Mozart stands there looking very unwell and bewildered . He is also drunk , but making a careful attempt to keep his composure .<\/scene_description>\n    <character>SCHLUMBERG<\/character>\n    <dialogue>Herr Mozart. What a surprise. What can I do for you?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Is my pupil still anxious to learn the art of music?<\/dialogue>\n    <character>SCHLUMBERG<\/character>\n    <dialogue>Well, your pupil is married and living in Mannheim, young man.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Really? Perhaps your dear wife might care to profit from my instruction?<\/dialogue>\n    <character>SCHLUMBERG<\/character>\n    <dialogue>What is this, Mozart? What's the matter with you?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Well. Since it appears nobody is eager to hire my services, could you favour me with a little money instead?<\/dialogue>\n    <character>SCHLUMBERG<\/character>\n    <dialogue>What for?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>If a man can not earn, he must borrow.<\/dialogue>\n    <character>SCHLUMBERG<\/character>\n    <dialogue>Well, this is hardly the way to go about it.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>No doubt, sir. But I am endowed with talent, and you with money. If I offer mine, you should offer yours.<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>SCHLUMBERG<\/character>\n    <dialogue>I'm sorry. No.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Please. I'll give it back, I promise. Please, sir.<\/dialogue>\n    <character>SCHLUMBERG<\/character>\n    <dialogue>My answer is no, Mozart.<\/dialogue>\n    <scene_description>CU , Mozart . His voice becomes mechanical .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Please. Please. Please. Please. Please. Please.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE IMPERIAL LIBRARY - DAY - 1790'S<\/stage_direction>\n    <scene_description>Von Swieten and Salieri stand close together . Several scholars and students are examining scrolls and manuscripts at the other end of the room .<\/scene_description>\n    <character>VON SWIETEN<\/character>\n    <parenthetical>( keeping his voice down . )<\/parenthetical>\n    <dialogue>This is embarrassing, you know. You introduced Mozart to some of my friends and he's begging from practically all of them. It has to stop.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>I agree, Baron.<\/dialogue>\n    <character>VON SWIETEN<\/character>\n    <dialogue>Ca n't you think of anyone who might commission some work from him? I've done my best. I got him to arrange some Bach for my Sunday concerts. He got a fee - what I could afford. Ca n't you think of anyone who might do something for him?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>No, Baron, no. I'm afraid Mozart is a lost cause. He has managed to alienate practically the whole of Vienna. He is constantly drunk. He never pays his debts. I ca n't think of one person to whom I dare recommend him.<\/dialogue>\n    <character>VON SWIETEN<\/character>\n    <dialogue>How sad. It's tragic, is n't it? Such a talent.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Indeed. Just a moment - as a matter of fact I think I do know someone who could commission a work from him. A very appropriate person to do so. Yes.<\/dialogue>\n    <scene_description>The opening measures of the Piano Concerto in D Minor steal in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE COSTUME SHOP - VIENNA - DAY - 1790'S<\/stage_direction>\n    <scene_description>This is exactly the same shop which Mozart and Constanze visited with Leopold . Now Salieri 's servant stands in it , waiting . We see a few other customers being served by the staff : renting masks , costumes , etc. . One of the staff emerges from the back of the shop carrying a large box , which he hands to Salieri 's servant . The servant leaves the shop . Through the window we see him hurrying away through the snowy street full of passers - by , carriages , etc. .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALIERI'S APARTMENT - DUSK - 1790'S<\/stage_direction>\n    <scene_description>The D Minor Concerto continues . Salieri , alone , eagerly opens the box from the costume shop and takes out the same dark cloak and hat that Leopold wore to the masquerade , only now attached to the hat is a dark mask whose mouth is cut into a frown , not a laugh . It presents a bitter and menacing expression . He puts on the cloak , the hat and the mask and turns his back . Suddenly we see the assembled and alarming image reflected in a full - length mirror . The music swells darkly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A SNOWY STREET IN VIENNA - DUSK - 1790'S<\/stage_direction>\n    <scene_description>As the tutti of the D Minor Concerto continues , we see Salieri , dressed in this menacing costume , dark against the snow , stalking through a street which is otherwise lively with people going to various festivities . Some of them wear frivolous carnival clothes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOZART'S LIVING ROOM - DUSK - 1790'S<\/stage_direction>\n    <scene_description>Mozart sits writing at a table . He appears now to be really quite sick . His face expresses pain from his stomach cramps . There is a gentle knock at the door . He rises , goes to he door and opens it . Immediately there is a SHOCK CUT : The dark , frowning mask stares at him and at us . The violent D Minor chord which opens Don Giovanni is heard . Salieri in costume stands in the doorway .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Herr Mozart?<\/dialogue>\n    <scene_description>The second chord sounds and fades . Mozart stares in panic .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>I have come to commission work from you.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>What work?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>A Mass for the dead.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>What dead? Who is dead?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>A man who deserved a Requiem Mass and never got one.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>I am only a messenger. Do you accept? You will be paid well.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>How much?<\/dialogue>\n    <scene_description>Salieri extends his hand . In it is a bag of money .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Fifty ducats. Another fifty when I have the Mass.. Do you accept?<\/dialogue>\n    <scene_description>Almost against his will , Mozart takes the money .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>How long will you give me?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Work fast. And be sure to tell no one what you do. You will see me again soon.<\/dialogue>\n    <scene_description>He turns away . Mozart closes the front door . Instantly we hear the opening of the Requiem Mass -LRB- also in D Minor -RRB- . Mozart turns and looks up at the portrait of his father on the wall . The portrait stares back . Constanze opens the door from the bedroom . She sees him staring up .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>Wolfi? Wolfi!<\/dialogue>\n    <scene_description>He looks at her with startled eyes . The music breaks off .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>Who was that?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>No one.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>I heard voices.<\/dialogue>\n    <scene_description>He gives a strange little giggle .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>What's the matter?<\/dialogue>\n    <scene_description>She sees the bag of money .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>What's that? Oh!<\/dialogue>\n    <parenthetical>( pouncing on it . )<\/parenthetical>\n    <dialogue>Who gave you this? How much is it? Wolfi, who gave you this?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>I'm not telling you.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>You'd think I was mad.<\/dialogue>\n    <scene_description>He stares at her . She stares at him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLD SALIERI'S HOSPITAL ROOM - NIGHT - 1823<\/stage_direction>\n    <scene_description>Old Salieri is now wildly animated , totally driven by his confession to Vogler .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <dialogue>My plan was so simple, it terrified me. First I must get the Death Mass and then achieve the death.<\/dialogue>\n    <scene_description>Vogler stares at him in horror .<\/scene_description>\n    <character>VOGLER<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>OLD SALIERI<\/character>\n    <dialogue>His funeral - imagine it! The Cathedral, all Vienna sitting there. His coffin, Mozart's little coffin in the middle. And suddenly in that silence, music. A divine music bursts out over them all, a great Mass of Death : Requiem Mass for Wolfgang Mozart, composed by his devoted friend Antonio Salieri. What sublimity! What depth! What passion in the music! Salieri has been touched by God at last. And God, forced to listen. Powerless - powerless to stop it. I at the end, for once, laughing at Him. Do you understand? Do you?<\/dialogue>\n    <character>VOGLER<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>OLD SALIERI<\/character>\n    <dialogue>The only thing that worried me was the actual killing. How does one do that? How does one kill a man? It's one thing to dream about it. It's very different when you have to do it, with your own hands.<\/dialogue>\n    <scene_description>He raises his own hands and stares at them . The raging Dies Irae from Mozart 's Requiem Mass bursts upon us .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1790'S<\/stage_direction>\n    <scene_description>Mozart sits working frantically at this demonic music . His whole expression is one of wildness and engulfing fever . He pours wine down his throat , spilling it , and grimaces as it hits his stomach . All around him are manuscripts . There is a banging at the front door . Mozart does not hear it ; the music raves on . Another knocking comes , louder . Constanze appears from the bedroom and stares at her distracted husband . The knocking is repeated again , even more violently and insistently .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>Wolfi. Wolfi!<\/dialogue>\n    <scene_description>He looks at her . The music breaks off . Silence . An enormous bang at the door startles him . Constanze moves to open it .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>No. Do n't answer it!<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <scene_description>Mozart springs up . He is clearly terrified .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Tell him I'm not here. Tell him I'm working on it. Come back later.<\/dialogue>\n    <scene_description>He runs out of he room , into his workroom , and shuts he door . Now a little scared herself , Constanze goes to he front door and opens it cautiously . Schikaneder stands there , floridly dressed as usual . Lorl is seen peeking out from the kitchen .<\/scene_description>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>Am I interrupting something?<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Not at all.<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <parenthetical>( peering into he room . )<\/parenthetical>\n    <dialogue>Where's our friend?<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>He's not in. But he's working on it. He said to tell you.<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>I hope so. I need it immediately.<\/dialogue>\n    <scene_description>He pushes her into the room .<\/scene_description>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>Is he happy with it?<\/dialogue>\n    <scene_description>He sees he manuscript on the table , and goes to it eagerly .<\/scene_description>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>Is this it?<\/dialogue>\n    <scene_description>He picks up a page without waiting for a reply .<\/scene_description>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>What the devil is this? Requiem Mass? Does he think I'm in the funeral business?<\/dialogue>\n    <scene_description>Mozart opens he workroom door . We see him as Schikaneder sees him : wild - eyed , extremely pale and strange .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Leave that alone!<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>Wolfi!<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Put it down!<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>What is this?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Put it down, I said! It's nothing for you.<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>Oh! I'm sorry! I'm sorry! What have you got for me? Is it finished?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>What? The vaudeville, what'd you think?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>Can I see it?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Because there's nothing to see.<\/dialogue>\n    <scene_description>He giggles triumphantly . Schikaneder stares at him .<\/scene_description>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>Look, I asked you if we could start rehearsal next week and you said yes.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Well, we can.<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>So let me see it. Where is it?<\/dialogue>\n    <scene_description>Mozart , with a bright , rather demented smile presents his head to Schikaneder .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Here. It's all right here, in my noodle. The rest is just scribbling. Scribbling and bibbling. Bibbling and scribbling. Would you like a drink?<\/dialogue>\n    <scene_description>He giggles . Schikaneder suddenly grabs his lapels .<\/scene_description>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>Look, you little clown, do you know how many people I've hired for you? Do you know how many people are waiting?<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Leave him alone!<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>I'm paying these people. Do you realize that?<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>He's doing his best.<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>I'm paying people just to wait for you. It's ridiculous!<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>You know what's ridiculous? Your libretto, that's what's ridiculous. Only an idiot would ask Wolfi to work on that stuff!<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>Oh yes? And what's so intelligent about writing a Requiem?<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Money! Money!<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>You're mad! She's mad, Wolfi.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Oh yes, and who are you? He's worked for Kings. For the Emperor.<\/dialogue>\n    <parenthetical>( shouting . )<\/parenthetical>\n    <dialogue>Who are you?<\/dialogue>\n    <scene_description>Schikaneder suddenly takes Mozart by the arms , and speaks to him with intense appeal .<\/scene_description>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>Listen, Wolfi. Write it. Please. Just write it down. On paper. It's no good to anyone in your head. And fuck the Death Mass..<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALIERI'S SALON - DAY - 1790'S<\/stage_direction>\n    <scene_description>A frightened and tearful Lorl sits before Salieri .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Now calm yourself. Calm. What's the matter with you?<\/dialogue>\n    <character>LORL<\/character>\n    <dialogue>I'm leaving. I'm not working there anymore. I'm scared!<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Why? What has happened?<\/dialogue>\n    <character>LORL<\/character>\n    <dialogue>You do n't know what it's like. Herr Mozart frightens me. He drinks all day, then takes all that medicine and it makes him worse.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>What medicine?<\/dialogue>\n    <character>LORL<\/character>\n    <dialogue>I do n't know. He has pains.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>LORL<\/character>\n    <dialogue>Here, in his stomach. They bend him right over.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Is he working?<\/dialogue>\n    <character>LORL<\/character>\n    <dialogue>I'm frightened, sir. Really! When he speaks, he does n't make any sense. You know he said he saw - he said he saw his father. And his father's dead.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Is he working?<\/dialogue>\n    <character>LORL<\/character>\n    <dialogue>I suppose so. He sits there all he time, doing some silly opera.<\/dialogue>\n    <character>SALIERI<\/character>\n    <parenthetical>( startled . )<\/parenthetical>\n    <dialogue>Opera? Opera!<\/dialogue>\n    <character>LORL<\/character>\n    <dialogue>Please do n't ask me to go back again. I'm frightened! I'm very, very frightened.<\/dialogue>\n    <character>SALIERI<\/character>\n    <parenthetical>( insistently . )<\/parenthetical>\n    <dialogue>Are you sure it's an opera?<\/dialogue>\n    <scene_description>The Overture to The Magic Flute begins grandly . To the music of the slow introduction , we see :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1790'S<\/stage_direction>\n    <scene_description>The room , lit by a few candles , appears dirty . The camera shows us again Leopold 's portrait on the wall , looking down upon a scene of disorder . Papers litter the table ; dirty dishes are piled in the fireplace ; on the forte - piano lies Mozart 's Masonic apron , woven with symbols . To the more lyrical passage of the introduction , we see Mozart take up a candle and enter :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S<\/stage_direction>\n    <scene_description>We watch him stand beside Constanze , who lies asleep . Mozart now looks very ill ; his wife appears worn out . Tenderly he touches her hair . Then he moves to the cot where his son Karl lies asleep and kneels , pulls up the child 's little blanket and for a moment lays his own head down beside the boy 's . Constanze opens her eyes and stares at him . Mozart rises and returns to :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1790'S<\/stage_direction>\n    <scene_description>The Introduction ends and suddenly the brilliant fast fugue begins . Instantly Mozart starts to dance to it , all alone : gleefully , like a child . He looks up at his father 's portrait , and makes a silly , rude gesture at it . He is , briefly , an irresponsible and happy boy again . Then suddenly there is a gentle knocking at the door . The music fades down . Warily , Mozart crosses and opens he door . The familiar dark chords from Don Giovanni cut across the happy music . It ends . Before him stands the masked stranger .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>I do n't have it yet. It's not finished. I'm sorry, but I need more time.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Are you neglecting my request?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>No, no! I promise you, I'll give you a wonderful piece - the best I ever can!<\/dialogue>\n    <scene_description>He turns and looks . Constanze has come into the living room . Nervously , Mozart indicates her .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>This is my wife, Stanzi. I've been sick, but I'm all right now. Are n't I?<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Oh yes, sir. He's all right. And he's working on it very hard.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Give me two more weeks. Please.<\/dialogue>\n    <scene_description>Salieri contemplates them both .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>The sooner you finish, the better your reward. Work!<\/dialogue>\n    <scene_description>He turns and goes down the stairs . Mozart shuts the door ; he closes his eyes in fear .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>Wolfi, I think you really are going mad. You work like a slave for that idiot actor who wo n't give you a penny and here. This is not a ghost! This is a real man who puts down real money. Why on earth do n't you finish it?<\/dialogue>\n    <scene_description>He will not look at her or reply .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>Give me one reason I can understand.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>I ca n't write it!<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>It's killing me.<\/dialogue>\n    <scene_description>He looks at her suddenly .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>No, this is really awful. You're drunk, are n't you? Be honest - tell me - you've been drinking. And I'm so stupid I stay here and listen to you!<\/dialogue>\n    <scene_description>Suddenly she starts to cry .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>It's not fair! I worry about you all the time. I try to help you all I can and you just drink and talk nonsense and - and frighten me! It's not fair!<\/dialogue>\n    <scene_description>Her tears flow . Mozart looks at her helplessly .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Go back to bed.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Please! Let me sit here. Let me stay here with you. I promise I wo n't say all word. I'll just be here, so you know no one's going to hurt you. Please, please!<\/dialogue>\n    <scene_description>She sits down tearfully , staring at him . We hear the Rex Tremendai Majestatis from the Requiem and see on the wall the portrait of Leopold Mozart looking down . The camera pans slowly downward from it back to the table . Mozart is writing the music . He looks up and sees that Constanze is fast asleep in her chair . Mozart gets up quietly . He puts on his hat and cloak , takes a bottle of wine and tiptoes from the house . Without stopping , the music changes from the heavy Requiem to the light - hearted patter of the Papa - Papa duet from The Magic Flute .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHIKANEDER'S SUMMER HOUSE - NIGHT - 1790'S<\/stage_direction>\n    <scene_description>This little wooden structure stands in a courtyard in the tenement by the Weiden . Inside , we see a table , chairs , a forte - piano , bottles and a chaos of papers . Strewn about in the chairs are the three actresses , giggling . Schikaneder and Mozart , both drunk , are singing the duet of the two bird - people . The actor sings Papageno and the composer , in a soprano voice , sings Papagena at the keyboard . Absurdly , they end up rubbing noses and fall on each other 's necks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VIENNA STREET - NIGHT - 1790'S<\/stage_direction>\n    <scene_description>Mozart , drunk and happy , staggers back through the snow . There are a few people about . He goes into his apartment building .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOZART'S APARTMENT - DAY - 1790'S<\/stage_direction>\n    <scene_description>He comes through he door and stares across the living room at an open bedroom door . Puzzled , he crosses . The bedroom is also empty . We see Constanze 's empty bed ; Karl 's empty bed ; empty closets .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Stanzi? Stanzi - marini - bini?<\/dialogue>\n    <scene_description>He looks about him , puzzled .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRAU WEBER'S HOUSE - LIVING ROOM - DAY - 1790'S<\/stage_direction>\n    <scene_description>Frau Weber sits grimly talking . Mozart sits also , completely exhausted and passive under the rain of her constant speech .<\/scene_description>\n    <character>FRAU WEBER<\/character>\n    <dialogue>She's not coming back, you know. She's gone for good. I did it and I'm proud of it. ` Leave,' I said. ` Right away! Take he child and go, just go. Here's the money! Go to the Spa and get your health back - that's if you can.' I was shocked. Shocked to my foundation. Is that my girl? Can that be my Stanzi? The happy little moppet I brought up, that poor trembling thing? Oh, you monster! No one exists but you, do they? You and your music! Do you know how often she's sat in that very chair, weeping her eyes out of her head because of you? I warned her. ` Choose a man, not a baby,' I said. But would she listen? Who listens? ` He's just a silly boy,' she says. Silly, my arse. Selfish - that's all you are. Selfish! Selfish, selfish, selfish, selfish, selfish.<\/dialogue>\n    <scene_description>And with a scream Madame Weber 's voice turns into the shrill packing coloratura of the second act aria of the Queen of the Night , in The Magic Flute .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHIKANEDER'S THEATRE - NIGHT - 1790'S<\/stage_direction>\n    <scene_description>On stage we see the QUEEN OF THE NIGHT fantastically costumed , furiously urging her daughter to kill Sarastro . As she sings , we see the interior of the theatre , now re - arranged from when we last visited it to watch the Cabaret . An audience of ordinary German citizens stands in the pit area , or sits : they are rapt and excited . The theatre also possesses boxes ; some of these show closed curtains - their inhabitants presumably engaged in private intimacies . In one of them sits Salieri .<\/scene_description>\n    <character>QUEEN OF THE NIGHT<\/character>\n    <parenthetical>( singing furiously . )<\/parenthetical>\n    <dialogue>A hellish wrath within my heart is seething! Death and destruction Flame around my throne! If not by thee Sarastro's light be extinguished. Then be thou mine own daughter never more! Rejected be forever! So sundered be forever All the bonds of kin and blood! Hear! Hear! Hear God of Vengeance! Hear thy Mother's vow!<\/dialogue>\n    <scene_description>Thunder and lightning . She disappears amidst tremendous applause from the audience .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTSIDE THE THEATRE - NIGHT - 1790'S<\/stage_direction>\n    <scene_description>On the poster for The Magic Flute , the name Emmanuel Schikaneder should appear very , very large and the name of Mozart quite small : I. &amp; R. priv . Weiden Theatre . The Actors of the Imperial and Royal Privileged Theatre of the Weiden Have the honour to perform THE MAGIC FLUTE , A Grand Opera in Two Acts By Emmanuel Schikaneder -LRB- The Cast List -RRB- . The music is by Herr Wolfgang Amadeus Mozart . Herr Mozart out of respect for a gracious and honourable Public , and from friendship for the author of this piece , will today direct the orchestra in person . The book of the opera , furnished with two copperplates , of which is engraved Herr Schikaneder in the costume he wears for the role of Papageno , may be had at the box office for 30 kr . Prices of admission are as usual To begin at 7 o'clock<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAGE, AUDITORIUM AND WINGS OF SCHIKANEDER'S THEATRE  NIGHT -1790'S<\/stage_direction>\n    <scene_description>We CUT TO the scene immediately before Papageno 's song , Ein Madchen oder Weibchen . Papageno , played by Schikaneder , dressed in his costume of feathers , is trying to get through a mysterious door . A voice calls from within .<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Go back!<\/dialogue>\n    <scene_description>Papageno recoils .<\/scene_description>\n    <character>PAPAGENO<\/character>\n    <dialogue>Merciful Gods! If only I knew by which door I came in.<\/dialogue>\n    <parenthetical>( to audience . )<\/parenthetical>\n    <dialogue>Which was it? Was it this one? Come on, tell me!<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Go back!<\/dialogue>\n    <scene_description>Papageno recoils .<\/scene_description>\n    <character>PAPAGENO<\/character>\n    <dialogue>Now, I ca n't go forward and I ca n't go back. Oh, this is awful!<\/dialogue>\n    <scene_description>He weeps extravagantly . In the pit , Mozart indicates to the first violinist to take over as conductor . He slips from his place and goes stealthily backstage . We follow him . Over the scene we hear Papageno being addressed by the First Priest in stern tones .<\/scene_description>\n    <character>FIRST PRIEST<\/character>\n    <parenthetical>( on stage . )<\/parenthetical>\n    <dialogue>Man, thou hast deserved to wander forever in the darkest chasms of the earth. The gentle Gods have remitted thy punishment, but yet thou shalt never feel the Divine Content of the consecrated ones.<\/dialogue>\n    <character>PAPAGENO<\/character>\n    <dialogue>Oh well, I'm not alone in that. Just give me a decent glass of wine - that's divine content enough for me.<\/dialogue>\n    <scene_description>Laughter . An enormous goblet of wine appears out of the earth . We follow Mozart into the wings . Actors and actresses stand around in fantastic costumes . We see a flying chariot and parts of a huge snake lying about . Also the scenery door of a temple with the word ` Wisdom ' inscribed on the pediment . Mozart walks to where there stands a keyboard glockenspiel with several manuals , and a musician waiting to play it . Silently Mozart indicates that he wishes to play the instrument himself . On stage Schikaneder is being addressed haughtily by the First Priest .<\/scene_description>\n    <character>FIRST PRIEST<\/character>\n    <dialogue>Man, hast thou no other desire on earth, but just to eat and drink?<\/dialogue>\n    <character>PAPAGENO<\/character>\n    <parenthetical>( Schikaneder . )<\/parenthetical>\n    <dialogue>Well!<\/dialogue>\n    <scene_description>Laughter from the audience .<\/scene_description>\n    <character>PAPAGENO<\/character>\n    <dialogue>Well, actually I do have a rather weird feeling in my heart. Perhaps it's just indigestion. But you know, I really would like - I really do want - something even nicer than food and drink. Now what on earth could that be?<\/dialogue>\n    <scene_description>He stares at the audience and winks at them . They laugh . Now Papageno 's aria -LRB- Ein Madchen oder Weibchen -RRB- begins . It is interpolated , as he pretends to play his magic bells , with the glockenspiel actually being played off - stage by Mozart . Schikaneder looks into the pit and does not see Mozart conducting . He looks into the wings and realizes the situation with amusement . He sings joyfully and the audience watches entranced .<\/scene_description>\n    <character>ANDANTE<\/character>\n    <dialogue>A sweetheart or a pretty little wife is Papageno's wish. A willing, billing, lovey dovey Would be My most tasty little dish. Be my most tasty little dish! Be my most tasty little dish!<\/dialogue>\n    <character>ALLEGRO<\/character>\n    <dialogue>Then that would be eating and drinking I'd live like a Prince without thinking. The wisdom of old would be mine - A woman's much better than wine! Then that would be eating and drinking! The wisdom of old would be mine - A woman's much better than wine. She's much better than wine! She's much better than wine!<\/dialogue>\n    <character>ANDANTE<\/character>\n    <parenthetical>( encore , lightly , as before . )<\/parenthetical>\n    <dialogue>A sweetheart or a pretty little wife is Papageno's wish. A willing, billing, lovey dovey Would be My most tasty little dish.<\/dialogue>\n    <character>ALLEGRO<\/character>\n    <dialogue>I need to net one birdie only And I will stop feeling so lonely. But if she wo n't fly to my aid, Then into a ghost I must fade. I need to net one birdie only But if she wo n't fly to my aid, Then into a ghost I must fade. To a ghost I must fade! To a ghost I must fade!<\/dialogue>\n    <character>ANDANTE<\/character>\n    <parenthetical>( encore . )<\/parenthetical>\n    <dialogue>A sweetheart or a pretty little wife is Papageno's wish. A willing, billing, lovey dovey Would be My most tasty little dish.<\/dialogue>\n    <character>ALLEGRO<\/character>\n    <dialogue>At present the girls only peck me. Their cruelty surely will wreck me. But one little beak in my own, And I'll up to heaven be flown! At present the girls only peck me. But one little beak in my own, And I'll up to heaven be flown. Up to heaven be flown! Up to heaven be flown!<\/dialogue>\n    <scene_description>At certain moments we see the stage from Salieri 's point of view : Schikaneder singing , then pretending to play ; and then we see Mozart playing the glockenspiel with great flourishes in the wings . Then , suddenly , the actor mimes playing , and no sound comes . He mimes again , but still nothing comes . He looks offstage in anxiety ; there is evidently some commotion . People are looking down on the floor . The song comes to a near - halt . Schikaneder stares . Then the comedian signals to the deputy conductor to pick up the song and finish it . At this moment Salieri gets up and hastily leaves his box .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WINGS OF SCHIKANEDER'S THEATRE - NIGHT - 1790'S<\/stage_direction>\n    <scene_description>We see the actress playing Papagena , wearing an old tattered cloak and about to tie a little painted cloth representing a hideous old woman over her face . She is looking worriedly down at Mozart , who is lying unconscious on the floor . A few people around him are trying to revive him . One has put a wet handkerchief around his temples . Another is holding a small bottle of smelling salts . There are voices saying , ` Doctor ! Take him to a dressing room . Someone call a carriage . Take him home . ' Etc. . Papagena is urged to go on stage by a distracted stage manager . Suddenly we hear the voice of Salieri .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>I'll take care of him.<\/dialogue>\n    <scene_description>He steps forward .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>I have a carriage. Excuse me.<\/dialogue>\n    <scene_description>The actors step back respectfully . He stoops and picks up the frail composer in his arms . Mozart is quite limp and Salieri has to fling his arms around his own neck . All this is watched nervously by Schikaneder on stage whilst performing his scene with Papagena as an ugly old woman .<\/scene_description>\n    <character>UGLY OLD WOMAN<\/character>\n    <dialogue>Here I am, my angel.<\/dialogue>\n    <character>PAPAGENO<\/character>\n    <parenthetical>( appalled . )<\/parenthetical>\n    <dialogue>What? Who the devil are you?<\/dialogue>\n    <character>UGLY OLD WOMAN<\/character>\n    <dialogue>I've taken pity on you, my angel. I heard your wish.<\/dialogue>\n    <character>PAPAGENO<\/character>\n    <dialogue>Oh. Well, thank you! How wonderful. Some people get all the luck.<\/dialogue>\n    <scene_description>Audience laughter . The actress raises the little painted cloth with the ugly old face on it to show her own pretty young one to the audience . More laughter .<\/scene_description>\n    <character>UGLY OLD WOMAN<\/character>\n    <dialogue>Now you've got to promise me faithfully you'll remain true to me forever. Then you'll see how tenderly your little birdie will love you.<\/dialogue>\n    <character>PAPAGENO<\/character>\n    <parenthetical>( nervous . )<\/parenthetical>\n    <dialogue>I ca n't wait.<\/dialogue>\n    <character>UGLY OLD WOMAN<\/character>\n    <dialogue>Well, promise then.<\/dialogue>\n    <character>PAPAGENO<\/character>\n    <dialogue>What do you mean - now?<\/dialogue>\n    <character>UGLY OLD WOMAN<\/character>\n    <dialogue>Of course now. Right away, before I get any older.<\/dialogue>\n    <scene_description>Laughter .<\/scene_description>\n    <character>PAPAGENO<\/character>\n    <dialogue>Well, I do n't know! I mean you're a delicious, delightful, delectable little bird, but do n't you think you might be just a little tough?<\/dialogue>\n    <character>UGLY OLD WOMAN<\/character>\n    <parenthetical>( amorously . )<\/parenthetical>\n    <dialogue>Oh, I'm tender enough for you, my boy. I'm tender enough for you.<\/dialogue>\n    <scene_description>Laughter .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHIKANEDER'S THEATRE - NIGHT - 1790'S<\/stage_direction>\n    <scene_description>A waiting sedan chair . Mozart has recovered consciousness , but looks exceedingly ill . Salieri has set him down in the winter 's night . Snow is falling .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>What happened? Is it over?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>I'm taking you home. You're not well.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>No, no. I have to get back. I have -<\/dialogue>\n    <scene_description>He starts to collapse again . Salieri helps him into the sedan . The door is shut . The chair sets off and Salieri strides beside it , through the mean street . A lantern with a candle swings from the chair .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1790'S<\/stage_direction>\n    <scene_description>The door opens . Salieri enters carrying the lantern from the sedan chair . He is followed by Mozart , carried in the arms of one of the porters . The room is now really in complete disarray . The table is piled high with music : the pages of the Requiem lie amongst many empty wine bottles . The porter carries Mozart into<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S<\/stage_direction>\n    <scene_description>This room is miserably neglected . The bed is unmade , clothes lie about on the floor . A sock has been stuck into the broken pane of one window . The porter lays Mozart down on the bed as Salieri lights candles from the lantern to reveal plates of half - eaten food and other signs left by a man whose wife has departed . It is obviously very cold . Another very small bed nearby belongs to the child , Karl .<\/scene_description>\n    <character>SALIERI<\/character>\n    <parenthetical>( handing the porter the lantern . )<\/parenthetical>\n    <dialogue>Thank you. Go.<\/dialogue>\n    <scene_description>The porter leaves the room . Mozart stirs .<\/scene_description>\n    <character>MOZART<\/character>\n    <parenthetical>( vaguely singing . )<\/parenthetical>\n    <dialogue>Papa! Papa!<\/dialogue>\n    <scene_description>He opens his eyes and sees Salieri staring down at him . He smiles .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Come now.<\/dialogue>\n    <scene_description>He helps him to sit up and takes off his coat and his shoes and puts a coverlet around him .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Where is your wife?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Not here! She's not well, either. She went to the Spa.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>You mean she's not coming back?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>You're so good to me. Truly. Thank you.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>No, please.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>I mean to come to my opera. You are the only colleague who did.<\/dialogue>\n    <scene_description>He struggles to loosen his cravat . Salieri does it for him .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>I would never miss anything that you had written. You must know that.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>This is only a vaudeville.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Oh no. It is a sublime piece. The grandest operone. I tell you, you are the greatest composer known to me.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Do you mean that?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>I do.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>I have bad fancies. I do n't sleep well anymore. Then I drink too much, and think stupid things.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Are you ill?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>The doctor thinks I am. But -<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>I'm too young to be so sick.<\/dialogue>\n    <scene_description>There is a violent knocking at the front door . Mozart starts and looks around wildly .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Shall I answer it?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>No! No, it's him!<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>The man. He's here.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>What man?<\/dialogue>\n    <scene_description>The knocking increases in loudness , terrifying Mozart .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Tell him to go away. Tell him I'm still working on it. Do n't let him in!<\/dialogue>\n    <scene_description>Salieri moves to the door .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Wait! Ask him if he'd give me some money now. Tell him if he would, that would help me finish it.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Finish what?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>He knows. He knows!<\/dialogue>\n    <scene_description>Salieri leaves the room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOZART'S APARTMENT - LIVING ROOM - NIGHT - 1790'S<\/stage_direction>\n    <scene_description>Salieri goes to the front door and opens it to reveal Schikaneder , who has obviously come straight from the theatre . He still wears his bird make - up and under his street cloak , his feathered costume is clearly seen . He has with him the three actresses , also looking anxious and also in make - up as the three attendants in The Magic Flute .<\/scene_description>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>Herr Salieri.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Yes, I am looking after him.<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>Can we come in?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Well, he's sleeping now. Better not.<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>But he's all right?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Oh, yes. He's just exhausted. He became dizzy, that's all. We should let him rest.<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>Well, tell him we were here, wo n't you?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>And say everything went wonderfully. A triumph - de - luxe - say that! Tell him the audience shouted his name a hundred times.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Bene.<\/dialogue>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>I'll call tomorrow.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <parenthetical>( to the actresses . )<\/parenthetical>\n    <dialogue>And congratulations to all of you. It was superb.<\/dialogue>\n    <character>ACTRESSES<\/character>\n    <dialogue>Thank you! Thank you, Excellency!<\/dialogue>\n    <scene_description>Schikaneder produces a bag of money .<\/scene_description>\n    <character>SCHIKANEDER<\/character>\n    <dialogue>Oh, by the way, give him this. This is his share. That should cheer him up, eh?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Yes, indeed. Goodnight to you all now. It was perfection - truly!<\/dialogue>\n    <character>ACTRESSES<\/character>\n    <parenthetical>( delighted . )<\/parenthetical>\n    <dialogue>Goodnight, Your Excellency. Goodnight!<\/dialogue>\n    <scene_description>They bob and curtsey . Schikaneder stares at Salieri , uneasily , vaguely suspicious . Salieri smiles back at him and shuts the door . He stays for a moment , thinking . He contemplates the money .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S<\/stage_direction>\n    <scene_description>Mozart is sitting up in bed , staring at the door . It opens . Salieri returns . He holds in his hand the bag of money .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <scene_description>Salieri pours the coins out of the bag onto the coverlet .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>He said to give you this. And if you finish the work by tomorrow night, he will pay you another hundred ducats.<\/dialogue>\n    <scene_description>Mozart looks at the coins astonished .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Another? But that's too soon! Tomorrow night? It's impossible! Did he say a hundred?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Yes. Can I - could I help you, in any way?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Would you? Actually, you could.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>My dear friend, it would be my greatest pleasure.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>But you'd have to swear not to tell a soul. I'm not allowed.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>You know, it's all here in my head. It's just ready to be set down. But when I'm dizzy like this my eyes wo n't focus. I ca n't write.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Then, let us try together. I'd regard it as such an honour. Tell me, what is this work?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>A Mass.. A Mass for the Dead.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A SMALL DANCE HALL - BADEN - NIGHT - 1790'S<\/stage_direction>\n    <scene_description>Trivial dance music is playing . Constanze is doing a waltz with a young OFFICER in military uniform . At the moment we see her , she stops abruptly , as if in panic .<\/scene_description>\n    <character>OFFICER<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>I want to go!<\/dialogue>\n    <character>OFFICER<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>I want to go back to Vienna.<\/dialogue>\n    <character>OFFICER<\/character>\n    <dialogue>Now?<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <character>OFFICER<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>I feel wrong. I feel wrong being here.<\/dialogue>\n    <character>OFFICER<\/character>\n    <parenthetical>( laying a hand on her arm . )<\/parenthetical>\n    <dialogue>What are you talking about?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S<\/stage_direction>\n    <scene_description>Mozart is sitting up in bed , propped against pillows . The coins lie on the coverlet ; many candles burn in the necks of bottles . Salieri , without coat or wig , is seated at an improvised worktable . On it are blank sheets of music paper , quills , and ink . Also the score of the Requiem Mass as so far composed . Mozart is bright - eyed with a kind of fever . Salieri is also possessed with an obviously feverish desire to put down the notes as quickly as Mozart can dictate them .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Where did I stop?<\/dialogue>\n    <character>SALIERI<\/character>\n    <parenthetical>( consulting the manuscript . )<\/parenthetical>\n    <dialogue>The end of the Recordare - Statuens in parte dextra.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>So now the Confutatis. Confutatis Maledictis. When the wicked are confounded. Flammis acribus addictis. How would you translate that?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Consigned to flames of woe.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Do you believe in it?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>A fire which never dies. Burning one forever?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Oh, yes.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Strange!<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Come. Let's begin.<\/dialogue>\n    <scene_description>He takes his pen .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>Confutatis Maledictis.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>We ended in F Major?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>So now - A minor. Suddenly.<\/dialogue>\n    <scene_description>Salieri writes the key signature .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>The Fire.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>What time?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Common time.<\/dialogue>\n    <scene_description>Salieri writes this , and continues now to write as swiftly and urgently as he can , at Mozart 's dictation . He is obviously highly expert at doing this and hardly hesitates . His speed , however , can never be too fast for Mozart 's impatient mind .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Start with the voices. Basses first. Second beat of the first measure - A.<\/dialogue>\n    <parenthetical>( singing the note . )<\/parenthetical>\n    <dialogue>Con - fu - ta - tis.<\/dialogue>\n    <parenthetical>( speaking . )<\/parenthetical>\n    <dialogue>Second measure, second beat.<\/dialogue>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>Ma - le - dic - tis.<\/dialogue>\n    <parenthetical>( speaking . )<\/parenthetical>\n    <dialogue>G - sharp, of course.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Third measure, second beat starting on E.<\/dialogue>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>Flam - mis a - cri - bus ad - dic - tis.<\/dialogue>\n    <parenthetical>( speaking . )<\/parenthetical>\n    <dialogue>And fourth measure, fourth beat - D.<\/dialogue>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>Ma - le - dic - tis, flam - mis a - cri - bus ad - dic - tis.<\/dialogue>\n    <parenthetical>( speaking . )<\/parenthetical>\n    <dialogue>Do you have that?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>I think so.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Sing it back.<\/dialogue>\n    <scene_description>Salieri sings back the first six measures of the bass line . After the first two measures a chorus of basses fades in on the soundtrack and engulfs his voice . They stop .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Good. Now the tenors. Fourth beat of the first measure - C.<\/dialogue>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>Con - fu - ta - tis.<\/dialogue>\n    <parenthetical>( speaking . )<\/parenthetical>\n    <dialogue>Second measure, fourth beat on D.<\/dialogue>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>Ma - le - dic - tis.<\/dialogue>\n    <parenthetical>( speaking . )<\/parenthetical>\n    <dialogue>All right?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Fourth measure, second beat - F.<\/dialogue>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>Flam - mis a - cri - bus ad - dic - tis, flam - mis a - cri - bus ad - dic - tis.<\/dialogue>\n    <scene_description>His voice is lost on the last words , as tenors engulf it and take over the soundtrack , singing their whole line from the beginning , right to the end of the sixth measure where the basses stopped , but he goes on mouthing the sounds with them . Salieri writes feverishly . We see his pen jotting down the notes as quickly as possible : the ink flicks onto the page . The music stops again .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>Now the orchestra. Second bassoon and bass trombone with the basses. Identical notes and rhythm.<\/dialogue>\n    <parenthetical>( He hurriedly hums the opening notes of the bass vocal line . )<\/parenthetical>\n    <dialogue>The first bassoon and tenor trombone -<\/dialogue>\n    <character>SALIERI<\/character>\n    <parenthetical>( labouring to keep up . )<\/parenthetical>\n    <dialogue>Please! Just one moment.<\/dialogue>\n    <scene_description>Mozart glares at him , irritated . His hands move impatiently . Salieri scribbles frantically .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>It could n't be simpler.<\/dialogue>\n    <character>SALIERI<\/character>\n    <parenthetical>( finishing . )<\/parenthetical>\n    <dialogue>First bassoon and tenor trombone - what?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>With the tenors.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Also identical?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Exactly. The instruments to go with the voices. Trumpets and timpani, tonic and dominant.<\/dialogue>\n    <scene_description>He again hums the bass vocal line from the beginning , conducting . On the soundtrack , we hear the second bassoon and bass trombone play it with him and the first bassoon and tenor trombone come in on top , playing the tenor vocal line . We also hear the trumpets and timpani . The sound is bare and grim . It stops at the end of the sixth measure . Salieri stops writing .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>And that's all?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Oh no. Now for the Fire.<\/dialogue>\n    <parenthetical>( he smiles . )<\/parenthetical>\n    <dialogue>Strings in unison - ostinato on all - like this.<\/dialogue>\n    <scene_description>He sings the urgent first measure of the ostinato .<\/scene_description>\n    <character>MOZART<\/character>\n    <parenthetical>( speaking . )<\/parenthetical>\n    <dialogue>Second measure on B.<\/dialogue>\n    <scene_description>He sings the second measure of the ostinato .<\/scene_description>\n    <character>MOZART<\/character>\n    <parenthetical>( speaking . )<\/parenthetical>\n    <dialogue>Do you have me?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>I think so.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Show me.<\/dialogue>\n    <scene_description>Salieri sings the first two measures of the string ostinato .<\/scene_description>\n    <character>MOZART<\/character>\n    <parenthetical>( excitedly . )<\/parenthetical>\n    <dialogue>Good, good - yes! Put it down. And the next measures exactly the same, rising and rising - C to D to E, up to the dominant chord. Do you see?<\/dialogue>\n    <scene_description>As Salieri writes , Mozart sings the ostinato from the beginning , but the unaccompanied strings overwhelm his voice on the soundtrack , playing the first six bars of their agitated accompaniment . They stop .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>That's wonderful!<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Yes, yes - go on. The Voca Me. Suddenly sotto voce. Write that down : sotto voce, pianissimo. Voca me cum benedictis. Call me among the blessed.<\/dialogue>\n    <scene_description>He is now sitting bolt upright , hushed and inspired .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>C Major. Sopranos and altos in thirds. Altos on C. Sopranos above.<\/dialogue>\n    <parenthetical>( singing the alto part . )<\/parenthetical>\n    <dialogue>Vo - ca, vo - ca me, vo - ca me cum be - ne - dic - tis.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Sopranos up to F on the second ` Voca'?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Yes, and on ` dictis'.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <scene_description>He writes feverishly .<\/scene_description>\n    <character>MOZART<\/character>\n    <dialogue>And underneath, just violins - arpeggio.<\/dialogue>\n    <scene_description>He sings the violin figure under the Voca Me -LRB- Bars 7,8,9 -RRB- .<\/scene_description>\n    <character>MOZART<\/character>\n    <parenthetical>( speaking . )<\/parenthetical>\n    <dialogue>The descending scale in eighth notes, and then back suddenly to the fire again.<\/dialogue>\n    <scene_description>He sings the ostinato phrase twice .<\/scene_description>\n    <character>MOZART<\/character>\n    <parenthetical>( speaking . )<\/parenthetical>\n    <dialogue>And that's it. Do you have it?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>You go fast!<\/dialogue>\n    <character>MOZART<\/character>\n    <parenthetical>( urgently . )<\/parenthetical>\n    <dialogue>Do you have it?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Then let me hear it. All of it. The whole thing from the beginning - now!<\/dialogue>\n    <scene_description>The entire Confutatis bursts over the room , as Mozart snatches the manuscript pages from Salieri and reads from it , singing . Salieri sits looking on in wondering astonishment . The music continues right through the following scenes , to the end of the movement .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A COUNTRY ROAD - WINTER NIGHT - 1790'S<\/stage_direction>\n    <scene_description>A carriage is driving fast through the night . Snow lies on the countryside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CARRIAGE  NIGHT - 1790'S<\/stage_direction>\n    <scene_description>The carriage is filled with passengers . Among them Constanze and Karl , her young son . They are sleepless and sway to the motion of the vehicle .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S<\/stage_direction>\n    <scene_description>Mozart lying in bed exhausted , but still dictating urgently . We do not hear what he is saying to Salieri , who still sits writing assiduously . Mozart is looking very sick : sweat is pouring from his forehead .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A COUNTRY ROAD - WINTER NIGHT - 1790'S<\/stage_direction>\n    <scene_description>The carriage , moving through the night , to the sound of the music .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S<\/stage_direction>\n    <scene_description>Mozart still dictating ; Salieri still writing without stop .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VIENNA STREET - DAWN - 1790'S.<\/stage_direction>\n    <scene_description>The carriage has arrived . Constanze and her son alight with other passengers . Postillions attend to the horses . She takes her boy 's hand . It is a cold wintry dawn . The music stutters to a close . End of the Confutatis .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOZART'S APARTMENT - BEDROOM - NIGHT - 1790'S<\/stage_direction>\n    <character>MOZART<\/character>\n    <dialogue>Do you want to rest a bit?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Oh no. I'm not tired at all.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>We'll stop for just a moment. Then we'll do the Lacrimosa.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>I can keep going, I assure you. Shall we try?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>Would you stay with me while I sleep a little?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>I'm not leaving you.<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>I am so ashamed.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>What for?<\/dialogue>\n    <character>MOZART<\/character>\n    <dialogue>I was foolish. I thought you did not care for my work - or me. Forgive me. Forgive me!<\/dialogue>\n    <scene_description>Mozart closes his eyes . Salieri stares at him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VIENNA STREET - WINTRY DAWN - 1790'S<\/stage_direction>\n    <scene_description>Constanze and Karl approach along the cobbled street , hand in hand toward their house . Snow lies in the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOZART'S APARTMENT - BEDROOM - DAWN - 1790'S<\/stage_direction>\n    <scene_description>Mozart lies asleep in the bed , holding the last pages of the manuscript . Salieri lies across from him on Karl 's small bed in his shirt sleeves and waistcoat . The child 's bed is obviously too small for him and he is forced in to a cramped position .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOZART'S APARTMENT HOUSE - DAWN - 1790'S<\/stage_direction>\n    <scene_description>Constanze and Karl arrive at the door . They enter .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOZART'S APARTMENT - LIVING ROOM - DAWN - 1790'S<\/stage_direction>\n    <scene_description>It is as disordered as before , save that the table , previously littered with pages , is now completely bare . Constanze looks at it with surprise and enters the bedroom .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOZART'S APARTMENT - BEDROOM - DAWN - 1790'S<\/stage_direction>\n    <scene_description>Mozart is asleep in the bed . Salieri is dozing on the nearby child 's bed . The room is full of the trailing smoke from guttering and guttered candles . Startled by Constanze 's entrance and her young son , Salieri scrambles up . As he does so , he attempts to button his waistcoat , but does it ineptly , so that the vestment becomes bunched up , making him look absurd .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Your husband is ill, ma'am. He took sick. I brought him home.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Why you?<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>I was at hand.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>Well, thank you very much. You can go now.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>He needs me, ma'am.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>No, he does n't. And I do n't want you here. Just go, please.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>He asked me to stay.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>And I'm asking you -<\/dialogue>\n    <scene_description>She notices a movement from the bed . Mozart wakes . He sees Constanze and smiles with real joy . Forgetting Salieri , she goes to her husband .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>Wolfi, I'm back. I'm still very angry with you, but I missed you so much.<\/dialogue>\n    <scene_description>She throws herself on the bed .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>I'll never leave you again. If you'll just try a little harder to be nice to me. And I'll try to do better, too. We must. We must! This was just silly and stupid.<\/dialogue>\n    <scene_description>She hugs her husband desperately . He stares at her with obvious relief , not able to speak . Suddenly she sees the manuscript in his hand .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>What is this?<\/dialogue>\n    <scene_description>She looks at it and recognizes it .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>Oh no, not this. Not this, Wolfi! You're not to work on this ever again! I've decided.<\/dialogue>\n    <scene_description>She takes it from his weak hand . At the same moment Salieri reaches out his hand to take it and add it to the pile on the table . She stares at him , trying to understand - suspicious and frightened and at the same time unable to make a sound . Mozart makes a convulsive gesture to reclaim the pages . The coins brought by Salieri fall on the floor . Karl runs after them , laughing .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <parenthetical>( to Salieri . )<\/parenthetical>\n    <dialogue>This is not his handwriting.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>No. I was assisting him. He asked me.<\/dialogue>\n    <character>CONSTANZE<\/character>\n    <dialogue>He's not going to work on this anymore. It is making him ill. Please.<\/dialogue>\n    <scene_description>She extends her hand for the Requiem , as she stands up . Salieri hesitates .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <parenthetical>( hard . )<\/parenthetical>\n    <dialogue>Please.<\/dialogue>\n    <scene_description>With extreme reluctance - it costs him agony to do it - Salieri hands over the score of the Requiem to her .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>She marches with the manuscript over to a large chest in the room , opens it , throws the manuscript inside , shuts the lid , locks it and pockets the key . Involuntarily Salieri stretches out his arms for the lost manuscript .<\/scene_description>\n    <character>SALIERI<\/character>\n    <dialogue>But - but - but -<\/dialogue>\n    <scene_description>She turns and faces him .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>Good night.<\/dialogue>\n    <scene_description>He stares at her , stunned .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>I regret we have no servants to show you out, Herr Salieri. Respect my wish and go.<\/dialogue>\n    <character>SALIERI<\/character>\n    <dialogue>Madame, I will respect his. He asked me to stay here.<\/dialogue>\n    <scene_description>They look at each other in mutual hatred . She turns to the bed . Mozart appears to have gone to sleep again .<\/scene_description>\n    <character>CONSTANZE<\/character>\n    <dialogue>Wolfi?<\/dialogue>\n    <parenthetical>( louder . )<\/parenthetical>\n    <dialogue>Wolfi?<\/dialogue>\n    <scene_description>She moves to the bed . The child is playing with the coins on the floor . Faintly we hear the start of the Lacrimosa from the Requiem . Salieri watches as she touches her husband 's hand . As the music grows , we realize that Mozart is dead . CU , Constanze staring wide - eyed in dawning apprehension . CU , Salieri also comprehending hat he has been cheated . The music rises . CU , The child on the floor , playing with the money .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STEPHEN'S CATHEDRAL - VIENNA - A RAINY DAY - 1790'S<\/stage_direction>\n    <scene_description>The Lacrimosa continues through all of the following : a small group of people emerges from the side door into the raw , wet day , accompanying a cheap wooden coffin . The coffin is borne by a gravedigger and Schikaneder in mourning clothes . They load it onto a cart , drawn by a poor black horse . All the rest are in black , also : Salieri , Von Swieten , Constanze and her son , Karl , Madame Weber and her youngest daughter Sophie , and even Lorl , the maid . It is drizzling . The cart sets off . The group follows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTSIDE THE CITY WALLS OF VIENNA - RAINY DAY - 1790'S<\/stage_direction>\n    <scene_description>The group has already passed beyond the city limits following the miserable cart . The Lacrimosa accompanies them with its measured thread . The drizzle of rain has now become heavy . One by one , the group breaks up and shelters under the trees . The cart moves on toward the cemetery , alone , followed by nobody , growing more and more distant . They watch it go . Salieri and Von Swieten shake hands mournfully , the water soaking their black tall hats . Schikaneder is in tears . Constanze is near collapse . Salieri moves to assist her , but she turns away from him , seeking the arm of Cavalieri . Madame Weber takes Karl 's hand . The music builds to its climax on Dona Eis Pacem ! We CUT back to :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLD SALIERI'S HOSPITAL ROOM - MORNING - 1823<\/stage_direction>\n    <scene_description>Morning light fills the room . Old Salieri sits weeping convulsively , as the music stops . Tears stream down his face . Vogler watches him , amazed .<\/scene_description>\n    <character>VOGLER<\/character>\n    <dialogue>Why? Why? Why? Why add to your misery by confessing to murder? You did n't kill him.<\/dialogue>\n    <character>OLD SALIERI<\/character>\n    <dialogue>I did.<\/dialogue>\n    <character>VOGLER<\/character>\n    <dialogue>No, you did n't!<\/dialogue>\n    <character>OLD SALIERI<\/character>\n    <dialogue>I poisoned his life.<\/dialogue>\n    <character>VOGLER<\/character>\n    <dialogue>But not his body.<\/dialogue>\n    <character>OLD SALIERI<\/character>\n    <dialogue>What difference does that make?<\/dialogue>\n    <character>VOGLER<\/character>\n    <dialogue>My son, why should you want all Vienna to believe you a murderer? Is that your penance? Is it?<\/dialogue>\n    <character>OLD SALIERI<\/character>\n    <dialogue>No, Father. From now on no one will be able to speak of Mozart without thinking of me. Whenever they say Mozart with love, they'll have to say Salieri with loathing. And that's my immortality - at last! Our names will be tied together for eternity - his in fame and mine in infamy. At least it's better than the total oblivion he'd planned for me, your merciful God!<\/dialogue>\n    <character>VOGLER<\/character>\n    <dialogue>Oh my son, my poor son!<\/dialogue>\n    <character>OLD SALIERI<\/character>\n    <dialogue>Do n't pity me. Pity yourself. You serve a wicked God. He killed Mozart, not I. Took him, snatched him away, without pity. He destroyed His beloved rather than let a mediocrity like me get the smallest share in his glory. He does n't care. Understand that. God cares nothing for the man He denies and nothing either for the man He uses. He broke Mozart in half when He'd finished with him, and threw him away. Like an old, worn out flute.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETERY OF ST. MARX - LATE AFTERNOON - 1790'S<\/stage_direction>\n    <scene_description>The rain has eased off . A LOCAL PRIEST with two boy acolytes is standing beside an open communal grave . Mozart 's body is lifted out of the cheap pine box in a sack . We see that the grave contains twenty other such sacks . The gravedigger throws the one containing Mozart amongst the others . An assistant pours quicklime over the whole pile of them . The acolytes swing their censers .<\/scene_description>\n    <character>LOCAL PRIEST<\/character>\n    <dialogue>The Lord giveth. The Lord taketh away. Blessed be the name of the Lord.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLD SALIERI'S HOSPITAL ROOM - MORNING - 1823<\/stage_direction>\n    <character>OLD SALIERI<\/character>\n    <dialogue>Why did He do it? Why did n't He kill me? I had no value. What was the use, keeping me alive for thirty - two years of torture? Thirty - two years of honours and awards.<\/dialogue>\n    <scene_description>He tears off the Civilian Medal and Chain with which the Emperor invested him and has been wearing the whole time and throws it across the room .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <dialogue>Being bowed to and saluted, called ` distinguished - distinguished Salieri' - by men incapable of distinguishing! Thirty - two years of meaningless fame to end up alone in my room, watching myself become extinct. My music growing fainter, all the time fainter, until no one plays it at all. And his growing louder, filling the world with wonder. And everyone who loves my sacred art crying, Mozart! Bless you, Mozart.<\/dialogue>\n    <scene_description>The door opens . An attendant comes in , cheerful and hearty .<\/scene_description>\n    <character>ATTENDANT<\/character>\n    <dialogue>Good morning, Professor! Time for the water closet. And then we've got your favourite breakfast for you - sugar - rolls.<\/dialogue>\n    <parenthetical>( to Vogler . )<\/parenthetical>\n    <dialogue>He loves those. Fresh sugar - rolls.<\/dialogue>\n    <scene_description>Salieri ignores him and stares only at the priest , who stares back .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <dialogue>Goodbye, Father. I'll speak for you. I speak for all mediocrities in the world. I am their champion. I am their patron saint. On their behalf I deny Him, your God of no mercy. Your God who tortures men with longings they can never fulfill. He may forgive me : I shall never forgive Him.<\/dialogue>\n    <scene_description>He signs to the attendant , who wheels him in his chair out of the room . The priest stares after him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR OF THE HOSPITAL - MORNING<\/stage_direction>\n    <scene_description>The corridor is filled with patients in white linen smocks , all taking their morning exercise walk in the care of nurses and nuns . They form a long , wretched , strange procession - some of them are clearly very disturbed . As Old Salieri is pushed through them in his wheelchair , he lifts his hands to them in benediction .<\/scene_description>\n    <character>OLD SALIERI<\/character>\n    <dialogue>Mediocrities everywhere, now and to come : I absolve you all! Amen! Amen! Amen!<\/dialogue>\n    <scene_description>Finally , he turns full - face to the camera and blesses us the audience , making the Sign of the Cross . Underneath we hear , stealing in and growing louder , the tremendous Masonic Funeral Music of Mozart . On the last four chords , we THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"An elderly Antonio Salieri confesses to the murder of his former colleague, Wolfgang Amadeus Mozart, and attempts to kill himself by slitting his throat. Two servants take him to a mental asylum where a priest, Father Vogler, implores him to confess. Salieri recounts how, even in his youth, he desired to be a composer, much to the chagrin of his father. He prays to God that, if he will make Salieri a famous composer, he will in return promise his faithfulness. Soon after, his father dies, which Salieri takes as a sign that God has accepted his vow. He is educated in Vienna and becomes court composer to Emperor Joseph II. Mozart arrives in Vienna to perform at the request of his employer, the Prince-Archbishop of Salzburg. Salieri attends the performance to meet Mozart and, despite Mozart's obscenity and immaturity, finds his talent to be transcendent. The Emperor desires to commission Mozart to write an opera and, despite the reservations of his advisers, summons him to the palace. Mozart happily accepts the job, much to the annoyance of Salieri. Mozart premieres Die Entf\u00fchrung aus dem Serail to mixed reviews from the Emperor. Salieri suspects that Mozart has slept with the star, Caterina Cavalieri, despite his engagement to Constanze Weber. The Emperor desires that Mozart instruct his niece, Princess Elisabeth, in music, but Salieri discourages him from doing so. Constanze visits Salieri to persuade him to make the Emperor reconsider, but she is unsuccessful. Salieri is enraged that God has bestowed upon Mozart the talent he has so desperately desired and vows to destroy Mozart. Mozart, meanwhile, struggles to find work and begins drinking. His father, Leopold Mozart, comes to visit him in Vienna. Constanze and Mozart take Leopold to a masked party (which Salieri also attends), where Mozart entertains the guests with musical antics. Leopold disapproves of his son's hedonism, and the family argues until Leopold leaves town. Salieri hires a young girl to pose as the Mozarts' maid while spying for him. She takes him to the Mozart residence, where he discovers that Mozart is working on an opera based on the play The Marriage of Figaro, which the Emperor has forbidden. When Mozart is summoned to court to explain, he manages to convince the Emperor to allow his opera to premiere, despite Salieri and the advisers' attempts at sabotage. Messengers arrive in Vienna with news of Leopold's death, and in response a grief-stricken Mozart pens Don Giovanni. Salieri recognizes the dead commander as symbolic of Leopold and hatches a plan. Wearing Leopold's party mask, Salieri visits Mozart and commissions a Requiem Mass. Salieri plots to kill Mozart once the piece is finished, then premiere it at Mozart's funeral, claiming the work as his own. At a parody of one of Mozart's own operas, Emanuel Schikaneder asks Mozart to write an opera for his theater. Mozart, desperate for money, obliges, despite Constanze's insistence that he finish the Requiem Mass. The couple fight and Constanze leaves with their young son, Karl. Mozart collapses during a performance of his finished work, The Magic Flute. Salieri takes him home and offers his assistance on the Requiem. Salieri transcribes Mozart's verbal commands, and they work through the night. The next morning, a gravely ill Mozart apologizes to Salieri for his previous behavior. A guilty Constanze returns home and locks the unfinished Requiem away, only to find that Mozart has died from overwork. Mozart is taken out of the city and unceremoniously buried in a mass grave. Having finished his tale, Salieri asks how a merciful God could destroy his own beloved just to keep a mediocrity like Salieri from sharing in his glory. As he is pushed down the hall in a wheelchair, Salieri declares himself \"the patron saint of mediocrities\" and mockingly absolves the other patients of their own inadequacies. Mozart's high-pitched laugh is heard as the screen fades to black."}
{"movie_name":"You've Got Mail_1998","imdb_id":"tt0128853","script":"<script>\n  <scene>\n    <stage_direction>CYBERSPACE<\/stage_direction>\n    <scene_description>We have a sense of cyberspace - travel as we hurtle through a sky that 's just beginning to get light . There are a few stars but they fade and the sky turns a milky blue and a big computer sun starts to rise . We continue hurtling through space and see that we 're heading over a computer version of the New York City skyline . We move over Central Park . It 's fall and the leaves are glorious reds and yellows . We reach the West Side of Manhattan and move swiftly down Broadway with its stores and gyms and movies theatres and turn onto a street in the West 80s . Hold in front of a New York brownstone . At the bottom of the screen a small rectangle appears and the words : ADDING ART As the rectangle starts to fill with color , we see a percentage increase from 0 % to 100 % . When it hits 100 % the image pops and we are in real life .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK BROWNSTONE - DAY<\/stage_direction>\n    <scene_description>Early morning in New York . A couple of runners pass on their way to Riverside Drive Park . We go through the brownstone window into :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHLEEN KELLY'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>KATHLEEN KELLY is asleep . Kathleen , 30 , is as pretty and fresh as a spring day . Her bedroom cozy , has a queen - sized bed and a desk with a computer on it . Bookshelves line every inch of wall space and overflow with books . Framed on the children 's classic . Madeleine . As Kathleen wakes up , her boyfriend FRANK NAVASKY walks into the room . He wears blue jeans and a workshirt . He 's carrying the New York Times .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>Good morning.<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>( as he reads . )<\/parenthetical>\n    <dialogue>Listen to this - the entire work force of the state of Virginia had to have solitaire removed from their computers -<\/dialogue>\n    <scene_description>Kathleen gets out of bed and goes to brush her teeth in the bathroom , and we stay with Frank .<\/scene_description>\n    <character>FRANK<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>- because they had n't done any work in six weeks.<\/dialogue>\n    <scene_description>Kathleen comes out of the bathroom in her robe .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>Are n't you late?<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>You know what this is, you know what we're seeing here? We're seeing the end of Western civilization as we know it.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>This is so sad.<\/dialogue>\n    <scene_description>She tosses him his jacket .<\/scene_description>\n    <character>FRANK<\/character>\n    <parenthetical>( points at her computer . )<\/parenthetical>\n    <dialogue>You think that machine is your friend, but it's not.<\/dialogue>\n    <parenthetical>( checks his watch . )<\/parenthetical>\n    <dialogue>I'm late.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - KATHLEEN'S APARTMENT - CONTINUOUS<\/stage_direction>\n    <scene_description>As Frank walks to the apartment door . We see a charming room with a couch , fireplace , books , and a dining table with a typewriter with a cover on it .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>I'll see you tonight.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Sushi.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>Great. Bye.<\/dialogue>\n    <scene_description>Frank goes out the door . It closes . Kathleen tiptoes into the hall and looks through the fish - eye peephole watching as he goes down the stairs , disappearing from sight . She walks into :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHLEEN'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>And looks out the front window as Frank walks out onto the street and turns toward Broadway . He 's gone . Good . She sits down at her computer . An expression of anticipation and guilty pleasure as she clicks the mouse .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMPUTER SCREEN - DAY<\/stage_direction>\n    <scene_description>As we see the logo for America On Line come up and Kathleen 's code name : Shopgirl . She logs on and the computer makes all its little modem noises as the computer dials the access number and connects and we hear the machine :<\/scene_description>\n    <character>COMPUTER<\/character>\n    <dialogue>Welcome.<\/dialogue>\n    <scene_description>And we see Kathleen , listening for the words she 's waiting to hear :<\/scene_description>\n    <character>COMPUTER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You've got mail.<\/dialogue>\n    <scene_description>And Kathleen smiles as her mail page comes up :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMPUTER SCREEN - DAY<\/stage_direction>\n    <scene_description>We see a list of letters : Big Cash Op : You can make $ $ $ in your spare time . OIL MKT : You can turn $ 20 into $ 20,000 THIS REALLY WORKS U CAN DO IT : Maximize your selling ability nowwwww ! NY152 Brinkley Kathleen hits the `` delete '' key and the first three letters - all of them junk - mail - are deleted and drop offscreen . Then she selects the `` Read Mail '' key for `` NY 152 Brinkley '' . And the letter comes up : To : Shopgirl From : NY152 Re : Brinkley Kathleen starts to read the letter aloud :<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>Brinkley is my dog. He loves the streets of New York as much as I do -<\/dialogue>\n    <scene_description>And now we hear Kathleen 's voice replaced by the voice of NY 152 , a man named JOE FOX -<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>- although he likes to eat bits of pizza and bagel off the sidewalk, and I prefer to buy them. Brinkley is a great catcher and was offered a tryout on the Mets farm team -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>A dog is sitting on a large green pillow on the floor . This is BRINKLEY . The pillow has `` Brinkley '' embroidered on it . Brinkley 's master , JOE FOX , a great - looking guy , full of charm and irony , comes into the kitchen and pours himself some orange juice . He 's half - dressed .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>- but he chose to stay with me so that he could spend 18 hours a day sleeping on a large green pillow the size of an inner tube. Do n't you love New York in the fall? It makes me want to buy school supplies. I would send you a bouquet of newly - sharpened pencils if I knew your name and address. On the other hand, this not knowing has its charms.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Darling -<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Mmmmmhmmm -<\/dialogue>\n    <scene_description>Joe 's girlfriend PATRICIA EDEN , in Armani head to toe , comes into the kitchen and turns on the $ 2000 espresso machine , which starts grinding beans . She 's carrying the morning papers .<\/scene_description>\n    <character>PATRICIA<\/character>\n    <dialogue>I'm late.<\/dialogue>\n    <parenthetical>( indicating the newspaper . )<\/parenthetical>\n    <dialogue>Random House fired Dick Atkins. Good riddance. Murray Chilton died. Which makes one less person I'm not speaking to -.<\/dialogue>\n    <parenthetical>( she drains a cup of espresso as a second starts to come out of the machine . )<\/parenthetical>\n    <dialogue>Vince got a great review. He'll be insufferable. Tonight, PEN dinner -<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Am I going?<\/dialogue>\n    <character>PATRICIA<\/character>\n    <dialogue>You promised.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Ca n't I just give them money? That's the cause? Free Albanian writers? I'm for that.<\/dialogue>\n    <scene_description>Patricia drains another cup of espresso , looks at him .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>All right, I'll go. You're late.<\/dialogue>\n    <character>PATRICIA<\/character>\n    <dialogue>I know I know I know.<\/dialogue>\n    <scene_description>She tears out of the kitchen and the door slams behind her . Hold on Joe , listening as he hears the elevator door open and close on the landing outside . IT . JOE 'S DEN - DAY As he comes in and sits down at his laptop computer and logs on .<\/scene_description>\n    <character>JOE &amp; THE COMPUTER<\/character>\n    <parenthetical>( TOGETHER . )<\/parenthetical>\n    <dialogue>Welcome. You've got mail.<\/dialogue>\n    <scene_description>And as he starts to read his letter , we hear :<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I like to start my notes to you as if we're already in the middle of a conversation. I pretend that we're the oldest and dearest friends - as opposed to what we actually are, people who do n't know each other's names and met in a Chat Room where we both claimed we'd never been before.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOE'S ELEVATOR - DAY<\/stage_direction>\n    <scene_description>As Joe , dressed for work , takes the elevator down with his elevator man CHARLIE . There 's a certain amount of Good morning , etc. , as the elevator goes down and the voice - over continues :<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O. , CONTINUES . )<\/parenthetical>\n    <dialogue>What will he say today, I wonder. I turn on my computer, I wait impatiently as it boots up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVERSIDE DRIVE - DAY<\/stage_direction>\n    <scene_description>As Joe comes out of his building .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O. , CONTINUES . )<\/parenthetical>\n    <dialogue>I go on line, and my breath catches in my chest until I hear three little words : You've got mail.<\/dialogue>\n    <scene_description>And the camera now pans from 152 Riverside uptown to :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK BROWNSTONE - MORNING<\/stage_direction>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O. , CONTINUES . )<\/parenthetical>\n    <dialogue>I hear nothing, not even a sound on the streets of New York, just the beat of my own heart. I have mail. From you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BROADWAY - MORNING<\/stage_direction>\n    <scene_description>As Kathleen comes onto Broadway at the corner of 83rd Street and starts downtown . Through a long lens we can see Joe , walking into blocks behind her . As Kathleen and Joe make their way down Broadway we see the West Side of Manhattan in the morning . Mothers and fathers taking their kids to school , people on their way to work , dogs being walked . School buses picking up kids , bakery trucks dropping off brown bags of bread in the doorframes of unopened restaurants . Kathleen stops at a newsstand , says good morning to the newsstand dealer , and picks up a New York Times . Metal grates are pulled up to open flower shops , nail salons , the pharmacy , fish store , the Cuban Chinese Restaurant , Zabar 's . Joe stops at the same newsstand . He buys all the papers - the Times , Wall Street Journal , Post and Daily News .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STARBUCKS - DAY<\/stage_direction>\n    <scene_description>As Kathleen picks up her coffee , walks out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COLUMBUS AVENUE - DAY<\/stage_direction>\n    <scene_description>As Kathleen walks down Columbus , we see Joe a block behind her . She stops to buy flowers and Joe passes her , crosses to the Ease side of Columbus Avenue .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COLUMBUS AVENUE - DAY<\/stage_direction>\n    <scene_description>A building under construction , with plywood board covering the front and wrapping around the corner . Joe goes to a side entrance and enters .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COLUMBUS &amp; 73RD STREET - DAY - CONTINUOUS<\/stage_direction>\n    <scene_description>As Kathleen comes around the corner onto 73rd and stops in front of her store , a children 's bookstore called `` The Shop Around the Corner . '' It is an irresistibly inviting store . There are twinkle lights in the windows , framing large stuffed animals reading children 's books : Madeleine , Good Night Moon , Where the Wild Things Are . A teddy bear in a pinafore is reading The Stupids Step Out . Waiting for Kathleen in front is one of her employees , CHRISTINA .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>Hello, Christina. It's a beautiful day. Is n't it the most beautiful day?<\/dialogue>\n    <scene_description>Christina looks up at the sky as if seeing it for the first time .<\/scene_description>\n    <character>CHRISTINA<\/character>\n    <dialogue>I guess. Yeah, sure.<\/dialogue>\n    <scene_description>Kathleen unlocks the shop and cranks the grate , which rises , making a horrible noise . Two cabs almost collide in front of the store , with a screech , and one cabdriver starts yelling obscenities at the other . Kathleen unlocks the door to the store .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>Do n't you love New York in the fall?<\/dialogue>\n    <scene_description>Christina looks at her puzzled .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOP AROUND THE CORNER - CONTINUOUS<\/stage_direction>\n    <scene_description>Kathleen turns the CLOSED sign on the door over to read `` OPEN '' and she activates the computer system . She looks around , and we see a small but charming children 's bookstore , with wooden shelves , a tiny area where kids can sit and read , some charming posters and a glass case full of first editions of the Oz books and Alice In Wonderland , etc. . There 's a playful display of witches , lit with twinkle lights covered with orange pumpkin globes and a sign reading `` The Ten Best Witch List '' and a collection of witch books - `` The Lion , The Witch and the Wardrobe , '' `` The Witches , '' `` The Wizard of Oz . '' On the counter is a glass jar full of sugar - free lollipops . Kathleen hangs up her coat in the back of the store and suddenly stops to daydream . A smile creeps onto her face . Christina looks at her .<\/scene_description>\n    <character>CHRISTINA<\/character>\n    <dialogue>What's going on with you?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>You're in love.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>In love? No. Yes. Of course I am. I'm in love with Frank. I'm practically living with Frank. Do you think you could get our Christmas mailers out this week?<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>By Monday I promise. I have a paper due Friday. Now what's going on?<\/dialogue>\n    <parenthetical>( she looks at Kathleen . )<\/parenthetical>\n    <dialogue>I'm just going to stand here till you tell me.<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>Is it infidelity if you're involved with someone on E - mail?<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>Have you had sex?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Of course not. I do n't even know him.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>I mean cybersex.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>Well, do n't do it. The minute you do, they lose all respect for you.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>It's not like that. We just E - mail. It's really nothing, on top of which I'm definitely thinking of stopping because it's getting -<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>Out of hand?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Confusing. But not really. Because it's nothing.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>Where did you meet him?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>I ca n't even remember.<\/dialogue>\n    <parenthetical>( off Christina 's look . )<\/parenthetical>\n    <dialogue>The day I turned thirty I wandered into the Over Thirty Room for a joke, sort of and he was there, and we started chatting.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>About what?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Books. Music. How much we both love New York. Harmless. Harmless. Meaningless.<\/dialogue>\n    <parenthetical>( starts smiling . )<\/parenthetical>\n    <dialogue>Bouquets of sharpened pencils.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Forget it. We do n't talk about anything personal. We made a rule about that. I do n't know his name, what he does or exactly where he lives, so it will be really easy to stop seeing him, because I'm not.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>God, he could be the next person to talk into the store. He could be.<\/dialogue>\n    <parenthetical>( as George walks in . )<\/parenthetical>\n    <dialogue>George.<\/dialogue>\n    <scene_description>GEORGE PAPPAS , in his twenties , one of Kathleen 's salespeople , is a cute guy who has no idea that he 's supposed to look in the mirror when he gets dressed .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Morning.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>Are you On Line?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>As far as I'm concerned, the Internet is just another way to be rejected by a woman.<\/dialogue>\n    <scene_description>BIRDIE walks in . She is in her seventies , has white hair , and is tiny , like a little sparrow . She is the store 's oldest employee , having worked there for over forty years , and serves as a accountant as well as salesperson .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>Good morning, Birdie.<\/dialogue>\n    <character>BIRDIE<\/character>\n    <dialogue>What are you all talking about?<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>Cybersex.<\/dialogue>\n    <character>BIRDIE<\/character>\n    <dialogue>I tried to have cybersex once but I kept getting a busy signal.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>I know, I know. One Saturday night I was really depressed about not having a date, so I thought, no problemo, I'll go on line and I wo n't be lonely, but I could n't get on, there were hundreds of thousands of people who did n't have dates trying to get on. You have to wonder which is harder, getting a date or getting On Line when you do n't have a date.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Getting a date is harder.<\/dialogue>\n    <scene_description>We hear the bell jingle as TWO WEST SIDE MOTHERS come in with two KIDS IN STROLLERS .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( to the kids . )<\/parenthetical>\n    <dialogue>Jessica and Maia, how are you today?<\/dialogue>\n    <scene_description>We hear the sound of the garbage truck . Kathleen goes out the front door to :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHOP AROUND THE CORNER - DAY<\/stage_direction>\n    <scene_description>As the commercial garbage truck pulls up and TWO GARBAGEMEN start to load her trash .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>Hey, you forgot to pick up the garbage last week and I got a ticket. And you're late today - I could have gotten another.<\/dialogue>\n    <character>GARBAGEMAN #1<\/character>\n    <dialogue>We were here, there was no garbage.<\/dialogue>\n    <character>GARBAGEMAN #2<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Of course there was -<\/dialogue>\n    <character>GARBAGEMAN #1<\/character>\n    <dialogue>What do you think, I do n't want to pick up garbage? You think I go up and down the street picking up garbage, I'm not going to pick up yours? What's the matter with you?<\/dialogue>\n    <character>GARBAGEMAN #2<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Kathleen is standing there , tongue - tied .<\/scene_description>\n    <character>GARBAGEMAN #1<\/character>\n    <dialogue>You do n't even bundle it right, you're supposed to bundle it and leave it near the curb, you leave it near the store and you use cheap garbage bags, they smear all over the place, and then I got to pick it up with my shovel -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOP AROUND THE CORNER - CONTINUOUS<\/stage_direction>\n    <scene_description>As Christina , who 's helping one of the customers , looks out the window as the harangue continues .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHOP AROUND THE CORNER - CONTINUOUS<\/stage_direction>\n    <character>GARBAGEMAN #1<\/character>\n    <dialogue>And now you're busting my chops. You're just another garbage pick - up to us, okay?<\/dialogue>\n    <character>GARBAGEMAN #2<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>As Kathleen continues to stand there , speechless .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOP AROUND THE CORNER - CONTINUOUS<\/stage_direction>\n    <scene_description>As Kathleen comes back into the store . Christina is ringing up a sale .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>That guy went ballistic on me.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>I hope you told him off.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Not exactly.<\/dialogue>\n    <scene_description>Another customer enters the store . The bell jingles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONSTRUCTION SITE ON COLUMBUS - DAY<\/stage_direction>\n    <scene_description>A little truck carrying a knife sharpener , its bells ringing , passes the building under construction .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONSTRUCTION SITE - DAY<\/stage_direction>\n    <scene_description>WORKERS , ELECTRICIANS , MASONS , CARPENTERS , etc. in the process of building what looks like a large store . Wires hanging everywhere .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>The electrical contractor called. His truck hit a deer last night, he wo n't be in'til tomorrow. The shelves are late because the shipment of pine had beetles. And there's some question about whether we're installing the stairs in the right spot -<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>That sounds great.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Testing one two three four.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Is the electrician here?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I just told you - he hit a deer.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I hear nothing. Not a sound on the city streets, just the beat of my own heart. I think that's the way it goes. Something like that.<\/dialogue>\n    <character>KEVIN<\/character>\n    <parenthetical>( beginning to glean something . )<\/parenthetical>\n    <dialogue>Did you and Patricia get engaged?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Engaged? Are you crazy?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>I thought you liked Patricia -<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I love Patricia. Patricia's amazing. Patricia makes coffee nervous.<\/dialogue>\n    <parenthetical>( suddenly all business . )<\/parenthetical>\n    <dialogue>Are we still on schedule?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>We open two weeks before Thanksgiving.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I guess we should announce ourselves soon. Tell people we're coming.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>This is the Upper West Side of Manhattan. The minute they hear they'll be lining up -<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>- to picket -<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>- the big bad -<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>- chain store -<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>- that destroys -<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>- everything we hold dear. But we'll seduce them with our square footage and our deep armchairs and our amazingly swift checkout lines and our discounts and our.<\/dialogue>\n    <character>JOE &amp; KEVIN<\/character>\n    <parenthetical>( the trump card . )<\/parenthetical>\n    <dialogue>- cappuccino.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>They hate us in the beginning, but we get them in the end. Meanwhile we should just put up a sign - Coming soon, a Foxbooks Superstore and The End of Western Civilization As We Know It.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOXBOOKS - WORLD HEADQUARTERS - DAY<\/stage_direction>\n    <scene_description>Joe is in the office with his father , NELSON FOX , and his grandfather , SCHUYLER FOX . The office has been recently redecorated ; everything is new and a little overdone . On the wall we see the Foxbooks logo .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Kevin and I are both a little concerned about the neighborhood response -.<\/dialogue>\n    <parenthetical>( suddenly notices the garish couch . )<\/parenthetical>\n    <dialogue>What is this fabric? Does it have a name?<\/dialogue>\n    <character>NELSON<\/character>\n    <dialogue>Money. Its name is money.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Gillian selected it.<\/dialogue>\n    <character>NELSON<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>SCHUYLER<\/character>\n    <dialogue>Your father is getting married again.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Oh, great, congratulations, Dad. Why?<\/dialogue>\n    <character>NELSON<\/character>\n    <dialogue>Who knows? Why does anyone get married?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Love.<\/dialogue>\n    <character>NELSON<\/character>\n    <dialogue>Yes, that is one reason.<\/dialogue>\n    <character>SCHUYLER<\/character>\n    <dialogue>I think you're a damn fool.<\/dialogue>\n    <character>NELSON<\/character>\n    <dialogue>Dad, Matthew is four. It would be nice for him if his parents were married.<\/dialogue>\n    <character>SCHUYLER<\/character>\n    <dialogue>Annabel is eight and I'm not married to her mother. I ca n't even remember her mother's name.<\/dialogue>\n    <parenthetical>( he laughs merrily . )<\/parenthetical>\n    <dialogue \/>\n    <character>JOE<\/character>\n    <dialogue>I have a very sad announcement to make. City Books on 23rd Street is going under.<\/dialogue>\n    <scene_description>Nelson , Shuyler , and Joe high - five each other .<\/scene_description>\n    <character>NELSON<\/character>\n    <dialogue>Another independent bookstore bites the dust -<\/dialogue>\n    <character>SCHUYLER<\/character>\n    <dialogue>On to the next.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>And I'm buying their entire stock - architecture, New York history - for the new store.<\/dialogue>\n    <character>NELSON<\/character>\n    <dialogue>How much are your paying?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Whatever it costs, it wo n't be as much as this exquisite mohair episode.<\/dialogue>\n    <parenthetical>( indicates the couch . )<\/parenthetical>\n    <dialogue>We're also going to have a section on West Side Writers -<\/dialogue>\n    <character>SCHUYLER<\/character>\n    <dialogue>- as a sop to the neighborhood.<\/dialogue>\n    <character>NELSON<\/character>\n    <dialogue>Perfect. It'll keep those West Side liberal nut pseudo - intellectual bleeding hearts -<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Readers. They're called readers.<\/dialogue>\n    <character>NELSON<\/character>\n    <dialogue>Do n't romanticize them. It'll keep them from jumping down your throat -<\/dialogue>\n    <character>SCHUYLER<\/character>\n    <dialogue>What's the competition?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>One mystery store. Sleuth, on 86th and Amsterdam. And a children's bookstore. The Shop Around the Corner. Been there forever.<\/dialogue>\n    <character>SCHUYLER<\/character>\n    <dialogue>Cecilia's store.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Who's that?<\/dialogue>\n    <character>SCHUYLER<\/character>\n    <dialogue>Cecilia Kelly, lovely woman. I think we might have had a date once. Or maybe we just exchange letters.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>You wrote her letters?<\/dialogue>\n    <character>SCHUYLER<\/character>\n    <dialogue>Mail. It was called mail.<\/dialogue>\n    <character>NELSON<\/character>\n    <parenthetical>( fondly nostalgic and kidding it slightly . )<\/parenthetical>\n    <dialogue>Stamps. Envelopes.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Wait. I've heard of it. It was a means of communication before I was born.<\/dialogue>\n    <character>NELSON<\/character>\n    <dialogue>Exactly.<\/dialogue>\n    <character>SCHUYLER<\/character>\n    <dialogue>Cecilia had beautiful penmanship. She was too young for me, but she was. enchanting. Her daughter owns it now.<\/dialogue>\n    <character>NELSON<\/character>\n    <dialogue>Too bad for her.<\/dialogue>\n    <scene_description>As a DECORATOR walks into the office carrying a pile of upholstered pillows , and Joe turns to look at them .<\/scene_description>\n    <character>COMPUTER VOICE<\/character>\n    <parenthetical>( OVER . )<\/parenthetical>\n    <dialogue>Welcome. You've got mail.<\/dialogue>\n    <character>JOE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>My father is getting married again. For five years he's been living with a woman who studied decorating at Caesar's Palace.<\/dialogue>\n    <character>COMPUTER VOICE<\/character>\n    <parenthetical>( OVER . )<\/parenthetical>\n    <dialogue>You've got mail.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY - DAY<\/stage_direction>\n    <scene_description>Kathleen looks up from her book as a butterfly flies through the subway car .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Once I read a story about a butterfly in the subway, and today I saw one. I could n't believe it. It got on at 42nd -<\/dialogue>\n    <scene_description>The train comes to a stop . The butterfly flies out .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>- and got off at 59th, where I assume it was going to Bloomindale's to buy a hat that will turn out to be a mistake. As almost all hats are.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. H &amp; H BAGELS - NIGHT<\/stage_direction>\n    <scene_description>A flour truck is unloading flour into a hole in the ground .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Did you know that every night a truck pulls up to H&amp;H Bagels and pumps about a ton of flour into the ground? The air is absolutely amazing.<\/dialogue>\n    <scene_description>As Joe comes around the corner and sees the dust filling the air . It is amazing .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I guess I've read Pride &amp; Prejudice about 100 times -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOE'S KITCHEN - DAY<\/stage_direction>\n    <scene_description>As Joe reads a copy of Pride and Prejudice . He ca n't stand it .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>- and every time I read it I worry that Elizabeth and Mr. Darcy are not going to get together - but the truth is whenever I think about my favorite book I always think about the books I read as a child -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOP AROUND THE CORNER - DAY<\/stage_direction>\n    <scene_description>As Kathleen takes a copy of Homer Price off the shelf .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Did you ever read Homer Price? My all - time favorite children's book.<\/dialogue>\n    <scene_description>She opens it to the illustration of the doughnut machine that wo n't stop making doughnuts .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O. , cont 'd . )<\/parenthetical>\n    <dialogue>There's a doughnut machine in it that wo n't stop making doughnuts, they just keep coming down the chute just as regular as a clock can tick.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KRISPY KREME STORE - DAY<\/stage_direction>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Have you been to Krispy Kreme?<\/dialogue>\n    <scene_description>Joe , eating a doughnut , looks through the window at the huge doughnut machine as the doughnuts roll down the chute just as regular as a clock can tick .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O. , cont 'd . )<\/parenthetical>\n    <dialogue>There's a doughnut machine right in the window that makes 110 dozen doughnuts an hour.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STARBUCKS - DAY<\/stage_direction>\n    <scene_description>As Joe leaves with his morning coffee .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COLUMBUS AVENUE - NEW YORK - MORNING<\/stage_direction>\n    <scene_description>Joe goes to his painter at work : COMING SOON is as far as he 's gotten .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STARBUCKS - DAY<\/stage_direction>\n    <scene_description>She enters Starbucks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STARBUCKS - DAY<\/stage_direction>\n    <scene_description>As Kathleen buys her morning coffee and listens to everyone ordering . We can hear the sounds of Starbucks : `` Short decaf cap , '' `` Tall mocha latte . '' `` Grande lowfat regular . '' Etc. .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COLUMBUS AVENUE - A HALF HOUR LATER<\/stage_direction>\n    <scene_description>The painter is further along on the sign . It now reads : COMING SOON , A FOXBOOKS SU - Kathleen walks past the construction site . She does n't really pay attention to the sign painter . We see two police cars barreling up 75th Street , followed by a television news truck .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BROADWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>The police cars and TV truck barrel uptown .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 101st STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>They turn left onto West 101st and stop in front of an apartment building on the block . There are more police cars and a horde of television reporters with microphones , etc. . George emerges from the building as a newscaster broadcasts .<\/scene_description>\n    <character>TV REPORTER<\/character>\n    <dialogue>The body of a woman was found this morning on the roof of a New York building.<\/dialogue>\n    <scene_description>As George comes out of his building into a horde of REPORTERS with microphones , cameras , etc. and listens to the reporter , who , seeing George , sticks the microphone into his face .<\/scene_description>\n    <character>TV REPORTER<\/character>\n    <dialogue>Here is a resident of the building. Your name, please?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>George Pappas.<\/dialogue>\n    <character>REPORTER<\/character>\n    <dialogue>Did you see or hear anything unusual last night?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>No. I did n't go out.<\/dialogue>\n    <scene_description>At that moment , George sees a young woman . This is MEREDITH CARTER . He is struck dumb .<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>The victim was red - haired, about thirty - five, wearing a jogging suit. Did you encounter anyone by that description in the building? Sir?<\/dialogue>\n    <scene_description>George has n't heard a word .<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>Have there been any wild parties lately?<\/dialogue>\n    <scene_description>George does n't answer .<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>Could it perhaps be one of your neighbors?<\/dialogue>\n    <scene_description>George continues to stare at the beautiful woman . As he does , she notices him . She stares back . The reporter , ignored , finally turns away .<\/scene_description>\n    <character>REPORTER<\/character>\n    <parenthetical>( to camera . )<\/parenthetical>\n    <dialogue>As you can see, no one here knows anything.<\/dialogue>\n    <scene_description>He continues to stand there , dumbstruck for a moment . Meredith Carter starts to walk away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK STREET - DAY<\/stage_direction>\n    <scene_description>As George walks along Broadway , past the sign , which now says : `` COMING SOON : A FOXBOOKS SUPERSTORE '' . He sees it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOP AROUND THE CORNER<\/stage_direction>\n    <scene_description>Kathleen and several CUSTOMERS in the store . George walks in and goes to the back to hang up his coat . Christina is unpacking boxes . Birdie is at the desk . George looks at Christina meaningfully .<\/scene_description>\n    <character>CHRISTINA<\/character>\n    <parenthetical>( totally mystified . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>The coup de foudre. I had one. I never believed in them, but I just had one.<\/dialogue>\n    <character>BIRDIE<\/character>\n    <dialogue>Is that the thing where you get cold suddenly, bang?<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>No, that's the coup de vieux.<\/dialogue>\n    <character>BIRDIE<\/character>\n    <dialogue>I had that.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>The coup de foudre is where you get love suddenly, bang. A thunderbolt.<\/dialogue>\n    <character>BIRDIE<\/character>\n    <dialogue>I had that too. Only I had it in Seville, where it was called, el estruendo de amor.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I do n't know her name, or anything about her. I may never see her again.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>And if you ever do meet her, you'll find out all the horrible details, and that will be that. She'll turn out to have pictures of the Virgin Mary all over the walls.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I wo n't care.<\/dialogue>\n    <scene_description>Kathleen sticks her head into the back .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>Can someone help me out here?<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>George had a coup de foudre.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>And Christina's making fun of me.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Do n't let her. I believe in this, I completely believe in this. It happened to Madame Bovary, at least six times.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>And she was wrong every time.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Who was she?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I do n't know. She was standing outside my building with the police and the reporters.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>What police and reporters?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Someone died.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I have no idea about that either. They found her on the roof.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>A dead body. That's so sad. But you fell in love. That's so great.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Oh. One other thing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COLUMBUS AVENUE - DAY<\/stage_direction>\n    <scene_description>The sign is now complete and it says : `` Coming soon , just around the corner . A Foxbooks Superstore . '' Kathleen and George and Christina stand there looking at it .<\/scene_description>\n    <character>CHRISTINA<\/character>\n    <dialogue>Quel nightmare.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>It has nothing to do with us. It's big, impersonal, overstocked and full of ignorant salespeople.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>But they discount.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>But they do n't provide any service. We do.<\/dialogue>\n    <scene_description>George and Christina nod .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARNEY GREENGRASS - LUNCHTIME<\/stage_direction>\n    <scene_description>Kathleen is having lunch with Birdie .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>So really it's a good development. You know how in the flower district, there are all these flower shops in a row so you can find whatever you want. Well, this is going to be the book district. If you do n't have it, we do.<\/dialogue>\n    <character>BIRDIE<\/character>\n    <dialogue>And vice versa.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHLEEN'S APARTMENT - DUSK<\/stage_direction>\n    <scene_description>Kathleen in the kitchen , unloading groceries . Frank is standing there , plugging in an Olympia Report deluxe Electric typewriter .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>When you are finished with Foxbooks, the Shop Around the Corner is going to be responsible for reversing the entire course of the Industrial Revolution.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>That is so sweet, Frank. Thank you. That is so sweet.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Hey -<\/dialogue>\n    <scene_description>He holds his arms out . They hug .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>Although.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( over his shoulder , she notices the typewriter , breaks from the hug . )<\/parenthetical>\n    <dialogue>What is that doing there?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Listen to it. Just listen -<\/dialogue>\n    <scene_description>He strikes a key . Practically swoons .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>The Olympia Report deluxe Electric Report. As in gunshot.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>That sound is familiar.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Now listen to this.<\/dialogue>\n    <scene_description>He puts his ear to the typewriter . Kathleen listens too .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>That whirring?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>The gentle and soothing lullaby of a piece of machinery so perfect -<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>I know where I've heard it before. I know.<\/dialogue>\n    <scene_description>She whips a cover off the other typewriter on the table . It 's the same machine exactly .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>I needed a backup.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Do n't you have another one at your apartment?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I might, I might. So what?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>You're turning my apartment into a typewriter museum.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I'll stop. I'll try. I probably ca n't. I see one and my knees go weak. Anyway, what were you starting to say?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>When?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Before.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>I do n't know. I was just wondering about my work and all. I mean, what is it I do exactly? All I really do is run a bookstore -<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>All you really do is this incredibly noble thing -<\/dialogue>\n    <scene_description>Kathleen nods .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>But I do n't know if I -<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>( stopping her . )<\/parenthetical>\n    <dialogue>Kathleen -<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>But I just -<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>You are a lone reed.<\/dialogue>\n    <scene_description>Kathleen looks puzzled . He sticks a piece of paper in the typewriter , starts typing .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>You are a lone reed waving in the breeze standing strong and tall in the corrupt sands of commerce.<\/dialogue>\n    <scene_description>He whips the piece of paper out of the typewriter and hands it to her .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( reading from it . )<\/parenthetical>\n    <dialogue>I am a lone reed.<\/dialogue>\n    <parenthetical>( tries it on again . )<\/parenthetical>\n    <dialogue>I am a lone reed.<\/dialogue>\n    <scene_description>Clutching her piece of paper , she wanders into the bathroom .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - DUSK<\/stage_direction>\n    <scene_description>We hear the sound of a typewriter begin to clack away in the next room . Kathleen walks past her computer , looks at it . Then she goes over to the window , looks out at her street at dusk .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KATHLEEN'S STREET - DUSK<\/stage_direction>\n    <scene_description>A group of schoolgirls in uniform , in two straight lines , walk past with a tall woman .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHLEEN'S BEDROOM - DUSK<\/stage_direction>\n    <scene_description>She goes over to the bookshelf and pulls out a copy of Madeleine by Ludwig Bemelmans and opens it to the illustration of the twelve little girls in two straight lines marching through the streets of Paris . She looks at it , then looks up , lost in thought . We hear the sound of the computer keys .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Sometimes I wonder about my life. I lead a small life. Well, not small, but circumscribed. And sometimes I wonder, do I do it because I like it, or because I have n't been brave? So much of what I see reminds me of something I read in a book, when should n't it be the other way around?<\/dialogue>\n    <scene_description>And hold on her as she thinks about this . In the other room , we hear Frank typing . Kathleen goes to the computer , turns it on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KATHLEEN'S BUILDING - NIGHT<\/stage_direction>\n    <scene_description>As we see Kathleen , through her curtains , a small figure barely lit by her computer .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O. , cont 'd . )<\/parenthetical>\n    <dialogue>I do n't really want an answer. I just want to send this cosmic question out into the void. So goodnight, dear void.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRIP - DAY<\/stage_direction>\n    <scene_description>Drip is a cafe on Amsterdam Avenue with Fifties - style couches and chairs in cozy seating arrangements . Kathleen is standing at the front counter with Christina , getting drinks .<\/scene_description>\n    <character>CHRISTINA<\/character>\n    <dialogue>I went to the Foxbooks Website and you can buy anything. They ship it to you in a day. Maybe we should get a website.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>My mother would never have wanted us to have a website. `` Every book you sell is a gift from your heart.'' She always said that.<\/dialogue>\n    <scene_description>As they walk toward the back of the cafe , Kathleen notices a stack of loose - leaf binders on the table .<\/scene_description>\n    <character>CHRISTINA<\/character>\n    <dialogue>What if they put us out of business?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>It's out of the question. We're a fixture in the neighborhood. We're practically a landmark.<\/dialogue>\n    <parenthetical>( indicating the binders . )<\/parenthetical>\n    <dialogue>Men For Women, Women for Men, Women for Women - what is this?<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>You fill out one of these forms and they file it in the book and if someone wants to meet you, they arrange it.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>What a stupid way to meet someone.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>Compared to the Internet?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>My little thing on the Internet is just a lark.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>So it's still going on?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>And I do not plan to meet him.<\/dialogue>\n    <parenthetical>( indicating the book . )<\/parenthetical>\n    <dialogue>Why do I get the feeling that you are in here somewhere?<\/dialogue>\n    <scene_description>Christina flips the book open to her application .<\/scene_description>\n    <character>CHRISTINA<\/character>\n    <dialogue>I came in here one night and drank too much coffee and filled one out.<\/dialogue>\n    <parenthetical>( off Kathleen 's look . )<\/parenthetical>\n    <dialogue>Well how am I supposed to meet someone?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>You are a runner. Some day you will make eye contact with another runner and -<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>No one ever even looks at me. They do n't. On top of which, who are they? They could like the symphony. I could never fall in love with someone who likes to go to the symphony -<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>I know. What are you supposed to do there?<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Sit. You're supposed to sit.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>I could never fall in love with anyone who smokes cigars either.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>I'll tell you what I hate. Big fat legs like stumps.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>Yeah. I hate that too.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>The worst, the worst - I could never, under any circumstances, love anybody who had a sailboat.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>Neither could I.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>If I had to get up on Saturday morning knowing that I was about to go down to the pier and unravel all those ropes and put on all that sunblock -<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>All that talk about the wind.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>And then you have to go out on the boat, and you sail and sail and sail until you are bored witless, and then, only then, do they say, let's turn around and you realize the trip is only half over, only it's not, because the wind has changed -<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>It has n't changed. It's died.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>So then there's more talk about the wind. While you just float up and down trying not to get nauseous. And when you finally get back, you have to clean up the boat.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>Why do n't people have boat maids?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>I know. There're all these people who would n't be caught dead polishing a doorknob in their house but put them on a boat and they want to rub down everything in sight.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 19TH STREET BOAT BASIN - ANOTHER DAY<\/stage_direction>\n    <scene_description>Joe is on his sailboat . He is polishing his brass and whistling .<\/scene_description>\n    <character>ANNABEL<\/character>\n    <dialogue>Joe -<\/dialogue>\n    <scene_description>Joe jumps off the boat onto the dock to greet his grandfather 's daughter ANNABEL , 8 , who is coming toward the dock with GILLIAN , his father 's overdecorated 32 - year - old fiance , her son , MATTHEW , 4 , and the Nanny , MAUREEN .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <parenthetical>( picks up Annabel . )<\/parenthetical>\n    <dialogue>Annabel, how are you today?<\/dialogue>\n    <character>ANNABEL<\/character>\n    <dialogue>Great.<\/dialogue>\n    <character>JOE<\/character>\n    <parenthetical>( picks up Matt . )<\/parenthetical>\n    <dialogue>Hey, big guy -<\/dialogue>\n    <character>GILLIAN<\/character>\n    <dialogue>Do n't I get a hello?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Hello, Gillian.<\/dialogue>\n    <character>GILLIAN<\/character>\n    <dialogue>Kiss me. I'm going to be your wicked stepmother.<\/dialogue>\n    <scene_description>Joe gives her a peck on the cheek .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Who is this?<\/dialogue>\n    <character>GILLIAN<\/character>\n    <dialogue>Nanny Maureen. I brought her in case you could n't handle the kids.<\/dialogue>\n    <character>ANNABEL<\/character>\n    <dialogue>Maureen's getting a divorce.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I'm sorry to hear that.<\/dialogue>\n    <character>MAUREEN<\/character>\n    <dialogue>It's my own fault. Never marry a man who lies.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>That is so wise. Remember that, Annabel.<\/dialogue>\n    <character>ANNABEL<\/character>\n    <dialogue>She taught Matt to spell his name.<\/dialogue>\n    <character>MATT<\/character>\n    <dialogue>Fox. F - O - X.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Excellent, Matt.<\/dialogue>\n    <parenthetical>( to Maureen . )<\/parenthetical>\n    <dialogue>Good work. You can have the day off. I'll take over from here.<\/dialogue>\n    <parenthetical>( to Gillian . )<\/parenthetical>\n    <dialogue>You must be late for something. Volunteer work at the Henry Street Settlement. Packing bandages for Bosnian refugees. A course in Chinese literature at Columbia.<\/dialogue>\n    <character>GILLIAN<\/character>\n    <dialogue>I am. I'm having my eggs harvested.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET FAIR - DAY<\/stage_direction>\n    <scene_description>There 's a block street fair with little booths , sausage sandwich concessions , etc. . Annabel and Matt have been to the makeup booth . Annabel is a cat and Matt is a pirate . Annabel is carrying a goldfish in a baggie as they walk toward Broadway .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KATHLEEN'S STORE - DAY<\/stage_direction>\n    <scene_description>As Joe , Annabel and Matt walk past . There 's some sort of toy miniature princess in a pointed hat sitting outside the store and a sign lit with twinkle lights : Storybook Lady today 3:30 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHLEEN'S STORE - DAY<\/stage_direction>\n    <scene_description>Kathleen is sitting on a stool reading to a group of CHILDREN , including Annabel and Matt , who are crammed into her store . Joe is watching , along with some PARENTS as Kathleen reads from a Roald Dahl book .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHLEEN'S STORE - LATER<\/stage_direction>\n    <scene_description>Matt is sitting on the floor reading a book . Kathleen is showing Annabel a copy of a book called Betsy - Tacy .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>This is her best friend Tacy, whose real name is Anastasia, and then in the next book Betsy and Tacy become friends with Tib, whose real name, I am sorry to tell you, is Thelma.<\/dialogue>\n    <scene_description>In another section of the store : George is showing Joe a first edition of Swiss Family Robinson from the glass case .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>The illustrations are hand - tipped, which is why -<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>It costs so much.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>It's why it's worth so much.<\/dialogue>\n    <scene_description>Joe smiles and turns to see Kathleen and Annabel at a whole shelf of Betsy - Tacy books .<\/scene_description>\n    <character>ANNABEL<\/character>\n    <dialogue>I want all of them.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>That might be an awful lot for your dad to buy at one time.<\/dialogue>\n    <character>ANNABEL<\/character>\n    <dialogue>My dad gets me all the books I want.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( looking over at Joe . )<\/parenthetical>\n    <dialogue>Well, that's very nice of him.<\/dialogue>\n    <character>ANNABEL<\/character>\n    <dialogue>That's not my dad. That's my nephew -<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Oh, I do n't really think that's your nephew -<\/dialogue>\n    <scene_description>As Joe approaches .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>It's true. Annabel is my aunt. Are n't you, Aunt Annabel?<\/dialogue>\n    <scene_description>Annabel nods solemnly .<\/scene_description>\n    <character>ANNABEL<\/character>\n    <dialogue>And Matt is -<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Let me guess.<\/dialogue>\n    <parenthetical>( to Matt . )<\/parenthetical>\n    <dialogue>Are you his uncle?<\/dialogue>\n    <character>MATT<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>His grandfather?<\/dialogue>\n    <scene_description>Annabel and Matt start giggling .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>His great - grandfather?<\/dialogue>\n    <character>MATT<\/character>\n    <parenthetical>( shouting with glee . )<\/parenthetical>\n    <dialogue>I'm his brother.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Annabel is my grandfather's daughter. And Matt is my father's son. We are an American family.<\/dialogue>\n    <scene_description>He smiles at Kathleen , who finds herself smiling back . Annabel suddenly sneezes . Kathleen takes a handkerchief from her sleeve . It 's an old fashioned hankie that 's embroidered . She offers it to Annabel , who instead wipes her nose with her hand and then looks at the handkerchief , a little puzzled .<\/scene_description>\n    <character>ANNABEL<\/character>\n    <dialogue>What is that?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>A handkerchief. Oh my, do children not even know what handkerchiefs are? A handkerchief is a Kleenex you do n't throw away. My mother embroidered it for me - you see? My initials and a daisy, because daisies are my favorite flower.<\/dialogue>\n    <character>ANNABEL<\/character>\n    <dialogue>Orchids are my favorite flower.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( to Joe . )<\/parenthetical>\n    <dialogue>You know what else children do n't know? They do n't know what a telephone booth is?<\/dialogue>\n    <scene_description>Joe is looking at Kathleen .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Kathleen Kelly. I own this store. Are you are?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Joe. Just call me Joe.<\/dialogue>\n    <parenthetical>( quickly . )<\/parenthetical>\n    <dialogue>We'll take these books.<\/dialogue>\n    <scene_description>He gets the one Matt is reading . And the two other Kathleen has gotten for Annabel .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>These are wonderful books. As Annabel gets older the characters in the books do, too.<\/dialogue>\n    <parenthetical>( to Annabel . )<\/parenthetical>\n    <dialogue>You can grow up with Betsy.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>You're going to come back again, are n't you?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>This is why we're never going to go under. Our customers are loyal.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( by way of explanation . )<\/parenthetical>\n    <dialogue>They're opening a Foxbooks around the corner.<\/dialogue>\n    <character>ANNABEL<\/character>\n    <dialogue>Foxbooks! My Daddy -<\/dialogue>\n    <character>JOE<\/character>\n    <parenthetical>( gently putting his hand over her mouth . )<\/parenthetical>\n    <dialogue>- likes to buy at discount. Do n't tell anyone that, Annabel, it's nothing to be proud of -<\/dialogue>\n    <character>MATT<\/character>\n    <parenthetical>( spelling . )<\/parenthetical>\n    <dialogue>F - O - X.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>That's amazing. You can spell fox. Can you spell dog?<\/dialogue>\n    <character>MATT<\/character>\n    <dialogue>F - O - X.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Matt, look at this dinosaur book. Would n't you like a dinosaur book? Annabel, maybe you could read this to Matt while I wrap things up here.<\/dialogue>\n    <parenthetical>( moves them to a corner , to them quickly . )<\/parenthetical>\n    <dialogue>Sit down, read, and do n't listen to anything I say.<\/dialogue>\n    <scene_description>Returns to counter and gives Kathleen some cash .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>And the dinosaur book too.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>The world is not driven by discounts, believe me. I've been in business forever. I started helping my mother here after school when I was six years old. I used to watch her, and it was n't that she was selling books, it was that she was helping people become whoever they were going to turn out to be. When you read a book as a child it becomes part of your identity in a way that no other reading in your life does.<\/dialogue>\n    <parenthetical>( stops herself . )<\/parenthetical>\n    <dialogue>I guess I've gotten carried away.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>You have, and you've made me feel.<\/dialogue>\n    <scene_description>He ca n't finish the sentence . He looks at her and sees , behind her on the shelf , a picture of a woman who is unmistakably Kathleen 's mother , with a young Kathleen .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Enchanting, your mother was enchanting.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>She was. How did you know that?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Lucky guess.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Anyway. She left the store to me, and I'm going to leave it to my daughter.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>How old is your daughter now?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Oh, I'm not married. But eventually.<\/dialogue>\n    <scene_description>She smiles at Joe .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>So Foxbooks can.<\/dialogue>\n    <character>KATHLEEN AND GEORGE TOGETHER<\/character>\n    <dialogue>Go to hell.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( handing him his books . )<\/parenthetical>\n    <dialogue>Here you go.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>We ready?<\/dialogue>\n    <scene_description>Annabel and Matt join him at the counter . Kathleen gives them each a lollipop .<\/scene_description>\n    <character>ANNABEL<\/character>\n    <dialogue>Bye, Kathleen.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Goodbye, Annabel. Bye, Matt. What about cat? Can you spell cat?<\/dialogue>\n    <character>MATT<\/character>\n    <dialogue>F - O - X.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - DAY<\/stage_direction>\n    <scene_description>Someplace like the auditorium at the Museum of Broadcasting . PATRICIA EDEN , Joe 's girlfriend , who is the editor - in - chief of a New York publishing house called Eden Books , is standing at a podium at a sales conference . In the audience are sales reps , wholesalers , etc. . There 's a screen behind her with pictures of the authors being flashed on it as she speaks .<\/scene_description>\n    <character>PATRICIA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>And now, the book you've all been waiting for, the book it's been my dreams to publish. The legendary Veronica Grant has written her memoirs -<\/dialogue>\n    <scene_description>There 's a burst of applause as a photograph of Veronica Grant flashes on screen .<\/scene_description>\n    <character>PATRICIA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>- and I'm happy to report it is just crammed with tragedy.<\/dialogue>\n    <parenthetical>( she laughs gaily . )<\/parenthetical>\n    <dialogue>Just kidding, but seriously, it's all here : poverty, addiction, divorce, tracheotomies -<\/dialogue>\n    <scene_description>We see pictures of Veronica at eight with her sharecropper family , Veronica at 14 with her first child , Veronica with a series of husbands , Veronica in a wheelchair , etc. .<\/scene_description>\n    <character>PATRICIA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>- her third husband beat her up, hip replacement, and an amazing face lift where all the injected fat fell to her chin.<\/dialogue>\n    <scene_description>Now we see a blow - up of the book 's jacket , with a picture of Veronica on it and the title : `` Am I Rising from Ashes , or Did I Just Forget to Dust ? ''<\/scene_description>\n    <character>PATRICIA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>This book is fabulous. And even if it were n't, it would sell like crazy, because Veronica is going to plug it to death on every talk show in America. This book.<\/dialogue>\n    <scene_description>Patricia bursts into tears .<\/scene_description>\n    <character>PATRICIA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I'm sorry. I ca n't talk about it without crying. Veronica and I have so much in common - well, not all the sad parts - but we were both famous by the time we were 29 and, believe me, that's rough.<\/dialogue>\n    <parenthetical>( wipes her nose with a Kleenex , pulling herself together . )<\/parenthetical>\n    <dialogue>Anyway, I just want to say that I'm especially thrilled to be publishing it. Veronica lives in my building and we met in the elevator. By the time we had traveled from the eighth floor to the first, we had a deal. First printing : one million copies.<\/dialogue>\n    <scene_description>Everyone applauds enthusiastically .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM LOBBY - A SHORT WHILE LATER<\/stage_direction>\n    <scene_description>Patricia is leaving , still surrounded by colleagues and sales reps congratulating her . She is the soul of graciousness . Her assistant , Sarah , comes up .<\/scene_description>\n    <character>SARAH<\/character>\n    <parenthetical>( quickly . )<\/parenthetical>\n    <dialogue>You have a dentist appointment in twenty minutes. So you should leave soon.<\/dialogue>\n    <character>PATRICIA<\/character>\n    <dialogue>What's my car number?<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Car? You did n't say anything about a car -<\/dialogue>\n    <character>PATRICIA<\/character>\n    <dialogue>Are you an idiot? Of course I need a car. God!<\/dialogue>\n    <scene_description>She walks toward the exit .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 57TH STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>Patricia in the pouring rain , trying to hail a cab . She spots one across the street .<\/scene_description>\n    <character>PATRICIA<\/character>\n    <dialogue>Taxi! Taxi! Taxi!<\/dialogue>\n    <scene_description>She whistles - a longshoreman 's whistle . The cab makes a U - turn , but instead of stopping for Patricia it stops about twenty feet ahead for a MAN in an overcoat who gets into it .<\/scene_description>\n    <character>PATRICIA<\/character>\n    <dialogue>Excuse me - what are you doing? This is my taxicab.<\/dialogue>\n    <parenthetical>( to the driver . )<\/parenthetical>\n    <dialogue>Do n't take him. I am telling you right now, and I am memorizing your number, do n't take him.<\/dialogue>\n    <parenthetical>( to the man . )<\/parenthetical>\n    <dialogue>Who the fuck do you think you are?<\/dialogue>\n    <character>MAN IN OVERCOAT<\/character>\n    <dialogue>Are you going uptown?<\/dialogue>\n    <character>PATRICIA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>MAN IN OVERCOAT<\/character>\n    <dialogue>Get in. I'll drop you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI - A MINUTE LATER<\/stage_direction>\n    <scene_description>As the cab turns onto Eighth Avenue , starts uptown . Patricia is dialing her cell phone . She 's elaborately ignoring the man who stole her cab .<\/scene_description>\n    <character>PATRICIA<\/character>\n    <dialogue>Veronica, it's Patricia, you should have been there, it was unbelievable, we're going to sell truckloads of your book. Call me.<\/dialogue>\n    <scene_description>She hangs up , folds up the phone , puts it back in her purse as the cab moves on .<\/scene_description>\n    <character>MAN IN OVERCOAT<\/character>\n    <dialogue>Are you an editor?<\/dialogue>\n    <character>PATRICIA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>MAN IN OVERCOAT<\/character>\n    <dialogue>I am a rabbi.<\/dialogue>\n    <character>PATRICIA<\/character>\n    <dialogue>Oh, my God, I said fuck to a rabbi. I'm sorry.<\/dialogue>\n    <character>MAN IN OVERCOAT<\/character>\n    <dialogue>I hope you do n't mind my asking, but are you Jewish?<\/dialogue>\n    <character>PATRICIA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>MAN IN OVERCOAT<\/character>\n    <dialogue>You should come to our temple.<\/dialogue>\n    <character>PATRICIA<\/character>\n    <dialogue>I'm not really religious.<\/dialogue>\n    <character>MAN IN OVERCOAT<\/character>\n    <dialogue>Oh, I am surprised, you seem like a very religious person.<\/dialogue>\n    <character>PATRICIA<\/character>\n    <dialogue>You're kidding, right?<\/dialogue>\n    <character>MAN IN OVERCOAT<\/character>\n    <dialogue>We are at West End Avenue and 83rd Street. Every Friday night, we have a joyous time, everyone dancing, everyone singing. Also some wisdom. Perhaps you have heard of us, we are known as The Singles Temple.<\/dialogue>\n    <scene_description>He smiles at her .<\/scene_description>\n    <character>MAN IN OVERCOAT<\/character>\n    <dialogue>It's a very good place to calm down.<\/dialogue>\n    <scene_description>The cab stops .<\/scene_description>\n    <character>MAN IN OVERCOAT<\/character>\n    <dialogue>Oh, look, I am already here. Very nice to meet you.<\/dialogue>\n    <parenthetical>( gives the cabbie money . )<\/parenthetical>\n    <dialogue>Take this woman to her destination.<\/dialogue>\n    <scene_description>He gets out . Closes the door . A beat too late :<\/scene_description>\n    <character>PATRICIA<\/character>\n    <dialogue>Goodbye.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KATHLEEN'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Frank comes up the stoop .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHLEEN'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Kathleen is dressed up for a party . Frank walks in , looks meaningfully at her .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>I saw him. I actually saw him.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I ca n't believe it. I saw William Spungeon.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>I thought he was in Mexico.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Maybe he's in Mexico, but today he was in New York. The most brilliant and reclusive novelist in the history of the world is here, in this neighborhood. He may be living on this very block.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Where did you see him?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I was on the subway -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY - DAY<\/stage_direction>\n    <character>FRANK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>- and this musician got onto the train -<\/dialogue>\n    <scene_description>Frank is sitting on the subway , reading the Village Voice . The door between the cars opens and a man playing the clarinet enters the car . No one looks up except Frank .<\/scene_description>\n    <character>FRANK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>- and I suddenly saw him, sitting directly across from me doing the crossword puzzle.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>How'd you know it was him?<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He looked exactly the same as his high school yearbook picture, which happens to be the last photograph ever taken of him.<\/dialogue>\n    <scene_description>Frank takes out his billfold on the subway , pulls out a piece of paper . CLOSE UP - FOLDED PIECE OF PAPER As Frank unfolds a newspaper clipping of a yearbook picture of William Spungeon at 17 . Frank compares the photo of Spungeon with the person sitting across the way . They do n't look remotely alike except that the boy in the picture and the man on the subway are both wearing the same style glasses . The subway stops at 79th Street , and William Spungeon gets off . Frank follows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BROADWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>As Frank comes out of the subway station and looks around .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>So I followed him.<\/dialogue>\n    <scene_description>Frank sees Spungeon cross 79th . He follows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. H&amp;H BAGELS - CONTINUOUS<\/stage_direction>\n    <scene_description>Frank follows Spungeon , who hurries into H&amp;H Bagels passing a HOMELESS MAN holding a paper cup at the door .<\/scene_description>\n    <character>FRANK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He went into H&amp;H and bought a bagel with everything.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. H&amp;H BAGELS - A MINUTE LATER<\/stage_direction>\n    <scene_description>As Spungeon leaves the store , passing the paper cup , which we now realize that Frank , in dark glasses , is holding . Spungeon drops his newspaper in a garbage container .<\/scene_description>\n    <character>FRANK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He dropped his crossword into the garbage and I rescued it.<\/dialogue>\n    <scene_description>Frank plucks the puzzle from the trashcan , follows Spungeon .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPORTING GOOD STORE - CONTINUOUS<\/stage_direction>\n    <scene_description>Spungeon at the counter in the shoe store .<\/scene_description>\n    <character>FRANK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Then he went into a sporting good store and bought tube socks, 6 pair for $ 7.99.<\/dialogue>\n    <scene_description>We see Frank , peeking out at him from behind a stack of running pants . Suddenly he 's distracted by a couple of joggers .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>William Spungeon and tube socks.<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I know. I do n't want to dwell on it.<\/dialogue>\n    <scene_description>Frank looks back at the counter . Spungeon 's gone .<\/scene_description>\n    <character>FRANK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And then I lost him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHLEEN'S APARTMENT - THAT NIGHT<\/stage_direction>\n    <scene_description>Frank waves the crossword puzzle in front of Kathleen .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Do you know what this is worth?<\/dialogue>\n    <scene_description>He takes an empty instant - frame from the closet , puts the puzzle into it and sets it next to the typewriters .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAPANESE RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>As the two of them eat dinner .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>What I was thinking as I was trailing him was that eventually I would have the courage to say hello to him, you know, not in a horrible, intrusive or slavering fan - slash - acolyte kind of way, but more like, `` Hi.'' `` How ya doing?'' `` Have you ever thought about trading up in the sock area?'' `` Who knows, maybe he's read my work - and then we'd become friends, and eventually I'd introduce him to you - you know how much he loves children's books, there's a whole long section in Relativity's Smile about The Wizard of Oz - and then maybe he'd come out of hiding so he could help save the store.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>From Foxbooks. I mean, if things got tough, he could help rally support -<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>It's never going to get to that. The store is fine.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>As they walk along after dinner .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>I do n't even know why you would say that?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Neither do I. It just flew out of my mouth.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>There's enough business for us all.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR - NIGHT<\/stage_direction>\n    <scene_description>As they go up in an elevator .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>I mean, we're fine.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>You're more than fine, you're absolutely fine.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>We're fine.<\/dialogue>\n    <scene_description>The elevator opens onto :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VINCE MANCINI'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>A publication party for an author named VINCE MANCINI . A mix of book people , journalists and various other media folk .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Hey, Vince. Congratulations. You know Kathleen Kelly.<\/dialogue>\n    <character>VINCE<\/character>\n    <dialogue>How are you?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Guess who I saw today on the subway? William Spungeon.<\/dialogue>\n    <character>VINCE<\/character>\n    <dialogue>I thought he was in Mexico.<\/dialogue>\n    <scene_description>They start chatting . Across the room , Joe is with Patricia , who is telling two other people the story of meeting the rabbi in the taxicab . Joe looks over and sees Kathleen . He suddenly looks stricken . Shifts his position so Kathleen ca n't see his face , but sneaks a look .<\/scene_description>\n    <character>PATRICIA<\/character>\n    <dialogue>Would you get me another drink, sweetie? I'm all out.<\/dialogue>\n    <parenthetical>( continues chattering . )<\/parenthetical>\n    <dialogue>So then the rabbi says, `` It's a very good place to calm down.'' Is n't that hysterical?<\/dialogue>\n    <scene_description>They all laugh . Joe moves over to the bar .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Absolut on the rocks.<\/dialogue>\n    <scene_description>As he is waiting , Kathleen comes up next to him .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>A white wine, please.<\/dialogue>\n    <parenthetical>( very friendly . )<\/parenthetical>\n    <dialogue>Oh, hello.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Remember me, from the bookstore?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Of course I remember you.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>How's your aunt?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Good. She's good.<\/dialogue>\n    <parenthetical>( gets his drink . )<\/parenthetical>\n    <dialogue>I have to deliver this. I have a very thirsty date. She's part camel.<\/dialogue>\n    <scene_description>Kathleen laughs .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>Joe. It's Joe, is n't it?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>And you're Kathleen.<\/dialogue>\n    <scene_description>Joe vanishes into the party .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VINCE MANCINI'S APARTMENT - NIGHT - A MINUTE LATER<\/stage_direction>\n    <character>VINCE<\/character>\n    <dialogue>I ca n't believe you were talking to Joe Fox.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Joe Fox? As in -<\/dialogue>\n    <scene_description>She ca n't even finish the sentence .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VINCE MANCINI'S APARTMENT - A COUPLE OF MINUTES LATER<\/stage_direction>\n    <scene_description>Joe is standing at a table of food , his back to the room .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>Fox? Your last name is Fox?<\/dialogue>\n    <scene_description>Joe spins around , looks at her .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>F - O - X.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>God, I did n't realize. I did n't know who you -.<\/dialogue>\n    <parenthetical>( she trails off . )<\/parenthetical>\n    <dialogue \/>\n    <character>JOE<\/character>\n    <dialogue>- were with.<\/dialogue>\n    <parenthetical>( quoting . )<\/parenthetical>\n    <dialogue>`` I did n't know who you were with.''<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>It's from the Godfather. When the movie producer realizes that Tom Hagen is the emissary of Vito Corleone -<\/dialogue>\n    <scene_description>Kathleen is staring at him .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>- just before the horse's head ends up in his bed never mind -<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>You were spying on me, were n't you? You probably rented those children.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Why would I spy on you?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>I am your competition. Which you know perfectly well or you would not have put up that sign saying `` Just around the Corner.''<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>The entrance to our store is around the corner. There is no other way to say it. It's not the name of our store, it's where it is. You do n't own `` around the corner.''<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Next thing you'll be using twinkle lights.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Twinkle lights?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Little white Christmas lights that twinkle. I use them in my window and on all my displays, as if you did n't notice.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Look, the reason I came into your store is that I was spending the day with Annabel and Matt. I like to buy them a present when I see them because I'm one of those guys who likes to buy his way into the hearts of children who are his relatives. There was only one place to buy children's books in the neighborhood - although that will not always be the case, and it was yours, and it is a charming little bookstore. You probably sell $ 250,000 worth of book a year -<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>How do you know that?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I'm in the book business.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>I'm in the book business -<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Oh, I see, and we're the Price Club. Only instead of a ten - gallon can of olive oil for $ 3.99 that wo n't even fit into your kitchen cabinet, we're selling cheap books. Me a spy.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Absolutely. And I managed to get my hands on a secret printout of the sales figures of a bookstore so inconsequential and yet full of its own virtue that I was instantly compelled to rush over and check it out for fear it would drive me out of business -<\/dialogue>\n    <scene_description>Kathleen stares at him . She 's speechless .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <parenthetical>( off her look . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Kathleen shakes her head . Frank turns up .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Hi. I'm Frank Navasky -<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>- Joe Fox.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Joe Fox? Inventor of the Superstore, enemy of the mid - list novel, destroyer of City Books - tell me something : How do you sleep at night?<\/dialogue>\n    <scene_description>Patricia joins them .<\/scene_description>\n    <character>PATRICIA<\/character>\n    <dialogue>I use a wonderful over - the - counter drug, Ultrasom. Do n't take the whole thing, just half, and you will wake up without even that tiniest hangover. You're Frank Navasky, are n't you?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>PATRICIA<\/character>\n    <dialogue>Your last piece in the Independent, the one about Anthony Powell, was brilliant. I'm Patricia Eden, Eden Books. Joe, this man is the greatest living expert on Julius and Ethel Rosenberg -<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>And this is Kathleen Kelly -<\/dialogue>\n    <scene_description>Kathleen glares at him .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>You liked my piece. God, I'm flattered. You know you write these things and you think someone's going to mention them and then the whole week goes by and the phone does n't ring, and you think Oh, God, I'm a fraud, a failure -<\/dialogue>\n    <character>PATRICIA<\/character>\n    <dialogue>You know what's always fascinated me about Julius and Ethel Rosenberg is how old they looked when they were really just our age.<\/dialogue>\n    <scene_description>Everyone is stopped dead by this observation and looks at Patricia , who smiles at them all .<\/scene_description>\n    <character>PATRICIA<\/character>\n    <parenthetical>( to Frank . )<\/parenthetical>\n    <dialogue>I'm so happy to have finally met you. We will talk. Have you ever thought about doing a book?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Oh sure, it's passed through my head. Something really relevant for today like the Luddite movement in 19th century England.<\/dialogue>\n    <scene_description>At the same time :<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Patricia -<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Frank -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHLEEN'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>As Kathleen and Frank get into bed .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>I really like Patricia Eden. She's a very nice person.<\/dialogue>\n    <scene_description>Kathleen does n't respond . Frank turns out the light .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>She needs educating, that's all.<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>She's hopelessly driven by money and power, but there's a hope for anyone who's that familiar with my work -<\/dialogue>\n    <scene_description>On Kathleen , as she turns away from Frank and lies there , eyes open .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>As Joe and Patricia get into bed . Brinkley is already on the bed .<\/scene_description>\n    <character>PATRICIA<\/character>\n    <dialogue>I had no idea that Frank Navasky was so down - to - earth.<\/dialogue>\n    <scene_description>Joe does n't respond . Patricia turns out the light .<\/scene_description>\n    <character>PATRICIA<\/character>\n    <dialogue>You read his stuff, you think he's going to be so obscure and abstruse.<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>PATRICIA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>He's always talking about Heidigger and Foucault and I have no idea what any of it's about, really.<\/dialogue>\n    <scene_description>Joe gets up . Brinkley follows .<\/scene_description>\n    <character>PATRICIA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Where are you going?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I'm not really tired.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOE'S DEN - NIGHT<\/stage_direction>\n    <scene_description>Joe writes on his computer . Brinkley on the floor next to him . And cut between Joe and his computer screen .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Do you ever feel you become the worst version of yourself? That a Pandora's Box of all the secret hateful parts - your arrogance, your spite, your condescension - has sprung open. Someone provokes you, and instead of just smiling and moving on, you zing them. Hello, it's Mr. Nasty. I'm sure you have no idea what I'm talking about.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHLEEN'S COMPUTER SCREEN - DAY<\/stage_direction>\n    <scene_description>And cut between screen and<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHLEEN'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>As Kathleen reads the end of Joe 's letter . Kathleen hits the Reply key and starts to type :<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I know what you mean and I'm completely jealous. What happens to me when I'm provoked is that I get tongue - tied. My mind goes blank. Then I spend all night tossing and turning trying to think of what I should have said.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOE'S COMPUTER SCREEN AND JOE'S DEN - NIGHT<\/stage_direction>\n    <scene_description>As he replies :<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Would n't it be wonderful if I could pass all my zingers to you and then I would never behave badly and you could behave badly all the time and we'd both be happy? On the other hand, I must warn you that when you finally have the pleasure of saying the thing you mean to say at the moment you mean to say it, remorse inevitably follows. Do you think we should meet?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHLEEN'S COMPUTER SCREEN AND BEDROOM - DAY<\/stage_direction>\n    <scene_description>Kathleen stares at Joe 's letter in her computer . She 's frozen .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>Meet? Omigod.<\/dialogue>\n    <scene_description>She sits staring at the letter . She has no idea what to do .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 75TH STREET &amp; COLUMBUS - DAY<\/stage_direction>\n    <scene_description>As the iron gates on all the stores start to open , just the way we saw them open in the opening sequence of the movie . The pharmacy . The optician . The cosmetics supply store . The video store . And now , finally , we see the new grate on the new Foxbooks Superstore start to open upwards . This is the finest grate on Broadway , no question of it . It 's electric and almost soundless . We see a sign saying , OPENING DAY . 35 % OFF ON ALL BEST - SELLERS . People on the street notice the store . One walks in . CAMERA follows him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOXBOOKS SUPERSTORE - DAY<\/stage_direction>\n    <scene_description>The inside is beautiful . Gleaning staircase , a cafe , comfortable chairs to sit , a bank of cashiers , everyone decked out in gray alligator shirts with a fox where the alligator should be , a rope for the checkout line , and seven cash registers with seven cashiers . Of course , books , books , books , as far as the eye can see .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAME SCENE - LATER THAT DAY<\/stage_direction>\n    <scene_description>The store is jam - packed . Joe with his father Nelson , his grandfather Schuyler , and Kevin , the store manager .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>No pickets, no demonstrations.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>The neighborhood loves us.<\/dialogue>\n    <character>NELSON<\/character>\n    <dialogue>They're wondering where we've been all these years. They're wondering how they ever did without it.<\/dialogue>\n    <character>SCHUYLER<\/character>\n    <dialogue>It's a hit.<\/dialogue>\n    <scene_description>They admire their own store , walk through the downstairs and start up the staircase to the second floor .<\/scene_description>\n    <character>NELSON<\/character>\n    <dialogue>How's the children's book department?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>It's early yet. School is n't out. And there's that children's bookstore nearby -<\/dialogue>\n    <character>SCHUYLER<\/character>\n    <dialogue>Cecilia's store -<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Her daughter's -<\/dialogue>\n    <character>NELSON<\/character>\n    <dialogue>We'll crush it -<\/dialogue>\n    <character>SCHUYLER<\/character>\n    <dialogue>She was enchanting.<\/dialogue>\n    <scene_description>And as they walk on upstairs , several mothers with children come up the stairs behind them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BROADWAY - MORNING<\/stage_direction>\n    <scene_description>A little group of children dressed as Pilgrims walk down the street as Kathleen comes around the corner to buy her morning paper . Joe is at the newsstand . She turns and pretends to be staring at a wall until he finishes buying his paper and walks on .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I do n't think it's a good idea for us to meet.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STARBUCKS - ANOTHER DAY<\/stage_direction>\n    <scene_description>Joe is putting sugar into his coffee at the sugar counter as Kathleen comes in . He pretends he did n't see her .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O. , cont 'd . )<\/parenthetical>\n    <dialogue>I love our relationship. There's a lot going on in the day - to - dayness of my life and there's something magical.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOP AROUND THE CORNER - DUSK<\/stage_direction>\n    <scene_description>We see Kathleen and George at the end of the day , counting the receipts . Birdie is using a calculator to total them . Christina is shelving books . There are Thanksgiving decorations - cardboard turkeys and pilgrims , books on colonists like Myles Standish .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O. , cont 'd . )<\/parenthetical>\n    <dialogue>and thrilling about this island in cyberspace I have with you. SO PLEASE DO N'T ASK ME AGAIN.<\/dialogue>\n    <character>BIRDIE<\/character>\n    <dialogue>About $ 1200 less than the same week last year.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>That could be a fluke, right?<\/dialogue>\n    <scene_description>They look at each other .<\/scene_description>\n    <character>BIRDIE<\/character>\n    <dialogue>Or not.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Their store is new. It's a novelty. But it will all shake out. Do you think I should put up more twinkle lights?<\/dialogue>\n    <character>BIRDIE<\/character>\n    <dialogue>That's a lovely idea.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>What if we have to fold? I'll never find another part time job and I wo n't be able to pay the rent and I'll have to move to Brooklyn.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>The joy of rent control. Six room for $ 450 a month.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>We know. You've told us a million times. I ca n't believe you're bringing it up at a time like this. It's like bragging because you're tall. Birdie never brags about her rent and she pays even less than you.<\/dialogue>\n    <character>BIRDIE<\/character>\n    <dialogue>Ten rooms. I just rattle around from one to the other.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Hey, guys. We are not going to fold.<\/dialogue>\n    <scene_description>The door opens , and Meredith Carter , the woman George had swooned over in front of his building , walks in . George stares , frozen in place , as she walks up to him .<\/scene_description>\n    <character>MEREDITH<\/character>\n    <dialogue>George Pappas?<\/dialogue>\n    <character>GEORGE<\/character>\n    <parenthetical>( I have died and gone to heaven . )<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <character>MEREDITH<\/character>\n    <parenthetical>( flashing her badge . )<\/parenthetical>\n    <dialogue>Detective Carter, 23rd precinct. I'd like to ask you a few questions.<\/dialogue>\n    <scene_description>Kathleen suddenly sees George , following Meredith out of the store . He 's in a complete daze .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>George? Where are you going?<\/dialogue>\n    <scene_description>He goes out the door . LAURA MARGULIES , a well - known children 's book author , enters as George leaves .<\/scene_description>\n    <character>LAURA<\/character>\n    <dialogue>Kathleen, are you surviving?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Laura! We're so excited about your new book. When should we schedule your signing?<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>Oh, it's being published in January. Are you going to be in business in January? I'm so worried.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>We're doing great, are n't we?<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>Great.<\/dialogue>\n    <character>BIRDIE<\/character>\n    <dialogue>No difference whatsoever.<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>Thank God. Well, you know you can count on me. For anything, support, rallies. Picket lines. We can get the Times to write something. Or that nut in the Independent -<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>What nut in the Independent?<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>Frank Navasky. This is just the sort of thing that would outrage him.<\/dialogue>\n    <scene_description>She smiles brightly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COFFEE SHOP - DAY<\/stage_direction>\n    <scene_description>George and Meredith are sitting in a booth .<\/scene_description>\n    <character>MEREDITH<\/character>\n    <dialogue>Mr. Pappas, I'm investigating the murder of the woman found on the roof of your building. Do you live alone there?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Do I live alone? Yes I do. Do you live alone?<\/dialogue>\n    <character>MEREDITH<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>George takes her hand in his and looks at it as if it were the eighth wonder of the world . He starts stroking it , caressing it . Meredith pulls it away . A beat . Then she gives it right back to him . He continues stroking . They stare at each other . He puts her fingers into his mouth . MEREDITH . -LRB- overwhelmed . -RRB- What are you doing ?<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>I do n't know. I have no idea.<\/dialogue>\n    <character>MEREDITH<\/character>\n    <dialogue>You have to stop.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I ca n't.<\/dialogue>\n    <scene_description>She utters a little moan .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S APARTMENT - A SHORT WHILE LATER<\/stage_direction>\n    <scene_description>They come into the apartment . She throws herself into his arms .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVERSIDE DRIVE PARK - DAY<\/stage_direction>\n    <scene_description>As Christina runs , desperately trying to make eye contact with men running in the opposite direction . No one will look at her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ZABAR'S CHEESE DEPARTMENT - NIGHT<\/stage_direction>\n    <scene_description>The place is mobbed - the usual crush the night before Thanksgiving . Kathleen , pushing a shopping cart , is trying to wedge her way through the crowd in the cheese department . As she reaches across three people to grab some Brie , she sees Joe walk into the store . Quickly , she turns her back so he ca n't see her . She stands there frozen . A beat . Peeks around , does n't see him anywhere . Cranes her neck this way and that . No Joe .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ZABAR'S CASHIER AREA - CONTINUOUS<\/stage_direction>\n    <scene_description>Kathleen , now wearing dark glasses but looking not at all disguised , looks around and spots a short line and makes a beeline for it . At that moment , Joe comes from the Appetizing Department and gets on the line she was heading for . Panicked , Kathleen retreats onto another line and stands with her back to him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAME SCENE - MOMENTS LATER<\/stage_direction>\n    <scene_description>The CASHIER totals up Kathleen 's purchases and Kathleen hands over her credit card .<\/scene_description>\n    <character>CASHIER<\/character>\n    <dialogue>This is a Cash Only line.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CASHIER<\/character>\n    <dialogue>Cash Only.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Omigod, I only have a credit card. Is that okay?<\/dialogue>\n    <character>PERSON BEHIND HER IN LINE<\/character>\n    <dialogue>Of course it's not okay, there's a sign.<\/dialogue>\n    <character>CASHIER<\/character>\n    <dialogue>There's a sign.<\/dialogue>\n    <character>PERSON IN LINE<\/character>\n    <parenthetical>( to the person behind her . )<\/parenthetical>\n    <dialogue>She does n't have cash.<\/dialogue>\n    <scene_description>`` She does n't have cash '' is repeated all the way down the line . Joe turns to see what 's going on .<\/scene_description>\n    <character>ANOTHER PERSON<\/character>\n    <dialogue>Get on another line, lady.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Oh, hello.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Do you need some money?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>No, I do n't need any money. Thank you very much.<\/dialogue>\n    <character>CASHIER<\/character>\n    <dialogue>Get on another line.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <parenthetical>( off her nametag , big smile . )<\/parenthetical>\n    <dialogue>Rose. Great name. Rose, this is Kathleen, I'm Joe, and this is a credit card machine. Happy Thanksgiving.<\/dialogue>\n    <scene_description>Rose just stares at him .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Now it's your turn to say happy Thanksgiving back.<\/dialogue>\n    <character>ROSE<\/character>\n    <dialogue>Happy Thanksgiving back.<\/dialogue>\n    <scene_description>Joe looks at her , winks .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Mississippi is a hard word to spell. How do you spell it? I - T.<\/dialogue>\n    <parenthetical>( big smile . )<\/parenthetical>\n    <dialogue>Now take this credit card and put it through the machine, zip zip.<\/dialogue>\n    <scene_description>The cashier , completely charmed , takes Kathleen 's credit card . Kathleen is appalled . Everyone on the line signs irritably and audibly .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>So you're fine.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Happy Thanksgiving.<\/dialogue>\n    <scene_description>As Kathleen signs the charge slip and the cashier exasperatedly starts to put her groceries into a bag .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOE'S FATHER'S APARTMENT - THANKSGIVING DAY<\/stage_direction>\n    <scene_description>An elegant East Side apartment . Schuyler , his youngish French wife , YVETTE , Nelson , Gillian and their child Matt , and Joe are sitting and listening as Annabel sings Tomorrow .<\/scene_description>\n    <character>ANNABEL<\/character>\n    <dialogue>The sun'll come up tomorrow, bet your bottom dollar that tomorrow, there'll be sun -<\/dialogue>\n    <scene_description>Joe is on a loveseat with Matt . Gillian lifts Matt up , sits down in his place next to Joe and plunks Matt into her lap . Nelson is already seated in a chair in front of the loveseat and ca n't see her without turning around . As she continues singing , Gillian moves her hand next to Joe 's leg . Joe edges away . He looks around the room , sees Nanny Maureen standing behind the couch . He stands , offers her his seat . She sits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHLEEN'S LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>A much more informal Thanksgiving dinner . We see the leftovers on a sideboard near a round table in Kathleen 's living room . Kathleen , Frank , Birdie , Christina , George and George 's new girlfriend , Meredith and TWO OTHER FRIENDS are standing around the upright piano . Birdie is playing a Christmas song , and everyone is singing . As the singing continues , over , we cut to :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOXBOOKS SUPERSTORE - DECEMBER DAY<\/stage_direction>\n    <scene_description>As the Christmas decorations and twinkle lights go into the window . Birdie walks by the store . She stops to look at the customers inside , and then notices a sign in the window : `` Book Signing January 10 - Best Selling Children 's Author Laura Margulies . '' There 's a picture of Laura Margulies .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHOP AROUND THE CORNER - DECEMBER DUSK<\/stage_direction>\n    <scene_description>Kathleen is in the window decorating a little tree with lovely decorations from a box . Two people are carrying a tree home , there 's the sound of church bells . Kathleen looks up as a couple of people walk past the store , carrying Foxbooks shopping bags . Then she unwraps a pair of ruby slipper ornaments , and as she starts to hang them on the tree we hear the sound of the computer .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>This is such an odd Christmas. I find myself missing my mother, who's been dead for ten years. New York at Christmas is so loaded with all the things we used to do -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW YORK STATE THEATER - 1972 - DAY<\/stage_direction>\n    <scene_description>As Young Kathleen , dressed in a little velvet dress , sits in the audience next to her mother watching the ballet .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O. cont 'd . )<\/parenthetical>\n    <dialogue>- going to the Nutcracker -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROCKEFELLER CENTER SKATING RINK - 1972 - DAY<\/stage_direction>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O. cont 'd . )<\/parenthetical>\n    <dialogue>- ice skating at Rockefeller Center, where I was knocked into a 6 - year - old maniac -<\/dialogue>\n    <scene_description>A SIX - YEAR - OLD BOY knocks into her .<\/scene_description>\n    <character>YOUNG KATHLEEN<\/character>\n    <dialogue>Hey, watch out -<\/dialogue>\n    <character>SIX-YEAR-OLD BOY<\/character>\n    <dialogue>Me watch out, why do n't you watch out? I'm not sliding around like a baby. You think I come here to skate with babies?<\/dialogue>\n    <scene_description>Young Kathleen 's jaw drops and she stands there tongue - tied .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>My first experience as a speechless person.<\/dialogue>\n    <scene_description>Her mother skates up and takes her hand . The boy skates off .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I always miss my mother at Christmas, but somehow it's worse this year since I need some advice from her.<\/dialogue>\n    <scene_description>And we hear the sound of another computer .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOE'S DEN<\/stage_direction>\n    <scene_description>As he replies to Kathleen .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>My mother took me ice skating too -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROCKEFELLER CENTER SKATING RINK - DAY<\/stage_direction>\n    <scene_description>We see a little boy , YOUNG JOE , 8 , skate past holding someone 's hand -<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O. , cont 'd . )<\/parenthetical>\n    <dialogue>- although my mother did not skate. The nanny skated -<\/dialogue>\n    <scene_description>And we now see JOE 'S NANNY , a young Sonja Henie , who suddenly peels off into a series of triple lutzes , as JOE 'S MOTHER absently reads a copy of Vogue in the spectators ' section .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LINCOLN CENTER THEATER - 1972 - DAY<\/stage_direction>\n    <character>JOE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And I was in the Nutcracker.<\/dialogue>\n    <scene_description>We see the stage now . There 's Young Joe , among the children at the Christmas party .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O. , cont 'd . )<\/parenthetical>\n    <dialogue>So was my nanny.<\/dialogue>\n    <scene_description>As JOE 'S NANNY # 2 pirouettes past .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O. , cont 'd . )<\/parenthetical>\n    <dialogue>Different nanny. By the way, I'm surprised you are n't a writer. Although you probably are a writer and do n't know it. Are you a writer and I do n't know it?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOE'S APARTMENT - 1972 - NIGHT<\/stage_direction>\n    <scene_description>Young Joe , at the dinner table with his father . A wide shot of a big room with a huge table and servants . Joe looks very small at the table as he eats his soup .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O. , cont 'd . )<\/parenthetical>\n    <dialogue>My mother died when I was ten. I was staying with my father, who is not famous for intimacy, and whose way of breaking the news of her death was to tell me she would not be coming to pick me up as usual. It was a car accident, and I do n't know where she was going or who she was with, and I assume what I owe her is my tendency to cover almost any emotion with a joke. A useful gift, unless you want to know what you're feeling. She was very beautiful. People toss that word around a lot, but my mother was.<\/dialogue>\n    <scene_description>The camera moves closer to the dining table . We see that tears are rolling down little Joe 's cheeks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOE'S DEN - NIGHT<\/stage_direction>\n    <scene_description>Joe stops typing . He is surprised to find his eyes watering . A moment of confusion as he can not believe he has moved himself to tears . Shakes his head , shakes the emotion off . Starts typing again .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O. , cont 'd . )<\/parenthetical>\n    <dialogue>Ancient history. So what kind of advice do you need? Can I help?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHLEEN'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>Kathleen in bed with her laptop reading Joe 's letter . She starts to type a response . Suddenly there 's harp arpeggio and an Instant Message flashes on screen . From NY 152 CLOSE ON KATHLEEN - TOTAL SHOCK ON SCREEN AS WE SEE THE MESSAGE<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I had a gut feeling you would be on line now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOE'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>Joe is in bed with his laptop . And cut back and forth between them and their computer screens as they type Instant Messages to one another . Possible split screens .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O. , cont 'd . )<\/parenthetical>\n    <dialogue>I can give you advice. I'm great at advice.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I do n't think you can help.<\/dialogue>\n    <character>JOE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Is it about love?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>My business is in trouble. My mother would have something wise to say.<\/dialogue>\n    <character>JOE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I'm a brilliant businessman. It's what I do best. What's your business?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>No specifics, remember?<\/dialogue>\n    <character>JOE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Minus specifics, it's hard to help. Except to say, go to the mattresses.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>JOE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It's from The Godfather. It means you have to go to war.<\/dialogue>\n    <scene_description>CLOSE ON KATHLEEN - LOOKING AT THE COMPUTER<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( to herself . )<\/parenthetical>\n    <dialogue>The Godfather?<\/dialogue>\n    <scene_description>She starts to type .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What is it with men and The Godfather?<\/dialogue>\n    <character>JOE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The Godfather is the I Ching. The Godfather is the sum of all wisdom. The Godfather is the answer to any question. What should I pack for my summer vacation? `` Leave the gun, take the cannoli.'' What day of the week is it? `` Maunday, Tuesday, Thursday, Wednesday.'' And the answer to your question is `` Go to the mattresses.''<\/dialogue>\n    <scene_description>CAMERA ON KATHLEEN - CONSIDERING WHAT HE SAYS<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You're at war. `` It's not personal, it's business. It's not personal it's business.'' Recite that to yourself every time you feel you're losing your nerve. I know you worry about being brave, this is your chance. Fight. Fight to the death.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Patricia comes in as Joe is waiting for Kathleen 's response .<\/scene_description>\n    <character>PATRICIA<\/character>\n    <dialogue>Look what I bought.<\/dialogue>\n    <scene_description>Joe types `` Ciao '' and signs off . Looks up to see Patricia showing him a Plexiglas menorah .<\/scene_description>\n    <character>PATRICIA<\/character>\n    <dialogue>I was just passing this store on Columbus Avenue and it caught my eye.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>PATRICIA<\/character>\n    <dialogue>A Menorah.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>It does n't look like a Menorah.<\/dialogue>\n    <character>PATRICIA<\/character>\n    <dialogue>I know. I do n't know what came over me. I do n't even celebrate Hanukkah.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHLEEN'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>As Kathleen logs off , Frank comes in .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>Frank, I've decided to go to the mattresses. Do you think it would be a gigantic conflict of interest if you wrote something about us?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE SHOP AROUND THE CORNER - DAY<\/stage_direction>\n    <scene_description>It 's January . The store is more crowded than we 've seen it . Frank is there with several copies of the Independent . The phone is ringing off the hook . Christina and George are fielding calls . Birdie is reading Frank 's article .<\/scene_description>\n    <character>BIRDIE<\/character>\n    <parenthetical>( reading . )<\/parenthetical>\n    <dialogue>`` Kathleen Kelly and her mother Cecilia Kelly have raised your children. If this precious resource is killed by the cold cash cow of Foxbooks, it will not only be the end of Western civilization as we know it, but the end of something even dearer : our neighborhood as we know it. Save the Shop Around the Corner and you will save your own soul.'' Frank, that's charming.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>You think it's a little over the top?<\/dialogue>\n    <character>BIRDIE<\/character>\n    <dialogue>Just say thank you.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <parenthetical>( calling to Kathleen . )<\/parenthetical>\n    <dialogue>Channel 2's outside.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACK ROOM - THE SHOP AROUND THE CORNER - SAME TIME<\/stage_direction>\n    <scene_description>Kathleen is primping in a tiny wall mirror . She takes a deep breath .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>In a second.<\/dialogue>\n    <character>GEORGE<\/character>\n    <parenthetical>( from the other room . )<\/parenthetical>\n    <dialogue>The Village Voice is coming.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Omigod.<\/dialogue>\n    <scene_description>Frank sticks his head in .<\/scene_description>\n    <character>FRANK<\/character>\n    <parenthetical>( in shock . )<\/parenthetical>\n    <dialogue>It's him.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>God. It is God.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOP AROUND THE CORNER - CONTINUOUS<\/stage_direction>\n    <scene_description>Kathleen comes out of the storage room . William Spungeon is standing there .<\/scene_description>\n    <character>WILLIAM SPUNGEON<\/character>\n    <dialogue>I'm William Spungeon.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>I'm very pleased to meet you. I'm Kathleen Kelly.<\/dialogue>\n    <scene_description>Frank is practically levitating .<\/scene_description>\n    <character>SPUNGEON<\/character>\n    <dialogue>I knew your mother. Although she knew me only as W. That enormous bookstore is obscene.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I'm Frank Navasky. I carry your picture in my wallet.<\/dialogue>\n    <scene_description>He pulls it out . Spungeon looks at him like he 's crazy .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>We've organized pickets. Channel 13 is doing a special.<\/dialogue>\n    <character>SPUNGEON<\/character>\n    <dialogue>I'd be glad to talk to the press if it's all right with you. They've been trying to interview me for years.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>The press? I'm the press.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>You'd allow that? For me? For the store? That's incredible. Although you would n't have to be photographed. I respect that. If it's television, they could just put one of those blurry dots in front of your face.<\/dialogue>\n    <character>SPUNGEON<\/character>\n    <dialogue>No television.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <parenthetical>( referring to the TV crew . )<\/parenthetical>\n    <dialogue>They're waiting for you -<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I know all your books. Phaelox the gnome, the little man who comes from nowhere. and is going nowhere.<\/dialogue>\n    <parenthetical>( quoting . )<\/parenthetical>\n    <dialogue>`` Where did you come from?'' `` Nowhere.'' `` Where are you going?'' `` Nowhere.''<\/dialogue>\n    <character>SPUNGEON<\/character>\n    <dialogue>Cool it. I'm starting to break out in hives.<\/dialogue>\n    <parenthetical>( to Kathleen . )<\/parenthetical>\n    <dialogue>Here's my phone number.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>I had no idea William Spugeon had a phone.<\/dialogue>\n    <character>SPUNGEON<\/character>\n    <dialogue>Adios.<\/dialogue>\n    <scene_description>He gives a little wave and leaves .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>This is historic.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Do you realize what I've done? By writing that piece, do you realize? I've brought William Spungeon in from the cold. Holy shit. I am completely amazing.<\/dialogue>\n    <scene_description>At that moment a TV REPORTER sticks her head into the store .<\/scene_description>\n    <character>TV REPORTER<\/character>\n    <dialogue>Kathleen Kelly?<\/dialogue>\n    <scene_description>Kathleen takes a deep breath , walks out the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHOP AROUND THE CORNER - A FEW MINUTES LATER<\/stage_direction>\n    <character>CHANNEL 2 TV REPORTER<\/character>\n    <dialogue>Are you ready, Miss Kelly?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Luca Brasi sleeps with the fishes.<\/dialogue>\n    <character>CHANNEL 2 TV REPORTER<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Never mind. I'm ready. Shoot.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TELEVISION SCREEN - THAT NIGHT<\/stage_direction>\n    <character>CHANNEL 2 TV REPORTER<\/character>\n    <dialogue>We're here in front of the Shop Around the Corner, the famous West Side children's bookstore now on the verge of having to close its doors because the big bad wolf, Foxbooks, has opened only a few hundred feet away, wooing customers with its sharp discounts and designer coffee.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>They have to have discounts and lattes, because most of the people who work there have never read a book.<\/dialogue>\n    <scene_description>And pull back now to reveal that we 're in :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GYM - NIGHT<\/stage_direction>\n    <scene_description>Five TV sets are on , over adjoining treadmills , Joe and Kevin are on two of the treadmills , walking and watching .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>She's not as nice as she seems on television.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>You've met her?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>She's kind of a pill.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>She's probably not as attractive as she seems on television either.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>No, she's beautiful. But a pill.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>So you do n't feel bad about basically destroying her livelihood not to mention her legacy not to mention her raison d'etre.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>It's not personal -<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>It's business.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Right. Exactly.<\/dialogue>\n    <scene_description>They look up at the television .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TELEVISION SCREEN - CONTINUOUS<\/stage_direction>\n    <scene_description>Joe onscreen , with a super : Joe Fox , Vice - President Foxbooks .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>I sell cheap books. Sue me. I sell cheap books, and as a result - listen to this, because it's really bad - more people can buy books.<\/dialogue>\n    <scene_description>The show immediately cuts back to the newscaster . On Joe and Kevin .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>That's what you said?<\/dialogue>\n    <character>JOE<\/character>\n    <parenthetical>( outraged . )<\/parenthetical>\n    <dialogue>That's not all I said. I said - I ca n't believe those bastards - I said we were great, I said people can come and sit and read for hours and no one bothers them, I said we stock 150,000 titles, I showed them the New York City section. I said we were a goddamn piazza where people could mingle and mix and be.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>A piazza?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I was eloquent. Shit. It's just inevitable, is n't it? People are going to want to turn her into Joan of Arc -<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>- and you into Attila the Hun.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Well it's not me personally, it's more like it's the company -<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( on the television . )<\/parenthetical>\n    <dialogue>And I have to say, I have met Joe Fox, who owns Foxbooks, and I have heard him compared his store to a Price Club and the books in it to cans of olive oil.<\/dialogue>\n    <scene_description>On Joe , reacting .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHOP AROUND THE CORNER<\/stage_direction>\n    <scene_description>A small rally is taking place , with picket signs . Kathleen is standing on a small speaker 's platform , along with the Borough President .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>My mother used to say to me that every book you sell is a gift from the heart.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOXBOOKS - DAY<\/stage_direction>\n    <scene_description>As 20 CHILDREN march in front of the store , holding little makeshift picket signs and singing songs . `` One , two , three , four , we do n't want this Superstore . '' Customers go right through the line and into the store .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOXBOOKS SUPERSTORE - DAY<\/stage_direction>\n    <scene_description>We can hear the pickets marching and singing outside - although the store is full of customers anyway . The Fox men - Joe , Nelson and Schuyler - are sitting in the cafe . Nelson is holding a copy of a weekly newspaper , which has the old high - school yearbook picture of William Spungeon on the front page and a headline : William Spungeon Emerges from Hiding to Support Bookstore .<\/scene_description>\n    <character>SCHUYLER<\/character>\n    <dialogue>Who is this Spungeon anyway?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>He's a writer.<\/dialogue>\n    <character>NELSON<\/character>\n    <dialogue>Well, I've never heard of him. And neither has anyone else in this place.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TV SET - NIGHT<\/stage_direction>\n    <scene_description>As we see SIDNEY - ANN STRONGIN , a young and attractive PBS talk show hostess for a show called Inside Media .<\/scene_description>\n    <character>SIDNEY-ANN<\/character>\n    <dialogue>The New York Literary world was shocked this week when William Spungeon, the most famously reclusive author since J.D. Salinger, announced that he was coming out of hiding because of his loyalty to a small children's bookstore on the West Side of Manhattan. Discussing this tonight is a man I happen to think of as one of this city's most underappreciated assets, Frank Navasky.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>SIDNEY-ANN<\/character>\n    <dialogue>This all happened because of you, did n't it -<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Well, I knew William Spungeon loved children's books so I wrote a provocative column -<\/dialogue>\n    <character>SIDNEY-ANN<\/character>\n    <dialogue>Your specialty.<\/dialogue>\n    <scene_description>Frank laughs . Sidney - Ann laughs .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>And it kind of smoked him out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHLEEN'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>As she and Frank watch the television show .<\/scene_description>\n    <character>FRANK ON TELEVISION<\/character>\n    <dialogue>Technologically speaking, the world's out of hand. Take the VCR. The whole idea of a VCR is that it makes it possible for you to tape what's on television while you're out of the house. But the whole point of being out of the house is so you can miss what's on television. Radio. Now there's a medium I can get behind.<\/dialogue>\n    <character>SIDNEY-ANN ON TELEVISION<\/character>\n    <dialogue>Well, we're on television. and you're good at it.<\/dialogue>\n    <character>FRANK ON TELEVISION<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Another little moment between them .<\/scene_description>\n    <character>SIDNEY-ANN ON TELEVISION<\/character>\n    <dialogue>The bookstore. Tell us about it.<\/dialogue>\n    <character>FRANK ON TELEVISION<\/character>\n    <dialogue>Are you planning to collect radios?<\/dialogue>\n    <character>SIDNEY-ANN ON TELEVISION<\/character>\n    <dialogue>Do you think I should?<\/dialogue>\n    <character>FRANK ON TELEVISION<\/character>\n    <dialogue>The Shop Around the Corner is a true New York treasure.<\/dialogue>\n    <character>SIDNEY-ANN ON TELEVISION<\/character>\n    <dialogue>As are you. I'd love to have you back.<\/dialogue>\n    <character>FRANK ON TELEVISION<\/character>\n    <dialogue>Any time. Are we done?<\/dialogue>\n    <character>SIDNEY-ANN ON TELEVISION<\/character>\n    <dialogue>Not at all.<\/dialogue>\n    <character>FRANK ON TELEVISION<\/character>\n    <dialogue>Because I just want to say that the only show I do watch is yours.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( appalled . )<\/parenthetical>\n    <dialogue>Omigod.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Hey, I was just being polite. Okay, I admit, I slobbered all over her.<\/dialogue>\n    <scene_description>The show continues .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHOP AROUND THE CORNER - DUSK<\/stage_direction>\n    <scene_description>As we see Kathleen flip the open sign to closed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOP AROUND THE CORNER - DUSK<\/stage_direction>\n    <scene_description>George is talking to Kathleen and Birdie , who is toting up the week 's receipts .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>And I ca n't decide whether to put sausages into the meat sauce or just chopped meat. Last time I made it, Detective Carter and I never even sat down to dinner because -.<\/dialogue>\n    <parenthetical>( he makes some sort of hand gesture indicating that sex prevented them from dining . )<\/parenthetical>\n    <dialogue>and last night, I made margaritas in the blender, and I took the ice cube and -<\/dialogue>\n    <character>BIRDIE<\/character>\n    <dialogue>Spare us.<\/dialogue>\n    <scene_description>George goes out the door . Birdie looks at Kathleen .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>Do n't tell me. Not the slightest difference?<\/dialogue>\n    <scene_description>Birdie ca n't bring herself to answer .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>How could that be? All this publicity and not one bit of difference? Oh Birdie, what am I going to do? What would Mom have done?<\/dialogue>\n    <character>BIRDIE<\/character>\n    <dialogue>Let's ask her.<\/dialogue>\n    <scene_description>She opens the locket hanging around her neck . There 's a picture of Kathleen 's mother inside it . Birdie holds the locket up to her face .<\/scene_description>\n    <character>BIRDIE<\/character>\n    <dialogue>Cecilia, what should we do?<\/dialogue>\n    <scene_description>Birdie holds the locket to her ear and listens . A pause .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>Birdie?<\/dialogue>\n    <character>BIRDIE<\/character>\n    <dialogue>Shhhh.<\/dialogue>\n    <parenthetical>( after a beat , shrugs . )<\/parenthetical>\n    <dialogue>She has no idea, but she thinks the window display is lovely. Good night dearie.<\/dialogue>\n    <scene_description>Birdie smiles and picks up her shopping bag , goes out the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHOP AROUND THE CORNER - NIGHT<\/stage_direction>\n    <scene_description>It 's starting to rain . Kathleen lowers the grate over the store . As she turns to walk away , William Spungeon steps in her path out of the shadows .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>Oh my goodness, hello. What are you doing here.<\/dialogue>\n    <character>SPUNGEON<\/character>\n    <dialogue>Loitering. Lurking. Skulking. Stalking.<\/dialogue>\n    <scene_description>He laughs . So does she . Dramatically , he whips out an umbrella and opens it over the two of them .<\/scene_description>\n    <character>SPUNGEON<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You look very beautiful.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Thank you. But I'm a wreck.<\/dialogue>\n    <scene_description>He touches her cheek suddenly . Kathleen starts . Then he blows on his hand .<\/scene_description>\n    <character>SPUNGEON<\/character>\n    <dialogue>An eyelash. It's gone.<\/dialogue>\n    <scene_description>Kathleen relaxes . They start walking .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>Are you writing another book?<\/dialogue>\n    <character>SPUNGEON<\/character>\n    <dialogue>I'm in the home stretch. I'll be done in approximately six more years.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Should I discount?<\/dialogue>\n    <character>SPUNGEON<\/character>\n    <dialogue>It's about a man on a quest for knowledge who meets a woman he can not resist.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>If I discount I have to fire someone because I ca n't discount with this overhead but whom could I fire? I could n't fire anyone.<\/dialogue>\n    <scene_description>Spungeon suddenly puts his hand through Kathleen 's hair . She stops , frozen in place .<\/scene_description>\n    <character>SPUNGEON<\/character>\n    <dialogue>You have your mother's hair. Thick, wild, the color of Nebraska wheat.<\/dialogue>\n    <scene_description>He grabs her and tries to kiss her .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>What are you doing? Let me go.<\/dialogue>\n    <scene_description>He backs her into a wall .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>Stop it. Are you crazy?<\/dialogue>\n    <scene_description>She kicks him in the shins , wiggles free and runs away .<\/scene_description>\n    <character>SPUNGEON<\/character>\n    <parenthetical>( calling after her . )<\/parenthetical>\n    <dialogue>If you change your mind, you can E - mail me. Hermit@AOL.com.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMPUTER SCREEN - NIGHT<\/stage_direction>\n    <scene_description>The mail form says `` To : '' and Kathleen types in `` NY 152 '' . The form says `` Re : '' and Kathleen types in : `` Advice ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KATHLEEN'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Rain is falling .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I need help. Do you still want to meet me?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JOE'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Rain is falling . We hear the sound of the computer .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>`` Where? When?''<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NUT SHOP OF BROADWAY - DAY<\/stage_direction>\n    <scene_description>George , Kathleen and Christina in the shop . Kathleen is buying more lollipops .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>We're meeting in a public place.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>Well do n't go anywhere with him. Do n't even go out to the street with him afterwards. Get a dial cab to just sit there and wait for you.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Did you tell Frank?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>There's nothing to tell.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>But did you tell him?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>He's away. At the 32nd anniversary of the Chicago Seven trial.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>And he's gone to a place where there are no phones. Do you even know this guy's name?<\/dialogue>\n    <scene_description>Kathleen shakes her head no .<\/scene_description>\n    <character>CHRISTINA<\/character>\n    <dialogue>And you're going to meet him in a bar?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Not a bar. That place on 83rd with the cheesecake.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>And he will wear a flower in his lapel, and you will be carrying a copy of Anna Karenina with a rose in it.<\/dialogue>\n    <scene_description>No answer .<\/scene_description>\n    <character>CHRISTINA<\/character>\n    <dialogue>Oh God, no.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Not Anna Karenina. Pride and Prejudice.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOXBOOKS - NIGHT<\/stage_direction>\n    <scene_description>As Joe and Kevin walk out of the store and start downtown .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>I suppose she's carrying a copy of a book with a flower in it.<\/dialogue>\n    <scene_description>Joe does n't say anything .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>Not really.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Really.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Which Jane Austen is it?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Pride and Prejudice.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>She could be a real dog.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I know. Look, I'll just stay ten minutes. I'll say hello. Drink a cup of coffee and split. I'm outta here.<\/dialogue>\n    <scene_description>He looks at Kevin .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Walk me there, okay?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 83RD STREET - NIGHT<\/stage_direction>\n    <scene_description>As the two men walk toward Cafe Lalo , the European cafe on West 83rd Street .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>What if she has a really high, squeaky voice? I hate that. It reminds me of those mice in Cinderella.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>What mice in Cinderella?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Gus - gus and oh shit, I ca n't remember the other one. Why am I compelled to meet her? I'm just ruining a good thing.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>You're taking it to the next level. I always do that. I always take a relationship to the next level, and if it works okay I take it to the next level after that, until I can finally get to the level where it becomes absolutely necessary for me to leave.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I'm not going to stay long anyway. I already said that, did n't I. Christ. I'm a total wreck.<\/dialogue>\n    <scene_description>As they reach :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE LALO - CONTINUOUS<\/stage_direction>\n    <scene_description>Joe stops and looks at Kevin .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Kevin, this woman is the most adorable creature I have ever come in contact with. If she turns out to be even as good - looking as a mailbox, I will be crazy not to turn my life upside down and marry her.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>She could be a real dog.<\/dialogue>\n    <character>JOE<\/character>\n    <parenthetical>( a total panic . )<\/parenthetical>\n    <dialogue>You go look.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Me?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Just go to the window and check her out.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>You're pathetic.<\/dialogue>\n    <scene_description>Kevin goes to the window and looks inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE LALO - NIGHT<\/stage_direction>\n    <scene_description>Joe and Kevin in front . Kevin looks in the window .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>See her?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>There's a beautiful, whoa, a very beautiful girl.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>But no book. Let me see, let me see. Wait a minute. There's a book with a flower, so it must be her.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>What does he look like?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>There's a waiter blocking, I ca n't see her face. He's serving her a cup of tea and she's putting in three spoonfuls of sugar -<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Well, why should n't she?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>No reason. Unless she has hypoglycemia. Oh, he's moving.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Can you see her?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>And? -<\/dialogue>\n    <character>KEVIN<\/character>\n    <parenthetical>( clearly frustrated . )<\/parenthetical>\n    <dialogue>She's very pretty.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>She is. I knew she would be. She had to be.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>She looks. I would say she has a little of the coloring of that Kathleen Kelly person.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Kathleen Kelly of the bookstore.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Why not? You said you thought she was attractive.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>So what? Who cares about Kathleen Kelly?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Well, if you do n't like Kathleen Kelly, I can tell you right now you ai n't gon na like this girl.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Because it is Kathleen Kelly.<\/dialogue>\n    <scene_description>Joe elbows Kevin aside and looks .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Oh, God.<\/dialogue>\n    <scene_description>A long beat .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>What are you going to do?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>You're going to let her just wait there?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Yes. Yes I am. That's exactly what I'm going to do. Why not?<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>But she wrote the letters.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Good night, Kevin. I'll see you tomorrow.<\/dialogue>\n    <scene_description>He walks away , leaving Kevin . Kevin stares after him . Then he walks away in the other direction .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFE LALO - CONTINUOUS<\/stage_direction>\n    <scene_description>Kathleen , sitting alone , at a table for two , is drinking her tea . She 's starting to feel a little foolish . She checks her watch . A loud , boisterous group comes in and sits at the table next to hers . They 're laughing . A man from the group grabs the empty chair at Kathleen 's table .<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>Do you mind?<\/dialogue>\n    <scene_description>Kathleen jumps up .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>Oh, yes. I'm expecting someone. Please.<\/dialogue>\n    <scene_description>She takes the chair back . Sits down again . She watches the group as they playfully fight over the menus . She checks her watch again . Then she opens her copy of Pride and Prejudice and looks at it . She ca n't focus . A man comes into the restaurant and she looks up hopefully at him . But he 's going to meet another group of people . As he passes her table , he knocks the book and the flower onto the floor .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>Oh!<\/dialogue>\n    <scene_description>She jumps up and rescues the book and flower as if they were precious china . In the window , now , behind her , Joe appears . He watches , as she rearranges the book and the flower . He disappears from sight . A beat . He walks in the door .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Kathleen Kelly. Hello. What a coincidence. Mind if I sit down?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Yes I do. I'm expecting someone.<\/dialogue>\n    <scene_description>Joe picks up her book , looks at it .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Pride and Prejudice.<\/dialogue>\n    <scene_description>Kathleen grabs it back .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>Do you mind?<\/dialogue>\n    <scene_description>She places it back on the table , puts the rose into it .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>I did n't know you were a Jane Austen fan. Not that it's a surprise. I bet you read it every year. I bet you just love Mr. Darcy, and that your sentimental heart beats wildly at the thought that he and whatever her name is are really, honestly and truly going to end up together.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Would you please leave?<\/dialogue>\n    <scene_description>Joe sits down .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>Please?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I'll get up as soon as your friend comes. Is he late?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>The heroine of Pride and Prejudice is Elizabeth Bennet and she's one of the greatest, most complex characters ever written, not that you would know.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>As a matter of fact I've read it.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Well, good for you.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I think you'd discover a lot of things if you really knew me.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>If I really knew you, I know what I would find - instead of a brain, a cash register, instead of a heart, a bottom line.<\/dialogue>\n    <scene_description>Kathleen is shocked at herself .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>I just had a breakthrough, and I have to thank you for it. For the first time in my life, when confronted with a horrible, insensitive person I actually knew what I wanted to say and I said it.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I think you have a gift for it. It was a splendid mixture of poetry and meanness.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Meanness? Let me tell you -<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Do n't misunderstand me, I'm just paying you a compliment.<\/dialogue>\n    <scene_description>He lifts the book off the table . Kathleen grabs for it .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>Why are you doing this?<\/dialogue>\n    <scene_description>She manages to get the book , leaving Joe with the rose .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>What have we have? A red, no, crimson rose, tucked into the pages. Something you read about in a book, no doubt. One of those books with a lady in a nightgown on the cover about to throw herself off a cliff.<\/dialogue>\n    <scene_description>She holds her hand out for it .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Give it to me.<\/dialogue>\n    <scene_description>Joe puts it between his mouth and his nose like a mustache .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>It's a joke to you, is n't it? Everything's a joke to you.<\/dialogue>\n    <scene_description>She grabs the rose . Puts it back in the book .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Please leave. I beg you.<\/dialogue>\n    <scene_description>He stands up , walks from the table , sits down at the very next table , with his back to her . The door to the restaurant opens . Kathleen looks at it hopefully . A pleasant looking man , who 's immediately joined by a pleasant looking woman . For a moment , Kathleen looks just a little droopy , as if the wind has just gone out of her sails . She takes out her compact , looks into her mirror . She slides it over to look behind her , at him , just as he 's looking sideways at her . He turns away suddenly . Then she blots her lipstick with her handkerchief .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>You know what the handkerchief reminds me of? The first day I met you -<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>The first day you lied to me -<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I did n't lie to you -<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>You did too -<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I did not -<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>I thought all that Fox stuff was so charming. F - O - X.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I never lied about it -<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>`` Joe. Just call me Joe.'' As if you were one of those stupid 22 - year - old girls with no last name. `` Hi, I'm Kimberley.'' `` Hi, I'm Janice.'' What's wrong with them? Do n't they know you're supposed to have last names? It's like they're a whole generation of cocktail waitresses.<\/dialogue>\n    <scene_description>She stops herself - it 's a tangent she never meant to go off on . But Joe has stood up and seated himself back at her table .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>I am not a stupid 22 - year - old girl -<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>That's not what I meant -<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>And when I said the thing about the Price Club and cans of olive oil, that was n't what I meant either -<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Oh, you poor sad multimillionaire. I feel so sorry for you.<\/dialogue>\n    <scene_description>The door opens and a large and very attractive TRANSVESTITE in a boa comes in the door .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>I am going to take a wild guess that this is n't him, either. Who is he, I wonder. Not, I gather, the world's greatest living expert on Julius and Ethel Rosenberg, but someone else entirely. Will you be you be mean to him too? Will you start out sweet as sugar candy and then suddenly, miraculously, like a bolt from the blue, find that sharp little tongue of yours?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>No, I wo n't. Because the man who's coming here tonight is completely unlike you. The man who is coming here is kind and funny - he has the most wonderful sense of humor -<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>But he's not here.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>If he's not here, he has a reason, because there is not a cruel or careless bone in his body. I ca n't expect you to know anything about a person like that. You've nothing but a suit.<\/dialogue>\n    <scene_description>A beat . Joe gets up .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>That is my cue. Good night.<\/dialogue>\n    <scene_description>Joe leaves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KATHLEEN'S APARTMENT BUILDING -- LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Kathleen comes down the street . She drops the rose in the trash can .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHLEEN'S APARTMENT - A MINUTE LATER<\/stage_direction>\n    <scene_description>Kathleen comes in , drops the book on the table , takes off her coat and goes immediately to the computer . She clicks on American Online . Waits impatiently to connect . Looks with anticipation at the mail box . THE COMPUTER SCREEN - NO MAIL Hold on Kathleen as a tear starts down her face . She takes her handkerchief out of her sleeve and wipes her face and blows her nose . Then looks at her handkerchief and tosses it over her shoulder . She goes over to the bed and turns it down and slips out of her shoes . Then she lies down on the bed , fully clothed . She reaches up to turn out the light .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOE'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>As Joe turns on his closet light and hangs up his jacket . The computer is on the desk , and the light on it illuminates the room . Patricia is in the next room , eating matzos .<\/scene_description>\n    <character>PATRICIA<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>So I said to her, `` If you think I will even talk to you about paying that kind of advance for an author whose last book is being used as trivets all over the world, you are completely crazy.''<\/dialogue>\n    <scene_description>On Joe 's face , barely bearing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOXBOOKS SUPERSTORE - DAY<\/stage_direction>\n    <scene_description>As Kevin and Joe walk through the store .<\/scene_description>\n    <character>KEVIN<\/character>\n    <dialogue>But underneath that disagreeable exterior she could turn out to be -<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>A real bitch. Let's not talk about it. I'm going back to the office. You must have work to do.<\/dialogue>\n    <character>KEVIN<\/character>\n    <dialogue>Not really. This place is humming like a top.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHOP AROUND THE CORNER - DAY<\/stage_direction>\n    <scene_description>As Kathleen comes around the corner . Christina is waiting .<\/scene_description>\n    <character>CHRISTINA<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>He never came.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>He stood you up?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOP AROUND THE CORNER<\/stage_direction>\n    <scene_description>As Kathleen puts her purse into the drawer .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>I think something happened, something terrible and unexpected that made it impossible for him -<\/dialogue>\n    <scene_description>George walks in .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>He was n't able to make it.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>He stood you up.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>What could have happened?<\/dialogue>\n    <scene_description>George looks suddenly stricken .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Why did n't he come? Maybe he showed up, took one look at me and left.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>Not possible.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Maybe there was a subway accident.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>Absolutely.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>A train was trapped underground with him inside.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>And no phone.<\/dialogue>\n    <scene_description>George continues to look stricken . He 's starting to shake his head .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>Or an automobile accident. Those cab drivers are maniacs.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>They hit something and you slam right into that plastic partition.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>His elbows could be in splints - so he ca n't really dial -<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>Or he could be in the hospital in one of those semi - private room with like -<\/dialogue>\n    <character>CHRISTINA &amp; KATHLEEN<\/character>\n    <parenthetical>( together . )<\/parenthetical>\n    <dialogue>- no phone.<\/dialogue>\n    <scene_description>They look at George . Still shaking his head .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( to George . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <scene_description>George hands them a New York Post . They look at the cover : COPS NAB ROOFTOP KILLER<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>What are you saying?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>It could be.<\/dialogue>\n    <scene_description>Dead silence .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>He was arrested two blocks from the cheesecake place.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>Is there a picture?<\/dialogue>\n    <scene_description>There it is . It 's of a man with his jacket pulled over his head . They all look at it .<\/scene_description>\n    <character>CHRISTINA<\/character>\n    <dialogue>So that explains it.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>He was in jail.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>And there was a phone -<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>- but he got only one call and he had to use it to call his lawyer.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>You are so lucky.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>You could be dead.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Are you crazy? This man could n't possibly be the rooftop killer.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>Remember when you thought Frank might be the Unabomber?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>That was different.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>How long did you sit there all alone?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Not that long. Joe Fox came in -<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>Joe Fox!<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>I do n't want to talk about it.<\/dialogue>\n    <parenthetical>( closes her eyes . )<\/parenthetical>\n    <dialogue>Let's get to work.<\/dialogue>\n    <scene_description>They look around . There 's no one in the store and nothing to do . A pause .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>There must be something to do. There's always something to do.<\/dialogue>\n    <scene_description>They hear the jingle of the front door . They look hopefully toward it . It 's only Birdie .<\/scene_description>\n    <character>CHRISTINA<\/character>\n    <dialogue>He stood her up.<\/dialogue>\n    <scene_description>Hold on Kathleen as the computer sound begins .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I have been thinking about you. Last night I went to meet you and you were n't there. I wish I knew why. I felt so foolish.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHLEEN'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>As she types . And we cut from her face to the screen as we hear a voice - over :<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And as I waited, someone else showed up, a man who has made my professional life a misery, and an amazing thing happened - I was able, for the first time in my life, to say the exact thing I wanted to say it. And of course, afterwards, I felt terrible. Just as you said I would.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOE'S APARTMENT - LATER<\/stage_direction>\n    <scene_description>The E - mail from Kathleen continues as Joe reads .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I was cruel, and I'm never cruel. And even though I can hardly believe what I said mattered to this man - to him, I'm just a bug to be crushed - but what if it did? No matter what he's done to me, there's no excuse for my behavior. Anyway, you are my dear friend, and I so wanted to talk to you. I hope you have a good reason for not being there last night, but if you do n't, and if we never really connect again, I just want to tell you how much it has meant to me to know you were there.<\/dialogue>\n    <scene_description>Joe sits there a second . A moment of intense ambivalence . Then he hits the Menu key and signs off .<\/scene_description>\n    <character>COMPUTER<\/character>\n    <dialogue>Goodbye.<\/dialogue>\n    <scene_description>Joe stands and leaves the room . The computer sits there . Hold on the computer . We hear him open the refrigerator door . We hear him close the refrigerator door . He passes the den without even looking into it . A moment later he comes back into the room , stares at the computer . He starts for the bedroom , changes his mind . Circles the computer . He 's going to go cold turkey if it kills him . Fuck it . He sits down . Sign on . Starts to type .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I am in Vancouver.<\/dialogue>\n    <scene_description>He stops . Hits the delete button and erases the message . He starts typing again :<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I was stuck in a meeting, which I could n't get out of it, and there was no phone.<\/dialogue>\n    <scene_description>He backspaces to erase `` there was no phone . '' Screen now reads : I was stuck in a meeting , which I could n't get out of it . Joe sits there thinking for a moment . Then he starts typing .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O. , cont 'd . )<\/parenthetical>\n    <dialogue>The electricity went out in the building and we were trapped on the 18th floor and the telephone system blew too.<\/dialogue>\n    <scene_description>He stops and looks at it . Then he types :<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O. , cont 'd . )<\/parenthetical>\n    <dialogue>Amazingly enough.<\/dialogue>\n    <scene_description>He sits looking at it . Then he deletes the whole thing . Sits looking at the blank screen .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Fuck you.<\/dialogue>\n    <scene_description>He clicks the Yes box . Then he starts to type again .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Dear friend : I can not tell you what happened to me last night, but I beg you from the bottom of my heart to forgive me for not being there.<\/dialogue>\n    <scene_description>He deletes `` for not being there . '' Then types again , after `` to forgive me '' .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>- for what happened. I feel terrible that you found yourself in a situation that caused you additional pain. But I'm absolutely sure that whatever you said last night was provoked, even deserved. And everyone says things they regret when they're worried or stressed. You were expecting to see someone you trusted and met the enemy instead. The fault is mine.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK STREET - DAY<\/stage_direction>\n    <scene_description>As Kathleen and Christina walk down the street together .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O. , cont 'd . )<\/parenthetical>\n    <dialogue>Someday I'll explain everything. Meanwhile, I'm still here. Talk to me.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>Did he say anything about meeting again?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Not really. It does n't matter. We'll just be like George Bernard Shaw and Mrs. Patrick Campbell and write letters our whole lives -<\/dialogue>\n    <scene_description>They go into an apartment building .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BIRDIE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>A large rent - controlled West Side apartment . Birdie is pouring tea . There 's a plate of cookies . Christina is looking at the picture of Birdie as a young woman , dressed in a sort of Carmen Miranda getup .<\/scene_description>\n    <character>CHRISTINA<\/character>\n    <dialogue>Where was this taken, Birdie?<\/dialogue>\n    <character>BIRDIE<\/character>\n    <dialogue>Seville.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>When you had the thunderbolt?<\/dialogue>\n    <character>BIRDIE<\/character>\n    <dialogue>Yes. What did you decide, dearie?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Close. We're going to close.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>Close.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Although it feels like such a failure. It feels like I'm quitting. It feels like. Mom.<\/dialogue>\n    <scene_description>She closes her eyes . Birdie sits down on the loveseat next to Kathleen , puts her arms around her . Hold on them .<\/scene_description>\n    <character>BIRDIE<\/character>\n    <dialogue>Keeping the store open does n't keep your mother alive, although sometimes I think we all think it does.<\/dialogue>\n    <scene_description>Christina looks over at the picture of Birdie .<\/scene_description>\n    <character>CHRISTINA<\/character>\n    <dialogue>Who was it, Birdie? That you had the thunderbolt over?<\/dialogue>\n    <scene_description>Birdie shakes her head . She 's not going to tell them .<\/scene_description>\n    <character>CHRISTINA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>It's so romantic.<\/dialogue>\n    <character>BIRDIE<\/character>\n    <dialogue>But it was n't meant to be.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>BIRDIE<\/character>\n    <dialogue>He ran Spain.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>Spain?<\/dialogue>\n    <character>BIRDIE<\/character>\n    <dialogue>The country. He ran it. That was his job. And then he died. Just as well.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SONY LINCOLN SQUARE THEATRE - NIGHT<\/stage_direction>\n    <scene_description>As Frank and Kathleen go up the escalator , on their way to a movie .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>She fell in love with Generalissimo Franco?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Do n't say that. We do n't know that for sure.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Who else could it have been? It was probably around 1960 -<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>I mean, it's not like he was something normal, like a socialist or an anarchist or something -<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>It happened in Spain. People do really stupid things in foreign countries.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Absolutely. They buy leather jackets, they go see Flamenco, they ride in gondolas, they eat in restaurants where guitarists sing Malaguena sola Rosa, but they do n't fall in love with fascist dictators.<\/dialogue>\n    <scene_description>They enters one of the theatres .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THEATER - CONTINUOUS<\/stage_direction>\n    <scene_description>As they find seats and sit down . A trailer is playing .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>Birdie is a very kind person, she's practically my surrogate mother.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Well she's out of her mind.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>She is not.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I could never ever be with anyone who does n't take politics as seriously as I do.<\/dialogue>\n    <scene_description>The person in front of them turns around .<\/scene_description>\n    <character>PERSON IN FRONT OF THEM<\/character>\n    <dialogue>Do you mind?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>A hot dog is singing. You need quiet while a hot dog is singing?<\/dialogue>\n    <scene_description>The two of them sit there .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>I have something to tell you. I did n't vote.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>In the last mayoral election, when Rudy Giuliani was running against Ruth Messinger, I went to get a manicure and forgot to vote.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Since when do you get manicures?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Oh, I suppose you could never be with a woman who gets manicures.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Forget it. It's okay. I forgive you.<\/dialogue>\n    <character>PERSON IN FRONT OF THEM<\/character>\n    <dialogue>Shhhhhh.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>You forgive me.<\/dialogue>\n    <scene_description>Hold on them a beat . Kathleen stands and walks out of the theatre .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SONY LINCOLN SQUARE THEATRE ESCALATOR - NIGHT<\/stage_direction>\n    <scene_description>Kathleen on the down escalator . Frank scrambling to catch up with her .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <scene_description>Kathleen 's upset .<\/scene_description>\n    <character>FRANK<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Hey. What is it?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COLUMBUS AVENUE - NIGHT<\/stage_direction>\n    <scene_description>As they walk uptown .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Look, this has been a big week, you're closing the store -<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>It's not that, Frank, really it's not. It's just. Frank.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I know, that was terrible of me.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>What was?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>To jump all over you when I'm the one who's really. Oh, God, I do n't know how to say this -<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>What is it?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COLUMBUS AVENUE - NIGHT<\/stage_direction>\n    <scene_description>As we see Kathleen and Frank being served drinks in a glassed - in extension of a restaurant .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLUMBUS AVENUE RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>As Kathleen looks at Frank , waiting for him to begin .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>You're a wonderful person, Kathleen.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>So are you.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>And I'm honored that you want to be with me because you would never be with anyone who was n't truly worthy -<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>I feel exactly the same way about you.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Oh, God, do n't say that, please, that just makes it worse.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>What?<\/dialogue>\n    <parenthetical>( he shakes his head . )<\/parenthetical>\n    <dialogue>You do n't love me?<\/dialogue>\n    <scene_description>Frank shakes his head no .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>Me either.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>You do n't love me?<\/dialogue>\n    <scene_description>Kathleen shakes her head no .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>But we're so right for each other.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>A long beat .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>That woman on television, right? Sidney - Ann.<\/dialogue>\n    <scene_description>Frank nods .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>I mean, nothing's happened or anything.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>I think she's a Republican.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I ca n't help myself.<\/dialogue>\n    <scene_description>Kathleen pats him .<\/scene_description>\n    <character>FRANK<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What about you? Is there someone else?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Oh, somewhere out there, I'm sure. Somewhere -.<\/dialogue>\n    <parenthetical>( she throws up her hands . )<\/parenthetical>\n    <dialogue>In cyberspace.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KATHLEEN'S BUILDING - NIGHT<\/stage_direction>\n    <scene_description>As Frank , carrying a typewriter , walks out off Kathleen 's building and puts it into the back of a taxicab .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHOP AROUND THE CORNER - DAY<\/stage_direction>\n    <scene_description>As a sign goes up in the window : `` Closing This Week : All Stock 40 % off . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOP AROUND THE CORNER - LATE THAT DAY<\/stage_direction>\n    <scene_description>The store is crowded . People are buying stacks of books . We hear brief snatches of conversation : Birdie telling a customer she 's planning to travel , Christina saying she 's finally going to have to finish her dissertation , George saying he 's been offered a job at Foxbooks but even though it 's okay with Kathleen , he would n't work there if it were the last place on the earth . There is a frantic , rummage sale atmosphere . Kathleen , busy at the cash register , looks up for a minute at her beautiful store being ravaged by vultures . We hear the sound of the computer and hear her voice - over :<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>My store is closing this week. I own a store. Did I ever tell you that? Probably not. It's a lovely store -<\/dialogue>\n    <scene_description>As a woman dumps a huge stack of books on the checkout table .<\/scene_description>\n    <character>WOMAN SHOPPER<\/character>\n    <dialogue>This is a tragedy.<\/dialogue>\n    <parenthetical>( yelling across the shop to her husband . )<\/parenthetical>\n    <dialogue>Honey, grab a copy of The Trumpet of the Swan.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O. , cont 'd . )<\/parenthetical>\n    <dialogue>- and in a week, it will be something really depressing, like a Baby Gap. I am being amazingly brave -<\/dialogue>\n    <character>WOMAN SHOPPER<\/character>\n    <dialogue>What are you going to do with yourself?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>I do n't know. I'm going to take some time. I have a little money saved. I'm almost looking forward to it -<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O. , cont 'd . )<\/parenthetical>\n    <dialogue>I am so cheerful I would make Pollyanna throw up.<\/dialogue>\n    <character>SECOND SHOPPER<\/character>\n    <dialogue>I came here every Saturday when I was a little girl. I remember when your mother gave me Anne of Green Gables. `` Read it with a box of Kleenex,'' that's what she told me.<\/dialogue>\n    <character>THIRD SHOPPER<\/character>\n    <dialogue>She's looking down on you right now.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>I'm sure she is.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O. , cont 'd . )<\/parenthetical>\n    <dialogue>I have promised myself I'm not going to cry.<\/dialogue>\n    <scene_description>A FORTH SHOPPER approaches the counter with a stack of books up to his chin , and manages to slide the stack on the counter .<\/scene_description>\n    <character>FOURTH SHOPPER<\/character>\n    <dialogue>We should bomb Foxbooks.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>It's not their fault. The truth is, the world is just. different.<\/dialogue>\n    <scene_description>She starts ringing up the sale .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOXBOOKS SUPERSTORE - NIGHT<\/stage_direction>\n    <scene_description>As Kathleen walks home .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O. , cont 'd . )<\/parenthetical>\n    <dialogue>Soon we'll just be a memory. In fact, someone, some foolish person will probably think it's a tribute to this city, the way it keeps changing on you, the way you can never count on it, or something. I know, because that's the sort of thing I'm always saying. But the truth is, I'm heartbroken. I feel as if part of me has died, and my mother has died all over again, and no one can ever make it right.<\/dialogue>\n    <scene_description>She stops in front of the window , watching the customers lined up to buy books .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOXBOOKS SUPERSTORE - NIGHT<\/stage_direction>\n    <scene_description>As Kathleen enters and looks around . She goes up the stairs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOXBOOKS SUPERSTORE - CHILDREN'S DEPARTMENT<\/stage_direction>\n    <scene_description>As Kathleen walks into it . It 's huge , of course . With its reading area , and stage , and room for displays , and child - size furniture , and so many books and so many customers . Kathleen sits down on a little child - size chair , completely wilted . KATHLEEN FROM ANOTHER P.O.V. And now we see Joe watching her , from a distance . She does n't see him . A woman browsing , stops a sales person .<\/scene_description>\n    <character>WOMAN SHOPPER<\/character>\n    <dialogue>Do you have the `` Shoe'' books?<\/dialogue>\n    <character>SALESPERSON<\/character>\n    <dialogue>The `` Shoe'' books? Who's the author?<\/dialogue>\n    <character>WOMAN SHOPPER<\/character>\n    <dialogue>I do n't know. My friend told me my daughter has to read the `` Shoe'' books, so here I am.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Noel Streatfeild. Noel Streatfeild wrote Ballet Shoes and Skating Shoes and Theater Shoes and Movie Shoes.<\/dialogue>\n    <parenthetical>( she starts crying as she tells her . )<\/parenthetical>\n    <dialogue>I'd start with Skating Shoes, it's my favorite, although Ballet Shoes is completely wonderful.<\/dialogue>\n    <character>SALESPERSON<\/character>\n    <dialogue>Streatfeild. How do you spell that?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>S - T - R - E - A - T - F - E - I - L - D.<\/dialogue>\n    <character>WOMAN SHOPPER<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>As she walks away .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( to herself . )<\/parenthetical>\n    <dialogue>They know nothing, they know absolutely nothing.<\/dialogue>\n    <scene_description>ON JOE as he watches her . We hear the sound of the computer . She starts out of the store . And hold on him .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I'm sorry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOE'S COMPUTER SCREEN<\/stage_direction>\n    <scene_description>A screen which says Reply and which now reads `` I 'm sorry . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOE'S OFFICE - DAY<\/stage_direction>\n    <scene_description>On Joe at his computer , staring at the screen .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Asshole.<\/dialogue>\n    <scene_description>He backspaces , deleting . Starts typing again .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I'm sorry. I do n't know what to say. Truly I do n't. And anything I do say will sound trite. I hope you feel better.<\/dialogue>\n    <scene_description>He sits there , appalled at his own triteness .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JOE'S STREET - NIGHT<\/stage_direction>\n    <scene_description>As a taxi comes down the street and stops in front of Joe 's building .<\/scene_description>\n    <character>PATRICIA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What I was thinking was she'd probably make a great children's book either.<\/dialogue>\n    <character>JOE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Why would you think that?<\/dialogue>\n    <scene_description>They get out of the cab .<\/scene_description>\n    <character>PATRICIA<\/character>\n    <dialogue>She knows everything. She has flawless taste. She's famous for it. The salesmen swear by her. If she likes it, it sells. Period.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOE'S LOBBY - CONTINUOUS<\/stage_direction>\n    <scene_description>As they enter the lobby and walk toward the elevator .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>So you're going to offer her a job?<\/dialogue>\n    <character>PATRICIA<\/character>\n    <dialogue>Why not? What else has she got to do?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Now that she's destitute -<\/dialogue>\n    <character>PATRICIA<\/character>\n    <dialogue>Thanks to you.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Well, I ca n't imagine her working for you.<\/dialogue>\n    <character>PATRICIA<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>She has a horrible personality, she's. nice to everyone all the time. It's exhausting. And her staff turnover is. non - existent. They've been there forever. Until. recently, when they all found out they were going to lose their jobs.<\/dialogue>\n    <character>PATRICIA<\/character>\n    <dialogue>Thanks to you.<\/dialogue>\n    <scene_description>The elevator door is closing .<\/scene_description>\n    <character>PATRICIA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Hold the elevator!<\/dialogue>\n    <scene_description>They get in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR - CONTINUOUS<\/stage_direction>\n    <character>JOE<\/character>\n    <dialogue>Hello, Charlie, Veronica.<\/dialogue>\n    <character>PATRICIA<\/character>\n    <dialogue>Last time, we rode in an elevator, we made the deal of the century. What is going to happen this time?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Miss Grant's going to get me a part in one of her movies, that's what's going to happen.<\/dialogue>\n    <character>VERONICA<\/character>\n    <dialogue>In your dream, Charlie.<\/dialogue>\n    <character>PATRICIA<\/character>\n    <parenthetical>( back to the conversation with Joe . )<\/parenthetical>\n    <dialogue>I love how you've totally forgotten you had any role in her current situation. It's so obtuse. It reminds me of someone. Who? Who does it remind me of?<\/dialogue>\n    <parenthetical>( thinks for a moment . )<\/parenthetical>\n    <dialogue>Me!<\/dialogue>\n    <scene_description>The elevator suddenly stops .<\/scene_description>\n    <character>PATRICIA<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <character>VERONICA<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>It is stuck?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Could be.<\/dialogue>\n    <scene_description>He pushes the open button . Nothing . Turns the key , hits the open button , flicks the emergency switch . The he starts hitting the buttons in every possible combination .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Charlie, what are you doing?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Bang the door.<\/dialogue>\n    <character>PATRICIA<\/character>\n    <dialogue>Really.<\/dialogue>\n    <scene_description>Joe bangs the door . Nothing .<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I hope this thing does n't plummet to the basement.<\/dialogue>\n    <character>VERONICA<\/character>\n    <dialogue>Can it do that?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>He picks up the phone .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>This is Joe Fox. Who is this? Hi, Juan. We're stuck on the sixth floor. There are four of us -<\/dialogue>\n    <character>PATRICIA<\/character>\n    <parenthetical>( grabs the phone . )<\/parenthetical>\n    <dialogue>- and if you do n't get your ass up here in two shakes and get us out -<\/dialogue>\n    <scene_description>He hangs up .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( to Veronica . )<\/parenthetical>\n    <dialogue>Are you all right?<\/dialogue>\n    <character>VERONICA<\/character>\n    <dialogue>It's hot.<\/dialogue>\n    <scene_description>Joe hands her his handkerchief .<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Everyone should jump in the air.<\/dialogue>\n    <character>PATRICIA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>We jump. The elevator thinks that no one is here and it opens.<\/dialogue>\n    <scene_description>Everyone stares at each other .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>One - two - three -<\/dialogue>\n    <scene_description>They all jump into the air . They all land . Nothing happens .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR - A LITTLE LATER<\/stage_direction>\n    <scene_description>Patricia is sitting on the elevator floor , polishing her nails . We hear the fire department banging outside .<\/scene_description>\n    <character>VERONICA<\/character>\n    <dialogue>If I ever get out of here, I'm going to start speaking to my mother. She slept with Oscar, and maybe it was Oscar's fault, I do n't know, and then she sold the story to Inside Edition. That could have been Oscar's idea, too. Who knows? But I divorced him. I wonder what she's doing right this minute. I think of her. whenever I hear about a new pill. Ecstasy, Zoloft, Fenphen, I just think, I hope Mama knows about that.<\/dialogue>\n    <scene_description>She takes out a tissue and dabs at her eyes .<\/scene_description>\n    <character>PATRICIA<\/character>\n    <dialogue>Maybe you can make up on Rosie. That would be so great for the book.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>( trying to figure it out . )<\/parenthetical>\n    <dialogue>If I ever get out of here.<\/dialogue>\n    <character>PATRICIA<\/character>\n    <dialogue>If I ever get out of here, I'm having my eyes lasered.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I'm marrying Oreet. I love her. I should marry her. I do n't know what's been stopping me.<\/dialogue>\n    <scene_description>He takes out his wallet and looks at a picture of Oreet , shows it to Joe .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>If I ever get out of here, I'm going to -<\/dialogue>\n    <scene_description>He stops , he looks at Patricia who is fishing through her purse .<\/scene_description>\n    <character>PATRICIA<\/character>\n    <dialogue>Where is my TicTacs?<\/dialogue>\n    <parenthetical>( looks at Joe . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <scene_description>The firemen crowbar open the elevator door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 79TH STREET BOAT BASIN - NIGHT<\/stage_direction>\n    <scene_description>Joe and Brinkley walk out on the dock toward Joe 's boat . Joe is carrying Brinkley 's pillow , his laptop and a suitcase . He boards his boat and goes below . A light goes on . We hear the sound of the computer .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I came home tonight and got into the elevator to go to my apartment. An hour later, I got out of the elevator and Brinkley and I moved out. Suddenly everything had become clear.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOAT - NIGHT<\/stage_direction>\n    <scene_description>A small sleeping area with a berth and a little table , where Joe 's laptop has been hooked up to the phone . Joe is on the narrow berth , as is Brinkley .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O. , cont 'd . )<\/parenthetical>\n    <dialogue>It's a long story. Full of the personal details we avoid so carefully.<\/dialogue>\n    <scene_description>Joe puts Brinkley on the floor , on his pillow . Brinkley jumps back onto the berth with Joe .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHLEEN'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Kathleen is making tea . She starts toward the bedroom . We see her computer , now hooked up in the living room , where all of Frank 's typewriters used to be .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I wonder whether change is n't a kind of infection. You start with one thing - something you never ever thought would change and it does -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHLEEN'S BEDROOM - CONTINUOUS<\/stage_direction>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O. , cont 'd . )<\/parenthetical>\n    <dialogue>and the next thing you know even your bed is in a different place.<\/dialogue>\n    <scene_description>Kathleen enters the bedroom and we see the entire room has been rearranged . She gets into bed and turns on the television set .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHOP AROUND THE CORNER - DUSK<\/stage_direction>\n    <scene_description>The bookshelves are empty .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O. , cont 'd . )<\/parenthetical>\n    <dialogue>Six months ago, when you and I first met, I knew everything about myself - what I would be doing for the rest of my life and even the person I would be doing it with. Now I know nothing.<\/dialogue>\n    <scene_description>On the door is a small sign . `` After 42 years , we are closing our doors . We have loved being part of your lives . '' Kathleen turns out the light in the store and opens the door . The little bell over the door jingles . Kathleen reaches up on her tiptoes for the bell and detaches it . Then she comes out of the store , carrying the bell . Kathleen locks the door and reaches down to operate the grate for the last time . The grate starts to lower . Kathleen looks at her store , one last time . Then she walks off , carrying the bell . We hear it jingle in the night . And hold on The Shop Around the Corner , and it slowly turns into a computer - enhanced version of itself . And then , suddenly , it vanishes with a poof , leaving an empty screen .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A BLUE SKY WITH A BIG COMPUTER SUN SHINING IN IT, AND PAN DOWN TO:<\/stage_direction>\n    <scene_description>A COMPUTER VERSION OF COLUMBUS AVENUE The trees sprout leaves and birdies start to tweet . And the scene turns into a real version of :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COLUMBUS AVE. - FOXBOOKS - MORNING<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOXBOOKS SUPERSTORE - DAY<\/stage_direction>\n    <scene_description>George is now the head of the children department at the store and he is sitting in the children 's section on an itty - bitty chair . His staff is sitting on little itty - bitty chairs too .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Then, in the 19th century, Caldecott revolutionized the publishing of children's books by the introduction of color illustrations -<\/dialogue>\n    <scene_description>We see : THE STAFF Several are dozing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVERSIDE DRIVE &amp; 72ND - DAY<\/stage_direction>\n    <scene_description>Joe walks past the Eleanor Roosevelt statue . He 's with Annabel and Matt :<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>What about going to the Children's Zoo?<\/dialogue>\n    <character>ANNABEL<\/character>\n    <dialogue>I do n't want to go to the Children's Zoo.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Okay. The Staten Island Ferry.<\/dialogue>\n    <character>ANNABEL<\/character>\n    <dialogue>I want to go to the Storybook Lady.<\/dialogue>\n    <character>MATT<\/character>\n    <dialogue>I want to go to the Storybook Lady.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Well we ca n't go to the Storybook Lady.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAPANESE NOODLE RESTAURANT - DAY<\/stage_direction>\n    <scene_description>Annabel is sitting in her chair , staring glumly at a bowl of Japanese soup and noodles .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>I'll read you a story.<\/dialogue>\n    <character>ANNABEL<\/character>\n    <dialogue>Where did she go?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>She had to close her store.<\/dialogue>\n    <character>ANNABEL<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>She did n't have enough business.<\/dialogue>\n    <character>ANNABEL<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Well. Her store was very close to our store, and you know our store sells books at a slightly lower cost -<\/dialogue>\n    <character>ANNABEL<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Why do we sell at a lower cost? So more people can buy books.<\/dialogue>\n    <character>ANNABEL<\/character>\n    <dialogue>Why could n't she sell that way too?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Because she's small and we're big. How about we go get some candy?<\/dialogue>\n    <character>ANNABEL<\/character>\n    <dialogue>So now she's gone and it's all your fault.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>It's business, Annabel. It's not personal. How about we go get so much candy you'll be bouncing off the walls for days?<\/dialogue>\n    <character>MATT<\/character>\n    <dialogue>What's personal?<\/dialogue>\n    <character>ANNABEL<\/character>\n    <dialogue>Personal means that she's gone forever, and now we'll never get another book from her as long as we ever live.<\/dialogue>\n    <scene_description>She burst into tears . Matt bursts into tears too .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Remember the man who worked with her?<\/dialogue>\n    <character>ANNABEL<\/character>\n    <parenthetical>( a wail . )<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Well I hired him.<\/dialogue>\n    <character>ANNABEL<\/character>\n    <dialogue>You killed the Storybook Lady.<\/dialogue>\n    <scene_description>Matt throws himself on the ground , crying . Annabel sobs hysterically .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOXBOOKS SUPERSTORE - DAY<\/stage_direction>\n    <scene_description>George is wearing the same pointed hat Kathleen wore as the Storybook Lady . There 's a sign that says : Storybook Person . Several children are listening . We see : ANNABEL She 's glowering .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHLEEN'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Kathleen is in bed with a huge box of Kleenex . She has a terrible cold . Her nose is red , her eyes are watery . On the bedside table are a huge assortment of atomizers , pills , etc. . We hear the sound of computer keys clicking .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Why have n't you written?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I have a cold.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOE'S OFFICE - DAY<\/stage_direction>\n    <scene_description>We see Joe on his computer .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>How's your cold?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>My ears are blocked, my nose is clogged.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHLEEN'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>She 's drinking cranberry juice . Joni Mitchell on the stereo . The sound of computer keys clicking again .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Are you feeling any better?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I'm lying in bed listening to Joni Mitchell and drinking cranberry juice which I am sorry to say is the exact same color as my nose. I keep thinking about my future. What future? What am I going to do?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 79TH STREET BOAT BASIN - LATE AFTERNOON<\/stage_direction>\n    <scene_description>As Joe is walking Brinkley back to the boat . A limousine has pulled up near the pier and the driver is unloading bags . Joe stops to see the passenger : his father , Nelson Fox .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 79TH STREET BOAT BASIN - DUSK<\/stage_direction>\n    <scene_description>Next to Joe 's boat is a larger yacht .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. YACHT - NIGHT<\/stage_direction>\n    <scene_description>In the main cabin Joe and Nelson are having drinks . Nelson lifts his glass in a toast .<\/scene_description>\n    <character>NELSON<\/character>\n    <dialogue>To us.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Father and son, together at last. That happened with Gillian?<\/dialogue>\n    <scene_description>Nelson ignores the question .<\/scene_description>\n    <character>NELSON<\/character>\n    <dialogue>I've stayed here after, let's see, your mother, Laurette that ballet dancer -<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>- the nanny -<\/dialogue>\n    <character>NELSON<\/character>\n    <dialogue>Was she the nanny? I forgot that. How ironic. Then there was the ice skater -<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>- also the nanny -<\/dialogue>\n    <character>NELSON<\/character>\n    <dialogue>Really. How amazingly ironic. Sybil the astrologer.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Whose moon turned out to be in somebody else's house, as I recall.<\/dialogue>\n    <character>NELSON<\/character>\n    <dialogue>Just like Gillian.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Gillian ran off with someone?<\/dialogue>\n    <character>NELSON<\/character>\n    <dialogue>The nanny.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Nanny Maureen? Gillian ran off with Nanny Maureen? That's incredibly ironic.<\/dialogue>\n    <character>NELSON<\/character>\n    <dialogue>True true.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>There's no other word for it.<\/dialogue>\n    <character>NELSON<\/character>\n    <dialogue>Who did you break up with?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Patricia. You met her.<\/dialogue>\n    <character>NELSON<\/character>\n    <dialogue>Would I like her?<\/dialogue>\n    <parenthetical>( cracks himself up . )<\/parenthetical>\n    <dialogue>Just kidding. Is n't this great? Have some peanuts. Of course I have to live out of a suitcase for a least three weeks, and then there's the inevitable legal hassle, more of your inheritance down the drain.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Do n't worry about it.<\/dialogue>\n    <character>NELSON<\/character>\n    <dialogue>I wo n't. But then I get to meet someone new. That's the easy part.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Oh, right, a snap to find the one single person in the world who fills your heart with joy.<\/dialogue>\n    <character>NELSON<\/character>\n    <dialogue>Do n't be ridiculous. Have I ever been with anyone who fits that description? Have you?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>On to the next.<\/dialogue>\n    <character>NELSON<\/character>\n    <dialogue>Is n't it a beautiful night?<\/dialogue>\n    <scene_description>Hold on Joe .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KATHLEEN'S STREET - DAY<\/stage_direction>\n    <scene_description>Joe , on his way to Kathleen 's apartment building , carrying a bunch of daisies , wrapped in cellophane . Joe goes up the stoop to her building and looks at buzzer . Sees Kelly , 3A . He presses . Nothing . Presses again .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( voice clogged , through intercom . )<\/parenthetical>\n    <dialogue>Who is it?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Joe Fox.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHLEEN'S APARTMENT - SAME TIME<\/stage_direction>\n    <scene_description>Kathleen , in her pajamas , at the intercom , horrified .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>May I please come up?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>It's really not a good idea.<\/dialogue>\n    <scene_description>Someone else walks up to the door , unlocks it and walks in . Joe follows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHLEEN'S APARTMENT - SAME TIME<\/stage_direction>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( into the intercom . )<\/parenthetical>\n    <dialogue>I have a terrible cold, can you hear it? I'm sniffling and not really awake -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KATHLEEN'S APARTMENT - CONTINUOUS<\/stage_direction>\n    <scene_description>As Kathleen continues to talk through the Intercom to an empty stoop .<\/scene_description>\n    <character>KATHLEEN'S VOICE<\/character>\n    <dialogue>and I'm sleeping practically twenty - four hours a day, and taking echinacea -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHLEEN'S APARTMENT - CONTINUOUS<\/stage_direction>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( into intercom . )<\/parenthetical>\n    <dialogue>- and vitamin C, so I would really appreciate it if you would come some other time -<\/dialogue>\n    <scene_description>There 's a knock on the door right next to her . Kathleen practically jumps out of her skin . She looks through the peephole . There he is .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Kathleen?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Just a second.<\/dialogue>\n    <scene_description>She puts on a robe , runs frantically about picking up various scattered wadded - up Kleenexs , opens the front door . Joe is holding a bunch of flowers wrapped in paper .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I heard you were sick and I was worried and I wanted to -.<\/dialogue>\n    <parenthetical>( he hears voices . )<\/parenthetical>\n    <dialogue>Is someone here?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Just the Home Shopping Network.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Bought any porcelain dolls?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>I was thinking about it.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You put me out of business -<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I know that -<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>And now you turn up with flowers? Did you come to gloat?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>To offer me a job -<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>No, I would n't think of -<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Because I have plans, I have lots of offers. I've been offered a job by - well, actually by -<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>My former?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Former?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>We broke up.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>That's too bad. You seemed so perfect for each other.<\/dialogue>\n    <parenthetical>( she claps her hand over her mouth . )<\/parenthetical>\n    <dialogue>I do n't mean to say things like that. No matter what you have done to me, there is no excuse for my saying anything like that. But every time I see you -<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Things like that just seem to fly out of your mouth.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Yes. I'm sorry. I'm starting over.<\/dialogue>\n    <parenthetical>( sharply . )<\/parenthetical>\n    <dialogue>Thank you for coming. Goodbye.<\/dialogue>\n    <parenthetical>( she says it again , a little more nicely . )<\/parenthetical>\n    <dialogue>Thank you for coming. Goodbye.<\/dialogue>\n    <scene_description>She starts to the door .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>I bought you flowers.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <parenthetical>( trying as hard as she can . )<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>She takes them . He takes them back .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Why do n't I put them in water?<\/dialogue>\n    <scene_description>He heads for the kitchen . A beat , while she stares after him . Then follows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - DAY<\/stage_direction>\n    <scene_description>When Kathleen gets to the kitchen , Joe is checking the kettle for water . Turns on the stove .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>You're sick. Sit down, please.<\/dialogue>\n    <scene_description>He pulls out a kitchen chair . Kathleen sits . She 's a little woozy .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Vase?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Upper left.<\/dialogue>\n    <scene_description>He gets out a vase . Fills it with water .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>George says hello. He told me you were n't feeling well.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>How is George?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Great. He's revolutionizing the place. No one is allowed to work in his department who does n't have a Ph.D. in children's literature.<\/dialogue>\n    <scene_description>He unwraps the paper around the flowers . Daisies . Puts them in a vase .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>I love daisies.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>You told me.<\/dialogue>\n    <scene_description>He puts the vase on the kitchen table . Kathleen plays with the petals .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>They're so friendly. Do n't you think they are the friendliest flower?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I do.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>When did you break up?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Oh, a couple of weeks ago.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Everyone is breaking up. You. Me. This other person I know broke up with someone in an elevator. I think it was in an elevator. Or just outside it. Or after it. It got stuck. I think. And suddenly everything became clear. When I saw you, at the coffee place, I was waiting for him and I was -<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>- charming.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>I was not charming.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Well, you looked charming.<\/dialogue>\n    <scene_description>The teakettle whistles . Joe turns off the burner .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Tea?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Upper right.<\/dialogue>\n    <scene_description>He gets out mugs and teabags and pours the water .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>I was upset. And I was horrible.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Honey?<\/dialogue>\n    <scene_description>Kathleen nods . He puts in two spoonfuls , gives it to her .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>I was horrible.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>True. But I have no excuse.<\/dialogue>\n    <scene_description>She picks up the daisies and carries them into :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHLEEN'S LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Joe follows her . They both sit .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Whereas I am a horrible person and have no choice but to be horrible, is that what you're saying?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>No I am not saying that because I am done saying horrible things, even to you.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>You did it again.<\/dialogue>\n    <scene_description>She claps her hand over her mouth .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>I put you out of business. You're entitled to hate me.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>I do n't hate you -<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>But you'll never forgive me. Like Elizabeth.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Elizabeth Bennet in Pride and Prejudice. She was too proud -<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>I thought you hated Pride and Prejudice.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>- or was she too prejudiced and Mr. Darcy too proud? I can never remember.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>It was n't personal -<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>- It was business. What is that supposed to mean? I am so sick of that. All it means is it's not personal to you, but it's personal to me, it's personal to a lot of people.<\/dialogue>\n    <parenthetical>( she shrugs helplessly . )<\/parenthetical>\n    <dialogue>What's wrong with personal anyway?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>I mean, whatever else anything is, it ought to begin by being personal.<\/dialogue>\n    <scene_description>Kathleen stands up , picks up the daisies .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>My head's starting to get funny. I have to go back to bed.<\/dialogue>\n    <scene_description>They walk to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KATHLEEN'S BEDROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Kathleen puts the daisies next to the bed and gets into it . She fluffs up the pillows , pulls up the blankets , surrounds herself with Kleenex and Evian and sneezes a gigantic sneeze .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>Why did you stop by? I forget.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I wanted to be your friend.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I knew it was n't possible. What can I say? Sometimes a person just wants the impossible. Could I ask you something?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>What happened with that guy at the cafe?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>But you're crazy about him -<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Yes. I am.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Then why do n't you run off with him? What are you waiting for?<\/dialogue>\n    <scene_description>A long beat .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>I do n't actually know him.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Really.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>We only know each other - oh God, you're not going to believe this -<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Let me guess. From the Internet.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>You've Got Mail.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Very powerful words.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Joe sits on the edge of the bed .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>I'm happy for him. Although - could I make a little suggestion? I think you should meet him. No. I take it back. Why meet him?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( starting to get sharp again . )<\/parenthetical>\n    <dialogue>I hardly think I need advice from someone who -<\/dialogue>\n    <scene_description>He reaches out and gently claps his hand over her mouth . And holds it there . It 's unexpectedly tender and sexy .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>I concede I bring out the worst in you, but let me help you not to say something you'll just torture yourself about for years to come.<\/dialogue>\n    <scene_description>She starts to smile and he removes his hand . They look at each other .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>I hope you're better soon. It would be a shame to miss New York in the spring.<\/dialogue>\n    <scene_description>Joe stands .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>Thank you for the daisies.<\/dialogue>\n    <scene_description>He starts for the door .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Take care.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>I will.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Goodbye.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Goodbye.<\/dialogue>\n    <scene_description>We hear the door close . Hold on Kathleen .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL PARK - DAY<\/stage_direction>\n    <scene_description>Christina is running . She sees a good - looking MALE RUNNER coming toward her . She has no hope that he will notice her , and starts to look away as they get close to one another .<\/scene_description>\n    <character>MALE RUNNER<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>CHRISTINA<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>He passes her . Christina ca n't believe it . She does a little dance of joy . Camera pulls back as we see her by the reservoir on a beautiful morning doing her little celebratory spin . Then she resumes her morning exercise , running on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE SINGLES TEMPLE - FRIDAY EVENING<\/stage_direction>\n    <scene_description>Patricia comes in . The place is packed . There are hundreds of young Jewish New Yorkers singing folk songs and dancing the hora . The Rabbi is dancing among them . Patricia sees the rabbi , leading the dance . The rabbi whirls madly toward her , like a human dreidel .<\/scene_description>\n    <character>RABBIT<\/character>\n    <dialogue>Shabbat shalom!<\/dialogue>\n    <scene_description>He grabs Patricia 's hand , and to her surprise , they go whirling off together .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHLEEN'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>Kathleen at the computer , typing .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I have been thinking about this and I think we should meet.<\/dialogue>\n    <scene_description>She clicks the send button and then exits from American On Line . On her computer screen we now see the standard screen with several icons : American On - Line , Word , Recycle Bin , etc. . She clicks Word . She goes to File : New . There are several choices of format . She stares at the choices . Then she clicks Book format . A blank page appears in the computer . She starts to type : `` Once upon a time there was a little girl named . '' She pauses for a moment and looks around the room . She sees the flowers that Joe brought her . And then she types : `` Daisy . '' As she goes on typing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOE' BOAT - NIGHT<\/stage_direction>\n    <scene_description>On Joe typing .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>We should meet. And we will meet. But I'm in the middle of a project that needs.<\/dialogue>\n    <parenthetical>( he pauses to think of the right word . )<\/parenthetical>\n    <dialogue>. tweaking.<\/dialogue>\n    <scene_description>A look of calculation on his face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STARBUCKS - DAY<\/stage_direction>\n    <scene_description>We can see Kathleen through the window , drinking a cup of coffee . And now we see Joe walk into Starbucks . He waves at her , pretending surprise at seeing her . Has he been watching the store and waiting for her to come in ? We 'll never know .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STARBUCKS - A FEW MINUTES LATER<\/stage_direction>\n    <scene_description>He 's sitting next to her at the counter in the window .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Tweaking?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>That's what he said.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>He's probably married.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>That's a terrible thing to say. It's not possible.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Have you asked him if he's married? Have you said, `` Are you married?''<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Joe looks at her , shrugs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KATHLEEN'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>As she types :<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I know this is probably a little late to be asking, but are you married?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOE'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>As he answers :<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Am I married? What kind of a question is that? How can you ask me that? Do n't you know me at all? Oh wait, I get it. Your friends are telling you the reason we have n't met is that I'm married. Am I right?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIDEWALK CAFE - ANOTHER DAY<\/stage_direction>\n    <scene_description>Kathleen and Joe having nachos .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>So he did n't exactly answer.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>He did too. He nailed me. He knew exactly what I was up to. Which is just like him.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>But he did n't exactly answer, did he? Did he?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Maybe he's fat.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>I do n't care about that.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>You do n't care that he might be one of those guys who's so fat he has to be removed from his house with a crane?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>That's very unlikely.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Why else do you think he's putting off meeting you? Although. maybe that's not it. Maybe.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Never mind.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>He could be waiting til he's paroled.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Oh, you wo n't believe this, there was a moment when George thought he might be the rooftop killer, which was completely ridiculous -<\/dialogue>\n    <scene_description>Her voice trails off , as she considers whether it could be true .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>What's his handle?<\/dialogue>\n    <scene_description>She shakes her head .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Come on, I'm not going to write him. Is that what you think?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>NY 152.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>One five two. One hundred fifty two. Very interesting. He's 152 years old. He has 152 hairs remaining on his head. He's had 152 moles removed and now he has 152 pockmarks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FARMER'S MARKET ON BROADWAY - LATER<\/stage_direction>\n    <scene_description>As they walk past tables of bread and flowers , etc. .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>His combined college board scores.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>His IQ.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>The number of women he's slept with.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>The number of times he's seen The Godfather.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>That's the first good thing I've heard about him.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>His address. No, no, no. He would never do anything that prosaic.<\/dialogue>\n    <scene_description>On Joe , looking a little wounded .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>The only thing I really care about besides the married thing. and the jail thing. is the boat thing.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>The boat thing?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>I could never be with anyone who has a boat.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>So that clinches it. We'll never be together. I'll take care of these.<\/dialogue>\n    <scene_description>He picks up a mango , squeezes it .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I could never be with anyone who likes Joni Mitchell.<\/dialogue>\n    <parenthetical>( singing , imitating Joni . )<\/parenthetical>\n    <dialogue>`` It's cloud's illusions I recall, I really do n't know clouds at all.'' What does that mean?<\/dialogue>\n    <scene_description>Joe waits for Kathleen to say she likes Joni Mitchell . But Kathleen does n't say anything . She starts intently picking over apples , trying to find some she wants .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>How's your book coming?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BROADWAY - DAY<\/stage_direction>\n    <scene_description>As they walk away from the market , going uptown .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>There's a children's book editor I know, from the store, and she's excited to read it. When I finish it. Who would ever have thought I'd write? I mean, if I did n't have all this free time, I would never have discovered -<\/dialogue>\n    <scene_description>She stops , realizing what she 's saying .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>The truth is, he was the one who made me start thinking about writing -<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Mister 152 Felony Indictments -<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Mister 152. insights into my soul.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Yes. Well. Ca n't compete with that.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Well. I keep bumping into you. Hope your mango's ripe.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I think it is. Want to bump into me Saturday? Around lunchtime?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COMPUTER SCREEN - NIGHT<\/stage_direction>\n    <scene_description>As Joe types .<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>How about meeting Saturday? The first day of spring. 4 P.M. There's a place in Riverside Park at 88th Street where the path curves and when you come around the curve, you'll find me waiting.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. SATURDAY - GREY'S PAPAYA - THE FIRST DAY OF SPRING<\/stage_direction>\n    <scene_description>Kathleen and Joe are putting mustard on their hot dogs .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Today?<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Today.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Whoa.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>I know. In Riverside Park.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Is n't that amazing? Maybe I've seen him, and I do n't even know it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COLUMBUS AVENUE - DAY<\/stage_direction>\n    <scene_description>As they walk uptown , eating their hot dogs and drinking papaya drinks .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>He could be the Zipper Man.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Who's that?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>This guy on Amsterdam who repairs zippers. You'll never have to buy new luggage.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Stop teasing.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Timing is everything. He waited until you were primed. Until you knew there was no other man you could ever love.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( almost believe it . )<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Sometimes I wonder.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>They stop walking , they look at each other .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>If I had n't been Foxbooks and you had n't been The Shop Around the Corner and we'd just met -<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Do n't.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>I would have asked for your phone number and I would n't have been able to wait 24 hours before calling and asking, `` How about coffee, drinks, dinner, a movie, for as long as we both shall live?''<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <parenthetical>( almost a swoon . )<\/parenthetical>\n    <dialogue>Joe.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>And then we would never have been at war.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>The only fight we'd ever have is what video to rent on Saturday night.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Who fights about that?<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Some people. Not us.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>We would never.<\/dialogue>\n    <scene_description>A long beat .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>If only.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>Please. I have to go.<\/dialogue>\n    <scene_description>She does n't move .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Let me ask you something? How come you'll forgive him for standing you up and you wo n't forgive me for a little tiny thing like putting you out of business?<\/dialogue>\n    <scene_description>Kathleen looks at him . Shakes her head . They look at each other .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Oh how I wish you would.<\/dialogue>\n    <scene_description>It 's all Kathleen can do not to forgive him . It 's all Joe can do not to kiss her .<\/scene_description>\n    <character>KATHLEEN<\/character>\n    <dialogue>I really do have to go.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>You do n't want to be late.<\/dialogue>\n    <scene_description>She 's in agony . He turns and walks away . After a moment , she does too .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KATHLEEN'S APARTMENT - LATER<\/stage_direction>\n    <scene_description>As we see Kathleen come down the street and walk into her house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KATHLEEN'S APARTMENT - LATER<\/stage_direction>\n    <scene_description>As she comes out of the apartment house , having changed her clothes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVERSIDE DRIVE - LATER AFTERNOON<\/stage_direction>\n    <scene_description>As she comes toward the entrance to the park .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVERSIDE DRIVE PARK - LATE AFTERNOON<\/stage_direction>\n    <scene_description>As Kathleen comes down a path in the park , near 88th Street . She comes to a stop . Looks around . A young woman in running clothes passes by . A young father pushing a baby in one of those strollers runners use to push babies in . Kathleen looks at her watch . Suddenly she hears a noise . A dog barking . And Brinkley comes around the corner .<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Brinkley! Brinkley!<\/dialogue>\n    <scene_description>And hold on Kathleen as she sees . JOE And she starts to cry . And he comes to her . And puts his arms around her .<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Do n't cry, Shopgirl, do n't cry.<\/dialogue>\n    <character>KATHLEEN<\/character>\n    <dialogue>I wanted it to be you. I wanted it to be you so badly.<\/dialogue>\n    <scene_description>And as they kiss , we hold on them . And crane up and away as we see them , a couple kissing in the park on a beautiful spring day . A dog is leaping around them . And as we get further and further away from them , the screen turns into CYBERSPACE And the dog turns cartwheels and flipflops . And we tilt up to see the clouds and the sky and hear the sound of computer keys , clicking , clicking , clicking FADE OUT<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Kathleen Kelly is involved with Frank Navasky, a left-leaning newspaper writer for The New York Observer who is always in search of an opportunity to root for the underdog. While Frank is devoted to his typewriter, Kathleen prefers her laptop and logging into her AOL email account. Using the screen name \"Shopgirl\", she reads an email from \"NY152\", the screen name of Joe Fox, whom she first met in an \"over-30s\" chatroom. As her voice narrates her reading of the email, she reveals the boundaries of the online relationship: no specifics, including no names, career or class information, or family connections. Joe belongs to the Fox family that runs Fox Books, a chain of mega bookstores. Kathleen runs the independent bookstore The Shop Around The Corner that her mother ran before her. The two are shown passing each other on their respective ways to work, revealing that they frequent the same neighborhoods in the Upper West Side of Manhattan. Joe arrives at work, overseeing the opening of a new Fox Books in New York City with the help of his best friend, branch manager Kevin. Kathleen and her three store assistants, George, Aunt Birdie, and Christina, open up her small shop that morning. Following a day with his 11-year-old aunt Annabel and 4-year-old half-brother Matthew, Joe enters Kathleen's store to let his younger relatives experience story time. Joe and Kathleen have a conversation that reveals Kathleen's fears about the Fox Books store opening around the corner. He omits his last name and makes an abrupt exit with the children. At a publishing party for New York book business people later that week, Joe and Kathleen meet again where Kathleen discovers Joe's true identity in the Fox family. She accuses him of deception and spying, while he responds by belittling her store. When \"Shopgirl\" and \"NY152\" finally decide to meet, Joe discovers with whom he has been corresponding. At the table, he joins her without revealing his online identity, leading them to clash once more. NY152 later resumes the online correspondence, apologizes, and promises to eventually tell her why he stood her up. The Shop Around the Corner slowly goes under. Kathleen's employees move on: Christina goes job hunting, George gets a job at the children's department at the Fox Books store, and Birdie retires. Kathleen takes a break to figure out what she wants to do (write children's books). As the shop goes under, Joe realizes his feelings towards Kathleen and begins building a face-to-face relationship, still keeping his online identity a secret. They slowly build a friendship. Eventually, NY152 arranges a meeting between his online persona and Shopgirl, but right before she is to meet her online friend, Joe reveals his feelings for Kathleen. Upon arriving at the meeting place, she hears his voice, and sees that NY152 is, in fact, Joe Fox. Kathleen cries tears of joy and reveals that she hoped it would be him."}
{"movie_name":"Sing Street_2016","imdb_id":"tt3544112","script":"<script>\n  <scene>\n    <scene_description>Syntax Warning: Invalid Font Weight BEST ORIGINAL SCREENPLAY John Carney<\/scene_description>\n    <character>SING STREET<\/character>\n    <dialogue>\"This is school\"<\/dialogue>\n    <scene_description>Written by John Carney Card over Black: \"The '60s never really happened in Ireland. So the '80s will be the '60s. And the '80s will make the '60s look like the '50s.\" AN ALCOHOLIC.: Pre-title:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SYNGE STREET SCHOOL - DUBLIN CITY - MORNING<\/stage_direction>\n    <scene_description>Two FIFTEEN year-old BOYS stand outside this rough, inner city school on a cold, rainy morning. They are CONOR and DARREN. Conor is a middle class kid with a posh accent. Darren is a local boy, with a tough Dublin accent. They are elbowed by passing STUDENTS entering the school gates. Some of them mince past them, implying that they are gay. These two are outsiders. Conor will be handsome when he grows up. While most of the other boys have standard issue tight haircuts, Conor's is long and tousled. He sports two black eyes, making him look like a panda. Darren has acne, buck teeth, braces and bifocals. His face is a mess. They are both looking across the road. We don't see at what.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Who's she?<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>I don't know. She's always there.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>She's beautiful.<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>Yeah. Good luck. She doesn't speak to anyone. Stuck-up cow.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Who says?<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>Ciaran Mackie from third year said he tried to get her digits.<\/dialogue>\n    <character>CONOR<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>You mean her number?<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>Yeah. No luck. He said she has a boyfriend who's a drug dealer. She's not interested any of the boys in the school.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Oh yeah? Why's she standing there then?<\/dialogue>\n    <scene_description>Darren shrugs. Conor takes a breath, sets off, crossing the road.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SYNGE STREET SCHOOL - MORNING<\/stage_direction>\n    <scene_description>We track with him over his shoulder, arriving at a 16 year- old GIRL, who is standing on the stoop of a HOUSE, an unlit cigarette dangling from her purple lips. Conor stands in front of her. She has a great look: lots of black. Good makeup. Back-combed hair. Early '80s teen-chic. She's ahead of her time, and anything but ordinary.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Need a light?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>No. I'm trying to give up.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Cool. I don't have any matches anyway.<\/dialogue>\n    <scene_description>Silence. He doesn't go away.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Why aren't you at school?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>I don't go to school.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm a model.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Cool. Like, for magazines, and stuff?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>I'm going to London soon. Just waiting for my portfolio shots. There's no real work for models in Dublin, you know.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Yeah. I know.<\/dialogue>\n    <scene_description>He thinks.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Oh yeah, I meant to ask- do you want to be in a video? For my band?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>You're in a band?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Yes. And we need a girl for it. There's like a story. It's called a \"Story-Board\" video. You could be the girl. In the story. If you're free. Have you been in a video before?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>No.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Is that a problem?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>I hope not. I'll ask the producer.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Who's the producer?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>That kid behind me.<\/dialogue>\n    <scene_description>She looks over his shoulder, pulling onto Darren, who waves nonchalantly.<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>When are we shooting? I'm pretty busy.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Saturday after next. I can call you with the details. If I had your digits.<\/dialogue>\n    <scene_description>She puts the cigarette away, taking out her pen. He produces his journal, handing it to her. She flicks through it, it's full of thoughts and drawings.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Lyrics.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>So if you're in a band, sing me a song.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>I'm not singing here.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>What, you'll have to sing in front of thousands of people. I'm just one. Sing.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Sing anything off the radio.<\/dialogue>\n    <scene_description>He reluctantly sings a hesitant but tuneful few lines from a popular song. She smiles. She writes down her number on the cover. He smiles, turning back. Score.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SYNGE STREET SCHOOL - MORNING<\/stage_direction>\n    <scene_description>We track back with him across the street as he approaches Darren, who can't believe what he's seen.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>We need to form a band...<\/dialogue>\n    <scene_description>Freeze Frame. A loud, energetic punk song crashes in on the track. SONG and titles run over: TITLE SEQUENCE - MONTAGE A montage of news stories, rock videos, magazine covers, headlines. It's the early eighties, and it's Ireland. Midway through the worst recession since the 1950s. TITLE SEQUENCE - MONTAGE Across the Irish sea, in London, news reports see Thatcher waving to the crowds. City boys talk into early mobile telephones, getting into sports cars. Armani suits, and gold cuff links. TITLE SEQUENCE - MONTAGE But back in Ireland: bombs in the North, petrol queues in the South. Deserted building sites, bricked-up buildings. More black and white, than London's Technicolor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONOR'S KITCHEN - DAY<\/stage_direction>\n    <scene_description>We start to PULL OUT from an old TV set. The 9 o'clock news is on. The volume turned down low.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONOR'S KITCHEN (CONTINUOUS) - DAY<\/stage_direction>\n    <scene_description>We find ourselves in a large kitchen. High ceilings and rattling sash windows, in what 100 years ago was a fine Georgian home. Now, things are a little faded. The room is cold and unwelcoming. Very little on the shelves. A family on a budget. Sitting around the kitchen table are: Conor (no black eyes yet), and his parents, PENNY and ROBERT, both in their mid forties. They've just finished a meal of Spag Boll. Though it's more Spag than Boll. Penny fills up her glass of cheap supermarket wine. Robert picks his teeth with a toothpick. He is drinking a whiskey and smoking. Penny checks her watch. They are sitting in silence, as if waiting for something to happen. Conor is wearing a woolly hat, and his coat, indoors. Card: ONE MONTH EARLIER<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONOR'S KITCHEN (CONTINUOUS) - DAY<\/stage_direction>\n    <scene_description>Finally, the sound of someone racing down the stairs from above. The door opens and BRENDAN, (20), tumbles into the room carrying an ash tray, glass of wine, tobacco pouch, rolling papers and matches. He sits down at the vacant seat, beside his brother. Brendan has long hair, and a moustache. He's handsome.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <dialogue>This meeting has been called to order. Pray proceed.<\/dialogue>\n    <scene_description>He lights a cigarette.<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Okay, so we wanted to talk about finances. Penny?<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>What? Go ahead.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <parenthetical>(to his brother)<\/parenthetical>\n    <dialogue>This is going to be heavy.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Well, as you might have noticed- your mother and I are really struggling at the moment, like the rest of the country. I haven't had a single commission this year. Your mother is on a three day week. It doesn't look like it's going to get much brighter.<\/dialogue>\n    <scene_description>He knocks back his drink. The kids wait for what's coming next.<\/scene_description>\n    <character>PENNY<\/character>\n    <dialogue>So we've had a look through the accounts, and we see quite a significant saving if we were to alter the education situation.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>What \"education situation\"?<\/dialogue>\n    <character>BRENDAN<\/character>\n    <parenthetical>(intuiting)<\/parenthetical>\n    <dialogue>He means your school. They're taking you out of school.<\/dialogue>\n    <character>CONOR<\/character>\n    <parenthetical>(excited)<\/parenthetical>\n    <dialogue>What?!<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>We're not taking you out of school. We're transferring you from one school to another.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Why!?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>We have to make some cuts to the budget. I'd suggest taking your brother out of college, but he's already dropped out of his own volition.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <parenthetical>(raising a glass)<\/parenthetical>\n    <dialogue>Thank you Dad.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Cuts? I'm already wearing three jumpers, indoors. And a hat. I read by candlelight! And it's the 1980s. I'm like Tiny Tim up there!<\/dialogue>\n    <scene_description>Brendan laughs.<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Don't act so entitled. I grew up in a council house with five brothers.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <parenthetical>(mock surprised)<\/parenthetical>\n    <dialogue>Really? Tell us about that dad. For the first time ever.<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>A school that's close by. So there's no transport costs. You can cycle in. And you can get lunch back here. There's two savings already! It's a non-fee paying school.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Those Jesuits are far too soft on you anyway.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>The Jesuits have a long history of education.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>So do the Christian Brothers.<\/dialogue>\n    <scene_description>Silence.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Who are the Christian Brothers?<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>The Christian Brothers, Conor, are a order of the Catholic Church, appointed in the education, formation, and beating of their young charges.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Oh be quiet Brendan! Six years at the hands of the Jesuits yourself, and look at what they did for you!<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>Well they didn't beat me.<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Brendan! Cut that out. Synge Street is a perfectly reputable school. You'll settle in in no time.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>You can't just change in the middle of the year. Just when I'm making friends and settling in. This could scar me. Long-term!<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Just deal with this, Conor. You know what the Christian Brother's motto is? \"Viriliter Age\". That means \"Act Manly\".<\/dialogue>\n    <scene_description>This meeting is over. Brendan gets up. He squeezes Conor's shoulder, big brother style, and exits. His parents go about their business. We push in on Conor, alone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONOR'S HOUSE (CONTINUOUS) - DAY<\/stage_direction>\n    <scene_description>The door slams as Conor exits his house, zipping up his jacket. He marches down the driveway. He wears brown cords with a slight flare to them. Leather shoes. Jumper. This is a leafy suburb of Dublin. Middle class, safe, protected. But Conor's house stands out. It has seen better days. It needs a new coat of paint, and the garden could do with a mow. A car is parked in the driveway, but hasn't been used in a good while. Three push bikes are leaning against the gate instead. He walks up the street with his hands in his pockets.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JESUIT SCHOOL SPORTS GROUND - DAY<\/stage_direction>\n    <scene_description>This is a large sports ground in a leafy Jesuit school. Nice, red brick buildings, very peaceful. It's the weekend, and students are practicing track, rugby, cricket. A big copper beech tree shades the Cricket Training net. Conor is at the wicket, bat in hand. Two FRIENDS are playing with him. They all speak with posh, South-side accents.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>So guys, I'm not coming back after the break.<\/dialogue>\n    <character>FRIEND 1<\/character>\n    <dialogue>The hell? Why?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>The old pair are moving me to a different school.<\/dialogue>\n    <character>FRIEND 2<\/character>\n    <dialogue>Dicks. Why?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>They say they have no money.<\/dialogue>\n    <scene_description>The ball whizzes past him. He misses by a mile, throwing down the bat in frustration. They take a break.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>But we still hang out, yeah?<\/dialogue>\n    <character>FRIEND 2<\/character>\n    <dialogue>Totally man.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>At weekends and stuff. Right?<\/dialogue>\n    <character>FRIEND 1<\/character>\n    <dialogue>Absolutely. So where are you going? Conlets?<\/dialogue>\n    <scene_description>Conor doesn't respond.<\/scene_description>\n    <character>FRIEND 2<\/character>\n    <dialogue>Gonzaga?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Synge Street.<\/dialogue>\n    <scene_description>His friends exchange looks after they see he's not joking.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>What?? It can't be that bad?<\/dialogue>\n    <scene_description>One of them mock-hugs him.<\/scene_description>\n    <character>FRIEND 2<\/character>\n    <dialogue>Seriously bro, it's been nice knowing you.<\/dialogue>\n    <scene_description>His friends laugh. We hold on Conor, the gravity of his situation sinking in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JESUIT SCHOOL OFFICE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Conor is sitting in a cosy, large office. Across from him, his history teacher, and headmaster, FATHER WAITS (late 50s). Fr. Waits smokes a pipe, sitting on the edge of his desk. He is prematurely grey, and has a warm, understanding appearance. His SECRETARY, a heavy woman in her fifties, sits in an anteroom, typing, off.<\/scene_description>\n    <character>FATHER WAITS<\/character>\n    <dialogue>We'll be sorry to be losing you. Synge Street was a fine school in its day. It has a poor reputation now, but I'm sure that's exaggerated. The Christian Brothers can be a little tough to my mind, but they get the work done.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>No more rugby. No cricket practice. Debating. School plays??<\/dialogue>\n    <character>FATHER WAITS<\/character>\n    <dialogue>They'll have their own extracurricular activities I suspect.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Yeah, like flick knife practice. And corporal punishment.<\/dialogue>\n    <character>FATHER WAITS<\/character>\n    <dialogue>I'm sure that's not true.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>I've heard it is. I can't do corporal punishment. I'm light- boned.<\/dialogue>\n    <scene_description>Father Waits laughs. Though Conor is wise-cracking, he's clearly genuinely nervous. Father Waits gets up, putting a hand on Conor's shoulder and walking him to the door.<\/scene_description>\n    <character>FATHER WAITS<\/character>\n    <dialogue>You'll be fine, Conor. Trust me. You know what's gotten us to where we are today, us humans? One quality?<\/dialogue>\n    <scene_description>They pause at the open door.<\/scene_description>\n    <character>FATHER WAITS<\/character>\n    <dialogue>Adaptability.<\/dialogue>\n    <scene_description>He winks, shaking Conor's hand. Conor shuffles off down the corridor. Father Waits looks over to his secretary who has been listening. He makes a doubtful expression. She nods in agreement.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - DAY<\/stage_direction>\n    <scene_description>A church on a school campus. 30 choir boys are at choir practice on the alter. They are dressed in their own cloths. There is no congregation. It's Saturday rehersal. They sing BACH. We slowly ZOOM in to Conor, who is standing on the edges of the back row. He sings, but is lost in thought. A TEACHER is conducting them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SYNGE STREET SCHOOL - EVENING<\/stage_direction>\n    <scene_description>Conor walks past Synge Street School that evening. The gates are open. The deserted school looms grey and forboding in the dusk sky. He pushes the gate open and enters, looking around. Litter rolls like tumbleweed across the pot-holed yard. Stripped-down bicycle frames remain locked to the outdoor bike shed. Old windows rattle in the wind. The walls read like a tabloid newspaper: \"IRA\" \"BRITS OUT\" \"JENNY GREEN IS A SLUT \" are among the headlines. The playing field of his previous school is another world.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRENDAN'S ROOM - EVENING<\/stage_direction>\n    <scene_description>Back in his house, we are in Brendan's attic lair. As far away from the rest of the house as possible. This small room is a shrine to music and art. And hash. We have numerous ash trays. A homemade hammock. Posters of bands on the walls. Shelves of books on pop art, philosophy, and music. A poster of SIGMUND FREUD on the wall next to his bed. A voice bubble has been drawn in, saying \"It's all your mother's fault\". A portable TV on a box. An acoustic guitar with two strings. But most importantly, a huge collection of Vinyl. Proudly alphabetized. The only thing so in Brendan's life. The windows are blacked out with hanging blankets, and the lighting is low; easy on the eternally stoned eye. Brendan sits in his huge, collapsed armchair in a mist of marijuana smoke, a king of his own domain. He is taking a drag from one. The door is ajar. Outside, Conor knocks.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>You in there?<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>Where else would I be?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>I don't know. The kitchen?<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>I'm in here.<\/dialogue>\n    <scene_description>Conor enters, leaning against the wall by the door.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <parenthetical>(sage-like)<\/parenthetical>\n    <dialogue>You appear troubled, my young friend.<\/dialogue>\n    <scene_description>Conor nods his head.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <dialogue>Sit. Share your woes.<\/dialogue>\n    <scene_description>Conor sits on the edge of his brother's bed.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <dialogue>You start tomorrow?<\/dialogue>\n    <scene_description>Conor nods his head.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <dialogue>You'll be fine. You just have to find a way of distracting the thugs from noticing you.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>How do I do that?<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>How would I know?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>I feel like I'm going to prison.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>You are. In a way. All institutions are prisons. You do realize that this is just part of the bigger picture? This school move?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>How do you mean?<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>I'm pretty sure they're splitting up. I hear them rowing, in the middle of the night.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Do you? Why aren't you asleep?<\/dialogue>\n    <scene_description>Brendan just laughs at this, as if sleep would be ridiculous.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <dialogue>There'll be plenty of time for that.<\/dialogue>\n    <scene_description>He takes another drag, and then instinctively goes to pass it to Conor. But then realizes, pulling it back.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <dialogue>Oh, no, you're tiny.<\/dialogue>\n    <scene_description>He stands up, taking the record that has been playing quietly. Replaces it carefully, and searches for something else.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <dialogue>...and this is just the start of a process. They start moving you around. Soon the electricity will be cut off. The bailiff will come. The house will be sold.<\/dialogue>\n    <scene_description>The cave is under threat, brother. From monsters. Conor is genuinely concerned.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>What monsters?<\/dialogue>\n    <scene_description>Brendan finds a record that is pertinent, opening it, and carefully rubbing his sleeve off the vinyl.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <dialogue>Oh, just the three-headed monster of Fear, Infidelity, Ego, Materialism.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>That's a four-headed monster.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>The things that are destroying their marriage. And now YOU'RE being tested. This is YOUR time. I had my time.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>And what happened?<\/dialogue>\n    <character>BRENDAN<\/character>\n    <parenthetical>(beat, a thousand thoughts in a blink of an eye)<\/parenthetical>\n    <dialogue>This is a great chance for you. To break that cycle of shit. That school would have turned you into a doctor, or a lawyer. \"Must make money, must make money\".<\/dialogue>\n    <scene_description>Conor listens attentively, if a little confused.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <parenthetical>(off his look of confusion)<\/parenthetical>\n    <dialogue>That was a robot I just did there. Who wants to be a robot? Except R2D2? Who knows what this new prison will do for you, my little friend!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You're on a hero's journey. How are you going to fare?<\/dialogue>\n    <scene_description>He puts on the record he's been looking for. The needle meets the vinyl with a comforting crunch. A loud, heavy metal song from the late seventies. The room rocks. Brendan smiles at his younger brother, \"you feeling me??\" Hard cut.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SYNGE STREET SCHOOL - MORNING<\/stage_direction>\n    <scene_description>Song playing loud. Monday morning. Almost in answer to his brother's question, Conor walks into the gate of the school. Numerous kids have gathered in packs. Conor has to walk a gauntlet of new faces. Heads turn towards the newcomer. There is something of a stranger arriving at a new town in a Western. But this is no Western, and the stomping song tells us so. Conor's three- quarter length smart coat and long curly hair draws laughs. He is also carrying a soft, brown leather satchel, which doesn't help. Kids smoke in circles. Kids spit on the ground. Further into the walk, a fight is just breaking out, and a small circle is gathering. Two boys beat it out. Bloody noses and fists. Conor speeds up as he passes. He notices that above them, at a second story window, a BROTHER (50s), in black suit and white collar, is watching the fight down below. He does nothing about it. One KID has a dead RAT skewered on the end of a stick. He chases other kids around with it. He finally throws it at Conor. It hits him on the side of the head. Others laugh. The song ends as he enters the school. The back of his coat is covered in spit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLASSROOM - DAY<\/stage_direction>\n    <scene_description>Conor sits in a large, drafty classroom, looking around. The windows rattle in the wind. Worn, wooden floorboards underfoot. The desks are mismatched. Two kids per desk. This is a class of about 35 kids. BROTHER BARNABAS (70), in a black gown and white collar, writes Latin on the blackboard. Even with his hearing aid, he can't hear kids chatting, laughing and fighting when his back is turned. Conor sits in the middle, amazed. To his left, at the back of class, a boy smokes a cigarette, blowing the smoke out the sash window beside him. To his right, two BOYS hold down another, as a fourth farts in his mouth, closing it, and making him swallow. Another kid is getting an Indian ink tattoo: IRA, on his hand. At the blackboard, Brother Barnabas takes a surreptitious swig from a hip flask, returning it under his gown. This old guy should have been put out to pasture a long time ago. The door swings open, and the HEADMASTER enters silently, on his morning rounds. The class stands up. Silence. He is the same Brother we saw watching the fight on the way in.<\/scene_description>\n    <character>CLASS<\/character>\n    <parenthetical>(as one)<\/parenthetical>\n    <dialogue>Good morning Brother Baxter.<\/dialogue>\n    <scene_description>Brother Baxter surveys the room, landing on the blackboard.<\/scene_description>\n    <character>BROTHER BAXTER<\/character>\n    <dialogue>It's French, brother Barnabas.<\/dialogue>\n    <character>BROTHER BARNABAS<\/character>\n    <dialogue>Hah?<\/dialogue>\n    <character>BROTHER BAXTER<\/character>\n    <dialogue>You're teaching French. Not Latin.<\/dialogue>\n    <scene_description>Brother Barnabas looks at the board, seeing that he is teaching Latin.<\/scene_description>\n    <character>BROTHER BARNABAS<\/character>\n    <dialogue>Oh. How modern.<\/dialogue>\n    <scene_description>Brother Baxter speaks in a tough, no nonsense Dublin accent. His bushy moustache suggests something of a military man.<\/scene_description>\n    <character>BROTHER BAXTER<\/character>\n    <dialogue>Mind you, I'd be surprised if any of ye even knew where France is, not to mind speaking the language.<\/dialogue>\n    <scene_description>Silence. Conor, who thinks this is an actual question, raises a hand.<\/scene_description>\n    <character>BROTHER BAXTER<\/character>\n    <dialogue>Oh. Go on.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>On the continent. Above Spain.<\/dialogue>\n    <character>BROTHER BAXTER<\/character>\n    <dialogue>My my. And how do you know that?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>My parents took us there. One summer. In the car.<\/dialogue>\n    <scene_description>Other kids laugh, jealously.<\/scene_description>\n    <character>BROTHER BAXTER<\/character>\n    <dialogue>You'll be the new lad then, from the Jesuits.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>BROTHER BAXTER<\/character>\n    <dialogue>Yes \"Brother\". What's your name.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Conor Lawlor.<\/dialogue>\n    <scene_description>Laughter. Conor looks around, all eyes on him. Brother Baxter is impressed.<\/scene_description>\n    <character>BROTHER BAXTER<\/character>\n    <dialogue>Shut up! You could all take a leaf out of his book. Look at a map once in a while. Right Conor. Morning prayers are at a quarter to nine. Little break is ten minutes. At 11 o'clock. Big break is 45 minutes at 1 o'clock. The canteen is located below the P.E. Hall. They serve chips and bars. The lads will show you the ropes. Welcome.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>BROTHER BAXTER<\/character>\n    <dialogue>As you were!<\/dialogue>\n    <scene_description>He turns to go. But as he does, he sees Conor's feet under his desk. He pauses. Conor is wearing brown leather brogues. Everyone else is wearing black shoes.<\/scene_description>\n    <character>BROTHER BAXTER<\/character>\n    <dialogue>We have a strict, black shoe policy here, Mr. Lawlor. Your parents should have read it in the introductory rule book. Page 142. We'll let it go today, but from tomorrow on...<\/dialogue>\n    <scene_description>He goes to exit again.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>I don't have black shoes, Sir.<\/dialogue>\n    <scene_description>Brother Baxter pauses at the door. The class goes silent. BB is not used to being questioned like this.<\/scene_description>\n    <character>BROTHER BAXTER<\/character>\n    <dialogue>Well, you'll have to get a pair then. And report to me first thing in the morning with them. Good man.<\/dialogue>\n    <scene_description>Brother Baxter exits. The class takes a sigh of relief. The kid who was smoking releases a lung-full of smoke. Brother Barnabas goes back to teaching Latin. Conor leans into the BOY sitting next to him, MICK MAHON, a really tough kid with a buzz cut and a gold stud earring.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Sorry, but where did he say the restaurant was?<\/dialogue>\n    <character>MICK MAHON<\/character>\n    <dialogue>The wha?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>The restaurant? The cafeteria?<\/dialogue>\n    <character>MICK MAHON<\/character>\n    <dialogue>You mean the canteen?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Yeah. Of course.<\/dialogue>\n    <scene_description>Mick just shakes his head in amazement.<\/scene_description>\n    <character>MICK MAHON<\/character>\n    <dialogue>The \"restaurant\". You're not in France now, you bleedin spanner.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SYNGE STREET YARD - DAY<\/stage_direction>\n    <scene_description>Little break. Kids play football with a punctured football. Others sit on walls eating sweets. Conor wanders about on his own looking for the canteen. He passes by the alleyway towards the P.E. hall. From behind the bike sheds, a low whistle catches his attention. Down the alley way is a 15 year-old. He has a cigarette in his hand. He has a skin head. His uniform is dirty and too short for him. He wears scuffed loafers and a green bomber jacket.<\/scene_description>\n    <character>KID<\/character>\n    <dialogue>Do you smoke, do you?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Oh. Occasionally. I'm not really a smoker. My brother is, and I sometimes take a little of his tobacco, if my friends are over. And my dad used to smoke a pipe. But he gave up.<\/dialogue>\n    <character>KID<\/character>\n    <dialogue>Why are you telling me all this? Come on and we'll have a smoke. Follow me.<\/dialogue>\n    <scene_description>Conor follows the kid, who enters a prefab marked TOILETS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE BOY'S TOILET'S (CONTINUOUS) - DAY<\/stage_direction>\n    <scene_description>This is a stinking prefabricated building, with a row of urinals across from three cubicles. The floor is sticky and wet. Conor follows the KID in. He puts a cigarette in his mouth.<\/scene_description>\n    <character>KID<\/character>\n    <dialogue>D'you want one?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Nah, I'm okay. I'll just watch you. I've already had a couple this morning.<\/dialogue>\n    <scene_description>The kid pulls a Black Widow catapult from inside his bomber jacket, and a large marble.<\/scene_description>\n    <character>KID<\/character>\n    <dialogue>Did you ever see one these, did you?<\/dialogue>\n    <scene_description>He loads it with the marble, and points it at Conor's head.<\/scene_description>\n    <character>KID<\/character>\n    <dialogue>I hear you're a queer.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>KID<\/character>\n    <dialogue>I hear you're a little queer?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>No. You must have me mixed up with someone else.<\/dialogue>\n    <character>KID<\/character>\n    <parenthetical>(scrutinizing him)<\/parenthetical>\n    <dialogue>I don't think so. Dance.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>KID<\/character>\n    <dialogue>Dance. Like a queer.<\/dialogue>\n    <scene_description>Conor doesn't know how to deal with this.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Are you serious?<\/dialogue>\n    <scene_description>The kid aims the catapult at a light bulb, and fires, hitting it perfectly, re-loading and pointing it back at Conor. Conor starts a merry jig. The KID watches for a while, his catapult ready.<\/scene_description>\n    <character>KID<\/character>\n    <dialogue>Now dance with your pants down.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>KID<\/character>\n    <dialogue>Get into that cubicle. And dance with your pants down.<\/dialogue>\n    <scene_description>Conor stops dancing.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>KID<\/character>\n    <dialogue>What did you just say.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>No, I'm not doing that.<\/dialogue>\n    <scene_description>Silence. To his surprise, the kid disarms his catapult.<\/scene_description>\n    <character>KID<\/character>\n    <dialogue>Okay. Bye Bye.<\/dialogue>\n    <scene_description>Conor walks past him, exiting hurriedly, baffled.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CANTEEN (CONTINUOUS) - DAY<\/stage_direction>\n    <scene_description>Conor is in a basement building. No windows. It's lit with fluorescent lights. Kids of all ages muck about. There's a ping pong table with no net or bats. There's a tuck shop with candy bars and a dinner lady deep frying chips at a window. Music plays through a small ghetto blaster. Many kids are smoking. Conor heads for the tuck shop window, joining a rowdy queue while searching for enough change in his pockets. He manages to get 25 pence together and exchanges it for a Mars bar. As he turns to exit, the KID from the toilet is standing right behind him. He taps him on the shoulder. Conor turns around. People watch on, knowing that something is brewing. The KID lets Conor have it, right on the eye. It's a good shot. People wince. Conor goes down on the ground. The KID picks up Conor's Mars Bar and rips it open; takes a bite and throws away the rest. He turns and swaggers off. People clear the way from him, keeping their distance. The bell rings and everyone starts to shuffle off back to class, some of them step over Conor, laughing. As the room empties out, we hear a voice, off:<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>You should've just danced.<\/dialogue>\n    <scene_description>Conor looks over his shoulder. DARREN (who we met in the pre- title scene) is crossing over towards him, putting on his jacket.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SYNGE STREET YARD (CONTINUOUS) - DAY<\/stage_direction>\n    <scene_description>Conor, now in the company of Darren, walks back towards his classroom, holding his eye.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>So you were there? In the toilets?<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>I've a touch of the scutters. So I was in one of the cubicles all morning with the liquid shits.<\/dialogue>\n    <scene_description>He smiles.<\/scene_description>\n    <character>DARREN<\/character>\n    <dialogue>Darren's the name.<\/dialogue>\n    <scene_description>He goes to shake hands. Conor take his hand, hiding his reluctance.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Conor. Who is that psycho?<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>That's Barry Bray. He eats hair gel.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>Yeah. He ate a pot of hair gel in class once. No one knows why. The only problem now is, he'll be out for your blood.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>Because you've shown weakness.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>How do you know him?<\/dialogue>\n    <scene_description>We hold on Conor, looking increasingly worried. Synge Street is certainly living up to its reputation.<\/scene_description>\n    <character>DARREN<\/character>\n    <dialogue>He lives in the same flats as me. His ma and da are mad drug addicts. People say he was conceived on acid. And it got into his bloodstream. But don't worry, you just need to come up with a plan for the year. A solution. Here.<\/dialogue>\n    <scene_description>He hands him a slip of paper from a plastic wallet. It reads, in marker: Darren Mulvey. Business solutions. Saint Teresa's Gardens. Flat 221. \"Your problem is my solution!\"<\/scene_description>\n    <character>DARREN<\/character>\n    <dialogue>Call me any time.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>There's no number on it.<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>No, we don't have a phone. Just call around.<\/dialogue>\n    <scene_description>They arrive outside Conor's class.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>This is my class. Where are you?<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>Ah they kept me back a year. Or two. I can't really read very well.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Right. How's that going to work, in business?<\/dialogue>\n    <character>DARREN<\/character>\n    <parenthetical>(leaning in)<\/parenthetical>\n    <dialogue>I can read people. And you're alright. But you won't survive in here unless we deal with Barry.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>What about telling the Brothers?<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>Hah! You could do that, yeah.<\/dialogue>\n    <scene_description>Darren heads off, laughing. Conor heads back into class. The door slams behind him with a menacing \"SLAM\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONOR'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Penny stands in the hallway, shouting upstairs.<\/scene_description>\n    <character>PENNY<\/character>\n    <dialogue>Bren! Conor! It's on.<\/dialogue>\n    <scene_description>Brendan exits his room quickly. He is carrying his drinking and smoking accoutrements. He passes Conor's door as Conor exits. The two of them run downstairs. It's like a fire drill.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE SITTING ROOM (CONTINUOUS) - NIGHT<\/stage_direction>\n    <scene_description>Brendan and Conor burst into the sitting room. Their father is sitting at the table drinking a whiskey. The collar of his jacket is turned up, and he has a scarf on. In front of him, a few architectural drawings, draftsman kit, sliding rule etc. He is sketching plans for a building that will never be built. Numerous photographs of Brendan are framed and around the place. As a baby. A young boy. A handsome teenager. Etc. Brendan was the golden boy. Brendan turns on the TV as he and Conor take seats on the couch.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <dialogue>Can we turn on the fire?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>TV PRESENTER<\/character>\n    <parenthetical>(off)<\/parenthetical>\n    <dialogue>It's Thursday. It's 7 o'clock. It's Top of The Pops!<\/dialogue>\n    <scene_description>Penny enters, sitting across from her husband, drinking a coffee. She is wearing a big cardigan. As the charts countdown for January starts, they are a family. Sort of.<\/scene_description>\n    <character>VOICE ON TV<\/character>\n    <dialogue>\"They can't be here tonight as they're in the USA, so instead, we have to go to... RIO. It's Duran Duran!\"<\/dialogue>\n    <scene_description>On the TV, the video for Duran Duran's \"Rio\" begins. Conor is glued to the screen as Brendan lectures on the clothes, video, song, and lyrics. Conor is an enthusiastic student.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <dialogue>The jury is out on which way these guys will go. They're a lot of fun, and John Taylor is one of the most proficient bass players in the UK right now, giving them a funky edge which I hope they'll go with. Look at this video!<\/dialogue>\n    <scene_description>He laughs with glee as beautiful people aboard a yacht in the Caribbean surround Simon LeBon. The band looks good. The girls are clad in bikinis. At the table, Robert looks back at his sketch. He scrunches up the sheets of paper angrily. Frustrated. Penny watches this.<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Who am I kidding. Nothing's getting built here for another ten years at least.<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>You don't know that.<\/dialogue>\n    <scene_description>He laughs, pouring a whiskey, and turning towards the TV.<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Not exactly the Beatles, is it.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>Oh, I'll just start up the time machine so we can go BACK in time for dad.<\/dialogue>\n    <scene_description>He sighs. Underwater, Simon LeBon drinks a pink cocktail underwater. The pink liquid mixes with the sea. Brendan laughs.<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Well if that's the future we're all screwed. Look at him, he's not even singing live!<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>It's a video, Robert. It's a piece of art. Everyone is making them now.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Yeah Robert.<\/dialogue>\n    <character>PENNY<\/character>\n    <parenthetical>(referring to Simon)<\/parenthetical>\n    <dialogue>He's very attractive isn't he?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>You're welcome to him.<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Do you promise?<\/dialogue>\n    <scene_description>On screen, a guy in the video plays a saxophone solo on a raft.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Wow, a saxophone solo.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>That might date.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Why can't they get them to play live? What are they hiding?<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>Because they're in the USA, didn't you hear him? And this lasts forever. It's the perfect marriage of music and visuals. Short. To the point. Look at that...<\/dialogue>\n    <scene_description>He points to the screen. Hedonism and fun, in Technicolor.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <dialogue>What tyranny could stand up to that?<\/dialogue>\n    <scene_description>Conor looks at the screen, transfixed. His brother has a point. Sort of.<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>That's because this is the tyranny.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>Oh let's not begin a philosophical argument Robert.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>Because you'll lose.<\/dialogue>\n    <scene_description>This winds Robert up, who is up for a fight, but a stern shake of Penny's head warns him off.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>...and the thing about Barry Bray is, he's probably a victim himself. Bullying is a cycle. Like with Dad. His dad undermined him, pissed on his dreams. So what do you expect.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>So we gotta break the cycle. Right? Look at these guys-<\/dialogue>\n    <parenthetical>(referring to the band)<\/parenthetical>\n    <dialogue>Their dads fought in the Second World War! Wore flat caps and woolen underwear. Look at them now!<\/dialogue>\n    <scene_description>On screen, Duran Duran are the epitome of '80s London: affluence, arrogance, and renewed confidence.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <dialogue>Barry Bray is more than likely gay. And he's struggling with it. And holding you up in the toilets is all part of that.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>Probably. It's not a good school to be gay in, he's suffering in there, same as you. But the only way to get him off your back is to understand him. To defeat him, you must firstly forgive him.<\/dialogue>\n    <scene_description>He nods, sagely, returning to watching the TV. We hold on Conor thinking about this advice.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SYNGE STREET SCHOOL GATE - DAY<\/stage_direction>\n    <scene_description>Conor walks into school. He is keeping a low profile, walking in by the wall as the madness carries on all around him. Up ahead, he runs into Brother Baxter. He looks him up and down. We TILT down to reveal... BROWN SHOES. Hold on Brother Baxter's face. An inscrutable look. Deep shock that his warning would be ignored.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROTHER BAXTER'S OFFICE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Brother Baxter sits behind his large desk in his office. Very little in this room, except a statue of the Virgin Mary, and a cross. On the other side of the desk, Conor. Silence.<\/scene_description>\n    <character>BROTHER BAXTER<\/character>\n    <dialogue>What's going on, son?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>About the shoes?<\/dialogue>\n    <scene_description>Brother Baxter just nods.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Well, I brought it up with my mum. But she said we couldn't afford another pair of shoes at the moment. I bought these before I knew about the shoe colour policy here at Synge Street. But it's not as if these are runners or something. They're brown. They're quite sensible.<\/dialogue>\n    <character>BROTHER BAXTER<\/character>\n    <dialogue>I can see that. They're very nice. Tasteful, as you say. But you see, they're not black?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>I'm not sure... What you want me to do. They're shoes. They keep the rain out.<\/dialogue>\n    <character>BROTHER BAXTER<\/character>\n    <parenthetical>(nodding his head)<\/parenthetical>\n    <dialogue>Take them off.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>BROTHER BAXTER<\/character>\n    <dialogue>Seeing as you're so fond of them. You can pick them up here at four o'clock every day until you comply with the rules of the school.<\/dialogue>\n    <scene_description>Conor looks at him in disbelief. Is this really what's going to happen now?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CORRIDOR - MOMENTS LATER<\/stage_direction>\n    <scene_description>Close on a pair of stockinged feet. Conor walks down the corridor in his socks. Kids laugh. What is going on.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE YARD - LATER<\/stage_direction>\n    <scene_description>Now Conor walks through puddles in the yard. His socks are already developing holes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ART CLASS - LATER<\/stage_direction>\n    <scene_description>Conor sits in art class. This class is made up of about twelve kids. Including Conor. There's some interesting art on the walls. Conor rubs his feet together, trying to keep warm. MISS DUNNE (40s), sits on the corner of her desk. She has a curvy figure, and a mane of dyed blonde hair. She has a Dublin accent. She has a scented candle lit on her desk. A few flowers in a glass.<\/scene_description>\n    <character>MISS DUNNE<\/character>\n    <dialogue>Right, so most of yiz picked this class because ye didn't wanna do mechanical drawing. Am I right?<\/dialogue>\n    <scene_description>Most people nod.<\/scene_description>\n    <character>MISS DUNNE<\/character>\n    <dialogue>Yiz think art class will be a doddle? A chance to get a break in the day and scribble a few pictures in between other classes?<\/dialogue>\n    <scene_description>A few lads nod in agreement.<\/scene_description>\n    <character>MISS DUNNE<\/character>\n    <dialogue>Right, well you're not completely off the mark.<\/dialogue>\n    <scene_description>This gets a little laugh.<\/scene_description>\n    <character>MISS DUNNE<\/character>\n    <dialogue>Art should be a break from the rest of the world. It should never be work. It's kind of... therapy. But don't think you're not going to learn something in here. I'm going to impart some information to ye, okay? So when you're out with a girl at the National Gallery, you can look at a painting and SAY something about it. Okay?<\/dialogue>\n    <scene_description>A few nods and mutterings of acceptance. Mick Mahon puts his hand up.<\/scene_description>\n    <character>MICK MAHON<\/character>\n    <dialogue>I'll take you on a date to the National Gallery any day, miss.<\/dialogue>\n    <character>MISS DUNNE<\/character>\n    <dialogue>Ah, thanks, Michael. But I have a fiance already.<\/dialogue>\n    <character>MICK MAHON<\/character>\n    <dialogue>Are you sure?<\/dialogue>\n    <character>MISS DUNNE<\/character>\n    <dialogue>Positive.<\/dialogue>\n    <scene_description>She puts on her glasses to get a closer look at Conor's feet under his desk.<\/scene_description>\n    <character>MISS DUNNE<\/character>\n    <dialogue>What the hell is going on here?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Oh. I don't have black shoes. So I have to leave my brown ones in Brother Baxter's office every day until I get some.<\/dialogue>\n    <scene_description>She shakes her head.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CANTEEN - LATER<\/stage_direction>\n    <scene_description>Conor enters the canteen in his bare feet. He looks around. Up ahead in a little group, he sees Barry. He musters up the courage, and approaches, tapping him on the shoulder. Barry Bray turns around. Other kids notice this.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Hey. I understand that you're in pain. That there is a conflict within you. And that can't be easy to deal with in this school. You publicly humiliated me. So now, I publicly forgive you. Barry Bray.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE SCHOOL - MORNING<\/stage_direction>\n    <scene_description>Conor now has the TWO black eyes of the opening scene. Darren stands beside him. He marches off towards the GIRL across the street. We hold on Darren this time. In a few moments, Conor returns:<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>We need to form a band...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A SMALL COTTAGE - DAY<\/stage_direction>\n    <scene_description>Conor and Darren stand at the front door of a small, run-down cottage on a narrow lane way. They are not wearing their school uniforms. It's out of school. Darren knocks on the knocker.<\/scene_description>\n    <character>DARREN<\/character>\n    <dialogue>Eamon's a genius. He can play every instrument known to man. His hobby is rabbits.<\/dialogue>\n    <scene_description>After a while we hear footsteps thundering down the stairs. The door opens and EAMON (14), stands there. Eamon wears stone-washed denims, matching DENIM (!) jacket, a crew neck jumper, and white, dirty boot runners. He has curly hair, and wears steel-rim glasses. He sports a wicked mullet.<\/scene_description>\n    <character>DARREN<\/character>\n    <dialogue>Hey Eamon. What you doing?<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>Nothing. I was just feeding me new bunny. Howareya Darren.<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>Cool. This is Eamon. Eamon, this is Conor. He's new in the school, and he's putting together a band.<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>So?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EAMON'S LIVING ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Eamon's small living room has been transformed into a band- rehersal space. In a semicircle in the corner of the room is a drum kit, guitar amp, keyboard, and microphone. Conor looks about, impressed.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Wow! Where did you get all this gear??<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>Me da's in a covers band. Weddings, parties, pubs.<\/dialogue>\n    <scene_description>Close up on the logo on the kick drum: \"EAZY LIVIN'\" with some glittery stars.<\/scene_description>\n    <character>DARREN<\/character>\n    <dialogue>Eamon can play every instrument known to man, can't you Eamon?<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>Probably.<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>Show him.<\/dialogue>\n    <scene_description>FOUR VERY QUICK SHOTS: Eamon plays the bass guitar, slapping. The drums. The guitar, soloing. And the keyboard, playing jazz.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Wow. So\/<\/dialogue>\n    <scene_description>But Eamon isn't finished. SIX more very quick shots. Eamon is playing an African Balaphone. Next, he's playing an Indian flute. Then the Uilleann pipes. Then a shaker. Then a Conga drum. Finally he is done. He's clearly something of a prodigy.<\/scene_description>\n    <character>EAMON<\/character>\n    <dialogue>What do you play yourself?<\/dialogue>\n    <character>CONOR<\/character>\n    <parenthetical>(thinking on his feet)<\/parenthetical>\n    <dialogue>I'm more of a singer.<\/dialogue>\n    <scene_description>Eamon waits for him to go on.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>And I write songs. Well, I mean, lyrics. Words. But I haven't put them to music yet.<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>So what do yous want from me?<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>We want to hire your instruments.<\/dialogue>\n    <character>CONOR<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>No way. You've got to be IN the band. You're amazing. Right Darren?<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>Are you into that Eamon?<\/dialogue>\n    <scene_description>We can see that Eamon is very glad to be asked, but bluffs a little:<\/scene_description>\n    <character>EAMON<\/character>\n    <dialogue>What kind of music are you going to be doing?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>I don't know yet.<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>You have to know what you're going to play. What are you into?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>I'm a futurist.<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>What does that mean?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Like no nostalgia. Not like your dad's band. Not looking backwards. Just forwards.<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>Cool. Like Depeche Mode?<\/dialogue>\n    <character>CONOR<\/character>\n    <parenthetical>(not knowing them)<\/parenthetical>\n    <dialogue>Okay.<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>Or Joy Division?<\/dialogue>\n    <character>CONOR<\/character>\n    <parenthetical>(bluffing)<\/parenthetical>\n    <dialogue>Right.<\/dialogue>\n    <scene_description>Eamon sure knows his stuff.<\/scene_description>\n    <character>EAMON<\/character>\n    <dialogue>Or Duran Duran. What do you think of them?<\/dialogue>\n    <character>CONOR<\/character>\n    <parenthetical>(beat, then parroting Brendan)<\/parenthetical>\n    <dialogue>The jury is out on which way those guys will go. They're a lot of fun, and James Taylor is one of the most proficient bass players in the UK right now, giving them a funky edge.<\/dialogue>\n    <scene_description>Silence. Eamon is impressed, even though Conor has got John Taylor's name wrong.<\/scene_description>\n    <character>EAMON<\/character>\n    <dialogue>JOHN Taylor.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Yea. John. Of course.<\/dialogue>\n    <scene_description>They stand there, sizing each other up.<\/scene_description>\n    <character>EAMON<\/character>\n    <dialogue>I'll be in the band. I'll play guitar. And help write the songs. We can rehearse here because me da's in Saint John Of Gods.<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>Is that a pub?<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>No, Darren. It's where alcoholics go to get off drink and stop beating up their wives and kids.<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>And neighbors.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>And the police.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EAMON'S KITCHEN - MOMENTS LATER<\/stage_direction>\n    <scene_description>Conor, Eamon and Darren sit around the kitchen table continuing their plans. Eamon's MOTHER (45), is pouring Cup-O-Soup into three bowls in front of them, and giving them slices of bread. Eamon is stroking a bunny on his knee.<\/scene_description>\n    <character>EAMON<\/character>\n    <dialogue>Who's going to be the manager?<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>Me.<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>Have you managed bands before?<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>No. (thinks) I'm just breaking into the market?<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>Nice. How are we going to cut things up?<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>I'll draw up contracts?<\/dialogue>\n    <character>EAMON'S MUM<\/character>\n    <dialogue>Do you need a pen?<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>Ma, we are trying to have a band meeting here?<\/dialogue>\n    <scene_description>She smiles as she pours.<\/scene_description>\n    <character>EAMON<\/character>\n    <dialogue>Gotta have everything straight first. Get everything down on paper. Otherwise you can get ripped off by the big record labels when they come a huntin'. That's what me dad says.<\/dialogue>\n    <scene_description>Eamon's mum laughs conspicuously.<\/scene_description>\n    <character>EAMON<\/character>\n    <dialogue>When do you want to rehearse?<\/dialogue>\n    <character>EAMON'S MUM<\/character>\n    <dialogue>Not the weekends. He's got a job packing shelves in Quinnsworth on Saturdays. You're not leaving that job. Not for any jaysis band.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>How about Mondays and Wednesdays after school.<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>Sounds good.<\/dialogue>\n    <character>EAMON'S MUM<\/character>\n    <dialogue>That's fine.<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>Now all we need is other musicians. Do either of you know any other musicians?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>No. You?<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>No. Eamon?<\/dialogue>\n    <character>EAMON'S MUM<\/character>\n    <dialogue>He usually just plays on his own, don't you son?<\/dialogue>\n    <scene_description>She squeezes his shoulder.<\/scene_description>\n    <character>EAMON<\/character>\n    <dialogue>Right, we can't get any peace here. Let's continue this meeting out the back.<\/dialogue>\n    <scene_description>They get up, following Eamon out back.<\/scene_description>\n    <character>EAMON'S MUM<\/character>\n    <dialogue>No smoking now!<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>Ma! How many times do I have to tell you? I don't smoke!<\/dialogue>\n    <scene_description>They exit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A SHED - MOMENTS LATER<\/stage_direction>\n    <scene_description>The three of them stand in a VERY small shed. They are all smoking. They are continuing their plans. From the window at the kitchen where Eamon's mum is washing up, she can plainly see smoke wafting out the window. She shrugs. Darren clicks his fingers.<\/scene_description>\n    <character>DARREN<\/character>\n    <dialogue>There's a black guy in 3B?<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>Be cool if he was in the band.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>He's the one colored guy in the whole school. Probably in Dublin! Having a Golliwog in the band would give us a real edge.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>You can't say Golliwog.<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Trust me. You just can't.<\/dialogue>\n    <scene_description>Darren looks to Eamon for this. Eamon shakes his head, agreeing with Conor. Darren shrugs.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Anyway what if he can't play anything?<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>He'll be able to play something. He's black!<\/dialogue>\n    <scene_description>Close on a FLYER up on a notice board in school. It reads: Futurist band forming. Looking for Bass player, drummer, and keyboard. Own instruments not essential, as we have them. Influences include DEPECHE MODE, DURAN DURAN and many more! Contact Management Solutions at 221 St. Teresa's Gardens. No telephone. Just call in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A HOUSE ON A HOUSING ESTATE - DAY<\/stage_direction>\n    <scene_description>Conor, Eamon and Darren knock on the door of a small house on a shitty housing estate. In a moment, an enormous, beautiful woman answers the door. She speaks in a strong Nigerian accent, wearing colorful headgear and dress. They've never seen anything like it.<\/scene_description>\n    <character>EAMON<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <character>WOMAN (EARLY 30S)<\/character>\n    <dialogue>Can I help you?<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>Is this the house where the colored lad lives?<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>What do you think? How many black people do you think live on this shitting estate!?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Do you know Ngig?<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>What is that?<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>My son! Do you know my son?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>No. But we're in his school. And we're putting a band together. Does he play any instruments?<\/dialogue>\n    <character>WOMAN<\/character>\n    <parenthetical>(opening the door wider)<\/parenthetical>\n    <dialogue>Why don't you ask him yourself.<\/dialogue>\n    <scene_description>They enter.<\/scene_description>\n    <character>DARREN<\/character>\n    <dialogue>Does he speak English?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NGIG'S SITTING ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>The three lads stand in a small, tidy living space. In front of them, NGIG (14), a black kid, stocky, well built.<\/scene_description>\n    <character>DARREN<\/character>\n    <parenthetical>(very slowly)<\/parenthetical>\n    <scene_description>WE-ARE-PUTTING-A-BAND-TOGETHER. I-: AM-THE-MANAGER.:<\/scene_description>\n    <character>NGIG<\/character>\n    <dialogue>What the hell is wrong with him?<\/dialogue>\n    <scene_description>When he speaks, he speaks in a tough, inner city Dublin accent.<\/scene_description>\n    <character>DARREN<\/character>\n    <dialogue>Oh. You sound different from your ma?<\/dialogue>\n    <character>NGIG<\/character>\n    <dialogue>'Course I do, I've been here half me bleedin life. What did you expect.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Would you have any interest in being in a band?<\/dialogue>\n    <scene_description>He clearly is.<\/scene_description>\n    <character>NGIG<\/character>\n    <dialogue>Maybe. What kind of music are yous playing?<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>We're not 100 percent sure yet. But do you play any instruments?<\/dialogue>\n    <scene_description>He is about to shake his head, when his mother interrupts.<\/scene_description>\n    <character>NGIG'S MOTHER<\/character>\n    <dialogue>Of course he does. He's black.<\/dialogue>\n    <scene_description>Ngig looks doubtfully at his ma. She nods her head. Music starts up on the track. It's sketchy, out of time, but vaguely recognizable. It's a bad cover version of RIO, by Duran Duran.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SYNGE STREET SCHOOL CORRIDOR - DAY<\/stage_direction>\n    <scene_description>Song over. TRACK out from the flier. Two KIDS are writing down the number from the flier on the wall. They are identical twin rhythm section, GARRY and LARRY (14). It is hard to read the number, as the poster is covered in an array of Spunking Dick drawings.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EAMON'S LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Conor sings into a microphone. Eamon plays rhythm guitar. Garry fingers a bass guitar. His twin brother Larry sits behind the drum kit. Ngig cycles through sounds on an early synthesizer. He has no real idea what he's doing. Conor is hesitant and nervous. Though he can sing, he has zero presence. It's chaos. They are all dressed in their school uniforms and look awful. TRACK down to find a tape casette recorder on a chair in the middle of them. It is RECORDING. The song ends.<\/scene_description>\n    <character>NGIG<\/character>\n    <dialogue>Not bad.<\/dialogue>\n    <character>GARRY<\/character>\n    <dialogue>Sounds great.<\/dialogue>\n    <character>NGIG<\/character>\n    <dialogue>I think we sped up a little.<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>Really? We were shit.<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>Yeah, it's a shit song. We should be a metal band.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>It's not the song. It's us. It was all over the place. Let's try it again.<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>Smoke break!<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>NIGIG<\/character>\n    <dialogue>Cool. I'm gasping for a smoke!<\/dialogue>\n    <scene_description>They all run out. Eamon sighs, looking at Conor, the only other one who hasn't left his station.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE SHED - MOMENTS LATER<\/stage_direction>\n    <scene_description>ALL of the band are crammed into the shed smoking.<\/scene_description>\n    <character>NGIG<\/character>\n    <dialogue>So what are we called?<\/dialogue>\n    <scene_description>They think.<\/scene_description>\n    <character>EAMON<\/character>\n    <dialogue>The Rabbits?<\/dialogue>\n    <character>NGIG<\/character>\n    <dialogue>What is wrong with you and Rabbits??<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>I just love them. So fluffy. Those ears. Not a dog. Yet not quite a cat. And manageable shit. Just, the perfect pet.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>I have an idea. What about \"La Vie\".<\/dialogue>\n    <scene_description>Silence. Darren looks at him, witheringly.<\/scene_description>\n    <character>DARREN<\/character>\n    <dialogue>What does that mean?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>It French for \"The Life\"<\/dialogue>\n    <character>GARRY<\/character>\n    <dialogue>What's French for \"That's not going to be the name of the band\"?<\/dialogue>\n    <character>CONOR<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>\"C'est nes pas le nom du groupe\"<\/dialogue>\n    <character>GARRY<\/character>\n    <dialogue>Right. There you go.<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>What about Sing Street.<\/dialogue>\n    <scene_description>They think about this. Not bad.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>I like that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRENDAN'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Song continues. Pull out from Brendan's tape machine. Conor is playing his brother his first demo tape. The tape reads \"SING STREET\" DEMO 1. If it sounded bad live this afternoon, it sounds worse played back on a small tape machine. Conor chews his nails in anticipation of his big brother's response. Brendan finally ejects the tape before it's over.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <dialogue>This is BAD. And there's nothing as bad as bad music. And you must never play this again.<\/dialogue>\n    <scene_description>To Conor's surprise, he begins unspooling the tape, pulling it out in a pile at his feet.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>You know you can record over tapes?<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>No no. All evidence of this day must be destroyed.<\/dialogue>\n    <scene_description>He finally bins the tape.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <dialogue>That's a novelty act. You want to get the girl right?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>BRENDAN<\/character>\n    <parenthetical>(shouting, impatient)<\/parenthetical>\n    <dialogue>The Girl! That's what this is about? Right?<\/dialogue>\n    <character>CONOR<\/character>\n    <parenthetical>(thinking)<\/parenthetical>\n    <dialogue>Oh. Yes. The girl. Right. Okay.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>Right. So you're going to get her with someone else's art? Are you kidding me?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>I suppose. But we're just starting out. We need to learn how to play.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>Play? PLAY? You don't need to know how to play! You think the Sex Pistols knew how to play? Who are you, Steely Dan?<\/dialogue>\n    <scene_description>Brendan is coming into his own. He leaves his chair, pacing the room. Pulling different records from his collection. He now has the first project of his adult life: his brother.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <dialogue>You have to learn how to NOT play. That's rock n roll. And that takes practice.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And you're not a covers band!<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>Every school has a covers band. Every wedding. Every pub. And in every covers band there's a middle aged man who never knows if he could have made it because he never had the balls to write a song for someone. Rock n Roll is a risk. You risk being ridiculed.<\/dialogue>\n    <scene_description>Conor thinks about this.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>I don't know how to write a song.<\/dialogue>\n    <scene_description>Brendan now has a large pile of records in his arms. He points at the door.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <dialogue>Close the door. And sit down.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Really? I have school in the morning.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>THIS... is school.<\/dialogue>\n    <scene_description>Conor closes the door. Sits down. It's going to be a long night.<\/scene_description>\n    <character>DISSOLVE TO:<\/character>\n    <dialogue>SONG 1<\/dialogue>\n    <scene_description>A song is formed...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EAMON'S LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Conor and Eamon are alone in the rehearsal room. Conor reading from a little notebook of scrawled thoughts and pictures. Eamon sits on the edge of the couch with an acoustic guitar.<\/scene_description>\n    <character>CONOR<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>\"Well she's standing on the corner. Like an angel in disguise. And I want to try and warn her, but She's got dangerous eyes.\"<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>Dangerous eyes. I like that. What does that mean?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>What's this song about Conor?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>It's like, when you don't know someone, they're more interesting. They can be anything you want them to be. It's like you know them better, when you don't know them. You know?<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>No that doesn't make any sense. What's it called?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>\"The Riddle of the model\"<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>Epic. What about a rhythm like this.<\/dialogue>\n    <scene_description>Eamon plays a chord. A funky rhythm.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Nice. Slow it down a little.<\/dialogue>\n    <scene_description>Conor tries this lyric over it. Eamon drops to an F, and it starts to sound like something. They smile at the change. Conor takes out a pen from his school bag, adding a lyric, as Eamon continues to play. We start to see how this might work- Conor the director\/lyricist\/visionary, Eamon the pragmatic musical prodigy. The sound of their first song coming together plays over the following scenes. Just guitar and voice for now.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IRISH CLASS - DAY<\/stage_direction>\n    <scene_description>Song over. Conor sits at the back of Irish class. The TEACHER reads PEIG SAYERS while sitting behind his desk. Conor writes feverishly in his notebook, looking out the window for inspiration. The teacher calls a BOY up to his desk, and slaps him, really hard across the face. ( SCENE 41 INTENTIONALLY DELETED )<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONOR'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>Conor writes in his bed. His parents rowing on the corridor, off.<\/scene_description>\n    <character>ROBERT<\/character>\n    <parenthetical>(off, muffled)<\/parenthetical>\n    <dialogue>That's funny, coming from you!<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Keep your bloody voice down!<\/dialogue>\n    <scene_description>Two doors slam, separately. He listens out, then continues writing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EAMON'S LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Song over. The song is really coming together, as Conor and Eamon jam it. Though complete opposites, this combination of songwriters is coming together. Through the window behind them, the rest of the band are playing football in the garden. Conor taps on the window, waving at them to come in and give it a spin. They run in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EAMON'S LIVING ROOM - LATER<\/stage_direction>\n    <scene_description>Now the FULL band play the song. And it sounds pretty good. Conor is still a little shy of his own voice, and is frozen at the microphone. Eamon gestures for him to enjoy it. But he just smiles and stays static. Again, the tape recorder records it on the chair in the middle of them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SYNGE STREET - MORNING<\/stage_direction>\n    <scene_description>Song over. The song plays over as Conor walks across the street. From his satchel he produces a casette tape as he meets the GIRL, standing on her stoop smoking. He hands her the tape.<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>What's this now?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>That's the song. I mentioned it to you.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Oh yeah. The song. You're the kid in the band! That's cool.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>You should probably learn the lyrics. So you can lip sync. We're shooting down the lane at the back of Quinnsworth. This Saturday. At 12 o'clock. See you there.<\/dialogue>\n    <scene_description>He nods, not waiting for a response. She blows smoke, watching him go. Then she looks at the tape in her hand.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SYNGE STREET SCHOOL - NIGHT<\/stage_direction>\n    <scene_description>By moonlight, Conor, Darren and Eamon peel back a sheet of corrugated metal at the back of school. This allows them a gap to slip through into the yard.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SYNGE STREET SCHOOL - NIGHT<\/stage_direction>\n    <scene_description>Darren opens a little back door with a key. They are in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SYNGE STREET SCHOOL - CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>The three of them sneak down a basement corridor. Conor guides them with a clunky bicycle lamp. They arrive at a door. A handwritten sign says \"Audio Visual Room\". Darren tries numerous keys until he gets the right one. They open it.<\/scene_description>\n    <character>DARREN<\/character>\n    <parenthetical>(with the flair of a master criminal)<\/parenthetical>\n    <dialogue>Gentlemen, I give you the Audio Visual Department....<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SYNGE STREET SCHOOL - THE AUDIO VISUAL ROOM - NIGHT<\/stage_direction>\n    <scene_description>This is hardly a room at all. More like a broom closet. Conor's torch reveals a steel shelving unit, bare, except for the camera and VCR machine on the top shelf. And three or four VHS tapes. They start taking it down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SYNGE STREET SCHOOL - NIGHT<\/stage_direction>\n    <scene_description>The three of them run back across the road by moonlight laughing. Music plays over.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A LANE-WAY - MORNING<\/stage_direction>\n    <scene_description>The band are setting up their instruments on a rainy morning. They are down a little laneway at the back of a row of shops. Piles of rubbish, old bins, and an abandoned car. It's overcast and depressing. And cold. Their guitar amps and drum kit look pretty small out in the open.<\/scene_description>\n    <character>EAMON<\/character>\n    <dialogue>It looks like loads of gear back home, doesn't it? And yet it looks shit here.<\/dialogue>\n    <scene_description>Conor is setting up the video camera across from them on a tripod. He looks through the viewfinder. It does look shit. He checks his watch.<\/scene_description>\n    <character>DARREN<\/character>\n    <dialogue>Where is this chick?<\/dialogue>\n    <character>CONOR<\/character>\n    <parenthetical>(worried)<\/parenthetical>\n    <dialogue>I don't know.<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>Did everyone bring some clothes?<\/dialogue>\n    <scene_description>They start rooting through plastic bags stuffed with clothes from home. Larry holds up a pair of flares. Garry, a child's cowboy outfit.<\/scene_description>\n    <character>DARREN<\/character>\n    <dialogue>Who the hell brought a cowboy outfit?<\/dialogue>\n    <character>GARRY<\/character>\n    <dialogue>Me. It's all I could find.<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>No one dresses as a cowboy in a band!<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>There's a cowboy in The Village People.<\/dialogue>\n    <character>GARRY<\/character>\n    <dialogue>Yeah. And Adam Ant.<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>Adam Ant is a highway man.<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>So we can have a highway man, but not a cowboy? Are you mentally ill?<\/dialogue>\n    <character>GARRY<\/character>\n    <dialogue>So what did you bring then?<\/dialogue>\n    <scene_description>Hard cut.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LANEWAY - MORNING<\/stage_direction>\n    <scene_description>Conor is dressed as a low-budget New Romantic. A mash-up of ideas from a cross section of TV. Nothing quite works. He's wearing sunglasses, bangles, his father's long overcoat with the sleeves rolled up, and a blouse that definitely belongs to his mum. Eamon is dressed in his Dad's show-band uniform. A purple, velvet suit that is way too big for him. He's a little Austin Powers.<\/scene_description>\n    <character>EAMON<\/character>\n    <dialogue>It's me Da's showband outfit.<\/dialogue>\n    <scene_description>Garry, Larry and Ngig are unimpressed. Darren isn't sure.<\/scene_description>\n    <character>GARRY<\/character>\n    <dialogue>Is this a gay band?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Coming from the one who wants to look like The Village People.<\/dialogue>\n    <character>GARRY<\/character>\n    <dialogue>What's gay about The Village People??<\/dialogue>\n    <scene_description>As the others squabble, Conor's attention is drawn to the end of the lane, where Raphina has just appeared. He smiles. She approaches carrying a large bag. She looks great, in a huge Angora sweater, pencil skirt and high heels.<\/scene_description>\n    <character>RAPHINA<\/character>\n    <dialogue>Hello all. Sorry I'm late. I was out last night. At a night club. Still recovering.<\/dialogue>\n    <scene_description>She takes off her sunglasses, dramatically, looking them up and down.<\/scene_description>\n    <character>RAPHINA<\/character>\n    <dialogue>Jesus Christ. What in God's name are ye all wearing?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Yeah, we're just working that out. Maybe you can help.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Who's your wardrobe person? Stevie Wonder?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>We don't have a wardrobe person.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Right. Who's the camera man. Maybe he can make some of this work.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Em... We don't really have...<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>I'm the camera man.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>I thought you were the producer.<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>AND camera man. Saving money all the way.<\/dialogue>\n    <scene_description>Conor takes her by the elbow, walking her out of earshot a little.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>What did you think of the song?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>I liked it. It's the only reason I'm here. Did you write it?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Pretty much. Eamon wrote most of the music.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>So you wrote the lyrics? They're cool. Who are they about?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Just a girl, I see her about.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>You know you've got really good cheek bones?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Yeah. Look at you. Can I do your makeup?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Yeah. This light is going to be really harsh on camera. You should totally take the edge off it. I'm actually wearing some make up right now.<\/dialogue>\n    <scene_description>She's wearing a lot of makeup.<\/scene_description>\n    <character>RAPHINA<\/character>\n    <dialogue>In fact, guys! You should ALL wear makeup.<\/dialogue>\n    <scene_description>The band turn around.<\/scene_description>\n    <character>DARREN<\/character>\n    <dialogue>Let's get one thing straight. I am NOT wearing any makeup.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Relax. You're not even in the band.<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>Yeah, thank God!<\/dialogue>\n    <character>GARRY<\/character>\n    <dialogue>I am in the band. And yet I'm not wearing makeup.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Why not? You've got great lips.<\/dialogue>\n    <character>GARRY<\/character>\n    <dialogue>Piss off would you?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Whatever. Those who actually care about how their band look and want to do this half-properly, queue over here.<\/dialogue>\n    <character>GARRY<\/character>\n    <dialogue>Who's saying we don't care about the band? This band is my life!<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>You've been in it for three days.<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>Alright, stop rowing.<\/dialogue>\n    <character>GARRY<\/character>\n    <dialogue>Bitch.<\/dialogue>\n    <scene_description>Raphina sets up her stall on a rubbish bin, taking out her makeup kit. Conor sits down on an upturned box and she begins applying his make up.<\/scene_description>\n    <character>GARRY<\/character>\n    <dialogue>Who is this chick anyway? She's here two minutes and she's threatening to break the band up!<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>Shut up Garry.<\/dialogue>\n    <character>GARRY<\/character>\n    <dialogue>Bleedin Yoko Ono.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LANEWAY - MORNING<\/stage_direction>\n    <scene_description>All of the band are now wearing makeup. It's a little full- on, but they look sort of cool. Conor directs Darren as to what the shot will be, referring to his notebook. Darren looks through the viewfinder.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Okay, so we're playing here. Raphina is standing over there, against the wall. I go up to her. Start singing to her. Make sure to pan up to her eyes, when I sing \"She's got Dangerous eyes\".<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>I think a zoom would be better.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Okay. A zoom, whatever.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>What if I have little lightening flashes on my eye lids when I close them?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Can you do that?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>I can try.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Cool. So then, for the chorus, you walk off, and I follow.<\/dialogue>\n    <scene_description>Circling you like when he's following her in Thriller. Do you think you can keep the camera steady, Darren?<\/scene_description>\n    <character>DARREN<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Okay, so then I follow her up the lane. Keeping behind her. Then we'll go around and get that angle in front.<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>Love it!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LANEWAY - MOMENT'S LATER<\/stage_direction>\n    <scene_description>Conor presses PLAY on the tape machine. It is plugged into a small speaker. He signals to Darren to start filming. Then runs back to the band, who have started miming to the song. Raphina is standing against the wall. Conor approaches her, Darren following. Conor starts lip syncing to the song:<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>\"Well she's standing on the corner. Like an angel in disguise. And I'd really like to warn her. But she's got dangerous eyes.\"<\/dialogue>\n    <scene_description>Darren crash zooms into her eyes. Raphina closes them, she has little lightening flashes on her lids.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>\"Well she tells me she's a model. Of international reputation. She's lightening in a bottle. But there's a stipulation...\"<\/dialogue>\n    <scene_description>She sets off and Conor follows her. Darren walks backwards in front of them. Conor yells \"Cut\", and makes some adjustments. Ngig has moved his synthesiser and stand about three feet to try get in the back of Conor's shot.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Cool. How does it look Darren?<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>Pretty epic. It's hard keeping focus on that zoom. And Ngig, stop moving into the back of his shot.<\/dialogue>\n    <character>NGIG<\/character>\n    <dialogue>I haven't moved an inch!<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>You started about three foot that way!<\/dialogue>\n    <character>NGIG<\/character>\n    <dialogue>It was windy.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>And it's not too shaky when you're following us?<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>No, it's grand.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Okay, take 2!<\/dialogue>\n    <scene_description>FIRST VIDEO. SHOT ON ACTUAL EARLY VHS. Here we see their actual results, edited crudely together. INTRO: Some zooms into hands playing instruments. Keyboard. Bass. Guitar. Ngig is wearing leather gloves. FIRST VERSE: Conor breaks away from the band, singing into camera in front of Raphina. Ngig edges into his shot. Four quick shots of each band member turning their heads and looking into camera. Raphina signing autographs for the band members, over the line \"She has an international reputation\". CHORUS Raphina breaks away, walking down the laneway. Conor walks around her, singing to her, ala Michael in Thriller. But Darren's camera work is RIDICULOUSLY shaky. Like sea sick inducing. SECOND VERSE: The band are using the abandoned car as their set. Some sitting on the roof. Some on the boot (or hood, for our American colleagues), and others in the body of the car. Raphina is standing on the sidewalk. Conor gets out of the car, offering her a lift. She sits in. Up front, Conor is \"driving\" Raphina. She looks into camera for the last line, and mouths \"The riddle of the model\" End. The group laugh as they prepare to watch playback through the viewfinder. But this moment is interrupted when Barry Bray appears up the laneway. He is walking with an unshaven man in his mid- thirties who is drinking a can of beer. A friend, or brother, maybe. They are carrying a few plastic bags of shopping.<\/scene_description>\n    <character>CONOR<\/character>\n    <parenthetical>(under his breath)<\/parenthetical>\n    <dialogue>Oh shit.<\/dialogue>\n    <scene_description>Barry and THE MAN pass them, THE MAN slowing down to check out what's going on. He looks like he's had a few cans already.<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>It's just kids filming something. What are you filming lads?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>A video for a band. Hi Barry.<\/dialogue>\n    <scene_description>Barry shrugs.<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>Are these in your school, Barry?<\/dialogue>\n    <scene_description>Whatever has come over Barry, he is less confident in the presence of THE MAN. Less of a bully.<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>They're wearing bleedin make up! Jaysus lads, are yous making a movie, is it?<\/dialogue>\n    <scene_description>His laugh turns into a coughing fit. His tattooed hands over his mouth as he coughs.<\/scene_description>\n    <character>DARREN<\/character>\n    <dialogue>A video for a band.<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>Why don't you get in the band Barry? Hah! Dress up and all. You'd be bleedin' great.<\/dialogue>\n    <scene_description>He starts laughing at the idea of Barry in costume.<\/scene_description>\n    <character>BARRY<\/character>\n    <dialogue>Ah piss off.<\/dialogue>\n    <scene_description>But he doesn't like this. He hits him a slap on the side of his head. It's a sucker punch, and totally out of proportion.<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>What did you say?<\/dialogue>\n    <scene_description>The mood has suddenly changed. Barry hardly flinches, but you can see his eyes are watering up. The MAN calms down. Lights a cigarette. Barry catches eyes with Conor, who looks away.<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>See yous boys. Good luck. See yous at the Oscars! Come on Barry.<\/dialogue>\n    <scene_description>Barry follows behind. They turn the corner up ahead. The others don't know what that was.<\/scene_description>\n    <character>DARREN<\/character>\n    <dialogue>Knackers. Come on. Never mind them.<\/dialogue>\n    <scene_description>Darren presses play on the machine as the others watch. But Conor's attention is momentarily taken by Barry, who makes a throat-slitting gesture back to Conor. All the colour drains from Conor's face. ( SCENE 55 INTENTIONALLY DELETED ) ( SCENE 56 INTENTIONALLY DELETED )<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LANEWAY - DAY<\/stage_direction>\n    <scene_description>Raphina diverts his attention back to the viewfinder. On screen, Conor begins singing. Raphina smiles at him. She grabs his hand in excitement as she appears on screen. And doesn't let go. Conor looks down at his hand in hers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>Conor is cycling his rusty racer through the city. Raphina is sitting on the cross bar, holding on to the handlebars, enjoying the wind in her hair.<\/scene_description>\n    <character>RAPHINA<\/character>\n    <dialogue>So where do you live?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Not far from the school. Harcourt Terrace?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Oh, by the canal. You grew up there?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Yeah. Though we might be moving. My parents are broke. That's why they sent me to that school.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Yeah, I wondered about that. You're a bit posh for around here!<\/dialogue>\n    <scene_description>She laughs.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Speak for yourself. Your house is massive!<\/dialogue>\n    <scene_description>She is silent.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>And my parents are probably splitting up.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>That's sad. You doing okay with it?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Oh yeah. It's sort of intense being around them. They'll probably get separate flats. We'll live between two places. Me and my brother. Which will be cool. I'm like \"Guys, split up, you're killing each other\".<\/dialogue>\n    <scene_description>He is experimenting with this. It is not how he feels about it at all.<\/scene_description>\n    <character>RAPHINA<\/character>\n    <dialogue>A bit like an American movie. You'll be all complicated and divorced and sophisticated.<\/dialogue>\n    <character>CONOR<\/character>\n    <parenthetical>(bluffing)<\/parenthetical>\n    <dialogue>A bit, yeah.<\/dialogue>\n    <scene_description>He doesn't quite know what she means, as they pull up outside her house across from the school. She jumps off the bike.<\/scene_description>\n    <character>RAPHINA<\/character>\n    <dialogue>Jesus, all that drama! I'm glad I don't have parents.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Right.<\/dialogue>\n    <scene_description>He has no idea what she means. Though intrigued, he is polite enough not to ask. A Ford Granada screams into the street, and skids up beside them. The window winds down, and a smiling man (22) is at the wheel. Music blaring, smoking a cigarette.<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>Hey baby.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Hi. This is Evan Adams.<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>Word.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>How do you do.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>This is Conor, the singer in the band I mentioned.<\/dialogue>\n    <character>EVAN<\/character>\n    <dialogue>Ah! Cool. She played me your song. Good vibes. Bitta Duran Duran in there, little bitta New Romance. What style would you say you are?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>I'm a futurist.<\/dialogue>\n    <character>EVAN<\/character>\n    <dialogue>Epic. See you in the future then. You ready, baby?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Yeah. See you soon.<\/dialogue>\n    <scene_description>She gives Conor a very European kiss on either cheek. He is blushing awkwardly. Evan looks very dangerous and cool, wearing a dirty leather jacket and sunglasses. He is listening to GENESIS. Raphina gets into the passenger seat and the car revs up.<\/scene_description>\n    <character>EVAN<\/character>\n    <dialogue>Nice blouse!<\/dialogue>\n    <scene_description>He shouts as he spins off. She rolls down her window and gives him a big, white smile.<\/scene_description>\n    <character>RAPHINA<\/character>\n    <dialogue>Let's make another video soon, yeah?<\/dialogue>\n    <scene_description>Evan U-turns. But but has over estimated the width of the street, and the coolness of the U-turn is undermined by the fact that he has to do a five point turn. Finally, the car drives off. Conor stands around. Suddenly, he feels very young and self conscious. And he's wearing his mother's blouse. He looks over towards the gate on her house. As he passes it, he sees a detail he missed before. It's a small sign on the gate. It reads KIRWIN HOUSE ESTABLISHED 1940 He continues past.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRENDAN'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Conor is playing Brendan the dailies of his first video. They are watching it on a small TV at the end of Brendan's bed. On screen, a wobbly camera follows Raphina down the laneway.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>You have to imagine it's not as...<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>Shit?<\/dialogue>\n    <scene_description>The take ends. Conor nervously awaits his brother's reaction. Below the table, we see that Conor's fingers are crossed.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <parenthetical>(finally)<\/parenthetical>\n    <dialogue>This will be good.<\/dialogue>\n    <character>CONOR<\/character>\n    <parenthetical>(delighted)<\/parenthetical>\n    <dialogue>Really?<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>Yeah. If you had proper cameras and a good director. As long as it's in your head, that's the important thing. This is an exercise in imagination.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>Yeah. Think big, Conor. This is all just a means to an end. SHE looks amazing.<\/dialogue>\n    <scene_description>They both watch Raphina on screen. Frankly, she is the only good thing about this whole affair. She has a confidence and sultry beauty that totally belongs on screen.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <dialogue>The \"Riddle of The Model\" isn't a great title.<\/dialogue>\n    <scene_description>But your chorus is promising. You gotta get her in all the videos.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>Oh yeah. She should connect them all. She's world class. Looks a little like Dee C Lee, from the Style Council? Without her, you're just a bunch of gay looking children down an alleyway. She elevates it. So did you kiss her yet?<\/dialogue>\n    <scene_description>Surprised by his forthrightness.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>What? No way.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>She's a year older than me. And anyway, she's got a boyfriend.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>Oh yeah. Who?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Evan Adams. He's like, a grown man. He has a car and all, and stubble.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>What's he doing hanging out with a kid?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>She's not really like a kid.<\/dialogue>\n    <scene_description>We hold on Brendan. He doesn't like the sound of this. He has pulled three albums out of his collection. He hands them to Conor.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>What's this?<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>Homework. You're good. Get better.<\/dialogue>\n    <scene_description>Conor studies the sleeve. A Joe Jackson record. The Police. The Jam.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <dialogue>How do you know he's her boyfriend anyway?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Well it seemed like he was. They pulled off in his car, music blaring. He's pretty cool.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>What was he listening to?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Genesis?<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>He won't be a problem.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>Trust me, no woman can truly love a man who listens to Phil Collins.<\/dialogue>\n    <scene_description>Off, we hear a row breaking out downstairs between the parents. Brendan lowers the volume.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <dialogue>Shh. Listen.<\/dialogue>\n    <scene_description>They listen. Raised but muffled voices. Slammed doors. The smash of a plate.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <dialogue>I think she's having an affair.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>What? Why?<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>I see her getting a lift home from her boss a couple of times a week.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>She doesn't drive. What's wrong with that?<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>She always gets out of the car about a hundred yards up from the house. It's a nervous thing. She's overcompensating.<\/dialogue>\n    <scene_description>We hold on Conor considering this. It clearly makes him very sad.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>On bike. Conor free wheels. He is preoccupied. In his satchel over his shoulder, the three albums.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SYNGE STREET - RAPHINA'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Conor cruises by Raphina's house. He leans against a tree, still sitting on his bike. He's not sure what he's doing here. He is about to cycle off, when the Ford Granada pulls up, and Raphina gets out, crossing over to the driver's door. Evan Adams holds onto her hand, pulling her back. She laughs, and pulls away, making her way up her steps. He accelerates off, wheel spinning, burning rubber. She rings the doorbell. In a moment, a WOMAN (60s) opens the door and lets her in. Across the street, Conor checks his watch. Just coming up to 9 pm. He cycles off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EAMON'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Conor knocks on the front door of Eamon's house. Checks his watch hoping it's not too late. In a moment, Eamon answers, carrying a rabbit.<\/scene_description>\n    <character>EAMON<\/character>\n    <dialogue>Howareyou Conor. What's going on.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>I don't know. What are you doing?<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>Just rabbit stuff.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Do you want to write a song?<\/dialogue>\n    <scene_description>Eamon opens the door wider, meaning, YES.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EAMON'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Eamon sleeps in the attic room. The room is covered in posters of bands and football teams. And some rabbits. Conor and Eamon are studying the records, playing and replaying parts. Now they are working on a song. They are laughing and having a good time. Conor writes words down. Eamon tries different chords. They record parts on a tape machine.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SYNGE STREET - RAPHINA'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Conor returns down Raphina's street. He pulls up outside her house across the school, and walks through her gate, climbing the steps. He takes a brown envelope covered in sellotape from inside his jacket and looks at it. RAPHINA He stuffs it through the letter box and heads off, cycling away, looking up at one of the lights in the window.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAPHINA'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>This is a tiny, monastic little room. There are some posters on the wall, and a small single bed under an alcove. A small dresser with mirror. A chair. Raphina enters, carrying a bowl of cereal. She sits down on her bed. She is still wearing her clothes. In a moment, a knock on the door, and a head pops in. This is MRS. KIRWIN (60), a matronly looking woman in an apron. She is carrying Conor's envelope. She passes it to Raphina.<\/scene_description>\n    <character>MRS. KIRWIN<\/character>\n    <dialogue>This came through the letter box for you.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Oh. Thanks.<\/dialogue>\n    <character>MRS. KIRWIN<\/character>\n    <dialogue>Is it from that older lad?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>MRS. KIRWIN<\/character>\n    <dialogue>You know how I feel about that, Raphina, don't you?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Yes. Thank you. Night.<\/dialogue>\n    <scene_description>Mrs. Kirwin nods, exiting.<\/scene_description>\n    <character>MRS. KIRWIN<\/character>\n    <dialogue>Lights out in ten.<\/dialogue>\n    <scene_description>She pulls the door closed, and Raphina opens the envelope. There's a cassette in side. With NEW SONG written on it. She locates a little tape player from under her bed, and puts it in, pressing play.<\/scene_description>\n    <character>SECOND SONG<\/character>\n    <dialogue>The song begins on acoustic guitar with Conor singing. Raphina smiles as she recognizes his voice. She sits down at her dresser and begins combing her long hair, starting to take off her makeup and kicking off her shoes.<\/dialogue>\n    <dialogue>The song is instantly catchy, and clearly a love letter from Conor to her.<\/dialogue>\n    <dialogue>As the song hits the chorus, we PAN off her face, and start a 360 slowly around her room as the song plays over.<\/dialogue>\n    <dialogue>There's a family photograph on her locker. A 10 year-old Raphina in the company of her parents. They all look very stiff and awkward.<\/dialogue>\n    <dialogue>A school profile of Raphina in her uniform, a couple of years ago. Very troubled.<\/dialogue>\n    <dialogue>Off this to various pictures she ripped out of glamour magazines. Models. Big hair. Lots of make up.<\/dialogue>\n    <dialogue>A poster of Tom Waits.<\/dialogue>\n    <dialogue>Of The Cure.<\/dialogue>\n    <dialogue>Of Siouxsie and the Banshees.<\/dialogue>\n    <dialogue>There's a teddy bear on her bed, with a pair of sunglasses on his nose, and an unlit cigarette stuffed into his mouth.<\/dialogue>\n    <dialogue>An ash tray with a few sticks of incense.<\/dialogue>\n    <dialogue>A collection of cassette tapes.<\/dialogue>\n    <dialogue>Cartons of cigarettes.<\/dialogue>\n    <dialogue>Two books on her locker- Catcher in the Rye and To Kill A Mocking Bird. Numerous magazines. Vogue, You, Cosmopolitan.<\/dialogue>\n    <dialogue>As the song comes towards its end, we have arrived back around on Raphina. She has transformed. She's changed into her pyjamas and dressing gown. And she's taken off her makeup to reveal a bruise, under her eye, and a cut lip underneath. She has paused what she's doing, and her eyes have filled with tears as she listens to the song.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A STREET - NIGHT<\/stage_direction>\n    <scene_description>The song cross cuts with Conor cycling at night through town. FADE TO BLACK.:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SYNGE STREET SCHOOL GATES - A NEW DAY<\/stage_direction>\n    <scene_description>Music plays over as Conor turns the corner into the school gates. There is a little confidence in his step this time. He has bleached his hair blonde, and styled it so this falls over his eyes a little in a NEW ROMANTIC way. He is wearing a little mascara and a little shadow. People stare at him. As he passes us, we PULL onto BROTHER Baxter, who watches from above.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ART CLASSROOM - DAY<\/stage_direction>\n    <scene_description>Conor sits in art class. He is painting a picture of his band. Miss Dunne leans over his shoulder.<\/scene_description>\n    <character>MISS DUNNE<\/character>\n    <dialogue>I like it. What is that?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>My band.<\/dialogue>\n    <character>MISS DUNNE<\/character>\n    <dialogue>You're in a band? Cool. What are they called?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>I don't know yet! What about \"La Vie\". It's French for \"The life\".<\/dialogue>\n    <character>MISS DUNNE<\/character>\n    <dialogue>I know. I like that.<\/dialogue>\n    <scene_description>In a moment, there is a knock at the door, and a FIFTH FORM KID enters.<\/scene_description>\n    <character>FIFTH FORMER<\/character>\n    <dialogue>Headmaster wants to see Conor Lawlor.<\/dialogue>\n    <scene_description>Miss Dunne nods. Conor gets up, heading out with the fifth former, worried.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SYNGE STREET YARD - DAY<\/stage_direction>\n    <scene_description>Conor follows the fifth former as he marches across the empty yard. He looks over his shoulder at Conor.<\/scene_description>\n    <character>FIFTH FORMER<\/character>\n    <dialogue>What are you wearing on your face?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Bit of make up. I'm in a band. What do you think Brother Baxter wants?<\/dialogue>\n    <scene_description>The fifth former shrugs.<\/scene_description>\n    <character>FIFTH FORMER<\/character>\n    <dialogue>Hurry up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROTHER BAXTER'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Brother Baxter is filling out files. He doesn't look up. Conor is led into the room.<\/scene_description>\n    <character>FIFTH FORMER<\/character>\n    <dialogue>Conor Lawlor, Brother.<\/dialogue>\n    <scene_description>He closes the door, leaving Conor standing there. Finally, Brother Baxter looks up.<\/scene_description>\n    <character>BROTHER BAXTER<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>With what?<\/dialogue>\n    <character>BROTHER BAXTER<\/character>\n    <dialogue>With...this.<\/dialogue>\n    <scene_description>He gestures the face.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Oh. Well, I checked the rule book. The one you mentioned, about the brown shoes? I couldn't find anything about makeup. Or altering hair colour.<\/dialogue>\n    <scene_description>He shrugs. He lifts his foot up, revealing the newly painted black shoes.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>I painted them. With paint from the art room.<\/dialogue>\n    <scene_description>Brother Baxter doesn't even look at them. He is seething underneath.<\/scene_description>\n    <character>BROTHER BAXTER<\/character>\n    <dialogue>Head down to the toilets and remove the make up right now.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>BROTHER BAXTER<\/character>\n    <dialogue>Because I told you to.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>I'm in a band now. A school band. And I think it's important for us to have a \"look\".<\/dialogue>\n    <character>BROTHER BAXTER<\/character>\n    <dialogue>You're a man. Men don't wear makeup.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Yeah, but why not? Like, people in the 18th century would have worn make up. So that means that people like Mozart would have. And he was a man.<\/dialogue>\n    <character>BROTHER BAXTER<\/character>\n    <dialogue>So you're Mozart, are you?<\/dialogue>\n    <scene_description>Conor shrugs, a little embarrassed. Shakes his head.<\/scene_description>\n    <character>BROTHER BAXTER<\/character>\n    <dialogue>That makes me Salieri, is it?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Who's Salieri?<\/dialogue>\n    <character>BROTHER BAXTER<\/character>\n    <dialogue>Take the make up off, and stop acting like you deserve special treatment.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>I don't want special treatment. At all.<\/dialogue>\n    <character>BROTHER BAXTER<\/character>\n    <dialogue>You've a fine face, I wouldn't worry about covering it up with make up.<\/dialogue>\n    <scene_description>He smiles. Conor stands there, trying to work this one out.<\/scene_description>\n    <character>BROTHER BAXTER<\/character>\n    <dialogue>You can use me own bathroom there. If you like.<\/dialogue>\n    <scene_description>He gestures a door off his office.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>I'm going to go back to class now.<\/dialogue>\n    <scene_description>Conor exits. We hold on Brother Baxter.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CORRIDOR - MOMENTS LATER<\/stage_direction>\n    <scene_description>Conor exits the office, but Brother Baxter is hot on his tail. He grabs Conor by the hair, and drags him down the corridor. Conor shouts and wriggles, but BB means business. It's like a red mist has descended over him. He slaps him a couple of times across the side of the head. Other kids look on, clearing the way. BB kicks in the door to the students' bathroom, pushing Conor through in front of him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE TOLIETS - CONTINUOUS<\/stage_direction>\n    <scene_description>Conor falls into the toliets. BB follows, picking him up and forcing him over to one of the sinks.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>You can't do this!<\/dialogue>\n    <character>BROTHER BAXTER<\/character>\n    <dialogue>You wanna bet?<\/dialogue>\n    <scene_description>BB turns on the taps, and as the sink fills up, plunges Conor's head into the water. Conor bucks like a drowning animal. Brother Baxter pulls his head back out. Conor gasps for air, spluttering water. Brother Baxter slaps a bar of soap into Conor's face, mushing it into his face.<\/scene_description>\n    <character>BROTHER BAXTER<\/character>\n    <parenthetical>(shouting)<\/parenthetical>\n    <dialogue>We'll get you clean! Don't worry! We'll clean you up! And get that shite off ye.<\/dialogue>\n    <scene_description>Then down into the water again. Conor splutters. Again, he is pulled back out, now crying and coughing, his make up mixing with soap and dripping down his face. Brother Baxter wipes his hand with a towel, and turns to go, leaving Conor leaning over the sink shivering. He exits. We hold on Conor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ART CLASSROOM - LATER<\/stage_direction>\n    <scene_description>Conor is back in regular class. He has makeup stains under his eyes, and his hair is wet. He looks like a drowned rat. He is shivering, but holding back tears. All eyes are on him. Some giggling, others shocked. He looks very alone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SYNGE STREET SCHOOL - DAY<\/stage_direction>\n    <scene_description>Students exit the main gate at the end of the day. Conor pushes his bike out. To his surprise, Raphina is leaning against the school gates up ahead. She is listening to music on massive, 1970s-style headphones with a curly lead. They are plugged into her battery operated tape player from home. She's smoking a cigarette. She gives him a wave and one of her killer smiles. Just seeing her lifts him.<\/scene_description>\n    <character>RAPHINA<\/character>\n    <dialogue>Hey Cosmo.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>That's what I'm calling you now. Cosmo. You need a catchy name if you're going to be in a band.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Right. What are you doing here?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Waiting for you. What happened to you?<\/dialogue>\n    <scene_description>He looks pretty rough.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Oh. Nothing.<\/dialogue>\n    <parenthetical>(off her tape machine)<\/parenthetical>\n    <dialogue>Does that work?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <parenthetical>(shouting)<\/parenthetical>\n    <dialogue>For about half an hour. Then the batteries run out. And I have to rob more. But it means I can take my tapes anywhere.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Wow. Portable music.<\/dialogue>\n    <scene_description>She smiles. Links his arm, and walks off with him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE PARK - LATER - DAY<\/stage_direction>\n    <scene_description>A small, city centre park. Some kids play on the swings. Others drink cider and smoke on a bench. Conor and Raphina enter.<\/scene_description>\n    <character>RAPHINA<\/character>\n    <dialogue>I really liked your song. It made me cry.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Oh, I'm sorry.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>No no, that's a good thing. But write me a happy one some time.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>What if I don't feel happy?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>What have you got to not feel happy about? Big house. Family. And we don't live in the Lebanon!<\/dialogue>\n    <scene_description>He smiles. She has a point.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Who's the guy, with the car?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Evan?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Yeah. Is he your boyfriend?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>We're on and off. It's complicated. We're kind of on a break right now.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Yeah. That's a good idea. Take a break for a year or so. Get some perspective.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>You're funny. He's actually a really nice guy.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Yeah. Shit taste in music though.<\/dialogue>\n    <scene_description>She smiles.<\/scene_description>\n    <character>RAPHINA<\/character>\n    <dialogue>He's taking me to London. I'm too young to go on my own. He's organized everything. Booked the tickets, and got us an apartment and all. We're going after I get my portfolio shot. It's a really big deal to get your shots done just right. For modelling. Your whole career can depend on it.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Yeah. And what's in it for Evan?<\/dialogue>\n    <scene_description>She pauses, falling behind.<\/scene_description>\n    <character>RAPHINA<\/character>\n    <dialogue>Are you jealous, Cosmo?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Why would I be jealous?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Exactly. Write me a happy song. I need a laugh.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>What if I don't feel happy?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Your problem is that you're not happy being sad. That's what love is, Cosmo.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Happy\/Sad.<\/dialogue>\n    <scene_description>Cosmo searches her for the meaning of this. She just smiles back. She checks her watch.<\/scene_description>\n    <character>RAPHINA<\/character>\n    <dialogue>Shit, I gotta go. We only have a half an hour dinner window at my house.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Oh yeah, so what's that house like, where you live?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>It's fine. Better than some of the other places I've been.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Cool. So... where are your parents?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>My da's brown bread. He got hit by a car.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Oh my God. Sorry.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>No, don't be. He was drunk. He deserved it. Me ma's in and out of hospital.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>She's a nurse.<\/dialogue>\n    <scene_description>She laughs. He gets it.<\/scene_description>\n    <character>RAPHINA<\/character>\n    <dialogue>No. She's a manic depressive.<\/dialogue>\n    <scene_description>Cosmo is shocked by this. But tries to lighten it.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>So, like, \"Happy\/Sad\"?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>You're funny. I like that.<\/dialogue>\n    <scene_description>She kisses him on either cheek again, and turns to go, but then turns.<\/scene_description>\n    <character>RAPHINA<\/character>\n    <dialogue>Let me know if you need me for another video before I go.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Okay. When are you going?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Soon.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You don't have any problems, Cosmo.<\/dialogue>\n    <scene_description>She winks, and sprints off, leaving Cosmo to decode.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRENDAN'S ROOM - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Conor is standing in the doorway of his brother's room. Brendan sits on his usual chair.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>...what did she mean by that?<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>She means that you've got to get to a place in life where you're okay with your sadness. That you're not fighting it anymore, but that you're almost... happy with it. It's monastic. She's like a monk. I like this girl.<\/dialogue>\n    <character>CONOR<\/character>\n    <parenthetical>(Half-getting it)<\/parenthetical>\n    <dialogue>Right. Happy\/sad.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>So her dad's dead, and her mum is mental? And you thought you had problems?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>So that's what the older boyfriend is about. Daddy issues. I used to know chicks like her. They can be tricky. And need a lot of protecting. Think you're up for that, Conor?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>I don't know. She's not even my girlfriend.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>So what's it all about then?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>I think she's just an amazing human being. I've never seen anything like her. The way she talks. And looks. She wears these sunglasses, and when she takes them off, her eyes, it's like the clouds clearing past the moon. And sometimes, I just want to cry looking at her.<\/dialogue>\n    <scene_description>Brendan pauses, smiling. Brendan has taken a new album down from his shelf. He slips out the record, and throws the sleeve to Conor. An 80's band, all dressed in black, looking gloomy. Conor is mesmerized by their look.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <dialogue>They're happy\/sad.<\/dialogue>\n    <scene_description>A Gothic, pop\/love song starts up on the turn table and Brendan smiles.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <dialogue>Close the door.<\/dialogue>\n    <scene_description>Conor pushes the door closed, transfixed by the sound. Brendan takes his seat. Conor, his. It's going to be a long night.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SYNGE STREET SCHOOL GATES - ANOTHER DAY<\/stage_direction>\n    <scene_description>As the song continues, Conor walks through the school gates. He is with Eamon and Darren. Conor is now dressed in a long, black overcoat. (Possibly his Mum's), an endless scarf, and has dyed his hair black, and back combed. A junior Sherlock Holmes\/Cure-head.<\/scene_description>\n    <character>EAMON<\/character>\n    <dialogue>How do you mean, you're \"Happy\/Sad\"?<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>Yeah. How am I supposed to market that?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>It means that we're not pop anymore.<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>Were we pop? I'm happy being any type of band. I just want to play.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>That's fine. Be who you are, Eamon.<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>I don't know who I am. Maybe I'm Happy\/Sad too? I don't know.<\/dialogue>\n    <character>DARREN<\/character>\n    <parenthetical>(shouting)<\/parenthetical>\n    <dialogue>What does Happy\/Sad mean??! How can you be both bleedin things?? It makes no sense.<\/dialogue>\n    <character>CONOR<\/character>\n    <parenthetical>(stopping)<\/parenthetical>\n    <dialogue>It means that I'm stuck in this shithole, full of morons and rapists and bullies, and I'm going to deal with it. Okay? It's just how life is now. And I'm going to try and accept that and get on with it, and make some art!<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>How does it affect our music?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Positively.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE DART TRAIN - DAY<\/stage_direction>\n    <scene_description>Song continues over. The whole band, with Darren and Raphina, ride the dart train out of the city. They are carrying the camera, and a few props- picture frames and paint brushes. The band are all Cure Heads now, and look quite good. But it's low-budget Cure Heads. Conor and Raphina sit across the aisle from them. Music plays over, as they ride out towards the sea. A welcome break from the city. Conor watches the sun burst behind Raphina's profile. He smiles, taking out the camera and filming her. Conor describes to the gang what this video will be about, reading from his journal...<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>So the idea of this video is about a guy standing halfway down a pier. And a beautiful woman walks past him. Towards the lighthouse. Half an hour later, she hasn't come back. So he investigates. But she's gone.<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>Wha?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>There's nowhere to go. And yet she's not there?<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>She's vanished?<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>She's jumped in. She's killed herself.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Correct. She's really sad.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>No she's not. She's a mermaid. She's jumped back into the sea. You see, she got washed up in a fishing net. And she's been in the city. But she's been dying to return to the water. To her friends. Where she belongs.<\/dialogue>\n    <scene_description>Conor likes this. He smiles. He starts writing this into his journal.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Yeah. That's better.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE PIER - DAY<\/stage_direction>\n    <scene_description>The band have set up their gear at the end of the pier, looking out to the Irish sea. Conor is framing up the camera. The wind threatens to blow it over on its tiny, lightweight tripod.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Okay, so we're playing here, and Raphina walks past. Then I'll show you where you can jump off. From here it will look like you've gone into the sea.<\/dialogue>\n    <scene_description>He shows Raphina and the others a little ledge behind the wall, where it will appear as though she's dropped into the sea, but is in fact just on the other side.<\/scene_description>\n    <character>RAPHINA<\/character>\n    <dialogue>It's not far enough down. You'll see the top of my head.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>You'll have to dip your head down to make it look real.<\/dialogue>\n    <scene_description>The others look doubtful, including Raphina.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Trust me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE PIER - LATER<\/stage_direction>\n    <scene_description>They are halfway through another song, miming to playback. Darren is operating the camera. They all look very gloomy and introspective; ala The Cure, staring down at the ground, and barely playing their instruments. But the song is brilliant. Darren holds up the picture frames in front of the musicians in separate shots. Conor stands with his hands in his pockets. Now Raphina enters frame, walking towards the end of the pier. She pauses for a moment, and NGIG holds up a picture frame in front of her as she walks. She is mouthing the lyrics. As she gets to the end of the pier, she stares out to sea dramatically. Conor is watching her in the background, singing. Then she jumps. But NOT onto the ledge. In fact, she jumps way past it and into the sea. For a moment, Conor hasn't seen what's happened. He goes on singing. But Darren looks up from the viewfinder.<\/scene_description>\n    <character>DARREN<\/character>\n    <parenthetical>(shouting over the music)<\/parenthetical>\n    <dialogue>Em, I think she went into the sea. Seriously.<\/dialogue>\n    <scene_description>Conor looks over towards the wall. No sign of Raphina.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Shit!<\/dialogue>\n    <scene_description>He breaks away from the group and runs over, jumping up onto the wall. Down below, Raphina is struggling in the choppy water.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>What the hell??<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>KEEP-BLOODY-FILMING!<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Behind him, Darren runs with the camera and tripod. He has heard her, and is rolling. Now the camera is on Conor.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>What'll I do?<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>Stop looking in the camera.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Save me!<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Jump in. It'll look great!<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>But my clothes??<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>I can't swim!<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>You mean the character or actual you?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>ACTUAL ME!<\/dialogue>\n    <scene_description>She is thrashing around in the water, starting to get pulled under. Conor throws off his coat and looks towards Darren. Darren steadies the shot. Gives the thumbs up. Raphina is shouting for help, off. Conor dives into the sea. Darren tilts down as he hits the water. A perfect shot.<\/scene_description>\n    <character>DARREN<\/character>\n    <dialogue>YES!<\/dialogue>\n    <scene_description>Conor swims over to Raphina who is genuinely starting to drown, and pulls her towards the ledge. The camera follows. The rest of the band have gathered on the edge of the pier, looking down and cheering.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ON THE WATER - CONTINUOUS<\/stage_direction>\n    <scene_description>Down below, Conor pulls her onto the safety of the ledge as she spits mouth fulls of water.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Jesus Christ! What were you thinking?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <parenthetical>(up to Darren)<\/parenthetical>\n    <dialogue>Did you get it??!!<\/dialogue>\n    <scene_description>Darren gives a thumbs up, as he scans back over the shot.<\/scene_description>\n    <character>RAPHINA<\/character>\n    <dialogue>Fantastic!!<\/dialogue>\n    <scene_description>The band laughs.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Can you really not swim?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Then why did you do that?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>For our art! You can't do things by half, Cosmo.<\/dialogue>\n    <scene_description>He shakes his head, searching her. They are both shivering and wet. Suddenly, he reaches in, and steals a kiss. She is silenced by it. Amazed.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Sorry... I... I'm sorry. That was...<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Great. Is what it was. Fair play.<\/dialogue>\n    <character>CONOR<\/character>\n    <parenthetical>(happy)<\/parenthetical>\n    <dialogue>Was it? What about Evan?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Evan's just a means to an end.<\/dialogue>\n    <scene_description>( SCENE 82 INTENTIONALLY DELETED ) ( SCENE 83 INTENTIONALLY DELETED ) ( SCENE 84 INTENTIONALLY DELETED ) ( SCENE 85 INTENTIONALLY DELETED ) ( SCENE 86 INTENTIONALLY DELETED ) ( SCENE 87 INTENTIONALLY DELETED ) ( SCENE 88 INTENTIONALLY DELETED ) ( SCENE 89 INTENTIONALLY DELETED )<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE PIER - LATER<\/stage_direction>\n    <scene_description>The gang haul their gear back up the pier. Conor and Raphina fall back. Raphina is looking out to sea.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>You know, on a clear day you can actually see the mainland of England? Ireland is actually only 30 Miles from the coast of Wales. It has to have just rained. No dust in the air. Then you can just about see it.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>No way. How do you know stuff like that?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>My grandad worked on the ships to Holyhead. He used to bring me out here. We used to go out on his little boat. Fishing.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Wow. So I can wave back to you when I'm in London!<\/dialogue>\n    <scene_description>Conor's heart sinks. They both stop and look out to sea. The others carry on.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE TRAIN - RETURNING - DAY<\/stage_direction>\n    <scene_description>The gang returns to the city at dusk; tired and worn out from all the sea air. The rooftops of Dublin spreading out through the window. Raphina leans her head against the glass looking out. Conor sits next to her.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>My brother says all the great artists had to get off this island. The ones who stayed just got depressed. Or turned into alcoholics.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>That makes sense. You mention your brother a lot, don't you? Do you really love him?<\/dialogue>\n    <scene_description>Conor shrugs. He's never been asked a question like this.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Well, he's kind of like my dad in a way. He seems to be the only one who cares how I turn out. Like take music- when we were kids, we shared a room- and he'd play me records every night. Falling asleep. He said that way, the music entered into your subconscious. He's a bit mad like that.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>He sounds cool. My dad used to sing songs to me falling asleep. And it got so I couldn't fall asleep until he was back from the pub. Which was usually after 11. Then he'd sit there on the side of the bed, singing The Auld Triangle, or whatever, old mad rebel songs! The smell of drink, and I'd fall asleep with the music.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Always had trouble sleeping since he died.<\/dialogue>\n    <scene_description>She smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONOR'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Conor and Brendan sit at the top of their stairs. Down below, Penny is sitting in the porch, catching the last few minutes of evening sun. They watch her, her shoulder straps pulled down a little, a glass of wine poured, and a cigarette in the ashtray. It is a beautiful, sad image.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <parenthetical>(watching her)<\/parenthetical>\n    <dialogue>Look at her. She races home in the evening to get that last little bit of sun. She sits there and reads the evening paper. She's always talking about a holiday to Spain. But he never takes her. This is all she gets. Then that tall tree blocks it, and she comes in. I often wonder what she's thinking about.<\/dialogue>\n    <scene_description>We hold on Conor, watching his mother.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SYNGE STREET SCHOOL YARD - ANOTHER DAY -<\/stage_direction>\n    <scene_description>Conor walks with the band through school. He is wearing massive sunglasses and a porkpie hat. The rest of the band are a little ABC. Outside his class, they disperse, back to their individual classes. Conor joins his queue. Barry is waiting with the rest of the class to get in. He laughs at Conor.<\/scene_description>\n    <character>BARRY<\/character>\n    <dialogue>I hear you're in a band now. What are they called? The queers?<\/dialogue>\n    <scene_description>A few lame laughs from the group.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Good one, Barry. Is someone getting these down? You know who you're like, Barry? Oscar Wilde.<\/dialogue>\n    <character>BARRY<\/character>\n    <dialogue>What class is he in?<\/dialogue>\n    <scene_description>Conor shakes his head. Some people laugh at Barry. Another, bigger kid, standing with some fifth formers, overhears this.<\/scene_description>\n    <character>BIGGER KID<\/character>\n    <dialogue>He's not in school, Barry, you spanner.<\/dialogue>\n    <character>BARRY<\/character>\n    <dialogue>Wha?<\/dialogue>\n    <character>BIGGER KID<\/character>\n    <dialogue>You spa.<\/dialogue>\n    <scene_description>The crowd laughs. Barry is not used to this.<\/scene_description>\n    <character>BARRY<\/character>\n    <dialogue>I'm going to kill you some day, do you know that?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>No you're not. Because you don't even exist.<\/dialogue>\n    <character>BARRY<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Barry comes up close to him. This time, Conor stands his ground. A small group is gathering.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>You're living in my world, I'm not living in yours. You're just material for my songs.<\/dialogue>\n    <character>BARRY<\/character>\n    <dialogue>Be careful what you say now, you'll get a battering.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Go ahead Barry. Beat me up while you still have the power. This is the best year of your life. But it'll all come crashing down when you leave school. You only have the power to stop things. But not to create.<\/dialogue>\n    <scene_description>He turns. Barry doesn't stop him. It's a minor triumph for the little man. Conor joins the back of the group, on his own. Barry makes a wanker gesture with his fist. This bomb is diffused, but the battle is far from over.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SYNGE STREET SCHOOL CORRIDOR - ANOTHER DAY<\/stage_direction>\n    <scene_description>Conor is excitedly leading Darren and Eamon down a corridor towards the notice board. There's a poster for the END-OF- TERM disco. End of Term disco. School hall Fri 15th. DJ and lights! Tickets \u00a32.<\/scene_description>\n    <character>EAMON<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>I say we ask if we can play at it. Our first gig!<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>When is it?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Three weeks.<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>We're not ready.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>We could be. We need a deadline. Something to prepare for.<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>We have exams next week. I need to prepare for that.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>They're mid term exams. They mean nothing.<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>They do to me Ma. She wants me to go to college an all. Get qualifications. Will there be girls at the disco?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>I say we do it.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>We've got five songs. We need a half hour set. So three more...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONOR'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Conor is working away with an acoustic guitar and notebook and pen. He writes lyrics, trying them out.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>\"Well the boots's on the other foot now, Look alive we're taking you down. Your curtain's falling, take a bow\".<\/dialogue>\n    <scene_description>As he plucks away on the acoustic, his composition is interrupted by raised voices, off.<\/scene_description>\n    <character>ROBERT<\/character>\n    <parenthetical>(off)<\/parenthetical>\n    <dialogue>Well you're sure as hell not moving in here with him!<\/dialogue>\n    <character>PENNY<\/character>\n    <parenthetical>(off)<\/parenthetical>\n    <dialogue>It's my mother's house!<\/dialogue>\n    <character>ROBERT<\/character>\n    <parenthetical>(off)<\/parenthetical>\n    <dialogue>I've been paying a mortgage on this house for fifteen years. I must own some part of it by now!<\/dialogue>\n    <character>PENNY<\/character>\n    <parenthetical>(off)<\/parenthetical>\n    <dialogue>You came into this relationship with nothing but a bicycle and a raincoat! And you've never had anything. My mother was right!<\/dialogue>\n    <character>ROBERT<\/character>\n    <parenthetical>(off)<\/parenthetical>\n    <dialogue>Oh give me a break. Go to his place. Go on, piss off.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONOR'S HOUSE - HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Conor sets out into the corridor. His mother is filling a large suitcase in the hallway below from her wardrobe. Robert is standing with his arms folded, watching her. Conor looks up at Brendan's attic door. It is closed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRENDAN'S ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>The two brothers sit in Brendan's room listening to a popular 80's tune. This drowns out their parent's rowing. They are laughing, and having a good time, air guitar and air drumming.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <dialogue>People sort of laugh at this chap, but he's actually the dogs bollocks!<\/dialogue>\n    <scene_description>Conor looks at the album cover.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONOR'S BEDROOM - MORNING<\/stage_direction>\n    <scene_description>Conor wakes up on a Saturday morning. We hold on him overhead, as he lies there, considering his lot. He finally pulls himself out of bed and exits.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONOR'S HOUE - HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Conor is greeted by a MAN (40s) directly outside his door, who is measuring the corridor with a tape, taking notes in his pad.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>I'm with the surveyor.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>Can I do your room now?<\/dialogue>\n    <scene_description>Conor shrugs, heading down stairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONOR'S HOUSE - LIVING ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Conor enters the living room. Penny and Robert are going through paper work.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Who's the guy upstairs?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>He's from the surveying company. We're having the house evaluated.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>You mean, sold?<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>No, I don't mean sold. We're having it valued. It might be a good time to sell it and downsize.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Are you people going your separate ways?<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>What is this \"You People\"? And Robert and Penny? What ever happened to \"Mum\"? \"How was your day, MUM\", or \" \"You look really stressed, MUM\" or \"I Love you, MUM.\"<\/dialogue>\n    <scene_description>She looks like she might cry. Conor is sort of surprised.<\/scene_description>\n    <character>PENNY<\/character>\n    <dialogue>That might be nice. What is wrong with kids who won't call their mother MUM.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>A lot is wrong! Look at us. We're lunatics who can hardly leave their bedroom.<\/dialogue>\n    <scene_description>And wimps who can't defend themselves in school. With parents who can't stop arguing for twenty years. We're far from normal.<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Shut up, Conor. There's people in the house.<\/dialogue>\n    <scene_description>In the background, through the window, a FOR SALE sign is erected. Conor points at it.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Oh look. A For Sale sign.<\/dialogue>\n    <character>ROBERT<\/character>\n    <parenthetical>(bluffing)<\/parenthetical>\n    <dialogue>We're testing the market.<\/dialogue>\n    <scene_description>Conor gets up, annoyed, heading out.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>I'm going to band practice.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Oh, about that. It's great that you're doing something extracurricular, but don't you have end of term exams soon?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Yeah. So?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Shouldn't you be spending your weekends doing revision?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>THIS is school.<\/dialogue>\n    <scene_description>He walks out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONOR'S HOUSE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Conor marches past the For Sale sign, and off up the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EAMON'S LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Conor and the band finish off a song. In a moment, Eamon's ma enters.<\/scene_description>\n    <character>EAMON<\/character>\n    <dialogue>What, Ma!? We're working.<\/dialogue>\n    <character>EAMON'S MUM<\/character>\n    <dialogue>Mr. Griffen from next door has just been rushed into hospital this morning. He had a heart attack.<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>EAMON'S MUM<\/character>\n    <dialogue>So, you'll have to stop playing. They're all inside.<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>But we're in the middle of writing a song! We have a gig.<\/dialogue>\n    <character>EAMON'S MUM<\/character>\n    <dialogue>Eamon! They're just back from the hospital! Show some respect. It was probably this racket that gave him the heart attack in the first place.<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>That's a mean thing to say.<\/dialogue>\n    <scene_description>She exits. They look at each other, shrugging.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SYNGE STREET - ART CLASSROOM - DAY<\/stage_direction>\n    <scene_description>Lads filter out of Miss Dunne's art class. Miss Dunne calls Conor back as he goes.<\/scene_description>\n    <character>MISS DUNNE<\/character>\n    <dialogue>How's that band of yours going, Conor?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Oh, Good, Miss. Well, yeah. Okay.<\/dialogue>\n    <character>MISS DUNNE<\/character>\n    <dialogue>When are we going to hear yiz play?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Well we were going to play at the end of term disco, but now we've lost our rehersal space.<\/dialogue>\n    <character>MISS DUNNE<\/character>\n    <dialogue>That's a bit shit. What about asking Brother Baxter? There's loads of vacant rooms here.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>He hates me. So I asked Brother Byrne for the P.E. Hall, but he said no.<\/dialogue>\n    <character>MISS DUNNE<\/character>\n    <dialogue>Freaking Brothers. They've driven this school into the ground. You know they're almost outnumbered now?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>No?<\/dialogue>\n    <character>MISS DUNNE<\/character>\n    <dialogue>Yeah. There's half us lay teachers now. And rising.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>One day...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Why don't you use here?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MISS DUNNE<\/character>\n    <dialogue>It's my classroom, isn't it?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>That'd be amazing, miss.<\/dialogue>\n    <scene_description>She walks him out.<\/scene_description>\n    <character>MISS DUNNE<\/character>\n    <dialogue>Let me look into it.<\/dialogue>\n    <scene_description>She winks, returning to her work. Conor exits with a smile.<\/scene_description>\n    <character>MISS DUNNE<\/character>\n    <dialogue>But ye better be good now!<\/dialogue>\n    <character>CONOR<\/character>\n    <parenthetical>(pausing)<\/parenthetical>\n    <dialogue>We are.<\/dialogue>\n    <scene_description>He heads out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SYNGE STREET EXAM HALL - DAY<\/stage_direction>\n    <scene_description>Conor takes the mid-term test. An exam supervisor stands at the top of the hall looking at his watch.<\/scene_description>\n    <character>SUPERVISOR<\/character>\n    <dialogue>And...begin.<\/dialogue>\n    <scene_description>The swish of a hundred students opening their paper. They start to write. We focus on Conor reading the questions. He is baffled by them. Scattered about the hall are the rest of the band, scratching their heads and shrugging their shoulders to each other, as everyone else is writing. We see that Conor has given up, and is writing lyrics in his journal instead.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SYNGE STREET ART CLASSROOM - DAY<\/stage_direction>\n    <scene_description>The band finish a song in the classroom. They are sounding a lot better than before. In fact, they are tight. And Conor is more and more confident at the mic.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>So I've got an idea for another video. Who's free on Saturday?<\/dialogue>\n    <character>NGIG<\/character>\n    <dialogue>Sometimes I think you're only shooting these videos so you can see your one. The chick.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>No I'm not.<\/dialogue>\n    <scene_description>The others laugh in agreement. We know he is right.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Shut up! Let me tell you what happens.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SYNGE STREET - RAPHINA'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Conor walks up the steps to Raphina's door. As he does so, the front door opens silently, and Raphina sneaks out, carrying an overnight bag. She closes the door silently, bumping into him with a yelp. He laughs.<\/scene_description>\n    <character>RAPHINA<\/character>\n    <dialogue>Jaysis! Shh.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Sneaking out. She thinks I've gone to bed already. Come on!<\/dialogue>\n    <scene_description>She drags him down the stairs and around the corner, giggling, under a tree.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Where are you going?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <parenthetical>(evasive)<\/parenthetical>\n    <dialogue>Just out for the night. What are you doing here?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Oh. We're shooting another video. This Saturday. In the school. But it's a really big one. We've got extras coming, from the girls school and everything. It's going to be amazing.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Sounds epic. I'll try to come.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>You have to come! I've got the whole video working out in my head.<\/dialogue>\n    <scene_description>From down the street, the Ford Granada pulls up outside Raphina's house. Evan is sitting in the driver seat. He doesn't see them around the corner. Conor looks at the car. Then at Raphina's overnight bag. Gets it.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Come on. Let's go. You don't need to be with him.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>How else do you expect me to get to London? He's connected. And he has money.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>What's so special about London? Jesus. It's just there! It's not like all your problems are going to go away because you're in England!<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Shut up now, and don't be getting jealous. Leave it. This has been nice.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Just lets go. We'll think of something.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>You're a kid. Don't be crazy. If we're not gone, then I'll swing by Saturday. Okay? Love ya.<\/dialogue>\n    <scene_description>She smiles. She runs off. Conor watches as she jumps into the car and it speeds off. We hold on Conor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SYNGE STREET SCHOOL - DAY<\/stage_direction>\n    <scene_description>Conor exits the school, carrying his report card in his hand. Other kids study their's. He meets Eamon, who is looking at his at the school gate. Darren joins them.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Did you do as badly as me?<\/dialogue>\n    <scene_description>He shows Eamon his card. Fail. Fail. Fail.<\/scene_description>\n    <character>DARREN<\/character>\n    <dialogue>I failed too.<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>Shit. I scraped a pass.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Well done!<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>My ma is going to kill me. What are you going to say to yours?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>I haven't thought about it yet...<\/dialogue>\n    <scene_description>They walk out. In the background, Barry tears his report card in half and throws it away without even reading it. He then boxes another kid in the face and approaches Conor, Eamon and Darren. He reaches in his school bag and takes out a homemade knife. A metal bar with a plastic scalpel welded it to it.<\/scene_description>\n    <character>BARRY<\/character>\n    <dialogue>I made this in metal work class. What do you think? And you said I couldn't create anything?<\/dialogue>\n    <scene_description>Conor is silent. It looks gnarly, and lethal. Barry smiles.<\/scene_description>\n    <character>BARRY<\/character>\n    <dialogue>And I'm going to mark you with it. One of these days. And you won't be so handsome then. In your little band.<\/dialogue>\n    <scene_description>Conor looks at it, then at Barry.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Why are you targeting me, Barry? What did I do to you?<\/dialogue>\n    <character>BARRY<\/character>\n    <dialogue>I don't like you.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Is it because your brother beats you up? And you're taking it out on someone else. Like that day down the laneway?<\/dialogue>\n    <character>BARRY<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>That's not me brother. That's me da. What are you saying about me da?<\/dialogue>\n    <scene_description>He leans in, laughing menacingly, raising the knife to Conor's face. A millimeter from his mouth. Just then, Brother Baxter appears out of a doorway behind them. Barry quickly pockets the knife, before Brother Baxter sees it.<\/scene_description>\n    <character>BROTHER BAXTER<\/character>\n    <dialogue>What's going on here? Is there a problem, Lawlor?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>No, Brother.<\/dialogue>\n    <scene_description>Brother Baxter just turns and re-enters his office, closing the door. Barry is as surprised as the rest of them. He looks around, then skulks off.<\/scene_description>\n    <character>BARRY<\/character>\n    <dialogue>See you around.<\/dialogue>\n    <scene_description>We hold on Conor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SYNGE STREET ART CLASSROOM - DAY<\/stage_direction>\n    <scene_description>About ten local teenage girls sit on desks. Ten boys stand around the classroom. They've turned up to be extras. A number of tables have been turned upsidedown to make a small stage. On this, the band's gear has been set up. Garry checks his drum kit on stage. Miss Dunne is hanging decorations up, including a disco ball. Darren is moving about with the camera, looking for shots. Across the room, Miss Dunne checks her watch.<\/scene_description>\n    <character>MISS DUNNE<\/character>\n    <dialogue>So you'd better film something. I have to lock up in an hour.<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>Yeah. She's not coming. Let's do it without her.<\/dialogue>\n    <scene_description>Conor reluctantly agrees. He gets up on stage.<\/scene_description>\n    <character>DARREN<\/character>\n    <dialogue>So, all of you come and stand here. You have to pretend it's a live gig. And you're the audience.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Okay, so everyone. This is like a school video. But not like an Irish school. More like an American school. And it's the prom night. We'll rehearse it.<\/dialogue>\n    <scene_description>He presses playback, and the band mime. Conor sings into a microphone. But his eyes are on the door. We hear the first verse. The band are really coming along. Conor is really developing some stage presence. Again, he looks towards the door. But this time... it opens. Raphina is coming through. But she's dressed up in an amazing, 1950's style prom dress. As she enters, we start to notice that we are not in the classroom anymore. We are in a huge school hall. It's prom night in a big, American school. Conor's band are transformed on stage. All wearing cool, 50's clothes. In this video, Conor's parents will arrive, all dressed up and happy together to see their son on stage. Brendan shows up, like Jimmy Dean in Rebel Without A Cause, and makes a fool of the bungling Brother Baxter. And Conor will defeat the evil Barry, who is dressed like the lead Scorpion in Grease. Then the ENTIRE audience start a choreographed DANCE sequence, which brings us out. We pull out from the view finder, and find ourselves back in the mean little classroom in Dublin. The group is huddled around the view finder. There's no sign of Raphina. It's all been in Conor's head. ( SCENE 107 INTENTIONALLY DELETED ) ( SCENE 108 INTENTIONALLY DELETED ) ( SCENE 109 INTENTIONALLY DELETED ) ( SCENE 110 INTENTIONALLY DELETED )<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONOR'S HOUSE - AFTERNOON<\/stage_direction>\n    <scene_description>Conor returns home. He pauses at the door, looking at his report card. He enters.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.CONOR'S HOUSE - HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>As Conor enters the hallway, he is met by his mother coming down the stairs.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>So before you get angry...<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Oh good, there you are.<\/dialogue>\n    <parenthetical>(calling)<\/parenthetical>\n    <dialogue>He's back. You get Bren.<\/dialogue>\n    <character>ROBERT<\/character>\n    <parenthetical>(off)<\/parenthetical>\n    <dialogue>Okay.<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>We want to chat to you both. Kitchen. Two minutes.<\/dialogue>\n    <scene_description>She passes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONOR'S LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Conor, Penny and Robert sit around the table in the kitchen, as they did a few months ago. Waiting. In a moment, we hear Brendan running down the stairs. He enters, carrying all his smoking and drinking shit.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <dialogue>Pray begin.<\/dialogue>\n    <scene_description>He sits down.<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Well. So, firstly, we don't want to make a big deal about this. Lot's of married couples-<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Your father and I are splitting up.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <parenthetical>(getting up)<\/parenthetical>\n    <dialogue>Thank you! Knew it was just a question of time. Let me know when we're moving. I'll be packed.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Why don't you sit down Brendan, for a second, and we'll tell you what we're thinking. See if you agree.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>Oh. A consensus? Well that's novel. Go ahead.<\/dialogue>\n    <scene_description>He sits down. We push in on Conor for the following.<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>So your mother's fallen in love with Tony. And they're going to move into his apartment for a while. We got an offer on this house- it's half what it's worth, but we're going to take it. I can't afford to stay here on my own.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>So are you, like, getting a divorce?<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>No, you can't get divorced in Ireland. We'll be legally separated. It's better for everyone.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>I'll get an apartment, and you guys will live between there and... there.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>I won't be staying in Tony's. Let's get that very straight. I'd rather sleep on the street.<\/dialogue>\n    <scene_description>Brendan seems unusually angry. Even twitchy.<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>We'll talk about all the details. Tony's a very nice man. I can vouch for that.<\/dialogue>\n    <scene_description>This is very hard for him to say. Penny is surprised.<\/scene_description>\n    <character>PENNY<\/character>\n    <parenthetical>(almost silently)<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>Wow. Look at you two. This is the first time I've seen you being nice to each other in ten years!<\/dialogue>\n    <scene_description>He lights up a cigarette, raising his eyes to heaven.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Maybe he's right. Maybe this is what you needed to do, you know, to get back. Closer than before.<\/dialogue>\n    <scene_description>Everyone looks at Conor. Suddenly seeing how young he is. And how vulnerable.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>You don't love Tony. You hardly know him. You got that job a few months ago. It's just an excuse. A way of ending this relationship because you don't know how to keep it together.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Now Conor. You don't know what you're talking about.<\/dialogue>\n    <scene_description>He gets up and exits, slamming the door. After a moment, Brendan gathers his stuff and exits, shaking his head, leaving the parents sitting there on their own.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRENDAN'S ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Brendan enters his room to find Conor sitting on the hammock. Brendan sets his stuff down.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>So you were right.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>It was obvious.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>They're our parents. They're supposed to look after us. So we can do stuff.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>That's bullshit. They're just human beings. I told you that.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>I was sort of hoping they'd come to my gig on Friday.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>What? You thought they'd suddenly become different people? And start noticing what you were doing? Or wanted? They have their own shit going on. They're not going to come to your stupid gig.<\/dialogue>\n    <scene_description>This is not the usual Brendan.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Why is it stupid now?<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>It's not that it's stupid. It's that it's annoying.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>What is wrong with you?<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>I don't know! I'm having withdrawal.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>From what?<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>From hash. I haven't smoked in two days.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>So I can do something with my life!<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Like what?<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>Look at you. You little punk. You know nothing, do you? You're the youngest. You get to follow the path that I macheted through the jungle that is our mad family. They took all their shit out on me. I got bitten by every insect, and snake. And fell into every river. For six years I was alone with those two. You think they're mad now, think what they were like when they were in their late twenties with a screaming baby in a rented flat who got married because they were two Catholics who wanted to sleep with each other. They didn't even love each other. And I was in the middle of that. On my own. And then you came along, thank God, and followed the trail I cut for us. You just moved in my jet stream. Untouched. And people laugh at me now. At the stoner. The college dropout. And praise you.<\/dialogue>\n    <scene_description>And that's fine. But once, I was a fucking jet engine. On this, he takes a pile of Vinyl off the shelf and flings them across the room smashing them. Conor's eyes are glazing over.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>I'll just be back in a second. I have to go to the toilet.<\/dialogue>\n    <scene_description>He exits.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONOR'S HOUSE - TOILET - CONTINUOUS<\/stage_direction>\n    <scene_description>Conor cries his eyes out in the toilet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONOR'S HOUSE - MORNING<\/stage_direction>\n    <scene_description>Darren rings on Conor's bell. In a moment, Conor answers. He is wearing his pyjamas.<\/scene_description>\n    <character>DARREN<\/character>\n    <dialogue>You can't run away from this, you know that? You have to face him.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>He'll kill me.<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>Yeah. But you're just kicking it down the line. Come on. As your manager I've let you down. I haven't solved this problem. I can't sleep.<\/dialogue>\n    <scene_description>He walks off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A BLOCK OF COUNCIL FLATS - DAY<\/stage_direction>\n    <scene_description>Conor follows Darren up the steps to the fourth floor of a block of flats. They walk past numerous doors, stopping at one.<\/scene_description>\n    <character>DARREN<\/character>\n    <dialogue>Now, leave this to me.<\/dialogue>\n    <scene_description>He knocks. In a moment, Barry opens the door. He is very surprised to see these two. From inside, the sound of the TV.<\/scene_description>\n    <character>BARRY<\/character>\n    <dialogue>What do yous want?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>We want to talk to you.<\/dialogue>\n    <character>VOICE (O.S.)<\/character>\n    <dialogue>Who the hell is it?<\/dialogue>\n    <character>BARRY<\/character>\n    <parenthetical>(re Conor)<\/parenthetical>\n    <dialogue>Get him away from me door, I'm going to kill him.<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>No you're not, Barry! Because he had a chance to rat you out the other day, and he didn't. He made a choice.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You think you're different from us. From everyone. And you are. You're nuts! But we have one thing in common, you, me and him. (Meaning Conor).<\/dialogue>\n    <character>BARRY<\/character>\n    <dialogue>No we bleedin' don't. He's a queer, and you're a fag, probably. Because who else would hang around with a queer, except a fag.<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>Do you want to know what it is?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>We're all shit at school. We've all failed these exams, and we'll be out of school next year. We're bleedin useless!<\/dialogue>\n    <scene_description>Silence. Barry doesn't disagree.<\/scene_description>\n    <character>BARRY<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>So what are you going to do when you're kicked out of school? Stay at home with your Ma and Da? Get wasted? Watching daytime telly?<\/dialogue>\n    <character>BARRY<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>BARRY'S DA<\/character>\n    <parenthetical>(off)<\/parenthetical>\n    <dialogue>Barry? Who is it, son?<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>Well we're going to be in a band. Gigging. On the road.<\/dialogue>\n    <scene_description>Different venues each night. Different women. A bleedin band! And do you know what bands need?<\/scene_description>\n    <character>BARRY<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Darren leans in.<\/scene_description>\n    <character>DARREN<\/character>\n    <dialogue>Roadies.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Someone who is strong, and knows how to fight! Protect themselves, and the lads. And carry gear.<\/dialogue>\n    <character>BARRY<\/character>\n    <dialogue>Are you talking about me?<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>Why not? You'd be great at it. You're tough. Ane you're off your head.<\/dialogue>\n    <scene_description>He thinks about him. His Da screams, off<\/scene_description>\n    <character>BARRY'S DA<\/character>\n    <parenthetical>(off)<\/parenthetical>\n    <dialogue>Barry! Get in here and get me another bottle. You worthless shite.<\/dialogue>\n    <character>BARRY<\/character>\n    <dialogue>I'm a worthless shite. What would you want with me? In a fag band.<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>A band is like being in the army. Everyone has everyone else's back. Fag or not. Think you're up to it?<\/dialogue>\n    <character>BARRY'S DA<\/character>\n    <parenthetical>(off)<\/parenthetical>\n    <dialogue>Where are you, you lazy prick? Do you hear me? Get in here and get us a bleedin bottle!<\/dialogue>\n    <character>BARRY<\/character>\n    <dialogue>Hold on a second.<\/dialogue>\n    <scene_description>Barry disappears for a moment. Darren and Conor exchange looks. We hear a SMASH from inside. Followed by a groan. His father is silenced. In a moment, Barry reappears. He has a broken bottle neck in his hand. And some blood on it. He chucks it away, as we hear groans of his father, off.<\/scene_description>\n    <character>BARRY<\/character>\n    <dialogue>Could I drive the van?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>We don't have a-<\/dialogue>\n    <character>DARREN<\/character>\n    <parenthetical>(elbowing him)<\/parenthetical>\n    <dialogue>Of course you'll drive the van! When we get one.<\/dialogue>\n    <scene_description>Barry exits, grabbing his jacket, and pulling the door behind him.<\/scene_description>\n    <character>BARRY<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <character>DARREN<\/character>\n    <dialogue>We have a gig this Friday. Are you free? I've got a fiver for you for it. You can do the lights.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE FLATS - CONTINUOUS<\/stage_direction>\n    <scene_description>They set off, away from Barry's house, Barry following behind in between them. Conor and Darren exchange a smile of surprise. The bomb has finally been diffused.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SYNGE STREET SCHOOL - DAY<\/stage_direction>\n    <scene_description>The three of them arrive at school. As they cross the road, Conor looks over his shoulder towards Raphina's house. There's a YOUNG GIRL walking back towards the house carrying a bottle of milk. She's been looking at them. But she quickly looks away. We think we recognize her. But we're not sure. Conor double takes, then breaks away from the lads and runs towards her as she runs up the steps.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Hey. Wait.<\/dialogue>\n    <scene_description>But the girl hurries up. Conor catches her up. Spinning her around. It is Raphina. But a much younger looking Raphina, wearing a dowdy jumper, stone washed jeans and trainers. Her hair hasn't been back-combed. She's wearing no make up. She looks like a kid.<\/scene_description>\n    <character>RAPHINA<\/character>\n    <dialogue>Wha?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Is it you?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Raphina?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>I'm not Raphina. I'm her younger sister.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>No you're not. What are you doing? I thought you were in London?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>My sister? Yeah, she's in London. Getting on great.<\/dialogue>\n    <scene_description>She walks on. Conor follows, spinning her around. She stares him in the face, finally giving up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE LITTLE PARK - DAY<\/stage_direction>\n    <scene_description>Conor and Raphina sit on a bench. She really does look different. Without the war paint and clothes, she's lost something of herself.<\/scene_description>\n    <character>RAPHINA<\/character>\n    <dialogue>...it was a mad idea anyway. I don't know anyone in London.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>I thought he had booked tickets?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>No. It was all just an act. To get a ride like. He doesn't have a flat there. Or friends. Or any of that.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>So where is he now?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <parenthetical>(ashamed)<\/parenthetical>\n    <dialogue>I don't know. He left me in a B&amp;B in town. I've been trying to ring him. I'm like me Ma.<\/dialogue>\n    <scene_description>She blushes a little.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>So what are you going to do now?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>I don't know. I was going to print up some CVs. But I haven't done anything. Except your videos. So I don't know where to start.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>CVs for what?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>I don't know. McDonalds have an ad in their window. Would you still fancy me if I was saying \"Do you want chips with that?\"<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>I'd fancy you no matter what, as long as you were happy.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Oh shut up, you sap. You make me sick. I don't know what I'm doing half the time. I live in a dream world. Who's going to put me in an ad? Or the cover of a magazine? I'm telling you- I'm like me Ma, thinking like that. There's something wrong with me.<\/dialogue>\n    <scene_description>She hits her head, her eyes filling with tears.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>There's nothing wrong with you. But you have to follow one dream at a time. I was actually happy I thought you were in London. Even though I was jealous. And I missed you.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I have to go now. I have a gig to rehearse for.<\/dialogue>\n    <scene_description>He gets up. She looks at him. Then gets up and they both wander back.<\/scene_description>\n    <character>RAPHINA<\/character>\n    <dialogue>Tell me about that...<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>It's our first gig. At the school. Will you come?<\/dialogue>\n    <scene_description>They chat as they wander off. We CRANE UP.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONOR'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Conor sits down and picks up pad and pen. He thinks about what he wants to say. Then writes down TO FIND YOU. He starts writing a first verse.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EAMON'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Eamon opens the door to his house. Conor's is outside, with his journal of lyrics.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Want to write a song?<\/dialogue>\n    <character>EAMON<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>Always.<\/dialogue>\n    <scene_description>He enters.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRENDAN'S ROOM - DAY<\/stage_direction>\n    <scene_description>Conor knocks on Brendan's room. Brendan is just sitting there. The window open, looking out.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Hi. I'm off to school. Got that gig tonight.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>Excellent. What time?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Starts at 9.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>Okay. I'll see you there, probably. Is your girlfriend going?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>She's not my girlfriend. I don't know. She's totally unreliable. I might try and get a new girlfriend tonight. If the gig goes well like.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>You know I was in a band once?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Really.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>Oh yeah. We never got to play a gig. But we practiced for about a summer. It was really just an excuse to get high with your friends. But we weren't half bad. I wrote some pretty good lyrics.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>Ah, parents. Mum always wanted me to be a doctor. Or a lawyer.<\/dialogue>\n    <scene_description>He shakes his head.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <dialogue>You should be glad they don't give as much of a damn about you.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Maybe that's what you'll do.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>When?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>When you get off your arse. Re-form a band? Write some lyrics.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONOR'S HOUSE - KITCHEN - DAY<\/stage_direction>\n    <scene_description>Conor passes through the kitchen. Penny and Robert are eating breakfast and reading the paper. Conor grabs a slice of toast and his school bag and goes to exit.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Oh, I'll be late tonight.<\/dialogue>\n    <scene_description>Neither of his parents look up.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>School gig.<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Okay. What time is it at?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>We're on at around 9. Are you coming?<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Ohh. I might be busy. A work do. I'll try and get out of it.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Cool. Dad?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Where is it at?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>At school. It's a \"school\" gig.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Oh yeah. Okay. I'll try.<\/dialogue>\n    <scene_description>Conor smiles, happy. He exits.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONOR'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Music over. Conor exits his house. He looks up at a \"SALE AGREED\" sign in his garden. He is carrying an envelope. He stuffs it into his jacket and gets on his bike.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS - DAY<\/stage_direction>\n    <scene_description>Music over, as Conor cycles through streets. RAPHINA'S STOOP - DAY Conor drops in the envelope through Raphina's door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SYNGE STREET SCHOOL - NIGHT<\/stage_direction>\n    <scene_description>People arrive for the school disco. They enter the gym hall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SYNGE STREET SCHOOL - GYM HALL - NIGHT<\/stage_direction>\n    <scene_description>A DJ plays music. There are a few colored lights. Gangs of teenagers assemble in groups. No one dances. Brothers and teachers supervise things. On stage, the band's gear is set up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACK STAGE - NIGHT<\/stage_direction>\n    <scene_description>Behind the stage is a little changing area, where our boys are assembled. They are dressed up. Conor wears pretty funky makeup. They nervously check behind the curtain.<\/scene_description>\n    <character>DARREN<\/character>\n    <dialogue>It's filling up lads. There's chicks from Saint Annes, Notre Dame. And St. Louis!<\/dialogue>\n    <scene_description>This just makes the band more nervous. All except Eamon, who sits on a desk, his guitar strapped on practicing. Conor notices that he's quiet. He approaches.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>You alright?<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>Yeah bro. I'm good.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Showed me Ma me test results.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Oh yeah? What did she say.<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>She killed me! Have to get the marks up by end of year. Gotta leave the band.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>Da's not coming out for a while. I have to help take care of things. She's on the dole. She can't manage.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>But we can't break up. Maybe if we just practice once a week.<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>Nah. If we were to do it we should do it properly.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>You're too good not to do this. This was your dream, right? Be in a band? Write music? Get out of Dublin?<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>Maybe later. After school or whatever. I'll still play. And write and stuff. But I have to focus on school and jobs. I can't afford to have that dream right now.<\/dialogue>\n    <scene_description>Conor understands.<\/scene_description>\n    <character>GARRY<\/character>\n    <parenthetical>(o.s.)<\/parenthetical>\n    <dialogue>So what's our set list?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SYNGE STREET SCHOOL - NIGHT<\/stage_direction>\n    <scene_description>More and more kids show up. Kids of all ages. Some of them drunk.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SYNGE STREET SCHOOL GYM - NIGHT<\/stage_direction>\n    <scene_description>Things are turbulent in the school hall. Brothers and teachers have a tough time keeping things under control. A few local skinheads have shown up, drinking bottles of cider. Girls have started kissing guys. On stage, a fifth former (17) speaks into a microphone as the DJ turns down the music.<\/scene_description>\n    <character>FIFTH FORMER<\/character>\n    <dialogue>Okay. So now, some live music.<\/dialogue>\n    <scene_description>No one claps. Except Miss Dunne, who is there with her boyfriend, a man in his late thirties. They are drinking orange juice. The band take to the stage. Conor's look gets laughs: he's wearing a dress and heavy makeup. A few \"Faggots\" from the crowd, etc. Conor begins a riff.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Hello Dublin. We are Sing Street. From Dublin.<\/dialogue>\n    <character>CROWD<\/character>\n    <parenthetical>(collectively)<\/parenthetical>\n    <character>BOO!!!!!!!<\/character>\n    <dialogue>THUG VOICE<\/dialogue>\n    <scene_description>Faggot band!<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Dad, you shouldn't have come if you're going to slag us.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>This is called \"Words\".<\/dialogue>\n    <scene_description>The band crash into their first song, a lively, up-tempo stomper. Cosmo is transformed on stage. He's stepped outside himself. He's carefree and confident with the microphone, and his weeks of rehersal have paid off. The band is tight. Miss Dunne is delighted. The other teachers aren't so sure of the angry, passionate performance and risqu\u00e9 lyrics, as the crowd begrudgingly starts to come around, gathering at the front of stage. Barry is working their backline. Darren winks at him. The play through their first song passionately, and it ends to some applause, mostly from girls.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAPHINA'S HOUSE - EARLIER<\/stage_direction>\n    <scene_description>Raphina opens the envelope Conor dropped in, and puts the tape into her machine. Through her window, Conor jumps on his bike earlier that afternoon, and cycles off. She presses play.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SYNGE STREET SCHOOL GYM - NIGHT<\/stage_direction>\n    <scene_description>Back at the hall the band are well into their gig. They are sweating, and ending a song to applause. Conor changes out of his dress -- he's wearing a school uniform underneath.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Thank you. Here's one called \"I will Find you\" It's a slow song.<\/dialogue>\n    <scene_description>The crowd boo. The rest of the band shake their heads. The band have an unplanned discussion on stage, off mic.<\/scene_description>\n    <character>NGIG<\/character>\n    <dialogue>We're not doing a bleedin slow song at a gig! Are you mad?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>No?<\/dialogue>\n    <character>GARRY<\/character>\n    <dialogue>They love us. We'll totally blow it. And we haven't rehearsed it properly.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>But it's a great song. And it's really simple. And it'll test our audience. Girls will love it. Eamon?<\/dialogue>\n    <scene_description>They all look at Eamon.<\/scene_description>\n    <character>EAMON<\/character>\n    <dialogue>It's a bold move. Let's do it.<\/dialogue>\n    <scene_description>Eamon takes a seat by the piano.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>This is a slow song. Anyone ever had a girlfriend for a day? Then that's it?<\/dialogue>\n    <scene_description>Lots of rowdy shouting from the crowd. This is turning into a proper gig.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>What is that about? Anyway. This is called \"I Will find you\".<\/dialogue>\n    <scene_description>He begins a mid tempo song. It's beautiful. Soulful yet forceful. We hear the first verse.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAPHINA'S ROOM - EARLIER THAT DAY<\/stage_direction>\n    <scene_description>Raphina is listening to the music. It is the same song he is playing live at the gig. She is dressed as we saw her earlier, hair in a pony tail, no make up, sensible jeans and jumper. The song is an address to her to follow her dreams. About being who you're supposed to be. That she must at least find out if she could have made it as a model. And made it to London.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Music plays over Penny is making love to A MAN (45), on the couch in an office. She is smiling and happy.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONOR'S HOUSE - LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Music plays over. Robert is sitting in front of the TV with a sandwich and a glass of whiskey. He is watching violence on TV from Northern Ireland.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRENDAN'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Music plays over. Brenden enters his room. Restless. He is trying on his jacket to go out. Looks in the mirror. The song from the gig still playing over. He checks his watch and looks at his guitar and smiles. Picks it up, sits back and strums it. Blows some dust off it. Tunes a string. Then gives up. Crosses the room, puts the needle onto the vinal. Picks up his hash paraphernalia and begins rolling a joint on the back of the guitar, tapping his feet to the music. Takes off his jacket. He's not going anywhere.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE PARK - NIGHT<\/stage_direction>\n    <scene_description>Raphina sits on the bench listening to the same song Cosmo is playing live. She's been listening over and over. She's smiling and crying at the same time. It is a call to her from someone who really cares about her.<\/scene_description>\n    <character>LYRICS<\/character>\n    <dialogue>\"I got to find out who I'm meant to be. I don't believe in destiny. But with every word you say to me... something's going to change...<\/dialogue>\n    <scene_description>We hold on her, eyes full of tears.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SYNGE STREET SCHOOL - GYM - NIGHT<\/stage_direction>\n    <scene_description>Back on stage, they have lost most of the crowd. Many are outside the windows, smoking. Others in groups chatting. Only a few GIRLS have stayed put, looking up adoringly at the young band. Now, at the back of the hall, the door opens, and Raphina steps in out of the cold. But she's OLD RAPHINA again. The hair is done, the make up. And she's dressed in a cool skirt, doc boots, and jacket. She can't believe what she's seeing. Conor, is singling with his eyes closed. She smiles, walking through the hall towards the stage. Conor sees her and smiles, singing the last verse to her. She stands at the front of stage looking up at him.<\/scene_description>\n    <character>LYRICS<\/character>\n    <dialogue>\"So bring the thunder bring the lightening, bring the fall. I know I'll get my heart through. I've miles to go, but since the day I started crawling I was on my way to find you.\"<\/dialogue>\n    <scene_description>They finish to applause. A SKINHEAD tries to get up on stage but Barry, who has been standing, arms folded like a bodyguard, punches him off the stage.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Okay. This is our last song. It's about this school. It's for Brother Baxter.<\/dialogue>\n    <scene_description>People hoot and whistle. Brother Baxter, who stands at the back of the hall is not impressed. He signals to another Brother to turn on the hall lights. Florescent lights blink on, ruining the dark, cavernous atmosphere. The crowd collectively BOO. One of the skinheads turns them off again. The crowd cheer. On and off again. Things are getting chaotic. The crowd is getting pissed. The Brother turns them on again. Then the skin head turns them off, then takes a fire extinguisher and smashes it down on the light switch, ensuring they stay off. Brother Baxter is making his way towards stage. He stands at the side of the stage, gesturing for Cosmo to come over. Conor heads over, leaning down.<\/scene_description>\n    <character>BROTHER BAXTER<\/character>\n    <dialogue>Lad, don't push it.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>What? It's a tribute song.<\/dialogue>\n    <character>BROTHER BAXTER<\/character>\n    <dialogue>If you want to keep this band going next term you'd better be careful.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Oh. Okay.<\/dialogue>\n    <scene_description>He goes back onto stage.<\/scene_description>\n    <character>CONOR<\/character>\n    <parenthetical>(to Eamon)<\/parenthetical>\n    <dialogue>You ready? This may be all of ours first and last gig man. You ready to do it?<\/dialogue>\n    <character>EAMON<\/character>\n    <dialogue>Let's go!!<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>And you better come back to this after school. You're a bloody genius man!<\/dialogue>\n    <scene_description>Eamon laughs.<\/scene_description>\n    <character>CONOR<\/character>\n    <parenthetical>(shouting, into mic)<\/parenthetical>\n    <dialogue>This is called \"Brown Shoes\". It's for every Christian Brother, and for every bully you ever knew.<\/dialogue>\n    <scene_description>Larry starts with a thumping bass lick. Eamon and Garry join in. Conor approaches the mic, singing angrily<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>\"Who the hell are you, to tell me what to do... you wear a dress and tell me not to wear Brown Shoes..?\"<\/dialogue>\n    <scene_description>The crowd gets it. They start moshing. An angry guitar riff soaring over the top line. Conor sings a verse about being stabbed by a bully. Then the chorus:<\/scene_description>\n    <character>CONOR<\/character>\n    <parenthetical>(singing)<\/parenthetical>\n    <dialogue>\"Well the boots on the other foot now, buckle up, we're taking you down. Your curtain's falling so take a bow.\"<\/dialogue>\n    <scene_description>He spots Raphina as he sings, smiling.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>\"...yeah you've had your time in the sun, so step aside it's time for some fun. Yeah the boot's on the other foot, take a bow!\"<\/dialogue>\n    <scene_description>Raphina joins in the dancing. A few people stage dive. The Skinhead jumps around the room letting the fire extinguisher off, drenching everyone. They love it. The lights come on again, adding to the chaos. Cosmo laughs as he screams a mantra into the mic<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>\"Brown shoes, Brown Shoes, Brown Shoes!!!!\"<\/dialogue>\n    <scene_description>Brother Baxter turns and exits, unnoticed.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>\"Brown Shoes, Brown Shoes... BROWN SHOES!!\"<\/dialogue>\n    <scene_description>And the song crescendos into a loud stab. And ends. The crowd roars. Conor and Raphina fix eyes, laughing.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>We are Sing Street.<\/dialogue>\n    <scene_description>The DJ takes over as the crowd cheer.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SYNGE STREET SCHOOL GYM - BACKSTAGE - CONTINUOUS<\/stage_direction>\n    <scene_description>Conor and the band get off stage, hugging. Raphina runs over to meet him. She kisses him. They SHOUT above the music and crowds.<\/scene_description>\n    <character>RAPHINA<\/character>\n    <dialogue>You look great!!<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>So do you!<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>You guys were brilliant!!<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Really? Shit. Because I have to break the band up!!<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>What? Why??<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>I failed my exams. And Eamon's Mum won't let him be in a band anymore. And my parents are selling the house. So we'll be moving... So I won't be able to call in and leave tapes for you and stalk you!<\/dialogue>\n    <scene_description>She shrugs.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>We should go.<\/dialogue>\n    <scene_description>She nods her head without needing to think.<\/scene_description>\n    <character>RAPHINA<\/character>\n    <dialogue>How?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>On a boat.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>On the ferry, like? They won't let us travel. You're too young! I mean, I'd get away with it. But you're just a baby.<\/dialogue>\n    <scene_description>He's shaking his head, all this coming to him like a bolt from the blue.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>No. We borrow a boat. From Dalkey. It's 35 Miles. How far can that be? It's like 45 minutes in good weather.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>You mean steal a boat?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Are you ready? There's nothing going on here right now.<\/dialogue>\n    <scene_description>She thinks about it. They look at each other, wide-eyed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SYNGE STREET SCHOOL \/ RAPHINA'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Conor and Raphina run, hand in hand out of the school gates.<\/scene_description>\n    <character>RAPHINA<\/character>\n    <dialogue>Do you forgive me? About Evan?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Was he any good? At sex?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Not great.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Cool.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>You need to tell me you forgive me?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Something tells me I'll always be forgiving you.<\/dialogue>\n    <scene_description>They run on. She runs towards the steps of her house.<\/scene_description>\n    <character>RAPHINA<\/character>\n    <dialogue>Two minutes. I need to pack a few things.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>GO!<\/dialogue>\n    <scene_description>She laughs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONOR'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>They run around the corner and up to Conor's house, hand in hand. Raphina is carrying a bag.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRENDAN'S ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Brendan is writing something in his writing pad, and smoking one. Conor knocks and enters, followed by Raphina.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <dialogue>Hey. What's going on?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Shhh. Where are the parents?<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>In bed. Why?<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>Hey. You're Raphina?<\/dialogue>\n    <scene_description>She bows.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>We need your help. Can you drive us to Dalkey?<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>What for?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Grandad's little pleasure boat is still moored there. We're going to sail to England. The two of us. We're all set. But we need a lift to the harbour.<\/dialogue>\n    <scene_description>Brendan looks at them. They are totally serious. He thinks about it.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <dialogue>Sure. When are you talking about?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Now.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>What!!? Do you have any friends there?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>Do you have any sterling?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>No. Not a penny. She has her photographs. And I have my demo tapes and videos.<\/dialogue>\n    <scene_description>He looks at them, smiling. He puts on his jacket.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <dialogue>Let's go.<\/dialogue>\n    <scene_description>Raphina and Conor smile.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONOR'S ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>In a frenzy, Conor throws things in a shoulder bag.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBERT AND PENNY'S ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Conor sneaks in to his parents' room. He tip toes over to the bedside locker. The car keys are under the lamp. He fishes them up silently, and as he does so, looks at his parents, asleep. Robert is sleeping on the floor beside the bed. Penny is on the bed, in a shaft of moonlight. Conor pauses, looking at them, almost smiling. Then his eyes fill up with tears. They look very vulnerable. He leans in to his Mum...<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>I love you. Mum.<\/dialogue>\n    <scene_description>She repositions herself in the bed. But she doesn't hear him. We hold on him, smiling.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONOR'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Conor and Brendan pull the tarpaulin off the old car in the driveway. The old car reverses out of the driveway. Conor and Raphina jump in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CAR - NIGHT<\/stage_direction>\n    <scene_description>Palpable excitement in the car as Brendan drives it south, out to the sea...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COLIEMORE HARBOUR - DAWN<\/stage_direction>\n    <scene_description>The car pulls up to a small jetty. A few old boats bob up and down in the moonlight. They all get out, carrying their bags down towards one small pleasure cruiser. Dalkey Island just across the water.<\/scene_description>\n    <character>RAPHINA<\/character>\n    <dialogue>Jesus, you were right, it's really close.<\/dialogue>\n    <scene_description>She smiles.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>It's a little bit further than that.<\/dialogue>\n    <scene_description>They approach the hero boat. It's an open boat, with a steering wheel, and a little tarpaulin shelter area at the back. It's pretty basic.<\/scene_description>\n    <character>RAPHINA<\/character>\n    <dialogue>Is that it? It's tiny!<\/dialogue>\n    <scene_description>They look out to sea.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>Nice and calm.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>You DO know it can get pretty choppy once you get out past the island?<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>We'll be grand.<\/dialogue>\n    <scene_description>He heads. They follow him to the edge of the jetty. He jumps on board the boat, getting it ready. Brendan and Raphina stand watching him. He appears to know what he's doing. Kind of. He finds a can of petrol in the boat next to it, and steals it, looking in his own engine.<\/scene_description>\n    <character>CONOR<\/character>\n    <dialogue>I don't believe it. There's still petrol in it. We'll take this one as a spare. Ready?<\/dialogue>\n    <scene_description>He pulls the cord. The engine coughs. But doesn't take. Raphina jumps in, helping him, as Brendan does lookout. Finally, the engine comes to life, spluttering and coughing out smoke. Conor jumps back off, handing Raphina her bag, photographs, and his stuff. She secures them under the little tarpaulin. Conor unties the boat from its mooring, throwing the rope on board. Then he turns to his brother.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <dialogue>Call home as SOON as you get there, okay? No messing around.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>I will. We'll get into the Welsh coast. Then hitch down to London. Be there this evening.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>You'll get some flak from the parents for driving me out.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>I'll be fine. I'm bulletproof.<\/dialogue>\n    <scene_description>He smiles. He is far from bulletproof.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <dialogue>Oh, here. I wrote some words down. For a song.<\/dialogue>\n    <scene_description>Brendan reaches in his pocket and produces a foolscap of paper with loads of lyrics written on it.<\/scene_description>\n    <character>BRENDAN<\/character>\n    <dialogue>They're just a stream of consciousness thing. It's about this kid and a girl. In the future. If you get there, put some music to them some day. I'm serious. Could be a good song.<\/dialogue>\n    <character>CONOR<\/character>\n    <dialogue>Okay. I will.<\/dialogue>\n    <scene_description>Conor takes it and folds it up carefully, and puts it in his inside coat pocket. Conor jumps back onto the boat.<\/scene_description>\n    <character>RAPHINA<\/character>\n    <dialogue>Come and visit us. You seem like a mad bastard.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>Oh yeah. You look after that brother of mine. He's going to be lost without me.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Hah! I will.<\/dialogue>\n    <character>BRENDAN<\/character>\n    <dialogue>And I hope you can swim.<\/dialogue>\n    <scene_description>Raphina shakes Brendan's hand and hugs him from the boat. Brendan is getting a little emotional as A SONG starts to fade up on the track. He hugs his brother one more time. But this is no time for tears. Conor steers the little boat out of the harbour. They wave back to Brendan, who stands on the jetty waving.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE BOAT - DAWN<\/stage_direction>\n    <scene_description>The boat sets out onto the sea. The shelter of the harbour is immediately met by a strong wind. The song swells...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE BOAT - DAWN<\/stage_direction>\n    <scene_description>The sun is coming up, but a heavy mist is refusing to lift. The waves are growing in force as the little boat sets off. Raphina looks nervous. It starts raining.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CAR - DAWN<\/stage_direction>\n    <scene_description>Brendan watches them from behind the wheel of his car. They look very vulnerable in the distance, bobbing up and down. He starts screaming. For no reason. Shouting and screaming and cheering, looking at the little boat making its escape. In a way, he\u00e2\u20acSyntax Warning: Invalid Font Weight \u2122s on that boat. The boat disappears around the side of the island. Brendan smiles, shouting.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE BOAT - MORNING<\/stage_direction>\n    <scene_description>Now it's raining hard. The boat is buffeted by waves.<\/scene_description>\n    <character>CONOR<\/character>\n    <parenthetical>(shouting)<\/parenthetical>\n    <dialogue>You'll want to sit down around now<\/dialogue>\n    <character>RAPHINA<\/character>\n    <parenthetical>(shouting)<\/parenthetical>\n    <character>WHAT?<\/character>\n    <dialogue>In answer to her question, the boat is hit by a good wave, knocking Raphina over.<\/dialogue>\n    <dialogue>She huddles up under the tarpaulin, soaked.<\/dialogue>\n    <dialogue>Conor steers the boat with focus and determination. She watches him, scared, as the song soars.<\/dialogue>\n    <dialogue>Ahead, nothing but mist and rain. No sign of a coastline.<\/dialogue>\n    <dialogue>Then, a bellowing HORN is heard, off.<\/dialogue>\n    <dialogue>Conor looks out. Out of the mist a HUGE CAR FERRY is appearing, travelling in the same direction, but cutting across their boat's course.<\/dialogue>\n    <character>RAPHINA<\/character>\n    <dialogue>Jesus Christ!!!!!<\/dialogue>\n    <scene_description>Conor slams the boat into reverse. The engine grinds in protest. The FERRY passes them by. Up on deck, countless Irish immigrants stand, smoking, drinking cans of Guinness, watching the sun come up etc. Some of them see the little boat below, pointing and laughing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE CAR FERRY - CONTINUOUS<\/stage_direction>\n    <scene_description>P.O.V. Shot from deck of ferry.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE BOAT - CONTINUOUS<\/stage_direction>\n    <scene_description>Conor waves up at the people on deck. Then speeds onwards. Raphina smiles, looking at his back. She tries to light up a cigarette. Then gives up. She starts laughing. The SONG really takes off now. It's Conor's voice singing. The lyrics are about him and Raphina. About their future. A model and a singer. About staying together. Written from an older brother's perspective. What we're hearing is clearly a marriage of Brendan's lyrics and Conor's music. From the future. And it's the only clue to whether Conor and Raphina ever made it. Because right now, all we can see is mist, rain, and grim determination on COSMO'S drenched face.... Snap to black. FOR YOUR CO N S I D E R AT I O N<\/scene_description>\n    <character>BEST ORIGINAL SCREENPLAY<\/character>\n    <dialogue>John Carney<\/dialogue>\n    <scene_description>www.TWCAwards.com<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In inner-city south Dublin in 1985, Robert Lalor struggles with his architecture practice and his marriage, and drinks and smokes to excess. At a family meeting, he announces he is taking his youngest son Conor out of his expensive school and moving him to a Christian Brothers school, Synge Street CBS, which Robert asserts is of equally high repute. Conor's older brother Brendan ribs him about the change as well as about the state of the family unit. Conor appears in his new uniform but without the regulation black shoes. The school principal, Br. Baxter, chastises him despite Conor's pleas of being unable to afford new shoes. To avoid going shoeless, he paints his shoes black. An encounter with the school bully, Barry, introduces Conor to Darren, an ally and budding entrepreneur. When Conor recruits aspiring model Raphina for a music video, Darren agrees to manage his band and introduces him to multi-instrumentalist Eamon. The band practices in Eamon's living room, playing covers until Brendan encourages him to develop the band's own style. He writes original songs with Eamon, describing themselves as \"futurists\". The band films their first music video wearing comical costumes; Raphina acts as ing\u00e9nue and makeup artist. Conor goes into school the next day wearing make up, and Brother Baxter forcibly removes it. Raphina gives Conor his nickname \"Cosmo\", which she says is more in keeping with his new band's image. After spending the day filming a music video for a new song, Conor and Raphina kiss. Conor also stands up to his bully, Barry by pointing out the insignificance of both their lives, which greatly upsets Barry. Robert and Penny's marriage falls apart while Raphina and Conor's relationship blossoms. Conor takes Raphina out to Dalkey Island in his granddad's motor cruiser. Here, they view the car ferry leaving D\u00fan Laoghaire for the UK and discuss Raphina's dream of leaving Ireland for London. Conor, Raphina and the band prepare to film a Back to the Future-inspired music video for their new song, but Conor is disheartened when Raphina fails to show up. She reveals that she was set to leave for London with her boyfriend, but he abandoned her. Hurt by her lack of disclosure and offended by her nonchalance, Conor breaks up with Raphina. Because of the break-up and his family's problems, Conor finds difficulty in writing or playing music, but Brendan urges Conor to continue so he can make a better future for himself. Penny and Robert announce to the family that they are getting legally separated and selling the house. Penny plans on moving in with her affair and boss, Tony, whilst Robert plans on getting a small apartment. They will share custody. An opportunity arises for the band to play live at an end-of-year party at school. Conor strikes up a friendship with Barry, offering him the chance to be the band's roadie and escape his abusive family. Conor prepares a new song mocking Baxter, which the band perform as an encore while distributing homemade masks of Baxter's face. Raphina arrives before the band finishes and reconciles with Conor. Both of them leave the party and the school in uproar. After secretly saying goodbye to his family later that night, Conor and Raphina persuade Brendan to drive them to Dalkey, so they can escape in the motor cruiser and head to London. Brendan agrees and drives them to the harbour, where Brendan and Conor embrace. Conor and Raphina sail out to sea, following the ferry across the rough Irish Sea to a new life in London. Brendan watches them disappear into the distance and cheers, overjoyed that his younger brother has left to go on to greater things."}
{"movie_name":"No One Will Save You_2023","imdb_id":"tt14509110","script":"<script>\n  <scene>\n    <character>NO ONE WILL SAVE YOU<\/character>\n    <dialogue>Written by<\/dialogue>\n    <scene_description>Brian Duffield Star Thrower Entertainment (310) 855-9009<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - MORNING<\/stage_direction>\n    <scene_description>BRYNN practices smiling in the mirror. She's not particularly convincing. Adds a wave for good measure. Trying to look casual and pleasant- But just looking nervous and uncomfortable. Tries again before frowning and fixing her hair, still in her nightgown.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - MORNING<\/stage_direction>\n    <scene_description>Brynn stares at two dress options. She made them both. After some debate, she picks one. Then changes her mind and goes with the other.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE FAMILY ROOM - MORNING<\/stage_direction>\n    <scene_description>It's clear that Brynn lives here alone. In her early twenties. She heads downstairs into her immaculately designed home. It's decorated cutely with Halloween trinkets. She passes a LeMax halloween village of different spooky buildings which is just a liiiiittle too big. She turns their lights on and admires the little spooky world she's made for herself proudly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT - DAY<\/stage_direction>\n    <scene_description>This is where she works. Reams of fabric. Drawers of buttons. Sewing machine. A list of her Etsy orders. Brynn does a little more work on a dress. The work makes her happy. She finishes off a dress and carefully folds it. Wraps a bow around it. Like it was the most special thing in the world. Hand writes a thank you note and pins it to the ribbon. She places the dress delicately in a bubbled envelope. Already addressed with incredible penmanship. She prints out a stamp herself. A vintage alarm clock rings. She hits it and gathers her things.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRONT YARD - DAY<\/stage_direction>\n    <scene_description>Brynn writes a letter under a tree, lounging against the trunk. Dear Maude, Her home is very well kept. Surrounded by thick woods. There are garden boxes of vegetables by a small shed. Brynn looks up from her letter when she hears something. Turns towards the street. The sound of a car. She smiles. It's here. She huddles against the tree, making herself small- So the MAILMAN can't see her when he pulls up to her mailbox at the end of her driveway. He chucks in some letters. Then reaches into the back and pulls out- A hand-wrapped BROWN BOX. For a moment, he considers putting it in the mailbox... But not seeing anyone around- He aggressively dumps it on the ground with a smirk. Brynn hears it thump and winces as- The mail truck heads further down the road. Brynn peeks to make sure the coast is clear. Then gets up and hurries to her mailbox. She gently picks the box up. Tosses the letters under her arm. And heads back to her home. Skipping with excitement.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE FAMILY ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>She carefully cuts open the box with scissors, finally revealing- An ungodly amount of bubble wrap inside. She laughs victoriously at her flawless defeat of the mailman. She carefully reaches inside and pulls out- A small LeMax box of a HALLOWEEN VILLAGE BUILDING. She grins, carefully opens it so as not to ruin the packaging- Places it proudly on its designated spot in her village.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLOSET - MOMENTS LATER<\/stage_direction>\n    <scene_description>Brynn carefully places the empty box on a row of similar boxes. Rows of Christmas Village buildings wait their turn.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRONT YARD - DAY<\/stage_direction>\n    <scene_description>The sun is beginning to set. Brynn sets her packages in her small car. She moves over to a flower bed and carefully cuts a few stems- Pauses when she sees a STRANGE BURNED CIRCLE in her grass and part of her flowerbed. Brynn groans, looking closer. Not burned necessarily. Just like everything dried up in a perfect 8 foot wide circle. She sighs and waters it with a hose before she goes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - DAY<\/stage_direction>\n    <scene_description>She listens to oldies while she drives. Strangely full of anxiety. She looks into her rear-view mirror and practices that smile again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POST OFFICE - DAY<\/stage_direction>\n    <scene_description>She drives up to a mailbox- But before she lowers the window- She puts on a hat and sunglasses to obscure her face. Then she lowers the window and quickly drops off her mail. Before zipping away quickly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - SUNSET<\/stage_direction>\n    <scene_description>Brynn gets out of her car. The parking lot a little too full for her liking. She carries the flowers with her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRAVEYARD - SUNSET<\/stage_direction>\n    <scene_description>Brynn replaces the not-too-dead flowers in a vase by the headstone that reads Sarah Adams, Wife to Hugh, Mother to Brynn. She spends some time with her mother, before feeling that awful sensation that she's being watched. She slowly turns and sees a group of women across the graveyard at a funeral- Looking at her, talking amongst themselves. Brynn quickly stands and begins walking out of the graveyard. Has to move past them to do so. And when she does, she gives them her rehearsed smile and wave- As if everything was totally fine. It's not very convincing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - SUNSET<\/stage_direction>\n    <scene_description>When Brynn returns to her car, she sees a small SCRATCH along its side. She doesn't remember that being there before. Looks back towards the funeral, unsure of how to react- Before getting back into her car and driving away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RECORD PLAYER - EVENING<\/stage_direction>\n    <scene_description>Brynn carefully selects a record from her shelf of oldies. She puts one on. The speakers crackle and the jazzy waltz begins. Brynn happily sways in her dress, all the anxiety from leaving the house gone as she dances-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - EVENING<\/stage_direction>\n    <scene_description>Into her kitchen. Pulls the cork off a bottle. Pours herself some red. Opens her laptop. And begins cooking a dinner for one. The '30s music carries her through as she- Saut\u00e9s vegetables. Broils chicken. Practices WALTZ steps from a vintage dance book. Drinks more red (but never irresponsibly so). Chats on iChat with someone named \"LeMaxter85\". It's flirty but in a homeschooled kind of way. When her dinner is ready, she dutifully- Closes her laptop and eats alone. When her record gets to the end, she gets up- Flips it- And resumes her meal. She stares out the glass sliding doors into her backyard, into her woods. Lonely, but happy.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FREEZER - NIGHT<\/stage_direction>\n    <scene_description>She pulls out some cookie dough ice cream. Photo of a WOMAN and KID outside that house on the fridge door. Brynn and her mom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE FAMILY ROOM - NIGHT<\/stage_direction>\n    <scene_description>She sits down on her couch. Clicks on TCM. Watches a black and white romance. She loves it with all of her heart.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Polishes off the red. Does all of her dishes. Washed and dried. Bottle into the recycling. Ties up the trash.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK OF THE HOUSE - NIGHT<\/stage_direction>\n    <scene_description>She puts her bags neatly in their respective bins. Looks up at her house in the dark. Can faintly see remnants of painted over graffiti on her wall. Unclear what it says. Brynn frowns. Problems for another a day.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Brynn wishes LeMaxter85 sweet dreams and closes her laptop. Finishes the letter she was writing. Seals it in an envelope. Takes it with her upstairs. The computer never travels upstairs with her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Brynn carries the letter into a room. She's only in there for a few seconds. And when she returns to the hallway, there is no letter in her hand.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>She brushes her teeth. Brushes her long hair. Puts on face cream.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Breeze flutters into her room from the window. Curtains billow. The drone of crickets. She reads late into the night. No cellphone or iPad or TV in here. Just the soft glow of her bedside reading lamp. An owl hoots outside. She raises her eyes and smiles. Places her bookmark and sets the book down. Turns off the lamp and curls under the covers. And closes her eyes. It was a good day. The First Night<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRYNN'S BEDROOM - 3:27 A.M.<\/stage_direction>\n    <scene_description>Brynn is fast asleep. Breeze still ruffling the curtains. Crickets still performing. Until- A large gust of wind comes through the room. Curtains flow. Brynn stirs but doesn't wake. Fast asleep when the crickets completely stop. Then- The sound of birds quickly flying from their nests. Too many birds. And then once again everything is quiet. Too quiet. Just the breeze. But suddenly ALL OF THE LIGHTS TURN ON. The sound of the TV and the record player downstairs and then- Even less than half a second after they turned on- They're OFF. It's quiet again. Brynn none the wiser. Doesn't even fidget in her sleep. Not even when there's- The sound of THE DOOR HANDLE DOWNSTAIRS BEING JOSTLED. Slowly at first. Then faster and faster- Unnaturally so- Until finally- It stops. Followed by the soft creak of THE FRONT DOOR OPENING. Brynn keeps sleeping peacefully. An odd thwap-thwapping repeats downstairs. The sound of FEET. But definitely not shoes. They keep roaming around downstairs. The fridge door opening. Then closing. Then opening. Then closing. Then opening. Then SLAMMED shut. Brynn's eyes flutter open. She rolls over, trying to get comfortable again when- Thwap-thwap. Thwap-thwap. Thwap-thwap. She comes to a little bit more. Trying to figure out what that strange sound is when- Something clearly bumps into something else downstairs. She GASPS- Covers her mouth- Everything is silent downstairs. And then just as casually as before- Thwap-thwap. Thwap-thwap. Thwap-thwap. Brynn is terrified. There's someone in her house. She looks around her room for anything to defend herself with. Slim pickings. She spots a CURLING IRON on her dresser and decides it's her best option. Thwap-thwap. Thwap-thwap. Thwap-thwap. And then the front door of her house creaks open again- And SHUTS gently. Brynn quietly- Quietly- Sneaks out of her bed and leans towards her window. Curtains billowing in the breeze. She cranes forward and peers outside. There is no sign of anyone. She leaves the window and tip toes in her bare feet to the dresser- Grabs the curling iron.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UPSTAIRS HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>She walks slowly- Slowly- Across her wooden floors. Towards the stairs at the end of the hall. Passing closed doors on either side. She reaches the top of the stairs and looks below. Nothing. She takes a cautious step down. Nothing. And then a second step down when- A FIGURE HURRIES ACROSS THE ROOM. A figure that is decidedly NOT HUMAN. It walks on two legs, with two arms and a bulbous head- Brynn only sees it for a second as it scurries by- Marching deeper into her home. Thwap-thwap thwap-thwap thwap-thwap. In absolute horror she DROPS the curling iron. It falls to the floor- About to hit the step when- Brynn GRASPS THE CORD. Inches away. It dangles there, swaying aimlessly. Shaking, Brynn coils it back up to her hands. Gripping it like her life depended on it. She takes a slow step backwards- Up the stair- Back on the wooden floor. Trembling. The ALIEN still rummaging down there. It makes little GRUNTS and noises. Like it was talking to itself. Brynn turns and starts heading back to her bedroom- Not sure where else to go. Sweating. She moves as fast as she can without making noise. Which is not very fast at all. Footstep by footstep. As she nears her room- She causes the slightest of creaks on the floorboard- She cringes- Looks down- Holds her breath- There is no sound from downstairs at all. Until- Thwapthwapthwapthwapthwapthwapthwapthwapt- It's RUNNING. Towards the stairs. Brynn almost dies where she stands. Holds back a petrified whimper and- Forces herself into her room as the Alien reaches the stairs and races up- But before it reaches the top stair- Her bedroom door is closed. And the Alien is on the second floor. Standing there, silently, an unmoving silhouette.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDER BRYNN'S BED - NIGHT<\/stage_direction>\n    <scene_description>Brynn squeezes herself under- Reaches and pulls her blanket down to obstruct her view as- Her bedroom door is pushed open. But there's no footsteps yet. She turns her head to face the door- Tears in her eyes and- Sees the TWO GREY LEGS enter the door frame. No denying what she's seeing now. It doesn't move for a long time. A long time. But it does seem to be talking. A strange, off-key melodic- chka-chka mmMMm chka-chka As it sways in place before- Rushing forward in a flash and- Doesn't look to see Brynn- But instead hops on top of the bed. The springs pushing down above Brynn. Her head tilted to the side so the bed doesn't touch her. The Alien stops moving for a moment- And then resumes- Walking around in circles on the bed. Just round and round it goes. Brynn holds her breath as best she can when- The Alien seems to... lie down? As if it were testing the bed out. It coos to itself. Wrestles with some blankets. Making Brynn painfully more visible. With a final contented snort- It hops off the bed, landing with a soft thump near the window. Brynn slowly- Slowly- Turns her head and watches as it peers out into the night- And then suddenly- It calls out the window- Uck-Uck-Uck-Uck-Uck! Brynn winces- Surprised at how loud it is. How disgustingly not human it sounds. Then the Alien just seems to- Hop- Right out the second story window. Brynn is stunned- Too smart to be hopeful. But there's no return. No more awful calls in the dark. Nothing but silence. She works on being calm. Wipes tear trails from her cheeks. And after another excruciating moment- Begins to drag herself out from under the bed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRYNN'S BEDROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>She slowly lifts her head- Peering above the bed- And sees nothing. Just the breeze through her curtains. She swallows. Takes a deep breath and- Rushes to the window- Where she quickly and quietly pushes it closed- Locking it. She dodges out of view, expecting some kind of reaction but- There is nothing. Just silence. She grips her curling iron with bleach-white knuckles. Trying to will herself to move- But having a hell of a time finding the courage.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Brynn walks with the curling iron raised over her head like a baseball bat. Shuffling down the hall- Towards the stairs- She reaches the top of the stairs again- Sees the front door open down below. Leans forward to see if the coast is clear- Seems to be- So she takes a few sharp breaths and- RUNS to the door-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE FAMILY ROOM - NIGHT<\/stage_direction>\n    <scene_description>She pushes it closed and locks both locks. Backing away from it- Expecting something to happen- Some reaction- But there is nothing. She keeps backing away when- Again, ALL THE LIGHTS TURN ON. The TV and the record player. Horrifically loud. She SCREAMS! This time they don't turn off. She runs over to the TV and rips the plug out- Then rushes to the record player- Tries to turn it off but it just goes crazy. Radio channels flying by until she's able to reach behind the counter and unplug it. She rushes to the light switches on the wall by the staircase to turn them off too- Frantically slams them down- Too freaked out to look up- And see THE TWO GREY LEGS standing at the top of the stairs. Not moving. Just simply watching. Brynn none the wiser. And it's dark and quiet once again. She passes by her LeMax village. The tiny electrical lights inside blinking. She pauses and notices. Not sure what it means. Or why it's happening. She kneels down to turn off the power switch when- C r e a k- She hears something upstairs. She looks up- Towards the steps. Is that a shadow? Or was that always there? She softly unplugs the power strip. The tiny orange lights in her tiny little world go out. And the shadow on the staircase does not move. She looks behind her- Towards the kitchen- Where she can see the cord of her landline. Deep breath. Here we go. She slinks across the floor and into-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - CONTINUOUS<\/stage_direction>\n    <scene_description>Where she presses her body flush against the wall. Waiting to hear anything but- Nothing. She looks ahead- The glass doors to her backyard. The trees of the woods swaying ominously. Full of shadow and darkness. She tears her eyes away and looks towards the ceiling. The phone cord above her. She slides her back up the wall. And reaches for her retro phone. She pulls it off the receiver and- SCREECHING ERUPTS FROM THE PHONE. Brynn yelps and drops it as- Everything in her home goes NUTS. Even unplugged, the TV and Record Player turn on at full blast. The lights strobe. The refrigerator door bangs. The heat rises. The sliding glass doors fog. Brynn covers her ears and- Sees that shadow on the stairs move. Her eyes go wide. She springs for the sliding door but- The handle is so hot it BURNS her hand. She yelps and pulls it back. Can't find anything to cover her hand- Thwapthwapthwapthwapthwapthwapthwapthwapt- It's coming. Her eyes dart around the insanity- Looking for a place to hide- There! Beside the fridge! She throws her body into the tight space where she keeps her brooms and- Closes the fridge door- Makes herself small as- Once again- Everything goes back to normal. Everything is dark. Everything is quiet. Except for the noise coming from the telephone. It dangles there, softly bumping the wall. Brynn too scared to look- Leaning back fully in the little corner- But she can see the reflection of the phone in the fogged sliding doors. Condensation tears streak as the room begins to cool again. When- Oh God- A SMALL ALIEN HAND with long boney fingers reaches out from the darkness. And takes hold of the phone. And slowly- Slowly- Places the phone back on the receiver. Brynn's eyes watch the phone go up in the reflection- And then realizes- That the Alien is staring right back at her. Just the glint of its two black eyes visible in the dark. Brynn wants to throw up. They stay in their respective spots- Staring at each other's reflections when- The refrigerator door suddenly pops opens- Golden light obstructing the reflections- Flooding the dark kitchen- Brynn covers her mouth as it gently glides open. Too scared to move a muscle. Still gripping the curling iron- But- Nothing happens. It's just an open refrigerator door. The only sound the hummmm of the fridge. Brynn doesn't breathe. She looks up to the top of the refrigerator door- Nothing to see. She looks to the bottom of the refrigerator door and- Sees the tips of several TOES waiting underneath. They wriggle. The Alien crouched behind the door. Waiting. Fffffffucking with her. And something about knowing that she's being played with- Toyed with- Eases her fear just a tiny bit- Replacing it with fury. The toes wriggle again. Ugly fingers on the top of the refrigerator door- Like it's getting ready to pounce. But not knowing what else to do- Brynn pounces first. She pushes forward- KNOCKING into the door and throwing the Alien back- As she runs away barefoot- The glint of the Alien's eyes casually watch her go as-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE FAMILY ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>She heads for the front door- Gasping as she goes when- All the lights, the tv, the record player- All TURN ON but with way too much power- Bulbs EXPLODE- She yelps at the raining glass- Pixels in the TV burn through- Speakers on the record player blow out- But Brynn keeps running towards that door- But as she reaches for it- The front door BLASTS OFF ITS HINGES- Barreling into Brynn! Knocking her violently back as it slams through the room- Destroying her village. She lands on the ground in a heap. Blood dripping from her forehead- She forces herself onto her hands and knees- Before SHE GETS DRAGGED BACKWARDS by an unseen force- She tries scrambling forward- Looking for anything to grab hold of- Fingernails breaking in the floor- The rubble of her village scattered about- With a violent tug she shoots backwards across the floor- Grabbing a cracked halloween town house- She gets JERKED to her feet- And SPUN around- SCREAMING- She's face to face with the Alien- And flailing- She does the only thing she can- And hits at the side of the creature's head- Where the splinter of the house she was gripping sinks inside its skin with a- Squelch And for a moment nothing happens- Brynn's eyes clenched closed- Her home still- And quiet. Just the sound of the night. And after a terrible beat, Brynn can't help but be curious as to why nothing is happening- She opens her eyes- And sees the LeMax house SUNK HALFWAY INTO THE ALIEN'S SKULL- The Alien's legs gives out from underneath it- Brynn lets go of the house and desperately- Backs away against the wall as- The Alien slips to the ground- Slumping face forward. House still lodged in its head. Thuds when it hits the floor. And the Alien lays there- Motionless- DEAD. Brynn doesn't move for a second- Before sliding down the wall to the floor- Shaking. Picks up a broken table leg. Holds it weakly like a weapon- Looking around to see if something else might happen. But nothing happens. Nothing happens for the rest of the night. Brynn stares at the body on her floor. Tomorrow will be worse. The Next Day<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE FAMILY ROOM - DAY<\/stage_direction>\n    <scene_description>Brynn hasn't moved in hours. She shivers from cold. Still in shock. Traumatized. The Alien still very dead in the middle of her living room. Brynn blinks and finally realizes how cold she is. Sniffles. Dried blood on her face and in her hair. She looks down towards her feet and sees- A shard of LIGHTBULB lodged there. She wiggles her faintly blue toes. She drags her foot towards her and with a grimace- Pulls out the shard. Places it neatly beside her. Half of it red. She looks up again at the body. Can't believe it's real. Can't believe it's dead. She gets to her feet- Hobbles nervously over to it. Dried brown blood crusted around the building stuck in its head. GREY skin like marble. Brynn runs a shaking hand through her hair- Feels the sticky dried BLOOD for the first time. Looks at her hand- Then beyond that- Her front door, broken in the middle of the room- And then, beyond that- At the wreckage of her little village. Her shoulders drop. And she gives a long, heartbroken sigh.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - MOMENTS LATER<\/stage_direction>\n    <scene_description>The phone on the wall. Brynn stares at it nervously. Glances around. Fridge door open- No light on inside. Spilled drinks and food on the floor. Eyes back to the corpse. Still dead. Eyes back to the phone. A nervous step forward. She reaches out her hand. Deep breath and- Grabs the phone off the receiver- No noise. No screeching. She gives a quick sigh of relief and- Dials 9-1-1- Phone to ear and- There's NO DIAL TONE. She looks at it. Huh. Clicks the receiver. Nothing. Again. Again. Again. Nothing. Checks the cord. It's fine. Huh. Eyes back to the fridge and its open door- NO LIGHT on inside. Eyes go wide and- Fuuuuu-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAPTOP - CONTINUOUS<\/stage_direction>\n    <scene_description>She throws open her laptop. Nothing. Jams the power key. Nothing. Plugs it in. No green light. Nonononono-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLOSET - CONTINUOUS<\/stage_direction>\n    <scene_description>She pulls the light string- Nothing. Looks down. Sees bulb glass. Ughhhh-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAUNDRY ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Hobbles into the laundry room- Tries the light switches. Nothing. No power to the washer or dryer.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWNSTAIRS BATHROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>No power in the tiny bathroom-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT - CONTINUOUS<\/stage_direction>\n    <scene_description>Opens the door to the basement and flicks the lights. Nothing either. Hurries downstairs. Roots through a drawer- Pulls out an old FLIP PHONE. Dead. Glass on the floor. Sewing machine fried. Brynn groans and runs back upstairs-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSTAIRS HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>She scampers into that room she left the letter in. No luck in there either as she comes back out. Tip-toeing around glass as best she can as she hurries into-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Nothing in the bedroom either. She opens a dresser drawer and pulls out- An old POLAROID CAMERA and discovers that- All the polaroids discharged overnight. There are no photos left. Angry, she tosses it roughly back in the drawer- Slamming it shut- She leaves- Then comes back and looks at her sheets, still jumbled from when the Alien played in them. She squints-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRASH BAG - CONTINUOUS<\/stage_direction>\n    <scene_description>She puts them all in a trash bag. But doesn't throw them out. She ties the bag neatly and sets it in the corner of her room. Evidence.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASTER BATHROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>No power in the upstairs bathroom. She catches her reflection in the mirror. She looks like a mess. Quickly moves away. More important things to deal with first.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE FAMILY ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>This room is a disaster. She stumbles around- Trying not to look at the corpse- Trying to figure out what might have power- Has a thought and runs out the front space where the door used to be to-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK OF THE HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Where the fusebox is. She opens it up. Tries turning it off and on. Makes no difference. She groans and whines and then- Has a terrible thought.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - CONTINUOUS<\/stage_direction>\n    <scene_description>Scrambles through some of the mess to find- Her CAR KEYS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DRIVEWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Hobbles with her sore bare foot to the car as quick as she can. Hits the unlock button but- Nothing happens. Hits it over and over and over- Nothing. Desperate and frustrated she unlocks it with the key like a goddamn peasant- And dives inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - CONTINUOUS<\/stage_direction>\n    <scene_description>Sits in the front seat. Deep breath and prayers and- Turns the ignition. FUCKING NOTHING HAPPENS. She tries again and again until- She breaks down- Slamming her fists on the steering wheel and screaming. When she's done- She doesn't feel better. Her eyes drift to the back of the car- And her tiny shed behind the car.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHED - CONTINUOUS<\/stage_direction>\n    <scene_description>She pulls out her BICYCLE and sets it outside. Surveys what's inside. Lots of gardening equipment. Shears. Soil. Shovel. A lawn mower.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRONT YARD - DAY<\/stage_direction>\n    <scene_description>She grabs her bike- Hopping on- And then as soon as her bare foot hits the pedal- Quickly stumbling off. Wincing. Rubbing her poor bare foot. She catches her disheveled reflection in the car window. Pats down her hair. Knows exactly how it will go for her if anyone in town sees her looking like this. Frowns.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOWER - DAY<\/stage_direction>\n    <scene_description>Still in her nightgown, she scrubs her foot clean. It hurts. She scrubs her head clean. It hurts. Big ol' cut and bruise where the door hit her. She pokes it curiously. There will be more.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM CLOSET - DAY<\/stage_direction>\n    <scene_description>She opens her closet, wrapped in a robe, and pulls out options of what to wear. It fills her with a TREMENDOUS amount of anxiety. She bites her lip and stares at three options displayed on her bed while she quickly combs her hair. She chooses one and puts it on. She applies Neosporin and bandages to her foot and face. Carefully puts hiking boots on over the cut foot. Combs her hair to cover her bandage. Looks at herself in the mirror. Fingers tap at her sides nervously and- Fuck this. She quickly takes off her boots- And goes with a different outfit. Groaning to herself as she gets dressed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE FAMILY ROOM - DAY<\/stage_direction>\n    <scene_description>She stares at the corpse. Then out the front door shaped hole at her bike. Then back at the corpse. There are flies buzzing around it. Scrunches up her face. Well it's not going with her on that bike so she-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LINEN CLOSET - DAY<\/stage_direction>\n    <scene_description>Finds the blanket she likes the least.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE FAMILY ROOM - DAY<\/stage_direction>\n    <scene_description>Lays it over the Alien. Then sprays a ton of air freshener around it. Heads for the door-hole and- Stops. Realizes that anything could get in. Think think think- She moves to her couch- Pushes it as hard as she can- Grunts and sweats as- It finally budges and- She blocks part of the door with it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRONT YARD - CONTINUOUS<\/stage_direction>\n    <scene_description>She crawls over it to land outside. Reaches back in and props up some cushions to block the entrance a little bit. Surveys her work. It'll do. Then- A NOISE from the woods. Her eyes dart there in fear- But sees nothing. Maybe it was just a bird. She stares intensely into the distance- Nothing now but shadows and the creaking of trees. Then Brynn slowly moves her eyes skyward. To the clouds. To where it came from. She keeps gazing. The fear building more and more until-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - MOMENTS LATER<\/stage_direction>\n    <scene_description>Brynn zips down the road on her bike. Long hair in the wind. Determined like she's never been before.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAIN STREET - DAY<\/stage_direction>\n    <scene_description>She bikes down a quaint, boring American main street. A couple people notice her go past- But even though she clearly notices- She doesn't stop.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE POLICE STATION - DAY<\/stage_direction>\n    <scene_description>She locks her bicycle at a rack to the side of the station. She stands there, trying to psych herself up. Shaking. Scared as hell. But she summons every bit of courage she has- Lowers her head and- Walks inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE POLICE STATION - CONTINUOUS<\/stage_direction>\n    <scene_description>She opens the door and- Comes face to face with MRS. COLLINS and her husband, THE POLICE CHIEF. In their sixties. They stare at her- Startled. Literally no one in the world they'd rather see less than her- And literally no one Brynn would be more scared to see right now than them. The rest of the station hushes up to watch the unfortunate encounter. Brynn looks down- Mortified- Embarrassed. Tugs at her hair- Looks up at them- Opens her mouth to speak and- MRS. COLLINS SPITS IN HER FACE. Brynn gasps. And after a hideous beat- Mrs. Collins passes her and heads out the door. The Police Chief stays for a moment- Like he knows he should apologize- But honestly- Honestly- He just really doesn't fucking want to. So he follows his wife out the door. Brynn stands there, spit on her face- She looks up at the quiet station- The other officers that see her- And then one by one- They go back to work- And it's suddenly very clear that Brynn is incredibly- Incredibly- Hated in this town.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE POLICE STATION - MOMENTS LATER<\/stage_direction>\n    <scene_description>Brynn stumbles out of the station- Wiping her face- Humiliated and mortified- Hurries to her bike- Kneels to unlock it and- Breaks down into SOBS. She can't help it. It all just pours out of her. She tries to make herself stop. Balling up her fists- Hitting her leg. Wipes her face again. Tries taking deep breaths. She looks up and- Sees TWO COPS staring at her- She doesn't break eye contact with them- Tears down her cheeks and- Soon they resume talking amongst themselves as they get into their car. Not interested in helping her. She sniffles. Finishes unlocking her bike and stands up. Straightens her hair and her clothes. Closes her eyes, trying to think. When- There's that SOUND again. From the woods in the distance. Did something- Did something fucking FOLLOW her? She looks around- Trying to find the source of the sound- But as always- Nothing. That will change. And she knows it. She glances around, wracked with fear- And sees a BUS drive by. She watches it go. A BUS! That's a good idea. That's a fucking GREAT idea.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS STATION - DAY<\/stage_direction>\n    <scene_description>Brynn walks with a BUS TICKET to Tulsa clenched in her hand. Keeps her head down. Just trying to get out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STORE AT THE BUS STATION - DAY<\/stage_direction>\n    <scene_description>She quickly dashes into a convenience store- Grabs a baseball hat- Sunglasses- Someone is watching her. She crosses an aisle- Grabs a sweatshirt- Toothbrush- Toothpaste- A watch- A man at the end of the aisle. Gum- Chips- Snacks- Whatever it takes to get to tomorrow- There is something different about this guy. Something... off. Not like the cops. Or the other people. Not offended by her presence. Something... just off. AT THE CHECK-OUT- The TEENAGE CASHIER rings each item up. She looks at Brynn while she does it. Recognizes her. Knows exactly who she is. Brynn looks back at her. And has a sudden yawn. Cashier keeps ringing her up. Brynn ducks away to a small fridge by the counter. And places a Monster energy drink on the belt. Then a Red Bull. Then a Rock Star. Then grabs a handful of 5 Hour Energy Shots. Then another handful. The cashier looks at Brynn. Not scanning anything for a moment. So- Brynn scans the Red Bull on her own. Then cracks it open and begins chugging it. The other people in the store watch. Brynn finishes the can and- Reaches over the counter- The cashier FLINCHES- But all Brynn does is throw the can away. Feels kinda bad about scaring the kid though- Until the cashier begins scanning the next items- Quicker- Minding her own fucking business. Brynn smiles, pleased with herself. AS SHE LEAVES THE STORE- Carrying her bags- The man hobbles after her. Watching her. It's THE MAIL MAN from yesterday. But something about him has changed. His walking is... off. But that doesn't really matter- Because he's following her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS - DAY<\/stage_direction>\n    <scene_description>Brynn sits against the window on the sparsely populated bus. Foot tapping anxiously. No one in the seat beside her. Just her bags of supplies. Hat down. Sunglasses on. That MAIL MAN sitting a few rows behind her. Out of focus but clearly staring at her when- The bus lurches forward. And the journey begins. Brynn lets out a small, victorious breath. Good plan, Brynn. She leans her head against the window. Trying to calm her nerves for the first time. BUT SHORTLY INTO THE JOURNEY- The man behind Brynn gets up and moves- To the row behind her, across the aisle. Still staring. She hasn't noticed him yet. But then, soon enough- She feels his eyes burrowing into her- She sends a quick glance his way- He doesn't look away from her- She spins back towards the window- Alarmed but not sure what to do or what his deal might be- Until he moves and sits directly behind her. Now she's spooked. She can hear his weird arrhythmic breathing. What the shit. He doesn't move or seem to be doing anything else. Just... breathing weird. Breathing... off. She calmly reaches to the seat beside her- Gently grabs her bags- And with a deep breath- Stands up to find a different seat. She moves across the row and- HE GRABS HER BY THE ELBOW- Not too aggressively- But definitely enough to be startling- She tries to pull away but- He pulls her in close and leans to her ear- To whisper- She's scared- But not as scared as she gets when- The man doesn't say anything. Her eyes peer to their edges and see him- Just moving his mouth open and closed- Before he starts making STRANGE GUTTURAL NOISES. Uck-Uck-Uck-Uck-Uck- Like he hasn't figured out how to use his voice yet. Terrified- Brynn tries to pull away again- But he grabs her elbow tighter- His noises weirder and more intense until- She aggressively PUSHES him away- He FALLS BACK IN THE SEAT. Everyone in the bus staring at Brynn- As she stumbles into the aisle- Looks back towards him and- Brynn's eyes go wide as- The Mail Man begins CRAWLING over a row of seats.<\/scene_description>\n    <character>UCK-UCK-UCK-UCK-UCK!<\/character>\n    <dialogue>Other passengers start freaking out-<\/dialogue>\n    <dialogue>Shouting.<\/dialogue>\n    <dialogue>As Brynn runs for the bus door as fast as she can.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>The bus makes an unplanned stop and- Brynn BOLTS out of there- High-tailing it as fast as she can away. And after a long, drawn out moment- The MAIL MAN stumbles off the bus. He watches her go. Then turns and walks the other direction- Mumbling to himself.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN - DAY<\/stage_direction>\n    <scene_description>Out of breath and sweaty- Brynn finally slows down. Hands on her knees. Deep breaths. She looks back- No sign of the man. Well that's something. But now there's even less of a scrap of a plan- When something catches her eye to the right- She looks and- Sees a CLOTHING STORE- And the CLERK inside- Flipping the open sign- To CLOSED. Confused, Brynn looks at her watch. It's 5pm. She double checks. Sees another CLOSED sign going up. Stands up in alarm. Looks skyward. Sunset. SUNSET. FUCK. Brynn grasps her head- Panicking- She's all alone- With nowhere to go- Out in the open- And they might come back for her. Of course they'll fucking come back for her. She killed one of them. And it's almost night. So- RUN, BRYNN! Adrenaline replaces exhaustion as she hurtles down the street. Everything around her closing- Like any of them would take her in anyway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - DAY<\/stage_direction>\n    <scene_description>Brynn hurries homeward- Shuffling more than running at this point. She reaches into her bag and pulls out- Another 5 hour energy shot. Downs it. Puts the empty carcass back in the bag. A TRUCK is coming down the road from behind her. She stops and holds out her thumb, hopeful- But the truck doesn't stop- In frustration and desperation- Brynn SLAMS the plastic bag onto the ground. More deep breaths- Trying to calm herself down- When- That SOUND again. She looks up- Sees another strange BURNED IN CIRCLE in the grass by the side of the road. Takes a few curious steps towards the forest- Something unseen in there MOVES away quickly- Something that feels BIG. She takes some alarmed steps back- Wasn't expecting... that. But the trees are still. The woods are quiet. Brynn can't see anything. Nothing is coming. She picks up her bag and continues onward- It's just another normal October afternoon. Except for all the ways it really fucking isn't.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCH - EVENING<\/stage_direction>\n    <scene_description>Further down the road she sees it- An OLD CHURCH- And with a faint smile, heads towards it- She reaches the door and pulls the handle- But- It's LOCKED. Brynn groans and looks inside. Sees a church bulletin board, the worship hall behind it. Some MISSING PERSON fliers. But no one inside. Completely dark. She takes a step back and sees- The parking lot is empty. Beyond that a graveyard- Brynn clocks it- Stares at it for a second too long before- Tearing her eyes away. She rushes around the building. Checking for an open door or window- Goes the whole way around- Nothing. Shit. The soft ding-ding of flags bumping against flagpoles. Catches sight of the graveyard again. Trying NOT to look- But- Eventually she does- Peeking through her hair at it. And the ocean of regret that resides in there. Stares at it for a long moment. Wipes her brow and decides- Fuck it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE TINY GRAVEYARD - CONTINUOUS<\/stage_direction>\n    <scene_description>She slowly makes her way in- Checking each headstone's name when- She spots it. A few rows ahead of her. Maude Collins She stares at it for a very long seconds. Until THUNDER rumbles in the distance. She looks up. Storm clouds coming in. Wind picking up- The flags rippling. But at a longer look- Those clouds don't feel quite natural. Strange colors illuminating within them. Oh hell. Brynn knows what's in those clouds. And why it feels like they're moving straight towards her. Eyes wide-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCH - MOMENTS LATER<\/stage_direction>\n    <scene_description>She looks desperately around the church- Sees a ROCK. Grabs it- Heads back to the church door and- THROWS IT so she can break in- Fucking thing bounces off- So she picks it back up and really chucks it- This time, it shatters the- RI-RI-RI-RI-RI-RI-RI-RI-RI-RI-RI-RI-RI-RI-RI-RI-RI-RI-RI-RI! The alarm is deafening. She covers her ears- Eyes dart back up to the storm clouds- They are closer now.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE ROAD - EVENING<\/stage_direction>\n    <scene_description>Brynn runs faster than she has ever run in her life. The clouds follow steadily. There's only one place left for Brynn to go-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE ROAD - EVENING<\/stage_direction>\n    <scene_description>And that's her HOME. From the road, she stares up at her house like it's the most haunted place in the world. She looks at her watch.<\/scene_description>\n    <character>6:36.<\/character>\n    <dialogue>There is no sun left in the sky.<\/dialogue>\n    <dialogue>She taps her watch a few times, wishing it was earlier.<\/dialogue>\n    <dialogue>And that she had more time.<\/dialogue>\n    <dialogue>But she doesn't.<\/dialogue>\n    <dialogue>So she moves with the weight of the world on her shoulders down her driveway.<\/dialogue>\n    <dialogue>Ignores the mail in her mailbox.<\/dialogue>\n    <dialogue>And on the ground beside her mailbox.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRONT YARD - EVENING<\/stage_direction>\n    <scene_description>She slows down as she approaches her house- Craning her neck forward nervously to see if the couch blockade is still at her door... It is. She exhales. Small blessings.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE FAMILY ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>She pushes the cushions out of the way and- The STENCH instantly hits her. Yugh. She covers her mouth and sees- The Alien under the blanket still. But even more flies. It's... souring. Brynn almost throws up until- There's another rumble of strange thunder outside. And she snaps to. There's too much work to be done. And nowhere near enough time to do it. Taps her foot. Eyes clenched shut- Thinkthinkthink- Tiny moans as her brain tries making a halfway decent plan- And- Her eyes pop open. Okay. There it is. Off she goes. Back outside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHED - EVENING<\/stage_direction>\n    <scene_description>Dumps out the contents of her shed. Lawnmower. Leaf blower. Generator. Ladder. Hammer. Taps her foot while staring at them. Looks back at her dead car. That could work. So she begins to unscrew the cap on her lawnmower.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAR - EVENING<\/stage_direction>\n    <scene_description>She pops up from behind the car, having done something underneath. Wipes her hands on her pants and gets in- She makes sure all the car doors are unlocked. Then, to be extra safe, makes sure all the doors are just barely left open.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK OF THE HOUSE - DAY<\/stage_direction>\n    <scene_description>She rips out all of the FUSES from the fusebox. Just drops them on the ground. Leaves- But returns quickly- Gathering them up. Feeling bad about littering.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GARBAGE CANS - DAY<\/stage_direction>\n    <scene_description>Drops them in the garbage. Closes the lid- Sees that little bit of graffiti still peaking through the layers of paint she covered it up with in the past. Another frown. She looks down at the STORM DOORS leading to the basement. She darts away, motivation renewed. Still so much to do.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - DAY<\/stage_direction>\n    <scene_description>Wraps a scarf around her nose and mouth.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE FAMILY ROOM - DAY<\/stage_direction>\n    <scene_description>A scented candle is lit. Then a second. And a third. Broken glass and broken village all over the floor. Fucking front door on the floor. Brynn tries her best to ignore the Alien for now. Moves to pick up the door- It breaks apart as soon as she lifts it into two splintered pieces. Fucking useless. But gives her an idea- SO- She hacks it into pieces with her hatchet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VARIOUS ROOMS - DAY<\/stage_direction>\n    <scene_description>She leaves chunks of door in various places of various rooms.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KITCHEN - CONTINUOUS<\/stage_direction>\n    <scene_description>Looks through the contents of her kitchen cupboards. Knives. Pots. Pans. An old lighter. She flicks it. Flame. Good. Pockets it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FREEZER - DAY<\/stage_direction>\n    <scene_description>She opens the freezer- Everything thawed. She turns back and looks at her oven.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - DAY<\/stage_direction>\n    <scene_description>Turns the dial- FLAME! She jumps in the air with glee. Fills four pots with water. Sets them to boil. More ideas-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWNSTAIRS BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>Takes the hand-held shower off its holder- Turns on the water- All the way hot. Leaves it there in the tub. Steam billows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT - NIGHT<\/stage_direction>\n    <scene_description>Her work space. Those big storm doors. Barricades the handles with a pipe. Then digs trough incredibly well-manicured drawers and finds- Superglue- Shrugs. Pours it all over the steps on her way back upstairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRONT DOOR - NIGHT<\/stage_direction>\n    <scene_description>She begins barricading her open wound of a front door with layers of saran wrap, duct taping it in place. Starting from the top. Moving side to side. Working her way down. About a yard from the bottom she stops. Pushes the couch back in front of it. Surveys her work. It's... kinda shit. She sighs. Hugs herself. Because no one else is going to. And so, she runs up the stairs-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>That trash bag in the corner. Hurries into her bathroom and gets the shower going in there- But does NOT see- The COLORFUL LIGHTS illuminate through her window outside- And by the time she comes back- The lights have moved on, and the bedroom is dark once again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Brynn hurries back down the hallway- Never noticing the LIGHTS that silently illuminate through the windows of the rooms she passes. She runs back down the stairs-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE FAMILY ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Through the living room- Hand over her mouth and nose as she passes the carcass- A girl on a mission as she enters-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - CONTINUOUS<\/stage_direction>\n    <scene_description>Where she heads to the pots of boiling water on the stove when- THWUMMMPPPP! A BLINDING WHITE LIGHT powers through the front door! Brynn dives for cover, never in the path of the beam. A droning HMMMMMMMMM accompanies it- Brynn covers her ears- Squinting through the brightness even though it's not directly on her- The light so hot that it MELTS the cellophane wrap over the door- So much for that plan. Brynn casts her eyes to the ground and sees- A FLY, frozen in the beam, trembling against its will- And then- Everything in the beam's path RISES IN THE AIR- Including the COUCH BLOCKING THE DOOR- Including THE ALIEN UNDER THE BLANKET- After a moment- The couch gets PUSHED out of the path of the door- It THUMPS uselessly on the floor- While the Alien begins MOVING through the light. Pulled out of her home. Brynn stays motionless. Trying to keep her breathing calm. The body is out of her house and then- Silently- That awful light DISAPPEARS in a blink- And all is still. And dark. And quiet. Brynn too smart to move. Or hope. But maybe... maybe they took what they came for and left. Maybe. Creak- Brynn doesn't react to the sound. Creak- And it happens again. Slowly she leans her head to peer into the room and- Sees nothing. Until- The rocking chair moves- Creak- Rocking forward once... And then back to its resting position. Creak- And then she sees- The bizarre, long limbed ARM- Reach out from behind the chair- Brynn looks away. Staying out of potential eyesight. Hears the chair creak again- Followed by a gravel voice that grumbles out a- eeeuk Sends her blood ice cold. The shape of this creature different from yesterday's. Smaller, more sinewy. Brynn's eyes on her glass back doors. Really wishes she had time to cover them earlier. Feeling exposed and out in the open- She checks the creature again- It seems like its turned away from her. So while it's distracted- Brynn takes her moment- Scurries across the floor- It doesn't notice her. She reaches the door to her basement- And quietly pulls it open.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT - NIGHT<\/stage_direction>\n    <scene_description>She closes the door behind her. Locks it. It's darker down here. She carefully lifts herself over the spilled glue- Lowering herself gently onto the floor- The little scratching sounds from the living room above her. She stands there, not sure where to go when- She heads to her work drawers- Quietly opens one- Pulls out a BOX CUTTER. Pockets it. She sees LIGHT move across the basement windows. Then rest at the storm doors. Nothing- Until the doors start BULGING INWARDS. The pipe taking the pressure- But starting to bend. Brynn takes a cautious step back as- BAM! The pipe SNAPS IN TWO! Launching forward- One piece narrowly missing Brynn- Before both pieces CLANG on the floor loudly. Light pouring in through the broken storm doors and then- Disappears- Revealing the shuffling FIGURE approaching the steps. Brynn dodges out of its line of sight- Grabbing a piece of the pipe and- Squeezing under a table as- The Alien enters the basement. The same size and shape as the one she killed. Brynn hides as it investigates this room. Thwap-thwap. Thwap-thwap. She hears it rummaging- Investigating- And then- She sees its leg- As it enters her field of vision from under the table. It shuffles around some more- Like a tourist at a museum. Not seeming to suspect or notice Brynn hiding nearby. She doesn't breathe. It leaves her sight. She hears it on the steps. The creaking of wood. And then she doesn't hear any- IT LEANS DOWN AND STARES STRAIGHT AT HER. A couple yards away. Just the gleam of those awful black eyes in the dark. Brynn doesn't move. Immobilized in terror. It doesn't move. It just gazes at her. With those awful fucking eyes. It speaks. Hrmmmm-Uhck. Brynn doesn't respond. Just sweats. Shallow breaths. It shuffles a little closer to her. The way someone might approach a stray cat. Brynn backs up harder against the wall. Head pushing against the bottom of the table. Alien still staring. Brynn still shaking. Then... The Alien starts shaking. Trembling. It opens its mouth- Like it's going to throw up. It's fucking weird. Brynn doesn't knows what the fuck is happening- Or what to do- So she just- Raises the pipe in her hand- Not even in a threatening manner. Just like... a distraction. The Alien stops shaking. Slowly closes its mouth. Curious. Brynn tilts the pipe left. The Alien's eyes follow. Tilts it back right. The Alien's eyes follow. Then left again- Then Brynn tosses it- Not at the Alien- Just through the room- The Alien turns and watches it go- But before it can hit the ground- And clang- It FREEZES mid-air. The Alien's eyes on it- And not on Brynn as she- Throws herself towards the stairs- The Alien turns and- Sees her reach the bottom step- Brynn grabs the stair rail and- Hoists herself over the glue when- THE PIPE SLAMS INTO THE WALL! Narrrrrrowly missing her. She yelps, covers herself with her arms- Reaches the door- Unlocks it and- Throws herself through- The Alien watching it all oh so casually.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Brynn hits the wall opposite the door- Slamming it closed when- Something SHRIEKS! As whatever the fuck was behind her rocking chair SPRINTS TOWARDS HER- Half as tall as the other aliens- But with hideous long skeleton arms raised- Talons out. Brynn scrambles back but not fast enough as- The little fucker POUNCES! Brynn grabs both its wrists as it tries to hack and slash at her- She's able to keep it far enough away from her face as they wrestle for dominance- Brynn losing balance as the fucker flails about- Its talons getting closer and closer- And out of options- Brynn does the only thing she can think to do- She opens her mouth and- BITES DOWN as hard as she can into the fucker's arm- It SQUEALS in agony as it tries to get away from her- Until finally- She lets go- And they separate at opposite ends of the hallway. The Alien licking its wound like a sad dog. Brynn catching her breath- Until she tastes what's in her mouth- And starts gagging and dry-heaving. Spitting the brown blood onto her floor. They lock eyes at opposite ends of the hallway- The little fucker getting its anger back and- Brynn turns and-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - CONTINUOUS<\/stage_direction>\n    <scene_description>Barrels into the kitchen- Towards the stove- Alien fucker screaming behind her- Brynn grabs a towel- Grabs a pot of boiling water and- Pivots- Slinging it into the fucker's face- It SHRIEKS again as the water burns into its face. It stumbles back, pawing its eyes when- Brynn SWINGS the pot at it- But keeps missing as it scurries about on the floor- She finally connects- Hitting its leg- But it just WHINES loudly before it- Staggers out the front door- Leaving Brynn breathless, holding a burning hot pot with a thin towel- She realizes how much it's starting to burn her hand and drops it- Shaking her hand when- That NOISE- That noise she kept hearing all fucking day- And it's very clearly coming from outside her house. And coming closer. Feeling very exposed in the middle of the kitchen- She darts off down-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Past the basement door and into-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE BATHROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>The bathroom- Full of steam from the shower. She locks the door and- Backs up against the wall- Grabbing the shower head- Spraying it into the tub- Waiting for the worst- That noise again- INSIDE her house- Brynn whimpers. Terrified- There's a scratching at the door- Skrrrriiiiiiiitcccchhhh- Oh God- Skrrrriiiiiiiitcccchhhh- Brynn braces herself and then- BANG BANG BANG It clobbers into the door- Splintering it- Until- BANG! It breaks through- And a hideous long arm- Like a SPIDER-LEG- Comes through the door- Shredding at the rest of the door- Tearing it apart- Trying to fit in as- Brynn gets a look at what can only be called a DADDY-LONG-LEG ABOMINATION. Four disgustingly long limbs- But a tiny alien body at its center- Screaming face- Probably nine or ten feet tall on all fours- God it's fucking disgusting- Brynn scrambles- Spraying it with the shower head and- It does fucking nothing. No reaction- And Brynn realizes how totally fucked she is as the creature grasps at her- Getting closer and closer to destroying the door- Brynn looks up- Window. WINDOW! She rushes to her feet and pushes it open- It's a small window but she can fit- She pulls herself through it- Almost out when- The abomination GRABS HER LEG. It jerks her back violently- She slams into the wall outside- Scratching her stomach on the window sill- Grasping for something to hold onto- It gets her back into the bathroom- She's screaming- Grabs the window frame for dear life- Flailing and kicking- Surviving this long just because the fucking thing can't FIT in this room- It gives some ferocious tugs- Brynn feels like her arms are gonna come out of her sockets- But she holds on somehow- Fighting back- Until- She gets free! And launches herself outside!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK OF THE HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>It hurts like hell when she lands- She exhales into the grass- Alien hands reaching through the window uselessly for her. Brynn groans as she rolls onto her back. She doesn't see the woods in the distance behind her. And she doesn't hear the SECOND DADDY-LONG-LEG coming out of those woods- Galloping towards her on all fours. She gingerly gets to her feet- Still not hearing it. She looks to the sky- Searching- But still not hearing it- Until finally- She hears its huff and puff- She slowly- Agonizingly- Looks back- Oh God it's so close- She takes off running- More like limping- Desperate oomfs as she tries to move her sore bones faster- Gaining on her- Fuckity fuck- But she has a plan for this- Turning the corner of her house- Sees- HER CAR. Just sitting there. She grunts towards it- The abomination roars- Brynn pushes herself faster- Gets to her car- It's right behind her- Brynn throws open the passenger door and- Dives inside- Brynn doesn't close the door- Leaving it open as- The abomination tries to burst in after her It tries to squeeze its body in- As she tumbles out the driver door- Lands rough on hands and knees- Scrambles away from the creature's swipes- Towards the gas-cap- Which has been stuffed with a GASOLINE DRENCHED RAG. Fucking A, Brynn! She roots through her pocket- Lighter! She flicks it and- Fla- The abomination RIPS THROUGH HER BACK WITH ITS CLAWS. Brynn spasms forward- Blood. Lighter flying out of her hand. Bouncing away from her on the ground. Abomination stuck halfway through the car. Brynn forces herself to crawl- C r a w l- Gets her hand on the lighter- Stumbles to her feet- Flick- Flick- Flame- Fire on the rag. Brynn's eyes grab the abomination, still struggling to get towards her again. Heh. Then remembers what the fuck she just did. Eyes wide. She moves away and- BOOOOM! THE CAR EXPLODES UPWARDS IN A BALL OF FLAME. The blast knocks her forwards- Ooof. She rolls onto her back and- Admires the carnage she hath wrought. Fire burning in her eyes. The Abomination still and quiet. Her car dead and burning- THWUMMMPPPP! That awful light HITS the car directly from above. The fire instantly snuffed out. Brynn cranes her neck to see the source- But the light is too blinding to make anything else out from above. Then just as quickly and silently as it appeared- It's gone again. Just faint trails of smoke coming from the car- Brynn catches her breath and- Has the terrible realization of why the light went out- She scrambles frantically out of her spot as- THWUMMMPPPP! The light hits where she just was! She gets to her feet and limps awkwardly- Painfully- Back towards her home- The light goes out- And before it can reappear- She's back inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE FAMILY ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>She stumbles into the room when- That noise- Oh yeah. Bathroom abomination. Brynn takes a hard turn and scrambles up the stairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSTAIRS HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>She hears them behind her- Her bedroom at the end of the hall. Not sure if she can make it in time. So she turns left. Into The Room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE ROOM - NIGHT<\/stage_direction>\n    <scene_description>It is quiet in here. Quieter than the rest of the house. Darker too. Shades and curtains drawn. Until the door is pushed open- Jussssst a little. The silhouette of a Grey peering through. Black eyes glisten. Pushes the door open more and- As light comes in the room- It sees what's actually in here. A bedroom. But beyond that- Mannequins. Two of them. Wearing dresses. Unfinished. And around them are boxes. Boxes upon boxes. The Alien investigates. Boxes full of letters. Letters that Brynn wrote. All to one person. Someone named MAUDE. One of the mannequins suddenly- Tips over- The Alien's head snaps towards it- It STOPS mid-air- It stares at the collapsed mannequin for a confused second- Before Brynn BARRELS INTO IT- Knocking her and The Grey onto the ground- Brynn tries to get up- Tries to hit but- The Alien flicks a finger and-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Brynn EXPLODES OUT OF THE ROOM- Smashing into the hall. She hits the floor. Coughs. Holy shit that was awful. She grabs her ribs. Something's probably broken. Something must be broken. But she remains alive. For now. She looks into the room and sees The Alien standing there. Just... watching her. As the door slowly closes on them. GO BRYNN GO! She pushes herself up to her feet- Falls down. Forces herself back the fuck up- Stumbles but stays up this time. Probably concussed- Definitely concussed- Using the wall as support. Back still bloody. Makes her way to-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HER BEDROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Can hear the shower running in her bathroom still. Reaches for the bed to lean o- THWUMMMPPPP! Brynn is CAUGHT IN THE LIGHT- Blasting through her bedroom window- Paralyzed by it when- She trembles in place- Can't even move her mouth when- IT FLINGS HER UP. Pinning her against the ceiling. That awful droning the only thing she hears. She can move her eyes. And that's it. She can't move. She can't move. She can't move. shecantmoveshecantmoveshecantmoveshecantmoveshecantmoveshecan tmoveshecantmoveshecantmoveshecantmoveshecantmoveshecantmoves hecantmoveshecantmoveshecantmoveshecantmoveshecantmoveshecant moveshecantmoveshecantmoveshecantmoveshecantmoveshecantmovesh Her.door.is.pushed.open.ecantmoveshecantmoveshecantmoveshecan tmoveshecantmoveshecantmoveshecantmoveshecantmoveshecantmoves hecantmoveshecantmoveshecantmoveshecantmoveshecantmoveshecant moveshecantmoveshecantmoveshecantmoveshecantmoveshecantmovesh ecantmoveshecantmovesheca.The.Grey.is.there.ntmoveshecantmove shecantmoveshecantmoveshecantmoveshecantmoveshecantmoveshecan tmoveshecantmoveshecantmoveshecantmoveshecantmoveshecantmoves hecantmoveshecantmoveshecantmoveshecantmoveshecantmoveshecant moveshecantmoveshecantmoveshecantmoveshecantmoveshecantmovesh ecantmo.It.moves.slowly.towards.her.veshecantmoveshecantmoves hecantmoveshecantmoveshecantmoveshecantmoveshecantmoveshecant moveshecantmoveshecantmoveshecantmoveshecantmoveshecantmovesh ecantmoveshecantmoveshecantmoveshecantmoveshecantmoveshecantm oveshecant.Then.rises.in.the.light.emoveshecantmoveshecantmov eshecantmoveshecantmoveshecantmoveshecantmoveshecantmovesheca ntmoveshecantmoveshecantmoveshecantm.Rising.up.to.her.oveshec antmoveshecantmoveshecantmoveshecantmoveshecantmoveshecantmov eshecantmoveshecantmoveshecantmoveshecantmoveshecantmovesheca ntmoveshecantmoveshe.They.come.face.to.face.cantmoveshecantmo veshecantmoveshecantmoveshecantmoveshecantmoveshecantmoveshec antmovesohgodohgodohgodohgodhecantmoveshecantmoveshecantmoves hecantmoveshecantmoveshecantmoveshecantmoveshecantmoveshecant moveshecantmoveshecantmoveshecantmoveshecantmoveshecantmovesh eca.The.Alien.opens.its.mouth.ntmoveshecantmoveshecantmoveshe cantmoveshecantmoveshecantmohgodohgodohgodohgodoveshecantmove shecantmoveshecantmoveshecantmoveshecantmoveshecantmoveshecan tmoveshecantmoveshecantmoveshecantmove.And.begins.convulsing. ntmoveshecantmoveshecantmoveshecantmoveshecantmoveshecantmove shecantmCONVULSINGoveshecantmoveshecantmoveshecantmoveshecant moveshecantmoveshec.Brynn.can't.even.move.her.mouth.to.scream moveshecantmoveshecantmoveshecantmoveshecantmoveshecantmovesh ecantmoveshecantmoveshecantmoveshecantmoveshecantmoveshecantm Her.tears.fall.up.her.face.shecantmoveshecantmoveshecantmoves hecantmoveshecantmoveshecantmoveshecantmoveshecantmoveshecant moveshecantmoveshecantmoveshecantmoveshecantmoveshecantmovesh ecantmoveshecantmoveshecantmoveshecantmoveshecantmoveshecantm oveshecant.Something.is.coming.out.of.its.fucking.mouth.antmo veshecantmoveshecantmoveshecantmoveshecantmoveshecantmoveshec antmoveshe.SOMETHING.IS.COMING.OUT.OF.ITS.FUCKING.MOUTH.veshe cantmoveshecantmoveshecantmoveshecantmoveshecantmoveshecantmo veshecantm.SOMETHING.IS.COMING.OUT.OF.ITS.FUCKING.MOUTH.ovesh ecantmoveshecantmoveshecantmoveshecantmoveshecantmoveshecantm oveshecantmoveshecantmoveshecantmoveshecantmoveshecantmoveshe And.it's.fucking.ALIVE.cantmoveshecantmoveshecantmoveshecantm oveshecantmoveshecantmov.Like.a.living.fucking.blood.clot.esh ecantmoveshecantmoveshecantmoveshecantmoveshecantmoveshecantm oveshec.It.screeches.at.Brynn.antmoveshecantmoveshecantmovesh ecantmoveshecantmoveshecantmoveshecantmoveshecantmoveshecantm oveshecantmoveshecantmoveshecantmoveshecantmoveshecantmoveshe cantmoveshecantmoveshecantmo.Before.it.crawls.down.her.throat<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - MORNING<\/stage_direction>\n    <scene_description>Brynn SCREAMS when she wakes up in her bed. Hair a mess from the nightmare. The... nightmare? It takes her a few seconds to calm down. There's no one else in her room. It's morning. She's in her bed. In her nightgown. Birds chirp outside. She grasps at her back- It's dry. No cuts. She jumps out of bed- Still alarmed- But starting to slowly realize that- Everything is absolutely fine. And it's just another normal October day. She sits on her bed. Dazed. Almost laughs. But instead can't help but cry. She stops when she hears something downstairs. Something... pleasant.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSTAIRS HALLWAY - DAY<\/stage_direction>\n    <scene_description>Her house just the way it always was.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE FAMILY ROOM - DAY<\/stage_direction>\n    <scene_description>Her LeMax village just the way it always was. She looks at it for a moment before- She hears that sound again- Humming. Coming from the kitchen. Nervously, she walks towards the room. Bare feet on the floor as-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - DAY<\/stage_direction>\n    <scene_description>Brynn sees A WOMAN at the stove. Cooking. Humming. She wears a dress. The one Brynn was making. She turns and smiles at Brynn. Brynn chokes out a joyous, shocked cry at seeing her. At seeing her face. MAUDE awwws and hurries to Brynn- Wrapping her in a hug. Brynn doesn't hug back for a beat- Eyes wide with surprised tears. Until finally she raises her arms and clutches her back. Burying her face in the woman's hair. Until the woman parts to get back to cooking. Brynn watches her- Her mind racing- She looks around her home. Things are different. Things in different places. Photos on the wall. Brynn takes a step back. Looks into the family room again- Her LeMax village. There amongst them- The building she plunged into the Alien's skull- And something clicks for Brynn. As sound drops out. And Brynn stares- Becoming more and more aware- Of what is happening- Her attention is pulled by the inaudible voice of her friend. She stands across from Brynn- Concerned- what's wrong She takes a step towards Brynn- And Brynn takes a harried step back. To the surprise of her friend. brynn what's wrong Brynn doesn't answer. She covers her ears with her hands- Pulling at her hair- Overwhelmed with emotion. Tiny pained groans. Tears she's fighting to keep inside. For every step her friend takes towards her- Brynn takes one back. Until finally- She looks up at Maude. Takes a deep breath. Wipes her eyes. Forces a smile at the woman she'll never see again. And speaks at barely barely barely barely over a whisper: i'm sorry Then- She violently reaches into her mouth with her hand- Pushing it as far down her throat as she physically can. Maude screams- And runs to Brynn- But it's too late. Because Brynn has gotten hold of the parasite.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE FAMILY ROOM - NIGHT<\/stage_direction>\n    <scene_description>Brynn comes to- Lying on the floor of the family room. Right where the Alien corpse was. She spits up fluid as her hand comes out of her mouth- That blood-clot thing in her hand. It screeches in panic at Brynn- Before she slams her hand down on the ground- Bringing her other hand over to it- Squishing it into oblivion. Her whole body shaking with rage- Until it's just another stain on her floor. Brynn gets to her feet- Wobbles- But changed. She looks around- Grabs one of the wooden chunks of her door. And stalks through her house- She turns a corner and-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>A GREY IS RIGHT THERE! Before it can react- She BRINGS the chunk down violently on its head- It tumbles to the ground- Tries to get up but- Before it can do anything- Brynn is wailing on it- Bashing it again and again- Roaring. It reaches out its hand- Trying to do something to save its life- The fire from the stove ERUPTS- Sending the boiling pots crashing into the ceiling- Flames catching the curtains. It cries out- Ukkhhhh! But Brynn keeps beating it to hell until- It's no more. She gasps for air- Drops the wood. Her hand splintered and bloodied. Smoke in the kitchen. Flames growing. She stands and turns- And comes face to face with- Herself. Herself? It takes her a startled second to figure out what- Who- She's looking at. SHE looks like Brynn if you weren't wearing glasses. But up close- Things are a little... off. Like she's... just a little under-baked. Not quite finished yet. It stares blankly at Brynn. Who can't really comprehend what she's seeing. Until she looks down. And sees the jagged pipe from the basement that the thing is holding. And how it's buried deep in Brynn's stomach. Brynn looks up at the AntiBrynn and- It jabs it in to Brynn's stomach again. She feels it this time- Lets out a gasp. Steps backs- It follows in step. Brynn coughs blood. The two locking eyes with each other. But there's just... no malice in its eyes. None. Just total casual indifference. Even curiosity. Brynn looks at herself. This cleaner, simpler version of herself. Before she JABS her box cutter into its neck. Its mouth gapes open like a fish that can't breathe. It staggers about- Sad- Not really sure what to do with its hands- Or how to stop it from hurting. It doesn't want to die- It just started living- It drops the pipe. Red all over Brynn's stomach. Brynn grabs her wounds- Looks up and sees the AntiBrynn struggling for air. It sees Brynn- And reaches out for her- Not to hurt her. But for help. Just a scared little girl looking for a mom. The AntiBrynn stumbles on its way towards Brynn- Who catches it in her arms. And cradles her on the floor. It looks up at Brynn- Mouth still gaping. Trying to breathe- Blood flooding its throat- Uck-uck-uck Brynn strokes her hair. Shhhhh As the AntiBrynn dies in her arms. Brynn cries. Holding its body. As her house burns down around her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - NIGHT<\/stage_direction>\n    <scene_description>Grunting with determination- Brynn grips her stomach and shuffles down the road. Fire in the background until- THWUMMMPPPP! The light blasts down from above the house- Snuffing out all of the fire and then- It's gone. Brynn doesn't stop or look back. THWUMMMPPPP! Not even when the light hits farther back down the road. THWUMMMPPPP! Not even when it gets closer either. It's looking for her. Lights up ahead. Not those kind of lights though. That TRUCK that passed her earlier. Brynn doesn't even look at it. Not even when it stops short ahead of her. The DRIVER gets out. Seeing this bloody mess of a girl. Doesn't even recognize her anymore. Horrified. H- THWUMMMPPPP! His back arches as the light hits him- Paralyzing him. Eyes wide open and mouth stretched out. And Brynn doesn't even react. Keeps on trudging ahead. Never so much as even looked his way. Just grunting and groaning further down the road. Until finally- Finally- THWUMMMPPPP! The light grabs hold of Brynn. Freezing her mid-step. She strains against it. Sweat beading and rolling across her face. And inevitably- From the darkness ahead- A Grey begins its walk towards her. Brynn sees it and begins groaning- Deep guttural groans. Until it becomes clear that they aren't groans at all. She's growling at the Alien. Teeth bared. Eyes bulging- Glaring from beneath her bloody and matted hair. As the Alien stands before her. This girl that feels almost more like a rabid animal at this point. The Grey tilts its head at her. Brynn growls louder. Blood floats mid-air from her stomach. From her back. The Grey raises its hand. Long skinny fingers. Not enough fingers. Brynn growls harder- Desperate to fight- To attack- Until the Alien's fingers touch her forehead. And all the fight drains from her in an instant. Her eyes roll to the back of her head. She jerks her head once. Then again. And then into-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE WOODS - DAY<\/stage_direction>\n    <scene_description>Two twelve year old girls in skirts go into the woods. One of them is Brynn. One of them is Maude.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE WOODS - NIGHT<\/stage_direction>\n    <scene_description>Brynn leaves the woods. There is blood on her clothes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRYNN'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Brynn's MOTHER reacts in alarm when she sees her daughter. When she sees the blood.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRYNN'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Brynn's mother cries alone. Brynn watches from the backseat of a squad car. The blue flashing lights are almost pretty.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURT ROOM - DAY<\/stage_direction>\n    <scene_description>Mrs. Collins and the Police Chief cry in relief as Brynn is sentenced. She looks at them as she's escorted away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JUVENILE DETENTION - DAY<\/stage_direction>\n    <scene_description>Brynn moves in. Brynn eats meals. Brynn's mom visits. Brynn sleeps. Brynn reads books.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THERAPY - DAY<\/stage_direction>\n    <scene_description>The faces of smiling therapists. The faces of the people that helped her understand. Eventually Brynn breaks down into tears. Processes. Progress.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUNK - NIGHT<\/stage_direction>\n    <scene_description>Brynn writes a letter. Dear Maude,<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FUNERAL - DAY<\/stage_direction>\n    <scene_description>Brynn gets to attend her mother's funeral. A guard is nearby. All eyes on Brynn. Her eyes on the casket. A headstone that says Mother of Brynn.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - DAY<\/stage_direction>\n    <scene_description>Brynn is released. Older and healthier and wiser and stronger. There's no one waiting for her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. BRYNN'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Brynn gets home. The house in a state of disrepair. Boxes of backed-up mail. All of the letters to Maude, mailed here.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN - DAY<\/stage_direction>\n    <scene_description>Brynn walks down Main Street. Everyone watches her. Everyone hates her. Her hands shake.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRYNN'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Brynn cleans her house. Makes it her own. Makes it perfect.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRYNN'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Brynn scrubs \"Murderer\" off the side of her house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRYNN'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Brynn gets her first LeMax house. Sets it up proudly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRYNN'S HOUSE - DAY<\/stage_direction>\n    <scene_description>The LeMax village grows. And grows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE ROOM - DAY<\/stage_direction>\n    <scene_description>The collection of letters grows. And grows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE FAMILY ROOM - DAY<\/stage_direction>\n    <scene_description>Brynn sets the fateful LeMax building down. You know the one. She smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - NIGHT<\/stage_direction>\n    <scene_description>Brynn's eyes snap back to focus- As the Grey before her- Lowers its hand. Brynn not growling anymore. Just long- Deep- Breaths. As the two regard each other. Some kind of clarity between them. And then- The light from above disappears- And Brynn falls to the ground. Ooomf. She stays there, face down for a few seconds. Just trying to breathe. When she looks up- The Alien is gone. And there is no light in the sky. Everything is quiet. Everything is still. Everything is peaceful. With a painful force of energy- Brynn rolls onto her black. Staring up at the night sky. Holding her bleeding stomach. Starts laughing. Just a little. Because the sky is full of stars. And as her laughter builds and builds. Louder and louder. Those ALIEN LIGHTS return. Not over her at all. But all over the little town, all the little people that couldn't save themselves. And Brynn keeps laughing. Because it's just another normal October night. Except for all the ways- It really fucking hasn't been. 1 December<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction \/>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RECORD PLAYER - EVENING<\/stage_direction>\n    <scene_description>Two gloved hands place a record on the player. Brings down the needle. The audio crackles and then- The WALTZ begins. Brynn moves away. Looking classy as hell in a winter coat and a dress. She smiles to herself, swaying with the music, revealing that- She's in the middle of the road. On MAIN STREET. Newly painted. Newly manicured. Christmas lights twinkling overhead. She surveys it all proudly. Because SHE DID ALL OF THIS. And then- She begins DANCING- Alone at first- Until she sees PEOPLE- Standing off to the side of the streets- You'd recognize some of them. The Mail Man. The Teenage Cashier. The Women from the funeral. Something a little... Off about them. ALL OF THEM. As if they were all getting used to their new bodies. Because they are. Brynn twirls and a MAN is waiting in front of her- They begin to dance. Her smiles, still getting the hang of it. It's not great, but he'll figure it out with her help. And after a few moments- A WOMAN is waiting for them- She replaces the man- And her and Brynn dance. Brynn having the time of her life. Having a community. A home. All of her own. She smiles, full of contentment and joy, nothing awkward of forced about it anymore. It's been a good day. THE END.:<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Brynn is a seamstress who lives alone in her childhood home in a forest on the outskirts of a small town. Mourning the loss of both her best friend, Maude, and her mother, Sarah, Brynn copes by constructing a model town in her living room. She leads a solitary existence and is shunned by the local townspeople. One night, she awakens to discover that a humanoid alien has broken into her home. The alien uses telekinesis to subdue her, but she accidentally kills it in self-defense with the broken fragment of a model bell tower. Finding that her car and all of her electrical devices have been rendered useless since the alien intrusion, Brynn cycles into town, where she uncovers evidence of alien attacks on her neighbors. The town appears unaffected as she makes her way to the local police station, where she unexpectedly encounters Maude's parents, who happen to be the chief of police and his wife. Maude's embittered mother spits in Brynn's face. Brynn flees the town on a bus, but several passengers attempt to restrain her and are revealed to be controlled by alien parasites placed in their throats. She escapes and discovers that many of the townspeople now appear to be under the parasites' control. Brynn returns home and fortifies her house. That evening, a tractor beam from a flying saucer carries the alien's corpse out of her house, and she is forced to fend off two more alien intruders; she impales the smaller one with a broken mop handle and immolates the bigger one when its legs become entangled in her car and she ignites the gas tank. After she runs back into her house, another alien restrains her and places a parasite in her mouth, seemingly being forced to do so against its will. Brynn experiences an intense hallucination in which her life is back to normal and Maude is still alive. She apologizes to Maude before breaking free of the hallucination and pulling the parasite from her mouth, finding herself lying in a field. A flying saucer arrives and transforms the parasite into a doppelg\u00e4nger of Brynn, which pursues the real Brynn into the woods. The doppelg\u00e4nger catches Brynn and stabs her, but Brynn kills it with a box cutter and escapes to a deserted road. She encounters a gigantic alien before being sucked into a flying saucer, where she is psychically probed by a group of aliens, revealing the event that turned the town against her: during an argument she had with Maude when both were children, Maude knocked Brynn to the ground and Brynn struck Maude with a rock, killing her. The aliens converse with one another and appear to agree on a course of action. They return Brynn to the deserted road, unharmed and free of their influence. Brynn rebuilds her home and discovers that the other residents remain under the control of the parasites. They now treat her kindly and since she has finally overcome her trauma, she can live a normal life. In the sky, numerous flying saucers are seen stretching off into the horizon."}
{"movie_name":"Crazy Rich Asians_2018","imdb_id":"tt3104988","script":"<script>\n  <scene>\n    <character>CRAZY RICH ASIANS<\/character>\n    <dialogue>Screenplay by<\/dialogue>\n    <scene_description>Peter Chiarelli and Adele Lim based on the novel by Kevin Kwan This script is the confidential and proprietary property of Warner Bros. Pictures and no portion of it may be performed, distributed, reproduced, used, quoted or published without prior written permission.<\/scene_description>\n    <character>FINAL AS FILMED<\/character>\n    <dialogue>Release Date<\/dialogue>\n    <scene_description>Biscuit Films Sdn Bhd - Malaysia August 15, 2018 Infinite Film Pte Ltd - Singapore \u00a9 2018 4000 Warner Boulevard WARNER BROS. ENT. Burbank, California 91522 All Rights Reserved OPENING TITLES MUSIC IN. SUPERIMPOSE: Let China sleep, for when she wakes, she will shake the world. - Napoleon Bonaparte FADE IN:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CALTHORPE HOTEL - NIGHT (1995) (HEAVY RAIN AND<\/stage_direction>\n    <scene_description>THUNDER) SUPERIMPOSE: LONDON<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CALTHORPE HOTEL - CLOSE ON A PORTRAIT - NIGHT<\/stage_direction>\n    <scene_description>of a modern ENGLISH LORD. The brass placard reads: \"Lord Rupert Calthorpe-Cavendish-Gore.\" REVEAL we're in the lobby of an ostentatious hotel. It's deserted except for TWO CLERKS at the front desk. It is the middle of the night and RAINING HEAVILY outside. ANGLE ON HOTEL ENTRANCE The revolving doors start to swing as TWO CHILDREN (NICK 8, ASTRID 8) and TWO CHINESE WOMEN, ELEANOR and FELICITY YOUNG (30s) enter. They're DRIPPING WET, dragging their soaked luggage behind them. Nick SLIDES his feet around the polished floor, leaving a MUDDY CIRCLE in his wake. The clerks look horrified. Eleanor makes her way to the front desk, while complaining to Felicity about having to walk in the bad weather.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <parenthetical>(in Cantonese; subtitled)<\/parenthetical>\n    <dialogue>If you didn't make us walk, we wouldn't be soaked.<\/dialogue>\n    <scene_description>Felicity grabs the children by the hand and follows Eleanor to the front desk.<\/scene_description>\n    <character>CLERK #1<\/character>\n    <dialogue>May I help you? This is the Calthorpe, a private hotel --<\/dialogue>\n    <scene_description>CONTINUED: Eleanor goes to the desk and replies in PERFECT ENGLISH -- her pronunciation is BRITISH, with a lilt unique to upper- crust Chinese from former British colonies. (NOTE: The specific accents of our players are important character details, indications of their background, education, and socioeconomic status.)<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>I'm Mrs. Eleanor Young. I have a reservation. The Lancaster suite.<\/dialogue>\n    <parenthetical>(sees his name tag)<\/parenthetical>\n    <dialogue>We spoke on the phone when I confirmed yesterday.<\/dialogue>\n    <character>CLERK #1<\/character>\n    <dialogue>Sorry, don't seem to have your reservation.<\/dialogue>\n    <scene_description>Clerk #2 surreptitiously presses a BUTTON under the counter. Eleanor and Felicity exchange glances. Felicity rolls her eyes, sensing what's going on. REGINALD ORMSBY (50s, pompous) pops out of a door behind the front desk and the clerks move aside.<\/scene_description>\n    <character>ORMSBY<\/character>\n    <dialogue>Good evening. I'm Reginald Ormsby, hotel manager. Is there a problem?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>I'm Mrs. Eleanor Young. My family and I would like to be shown to our suite. We've had a long flight.<\/dialogue>\n    <scene_description>Ormsby takes in Eleanor et al, makes a snap judgment.<\/scene_description>\n    <character>ORMSBY<\/character>\n    <dialogue>We're fully booked, madam. You must have made a mistake. I'm sure you and your lovely family can find other accommodations. May I suggest you explore Chinatown?<\/dialogue>\n    <character>FELICITY<\/character>\n    <parenthetical>(in Cantonese; subtitled; mutters)<\/parenthetical>\n    <dialogue>You can explore Hell. You dog turd.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Please, may I use your phone to call my husband? It's the least you can do.<\/dialogue>\n    <scene_description>Eleanor levels a glare at Ormsby, who looks at her with a tight smile.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CALTHORPE HOTEL (LONDON) - NIGHT<\/stage_direction>\n    <scene_description>RAIN POURS on the children and Felicity as they watch Eleanor in a PHONE BOOTH. \"THE CALTHORPE\" sign casts a glow over them. We don't know what she's saying, but we hear Eleanor angrily speaking on the pone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CALTHORPE HOTEL (LONDON) - NIGHT<\/stage_direction>\n    <scene_description>Eleanor bursts through the front door with her family right behind her. Eleanor approaches the front desk again. Ormsby is not pleased.<\/scene_description>\n    <character>ORMSBY<\/character>\n    <dialogue>Mrs. Young! I must ask you to leave, or I'll have to call the police.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Please, go right ahead.<\/dialogue>\n    <scene_description>Ormsby is taken aback. He moves to stop her when the elevator DINGS and OPENS and an ELDERLY MAN IN A SILK ROBE AND SLIPPERS comes out -- LORD CALTHORPE, the same man in the opening portrait and owner of the hotel. Ormsby snaps to.<\/scene_description>\n    <character>ORMSBY<\/character>\n    <dialogue>Lord Calthorpe! My apologies for this disturbance --<\/dialogue>\n    <scene_description>Lord Calthorpe ignores Ormsby and beelines for Eleanor.<\/scene_description>\n    <character>LORD CALTHORPE<\/character>\n    <dialogue>Eleanor! I just got off the phone with your husband.<\/dialogue>\n    <scene_description>Lord Calthorpe kisses Eleanor on the cheek, and snaps at the clerks.<\/scene_description>\n    <character>LORD CALTHORPE<\/character>\n    <dialogue>Get the Lancaster suite ready. Now.<\/dialogue>\n    <scene_description>Ormsby reacts, confused. CONTINUED:<\/scene_description>\n    <character>ORMSBY<\/character>\n    <dialogue>Surely you're joking, sir.<\/dialogue>\n    <character>LORD CALTHORPE<\/character>\n    <dialogue>I assure you, I'm not. As of this evening, my family's long history as custodians of the Calthorpe is ended. I am selling the hotel to my dear friends, the Young family of Singapore.<\/dialogue>\n    <scene_description>Ormsby looks at Eleanor, shocked.<\/scene_description>\n    <character>LORD CALTHORPE<\/character>\n    <dialogue>Meet the new lady of the house, Eleanor Young.<\/dialogue>\n    <parenthetical>(to Eleanor)<\/parenthetical>\n    <dialogue>Join me for a toast.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>We'd be delighted.<\/dialogue>\n    <parenthetical>(turns to address Ormsby)<\/parenthetical>\n    <dialogue>Do get a mop. The floor's wet.<\/dialogue>\n    <scene_description>Eleanor winks at Nick, who grins and looks back at Ormsby.<\/scene_description>\n    <character>ORMSBY<\/character>\n    <parenthetical>(to Clerk #1)<\/parenthetical>\n    <dialogue>Get a mop.<\/dialogue>\n    <scene_description>SMASH CUT TO: OPENING TITLES CONTINUE OVER MUSIC. SUPERIMPOSE: CRAZY RICH ASIANS FADE IN:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARK ROOM - PRESENT DAY (2017)<\/stage_direction>\n    <scene_description>Staring across a table is RACHEL CHU (29, Chinese- American, beautiful, sharp). She exudes confidence. PULL BACK to reveal a pile of chips in front of her. We see someone else's hand checking the cards they've been dealt: 2 KINGS, 2 NINES, and a JACK. They're in the middle of a five card draw poker game. CONTINUED: As the CAMERA TILTS UP we see CURTIS (late 20s, T.A., white) is the player sitting across from Rachel. He stares at her over his black-rimmed glasses, trying to read her. She stares back, revealing nothing. Rachel pushes the pile of chips to the center of the poker table.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I'm all in.<\/dialogue>\n    <scene_description>Curtis has FIVE CHIPS left. He checks his cards again, then FOLDS.<\/scene_description>\n    <character>CURTIS<\/character>\n    <dialogue>Fold.<\/dialogue>\n    <scene_description>Rachel flips over her cards. She's got nothing.<\/scene_description>\n    <character>CURTIS<\/character>\n    <dialogue>Nothing!<\/dialogue>\n    <parenthetical>(as Rachel laughs)<\/parenthetical>\n    <dialogue>This whole time you had nothing.<\/dialogue>\n    <scene_description>The lights come up and we see A ROOM FULL OF PEOPLE CLAP AND TITTER. REVEAL we're in: AN AUDITORIUM CLASSROOM with UNDERGRAD STUDENTS. The poker table onstage is being shown on two LARGE FLATSCREENS so the students can follow the action. Rachel takes the lectern. \"Game Theory 290\" appears on the side screens.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>All right, so, how did I beat T.A. Curtis so very, very badly? Well, I know for a fact that Curtis is cheap.<\/dialogue>\n    <scene_description>The students all smile and laugh, totally engaged.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>So, he's not playing using logic or math, but using his psychology. Our brains so hate the idea of losing something that's valuable to us, that we abandon all rational thought and make some really poor decisions. So Curtis wasn't playing to win. He was playing not to lose.<\/dialogue>\n    <parenthetical>(to Curtis; tosses him a chip)<\/parenthetical>\n    <dialogue>Here. Put it towards a haircut.<\/dialogue>\n    <scene_description>CONTINUED: The class LAUGHS. Curtis takes the $10 with a BANDAGED HAND.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>All right, that's it for today. Don't forget your essays on conditional probability are due next week --<\/dialogue>\n    <scene_description>As students file out, NICK walks in and smiles lasciviously. TRANSITION TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK - NIGHT<\/stage_direction>\n    <scene_description>SUPERIMPOSE: NEW YORK, 2018<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAKE &amp; CARRY - NIGHT<\/stage_direction>\n    <scene_description>Nick and Rachel share a STICKY TOFFEE PUDDING like an old married couple.<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(digging in)<\/parenthetical>\n    <dialogue>Yes!<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You know what, you can order your own.<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(taking a bite; chewing)<\/parenthetical>\n    <dialogue>Mm, I'm okay with coffee. Thanks.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Yeah, well, you always say that, and then you end up eating all my dessert.<\/dialogue>\n    <scene_description>Nick takes a huge bite.<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(mouth full)<\/parenthetical>\n    <dialogue>I don't know what you're talking about? 'Cause I have, like, a tiny bit.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Uh-huh. Okay.<\/dialogue>\n    <parenthetical>(to waiter)<\/parenthetical>\n    <dialogue>Can we have one more of these, please.<\/dialogue>\n    <parenthetical>(chuckling)<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>So, what about us taking an adventure east?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You wanna get pork buns in the East Village. That's what it is, isn't it?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I was actually thinking of further east.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Like Queens.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Like Singapore? For spring break?<\/dialogue>\n    <parenthetical>(off Rachel)<\/parenthetical>\n    <dialogue>Colin's wedding. We've been dating for over a year now, and I think it's about time people met my beautiful girlfriend. Come on, I'm Colin's best man. Don't you wanna see where I grew up? Meet my family, my Ah Ma? And meet up with that strange college roommate of yours.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Peik Lin.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Mm-hmm. Peik Lin.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>She has been begging me to come visit her, you know?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>The universe has spoken. It wants you over there. Come to Singapore. I want the whole island to meet the brilliant Rachel Chu.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Aw.<\/dialogue>\n    <scene_description>A woman sitting at a booth behind them watches Rachel and Nick, interested in their every move. She gets up and walks past them with her cell phone and snaps a photo as she passes in front of them. She immediately starts TEXTING -- SERIES OF TEXTS Radio1Asia: OMG. You'll never believe who I saw. Girl: WHO? Radio1Asia e-mails the picture of Rachel and Nick. Girl: Is that NICK YOUNG? Radio1Asia: Yes. Girl: Who's the girl? Radio1Asia: Said her name was Rachel Chu. Group TEXT with photo: Who IS this girl? Nick and Rachel's picture is sent out all over Social Media. They Google Rachel Chu. TEXT: Wah, so many Rachel Chu's lah We see photos of searches matching Rachel Chu. TEXT: Did you try Choo? Or Chiu? Or Chew? Or Zhu? TEXT: OMFG! yah, which one? Ask the Twins? Twin #1 TEXT: Found her! Twin #2 TEXT: Found her? TEXT: Rachel Chu TEXT: Is there a ring? TEXT: Looks ABC TEXT: WTF! TEXT: NEVER TEXT: u joking? CONTINUED: TEXT: Hate her!!!! TEXT: Be serious TEXT: Better not TEXT: No thanks Radio1Asia: He's bringing her to the wedding! TEXT: Alamak!!! TEXT: SRSLY!? TEXT: Kantang!!! TEXT: Drama! TEXT: No way! TEXT: OMFG!!! TEXT: So not TEXT: NOOOOO Does Amanda know? TEXT: NO WAY TEXT: Why her! TEXT: DEAD TEXT: WTF?!?! TEXT: serious TEXT: LOSER TEXT: ew no TEXT: walao!! TEXT: Basic AF TEXT: Like Really?? TEXT: OK and?? TEXT: baiiiii TEXT: Does his Mother know? INSERT - MAP OF SINGAPORE CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHILLIP AND ELEANOR'S HOUSE (SINGAPORE) - MORNING<\/stage_direction>\n    <scene_description>ELEANOR reads a Bible verse aloud to a group of ladies.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>'If then you have been raised with Christ, seek the things that are above, where Christ is seated at the right hand of God.'<\/dialogue>\n    <scene_description>It's been twenty years since we've seen Eleanor, but she looks amazing. She sits with FOUR FABULOUSLY DRESSED, BEJEWELED WOMEN: JACQUELINE LING (50s), ALIX YOUNG (50s), NADINE (30s), AND LORENA (40s). Uniformed MAIDS serve tea and \"kuih,\" local cakes.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>'Set your minds on things that are above, not on things that are on Earth.'<\/dialogue>\n    <scene_description>Eleanor's interrupted by BUZZING. She looks disapproving as Alix and Jacqueline check their messages. These matriarchs speak with UPPER-CRUST CHINESE SINGAPOREAN ACCENTS (perfect grammar with local flourishes). Jacqueline reacts, surprised.<\/scene_description>\n    <character>JACQUELINE<\/character>\n    <dialogue>Eleanor, is Nicki bringing a girl to Colin's wedding? My Amanda heard it from her friend, Francesca...<\/dialogue>\n    <scene_description>Eleanor is surprised, but tries not to let on.<\/scene_description>\n    <character>ALIX<\/character>\n    <parenthetical>(looking at phone)<\/parenthetical>\n    <dialogue>Eddie says her name is Rachel Chu?<\/dialogue>\n    <character>NADINE<\/character>\n    <dialogue>Oh! I thought that Nick was coming alone. Did you know he had a girlfriend?<\/dialogue>\n    <scene_description>All eyes are on Eleanor who covers, not wanting to get into the details. CONTINUED:<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Nick dates many girls. It's hard to keep track.<\/dialogue>\n    <character>JACQUELINE<\/character>\n    <dialogue>Amanda knows everyone and she has never heard of her.<\/dialogue>\n    <character>NADINE<\/character>\n    <dialogue>Rachel Chu. Or maybe she's from the Taiwan plastics Chu family?<\/dialogue>\n    <character>ALIX<\/character>\n    <parenthetical>(low; conspiratorial)<\/parenthetical>\n    <dialogue>If you want, I have a private investigator. Very discreet --<\/dialogue>\n    <character>ELEANOR<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>I think we should return to the word of God. Alix?<\/dialogue>\n    <scene_description>The women reluctantly return to their Bibles.<\/scene_description>\n    <character>ALIX<\/character>\n    <dialogue>Ephesians. Chapter six, verse four. 'Bring up your children in the discipline and instruction of the Lord.'<\/dialogue>\n    <parenthetical>(can't help herself)<\/parenthetical>\n    <dialogue>Oh, I do hope she's a good, Christian girl.<\/dialogue>\n    <character>JACQUELINE<\/character>\n    <dialogue>Well, if he's bringing her home, it must be serious.<\/dialogue>\n    <character>NADINE<\/character>\n    <dialogue>Exactly.<\/dialogue>\n    <scene_description>The women all look at Eleanor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAKE &amp; CARRY - NIGHT<\/stage_direction>\n    <scene_description>RESUME Rachel and Nick. Nick's phone rings.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>It's my mum. Do you mind?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Mm, go ahead.<\/dialogue>\n    <scene_description>Rachel is about to dig into pudding #2. CONTINUED:<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(to Rachel)<\/parenthetical>\n    <dialogue>All right. Save me some of that.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Nick gets up to take the call away from the counter.<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Hey, Mum, everything okay?<\/dialogue>\n    <character>ELEANOR (V.O.)<\/character>\n    <dialogue>Does something have to wrong for me to call?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Yeah, usually.<\/dialogue>\n    <character>ELEANOR (V.O.)<\/character>\n    <dialogue>Ha, ha, ha. Very funny.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHILLIP AND ELEANOR'S HOUSE (SINGAPORE) - DAY<\/stage_direction>\n    <scene_description>Eleanor is on her phone standing away from her Bible group. Keeps her voice low, casual. INTERCUT AS NECESSARY with Nick and Eleanor talking on the phone.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Are you bringing the girl you're seeing to Colin's wedding?<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>Hmm. We were literally just talking about that. How could you know?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Everybody knows.<\/dialogue>\n    <scene_description>Nick sees Celine (the only other Asian in the restaurant) leaving through a revolving door.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Radio One Asia.<\/dialogue>\n    <scene_description>Eleanor notices the other women trying to eavesdrop. CONTINUED:<\/scene_description>\n    <character>ELEANOR<\/character>\n    <parenthetical>(to ladies)<\/parenthetical>\n    <dialogue>Move on to Corinthians, I'll catch up.<\/dialogue>\n    <character>ALIX<\/character>\n    <dialogue>Ah, yes.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <parenthetical>(back to phone; low)<\/parenthetical>\n    <dialogue>We're looking forward to having you home. And your room is all ready... for you.<\/dialogue>\n    <scene_description>Nick hears this, gets the implication.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Thanks, Mom. But Rachel and I will be staying together.<\/dialogue>\n    <scene_description>Eleanor is disappointed, makes another attempt:<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>I see. Well, I'm having the house redone. And it's not ready for guests. If Rachel comes, I think she might be more comfortable staying somewhere else?<\/dialogue>\n    <scene_description>Nick returns to the counter, to see the second sticky toffee pudding is gone, except for a TINY PIECE.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>All right. Sorry about that.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I saved you a piece.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>You did, did you? A very small piece at that. Thank you very much.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>How's your mom? Everything okay?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Mm. Couldn't be better.<\/dialogue>\n    <scene_description>Rachel kisses nick.<\/scene_description>\n    <character>RACHEL (V.O.)<\/character>\n    <parenthetical>(pre-lap)<\/parenthetical>\n    <dialogue>Hey, Mom, this one's kind of cute.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLOTHING BOUTIQUE - DAY<\/stage_direction>\n    <scene_description>Rachel looks at her reflection in a mirror as she holds a blue and white dress to her body. Her mother, KERRY (50s, real estate agent, Chico chic), shakes her head. Kerry has a slight Chinese immigrant accent.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <character>KERRY<\/character>\n    <dialogue>No! No! No! No! You can't wear that to meet Nick's Ah Ma. Blue and white is for Chinese funerals. Now this, this symbolizes good fortune and fertility.<\/dialogue>\n    <scene_description>Kerry holds up a conservative RED dress.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Great! I was really going for that 'lucky baby-maker' vibe.<\/dialogue>\n    <character>KERRY<\/character>\n    <dialogue>Hey! You are the one who asked for my help picking out a dress to meet Nick's family.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>It's only 'cause I hardly know anything about them. Every time I bring them up Nick changes the subject.<\/dialogue>\n    <character>KERRY<\/character>\n    <dialogue>Maybe he's embarrassed. Maybe his parents are poor, and he has to send them money. That's what all good Chinese children do.<\/dialogue>\n    <scene_description>Rachel chuckles and they keep searching for the right dress.<\/scene_description>\n    <character>KERRY<\/character>\n    <dialogue>Oh, you are going to have a wonderful time. You've always wanted to go to Asia and who knows, if all goes well in Singapore, you might just come back with a souvenir.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Mom, stop! Nick and I haven't even talked about that.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I mean, his parents can't not like me, right?<\/dialogue>\n    <scene_description>Kerry has a sour look on her face and turns away to begin rummaging through a clothes rack.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>What was that look? I saw that.<\/dialogue>\n    <character>KERRY<\/character>\n    <dialogue>Nothing. It's just, Nick bringing a girl all the way there to meet them can mean a lot to these overseas families. Eh, they're different from us.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>How are they different? They're Chinese, I'm Chinese. I'm so Chinese, I'm an economics professor with lactose intolerance.<\/dialogue>\n    <character>KERRY<\/character>\n    <dialogue>Yeah, but you grew up here.<\/dialogue>\n    <parenthetical>(in Mandarin; subtitled)<\/parenthetical>\n    <dialogue>Ni kan qilai shi huaren, ni jiang de shi zhongwen. Keshi zheli he zheli... \\[Your face is Chinese. You speak Chinese. But here...<\/dialogue>\n    <parenthetical>(points to Rachel's head and mouth)<\/parenthetical>\n    <dialogue>... and here...<\/dialogue>\n    <parenthetical>(in English)<\/parenthetical>\n    <dialogue>You're different. But wearing a lucky color will make a good first impression.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JFK - CURBSIDE - DAY<\/stage_direction>\n    <scene_description>Amid the hectic bustle, Nick and Rachel exit a taxi. An airport sign behind them reads: Kuwait Airways, Pacific Asian Airlines, Qatar Airways, Malaysian Airlines, Cathay Pacific.<\/scene_description>\n    <character>FEMALE ANNOUNCER (V.O.)<\/character>\n    <dialogue>Attention, the white zone is for passenger loading and unloadings only.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Okay, game plan. Check our bags, get through security, and then we could eat one of the three homemade Tupperware meals my mom packed for us.<\/dialogue>\n    <scene_description>An elegant PACIFIC ASEAN AIRLINES FLIGHT ATTENDANT approaches, flanked by TWO PORTERS with luggage carts.<\/scene_description>\n    <character>FLIGHT ATTENDANT<\/character>\n    <dialogue>Good afternoon, Mr. Young, Ms. Chu. We'll take your bags and get you checked into first class.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Great.<\/dialogue>\n    <scene_description>Rachel looks confused as the porters take their bags.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Oh. No, there's a mistake. We're not first class. We're economy people.<\/dialogue>\n    <character>FLIGHT ATTENDANT<\/character>\n    <dialogue>This way, please.<\/dialogue>\n    <scene_description>Nick puts a hand in the small of her back:<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Just go with it. Come on.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>But...<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Yeah, they'll be fine. Just leave them there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PLANE - ON NICK - DAY<\/stage_direction>\n    <scene_description>FLIGHT ATTENDANT #2 pulls back a gold, silk curtain revealing a luxurious part of the plane that looks more like a hotel. Another attendant serves them champagne.<\/scene_description>\n    <character>FLIGHT ATTENDANT #2<\/character>\n    <dialogue>Welcome aboard, Mr. Young, Ms. Chu. Here's the way to your private suite. And some champagne.<\/dialogue>\n    <scene_description>They walk up to a full bar where champagne is poured for them. Rachel turns to Nick like \"what's going on?\" CONTINUED:<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(to serving flight attendant)<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Rachel is blown away to see the leather armchairs, two huge flatscreen TVs, even a full-length wardrobe.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Thank you very much.<\/dialogue>\n    <character>FLIGHT ATTENDANT #2<\/character>\n    <dialogue>You're welcome. After takeoff, would you like to enjoy the lounge chairs or should we convert your suite into a bedroom?<\/dialogue>\n    <scene_description>Rachel clobbers Nick with a bag to keep him from responding.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Uh, we're good. Thank you.<\/dialogue>\n    <character>FLIGHT ATTENDANT #2<\/character>\n    <dialogue>Enjoy.<\/dialogue>\n    <scene_description>Nick looks to Rachel. The Flight Attendant leaves. As Nick settles in, Rachel looks at the complimentary pajamas.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Nick. We can't afford this. These pajamas are fancier than any of my real clothes.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Hmm? My family has business with the airline. The tickets, they're a perk.<\/dialogue>\n    <scene_description>Rachel senses there's more to this. Pursues it:<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>What kind of business?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Real estate, investment, other things. Nothing interesting.<\/dialogue>\n    <parenthetical>(reading menu)<\/parenthetical>\n    <dialogue>Dim sum.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>So your family is, like, rich?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Uh, we're comfortable.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>That is exactly what a super rich person would say. It's not a big deal, obviously. I just think it's kind of weird that I had no idea. I mean, you have a Jamba Juice card, you use my Netflix password. You play basketball at that Y that kind of smells.<\/dialogue>\n    <scene_description>Nick sees Rachel is a little thrown.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>I really like that place, thank you very much. And yes, my family has money, but I've always thought of it as theirs. Not mine.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I get that. But I'm going all the way over there to meet them... Kind of just wanna know what I'm getting into. And, you know, they're your family.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Well... My family is much like anybody else's. There's half of them that you love and respect, and then there's the other half.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Which half am I meeting?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOVIE SET (TAIWAN) - NIGHT<\/stage_direction>\n    <scene_description>A HERO faces off against a VILLAIN. In the b.g., a BUXOM HEROINE is chained to a wall. The Hero and villain launch into a fast-paced, stylistic KUNG-FU FIGHT. The Hero wins and sets free the Heroine, who clutches him. SUPERIMPOSE: TAIWAN<\/scene_description>\n    <character>NICK (V.O.)<\/character>\n    <dialogue>Well, there's my cousin Alistair, based in Taiwan, works in movies.<\/dialogue>\n    <scene_description>CONTINUED: Sitting on movie set is ALISTAIR CHENG (30s, sunglasses, dapper). The empty chair next to him has the name KITTY PONG on the back.<\/scene_description>\n    <character>MALE DIRECTOR<\/character>\n    <dialogue>And cut!<\/dialogue>\n    <character>NICK (V.O.)<\/character>\n    <dialogue>He's dating Kitty Pong, an actress.<\/dialogue>\n    <character>ALISTAIR<\/character>\n    <dialogue>Kitty.<\/dialogue>\n    <scene_description>Buxom Heroine KITTY PONG (20s, DD implants) runs into the arms of Alistair. She speaks with a GIRLY TAIWANESE ACCENT.<\/scene_description>\n    <character>KITTY<\/character>\n    <dialogue>Alistair. You like it? I was feeling very... very the emotions. Can you feel it?<\/dialogue>\n    <scene_description>Kitty grabs his hand and places it forcefully on her boob.<\/scene_description>\n    <character>ALISTAIR<\/character>\n    <dialogue>Oh, I can feel all of you. And all of me.<\/dialogue>\n    <scene_description>Alistair grabs Kitty's left thigh and yanks it up onto his hip. The DIRECTOR and Hero\/Actor have an aside. On the back of the chair \"TAIPEI TIGER 2.\"<\/scene_description>\n    <character>MOVIE HERO<\/character>\n    <parenthetical>(in Mandarin; subtitled)<\/parenthetical>\n    <dialogue>Ta zhen de lan toule. Keyi huan ren ma? \\[She's terrible. Can we get someone else?\\]<\/dialogue>\n    <character>MALE DIRECTORT<\/character>\n    <parenthetical>(in Mandarin; subtitled)<\/parenthetical>\n    <dialogue>Zhe bu xi ta nanpengyou dou zhidao. Ni neng shuo huan ren ma. \\[He's financing the whole movie. You tell him his girlfriend sucks.\\]<\/dialogue>\n    <scene_description>They look on as Alistair and Kitty make out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PLANE<\/stage_direction>\n    <scene_description>Nick and Rachel continue their conversation.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Okay, and what about your cousin Eddie? You don't ever talk about him.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Well, Eddie is a big finance guy in Hong Kong. A real family man.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PENTHOUSE APARTMENT (HONG KONG) - MORNING<\/stage_direction>\n    <scene_description>Eddie, his wife FIONA CHENG (30s, Hong Kong Chinese, in a simple but elegant dress), and their three sons (all under 8 and wearing matching Gucci outfits) are frozen in \"natural\" poses -- Eddie and Fiona \"laugh\" as their boys \"play\" with wooden airplanes that look more like props than toys -- as photographer RUSSELL WONG takes their portrait. Behind them, wide, floor-to-ceiling windows frame a panoramic view of Hong Kong. SUPERIMPOSE: HONG KONG EDDIE CHENG (30s, intense investment banker), ASTRID (30s, gorgeous, elegant).<\/scene_description>\n    <character>RUSSELL WONG<\/character>\n    <dialogue>You know if you move, it will look more natural.<\/dialogue>\n    <character>EDDIE<\/character>\n    <dialogue>No, this way you get our optimal angles.<\/dialogue>\n    <character>RUSSELL WONG<\/character>\n    <dialogue>Uh, then we're done.<\/dialogue>\n    <scene_description>As Russell wraps up, Eddie scurries over, all smiles.<\/scene_description>\n    <character>EDDIE<\/character>\n    <dialogue>Russell, thank you so much. It's an honor to be photographed by you.<\/dialogue>\n    <character>FIONA<\/character>\n    <parenthetical>(to kids)<\/parenthetical>\n    <dialogue>Good job, guys.<\/dialogue>\n    <parenthetical>(to nannies)<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>RUSSELL WONG<\/character>\n    <dialogue>My pleasure. People will love it in the next Hong Kong Vogue.<\/dialogue>\n    <character>NANNY<\/character>\n    <parenthetical>(to kids)<\/parenthetical>\n    <dialogue>Give me that. You have to take a bath now.<\/dialogue>\n    <character>FIONA<\/character>\n    <dialogue>Thank you, Russell.<\/dialogue>\n    <scene_description>Eddie beams, but the moment Russell and his ASSISTANTS exit, Eddie loses his smile. Turns on his wife, annoyed.<\/scene_description>\n    <character>EDDIE<\/character>\n    <dialogue>Hong Kong Vogue? I knew it. Your dress is a disaster. If you wore a Bottega gown, like I told you to, we'd be in the American Vogue.<\/dialogue>\n    <character>FIONA<\/character>\n    <dialogue>You can wear that gown to Hell, Eddie.<\/dialogue>\n    <scene_description>Fiona walks off as the children jump into 2 TOY BENTLEYS and start chasing their beleaguered NANNIES...<\/scene_description>\n    <character>NANNY<\/character>\n    <parenthetical>(to kids)<\/parenthetical>\n    <dialogue>Stop!<\/dialogue>\n    <character>NICK (V.O.)<\/character>\n    <dialogue>Then there's Astrid.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PLANE<\/stage_direction>\n    <character>RACHEL<\/character>\n    <dialogue>I remember Astrid. She's like who I wanna be when I grow up.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Astrid is awesome. And she's probably the only one I'm actually close with. And she's really grounded and down to earth once you get to know her.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JEWELRY BOUTIQUE (SHANGHAI)<\/stage_direction>\n    <scene_description>SUPERIMPOSE: SHANGHAI CONTINUED: ASTRID (30s), striking, enters a LUXE HIGH-END BOUTIQUE where WEALTHY FEMALE CUSTOMERS look over FINE JEWELRY.<\/scene_description>\n    <character>NICK (V.O.)<\/character>\n    <dialogue>Not only did she graduate top of her class at Oxford, start multiple charities and is a fashion icon, Astrid has the biggest heart of any of my cousins.<\/dialogue>\n    <scene_description>Astrid sees a LITTLE GIRL, the daughter of a customer, holding a TINY, STUFFED BUNNY with a YARN BOW as she tugs on her mother's sleeve.<\/scene_description>\n    <character>LITTLE GIRL<\/character>\n    <dialogue>Mummy? See what I made for bunny --<\/dialogue>\n    <scene_description>But her mother waves her away, busy looking over baubles with her friend.<\/scene_description>\n    <character>LITTLE GIRL'S MOTHER<\/character>\n    <dialogue>No, not now, not now.<\/dialogue>\n    <scene_description>But the customers, including the Little Girl's mother, soon notice Astrid and sneak looks and whisper to one another about her. Astrid walks by them and goes to the Little Girl, much to her mother's surprise.<\/scene_description>\n    <character>ASTRID<\/character>\n    <parenthetical>(bends down; to Girl)<\/parenthetical>\n    <dialogue>Hi, I'm Astrid. What's your name?<\/dialogue>\n    <character>LITTLE GIRL<\/character>\n    <dialogue>Vita.<\/dialogue>\n    <character>ASTRID<\/character>\n    <parenthetical>(re: bunny)<\/parenthetical>\n    <dialogue>And who's this?<\/dialogue>\n    <character>LITTLE GIRL<\/character>\n    <dialogue>Bun-Bun.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Well, I think Bun-Bun looks very dashing with his bow. You have a good eye.<\/dialogue>\n    <character>LITTLE GIRL<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>The Little Girl BEAMS, delighted. The girl's MOTHER lights up, proud. CONTINUED: The JEWELER approaches.<\/scene_description>\n    <character>JEWELER<\/character>\n    <dialogue>Ms. Leong, right this way.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>It's very nice to meet you both.<\/dialogue>\n    <scene_description>The patrons watch Astrid and the Jeweler disappear through a hallway into a restricted area...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JEWELRY STORE - BACK ROOM - DAY<\/stage_direction>\n    <scene_description>It's a private room reserved for elite clientele. An ASSISTANT brings Astrid tea in a tiny antique cup as she surveys A STUNNING SELECTION OF OVER-THE-TOP JEWELRY.<\/scene_description>\n    <character>JEWELER<\/character>\n    <dialogue>These are all brand new from Antwerp. You're the first person I've shown them to.<\/dialogue>\n    <scene_description>Astrid is unimpressed. Then she sees in ANOTHER DISPLAY CASE an understated pair of pearl drop earrings. She looks at them, intrigued.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>What are those?<\/dialogue>\n    <scene_description>The Jeweler smiles, approving of Astrid's taste. He takes the earrings out so she can get a closer look.<\/scene_description>\n    <character>JEWELER<\/character>\n    <dialogue>Those. Those are very special. Burmese pearl drop earrings. Set with emeralds, and rare pigeon- blood-red rubies. They were worn by Queen Supayalat at her self- anointed coronation in 1878.<\/dialogue>\n    <scene_description>The assistant brings the earrings to Astrid. She picks them up to look closer, intrigued.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>How much?<\/dialogue>\n    <character>JEWELER<\/character>\n    <dialogue>Having you wear one of my pieces is better publicity than I can buy. I'll let them go at cost.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>One point two million.<\/dialogue>\n    <scene_description>Astrid gives a subtle nod.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PLANE - NIGHT<\/stage_direction>\n    <scene_description>The plane is now in the air and Nick and Rachel's suite has been converted into a bedroom. They wear the complimentary pajamas as they lie in bed, continuing their conversation about Nick's family.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>So, if you have all this family there, why are we staying in a hotel? Aren't good Chinese sons supposed to stay with their parents?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Well, because A) I'm not that good a son, and B) I just want you to myself, just for a bit. That okay?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Rachel smiles and kisses Nick. He rolls on top of her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKYLINE (SINGAPORE) - NIGHT<\/stage_direction>\n    <scene_description>The plane flies across the South China Sea into the sunset, heading for a SHINING JEWEL at the tip of the Malaysian Peninsula. INERT - WORLD MAP SUPERIMPOSE: NORTH PACIFIC OCEAN, SOUTH PACIFIC OCEAN, NEW YORK, NORTH ATLANTIC OCEAN, SOUTH ATLANTIC OCEAN, CHINA, INDIA, INDIAN OCEAN, SINGAPORE, AUSTRALIA We ZOOM IN ON SINGAPORE -- SUPERIMPOSE: MALAYSIA, SINGAPORE, SINGAPORE STRAIT, MAIN STRAIT, INDONESIA<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SINGAPORE (ESTABLISHING)<\/stage_direction>\n    <scene_description>SUPERIMPOSE: SINGAPORE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHANGI AIRPORT - DAY<\/stage_direction>\n    <scene_description>Nick and Rachel emerge with other TRAVELERS, pushing luggage carts as they emerge from customs. Rachel looks around the shiny arrival hall in wonderment. CONTINUED:<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I can't believe this airport has a butterfly garden and a movie theater. JFK is just salmonella and despair.<\/dialogue>\n    <character>WOMAN (O.S.)<\/character>\n    <dialogue>Nick!!! Nick!!!<\/dialogue>\n    <scene_description>Through the crowd runs a willowy, young woman, ARAMINTA (20s) clutching BALLOONS, rushing up to meet them. She throttles Nick, wrapping her legs tightly around his waist. Behind her is a ruggedly handsome man, COLIN (30s), holding a PLACARD that reads \"Best Man.\" Nick lights up to see them.<\/scene_description>\n    <character>ARAMINTA<\/character>\n    <dialogue>Nick!!! Nick!!!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Araminta!<\/dialogue>\n    <character>ARAMINTA<\/character>\n    <dialogue>I missed you.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I missed you, too.<\/dialogue>\n    <scene_description>Araminta releases Nick and immediately grabs Rachel in a tight hug. Rachel reacts, surprised, amused. Colin grabs Nick in a big bear hug, pulling him back and forth.<\/scene_description>\n    <character>ARAMINTA<\/character>\n    <dialogue>Rachel.<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(to Colin)<\/parenthetical>\n    <dialogue>Hey.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Hi!<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>(to Nick)<\/dialogue>\n    <character>ARAMINTA<\/character>\n    <dialogue>(to Rachel)<\/dialogue>\n    <scene_description>There he is. How are you? It's so nice to finally meet you.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>(to Colin)<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>(to Araminta)<\/dialogue>\n    <scene_description>I'm good. It's so nice to meet you, too. Araminta has no makeup on under her spectacles, and is wearing pajama pants, a tank top, and flip-flops. Nick gives Colin a big hug. CONTINUED:<\/scene_description>\n    <character>COLIN<\/character>\n    <dialogue>Ah! Nicki-Nick! Welcome!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>It's been too long, brother.<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>It has been too long. Welcome back.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>You guys didn't have to pick us up.<\/dialogue>\n    <character>ARAMINTA<\/character>\n    <dialogue>Of course we did. We had to!<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>Of course I had to come welcome my best man properly.<\/dialogue>\n    <parenthetical>(to Rachel)<\/parenthetical>\n    <dialogue>Hi, Rachel.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <scene_description>They embrace warmly.<\/scene_description>\n    <character>COLIN<\/character>\n    <dialogue>Oh! Lovely to finally meet you.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Nice to meet you, too.<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>Shall we? Let me help you with this.<\/dialogue>\n    <character>ARAMINTA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <parenthetical>(handing Rachel the balloons)<\/parenthetical>\n    <dialogue>And these are for you.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Yes! I can grab these. All right.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Oh! Thank you.<\/dialogue>\n    <character>ARAMINTA<\/character>\n    <dialogue>I know they're a bit over the top.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>COLIN<\/character>\n    <dialogue>Let's get you all localized.<\/dialogue>\n    <character>ARAMINTA<\/character>\n    <dialogue>Are you hungry?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I'm always hungry. So let's eat everything we can.<\/dialogue>\n    <character>ARAMINTA<\/character>\n    <dialogue>Okay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHANGI AIRPORT - DAY<\/stage_direction>\n    <scene_description>Colin pushes the luggage cart out the door, flanked by Rachel, Nick, and Araminta.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SINGAPORE (ESTABLISHING)<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. HIGHWAY\/SUV - DUSK<\/stage_direction>\n    <scene_description>The open-top SUV flies down the highway. Colin is at the wheel as Nick, Rachel, and Araminta take in the sites.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAWKER CENTER - NIGHT<\/stage_direction>\n    <scene_description>FLAMES LEAP over a wok as a CRAB is thrown in. QUICK CUTS OF FOOD: stir-fried clams, turnip cakes, banana leaf rice, laksa soup noodles, ice being shaved over an ice kachang bowl. Rachel stares in wonderment at an endless hive of food stalls underneath swaying palm trees, right on the beach. Even though it is late, the place teems with HUNDREDS of DINERS. All eating with great relish. Nick, Araminta, and Colin move like seasoned locals. Colin scans the seating area, spots a table.<\/scene_description>\n    <character>COLIN<\/character>\n    <dialogue>Minty, three o'clock!<\/dialogue>\n    <scene_description>Araminta hurries over, buys TISSUE PACKETS from an OLD WOMAN.<\/scene_description>\n    <character>WOMAN AT MARKET<\/character>\n    <parenthetical>(in Mandarin; subtitled)<\/parenthetical>\n    <dialogue>Guam Xia. \\[Thank you.\\]<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>ARAMINTA<\/character>\n    <parenthetical>(in Mandarin)<\/parenthetical>\n    <dialogue>Guam Xia.<\/dialogue>\n    <parenthetical>(in English)<\/parenthetical>\n    <dialogue>Hey, guys! Here!<\/dialogue>\n    <scene_description>Araminta tosses a tissue packet to Nick and Rachel. Nick grabs Rachel, kicking off our --<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Oh, thank you.<\/dialogue>\n    <parenthetical>(to Rachel)<\/parenthetical>\n    <dialogue>Come with me.<\/dialogue>\n    <scene_description>MONTAGE -- They walk by the dizzying array of stalls, Nick is excited to share this world with Rachel:<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Each of these hawker stalls sells pretty much one dish, and they've been perfecting it for generations. You know, this is one of the only places in the world where street food vendors actually earn Michelin stars.<\/dialogue>\n    <scene_description>-- A beaming PRAWN NOODLE SELLER HUGS Nick.<\/scene_description>\n    <character>NOODLE SELLER<\/character>\n    <dialogue>Hey! How are you, sir? Long time, no see, my friend.<\/dialogue>\n    <parenthetical>(calls to worker; handing Nick food)<\/parenthetical>\n    <dialogue>Here you go. Thank you very much, sir.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Uncle! Oh. Cheers.<\/dialogue>\n    <scene_description>-- Colin brings food to a table where Araminta sits, tissue packets holding a place for all of them.<\/scene_description>\n    <character>COLIN<\/character>\n    <dialogue>Ooh! Look at this. Look at this.<\/dialogue>\n    <character>ARAMINTA<\/character>\n    <dialogue>Oh, my favorite.<\/dialogue>\n    <scene_description>-- Nick orders from a MALAY SATAY vendor. CONTINUED:<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(in Malay)<\/parenthetical>\n    <dialogue>Sate dua puluh. Sepuluh ayam. Sepuluh daging. \\[Twenty pieces of satay. Ten chicken satay. Ten beef satay.\\]<\/dialogue>\n    <scene_description>SAME SCENE - LATER The table is OVERFLOWING with various dishes.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Hmm.<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>There he is. Nice.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Where do you want me to put this?<\/dialogue>\n    <scene_description>Nick and Rachel go off to order more food.<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(in Mandarin)<\/parenthetical>\n    <dialogue>Luxa, liang wan, yi wan buyao lajiang. \\[Luxa, give me one bowl of that, one of them without spicy sauce.\\]<\/dialogue>\n    <scene_description>BACK AT THE TABLE Nick hands each of them mug of beer.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>One of those for you.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Yes, thank you.<\/dialogue>\n    <scene_description>SHAVED ICE VENDOR Nick and Rachel ordering shaved ice.<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(in Mandarin)<\/parenthetical>\n    <dialogue>Guan Xia.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Looks a little vomity.<\/dialogue>\n    <scene_description>AT ANOTHER VENDOR Nick is now ordering soup. BACK AT THE TABLE They are finally enjoying all the various dishes.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Oh, my God!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Yes! I told you! I told you. The best satay on the island. For sure. All right.<\/dialogue>\n    <scene_description>Araminta and Colin grin with approval.<\/scene_description>\n    <character>COLIN<\/character>\n    <dialogue>All right, dig in, guys.<\/dialogue>\n    <character>ARAMINTA<\/character>\n    <dialogue>Oh, really? So yummy, isn't it?<\/dialogue>\n    <character>COLIN<\/character>\n    <parenthetical>(to Nick)<\/parenthetical>\n    <dialogue>Oh, before I forget, I need your help tomorrow. Uh, I need to do some groomsmen stuff and I don't wanna do it alone with Bernard Tai.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I still cannot believe that you got that guy to be your groomsman.<\/dialogue>\n    <character>ARAMINTA<\/character>\n    <dialogue>Thank you. Thank you. I rest my case.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Minty...<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>Well, it wasn't up to me, was it? It's not my choice. Bernard is the human douche nozzle who used to steal my tuck shop money when we were kids, until Nicki-Nick beat him up.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Well...<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>ARAMINTA<\/character>\n    <dialogue>Um...<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You beat somebody up?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Hold on -- I threw a single punch. I fell on the floor and the guy sat on me. So, wasn't really much of a fight.<\/dialogue>\n    <character>COLIN<\/character>\n    <parenthetical>(raises glass)<\/parenthetical>\n    <dialogue>A toast, guys. To my best man, Nick Young, who can't fight for nuts, but will always have your back!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Colin and Nick continue to laugh and reminisce.<\/scene_description>\n    <character>ARAMINTA<\/character>\n    <dialogue>A toast to married life.<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>Oh! Not yet! Not yet! Too early.<\/dialogue>\n    <character>ARAMINTA<\/character>\n    <dialogue>Oh, God!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Oh! Well, this time next week, guys!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>We gotta get over your bachelor party first, matey.<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>Is that necessary, man? Come on!<\/dialogue>\n    <character>ARAMINTA<\/character>\n    <dialogue>Listen, Rachel, I know we've only just met, but it's my bachelorette party this weekend and I would love for you to come.<\/dialogue>\n    <scene_description>Rachel is surprised, happy to be embraced by Nick's pals. Nick and Colin still bantering in the b.g. CONTINUED:<\/scene_description>\n    <character>COLIN<\/character>\n    <dialogue>(to Nick)<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>(to Araminta)<\/dialogue>\n    <scene_description>Hold on, if I make it out That would be amazing. alive! I would be -- Thank you so much!<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>That's gonna be the least...<\/dialogue>\n    <character>ARAMINTA<\/character>\n    <dialogue>Good!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>If I -- Am I out of the picture?<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>Thanks, man.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Am I totally out of the picture?<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>Yes, I've replaced you with Bernard.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Well, that --<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>Screw that, man.<\/dialogue>\n    <scene_description>Nick and Colin joke and laugh with each other.<\/scene_description>\n    <character>ARAMINTA<\/character>\n    <dialogue>Also, I have to say, I can't remember the last time I saw Nick like this.<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(overlaps)<\/parenthetical>\n    <dialogue>No, that's funny, though.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>He's just happy to be home.<\/dialogue>\n    <character>ARAMINTA<\/character>\n    <parenthetical>(making a face)<\/parenthetical>\n    <dialogue>Oh, yeah, he's just happy to be home. With you.<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(overlaps)<\/parenthetical>\n    <dialogue>I'm sorry. I'm sorry, man. Your dad will be the death of you.<\/dialogue>\n    <scene_description>We STAY ON Rachel -- she looks at Nick, happy, in his element. He glances at her with that smile -- and she falls that much more in love with him. CONTINUED:<\/scene_description>\n    <character>COLIN<\/character>\n    <dialogue>My dad will be the death of me. Oh, cheers to that.<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>Guys, we have to dig in 'cause this crab is not gonna eat itself.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>ARAMINTA<\/character>\n    <dialogue>Yeah. Pass me that.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>What should I try first?<\/dialogue>\n    <parenthetical>(to Colin)<\/parenthetical>\n    <dialogue>Do you want some of this?<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>Eat up, eat up! Try some of this. Oh, thank you.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>It's really spicy.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>It is really spicy. Oh, God!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY<\/stage_direction>\n    <scene_description>The four of them driving down the highway in the open-top SUV enjoying the beautiful city. Nick points to various landmarks with glee. We see a MONTAGE of beautiful fountains, boats going under bridges, etc. The girls, in the back seat, put their arms around their guys' necks and snuggle.<\/scene_description>\n    <character>ARAMINTA<\/character>\n    <dialogue>Whoo!<\/dialogue>\n    <parenthetical>(shouting)<\/parenthetical>\n    <dialogue>Nick's in Singapore!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>It's good to be home.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ASTRID'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Astrid enters, followed by the porters. The apartment isn't enormous, but each room is straight out of the pages of Architectural Digest. TWO MAIDS quickly swing into action, taking the bags and unpacking them. CONTINUED:<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Is Michael here?<\/dialogue>\n    <character>MAID<\/character>\n    <dialogue>Not yet, ma'am. Also, your son woke up. He wants to see you.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>All right. You know what to do. Quickly.<\/dialogue>\n    <character>MAID<\/character>\n    <dialogue>Okay. Put over here. Okay... Move, move.<\/dialogue>\n    <scene_description>The Maids nod, knowing the drill. The head Maid hides two bags labeled \"Dior\" and \"Lotus - Arts de Vivre\" in a drawer. The begin scurrying around the apartment in a frenzy. SERIES OF QUICK CUTS -- One maid puts a small jewelry-sized box tied with a bow in a metal tin and places the lid back on. -- Another maid stashes a small box in a kitchen drawer and covers it with the cloth napkins. -- In the bathroom, Astrid takes off her EARRINGS, puts them back in their original box and places the box above the mirror.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ASTRID'S APARTMENT - CASSIAN'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Astrid lies by her son, CASSIAN (3), who's half-asleep in bed as she reads The Little Prince to him in French.<\/scene_description>\n    <character>ASTRID<\/character>\n    <parenthetical>(in perfect French)<\/parenthetical>\n    <dialogue>-- Cette visite fut tr\u00e8s courte, mais elle plongea le petit prince dans une grande m\u00e9lancolie...<\/dialogue>\n    <scene_description>Astrid pauses when she hears SOMEONE enter the apartment. She looks to Cassian, now sound asleep, and heads out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ASTRID'S APARTMENT - BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>We see a man taking a shower. This is MICHAEL TEO, 30s, Astrid's husband, former Army Sergeant, and ripped\/hot as all hell, exits the bathroom in a towel. CONTINUED: He talks to Astrid, who's on the bed as he dries off and gets ready for bed.<\/scene_description>\n    <character>MICHAEL<\/character>\n    <dialogue>I'm sorry. Got stuck in a meeting.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>It's okay. I get it. But don't forget, wedding festivities start on Wednesday, so no emergencies next week.<\/dialogue>\n    <character>MICHAEL<\/character>\n    <parenthetical>(facetious)<\/parenthetical>\n    <dialogue>I know. Wouldn't dream of missing a second with your family and their friends.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Come on, it won't be all bad. Nick and his new girlfriend will be there. You'll like her.<\/dialogue>\n    <character>MICHAEL<\/character>\n    <dialogue>Oh, yeah? Why? 'Cause she's a commoner like me?<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>You know that's not what I meant.<\/dialogue>\n    <character>MICHAEL<\/character>\n    <dialogue>Oh... You know, I thought I caught the maids trying to shove a pair of Jimmy Choos behind the dryer.<\/dialogue>\n    <parenthetical>(off Astrid kissing his shoulder)<\/parenthetical>\n    <dialogue>Yeah, I don't know why you bother trying to hide your shopping from me. You can buy whatever you want. I get it. Besides, everybody knows you wear the money pants in this family.<\/dialogue>\n    <character>ASTRID<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Pants are overrated.<\/dialogue>\n    <parenthetical>(kisses his shoulder; then)<\/parenthetical>\n    <dialogue>Oh, I got you something, too. To celebrate the launch of your startup. I know you don't like expensive gifts, but you're not a captain in the Army anymore.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>You're a CEO. You should look the part.<\/dialogue>\n    <scene_description>She takes the gift out from under the pillow revealing an expensive men's watch.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>To celebrate the launch of your startup. I know you don't like expensive gifts, but you're not a captain in the Army anymore, you're a CEO. You should look the part.<\/dialogue>\n    <character>MICHAEL<\/character>\n    <dialogue>I -- I love it. Thank you.<\/dialogue>\n    <scene_description>He KISSES her. She kisses back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARINA (SINGAPORE)<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAFFLES HOTEL - SUITE - MORNING<\/stage_direction>\n    <scene_description>Radio alarms goes off. It's playing Marvin Gaye's \"You're All I Need to Get By.\" REVEAL Rachel waking up in a luxurious, Colonial suite -- smiles when she remembers where she is. Nick's arm is around her. She turns to see he's awake, smiling.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>What time is it?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Morning. I'm afraid it's time for me to do some groomsman duties.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Ummmmmmmmmm... Stay in bed.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>You stay here. I'll get you a breakfast tray.<\/dialogue>\n    <scene_description>Nick gets out of bed as Rachel lazily sits up, putting her glasses on.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You know, I have to get up, too. I told Peik Lin I would meet up with her today.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Ah, a little college reunion. But don't forget. Dinner at Ah Ma's tonight.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Mm-hmm.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>The whole family's gonna be there.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I can't wait to show you off.<\/dialogue>\n    <scene_description>She moves her glasses back and forth on her nose, in and out as if trying to get a better focus on Nick's body.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Hubba-hubba.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>How can I resist?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Ah. Ooga-ooga.<\/dialogue>\n    <scene_description>Rachel looks at him lovingly. He comes back for one more kiss.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>You put those glasses on on purpose.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SINGAPORE (ESTABLISHING)<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TAXI\/GOH FAMILY HOME - DAY<\/stage_direction>\n    <scene_description>Rachel exits a taxi wearing the red dress her mother picked. She goes to the gate of a showy mansion. We hear a BUZZER, then the gate opens. We hear another BUZZER and the front door opens. PEIK LIN (29), emerges carrying one of her Pekingese dogs. Peik Lin is half type-A go-getter, half hip-hop, all attitude.<\/scene_description>\n    <character>PEIK LIN<\/character>\n    <dialogue>New York in the house! Yeah! Yeah!<\/dialogue>\n    <scene_description>CONTINUED: Peik Lin rushes to her, as they hug:<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Aw! Peik Lin!<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>What up, bitch? Yeah! Yeah!<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Oh, my God! You look amazing.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>I know. Some things never change, right?<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>(re: mansion)<\/parenthetical>\n    <dialogue>And this is q-- quite a place.<\/dialogue>\n    <scene_description>SIX GOLDEN-HAIRED PEKINGESE DOGS run out, their high- pitched yaps filling the air.<\/scene_description>\n    <character>NEENAH<\/character>\n    <dialogue>Astor! Vanderbilt! Rockefeller! Naughty, naughty boys, stop barking. Hey, Rachel!<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Hi!<\/dialogue>\n    <scene_description>NEENAH GOH (50s), Peik Lin's mother, comes out. A short woman with a bouffant perm. She wears a tight blouse, a belt of interlinked gold Medusa heads, tight trousers, and pink slippers.<\/scene_description>\n    <character>NEENAH<\/character>\n    <dialogue>Singapore is so hot. Come in and enjoy the aircon. Come, come on. Whole family waiting to meet you. Very excited.<\/dialogue>\n    <scene_description>They head into:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOH HOUSE - DAY<\/stage_direction>\n    <scene_description>Neena and Peik Lin show Rachel into the cavernous living room, everything is covered with gold or mirrors. Rachel takes it in, amazed.<\/scene_description>\n    <character>NEENAH<\/character>\n    <dialogue>Rachel, welcome, welcome.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Wow! Oh, my gosh! Your house is amazing, Mrs. Goh.<\/dialogue>\n    <character>NEENAH<\/character>\n    <parenthetical>(in Hokkien; subtitled)<\/parenthetical>\n    <dialogue>Li gaou kong wei ah. \\[You're such a sweet talker.\\]<\/dialogue>\n    <parenthetical>(in English)<\/parenthetical>\n    <dialogue>Call me Auntie. Auntie Neenah.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Sorry. Auntie Neenah.<\/dialogue>\n    <character>NEENAH<\/character>\n    <dialogue>Oh, yeah. Uh... Yeah, yeah, yeah, yeah. We were inspired by the Hall of Mirrors in Versailles.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <parenthetical>(to Rachel; low)<\/parenthetical>\n    <dialogue>And Donald Trump's bathroom, as well.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>NEENAH<\/character>\n    <dialogue>You like it or not?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Oh, yes. Uh, the gold is very brilliant.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOH HOUSE - DINING ROOM - DAY<\/stage_direction>\n    <scene_description>SEVEN MEMBERS of the Goh family sit at a long dining table as four maids serve the anything-but-\"small\" lunch. It's a free-for-all as everyone reaches for food. It's a colorful bunch. There's Peik Lin's father WYE MUN (50s), and a multitude of children including: P.T. (30s) shy, overweight, TWO ADORABLE TWIN GIRLS who eat CHICKEN NUGGETS from a TAKEOUT BOX on heavy, gold-rimmed Limoges plates, and a BABY in a TRICKED-OUT GOLD BASSINET. Neena waves chopsticks at Rachel. CONTINUED:<\/scene_description>\n    <character>WYE MUN<\/character>\n    <dialogue>Uh, uh, uh. Rachel Chu, we are so, uh, grateful for all the help you have given my, uh, Peik Lin back in her uni days. I mean, without you, uh, she would be a hot mess.<\/dialogue>\n    <scene_description>He chuckles.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Oh, my God, no. Actually, if it wasn't for her, I'd be a big mess. She was a huge help to me in college.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>It's nice to meet you, Mr. Goh.<\/dialogue>\n    <character>WYE MUN<\/character>\n    <dialogue>Nice to meet you, too, uh, Chu. Ku-ku. Ku-Chu. You. Poo-poo.<\/dialogue>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>No, I'm just kidding. I don't have an accent. I'm just messing with you.<\/dialogue>\n    <scene_description>Neenah chuckles.<\/scene_description>\n    <character>WYE MUN<\/character>\n    <dialogue>No, no, I, I studied in the States, too. Yeah, Cal State Fullerton. Yeah. I majored in Thought.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Hmm.<\/dialogue>\n    <character>NEENAH<\/character>\n    <dialogue>Don't stand on ceremony, Rachel. This is simple food, lah.<\/dialogue>\n    <character>WYE MUN<\/character>\n    <dialogue>Ah! Cha-cha-cha. Don't be shy.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Oh. Thank you.<\/dialogue>\n    <character>WYE MUN<\/character>\n    <dialogue>You're not a model.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I am definitely not.<\/dialogue>\n    <scene_description>Rachel looks at thirteen different dishes, which look anything but simple. CONTINUED: Wye Mun puts food on Rachel's plate. Neena feeds her dog with chopsticks sitting in a chair next to her.<\/scene_description>\n    <character>WYE MUN<\/character>\n    <dialogue>No, you're not. Not at all. You're far from it.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>WYE MUN<\/character>\n    <dialogue>And make sure you eat it all. 'Cause I'm watching you.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Okay, thank you.<\/dialogue>\n    <character>WYE MUN<\/character>\n    <dialogue>Okay, yeah.<\/dialogue>\n    <character>TWIN GIRL #1<\/character>\n    <dialogue>Ah pa, can we go trampoline!<\/dialogue>\n    <character>TWIN GIRL #2<\/character>\n    <dialogue>... go trampoline.<\/dialogue>\n    <character>WYE MUN<\/character>\n    <dialogue>Ay, you haven't finished your nuggets yet, sweetie. Okay, there's a lot of children starving in America, right? I mean, take a look at her. She's American. Huh? Really skinny. You wanna look like that?<\/dialogue>\n    <character>TWIN GIRL #1 AND #2<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>WYE MUN<\/character>\n    <dialogue>Then eat your nuggets.<\/dialogue>\n    <scene_description>The girls dutifully return to their food.<\/scene_description>\n    <character>NEENA<\/character>\n    <dialogue>So, Rachel, what you do in America?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Um, I'm an economics professor.<\/dialogue>\n    <character>WYE MUN<\/character>\n    <parenthetical>(impressed)<\/parenthetical>\n    <dialogue>Whoa. Very impressive. Econ professor, eh? Wow! You must be very smart. Good for you.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Mm-hmm.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>WYE MUN<\/character>\n    <parenthetical>(to Peik Lin)<\/parenthetical>\n    <dialogue>Let me get this straight. You both went to the same school, yet someone came back with a degree that's useful. And the other came back as Asian Ellen.<\/dialogue>\n    <scene_description>Peik Lin reacts, grandpa laughs. Wye Mun turns to his son, P.T.<\/scene_description>\n    <character>WYE MUN<\/character>\n    <parenthetical>(nods toward Rachel)<\/parenthetical>\n    <dialogue>Psst. P.T.<\/dialogue>\n    <character>P.T.<\/character>\n    <dialogue>Hmm?<\/dialogue>\n    <character>WYE MUN<\/character>\n    <parenthetical>(nodding toward Rachel)<\/parenthetical>\n    <dialogue>Look over here. She's a hottie. This is the kind of girl you should date. Smart, beautiful. Not those, like, K-Pop skanks, with, like, no brain, big eyes and small backsides. She has an amazing backside. This is Goh standard. Don't be shy. Just talk to her.<\/dialogue>\n    <scene_description>P.T. looks up from his noodles, clueless.<\/scene_description>\n    <character>P.T.<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>I love you.<\/dialogue>\n    <character>WYE MUN<\/character>\n    <dialogue>Okay. No, just, uh...<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>Pa, she's here with her boyfriend.<\/dialogue>\n    <character>WYE MUN<\/character>\n    <dialogue>I don't see no ring on her finger.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Oh, well, my boyfriend's actually from Singapore and that's why we're here. We're here to go to his best friend's wedding where he's gonna be the best man.<\/dialogue>\n    <character>WYE MUN<\/character>\n    <dialogue>Hmm.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>NEENAH<\/character>\n    <dialogue>What's his name? This is a very small island. Maybe we know his family.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>His name is Nick Young.<\/dialogue>\n    <scene_description>The food drops out of Wye Mun's mouth. The whole table STOPS EATING. Eyes go wide. Jaws drop. Even grandpa and the twins stop what they're doing and look at Rachel. Rachel becomes self-conscious.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Uh...<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>The Nick you're dating is Nick Young?!<\/dialogue>\n    <character>NEENAH<\/character>\n    <parenthetical>(puts it together)<\/parenthetical>\n    <dialogue>His best friend... You're invited to Colin Khoo's wedding, ah?!!<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Yeah. You guys know them or something?<\/dialogue>\n    <scene_description>P.T. snaps a quick pic of Rachel on his cell. He smiles and admires it like it's the Mona Lisa.<\/scene_description>\n    <character>WYE MUN<\/character>\n    <dialogue>Hells yeah. The Khoos, the Youngs, I mean, who doesn't know who they are?!<\/dialogue>\n    <parenthetical>(getting worked up)<\/parenthetical>\n    <dialogue>They're just the biggest developers in all of Singapore. And Malaysia, Thailand, Brunei, New Mexico.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>She gets it.<\/dialogue>\n    <parenthetical>(to Rachel)<\/parenthetical>\n    <dialogue>Colin and Araminta's wedding is, like, Singapore's event of the century! The Youngs are like royalty.<\/dialogue>\n    <scene_description>Wye Mun vigorously shakes his head, \"yes.\"<\/scene_description>\n    <character>PEIK LIN<\/character>\n    <dialogue>Did you not know? Does she not know?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>NEENAH<\/character>\n    <dialogue>Why you never say before?! Tell, tell, what are they like?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I don't really know what they're -- I, I mean, I haven't met them yet. I'm gonna meet them tonight. I'm going to Nick's grandma's house.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>You're going to Nick's grandma's house wearing this?<\/dialogue>\n    <parenthetical>(re: Rachel's dress)<\/parenthetical>\n    <dialogue>Wearing that?<\/dialogue>\n    <scene_description>They all laugh.<\/scene_description>\n    <character>P.T.<\/character>\n    <dialogue>No way. No way.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Yeah, I thought red was a lucky color, right?<\/dialogue>\n    <character>WYE MUN<\/character>\n    <dialogue>Yeah, if you're an envelope. Zing! Nailed it!<\/dialogue>\n    <scene_description>P.T. takes another picture of Rachel, but she waves him off.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>TWINS<\/character>\n    <dialogue>Zing zing!<\/dialogue>\n    <scene_description>Peik Lin looks Rachel up and down, shaking her head disgusted with her outfit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PEIK LIN'S BEDROOM - CLOSET - DAY<\/stage_direction>\n    <scene_description>Peik Lin throws open the doors to her massive walk-in closet. Clothes are color-coded, wrapped in plastic, with a string of POLAROIDS over them showing the different looks. Rachel looks around, in awe.<\/scene_description>\n    <character>PEIK LIN<\/character>\n    <dialogue>Rachel, these people aren't just rich, okay. They're crazy rich.<\/dialogue>\n    <scene_description>Peik Lin looks around, pulls out a LARGE HANDBAG with a WORLD MAP on it, which she points to as she explains: CONTINUED:<\/scene_description>\n    <character>PEIK LIN<\/character>\n    <dialogue>Look, there's new money all over Asia. We got the Beijing Billionaires, the Taiwan Tycoons. But the Young family, they're old money rich. They had money when they left China in the 1800s. And they went all the way down here. Not there. Here. They came to Singapore when there was nothing but jungle and pig farmers. There was a snake here, eating an apple. You know what I mean? And they built all of this. Now, they're the landlords of the most expensive city in the world. Here you go.<\/dialogue>\n    <parenthetical>(hands Rachel the purse)<\/parenthetical>\n    <dialogue>These people are so posh and snobby, they're snoshy. Here you go.<\/dialogue>\n    <scene_description>Peik Lin hands her a pair of platform shoes.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Yeah, but Nick's not like that.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>Even if he isn't, I guarantee you the family is. Which is why tonight, you need to not look like Sebastian of The Little Mermaid. You know, little crab guy.<\/dialogue>\n    <scene_description>Peik Lin throws her a dress...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>AN AUDI SWERVES ERRATICALLY through traffic, brakes squealing, horns honking.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDI - NIGHT<\/stage_direction>\n    <scene_description>Rachel, in an elegant cocktail dress, holds on for dear life as Peik Lin drives like she's on the Indy circuit.<\/scene_description>\n    <character>PEIK LIN<\/character>\n    <parenthetical>(shouting at cars)<\/parenthetical>\n    <dialogue>Come on, this isn't your grandma's road. God damn it.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Thank you for driving me.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>Duh. This is, like, my one chance to see the Young family mansion.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Mm.<\/dialogue>\n    <scene_description>They turn off onto a private road.<\/scene_description>\n    <character>FEMALE GPS VOICE (V.O.)<\/character>\n    <dialogue>At the next intersection, make a U- turn. Make a U-turn.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>Uh, are you sure you gave me the right address? The GPS says there's, like, nothing here. Like literally nothing.<\/dialogue>\n    <scene_description>They pull over on a deserted road.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I mean, I -- I put in the exact address. This is --<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>You copied and your pasted it?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>Did you just copy and paste 'jungle' and just kind of threw it in there?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>No, it says this is the address...<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>Because I feel like that's -- You actually used the --<\/dialogue>\n    <scene_description>A bearded man wearing a red turban appears at her side window.<\/scene_description>\n    <character>PEIK LIN<\/character>\n    <dialogue>-- Okay. All right. That's a -- Hi! So we'll just --<\/dialogue>\n    <parenthetical>(rolls down window just a crack)<\/parenthetical>\n    <dialogue>Hello, sir. How are you?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>PEIK LIN<\/character>\n    <dialogue>We're here for the party, and we're... We come in peace.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Do you know where the Young family house is?<\/dialogue>\n    <scene_description>Another man appears at Rachel's window. These are uniformed SIKH GUARDS.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Nicholas Young? I'm, I'm Rachel Chu. I'm here to, to go to his family dinner.<\/dialogue>\n    <scene_description>The one guard carrying a rifle creeps around the car, inspecting it. The other speaks on his walkie-talkie.<\/scene_description>\n    <character>PEIK LIN<\/character>\n    <dialogue>Uh, Rachel Chu for the list. If there is a list.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TYERSALL GROUNDS\/AUDI - CONTINUOUS ACTION - NIGHT<\/stage_direction>\n    <scene_description>In the middle of nowhere, a MASSIVE GATE looms with TYERSALL PARK written across the top. The gate is closed. The guard on the walkie walks to the gate looking back at Peik Lin and Rachel.<\/scene_description>\n    <character>PEIK LIN<\/character>\n    <dialogue>He's on the phone. He's on the phone. Is that a gun knife? It's a knife gun. It's a --<\/dialogue>\n    <scene_description>The other guard now comes around to Peik Lin's window.<\/scene_description>\n    <character>PEIK LIN<\/character>\n    <dialogue>Okay, and there's a friend. Hi! Very, very nice to --<\/dialogue>\n    <scene_description>Guard #1 motions for them to drive forward.<\/scene_description>\n    <character>GUARD #1<\/character>\n    <dialogue>Uh-huh. Yeah, yeah.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>We can go through? We're going through? Okay. Don't stab the car.<\/dialogue>\n    <scene_description>The gates swing open.<\/scene_description>\n    <character>PEIK LIN<\/character>\n    <dialogue>Okay. Thank you. Bye!<\/dialogue>\n    <scene_description>CONTINUED: As Peik Lin drives through the gates, she and Rachel look around, entranced. STREET LIGHTS\/LANTERNS illuminate both sides of the large driveway, which seems to wind endlessly up through a hilly rainforest. Unlike the rest of developed Singapore, it feels old, untouched. Peik Lin has her mouth hanging open, amazed.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Oh, my God, it's beautiful.<\/dialogue>\n    <scene_description>The forest finally gives way to rolling grounds and an avenue lined with tall palms. A VAST COLONIAL MANSION comes INTO VIEW. This is not a house, it is a palace.<\/scene_description>\n    <character>PEIK LIN<\/character>\n    <dialogue>Beautiful? It's two hundred mil worth of real estate.<\/dialogue>\n    <parenthetical>(almost tearing up)<\/parenthetical>\n    <dialogue>... It's spectacular.<\/dialogue>\n    <scene_description>They drive up to the front of the house. Servants are posted in various locations outside. Two of the servants open the front doors and Nick, in a linen suit and perfectly-tousled hair, walks out. Looking every bit the prince of the manor.<\/scene_description>\n    <character>PEIK LIN<\/character>\n    <parenthetical>(awestruck)<\/parenthetical>\n    <dialogue>Damn, Rachel. He's like the Asian 'Bachelor.'<\/dialogue>\n    <scene_description>Nick walks up to the car and opens Rachel's door.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Hello, gorgeous.<\/dialogue>\n    <scene_description>He takes her hand as she exits the car. Nick looks at her outfit, impressed.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Wow! I think I've just fallen in love with you all over again.<\/dialogue>\n    <scene_description>He kisses her -- Peik Lin clears her throat.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I missed you.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Missed you, too.<\/dialogue>\n    <scene_description>Peik Lin keeps clearing her throat, trying to get Rachel's attention. CONTINUED:<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>What did you get up to?<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <parenthetical>(hisses)<\/parenthetical>\n    <dialogue>Rachel!<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Oh, uh, this is my friend, Peik Lin.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Hey, there.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>Howdy.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Thank you very much for bringing Rachel.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>Oh, no worries.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Do you wanna stop by for some dinner?<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>Oh, no, I couldn't impose. It's a --<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(interrupts)<\/parenthetical>\n    <dialogue>No, it's not a problem.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>You know, I had some dinner plans --<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Seriously, we've got a lot of --<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>Yeah, I'll fucking come to dinner.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I missed you.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Did you?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>How was your day?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>It was fun! I got to meet Peik Lin's whole family, and her dogs.<\/dialogue>\n    <scene_description>Nick and Rachel continue to chit-chat in the b.g. --<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Yeah, and twin sisters. And Peik Lin dressed me.<\/dialogue>\n    <scene_description>Peik Lin jumps out, pops the trunk, and sorts through several outfits covered in garment bags labeled: \"Clubbing,\" \"Cocktail,\" and \"Walk of Shame.\"<\/scene_description>\n    <character>PEIK LIN<\/character>\n    <parenthetical>(re: \"Walk of Shame\")<\/parenthetical>\n    <dialogue>Nope.<\/dialogue>\n    <scene_description>She pulls out the COCKTAIL DRESS and a pair of HEELS.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You have a cocktail dress in your trunk?<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <parenthetical>(of course)<\/parenthetical>\n    <dialogue>I'm not an animal, Rachel.<\/dialogue>\n    <scene_description>As they head in, Rachel and Peik Lin look around at all the guests --<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>(to Nick)<\/parenthetical>\n    <dialogue>I thought this was just a family thing.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Grandmother's invited some of her friends over tonight. Her tan huas are blooming.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>It's a whole thing. You ready for this?<\/dialogue>\n    <scene_description>CONTINUED: Rachel nods. Servants open the doors. Holding her hand, they enter:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TYERSALL PARK - NIGHT<\/stage_direction>\n    <scene_description>Chanteuse JASMINE CHEN, backed by a JAZZ BAND, sings a Chinese number as Rachel, Nick, and Peik Lin enter.<\/scene_description>\n    <character>PEIK LIN<\/character>\n    <dialogue>Oh, damn, Nick. It's a party, though. Okay.<\/dialogue>\n    <scene_description>Many guests mingle and talk in the b.g.<\/scene_description>\n    <character>WOMAN IN RED FLOWER DRESS WOMAN IN BLUE DRESS<\/character>\n    <dialogue>(to women) Hi. Yes.<\/dialogue>\n    <scene_description>Hello. Mrs... Mrs...<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(to Peik Lin)<\/parenthetical>\n    <dialogue>The good bathrooms are up the stairs, and you can get changed in there.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>Okay, good, I'll find it. Thank you.<\/dialogue>\n    <scene_description>Peik Lin climbs the stairs, then stops to take a SELFIE, climbs a few more stairs, and takes another SELFIE.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You know, when you said you grew up in your grandma's house, I wasn't expecting this.<\/dialogue>\n    <scene_description>A waiter approaches carrying finger bowls with flowers floating in them. Rachel thinks they are drinks and begins to bring one to her mouth --<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>(to waiter)<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Oh, no, no, no. Those are for your fingers.<\/dialogue>\n    <parenthetical>(to server)<\/parenthetical>\n    <dialogue>Thank you very much.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Uh, a little bit much, I know.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I mean, this place is gorgeous. And like the rolling green hills. I mean, there are armed guards out there.<\/dialogue>\n    <scene_description>Rachel is looking at A STUFFED TIGER, mouth open, about to pounce.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>And a giant tiger.<\/dialogue>\n    <scene_description>Nick laughs.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Now, that is Mr. Harimau. Now, my great-grandfather actually shot him when he ran into the house. But Astrid and I, we used to hide cigarettes in his paws.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Do you wanna head in?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Actually, I wanted to bring you over to my mum first.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Come on.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TYERSALL PARK - KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>The DISTANT JAZZ RIFF CONTINUES as we ENTER a bustling scene with MAIDS plating food, choppers chopping veggies madly, COOKS working over WOKS that BURST INTO FLAME, CHILDREN sneaking snacks. Amidst it all is Eleanor in Carolina Herrera, presiding over everything. She inspects various dishes, dispatching orders with calm authority: CONTINUED:<\/scene_description>\n    <character>ELEANOR<\/character>\n    <parenthetical>(in Cantonese; subtitled)<\/parenthetical>\n    <dialogue>Qie de you xi di, mi bao de han hou, di zhu wu hao tai. Fang lajiao... Shi fenzhong hao la. \\[Cut it thinner. Don't wrap it too thick. Watch it, don't make it too soft. Add chili... Ten minutes only.\\]<\/dialogue>\n    <scene_description>She's clearly used to running a great house and being obeyed. She pauses when she sees Nick enter. She's delighted, but keeps her composure. Nick gives his mother a peck on the cheek.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Mum.<\/dialogue>\n    <scene_description>Eleanor affectionately touches his hair.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>You need a haircut. So unkempt.<\/dialogue>\n    <parenthetical>(concerned)<\/parenthetical>\n    <dialogue>And you look tired from your trip. I'm gonna ask the cook to make you some herbal soup.<\/dialogue>\n    <parenthetical>(in Cantonese to cook)<\/parenthetical>\n    <dialogue>Dun di jitang bi shaoye.<\/dialogue>\n    <parenthetical>(to Nick)<\/parenthetical>\n    <dialogue>I'll send it to the hotel later.<\/dialogue>\n    <scene_description>Eleanor sees Rachel.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Mum, this is Rachel Chu.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Oh, my gosh! I, I'm so happy to meet you, Mrs. Young.<\/dialogue>\n    <parenthetical>(gives her a big hug)<\/parenthetical>\n    <dialogue>Or, uh, Auntie. Right?<\/dialogue>\n    <parenthetical>(giggles)<\/parenthetical>\n    <dialogue>I'm learning the lingo.<\/dialogue>\n    <scene_description>Eleanor smiles, subtly scans Rachel, evaluating her.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>I'm very glad to finally meet you, too. And I'm sorry Nick's father couldn't be here. He was called to business in Shanghai.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>I told Rachel when duty calls, Dad answers.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>As it should be.<\/dialogue>\n    <parenthetical>(to Rachel)<\/parenthetical>\n    <dialogue>Nick tells me you're a professor, too. What do you teach?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Um, I teach Economics.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>And she's brilliant. NYU's youngest faculty member.<\/dialogue>\n    <scene_description>To Nick and Rachel's surprise, Eleanor suddenly leaves the conversation to inspect a tray of hors d'oeuvres. She fixes the tray and then returns.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <parenthetical>(to cooks; in Cantonese; subtitled)<\/parenthetical>\n    <dialogue>Wu hao luo ge ge, lingwai. \\[Don't take that one. Another one.\\]<\/dialogue>\n    <parenthetical>(back to Nick and Rachel)<\/parenthetical>\n    <dialogue>So, economics. Sounds challenging.<\/dialogue>\n    <parenthetical>(subtly fishing)<\/parenthetical>\n    <dialogue>Are your parents academics, as well?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Uh, no. Well, my dad actually died before I was born and, um, my mom didn't even go to college. She actually hardly spoke any English when she immigrated to the United States.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <parenthetical>(in Cantonese; to cook; subtitled)<\/parenthetical>\n    <dialogue>Fang di yan qian xi ge du. \\[Put some cilantro there.\\]<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>But she worked really hard, and she studied, and she earned her real estate license while she was waiting tables to support us.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Now, she likes to say that she's Flushing's top real estate broker.<\/dialogue>\n    <scene_description>Nick glances at his mother, gauging her reaction.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Self-made woman. She must be so proud of you.<\/dialogue>\n    <scene_description>Eleanor continues fiddling and fussing with the table, inspecting the food, coldly turning her back on the couple.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Well, she knows that I'm passionate about what I do, and she's always wanted that for me.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Pursuing one's passions. How American. Well, your mother is very open-minded, not like here, where parents are obsessed with shaping the life of their children.<\/dialogue>\n    <scene_description>It sounds like a compliment, but Rachel isn't entirely sure. Eleanor turns away again to talk to a passing COOK before returning to Rachel: Eleanor shoots Nick a look. He shifts, uncomfortable, and is relieved to hear a MUSICAL GONG from upstairs.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Hmm. Oh. That's dinner.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Hmm. Go ahead. I'll be out in a minute. Rachel, it was lovely meeting you.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Thank you. You, too.<\/dialogue>\n    <scene_description>Rachel smiles as she and Nick head off.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Okay, she hates me.<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(optimistic)<\/parenthetical>\n    <dialogue>She takes a little minute to warm up, but we'll get there.<\/dialogue>\n    <scene_description>OFF Eleanor, watching Rachel leave...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TYERSALL PARK - LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Rachel and Nick enter. She is stunned. The expansive \"living room\" looks more like a glamorous club in Shanghai. DOZENS of impeccably-dressed, bejeweled GUESTS cluster in seating areas. A buffet is STACKED with gorgeous dishes and desserts.<\/scene_description>\n    <character>ASTRID (O.S.)<\/character>\n    <dialogue>Nicki!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Astrid.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Rachel!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Hey, good to see you.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>I'm so glad you could make it.<\/dialogue>\n    <scene_description>As we GO TO different tableaus and conversations, CAMERA DANCES ALONG, giving the feel of a choreographed number. Astrid, in a perfect cocktail dress, heads for them, followed by Michael. She hugs Nick and Rachel, delighted.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Michael.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Astrid! So good to see a face I know.<\/dialogue>\n    <character>MICHAEL<\/character>\n    <dialogue>Nick.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>This is my husband, Michael.<\/dialogue>\n    <character>MICHAEL<\/character>\n    <dialogue>Nice to meet you. Heard so much about you.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Nice to meet you, Michael.<\/dialogue>\n    <scene_description>Eddie barrels in, smacks Nick too hard on the back. CONTINUED:<\/scene_description>\n    <character>EDDIE<\/character>\n    <dialogue>Hey, the golden boy's back! Nick!<\/dialogue>\n    <parenthetical>(to Rachel)<\/parenthetical>\n    <dialogue>And you must be Rachel. I'm Edison Cheng. This is my wife.<\/dialogue>\n    <character>FIONA<\/character>\n    <dialogue>HI, I'm Fi--<\/dialogue>\n    <character>EDDIE<\/character>\n    <dialogue>Her name is Fiona. So, I see you've already met Princess Astrid and her little soldier toy-boy, Mikey.<\/dialogue>\n    <parenthetical>(busts Michael's balls)<\/parenthetical>\n    <dialogue>You know Mikey is a big-shot tech startup guy. So if you, uh, forget your password, he's your man.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>So, you're from the Taiwan plastic Chus, right?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Oh, well, actually...<\/dialogue>\n    <scene_description>As Eddie commandeers Rachel, Michael has an aside with Nick.<\/scene_description>\n    <character>MICHAEL<\/character>\n    <dialogue>Can I punch him in the face? Just once.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Take a number.<\/dialogue>\n    <character>MICHAEL<\/character>\n    <dialogue>I'll be in my usual corner.<\/dialogue>\n    <parenthetical>(to Astrid)<\/parenthetical>\n    <dialogue>Champagne?<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Astrid goes over to Nick.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>So, have you prepped Rachel to face the wolves?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Rachel is a New Yorker, and she lectures Millennials for a living. I think she can manage our family.<\/dialogue>\n    <scene_description>CONTINUED: Astrid looks at Nick like he's crazy.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>You've been away too long.<\/dialogue>\n    <scene_description>BACK WITH RACHEL AND EDDIE<\/scene_description>\n    <character>EDDIE<\/character>\n    <dialogue>Okay, sorry, time out. So, you're not from a Taiwan Chu family?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <character>EDDIE<\/character>\n    <dialogue>Hong Kong telecom Chus?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>EDDIE<\/character>\n    <dialogue>Malaysian packing peanut Chus?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Is that really a thing?<\/dialogue>\n    <character>EDDIE<\/character>\n    <dialogue>Yeah, it's everywhere. You just --<\/dialogue>\n    <scene_description>Before Eddie can continue, Nick cuts in.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>I'm gonna stop you there because I'm gonna take her on the rounds. We'll be back, though.<\/dialogue>\n    <scene_description>As Nick and Rachel leave, Eddie calls after.<\/scene_description>\n    <character>EDDIE<\/character>\n    <dialogue>No, wait. Hang on. China instant noodle Chus. Rachel...<\/dialogue>\n    <parenthetical>(as Rachel turns)<\/parenthetical>\n    <dialogue>Chu are you?<\/dialogue>\n    <parenthetical>(to Fiona)<\/parenthetical>\n    <dialogue>Let's go.<\/dialogue>\n    <scene_description>Eddie laughs hysterically at his own horrible joke. Rachel politely smiles and moves on. Francesca and Celine hover nearby to listen in and get the dirt on Rachel. PARTY SEQUENCE The jazz band breaks into a DRUM SECTION as Nick introduces his family to Rachel, who's anxious to make a good impression. CAMERA DOES 360 LOOPS AROUND them, REVEALING a new set of people each time: -- WITH AUNTIES ALIX AND FELICITY:<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>This is Auntie Alix and Auntie Felicity.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Hi! It's so nice to meet you. I've never been to a tan hua party before.<\/dialogue>\n    <character>FELICITY<\/character>\n    <dialogue>We love any excuse to throw a soir\u00e9e. Do your parents like to entertain? Oh! I'm sorry. Your mother's single.<\/dialogue>\n    <scene_description>Alix shoots Felicity a \"don't be insensitive\" look.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Yup.<\/dialogue>\n    <scene_description>OFF Rachel, amused, realizing word has gotten around. ON AUNTY JACQUELINE<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Auntie Jacqueline. One of my parents' oldest friends.<\/dialogue>\n    <character>JACQUELINE<\/character>\n    <dialogue>I actually met Nick's father at Cambridge.<\/dialogue>\n    <parenthetical>(fishing)<\/parenthetical>\n    <dialogue>So, what line of work is your father in?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Oh, my father died before I was born. But he was a factory worker in China.<\/dialogue>\n    <scene_description>Jacqueline slurps her wine loudly to drown out the horror on her face. In the b.g. Francesca and Celine overhear, smirk. CONTINUED: -- An OLDER CHINESE LADY (60s) in traditional Chinese dress, speaks to Nick, happy to see him.<\/scene_description>\n    <character>LING CHEH (OLDER CHINESE LADY)<\/character>\n    <parenthetical>(to Nick; in Mandarin; subtitled)<\/parenthetical>\n    <dialogue>Nicki a, shi ni nv pengyou a? Yao gankuai jiehun luo, a? \\[Nicki, is this your girlfriend? You should hurry up and get married, okay?\\]<\/dialogue>\n    <scene_description>Nick laughs. Rachel smiles, assumes she's Nick's grandmother.<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>(in Mandarin; subtitled)<\/parenthetical>\n    <dialogue>Ah Ma, xiexie nin yaoquing wo lai nin de jia. Zheli hao piaoliang. \\[Grandma, thank you for inviting me to your home. It's very beautiful.\\]<\/dialogue>\n    <scene_description>The Older Lady looks at Rachel, confused.<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(low; to Rachel)<\/parenthetical>\n    <dialogue>This is Ling Cheh, my old nanny.<\/dialogue>\n    <scene_description>Rachel is mortified. Francesca and Celine laugh in the b.g.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TYERSALL - LIBRARY - NIGHT<\/stage_direction>\n    <scene_description>Astrid holds a covered plate, looks for Michael. She sees him in the corner of the library, on his phone:<\/scene_description>\n    <character>MICHAEL<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Look, now's the time we need all hands on deck. Please, please, just do me this favor. Thank you. Bye-bye.<\/dialogue>\n    <scene_description>He hangs up.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>They started clearing away dinner.<\/dialogue>\n    <scene_description>Astrid hands him the plate.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Your favorites.<\/dialogue>\n    <scene_description>CONTINUED: Michael takes the plate, kisses her.<\/scene_description>\n    <character>MICHAEL<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>You know, if you need bodies at the office, I could always come in and help out.<\/dialogue>\n    <character>MICHAEL<\/character>\n    <parenthetical>(playfully)<\/parenthetical>\n    <dialogue>The glamorous Astrid Leong working as an assistant?<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Mm-hmm.<\/dialogue>\n    <character>MICHAEL<\/character>\n    <parenthetical>(realizing)<\/parenthetical>\n    <dialogue>Wait, isn't Araminta's bachelorette party tomorrow?<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>And this would be the perfect excuse to get out of it.<\/dialogue>\n    <character>MICHAEL<\/character>\n    <dialogue>Thank you. Really. But I've got everything covered.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I forgot to get you a fork. Um...<\/dialogue>\n    <character>MICHAEL<\/character>\n    <dialogue>It's okay, you stay. I'll go get it.<\/dialogue>\n    <scene_description>He winks at her and takes off. Astrid smiles as she watches him go. She hears a BUZZ from his phone which he's left on the bench.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Michael, I think it's the office!<\/dialogue>\n    <scene_description>But Michael doesn't hear her. He's gone. There's a PING and a text pops up. She glances at the screen: TEXT: The bed feels empty without you. Astrid is stricken. Astrid drops the phone, her world caving in. BACK AT THE PARTY Jacqueline and others in the b.g. subtly clock this. A dapper man, OLIVER T'SIEN (30s), looks on with interest.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Oh, my God! Nick, I can't believe I just did that.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>It's fine. I don't think anybody even noticed.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I think I freaked out your nanny --<\/dialogue>\n    <scene_description>She spills her drink down the front of Nick's shirt.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Oh! My God!<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Oh, my God! So sorry.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>It's fine, don't worry about it.<\/dialogue>\n    <parenthetical>(to bartender)<\/parenthetical>\n    <dialogue>Can I have a tissue, please?<\/dialogue>\n    <scene_description>Oliver swoops in offering a napkin.<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Oh, go, go. Get changed. I'll keep Rachel company.<\/dialogue>\n    <scene_description>Nick smiles to see him.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Thanks you, Oli.<\/dialogue>\n    <parenthetical>(to Rachel)<\/parenthetical>\n    <dialogue>You're in good hands. Give me two minutes. I'll change.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>It's okay.<\/dialogue>\n    <scene_description>Nick takes off -- Rachel extends her hand to Oliver --<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Hi, I'm Rachel.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Oh, I know.<\/dialogue>\n    <scene_description>Peik Lin scampers up.<\/scene_description>\n    <character>PEIK LIN<\/character>\n    <dialogue>Rachel!<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Oh, I --<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>Rachel! I heard you thought Ah Ma was the cook!<\/dialogue>\n    <scene_description>Rachel cringes and covers her face in embarrassment.<\/scene_description>\n    <character>PEIK LIN<\/character>\n    <dialogue>Ah!<\/dialogue>\n    <character>OLIVER<\/character>\n    <parenthetical>(off Rachel)<\/parenthetical>\n    <dialogue>Uh, on the bright side, you're the talk of the party. People like your dress.<\/dialogue>\n    <scene_description>Peik Lin and Oliver take each other in. It's instant fashion chemistry.<\/scene_description>\n    <character>PEIK LIN<\/character>\n    <dialogue>Oh, I did that.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Oh!<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>I know!<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Such a chic seventies goddess.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>It's very disco Cleopatra, but in a good way.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>That's exactly what I was going for.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Oh, well. Oliver.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>PEIK LIN<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>I like your shoes.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>Oh, thank you. I'm Peik Lin. Ditto.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Cheers.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>There you go.<\/dialogue>\n    <scene_description>Rachel looks on, amazed Peik Lin's already made a friend.<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>(re: her earrings)<\/parenthetical>\n    <dialogue>Gosh, these are lovely.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>They're clip-ons. Thank you.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Are they? Oh, wow!<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>So, Oliver, are you a cousin, too?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Mm, well, I'm one of the poorer relations. The rainbow sheep of the family. But I make myself useful. Whatever the Youngs want, I procure. Golden koi fish, Huanghuali furniture. A rare Cambodian gong.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>Mm.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Why would they want to buy a rare Cambodian gong?<\/dialogue>\n    <scene_description>On cue, A RESONANT GONG sounds and all eyes turn to Alix.<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Because they can.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TYERSALL PARK - NICK'S OLD ROOM - NIGHT<\/stage_direction>\n    <scene_description>Nick opens a closet, sees a row of meticulously pressed shirts hanging in a row. He smiles, takes one out. Eleanor walks in.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Ah Ma insists all your clothes be washed and pressed every two weeks.<\/dialogue>\n    <scene_description>Nick sees his mother standing in the doorway. She walks over, takes the shirt from his hands and selects another shirt for him. (Throughout the scene she also quietly caters to Nick -- dusting his jacket, etc.)<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>This one.<\/dialogue>\n    <scene_description>As Nick takes off his soiled shirt he looks around at his childhood room filled with pictures and mementoes.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Everything is exactly as I left it.<\/dialogue>\n    <scene_description>Nick moves to a nearby desk and rifles through a drawer.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <parenthetical>(glances over at him)<\/parenthetical>\n    <dialogue>Looking for your cigars? I had them thrown out years ago.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Never could get anything past you, could I?<\/dialogue>\n    <scene_description>Eleanor smiles while she fiddles with Nick's clean shirt laying on the bed.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>I keep telling Ah Ma to put your things away, but she says this room makes her feel like you're still here.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Well, I got an earful when you didn't move back last year.<\/dialogue>\n    <scene_description>Nick reacts, it's a loaded subject. Eleanor helps Nick put on the clean shirt. CONTINUED:<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Your father and I are really looking forward to having you home. He's not getting any younger. With you onboard, maybe he'll take a day off once in a while.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I know, Mum. I'm just not ready yet. There's things in New York that I wanna see through.<\/dialogue>\n    <scene_description>It's not the answer Eleanor was looking for. She presses on another front:<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Well, I'm happy I finally met Rachel. She is very impressive.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I think so, too. And I thought you might be excited that the first girl that I bring home is a Chinese professor.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <parenthetical>(noncommittal smile)<\/parenthetical>\n    <dialogue>Chinese-American.<\/dialogue>\n    <parenthetical>(fishes)<\/parenthetical>\n    <dialogue>You know, bringing her home, introducing her at a large family gathering... Some people may say --<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>When there's something to say about Rachel and me, you'll be first to hear.<\/dialogue>\n    <parenthetical>(off Eleanor)<\/parenthetical>\n    <dialogue>But some things I need to figure out on my own.<\/dialogue>\n    <scene_description>Nick grins as Eleanor helps him put on his jacket.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Is that an American accent I'm hearing?<\/dialogue>\n    <scene_description>Nick scoffs.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>How do I look?<\/dialogue>\n    <scene_description>Eleanor adjusts the pocket square in his jacket pocket, regards her son. CONTINUED:<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Perfect.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TYERSALL PARK - CONSERVATORY - NIGHT<\/stage_direction>\n    <scene_description>Guests stream into a vast open-air courtyard. Alix and Felicity hold court as guests admire the large, spidery, white flowers which are STARTING TO BLOOM.<\/scene_description>\n    <character>ALIX<\/character>\n    <dialogue>Everyone! Everyone! The tan hua plants very rarely bloom, and even then only at night.<\/dialogue>\n    <character>FELICITY<\/character>\n    <dialogue>Their beauty is spectacular, but fleeting. By dawn they'll be gone.<\/dialogue>\n    <character>ALIX<\/character>\n    <dialogue>So... come. Come.<\/dialogue>\n    <scene_description>The crowd claps. ZOOM IN ON the tan hua plant taking center stage in the conservatory. IN ANOTHER AREA Oliver pretends to admire the flowers as he points out the social scene to Peik Lin and Rachel.<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Oh! Someone forgot to wear a bra.<\/dialogue>\n    <scene_description>He gestures to Kitty Pong, who's entered with Alistair.<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Kitty Pong. Cousin Alistair's latest flame. An actress. Rumor is, she was in a porno. Two Girls, One Cup a Noodles.<\/dialogue>\n    <scene_description>Kitty bends down to smell a tan hua, her boobs almost spilling out of her dress. The Aunties are horrified.<\/scene_description>\n    <character>KITTY<\/character>\n    <parenthetical>(kissing one of the guests)<\/parenthetical>\n    <dialogue>Baby!<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <parenthetical>(matter-of-fact)<\/parenthetical>\n    <dialogue>You know, I thought I would like that more than I did.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>The book is much better.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>Mm-hmm.<\/dialogue>\n    <scene_description>Rachel is distracted seeing some YOUNG WOMEN sneak cold glances at her.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Is it just me or are people, like, staring at me?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Oh, they're just jealous. You nabbed the crown prince.<\/dialogue>\n    <parenthetical>(off Rachel)<\/parenthetical>\n    <dialogue>Nicki is Ah Ma's favorite, in line to inherit everything. No surprise there when that's the competition.<\/dialogue>\n    <scene_description>Oliver looks to Eddie checking himself out on his iPhone cam, and Alistair who's hypnotized by Kitty's cleavage. Rachel is uncomfortable with the implication.<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Oh, speaking of the grande dame...<\/dialogue>\n    <scene_description>Rachel turns to see guests make way for an elderly lady, Nick's AH MA (80s). She's regal, elegant, but frail, leaning on Eleanor to help her walk. She doesn't say a word, but everyone, her own family included, acts in total deference and respect to her. As Rachel takes it in, feeling a little out of place. Nick appears.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>There you are. I've been looking all over for you. You ready to meet my grandmother?<\/dialogue>\n    <scene_description>As Nick takes her by the hand and leads her through the crowd -- They reach Ah Ma who LIGHTS UP to see her favorite grandson. The veneer of decorum drops as she reaches out to him, hugging him and touching his face.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Ah Ma...<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>AH MA<\/character>\n    <parenthetical>(in Mandarin; subtitled)<\/parenthetical>\n    <dialogue>Guai sunzi, ni huilai la! Zheme duo rizi ye bu huilai kan kan Ah Ma. Hai hao wo hai huozhe. Ni qule na'er? Ni zenme shou le? \\[Nicki, you're home! Not coming to see your grandma for so long. I'm glad I'm still alive. Did you eat yet? You've become too skinny.<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(in Mandarin; subtitled)<\/parenthetical>\n    <dialogue>Wo xiangnian nin zhu de cai. \\[That's because I miss your cooking.\\] Ah Ma, zhe shi wo de hao pengyou, Rachel Chu. \\[Grandma, this is my good friend, Rachel Chu.<\/dialogue>\n    <scene_description>Rachel steps forward, replies in perfect Mandarin.<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>(in Mandarin; subtitled)<\/parenthetical>\n    <dialogue>Ah Ma, xiexie nin yaoqing wo lai nin de jia. Nick jingchang tiqi nin. Ta shuo nin bao de shuijiao shi quan shijie zui hao chi de. \\[Grandma, thank you for inviting me to your home. Nick always talks about you. He says no one in the world makes better dumplings.<\/dialogue>\n    <scene_description>The old lady looks pleased.<\/scene_description>\n    <character>AH MA<\/character>\n    <parenthetical>(in Mandarin; subtitled)<\/parenthetical>\n    <dialogue>Na mei shenme de. Ni yuanyi wo keyi jiao ni. \\[It's nothing. I can show you how to make them, too.\\]<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>(in Mandarin; subtitled)<\/parenthetical>\n    <dialogue>Na shizai tai haole. \\[I would be honored.\\]<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>AH MA<\/character>\n    <parenthetical>(in Mandarin; subtitled)<\/parenthetical>\n    <dialogue>Buguo ni yao zao dian huilai. Bie zai zheme duo ren de difang. \\[You must come back soon, then, when there are not so many craning necks around...\\]<\/dialogue>\n    <scene_description>Ah Ma smiles and nods.<\/scene_description>\n    <character>ALIX (O.S.)<\/character>\n    <dialogue>Look, they're in full bloom.<\/dialogue>\n    <scene_description>PAN OVER TO the tan hua plant. People clap --<\/scene_description>\n    <character>PEOPLE AT PARTY<\/character>\n    <dialogue>Aww...<\/dialogue>\n    <scene_description>Nick stands up to let Rachel sit next to Ah Ma.<\/scene_description>\n    <character>JACQUELINE (O.S.)<\/character>\n    <dialogue>It's so nice having Nick back home. But he seems... different.<\/dialogue>\n    <scene_description>ANGLE ON ANOTHER PART OF THE COURTYARD where Eleanor has been watching with Jacqueline. She sees Nick and Rachel embracing, laughing, KISSING. Looking every bit the couple in love.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>When children are away from home too long, they forget who they are.<\/dialogue>\n    <scene_description>FADE OUT.: FADE IN:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HANGAR - MORNING<\/stage_direction>\n    <scene_description>A THUMPING CLUB BEAT PLAYS as we PAN DOWN A LINE OF ULTRA LUXURY CARS: fully-customized Lamborghinis, Maseratis, Bugattis.<\/scene_description>\n    <character>BERNARD<\/character>\n    <dialogue>What's up? Let's jam!<\/dialogue>\n    <scene_description>More cars pull in as Singapore's JET-SET CROWD piles out and greets each other. CONTINUED: Valets load luggage onto sleek golf carts before transporting them to a PRIVATE JET and THREE MATCHING HELICOPTERS outside the hangar.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HANGAR<\/stage_direction>\n    <scene_description>In the middle of the hangar is a SLEEK HELICOPTER surrounded by a circular bar, which divides the bachelors from the bachelorettes. Rachel and Nick enter the hangar as Araminta runs up to them.<\/scene_description>\n    <character>ARAMINTA<\/character>\n    <dialogue>Ah! Rachel! So happy you're here. Oh! Oh, my God. Your Gap look, brilliant.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>ARAMINTA<\/character>\n    <dialogue>She's coming with me.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Ah! Hold on.<\/dialogue>\n    <parenthetical>(to Rachel)<\/parenthetical>\n    <dialogue>Kiss. Thirty-six hours. Bye.<\/dialogue>\n    <parenthetical>(to Araminta)<\/parenthetical>\n    <dialogue>Minty, one piece, please.<\/dialogue>\n    <character>ARAMINTA<\/character>\n    <dialogue>Yeah. Yeah. Yeah. Yeah.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Not listening at all.<\/dialogue>\n    <character>ARAMINTA<\/character>\n    <dialogue>So, I'm gonna intro you to my posse. We're flying to my mom's resort in Sumatra. She's closed down the whole place just for us. We're gonna have so much fun. Come on, meet the girls.<\/dialogue>\n    <scene_description>Araminta drags Rachel over to a group of girls. Rachel gives Nick a last look as Araminta pulls her away:<\/scene_description>\n    <character>ARAMINTA<\/character>\n    <dialogue>Girls, this is Rachel Chu.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>ARAMINTA'S FRIEND<\/character>\n    <dialogue>Hi!<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Oh!<\/dialogue>\n    <character>ARAMINTA'S NICE FRIEND<\/character>\n    <dialogue>Nice to meet you.<\/dialogue>\n    <scene_description>Colin, in rumpled Comme des Garcons, finds Nick. As Bernard makes his way toward them --<\/scene_description>\n    <character>EXCITED GUY<\/character>\n    <dialogue>Yeah!<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(surprised)<\/parenthetical>\n    <dialogue>So you let Bernard Tai organize all of this?<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>Yeah. Bernard.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>BERNARD<\/character>\n    <dialogue>This is for you, asshole.<\/dialogue>\n    <character>MAN IN PINK JACKET<\/character>\n    <dialogue>Asshole.<\/dialogue>\n    <scene_description>OFF Nick and Colin, realizing the weekend they're in for. ANOTHER AREA Araminta and posse, including Celine and Francesca, drink bellinis served by HOT, SHIRTLESS WAITERS as they admire each others' hair\/boobs\/handbags and gossip. Rachel hangs on the outskirts, aware she doesn't fit in, catching bits of conversation. Rachel and the women turn to see -- -- TWO GORGEOUS WOMEN STEP OUT OF A SPORTS CAR. They're SISTERS.<\/scene_description>\n    <character>ARAMINTA<\/character>\n    <dialogue>TINA! TINI! The twins are in the house! Ooh, I'm so glad you made it! How are you?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>TINI<\/character>\n    <dialogue>Hi!<\/dialogue>\n    <scene_description>Araminta and the bachelorettes flock to the sisters, leaving Rachel and another woman, AMANDA (30s). Unlike Araminta's other friends, Amanda doesn't look or act like a high-maintenance model.<\/scene_description>\n    <character>AMANDA<\/character>\n    <parenthetical>(re: Tina and Tini)<\/parenthetical>\n    <dialogue>It's easy to make a killer entrance when you come as a matching set. Hi, we haven't met. I'm Amanda Ling.<\/dialogue>\n    <scene_description>Rachel laughs.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Hi, I'm Rachel Chu.<\/dialogue>\n    <character>AMANDA<\/character>\n    <dialogue>Oh, you're Nick Young's friend?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>AMANDA<\/character>\n    <parenthetical>(off Rachel)<\/parenthetical>\n    <dialogue>Word gets around fast here. You're a professor at NYU, right?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Yes. Um, what, what about you?<\/dialogue>\n    <character>AMANDA<\/character>\n    <dialogue>Oh, I'm a lawyer. General counsel to the Young Family Corporation, actually.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>That's very impressive.<\/dialogue>\n    <character>AMANDA<\/character>\n    <dialogue>Mm, nah. Just good old-fashioned nepotism. I grew up with Nick and Colin. We're family friends.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>It's nice to meet you, Rachel Chu.<\/dialogue>\n    <scene_description>Rachel smiles, happy to find a like-minded friend. They hear a BEEP BEEP as Araminta arrives in a golf cart.<\/scene_description>\n    <character>ARAMINTA<\/character>\n    <dialogue>Ladies, come on! We're wheels up in five.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>AMANDA<\/character>\n    <dialogue>Let's do this?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Let's go.<\/dialogue>\n    <character>AMANDA<\/character>\n    <dialogue>Oh! Fuck! Yeah!<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Okay!<\/dialogue>\n    <scene_description>The golf cart takes off as Rachel and Amanda are barely seated and almost drop their drinks.<\/scene_description>\n    <character>AMANDA<\/character>\n    <dialogue>Yeah!<\/dialogue>\n    <scene_description>The cart takes off towards the jet... BACK TO NICK AND COLIN<\/scene_description>\n    <character>COLIN<\/character>\n    <dialogue>All I wanted was a weekend away with my boys. And some beer. Maybe some rugby.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Don't worry. It's gonna be great, whatever happens.<\/dialogue>\n    <character>BERNARD (O.S.)<\/character>\n    <dialogue>Let's make some babies!<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>Yeah. I don't think it will be.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. SINGAPORE HARBOR\/HELICOPTER - DAY<\/stage_direction>\n    <scene_description>The 3 helicopters fly over the open sea. Wagner's Ride of the Valkyries plays. SUPERIMPOSE: INTERNATIONAL WATERS In one chopper, Bernard brags to Nick and Colin.<\/scene_description>\n    <character>BERNARD<\/character>\n    <dialogue>Any asshole can plan a normal stag party. Hookers, drugs, dog- fighting. That's minor league shit. To organize a party this massive --<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(low; to Colin)<\/parenthetical>\n    <dialogue>Takes a massive asshole?<\/dialogue>\n    <character>BERNARD<\/character>\n    <dialogue>Takes a goddamn mastermind.<\/dialogue>\n    <scene_description>Colin looks out to see nothing but the ocean around them.<\/scene_description>\n    <character>COLIN<\/character>\n    <dialogue>Where exactly is this party?<\/dialogue>\n    <character>BERNARD<\/character>\n    <dialogue>It's right there.<\/dialogue>\n    <scene_description>They all look out the window at a LARGE CARGO SHIP. Colin and Nick exchange looks, WTF? But as they get closer...<\/scene_description>\n    <character>COLIN<\/character>\n    <dialogue>Bloody hell!<\/dialogue>\n    <scene_description>REVEAL: The containers on the ship have been arranged and modified to create a HUGE PARTY PLAYGROUND. A floating Disneyland for adults. Painted on the side is \"BALLIN' COLIN'S BACHELOR PARTY.\" The guys descend on the scene.<\/scene_description>\n    <character>BERNARD<\/character>\n    <dialogue>Y-y-yeah!<\/dialogue>\n    <scene_description>The partiers respond in kind welcoming them to the revelry.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARGO PARTY SHIP - NIGHT (LATER)<\/stage_direction>\n    <scene_description>In a LONG SHOT we see a flare go off into the sky. We hear it enter the sea with a splash.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHIP PARTY<\/stage_direction>\n    <scene_description>\"Hello Bitches\" by CL POUNDS. STYLISTIC FLASHES as the guys walk past CARGO CONTAINERS THAT HAVE BEEN CONVERTED into a POOL and DANCE FLOOR manned by attractive MODEL WAITRESSES. Some of the women wear beauty pageant-type sashes across their chests: UKRAINE, UNITED KINGDOM, NETHERLANDS. Bernard, standing in front of the beauty queens, is holding a bazooka-like flare gun setting off another flare. He laughs manically. CONTINUED: The other guys are drinking surrounded by girls in bikinis.<\/scene_description>\n    <character>EDDIE<\/character>\n    <dialogue>Oh, my God, Nick. What are you worried about? You don't have to keep Rachel happy. She's just lucky to be here.<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>Nice, Eddie.<\/dialogue>\n    <character>EDDIE<\/character>\n    <dialogue>Oh, what? So do we pretend like that's not the truth? Are we in some kinda fairy tale story that I don't know about? Did you find a shoe at midnight and jump in a pumpkin? Yo, I got so much shit about marrying Fiona and her parents own the biggest shipping company in Hong Kong.<\/dialogue>\n    <parenthetical>(to Colin)<\/parenthetical>\n    <dialogue>Hey, Araminta's adorable, but you think your dad would be spending millions on this wedding if her parents didn't own a billion- dollar resort chain? What's Rachel bringing to the table?<\/dialogue>\n    <scene_description>Alistair sits with his arms wrapped around two women, one wearing a sash labeled \"ISRAEL.\"<\/scene_description>\n    <character>ALISTAIR<\/character>\n    <dialogue>Oh! Small tits!<\/dialogue>\n    <scene_description>They all laugh. Nick steps to Alistair, about to hit him, but Colin stands in the way.<\/scene_description>\n    <character>EDDIE<\/character>\n    <dialogue>Oh...<\/dialogue>\n    <character>ALISTAIR<\/character>\n    <dialogue>Oh!<\/dialogue>\n    <scene_description>Colin stops Nick --<\/scene_description>\n    <character>COLIN<\/character>\n    <dialogue>Hey, hey, hey. It's not worth it, man. They're drunk.<\/dialogue>\n    <scene_description>ANOTHER ON STAGE lined with bikini-clad women. Bernard yells toward Colin and the guys --<\/scene_description>\n    <character>BERNARD<\/character>\n    <dialogue>Hey, guys, this is boring. Massage time. And you, the bachelor. You gonna get one before this weekend is over. Or we gonna tie you up and shave your coo coo chara.<\/dialogue>\n    <scene_description>Everyone laughs uproariously as Bernard brandishes the bazooka.<\/scene_description>\n    <character>PEOPLE AT BACHELOR PARTY<\/character>\n    <parenthetical>(yell)<\/parenthetical>\n    <dialogue>Coo coo chara. Coo coo chara. Coo coo chara. Coo coo chara.<\/dialogue>\n    <scene_description>Bernard has a missile-type launcher on his shoulder --<\/scene_description>\n    <character>BERNARD<\/character>\n    <dialogue>Shit! Come try this.<\/dialogue>\n    <scene_description>Nick and Colin start walking away from the party.<\/scene_description>\n    <character>COLIN<\/character>\n    <dialogue>We have to get off this ship.<\/dialogue>\n    <character>ARAMINTA (V.O.)<\/character>\n    <parenthetical>(pre-lap)<\/parenthetical>\n    <dialogue>Welcome to paradise...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RESORT (SAMSARA ISLAND) - ON ARAMINTA - DAY<\/stage_direction>\n    <scene_description>SUPERIMPOSE: SAMSARA ISLAND<\/scene_description>\n    <character>ARAMINTA<\/character>\n    <dialogue>This is Samsara Island.<\/dialogue>\n    <scene_description>SHOT OF the lush island as Araminta addresses the girl --<\/scene_description>\n    <character>ARAMINTA<\/character>\n    <dialogue>This weekend is about sisterhood and connecting with the divine in all of us. So, I hope you'll all find your bliss... starting with...<\/dialogue>\n    <parenthetical>(yelling; psyched)<\/parenthetical>\n    <dialogue>... an all-paid shopping spree at the fashion boutique!!<\/dialogue>\n    <scene_description>CONTINUED: The women SCREAM with excitement! Araminta runs to Rachel and grabs her hand and drags her off toward the shopping boutique.<\/scene_description>\n    <character>ARAMINTA<\/character>\n    <dialogue>Come on! Come on!<\/dialogue>\n    <scene_description>SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RESORT - BOUTIQUE - DAY<\/stage_direction>\n    <scene_description>It's CHAOS as women grab and fight over clothes. Francesca and Celine are in a tug-o-war over a caftan.<\/scene_description>\n    <character>FRANCESCA<\/character>\n    <dialogue>Bitch, I saw this first!<\/dialogue>\n    <character>CELINE<\/character>\n    <dialogue>But you have ping-pong tits!<\/dialogue>\n    <character>FRANCESCA<\/character>\n    <dialogue>Oh, what about your mosquito bites?<\/dialogue>\n    <character>CELINE<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>FRANCESCA<\/character>\n    <dialogue>You know it's true!<\/dialogue>\n    <character>CELINE<\/character>\n    <dialogue>You're such a bitch!<\/dialogue>\n    <character>ARAMINTA<\/character>\n    <dialogue>One more minute! You keep what you can carry. One more minute. You keep what you can carry.<\/dialogue>\n    <scene_description>With little time to spare, women FIGHT OVER outfits. Rachel has a new dress she's just tried on. She watches the carnage, confused. Amanda clocks this.<\/scene_description>\n    <character>AMANDA<\/character>\n    <dialogue>Yep, no one loves free stuff more than rich people.<\/dialogue>\n    <parenthetical>(re: dress)<\/parenthetical>\n    <dialogue>Just the one dress for you?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I don't wanna lose an arm.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>AMANDA<\/character>\n    <dialogue>Ooh. Well, in that case... one last touch.<\/dialogue>\n    <scene_description>Amanda looks around, picks out a NECKLACE from a display and puts it on Rachel.<\/scene_description>\n    <character>AMANDA<\/character>\n    <dialogue>Well, isn't Nick a lucky guy.<\/dialogue>\n    <scene_description>Rachel looks at herself in the mirror -- Amanda is right -- it's the perfect accent.<\/scene_description>\n    <character>ARAMINTA<\/character>\n    <dialogue>Time's up!!! Next stop, SPA!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RAWA ISLAND (MALAYSIA) - DAY<\/stage_direction>\n    <scene_description>SUPERIMPOSE: RAWA ISLAND Nick and Colin sit on lounge chairs at a GORGEOUS DESERTED BEACH. Colin takes in the view, at peace, and takes a sip of a beer.<\/scene_description>\n    <character>COLIN<\/character>\n    <dialogue>You're a genius. You know that, right?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>What's a best man for? I guess that pilot's license came in handy after all.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Here you go, champ.<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>Oh, thank you, sir. Mmm. I think that is the best beer I've ever had.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I'm gonna have to agree with you on that.<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>You know, if it wasn't for Araminta, I'd ask you to marry me.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Although...<\/dialogue>\n    <parenthetical>(reaches into his pocket)<\/parenthetical>\n    <dialogue>... there is a little something that might get in the way of that.<\/dialogue>\n    <scene_description>CONTINUED: Nick pulls out a jewelry box, opens it displaying a beautiful engagement ring.<\/scene_description>\n    <character>COLIN<\/character>\n    <dialogue>Mmm. No!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>Is that real?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>Wow! Yes! Yes, man! Congratulations!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>That is freaking amazing.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I'm ready.<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>You're ready. You're doing it! Nick, I'm really happy for you, man.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Thanks, dude.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RESORT SPA - CABANA - DAY<\/stage_direction>\n    <scene_description>PAN ACROSS Araminta and the women enjoying various spa treatments: hot stone massages, mani-pedis, mud baths... Rachel and Amanda are getting Thai massages. Rachel's MASSEUSE pushes up her leg, gets uncomfortably close.<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>(grunts)<\/parenthetical>\n    <dialogue>I think my masseuse just got me pregnant.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>AMANDA<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>I can see why Nick put off coming back to Singapore.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>AMANDA<\/character>\n    <dialogue>You know. He was supposed to come back last year, take over the family business. His parents freaked out when he didn't. But, now that he's back, I'm sure all is forgiven.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>But he's not back for good. I mean, we're just here for a wedding.<\/dialogue>\n    <scene_description>Amanda looks at her, sympathetic.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RAWA ISLAND (MALAYSIA) - DAY<\/stage_direction>\n    <character>COLIN<\/character>\n    <dialogue>Wow!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>But?<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>No, I'm really happy for you.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Colin, I've known you since you were in nappies. I know when there's something on your mind.<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>Well, it wasn't that long ago that you were sure you were moving back home. And I mean, Rachel loves her job in New York.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Yeah, we're gonna figure that out.<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>You're going to figure it out. Right.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>AMANDA (V.O.)<\/character>\n    <parenthetical>(pre-lap)<\/parenthetical>\n    <dialogue>Rachel, I get it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RESORT SPA - CABANA - DAY<\/stage_direction>\n    <character>AMANDA<\/character>\n    <dialogue>It's hard knowing where you stand with someone like Nicholas Young. He has all that pressure from his family. Not just in business, but in who he's dating. It's like, you just never know what's quite going on in that gorgeous head of his --<\/dialogue>\n    <scene_description>Rachel stares at Amanda who realizes she's overstepped.<\/scene_description>\n    <character>AMANDA<\/character>\n    <dialogue>Nick told you that we were together, right? It's ancient history now. Although our families, particularly his mother, always wanted us to get married. I guess we weren't ready then.<\/dialogue>\n    <scene_description>As Rachel reacts at this revelation:<\/scene_description>\n    <character>COLIN (V.O.)<\/character>\n    <parenthetical>(pre-lap)<\/parenthetical>\n    <dialogue>Dude...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RAWA ISLAND (MALAYSIA) - DAY<\/stage_direction>\n    <character>COLIN<\/character>\n    <dialogue>... ever since primary school, you were always going to be the next chairman of the Young Corporation, your family's shining heir. You really think your family's going to accept anything less than that? I mean, unless you... No. Are you thinking of walking out? Leaving everything to bloody Alistair and Eddie?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I'm not walking out on anything. I met a girl, I fell in love and I want to marry her. And it can't just be one thing or the other.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>COLIN<\/character>\n    <dialogue>Uh, no, no, no, no, no. It's, it's not that simple. You know that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RESORT SPA - CABANA - DAY<\/stage_direction>\n    <character>AMANDA<\/character>\n    <dialogue>I really admire you. Takes guts, coming all the way over here, facing Nick's family. Especially when Eleanor isn't exactly in your corner.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RAWA ISLAND (MALAYSIA) - DAY<\/stage_direction>\n    <character>COLIN<\/character>\n    <dialogue>Okay. Your family aside, have you ever thought about what your relationship with Rachel will be like if you got married? I mean, okay, you're, you're Nicholas Young, you're untouchable. You always have been. But Rachel's not. And if...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RESORT SPA - CABANA - DAY<\/stage_direction>\n    <character>COLIN (V.O.)<\/character>\n    <dialogue>... she becomes Mrs. Nicholas Young, every day for her is going to be a struggle.<\/dialogue>\n    <scene_description>Rachel gets up, feels uneasy. Amanda TEXTS: She's on the move... Hook, line, and SINK HER.<\/scene_description>\n    <character>CELINE (O.S.)<\/character>\n    <dialogue>I heard she told Tini that Nick is a good catch.<\/dialogue>\n    <character>FRANCESCA<\/character>\n    <dialogue>Oh! So typical. She's not even that pretty. It's like she's never heard of plastic surgery.<\/dialogue>\n    <character>CELINE<\/character>\n    <parenthetical>(chuckling)<\/parenthetical>\n    <dialogue>Oh, shit.<\/dialogue>\n    <scene_description>CONTINUED: Rachel feels sick. After hearing Celine and Francesca, she exits, fleeing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RESORT VILLA - WALKWAY - DAY<\/stage_direction>\n    <scene_description>Rachel flees, upset, when she COLLIDES with someone. It's Astrid, who's just arrived. She clutches a bag while PORTERS behind her carry her luggage.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Sorry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RAWA ISLAND (MALAYSIA) - DAY<\/stage_direction>\n    <character>COLIN<\/character>\n    <dialogue>You sure she's ready for that?<\/dialogue>\n    <scene_description>Nick sighs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RESORT VILLA - WALKWAY - DAY<\/stage_direction>\n    <character>ASTRID<\/character>\n    <dialogue>Rachel?<\/dialogue>\n    <scene_description>They head to the resort villa suite --<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>I'm so sorry.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>It's okay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RESORT VILLA - SUITE - EVENING<\/stage_direction>\n    <scene_description>Rachel enters with Astrid who she's downloaded to.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Let's just forget about those girls. Camp out here and order room service.<\/dialogue>\n    <scene_description>Astrid looks at Rachel, concerned. Rachel suddenly SCREAMS. On the bed is a LARGE, GUTTED FISH. Its blood and guts all over the white sheets. On one of the windows are words scrawled in red: \"CATCH THIS, YOU GOLD-DIGGING BITCH!\" CONTINUED:<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>I'll call security --<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Astrid reacts, surprised. Rachel pulls herself together.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I'm not gonna make a scene.<\/dialogue>\n    <scene_description>ZOOM IN ON the window and the nasty message --<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I'm not gonna give them the satisfaction.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH - NIGHT<\/stage_direction>\n    <scene_description>The drunken bachelorettes dance as a DJ spins tracks. FURTHER DOWN THE BEACH Rachel rants as she and Astrid dig a HOLE in the sand.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>This weekend was supposed to be mani-pedis, cocktails served in pineapples. This definitely wasn't on the menu --<\/dialogue>\n    <scene_description>Rachel dumps the wrapped fish in the hole.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Why would Araminta even have friends like them? They're so mean.<\/dialogue>\n    <scene_description>As Rachel fills the hole:<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Well, you grow up your whole lives together, you make excuses for people. Specially the morons.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I mean, I know Michael didn't have to deal with catty, fish-killing sociopaths, but how did you two get through all this?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>Well, I didn't have it quite this bad, but it wasn't pretty.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Well, at least tell me it gets better.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Of course it does.<\/dialogue>\n    <scene_description>Astrid wants to reassure Rachel, but she can't. Rachel recognizes that something is wrong.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Yeah...<\/dialogue>\n    <parenthetical>(beat; close to tears)<\/parenthetical>\n    <dialogue>Actually... no...<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You could talk to me.<\/dialogue>\n    <character>ASTRID<\/character>\n    <parenthetical>(tough to say)<\/parenthetical>\n    <dialogue>Michael is... having an affair.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I'm really sorry, Astrid.<\/dialogue>\n    <scene_description>Astrid manages a smile, appreciates it. Rachel nods. Astrid smiles, puts her head on Rachel's shoulder, hold each other's hands, and watch the waves crash into the shore.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RAFFLES HOTEL - DAY<\/stage_direction>\n    <scene_description>Nick enters the hotel --<\/scene_description>\n    <character>MALE HOTEL GREETER<\/character>\n    <dialogue>Welcome back.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Cheers, sir.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAFFLES HOTEL - LANDING - DAY<\/stage_direction>\n    <scene_description>Nick enters the hotel having returned from his trip. He sees Rachel reading in a quiet area. He heads over, throws his bag down.<\/scene_description>\n    <character>RACHEL (O.S.)<\/character>\n    <dialogue>I thought I was here to meet your family...<\/dialogue>\n    <scene_description>ON NICK AND RACHEL<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>... go to your best friend's wedding, eat some good food. Instead, I feel like I'm a villain in a soap opera who's plotting to steal your family fortune.<\/dialogue>\n    <scene_description>Nick blanches. Knows this isn't good.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I mean, I met Amanda. She told me that everyone here thinks that I'm the evil person that prevented you from moving back to Singapore last year but, when I didn't even know you were supposed to come home.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>You have every reason to be upset - -<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I'm not done yet! There was also the gutted, bloody fish that Araminta's friends left for me in my hotel room on my bed next to the words 'Catch this, you gold- digging bitch'... written in big fat serial-killer letters --<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Is that all that happened?<\/dialogue>\n    <parenthetical>(off Rachel)<\/parenthetical>\n    <dialogue>I mean, please tell me that's all that happened.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You know what? I don't even care about those stupid girls, with their stupid little designer handbags and sunglasses. I don't care about that. I don't care that your ex-girlfriend told me all this crap. It's that you didn't tell me any of it.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I screwed up.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I really messed up, okay?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Why? What -- Were you trying to test me? Why would you do that?<\/dialogue>\n    <scene_description>Nick takes a beat, comes clean.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>I made a mistake. When we first met, you had no idea who I was, who my family were. You didn't care!<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Yeah, I don't care about that stupid stuff.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Well, exactly. You are so different from all of the women that I grew up with. And I love who I am around you. And I don't want that to change. And that's selfish, I know.<\/dialogue>\n    <scene_description>Nick takes her hand.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Mm-hmm.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>And I'm sorry that you had to deal with that on your own. But I'm here now. And whatever happens, we'll get through it together. Dead fish and all.<\/dialogue>\n    <scene_description>CONTINUED: As Rachel scoffs --<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>All right?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>It was so gross. But I buried it.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>You dealt with it.<\/dialogue>\n    <scene_description>They laugh. He holds her. Rachel is touched.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Come here.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You know what? We need to do something tonight. We need to do something that's just you and me, okay?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>100% agree.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>But... we do have to go make some dumplings first. Okay?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Then can we eat them?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>We can eat as many as you like.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Okay, fine.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TYERSALL PARK - DINING ROOM - DAY<\/stage_direction>\n    <scene_description>QUICK CUTS of food being expertly prepared by half a dozen MAIDS: -- Small balls of dough are rolled into flat circles. -- Minced meat is quickly rolled into dozens of perfectly- formed, uniform BALLS. CONTINUED: A maid takes a tray of the mincemeat balls to the center of the room, where Eleanor and other family members -- Nick, Rachel, Astrid, Cassian, Oliver, Alix, and Felicity -- are clustered around a large table. They're busy folding the dumplings, which are placed in neatly-stacked bamboo steamers. It's a family tradition, and they work expertly while having multiple conversations.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>I can't believe this is your first time making dumplings.<\/dialogue>\n    <scene_description>Rachel laughs.<\/scene_description>\n    <character>ALIX<\/character>\n    <dialogue>Gotta make sure this time we don't run out of baskets.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Cassian, that's not how you do it.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Very good. Very good, Cassian.<\/dialogue>\n    <scene_description>Cassian laughs.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>And now you roll it up.<\/dialogue>\n    <scene_description>As Eleanor inspects the tray and nods her approval, Felicity eyes DOZENS of waiting trays with alarm.<\/scene_description>\n    <character>ALIX<\/character>\n    <dialogue>This is too much. We're hosting a rehearsal dinner, not feeding an army --<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Better too many than have people say we're stingy.<\/dialogue>\n    <scene_description>Meanwhile, Nick teaches Rachel how to fold a dumpling -- putting the mincemeat ball in the dough wrapper and sealing it closed.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>So, right. You put the baby in bed and tuck, tuck, tuck. Same on the other side. And you give him a kiss goodnight --<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Okay. That's so cute. And then you eat the baby.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>How's that?<\/dialogue>\n    <parenthetical>(chuckles)<\/parenthetical>\n    <dialogue>Then you eat the baby. Not until he's cooked.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>No, you gotta make sure he's cooked. Did Ah Ma teach you that?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>She did.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>I, on the other hand, was taught by Grand Aunty Mabel. 'You put the Botox in the face and then you pinch, pinch, pinch, then voila!'<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Did you guys all learn when you were kids?<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>We didn't have a choice.<\/dialogue>\n    <scene_description>Nods to Cassian as he happily pounds balls of dough with his fist and rips apart dumplings.<\/scene_description>\n    <character>FELICITY<\/character>\n    <dialogue>We taught you so you'd know the blood, sweat, and tears it took to raise and feed you monkeys.<\/dialogue>\n    <character>ALIX<\/character>\n    <dialogue>Not like ang-mohs, microwaving macaroni and cheese for their own children.<\/dialogue>\n    <parenthetical>(shudders)<\/parenthetical>\n    <dialogue>No wonder they put their parents in the old folks' home when they all grow up.<\/dialogue>\n    <character>FELICITY<\/character>\n    <dialogue>I know!<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Ah Ma says if we don't pass traditions down like this, they'll disappear.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>ASTRID<\/character>\n    <parenthetical>(to Rachel)<\/parenthetical>\n    <dialogue>God forbid we lose the ancient Chinese tradition of guilting your children.<\/dialogue>\n    <scene_description>The others all laugh --<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>It's totally worth it. Mother used to wait for me after school with a nice basket of these.<\/dialogue>\n    <character>ALIX<\/character>\n    <parenthetical>(in Cantonese; subtitled)<\/parenthetical>\n    <dialogue>Ni hao ming. \\[Lucky you.\\]<\/dialogue>\n    <scene_description>Eleanor smiles at the memory.<\/scene_description>\n    <character>ASTRID<\/character>\n    <parenthetical>(to Felicity)<\/parenthetical>\n    <dialogue>Hey, I never got after-school dumplings.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Well, that's because Aunty Felicity was doing after-school microdermabrasion.<\/dialogue>\n    <character>FELICITY<\/character>\n    <parenthetical>(mock-scolds; in Cantonese; subtitled)<\/parenthetical>\n    <dialogue>Ni le wu qie, ruguo a ye zhong xi du, shi qing ni shi teng tiao wen zhurou. \\[Smart ass. If your grandfather was alive, he'd kick you into next week.\\]<\/dialogue>\n    <scene_description>Everyone LAUGHS. Alix sees Rachel smiling. Felicity throws dough at Oliver.<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>(brushing shirt)<\/parenthetical>\n    <dialogue>Aunty, this is Dolce.<\/dialogue>\n    <character>ALIX<\/character>\n    <parenthetical>(to Rachel)<\/parenthetical>\n    <dialogue>You speak Cantonese?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>No, I don't. It's just great seeing you guys all like this.<\/dialogue>\n    <scene_description>CONTINUED: The family exchanges looks. What does Rachel mean?<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>When I was growing up, it was just me and my mom. Which I loved, uh, but we didn't really have a big family like this. It's really nice.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>That's so lovely of you to say, Rachel. We all are very lucky to have each other.<\/dialogue>\n    <scene_description>Alix and Felicity smile, approving. Feeling more comfortable, Rachel tries to engage Eleanor, who's been largely silent. She sees Eleanor's RING, a beautiful piece studded with diamonds and emeralds.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>That's a beautiful ring, Aunty Eleanor. I've never seen anything like it.<\/dialogue>\n    <scene_description>The other women look at Eleanor, trying to gauge her reaction to Rachel.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <parenthetical>(surprised; then)<\/parenthetical>\n    <dialogue>Nick's father had it made when he proposed to me.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>That's very romantic. How did you guys meet?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Actually, they met at Cambridge. They were both studying law together.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Oh, I didn't know you were a lawyer.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>I wasn't. I withdrew from university when we got married.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Oh...<\/dialogue>\n    <scene_description>Eleanor reads into Rachel's reaction. CONTINUED:<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>I chose to help my husband run a business and to raise a family. For me, it was a privilege. But for you, you may think it's old- fashioned. It's nice you appreciate this house and us being here together wrapping dumplings. But all this doesn't just happen. It's because we know to put family first, instead of chasing one's passion.<\/dialogue>\n    <scene_description>An awkward SILENCE falls over the table. Rachel feels chided, isn't sure how to react when:<\/scene_description>\n    <character>AH MA (O.S.)<\/character>\n    <parenthetical>(in Mandarin; subtitled)<\/parenthetical>\n    <dialogue>O, nimen dajia douzai zhe'er a! \\[Ah, everyone's here!\\]<\/dialogue>\n    <scene_description>Ah Ma enters with her Thai maids. Oblivious to the tension, she smiles to see Nick and Rachel.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Ah Ma.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Ah Ma.<\/dialogue>\n    <character>ALIX<\/character>\n    <dialogue>Ah Ma.<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(to maids)<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <parenthetical>(takes his grandma's arm)<\/parenthetical>\n    <dialogue>Ah Ma.<\/dialogue>\n    <character>AH MA<\/character>\n    <dialogue>Oh, Nick.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Come and sit.<\/dialogue>\n    <character>AH MA<\/character>\n    <parenthetical>(in Mandarin; subtitled)<\/parenthetical>\n    <dialogue>O, Nicki. O, ni ba Rachel ye dailai le? \\[Oh, Nicki. You brought Rachel. Good.\\]<\/dialogue>\n    <scene_description>Ah Ma looks at Rachel's face, scrutinizing it. CONTINUED:<\/scene_description>\n    <character>AH MA<\/character>\n    <dialogue>Baitian wo kan ni kan de geng qingchu le. Ni de bizi zhang de henhao, hen you fuqi. Wo kan kan ni de lian. Guolai. \\[I can see you more clearly in the day. The shape of your nose is auspicious. Let me have a look, come closer...<\/dialogue>\n    <parenthetical>(leans in)<\/parenthetical>\n    <dialogue>En... en... zhang de zhen haokan. Qingchu le. \\[Very nice looking.\\]<\/dialogue>\n    <scene_description>Rachel is unsure what to make of it, but it feels like approval.<\/scene_description>\n    <character>AH MA<\/character>\n    <parenthetical>(in Mandarin; subtitled)<\/parenthetical>\n    <dialogue>Sit, sit, grandson.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Right, right. We're almost done here. Just a few more baskets.<\/dialogue>\n    <scene_description>Ah Ma looks at the dumplings.<\/scene_description>\n    <character>AH MA<\/character>\n    <parenthetical>(to Eleanor; in Mandarin; subtitled)<\/parenthetical>\n    <dialogue>Aiyo, zheshi ni bao de jiaozi ma? Zenme bao name nankan a? Tuibule. \\[You made those dumplings? They don't look very good. You lost your touch.\\]<\/dialogue>\n    <scene_description>Astrid watches this exchange, then looks at Rachel.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Hmm.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TYERSALL - HALLWAY - DAY<\/stage_direction>\n    <scene_description>Rachel exits the dining room, looking for anywhere to go. She walks up the long staircase, takes a few steps one way, realizes she's going the wrong direction, then turns around to find Eleanor standing in front of her.<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>(surprised)<\/parenthetical>\n    <dialogue>Oh. Hi. I think I'm a little lost. This house is pretty big.<\/dialogue>\n    <scene_description>Eleanor comes to Rachel and they walk and talk through the halls of Tyersall. CONTINUED:<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>I'm glad I found you. I'm afraid that I've been unfair.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Oh, no, you know what? I'm sorry I made an assumption. I didn't mean to offend you.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Not at all.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>You asked about my ring. The truth is Nick's father had it made when he wanted to propose to me, because Ah Ma wouldn't give him the family ring. I wasn't her first choice. Honestly, I wasn't her second.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Gosh, I'm so sorry. I had no idea.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>I didn't come from the right family, have the right connections. And Ah Ma thought I would not make an adequate wife to her son.<\/dialogue>\n    <scene_description>Rachel is surprised how Eleanor is seemingly opening up.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>But, she came around, obviously.<\/dialogue>\n    <scene_description>Eleanor gives a tight smile.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>It took many years, and she had good reason to be concerned.<\/dialogue>\n    <parenthetical>(off Rachel)<\/parenthetical>\n    <dialogue>Because I had no idea the work and the sacrifice it would take. There were many days when I wondered if I would ever measure up --<\/dialogue>\n    <scene_description>Eleanor pauses, looks at Rachel.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>But having been through it all, I know this much...<\/dialogue>\n    <parenthetical>(gets close; gently)<\/parenthetical>\n    <dialogue>You will never be enough.<\/dialogue>\n    <scene_description>CONTINUED: Rachel is eviscerated. Eleanor draws back, placid, calm. Then, as if they've been talking about the weather Eleanor walks off:<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>We should head back. I wouldn't want Nick to worry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - DAY<\/stage_direction>\n    <scene_description>Nick drives as Rachel sits in the passenger seat, silent.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>You all right?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I know my mum can be tough at times, but there isn't anything she wouldn't do for me...<\/dialogue>\n    <parenthetical>(off Rachel's silence)<\/parenthetical>\n    <dialogue>And there is a reason why I lived with Ah Ma growing up. It's because my mother knew she wasn't the favorite. So she let her raise me so I would be.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You were just a kid?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Yeah. But... It's hard to understand from the outside. But she did what she thought was best for the family... For everyone involved.<\/dialogue>\n    <scene_description>Rachel hears the tiny reminder of her otherness.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Mm-hmm.<\/dialogue>\n    <scene_description>Rachel takes it in, hears Nick's regard for his mother. Which makes her feel even more unsettled.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Anyway, I think I've had enough with dumplings for the rest of my life. What should we do? Sushi, movies, anything you like. Really.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COFFEE SHOP - PATIO - DAY<\/stage_direction>\n    <character>PEIK LIN (O.S.)<\/character>\n    <dialogue>Wait, what? Was she like --<\/dialogue>\n    <scene_description>TILT DOWN -- Peik Lin and Rachel sit at a table.<\/scene_description>\n    <character>PEIK LIN<\/character>\n    <parenthetical>(Eleanor impression)<\/parenthetical>\n    <dialogue>'You will NEVER be good enough for my son,' OR was it like, 'YOU, YOU will never be good enough for my son.'<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>It's like the second one.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Except for in a way that made me wanna, like, cry and puke at the same time.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>God, she's so badass.<\/dialogue>\n    <parenthetical>(idea)<\/parenthetical>\n    <dialogue>You know, I bet if you told her you'd leave Nick for a million dollars, she will write that check. They do that around here --<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>-- And she looked at me like I was nothing...<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>-- Like a ten million dollar check. I feel like she would do that.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I don't even know what I should do. I mean, I can't even tell Nick because he like worships her.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>Yeah, Chinese sons think their moms fart Chanel No. 5. What about the Ah Ma? Does she hate your face, too?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Okay, nobody said they hated my face. And Ah Ma, she liked my face. She said I had a lucky nose.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>That's great! You know, Eleanor can hate you all day long, but you can't beat two thousand years of Chinese filial piety.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I feel like I shouldn't even go to the wedding. You know, it's Colin and Araminta's day, I don't wanna cause any drama there. I feel like I should just sit it out. You know? Tell Nick I had food poisoning or something.<\/dialogue>\n    <parenthetical>(off Peik Lin's look)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>That's bullshit. You're just scared.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>No, I'm not.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>Okay, here's what you need to understand, all right? It's not about getting Eleanor to like you. It's about getting her to respect you. All right? Right now, she just thinks you're some like undeserving, clueless, gold- digging --<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Okay, yeah, I got it.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>-- trashy, unrefined banana, yellow on the outside, white on the inside --<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I know what a banana is --<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>-- When in reality, you're like a super sophisticated, smart professor of freaking game theory.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>PEIK LIN<\/character>\n    <dialogue>Show her that side of you, you know.<\/dialogue>\n    <scene_description>This hits home with Rachel.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You're right.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>Damn straight, I'm right. It's Peik Lin, I'm always right.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Yeah, she's like trying to play a game of chicken with me, where she's like coming at me, and like, thinking I'm going to swerve like a chicken.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>But you can't swerve.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I'm not gonna swerve. Not for her.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>No. Chickens are bitches, dude!<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>And I'm not a chicken<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>You're not a chicken. You gonna roll up to that wedding, you gonna be like, 'Bak-bak, bitch!'<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>(chuckles)<\/parenthetical>\n    <dialogue>Bak-bak, bitch!<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>Chickens are bitches.<\/dialogue>\n    <scene_description>A man on one of the upper balconies overhears her, gives her a disapproving look.<\/scene_description>\n    <character>PEIK LIN<\/character>\n    <dialogue>Sorry Uncle.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>What are you doing tonight?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>PEIK LIN<\/character>\n    <dialogue>Uh, I was gonna go to FedEx or something. Why? Oh!<\/dialogue>\n    <scene_description>Peik Lin breaks into a smile. OFF Rachel, determined.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOH HOUSE - LIVING ROOM - ON RACHEL - DAY<\/stage_direction>\n    <scene_description>standing in front of a tall tri-fold mirror as Peik Lin scrutinizes her.<\/scene_description>\n    <character>PEIK LIN<\/character>\n    <dialogue>I have been waiting to do this properly for so long. I'm thinking eyebrow triage, root crimps, maybe some eyelid tape.<\/dialogue>\n    <parenthetical>(to Oliver)<\/parenthetical>\n    <dialogue>What do you think?<\/dialogue>\n    <scene_description>REVEAL OLIVER standing off to the side with his entourage.<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>All of it. And I would throw in a Korean snail face mask. Sweetie, your skin is so dry, it's hurting my face.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>As Oliver walks around her, scrutinizing.<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>You know, it's about time someone stood up to Aunty Eleanor. Well, you, not me. Oh, God! She can't know I was ever here.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Oh, no<\/dialogue>\n    <character>OLIVER<\/character>\n    <parenthetical>(yelling to the air)<\/parenthetical>\n    <dialogue>Right. Well, okay, let's get to work. Cappuccinos.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIRST METHODIST CHURCH - DAY<\/stage_direction>\n    <scene_description>A long line of stately cars lead to the entrance. Throngs have gathered hoping to catch sight of arriving celebrities. It's a mix of FOREIGN DIGNITARIES, GOVERNMENT LEADERS, and Asia's brightest stars. QUICK CUTS of reporters and photographers continues throughout the following scene.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOH HOUSE - LIVING ROOM - DAY<\/stage_direction>\n    <character>OLIVER<\/character>\n    <dialogue>Pull the plum Balenciaga, the peach Chlo\u00e9, the Giambattista, all the Bottegas, oh, and that Jason Wu with the deconstructed ruffles.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>And a sandwich for Peik Lin.<\/dialogue>\n    <scene_description>Rachel enters modeling different dresses.<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Oh!<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>Okay. All right.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Right. I'm not sure if it's working or if she looks like a clown's tampon.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Oh!<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>On a heavy day.<\/dialogue>\n    <character>OLIVER<\/character>\n    <parenthetical>(next dress)<\/parenthetical>\n    <dialogue>Y-You look like a flower. Like a sad, lonely flower no one wants to be around.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Ahh!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIRST METHODIST CHURCH - DAY<\/stage_direction>\n    <character>AMANDA<\/character>\n    <parenthetical>(to Reporter)<\/parenthetical>\n    <dialogue>I mean, it's the wedding of the century. So, of course we're here. It's the natural...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOH HOUSE - LIVING ROOM - ON RACHEL - DAY<\/stage_direction>\n    <character>OLIVER<\/character>\n    <dialogue>Oh! Oh! It's not that bad. It's holding you up.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>It's a hands-on dress. You know what I mean?<\/dialogue>\n    <character>WYE MUN<\/character>\n    <parenthetical>(throws dress over partition)<\/parenthetical>\n    <dialogue>Incoming.<\/dialogue>\n    <scene_description>Peik Lin points for him to leave.<\/scene_description>\n    <character>WYE MUN<\/character>\n    <dialogue>Okay. Okay<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIRST METHODIST CHURCH - DAY<\/stage_direction>\n    <character>REPORTER<\/character>\n    <dialogue>And this fantastic celebration here with --<\/dialogue>\n    <scene_description>Francesca and Celine pose for the cameras. Alistair poses with Kitty Pong, who's delighted by all the attention.<\/scene_description>\n    <character>KITTY<\/character>\n    <dialogue>I love my fans... I love my fans.<\/dialogue>\n    <character>ALISTAIR<\/character>\n    <parenthetical>(to reporters)<\/parenthetical>\n    <dialogue>Taipei Tiger Two is going to redefine the genre. She's a star.<\/dialogue>\n    <character>KITTY<\/character>\n    <dialogue>TT-Two, honey!<\/dialogue>\n    <character>ALISTAIR<\/character>\n    <dialogue>She's a star.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOH HOUSE - LIVING ROOM - ON RACHEL - DAY<\/stage_direction>\n    <character>PEIK LIN<\/character>\n    <dialogue>Oh! I'm blinded by the light.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Oh. Okay. This is why disco died.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>You kinda look like a slutty Ebola virus.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>It's like a bag of Skittles. Taste the rainbow.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Could work, if we... Yes. I, I think we just alter the --<\/dialogue>\n    <scene_description>Wye Mun comes back in offering another outfit --<\/scene_description>\n    <character>WYE MUN<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>I, I, just think if we could just maybe just tell her this is coming from you because she probably doesn't wanna hear it from a guy. Okay. Okay.<\/dialogue>\n    <scene_description>Peik Lin throws him out again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIRST METHODIST CHURCH - DAY<\/stage_direction>\n    <scene_description>Eddie, Fiona, and their three boys, again in adorable matching suits, pose for photographers. Eddie nudges his eldest son.<\/scene_description>\n    <character>EDDIE<\/character>\n    <dialogue>Okay, remember. Optimal angles.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOH HOUSE - LIVING ROOM - ON RACHEL - DAY<\/stage_direction>\n    <scene_description>Oliver and Neenah are accessorizing the sparkly disco- type dress Rachel is now wearing. When Rachel goes behind the partition to change her outfit, Neenah, Wye Mun, P.T., and the twins all start dancing to the music. Peik Lin's parents get carried away and start making out on the chaise lounge.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIRST METHODIST CHURCH - DAY<\/stage_direction>\n    <scene_description>Eddie trails off as the photographers suddenly head to -- -- a custom GOLD BENTLEY MULSANE. It's driven by Peik Lin, who wears a fetching driver's uniform. Seeing the car, Oliver steps up as Peik Lin opens the door -- a shapely stilettoed leg steps out. It's RACHEL in a glittering gown. Her hair is swept up, her jewelry catches the light, she's a VISION. It's an EXPLOSION OF FLASHES as photographers, reporters, and looky-loos take pictures, yell to get her attention. Rachel is a little overwhelmed, but Oliver helps navigate her through the crowd.<\/scene_description>\n    <character>NEENAH<\/character>\n    <dialogue>Just right here! Just right here!<\/dialogue>\n    <character>PHOTOGRAPHER<\/character>\n    <dialogue>Beautiful dress. Thank you. Thanks for the... Excuse me. Excuse me, can I get a picture of you? Lovely. Oh, fantastic. Looking gorgeous. Little closer together. Who's this one? What's your name?<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>Ma'am.<\/dialogue>\n    <character>OLIVER<\/character>\n    <parenthetical>(mouthing)<\/parenthetical>\n    <dialogue>You look wonderful. Breathe.<\/dialogue>\n    <parenthetical>(to paparazzi)<\/parenthetical>\n    <dialogue>Everyone, I've got Rachel Chu of New York. Rachel Chu of New York. Real estate heiress, Rachel Chu of the New York Chus.<\/dialogue>\n    <character>FEMALE SPECTATOR<\/character>\n    <dialogue>Rachel! Rachel! Over here!<\/dialogue>\n    <character>PHOTOGRAPHER<\/character>\n    <dialogue>Rachel, this way. Rachel! Rachel! To me!<\/dialogue>\n    <character>MALE PHOTOGRAPHER<\/character>\n    <dialogue>Okay, ladies, looking good. Looking good. Okay, out of the way, please. Out of the way.<\/dialogue>\n    <scene_description>Amanda, Celine, and Francesca, look agape, incredulous. CONTINUED:<\/scene_description>\n    <character>KITTY<\/character>\n    <dialogue>So gorgeous!<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>A Photographer gestures for Celine to get out of the way so he can take Rachel's picture. OFF Celine, pissed.<\/scene_description>\n    <character>MALE PHOTOGRAPHER<\/character>\n    <dialogue>Ladies, move please. Out of the way! Good, good. That's great. Beautiful dress.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Ladies. Amanda.<\/dialogue>\n    <character>AMANDA<\/character>\n    <dialogue>Hmm.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You're in my way.<\/dialogue>\n    <character>AMANDA<\/character>\n    <dialogue>Okay, what?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BENTLEY - DAY<\/stage_direction>\n    <scene_description>Astrid and Michael, dressed for the wedding, sit in the back of a chauffeured Bentley. Michael chatters on as Astrid listens in silence.<\/scene_description>\n    <character>MICHAEL<\/character>\n    <dialogue>-- Our Chinese investors are getting nervous. I have to fly to Shenzhen on Monday to try and talk them down.<\/dialogue>\n    <scene_description>This gets Astrid's attention.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>That's Cassian's birthday.<\/dialogue>\n    <character>MICHAEL<\/character>\n    <dialogue>Yeah, I know. I hate to miss it, but this is important.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>You'd think your son's birthday is important. Get someone else to handle it...<\/dialogue>\n    <parenthetical>(can't help herself)<\/parenthetical>\n    <dialogue>Unless... there's another reason you're out of town.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>MICHAEL<\/character>\n    <dialogue>What are you saying?<\/dialogue>\n    <scene_description>Astrid presses a button on the console, RAISING THE PARTITION between them and the driver.<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>I know you're having an affair.<\/dialogue>\n    <scene_description>Michael reacts, uncomfortable, but he doesn't deny it.<\/scene_description>\n    <character>MICHAEL<\/character>\n    <dialogue>Oh, Jesus, Astrid.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Let's just get through the wedding and we'll deal with it after. I don't want to make a scene.<\/dialogue>\n    <scene_description>Michael looks at her, incredulous.<\/scene_description>\n    <character>MICHAEL<\/character>\n    <dialogue>You find out I'm having an affair with another woman, and you're worried about making a scene?<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>You'd rather I scream and carry on?<\/dialogue>\n    <character>MICHAEL<\/character>\n    <dialogue>Yes. Honestly, I wish you would. It would show you cared about more than what people thought of you and your family --<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Don't try and turn this on me. I'm not the one who screwed up!<\/dialogue>\n    <character>MICHAEL<\/character>\n    <dialogue>Of course not. You're always the prettiest, richest, most perfect girl in the room. While I'm just this lucky bastard who will never measure up.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Don't say that --<\/dialogue>\n    <character>MICHAEL<\/character>\n    <dialogue>I know what you're thinking, Astrid. That's why you hide your shoes, the jewelry you buy.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>MICHAEL<\/character>\n    <dialogue>As if every minute of my life I'm not reminded of it. I'm just tired. I'm tired of having nothing I do matter, including having the affair --<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Of course, what you do matters. How can you say that?<\/dialogue>\n    <scene_description>As the driver pulls over, Astrid reacts, thrown. Michael gets out of the car. Just like that, he's gone. Shell-shocked, Astrid starts to break down... then quickly pulls herself together.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FIRST METHODIST CHURCH - DAY<\/stage_direction>\n    <scene_description>The interior of the church has been transformed into an ARTFUL ABSTRACT FOREST. Eleanor, Jacqueline, Alix, and Felicity hold court with other SOCIETY WIVES by the front pews. Eleanor looks at the trees, disapproving.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Is this a church or a paddy field?<\/dialogue>\n    <character>ALIX<\/character>\n    <dialogue>They spent 40 million on the wedding.<\/dialogue>\n    <character>FELICITY<\/character>\n    <dialogue>Really? That's too much, we're Methodists. 20 million is our limit.<\/dialogue>\n    <character>ALIX<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>JACQUELINE<\/character>\n    <dialogue>Princess Intan!<\/dialogue>\n    <scene_description>They turn to see PRINCESS INTAN, 40s, a lofty Southeast Asian royal, and her entourage passing by. The Aunties smile but Princess Intan ignores them.<\/scene_description>\n    <character>JACQUELINE<\/character>\n    <dialogue>Vicious woman. I heard she demanded a whole row to herself, so she wouldn't be bothered by anyone.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>FELICITY<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>JACQUELINE<\/character>\n    <dialogue>Mm-hmm.<\/dialogue>\n    <character>FELICITY<\/character>\n    <parenthetical>(looking off at someone)<\/parenthetical>\n    <dialogue>Who is that?<\/dialogue>\n    <scene_description>Oliver is in the b.g. greeting one of the female guests.<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Lovely as always. You made it!<\/dialogue>\n    <scene_description>All the Aunties turn to see Rachel, walking down the aisle. She's confident, luminous, turning heads as she walks by. The Aunties look stunned as Rachel reaches their pew.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Aunties.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Rachel, how lovely to see you.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>The pleasure is all mine.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>I'm sorry our row is full.<\/dialogue>\n    <scene_description>Rachel smiles, placid.<\/scene_description>\n    <character>ALIX<\/character>\n    <parenthetical>(whispering; re: dress)<\/parenthetical>\n    <dialogue>I love it.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>(chuckles)<\/parenthetical>\n    <dialogue>Bak-bak. Okay.<\/dialogue>\n    <scene_description>Rachel looks for an empty seat, sees one by Princess Intan, and heads over. Jacqueline and Eleanor see this and exchange glances, looking forward to seeing Rachel being taken down a peg. Rachel approaches the Princess.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Princess Intan? Rachel Chu.<\/dialogue>\n    <scene_description>CONTINUED: Princess Intan ignores her, Rachel presses on.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I read your great article about microloans in the Asian Economics Journal --<\/dialogue>\n    <scene_description>ANGLE ON ELEANOR AND FELICITY watching, incredulous.<\/scene_description>\n    <character>PRINCESS INTAN (O.S.)<\/character>\n    <dialogue>I received so much criticism about that article.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Well, you know what? I think your critics missed the point. 'Cause your microloans helped women, and women lift up economies.<\/dialogue>\n    <scene_description>The Princess is surprised. The Princess looks at Rachel, reassessing her.<\/scene_description>\n    <character>PRINCESS INTAN<\/character>\n    <dialogue>What is your name again?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Rachel Chu.<\/dialogue>\n    <character>PRINCESS INTAN<\/character>\n    <dialogue>It's a pleasure to meet you. Now, what brings you here.<\/dialogue>\n    <scene_description>All the Aunties look disappointed that Rachel has been accepted by the Princess.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I followed a boy...<\/dialogue>\n    <scene_description>ANOTHER ANGLE AN EXCITED BUZZ ripples through the crowd. Heads turn to see Astrid, statuesque, gorgeous, enter with AH MA, in a beautiful stately gown, her two Thai servants following behind. Eleanor and the Aunties react, surprised.<\/scene_description>\n    <character>FELICITY<\/character>\n    <dialogue>Ah Ma's here? She never comes to these things!<\/dialogue>\n    <scene_description>Astrid and Ah Ma walk down the aisle. CONTINUED:<\/scene_description>\n    <character>ASTRID<\/character>\n    <parenthetical>(in Mandarin; subtitled)<\/parenthetical>\n    <dialogue>Xiexie ni, Ah Ma. \\[Thank you, Grandma.\\]<\/dialogue>\n    <character>AH MA<\/character>\n    <parenthetical>(in Mandarin; subtitled)<\/parenthetical>\n    <dialogue>Yijia ren bu yong shuo xie, a. \\[Family never says thank you.\\]<\/dialogue>\n    <scene_description>Astrid leads Ah Ma to a seat.<\/scene_description>\n    <character>ASTRID<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Sit down.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>It's lovely to see you here.<\/dialogue>\n    <scene_description>IN THE BACK ALCOVE Nick, Colin, and other GROOMSMEN wait. Colin is peeking out at the audience as Nick walks up to him.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>How are you feeling?<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>Ah, good.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>All right. Don't be nervous.<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>I'm not nervous.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>You look great.<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>Thank you. Hey, uh, Rachel's not sitting with your family.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Yeah, I don't blame her. Mother hasn't exactly been the most welcoming. But I'm sure she'll be at the back somewhere laying low.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>COLIN<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>No. She's right at the front. Take a look.<\/dialogue>\n    <scene_description>Nick turns to where Colin is looking and sees: RACHEL AND THE PRINCESS -- Rachel looks GORGEOUS, AT EASE, as she chats happily with the Princess.<\/scene_description>\n    <character>COLIN<\/character>\n    <parenthetical>(surprised; smiles)<\/parenthetical>\n    <dialogue>I think you've got a fighter.<\/dialogue>\n    <scene_description>Nick is thrilled -- he beams with pride. A GROOMSMAN walks up.<\/scene_description>\n    <character>GROOMSMAN<\/character>\n    <dialogue>Guys, it's time.<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Okay. All right.<\/dialogue>\n    <character>BERNARD<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>BERNARD<\/character>\n    <dialogue>Make sure she doesn't take your balls.<\/dialogue>\n    <scene_description>As Bernard hits Colin in the gut. Colin hunches over and groans.<\/scene_description>\n    <character>BERNARD<\/character>\n    <dialogue>Just checking. Just checking.<\/dialogue>\n    <character>COLIN<\/character>\n    <parenthetical>(winces and groans)<\/parenthetical>\n    <dialogue>Thanks for dressing up, Bernard.<\/dialogue>\n    <character>BERNARD<\/character>\n    <dialogue>Hey. It's not about me.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Yeah. Come on. Thanks, Bernard.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>BERNARD<\/character>\n    <dialogue>It's not about me.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>All right.<\/dialogue>\n    <scene_description>The crowd HUSHES as Colin, Nick, and four GROOMSMEN enter with the PASTOR. They're a dashing pack. Rachel looks at Nick, her heart swelling with pride. Nick finds her gaze, they lock eyes. When a HUSH falls over the crowd. Eyes turn to: KINA GRANNIS, who takes the stage. She starts singing a hauntingly beautiful rendition of \"I Can't Help Falling In Love.\" The MUSIC SOARS as we go into a -- STYLISTIC MONTAGE -- TWO ADORABLE FLOWER GIRLS (6) enter, scattering petals. -- An equally adorable RING BEARER boy (5) toddles in, clutching his ring pillow. -- The congregation, Nick, and Rachel react to the adorable kids. -- Alistair and Kitty are in the audience smooching. -- As the children reach the altar, Nick takes the ring\/pillow from the little boy and does a high-five with him. -- As KINA sings with two 12-YEAR-OLD CHINESE VIOLINISTS AND A BASS PLAYER accompanying her:<\/scene_description>\n    <character>KINA<\/character>\n    <dialogue>Like a river flows...<\/dialogue>\n    <scene_description>-- the AISLE OPENS UP and WATER FLOWS DOWN IT. -- The congregations gasps, amazed. Rachel and Nick stare at each other lovingly. THE MUSIC STOPS. The LIGHTS DIM, everyone in the audience are holding delicate lights on long stems. They all stand and look to the back: -- Where a group of BRIDESMAIDS hold large fronds, forming a SCREEN. They part, REVEALING: CONTINUED: -- Araminta, who's luminous, a wedding fantasy come to life. She stands next to her father, holds his arm. -- Araminta steps out of her shoes. The MUSIC swells back up as she steps onto the watery aisle. -- Araminta walks down the aisle with her bridesmaids following, as the audience all wave the GLITTERY LIGHTS towards her. -- Nick looks to Rachel, mouths, \"I love you.\" Rachel catches her breath, mouths back, \"I love you, too,\" tears rolling down her cheeks. -- Araminta and Colin face each other as the pastor officiates. Amid all the pageantry, it's still just a man and a woman, about to be joined together for life. -- All eyes are on Colin and Araminta... except for Eleanor, who watches Nick and Rachel with growing concern. -- Colin lifts Araminta's veil, they kiss, and everyone claps and cheers. TRANSITION TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GARDENS BY THE BAY - NIGHT<\/stage_direction>\n    <scene_description>The botanical gardens have been transformed into a magical reception site. The supertrees tower overhead as a CHINESE BIG BAND plays. Fireworks POP, POP, POP overhead. Colin and Araminta are having their first dance, loosely circled by their wedding party, including Nick and Rachel, who are doing everything they can to keep their hands off each other. As they watch Colin and Araminta:<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>You look spectacular, you know that?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>It's the double Spanx. I can't breathe.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>It's not the clothes. It's just... you.<\/dialogue>\n    <scene_description>Rachel smiles. Nick leans in to kiss her when Araminta calls to the group: CONTINUED:<\/scene_description>\n    <character>ARAMINTA<\/character>\n    <dialogue>Uh, excuse me. This party isn't gonna dance itself. Come on.<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>Come on, Nicki-Nick.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>All right.<\/dialogue>\n    <character>ARAMINTA<\/character>\n    <dialogue>Yeah! Whoo!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Okay. You're very good.<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>Yeah? I only stepped on her twice.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Very good.<\/dialogue>\n    <character>OLIVER<\/character>\n    <parenthetical>(to Felicity)<\/parenthetical>\n    <dialogue>I mean, obviously...<\/dialogue>\n    <character>FELICITY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>ALISTAIR<\/character>\n    <dialogue>Yeah! Whoo!<\/dialogue>\n    <scene_description>IN ANOTHER AREA -- Eleanor sees Nick and Rachel dancing. She hears a SQUEAL and turns to see KITTY PONG twerking on Alistair, who has a silly grin on his face. Eleanor reacts with distaste. She's in no mood for this. Eleanor turns to Oliver, gestures to Kitty and Alistair.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Oliver.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Yes, Aunty?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Be a dear and take care of that.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>As you wish.<\/dialogue>\n    <scene_description>CONTINUED: Eleanor leaves. Oliver doesn't love being ordered about, but does as he's told. ANOTHER ANGLE We FIND Nick and Rachel on the dance floor, completely into each other and having fun.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You know, you should wear a tux more often.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Like all the time?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Hmm, yeah. You know, when you're playing basketball at the Y, shaving, brushing your teeth --<\/dialogue>\n    <scene_description>He pulls her in, close. She looks into his eyes... and they kiss. ON KITTY AND ALISTAIR as Oliver walks up.<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Alistair, your father's looking for you. Something about an overdrawn discretionary account.<\/dialogue>\n    <scene_description>Alistair's face falls and he takes off. Oliver holds his hand out to Kitty, who takes it. As Oliver leads her in a dance, handling her expertly:<\/scene_description>\n    <character>ALISTAIR<\/character>\n    <dialogue>Oh, my God.<\/dialogue>\n    <character>KITTY<\/character>\n    <dialogue>Baby! Oh, my gosh! Ah! Hey.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>So...<\/dialogue>\n    <character>KITTY<\/character>\n    <dialogue>Hmm?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>How do you like the wedding?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>KITTY<\/character>\n    <dialogue>Oh, my gosh! It's so glamorous! When it's Alistair's and my wedding, I want it just like this.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Hmm.<\/dialogue>\n    <character>KITTY<\/character>\n    <dialogue>No, no! I want it big! Big! Better!<\/dialogue>\n    <character>OLIVER<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>Sweetie! You'll be lucky if Alistair's parents give you a tea ceremony.<\/dialogue>\n    <character>KITTY<\/character>\n    <dialogue>Ooh --<\/dialogue>\n    <scene_description>Kitty looks at Oliver, confused.<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>You know, Alistair's only the fourth son of a penny-pinching family, don't you? I mean, he'll get next to nothing. You want a wedding like this? You should've fallen in love with an only child. Someone like... Bernard Tai.<\/dialogue>\n    <scene_description>Oliver twirls her around and dips her to see Bernard surrounded by women and drinking from a champagne bottle. ON NICK AND RACHEL Nick and Rachel pull apart to see one of Ah Ma's THAI SERVANTS. She speaks with a gentle Thai accent:<\/scene_description>\n    <character>THAI SERVANT<\/character>\n    <dialogue>Master Nicholas... your grandmother would like to speak to you and Miss Rachel.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <scene_description>ON BERNARD AND GIRLS<\/scene_description>\n    <character>BERNARD<\/character>\n    <dialogue>Sick party.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Yeah!<\/dialogue>\n    <scene_description>As Kitty approaches Bernard to dance with him, he hands a champagne bottle to a girl.<\/scene_description>\n    <character>BERNARD<\/character>\n    <dialogue>Hold that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRIVATE ALCOVE - NIGHT<\/stage_direction>\n    <scene_description>The Thai Servant takes Rachel and Nick to a private area where Ah Ma and Eleanor are seated at a table.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Ah Ma. Mum. What's all this about?<\/dialogue>\n    <scene_description>Ah Ma turns to Rachel.<\/scene_description>\n    <character>AH MA<\/character>\n    <parenthetical>(in Mandarin; subtitled)<\/parenthetical>\n    <dialogue>Rachel... suiran wo renshi ni de rizi bu chang, ke wo kan de chulai, ni shi ge congming ren. \\[Rachel. I've only known you a short time, but it's clear you're a very smart woman.\\]<\/dialogue>\n    <scene_description>Nick smiles at Ah Ma's seeming endorsement of Rachel.<\/scene_description>\n    <character>AH MA<\/character>\n    <parenthetical>(in Mandarin; subtitled)<\/parenthetical>\n    <dialogue>Ke wo buneng rang ni hui le wo de sunzi gen wo de jia. \\[But, I will not permit you to ruin my grandson with your ambition.\\]<\/dialogue>\n    <scene_description>Rachel is stunned. Nick, reacts, shocked.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Ah Ma!<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>I'm sorry to tell you, but Rachel has been lying to us about her family and her mother...<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>(guard up)<\/parenthetical>\n    <dialogue>What, uh... What are you talking about?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>I hired a private investigator to look into her past --<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Mum, you didn't --<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>She said her father passed away in China, but that's not true.<\/dialogue>\n    <parenthetical>(to Rachel)<\/parenthetical>\n    <dialogue>Your mother's husband is very much alive. During her marriage she cheated on him and became pregnant with another man's child, and before he found out she ran away to America.<\/dialogue>\n    <scene_description>Rachel is gutted, doesn't know what to think. Eleanor opens a DOSSIER on the table. Chinese news articles and police missing person reports featuring Kerry's picture.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>It's all in here.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>You had no right --<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>We had every right.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Stop -- You're lying.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>You did not!<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>Do you have any idea the scandal this would have caused? For Rachel to hide something like this --<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>She wouldn't have.<\/dialogue>\n    <scene_description>Eleanor sees Rachel is clearly shocked. CONTINUED:<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>We cannot be linked to this sort of family.<\/dialogue>\n    <scene_description>Rachel looks at Eleanor, backs away, reeling.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I don't want any part of your family.<\/dialogue>\n    <scene_description>He reaches for her, but Rachel pulls away, stung.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Rachel --<\/dialogue>\n    <scene_description>Rachel takes off, Nick starts after her, when:<\/scene_description>\n    <character>AH MA<\/character>\n    <parenthetical>(in Mandarin; subtitled)<\/parenthetical>\n    <dialogue>Buxu zhui ta. Zaojin ni ziji. Buxu dong. Ni yao gen ta zou, jiu bie huilai! \\[Don't chase after her and degrade yourself. I forbid it. If you go with her, you can't come back!\\]<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Let me go! Rachel.<\/dialogue>\n    <scene_description>Nick pulls away and runs after Rachel.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Ah Ma! Nick!<\/dialogue>\n    <character>AH MA<\/character>\n    <parenthetical>(in Mandarin; subtitled; turns on Eleanor)<\/parenthetical>\n    <dialogue>Dou shi wei le ni, dou shi ni ya rang ta zai waitou dai name jiu. Ni kan jintian! \\[This is your fault. You let this happen by allowing him to stay away so long. Now, look!\\]<\/dialogue>\n    <scene_description>Eleanor stands there, submissive. Ah Ma reacts, stunned, furious. OFF Eleanor, her worst fears coming true...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GARDENS BY THE BAY - CANAL - NIGHT<\/stage_direction>\n    <scene_description>Rachel is upset, disoriented, as she makes her way through the crowd. CONTINUED:<\/scene_description>\n    <character>EDDIE<\/character>\n    <dialogue>Hey, Cinderella. What's wrong? You gotta return your dress before midnight?<\/dialogue>\n    <character>ARAMINTA<\/character>\n    <dialogue>Why? It's all non-fat.<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>Nicki-Nick!<\/dialogue>\n    <character>ARAMINTA<\/character>\n    <dialogue>Oh, you're just in time.<\/dialogue>\n    <character>COLIN<\/character>\n    <dialogue>Nick, want some cake? Where are you going?<\/dialogue>\n    <character>FEMALE WEDDING GUEST #1<\/character>\n    <dialogue>Come back here! Come back here!<\/dialogue>\n    <character>FEMALE WEDDING GUEST #2<\/character>\n    <dialogue>Drink girl! Drink!<\/dialogue>\n    <scene_description>She hears a SCREAM and turns to see several guests POINTING and LAUGHING at: A HALF-NAKED Bernard and Kitty behind some bushes. Bernard is completely drunk and paws at Kitty, who's mortified at being discovered. The crowd LAUGHS, derisive, as Kitty struggles to pull her dress up as she flees. It's sickening to Rachel -- it feels like people are talking about her as much as Kitty. She flees... Among the crowd, we FIND Nick searching for Rachel, but he's too late...<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Oliver.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Oh, Nicki have you...?<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(interrupts)<\/parenthetical>\n    <dialogue>Rachel. Have you seen Rachel?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>I don't --<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>AMANDA<\/character>\n    <dialogue>Nicholas! How are you? It's been so long.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Oh, Amanda. Yes. Thank you, Amanda. Thank you, Amanda. No, Amanda. Not now.<\/dialogue>\n    <character>AMANDA<\/character>\n    <dialogue>It's good to see you. Let's talk. For old times' sake.<\/dialogue>\n    <scene_description>Nick frantically looks around the party for Rachel. TIME LAPSE as the crowd clears and it starts to rain.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOH HOUSE - NIGHT<\/stage_direction>\n    <scene_description>A PAIR OF BARE FEET walks up to the gate. RACHEL, her once-flawless hair, makeup, and dress are a mess. She carries her HIGH HEELS IN HER HANDS. Peik Lin rushes to Rachel, who bursts into tears and collapses into her friend.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOH HOUSE - PEIK LIN'S ROOM - DAY<\/stage_direction>\n    <scene_description>Rachel lies on the upholstered bench at the end of the bed, unmoving, staring into space. Sparse sunlight filters into the room. Peik Lin enters.<\/scene_description>\n    <character>PEIK LIN<\/character>\n    <dialogue>Rachel? Come to breakfast. You need to eat. Or, use the bathroom, or maybe a shower. It's there if you need it.<\/dialogue>\n    <scene_description>But Rachel doesn't move. TIME LAPSE SEQUENCE -- It's NIGHT: Rachel still lies in bed, awake, but not moving. The door opens. It's Neenah and Wye Mun with a dinner tray. They have the twin girls bring the tray to Rachel.<\/scene_description>\n    <character>WYE MUN<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Here, take this tray, okay. Take this to Rachel. Okay, go to her.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>GOH TWIN GIRL #1<\/character>\n    <dialogue>Here, Rachel, this is your dinner.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>The girls run back to Neenah and Wye Mun and they all leave Rachel who's just staring at the dinner tray. -- Darkness gives way to dawn, but Rachel is still in bed, unmoving. On the bedside table, her PHONE RINGS. It's NICK, Rachel presses ignore and places the phone face-down on the table. Nick leaves a message --<\/scene_description>\n    <character>NICK (V.O.)<\/character>\n    <parenthetical>(pre-lap)<\/parenthetical>\n    <dialogue>I'll stop by again tonight.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAFFLES HOTEL - SUITE - DAY<\/stage_direction>\n    <scene_description>Nick is on the phone, leaving Rachel a message.<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Rachel, please, just give me a call. Anytime. Please.<\/dialogue>\n    <scene_description>Nick hangs up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOH FAMILY HOUSE - PEIK LIN'S ROOM - DAY<\/stage_direction>\n    <scene_description>Peik Lin enters the dark room.<\/scene_description>\n    <character>PEIK LIN<\/character>\n    <dialogue>Rachel, someone's here to see ya.<\/dialogue>\n    <scene_description>Rachel doesn't move.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I don't want to see him.<\/dialogue>\n    <character>PEIK LIN<\/character>\n    <dialogue>It's not Nick.<\/dialogue>\n    <scene_description>Someone steps in from behind Peik Lin. It's KERRY. Rachel stirs, can't believe her eyes.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Mom!<\/dialogue>\n    <scene_description>CONTINUED: Rachel rushes to her mom, hugging her. Rachel tears up, finally with the person she needed the most. TIME CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOH FAMILY HOUSE - PEIK LIN'S ROOM - DAY<\/stage_direction>\n    <scene_description>The blinds are open and Rachel sits up, looking better, as Kerry fusses over her, bringing her herbal soup.<\/scene_description>\n    <character>KERRY<\/character>\n    <dialogue>Drink more. The dong-quai and the ginseng will give you more energy.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Rachel lets herself be mothered, but Kerry sees the toll the last few days have taken.<\/scene_description>\n    <character>KERRY<\/character>\n    <dialogue>Your spirit has always been so strong, ever since young. You will get through this.<\/dialogue>\n    <scene_description>Rachel nods, needing to hear that. But:<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Why didn't you tell me about my father?<\/dialogue>\n    <scene_description>Kerry nods, she's been expecting this.<\/scene_description>\n    <character>KERRY<\/character>\n    <dialogue>My husband wasn't a good man. He hurt me.<\/dialogue>\n    <parenthetical>(off Rachel)<\/parenthetical>\n    <dialogue>But an old schoolmate of mine helped me through things and we fell in love and I got pregnant with his baby, that's you. I was so afraid my husband would find out and kill us both, so I just took you and I ran to America.<\/dialogue>\n    <scene_description>Rachel is stunned.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Did you ever...? I don't know, think about trying to talk to him? I mean, do you think about him?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>KERRY<\/character>\n    <dialogue>Every day. When we first came to America all I could think about was reaching out for him, but I was so afraid my husband would find us. And now, I, I just don't want to cause any trouble.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I'm really sorry.<\/dialogue>\n    <scene_description>Kerry shakes her head, smiles through the tears.<\/scene_description>\n    <character>KERRY<\/character>\n    <dialogue>Oh! Don't be sorry. You listen to me, everything that happened in my past life is the reason why I got you.<\/dialogue>\n    <scene_description>Rachel tears up, vulnerable.<\/scene_description>\n    <character>KERRY<\/character>\n    <dialogue>My brave and clever girl.<\/dialogue>\n    <scene_description>Rachel flops back on the bed. Her mother lies down next to her.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I really thought he was the one.<\/dialogue>\n    <scene_description>OFF Rachel as this sinks in.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Now, I just wanna go home.<\/dialogue>\n    <character>KERRY<\/character>\n    <dialogue>You know, Nick was the one who called me and brought me out here. Before we go, I think you should go and talk to him.<\/dialogue>\n    <scene_description>Rachel sighs. Then they hear a clicking sound and turn to see P.T. at the doorway holding his phone and taking photos of them.<\/scene_description>\n    <character>P.T.<\/character>\n    <dialogue>I'll e-mail the photo later.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>P.T., how long you been standing there?<\/dialogue>\n    <character>P.T.<\/character>\n    <dialogue>Just a short while.<\/dialogue>\n    <scene_description>CONTINUED: Rachel and Kerry laugh.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVERFRONT - DAY<\/stage_direction>\n    <scene_description>Rachel sits on a bench, when she sees Nick approach, tentative, hopeful. He sits next to her.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>I'm so sorry about everything. What my mother did to you is unforgivable --<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>It's not your fault --<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>It is. Ever since I can remember, my family has been my whole life. And I am done making excuses for them.<\/dialogue>\n    <scene_description>He pulls out the ring he's been carrying. Rachel looks at Nick, astounded.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Nick --<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Marry me. Marry me and we'll start our new life together in New York, just you and me. I'll leave all of this behind.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>Eleanor, wearing sunglasses, walks by the row of old terraced shophouses, pausing when she hears a familiar CLACKING sound. She walks through an unmarked door, into:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAHJONG HALL - DAY<\/stage_direction>\n    <scene_description>Eleanor enters to see Rachel playing mahjong with two WOMEN at a back table. It's a FLUID, RHYTHMIC RITUAL -- the staccato clacking of tiles, stacks being formed and moved like clockwork. Eleanor is surprised to see how adept and effortless Rachel is. Eleanor walks up to the table. CONTINUED:<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Thanks for meeting me here.<\/dialogue>\n    <parenthetical>(re: women)<\/parenthetical>\n    <dialogue>Don't worry about them. They're half deaf and they only speak Hokkien.<\/dialogue>\n    <character>WOMAN<\/character>\n    <parenthetical>(hands Eleanor dice)<\/parenthetical>\n    <dialogue>Mm-hmm.<\/dialogue>\n    <scene_description>Eleanor sits down at the table, and tosses the dice in the middle of the stacks of tiles. She starts playing the game.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>My mom taught me how to play. She told me mahjong would teach me important life skills. Negotiation, strategy, cooperation.<\/dialogue>\n    <parenthetical>(NOTE: The game goes on throughout the scene. With cards thrown, picked up, chips exchanging hands, etc.)<\/parenthetical>\n    <character>ELEANOR<\/character>\n    <dialogue>You asked me here. I assume it's not for a mahjong lesson. Pung.<\/dialogue>\n    <scene_description>She puts down a power card combo. The women toss red chips to her.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>My mother taught me, too.<\/dialogue>\n    <scene_description>Rachel tosses her a red chip.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I know Nick told you the truth about my mom. But you didn't like me the second I got here. Why is that?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>There's a Hokkien phrase. Ka gi lan. It means 'our own kind of people.' And you're not our own kind.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>'Cause I'm not rich? 'Cause I didn't go to a British boarding school or I wasn't born into a wealthy family?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>You're a foreigner. American. And all Americans think about is their own happiness.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Don't you want Nick to be happy?<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>It's an illusion. We understand how to build things that last. Something you know nothing about.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You don't know me.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <dialogue>I know you're not what Nick needs.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Well, he proposed to me yesterday.<\/dialogue>\n    <parenthetical>(off Eleanor)<\/parenthetical>\n    <dialogue>He said he'd walk away from his family and from you, for good.<\/dialogue>\n    <scene_description>Eleanor's hand slips, she drops a tile. The other women exchange looks, sensing the tension:<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Don't worry, I turned him down.<\/dialogue>\n    <scene_description>Eleanor tries to regain her composure.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <dialogue>Only a fool folds a winning hand.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>There's no winning. You made sure of that. Because if Nick chose me, he would lose his family. And if he chose his family, he might spend the rest of his life resenting you.<\/dialogue>\n    <scene_description>Eleanor grabs a tile that Rachel had just discarded.<\/scene_description>\n    <character>ELEANOR<\/character>\n    <parenthetical>(realizing)<\/parenthetical>\n    <dialogue>So you chose for him.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I'm not leaving 'cause I'm scared or because I think I'm not enough. Because... maybe for the first time in my life, I know I am.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I just love Nick so much. I don't want him to lose his mom again. So I just wanted you to know that one day, when he marries another lucky girl, who is enough for you, and you're playing with your grandkids while the tan huas are blooming, and the birds are chirping, that it was because of me... a poor, raised by a single mother, low class, immigrant nobody.<\/dialogue>\n    <scene_description>Rachel SHOWS HER HAND -- a WINNING COMBINATION -- but she FOLDS. The game is mucked (no one can win). Rachel gets up. As Rachel reaches the door, REVEAL Kerry has been sitting quietly at another table. As Kerry joins Rachel, she turns to see Eleanor and the two mothers exchange a look.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ASTRID'S APARTMENT - BEDROOM - DAY<\/stage_direction>\n    <scene_description>Astrid enters as Michael packs a bag. Michael is uncomfortable, not wanting to do this in front of her.<\/scene_description>\n    <character>MICHAEL<\/character>\n    <dialogue>Hey. I'm gonna send someone for the rest of my stuff. But I wanna talk to you about my visitation rights with Cassian.<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Stop talking.<\/dialogue>\n    <character>MICHAEL<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>Don't worry about packing your things. You bought this apartment, you keep it. We're leaving --<\/dialogue>\n    <character>MICHAEL<\/character>\n    <dialogue>What do you mean, you're leaving? Where are you gonna go?<\/dialogue>\n    <character>ASTRID<\/character>\n    <dialogue>I have fourteen apartment buildings that I own, so probably one of those.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>And you'll see Cassian when it's good for him, not when it's good for you.<\/dialogue>\n    <scene_description>Astrid walks away. Michael takes her arm, holds her back.<\/scene_description>\n    <character>MICHAEL<\/character>\n    <dialogue>Hey! Look, you know, it's not just my fault that things didn't work out.<\/dialogue>\n    <scene_description>Astrid pauses, then:<\/scene_description>\n    <character>ASTRID<\/character>\n    <dialogue>You're right. I shouldn't have kept things from you. Hidden my shoes, turned down jobs, charity work, worrying that it might make you feel lesser than. But let's be clear -- the problem with our marriage isn't my family's money. It's that you're a coward. You gave up on us. But I've just realized --<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>It's not my job to make you feel like a man. I can't make you something you're not.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITYSCAPE (SINGAPORE) - DAWN (ESTABLISHING)<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOH HOUSE - DAY<\/stage_direction>\n    <scene_description>Peik Lin helps Rachel load SUITCASES into a waiting TAXI.<\/scene_description>\n    <character>PEIK LIN<\/character>\n    <dialogue>Good for you. Walking away from Nick and his family's fat-ass property portfolio. You have no one, no net worth, but you have integrity. That's why I respect you.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>(hugging Peik Lin)<\/parenthetical>\n    <dialogue>Thank you for everything.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAFFLES HOTEL - SUITE - DAY<\/stage_direction>\n    <scene_description>CLOSE ON NICK -- CONTINUED: when he hears a KNOCK. He rushes to the door, hopeful, opens it to see: ELEANOR OFF Nick, disappointed, conflicted at seeing his mother. TIME CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ASTRID'S APARTMENT - BATHROOM - DAY<\/stage_direction>\n    <scene_description>Astrid reaches above the mirror for the box containing the earrings she hid there. She puts them on and looks at her reflection -- she likes what she sees. Emboldened, she exits to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOH HOUSE - DAY<\/stage_direction>\n    <scene_description>Kerry hurries up, dressed for travel, carrying two TUPPERWARE MEALS.<\/scene_description>\n    <character>PEIK LIN<\/character>\n    <parenthetical>(hugging Kerry)<\/parenthetical>\n    <dialogue>Bye, Mrs. Chu!<\/dialogue>\n    <character>KERRY<\/character>\n    <dialogue>Goodbye and thank you.<\/dialogue>\n    <scene_description>As Kerry gets into the taxi:<\/scene_description>\n    <character>PEIK LIN<\/character>\n    <parenthetical>(to Rachel)<\/parenthetical>\n    <dialogue>Sure I can't get you to stay? You know, my brother P.T. he's still single...<\/dialogue>\n    <scene_description>They turn to see P.T. at the doorway making a hand heart. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAFFLES HOTEL - SUITE - BALCONY - DAY<\/stage_direction>\n    <scene_description>Nick and his mother stand on the balcony of Nick's room, silent, staring at nothing. Eleanor finally looks at her son.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOH HOUSE - DAY<\/stage_direction>\n    <scene_description>Rachel and Peik Lin hug goodbye. CONTINUED:<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>(to Peik Lin)<\/parenthetical>\n    <dialogue>All right.<\/dialogue>\n    <scene_description>Rachel gets in the taxi. Peik Lin runs and stands next to her brother, wraps her arm around his shoulders. He puts his hand on her shoulder as the taxi drives away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITYSCAPE (SINGAPORE) - DAY<\/stage_direction>\n    <scene_description>We see Rachel's taxi speeding down the highway heading for the airport.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIRPORT - TARMAC<\/stage_direction>\n    <scene_description>Planes taxi in marked \"Pacific Asean Airlines.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPLANE - DAY<\/stage_direction>\n    <scene_description>Rachel and Kerry make their way down the crowded aisle. They're jostled by other passengers and their carry-on bags. A far cry from first class. TIME CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ASTRID'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Astrid walks away while Michael watches. TIME CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPLANE - DAY<\/stage_direction>\n    <character>NICK<\/character>\n    <dialogue>Rachel! Rachel! Stay there.<\/dialogue>\n    <character>KERRY<\/character>\n    <dialogue>I'm gonna go and look for some extra blankets.<\/dialogue>\n    <character>CHUBBY WOMAN<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <parenthetical>(in Mandarin)<\/parenthetical>\n    <dialogue>Kuai dian, kuai dian. \\[Hurry, hurry.\\]<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Sorry, just one second. Nick, what are you doing here?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>I'm flying back to New York with you.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>God, don't make this harder than it already is --<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I always imagined what me proposing to you would be like. And you know what, I had it all planned out.<\/dialogue>\n    <parenthetical>(to sitting man on plane)<\/parenthetical>\n    <dialogue>Oh, yeah, right behind you. Don't mind me.<\/dialogue>\n    <parenthetical>(to Rachel)<\/parenthetical>\n    <dialogue>I'd bring you to my favorite spot on the island. There's a hidden trail that I used to go to as a child. Now there's a cove there that opens up to this beautiful lake.<\/dialogue>\n    <parenthetical>(to standing man on plane)<\/parenthetical>\n    <dialogue>Um, sorry, dude. Give me a second. Let me just move.<\/dialogue>\n    <scene_description>Nick passes by the standing man as he continues:<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>When the sun hits the horizon, I'd get down on one knee.<\/dialogue>\n    <scene_description>Rachel sighs.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>And the rest of the world would fall away. Because it would just be you and -- Because it's just you and --<\/dialogue>\n    <parenthetical>(to female passenger struggling with carry-on)<\/parenthetical>\n    <dialogue>Sorry, I can help you with that. That's fine.<\/dialogue>\n    <parenthetical>(to Rachel)<\/parenthetical>\n    <dialogue>Stay there.<\/dialogue>\n    <scene_description>Thump. Now, Nick is JOSTLED by a WOMAN trying to jam her carry-on in the overhead compartment. CONTINUED:<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(to woman on plane)<\/parenthetical>\n    <dialogue>Yay. You, too? Watch your fingers. Lift it up. Okay.<\/dialogue>\n    <scene_description>Nick steps into the aisle, helps the Woman and others get their luggage put away.<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(to surrounding passengers)<\/parenthetical>\n    <dialogue>Everybody okay? Because I just need thirty seconds with this woman. Okay, thank you.<\/dialogue>\n    <scene_description>Nick turns back to Rachel... and gets down on one knee. Rachel is astounded, tries to stay strong.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Oh, coming through. Sorry. I know this is a far throw from a hidden paradise...<\/dialogue>\n    <scene_description>Rachel looks into his eyes.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>But wherever you are in the world, that's where I belong.<\/dialogue>\n    <scene_description>She takes this in. He pulls out a ring box.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>But, I --<\/dialogue>\n    <scene_description>Nick opens the box, revealing: ELEANOR'S EMERALD RING. Time stops. Rachel's breath parts from her for the moment. Her eyes meet his and then --<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Rachel Chu. Will you marry me and make me the happiest man in this world?<\/dialogue>\n    <scene_description>Rachel, teary-eyed and overwhelmed, is about to respond.<\/scene_description>\n    <character>CHUBBY WOMAN<\/character>\n    <dialogue>Yes! Yes! Yes! She will marry you!<\/dialogue>\n    <scene_description>Nick looks at Rachel, \"Is Chubby Woman right?\" Rachel hands her neck pillow to Chubby woman. Kerry is standing behind her, all smiles. CONTINUED:<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Yes!!<\/dialogue>\n    <scene_description>The cabin ERUPTS in HOOTS and CLAPPING! Nick puts the ring on her finger -- a perfect fit. He pulls her into his arms as he kisses her. Chubby Woman high-fives Kerry. Rachel grins as she's inches away from Nick.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>I love you.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I love you, too. This is gonna be some flight back to New York.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Well, I was actually thinking about staying one more night<\/dialogue>\n    <scene_description>OFF Rachel, intrigued, in love, excited. She kisses him again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARINA BAY SANDS (SINGAPORE) - SKY DECK - NIGHT<\/stage_direction>\n    <scene_description>Nick leads Rachel into the middle of a crowd of people with his hands covering her eyes. When he removes his hands, she sees a crowd of Nick's friends screaming and cheering. Araminta and Colin in front leading the pack. It's an ENGAGEMENT PARTY at this mind-blowing location, perched high above the city. Everyone has shown up: Peik Lin, Eddie, Fiona, Alistair, Bernard, Kitty, Oliver, Colin, Araminta, Charlie, and THE GOHs. They all cheer and hug Rachel and Nick. Nick points for Rachel to look at the pool where SYNCHRONIZED SWIMMERS are performing. Rachel spots Eleanor in the distance. There's a look of understanding, respect between them. Nick kisses Rachel as all the revelers clap and scream their congratulations. We PULL AWAY as fireworks explode in the b.g... FADE IN ON: END CREDITS CUT BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARINA BAY SANDS (SINGAPORE) - SKY DECK - NIGHT<\/stage_direction>\n    <scene_description>Astrid and a handsome man at the party look at each other, then turn away. Then they look back at each other with a sly grin. CUT BACK TO: END CREDITS CONTINUE. FADE OUT.: THIS SCRIPT WAS PREPARED: BY WARNER BROS. PICTURES: SCRIPT PROCESSING DEPARTMENT<\/scene_description>\n    <character>(818) 954-4632<\/character>\n  <\/scene>\n<\/script>","summary":"Rachel Chu, a professor of economics at New York University, and her boyfriend Nick Young travel to Singapore for the wedding of Nick\u2019s best friend Colin Khoo and Araminta Lee. The following day, Rachel visits her college roommate Goh Peik Lin and her wealthy family, who reveal that Nick's family is extremely wealthy and akin to royalty in Singapore. Later that evening, Rachel and Peik Lin arrive at the sprawling Young family estate for a dinner party. Nick introduces Rachel to his mother Eleanor, while his sister Astrid Leong-Teo discovers that her husband Michael, who comes from a more humble background than the Youngs, has been having an affair. Rachel immediately senses that Eleanor dislikes her. Nick then introduces her to his grandmother, matriarch Shang Su Yi, who takes a liking to Rachel. At Araminta's bachelorette party, Rachel meets Amanda Ling, who reveals she is Nick's ex-girlfriend and tells Rachel that she may face rejection by the Youngs due to her modest background; Rachel is also accused of being a gold digger. Meanwhile, Nick attends Colin's bachelor party and reveals his plan to propose to Rachel. Colin expresses concern about the potential conflicts: apart from their class difference, Nick is expected to stay in Singapore and run his family's corporation, whereas Rachel loves her job in New York City. Nick apologizes to Rachel for not telling her who he really is and takes her back to the Young estate to make dumplings. Eleanor recounts her sacrifices to be a part of the family and calls out Rachel's stereotypically American pursuit of passion. She privately recounts to Rachel how Nick's father had to obtain her engagement ring because Su Yi disapproved of her and refused to give him the family ring, and tells Rachel that she will never be enough for Nick or his family. Peik Lin convinces Rachel to stand up to Eleanor and earn her respect. On the day of the wedding, Peik Lin and Oliver T\u2019sien, Nick\u2019s second cousin, give Rachel a glamorous makeover. Meanwhile, en route to the wedding, Astrid confronts Michael, who blames his infidelity on the financial disparity between them. At the afterparty, Eleanor and Su Yi privately confront Rachel and Nick because via a private investigator they learned that Rachel's father is alive, and she was conceived through an extramarital affair, after which her mother Kerry fled to the United States. They demand that Nick stop seeing Rachel for fear of scandal. The shocked and heartbroken Rachel, whose mother told her that her father was dead, flees to Peik Lin's home, remaining in a depressed stupor. Kerry later arrives upon request by Nick, explaining that her abusive husband led to the comfort of an old classmate who then impregnated her; she fled in fear that her husband would kill them. Nick apologizes to Rachel and proposes, willing to abandon his family to be with her, but Rachel rejects. She then meets Eleanor at a mahjong parlor and points out that Eleanor has created a stalemate: Nick can forsake Rachel and remain dutiful but resentful of his family, or he can forsake his family for love. Making use of her expertise in game theory, she hands Eleanor the mahjong tile that lets her win, and reveals that she could have kept the tile for herself and claimed victory. Having thus demonstrated her willingness to place family over self, she leaves with Kerry to the airport. Meanwhile, Astrid moves out with her son Cassian, and tells Michael that his insecurities caused their marriage to fail. Eleanor gives her blessing to Nick and Rachel by giving Nick her ring, which Nick uses to propose to Rachel on the plane before her flight departs. Rachel accepts and they stay in Singapore for an engagement party. There, Astrid and her ex-boyfriend Charlie Wu spot each other; she discreetly smiles."}
{"movie_name":"American Sniper_2014","imdb_id":"tt2179136","script":"<script>\n  <scene>\n    <character>\"AMERICAN SNIPER\"<\/character>\n    <dialogue>Written<\/dialogue>\n    <scene_description>By Jason Hall Based on the book by Chris Kyle with Scott McEwen and Jim DeFelice All gave some. Some gave all. OVER BLACK The groan of tank treads drowns out THE CALL TO PRAYER as an entire MARINE COMPANY advances over the top of us.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET, FALLUJAH, IRAQ - DAY<\/stage_direction>\n    <scene_description>The sun melts over squat residences on a narrow street. MARINE COMPANY creeps toward us like a cautious Goliath. FOOT SOLDIERS walk alongside Humvees and tanks.<\/scene_description>\n    <character>COMMANDING OFFICER (OS)<\/character>\n    <parenthetical>(radio chatter)<\/parenthetical>\n    <dialogue>Charlie Bravo-3, we got eyes on you from the east. Clear to proceed, over.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOP, \"OVERWATCH\" - SAME<\/stage_direction>\n    <scene_description>Sun glints off a slab of corrugated steel. Beneath it-- CHRIS KYLE lays prone, dick in the dirt, eye to the glass of a .300 Win-Mag sniper rifle. He's Texas stock with a boyish grin, blondish goatee and vital blue eyes. Both those eyes are open as he tracks the scene below, sweating his ass off in the shade of steel.<\/scene_description>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>Fucking hot box.<\/dialogue>\n    <scene_description>GOAT (24, Arkansas Marine) lies beside him, woodsy and outspoken, watching dirt-devils swirl in the street.<\/scene_description>\n    <character>GOAT<\/character>\n    <dialogue>Dirt over here tastes like dog shit.<\/dialogue>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>I guess you'd know.<\/dialogue>\n    <scene_description>Goat balks and fixes his M4 on the rooftop door.<\/scene_description>\n    <character>CHRIS SCOPE POV<\/character>\n    <dialogue>TRACK ACROSS bombed-out buildings, twisted metal and golden-domed mosques. Ragged curtains flutter out a window. Cat-tails on the river sway the same direction. We see him studying windage; we see what he's thinking--<\/dialogue>\n    <dialogue>SFX: A LOW FREQUENCY BUZZ escalates over picture as his concentration deepens. Cross-hairs land on--<\/dialogue>\n    <dialogue>A MAN ON CELL PHONE watches the convoy from a rooftop.<\/dialogue>\n    <character>CHRIS KYLE<\/character>\n    <parenthetical>(keys mike)<\/parenthetical>\n    <dialogue>I got a military-aged male, on a cell phone, watching the convoy. Over.<\/dialogue>\n    <character>COMMANDING OFFICER (OS)<\/character>\n    <dialogue>If you think he's reporting troop movement you have a green-light. Your call. Over.<\/dialogue>\n    <character>GOAT (OC)<\/character>\n    <dialogue>He could be calling his old lady.<\/dialogue>\n    <scene_description>MAN ON CELL studies the convoy, his hair tossed by wind. CROSS-HAIR push left of target, compensating for windage. SFX: Chris takes a deep inhale, holds it, then expels. His finger is taking up trigger-slack when the man dips his shoulder slightly. Chris holds off as-- MAN ON CELL hangs up and steps away.<\/scene_description>\n    <character>CHRIS KYLE<\/character>\n    <parenthetical>(keys mike)<\/parenthetical>\n    <dialogue>He stepped off.<\/dialogue>\n    <scene_description>Chris sucks air. Close. The ambient world floods back in. Barked orders, diesel engines and-- A WOMAN AND KID exit the same structure. They're headed up the sidewalk but cut sharply into the street.<\/scene_description>\n    <character>CHRIS KYLE<\/character>\n    <parenthetical>(keys mike)<\/parenthetical>\n    <dialogue>Hold up. I got a woman and a kid, 200 yards out, moving toward the convoy.<\/dialogue>\n    <scene_description>(ECU)-- The woman cradles something beneath her robes.<\/scene_description>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>Her arms aren't swinging. She's carrying something.<\/dialogue>\n    <scene_description>CROSS-HAIRS ON WOMAN as she pulls a cylindrical object from her robes. His vision obscured but--<\/scene_description>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>She just pulled a grenade. An RKG Russian grenade. I think she gave it to the kid.<\/dialogue>\n    <character>COMMANDING OFFICER (OS)<\/character>\n    <dialogue>--you say a woman and kid?<\/dialogue>\n    <scene_description>SFX: his heart-beat, THUMP-THUMP THUMP-THUMP THUMP-THUMP.<\/scene_description>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>You got eyes on this? Can you confirm?<\/dialogue>\n    <character>COMMANDING OFFICER (OS)<\/character>\n    <dialogue>Negative. You know the ROEs. Your call.<\/dialogue>\n    <character>GOAT (OC)<\/character>\n    <dialogue>They fry you if you're wrong. Send your ass to Leavenworth.<\/dialogue>\n    <scene_description>THE KID moves toward the convoy with the grenade.<\/scene_description>\n    <character>CHRIS KYLE (OC)<\/character>\n    <dialogue>Fuck--<\/dialogue>\n    <scene_description>MOTHER motions the Kid to hurry along (ECU)-- her robes flutter, trash blows in the street, the dust off her son's footsteps; all blowing the same direction. THE KID sprints toward the Marines.<\/scene_description>\n    <character>IN THE STREET<\/character>\n    <dialogue>YOUNG MARINES. Wading into war. Boots scuffing dirt.<\/dialogue>\n    <character>CLOSE ON CHRIS<\/character>\n    <dialogue>His exhale hisses from tobacco-stained teeth. Breathe it down. He struggles to get calm, fighting for control. SFX: THUMP-THUMP THUMP-THUMP THUMP--<\/dialogue>\n    <dialogue>CROSS-HAIRS left of the running target, leading him, compensating for a dozen different considerations as--<\/dialogue>\n    <dialogue>He pauses upon exhale. The world goes quiet. Landscape pulses with color and focus. He stokes the trigger and--<\/dialogue>\n    <character>THE BULLET<\/character>\n    <dialogue>Leaps from the barrel. Cracks like a whip. The .300 round hurls forward, glinting as it enters the flesh of--<\/dialogue>\n    <character>A WHITE-TAIL BUCK<\/character>\n    <dialogue>It staggers, draws and topples to the ground. We are--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLS, WEST TEXAS - PRE-DAWN<\/stage_direction>\n    <scene_description>A field shrouded in fog. CHRIS KYLE(8) jumps from a deer blind, innocent and excited, running toward the buck.<\/scene_description>\n    <character>MAN'S VOICE<\/character>\n    <dialogue>Get back here.<\/dialogue>\n    <scene_description>Chris stops, turns back. WAYNE KYLE, his father, is sturdy and earnest with mutton chops and Texas calm.<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Don't ever leave your gun in the dirt.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Helluva shot, son. You got a gift. You're gonna make a fine hunter someday.<\/dialogue>\n    <scene_description>Chris nods, clear-eyed, as if hearing the whisper of destiny. He grabs the .30-06, running again, bounding to--<\/scene_description>\n    <character>THE BUCK<\/character>\n    <dialogue>Glassy brown eyes look up at Chris. It's still alive.<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>Everything dies to give life.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Can it see me?<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>It's a deer, son.<\/dialogue>\n    <scene_description>Chris processes his first kill, watching as-- (ECU) a flea crawls around the animal's inner-ear.<\/scene_description>\n    <character>WAYNE KYLE<\/character>\n    <parenthetical>(hands him hunting knife)<\/parenthetical>\n    <dialogue>You shot it, you deal with it.<\/dialogue>\n    <scene_description>Chris straddles the deer. It tries to gouge him. He looks frightened but drags the blade across its neck. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH<\/stage_direction>\n    <scene_description>A Protestant church. CHRIS is dressed in Sunday best, shuffling pages of a LITTLE BLUE BIBLE to create breeze.<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>We don't see with his eyes so we don't know the glory of his plan. Our lives unfold before us like puzzling reflections in a mirror. But on the day we rise, we will see with clarity and understand the mystery of his ways--<\/dialogue>\n    <scene_description>JEFF(6), his reedy little brother, watches Chris slip the Bible in his pocket. Jeff laughs and gets smacked by-- DEBBIE, their mother. She wears big oval glasses and runs a wayward-boys home with that same steady hand. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHRIS' BEDROOM<\/stage_direction>\n    <scene_description>Dust motes drift across a dresser, settling on a Pop- Warner football, that BLUE BIBLE, and METALLIC TOY SOLDIERS guarding the bullet casing from his first buck.<\/scene_description>\n    <character>WAYNE KYLE (VO)<\/character>\n    <dialogue>There are three types of people in this world. Sheep, wolves and sheepdogs.<\/dialogue>\n    <scene_description>PUSH THROUGH the modest ranch house into--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM<\/stage_direction>\n    <scene_description>WAYNE lectures his boys over venison.<\/scene_description>\n    <character>WAYNE KYLE<\/character>\n    <dialogue>Some people prefer to believe that evil doesn't exist in the world, and if it ever darkened their doorstep they wouldn't know how to protect themselves... those are the sheep.<\/dialogue>\n    <scene_description>Jeff bites back tears. Chris looks troubled.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOLYARD<\/stage_direction>\n    <scene_description>FROM THE BACK, we watch a BIG BULLY pummel a KID ON THE GROUND. His meaty fists coming down repeatedly as--<\/scene_description>\n    <character>WAYNE KYLE (VO)<\/character>\n    <dialogue>Then you got predators who use violence to prey on the weak. They're the wolves.<\/dialogue>\n    <scene_description>KID ON THE GROUND is JEFF, his nose bloody. PUSH TOWARD the fight--(ECU) blood flecks fly from the Bully's fist.<\/scene_description>\n    <character>WAYNE KYLE (VO)<\/character>\n    <dialogue>Then there are those blessed with the gift of aggression and an overpowering need to protect the flock.<\/dialogue>\n    <scene_description>A FIST CONNECTS with BIG BULLY's temple. He goes down. Chris stands over the bully, beating the tar out of him.<\/scene_description>\n    <character>WAYNE KYLE (VO)<\/character>\n    <dialogue>These men are the rare breed that live to confront the wolf--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD<\/stage_direction>\n    <scene_description>CHRIS stands with his arms extended. Wind blows dirt off his palms and it plumes out across the land.<\/scene_description>\n    <character>WAYNE KYLE (VO)<\/character>\n    <dialogue>They are the sheepdog.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM<\/stage_direction>\n    <scene_description>WAYNE removes his belt and lays it on the table. CHRIS looks at it, worried.<\/scene_description>\n    <character>WAYNE KYLE<\/character>\n    <dialogue>Now we're not raising any sheep in this family and I will whoop your ass if you turn into a wolf--<\/dialogue>\n    <character>DEBBY<\/character>\n    <dialogue>Wayne--<\/dialogue>\n    <character>WAYNE<\/character>\n    <dialogue>But we take care of our own. And if someone picks a fight with you or bullies your brother, you have my permission to finish it.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>The guy was picking on Jeff.<\/dialogue>\n    <character>WAYNE KYLE<\/character>\n    <dialogue>That true?<\/dialogue>\n    <character>JEFF<\/character>\n    <parenthetical>(eye swollen)<\/parenthetical>\n    <dialogue>Yes sir... Yes, he was...<\/dialogue>\n    <character>WAYNE KYLE<\/character>\n    <parenthetical>(turns to Chris)<\/parenthetical>\n    <dialogue>And did you finish it?<\/dialogue>\n    <scene_description>Chris shows the swollen knuckles of his hand, and nods.<\/scene_description>\n    <character>WAYNE<\/character>\n    <dialogue>Then you know who you are...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BARN<\/stage_direction>\n    <scene_description>A GROWN MAN(CHRIS) exits the barn into the light of day. Behind him, horns of dozens of bucks cover the wall.<\/scene_description>\n    <character>WAYNE (VO)<\/character>\n    <dialogue>You know your purpose.<\/dialogue>\n    <scene_description>The barn door closes leaving us in brindled darkness.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RODEO ARENA<\/stage_direction>\n    <scene_description>A hand grips the tie on a bronc. CHRIS sits bareback atop the horse, its nostrils steaming, eyes shock wide. (ECU)-- a hair-line crack along its right front hoof. BUZZER SOUNDS. GATE OPENS. The bronco leaps out. Empty stands blur past. The Bronc and Chris united in a futile struggle. He leans right, the bronc circles right, staying off that bad hoof. Chris makes the buzzer but-- He gets tossed on dismount. The bronco stomps his hand. He scrambles out of the ring as RODEO CLOWNS distract it. FIND JEFF(19) ringside, with tight lips and severe eyes. He looks over the empty arena, laughing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORD TRUCK<\/stage_direction>\n    <scene_description>Headlights rattle over a dirt road. JEFF drives. CHRIS rides, BAG OF ICE on hand, BELT BUCKLE prize on the dash. He stares into the field where A WILD HORSE, races alongside them, a spectral image in the darkness.<\/scene_description>\n    <character>JEFF<\/character>\n    <dialogue>Wasn't nobody there and you come away with a belt buckle too damn big to wear. What you supposed to do with it?<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(grabs belt buckle)<\/parenthetical>\n    <dialogue>You're supposed to get laid with it. I'm gonna wear it in and see if it puts Sarah in the mood.<\/dialogue>\n    <character>JEFF<\/character>\n    <dialogue>A strong wind'd put Sarah in the mood.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Is that what they say?<\/dialogue>\n    <character>JEFF<\/character>\n    <dialogue>You know what they called her in high school--<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Don't say it.<\/dialogue>\n    <character>JEFF<\/character>\n    <dialogue>Sarah suck-a--<\/dialogue>\n    <scene_description>Chris swings his bag of ice, smacks Jeff in the face.<\/scene_description>\n    <character>JEFF<\/character>\n    <dialogue>Shit man--<\/dialogue>\n    <scene_description>He swerves off the road. The truck almost coming apart before he ramps back up, coming to a dusty halt outside--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUNKHOUSE<\/stage_direction>\n    <scene_description>Spanish moss hangs over a shackle-board residence. Chris tumbles out the truck, clips on the belt buckle and--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUNKHOUSE<\/stage_direction>\n    <scene_description>CHRIS swaggers into the narrow bunkhouse. A sheet hangs in back, separating sleeping area from living area.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Who wants to hump a rodeo star?<\/dialogue>\n    <scene_description>Movement back there. A MAN ASS suddenly protrudes from the curtain as a BURLY COWBOY-TYPE climbs into jeans.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>What the fuck--<\/dialogue>\n    <scene_description>SARAH steps out, his high school sweetheart all grown up.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>You said you wasn't coming home until tomorrow.<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(wounded)<\/parenthetical>\n    <dialogue>Why would you do this?<\/dialogue>\n    <scene_description>Cowboy leaves his shirt open flaunting a big hairy chest.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Just let him out. He didn't know...<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(shamed, steps aside)<\/parenthetical>\n    <dialogue>You didn't know?<\/dialogue>\n    <scene_description>Cowboy doesn't answer. Chris SLAMS HIS HEAD into the refrigerator and ramps him out the front door.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>What the fuck is wrong with you! What'd you expect? You drag me out here then run off with your damn brother every weekend!<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Get out.<\/dialogue>\n    <scene_description>She jumps at the chance-- ripping clothes out of closets.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>You think you're a cowboy cause you rodeo? You're no cowboy. You're just a lousy ranch-hand and a shitty fuckin lay!<\/dialogue>\n    <scene_description>The door slams behind her. Chris stares at the dent in the fridge, wounded. He opens it and pulls out a beer. LATER TV plays across Chris' drunken face. He lays on the sofa, a beer on his chest. JEFF is sprawled in a chair.<\/scene_description>\n    <character>JEFF<\/character>\n    <dialogue>Some people ain't worth fighting for.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>But she was right...<\/dialogue>\n    <character>JEFF<\/character>\n    <parenthetical>(closing his eyes)<\/parenthetical>\n    <dialogue>A job is a job. At least we're outside.<\/dialogue>\n    <scene_description>Chris is bleary, lost and drifting to sleep. The images on the TV don't immediately register but-- NEWS FOOTAGE of the WORLD TRADE CENTER BOMBING (1993) plays on TV. An explosion has demolished the garage.<\/scene_description>\n    <character>NEWS ANCHOR (OS)<\/character>\n    <dialogue>--group of radical militants called Al- Qaeda are taking credit for a bombing that left six dead and hundreds injured--<\/dialogue>\n    <scene_description>American flags at half mast. His chest rises and falls--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Jeff, wake up. Look at this--<\/dialogue>\n    <scene_description>The faces of INNOCENT VICTIMS play across the screen. Chris' injured hand slowly curls into a fist.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Look what they did...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NAVY RECRUITING OFFICE<\/stage_direction>\n    <scene_description>Posters of destroyers on walls. The NAVY RECRUITER is lean and shrewd.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>I saw what they did, on our soil, and--<\/dialogue>\n    <character>NAVY RECRUITER<\/character>\n    <dialogue>And you're from Texas and you're a patriot so it pissed you off.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Yes, sir. But I can't see myself on a ship. I'd wanna be in the fight--<\/dialogue>\n    <character>NAVY RECRUITER<\/character>\n    <dialogue>You wanna fight? Meet the warrior elite.<\/dialogue>\n    <scene_description>He slides him a brochure-- \"NAVY SEALS\" emerge from the water, armed and bound for glory.<\/scene_description>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>SEALs?<\/dialogue>\n    <character>NAVY RECRUITER<\/character>\n    <dialogue>Sea, Air and Land.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I ain't much of a swimmer--<\/dialogue>\n    <character>NAVY RECRUITER<\/character>\n    <parenthetical>(taking brochure back)<\/parenthetical>\n    <dialogue>This isn't for the faint of heart. Most men wash-out. They quit--<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(cutting him off)<\/parenthetical>\n    <dialogue>I'm not most men, sir. I don't quit.<\/dialogue>\n    <scene_description>OMITTED OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NAVAL SPECIAL WARFARE CENTER \/ \"THE GRINDER\" - DAY<\/stage_direction>\n    <scene_description>CHRIS and 50 OTHER CANDIDATES lay on their backs doing flutter-kicks on a patch of blacktop surrounded by beige buildings. INSTRUCTORS wield hoses.<\/scene_description>\n    <character>INSTRUCTOR ROLLE<\/character>\n    <parenthetical>(sprays Chris in the face)<\/parenthetical>\n    <dialogue>You a quitter, boy?<\/dialogue>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>No, sir!<\/dialogue>\n    <character>INSTRUCTOR ROLLE<\/character>\n    <dialogue>Bullshit, you are fleet-meat. Don't turn away. Look up and take it. You're old as fuck. Did you join the Navy cause you had such a good time on Noah's Arc? How old are you?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>30, sir.<\/dialogue>\n    <character>INSTRUCTOR ROLLE<\/character>\n    <dialogue>30! You fart dust and could've fathered half these boys. You think cause you had a pop-gun back in Texas you're cut out to be a SEAL?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>No, sir.<\/dialogue>\n    <character>INSTRUCTOR ROLLE<\/character>\n    <dialogue>No, you're not cut out to be one?<\/dialogue>\n    <scene_description>Chris is twisted in agony and clearly dislikes the water.<\/scene_description>\n    <character>INSTRUCTOR ROLLE<\/character>\n    <dialogue>What kind of asshole joins the Navy but hates the water.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I love water, hooyah.<\/dialogue>\n    <character>INSTRUCTOR ROLLE<\/character>\n    <dialogue>My ass you do.<\/dialogue>\n    <scene_description>A CANDIDATE chokes a giggle. Rolle wheels around on-- RYAN JOB(24), a goofy, overweight Oregon kid who looks like he should be taking orders at a drive-thru window.<\/scene_description>\n    <character>INSTRUCTOR ROLLE<\/character>\n    <dialogue>Is that you giggling you fat fuck? Look at you. You're so fat they had to baptize you at Sea World. Your momma fat too?<\/dialogue>\n    <character>RYAN<\/character>\n    <dialogue>No sir, she's not.<\/dialogue>\n    <character>INSTRUCTOR ROLLE<\/character>\n    <dialogue>Don't lie to me! I bet we could use her panties as a parachute. What the fuck are you doing here fatboy? Do your feet get wet when you shower? When's the last time you saw your pecker? You're not a Seal, you're a fuckin Walrus. A big giggling Walrus. \"Biggles\" that's your new name--<\/dialogue>\n    <scene_description>\"BIGGLES\" is choking, coughing, struggling. ROLLE points to A BRASS BELL mounted on the back of a truck.<\/scene_description>\n    <character>INSTRUCTOR ROLLE<\/character>\n    <dialogue>--and that's your ticket home. Just drag your jelly-roll ass up and ring it and you'll be headed home to momma Shamu.<\/dialogue>\n    <scene_description>BIGGLES is beaten, legs giving out, ready to quit when--<\/scene_description>\n    <character>CHRIS (OC)<\/character>\n    <parenthetical>(draws Rolle off Biggles)<\/parenthetical>\n    <dialogue>Two hundred.<\/dialogue>\n    <character>INSTRUCTOR ROLLE<\/character>\n    <parenthetical>(whirls around, hosing)<\/parenthetical>\n    <dialogue>Did I ask you to count?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>No, sir.<\/dialogue>\n    <character>INSTRUCTOR ROLLE<\/character>\n    <dialogue>Was that your ass talking then?<\/dialogue>\n    <scene_description>THE BELL RINGS. Chris jerks up, worried it was Biggles but-- an ATHLETIC CANDIDATE staggers off.<\/scene_description>\n    <character>INSTRUCTOR ROLLE<\/character>\n    <dialogue>That's a quitter. If he quits here, he'll quit in battle. When shit gets hairy he can't step up. You get shot, he can't pull you out. We're gonna weed out the quitters and see if we can find a warrior or two.<\/dialogue>\n    <scene_description>Chris and Biggles share a look, a vow, as--<\/scene_description>\n    <character>INSTRUCTOR ROLLE<\/character>\n    <dialogue>Wave goodbye to the sun, boys...<\/dialogue>\n    <scene_description>OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH - \"SNAKE PIT\" - NIGHT<\/stage_direction>\n    <scene_description>A bonfire crackles atop a sand dune. CANDIDATES crouch in a pit they dug, hugging oars, shivering with hypothermia. CHRIS stands over the ditch, trying to make INSTRUCTORS laugh to earn a place by the fire beside BIGGLES.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>--and when I told her the condom broke she started crying and begging me to do something. And I'm a virgin, I don't know what to do, but I'd heard if you pour Coke up there you won't get pregnant--<\/dialogue>\n    <parenthetical>(guys start laughing)<\/parenthetical>\n    <dialogue>So we went to 7-11, got a liter of Coke and drove back into the woods. She took her panties off and did a handstand against a tree but when I start pouring, she starts screaming, \"it stings, it stings\" but when I'd stop, she'd scream \"no don't stop\" and it's fizzing out and--<\/dialogue>\n    <scene_description>INSTRUCTORS in stitches. Fire flickering off Chris' face.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. \"MUD FLATS\" - DAY<\/stage_direction>\n    <scene_description>Fog shrouds CANDIDATES COVERED IN MUD, seated belly-to- back, chattering and quaking, hypothermic. \"INSTRUCTOR TONY\"(34), a salty cholo, walks their line.<\/scene_description>\n    <character>INSTRUCTOR \"TONY\"<\/character>\n    <dialogue>You really from Connecticut, Dauber? I never met a hick from Hartford.<\/dialogue>\n    <scene_description>\"DAUBER\" is 6'4\" and 240 with a flop of yellow hair like the character from Coach. A sleepy Connecticut cowboy.<\/scene_description>\n    <character>DAUBER<\/character>\n    <dialogue>Country is countrywide, sir.<\/dialogue>\n    <character>INSTRUCTOR \"TONY\"<\/character>\n    <dialogue>I don't think he likes black dudes, \"D\".<\/dialogue>\n    <scene_description>\"D\" is African American, from Indiana, stoic and stacked. He has a rhythmic grumble and a meat-eater's glare.<\/scene_description>\n    <character>\"D\"<\/character>\n    <dialogue>That's alright, sir. I'm not black.<\/dialogue>\n    <character>INSTRUCTOR \"TONY\"<\/character>\n    <dialogue>No?<\/dialogue>\n    <character>\"D\"<\/character>\n    <dialogue>No, I'm new black. We run slow, jump low, swim good and shop at Gap. We make white folk proud then hose their ladies.<\/dialogue>\n    <scene_description>\"BIGGLES\" still giggles, but he's looking fit as they chip away everything that isn't a Navy Seal.<\/scene_description>\n    <character>INSTRUCTOR \"TONY\"<\/character>\n    <dialogue>You hungry Biggles? I'd bet you'd eat the ass out of a low-flying duck.<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>Hooyah. I'd toss that critter shitter on a baguette and get my eat on.<\/dialogue>\n    <scene_description>\"SQUIRREL\" is a San Clemente surfer kid, just tall enough to ride roller-coaster, with a jutty jaw.<\/scene_description>\n    <character>INSTRUCTOR \"TONY\"<\/character>\n    <parenthetical>(screams in his face)<\/parenthetical>\n    <dialogue>Squirrel! Where'd you hide your nuts?<\/dialogue>\n    <character>SQUIRREL<\/character>\n    <dialogue>Nuts crawled up inside. The little shits are gone for good.<\/dialogue>\n    <scene_description>\"CHRIS\" sits up front, covered in mud. His eyes burn steely blue, full of resolve. He's found himself here.<\/scene_description>\n    <character>INSTRUCTOR \"TONY\"<\/character>\n    <dialogue>How about you old man? How you feeling?<\/dialogue>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>Dangerous, sir. Feeling dangerous.<\/dialogue>\n    <scene_description>The boys send up a spirited \"HOOYAH\" and-- TONY looks them over with some small measure of approval.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH - SUNSET<\/stage_direction>\n    <scene_description>The INSTRUCTOR CADRE watches 32 CANDIDATES SWARM each other, howling and dog-piling at the end of hell-week. OMITTED OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MULONEY'S BAR - NIGHT<\/stage_direction>\n    <scene_description>A crowd watches the boys toss darts at a bulls-eye drawn on DAUBER'S naked back. At the bar, BIGGLES and CHRIS--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>I'm gonna try and get into sniper school.<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>Can you shoot?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I can hunt. And what's cooler than being a sniper?<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>Blowing shit up. Blowing shit up is way cooler.<\/dialogue>\n    <scene_description>A brunette steps to the bar. A sharp object with heavy eye-shadow and tight leather pants. This girl owns her sexuality but she's often been used for it. This is \"TAYA\". She is trying to ignore the advances of A SHORT NAVY GUY but he's relentless. Chris watches as (ECU)-- Taya's fingertips whiten, gripping her glass. Chris edges closer, she looks up, defensive-- but he just stands there, letting his protective presence be felt.<\/scene_description>\n    <character>DAPPER NAVY GUY (OC)<\/character>\n    <dialogue>Come on, just let me buy you a drink.<\/dialogue>\n    <character>TAYA<\/character>\n    <parenthetical>(end of her rope)<\/parenthetical>\n    <dialogue>Will a drink make you 6 inches taller and charming? Will it make you not married?<\/dialogue>\n    <character>DAPPER NAVY GUY<\/character>\n    <dialogue>I'm not--<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>I watched you take your ring off. Don't be a scumbag. Go home.<\/dialogue>\n    <scene_description>Navy Guy retreats. Taya sips her scotch, doesn't look up.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>It could be the leather pants.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>Yeah? What kind of pants does a girl have to wear to be left alone?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Corduroy.<\/dialogue>\n    <scene_description>She takes him in. Loose sweatshirt, no hair gel.<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>Is that how it is with you guys-- suddenly single after three beers?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Only thing that happens to me after three beers is a fourth.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>That's great. A real red-neck.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I'm no redneck, I'm a Texan.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>What's the difference?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>We ride horses, they ride their cousins.<\/dialogue>\n    <character>TAYA<\/character>\n    <parenthetical>(almost laughs)<\/parenthetical>\n    <dialogue>What do you do for work? You look like military.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I polish dolphins. They have to be polished in captivity or their skin disintegrates.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>Do I look stupid to you?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>To be honest, you look a little sad.<\/dialogue>\n    <scene_description>She's taken aback by his observation.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>So am I tall enough to buy you a drink?<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>Not until you tell me what you do.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>How about this: one shot, one answer.<\/dialogue>\n    <scene_description>Chris passes her a shot. She throws it back, fierce.<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>You're obviously military. What branch?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I'm just finishing BUD\/S.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>Are you kidding me? You're a SEAL?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>That was two questions...<\/dialogue>\n    <character>TAYA<\/character>\n    <parenthetical>(two angry shots)<\/parenthetical>\n    <dialogue>I know all about you guys. My sister was engaged to a SEAL.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>What's that mean you know all about us?<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>You're a bunch of arrogant, self-centered pricks who think you can lie and do whatever the fuck you want.<\/dialogue>\n    <parenthetical>(pushes him a shot)<\/parenthetical>\n    <dialogue>I'd never date a SEAL.<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>How can you say we're self-centered? I'd lay down my life for my country.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Cause it's the greatest country on earth and I believe it's worth protecting.<\/dialogue>\n    <parenthetical>(climbs off stool)<\/parenthetical>\n    <dialogue>I'm sorry this guy hurt your sister but that's not me. Nice talking to you.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>Where are you going?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>You said you'd never date a SEAL, so I'm going home.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>I said I'd never marry one.<\/dialogue>\n    <scene_description>It's a lie and they both know it.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Well in that case... what's your name?<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>Taya.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Nice to meet you, Taya. I'm Chris Kyle.<\/dialogue>\n    <character>TAYA<\/character>\n    <parenthetical>(liquor softening her)<\/parenthetical>\n    <dialogue>Pretty egotistical of you to think you can protect us all, isn't it Chris?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Our instructors say our biggest enemies are ego, liquor, and women.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>Sounds like you're under attack.<\/dialogue>\n    <scene_description>She levels a look and downs another shot--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MULRONEY'S BAR, PARKING LOT - LATER<\/stage_direction>\n    <scene_description>Mist rolls in. Chris holds Taya's hair as she pukes. She takes a deep breath, wipes her mouth--<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>--I'm not going home with you so don't even think about it.<\/dialogue>\n    <scene_description>She smiles, then turns to puke again--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RANGE - \"SNIPER SCHOOL\" - CAMP BILLY MACHEN - DAY<\/stage_direction>\n    <scene_description>An arid range with human-shaped targets. PETTY OFFICER TOSH (Irish\/Japanese, nasty) walks past prone students.<\/scene_description>\n    <character>PO TOSH<\/character>\n    <dialogue>Feel breath filling every cell of your body. This is our ritual. We master our breath, we master our mind---<\/dialogue>\n    <scene_description>FIND CHRIS on .300 Win-Mag. Both eyes open. Dip packed. Deep breaths. His finger taking up the trigger-slack.<\/scene_description>\n    <character>PO TOSH<\/character>\n    <dialogue>--pulling the trigger will become an unconscious effort. You will be aware of it but not directing it. And as you exhale, find your natural respiratory pause and the space between heart-beats.<\/dialogue>\n    <scene_description>Chris exhales, pauses, strokes-- BAM!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOCTOR'S OFFICE<\/stage_direction>\n    <scene_description>A ZOLOFT BROCHURE shows smiling faces. TAYA wears a suit- skirt and tries to mimic the esprit of the brochure. She leaves a box of samples with the RECEPTIONIST but her smile fades as she pulls her trolley to the door--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAYA'S CONDO - DAY<\/stage_direction>\n    <scene_description>Blades of light leak through closed blinds. Taya hides under blankets on the sofa. PHONE RINGS, goes to message:<\/scene_description>\n    <character>CHRIS (OS)<\/character>\n    <dialogue>It's me again. The guy whose shoes you puked on? I was thinking maybe you didn't get my last message. Or the one before that. So, I figured--<\/dialogue>\n    <scene_description>She snatches up the phone--<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>You figured what?<\/dialogue>\n    <scene_description>--looking for a reason not to be alone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RANGE - CAMP BILLY MACHEN - DAY<\/stage_direction>\n    <scene_description>ON CHRIS, both eyes open looking downrange.<\/scene_description>\n    <character>PO TOSH (OC)<\/character>\n    <dialogue>Aim small, miss small. If you aim for his shirt button, you might miss by two inches. If you aim for his shirt, you miss by two feet.<\/dialogue>\n    <parenthetical>(over Chris, raises binocs)<\/parenthetical>\n    <dialogue>You better close those groupings, Kyle.<\/dialogue>\n    <scene_description>Chris chases his breath, trying to focus, but--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OCEANSIDE PIER - DUSK<\/stage_direction>\n    <scene_description>PAN ACROSS a \"target shoot\" game to a bench overlooking surf. CHRIS and TAYA sit with a GIANT TEDDY BEAR.<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>Did you always want to be a soldier?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I wanted to be a cowboy-- but I did that and I felt like I was meant for more.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>So you started rescuing girls from bars?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I rescued that bar from you.<\/dialogue>\n    <scene_description>She smiles at his sweetness.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Do you like country music?<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>Only when I'm depressed.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>You want kids?<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>Someday. My mom says I have a nose for picking the wrong men.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>That's a shitty thing to tell a girl.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>I've proven her right.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>But those wrong picks put you here. They made you who you are. And I like who you are.<\/dialogue>\n    <scene_description>The Ferris wheel casts its glow on them.<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>What happens when there's a real person on the other end of that gun?<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(uncertain)<\/parenthetical>\n    <dialogue>I don't know... I just pray I can do my job if that day comes.<\/dialogue>\n    <scene_description>It weighs on him. And she feels safe. BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>35A EXT. RANGE - CAMP BILLY MACHEN 35A<\/stage_direction>\n    <scene_description>PO TOSH (on spotting scope) stands over CHRIS. Mirage boils off the horizon at 35 degree angle, pushed by wind. BAM! Chris' shot hits the outer edge of target.<\/scene_description>\n    <character>PO TOSH<\/character>\n    <dialogue>Mirage is boiling at 35 degree angle.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Check. I'm dialed for windage.<\/dialogue>\n    <character>PO TOSH<\/character>\n    <dialogue>Hold right-four, up-two.<\/dialogue>\n    <scene_description>BAM! He misses. It spits dirt. Not even close.<\/scene_description>\n    <character>PO TOSH<\/character>\n    <dialogue>Are we looking at the same target?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAYA'S CONDO - NIGHT<\/stage_direction>\n    <scene_description>CHRIS sits on the couch, anxious, until TAYA appears in the hall in lingerie. She slinks closer, straddling him, determined to blow his mind but--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>You're trembling...<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>I know. I don't...<\/dialogue>\n    <scene_description>She finds his eyes. Finds her breath.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>We don't have to do this...<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>I want to. I do...<\/dialogue>\n    <scene_description>He gently lifts her up and lays her across the couch.<\/scene_description>\n    <character>ANOTHER ANGLE<\/character>\n    <dialogue>Soft light on pale bodies. Taya writhes with impatient longing but Chris' steady hand forces her into the present. She's swept up, eyes filling with tears as he eases into her-- she gasps and arcs and draws him deeper.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>36A EXT. RANGE - CAMP BILLY MACHEN 36A<\/stage_direction>\n    <scene_description>PO TOSH stands over CHRIS, fed up now.<\/scene_description>\n    <character>PO TOSH<\/character>\n    <dialogue>You need to shut your off-eye.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>If I close my off-eye I can't see what's out there.<\/dialogue>\n    <character>PO TOSH (OC)<\/character>\n    <dialogue>There is nothing out there but a target.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Negative. There's something--<\/dialogue>\n    <character>CHRIS POV (BOTH EYES VIEW)<\/character>\n    <dialogue>The circular scope floats over the target. Left of scope, a SWATCH OF GRASS doesn't sway like the rest.<\/dialogue>\n    <character>PO TOSH<\/character>\n    <dialogue>Give me 50 push-ups. Clear and safe. Push 'em out.<\/dialogue>\n    <scene_description>The scope drifts left of target-- BAM! A RATTLESNAKE is flung through the air, blown to shit, 500 yards out.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>There it is.<\/dialogue>\n    <scene_description>He sets the rifle aside and starts cranking out push-ups. OMITTED OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - MORNING<\/stage_direction>\n    <scene_description>Ethereal white sheets. Two bodies lay like spoons. Chris WHISPERS SOMETHING. Taya closes her eyes. A beat--<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>You hardly even know me.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I know enough. You're a package deal, babe.<\/dialogue>\n    <scene_description>She stares at the wall.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>What are you afraid of?<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>Nothing. Everything. I don't know. What if it doesn't work out?<\/dialogue>\n    <scene_description>She moves to stand. He holds her put.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>I'm going to marry you, and we're going to start a family.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>You got it all planned out, don't you.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I love you. I'm done.<\/dialogue>\n    <character>TAYA<\/character>\n    <parenthetical>(crushed by his sincerity)<\/parenthetical>\n    <dialogue>Well... you're gonna need a ring if you want to talk all tough like that.<\/dialogue>\n    <scene_description>She accepts with a deep kiss and prances off with the sheet. He smiles and falls back onto the bed. The curtains dance in the morning light. Then--<\/scene_description>\n    <character>TAYA (OS)<\/character>\n    <dialogue>Oh my god! No! Chris--<\/dialogue>\n    <scene_description>Chris bounds up, running into the next room. Taya stands in front of the television. They both watch as-- ON TV NEWS: THE SECOND PLANE hits the World Trade Center. It steals their breath. Chris hugs her close, trying to shield her from it. His shock bleeds to rage. OMITTED 40A OMITTED 40A OMITTED OMITTED OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DANCE FLOOR, RENT-A-YATCH - LATER<\/stage_direction>\n    <scene_description>The storm closing in. CHRIS two-steps TAYA around the dance floor to Van Morrison's romantic \"Someone Like You.\" Chris looks boyish and dapper and Taya is flush with beauty and promise. The moment is quietly sincere with the entire WEDDING PARTY watching when--<\/scene_description>\n    <character>TAYA<\/character>\n    <parenthetical>(her hand smudged with paint)<\/parenthetical>\n    <dialogue>What the hell is on your neck?<\/dialogue>\n    <scene_description>She pulls at his collar to reveal GREEN SPRAY-PAINT upside his neck.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Would you believe me if I told you I was painted green and on an IV two hours ago?<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>What do you--<\/dialogue>\n    <scene_description>Then she sees BIGGLES, DAUBER, \"D\" and SQUIRREL rolling with laughter at the bar, and remembers who she married.<\/scene_description>\n    <character>CHRIS<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>Package deal babe.<\/dialogue>\n    <scene_description>He dances her away from them and pulls his jacket aside, flashing his boys the Trident pinned to his chest. AT THE BAR TONY bowls up; once their instructor, now their Chief.<\/scene_description>\n    <character>\"D\"<\/character>\n    <dialogue>What's the word, Chief?<\/dialogue>\n    <character>TONY<\/character>\n    <parenthetical>(looks them over)<\/parenthetical>\n    <dialogue>It's on boys. Just got the call.<\/dialogue>\n    <scene_description>They hoist their drinks, barking approval, \"HOOYAH!\" ON DANCE FLOOR Taya sees the nod from Biggles to Chris, we're going. She tenses up in his arms, her feet growing heavy.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>They say it'll be over in 6 weeks.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>I'm so afraid.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Don't be afraid. It's all part of the plan.<\/dialogue>\n    <scene_description>He pulls her close, HIS EYES FIXED on someone else--<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>Your heart is beating out of your chest.<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(nods, looking past her)<\/parenthetical>\n    <dialogue>I'm not the only one going to war.<\/dialogue>\n    <scene_description>JEFF KYLE stands on the rail in MARINE DRESS UNIFORM.<\/scene_description>\n    <character>CAKE CUTTING - EVENING<\/character>\n    <dialogue>The boat rocks on choppy water. Taya dabs cake on Chris's nose and they kiss. THE BOOM of distant fireworks is followed by AIR-RAID SIRENS as shock &amp; awe hit Baghdad.<\/dialogue>\n    <scene_description>CUT TO BLACK.: CHYRON: \"OPERATION PHANTOM FURY: 2nd BATTLE OF FALLUJAH\"<\/scene_description>\n    <character>MARC LEE (PRE-LAP)<\/character>\n    <dialogue>Welcome to Fallujah. The new wild west of the old middle east.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. M-113 ARMORED PERSONNEL CARRIER, FALLUJAH - DAY<\/stage_direction>\n    <scene_description>SOLDIERS sit elbow to elbow. 6 SEAL SNIPERS and A SQUAD OF MARINES to watch their backs. CHRIS tucks the little blue Bible and American flag and into his webbing then removes his wedding band, hanging it from his necklace. MARC LEE AO2 (26) is a poster-boy Navy Seal, soulful and handsome. He glows like a halo in a river full of shit.<\/scene_description>\n    <character>MARC LEE<\/character>\n    <dialogue>AQI have put a price on your heads and extremists from around the globe are flooding the borders to collect on it.<\/dialogue>\n    <scene_description>The rig hits a pothole and faces clench expecting an IED.<\/scene_description>\n    <character>MARC LEE<\/character>\n    <dialogue>You snipers will be paired with a man to watch your back and inserted along the main road to do \"overwatch\" for 1st Marines going door to door. Your job is to protect those Marines at all costs.<\/dialogue>\n    <scene_description>The truck battles to a stop.<\/scene_description>\n    <character>MARC LEE<\/character>\n    <dialogue>The city was evacuated. Any military-aged male still here, is here to kill you. Let's bring these boys in safe and get our asses back home. Move--<\/dialogue>\n    <scene_description>The hatch falls open--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOSPITAL, NORTHERN BRIDGE, FALLUJAH<\/stage_direction>\n    <scene_description>A gunmetal sky. The staccato pop of GUNFIRE in the distance. SNIPERS and SUPPORT cross an orchard. CHRIS walks upright. The Marine paired with Chris is a mouthy Arkansas boy, \"WINSTON\", skitters tree to tree.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Keep your head down, Tex. The Muj' got snipers too.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>A sniper won't aim for your head.<\/dialogue>\n    <scene_description>A DOZEN MARINES are posted outside an apartment complex.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>They got this sniper that's been hitting headshots from 500 yards out--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT COMPLEX<\/stage_direction>\n    <scene_description>An open atrium eight stories tall. CHRIS and WINSTON walk past a giant pile of furniture and debris tossed down.<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>--they call him \"Mustafa.\" He was in the Olympics.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>They got sniping in the Olympics now?<\/dialogue>\n    <scene_description>They start up the stairs. 46A OMITTED 46A<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT, SIXTH FLOOR<\/stage_direction>\n    <scene_description>Chris walks from APARTMENT TO APARTMENT, some vandalized, others untouched, checking sight-lines out windows.<\/scene_description>\n    <character>WINSTON<\/character>\n    <parenthetical>(trailing Chris)<\/parenthetical>\n    <dialogue>What're we looking for?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>You ever hunt?<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>I ain't that kind of red-neck.<\/dialogue>\n    <scene_description>He unzips and peels off into the bathroom.<\/scene_description>\n    <character>WINSTON (OS)<\/character>\n    <dialogue>Fuck, fuck--<\/dialogue>\n    <scene_description>WINSTON FIRES TWO ROUNDS in the bathroom. Chris pulls a Springfield .45 as--<\/scene_description>\n    <character>A GOAT<\/character>\n    <dialogue>Bounds out of the bathroom, runs out the apartment door and leaps OVER THE RAILING, falling six floors.<\/dialogue>\n    <character>RAILING<\/character>\n    <dialogue>CHRIS and WINSTON look down to the lobby, where Marines stand around the DEAD GOAT.<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>You just got your first kill, Goat.<\/dialogue>\n    <scene_description>\"GOAT\" (not Winston) will be his name from here out.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>I'm going to the roof. You stay here and be on the lookout for farm animals.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOP\/ SNIPER NEST - DAY<\/stage_direction>\n    <scene_description>Under a corrugated piece of steel, a ritual unfolds-- Chris packs a dip. He lays out his Bible and flag. Loads bullets in a wrist-sheath. Starts to marshal his breath. Time slows as he lowers his eye to the glass. (NOTE: we are back to the beginning of the film.)<\/scene_description>\n    <character>CHRIS SCOPE POV<\/character>\n    <dialogue>TRACK ACROSS bombed-out buildings, twisted metal and golden-domed mosques. Ragged curtains flutter out a window. Cat-tails on the river sway the same direction.<\/dialogue>\n    <dialogue>SFX: A LOW FREQUENCY BUZZ escalates over picture as his concentration deepens. Cross-hairs land on--<\/dialogue>\n    <dialogue>A MAN ON CELL PHONE watches the convoy from a rooftop.<\/dialogue>\n    <character>CHRIS KYLE<\/character>\n    <parenthetical>(keys mike)<\/parenthetical>\n    <dialogue>I got a military-aged male, on a cell phone, watching the convoy. Over.<\/dialogue>\n    <character>COMMANDING OFFICER (OS)<\/character>\n    <dialogue>If he's reporting troop movement you have a green-light. Your call. Over.<\/dialogue>\n    <scene_description>MAN ON CELL studies the convoy, his hair tossed by wind. CROSS-HAIR push left of target, compensating for windage. SFX: Chris takes a deep inhale, holds it, then expels. His finger is taking up trigger-slack when MAN ON CELL dips his shoulder, hangs up and steps away.<\/scene_description>\n    <character>CHRIS KYLE<\/character>\n    <parenthetical>(keys mike)<\/parenthetical>\n    <dialogue>He stepped off.<\/dialogue>\n    <scene_description>Chris sucks air. Close. The ambient world floods back in. Barked orders, diesel engines and-- A WOMAN AND KID exit the same structure. They're headed up the sidewalk but cut sharply into the street.<\/scene_description>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>Hold up. I got a woman and a kid, moving toward the convoy.<\/dialogue>\n    <scene_description>(ECU)-- The woman cradles something beneath her robes.<\/scene_description>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>Her arms aren't swinging. She's carrying something.<\/dialogue>\n    <scene_description>CROSS-HAIRS ON WOMAN as she pulls a cylindrical object.<\/scene_description>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>She just pulled a grenade. An RKG Russian grenade. I think she gave it to the kid.<\/dialogue>\n    <character>COMMANDING OFFICER (OS)<\/character>\n    <dialogue>--you say a woman and kid?<\/dialogue>\n    <scene_description>SFX: his heart-beat, THUMP-THUMP THUMP-THUMP THUMP-THUMP.<\/scene_description>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>You got eyes on this? Can you confirm? Over.<\/dialogue>\n    <character>COMMANDING OFFICER (OS)<\/character>\n    <dialogue>Negative. You know the ROEs. Your call.<\/dialogue>\n    <character>GOAT (OC)<\/character>\n    <dialogue>They fry you if you're wrong. Send your ass to Leavenworth.<\/dialogue>\n    <scene_description>THE KID moves toward the convoy with the grenade.<\/scene_description>\n    <character>CHRIS KYLE (OC)<\/character>\n    <dialogue>Fuck--<\/dialogue>\n    <scene_description>MOTHER motions him to hurry along (ECU)-- her robes flutter, trash blows in the street, the dust off her son's footsteps; all blowing the same direction. THE KID sprints toward the Marines. IN THE STREET YOUNG MARINES. Wading into war. Boots scuffing dirt. CLOSE ON CHRIS His eyes water with focus, his exhale hisses from tobacco- stained teeth. Breathe it down. He struggles to get calm. SFX: THUMP-THUMP THUMP-THUMP THUMP-- CROSS-HAIRS left of the running target, leading him, compensating for a dozen different considerations as-- He pauses upon exhale. The world goes quiet. Landscape pulses with color and focus. He stokes the trigger and-- THE BULLET Leaps from the barrel. Cracks like a whip. The .300 round hurls forward, glinting as it enters the flesh of-- CLOSE ON CHRIS He winces, sickened, and struggling to swallow the little piece of him that just died.<\/scene_description>\n    <character>GOAT (OC)<\/character>\n    <dialogue>-Fuck that was gnarly.<\/dialogue>\n    <scene_description>CHRIS SCOPE POV MOTHER flees down sidewalk, robes aflutter. CROSS-HAIRS lead her. BAM. It pocks wall behind her. A round ejects. CROSS-HAIRS swing forward, leads her more. BAM. She runs into scope, reaches center, meets bullet. A red mist.<\/scene_description>\n    <character>GOAT (OC)<\/character>\n    <dialogue>Shit yeah. Evil bitch!<\/dialogue>\n    <character>COMMANDING OFFICER (OS)<\/character>\n    <dialogue>Nice shooting, Tex. Helluva call.<\/dialogue>\n    <character>COMPANY COMMANDER (OS)<\/character>\n    <dialogue>Roger that. Good lookin' out Navy.<\/dialogue>\n    <character>GOAT<\/character>\n    <dialogue>You hear that?<\/dialogue>\n    <scene_description>He nudges Chris, trying to get a celebration out of him--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Get the fuck off me.<\/dialogue>\n    <scene_description>This is the reality of war. Not like he anticipated.<\/scene_description>\n    <character>CLOSE ON CHRIS<\/character>\n    <dialogue>Breath racing. Bleeding sweat. Trying to process his disgust. Trying to inject some purpose, mumbling: Protect the Marines. Protect the Marines. Protect...<\/dialogue>\n    <dialogue>Clouds crawl over Chris like ghosts, swirling feverishly as HOURS SLIDE BY. His face takes on a preternatural blankness as he begins to slip into the shadows of self.<\/dialogue>\n    <dialogue>Suddenly-- clouds halt, pupils flare, chest inflates.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ELIZABETH STREET - SAME<\/stage_direction>\n    <scene_description>Sun flares as MARC LEE advances alongside 1ST PLATOON MARINES (40 men) when-- A SHOT SOUNDS. A BODY TUMBLES out of the sky and lands in their midst with a meaty thud.<\/scene_description>\n    <character>1ST MARINE #1<\/character>\n    <dialogue>-Fuck, man! What the hell--<\/dialogue>\n    <scene_description>The Marines duck for cover then look to the sky--<\/scene_description>\n    <character>1ST MARINE #2<\/character>\n    <dialogue>-Where'd it come from?<\/dialogue>\n    <character>MARC LEE<\/character>\n    <dialogue>That's your overwatch, Einstein. You can thank him later. Keep moving.<\/dialogue>\n    <scene_description>Marines slowly return to standing, glancing up at surrounding structures trying to spot their protector.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WINDOW - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Chris lays atop a baby crib. A scrim hangs in front of him. Sunlight burns through it, casting a thousand pinpricks of light across his face. SUN MARCHES ACROSS the sky and pixels twist over his cataleptic shape. Suddenly-- sun halts, chest inflates, eyes flare.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STREET - SAME<\/stage_direction>\n    <scene_description>A CAR SPEEDS toward 1ST PLATOON. MARINES open fire with the feeble POP-POP of M4s. The car still coming-- A SNIPER SHOT BOOMS across the sky like thunder. The windshield spiders, blood splattered, and the car stops. As Marines search rooftops for him-- THE CAR EXPLODES.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOOTED ROOM, ELIZABETH STREET - EVENING<\/stage_direction>\n    <scene_description>CHRIS plants a loop-hole charge at the base of the wall and steps around the corner to trigger the charge. CUT BETWEEN:<\/scene_description>\n    <character>INT. HALLWAY, DOWN ELIZABETH STREET - SAME<\/character>\n    <dialogue>Black robes draw across mosaic tiles as \"PHANTOM SNIPER\" slips down a hallway. A Dragunov Sniper Rifle over shoulder, he hears the loop-hole charge detonate nearby and turns, entering a tiled washroom to his left.<\/dialogue>\n    <dialogue>This is \"MUSTAFA\".<\/dialogue>\n    <character>LOOTED ROOM \/ CHRIS<\/character>\n    <dialogue>CHRIS lays his kit in front of the blast-hole: gun, flag, Bible. Packs a dip, elbows meet cement, eye meets glass--<\/dialogue>\n    <character>WASHROOM \/ MUSTAFA<\/character>\n    <dialogue>MUSTAFA lays in front of a mortar-hole. In a leather satchel: ammo, oil, cell phones. His eye meets glass--<\/dialogue>\n    <character>LOOTED ROOM<\/character>\n    <dialogue>CHRIS finds his stillness. The instant he does-- SHADOWS CREEP over him and night swallows the room.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ELIZABETH STREET - NIGHT<\/stage_direction>\n    <scene_description>A palm tree burns like a candle over Fallujah. Below it, head-lamps dance chaotic as VIPER TEAM MARINES exit a house spray-painting \"X\" on the gate.<\/scene_description>\n    <character>MARINE VIPER #1<\/character>\n    <dialogue>--hot as Bigfoot's ballsack over here.<\/dialogue>\n    <parenthetical>(knocks on next gate)<\/parenthetical>\n    <dialogue>Derka, derka, derka....<\/dialogue>\n    <scene_description>MARINE VIPERS laugh, bowling into a courtyard. CHRIS SCOPE POV (N\/V) Glowing green hue. CROSS-HAIRS track the Marines entry, sweep the street and push toward the rooftop, when-- A SHOT SOUNDS. A MARINE FALLS in a 2nd story window.<\/scene_description>\n    <character>MARINE VIPER #4 (OS)<\/character>\n    <parenthetical>(over radio)<\/parenthetical>\n    <dialogue>--Fuck! Man down! It came through the window--<\/dialogue>\n    <scene_description>CROSS-HAIRS whip across rooftops, on a swivel.<\/scene_description>\n    <character>CHRIS (OC)<\/character>\n    <dialogue>That was sniper fire. Shooter is on our side of Elizabeth street. Over.<\/dialogue>\n    <character>MARINE VIPER CO (OS)<\/character>\n    <dialogue>Negative. East side of Elizabeth is locked-down. Over.<\/dialogue>\n    <scene_description>Viper Marines drag the soldier out. In the phosphorous green glow, we watch his body tremor as he dies. SFX: CHRIS' ELEVATED HEARTBEAT pounds over scene as-- WASHROOM MUSTAFA flees down the hall. A fluttering shadow in darkness, except for the reflective swoosh on his Nikes. LOOTED ROOM Chris lays on the gun, brow pinched with onus, silence like a scream. This happened on my watch. CHRIS SCOPE POV (N\/V) CROSS-HAIRS TRACK across the city-scape. TIME LAPSES and the world (in scope) SPEEDS UP. Humvees and tanks streak past, lights blur, trees blow in choppy havoc, then-- TIME SLOWS to a crawl as CROSS-HAIRS FIND A MALE hurrying into a alley, pulling shit from a pack. We zero-in and-- a flame flickers. The male is smoking opium. CROSS-HAIRS drift off him and TIME SPEEDS UP, dogs eat a rotting body by the roadside, vicious in fast motion. TWO WOMEN wobble down the road with buckets, wind whips roadside grass into a tizzy and WE HALT ON-- CROSS-HAIRS ON A PERFECT CIRCLE in the grass, a rifle- barrel? Stay on it. In stillness it finds context; a RUSTY PIPE. TIME SPEEDS FORWARD, TWO BOYS zip by on a Vespa, OLD MEN frantically bow to mecca on rooftops. Clouds boil across dawn sky. His eye never leaves glass.<\/scene_description>\n    <character>MARC LEE<\/character>\n    <dialogue>Smells like piss in here.<\/dialogue>\n    <parenthetical>(no response)<\/parenthetical>\n    <dialogue>You covered our ass out there, man. Appreciate it. Those were ballsy shots.<\/dialogue>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>And they were clean. Right?<\/dialogue>\n    <character>MARC LEE<\/character>\n    <dialogue>Hell yeah, they were.<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(finally looks up)<\/parenthetical>\n    <dialogue>That sniper walked right up our ass.<\/dialogue>\n    <character>MARC LEE<\/character>\n    <dialogue>I chewed out our security detail. It won't happen again.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>My shooter statements are on the dresser.<\/dialogue>\n    <scene_description>Marc Lee picks up a stack of YELLOW PAPERS on the desk.<\/scene_description>\n    <character>MARC LEE<\/character>\n    <dialogue>Six?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Should be eight. Two got dragged off.<\/dialogue>\n    <parenthetical>(off Marc)<\/parenthetical>\n    <dialogue>Something wrong?<\/dialogue>\n    <character>MARC LEE<\/character>\n    <dialogue>No... but you got more kills than the rest of the snipers combined.<\/dialogue>\n    <scene_description>Chris rubs red \"shooter's strawberries\" from his elbows.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>They still got one of our guys.<\/dialogue>\n    <character>MARC LEE<\/character>\n    <dialogue>You can't shoot what you can't see.<\/dialogue>\n    <scene_description>Marc's eyes land on piss-stained cement where Chris lay; this fucker didn't take his eye off the glass all night.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMP FALLUJAH -FORWARD OPERATING BASE(FOB)- EVENING<\/stage_direction>\n    <scene_description>Behind miles of wire, a twenty-acre BASE CAMP. Aluminum trailers, shithouses and tent farms. A Humvee pulls past--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHARLIE COMPANY BARRACKS, CAMP FALLUJAH - NIGHT<\/stage_direction>\n    <scene_description>Chris steps in, letting the air-conditioning blow down on him. Cots, lockers and cruise-boxes line the room. Biggles reads a PUNISHER graphic novel, doesn't look up.<\/scene_description>\n    <character>BIGGLES<\/character>\n    <dialogue>Heard you got your dick wet.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Where is everybody?<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>We're just picking our dicks here, training those fucking haji soldiers.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Why ain't you out there?<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>I got the shits. Marc Lee said you were on fuckin fire out there.<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(shedding gear)<\/parenthetical>\n    <dialogue>You still read comic books?<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>It's a fuckin graphic novel. Talk to me, man. Did you pop your cherry?<\/dialogue>\n    <scene_description>A heaviness falls over Chris, then slowly--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>This kid didn't even have hair on his balls and his mom hands him a grenade-- sends him running off to kill Marines.<\/dialogue>\n    <character>BIGGLES<\/character>\n    <parenthetical>(sees his hurt)<\/parenthetical>\n    <dialogue>You saw his balls?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>It was evil, man. That was hate like I've never seen it before.<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>That kid could've taken out ten Marines--<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(wrestling with it)<\/parenthetical>\n    <dialogue>I know.<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>You did your job. End of fuckin story.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>It's just not how you imagine the first one going down.<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>How about the other ones? What about the other kills?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>The other ones-- were righteous. Like God was blowing on my bullets.<\/dialogue>\n    <scene_description>He's joking but not. Biggles smiles, jealous. SNIPER SEQUENCE OVERWATCH CROSS-HAIRS land on INSURGENT WITH RIFLE; INSURGENT PEEPING three times; INSURGENT BURYING IEDs. BAM-BAM-BAM.<\/scene_description>\n    <character>ANOTHER SNIPER (OS)<\/character>\n    <dialogue>--that you again Kyle?<\/dialogue>\n    <scene_description>CROSS-HAIRS are moving, no answer follows. MARINE INTEL TRAILER Chris is covered in dust, sitting in a small chair facing two clean, well rested JAG OFFICERS.<\/scene_description>\n    <character>JAG OFFICER<\/character>\n    <dialogue>Our task here is to make sure every kill is a righteous kill and conforms to ROEs.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>By every kill, do you mean just our kills or you're monitoring the bad guys too?<\/dialogue>\n    <character>JAG OFFICER #2<\/character>\n    <dialogue>Your scores at sniper school were average at best, then you get here and you're just lighting the world on fire?<\/dialogue>\n    <scene_description>Chris opens a PLASTIC WATER BOTTLE, sips it, waits--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Sorry, was that a question?<\/dialogue>\n    <scene_description>OVERWATCH Chris takes over for a MARINE SNIPER in a window.<\/scene_description>\n    <character>MARINE SNIPER<\/character>\n    <dialogue>Haven't seen shit all day. Maybe the war is over and they forgot to tell us.<\/dialogue>\n    <scene_description>Chris settles in, still going through his ritual when AN INSURGENT crosses the street with CAR BATTERY and AK-47.<\/scene_description>\n    <character>CHRIS<\/character>\n    <parenthetical>(keys mike)<\/parenthetical>\n    <dialogue>I got a armed military-aged male moving tactically with a car battery. Maybe he needs a jump?<\/dialogue>\n    <character>COMMANDING OFFICER (OS)<\/character>\n    <parenthetical>(over radio)<\/parenthetical>\n    <dialogue>Negative. Bomb maker. Green-light.<\/dialogue>\n    <scene_description>Exhale, pause, pull. A SHOT RINGS OUT.<\/scene_description>\n    <character>MARINE SNIPER (OS)<\/character>\n    <parenthetical>(just offstage)<\/parenthetical>\n    <dialogue>--are you fucking serious?<\/dialogue>\n    <scene_description>MARINE INTEL TRAILER CHRIS scrunches that EMPTY WATER BOTTLE, gratingly, as JAG OFFICERS continue the interrogation:<\/scene_description>\n    <character>JAG OFFICER<\/character>\n    <dialogue>His wife said he was carrying a Koran.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Well, I don't know what a Koran looks like but I can describe what he was carrying-- it was pressed metal, fired 7.62s and looked just like an AK-47.<\/dialogue>\n    <scene_description>MESS HALL CHRIS, BIGGLES, D and DAUBER enter. Eyes find them, heads nodding to Chris, that the guy? Word spreading. Biggles sees it, hops up on a chair--<\/scene_description>\n    <character>BIGGLES<\/character>\n    <dialogue>Listen up ladies and genitals. The Legend here would like you to know that when it comes to sniping it's better to be lucky than good! Our boy here has a Texas horseshoe crammed so far up his ass that--<\/dialogue>\n    <scene_description>Chris flings a cafeteria tray at his head.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOP - DAWN<\/stage_direction>\n    <scene_description>In murky predawn light, CHRIS sits on a SATELLITE PHONE--<\/scene_description>\n    <character>TAYA (OS)<\/character>\n    <dialogue>Have you killed anyone yet?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>That's not how the call-home goes, babe.<\/dialogue>\n    <character>TAYA (OS)<\/character>\n    <dialogue>Don't be weird with me. Seriously. I want you to tell me everything.<\/dialogue>\n    <scene_description>Chris covers the phone as distant gunfire chatters. INTER-CUT WITH:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHRIS &amp; TAYA'S HOUSE, SAN DIEGO - SAME<\/stage_direction>\n    <scene_description>TAYA sits in front of a partially assembled baby-crib with a six month baby bump. She turns down the TV.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>There are things we can't say over the phone.<\/dialogue>\n    <character>TAYA<\/character>\n    <parenthetical>(playful)<\/parenthetical>\n    <dialogue>You knocked me up and now I'm stuck here by myself assembling baby-cribs and you can't talk to me? That's the big plan?<\/dialogue>\n    <scene_description>HIS CROSS-HAIRS track across a distant rooftop. Socks sway from a clothesline in a 5 knot breeze.<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>You guys almost done over there yet?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I can't stop thinking about that pink silky thing you wore on our honeymoon...<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>It's called a nightgown.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Yeah--<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>And three days is not a honeymoon.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>It was a good three days. I miss you bad.<\/dialogue>\n    <character>TAYA<\/character>\n    <parenthetical>(curls up in chair)<\/parenthetical>\n    <dialogue>You want me to talk dirty to you?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Yeah. But I got my gun in one hand and the phone in the other--<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>Well, you'll just have to decide what's more important.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>You're horny preggers.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>Fat and horny. It's kinda disgusting.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>You could be 300 pounds I'd still do you.<\/dialogue>\n    <scene_description>She's touched, hormonal, starts crying.<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>-So romantic.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>How's my boy?<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>Nobody said it's a boy--<\/dialogue>\n    <scene_description>CROSS-HAIRS TRACK INSURGENTS on the street; then linger on a parked car, measuring distance by height--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>I can't wait to see the way you are with him. You're gonna be incredible.<\/dialogue>\n    <character>TAYA<\/character>\n    <parenthetical>(harbors doubt)<\/parenthetical>\n    <dialogue>How do you know?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I just know. I can see it.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>I hope you're right.<\/dialogue>\n    <scene_description>Her face falls as-- TV NEWS shows the graphic of \"American Death Toll in Iraq.\" The number is 835.<\/scene_description>\n    <character>TAYA<\/character>\n    <parenthetical>(suddenly)<\/parenthetical>\n    <dialogue>Did your dad get hold of you?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I haven't checked any email.<\/dialogue>\n    <scene_description>CROSS-HAIRS follow insurgents as they slip out of view.<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>Shit. You need to call him. Hang up and--<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>I'm so selfish. I wasn't even thinking--<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Taya.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>Your little brother deployed.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>What happened to jump school? I thought--<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>He didn't get in. Just call your dad--<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Deployed where? Where's he going?<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>Over there. He's headed to Iraq.<\/dialogue>\n    <scene_description>The news ricochets around inside him like razor blades. TRANSITION TO: FIVE MEN IN BALACLAVAS stand over an AMERICAN HOSTAGE in an orange jumpsuit. The thick Jihadist leader draws a machete to behead his hostage. VIDEO PAUSES.<\/scene_description>\n    <character>COL. GRONSKI (OC)<\/character>\n    <dialogue>The man with the blade is a Jordanian radical funded by Bin Laden, trained by Bin Laden and loyal to Bin Laden.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OP BRIEF TENT - DAWN<\/stage_direction>\n    <scene_description>COLONEL GRONSKI is an old-school bulldozer. 75 Marines study an OLD PHOTO OF AL-ZARQAWI, bushy black eyebrows.<\/scene_description>\n    <character>COL. GRONSKI<\/character>\n    <dialogue>His name is \"Zarqawi\" and he is the prince of al-Qaeda in Iraq. AQI, his mercenary army, are 5000 strong. They're trained well, paid well and waging the heaviest urban combat since Vietnam.<\/dialogue>\n    <scene_description>FIND CHRIS in back, scanning heads for his brother Jeff.<\/scene_description>\n    <character>COL. GRONSKI<\/character>\n    <dialogue>Zarqawi and his Lieutenants are our highest priority. Only way to root them out is to go house-to-house until we find them, or someone who will reveal their whereabouts. We need to clear ten structures an hour. It's aggressive so we'll loosen things up with air support--<\/dialogue>\n    <scene_description>Chris looks to Marc Lee, ten structures an hour?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMP FALLUJAH - MORNING<\/stage_direction>\n    <scene_description>The sun hangs like a blood-clot in the sky. Chris and Marc Lee are walking, TALKING LOW--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>These Marines rush in like they been doing, they'll get their asses shot off.<\/dialogue>\n    <character>MARC LEE<\/character>\n    <dialogue>They're Marines. They don't get the training we do. Half of them were civilians six months ago.<\/dialogue>\n    <scene_description>Chris reacts, hearing him describing Jeff.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>So let's coach them up. I'll show them how Team Guys do it and lead a unit in the street.<\/dialogue>\n    <character>MARC LEE<\/character>\n    <dialogue>Can't do. We need you on overwatch.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>But if I was down in the street--<\/dialogue>\n    <character>MARC LEE<\/character>\n    <dialogue>House-to-house is the deadliest job here. You got some kind of savior complex?<\/dialogue>\n    <scene_description>Maybe.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>I just wanna get the bad guys. And I can't shoot them if I can't see 'em.<\/dialogue>\n    <character>MARC LEE<\/character>\n    <dialogue>You got a hot hand. These Marines all know your name now and they think they're invincible with you up there.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>They're not--<\/dialogue>\n    <character>MARC LEE<\/character>\n    <dialogue>They are if they believe they are. Just keep banging on the long-gun and let these ground-pounders sniff out Zarqawi.<\/dialogue>\n    <scene_description>Marc walks off leaving Chris biting at a shamal wind. CUT TO: AN F-18 RIPS OVERHEAD firing 500lb JDAMs into the next block. Smoke and dust billow outward--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOFTOP<\/stage_direction>\n    <scene_description>Under a fluttering canopy, CHRIS lays on the gun, cursing zero visibility. GOAT camps nearby, on a GameBoy.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>You said that AQI sniper was in the Olympics-- but Iraq hasn't qualified a shooter in the last three games.<\/dialogue>\n    <character>GOAT<\/character>\n    <dialogue>Mustafa's not Iraqi. He's from Syria.<\/dialogue>\n    <scene_description>Chris steals a glance at him, processing this as--<\/scene_description>\n    <character>CHRIS SCOPE POV<\/character>\n    <dialogue>KILO COMPANY MARINES JOG to a pink house with windows boarded up. One of the Marines looks like Jeff Kyle.<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(keys mike)<\/parenthetical>\n    <dialogue>Once you make entry I can't see shit, so keep it slow and push through the target.<\/dialogue>\n    <scene_description>\"Jeff Marine\" sets a charge, turns-- not Jeff. The door blows off. Marines rush in. GUNFIRE POPS. Marines rush back out, dragging a WOUNDED MARINE.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Fuck this-- I'm going down to clear houses with the Marines. You coming?<\/dialogue>\n    <character>GOAT<\/character>\n    <dialogue>No man. No. I like my life. I wanna make it home. I go fishing and do all kind of cool shit. It's not my job to knock down doors. Those guys picked the wrong fucking job. I ain't doing that shit.<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>If I don't see you down there, you make sure I don't see you again.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STREET, SOLDIER'S DISTRICT - MINUTES LATER<\/stage_direction>\n    <scene_description>KILO COMPANY firing on the structure. \"CPT. GILLESPIE\" (smart, sunburned) is shouting \"hold your fire\" as--<\/scene_description>\n    <character>CHRIS<\/character>\n    <parenthetical>(bowls up)<\/parenthetical>\n    <dialogue>You wanna be a sniper? Swap me guns.<\/dialogue>\n    <character>\"JEFF\" MARINE<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I'll roll with you guys if that's cool?<\/dialogue>\n    <character>CPT. GILLESPIE<\/character>\n    <dialogue>Hey, any Navy Seal is cool by me.<\/dialogue>\n    <scene_description>\"THOMPSON\" (big, wobbly voice) nods, lugging an M240G.<\/scene_description>\n    <character>THOMPSON<\/character>\n    <dialogue>You're that guy. They're calling you The Legend. You got like 24 confirmed kills.<\/dialogue>\n    <scene_description>He recognizes his way to gain entry, so he plays it up.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>It's 32. But who's counting.<\/dialogue>\n    <character>THOMPSON<\/character>\n    <dialogue>That's badass.<\/dialogue>\n    <scene_description>\"SANCHEZ\" (neck tattoos, Catholic) chimes in.<\/scene_description>\n    <character>SANCHEZ<\/character>\n    <dialogue>There's some boy in Bravo catching up.<\/dialogue>\n    <character>CHRIS KYLE<\/character>\n    <parenthetical>(packs a dip)<\/parenthetical>\n    <dialogue>Y'all are meateaters for sure but I got a little training I could show you, some simple shit, that might just keep us above ground. What do you say?<\/dialogue>\n    <scene_description>His need to protect cloaked beneath cool cowboy calm. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MICHIGAN STREET - OUTSIDE THE WIRE - DAY<\/stage_direction>\n    <scene_description>KILO COMPANY are doing house-to-house. On the job training. Tension high, they're bunched around a doorway. CHRIS motions them back, not so close, sets a charge--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE, DAY<\/stage_direction>\n    <scene_description>BOOM!-- KILO COMPANY ENTER a house with chandeliers and regal armoires. They clear the room, CHRIS teaching them how to move together, giving hand signals.<\/scene_description>\n    <character>SANCHEZ<\/character>\n    <parenthetical>(low)<\/parenthetical>\n    <dialogue>-Whas that mean again?<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>Cover and follow.<\/dialogue>\n    <scene_description>He follows Chris into a room with sofas, exotic rugs and-- A KID(12) stands across the room with dark eyes and pronounced forehead, staring at Chris.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Down. Down! On the floor, now!<\/dialogue>\n    <scene_description>THE KID is rocking on his heels like he's going to run.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>I will fucking shoot you! Down! Get down--<\/dialogue>\n    <character>FATHER OF KID (OS)<\/character>\n    <dialogue>No, please--<\/dialogue>\n    <scene_description>THE FATHER runs in, tall and bearded. Gillespie clocks him and he drops. The Kid screams like he's deaf.<\/scene_description>\n    <character>FATHER OF KID<\/character>\n    <parenthetical>(from the floor)<\/parenthetical>\n    <dialogue>Please! He can't understand. Look at him--<\/dialogue>\n    <character>GILLESPIE<\/character>\n    <dialogue>He does look a little retarded.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>You were ordered to evacuate. Why are you still here?<\/dialogue>\n    <character>FATHER OF KID<\/character>\n    <dialogue>This is our home. I won't give it to them. Or to you.<\/dialogue>\n    <scene_description>SANCHEZ pushes THREE WOMEN (in berkas) into the room.<\/scene_description>\n    <character>SANCHEZ<\/character>\n    <dialogue>I found these bitches in the back closet.<\/dialogue>\n    <character>FATHER OF KID<\/character>\n    <dialogue>I'm Sheikh al-Obeidi. You are my guest but please tell the others to come inside. If they are in the street he will know we have spoken.<\/dialogue>\n    <character>SANCHEZ<\/character>\n    <dialogue>This sand nig' want us in here so he can blow us up. Check his ass for a vest.<\/dialogue>\n    <scene_description>A KETTLE whistles in the kitchen. Guns still trained.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Who will know we've spoken?<\/dialogue>\n    <character>SHEIK AL-OBEIDI\/FATHER<\/character>\n    <dialogue>Your enemy is mine enemy. We share this. You understand?<\/dialogue>\n    <scene_description>Chris studies the women, and lowers his gun.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Bring the other guys in.<\/dialogue>\n    <scene_description>TIME CUT - LATER Chris and Gillespie sit with \"SHEIK AL-OBEIDI\" while the kid (\"OMAR\") plays with his father's hair.<\/scene_description>\n    <character>SHEIKH AL-OBEIDI<\/character>\n    <dialogue>If we talk to US soldiers he will come to our home and make examples of us--<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Who is he? I need a name.<\/dialogue>\n    <scene_description>The Marine Interpreter aka \"TERP\" (20s, in mismatched camo, face bandanna) repeats the question.<\/scene_description>\n    <character>SHEIKH AL-OBEIDI<\/character>\n    <dialogue>The man who comes we call The Butcher. He is the despaired one, son of Shaytan--<\/dialogue>\n    <scene_description>Sheik mumbles in Arabic, fearing the words on his tongue.<\/scene_description>\n    <character>TERP<\/character>\n    <dialogue>He calls him - the pure flame of fire- . Basically, this man comes to their house and prey on the weak with hurt.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>So he's some kind of enforcer?<\/dialogue>\n    <character>SHEIKH AL-OBEIDI<\/character>\n    <dialogue>Enforcer. Yes. Top soldier of Zarqawi.<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(jumps)<\/parenthetical>\n    <dialogue>We want Zarqawi. Where do we find Zarqawi?<\/dialogue>\n    <scene_description>OMAR CACKLES like a crow, playing peeking games.<\/scene_description>\n    <character>SHEIKH AL-OBEIDI<\/character>\n    <dialogue>If you find The Butcher you will see he reports direct to Zarqawi each day.<\/dialogue>\n    <scene_description>An F-18 rips overhead. RADIO CHATTER. THOMPSON steps out--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>How do we find him?<\/dialogue>\n    <character>SHEIKH AL-OBEIDI<\/character>\n    <dialogue>You must understand the risk to us.<\/dialogue>\n    <character>TERP<\/character>\n    <dialogue>He will ask for money.<\/dialogue>\n    <character>SHEIKH AL-OBEIDI<\/character>\n    <dialogue>We need one hundred thousand US dollars.<\/dialogue>\n    <scene_description>THE BOOM of distant ordinance shakes the structure.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>We don't even have proof this guy exists.<\/dialogue>\n    <scene_description>The Sheik grabs his wife, pulls her arm from her robe-- her hand has been hacked off, the stump healing.<\/scene_description>\n    <character>SHEIKH AL-OBEIDI<\/character>\n    <dialogue>Is this not proof?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I'm sorry. I want to help you. I do. But I need names, places, phone numbers--<\/dialogue>\n    <character>THOMPSON<\/character>\n    <parenthetical>(rushes in)<\/parenthetical>\n    <dialogue>Hey, we got a Marine unit pinned down in a house just uprange--<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Give me a name, Sheik. Give me something.<\/dialogue>\n    <character>THOMPSON<\/character>\n    <dialogue>They're out of ammo. If we don't go now--<\/dialogue>\n    <scene_description>Sheik stonewalling, Chris stands to go, fuck--<\/scene_description>\n    <character>SHEIKH AL-OBEIDI<\/character>\n    <dialogue>\"Amir Khalaf Fanus\". This is given name of The Butcher. But to help you find him--<\/dialogue>\n    <scene_description>Sheikh Obeidi SWEEPS A HAND across his open palm, pay me. TRANSITION TO: Chris sweeps a hand across his open palm, pay me. We are--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DIA TRAILER, CAMP FALLUJAH - DAY<\/stage_direction>\n    <scene_description>CHRIS and MARC LEE sit in front of AGENT SHEAD, of the Defense Intelligence Agency. A game of solitaire open on his computer. CORNHUSKER football posters on his wall.<\/scene_description>\n    <character>AGENT SHEAD<\/character>\n    <dialogue>I guess that translates to \"pay me\" in just about any language, doesn't it?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Yes sir, it does.<\/dialogue>\n    <character>MARC LEE<\/character>\n    <dialogue>And you're the secret squirrel with the cash, right?<\/dialogue>\n    <character>AGENT SHEAD<\/character>\n    <parenthetical>(not amused)<\/parenthetical>\n    <dialogue>When you were having tea with Sheik al- Obedie did he tell you he ran a network of highway bandits before AQI moved in?<\/dialogue>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>He left that part out.<\/dialogue>\n    <character>AGENT SHEAD<\/character>\n    <dialogue>That's AQI's racket now. Your Sheik got edged out. This could be blowback.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Or he could be upset The Butcher cut off his wife's hand. Either way, seems like you'd wanna explore it.<\/dialogue>\n    <scene_description>Shead would rather not enter into this with them but-- he slides a white-board to reveal an AQI HIERARCHY.<\/scene_description>\n    <character>AGENT SHEAD<\/character>\n    <dialogue>This is your guy here.<\/dialogue>\n    <parenthetical>(points to photo directly under Zarqawi)<\/parenthetical>\n    <dialogue>We believe The Butcher is Zarqawi's number two man.<\/dialogue>\n    <scene_description>THE BUTCHER is a squat, rawboned man with eyebrows forming a grizzled line over dark bloodshot eyes.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>But you don't know his real name or you'd have it written up there.<\/dialogue>\n    <character>AGENT SHEAD<\/character>\n    <dialogue>We have several aliases--<\/dialogue>\n    <parenthetical>(picks up phone, dialing)<\/parenthetical>\n    <dialogue>If \"Fanus\" is legit we go see the Sheik.<\/dialogue>\n    <character>MARC LEE<\/character>\n    <dialogue>He's asking for 100,000.<\/dialogue>\n    <character>AGENT SHEAD<\/character>\n    <dialogue>If he delivers the Butcher he'll get it.<\/dialogue>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>This is Agent Shead, DIA, I need a name check on \"Amir Khalaf Fanus.\" I'll wait.<\/dialogue>\n    <scene_description>He kicks his feet up, like he runs the war.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>If we're going back out, TEAM 3 could pull security--<\/dialogue>\n    <character>AGENT SHEAD<\/character>\n    <dialogue>If we're humping money the head-shed will want contractors on it.<\/dialogue>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>I'm here. What do you got?<\/dialogue>\n    <scene_description>He listens a beat. His feet hit the floor. Eyes flick up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HUMVEE #2 - TWO DAYS LATER<\/stage_direction>\n    <scene_description>An object thumps beneath the tires. SECURITY CONTRACTORS wear baseball caps, Oakley blades and grizzled beards.<\/scene_description>\n    <character>CONTRACTOR<\/character>\n    <dialogue>Road-kill.<\/dialogue>\n    <scene_description>They sit on benches opposite CHRIS and MARC LEE, a shrink- wrapped PALLET OF CASH between them. AGENT SHEAD sits closest the driver, playing big-dick with the mercs.<\/scene_description>\n    <character>AGENT SHEAD<\/character>\n    <dialogue>The Butcher is Zarqawi's enforcer. They say his weapon of choice is a drill.<\/dialogue>\n    <scene_description>Chris looks to Marc Lee, eyes closed in prayer. When he opens them he sees Chris looking. The rig sways.<\/scene_description>\n    <character>MARC LEE<\/character>\n    <dialogue>I went to seminary school before I joined the Navy. Came close to being a preacher.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Why didn't you?<\/dialogue>\n    <character>MARC LEE<\/character>\n    <dialogue>I love to gamble, man. Love those dice.<\/dialogue>\n    <scene_description>Their laughter is liberating. It bonds them.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>My kind of preacher.<\/dialogue>\n    <scene_description>MORE LAUGHTER. A PHONE RINGS. Chris digs out a SAT PHONE.<\/scene_description>\n    <character>MARC LEE<\/character>\n    <dialogue>It's like that now, huh?<\/dialogue>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>You haven't heard? I'm The Legend.<\/dialogue>\n    <parenthetical>(laughs at self; into phone)<\/parenthetical>\n    <dialogue>Hey babe--<\/dialogue>\n    <character>TAYA (OS)<\/character>\n    <dialogue>You were right, doctor says it's a boy.<\/dialogue>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>It's a boy!<\/dialogue>\n    <character>MARC LEE<\/character>\n    <dialogue>Hell yeah. Congratu--<\/dialogue>\n    <scene_description>WHAAP! Windshield spiders. CONTRACTOR\/DRIVER'S brains spackle them. THE HUMVEE CRASHES into a storefront. RADIATOR HISSING, CONTRACTORS SCREAMING, \"Call for backup\" \"Capel is down\" \"Dump the truck, cover us.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MEDICAL PLAZA, SAN DIEGO - DAY<\/stage_direction>\n    <scene_description>A crowded quad. TAYA, ON THE PHONE, stops in her tracks.<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>Chris!--<\/dialogue>\n    <character>EXT. CITY SQUARE\/ STREET<\/character>\n    <dialogue>Looted shops, burnt awnings, colorful signage. MARC LEE and CHRIS pile out. THE SAT PHONE falls in the dirt.<\/dialogue>\n    <character>MARC LEE<\/character>\n    <dialogue>I heard one shot.<\/dialogue>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>Check. Large caliber. Came in at an angle, gotta be 300 or more out--<\/dialogue>\n    <scene_description>They duck into a bomb-blasted storefront. They're looking downrange from the jagged orifice when-- A SHOT THUNKS into a painted Leo DiCaprio billboard overhead.<\/scene_description>\n    <character>MARC LEE<\/character>\n    <parenthetical>(ducks back)<\/parenthetical>\n    <dialogue>He's all over us. You get a bead?<\/dialogue>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>Negative--<\/dialogue>\n    <character>AGENT SHEAD (OC)<\/character>\n    <dialogue>Transfer the pallet. We're pulling back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DISTANT MINARET<\/stage_direction>\n    <scene_description>MUSTAFA sprawled on the balcony. PUSH past the swoosh of Nikes, up dark robes, along the cut of an unshaven cheek--<\/scene_description>\n    <character>MUSTAFA SCOPE POV<\/character>\n    <dialogue>UNIQUE CROSS-HAIRS wobble past CHRIS and MARC LEE'S position to CONTRACTORS SCRAMBLING SHEAD into the street. Mirage boils straight up. A breath exhales--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STOREFRONT<\/stage_direction>\n    <scene_description>A BULLET SMOKES through CONTRACTOR #1, ejecting half his vertebrae. CONTRACTORS SCRAMBLING--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Minaret, 11 o'clock!<\/dialogue>\n    <character>AGENT SHEAD<\/character>\n    <parenthetical>(from Humvee)<\/parenthetical>\n    <dialogue>There's no room. We'll come back for you--<\/dialogue>\n    <scene_description>Agent Shead and Contractors pull away in Humvee #2. An INSURGENT GUNNER steps from a door just uprange, BLASTING ROUNDS at the retreating vehicle.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>You got eyes on that?<\/dialogue>\n    <character>MARC LEE<\/character>\n    <dialogue>Negative.<\/dialogue>\n    <scene_description>Their cover prevents line-of-sight. Chris reaches his rifle out ADJUSTING A SIDE-MIRROR on the crashed Humvee--<\/scene_description>\n    <character>UPRANGE (IN REFLECTION)<\/character>\n    <dialogue>THE BUTCHER drags OMAR from Sheikh Al-Obeidi's home by his hair. The boy's strange screams echo down the block as the Butcher revs a hand drill near his face--<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Eyes on The Butcher. He's got that Sheikh's kid in the street--<\/dialogue>\n    <scene_description>TWO INSURGENTS holds Sheik Al-Obeidi in the doorway as-- A SNIPER ROUND SHATTERS the Humvee mirror.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Fuck!--<\/dialogue>\n    <character>MARC LEE<\/character>\n    <parenthetical>(into radio)<\/parenthetical>\n    <dialogue>--requesting back-up. We're pinned down taking sniper fire on approach of high- value target, GRID 04536236. Over.<\/dialogue>\n    <scene_description>Chris tries to edge around the wall-- PHWAAAP! The wall explodes above his head. He turns to the room. Debris blocks a back-door. No way out.<\/scene_description>\n    <character>MARC LEE<\/character>\n    <dialogue>We're on the wrong end of this.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I'm gonna pop smoke for cover but don't move till I say.<\/dialogue>\n    <scene_description>Chris tosses smoke. A haze clouds the exit--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Hold.<\/dialogue>\n    <scene_description>The drill revs. Omar is screaming. Smoke spewing.<\/scene_description>\n    <character>MARC LEE<\/character>\n    <dialogue>We gotta go--<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Holding! Hold...<\/dialogue>\n    <scene_description>A SHOT RINGS OUT, CHUNKS CONCRETE near the exit.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Move now. Go--<\/dialogue>\n    <scene_description>They slip out the storefront, around the building--<\/scene_description>\n    <character>MARC LEE<\/character>\n    <dialogue>How you know he'd wait--<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Cause I'd wait.<\/dialogue>\n    <scene_description>In the smoky haze, A SAT PHONE in the dirt--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MEDICAL PLAZA, SAN DIEGO<\/stage_direction>\n    <scene_description>TAYA listens for gunfire as the lunch crowd teems past.<\/scene_description>\n    <character>TAYA<\/character>\n    <parenthetical>(sobbing, into phone)<\/parenthetical>\n    <dialogue>Chris--<\/dialogue>\n    <scene_description>CAMERA CIRCLES HER as her world comes unhinged. On the next revolution the scenery changes and--<\/scene_description>\n    <character>MUSTAFA POV \/ FROM MINARET<\/character>\n    <dialogue>CROSS-HAIRS TRACK past the doorway where--<\/dialogue>\n    <character>SHEIKH AL-OBEIDI<\/character>\n    <dialogue>Is held back by INSURGENT GUNMEN, weeping and pleading--<\/dialogue>\n    <character>THE BUTCHER<\/character>\n    <dialogue>He powers up the drill and drives it into Omar's thigh. OMAR SCREAMS and pitches, shrieking for help--<\/dialogue>\n    <character>ALLEY<\/character>\n    <dialogue>Chris and Marc racing down an alley, approaching stairs--<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Go around. I'll go high.<\/dialogue>\n    <scene_description>Chris bounds up the stairs. Marc Lee keeps running--<\/scene_description>\n    <character>ROOFTOP<\/character>\n    <dialogue>CHRIS runs onto the exposed rooftop, running into-- A DOG SNAPS at him, BARKING and rabid, chained to a US sig M- 60. He dives away from it, crouching behind the wall.<\/dialogue>\n    <character>SNIPER POV \/ IN MINARET<\/character>\n    <dialogue>CROSS-HAIRS FIND the barking dog, then CHRIS' BOOT.<\/dialogue>\n    <character>THE BUTCHER<\/character>\n    <dialogue>Powers up the drill, THE BUZZING rings over his words--<\/dialogue>\n    <character>THE BUTCHER<\/character>\n    <parenthetical>(in Arabic)<\/parenthetical>\n    <dialogue>You talk to them, you die with them.<\/dialogue>\n    <scene_description>He steps on Omar's neck, lowers the drill toward his jaw.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Hears the drill and Omar's screams. He'll be exposed but-- HE POPS UP to shoot The Butcher. Before he can get set--<\/dialogue>\n    <dialogue>A SNIPER ROUND clips his helmet. He's knocked flat-back. Clouds strobe overhead. The dog barks viciously inches from his face. Saliva flying off incisors as--<\/dialogue>\n    <character>THE SHEIKH<\/character>\n    <dialogue>Watches the drill enter his son's face. The Sheikh breaks free of the Butcher's men, running towards his son. TWO AKs shred his back and he pitches forward, reaching--<\/dialogue>\n    <character>SNIPER POV<\/character>\n    <dialogue>As the Butcher and his men drive away, CROSS-HAIRS track across the rooftop, where--<\/dialogue>\n    <character>ROOFTOP \/ CHRIS POV (UPSIDE DOWN)<\/character>\n    <dialogue>His helmet, ruptured like a plum, wobbles to a stop.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Rage animates him. He staggers to his feet, FIRING HIS M4 on the minaret until the clip expires. Then--<\/dialogue>\n    <dialogue>A FLUTTER of cloth sweeps across an alley a block north. MUSTAFA slows, rounding the corner, and glances back--<\/dialogue>\n    <dialogue>Chris draws his .45, but Mustafa slips into the shadows. Women sob over dead bodies in the street below.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - LATER<\/stage_direction>\n    <scene_description>TEAM THREE SEALs hold perimeter. The sheet draped over Omar is marked by a dozen blood spots. Chris is buzzing with remorse, looking to the minaret.<\/scene_description>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>He had line-of-sight 500 meters out.<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>Colonel Gronski is all over Marc, bro.<\/dialogue>\n    <scene_description>In the distance, COLONEL GRONSKI barks at MARC LEE then climbs in a Bradley. As MARC approaches--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>We need to work up a squad to pursue him.<\/dialogue>\n    <character>MARC LEE<\/character>\n    <dialogue>They're shutting us down.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>MARC LEE<\/character>\n    <dialogue>We're confined to base pending an incident review.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Can he do that? Just shelf us like that? I ship home in three weeks.<\/dialogue>\n    <scene_description>Wind blows the sheet off Omar.<\/scene_description>\n    <character>BIGGLES<\/character>\n    <dialogue>It's gonna be a long three weeks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEIGHT LIFTING CAGE, CAMP FALLUJAH, FOB - SUNSET<\/stage_direction>\n    <scene_description>Chris stalks the cage, shirtless and sweating. His eyes track the horizon as darkness falls on Fallujah.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NORTH AIRFIELD, CORONADO, CALIFORNIA - NIGHT<\/stage_direction>\n    <scene_description>Halogen spotlights illuminate tarmac. SOLDIERS emerge from darkness, pushing toward their waiting families. FIND TAYA in heels, 9 months pregnant. Chris limps toward her. She walks into his arms and STARTS SWINGING fists.<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>I thought you were dead. I thought--<\/dialogue>\n    <scene_description>He holds her close until her rage gives way to tears.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Shh. I'm know. I'm so sorry.<\/dialogue>\n    <scene_description>They stand there long after everyone has gone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM<\/stage_direction>\n    <scene_description>Taya lowers the lights, steps out of her dress and looks at herself in the mirror, 9 months pregnant, and not sure she's sexy. Chris exits the shower, stops, staring--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>You're the most beautiful thing I've ever seen.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>I have an alien growing inside me--<\/dialogue>\n    <scene_description>She deflates and sits on the bed. He kneels before her.<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>And there's a strange man in my bedroom.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Our bedroom.<\/dialogue>\n    <character>TAYA<\/character>\n    <parenthetical>(pulls his ring off necklace)<\/parenthetical>\n    <dialogue>Why isn't it on your finger?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>If it catches the light...<\/dialogue>\n    <scene_description>He doesn't spell it out. She slips it on his finger.<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>Your hands feel different.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>They're mine. I swear...<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>Why am I so fucking nervous?<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(kissing her belly)<\/parenthetical>\n    <dialogue>I'm nervous too.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>No you're not. Don't lie.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I am... What if that little alien reaches out and grabs me?<\/dialogue>\n    <scene_description>She laughs and squishes his cheeks, making faces with his face.<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>Why are you so good with me.<\/dialogue>\n    <scene_description>Her face opens in ecstasy.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BREAKFAST TABLE, CHRIS' HOUSE - MORNING<\/stage_direction>\n    <scene_description>CHRIS, showered, shaven and ill-at-ease, picking at the calloused \"shooter's strawberries\" on his elbows.<\/scene_description>\n    <character>TAYA (OC)<\/character>\n    <dialogue>--it might be nice to get out--<\/dialogue>\n    <scene_description>His coffee steams like smoke off a barrel.<\/scene_description>\n    <character>TAYA (OC)<\/character>\n    <dialogue>--are you listening to me? Chris--<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(knee pumping)<\/parenthetical>\n    <dialogue>Huh?--<\/dialogue>\n    <scene_description>A lawn-mower starts. His eyes track windows. Taya sees what's happening and-- she extends a naked leg into his sight line. His eyes follow her leg, to welcoming eyes.<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>What do you want to do today, hon'?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Maybe we just relax here?<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>Okay, we do that. Let's relax.<\/dialogue>\n    <scene_description>She eases into his lap, changing his chemistry.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OBGYN OFFICE, SAN DIEGO - DAY<\/stage_direction>\n    <scene_description>A room doused in sunshine. TAYA lays on the table. DOCTOR HOFFSTADER works the ultra-sound wand over her belly.<\/scene_description>\n    <character>DOCTOR HOFFSTADER<\/character>\n    <dialogue>How you feeling?<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>I'm done being pregnant. I want to meet him.<\/dialogue>\n    <character>DOCTOR HOFFSTADER<\/character>\n    <dialogue>It'll be any day now.<\/dialogue>\n    <scene_description>Chris pets his wife's hair but he's sweaty and flushed.<\/scene_description>\n    <character>DOCTOR HOFFSTADER<\/character>\n    <dialogue>How about you Mr. Kyle? How're you feeling?<\/dialogue>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>Good. Doing good.<\/dialogue>\n    <character>DOCTOR HOFFSTADER<\/character>\n    <dialogue>I imagine you're still decompressing.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Not really.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>Well, this is the first time we left the house.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I'm just happy to be home.<\/dialogue>\n    <scene_description>Hoffstader studies him, reaches for a b.p. cuff.<\/scene_description>\n    <character>DOCTOR HOFFSTADER<\/character>\n    <dialogue>Here, slip this on for me.<\/dialogue>\n    <scene_description>He awkwardly consents. The cuff tightens.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>If you wanna help, you should be looking at my knees. I don't know what I did but--<\/dialogue>\n    <character>DOCTOR HOFFSTADER<\/character>\n    <dialogue>Are you a smoker?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>No, ma'am.<\/dialogue>\n    <character>DOCTOR HOFFSTADER<\/character>\n    <dialogue>Do you drink?<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(charming)<\/parenthetical>\n    <dialogue>Only when I'm thirsty.<\/dialogue>\n    <character>DOCTOR HOFFSTADER<\/character>\n    <dialogue>170 over 110.<\/dialogue>\n    <character>TAYA<\/character>\n    <parenthetical>(concerned)<\/parenthetical>\n    <dialogue>Jesus Christ Chris...<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Is that high?<\/dialogue>\n    <character>DOCTOR HOFFSTADER<\/character>\n    <dialogue>Not if you just had 14 cups of coffee. But for someone who is sitting down--<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I'll look into it. Thanks doc.<\/dialogue>\n    <scene_description>He's smiling but his tone quiets her. She overstepped.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCK, SOUTHBOUND FREEWAY - DAY<\/stage_direction>\n    <scene_description>CHRIS is weaving through rush-hour traffic.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>You sabotaged me back there.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>What am I supposed to do. You're not talking. You act like it's all okay--<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>It is okay. I'm fine.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>You're not fine. Your blood pressure--<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Babe, I'm driving down the freeway, it's sunny and 72 degrees. I'm fine. But there are people dying over there and I look around and it's like it's not even happening. It's barely on the news, no one talks about it. No one cares. And if I stay too long I'll forget about it too.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>Chris--<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>We're at war and I'm headed to the mall.<\/dialogue>\n    <scene_description>She looks pained, ready to cry--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>I don't belong here. I can't help anybody-<\/dialogue>\n    <scene_description>She's arching in the seat, MOANING as her water breaks.<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>--it's happening--<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Oh shit--<\/dialogue>\n    <scene_description>Chris swerves from the SOUTHBOUND FAST-LANE across the dirt median and into the NORTHBOUND FAST-LANE.<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>What're you doing!<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I'm going back.<\/dialogue>\n    <scene_description>Dust kicks up. Horns blare. He's speeding north.<\/scene_description>\n    <character>TAYA<\/character>\n    <parenthetical>(laughing and crying)<\/parenthetical>\n    <dialogue>--oh my god, you're crazy! You're fucking crazy you know that?<\/dialogue>\n    <scene_description>A look between them like spilled sunlight. He reaches and- TRANSITION TO: Taya grips his hand. Her WAILING SCREAMS fall silent and--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DELIVERY ROOM<\/stage_direction>\n    <scene_description>Taya stares blankly at Chris. He thinks he lost her. Then-- A SMALL CRY breaks the tension. Taya gasps. THE BOY lands in Chris' arms covered in vernix and blood.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>My little man...<\/dialogue>\n    <scene_description>He holds him to the light and relief pours over him.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Look at our boy. Look what we did.<\/dialogue>\n    <parenthetical>(nuzzles close to her)<\/parenthetical>\n    <dialogue>I love you, baby. We made it--<\/dialogue>\n    <scene_description>He holds his family close as BEDOUIN MUSIC SWELLS-- FADE TO: A THERMAL IMAGE. Cross-hairs on MARINES emerging from tall grass. A SHOT FIRED. A MARINE FALLS. An Arabic sickle &amp; sword appears over the image. We are--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEN, CHRIS' HOUSE, CORONADO, CA - NIGHT<\/stage_direction>\n    <scene_description>PAN ACROSS an Iraqi parcel on the coffee table. FIND CHRIS staring at the TV, livid, lit by Christmas lights.<\/scene_description>\n    <character>TAYA (OC)<\/character>\n    <dialogue>The baby is crying. I thought you were--<\/dialogue>\n    <scene_description>Chris lunges for the remote as another KILL SHOT PLAYS.<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>Don't bother turning it off, I already watched it.<\/dialogue>\n    <scene_description>He looks up at her, holding Colton.<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>I had to make sure you didn't have an Iraqi girlfriend sending sexy videos.<\/dialogue>\n    <scene_description>He lightens, touching her, eyes drifting back to the TV.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>This sniper is recording his kills. Mustafa. They sell these in the street.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>That day we were on the phone--<\/dialogue>\n    <scene_description>Chris nods, it was him.<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>You're not protecting me by not talking about it.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I don't want you thinking about it. I don't need you worrying.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>My imagination is so much worse than anything you could tell me--<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(cutting her off)<\/parenthetical>\n    <dialogue>No, it's not. They're savages.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>Chris--<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>They're fuckin savages.<\/dialogue>\n    <scene_description>His blood pressure pulses on his unyielding face..<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>It's not about them, it's about us.<\/dialogue>\n    <parenthetical>(hands him baby)<\/parenthetical>\n    <dialogue>You have to make it back to us.<\/dialogue>\n    <scene_description>Her eyes trail off him as she steps into the kitchen. Chris holds his son, taken with his ruddy innocence. Then the BEDOUIN MUSIC swells, his arms tighten around his son, and his eyes are drawn back to Mustafa.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AL TAQADDUM AIRBASE, IRAQ - DAY<\/stage_direction>\n    <scene_description>The tail of a C-17 draws down. YOUNG MARINES file off leaving CHRIS, squinting into a dirty sunset as he tucks his ring away like he's stowing part of himself.<\/scene_description>\n    <character>MASTER CHIEF MARTIN<\/character>\n    <parenthetical>(sharp-nosed, fit)<\/parenthetical>\n    <dialogue>Welcome home, Petty Officer Kyle. Colonel Jones is waiting. How was the flight?<\/dialogue>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>Slower than Christmas.<\/dialogue>\n    <scene_description>Chris is following him toward a Blackhawk when--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Can you give me a second--?<\/dialogue>\n    <character>MASTER CHIEF MARTIN<\/character>\n    <dialogue>The colonel is waiting--<\/dialogue>\n    <scene_description>Chris is already striding across the tarmac toward--<\/scene_description>\n    <character>A SQUAD OF MARINES<\/character>\n    <dialogue>Loading onto a C-17 weary, injured, heading home. JEFF KYLE doesn't see Chris until he has hands on him.<\/dialogue>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>Hey, grunt--<\/dialogue>\n    <scene_description>Chris shakes him and pulls him into his arms.<\/scene_description>\n    <character>JEFF<\/character>\n    <dialogue>Chris?<\/dialogue>\n    <scene_description>Jeff is slow to react, like he can't see past the atrocity branded on back of his eyeballs.<\/scene_description>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>Y'alright? You in one piece?<\/dialogue>\n    <scene_description>He looks him over, undamaged but for the eyes.<\/scene_description>\n    <character>MARINE LCPL<\/character>\n    <dialogue>Let's go, PFC Kyle. Move your ass.<\/dialogue>\n    <scene_description>Marines on-board the C-17. Jeff is anxious, shifting--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>You okay? Jeff?--<\/dialogue>\n    <character>JEFF<\/character>\n    <dialogue>I heard you're kickin ass our here. All the guys, that's what they say--<\/dialogue>\n    <scene_description>Chris fixes Jeff's collar: a tender gesture.<\/scene_description>\n    <character>JEFF<\/character>\n    <dialogue>You're my hero, bro. Always have been.<\/dialogue>\n    <character>MASTER CHIEF MARTIN<\/character>\n    <dialogue>Lets go, Kyle. Colonel's waiting--<\/dialogue>\n    <character>JEFF<\/character>\n    <parenthetical>(swollen with emotion)<\/parenthetical>\n    <dialogue>The Legend...<\/dialogue>\n    <scene_description>The four massive turbo-engines on the C-17 kick-on.<\/scene_description>\n    <character>JEFF<\/character>\n    <parenthetical>(over deafening noise)<\/parenthetical>\n    <dialogue>I'm gonna miss my ride.<\/dialogue>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>JEFF<\/character>\n    <dialogue>I'm just tired, man. I'm--<\/dialogue>\n    <parenthetical>(swallows it)<\/parenthetical>\n    <dialogue>I'm going home.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I'm proud of you. You hear me?<\/dialogue>\n    <scene_description>He can't hear shit over those fans.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Dad too. He's proud of you.<\/dialogue>\n    <character>JEFF<\/character>\n    <dialogue>Fuck this place--<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(can't hear him)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>JEFF<\/character>\n    <dialogue>Fuck this place.<\/dialogue>\n    <scene_description>Chris ignites with rage at what they did to his brother.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLACKHAWK - DAY<\/stage_direction>\n    <scene_description>LT. COLONEL JONES is a clear-eyed Ivy grad: the new- school leadership changing of the guard.<\/scene_description>\n    <character>COL. JONES<\/character>\n    <dialogue>You made Chief. Congratulations.<\/dialogue>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>Thank you, sir.<\/dialogue>\n    <character>COL. JONES<\/character>\n    <dialogue>Gronski's gone. A lot of top-brass are. We're working off a new playbook now.<\/dialogue>\n    <scene_description>The Blackhawk lifts off, ZOOMING across the desert floor.<\/scene_description>\n    <character>COL. JONES<\/character>\n    <dialogue>I've studied insurgencies for the last decade. I know every stone thrown since before the first century. These wars are won and lost in the minds of our enemy.<\/dialogue>\n    <scene_description>He hands over an AQI BOUNTY POSTER with an illustration of a SNIPER RIFLE and GALLIC CROSS and a reward.<\/scene_description>\n    <character>COL. JONES<\/character>\n    <dialogue>That you?<\/dialogue>\n    <scene_description>Chris rolls his sleeve, showing his Gallic Cross tattoo.<\/scene_description>\n    <character>COL. JONES<\/character>\n    <dialogue>You're now the most wanted man in Iraq.<\/dialogue>\n    <character>MASTER CHIEF MARTIN<\/character>\n    <dialogue>That's $80,000 on your head.<\/dialogue>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>Don't tell my wife, she might take that number right about now.<\/dialogue>\n    <character>COL. JONES<\/character>\n    <dialogue>I understand you wanted to put together a direct-action squad to hunt The Butcher.<\/dialogue>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <character>COL. JONES<\/character>\n    <dialogue>We plugged the rat-hole that is Fallujah and flushed them into Ramadi. We got some intel indicating his area of operations.<\/dialogue>\n    <scene_description>As they cross the Euphrates the SLUMS OF RAMADI are laid out before them like a blanket of chaos.<\/scene_description>\n    <character>COL. JONES<\/character>\n    <dialogue>I want you to put the fear of God in these savages, and find his ass.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OP SEC TENT, SHARK BASE - NIGHT<\/stage_direction>\n    <scene_description>CHRIS stands in front of Team Three, armed with a 60-inch monitor and a TuffBook. They're chanting, \"Power-point.\"<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>You guys know how I hate this shit so shut your traps. Our target is Amir Khalaf Fanus aka The Butcher.<\/dialogue>\n    <parenthetical>(clicks first slide)<\/parenthetical>\n    <dialogue>We'll be heading in under cover of darkness, sector P13, north of the river--<\/dialogue>\n    <scene_description>They're cracking up. He turns to see his slide has been hijacked with A PHOTO OF HIS BACHELOR PARTY; the \"best men\" pose with a spray-painted groom. They look so young. Chris turns back to his men and, for a moment, their smiling faces appear immortal in the feeble light.<\/scene_description>\n    <character>TIME FADE<\/character>\n    <dialogue>Brief finished, TEAM THREE file out past Chris--<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>You give good power-point, Legend.<\/dialogue>\n    <scene_description>--grabbing ass and cracking jokes until one remains.<\/scene_description>\n    <character>MARC LEE<\/character>\n    <dialogue>Is this thing bulletproof?<\/dialogue>\n    <parenthetical>(holds Chris' Bible)<\/parenthetical>\n    <dialogue>You never open it so I assumed...<\/dialogue>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>God, country, family, right?<\/dialogue>\n    <character>MARC LEE<\/character>\n    <dialogue>You got a God?<\/dialogue>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>You getting weird on me?<\/dialogue>\n    <character>MARC LEE<\/character>\n    <dialogue>We had this electric fence around our property in Oregon and us kids used to see who could grab it and hang on the longest. War feels like that, it puts lightning in your bones, makes it hard to hold on to anything else.<\/dialogue>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>You need to sit this one out?<\/dialogue>\n    <character>MARC LEE<\/character>\n    <dialogue>I just wanna believe in what we're doing--<\/dialogue>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>Evil lives here, we've seen it.<\/dialogue>\n    <character>MARC LEE<\/character>\n    <dialogue>It lives everywhere--<\/dialogue>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>You want to invite these motherfuckers to come fight in San Diego? Or New York? We're protecting more than this dirt.<\/dialogue>\n    <scene_description>Marc adopts his zeal, letting it fill him.<\/scene_description>\n    <character>MARC LEE<\/character>\n    <dialogue>Hooyah then. Lets go kill this fucker.<\/dialogue>\n    <scene_description>He bangs out. Chris is alone. Lightning in his bones. OMITTED OMITTED OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET\/NEAR FAHIMA HALAL - PRE-DAWN<\/stage_direction>\n    <scene_description>Neon shimmers across wet empty streets. TEAM THREE trundle past shops largely unbombed. TONY checks his GPS--<\/scene_description>\n    <character>TONY<\/character>\n    <parenthetical>(whisper-mic, pointing)<\/parenthetical>\n    <dialogue>This building, any apartment on the east side, will look down Fahima Halal.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY, 4TH FLOOR, BUILDING - CONTINUOUS<\/stage_direction>\n    <scene_description>TEAM THREE push to a door. Biggles has a cat-claw, ready to breach-- A BABY CRIES behind the door. Chris waves them off. Another door.<\/scene_description>\n    <character>CHRIS<\/character>\n    <parenthetical>(whisper-mic)<\/parenthetical>\n    <dialogue>Breacher-up.<\/dialogue>\n    <scene_description>BIGGLES is ready to wedge the cat-claw when he sees keys hanging from the door. He grins and simply opens it--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORNER APARTMENT, SIXTH FLOOR<\/stage_direction>\n    <scene_description>A modest apartment. TEAM THREE have seated the family; A PROTECTIVE FATHER hugs his BOY(6) as his WIFE frets.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Tell em they won't be leaving till we do--<\/dialogue>\n    <parenthetical>(hands Terp a photo)<\/parenthetical>\n    <dialogue>Ask if they seen him.<\/dialogue>\n    <scene_description>TERP TRANSLATES, showing a PHOTO OF THE BUTCHER.<\/scene_description>\n    <character>LOOKING OUT WINDOW<\/character>\n    <dialogue>The RESTAURANT BELOW is boarded up with painted metal.<\/dialogue>\n    <character>BIGGLES<\/character>\n    <parenthetical>(Hall &amp; Oates song)<\/parenthetical>\n    <dialogue>--Private eyes, we're watching you, watching your every move...<\/dialogue>\n    <character>\"D\"<\/character>\n    <dialogue>Why a restaurant?<\/dialogue>\n    <character>MARC LEE<\/character>\n    <dialogue>Big freezers.<\/dialogue>\n    <scene_description>Marc turns away, leaving them to wonder.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Let's keep eyes on it get pictures of anyone coming and going.<\/dialogue>\n    <scene_description>Biggles watches Chris collapse onto his ruck-sack.<\/scene_description>\n    <character>BIGGLES<\/character>\n    <dialogue>Fucking Chief Nappy-nap.<\/dialogue>\n    <scene_description>A challenging smile. Chris flips him off.<\/scene_description>\n    <character>\"D\"<\/character>\n    <dialogue>Got some nice rugs up in here.<\/dialogue>\n    <parenthetical>(thumbs up to Father)<\/parenthetical>\n    <dialogue>This shit is hand-knotted. Beautiful.<\/dialogue>\n    <scene_description>Surveillance rolling, Chris closes his eyes. OMITTED OMITTED TIME CUT - LATER In darkness, CHRIS bolts upright then sees his guys by the window. He joins them. Despite rolling blackouts, light is visible around plywood on Fahima Halal windows.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>What do we got?<\/dialogue>\n    <character>MARC LEE<\/character>\n    <dialogue>16 military aged males have gone in.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Sixteen?<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>They serve more customers than McDonalds.<\/dialogue>\n    <character>MARC LEE<\/character>\n    <dialogue>And check this.<\/dialogue>\n    <scene_description>ON DIGI-CAMERA, ZOOMS ON PHOTO of The Butcher entering--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>He still inside?<\/dialogue>\n    <character>MARC LEE<\/character>\n    <dialogue>I'm only clocking one point of entry. He's in there, but it's no easy breach.<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>When they see it's The Legend they'll probably just invite him in--<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>You got a problem? I didn't promote myself.<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>No, I did it for you. You'd never have made Chief if I nicknamed you \"The Myth\".<\/dialogue>\n    <scene_description>Chris snaps Biggles down, wrestles him into a choke.<\/scene_description>\n    <character>\"D\"<\/character>\n    <dialogue>Myth becomes Legend when we occupy a house, get 23 kills, and 21 are his.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Enough. It's everybody's Navy.<\/dialogue>\n    <scene_description>Chris releases him. Biggles is coughing.<\/scene_description>\n    <character>BIGGLES<\/character>\n    <dialogue>--naw, it's Legend's Navy now. Just hope he leaves some for the rest of us.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Hash out tactics. We go at zero-dark. And Big Giggles is making the coffee.<\/dialogue>\n    <scene_description>Biggles is flipping him off when the FATHER SPEAKS:<\/scene_description>\n    <character>TERP<\/character>\n    <parenthetical>(translates)<\/parenthetical>\n    <dialogue>He invites you to join him for Eid al- Adha supper. He says -on this day everyone has a seat at my table-.<\/dialogue>\n    <scene_description>Chris nods dubious gratitude, meeting the Father's eyes.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Tell him that's very generous of him.<\/dialogue>\n    <scene_description>DINING ROOM - LATER A braised head of lamb eaten clean. TEAM 3 are chowing down, in good spirits, as Chris watches THE FATHER teach his SON to read. He is moved by their connection and acutely aware of what this war is costing him. That's when he sees-- (ECU) \"SHOOTERS STRAWBERRIES\" on father's elbows. They're red and calloused, like his own. Chris darkens, stands and slips down the hall-- BEDROOM - MOMENTS LATER CHRIS searches the closet, ripping through clothes, pressing wall panels. He's crossing to the bed when-- FLOORBOARDS CREAK beneath the rug underfoot. He stands there, shifting his weight, floor creaking.<\/scene_description>\n    <character>DINING ROOM\/HALLWAY<\/character>\n    <dialogue>BIGGLES is shoveling food in his mouth when a hand stops him. Chris signals, no more. FATHER'S eyes flick up as--<\/dialogue>\n    <dialogue>CHRIS RIPS THE FATHER out of his chair, dragging him down the hall by his hair. WIFE and KIDS screaming. \"D\" holds them off as-- Chris dumps the father at a STASH HOLE in the floor. Inside, a CACHE OF AKs, RPGs, IED components.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Tell him he's gonna be shipped off for detention and the Iraqi courts can decide what to do with him-- or he can help us get inside that restaurant down there.<\/dialogue>\n    <character>MARC LEE<\/character>\n    <dialogue>That's a bad move--<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>He's our breech. He's a fucking way in--<\/dialogue>\n    <character>MARC LEE<\/character>\n    <dialogue>If something happens--<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>He's AQI man, look what he's holding.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>It's his choice. Tell him.<\/dialogue>\n    <scene_description>The Terp translates. Father reacts, pale with defiance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FAHIM HALAL - NIGHT<\/stage_direction>\n    <scene_description>THE FATHER shuffles up the dusty street toward us--<\/scene_description>\n    <character>\"D\" (VO)<\/character>\n    <dialogue>Approaching the door...<\/dialogue>\n    <character>IN ADJACENT ALLEY<\/character>\n    <dialogue>CHRIS, MARC LEE and \"D\" waiting...<\/dialogue>\n    <character>\"D\"<\/character>\n    <dialogue>10 meters...<\/dialogue>\n    <character>BACK ALLEY<\/character>\n    <dialogue>TONY and BIGGLES watching...<\/dialogue>\n    <character>\"D\" (VO)<\/character>\n    <dialogue>5 meters...<\/dialogue>\n    <character>SNIPERS NEST<\/character>\n    <dialogue>DAUBER watches with cross-hairs.<\/dialogue>\n    <character>\"D\" (VO)<\/character>\n    <dialogue>He's knocking...<\/dialogue>\n    <character>AT THE DOOR<\/character>\n    <dialogue>A sliding grate opens and--<\/dialogue>\n    <character>\"D\" (VO)<\/character>\n    <dialogue>They're vetting him.<\/dialogue>\n    <character>GUARD'S POV<\/character>\n    <dialogue>FATHER attempts to alert the Guard, nodding to the TWO MEN in robes at the oil drum. Guard doesn't see it--<\/dialogue>\n    <character>\"D\"<\/character>\n    <dialogue>Hold. Hold--<\/dialogue>\n    <character>CHRIS POV (N\/V)<\/character>\n    <dialogue>As the door opens, the GUARD comes into view--<\/dialogue>\n    <character>\"D\" (OS)<\/character>\n    <dialogue>Now.<\/dialogue>\n    <scene_description>Chris fires and the GUARD'S HEAD explodes. FATHER dives for Guard's weapon, FIRING BACK at Chris when-- GUNFIRE FROM INSIDE shreds him. He folds forward, dead. TWO MEN in robes (TONY &amp; BIGGLES) rush the door tossing grenades, pulling the father out as the GRENADES EXPLODE. CHRIS, MARC LEE and \"D\" push inside--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FAHIM HALAL - NIGHT<\/stage_direction>\n    <scene_description>A smoky banquet hall. GUNFIRE lights from far wall. A man we recognize as THE BUTCHER is ushered through a doorway.<\/scene_description>\n    <character>CHRIS<\/character>\n    <parenthetical>(keys mike)<\/parenthetical>\n    <dialogue>We have eyes on the target. Flushing them out the back--<\/dialogue>\n    <scene_description>IN THE ALLEY TONY and BIGGLES are posted in the alley, waiting.<\/scene_description>\n    <character>BIGGLES<\/character>\n    <parenthetical>(keys mike)<\/parenthetical>\n    <dialogue>Negative. Nothing yet.<\/dialogue>\n    <scene_description>BANQUET HALL CHRIS and COMPANY push through the doorway the Butcher passed through, but it's not an exit. It is-- KITCHEN An IRAQI MAN is hung up by a chain, the majority of his skin carved off, still alive. A walk-in freezer ahead.<\/scene_description>\n    <character>CHRIS<\/character>\n    <parenthetical>(to \"D\")<\/parenthetical>\n    <dialogue>Help him--<\/dialogue>\n    <character>MARC LEE (OC)<\/character>\n    <dialogue>Down here.<\/dialogue>\n    <scene_description>Stairs lead down into darkness. Chris follows him into-- AN UNDERGROUND TUNNEL A naked bulb illuminates a tunnel stretching to darkness.<\/scene_description>\n    <character>CHRIS<\/character>\n    <parenthetical>(realizes; keys mike)<\/parenthetical>\n    <dialogue>They're coming back up! Watch your six--<\/dialogue>\n    <scene_description>THE TUNNEL DETONATES. Dirt and debris explode at them. BACK ALLEY BIGGLES and TONY are posted up. The RADIO STATIC--<\/scene_description>\n    <character>BIGGLES<\/character>\n    <dialogue>--I can't hear you. Say again.<\/dialogue>\n    <scene_description>BEHIND THEM TEN INSURGENTS pour out of another building, circling back toward Biggles and Tony. KITCHEN CHRIS and MARC LEE bowl in, panicked, covered in dirt.<\/scene_description>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>Move.<\/dialogue>\n    <scene_description>\"D\" turns from a WALK-IN FREEZER full of bloody parts.<\/scene_description>\n    <character>\"D\"<\/character>\n    <dialogue>Big freezers.<\/dialogue>\n    <parenthetical>(sickened, following)<\/parenthetical>\n    <dialogue>Fuck--<\/dialogue>\n    <scene_description>SNIPER NEST DAUBER SEES INSURGENTS approaching Biggles--<\/scene_description>\n    <character>DAUBER<\/character>\n    <dialogue>Biggles! Watch your six. Roadies on you--<\/dialogue>\n    <scene_description>He starts downing them but more seep out downrange. BACK ALLEY BIGGLES and TONY are banging away but outgunned when CHRIS, MARC LEE and \"D\" steps out, laying down fire.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Pull back! Loading--<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>Got you.<\/dialogue>\n    <scene_description>Biggles is slaying combatants. Precise and deadly.<\/scene_description>\n    <character>BIGGLES<\/character>\n    <dialogue>RPG!<\/dialogue>\n    <scene_description>AN RPG burns down the alley, screaming between them and EXPLODES INTO SNIPER NEST. As dust clouds the night-- THE BUTCHER Slips through smoke, shooting his way to a getaway truck.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Contact. Eyes on The Butcher. 12 o'clock.<\/dialogue>\n    <scene_description>MORE INSURGENTS, push up the alley, covering him.<\/scene_description>\n    <character>CHRIS<\/character>\n    <parenthetical>(keys mike)<\/parenthetical>\n    <dialogue>Dauber? You got visual? Confirm.<\/dialogue>\n    <character>SNIPER NEST<\/character>\n    <dialogue>Dauber struggles from under debris.<\/dialogue>\n    <character>DAUBER<\/character>\n    <dialogue>Negative. No shot--<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Advancing along the wall. The Butcher jumps into a truck.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>He's on the move. Crossing!<\/dialogue>\n    <scene_description>Biggles side-steps into the street, attracting fire, downing MULTIPLE INSURGENTS as--<\/scene_description>\n    <character>BIGGLES<\/character>\n    <dialogue>Got you. Got you. Go, go, go--<\/dialogue>\n    <scene_description>Chris dodges behind him, running into the next street (parallel with truck) hoping for a shot--<\/scene_description>\n    <character>NEXT INTERSECTION<\/character>\n    <dialogue>As Chris arrives, the GETAWAY TRUCK roars past a block to the north. He continues at a dead-sprint but--<\/dialogue>\n    <dialogue>At next intersection, he's lost more ground. He halts, sucking wind, GALLIC CROSS TATTOO visible on his forearm.<\/dialogue>\n    <character>ABOVE (LOOKING OUT)<\/character>\n    <dialogue>A YOUNG SHADOW stands in the window, watching the soldier below. She picks up an old Nokia Cellular, dialing--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSTAFA'S ROOM, UNKNOWN BUILDING<\/stage_direction>\n    <scene_description>Incense wafts over oiled components of a DRAGUNOV SNIPER RIFLE laid out on a prayer rug. A CELL BUZZES and is answered. A few words and-- HANDS ENTER FRAME, assembling the rifle. The metallic snap-and-slide escalating as we-- PAN TO the wall, the GALLIC CROSS depicted beside a sniper rifle on a faded CHRIS KYLE BOUNTY POSTER there. BACK TO: TIRE FIRES spit tendrils of black smoke. We are--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FAHIM HALAL - NIGHT<\/stage_direction>\n    <scene_description>A four way intersection, neighbors pouring into streets. An angry crowd hoists the FATHER'S BODY in the air as a MESSIANIC TRIBAL LEADER riles them with chants. THE SON stands up-front, small hands fisted, glaring at CHRIS.<\/scene_description>\n    <character>CHRIS<\/character>\n    <parenthetical>(can't take eyes off son)<\/parenthetical>\n    <dialogue>I offered his father detention. I gave him a choice--<\/dialogue>\n    <character>MASTER CHIEF MARTIN<\/character>\n    <dialogue>He picked the wrong fucking side. That's all there is to it. Fog of war.<\/dialogue>\n    <scene_description>THE CROWD growing in tension and number.<\/scene_description>\n    <character>PFC ALVAREZ<\/character>\n    <dialogue>Sir, we have armed insurgents moving this way. We need to make tracks.<\/dialogue>\n    <character>MASTER CHIEF MARTIN<\/character>\n    <parenthetical>(hops in Bradley)<\/parenthetical>\n    <dialogue>Helluva an effort here, Chief. You keep after this bastard. We'll get him.<\/dialogue>\n    <scene_description>As they roar off, Chris pulls Terp over to the TRIBAL LEADER whose SHOCKING GREEN EYES reflect firelight.<\/scene_description>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>Tell him this boy's father was fighting for the people that butchered the clerics we found in the freezer in there.<\/dialogue>\n    <character>DISTANT ALLEY<\/character>\n    <dialogue>A flutter of robes. A rusty gate pushed open by an OLD MAN. Mustafa slips past, brushing the man's shoulder in thanks. Breath in cadence with step, his head turns up--<\/dialogue>\n    <dialogue>Smoke plumes into night, their signal leading him ahead.<\/dialogue>\n    <character>CHRIS\/TRIBAL LEADER<\/character>\n    <dialogue>Terp translates, Tribal Leader responds violently--<\/dialogue>\n    <character>TERP<\/character>\n    <dialogue>- This is our territory. If you want to come here, you ask me. If you want to find someone, I find them-<\/dialogue>\n    <character>BIGGLES (OC)<\/character>\n    <parenthetical>(atop Humvee, on the .60)<\/parenthetical>\n    <dialogue>Fuck 'em. Let's go. Shit's getting hairy.<\/dialogue>\n    <character>CHRIS KYLE<\/character>\n    <parenthetical>(to Tribal Leader)<\/parenthetical>\n    <dialogue>If I ask for your help you're the one they carve up next. I've seen it happen.<\/dialogue>\n    <scene_description>A crowd of 300 chanting, as Terp translates. ALLEY TWO MEN stand by a 12 foot wall. A dark shape sprints toward them. One man kneels, the other braces him. The reflective swoosh catches light as-- Mustafa runs up the man's back, leaping onto the wall. CHRIS\/TRIBAL LEADER Tribal Leader rages, crowd at his back, eyes on fire--<\/scene_description>\n    <character>TERP<\/character>\n    <dialogue>-I am the seventh son of Isaac of Abraham. This is the land of my father, and I am not afraid.- He says your evil is greater than those you fight. He calls you white satan, devil of Ramadi.<\/dialogue>\n    <scene_description>Venom peels across Chris' face and makes it appear true. A Nike swoosh reflects from a near rooftop. NEARBY ROOFTOP Nikes cross gravel. Mustafa kneels. Unfolds his bi-pod. CHRIS\/TRIBAL LEADER<\/scene_description>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>You tell him to deliver The Butcher to us, or the devil comes back.<\/dialogue>\n    <scene_description>MUSTAFA SCOPE POV CROSS-HAIRS TRACK past smoke blown sideways, trash gusting-- FIND CHRIS as he turns for the Humvee. Cross- hairs leading him, compensating for windage. As he pauses his exhale-- THE FATHER'S BODY is hoisted in the air. Mustafa tries to adjust as his SHOT RINGS OUT--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HUMVEE (PULLING AWAY)<\/stage_direction>\n    <scene_description>THE ROUND HITS the shield. BIGGLES fires at the rooftop. Bullets strafing night as the Humvee door closes and they roar off. A PUNISHER SKULL drawn in grease on his shield, gleams in the moonlight. Mustafa's shot struck the Punisher in the eye. PUSH ON the teeth of the logo and-- DISSOLVE TO: CHRIS' LONG FINGERS pressed to the glass. SFX: his breath rattles quietly over following scenes. We are--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MATERNITY WARD, SAN DIEGO<\/stage_direction>\n    <scene_description>CHRIS stares into the nursery window where his NEWBORN DAUGHTER CRIES. The air thick and dreamlike around him.<\/scene_description>\n    <character>TAYA (VO)<\/character>\n    <dialogue>The news is saying the war is over.<\/dialogue>\n    <character>CHRIS (VO)<\/character>\n    <dialogue>It's not over.<\/dialogue>\n    <character>TAYA (VO)<\/character>\n    <dialogue>But are we winning?<\/dialogue>\n    <character>CHRIS (VO)<\/character>\n    <dialogue>I don't know...<\/dialogue>\n    <scene_description>TWO NURSES walk past his daughter. Chris bangs on the glass, trying to get their attention.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Hey, some help here-- She's crying--<\/dialogue>\n    <scene_description>He pounds the glass. The nurses don't hear him. SFX: THE MECHANISTIC BUZZ of power-tools overwhelms the scene-- TRANSITION TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JIFFY LUBE - DAY<\/stage_direction>\n    <scene_description>PAN ACROSS GUMBALL MACHINES and TOY DISPENSERS on the wall. The POWER TOOLS whining as COLTON(3) holds a toy, pissed it's not the one he wanted.<\/scene_description>\n    <character>COLTON<\/character>\n    <dialogue>But I want that one--<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(the air still thick, his words spoken from afar)<\/parenthetical>\n    <dialogue>You don't get to choose, bubba.<\/dialogue>\n    <character>COLTON<\/character>\n    <dialogue>But I don't like it! I want that one--<\/dialogue>\n    <scene_description>THE DRILL BUZZES in the garage. Chris' nerves fraying.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>You get what it gives you. That's how this thing works.<\/dialogue>\n    <scene_description>Colton melts to the floor crying. CUSTOMERS looking now.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Don't do this. Get up. Come on--<\/dialogue>\n    <scene_description>THROUGH VIEWING WINDOW-- THE MAN with the drill is visible. Dark hair like The Butcher, turning toward us--<\/scene_description>\n    <character>RECEPTIONIST (OC)<\/character>\n    <dialogue>Chris Kyle, your truck is ready.<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(snaps-to; to Colton)<\/parenthetical>\n    <dialogue>Get off the floor. Right now--<\/dialogue>\n    <character>MAN'S VOICE (OC)<\/character>\n    <dialogue>Excuse me, sir.<\/dialogue>\n    <scene_description>A YOUNG MAN steps too close. Chris rears up, defensive.<\/scene_description>\n    <character>YOUNG MAN<\/character>\n    <dialogue>Are you... \"Chief\" Chris Kyle?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>That's me.<\/dialogue>\n    <character>YOUNG MAN<\/character>\n    <dialogue>Sorry to intrude, sir, but we met in Fallujah. You saved my life.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Did I--?<\/dialogue>\n    <character>YOUNG MAN\/VETERAN<\/character>\n    <dialogue>Yes, sir. My name is Mads. We were trapped in a house when you showed up with 1st Marines. You carried me out.<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(lifetimes ago, but)<\/parenthetical>\n    <dialogue>Yeah. Right. Well, you Marines saved our ass plenty out there. How you holding up?<\/dialogue>\n    <character>MADS\/YOUNG VETERAN<\/character>\n    <dialogue>Great, sir. I'm grateful to be alive. It hasn't been easy but--<\/dialogue>\n    <scene_description>He lifts his pant-leg and shows an ARTIFICIAL LEG.<\/scene_description>\n    <character>MADS<\/character>\n    <dialogue>It cost lots of guys more than a leg.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Did you lose some friends?<\/dialogue>\n    <character>MADS<\/character>\n    <dialogue>That too, but I'm talking about guys that lived. They made it back but they're just not back. They can't seem to get right.<\/dialogue>\n    <scene_description>DRILL STARTS UP again. Chris glances that direction.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Yeah, I-- I'm sorry to hear that.<\/dialogue>\n    <character>MADS<\/character>\n    <dialogue>You should come down to the VA sometime. The guys would love it. They all know who The Legend is.<\/dialogue>\n    <scene_description>Chris nods like he never will. Mads kneels to Colton.<\/scene_description>\n    <character>MADS<\/character>\n    <dialogue>I bet you missed your daddy when he was gone. But can I tell you something? Your dad is a hero. He saved my life--<\/dialogue>\n    <parenthetical>(eyes well up)<\/parenthetical>\n    <dialogue>He helped me get home to my little girl.<\/dialogue>\n    <scene_description>Colton looks up at his dad who swells with emotion. OTHER CUSTOMERS watching now, captivated.<\/scene_description>\n    <character>MADS<\/character>\n    <dialogue>So thank you for loaning him to us, li'l man. I wouldn't be here without him.<\/dialogue>\n    <scene_description>Mads stands and comes to attention, saluting Chris.<\/scene_description>\n    <character>MADS<\/character>\n    <dialogue>My family thanks you for your service.<\/dialogue>\n    <scene_description>Chris bites back emotion, nods, and walks out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NURSERY<\/stage_direction>\n    <scene_description>A pink cocoon of a room. Taya sits in a rocker, breast- feeding their daughter, MCKENNA. She's gentle, imploring--<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>I'm making memories by myself. I have no one to share them with.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>We have the rest of our lives for that.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>When does that start? Even when you're here you're not here.<\/dialogue>\n    <scene_description>Taya pulls McKenna off her breast. Chris scoops her up.<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>I hate the teams for it. I do. You're my husband and the father of my children-- but they're the ones that pull you back.<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(doesn't look up from his daughter)<\/parenthetical>\n    <dialogue>We can wait. They can't.<\/dialogue>\n    <scene_description>A long pause...<\/scene_description>\n    <character>TAYA (OC)<\/character>\n    <dialogue>If you think this war isn't changing you you're wrong.<\/dialogue>\n    <scene_description>He looks up and POV CHRIS-- Taya sits in her rocker on the side of a ROAD IN RAMADI, destruction all around her.<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>You can only circle the flame so long.<\/dialogue>\n    <scene_description>SCORE BUILDS, a steely guitar over tribal drums.<\/scene_description>\n    <character>\"THIRD TOUR\"<\/character>\n    <dialogue>A TRUCK speeds past a burnt rocker in the street. We are--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCK, RAMADI - DAY<\/stage_direction>\n    <scene_description>PUNISHER SKULL stenciled on flack jacket, CHRIS mans a suspended MK48 swinging where a passenger seat should be. A skull bandanna and sunglasses cover his grizzled face. The Punishers--<\/scene_description>\n    <character>BIGGLES<\/character>\n    <parenthetical>(keys mike)<\/parenthetical>\n    <dialogue>--we are tailing the Butcher's courier, turning onto Maryland Street. Over.<\/dialogue>\n    <scene_description>BIGGLES DRIVES, trailing a BROWN VAN. The city goes from light to shadow as they enter a built-up section called-- THE CHINESE APARTMENTS<\/scene_description>\n    <character>BIGGLES<\/character>\n    <dialogue>I bought the ring.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Here?<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>They're cheaper here.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>You want some savage's ring? What if it's a blood diamond?<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>What the fuck do you care? You spilled more blood than anyone!<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Not for a rock.<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>Whatever, man.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Ease off, don't get too close.<\/dialogue>\n    <parenthetical>(the van turns ahead)<\/parenthetical>\n    <dialogue>You gonna tell her where it came from?<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>Hell no! I'll tell her I got from Zales.<\/dialogue>\n    <scene_description>They're laughing, off the leash, cocky and invincible. A BLOCK BACK - HUMVEE FOLLOWS MARC LEE drives. \"D\" rides shotgun. DAUBER in back. Uniforms bastardized; metal blasting in broad daylight.<\/scene_description>\n    <character>BIGGLES (OS)<\/character>\n    <parenthetical>(over radio)<\/parenthetical>\n    <dialogue>Still with us cookie?<\/dialogue>\n    <character>\"D\"<\/character>\n    <parenthetical>(keys mike, checking GPS)<\/parenthetical>\n    <dialogue>Half a block back and we are wet and ready, Big Giggles.<\/dialogue>\n    <character>MARC LEE<\/character>\n    <dialogue>20 years from now, we'll have a reunion and you'll be married to a dude.<\/dialogue>\n    <character>\"D\"<\/character>\n    <dialogue>As long as you cook and clean.<\/dialogue>\n    <scene_description>DAUBER sits in back, shaking his head. UNDERCOVER TRUCK STREET SPOTTERS reach for their cell phones. Chris glares at them, ominous in skull mask, flipping the bird.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>The Butcher has his peepers out.<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>This motherfucker is Keyser S\u00f6ze. Next time you got a shot try not to miss.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I coulda taken him in that alley if I didn't have to save your ass--<\/dialogue>\n    <character>BIGGLES<\/character>\n    <parenthetical>(accelerates)<\/parenthetical>\n    <dialogue>Whatever helps you sleep at night.<\/dialogue>\n    <scene_description>ON A ROOFTOP A BAREFOOT TEENAGER races across gravel, aims a RIFLE down at the taxi with The Punisher symbol-- UNDERCOVER TRUCK<\/scene_description>\n    <character>BIGGLES<\/character>\n    <dialogue>You gonna be my best man?<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(still masked)<\/parenthetical>\n    <dialogue>Is it just me? Or other guys too?<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>You fucking egomaniac--<\/dialogue>\n    <scene_description>A ROUND pierces the roof and goes through the floorboard--<\/scene_description>\n    <character>BIGGLES<\/character>\n    <dialogue>Rooftop, twelve-o'clock--<\/dialogue>\n    <scene_description>SIX INSURGENTS pop up on a rooftop, firing. Chris leans into the .60 spitting lead in pneumatic bursts.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSTAFA'S APARTMENT - SAME<\/stage_direction>\n    <scene_description>A dry hand spins a SNIPER ROUND on a tabletop. It wobbles to a stop facing the man who set it in motion-- MUSTAFA, head-on. A messy beard and thousand-yard stare. Haunted but unrelenting, he spins the round again. An IRAQI WOMAN appears, shushing an infant. She says something to Mustafa but he doesn't respond. A phone vibrates. He grabs a duffel and steps out. By the door, A PHOTO OF MUSTAFA on a medal stand at the Olympic Games.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDERCOVER TRUCK<\/stage_direction>\n    <scene_description>Biggles speeds after the van, taking fire from above.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Get me a shot, grandma.<\/dialogue>\n    <scene_description>Biggles stomps the accelerator, whips around a corner--<\/scene_description>\n    <character>A SHORT STRAIGHTAWAY<\/character>\n    <dialogue>CHRIS BLASTS 200 ROUNDS (MK48) into the van; pulverizes the thing and watches it hiss to a stop.<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>That should do it.<\/dialogue>\n    <scene_description>COURIER bounds out of the van, diving into a building.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>What the fuck!? How'd he survive--<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>Rubber junk-man's got your horseshoe.<\/dialogue>\n    <scene_description>They roll out in pursuit. The Humvee pulls up. Inside--<\/scene_description>\n    <character>\"D\"<\/character>\n    <parenthetical>(into mike)<\/parenthetical>\n    <dialogue>--need a two block perimeter around the area. No one gets in or out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DISTANT ROOFTOPS<\/stage_direction>\n    <scene_description>MUSTAFA crosses rooftop-to-rooftop with fluency.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY, APARTMENT COMPLEX<\/stage_direction>\n    <scene_description>BLOOD DROPLETS lead to a door. Biggles kicks-in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT - CONTINUOUS<\/stage_direction>\n    <scene_description>Biggles and Chris dance around each other like smoke.<\/scene_description>\n    <character>BIGGLES<\/character>\n    <dialogue>Clear.<\/dialogue>\n    <scene_description>An open window. Stairs climb the wall outside.<\/scene_description>\n    <character>CHRIS<\/character>\n    <parenthetical>(keys mike)<\/parenthetical>\n    <dialogue>We're headed to the roof. Secure the van.<\/dialogue>\n    <character>THE VAN<\/character>\n    <dialogue>DAUBER and TONY cover MARC LEE and \"D\" as they open the back of the van. Inside, flats of RED CLAY TILES.<\/dialogue>\n    <character>\"D\"<\/character>\n    <dialogue>The Butcher is building a 7-11?<\/dialogue>\n    <scene_description>Marc rips off the top layer, finds: 200,000 ROUNDS AMMO.<\/scene_description>\n    <character>MARC LEE<\/character>\n    <dialogue>No ammo, no jihad.<\/dialogue>\n    <character>ROOFTOP<\/character>\n    <dialogue>Drying sheets billow on crisscrossing wires. Chris tracks blood-drops to the ledge. The next roof 15 feet off.<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>How the hell'd he make that?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>He didn't--<\/dialogue>\n    <scene_description>Two stories below, COURIER lays face down in his mess.<\/scene_description>\n    <character>BIGGLES<\/character>\n    <dialogue>So much for leading us to the Butcher.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>So much for him having my horseshoe.<\/dialogue>\n    <scene_description>Chris pulls his mask down. He has a beard and the sturm und drang of war are writ loud on his face. DISTANT BALUSTRADE MUSTAFA lays prone, mumbles a prayer and takes two deep breaths before putting his eye to the scope. MUSTAFA SCOPE POV CROSS-HAIRS TACK to fluttering sheets, the wind revealed in their billow. TWO FIGURES are cloaked there, indistinguishable heads peaking over laundry lines. He aims left-and-above the head closest to him. ON THE ROOF Chris and Biggles stand among the billowing sheets.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>She'll take it to Zales and try to find out how much your spent.<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>She's not like that.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>They're all like that.<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>It's giant, bro. Four karats. It had to belong to one of Saddam's bitches--<\/dialogue>\n    <scene_description>Chris is laughing when he sees a FLASH OF GLASS in the distance. Before he can utter a warning-- A GUNSHOT SOUNDS The bullet flays the muzzle of Biggles M4. Shrapnel enters his face. Biggles goes down in a red mist--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>No!--<\/dialogue>\n    <scene_description>The right side of his face is a pulpy cavity. His eye socket obliterated. He appears mortally wounded.<\/scene_description>\n    <character>CHRIS<\/character>\n    <parenthetical>(dives on him, keys mike)<\/parenthetical>\n    <dialogue>Biggles is down. Man down.<\/dialogue>\n    <parenthetical>(pulls Biggles close, chiseled with grief)<\/parenthetical>\n    <dialogue>No, buddy. No! Stay with me--<\/dialogue>\n    <scene_description>He drags him one way, then another. He can't see past the blood-spackled sheets. A SHOT pocks the roof at his feet.<\/scene_description>\n    <character>CHRIS<\/character>\n    <parenthetical>(keys mike)<\/parenthetical>\n    <dialogue>Cover! I need cover. He's picking us off.<\/dialogue>\n    <scene_description>ANOTHER SHOT inches from his head. They are being hunted.<\/scene_description>\n    <character>BIGGLES<\/character>\n    <parenthetical>(gargled)<\/parenthetical>\n    <dialogue>I'm got it. I got it-- I can walk--<\/dialogue>\n    <scene_description>Biggles pulls himself up, tilting his head forward to not choke on his own blood. With heroic effort, he stumbles to the stairs. Chris, stunned he's alive, ducks an arm--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET<\/stage_direction>\n    <scene_description>TWO MARINE UNITS provide cover as the Humvee speeds off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HUMMER<\/stage_direction>\n    <scene_description>MARC LEE drives. DAUBER applies gauze to hold Biggles face on. CHRIS kneels there, holding his hand.<\/scene_description>\n    <character>BIGGLES<\/character>\n    <parenthetical>(gargling blood)<\/parenthetical>\n    <dialogue>--I'm sorry--<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>You got nothing to be sorry for. I shouldn't have had us up there--<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>Am I gonna die?<\/dialogue>\n    <scene_description>Chris looks to Dauber--<\/scene_description>\n    <character>DAUBER<\/character>\n    <dialogue>We'll rub a little dirt in it, get you a sip of water, you'll be fine.<\/dialogue>\n    <scene_description>Dauber shakes his head, he's not going to make it.<\/scene_description>\n    <character>BIGGLES<\/character>\n    <dialogue>--it was always gonna be me--<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Coulda been any of us. Just hang on--<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>Not you. Not the Legend. You lucky fuck--<\/dialogue>\n    <scene_description>His body goes into shock. Chris comes unwound.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Don't die, Ryan. You hold on--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEDICAL TENT<\/stage_direction>\n    <scene_description>LOW ANGLE- plywood floor littered with needles, blood and latex gloves. A cart is rushed past. MEDICAL PERSONNEL shouting, \"we're losing him.\" The picture pulses, blurs--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MEDICAL TENT<\/stage_direction>\n    <scene_description>THE PUNISHERS stand around the Humvee, still as a photo.<\/scene_description>\n    <character>\"D\"<\/character>\n    <dialogue>Did you see where it came from?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>He was 1000 meters out. Only one enemy sniper makes that shot.<\/dialogue>\n    <scene_description>A jeep pulls up. COLONEL JONES and MASTER CHIEF MARTIN step out.<\/scene_description>\n    <character>COL. JONES<\/character>\n    <dialogue>Will he make it?<\/dialogue>\n    <scene_description>Chris turns away, choked up.<\/scene_description>\n    <character>DAUBER<\/character>\n    <dialogue>Doesn't look good, Master Chief.<\/dialogue>\n    <character>MASTER CHIEF MARTIN<\/character>\n    <dialogue>That's the first SEAL hit, sir.<\/dialogue>\n    <character>\"D\"<\/character>\n    <dialogue>Fuck!<\/dialogue>\n    <scene_description>The sun high.<\/scene_description>\n    <character>COL. JONES<\/character>\n    <dialogue>A Shi'a cab driver we source is saying there's a stronghold seven doors down.<\/dialogue>\n    <character>MASTER CHIEF MARTIN<\/character>\n    <dialogue>Marine units that covered your exfil are still engaged there.<\/dialogue>\n    <character>COL. JONES<\/character>\n    <dialogue>I can understand if you want to stand- down and regroup. It's up to you.<\/dialogue>\n    <scene_description>The wind blows.<\/scene_description>\n    <character>MARC LEE<\/character>\n    <dialogue>Lex talionis...<\/dialogue>\n    <parenthetical>(looks up)<\/parenthetical>\n    <dialogue>Eye for eye, tooth for tooth.<\/dialogue>\n    <scene_description>They all agree.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>We're going back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET, RAMADI<\/stage_direction>\n    <scene_description>METALLICA, \"Master of Puppets\" blasts as an M1A2 ABRAMS TANK speeds 45 mph down a street, bad as fuck. TWO BRADLEY TRANSPORT vehicles follow. A CAR pulls into the road ahead. INSURGENT PASSENGER leans out, FIRING AN RPG. It explodes across the tank but does no damage. Tank still coming, Insurgents pull away-- But the tank catches them. Treads climbing the back of the car, overtaking it. INSURGENTS are trying to get out, screaming, as steel folds around them and flattens them. And the ABRAMS vaults off the other side--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRADLEY TRANSPORT VEHICLE<\/stage_direction>\n    <scene_description>THE PUNISHERS. Ears pinned back. Metal blasting. Amp'd to kill. FIND CHRIS consumed by rage; he pulls the BIBLE and AMERICAN FLAG out and sets them aside. This is personal.<\/scene_description>\n    <character>MARC LEE<\/character>\n    <dialogue>Two clicks out. Lock and load.<\/dialogue>\n    <scene_description>He glances at Chris, feeding off him. They all are.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>For Biggles.<\/dialogue>\n    <character>IN THE STREET<\/character>\n    <dialogue>The tank skids to a stop. The turret spins to a castle- like structure and BA-BOOM!<\/dialogue>\n    <scene_description>THE PUNISHERS pour out of their Bradleys, rolling in both directions, arcing toward the point of entry-- THE COURTYARD Punishers pour in. FOUR INSURGENTS lay dead, dispatched by the tank. Zero resistance.<\/scene_description>\n    <character>MARC LEE<\/character>\n    <dialogue>Courtyard is clear. Moving.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Some stronghold. Move.<\/dialogue>\n    <scene_description>DAUBER and TONY follow them up a crumbled staircase-- LONG HALLWAY Ominously still. Sunlight spills through grated windows facing the street. Chris and Marc move to the first door-- FIRST ROOM A sleeping mat. A TV plays an Al Jazeeri game show. Marc pushes toward the bathroom, coming around the corner--- BATHROOM The faucet runs on a straight-razor.<\/scene_description>\n    <character>MARC LEE<\/character>\n    <dialogue>Clear.<\/dialogue>\n    <scene_description>FIRST ROOM MARC steps back in, golden dust motes float around him.<\/scene_description>\n    <character>MARC LEE<\/character>\n    <dialogue>Somebody left in a hurry.<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(keys mike)<\/parenthetical>\n    <dialogue>You sure we got the right address--<\/dialogue>\n    <scene_description>CANON-FIRE HITS the outer-hallway from across the street. Brrrrrb-Brrrrb!! Rounds banging with seismic force.<\/scene_description>\n    <character>DAUBER (OS)<\/character>\n    <parenthetical>(from hallway)<\/parenthetical>\n    <dialogue>Fuck--<\/dialogue>\n    <scene_description>TIME SLOWS as Chris bounds toward the door. Marc Lee gets there first, steps through it, into--<\/scene_description>\n    <character>LONG HALLWAY<\/character>\n    <dialogue>GUNFIRE RAINS through grated windows. The hall is coming apart in dusty chunks of plaster.<\/dialogue>\n    <dialogue>DAUBER and TONY are pinned between windows. MARC LEE steps to the nearest window to lay suppressive fire.<\/dialogue>\n    <character>MARC LEE<\/character>\n    <dialogue>Contact--<\/dialogue>\n    <character>GUNFIRE STRAFES IN AT AN ANGLE, HITTING MARC LEE IN HIS<\/character>\n    <dialogue>OPEN MOUTH. HE'S BLOWN BACKWARDS, HITTING THE WALL AND--<\/dialogue>\n    <dialogue>MARC LEE is down. Blood pooling. A forever stare.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Marc--<\/dialogue>\n    <scene_description>CHRIS is staggered but his training takes over and he steps into the same window, BLASTING FIRE. DAUBER is trying to intubate Marc but the back of his head is gone. He was dead before he hit the wall.<\/scene_description>\n    <character>THE ABRAMS TURRET SPINS. THE CANON BOOMS. THE EARTH<\/character>\n    <scene_description>TRANSITION TO: The trembling is the turbulence. We are--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. C-17 GLOBEMASTER (IN FLIGHT) - NIGHT<\/stage_direction>\n    <scene_description>In dim red-glow, FIND BIGGLES in a tented gurney, stable but critical; his head caved in. CHRIS stares ahead--<\/scene_description>\n    <character>MARC LEE'S MOM (VO)<\/character>\n    <dialogue>\"Glory is something some men chase and others find themselves stumbling upon.\"<\/dialogue>\n    <scene_description>REVERSE TO MARC LEE'S CASKET draped in stars and stripes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FORT ROSECRANS NATIONAL CEMETERY - DAY<\/stage_direction>\n    <scene_description>A pasture of tombstones overlook the Pacific. CHRIS, with a chest-full of medals, stands with TAYA, COLTON(4) and MCKENNA(2). TAYA watches MARC'S WIFE weep as-- MARC LEE'S MOM reads his LAST LETTER HOME:<\/scene_description>\n    <character>MARC'S LEE MOM<\/character>\n    <dialogue>\"My question is when does glory fade away and become a wrongful crusade?\"<\/dialogue>\n    <character>CHRIS HEARS MARC'S VOICE:<\/character>\n    <dialogue>MARC LEE (VO)<\/dialogue>\n    <scene_description>\"When does it become an unjustified means by which one is completely consumed.\" COLTON reaches for his father's hand. Chris jumps, startled. He looks at Colton, then Taya. He's caught with his guard down and it appears he may let them in... But he quickly returns his gaze to the flagged casket.<\/scene_description>\n    <character>CLOSE ON CASKET<\/character>\n    <dialogue>NAVY SEALS bang their Tridents into the coffin. A hollow thump, like fists trying to revive a heart.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAYA'S CAR (MOVING) - LATER<\/stage_direction>\n    <scene_description>San Diego traffic. THE KIDS chatter in back. CHRIS drives, in a fugue-state when he spots-- A BROWN VAN, four cars back, same as the one in Ramadi.<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>Marc wrote that letter two weeks ago. Did he say any of that to you?<\/dialogue>\n    <scene_description>VAN ROARS up the turning lane. It's pulling alongside them. Chris grips the wheel, ready-- the van roars past<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>Chris? I want to know what you thought of his letter...<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(slow, absent)<\/parenthetical>\n    <dialogue>An AQI informant called in a tip. Biggles had just been shot. We were operating off emotion and-- we walked into an ambush.<\/dialogue>\n    <scene_description>The kids grow quiet. The air sucked from the car.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>But that's not what killed him. That letter did. That letter killed Marc.<\/dialogue>\n    <parenthetical>(looks to her)<\/parenthetical>\n    <dialogue>He let go and he paid the price for it.<\/dialogue>\n    <scene_description>Taya turns away, wrecked. They drive in silence.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>TV lights the dark room. NEWS GRAPHIC: \"Americans killed in Iraq: 3932\". CHRIS and TAYA talk to the ceiling.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>If something ever happened to me-- you'd meet someone else. You'd be alright.<\/dialogue>\n    <scene_description>His detachment is unearthly.<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>Do you want to die? Is that what it is?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>TAYA<\/character>\n    <parenthetical>(cheeks shine with tears)<\/parenthetical>\n    <dialogue>Then tell me why do you do it. I want to understand.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I do it for you. To protect you.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>No you don't. I'm here. Your family is here. Your children have no father--<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Without this, there's nothing.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>Bullshit. It's not about us anymore. You don't know when to quit. It's over-<\/dialogue>\n    <parenthetical>(violent)<\/parenthetical>\n    <dialogue>You did your part! We sacrificed enough. Let somebody else go--<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I could never live with myself.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>You find a way! You have to. I need you to be human again. I need you here.<\/dialogue>\n    <parenthetical>(no response, she calms)<\/parenthetical>\n    <dialogue>If you leave again, we might not be here when you get back.<\/dialogue>\n    <scene_description>It startles him and he seems suddenly alert to her suffering. He reaches for her, holding her to his chest.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>Her eyes sink into a well of ruin. 116A OMITTED 116A<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NAVY HOSPITAL, SAN DIEGO - DAY<\/stage_direction>\n    <scene_description>A DUST MOTH flutters around the wall sconce. Wilted flowers and \"get-well\" cards cover the windowsill.<\/scene_description>\n    <character>CHRIS<\/character>\n    <parenthetical>(enters)<\/parenthetical>\n    <dialogue>Hey, buddy--<\/dialogue>\n    <scene_description>BIGGLES lays in bed. Part of his head caved-in and badly marred, one eyelid open on a milky-white eyeball.<\/scene_description>\n    <character>BIGGLES<\/character>\n    <dialogue>Chris? Where are you?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I'm right here just give me a minute--<\/dialogue>\n    <parenthetical>(hobbles around the bed)<\/parenthetical>\n    <dialogue>Just blind as a bat, huh?<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>Yeah... It fucking blows. They're gonna fix my face though.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>That's good. Your face always needed a little fixing.<\/dialogue>\n    <scene_description>Chris sounds upbeat but his eyes betray him.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>I heard you proposed? Did you tell Kelly the diamond was from Zales?<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>Naw, I bought a new one. A small one. Her dad helped me out.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Nice.<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>She wouldn't leave me, bro. I told her to go-- but she wouldn't leave.<\/dialogue>\n    <character>BIGGLES<\/character>\n    <parenthetical>(voice cracking)<\/parenthetical>\n    <dialogue>She's getting a raw fucking deal.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>No she's not. How can you say that? She's getting you.<\/dialogue>\n    <parenthetical>(eyes welling up)<\/parenthetical>\n    <dialogue>All four inches.<\/dialogue>\n    <scene_description>Biggles laughs and tears roll from his vacant eye.<\/scene_description>\n    <character>BIGGLES<\/character>\n    <dialogue>I'm glad this happened to me and not you. No way you could've handled it.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>You're probably right.<\/dialogue>\n    <scene_description>There is a pause.<\/scene_description>\n    <character>BIGGLES<\/character>\n    <dialogue>They say you're the deadliest sniper in U.S. Military history.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Is that what they say?<\/dialogue>\n    <scene_description>Biggles grows quiet.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>The bad guys fled up into to Sadr City.<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>You're not going back?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>We're gonna wall 'em in and hunt 'em down.<\/dialogue>\n    <character>BIGGLES<\/character>\n    <dialogue>You don't have to do this.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Yes I do. You're my brother and they're going to pay for what they did to you.<\/dialogue>\n    <scene_description>His mind made up. Biggles moved by it.<\/scene_description>\n    <character>BIGGLES<\/character>\n    <dialogue>Hooyah, Legend. Hooyah--<\/dialogue>\n    <scene_description>OMITTED OMITTED OMITTED OMITTED OMITTED OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. C-17 GLOBEMASTER - DAY<\/stage_direction>\n    <scene_description>75 Marines packed in. CHRIS hobbles up the isle like Achilles. His import draws the attention of soldiers he passes. He settles into a seat. Across from him--<\/scene_description>\n    <character>MARINE LT.<\/character>\n    <dialogue>The Legend, right? I heard you killed 101 men your last tour. The hajis call you The Devil of Ramadi.<\/dialogue>\n    <scene_description>Chris removes his wedding band, hangs it from his necklace.<\/scene_description>\n    <character>MARINE LT.<\/character>\n    <dialogue>So how many kills you got now?<\/dialogue>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>You have to ask the Navy. I lost count.<\/dialogue>\n    <scene_description>His reserve silences the Lieutenant. ENGINES ROAR as-- OMITTED OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOB COWBOY - DAY<\/stage_direction>\n    <scene_description>This base feels like a remote outpost. CHRIS and \"D\" walk past a boneyard of charred vehicles.<\/scene_description>\n    <character>\"D\"<\/character>\n    <dialogue>We been shot off position three nights in a row. Fallujah was bad, Ramadi was worse but this shit is fuckin biblical.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Any other Punishers here?<\/dialogue>\n    <character>\"D\"<\/character>\n    <dialogue>Squirrel cycled out. Dauber was coming back but his wife knocked him up. And if I bring home another rug my old lady'll murder my ass. Teams and shit.<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(nostalgic)<\/parenthetical>\n    <dialogue>Teams and shit.<\/dialogue>\n    <character>\"D\"<\/character>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>That Biggles news hit hard.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I know. I visited him before I left. That fucker can't see shit.<\/dialogue>\n    <character>\"D\"<\/character>\n    <parenthetical>(stops walking)<\/parenthetical>\n    <dialogue>Bro... Biggles is gone. He was in surgery yesterday and he died on the table.<\/dialogue>\n    <scene_description>Chris stares at him, ruined, waiting for him to take it back. SFX: A PHONE RINGS thousands of miles away as-- CHRIS SCOPE POV CROSS-HAIRS track along Jamila street, past cranes assembling the T-wall that will stretch across the city. The phone stops ringing, VOICEMAIL picks up.<\/scene_description>\n    <character>TAYA VOICEMAIL (VO)<\/character>\n    <dialogue>-This is Taya, I can't get to the phone so please leave a message.<\/dialogue>\n    <scene_description>A car pulls into an intersection, ominous in inactivity. Dust blows sideways off its halted tires.<\/scene_description>\n    <character>CHRIS MESSAGE (VO)<\/character>\n    <dialogue>It's me. I'm just calling to hear your voice. I'm missing you guys. I been thinking about some things you said.<\/dialogue>\n    <scene_description>The car disappears down a side-street. CROSS-HAIRS linger at that spot, knowing the routine.<\/scene_description>\n    <character>CHRIS MESSAGE (VO<\/character>\n    <dialogue>Tell the kids I love them.<\/dialogue>\n    <scene_description>AN INSURGENT darts out, flips the sight-finder on an RPG. Mirage boils off the street, same as dust, 45 degrees.<\/scene_description>\n    <character>CHRIS MESSAGE<\/character>\n    <dialogue>I love you too.<\/dialogue>\n    <scene_description>CROSS-HAIRS compensate left for windage. A SHOT RINGS OUT. Red mist. CROSS-HAIRS scan the sector, they won't leave an RPG. Finally, ANOTHER FIGURE runs out--<\/scene_description>\n    <character>A YOUNG KID<\/character>\n    <dialogue>No older than Colton. He grabs the RPG, shoulders it. CROSS-HAIRS zero on him, center-mass. SFX: Chris' heartbeat bangs like a 800lb hammer. Not again.<\/dialogue>\n    <character>CHRIS (OC)<\/character>\n    <dialogue>Don't do it--<\/dialogue>\n    <scene_description>CROSS-HAIRS tremor as Chris' hands start to shake.<\/scene_description>\n    <character>CHRIS (OC)<\/character>\n    <dialogue>--please God--<\/dialogue>\n    <scene_description>Young Kid takes aims and-- suddenly discards the RPG in the street and runs off.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>He rolls off the gun, gasping for air, biting back tears. After nearly a decade of war he's finally breaking down.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OP TENT - DAY<\/stage_direction>\n    <scene_description>Wind batters the tent. A squad of 16 SPEC OPS GUYS from different branches study a map with--<\/scene_description>\n    <character>MASTER CHIEF MARTIN<\/character>\n    <dialogue>Brass believe this T-wall will end the war by trapping remaining AQI inside. But we got a sniper picking off contractors from deep behind the wall.<\/dialogue>\n    <character>CHRIS (OC)<\/character>\n    <dialogue>How deep?<\/dialogue>\n    <scene_description>Every man looks to the back wall where Chris stands.<\/scene_description>\n    <character>MASTER CHIEF MARTIN<\/character>\n    <dialogue>Roughly 1000 meters.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Is it Mustafa?<\/dialogue>\n    <character>RANGER ONE<\/character>\n    <dialogue>Moo-who?<\/dialogue>\n    <character>\"D\"<\/character>\n    <dialogue>The sniper who shot our boy Biggles.<\/dialogue>\n    <scene_description>That's a warning. Ranger One backs off.<\/scene_description>\n    <character>MASTER CHIEF MARTIN<\/character>\n    <dialogue>He can be whoever you need him to be, we just need him dead.<\/dialogue>\n    <scene_description>Chris nods, eyes ablaze. Martin points to a map, south of the wall is green, north of wall is red.<\/scene_description>\n    <character>MASTER CHIEF MARTIN<\/character>\n    <parenthetical>(points to red-zone)<\/parenthetical>\n    <dialogue>We'll shuttle you six blocks north into enemy territory which will put you right up under his nose when he takes his shot.<\/dialogue>\n    <scene_description>Storm winds blast the tent flap open--<\/scene_description>\n    <character>DELTA SNIPER<\/character>\n    <dialogue>In the middle of a fucking sandstorm?<\/dialogue>\n    <character>MASTER CHIEF MARTIN<\/character>\n    <dialogue>Bring your goggles, Bambi. We need to shut this shooter down.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FORWARD OPERATING BASE<\/stage_direction>\n    <scene_description>A Stryker rumbles out, headed across the desert floor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRYKER<\/stage_direction>\n    <scene_description>CHRIS sits up front, eyes drawn to an OLD MERCEDES speeding across the desert toward them. A train of dust plumes behind it. As the vehicles pass-- (ECU) TWO IRAQI MEN in the Mercedes hide their faces behind keffiyehs.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>What was that--<\/dialogue>\n    <scene_description>Chris whips around in his seat but can't look back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GUARD POST - CONTINUOUS<\/stage_direction>\n    <scene_description>MARINE GATE-GUARD studies the approaching OLD MERCEDES.<\/scene_description>\n    <character>MARINE GATE GUARD<\/character>\n    <parenthetical>(keys mike)<\/parenthetical>\n    <dialogue>This is east gate. We've got an unknown vehicle coming up fast.<\/dialogue>\n    <scene_description>Guards roll out, guns up. Mercedes skids to a stop outside the serpentine barriers. Dust blooms from it.<\/scene_description>\n    <character>MARINE GATE GUARD<\/character>\n    <dialogue>Get out of the car! Now--<\/dialogue>\n    <character>INSIDE MERCEDES<\/character>\n    <dialogue>TWO IRAQI MEN eye the guards. THE DRIVER mutters something to the passenger and pops the trunk--<\/dialogue>\n    <character>GUARD POST<\/character>\n    <dialogue>GUARDS, lit with urgency, react as-- BOTH MEN STEP OUT of the Mercedes, hands in air, circling toward the trunk.<\/dialogue>\n    <character>GATE GUARD<\/character>\n    <dialogue>Step away from the car!<\/dialogue>\n    <character>GATE GUARD #2<\/character>\n    <parenthetical>(FIRES WARNING SHOT)<\/parenthetical>\n    <dialogue>--move for the trunk you will be shot.<\/dialogue>\n    <character>GUARDS POV<\/character>\n    <dialogue>THE TWO IRAQI MEN duck behind the trunk. After a painfully long moment, they reemerge with--<\/dialogue>\n    <character>GATE GUARD (OC)<\/character>\n    <dialogue>Drop it! Right there! Drop him now--<\/dialogue>\n    <scene_description>They drop A MAN BOUND in blood-smeared plastic. GUARDS BARKING orders. THE DRIVER unwinds his scarf to reveal-- MESSIANIC TRIBAL LEADER (shock green eyes) who confronted Chris in Ramadi; the one tasked with finding The Butcher.<\/scene_description>\n    <character>TRIBAL LEADER<\/character>\n    <parenthetical>(in Arabic)<\/parenthetical>\n    <dialogue>Tell the devil we found his Butcher. We will protect ourselves now.<\/dialogue>\n    <scene_description>He waits for response. Guns stay on him. The wind howls.<\/scene_description>\n    <character>CLOSE ON BUTCHER<\/character>\n    <dialogue>Beaten to within an inch of his life. Bloody plastic suffocates his mouth as he tries to inhale.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SADR CITY - AERIAL SHOT - MOMENTS LATER<\/stage_direction>\n    <scene_description>The Stryker speeds up a side-street into insurgent territory (north of wall). Next street over, PACKS OF INSURGENTS push south, toward the construction site.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET, SIX BLOCKS NORTH OF T-WALL - DAY<\/stage_direction>\n    <scene_description>Stryker slows. Boots hit dirt, silently slipping into--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BANANA FACTORY, SIX BLOCKS NORTH OF T-WALL - DAY<\/stage_direction>\n    <scene_description>PUSH UPSIDE a five story building. Bombed-out walls reveal conveyors and fruit lockers inside.<\/scene_description>\n    <character>ROOFTOP<\/character>\n    <dialogue>An open rooftop, RANGER ONE is concealed under a vent as INSURGENTS pass in droves in the street below.<\/dialogue>\n    <character>RANGER ONE (OS)<\/character>\n    <dialogue>The streets are crawling. Hold your fire.<\/dialogue>\n    <scene_description>Across the roof, \"D\" on a .50 BMG looking at the MILE- WIDE SANDSTORM pushing toward Baghdad.<\/scene_description>\n    <character>\"D\"<\/character>\n    <dialogue>Enter the fuckin sandman.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>3rd floor. In a fruit locker. Breath racing. Hands tremoring. Electricity coursing through him.<\/dialogue>\n    <dialogue>Gun pointed north, Chris searches nearby buildings for the sniper. PUSH BEHIND HIM, SIX-BLOCKS SOUTH to--<\/dialogue>\n    <character>T-WALL<\/character>\n    <dialogue>A CRANE lowers a T-block. ARMY ENGINEERS guide it in.<\/dialogue>\n    <character>ENEMY CROSS-HAIRS ENTER FRAME (REVERSE ANGLE)<\/character>\n    <dialogue>ARMY ENGINEERS in the street signal success and ANOTHER ENGINEER scurries up the neck of the crane to release the chain. The cross-hairs track the MOVING ENGINEER and--<\/dialogue>\n    <scene_description>BOOM! A shot echoes across the landscape and TOPPLES THE ENGINEER from the crane. He lands dead in the street. CHRIS Hears it, pulls off the gun, looking behind him.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>No--<\/dialogue>\n    <parenthetical>(keys mike)<\/parenthetical>\n    <dialogue>It came from behind us. We went the wrong way. He's south of the wall.<\/dialogue>\n    <character>RANGER ONE (OS)<\/character>\n    <parenthetical>(over mike)<\/parenthetical>\n    <dialogue>Doesn't matter. Hold your fire. We got uglies right below us--<\/dialogue>\n    <scene_description>Chris repositions himself, FACING SOUTH-- he lowers his eye to glass, bleeding sweat, aiming toward Baghdad. CHRIS SCOPE POV (BOTH EYES VIEW) CROSS-HAIRS track to distant rooftops. Everything wobbles and fumes. Trash blows, fronds sway, curtains flap, mirage boils-- all gusting different directions. Almost by accident, he lands on an IMPOSSIBLY SMALL SHAPE. Person? A bag of trash? Or nothing at all. As small as a pepper-flake inside the radius of his scope.<\/scene_description>\n    <character>CHRIS (OC)<\/character>\n    <parenthetical>(into mike)<\/parenthetical>\n    <dialogue>I got something. 1900 yards out.<\/dialogue>\n    <character>RANGER ONE (OS)<\/character>\n    <dialogue>You can't even see that far out. Hold your fire. You'll expose us all.<\/dialogue>\n    <scene_description>He twitches and wobbles off-target by a city block.<\/scene_description>\n    <character>\"D\" (OS)<\/character>\n    <dialogue>He's right, Legend. No bueno.<\/dialogue>\n    <scene_description>CROSS-HAIRS tracking back, measuring between mil- reticals, calculating for distance. Back on target:<\/scene_description>\n    <character>CHRIS (OC)<\/character>\n    <dialogue>Correction. 2100 yards out.<\/dialogue>\n    <character>\"D\"<\/character>\n    <dialogue>That's a mile. Impossible shot.<\/dialogue>\n    <character>CHRIS (OC)<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>It's him.<\/dialogue>\n    <scene_description>ENEMY SNIPER HIDE THE SNIPER is covered in a black Hefty bag disguising his presentation, and identity. Ready to kill again.<\/scene_description>\n    <character>CHRIS (OS)<\/character>\n    <parenthetical>(over radio)<\/parenthetical>\n    <dialogue>This is Charlie 7 Bravo. We have eyes on the target. Initiate QRF. Over.<\/dialogue>\n    <character>\"D\" (OS)<\/character>\n    <dialogue>Can you confirm it's him.<\/dialogue>\n    <scene_description>ON CHRIS Trying to breathe it down, please god, breathe it down--<\/scene_description>\n    <character>CHRIS (OS)<\/character>\n    <dialogue>He has eyes on our guys.<\/dialogue>\n    <character>RANGER ONE (OS)<\/character>\n    <dialogue>Quick Reaction Force is 20 minutes out. You will stand the fuck down--<\/dialogue>\n    <scene_description>Chris scoops dust off the floor and watches with his off- eye, as it blows off his palm and plumes outward.<\/scene_description>\n    <character>\"D\"<\/character>\n    <dialogue>It's your call, Chris.<\/dialogue>\n    <scene_description>SNIPER SCOPE POV CROSS-HAIRS track to the cluster of MARINE ENGINEERS. CHRIS' SCOPE POV CROSS-HAIRS wobble on the dark shape a mile away.<\/scene_description>\n    <character>\"D\" (OS)<\/character>\n    <dialogue>If you got it, take it.<\/dialogue>\n    <character>RANGER ONE (OS)<\/character>\n    <dialogue>Negative, negative--<\/dialogue>\n    <character>CHRIS (OC)<\/character>\n    <dialogue>Aim small. Aim small.<\/dialogue>\n    <scene_description>We zero-in on a small fold on that black bag. SFX: A LOW FREQUENCY BUZZ escalates as concentration deepens. CLOSE ON SNIPER Face obscured, a PRAYER HISSES from his bearded mouth. CLOSE ON CHRIS Both eyes open, a PRAYER WHISPERS across his lips.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>For Biggles.<\/dialogue>\n    <scene_description>CLOSE ON SNIPER\/CLOSE ON CHRIS SFX: Thump-thump....Thump-BAM! Chris fires first. The shot echoes across eternity. One, two, three seconds later. A red-mist paints the wind. THE SNIPER tumbles off his platform and out of view.<\/scene_description>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>Tango down.<\/dialogue>\n    <scene_description>The world rushing back in, he hears INSURGENTS below. STREET BELOW FACTORY INSURGENTS point up at the building, yelling, rushing in-- ROOFTOP Chris bangs onto the roof, shaken, joining a 6 MAN SQUAD.<\/scene_description>\n    <character>RANGER ONE<\/character>\n    <dialogue>You just fucked us, Legend--<\/dialogue>\n    <parenthetical>(screams into mike)<\/parenthetical>\n    <dialogue>We need Stryker and QRF units, ASAP.<\/dialogue>\n    <character>CHRIS KYLE<\/character>\n    <dialogue>He was on our boys and I took him out.<\/dialogue>\n    <character>RANGER ONE<\/character>\n    <dialogue>We are fucked like a football bat.<\/dialogue>\n    <character>\"D\"<\/character>\n    <dialogue>Mission accomplished. Biggles be proud.<\/dialogue>\n    <scene_description>A look between them, fully aware of what comes next. SIDE VIEW (FACTORY) INSURGENTS clear the second floor, bounding toward-- ROOFTOP CHRIS and Squad set-up firing stations.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>There are two ways onto the roof. We cover both stairways and conserve ammo.<\/dialogue>\n    <scene_description>Muted nods all around. Footsteps coming. This is it.<\/scene_description>\n    <character>\"D\"<\/character>\n    <dialogue>If you FNGs shit your pants, don't stop shooting. Scoop and shoot. Scoop and--<\/dialogue>\n    <scene_description>GUNFIRE POPS behind them. MARINE GUNNER lights it up.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Conserve--<\/dialogue>\n    <scene_description>OPPOSITE DOOR bangs open across the roof. Chris hammers the INSURGENT but he keeps coming, drugged up. TWO MORE roll out behind him, on the same glue. This is close-quarter contact, visceral and savage. IN THE STREET INSURGENTS enter surrounding buildings in droves. ROOFTOP Wind kicking up. Ammo running out. Insurgents keep coming. Worst environment imaginable.<\/scene_description>\n    <character>RANGER ONE<\/character>\n    <parenthetical>(into mike)<\/parenthetical>\n    <dialogue>Negative, negative, danger-close, they're all over us--<\/dialogue>\n    <character>\"D\"<\/character>\n    <dialogue>Drop motherfucker! Drop!<\/dialogue>\n    <scene_description>CHRIS laces bad guys. Pure brutality. They fall at his feet. Tracers light from the next roof.<\/scene_description>\n    <character>\"D\"<\/character>\n    <dialogue>3 o'clock. Loading. Last mag.<\/dialogue>\n    <character>RANGER ONE<\/character>\n    <parenthetical>(screams)<\/parenthetical>\n    <dialogue>QRF is stuck three blocks out.<\/dialogue>\n    <character>MARINE GUNNER<\/character>\n    <dialogue>I'm out of ammo--<\/dialogue>\n    <scene_description>INSURGENTS use rebar to cross from a nearby rooftop. Two ways just became three. They're swarming them. Hand-to-hand chaos. A bad way to die.<\/scene_description>\n    <character>RANGER ONE<\/character>\n    <dialogue>I don't wanna get dragged in the street--<\/dialogue>\n    <character>\"D\"<\/character>\n    <dialogue>Call it in. Light us up.<\/dialogue>\n    <scene_description>Chris wields his .45, spackled with blood--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Do it. Call in our coordinates.<\/dialogue>\n    <character>RANGER ONE<\/character>\n    <parenthetical>(keys mike)<\/parenthetical>\n    <dialogue>This is Rio Two Bravo, requesting ordinance drop. GRID 04837959.<\/dialogue>\n    <parenthetical>(gunfire)<\/parenthetical>\n    <dialogue>I know my fucking position! They're right on top of us. Drop it!<\/dialogue>\n    <scene_description>RADIO GOES STATIC, he nods, it's done.<\/scene_description>\n    <character>MARINE SNIPER<\/character>\n    <dialogue>White-side!<\/dialogue>\n    <scene_description>INSURGENTS crossing the gap. Chris pivots-- TRANSITION TO: DRONE FOOTAGE of Chris on the roof of the Banana Factory. Surrounding streets are filled with bad guys. We are--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMM-OP TENT<\/stage_direction>\n    <scene_description>Wind battling tent. MASTER CHIEF MARTIN stands over a NAVY DISPATCH OPERATOR, staring at the footage.<\/scene_description>\n    <character>MASTER CHIEF MARTIN<\/character>\n    <dialogue>Tell the pilot to turn it loose.<\/dialogue>\n    <scene_description>DISPATCH OPERATOR looks up, realizing what's happening.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. F-18 HORNET<\/stage_direction>\n    <scene_description>PILOT looks to his wing as STINGER MISSILES engage.<\/scene_description>\n    <character>PILOT<\/character>\n    <dialogue>3-4, copy that. 30 seconds out.<\/dialogue>\n    <scene_description>ON THE ROOFTOP TWO DOZEN insurgents surround them on the rooftop. CHRIS waits till a guy gets right up on him and-- BAM!<\/scene_description>\n    <character>\"D\"<\/character>\n    <dialogue>You're up--<\/dialogue>\n    <scene_description>\"D\" trades the SATELLITE PHONE for Chris' Springfield.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>--you got four rounds.<\/dialogue>\n    <scene_description>In their exchange, an unspoken goodbye. Then-- Chris struggles to dial, hands shaking. IT RINGS. He squints north. RINGS AGAIN. F-18 rocketing toward him--<\/scene_description>\n    <character>TAYA (OS)<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>Chris is stunned. She answered. He's speechless.<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(struggles)<\/parenthetical>\n    <dialogue>Hey baby--<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>Chris-- What's the noise?<\/dialogue>\n    <scene_description>Wind howls. F-18 closing.<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>I can't hear you--<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I'm ready to come home. I'm ready...<\/dialogue>\n    <scene_description>She starts crying. The F-18 almost upon them.<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>What's happening--<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>--I'm coming home. Can you hear me?<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>Chris--<\/dialogue>\n    <scene_description>F-18 seconds out. Chris looks up and sees-- THE SANDSTORM Has shifted. A tsunami of dirt is about to swallow them. F-18 RAPTOR THE PILOT flying into the storm. Sensors screaming. He can't hold his line. 4, 3, 2-- He pulls up early. ROOFTOP HELLFIRE MISSILES scream over the Banana factory and EXPLODE INTO the next building. Fire and dirt engulf them. The blast recedes but the sand-storm escalates.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Go, go, let's move--<\/dialogue>\n    <scene_description>He leads \"D\", RANGER ONE and FOUR OTHERS across the roof. They stumble past INSURGENTS, blinded by sand. STREET BELOW CHRIS and SQUAD stagger into HOWLING CHAOS, clinging to each other, trailing Chris as GUNFIRE POPS behind them.<\/scene_description>\n    <character>CHRIS<\/character>\n    <parenthetical>(choking, into mike)<\/parenthetical>\n    <dialogue>Stryker-3, what's your location--<\/dialogue>\n    <scene_description>AN INSURGENT is blown right into them. \"D\" wrestles his gun away and beats him with it.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Hold there! We are 30 seconds out--<\/dialogue>\n    <parenthetical>(pointing ahead)<\/parenthetical>\n    <dialogue>Go. Straight ahead. Go--<\/dialogue>\n    <scene_description>They run for their lives. Unable to see two feet ahead. Sand shredding their skin. Chris is struggling-- Squad passing him. Knees failing him. He can't keep up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRYKER<\/stage_direction>\n    <scene_description>THE GUNNER stares at REMOTE WEAPONS SCREEN when SIX FIGURES EMERGE from the dust. He's about to fire--<\/scene_description>\n    <character>GUNNER<\/character>\n    <dialogue>BDUs-- That's them! Drop the ramp.<\/dialogue>\n    <scene_description>The ramp drops. STORM HOWLING. RANGER-ONE dives in, MARINES follow, then \"D\" rolls in. The rig pulls off.<\/scene_description>\n    <character>\"D\"<\/character>\n    <dialogue>Where's Chris? He was just--<\/dialogue>\n    <character>IN THE STREET<\/character>\n    <dialogue>Chris falters forward. Insurgents pursuing. The Stryker just visible ahead-- pulling away.<\/dialogue>\n    <character>IN THE STRYKER<\/character>\n    <dialogue>M2 GUNNER can't see shit on his monitor.<\/dialogue>\n    <character>\"D\"<\/character>\n    <dialogue>--stop the rig, man! Stop--<\/dialogue>\n    <character>DRIVER<\/character>\n    <dialogue>I don't see him--<\/dialogue>\n    <character>IN THE STREET<\/character>\n    <dialogue>Chris is ten feet behind the rig, sprinting. Bullets sing past. He sheds flack-jacket and webbing, Bible and flag. He drops his gun in the dirt and dives. His hand clutches the last rung of slat-armor and--<\/dialogue>\n    <dialogue>Chris Kyle is dragged off the battlefield.<\/dialogue>\n    <character>IN THE STREET<\/character>\n    <dialogue>Sand buries the METALLIC TOY SOLDIER that followed him since childhood. Wind whips pages of the Bible and pulls at the flag until it flaps unfolded. WE'RE BLOWN AWAY with it, twisting and clapping into an otherworldy beige.<\/dialogue>\n    <character>IN THE STORM<\/character>\n    <dialogue>We catch glimpses of the city below: graffiti'd T-walls, a cracked expanse of desert floor and the lanky body of an enemy sniper splayed across a rooftop.<\/dialogue>\n    <dialogue>Wind rips the Hefty bag away and sand pocks the DEAD FACE OF MUSTAFA-- before we're swept up into the howling rage.<\/dialogue>\n    <scene_description>LONG FADE: OMITTED OMITTED OMITTED OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>140A INT. AIRPORT BAR - NIGHT 140A<\/stage_direction>\n    <scene_description>CHRIS sits hunched at the bar, his eyes track patrons and staff (ECU) their hands, torsos, eyes. HIS PHONE RINGS.<\/scene_description>\n    <character>CHRIS<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>--hello?<\/dialogue>\n    <character>TAYA (OS)<\/character>\n    <dialogue>Where are you? I got a weird message that you were on a plane?<\/dialogue>\n    <scene_description>He can HEAR THE KIDS in the background.<\/scene_description>\n    <character>CHRIS<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Yeah, I got out early.<\/dialogue>\n    <character>TAYA (OS)<\/character>\n    <dialogue>So are you in Germany, or--<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I'm here, I'm stateside.<\/dialogue>\n    <character>TAYA (OS)<\/character>\n    <dialogue>You're home? What are you doing?<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(looks around for answer)<\/parenthetical>\n    <dialogue>I guess I just needed a minute.<\/dialogue>\n    <character>TAYA (OS)<\/character>\n    <dialogue>Chris, the kids are dying to see you. It's been nine months.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Yeah, I know... Me too. I'm coming.<\/dialogue>\n    <character>TAYA (OS)<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Are you alright?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Yeah. I'm good.<\/dialogue>\n    <character>TAYA (OS)<\/character>\n    <dialogue>Then come home. We miss you.<\/dialogue>\n    <scene_description>He nods silently, listens to his kids.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>141A INT. KYLE HOME 141A<\/stage_direction>\n    <scene_description>CLOSE ON- the back of Chris' head. He watches a WAR MOVIE on TV. As CAMERA CIRCLES the room, we glimpse THE MOVIE; an injured soldier calls for help amid shocking gunfire. TRACKING BEHIND THE TV, we see Chris' wrought face and a household bustling around him. COLTON carries party plates outside, MCKENNA fights to get cowboy boots on and- TAYA CALLS to him from the kitchen but we can't hear her until the CAMERA TRACKS to HER POV-- the gunfire is gone, the TV IS OFF. That war movie is playing in his head.<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>Chris...?<\/dialogue>\n    <scene_description>He finally looks up, slick with sweat, affecting calm.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACKYARD - DAY<\/stage_direction>\n    <scene_description>Streamers twist against gunmetal sky. COLTON and MCKENNA set up birthday decorations. The family dog, A PYRENEES SHEEPDOG, bounds about. TAYA AND CHRIS, on back steps.<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>--his game is Saturdays. He's the tallest kid on the team. The doctor said he could be six-four. I can't wait for you to see him play. Maybe you could even coach?<\/dialogue>\n    <scene_description>Chris looks past his kids, looking a thousand yards out.<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>McKenna's about to lose that tooth and I'm worried she's going to swallow it. She said she'd let you pull it. But only you.<\/dialogue>\n    <scene_description>His head falls. When he looks up--<\/scene_description>\n    <character>COLTON'S BIRTHDAY PARTY UNDERWAY<\/character>\n    <dialogue>6 YEAR OLDS and PARENTS mill around but all WE HEAR--<\/dialogue>\n    <character>TAYA (VO)<\/character>\n    <dialogue>I wish you'd talk to me, Chris.<\/dialogue>\n    <scene_description>COLTON AND TWO FRIENDS chase each other around the yard.<\/scene_description>\n    <character>TAYA (VO)<\/character>\n    <dialogue>I just feel this dark space between us and I don't know how to reach you.<\/dialogue>\n    <scene_description>THE SHEEPDOG jumps on the back of COLTON'S FRIEND. The boy goes down hard, gets up crying, running from the dog. The Sheepdog does it again. THE BOY FALLS AND HIS CRYING is cuts into scene. THE BOY'S MOM runs over. His back clawed up.<\/scene_description>\n    <character>BOY'S MOM<\/character>\n    <dialogue>Get him off! Get away--<\/dialogue>\n    <scene_description>Chris rips the dog off by its collar. The dog snaps at him and in an instant he whips out his .45 to shoot it.<\/scene_description>\n    <character>TAYA (OC)<\/character>\n    <dialogue>No! He's a puppy. He doesn't know!<\/dialogue>\n    <scene_description>Chris looks up, bent with animus, and he's looking at the face of his children, their friends, and their parents-- They look at him, terrified. He releases the dog. Lost. OMITTED OMITTED OMITTED OMITTED OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VETERAN'S HOSPITAL - DAY<\/stage_direction>\n    <scene_description>Harsh light. Water-stained walls. CHRIS looks beaten, afraid and dubious of this BUTTONED-DOWN DOCTOR.<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>Maybe you saw things, or did some things over there that you wish you hadn't--<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>That's not me.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>What's not you?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I was just protecting my guys. They were trying to kill our soldiers and-- I'm willing to stand before my creator and answer for every shot I took.<\/dialogue>\n    <parenthetical>(struggles)<\/parenthetical>\n    <dialogue>The thing that haunts me are all the guys I couldn't save.<\/dialogue>\n    <character>NAVY DOCTOR<\/character>\n    <dialogue>You want to save more guys, walk down any hall in this hospital. We got plenty soldiers that need saving.<\/dialogue>\n    <parenthetical>(pulls prescription pad)<\/parenthetical>\n    <dialogue>I'm going to recommend Zoloft and--<\/dialogue>\n    <scene_description>OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. REC ROOM<\/stage_direction>\n    <scene_description>CHRIS steps to a window looking in on TEN YOUNG VETERANS sitting around a TV; wounded, edgy, in need. A legless Marine with a jelly-roll face looks up; this is \"WYNN\".<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHOOTING RANGE, UNIDENTIFIABLE LOCALE - DAY<\/stage_direction>\n    <scene_description>CHRIS kneels before WYNN (wheelchair) who's armed with a .300 resting on Chris' shoulder. Wynn takes aim, FIRES--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>How's it feel?<\/dialogue>\n    <character>WYNN<\/character>\n    <dialogue>Feels like The Legend is trying to fuck up my shot. Stay still, man.<\/dialogue>\n    <scene_description>Gun on shoulder, Chris is calm, he's found peace. BAM!<\/scene_description>\n    <character>WYNN<\/character>\n    <dialogue>Bulls-eye, boy! Damn, if that don't feel like I got my balls back.<\/dialogue>\n    <scene_description>Chris dusts himself off. There's healing here.<\/scene_description>\n    <character>WYNN<\/character>\n    <dialogue>Why you spend all this time with us? I know you got a family.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I heard you had a nice boot collection before the war and--<\/dialogue>\n    <character>WYNN<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>Seriously man. Why do you do it.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>We gotta take care of our own.<\/dialogue>\n    <scene_description>Chris squints into the falling sun and time passes with-- LONG FADE:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>151A EXT. ROADWAY 151A<\/stage_direction>\n    <scene_description>The black F350 roars past a \"Welcome to Texas\" sign on the interstate. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KYLE HOME - MIDLOTHIAN, TEXAS - DAY<\/stage_direction>\n    <scene_description>A residential neighborhood. Texas flags wave from stoops. CHRIS and COLTON carry boxes inside. \"MAX THE SHEEPDOG\" bounds along with them and never leaves Chris' side.<\/scene_description>\n    <character>BEDROOM<\/character>\n    <dialogue>Chris enters to find Taya has placed his old COWBOY BOOTS at the foot of the bed. He takes a seat and looks down at the combat boots on his feet. He bends to unlace them--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>153A EXT. PASTURE, TEXAS - DAY 153A<\/stage_direction>\n    <scene_description>A pale Stallion gallops through prairie grass. Chris and McKenna admire it from a rustic fence. Her pink cowboys boots kick Texas dust onto his old boots.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>153B INT. BATHROOM, KYLE HOME - DAY 153B<\/stage_direction>\n    <scene_description>Chris is showering when Taya sneaks in and flushes the toilet. He howls at the scalding water and she's laughing, rushing for the door when-- he lunges out and grabs her, pulling her in with all her clothes on. OMITTED OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD - DAWN<\/stage_direction>\n    <scene_description>Under a watercolor dawn, CHRIS leads COLTON across a prairie, hunting rifle on shoulder, teaching as they go. THE SCORE BUILDS and follows them into morning.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KYLE HOUSE - DAY<\/stage_direction>\n    <scene_description>Dust motes drift across blades of light falling through blinds onto CHRIS. He wears the BELT BUCKLE he won long ago, pleated Levis, and twirls an antique six-shooter.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Get 'em up, lil' lady. Hands in the air.<\/dialogue>\n    <scene_description>TAYA is at the window gazing at their kids in the yard.<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>Can I tell you something.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Tell it to the judge.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>I'm proud of you and I don't say it enough. I feel blessed. You're an incredible father and-- I feel lucky to have my husband back.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>We could lock the doors. They can't get out of the yard.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>I know how hard you fought to get here.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>You're worth fighting for.<\/dialogue>\n    <scene_description>She crosses to him, running a hand up his leg.<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>Did you pleat those jeans?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>Yes, ma'am. Right up the middle.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>Well, you're just a regular old cowboy again, aren't you?<\/dialogue>\n    <scene_description>He kisses her, lifting her--<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>I meant what I said about locking the doors.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>Aren't you and Chad going to the range?<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(checks watch)<\/parenthetical>\n    <dialogue>Not for four minutes.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>Is that all it takes.<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>It'll take half that. Then I got two minutes leftover just to look at you.<\/dialogue>\n    <scene_description>He sways with her, dancing a little two-step.<\/scene_description>\n    <character>TAYA<\/character>\n    <dialogue>Who are you taking out?<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>This Marine. His mom does parking at school and she asked for my help.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>Well don't be late for dinner.<\/dialogue>\n    <scene_description>COLTON and McKENNA race in, hugging on their dad.<\/scene_description>\n    <character>COLTON<\/character>\n    <dialogue>Dad, you want to play Skylander? Please--<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>I gotta go do something but when I get back, okay? But you have to let me win.<\/dialogue>\n    <character>COLTON<\/character>\n    <dialogue>No way.<\/dialogue>\n    <character>MCKENNA<\/character>\n    <dialogue>Poke the bear--<\/dialogue>\n    <scene_description>McKENNA pokes Chris and he BARKS like a dog.<\/scene_description>\n    <character>MCKENNA<\/character>\n    <dialogue>No. You're supposed to roar. Like Grrr.<\/dialogue>\n    <scene_description>She pokes him again and Chris emits a RUMBLING ROAR. She giggles and hugs him so he'll save her.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>I should get going...<\/dialogue>\n    <scene_description>He kisses his daughter and tosses his son's hair.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>Look after our women, Bubba.<\/dialogue>\n    <parenthetical>(turns to Taya)<\/parenthetical>\n    <dialogue>Love you, babe.<\/dialogue>\n    <character>TAYA<\/character>\n    <dialogue>Love you too.<\/dialogue>\n    <scene_description>Chris kisses Taya and lingers, worshiping her. Dust motes drift past and he appears immortal in the bladed light. Then-- He walks out the door for the last time. The house grows quiet. Colton plays video games. McKenna colors. The dog lays by the door. And Taya stands in the golden light. FADE TO BLACK: CARD(1): \"On February 2, 2013, Chris Kyle was killed by a former Marine he was trying to help. He died as he lived... looking after one of his own.\" OUT OF BLACK:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>157A EXT. TEXAS HIGHWAY 157A<\/stage_direction>\n    <scene_description>Rain falls to Randy Travis singing Amazing Grace. ACTUAL FOOTAGE: A funeral procession appears over a distant ridge. Police escorts lead a white hearse and 300 vehicles down a highway lined with people waving flags. The last car finally passes. An UNKNOWN CIVILIAN stands alone in a muddy field saluting a fallen hero. CUT TO BLACK.:<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Growing up in Texas, Chris Kyle is taught by his father how to shoot a rifle and hunt deer. Years later, Kyle has become a ranch hand and rodeo cowboy, and returns home early, to find his girlfriend in bed with another man. After telling her to leave, he is mulling it over with his brother when he sees news coverage of the 1998 U.S. embassy bombings and decides to enlist in the Navy. He qualifies for special training and becomes a sniper with the U.S. Navy SEALs. Kyle meets Taya Studebaker at an Irish pub in San Diego, and the two soon marry. He is sent to Iraq after the September 11 attacks. His first kills are a woman and boy who attacked U.S. Marines on patrol with a Russian made RKG-3 anti-tank grenade. Kyle is visibly upset by the experience, but later earns the nickname \"Legend\" for his many kills. Assigned to hunt for the al-Qaeda leader, Abu Musab al-Zarqawi, Kyle interrogates a family whose father offers to lead the SEALs to \"The Butcher\", al-Zarqawi's second-in-command. The plan goes awry when The Butcher captures the father and his son, killing them while Kyle is pinned down by a sniper. This sniper goes by the name Mustafa and is an Olympic Games medalist from Syria. Meanwhile, the insurgents issue a bounty on Kyle. Kyle returns home to his wife and the birth of his son. He is distracted by memories of his war experiences and by Taya's concern for them as a couple \u2013 she wishes he would focus on his home and family. Kyle leaves for a second tour and is promoted to chief petty officer. Involved in a shootout with The Butcher, he helps in killing him. When he returns home to a newborn daughter, Kyle becomes increasingly distant from his family. On Kyle's third tour, Mustafa seriously injures a unit member, Ryan \"Biggles\" Job, and the unit is evacuated back to base. When they decide to return to the field and continue the mission, another SEAL, Marc Lee, is killed by gunfire. Guilt compels Kyle to undertake a fourth tour, and Taya tells him she may not be there when he returns. Back in Iraq, Kyle is shocked to learn Biggles died in surgery to repair the wounds he sustained. Assigned to kill Mustafa, who has been sniping U.S. Army combat engineers building a barricade, Kyle's sniper team is placed on a rooftop inside enemy territory. Kyle spots Mustafa and takes him out with a risky long-distance shot at 2,100 yards (1,920 m), but this exposes his team's position to numerous armed insurgents. In the midst of the gunfight, and low on ammunition, Kyle tearfully calls Taya and tells her he is ready to come home. A sandstorm provides concealment for a chaotic escape in which he is injured and almost left behind. After Kyle gets back stateside, on edge and unable to adjust fully to civilian life, he is asked by a Veterans Affairs psychiatrist if he is haunted by all the things he did in war. When he replies it is \"all the guys [he] couldn't save\" that haunt him, the psychiatrist encourages him to help severely wounded veterans in the VA hospital. After that, Kyle gradually begins to adjust to home life. Years later, on February 2, 2013, Kyle says goodbye to his wife and family as he leaves in good spirits to spend time with Eddie Ray Routh, a veteran suffering from PTSD at a shooting range. An on-screen subtitle reveals that  Kyle was killed that day by Routh, followed by archive footage of crowds standing along the highway for his funeral procession. More are shown attending his memorial service."}
{"movie_name":"War of the Worlds_2005","imdb_id":"tt0407304","script":"<script>\n  <scene>\n    <stage_direction>H. G. WELLS' BOOK<\/stage_direction>\n    <scene_description>We see the colorful cover , then the first page . A VOICE with a Wells - like accent quotes the opening words :<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>No one would have believed, in the first decades of the twentieth century.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - SKY FULL OF STARS<\/stage_direction>\n    <scene_description>The planet Mars shows just above the spires and roof - tops of a city on the horizon .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( Continuing . )<\/parenthetical>\n    <dialogue>. that human affairs were being watched keenly and closely by intelligences greater than man's.<\/dialogue>\n    <scene_description>Mars is picked out of the sky and brought to the screen as if by some enormous telescope with an infinite field . It becomes a small ball . Enlarges to a pallid disk . Comes to moon size .<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>No one gave a thought to the older worlds as a source of human danger. Yet across the gulf of space, on the planet Mars.<\/dialogue>\n    <scene_description>Now Mars has grown big and ruddy - colored . Mysterious canals revealed . Vegetation patches shadowy . One thin polar cap shimmering .<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Intellects vast and cool and unsym - pathetic regarded our earth with envious eyes, slowly and surely drawing their plans against us.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - OUR WORLD - MOVING SHOT<\/stage_direction>\n    <scene_description>seen in space with its halo of atmosphere , beautiful .<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Few voices were ever raised in warning as, with infinite compla - cency, men went to and fro over this globe, busy about their affairs.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>SERIES OF THUMBNAIL FLASHES (STOCK)<\/stage_direction>\n    <scene_description>designed to get over the enjoyment of life on this earth today . a. Gay , seven - piece Dixieland band , whapping out a fast tempo in a night club . b. Grand National at Aintree . c. Parade at the Carnival de Nice . d. Gambling in a casino . e. Trooping the Colors , London . f. Packed stadium and a smashing football game . g. Geisha party in Tokyo .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( Over f. and g . )<\/parenthetical>\n    <dialogue>It did not occur to mankind that a swift fate might be hanging over us. Or that, from the blackness of outer space, we were being scrutinized and studied.<\/dialogue>\n    <scene_description>During this , CAMERA MOVES IN on the Geisha girls . We are CLOSE on the round casing of one of their strange - sounding instruments as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - MARS<\/stage_direction>\n    <scene_description>The planet as we saw it before . CAMERA MOVES IN until the planet is huge on the screen . Strange and baleful .<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Mars is more than one hundred and forty million miles from the sun, and for centuries it has been in the last stages of exhaustion. Its rocks have absorbed almost all oxygen from its air, turning them red.<\/dialogue>\n    <scene_description>A - 5a . SPECIAL EFFECT - MARTIAN LANDSCAPE A geometric pattern of great canals joins in the far distance to center on a Martian metropolis . High atop a tower a light pulsates rhythmically .<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Most of its water has gone. At night, temperatures drop to more than one hundred and twenty degrees below zero, even at the equator.<\/dialogue>\n    <scene_description>A - 6 SERIES OF DISSOLVES - SPECIAL EFFECT -LRB- MOVING SHOTS -RRB- CAMERA FLOATS through the blackness of space , pick - ing up each succeeding spectacle . a . Our solar system , as seen from Mars . The sun golden . Mercury ruddy and hot . Venus beau - tiful , bright . Saturn with its tinted rings and moons . Jupiter big , cloudy , with four moons . Uranus and Neptune both greenish - yellow , toxic . And Pluto far away .<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>The inhabitants of this dying planet looked across space with instruments and intelli - gences of which we have scarcely dreamed.<\/dialogue>\n    <scene_description>CAMERA MOVES IN on Pluto , dim in outer space .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( Cont 'd . )<\/parenthetical>\n    <dialogue>searching for another World to which they could migrate. They could not go to Pluto, outermost of all the planets, and so cold that its atmosphere lies frozen on its surface.<\/dialogue>\n    <scene_description>CAMERA PICKS UP Neptune and Uranus , clouded giants with poison - colored atmospheres .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( Cont 'd . )<\/parenthetical>\n    <dialogue>They could n't go to Neptune or Uranus - twin worlds in eternal night and perpetual cold. Each surrounded by an unbreathable atmosphere full of methane gas and ammonia vapor. The Martians considered Saturn.<\/dialogue>\n    <scene_description>b. Saturnian landscape . Midnight - blue space - sky crossed by merging rings of cosmic dust . Bright - edged , full of color and marvelous to see .<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>An attractive world with its many moons and beautiful rings of cosmic dust. But its temperature is close to two hundred and seventy degrees below zero, and ice lies fifteen thousand miles deep on its surface. Their nearest world was giant Jupiter.<\/dialogue>\n    <scene_description>c. Effect Pan Shot - Landscape of Jupiter An incredible world . Cliffs flaming at the tops and spilling into fuming lakes . Everywhere the same process repeating itself .<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Where there are titanic cliffs of lava and ice, with hydrogen flaming at the tops. Where the atmospheric pressure is terrible - thousands of pounds to the square inch. On Mars it is only four pounds. They could n't go there. Nor to Venus, which has no oxygen and no water. Nor could they go to Mercury nearest planet to the sun.<\/dialogue>\n    <scene_description>d. Effect - Mercurian Landscape . A glaring sun is enormous in a dark sky , stars visible near it . The land is heat - hazed , waterless , fissured . Volcanic cones and lava pools .<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>It has no air. And the temperature at its equator is that of molten lead. Of all the worlds that the intelligences on Mars could see and study.<\/dialogue>\n    <scene_description>e. North American continent , seen from a great height , showing clouds , forests , glistening lakes and rivers .<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>only our own warm earth was green with vegetation, bright with water, and possessed a cloudy atmosphere eloquent of fertility.<\/dialogue>\n    <scene_description>f. Sky full of stars above a small town and hills . Mars low in the sky .<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>At the time of our nearest approach to the orbit of Mars, during a pleasant summer season.<\/dialogue>\n    <scene_description>Far away in the sky we see a falling star .<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>in the late hours of a Friday evening.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORESTRY LOOKOUT POST   (NIGHT)<\/stage_direction>\n    <scene_description>A fire LOOKOUT and his deputy , FIDDLER HAWKINS - round - faced , hearty - are seated at a small table by a big window , playing cards . Behind them is an Osborne fire - finder . On a shelf are cans of tobacco , fruit , coffee , a pipe , magazines . The lookout 's glance goes upward to the sky and is held there .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - SKY &amp; METEOR   (1)<\/stage_direction>\n    <scene_description>The meteor leaves a thin , luminous streak .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FISHING CAMP   (NIGHT)<\/stage_direction>\n    <scene_description>Near a stream , beyond which , through trees , is a broad meadow . Small tent . A lantern hangs from a branch . Waders hang on another limb . Beyond , in the meadow , rests a small Stinson cabin plane . Near the tent , a convertible is parked . A small , round , bald man - BILDERBECK - is frying trout in a pan over the fire , his hatband decorated with pretty flies . A younger man - PRYOR - is coming from the direction of the stream , with clean - ed trout strung on a stick . A third man - CLAYTON FORRESTER - butch haircut and hornrims - is sitting on a log , working over his tackle , looking skyward . He calls . The others look with him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - SKY &amp; METEOR   (2)<\/stage_direction>\n    <scene_description>It is large . Its bright trail is thicker .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOVIE THEATER - MAIN STREET LINDA ROSA  (NIGHT)<\/stage_direction>\n    <scene_description>The small - town , California audience is breaking after the last show . Among them are two young parents , the father carrying a sleeping baby . Teen - agers head for the ice - cream parlor next door . A lost kid is bawling on the sidewalk . A man on a ladder is adding `` Held Over '' to the marquee which features `` Samson and Delilah . '' Like most the others , he is looking at the sky . The CAMERA PICKS UP SYLVIA VAN BUREN - twenty - six , normal , nice , admiring the sleeping baby . Near her is PASTOR COLLINS - white - haired . He is gazing at the sky as he touches Sylvia 's arm . She looks and stands staring .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - SKY AND METEOR  (3)<\/stage_direction>\n    <scene_description>Altogether larger now , rushing aslant down the sky .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>GROUP - AT LINDA ROSA<\/stage_direction>\n    <scene_description>A group has formed on the sidewalk by Sylvia and the Pastor - WASH PERRY , big teeth , no hat , shirt - sleeves . ` ZIPPY ' , a clumsy youth . SALVADOR , a swarthy , good - natured Mexican . ALONZO HOGUE , local realtor , chews tobacco .<\/scene_description>\n    <character>GROUP - ad libs<\/character>\n    <dialogue>Is that a fireball or somep ` n? Boy, that's big! - Maybe it's a comet - looks like it's coming right at us!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - SKY AND METEOR  (4)<\/stage_direction>\n    <scene_description>Huge , brilliant , fusing and frightening . Its tail seems to spurt more brilliantly as the meteor vanishes beyond buildings and dark trees .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>GROUP - AT FISHING CAMP<\/stage_direction>\n    <scene_description>looking o.s. at the meteor . Pryor slaps a mosquito .<\/scene_description>\n    <character>BILDERBECK<\/character>\n    <dialogue>That was a meteorite -.<\/dialogue>\n    <parenthetical>( Returning to fire . )<\/parenthetical>\n    <dialogue>- burning itself out.<\/dialogue>\n    <character>PRYOR<\/character>\n    <parenthetical>( Unstringing fish . )<\/parenthetical>\n    <dialogue>There's never much left of'em when they hit the ground.<\/dialogue>\n    <scene_description>Clayton turns after them , then pauses , looking again toward where the meteor landed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>GROUP - AT LINDA ROSA<\/stage_direction>\n    <scene_description>Everyone staring o.s. Fascinated . A little alarmed .<\/scene_description>\n    <character>GROUP - AD LIBS<\/character>\n    <dialogue>That had me scared! - Wonder where it lit? - Miles away, I betcha.<\/dialogue>\n    <character>ZIPPY<\/character>\n    <dialogue>Let's go find it, huh?<\/dialogue>\n    <character>PASTOR COLLINS<\/character>\n    <dialogue>That probably dropped half way to Pomona! What do you think?<\/dialogue>\n    <character>SYLVIA<\/character>\n    <dialogue>It was nearer than that.<\/dialogue>\n    <character>ZIPPY<\/character>\n    <dialogue>I'm gon na see. Who's coming?<\/dialogue>\n    <scene_description>He starts out . Other teen - agers follow him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>FORESTRY LOOKOUT POST<\/stage_direction>\n    <scene_description>Lookout at the phone . Fiddler , crouched , sighting the firefinder , still holding his cards .<\/scene_description>\n    <character>LOOKOUT<\/character>\n    <parenthetical>( At phone . )<\/parenthetical>\n    <dialogue>This is Pine Summit. I've got a smoke.<\/dialogue>\n    <character>FIDDLER<\/character>\n    <parenthetical>( Reading firefinder . )<\/parenthetical>\n    <dialogue>One sixty. thirty.<\/dialogue>\n    <character>LOOKOUT<\/character>\n    <parenthetical>( At phone . )<\/parenthetical>\n    <dialogue>Azimuth reading - one hundred sixty degrees thirty minutes.<\/dialogue>\n    <parenthetical>( Gazing out window . )<\/parenthetical>\n    <dialogue>About ten miles. It must - a hit red hot!<\/dialogue>\n    <scene_description>Fiddler straightens , sneaks a glance at the Lookout 's cards , then studies his own .<\/scene_description>\n    <character>LOOKOUT<\/character>\n    <parenthetical>( At phone . )<\/parenthetical>\n    <dialogue>You better get somepin out there - it's started a blaze already!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SECONDARY HIGHWAY - (NIGHT)<\/stage_direction>\n    <scene_description>CAMERA PANS FAST on a small forestry service tanker coming down the road , red light blinking . Scattered trees and scrub in b.g.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DIRT ROAD &amp; GULLY - FULL SHOT - (NIGHT)<\/stage_direction>\n    <scene_description>The road curves near low , sharp little hills . The ground is rough , scattered with prickly pear , yucca , small bushes , stunted trees . At the foot of the hills is a fairly deep gully . Bushes , grass , small trees are burning all around this . The tanker is on the scene . The fire - crew is being helped by teen - agers from Linda Rosa and men from nearby farms .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>QUICK CUTS - AROUND THE GULLY AREA<\/stage_direction>\n    <scene_description>a. Men dipping sacks into a tub of water , running to fire in b.g. Zippy and others slapping out flames with wet gunny sacks . b. Uniformed Ranger attacking burning bushes with a spray extinguisher . Two men hacking furiously with brush hooks . The tanker moving along an edge of the fire . Two men riding it , spraying flames . The ranger surveys the fire , then turns to a small Forestry pickup truck in f.g.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GULLY AT PICKUP TRUCK - CLOSE SHOT<\/stage_direction>\n    <scene_description>The ranger puts his extinguisher in the truck , picks up the radio transmitter , pushes the switch .<\/scene_description>\n    <character>RANGER<\/character>\n    <parenthetical>( Into mike . )<\/parenthetical>\n    <dialogue>Number three to. D.O. Number three to D.O.<\/dialogue>\n    <character>RADIO VOICE<\/character>\n    <dialogue>D.O. to number three. come in.<\/dialogue>\n    <character>RANGER<\/character>\n    <dialogue>We're getting this under control. Wo n't need any more help. Over.<\/dialogue>\n    <character>RADIO VOICE<\/character>\n    <dialogue>Okay. Send the tanker in, but you stand by until that thing cools off. Over.<\/dialogue>\n    <character>RANGER<\/character>\n    <dialogue>I think somebody ought to check on it. Over.<\/dialogue>\n    <character>RADIO VOICE<\/character>\n    <dialogue>Well, there's some fellows fishing at Pine Summit might be interested. They probably saw it come down. I'll let'em know. What's it look like?<\/dialogue>\n    <scene_description>The Ranger glances in the direction of the meteor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. GULLY - METEOR<\/stage_direction>\n    <scene_description>At one end of the gully . Mostly buried , but a thick , blunt , rounded end shows out of the loose sand and rock . Massive . On its surface are red - hot blurs , like fire under ashes .<\/scene_description>\n    <character>RANGERS VOICE<\/character>\n    <parenthetical>( o.s . )<\/parenthetical>\n    <dialogue>Ca n't get near enough to see it very well - it's too hot - but it's a whale of a size!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FISHING CAMP - GROUP<\/stage_direction>\n    <scene_description>Clayton Forrester , Pryor , Bilderbeck , sitting by the fire , eating . All the makings of a meal are on a nearby box : coffee , rolls , butter , honey , canned fruit , fried tomatoes . Extra helpings of fish simmer in the pan . A beat - up station wagon lurches out of the darkness in b.g. . The three look up , surprised . Fiddler , the deputy ranger from the lookout post , alights .<\/scene_description>\n    <character>FIDDLER<\/character>\n    <parenthetical>( Calling . )<\/parenthetical>\n    <dialogue>I got a message for you.<\/dialogue>\n    <parenthetical>( Moving in . )<\/parenthetical>\n    <dialogue>You're the guys from Pacific - Tech, ai n't you?<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>FIDDLER<\/character>\n    <parenthetical>( Eyeing pan . )<\/parenthetical>\n    <dialogue>Looks like the fishing was good.<\/dialogue>\n    <character>BILDERBECK<\/character>\n    <dialogue>Have some?<\/dialogue>\n    <character>FIDDLER<\/character>\n    <parenthetical>( Eagerly - hitching over a box . )<\/parenthetical>\n    <dialogue>Well. I might just do that!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>MED. CLOSE SHOT - GROUP<\/stage_direction>\n    <scene_description>Fiddler reaches for a plate , then helps himself liberally to everything in sight - most of the remaining fish , two rolls , a hunk of butter , coffee . The others stop eating and watch him .<\/scene_description>\n    <character>FIDDLER<\/character>\n    <parenthetical>( Talking between grabs . )<\/parenthetical>\n    <dialogue>It's about that meteor. They say it's a whopper. The District Officer phoned us at the lookout up on the summit. Thought you might be interested. It's ten or twelve miles from here - over by Linda Rosa.<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>Are they sure it's a meteor? It did n't come down like one.<\/dialogue>\n    <character>FIDDLER<\/character>\n    <parenthetical>( Gesturing with fish on his fork . )<\/parenthetical>\n    <dialogue>That's right - came down in kinda spurts, did n't it?<\/dialogue>\n    <parenthetical>( Gobbles fish . )<\/parenthetical>\n    <dialogue>You fellers'll have to figure it out. You're scientists.<\/dialogue>\n    <parenthetical>( Puts down fork - plucks cigarette from Bilderbeck 's shirt pocket . )<\/parenthetical>\n    <dialogue>All I know - they say it's as big as a house and practically red hot.<\/dialogue>\n    <character>CLAYTON<\/character>\n    <parenthetical>( To Bilderbeck . )<\/parenthetical>\n    <dialogue>I'd like to borrow your car and take a look at it in the morning.<\/dialogue>\n    <scene_description>Bilderbeck nods . Pryor looks toward the plane in the meadow in b.g.<\/scene_description>\n    <character>PRYOR<\/character>\n    <dialogue>We ought to get back to Pasadena.<\/dialogue>\n    <parenthetical>( Gesturing . )<\/parenthetical>\n    <dialogue>I can fly Bilderbeck down in your plane.<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>Okay, if he's willing.<\/dialogue>\n    <parenthetical>( Grinning . )<\/parenthetical>\n    <dialogue>The insurance is paid up.<\/dialogue>\n    <scene_description>Bilderbeck takes a stick from the fire and holds it out to Fiddler , who is eating again , holding the cigarette .<\/scene_description>\n    <character>BILDERBECK<\/character>\n    <dialogue>Want a light?<\/dialogue>\n    <character>FIDDLER<\/character>\n    <parenthetical>( Glancing . )<\/parenthetical>\n    <dialogue>No. I'll smoke it later.<\/dialogue>\n    <scene_description>He tucks the cigarette behind his ear and goes on eating .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GULLY &amp; DIRT ROAD - (EARLY MORNING)<\/stage_direction>\n    <scene_description>The meteor still lies in the gully , heat - hazed , a little thin smoke rising , burned grass and bushes in b.g. On the bank of the gully , a woman is kodaking two kids against the b.g. of the meteor . Beyond , a few old cars and a station wagon have pulled off the dirt road ; nearby is Pastor Collins ' three - year - old Plymouth .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GULLY &amp; DIRT ROAD - MED. SHOT - GROUP<\/stage_direction>\n    <scene_description>Sylvia is sitting behind the wheel in Pastor Collins ' car . The Pastor is talking to the uniformed Ranger . With them are Wash Perry , Alonzo Hogue , Salvador , Fiddler . A handful of people is scattered in b.g. , eyeing the meteor , talking about it .<\/scene_description>\n    <character>RANGER<\/character>\n    <parenthetical>( Pointing . )<\/parenthetical>\n    <dialogue>It must have hit way up there, and then skidded along the gully. When it stopped, all that loose earth and stuff shook down over it.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <dialogue>It's probably a stray from a swarm of meteors.<\/dialogue>\n    <character>ALONZO HOGUE<\/character>\n    <parenthetical>( To Pastor . )<\/parenthetical>\n    <dialogue>I reckon most of it's buried.<\/dialogue>\n    <character>FIDDLER<\/character>\n    <dialogue>That's twelve feet thick, easy. Maybe more.<\/dialogue>\n    <character>ALONZO HOGUE<\/character>\n    <dialogue>Meteors always run heavy. They wo n't be able to haul this one away to no museum!<\/dialogue>\n    <parenthetical>( Speculatively . )<\/parenthetical>\n    <dialogue>It'll be a real good attraction for Sunday drivers.<\/dialogue>\n    <character>WASH PERRY<\/character>\n    <dialogue>Better'n a lion farm or a snake pit. We wo n't have to feed it!<\/dialogue>\n    <character>SALVADOR<\/character>\n    <dialogue>We sell the tamales, enchiladas - hot dogs!<\/dialogue>\n    <character>FIDDLER<\/character>\n    <dialogue>Ice cream, cold drinks, souvenirs!<\/dialogue>\n    <character>PASTOR COLLINS<\/character>\n    <dialogue>I think we should put up a few picnic tables.<\/dialogue>\n    <character>ALONZO HOGUE<\/character>\n    <parenthetical>( Quickly . )<\/parenthetical>\n    <dialogue>Naw, naw - then they'd bring their own lunches!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>GROUP - OUTSIDE THE GULLY<\/stage_direction>\n    <scene_description>` BUCK ' MONAHAN - in service station overalls - passes the group , carrying a shovel , headed for the meteor . In b.g. a convertible pulls off the dirt road .<\/scene_description>\n    <character>FIDDLER<\/character>\n    <dialogue>What's the idea, Buck? Gon na dig for gold?<\/dialogue>\n    <character>BUCK<\/character>\n    <parenthetical>( Indicating meteor . )<\/parenthetical>\n    <dialogue>This is gon na be like having a gold mine in our own back yard!<\/dialogue>\n    <character>PASTOR COLLLINS<\/character>\n    <parenthetical>( To Sylvia . )<\/parenthetical>\n    <dialogue>I'm going to get a closer look at it.<\/dialogue>\n    <scene_description>The men come forward , PAST CAMERA . Sylvia pulls out the car keys , reaches for her purse . The convertible bumps up , stops . The back is loaded with camping gear and clustered fishing rods . Clayton Forrester gets out , looking toward the gully . Sylvia glances at him as she starts after the others , opening her purse . A faint ticking SOUND comes overscene .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <dialogue>Is that it over there?<\/dialogue>\n    <character>SYLVIA<\/character>\n    <parenthetical>( Searching purse . )<\/parenthetical>\n    <dialogue>Yes. ugly looking, is n't it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>GROUP - FROM THE GULLY<\/stage_direction>\n    <scene_description>as Buck comes on toward the meteor with his shovel . Pastor Collins and the others pause to watch him .<\/scene_description>\n    <character>BUCK<\/character>\n    <parenthetical>( Calling back . )<\/parenthetical>\n    <dialogue>It's still pretty darned hot!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>MED. CLOSE SHOT - BUCK AND METEOR<\/stage_direction>\n    <scene_description>He shields his face , reaching out , probing with his shovel trying to determine the size of the meteor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>TWO SHOT - CLAYTON AND SYLVIA - HIS CAR IN B.G.<\/stage_direction>\n    <scene_description>He is looking toward the gully . She now has a ciga - rette . They pause as she begins looking for matches .<\/scene_description>\n    <character>SYLVIA<\/character>\n    <parenthetical>( Rummaging in purse . )<\/parenthetical>\n    <dialogue>Did you see it come down?<\/dialogue>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Absently , studying gully and meteor . )<\/parenthetical>\n    <dialogue>Yes. I was fishing up in the hills.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <parenthetical>( Glancing back at car . )<\/parenthetical>\n    <dialogue>You must have caught plenty with all that tackle!<\/dialogue>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Glancing , smiling . )<\/parenthetical>\n    <dialogue>Oh - there were three of us.<\/dialogue>\n    <parenthetical>( Starting forward . )<\/parenthetical>\n    <dialogue>The others flew back in my plane.<\/dialogue>\n    <parenthetical>( Pausing again - looking o.s . )<\/parenthetical>\n    <dialogue>I do n't understand why a meteor this size did n't make a bigger crater.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <parenthetical>( Definite . )<\/parenthetical>\n    <dialogue>It hit sideways and skidded in.<\/dialogue>\n    <scene_description>He glances at her , a little amused . She catches his eye .<\/scene_description>\n    <character>SYLVIA<\/character>\n    <parenthetical>( Cont 'd . )<\/parenthetical>\n    <parenthetical>( Easily . )<\/parenthetical>\n    <dialogue>At least, that's what I think. I do n't really know.<\/dialogue>\n    <parenthetical>( At purse . )<\/parenthetical>\n    <dialogue>But the Ranger says a scientist is coming from Pacific - Tech. He'll tell us.<\/dialogue>\n    <parenthetical>( And then . )<\/parenthetical>\n    <dialogue>Clayton Forrester. Ever hear of him?<\/dialogue>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Looking o.s. - changing the subject . )<\/parenthetical>\n    <dialogue>What's that fellow over there trying to do - dig it out?<\/dialogue>\n    <character>SYLVIA<\/character>\n    <parenthetical>( Over him , not hearing . )<\/parenthetical>\n    <dialogue>He's top man in astro and nuclear physics. He knows all about meteors!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSE SHOT - MOVING<\/stage_direction>\n    <scene_description>FAVORING Clayton , as they move on . Clayton is secretly amused , and a little flattered .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <dialogue>You seem to know a lot about him.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <dialogue>Well, I did a thesis on modern scien - tists - working for my Masters degree.<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>Did it do you any good?<\/dialogue>\n    <character>SYLVIA<\/character>\n    <dialogue>Why, sure - I got it! Do you have a match?<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>I'm sorry. I do n't smoke.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <parenthetical>( Going on , enthusiastic . )<\/parenthetical>\n    <dialogue>Forrester's the man behind the new atomic engines. They had him on the cover of ` Time'. You've got to rate to get that!<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>Aw, he is n't that good!<\/dialogue>\n    <character>SYLVIA<\/character>\n    <parenthetical>( Protesting , stopping . )<\/parenthetical>\n    <dialogue>How can you say that when you do n't know him!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>TWO SHOT - CLAYTON AND SYLVIA<\/stage_direction>\n    <character>CLAYTON<\/character>\n    <dialogue>I do know him. slightly.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <parenthetical>( Interested at once . )<\/parenthetical>\n    <dialogue>What's he like?<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>Like. ah.<\/dialogue>\n    <scene_description>Clayton hesitates , points to himself . She stares , then gets it . For a moment she is provoked , then she bursts naturally into laughter . He laughs with her .<\/scene_description>\n    <character>SYLVIA<\/character>\n    <dialogue>Well, you certainly do n't look like yourself in that get - up!<\/dialogue>\n    <parenthetical>( Laughing still , offering hand . )<\/parenthetical>\n    <dialogue>But I am happy to meet you anyway. I'm Sylvia Van Buren. I teach Library Science over at USC.<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>I did n't know how to stop you!<\/dialogue>\n    <character>SYLVIA<\/character>\n    <dialogue>I might have recognized you without the beard. And you did n't wear glasses on the ` Time' cover!<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>They're really for long distance. When I want to look at something close.<\/dialogue>\n    <parenthetical>( Removing glasses , bending to her . )<\/parenthetical>\n    <dialogue>I take them off.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>GROUP - FROM THE GULLY<\/stage_direction>\n    <scene_description>Buck is backing off , blowing running with sweat . Clayton and Sylvia approach from b.g.<\/scene_description>\n    <character>GROUP - AD LIBS<\/character>\n    <parenthetical>( Kidding . )<\/parenthetical>\n    <dialogue>You gon na quit? - Roll up your sleeves, Buck! - We thought you were gon na dig it out by yourself.<\/dialogue>\n    <scene_description>Buck joins the group , wiping sweat . CAMERA MOVES IN as Clayton comes up with Sylvia .<\/scene_description>\n    <character>BUCK<\/character>\n    <dialogue>Boy - you could fry eggs on it!<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>All that sand will keep the heat in for a long time.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <parenthetical>( To Pastor Collins . )<\/parenthetical>\n    <dialogue>Uncle Matthew. this is Dr. Clayton Forrester.<\/dialogue>\n    <parenthetical>( To Clayton . )<\/parenthetical>\n    <dialogue>My uncle - Dr. Matthew Collins, pastor of the Community Church.<\/dialogue>\n    <character>PASTOR COLLINS<\/character>\n    <parenthetical>( Offering hand , pleased . )<\/parenthetical>\n    <dialogue>Well - l. how do you do, Dr. Forrester!<\/dialogue>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Courteous - warm . )<\/parenthetical>\n    <dialogue>How d'you do, sir?<\/dialogue>\n    <character>SHERIFF'S VOICE<\/character>\n    <parenthetical>( O.s . )<\/parenthetical>\n    <parenthetical>( Excitedly calling . )<\/parenthetical>\n    <dialogue>Hey - you!<\/dialogue>\n    <scene_description>All look quickly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLAYTON'S CAR - CLOSE SHOT - MOVING SHOT<\/stage_direction>\n    <scene_description>CAMERA is CLOSE and ANGLED DOWN in the back of the car . Tucked along fishing and camping gear alongside a box of iced trout is an impressive Geiger counter , chattering furiously . A signal light is flashing rapidly . The Sheriff 's hands reach for it . CAMERA MOVES BACK and his face comes into SCENE , looking down at the counter .<\/scene_description>\n    <character>SHERIFF<\/character>\n    <parenthetical>( Yelling off . )<\/parenthetical>\n    <dialogue>What you got in here, feller? It's ticking like a bomb!<\/dialogue>\n    <scene_description>The SHOT WIDENS as Clayton enter with Pastor Collins , Sylvia , the Ranger and others . Clayton reaches into the car and picks up a short pole - meter attached to the counter . He swings it around . The clicking slows . He lifts the counter out , points the pole - meter at the gully . The light flashes become a rapid blur , brilliant . The chattering increases to a high - pitched buzz .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <parenthetical>( To Sheriff . )<\/parenthetical>\n    <dialogue>This is a Geiger counter for detecting radio - activity. We did a little sur - veying while we were up in the hills.<\/dialogue>\n    <parenthetical>( Above SOUND of the counter - looking o.s . )<\/parenthetical>\n    <dialogue>It's that meteor.<\/dialogue>\n    <character>PASTOR COLLINS<\/character>\n    <dialogue>It's radio - active?<\/dialogue>\n    <character>SHERIFF<\/character>\n    <dialogue>Look at this thing - goin' crazy!<\/dialogue>\n    <scene_description>He reaches for the Geiger . Clayton lets him have it and remains looking toward the gully . The SOUND of the Geiger counter continues over SCENE .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Puzzled . )<\/parenthetical>\n    <dialogue>It's difficult to account for a reaction like that!<\/dialogue>\n    <character>RANGER<\/character>\n    <parenthetical>( Moving in . )<\/parenthetical>\n    <dialogue>Maybe we ought to keep people away from it, huh?<\/dialogue>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Quietly - thinking . )<\/parenthetical>\n    <dialogue>Might be a good idea.<\/dialogue>\n    <character>SHERIFF<\/character>\n    <dialogue>I'll post two - three deputies. They can watch it do n't start any more fires.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSE SHOT - CLAYTON, PASTOR &amp; SYLVIA<\/stage_direction>\n    <character>CLAYTON<\/character>\n    <dialogue>You know, that meteor's either very light - which is unheard of! - or else it's hollow somehow. If it were solid and heavy it would have made a tremendous crater when it landed.<\/dialogue>\n    <parenthetical>( Suddenly . )<\/parenthetical>\n    <dialogue>I think I'll stay around until it cools off.<\/dialogue>\n    <parenthetical>( To Sylvia . )<\/parenthetical>\n    <dialogue>If you could tell me of a place in town -.<\/dialogue>\n    <parenthetical>( Strokes his chin . )<\/parenthetical>\n    <dialogue>- I'd like to clean up.<\/dialogue>\n    <character>PASTOR COLLINS<\/character>\n    <dialogue>I'd be delighted if you'd stay at my house, Doctor Forrester.<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <parenthetical>( Looks toward meteor . )<\/parenthetical>\n    <dialogue>It probably wo n't be cool for another twenty - four hours.<\/dialogue>\n    <parenthetical>( To Sylvia . )<\/parenthetical>\n    <dialogue>What do people do around here on a Saturday?<\/dialogue>\n    <character>SYLVIA<\/character>\n    <parenthetical>( Returning his smile . )<\/parenthetical>\n    <dialogue>They do n't do much of anything!<\/dialogue>\n    <character>PASTOR COLLINS<\/character>\n    <dialogue>There's a square dance at the social hall this evening.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>OUT<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOCIAL HALL, LINDA ROSA - (NIGHT)<\/stage_direction>\n    <scene_description>Very CLOSE on Fiddler Hawkins , sweating , calling the dance , holding violin .<\/scene_description>\n    <character>FIDDLER<\/character>\n    <parenthetical>( Raucous . )<\/parenthetical>\n    <dialogue>A hickory limp and an ole burned stump - Go meet your honey and everybody jump!<\/dialogue>\n    <scene_description>CAMERA PULLS BACK . Fiddler wears Levis , embroidered shirt . With him is a guitar player in a dress - up Western outfit . Everybody 's stomping . Girls in tight bodices , swirling skirts , bows in their hair , Men in T - shirts , suits and shirtsleeves , Levis , fron - tier pants and cowboy boots .<\/scene_description>\n    <character>FIDDLER<\/character>\n    <parenthetical>( Cont 'd . )<\/parenthetical>\n    <dialogue>Now promenade two and promenade four - Promenade that pretty gal all around the floor.<\/dialogue>\n    <scene_description>CAMERA PICKS UP Clayton and Sylvia promenading arm in arm in a SET which includes the Sheriff . Clayton wears tan gabardine slacks , fresh shirt , tie with a Western motif . He is clean - shaven . Sylvia wears a forget - me - not cotton print , with style to it . Clayton is not an accomplished square dancer , but he is n't bad . Sylvia checks his wrong move in response to the next rollicking call . He laughs . They both enjoy this .<\/scene_description>\n    <character>FIDDLER'S VOICE<\/character>\n    <dialogue>Now face your lady and make a bow, She's a pretty one you'll allow! Point the heel and point the toe - Now you're makin' a do - si - do. Mom - there's a chicken in the bread - bin A - peckin' at the dough! One more change and on we go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. GULLY - METEOR - (NIGHT)<\/stage_direction>\n    <scene_description>No smoke now . Its appearance is otherwise unchanged .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GULLY - MED. SHOT - (NIGHT)<\/stage_direction>\n    <scene_description>Wash Perry , Alonzo Hogue , Salvador . Behind them , two old cars are parked not far from the gully . A small fire burns on the open ground . The three men step forward toward the gully , peering through the dark - ness . Salvador switches on a flashlight .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. GULLY - CLOSE SHOT - METEOR<\/stage_direction>\n    <scene_description>Still , ominous , as the flashlight hits it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSE SHOT - WASH, SALVADOR, ALONZO<\/stage_direction>\n    <scene_description>They MOVE toward the gully , Salvador playing the flashlight ahead . As they pause on the edge of the gully , he cuts the light .<\/scene_description>\n    <character>ALONZO HOGUE<\/character>\n    <dialogue>Looks almost cold now, do n't it?<\/dialogue>\n    <character>WASH PERRY<\/character>\n    <dialogue>That wo n't start no more fires. We might's well go home.<\/dialogue>\n    <character>ALONZO HOGUE<\/character>\n    <parenthetical>( Spitting - starting away . )<\/parenthetical>\n    <dialogue>Yeah. No sense stayin' out here.<\/dialogue>\n    <character>WASH PERRY<\/character>\n    <parenthetical>( Following him . )<\/parenthetical>\n    <dialogue>Let's go.<\/dialogue>\n    <scene_description>As they start away , CAMERA MOVES CLOSE on Salvador . He raises the flashlight for a last look at the meteor and pops it on directly into the LENSE .<\/scene_description>\n    <character>SALVADOR<\/character>\n    <parenthetical>( In alarm . )<\/parenthetical>\n    <dialogue>Hey - it's movin'!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. GULLY - MED. SHOT - REVERSE SHOT  THE THREE<\/stage_direction>\n    <scene_description>Alonzo Hogue and Wash Perry , f.g. , whirl and go back to Salvador . Beyond them in the gully , the meteor is lit by Salvador 's flashlight . Something is moving on top of it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSE THREE SHOT<\/stage_direction>\n    <scene_description>Eyes popping as they stare off at the meter .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - METEOR<\/stage_direction>\n    <scene_description>Thin gray clinker is dropping off in flakes . The rounded top is turning . A thread of bright metal appears between the moving top and the body .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>MED. CLOSE THREE SHOT - (MOVING SHOT)<\/stage_direction>\n    <scene_description>They start to back off .<\/scene_description>\n    <character>ALONZO HOGUE<\/character>\n    <dialogue>It's a bomb!<\/dialogue>\n    <character>SALVADOR<\/character>\n    <dialogue>It do n't go off last night - it's going off now!<\/dialogue>\n    <character>WASH PERRY<\/character>\n    <dialogue>It's an enemy sneak attack. Let's get outta here!<\/dialogue>\n    <character>ALONZO HOGUE<\/character>\n    <parenthetical>( Stopping them . )<\/parenthetical>\n    <dialogue>Wait a minute - wait a minute! Bombs do n't unscrew.<\/dialogue>\n    <character>WASH PERRY<\/character>\n    <parenthetical>( Backing away again . )<\/parenthetical>\n    <dialogue>It's no meteor, that's for sure!<\/dialogue>\n    <character>ALONZO HOGUE<\/character>\n    <parenthetical>( Backing away too . )<\/parenthetical>\n    <dialogue>Darnedest thing I ever saw - the way that's unscrewing!<\/dialogue>\n    <scene_description>Salvador only stares as they all retreat .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - METEOR - (MOVING SHOT)<\/stage_direction>\n    <scene_description>CAMERA MOVES SLOWLY BACK . The top segment of the meteor is turning steadily . The band of bright metal is rapidly growing wider , serrated , greenish - white .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOCIAL HALL - SIDE LINES - (NIGHT)<\/stage_direction>\n    <scene_description>Favoring Sylvia , sitting on a bench against the wall , fanning herself with a lace handkerchief . Clayton comes to her between guys , wiping sweat . Girls fix - ing shaken hair - do 's . People arguing about who ruined the square . Clayton has two soft drinks with straws , hands one bottle to Sylvia , drops on the bench beside her . Fiddler 's VOICE comes over SCENE .<\/scene_description>\n    <character>SYLVIA<\/character>\n    <parenthetical>( Taking bottle . )<\/parenthetical>\n    <dialogue>Thank you, Doctor Forrester.<\/dialogue>\n    <parenthetical>( Glancing . )<\/parenthetical>\n    <dialogue>You having fun?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>DANCE FLOOR<\/stage_direction>\n    <scene_description>SHOOTING past Clayton and Sylvia . He is sweating . Beyond them , hearty dancers are going to town .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <dialogue>Yes. And you know what I was thinking?<\/dialogue>\n    <parenthetical>( Wiping sweat - eyeing dancers . )<\/parenthetical>\n    <dialogue>If we could gather all the energy expended in just one square dance, we could send that meteor back to where it came from.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>OUT<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. GULLY - METEOR (MOVING SHOT)<\/stage_direction>\n    <scene_description>CAMERA MOVES IN slowly . The bright band of metal is now almost two feet wide . Suddenly the rotating section falls away like a shell , uncovering bright metal within the opening .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>MED. CLOSE SHOT - WASH, SALVADOR &amp; ALONZO<\/stage_direction>\n    <scene_description>CAMERA MOVES WITH THEM as they inch forward toward the gully . A faint , reddish light catches their faces . Salvador flicks the spotlight on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - MED. SHOT - METEOR OPENING<\/stage_direction>\n    <scene_description>The metal sheath within the opening parts , shutter - like , allowing vivid , reddish light to glow upward from the interior . A HISSING SOUND comes from the meteor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSE THREE SHOT<\/stage_direction>\n    <scene_description>They stare , fascinated . The SOUND dies away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - MED. FULL SHOT - METEOR<\/stage_direction>\n    <scene_description>The light in the opening dims . Something begins to appear from inside , revolving about , making a WHINING SOUND . Dimly seen , it emerges . It is flattened , hooded , with faintly - luminous openings - almost cobra - like . It turns as if scanning the area - snout glittering .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>OUT<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>THREE SHOT<\/stage_direction>\n    <scene_description>Wash , Alonzo and Salvador move forward cautiously , warily watching the meteor .<\/scene_description>\n    <character>WASH PERRY<\/character>\n    <dialogue>Must be somebody in there.<\/dialogue>\n    <character>SALVADOR<\/character>\n    <dialogue>Who? Where d'you think they come from!<\/dialogue>\n    <character>WASH PERRY<\/character>\n    <dialogue>How would I know!<\/dialogue>\n    <character>ALONZO HOGUE<\/character>\n    <parenthetical>( Significantly . )<\/parenthetical>\n    <dialogue>I read someplace - Mars is near the earth right now.<\/dialogue>\n    <scene_description>They look at him - all getting the same idea .<\/scene_description>\n    <character>ALONZO HOGUE<\/character>\n    <parenthetical>( Cont 'd . )<\/parenthetical>\n    <dialogue>Happens every eighteen or twenty years, they say.<\/dialogue>\n    <parenthetical>( Softly . )<\/parenthetical>\n    <dialogue>Men from Mars - whaddya think?<\/dialogue>\n    <character>SALVADOR<\/character>\n    <parenthetical>( Uneasily . )<\/parenthetical>\n    <dialogue>Maybe these are not men - not like us.<\/dialogue>\n    <character>WASH PERRY<\/character>\n    <dialogue>Everything human do n't have to look like you and me.<\/dialogue>\n    <character>ALONZO HOGUE<\/character>\n    <dialogue>If it's men from Mars, we ought to let'em know we're friendly!<\/dialogue>\n    <character>SALVADOR<\/character>\n    <parenthetical>( Quick - warning . )<\/parenthetical>\n    <dialogue>Do n't fool around with something when we do n't know what it is!<\/dialogue>\n    <character>WASH PERRY<\/character>\n    <dialogue>We'd be the first to make contact with'em - see?<\/dialogue>\n    <character>ALONZO HOGUE<\/character>\n    <parenthetical>( Sharp - suggesting . )<\/parenthetical>\n    <dialogue>We'd be in all the papers!<\/dialogue>\n    <character>WASH PERRY<\/character>\n    <parenthetical>( Eagerly . )<\/parenthetical>\n    <dialogue>Hey, how about that!<\/dialogue>\n    <character>ALONZO HOGUE<\/character>\n    <dialogue>We could show'em we're friendly, huh? Walk out there with a white flag!<\/dialogue>\n    <parenthetical>( Turning . )<\/parenthetical>\n    <dialogue>Here - I got an old sugar sack in my car!<\/dialogue>\n    <scene_description>He leaves the two and runs back to his car and gets the sack and rips it open . He picks up the shovel discarded earlier by Buck , starts to tie the sack to it .<\/scene_description>\n    <character>SALVADOR<\/character>\n    <parenthetical>( In f.g. - to Wash . )<\/parenthetical>\n    <dialogue>What'll we say to'em?<\/dialogue>\n    <character>WASH PERRY<\/character>\n    <dialogue>Welcome to California!<\/dialogue>\n    <scene_description>Alonzo Hogue rejoins them , swinging his white flag from side to side as they look off toward the meteor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - METEOR OPENING<\/stage_direction>\n    <scene_description>Now the shape is extended on a flexible , glistening shaft , revolving about .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSE SHOT - THE THREE   (MOVING SHOT)<\/stage_direction>\n    <scene_description>They begin to smile as they move forward over the rough ground . Salvador does n't like it too well , but he comes along .<\/scene_description>\n    <character>SALVADOR<\/character>\n    <dialogue>How they gon na understand us?<\/dialogue>\n    <character>ALONZO HOGUE<\/character>\n    <dialogue>We'll talk in sign language.<\/dialogue>\n    <character>WASH PERRY<\/character>\n    <parenthetical>( Bolstering his own feelings . )<\/parenthetical>\n    <dialogue>They'll understand us, all right!<\/dialogue>\n    <character>SALVADOR<\/character>\n    <parenthetical>( Reassuring himself . )<\/parenthetical>\n    <dialogue>Sure, sure! Everybody understands you wave the white flag, you wan na be friends.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>0UT.<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - CLOSE ON HOODED SHAPE ON SHAFT<\/stage_direction>\n    <scene_description>Revolving around . Then it seems to zero in the direction of the approaching group . A light begins to flicker within the head mechanism .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>MED. FULL SHOT - GROUP &amp; COBRA-HEADED SHAPE<\/stage_direction>\n    <scene_description>CAMERA FRAMED over the mechanism in f.g. Beyond , on the edge of the gully , the three men spread out . Alonzo holds the flag high . Wash lifts his Panama hat . Salvador waves a handkerchief .<\/scene_description>\n    <character>WASH PERRY<\/character>\n    <dialogue>Hey, there - open up!<\/dialogue>\n    <character>ALONZO HOGUE<\/character>\n    <dialogue>Come on out! We're friends!<\/dialogue>\n    <character>SALVADOR<\/character>\n    <parenthetical>( Nervous - open - armed . )<\/parenthetical>\n    <dialogue>That's right! We welcome you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - CLOSE SHOT - COBRA HEAD<\/stage_direction>\n    <scene_description>The glittering light within the hood brightens and begins to glow red and yellow .<\/scene_description>\n    <character>WASH PERRY'S VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>We're friends!<\/dialogue>\n    <character>SALVADOR'S VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Yeah - all friends here!<\/dialogue>\n    <scene_description>A blinding flash - red , orange , yellow , spits from the hooded shape , obliterating everything . An unearthly SCREAM accompanies it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. GULLY - THREE MEN &amp; METEOR<\/stage_direction>\n    <scene_description>A REVERSE ANGLE across Wash Perry , Salvador and Alonzo Hogue to the hooded shape beyond . The blast of the heat - ray - pulsating , glaring - outlines them momentarily as stark silhouettes , then engulfs them in searing flames . As the horrible SCREAMING reaches a crescendo , the men become incandescent , glowing , then crumpling .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOCIAL HALL<\/stage_direction>\n    <scene_description>Favoring Clayton and Sylvia , near the climax of a set .<\/scene_description>\n    <character>FIDDLER'S VOICE<\/character>\n    <dialogue>Here we come with the old mess wagon, The hind wheel off and the axle draggin'.<\/dialogue>\n    <scene_description>Every light cuts off . The music FADES OUT . The sets break up . People bump into one another .<\/scene_description>\n    <character>SQUARE DANCERS<\/character>\n    <parenthetical>( Ad lib . )<\/parenthetical>\n    <dialogue>What's the big idea? - Who's monkey - ing with the lights? - Get your hand outa my pocket! - Where's the fuse box?<\/dialogue>\n    <scene_description>A girl titters shrilly as a boy hugs her .<\/scene_description>\n    <character>FIDDLER'S VOICE<\/character>\n    <dialogue>No smoochin' in the dark, folks!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>NEAR REFRESHMENT COUNTER<\/stage_direction>\n    <scene_description>Someone lights a candle and puts it in a bottle . Dancers are milling , laughing , kidding . Zippy is at a pay phone on the wall , between the counter and the door to the street . Clayton and Sylvia move into scene . The Sheriff pushes past them .<\/scene_description>\n    <character>FIDDLER<\/character>\n    <parenthetical>( At a window . )<\/parenthetical>\n    <dialogue>Hey, look! - look! Every light in the town's gone out.<\/dialogue>\n    <character>SHERIFF<\/character>\n    <parenthetical>( To Zippy . )<\/parenthetical>\n    <dialogue>Call the electric company. See what happened.<\/dialogue>\n    <character>ZIPPY<\/character>\n    <parenthetical>( Jogging receiver . )<\/parenthetical>\n    <dialogue>The phone's gone dead!<\/dialogue>\n    <character>CLAYTON<\/character>\n    <parenthetical>( To Sylvia , glancing . )<\/parenthetical>\n    <dialogue>The phone's not on the same circuit as the lights.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>GROUP<\/stage_direction>\n    <scene_description>Shooting out from the refreshment counter , favoring an elderly man and his wife .<\/scene_description>\n    <character>ELDERLY MAN<\/character>\n    <dialogue>What they sayin', honey?<\/dialogue>\n    <parenthetical>( Removing ear - plug . )<\/parenthetical>\n    <dialogue>Somep'n' s gone wrong with my hear - ing aid!<\/dialogue>\n    <character>PASTOR COLLINS<\/character>\n    <dialogue>Well, we always play ` Goodnight, Ladies' at twelve o'clock, anyway.<\/dialogue>\n    <parenthetical>( Reaching for pocket watch . )<\/parenthetical>\n    <dialogue>It must be nearly that now - My watch has stopped.<\/dialogue>\n    <character>SHERIFF<\/character>\n    <dialogue>I got the time.<\/dialogue>\n    <parenthetical>( At wrist - watch . )<\/parenthetical>\n    <dialogue>No - mine's stopped, too!<\/dialogue>\n    <character>ZIPPY<\/character>\n    <dialogue>So's mine!<\/dialogue>\n    <character>CROWD - AD LIBS<\/character>\n    <parenthetical>( Looking at watches , shaking them . )<\/parenthetical>\n    <dialogue>Jeepers, mine ai n't workin', either! What is this? - Hey, look, the clock's stopped - My watch is n't going - How could this happen!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>GROUP - CLAYTON, SYLVIA, SHERIFF, PASTOR COLLINS IN F.G.<\/stage_direction>\n    <scene_description>Clayton looks at his watch , then at Sylvia 's . He slips off his own .<\/scene_description>\n    <character>SYLVIA<\/character>\n    <dialogue>They've all stopped at the same time.<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>There's only about one explanation for a thing like this. Got a pin?<\/dialogue>\n    <scene_description>She reaches under the lapel of the Pastor 's jacket , hands a pin to Clayton . He puts it on the counter , then brings the case of his watch near it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INSERT: WRIST-WATCH AND PIN<\/stage_direction>\n    <scene_description>The pin leaps at the watch - case , drawn magnetically .<\/scene_description>\n    <character>CLAYTON'S VOICE<\/character>\n    <dialogue>See that? My watch is magnetized.<\/dialogue>\n    <scene_description>Sylvia 's hands come INTO SHOT as she slips off her wrist - watch to try it against the pin .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>GROUP - FAVORING CLAYTON<\/stage_direction>\n    <scene_description>Everyone starts to test watch cases against bobby - pins , hairpins , exclaiming .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <dialogue>That's what knocked the phones out, too.<\/dialogue>\n    <character>SHERIFF<\/character>\n    <dialogue>How could it happen to everybody's watch together?<\/dialogue>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Over him . )<\/parenthetical>\n    <dialogue>Have you got a pocket compass?<\/dialogue>\n    <scene_description>The Sheriff produces one in a case . Clayton sets it on the counter . They bend to watch the needle .<\/scene_description>\n    <character>SHERIFF<\/character>\n    <parenthetical>( Sharply . )<\/parenthetical>\n    <dialogue>That needle ai n't pointing north!<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>It's pointing out to the gully - where that meteor came down.<\/dialogue>\n    <scene_description>The thin SCREAM OF A SIREN sounds O.S. Everyone starts for the doors .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAIN STREET, LINDA ROSA<\/stage_direction>\n    <scene_description>Shooting from the entrance of the social hall , as people pile out , Clayton , Sylvia and Pastor Collins with them . The town is completely blacked out . The only visible light is from a police car , using hand siren and red blinker . Its headlights silver the dark streets as it races up .<\/scene_description>\n    <character>SYLVIA<\/character>\n    <dialogue>How does it happen cars are running?<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>Automobile ignitions are insulated.<\/dialogue>\n    <scene_description>Brakes screech . The car pulls over , stops . A COP - middle - aged , solid - tumbles out .<\/scene_description>\n    <character>COP<\/character>\n    <dialogue>Sheriff! What's goin' on?<\/dialogue>\n    <character>SHERIFF<\/character>\n    <parenthetical>( Hurrying to him . )<\/parenthetical>\n    <dialogue>I do n't know no more'n you, Joe.<\/dialogue>\n    <character>CLAYTON<\/character>\n    <parenthetical>( To Sylvia and Pastor Collins , moving away . )<\/parenthetical>\n    <dialogue>Excuse me.<\/dialogue>\n    <character>COP<\/character>\n    <parenthetical>( Pointing . )<\/parenthetical>\n    <dialogue>Look at the fire out there!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - THEIR VIEW<\/stage_direction>\n    <scene_description>Beyond houses and hilltops , the glow of a fire , four miles away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOCIAL HALL - BY THE COP'S CAR<\/stage_direction>\n    <scene_description>The COP and the Sheriff gazing out as Clayton joins them . Everyone staring with them .<\/scene_description>\n    <character>SHERIFF<\/character>\n    <parenthetical>( To Clayton . )<\/parenthetical>\n    <dialogue>Let's go see!<\/dialogue>\n    <scene_description>They get into the car . Sylvia watches it go . SOUND of motor and siren over SCENE . The group breaks up as people run to their cars .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTSIDE GULLY - DIRT ROAD - (NIGHT)<\/stage_direction>\n    <scene_description>The police car bumps toward us , blinker working . The SIREN DIES .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - DIRT ROAD - MED. SHOT<\/stage_direction>\n    <scene_description>CROSS ANGLE . As the Police car comes to a stop , Clayton and the Sheriff hop out downstage , the Cop gets out on the driver 's side . Behind the car , bushes are blazing . Above , on the hilltop , the Martian heat - ray has left a line of fire which stretches straight into the night . In its path , some way off , a transmission tower has fallen , partly melted , high - tension wires trailing , still sparking .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Looking toward fallen tower . )<\/parenthetical>\n    <dialogue>That explains why the lights went out!<\/dialogue>\n    <scene_description>The Cop , standing beside the spotlight , looks off .<\/scene_description>\n    <character>COP<\/character>\n    <parenthetical>( Pointing . )<\/parenthetical>\n    <dialogue>What the bejeepers went on here? Look at their cars!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DIRT ROAD - REMAINS OF CARS<\/stage_direction>\n    <scene_description>The cars belonging to Fiddler and the others are gray , ashy shapes , collapsed . Hardly recognizable except for their tires , which leave a darker residue . Bushes and grass are still burning around .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSEUP - COP<\/stage_direction>\n    <scene_description>Jittery , he reaches for the spotlight and snaps it on toward the gully .<\/scene_description>\n    <character>COP<\/character>\n    <dialogue>And look there!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD &amp; GULLY - GROUP &amp; METEOR<\/stage_direction>\n    <scene_description>A REVERSE ANGLE over the men to the meteor in the gully . The beam of the Cop 's spotlight sweeps over the smoldering bushes and rough ground , striking the bottom of the meteor and then returning to something on the edge above the gully .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSE TWO SHOT - CLAYTON &amp; SHERIFF<\/stage_direction>\n    <scene_description>The Sheriff wets his suddenly dry lips , gazing PAST CAMERA . Clayton looks with him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>WHAT THEY SEE ON THE EDGE OF THE GULLY - CLOSEUP<\/stage_direction>\n    <scene_description>Three shallow piles of gray ash , man - shaped , lie on the bare and blackened earth , held in the spotlight .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>MED. CLOSE SHOT - CLAYTON, SHERIFF &amp; COP<\/stage_direction>\n    <scene_description>Looking PAST CAMERA .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <parenthetical>( To Cop . )<\/parenthetical>\n    <dialogue>People in town started to follow us out.<\/dialogue>\n    <parenthetical>( Looking toward gully . )<\/parenthetical>\n    <dialogue>Do n't let them come anywhere near here.<\/dialogue>\n    <parenthetical>( Suddenly authoritative - loud . )<\/parenthetical>\n    <dialogue>Get going!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - CLOSE SHOT - METEOR<\/stage_direction>\n    <scene_description>The hooded shape on its flexible shaft now rears twelve or fifteen feet above the meteor . The cobra - head is turning , zero - ing toward the road . It begins to glitter inside the hood .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - MED. SHOT<\/stage_direction>\n    <scene_description>The Cop is diving into the car in panic .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <dialogue>Kill that spotlight. Turn off your headlights!<\/dialogue>\n    <scene_description>The cop cuts all the lights , backs around and takes off the way he came , CAMERA PANNING with him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSE SHOT - CLAYTON &amp; SHERIFF<\/stage_direction>\n    <scene_description>The SOUND of the SCREAMING of the heat - ray whirls them about as the reddish light glows on their faces .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Sharp - to Sheriff . )<\/parenthetical>\n    <dialogue>Jump! Get under cover!<\/dialogue>\n    <scene_description>They dash off in the direction taken by the car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. DIRT ROAD - MED. FULL SHOT<\/stage_direction>\n    <scene_description>A REVERSE ANGLE , SHOOTING along the road toward the gully . The meteor is concealed behind a knoll . Clayton and the Sheriff , b.g. race down the road to f.g. and dive into a ditch as the superheated glare of the heat - ray swings from the gully toward them . The SCREAM is ear - splitting in intensity .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - CLOSE SHOT - CLAYTON &amp; SHERIFF<\/stage_direction>\n    <scene_description>The ray SCREAMS over their heads . It holds above the ditch . Throbbing . Its reddish glare blinding .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - HEAT-RAY - COP'S CAR - FULL SHOT<\/stage_direction>\n    <scene_description>The car turns incandescent as the ray envelopes it , still going forward . It turns ashy gray . Hits a boulder on the shoulder of the road and breaks up into a spray of ashes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DITCH - CLOSE SHOT - CLAYTON &amp; SHERIFF<\/stage_direction>\n    <scene_description>A REVERSE ANGLE on them huddled low as the ray cuts off . They whirl about toward the meteor .<\/scene_description>\n    <character>SHERIFF<\/character>\n    <parenthetical>( Wild . )<\/parenthetical>\n    <dialogue>What is that gizmo?!<\/dialogue>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Controlled . )<\/parenthetical>\n    <dialogue>I think that - gizmo - is a machine from another planet.<\/dialogue>\n    <character>SHERIFF<\/character>\n    <parenthetical>( Shaken . )<\/parenthetical>\n    <dialogue>We better get word to the authorities and -.<\/dialogue>\n    <parenthetical>( Gazing up . )<\/parenthetical>\n    <dialogue>Look!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - SKY &amp; SECOND METEOR - FULL SHOT<\/stage_direction>\n    <scene_description>Beyond the burning grass , another meteor is spurting down the sky , bright and burning green .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSEUP - CLAYTON &amp; SHERIFF<\/stage_direction>\n    <character>CLAYTON<\/character>\n    <dialogue>Sheriff - you'd better get word to the military. You're going to need them out here!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. GULLY - CLOSE SHOT<\/stage_direction>\n    <scene_description>The hooded shape revolves about , searching . Its snout glitters and glows alternately as it searches for a target . FADE OUT .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>QUICK CUTS - MARINE TRUCKS &amp; JEEPS - (NIGHT)<\/stage_direction>\n    <scene_description>a. Main Street , Linda Rosa . No lights . No neon signs . Three trucks smash through the town . Loaded with Marines . b. Low CAMERA - jeeps . A Machine - gun jeep is charging over the crest of a low hill , drop - ping to lower ground . Another follows . Guns and helmeted men are silhouetted against the sky . c. Two personnel trucks rolling fast , parting where dirt roads cross .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BLACK-TOP ROAD &amp; T-CROSSING - (NIGHT)<\/stage_direction>\n    <scene_description>Beyond is a windbreak of eucalyptus trees and a low earth bank . Parked on the side road is a remote - control truck from the KGEB radio station . A few reporters and cameramen are on the black - top road , gazing out over open ground toward the gully . CAMERA favors the KGEB REPORTER - ex - newsman , high - wire and alert , sharkskin suit and Panama hat . He has a portable mike , is interviewing PROFESSOR OGILVY - a youngish , half - bald intellectual . Clayton stands by . Near them is the Sheriff and Marine COLONEL HEFFNER - easy - mannered , tough .<\/scene_description>\n    <character>KGEB REPORTER<\/character>\n    <parenthetical>( At mike . )<\/parenthetical>\n    <dialogue>. The area is under control of the Marines from El Toro Base, and the gully is under close observation. And now - here is Professor Ogilvy from the Canadian Meteor - ological Research Council!<\/dialogue>\n    <parenthetical>( To Prof. Ogilvy - extending mike . )<\/parenthetical>\n    <dialogue>Is it true you've had reports about land - ings in other places, Professor?<\/dialogue>\n    <character>PROF. OGILVY<\/character>\n    <dialogue>Yes. In Bordeaux, France. Some from Spain. There's supposed to be one down near the Gulf of Taranto, Italy. We're still trying to locate the second meteor that dropped in this vicinity just about midnight.<\/dialogue>\n    <character>KGEB REPORTER<\/character>\n    <dialogue>D'you think they come from Mars?<\/dialogue>\n    <character>PROF. OGILVY<\/character>\n    <parenthetical>( Deferring . )<\/parenthetical>\n    <dialogue>What do you think, Doctor Forrester?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>MED. CLOSE SHOT - GROUP<\/stage_direction>\n    <scene_description>KGEB man and his mike f.g. , catching the faces of Colonel Heffner , the Sheriff , Prof. Ogilvy , Clayton and reporters who are listening .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <dialogue>It's possible. At least, it seems certain they're from some other planet than our own.<\/dialogue>\n    <character>PROF. OGILVY<\/character>\n    <dialogue>Recently Mars and our earth were in conjunction -.<\/dialogue>\n    <parenthetical>( Adds . )<\/parenthetical>\n    <dialogue>- in line. This could account for the extended radio interference lately.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CORNER RADIO STORE, LOS ANGELES - (NIGHT)<\/stage_direction>\n    <scene_description>A cheesy , sleazy store . They sell radios , TV and musical instruments . Big signs in the windows . A console in the doorway . A bunch of bums hanging around , listening .<\/scene_description>\n    <character>CLAYTON'S VOICE<\/character>\n    <parenthetical>( Over radio . )<\/parenthetical>\n    <dialogue>In fact - if they are from Mars - it is possible they first made landings on the moon and used it as an observation post!<\/dialogue>\n    <scene_description>A bum with an unlighted stub of a cigar takes it out , backs off , looking up at the sky . Others look with him , then at one another .<\/scene_description>\n    <character>KGEB REPORTER'S VOICE<\/character>\n    <parenthetical>( Over radio . )<\/parenthetical>\n    <dialogue>That makes the old moon appear a lot less friendly, sir.<\/dialogue>\n    <character>FIRST BUM<\/character>\n    <parenthetical>( Half - whispering . )<\/parenthetical>\n    <dialogue>This a gag?<\/dialogue>\n    <character>SECOND BUM<\/character>\n    <parenthetical>( Listening . )<\/parenthetical>\n    <dialogue>Shaddap!<\/dialogue>\n    <character>KGEB REPORTER'S VOICE<\/character>\n    <dialogue>Suppose they are Martians, Professor. What would they look like?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WELL-TO-DO HOUSE - (NIGHT)<\/stage_direction>\n    <scene_description>SHOOTING past a group of well - dressed people eating a supper snack from a big coffee table by a picture win - dow . Through this we can see Los Angeles spread out below , neons glowing like jewels . The group is listening attentively to a radio .<\/scene_description>\n    <character>KGEB REPORTER'S VOICE<\/character>\n    <parenthetical>( Continuing his questioning . )<\/parenthetical>\n    <dialogue>Bigger than us? Smaller?<\/dialogue>\n    <character>PROFESSOR OGILVY'S VOICE<\/character>\n    <dialogue>Well, as to Martians - our gravitational pull would weigh them down. Our heavier air would oppress them.<\/dialogue>\n    <character>KGEB REPORTER'S VOICE<\/character>\n    <dialogue>But d'you think they'd be breathing creatures like us? What about hearts and blood and all that?<\/dialogue>\n    <scene_description>A bird - brained blonde moves into SCENE , staring .<\/scene_description>\n    <character>PROF. OGILVY'S VOICE<\/character>\n    <dialogue>My field is limited. Doctor Forrester could tell you much more.<\/dialogue>\n    <character>BLONDE<\/character>\n    <parenthetical>( Over Prof. Ogilvy . )<\/parenthetical>\n    <dialogue>Oh, how dull - everybody listening to the radio!<\/dialogue>\n    <character>BIG GUY<\/character>\n    <parenthetical>( Grabbing her . )<\/parenthetical>\n    <dialogue>Qui - et! Siddown!<\/dialogue>\n    <character>PROF. OGILVY'S VOICE<\/character>\n    <dialogue>But if they are Martians, and if they do have hearts, they'd almost certainly beat at a slower rate. Their veins might be distended.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONVERTIBLE - CLOSE SHOT - (PROCESS - NIGHT)<\/stage_direction>\n    <scene_description>San Francisco , with the Golden Gate Bridge and City behind . A BOY driving , smooching a GIRL .<\/scene_description>\n    <character>CLAYTON'S VOICE<\/character>\n    <parenthetical>( Over car radio . )<\/parenthetical>\n    <dialogue>Their senses could be quite different from ours, of course. They may, for instance, be able to smell colors. There is precedent in our own evolution to make it possible that they have more than one brain.<\/dialogue>\n    <scene_description>The boy reaches to cut off the radio - he wants to smooch . The girl stops him . He is annoyed .<\/scene_description>\n    <character>KGEB REPORTER'S VOICE<\/character>\n    <dialogue>You mean two? Three? More, maybe?<\/dialogue>\n    <character>CLAYTON'S VOICE<\/character>\n    <dialogue>It's only speculation.<\/dialogue>\n    <character>KGEB REPORTER'S VOICE<\/character>\n    <dialogue>Think of that, folks! Now, Doctor Forrester - what about these meteor machines?<\/dialogue>\n    <character>CLAYTON'S VOICE<\/character>\n    <dialogue>They're probably controlled by jets after they enter our atmosphere. And navigated by some form of gyroscope mechanism.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIDEWALK LUNCH COUNTER, SAN DIEGO - (NIGHT)<\/stage_direction>\n    <scene_description>CAMERA is CLOSE on a picture of a battleship , then PULLS BACK revealing a poster : SAN DIEGO ARENA - BOXING . The SHOT WIDENS to show local fishermen , a couple of Navy sailors , a few girls - grouped by a small portable radio on the counter .<\/scene_description>\n    <character>KGEB REPORTER'S VOICE<\/character>\n    <dialogue>Is it true that all the phones went out and everybody's watch stopped around here?<\/dialogue>\n    <character>CLAYTON'S VOICE<\/character>\n    <dialogue>That was, I imagine, the effect from some electro - magnetic force in the heat - ray they used.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>T-CROSSING - GROUP<\/stage_direction>\n    <scene_description>The KGEB Reporter , Clayton , Prof. Ogilvy , Colonel Heffner . Newspaper men have moved closer , listening .<\/scene_description>\n    <character>KGEB. REPORTER<\/character>\n    <dialogue>REPORTER says. Can you tell us anything about this plane that's coming over, Colonel?<\/dialogue>\n    <character>COLONEL HEFFNER<\/character>\n    <dialogue>It'll drop a flare - that's the only way we dare put a light on them. Then Air Force cameramen will get pictures.<\/dialogue>\n    <character>KGEB REPORTER<\/character>\n    <dialogue>That was Marine Colonel Ralph Heffner.<\/dialogue>\n    <parenthetical>( In a confidential tone . )<\/parenthetical>\n    <dialogue>There's been a lot of mysterious activity around the machine. Lights and dust, as if they are digging themselves out.<\/dialogue>\n    <parenthetical>( Shimmering light hits his face . )<\/parenthetical>\n    <dialogue>There it comes again!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. GULLY - FULL SHOT<\/stage_direction>\n    <scene_description>A shuddering , blue - green light shows in the distance , tinting nearby hills .<\/scene_description>\n    <character>KGEB REPORTER'S VOICE<\/character>\n    <dialogue>If this keeps up, it'll be a guide for the plane when it comes over.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>FLASHES - FOXHOLES &amp; OBSERVATION POSTS<\/stage_direction>\n    <scene_description>Groups dispersed under cover , relaxed but alert , all watching the gully . a. Two mortar teams in a dry riverbed . b. Marine lieutenant and a sergeant with binocu - lars , behind a low revetment . c. Machine - gun unit in a foxhole . d. Infantrymen , alert and watchful .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. T-CROSSING - MED. SHOT - GROUP<\/stage_direction>\n    <scene_description>KGEB Reporter f.g. , Clayton , Colonel Heffner and Sheriff just beyond him . Reporters and cameramen line out along the road , waiting . The SOUND of the plane OVERSCENE . Its motor cuts off and on again .<\/scene_description>\n    <character>KGEB REPORTER<\/character>\n    <parenthetical>( In a sharp whisper . )<\/parenthetical>\n    <dialogue>Is that the plane now?<\/dialogue>\n    <character>COLONEL HEFFNER<\/character>\n    <parenthetical>( Looking up , quietly . )<\/parenthetical>\n    <dialogue>Yes! He's signalling.<\/dialogue>\n    <character>KGEB REPORTER<\/character>\n    <parenthetical>( Into mike . )<\/parenthetical>\n    <dialogue>The pilot has just blipped his motor. That means he's dropped the flare. He's flying high, and it'll take a few seconds to come down. When it does burst, we shall be the first men on earth to get a real look at these invaders from space - whoever they are! And there's the flare!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. GULLY - FULL SHOT<\/stage_direction>\n    <scene_description>The flare throws a cone of high - visibility light . The Martian meteor has been cleared of dirt , stripped of its oxydized shell . It is an oblong cylinder . from the center of it , the hooded shape on the flex - ible shaft has been pushed high , like &amp; guarding sentinel .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. GULLY - MED. CLOSE SHOT<\/stage_direction>\n    <scene_description>The hooded shape rears back on its flexible shaft , angling up . The snout glitters , begins to glow , brilliant , reddish . Then the heat - ray SCREAMS as it lashes up into the sky .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. T-CROSSING - MED. SHOT - GROUP<\/stage_direction>\n    <scene_description>Clayton , the KGEB reporter and other watching the sky tensely . The reporter has stopped gabbing , his microphone forgotten . The blue - white glare of the flare , mingled with the reddish glow of the heat - ray , alternate in flickers over SCENE .<\/scene_description>\n    <character>KGEB REPORTER<\/character>\n    <parenthetical>( Suddenly remembering mike . )<\/parenthetical>\n    <dialogue>They're after the plane with their rays!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. SKY - FULL SHOT<\/stage_direction>\n    <scene_description>The SCREAMING heat - ray lashes across the sky . Writhing , seeking its target . It licks the flare into oblivion , then whips downward toward the ears and swings at us .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BLACK-TOP ROAD &amp; T-CROSSING<\/stage_direction>\n    <scene_description>Everybody dives for cover . The glare of the ray turns everything fiery red .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOOT OF EUCALYPTUS TREES - GROUP<\/stage_direction>\n    <scene_description>The Colonel and the KGEB reporter flatten out to - gether behind the low earth bank . Burning twigs and leaves fall about them . Clayton cranes to look out with the Colonel . The reporter yaks into his mike .<\/scene_description>\n    <character>KGEB REPORTER<\/character>\n    <dialogue>Well, here we are in -.<\/dialogue>\n    <parenthetical>( Pulls at charred end of mike cable - looks out . )<\/parenthetical>\n    <dialogue>Hey! They cut me off. They got my truck!<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>It looks like they're going to come out of that gully pretty soon! We'd better build a shelter and be ready when they do.<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>You're going to need plenty of reinforcements.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>We'll get'em.<\/dialogue>\n    <parenthetical>( Calling off . )<\/parenthetical>\n    <dialogue>Lieutenant.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>QUICK CUTS &amp; FLASHES - (NIGHT)<\/stage_direction>\n    <scene_description>Troops and armament racing into the Linda Rosa district : Trucks - tanks - weapons carriers - half - tracks jeeps - rocket launchers .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COMMAND POST REVETMENT - (NIGHT)<\/stage_direction>\n    <scene_description>A huge truck loaded with troops thunders past CAMERA . Its passing uncovers the hastily erected sandbag revet - ment for the command post . Nearby is an ambulance , a Red Cross canteen truck with two women in uniform working , several jeeps waiting with motors running . Two jeeps start away in different directions . A jeep rolls into SCENE , laying wire .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSER ANGLE<\/stage_direction>\n    <scene_description>Sylvia is at the rear corner of the revetment , holding a tray of coffee mugs and doughnuts . She pauses to watch more vehicles move past . She has changed out of her dance frock into a tailored dress . She has a Red Cross armband . CAMERA PICKS UP Clayton coming from within the revetment inclosure .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Pausing beside Sylvia . )<\/parenthetical>\n    <dialogue>The troops are certainly moving in here!<\/dialogue>\n    <character>SYLVIA<\/character>\n    <dialogue>Did n't you have something to do with this? I know you sent word to the Sixth Army Command!<\/dialogue>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Taking coffee tray - turning back with it . )<\/parenthetical>\n    <dialogue>I just told them the local situation. Colonel Heffner's in full charge now.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <parenthetical>( Pausing - looking around . )<\/parenthetical>\n    <dialogue>You never know where you're going to wind up when you go to a square dance!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMAND POST REVETMENT - (NIGHT)<\/stage_direction>\n    <scene_description>An opening in the sandbag breastwork for observation high in the forward end . Storm lanterns provide light . A huge tarpaulin is stretched over the revet - ment as a roof and pulled down to cover the opening , which overlooks the Martians in the gully beyond . A field telephone switchboard and field telegraph have been set up . On some boxes is an enlarged con - tour map of the immediate territory , showing Linda Rosa , surrounding roads , the site of the Martian pit . A LIEUTENANT and a sergeant work on this map , placing units as they report in position . A CAPTAIN is on the phone . Communications men at other phones constantly pass messages . A sergeant operates a telegraph key . All are in full battle dress . The atmosphere is alive , tense . There is constant b.g. action of dispatch bearers coming and going . As Sylvia and Clayton come in , the Colonel is brief - ing officers at the map .<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Locate your observation post on this hill. Position your recoilless 75's back here - Caroon Canyon.<\/dialogue>\n    <parenthetical>( To another officer . )<\/parenthetical>\n    <dialogue>I want your battery here. You may find at daylight that you're too exposed - so keep your prime movers ready to pull you out fast.<\/dialogue>\n    <parenthetical>( Smiling . )<\/parenthetical>\n    <dialogue>But you'll get first crack at'em.<\/dialogue>\n    <character>A CAPTAIN<\/character>\n    <dialogue>That'll suit me! That all, sir?<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <parenthetical>( As the lieutenant hands a phone . )<\/parenthetical>\n    <dialogue>Report when you're set up.<\/dialogue>\n    <scene_description>Sylvia passes around coffee and doughnuts . Clayton takes two mugs , bringing one across to the Colonel .<\/scene_description>\n    <character>COLONEL<\/character>\n    <parenthetical>( At phone . )<\/parenthetical>\n    <dialogue>Half - tracks? Okay. Get in back of hill Thuh - ree. Follow up from there if it's a moving target. Roger!<\/dialogue>\n    <scene_description>He takes coffee from Clayton with one hand and a Signal Corps message with the other .<\/scene_description>\n    <character>COLONEL<\/character>\n    <parenthetical>( To Clayton . )<\/parenthetical>\n    <dialogue>They've located that second meteor.<\/dialogue>\n    <parenthetical>( Passing message to Lieutenant . )<\/parenthetical>\n    <dialogue>Mark it up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>BY THE MAP<\/stage_direction>\n    <scene_description>As Pastor Collins comes in , wearing a Civil Defense armband . The Sheriff follows , pausing to reach for doughnuts and coffee . The lieutenant marks another Martian pit about five miles west , toward Whittier . He draws a line linking it with the Martians in the gully .<\/scene_description>\n    <character>COLONEL<\/character>\n    <parenthetical>( To Clayton , pointing to map . )<\/parenthetical>\n    <dialogue>There's one - there's the other, and we're right between them!<\/dialogue>\n    <character>PASTOR COLLINS<\/character>\n    <parenthetical>( Moving in . )<\/parenthetical>\n    <dialogue>So is the town, I notice!<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>I warned you Civil Defense people to be ready if you have to evacuate.<\/dialogue>\n    <character>PASTOR COLLINS<\/character>\n    <dialogue>I just came to tell you - everyone has been alerted.<\/dialogue>\n    <scene_description>The Colonel 's glance is caught by something o.s. . He stiffens to attention .<\/scene_description>\n    <character>GENERAL MANN'S VOICE<\/character>\n    <parenthetical>( o.s . )<\/parenthetical>\n    <dialogue>As you were.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REVETMENT<\/stage_direction>\n    <scene_description>SHOOTING toward the rear as GENERAL MANN comes in - fiftyish , clipped mustache , wearing neat khaki . Carries field glasses . His aide , a young MAJOR , follows him .<\/scene_description>\n    <character>COLONEL<\/character>\n    <parenthetical>( Moving to meet him . )<\/parenthetical>\n    <dialogue>General Mann - I was told to expect you, sir. I'm Colonel Heffner.<\/dialogue>\n    <character>GENERAL MANN<\/character>\n    <parenthetical>( Smiling briefly . )<\/parenthetical>\n    <dialogue>I'm here to make up a report, not to interfere with the operations you've set up. You're still in command.<\/dialogue>\n    <parenthetical>( Suddenly - warmly . )<\/parenthetical>\n    <dialogue>Clayton Forrester!<\/dialogue>\n    <parenthetical>( Shaking hands . )<\/parenthetical>\n    <dialogue>I have n't seen you since Oak Ridge.<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>Good to see you, General.<\/dialogue>\n    <parenthetical>( Introducing . )<\/parenthetical>\n    <dialogue>This is Pastor Collins, director of Civil Defense. Sheriff Bogany, head of the local forces. Miss Van Buren.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <dialogue>Would you like some coffee, General?<\/dialogue>\n    <character>GENERAL MANN<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>She starts out as his aide hands him some messages .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <parenthetical>( To Pastor . )<\/parenthetical>\n    <dialogue>General Mann's in charge of Intel - ligence for the Pacific area.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>GROUP - BY THE MAP<\/stage_direction>\n    <scene_description>Favoring General Mann as he turns to scan the map , continuing to glance at the messages . The lieutenant is marking up more positions .<\/scene_description>\n    <character>GENERAL MANN<\/character>\n    <dialogue>That's their position?<\/dialogue>\n    <parenthetical>( Grimly amused . )<\/parenthetical>\n    <dialogue>You've certainly got them surrounded.<\/dialogue>\n    <parenthetical>( And then . )<\/parenthetical>\n    <dialogue>I suppose they've neutralized all communications here.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Not all. Radio is out. But our field phones are okay so far.<\/dialogue>\n    <character>GENERAL MANN<\/character>\n    <dialogue>And they'll go out the minute there's another ray.<\/dialogue>\n    <parenthetical>( Reading . )<\/parenthetical>\n    <dialogue>A cylinder reported down by Huntington Beach. That's a job for the Navy.<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>Do you have any news from abroad?<\/dialogue>\n    <scene_description>CAMERA ANGLES to favor him as he glances at messages , sorting them , handing some to his aide .<\/scene_description>\n    <character>GENERAL MANN<\/character>\n    <parenthetical>( Cont 'd . )<\/parenthetical>\n    <dialogue>They're coming down all over. South America - Santiago has two cylinders. They're outside London. And they're in Naples.<\/dialogue>\n    <parenthetical>( Going on . )<\/parenthetical>\n    <dialogue>We've got them between here and Fesno. Outside Sacramento. Two on Long Island.<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>Are they just coming down at random?<\/dialogue>\n    <character>GENERAL MANN<\/character>\n    <dialogue>No, they're working to some kind of a plan.<\/dialogue>\n    <parenthetical>( After a moment . )<\/parenthetical>\n    <dialogue>But here's the most dangerous thing. Once they begin to move - no more news comes out of that area!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REVETMENT<\/stage_direction>\n    <scene_description>SHOOTING past the General . Everyone is listening , fascinated . The communications men have stopped work . The morse key keeps repeating a call .<\/scene_description>\n    <character>GENERAL MANN<\/character>\n    <dialogue>We've been getting reports of destruction, massacre. Here's an instance!<\/dialogue>\n    <parenthetical>( reading a message . )<\/parenthetical>\n    <dialogue>` Town of St. Julien, south of Bordeaux, wiped out by ray of undetermined nature. Local reports say nothing remains.'.<\/dialogue>\n    <parenthetical>( Looks around . )<\/parenthetical>\n    <dialogue>Nothing remains! What d'you make of that?<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>We'll have to see what they do here.<\/dialogue>\n    <character>GENERAL MANN<\/character>\n    <dialogue>A lot of our newest weapons are in here. Washington wants to be sure we stop them.<\/dialogue>\n    <character>COLONEL<\/character>\n    <parenthetical>( Confident - smiling . )<\/parenthetical>\n    <dialogue>We will, sir!<\/dialogue>\n    <character>GENERAL MANN<\/character>\n    <dialogue>From the data - and from that picture the Air Force took earlier tonight.<\/dialogue>\n    <parenthetical>( Thumbing toward the gully . )<\/parenthetical>\n    <dialogue>. what we've got in the gully out there is a guide ship. One lands. Others follow later.<\/dialogue>\n    <parenthetical>( To Clayton . )<\/parenthetical>\n    <dialogue>They appear to clear an area, then drop in groups of threes, joined magnetically. Is that possible?<\/dialogue>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Wryly . )<\/parenthetical>\n    <dialogue>If they do it, it is.<\/dialogue>\n    <scene_description>Sylvia brings coffee . The General takes it automatically .<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>My orders are not to go into action unless they make a move out of there.<\/dialogue>\n    <character>GENERAL MANN<\/character>\n    <dialogue>That's because we want a chance to observe them.<\/dialogue>\n    <parenthetical>( Gesturing to gully . )<\/parenthetical>\n    <dialogue>This is the only place we've had time to surround them with sufficient force to contain them. What happens here will be a guide to all other operations. The minute action begins and a pattern of defense develops, I'll get my report to Washington.<\/dialogue>\n    <parenthetical>( Glances at map . )<\/parenthetical>\n    <dialogue>You've deployed your forces well.<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Thank you, sir. If they start anything, we can blast them right off the earth!<\/dialogue>\n    <character>GENERAL MANN<\/character>\n    <parenthetical>( Checks watch , sips coffee . )<\/parenthetical>\n    <dialogue>They'll probably move at dawn.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - HIGH CAMERA - LONG SHOT - GULLY - DAWN<\/stage_direction>\n    <scene_description>Silence . No movement anywhere . We see the burned grass and blackened earth . The little gray ash - heaps are still there . In the gully are dim , shining shapes . Beyond the hills the sky is lightening . As the sun comes up , one of the shining shapes begins to rise . There is a SOUND of CRACKLING , HIGH - FREQUENCY ELECTRIC SPARKS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OBSERVATION POST<\/stage_direction>\n    <scene_description>CAMERA is on an infantry lieutenant and a sergeant . Their foxhole is camouflaged with burned grass and bushes .<\/scene_description>\n    <character>LIEUTENANT<\/character>\n    <parenthetical>( At field phone . )<\/parenthetical>\n    <dialogue>There's something moving in the gully - something's coming out!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>FLASHES - TROOPS ALERTING<\/stage_direction>\n    <scene_description>Men have been resting , dozing , waiting for dawn . A signal reaches them . a. Recoilless 75 men running to positions . b. Crew racing to half - track rocket - launcher . c. Machine - gunners readying for action . d. Bazooka team alerting .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REVETMENT<\/stage_direction>\n    <scene_description>Lamps and candles being hurriedly extinguished . The tarpaulin is yanked from the observation opening . Everyone cranes to get a glimpse of the gully .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - GULLY - (DAWN)<\/stage_direction>\n    <scene_description>Burned - over ground runs straight to the gully , with blackened scrub trees and bushes at either side . Something is visible in the gully . Shining . Moving .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. GULLY - MED. SHOT<\/stage_direction>\n    <scene_description>Now , for the first time , we see a Martian machine clearly . A metal shape is rising . The SOUND of high - frequency sparks increases . It is a built - up section of the cylinder . Domed in the center . Three vibrant beams are projected like rods from below - stiff , joint - less , incandescent . Effortlessly , the body of the machine rises on the pulsating beams to a height of thirty feet in the air , and hovers motionless . Then a hooded shape extends above the body on a flexible shaft .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REVETMENT<\/stage_direction>\n    <scene_description>Favoring Clayton , Pastor Collins , General Mann and the Colonel . All crowded to the opening in the sandbags . The General and the Colonel use field glasses .<\/scene_description>\n    <character>GENERAL MANN<\/character>\n    <parenthetical>( Softly - handing his glasses to Clayton . )<\/parenthetical>\n    <dialogue>Look at it, will you?<\/dialogue>\n    <character>PASTOR COLLINS<\/character>\n    <parenthetical>( Awed - half to himself . )<\/parenthetical>\n    <dialogue>Beings from another world.<\/dialogue>\n    <scene_description>The Colonel signs to the Captain , who backs to the field telephone switchboard .<\/scene_description>\n    <character>COLONEL<\/character>\n    <parenthetical>( Quietly . )<\/parenthetical>\n    <dialogue>Stand by to fire.<\/dialogue>\n    <character>CAPTAIN<\/character>\n    <parenthetical>( Into phone - repeating . )<\/parenthetical>\n    <dialogue>All command posts stand by to fire.<\/dialogue>\n    <character>PASTOR COLLINS<\/character>\n    <parenthetical>( Suddenly realizing - protesting . )<\/parenthetical>\n    <dialogue>Colonel - shooting's no good!<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>It's always been a good persuader.<\/dialogue>\n    <character>PASTOR COLLINS<\/character>\n    <dialogue>Could n't you try to communicate with them first - and shoot later if you have to?<\/dialogue>\n    <scene_description>The Colonel glances , then ignores him , using his glasses . The uniformed men are all tense , watching the gully , waiting for the order . Clayton is gazing out with the Sheriff . Pastor Collins moves uncertainly toward the open rear of the revetment . Sylvia sees him , starts after him .<\/scene_description>\n    <character>CAPTAIN'S VOICE<\/character>\n    <parenthetical>( O.s . )<\/parenthetical>\n    <dialogue>All command posts - target as indicated.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. REVETMENT<\/stage_direction>\n    <scene_description>Pastor Collins comes out , stands staring toward the gully . Sylvia joins him . Behind them we glimpse the tension of the men inside .<\/scene_description>\n    <character>PASTOR COLLINS<\/character>\n    <parenthetical>( Looking o.s . )<\/parenthetical>\n    <dialogue>I think we should try to make them understand we mean them no harm.<\/dialogue>\n    <scene_description>Sylvia looks at him , not sure of what he means .<\/scene_description>\n    <character>COLONEL'S VOICE<\/character>\n    <parenthetical>( O.s . )<\/parenthetical>\n    <parenthetical>( Quietly - from inside . )<\/parenthetical>\n    <dialogue>There's another machine coming out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. GULLY<\/stage_direction>\n    <scene_description>The Martian machines . The first machine is now catching the early sunbeams . Turning golden , glis - tening . In the shadows another machine is rising from the gully . It , also , is armed with a hooded shape .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSE SHOT - SYLVIA AND PASTOR COLLINS<\/stage_direction>\n    <scene_description>Both gazing toward the gully .<\/scene_description>\n    <character>PASTOR COLLINS<\/character>\n    <parenthetical>( Meditative . )<\/parenthetical>\n    <dialogue>They are living creatures out there.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <dialogue>But they're not human! Dr. Forrester says they're some kind of an advanced civilization -<\/dialogue>\n    <character>PASTOR COLLINS<\/character>\n    <parenthetical>( Cutting in , smiling . )<\/parenthetical>\n    <dialogue>If they're more advanced than us, they should be nearer the Creator for that reason!<\/dialogue>\n    <character>CAPTAIN'S VOICE<\/character>\n    <parenthetical>( Tensely , from inside . )<\/parenthetical>\n    <dialogue>Attention all batteries! Prepare for volley fire! Repeat - prepare for volley fire!<\/dialogue>\n    <character>PASTOR COLLINS<\/character>\n    <parenthetical>( Meditative again . )<\/parenthetical>\n    <dialogue>No real attempt has been made to communicate with them, you know.<\/dialogue>\n    <scene_description>Sylvia looks at him uneasily . She takes his arm .<\/scene_description>\n    <character>SYLVIA<\/character>\n    <dialogue>Let's go back inside, Uncle Matthew.<\/dialogue>\n    <character>PASTOR COLLINS<\/character>\n    <parenthetical>( Shakes head , smiling . )<\/parenthetical>\n    <dialogue>I've done about all I can do here. You go back in.<\/dialogue>\n    <parenthetical>( Low - turning her toward the inside . )<\/parenthetical>\n    <dialogue>Sylvia - I like that Doctor Forrester.<\/dialogue>\n    <parenthetical>( Hand to her cheek . )<\/parenthetical>\n    <dialogue>He's a good man.<\/dialogue>\n    <scene_description>Sylvia presses his hand , smiling . As she leaves him , the CAMERA PANS with her , losing Pastor Collins momentarily .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>HEAD CLOSEUP - PASTOR COLLINS<\/stage_direction>\n    <scene_description>Looking in the direction of the gully , thoughtful .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>FLASHES - PREPARATIONS FOR FIRING<\/stage_direction>\n    <scene_description>a. Grouped bazookas bearing on the target . b. Tanks waiting orders , at the ready . c. Rocket launcher , loaded and ready .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. GULLY<\/stage_direction>\n    <scene_description>The Martian machine in f.g. is motionless . The second one has paused half out of the gully . Its hooded arm swings around on its shaft , as if under test .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXTREME HEAD CLOSEUP - PASTOR COLLINS<\/stage_direction>\n    <scene_description>Eyes serene . Smiles a little . Moves forward .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REVETMENT<\/stage_direction>\n    <scene_description>No sound except the telegraph key repeating a signal over and over . No movement save for Sylvia , f.g. , refilling coffee cups . General Mann , the Colonel , Clayton and the Sheriff crouched by the opening .<\/scene_description>\n    <character>COLONEL<\/character>\n    <parenthetical>( Suddenly . )<\/parenthetical>\n    <dialogue>Who's that?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>FLASH CLOSEUP - GROUP AT WINDOW<\/stage_direction>\n    <scene_description>They stare out , disbelieving .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>FLASH CLOSEUP - SYLVIA<\/stage_direction>\n    <scene_description>She whirls , starts toward the opening .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - INT. REVETMENT &amp; VISTA<\/stage_direction>\n    <scene_description>SHOOTING over the group at the opening to the VISTA outside the revetment . In b.g. Pastor Collins is walking away from the revetment , a solitary figure moving over the burned - off earth . The Martian machines beyond him are motionless , as if awaiting him .<\/scene_description>\n    <character>COLONEL<\/character>\n    <parenthetical>( Choked voice . )<\/parenthetical>\n    <dialogue>What's he think he's doing?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSE SHOT - CROSS ANGLE - FEATURING SYLVIA<\/stage_direction>\n    <character>SYLVIA<\/character>\n    <parenthetical>( Calling . )<\/parenthetical>\n    <dialogue>Uncle!<\/dialogue>\n    <parenthetical>( Half screaming . )<\/parenthetical>\n    <dialogue>Uncle Matthew!<\/dialogue>\n    <scene_description>She whirls to go after him . General Mann catches her arm .<\/scene_description>\n    <character>GENERAL MANN<\/character>\n    <dialogue>Too late now - he's too far away.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <parenthetical>( Lunges - appealing . )<\/parenthetical>\n    <dialogue>Stop him!<\/dialogue>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Holding her - looking out . )<\/parenthetical>\n    <dialogue>It's seen him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - MARTIAN MACHINE<\/stage_direction>\n    <scene_description>It begins slowly to sink down as its glittering beam - legs pulsate and grow shorter .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>MOVING SHOT - EXT. BURNED-OFF FIELD<\/stage_direction>\n    <scene_description>Pastor Collins brings out a cross , gazing ahead , reciting the Twenty - third Psalm .<\/scene_description>\n    <character>PASTOR COLLINS<\/character>\n    <parenthetical>( Softly . )<\/parenthetical>\n    <dialogue>Though I walk through the valley of the shadow of death, I will fear no evil.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. GULLY<\/stage_direction>\n    <scene_description>SHOOTING past the first Martian machine , still sinking down . The second machine has risen higher in the gully .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>MOVING SHOT - EXT. BURNED-OFF FIELD<\/stage_direction>\n    <scene_description>CLOSE on Pastor Collins , walking past more debris .<\/scene_description>\n    <character>PASTOR COLLINS<\/character>\n    <parenthetical>( Whispering . )<\/parenthetical>\n    <dialogue>Thou anointest my head with oil. My cup runneth over.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REVETMENT - GROUP<\/stage_direction>\n    <scene_description>Featuring Sylvia and Clayton . All are crowded to the opening . Sylvia is petrified with horror .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>MOVING SHOT - EXT. BURNED-OFF FIELD - HEAD CLOSEUP<\/stage_direction>\n    <scene_description>Pastor Collins moves ahead , eyes fixed on the machines . He wo n't permit himself to be afraid .<\/scene_description>\n    <character>PASTOR COLLINS<\/character>\n    <dialogue>And I will dwell. in the house of the Lord. forever.<\/dialogue>\n    <scene_description>He lifts the cross to shoulder height as CAMERA HOLDS and PANS him on .<\/scene_description>\n    <character>PASTOR COLLINS<\/character>\n    <parenthetical>( Cont 'd . )<\/parenthetical>\n    <dialogue>Amen.<\/dialogue>\n    <parenthetical>( Murmuring . )<\/parenthetical>\n    <dialogue>May the grace of the Father and of the Son.<\/dialogue>\n    <scene_description>Beyond him we now see the Martian machine .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. GULLY<\/stage_direction>\n    <scene_description>Favoring the first machine , filling the SCREEN . Squat - ting on its incandescent beam - legs , the hooded shaft tilted forward . There is a moment - then a magenta - tinted heat - ray SCREAMS from it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REVETMENT - EXTREME HEAD CLOSEUP - SYLVIA<\/stage_direction>\n    <scene_description>She SCREAMS , but her voice is drowned in the unearthly SOUND of the Martian machine . We know , without seeing , what has happened to the Pastor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. GULLY<\/stage_direction>\n    <scene_description>VIEWPOINT from the command post revetment . The first machine rises swiftly to full height , gliding forward . The second clears the gully . The top of a third machine appears .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. GULLY &amp; ROAD<\/stage_direction>\n    <scene_description>The base of the Martian machine 's locomotor beam - leg . Featuring , in f.g. , the Pastor 's cross , partly melted . The glittering foot of the beam moves into SCENE , leaving behind it molten rock and smoke . As it passes , the intense heat it gives off acts like a blowtorch on the terrain .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REVETMENT - MED. CLOSE SHOT<\/stage_direction>\n    <scene_description>SHOOTING from outside the observation opening . Sylvia is CLOSE in f.g. , horrified , unbelieving , supported by Clayton . The Colonel whirls toward the switchboard .<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Let'em have it!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLSIDE - TANKS<\/stage_direction>\n    <scene_description>The big guns of the tanks slam shells toward the gully .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - MARTIAN MACHINE &amp; SHELL BURSTS<\/stage_direction>\n    <scene_description>Shells burst close to the Martian machine . Instantly a beam - different from the heat - ray - strikes out with a vicious , high - pitched DRUMMING SOUND . The beam is electric - blue with a greenish tinge . Edges soft , powdery . Fast , projectile - like discharges race down its core , like a succession of balls , a deeper blue - green . Beam and impulses are transparent .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. HILLSIDE - TANK<\/stage_direction>\n    <scene_description>The beam hits a tank . The tank changes color instan - taneously . It turns bone yellow , then thins into an oyster - white skeleton shape that is an echo of death itself . The beam cuts off and the tank dissolves into fine dust , the color of the beam , and blows away on the breeze . Making pallid streamers in the early morning light .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>GROUP - AT OPENING<\/stage_direction>\n    <scene_description>SHOOTING IN on the men - staring , transfixed . The General lowers his glasses , looks at Clayton in stupe - faction , then uses the glasses again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>QUICK CUTS - INSERTS OF MUZZLES - AS WEAPONS FIRE<\/stage_direction>\n    <scene_description>CLOSE on the muzzles . Individual SOUND blasting . a. Rocket - launcher muzzles as rockets fly . b. Machine - gun muzzles shuddering . c. Anti - tank gun muzzles explode and recoil .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>QUICK CUTS &amp; FLASHES - BATTLE  (1)<\/stage_direction>\n    <scene_description>The initial phase between man 's weapons and the Martian machines . The first Martian is out of the gully on the burned - off field . The second is just clear of the gully . The third has started to follow . a. Special Effect - Full Shot - Gully . Increasing shell and rocket fire bursting viciously about the Martians . Short , blue jets are flashing out around the turret heads of the machines . These merge to form an impalpable , electro - magnetic envelope which drops all around to the ground . b. Special Effect - Close Shot - First Machine . Rays SCREAM from it , lashing in every direction . c. Recoilless 75 's - Close Shot . Muzzles Flash . d. Rocket - launcher - Close Shot . In rapid suc - cession , rockets roar toward the Martians . e. Tank - Med . Shot . It 's gun bucks violently slamming an armor - piercing shell at the Mar - tians . f. Machine - gun Nest - Close Shot . 50 cal . machine - gun chatters furiously , spitting a stream of tracer shells . g. Bazookas - Close Shot . In a sharp volley , a group of bazookas let go with HE charges . h. Mortars - Close Shot . In rapid succession , Marines drop Napalm charges into the big muz - zles of the mortars . Instantly the charges fly high in the air in the direction of the enemy . i. Special Effect - Martian Machines . Projectiles burst against their almost invisible protective envelopes . Others ricochet off , exploding harm - lessly in the air beyond . Napalm charges burst around them , obscuring the machines in huge balls of searing , orange fire and black smoke . j. Special Effect - First Machine - Close Shot . The flame of the Napalm clears . The machine is undamaged . Rays slash from it , SCREAMING . k. Special Effect - Second &amp; Third Machines - Close Shot . Flames and smoke clear . They lash rays in every direction . l. Special Effect - Rocket - launcher - Close Shot . Hit by a heat - ray . The launcher and crew glow white hot . Become a pile of ashes . m. Special Effect - First Machine - Close Shot . DRUMMING horribly , the blue - green disintegrating beam darts forth . n. Special Effect - Mortars - Med . Close Shot . Hit by the skeletonizing beam . They literally disintegrate - cease to exist . Men and machines become a vapor of blue - green dust .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REVETMENT - GROUP<\/stage_direction>\n    <scene_description>Clayton , Sylvia and others duck below the shelter of the sandbags as a heat - ray HOWLS close past the com - mand post . CAMERA MOVES IN on Clayton and General Mann , shouting above the uproar .<\/scene_description>\n    <character>GENERAL MANN<\/character>\n    <parenthetical>( Fast , looking out . )<\/parenthetical>\n    <dialogue>What's that skeleton beam they're using?<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>It must neutralize mesons somehow. They're the atomic glue that holds matter together.<\/dialogue>\n    <parenthetical>( Grimly . )<\/parenthetical>\n    <dialogue>Cut across their lines of magnetic force and any object will simply cease to exist.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - FLASH CUTS - BATTLE  (2)<\/stage_direction>\n    <scene_description>The destruction of man 's weapons by the Martians , and the beginning of man 's retreat . a. Special Effect - Ext. . Gully &amp; Command Post Revetment - Full Shot . A COMPOSITE SHOT of the entire battle . One Martian machine on a hill slope . The two others below . Rays and beams lashing out . Shells and rockets and Napalm exploding about them . Tanks scuttling about . Rays hit them . Machine - gunners and troops abandon their stations , leaving their weapons . Half - tracks , trucks , weapons - carriers , jeeps pull out . Pandemonium . b. Special Effect - Martian Machines - Med . Shot . Smoke and fire clearing . Explosions about them diminish . They redouble the activity of their rays and beams . c. Special Effect - Battlefield - Med . Full Shot . Gray ash on a blackened road - the residue of tanks . Men , jeeps , equipment flee past , es - caping . Rays and beams reach after them . d. Ext. . Hillside - Med . Close Shot . Infantrymen crash through burning bushes in headlong re - treat , looking back in panic . e. Special Effect - Martian Machine - Close Shot . On skyline . Moving forward . Rays SCREAMING , beams DRUMMING . No counter fire from our forces .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. REVETMENT - MED FULL SHOT<\/stage_direction>\n    <scene_description>Parked jeeps , General Mann 's car , a few Marines , the Red Cross truck . The heat - ray slashes through them , hits the revetment and swings away . Men fall in ashes , jeeps glow and burn , the Red Cross truck and General Mann 's car are singed and blazing . The huge tarp stretched over the revetment blazes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REVETMENT - MED. FULL SHOT<\/stage_direction>\n    <scene_description>The inclosure is a madhouse - men trying to extinguish burning switchboards - the lieutenant gathering up the scorched maps - the captain shouting uselessly into the field phone - Clayton up by the opening using the field glasses , Sylvia and the Sheriff crouched near him . General Mann and his aide rush out .<\/scene_description>\n    <character>LIEUTENANT<\/character>\n    <parenthetical>( At the opening . )<\/parenthetical>\n    <dialogue>There's a Martian machine headed straight for us!<\/dialogue>\n    <character>COLONEL<\/character>\n    <parenthetical>( Shouting to Captain . )<\/parenthetical>\n    <dialogue>Order all command posts - everything pull back north of Highway Sixty tunnel bunker!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - MARTIAN MACHINE - MED. CLOSE SHOT<\/stage_direction>\n    <scene_description>Moving along the burned - off swathe from the gully , rays slashing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REVETMENT - MED. SHOT<\/stage_direction>\n    <character>COLONEL<\/character>\n    <parenthetical>( At observation opening - yelling . )<\/parenthetical>\n    <dialogue>They're going to roll right through here. Sheriff - get into Linda Rosa. Tell Civil Defense - evacuate everybody!<\/dialogue>\n    <scene_description>Clayton , at the opening , watches the approaching machines , absorbed by them . A heat - ray slashes near , casting its ruddy glare . Shreds of the burning tar - paulin fall . Sylvia grabs him , pulling him down .<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Doctor Forrester - get out of here!<\/dialogue>\n    <scene_description>He literally jerks Clayton and Sylvia to their feet , shoving them toward the rear .<\/scene_description>\n    <character>COLONEL<\/character>\n    <parenthetical>( Cont 'd . )<\/parenthetical>\n    <dialogue>Everybody out! The Air Force'll take care of these babies now!<\/dialogue>\n    <parenthetical>( Runs toward CAMERA . )<\/parenthetical>\n    <dialogue>Everybody out - Everybody -<\/dialogue>\n    <scene_description>He is in EXTREME CLOSEUP , shouting . The red heat - ray seems to envelope him in a blaze of color , SCREAMING . Suddenly the SCREEN explodes into deadly blue - green - the disintegrating beam ! The Colonel 's shout is frozen on his lips . The skeletal structure of his head glows incandescent - greenish - white - through the flesh of his face . In an instant he vanishes into a shred of blue - green vapor which swirls and is lost in the ruddy flames of the ray .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKY - FULL SHOT - (STOCK)<\/stage_direction>\n    <scene_description>A huge formation of fighter bombers flashes across the sky , the chorus of their jets pulsating like thunder .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - MED. SHOT<\/stage_direction>\n    <scene_description>A weapons carrier clatters past at breakneck speed . Men from mixed units jump from behind scrub trees , running . A crowded jeep flashes past as Clayton and Sylvia appear . The two run after the men . Clayton pulls her to a stop , looks o.s. , then runs across the road with her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD - MED. SHOT<\/stage_direction>\n    <scene_description>A Piper Cub - battery observation plane - is just taking off . Another is on the ground , no one near it . Clayton and Sylvia enter , running . Beyond one wing of the machine we see smoke , explosions and rays and beams ripping against the sky .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <dialogue>We ca n't go into town - everybody's getting out of there!<\/dialogue>\n    <parenthetical>( Steering her toward plane . )<\/parenthetical>\n    <dialogue>I'll fly you over to Pasadena.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <dialogue>Can you handle one of these?<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>Sure. get in!<\/dialogue>\n    <scene_description>He shoves Sylvia up into the plane and climbs in at the wheel .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKY - MED. SHOT<\/stage_direction>\n    <scene_description>The Piper Cub in flight , hedge - hopping .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PIPER CUT - CLOSE SHOT  (PROCESS)<\/stage_direction>\n    <scene_description>SHOOTING PAST Clayton to Sylvia . The tops of utility poles and trees skim past , almost at their level . The plane wobbles . Clayton is unconcerned .<\/scene_description>\n    <character>SYLVIA<\/character>\n    <parenthetical>( Hanging on . )<\/parenthetical>\n    <dialogue>You'll hit something! Ca n't you go higher?<\/dialogue>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Looking up . )<\/parenthetical>\n    <dialogue>No. The air's going to be full of Jets in a minute. And there they are!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKY - QUICK CUTS OF JETS - (STOCK)<\/stage_direction>\n    <scene_description>Jet fighter - bombers in formation , colorful against the sky , peeling off to dive .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PIPER CUB - CLOSE SHOT - (PROCESS)<\/stage_direction>\n    <scene_description>Clayton looking o.s. as he banks sharply . Sylvia looking after him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKY - QUICK CLOSE SHOT (STOCK)<\/stage_direction>\n    <scene_description>Jet fighter - bombers diving , firing , launching rockets , dropping bombs . SOUNDS of explosions .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKY - MED. CLOSE SHOT<\/stage_direction>\n    <scene_description>The piper cub porpoising over the treetops , banking and turning .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>QUICK CUTS - WRECK OF PIPER CUB<\/stage_direction>\n    <scene_description>a. Int . Piper Cub - Close Shot -LRB- Process -RRB- . Clayton looking up . Sylvia turns and looks ahead , SCREAMS . b. Special Effect - Piper Cub - Full Shot . SHOOTING AHEAD . It rises over a low hilltop - flying directly toward a Martian machine on the flat fields beyond . Plane banks sharply to change course . c. Special Effect - Piper Cub - Med . Shot . The wing snags a tree . The plane cart - wheels toward the ground .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. BEAN FIELD - MED. SHOT<\/stage_direction>\n    <scene_description>The Cub lands on one wheel , bounces , goes into a ground loop , a slashing skid and stops , tilted on a torn wing . Propeller shattered .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEANFIELD - CLOSE SHOT - (MOVING SHOT)<\/stage_direction>\n    <scene_description>Clayton half - falls out of the wrecked plane , looking o.s. , as he helps Sylvia . She looks with him , gasps . They run and dive into an irrigation ditch , CAMERA FOLLOWING .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT BEANFIELD &amp; DITCH - FULL SHOT<\/stage_direction>\n    <scene_description>SHOOTING over the torn wing of the Piper Cup among the tangled bean plants . Across the field is a low , wooded hill . Coming into sight at the foot of the hill is the Martian machine , its cobra - like weapon turning on its shaft , swinging toward the plane .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DITCH - CLOSE SHOT - CLAYTON &amp; SYLVIA<\/stage_direction>\n    <scene_description>Ducked low , taut , terrified . He sneaks a look over the edge , then flings himself down with Sylvia again . There is the SOUND of the horrible DRUMMING of the disintegrating beam , which quickly flickers out , mark - ing the destruction of the Piper Cub . Their faces are lit blue - green . Then , down into the ditch , the eerie vapor of unglued atom flows , incandescent , swirling in the breeze . Clayton and Sylvia begin to stir . The CRACKLING of HIGH FREQUENCY ELECTRICITY from the machine 's loco - motor mechanism grows louder - it 's coming for them ! Clayton grabs Sylvia , half - dragging , half - carrying her back along the ditch . He pushes her behind a pile of broken irrigation pipe , falls across her . The CRACKLING swells to a ROAR of SPARKS . Where they had just lain , the glittering , flickering base of a beam - leg dips down into the ditch , moves across and up the other bank , leaving a smoking path of fused rock and debris .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXTREME CLOSEUP - CLAYTON &amp; SYLVIA<\/stage_direction>\n    <scene_description>Smoke swirling about them . Heads thrust into the dirt . Frozen with terror . Faces crushed together . The machine 's ROAR diminishes . They begin to breathe again . The tension of Clayton 's grip on Sylvia 's shoulders lessens . The suspended functions of her mind resume . Her eyes turn to him . He looks at her . Shock overwhelms her . She faints . FADE OUT .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTOWN STREET, LOS ANGELES - (DAY)<\/stage_direction>\n    <scene_description>CAMERA is on a CORNER NEWSSTAND . Tip - sheets and papers are clipped around the front , sides and to a wire between uprights . Headlines : MEN FROM MARS - Europe Cities Blasted - KILLER RAYS ; MARS MACHINES IN CALIFORNIA - Fighting Near L.A. - U.S. INVADED - MARTIAN THREAT . A little crowd on the sidewalk reads papers avidly . Cars stop at the curb to buy others . An elderly woman sits behind the newsstand , knitting , hawking her sensations .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSEUP - ELDERLY WOMAN<\/stage_direction>\n    <character>ELDERLY WOMAN<\/character>\n    <parenthetical>( Thin - piping . )<\/parenthetical>\n    <dialogue>All about the Martian Invasion - They're in New York and Miami - Fighting outside Los Angeles - All about it! - Radio black - out - Killers from Mars - World - wide Crisis - United States invaded - all about the Martians!<\/dialogue>\n    <parenthetical>( Sells a paper . )<\/parenthetical>\n    <dialogue>Thank you, mister.<\/dialogue>\n    <scene_description>The SOUND of approaching sirens comes over SCENE . She and her customers look o.s.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - (Location)<\/stage_direction>\n    <scene_description>Traffic is slowing , stopping . The SOUND of massed sirens comes to a peak . Two motorcycle cops race past , blinkers working . Four more follow . Then comes General Mann 's dirty , fire - blackened car . CAMERA PANS the car , going fast , then ANGLES UP the front of the stately Federal Building .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>MOVING SHOT - INT. ARMED FORCES INFORMATION, MAIN OFFICE - (DAY)<\/stage_direction>\n    <scene_description>Five desks . Walls covered with maps and thumb - tacked notices . The doors of three private offices across from the entrance . The place is crowded with Army , Navy , Marine and Air Force personnel , police of - ficials , CD directors , reporters , photographers . Two cops shoulder in from the corridor by a door marked : ARMED FORCES - Public Information Office - Entrance . General Mann follows with his aide . Reporters and cameramen crowd around the unshaven , grimy General , impeding him on his way toward a private office out - side which sits a WAC secretary . Naval and military men come to attention , then press toward him . The General looks past them all , calling to CD directors and civic authorities .<\/scene_description>\n    <character>GENERAL MANN<\/character>\n    <parenthetical>( Beckoning . )<\/parenthetical>\n    <dialogue>You're the gentlemen I asked to come here.<\/dialogue>\n    <parenthetical>( To his aide . )<\/parenthetical>\n    <dialogue>Get Washington.<\/dialogue>\n    <scene_description>The aide pushes ahead while flashbulbs blink and repor - ters surround the General . He keeps moving . A FAT REPORTER - thin - nosed , sweating - tries to buttonhole him .<\/scene_description>\n    <character>FAT REPORTER<\/character>\n    <dialogue>General Mann, what d'you think of this situation -<\/dialogue>\n    <character>GENERAL MANN<\/character>\n    <dialogue>Sorry. I've no time!<\/dialogue>\n    <character>FAT REPORTER<\/character>\n    <parenthetical>( Wily , fast . )<\/parenthetical>\n    <dialogue>Is it your opinion the Army can hold'em?<\/dialogue>\n    <character>POLICE CHIEF<\/character>\n    <parenthetical>( Moving in , sharp . )<\/parenthetical>\n    <dialogue>All right, boys - let it go!<\/dialogue>\n    <character>SECOND REPORTER<\/character>\n    <parenthetical>( Jumping in , over him . )<\/parenthetical>\n    <dialogue>You had guns and equipment going out there all night! Were n't they enough to -<\/dialogue>\n    <character>GENERAL MANN<\/character>\n    <parenthetical>( Tired , exasperated . )<\/parenthetical>\n    <dialogue>I said I've no time!<\/dialogue>\n    <character>POLICE CHIEF<\/character>\n    <dialogue>C'mon, now - break it up!<\/dialogue>\n    <scene_description>During this , General Mann has pushed to the door of the private office . With a concerted effort , the General and the civic officials push inside . The door closes . A big Marine bars further entry . CAMERA HOLDS on the reporters and photographers .<\/scene_description>\n    <character>FAT REPORTER<\/character>\n    <dialogue>The way he's hedging, maybe the Army did n't hold'em!<\/dialogue>\n    <parenthetical>( Significant . )<\/parenthetical>\n    <dialogue>Because from the news that's coming through, nobody's stopped'em yet!<\/dialogue>\n    <parenthetical>( Looking toward door . )<\/parenthetical>\n    <dialogue>We'll wait.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRIVATE OFFICE<\/stage_direction>\n    <scene_description>It belongs to the Chief of Army Information . General Mann 's aide is talking into a phone in b.g. . The General faces the civilian group which includes police and fire chiefs , Pacific Electric and other trans - portation officials , Air Raid wardens , Red Cross .<\/scene_description>\n    <character>GENERAL MANN<\/character>\n    <dialogue>Who's the General Director for Civil Defense?<\/dialogue>\n    <character>C.D. DIRECTOR<\/character>\n    <dialogue>Here, sir. We're all ready for action!<\/dialogue>\n    <character>GENERAL MANN<\/character>\n    <dialogue>I want to know if the city must be evacuated?<\/dialogue>\n    <character>C.D. DIRECTOR<\/character>\n    <parenthetical>( Smiling . )<\/parenthetical>\n    <dialogue>Lots of people got scared and moved out as it is!<\/dialogue>\n    <character>P.E. OFFICIAL<\/character>\n    <dialogue>We're holding emergency cars and buses ready in the yard, sir!<\/dialogue>\n    <character>RED CROSS LEADER<\/character>\n    <dialogue>Red Cross is standing by.<\/dialogue>\n    <character>C.D. DIRECTOR<\/character>\n    <dialogue>I believe, sir, I can speak for everyone. We've got the whole city on the ready!<\/dialogue>\n    <character>GENERAL MANN<\/character>\n    <dialogue>That's what I wanted! For your in - formation - they're twenty - five or thirty miles outside Los Angeles. They're not down in force yet, but that can happen any minute. We've got a developing situation. It'll come to a crisis if they move into the metropolitan area and -<\/dialogue>\n    <character>AIDE<\/character>\n    <parenthetical>( Cutting in , quick . )<\/parenthetical>\n    <dialogue>Washington on the wire, sir.<\/dialogue>\n    <character>GENERAL MANN<\/character>\n    <parenthetical>( Taking phone , turning away . )<\/parenthetical>\n    <dialogue>General Mann.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSE ON GENERAL MANN<\/stage_direction>\n    <scene_description>listening at phone , keyed - up .<\/scene_description>\n    <character>GENERAL MAN<\/character>\n    <parenthetical>( After a pause , low , fast . )<\/parenthetical>\n    <dialogue>I'd say our effective losses were nearly sixty percent men and ninety percent materiel!<\/dialogue>\n    <parenthetical>( Grimly . )<\/parenthetical>\n    <dialogue>The new delta - wing jets went in, but not one of them came out. I watched high - level bombers drop everything they carried. They were knocked out of the sky and the bombs did nothing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>GROUP - CIVILIAN LEADERS<\/stage_direction>\n    <scene_description>straining to catch what he is saying , glancing at one another , alarmed .<\/scene_description>\n    <character>GENERAL MANN'S VOICE<\/character>\n    <dialogue>Nothing was effective against them! Yes, they have some sort of electronic umbrella. It's quite impenetrable. And Doctor Forrester believes they generate atomic force without the heavy screening we use - That's where they get the power for their rays!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRIVATE OFFICE - MED. CLOSE SHOT<\/stage_direction>\n    <scene_description>General Mann at phone , his aide in b.g.<\/scene_description>\n    <character>GENERAL MANN<\/character>\n    <dialogue>Very well, sir.<\/dialogue>\n    <parenthetical>( Hanging up - to aide . )<\/parenthetical>\n    <dialogue>Call Victorville. Tell them I want the fastest plane they've got!<\/dialogue>\n    <scene_description>SHOT WIDENS as he turns to the nearby group .<\/scene_description>\n    <character>GENERAL MANN<\/character>\n    <parenthetical>( Cont 'd . )<\/parenthetical>\n    <dialogue>You'll get all further instructions from Sixth Army Command.<\/dialogue>\n    <parenthetical>( To Police Chief . )<\/parenthetical>\n    <dialogue>Now I'll make a statement to those reporters.<\/dialogue>\n    <scene_description>The Police Chief opens the door . Hubbub comes from the outside as reporters and photographers crowd in . The civic authorities leave .<\/scene_description>\n    <character>FAT REPORTER<\/character>\n    <parenthetical>( Barging forward . )<\/parenthetical>\n    <dialogue>General, we heard Doctor Clayton Forrester was out there with you. What's he think about this?<\/dialogue>\n    <character>GENERAL MANN<\/character>\n    <dialogue>Ask him. He's back at Pacific - Tech.<\/dialogue>\n    <character>FAT REPORTER<\/character>\n    <dialogue>No, he's not! We tried to get him. He has n't shown up there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. FARM &amp; BEANFIELD - (NIGHT)<\/stage_direction>\n    <scene_description>Peaceful . Crickets chirruping . A mocking - bird SOUND - ING off . Low ground mist . Out of the distance comes the MUTTER of gunfire and remote EXPLOSIONS . CAMERA SHOOTING across the edge of the dry irriga - tion ditch toward the farmhouse in the middle dis - tance . A farm cat appears over the edge of the ditch , carrying something in its mouth . It hurries down into the ditch , CAMERA PANNING .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. IRRIGATION DITCH - MED. CLOSE SHOT<\/stage_direction>\n    <scene_description>Clayton is sitting alongside Sylvia who is stretched out asleep . Clayton 's jacket is covering her . His attention has been attracted by the cat .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DITCH - CLOSE SHOT<\/stage_direction>\n    <scene_description>The cat stops in the bottom of the ditch and puts her burden down on some grass . It is a tiny puppy . She lies down . It snuggles to her , whining weakly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSEUP CLAYTON  (PAN SHOT)<\/stage_direction>\n    <scene_description>He smiles a little wryly , looks down toward Sylvia . CAMERA PANS to CLOSEUP of Sylvia . She is breathing softly , regularly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSE SHOT - CLAYTON &amp; SYLVIA<\/stage_direction>\n    <scene_description>He bends over , looking at her for a long moment , then his hand touches her shoulder , shaking it to waken her .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Softly . )<\/parenthetical>\n    <dialogue>Wake up.<\/dialogue>\n    <scene_description>Her eyes open , close , then open again .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Cont 'd . )<\/parenthetical>\n    <parenthetical>( Gently . )<\/parenthetical>\n    <dialogue>Let's get moving, huh?<\/dialogue>\n    <scene_description>She does n't move , only looks at him .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Cont 'd . )<\/parenthetical>\n    <parenthetical>( Concealing his anxiety - smiling . )<\/parenthetical>\n    <dialogue>Are you all right?<\/dialogue>\n    <character>SYLVIA<\/character>\n    <parenthetical>( Still half - awake . )<\/parenthetical>\n    <dialogue>I never noticed before - that's a cowboy tie.<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>I bought it for the square dance. I thought I ought to wear some - thing Western.<\/dialogue>\n    <scene_description>She laughs dreamily , looking up at him . Her smile goes suddenly . She glances out over the edge of the ditch .<\/scene_description>\n    <character>SYLVIA<\/character>\n    <dialogue>Is that. machine?<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>It's gone now.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <dialogue>Where are we?<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>Southwest of Corona, somewhere. There must have been another cylinder down here. They've been through this whole area and cleared everybody out.<\/dialogue>\n    <parenthetical>( Peering from the ditch . )<\/parenthetical>\n    <dialogue>There's a farmhouse. Let's see if we can find something to eat!<\/dialogue>\n    <scene_description>As they prepare to leave ,<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FARMHOUSE - KITCHEN - (NIGHT)<\/stage_direction>\n    <scene_description>CLOSE on a skillet loaded with bacon and eggs . CAMERA ANGLE WIDENS . The kitchen is not modern . Old gas refrigerator . High - oven stove , its flaming gas - jets make an eerie glow . Coffee percolates . Sylvia has tidied her hair , renewed her make - up . Clayton is taking a jug of orange juice from the refrigerator . He uses it to indicate the farmhouse as he glances around .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <dialogue>We're doing all right.<\/dialogue>\n    <scene_description>He puts it on the table , which he has set , then looks warily out the window . He goes to the stove as Sylvia begins dishing up . She is pensive . They keep their voices down .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <dialogue>I almost forget when I ate last.<\/dialogue>\n    <parenthetical>( Genuine . )<\/parenthetical>\n    <dialogue>It looks so good. You know, mostly I get my meals in coffee shops and restaurants.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <parenthetical>( Astonished . )<\/parenthetical>\n    <dialogue>Do n't you live at home?<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>No, on the campus. I have n't any family.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <dialogue>I come from a big one. Nine of us. All in Minnesota, except me.<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>I have no close folks. My parents died when I was a kid.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>ANOTHER ANGLE - CLAYTON AND SYLVIA<\/stage_direction>\n    <scene_description>Shooting across the table to the stove . Sylvia comes toward CAMERA , bringing bacon and eggs . He follows with the coffee .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <dialogue>A big family must be fun. I imagine it makes you feel you belong to something.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <dialogue>It does. Maybe that's why I feel kind of lost right now.<\/dialogue>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Reassuring , pouring coffee . )<\/parenthetical>\n    <dialogue>We'll get safely out of here, do n't worry.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <parenthetical>( Pouring orange juice . )<\/parenthetical>\n    <dialogue>But they seem to murder everything that moves!<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>If they're mortal, they must have mortal weaknesses. They'll be stopped - somehow!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSE SHOT<\/stage_direction>\n    <scene_description>They begin to eat .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <dialogue>I've been as close to them as anyone. But not close enough for real observation.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <parenthetical>( Over him - not listening . )<\/parenthetical>\n    <dialogue>I feel like I did one time when I was small.<\/dialogue>\n    <parenthetical>( Not sorry for herself , merely telling him . )<\/parenthetical>\n    <dialogue>Awful scared and lonesome. I'd wandered off - I've forgotten why - but the family and whole crowds of neighbors were hunting for me.<\/dialogue>\n    <parenthetical>( And then . )<\/parenthetical>\n    <dialogue>They found me in a church. I was afraid to go in any place else.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSE SHOT - SYLVIA<\/stage_direction>\n    <scene_description>Half smiling at the memory .<\/scene_description>\n    <character>SYLVIA<\/character>\n    <dialogue>I stayed right by the door - praying for the one who loved me best to come and find me.<\/dialogue>\n    <parenthetical>( And then . )<\/parenthetical>\n    <dialogue>It was Uncle Matthew who found me.<\/dialogue>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Quietly . )<\/parenthetical>\n    <dialogue>I liked him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>AT THE TABLE<\/stage_direction>\n    <scene_description>Sylvia touches away a tear , keeps her voice con - trolled .<\/scene_description>\n    <character>SYLVIA<\/character>\n    <dialogue>He liked you. I could bawl my head off!<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>But you're not going to. You're not the kind.<\/dialogue>\n    <parenthetical>( Encouraging , gentle . )<\/parenthetical>\n    <dialogue>You're tired, anyway. You've been up all night. You cracked up in a plane. Slept in a ditch. But you want to know something?<\/dialogue>\n    <parenthetical>( Removing glasses looking , smiling . )<\/parenthetical>\n    <dialogue>It does n't show on you at all.<\/dialogue>\n    <scene_description>As she smiles , holding his gaze , a greenish glow begins to spread through the kitchen . Clayton rises , startled . The light becomes a glare that limns everything sharply - emerald and black . A smashing and roaring SOUNDS outside , approaching like an avalanche . Clayton grabs Sylvia as the house shakes . Part of the ceiling crashes down . The floor rocks under them . They fall , Clayton shielding Sylvia , as the walls smash in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>HIGH CAMERA - SPECIAL EFFECT - EXT. FARMHOUSE AND MULTIPLE METEOR<\/stage_direction>\n    <scene_description>A multiple meteor has fallen . Through the ground mist we see that one cylinder has gouged up earth and is hitting the farmhouse in f.g. Two other cylinders land in the far distance and are obscured in the mist . All movement ends . Silence follows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WRECKED FARMHOUSE - (NIGHT)<\/stage_direction>\n    <scene_description>CLOSE on a broken pipe , gushing water . Sylvia 's hand comes into SCENE , soaking a cloth . CAMERA PANS as she draws the cloth away . Clayton is sprawled near the living room doorway , hunched , holding his head . She crouches by him - shaken , anxious - pressing the cloth against his temple . He sits up slowly , holding the cloth against his head , then pressing it over his face and eyes . He is hurt . Finally , he drags the cloth down his face and sucks in his breath . She holds him while his brain steadies .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <dialogue>How long was I out?<\/dialogue>\n    <character>SYLVIA<\/character>\n    <parenthetical>( Small , whispering . )<\/parenthetical>\n    <dialogue>Hours. I've been so scared!<\/dialogue>\n    <scene_description>He starts to get up . She holds him down .<\/scene_description>\n    <character>SYLVIA<\/character>\n    <parenthetical>( Cont 'd . )<\/parenthetical>\n    <parenthetical>( Whispering . )<\/parenthetical>\n    <dialogue>They're right outside! Several of them came down together!<\/dialogue>\n    <scene_description>Clayton is immediately alert . He rises quietly , CAMERA PANS as he tiptoes to the wall and peers out a vertical break .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. WRECKED FARMHOUSE<\/stage_direction>\n    <scene_description>Clayton 's VIEWPOINT . Everything is seen through or above low ground mist . In b.g. is fencing , trees , sheds . Visible above the mist is a Martian machine , gliding slowly . It stops . CLOSE in f.g. , is part of a glit - tering leg that rises to the underside of another machine standing sentinel , straddling the house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - CLAYTON &amp; SYLVIA<\/stage_direction>\n    <scene_description>Clayton 's eyes reflect his excitement . He leaves the opening , looks up , starts quickly toward the living room .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Whispering . )<\/parenthetical>\n    <dialogue>There's a machine standing right over us!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - MED. SHOT<\/stage_direction>\n    <scene_description>The attic has been crushed down in a mess of beams and plaster . The roof has spilled over at one side . Clayton reaches up , pulling at beams and plaster , trying to get a better look . He peers out through an opening to the farmyard again . Sylvia , by the door to the patio , regards him fearfully .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. FARMHOUSE<\/stage_direction>\n    <scene_description>Clayton 's VIEWPOINT from the living room . The Martian machine in b.g. is now slowly submerging into the mist . From this vantage point , a third machine is now vis - ible , still on the ground in the farmyard . Now this machine begins to rise on its glowing beam - legs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - MED. SHOT<\/stage_direction>\n    <scene_description>Clayton is peering through the opening in b.g. Sylvia , f.g. , standing beside the broken door to the outside patio , turns and looks out . She suppresses a scream , starting away . CAMERA MOVES IN fast , SHOOT - ING past her to the EXTERIOR . The patio is blocked with debris , fallen fuchsias , potted cacti in bloom . A form is just disappearing beyond the debris . Smooth , reddish , indefinite .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSE SHOT - SYLVIA &amp; CLAYTON<\/stage_direction>\n    <scene_description>Clayton jumps to her side .<\/scene_description>\n    <character>SYLVIA<\/character>\n    <dialogue>Something moved outside!<\/dialogue>\n    <scene_description>Clayton brings out a flashlight , starts to move out to the patio . Sylvia clings to him as he looks .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Whispering , tense . )<\/parenthetical>\n    <dialogue>Nothing there now.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <dialogue>It was.<\/dialogue>\n    <parenthetical>( Indicating Martians . )<\/parenthetical>\n    <dialogue>. one of them!<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>What was it like?<\/dialogue>\n    <character>SYLVIA<\/character>\n    <parenthetical>( Drawing him back toward kitchen . )<\/parenthetical>\n    <dialogue>I could n't see much in the dark - but it was one!<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>We're right in a nest of'em! I've got to get a look at them.<\/dialogue>\n    <scene_description>He pulls away from Sylvia and works quickly at a shattered wall , making an opening . From the other side of the room comes the SOUND of shifting debris . Sylvia calls a warning . Clayton spins , backing to join her . They shelter in the kitchen doorway , watching cautiously . The thrusting and RATTLING of displaced wood and plaster continues .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - MED. SHOT<\/stage_direction>\n    <scene_description>Their VIEWPOINT . Through the debris appears a long , slender mechanism in the shape of a flexible metal - lic tubing . At the head of it is an enlarged section which splits and slides back , disclosing a bright lens - like an eye , but larger . It begins to quest about the room , glittering in the deep shadow .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSE - CLAYTON AND SYLVIA<\/stage_direction>\n    <scene_description>He is fascinated . She is frozen with fear .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Bated . )<\/parenthetical>\n    <dialogue>It's looking for us!<\/dialogue>\n    <scene_description>She pulls him down behind the upset dinette table , jammed in a corner with other debris .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSEUP - MARTIAN SCANNING EYE<\/stage_direction>\n    <scene_description>It is divided into three striated lenses , each faintly colored with one of the optical primaries - red , blue or green . It comes through the doorway . It turns ceaselessly around and back again on a sheathed universal joint , making a faint CLICKING SOUND on each movement . Questing . Suspicious . Reflected in each lens is a tinted , peculiarly distorted view of the wrecked kitchen .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSE SHOT - CLAYTON &amp; SYLVIA<\/stage_direction>\n    <scene_description>Huddled behind the table , watching through a crack .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. FARMHOUSE &amp; MARTIAN MACHINE<\/stage_direction>\n    <scene_description>CAMERA PICKS UP the plastic - covered nose of the machine , within which the honeycombed circle has now become a luminous screen . On this translucent surface , projected from inside , is a curiously twisted picture of the kitchen - as transmitted by the scanning eye in the house below .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - CLOSE SHOT - CLAYTON &amp; SYLVIA<\/stage_direction>\n    <scene_description>Clayton has picked up a pebble of broken plaster . He flips it against the ceiling of the living room beyond . He grabs Sylvia , pulling her down .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - MED. SHOT - SCANNING EYE<\/stage_direction>\n    <scene_description>The eye is turning around and back as Clayton 's pebble and a little broken plaster dribble from the ceiling . The eye snakes upward to look . It comes down again . Slowly , suspiciously , it lowers to the floor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSEUP - CLAYTON &amp; SYLVIA<\/stage_direction>\n    <scene_description>She is clutching him . He comes up a little , pokes cautiously where plaster is broken from the wall and peers into the living room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - MED. FULL SHOT<\/stage_direction>\n    <scene_description>Clayton 's VIEWPOINT . The mechanical eye is in the middle of the floor , turning around and back . Watching . Waiting .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - CLOSEUP - CLAYTON &amp; SYLVIA<\/stage_direction>\n    <scene_description>He covers the peephole with his hand .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <dialogue>Maybe they are n't too sure we're here.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <parenthetical>( Bated . )<\/parenthetical>\n    <dialogue>They could be as curious about us as we are about them.<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>Maybe.<\/dialogue>\n    <parenthetical>( Looks up . )<\/parenthetical>\n    <dialogue>Maybe they want to take us alive.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. FARMHOUSE - MED. FULL SHOT<\/stage_direction>\n    <scene_description>A Martian machine is moving through the mist in b.g. . The one in the farmyard has moved nearer . The honey - combed circle is alight , showing the picture of the kitchen in the house . Suddenly this goes off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - CLOSE SHOT CLAYTON &amp; SYLVIA<\/stage_direction>\n    <scene_description>He is using the peephole to the living room again .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Whispering - sharp . )<\/parenthetical>\n    <dialogue>It's pulling out!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - MED. FULL SHOT<\/stage_direction>\n    <scene_description>VIEWPOINT from kitchen . The sheath is closing over the eye . The flexible tubing is withdrawing . It disappears .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSE SHOT - CLAYTON &amp; SYLVIA<\/stage_direction>\n    <scene_description>He gets up , comes cautiously from the kitchen , with Sylvia following . She grasps his arm .<\/scene_description>\n    <character>SYLVIA<\/character>\n    <parenthetical>( Gasping . )<\/parenthetical>\n    <dialogue>Let's get out of here!<\/dialogue>\n    <scene_description>He gestures her to silence , moves toward the wall and the opening he had made . She peers fearfully out through the broken patio door .<\/scene_description>\n    <character>SYLVIA<\/character>\n    <parenthetical>( At the door , shocked . )<\/parenthetical>\n    <dialogue>They've blocked it!<\/dialogue>\n    <character>CLAYTON<\/character>\n    <parenthetical>( At opening in wall . )<\/parenthetical>\n    <dialogue>It's blocked here, too!<\/dialogue>\n    <parenthetical>( Furiously clawing at the hole . )<\/parenthetical>\n    <dialogue>They've pushed up earth or something all around outside.<\/dialogue>\n    <parenthetical>( Moving to fireplace . )<\/parenthetical>\n    <dialogue>Here, this way!<\/dialogue>\n    <scene_description>He snatches an axe from the woodbox by the fireplace , jabbing between fallen ceiling beams . Sylvia looks fearfully around .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSEUP - SYLVIA &amp; CLAYTON - PAN SHOT<\/stage_direction>\n    <scene_description>CAMERA WHIPS UP from them . The Martian eye is hanging in the dimness above their heads , through a split in the ceiling .<\/scene_description>\n    <character>SYLVIA<\/character>\n    <dialogue>Look out!<\/dialogue>\n    <scene_description>Clayton sees it , leaps , slashing with the axe . A loose beam is dislodged in a shower of dust and frag - ments , falling across the tubing and the eye , pinning it to the floor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSE SHOT - CLAYTON<\/stage_direction>\n    <scene_description>As he holds a foot on the tubing behind the eye , hacking with the axe . He cuts the lens clear . The rest of the mechanism is withdrawn fast , snaking up into the debris .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <dialogue>We've got to get out now - fast!<\/dialogue>\n    <parenthetical>( Grabs up metal shape containing the eye . )<\/parenthetical>\n    <dialogue>This is something tangible to work on.<\/dialogue>\n    <parenthetical>( Excited , exultant . )<\/parenthetical>\n    <dialogue>It'll tell us a lot about them.<\/dialogue>\n    <scene_description>He jumps to where he was working , hacking furiously with the axe , careless of noise now .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Cont 'd . )<\/parenthetical>\n    <dialogue>I've got to get to Pacific - Tech - quick!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSE SHOT - SYLVIA<\/stage_direction>\n    <scene_description>SHOOTING past Clayton . She comes into SCENE behind him , pulling on a loose beam to give him room , using a piece of cloth to protect her hands . Behind her is a door leading to the den . It is broken , sprung from its hinges . CAMERA MOVES IN past Clayton as out of the dark cavity behind Sylvia comes a hand that is more than a hand , on an arm that is thin , lean , with degenerate muscu - lature . Thick veins cross it , pulsating . Back of it is a dim form . The hand - shape has three fingerlike suckers . They fasten on Sylvia 's shoulder , spreading , huge . Her eyes and mouth open in horror . She tries to scream but her vocal cords are paralyzed , shocked . She is drawn back , drops the loose beam . Then she forces a SOUND between her lips . Clayton hears and leaps to help her , sending the beam of his flash - light at the figure behind her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>FLASH - CLOSE SHOT - MARTIAN<\/stage_direction>\n    <scene_description>We see a head , hairless , reddish like the planet itself , crossed by protruding veins which pulsate . Dominant is a single multi - lensed eye with colored pupils . The Martian is staggered by the light . He lifts his strange , suckered hands to ward it off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>LIVING ROOM - CLAYTON, SYLVIA AND MARTIAN<\/stage_direction>\n    <scene_description>Clayton turns with Sylvia to escape . The Martian lunges after them . Clayton turns the flashlight on the figure again . It stops , staggered . Clayton flings the axe and the Martian reels back as the axe hits . An unhuman SCREAMING sounds as it disappears back into the cavity . This continues overscene as Clayton swings Sylvia to the opening in the ceiling . He snatches up the piece of cloth Sylvia dropped , then follows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WRECKED FARMHOUSE - ATTIC<\/stage_direction>\n    <scene_description>Sylvia comes up through the sloping floor , slides to - ward a broken window , its frame sprung half out of the wall . Clayton slides after her , through the dormer window . They drop out between frame and wall . The SCREAMING continues .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - WRECKED FARMHOUSE AND MARTIANS<\/stage_direction>\n    <scene_description>The unhuman SCREAMING comes overscene , wild . We see the red leg of the sentinel Martian , which is moving . In b.g. a machine is on the ground , misted . From an opening comes a yellowish , strange - colored beam . Visible in this are three moving creatures . Squat . Thick through . Everything about them sags downward under air weight and the pull of gravity . In f.g. , Clayton and Sylvia flee wildly from the house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FARMYARD - (NIGHT) - FEATURING CLAYTON AND SYLVIA<\/stage_direction>\n    <scene_description>The two run from the direction of the house , smashing through a burned hedge , their feet stirring hot ashes and bright sparks in the darkness . The SCREAMING trails away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - LONG SHOT - EXT. WRECKED HOUSE AND MARTIAN MACHINE<\/stage_direction>\n    <scene_description>The sentinel Martian has moved back from the house and is hitting it with a heat - ray . Beyond , in the night sky , the green streak of a multiple meteor sud - denly slants down . Glowing , sinister . Another slows , falling at the same angle . Both loom big before they hit the dark earth in turn and disappear behind the curtain of the ground mist . FADE OUT .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WASHINGTON, D.C. - FULL SHOT - (DAY - STOCK)<\/stage_direction>\n    <scene_description>An establishing shot .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INSERT - EXT. GOVERNMENT BLDG. - (DAY)<\/stage_direction>\n    <scene_description>CAMERA on wall lettering : DEPT. . OF DEFENSE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MESSAGE CENTER - MED. CLOSE SHOT - (DAY)<\/stage_direction>\n    <scene_description>CAMERA SHOOTING DOWN on an enormous table map of the world , scattered with black patches , indicating dead areas cleaned out by the Martians . Attack arrows extend from these . Metal - each with a bright , min - iature Martian machine . Around the edge of the map are WACs and special personnel constantly enlarging the blacked - out areas , pushing arrows forward as the Martians advance . The map indicates that the world is fighting for its existence . Spain is dead from Valencia to Seville . Martians occupy the west of France up to Nantes . They 're thick from Cherbourg across Belgium , Holland . The Italian boot is blacked out near Rome . Dark patches are in Greece , Yugo - slavia . In the southeast corner of England ; in South Wales , Scotland and in Ireland from Tralee to Cork . They 're in Sweden , Lithuania , Marrakesh , Tripoli , Egypt , South Africa and strategic places in the U.S.S.R. . In the Levant and India , Malaya and Australia . Some dead areas are large . Some small . But the small ones grow larger all the time .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MESSAGE CENTER - MED. SHOT<\/stage_direction>\n    <scene_description>A reception area occupies the floor around the map on the table . In this area , and in rooms off it , are batteries of teletypes , phones , wirephoto machines . Present are high Army , Air Force , Navy and Marine Corps brass , with a colorful scattering of worried foreign attaches - phoning , conferring , arguing . Seated personnel receive messages and use phones to direct the workers at the map . CAMERA MOVES IN on a big group near a wall covered with pull - down maps , listening to General Mann . His aide stands near , holding colored chalks . There is a control - bank of TV screens close by , lifeless .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSE SHOT - GROUP<\/stage_direction>\n    <scene_description>Shooting past General Mann . We see high brass , all stars and staff insignia . The only civilian is the SECRETARY OF DEFENSE - neat , without fat , disting - uished , badger - gray hair , cool . He stands beside the CHIEF OF STAFF - balding , seven rows of decorations and five stars ; a tight - lipped man with calculating eyes . The rest are mature tacticians and fighters . They include the FRENCH ATTACHE - rugged , tough . The ITALIAN ATTACHE - fat , suave . The BRITISH ATTACHE has a trim mustache , three rows of ribbons , graying hair . The incessant SOUNDS of phone calls , teletypes , quick orders come over SCENE .<\/scene_description>\n    <character>GENERAL MANN'S VOICE<\/character>\n    <dialogue>And this much is certain - it is vital to prevent the Martian machines linking up. Once they do, they adopt an extraordinary military tactic.<\/dialogue>\n    <parenthetical>( Forceful - indicating map . )<\/parenthetical>\n    <dialogue>You can see from those blacked - out areas that they're using it very effectively. They form a crescent.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSE SHOT - GENERAL MANN<\/stage_direction>\n    <scene_description>He uses colored chalk to draw a thick , crescent - shaped line on the blackboard . He continues drawing , illustrating his words .<\/scene_description>\n    <character>GENERAL MANN<\/character>\n    <dialogue>They anchor it at one end, and sweep on until they've cleared a quadrant.<\/dialogue>\n    <scene_description>He draws three crescent - shaped lines to a quadrant , showing the movement of the Martians .<\/scene_description>\n    <character>GENERAL MANN<\/character>\n    <dialogue>Then they anchor the opposite end - and reverse direction!<\/dialogue>\n    <scene_description>As the strange diagram progresses across the black - board , it takes on an unearthly , centipedular aspect .<\/scene_description>\n    <character>GENERAL MANN<\/character>\n    <dialogue>They slash across country like scythes, wiping out everything that's trying to get away from them!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>GROUP - FAVORING GENERAL MANN, SECRETARY OF DEFENSE AND CHIEF OF STAFF<\/stage_direction>\n    <scene_description>As Staff Colonel hands messages to the Chief .<\/scene_description>\n    <character>SECRETARY<\/character>\n    <dialogue>That explains why communication is cut the moment their machines begin to move.<\/dialogue>\n    <character>CHIEF OF STAFF<\/character>\n    <parenthetical>( Reading a message . )<\/parenthetical>\n    <dialogue>Madrid has just blacked out! Nothing more coming through.<\/dialogue>\n    <character>SECRETARY<\/character>\n    <dialogue>The same thing that happened on our Pacific Coast.<\/dialogue>\n    <parenthetical>( Calling . )<\/parenthetical>\n    <dialogue>Anything from them yet?<\/dialogue>\n    <character>STAFF COLONEL<\/character>\n    <dialogue>No, Mr. Secretary. We've had nothing from San Francisco for over five hours.<\/dialogue>\n    <character>STAFF MAJOR<\/character>\n    <parenthetical>( Moving in , urgent . )<\/parenthetical>\n    <dialogue>Those pictures are ready now, sir!<\/dialogue>\n    <scene_description>All turn at once to follow him .<\/scene_description>\n    <character>STAFF MAJOR<\/character>\n    <dialogue>I've included that wirephoto from Paris, Mr. Secretary.<\/dialogue>\n    <character>CHIEF OF STAFF<\/character>\n    <parenthetical>( Glancing toward map . )<\/parenthetical>\n    <dialogue>Are we still in touch with Paris?<\/dialogue>\n    <character>WAC<\/character>\n    <parenthetical>( After a moment . )<\/parenthetical>\n    <dialogue>No, sir.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>ALCOVE<\/stage_direction>\n    <scene_description>as the group files in . No seats in the alcove . No lights . CAMERA FAVORS the foreign attaches .<\/scene_description>\n    <character>ITALIAN ATTACHE<\/character>\n    <parenthetical>( Gesturing - in French . )<\/parenthetical>\n    <dialogue>We set cannon wheel to wheel above Napoli. They melted them like candles.<\/dialogue>\n    <character>FRENCH ATTACHE<\/character>\n    <parenthetical>( To Italian attache - in French - with gestures . )<\/parenthetical>\n    <dialogue>Our planes dived at them. All that happened -.<\/dialogue>\n    <parenthetical>( A sweep of the hands . )<\/parenthetical>\n    <dialogue>- They crumple like papier - mache!<\/dialogue>\n    <scene_description>During this , the Staff Major snaps his fingers . A pictures hits the screen .<\/scene_description>\n    <character>STAFF MAJOR<\/character>\n    <dialogue>This film clip was flown in from the West Coast. Golden Gate Bridge.<\/dialogue>\n    <scene_description>A Martian machine is coming off the bridge , moving out from under one of the 750 - foot towers .<\/scene_description>\n    <character>STAFF MAJOR<\/character>\n    <parenthetical>( Cont 'd . )<\/parenthetical>\n    <dialogue>This other is from New York. One of them crossed from the New Jersey side.<\/dialogue>\n    <scene_description>We see a Martian machine on the waterfront , caught against the New York skyline , using a ray against a skyscraper .<\/scene_description>\n    <character>STAFF MAJOR<\/character>\n    <parenthetical>( Cont 'd . )<\/parenthetical>\n    <parenthetical>( As film cuts off . )<\/parenthetical>\n    <dialogue>And here are the wirephotos.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>GROUP - AT VIEWING BOX<\/stage_direction>\n    <scene_description>Everyone turns from the screen to a tall box with a tilted glass top .<\/scene_description>\n    <character>STAFF MAJOR<\/character>\n    <parenthetical>( Going on . )<\/parenthetical>\n    <dialogue>This is the Paris wirephoto. It must be the last thing out of there!<\/dialogue>\n    <scene_description>CAMERA MOVES IN on the glass . In a still picture transparescy , we see the Eiffel Tower collapsing . There is a Martian machine in a lower corner . A ray has blasted three of the tower 's legs and is just hitting a fourth .<\/scene_description>\n    <character>FRENCH ATTACHE'S VOICE<\/character>\n    <parenthetical>( In French . )<\/parenthetical>\n    <dialogue>My God!<\/dialogue>\n    <character>STAFF MAJOR'S VOICE<\/character>\n    <dialogue>And this is another - from Rio de Janeiro.<\/dialogue>\n    <scene_description>Day . Seen from the harbor , with the Corcovado Peak and huge Christus statue against the sky . A Martian machine shows among the ruins at the waterfront .<\/scene_description>\n    <character>STAFF MAJOR'S VOICE<\/character>\n    <parenthetical>( Cont 'd . )<\/parenthetical>\n    <dialogue>Outside London. The River Thames, near Windsor Castle.<\/dialogue>\n    <scene_description>Windsor Castle in b.g. . A Martian machine wading the river , half - hidden by misty steam . A heat - ray hit - ting the water . In f.g. , an overturned rowboat and people in the water .<\/scene_description>\n    <character>BRITISH ATTACHE'S VOICE<\/character>\n    <dialogue>The water's boiling from the Martian heat - ray!<\/dialogue>\n    <character>STAFF MAJOR'S VOICE<\/character>\n    <dialogue>And here's that Los Angeles picture!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>ALCOVE - GROUP - FAVORING STAFF MAJOR<\/stage_direction>\n    <scene_description>The light from the viewbox tints their faces blue .<\/scene_description>\n    <character>STAFF MAJOR<\/character>\n    <dialogue>This is a sonic - radar picture, taken from extreme altitude. It shows de - tails of the Martian nest outside Los Angeles.<\/dialogue>\n    <scene_description>CAMERA MOVES IN on the viewing glass .<\/scene_description>\n    <character>STAFF MAJOR'S VOICE<\/character>\n    <dialogue>Their machines show as round blobs. Newly fallen cylinders are elongated.<\/dialogue>\n    <scene_description>We see an odd , blue - tinted photo . It shows a clear pattern of small , shining shapes . Sentinel Martians make the outer points of a triangle . Inside these are smaller triangles , formed where multiple cylin - ders have come down .<\/scene_description>\n    <character>CHIEF OF STAFF'S VOICE<\/character>\n    <dialogue>We know there are three cylinders to each group. Three machines to every cylinder.<\/dialogue>\n    <parenthetical>( Appalled . )<\/parenthetical>\n    <dialogue>That's over fifty machines right here!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSE SHOT - SECRETARY AND GROUP - (MOVING SHOT)<\/stage_direction>\n    <character>CHIEF OF STAFF<\/character>\n    <parenthetical>( To Secretary . )<\/parenthetical>\n    <dialogue>Mister Secretary - if they link up with those others near Fresno.<\/dialogue>\n    <character>SECRETARY<\/character>\n    <dialogue>All right - I've seen enough!<\/dialogue>\n    <scene_description>He strides from the alcove - CAMERA FOLLOWING - and moves to the big map on the table and looks down at it . The others follow and gather around .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INSERT - OPERATIONS MAP<\/stage_direction>\n    <scene_description>Blacked - out areas increasing . Arrows being moved . Activity all along the map .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>MED. CLOSE SHOT - GROUP<\/stage_direction>\n    <scene_description>The Secretary looks up to the others .<\/scene_description>\n    <character>SECRETARY<\/character>\n    <dialogue>There's only one thing that will stop the Martians! We've held back pre - viously because of the danger of radiation to civilians. Now there's no choice.<\/dialogue>\n    <parenthetical>( To Chief of Staff . )<\/parenthetical>\n    <dialogue>The United Nations has voted authority to the United States. The White House will confirm an order to use the Atom bomb.<\/dialogue>\n    <character>CHIEF OF STAFF<\/character>\n    <parenthetical>( Nodding - decisive . )<\/parenthetical>\n    <dialogue>Then our first target will be the initial landing place outside Los Angeles.<\/dialogue>\n    <character>SECRETARY<\/character>\n    <dialogue>I'll request the scientists from Pacific - Tech to monitor the drop.<\/dialogue>\n    <parenthetical>( Toward General Mann . )<\/parenthetical>\n    <dialogue>We'll clear the area all around. After that we'll hit them all over the world. I'll have long - range bombers alerted, loaded and standing by.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMPUS, PACIFIC-TECH, HIGH POTENTIAL BLDG. (DAY)<\/stage_direction>\n    <scene_description>Shooting from the portale , past an iron railing and a pillar with a framed plan of the campus , marked : PACIFIC INSTITUTE OF SCIENCE AND TECHNOLOGY .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM IN HIGH POTENTIAL BLDG. - (DAY)<\/stage_direction>\n    <scene_description>A group of Pacific - Tech doctors and assistants are sorting out anti - radiation suits , rubber gloves , Geiger counters , masks and special equipment . They are modern scientists , natural in manner , alert . Dr. Pryor - high man in aerodynamics - turns sharply as Clayton comes in with Sylvia . A gray - haired man faces around with him - DR. DuBROCK , Nobel prize - winner in physics .<\/scene_description>\n    <character>DR. PRYOR<\/character>\n    <dialogue>Forrester - everybody's been looking for you!<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>I know. We've walked halfway from Corona! Finally found an abandoned truck. Miss Van Buren - this is Dr. Pryor. Dr. DuBrock.<\/dialogue>\n    <parenthetical>( Talking right on , bringing out Martian ` eye ' and stained cloth . )<\/parenthetical>\n    <dialogue>What's this I hear about the A - bomb?<\/dialogue>\n    <character>DR. PRYOR<\/character>\n    <dialogue>We're going in right afterwards! Study its effect.<\/dialogue>\n    <character>DR. DuBROCK<\/character>\n    <dialogue>We leave in half an hour.<\/dialogue>\n    <parenthetical>( Looking . )<\/parenthetical>\n    <dialogue>What's that?<\/dialogue>\n    <character>DR. PRYOR<\/character>\n    <dialogue>A king - size fish eye?<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>We took this off the Martians.<\/dialogue>\n    <scene_description>All move in sharply as he sets the eye on a table . DR. PENNINGTON - astro - physics and optics - examines it closely .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Going on , quick . )<\/parenthetical>\n    <dialogue>It'll tell us a lot about their metals and alloys.<\/dialogue>\n    <character>DR. PENNINGTON<\/character>\n    <parenthetical>( Roused . )<\/parenthetical>\n    <dialogue>If this is a lens, we can find out something about their optics.<\/dialogue>\n    <character>DR. PRYOR<\/character>\n    <dialogue>Interesting. very interesting.<\/dialogue>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Showing cloth , pointing to stain . )<\/parenthetical>\n    <dialogue>And this is the blood of a Martian!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INSERT - SLIDE SEEN THROUGH MICROSCOPE - MARTIAN BLOOD<\/stage_direction>\n    <scene_description>Pallid pink . Full of tiny crystals .<\/scene_description>\n    <character>DR. GRATZMAN'S VOICE<\/character>\n    <dialogue>I've never seen blood as anaemic as this!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LABORATORY - HIGH POTENTIAL BUILDING - (DAY)<\/stage_direction>\n    <scene_description>CLOSE ON a big microscope with twin eye - pieces . DR. GRATZMAN is looking up from it - biochemist and research man , alert , red - haired . CAMERA BEGINS TO PULL BACK as he speaks .<\/scene_description>\n    <character>DR. GRATZMAN<\/character>\n    <dialogue>They may be mental giants, but by our standards, they're physically degenerate.<\/dialogue>\n    <scene_description>Most of the Pacific - Tech scientists are grouped with him at a bench where the stained cloth is under examination ; Clayton and Sylvia with them . In a corner is an epidiascope ; Dr. Pennington is rigging the Martian ` eye ' to this . The instrument has a big screen . There is a wall - board chalked with notes and form - ulae . High - pressure cylinders - one red , one green - in a wheeled carrier . Benches with asbestos tops and discarded apparatus - mercury jars , holders , switches . Big , gay - colored electronic tubes .<\/scene_description>\n    <character>DR. DuBROCK<\/character>\n    <parenthetical>( To Sylvia , commenting . )<\/parenthetical>\n    <dialogue>That hand - fingers like suckers!<\/dialogue>\n    <parenthetical>( Amused . )<\/parenthetical>\n    <dialogue>It sounds as though they may have evolved from fish.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <dialogue>They're cold - blooded enough!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>GROUP - FAVORING DR. BILDERBECK<\/stage_direction>\n    <scene_description>` Baldy ' Bilderbeck , mathematician and top - drawer man in nuclear physics .<\/scene_description>\n    <character>DR. BILDERBECK<\/character>\n    <parenthetical>( Commenting mildly . )<\/parenthetical>\n    <dialogue>Is n't it curious how everything about them seems to be in threes?<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>Their eyes have three lenses and three distinct pupils. And strong light shocks them.<\/dialogue>\n    <character>DR. PENNINGTON<\/character>\n    <dialogue>They're not accustomed to it! Sunlight on Mars is about half as strong as we get it. Add their clouds and dust and it amounts to no more than twilight.<\/dialogue>\n    <parenthetical>( To Clayton . )<\/parenthetical>\n    <dialogue>We've rigged this epidiascope to reflect whatever your Martian lense picks up.<\/dialogue>\n    <parenthetical>( Clicks switch . )<\/parenthetical>\n    <dialogue>Move in a little. Thank you.<\/dialogue>\n    <scene_description>CAMERA ANGLES to favor Clayton , Dr. Pryor and Dr. Bilderbeck as they ease nearer . Light from the epidiascope screen shows on their faces . Its density changes . Suddenly , everyone gasps , horrified .<\/scene_description>\n    <character>DR. PENNINGTON'S VOICE<\/character>\n    <dialogue>That's how the Martians see us!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - GROUP - AND EPIDIASCOPE SCREEN<\/stage_direction>\n    <scene_description>Shooting CLOSE PAST the three to a terrifying image of themselves on the big glass screen . Colors hideously changed . Eyes enormous and peculiar . Green faces . Hands elongated . Fingers like bony talons with blue claws . Proportions gone crazy , and all movement exaggerated . There is a moment of horrified silence .<\/scene_description>\n    <character>DR. DuBROCK'S VOICE<\/character>\n    <dialogue>If that's how they see us, no wonder they want to kill us on sight!<\/dialogue>\n    <character>DR. BILDERBECK'S VOICE<\/character>\n    <dialogue>If I saw creatures like that I'd want to kill them myself.<\/dialogue>\n    <character>CLAYTON'S VOICE<\/character>\n    <dialogue>Evidently there's a shift in the spec - trum. And color absorption of the Martian retina is completely different from our own.<\/dialogue>\n    <parenthetical>( Amused . )<\/parenthetical>\n    <dialogue>But maybe they look good to each other!<\/dialogue>\n    <character>DR. PENNINGTON'S VOICE<\/character>\n    <dialogue>Let's find out why they were so curious about you, Miss Van Buren.<\/dialogue>\n    <scene_description>The others move back and Sylvia seems to surge on to the glass screen . Her face is a nightmare mask , violently colored . She recoils in a little shocked movement .<\/scene_description>\n    <character>CLAYTON'S VOICE<\/character>\n    <parenthetical>( Lightly . )<\/parenthetical>\n    <dialogue>Well, well - a Martian's idea of beauty!<\/dialogue>\n    <character>DR. DuBROCK'S VOICE<\/character>\n    <parenthetical>( Calling . )<\/parenthetical>\n    <dialogue>Time we got started, gentlemen!<\/dialogue>\n    <scene_description>The glass screen picks up a distorted image of Clayton 's face as he moves to Sylvia and turns with her to go out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LABORATORY - MED. SHOT<\/stage_direction>\n    <scene_description>They are all moving toward the door . Clayton pauses by the microscope , glancing toward Gratzman .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Touching cloth - thoughtfully . )<\/parenthetical>\n    <dialogue>This Martian blood.<\/dialogue>\n    <parenthetical>( Suddenly suggesting . )<\/parenthetical>\n    <dialogue>Let's make a quick analysis and see what we've got!<\/dialogue>\n    <character>GRATZMAN<\/character>\n    <parenthetical>( Looking at him - thinking . )<\/parenthetical>\n    <dialogue>It might give us something.<\/dialogue>\n    <scene_description>Sylvia glances at them in turn , not understanding , but sensing the importance of what they are saying . Pennington pauses behind them .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Nodding - glancing from cloth to Gratzman . )<\/parenthetical>\n    <dialogue>Something we could use.<\/dialogue>\n    <character>PENNINGTON<\/character>\n    <dialogue>Let it go. If you're interested in Martian blood, you'll be able to get all you want right after the plane drops the bomb!<\/dialogue>\n    <scene_description>They all start toward the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIR FIELD - FULL SHOT - (STOCK)<\/stage_direction>\n    <scene_description>A great six - jet flying wing bomber races down the runway and takes to the sky .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY TUNNEL - MOVING SHOT - (DUSK - OVERCAST)<\/stage_direction>\n    <scene_description>CAMERA is CLOSE on the lips and mouth of a RADIO REPORTER for the Pacific Broadcasting Company as he speaks rapidly and dramatically into a microphone .<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>The target for the A - bomb drop is this nest of Martian machines in the Puente Hills - where more of these meteors came down early last evening.<\/dialogue>\n    <scene_description>The SHOT WIDENS to show the Reporter - dishevelled , tired , dirty - with a portable tape - recorder slung over his shoulder . He moves forward , CAMERA FOLLOW - ING , to disclose Sylvia , gazing through field glasses . The Reporter exits , still talking rapidly . Sylvia lowers the glasses momentarily , then looks through them again . CAMERA leaves her , PANNING . The mouth of the vehicular tunnel is on the slope of a high ridge , about halfway up to the summit , so that a view from the tunnel itself is one of sky only . Right at the mouth of the tunnel , the highway makes an abrupt turn to enter , and the outer side of the roadway is protected by the usual concrete buffer wall . This has been augmented by the military with massive sandbag breastworks to protect those in the tunnel and the necessary observers in forward posi - tions from enemy action from the valley below . With - in the tunnel proper , CAMERA PICKS UP the scientists from Pacific - Tech , who are gathered in a cul - de - sac in the tunnel wall . Doctors DuBrock , Pennington and Bilderbeck have already got into their colored anti - radiation suits . Doctors Pryor and Gratzman are present with sundry assistants . Gloves , masks , and special equipment are being laid out . Clayton is putting on a suit . A jeep stands by . During this :<\/scene_description>\n    <character>REPORTER'S VOICE<\/character>\n    <dialogue>A plane will pinpoint the target for the drop from six miles up. Conditions are perfect. The bomb will be about ten times more powerful than the one used at Hiroshima. Nothing like it has ever been exploded before, and we're going to be pretty darn close - but there are observers down in the valley in a forward bunker and they'll be a lot nearer than us!<\/dialogue>\n    <scene_description>CAMERA MOVES to PICK UP , near the outer breastworks , Army , Navy and Air Force brass , with special observers from the Atomic Energy Commission , and a First - Aid unit . To one side is a group of high officers and officials , for liaison and observation from Allied Nations within the roster of the united Nations . Everyone is equipped with field glasses . Observing officers use them constantly and talk quietly , tense - ly . There is a BUZZ of comment in foreign tongues from the United Nations Group . A spread of loud - speakers is mounted on a jeep . Other vehicles include a Radar Scanning truck with antenna cocked skyward , constantly scanning .<\/scene_description>\n    <character>REPORTER'S VOICE<\/character>\n    <parenthetical>( Cont 'd . )<\/parenthetical>\n    <dialogue>There must be a couple of million people back of us in the shelter of the San Gabriel hills - waiting to find out whether they can go home again! This will decide the fate of civilization and all humanity - whether we live or die may depend on what happens here!<\/dialogue>\n    <character>LOUDSPEAKER VOICE<\/character>\n    <parenthetical>( ECHOING in the tunnel . )<\/parenthetical>\n    <dialogue>Attention, please. Thuh - ree minutes to bomb time!<\/dialogue>\n    <scene_description>CAMERA PICKS UP General Mann with a group of officers and staff of Sixth Army Command , behind a big breast - work . Nearby is a field telephone unit . Beyond are cameramen in battle dress . The Radio Reporter moves into SCENE , talking in to his mike .<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>Direct cable communication is being maintained with Washington, and from there to key centers around the world, but there's no radio communication at all - even with the bombing plane that's coming over. All radio is dead. Which means that these tape - recordings I'm making are for the sake of history - if any!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKY - FULL SHOT - (STOCK)<\/stage_direction>\n    <scene_description>The big delta - wing bomber takes off and speeds toward the clouds , heading for the target .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TUNNEL MOUTH - GROUP<\/stage_direction>\n    <scene_description>Clayton , Drs. DuBrock , Bilderbeck . All are helping each other with their anti - radiation suits . Sylvia moves into SCENE and assists Clayton .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <dialogue>General Mann says Washington is cer - tain the Martians are aiming at complete saturation. They intend to take over the entire earth.<\/dialogue>\n    <character>DR. DuBROCK<\/character>\n    <dialogue>And Bilderbeck has calculated exactly how long we've got before they do it!<\/dialogue>\n    <scene_description>All look at Bilderbeck .<\/scene_description>\n    <character>DR. BILDERBECK<\/character>\n    <parenthetical>( Mildly . )<\/parenthetical>\n    <dialogue>If the A - bomb fails, that is.<\/dialogue>\n    <character>DR. PENNINGTON<\/character>\n    <dialogue>It wo n't.<\/dialogue>\n    <character>DR. BILDERBECK<\/character>\n    <parenthetical>( Evenly . )<\/parenthetical>\n    <dialogue>If it should fail, the Martians can conquer the earth in six days.<\/dialogue>\n    <scene_description>There is a moment 's pause .<\/scene_description>\n    <character>SYLVIA<\/character>\n    <parenthetical>( Quietly . )<\/parenthetical>\n    <dialogue>The same number of days it took to create it.<\/dialogue>\n    <scene_description>All look at her .<\/scene_description>\n    <character>LOUDSPEAKER VOICE<\/character>\n    <dialogue>Attention, please. two minutes to bomb time!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>TWO SHOT - CLAYTON AND SYLVIA<\/stage_direction>\n    <scene_description>She helps adjust the cuffs at his wrist , and his belt . Then , after a moment , making it casual :<\/scene_description>\n    <character>SYLVIA<\/character>\n    <dialogue>Is it possible to go in right after the explosion?<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>Yes, with these suits. We've used them before on atomic tests. Odd - looking, are n't they?<\/dialogue>\n    <character>SYLVIA<\/character>\n    <dialogue>Very futuristic.<\/dialogue>\n    <parenthetical>( Smiling . )<\/parenthetical>\n    <dialogue>Yours does n't really go with that butch haircut!<\/dialogue>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Hand through hair . )<\/parenthetical>\n    <dialogue>I could wear it longer - but it's less trouble this way.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <dialogue>My kid brother has one. You know why?<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>Yes. Fits better in a football helmet.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <parenthetical>( Amazed , staring . )<\/parenthetical>\n    <dialogue>How'd you guess?<\/dialogue>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Smiling . )<\/parenthetical>\n    <dialogue>That's the kind of a kid brother you'd have!<\/dialogue>\n    <character>LOUDSPEAKER VOICE<\/character>\n    <dialogue>Attention, please! One minute to bomb time. Take shelter!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUTH OF TUNNEL - FULL SHOT<\/stage_direction>\n    <scene_description>All move into position behind the barriers . Staff officers consult watches . Some try to sight the plane .<\/scene_description>\n    <character>LOUDSPEAKER VOICE<\/character>\n    <dialogue>Fifty seconds to zero. Stand by! If you have no goggles, turn away. Remember, the heat flash and afterblast are danger - ous!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKY - MED. SHOT - (STOCK)<\/stage_direction>\n    <scene_description>The A - bomb plane circles above the clouds , heading for the Martians .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TUNNEL - FEATURING RADAR SCANNING TRUCK<\/stage_direction>\n    <scene_description>The antenna scans the sky ceaselessly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RADAR TRUCK - MED. CLOSE SHOT<\/stage_direction>\n    <scene_description>An officer and a sergeant are tensely watching the radar screen . The pip suddenly resolves into a dot .<\/scene_description>\n    <character>OFFICER<\/character>\n    <dialogue>There's the plane!<\/dialogue>\n    <scene_description>The sergeant runs out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TUNNEL - PAN SHOT<\/stage_direction>\n    <scene_description>CAMERA is on the Radar truck . The sergeant bolts out the rear door , runs toward General Mann and the scien - tists , CAMERA PANNING with him . All are standing tensely , looking OFF toward the Martian nest .<\/scene_description>\n    <character>LOUDSPEAKER VOICE<\/character>\n    <dialogue>Forty seconds to zero.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>GROUP &amp; YELLOW-BREASTED ORIOLE<\/stage_direction>\n    <scene_description>SHOOTING in toward the tunnel . Perched on a scrub tree , f.g. , is an oriole , singing . Clayton and Sylvia , the scientists , General Mann and others . The sergeant reaches General Mann .<\/scene_description>\n    <character>LOUSPEAKER VOICE<\/character>\n    <dialogue>Thirty seconds to zero.<\/dialogue>\n    <scene_description>From here on , every second is marked by a CLICKING metroname - like beat . Every fifth second is empha - sized by the VOICE over the loudspeaker .<\/scene_description>\n    <character>SERGEANT<\/character>\n    <parenthetical>( To General Mann . )<\/parenthetical>\n    <dialogue>We've sighted the bomber, sir!<\/dialogue>\n    <scene_description>General Mann and the others look toward the sky .<\/scene_description>\n    <character>LOUDSPEAKER VOICE<\/character>\n    <dialogue>Twenty - five seconds to zero.<\/dialogue>\n    <character>DR. DuBROCK<\/character>\n    <parenthetical>( Glancing o.s. - suddenly . )<\/parenthetical>\n    <dialogue>Look. look!<\/dialogue>\n    <scene_description>Field glasses swing quickly in the direction of the Martian nest .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - FIELD GLASS VIEWPOINT - MARTIAN NEST<\/stage_direction>\n    <scene_description>It is a hell of a scene . Sentinel Martian machines are darting back and forth on the perimeter of the massed group . All the machines glitter and glow in the waning daylight , suddenly imbued with a furious activity . Cobalt jets are stabbing upward from every machine .<\/scene_description>\n    <character>LOUDSPEAKER VOICE<\/character>\n    <dialogue>Twenty seconds to zero.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TUNNEL - MED. CLOSE SHOT - GROUP<\/stage_direction>\n    <scene_description>Favoring Dr. DuBrock and the scientists .<\/scene_description>\n    <character>DR. DuBROCK<\/character>\n    <dialogue>They must have sighted it, too!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - MARIAN NEST<\/stage_direction>\n    <scene_description>The indlvidual electro - magnetic envelopes expand , merge and grow rapidly to form blue - tinged bubbles clinging to the ground , still expanding . Racing up from each machine to form part of an over - all canopy .<\/scene_description>\n    <character>LOUDSPEAKER VOICE<\/character>\n    <dialogue>Fifteen seconds to zero.<\/dialogue>\n    <scene_description>Thin blue - colored jets stand like rods above the trees , pulsating furiously , lifting the envelopes until they are enormous billows in the sky . Every - thing inside them takes on a different color .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>FLASH CUTS - ABOUT THE MOUTH OF THE TUNNEL<\/stage_direction>\n    <scene_description>Everyone sheltering behind the breastworks and in the cul - de - sacs and behind vehicles in the tunnel . Clayton , Sylvia , the scientists - Navy , Army , Air Force brass , Foreign representatives , cameramen , tense and goggled . The yellow - breasted oriole , still singing .<\/scene_description>\n    <character>LOUDSPEAKER VOICE<\/character>\n    <parenthetical>( Measured - clear . )<\/parenthetical>\n    <dialogue>Ten seconds to zero.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUTH OF TUNNEL - FULL SHOT<\/stage_direction>\n    <scene_description>Pacific - Tech men in f.g. Everybody without goggles turns away , head bent . All duck behind sandbags .<\/scene_description>\n    <character>LOUDSPEAKER VOICE<\/character>\n    <dialogue>Nine - eight - seven - six - five - four - three - two - one - ZERO!<\/dialogue>\n    <scene_description>A blinding flash of light murders all color .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - MARTIAN NEST<\/stage_direction>\n    <scene_description>A blunted spear of light has lanced out of the sky . It explodes into a gigantic , reddish heat - flash . An elephantine swirl of dust and smoke , shot with orange and peach and pink , engulfs the Martian Machines . Then comes the SOUND of a cataclysmic explosion and the SCREAM of a great wind .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>FLASH CUTS - EFFECT OF THE BOMB<\/stage_direction>\n    <scene_description>a. Brass ducked behind sandbags . Dust , branches , papers , debris slashing through the air . b . A Signal Corps corporal , incautiously ex - posed , being blown end - over - end . c . The Radar Truck almost topples over under the concussion of the blast , antenna torn loose and falling . d. Clayton , hanging onto sandbags with one hand , clings to Sylvia with the other . e . A FULL SHOT inside the tunnel . Every object is limned sharply and brutally in the white - hot glare of atomic fission . The deafening ROAR of the explosion ECHOES and RE - ECHOES along the tunnel . f. Special Effect - the glare outlines a cowering group inside a highway gas station as the plate glass windows shatter over them . g . A Series of CUTS - EARTHQUAKE EFFECT -LRB- STOCK -RRB- . A bus overturns - a car is wrecked - a house and sheds collapse - utility poles sway , wires snapping and sparking - buildings shudder and shower masonry - bridges and oil derricks sway and collapse - people flee , panic - stricken . h . A hillside - families cower in the shelter of rocks , stark faces to the glaring sky . i. Special Effect -LRB- Matte painting -RRB- . The San Gabriel Hills , showing thousands upon thousands of families massed in the barrancas and gul - lies - a scene reminiscent of Mount Rubidoux of an Easter morning . As the bomb glares , a GASP of human terror and agony joins with the ROAR of the great concussion wave . j . The titanic mushrooming pillar of smoke and dust obscures the Martian nest .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TUNNEL - MED. SHOT - GEN. MANN &amp; OFFICERS<\/stage_direction>\n    <scene_description>The General is at the field telephone . The blast is swirling all around .<\/scene_description>\n    <character>GEN. MANN<\/character>\n    <parenthetical>( At phone - shouting . )<\/parenthetical>\n    <dialogue>Hello! Hello, there! What can you see?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORWARD BUNKER - CLOSE SHOT<\/stage_direction>\n    <scene_description>Two military observers - in concussion helmets and anti - radiation suits - peering through periscope slits in a heavily sandbagged bunker . Wind blows dust in through the slits .<\/scene_description>\n    <character>OBSERVER<\/character>\n    <parenthetical>( Gasping - into phone . )<\/parenthetical>\n    <dialogue>It's beginning to clear out there, sir!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - MARTIAN NEST - PERISCOPE VIEW<\/stage_direction>\n    <scene_description>The blue envelopes are shrinking upon themselves , going down , color deepening . They are unpunctured .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORWARD BUNKER - CLOSE SHOT<\/stage_direction>\n    <scene_description>The observer yells into his field telephone .<\/scene_description>\n    <character>OBSERVER<\/character>\n    <dialogue>There's something moving!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - MARTIAN NEST - MED. FULL SHOT<\/stage_direction>\n    <scene_description>Out of the coiling dust and smoke a Martian machine is gliding . Another follows . A third shows .<\/scene_description>\n    <character>OBSERVER'S VOICE<\/character>\n    <parenthetical>( Yelling . )<\/parenthetical>\n    <dialogue>They have n't even been touched!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>GROUP - GENERAL MANN, SCIENTISTS, CLAYTON AND SYLVIA<\/stage_direction>\n    <scene_description>The Pacific - Tech men run into the breastwork , Clayton and Sylvia with them . The suction blast whips and swirls , dust filling the air . CAMERA FAVORS the General , using field glasses .<\/scene_description>\n    <character>GENERAL MANN<\/character>\n    <parenthetical>( Shaken . )<\/parenthetical>\n    <dialogue>It did n't stop them.<\/dialogue>\n    <character>DR. PRYOR<\/character>\n    <dialogue>They knew what to expect!<\/dialogue>\n    <character>DR. DuBROCK<\/character>\n    <parenthetical>( Excited . )<\/parenthetical>\n    <dialogue>They're way ahead of us electronically. They've had the atom bomb and forgotten it!<\/dialogue>\n    <character>GENERAL MANN<\/character>\n    <parenthetical>( Desperate . )<\/parenthetical>\n    <dialogue>Guns - tanks - bombs - they're like toys against them. We ca n't go on ordering men to attack!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>WIDER ANGLE - GROUP - SYLVIA IN F.G.<\/stage_direction>\n    <scene_description>Army , Navy and Air Force Brass coming over , listen - ing , anxious . The wind fades .<\/scene_description>\n    <character>DR. PRYOR<\/character>\n    <dialogue>They'll exterminate every living thing!<\/dialogue>\n    <character>DR. PENNINGTON<\/character>\n    <dialogue>So what do we do - run about like ants until they hunt us down?<\/dialogue>\n    <character>GENERAL MANN<\/character>\n    <dialogue>We'll establish a line and fight them all the way back to the mountains!<\/dialogue>\n    <character>DR. BILDERBECK<\/character>\n    <parenthetical>( Mildly again . )<\/parenthetical>\n    <dialogue>But it can end only one way. We're beaten.<\/dialogue>\n    <scene_description>Sylvia looks at him , moves away . Clayton follows . CAMERA MOVES IN on Dr. DuBrock and Dr. Bilderbeck .<\/scene_description>\n    <character>DR. DuBROCK<\/character>\n    <parenthetical>( Quietly , looking out . )<\/parenthetical>\n    <dialogue>Six days, you said. six days.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUTH OF TUNNEL - NEAR BREASTWORK<\/stage_direction>\n    <scene_description>Featuring Sylvia , as Clayton comes to her . Dr. DuBrock is approaching from b.g. Sylvia looks up at the empty branch where the oriole was perched .<\/scene_description>\n    <character>SYLVIA<\/character>\n    <dialogue>Maybe they wo n't kill all the birds.<\/dialogue>\n    <character>DR. DuBROCK<\/character>\n    <dialogue>Washington issued orders - in event the A - bomb failed - immediately evacuate all cities under attack!<\/dialogue>\n    <parenthetical>( Looking out toward Martians . )<\/parenthetical>\n    <dialogue>And they're moving in on Los Angeles now!<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>They'll stamp the city flat!<\/dialogue>\n    <character>DR. DuBROCK<\/character>\n    <parenthetical>( To Clayton . )<\/parenthetical>\n    <dialogue>If we take all the instruments we can establish a base in the Rocky Mountains.<\/dialogue>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Nodding - looking o.s . )<\/parenthetical>\n    <dialogue>A forlorn hope - but there is a chance.<\/dialogue>\n    <character>GRATZMAN<\/character>\n    <dialogue>It might give us time to search out some weakness in the Martians.<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>I believe we can get a lead from their anaemic blood.<\/dialogue>\n    <character>DR. DuBROCK<\/character>\n    <parenthetical>( Glancing at Clayton . )<\/parenthetical>\n    <dialogue>You mean some biological approach?<\/dialogue>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Forcefully . )<\/parenthetical>\n    <dialogue>We know now that we ca n't beat their machines - but we can beat them!<\/dialogue>\n    <parenthetical>( Looking o.s. again . )<\/parenthetical>\n    <dialogue>They are mortal beings. The only question is whether we have time enough to do anything!<\/dialogue>\n    <character>GRATZMAN<\/character>\n    <parenthetical>( To DuBrock . )<\/parenthetical>\n    <dialogue>If we get what transportation we can, and pick up instruments and books from Pacific - Tech.<\/dialogue>\n    <character>DuBROCK<\/character>\n    <parenthetical>( To Sylvia . )<\/parenthetical>\n    <dialogue>Could you help us? Drive for us?<\/dialogue>\n    <character>SYLVIA<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>DR. DuBROCK<\/character>\n    <parenthetical>( Hurrying o.s . )<\/parenthetical>\n    <dialogue>Thank you!<\/dialogue>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Quietly , watching Sylvia . )<\/parenthetical>\n    <dialogue>The Rockies! You'd rather get back to that big family of yours in Minnesota, would n't you?<\/dialogue>\n    <character>SYLVIA<\/character>\n    <dialogue>I wonder if they're going through this too?<\/dialogue>\n    <scene_description>Clayton looks at her sympathetically , not speaking .<\/scene_description>\n    <character>SYLVIA<\/character>\n    <parenthetical>( Going on . )<\/parenthetical>\n    <dialogue>I probably would n't be able to get to them if I tried.<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>You'll be all right with us.<\/dialogue>\n    <parenthetical>( Looking out again . )<\/parenthetical>\n    <dialogue>. for as long as anybody's got!<\/dialogue>\n    <character>SYLVIA<\/character>\n    <parenthetical>( Touching his arm . )<\/parenthetical>\n    <dialogue>Do n't let's lose each other.<\/dialogue>\n    <scene_description>He tucks a hand under her arm , reassuring , turning away with her .<\/scene_description>\n    <character>SYLVIA<\/character>\n    <parenthetical>( Wryly , smiling . )<\/parenthetical>\n    <dialogue>Because then I really would feel lost!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>FLASHES AND QUICK CUTS - SIRENS - (DAY)<\/stage_direction>\n    <scene_description>a. CLOSE SHOT - Siren - City Hall in b.g. . It begins to blast , full - throated , screaming its warning . b. MEDIUM SHOT - Ext. . Street Corner . Traffic light in f.g. with air raid siren on top . It starts to howl . ANGLE showing traffic in b.g. Pedestrians turn quickly . Cars drive erratically , pulling toward the curb . c. Ext. . Cornice of Office Bldg . A nest of sirens on the rim of the roof , wailing . d. MEDIUM SHOT - Ext. . Cahuenga Pass at Freeway Entrance . Sirens on a light pole take up the warning . Cars head toward curbs , then speed away , turning against traffic . Confusion . e. MEDIUM SHOT - Ext. . Firehouse . Sirens wail . A red Underwriters sedan crashes out into the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN STREET, LOS ANGELES<\/stage_direction>\n    <scene_description>A police car coming slowly down the street . Red blinker working . Siren going furiously . It has a windshield sticker : Civil Defense . Following the police car is a pick - up , with a loud - speaker horn . A man with a Civil Defense armband stands in the truck , shouting into mike .<\/scene_description>\n    <character>LOUDSPEAKER<\/character>\n    <dialogue>Now listen carefully. This is a military evacuation order. All populated areas are to be abandoned. It is imperative that you leave the city.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>MOVING SHOT - ANOTHER ANGLE - FAVORING LOUDSPEAKER TRUCK AND WARDENS<\/stage_direction>\n    <scene_description>CAMERA MOVES with loudspeaker trucker . C.D. wardens , wearing old - style steel helmets , shouting to pedes - trians and cars . Some run to the houses . In b.g. people dash from their homes , gathering up kids , piling possessions on cars , yelling at one another . A few cars spurt out of driveways and barrel off . A chorus of wailing sirens overscene .<\/scene_description>\n    <character>C.D. OFFICIALS - AD LIBS<\/character>\n    <parenthetical>( Over loudspeaker . )<\/parenthetical>\n    <dialogue>The Martians are coming - Take what you can carry and get out - Take food and water with you - Get away from all popu - lated areas - Go to the desert or the mountains - The City's being evacuated - Get going for your lives!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FLASHES AND QUICK CUTS - STREET AND PLANT SCENES ALARM<\/stage_direction>\n    <scene_description>Giant rubber , aircraft and cracking plants caught as shifts break . Thousands of men racing for their cars . Sirens SCREAMING o.s. -LRB- Second Unit with con - cealed 16 mm camera . Stunt men beefing it up . -RRB-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>FLASHES AND QUICK CUTS - EVACUATION EFFECT (1)<\/stage_direction>\n    <scene_description>Everything moving from right to left on the screen - all going one way , merged with FAST DISSOLVES . Haste and urgency . a. Low angle , cars flooding a highway . Bundles on fenders , roofs . Rolling bumper to bumper , fast . b. People piling onto buses as they pull out , toting suit cases and bundles . c. Deserted ice - cream wagon , wheel broken , tipped over against a wall . Kid on the back step , stuffing himself with ice cream . d. Sweating C.D. officials and cops waving traffic past , urging it faster - faster . e. Refugees cramming aboard a pullman . f. Man crowding last bundle onto a car roof ; woman yelling at him from the car . As he starts away , he sees he has a flat tire . g. Ext. . General Hospital . Nurses , internes , evacuating stretcher and ambulatory cases to ambulances in f.g. h . A single line of refugees trudging over a firebreak in the hills .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. YARD BEHIND PACIFIC-TECH - (DAY)<\/stage_direction>\n    <scene_description>Overscene is the distant SOUND of the Martian approach - roaring explosions , the thunder of destruction and gunfire . The scene itself is desper - ate with urgency and activity . Scientists working frantically to load books , heavy instruments , papers , files - even a blackboard from which there is no time to copy the formulae it bears . For transporta - tion they have a small moving van , a school bus , stake truck , two light pick - ups and four cars . As we come into scene , the moving van roars past us to the street . Beyond this , the last baggage is being slammed aboard the yellow school bus . Dr. DuBrock waves it away . It comes PAST CAMERA - Sylvia driving - as Clayton climbs up behind the wheel of the stake truck .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>BY THE STAKE TRUCK<\/stage_direction>\n    <scene_description>Clayton reaches for the starter button as Gratzman hurries past .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Calling . )<\/parenthetical>\n    <dialogue>Gratzman! - Gratzman! Did you get those biotics?<\/dialogue>\n    <character>GRATZMAN<\/character>\n    <dialogue>No. I thought you had them.<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>All right. I'll get them!<\/dialogue>\n    <parenthetical>( Drops off truck . )<\/parenthetical>\n    <parenthetical>( Shouts to DuBrock . )<\/parenthetical>\n    <dialogue>Go ahead - go ahead! I'll catch up with you.<\/dialogue>\n    <scene_description>He runs o.s. . Other vehicles start to move out as their frantic loading is completed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LABORATORY - HIGH POTENTIAL BUILDING - (DAY)<\/stage_direction>\n    <scene_description>The room is in a state of abandonment and disorder . Clayton runs in . He grabs two big cartons , throws out their contents and hurriedly loads them with glass and packed plastic vials which have been left on one of the benches . He starts out again . 256 - A YARD BEHIND PACIFIC - TECH It is littered with discarded material . All the other vehicles have gone when Clayton runs to the stake truck . He is a lonely , desperate figure in the empty yard , as he clambers aboard pushing his load across to the passenger seat . He starts the motor . The truck screams away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCK CAB - EXIT FROM YARD AND STREET<\/stage_direction>\n    <scene_description>Motor roaring as Clayton steps on the gas . He shifts gear , peering ahead , anxious to overtake Sylvia .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY STREET - (DAY)<\/stage_direction>\n    <scene_description>The stake truck turning a corner onto a wide street , rolling fast , tires squealing . Clayton 's brakes go on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCK CAB - FEATURING CLAYTON<\/stage_direction>\n    <scene_description>Braking hard . Standing on everything . Staring ahead .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>WHAT HE SEES - EXT. CITY STREET - AND MOB<\/stage_direction>\n    <scene_description>A mob has attacked and piled aboard a P.E. bus . Others are swarming all over a couple of taxis . These vehicles begin to move on , with men on roofs and bumpers . The mob rushes the stake truck .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>STAKE TRUCK AND MOB<\/stage_direction>\n    <scene_description>Men jump up at both sides of the cab , wrenching open the doors before Clayton can back up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCK - CLAYTON AND MEN<\/stage_direction>\n    <scene_description>SHOOTING through the windshield . Men attacking Clayton from both sides of the cab .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>STAKE TRUCK AND MOB - STREET<\/stage_direction>\n    <scene_description>It is a strange mob . Men and women . Desperate . Piling over the open sides of the now halted truck , while Clayton fights behind the wheel . He is thrown out . A man slides into his place . CAMERA PANS the mob , fighting to get aboard - emptying the truck to make room . Scientific instruments crash to the road . Books and papers shower down . The truck gets under way . People hanging on outside are shoved off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>MOVING SHOT - BACK OF TRUCK<\/stage_direction>\n    <scene_description>A well - dressed man is clinging to a rear corner , perched precariously , holding a bag . Another man is struggling , elbowing him to make his own hold secure .<\/scene_description>\n    <character>WELL-DRESSED MAN<\/character>\n    <parenthetical>( Desperate . )<\/parenthetical>\n    <dialogue>Let me up there!<\/dialogue>\n    <character>MAN<\/character>\n    <parenthetical>( Shoving . )<\/parenthetical>\n    <dialogue>Get off!<\/dialogue>\n    <character>WELL-DRESSED MAN<\/character>\n    <parenthetical>( Hanging on , gasping . )<\/parenthetical>\n    <dialogue>I'll give you five hundred dollars for your place!<\/dialogue>\n    <parenthetical>( Wild . )<\/parenthetical>\n    <dialogue>I'll make it a thousand! Two!<\/dialogue>\n    <character>MAN<\/character>\n    <parenthetical>( Shoving him off . )<\/parenthetical>\n    <dialogue>Money's no good no more, bud!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>ROADWAY - FEATURING WELL-DRESSED MAN<\/stage_direction>\n    <scene_description>His bag bursts open as he falls . Bills , gold coins , jewelry spills out . He scrambles to pick up his money . Running feet trample on it . Trample on him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - MED. CLOSE SHOT - CLAYTON<\/stage_direction>\n    <scene_description>He gets to his feet , winded , holding his ribs , gazing after the truck . Stragglers run past him . Only the well - dressed man is left behind , still grabbing for his valuables . Clayton gets his breath , looks around .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>MED. SHOT - WELL-DRESSED MAN<\/stage_direction>\n    <scene_description>Strewn on the pavement is the precious debris the mob left . The shattered barrel of an electron micro - scope - biochemical vials , spilled and shattered - electric induction furnace - laboratory cameras - electronic tubes - microscopes - books - the jars and containers of organic chemistry . The well - dressed man is scrabbling among this wreckage as Clayton comes into SCENE .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Still gasping . )<\/parenthetical>\n    <dialogue>Did that mob grab the truck ahead of me?<\/dialogue>\n    <scene_description>The man glances at him but does n't answer . Clayton moves nearer .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Cont 'd . )<\/parenthetical>\n    <parenthetical>( Desperate . )<\/parenthetical>\n    <dialogue>Hey - there were a lot of Pacific - Tech men with those trucks! Did you see them?<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>I do n't know. There was fighting up the street.<\/dialogue>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Still moving in . )<\/parenthetical>\n    <dialogue>Did the mob get a school bus? A girl was driving it.<\/dialogue>\n    <scene_description>The man is on his knees , grabbing , panting .<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>If they saw it, they took it! They take anything on wheels. You ca n't buy transportation for love or money.<\/dialogue>\n    <parenthetical>( Pausing . )<\/parenthetical>\n    <dialogue>Money!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>ANOTHER ANGLE - FAVORING WELL-DRESSED MAN<\/stage_direction>\n    <scene_description>He sits back on his haunches , looking at the bills and coins in his hand . He looks from the bag to Clayton and back again , suddenly shaken and terribly shocked .<\/scene_description>\n    <character>WELL-DRESSED MAN<\/character>\n    <dialogue>My whole life's savings. Now it wo n't even buy a ride on a truck!<\/dialogue>\n    <scene_description>Slowly he stands up . Suddenly he grabs a big fistful of bills and jewels from the bag .<\/scene_description>\n    <character>WELL-DRESSED MAN<\/character>\n    <parenthetical>( Twisted . )<\/parenthetical>\n    <dialogue>You want five thousand dollars. ten. twenty?<\/dialogue>\n    <parenthetical>( Tosses bills toward Clayton , throws down the bag . )<\/parenthetical>\n    <dialogue>Help yourself - there's a hundred thousand in there!<\/dialogue>\n    <scene_description>He turns and starts after the mob . Clayton eyes the ruin around him . He picks up a shattered microscope , looking from it to the way he has come . Again he looks at the debris of the instruments , hopeless . He turns to the way he was traveling and lets the micro - scope fall from his hand as he starts away , beginning to run . CAMERA ANGLES to PICK UP the money and broken instruments . It MOVES CLOSE on the shattered micro - scope as we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FARTHER ALONG THE STREET (1) - (DAY)<\/stage_direction>\n    <scene_description>Deserted . Late afternoon shadows . Littered with dropped garments . Doors stand open . Curtains flap at windows . Clayton is running , glancing back as an old , open car rattles into scene . Loaded with three families , their kids and two barking dogs . Bundles and baggage tied all over it . Clayton thumbs for a ride . Sprints and tries to leap on the running board . Hands shove him off . He falls . The car clatters on . Clayton gets up off the road and begins to run again . Two more cars come past CAMERA and race by him , over - loaded , driven recklessly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FARTHER ALONG THE STREET (2) - (EVENING)<\/stage_direction>\n    <scene_description>Clayton dog - trots into scene . It is beginning to get dark . We see debris from a hasty road - block placed by a mob - chairs , settee , furniture dragged out of a nearby store . To the side of the road is one of the pickups from Pacific - Tech , distinguished by its color , overturned , its load spilled , wheels buckled , jammed between a telephone pole and shop front . Strewn on the road are piles of papers , books , files and instruments thrown off the other Pacific - Tech vehicles . Clayton stares around , sees something and hurries to pick up a yellow board : SCHOOL BUS - Southridge . He holds it , looking around . The road is scattered with baggage thrown off the little bus . A car streaks past , heavily laden and going fast . Three bicyclists follow , pedaling hard , possessions tied all over themselves and their machines . One wobbles , but recovers . Clayton starts forward , hesitates , still holding the yellow board .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Suddenly shouting . )<\/parenthetical>\n    <dialogue>DuBrock!<\/dialogue>\n    <parenthetical>( And then - wilder . )<\/parenthetical>\n    <dialogue>Bilderbeck - DuBrock! SYLVIA!<\/dialogue>\n    <scene_description>No answer . He looks up at the sky and the unearthly flicker of the Martian rays . He glances at the board again . The first drops of rain hit it , driz - zling down . He drops it across the curb , moves away toward the broken barrier , turning up his coat collar . CAMERA DOLLIES IN on the school bus sign , lying in the gutter .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>FLASHES &amp; QUICK CUTS - EVACUATION (2) - (NIGHT)<\/stage_direction>\n    <scene_description>The rain has stopped . The streets are wet and glistening . a. Rooftops and utility poles silhouetted against the smoky sky . Local explosions . Flashes of Martian rays and beams . b. Traffic thin , fast and frightened on a highway out of the city . c. Moving cars in CLOSER ANGLE . All overloaded . Carrying extra riders wherever they can perch - on fenders , bumpers , roofs . d. Refugees running down the cloverleaf off a freeway .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY INTERSECTION - FAVORING CLAYTON - (NIGHT)<\/stage_direction>\n    <scene_description>A traffic light , not working . A mailbox overturned . There is a broken suitcase at one end of a rain - washed bus bench . Clayton enters , pausing by the bench . He is sweating , irresolute , as he looks around , breathing hard . He 's worn out , walking on his heels . An MP Jeep - two MPs in it - rolls into SHOT , coming past the intersection . The driver sees Clayton , brakes hard .<\/scene_description>\n    <character>M.P. DRIVER<\/character>\n    <dialogue>Hey, you! Better get outa here!<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>I'm looking for some Pacific - Tech professors.<\/dialogue>\n    <character>M.P. DRIVER<\/character>\n    <dialogue>There's nobody left around here now.<\/dialogue>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Half to himself , desperately . )<\/parenthetical>\n    <dialogue>We had a chance. We could have stopped them!<\/dialogue>\n    <parenthetical>( To the staring M.P. 's . )<\/parenthetical>\n    <dialogue>The mob stole the trucks and smashed everything up. The fools! They cut their own throats!<\/dialogue>\n    <character>OTHER M.P.<\/character>\n    <dialogue>He's nuts. C'm on - jump in!<\/dialogue>\n    <scene_description>The MP 's look up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - SKY - ABOVE INTERSECTION<\/stage_direction>\n    <scene_description>An overshot ray from some Martian machine slashes the air , high overhead . Squealing , pulsating . Vicious . Seen beyond the power and phone wires .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - QUICK CUTS AND FLASHES - LOS ANGELES CIVIC CENTER AND MARTIAN MACHINES<\/stage_direction>\n    <scene_description>a. Civic Center . Streets empty . Martian machines active in distant b.g. b. Martian machines , belly - deep in flame , rays and beams working . c. CLOSE ON a Martian machine among collapsing , burning buildings . It sends a beam slanting upward . d. CLOSE ON City Hall . Its top section is hit by the beam it falls , disintegrating into colored dust .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INTERSECTION WITH SIGN - FAVORING CLAYTON<\/stage_direction>\n    <scene_description>The MP 's are half - ducking from the menace of the overshot ray .<\/scene_description>\n    <character>M.P. DRIVER<\/character>\n    <dialogue>Hurry up! Jump in!<\/dialogue>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Appealing . )<\/parenthetical>\n    <dialogue>There was a girl with them. If I could find her.<\/dialogue>\n    <character>OTHER M.P.<\/character>\n    <dialogue>Jump in here, will you?<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>She's kind of lost.<\/dialogue>\n    <character>M.P. DRIVER<\/character>\n    <dialogue>You look kinda lost yourself.<\/dialogue>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Looking o.s. - suddenly remembering . )<\/parenthetical>\n    <dialogue>But I think I know where she'll be.<\/dialogue>\n    <character>OTHER M.P.<\/character>\n    <dialogue>C'm on, c'm on! It's your last chance to get outta here!<\/dialogue>\n    <scene_description>Clayton waves the jeep away and it roars off . He starts in the direction from which the jeep came , beginning to run .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. STREET (Same as 270) - (NIGHT)<\/stage_direction>\n    <scene_description>CAMERA is CLOSE on a muddy puddle of rainwater in the gutter . Floating in the muck is the yellow sign : SCHOOL BUS - SOUTHRIDGE . Angrily reflected on the surface of the water is the glaring sky , rays slashing , flames and explosions towering . Silent , except for the b.g. ROAR of destruction . No light except the glare from the sky . CAMERA PULLS BACK as the long , wavering shadow of a man moves across the sidewalk , looming larger and closer . His FOOTSTEPS ECHO in the deserted street . Then his feet enter the SHOT and pause by the puddle and the yellow board . CAMERA MOVES UP to disclose Clayton in CLOSE figure , looking down at the sign . Slowly he looks OFF . CAMERA PANS away from him to show the street beyond . Smashed windows and looted shops . Cracked - up , abandoned vehicles . Discarded bundles . A jalopy has overturned against a fire hydrant and water geysers high in the air . Clay - ton re - enters the SHOT , running a little way , walking a little , then running again . He looks around as he goes , seeking a clue .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>OUT<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - CLOSE MOVING SHOT - CLAYTON<\/stage_direction>\n    <scene_description>Breathing hard , sweating . No life anywhere . Sprat from the broken hydrant drips from him . He trots toward a nearby corner .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. STREET CORNER - FULL SHOT<\/stage_direction>\n    <scene_description>A REVERSE ANGLE , SHOOTING along a side street from the corner . Clayton enters , f.g. , stops by a lamp post , looking ahead . Along the dimly lit street is a church . Faint light shows at the windows . Above and beyond it is a burning ray - shot sky . As Clayton starts toward it , the distant SOUND OF VOICES SINGING is heard .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. CHURCH &amp; STREET - FULL SHOT<\/stage_direction>\n    <scene_description>A DOWN SHOT from high alongside the church steeple and belfry . The dark , Gothic outline of the tower looms huge in f.g. Below in the distance , the tiny figure of Clayton uncertainly approaches the church over the glistening pavement . The MUSIC of the VOICES GROWS LOUDER , but muffled and ECHOING through the structure of the steeple .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCH - MED. FULL SHOT (MOVING SHOT)<\/stage_direction>\n    <scene_description>Clayton stumbles from f.g. toward the steps and doors of the church , CAMERA FOLLOWING . The MUSIC of the HYMN SWELLS , but is still muffled and indistinct . He climbs the steps , pushes open the doors . The MUSIC SWELLS to full volume , VOICES joined in suppli - cation to God . No one is seen but Clayton .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH (MOVING SHOT)<\/stage_direction>\n    <scene_description>CAMERA is CLOSE on Clayton as he opens the doors and pauses , looking off . The SINGING reaches a CRESCENDO and dies away . The SHOT WIDENS and CAMERA PANS with Clayton to people standing near the door . Light in the church comes from kerosene lamps and candles placed wherever they will stand - on pew - ends , window - ledges . CAMERA FOLLOWS Clayton , as he looks anxiously about . The congregation is a scattered gathering of distressed humanity . Those who could n't run - children , cripples , the sick , aged - and those who felt it was useless to run . They make groups and clusters in the aisles and benches and pews . The church is full of quiet movement - first - aid for the injured , water for the faint , comforting children , soothing babies . The VOICE OF the MINISTER is lifted in prayer . Mumbled ` Amens ' join , above the RUMBLE of destruction , growing with the Martian advance .<\/scene_description>\n    <character>MINISTER'S VOICE<\/character>\n    <parenthetical>( O.s . )<\/parenthetical>\n    <dialogue>We humbly beseech Thy divine guidance, O Lord. Deliver us from the fear which has come upon us - the evil that draws ever nearer - from the terror that will soon knock at the very door of this, Thy house. We pray Thee, Lord - grant us the miracle of Thy divine intervention.<\/dialogue>\n    <scene_description>Clayton begins to back out . A Deacon catches his arm .<\/scene_description>\n    <character>DEACON<\/character>\n    <parenthetical>( Pale , calm - whispering . )<\/parenthetical>\n    <dialogue>It's useless to run, brother. Stay with us.<\/dialogue>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Whispering in reply . )<\/parenthetical>\n    <dialogue>I'm looking for someone. She'll be in a church, near the door.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - STREET SHOTS &amp; MARTIAN MACHINES<\/stage_direction>\n    <scene_description>a. Clayton running down a street toward flaming sky . b. Ext. . Boulevard &amp; Martian machine . Looking along the boulevard . A machine visible a block away , flames and falling buildings be - hind and around it . Clayton cuts across , running .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SECOND CHURCH - MOVING SHOT - (NIGHT)<\/stage_direction>\n    <scene_description>CAMERA is CLOSE on a statue of St. Anthony with the Infant Jesus , dimly lit by flickering candles . CAMERA MOVES BACK , showing scores of votive candles all banked around the statue . The congregation is saying the Rosary . Clayton enters shot , looking around . CAMERA MOVING , he passes through the crowded room . Two el - derly women with Red Cross armbands are helping dis - tressed and injured people . As Clayton goes past them , CAMERA PAUSES and MOVES IN on a particular group . The Red Cross woman steps away , disclosing Bilderbeck , looking off after Clayton . He is lying on the floor near a rack of hymn books and prayerbooks . He is pale , clutching a stained , bloody bandage against his side .<\/scene_description>\n    <character>BILERBECK<\/character>\n    <dialogue>Clayton!<\/dialogue>\n    <scene_description>Clayton moves sharply into SCENE , bending over him .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <dialogue>Bilderbeck! Are you all right?<\/dialogue>\n    <parenthetical>( Bilderbeck shrugs weakly . )<\/parenthetical>\n    <dialogue>Where are the others?<\/dialogue>\n    <scene_description>Clayton tries to make him comfortable .<\/scene_description>\n    <character>BILDERBECK<\/character>\n    <dialogue>A mob swarmed all over us. I do n't know what happened to the others. I got knocked under our truck.<\/dialogue>\n    <parenthetical>( Whispering as Clayton pillows his head . )<\/parenthetical>\n    <dialogue>There's nothing you can do for me.<\/dialogue>\n    <character>CLAYTON<\/character>\n    <dialogue>What about Sylvia?<\/dialogue>\n    <character>BILDERBECK<\/character>\n    <dialogue>I did n't see her, Clayton.<\/dialogue>\n    <scene_description>Both look o.s. as a Martian ray SCREAMS outside , its light catching their faces .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - CITY SECTION &amp; MARTIANS<\/stage_direction>\n    <scene_description>Martian machines loom through the smoke . A heat - ray hits a row of buildings , turning them white - hot . They flare and change to gray ash . The ray reaches out beyond them , SCREAMING .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - CLOSE MOVING SHOT - CLAYTON<\/stage_direction>\n    <scene_description>Amidst an inferno of flashing light and the THUNDER of a city being destroyed , Clayton proceeds along the street toward the Martians .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - ANOTHER STREET<\/stage_direction>\n    <scene_description>As Clayton runs into it , checks . The sky is red and lurid . The night is filled with CRASHINGS and ROAR - ING . A ray fires the tip of a tall building . A skeleton beam hits another . It collapses , falls . A Martian machine comes into sight , ray slashing . The ray swings toward Clayton , in f.g. . He jumps frantic - ally . Flames envelope the SCENE . Huge falling blocks of building stone blank out the SCREEN .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - CLOSEUP CLAYTON<\/stage_direction>\n    <scene_description>In the lurid glare of the heat - ray , falling masonry is blocking off the SHOT . Then , as Clayton is dis - closed , cowering in a doorway , the REFLECTION of the street shows in the plate glass window behind him . Choking dust and debris almost obscure everything . The ROAR and RUMBLING is overpowering . Clayton looks around frantically . He sees :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. COMMUNITY CHURCH - FULL SHOT<\/stage_direction>\n    <scene_description>From Clayton 's VIEWPOINT . Up the street is a church with a white cross on the outside , lit by pot - flares . Buildings beyond it are aflame and falling . It stands in the very path of the Martian advance , as their machines race nearer .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMMUNITY CHURCH<\/stage_direction>\n    <scene_description>The CRASH and growing ROAR of falling buildings and explosions sounds overscene , drawing always nearer . The windows are full of crimson glare , almost drowning the light of storm lantern and lamps . A mixed con - gregation kneels wherever there is space to kneel . Bums with nothing . Gray - haired women in bedraggled fur coats . Young . Old . Lame . Blind . Weary people , some still clinging to bags and bundles . The VOICE of the REV. BETHANY comes over scene .<\/scene_description>\n    <character>REV. BETHANY'S VOICE<\/character>\n    <parenthetical>( Vibrant , not loud . )<\/parenthetical>\n    <dialogue>God never leaves us, no matter how dark the hour - how deep our despair. we are told - have faith and ye shall be saved!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>ANOTHER ANGLE - FAVORING REV. BETHANY<\/stage_direction>\n    <scene_description>A strong - faced man , a leader , seen in the glow of a kerosene lamp , wearing surplice . Beyond him is the space for the choir , sparsely occupied , a boy in the f.g. . The SCREAM of a ray comes from overhead . Its light makes an added glare . The Rev. Bethany raises his arms . Not ranting . Sure in his faith . Under great stress .<\/scene_description>\n    <character>REV. BETHANY<\/character>\n    <parenthetical>( Supplicating . )<\/parenthetical>\n    <dialogue>In our peril we plead! Succor and comfort us in this hour.<\/dialogue>\n    <parenthetical>( Almost whispering . )<\/parenthetical>\n    <dialogue>Please God.<\/dialogue>\n    <scene_description>He lowers his arms . A terrifying , rattling explosion sounds nearby . We hear the vicious screech of a skeleton ray and the chuting roar of falling masonry . Rev. Bethany signs toward the choir .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSE SHOT - CHOIR BOY<\/stage_direction>\n    <scene_description>Tears on his cheeks . Scared to death . Lips trembling . But his clear soprano sounds .<\/scene_description>\n    <character>CHOIR BOY<\/character>\n    <parenthetical>( Singing . )<\/parenthetical>\n    <dialogue>Abide with me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>MOVING SHOT - INT. COMMUNITY CHURCH<\/stage_direction>\n    <scene_description>The congregation picks up the hymn , the Rev. Bethany 's voice coming strongly . CAMERA TRUCKS the congregation . Sudden flashes burn at the windows . Crackings and roarings increase overscene , racing closer . Some people glance from the corners of their eyes . Some cling to one another , shuddering at the high - pitched sounds of Martian rays . They know any moment may be the last . a. Elderly couple holding hands , singing the hymn , and waiting patiently for the end . b. Rev. Bethany , out of his pulpit , putting a comforting arm around the choir boy . c. Stained - glass windows , aflame and brilliant from the glare of a ray passing outside . d. Young husband and wife with two kids , seven and four years old . The parents have their arms about them . The little girl has an arm around her brother . She is praying : `` Set four angels round my bed . one to watch . and one to pray . and two to carry my soul away . '' The mother bites her lip . Her husband kisses her . They cling to each other . CAMERA PICAS UP Clayton searching frantically , try - ing to push in past people , beginning to lose hope . CAMERA MOVES ON . We see a doctor doing what he can for sick and injured . As CAMERA MOVEMENT CONTINUES the overscene noises begin almost imperceptibly to diminish , as though the Martian advance is myster - iously slowing . Finally , CAMERA PICKS UP Sylvia . Kneeling a little way in from the church porch . Beyond her is a stained - glass window of St. Peter . The SOUND from outside is lessening all the time . CAMERA MOVES CLOSE on Sylvia . Praying softly . As she prayed when she was small . We do n't need to hear the words . We know what she is asking when we see the light that comes in her face as she hears :<\/scene_description>\n    <character>CLAYTON'S VOICE<\/character>\n    <dialogue>Sylvia!<\/dialogue>\n    <scene_description>She whirls around and comes upright . CAMERA ANGLE WIDENS . Clayton takes her in his arms , just as the stained glass window is momentarily lit by an orange glare . Loud in the strange and sudden quiet comes a tremendous explosion . Colored glass showers in from the window , but the haloed head of St. Peter remains intact . So do his keys . Woodwork , masonry and dust spill down from the roof . People scatter from it , moving out of SCENE PAST CAMERA with Clayton and Sylvia . CAMERA PANS and HOLDS on the congregation as the hymn dies out . Now it is al - most completely quiet . People begin to rise . Lis - tening , turning to gaze o.s. . Some begin to move to the doorway and steps outside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCH STEPS - MED. SHOT<\/stage_direction>\n    <scene_description>Sylvia and Clayton are standing on the steps . Still . Listening with everyone else . The Doctor comes for - ward to look out . Sylvia gasps suddenly , holding tightly to Clayton . A woman near her points o.s. , SCREAMING wildly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - CHURCH &amp; STREET - FULL SHOT<\/stage_direction>\n    <scene_description>A Martian machine is coming from the corner of the block . Rolling toward the church , filthy with dust , tangled with every sort of debris . Ugly and enormous , rays flickering into the air . It blunders into a building . Comes on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCH - MED. SHOT<\/stage_direction>\n    <scene_description>Everyone still , staring fearfully off at the machine . Faces lit by the shuddering glare of nearby flames . The Rev. Bethany shows in b.g. , coming forward , gazing out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - MARTIAN MACHINE  (2)<\/stage_direction>\n    <scene_description>Its colors dimmed , muddy . Foul with earth and oil streaks . Dribbling debris . Rays lick weakly , fading . It blunders into and breaks overhead wires and cables . A telephone pole smashes down under it . Fallen wires are entangled underneath , burning and smoking in the sputtering high - frequency beam - legs . The beams flick - er , off and on . The machine rocks as its supports falter . It crashes to the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - MED. CLOSE SHOT - MARTIAN MACHINE<\/stage_direction>\n    <scene_description>An aperture slowly splits open . The hand and arm of a Martian struggle partly out , reaching and clawing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCH - MED. CLOSE SHOT<\/stage_direction>\n    <scene_description>Everyone staring , full of fear and wonder . The Rev. Bethany joins Clayton and Sylvia .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - CLOSE SHOT - MARTIAN<\/stage_direction>\n    <scene_description>The triple - suckered hand is reaching out , trying to find a grip . We see the protruding veins , their pulsation weakening , slowing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCH - MED. CLOSE MOVING SHOT<\/stage_direction>\n    <scene_description>Clayton moves out . The Doctor follows with Sylvia . The Rev. Bethany moves out . Others follow . Clayton pauses , looking o.s. Others look with him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. STREET - FULL SHOT<\/stage_direction>\n    <scene_description>F.g. is the machine on the pavement . Beyond at a cor - ner , is another , heat - ray flicking wildly . It lurches against a building , caroms off , blunders into another and moves out of sight .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET &amp; CHURCH - FULL SHOT<\/stage_direction>\n    <scene_description>A REVERSE ANGLE , with the downed Martian machine in f.g. People from the church begin to approach the machine , but they are wary and keep their distance . Clayton leads the way with the Doctor . Suddenly Clayton gestures and they all stop and look off past the f.g. machine .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. DEVASTATED STREET - MED. SHOT<\/stage_direction>\n    <scene_description>A Martian machine almost enveloped in flames , moving slowly . Its beam - legs flicker . It sinks down .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET &amp; MARTIAN MACHINE - MED. CLOSE SHOT<\/stage_direction>\n    <scene_description>Clayton steps forward again .<\/scene_description>\n    <character>CLAYTON<\/character>\n    <parenthetical>( Looking off - exclaiming . )<\/parenthetical>\n    <dialogue>Something's happening to them!<\/dialogue>\n    <scene_description>He looks down at the veined arm extending from the opening in the machine .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSE SHOT - MARTIAN &amp; GROUP<\/stage_direction>\n    <scene_description>SHOOTING across the Martian 's arm in f.g. . The skin of the arm is losing its ruddy color . The pulsation of the veins has slowed . The clutching of the hand lessens . The arm becomes brownish - yellow . The hand stills . Clayton and the Doctor , b.g. move closer . The Doctor kneels by the Martian , touches the yellow flesh .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET &amp; CHURCH - MED. FULL SHOT<\/stage_direction>\n    <scene_description>People streaming from the church and the street beyond . Staring . Inching forward .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET &amp; MACHINE - GROUP - (MOVING SHOT)<\/stage_direction>\n    <scene_description>The Doctor straightens up from his examination of the Martian . There is a strained look of awe on his face as he looks off toward the now silent city .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <parenthetical>( Low - voiced . )<\/parenthetical>\n    <dialogue>We were all praying for a miracle.<\/dialogue>\n    <scene_description>The SHOT WIDENS to include the forefront of the crowd . Reverend Bethany , the choir boy , Clayton , Sylvia , all waiting on his words . They , too , look off , listening .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SERIES OF CUTS - COLLAPSE OF THE MARTIANS<\/stage_direction>\n    <scene_description>a. Special Effect - Ext. . Viaduct -LRB- as previously -RRB- . Flames of the burning oil reservoir previous - ly destroyed . The Martian machine sinks to the ground . b. Special Effect - Ext. . City Hall District -LRB- as previously -RRB- . Rays and beams in the smoke - filled sky grow weak , flicker and stop . There is silence . c. Special Effect - Ext. . Street -LRB- as previously -RRB- . Wreckage everywhere . Smoke - laden sky . Devastated buildings . Flames . Two Martian machines prone on the street , color fading . A jeep races through down the street , dodging obstacles . d. Special Effect - San Gabriel Hills -LRB- as previous - ly -RRB- . The thousands of families huddled in the barrancas and gullies are turned , facing the holocaust in the distant city . A last few rays streak the sky , then cease . A BABBLE of VOICES grows into an inarticulate hosanna .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - MED. CLOSE SHOT<\/stage_direction>\n    <scene_description>The Doctor is center of the group .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>After everything men could do has failed - the Martians are being killed by the littlest things that God, in His wisdom, has put upon the earth.<\/dialogue>\n    <scene_description>People are looking at him . At one another .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <parenthetical>( Quietly . )<\/parenthetical>\n    <dialogue>The Martians come from a sterilized world. They have no resistance to diseases from which we are immune.<\/dialogue>\n    <parenthetical>( To Reverend Bethany . )<\/parenthetical>\n    <dialogue>This one died of septicema. Anaerobic baccili.<\/dialogue>\n    <parenthetical>( To Clayton - grim , glad . )<\/parenthetical>\n    <dialogue>An embolism of his overdeveloped brain has burst an artery - killed him and saved us! They're doomed - all of them. Germ are killing them!<\/dialogue>\n    <scene_description>CAMERA MOVES IN on the faces of the crowd . Hardly believing what has happened . Beginning to hope . Wonder and gladness growing .<\/scene_description>\n    <character>REVEREND BETHANY<\/character>\n    <dialogue>Saved by the littlest things God made!<\/dialogue>\n    <character>DOCTOR'S VOICE<\/character>\n    <dialogue>Once they are infected, it's quick - twenty - four hours. It's hit all these at about the same time.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET &amp; CHURCH - MED. SHOT - (PAN SHOT)<\/stage_direction>\n    <scene_description>Near the church , the MP jeep speeds in , braking as it nears the people . They jump aside , leaving a lane to the fallen Martian machine . CAMERA PANS with the jeep . Half - standing , the MP Driver and his PFC aide yell orders , gesticulating , faces grim .<\/scene_description>\n    <character>MP DRIVER<\/character>\n    <dialogue>Keep to your shelters - stay in your shelters! Everybody back!<\/dialogue>\n    <character>OTHER MP<\/character>\n    <dialogue>There's still danger - wait for orders!<\/dialogue>\n    <character>MP DRIVER<\/character>\n    <dialogue>You'll get orders!<\/dialogue>\n    <scene_description>The jeep stops beside the main group . The two MPs jump out , guns at the ready , and advance to the dead Martian .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSE SHOT - GROUP<\/stage_direction>\n    <scene_description>Clayton , Sylvia , Rev. Bethany , Doctor . Breathless , eyes questioning mutely .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSEUP MP DRIVER<\/stage_direction>\n    <scene_description>He rises and turns toward the group .<\/scene_description>\n    <character>MP DRIVER<\/character>\n    <parenthetical>( Understanding their tension . )<\/parenthetical>\n    <dialogue>Nothing official yet - but it looks like it's over. First reports are they're folding up in droves all over the world!<\/dialogue>\n    <scene_description>He grins and wipes his brow .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CLOSEUP CHOIR BOY<\/stage_direction>\n    <scene_description>He draws a breath , eyes shining .<\/scene_description>\n    <character>CHOIR BOY<\/character>\n    <parenthetical>( Singing - clear . )<\/parenthetical>\n    <dialogue>Now thank we all our God.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - BELFRY &amp; CITY - FULL SHOT<\/stage_direction>\n    <scene_description>As the words of the ancient hymn swell OVERSCENE from a myriad throats , bells begin to peal through the smoke and ruin of the devastated city .<\/scene_description>\n    <character>VOICES<\/character>\n    <parenthetical>( Singing . )<\/parenthetical>\n    <dialogue>. With heart and hand and voices, Who wondrous things hath done.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET &amp; CHURCH - CROWD  (MOVING SHOT)<\/stage_direction>\n    <scene_description>Some singing . Some in silent prayer . Some in silent ecstasy . The young husband hugging his kids . An old woman all alone , singing softly with the others , eyes turned to heaven . They start to move toward the church . CAMERA PICKS UP IN CLOSE SHOT , Clayton and Sylvia . She is radiant . He smiles , holding her gaze as he takes off his glasses , folds them and puts them in his pocket , bending to her . She takes his arm , smiling up at him . They move after the crowd . She starts to sing as they go .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SPECIAL EFFECT - EXT. STREET &amp; CITY BEYOND<\/stage_direction>\n    <scene_description>CAMERA SHOOTING DOWN into the street as the crowd moves toward the church . Almost unconsciously , people have formed a lane , along which the small figures of Clayton and Sylvia walk . CAMERA PANS UP the facade of the church to the belfry , where bells begin to ring out , joining the chorus of SOUND from the VOICES and other belfrys . CAMERA PANS ACROSS burned , smoking buildings to an untouched sector of the city - CROSSING other belfrys with their ringing BELLS . A dawn sun is rising beyond rooftops as the SINGING VOICES end in a great `` AMEN . '' FADE OUT . THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Divorced Crane Operator longshoreman Ray Ferrier works at a dock in Brooklyn, New York and is estranged from his children: 10-year-old daughter Rachel, and teenage son Robbie. Ray's ex-wife, Mary Ann, drops them off at his house in Bayonne, New Jersey on her way to visit her parents in Boston. Later, a strange storm occurs during which lightning strikes multiple times into the middle of a local intersection, disrupting all electricity. Ray joins the crowd at the scene of the impacts, where a massive \"tripod\" war machine emerges from the ground and uses powerful energy weapons to destroy the area, disintegrating most of the witnesses into a grey dust. Ray collects his children, steals a van that had just been repaired, and drives to Mary Ann's empty home in suburban New Jersey to take refuge. That night, they take shelter in the basement, but they soon hear a strange roaring noise followed by an explosion, which destroys the house. The next morning, Ray discovers that a Boeing 747 had crashed into the neighborhood. A news team scavenging for food explains to him that there are multiple tripods that have attacked major cities around the world. The tripods have force shields to protect them from human weapons, and the tripods' pilots traveled to Earth within the lightning storms as a way to enter their machines, which are assumed to have been buried underground for millions of years. Ray decides to drive the kids to Boston to be with their mother, but a desperate mob swarm their vehicle and they are forced to abandon it. They eventually board a ferry to cross the Hudson River only to be surrounded by several tripods, who begin massacring and abducting many of the refugees, but Ray's family manages to escape. They then witness U.S. Marines engaging in a futile battle with some tripods; Ray tries to stop Robbie from joining the fight, but is reluctantly forced to release him so that he can take Rachel to safety. Ray and Rachel flee as the machines annihilate the soldiers, and are offered shelter in a farmhouse basement by a deranged man named Harlan Ogilvy. The three remain undetected for several days, even as a probe and a group of tripod aliens explore the basement. They soon discover that the aliens are cultivating a red-colored vegetation across the landscape that is quickly spreading; the group deduces the aliens are modifying Earth to make it more like their home planet. The next morning, Ogilvy suffers a mental breakdown upon witnessing the tripods harvesting human blood and tissue to fertilize the alien vegetation. Convinced that Ogilvy's mad shouting will alert the aliens to their location, Ray reluctantly kills him. A second tripod probe catches the Ferriers sleeping; Rachel flees and is abducted by a nearby tripod, and Ray joins her after picking up a belt of grenades. Ray uses the grenades to destroy the tripod from within, freeing all the abductees. Ray and Rachel arrive in Boston, where they find the alien vegetation withering and the tripods inexplicably collapsing. When an active tripod appears, Ray notices birds landing on it, indicating its shields are offline. Ray alerts the soldiers escorting the fleeing crowd, who shoot it down with anti-tank missiles. As the soldiers advance on the downed tripod, a hatch opens and a sickly alien struggles halfway out before dying. Ray and Rachel finally reach Mary Ann's parents' house, where they are reunited with Mary Ann and Robbie. A closing narration explains that the aliens' immune systems could not handle the countless billions of microbes that inhabit the Earth, and that humanity has \"earned\" the right to the planet by virtue of naturally coexisting with the rest of its biosphere."}
{"movie_name":"Uncut Gems_2019","imdb_id":"tt5727208","script":"<script>\n  <scene>\n    <character>UNCUT GEMS<\/character>\n    <dialogue>by<\/dialogue>\n    <character>SAFDIE &amp; BRONSTEIN<\/character>\n    <dialogue>IN HOWARD WE TRUST<\/dialogue>\n    <scene_description>ELARA PICTURES, INC. \u00a9 2015, ELARA PICTURES, INC.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OPAL MINE - ETHIOPIA - DAY<\/stage_direction>\n    <scene_description>Unrest. White foremen violently argue via translators with a group of local black miners. A fist fight breaks out and quickly grows into a riot. Two MEN, both black, take advantage of the chaos to sneak inside the mine.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OPAL MINE - ETHIOPIA - CONTINUOUS<\/stage_direction>\n    <scene_description>The MEN don head lamps and plunge into the darkness of the mine. The sound of the riot quickly recedes behind them, overtaken by their own heavy, echoed breaths. They stop at a ragged t-shirt stuck in a crevice in a wall. MAN 1 keeps look-out as MAN 2 pulls the t-shirt out and uses a screw driver to dislodge a large clump of dirt from the crevice. MAN 2 crumbles the dirt away, exposing a rock the size of a grapefruit. Using an electric grinding sander, he exposes small 'windows' on either side of the rock and holds it up to a light for inspection. Twinkling electronic music fades in as the camera moves into the gem. Light and color engulf the frame in a shifting melange of abstract shapes and patterns.<\/scene_description>\n    <character>UNCUT GEMS<\/character>\n    <dialogue>A1 CREDITS accompany our psychedelic journey through the inside<\/dialogue>\n    <scene_description>A1 of the gem. A metallic shimmer appears in the distance, as we near it, we see that it's a boxing gym bell.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNIVERSAL BOXING GYM, QUEENS, NY - RING -NIGHT<\/stage_direction>\n    <scene_description>DING DING DING. NADAV, late 20's, dim, strong, with a unibrow, meets a YOUNG LATINO boxer center ring. NADAV is instantly hit 3 times in the head. He endures. Ringside, ARTHUR, 30s, black, yells excitedly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNIVERSAL BOXING GYM, QUEENS, NY - LOCKERROOM - AFTER<\/stage_direction>\n    <scene_description>NADAV, naked, changes in front of his locker. ARTHUR enters.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>Me and Dev are gonna hit up Glazz tonight. Tons of girls, come with.<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>Alright, just gotta go home first. I'm around the corner.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>My nigga!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NADAV'S APARTMENT, SUNNYSIDE QUEENS - BEDROOM - AFTER<\/stage_direction>\n    <scene_description>NADAV applies gel and cologne to his body, while ARTHUR watches from the bed. Hanging off the mirror are a dozen gold chains. NADAV grabs one with a star of David pendant and clasps it around his neck. Reaching into his underwear drawer, he pulls out and adorns a gold Rolex watch. ARTHUR takes note.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>You mind if I smoke?<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>Nah, just do it by the window.<\/dialogue>\n    <scene_description>ARTHUR walks over to the window, opens it and lights up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GLAZZ NIGHT CLUB - AFTER<\/stage_direction>\n    <scene_description>At the bar, ARTHUR and DEV, also black, flirt with girls, NADAV clings on. NADAV is one of a few white people in the club.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NADAV'S APARTMENT, BUILDING HALLWAY - 12AM<\/stage_direction>\n    <scene_description>NADAV, drunk, walks down his hallway, unlocks his apartment.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NADAV'S APARTMENT - AFTER<\/stage_direction>\n    <scene_description>The apartment has been ransacked. The bed has been turned over, the drawers from his dresser pulled out and emptied, mirror broken, TV and stereo clearly missing. NADAV panics.<\/scene_description>\n    <character>NADAV<\/character>\n    <dialogue>No, no, no, no...<\/dialogue>\n    <scene_description>NADAV searches the dresser area for his jewelry.<\/scene_description>\n    <character>NADAV<\/character>\n    <dialogue>Mother fucker!<\/dialogue>\n    <scene_description>He bursts into tears, howls, throws the dresser over and then fumbles for his phone. He dials. COME ON, COME ON... HOWARD! PLEASE HOWARD PICK UP!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NADAV'S APARTMENT, SUNNYSIDE QUEENS - AFTER<\/stage_direction>\n    <scene_description>BUZZZZZ! NADAV opens the door. The hallway lights halo HOWARD NAGY, a heavyset, hardened yet handsome, early 50's, olive- skinned Sephardic Jew with a thick mediterranean accent. NADAV is immediately comforted by his presence.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>They took my mom's jewelry! My stereo, TV, the nice speakers. My chains, shit hidden in my drawers.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>One thing at a time.<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>THEY TOOK MOM'S JEWLERY, they just took the whole box! They touched everything, put their hands on all my stuff! Look at my bed!<\/dialogue>\n    <scene_description>HOWARD looks around the apartment and an open window.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Nadav, did you leave your window open like that?<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>What are you a fuckin' moron?!<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>Shit! Arthur must've forgotten to close it.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Who's Arthur?<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>He's my friend from the gym, he wanted to have a cigarette so I told him by the window.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>How long have you known Arthur?<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>Few months.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>He black or white?<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>Black.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>He been here before?<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>No, tonight was the first time. He said let's go get pussy and I told him I needed to change first.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Where'd you go with him?<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>To Glazz.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>What is that?<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>A night club.<\/dialogue>\n    <scene_description>HOWARD sees the Rolex around his wrist.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>You put that on in front of him?<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>That watch, did you put that on in front of him?<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>Uh...yeah...<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>You flaunt that shit in front of a schwartza?<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>Arthur?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Arthur left the window open on purpose dumdum. Probably texted some of his boys that you had jewelry and shit laying around, clearly you have a rolex, right?<\/dialogue>\n    <character>NADAV<\/character>\n    <parenthetical>(grows angry)<\/parenthetical>\n    <dialogue>He fucking robbed me!?!<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>His friends. He left the window open for them.<\/dialogue>\n    <scene_description>NADAV erupts. Starts punching the wall really hard. Screaming expletives at ARTHUR. THAT MOTHER FUCKER!! HOWARD lets him blow off some steam. NADAV is out of control. NADAV, ENOUGH!<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(much calmer)<\/parenthetical>\n    <dialogue>Ok, what did they take?<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>I told you, all the jewelry, the necklace you got me and everything.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I'll give you another necklace. What else?<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>My TV, the stereo, all the electronic stuff, my i-Pod...<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>We can get you a new i-pod.<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>...The extra phones you gave me, my boxing beeper thing, cd's- oh shit, DAD!<\/dialogue>\n    <scene_description>NADAV suddenly panics, runs to the bed and moves it out of the way. He pulls up the carpet and using a metal shim, pries open a floor board. Underneath sits a plastic Duane Reade bag.<\/scene_description>\n    <character>NADAV<\/character>\n    <parenthetical>(crying)<\/parenthetical>\n    <dialogue>Thank god! Oh thank fucking god!<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>What is that? Cash?<\/dialogue>\n    <scene_description>HOWARD opens the bag and sees bundles of cash.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Josef gave this to you?<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>Yeah, he left it to me.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>How much is in here?<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>All of it, about 235 thousand dollars. I never touched a penny.<\/dialogue>\n    <scene_description>HOWARD laughs.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Are you out of your fucking mind?!<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>He told me not to declare it.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>So you decided to keep it on the floor?<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>He said don't declare it.<\/dialogue>\n    <scene_description>HOWARD'S phone vibrates loudly. He immediately silences it.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>I understand that but he didn't expect you to live like a pig. He expected you to spend it, live nicely put the money somewhere untouchable.<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>They didn't find it!<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I just can't believe that all these years-You're telling me you had this money for the past 8 years?<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Do you know what a moron you are? What an unbelievable moron you are.<\/dialogue>\n    <scene_description>NADAV just stares at him. HOWARD softens a little. HOWARD's phone rings again. This time, he pulls it from his pocket, see's \"GABI\" and silences it again.<\/scene_description>\n    <character>NADAV<\/character>\n    <dialogue>You're right, it's not safe here.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Give it to me and I'll take care of it, I'll put it in a safe-deposit box for you tomorrow.<\/dialogue>\n    <scene_description>HOWARD'S phone vibrates again, silences it. Again, sees \"GABI.\"<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(distracted)<\/parenthetical>\n    <dialogue>That's your inheritance... you don't keep your inheritance under a bed like that. You deserve what happened to you acting like such an idiot around people you don't know.<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>No, I know, I... I'm sorry...<\/dialogue>\n    <scene_description>NADAV hands the Duane Reade Bag to HOWARD. HOWARD's phone vibrates again, he pulls it out.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Alright! Alright.<\/dialogue>\n    <scene_description>Answers phone.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Enough! I told you I'm on my way... Yes! FOR THE 100TH TIME YES!<\/dialogue>\n    <character>GABI (O.S.)<\/character>\n    <dialogue>Don't you dare give me lip!<\/dialogue>\n    <scene_description>A woman is heard yelling in the background of the call.<\/scene_description>\n    <character>CARMELLE (O.S.)<\/character>\n    <dialogue>You fuckin' piece of shit low- life...<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Carmelle, Carmelle! Will you hold on a second?<\/dialogue>\n    <parenthetical>(to NADAV)<\/parenthetical>\n    <dialogue>NADAV, I gotta run.<\/dialogue>\n    <scene_description>HOWARD takes 40$ out from his pocket, gives it to NADAV.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Take this money and grab a cab and go stay at the house tonight, you can clean all this stuff up tomorrow.<\/dialogue>\n    <scene_description>HOWARD kisses NADAV on the forehead, rushes out of the apartment, BAG in hand, and on the phone.<\/scene_description>\n    <character>NADAV<\/character>\n    <dialogue>Thank you Howard!<\/dialogue>\n    <character>GABI (O.S.)<\/character>\n    <dialogue>You there?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAGUARDIA AIRPORT - 2 AM<\/stage_direction>\n    <scene_description>A CAB pulls up to the departures entrance at LaGuardia Airport. HOWARD pays the driver with bills from the Duane Reade bag and rushes into the terminal.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIAMI HIGH RISE APARTMENT BUILDING - 6 AM<\/stage_direction>\n    <scene_description>HOWARD rushes down an exterior hallway. On his left are apartment doors, on his right a sweeping view of South Beach Miami. He stops at a door, takes a moment to collect himself and rings the bell. Pause. The door is opened by CARMELLE NAGY, Howard's sister-in-law, 55, tight shiny skin, wearing a nightgown. She bursts into rage.<\/scene_description>\n    <character>CARMELLE<\/character>\n    <dialogue>Oh! Look at this! Look at this!<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Carmelle. Please-<\/dialogue>\n    <character>CARMELLE<\/character>\n    <dialogue>No! No! You! You look at this.<\/dialogue>\n    <scene_description>CARMELLE grabs HOWARD by the wrist and jerks him into the apartment, gesticulating wildly with her other hand.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GABI NAGY'S APARTMENT, LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>HOWARD looks around an empty room. The only visible furniture: two crappy metal folding chairs and a card table.<\/scene_description>\n    <character>LOUSIE<\/character>\n    <dialogue>We come back from Puerto Rico and this!<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I know, I know. Listen to me-<\/dialogue>\n    <scene_description>CARMELLE grabs a printed note from the card table and violently shoves it in HOWARD's face.<\/scene_description>\n    <character>LOUSIE<\/character>\n    <dialogue>A $17,000 Rue de Saint Claude Gold sofa set!<\/dialogue>\n    <scene_description>HOWARD pushes her hand away and makes a beeline for the bathroom.<\/scene_description>\n    <character>LOUSIE<\/character>\n    <dialogue>Hey! Hey!<\/dialogue>\n    <scene_description>Ignoring her, HOWARD opens the door to the bathroom and enters.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GABI NAGY'S APARTMENT, BATHROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>HOWARD closes the door on CARMELLE's face and locks it. A constant stream of invectives is audible from the other side of the door. The room is filled with steam. An extremely disoriented man, GABI, 57, naked, shouts from behind the shower curtain.<\/scene_description>\n    <character>GABI<\/character>\n    <dialogue>I'm in the shower! I'm in the shower!<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>GABI, all I'm asking is for 30 seconds to hear me out.<\/dialogue>\n    <character>GABI<\/character>\n    <dialogue>Get out!<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>All you have to do is listen-<\/dialogue>\n    <character>GABI<\/character>\n    <dialogue>I'm in the fuckin' shower Howard!<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>GABI. Ok... I'm having some problems. The fact that any of it has affected you negatively-<\/dialogue>\n    <character>CARMELLE (0.S)<\/character>\n    <dialogue>We should've taken your name off this place YEARS AGO!!!<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(to door)<\/parenthetical>\n    <scene_description>CARMELLE, I'M SORRY! (to GABI) We'll change the title asap. GABI opens the curtain and shoves his finger at HOWARD. I DON'T WANNA HEAR IT! GABI steps out of the shower. Grabs a towel.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>You don't want to hear how you could profit from this?<\/dialogue>\n    <scene_description>GABI lunges at HOWARD, pushing him against a wall of pink tile. HOWARD reluctantly retaliates and within seconds has GABI in a headlock.<\/scene_description>\n    <character>CARMELLE (O.S.)<\/character>\n    <dialogue>Open this god damn door!<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(calmly)<\/parenthetical>\n    <dialogue>30 seconds.<\/dialogue>\n    <character>GABI<\/character>\n    <dialogue>Fuck you!<\/dialogue>\n    <scene_description>HOWARD tightens the headlock. CARMELLE escalates to a constant muffled wall of noise.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Ok.<\/dialogue>\n    <parenthetical>(raising his voice)<\/parenthetical>\n    <scene_description>CARMELLE, I'M TALKING NOW! CARMELLE quiets down.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(slowly, deliberately)<\/parenthetical>\n    <scene_description>CLEARLY, I'M HAVING SOME PROBLEMS. THE THOUGHT THAT THIS WOULD AFFECT THE TWO OF YOU NEGATIVELY IN ANY WAY MAKES ME SICK. THAT'S WHY I'M HERE, IT'S WHY I BROUGHT MONEY, I BROUGHT YOU 50 GRAND... FOR YOUR PROBLEMS. I HAVE ANOTHER 190 THOUSAND HERE THAT WILL TAKE CARE OF ALL OF THIS... BUT THIS ISN'T AS BAD AS IT LOOKS. EVERYONE IS FINE. HERE'S WHAT YOU'RE GOING TO DO... YOU'RE GOING TO CONTINUE WITH AN INSURANCE CLAIM, COLLECT WHAT YOU'RE OWED. I'M GONNA PUT THIS MONEY INTO AN ACCOUNT FOR THEM TODAY, IN A FEW HOURS, ONCE THAT'S DONE... (readjusts self) THEY'LL LET US KNOW WHERE YOUR STUFF IS BEING STORED AND NEITHER OF YOU WILL HAVE TO WORRY ABOUT A THING. JOANI WILL HAVE MOVERS BRING YOUR STUFF BACK HERE AND I'LL PERSONALLY COME BACK AND REARRANGE IT TO THE WAY IT WAS. (relaxes, slightly) PLUS I GOT A STONE COMING THROUGH THIS WEEK, IT'LL TAKE CARE OF EVERYONE, TRUST ME. I CAN HIT YOU OFF WITH SOME MORE CASH-DID THEY GET TO YOUR SAFE? Reluctantly, GABI shakes his head \"No.\" WELL, THEN LET'S EMPTY IT AND MAKE THAT CLAIM. GABI is not amused. SOON IT WILL BE LIKE NOTHING EVER HAPPENED AND YOU'LL BE RICHER FOR IT!<\/scene_description>\n    <character>CARMELLE (O.S.)<\/character>\n    <dialogue>And what, we're supposed to eat on the floor for the next 2 months!?!<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Not 2 months, I'm talking a few days. I'll put you guys up at my expense at the Spa hotel in South Beach till your stuff is back.<\/dialogue>\n    <character>CARMELLE<\/character>\n    <dialogue>I hate that hotel! Our friends are here Howard!<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Ok, a local hotel then! I was trying to make it nice!<\/dialogue>\n    <parenthetical>(to GABI)<\/parenthetical>\n    <dialogue>I'm gonna let go now.<\/dialogue>\n    <scene_description>HOWARD lets go. Slowly, inscrutably, GABI slides away. With his back turned to HOWARD, and breathing heavily, he begins to dry his body.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Gabi?<\/dialogue>\n    <scene_description>A long pause. GABI doesn't turn around.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Are you mad?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIAMI STREET, NEAR BEACH. 7 AM<\/stage_direction>\n    <scene_description>HOWARD walks with fervor, on the phone. He smokes a cigarette.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Jim... Jim... You gotta understand, I was in a really shitty place I'm in- You think I, me, Howard NAGY, wouldn't pay... When have I ever failed to pay what I owe... Well, that was a ridiculous situation and it wasn't my money to pay back... Ok then in this case you win, my brother won't talk to me and his wife is gonna kill me... Ok, the second the bank opens down here- I'll be at Chase before the manager- I have cash on me, I can put 175 grand into those accounts for you-<\/dialogue>\n    <parenthetical>(long listen)<\/parenthetical>\n    <dialogue>You'll have the funds by 9, 10, 11am... I just need them to open and then- BOOM- you've got your money... So I can tell Gabi you'll have his shit back to him by the tomorrow... Ok, by Friday?<\/dialogue>\n    <scene_description>HOWARD listens and turns onto the beach.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH, SOUTH BEACH MIAMI - CONTINUOUS<\/stage_direction>\n    <scene_description>HOWARD, barely listening, puts his phone on speaker so he can open up his browser to check an online sports betting site.<\/scene_description>\n    <character>JIM (O.S.)<\/character>\n    <parenthetical>(via speakerphone)<\/parenthetical>\n    <dialogue>-That cock-sucker what he did wasn't okay, and it put a real strain on everyone, screaming all that shit, and I don't think this, but everyone knows that he was your guy, your rec and I know it's not always guilty by association but you were associated and now this, it's not cool, you put me in a place that I don't want to be put in, I'm in a spot, you know that? How long I know you?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>A long time.<\/dialogue>\n    <character>JIM (0.S)<\/character>\n    <dialogue>A long time. I don't know many people a long time. But it doesn't mean a thing if you play with my money like that. Ok? Not again. My partners aren't as nice as I am. I'm a nice guy, you know that.<\/dialogue>\n    <scene_description>HOWARD zooms in on spreads to potential bets.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>The nicest guy in the business! I tell everyone that.<\/dialogue>\n    <character>JIM (O.S.)<\/character>\n    <parenthetical>(sardonically)<\/parenthetical>\n    <dialogue>Don't do that.<\/dialogue>\n    <scene_description>HOWARD sees a few betting lines that excite him.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Wow... Ok, okay, once the money clears can I place a few bets with you, I wanna do a 4 team parlay-<\/dialogue>\n    <scene_description>JIM tries to interrupt HOWARD.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Howar-<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>2 dimes on the Knicks to cover - the over on the half there- what's the spread on the Hawks\/Thunder game-<\/dialogue>\n    <scene_description>-ARE YOU KIDDING ME? NO. I WON'T TAKE ANYTHING TILL YOU'RE ALL SQUARED UP. NO ONE'S TAKING SHIT FROM YOU, STOP, WHILE- HOWARD disengages speakerphone. Brings phone up to ear.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>JIM.. Jim.. Jim! I'm on a beach! My phone's gonna die, don't do this! I'm holding 175k of your money in a bag right now. I swear to G-d... JIM... Jim- Yeah- Don't let-<\/dialogue>\n    <scene_description>Phone dies.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(to self)<\/parenthetical>\n    <dialogue>Mother Fucker.<\/dialogue>\n    <scene_description>An early morning JOGGER runs by the ocean with his dog. HOWARD hunches over and plays with it like a little kid. HOWARD falls to the ground, the dog licks his face all over.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPLANE. DAYTIME, 30,000 FEET.<\/stage_direction>\n    <scene_description>HOWARD sits in first class at a window seat drinking a Coke zero. He compulsively rips pages of luxury items out of an issue of SkyMall Magazine and puts them in his pocket.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIRAGE CASINO, LAS VEAGAS. CHIP EXCHANGE - DAYTIME<\/stage_direction>\n    <scene_description>HOWARD removes money from the DUANE READE BAG and places it on the teller's counter.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Gimme them in $500 chips.<\/dialogue>\n    <scene_description>The TELLER runs the cash through a money counter. Slow zoom into the digital counter. MONTAGE: HOWARD gambles at the crap tables, roulette, poker... making money hand over fist. He looks manic.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIRAGE CASINO, LAS VEAGAS. SPORTS BOOK - AFTER<\/stage_direction>\n    <scene_description>HOWARD stands at a teller's window. Flat-screen TV's fill the room displaying games, scores, stats and betting lines.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>I want 60 grand on the following parlay: Knicks to cover, with the over on the 1st half of that same game, the under on Amare's points, the Hawks to cover, and the Bulls money line over the Cavs.<\/dialogue>\n    <scene_description>TELLER types bet into ticker.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Next, I want another parlay-three games, college football, I want Boise State to cover, Notre Dame money line, and the under on Tennessee, I want that at 40 grand.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIRAGE CASINO, LAS VEGAS. NEAR SPORTS BOOK.<\/stage_direction>\n    <scene_description>HOWARD stands at a blackjack table sipping from a glass of water. He plays the DEALER alone, buying all seven hands himself. Each hand has a short stack of $1,000 chips behind them. He stares at faraway TV screens rolling ESPN.<\/scene_description>\n    <character>DEALER<\/character>\n    <dialogue>Here long?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>On business, just for the night.<\/dialogue>\n    <character>DEALER<\/character>\n    <dialogue>Ah, you waiting for any games on the east coast?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Yeah, all of them.<\/dialogue>\n    <scene_description>DEALER laughs. HOWARD looks at a pair of 3's and a pair of 4's. He splits them both and doubles down on a 6\/4 showing. A WAITRESS approaches HOWARD.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Possible to get a whole bottle?<\/dialogue>\n    <scene_description>He presents his glass.<\/scene_description>\n    <character>WAITRESS<\/character>\n    <dialogue>Sparkling water?<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(to DEALER)<\/parenthetical>\n    <dialogue>Hit all of them.<\/dialogue>\n    <character>WAITRESS<\/character>\n    <dialogue>We can't do a bottle, but I can keep them coming.<\/dialogue>\n    <scene_description>HOWARD hits blackjack on one hand and low cards on all the others.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(to WAITER)<\/parenthetical>\n    <dialogue>That's fine.<\/dialogue>\n    <scene_description>HOWARD tips her a $50 chip. ESPN runs an interview with RAY FORECASTER, a prized middleweight boxer, a superstar. FORECASTER wears sunglasses and multiple gold chains, showy. The graphic underneath him reads, \"RECORD PAY OUT FOR UPCOMING VAIDANA FIGHT, $70 MILLION.\" His phone rings. \"BLOCKED\" number. He answers.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(calmly)<\/parenthetical>\n    <dialogue>Yo... Oh, hey, yeah. Sorry, my phone's been off... Yeah, I went right to the bank when they opened, the money hasn't cleared yet?... That's strange, the transaction should be on file... Yeah, I got a number right here...<\/dialogue>\n    <character>DEALER<\/character>\n    <dialogue>I'm sorry sir, there's no phone use on the floor.<\/dialogue>\n    <scene_description>HOWARD pays no mind to the dealer, instead he pretends to look around for a piece of paper.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(to self)<\/parenthetical>\n    <dialogue>Oh where is it... ah here it is... You got a pen?... Ok, ready... Transaction from branch 654, Palm Beach, Florida: Transaction number 5A5889099231G, that's G as in Grenade...<\/dialogue>\n    <character>DEALER<\/character>\n    <dialogue>Sir, please...<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(to DEALER)<\/parenthetical>\n    <dialogue>One second<\/dialogue>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Okay, let me know.<\/dialogue>\n    <scene_description>HOWARD hangs up.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>DEALER<\/character>\n    <dialogue>That's fine.<\/dialogue>\n    <parenthetical>(referring to cards)<\/parenthetical>\n    <dialogue>What do you wanna do?<\/dialogue>\n    <scene_description>DEALER waits for a go on all hands.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Hit em all.<\/dialogue>\n    <scene_description>HOWARD busts on 5 of his 7 hands.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLAGIO HOTEL, LAS VEGAS. PRESIDENTIAL SUITE. EVENING.<\/stage_direction>\n    <scene_description>RAY FORCASTER, 35, middle-weight champion of the world, seen earlier on TV, sits with a bong in his lap in a palatial suite. SKANKS parade around in the background. A Championship Belt is strewn over the edge of the couch. On a table sits a mountain of $10,000 bundles arranged in a large pyramid. RAY wears sunglasses and glances at one of his three phones. HOWARD sits across from him, inspecting the contents of a briefcase full of bedazzled jewelry.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Hey-yo, where's the money sign pinky ring?<\/dialogue>\n    <scene_description>HOWARD looks around the room and spots the ring on the finger of PAC, a giant, BLACK BODYGUARD.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(tapping on his own pinky)<\/parenthetical>\n    <dialogue>Hey big guy.<\/dialogue>\n    <scene_description>The bodyguard reluctantly hands the ring over.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(to Ray)<\/parenthetical>\n    <dialogue>Do they comp the bottles here or do you have some type of deal with them?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>No, I pay for it all.<\/dialogue>\n    <scene_description>RAY watches a video of a jewel encrusted ROLLS ROYCE.<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>How much he want for it?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>See how it sparkles?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Yeah, I see, is it ready now?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Next week likely.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I gotta see it for real.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>You know the Jews and the Blacks, we're the same people.<\/dialogue>\n    <scene_description>RAY reads a message on one of his phones. Then hands it to PAC.<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Pac... Post that, but make sure it links TBT, TMT and shout out Justin's thing, say something about catching dreams out the window.<\/dialogue>\n    <scene_description>PAC starts typing away on RAY's phone. HOWARD continues to itemize the contents of the briefcase.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>The kids get their own suite?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Yeah, that staircase in the back connects us- they put up posters in their room and shit.<\/dialogue>\n    <scene_description>HOWARD arrives at a red diamond Cobra chain, RAY points to it as he takes a bong hit.<\/scene_description>\n    <character>RAY<\/character>\n    <parenthetical>(while holding smoke in)<\/parenthetical>\n    <dialogue>Wait... I wanna keep that one.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I can have something similar for you by next week.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Fuck that. How much you want for it?<\/dialogue>\n    <scene_description>HOWARD sends a text message to a \"JO, B\" asking \"how much for the red diamond cobra chain? Need to know now, w Forcaster\" RAY takes another hit. Sips from champagne. Empties a bottle. HOWARD takes note of RAY getting more inebriated.<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Reg!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Yo, Reg!<\/dialogue>\n    <scene_description>REG, a 7'4 heavy set black male, 30s appears.<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Grab me a few more bottles from the fridge and a bunch of more ice, this one is soupy.<\/dialogue>\n    <character>REG<\/character>\n    <dialogue>Got you.<\/dialogue>\n    <scene_description>HOWARD receives a text message, \"25.\"<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>I can do the cobra red for 50.<\/dialogue>\n    <scene_description>50?!<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Yeah... 50.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>How bout 35?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>You're killing me Ray! Lowest I can go is 45.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I'll give you 40 right now.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Fuck it, gimme 40... but you know I'm losing 5 grand on that for you.<\/dialogue>\n    <scene_description>RAY takes the chain from the briefcase, puts it around his neck and stands up to look in a mirror.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Ray, lemme ask you something, is it true you fly two G-6's, one for you and the other for your team.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>You think I'm getting on a plane with 3 Reggie's? That's half a ton nigga. It's not that much to have a second plane, that type of shit is over-inflated to the public. Like people think it's a million dollars to fly a PJ. It's only about an extra 60, 70 grand. It's my life-<\/dialogue>\n    <parenthetical>(take bong hit, holding breathe in)<\/parenthetical>\n    <dialogue>Fuck that. They can ride in their own plane.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I hear that. You got a plane going back east tonight?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Tonight? No.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Shit, I gotta get back to NYC...<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>There's one going back for my wife tomorrow morning. She's going on some show in the morning around 10.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Can I hop on that?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Yeah, okay.<\/dialogue>\n    <scene_description>HOWARD takes his camera out.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Let's do an Instagram.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Reg, come take the bong.<\/dialogue>\n    <scene_description>HOWARD positions the phone\/camera to frame both them, the jewelry and the mountain of money behind them. REG appears with a new bottle of champagne.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(while typing into phone)<\/parenthetical>\n    <dialogue>Yo, Ray, gimme 50 grand.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Gimme 50 grand.<\/dialogue>\n    <character>RAY<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>For what?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>For a shitty fuckin' day. From one bettor to another. What does that mean to you? 50k?! I lost over 340 thousand dollars today, you know that?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>You lost 340 today?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I was up 200 grand and then fell, I had a bad day- My nigga c'mon just peel off 50k and give it to me.<\/dialogue>\n    <scene_description>RAY looks at HOWARD, now looking up and making eye-contact. RAY slowly reaches for some cash, starts to count it out.<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>I'm gonna give you 50 grand, after I just agreed to give you 35?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>40- Yeah, but that's for the chain-<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>-What am I gonna be getting in return for this?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <scene_description>RAY looks at HOWARD.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Nigga, it's me. It'll come back to you.<\/dialogue>\n    <scene_description>RAY impulsively grabs 5 bundles and tosses it at HOWARD. HOWARD immediately puts it in his briefcase.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>You can hang onto one of those day- dates too, those are mine..<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Nigga, those shits are fake, you think I don't know that.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>They're not fake!<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>FakeWatchBusta already called a nigga out TWICE for rockin' those... C'mon.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>You could sell them at a discount for 10.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I'm not selling watches at all, let alone fake ones-<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>They're not fake!<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Nigga, I know they are. It's cool, I feel the hustle, but I gotta a story to tell and folex's aren't a part of it.<\/dialogue>\n    <scene_description>HOWARD laughs, posts the picture of him and Ray on Instagram.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TETERBOROUGH PRIVATE AIRPORT - ARRIVALS - EARLY MORNING.<\/stage_direction>\n    <scene_description>HOWARD exits the airport carrying one young black BOY on his shoulders and an even younger GIRL in his arms. They climb off of him as he double-kisses RAY's wife goodbye. RAY'S FAMILY hop into a pristine blacked out SUV. HOWARD turns, looks around, sees YUSSI, HOWARD'S brother-in-law, Sephardic, 36, swarthy, sits in a 7 series White BMW, and nods in acknowledgement. HOWARD approaches the car and gets in.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Where's the bottles of water?<\/dialogue>\n    <scene_description>He finds a bottle under the chair.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Always keep these in the holders.<\/dialogue>\n    <scene_description>HOWARD, sweating, opens one and guzzles water like an animal.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Was there anyone waiting at Gems when they opened this morning?<\/dialogue>\n    <character>YUSSI<\/character>\n    <dialogue>I came straight here, I know Dina's there now.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>How do you know that?<\/dialogue>\n    <parenthetical>(motions with hand)<\/parenthetical>\n    <dialogue>Go, pull out of here.<\/dialogue>\n    <scene_description>YUSSI pulls the car out of its spot.<\/scene_description>\n    <character>YUSSI<\/character>\n    <dialogue>Because she called me 15 times this morning.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>What's she saying?<\/dialogue>\n    <character>YUSSI<\/character>\n    <dialogue>I didn't answer. Her texts were all looking for you, threatening me this that and the other.<\/dialogue>\n    <scene_description>They sit in the slow lane. This infuriates HOWARD, who motions with his hands.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Go, go go! C'mon!<\/dialogue>\n    <scene_description>YUSSI laughs, HOWARD not amused.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Get out of this fuckin' lane!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DIAMOND DISTRICT - 46TH STREET BTW 6TH AND 5TH - 11 AM<\/stage_direction>\n    <scene_description>HOWARD and YUSSI jay-walk across the 46th street into an arcade\/throughway. HOWARD carries FLOWERS and a shopping bag.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 47TH STREET JEWELRY ARCADE - CONTINUOUS<\/stage_direction>\n    <scene_description>They enter a large arcade connecting 46th to 47th. The room is congested, resembling a dingy bizarre. Hundreds of glass showcases divide the space into a maze of narrow aisles. Dealers call out numbers. Others sit bored. TWO HASIDS play cards on top of a display case. Another sucks on an ice pop. YUSSI and HOWARD cut diagonally across the room, using it as a short cut to 47th Street. HOWARD makes a quick pit-stop at one of the booths. JOSHUA, an overweight middle-aged Jewish dealer, stands behind his showcase, hunched over a plate of hot food.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>You're getting crumbs all over my merchandise you disgusting pig.<\/dialogue>\n    <character>JOSHUA<\/character>\n    <parenthetical>(unperturbed)<\/parenthetical>\n    <dialogue>They were crumbs to begin with.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Look Josh, you've had 'em for three weeks now-<\/dialogue>\n    <character>JOSHUA<\/character>\n    <dialogue>So take 'em back. They're wasting valuable space.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I would. But I like you.<\/dialogue>\n    <character>JOSHUA<\/character>\n    <dialogue>Your breath smells like shit.<\/dialogue>\n    <scene_description>HOWARD slides JOSHUA'S lunch to the side of the counter, smiles at JOSHUA and walks away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 47TH ST BETWEEN 6TH &amp; 5TH AVE, THE DIAMOND DISTRICT - AFTER<\/stage_direction>\n    <scene_description>HOWARD and YUSSI walk east on 47th street past many HASIDIC MEN, tourists and street peddlers. One STREET PEDDLER, runs up:<\/scene_description>\n    <character>STREET PEDDLER<\/character>\n    <dialogue>Howard! Take a look.<\/dialogue>\n    <scene_description>The STREET PEDDLER pulls a diamond encrusted HUBLOT watch from a bag. Shows it to HOWARD. HOWARD can't help but glance at it.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Eh.<\/dialogue>\n    <character>STREET PEDDLER<\/character>\n    <dialogue>All synthetic...<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Not interested.<\/dialogue>\n    <scene_description>35%.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>HOWARD and YUSSI move past the STREET PEDDLER and turn into a building on \"The Block.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KMA GEMS AND JEWELRY OFFICE - SHOWROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>SADIE HOLMES, enters the showroom from the back. She's tough, she's street, an attractive, NYC native, late 20s. She carries a tray of small diamonds to a well-dressed WHITE GUY, 36.<\/scene_description>\n    <character>SADIE<\/character>\n    <dialogue>These are the VVS2's we have in the 1 to 2 carat range.<\/dialogue>\n    <character>WHITE GUY<\/character>\n    <dialogue>How much more are we talking if we went to flawless.<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>At this size, probably a good amount, the difference is big. Unless you wanna go synthetic, I would go with a 2 carat at this clarity.<\/dialogue>\n    <scene_description>The WHITE GUY inspects the stones. SADIE uses a tweezer to place them against different style bands.<\/scene_description>\n    <character>WHITE GUY<\/character>\n    <dialogue>I want her to feel royal. Something that'll impress her friends.<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>When I first was proposed to he gave me a V1 diamond, but big, and I personally found it to be trashy, diamonds are everywhere on that level.<\/dialogue>\n    <scene_description>WHITE GUY laughs, inspects options.<\/scene_description>\n    <character>SADIE (CONT'D)<\/character>\n    <dialogue>Look, get something like this, do a Channel setting with two smaller stones next to it. That's classy.<\/dialogue>\n    <scene_description>WHITE GUY likes it. Takes out his phone.<\/scene_description>\n    <character>WHITE GUY<\/character>\n    <dialogue>You mind if I take some pictures?<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>Not to show her I hope!<\/dialogue>\n    <character>WHITE GUY<\/character>\n    <dialogue>Nah. Her girlfriends.<\/dialogue>\n    <scene_description>LARRY, mid 40's, shaved head, track suit, interrupts them.<\/scene_description>\n    <character>LARRY<\/character>\n    <dialogue>What are those did you say?<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>You said those are what type of diamonds?<\/dialogue>\n    <character>SADIE<\/character>\n    <parenthetical>(caught off-guard)<\/parenthetical>\n    <dialogue>These are VVS-2s. You interested in something?<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>I wanna put together a ring.<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>JOANI, will you help this man.<\/dialogue>\n    <scene_description>JOANI, a co-worker, late 20's, Sephardic Jew from Long-Island, turns from her computer.<\/scene_description>\n    <character>JOANI<\/character>\n    <dialogue>What can I do for you?<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>How much are these?<\/dialogue>\n    <character>JOANI<\/character>\n    <dialogue>Depends on the cut, which one are you interested in?<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>Hmmmmmm.<\/dialogue>\n    <character>JOANI<\/character>\n    <dialogue>Do you have a wholesale license?<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>To be honest, I'm really just waiting for Howard... But I am interested in this.<\/dialogue>\n    <scene_description>BUZZZZZ! SADIE looks over to the security monitor and sees HOWARD and YUSSI waiting outside the door. She buzzes them through the first set of doors. They enter into a small vestibule and wait several seconds for the door behind them to completely close.<\/scene_description>\n    <character>JOANI<\/character>\n    <dialogue>I'm not following you.<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>I wanna buy something...<\/dialogue>\n    <scene_description>SADIE buzzes them through the second door into the showroom.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Larry? Oh for Christ's sake.<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>No, Howard, you need to listen-<\/dialogue>\n    <scene_description>HOWARD hands ELAN, 19, HOWARD's nephew and staff errand boy, his briefcase.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Take that down to JO's.<\/dialogue>\n    <scene_description>ELAN is buzzed out of the space. HOWARD hands his phone to SADIE.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Charge this for me.<\/dialogue>\n    <scene_description>HOWARD pinches her ass. SADIE jerks away.<\/scene_description>\n    <character>SADIE<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>DINA's in the backroom.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>YUSSI walks behind the showcase and into the backroom.<\/scene_description>\n    <character>YUSSI<\/character>\n    <dialogue>Oh hey, DINA.<\/dialogue>\n    <character>DINA (O.S.)<\/character>\n    <dialogue>You don't wanna answer my calls? What kind of brother are you... HOWARD!<\/dialogue>\n    <scene_description>DINA, 40s, olive-skinned, made up, Sephardic, storms into the showroom.<\/scene_description>\n    <character>DINA<\/character>\n    <parenthetical>(yelling)<\/parenthetical>\n    <dialogue>Why is the account overdrawn?! I went by the bank and they told me there's nothing they can do until more funds are there. What is that?!<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>It's nothing, it's a mistake. You want these?<\/dialogue>\n    <scene_description>HOWARD tries to give her the flowers. She swats them onto the floor.<\/scene_description>\n    <character>DINA<\/character>\n    <dialogue>Shove em up your ass. Time-Warner and Gas arent paid. We'll have no gas and no TV.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>They're not shutting anything off, you idiot. It's just a big misunderstanding, I'm moving funds around.<\/dialogue>\n    <character>DINA<\/character>\n    <dialogue>Why is Carmelle calling me at 1am last night, non stop? Huh!?! Why is she blaming me- you- for all her furniture missing. Why is her furniture missing?<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(annoyed)<\/parenthetical>\n    <dialogue>And what do you think I've been doing for the past 36 hours? Sailing?<\/dialogue>\n    <character>DINA<\/character>\n    <dialogue>I have no idea what you do.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>It's a big misunderstanding, Honey, this gentleman-<\/dialogue>\n    <character>DINA<\/character>\n    <dialogue>-The debit card isnt working either-<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>-I said don't worry about it. It's all being taken care of.<\/dialogue>\n    <character>DINA<\/character>\n    <dialogue>Don't lie to me Howard.<\/dialogue>\n    <scene_description>HOWARD points to the showroom. HOWARD says quietly.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>What are you doing? Why are you doing this in front of everyone here?<\/dialogue>\n    <scene_description>DINA's phone rings. She looks at it. Silences it.<\/scene_description>\n    <character>DINA<\/character>\n    <dialogue>I have shit I have to do!<\/dialogue>\n    <scene_description>DINA's phone rings again. She shows the Caller ID to HOWARD.<\/scene_description>\n    <character>DINA<\/character>\n    <dialogue>It's Eddie... great.<\/dialogue>\n    <scene_description>She answers it.<\/scene_description>\n    <character>DINA<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Eddie... Yes, I'm here with daddy, what's up... I don't know<\/dialogue>\n    <parenthetical>(looks to HOWARD)<\/parenthetical>\n    <dialogue>Are you coming home for dinner?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Possibly.<\/dialogue>\n    <character>DINA<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>No, he's not coming.<\/dialogue>\n    <scene_description>LARRY watches HOWARD attentively. JOANI plays on her phone. DINA ACTIVELY avoids eye contact with SADIE and retreats to the backroom.<\/scene_description>\n    <character>LARRY<\/character>\n    <dialogue>Listen Howard-<\/dialogue>\n    <scene_description>HOWARD, now visibly annoyed, looks down at the tray of gems.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>What is this!?!<\/dialogue>\n    <parenthetical>(to SADIE)<\/parenthetical>\n    <dialogue>Sadie, put this back in the safe.<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>Wait a second. You haven't been calling me back and the address you gave me was no good so I figured I would come to where you work to get what you owe me.<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>You realize this stuff isn't mine. This is all on loan. Who am I? King Tut?<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>You can't keep stiffing me like this. And I hear you're placing bets with other-<\/dialogue>\n    <scene_description>HOWARD pulls LARRY aside so no one can hear their conversation.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Listen, Larry I told you I would have the money in a week.<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>I don't care, I'm not fucking around here Howard, I need that money! I WANT IT NOW!<\/dialogue>\n    <scene_description>WHITE GUY glances in their direction.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Larry, will you hold on a second?<\/dialogue>\n    <scene_description>HOWARD dips into the back room...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KMA GEMS AND JEWELRY OFFICE- BACKROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>DINA still on the phone, gathering her things. She now has sunglasses on. HOWARD approaches her, she pushes him away annoyed.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Here, take this and go get yourself something nice at Barney's, get lunch at Fred's...<\/dialogue>\n    <scene_description>HOWARD shoves a handful of cash into her jacket pocket. She removes the bundle for a second, looks at it, pulls away from the phone and looks at HOWARD.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>See?<\/dialogue>\n    <scene_description>HOWARD and DINA rejoin the showroom...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KMA GEMS AND JEWELRY OFFICE- SHOWROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>DINA, engaged with the phone, leads HOWARD.<\/scene_description>\n    <character>DINA<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Baby, no, I'm leaving Daddy now, will you give me a second... hey! Hold on a second.<\/dialogue>\n    <parenthetical>(to HOWARD)<\/parenthetical>\n    <dialogue>Okay, I'll call you after Barney's, but call the bank and straighten all this out now.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>DINA is buzzed out of the space.<\/scene_description>\n    <character>LARRY<\/character>\n    <dialogue>So there's enough for Barney's but not enough for me?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>How dare you!?! Can't you see that I got a lot of shit going on right now? I haven't touched over 5 grand in a month, seriously. I just got out of the hospital.<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>Your word is nothing, I went by the hospital.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Which hospital?<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>Sinai.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I told you Beth Israel.<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>No, you didnt. But I checked there too.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>When?<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>Friday.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I was let out on Wednesday...<\/dialogue>\n    <parenthetical>(assures him)<\/parenthetical>\n    <dialogue>You want to see the hospital bracelet?<\/dialogue>\n    <scene_description>BUZZZZ! A large black BODY GUARD appears on the surveillance monitor. SADIE buzzes them in. The BODY GUARD enters and immediately barks orders to the showroom.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Larry, I'm sorry, you're gonna have to leave. Call me on my cell.<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>Your cell's no good.<\/dialogue>\n    <scene_description>HOWARD starts to walk him towards the door.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>The 987 number?<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>That one's no good anymore, Larry, I told you that... Call 917 871 4147.<\/dialogue>\n    <scene_description>LARRY enters the numbers into his phone and immediately calls it. A pause. Howard's cellphone RINGS.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>We good?<\/dialogue>\n    <scene_description>BODY GUARD 1 tugs on LARRY's arm.<\/scene_description>\n    <character>BODYGUARD 1<\/character>\n    <dialogue>Alright, pack it up, you gotta get outta here.<\/dialogue>\n    <scene_description>LARRY looks over to HOWARD for assistance.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Sorry, Larry... Next week, I promise...<\/dialogue>\n    <scene_description>HOWARD points to the bouncers.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>This could be the answers to all our problems.<\/dialogue>\n    <scene_description>The BODYGUARDS pressure LARRY out of the office.<\/scene_description>\n    <character>BODYGUARD 1<\/character>\n    <dialogue>Alright, everyone out.<\/dialogue>\n    <character>WHITE GUY<\/character>\n    <dialogue>I was in the middle of...<\/dialogue>\n    <parenthetical>(looks to SADIE)<\/parenthetical>\n    <dialogue>Tell him, I just was.<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>I'm sorry, hon.<\/dialogue>\n    <character>WHITE GUY<\/character>\n    <dialogue>Seriously?<\/dialogue>\n    <scene_description>BODYGUARD 2 walks over and begins to nudge the WHITE GUY.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Come back in an hour or so.<\/dialogue>\n    <scene_description>As WHITE GUY leaves, AMARE STOUDEMIRE, 30, black, a 7 foot superstar basketball player enters the space, kissing a mezuzah on his way in. With him are DEMANY, 30, black, flashy, wearing a lot of jewlery, PRIVELEJ, 29, heavy-set rapper, lots of jewelry, a YOUNGER BLACK MALE and a WHITE YOUNG WOMAN. DEMANY embraces HOWARD.<\/scene_description>\n    <character>DEMANY<\/character>\n    <dialogue>What's Gucci Howard?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Demany!<\/dialogue>\n    <scene_description>DEMANY introduces AMARE.<\/scene_description>\n    <character>DEMANY<\/character>\n    <dialogue>AMARE, that's Howard.<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(with arms outstretched)<\/parenthetical>\n    <dialogue>Baruch hashem, AMARE. I can't begin to tell you what an honor it is to have you here, in MY showroom. You happen to be a personal hero of mine, and I want you to feel entirely at home here, and needless to say, what's mine is yours.<\/dialogue>\n    <character>AMARE<\/character>\n    <parenthetical>(sweetly, softly)<\/parenthetical>\n    <dialogue>I appreciate being here. When I enter into a new environment what I most prefer is the freedom to explore my space, quietly and peacefully, and let things come to me... do you mind if I do that?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Not at all... Sadie.<\/dialogue>\n    <parenthetical>(to Sadie)<\/parenthetical>\n    <dialogue>Can you bring AMARE some refreshments?<\/dialogue>\n    <scene_description>HOWARD offers a hundred dollar bill to SADIE.<\/scene_description>\n    <character>SADIE<\/character>\n    <dialogue>What should I-<\/dialogue>\n    <character>AMARE<\/character>\n    <dialogue>I'm not thirsty. I'm not hungry. But thank you. Can I explore?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Be my guest.<\/dialogue>\n    <scene_description>AMARE quietly surveys the showroom. He begins by examining the photo gallery on the walls: a collection of famous people posing with HOWARD...e.g. JR Smith, Patrick Ewing, Cam'ron, Cindy Lauper, Wiz Khalifa, Ja Rule, Al Goldstein, Cypress Hill, Ray Forcaster... etc.. HOWARD watches him in great anticipation.<\/scene_description>\n    <character>DEMANY<\/character>\n    <parenthetical>(To HOWARD, whispering)<\/parenthetical>\n    <dialogue>I hook you up or what?<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>You're incredible.<\/dialogue>\n    <character>DEMANY<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>I told you I'd bring AMARE, and what I do? What I do?<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>You brought AMARE.<\/dialogue>\n    <scene_description>AMARE explores the showcases muttering quietly to himself. The rest of the posse start to browse as well, while PRIVELEJ sidles up to SADIE.<\/scene_description>\n    <character>PRIVELEJ<\/character>\n    <dialogue>Look at you, huh.<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>What about me?<\/dialogue>\n    <character>PRIVELEJ<\/character>\n    <parenthetical>(to HOWARD)<\/parenthetical>\n    <dialogue>How much for her?<\/dialogue>\n    <scene_description>SADIE reaches over and grabs PRIVELEJ'S cellphone from his hand.<\/scene_description>\n    <character>SADIE<\/character>\n    <dialogue>How much for you?<\/dialogue>\n    <scene_description>She starts looking through the photos on his phone. HOWARD looks annoyed.<\/scene_description>\n    <character>PRIVELEJ<\/character>\n    <dialogue>Oh, you're dangerous. I like that!<\/dialogue>\n    <parenthetical>(to DEMANY)<\/parenthetical>\n    <dialogue>Yo this girl is tight. Grabs my phone like that!<\/dialogue>\n    <scene_description>SADIE zooms in on a nude picture of PRIVELEJ.<\/scene_description>\n    <character>PRIVELEJ<\/character>\n    <dialogue>Alright, give it back to me.<\/dialogue>\n    <scene_description>YUSSI re-enters the space, he rests his arms on the showcase.<\/scene_description>\n    <character>DEMANY<\/character>\n    <parenthetical>(to YUSSI)<\/parenthetical>\n    <dialogue>That's that Day-date with the President bracelet?<\/dialogue>\n    <scene_description>YUSSI holds his wrist out for DEMANY.<\/scene_description>\n    <character>YUSSI<\/character>\n    <dialogue>Yeah, solid yellow. You like it?<\/dialogue>\n    <character>DEMANY<\/character>\n    <dialogue>Shit's hot.<\/dialogue>\n    <parenthetical>(to PRIVELEJ)<\/parenthetical>\n    <dialogue>Yo Priv, check out this Roley.<\/dialogue>\n    <scene_description>PRIVELEJ leaves SADIE and moves over to inspects YUSSI'S Rolex. HOWARD, again, looks annoyed.<\/scene_description>\n    <character>YUSSI<\/character>\n    <dialogue>I can get them for you in yellow or Rose for cheap.<\/dialogue>\n    <character>PRIVELEJ<\/character>\n    <dialogue>Oh yeah, how much?<\/dialogue>\n    <character>YUSSI<\/character>\n    <dialogue>23 or 24.<\/dialogue>\n    <character>PRIVELEJ<\/character>\n    <dialogue>That's a good price. With the box and papers?<\/dialogue>\n    <character>YUSSI<\/character>\n    <dialogue>With box and papers.<\/dialogue>\n    <character>PRIVELEJ<\/character>\n    <parenthetical>(to DEMANY)<\/parenthetical>\n    <dialogue>We gotta get AMARE up on this.<\/dialogue>\n    <scene_description>HOWARD approaches YUSSI.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>YUSSI, please, what are you doing?<\/dialogue>\n    <character>YUSSI<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Stop! Now!<\/dialogue>\n    <scene_description>HOWARD drifts back. YUSSI, upset, retreats to the backroom.<\/scene_description>\n    <character>DEMANY<\/character>\n    <parenthetical>(To AMARE, whispering)<\/parenthetical>\n    <dialogue>This nigga can encrust anything.<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(soft, eager)<\/parenthetical>\n    <dialogue>Anything you want. I'm your nigga.<\/dialogue>\n    <character>AMARE<\/character>\n    <dialogue>Is this true?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Of course...<\/dialogue>\n    <scene_description>AMARE shifts his weight from one knee to other, and stretches.<\/scene_description>\n    <character>SADIE<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>You have the longest arms. Hold 'em out.<\/dialogue>\n    <scene_description>AMARE smiles and displays his incredible wingspan.<\/scene_description>\n    <character>SADIE<\/character>\n    <dialogue>That's insane.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Just incredible...<\/dialogue>\n    <scene_description>SADIE laughs. Leaning on the showcase, AMARE looks at the gems.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>You're going to that big ball?<\/dialogue>\n    <character>AMARE<\/character>\n    <dialogue>How do you know about that?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I know everything.<\/dialogue>\n    <character>AMARE<\/character>\n    <dialogue>Yeah... I want something Hebrew.<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>Hebrew...<\/dialogue>\n    <character>AMARE<\/character>\n    <dialogue>Maybe a Hai with a little...<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Don't say ice... You're not a diamond guy, everyone's got diamonds.<\/dialogue>\n    <character>AMARE<\/character>\n    <dialogue>What do you mean by that?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>You're not an ice guy,<\/dialogue>\n    <character>AMARE<\/character>\n    <parenthetical>(joking)<\/parenthetical>\n    <dialogue>No more Mr. Ice guy.<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>Sure a little ice here and there, but you're like a pigeon vein blood red ruby or a dancing sapphire...<\/dialogue>\n    <parenthetical>(readjusting)<\/parenthetical>\n    <dialogue>Look, if you want stones, I can get that for you too... I take care of people I love, ask anyone.<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>What about that ruby Jo sent over?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>The cushion 6? Yeah, go get that.<\/dialogue>\n    <scene_description>SADIE heads to the backroom. EMANY, AMARE and PRIVLEJ inspect the pieces out on the showcase. SADIE returns and places a box in front of HOWARD.<\/scene_description>\n    <character>YUSSI<\/character>\n    <parenthetical>(gruff)<\/parenthetical>\n    <dialogue>I'm out. Be back in an hour.<\/dialogue>\n    <character>DEMANY<\/character>\n    <dialogue>I'll let you know about that Day- Date. Come by Priv's show-<\/dialogue>\n    <parenthetical>(redirects to HOWARD)<\/parenthetical>\n    <dialogue>Yo, Howard, you too. You gotta come to Priv's show tomorrow night.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Tomorrow? Sure. Wait, fuck, I have my kid's play...<\/dialogue>\n    <character>PRIVELEJ<\/character>\n    <parenthetical>(to SADIE)<\/parenthetical>\n    <dialogue>You should come.<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>PRIVELEJ<\/character>\n    <dialogue>Webster hall. I go on around 10.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Oh! I can make it by then.<\/dialogue>\n    <character>PRIVELEJ<\/character>\n    <parenthetical>(to SADIE)<\/parenthetical>\n    <dialogue>What about you?<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>I can be there whenever.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Yeah, I'll meet up with you guys at 10, or just before, probably.<\/dialogue>\n    <character>YUSSI<\/character>\n    <dialogue>I can't come tomorrow, but text me about the Day-date. Joani, buzz.<\/dialogue>\n    <scene_description>YUSSI hands DEMANY a card and is buzzed out.<\/scene_description>\n    <character>AMARE<\/character>\n    <dialogue>Demany, what time is it?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>What time you gotta be somewhere?<\/dialogue>\n    <character>DEMANY<\/character>\n    <dialogue>Nigga, Howard's good people.<\/dialogue>\n    <character>JOANI<\/character>\n    <dialogue>Show him the ruby.<\/dialogue>\n    <scene_description>HOWARD pulls a gold jeweler's loupe from a necklace around his neck. He hands the loupe to AMARE and offers him the ruby. AMARE leans heavily on the showcase.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Amare, sorry but if you need to lean on the case, please lean on the edges, not the glass, please.<\/dialogue>\n    <scene_description>AMARE puts the loupe down, disinterested.<\/scene_description>\n    <character>AMARE<\/character>\n    <dialogue>I don't feel this.<\/dialogue>\n    <scene_description>BUZZZZ! NADAV appears at the door with a large Styrofoam crate over his shoulder. SADIE buzzes him in.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Who's that?<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>Nadav.<\/dialogue>\n    <scene_description>NADAV enters carrying an enormous wooden crate. HOWARD grows excited, puts his arm around AMARE.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Oh... my... god, AMARE. You're gonna LOVE this.<\/dialogue>\n    <scene_description>NADAV moves towards the backroom. HOWARD follows him.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Amare, gimme a second, please. It's for you. Please. I've got a bunch of Powerade in the fridge...<\/dialogue>\n    <character>AMARE<\/character>\n    <dialogue>Thank you. I'm not thirsty.<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(to SADIE)<\/parenthetical>\n    <dialogue>Show 'em what we did with Fat Joe.<\/dialogue>\n    <parenthetical>(To AMARE)<\/parenthetical>\n    <dialogue>When he was actually fat!<\/dialogue>\n    <scene_description>HOWARD hurries into the back room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KMA GEMS AND JEWELRY OFFICE - BACKROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>HOWARD now serious.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(to NADAV)<\/parenthetical>\n    <dialogue>It's heavy?<\/dialogue>\n    <character>NADAV<\/character>\n    <parenthetical>(without breathing)<\/parenthetical>\n    <dialogue>Yeah...<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <scene_description>NADAV puts the crate down on the desk. HOWARD grabs a crowbar and cracks open the case. Inside is a styrofoam crate and inside that are 4 large fish wrapped in clear vacuum sealed bags. He slices one of them open, searches inside, nothing... He grabs another fish, cuts it open. Nothing. He grabs another, slices and pulls out a wet black plastic bag the size of a grapefruit. Inside this bag is a large uncut 600 carat Black Opal (the gem from the African mine). He grabs a loupe and looks into an opening in the gem. IT'S... IT'S BEAUTIFUL!!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KMA GEMS AND JEWELRY OFFICE - SHOWROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>HOWARD rushes out of the back room, gem in hand. NADAV follows.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>This is your lucky day, Amare.<\/dialogue>\n    <scene_description>HOWARD presents the BLACK OPAL to AMARE who leans on the glass showcase to look at it.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>VERY special. From an untapped mine in Ethiopia.<\/dialogue>\n    <scene_description>HOWARD hands him a loupe. AMARE takes it and looks into the gem.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>I can have it cut up and have a couple carats set into anything, earrings, charms, been tracking it for a while, not easy to get...<\/dialogue>\n    <scene_description>AMARE closely inspects the gem, transfixed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INSIDE THE GEMSTONE - CONTINUOUS<\/stage_direction>\n    <scene_description>The camera zooms into the GEM. Again, we see a kaleidoscope of color, light, and swirling abstract shapes. A psychedelic trip. Hauntingly beautiful and mesmerizing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KMA GEMS AND JEWELRY OFFICE - SHOWROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>CRAAAASH! All of a sudden, AMARE's elbows break through the glass showcase. HOWARD, JOANI and SADIE scream, DEMANY and PRIVELEJ jump back in shock. AMARE! FUCK! AMARE'S arms are covered in blood. He pulls himself out of his reverie. SADIE runs over with some paper towels and tends to his elbows.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>I said don't lean on it! You all heard me!<\/dialogue>\n    <character>AMARE<\/character>\n    <parenthetical>(dazed)<\/parenthetical>\n    <dialogue>Let me take it tonight.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>AMARE<\/character>\n    <dialogue>Lemme have it tonight. I need it.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I- It's set for auction next week... I'm already late for appraisal...<\/dialogue>\n    <scene_description>AMARE gives him a deep soulful stare.<\/scene_description>\n    <character>AMARE<\/character>\n    <dialogue>One night. 16 hours. What's 16 hours with sleep?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Amar'e, I'm sorry.<\/dialogue>\n    <character>AMARE<\/character>\n    <dialogue>I'll gram 3 pictures of you and me together right now- And! I'll post a pic of the stone afterwards and say 'my game shines because of it.'<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Ah shit. Tag NAGY in the picture and in the comment?<\/dialogue>\n    <character>AMARE<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Follow me and 'like' 30 pictures.<\/dialogue>\n    <character>AMARE<\/character>\n    <dialogue>This very second.<\/dialogue>\n    <scene_description>HOWARD thinks long and hard.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Tomorrow, ok? No excuses.<\/dialogue>\n    <character>AMARE<\/character>\n    <dialogue>You have my word, Howard.<\/dialogue>\n    <character>BODY GUARD 1<\/character>\n    <dialogue>You better pray he's good tonight.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Wha'?! It's glass, it's not meant to support all that weight.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BORATTA'S RESTAURANT - EARLY EVENING<\/stage_direction>\n    <scene_description>HOWARD strolls into the restaurant. ANTHONY, an impeccably groomed Italian, mid 40's, sits at a corner table quietly enjoying a steak. He looks up.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>Howard, what are you doing here?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>You don't answer my calls.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>I don't answer your calls because there's no reason for us to talk.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I wanna make a play.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>I'm done taking your action.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>-I got cash for you baby. Not looking for a credit line.<\/dialogue>\n    <scene_description>HOWARD pulls a manila envelope from his jacket.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>65 grand.<\/dialogue>\n    <scene_description>HOWARD slides a Rolex watch box towards ANTHONY.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>And this, for putting up with me.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>A parlay. 5 teams.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>You wanna do a 5 way sixty-five k?!<\/dialogue>\n    <scene_description>A WAITRESS passes by.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Honey, a diet coke please.<\/dialogue>\n    <character>WAITRESS<\/character>\n    <dialogue>How are you Ant?<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Fine. Thanks.<\/dialogue>\n    <scene_description>WAITRESS leaves.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>I want the Knicks money-line, wanna do that with the over on Amare's points plus rebounds, the Thunder to cover, King's 2nd quarter, and the under on the Blazers\/Heat, but I want to buy half a point.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>That's like 4 to 1...<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Too much trouble. You gotta spread a bet like that out over more books.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I can't take it elsewhere.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>And why not?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Look, I got the cash here now. You want my action or not?<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Fuck it, I'll lay a bunch of it off... gimme the envelope.<\/dialogue>\n    <scene_description>HOWARD hands ANTHONY the envelope.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Perfect! I don't know how you make it in your business, being so kind.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Enough. Let me eat.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>You know what, I'll get a bite, what's good here?<\/dialogue>\n    <parenthetical>(to WAITRESS)<\/parenthetical>\n    <dialogue>Can I see a menu?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAR - NIGHT<\/stage_direction>\n    <scene_description>HOWARD sits in a loud, crowded sports bar watching the Knicks game and surveying his Instagram account. A notification pops up to inform him that he has 549 new followers. He clicks on a photo of himself and AMARE taken earlier in his showroom. In it, HOWARD is making the peace sign. The comment: \"@Chocol8Monsta: peep this sweaty fatass JEWler\"<\/scene_description>\n    <character>ANNOUNCER (ON TV)<\/character>\n    <dialogue>A mythical performance from AMARE Stoudemire!<\/dialogue>\n    <scene_description>HOWARD looks up to the television.<\/scene_description>\n    <character>COLOR COMMENTATOR (ON TV)<\/character>\n    <dialogue>29 points, 15 rebounds and 7 assists and still 28 minutes of basketball to play.<\/dialogue>\n    <scene_description>HOWARD claps his hands like a circus seal.<\/scene_description>\n    <character>ANNOUNCER (ON TV)<\/character>\n    <dialogue>This will go down in history. And he's playing with those cumbersome bandages!<\/dialogue>\n    <scene_description>AMARE appears at the free throw with bandages on his elbows. He adjusts them before his shot.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(to self)<\/parenthetical>\n    <dialogue>Okay, great, that's two...<\/dialogue>\n    <parenthetical>(to BARTENDER)<\/parenthetical>\n    <dialogue>What's the score of the Thunder game?<\/dialogue>\n    <scene_description>The BARTENDER looks at his phone.<\/scene_description>\n    <character>BARTENDER<\/character>\n    <dialogue>Up by 4 with six remaining.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Okay, I gotta run.<\/dialogue>\n    <scene_description>HOWARD throws a fifty dollar bill onto the bar.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 3RD AVENUE. AFTER.<\/stage_direction>\n    <scene_description>HOWARD listens to a game on his phone while walking.<\/scene_description>\n    <character>BROADCASTER (VOICE)<\/character>\n    <dialogue>...12 points, 10 rebounds and 9 assists, just one shy of a triple double.<\/dialogue>\n    <character>BROADCASTER 2 (VOICE)<\/character>\n    <dialogue>You know, if I'm Eastrick, I'm thinking about this victory. When he's not looking to score, they function much better as a team.<\/dialogue>\n    <scene_description>HOWARD stops walking.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>No, No... Don't dribble it out.<\/dialogue>\n    <character>BROADCASTER 1 (VOICE)<\/character>\n    <dialogue>Yeah, they should just be able to dribble this one out, 110 to 100.<\/dialogue>\n    <character>BROADCASTER 2 (VOICE)<\/character>\n    <dialogue>Wait, what? It looks like Eastrick just called a time out!<\/dialogue>\n    <character>BROADCASTER 1<\/character>\n    <dialogue>Yes, Eastrick calls a time out with 15 seconds to go. Bizarre!<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Yes, yes! Eastrick, go for the triple double!<\/dialogue>\n    <scene_description>HOWARD stands in the middle of the sidewalk.<\/scene_description>\n    <character>BROADCASTER 2 (VOICE)<\/character>\n    <dialogue>Wow, Adelman's upset. Looks like he told his team to stay at center court, allowing Eastrick a free ride to his triple double. Adelman doesn't like this one bit...<\/dialogue>\n    <scene_description>HOWARD stands in shock, the biggest smile starting to emerge.<\/scene_description>\n    <character>BROADCASTER 1<\/character>\n    <dialogue>Eastrick catches an inbound pass, passes to Nar Tour\u00e9 up-court who slams it in for 2 points! This is incredible. There's the buzzer.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Yesssssss!<\/dialogue>\n    <character>BROADCASTER 2<\/character>\n    <dialogue>And with that final assist the Thunder win it 112-100<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Holy fucking shit! I hit! I hit!<\/dialogue>\n    <scene_description>Enraptured, HOWARD almost throws his phone against a building.<\/scene_description>\n    <character>BROADCASTER 1<\/character>\n    <dialogue>This will be infamous. Adelman has already left the floor, and none of the players are shaking hands.<\/dialogue>\n    <character>BROADCASTER 2<\/character>\n    <dialogue>Yeah, I'm not sure I'm a fan of this-Greedy, unsportsmanlike, selfish, self-serving, I'm with Adelman here.<\/dialogue>\n    <scene_description>HOWARD realizes he's standing right in front of Wollenky's steakhouse.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EAST 55TH STREET - AFTER<\/stage_direction>\n    <scene_description>HOWARD carries two take-out bags from Wollensky's. He sees a bum sleeping on his side.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Hey?<\/dialogue>\n    <scene_description>HOWARD leans in for another look.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Hey, you up? You like steak?<\/dialogue>\n    <scene_description>The HOMELESS GUY doesn't move. HOWARD removes a container of food from one of his bags and places it next to the sleeping man. He then pulls out a bankroll of money, peels off a few $100s and shoves 'em into the HOMELESS GUY's coat pocket. The HOMELESS GUY suddenly springs up. HOWARD sees his face; a gaunt grizzled toothless horror show. AAAAAAHHHHH! HOWARD scurries away as quickly as possible.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOWARD'S APARMENT BUILDING - JUST AFTER<\/stage_direction>\n    <scene_description>HOWARD approaches the door of his apartment building. A doorman runs to open it for him. NAGY! HOWARD walks in.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Alex, my friend, how are you?<\/dialogue>\n    <character>ALEX DOORMAN<\/character>\n    <dialogue>All good.<\/dialogue>\n    <scene_description>HOWARD asks FRANK, a concierge behind a desk.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Frank, anything?<\/dialogue>\n    <character>FRANK CONCIERGE<\/character>\n    <dialogue>No, Sir.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>If anyone comes by, we left town.<\/dialogue>\n    <character>FRANK CONCIERGE<\/character>\n    <dialogue>Of course, Sir.<\/dialogue>\n    <scene_description>HOWARD steps into the elevator.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOWARD'S APARTMENT- KITCHEN\/LIVING ROOM - AFTER<\/stage_direction>\n    <scene_description>HOWARD kicks off his shoes in a small vestibule and throws his keys onto a side table.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Sadie! Baby! YO, YO! I got dinner.<\/dialogue>\n    <scene_description>The vestibule opens up onto the living room, which is littered with gizmos and gadgets; the kind of ware only offered on television infomercials and in-flight catalogues. The apartment is the epitome of garish nouveau riche decor; shiny blacks surfaces, faux marble, leather, wall to wall carpeting, a big salt-water fish-tank. HOWARD walks to the bedroom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOWARD'S APARTMENT. THE BEDROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>The room is a mess. Clothes spill out from the closet, the California-King bed is unmade. The mirrors surrounding the big bed have smudges on them.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Yo!<\/dialogue>\n    <scene_description>HOWARD walks into the bathroom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOWARD'S APARTMENT- BATHROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>SADIE springs up in the bathtub.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>What's up, you don't say hello?<\/dialogue>\n    <character>SADIE<\/character>\n    <parenthetical>(covering herself)<\/parenthetical>\n    <dialogue>I'm in the tub!<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Why you covering yourself up?<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(looks around)<\/parenthetical>\n    <dialogue>I brought you a steak from Wollensky's, with the crunchy onion strings and vegetable sides.<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>Thanks. I'll eat it later.<\/dialogue>\n    <scene_description>HOWARD looks at SADIE's legs in the tub.<\/scene_description>\n    <character>SADIE<\/character>\n    <parenthetical>(doesn't care)<\/parenthetical>\n    <dialogue>Oh, yeah. There were a bunch of messages from the management about rent payment not going through.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Uh huh.<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>They were pretty upset about it.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I'll deal with it.<\/dialogue>\n    <scene_description>HOWARD still annoyed that she's covering herself.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Why're there smudge marks all over the mirror near the bed?<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>I don't know. I touched it.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>You touched it?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Ya know, I can get a maid to come by more than once a week.<\/dialogue>\n    <character>SADIE<\/character>\n    <parenthetical>(short)<\/parenthetical>\n    <dialogue>No need to waste money.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Then, you should pick up around here, a maid once a week should be enough and she charges me more when it gets like this, all messy, I'm not made of money.<\/dialogue>\n    <scene_description>HOWARD flips the fan on.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>You should use this, it conditions the air, makes it feel fresh. Also the moisture will mold up the wallpaper.<\/dialogue>\n    <scene_description>HOWARD organizes the toiletries around the sink.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Stinks like cigarettes in here. It's disgusting. The whole place reeks of cigarettes.<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>It'll air out.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Well it hasn't...<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>Can you please give me some privacy? I'm gonna get out.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Just get out with me in here, I wanna clean.<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>Howard, out.<\/dialogue>\n    <scene_description>HOWARD exits.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOWARD'S APARTMENT- HOWARD'S BEDROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>HOWARD examines the smudge marks on the mirror while he unbuttons his shirt. They look like different types of fingerprints. HOWARD shifts out of it, turns on a 70 inch television and leaves the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOWARD'S APARTMENT- KITCHEN\/LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>HOWARD grabs a remote and powers up each of his 6 flat screens, one at a time. ESPN, NBA TV, ESPN 2, HBO, Shopping Network. AMARE appears on one of the TV's for a post game interview. It's muted but AMARE appears to be giddy. HOWARD un-mutes it. HOWARD makes a call on his phone.<\/scene_description>\n    <character>AMARE<\/character>\n    <parenthetical>(on TV)<\/parenthetical>\n    <dialogue>Sometimes the gods beckon you from above...<\/dialogue>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>Tonight, I guess we saw that communication.<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(to TV\/AMARE)<\/parenthetical>\n    <dialogue>I love you!<\/dialogue>\n    <scene_description>HOWARD waltzes back into his bedroom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOWARD'S APARTMENT- HOWARD'S BEDROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>AMARE appears on his bedroom TV as well. SADIE is standing behind an open closet door changing into a nightgown.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Demany, it's Howard. I'm sure you guys are out celebrating- Listen, I have a lot riding on that gem, I was crazy to give it to him in the first place. Not that I mind, but I absolutely need it back in my hands tomorrow morning, by 9am. Alright? You don't have to call me back, just please make sure you're at the office at 9 with the gem.<\/dialogue>\n    <scene_description>HOWARD hangs up.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>What is this hiding from me shit?!<\/dialogue>\n    <scene_description>HOWARD walks over to the closet and closes the door, exposing SADIE topless in her underwear.<\/scene_description>\n    <character>SADIE<\/character>\n    <dialogue>Howard, stop!<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Stop what? Stop buying you things? Stop bringing you your favorite food? You know I was in an incredible mood when I came in. I come home and the place is like shit.<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>The place is fuckin' fine!<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Who was in the apartment?<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>No one!<\/dialogue>\n    <scene_description>HOWARD runs over to the smudge marks on the mirror.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Whose finger prints are these? There are more than one set of prints here!<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>You're acting like a crazy person.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I don't think so.<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>I'm not gonna argue with you about this.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>What do you even have to argue?<\/dialogue>\n    <scene_description>SADIE ignores HOWARD.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Huh!?! I've had a terrible 48 hours and you don't even ask how I'm doing?<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>You just said you were feeling incredible.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>But before that I wasn't. Everyone asks me bullshit all day, all they do is want! They all want something from me, what is that? It's not a good feeling. Soon I'll be all skin, no meat.<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>I'm sorry, Howard, how are you?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I seriously was on a high when I walked in, felt like a million bucks, really! I went and got you that food, for us-<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>I can't help it that I ate already.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Did you even know I had to go to Florida?<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>No. How could I know that?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>But you weren't wondering where I was. Did you even notice that I was gone?<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>Of course I did.<\/dialogue>\n    <scene_description>SADIE warms up a little, leans against wall.<\/scene_description>\n    <character>SADIE<\/character>\n    <dialogue>You're right. I'm sorry Howie.<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(looks at her legs)<\/parenthetical>\n    <dialogue>You know what's crazy? I just had a sudden impulse to fuck you from behind.<\/dialogue>\n    <scene_description>SADIE retracts.<\/scene_description>\n    <character>SADIE<\/character>\n    <dialogue>Jesus, Howard!<\/dialogue>\n    <scene_description>SADIE storms out of the room. On the television: a heroic slow- motion shot of AMARE flying through the air.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KMA GEMS AND JEWELRY OFFICE- BACKROOM - MORNING<\/stage_direction>\n    <scene_description>A phone set on speaker blares rings throughout the backroom, which buzzes with morning activity. ELAN works on a setting, NADAV trolls Instagram, YUSSI does inventory. HOWARD sits at his desk in front of the phone waiting for someone to pick up. He stares at the time on his computer. 10:27AM. The call goes to voicemail: an excerpt of Biggie's 'Gimme One More Chance.'<\/scene_description>\n    <character>VOICEMAIL<\/character>\n    <dialogue>Biggie, gimme me one more chance... BEEP.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>DEMANY GOD DAMMIT. It's now 10:30! Answer.. Your... Phone!!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIDTOWN STREET - DIAMOND DISTRICT- AFTER<\/stage_direction>\n    <scene_description>HOWARD is rushing to the subway when LARRY \\[the bookie that HOWARD blew off in the first showroom scene\\] sidles up alongside him.<\/scene_description>\n    <character>LARRY<\/character>\n    <dialogue>Hi Howard.<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(startled)<\/parenthetical>\n    <dialogue>I can't stop and talk, I'm sorry.<\/dialogue>\n    <character>LARRY<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>Why do you think you can SON me like this?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Not now!<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>I heard about you're $65,000 parlay yesterday.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>What of it?<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>I need that 80 grand. I'm really not fucking around here. I need something now.<\/dialogue>\n    <scene_description>HOWARD pulls up his sleeve, exposing a Rolex watch.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>You see this watch?<\/dialogue>\n    <scene_description>HOWARD unbuckles it. Takes it off his wrist<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>That's 28 thousand brand new.<\/dialogue>\n    <scene_description>LARRY inspects it.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>You can sell that easy used for 15.<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Anywhere. Wimpy's.<\/dialogue>\n    <scene_description>HOWARD's phone rings. He looks to the Caller ID: It's GABI. HOWARD instantly dismisses the call.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Okay, I need to take this. We good?<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>Good!?!<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I mean til the end of the week.<\/dialogue>\n    <scene_description>HOWARD descends into a subway station. Tourists clog the stairs.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>C'mon, c'mon... It's not a fuckin' escalator.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BED-STUY PROJECTS - AFTERNOON<\/stage_direction>\n    <scene_description>HOWARD walks past a group of YOUNG BLACK MALES shooting dice. He enters a building.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEMANY'S APARTMENT<\/stage_direction>\n    <scene_description>DEMANY opens the door, he looks hung over, tired.<\/scene_description>\n    <character>DEMANY<\/character>\n    <dialogue>Sup.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I said 9. 9am sharp.<\/dialogue>\n    <character>DEMANY<\/character>\n    <dialogue>I just woke up.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Utter horseshit!<\/dialogue>\n    <character>DEMANY<\/character>\n    <dialogue>Chill! We were in the club til 5 in the morning.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>You didn't see my calls? I called over 20 times.<\/dialogue>\n    <character>DEMANY<\/character>\n    <dialogue>I haven't been using the phone at all today. Just kickin it at home. What's goin' on?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I was absolutely crazy to lend the gem out. But that's me, I'm crazy, right?<\/dialogue>\n    <character>DEMANY<\/character>\n    <dialogue>You're crazy.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>You don't understand. The thing is sold. I have people waiting.<\/dialogue>\n    <character>DEMANY<\/character>\n    <parenthetical>(annoyed)<\/parenthetical>\n    <dialogue>Alright! I'll talk to AMARE.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Now. Call him now.<\/dialogue>\n    <character>DEMANY<\/character>\n    <dialogue>I will, gimme a minute.<\/dialogue>\n    <scene_description>DEMANY opens fridge and slowly pours himself some orange juice.<\/scene_description>\n    <character>DEMANY<\/character>\n    <dialogue>That was an insane game, huh? He was turnt all the way up. They say there's never been a 40, 30, 10 game before.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Call AMARE.<\/dialogue>\n    <character>DEMANY<\/character>\n    <dialogue>He's at practice now. He's not gonna pick up the phone.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Call him and tell him I'll give him that ruby for a few days instead.<\/dialogue>\n    <character>DEMANY<\/character>\n    <dialogue>Howard, you're not listening to me. He... is... at... practice.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Okay, let's go to practice.<\/dialogue>\n    <character>DEMANY<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>You crazy.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>This is a million fuckin' dollar gem. You want that chain, don't you?<\/dialogue>\n    <character>DEMANY<\/character>\n    <dialogue>Howard, you owe me that chain for bringing you AMARE in the first place.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEMANY'S LEXUS - DAY<\/stage_direction>\n    <scene_description>DEMANY and HOWARD drive on the BQE in DEMANY's red Lexus. Loud hip-hop on the stereo: a track called \"ALL ABOUT THE MONEY,\" which features central lyrics, \"It's all about the mother fuckin' money...\"<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>This Privelej?<\/dialogue>\n    <scene_description>DEMANY focuses on his phone and the road.<\/scene_description>\n    <character>DEMANY<\/character>\n    <dialogue>Yea, Troy Ave and me produced it.<\/dialogue>\n    <scene_description>HOWARD bobs his head to the music.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Very good. You produced the beat?<\/dialogue>\n    <character>DEMANY<\/character>\n    <dialogue>Troy did. You should hook him up with some shine for the video.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>He should put me in the video!<\/dialogue>\n    <scene_description>HOWARD listens to the music, adds:<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>You know what kind of money I hit on yesterday?<\/dialogue>\n    <character>DEMANY<\/character>\n    <parenthetical>(not paying attention)<\/parenthetical>\n    <dialogue>What's that?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I hit a 5 way parlay, you know what that means?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>It means after Amare, I'm gonna go collect a lot of cash!<\/dialogue>\n    <scene_description>DEMANY checks his phone. HOWARD cranes his neck to see.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>That AMARE?<\/dialogue>\n    <character>DEMANY<\/character>\n    <dialogue>Get out my business nigga.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Lemme ask you a question, you fuck a lot of your own girls, or you get AMARE's run off?<\/dialogue>\n    <character>DEMANY<\/character>\n    <dialogue>I handle my own shit.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Lemme ask you another question, you've seen AMARE's dick?<\/dialogue>\n    <character>DEMANY<\/character>\n    <dialogue>Aaaaa-yo!<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>What? I saw he did that nude thing for ESPN magazine, was kind of misleading.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KNICKS PRACTICE FACILITY - AFTER<\/stage_direction>\n    <scene_description>A crowd of press gather on the court where team officials buzz about. DEMANY and HOWARD walk up to the locker room entrance. DEMANY greets the SECURITY GUARD.<\/scene_description>\n    <character>DEMANY<\/character>\n    <dialogue>What up big?<\/dialogue>\n    <scene_description>The SECURITY GUARD moves aside for DEMANY. HOWARD closes in behind DEMANY. The SECURITY GUARD stops HOWARD.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>No, I'm with him.<\/dialogue>\n    <character>DEMANY<\/character>\n    <dialogue>I don't know that nigga, he ain't with me.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>What!?!<\/dialogue>\n    <scene_description>DEMANY, without looking back, walks towards the locker room.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(yells)<\/parenthetical>\n    <scene_description>DEMANY! YO! DEMANY disappears into the locker room.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Ohhhh you piece of shit! You son of a bitch.<\/dialogue>\n    <character>SECURITY GUARD<\/character>\n    <dialogue>Sir, you need to back away.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>You see that shit? You saw us arrive together.<\/dialogue>\n    <character>SECURITY GUARD<\/character>\n    <dialogue>I didn't see anything. Step aside.<\/dialogue>\n    <scene_description>HOWARD pulls two hundred dollar bills from his pocket.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>I need 3 minutes. You can time me.<\/dialogue>\n    <scene_description>The SECURITY GUARD ignores the gesture and starts dealing with the next person in line.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY STREET - AFTER<\/stage_direction>\n    <scene_description>HOWARD rushes down a city street checking his phone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LACE STRIP CLUB - AFTERNOON<\/stage_direction>\n    <scene_description>HOWARD enters smiling ear-to-ear. ANTHONY clears a chair at his table. Before he's at the table, HOWARD's talking:<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>You said it was a crazy bet!<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Howard, sit down.<\/dialogue>\n    <scene_description>HOWARD sits.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Look, I'm not expecting all of it right now. Let's say the 65 I put down, plus half for now... so, like, 95-<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>There's no money Howard.<\/dialogue>\n    <scene_description>NO MONEY!?! I HIT THE BET ANTHONY, I HIT A FUCKIN' 5 TEAM PARLAY.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>Stop acting. You know why there's no money.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>ANTHONY<\/character>\n    <parenthetical>(calmly)<\/parenthetical>\n    <dialogue>I told you I was gonna lay it off. I went to Jim. He could tell right away it was your bet. He told me already you're into him for 375.<\/dialogue>\n    <scene_description>HOWARD freaks out, starts making noises, gesticulating wildly.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>He took your 65 grand straight up.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>He doesnt have the right to do that.<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>He would have done the same for me.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Fuck Jim and fuck you! This is theft! You're a thief!<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>Howard don't make a scene.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>But I hit!<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>No you did not.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Yes I did! I sat right in this chair and placed a bet and I hit!<\/dialogue>\n    <character>ANTHONY<\/character>\n    <dialogue>I had to do the right thing. You can't go around playing with other people's money. It's offensive.<\/dialogue>\n    <scene_description>ANTHONY extends HOWARD's Rolex watch box.<\/scene_description>\n    <character>ANTHONY<\/character>\n    <dialogue>Take this back please.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL BUILDING, QUEENS, NY - NIGHT<\/stage_direction>\n    <scene_description>HOWARD moves through a crowd into a building.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL AUDITORIUM - AFTER<\/stage_direction>\n    <scene_description>HOWARD sits next to DINA, his youngest son EDDIE, 7, looks like a mini-Howard and oldest son BENI, 15, pimpled and gangly. BENI plays a game on his iPhone. The stage is decorated with amateurish mountain scenery. A banner with the words 'Snow White' hangs from the ceiling. HOWARD jokes around with EDDIE by tapping the MAN IN FRONT of them on the shoulder. When The Man turns around HOWARD points to the person a few seats over from him. EDDIE finds this hysterical. HOWARD is his hero.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(to BENI)<\/parenthetical>\n    <dialogue>What game is that?<\/dialogue>\n    <character>BENI<\/character>\n    <parenthetical>(without looking up)<\/parenthetical>\n    <dialogue>Knightmare Tower.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>You set any records yet?<\/dialogue>\n    <character>BENI<\/character>\n    <dialogue>Yeah, 32nd rank in NY.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Out of 33.<\/dialogue>\n    <scene_description>BENI laughs. EDDIE leans over and taps HOWARD on his shoulder. In jest, HOWARD, turns around, looks for who tapped him, but instead notices TUNA, 30's, stocky, and ROBERT, 40's, oafish, sitting by the aisle some 10 rows back. They look out of place. They stare at HOWARD. HOWARD looks away, waits a few seconds, and looks back. The two men are still staring. HOWARD stands up.<\/scene_description>\n    <character>DINA<\/character>\n    <dialogue>Where you going?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Daddy's gotta use the bathroom.<\/dialogue>\n    <scene_description>HOWARD gets up and moves down to the aisle.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL AUDITORIUM - 10 ROWS BACK - CONTINUOUS<\/stage_direction>\n    <scene_description>HOWARD approaches TUNA and ROBERT.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Do I know you?<\/dialogue>\n    <character>TUNA<\/character>\n    <dialogue>I don't think so.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Then why are you staring at me?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Was I?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>What're you doing here?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>We're here to enjoy the play.<\/dialogue>\n    <scene_description>ROBERT laughs but with a fixed, menacing look at HOWARD, who briskly walks towards the exits.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>HOWARD makes a call as he walks down a hallway,<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Jim, this isn't right! My daughter's school, really?<\/dialogue>\n    <scene_description>ROBERT and TUNA appear in the hallway. HOWARD walks in the opposite direction.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANOTHER SCHOOL HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>HOWARD picks up his pace. He tries a few random doors. Locked. ROBERT and TUNA turn the corner just as HOWARD finds an open door and enters it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL AUDITORIUM - BACK STAGE - CONTINUOUS<\/stage_direction>\n    <scene_description>Costumed children wait by the side of the stage. Set pieces move about. HOWARD crosses through the space. A TEACHER looks at him.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Wow! Everything looks fantastic!<\/dialogue>\n    <scene_description>Hearing his voice, MARCEL, 11, little girl version of DINA, turns around.<\/scene_description>\n    <character>MARCEL<\/character>\n    <dialogue>Daddy!<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Baby! You're going to kill them!<\/dialogue>\n    <scene_description>Before the TEACHER can respond, HOWARD has already exited the room through a set of doors on the opposite side.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL STAIRWELL - CONTINUOUS<\/stage_direction>\n    <scene_description>HOWARD scurries down steps to the basement. He rushes through a labyrinthine maze of dark corridors until landing in the boiler room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL BOILER ROOM - SAME TIME<\/stage_direction>\n    <scene_description>HOWARD squeezes himself behind the hot sooty boiler, burning his arm in the process. A long pause. Footsteps resound through the space, getting louder, then stopping.<\/scene_description>\n    <character>ROBERT (O.S.)<\/character>\n    <dialogue>The faggot must have popped out that other door.<\/dialogue>\n    <character>TUNA (O.S.)<\/character>\n    <dialogue>No, he's in here.<\/dialogue>\n    <scene_description>HOWARD hears them move around the room, getting close to the boiler. HOWARD, motionless, wedged behind the boiler, holds his breath.<\/scene_description>\n    <character>ROBERT (O.S.)<\/character>\n    <dialogue>Ahhhh! My fucking hand.<\/dialogue>\n    <character>TUNA (O.S.)<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>ROBERT (O.S.)<\/character>\n    <dialogue>I burned my fucking hand!<\/dialogue>\n    <character>TUNA (O.S.)<\/character>\n    <dialogue>Fuck this. We'll wait out front.<\/dialogue>\n    <scene_description>HOWARD hears them drift into another part of the basement. He opens his phone and sees a text from SADIE, \"PLAY OVER YET?\" He replies, \"Running late. See you at the after party\", but there isn't enough signal to send it. He manically tries to re- send the message. Nothing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL AUDITORIUM - CONTINUOUS<\/stage_direction>\n    <scene_description>MARCEL (SNOW WHITE) is picking wild berries downstage stage when the QUEEN, a young girl dressed as an old hag, approaches. DINA checks her phone. Nothing.<\/scene_description>\n    <character>QUEEN<\/character>\n    <dialogue>Oh, hello fair young maiden.<\/dialogue>\n    <character>MARCEL<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>QUEEN<\/character>\n    <dialogue>Care to share this apple with me?<\/dialogue>\n    <character>MARCEL<\/character>\n    <dialogue>I'm starving... but...<\/dialogue>\n    <character>QUEEN<\/character>\n    <dialogue>You needn't worry... please have this half.<\/dialogue>\n    <scene_description>MARCEL who skeptically accepts the apple and inspects it.<\/scene_description>\n    <character>QUEEN<\/character>\n    <parenthetical>(taking a bite)<\/parenthetical>\n    <dialogue>Look, I'll eat my half first. These apples come from an ancient place, making them the most delicious.<\/dialogue>\n    <scene_description>Convinced, MARCEL takes a bite as well.<\/scene_description>\n    <character>MARCEL<\/character>\n    <dialogue>Oh, it's quite tasty.<\/dialogue>\n    <scene_description>She drops dead to the floor. The QUEEN laughs maniacally. DINA looks incredibly irritated.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL BOILER ROOM - MUCH LATER<\/stage_direction>\n    <scene_description>HOWARD readjusts himself, squinting in obvious discomfort, and slips out from behind the boiler. He is reddened from the heat and covered in soot and grease. He uses his cellphone to light his way through the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL HALLWAY - AFTER<\/stage_direction>\n    <scene_description>The hallways are empty. HOWARD makes his way to the exit doors. They are locked.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Oh you gotta be fuckin' kidding me.<\/dialogue>\n    <scene_description>The hall goes dark as Howard's phone dies. HOWARD gropes around, tries a few classrooms, which are locked. He returns the basement.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL BASEMENT - CONTINUOUS<\/stage_direction>\n    <scene_description>HOWARD rushes from sublevel window to sublevel window, pushing on each, hoping for an opening. He finds a loose one, pulls a few boxes over and climbs through it, barely fitting.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL PLAYGROUND - CONTINUOUS<\/stage_direction>\n    <scene_description>HOWARD emerges in the school playground. He runs over to the gate. Locked. A pause. With some difficulty, he scales the fence, ripping his pants in the process.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Fuck!<\/dialogue>\n    <scene_description>The moment his feet touch ground, a limo pulls up next to him. A guy comes running out of it and whacks HOWARD in the back with a mini baseball bat. HOWARD shrieks and falls to the ground. The window zips down to reveal JIM, 50s, wax-faced, heavy-set.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Jim, please I'm already very late. I can't be any more late, let me go, then we-<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Howard, get in the car.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMOUSINE - CONTINUOUS<\/stage_direction>\n    <scene_description>HOWARD climbs in sits down between the ROBERT and TUNA, across from JIM.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Look-<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I don't want to hear another word from you.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>You already have all my brother's stuff. You already-<\/dialogue>\n    <scene_description>HOWARD is interrupted with a vicious chest punch from ROBERT.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Do you know now to listen?<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(winded)<\/parenthetical>\n    <dialogue>That 65 grand you took from Anthony, that was supposed to be 260, I was planning on-<\/dialogue>\n    <scene_description>ROBERT jabs HOWARD in the head with a running electric razor, shearing off a chunck of hair. HOWARD jerks forward and clutches his head.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>What the fuck was that?!<\/dialogue>\n    <scene_description>HOWARD inspects his head in shock.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>I'm offering you an out. You hear me? You have til Wednesday to give me 250 grand, and then we'll call it even. None of the interest. We'll be done with each other. You won't have to listen to me, I won't have to listen to you. But you're done. No more playing with me or any of my guys. You've got 48 hours to pay me in-full in-cash or then it won't be about the money anymore and there won't be any collecting.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You understand that?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Can I speak now?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I just wanna hear yes or no. That's all. I'm offering you a big discount to end this cat and mouse shit.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Jim, with all due respect, I'd just like to explain.<\/dialogue>\n    <parenthetical>(waits for approval)<\/parenthetical>\n    <dialogue>Please, just let me explain.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I told you that a gem was arriving this week. Well, it did. It's sitting on my desk in my office right now. It completely drained me of cash, but I have it. Precious opals of this size go for 1, 2 grand a carat. It's 600 carats! It's worth anywhere between 600 and a mil and it's up for auction next week. Why you're chasing me through my kid's school on a Thursday when you can have your money in full on a Tuesday is crazy to me. Crazy.<\/dialogue>\n    <character>JIM<\/character>\n    <parenthetical>(cynically)<\/parenthetical>\n    <dialogue>So you were going to pay me the full 250 on this coming Tuesday?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I'll give you 300 for your troubles on Tuesday, well on Thursday, cuz-<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>-See already you're making excuses.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>It's not an excuse, if you let me finish... the auction is on Monday but I won't see the funds unless it's a wire, but most likely I won't see it till later in the week, but Wahler Loans will front me if they see an auction ticket.<\/dialogue>\n    <scene_description>JIM listens without interest.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Look! If by next week you don't have your money, you can kill me! I'll deserve it.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I already said I'll give you till Wednesday. It makes no difference to me how you get the money.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Fine, fine. Then we're good! There's no problem!<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Yes, between now and Wednesday there's no problem.<\/dialogue>\n    <scene_description>HOWARD refuses to acknowledge the menacing undercurrent.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Great! Look, you guys wanna roll with me to Greenhouse? Meet Amare Stoudemire? The rapper Privelej?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Are you asking me for a lift?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>No, we all go. Into the city, to Greenhouse. Have some drinks, sit with Amare and Privelej. They're my friends. They have tons of pussy with them always.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Where's Greenhouse?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>On Varick, downtown.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>You hear that Michael?<\/dialogue>\n    <character>MICHAEL THE DRIVER<\/character>\n    <dialogue>Greenhouse?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>You wanna go in and get a drink?<\/dialogue>\n    <character>MICHAEL THE DRIVER<\/character>\n    <dialogue>And meet Amare Stoudemire? What do you think?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Okay, we'll go in with you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GREENHOUSE NIGHT CLUB - AFTER THE CAR RIDE<\/stage_direction>\n    <scene_description>A large crowd of YOUNG BLACK MEN and WOMEN push against velvet ropes, all vying for the BOUNCER'S attention. HOWARD, MICHAEL the driver and JIM approach. \\[Remember HOWARD looks like shit and is now missing a piece of his hair\\].<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Yo, my man, what's happening?<\/dialogue>\n    <scene_description>HOWARD palms a $100 bill to the BOUNCER.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>AMARE's expecting us.<\/dialogue>\n    <character>BOUNCER<\/character>\n    <dialogue>AMARE's not here tonight.<\/dialogue>\n    <scene_description>JIM snorts.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Privelej though, right?<\/dialogue>\n    <scene_description>The BOUNCER unlocks the ropes, allows HOWARD in.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(to JIM)<\/parenthetical>\n    <dialogue>Come on, guys. What'd I tell you?<\/dialogue>\n    <scene_description>They enter the club.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GREENHOUSE NIGHT CLUB - CONTINUOUS<\/stage_direction>\n    <scene_description>The nightclub is pumping. Scantily clad waitresses carry champagne bottles with sparklers shooting out of them. The DJ gives shout outs to VIPs in the club over blaring Hip Hop. HOWARD and JIM are the only white people present. They snake their way through the room until HOWARD spies one of AMARE'S BODYGUARDS standing at a banquette towards the back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GREENHOUSE NIGHT CLUB - BANQUETTE<\/stage_direction>\n    <scene_description>HOWARD approaches BODYGUARD 1. YO, WHAT'S UP. BODYGUARD 1 gives HOWARD a pound, HOWARD walks past him and approaches two blinged out, extremely cool looking young guys -- KEV and PARIS -- who pass two blunts between them. HOWARD has to scream at the top of his lungs to be heard. WHAT'S UP, WHERE'S PRIVELEJ AT? KEV looks up at him. Blows smoke into his face. I'M HOWARD, AMARE'S BOY, DEMANY HERE? YEAH, HE'S HERE SOMEWHERE. THIS IS MY BOY JIM AND HIS BOY. WHAT'S GOOD? JIM is not entertained. HOWARD grabs a waitress. LEMME GET A BOTTLE OF... (to PARIS) WHAT SHOULD I GET? HENNY VSOP! HENNY VSOP FOR MY FRIENDS HERE. (to JIM and MICHAEL) HAVE SOME DRINKS ON ME. JIM takes a seat at the table.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(to PARIS and KEV)<\/parenthetical>\n    <scene_description>JIM IS A G. TRUST ME. WHAT UP!<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(to BODY GUARD 1)<\/parenthetical>\n    <scene_description>IS SADIE HERE? YEAH, SHE'S HERE. WHERE IS SHE? DUNNO.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(to PARIS and KEV)<\/parenthetical>\n    <scene_description>HAVE YOU SEEN A WHITE GIRL, YOUNG, SHORT BANGS, DARK HAIR. KEV and PARIS laugh. Exhale tons of weed smoke.<\/scene_description>\n    <character>KEV<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <scene_description>YEAH, I'VE SEEN HER. WHERE IS SHE? BITCH HAS BLADDER PROBLEMS! KEV laughs.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>HAHA. What!?!<\/dialogue>\n    <scene_description>I SAID THE BITCH HAS BLADDER PROBLEMS! HOWARD's smile recedes.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(shouting to JIM)<\/parenthetical>\n    <scene_description>I'LL BE RIGHT BACK.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GREENHOUSE NIGHT CLUB - BATHROOM HALLWAY<\/stage_direction>\n    <scene_description>HOWARD sees TWO BIG MEN standing in front of the bathroom door. He walks between them and bangs on it. SADIE?! YOU IN THERE? YO, WHAT THE FUCK YOU THINK YOU DOING? NO WORRIES. I NEED TO KNOW IF MY GIRL IS IN THERE. YOU SEE IT'S IN USE. HOWARD bangs on the door some more. SADIE?!!! SADIE?!!! BIG MAN 1 and 2 push HOWARD up against the wall. GET OFF ME YOU ANIMALS! Suddenly, the door opens and PRIVELEJ appears, looking really wasted and his pants are unbuckled. BIG MEN let go of HOWARD. WHAT'S UP? WHO WAS BANGING? ME! I WAS BANGING! HOWARD looks into the bathroom. SADIE sits on the sink, underwear around her ankles. She looks beyond wasted, barely able to keep her eyes open. HOWARD lunges into PRIVELEJ, sending them both careening to the bathroom floor. The BIG MEN grope to pull HOWARD up but the floor is wet. SADIE starts shrieking. HOWARD is a maniac, flailing his arms and legs, throwing wild, sloppy punches and kicks every which way. A few land on PRIVILEJ, who is balled up, covering his head with his elbows. Enough is enough. BIG MAN 1 and 2 lift HOWARD from the floor, like he weighs nothing, and in a long tracking shot, carry him through the club. Along the way, they pass JIM and MICHAEL, who stare up in utter disbelief. BIG MAN 1 and 2, carry HOWARD down a grossly lit back hallway. They kick open the metal doors to a service entrance and violently toss HOWARD out to the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GREENHOUSE NIGHT CLUB - BACK ALLEY - CONTINUOUS<\/stage_direction>\n    <scene_description>The metal doors slam shut. HOWARD gets up and pounds on them, to no avail. YOU DIRTY MOTHER FUCKERS! YOU FILTHY ANIMALS! YOU HAVE NO IDEA WHO I AM! I'LL SUE YOU TIL YOU HAVE NOTHING. I'LL- The doors re-open. DEMANY's steps out and hands SADIE over to the HOWARD.<\/scene_description>\n    <character>DEMANY<\/character>\n    <dialogue>Take your girl and get the fuck out of here. Now.<\/dialogue>\n    <scene_description>The doors close. HOWARD puts his head in his hands and has a 15 second 'power cry'. SADIE is too fucked up to respond.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAB - AFTER<\/stage_direction>\n    <scene_description>HOWARD stares out the window in a silent rage. SADIE continuously tries to press the \"OFF\" button on the Taxi-TV. HOWARD swats her hand away and turns it off himself.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOWARD'S BUILDING<\/stage_direction>\n    <scene_description>The cab pulls up in front of Howard's apartment. A DOORMAN rushes to the curb and helps SADIE out. HOWARD remains inside.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Make sure she gets into the house.<\/dialogue>\n    <parenthetical>(to driver)<\/parenthetical>\n    <dialogue>Ho.<\/dialogue>\n    <scene_description>The cab drives HOWARD away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DIAMOND DISTRICT - NIGHT<\/stage_direction>\n    <scene_description>HOWARD walks down 47th street. It feels like a ghost town.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KMA GEMS AND JEWELRY OFFICE - BACKROOM - 145AM<\/stage_direction>\n    <scene_description>HOWARD flips the lights on and throws his sports jacket onto his desk. He pulls a blanket and a pillow from a cabinet and sets up a makeshift bed on the floor. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KMA GEMS AND JEWELRY OFFICE- BACKROOM - MORNING<\/stage_direction>\n    <scene_description>An unkempt HOWARD talks on the phone. In a nearby plexiglass enclosure, JUAN, a Mexican jewelry setter, is grinding stones.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>I'm sorry I can't hear you. Hold on.<\/dialogue>\n    <parenthetical>(to NADAV)<\/parenthetical>\n    <dialogue>Will you tell him to stop for a minute!<\/dialogue>\n    <scene_description>NADAV pops up and bangs on the plexi.<\/scene_description>\n    <character>NADAV<\/character>\n    <dialogue>Hey! Stop!<\/dialogue>\n    <scene_description>JUAN stops.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>I'm sorry...<\/dialogue>\n    <scene_description>HOWARD holds his tape dispenser as if it were the GEM.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Yeah, I'm looking at it right now... It's gorgeous. We've had it for a few days now, it's a beautiful opal...<\/dialogue>\n    <parenthetical>(listens)<\/parenthetical>\n    <dialogue>I've been so busy-Would I have to pay for the addendum? We still have a few business days before the auction, it could help... What about on the Christies website, can you add imagery of it if I got you jpegs?<\/dialogue>\n    <parenthetical>(looks at incoming call)<\/parenthetical>\n    <dialogue>Oh my god. Mary... Mary, let me call you right back, I have to take this.<\/dialogue>\n    <parenthetical>(answers other call)<\/parenthetical>\n    <dialogue>Janet! Hi, yes, this is Howard Nagy. Thank you for calling me back- No, I didn't mean to worry you... I just... Well, I saw online that you represent Amare Stoudemire and I really need- Yes, no problem. I'll wait.<\/dialogue>\n    <scene_description>BUZZZZZ! HOWARD looks up at the security monitor and see's YUSSI enter the SHOWROOM and march directly to HOWARD'S office.<\/scene_description>\n    <character>YUSSI<\/character>\n    <parenthetical>(livid)<\/parenthetical>\n    <dialogue>Jo wants to know where his red cobra chain is.<\/dialogue>\n    <scene_description>HOWARD turns his back to YUSSI and waves him away.<\/scene_description>\n    <character>YUSSI<\/character>\n    <dialogue>No! Now!<\/dialogue>\n    <scene_description>CAN'T YOU SEE I'M BUSY!?!?<\/scene_description>\n    <character>YUSSI<\/character>\n    <dialogue>I just need you to tell me where the chain is.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Oh for fuck's sake! The cobra chain? I sold it for 25 to Ray Forecaster.<\/dialogue>\n    <character>YUSSI<\/character>\n    <dialogue>Fine. Then give me the money and I'll walk it down to him right now.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Not now!<\/dialogue>\n    <character>YUSSI<\/character>\n    <dialogue>Yes now!<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>You work for me not Jo!<\/dialogue>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>HI! YES! Well, yes and no, it's only an emergency because of time... Howard Nagy... No, I'm his Jewler-<\/dialogue>\n    <scene_description>YUSSI slams his finger down and ends the call. ARE YOU OUT OF YOUR FUCKING MIND!?! YOU'RE GOING TO DEAL WITH THIS RIGHT NOW! WHERE'S THE 25 GRAND!?! HOWARD starts to redial.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>I don't have it right now. You can tell Jo next week.<\/dialogue>\n    <scene_description>YUSSI swipes the phone off the desk.<\/scene_description>\n    <character>YUSSI<\/character>\n    <dialogue>I have 100 Rolexes coming this week and without Jo I have no one to front the costs. Are you going to front the costs!?!?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Get the fuck out of my face.<\/dialogue>\n    <character>YUSSI<\/character>\n    <dialogue>Jo was gonna buy half of them.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>You shouldn't be doing business with that scumbag anyway.<\/dialogue>\n    <character>YUSSI<\/character>\n    <dialogue>And now he won't have anything to do with me because of my relationship to you. So you know what?! Now you're gonna have to put up the money for them.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Your stupid rolex hustle is a waste of time- Get out of my office.<\/dialogue>\n    <character>YUSSI<\/character>\n    <dialogue>Fine...<\/dialogue>\n    <scene_description>YUSSI makes a beeline for the open safe behind HOWARD'S desk. HOWARD bolts up and pulls YUSSI away.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Don't you touch my stuff!<\/dialogue>\n    <character>YUSSI<\/character>\n    <dialogue>I'm taking my watches, I wanna have them with me.<\/dialogue>\n    <scene_description>YUSSI pushes HOWARD aside. HOWARD leans forward.<\/scene_description>\n    <character>YUSSI<\/character>\n    <dialogue>There's only 4 watches in here, where are the rest?<\/dialogue>\n    <scene_description>YUSSI keeps looking.<\/scene_description>\n    <character>YUSSI<\/character>\n    <dialogue>Where the fuck are the rest?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>They're on loan.<\/dialogue>\n    <character>YUSSI<\/character>\n    <dialogue>Are you kidding me?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>They're a few hundred each. Gimme a break.<\/dialogue>\n    <character>YUSSI<\/character>\n    <dialogue>They don't belong to you!<\/dialogue>\n    <character>NADAV<\/character>\n    <parenthetical>(interjects)<\/parenthetical>\n    <dialogue>YUSSI! That's enough! Get out!<\/dialogue>\n    <scene_description>YUSSI, full of rage stomps over to his desk and starts to pack his things into a shoulder bag.<\/scene_description>\n    <character>YUSSI<\/character>\n    <dialogue>I'm gonna call my sister and tell her all about Sadie, Sara, the money... everything.<\/dialogue>\n    <scene_description>Calling his bluff, HOWARD grabs the phone and extends it to YUSSI, who in turn storms out of the BACKROOM.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KMA GEMS AND JEWELRY OFFICE- SHOWROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>YUSSI makes his way past the showcases towards the exit.<\/scene_description>\n    <character>HOWARD (O.S.)<\/character>\n    <parenthetical>(yells)<\/parenthetical>\n    <dialogue>Oh, who's a big boy!!<\/dialogue>\n    <scene_description>JOANI buzzes him out. He slams the door AS HARD AS HE CAN on his way out. JOANI buzzes him through the second door, which he also slams.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KMA GEMS AND JEWELRY OFFICE- BACKROOM - CONTINUOUS<\/stage_direction>\n    <character>HOWARD<\/character>\n    <dialogue>Yussi's a BIG BOY!!!<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>You alright Howard?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I'm fine.<\/dialogue>\n    <scene_description>NADAV reorders things around the room. On the INTERCOM:<\/scene_description>\n    <character>JOANI (O.S.)<\/character>\n    <dialogue>Sadie's on the phone.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Tell her I'm not here. Tell her I haven't been in all day... No-<\/dialogue>\n    <scene_description>HOWARD engages speakerphone.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Where are you?<\/dialogue>\n    <character>SADIE (O.S.)<\/character>\n    <parenthetical>(very upset)<\/parenthetical>\n    <dialogue>Just woke up, I feel like shit.<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(sarcastic)<\/parenthetical>\n    <dialogue>Ah, so you're taking it easy today? I'm sooo happy to hear that! I want you to rest, be comfortable.<\/dialogue>\n    <character>SADIE (O.S.)<\/character>\n    <dialogue>Please Howard.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>It must be so nice to take a day off whenever you feel like it. What's that like?<\/dialogue>\n    <character>SADIE (0.S)<\/character>\n    <dialogue>Howard, I feel horrible inside.<\/dialogue>\n    <scene_description>The other line rings.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>No, it's good, it's good. Get your beauty sleep. Take as much time off as you need, meanwhile...<\/dialogue>\n    <parenthetical>(sarcasm turns to anger)<\/parenthetical>\n    <dialogue>The rest of us will continue to work for your spoiled unappreciative ass and keep this fucking business afloat-<\/dialogue>\n    <character>SADIE (O.S.)<\/character>\n    <dialogue>All I want to do is see you, I just thought you didn't want to see me, that's why I didn't-<\/dialogue>\n    <scene_description>INTERCOM interrupts:<\/scene_description>\n    <character>JOANI (O.S.)<\/character>\n    <dialogue>Knicks Player personnel on line 2.<\/dialogue>\n    <scene_description>HOWARD hangs up on SADIE and engages the other line.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>This is Howard Nagy.<\/dialogue>\n    <character>SPEAKER PHONE<\/character>\n    <dialogue>Hello Mr. Nagy, how are you doin?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I'm not gonna lie, I could be better. I'm in a situation with one of your high profile players and I'm about a moment away from making things very ugly.<\/dialogue>\n    <character>SPEAKER PHONE<\/character>\n    <dialogue>Okay... can you hold for a second?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>No, no, no. Do not put me on hold!<\/dialogue>\n    <parenthetical>(listens to silence)<\/parenthetical>\n    <dialogue>Look, I'm a very litigious individual and I'm about a second away from hanging up on you and calling my lawyer, the police, and then the press soon after. You'll be dealing with a much uglier situation than I think you'd like the public to know-<\/dialogue>\n    <character>SPEAKER PHONE<\/character>\n    <dialogue>Sir, you need to calm down. I don't have any clue what you're talking about.<\/dialogue>\n    <scene_description>BUZZZZ! HOWARD looks to a security monitor and sees AMARE and his TWO BODYGUARDS waiting in the hallway.<\/scene_description>\n    <character>JOANI (O.S.)<\/character>\n    <dialogue>AMARE's here!<\/dialogue>\n    <character>SPEAKER PHONE<\/character>\n    <dialogue>Can you please give me your number and I can-<\/dialogue>\n    <scene_description>HOWARD hangs up the phone and runs to the showroom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KMA GEMS AND JEWELRY OFFICE - SHOWROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>JOANI buzzes AMARE and his BODYGUARDS into the small holding area between the two doors. AMARE waves hello at HOWARD through the glass of the interior door. JOANI buzzes. It won't open. JOANI buzzes again. It still won't open.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Open it, what's going on?!<\/dialogue>\n    <scene_description>JOANI holds the buzzer down while BODY GUARD 1 yanks at it. HOWARD runs around the showcases and up to the doors.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Try it again.<\/dialogue>\n    <scene_description>JOANI buzzes, HOWARD pushes hard. He kneels down and inspects the lock.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Crap, it's bent.<\/dialogue>\n    <character>AMARE<\/character>\n    <parenthetical>(though glass)<\/parenthetical>\n    <dialogue>What's going on?<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(yelling)<\/parenthetical>\n    <scene_description>THE MAGNETIC RELEASE. IT'S NOT CONNECTING WITH THE DOOR. HANG ON. HOWARD tries to bend the release. JOANI joins HOWARD.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Shit, this is no good.<\/dialogue>\n    <parenthetical>(loudly to AMARE)<\/parenthetical>\n    <scene_description>AMARE! YOU GOT THE GEM ON YOU? AMARE removes it from a bag and holds it up.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Great. Look this might take a minute. Go downstairs to Yuri's for a tea. I'll come get you when this is fixed.<\/dialogue>\n    <scene_description>BODY GUARD 1 pulls on the first door. It won't budge either. WHAT THE FUCK MAN!?!? JOANI holds down the buzzer. PULL HARD. BODY GUARD 1 pulls hard on the door. Nothing.<\/scene_description>\n    <character>JOANI<\/character>\n    <dialogue>It's not working because it thinks the other one is engaged.<\/dialogue>\n    <character>AMARE<\/character>\n    <parenthetical>(barely audible)<\/parenthetical>\n    <scene_description>WHAT DO WE DO?! FUCK! (Beat) OKAY, HANG TIGHT! 30% OFF ANYTHING YOU GUYS WANT IN HERE! I SWEAR.<\/scene_description>\n    <character>JOANI<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>I can't believe this.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Nadav! See if you can fix this!<\/dialogue>\n    <scene_description>NADAV approaches the door.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Bend this frame back into place so the two pieces of metal touch... You see what I'm sayin?<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>I think so.<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(yelling to AMARE)<\/parenthetical>\n    <scene_description>I'M SO SORRY GUYS! IN 1 MINUTE I'M BREAKING IT DOWN. YOU CAN'T! NADAV's face contorts into a severe grimace as he tries to bend the frame back into position.<\/scene_description>\n    <character>NADAV<\/character>\n    <dialogue>It's impossible.<\/dialogue>\n    <scene_description>HOWARD grabs a phone and dials.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Tony... It's Howard at KMA... Yeah, the locks jammed... From the inside... We tried that... Can you just come and check it out. I got a VIP stuck in there.<\/dialogue>\n    <scene_description>HOWARD hangs up, and dials ELAN.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>ELAN! Stop what you're doing and run to the hardware store and buy a sledgehammer.<\/dialogue>\n    <scene_description>JOANI lights up a cigarette. HOWARD takes a drag from it.<\/scene_description>\n    <character>HOWARD (CONT'D)<\/character>\n    <dialogue>Then bring it here, but wait outside on the street... Oh, and make sure we can return it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 47TH STREET BETWEEN 6TH AND 5TH, DIAMOND DISTRICT - AFTER<\/stage_direction>\n    <scene_description>ELAN rushes down the block with the sledgehammer in hand. He arrives in front of HOWARD'S building when he hears faint: ELAN! HEY ELAN! ELAN looks around, confused. UP HERE! ELAN looks up and sees them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KMA GEMS AND JEWELRY OFFICE - OUT WINDOW - CONTINUOUS<\/stage_direction>\n    <character>HOWARD<\/character>\n    <dialogue>Someone dial ELAN's cell.<\/dialogue>\n    <scene_description>JOANI picks up the phone and dials ELAN. She hands the phone out the window to HOWARD. HOWARD watches ELAN look for his phone.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(looking at ELAN)<\/parenthetical>\n    <dialogue>Hey-I'm gonna lower this twine down. Untie the dumbbell and very, very securely... you hear me, VERY securely... tie the rope around the hammer... Yeah, now... and don't hang up, just put me in your pocket.<\/dialogue>\n    <scene_description>HOWARD lowers the twine with the dumbbell attached. ELAN receives the rope and dumbbell and ties it to the hammer. HOWARD cautiously raises it back up. Half-way up, the sledgehammer catches on a piece of concrete moulding. It sways wildly and cracks a window on the 3rd floor.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <scene_description>HOWARD continues to pull on the rope until the sledgehammer is in his hands. He jumps back inside.<\/scene_description>\n    <character>NADAV<\/character>\n    <dialogue>Want me to do it?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>HOWARD enters the showroom. JOANI, and NADAV follow.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KMA GEMS AND JEWELRY OFFICE - SHOWROOM - DAY<\/stage_direction>\n    <scene_description>HOWARD smiles as he shows AMARE the sledgehammer. AMARE and CO are now seated and covered in sweat. I'M SO SORRY ABOUT THIS AMARE! 30% OFF FOR YOUR BOYS. ANYTHING IN THE SHOP. HOWARD positions himself. He takes a swing at the door. WHACK!<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(to JOANI)<\/parenthetical>\n    <dialogue>Okay, try it.<\/dialogue>\n    <scene_description>JOANI buzzes. Nothing. HOWARD whacks wildly, to no avail.<\/scene_description>\n    <character>NADAV<\/character>\n    <dialogue>Lemme.<\/dialogue>\n    <scene_description>HOWARD hands it to NADAV, who starts hitting the door very hard. HOWARD has an idea. He runs to the back room and reappears seconds later with metal shavings and a screwdriver.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(to NADAV)<\/parenthetical>\n    <dialogue>Enough. Get out of the way.<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(to self)<\/parenthetical>\n    <dialogue>Waste that money on the hammer...<\/dialogue>\n    <scene_description>HOWARD crouches down and shoves the metal shavings into an opening in the door frame.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Okay, try it.<\/dialogue>\n    <scene_description>JOANI presses the buzzer. It engages. HOWARD opens the door. AMARE and CO stand up and exit the vestibule.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Oh my god, AMARE, I'm so sorry.<\/dialogue>\n    <character>AMARE<\/character>\n    <dialogue>That was horrible, Howard.<\/dialogue>\n    <character>BODY GUARD 1<\/character>\n    <dialogue>I'm in the mind to break that fucking showcase over you head.<\/dialogue>\n    <scene_description>AMARE silences the BODYGUARD with a look.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>JOANI, give them a glass of water and for them-<\/dialogue>\n    <parenthetical>(looks to BODY GUARDS)<\/parenthetical>\n    <dialogue>20% off... Lemme just see if this works now.<\/dialogue>\n    <scene_description>HOWARD enters the vestibule and lets the doors close behind him. JOANI buzzes. The doors work.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Voila!<\/dialogue>\n    <parenthetical>(to AMARE)<\/parenthetical>\n    <dialogue>Okay, back to business. You're not an easy man to get a hold of. But when I do, I really do, huh?<\/dialogue>\n    <character>AMARE<\/character>\n    <dialogue>I'm sorry but I don't feel very humorous at this time, Howard.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Alright, lemme see the gem.<\/dialogue>\n    <scene_description>AMARE removes the GEM from an inside pocket. He delicately extends it to HOWARD.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>You know, I forgot what it even looked like... I had only seen it the one time...<\/dialogue>\n    <character>AMARE<\/character>\n    <dialogue>It's the most beautiful thing I've ever has. It feels important.<\/dialogue>\n    <character>AMARE<\/character>\n    <dialogue>Howard, do you know what I mean when I say 'important'?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Of course. That was a legendary performance the other night.<\/dialogue>\n    <scene_description>JOANI hands AMARE a bottled water.<\/scene_description>\n    <character>AMARE<\/character>\n    <dialogue>Thank you. I'm feeling better.<\/dialogue>\n    <parenthetical>(to HOWARD, quietly)<\/parenthetical>\n    <dialogue>Do you think we could talk in private?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Sure, let's go to my office.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KMA GEMS AND JEWELRY OFFICE- BACKROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>HOWARD walks to his desk, AMARE ducks down to clear the doorway.<\/scene_description>\n    <character>AMARE<\/character>\n    <dialogue>Howard, this stone means a lot to me. Importance is a feeling that comes from within. Most people think the opposite.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Morons.<\/dialogue>\n    <character>AMARE<\/character>\n    <dialogue>This stone does something for me. With it, I feel a connection to the ground and, hence, the sky and of course to the cosmos. It's very important to me.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I can tell you feel that way.<\/dialogue>\n    <character>AMARE<\/character>\n    <dialogue>I want to buy it.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Okay. How much is it worth to you?<\/dialogue>\n    <character>AMARE<\/character>\n    <dialogue>I have $175,000 cash with me.<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>Amare, buddy. I'm sorry, this stone is worth a helluva lot more than that.<\/dialogue>\n    <character>AMARE<\/character>\n    <dialogue>And Court-side seats for the rest of the season. That's easily a 50 thousand dollar value. You could sell each and every ticket.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Normally I wouldn't give a shit. I'd give it to you for free. But it's all a bit messy right now. I'm stuck in a hole and to be honest, my life is being threatened on a nightly basis. I only tell you this to emphasize why I'm obligated to sell this gem for the most money I can get.<\/dialogue>\n    <character>AMARE<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>This is a lot of money for me.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>You make millions of dollars.<\/dialogue>\n    <character>AMARE<\/character>\n    <dialogue>It's not what you think. I get paid in stipends. People hold onto a lot my cash. A lot of it is tied up in investments. This is a number I can do. Plus, I'll post a picture of you once a week on my Instagram.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>You're not understanding me.<\/dialogue>\n    <scene_description>AMARE grows angry but then controls himself.<\/scene_description>\n    <character>AMARE<\/character>\n    <dialogue>I feel like I'm being very fair. It's an honest price for a gem of this kind.<\/dialogue>\n    <scene_description>HOWARD feels conflicted.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Look, it's already listed with Christies. If it means that much to you, you're free to attend and bid on the item like everyone else. Who knows, you could get it for 175 there. I doubt it but I haven't even had the thing appraised yet.<\/dialogue>\n    <character>AMARE<\/character>\n    <dialogue>When is the auction?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Monday.<\/dialogue>\n    <character>AMARE<\/character>\n    <dialogue>Okay, fair enough. But you will let me hold onto it until the auction date. I have a game tonight and two on the road, one in Cleveland and one in Atlanta. I can have it back by Sunday.<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>Amare, buddy, I have a million things to do with it before the auction, including, like I said, getting it appraised.<\/dialogue>\n    <scene_description>AMARE stands up.<\/scene_description>\n    <character>AMARE<\/character>\n    <dialogue>You're saying no again.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I'm sorry. I can't. I just can't. Maybe if your game on Saturday was at home... maybe JUST MAYBE, but even then...<\/dialogue>\n    <scene_description>AMARE walks back to the showroom.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>AAAAH AMARE! Don't be like that!<\/dialogue>\n    <scene_description>BUZZZZZ!<\/scene_description>\n    <character>AMARE (O.S.)<\/character>\n    <dialogue>I'm not gonna get stuck in there again, will I?!<\/dialogue>\n    <character>JOANI (O.S.)<\/character>\n    <dialogue>No. I don't think so.<\/dialogue>\n    <scene_description>BUZZZZ! HOWARD looks up to the security monitors and watches AMARE leave KMA and head towards the elevators. The elevator doors open and SADIE exits as AMARE and his BODYGUARDS enter. Upon seeing SADIE, HOWARD quickly throws on his sports coat, places the gem in the front pocket and dashes out of his office.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KMA GEMS AND JEWELRY OFFICE- SHOWROOM<\/stage_direction>\n    <scene_description>HOWARD jets around the showcase.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(to JOANI)<\/parenthetical>\n    <dialogue>I'm going to Aren's at G.I.A, Close up without me.<\/dialogue>\n    <scene_description>BUZZZZZ! HOWARD leaves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KMA GEMS AND JEWELRY OFFICE- VESTIBULE - CONTINUOUS<\/stage_direction>\n    <scene_description>HOWARD opens the door to the hallway, coming face to face with SADIE. Her face is splotchy and puffy. BEFORE SHE CAN SAY ANYTHING, HOWARD waves a finger in her face. NO! HOWARD rushes down the hallway. She runs after him.<\/scene_description>\n    <character>SADIE<\/character>\n    <dialogue>Howard, I'm sorry, what do you want me to do, I want to die.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Good, die.<\/dialogue>\n    <scene_description>HOWARD pushes the elevator button.<\/scene_description>\n    <character>SADIE<\/character>\n    <dialogue>But you told me to come in!<\/dialogue>\n    <scene_description>HOWARD laughs loudly.<\/scene_description>\n    <character>SADIE<\/character>\n    <dialogue>Please, Howard! It was a mistake, I was fucked up, I'm sorry!<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I don't give a shit.<\/dialogue>\n    <scene_description>SADIE tries to get into his field of vision.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>If I wanted to look at you, I would.<\/dialogue>\n    <scene_description>The elevator doors open. HOWARD gets in, SADIE tries to enter. HOWARD violently pushes her out.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Stay out!<\/dialogue>\n    <scene_description>SADIE starts crying. The doors close.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHRISTIES AUCTION HOUSE BACK ROOM - DAY<\/stage_direction>\n    <scene_description>AREN, a plump man, Jewish, late 40s, examines the gem with a wet grinder. He dries it off, re-wets it and holds it up to a light.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Incredible, huh?<\/dialogue>\n    <scene_description>With a digital caliper AREN measures it's size, then weighs it.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Can you believe that was noodled?!<\/dialogue>\n    <character>AREN<\/character>\n    <dialogue>Sure I can.<\/dialogue>\n    <scene_description>AREN sends light through the stone and checks its refraction.<\/scene_description>\n    <character>AREN (CONT'D)<\/character>\n    <dialogue>Well it's certainly not the harlequin multi color black precious you said it was.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>What? What do you mean, what's wrong with it? It's harlequin!<\/dialogue>\n    <character>AREN<\/character>\n    <dialogue>Look, it's got a basic pin-fire pattern...<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>No, no, no-<\/dialogue>\n    <character>AREN<\/character>\n    <parenthetical>(looks deeper)<\/parenthetical>\n    <dialogue>Limited in color...<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>That's a crock of shit. I had the thing under dull lighting and saw full spectrum.<\/dialogue>\n    <character>AREN<\/character>\n    <dialogue>It won't face up across it's largest dimension...<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>What's that mean? I'm not an opal guy.<\/dialogue>\n    <character>AREN<\/character>\n    <dialogue>It means even with the best cutter, you won't get it to fully face upright. It will undulate.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Okay, fine, so we're looking at what? a 'G' a carat?<\/dialogue>\n    <character>AREN<\/character>\n    <dialogue>It's not even as dark as true black should be, like you had told us.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>It's black as night. And the thing is skin to skin.<\/dialogue>\n    <character>AREN<\/character>\n    <dialogue>But it isn't... Maybe it'll yield 30-40%. Look, you know noodled opals are a gamble. Why you didn't tell Steven this is beyond me.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Steven was doing me a favor. I saw pictures, it was windowed for us there. It's from Welo!<\/dialogue>\n    <character>AREN<\/character>\n    <dialogue>I don't know about that. Welo opals aren't this big-and I'm seeing that there very well could be a flaw or two, looks like a grain of sand about a mil deep, there are a lot of notches.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>The thing's gorgeous! I could get 650 for it in an hour.<\/dialogue>\n    <character>AREN<\/character>\n    <dialogue>I'm sorry Howard, I can't appraise it at that. We've already estimated this at 750 to a mil.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Okay, let's keep it at that.<\/dialogue>\n    <character>AREN<\/character>\n    <dialogue>You kidding me? I'd lose my GIA certification.<\/dialogue>\n    <parenthetical>(looking at gem)<\/parenthetical>\n    <dialogue>We can say the 175 to 250 range. Start bidding at 100.<\/dialogue>\n    <scene_description>HOWARD paces about.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>175!?! Fuck this. I'm gonna bring it to Carol's, she's certified and knows a lot more bout opals than you do, she's already seen it.<\/dialogue>\n    <scene_description>HOWARD's phone rings. He silences it without looking at it.<\/scene_description>\n    <character>AREN<\/character>\n    <dialogue>Then she told you the same thing. C'mon Howard, I have no reason to lie to you. You gotta hope for a collector, a jeweler won't even take this on most likely.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>But it's beautiful.<\/dialogue>\n    <scene_description>HOWARD's phone rings and again he silences it.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>If people see it up close they'll bid through the roof. Can't we show a video of what it looks like inside?<\/dialogue>\n    <character>AREN<\/character>\n    <dialogue>Won't matter. They're gonna withdraw it.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Let me deal with Steven. He won't pull it. Can you guys do the video?<\/dialogue>\n    <scene_description>HOWARD's phone rings again. This time he takes it out of his pocket. On the caller ID it says, \"DINA.\"<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Oh shit. Shabbat.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOOEY'S - PARK AVENUE APARTMENT - DINING ROOM - NIGHT<\/stage_direction>\n    <scene_description>HOWARDS distant cousin GOOEY, fat, perfectly clean shaven, sits at the head of a formal dining table. The table is set for Shabbos; candles, challa bread, wine, etc. His home is expansive, rooms beyond view, expensive artwork and decor. Next to GOOEY is RAQUEL, his wife, an olive skinned trophy wife, his son EDMOND, 14, chubby, bratty, braces, GINA, 9, his daughter, a princess, NICKI, 15. The men wear yarmulkes. On HOWARD's side sit DINA, EDDIE, BENI and MARCEL. The two families look related. GOOEY recites a Hebrew prayer, dips a ripped piece of challah bread in salt and violently throws a piece to each person at the table; a Sephardic tradition. HOWARD'S phone rings in his pocket. He immediately silences it without looking at it. HOWARD notices a painting above the fireplace. A gradient of color that resembles a sunset.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Is that new, I don't remember you guys having that up last time we were here.<\/dialogue>\n    <character>RAQUEL<\/character>\n    <dialogue>When were you guys here last?<\/dialogue>\n    <character>DINA<\/character>\n    <dialogue>7 months ago.<\/dialogue>\n    <scene_description>HOWARD phone vibrates again, the vibration is audible. HOWARD silences it.<\/scene_description>\n    <character>EDDIE<\/character>\n    <dialogue>Dad!<\/dialogue>\n    <scene_description>The kids fight over iphone games and pick at their food. MAIDS come in and out throughout the meal.<\/scene_description>\n    <character>RAQUEL<\/character>\n    <dialogue>That's too long.<\/dialogue>\n    <character>EDDIE<\/character>\n    <dialogue>Dad!<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>What baby?<\/dialogue>\n    <character>EDDIE<\/character>\n    <dialogue>Beni isn't sharing.<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(to BENI, very serious)<\/parenthetical>\n    <dialogue>Give him the phone or I throw it in the garbage.<\/dialogue>\n    <scene_description>BENI dutifully hands phone to EDDIE.<\/scene_description>\n    <character>GOOEY<\/character>\n    <dialogue>That's an Alex Israel. Jewish kid in Los Angeles making lots of money right now.<\/dialogue>\n    <character>RAQUEL<\/character>\n    <dialogue>They're colors from his dreams!<\/dialogue>\n    <character>GOOEY<\/character>\n    <dialogue>Stupid.<\/dialogue>\n    <character>RAQUEL<\/character>\n    <dialogue>What're they then?<\/dialogue>\n    <scene_description>GOOEY pulls an Ipad up and opens some files. He finds the piece of art they're talking about, reads about it.<\/scene_description>\n    <character>RAQUEL<\/character>\n    <dialogue>Rene got it for us for nothing. But now they go for like 1 to 200, that one there is about 125.<\/dialogue>\n    <character>DINA<\/character>\n    <dialogue>I don't get it.<\/dialogue>\n    <scene_description>HOWARD'S phone vibrates again. HOWARD immediately silences it.<\/scene_description>\n    <character>GOOEY<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>They are replicas of backdrops from movie sets in Hollywood studios, he's from Los Angeles so the movie industry is important for him.<\/dialogue>\n    <parenthetical>(looking up)<\/parenthetical>\n    <dialogue>You see, it's not what you said.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Will you guys excuse me for a second.<\/dialogue>\n    <scene_description>HOWARD gets up. DINA issues a disproving look as he walks out of the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOOEY'S - PARK AVENUE APARTMENT - HALLWAY TO DINING ROOM<\/stage_direction>\n    <scene_description>HOWARD immediately pulls the phone out, \"SADIE\" appears on the caller-ID. He answers it.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>What are you doing!?! You know where I am, why are you calling me like this?<\/dialogue>\n    <character>SADIE (O.S.)<\/character>\n    <parenthetical>(in tears)<\/parenthetical>\n    <dialogue>Why are you doing this to me?<\/dialogue>\n    <scene_description>HOWARD turns into the first open doorway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOOEY'S - PARK AVENUE APARTMENT - CHILDRENS BEDROOM<\/stage_direction>\n    <scene_description>HOWARD enters a children's bedroom, lavishly decorated to look like a city playground, with monkey-bars installed on the walls.<\/scene_description>\n    <character>SADIE (O.S.)<\/character>\n    <dialogue>I fucked up. I know I fucked up. I don't even remember what happened- No, I guess I wouldn't.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>It's Shabbos! What do you want?<\/dialogue>\n    <character>SADIE (O.S.)<\/character>\n    <dialogue>I just want talk to you for a minute.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I don't have anything to say to you. I'm here having dinner and after I'm going to enjoy a nice peaceful weekend with my family away from your poison.<\/dialogue>\n    <character>SADIE (O.S.)<\/character>\n    <dialogue>You don't have to say anything, just give me a minute, please.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Okay you have 60 seconds...<\/dialogue>\n    <scene_description>Silence.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>This counts.<\/dialogue>\n    <scene_description>SADIE collects herself, breathes deep. After a long pause:<\/scene_description>\n    <character>SADIE (O.S.)<\/character>\n    <dialogue>I hate myself. You can't hate me more than I hate myself. I-I-I hate that I am this way... Shit, I had it in my head perfect...<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>You sound like televsion.<\/dialogue>\n    <character>SADIE (O.S.)<\/character>\n    <dialogue>Okay, ok, I know, I'm a piece a shit, I'm a slut, I'm a no-good-low- life who deserves nothing but the street.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>If you were sorry you would have been in the office this morning with coffee and flowers before I even got up. Do you know how messed up my back is today from sleeping on that chair? My back is in so much pain. You caused that pain.<\/dialogue>\n    <character>SADIE (O.S.)<\/character>\n    <dialogue>I know. I don't want to cause you any pain any more... I think maybe what we need is for me to give you some space. I can move out temporarily.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>You can move out for good!<\/dialogue>\n    <character>SADIE (O.S.)<\/character>\n    <dialogue>If that's what you want.<\/dialogue>\n    <scene_description>HOWARD looks at the time.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Yes. Out. By 10pm tonight. Are we done?<\/dialogue>\n    <scene_description>HOWARD throws his phone against an oversized pillow shaped like a pigeon.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOOEY'S - PARK AVENUE APARTMENT - DEN - DURING<\/stage_direction>\n    <scene_description>HOWARD sits at the edge of a plush couch in a rich velvety den. GOOEY makes him a drink. ESPN plays basketball recaps on the TV.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Make it louder.<\/dialogue>\n    <scene_description>GOOEY raises the volume with an IPAD remote.<\/scene_description>\n    <character>SPORTSCASTER (O.S.)<\/character>\n    <dialogue>AMARE needs help. You gotta learn to keep yourself in check.<\/dialogue>\n    <scene_description>Sportscenter footage of a distressed AMARE swatting a cup of Gatorade off a courtside desk and accidentally spraying fans. AMARE apologizes profusely. The graphic reads, \"Hero to Zero.\"<\/scene_description>\n    <character>GOOEY<\/character>\n    <dialogue>So hot one night and so cold the next.<\/dialogue>\n    <character>SPORTSCASTER (O.S.)<\/character>\n    <dialogue>AMARE Stoudemire, 3 for 17...<\/dialogue>\n    <character>SPORTCASTER 2 (O.S.)<\/character>\n    <dialogue>And they're hitting him with single coverage, it's not the defense.<\/dialogue>\n    <character>SPORTCASTER (O.S.)<\/character>\n    <dialogue>It's like the boiler broke.<\/dialogue>\n    <character>SPORTCASTER 2 (O.S.)<\/character>\n    <dialogue>Call the super!<\/dialogue>\n    <scene_description>HOWARD grabs the remote and makes it even louder: SPORTSCENTER shows AMARE shirtless after the game in front of his locker.<\/scene_description>\n    <character>AMARE<\/character>\n    <dialogue>I just couldn't hit my rhythm.<\/dialogue>\n    <character>NEWSDAY REPORTER<\/character>\n    <dialogue>You couldn't hit anything compared to last game. Is it the elbows?<\/dialogue>\n    <character>AMARE<\/character>\n    <dialogue>My elbows feel fine... I didn't have a good game and I take full responsibility.<\/dialogue>\n    <scene_description>AMARE looks tortured on TV.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Fuckin' guy tried to steal an opal from me.<\/dialogue>\n    <character>GOOEY<\/character>\n    <dialogue>What?!<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Yeah, I lent it to him the night he had that crazy game. Fuckin schvartza gave me a heart attack.<\/dialogue>\n    <character>GOOEY<\/character>\n    <dialogue>What did you do? Call the cops?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>No, I knew he'd turn up. He just got carried away. I know his people really well. They wouldn't do me like that.<\/dialogue>\n    <character>GOOEY<\/character>\n    <dialogue>What did he say?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>He thinks that the stone gives him special powers.<\/dialogue>\n    <character>GOOEY<\/character>\n    <dialogue>Really?!<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I believe it! He was possessed. You saw his performance.<\/dialogue>\n    <character>GOOEY<\/character>\n    <dialogue>What kind of stone is it?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Precious black opal, insane color spectrum in harlequin pattern... top notch, HUGE! You get lost in it.<\/dialogue>\n    <scene_description>GOOEY laughs.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>He wants the stone but was low- balling me on the price, offering 175. Stormed out after I told him to try his luck at the auction.<\/dialogue>\n    <character>GOOEY<\/character>\n    <dialogue>What do you think it will go for?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Honestly, I think it could go for 600, I don't see why not.<\/dialogue>\n    <character>GOOEY<\/character>\n    <dialogue>What's it value?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>1st appraisal was low and I don't have time to get a 2nd one.<\/dialogue>\n    <character>GOOEY<\/character>\n    <dialogue>What was it?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Eh, they appraised it around a quarter.<\/dialogue>\n    <character>GOOEY<\/character>\n    <dialogue>And he offered 175?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Yeah listen Gooey, lemme ask you a favor.<\/dialogue>\n    <character>GOOEY<\/character>\n    <dialogue>Oh boy, what?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Come to the auction Monday at Christies, they know you there. Make a few bids-<\/dialogue>\n    <character>GOOEY<\/character>\n    <dialogue>Absolutely not.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I'm not talking about a lot, just ensure that it gets to 250.<\/dialogue>\n    <character>GOOEY<\/character>\n    <dialogue>And if I win at 250?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Then I give it right back to you.<\/dialogue>\n    <character>GOOEY<\/character>\n    <dialogue>You know I resent being put in this position.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Look at the guy.<\/dialogue>\n    <scene_description>AMARE looks destroyed on TV.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>He's gonna overpay. Trust me.<\/dialogue>\n    <character>GOOEY<\/character>\n    <dialogue>If it were Southeby's-<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>20%. I'll give you that off his final price.<\/dialogue>\n    <character>GOOEY<\/character>\n    <dialogue>I'll do it for 30%.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>20% is fair.<\/dialogue>\n    <character>GOOEY<\/character>\n    <dialogue>But I'm the one with the reputation.<\/dialogue>\n    <scene_description>HOWARD looks at highlights they show of AMARE's peak performance game. AMARE celebrating.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOWARD AND DINA'S FAMILY CAR - NIGHT<\/stage_direction>\n    <scene_description>HOWARD sits behind the wheel of his family's BMW SUV. EDDIE plays an iphone game called \"Make it Rain,\" where the object is to flip through enough money as you can. BENI\/MARCEL crowd over EDDIE. DINA surveys Instagram in the front seat. HOWARD sees that it's 10:15 on the car's clock.<\/scene_description>\n    <character>DINA<\/character>\n    <dialogue>Why you going down 5th?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I need to grab something from the apartment.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOWARD'S BUILDING - AFTER<\/stage_direction>\n    <scene_description>HOWARD pulls the BMW up to his building. A DOORMAN approaches the car.<\/scene_description>\n    <character>DOORMAN<\/character>\n    <dialogue>Anything in the trunk, Mr. Nagy?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>No, I'm just popping up for a second.<\/dialogue>\n    <scene_description>DINA and their children watch HOWARD enter the lobby.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOWARD'S APARTMENT. LIVING ROOM\/KITCHENETTE - AFTER<\/stage_direction>\n    <scene_description>The door flies open. SADIE sits relaxed on the couch in a robe. HOWARD sees her and bursts into a rage.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>It's half past 10 and you're laying around watching television?!?!<\/dialogue>\n    <scene_description>SADIE stares at him. He runs to the counter and rummages through SADIE's handbag till he finds her set of keys.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>I'll tell you this!<\/dialogue>\n    <scene_description>He removes the house keys from her key ring and pockets them.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Now the next time you close this door behind you it'll be the last time!<\/dialogue>\n    <scene_description>HOWARD slams the door closed. LOUDLY. Seconds later the door flies open again. HOWARD runs back into the apartment and makes his way to the bedroom.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>I decided I'll pack up for you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOWARD'S APARTMENT - BEDROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>HOWARD throws the closet doors open, SADIE watches from the doorway. HOWARD grabs a suitcase from the closet and tosses it onto the floor. He then pulls random armfuls of clothing from the wardrobe and shoves them into the suitcase.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(to self\/her)<\/parenthetical>\n    <dialogue>You wanna go fuck black guys in the nasty bathrooms of their clubs, GO! Suck black dick, fuck black dick! I gotta live my life and...<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>Howard...<\/dialogue>\n    <scene_description>HOWARD grabs a bunch of shoes and throws them onto the floor, walks over to a dresser, pulls a full drawer out of the unit and dumps it into the suitcase.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Please, go! Go, stuff your little pussy with their big black dicks, What? I don't fuck you nice enough?<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>You're being ridiculous!<\/dialogue>\n    <scene_description>He squeezes the suitcase closed, zips it up and rolls it out of the bedroom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOWARD'S APARTMENT - LIVING ROOM\/KITCHENETTE - CONTINUOUS<\/stage_direction>\n    <scene_description>HOWARD rolls the suitcase towards the front door.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>I'll leave this with the doorman, I'm gonna tell them to throw it in the garbage out back if you don't come down with two others just like it in the next hour or so.<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>Are you coming back?<\/dialogue>\n    <scene_description>HOWARD leaves the apartment, slams the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOWARD'S APARTMENT - BUILDING HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>HOWARD rolls the suitcase to the elevator. He then opens the door to an adjacent stairwell and hides the suitcase behind a trash can.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOWARD AND DINA'S FAMILY CAR - NIGHT<\/stage_direction>\n    <scene_description>HOWARD gets back in the car.<\/scene_description>\n    <character>DINA<\/character>\n    <parenthetical>(icy)<\/parenthetical>\n    <dialogue>Did you get what you wanted?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Howard falls silent, starts the engine and drives away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET IN SUBURBAN QUEENS, FOREST HILLS - AFTER<\/stage_direction>\n    <scene_description>The BMW drives down a tree-lined street of oversized garish homes crammed onto small properties. The car pulls into a driveway and cuts the engine.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOWARD AND DINA'S FAMILY CAR - CONTINUOUS<\/stage_direction>\n    <scene_description>The NAGY family pile out of the car and ascend a decadent stone staircase.<\/scene_description>\n    <character>DINA<\/character>\n    <parenthetical>(to HOWARD)<\/parenthetical>\n    <dialogue>Pull the recycling out before you come in.<\/dialogue>\n    <scene_description>HOWARD walks around to the side of the house, grabs a blue bin and slowly drags it to the curb. Lights turn on inside the house illuminating his movements. When the chore is done, HOWARD shuffles up the stairs and enters his home.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHRISTIE'S AUCTION HOUSE - AUCTION FLOOR - AFTER<\/stage_direction>\n    <scene_description>An AUCTIONEER, an Indian man, 40's, British accent, stands at a podium spouting off information about a collection of ruby encrusted necklaces. Above him, large TV's show the necklaces in detail. Prices are tracked and translated into other currencies on a second monitor. Each side of the room is lined with manned telephones. The general public and registered bidders sit with paddles and books in rows of chairs. Sitting in the front is GOOEY, flipping through the auction catalogue. Several rows back sit one of AMARE'S BODY GUARDS and a well- dressed white woman in her mid-30's, Amare's PERSONAL ASSISTANT. Seated in the back are JIM and ROBERT. HOWARD stands by the side of the room, also flipping through the auction catalogue. The ruby necklaces go to bidder in the back. The system moves on to the next item. Images of the Opal appear on the big screen. Curtains open and a MODEL in a formal dress appears, holding the gem on a pillowed cushion.<\/scene_description>\n    <character>AUCTIONEER<\/character>\n    <dialogue>Before we move onto item number 38, we have a formal statement from Christies to announce, an apology.<\/dialogue>\n    <parenthetical>(reads from paper)<\/parenthetical>\n    <dialogue>Those of you in attendance for our next item for auction, Item #38 a 600 carat precious black opal from Lightning Ridge, Australia, please accept our sincerest apologies. We recently learned that the opal is in fact from the Welo mines in Ethiopia and estimated, not in the $750,000 to million range, but $155,000 to $225,000.<\/dialogue>\n    <parenthetical>(off script)<\/parenthetical>\n    <dialogue>Under normal circumstances we would pull such an item, but we do feel that the gem is still a unique, exquisite specimen.<\/dialogue>\n    <scene_description>A close up of the HOWARD'S gem is projected above.<\/scene_description>\n    <character>AUCTIONEER<\/character>\n    <dialogue>As you can see the rough opal has been windowed on either side. Before even being cut you can see a dazzling array of color in the classic pin-fire pattern that, with the right cutter, could yield up to 50 or 60%. There seem to be a few recorded totches on the backside and cutting needs to be precise if that is the intention of the buyer. Let's open this at $40,000.<\/dialogue>\n    <scene_description>Amare's PERSONAL ASSISTANT starts the bidding off, raising her paddle.<\/scene_description>\n    <character>AUCTIONEER<\/character>\n    <dialogue>We have 40 grand, can we see 50?<\/dialogue>\n    <scene_description>A random MALE BIDDER 189 in the back raises his paddle.<\/scene_description>\n    <character>AUCTIONEER<\/character>\n    <dialogue>50 to the gentleman in the back,<\/dialogue>\n    <parenthetical>(to AMARE'S PEOPLE)<\/parenthetical>\n    <dialogue>65, Do we have 65?<\/dialogue>\n    <scene_description>PERSONAL ASSISTANT raises her paddle.<\/scene_description>\n    <character>AUCTIONEER<\/character>\n    <dialogue>65,000, 65,000, do you want 75?<\/dialogue>\n    <scene_description>MALE BIDDER 189 raises his and announces:<\/scene_description>\n    <character>AUCTIONEER<\/character>\n    <dialogue>85, Do you want 95?<\/dialogue>\n    <scene_description>PERSONAL ASSISTANT responds. 100,000.<\/scene_description>\n    <character>AUCTIONEER<\/character>\n    <dialogue>We have 100.<\/dialogue>\n    <parenthetical>(to MALE BIDDER)<\/parenthetical>\n    <dialogue>Would you give us 110?<\/dialogue>\n    <scene_description>The MALE BIDDER doesn't move.<\/scene_description>\n    <character>AUCTIONEER<\/character>\n    <dialogue>105, sir? 105?<\/dialogue>\n    <scene_description>MALE BIDDER still despondent.<\/scene_description>\n    <character>AUCTIONEER<\/character>\n    <dialogue>Do we have 110? Anyone, 110?<\/dialogue>\n    <scene_description>GOOEY raises his paddle. The AUCTIONEER is elated to see GOOEY'S participation.<\/scene_description>\n    <character>AUCTIONEER<\/character>\n    <dialogue>110 to Mr. Dabba, nice to see you.<\/dialogue>\n    <scene_description>GOOEY nods.<\/scene_description>\n    <character>AUCTIONEER<\/character>\n    <parenthetical>(to PERSONAL ASSISTANT)<\/parenthetical>\n    <dialogue>Will you go to 125?<\/dialogue>\n    <scene_description>PERSONAL ASSISTANT raises her paddle.<\/scene_description>\n    <character>AUCTIONEER<\/character>\n    <dialogue>We have 125, Mr. Dabba, 135?<\/dialogue>\n    <scene_description>GOOEY raises his paddle.<\/scene_description>\n    <character>AUCTIONEER<\/character>\n    <dialogue>135! 135, 135, do we have 150? 150?<\/dialogue>\n    <scene_description>PERSONAL ASSISTANT raises her paddle.<\/scene_description>\n    <character>AUCTIONEER<\/character>\n    <dialogue>150, great, 160?<\/dialogue>\n    <scene_description>GOOEY raises paddle.<\/scene_description>\n    <character>AUCTIONEER<\/character>\n    <dialogue>160! 170? Will you see 170?<\/dialogue>\n    <scene_description>PERSONAL ASSISTANT raises her paddle.<\/scene_description>\n    <character>BODY GUARD 1<\/character>\n    <parenthetical>(shouts)<\/parenthetical>\n    <character>AUCTIONEER<\/character>\n    <dialogue>175! Nice advance. Mr. Dabba, 190?<\/dialogue>\n    <scene_description>The crowds murmurs. JIM seems content. GOOEY looks to HOWARD, pauses, and raises his paddle. 190! (to PERSONAL ASSISTANT) Will you do 200? Take us there! PERSONAL ASSISTANT talks quietly to BODY GUARD 1, who is clearly urging her to go higher.<\/scene_description>\n    <character>AUCTIONEER<\/character>\n    <dialogue>200 to counter Mr. Dabba? 200?<\/dialogue>\n    <scene_description>PERSONAL ASSISTANT is clearly reluctant.<\/scene_description>\n    <character>AUCTIONEER<\/character>\n    <dialogue>Will it be 200?<\/dialogue>\n    <scene_description>PERSONAL ASSISTANT shakes her head no. BODYGUARD 1 looks annoyed. HOWARD looks on in shock. GOOEY looks panicked. JIM and ROBERT look pleased.<\/scene_description>\n    <character>AUCTIONEER<\/character>\n    <dialogue>No? Okay, 200 to the room? 200?<\/dialogue>\n    <parenthetical>(looks to room)<\/parenthetical>\n    <dialogue>Anybody, 200 for the 600 carat Opal... A great addition to any gemologist's collection. 200,000 dollars? It's undervalued at 190. Do we have 200?<\/dialogue>\n    <scene_description>Silence from the room.<\/scene_description>\n    <character>AUCTIONEER<\/character>\n    <dialogue>Okay, we're gonna go to Mr. Dabba for 190 then. 190 going once, 190 twice.<\/dialogue>\n    <scene_description>AUCTIONEER bangs his gavel.<\/scene_description>\n    <character>AUCTIONEER<\/character>\n    <dialogue>Sold to Mr. Dabba for 190,000 dollars. Thank you Mr. Dabba.<\/dialogue>\n    <scene_description>Weak applause spreads through the room. GOOEY reluctantly responds with a quick wave. Amare's retinue stand up and leave the room. HOWARD tries to head them off by the exit but can't get to them in time. GOOEY walks past HOWARD, actively avoiding contact.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHRISTIE'S AUCTION HOUSE - HALLWAY - AFTER<\/stage_direction>\n    <scene_description>GOOEY casually walks up to HOWARD in the hallway.<\/scene_description>\n    <character>GOOEY<\/character>\n    <parenthetical>(livid)<\/parenthetical>\n    <scene_description>190!?!<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>What can I say? I was wrong.<\/dialogue>\n    <character>GOOEY<\/character>\n    <dialogue>So now what!?!<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(looking over his shoulder)<\/parenthetical>\n    <dialogue>Control yourself. Not here.<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>I told you, once the money clears into my account I'll wire it right back to you.<\/dialogue>\n    <character>GOOEY<\/character>\n    <dialogue>Including Christie's 12%?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>That comes out of my pocket, naturally... I just need a few weeks on that.<\/dialogue>\n    <character>GOOEY<\/character>\n    <dialogue>That's nearly 25 grand!<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Shhhh!<\/dialogue>\n    <scene_description>Christie's manager, LLOYD, Asian, 40's, effeminate, stops them.<\/scene_description>\n    <character>LLOYD<\/character>\n    <dialogue>Mr. NAGY, Mr. Dabba, can I see you gentlemen in my office.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Can this wait? We're in a rush.<\/dialogue>\n    <character>LLOYD<\/character>\n    <dialogue>I'm sorry. This will only take a minute of your time.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHRISTIE'S AUCTION HOUSE - LLOYD'S OFFICE<\/stage_direction>\n    <scene_description>LLOYD enters his office, GOOEY and HOWARD right behind him. The second the door closes:<\/scene_description>\n    <character>LLOYD<\/character>\n    <dialogue>You both know our policy on shill bidding-<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Shill bid-- What the hell are you talking about?<\/dialogue>\n    <character>LLOYD<\/character>\n    <dialogue>There's no negotiation, I'm sorry. You're both banned from Christies.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>So a friend isn't allowed to buy a stone of mine through auction??!<\/dialogue>\n    <character>GOOEY<\/character>\n    <dialogue>I do a lot of business here!<\/dialogue>\n    <character>LLOYD<\/character>\n    <dialogue>We are well aware of that Mr. Dabba, which makes this even more unpleasant.<\/dialogue>\n    <character>GOOEY<\/character>\n    <dialogue>You gotta be kidding me?!<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Proof! I demand proof!!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHRISTIE'S AUCTION HOUSE - 49TH ST - AFTER<\/stage_direction>\n    <scene_description>HOWARD and GOOEY leave the building. GOOEY is beyond upset. HOWARD holds a purple wooden box containing the gem. They are immediately approached by JIM and ROBERT.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Congratulations Howard!<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(to self)<\/parenthetical>\n    <dialogue>Shit.<\/dialogue>\n    <character>JIM<\/character>\n    <parenthetical>(to GOOEY)<\/parenthetical>\n    <dialogue>Congrats to you, sir. You mind if we had a minute alone with Howard?<\/dialogue>\n    <character>GOOEY<\/character>\n    <parenthetical>(storming off)<\/parenthetical>\n    <dialogue>You can have him.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Ah, come on!<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Okay, so what's next?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Look, shit, I don't know how to tell you this but, yeah, the bid was disqualified. It doesn't count.<\/dialogue>\n    <character>JIM<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>Is this a joke?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I wish. That guy who just left, he's a friend. We were trying to drive the price up on Amare and-<\/dialogue>\n    <character>ROBERT<\/character>\n    <parenthetical>(deadly serious)<\/parenthetical>\n    <dialogue>I don't want to hear it.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Wait, wait. Before you jump to conclusions, ask me why I don't look worried?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Cut the bullshit, Howard. I'm not interested.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I'm not worried because I have the option of selling it to Amare directly. He already offered me 175 in cash for the opal just the other day.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>You're telling me you had 175 grand in front of you recently and said no?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Well, it wasnt that simple. I had an agreement to auction with Christie's. You have any idea what kind of penalties they charge for a last minute cancellation?<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Call AMARE. Right now.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>No problem!<\/dialogue>\n    <scene_description>HOWARD pulls his phone out. Scrolls through his contacts.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>You saw his people bidding...<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Put it on speaker. I want to hear him say 175.<\/dialogue>\n    <scene_description>HOWARD activates the speaker, awaits rings: The call is sent to Demany's voicemail: the excerpt of Biggie's 'Gimme One More Chance'<\/scene_description>\n    <character>VOICEMAIL<\/character>\n    <dialogue>Biggie, gimme me one more chance... BEEP.<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Amare! Baruch hashem. Was really hoping to see your face today. As I'm sure you've heard by now, the gem went to a higher bidder. Turns out, there's been a mix up and if you want it, it's yours for 175, just like you offered. I'm telling you it's yours. Call me immediately.<\/dialogue>\n    <scene_description>HOWARD hangs up.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>He'll call back. When he does, I'll set this up for tomorrow morning. He'll come with cash, you'll have your money tomorrow, I promise.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOWARD'S APARTMENT - BATHROOM - AFTERNOON<\/stage_direction>\n    <scene_description>In a thick steam cloud, HOWARD cleanses himself with a hot shower. It's all gonna be okay. Everything. SADIE enters.<\/scene_description>\n    <character>SADIE<\/character>\n    <dialogue>Howard?<\/dialogue>\n    <scene_description>HOWARD doesn't answer. SADIE makes her way to the shower, opens the curtain. HOWARD turns around and sees SADIE naked.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>No, No, no, I don't want that now.<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>Please...<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(closing the curtain)<\/parenthetical>\n    <dialogue>I said no!<\/dialogue>\n    <character>SADIE (O.S.)<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <scene_description>With closed eyes, HOWARD starts to massage shampoo into his hair. SADIE picks up another shampoo bottle and gets up on the toilet seat, so she can reach over the shower curtain. She waits for HOWARD to start rinsing the shampoo out of his hair. She then proceeds to pour more shampoo onto his head, making it impossible for him to finish rinsing. For the next 30 seconds, he rinses, she pours, until...<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>What the fucking-!?!<\/dialogue>\n    <scene_description>SADIE laughs and squeezes out the rest of the shampoo.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Ahhhhh!<\/dialogue>\n    <scene_description>SADIE laughs louder, HOWARD squints his eyes open and sees SADIE's hand dangling above him. SADIE! HOWARD rips the shower curtain to the side, still with tons of suds in his hair, though now he has a FULL ERECTION! HOWARD's cell phone rings from the other room.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>My phone! Hand me that towel!<\/dialogue>\n    <scene_description>SADIE hands him a towel coyly. He wraps it around him and hops out of the bathroom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOWARD'S APARTMENT - BEDROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Dripping wet, HOWARD runs into the bedroom and grabs his phone.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>This is Howard... Ah, Amare!<\/dialogue>\n    <scene_description>HOWARD breathes a sigh of great relief and lies down on the bed.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>I have to say, it brings me great joy to hear from you... I know, it's all so confusing... Yes, Though I'm really sorry that it played out this way.<\/dialogue>\n    <scene_description>The bedroom door slowly opens. SADIE enters. Rather than look at her, HOWARD fixes his gaze on the ceiling. She lays down next to him and awaits eye contact.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(into phone, still calm)<\/parenthetical>\n    <dialogue>No, this is right. You're the rightful owner...<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>It's better this way... Do you think you can make it tomorrow morning with the cash... okay, how's the afternoon for you? 4pm is perfect...<\/dialogue>\n    <scene_description>SADIE begins to caress HOWARD. He ignores it the best of his ability. She begins to kiss his chest, moving down slowly.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(to SADIE, whispering)<\/parenthetical>\n    <dialogue>Stop it.<\/dialogue>\n    <parenthetical>(back into phone)<\/parenthetical>\n    <dialogue>No, I'm well aware of the significance of the number... 175 is Abraham's number... Well, they say- no, no you're right, I know... it's true, he lived to 175...<\/dialogue>\n    <scene_description>SADIE undoes HOWARD's towel. HOWARD listens to AMARE, while SADIE sucks him off.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(into phone, very calm)<\/parenthetical>\n    <dialogue>No you're right, like when God told Abraham to leave his land.... we all need to sacrifice... The '6' for the male to the '4' for the female?<\/dialogue>\n    <scene_description>Overhead shot of bed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 47TH STREET BETWEEN 6TH &amp; 5TH, DIAMOND DISTRICT - NEXT DAY<\/stage_direction>\n    <scene_description>HOWARD moves through the district sipping from a cup of coffee. As he nears the entrance to his building he notices Jim's driver MICHAEL and ROBERT standing in the front of a parked Mercedes. HOWARD approaches.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Hey fellas- So, We're all set. AMARE said he'll be here by 4.<\/dialogue>\n    <scene_description>A back window rolls down, revealing JIM.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Yeah we know, my friend Nico is upstairs waiting already.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>You think he wants something? I was gonna go to the deli on the corner for a coffee... This one's done.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>He's good.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KMA GEMS AND JEWELRY OFFICE - BACKROOM - AFTER<\/stage_direction>\n    <scene_description>BUZZ! The security monitor shows AMARE and BODY GUARD 2 standing in the hallway. HOWARD stands at his desk next to NADAV. A second BUZZ! From the showroom AMARE calls to HOWARD:<\/scene_description>\n    <character>AMARE<\/character>\n    <dialogue>Shall I come back there?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Come on in. How was the shoot- around?<\/dialogue>\n    <character>AMARE<\/character>\n    <dialogue>Very refreshing.<\/dialogue>\n    <scene_description>BODY GUARD 2 sits down next to NICO, short, stocky, tough. AMARE heads to the back room.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>You remember my boy Nadav right?<\/dialogue>\n    <character>AMARE<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>HOWARD starts to close the door. NICO gets up.<\/scene_description>\n    <character>NICO<\/character>\n    <dialogue>Keep the door open please.<\/dialogue>\n    <scene_description>HOWARD keeps the door open. AMARE extends a leather weekend bag to HOWARD. He unzips the bag and sees neatly stacked bundles of cash.<\/scene_description>\n    <character>AMARE<\/character>\n    <dialogue>Look, I know what you did at the auction house. I have the upper hand here, but that's not the way I am. I'm a man of my word.<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>I've learned that.<\/dialogue>\n    <scene_description>HOWARD turns to his safe, opens the heavy door and grabs the purple wooden box from Christies, extends it to AMARE, who opens it and pulls the gem out. AMARE caresses the gem, feels its weight.<\/scene_description>\n    <character>AMARE<\/character>\n    <dialogue>You have no idea what this will do for me. I'll be a different person on the court tonight.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I genuinely believe that.<\/dialogue>\n    <character>AMARE<\/character>\n    <dialogue>I think I've even figured it out. It's like I was saying on the phone-<\/dialogue>\n    <scene_description>AMARE begins theorizing about the power of the gem. HOWARD seems to be listening until... A jolt of energy courses through HOWARD'S body. He jerks up, turns to his computer and brings up a betting site.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Nadav, quick-quick.<\/dialogue>\n    <scene_description>AMARE falls silent.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Transfer all the money into your gym bag.<\/dialogue>\n    <scene_description>NADAV dumps his boxing gear onto the floor. HOWARD pulls money out from AMARE'S leather bag and shoves it into NADAV'S gym bag. BUZZ! JIM and ROBERT appear on the security cam. They are buzzed into the showroom.<\/scene_description>\n    <character>NADAV<\/character>\n    <dialogue>What're we doing?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Shhhhh.<\/dialogue>\n    <scene_description>NADAV now helps HOWARD transfer the money.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Nadav, listen carefully. Go downstairs, get in the first town car you see and tell him to take you straight to Foxwoods. Okay?<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>Uh, okay.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Once you get there, you're gonna go straight to the sportsbook, when you get there, you're gonna do a 2 way parlay...<\/dialogue>\n    <scene_description>HOWARD writes this down on a piece of paper.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>I'm gonna write it for you: A two way parlay. Amare's points\/rebounds with the spread of the game. You're gonna put all of the money in this bag onto that bet.<\/dialogue>\n    <scene_description>HOWARD hands NADAV the paper.<\/scene_description>\n    <character>NADAV<\/character>\n    <dialogue>I don't know how to... I-<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Don't worry. Just take that and this and go downstairs and take a car to Foxwoods. Call me when you get there. You can hand that note to the teller at the sports book and she'll know what to do.<\/dialogue>\n    <scene_description>AMARE is genuinely amused.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(to NADAV)<\/parenthetical>\n    <dialogue>Don't say anything to anyone out there when you leave. You're 'goin to the gym.' Understand?<\/dialogue>\n    <scene_description>NADAV nods, gets up, opens the BACKROOM door, JIM, ROBERT, NICO and BODY GUARD 1 look at NADAV, who averts his eyes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KMA GEMS AND JEWELRY OFFICE - SHOWROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>NADAV moves slowly behind the showcases, passing SADIE.<\/scene_description>\n    <character>SADIE<\/character>\n    <dialogue>Where you going?<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>Gym.<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>Oh, have fun.<\/dialogue>\n    <scene_description>NADAV moves through the space past everyone and is buzzed out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KMA GEMS AND JEWELRY OFFICE - BACKROOM<\/stage_direction>\n    <character>AMARE<\/character>\n    <dialogue>Okay, I gotta run to medical.<\/dialogue>\n    <scene_description>AMARE stands, gives a very earnest hug and pound to HOWARD.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Knock 'em dead tonight.<\/dialogue>\n    <character>AMARE<\/character>\n    <dialogue>You know I will.<\/dialogue>\n    <scene_description>AMARE exits the backroom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KMA GEMS AND JEWELRY OFFICE - SHOWROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>AMARE gives a kiss goodbye to SADIE.<\/scene_description>\n    <character>AMARE<\/character>\n    <dialogue>Where's the other girl?<\/dialogue>\n    <character>SADIE<\/character>\n    <dialogue>Joani? She doesn't come in on Tuesdays.<\/dialogue>\n    <scene_description>JIM interrupts.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Well, there he is!<\/dialogue>\n    <scene_description>AMARE smiles, and moves out onto the floor. He shakes hands .<\/scene_description>\n    <character>AMARE<\/character>\n    <dialogue>How you fellas doin?<\/dialogue>\n    <scene_description>JIM and CO. gush over AMARE, HOWARD watches on the monitor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 43RD AND 5TH AVENUE - SAME TIME<\/stage_direction>\n    <scene_description>NADAV hops into a Lincoln Town Car sitting idle on the corner.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LINCOLN TOWN CAR - CONTINUOUS<\/stage_direction>\n    <scene_description>The driver's window falls down. NADAV climbs towards the it.<\/scene_description>\n    <character>NADAV<\/character>\n    <dialogue>I need to go to Foxwoods in Connecticut.<\/dialogue>\n    <character>DRIVER<\/character>\n    <dialogue>I can't now. Sorry.<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>I'll give you a huge tip, 400$.<\/dialogue>\n    <character>DRIVER<\/character>\n    <dialogue>Which way you wanna go?<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>The fastest way.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KMA GEMS AND JEWELRY OFFICE - BACKROOM - AFTER<\/stage_direction>\n    <scene_description>JIM and ROBERT, with NICO still in the showroom, enter the backroom.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>You didn't want to come out with your boy? Introduce us?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>You're not gonna believe it!<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>We're gonna hit it! He's got the gem, he's gonna destroy the money line.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <scene_description>ROBERT picks up the leather bag AMARE brought in. It's empty.<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I sent my boy Nadav to Foxwoods, paying cash, clean. Parlaying the money-line with the over on his points plus rebounds. Odds are 4 to 1!! 4 to 1! I'll cut you 400 of it.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>You're out of your fuckin' mind, you gotta be out of your mind.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>What's wrong with you, we're gonna be rich-I can get us courtside seats for tonight, it'll be great!<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>Where's the money right now?<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>I told you, it's on it's way to Connecticut!<\/dialogue>\n    <scene_description>ROBERT pulls out a gun. HOWARD all of a sudden grows scared. NICO runs into the doorway, closes the door to the showroom.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Guys, look, I'm here, with you right now, telling you about a winning ticket! C'mon I'm not fucking you here. Why would I try to screw you guys?<\/dialogue>\n    <character>JIM<\/character>\n    <parenthetical>(slowly, forcefully)<\/parenthetical>\n    <dialogue>Call him and tell him to come back with the cash right now.<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(possessed, head down)<\/parenthetical>\n    <dialogue>I can't do that. I just can't do that. I'm sorry. I can't. We're shoe-ins. Trust me.<\/dialogue>\n    <scene_description>ROBERT throws HOWARD against the safe behind him and presses the gun up into HOWARD's face.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(insisting)<\/parenthetical>\n    <dialogue>I can't...<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>I'm not fucking around! Call him right now!<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Why!?! It doesn't make any sense.<\/dialogue>\n    <scene_description>ROBERT and NICO rush HOWARD over to the window. JIM opens it.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <scene_description>ROBERT and NICO pick HOWARD up and thrust his body out the window. HOWARD braces his arms against the window frame trying to stop them.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(screaming)<\/parenthetical>\n    <scene_description>STOP! JIM pins HOWARD'S arms to his body. ROBERT and NICO slide him out the window, hanging him upside down 12 stories above 47th street. HOWARD flails and thrashes. SADIE hears his screams and begins banging on the back room door. HEY! WHAT'S GOING ON BACK THERE!?!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KMA GEMS AND JEWELRY OFFICE - BACKROOM - OUT OF WINDOW<\/stage_direction>\n    <scene_description>PLEASE, STOP, PULL ME UP! PLEASE!!!<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>You gonna call your boy?<\/dialogue>\n    <scene_description>I'LL CALL HIM! I'LL CALL HIM! ROBERT and NICO dip his body further down. PLEASE, PLEASE!!!!!<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>You gonna listen to me?<\/dialogue>\n    <scene_description>YEEESSSS! JIM backs away from the window. ROBERT and NICO pull HOWARD back into the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KMA GEMS AND JEWELRY OFFICE- BACKROOM<\/stage_direction>\n    <scene_description>HOWARD's face is beat red. He looks like he's going to throw up.<\/scene_description>\n    <character>SADIE (O.S.)<\/character>\n    <dialogue>Howie, you ok?!<\/dialogue>\n    <character>HOWARD<\/character>\n    <parenthetical>(tremulous voice)<\/parenthetical>\n    <dialogue>I'm ok baby. It's all good, don't worry about it.<\/dialogue>\n    <scene_description>JIM stands over the desk, he engages HOWARD's speakerphone.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Dial it.<\/dialogue>\n    <scene_description>HOWARD sits down. Pause.<\/scene_description>\n    <character>JIM<\/character>\n    <dialogue>Let's go!<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Will you give me a second to collect myself. My heart.<\/dialogue>\n    <character>JIM<\/character>\n    <dialogue>What's the number? I'll dial it.<\/dialogue>\n    <scene_description>HOWARD leans in over the phone, another long pause. He hits a few numbers and stops.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>I can't do it. I'm sorry, I just can't.<\/dialogue>\n    <scene_description>JIM is dumbstruck. A guilty smile unfurls on HOWARD's sweaty face.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(with total sincerity)<\/parenthetical>\n    <dialogue>I'm really sorry about this, Jim.<\/dialogue>\n    <scene_description>Another pause. JIM nods to ROBERT.<\/scene_description>\n    <character>JIM<\/character>\n    <parenthetical>(with menacing resolve)<\/parenthetical>\n    <dialogue>Goodbye Howard.<\/dialogue>\n    <scene_description>JIM, ROBERT and NICO turn to exit the backroom.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(hopping out of his chair)<\/parenthetical>\n    <dialogue>Jim? Jim! C'mon, we can talk about this. This is more than an opportunity here.<\/dialogue>\n    <scene_description>HOWARD follows them into the showroom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KMA GEMS AND JEWELRY OFFICE - SHOWROOM - CONTINUOUS<\/stage_direction>\n    <character>HOWARD<\/character>\n    <dialogue>What are you doing? Where are you going?<\/dialogue>\n    <scene_description>JIM, ROBERT and NICO snake around the showcase and out onto he floor. They approach the front door. SADIE buzzes open the first door. AS soon as all three are in the vestibule and the door closes behind them, HOWARD rushes over to SADIE and grabs her wrist. STOP! STOP! STOP! JIM pulls on the second door. It doesn't open. He turns around and yells through the thick glass:<\/scene_description>\n    <character>JIM<\/character>\n    <parenthetical>(severely muffled)<\/parenthetical>\n    <scene_description>BUZZ US OUT! HOWARD walks towards the glass door, riddled with guilt and excitement. He yells: JIM, I'M SORRY! I'M SORRY! LET ME THE FUCK OUT HOWARD! YOU GOTTA TAKE A HOME DOG, THEY'RE PLUS 275 AT HOME IT MAKES NO SENSE! THEY'RE PLAYING THE FUCKING HORNETS, THE HORNETS ARE 5 AND 10 ON THE ROAD! THE LINE DOESN'T MAKE SENSE! DO YOU KNOW WHAT KIND OF GAME AMARE HAD WITH THE GEM? A 40\/20 GAME! HE'S UNDERVALUED BECAUSE OF SHITTY PLAY WITHOUT THE GEM. YOU JUST DON'T UNDERSTAND!<\/scene_description>\n    <character>JIM<\/character>\n    <parenthetical>(infuriated)<\/parenthetical>\n    <scene_description>NO, YOU DON'T UNDERSTAND! YOU ARE GOING TO OPEN THIS DOOR NOW OR YOU'RE DEAD! NICO and ROBERT start pounding on the glass. JIM, I'M NOT GONNA LET YOU DO THIS TO YOURSELF! OPEN THE DOOR!!! NOT TILL THIS IS ALL OKAY. THE SECOND YOU OPEN THAT DOOR YOU'RE A DEAD MAN!!!! JIM spews out profanity. HOWARD yells over him: I UNDERSTAND YOU'RE UPSET, I'M SORRY, I REALLY AM. AFTER THE GAME IS OVER WE'LL BE IN A BETTER PLACE AND I'LL OPEN THE DOORS, BUT TILL THEN- I REALLY KNOW WHAT I'M TALKING ABOUT, IT'S NOT BULLSHIT, IT'S REAL, THIS IS HUGE. I LET YOU GO NOW AND IT'S ALL OVER. ROBERT pulls out his gun points it at HOWARD through the glass. OPEN IT! SADIE screams and she and ELAN hide behind the showcase. WHAT'S THAT GONNA DO? THAT'S NOT GONNA DO ANYTHING? (to SADIE and ELAN) Sadie, baby everything is fine. It's bulletproof- Why don't you guys go wait in the back room? SADIE and ELAN run into the back room. Silence. Inside the vestibule JIM tells ROBERT to put the gun away, though none of their dialogue is audible. From inside the showroom it looks like pantomime. HOWARD watches JIM make a phone call. WHO YOU CALLING? WHAT'RE YOU DOING? Instinctively, HOWARD runs to a phone behind the showcase. HOWARD dials, awaits rings. Talks into phone:<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Dina, baby, I just got a very scary call from ConEd, they reported a bad gas leak all down 108th. They're evacuating our block, go to Shiela's now... No, I don't know why they called the office...<\/dialogue>\n    <scene_description>Howard Listens... BUZZ! MICHAEL and ANOTHER MAN (JIM'S MEN) appear on the monitor. HOWARD listens to DINA, watches JIM.<\/scene_description>\n    <character>JIM<\/character>\n    <parenthetical>(to other door)<\/parenthetical>\n    <scene_description>WE CAN'T OPEN THE DOOR, PSYCHO'S GOT US LOCKED IN HERE!<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>I don't want to argue! Don't ask questions, just grab the kids and do it. I'm very serious, I'm very frightened.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Yes, I'll see you there.<\/dialogue>\n    <scene_description>HOWARD slams the phone down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LINCOLN TOWN CAR - SAME TIME<\/stage_direction>\n    <scene_description>NADAV sits with the gym bag on his lap. He looks out the window at bumper to bumper traffic. He checks his phone, it's 5:45.<\/scene_description>\n    <character>NADAV<\/character>\n    <parenthetical>(to driver)<\/parenthetical>\n    <dialogue>What's going on with this?<\/dialogue>\n    <character>DRIVER<\/character>\n    <dialogue>It's rush hour traffic.<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>Go faster.<\/dialogue>\n    <character>DRIVER<\/character>\n    <dialogue>I can't do anything about this.<\/dialogue>\n    <character>NADAV<\/character>\n    <dialogue>I'll give you an extra $200 if you can get me there before 7pm.<\/dialogue>\n    <scene_description>The DRIVER looks at the estimated arrival time on his GPS: 735PM<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOXWOODS CASINO, LEDYARD, CT. - 6:55PM.<\/stage_direction>\n    <scene_description>The Lincoln town car pulls up to the entrance. NADAV pops out of the back, runs, slips and falls, gets up immediately and runs into the casino.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOXWOODS CASINO, LEDYARD, CT. - CONTINUOUS<\/stage_direction>\n    <scene_description>NADAV looks around, immediately lost.<\/scene_description>\n    <character>NADAV<\/character>\n    <parenthetical>(to a STRANGER)<\/parenthetical>\n    <dialogue>Sports?<\/dialogue>\n    <scene_description>STRANGER is confused.<\/scene_description>\n    <character>NADAV<\/character>\n    <dialogue>Where's the sports betting?<\/dialogue>\n    <character>STRANGER<\/character>\n    <dialogue>That way.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOXWOODS CASINO, LEDYARD, CT. - SPORTS BOOK<\/stage_direction>\n    <scene_description>NADAV runs past a TV broadcasting the pregame show. Shots of Amare in a lay up line. NADAV approaches a FEMALE TELLER at the sports book and takes the paper HOWARD gave him out of his pocket.<\/scene_description>\n    <character>NADAV<\/character>\n    <parenthetical>(out of breath)<\/parenthetical>\n    <dialogue>I need to do a parlay. Uh. Two way.<\/dialogue>\n    <character>FEMALE TELLER<\/character>\n    <dialogue>Why don't you just hand me that piece of paper.<\/dialogue>\n    <scene_description>She reads the bet aloud. NADAV confirms it as she types into a computer.<\/scene_description>\n    <character>FEMALE TELLER<\/character>\n    <dialogue>What amount?<\/dialogue>\n    <scene_description>$175,000. FEMALE TELLER looks up at NADAV, that's a big bet. Calls over a SUPERVISOR. NADAV unloads cash from the bag onto the counter.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KMA GEMS AND JEWELRY OFFICE- SHOWROOM - SAME TIME<\/stage_direction>\n    <scene_description>JIM, ROBERT and NICO sit indolently on the floor of the vestibule. They all have their jackets off and there is little talk between them. JIM's face is beat red and slick with sweat. HOWARD pulls a flat screen TV from the back room and positions it in front of the glass door so JIM can see it. Using a long extension cord, he plugs it in and turns it on. On screen, AMARE greets an opponent center court. HOWARD looks manic, jittery, eager. He looks to the BACKROOM, where we can see SADIE and ELAN idly playing with their phones. HOWARD's cell phone rings. It's NADAV.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>So?<\/dialogue>\n    <parenthetical>(listens, grows happy)<\/parenthetical>\n    <dialogue>YESSSS! Listen, I'm gonna put you on speakerphone and I want you to repeat it loudly for some people to hear, ok?<\/dialogue>\n    <scene_description>HOWARD places it on speakerphone. I PUT THE 175,000 ONTO THE TWO WAY BET. AMARE'S POINTS PLUS HIS REBOUNDS WITH THE MONEYLINE. JIM doesn't even make eye contact with HOWARD. THE BET! THE BET IS IN! An announcer catches HOWARD's attention. The game has begun! On screen, AMARE tips the ball back to a guard and immediately sprint towards the hoop, rising for an immediate alley-oop. HOWARD howls.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>AHAHA! That's 2 right off the bat.<\/dialogue>\n    <character>ANNOUNCER (ON TV)<\/character>\n    <dialogue>Amare with the stuff and the steal!<\/dialogue>\n    <scene_description>AMARE pulls up for a jump shot.<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <dialogue>And Amare with a 20 footer! Knicks 4, Hornets 0.<\/dialogue>\n    <character>ANNOUNCER 2<\/character>\n    <dialogue>That's a good sign for the Knicks when Amare's hitting those elbow jumpers.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Nice... his shot's falling.<\/dialogue>\n    <parenthetical>(yells to backroom)<\/parenthetical>\n    <dialogue>Sadie! Elan! Come!<\/dialogue>\n    <scene_description>JIM, ROBERT and NICO look at the screen. SADIE and ELAN join HOWARD in the showroom. The Hornets are forced into a bad shot. AMARE rebounds.<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(to Jim)<\/parenthetical>\n    <scene_description>ALRIGHT, THAT'S ONE REBOUND AND FOUR POINTS. THAT'S 5. WE'RE AT 5 AND IT'S NOT EVEN 2 MINUTES!<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <dialogue>This is the AMARE the Knicks need on a nightly basis. Focused and Possessed.<\/dialogue>\n    <character>HOWARD<\/character>\n    <dialogue>Exactly, focused.<\/dialogue>\n    <scene_description>AMARE sprints up-court, engages in a pick and roll and rises for an explosive dunk. Upon take off the image falls into slow motion. The sound maintains. HOWARD watches. In a series of cuts we see AMARE in highlight: each in slow motion. Intercut, we see the Knicks lead build and build. Another series of slow-motion AMARE highlights. HOWARD grows more and more enthusiastic like a man possessed. JIM and Co show no emotion. AMARE swishes through one last turn around jumper, the ball gracefully flows through the net. BOOM, we're back in real time. 30 seconds left. The score Knicks: 94, Hornets: 83. A shot of AMARE shows him smiling ear to ear joking with another player. A graphic shows his stat line: 34 points, 15 rebounds, 7 assists. HOWARD points to the screen.<\/scene_description>\n    <character>HOWARD<\/character>\n    <dialogue>Look at that stat line!!!! He blew the over out of the fucking moon!<\/dialogue>\n    <scene_description>The Hornets cross the half-court line and dribble out the remainder of the clock. The end horn sounds. HOWARD jumps:<\/scene_description>\n    <character>HOWARD<\/character>\n    <parenthetical>(to JIM)<\/parenthetical>\n    <scene_description>SEE! SEE! WHAT DID I TELL YOU?! HUH JIM? WHAT DID I FUCKIN TELL YOU?! JIM, ROBERT and NICO stand up. HOWARD dances over to the showcase and hits the buzzer with his fist. BUZZZZ! ROBERT opens the door into the space and IMMEDIATELY SHOOTS HOWARD IN THE FACE. HOWARD drops to the floor.<\/scene_description>\n    <character>SADIE<\/character>\n    <parenthetical>(screaming)<\/parenthetical>\n    <scene_description>HOWARD!!! We see HOWARD in a shot from above. The bullet has created a gruesome hole under his right eye. The camera starts to slowly zoom into HOWARD's face, keeping the hole center frame. SADIE runs up to HOWARD and picks up his head. OH GOD! OH GOD! The zoom continues into HOWARD while we hear the following... JIM barks orders with steely composure: SHUT UP... (to ELAN) YOU, TAKE HIM TO WHERE THE SECURITY CAMERAS RECORD TO. ELAN is dragged to the back room. SADIE sobs uncontrollably. Zoom creeps tighter into HOWARD.<\/scene_description>\n    <character>ELAN (O.S.)<\/character>\n    <dialogue>There. It records onto that drive.<\/dialogue>\n    <scene_description>We hear machinery ripped out from a wall. PLEASE DON'T HURT ME. NICO (o.S.) OPEN THE SAFE! ElAN (o.S.) I DON'T KNOW THE CODE. PLEASE DON'T SHOOT-LOOK, LOOK IT'S OPEN! NICO (o.S.) FILL THAT BAG WITH EVERY THING. The zoom has reached a close up on HOWARD, keeps moving in.<\/scene_description>\n    <character>JIM (O.S.)<\/character>\n    <parenthetical>(to SADIE)<\/parenthetical>\n    <scene_description>GET UP! SADIE hysterically falls all over HOWARD. GET UP AND PACK THE SHOWCASE!<\/scene_description>\n    <character>SADIE (O.S.)<\/character>\n    <parenthetical>(crying, screaming)<\/parenthetical>\n    <scene_description>FUCK YOU, YOU FAT PIG! We hear a gun shot. SADIE's no longer heard. ELAN yells from the other room.<\/scene_description>\n    <character>ELAN (O.S.)<\/character>\n    <dialogue>Sadie?! SADIE!!<\/dialogue>\n    <scene_description>The shot has now zoomed into a very tight close up on HOWARD. KEEP PACKING! SADIE?! WHAT HAPPENED!?! Commotion from the back room. Another gun shot is heard. The zoom closes in on the bullet-hole in HOWARD's face and continues onward into the wound. Swirls of red, pink and white engulf the frame as we travel through blood, bone and tissue. The zoom pushes through this material plane into a landscape of kaleidoscopic abstract shapes and flickering iridescent light. The diegetic audio in the KMA GEMS showroom decays in a wash of reverb, overtaken by a vast sound-scape of crystal tinkles and warm electronic tones. END CREDITS appear and continue over this visual and aural cosmic journey inside the consummate UNCUT GEM.<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In 2010, Ethiopian Jewish miners retrieve a rare black opal from the Welo mine in Ethiopia. In 2012, Howard Ratner runs the KMH jewelry store in New York City's Diamond District. A gambling addict, he struggles to pay off his debts, which includes $100,000 he owes to Arno, his loan shark brother-in-law. Howard's domestic life is split between his children and wife Dinah, who has agreed to divorce him after Passover, and his girlfriend Julia, a KMH employee. Howard's business associate Demany brings basketball star Kevin Garnett to KMH. While he is there, the opal, which Howard had smuggled in, arrives. Garnett becomes obsessed with it, insisting on holding onto it for good luck at his game that night. Howard reluctantly agrees, demanding Garnett's 2008 NBA Championship ring as collateral. Howard quickly pawns the ring, placing a six-way parlay with his bookie on Garnett playing extraordinarily well, which he does. The next day, Demany fails to return the opal as agreed, angering Howard. They travel to meet Garnett, who is hours away in Philadelphia, but Demany abandons Howard when they arrive. That night, Howard is ambushed at his daughter's school play by Arno and his hired henchmen, Phil and Nico. He learns Arno stopped his bet, which would have won him $600,000. Phil and Nico strip Howard naked and lock him in the trunk of his car, forcing him to call Dinah for help. Howard meets Demany at a nightclub party hosted by R&B singer the Weeknd to retrieve the opal, only to find that Garnett still has it. Howard discovers Julia with the Weeknd and fights him, believing they were having sex. Howard demands Julia move out of his apartment. Garnett returns the opal, offering to purchase it for $175,000, but Howard refuses, as he believes it is worth much more. Garnett demands his ring back, but Howard lies that he has it at his home. After Garnett leaves, Howard berates Demany for allowing Garnett to hold onto the opal for so long. Enraged, Demany trashes Howard's office. After an awkward Passover dinner, Dinah rejects Howard's plea to give their marriage another chance. Just before the auction, Howard learns the opal is worth much less than his $1 million estimate. He convinces his father-in-law Gooey to bid to drive up the price, but the plan backfires when Garnett declines to top Gooey's final bid. A furious Gooey gives Howard the opal before Arno, Phil, and Nico assault him outside the auction house. Howard returns to KMH, bloody and in tears. Julia comforts him and they reconcile. He retrieves Garnett's ring from the pawn shop, but because he failed to retrieve it in the allotted time, he's forced to exchange his prized 1973 Knicks ring for it. Garnett, still desiring the opal, pays Howard with cash at KMH. Instead of repaying his debt, Howard asks Julia to put the cash on a three-way parlay on Garnett having another strong performance in the day's game. Arno, Phil, and Nico arrive at the store and threaten Howard; Julia departs with the cash via helicopter to the Mohegan Sun casino to place the bet. Refusing to call off the bet, Howard traps the men in-between the store's security doors. He watches the game on television, in which the Celtics win the game, earning Howard $1.2 million. Ecstatic, he frees Arno and his men, but an enraged Phil shoots Howard in the face, killing him instantly. Arno protests before attempting to escape, leading Phil to shoot him dead as well. Julia leaves the casino with Howard's winnings and Phil and Nico loot the store while police sirens are heard."}
{"movie_name":"The Duchess_2008","imdb_id":"tt0864761","script":"<script>\n  <scene \/>\n  <scene>\n    <stage_direction>EXT. GARDENS. ALTHORP - DAY<\/stage_direction>\n    <scene_description>TITLE: Althorp Estate, 1774 Two servants knock in four flag posts, with fifty paces in between. They are marking out a race track of some kind. We're on the back lawn of a beautiful country house. Off in the distance are fields filled with sheep, long grass and trees. It's a perfect summer's day with birds singing and a gentle breeze rustling in leaves. Six ARISTOCRATIC YOUNG MEN stand in a group on the field. They are preparing for a running race: taking their jackets off and laying them down, then rolling up their sleeves. On the lawn, a similar sized group of ARISTOCRATIC YOUNG WOMEN stand across from them. Behind is a tent and a table with the remains of an outdoor picnic. To one side of the women a young, beautiful and content GEORGIANA approaches with a hat. Inside are folded up pieces of paper which she mixes around. She offers the hat to the women and they each pick a piece of paper. One after another they read out the names of the men opposite who look over and smile. GEORGIANA is left with the last name, and looks up.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(Loudly)<\/parenthetical>\n    <dialogue>You'd better not let me down, Charles Grey. I've got twenty guineas riding on you.<\/dialogue>\n    <scene_description>A young man, CHARLES GREY looks back. He is quick to reply.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>Only twenty? I'd double that if I were you.<\/dialogue>\n    <scene_description>GEORGIANA smiles, while the look on Grey's face suggests that he's taking this very seriously. He joins the other men in the starting line up, who also seem pretty intent on winning.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Are you ready gentlemen? Twice around the track. On my count, three...two...one...go!<\/dialogue>\n    <scene_description>GEORGIANA drops a handkerchief. The men immediately sprint out across the park. The women start to cheer. GEORGIANA shouts the loudest, then starts to jump up and down.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Come on Grey, come on!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALTHORP - DAY<\/stage_direction>\n    <scene_description>In CLOSE UP, a quill pen dips into an ink well and starts to write on a virgin piece of white paper, 'The Fourteenth Day of May, Seventeen Hundred and Seventy Four...' HEATON, a solicitor, is at a table writing this document, his ink pen scraping against the paper. Around him, the room has the atmosphere of a serious occasion: still and dark although the sun shines brightly outside and the voices of the women - especially GEORGIANA - bleed through. The DUKE, HEATON's employer, is standing at the library window, looking into the garden at GEORGIANA cheering on the young men. The scene is distorted through the wavy glass window pane: a beautiful and mildly surreal image. LADY SPENCER is seated behind the DUKE, perched on the edge of a large sofa, with LORD SPENCER behind her. She tries to ignore the muted screams of her daughter in the background.<\/scene_description>\n    <character>LADY SPENCER<\/character>\n    <parenthetical>(Cautiously)<\/parenthetical>\n    <dialogue>I trust your Grace still finds Georgiana an attractive girl?<\/dialogue>\n    <scene_description>The DUKE turns and we now see his face properly. He is handsome, older than GEORGIANA, and has a rakish twinkle in his eye. He looks at LADY SPENCER enigmatically.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>Of course, Lady Spencer.<\/dialogue>\n    <scene_description>Another of GEORGIANA's shouts audibly registers. LADY SPENCER starts to pour tea from a silver Samovar in front of her in an effort to drown out the noise.<\/scene_description>\n    <character>LADY SPENCER<\/character>\n    <dialogue>She is well-bred and devoted to her duties. She speaks French, Latin and Italian, and is fully versed in horsemanship and dancing...<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>Yes, I am aware of all that. She is a credit to you.<\/dialogue>\n    <character>LADY SPENCER<\/character>\n    <dialogue>...I can't think of anything in her that would stand in the way of a singularly happy marriage -<\/dialogue>\n    <scene_description>The DUKE turns for a brief moment and smiles inscrutably at LADY SPENCER. HEATON cuts to the chase.<\/scene_description>\n    <character>HEATON<\/character>\n    <dialogue>These are not the issues that burden the Duke, Lady Spencer. It is His Grace's duty to produce an heir. On the other hand, your daughter may expect a handsome reward when that occurs -<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>Thank you, Heaton.<\/dialogue>\n    <character>BURLEIGH<\/character>\n    <parenthetical>(resuming his writing)<\/parenthetical>\n    <dialogue>Your Grace ...<\/dialogue>\n    <scene_description>The DUKE remains looking out of the window, not so much out of interest in GEORGIANA, but rather because he finds these pre-nuptial proceedings uncomfortable. LADY SPENCER throws a brief glance at LORD SPENCER, who seems disinclined to discuss these matters. She resolutely turns to the DUKE.<\/scene_description>\n    <character>LADY SPENCER<\/character>\n    <dialogue>Your Grace can rest assured. The women in our family have never forfeited on that account.<\/dialogue>\n    <scene_description>LADY SPENCER smiles at her husband who nods back. HEATON looks to the DUKE for confirmation, then decides to address his comment to no one in particular.<\/scene_description>\n    <character>HEATON<\/character>\n    <dialogue>Well with that assurance...<\/dialogue>\n    <scene_description>HEATON turns the document around toward the others for them to look at. The DUKE smiles at them, then turns and fastidiously removes a spot on the window pane.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>So be it, then.<\/dialogue>\n    <scene_description>CUT TO: OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALTHORP HOUSE - DAY<\/stage_direction>\n    <scene_description>The men are running back. GREY is in the lead.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Come on Grey!<\/dialogue>\n    <scene_description>GREY puts his head down and accelerates. He wins, totally out of breath and sweating. All the others follow, similarly exhausted and bent over double. GEORGIANA turns to the other women, a book containing all the bets they've laid in her hand.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(Charming smile)<\/parenthetical>\n    <dialogue>I do apologise ladies but it appears my horse has won.<\/dialogue>\n    <scene_description>The young women smile, and gather around GEORGIANA. GREY approaches from behind, still slightly out of breath, manly and athletic. GEORGIANA turns to him.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Well done Mr Grey.<\/dialogue>\n    <scene_description>He looks intensely at her, bravely standing much closer than may normally be expected. Some of the young people notice this, and there's an edge of tension at this risque behaviour.<\/scene_description>\n    <character>GREY<\/character>\n    <parenthetical>(Flirtatiously)<\/parenthetical>\n    <dialogue>And my reward?<\/dialogue>\n    <scene_description>GEORGIANA returns the look.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>What would you suggest?<\/dialogue>\n    <scene_description>The young people - eavesdropping on this conversation - smile and look at each other. GREY is just about to come back with a reply when...<\/scene_description>\n    <character>SERVANT<\/character>\n    <dialogue>Your mother wishes to see you Lady Georgiana.<\/dialogue>\n    <scene_description>GEORGIANA curtsies to GREY who bows in return before GEORGIANA runs off. GREY watches her go. CUT TO: 4aA INT. ALTHORP. DAY 4aA LADY SPENCER waits inside. GEORGIANA enters.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>I must apologize Mama, were we making too much noise?<\/dialogue>\n    <character>LADY SPENCER<\/character>\n    <dialogue>Not at all, darling. We have much more important things to talk of. Come here.<\/dialogue>\n    <scene_description>GEORGIANA waits expectantly for an explanation. LADY SPENCER reveals nothing, holding in her secret, but her excitement can't help but shine through.<\/scene_description>\n    <character>LADY SPENCER<\/character>\n    <dialogue>I have heard a rumour...<\/dialogue>\n    <scene_description>LADY SPENCER pauses for dramatic effect.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Yes...?<\/dialogue>\n    <character>LADY SPENCER<\/character>\n    <dialogue>...that I shall very soon be addressing my daughter as Her Grace, the Duchess of Devonshire.<\/dialogue>\n    <scene_description>GEORGIANA is taken wholly by surprise.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Is it true, Mama?<\/dialogue>\n    <character>LADY SPENCER<\/character>\n    <parenthetical>(Proudly)<\/parenthetical>\n    <dialogue>It is.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>...the Duke of Devonshire ...<\/dialogue>\n    <character>LADY SPENCER<\/character>\n    <dialogue>I had hoped not to part with you until 18 at the soonest, but with such a fine match it would be selfish of me not to let you go.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>He loves me?<\/dialogue>\n    <character>LADY SPENCER<\/character>\n    <dialogue>Yes, of course.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(Excited)<\/parenthetical>\n    <dialogue>I have met him only twice.<\/dialogue>\n    <character>LADY SPENCER<\/character>\n    <dialogue>When one truly loves someone, one doesn't have to know them well to be certain, Georgiana. One feels it right away. \\[Pause\\] I do believe you will be happy with him.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>I know I shall, Mama...I know I shall.<\/dialogue>\n    <scene_description>CUT TO: 4aB EXT. ALTHORP. DAY 4aB GEORGIANA walks out onto the balcony and looks into the garden. The young people are chatting and eating. GREY, however, is to one side, looking out across the fields. GEORGIANA takes a moment to herself. In the last light of day, sun rays illuminate pollen in the air around her. The camera moves in to a CLOSE UP of her optimistic face. CUT TO: 4A OMITTED 4A<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LONDON CHURCH - MORNING<\/stage_direction>\n    <scene_description>CLOSE UP of GEORGIANA'S face, same framing as before, but now heavily made up and in her BRIDAL DRESS. Wedding music plays as she is walking forward down the aisle, in this relatively small and intimate space. At the far end stand a select group of powerful and important ARISTOCRATS. As GEORGIANA passes LADY SPENCER, her mother looks incredibly proud. When GEORGIANA reaches THE DUKE, he looks composed. She smiles at him. Credits are superimposed throughout this sequence, until the main title appears as GEORGIANA stands at the front:<\/scene_description>\n    <character>THE DUCHESS<\/character>\n    <dialogue>The music stops. The PRIEST steps up to begin the service.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DUKE'S GILT COACH. LONDON STREET - DAY<\/stage_direction>\n    <scene_description>It's a wide and busy London street. There are ORDINARY PEOPLE on the side of it, TRAFFIC kicking up dust. It's a messy mass of noise and smells, smoke and dirt. Through the middle of this comes the DUKE'S GILT COACH followed by two other COACHES, in stark contrast to their surroundings. Heads turn to look at this eighteenth century motorcade, people wave, children start to run after it. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>9A INT. DUKE'S GILT COACH. LONDON STREET - DAY 9A<\/stage_direction>\n    <scene_description>Still in her wedding dress, GEORGIANA sits alongside the DUKE in his CARRIAGE. The DUKE has his curtains closed around him to shield him from public view, although GEORGIANA is staring intently at the PEOPLE outside. There's an awkward silence. Finally,<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>What do they want?<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>To see me. And my new wife, of course.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>It's a damn nuisance, but you'll get used to it.<\/dialogue>\n    <scene_description>GEORGIANA, however, smiles and gives a little wave: she doesn't mind at all. A bit further down this street the CARRIAGE nears a set of massive gates where a large group of THE GENERAL PUBLIC can be seen waiting and waving outside.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>Here we are.<\/dialogue>\n    <scene_description>The carriage begins to turn. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. DEVONSHIRE HOUSE - DAY<\/stage_direction>\n    <scene_description>The CARRIAGE turns off the street and through the massive gateway. The gates are locked behind them. Inside the huge courtyard Devonshire House is revealed as an oversized, stark and austere building. A wall runs all the way around it, blocking the view and completes the foreboding sense of arriving in a prison. The FOOTMAN opens GEORGIANA's carriage door. GEORGIANA steps out into this hugely intimidating space. Flags bearing the Duke's crest blow in the wind, making a tense and aggressive sound. She stops a moment to take it all in. BURLEIGH, the HEAD BUTLER steps forward.<\/scene_description>\n    <character>BURLEIGH<\/character>\n    <dialogue>Welcome, Your Grace.<\/dialogue>\n    <scene_description>BURLEIGH then leads her toward rows of HOUSEHOLD SERVANTS who are formally lined up to greet her. They bow and curtsy as GEORGIANA walks past.<\/scene_description>\n    <character>SERVANT 1<\/character>\n    <dialogue>Your Grace.<\/dialogue>\n    <character>SERVANT 2<\/character>\n    <dialogue>Your Grace.<\/dialogue>\n    <scene_description>GEORGIANA looks up to find the DUKE has disappeared inside. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>10A INT. DEVONSHIRE HOUSE. ENTRANCE HALL. DAY 10A<\/stage_direction>\n    <scene_description>GEORGIANA enters a massive marbled ENTRANCE HALL. The DUKE stands at the top of the staircase, with his two dogs either side of him.<\/scene_description>\n    <character>DUKE (O.S.)<\/character>\n    <dialogue>This way.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE DUKE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>GEORGIANA stands in front of the DUKE. He takes a pair of scissors and cuts through the stitching of her wedding dress, letting it fall to the floor. She smiles at him, a bit nervous. He proceeds to remove the rest of her underclothes, a pile growing around her ankles.<\/scene_description>\n    <character>THE DUKE<\/character>\n    <dialogue>You're in safe hands.<\/dialogue>\n    <scene_description>His attempt to reassure her only serves to unnerve GEORGIANA more. She remains standing and looks up at the ceiling, while the DUKE expertly unlaces her corset.<\/scene_description>\n    <character>THE DUKE<\/character>\n    <dialogue>For the life of me I don't understand why women's attire must be so damned complicated.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>I suppose it's just our way of expressing ourselves.<\/dialogue>\n    <character>THE DUKE<\/character>\n    <dialogue>Whatever do you mean?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Well, that you have so many ways of expressing yourselves, whereas we must make do with our hats and our dresses, I suppose.<\/dialogue>\n    <character>THE DUKE<\/character>\n    <dialogue>Hmmm.<\/dialogue>\n    <scene_description>The corset falls to the floor. The DUKE then removes GEORGIANA'S chemise. Suddenly, she is completely naked. She sends the DUKE an uneasy look. For a moment he appears to be lost in his thoughts, just staring at her.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Is something the matter?<\/dialogue>\n    <character>THE DUKE<\/character>\n    <dialogue>No, not in the least. Go to the bed, please.<\/dialogue>\n    <scene_description>GEORGIANA goes to the bed. The DUKE starts to undress. Around him the faces of his forefathers bear down from the massive portraits on the walls of his bedroom. The DUKE, now naked, walks over to the bed and stands before her. The camera is behind the DUKE and focussed on GEORGIANA: having never seen a penis before let alone an erect one, she is intently and nervously staring at his.<\/scene_description>\n    <character>THE DUKE<\/character>\n    <parenthetical>(Bending down)<\/parenthetical>\n    <dialogue>Kiss me.<\/dialogue>\n    <scene_description>GEORGIANA finally kisses him, inexpertly. He lies down on top of and penetrates her, the look on her face suggesting this is an extremely new and strange experience. The DUKE begins to move rhythmically while GEORGIANA still tries to make sense of the whole thing - all the time watched intensely from the walls by dozens of his male ancestors' eyes. CUT TO: OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE - BLUE ROOM - DAY<\/stage_direction>\n    <scene_description>GEORGIANA sits looking isolated and lonely in a huge gilt- edged blue room. She is trying to read a book but her concentration continues to be interrupted by the presence of MALE FOOTMEN stationed at two of the doors, like sentries. She turns a page and tries to focus but fails. A TALL SERVANT enters. GEORGIANA puts the book down.<\/scene_description>\n    <character>HEATON<\/character>\n    <dialogue>Lady Spencer, Your Grace.<\/dialogue>\n    <scene_description>GEORGIANA looks up, relieved, to see her mother enter. HEATON bows and walks away across the vast space. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE - DRAWING ROOM - DAY - LATER<\/stage_direction>\n    <scene_description>GEORGIANA sits with LADY SPENCER. They are playing cards - with real money laid out in front of them - and talking.<\/scene_description>\n    <character>LADY SPENCER<\/character>\n    <dialogue>...One has to accept one's responsibility, my darling. Certain obligations come with marriage, no matter how burdensome they may seem.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Yes, but when we are together, intimately, I mean, he...<\/dialogue>\n    <character>LADY SPENCER<\/character>\n    <dialogue>I know; it can be a bother. However, it is only until you have given him a son. The occasions will then become fewer, and less...determined.<\/dialogue>\n    <scene_description>Lady Spencer places down a card.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>I think it would feel different if he might talk to me every once in a while. It's not that he's unkind but he never talks to me.<\/dialogue>\n    <character>LADY SPENCER<\/character>\n    <dialogue>Well, perhaps you ought to talk less. I fear I may have given you a little too much education. You make tiring conversation and ask questions which a man is disinclined to answer.<\/dialogue>\n    <scene_description>GEORGIANA looks at her mother in resignation. How can anyone have too much education?<\/scene_description>\n    <character>LADY SPENCER<\/character>\n    <dialogue>Learning these things takes time, too. Marriage is just like languages or music or painting. It requires a long apprenticeship.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Yes. But he is... he is not at all as when I first met him. I thought he would be like Papa. Under his cool reserve I would find a wealth of depth and sentiment. But he doesn't seem interested in anything. Apart from his dogs.<\/dialogue>\n    <character>LADY SPENCER<\/character>\n    <dialogue>Try not to be too hard on His Grace, G. He is merely intent on fulfilling his duty. As for talking to him - whatever is there to talk about, my dear?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>No, you're right. How foolish of me to think that I should be able to converse with my husband.<\/dialogue>\n    <scene_description>LADY SPENCER sighs and looks at her spirited daughter.<\/scene_description>\n    <character>LADY SPENCER<\/character>\n    <dialogue>Georgiana, equip yourself with patience, fortitude and resignation. A boy will come soon enough, then you'll see.<\/dialogue>\n    <scene_description>GEORGIANA nods. She sends her mother a polite little smile, then lays down a winning card and scoops the pile of money toward her. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE - BALLROOM - NIGHT<\/stage_direction>\n    <scene_description>A great, noisy dinner party. WHIGS in full gala, among which is CHARLES FOX, a stout little man making a speech in the grand room. Everybody listens to him. HEATON watches on from the side. GEORGIANA is by his side, her attire conspicuously more daring than before. She looks apprehensive: she is the only woman in a room dominated by alcohol and testosterone- fuelled MEN, one of whom is relieving himself into a chamber pot at the side of the room. GEORGIANA, though, pays attention to FOX. The DUKE, at the other end of the table, does not.<\/scene_description>\n    <character>FOX<\/character>\n    <dialogue>...a political party, in my definition, consists of men of honour, entertaining similar principles that may be more successfully pursued by the force of mutual support and, not to forget, the unfailing generosity of his Grace the Duke of Devonshire.<\/dialogue>\n    <scene_description>Everybody looks to the DUKE, applauding loudly and somewhat sycophantically. The DUKE nods cordially.<\/scene_description>\n    <character>FOX<\/character>\n    <dialogue>So between the persistence of my own humble self...<\/dialogue>\n    <scene_description>Everybody laughs again, including GEORGIANA, thus betraying that nobody finds Fox humble. FOX, pleased with the success of his joke, joins in the laughter.<\/scene_description>\n    <character>FOX<\/character>\n    <dialogue>I say, between my persistence and the Duke's purse, we must always remember the honourable and principle aims of the Whig party, aims that some consider radical but which, to us, seem simply just and right and sensible.<\/dialogue>\n    <character>FOX<\/character>\n    <dialogue>Just to bring independence to America. Right to end the slave trade. And sensible to pursue freedom for the common man, so that the blessings of this blessed plot, this England, may be more equally enjoyed - by all of its inhabitants.<\/dialogue>\n    <scene_description>All these are greeted by 'hear hears' from the room, and a deep thoughtfulness from GEORGIANA.<\/scene_description>\n    <character>FOX<\/character>\n    <dialogue>And so - having kept everyone from the burgundy long enough - let me propose a toast to our host and benefactor his Grace, the Duke, and his beautiful new Duchess.<\/dialogue>\n    <scene_description>They all shout \"hear, hear\", reach for their glasses and toast in the direction of the DUKE. He nods cordially back. FOX sits down at GEORGIANA's side. The murmur of small talk rises as the guests carry on with their eating and drinking. A MACARONI on the other side of FOX compliments his speech.<\/scene_description>\n    <character>MACARONI<\/character>\n    <dialogue>Excellent speech, Mr. Fox, splendid.<\/dialogue>\n    <character>FOX<\/character>\n    <dialogue>I thank you. However, it is always easy to address a congregation of friends, and even more so when those friends are drunk.<\/dialogue>\n    <scene_description>The MACARONI and GEORGIANA smile.<\/scene_description>\n    <character>MACARONI<\/character>\n    <dialogue>How did the Duchess find Mr. Fox's speech?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>I must confess I am not yet at ease with political speeches. Their very form tends to obstruct my view to their actual meaning - if such there be.<\/dialogue>\n    <scene_description>FOX, expecting inane flattery, is surprised, although favourably impressed by GEORGIANA's candour. The MACARONI, not observing that GEORGIANA has earned FOX's undivided attention, proceeds to think that he is still part of the conversation:<\/scene_description>\n    <character>MACARONI<\/character>\n    <parenthetical>(Ingratiatingly)<\/parenthetical>\n    <dialogue>I myself found it very rousing...<\/dialogue>\n    <scene_description>FOX ignores him. He knows who he wants to talk to.<\/scene_description>\n    <character>FOX<\/character>\n    <dialogue>In which particular section of the speech did the message elude your Grace?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Well, I have great sympathy with your sentiments in general, but fail fully to comprehend how far we - the Whig party, that is - are fully committed to the concept of freedom.<\/dialogue>\n    <character>FOX<\/character>\n    <dialogue>We would like to see the vote extended...<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>To all men...?<\/dialogue>\n    <character>FOX<\/character>\n    <dialogue>Heavens no. But certainly to more men. Freedom, in moderation.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>\"Freedom in moderation\"?<\/dialogue>\n    <character>FOX<\/character>\n    <parenthetical>(Pleased with himself)<\/parenthetical>\n    <dialogue>Precisely.<\/dialogue>\n    <scene_description>GEORGIANA nods, then smiles faintly, but mischievously.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>I am sure you are full of the best intentions, Mr. Fox, but I dare say I would not spend my vote - assuming I had it - on so vague a statement. Either one is free or one is not. The concept of freedom is an absolute. After all, one cannot be moderately dead, moderately loved, or moderately free. It must always remain a matter of either or.<\/dialogue>\n    <scene_description>Fox smiles at GEORGIANA in surprise.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(Cheeky)<\/parenthetical>\n    <dialogue>It is no wonder you are having such problems at the ballot box.<\/dialogue>\n    <scene_description>GEORGIANA smiles, winningly. Fox scrutinizes her face, not a little shocked but clearly impressed. Another well-dressed MAN taps his glass and rises to speak. The room falls silent.<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>I think it's appropriate to say a few words...<\/dialogue>\n    <scene_description>The DUKE seems in no mood for another speech, and resolutely gets up and leaves. The entire company, including the MAN about to make a speech, look bewildered at one another. GEORGIANA, too, is surprised and doesn't really know what she should do, so she stands too and goes after the DUKE. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE - CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>The DUKE is in the middle of a corridor, where he has stopped to talk to a YOUNG MAID. GEORGIANA exits the room behind him, trying to catch up.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Your Grace?<\/dialogue>\n    <scene_description>The DUKE turns and looks at GEORGIANA. The YOUNG MAID curtsies and exits.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Is anything the matter?<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>No...<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>You just left?<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>Well... I had done eating. And those damn speeches bore me to distraction. We have to ban them in the future.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>But you are the Whigs main supporter...<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>I have no problem with politics, it's the rhetoric I can't stand.<\/dialogue>\n    <scene_description>The DUKE turns back and continues down the corridor.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Shall I come with you?<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>Not at all, why ever should you?<\/dialogue>\n    <scene_description>The DUKE turns and leaves. GEORGIANA looks at him, bemused. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE - BALLROOM - NIGHT<\/stage_direction>\n    <scene_description>The conversation has stopped, everyone fearful their benefactor is aggrieved for some reason. The whole table of men watch as GEORGIANA sits back down, looking to her for reassurance. She addresses the room.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>The Duke is fine. He simply wants to rest a while.<\/dialogue>\n    <scene_description>People don't look convinced.<\/scene_description>\n    <character>FOX<\/character>\n    <dialogue>Was it the length of the speech that got the better of the Duke?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(To the room)<\/parenthetical>\n    <dialogue>Certainly not. He enjoyed it immensely and expressed a hope that next time it would be even longer.<\/dialogue>\n    <scene_description>All the men laugh. Fox sends her a look and raises his glass to her. She smiles back at them all, reaches out for a drink, raises it back to FOX and takes a long swig. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE - BALLROOM - LATE NIGHT<\/stage_direction>\n    <scene_description>Late night, and all the guests have left. BURLEIGH oversees as a team of SERVANTS are clearing up the mess: extinguishing the candles on the huge candelabra, on their hands and knees scraping food under the table etc. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE - CORRIDORS - NIGHT<\/stage_direction>\n    <scene_description>GEORGIANA passes quietly down the long candlelit corridors and of this massive house. She is happy, buoyant, tipsy. GEORGIANA walks towards their bedroom. Suddenly a door opens and the YOUNG MAID the DUKE was talking to earlier comes running out, half naked, carrying her clothes in her arms. She looks at GEORGIANA in alarm, and runs off. GEORGIANA looks at her, shocked and speechless, as she disappears off into the darkness of the corridor. Georgiana turns and proceeds toward the bedroom. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE - BEDROOM - LATE NIGHT<\/stage_direction>\n    <scene_description>In the bedroom the DUKE is sitting half naked on the bed. GEORGIANA stops at a distance.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>What is going on?<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>About what?<\/dialogue>\n    <scene_description>GEORGIANA approaches, unnerved.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>What have you been doing?<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>Nothing to concern you.<\/dialogue>\n    <scene_description>He smiles at her, kisses her.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Wait, William. I don't understand...<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>What is there to understand?<\/dialogue>\n    <scene_description>GEORGIANA is lost for words.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>You look very beautiful tonight. Fascinating fabric. Is this dress your design?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Yes it is. Thank you.<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>Then allow me to appreciate it in more detail.<\/dialogue>\n    <scene_description>The DUKE kisses her breasts and proceeds to remove her clothes. GEORGIANA, with a desire to do the right thing, acquiesces. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEVONSHIRE HOUSE - AFTERNOON - EST<\/stage_direction>\n    <scene_description>Time has passed. Months. The season has changed from summer to autumn, with wind in the trees and leaves on the ground, which workmen are busy collecting. CUT TO: OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE - DINING ROOM - DAY<\/stage_direction>\n    <scene_description>GEORGIANA and the DUKE sit together in a gigantic dining room at a very long table. In the corner a musician quietly plays the harpsichord providing a low background ambience. SERVANTS discreetly serving food and wine. GEORGIANA and the DUKE eat in silence. After a few moments BURLEIGH emerges to whisper something into the ear of the DUKE. He understands the message and nods.<\/scene_description>\n    <character>THE DUKE<\/character>\n    <dialogue>Send them in...<\/dialogue>\n    <scene_description>BURLEIGH exits. GEORGIANA looks at him.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(Lighting up)<\/parenthetical>\n    <dialogue>Are we having company? Is it Fox?<\/dialogue>\n    <scene_description>The DUKE chews his food and swallows before he replies.<\/scene_description>\n    <character>THE DUKE<\/character>\n    <dialogue>Don't you think this mutton has a funny taste?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Not really, no...<\/dialogue>\n    <character>THE DUKE<\/character>\n    <dialogue>Well, I do...<\/dialogue>\n    <scene_description>HEATON enters with a NANNY holding a little three-year-old girl, CHARLOTTE, by the hand. The girl is very nervous. The DUKE looks at them, then at GEORGIANA.<\/scene_description>\n    <character>THE DUKE<\/character>\n    <dialogue>This is Charlotte. She will be staying with us.<\/dialogue>\n    <scene_description>GEORGIANA looks at the little girl who remains absolutely still. Then she looks at the DUKE.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Why...?<\/dialogue>\n    <scene_description>The DUKE signals to the BUTLER that they can leave the room, upon which the BUTLER leads the NANNY and Charlotte out.<\/scene_description>\n    <character>THE DUKE<\/character>\n    <dialogue>Because her mother is dead. She has no other place to go.<\/dialogue>\n    <scene_description>GEORGIANA looks in disbelief at the DUKE. The penny drops:<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Have you fathered that child?<\/dialogue>\n    <character>THE DUKE<\/character>\n    <dialogue>It's only a little girl, Georgiana, hardly the end of the world.<\/dialogue>\n    <scene_description>The DUKE sends a suspicious look at the mutton before him. He looks up again, only to find that GEORGIANA is still staring at him. He takes a tiny bite of the mutton, examining its taste as if he suspected poison, during which he continues:<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>I am pregnant with your child. Surely you are not expecting me to look after her?<\/dialogue>\n    <character>THE DUKE<\/character>\n    <dialogue>We have a house full of vacant rooms, G. She need not trouble you. As a matter of fact, she may even be of use; you can practice your motherhood on her...<\/dialogue>\n    <parenthetical>(gesturing at her stomach)<\/parenthetical>\n    <dialogue>...until our son arrives.<\/dialogue>\n    <scene_description>GEORGIANA hands move protectively toward her stomach to reveal she is midway through pregnancy. She looks at him, silently furious and hurt.<\/scene_description>\n    <character>THE DUKE<\/character>\n    <dialogue>This certainly doesn't taste like normal mutton. I am sure something is the matter with it.<\/dialogue>\n    <scene_description>The DUKE pushes his plate away and smiles at her. A SERVANT immediately steps forward to take the plate away. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE - CORRIDOR - EARLY EVENING<\/stage_direction>\n    <scene_description>GEORGIANA walking past, pauses outside the room in which the nanny is putting CHARLOTTE to bed for the night. She hears sobbing coming from inside. GEORGIANA is moved by this but steals herself against the painful sound and walks off. After a few paces she stops. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>24A INT. DEVONSHIRE HOUSE - CHILDREN'S ROOM - EARLY EVENING 24A<\/stage_direction>\n    <scene_description>The little girl is lying on the bed, the NANNY trying to comfort her.<\/scene_description>\n    <character>GEORGIANA (O.S.)<\/character>\n    <dialogue>Would you leave us, please.<\/dialogue>\n    <character>NANNY<\/character>\n    <dialogue>Your Grace, I didn't see you.<\/dialogue>\n    <scene_description>The NANNY looks nervously at GEORGIANA, not knowing whether she ought to leave.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>...leave us, please...<\/dialogue>\n    <scene_description>The NANNY scurries out of the room. GEORGIANA sits down on CHARLOTTE's bed. CHARLOTTE is hiding her face, still sobbing. She reaches for her doll, as if it was threatened by GEORGIANA's presence and she means to rescue it.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(Softly)<\/parenthetical>\n    <dialogue>I am Georgiana. What's your name?<\/dialogue>\n    <scene_description>CHARLOTTE makes no reply. GEORGIANA smiles at her. She can see that she is trembling and gently puts her hand on her shoulder to calm her.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Shh, there now, you are safe here ...so what do you call your doll?<\/dialogue>\n    <scene_description>No answer.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Surely, it must have a name. Every doll must have a name.<\/dialogue>\n    <scene_description>CHARLOTTE stares at her in silence.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Let us make a deal, then. Tonight you decide on a name for your doll. You may choose between any in the whole wide world, and then, in the morning, you tell me which one you've picked.<\/dialogue>\n    <scene_description>Charlotte nods slowly. GEORGIANA rises and turns to leave.<\/scene_description>\n    <character>CHARLOTTE (O.S.)<\/character>\n    <dialogue>Alice.<\/dialogue>\n    <scene_description>GEORGIANA turns back to Charlotte and smiles.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Good night then Alice. And good night Charlotte.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEVONSHIRE HOUSE. COURTYARD - WINTER EVENING<\/stage_direction>\n    <scene_description>It's snowing outside and GUESTS arrive in fur coats. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>25A INT. DEVONSHIRE HOUSE. ENTRANCE HALL - WINTER EVENING 25A<\/stage_direction>\n    <scene_description>MUSICIANS are playing in the foyer. GEORGIANA - dressed amazingly - receives people with smiles, and poses as a newspaper sketcher draws her from the corner of the hall. Her belly is gigantic - she is in the very last stage of pregnancy. FOX arrives with the flushed and flashy RICHARD SHERIDAN. He looks at her.<\/scene_description>\n    <character>SHERIDAN<\/character>\n    <dialogue>An inch more, and I do believe your Grace will explode.<\/dialogue>\n    <character>FOX<\/character>\n    <dialogue>Sheridan certainly knows how to pay a compliment.<\/dialogue>\n    <scene_description>GEORGIANA smiles.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>There are still a few more weeks to wait.<\/dialogue>\n    <character>FOX<\/character>\n    <dialogue>A huge belly has never been more becoming on anyone.<\/dialogue>\n    <character>SHERIDAN<\/character>\n    <dialogue>And Fox here offers an expert opinion, seeing, as he does, a giant belly every time he passes a mirror.<\/dialogue>\n    <scene_description>GEORGIANA smiles. SHERIDAN leans against FOX in affected confidentiality.<\/scene_description>\n    <character>SHERIDAN<\/character>\n    <dialogue>If your belly were on a woman, we'd all know what to think.<\/dialogue>\n    <scene_description>FOX leans against SHERIDAN in imitation of his act.<\/scene_description>\n    <character>FOX<\/character>\n    <dialogue>My dear Sheridan, less than an hour ago, my belly was on a woman - so now what do you think?<\/dialogue>\n    <scene_description>GEORGIANA delights in the risky repartee.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>That will teach you to insult Mr Fox before the gaming has begun.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE - RED ROOM - LATER<\/stage_direction>\n    <scene_description>The ballroom has been converted into a gaming area with a series of round card tables and is full of GAMBLERS. It has a decadent, opulent and smoky atmosphere. The DUKE is at one table while GEORGIANA sits at another with SHERIDAN to one side and FOX to the other. The conversation runs fast and easy.<\/scene_description>\n    <character>DEALER<\/character>\n    <dialogue>Her Grace wins again.<\/dialogue>\n    <scene_description>GEORGIANA pulls in her chips.<\/scene_description>\n    <character>DEALER<\/character>\n    <dialogue>Another wager?<\/dialogue>\n    <character>SHERIDAN<\/character>\n    <dialogue>I'm out. My funds have run dry and I've no one left to borrow from.<\/dialogue>\n    <character>FOX<\/character>\n    <dialogue>Maybe it would be different if people thought you had the slightest intention of paying them back?<\/dialogue>\n    <character>SHERIDAN<\/character>\n    <dialogue>One should never give money to one's creditors, dear boy. It only encourages them.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Is there no one in London not in debt?<\/dialogue>\n    <character>SHERIDAN<\/character>\n    <dialogue>Just the poor.<\/dialogue>\n    <scene_description>They all laugh loudly. Suddenly GEORGIANA stiffens as she feels a sharp pain. She gasps and looks at them in alarm.<\/scene_description>\n    <character>SHERIDAN<\/character>\n    <dialogue>Are you all right?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Yes...<\/dialogue>\n    <scene_description>She doesn't look convinced. Another dart of pain. GEORGIANA is in anguish.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>I would like to...<\/dialogue>\n    <scene_description>Another shooting pain. By now, FOX, SHERIDAN, and several of the other guests have jumped to their feet to help her out. The DUKE notices the turmoil from his table.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>Are those labour pains? My wife is in labour!<\/dialogue>\n    <scene_description>The DUKE now raises his glass and addresses the guests. He looks genuinely excited.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>I think this calls for a toast. I may have an heir before the night is out.<\/dialogue>\n    <scene_description>He toasts. EVERYBODY joins in the toast and some cheer, save those who are helping GEORGIANA out of the room. The last image is of the DUKE, happy and proud. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE. ENTRANCE HALL - A FEW DAYS LATER<\/stage_direction>\n    <scene_description>The house is quiet. LADY SPENCER hurries inside. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE. BALLROOM - DAY<\/stage_direction>\n    <scene_description>LADY SPENCER steps into the room, still dressed in her cape. A SERVANT follows her and receives her cape. She is surprised by the sight in front of her: the DUKE is throwing a ball to exercise his dogs who scamper around the ballroom.<\/scene_description>\n    <character>LADY SPENCER<\/character>\n    <dialogue>Your Grace -<\/dialogue>\n    <character>THE DUKE<\/character>\n    <dialogue>I'm in no mood for conversation, I'm afraid.<\/dialogue>\n    <character>LADY SPENCER<\/character>\n    <dialogue>But, pray tell, is my daughter -<\/dialogue>\n    <character>THE DUKE<\/character>\n    <dialogue>Is your daughter at all able to give me a son?<\/dialogue>\n    <scene_description>Beat, as LADY SPENCER takes in the situation and quickly contemplates her response.<\/scene_description>\n    <character>LADY SPENCER<\/character>\n    <dialogue>Take heart, your Grace. As long as the mother is in good health, consider this mishap a draft, a promise of what is soon to come. In our family -<\/dialogue>\n    <character>THE DUKE<\/character>\n    <dialogue>Yes, yes -<\/dialogue>\n    <scene_description>LADY SPENCER stops as the DUKE waves her away, in a gesture which roughly signals that the DUKE appreciates her efforts to comfort him, but is too troubled to talk. LADY SPENCER smiles politely and leaves.<\/scene_description>\n    <character>THE DUKE<\/character>\n    <parenthetical>(muttering)<\/parenthetical>\n    <dialogue>Hell and damnation ...<\/dialogue>\n    <scene_description>The DUKE throws the ball deep into the room, his dogs racing to retrieve it. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE - BLUE ROOM - DAY<\/stage_direction>\n    <scene_description>GEORGIANA is sitting by the cot, totally engrossed with her new baby, stroking its arm, staring at its face. A wind up MUSIC BOX is playing nearby. LADY SPENCER enters the room. Georgiana looks up and smiles.<\/scene_description>\n    <character>LADY SPENCER<\/character>\n    <dialogue>Darling, how are you?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Quite well.<\/dialogue>\n    <scene_description>LADY SPENCER sends her a warm smile and steps up to look at the baby sleeping in GEORGIANA's arms.<\/scene_description>\n    <character>LADY SPENCER<\/character>\n    <dialogue>...and is she strong and healthy?<\/dialogue>\n    <scene_description>GEORGIANA nods and smiles.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>She is perfect.<\/dialogue>\n    <scene_description>LADY SPENCER smiles and looks at the girl.<\/scene_description>\n    <character>LADY SPENCER<\/character>\n    <dialogue>She is her mother's likeness...<\/dialogue>\n    <scene_description>GEORGIANA smiles as she looks down at the baby with her mother. Then her mind shifts, and her expression becomes darker. There is an edge to her tone.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Did William receive you?<\/dialogue>\n    <character>LADY SPENCER<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Was he upset that it wasn't a son? He just glanced at her briefly and left. I've hardly seen him since.<\/dialogue>\n    <character>LADY SPENCER<\/character>\n    <dialogue>It's been a difficult time for His Grace, my dear. Many eyes are upon him, not all of them kind.<\/dialogue>\n    <scene_description>LADY SPENCER senses the tension and looks back at the baby, keen to change the subject.<\/scene_description>\n    <character>LADY SPENCER<\/character>\n    <dialogue>Why, she's the loveliest...<\/dialogue>\n    <scene_description>The baby starts to wake up, hungry and crying.<\/scene_description>\n    <character>LADY SPENCER<\/character>\n    <dialogue>Nurse...<\/dialogue>\n    <scene_description>Lady Spencer gestures to the WET NURSE to come forward which she does, unbuttoning her shirt to feed.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(Firmly)<\/parenthetical>\n    <dialogue>No, I will do it, thank you.<\/dialogue>\n    <scene_description>The wet nurse looks to Lady Spencer.<\/scene_description>\n    <character>LADY SPENCER<\/character>\n    <dialogue>Darling, are you sure...?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Yes, I am her mother after all. Even if she is only a girl.<\/dialogue>\n    <scene_description>Georgiana is already starting to feed her hungry baby from her breast, a picture of earthy motherhood in stark contrast to the pomp of her surroundings. LADY SPENCER looks over at this headstrong young woman, not a little bit worried. CUT TO: OMITTED OMITTED OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>32A EXT. COUNTRYSIDE - DAY 32A<\/stage_direction>\n    <scene_description>A very wide shot of the empty English countryside, with the train of GILT COACHES mid-frame, glinting in the sunshine. TWO MORE COACHES follow, laden with STAFF and LUGGAGE. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. GILT COACHES. DAY - EARLY SUMMER<\/stage_direction>\n    <scene_description>Close up on the face of a three year old girl, HARRYO, sitting in a GILT COACH. HARRYO sits next to CHARLOTTE, now aged 10, and G (4). GEORGIANA - now four years older - sits opposite. She is sketching dress designs while the children play with cards. In the second COACH the DUKE sits alone and in silence - bar his dogs - staring out of the windows at the passing countryside. A newspaper sits besides him with a story about Georgiana on the front page. He has also aged four years. CUT TO: OMITTED OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE TOWN OF BATH - DAY<\/stage_direction>\n    <scene_description>The COACHES go past the Royal Crescent. On the grass in the foreground lots of people are strolling, having picnics, children play. CUT TO: 36A OMITTED 36A<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RENTED BATH HOUSE. DAY - LATER<\/stage_direction>\n    <scene_description>THE FIRST COACH stops in front of a MASSIVE VILLA. SERVANTS jump down to open the door of the COACH. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RENTED BATH HOUSE. FOYER - DAY<\/stage_direction>\n    <scene_description>The FOYER alone is fabulous, spacious, sparkling. The DUKE surveys the place. Finally he sighs, as if it's a bad motel.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>Well. It'll have to do. It's only for a month.<\/dialogue>\n    <scene_description>The DUKE goes o.s. GEORGIANA enters, accompanied by the children, and soon after by SERVANTS carrying masses of luggage: suitcases, hatboxes, shoeboxes etc. LITTLE G watches them go past.<\/scene_description>\n    <character>LITTLE G<\/character>\n    <dialogue>If we're only here for a month, Mama, why do you have so many cases?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(Smiling, ironic)<\/parenthetical>\n    <dialogue>A lady needs a change of clothes, my darling.<\/dialogue>\n    <scene_description>LITTLE G smile back.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Now, who will get the best bedroom?<\/dialogue>\n    <scene_description>GEORGIANA looks to her CHILDREN. They run into the house full of excitement and energy, with their mother hot on their heels. CUT TO: OMITTED OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATH ASSEMBLY ROOMS. NIGHT<\/stage_direction>\n    <scene_description>There's a massive ball inside, all guests in formal clothes. Leading Whig JAMES HARE addresses the crowd from the balcony.<\/scene_description>\n    <character>JAMES HARE<\/character>\n    <dialogue>It is always a delight, when one is on holiday, to request a few words of wisdom. So without further ado it is a great honour to hand over to our most distinguished guest...<\/dialogue>\n    <scene_description>We see the faces of the DUKE and GEORGIANA standing in the darkness of the wings behind HARE. Who is he referring to?<\/scene_description>\n    <character>JAMES HARE<\/character>\n    <dialogue>When she appears, every eye is turned towards her; when absent, she is the subject of universal conversation; and what we see her wearing tonight, I look forward to seeing the rest of you wearing tomorrow...<\/dialogue>\n    <scene_description>The DUKE's face seems to sink.<\/scene_description>\n    <character>JAMES HARE<\/character>\n    <dialogue>...the Empress of Fashion herself ...The Duchess of Devonshire.<\/dialogue>\n    <scene_description>The CROWD applaud loudly. GEORGIANA enters, accompanied by the DUKE. There's a hushed 'wow' as everyone takes in her extraordinary appearance: she wears a HUGE, THREE FOOT ADORNED WIG with OSTRICH FEATHERS inserted into it. She beams at the crowd, the total centre of attention. The DUKE looks uncomfortable next to her.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>We come away to Bath to get away from London and all of London has come away to Bath.<\/dialogue>\n    <scene_description>EVERYONE laughs. The DUKE forces a smile.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>I always appreciate the Honourable Mr Hares' introductions. He has a jeweller's wit;<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>whenever he turns a phrase, one finds another facet.<\/dialogue>\n    <scene_description>There are chuckles from the CROWD. GEORGIANA, looking confident, strokes the feather in her hair.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>And as he suggests, somebody did indeed ask me earlier what kind of feather it is I'm wearing. Well, only two specimens of this rare bird are known to man. One of them has clearly ended up on top of my head. The other, rumour has it, is running for office in the Tory party.<\/dialogue>\n    <scene_description>There is great laughter. GEORGIANA looks to the side of the room and sees that the DUKE has caught the eye of a young blushing BEAUTY. She smiles at him. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATH ASSEMBLY ROOMS. NIGHT - LATER<\/stage_direction>\n    <scene_description>HIGH TEMPO MUSIC is being played by some MUSICIANS. Many people are dancing energetically on the floor - especially GEORGIANA who is in the middle of a group of admirers: on a high and basking in the attention. GEORGIANA is an expert dancer, moving from one male partner to the next. The CAMERA follows the feather on her head standing high over everyone as she twirls around the room, like a sharks fin jutting out above the water line. All eyes are upon her: COURT REPORTERS in the corner try to sketch it; men look on from the sides with barely disguised sexual interest; women look at her dress, the feather, and then their husbands' reactions. The DUKE, however, stands at the side, pretending only to be half-watching. GEORGIANA is spurred on by his indifference, and as the dancing progresses, she begins to show off and flirt in inverse proportion to it. GEORGIANA then loses herself in the dancing until...She glances up to see the DUKE talking to another prey - a beautiful young woman in a dark dress, BESS FOSTER. GEORGIANA now sees BESS evidently rejecting the ducal overtures and leaving the room. Rejection is a new experience for the DUKE, and he is appropriately taken aback, as is GEORGIANA. The DUKE's eyes stay on BESS as she leaves into the next room. GEORGIANA stops dancing.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(To her partner)<\/parenthetical>\n    <dialogue>Excuse me...<\/dialogue>\n    <scene_description>GEORGIANA turns and walks away from the DANCERS. CUT TO: OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATH ASSEMBLY ROOMS. OCTAGON ROOM. NIGHT - LATER<\/stage_direction>\n    <scene_description>BESS is helping herself to some food from the sideboard. She is about to take a bite of a tart when she sees GEORGIANA, staring.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>I don't believe we have been formally introduced?<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>I haven't, at any rate. Lady Elizabeth Foster.<\/dialogue>\n    <scene_description>They greet each other.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>I saw you talking with my husband.<\/dialogue>\n    <scene_description>GEORGIANA looks at BESS in a levelled way. BESS returns the look.<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>Yes, he wished to dance.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>That is not usually considered his forte. And you declined?<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>I'm ill at ease with male company for the moment.<\/dialogue>\n    <scene_description>GEORGIANA smiles. BESS smiles back at her. GEORGIANA looks at BESS, sizing up this beautiful girl with great interest. Beat.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>What brings you to Bath?<\/dialogue>\n    <scene_description>BESS takes a moment to consider how she will answer this.<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>My husband, Mr. Foster, is enjoying his mistress in Bournemouth, and I wanted some diversion. And you?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(hedges)<\/parenthetical>\n    <dialogue>The Duke is taking the waters for his gout...<\/dialogue>\n    <scene_description>Beat. BESS looks as if to say, 'carry on'.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>...and I...for my health.<\/dialogue>\n    <scene_description>BESS is upset that GEORGIANA has not rewarded her honesty with similar directness.<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>Really?<\/dialogue>\n    <parenthetical>(imitating gossip)<\/parenthetical>\n    <dialogue>\"The Duchess of D., married how- many-years and still no son and heir.\"<\/dialogue>\n    <scene_description>GEORGIANA is taken aback, hurt. BESS immediately realises and regrets what she's said.<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>I beg your pardon. That was an awful thing to say.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>But it is the truth, at least.<\/dialogue>\n    <scene_description>They look at each other. Something passes between them. GEORGIANA lowers her voice in a conspiratorial way. It's almost as if they are flirting with each other.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Although I had hoped to avoid being reminded of that. If only for this evening.<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>Trust me to say something silly. I always do, you know.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Then perhaps you should have accepted the Duke's invitation. You have much in common.<\/dialogue>\n    <scene_description>BESS does not know if she is allowed to laugh. She looks at GEORGIANA and smiles. Then they both laugh. There is a real connection here, two lost people who have found each other. The DUKE enters the room.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>Well... Home, I think. Georgiana.<\/dialogue>\n    <scene_description>GEORGIANA and BESS look at him as he leaves. Then GEORGIANA gets up.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Where are you staying?<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>I've rented some rooms in town.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>We must meet again.<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>We must.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE DUKE'S CARRIAGE. ROYAL CRESCENT - DAWN - LATER<\/stage_direction>\n    <scene_description>The DUKE's carriage trundles down the Royal Crescent. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>45A INT. THE DUKE'S CARRIAGE - DUSK - LATER 45A<\/stage_direction>\n    <scene_description>The DUKE sits on the seat. GEORGIANA, however, has to sit on the floor to make room for the ostrich feather that's still on top of her head. They are not looking at each other and the strain of their relationship shows on them both. We remain on GEORGIANA's face as the bright sounds of young children's voices fade up until we... CUT TO: OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BATH PARK - DAY<\/stage_direction>\n    <scene_description>GEORGIANA, a NANNY flanking her, is playing chase and running races with her children in the sunshine. It's free and easy and everyone is laughing and having a good time. GEORGIANA steps back to watch the three girls run off and gets her breath back. HARRYO runs and falls. GEORGIANA runs up to comfort her. HARRYO runs off again and GEORGIANA watches her go.<\/scene_description>\n    <character>BESS (O.S.)<\/character>\n    <dialogue>Up and fall down, up and fall down.<\/dialogue>\n    <scene_description>GEORGIANA turns to see BESS standing behind her.<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>Why can't we recover like that?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Too far to fall now.<\/dialogue>\n    <scene_description>They smile.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Hello again.<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>Hello. \\[Beat\\] Your girls are lovely.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Thank you. Do you have any children?<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>I do. Three boys...<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Three boys ... What the Duke wouldn't give for one of them.<\/dialogue>\n    <scene_description>BESS smiles.<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>She looks least like you, your eldest.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Yes. (Makes a decision) I'm sure you know the story.<\/dialogue>\n    <scene_description>GEORGIANA looks at BESS. BESS does, but she doesn't speak.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>My husband's daughter was born before we married. The mother was a maid. The maid died; we took the child.<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>I'm sorry, I shouldn't have spoken.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Never mind. It's the worst kept secret in London. She's nine years old now.<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>And...do you love her?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Of course I do. The same as all my children. They are the world to me.<\/dialogue>\n    <scene_description>BESS smiles, but behind it her own pain shows through. CUT TO: OMITTED OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>49A INT. BATH. PRIVATE BATHS. DAY - LATER 49A<\/stage_direction>\n    <scene_description>GEORGIANA and BESS come out onto a balcony with tables, benches and chairs. Below and beyond it is a manicured garden with people strolling, pushing wheelchairs etc. It has the feel of an upmarket sanatorium. GEORGIANA walks to a small drinking fountain and stops to sip a cup of hot liquid. BESS takes a sniff and recoils.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Thermal water. It's the sulphur that makes it smell so bad.<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>And you really have to drink it?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Twice a day for four weeks.<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>Do you have any reason to believe you cannot birth a male?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>No. Except four miscarriages, two still births - both of which were sons - and two girls \u2026<\/dialogue>\n    <scene_description>BESS feels for her, and smiles supportively. They make their way to a table and sit down. BESS looks around them - people are stealing sneaky glances over at GEORGIANA.<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>Everybody's staring at you...<\/dialogue>\n    <scene_description>GEORGIANA smiles at her cheekiness. BESS turns right around to look in the direction of a couple staring at GEORGIANA. As she does so GEORGIANA is able to see a DARK BRUISE on BESS'S NECK. GEORGIANA is shocked, and her hand instinctively reaches out to touch her.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>What's that on your neck?<\/dialogue>\n    <scene_description>BESS is taken off guard. She looks a little vulnerable.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Bess...?<\/dialogue>\n    <scene_description>BESS looks evenly at Georgiana, as if trying to decide to tell her something.<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>It's not illegal for a man to beat his wife with a stick unless the stick is thicker than your thumb.<\/dialogue>\n    <scene_description>GEORGIANA is speechless.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Mr Foster? But - he can't do that...<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>Considering what else he's done to me, that's not the worst...<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>What could possibly be worse...?<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>He's taken my children. He won't let me see them.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>What do you propose to do?<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>Really, I'm at my wits' end. I have made some sort of alliance with a man who will assist me in abducting them. What I'll do when he does, I don't know. Live under an assumed name, I suppose. The law supports Mr. Foster.<\/dialogue>\n    <scene_description>GEORGIANA is lost in the horror of BESS's situation.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>And in the meantime, where shall you stay?<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>Continue lodging I suppose, until my money runs out.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Well, there at least, I think I can help.<\/dialogue>\n    <scene_description>GEORGIANA reaches out to take another drink of water. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DINING ROOM. BATH VILLA - NIGHT<\/stage_direction>\n    <scene_description>The DUKE - continuing the previous scene's action - picks up a glass and drinks. Georgiana, Bess and the Duke eat. Georgiana and Bess exchange secret glances.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>William? We leave tomorrow. And Lady Elizabeth is not due to meet her parents on the continent for some time. And she hardly visits London at all.<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>Ah. Pity that.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>You see she doesn't have a place to stay.<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>Oh dear, problem there.<\/dialogue>\n    <scene_description>BESS and GEORGIANA hold their breath. The DUKE glances up.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>Well why doesn't she stay with us? For a while at least.<\/dialogue>\n    <scene_description>Georgiana and Bess grin like schoolgirls. CUT TO: OMITTED OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE. CORRIDORS - DAY<\/stage_direction>\n    <scene_description>GEORGIANA leads the way down the corridor. BESS follows, gazing at the house, marvelling at the grandiosity of it all. Unlike GEORGIANA's first arrival it feels informal, free, excited.<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>This is incredible ...<\/dialogue>\n    <scene_description>GEORGIANA, tickled to have BESS with her, takes her arm.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(Ironically)<\/parenthetical>\n    <dialogue>Yes. There's the castle in Ireland, Bolton Abbey, Chiswick, Burlington - and Chatsworth, of course, which is much bigger - but this is more like home.<\/dialogue>\n    <scene_description>BESS laughs. GEORGIANA leads her through more rooms. GEORGIANA opens a door to reveal a beautiful bedroom with adjacent dressing area. BESS is suitably impressed. They laugh and hug each other close.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>I am so glad you are here.<\/dialogue>\n    <parenthetical>(Devilish)<\/parenthetical>\n    <dialogue>I have arranged a wonderful start to the season.<\/dialogue>\n    <scene_description>CUT TO: OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRURY LANE THEATER - NIGHT<\/stage_direction>\n    <scene_description>It's OPENING NIGHT. A HUGE CRUSH of SOCIAL TYPES are in the theatre. Many of the women have their hair piled high with an ostrich feather in it. They hold programmes that read 'School For Scandal' by Richard Sheridan. JOURNALISTS and CARTOONISTS sit off to the side, like paparazzi, sketching. We see glimpses of their renditions. In them, GEORGIANA's large wig looks even larger. ON STAGE the performance is in full flow: an argument between \"Sir Peter Teazle\" and \"Lady Teazle.\" The actors are made-up and costumed to look suspiciously like GEORGIANA and The DUKE, and the set is a replica in miniature of the Devonshire House living room.<\/scene_description>\n    <character>ACTOR PLAYING SIR TEAZLE<\/character>\n    <dialogue>\"Lady Teazle, Lady Teazle, I'll not bear it!\"<\/dialogue>\n    <character>ACTRESS PLAYING LADY TEAZLE<\/character>\n    <dialogue>\"Sir Peter, Sir Peter, you may bear it or not as you please; but I ought to have my own way in everything.\"<\/dialogue>\n    <character>ACTOR PLAYING SIR TEAZLE<\/character>\n    <dialogue>\"Lady Teazle, though my life may be made unhappy by your temper, I'll not be ruined by your extravagance.\"<\/dialogue>\n    <character>ACTRESS PLAYING LADY TEAZLE<\/character>\n    <dialogue>\"My extravagance! I'm sure I am not more extravagant than a woman of fashion ought to be.\"<\/dialogue>\n    <dialogue>IN THEIR BOX the DUKE and GEORGIANA look on, stiff and very separate. BESS sits behind them. There's a very tense air: the DUKE is looking mortified while GEORGIANA seems to know exactly what's going on. She looks down at SHERIDAN sitting in the front row, who looks back equally knowingly, and winks at him.<\/dialogue>\n    <character>ACTOR PLAYING SIR PETER<\/character>\n    <dialogue>\"May all the plagues of marriage be doubled on me, if ever I try to be friends with you any more!\"<\/dialogue>\n    <character>ACTRESS PLAYING LADY TEAZLE<\/character>\n    <dialogue>\"So much the better\"<\/dialogue>\n    <character>ACTOR PLAYING SIR PETER<\/character>\n    <dialogue>\"No, no madam.: 'tis evident you never cared a pin for me, and I was a madman to marry you.\"<\/dialogue>\n    <character>ACTRESS PLAYING LADY TEAZLE<\/character>\n    <dialogue>\"And I am sure I was a fool to marry you - an old dangling bachelor...<\/dialogue>\n    <scene_description>The camera moves into the DUKE. He endures the humiliation with a straight face but his insides are in knots.<\/scene_description>\n    <character>ACTRESS PLAYING LADY TEAZLE<\/character>\n    <dialogue>...who was single at fifty, only because he never could meet with anyone who could have him.\"<\/dialogue>\n    <scene_description>The audience LAUGH LOUDLY and look up to where the DUKE and GEORGIANA are sitting. The DUKE grips his seat.<\/scene_description>\n    <character>ACTOR PLAYING SIR TEAZLE<\/character>\n    <dialogue>Very well, madam! Very well! A separate maintenance as soon as you please. Yes, madam, or a divorce!\"<\/dialogue>\n    <character>ACTRESS PLAYING LADY TEAZLE<\/character>\n    <parenthetical>(Triumphant)<\/parenthetical>\n    <dialogue>\"Agreed! Agreed!\"<\/dialogue>\n    <scene_description>The audience laugh and cheer. Amid the noise, GEORGIANA looks across the theatre to see the reaction. She sees a handsome YOUNG MAN in his 20s. She looks back to the stage, but the YOUNG MAN remains gazing at her. She looks back, realising who it is - CHARLES GREY. Unlike the crowd, he is not laughing at all. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRURY LANE THEATRE - NIGHT - LATER<\/stage_direction>\n    <scene_description>After the show: close up on champagne cork popping and champagne poured into glasses. The DUKE is skulking around the edge of the crowd. GEORGIANA and BESS meet with FOX.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Bess. This is Mr. Fox. The Leader of the Opposition. Mr Fox, Lady Elizabeth Foster.<\/dialogue>\n    <scene_description>BESS is impressed. They nod at each other. CHARLES GREY approaches from behind FOX.<\/scene_description>\n    <character>FOX<\/character>\n    <dialogue>Ah. And here is my protegee, Charles Grey.<\/dialogue>\n    <scene_description>BESS nods to both the men<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Mr Grey.<\/dialogue>\n    <character>GREY<\/character>\n    <dialogue>Your Grace.<\/dialogue>\n    <character>FOX<\/character>\n    <dialogue>He's our newest bright young man - scarcely out of Cambridge and already a member of Parliament.<\/dialogue>\n    <scene_description>GEORGIANA can't take her eyes off him. He looks at her too. BESS notices this and quickly starts a conversation with FOX, leaving GEORGIANA to talk to GREY alone.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>I always felt you would do well, Mr Grey.<\/dialogue>\n    <character>GREY<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Did you enjoy the play?<\/dialogue>\n    <scene_description>GREY is uneasy, but still looks GEORGIANA straight in the eye as he replies.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>I must confess I did not entirely.<\/dialogue>\n    <scene_description>GEORGIANA is surprised.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>I hope you haven't lost your sense of humour since entering politics...<\/dialogue>\n    <character>GREY<\/character>\n    <dialogue>Not that I am aware.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Then you do realise 'School For Scandal' is written as a comedy?<\/dialogue>\n    <character>GREY<\/character>\n    <dialogue>Yes...although from where I sat it read as a tragedy.<\/dialogue>\n    <scene_description>GEORGIANA is troubled. GREY's unexpected comments affect her deeply. Just then SHERIDAN approaches with open arms.<\/scene_description>\n    <character>SHERIDAN<\/character>\n    <dialogue>Your Grace! How we've missed you! In your absence London has been reduced to the dreariest province!<\/dialogue>\n    <scene_description>GEORGIANA smiles. She breaks her eyes from GREY'S and shakily resumes her usually effortless social persona.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>And this, of course, is the playwright, Mr. Sheridan. May I present the Lady Elizabeth.<\/dialogue>\n    <scene_description>SHERIDAN greets BESS. Then, with an apologetic mien at the others, he pulls GEORGIANA away.<\/scene_description>\n    <character>SHERIDAN<\/character>\n    <dialogue>Pardon us. I do not mean to be rude, but I have an entire cast dying to meet the Duchess. I shall return her in a moment, promise.<\/dialogue>\n    <scene_description>SHERIDAN and GEORGIANA leave. BESS watches GREY as GREY watches them go. She looks to the DUKE, who has found some consolation in the form of a gauche young GIRL. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRURY LANE THEATRE - NIGHT - LATER<\/stage_direction>\n    <scene_description>GEORGIANA throws a look back to GREY, then SHERIDAN presents her to a lined-up CAST, who all curtsy and bow.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Were we fair on the Duke?<\/dialogue>\n    <character>SHERIDAN<\/character>\n    <dialogue>It could have been worse. (Whispers to her) My original title was \"The Bad Marriage.\"<\/dialogue>\n    <scene_description>SHERIDAN smiles. GEORGIANA does not. A SERVANT enters with a tray of drinks. Everybody helps themselves to one. SHERIDAN produces a bottle of opium.<\/scene_description>\n    <character>SHERIDAN<\/character>\n    <dialogue>Opium?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Just a drop...<\/dialogue>\n    <scene_description>SHERIDAN pours opium in their drinks. A few of the actors and actresses have a drop too. GREY takes this in as he watches the DUKE and then GEORGIANA. GEORGIANA turns and looks at him. For an extra beat. CUT TO: CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE. GEORGIANA'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>BESS and GEORGIANA are in nightclothes, sprawled across each other on the bed. They are intimate and relaxed, like two teenage girls after a night's clubbing.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Were you at all able to forget things and enjoy yourself?<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>It was a wonderful distraction, thank you.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Good.<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>I talked all night to Mister Grey...<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Oh yes?<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>He is in love with you.<\/dialogue>\n    <scene_description>GEORGIANA laughs.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>My dear Bess. No he's not. In fact I fear the very opposite.<\/dialogue>\n    <scene_description>GEORGIANA looks at her, thinks. BESS smiles.<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>Can't you tell by the way he looks at you? Honestly, can't you tell?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Stop it, please.<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>Georgiana. Procreation is not just about offspring. In fact, it can be quite nice.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(laughs uncertainly, lies)<\/parenthetical>\n    <dialogue>Yes, I know...<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>Try to close your eyes ... and envision Grey slowly opening your dress ... and kissing your back.<\/dialogue>\n    <scene_description>GEORGIANA starts to giggle.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Oh, please, they never do such things...<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>Oh yes they do.<\/dialogue>\n    <scene_description>BESS gets up and lies behind GEORGIANA. GEORGIANA looks a little nervous about this.<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>Close your eyes...Grey is behind you....slowly opening your dress...<\/dialogue>\n    <scene_description>BESS pulls back part of GEORGIANA's clothing to reveal her shoulder. BESS begins to kiss it.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Bess, stop.<\/dialogue>\n    <character>BESS<\/character>\n    <parenthetical>(Firmly)<\/parenthetical>\n    <dialogue>...close your eyes....kissing your back...<\/dialogue>\n    <scene_description>GEORGIANA relents and closes her eyes. BESS continues to kiss her back. Suddenly GEORGIANA goes silent, a look of real surprise on her face: she is experiencing sensations she never knew even existed. Bess continues, soft but in charge, as they both allow themselves to become lost in the erotically charged moment: GEORGIANA lets out little gasps of pleasure... BESS pushes it further... Her hands explore under GEORGIANA'S nightclothes... Over her breasts... The tops of her legs... GEORGIANA gasps again, a realisation that parts of her body could give such pleasure... BESS tugs GEORGIANA'S hair back a little... Her hands reach further... GEORGIANA closes her eyes...<\/scene_description>\n    <character>BESS<\/character>\n    <parenthetical>(Whispers)<\/parenthetical>\n    <dialogue>There...see...<\/dialogue>\n    <scene_description>BESS stops what she's doing. Beat. They both breathe heavily, the sexual tension and arousal hanging heavy in the air. They are a little embarrassed, scared even of what might happen if they carried on, and for a moment it seems that is what they might well do... But BESS gets up and walks to the window as GEORGIANA readjusts her clothes. They regain composure and try to carry on as if nothing has really happened.<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>In the play this evening, there was a scene in which Lady Teazle and Mr. Surface discuss their affair. They acknowledge that once a lady of quality has provided her husband with a son then she may take a lover.<\/dialogue>\n    <scene_description>GEORGIANA takes it in.<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>Be ready, dear G, when the time comes.<\/dialogue>\n    <scene_description>GEORGIANA lies back on the bed, eyes wide open, thinking. This image is held as the sound of a haunting operatic voice - accompanied by harpsichord - starts over it and carries us into the next scene. CUT TO: OMITTED OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHATSWORTH. FORMAL GARDENS - DAY<\/stage_direction>\n    <scene_description>We are in the grounds of a huge country house and its estate. SWARMS of COUNTRY PEOPLE, MEN on HORSES and TENANTS are present, with others arriving all the time. Massive amounts of food are laid out on trestle tables with a tent for the gentry on the other side. The singing and harpsichord continue, and we find that AN OPERA singer and HARPSICHORD perform to a grand outdoor picnic. We see the DUKE and BESS standing together. FOX and GREY are at the rear of the audience, looking on. GEORGIANA is with her children, working her way through the ORDINARY PEOPLE and TENANTS, making them feel welcome. They respond with reverence. She walks up to LADY SPENCER and embraces her.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Hello Mama.<\/dialogue>\n    <character>LADY SPENCER<\/character>\n    <parenthetical>(Coolly)<\/parenthetical>\n    <dialogue>Hello my dear.<\/dialogue>\n    <scene_description>BESS comes over too.<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>We're so glad you were able to visit, Lady Spencer.<\/dialogue>\n    <scene_description>LADY SPENCER looks hurt.<\/scene_description>\n    <character>LADY SPENCER<\/character>\n    <dialogue>Are 'we' really?<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>Yes, G speaks of you all the time.<\/dialogue>\n    <character>LADY SPENCER<\/character>\n    <dialogue>Well that is nice to hear. My daughter's letters have become so short of late that finally they do not exist at all.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>I do apologise Mama. It is merely a reflection of my current state of happiness...<\/dialogue>\n    <character>LADY SPENCER<\/character>\n    <parenthetical>(Cutting across)<\/parenthetical>\n    <dialogue>I only know what she is up to by reading the Morning Post.<\/dialogue>\n    <scene_description>GEORGIANA is stung by this. The DUKE wanders up behind, surveying the scene.<\/scene_description>\n    <character>LADY SPENCER<\/character>\n    <dialogue>And how long do you intend to stay on Lady Elizabeth?<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>Please, 'Bess'. I don't know. I'm sure I've worn out my welcome already.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Nonsense.<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>Lady Elizabeth is free to stay with us for as long as she likes.<\/dialogue>\n    <scene_description>LADY SPENCER is left open-mouthed, a little alarmed at how close they all seem. The music has stopped and everyone turn and politely applaud the musicians. FOX and some WHIGS come forward. GEORGIANA turns and smiles broadly at them.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Who let these radicals through the gates of Chatsworth?<\/dialogue>\n    <character>FOX<\/character>\n    <dialogue>No one lets us in anywhere! That's why we're radicals!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FORMAL GARDENS. DAY - LATER<\/stage_direction>\n    <scene_description>The DUKE performs his duty talking with the important people in the tent: other aristocrats, politicians and wealthy businessmen. FOX, SHERIDAN and GREY are here too. GEORGIANA is opposite, amongst the ORDINARY PEOPLE, where she is carrying food to their tables and making sure they are being well looked after.<\/scene_description>\n    <character>GREY (O.S.)<\/character>\n    <dialogue>What a fine spread.<\/dialogue>\n    <scene_description>GEORGIANA turns to see GREY behind her, coming over from the tent.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Thank you. We do our best.<\/dialogue>\n    <scene_description>GEORGIANA starts to walk through the tables with a plate of food. He follows.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>We? From what I hear you run these open days single-handedly.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Well, the Duke does find inviting all and sundry to the house a little... testing. But it's only once a week.<\/dialogue>\n    <character>GREY<\/character>\n    <dialogue>The Duke would prefer his tenants to starve?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>It is his property.<\/dialogue>\n    <character>GREY<\/character>\n    <dialogue>Then he must surely embrace the responsibilities that come with it. Or perhaps His Grace would prefer instead to be divested of such troublesome possessions.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(Provocatively)<\/parenthetical>\n    <dialogue>What an interesting idea.<\/dialogue>\n    <scene_description>GREY, encouraged by her double meaning, continues.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>You know, I despise the fact that so few men can have such precious things - and that they mismanage them so appallingly.<\/dialogue>\n    <scene_description>GEORGIANA smiles at him. She knows he is talking about her.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>And what would you suggest?<\/dialogue>\n    <scene_description>He returns her smile, remembering the exchange from years ago.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>That people should be set free.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>And will freedom alone make them happy?<\/dialogue>\n    <character>GREY<\/character>\n    <dialogue>The point is not to make people happy. The point is to make them free, so they can pursue their own idea of happiness...whatever that may be.<\/dialogue>\n    <scene_description>GEORGIANA looks impressed. She realizes how close they're standing, and in full view of the PEOPLE. She moves away a few feet.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>I must get another plate..<\/dialogue>\n    <scene_description>GEORGIANA walks off. GREY watches her go, happy in the knowledge he has made an impact. He starts back toward FOX and SHERIDAN. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHATSWORTH. FORMAL GARDENS. DAY - LATER<\/stage_direction>\n    <scene_description>It is toward the end of the day. The sun is casting long shadows on the lawn as the picnic is being packed up. GEORGIANA leans against a low wall, sipping a cordial, all the while watching GREY in conversation with some men. BESS approaches GEORGIANA.<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>Whatever is the matter with you? Your behaviour is so out of the ordinary.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>I just feel like keeping to myself today...<\/dialogue>\n    <scene_description>BESS sits down beside her, leaning close and intimate. They look at the men, GREY at the centre, then look at each other. BESS smiles broadly. GEORGIANA blushes. BESS digs GEORGIANA playfully and gently in the ribs. They giggle like schoolgirls. GEORGIANA looks up to see LADY SPENCER is watching, a disapproving expression on her face. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAINTED HALL. CHATSWORTH - LONG AFTER DINNER.<\/stage_direction>\n    <scene_description>LADY SPENCER and GEORGIANA are walking through. Other GUESTS mill around.<\/scene_description>\n    <character>LADY SPENCER<\/character>\n    <parenthetical>(Hushed)<\/parenthetical>\n    <dialogue>But you have only known her three months!<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Bess is my friend! She is the very best of women.<\/dialogue>\n    <character>LADY SPENCER<\/character>\n    <dialogue>She seems to be many things, but I would be hard pushed to say she were that.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>It may pain you to recognise it Mama, but a great change has come over my life and its name is Lady Elizabeth Foster...about whom it can be truly said I have at long last found my other self.<\/dialogue>\n    <scene_description>LADY SPENCER's pulse races. She wants to interject.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>I understand if that may make you feel a little jealous.<\/dialogue>\n    <scene_description>LADY SPENCER stops.<\/scene_description>\n    <character>LADY SPENCER<\/character>\n    <parenthetical>(Fierce whisper)<\/parenthetical>\n    <dialogue>This is a dangerous path to choose my girl.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>I am not a girl, mother, I am the Duchess of Devonshire. It would serve you well to remember that.<\/dialogue>\n    <character>LADY SPENCER<\/character>\n    <dialogue>Yes, and you have begun to cavort so constantly in public you cannot live for your own soul. It is no surprise you are gathering weeds instead of flowers.<\/dialogue>\n    <scene_description>GEORGIANA is stunned, like a little girl cut dead by her mother for showing off. LADY SPENCER turns on her heels and walks off leaving GEORGIANA fuming inside. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>64A INT. CHATSWORTH. SITTING ROOM - A LITTLE LATER 64A<\/stage_direction>\n    <scene_description>GEORGIANA, a rebellious look on her face, takes a drink from a BUTLER. She then heads toward GREY who is among a group of MEN. As he sees GEORGIANA he excuses himself from the conversation and meets her.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>Your Grace...<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Mr Grey, I have been thinking. The national election is in six weeks, yes? How is the campaign going?<\/dialogue>\n    <character>GREY<\/character>\n    <dialogue>Terribly. Our only hope is to save Westminster for Fox.<\/dialogue>\n    <scene_description>GEORGIANA smiles. There's a mischievous sparkle in her eye.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>I have many faults as you well know, not least among them is my ability to draw attention. Perhaps we could use that to our advantage...<\/dialogue>\n    <scene_description>CUT TO: OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COVENT GARDEN HUSTINGS - DAY<\/stage_direction>\n    <scene_description>GEORGIANA stands on a platform dressed in the most outrageous costume yet, her hair piled three foot high above her head and decorated with Whig-coloured ribbons. In front is a HUGE CROWD noisy: a massive mix of people from drunks and prostitutes to lords and ladies. Banners proclaim WHIGS, VOTE FOX. JOURNALISTS mill around, scribbling into notebooks and sketching GEORGIANA. In the crowd, women are fanning themselves with fans bearing Georgiana's likeness. It's like a pop concert.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(Shouts to the crowd)<\/parenthetical>\n    <dialogue>Ladies and Gentlemen.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>I give you a man who will inform us of the work we must do and the party we so believe in! Mister Charles Grey!<\/dialogue>\n    <scene_description>APPLAUSE as GREY moves to take the stage. GEORGIANA and GREY exchange a look as he positions himself.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>I am here in Westminster to speak on behalf of our candidate Sir Charles James Fox...<\/dialogue>\n    <scene_description>APPLAUSE.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>Well, I wish only to address a single issue. Power.<\/dialogue>\n    <scene_description>GEORGIANA looks at GREY, clearly proud of him.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>The basis of power in our country is land, as it has been for centuries. And the aristocracy owns nearly all of it...<\/dialogue>\n    <scene_description>There are a few laughs from the CROWD.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>...along with all the places in the Government, control of the House of Commons, Ambassadors, Governors, Judges, and a host of other posts too numerous to mention. They maintain this influence by transferring their land intact, generation after generation. And in so doing continue to dominate English life.<\/dialogue>\n    <scene_description>GREY stops to look at the faces of the PUBLIC looking back at him. They are with him.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>So, if we win this election, if we get the power we seek, what will we do with it?<\/dialogue>\n    <scene_description>GREY's listeners are quiet. GREY proceeds.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>Will we merely follow in the footsteps of those that came before us? Master the art of compromise? Of postponing the greater good for the greater advantage? Will we do that?<\/dialogue>\n    <parenthetical>(Long pause)<\/parenthetical>\n    <dialogue>No. We won't. Because we believe in the words we've spoken...<\/dialogue>\n    <scene_description>A few scattered 'hear hears' begin.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>...and we have faith in the hearts we've stirred.<\/dialogue>\n    <scene_description>More 'HEAR HEARS'. GREY's rhetoric takes flight.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>The world is on the brink of disaster or salvation. From France to America, men and women are struggling to free themselves and find meaning in their existence. Change is upon us.<\/dialogue>\n    <scene_description>Loud calls of 'YES' and applause.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>We shall not return to the old ways! We shall not shirk our promises and our duties! We shall take England into this brave new world and shake the thunder from the skies! This we vow!<\/dialogue>\n    <scene_description>APPLAUSE. CHEERS. GEORGIANA gazes at GREY. GREY looks at her, flushed and excited. She blushes like mad. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. COVENT GARDEN HUSTINGS. BACKSTAGE - A LITTLE LATER<\/stage_direction>\n    <scene_description>GREY stands alone. GEORGIANA approaches.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>How did I do?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(Trying to hide her feelings)<\/parenthetical>\n    <dialogue>I think it was not an embarrassment.<\/dialogue>\n    <scene_description>Grey's face crumbles in disappointment. GEORGIANA grins.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>It was a marvel.<\/dialogue>\n    <scene_description>GREY smiles. A big open, boyish smile of relief.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>But did you agree with what I said?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Every word.<\/dialogue>\n    <scene_description>GREY gains self-confidence. He approaches GEORGIANA.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>I was nervous. Your presence trebled the numbers at least.<\/dialogue>\n    <scene_description>GREY is now very close indeed. GEORGIANA feels the effect of it. She becomes short of breath. GREY speaks softly.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>I am nervous even now...<\/dialogue>\n    <scene_description>GEORGIANA knows that she ought to keep a distance, but remains where she is.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>So am I.<\/dialogue>\n    <scene_description>There is tension in the air. A POLITICIAN walks past them. They both acknowledge him as he goes. Then GEORGIANA stares at GREY, and moves a little closer.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Do you think of me when we are not together?<\/dialogue>\n    <character>GREY<\/character>\n    <parenthetical>(surprised)<\/parenthetical>\n    <dialogue>You ought to know I do... of you more than anything else.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>You hesitated before replying ...<\/dialogue>\n    <character>GREY<\/character>\n    <dialogue>I am unused to being asked so directly, and by you of all people.<\/dialogue>\n    <scene_description>GREY walks close. He very gently puts his hand on hers. She looks down at his hand, then up at him, blushing a little.<\/scene_description>\n    <character>GREY<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>I think of you every day.<\/dialogue>\n    <scene_description>They look lovingly at one another. GEORGIANA is just about to reward GREY's candour with a confession of her feelings when the sight of SERVANT approaching brings her to remember herself. She withdraws her hand.<\/scene_description>\n    <character>FOOTMAN<\/character>\n    <dialogue>Your carriage awaits Your Grace.<\/dialogue>\n    <scene_description>GREY nods. GEORGIANA starts to leave, her eyes remaining on Grey until she turns a corner and is gone. CUT TO: OMITTED OMITTED OMITTED OMITTED OMITTED OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE. ENTRANCE HALL - NIGHT<\/stage_direction>\n    <scene_description>GEORGIANA enters. Silence. She races across, the soles of her shoes echoing as she click-clacks across the vast space. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE. CORRIDORS - NIGHT<\/stage_direction>\n    <scene_description>GEORGIANA makes her way quickly down the hall, her shoes still making that distinctive sound.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(Hushed whisper)<\/parenthetical>\n    <dialogue>Bess.<\/dialogue>\n    <scene_description>As she approaches the door to BESS's room her pace slows - two servants are listening outside it. GEORGIANA is perplexed. When they see her they stand back looking awkward. GEORGIANA continues walking toward them.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>What are you doing outside Lady Elizabeth's bedroom?<\/dialogue>\n    <scene_description>The servants don't reply. GEORGIANA comes closer, then finally stops. Suddenly the noise of her shoes clicking on the floor is replaced by the muffled noise of BESS and the DUKE having sex: passionate, energetic, enjoyable. For several painful, humiliating and shocked moments GEORGIANA is paralyzed in front of the servants. Then GEORGIANA backs away down the hall and is off. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE DUKE'S BEDROOM - DAWN - HOURS LATER<\/stage_direction>\n    <scene_description>GEORGIANA'S hat sits on a table, the 'VOTE FOX' sign clearly visible on its side. GEORGIANA'S hand hangs down over a chair. THE DOOR opens and the DUKE enters, stealthily. The sun is just pouring GRAY LIGHT into the room. He closes the door very softly and then turns to see... GEORGIANA sitting on his bed. She looks ashen. They stare at each other. CUT TO: THE SAME. 5 MINUTES LATER. GEORGIANA paces. The DUKE sits on the bed, caught. It is difficult to see if he is actually ashamed, but he is listening patiently to GEORGIANA.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Of all the women in England, you had to throw yourself upon her. I have not objected once to any of your affairs, I have accepted whatever arrangement you have proposed, I have raised Charlotte as my own daughter, but this... I have one single thing of my own... why couldn't you let me keep Elizabeth for myself?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY OUTSIDE THE DUKE'S BEDROOM - MORNING<\/stage_direction>\n    <scene_description>We see a worried BESS coming up the corridor outside GEORGIANA's bedroom to find out what all the noise is about.<\/scene_description>\n    <character>GEORGIANA (O.S.\/CONT'D))<\/character>\n    <dialogue>What kind of man are you?!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE DUKE'S BEDROOM - SAME TIME<\/stage_direction>\n    <scene_description>GEORGIANA is raging at him.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>She is all I have to cling to! She is my sole comfort in our marriage.<\/dialogue>\n    <scene_description>The DUKE patiently hears her out. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY OUTSIDE THE DUKE'S BEDROOM - SAME TIME<\/stage_direction>\n    <scene_description>BESS's eyes are filled with tears.<\/scene_description>\n    <character>GEORGIANA (O.S.\/<\/character>\n    <dialogue>You have robbed me of my only friend!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE DUKE'S BEDROOM - SAME TIME<\/stage_direction>\n    <scene_description>GEORGIANA pauses, nearly spent. Then she finally challenges the DUKE, more imploring than angry.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>What is wrong with me? Why have you never loved me?!<\/dialogue>\n    <character>DUKE<\/character>\n    <parenthetical>(simple, exhausted clarity)<\/parenthetical>\n    <dialogue>I do not claim to be a man of fine sensibility, G, but I have always known what I expect from this marriage and what I am prepared to give.<\/dialogue>\n    <scene_description>GEORGIANA doesn't reply.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>As a husband, I have fulfilled my obligations. As a wife, you have not.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>She has to go! Now! She is never to set foot in this house again!<\/dialogue>\n    <character>DUKE<\/character>\n    <parenthetical>(Hackles rising)<\/parenthetical>\n    <dialogue>Do mind your temper, G. You are quite forgetting yourself.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>I want her out! I never want to lay eyes on her again! Go down and tell her to leave at once!<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>I couldn't ask her that. I won't do it, G.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY OUTSIDE THE BEDROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>The door swings open - BESS jumps aside - and GEORGIANA comes crashing out of the sitting room, furious. GEORGIANA storms down the hall, followed by BESS.<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>Georgiana--!<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>You have taken yourself from me! You don't love me!<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>I do love you. Really I do.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>No! Love is an act! It is more than words and undying oaths! It's what you do! I loved you! You only said you did.<\/dialogue>\n    <scene_description>BESS is stung. Her eyes fill with tears.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Leave. Get out of this house!<\/dialogue>\n    <scene_description>BESS remains standing, reaches out for GEORGIANA.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(breaks down, cries out)<\/parenthetical>\n    <dialogue>Get out!!!<\/dialogue>\n    <scene_description>BESS leaves the room. GEORGIANA sinks slowly to the floor, weeping, sobbing. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>82A EXT. ALTHORP - DAY 82A<\/stage_direction>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALTHORP. LIBRARY - DAY<\/stage_direction>\n    <scene_description>GEORGIANA sits, like a little girl, back at home. LADY SPENCER pours tea from a silver Samovar.<\/scene_description>\n    <character>LADY SPENCER<\/character>\n    <dialogue>I did not like her from the first.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>You've made that quite clear, Mama.<\/dialogue>\n    <character>LADY SPENCER<\/character>\n    <dialogue>She is gone from Devonshire House, I hope.<\/dialogue>\n    <scene_description>GEORGIANA looks away, ashamed. LADY SPENCER puts the Samovar down.<\/scene_description>\n    <character>LADY SPENCER<\/character>\n    <dialogue>They're living there together? Georgiana, what have you permitted to happen?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>I don't know! Won't you please just help me! Tell me what to do, Mama!<\/dialogue>\n    <scene_description>GEORGIANA hangs her head. LADY SPENCER surveys her daughter and the mess she's in. Her demeanor softens.<\/scene_description>\n    <character>LADY SPENCER<\/character>\n    <dialogue>You must write to your husband and insist he send her back to whatever horrid little place she came from.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>He will not. It is out of the question, he says.<\/dialogue>\n    <character>LADY SPENCER<\/character>\n    <dialogue>Then you must return and resume your duties. Make him realize whom he loves. You will give up your politics, your nights on the town, your gambling. For once you will devote yourself as a loving wife and settle down to the task at hand: providing him with an heir. And then he will soon tire of her.<\/dialogue>\n    <scene_description>GEORGIANA looks at her mother with sadness.<\/scene_description>\n    <character>LADY SPENCER<\/character>\n    <dialogue>You have no other option.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEVONSHIRE HOUSE. COURTYARD - MORNING<\/stage_direction>\n    <scene_description>Seen from inside the house, GEORGIANA gets out of her carriage, observed by a couple of servants. She proceeds up to the front door. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE. ENTRANCE HALL - MORNING<\/stage_direction>\n    <scene_description>The DUKE awaits her just inside the door. He looks at her with worry.<\/scene_description>\n    <character>THE DUKE<\/character>\n    <dialogue>Hello, G. ...<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(Coldly)<\/parenthetical>\n    <dialogue>William.<\/dialogue>\n    <scene_description>GEORGIANA walks straight past him and proceeds upstairs. At the top BESS meets her with an apologetic demeanour. GEORGIANA is cold as ice. She passes her without even a look. CUT TO: OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE - GEORGIANA'S BEDROOM - LATER<\/stage_direction>\n    <scene_description>BESS quietly enters GEORGIANA's room.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>I may not have the authority to remove you from this house, but I can at least order you out of my room.<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>Won't you please let me explain?<\/dialogue>\n    <scene_description>GEORGIANA becomes furious and shouts at BESS.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>There is nothing to explain. I trusted you, I made you my confidante, and you repaid me by stealing what is mine.<\/dialogue>\n    <scene_description>GEORGIANA turns her back and looks out of the window. BESS approaches her carefully.<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>This is my only chance of ever seeing my children again. The Duke is the most powerful peer in England. He is my only chance.<\/dialogue>\n    <scene_description>GEORGIANA turns to her.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>There are limits to the sacrifices one makes to see one's children.<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>No, there aren't. No limits whatsoever.<\/dialogue>\n    <scene_description>GEORGIANA takes in what she just said, before letting animosity get the better of her once again and turning away.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Get out of here. We have nothing more to say to one another.<\/dialogue>\n    <scene_description>BESS leaves, closing the door silently behind her. GEORGIANA's finger slowly pushes a perfume bottle off her dressing table until it falls and smashes on the floor. GEORGIANA hears the sound of carriages approaching. She gets up and goes to the window CUT TO: OMITTED CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>88A EXT. DEVONSHIRE HOUSE. COURTYARD - SAME TIME 88A<\/stage_direction>\n    <scene_description>The DUKE's CARRIAGE pulls up. AUGUSTUS, JOHN, and HARRY emerge from the carriage. BESS shrieks with joy and leaps out of the house. She runs and hugs them, crying. It's incredibly touching and GEORGIANA is moved, despite herself. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE. RED ROOM - LATER THAT AFTERNOON<\/stage_direction>\n    <scene_description>GEORGIANA comes downstairs. Unseen, she looks into the room and watches the DUKE getting AUGUSTUS a hunting rifle from the wall. The DUKE appears surprisingly keen, gentle even. He clearly relates to boys. To one side BESS holds a sleeping HARRY. GEORGIANA stares on in silence, understanding the DUKE and BESS in a way she has never done before. They look like a quiet, functional family unit. GEORGIANA quietly comes closer. The DUKE is now showing AUGUSTUS how to use the rifle.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>...hold it like that, Augustus, it won't come back at you.<\/dialogue>\n    <character>AUGUSTUS<\/character>\n    <dialogue>Yes, I see.<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>Good. Your father doesn't hunt, I take it.<\/dialogue>\n    <character>AUGUSTUS<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>Oh dear. Well, we can soon make up for that.<\/dialogue>\n    <scene_description>AUGUSTUS smiles, as does BESS. The DUKE looks up, and seeing her approval does a rare thing: he smiles too. BESS gets up and brings the DUKE a drink.<\/scene_description>\n    <character>BESS<\/character>\n    <parenthetical>(Whispered gently)<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>The DUKE strokes her hand. GEORGIANA moves away and leaves. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LONDON PLEASURE GARDENS - DAY<\/stage_direction>\n    <scene_description>It's a grey and drizzly day. The gardens are largely empty. GREY'S carriage is parked by the roadside. COACHMEN wait beside it, informally leaning on the vehicle. A little further down the road, GEORGIANA's carriage pulls up. In wide shot GEORGIANA, black cape with hood up, makes her way across the gardens. Well away from the carriages and COACHMEN, GEORGIANA approaches GREY, who is waiting under the trees. GEORGIANA seems preoccupied. GREY, however, is simply excited about them meeting again.<\/scene_description>\n    <character>GREY<\/character>\n    <parenthetical>(Hushed voice)<\/parenthetical>\n    <dialogue>Did you tell the Duke who you were meeting?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>GREY<\/character>\n    <dialogue>Did he ask?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>GREY pauses for a moment.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>Good.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>He has other things on his mind.<\/dialogue>\n    <scene_description>GREY stops and scrutinises GEORGIANA. He can tell that she is not truly present.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>As do you.<\/dialogue>\n    <scene_description>The direct recognition causes GEORGIANA to stop too, and then look away. She walks off in a different direction. GREY follows.<\/scene_description>\n    <character>GREY<\/character>\n    <parenthetical>(Softer now)<\/parenthetical>\n    <dialogue>Would it help to unburden yourself?<\/dialogue>\n    <scene_description>GEORGIANA sends him a little smile and a shake of the head.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>It is nothing I can discuss with you. Besides, it would only bore.<\/dialogue>\n    <character>GREY<\/character>\n    <dialogue>You don't have to please others all the time.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>I was brought up to. It's a difficult lesson to unlearn.<\/dialogue>\n    <character>GREY<\/character>\n    <dialogue>I believe you do it so that people will love you.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(looks deeply at him)<\/parenthetical>\n    <dialogue>What would make you think that?<\/dialogue>\n    <character>GREY<\/character>\n    <dialogue>From what I have seen. With your husband, your friends - especially Lady Bess. Even the public.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(looks away)<\/parenthetical>\n    <dialogue>I have never thought of it that way. You make me sound pitiable.<\/dialogue>\n    <scene_description>GEORGIANA turns and walks away, upset. GREY realizes he has gone too far. He chases up with her.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>I've gone beyond my brief. I apologize. Please believe it was only for your sake I spoke.<\/dialogue>\n    <scene_description>GEORGIANA looks at him, and then carries on walking slowly, thinking deeply. Grey moves closer to her again.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>Please tell me what is wrong.<\/dialogue>\n    <scene_description>She turns and looks at him intensely. The fountains in the pleasure garden dance in the background.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>I fear I have done some things too late in life and some too early.<\/dialogue>\n    <scene_description>They stare at each other a moment. The wind blows gently in the leaves of the trees above them.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>No, you haven't.<\/dialogue>\n    <scene_description>Slowly, GREY moves to GEORGIANA. The air is thick. GREY gets closer. They kiss. Not for long, but a gentle, warm kiss. Then he withdraws. GEORGIANA is blushing.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>I have waited all my life for that kiss.<\/dialogue>\n    <scene_description>GEORGIANA averts her eyes, and looks confused. He loses his composure a bit.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>I'm sorry ...<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>No. It's...<\/dialogue>\n    <scene_description>She looks up at him again.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>I have never been kissed like that before.<\/dialogue>\n    <scene_description>They stand and look at each other. Then they move closer, for another kiss. Gentle. And longer, this time. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE. DINING ROOM - MORNING<\/stage_direction>\n    <scene_description>GEORGIANA is with BESS and the DUKE. She seems sober, together and strong: fortified. They sit opposite each other at the table as if in negotiation. A long silence. Then:<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>All right.<\/dialogue>\n    <scene_description>Beat. The DUKE looks at BESS. What does she mean?<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>\"All right..?\"<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Do you love each other?<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>Georgiana -<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Do you love Bess, Your Grace?<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>... Well ... I ... where is all this leading?<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>I make no demands on him.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>...And Bess, you love my husband?<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>... As I do you.<\/dialogue>\n    <scene_description>GEORGIANA nods, still not giving anything away.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>You intend to stay here?<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>... William asked that I do.<\/dialogue>\n    <scene_description>GEORGIANA nods.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>And you couldn't find it in your heart to refuse him.<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>...No.<\/dialogue>\n    <scene_description>BESS and the DUKE remain quiet. Beat.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Then let us make a deal.<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>A deal?<\/dialogue>\n    <scene_description>Beat. The DUKE and BESS exchange glances.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Yes. I give you my blessing if you will accept my feelings for Charles Grey.<\/dialogue>\n    <scene_description>BESS blinks, taken aback. GEORGIANA is nervous. She smiles, waiting for The DUKE's reaction.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>I wasn't sure at first, I thought perhaps it was a dalliance or ... But it isn't. He can make me happy.<\/dialogue>\n    <scene_description>BESS tries to manage a smile. She darts a look at the DUKE, who now stands. Suddenly cutlery and crystal jangle. BESS and GEORGIANA start.<\/scene_description>\n    <character>DUKE<\/character>\n    <parenthetical>(seething with fury)<\/parenthetical>\n    <dialogue>A deal! A deal!! I don't make deals! I'm in charge of it all!! I would call him out! I would challenge him! I would put a bullet in the upstart's head--!<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>William--!<\/dialogue>\n    <character>DUKE<\/character>\n    <parenthetical>(to BESS)<\/parenthetical>\n    <dialogue>Be quiet!<\/dialogue>\n    <parenthetical>(to GEORGIANA)<\/parenthetical>\n    <dialogue>Are you determined to make me a total laughing stock? A man who cannot sire a son and then a cuckold?<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>William, Georgiana only asks what we ourselves -<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>Be quiet, you fool! (to GEORGIANA) Are you his whore?!<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>... No... but I can't see why you should mind. You have Bess and three boys...<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>Three boys??? Do you think I can make those bastards my heirs? Well, do you?<\/dialogue>\n    <scene_description>GEORGIANA and BESS are frightened. GEORGIANA hurries out of the room. A moment passes, then the DUKE strides out as well.<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>William...?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE. CORRIDORS - MORNING<\/stage_direction>\n    <scene_description>GEORGIANA walks fast through the space. She passes a FOOTMAN on the way to her bedroom. The DUKE charges after her. GEORGIANA quickens her pace. BESS follows behind. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE. GEORGIANA'S BEDROOM - MORNING<\/stage_direction>\n    <scene_description>GEORGIANA comes into her room, and slams the door behind her. A few moments later, the door opens. The DUKE enters. He shuts the door. He glares at GEORGIANA. She looks at him. The DUKE asks a real question for once.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>You don't know me in the least, do you?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>I do. We're a bad match.<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>I asked but two things when we wed: loyalty and a male heir.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Yes, same as your dogs.<\/dialogue>\n    <scene_description>The DUKE's eyes flash. He snaps. He grabs her. She tries to fight him off. Her dress is torn. They struggle. The DUKE overpowers her. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR OUTSIDE THE BEDROOM - MORNING - SAME TIME<\/stage_direction>\n    <scene_description>BESS stands outside the door. We HEAR GEORGIANA SCREAM. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGIANA'S BEDROOM - SAME TIME<\/stage_direction>\n    <scene_description>The DUKE pins GEORGIANA onto the bed and tears away at her clothes. We hear the RIP of silk and lace. GEORGIANA screams again. He holds her face tightly between his hands and stares coldly at her. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE. NURSERY - SAME TIME<\/stage_direction>\n    <scene_description>LITTLE G. and HARRYO stare at the door of their room as the screams continue. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE. CORRIDOR - SAME TIME<\/stage_direction>\n    <scene_description>A FOOTMAN stands at attention, trying to remain impassive. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALL OUTSIDE THE BEDROOM - SAME TIME<\/stage_direction>\n    <scene_description>BESS hovers at the door as she listens to the struggle and screams inside. She turns and sees CHARLOTTE standing a few feet away, staring at her. BESS moves away from the door, unable to stop what's going on inside.<\/scene_description>\n    <character>BESS<\/character>\n    <parenthetical>(To Charlotte, softly)<\/parenthetical>\n    <dialogue>Come with me.<\/dialogue>\n    <scene_description>CHARLOTTE stays rooted to the spot.<\/scene_description>\n    <character>BESS<\/character>\n    <parenthetical>(Firmer)<\/parenthetical>\n    <dialogue>Charlotte, come with me.<\/dialogue>\n    <scene_description>BESS takes CHARLOTTE'S arm and hurries her off down the hall. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE - GEORGIANA'S BEDROOM - MINUTES LATER<\/stage_direction>\n    <scene_description>GEORGIANA lies on the bed. It's over. Her clothes are torn. Her face is red and wet with tears. The DUKE sits on the side of the bed, panting, used up.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>Give me a son and then do what the hell you want, as long as you do it discreetly. Until then you stay here and do as I say.<\/dialogue>\n    <scene_description>The DUKE gets up and leaves. GEORGIANA's expression is blank, dead. The sounds of crowds cheering and clapping fade up in the background until we... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COVENT GARDEN HUSTINGS - DAY<\/stage_direction>\n    <scene_description>SHERIDAN stands before A HUGE CROWD. There is bunting in WHIG colours and banners. The PRESS are out in even greater numbers than before.<\/scene_description>\n    <character>SHERIDAN<\/character>\n    <dialogue>I give you the winner! Mr Fox! The Man of the People!<\/dialogue>\n    <scene_description>FOX comes forth to a ROAR of approval. He yells out:<\/scene_description>\n    <character>FOX<\/character>\n    <dialogue>And I give you the weapon! The Duchess of Devonshire!<\/dialogue>\n    <scene_description>GEORGIANA, still shell-shocked, comes forth to WILD CHEERS. She succeeds in smiling to the crowd. BESS and the DUKE stand together off to the side. They clap and smile, but the strain is evident. GREY, unseen near the doorway, watches GEORGIANA taking in the APPLAUSE. Finally, the applause dies.<\/scene_description>\n    <character>FOX<\/character>\n    <dialogue>Thank you, all of you, for this reception today.<\/dialogue>\n    <scene_description>GEORGIANA sees GREY on the sidelines. She glances at the DUKE then turns to slip away. GREY sees this. He follows.<\/scene_description>\n    <character>FOX (O.S.)<\/character>\n    <dialogue>We have won the vote, and now we must win the future!<\/dialogue>\n    <scene_description>APPLAUSE as GREY exits. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COVENT GARDEN HUSTINGS - MOMENTS LATER<\/stage_direction>\n    <scene_description>GEORGIANA heads for her coach, well away from the crowd. GREY catches up with her.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>We did it. Or should I say you did it.<\/dialogue>\n    <scene_description>GEORGIANA tries to smile, but she can't. She turns away from GREY. He knows something's wrong.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>Georgiana?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(the hardest thing to say)<\/parenthetical>\n    <dialogue>Mr. Grey... I have enjoyed more than I can say the times we've spent together, the talks...<\/dialogue>\n    <scene_description>GEORGIANA is overcome. She almost breaks down. GREY looks her in the eye.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>Tell me.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>I cannot say what -<\/dialogue>\n    <character>GREY<\/character>\n    <dialogue>Now!<\/dialogue>\n    <scene_description>GEORGIANA looks at him. She has to do this as she planned.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>...I have been unfair to you.<\/dialogue>\n    <character>GREY<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(trying to be composed)<\/parenthetical>\n    <dialogue>...I have...indulged in your affections and made it seem my feelings towards you were more than they are in fact. I fear the heat of the election...<\/dialogue>\n    <character>GREY<\/character>\n    <dialogue>Say what you mean!<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(looks dead at him)<\/parenthetical>\n    <dialogue>You love me.<\/dialogue>\n    <character>GREY<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>I do not love you.<\/dialogue>\n    <scene_description>GREY takes this punch, but his eyes never blink, never waver.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>You are not speaking what is in your heart.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>It is -<\/dialogue>\n    <scene_description>GREY suddenly stands and strides away, pacing, angry.<\/scene_description>\n    <character>GREY<\/character>\n    <parenthetical>(cuts her off)<\/parenthetical>\n    <dialogue>This is a speech, forced upon you-<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(overlaps below)<\/parenthetical>\n    <dialogue>No. It's what I've always known to be true!<\/dialogue>\n    <character>GREY<\/character>\n    <parenthetical>(overlaps above)<\/parenthetical>\n    <dialogue>-- by those who would destroy our happiness!<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(loud, in the clear)<\/parenthetical>\n    <character>THIS IS HOW I AM!<\/character>\n    <dialogue>GREY is taken aback by her force and volume.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>I was wrong to offer you hope. I was wrong to pretend an affection I do not feel.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>You have said it yourself, I need to be adored. That is my weakness.<\/dialogue>\n    <scene_description>GREY looks sick. He turns from her, angry, hurt, unable to find a place to put his feelings. GEORGIANA fights back the tears. We hear CHEERS o.s. GREY turns to her and bows before heading back across the grass to the stage. We can hear FOX still speaking.<\/scene_description>\n    <character>FOX (O.S.)<\/character>\n    <dialogue>We have followed our ideas and our ideals, and in the struggle, we have found ourselves!<\/dialogue>\n    <scene_description>CLOSE ON GEORGIANA as the colour drains from her face. She is dying inside but she keeps it all in. She calmly turns and walks to her carriage and is driven away into the busy London street. CUT TO: OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE. ENTRANCE HALL - THAT NIGHT<\/stage_direction>\n    <scene_description>AN ELECTION NIGHT PARTY. Music plays in the background. The DUKE waits at the top of the GRAND STAIRCASE, greeting GUESTS. He's dressed for the evening. BESS is with him, also dressed. After a few moments, GEORGIANA appears, walking towards us down the long corridor that leads into the entrance hall. When she reaches the light we see she is dressed to the nines and powdered a deathly white, and has been drinking heavily. The DUKE refuses to register her, but BESS looks across, shocked. GEORGIANA will not meet her eyes, however and walks through into the party. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE - RED ROOM -- THAT NIGHT<\/stage_direction>\n    <scene_description>The rooms have been converted into gaming areas for the evening. It is boisterous and smoky. There are card tables and players everywhere. GEORGIANA, wanders through, taking another drink from a passing WAITER. As GEORGIANA goes we pick up details of this decadent society. Where before it may have seemed glamorous and exciting it now looks uglier and sordid: a place of corruption and addiction, on the edge of collapse. GEORGIANA downs her drink. She passes: gambling at a table; two fat old men taking snuff; a man in a lewd embrace with a drunk woman; another man toadying to an important politician. The DUKE appears and looks on, concerned. GEORGIANA takes another drink and leaves the room. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>104A INT. DEVONSHIRE HOUSE. BALLROOM. NIGHT - LATER 104A<\/stage_direction>\n    <scene_description>GEORGIANA comes into the dancing area alone. The DUKE and BESS are with a group nearby. GEORGIANA seems to radiate a force field that keeps people away from her. But not FOX.<\/scene_description>\n    <character>FOX<\/character>\n    <dialogue>You promised me a dance. Come. Give me my small pleasures.<\/dialogue>\n    <scene_description>GEORGIANA yields to her old friend. Amid the rest of the GUESTS, GEORGIANA dances around and around with FOX. Her face is hardened, distant - a vision of suppressed anger, frustration and pain. She closes her eyes, her mind drifting to thoughts of GREY. GEORGIANA grabs another drink as they pass a SERVANT. She bumps into SHERIDAN. Drink goes on his jacket.<\/scene_description>\n    <character>SHERIDAN<\/character>\n    <dialogue>My dear Duchess, much as I know you love dancing and drinking, I really must advise you to settle for one or the other, for the two are incompatible in the long run.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(very drunk)<\/parenthetical>\n    <dialogue>Why, Sheridan, you never were such a spoilsport before!<\/dialogue>\n    <scene_description>GEORGIANA does a turn and slips. FOX steadies her. She smiles an apology. Then... Suddenly GEORGIANA stumbles. Her WIG falls against a CANDLE and GOES UP IN FLAMES. DANCERS back away. BESS looks shocked. GEORGIANA SCREAMS as she staggers, hair on fire. DOORS OPEN, SHOUTS, SERVANTS rush about. BESS attempts to knock the WIG off GEORGIANA's head. The DUKE appears in his doorway, none too pleased. He sees the situation. He turns to a FOOTMAN, all efficiency.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>Please put out Her Grace's hair.<\/dialogue>\n    <scene_description>The FOOTMAN splashes water on the wig. HISS and SMOKE. The DUKE looks down at GEORGIANA: she lies sprawled on the polished parquet floor: wig-less, her make-up smeared, her eyes red and glassy. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE - GEORGIANA'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON a SMALL BOWL with a WHITE HANDKERCHIEF draped over the top. There are DROPS OF BLOOD on the handkerchief.<\/scene_description>\n    <character>DR. NEVILLE (O.S.)<\/character>\n    <dialogue>Her Grace needs to rest.<\/dialogue>\n    <scene_description>We see GEORGIANA in bed, pale, washed out, and exhausted. BESS, the DUKE, and MAIDS hover as DR. NEVILLE (62) sets the bowl aside.<\/scene_description>\n    <character>DR. NEVILLE<\/character>\n    <dialogue>As long as you follow strict instructions, there should be no impediment to the birth.<\/dialogue>\n    <scene_description>The DUKE is mystified. BESS looks at GEORGIANA, who shows no sign of registering what has been said.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>DR. NEVILLE<\/character>\n    <dialogue>The Duchess is pregnant.<\/dialogue>\n    <scene_description>The DUKE and BESS react. GEORGIANA has no reaction at all. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ACROSS DERBYSHIRE - DAY - SPRING<\/stage_direction>\n    <scene_description>A church stands out against the countryside. There are sounds of distant bells far off in the distance. A BOY runs into the bell tower and rings the bell as hard as he can... In another church in another part of the county, another BOY hears the sound and rings his own the church's bells... And in another church, bells ring out too... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHATSWORTH. GEORGIANA'S BEDROOM - DAY - SAME TIME<\/stage_direction>\n    <scene_description>CLOSE ON - A NAKED NEWBORN BABY being washed by a NURSE. It is a boy. In the background the bells continue to ring. In the room are DR. NEVILLE, and MAIDS.<\/scene_description>\n    <character>DR. NEVILLE<\/character>\n    <dialogue>Congratulations, Your Grace.<\/dialogue>\n    <scene_description>DR NEVILLE bows and makes his way out of the room. As he goes a SERVANT appears.<\/scene_description>\n    <character>SERVANT<\/character>\n    <dialogue>His Grace wishes to see you.<\/dialogue>\n    <scene_description>CUT TO: OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHATSWORTH. LIBRARY - DAY<\/stage_direction>\n    <scene_description>The DUKE is seated at his desk, a contract out in front of him. HEATON stands and points out where he should sign.<\/scene_description>\n    <character>HEATON<\/character>\n    <dialogue>Also there Your Grace...And there...<\/dialogue>\n    <scene_description>HEATON offers a smile. The DUKE says nothing. He senses GEORGIANA, who is at the library door looking in.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>Come.<\/dialogue>\n    <scene_description>GEORGIANA enters. The DUKE looks to HEATON.<\/scene_description>\n    <character>HEATON<\/character>\n    <dialogue>Your Grace. As per the terms of His Grace's inheritance, this is for you. To spend as you wish.<\/dialogue>\n    <scene_description>HEATON hands her a cheque. GEORGIANA looks at the DUKE with disdain.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(very sad and dry)<\/parenthetical>\n    <dialogue>Success at last.<\/dialogue>\n    <scene_description>The DUKE looks away, ashamed. GEORGIANA turns to the door.<\/scene_description>\n    <character>DUKE (O.S.)<\/character>\n    <dialogue>I too abhor this whole thing.<\/dialogue>\n    <scene_description>GEORGIANA turns back. The DUKE is now standing.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>Yet remove our traditions - separate our estates, sell off the land and the nobility simply ceases to be. Without us England would once again suffer absolute monarchy or descend into absolute anarchy. I don't wish to see that happen. Do you?<\/dialogue>\n    <scene_description>GEORGIANA looks at him, then turns and leaves. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHATSWORTH GARDENS - DAY<\/stage_direction>\n    <scene_description>The BABY BOY lies in a moving pram. GEORGIANA walks with the children. She holds CHARLOTTE by the hand, while LITTLE G. and HARRYO look into a pram pushed by a NANNY.<\/scene_description>\n    <character>LITTLE G<\/character>\n    <dialogue>He's so small.<\/dialogue>\n    <character>HARRYO<\/character>\n    <dialogue>You've been that small yourself.<\/dialogue>\n    <character>LITTLE G<\/character>\n    <dialogue>Not that small. Have I, Mama?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>You have, darling. You've all been that small once.<\/dialogue>\n    <character>HARRYO<\/character>\n    <dialogue>See, I told you.<\/dialogue>\n    <scene_description>They continue towards the old FARM HOUSE.<\/scene_description>\n    <character>HARRYO<\/character>\n    <dialogue>I can't tell that he's a boy at all.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>But he is.<\/dialogue>\n    <character>HARRYO<\/character>\n    <dialogue>But if I can't tell, I fail to see why it's so important. He looks just like the rest of us.<\/dialogue>\n    <scene_description>GEORGIANA smiles at his innocent view of the world.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>All babies look alike when they have their clothes on, but each of them is something quite unique.<\/dialogue>\n    <character>HARRYO<\/character>\n    <dialogue>How?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>You and Little G did not look at all like one another. You cried all the time when you were a baby, whereas Little G was quiet as a mouse. She could walk before you, but you could talk before her.<\/dialogue>\n    <scene_description>The children listen. Charlotte looks at GEORGIANA.<\/scene_description>\n    <character>CHARLOTTE<\/character>\n    <dialogue>What about me, Mama?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>You never cried, darling. You were always so brave.<\/dialogue>\n    <scene_description>They have reached the cascade by the side of the house. The children instinctively run in and start playing in the water. GEORGIANA turns to look down the hill. She should be happy. She isn't. Then she seems to see someone. HER POV -- A MAN coming across the GREEN. As he gets closer she realises who it is: GREY. A LITTLE LATER: GEORGIANA waits for GREY. He takes off his hat and bows. It's awkward, stiff.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>Your Grace.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(nods)<\/parenthetical>\n    <dialogue>Mister Grey. Are you recalled from France?<\/dialogue>\n    <character>GREY<\/character>\n    <dialogue>For a while.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>No revolution yet?<\/dialogue>\n    <character>GREY<\/character>\n    <dialogue>No, not yet. But it's only a matter of time.<\/dialogue>\n    <scene_description>They look at each other. A long beat, then:<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>I bore a son.<\/dialogue>\n    <scene_description>GREY realizes she is making a point.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>Yes...<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>His name is William George Spencer Cavendish, Marquis of Hartington. We shall call him Hart.<\/dialogue>\n    <character>GREY<\/character>\n    <dialogue>You and the Duke must be very pleased.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>We are. He has gone to London to celebrate.<\/dialogue>\n    <scene_description>Beat. GREY gazes at her. They're both full of longing.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>You have been missed...much missed...How is it that you are here?<\/dialogue>\n    <character>GREY<\/character>\n    <dialogue>I received an invitation. I assumed it was on behalf of the party; I could not say no.<\/dialogue>\n    <scene_description>GEORGIANA is confused, but covers it up.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Yes, of course. Come inside.<\/dialogue>\n    <scene_description>CUT TO: OMITTED OMITTED OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHATSWORTH. SITTING ROOM - THAT NIGHT<\/stage_direction>\n    <scene_description>CLOSE UP of fingers playing strings on a harp. The camera tracks back to reveal a HARPIST next to a STRING QUARTET. The music carries through this scene and the next... The GUESTS play cards. GEORGIANA and SHERIDAN are on one table, BESS, GREY and FOX on the other. The atmosphere is tense. GEORGIANA can't help glancing from her table to GREY at his. GREY can't help glancing back.<\/scene_description>\n    <character>SHERIDAN<\/character>\n    <dialogue>Down six hundred. G. Yours?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(distracted)<\/parenthetical>\n    <dialogue>Yes, of course. I will match you.<\/dialogue>\n    <character>SHERIDAN<\/character>\n    <dialogue>You'll need cards, of course.<\/dialogue>\n    <scene_description>GEORGIANA realizes SHERIDAN hasn't dealt yet.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>I am too tired to play.<\/dialogue>\n    <parenthetical>(Nodding to the players)<\/parenthetical>\n    <dialogue>Gentlemen.<\/dialogue>\n    <scene_description>GEORGIANA gets up and leaves the room. Just outside BESS comes up to her. There is silence and suspicion from GEORGIANA. She tries to continue walking.<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>No one must know.<\/dialogue>\n    <scene_description>GEORGIANA stares at BESS. What...? And then she realizes.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>You summoned Grey.<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>Good night, G.<\/dialogue>\n    <scene_description>GEORGIANA makes her way across the hall. CUT TO: OMITTED 115A OMITTED 115A<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHATSWORTH. GREY'S BEDROOM - NIGHT - LATER<\/stage_direction>\n    <scene_description>GREY is sitting by the fire. The door opens. GEORGIANA enters. GREY stands up, yet keeps his distance.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>Your Grace...<\/dialogue>\n    <scene_description>Beat. They look at each other. GEORGIANA walks forward and kisses him. GREY kisses her back, but after a moment pulls away. Beat.<\/scene_description>\n    <character>GREY<\/character>\n    <parenthetical>(Firmly)<\/parenthetical>\n    <dialogue>I was ready to give you everything...how can I believe it won't happen again?<\/dialogue>\n    <scene_description>GEORGIANA approaches again.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>I give you my promise...<\/dialogue>\n    <scene_description>GREY looks into her eyes, caught between his head and his heart. GEORGIANA starts to undress him, confidently, seductively until he is naked. GEORGIANA pushes GREY gently back onto the bed. Then she hitches up her skirts and straddles him, her dress enveloping the lower half of his body. Underneath, his hands reach inside to touch her. They begin making love. It's as if it's the first time for both of them: real, intimate and convincing, an extraordinary release...<\/scene_description>\n    <character>LATER:<\/character>\n    <dialogue>The window is open and wind blows gently in. Night birds call in the background. GEORGIANA and GREY lie in each other's arms. They kiss, long and tender. GREY pulls away.<\/dialogue>\n    <character>GREY<\/character>\n    <parenthetical>(Gently)<\/parenthetical>\n    <dialogue>You should return to your room.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>No I should not.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE. DINING ROOM - DAY<\/stage_direction>\n    <scene_description>A few days later. GEORGIANA, BESS, and the DUKE eat. GEORGIANA is nervous. She hesitates, then:<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>I'm going to Bath.<\/dialogue>\n    <character>DUKE<\/character>\n    <parenthetical>(looks up)<\/parenthetical>\n    <dialogue>But I can't get away for weeks.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(trying to seem natural)<\/parenthetical>\n    <dialogue>I shall go without you.<\/dialogue>\n    <parenthetical>(To Bess)<\/parenthetical>\n    <dialogue>Bess, you stay and keep our husband company, whilst I take the cure.<\/dialogue>\n    <scene_description>The DUKE looks decidedly undecided. GEORGIANA looks to BESS for help. She's not sure it's a good idea but acquiesces.<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>Yes, William, why not? If G goes now we can catch her up when you're free.<\/dialogue>\n    <scene_description>GEORGIANA looks at BESS, thankful for the help. She tries to remain looking casual. The DUKE relents.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>Well, if you must.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RENTED BATH HOUSE. EARLY MORNING - EST.<\/stage_direction>\n    <scene_description>Birdsong CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RENTED BATH HOUSE. BEDROOM - MORNING<\/stage_direction>\n    <scene_description>It's morning. GREY and GEORGIANA are in bed surrounded by newspapers and cartoons. They are looking at cartoons and laughing at them.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Which one is your favourite? This one?<\/dialogue>\n    <character>GREY<\/character>\n    <parenthetical>(seriously at first)<\/parenthetical>\n    <dialogue>Well, in this one you are proud and strong, which is very good.... In this one you are fair and gentle... and in this one you seem to have only one eyebrow!<\/dialogue>\n    <scene_description>GEORGIANA laughs, trying to snatch the image out of his hands.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(giving him a playful nudge)<\/parenthetical>\n    <dialogue>Oh, you politicians know nothing of fashion.<\/dialogue>\n    <scene_description>They laugh and continue:<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>But wait, wait... if you were to ask me which is my favourite... (leaning in and taking her face in his hands) it's this one - my Duchess. The G no one else ever gets to see.<\/dialogue>\n    <scene_description>They lock eyes, clearly in love, and kiss passionately. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A BATH ALLEY - MORNING<\/stage_direction>\n    <scene_description>POLITICAL PEOPLE are filing into a building for a meeting. GREY and GEORGIANA are in an isolated alley, adjacent to the building, standing close, obviously in love.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Will you be long?<\/dialogue>\n    <character>GREY<\/character>\n    <dialogue>Until late I fear. It seems politics is divided into those who want to fix things and those that merely want to talk about fixing things.<\/dialogue>\n    <scene_description>GEORGIANA smiles. GREY smiles.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>I'll be waiting for you...<\/dialogue>\n    <scene_description>She touches his arm gently and looks into his eyes. For a beat too long. Then GREY goes inside. ANGLE - THE END OF THE ALLEY: PEOPLE have spotted them. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RENTED BATH HOUSE. BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>GEORGIANA is in bed, naked and asleep. GREY is awake. He stares at her. Something is troubling him. She wakes, sees his concern.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>...What's the matter?<\/dialogue>\n    <scene_description>There is no reply.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Charles?<\/dialogue>\n    <character>GREY<\/character>\n    <dialogue>The matter is that in a few days I will have to leave. You will be back with your husband, and I won't be with you.<\/dialogue>\n    <scene_description>GREY gets out of bed and walks to the window.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>Perhaps it would be better if I were married too, then we could be a triangle or a quadrangle, or... whatever angle could contain you and me and-- I should ask Lady Bess; she seems to have surveyed the geometry and bent it to her favour.<\/dialogue>\n    <scene_description>GEORGIANA gets out of bed and tries to comfort him.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Charles, we've had this time all for ourselves. Let's not taint it with thoughts of anything else...Anyway, whatever will become of us when you're made Prime Minister?<\/dialogue>\n    <scene_description>GREY laughs.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>When you are, you'll be very far from me then.<\/dialogue>\n    <character>GREY<\/character>\n    <parenthetical>(Very intense)<\/parenthetical>\n    <dialogue>Never.<\/dialogue>\n    <scene_description>GEORGIANA embraces him. GREY holds her tight. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>121A EXT. POLITICAL MEETING ROOMS 121A<\/stage_direction>\n    <scene_description>Contented and happy Grey walks into the political meeting rooms. CUT TO: OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RENTED BATH HOUSE. ROOMS - CONTINUOUS<\/stage_direction>\n    <scene_description>GEORGIANA is standing in her bedroom, a made bed behind her. A MAID puts the finishing touch to her hair and clothes. GEORGIANA walks out into the ante room, heading for the foyer. The double doors open in front of her... ...to reveal the DUKE and LADY SPENCER waiting for her. They are in travelling clothes. GEORGIANA gasps.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>Thought we would surprise you. I think you once said there wasn't enough spontaneity in our marriage. Or words to that affect.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Mama, what are you doing here?<\/dialogue>\n    <scene_description>LADY SPENCER sends her a severe look.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>So. Have you seen many of our circle down here?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Some. The Cokes. And Haverford. And Lord Wicklow.<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>Bunch of politicos, too, aren't there? Meetings and such.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>I believe.<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>Isn't... isn't Grey here?<\/dialogue>\n    <scene_description>A beat as GEORGIANA's heart stops.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>By which I mean Mr Charles Grey. Rumour has it that he is.<\/dialogue>\n    <scene_description>GEORGIANA jumps to the heart of the issue.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>I won't give him up.<\/dialogue>\n    <character>LADY SPENCER<\/character>\n    <dialogue>Georgiana!<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Everyone has a lover. Bess is the lover of my husband!<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>That situation was agreed upon.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Yes, I held myself in so little esteem that I acquiesced to make you happy!<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>If you had exercised some discretion, it may have been different.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Differ--?!<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>The only good fortune is that it hasn't yet made it to the newspapers.<\/dialogue>\n    <character>LADY SPENCER<\/character>\n    <dialogue>My dear, Grey is unmarried. He has no rank and no wealth. He risks nothing with this affair. The hazard is all yours.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Grey loves me.<\/dialogue>\n    <character>LADY SPENCER<\/character>\n    <dialogue>So does your husband.<\/dialogue>\n    <scene_description>GEORGIANA stares at her mother in disbelief, then at the DUKE.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>Yes. I love you!<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>HOW?!<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>In the way I understand love.<\/dialogue>\n    <character>LADY SPENCER<\/character>\n    <dialogue>Georgiana, this has gone much too far. It is beneath our dignity. All London is talking...<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Then let them talk! Grey makes me a fallen woman, well and good, now William may divorce me and Bess becomes Duchess of Devonshire!<\/dialogue>\n    <character>LADY SPENCER<\/character>\n    <dialogue>That will never happen!<\/dialogue>\n    <scene_description>LADY SPENCER stares harshly at GEORGIANA. Then she makes for the door.<\/scene_description>\n    <character>LADY SPENCER<\/character>\n    <dialogue>I think I will leave you to it.<\/dialogue>\n    <scene_description>LADY SPENCER leaves the room. GEORGIANA looks apprehensively at the DUKE.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>What follows now? Are you going to tear off my clothes and force yourself upon me again?<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>Why on earth would I do that?<\/dialogue>\n    <scene_description>GEORGIANA looks at him in surprise.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>I know that you've not thought much of either my intellect or my manners, but in fact I never do anything that serves no purpose.<\/dialogue>\n    <scene_description>GEORGIANA is hurt, and looks at the DUKE in silence. He is composed in a way she has never seen before.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>I know precisely what you two have together.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>We love each other.<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>I do not doubt it. He is a dreamer like yourself. You both dream of another world that does not exist and never will. (Beat) As for reality, however, allow me to enlighten you: If you do not give him up at once, I will see to it that every home and cheque book in this country is closed to him. He will be welcome neither in the halls of government nor its back rooms of power. His dream of becoming prime minister, your mutual fantasy of a changed world, will be dead as ash.<\/dialogue>\n    <scene_description>The DUKE pauses before delivering the final blow.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>And you will never see your children again.<\/dialogue>\n    <scene_description>GEORGIANA is open mouthed, stunned.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>You are given to say \"love is an act.\" Well, this is an act.<\/dialogue>\n    <scene_description>GEORGIANA turns and runs out of the room. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RENTED BATH HOUSE. ANTE ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>GEORGIANA is close to the wall, trembling. LADY SPENCER enters and shuts the door behind her.<\/scene_description>\n    <character>LADY SPENCER<\/character>\n    <dialogue>What do you imagine you will have if you stay with Grey?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Love. Passion.<\/dialogue>\n    <character>LADY SPENCER<\/character>\n    <dialogue>For a time.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>For ever.<\/dialogue>\n    <character>LADY SPENCER<\/character>\n    <dialogue>There is no such thing.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Mama...all my life, it seems to me, I've been fighting my way upstream. With Charles, I find myself going down the stream, effortlessly and naturally. I never realized that it could be that easy. You can't ask me to battle nature, and my own heart. Not now.<\/dialogue>\n    <character>LADY SPENCER<\/character>\n    <dialogue>Oh will you never grow up! And how will you live, even? Friends will shun you, family will abandon you. There won't be a house open to you in all of England.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(trying to convince herself)<\/parenthetical>\n    <dialogue>Grey will be Prime Minister.<\/dialogue>\n    <character>LADY SPENCER<\/character>\n    <dialogue>Not with his whore, the Duchess of \"D\" on his arm and the Duke pulling every string to ruin him. He will never be Prime Minister. He'll pretend it doesn't matter, but it will. He'll put on a good face for a while, but he'll come to hate you for it.<\/dialogue>\n    <scene_description>At this GEORGIANA's eyes fill with tears.<\/scene_description>\n    <character>LADY SPENCER<\/character>\n    <dialogue>Most likely you'll end up alone - a wife with no husband and a mother with no children. At best you'll become someone else's mistress, living on charity, which can be taken away at any moment.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>You can't know all that!<\/dialogue>\n    <character>LADY SPENCER<\/character>\n    <dialogue>Look at your friend Bess!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RENTED BATH HOUSE. FOYER - DAY<\/stage_direction>\n    <scene_description>The DUKE waits by the front door. GEORGIANA exits the dressing room and walks toward him. Beat.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>I must ask you to return to London.<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>Without you?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>The DUKE takes out a PACKAGE OF LETTERS.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>These are from the girls - I promised to deliver them. Hart neglected to write, but then he is not yet one.<\/dialogue>\n    <scene_description>The DUKE puts the PACKAGE in her hand. GEORGIANA takes them but holds them down by her side, refusing to even acknowledge them.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>I cannot give up Charles. I could not survive another day without him.<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>Then I must warn you. This will be the mistake of your life.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>No, I made that many years ago. I trust you can let yourself out.<\/dialogue>\n    <scene_description>GEORGIANA leaves. The DUKE sends her an icy stare, then turns to the SERVANT at the door.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>For God's sake, open the door, man!<\/dialogue>\n    <scene_description>The servant quickly opens the door. The DUKE exits. LADY SPENCER follows from the ANTE ROOM. At the door she shares one last sad look with GEORGIANA, then walks past. CUT TO: 125A OMITTED 125A<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLITICAL MEETING ROOMS. DAY 126 \\*\\*\\*<\/stage_direction>\n    <scene_description>GREY is pacing up and down. GEORGIANA remains standing. \\*\\*\\*<\/scene_description>\n    <character>GEORGIANA \\*\\*\\*<\/character>\n    <dialogue>He will come down on us with \\*\\*\\* everything in his power. \\*\\*\\*<\/dialogue>\n    <character>GREY \\*\\*\\*<\/character>\n    <dialogue>We must not be frightened into \\*\\*\\* submission. \\*\\*\\*<\/dialogue>\n    <character>GEORGIANA \\*\\*\\*<\/character>\n    <dialogue>We would be foolish not to be \\*\\*\\* frightened. \\*\\*\\*<\/dialogue>\n    <character>GREY \\*\\*\\*<\/character>\n    <dialogue>No. We would be foolish to let \\*\\*\\* future fears stand in our way. \\*\\*\\*<\/dialogue>\n    <character>GEORGIANA \\*\\*\\*<\/character>\n    <dialogue>He will be without mercy. \\*\\*\\*<\/dialogue>\n    <character>GREY \\*\\*\\*<\/character>\n    <dialogue>Then so will we. \\*\\*\\*<\/dialogue>\n    <scene_description>GEORGIANA looks straight at him. \\*\\*\\*<\/scene_description>\n    <character>GEORGIANA \\*\\*\\*<\/character>\n    <dialogue>How Charles? \\*\\*\\*<\/dialogue>\n    <character>GREY \\*\\*\\*<\/character>\n    <dialogue>We'll fight... \\*\\*\\*<\/dialogue>\n    <character>GEORGIANA \\*\\*\\*<\/character>\n    <dialogue>What do we have to fight with? \\*\\*\\*<\/dialogue>\n    <character>GREY \\*\\*\\*<\/character>\n    <dialogue>Our ideals, our principles. And \\*\\*\\* if we must we will make \\*\\*\\* sacrifices. \\*\\*\\*<\/dialogue>\n    <character>GEORGIANA \\*\\*\\*<\/character>\n    <dialogue>And are you ready to do that? \\*\\*\\* Everything you've worked for? \\*\\*\\*<\/dialogue>\n    <scene_description>Beat. \\*\\*\\*<\/scene_description>\n    <character>GREY \\*\\*\\*<\/character>\n    <dialogue>Yes, I am...whatever is \\*\\*\\* necessary. If it means we will be \\*\\*\\* together. \\*\\*\\*<\/dialogue>\n    <scene_description>GEORGIANA looks at him, trying to gauge in her own mind of \\*\\*\\* she believes this. Before she is able to probe further... \\*\\*\\*<\/scene_description>\n    <character>GREY (CONT'D) \\*\\*\\*<\/character>\n    <dialogue>Are you? \\*\\*\\*<\/dialogue>\n    <scene_description>Beat, as GEORGIANA considers the full consequences of this. \\*\\*\\*<\/scene_description>\n    <character>GEORGIANA \\*\\*\\*<\/character>\n    <dialogue>Yes. \\*\\*\\*<\/dialogue>\n    <scene_description>Beat. GREY smiles and kisses her. \\*\\*\\*<\/scene_description>\n    <character>GREY \\*\\*\\*<\/character>\n    <dialogue>Let us talk later. I shall be \\*\\*\\* back soon. \\*\\*\\*<\/dialogue>\n    <scene_description>GEORGIANA looks at him as he leaves. GREY turns in the \\*\\*\\* doorway and smiles. She smiles back at him but there is \\*\\*\\* doubt creeping in behind it. \\*\\*\\* CUT TO: \\*\\*\\*: OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RENTED BATH HOUSE. FOYER - THAT AFTERNOON<\/stage_direction>\n    <scene_description>GEORGIANA enters the room, strong and confident. A SERVANT takes her cape and hat then leaves. GEORGIANA is alone. She is aware of the package of CHILDREN'S LETTERS on the side table where the DUKE left it. GEORGIANA turns away from it but after a moment turns back. She takes a deep breath and rips it open. There are LETTERS in spidery children's handwriting, colourful drawings. It hits her hard. She fingers trace over the drawings, the messages, the kisses at the bottom.... She is suddenly faced with the reality of the choice she is about to make. It's heart breaking but she knows she can't be without her children. CUT TO: OMITTED OMITTED OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE - ENTRANCE HALL. DAY<\/stage_direction>\n    <scene_description>GEORGIANA rushes into the hallway. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE. RED ROOM - DAY<\/stage_direction>\n    <scene_description>GEORGIANA runs into the room and hugs her children. Minutes later: we are behind the DUKE as he walks slowly down a corridor. We can hear children's voices in the background. He reaches the end of the corridor and the scene is revealed: GEORGIANA sits in the middle of the room, surrounded by her children, playing a game together. GEORGIANA hugs the girls. Closer. Tighter. In the background, GEORGIANA notices the DUKE surveying the scene. GEORGIANA gestures to the NANNY to come over.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Run along, girls. I shall join you in a moment.<\/dialogue>\n    <scene_description>The GIRLS leave with the NANNY. The DUKE watches them go, then turns to GEORGIANA.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>You must know that I am greatly pleased that we have come to an arrangement. It's not good for little ones to be without their mother for too long.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>My life for theirs...<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>That's one way of putting it. Your mother called it \"common decency before personal gratification\", or some such thing... the exact words escape me...<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>How about 'imprisoned in my own house'?<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>No, that's not how she put it. I would have remembered that.<\/dialogue>\n    <scene_description>GEORGIANA sends him a hateful look and walks out. CUT TO: OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>134A INT. DEVONSHIRE HOUSE. CORRIDORS - CONTINUOUS 134A<\/stage_direction>\n    <scene_description>GEORGIANA walks into the corridor. After a few moments she sees BESS appear from the shadows.<\/scene_description>\n    <character>BESS<\/character>\n    <parenthetical>(Whisper)<\/parenthetical>\n    <dialogue>How did Charles take it?<\/dialogue>\n    <scene_description>GEORGIANA stops by her. She is businesslike.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>I don't know. I just left. If I had seen him again, I would have stayed.<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>No letter, either?<\/dialogue>\n    <scene_description>GEORGIANA shakes her head.<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>I know it's cruel, Georgiana, but it's for the best.<\/dialogue>\n    <scene_description>GEORGIANA looks at BESS, then continues to walk off down the corridor. CUT TO: OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>135A INT. DEVONSHIRE HOUSE. DINING ROOM. NIGHT - WEEKS LATER 135A<\/stage_direction>\n    <scene_description>A VIOLINIST and HARPSICHORDIST play a beautiful, slow piece of music from the corner. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE. ROOM. NIGHT<\/stage_direction>\n    <scene_description>The music continues in the background as three silver plates covered by silver domes are carried by SERVANTS. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE. DINING ROOM. NIGHT<\/stage_direction>\n    <scene_description>GEORGIANA, BESS and the DUKE are seated for dinner at their vast table. It's tense, silent and extremely formal as the THREE SERVANTS bring in the plates. In unison they step forward to take away the domes, revealing elaborately prepared POUSSIN - it's an unexpected comic moment. They begin to eat. No one says a word. Suddenly we hear DOORS CRASH OPEN from far outside the room. There is the distant sound of a man's voice, raised and angry. GEORGIANA knows immediately that it is GREY. So too does the DUKE who shoots her a vicious look. GEORGIANA rises,<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Your Grace, Bess. Will you excuse me.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE. ENTRANCE HALL. NIGHT - MINUTES LATER<\/stage_direction>\n    <scene_description>GEORGIANA enters to see GREY at the foot of the stairs, surrounded by FOOTMEN trying to stop him get further. GREY is wild. He yells at GEORGIANA, quite oblivious to the FOOTMEN.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>Why haven't you responded to my letters?!<\/dialogue>\n    <scene_description>GEORGIANA tries to maintain calm and walks toward him.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>I have written a dozen times a day, and there is nothing from you! What has happened?! Do you love me no longer?!<\/dialogue>\n    <scene_description>She looks at the FOOTMEN, headed by BURLEIGH, the butler.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Thank you, Burleigh.<\/dialogue>\n    <scene_description>BURLEIGH bows, and though still remaining present, recedes into the background with the FOOTMEN. GREY comes closer. GEORGIANA steels herself...<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>My personal feelings remain unaltered...<\/dialogue>\n    <character>GREY<\/character>\n    <dialogue>Then we must be together again. I want to marry you. I want you to bear my children ... and I don't care if they are boys or girls!<\/dialogue>\n    <scene_description>...But GEORGIANA is barely holding it together.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>I wish it could be like that.<\/dialogue>\n    <character>GREY<\/character>\n    <dialogue>It can. It will. Sorrows come however we try to avoid them. We must stay our course and not give in.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(Firmly)<\/parenthetical>\n    <dialogue>No, Charles.<\/dialogue>\n    <scene_description>GREY steps forward to take her arm but GEORGIANA backs away. BURLEIGH makes as if to intervene, but holds back.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>You must leave and be with me, a free woman! Now, let us leave now! It is still possible. Let us at least take a chance.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>I cannot risk my children.<\/dialogue>\n    <scene_description>GREY stares at her with wide, angry, tortured eyes.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>This is a sacrifice I am forced to make...but I have given you up for them only. And in so doing I have lost my heart and soul.<\/dialogue>\n    <scene_description>GREY looks at her, sad and weak, nothing left to argue. GEORGIANA stands firm. She gestures to BURLEIGH.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Burleigh, will you please escort Mr. Grey to the door?<\/dialogue>\n    <scene_description>BURLEIGH comes forward and stands next to GREY. GEORGIANA still looks at him. Her eyes glisten.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>You promised me.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>I know...<\/dialogue>\n    <scene_description>GREY, choking with pain, stares one more beat, then turns and walks away. BURLEIGH and FOOTMEN follow, like bouncers. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE. DINING ROOM. NIGHT - MINUTES LATER<\/stage_direction>\n    <scene_description>GEORGIANA slowly sits again. She is distant, with no interest in the food in front of her. The DUKE looks up, chewing.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>What's the matter, don't like the chicken? I find it really quite decent.<\/dialogue>\n    <scene_description>The table is quiet. Not even BESS can muster a reply. GEORGIANA looks at him.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>I'm with child.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVONSHIRE HOUSE. GEORGIANA'S BEDROOM - MORNING<\/stage_direction>\n    <scene_description>Rain spits against the window. Wind blows in the trees outside. GEORGIANA is sitting in her bed, staring blankly before her. The DUKE and BESS enter.<\/scene_description>\n    <character>DUKE<\/character>\n    <parenthetical>(to Bess)<\/parenthetical>\n    <dialogue>Will you be so kind as to inform the Duchess of my decision?<\/dialogue>\n    <scene_description>BESS looks deeply uncomfortable.<\/scene_description>\n    <character>BESS<\/character>\n    <parenthetical>(appealingly)<\/parenthetical>\n    <dialogue>Georgiana -<\/dialogue>\n    <scene_description>GEORGIANA does not respond, but keeps staring into the air. BESS takes a deep breath.<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>It will be like this: you will be taken to the country where you will give birth to the child, and the child will subsequently be trusted to the care of Charles Grey's family.<\/dialogue>\n    <scene_description>GEORGIANA makes no reply.<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>Are you listening to me?<\/dialogue>\n    <scene_description>GEORGIANA slides silently into a reclining position.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>I think she has heard you. Let's leave her.<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>Georgiana, please -<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>I said: let's leave. This is not a discussion. She has been informed of my decision.<\/dialogue>\n    <scene_description>BESS looks at GEORGIANA.<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>Have pity on her, William...<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>Pity be damned. She brought this upon herself, as well you know. Now come...<\/dialogue>\n    <scene_description>The DUKE starts to go out. BESS's voice stops him.<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>No. I will go with her.<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>You're not going anywhere...<\/dialogue>\n    <character>BESS<\/character>\n    <parenthetical>(Turns, magnificently)<\/parenthetical>\n    <dialogue>I will go with G if G will have me, and there is nothing you can say or do to stop either of us.<\/dialogue>\n    <scene_description>The DUKE is speechless. GEORGIANA looks up for the first time. The DUKE leaves. The women are left alone in silence with each other. Their eyes meet. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRYSIDE. DAY<\/stage_direction>\n    <scene_description>On a windy, end of summer day, TWO PLAIN COACHES travel across the flat and largely featureless landscape. CUT TO: OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SMALL HOUSE IN THE COUNTRYSIDE. DAY<\/stage_direction>\n    <scene_description>The house is simple and remote, the only building for miles around. Chickens peck outside. It is far removed from the opulence GEORGIANA and BESS are used to. The two COACHES are parked outside. From the rear COACH, luggage is being unpacked and brought inside. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE IN THE COUNTRYSIDE. DAY<\/stage_direction>\n    <scene_description>GEORGIANA enters this house with BESS and a SERVANT. It's plain and unlived in. BESS follows GEORGIANA into what is to be her bedroom.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Thank you for coming.<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>I couldn't not be with you.<\/dialogue>\n    <scene_description>GEORGIANA smiles.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>I count it a triumph we have become friends again when fate has been so intent on keeping us rivals.<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>So do I. The Duke is for my boys only. You are for me.<\/dialogue>\n    <scene_description>GEORGIANA puts her hands around her stomach.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Bess, how will I do this?<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>For Charlotte, for Harryo, for little G, for Hart...<\/dialogue>\n    <scene_description>GEORGIANA nods her head. CUT TO: OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE IN THE COUNTRYSIDE. DAY - SOME TIME LATER<\/stage_direction>\n    <scene_description>We hear the muted sounds of GEORGIANA screaming over shots of the house and the wildlife around it. CUT TO: OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM. HOUSE IN THE COUNTRYSIDE. MORNING<\/stage_direction>\n    <scene_description>A baby is sleeping in its cot. BESS is sitting in the other corner of the room. A FOOTMAN appears at the door and nods to her. BESS looks apprehensive. She goes to GEORGIANA's bedside.<\/scene_description>\n    <character>BESS<\/character>\n    <parenthetical>(Gently)<\/parenthetical>\n    <dialogue>It's time.<\/dialogue>\n    <scene_description>GEORGIANA flinches - it's the moment she's been dreading. BESS comes closer and gestures toward the BABY.<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>Would it help if I...<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <parenthetical>(Looking up)<\/parenthetical>\n    <dialogue>No, Bess. I must do it.<\/dialogue>\n    <scene_description>GEORGIANA snips a piece of hair from her sleeping baby and puts it in a distinctive silver locket. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CROSSROADS IN THE COUNTRYSIDE. DAY<\/stage_direction>\n    <scene_description>It is a barren and featureless landscape with one straight dirt track running through it. TWO DARK COACHES are already parked ahead. GEORGIANA's COACH, containing GEORGIANA and BESS, pulls up fifty yards behind it. At the first of the DARK COACHES, a BUTLER stands to one side, a WET NURSE to the other. From the second steps a serious looking older man, GENERAL GREY. CHARLES GREY is nowhere to be seen. BESS looks on from the side of their COACH as GEORGIANA slowly takes the BABY up the track, holding it tight to her all the way.<\/scene_description>\n    <character>GENERAL GREY<\/character>\n    <parenthetical>(Flatly)<\/parenthetical>\n    <dialogue>Your Grace. I am General Grey.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Where is Charles?<\/dialogue>\n    <character>GENERAL GREY<\/character>\n    <dialogue>Your husband thought it best if I took care of this.<\/dialogue>\n    <scene_description>GEORGIANA takes a deep breath. She hadn't expected this, and now she is being asked to hand her baby over to a stranger, and a seemingly cold one at that. It's not clear that she will go through with it... GEORGIANA gently kisses the baby's head, whispering to her, smelling her hair, her skin, running her nose down her face and breathing her in for one last time. BESS finds this impossible to watch and turns away. With immense difficulty GEORGIANA finally goes to hand her baby over. GENERAL GREY does not take it. He nods sharply to his WET NURSE who steps forward to take the BABY, although for a moment GEORGIANA simply can't let her go. GENERAL GREY immediately turns to go back to the COACH. GEORGIANA calls after him.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>General Grey...<\/dialogue>\n    <scene_description>GENERAL GREY stops and turns.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>...her name is Eliza.<\/dialogue>\n    <scene_description>GENERAL GREY looks at GEORGIANA giving nothing away. He turns and goes back into his COACH, followed by the BUTLER and the WET NURSE and GEORGIANA'S BABY GIRL into theirs. As the BABY GIRL is passed into the coach, GEORGIANA can hear her daughter begin to cry a little. GEORGIANA instinctively flinches, using all her strength to hold her back from running over to comfort her. The driver cracks the whip and GEORGIANA watches as the DARK COACHES ride off, leaving her alone with the barren landscape behind. She slowly sinks down onto the wet and muddy ground. BESS comes forward and holds her. CUT TO: OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM. HOUSE IN THE COUNTRYSIDE - DAWN<\/stage_direction>\n    <scene_description>The cot is empty. Low winter sun cuts through the windows. GEORGIANA sits alone in her bedroom, lost in thought and rolling a locket of Eliza's hair back and forth between her fingers. It feels as if she has been sat there all night. BESS enters and comes close. It takes a moment for GEORGIANA to notice she's even there. BESS produces two linen FLANNELS. GEORGIANA looks quizzically at them.<\/scene_description>\n    <character>BESS<\/character>\n    <parenthetical>(Gently)<\/parenthetical>\n    <dialogue>For your milk.<\/dialogue>\n    <scene_description>GEORGIANA looks down - there are two wet patches on her breasts. BESS kneels next to GEORGIANA and holds tight onto GEORGIANA's almost lifeless body.<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>The Duke has asked that we return as soon as possible.<\/dialogue>\n    <scene_description>GEORGIANA nods but doesn't move. CUT TO: OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. DEVONSHIRE HOUSE. GARDEN. AFTERNOON - SPRING<\/stage_direction>\n    <scene_description>A primitive sprinkler is operated by a GARDENER spreading water across the manicured green grass making a loud and distinctive sound. Other GARDENERS are on their hands and knees cutting the grass with scissors. Time has elapsed, perhaps a month, and it's spring now. Inside, there are a series of shots of the empty, still house. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>153A INT. DEVONSHIRE HOUSE. ROOM. AFTERNOON - SPRING 153A<\/stage_direction>\n    <scene_description>GEORGIANA sits in a chair, distracted. She clutches the silver locket of Eliza's hair, the chain wrapped tight around her hand. A MAID appears at the door. GEORGIANA's clutches the locket in her hand so it can't be seen.<\/scene_description>\n    <character>MAID<\/character>\n    <dialogue>Your Grace, I have Charlotte to see you.<\/dialogue>\n    <scene_description>GEORGIANA turns her head to the door. CHARLOTTE is standing with the MAID. She steps into the room.<\/scene_description>\n    <character>CHARLOTTE<\/character>\n    <dialogue>We are all in the garden, Mama. Will you come and join us?<\/dialogue>\n    <scene_description>GEORGIANA is unable to connect for a split second. CHARLOTTE remains looking at her. GEORGIANA comes to and is about to say yes but sees the DUKE approaching from behind.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>In a moment.<\/dialogue>\n    <scene_description>CHARLOTTE gives a small smile and leaves.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>Hello, G.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Your Grace.<\/dialogue>\n    <scene_description>The DUKE fidgets and, unusually for him, looks warmly at G.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>I am not particularly adept at expressing myself when it comes to matters of a more personal nature, but I shall endeavour to try. \\[Beat\\] Over the years I have acted in ways that you have judged... harsh. Well I do not wish for you to undergo any further suffering. Indeed, I would like our life to return to a calm normality.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Thank you William.<\/dialogue>\n    <scene_description>The DUKE looks relieved. He smiles.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>Lady Melbourne has arranged a small gathering in honour of your recent return from holiday. Given some of the vague reports that have been circulating over this past year, I think it would be wise for us to go. A show of unity, so to speak.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Who will be there?<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>Everybody.<\/dialogue>\n    <scene_description>GEORGIANA recognises what this must mean.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>As you wish.<\/dialogue>\n    <scene_description>The DUKE turns back to the window. We see what he sees: BESS is playing with all their children in the garden, the image distorted by the wavy glass of the window pane. It is a mirrored moment from his opening scene where he watched the young people dancing, his thoughts then a mystery... The DUKE resumes his faraway look and says as if from nowhere,<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>How wonderful to be that free.<\/dialogue>\n    <scene_description>GEORGIANA looks at him sympathetically, as if for the first time she finally understands this trapped and complex man. The DUKE, a little exposed by his revealing statement, nods and leaves, disappearing off into the long corridor. After a beat, GEORGIANA takes the DUKE's position at the window and looks out at the children playing with BESS and smiles. CUT TO: 153b EXT. DEVONSHIRE HOUSE. GARDEN. DAY 153b BESS stands in the garden, watching the children. GEORGIANA approaches from behind her. The two women look at each other, understanding the sentiment completely. They smile, then GEORGIANA leads them forward to the children. They turn to see her.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Who will catch me first?<\/dialogue>\n    <scene_description>The children's faces light up. GEORGIANA runs around the garden, chased by them and BESS until she finally allows herself to be caught. CUT TO: CUT TO: OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>I\/E. LADY MELBOURNE'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>A society gathering is in full swing. A FOOTMAN addresses the party in his booming voice.<\/scene_description>\n    <character>FOOTMAN<\/character>\n    <dialogue>The Duke and Duchess of Devonshire. And Lady Elizabeth Foster.<\/dialogue>\n    <scene_description>Behind the front doors BESS whispers to GEORGIANA.<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>Are you ready for this?<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>The room goes quiet with a great sense of expectation... The doors swing open... GEORGIANA steps back into the limelight... She's looks stylish but in a mature, demure way. GEORGIANA walks through the crowd, taking in the scene around her. She nods hello to FOX and SHERIDAN, and there's a warm, ad-hoc mix of bowing and 'welcome home Your Grace'. She has been accepted back with respect and relief. CUT TO: 155A OMITTED 155A<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>155B INT. LADY MELBOURNE'S HOUSE. ROOM - NIGHT 155B<\/stage_direction>\n    <scene_description>GEORGIANA enters another room full of people. Across it she sees CHARLES GREY. The DUKE and BESS are aware of him too, but stand back to allow GEORGIANA to handle the situation. It feels risky in this company but GEORGIANA walks through the crowd toward him.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Mr Grey.<\/dialogue>\n    <character>GREY<\/character>\n    <dialogue>Your Grace...<\/dialogue>\n    <scene_description>A subtle hush descends on the gathering as the GUESTS around them look over with bated breath, sensing the whiff of scandal. The tension in the room is palpable. GEORGIANA's is nervous and it is unclear whether she will give way to her emotions or manage to keep her composure. GREY too, is awkward but summons up the strength to act for the crowd.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>I trust your tour was agreeable?<\/dialogue>\n    <scene_description>GEORGIANA understands what he is doing and reciprocates.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Yes, thank you. We passed the summer in Switzerland and the winter in Nice.<\/dialogue>\n    <character>GREY<\/character>\n    <dialogue>Well, I speak for everybody when I say how glad I am that you have returned home safely.<\/dialogue>\n    <scene_description>GEORGIANA smiles back. Her eyes tell a different story. The polite and seemingly innocent small talk continues...<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>And what news is there with you?<\/dialogue>\n    <scene_description>GREY looks uncomfortable. Beat.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>I am to be engaged to Lady Ponsonby. The announcement will follow shortly.<\/dialogue>\n    <scene_description>GEORGIANA swallows hard. Beat.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>Congratulations.<\/dialogue>\n    <scene_description>Beat. GREY looks at her again.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>And I have a niece...<\/dialogue>\n    <scene_description>GEORGIANA looks up quickly.<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>....who is much loved.<\/dialogue>\n    <scene_description>Beat as she takes a moment to digest this..<\/scene_description>\n    <character>GREY<\/character>\n    <dialogue>One day you should come and see her. In a little while. If you would like...<\/dialogue>\n    <scene_description>Beat. They look at each other.<\/scene_description>\n    <character>GEORGIANA<\/character>\n    <dialogue>I would like that very much.<\/dialogue>\n    <scene_description>GEORGIANA curtsies with perfect etiquette and walks back into the party. GREY watches her go as she walks confidently off into the crowd to join the DUKE and BESS who are waiting for her. CUT TO: OMITTED OMITTED OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>159A (FORMERLY SC. 156) INT. DEVONSHIRE HOUSE. ENTRANCE HALL -159A<\/stage_direction>\n    <character>NIGHT<\/character>\n    <dialogue>It's still and silent in the house.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>159B (FORMERLY PART OF SC. 157) INT. HALLWAY TO BEDROOMS. 159B<\/stage_direction>\n    <character>DEVONSHIRE HOUSE - NIGHT<\/character>\n    <dialogue>The DUKE, BESS and GEORGIANA walk through a long corridor.<\/dialogue>\n    <dialogue>They stop at the point in the corridor where it splits into two directions: one toward the DUKE's bedroom, the other toward GEORGIANA and BESS's.<\/dialogue>\n    <character>DUKE<\/character>\n    <dialogue>Good night, G.<\/dialogue>\n    <character>GEORGIANA<\/character>\n    <dialogue>Good night, William.<\/dialogue>\n    <scene_description>The DUKE turns to BESS, expecting her to follow him. BESS looks to GEORGIANA, who looks back intensely. BESS gets the message and turns back to the DUKE.<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>Good night, William.<\/dialogue>\n    <scene_description>The DUKE is surprised, but doesn't want to upset the newfound harmony.<\/scene_description>\n    <character>DUKE<\/character>\n    <dialogue>Oh yes, well...Good night Bess.<\/dialogue>\n    <scene_description>The DUKE walks off to his bedroom alone. GEORGIANA and BESS walk together, two massive dresses side by side down the middle of the wide corridors and rooms, rustling in the silence. They look at each other and smile supportively, then reach out to hold hands. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>(FORMERLY PART OF SC. 157) INT. GEORGIANA'S BEDROOM.<\/stage_direction>\n    <character>DEVONSHIRE HOUSE<\/character>\n    <dialogue>GEORGIANA and BESS settle outside GEORGIANA's bedroom. GEORGIANA looks at BESS. BESS smiles back. They embrace and BESS walks off.<\/dialogue>\n    <scene_description>In a mirror of scene 4AB GEORGIANA walks from camera into the room, then turns around for us to see her strong, determined face. GEORGIANA nods to two servants who step forward, take the handles and pull the double doors closed, GEORGIANA's face finally disappearing behind the crack in the middle with a bang. Cut to black. After a moment the following words appear: Georgiana, the Duke and Bess lived openly together for the next ten years until Georgiana died Fade out \/ fade in: Georgiana ensured in her will that Bess could marry the Duke and become the next Duchess of Devonshire Fade out \/ fade in Grey became Britain's 32nd Prime Minister Fade to black, then fade up to: A PORTRAIT OF ELIZA - her face a mix between GEORGIANA and GREY. On this is superimposed: In late childhood Eliza found out the true identity of her mother. The source of the informant remains unknown. The picture pans down to a miniature around ELIZA's neck - it is of GEORGIANA as she started in the film: an open, optimistic seventeen year old girl smiling out to camera. End titles.<\/scene_description>\n  <\/scene>\n<\/script>","summary":"The young Georgiana is contracted in marriage to William Cavendish, Duke of Devonshire, with the expectation that she produce his male heir. Georgiana is quickly disillusioned by her husband, especially when Charlotte, an illegitimate child fathered by William whose mother has died, comes to live with them while Georgiana is pregnant. William expects Georgiana to tolerate the child's presence. He also suggests that she \"practise mothering\" on the young girl. When Georgiana gives birth to a girl, William is displeased. In his mind, he has fulfilled his obligations to her as her husband but, by failing to provide him with a legitimate male heir, she has failed in her obligations as his wife. Georgiana becomes a leading light in fashionable society.  She socialises with the young Lady Bess Foster at Bath and invites her to live with them since Bess has nowhere else to go. William has an affair with Bess, causing Georgiana to feel robbed of her only friend and betrayed by Bess. Bess tells Georgiana that her motive is to regain her three sons (whom her husband has taken from her), so she continues to live with them. Georgiana starts an affair with Charles Grey. William is outraged when Georgiana suggests that since he has Bess, she should be allowed Charles. William rapes Georgiana; a male child is the product. Bess encourages the affair between Georgiana and Charles after the birth of Georgiana's son. Soon, the whole of London society learns of Georgiana's affair. William threatens to end Charles's political career and forbid Georgiana from seeing her children again if she does not end the relationship. After initially refusing, Georgiana ends her relationship with Grey but tells William that she is pregnant with Charles' child. She is sent to the countryside where she gives birth to her daughter with Grey, Eliza Courtney, who is given to the Grey family to raise as Charles' niece. Georgiana finds comfort in Bess's friendship during her time of giving birth to Eliza. Georgiana and William come to terms with one another and, along with Bess, continue their lives together. The after-credits reveal Georgiana secretly visits her daughter Eliza. Eliza goes on to name her own daughter Georgiana, after her mother. Charles later becomes Prime Minister under William IV. Before she dies, Georgiana permits William and Bess to marry."}
{"movie_name":"Can You Ever Forgive Me?_2018","imdb_id":"tt4595882","script":"<script>\n  <scene>\n    <scene_description>CAN YOU EVER FORGIVE ME? Screenplay by Nicole Holofcener and Jeff Whitty Based on the book \"CAN YOU EVER FORGIVE ME?\" By Lee Israel Final Shooting Script - March 13, 2017 CYEFM Final Shooting Draft 3\/13\/17 1. NEW YORK CITY 1991<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW YORK CITY PRE-WAR APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Mostly darkness in the small apartment, a few table lamps illuminating a comfortable, crowded well worn space. On one shelf, souvenirs from a past life: a framed NY Times Best Seller list from 1980 with Kilgallen by Lee Israel highlighted in the number 15 spot. Five or six copies of this book, and a similar number of Miss Tallulah Bankhead (also by Lee) and many more of Estee Lauder by Lee Israel line a shelf. It's a bit of a trophy case. Across the room, a well worn cat tree sits in the corner, piles of New Yorkers, and LEE ISREAL, around 50 and not trying very hard, is asleep in her clothes on the couch. A Blossom Dearie record spins on the record player, a cat snoozes in her lap. Both snore. An alarm beeps on Lee's casio digital watch. Finally, she rouses. She looks down at her watch which reads 10pm, and stops the alarm. She moves to the kitchen, responding slightly to the music. We imagine she may be getting ready for bed. She puts her a plate in the sink, and returns. She downs her water from the table and puts the glass into her purse. She takes a bottle of scotch and also puts it into her purse. She turns off the light, but then the front door opens, hall-light pouring in, and we see Lee exit. The door slams shut.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH-RISE OFFICE BUILDING - MIDDLE OF THE NIGHT<\/stage_direction>\n    <scene_description>Nondescript cubicles and the nondescript people who are working in them. It is the graveyard shift and the YOUNG EMPLOYEES are proofreading and black-lining law documents. The large room is eerily silent save for the scratching of pencils on paper and the sound of ICE CLINKING in a glass. Lee is working as well, drinking a scotch on the rocks. She swirls it around absentmindedly as she works without enthusiasm. TWO YOUNG WOMEN pass by her cubicle.<\/scene_description>\n    <character>YOUNG WOMAN<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Fucking kill me if I'm doing this at her age.<\/dialogue>\n    <scene_description>Lee hears, and waits til she can't see them.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>I'll kill you now if you ask nicely.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 2. CONTINUED: Embarrassed giggles. Swirling her glass of scotch, Lee works. Someone shouts from another cubicle, head barely visible<\/scene_description>\n    <character>CUBICLE WORKER<\/character>\n    <dialogue>You know we're not allowed to eat or drink in here!<\/dialogue>\n    <character>ANOTHER CUBICLE WORKER<\/character>\n    <parenthetical>(after a beat)<\/parenthetical>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Lee ignores them. The first cubical worker tries to peer over to Lee.<\/scene_description>\n    <character>CUBICLE WORKER<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Fascist.<\/dialogue>\n    <character>A THIRD WORKER (O.S.)<\/character>\n    <dialogue>Alcoholic.<\/dialogue>\n    <scene_description>Some laughter. Lee goes back to her work, tries to concentrate. She can't.<\/scene_description>\n    <character>LEE<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Why do you give a crap?<\/dialogue>\n    <character>CUBICLE WORKER<\/character>\n    <dialogue>Because the sound of the ice is driving me insane.<\/dialogue>\n    <character>MANY VOICES<\/character>\n    <dialogue>Me too! It's making me crazy!<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Oh, fuck off.<\/dialogue>\n    <scene_description>She drinks, making as much ice noise as possible.<\/scene_description>\n    <character>TALL MAN<\/character>\n    <dialogue>What did you say?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I believe I said fuck off.<\/dialogue>\n    <scene_description>A tall MAN, 30, appears at her cubicle.<\/scene_description>\n    <character>TALL MAN<\/character>\n    <dialogue>I'm your boss. Pack up.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 3. CONTINUED: (2)<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>I'm almost through with this document.<\/dialogue>\n    <character>TALL MAN<\/character>\n    <dialogue>Now.<\/dialogue>\n    <scene_description>He takes the document and other papers from her desk and gestures for her to get up.<\/scene_description>\n    <character>LEE<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Please, I need this job.<\/dialogue>\n    <scene_description>He ignores her, watching as she puts her things into her canvas bag (including her glass and bottle of scotch). He walks behind her, ushering her out. The young people in the cubicles watch with amusement as she goes. Breaking into loose applause.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORNER MARKET - VERY EARLY MORNING<\/stage_direction>\n    <scene_description>Straight from the job, Lee puts her groceries up on the counter - cereal, peanut butter, a can of cat food. On the small black and white TV a program with garishly wealthy characters is playing. The CASHIER, 60s Asian woman, is skeptical.<\/scene_description>\n    <character>CASHIER<\/character>\n    <parenthetical>(she knows her)<\/parenthetical>\n    <dialogue>How much have you got?<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(fishing in her pocket)<\/parenthetical>\n    <dialogue>Enough.<\/dialogue>\n    <character>CASHIER<\/character>\n    <dialogue>Show me first.<\/dialogue>\n    <scene_description>Lee counts out her disappointing amount of cash.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Okay, just this.<\/dialogue>\n    <scene_description>She separates the cereal and cat food and pays for them.<\/scene_description>\n    <character>CASHIER<\/character>\n    <dialogue>Put this other stuff back!<\/dialogue>\n    <scene_description>Lee walks out. CYEFM Final Shooting Draft 3\/13\/17 4.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S UPPER WEST SIDE APARTMENT - MORNING<\/stage_direction>\n    <scene_description>Lee opens the cat food and places it in front of her cat JERSEY, who's not interested.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Since when did you become picky.<\/dialogue>\n    <scene_description>She puts the cereal on the counter and walks through her cluttered apartment. Peeling paint, way too much stuff and years of stacked up New Yorker magazines. The small one bedroom apartment hasn't been updated in at least 20 years: paint is chipping, furniture is worn and scratched by multiple cats, even the light bulbs need dusting. But you can tell it was once a well-loved little box of a home. The dining table is covered with papers and coffee cups and empty wine bottles, leaving little room for the manual typewriter and old computer.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S BEDROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>A few dead flies lie on her pillow. Disgusted, she brushes them off and curls up to sleep in her clothes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S BATHROOM - EARLY EVENING<\/stage_direction>\n    <scene_description>Broken shower tiles, an old moldy curtain. In the medicine cabinet mirror, Lee smooths down her hair and applies lipstick. She notices the litter box in the corner is in unused, pristine condition. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK CITY STREET - EARLY EVENING<\/stage_direction>\n    <scene_description>Lee approaches the 1 train entrance at 86th street and descends the stairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. APT BUILDING - EARLY EVENING<\/stage_direction>\n    <scene_description>Shivering from the cold, she treks down the New York street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LARGE APARTMENT - EVENING<\/stage_direction>\n    <scene_description>Lee has entered a noisy, stylish party. Forty or so festive members of the New York literary world cheerfully enjoy cocktails and conversation. CYEFM Final Shooting Draft 3\/13\/17 5. CONTINUED: She notices a COAT GUY taking jackets, but she walks past him in search of the bar. Her host MARJORIE, 70 years old and sophisticated, sees her.<\/scene_description>\n    <character>MARJORIE<\/character>\n    <dialogue>Well, this is a surprise.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>You invited me, did you not?<\/dialogue>\n    <character>MARJORIE<\/character>\n    <dialogue>You didn't reply.<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(ignoring that)<\/parenthetical>\n    <dialogue>A coat check? At my party we threw coats on a bed.<\/dialogue>\n    <character>MARJORIE<\/character>\n    <dialogue>Nice to see you too, Lee.<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You never call me back. I've got some new ideas.<\/dialogue>\n    <character>MARJORIE<\/character>\n    <dialogue>This is why you're here?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>You don't know what I've been doing just to get by.<\/dialogue>\n    <character>MARJORIE<\/character>\n    <dialogue>Well, you're here now. Try to enjoy yourself, Lee.<\/dialogue>\n    <scene_description>Marjorie excuses herself.<\/scene_description>\n    <character>ANGLE ON<\/character>\n    <dialogue>The bar as Lee gratefully finds it.<\/dialogue>\n    <dialogue>She gets her drink and turns, walking through the crowd. She overhears a conversation between TOM CLANCY, 40 famous writer, and a crowd of eager followers.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 6. CONTINUED: (2)<\/scene_description>\n    <character>TOM CLANCY<\/character>\n    <dialogue>I don't subscribe to the notion of writers block.<\/dialogue>\n    <character>FOLLOWER<\/character>\n    <dialogue>You never experience it?<\/dialogue>\n    <character>TOM CLANCY<\/character>\n    <dialogue>Writers block is a term invented by the writing community to justify their laziness.<\/dialogue>\n    <scene_description>The crowd laughs.<\/scene_description>\n    <character>TOM CLANCY<\/character>\n    <dialogue>My success is nothing more than that I have the dedication and stamina to sit and get the work done. It's simple.<\/dialogue>\n    <character>FOLLOWER<\/character>\n    <dialogue>Having Ronald Reagan talking about you doesn't hurt.<\/dialogue>\n    <character>TOM CLANCY<\/character>\n    <dialogue>Well sure.<\/dialogue>\n    <scene_description>Lee passes the conversation, unimpressed.<\/scene_description>\n    <character>LEE<\/character>\n    <parenthetical>(walking by)<\/parenthetical>\n    <dialogue>Jackass.<\/dialogue>\n    <character>FOLLOWER<\/character>\n    <dialogue>Who's that?<\/dialogue>\n    <scene_description>Tom Clancy shrugs, and Lee wanders, not knowing anybody. People hustle by her, having a good time. SEVERAL YOUNG GUESTS are huddled together and Lee eavesdrops.<\/scene_description>\n    <character>KAREN<\/character>\n    <dialogue>You have to read them. As an American.<\/dialogue>\n    <character>GUEST<\/character>\n    <dialogue>Well, sure.<\/dialogue>\n    <scene_description>Lee looks around, landing on SEVERAL OLDER PEOPLE sitting on couches, not talking to anybody. They line the perimeter of the room, sipping their drinks. They're old wallflowers. CYEFM Final Shooting Draft 3\/13\/17 7.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - EVENING<\/stage_direction>\n    <scene_description>Lee walks down the hall that's decorated with framed photographs, book jackets, signed letters - it's Marjorie's professional Memory Lane. She glances up to assess TWO FRAMED BOOK JACKETS. One is KILLGALLEN, by Lee Israel and the other is MISS TALLULAH BANKHEAD also by Lee. Unhappy with their placement, she quickly swaps them out with a couple of frames that are closer to her eye line.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARJORIE'S POWDER ROOM - EVENING<\/stage_direction>\n    <scene_description>Lee is snooping in the cabinet and finds a drawer filled with almost finished toilet paper rolls. A dozen of them at least. Weird. She grabs the fullest one and drops it into her large bag. She takes the bar of guest soap as well.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARJORIE'S APARTMENT - CONTINUOUS<\/stage_direction>\n    <scene_description>She snakes her way through the party and makes it to the front door just as Marjorie stops her.<\/scene_description>\n    <character>MARJORIE<\/character>\n    <dialogue>That was quick. Did you get properly fed?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>This week. Will you take my call?<\/dialogue>\n    <character>MARJORIE<\/character>\n    <parenthetical>(condescendingly)<\/parenthetical>\n    <dialogue>Sure. We'll see.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I have fascinating projects! I'm working on a lot of ideas - I just need my agent to call me back.<\/dialogue>\n    <character>MARJORIE<\/character>\n    <parenthetical>(laughing to herself)<\/parenthetical>\n    <dialogue>Well, nobody needs a new biography on Fanny Brice, Lee. We may disagree on what is considered fascinating.<\/dialogue>\n    <scene_description>She starts to walk away.<\/scene_description>\n    <character>MARJORIE<\/character>\n    <dialogue>Good night Lee.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 8. CONTINUED:<\/scene_description>\n    <character>LEE<\/character>\n    <parenthetical>(stopping her)<\/parenthetical>\n    <dialogue>Why do you have mostly used toilet paper rolls in the drawer of your bathroom?<\/dialogue>\n    <character>MARJORIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I just can't figure it out.<\/dialogue>\n    <character>MARJORIE<\/character>\n    <dialogue>You went through my bathroom cabinets?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Just tell me. I'm curious.<\/dialogue>\n    <character>MARJORIE<\/character>\n    <dialogue>So that guests can have a full roll.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>That's batshit, Marjorie.<\/dialogue>\n    <character>MARJORIE<\/character>\n    <parenthetical>(to herself)<\/parenthetical>\n    <dialogue>You would know...<\/dialogue>\n    <scene_description>At the coat check Lee points to a very sophisticated, long wool coat.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Yeah, I lost the ticket, but that's the one.<\/dialogue>\n    <scene_description>The coat check guy doesn't flinch, but hands it to her.<\/scene_description>\n    <character>COAT CHECK GUY<\/character>\n    <dialogue>Have a good night, ma'am.<\/dialogue>\n    <scene_description>Lee takes the beautiful coat with a smirk.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Lee sits on her couch, drinking scotch, with her new coat slung over the couch. On the TV Lillian Hellman's black and white film THE LITTLE FOXES plays. It's a scene Lee knows by heart, but that doesn't stop her from enjoying every frame. CYEFM Final Shooting Draft 3\/13\/17 9. CONTINUED: Bette Davis is snuffing candles whilst quibbling with her brothers Charles Dingle and Carl Benton Reid. Lee loves this.<\/scene_description>\n    <character>LEE<\/character>\n    <parenthetical>(along with the TV)<\/parenthetical>\n    <dialogue>There are lots of things to consider. After all, they are first cousins.<\/dialogue>\n    <parenthetical>(then answering herself)<\/parenthetical>\n    <dialogue>Well that isn't unusual. Our grandmother and grandfather were first cousins.<\/dialogue>\n    <parenthetical>(back again)<\/parenthetical>\n    <dialogue>Yes and look at us!<\/dialogue>\n    <scene_description>She removes some appetizers from her purse, shoves one into her mouth and offers one to the cat.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Jersey, here girl!<\/dialogue>\n    <scene_description>The cat wanders over but doesn't eat them. Lee is concerned.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VETERINARIAN'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Lee is at the counter, holding a cat carrier and talking to the assistant RACHEL.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You still have a balance, Ms. Israel.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>But there's something wrong with her. She's very old.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I'm sorry. The doctor told me to get at least half the balance before we do any tests.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Don't you take a Hippocratic oath or something? Don't you have to do something?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You owe us eighty two dollars.<\/dialogue>\n    <scene_description>Lee pulls some bills out of her back pocket.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Look, I've got - fourteen dollars.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 9A. CONTINUED: Lee walks out of the office.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Unbelievable.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 10.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CROSBY STREET BOOKSELLERS - DAY<\/stage_direction>\n    <scene_description>Lee enters, wearing her stolen coat, carrying two heavy bags of books.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CROSBY STREET BOOKSELLERS - DAY<\/stage_direction>\n    <scene_description>GLEN, a 30 year old nerd and the used book buyer, glances briefly at Lee's pile of old books on the counter. There are CUSTOMERS waiting behind her.<\/scene_description>\n    <character>GLEN<\/character>\n    <dialogue>Just these.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>That's it? I schlepped them all the way here.<\/dialogue>\n    <character>GLEN<\/character>\n    <parenthetical>(dismissive)<\/parenthetical>\n    <dialogue>I'll give you two dollars. I don't want the others.<\/dialogue>\n    <scene_description>He goes to the cash register to pay her.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Come on, man. I don't need much. I just don't want to carry them around.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I've got a sick cat and I need the money. Please.<\/dialogue>\n    <character>GLEN<\/character>\n    <parenthetical>(rude)<\/parenthetical>\n    <dialogue>I told you I don't want the others. There's people waiting.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>You don't have to be so disrespectful. You've actually carried my books here.<\/dialogue>\n    <scene_description>Glen turns to her, amused.<\/scene_description>\n    <character>GLEN<\/character>\n    <dialogue>And you are?<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(irritated)<\/parenthetical>\n    <dialogue>I'm Lee Israel.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 11. CONTINUED:<\/scene_description>\n    <character>GLEN<\/character>\n    <dialogue>Oh, Ms. Israel. I do recognize you now. In fact, your latest work is right over there!<\/dialogue>\n    <scene_description>He points to a table of books with a sign \"75 percent off.\" Displayed is several copies of Estee Lauder: Behind the Magic.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>You rude little ape. What have you ever written?<\/dialogue>\n    <scene_description>She turns to leave.<\/scene_description>\n    <character>GLEN<\/character>\n    <dialogue>Hey, get your garbage off my counter!<\/dialogue>\n    <scene_description>He pushes her books away from him and some fall onto the floor. She scoops them up protectively.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT BUILDING - ENTRYWAY - DAY<\/stage_direction>\n    <scene_description>Lee enters her building, and upon seeing Andrei, 50s Romanian, tries to turn around and go right back out, but he calls out. MS. ISRAEL!:<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Hi, Andrei.<\/dialogue>\n    <character>ANDREI<\/character>\n    <dialogue>I knock on your door but you never answer. We're going on three months.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>No, I know. I'm really sorry about that. I'm working on it.<\/dialogue>\n    <character>ANDREI<\/character>\n    <dialogue>I don't want to have to call the management.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Can you cut me a little slack? It's been a rough patch. I just lost my job. I think it was ageism.<\/dialogue>\n    <character>ANDREI<\/character>\n    <dialogue>Can't you write another book?<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 12. CONTINUED:<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Last one was a bit of a calamity.<\/dialogue>\n    <character>ANDREI<\/character>\n    <dialogue>I like you, you've been here longer than I have, and you've always been kind to my mother. Just get it to me soon.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I will. Absolutely. Thank you.<\/dialogue>\n    <scene_description>Andrei start to walk away.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>But hey, in the meantime, do you think you could get an exterminator in my apartment? I've got an untenable fly situation.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Lee drinks coffee and reads the newspaper. She glances briefly at a framed letter on her wall. Reluctantly, she goes to it, takes it from the wall, examining it. It's a framed letter from Kathryn Hepburn. Lee sighs. She knows what she has to do, but she doesn't like it. She takes the letter off the wall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TWELVETREES BOOKSELLER - DAY<\/stage_direction>\n    <scene_description>Lee walks down the street and enters a beautiful shop with First Edition Books and Framed Prints in the window.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TWELVETREES BOOKSELLER - DAY<\/stage_direction>\n    <scene_description>Inside the dark and cozy store, Lee stands before ANNA, 40, as she reads the Katherine Hepburn letter.<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>Lee, Today was to have been the Esquire shoot with Spence. Difficult days, these. Thank you for your sympathy and understanding. Ever Yours, Kate. P.S. Forgive the splotches. All tears lately.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Such a lovely apology.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>CYEFM Final Shooting Draft 3\/13\/17 13.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>This is very special. Why would you part with it?<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Clutter, you know. I'm not a very sentimental gal.<\/dialogue>\n    <character>ANNA<\/character>\n    <parenthetical>(appreciatively)<\/parenthetical>\n    <dialogue>Handwritten even. You're the Lee Israel?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Oh, Jesus. Is there another?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I've read your biographies!<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Have you?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>You're a wonderful writer.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Thank you. Can you remind my publisher?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Working on anything new?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Besides my tan?<\/dialogue>\n    <scene_description>Anna smiles.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>So, how did this letter come about?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I wrote for some magazines a while ago - it was going to be a piece on her and Spencer Tracy - but then he died.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Well, her letters usually have the intimacy of a phone book, but this one is really nice.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>How does one seventy five sound?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Sounds terrific.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 14. CONTINUED: (2)<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>If you ever are feeling sentimental, you can come visit it!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>She takes out a can of cat food and opens it.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>I got you the good stuff, you old snob!<\/dialogue>\n    <scene_description>She puts it in a bowl on the floor, but the cat doesn't move.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>It's the fancy feast.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JULIUS' BAR - AFTERNOON<\/stage_direction>\n    <scene_description>Jack enters.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JULIUS' BAR - AFTERNOON<\/stage_direction>\n    <scene_description>Lee sits drinking, headphones on. Someone takes the seat near her but she doesn't look up. He's about 50, queer and charming. He's JACK HOCK. He gets the attention of CRAIG, the bartender.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Good afternoon, darling. Can I have a beer?<\/dialogue>\n    <character>CRAIG<\/character>\n    <dialogue>Hi Jack, handsome, I don't know, can you?<\/dialogue>\n    <scene_description>Jack quickly pulls out a twenty and puts it on the bar. Craig goes to get the beer. Jack recognizes Lee.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Lee Israel!?<\/dialogue>\n    <scene_description>Lee turns and then recoils, never liking to have to talk to anyone. She struggles to pull out a name, taking off her headphones reluctantly.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>It's Jack Hock! And the last time I saw you we were both pleasantly pissed at a horrible book party. Am I right?<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 15. CONTINUED:<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>It's flooding back to me. You were friends with Julia -<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Steinberg. She's not an agent anymore. She died.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>She did? So young.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Or maybe she didn't die. Maybe she just moved to the suburbs - I always confuse those two. No, that's right. She got married and had twins.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Better to have died.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Indeed.<\/dialogue>\n    <parenthetical>(excited)<\/parenthetical>\n    <dialogue>I just came from having my teeth bleached. How do they look?<\/dialogue>\n    <scene_description>He smiles wide. His teeth are almost too white.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Why would you do that?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Teeth are a dead give-a-way.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Let me buy you a drink. Even though you're the posh writer.<\/dialogue>\n    <scene_description>He signals to the bartender.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Well, thank you. I'm trying to remember that party you mentioned. Something keeps flashing in my mind. Something that happened but I can't put my finger on it.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Bad shrimp?<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 16. CONTINUED: (2)<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Jack Hock, you said?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>That's me. The renegade, the rebel. Jack Hock. Big cock.<\/dialogue>\n    <scene_description>He flashes his smile. Lee thinks.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>It will come back to me.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I'll try not to be offended. We've been shit faced drunk together more than once, but...<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>My memory is shot. Don't take it personally.<\/dialogue>\n    <scene_description>Craig drops a drink for Lee.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>How has life been treating you?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I can actually boast that I've been banned from Crosby Street Booksellers.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What did you do?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I did nothing. People are idiots.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm banned from Duane Reade.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>All of them.<\/dialogue>\n    <scene_description>She glares at him.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>I have a little shoplifting problem.<\/dialogue>\n    <scene_description>Lee moves her bag to other side of her stool.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>All in the past. But for some reason I have a very memorable mug.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 17. CONTINUED: (3)<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Now I have to take a bus just to buy shampoo or aspirin or something.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm joking. Duane Reade's not the only rodeo in town.<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(dawning on her)<\/parenthetical>\n    <dialogue>You pissed in the closet!<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I did what?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I remember now. Nobody could stop talking about the handsome English gentleman-<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Why thank you-<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Who was so shit-faced he mistook the coat closet for the can. You ruined thousands of dollars worth of furs.<\/dialogue>\n    <scene_description>Jack is caught, unsure how this will go over.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Well, I-<\/dialogue>\n    <scene_description>But Lee loves this story.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Those old ninnies didn't know what had hit them! Their disgusting furs, all covered with piss. Dogs were following them home. I laughed about that for weeks.<\/dialogue>\n    <scene_description>Jack starts laughing along with Lee.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Well I'm glad somebody found it amusing.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>A few folks stopped talking to me after that night.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Fuck 'em.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Cheers.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 18. CONTINUED: (4) They cheers.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>So, do you work, Jack Hock?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>This and that. Mostly that.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I happen to have some very nice coke, if you're interested.<\/dialogue>\n    <scene_description>She looks at him, appalled.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Jesus, it's not like I have it all the time. A boy's gotta do what a boy's gotta do.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Anyways, who are you to judge? It's four in the afternoon and you're drunk.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I'm hardly drunk. And it's not \"anyways,\" it's just \"anyway.\"<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Well keep drinking then. The day is young.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JULIUS' BAR - NIGHT<\/stage_direction>\n    <scene_description>They come out and walk. CYEFM Final Shooting Draft 3\/13\/17 19.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY - NIGHT<\/stage_direction>\n    <scene_description>Lee and Jack ride the subway.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>You get out the next stop?<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(nodding)<\/parenthetical>\n    <dialogue>79th. You?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I'll get out there. That works.<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>I think I saw you in Zabar's once. You were shouting at someone.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Terrible customer service. Been going there for years.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>They have really good bread.<\/dialogue>\n    <scene_description>They both nod comfortably.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A27 EXT. GLEN'S APARTMENT - NIGHT A27<\/stage_direction>\n    <scene_description>A MAN (Glen) comes out of an apartment building with an adorable puppy and attaches it to a leash.<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>Come on, Coco. You're such a good girl.<\/dialogue>\n    <scene_description>Lee stares at him and taps Jack.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>That's the guy - the guy from Crosby Street Booksellers!<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>They watch as he affectionately kisses his dog.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Who knew he was human.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>You got a paper and pen?<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 19A. A27 CONTINUED: A27<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <scene_description>Lee reaches into her bag and gives him what he needs. He goes into the vestibule of the guy's building and looks to be copying names off the buzzer list.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UPPER WEST SIDE STREET - NIGHT<\/stage_direction>\n    <scene_description>They approach Lee's building.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>This is me.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Nice place?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>It used to be nicer.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And you?<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 20. CONTINUED:<\/scene_description>\n    <character>JACK<\/character>\n    <parenthetical>(vague)<\/parenthetical>\n    <dialogue>Oh - a couple blocks up.<\/dialogue>\n    <scene_description>She reaches out to shake his hand.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Good-bye Jack. This was not unpleasant.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I'll see you tomorrow?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>You shall.<\/dialogue>\n    <scene_description>She goes into the building.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S LOBBY - CONTINUOUS<\/stage_direction>\n    <scene_description>She goes inside and after a moment, turns to see him through the glass door, standing there, looking kind of lost. After a moment, he walks off. OMITTED - (NOW SCENE A34) CYEFM Final Shooting Draft 3\/13\/17 21.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FANCY TOWNHOUSE - DAY<\/stage_direction>\n    <scene_description>Lee, dressed neatly, smooths down her hair and knocks on the door. LISA, 20s, answers. She seems put off by Lee's appearance, let's her in. Lisa leads Lee inside.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>The employment agency said this was an executive assistant position.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Your name's Lee, right?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Ms. Israel, if you don't mind.<\/dialogue>\n    <scene_description>MS. WHITMAN, a wealthy, intimidating woman in her 30s emerges from upstairs.<\/scene_description>\n    <character>MS. WHITMAN<\/character>\n    <dialogue>We do first names here. This is Lisa. I'm Ms. Whitman.<\/dialogue>\n    <scene_description>They shake.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MS. WHITMAN'S TOWNHOUSE - DAY<\/stage_direction>\n    <scene_description>In the enormous living room, Lee is holding a beige colored bra.<\/scene_description>\n    <character>MS. WHITMAN<\/character>\n    <dialogue>Go to Bendels on Fifth. There's two kinds, but both are under wire, 34B. One has lace on the sides and the other is plain. Get them in Apricot. It's new. If you can't find them ask Celeste, she'll help you. Buy four each. Bring that one with you just to make sure.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>You know Town shop is just across 86th?<\/dialogue>\n    <character>MS. WHITMAN<\/character>\n    <dialogue>Doesn't matter. And don't take a cab. Take the bus or better yet, take the subway. It's faster.<\/dialogue>\n    <scene_description>Lisa enters. CYEFM Final Shooting Draft 3\/13\/17 21A. CONTINUED:<\/scene_description>\n    <character>MS. WHITMAN<\/character>\n    <dialogue>Lisa, fill Lee in on some basics please.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 22. CONTINUED: (2)<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>So, what is your job?<\/dialogue>\n    <character>MS. WHITMAN<\/character>\n    <dialogue>That doesn't concern you. She does everything you don't do.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Of course.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY - DAY<\/stage_direction>\n    <scene_description>Lee is sitting on the subway with a Bendels bag in her lap. She's reading a book about Fanny Brice. A LITTLE GIRL (7 years old) is standing in front of her, staring at her. Lee tries to ignore her but eventually looks up at the kid. They stare at each other.<\/scene_description>\n    <character>LITTLE GIRL<\/character>\n    <dialogue>Are you a man?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Are you a gargoyle?<\/dialogue>\n    <scene_description>The STARTLED MOTHER yanks at her daughter's arm and pulls her away. Lee goes back to her book.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MS. WHITMAN'S APARTMENT - CORRIDOR - SAME DAY<\/stage_direction>\n    <scene_description>Lisa is showing Lee how to record things in a log book.<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>So you have to account for how you spend your time each day. If you make a phone call for her, write it here. If you make a phone call for yourself, write it there.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Is this for real?<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Everything I do, I write down?<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 23. CONTINUED:<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Going to the bathroom?<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You get paid at the end of each day, in cash.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Lovely.<\/dialogue>\n    <scene_description>Lisa goes to a drawer in the corridor and takes out two twenty dollar bills.<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>(off Lee's disappointed face)<\/parenthetical>\n    <dialogue>Ms. Whitman pays what she thinks is fair, considering it's under the table.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A34 EXT. STREET OUTSIDE OF CROSBY STREET BOOKSELLERS - DAY A34<\/stage_direction>\n    <scene_description>Across the street, Lee stands in a phone booth as Jack hands her the sheet of paper from the night before, with the list of names from the buzzer. She puts in a quarter and dials. As Lee speaks, they watch the front of the store.<\/scene_description>\n    <character>LEE<\/character>\n    <parenthetical>(in thick Long Island accent)<\/parenthetical>\n    <dialogue>Hello, I'm looking for the tall guy, the book buyer, Glen. Oh, hello, thank god! This is Lillian Schuster from the fourth floor. There's an emergency! The building's on fire. We're all outside! Oh my god it's horrible!... no, they're not letting us back in! You better come over and get your dog! I see flames coming out of your window right now! I think I hear the poor thing squealing!<\/dialogue>\n    <scene_description>They watch as Glen frantically trips out of the store and runs up the street. They crack up, gratified.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>That was very enjoyable.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Thoroughly.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 23A. A34 CONTINUED: A34<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>You do such a good voice!<\/dialogue>\n    <scene_description>Lee reaches into her pocket.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>I've got no jingle in my jeans. You got a token?<\/dialogue>\n    <scene_description>Put out, Jack looks through his change.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VETERINARIAN'S OFFICE - WAITING ROOM - DAY<\/stage_direction>\n    <scene_description>Lee sits with other PET OWNERS in the waiting room. A YOUNG GIRL is with her DOG.<\/scene_description>\n    <character>YOUNG GIRL<\/character>\n    <parenthetical>(to a Lady with cat carrier)<\/parenthetical>\n    <dialogue>She's so cute!<\/dialogue>\n    <character>WELL-DRESSED LADY<\/character>\n    <dialogue>Unless she's shredding the side of my sofa.<\/dialogue>\n    <character>YOUNG GIRL<\/character>\n    <dialogue>Oh, I guess that's not good.<\/dialogue>\n    <character>OLD MAN<\/character>\n    <dialogue>Cats. Not for me.<\/dialogue>\n    <scene_description>Lee leans over and pets the Old Man's OLD DOG.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>He's a good boy, isn't he?<\/dialogue>\n    <character>OLD MAN<\/character>\n    <dialogue>The best.<\/dialogue>\n    <character>WELL-DRESSED LADY<\/character>\n    <dialogue>He looks sick.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 24. CONTINUED:<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>Just needs a shot. He could use a bath but he doesn't like it.<\/dialogue>\n    <character>WELL-DRESSED LADY<\/character>\n    <dialogue>Pearl here isn't going to like getting de- clawed but it's going to happen anyway.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>It's cruel to de-claw your cat.<\/dialogue>\n    <character>WELL-DRESSED LADY<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>It's like walking on glass for the rest of their lives.<\/dialogue>\n    <character>YOUNG GIRL<\/character>\n    <dialogue>I haven't heard that.<\/dialogue>\n    <character>WELL-DRESSED LADY<\/character>\n    <dialogue>Well, tell that to my ten thousand dollar Ligne Roset.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I would, except it's an object.<\/dialogue>\n    <scene_description>The receptionist, Rachel, calls out.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Jersey Israel?<\/dialogue>\n    <scene_description>Lee gets up and goes to the counter.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Hi, Ms. Israel. Are you're able to pay for the tests?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>That's why I'm here.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You shouldn't de-claw.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Oh, it's harmless. Really.<\/dialogue>\n    <scene_description>Lee takes a deep breath.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MS. WHITMAN'S BEDROOM - ANOTHER DAY<\/stage_direction>\n    <scene_description>Lee is writing a letter by hand for Ms. Whitman while she dictates from her bed. CYEFM Final Shooting Draft 3\/13\/17 25. CONTINUED:<\/scene_description>\n    <character>MS. WHITMAN<\/character>\n    <dialogue>The event was clearly a success and I couldn't have succeeded without you. Your help and advice have been very generous and -<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Are you sure you want to use success two times?<\/dialogue>\n    <character>MS. WHITMAN<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>'Clearly a success and succeeded.'<\/dialogue>\n    <character>MS. WHITMAN<\/character>\n    <dialogue>I'm sorry, did I ask you for advice?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I just thought -<\/dialogue>\n    <character>MS. WHITMAN<\/character>\n    <dialogue>I have a Masters degree in English, Lee.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>And I'm a published author, Ms. Whitman.<\/dialogue>\n    <scene_description>Whitman sighs deeply, thinking she's being mocked.<\/scene_description>\n    <character>MS. WHITMAN<\/character>\n    <dialogue>Can we continue, please?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>MS. WHITMAN<\/character>\n    <dialogue>Now I lost my train of thought.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MS. WHITMAN'S LIBRARY - LATER THAT DAY<\/stage_direction>\n    <scene_description>Lee is at the large bookshelf organizing and dusting the books. Surprised, she finds her own book MISS TALLULAH BANKHEAD, and pulls it out. Lisa enters the room.<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Ms. Whitman doesn't like anyone touching the books.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 26. CONTINUED:<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>How can I possibly organize and clean them if I cannot touch them?<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>I mean, you know what I mean.<\/dialogue>\n    <scene_description>Ms. Whitman enters.<\/scene_description>\n    <character>MS. WHITMAN<\/character>\n    <dialogue>Lee, I need you to balance Natalie's checkbook.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Your teenager.<\/dialogue>\n    <character>MS. WHITMAN<\/character>\n    <dialogue>Yes, I've opened an account for her. She needs to learn responsibility.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>By me balancing her checkbook?<\/dialogue>\n    <scene_description>Ms. Whitman looks at her, coldly considering her.<\/scene_description>\n    <character>MS. WHITMAN<\/character>\n    <dialogue>If you want to borrow a book, simply ask before handling it.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I mentioned that I was a published author. This is my book.<\/dialogue>\n    <scene_description>Ms. Whitman inhales.<\/scene_description>\n    <character>MS. WHITMAN<\/character>\n    <dialogue>I get the sense you're not very happy here.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I'm giddy.<\/dialogue>\n    <character>MS. WHITMAN<\/character>\n    <dialogue>You're sarcastic and impolite.<\/dialogue>\n    <parenthetical>(beat, leaving)<\/parenthetical>\n    <dialogue>You'll be paid for your time here.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>If you can call it pay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FANCY TOWNHOUSE - DAY<\/stage_direction>\n    <scene_description>Lisa hands Lee two twenties and then slams the door. CYEFM Final Shooting Draft 3\/13\/17 27.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FANCY TOWNHOUSE - DAY<\/stage_direction>\n    <scene_description>Ms. Whitman is holding the Tallulah Bankhead book, looking with shock at Lee's photo on the back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MS. WHITMAN'S APARTMENT - CORRIDOR - CONTINUOUS<\/stage_direction>\n    <scene_description>Lisa silently reads Lee's log, mouth agape. 1:45 - 1:48. Took a dump and scratched my cunt. 3:22 - 3:26. Got fired. 3:27-3:28 Took another dump. Forgot to flush. Oops.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JULIUS' BAR - AFTERNOON<\/stage_direction>\n    <scene_description>Lee enters the bar, looks around, and sees Jack a few stools away. She sits away from him.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>I rang you and you didn't ring me back. Should I take it personally?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Why wouldn't you?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I'd never get out of bed.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>And lucky for me, you did.<\/dialogue>\n    <scene_description>She's somewhat entertained by him, in spite of herself.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>I'm coming to sit next to you because I'm not very good at social cues.<\/dialogue>\n    <scene_description>He moves next to her and Lee speaks to Craig, the bartender.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Scotch, water, Craig. And I'll buy his next one.<\/dialogue>\n    <character>CRAIG<\/character>\n    <dialogue>You got it.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Oh, things are looking up!<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Got shit-canned again.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 28. CONTINUED:<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>That is exactly the reason I don't get a job.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You're a successful writer. Aren't you writing a book?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>On Fanny Brice.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Just the greatest vaudeville comedian of her time. You sure you're a fag?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A41 EXT. LINCOLN CENTER LIBRARY - DAY A41<\/stage_direction>\n    <scene_description>Lee crosses into the large library.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LINCOLN CENTER LIBRARY - DAY<\/stage_direction>\n    <scene_description>The table is covered with articles and books. Lee is taking notes on a pad. She separates some papers and finds TWO TYPED LETTERS SIGNED BY FANNY BRICE. Her eyes widen. She looks around - to let someone know the letters don't belong here - and then she changes her mind. She reads them with a kind of secret thrill. She glances around the room, relieved that no one is looking her way. Quickly, she drops the letters into her canvas bag.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TWELVETREES BOOKSELLER - DAY<\/stage_direction>\n    <scene_description>Anna greets Lee as she enters the shop.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Oh, hi Lee. Nice to see you again.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>You as well.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>How've you been?<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 29. CONTINUED:<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Well, I've discovered that my cousin Sydney was in possession of this delightful bonne bouche. I thought you might be interested in it.<\/dialogue>\n    <scene_description>She hands her one of the Fanny Brice letters, protected in plastic.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Fanny Brice. One of my favorites.<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(finally!)<\/parenthetical>\n    <dialogue>I've been working on a new biography on her.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>What a funny coincidence then, that your cousin had this!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Well, she's much more your style than Estee Lauder.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Right? Thank you.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Didn't she say \"Wrong is for other people.\"? I love that.<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(impressed)<\/parenthetical>\n    <dialogue>She did.<\/dialogue>\n    <scene_description>Anna smiles and looks to the letter.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Well, what do you think?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I believe I could sell this.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I could offer you seventy five.<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(disappointed)<\/parenthetical>\n    <dialogue>Oh.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I could pay more for better content. It's a bit bland, is all.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 30. CONTINUED: (2)<\/scene_description>\n    <character>LEE<\/character>\n    <parenthetical>(glancing at the letter)<\/parenthetical>\n    <dialogue>True.<\/dialogue>\n    <scene_description>Anna goes to write a check.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Would you be able to pay cash?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Let me see if I have enough.<\/dialogue>\n    <parenthetical>(she checks a drawer)<\/parenthetical>\n    <dialogue>I'm glad to hear you're writing another book! I'll be the first to buy it. Did you hear Tom Clancy is going to get paid 3 million dollars to write more right- wing macho bullshit? What is the state of the literary world?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Are you kidding me? That blowhard is getting paid three million dollars?<\/dialogue>\n    <scene_description>Anna is taken aback by Lee's reaction.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Everyone thinks they can be a writer, I guess. Oh to be a white male, who doesn't know he's full of crap, huh?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Oh - I totally agree. Why do we celebrate the famous over the actual great writers of our day? The culture is dying.<\/dialogue>\n    <scene_description>Lee is struck by how Anna is saying exactly what she feels.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>My sentiments exactly.<\/dialogue>\n    <character>ANNA<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I've tried to write a little. Short stories. And I know better than to presume they're any good.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I can't believe I just admitted that! I'm sure they're terrible.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 31. CONTINUED: (3)<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Maybe they are, maybe they're not.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Let me take a look.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I'll be honest.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Unfortunately, I believe you!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARJORIE'S OFFICE - LATER THAT DAY<\/stage_direction>\n    <scene_description>Lee barges into Marjorie's office, leaving the door open.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>I hear they got Tom Clancy three million dollars to write some more red-baiting propaganda?<\/dialogue>\n    <character>MARJORIE<\/character>\n    <dialogue>Lee - I've had too long a morning already for this.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>He's a fraud.<\/dialogue>\n    <character>MARJORIE<\/character>\n    <dialogue>What is your point?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>He was drinking sherry at your party. No self-respecting writer would drink sherry.<\/dialogue>\n    <character>MARJORIE<\/character>\n    <dialogue>Oh lord, Lee.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I need an advance for my Fanny Brice book. I need you to get me ten thousand dollars. I am months behind in my rent and my cat is sick and isn't that why I have an agent?<\/dialogue>\n    <character>MARJORIE<\/character>\n    <parenthetical>(losing her cool)<\/parenthetical>\n    <dialogue>I can't get you an advance like that, Lee. I just can't.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 32. CONTINUED:<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Give me one reason why that cocky shit would get three million dollars and you can't get me ten thousand? Are you that bad of an agent?<\/dialogue>\n    <character>MARJORIE<\/character>\n    <parenthetical>(calling to her assistant in the adjoining room)<\/parenthetical>\n    <dialogue>Toni, can you please close the door? Ms. Israel and I have some sensitive business to discuss.<\/dialogue>\n    <scene_description>The door closes behind Lee.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>I'd hate for her to hear a grown up conversation.<\/dialogue>\n    <character>MARJORIE<\/character>\n    <dialogue>I'll give you three reasons. Number one Tom Clancy's famous.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Well here we go.<\/dialogue>\n    <character>MARJORIE<\/character>\n    <dialogue>I can't get an advance for you because nobody has ever heard of you- you've written some successful biographies, sure, and you disappeared behind your subjects, but that means nobody knows who you are!<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Because I did my job!<\/dialogue>\n    <character>MARJORIE<\/character>\n    <dialogue>Number two - Tom Clancy goes on every radio show, on Larry King, to every book signing and he plays the game, he hobnobs. Meanwhile, you've burned every bridge I've made for you. You're impossible to work with and everybody knows it.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>See, this feels beside the point. If I'm a good writer-<\/dialogue>\n    <character>MARJORIE<\/character>\n    <dialogue>Number three- nobody wants a book about Fanny Brice.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 33. CONTINUED: (2)<\/scene_description>\n    <character>MARJORIE<\/character>\n    <dialogue>There's nothing new and sexy about Fanny Brice. Nobody will give you a ten DOLLAR advance for a book about Fanny Brice!<\/dialogue>\n    <scene_description>Lee is shocked, but also kind of impressed. She sits.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>I had a book on the New York Times best seller list. That has to count for something.<\/dialogue>\n    <character>MARJORIE<\/character>\n    <dialogue>I've known you a long time, Lee. It hurts me to have to say this all to you.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Tell me what to do, then, Marjorie. I have to do something. I will take anything! Magazine pieces, crackerbox copy. I'm not trying to get rich here, I'm just trying to survive.<\/dialogue>\n    <character>MARJORIE<\/character>\n    <dialogue>The way I see it you have two options- either you become a nicer person, who gets along with others. You put on a clean shirt, you stop drinking, you say \"please\" and \"thank you\"-<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Oh you've got to be fucking kidding me-<\/dialogue>\n    <character>MARJORIE<\/character>\n    <dialogue>Which doesn't seem like it's going to happen. OR - you take the time to become a name that people know, and then maybe, maybe I will be able to get you paid again.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>How the hell am I supposed to do that? I'm a 51 year old woman who likes cats more than people. That's not \"hot and sexy\", as you'd say.<\/dialogue>\n    <character>MARJORIE<\/character>\n    <dialogue>Write your book. Something for you, in your voice.<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(scoffing)<\/parenthetical>\n    <dialogue>Well-<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 34. CONTINUED: (3)<\/scene_description>\n    <character>MARJORIE<\/character>\n    <dialogue>You've been saying you were going to do it for ten years.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Well, I would love to, that sounds delightful Marjorie, but I need money yesterday. I have to pay my bills. We don't all have ex-husbands who left us a classic six on the park.<\/dialogue>\n    <scene_description>Marjorie shakes her head, offended and exhausted.<\/scene_description>\n    <character>MARJORIE<\/character>\n    <dialogue>You can be an asshole if you're famous. You can't be unknown and be such a bitch, Lee.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Nobody is going to pay for the writer Lee Israel right now. So I suggest you find another way to make your living.<\/dialogue>\n    <scene_description>Lee thinks about this.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Lee sits in front of her typewriter. She stares at the blank page, contemplating. She types: \"This is me sitting down to fucking write\". And stops. She glances at the other Fanny Brice letter sitting nearby, taunting her. She picks up the Fanny Brice letter and compares the typeface. It matches. She zips the sheet from the typewriter and rolls the Fanny Brice letter into it. She scrolls down and adds a P.S. P.S. I have a new Grandkid, and he got my old nose. Do I have to leave him an extra something for repairs? She smiles, and then heartily laughs to herself. It's a good joke.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TWELVETREES BOOKSELLER - DAY<\/stage_direction>\n    <scene_description>Anna and Lee are sitting in the back of the store. Anna is laughing, reading the letter. She's not aware of Lee's anxiety.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Who writes like that? Only Fanny Brice, right?<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 35. CONTINUED:<\/scene_description>\n    <character>LEE<\/character>\n    <parenthetical>(pleased with herself)<\/parenthetical>\n    <dialogue>It's a good one, isn't it?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Oh, my father would enjoy this. He relished a good self-depreciating joke.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>This was his store.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Oh?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>For forty years. He passed away.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>And now it's yours.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Yup. I kind of grew up in here.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>It's very beautiful.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>A few of the shops are hanging on. But Barnes and Noble is killing us. It's probably good he's not around to see it. He hated chain stores. His customers were very loyal, though. They would sit right here and drink scotch together.<\/dialogue>\n    <scene_description>She reaches into a drawer and removes a bottle of scotch. Then runs off and returns with two glasses.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Indeed.<\/dialogue>\n    <scene_description>Anna pours and they toast.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>I can definitely sell this one for a lot more. I mean, the P.S. makes it priceless!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>How's three fifty?<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 36.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VETERINARIAN'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Rachel has laid out three bottles of prescription pills in front of Lee.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>One of each, two times a day, in her food. The infection will probably go away in a day or two, but keep giving her the pills, they'll help stabilize her.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT BUILDING HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Lee is handing Andrei cash in his doorway.<\/scene_description>\n    <character>ANDREI<\/character>\n    <dialogue>Keep it coming, Ms. Israel. I don't want to be the bad guy.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>And here. Your mother needed milk.<\/dialogue>\n    <scene_description>She gives Andrei a grocery bag. Adina appears.<\/scene_description>\n    <character>ADINA<\/character>\n    <dialogue>Thank you, Ms. Israel.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>You're very welcome. Your hair looks good today.<\/dialogue>\n    <character>ADINA<\/character>\n    <dialogue>Oh, no.<\/dialogue>\n    <character>ANDREI<\/character>\n    <dialogue>You still having insect problems?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>It's awful. Dead flies everywhere!<\/dialogue>\n    <character>ANDREI<\/character>\n    <dialogue>I'm going to take care of it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JULIUS' BAR - NIGHT<\/stage_direction>\n    <scene_description>Lee and Jack are drunk, spending the last of her earnings.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>So what did you do this time?<\/dialogue>\n    <parenthetical>(off her confusion)<\/parenthetical>\n    <dialogue>I'm assuming you got sacked from yet another tedious job? Is that not why we are drinking?<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 37. CONTINUED:<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>This is a celebratory session of drinking, not a wallowing one.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>It's hard to tell the difference with you. No offense.<\/dialogue>\n    <scene_description>Lee smirks.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>I've figured out a way to pay my bills without shovelling shit. It's a good feeling.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Well, chin-chin!<\/dialogue>\n    <parenthetical>(he lifts his glass)<\/parenthetical>\n    <dialogue>You going to tell me how?<\/dialogue>\n    <scene_description>Lee smiles to herself.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>You'd be too scandalized.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Oh MY! You clearly don't know me well.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>No. Some things are better kept to oneself.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Even if it is sort of brilliant.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Oh come on, spill!<\/dialogue>\n    <scene_description>Lee looks around. She can't keep it inside any longer.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Alright fine, can you keep a secret?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I have no one to tell. All my friends are dead.<\/dialogue>\n    <scene_description>This registers on Lee for a moment, then passes.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Quite by accident, I've found myself in a rather criminal position.<\/dialogue>\n    <scene_description>Jack perks up. CYEFM Final Shooting Draft 3\/13\/17 38. CONTINUED: (2)<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>I can't fathom what crime you are possibly committing. Except a crime of fashion, of course.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I've been embellishing documents, if you will.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(intrigued, conspiratorially)<\/parenthetical>\n    <dialogue>Are you forging checks?<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(excited, topping him)<\/parenthetical>\n    <dialogue>No. Literary letters! From famous writers.<\/dialogue>\n    <scene_description>Jack is disappointed.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>So... Not checks? Not money? Just letters?<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(frustrated)<\/parenthetical>\n    <dialogue>You don't understand the elite world of collectable literary artifacts.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I suppose I don't.<\/dialogue>\n    <parenthetical>(sarcastically)<\/parenthetical>\n    <dialogue>How thrilling. You're forging pieces of paper that go where? Libraries?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I sell them to collectors.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>How much are you getting for them?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I shouldn't have told you. What a waste of a secret. I could have told a rock and gotten a better response.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What if you get caught?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I can't get caught. Fools get caught.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 39. CONTINUED: (3)<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>I've heard that before!<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Am I the first person you've told?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>You aren't the only one without friends.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Don't you have a girlfriend or something? Some bit of fluff? Some lovely hanger-on?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>That would be you.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I remember you had someone.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>We broke up. She was a pain in my ass.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>She wanted things.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Like what? Money?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>She wanted me to listen to all her problems, and be closer with her friends. Things like that.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>The nerve.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I haven't been in a relationship for so long. It's really hard to meet someone at my age. I'm losing my hair.<\/dialogue>\n    <scene_description>He pulls back his hair to show her where it's receding.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>I don't think that's the reason.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm thinking about getting my eyes done.<\/dialogue>\n    <scene_description>He turns to her, square on. CYEFM Final Shooting Draft 3\/13\/17 40. CONTINUED: (4)<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Should I?<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(deadpan)<\/parenthetical>\n    <dialogue>Should I?<\/dialogue>\n    <scene_description>They both stare at each other's faces.<\/scene_description>\n    <character>JACK<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>No point.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Asshole.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANTIQUARIAN BOOK FAIR - DAY<\/stage_direction>\n    <character>A LARGE BANNER READS \"P.S.3 GREENWICH VILLAGE ANTIQUARIAN<\/character>\n    <dialogue>BOOK FAIR\" Lee and Jack pass under it.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Oh god, I hope they serve booze.<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(annoyed)<\/parenthetical>\n    <dialogue>They most certainly do not serve booze. But maybe you can find some coke.<\/dialogue>\n    <scene_description>Lee and Jack wander around the packed, noisy event, taking it all in. Dealers at tables and DOZENS OF PEOPLE shopping. Crazy people, normal people, all kinds.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>You're going to figure who to forge?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I don't forge. I wrote a couple of hot sentences.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>We're people watching.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(disbelieving)<\/parenthetical>\n    <dialogue>Yeah, right.<\/dialogue>\n    <scene_description>Jack is drawn to a table covered in SIGNED HEAD SHOTS OF MOVIE STARS. He picks up a photo of young LAURENCE OLIVIER.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Oh my god - I loved him.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 41. CONTINUED:<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Maybe he's available.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Isn't he dead? He'd be very old by now.<\/dialogue>\n    <scene_description>Lee glares at him.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Don't look at me like that. So I don't keep up. So what.<\/dialogue>\n    <scene_description>They approach a table named HARRY'S COLLECTIBLES. Jack lifts a signed autograph and looks at the VENDOR, HARRY.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>How much is this?<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Two hundred.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>How do you know he really signed it?<\/dialogue>\n    <character>HARRY<\/character>\n    <parenthetical>(defensive)<\/parenthetical>\n    <dialogue>It's authenticated.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>By whom.<\/dialogue>\n    <character>HARRY<\/character>\n    <parenthetical>(annoyed)<\/parenthetical>\n    <dialogue>By an authenticator.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Who authenticates the authenticator?<\/dialogue>\n    <scene_description>Harry turns away to another customer. Lee and Jack wander away, laughing. Lee wanders and Jack follows, collecting the business cards off the tables that sell signed letters. She smiles at the Vendors, perusing their wares.<\/scene_description>\n    <character>ANGLE ON<\/character>\n    <dialogue>THE ARGOSY BOOK SHOP TABLE<\/dialogue>\n    <dialogue>Lee and Jack are looking over the signed letters and autographed first editions. A woman, NELL, is the vendor.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 42. CONTINUED: (2)<\/scene_description>\n    <character>NELL<\/character>\n    <dialogue>Are you looking for anyone in particular?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Not really. You have a wonderful collection.<\/dialogue>\n    <scene_description>Lee is looking at a letter by NOEL COWARD.<\/scene_description>\n    <character>NELL<\/character>\n    <dialogue>Such a hoot, isn't he?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Brilliant.<\/dialogue>\n    <character>NELL<\/character>\n    <dialogue>Oh, take a look at this beauty. I just got a hold of this one - Dorothy Parker.<\/dialogue>\n    <scene_description>She hands Lee a framed letter by Dorothy Parker. Lee reads.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>I was born thirty years too late.<\/dialogue>\n    <character>NELL<\/character>\n    <dialogue>I feel the same way.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>How much is that?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>We're not buying today. Just looking.<\/dialogue>\n    <character>NELL<\/character>\n    <dialogue>No problem. I'm asking six hundred.<\/dialogue>\n    <scene_description>WOW.: Lee blanches, embarrassed by him. She glances down at the letter again.<\/scene_description>\n    <character>NELL<\/character>\n    <dialogue>Just in case you are tempted, make sure you do your homework. Not all of the other dealers are as discerning as we are.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Oh?<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 43. CONTINUED: (3)<\/scene_description>\n    <character>NELL<\/character>\n    <dialogue>Some care more than others about getting the real thing.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Just so we know, who should we be looking out for?<\/dialogue>\n    <scene_description>NELL looks around and points to a MAN, 40, some distance away. He stands behind a table that has many customers.<\/scene_description>\n    <character>NELL<\/character>\n    <dialogue>That one. Not sure, but I'd stay away from him.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Well, thank you so much for the advice.<\/dialogue>\n    <character>NELL<\/character>\n    <dialogue>Take care.<\/dialogue>\n    <scene_description>NELL moves off to help someone else and they walk on.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>You need to keep your mouth shut.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What did I do?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT BUILDING - LOBBY - AFTERNOON<\/stage_direction>\n    <scene_description>She and Jack enter her building and find Andrei and the EXTERMINATOR.<\/scene_description>\n    <character>ANDREI<\/character>\n    <dialogue>Oh, good. He just did the third floor. Let's go to your place.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Finally. These flies are making me crazy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEE'S APARTMENT DOOR - MOMENTS LATER<\/stage_direction>\n    <scene_description>Lee unlocks her front door and walks inside. Jack, Andrei and the exterminator follow behind.<\/scene_description>\n    <character>EXTERMINATOR<\/character>\n    <dialogue>Whoa!<\/dialogue>\n    <scene_description>Andrei and the exterminator immediately turn around and walk out. Jack stands next to Lee, frozen. CYEFM Final Shooting Draft 3\/13\/17 44. CONTINUED:<\/scene_description>\n    <character>EXTERMINATOR<\/character>\n    <dialogue>I'm not going in there. It smells horrible.<\/dialogue>\n    <scene_description>He looks around at the messy place. Dirty dishes, garbage, newspapers, and apparently, a terrible smell.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>What? Let me show you the dead flies. They're everywhere!<\/dialogue>\n    <character>EXTERMINATOR<\/character>\n    <dialogue>Sorry, lady. I'll come back when it's cleaned up.<\/dialogue>\n    <character>ANDREI<\/character>\n    <dialogue>What's going on in there?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Nothing! I'll clean up.<\/dialogue>\n    <scene_description>They walk away. Jack looks at Lee with pity. She's humiliated, but doesn't understand the problem.<\/scene_description>\n    <character>JACK<\/character>\n    <parenthetical>(gently)<\/parenthetical>\n    <dialogue>It smells very bad.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>You think I'm deaf? I heard them. Jesus. I'll do a little straightening!<\/dialogue>\n    <scene_description>She shuts the door on him, turns around and surveys the place.<\/scene_description>\n    <character>JACK (O.S.)<\/character>\n    <parenthetical>(through the door)<\/parenthetical>\n    <dialogue>You want me to help you? Come on, I'll help you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S BEDROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Lee crouches down and looks under her bed.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>It's in here.<\/dialogue>\n    <scene_description>There, along with a million dust bunnies, is a month's worth of cat shit. CYEFM Final Shooting Draft 3\/13\/17 45.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S BEDROOM - AFTERNOON<\/stage_direction>\n    <scene_description>Lee is dragging a broom across the cat shit. Jack holds a garbage bag open and she dumps it all in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S KITCHEN - LATER<\/stage_direction>\n    <scene_description>Drinking wine, she washes dishes and wipes dead flies onto her sponge. Jack sweeps the living room. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S BEDROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>A drunk Lee sits on her bed on the phone.<\/scene_description>\n    <character>MARIE'S VOICE<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Hello? Elaine?<\/dialogue>\n    <character>MARIE'S VOICE<\/character>\n    <dialogue>Who is this?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Who is this?<\/dialogue>\n    <character>MARIE'S VOICE<\/character>\n    <dialogue>You called me.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>What's your name?<\/dialogue>\n    <character>MARIE'S VOICE<\/character>\n    <dialogue>What's your name?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Harrison Ford!<\/dialogue>\n    <parenthetical>(alt: Elaine Stritch)<\/parenthetical>\n    <dialogue>Who the hell are you?<\/dialogue>\n    <scene_description>Lee slams down the phone. Jack appears in the doorway eating take-out fried chicken. She gives him a mischievous look and she picks up the phone again. She dials.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Hello, is Marjorie there? It's Lee Israel.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 46. CONTINUED:<\/scene_description>\n    <character>MARJORIE'S ASSISTANT'S VOICE<\/character>\n    <dialogue>I'm sorry, she's unavailable right now.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I see. Will you leave word that I called? Thank you.<\/dialogue>\n    <scene_description>She hangs up and then dials again.<\/scene_description>\n    <character>MARJORIE'S ASSISTANT'S VOICE<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(in different voice)<\/parenthetical>\n    <dialogue>Good evening, I have Nora Ephron.<\/dialogue>\n    <character>MARJORIE'S ASSISTANT'S VOICE<\/character>\n    <dialogue>Certainly. One moment.<\/dialogue>\n    <character>MARJORIE'S VOICE<\/character>\n    <dialogue>Nora, hello!<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(in Nora's voice)<\/parenthetical>\n    <dialogue>Is this a good time?<\/dialogue>\n    <character>MARJORIE'S VOICE<\/character>\n    <dialogue>Of course. So wonderful to hear from you!<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(in her own voice)<\/parenthetical>\n    <dialogue>Star-fucker! Is that one word or two?<\/dialogue>\n    <scene_description>Lee slams down the phone.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>You sure you should be doing that?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Life's short.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>You're so good! You should be on vaudeville!<\/dialogue>\n    <scene_description>She smirks at him.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Who's Elaine?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Not your business.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 46A. CONTINUED: (2)<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Who're you going to call now?<\/dialogue>\n    <dialogue>CYEFM Final Shooting Draft 3\/13\/17 47.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VACUUM CLEANER STORE - DAY<\/stage_direction>\n    <scene_description>Walking down the street and referring to a slip of paper with an address scribbled, Lee finds what she's searching for: a shop full of junk and old typewriters in the window.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Books on Noel Coward cover the table. Lee is reading one of his biographies and taking notes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT - LATER<\/stage_direction>\n    <scene_description>She shuffles through some of her very old notebooks and boxes of blank stationary. For once she's glad she doesn't throw anything away. Pleased, she's unearths some very old, yellowed typing paper.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT - LATER<\/stage_direction>\n    <scene_description>At her desk, Lee inserts the sheet of paper into one of the newly purchased typewriter and rolls it in. She opens a nearby book for reference. It contains a reprint of a Noel Coward letter. She measures the letter carefully and how he spaces his words.<\/scene_description>\n    <character>LEE<\/character>\n    <parenthetical>(counting out loud)<\/parenthetical>\n    <dialogue>One two three four five spaces, fifteen space indent.<\/dialogue>\n    <scene_description>She turns to the typewriter and pauses. Then she thoughtfully begins to type on the blank sheet.<\/scene_description>\n    <character>LEE'S VOICE OVER<\/character>\n    <dialogue>My dear Billy, I fear I must decline your invitation as this weekend heralds the arrival of Marlene.<\/dialogue>\n    <scene_description>Lee smiles for the first time in a long time.<\/scene_description>\n    <character>LEE'S VOICE<\/character>\n    <dialogue>The canny old Kraut remains one of my most cherished friends, despite her predisposition to whining ad nauseam about her ageing process, as though she were the first gorgeous lady undone by Father Time...<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 48.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT - ANOTHER DAY<\/stage_direction>\n    <scene_description>We hear Lee's voice as she attempts to trace Noel Coward's signature.<\/scene_description>\n    <character>LEE'S VOICE<\/character>\n    <dialogue>Dear Sidney, I had no idea you knew Dottie Parker. A tragic loss but she has been dying for decades. Whether it was drink or chemistry or character, she was unable after a time to write anything and that made her sere and infinitely pathetic. My own friends are dropping like flies and I am thankful of late when they live through lunch.<\/dialogue>\n    <scene_description>Having a difficult time tracing, she tries to simply copy it but it looks shaky. She looks around her place and takes an interest in her ancient TV set.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT - MOMENTS LATER<\/stage_direction>\n    <scene_description>She is disemboweling it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT - JUST AFTER<\/stage_direction>\n    <scene_description>Lee has placed the shell of the TV over a small lamp with no shade. The bare bulb illuminates the screen and makes for a perfect light box. Lee places the original signature in the book on the screen and then her own letter. Easily and with flourish, she forges Noel Coward. It appears completely genuine. She signs another letter and stares at her work.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY - DAY<\/stage_direction>\n    <scene_description>Lee sits on the subway, anxiously holding an old brief case. She's dressed up a bit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARMADA BOOK SHOP - DAY<\/stage_direction>\n    <scene_description>Lee enters the charming store. The owner PAUL, 60's and nerdy, turns to see her.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Welcome.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 49. CONTINUED:<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Good afternoon. I'm aware that you sell memorabilia and first editions, as well as typed letters signed?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Yes, all of it. What can I do for you?<\/dialogue>\n    <scene_description>She removes the Coward letters from her briefcase, encased in a plastic sheath.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Would you be interested in these?<\/dialogue>\n    <scene_description>Paul takes the letters and reads them, chuckling.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>These are wonderful! Yes, I'd be very interested.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I have a cousin who was a collector. He asked me to sell some of his treasures so he can afford his early bird specials in Palm Beach.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Hard to find letters that have a real taste of the author's personality, but these do just that!<\/dialogue>\n    <scene_description>Lee can't help but smile.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Yes, I thought so myself. Very clever man.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I can give you two hundred for them. How does that sound?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Oh, I'm sorry. I'm afraid I could get at least double that elsewhere.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>(impressed)<\/parenthetical>\n    <dialogue>Okay. You're probably right. Name your price.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I think four hundred would be fair.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 50. CONTINUED: (2)<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Paul starts to write out a check.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Would you happen to have cash? My cousin closed out his accounts - it's complicated.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I think I've got it.<\/dialogue>\n    <scene_description>He hands her the cash.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Please, anything else you come across - bring it in. I have high-end clients that come in frequently. Or I call them if I have something I know they'll like.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Sure thing.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>In fact, I have a buyer who actually knew Mr. Coward. He's going to love this!<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Really?<\/dialogue>\n    <parenthetical>(tense)<\/parenthetical>\n    <dialogue>Wonderful.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A66 EXT. UPPER EAST SIDE STREET - DAY A66<\/stage_direction>\n    <scene_description>Lee walks with purpose, feeling the fresh victory of her recent sale.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COFFEE SHOP - DAY<\/stage_direction>\n    <scene_description>Lee enters.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COFFEE SHOP - CONTINUOUS<\/stage_direction>\n    <scene_description>Lee meets Jack - who looks tired and disheveled. She joins him in a booth and hands him a copy of one the letters she just sold.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>You're looking at one month's rent.<\/dialogue>\n    <scene_description>Jack reads a bit of the letter and looks at her, confused. CYEFM Final Shooting Draft 3\/13\/17 50A. CONTINUED:<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Who's Marlene?<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 51. CONTINUED: (2)<\/scene_description>\n    <character>LEE<\/character>\n    <parenthetical>(pronounced correctly)<\/parenthetical>\n    <dialogue>Marlene! Why am I even showing this to you.<\/dialogue>\n    <scene_description>She snatches it back, disgusted.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>How much did you get?!<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Four hundred for two.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>A little more than I just made.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I sold a little coke.<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(appalled)<\/parenthetical>\n    <dialogue>Right here? To whom!?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Some fool. It was mostly laxative. He just left.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Do me a favor. Keep me out of, and away from your seedy dealings.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>That's funny, coming from a woman who just sold someone a piece of paper for four hundred dollars.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>A piece of paper? It was literary genius, you dope. He couldn't believe how witty they were.<\/dialogue>\n    <scene_description>The WAITER with a name tag (KURT) comes up.<\/scene_description>\n    <character>KURT<\/character>\n    <parenthetical>(flirting)<\/parenthetical>\n    <dialogue>Hello ladies.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I resent that.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 52. CONTINUED: (3)<\/scene_description>\n    <character>JACK<\/character>\n    <parenthetical>(flirting back)<\/parenthetical>\n    <dialogue>Is the cinnamon roll sweet, or too sweet?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>It's perfect. If you don't like it, I'll eat it.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I'll have coffee.<\/dialogue>\n    <scene_description>Kurt is about to leave.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>And can you warm it up?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Of course I can.<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>How are you going to eat it with his dick in your mouth?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>First things first.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>You're shameless.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>He started it.<\/dialogue>\n    <parenthetical>(excited)<\/parenthetical>\n    <dialogue>So, now we both have some money. What should we do?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Gamble? Drink? Shop? I don't suppose you dance?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Unlike you, I actually try to put my money to good use. Like buying food and securing shelter.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I just thought we could do something. Life is dreary.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 53. CONTINUED: (4)<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>I know what we can do that'll be fun.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Did you just say 'fun?'<\/dialogue>\n    <scene_description>A68 OMITTED A68<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUNT ELEANOR'S CAT CAFE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Lee sits in the middle of the floor, thirty cats surround her on scratching posts and cat trees and elaborate cat houses. It's either someone's idea of heaven or someone's idea of Hell. Jack stands back, as an employee, PRISCILLA 20s, waits by the door.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>You've got to be kidding me. This is your answer to dreary<\/dialogue>\n    <character>PRISCILLA<\/character>\n    <dialogue>Have a good cuddle.<\/dialogue>\n    <scene_description>PRISCILLA leaves, closing the door. Lee, who has been here before, starts to say hello to different cats as they jump down and greet her. She sits on the carpet and they climb on her.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>A dyke who likes cats. How original.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Sit down. You allergic?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Not physically.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Then sit down.<\/dialogue>\n    <scene_description>Jack does as he's told. Reluctant at first, the cats go to him and he blanches. Slowly, he becomes comfortable and pets them.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Do they know you?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>No. But I've been coming here for years.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Don't spread it around.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 54. CONTINUED:<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>I won't. I'd be too embarrassed for you.<\/dialogue>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>I hate cats!<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I've only brought one other person here. It was kind of our \"thing.\"<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Oh... Elaine?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>She picked out Jersey for me and brought her home.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>You two stay in touch?<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I think she might be living with someone else.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I thought you dumped her. It's how you made it sound, anyway.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Well, it was messy. I don't know.<\/dialogue>\n    <parenthetical>(beat )<\/parenthetical>\n    <dialogue>I'm not exactly the picture of mental health, if you haven't noticed.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(teasing)<\/parenthetical>\n    <dialogue>What on earth could you be referring to?<\/dialogue>\n    <scene_description>Lee puts her face close to a cat on the floor.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Okay I've seen your idea of celebration. Tonight can I show you mine? Please?<\/dialogue>\n    <scene_description>Lee is wary.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EIGHTY-EIGHT'S PIANO BAR - NIGHT<\/stage_direction>\n    <scene_description>Lee and Jack enter the upscale gay piano bar, which is dripping with history. They head to a small round table. At the piano, is a true performer, one of the last of her breed, who sings the classics, with witty reparte between songs. She's singing \"Goodnight Ladies\". CYEFM Final Shooting Draft 3\/13\/17 55. CONTINUED:<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>There aren't go-go dancers, but I love this place.<\/dialogue>\n    <scene_description>Lee takes it all in, as they settle in to a small table. Jack can't read if Lee hates this place or not.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>We don't have to stay long. Can we just have one drink though?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>No. I like it. It's good.<\/dialogue>\n    <scene_description>Jack is pleased. Lee lets herself get swept away by the music, which continues over the next scenes.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Scotch and soda?<\/dialogue>\n    <scene_description>Lee nods. He gets up to get them drinks. From the bar he looks back and sees Lee swaying just barely to the music. She closes her eyes, enjoying this moment. He smiles to himself.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TWELVETREES BOOKSELLER - DAY<\/stage_direction>\n    <scene_description>Lee is chatting with Anna as she looks over a freshly typed Noel Coward letter. They're sitting at the table drinking scotch. A few CUSTOMERS browse the shop.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>My father was a huge Noel Coward fan. I can practically hear his voice. It's so him.<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(pointing to the letter)<\/parenthetical>\n    <dialogue>This line here is especially clever, don't you think?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>It's wonderful. I'm especially fond of his writing. Dorothy Parker as well. Caustic wit, you know?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Caustic wit is my religion.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I can't pull it off, but I admire those who can. You certainly can.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 56. CONTINUED:<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Doesn't help too well in the relationship department.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Ah. I'm sure that's not true.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You have family?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>ANNA<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>As in relatives.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>No, actually.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>That's too bad.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Relationships are complicated. I generally try to avoid them.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Is it possible?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>If you work at it.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Okay. Shall we settle up?<\/dialogue>\n    <scene_description>They walk to the counter. A curious customer, CHARLES, comes over.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>What are you buying?<\/dialogue>\n    <scene_description>Anna proudly shows the letter.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>Is this real?<\/dialogue>\n    <scene_description>Anna looks to Lee.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>I should say so!<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>To think his pen touched this paper.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 57. CONTINUED: (2) He reads the letter.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>A gem.<\/dialogue>\n    <parenthetical>(to Lee)<\/parenthetical>\n    <dialogue>Give her a good price.<\/dialogue>\n    <scene_description>Lee tries to hide her pleasure. The man wanders off to browse.<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>(considering)<\/parenthetical>\n    <dialogue>Three hundred?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Terrific.<\/dialogue>\n    <scene_description>Anna goes to the drawer.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>I know. Cash.<\/dialogue>\n    <scene_description>She hands Lee the money and writes out a receipt.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>This has my number - I mean the store's number -<\/dialogue>\n    <parenthetical>(shy)<\/parenthetical>\n    <dialogue>If you're ever in the neighborhood and you know, want to get a drink or a coffee sometime.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Sounds good. I would like that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A PRINTER - DAY<\/stage_direction>\n    <scene_description>The YOUNG CLERK holds up a piece of stationary monogrammed DOROTHY PARKER, along with a Hollywood address. He hands it to Lee.<\/scene_description>\n    <character>CLERK<\/character>\n    <dialogue>Came out well, don't you think?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Lovely.<\/dialogue>\n    <character>CLERK<\/character>\n    <dialogue>You didn't want a watermark, right?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Correct. I find them tacky.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 58. CONTINUED:<\/scene_description>\n    <character>CLERK<\/character>\n    <dialogue>Okay, Miss Parker, that will be thirty five fifty.<\/dialogue>\n    <scene_description>She looks up, startled, then smiles. She reaches for her purse.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Lee is writing on a typewriter labeled \"DOROTHY PARKER,\" when the phone rings. Placed around the room are typewriters labeled \"NOEL COWARD,\" \"EDNA FERBER,\" \"TENNESSEE WILLIAMS.\"<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>MALE VOICE<\/character>\n    <dialogue>Is Lee Israel there?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>This is she.<\/dialogue>\n    <character>MALE VOICE<\/character>\n    <dialogue>This is Alan Schmidt from East Village Books. I heard you have a collection of some impressive letters and I was hoping I could get a look.<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(guarded)<\/parenthetical>\n    <dialogue>Where do you work?<\/dialogue>\n    <character>MALE VOICE<\/character>\n    <dialogue>I own East Village Books. You think you might have any Louise Brooks? I got a lot of old timers around here who collect a strange variety of memorabilia. But I got no merchandise.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Louise Brooks... I'll have to go through what I have.<\/dialogue>\n    <character>MALE VOICE<\/character>\n    <dialogue>Great. Come by as soon as you do.<\/dialogue>\n    <scene_description>They hang up. Strange phone call. After a beat, she writes LOUISE BROOKS on a label and then returns to her writing.<\/scene_description>\n    <character>LEE'S VOICE<\/character>\n    <dialogue>Dear Joshua -- Alan told me to write and apologize. I have a hangover that is a real museum piece;<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 59. CONTINUED:<\/scene_description>\n    <character>LEE'S VOICE<\/character>\n    <dialogue>I'm sure that I must have said something terrible. To save me this kind of exertion in the future, I am thinking of having little letters runoff, saying: 'Can you ever forgive me? Dorothy.' -- But until I do that: Can you ever forgive me? Dorothy.<\/dialogue>\n    <scene_description>We see more labeled typewriters: \"FANNY BRICE\" and \"MARLENE DIETRICH.\" Lee beams as she types, pleased with herself.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Anna and Lee are sitting at a small table, chatting and drinking. Anna lifts her drink to toast Lee.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>To Fanny Brice, Noel Coward, and Dorothy Parker! May their brilliance live on!<\/dialogue>\n    <scene_description>They clink and drink.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>And to Lee. A brilliant writer who happens to still be alive!<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>That's negotiable.<\/dialogue>\n    <character>ANNA<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Wouldn't it be incredible if once you've passed on, people were selling your letters?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Why on earth would I want that?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Because. Most of us mortals just disappear. This way - you still kind of exist.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>When I die - who cares. As long as someone feeds my cat.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I'll feed your cat.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 60. CONTINUED:<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Anna hands her a napkin and finds a pen.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>I want to be the first. Come on. Immortalize yourself.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Are you serious?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Just sign it.<\/dialogue>\n    <scene_description>Lee picks up the pen.<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Gosh, calling a hangover a museum piece. Brilliant!<\/dialogue>\n    <scene_description>Lee freezes, does she mean her?<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Oh, I wish I could've met Dorothy Parker.<\/dialogue>\n    <scene_description>Relief.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>It's hard finding someone who knows who she was.<\/dialogue>\n    <scene_description>Lee signs the napkin and Anna takes it.<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>Humphrey Bogart? You're no fun.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>So I've been told.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Have you ever written about yourself?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Don't think I'd find myself that interesting.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I would. You should.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 61. CONTINUED: (2)<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>You're very flattering, Anna.<\/dialogue>\n    <scene_description>Anna reaches into her bag and pulls out an envelope.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>I can't believe I'm doing this, but here's one of my stories.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>You brought it with you.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I'm an idiot, I know.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I'll give it a read.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I've only taken a couple of classes so -<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Don't worry about it. I'm honored.<\/dialogue>\n    <scene_description>They look down at the menus and Anna puts on a pair of glasses.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>You wear glasses.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Only recently.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I like them. They look good on you.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I wasn't sure about the frames.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>They're nice.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I used to have perfect vision.<\/dialogue>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>Don't you love getting older and watching your parts - fall apart!<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>You're too young.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 62. CONTINUED: (3)<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Hardly. I really thought I'd have more accomplished by this time in my life.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>That's why you need to drink more alcohol.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I thought the shop was yours.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Yes, I inherited it. Truth be told, it's more pressure than I thought.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Oh?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>My father took a lot of pride in it. Almost too much! He was very choosy and almost snobbish about his inventory. I try to live up to that - run it how he would run it.<\/dialogue>\n    <scene_description>Silence. Lee has become more uncomfortable. She drinks quickly.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>So, you've been here before?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Couple of times.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Where did you grow up?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Woodside, Queens. My parents live in Florida, may they rest in peace.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I thought you didn't have family.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I also have a ridiculous brother in New Jersey. You?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I'm an only child. I'm close with a few of my cousins, though.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Oh, I have some cousins, I think.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 63. CONTINUED: (4)<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Not into the family thing?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I like my alone time.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Not every second though. You're here with me right now!<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Hey. I always need a drinking buddy.<\/dialogue>\n    <scene_description>But Anna's not sure if she likes that.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>They come out of the restaurant.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>This was fun. I think I'm a little tipsy. Are you?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Takes a lot more than that.<\/dialogue>\n    <character>ANNA<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>Oh no. Have I embarrassed myself?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>How did Dorothy say it? \"Can You Ever Forgive Me?\"<\/dialogue>\n    <scene_description>Anna looks at Lee, and there's a long silence.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>What? Did I say something wrong?<\/dialogue>\n    <scene_description>Lee, guilty, has a hard time looking at her.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>No, no. You didn't do anything wrong.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Oh. Good!<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Well, this was very nice.<\/dialogue>\n    <character>ANNA<\/character>\n    <parenthetical>(shy)<\/parenthetical>\n    <dialogue>It was. So nice to make a new friend.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 64. CONTINUED:<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Indeed.<\/dialogue>\n    <scene_description>Awkwardly, they hug.<\/scene_description>\n    <character>LEE<\/character>\n    <parenthetical>(business like)<\/parenthetical>\n    <dialogue>Speak soon?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And when I've read your story, I'll let you know. I'm just pretty busy these days so I might not get to it right away.<\/dialogue>\n    <character>ANNA<\/character>\n    <parenthetical>(disappointed)<\/parenthetical>\n    <dialogue>Oh, that's okay.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Good-night.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Good-night.<\/dialogue>\n    <scene_description>Lee turns and walks away. Anna stays there a second, tipsy and confused.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>She lies in bed (next to Jersey) reading. After a moment she pulls Anna's story from her bag and starts to read it. She can't do it. She tosses it and flips off the light.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S LIVING ROOM - MIDDLE OF THE NIGHT<\/stage_direction>\n    <scene_description>Having been awakened by banging on the door, Lee runs to it. She looks through the peephole and sees Jack with a bleeding lip and a bruised face.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>Jack sits on the toilet with a washcloth on his face while Lee searches the medicine cabinet.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>You need a new shower curtain, you know.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>You want to discuss decorating with me? Who beat you up?<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 65. CONTINUED:<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>It's my own fault.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I didn't have enough money and I didn't know until after - until it was too late.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I'm not even going to try and understand that.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I used to get away with so much. Do you think it will scar?<\/dialogue>\n    <scene_description>She finds the hydrogen peroxide and attends to his wounds. She stares at him.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>I couldn't find my keys, I couldn't get into my apartment.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>And where is said apartment?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>It was on 92nd. And then it was on 96th. And then...<\/dialogue>\n    <scene_description>Lee leaves the room.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>You can sleep on my couch.<\/dialogue>\n    <scene_description>He smiles, grateful. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A PRINTER - LATER<\/stage_direction>\n    <scene_description>The place is dusty and badly organized. Lee, holding the typewriter in its case, wanders down an aisle and notices piles of typewriter paper and stationery, stacked carelessly. Some of it is yellowed and old.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Lee writes a letter on that very paper. The table is littered with books about Louise Brooks and papers covered with Lee's notes. CYEFM Final Shooting Draft 3\/13\/17 66. CONTINUED:<\/scene_description>\n    <character>LEE'S VOICE<\/character>\n    <dialogue>Dear Paul, Your friend Barry was absolutely accurate in his predicting that cheap Charlie Chaplin would write a vulgar book for vulgar people.<\/dialogue>\n    <scene_description>Lee is smiling, enjoying herself.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EAST VILLAGE BOOKS - DAY<\/stage_direction>\n    <scene_description>Lee enters the shop.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EAST VILLAGE BOOKS - DAY<\/stage_direction>\n    <scene_description>A dusty and crowded store. The owner, ALAN SCHMIDT (45) is behind the counter finishing up with a customer. (He also happens to be the man NELL pointed to at the book fair when warning Lee).<\/scene_description>\n    <character>LEE'S VOICE<\/character>\n    <dialogue>The lies he tells about Paulette are understandable; she was a bitch in a ditch and he grew to hate her. Given the opportunity, I wouldn't even fart in her direction!<\/dialogue>\n    <character>ALAN<\/character>\n    <dialogue>How can I help?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>You called about Louise Brooks.<\/dialogue>\n    <character>ALAN<\/character>\n    <dialogue>I certainly did. You're Lee?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Ms. Israel.<\/dialogue>\n    <character>ALAN<\/character>\n    <dialogue>Alan.<\/dialogue>\n    <scene_description>They shake.<\/scene_description>\n    <character>ALAN<\/character>\n    <dialogue>Whaddya got?<\/dialogue>\n    <scene_description>Lee hands him a couple of letters, carefully encased.<\/scene_description>\n    <character>ALAN<\/character>\n    <dialogue>These are beauts.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Funny, how you happened to have them!<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 67. CONTINUED:<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>I had to go through a lot of my cousin's things, and there they were. They're quite witty, aren't they?<\/dialogue>\n    <character>ALAN<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>She had quite the mouth.<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(tense, defensive)<\/parenthetical>\n    <dialogue>She had a very big personality.<\/dialogue>\n    <character>ALAN<\/character>\n    <dialogue>Liked the ladies, I hear.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>This the real thing?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I assume so.<\/dialogue>\n    <scene_description>He studies it.<\/scene_description>\n    <character>ALAN<\/character>\n    <dialogue>Anyway, most people will believe what you tell them. And they love this stuff. Personally, I don't get it.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>How much you want for them?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Five hundred dollars seems fair.<\/dialogue>\n    <character>ALAN<\/character>\n    <dialogue>Two fifty.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I'm giving you a good deal.<\/dialogue>\n    <character>ALAN<\/character>\n    <parenthetical>(relenting)<\/parenthetical>\n    <dialogue>Four.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>All right. I'd prefer cash, if you got it.<\/dialogue>\n    <character>ALAN<\/character>\n    <dialogue>Of course I got it.<\/dialogue>\n    <scene_description>As he gets the money - CYEFM Final Shooting Draft 3\/13\/17 68. CONTINUED: (2)<\/scene_description>\n    <character>ALAN<\/character>\n    <dialogue>If you come across any more - especially if she mentions any other people - like Harry Cohn or Howard Hughes. I can always pay more for those.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT - DAY<\/stage_direction>\n    <character>CLOSE - UP<\/character>\n    <dialogue>Of Lee signing several letters in different colored pencils - LOUISE BROOKS.<\/dialogue>\n    <character>LEE'S VOICE<\/character>\n    <dialogue>Dear Bill, Finally, I got to see HELL'S ANGELS. A lot of bad acting of course, but Jean Harlow literally glistens. I thought all through it of how compelling the young Howard Hughes was --<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARGOSY BOOKS - DAY<\/stage_direction>\n    <scene_description>Lee hands letters to NELL, the woman she met at the convention, who looks them over suspiciously.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEMORY LANE ANTIQUES - DAY<\/stage_direction>\n    <scene_description>An OLD MAN counts out cash for Lee.<\/scene_description>\n    <character>LEE'S VOICE<\/character>\n    <dialogue>Dear Flora, I was never comfortable being viewed as a victim, despite Harry Cohn's attempts. I would have burned in hell before sleeping with that fat-assed little Caesar. My cat has spit up hair-balls more attractive than him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EAST VILLAGE BOOKS - DAY<\/stage_direction>\n    <scene_description>Alan Schmidt hands Lee a pile of cash.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EAST VILLAGE BOOKS - DAY<\/stage_direction>\n    <scene_description>And now another DEALER is handing Alan cash for some of Lee's letters.<\/scene_description>\n    <character>OTHER DEALER<\/character>\n    <dialogue>Where'd these come from?<\/dialogue>\n    <character>ALAN<\/character>\n    <dialogue>Some cranky dyke. Pretty good, huh?<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 69-70. CONTINUED: The other dealer shrugs, not caring.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT BUILDING\/ANDREI'S DOOR - DAY<\/stage_direction>\n    <scene_description>Andrei is counting a handful of cash.<\/scene_description>\n    <character>ANDREI<\/character>\n    <dialogue>All cash, huh? What are you now, a waitress?<\/dialogue>\n    <scene_description>He looks at the bills and sees they're large.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>I robbed a bank.<\/dialogue>\n    <scene_description>Andrei's mother Adina, 80, appears in her nightgown.<\/scene_description>\n    <character>ADINA<\/character>\n    <dialogue>Ms. Israel.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>How are you doing, Mrs. Ungur?<\/dialogue>\n    <character>ADINA<\/character>\n    <dialogue>Thank you for those cookies.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Those were good, weren't they?<\/dialogue>\n    <character>ADINA<\/character>\n    <dialogue>Not as good as the chocolate Babka. But good.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I'll have to remember that.<\/dialogue>\n    <parenthetical>(beat, lightly)<\/parenthetical>\n    <dialogue>Tell your son to go easy on me, will you? Can't kick an old dog out on the street, right?<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 71.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSCALE BAR\/RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Lee and Jack sit at a small table. They've already got their drinks.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>How have you gotten along for as long as you have?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Living here and there. Selling illegal substances, behaving imprudently.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Unwisely.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Don't underestimate sparkly blue eyes and a little bit of street smarts - they go far in this city. Although I may be stretching their limits.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>But who did you want to be? What was your plan?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I don't know what to say. I always imagined I would figure it out as I went along. And for the most part, I have. I have no regrets.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>That can't be true.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>You mean, why don't I have some brilliant talent like you do for copying?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Is that what you think I do? Copying? Let me tell you something. I'm a better Dorothy Parker than Dorothy Parker.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Well, cheers to that!<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 71A. CONTINUED: They cheers.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>It's good writing.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Then everyone wins. What's the problem?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>How on earth are you so imbecilic? Nobody knows it's me.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I do.<\/dialogue>\n    <scene_description>The FEMALE SERVER approaches.<\/scene_description>\n    <character>FEMALE SERVER<\/character>\n    <dialogue>Are you ready to order?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I'll have a burger, rare, with onions.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I'll have the same.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Get the steak. You said you wanted a steak.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>You sure?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>He'll have the steak.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Why don't you get a steak?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>We came here to get you a steak.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>FEMALE SERVER<\/character>\n    <dialogue>Skirt or T-bone?<\/dialogue>\n    <scene_description>Jack falters. CYEFM Final Shooting Draft 3\/13\/17 71B. CONTINUED: (2)<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>He'll have the T-bone.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And another round.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT - LATER<\/stage_direction>\n    <scene_description>Jack and Lee are in the living room. She opens a new bottle of scotch.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Do you mind if I put on some music?<\/dialogue>\n    <scene_description>She points to a stack of records and Jack goes to them. CYEFM Final Shooting Draft 3\/13\/17 72. CONTINUED:<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Be careful. In fact, don't touch them.<\/dialogue>\n    <scene_description>She pours two glasses and hands one to him.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>What do you want to hear?<\/dialogue>\n    <scene_description>She flips through her albums so Jack can see.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Something joyful. Dare I say, gay?<\/dialogue>\n    <scene_description>She removes an album and puts it on (most likely it won't be joyful).<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Did you ever want to be famous?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You know, like the people you write like. You're as good as them.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I wouldn't mind getting my own table at The Palm. Believe me, I thought that by now I would have.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You know I was only thirty two when my first book was published. I thought it would all be -<\/dialogue>\n    <scene_description>She gestures like an airplane going up... then the airplane goes sharply down.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>I started out here -<\/dialogue>\n    <scene_description>His airplane up.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>And it's just been -<\/dialogue>\n    <scene_description>His airplane goes down and down until he's lying on the sofa.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Fuck 'em.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Fuck 'em.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 72A.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT - LATER<\/stage_direction>\n    <scene_description>Lee and Jack are both passed out, each on their own side of the sofa. CYEFM Final Shooting Draft 3\/13\/17 73.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Lee extracts sheets of paper from the oven. They are perfectly curled and rumpled and are already typed on. She lays them out on the table.<\/scene_description>\n    <character>LEE'S VOICE<\/character>\n    <dialogue>My Dear Boy, I enjoyed our talk tremendously and was not the least bit upset about the article.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COFFEE SHOP - NIGHT<\/stage_direction>\n    <scene_description>Jack paces and smokes as he waits. Kurt (the waiter he flirted with) comes outside, his shift over.<\/scene_description>\n    <character>LEE'S VOICE<\/character>\n    <dialogue>My professional demise has been gleefully predicted for years.<\/dialogue>\n    <scene_description>Kurt greets Jack.<\/scene_description>\n    <character>LEE'S VOICE<\/character>\n    <dialogue>But nonetheless I await the return of your ruby-red lips to blue Harbour, in the event my spirits should falter.<\/dialogue>\n    <scene_description>Jack and Kurt disappear behind the restaurant for a \"date.\"<\/scene_description>\n    <character>LEE'S VOICE<\/character>\n    <dialogue>Yours and very much anticipating, Noel.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>As Lee expertly forges Noel Coward's signature. She leans back in her chair, satisfied.<\/scene_description>\n    <character>PAUL (O.S.)<\/character>\n    <dialogue>This is quite something.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARMADA BOOK SHOP - DAY<\/stage_direction>\n    <scene_description>Paul and Lee look over the Noel Coward letter.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>I thought so, too.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Well, as you know, I think I already have a buyer for it. I'm going to call him as soon as you leave.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>CYEFM Final Shooting Draft 3\/13\/17 74.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>I sent the Marlene Dietrich to Los Angeles - I got a request from a collector out there.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Wonderful. You guys do that - sell to other collectors?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Oh yeah. There's a whole world of wheeling and dealing, most of which I don't care to partake. A lot of characters in this line of work.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Hey, for a while there we had the Hitler Diaries. Remember that?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Criminal.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Not everyone gets into this because they respect history and talent, if you know what I mean.<\/dialogue>\n    <scene_description>She nods as he looks at her for what feels like a little too long.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>They enter. Jack flops on the couch and Lee's goes into the kitchen. We see many more labeled typewriters throughout the apartment:<\/scene_description>\n    <character>ALDOUS HUXLEY, HUMPHREY BOGART, EUGENE O'NEILL, KURT WEILL,<\/character>\n    <dialogue>EZRA POUND, MARGARET MITCHELL.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Get your feet off the couch.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(unsure)<\/parenthetical>\n    <dialogue>Really? Look at it.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>This isn't a flop house.<\/dialogue>\n    <scene_description>She feeds her cat who walks over slowly.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>How old is that hairball, anyway?<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 75. CONTINUED:<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Twelve.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>That's fuckin' old. How many cat years is that -<\/dialogue>\n    <scene_description>He tries to count. Lee goes to the blinking phone machine and presses PLAY.<\/scene_description>\n    <character>PAUL'S VOICE ON PHONE MACHINE<\/character>\n    <dialogue>This is Paul, from Armada. Ms. Israel, I was wondering if you could come in tomorrow. I have a couple of questions regarding the last Coward letter I purchased.<\/dialogue>\n    <scene_description>She and Jack look at each other.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Uh oh.<\/dialogue>\n    <character>PAUL'S VOICE<\/character>\n    <dialogue>Please come in or call as soon as you can. It's important.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>She lies awake in bed, unable to sleep. She rolls over and anxiously pushes the covers off of her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARMADA BOOK SHOP - DAY<\/stage_direction>\n    <scene_description>She's trying to keep her cool as she stands at the counter waiting for Paul to finish with ANOTHER CUSTOMER. Finally, he's free.<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Hi Lee.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>What seems to be the problem?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You know I've got the client that knew Noel Coward, and he said Mr. Coward would never have been as explicit as he was regarding his orientation. It was illegal in those days and - anyway. Apparently the letter was a fake.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 76. CONTINUED:<\/scene_description>\n    <character>LEE<\/character>\n    <parenthetical>(concerned)<\/parenthetical>\n    <dialogue>I'm shocked. My uncle would be appalled.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>You mean your cousin.<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(flustered)<\/parenthetical>\n    <dialogue>Of course. My cousin was always rather avuncular toward me.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I also got a call from Los Angeles, Lee. Seems one of your letters was quite the controversy at a convention out there. I hate to say it but your name has been put on a list.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>A list.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>It's like a red flag. People are on alert, that's all. They won't buy from you anymore.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Cousin Rodney had fakes? I'm sure he doesn't know! I'll refund whatever you've paid me -<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I don't want a refund. I'm all right. I just thought I'd let you know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JULIUS' BAR - DAY<\/stage_direction>\n    <scene_description>Panicked, Lee downs a drink. Jack is beside her.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>You can sell to other dealers. There's gotta be a lot of them.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>You are missing the point. I have so many letters! What am I going to do with them? Hours and hours of work. There's a lot more money to be made. I just mastered Judy Holliday. They're gorgeous.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 77. CONTINUED:<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>I think you mean Billie Holiday?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I think you're an idiot.<\/dialogue>\n    <dialogue>I'm sure you can sell them. Nobody knows what you look like.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEMORY LANE ANTIQUES - DAY<\/stage_direction>\n    <scene_description>A FAX MACHINE WHIRS and the OLD MAN looks to it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EAST VILLAGE BOOKS - DAY<\/stage_direction>\n    <scene_description>Another fax machine and a photo of Lee is slowly spit out. Alan sees Lee.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARGOSY BOOKS - DAY<\/stage_direction>\n    <scene_description>NELL pulls the paper from her fax, seeing Lee's face.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TWELVETREES BOOKSELLER - DAY<\/stage_direction>\n    <scene_description>Anna walks toward her fax machine as Lee's face slowly appears. She pulls it out and reads the text.<\/scene_description>\n    <character>NOTICE FROM THE OFFICE OF THE FEDERAL BUREAU OF INVESTIGATION<\/character>\n    <dialogue>Caution: possible forgeries being sold in New York City by one Lee Israel. If you have any information regarding this please contact MARK SOLANAS, FBI. Anna, shocked and confused, stares at the picture.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WESTSIDER BOOKS - DAY<\/stage_direction>\n    <scene_description>Lee approaches a shop we've never seen before, holding a file of letters.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WESTSIDER BOOKS - DAY<\/stage_direction>\n    <scene_description>Lee enters and ARLENE turns to greet her.<\/scene_description>\n    <character>ARLENE<\/character>\n    <dialogue>How can I -<\/dialogue>\n    <scene_description>She stops and steps back, turning cold.<\/scene_description>\n    <character>ARLENE<\/character>\n    <dialogue>We don't want your business here.<\/dialogue>\n    <scene_description>Lee stands there, stunned. CYEFM Final Shooting Draft 3\/13\/17 77A.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EAST VILLAGE BOOKS - DAY<\/stage_direction>\n    <scene_description>Lee enters the store. Looks empty. CYEFM Final Shooting Draft 3\/13\/17 78. CONTINUED:<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Hello? Alan?<\/dialogue>\n    <scene_description>Alan appears from the back of the store, surprised and pleased to see Lee.<\/scene_description>\n    <character>ALAN<\/character>\n    <dialogue>You got my message. Thanks for coming.<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(holding a file)<\/parenthetical>\n    <dialogue>I brought some wonderful Faulkner's that I've unearthed.<\/dialogue>\n    <character>ALAN<\/character>\n    <dialogue>Not why I called. Listen. The FBI has been in to see me.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>The FBI?<\/dialogue>\n    <character>ALAN<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>They asked me if I'd wear a wire. I'm not going to do that to you. I'm a good guy. And if they ask me to be a witness, I'll lie. But you're going to pay me five thousand dollars.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I don't know what you're talking about.<\/dialogue>\n    <character>ALAN<\/character>\n    <dialogue>Don't worry. I won't rat you out.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>That's very generous of you. I don't have five thousand dollars!<\/dialogue>\n    <character>ALAN<\/character>\n    <parenthetical>(shrugging)<\/parenthetical>\n    <dialogue>You're a clever woman. More or less. Figure it out. You're welcome.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>Lee and Jack walk.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>How the hell am I going to pay that scum bag? I bet he knew all along. He probably turned me in so he could blackmail me!<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 79. CONTINUED:<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Where am I going to get five thousand dollars?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Nobody knows what I look like. Let me sell for you.<\/dialogue>\n    <scene_description>She turns to him.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>And I get a cut.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Ten percent.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Fifty.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Oh please. How is that fair? You can't even spell CUP.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I'll be taking a huge risk. Besides, I owe you money. I could pay you back a lot faster.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>So I pay you so you can pay me back, and Alan Schmidt pays you so I can pay him off. The irony is killing me.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Twenty percent.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Forty.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WESTSIDER BOOKS - DAY<\/stage_direction>\n    <scene_description>Jack nervously enters the shop.<\/scene_description>\n    <character>ARLENE<\/character>\n    <dialogue>Hello! Welcome.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>He goes to the counter.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>My granny just died and I found these in her closet. Would you be interested in something like this?<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 79A. CONTINUED:<\/scene_description>\n    <character>ARLENE<\/character>\n    <dialogue>Edna Ferber!<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>You've heard of her?<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 80. CONTINUED: (2)<\/scene_description>\n    <character>ARLENE<\/character>\n    <dialogue>Oh, I've heard of her! She wrote that movie with James Dean.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I guess. I'm not up on these things.<\/dialogue>\n    <character>ARLENE<\/character>\n    <dialogue>Your granny was a collector?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Guess so!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Lee is in the kitchen when there's a loud knock on the door.<\/scene_description>\n    <character>JACK (O.S.)<\/character>\n    <dialogue>It's me.<\/dialogue>\n    <scene_description>She opens up.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Oh my god!<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Pull yourself together.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>She bought all three!<\/dialogue>\n    <scene_description>He shows her the cash.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>How much?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Six hundred dollars. I did it! I didn't fuck up!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EAST VILLAGE BOOKS - DAY<\/stage_direction>\n    <scene_description>Alan is looking over some letters on the counter as Jack browses in the store.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Oh look at this!<\/dialogue>\n    <scene_description>He holds up some strange statue. CYEFM Final Shooting Draft 3\/13\/17 81. CONTINUED:<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Such wonderful knick knacks.<\/dialogue>\n    <character>ALAN<\/character>\n    <dialogue>So your granny collected letters?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I don't know who these people are but I had a feeling they might be worth something.<\/dialogue>\n    <character>ALAN<\/character>\n    <dialogue>How'd you know I buy these sort of things?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Do you?<\/dialogue>\n    <character>ALAN<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I can give you fifty dollars each.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I have a feeling I could do better. A store in Brooklyn offered me two hundred dollars for one!<\/dialogue>\n    <character>ALAN<\/character>\n    <dialogue>Why didn't you sell it to them, then?<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(shrugging)<\/parenthetical>\n    <dialogue>I don't like the boroughs.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>The place is messier than usual. Lee looks like hell. Jack is sitting down at the table opposite her, taking out some cash.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>I am good at this. You should see me.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>When was the last time you got outside?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>How much did you get?<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(boasting)<\/parenthetical>\n    <dialogue>The first place gave me six hundred dollars. The other guy gave me a thousand!<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 82. CONTINUED:<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>You just got closer to paying that asshole back with his own money! He gave me a thousand dollars!<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Was he suspicious?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Not at all. Hell, I always did want to be an actor! Here.<\/dialogue>\n    <scene_description>Lee watches him count out six hundred dollars. Something looks off to her.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>How much did you say he gave you?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>A thousand.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Then why is there eight hundred extra in your hand?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>You're stealing from me.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Oh, what did I say? He gave me fourteen hundred. Isn't that what I said?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>You moron. You're stealing from me and you don't even know what you're selling!<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>No. Lee, it was a mistake. Here. I'm sorry.<\/dialogue>\n    <scene_description>He hands her more money.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>You're selling literary TREASURES! One-of- a-kind, carefully written witticisms. It's not just a piece of paper, it's a portal to a better time and place when people honored the written word.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Okay I get it.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 83. CONTINUED: (2)<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>You need to respect what you're selling. This is my work.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Well...<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I mean... You're impersonating other people. Very well, I'm sure, but come on. Nobody is buying Lee Isreal letters.<\/dialogue>\n    <scene_description>Lee is furious, but of course he has a point.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Steal from me again, I'll fuckin' kill you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TWELVETREES BOOKSELLER - DAY<\/stage_direction>\n    <scene_description>Jack is inside the store talking to Anna. She is looking over a Flannery O'Connor letter.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>You never read A GOOD MAN IS HARD TO FIND?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>No, but boy was she right!<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>This was your grandmother's?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Found it in her suitcase. I assume it's real. Do you think it's real?<\/dialogue>\n    <character>ANNA<\/character>\n    <parenthetical>(studying it)<\/parenthetical>\n    <dialogue>Looks that way.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But there have been some forgeries going around, I'll need to get this authenticated before I can purchase it, if that's all right.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Oh. I sincerely doubt -<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 84. CONTINUED:<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>No, I'm not saying you or your grandmother knew - it's just a precaution.<\/dialogue>\n    <scene_description>Jack looks down at the display case and sees Lee's letter from Katherine Hepburn.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Oh look at that.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Wonderful, isn't it?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Who's Lee?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Oh, an author she knew.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>How much is it, if you don't mind.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I'm asking eleven hundred.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Oh, well worth it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Jack and Lee eat take-out. Lee looks terrible (hung over, not having slept).<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>What a thief! I think she gave me less than two hundred for it!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Flannery O'Connor?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>She wants to have it authenticated.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Did you take it back?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I couldn't. I didn't know what to do.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>You left it with her? You idiot!<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 85. CONTINUED:<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Stop calling me an idiot.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>They're going send me to jail. Worse. The pillory.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'd kill myself first.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You can't do it anymore.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>We can't stop now.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Everyone is on high alert.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'll never pay that schmuck off!<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Maybe you should steal more real ones, like you did at first. And I'll sell them.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Finding those was a fluke.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Where do the real letters go? Who has those?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Archives. Museums. And you need proof that you're researching something. They don't just let anyone in.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>You can get into archives. You're a famous writer. You could steal those letters, copy them, replace your copies and sell the originals.<\/dialogue>\n    <scene_description>Lee looks at him, like \"where did all this come from?\"<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>In my sticky finger days I would find the thing I wanted, and it could only be things that came in boxes - like toothpaste, and I'd shop for a while with it in my basket.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 86. CONTINUED: (2)<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Then, when no one was paying attention I'd take the toothpaste out of the box, slip it in my pocket and put my used one in the box.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>If they're suspicious they come back to the shelf and see nothing is missing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT - ANOTHER DAY<\/stage_direction>\n    <scene_description>Lee is crouching down, looking at her cat under the couch.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>You be a good girl.<\/dialogue>\n    <scene_description>Jack comes into the room.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>He'll be fine.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>She. It's a SHE. She's old. And she better be fine.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Just let me come with you. You gave her enough food for a month!<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I need you here. She needs the pills.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>But it was my idea!<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Oh come on, you know you like the idea of actually living somewhere for a few days. Give her fresh water. And two pills twice a day.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I will.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>The way I showed you? Mixing it in the food?<\/dialogue>\n    <scene_description>Jack nods. Lee slowly stands up, grabs a packed duffel bag and a typewriter.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Don't snoop. And stay out of my bed.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 87. CONTINUED: She opens the door and slams it behind her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S BEDROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>He walks into her room and promptly flops on her bed. After a second, he opens her night table drawer to snoop and shuffles through some things before landing on a photograph. He lifts it to see - it's of Lee and another woman, sitting at a picnic blanket in the park.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GREYHOUND BUS - DAY<\/stage_direction>\n    <scene_description>Lee stares out the window. She is a ball of nerves. Seated next to her, a WOMAN is crying softly. Lee notices, not sure what to do. After a moment she reaches into her bag and puts on her headphones and turns on her radio.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TWELVETREES BOOKSELLER - DAY<\/stage_direction>\n    <scene_description>FBI AGENT, SOLANAS 40s, stands with Anna. She's showing him the Flannery O'Connor.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>I told him I had to have it authenticated. He seemed pretty nervous.<\/dialogue>\n    <character>AGENT SOLANAS<\/character>\n    <dialogue>Do you mind if I keep it?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Of course not.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Do you think he knew it was fake?<\/dialogue>\n    <character>AGENT SOLANAS<\/character>\n    <dialogue>I'm not sure. But he might be working for someone who does.<\/dialogue>\n    <scene_description>Anna's face falls.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Lee?<\/dialogue>\n    <character>AGENT SOLANAS<\/character>\n    <dialogue>If you think you can get her back in here, would you be willing to wear a wire?<\/dialogue>\n    <scene_description>Anna thinks, torn. CYEFM Final Shooting Draft 3\/13\/17 88. CONTINUED:<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. YALE UNIVERSITY LIBRARY - DAY<\/stage_direction>\n    <scene_description>Lee walks through the grand campus.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. YALE UNIVERSITY LIBRARY - DAY<\/stage_direction>\n    <scene_description>A SECURITY GUARD surveys the room, Lee approaches the LIBRARIAN behind the counter.<\/scene_description>\n    <character>YALE LIBRARIAN<\/character>\n    <dialogue>Can I help you?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I'm doing an in-depth look at writers and alcoholism. Hence - Lillian Hellman. Here's the contract with the publisher.<\/dialogue>\n    <scene_description>Lee places a piece of paper in front of the woman. It's a contract that Lee has clearly forged, but it looks real.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Since there's already a great deal written about her, I'm interested in the more personal, archival material. Any kind of correspondence, journals, diaries - would be ideal.<\/dialogue>\n    <character>YALE LIBRARIAN<\/character>\n    <dialogue>I'll give you what we've got.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARMADA BOOK SHOP - DAY<\/stage_direction>\n    <scene_description>In the back of the shop, Paul stands by as the FBI agent Solanas, who is joined by his partner AGENT DOYLE, showing him one of the Clara Blandick letters.<\/scene_description>\n    <character>AGENT SOLANAS<\/character>\n    <dialogue>Look familiar?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Yes, I bought this one from her.<\/dialogue>\n    <character>AGENT SOLANAS<\/character>\n    <parenthetical>(re: photo of Jack)<\/parenthetical>\n    <dialogue>What about this guy? Have you ever bought from him?<\/dialogue>\n    <scene_description>Of course, Paul recognizes him. CYEFM Final Shooting Draft 3\/13\/17 88A. CONTINUED:<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>(realizing)<\/parenthetical>\n    <dialogue>They're in it together.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Right. As soon as I told her she was on the 'no buy' list, he started coming in. Such a shame. A smart woman.<\/dialogue>\n    <character>AGENT DOYLE<\/character>\n    <dialogue>Sounds like a nut case.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 89. CONTINUED: (2)<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>A talented nut case.<\/dialogue>\n    <character>AGENT SOLANAS<\/character>\n    <parenthetical>(rolling his eyes at Doyle)<\/parenthetical>\n    <dialogue>She fooled every dealer and authenticator in New York. She's smarter than you, you idiot.<\/dialogue>\n    <scene_description>Doyle looks contrite.<\/scene_description>\n    <character>AGENT SOLANAS<\/character>\n    <parenthetical>(to Paul)<\/parenthetical>\n    <dialogue>Do you think you could get her back in here?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Oh, I doubt it.<\/dialogue>\n    <character>AGENT SOLANAS<\/character>\n    <dialogue>What about Jack Hock? Would you be willing to wear a wire?<\/dialogue>\n    <scene_description>Paul considers.<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>(tickled)<\/parenthetical>\n    <dialogue>Just like in the movies. I always thought I would make an excellent detective.<\/dialogue>\n    <scene_description>A121 OMITTED (NOW SCENES 118 &amp; A129) A121<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. YALE LIBRARY - LATER<\/stage_direction>\n    <scene_description>Lee sifts through Lillian Hellman's personal letters, all signed by the author. She removes a notebook, and while pretending to take notes, begins to copy the letters word for word. Lee turns, feeling like she's being watched. Sure enough, a security guard is eyeing her. She smiles and he looks away. Lowering her head, she slowly and very carefully tries her hand at the signature. 122-123 OMITTED 122-123<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Working on a large glass of scotch, Lee is spread out all over the room with a light box, an old manual typewriter and many papers on Lillian Hellman. CYEFM Final Shooting Draft 3\/13\/17 90. CONTINUED: Seated at the desk, she is meticulously typing one of two Lillian letters on stationary that looks identical to what she saw in the library. When she's finished she practices her signature.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Lee is in bed with another glass of scotch. She gets under the covers and picks up the motel phone and dials.<\/scene_description>\n    <character>MARIE'S VOICE<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Oh, hello. Elaine?<\/dialogue>\n    <character>MARIE'S VOICE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Is she there?<\/dialogue>\n    <character>MARIE'S VOICE<\/character>\n    <dialogue>No, would you like to leave a message.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Yes, this is Lee Israel.<\/dialogue>\n    <character>MARIE'S VOICE<\/character>\n    <parenthetical>(rude)<\/parenthetical>\n    <dialogue>Oh.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Who's this?<\/dialogue>\n    <character>MARIE'S VOICE<\/character>\n    <dialogue>This is Marie.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Well, okay Marie, can you please tell her I called? Same number. Thank you.<\/dialogue>\n    <scene_description>She hangs up, distraught.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Jack is entertaining KURT at Lee's apartment. Kurt is recklessly searching through her record collection. CYEFM Final Shooting Draft 3\/13\/17 91. CONTINUED:<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>You've got good taste. But they're in pretty bad shape. How long have you lived here?<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(starting the record)<\/parenthetical>\n    <dialogue>Oh, forever.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Ever think about cleaning some of the junk out?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I might for the right man. What's your place like?<\/dialogue>\n    <scene_description>Kurt glides around the apartment inspecting it.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>A lot cleaner! What is all this? Why do you collect typewriters?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>It's too complicated to explain. It's for my work. I don't bring many people to my home. It's my safe space. I'm very private.<\/dialogue>\n    <scene_description>Kurt glances at the upended TV set\/light box.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Guess you don't watch a lot of TV.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Rots the brain. I don't believe in it. I'm a reader.<\/dialogue>\n    <scene_description>This makes Kurt smile. Jersey the cat wanders over.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Well hello little kitty! You look like death!<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 92. CONTINUED: (2)<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Don't say that!<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>So, what have you got?<\/dialogue>\n    <scene_description>Jack goes to his bag and retrieves a joint and a little vial of coke.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Little coke, little dope and little old me.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Let's get this party started.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S BEDROOM - MORNING<\/stage_direction>\n    <scene_description>Jack and Kurt, under the covers, are asleep in Lee's bed. Jack wakes and drags himself out of bed wearing only his boxers, he flings on Lee's ratty robe.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S KITCHEN - MORNING<\/stage_direction>\n    <scene_description>He opens two capsules and mixes the contents into a bowl of food for Jersey, which she eats.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Oh thank god.<\/dialogue>\n    <scene_description>He goes back to bed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A129 EXT. YALE UNIVERSITY LIBRARY - DAY A129<\/stage_direction>\n    <scene_description>Lee walks through the grand campus.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. YALE LIBRARY - MORNING - NEXT DAY<\/stage_direction>\n    <scene_description>The librarian is at the desk.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Good morning. The Lillian Hellman box I was working on yesterday?<\/dialogue>\n    <character>YALE LIBRARIAN<\/character>\n    <dialogue>Ah yes, a book on drunk authors. Who else are you going to be writing about?<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(checking her watch)<\/parenthetical>\n    <dialogue>You know what, I've got to catch a bus.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 92A. CONTINUED:<\/scene_description>\n    <character>YALE LIBRARIAN<\/character>\n    <parenthetical>(put off)<\/parenthetical>\n    <dialogue>Of course. I'll get what you need.<\/dialogue>\n    <scene_description>A130 OMITTED A130<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. YALE LIBRARY - A LITTLE LATER\/DAY<\/stage_direction>\n    <scene_description>Lee at the table, again going through the Lillian Hellman's papers. As soon as the security guard looks away, Lee replaces the original letters with the forgeries. CYEFM Final Shooting Draft 3\/13\/17 93. CONTINUED: Slowly, she slips the originals into her tall boot and then looks up to find the librarian glaring at her. Has she been caught? They both stare. Nobody breathes. Lee smiles. Having been previously snubbed, the woman smirks and looks away. Heart pounding, Lee rises, picks up the boxes and heads to the counter.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Here you go! Sorry for the rush. I just get overly anxious when I'm traveling.<\/dialogue>\n    <character>YALE LIBRARIAN<\/character>\n    <parenthetical>(softening)<\/parenthetical>\n    <dialogue>Oh, of course. I do, too.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Find what you needed?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>And then some. Thank you for your help.<\/dialogue>\n    <scene_description>Lee walks to the exit and is stopped by the guard, who asks to look in her large bag. The librarian opens the box, suspicious. She stares at the papers, not sure if she's been had. The security guard is examining Lee's bag. He sees her lined notebook, pens. Some junk. He gestures that she can go. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A132 INT. YALE LIBRARY - HALLWAY - CONTINUOUS A132<\/stage_direction>\n    <scene_description>Lee exits, sighing with relief. Suddenly the security guard emerges and calls after Lee.<\/scene_description>\n    <character>SECURITY GUARD<\/character>\n    <dialogue>Excuse me, ma'am?<\/dialogue>\n    <scene_description>Lee freezes, and turns back to him slowly. He approaches her, reaching his hand out.<\/scene_description>\n    <character>SECURITY GUARD<\/character>\n    <dialogue>You forgot these.<\/dialogue>\n    <scene_description>He hands her a pair of gloves. Lee nods appreciatively. OMITTED CYEFM Final Shooting Draft 3\/13\/17 93A.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A133 INT. GREYHOUND BUS - DAY A133<\/stage_direction>\n    <scene_description>Lee looks straight ahead, anxious to get home.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEE'S APARTMENT BUILDING - AFTERNOON<\/stage_direction>\n    <scene_description>Lee walks up to her building with her duffel and typewriter. Andrei comes out of the building.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Hi, Andrei.<\/dialogue>\n    <character>ANDREI<\/character>\n    <dialogue>Miss Israel. There were two men looking for you. They said they were FBI.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>What?!<\/dialogue>\n    <character>ANDREI<\/character>\n    <dialogue>I told them you weren't home. They were asking all kinds of questions. About what you do, what kind of things you write.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 94. CONTINUED:<\/scene_description>\n    <character>ANDREI<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I've seen all those typewriters in your apartment -<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Did you say anything?<\/dialogue>\n    <character>ANDREI<\/character>\n    <dialogue>No, no. I said nothing. Are you in trouble?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>That remains to be seen.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT - AFTERNOON<\/stage_direction>\n    <scene_description>She enters and finds the place is an unrecognizable mess. Glasses, bottles, records out of their sleeves.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>No response. She looks around, increasingly disturbed.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Jack? Hello?!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Jersey! Mama's home. What did he do to our home, Jersey? Come on girl.<\/dialogue>\n    <scene_description>She glances around and then looks under the couch. Lee remains there, frozen. After a beat, she lifts her head up and her face crumples. She covers her face in her hands. Jack stumbles out of the bedroom, half asleep.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Oh shit.<\/dialogue>\n    <scene_description>He glances behind him nervously.<\/scene_description>\n    <character>JACK<\/character>\n    <parenthetical>(loudly whispering)<\/parenthetical>\n    <dialogue>Alright this looks bad, I know.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Get out.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 95. CONTINUED:<\/scene_description>\n    <character>JACK<\/character>\n    <parenthetical>(re: Kurt, whispering)<\/parenthetical>\n    <dialogue>I couldn't resist him, he's so adorable - you have to understand.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Get out of my house.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Why? I'll clean up!<\/dialogue>\n    <scene_description>She throws his jacket and back pack at him. Lee is furious.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>My cat is dead.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Oh no. I'm so sorry.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Out.<\/dialogue>\n    <scene_description>Just then Kurt appears from the bedroom.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Jack? What's going on?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Oh for fuck's sake. GET OUT OF MY HOUSE.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Your house?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Darling, I can explain-<\/dialogue>\n    <scene_description>But Kurt is done. Jack is caught between trying to deal with Kurt and Lee in the same moment. Lee goes to the front door and holds it open, unable to make eye contact with Jack. Kurt, grabbing his clothes and shoes, makes his way out, Jack reluctantly follows him.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>This is too fucked up for me.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(to Lee)<\/parenthetical>\n    <dialogue>Lee I'm so sorry. It probably just happened. It's not my fault.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 96. CONTINUED: (2)<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>I gave her the pills. I did what you told me, Lee.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Let me in!<\/dialogue>\n    <scene_description>She pulls the dead cat from under the couch. Kneeling by the couch, she cradles it in her lap as she cries.<\/scene_description>\n    <character>LEE<\/character>\n    <parenthetical>(under her breath)<\/parenthetical>\n    <dialogue>I'm sorry, Jersey. I shouldn't have left you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VETERINARIAN'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Lee holds a shoe box and walks into the vet's building.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VETERINARIAN'S OFFICE - DAY<\/stage_direction>\n    <scene_description>She walks up to Rachel at the counter.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Hi, Ms. Israel. Is Jersey okay?<\/dialogue>\n    <scene_description>Lee can only manage to shake her head.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Oh. I'm so sorry.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I don't have a backyard or anything.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I didn't know what to do with her.<\/dialogue>\n    <scene_description>Rachel now sees the box.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Oh, we can take care of that.<\/dialogue>\n    <scene_description>Lee hands it to her.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I'm sorry for your loss.<\/dialogue>\n    <scene_description>Lee heads for the door. CYEFM Final Shooting Draft 3\/13\/17 97.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Lee is in the kitchen, drunk and pacing and dialing the phone.<\/scene_description>\n    <character>MARIE'S VOICE<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Yes, I'd like to speak to Elaine.<\/dialogue>\n    <character>MARIE'S VOICE<\/character>\n    <dialogue>Is this Lee?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Is she there please?<\/dialogue>\n    <character>MARIE'S VOICE<\/character>\n    <dialogue>Actually she's -<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(cutting her off)<\/parenthetical>\n    <dialogue>I just had something of importance to tell her. At what time do you expect her return?<\/dialogue>\n    <character>MARIE'S VOICE<\/character>\n    <dialogue>I'm not actually sure.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You've got to stop calling here.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I don't have to do anything, Marie. I just need people to take my calls, instead of having some piece of shit tell me what I have to do. That's what I think I deserve.<\/dialogue>\n    <scene_description>She slams the phone down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JULIUS' BAR - DAY<\/stage_direction>\n    <scene_description>At a table, Lee hands Jack a bunch of letters in a folder. She is short, averting her eyes. She is all business, cold.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Let them authenticate all they want. They're real. Don't settle.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Lee - are we going to talk about it? I am really sorry.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 98. CONTINUED: She stays the course.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Did you make an appointment at Armada?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Yes. I rang him. He said to come at one.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>All right. Afterward, come right here.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I'll do good, you'll see. I'll make it up to you.<\/dialogue>\n    <scene_description>Lee doesn't reply to this. There is no making it up.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Get a written receipt. I want to know how much you're paid.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Okay, if that's what you want. He'll give it to me. That little fucker eats up my shtick.<\/dialogue>\n    <parenthetical>(laughing a little)<\/parenthetical>\n    <dialogue>Ooh that sounded dirty.<\/dialogue>\n    <scene_description>He laughs, trying to engage Lee like they used to. She won't.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Come on. How long are you going to freeze me out?<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I trusted you. I don't know if you've noticed, but I don't do that. You have reminded me why that is.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(sincerely pleading)<\/parenthetical>\n    <dialogue>Lee, I took care of the cat. I swear. It was an accident, and I feel awful.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>And your little friend? Who was not supposed to be in my house. Does he feel awful too?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I don't know. I haven't seen him.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 99. CONTINUED: (2)<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>We will continue doing business together because I have no options, but we aren't friends, I don't think we actually ever were.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Lee-<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>We will meet in public. You will not fuck this up like you fuck everything else up in your life. Sell the letters. Get the money. And get a fucking receipt.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <parenthetical>(after a moment, one more try)<\/parenthetical>\n    <dialogue>I only-<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I'm done.<\/dialogue>\n    <scene_description>She looks him in the eye for the first time. He understands that it's over.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>I'll be back after the sale.<\/dialogue>\n    <scene_description>He gets up slowly and walks away. Lee sits stoically.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARMADA BOOKSELLERS - DAY<\/stage_direction>\n    <scene_description>Jack walks up the street, smoking, nervous, headed for Armada Booksellers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARMADA BOOKSELLERS - SOON AFTER<\/stage_direction>\n    <scene_description>Paul, more uneasy than usual, is handling the letters that Jack has offered him.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Aren't these fabulous? I just know someone is going to treasure them.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>They're terrific. Where on earth did you find these?<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 100. CONTINUED:<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>My granny just passed and I discovered them when I was cleaning out her junk. They're worth something, right?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>How much are you asking for them?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I guess around three hundred each?<\/dialogue>\n    <scene_description>Paul goes to write a check. Jack is taken aback by how easy this is.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Actually, do you have cash?<\/dialogue>\n    <scene_description>Paul instantly counts out six hundred dollars cash and puts it in Jack's hand.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JULIUS' BAR - DAY<\/stage_direction>\n    <scene_description>Already hammered, Lee sits at the bar, scribbling in a notebook, doing calculations of the money she owes. She is agitated and more than a little drunk.<\/scene_description>\n    <character>LEE<\/character>\n    <parenthetical>(to the bartender)<\/parenthetical>\n    <dialogue>I need another.<\/dialogue>\n    <scene_description>Craig comes over, starts to pour.<\/scene_description>\n    <character>CRAIG<\/character>\n    <dialogue>That's debateable.<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(too defensive)<\/parenthetical>\n    <dialogue>What did you say?<\/dialogue>\n    <scene_description>Craig looks up, surprised by her anger.<\/scene_description>\n    <character>CRAIG<\/character>\n    <dialogue>Nothing, Lee.<\/dialogue>\n    <scene_description>He walks away, shaking his head a little.<\/scene_description>\n    <character>LEE<\/character>\n    <parenthetical>(to herself)<\/parenthetical>\n    <dialogue>Fuckin' judgemental jack-ass.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARMADA BOOKSELLERS - DAY<\/stage_direction>\n    <scene_description>Jack is cornered by Solanas and Doyle. CYEFM Final Shooting Draft 3\/13\/17 101. CONTINUED:<\/scene_description>\n    <character>JACK<\/character>\n    <parenthetical>(in a panic)<\/parenthetical>\n    <dialogue>I'm pretty sure they're stolen, I didn't want to ask. But she asked me to sell them as a favor so I said okay!<\/dialogue>\n    <character>AGENT SOLANAS<\/character>\n    <dialogue>As a favor? You don't accept a cut?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Well, a small one. Very small. But I don't know where they came from, honest! I'll tell you anything you want to know. Am I in big trouble?<\/dialogue>\n    <scene_description>He gives his puppy dog eyes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JULIUS' BAR - CONTINUOUS<\/stage_direction>\n    <scene_description>Lee is drunk, looks up at a picture of Tallulah Bankhead on the wall, amongst all the other famous people who used to frequent the bar. Then back to her drink. Empties it. She is mumbling to herself. This is a Lee we haven't seen before - more incoherent, nervous. The anxiety is getting to her.<\/scene_description>\n    <character>LEE<\/character>\n    <parenthetical>(mumbling, barely audible)<\/parenthetical>\n    <dialogue>...probably ran off with the money. I'll kill him....<\/dialogue>\n    <character>CRAIG<\/character>\n    <parenthetical>(from end of the bar)<\/parenthetical>\n    <dialogue>Did you say something?<\/dialogue>\n    <scene_description>Lee shakes her head, shooing him off. She crumples the piece of paper she was scribbling on. Looks back to the picture, weirdly distracted by it. Glances at the clock. It's 2:30.<\/scene_description>\n    <character>LEE<\/character>\n    <parenthetical>(mumbling, only making out every couple of words)<\/parenthetical>\n    <dialogue>No, at least until 3...<\/dialogue>\n    <parenthetical>(then, calling to Craig)<\/parenthetical>\n    <dialogue>Actually one more.<\/dialogue>\n    <scene_description>Craig sets one down next to her.<\/scene_description>\n    <character>LEE<\/character>\n    <parenthetical>(pointing to the picture)<\/parenthetical>\n    <dialogue>I wrote a biography of her once, in another life.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 102. CONTINUED:<\/scene_description>\n    <character>CRAIG<\/character>\n    <dialogue>Yes, you've told me.<\/dialogue>\n    <scene_description>More and more festive people are crowding into the bar. Craig attends to the other patrons. Someone tries to sit at the stool next to Lee.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>No! I'm waiting for someone.<\/dialogue>\n    <scene_description>The guy rolls his eyes, walking off. Lee puts on her headphones, to drown out the crowd.<\/scene_description>\n    <character>LEE<\/character>\n    <parenthetical>(muttering to herself)<\/parenthetical>\n    <dialogue>Nobody has any patience anymore.<\/dialogue>\n    <scene_description>People are crowding into Lee's space though. Finally, Lee gets up to move down the bar, comes face to face with the FBI agents, approaching her.<\/scene_description>\n    <character>AGENT SOLANAS<\/character>\n    <dialogue>Lee Israel?<\/dialogue>\n    <scene_description>She takes off her headphones, confused. The patrons of the bar, as well as Craig all notice what's going on. It takes Lee a moment.<\/scene_description>\n    <character>AGENT SOLANAS<\/character>\n    <dialogue>I'm agent Solanas and this is Agent Doyle. We're here to deliver a subpoena to appear before a federal grand jury.<\/dialogue>\n    <scene_description>He hands Lee an envelope.<\/scene_description>\n    <character>AGENT SOLANAS<\/character>\n    <dialogue>Your appearance is scheduled for two weeks from today. You will find the address on the enclosed documents. You are forbidden to destroy any evidence pertinent to this case.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I don't know what you're talking about.<\/dialogue>\n    <character>AGENT SOLANAS<\/character>\n    <dialogue>We've intercepted your employee, Jack Hock. He is cooperating as are the dealers you did business with.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Anything you'd like to say? Anything on your mind that you'd like to get off your chest?<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 103. CONTINUED: (2)<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>I think it behooves me to be a wallflower at this particular dance. Until I can get a hold of an attorney.<\/dialogue>\n    <character>AGENT SOLANAS<\/character>\n    <dialogue>As you wish.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Mr. Hock requests that you not try to reach him or telephone or harass him in any way. And by law you are forbidden to contact him regardless.<\/dialogue>\n    <scene_description>Lee is stung.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Frantic, Lee attacks her research with a scissors, throwing the pieces into different garbage bags. She rips papers and crumples up anything she can find.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UPPER WEST SIDE STREET - DAY<\/stage_direction>\n    <scene_description>Carrying several black plastic bags, Lee hustles down the street. She glances around her, paranoid, chucking bags into various piles of street garbage waiting for pick up. One by one, Lee throws a typewriter into a different garbage can.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAW OFFICE - DAY<\/stage_direction>\n    <scene_description>Lee sits opposite an UPTIGHT FEMALE LAWYER. She's picking cat hair off her old jacket, visibly agitated.<\/scene_description>\n    <character>UPTIGHT LAWYER<\/character>\n    <parenthetical>(reading from a document)<\/parenthetical>\n    <dialogue>Investigating agents spoke with the Assistant Librarian for Manuscripts at Yale Library... He confirmed that the letters sold to CW-1 did belong to Yale and that forged copies of these letters were now in the files.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I could've told you that. But you have a very good reputation, surely you can -<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 104. CONTINUED:<\/scene_description>\n    <character>UPTIGHT LAWYER<\/character>\n    <parenthetical>(cuts her off)<\/parenthetical>\n    <dialogue>Ms. Israel, I'm afraid that you will spend a fair amount of time behind bars, despite my reputation.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You were deliberate, your crimes were premeditated and I have to say, numerous. It says here -<\/dialogue>\n    <parenthetical>(reads)<\/parenthetical>\n    <dialogue>You created and sold approximately four hundred letters.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>That many?<\/dialogue>\n    <character>UPTIGHT LAWYER<\/character>\n    <dialogue>You're proud.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Did you read them?<\/dialogue>\n    <character>UPTIGHT LAWYER<\/character>\n    <dialogue>No. Why would I read them?<\/dialogue>\n    <parenthetical>(considering)<\/parenthetical>\n    <dialogue>I believe the only way to handle this is to plead insanity and frankly, I don't think we'd have any problem proving it.<\/dialogue>\n    <scene_description>Lee stares at her, doesn't like this one bit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAW OFFICE - DAY<\/stage_direction>\n    <scene_description>Lee sits across from LLOYD, a handsome lawyer. She rubs her temples.<\/scene_description>\n    <character>LLOYD<\/character>\n    <dialogue>Headache?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Awful.<\/dialogue>\n    <character>LLOYD<\/character>\n    <dialogue>Can't blame you.<\/dialogue>\n    <parenthetical>(reading papers)<\/parenthetical>\n    <dialogue>Looking at all this... it's pretty bad. Now that said, can I say - those letters were pretty damned impressive. I especially enjoyed the Louise Brooks.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 105. CONTINUED:<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm afraid they were my finest moment.<\/dialogue>\n    <character>LLOYD<\/character>\n    <dialogue>I'm sure that's not true.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You fell on hard times. You had a sick cat. You couldn't get a writing job and you didn't mean for it to get out of hand, but then some jerk blackmails you and you panic. You never meant for it to continue, or to steal, but you had to pay him back or you'd go to jail.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Depending on the judge, I think at worst you could conceivably get a year and change.<\/dialogue>\n    <scene_description>Lee looks panicked.<\/scene_description>\n    <character>LLOYD<\/character>\n    <dialogue>You'll bring a book.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Look, if you want me to represent you, you're going to have to do a few things before appearing in court.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Like what?<\/dialogue>\n    <character>LLOYD<\/character>\n    <dialogue>Clean up your act. First, you're getting a job. Any kind of job. And second, you're enrolling in community service to show how penitent you are.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>What - what kind of service?<\/dialogue>\n    <character>LLOYD<\/character>\n    <dialogue>Something with children?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Jesus no.<\/dialogue>\n    <character>LLOYD<\/character>\n    <dialogue>Animals, sick people. Whatever. You're going to show that you have turned over a new leaf.<\/dialogue>\n    <character>(BEAT)<\/character>\n    <dialogue>You've got to go to AA.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 106. CONTINUED: (2)<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>That's absurd.<\/dialogue>\n    <scene_description>He stares at her. It doesn't seem possible that her spirit could sink even lower.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>I want to ask you something.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>So, everyone I sold to - do you think they all know?<\/dialogue>\n    <character>LLOYD<\/character>\n    <dialogue>Yeah. They probably all know. But right now, that's the least of your worries.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JULIUS' BAR - DAY<\/stage_direction>\n    <scene_description>In the mostly empty bar, dressed for court, Lee sits and drinks, somewhat a pariah. A few regulars whisper about her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A149 EXT. COURTHOUSE - DAY A149<\/stage_direction>\n    <scene_description>Lee walks up the steps of the intimidating courthouse.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTHOUSE - DAY<\/stage_direction>\n    <scene_description>Lee and Lloyd sit on a bench outside the courtroom. Lee is sweating in her heavy jacket as she anxiously rubs her hands against her thighs.<\/scene_description>\n    <character>LLOYD<\/character>\n    <dialogue>We're very lucky this is our judge. Very lucky. She doesn't waste time with things like this. I have a good feeling. Try to breathe.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I'm scared.<\/dialogue>\n    <character>LLOYD<\/character>\n    <parenthetical>(handing her a mint, annoyed)<\/parenthetical>\n    <dialogue>You smell like alcohol.<\/dialogue>\n    <scene_description>She shrugs and takes the mint.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>In a simple, nearly empty courtroom, Lee and Lloyd stand before the JUDGE. CYEFM Final Shooting Draft 3\/13\/17 107. CONTINUED:<\/scene_description>\n    <character>LLOYD<\/character>\n    <parenthetical>(continuing)<\/parenthetical>\n    <dialogue>She is seeking employment with Scholastic books as a copy editor, and has already put in over forty hours of community service at a cat shelter.<\/dialogue>\n    <character>JUDGE<\/character>\n    <parenthetical>(to Lee)<\/parenthetical>\n    <dialogue>Before I render my verdict, have you in the last twenty-four hours used drugs, pills, alcohol, anything that could affect your ability to understand what is going on?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>No ma'am.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Have you anything additional you would like to say to the court before I offer your sentence?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Lloyd watches her carefully as she stands, and takes a deep breath. What comes next begins as something rehearsed, but devolves into a stream-of-consciousness confession.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>I have been living in a state of enormous guilt and anxiety for the past year. Not because I felt like I was doing something wrong, but because I was always afraid of being found out. I can't specifically say that I regret my actions-<\/dialogue>\n    <scene_description>Lloyd clears his throat, urging Lee to watch herself.<\/scene_description>\n    <character>LLOYD<\/character>\n    <dialogue>Lee-<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I don't. I thoroughly enjoyed writing these letters, living in the world of Dorothy Parker and Noel Coward, pretending I was something I am not. In many ways, this has been the best time of my life. It's the only time recently I can remember being proud of the work I was doing.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>CYEFM Final Shooting Draft 3\/13\/17 108.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>But it wasn't my work, was it? I was hiding behind these people, their names. Because if I'd actually put myself out there, done my own work, then I would be opening myself up to criticism. And I'm too much of a coward for all of that. I've lost my cat- the only soul that truly loved me, maybe ever- and I lost my friend - who might have been an idiot, but tolerated me, and was nice to have around. And I've realized that I'm not a real writer. In the end, it was not worth it.<\/dialogue>\n    <scene_description>This hits Lee in a surprising way. Lloyd looks at her nervously. She returns to her script.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>I will accept the judgement of the court as valid and fulfill whatever sentence I may receive with the full understanding that I have earned said punishment.<\/dialogue>\n    <scene_description>A moment. The judge nods.<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Lee Israel, the court sentences you to five years probation plus six months house arrest. You may only leave home to go to and from your place of employment, your work in the community, and to alcoholic's anonymous meetings.<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(blurting)<\/parenthetical>\n    <dialogue>I don't have anywhere to go.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>You are not to leave the state or consort with felons and you are to pay restitution to your victims within your means.<\/dialogue>\n    <scene_description>Lloyd grins at Lee, nodding. Lee stares, in disbelief.<\/scene_description>\n    <character>LLOYD<\/character>\n    <parenthetical>(quietly to Lee)<\/parenthetical>\n    <dialogue>This is a good thing. Very fair.<\/dialogue>\n    <scene_description>But Lee is reeling. The weight of everything is finally settled on her, and it is heavy. CYEFM Final Shooting Draft 3\/13\/17 109. CONTINUED: (3)<\/scene_description>\n    <character>LEE<\/character>\n    <parenthetical>(at her lowest)<\/parenthetical>\n    <dialogue>Mm hmm. Good.<\/dialogue>\n    <scene_description>Lloyd doesn't know what to say.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A151 EXT. COURTHOUSE - DAY A151<\/stage_direction>\n    <scene_description>Lee walks out of the courthouse emptied and exhausted.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Lee enters her apartment. It is eerily empty. No typewriters. No Jersey. No Jack. Jersey's empty food bowl sits on the floor, taunting Lee. She checks her answering machine but has no messages. She collapses onto the couch. She does not know where she will go from here.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL PARK - DAY<\/stage_direction>\n    <scene_description>Lee sits on a bench waiting. After a moment she sees ELAINE, 45, coming toward her.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Thanks for coming.<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>It sounded important.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>It was. It is. My phone got shut off. In case you tried to call.<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>I didn't.<\/dialogue>\n    <scene_description>They sit down and Elaine notices the cat hair on Lee's jacket, picks at it.<\/scene_description>\n    <character>ELAINE<\/character>\n    <dialogue>I see you brought Jersey with you. How is that old bitch?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>That's what I wanted to tell you, Elaine. She just died.<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I figured, since she was a gift from you-<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 110. CONTINUED: Lee starts to tear up.<\/scene_description>\n    <character>ELAINE<\/character>\n    <dialogue>Was she?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm so sorry, Lee.<\/dialogue>\n    <character>LEE<\/character>\n    <parenthetical>(shrugging)<\/parenthetical>\n    <dialogue>I got too attached to her.<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>You going to get another?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>No. I can't replace her. It wouldn't be right.<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>Maybe in time.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I do go to Aunt Eleanor's pretty regularly.<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>Oh god, I haven't thought about that place in years! It's still there? On 96th?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Exactly the same. Different cats.<\/dialogue>\n    <character>ELAINE<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You still on 82nd?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Where else would I be?<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>You look all right. You all right?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>You can't imagine what I've had to do to survive.<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>We all have to do things we don't want to do.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 111. CONTINUED: (2)<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Maybe. I can't remember the last time I was doing something because I wanted to do it.<\/dialogue>\n    <scene_description>Elaine examines Lee, concerned.<\/scene_description>\n    <character>ELAINE<\/character>\n    <dialogue>Are you sleeping, Lee?<\/dialogue>\n    <scene_description>This bit of kindness hits Lee.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Fits and starts. But when you can't recognize your own life it's hard to find rest.<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>You're having one of those times. You just gotta ride it out.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I was supposed to be something so different than this. Wasn't I? When we were together, people liked my work right?<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>That's why you wanted to see me?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>No. I mean... I've wanted to see you for a long time. I've needed to see you, Elaine. I just... I'm in a crisis. And you know me.<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>It always seemed more important to you that people liked your work than that they liked you.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Well, of course.<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>No, Lee. That's not healthy.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I guess not. But-<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>You were so miserable.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 112. CONTINUED: (3)<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>No I wasn't.<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>Yes you were.<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>I was happy with you.<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>Well, I appreciate that. We were happy there. For parts of it.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>It was more than parts of it.<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>No, Lee. There was always a wall between us. Something I couldn't penetrate.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I tried. God damnit. I tried more with you than with anyone ever.<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>No you didn't. You did everything you could to keep your distance. You lied, you drank constantly, you were self- involved-<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Well, I didn't say I was perfect.<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>And the moment anyone wronged you, you cut them out. It was like you were looking for everyone to fail you, so you wouldn't have stay connected.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Well fuck. I always thought of myself as pleasantly prickly.<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>More like a fortress of disdain. I could never get you to let down the wall- to trust me- and at some point I just stopped trying.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I wish you hadn't.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 113. CONTINUED: (4)<\/scene_description>\n    <character>ELAINE<\/character>\n    <dialogue>I don't know why you were so afraid for anyone to get to know you - maybe you thought nobody would like what they saw. Such a shame.<\/dialogue>\n    <scene_description>This takes Lee by surprise. Elaine starts to stand up, Lee grabs her arm.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Wait - don't go.<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>This isn't my job anymore, Lee. To talk you off the ledge. It's exhausting.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Who is she?<\/dialogue>\n    <scene_description>Elaine sighs, she was trying to avoid this.<\/scene_description>\n    <character>ELAINE<\/character>\n    <dialogue>Lee.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I'm just curious.<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>She's a public advocate. She's warm and it's simple.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Is she always a cunt to your old friends? I wouldn't let her answer the phone if I were you.<\/dialogue>\n    <character>ELAINE<\/character>\n    <dialogue>And there it is. I don't know why I try.<\/dialogue>\n    <parenthetical>(she makes a motion of a wall going up)<\/parenthetical>\n    <dialogue>You're never going to change. Everyone is always wronging you - nobody appreciates you, nobody gives you what you deserve....<\/dialogue>\n    <parenthetical>(short beat)<\/parenthetical>\n    <dialogue>And nothing is ever your fault.<\/dialogue>\n    <scene_description>Lee is stunned.<\/scene_description>\n    <character>ELAINE<\/character>\n    <dialogue>I've got a class.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>CYEFM Final Shooting Draft 3\/13\/17 114.<\/dialogue>\n    <scene_description>CONTINUED: (5)<\/scene_description>\n    <character>ELAINE<\/character>\n    <dialogue>It was good to see you, for a minute there.<\/dialogue>\n    <scene_description>She turns and walks away.<\/scene_description>\n    <character>LEE<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Say hi to Marie!<\/dialogue>\n    <scene_description>Elaine doesn't turn around and Lee sits there, hating herself.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <scene_description>OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A154 INT. LEE'S APARTMENT - BEDROOM - NIGHT A154<\/stage_direction>\n    <scene_description>Lee lies in bed, staring up at the fan. She isn't filled with anxiety anymore. She is numb. She is lifeless, replaying Elaine's words in her head. She pulls out Anna's short story and begins to read.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TWELVETREES BOOK SHOP - DAY<\/stage_direction>\n    <scene_description>Lee walks past Anna's bookshop. She sees Anna inside, talking to a customer. She knows she can't go in. She stops and watches though. Suddenly Anna looks up and the two women make eye contact. Anna breaks it and when she looks back up, Lee is gone. Sadly, Lee walks away. OMITTED - (NOW SCENE A154)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Lee stares for a while. Finds nothing. She goes and sits at her one remaining, original type-writer. She puts in a piece of paper. She thinks. CYEFM Final Shooting Draft 3\/13\/17 115.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JULIUS' BAR - AFTERNOON - SOME MONTHS LATER<\/stage_direction>\n    <scene_description>Lee sits at a table - she doesn't look good but she doesn't look bad either. Craig brings her a scotch.<\/scene_description>\n    <character>CRAIG<\/character>\n    <dialogue>Haven't seen your face in here in a while.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Yeah well, I'm only allowed to leave the house for my AA meetings.<\/dialogue>\n    <scene_description>Craig walks away shaking his head. Suddenly the door opens and Jack comes in. He sees Lee, approaches her table. Is this a coincidence? Jack looks a little thin, and walks with a crutch, babying one foot.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Thanks for coming.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(shrugging)<\/parenthetical>\n    <dialogue>It was quite inconvenient. I had to move around some meetings, but I had my assistant cancel my afternoon.<\/dialogue>\n    <scene_description>Lee smirks. It's kind of Jack to make this easier.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Can I get you a drink? I'm buying. I've started counterfeiting money now.<\/dialogue>\n    <scene_description>She smirks, this tickles Jack.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Not today.<\/dialogue>\n    <parenthetical>(off Lee's surprise)<\/parenthetical>\n    <dialogue>It's my new meds. Throwing my whole system off. Gin tastes like mouthwash. Takes the fun out of it.<\/dialogue>\n    <scene_description>Lee is concerned, but doesn't press.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>I guess you were able to cut a deal? Ratting on me worked out?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Three years probation.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>At least you're out and about.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 116. CONTINUED:<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>So are you.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>No, I'm at an AA meeting on 10th street.<\/dialogue>\n    <scene_description>Jack laughs.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Criminals at large!<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I couldn't imagine what was so important that Lee Israel swallowed her pride and asked me to meet her. So spit it out.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I'm reconsidering.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Oh just tell me.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Well... I've been thinking about writing a new book. About what happened. About what I did. And about you, if you'll let me.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Like hell I will! What would my boyfriend think if he knew about my shadier dealings?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Do our crimes even count in your top ten of shady dealings? I doubt it.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Fair enough. But I don't want a book out there about me. I'm a very private person.<\/dialogue>\n    <scene_description>Lee is quiet.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>I have to do something. I have to write again.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What about Fanny Price?<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 117. CONTINUED: (2)<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Brice? No. I think for once I would like to write about one Lee Isreal. As terrifying as that sounds.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I'm still mad at you, you know. You treated me like shit. I don't think you're a very nice person.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I would agree with you.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>But I suppose you may be mad at me as well.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>If you didn't look quite so decrepit, I would be.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Yes, well. I guess it's not some huge plot twist. It was going to catch up to me eventually.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>You have fucked your way through Manhattan.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I would like that on my tombstone.<\/dialogue>\n    <scene_description>They share a morbid laugh.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>With the addition of: but he steered clear of the boroughs.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>After a beat.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Will you make me 29? And with perfect skin? And don't make me sound stupid?<\/dialogue>\n    <scene_description>Lee is quiet, realizing he is agreeing. CYEFM Final Shooting Draft 3\/13\/17 118. CONTINUED: (3)<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Oh fuck it. Write whatever you want. It's not like anyone reads your books anyways.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>I've already written five chapters.<\/dialogue>\n    <scene_description>Jack laughs.<\/scene_description>\n    <character>LEE<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Lee reaches out and touches Jack's hand. This lingers for just a moment and then Jack stands, breaking it.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>I'm late for a board meeting. My driver is waiting. The life of a millionaire.<\/dialogue>\n    <scene_description>They both smile, going with the bit. Jack starts toward the door. Crossing in front of Lee. Lee stifles a little laugh. Jack looks back...<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>No... I was so tempted to trip you, just now.<\/dialogue>\n    <scene_description>Jack laughs, against his better judgement.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Wow, you're ... a horrid cunt, Lee.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>So are you, Jack.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Good luck.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>You too.<\/dialogue>\n    <scene_description>He leaves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Sitting at her dining table, Lee writes on an old, large computer. She sips scotch. CYEFM Final Shooting Draft 3\/13\/17 119. CONTINUED: A kitten scampers around her ankle and settles on the keyboard. The place is cleaned up again, but still Lee's.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CENTRAL PARK - DAY<\/stage_direction>\n    <scene_description>Springtime. Lee sits on a bench, content. She eats a hot dog, and watches people pass.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET\/LAST BOOKSTORE - DAY<\/stage_direction>\n    <scene_description>Lee walks down the street and backtracks, having seen something in a bookstore window that has caught her eye. It's a mounted letter from Dorothy Parker. One that Lee has written.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RENWICK &amp; CO. RARE BOOKS - DAY<\/stage_direction>\n    <scene_description>Lee addresses the bookseller.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>My friend's birthday is coming up and he'd love to own that Dorothy Parker in the window.<\/dialogue>\n    <character>BOOKSELLER<\/character>\n    <dialogue>She's a beauty, isn't she?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Can I ask how much a letter like that runs?<\/dialogue>\n    <character>BOOKSELLER<\/character>\n    <dialogue>We're asking nineteen hundred, framed and matted, and she comes complete with a letter of authenticity.<\/dialogue>\n    <scene_description>Lee's eyes widen.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Does the letter of authenticity come with a letter of authenticity?<\/dialogue>\n    <character>BOOKSELLER<\/character>\n    <dialogue>Oh, I can assure you. It's the real thing. No one can write like Ms. Parker could. Not before and not since.<\/dialogue>\n    <scene_description>CYEFM Final Shooting Draft 3\/13\/17 120. CONTINUED: The bittersweet compliment is music to her ears.<\/scene_description>\n    <character>LEE<\/character>\n    <dialogue>Well, that might be out of my price range, but thank you very much.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Lee sits at her old typewriter (the one she already owned), and writes.<\/scene_description>\n    <character>LEE'S VOICE<\/character>\n    <dialogue>My dear sir, I offer my droopy salutations from the Great Beyond. I understand that you're selling my personal letters to the tune of nearly two grand. To think poor Lee Israel received a tiny fraction of that sum when she sold them to someone, who then sold them to you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RENWICK &amp; CO. RARE BOOKS - DAY<\/stage_direction>\n    <scene_description>We see the man through the front window, reading this letter. He looks into the distance, considering. Disturbed, he moves to the shop window.<\/scene_description>\n    <character>LEE'S VOICE<\/character>\n    <dialogue>I dearly hope this letter will not affect the selling price of your valuable artifact. As I most famously muttered mere moments after my cremation: \"Darling, excuse my dust.\" Yours, Dorothy Parker.<\/dialogue>\n    <scene_description>The bookseller removes the letter from the window display. And then decides to put it back.<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In 1991, following the critical and commercial failure of her biography of Est\u00e9e Lauder, author Lee Israel struggles with financial troubles, writer's block, and alcoholism. Although she hopes to write a biography of comedian Fanny Brice, her agent, Marjorie, sharply rejects the idea and explains that Lee, with her difficult personality, is responsible for her own career slump. With Marjorie unable to secure her an advance for a new book, regardless of subject matter, Lee resorts to selling her possessions to cover living expenses. She sells a personal letter she received long ago from Katharine Hepburn to a used bookstore merchant and autograph dealer named Anna. Lee begins spending time with old acquaintance Jack Hock. Visiting a Manhattan library's special collections department to research Fanny Brice, Lee discovers two letters typewritten by Brice. She removes one of them from the building and shows it to Anna. Anna makes Lee an offer that is lower than what she was expecting due to the letter's bland content. Lee returns home and uses a typewriter to add a postscript to the letter. Lee returns to Anna's store, where Anna, amused by what \"Fanny Brice\" wrote \"several decades ago,\" offers Lee $350. Lee then starts forging and selling letters \"by\" deceased celebrities, incorporating intimate details to command high prices. Anna, a fan of Lee's biographies, tries to initiate a romantic relationship, but may have another motive as on their dinner date she gives Lee a short story she has written hoping for Lee to critique it. Moments after they leave the restaurant, the socially phobic Lee appears to rebuff Anna. In some of Lee's letters, she has No\u00ebl Coward make references to presumably much-younger men with whom he enjoys socializing. A used book dealer named Paul buys one of them from Lee and then sends it to a friend of his who knew Coward, who died less than 20 years ago. Coward's friend becomes suspicious, though the letter does not refer to a sexual act or a man's anatomy. Paul raises an alarm that leads to Lee's customers blacklisting her. Unable to sell more forgeries, she has Jack sell the letters on her behalf. His customers do not know he has a connection to Lee. She also starts stealing authentic letters from libraries and archives for Jack to sell, replacing them with forged duplicates. While Lee is out of town committing one such theft, her cat dies under Jack's care. She ends their friendship, but continues their partnership out of necessity. The FBI arrests Jack while he is attempting a sale. He cooperates with them, resulting in Lee being served with a court summons. She retains a lawyer, who advises her to show contrition by getting a job, doing community service, and joining Alcoholics Anonymous. In court, Lee says she enjoyed creating the forgeries, but that her actions were ultimately not worth it because she lost her cat and friend. The judge sentences Lee to five years' probation and six months' house arrest. During her house arrest, Lee skips her AA meeting to meet with Jack, who is dying of AIDS, at a bar. They reconcile, and Jack grants Lee permission to write a memoir about their escapades. Sometime later, while Lee is passing a bookstore, she sees a Dorothy Parker letter she forged that is now on sale for $1,900. She writes the store owner a sarcastic note from the deceased Parker revealing that the letter is a fake. After reading the note, the owner goes to retrieve the letter, but then decides to keep it on display."}
{"movie_name":"The Losers_2010","imdb_id":"tt0480255","script":"<script>\n  <scene>\n    <stage_direction>THE LOSERS<\/stage_direction>\n    <scene_description>THE DESERT . Sizzling dunes . Harsh . Unforgiving . Afghanistan - Three Years Ago We hear faint SCREAMS . A man BEGGING .<\/scene_description>\n    <character>MAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>No. please. There's no way.<\/dialogue>\n    <scene_description>Sand dunes stretch to the horizon . Nowhere to run .<\/scene_description>\n    <character>MAN<\/character>\n    <parenthetical>( O.S. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Nothing. can defeat.<\/dialogue>\n    <scene_description>A SHADOW FALLS across the sand . Then a second . One looks like a Dog 's Head . The other like .<\/scene_description>\n    <character>MAN<\/character>\n    <parenthetical>( O.S. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Gojira.<\/dialogue>\n    <scene_description>HAND PUPPET SHADOWS . LAUGHTER from OTHER MEN . `` Godzilla '' pursues `` Dog Head '' , catches him , and begins HUMPING HIM .<\/scene_description>\n    <character>MAN<\/character>\n    <parenthetical>( O.S. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Ooooh, Gojira! You the best! Me love you long time!<\/dialogue>\n    <character>SECOND MAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>C'mon Jensen, you in or not?<\/dialogue>\n    <scene_description>WHIP PAN to the Puppeteer and FREEZE - FRAME ON : Jensen . 20 's , Lennon glasses , wild blonde hair , shirt open . Bald eagle tattoo on his chest . RESUME SPEED :<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>And get cheated again?<\/dialogue>\n    <scene_description>WHIP PAN to and FREEZE - FRAME ON : Pooch . Mid 30 's , black and solid . Eagle tattoo on right bicep , his NINE MONTH OLD DAUGHTER 'S FACE tattooed on his left . Currently mock offended . RESUME SPEED :<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>The Pooch do n't cheat. The Pooch may lie, the Pooch may steal -<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>- the Pooch may refer to himself in the third person -<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>- but the Pooch will not cheat.<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>The Pooch can rest easy, I was referring to Cougar.<\/dialogue>\n    <scene_description>WHIP PAN and FREEZE FRAME ON : Cougar . Age unknown . Tan camo cowboy hat pulled low over his eyes , long hair . Sniper Rock - God . He does n't say or move much . Ai n't no rattling him . RESUME SPEED :<\/scene_description>\n    <character>ROQUE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>It's Liar's Poker, Jensen, how in the hell is the man gon na cheat you at Liar's Poker?<\/dialogue>\n    <scene_description>WHIP PAN as he asks the question and FREEZE FRAME ON : Roque . 30 's . Close cropped black hair . If Lance Armstrong bred with Darth Vader . Does n't smile much , but he 's smiling now . The four are in<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HUMVEE -- DAY<\/stage_direction>\n    <scene_description>Open air , the guys sit in the back . In the middle of the desert with nothing to do but wait . Roque holds the deck .<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>Cards.<\/dialogue>\n    <scene_description>The four take them . Lick the back , slap them to their foreheads - two deuces -LRB- Jensen and Roque -RRB- , a three -LRB- Pooch -RRB- , and an eight -LRB- Cougar -RRB- . Pitiful cards .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Got a feeling about this one, Roque.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Your mama had that feeling too.<\/dialogue>\n    <scene_description>At which point , JENSEN PULLS A KNIFE . and tosses it into the center of the circle . HIS BET . Roque responds by tossing a .357 MAGNUM from his belt in .<\/scene_description>\n    <character>ROQUE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Raise you.<\/dialogue>\n    <character>POOCH<\/character>\n    <parenthetical>( INTRIGUED . )<\/parenthetical>\n    <dialogue>That the one with the hollow points?<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Yup.<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>Oh, shit, I'm definitely in then.<\/dialogue>\n    <scene_description>He puts in a Desert Eagle . Jensen pulls a second , meaner looking knife . Twirling it .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>This even me up?<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Exactly how many knives do you have, anyway?<\/dialogue>\n    <scene_description>Jensen grins and STABS IT down into the pot .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Cougar - your bet.<\/dialogue>\n    <scene_description>The Silent Man stares at the others . Two deuces and a three . He shakes his head at them . Before he can bet .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hey, losers!<\/dialogue>\n    <scene_description>WHIP PAN to Clay . Mid - 30 's . Their leader , and you got ta be a bad - ass to lead this crew . Tired eyes . A weariness to him already . And hands faster than you can imagine .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>It's time.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HUMVEE (MOVING) -- DAY<\/stage_direction>\n    <scene_description>RIPPING ACROSS THE DESERT . Pooch drives , Clay shotgun , others in the back . Passing a COMPUTER TABLET to Jensen :<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Authenticate and backtrace.<\/dialogue>\n    <character>POOCH<\/character>\n    <parenthetical>( GRUMBLING . )<\/parenthetical>\n    <dialogue>Send us out to the middle of nowhere to `` wait for instructions''.<\/dialogue>\n    <character>JENSEN<\/character>\n    <parenthetical>( FINISHES CHECKING . )<\/parenthetical>\n    <dialogue>We're good, this baby came out of the Kandahar Spook Station, controller's codename is Max.<\/dialogue>\n    <scene_description>He hands the tablet back .<\/scene_description>\n    <character>ROQUE<\/character>\n    <parenthetical>( DISTASTE . )<\/parenthetical>\n    <dialogue>This is an Agency gig?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>We do n't get to pick what needs to be done.<\/dialogue>\n    <parenthetical>( reading from tablet . )<\/parenthetical>\n    <dialogue>Quaeda - wannabe name of Fadhil is running a terrorist assembly line out around the Khyber Pass -<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>I'm shocked. Shocked, I say.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>We find it, we paint it for a laser targeted bomb. No muss, no fuss.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>For that we had to put on a blindfold and turn around three times?<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>You'd rather take on fifty mujas with AK's?<\/dialogue>\n    <scene_description>He upshifts a gear as the Humvee drives on . P.O.V. - THROUGH BINOCULARS A terrorist looking fellow talks with another . We are .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT BLUFF -- AFTERNOON<\/stage_direction>\n    <scene_description>Our guys , now in full on Black Ops Special Forces combat desert fatigues , perched high above what looks like a RUN DOWN AFGHAN PRISON . Roque with the field glasses :<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>I got eyes on Fadhil.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Paint it.<\/dialogue>\n    <scene_description>Pooch fires up the LASER DESIGNATOR and aims it at the compound . A high pitched whine as he does .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Call me Michelangelo.<\/dialogue>\n    <scene_description>Cougar sights down the LASER SCOPE of his LONG RIFLE . Just taking in the scenery . Jensen , into a field radio :<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Dropkick, this is Pinball, confirmed eyes on, target is designated.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AFGHAN SKY -- DAY<\/stage_direction>\n    <scene_description>A DESERT HAWK ROARS THROUGH THE SKY , enroute to target .<\/scene_description>\n    <character>RADIO VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( FILTERED . )<\/parenthetical>\n    <dialogue>Roger, target acquired, exfil chopper is enroute. ETA to fireworks is eight minutes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT BLUFF -- DAY<\/stage_direction>\n    <character>JENSEN<\/character>\n    <dialogue>Roger, we'll break out the earplugs.<\/dialogue>\n    <parenthetical>( to the others . )<\/parenthetical>\n    <dialogue>So who wants to get a game? We got eight minutes -<\/dialogue>\n    <scene_description>And then , for the first time COUGAR SPEAKS . With concern :<\/scene_description>\n    <character>COUGAR<\/character>\n    <dialogue>Boss?<\/dialogue>\n    <scene_description>Clay immediately looks THROUGH HIS SCOPE - A GROUP OF CHILD - SLAVES on the ground BY THE PRISON , being led off a truck . The others look too . Reacting :<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Call it in.<\/dialogue>\n    <character>JENSEN<\/character>\n    <parenthetical>( INTO RADIO . )<\/parenthetical>\n    <dialogue>Dropkick, children are at target site, repeat, we have eyes on children at target site - advise.<\/dialogue>\n    <character>RADIO VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hold the line.<\/dialogue>\n    <scene_description>STATIC . Seconds tick by .<\/scene_description>\n    <character>RADIO VOICE<\/character>\n    <parenthetical>( O.S. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Acknowledged, maintain position.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Maintain position? Colonel -<\/dialogue>\n    <character>JENSEN<\/character>\n    <parenthetical>( INTO RADIO . )<\/parenthetical>\n    <dialogue>Dropkick, we strongly recommend cancellation of payload delivery -<\/dialogue>\n    <character>RADIO VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Abort order can only come from MISSION CONTROLLER -<\/dialogue>\n    <scene_description>Clay GRABS THE RADIO from Jensen :<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Mission Controller is Agency, Codename Max, repeat, Codename Max, so get him on the horn and -<\/dialogue>\n    <character>RADIO VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Already have, Pinball, your orders stand. Prep for exfil.<\/dialogue>\n    <scene_description>STATIC . A beat . The others stare at Clay .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Cougar?<\/dialogue>\n    <scene_description>Cougar takes the butt of his rifle and SMASHES THE LASER DESIGNATOR TO BITS ! Clay , into the radio :<\/scene_description>\n    <character>CLAY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Dropkick, this is Pinball, targeting equipment has suffered system failure, am calling an abort.<\/dialogue>\n    <scene_description>STATIC . Then , a DIFFERENT VOICE :<\/scene_description>\n    <character>MAX<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Well, that was stupid.<\/dialogue>\n    <scene_description>The voice is even . Distinctly unmilitary . Almost stoned .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Who is this? This is a secure<\/dialogue>\n    <character>MILITARY NETWORK--<\/character>\n    <dialogue>MAX.<\/dialogue>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Very stupid, Colonel. Franklin. Clay.<\/dialogue>\n    <scene_description>Clay blinks - no one uses names on comms .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Max? There are children on site -<\/dialogue>\n    <character>MAX<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>And you think I did n't know that? Not the sharpest of knives in the drawer, are you? We locked coordinates the moment you painted ; delivery will occur on schedule. Max out.<\/dialogue>\n    <scene_description>STATIC . Clay hits the send button to respond - gets a SQUELCH . Cursing , tossing the radio to Jensen :<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Shit! Jensen, call the General at the Firebase, get him to abort -<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>Ca n't, they're jamming us -<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Then contact the plane directly -<\/dialogue>\n    <character>JENSEN<\/character>\n    <parenthetical>( trying all channels . )<\/parenthetical>\n    <dialogue>Negative, we're screwed!<\/dialogue>\n    <parenthetical>( LOOKING UP . )<\/parenthetical>\n    <dialogue>There's nothing we can do.<\/dialogue>\n    <scene_description>His face , stricken . They all are . And then :<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>There's something we can do.<\/dialogue>\n    <scene_description>Clay hefts his rifle . The others stare at him . Automatically begin checking their own weapons . Roque runs it down for them :<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>Five against a fortress, and we've got maybe six minutes before an airstrike sets the world on fire.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>So, I'll drive.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AL GHOZAR FORT -- DAY<\/stage_direction>\n    <scene_description>WHAM ! BAD GUYS firing wildly as our guys ' HUMVEE PLOWS through the GATE !<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>I guess we're going with the fifty mujas with AK's option after all!<\/dialogue>\n    <scene_description>A SERIES OF SHOTS - We see just how good these guys are . Cougar on his knee in the back - snipes SINGLE SHOT KILLS - takes out SEVEN MEN . Roque pulls to a halt in the center of the compound - Bad Guys , coming out of the woodwork with AUTOMATIC WEAPONS . As the guys hop out :<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Pooch and Jensen, get a truck for the kids, the rest of us will be out in five -<\/dialogue>\n    <character>ROQUE<\/character>\n    <parenthetical>( CHECKING WATCH . )<\/parenthetical>\n    <dialogue>- airstrike's in four and change -<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>- out in four. On me!<\/dialogue>\n    <scene_description>Clay leads ZONE COVERAGE toward the building - Roque and Cougar run middle - QUICK DEATH STRIKES . Images BLAST fast and savage as these men KILL THEIR WAY INTO THE FORT .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AL GHOZAR FORT - KHYBER PASS - CONTINUOUS<\/stage_direction>\n    <scene_description>Roque calmly kicks in the door - kills FIVE MEN sitting around a table with TWO YOUNG GIRLS in the middle - the terrified girls run to him . The BAD GUYS have no chance - Fast . Precise . SPECTACULAR . Our crew takes the fort . MOVING THROUGH a tight hallway , they find the children locked in a large empty room . They start leading them out . One LITTLE BOY stops Clay . In PASHTUN : Clay checks the time . 3 MINUTES TO AIRSTRIKE .<\/scene_description>\n    <character>CLAY<\/character>\n    <parenthetical>( to Roque and Cougar . )<\/parenthetical>\n    <dialogue>Get'em out.<\/dialogue>\n    <scene_description>Roque and Cougar hustle the kids toward the exit while Clay moves DOWNSTAIRS into the darker sublevels .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AL GHOZAR FORT -- DARKER SUBLEVEL -- CONTINUOUS<\/stage_direction>\n    <scene_description>Clay kicks in a door to find A MAN - Looming over a SHACKLED BOY . Unbuckling his pants . The Man pales . Realizing the American understands what he was about to do , backing away , BEGGING IN PASHTUN : Omar DOES N'T MOVE . Instead , he eerily raises his hand and wordlessly POINTS TO A CELL . In the corner . And Clay hears a MOAN emit from it . VAGUELY HUMAN . Omar lowers his arm . Goes upstairs , dragging his bear . Clay turns . Approaches the cell . Looks down into it . it 's clear from Clay 's face that it 's SOMETHING HORRIFIC .<\/scene_description>\n    <character>SOMETHING HORRIFIC<\/character>\n    <dialogue>shooooot meeee.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>You're American?<\/dialogue>\n    <character>SOMETHING HORRIFIC<\/character>\n    <dialogue>Max sent you.<\/dialogue>\n    <character>CLAY<\/character>\n    <parenthetical>( SURPRISED . )<\/parenthetical>\n    <dialogue>How do you know that name?<\/dialogue>\n    <character>SOMETHING HORRIFIC<\/character>\n    <dialogue>was IA Field Ops hunting rogue agents. Max caught me.<\/dialogue>\n    <scene_description>He torture rasps and spits small chunks of death .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Max is rogue?<\/dialogue>\n    <scene_description>Something Horrific leans forward out of the shadows .<\/scene_description>\n    <character>SOMETHING HORRIFIC<\/character>\n    <dialogue>You're off - mission are n't you?<\/dialogue>\n    <scene_description>Clay just stares .<\/scene_description>\n    <character>SOMETHING HORRIFIC<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What's the mission?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Fadhil.<\/dialogue>\n    <character>SOMETHING HORRIFIC<\/character>\n    <dialogue>Max does n't care about Fadhil. He's cleaning up the mess. You're his mop. I'm the mission.<\/dialogue>\n    <scene_description>Clay 's just staring into the burning , crazed eyes of Something Horrific .<\/scene_description>\n    <character>SOMETHING HORRIFIC<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Kill me.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>I can get you out -<\/dialogue>\n    <character>SOMETHING HORRIFIC<\/character>\n    <dialogue>Already dead. Kill ME -<\/dialogue>\n    <scene_description>BLAM ! A BULLET pierces what used to be left of Something Horrific 's CHEST . Not fired by Clay .<\/scene_description>\n    <character>SOMETHING HORRIFIC<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Thaaaank.<\/dialogue>\n    <scene_description>And he dies . Clay turns - COUGAR . Lowers his rifle . Speaks one word .<\/scene_description>\n    <character>COUGAR<\/character>\n    <dialogue>Mercy.<\/dialogue>\n    <scene_description>Holds up his watch . 40 SECONDS LEFT . Speaks another :<\/scene_description>\n    <character>COUGAR<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Run.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AL GHOZAR FORT -- DAY<\/stage_direction>\n    <scene_description>Clay and Cougar BURST from the fort , FIRING and RUNNING FULL TILT towards the commandeered TRUCK LOADED WITH KIDS . As they leap into the back , Pooch hits the gas :<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Jesus, you stop for coffee in there?<\/dialogue>\n    <scene_description>As he RUNS OVER two Bad Guys trying to stop them at the gate . The sound of a JET APPROACHING . Roque to Jensen :<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>What kind of blast radius we looking at?<\/dialogue>\n    <scene_description>Jensen , calculating on the computer tablet . Shows an animation mock - up to Roque - huge blast radius . To Pooch :<\/scene_description>\n    <character>ROQUE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>DRIVE. MUCH. FASTER.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKIES ABOVE AL GHOZAR FORT -- DAY<\/stage_direction>\n    <scene_description>The Fort and the retreating Truck below us mere specks as the DESERT HAWK SWOOPS IN and RELEASES ITS PAYLOAD . A moment of silence as it falls . and then STRIKES below , an orange FIREBALL BALLOONING OUTWARDS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRUCK (MOVING) -- DAY<\/stage_direction>\n    <scene_description>Ripping across the dunes , FIREBALL EXPANDING behind them .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>I think we're in the clear -<\/dialogue>\n    <scene_description>As the fireball ENGULFS THEM .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCK (MOVING) -- DAY<\/stage_direction>\n    <scene_description>IN THE MIDDLE OF THE FIRESTORM : All Pooch can see is FLAMES through the WINDSHIELD as they plow through the destruction . Glances in the REAR - VIEW :<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Uh, Coug?<\/dialogue>\n    <scene_description>Cougar 's sleeve , FULLY ABLAZE . He casually rips it off and tosses it out the back . THROUGH THE WINDSHIELD - The fire clears . to reveal a 30 FOOT DROP . The guys scream as they PLUNGE OVER IT . WHOOMP ! The Truck buries itself nose first in the sand .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AFGHAN DESERT -- DAY<\/stage_direction>\n    <scene_description>Silence . Smoke rises from a crater that was once the Fort . The doors of the truck creak open . Most of the YOUNGSTERS GIGGLE . Fun ride . As the guys help them out :<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Yeah, that was great, was n't it? My favorite part was when we were completely on fire. What was yours?<\/dialogue>\n    <scene_description>Sounds of a BLACKHAWK CHOPPER APPROACHING .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Exfil incoming. How are we gon na explain the kids, Colonel?<\/dialogue>\n    <scene_description>Clay does n't seem to hear him .<\/scene_description>\n    <character>POOCH<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Colonel?<\/dialogue>\n    <parenthetical>( Clay looks up . )<\/parenthetical>\n    <dialogue>The kids. What do we tell'em?<\/dialogue>\n    <scene_description>A beat . Clay seems to shake off his daze as the BLACKHAWK sets down . Walking up to the chopper :<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Lieutenant, you're to evac these civvies to the Firebase immediately -<\/dialogue>\n    <character>BLACKHAWK PILOT<\/character>\n    <dialogue>Negative, our orders are to transport a five - man team only.<\/dialogue>\n    <scene_description>Clay 's eyes dart down to the Pilot 's neck . A SILVER CRUCIFIX hangs around it . Clay , softer :<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>You really want to leave twenty three kids in the desert to die?<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>BLACKHAWK PILOT<\/character>\n    <dialogue>Not enough room for them and you.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Then it's them.<\/dialogue>\n    <scene_description>The Pilot nods . Our guys begin loading the kids on . Clay helps Omar on last . The kid looks at him . He knows perfectly well what Clay saved him from in that basement . Clay nods . A beat . The Pilot pulls the stick back and the CHOPPER ASCENDS . The kids wave goodbye to our guys . Omar , holding Clay 's gaze as they rise . Only broken as the chopper begins to recede into the distance . The last Clay sees of him is that ratty little TEDDY BEAR .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Cute little buggers. Hope they can make it to our court - martial.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Relax, Pooch, we're not going to be court - martialed - if anything, we're going to die of thirst wandering the desert, right Colonel?<\/dialogue>\n    <character>CLAY<\/character>\n    <parenthetical>( IGNORES THIS . )<\/parenthetical>\n    <dialogue>Jensen, see if you can cut into that Blackhawk's chatter - I want to know if he rats us out.<\/dialogue>\n    <scene_description>As Jensen tunes his radio .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>So, how we getting back? Hitchhike? Magic carpet? I say magic carpet.<\/dialogue>\n    <character>ROQUE<\/character>\n    <parenthetical>( NOTICING . )<\/parenthetical>\n    <dialogue>Guess they hustled up some air support after all - that's a Pakistani MiG up there.<\/dialogue>\n    <scene_description>Jensen 's tuning into the MIG 's frequency . Looking nervous .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Guys. This is bad.<\/dialogue>\n    <character>MIG PILOT<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Max, Cobra One. Bandit locked, twelve o'clock low.<\/dialogue>\n    <scene_description>Their eyes go wide with understanding .<\/scene_description>\n    <character>MAX<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Understood, Cobra One. Kill Bandit.<\/dialogue>\n    <scene_description>Clay and Cougar have ALREADY BEGUN RUNNING towards the receding chopper on the horizon . As the MIG SWINGS IN BEHIND THE BLACKHAWK .<\/scene_description>\n    <character>MIG PILOT<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( CALMLY . )<\/parenthetical>\n    <dialogue>Fox One.<\/dialogue>\n    <scene_description>WOOSH . The MIG FIRES - AIR TO AIR MISSILE . WHOOMP ! The Blackhawk 's tail rotor SHEARED OFF , the chopper spinning and falling but still intact . Pooch , the pilot , from somewhere SCREAMING :<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Auto - rotate, go with it, you can still put her down if you -<\/dialogue>\n    <character>MAX<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>And again.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>NO!<\/dialogue>\n    <character>MIG PILOT<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Fox Two.<\/dialogue>\n    <scene_description>The SECOND MISSILE from the MiG SLAMS INTO THE BLACKHAWK proper . Burning , spinning . FALLING . Clay and Cougar , screaming by the time they reach the wreck . OMAR 'S TEDDY BEAR , BLACKENING to a crisp . Clay tries to dive into the flames , but COUGAR DRAGS HIM BACK . No use , anyway . Nothing 's alive inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAKISTAN - KARACHI SAFE HOUSE -- DAY<\/stage_direction>\n    <scene_description>A safe house . A LARGE MAN stands in the shadows , watching as Roque , Jensen , Pooch , Cougar , and Clay yell back and forth at FENNEL - a CIA Handler :<\/scene_description>\n    <character>FENNEL<\/character>\n    <dialogue>What are you talking about `` MAX?''<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>He set up the Operation -<\/dialogue>\n    <character>FENNEL<\/character>\n    <dialogue>There was no operation! You were never radioed orders!<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>I talked to him!<\/dialogue>\n    <character>FENNEL<\/character>\n    <dialogue>You kill a friendly Afghan warlord, probably lose us the support of half the tribes in the region, and your alibi is `` MAX?''.<\/dialogue>\n    <parenthetical>( PAUSE . )<\/parenthetical>\n    <dialogue>Wait - are you saying you're Max?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>FENNEL<\/character>\n    <dialogue>Colonel, Max is an Agency code for a rogue agent or operation -<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>What are you talking -<\/dialogue>\n    <character>LARGE MAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>There is no specific Max.<\/dialogue>\n    <scene_description>The LARGE MAN finally steps out of the shadows . Special Forces , like our guys . WADE . They know him .<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>`` Max'' is catch - all for exactly what you've been accused of. Terminology's been around since the 50's.<\/dialogue>\n    <scene_description>Silence as the guys take this in .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>We did n't kill those kids, Wade.<\/dialogue>\n    <scene_description>Wade studies him . Finally :<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>I believe you.<\/dialogue>\n    <scene_description>Fennel sighs .<\/scene_description>\n    <character>FENNEL<\/character>\n    <dialogue>Stay here. We'll be back.<\/dialogue>\n    <scene_description>They watch Wade and Fennel leave . Now alone . SILENCE . After a bit , Pooch looks down . Under a little table .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Wade left his suitcase.<\/dialogue>\n    <scene_description>It hits them all at the same time .<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>Ah, shit.<\/dialogue>\n    <scene_description>They BOLT for the door . LOCKED . Run to the window . THREE FLOORS UP and it has BARS ON IT .<\/scene_description>\n    <character>CLAY<\/character>\n    <parenthetical>( nodding to the case . )<\/parenthetical>\n    <dialogue>Jensen?<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>I'm not good with bombs, man -<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>I do n't care - Roque, Pooch, get those bars off!<\/dialogue>\n    <scene_description>Roque and Pooch - SWISS ARMY KNIVES OUT . PHILLIPS HEAD attachments , slotting them into the SCREWS that hold the barred WINDOW FRAME in place . Jensen POPS OPEN the briefcase . Wires and dials aplenty .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Oh, shit. Oh, shit.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Time?<\/dialogue>\n    <scene_description>First set of screws out , moving onto the second .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>It's a remote detonator - enough for them to get clear, maybe ten MORE SECONDS -<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>CAN YOU -<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>I told you, I'm not good with bombs! How are those bars coming?<\/dialogue>\n    <scene_description>Second set out , moving onto the third and final .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Hurry.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Shut up.<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>Hurry.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Shut up.<\/dialogue>\n    <scene_description>Third set out , ripping the frame from the window .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KARACHI SAFE HOUSE -- SAME<\/stage_direction>\n    <scene_description>WIDE ON THE CITY BLOCK : As the SAFE HOUSE EXPLODES ! Debris flying far enough to shower the open air bazaar being held two blocks East . HOLD on the smoldering ruins . AS WE SLOWLY FADE TO .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW HAMPSHIRE AIRBASE -- NIGHT<\/stage_direction>\n    <scene_description>A rain slicked tarmac . MARINES carrying FIVE FLAG DRAPED COFFINS off a troop transport carrier . Our guys ' FAMILIES watching . Clay 's mother . Jensen 's girlfriend . Pooch 's wife and daughters . Tears in their eyes . INTERCUT WITH .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CIA BACKROOM -- NIGHT<\/stage_direction>\n    <scene_description>Somewhere secret . Our guys ' PERSONNEL FOLDERS . Each being opened . Each being stamped `` DECEASED '' . BACK TO .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW HAMPSHIRE AIRBASE -- NIGHT<\/stage_direction>\n    <scene_description>As the Marines SALUTE the passing coffins . POOCH 'S WIFE lowers her head , weeping . CUT TO : BLACK SCREEN . OVER IT IN SMALL LETTERS : THE LOSERS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN HOUSE -- NIGHT<\/stage_direction>\n    <scene_description>A nice quiet neighborhood . White picket fences , the whole nine . WE 'RE WATCHING from outside the kitchen window of a Cape Cod two story . POOCH 'S WIFE JOLENE doing dishes . Older . Hair cropped . Springfield , Massachusetts - NOW . She dries her hands and heads upstairs . We catch a glimpse of her in the upstairs hall . Then in her DAUGHTER 's bedroom . 4 YEARS OLD NOW . Mom , putting her down . In the backyard , by the swingset , a figure watches . POOCH . Indulging in a nightly ritual .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY STREETS -- NIGHT<\/stage_direction>\n    <scene_description>Mexico City . CARNIVALE . Day of the Dead . Jesters and masks . Music . A man with a cowboy hat walks among them . COUGAR . Sees Mexican Police eyeing him . Walks a little faster . Hat pulled low as fireworks explode above .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT STRIP MALL -- NIGHT<\/stage_direction>\n    <scene_description>Phoenix , Arizona . A late night internet cafe , wedged between a donut shop and spinning studio . JENSEN sits . Alone . Playing INTERACTIVE ON - LINE COMBAT .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOLLYWOOD, FL - HOLLYWOOD DOG TRACK -- MORNING<\/stage_direction>\n    <scene_description>Hollywood , Florida . DOGS IN FULL SPRINT . A few thousand SPECTATORS . Not the Derby , but reasonably enthused . IN THE CHEAP SEATS - CLAY and ROQUE . Three years older . But in no way bolder . They look almost . Broken . Roque 's got his feet up . Sucks lazily on a straw embedded in what looks like a SODA POP . Clay 's got BINOCULARS , following the action on the track - Muscle shredded greyhounds tearing over the dirt . One crosses the FINISH LINE . Roque checks their ticket . Yawns .<\/scene_description>\n    <character>ROQUE<\/character>\n    <parenthetical>( FLAT . )<\/parenthetical>\n    <dialogue>You lost again.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>We lost again.<\/dialogue>\n    <scene_description>Clay 's got the binoculars up , slow - checking the track .<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>You placed the bet.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>You gave me the money.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Well, that was stupid of me, was n't it?<\/dialogue>\n    <scene_description>Clay drums his fingers along the binocs as he scans . We see on his right hand , between his thumb and index finger - A TATTOO . A TEDDY BEAR . Looks just like Omar 's .<\/scene_description>\n    <character>ROQUE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>That makes, what, three in a row?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Four.<\/dialogue>\n    <scene_description>Something glint - flashes . catches Clay 's eye . He looks across the track , towards the PARKING LOT .<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>You know where you're messing up? You're putting all our money on the dogs with the best odds.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Yeah, I've just gone crazy with that approach.<\/dialogue>\n    <scene_description>CLAY SCANS THE LOT - A YOUNG WOMAN in tight jeans walks towards a black pick up , carrying a PAIR OF BINOCULARS .<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>Never play a longshot, you're never gon na win.<\/dialogue>\n    <scene_description>Clay does n't respond . Watching her . Roque exhales .<\/scene_description>\n    <character>ROQUE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>We're at a dogtrack at 10 a.m. - could this get any more sleazy?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Maybe if we were drinking.<\/dialogue>\n    <scene_description>Roque takes a pull on his straw .<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>You're not drinking?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FLORIDA -- MCDONALD'S PARKING LOT -- AFTERNOON<\/stage_direction>\n    <scene_description>Clay and Roque wolf Big Macs in a 1988 Chevy Crew Cab . FAMILIES eat outside . KIDS play like hamsters in tubes .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>We'll stay two more days, try to get some of the cash back.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Then what?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Miami. Jai - Alai.<\/dialogue>\n    <scene_description>Various PEOPLE walk to and from their cars . Clay and Roque shield their faces from them instinctually .<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>I ca n't take much more of this.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>We're on the run. It occasionally INVOLVES RUNNING -<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>I'm serious. Grinding out lunch money on five dollar sports bets, wincing everytime some overly Aqua - netted cow stares at my face for more than two seconds -.<\/dialogue>\n    <parenthetical>( DELICATELY . )<\/parenthetical>\n    <dialogue>I'm at the point where I'm thinking we ought to try to reach out to the Company.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>All we did was say the word `` Max'' and they blew up a building. CIA even gets a whiff of where we're at, they'll call in an airstrike.<\/dialogue>\n    <parenthetical>( shakes his head . )<\/parenthetical>\n    <dialogue>Until we figure out how we can take Max down and get clear, we lay low.<\/dialogue>\n    <scene_description>A Metro Dade POLICE CRUISER rolls into the McDonald 's . Clay watches close as it pulls into a parking spot .<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>Due respect, you're nobody's Colonel anymore.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Anytime you want to move along you go right ahead -<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Like the others? Least I still talk to them. You pushed them away. `` Max this, Max that'' - we never even saw the guy, Clay -<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>We heard his voice. Guy with a voice is a guy with a throat. And if he's got a throat.<\/dialogue>\n    <character>ROQUE<\/character>\n    <parenthetical>( IN DISBELIEF . )<\/parenthetical>\n    <dialogue>We're hiding out in the parking lot of a goddamn McDonald's - You actually think we're in any position to take on some shadowy CIA super - spook?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>ROQUE -<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>No, it's a stellar plan - we can use this as our base of ops!<\/dialogue>\n    <parenthetical>( gestures to the PLAYGROUND . )<\/parenthetical>\n    <dialogue>Pooch can run the motor pool out of the ball pit and Jensen can set up communications by the slide!<\/dialogue>\n    <scene_description>Clay , seeing one of the COPS say something to the other .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Go.<\/dialogue>\n    <scene_description>Roque FIRES UP THE ENGINE as the COPS get out of the cruiser . Pulling smoothly into the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOTEL SIX -- AFTERNOON<\/stage_direction>\n    <scene_description>Roque pulls up to their shitbeater Motel . Tension still between them . He gets out , turning back to his friend :<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>I was there too. I remember. But he won. We lost.<\/dialogue>\n    <parenthetical>( PAUSE . )<\/parenthetical>\n    <dialogue>Maybe it's time for a new game.<\/dialogue>\n    <scene_description>With that , Roque heads to the Motel . Clay looks down at his quarter eaten burger . He needs some real food .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUSTER'S BOOZE &amp; BURGERS<\/stage_direction>\n    <scene_description>Clay at the bar , eating a steak and drinking alone . Honky - tonk on the juke , mix of sawdust and blood on the floor . A YOUNG WOMAN enters - she 's hot , feels familiar . Clay eyes her as she orders a drink , dodges several GUYS .<\/scene_description>\n    <character>PARTICULARLY OFFENSIVE GUY<\/character>\n    <dialogue>Yabba Dabba Doo.<\/dialogue>\n    <scene_description>She catches Clay 's eye . Rolls her eyes . Clay 's paying more attention to his T - Bone than the girl . She slides up next to him . Her name 's AISHA .<\/scene_description>\n    <character>AISHA<\/character>\n    <dialogue>Men.<\/dialogue>\n    <scene_description>Clay turns back to his food . Not used to attractive women instigating conversation . Aisha watches as Clay eats .<\/scene_description>\n    <character>AISHA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>How's the steak?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Meaty.<\/dialogue>\n    <scene_description>She 's still watching him . It 's getting annoying .<\/scene_description>\n    <character>CLAY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Want a bite?<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>I do n't eat red meat.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>Slows me down.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Aisha studies Clay . If we 've been paying close attention , we might ID her as the race track binocular chick . We 're not sure if Clay does .<\/scene_description>\n    <character>AISHA<\/character>\n    <dialogue>You got nice arms.<\/dialogue>\n    <character>CLAY<\/character>\n    <parenthetical>( turning to her . )<\/parenthetical>\n    <dialogue>I know you?<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>Relax, slugger. I like arms. That's all.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Do I not look relaxed?<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>No.<\/dialogue>\n    <parenthetical>( PAUSE . )<\/parenthetical>\n    <dialogue>Think we can change that?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOLLYWOOD, FL. - GOLD COAST MOTEL - LATER<\/stage_direction>\n    <scene_description>Clay and Aisha enter his motel room . Aisha checks out the sparse accommodations .<\/scene_description>\n    <character>AISHA<\/character>\n    <parenthetical>( DEADPAN . )<\/parenthetical>\n    <dialogue>Wow, it's everything a girl could dream of. Got a bathroom?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>No, I specifically requested the only hotel room in the world that does n't have a bathroom.<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>You lookin' to turn a `` yes'' into a `` no'' here?<\/dialogue>\n    <scene_description>Clay points to the bathroom .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOLLYWOOD, FL - GOLD COAST - BEDROOM \/ BATHROOM<\/stage_direction>\n    <scene_description>Aisha checks herself in the mirror . A touch of lip gloss .<\/scene_description>\n    <character>AISHA<\/character>\n    <dialogue>So what brings you to Florida?<\/dialogue>\n    <scene_description>Clay IN THE BEDROOM . Leans over - stretching his hamstrings . Does a few subtle twists - Loosening up .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Convention.<\/dialogue>\n    <character>AISHA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Convention for what?<\/dialogue>\n    <scene_description>Shit . Clay looks around . Weakly :<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Air conditioners.<\/dialogue>\n    <scene_description>IN THE BATHROOM - Aisha studies herself in the mirror . Stretching her arms , prepping for some physical activity .<\/scene_description>\n    <character>AISHA<\/character>\n    <dialogue>They have whole conventions devoted to air conditioners?<\/dialogue>\n    <scene_description>IN THE BEDROOM<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>You'd be surprised.<\/dialogue>\n    <scene_description>Aisha comes back out . Both now stretched and loose .<\/scene_description>\n    <character>AISHA<\/character>\n    <dialogue>Bet I would. Where were we?<\/dialogue>\n    <scene_description>They study each other . Aisha slowly moves towards Clay .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>You were about to tell me how much you enjoy spending time at the dog track.<\/dialogue>\n    <scene_description>Aisha smiles , tracing her fingers down his stomach .<\/scene_description>\n    <character>AISHA<\/character>\n    <dialogue>Saw me there did you?<\/dialogue>\n    <scene_description>Clay strokes her cheek .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Uh - huh.<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>Did n't see me at the McDonald's though.<\/dialogue>\n    <scene_description>Their lips , inches from touching .<\/scene_description>\n    <character>AISHA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I have a proposition for you.<\/dialogue>\n    <scene_description>WHAM ! Clay DECKS HER . She REELS BACK - LOADED GLOCK up and out and - Clay ducks left - BACKHANDS HER with his forearm - sends her FLYING across the room - PAUSE . Both breathing hard . Staring at one another :<\/scene_description>\n    <character>AISHA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Just hear me out. I do n't want to hurt you.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>You're not going to.<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>Yes, I am.<\/dialogue>\n    <scene_description>He foot - plants , spins , re - attacks and IT IS ON ! INSANELY VISCOUS : tearing the room to utter shreds . Fists SMASHING . A FACE KICK , plaster SMASHES . She HURLS a twenty six inch color TELEVISION at him . This EXPLODES against a wall . Sparks give to flame as the room starts to burn hot around these two warriors . They continue to fight like RABID WOLVES . And they 're GRINNING . Enjoying this . THEN FREEZE - AISHA ON TOP OF CLAY - Each has a BUCK KNIFE up and tight against the other 's throat . Blades on skin . TIE GAME . Neither giving . FLAMES AROUND THEM :<\/scene_description>\n    <character>AISHA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Room's on fire.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Noticed. What do you want?<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>Your life. Back.<\/dialogue>\n    <scene_description>Clay spits blood and sucks air .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>You want to clarify that?<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>Max. I can help you.<\/dialogue>\n    <scene_description>This clearly has effect on Clay - Substantial Effect . Clay stares up at Aisha . FLAMES ALL AROUND THEM .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>I'm listening.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOLLYWOOD, FL STREETS -- NIGHT<\/stage_direction>\n    <scene_description>Clay and Aisha walk away from the BURNING MOTEL .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>How'd you find me?<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>It's not too tough if you know where to look. You guys are n't exactly subtle.<\/dialogue>\n    <scene_description>A FIRE ENGINE screams past them towards the burning hotel , as if to illustrate her point .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>How'd you know I was alive?<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>Counted the number of teeth found in the safehouse debris in Karachi. Not nearly enough for five men.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Who else knows?<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>That you're alive? Just me.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>So what's to stop me from putting a bullet in your head?<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>You want Max and I can tell you how to get him.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Max is up to something big, is n't he? Agency would n't have sent you otherwise.<\/dialogue>\n    <scene_description>She gives a little smile .<\/scene_description>\n    <character>AISHA<\/character>\n    <dialogue>Nice try, but I'm working alone here. If I was n't, I would n't need your help. Ready for the important part?<\/dialogue>\n    <scene_description>Clay nods .<\/scene_description>\n    <character>AISHA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>There is a plane.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>This plane contains a truck.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>This truck contains a cargo.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>This cargo is very important.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Is this a riddle?<\/dialogue>\n    <character>AISHA<\/character>\n    <parenthetical>( FORCED SMILE . )<\/parenthetical>\n    <dialogue>This cargo belongs to Max. You steal the cargo, Max comes looking for it, you grab Max.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>What a brilliant plan, and oh, so simple too. What's the cargo?<\/dialogue>\n    <scene_description>Aisha just smiles .<\/scene_description>\n    <character>CLAY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Right. So you want me to steal some super secret cargo known only to you and the bad guy, and I'm supposed to do this because you know the name Max and look good in a pair of jeans? Sorry, sister.<\/dialogue>\n    <scene_description>He turns . Begins walking away . She calls out after him .<\/scene_description>\n    <character>AISHA<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <parenthetical>( he turns back . )<\/parenthetical>\n    <dialogue>You really think I look good in these jeans?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Bye.<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>Cargo's heroin. Max uses it to fund his off the books ops. And it comes straight from the poppy fields of the late Jamal al - Fadhil.<\/dialogue>\n    <parenthetical>( knowing full well . )<\/parenthetical>\n    <dialogue>Oh. does that name mean something to you?<\/dialogue>\n    <scene_description>A beat as Clay stares at her , realizing .<\/scene_description>\n    <character>AISHA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>He used you to kill Fadhil and take over his operation, that's right. What did you think you were doing there in the first place? Fighting for truth and justice?<\/dialogue>\n    <scene_description>Clay stares at her .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>How do I know I can trust you?<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>Check my background. I'm an ex - Company hitter. First job was a junior field officer in Shanghai. You can Google it under Shanghai Hilton Decapitation.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>I mostly Google porn. Then?<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>Two Chinese and an Italian arms dealer in Bangkok. With my hands.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Show - off. Then?<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>Then I stopped auditioning for you. This is a check for ten grand -<\/dialogue>\n    <scene_description>He holds up his hand .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>We're not mercenaries.<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>Operational capital, that's all.<\/dialogue>\n    <parenthetical>( holding out the check . )<\/parenthetical>\n    <dialogue>You've been waiting three years for a shot at this guy. You're not gon na get another. You want Max, this is it.<\/dialogue>\n    <scene_description>He takes it . She hands him some papers along with it .<\/scene_description>\n    <character>AISHA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Intel on the shipment. You check it out, you check me out, you decide - are you in or not?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MEXICO - BEACH CAMPSITE - NIGHT<\/stage_direction>\n    <scene_description>COUGAR chilling by a small fire . Working his way through a bottle of tequila . His blackberry rings .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIA MOTEL - NIGHT<\/stage_direction>\n    <scene_description>POOCH in a Motel 6 Laying in bed alone , watching an old Jimmy Stewart movie . Blackberry rings .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARIZONA MOTEL - MOTEL<\/stage_direction>\n    <scene_description>JENSEN 's in bed with TWO GIRLS from his spin class . Blackberry rings . NOW THERE 'S SOMETHING WE CAN DO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DELHI, INDIA - MIDDAY<\/stage_direction>\n    <scene_description>The city midday is UTTERLY PACKED . Overflowing . The capital of the next great Superpower . Delhi , India .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DELHI, INDIA - OFFICE TOWER<\/stage_direction>\n    <scene_description>A TOP FLOOR OFFICE SUITE of a high end technology company . Degrees on the walls . A Bollywood musical BLARES from a TV loud enough to cover up the SOUNDS OF BEGGING . THREE INDIAN SCIENTISTS - A short guy , a tall guy , and a really fat guy - On the floor , BOUND , terrified , looking up at a tough looking bastard standing over them - WADE . Our burly man from the safe - house . Now he works for the suit in the brown French club chair . The Big Man , Master of Disaster , Trouble on a Firestick . MAX .<\/scene_description>\n    <character>SHORT SCIENTIST<\/character>\n    <dialogue>You know we can not do this. We can not do what you ask.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Tell me - is this a moral issue or a financial issue?<\/dialogue>\n    <character>FAT SCIENTIST<\/character>\n    <dialogue>A moral issue.<\/dialogue>\n    <character>MAX<\/character>\n    <parenthetical>( ACTUALLY CURIOUS . )<\/parenthetical>\n    <dialogue>Really? You object morally to this deal?<\/dialogue>\n    <character>FAT SCIENTIST<\/character>\n    <dialogue>Yes. I'm sorry. Please leave.<\/dialogue>\n    <scene_description>Max takes a moment . Thinks .<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Okay, here's what I'm hearing. I'm hearing `` No.'' I'm hearing `` Leave,'' and I'm hearing `` I'm sorry.'' Is that what I'm hearing?<\/dialogue>\n    <character>FAT SCIENTIST<\/character>\n    <dialogue>Please. you must leave.<\/dialogue>\n    <scene_description>Max nods to himself . He thought so .<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Right. Okay, so that is what I'm hearing. Now, I want you to listen. Listen carefully because I want you to hear this. Wade?<\/dialogue>\n    <scene_description>Wade hauls him up the FAT SCIENTIST . Without hesitation , he walks him over to the large glass window looking down FIFTY THREE STORIES above Delhi and HURLS HIM OUT . EXPLODING through the glass . As the poor bastard FALLS AND SCREAMS . The other scientists scream at the sight . Max turns to Wade , bewildered :<\/scene_description>\n    <character>MAX<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What the hell was that?<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>You gave me the nod.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>A `` hit him in the face'' nod, not a `` throw him out the window'' nod.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>I thought that's what you wanted.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>At most - at most that was a `` break his fingers'' nod.<\/dialogue>\n    <parenthetical>( slams his fist . )<\/parenthetical>\n    <dialogue>I mean Jesus, Wade, the man was scientific genius. Granted his weight signaled that he had certain impulse control issues, but that's no reason to throw his fat ass out a fifty story window.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <character>MAX<\/character>\n    <parenthetical>( as if to a child . )<\/parenthetical>\n    <dialogue>I think I speak for everyone here when I say that your actions were excessive and, yes, more than just a little wasteful.<\/dialogue>\n    <scene_description>Max looks over at the cowering scientists .<\/scene_description>\n    <character>MAX<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>then again, it seemed to have had the desired effect - toss Short Round out next.<\/dialogue>\n    <scene_description>Wade starts for the Short Scientist .<\/scene_description>\n    <character>SHORT SCIENTIST<\/character>\n    <dialogue>Wait!<\/dialogue>\n    <scene_description>Wade stops .<\/scene_description>\n    <character>SHORT SCIENTIST<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>We have a different moral perspective than our late colleague.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>The hell you say.<\/dialogue>\n    <parenthetical>( PAUSE . )<\/parenthetical>\n    <dialogue>I need one to test and one to use.<\/dialogue>\n    <character>SHORT SCIENTEST<\/character>\n    <dialogue>One to test?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Of course one to test - you think I trust you?<\/dialogue>\n    <character>SHORT SCIENTIST<\/character>\n    <dialogue>We will need much money.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>You will have much money.<\/dialogue>\n    <scene_description>Max and Wade are up and out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DELHI, INDIA - OFFICE TOWER CORRIDORS -- DAY<\/stage_direction>\n    <scene_description>Max and Wade , striding towards the elevators . Passing cubicles that Indian workers cower under - we realize Max 's heavily armed Henchmen had SEIZED THE ENTIRE FLOOR .<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Call our people at Goliath, tell them we'll have a special package arriving on the 17th.<\/dialogue>\n    <scene_description>He snaps his fingers and the Henchman follow .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW ORLEANS - WAREHOUSE DISTRICT -- NIGHT<\/stage_direction>\n    <scene_description>New Orleans . A non - descript warehouse among many .<\/scene_description>\n    <character>ROQUE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>So this is what your girl came up with, huh?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAREHOUSE -- NIGHT<\/stage_direction>\n    <scene_description>Large and empty . Clay and Roque take a look around it .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Better than a ball pit.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>You sure you're thinking clear on this?<\/dialogue>\n    <parenthetical>( off Clay 's look . )<\/parenthetical>\n    <dialogue>I know you. When you slip, it's always cause of a woman.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Name one time that -<\/dialogue>\n    <character>ROQUE<\/character>\n    <parenthetical>( INSTANTLY . )<\/parenthetical>\n    <dialogue>Carla.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Carla was n't the problem, Carla's husband was the problem -<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Carla's husband was n't the one who SHOT YOU -<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Okay. Yes. She shot me.<\/dialogue>\n    <parenthetical>( PAUSE . )<\/parenthetical>\n    <dialogue>But only in the leg.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>What about Emma?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Emma does n't count, we never slept together.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Because she put a bomb in your car.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>I admit, that took some of the romance out of the relationship.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>And now this chick, first time you meet her, burns down our hotel. Also, she kills people for a living. These are not good signs.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>I'm clear, Roque.<\/dialogue>\n    <scene_description>Roque studies Clay long and hard .<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>You better be. Or we're done.<\/dialogue>\n    <scene_description>INTERRUPTED as a DOOR CREAKS OPEN - Clay and Roque immediately have their PISTOLS OUT facing down an entering<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Damn. We missed you too.<\/dialogue>\n    <scene_description>COUGAR is with him . Clay and Roque lowers their weapons and go to embrace them . Pooch BEAR - HUGS Roque . Cougar nods to Clay .<\/scene_description>\n    <character>POOCH<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So what's this I hear about Clay gettin' us killed over a girl?<\/dialogue>\n    <scene_description>From the SHADOWS :<\/scene_description>\n    <character>AISHA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Been a long time since anyone called me a girl.<\/dialogue>\n    <scene_description>The guys START as she emerges . All woman .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Jesus, Lady! Ten outta ten for stealth and shit, but next time could you just knock?<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>How long you been back there?<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>Long enough.<\/dialogue>\n    <parenthetical>( TO CLAY . )<\/parenthetical>\n    <dialogue>She put a bomb in your car?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>She was volatile. Aisha, meet Pooch, Roque, and Cougar.<\/dialogue>\n    <scene_description>A beat as she takes this motley bunch in .<\/scene_description>\n    <character>AISHA<\/character>\n    <dialogue>Really? You ca n't hang out with anyone just named `` Phil''?<\/dialogue>\n    <scene_description>Another CREAK - Jensen enters .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Hail, hail, the gang's all here! Colonel. Roque. Pooch. Silent Bob. Hottie.<\/dialogue>\n    <parenthetical>( TO AISHA . )<\/parenthetical>\n    <dialogue>I'm gon na need a moment alone with the boys if you do n't mind, but I'd like to reserve the right to awkwardly hit on you later?<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>I'd expect no less.<\/dialogue>\n    <parenthetical>( TO CLAY . )<\/parenthetical>\n    <dialogue>Have fun.<\/dialogue>\n    <scene_description>The guys admire her form as she leaves . When she 's gone :<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>What do you have on her?<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>Besides a pants - busting crush?<\/dialogue>\n    <parenthetical>( OPENING LAPTOP . )<\/parenthetical>\n    <dialogue>Her intel checks out. The cargo will be arriving here in two days.<\/dialogue>\n    <character>ROQUE<\/character>\n    <parenthetical>( DEADPAN . )<\/parenthetical>\n    <dialogue>Wow, I completely trust her now.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>What else?<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>Grew up in Afghanistan, Mom was a local, Dad was white devil. oh, and CIA's got a kill order out on her. As does Hamas, Sien Fein, MOSAAD - pretty much everyone with the exception of PETA wants this chick amscrayed.<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>Last CIA email flagged with her name says she was digging for information about a special project.<\/dialogue>\n    <parenthetical>( looks up at them . )<\/parenthetical>\n    <dialogue>`` Codename : MAX''.<\/dialogue>\n    <scene_description>A moment as this sinks in .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>They want to wet her cause she's lookin' into Max. That sounds familiar.<\/dialogue>\n    <character>ROQUE<\/character>\n    <parenthetical>( DUBIOUS . )<\/parenthetical>\n    <dialogue>Could those files -<\/dialogue>\n    <character>JENSEN<\/character>\n    <parenthetical>( finishing his question . )<\/parenthetical>\n    <dialogue>- have been planted for us to find?<\/dialogue>\n    <parenthetical>( shaking his head . )<\/parenthetical>\n    <dialogue>CIA timestamp, digital watermark. Someone would've had to go to a lot of trouble, and I mean a lot, to fool me.<\/dialogue>\n    <scene_description>Clay nods . Looks to the others .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>I say we go with her. Pooch?<\/dialogue>\n    <scene_description>A beat . Pooch nodding :<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>I'm in.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Jensen?<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>Hell yeah. Cougs?<\/dialogue>\n    <scene_description>Cougar nods his assent . Only one left . ROQUE . They all turn to him . A beat .<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>For now.<\/dialogue>\n    <scene_description>Jensen smacks his fist on the table , excited :<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Hot damn! Back with the Colonel, doing another bid for God and COUNTRY -<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Country turned her back on us, and God can screw. This one's for us.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>And anyone who calls me `` Colonel'' better be ready to take a beating or an order. We ai n't soldiers anymore.<\/dialogue>\n    <character>POOCH<\/character>\n    <parenthetical>( HAPPY NONETHELESS . )<\/parenthetical>\n    <dialogue>So what's the plan, my civilian brothers?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Sleep. We start tomorrow.<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>Start where?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>We're going bird hunting.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIJI - BLUE ISLAND SKY - DAY<\/stage_direction>\n    <scene_description>A White Bell AB - 139 CHOPPER glides into frame - FLYING over a small series of white sanded jungle islands .<\/scene_description>\n    <character>MAX<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It used to be so simple. A post 9\/11 world.<\/dialogue>\n    <scene_description>HOWLER MONKEYS taunt - scream up as the chopper slow - circles over the beautiful deserted island . Outer Fijian Islands .<\/scene_description>\n    <character>MAX<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>As a country we spoke with one voice, moved with one purpose. We had a wicked boner for doing the right thing, and now look at us!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELL AB-139 - SAME<\/stage_direction>\n    <scene_description>Max wearing a Hawaiian shirt and Raybans . ZINC on his nose , rubbing suntan lotion on his forearms . To Wade :<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>90 percent of the globe is tooling up to whack us and we're too busy losing our nerve to notice. It's Us versus Them and right now my money would be on them.<\/dialogue>\n    <scene_description>CAMERA DROPPING FAST out of the chopper - SOARING DOWN low - TRACKING WITH a howler monkey up a PALM TREE - Then airborne as the monkey leaps twenty feet to another .<\/scene_description>\n    <character>MAX<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Was n't it Thomas Jefferson who once said the tree of freedom must be watered with etcetera, etcetera? We need to wake people up, Wade. We need to hit them in the face, angry up the blood, give them their balls back.<\/dialogue>\n    <scene_description>We TRACK WITH our lead monkey up to something very un - monkey like . Something SINISTER . A metallic , trunk - like object . Flashing lights and transponder devices .<\/scene_description>\n    <character>MAX<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>We need to give them a ten megaton reality check.<\/dialogue>\n    <parenthetical>( ala John Lee Hooker . )<\/parenthetical>\n    <dialogue>Boom Boom Boom Boom.<\/dialogue>\n    <scene_description>A half - millisecond breath . Then , UTTER DESTRUCTION ! A MULTI STAGED NUCLEAR SHRED BLAST - Trees , earth , water are sucked in then - HURLED OUTWARDS in a series of SHOCK WAVES and fire balls . TSUNAMIS ERUPT , as the chopper shudders from the blast . When the MUSHROOM CLOUD clears . THE ENTIRE ISLAND IS GONE . Stunned silence in the chopper . Then Max whoops like a 10 year old who 's just seen the world 's best fireworks show .<\/scene_description>\n    <character>MAX<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I think it's safe to say it works!<\/dialogue>\n    <scene_description>Wade , not quite as enthused . Max notices . His face falls .<\/scene_description>\n    <character>MAX<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Jeez, talk about hard to impress.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HANGAR -- DAY<\/stage_direction>\n    <scene_description>Max and Wade , stepping off the chopper as it powers down . Max walks towards his office . Wade , calling after him :<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>The Company's with you on this?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Kinda. Sorta.<\/dialogue>\n    <scene_description>Wade raises an eyebrow .<\/scene_description>\n    <character>MAX<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You know the drill, they do n't like to know how the sausages get made. What do you care?<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>I do n't. Just want to make sure everyone gets paid.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>The money's coming from our Afghanistan operation. And what the Company does n't know wo n't hurt them.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Unless they're within the blast radius.<\/dialogue>\n    <scene_description>Max puts his hand on Wade 's shoulder . Earnestly :<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>We're gon na saving our country, Wade. The United States of America will benefit greatly from what we're doing.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>I was born in Quebec.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Jesus, fine - we're saving North America, does that make you happy? Just get it done.<\/dialogue>\n    <scene_description>Max stalks away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITE SANDS MISSILE RANGE, NEW MEXICO - DAY<\/stage_direction>\n    <scene_description>A US ARMY HUMVEE tears PAST CAMERA , just missing a couple of freaked out jack rabbits blast - hopping for their lives . On perimeter patrol at 80MPH down an endless desert road .<\/scene_description>\n    <character>RADIO TRANSMISSION<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Base One, this is Cavalier 415. Sector eight perimeter clear, proceeding to sector nine.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLACKED OUT COMMUNICATIONS ROOM<\/stage_direction>\n    <scene_description>Jensen . Radio mic . His fingers rapid tap worn keys .<\/scene_description>\n    <character>JENSEN<\/character>\n    <parenthetical>( into radio ; drawls . )<\/parenthetical>\n    <dialogue>Roger that Cav 415, we have a report of a civilian vehicle breakdown on U.S. 70, sector nine, grid four. Please assist as required.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARMY HUMVEE - CONTINUOUS<\/stage_direction>\n    <scene_description>Four patrol SOLDIERS . The driver throws a hard right .<\/scene_description>\n    <character>DRIVER<\/character>\n    <dialogue>Army of one, my ass. Goddamn Triple A service.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROUTE 70 - NEW MEXICO - LATER<\/stage_direction>\n    <scene_description>A Kenworth Heavy pulled off to the side . Pooch works on the front right tire . Sweating buckets in the desert bake . The Humvee approaches . TWO SOLDIERS get out .<\/scene_description>\n    <character>SOLDIER 1<\/character>\n    <dialogue>Need a hand, buddy?<\/dialogue>\n    <scene_description>Pooch looks up from his tire .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Appreciate it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW MEXICO DESERT - SAME<\/stage_direction>\n    <scene_description>Fifty feet off the road . A brown blanket slowly rising . REVEAL the long black barrel of a SNIPER RIFLE . SCOPE POV - Colors and graphics we 've never seen before . Cougar 's got his own thing going on . More Jerry Garcia than Tom Clancy . Soldier One 's THROAT is smack dab in the middle of it . CLOSE ON COUGAR 'S TRIGGER FINGER : Slight squeeze . Silenced weapon .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW MEXICO DESERT - BY THE TRUCK - SAME<\/stage_direction>\n    <scene_description>Soldier One slaps at the burning sting in his neck .<\/scene_description>\n    <character>SOLDIER 1<\/character>\n    <dialogue>AAOW! Something just bit me!<\/dialogue>\n    <scene_description>He pulls a two inch TRANQ - DART off his neck .<\/scene_description>\n    <character>SOLDIER 1<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( staring at the dart . )<\/parenthetical>\n    <dialogue>Is this?<\/dialogue>\n    <scene_description>The three other soldiers see the dart and LEAP out when . FROM BEHIND THE TRUCK - ROQUE rises ARMS OUT . Wedged in each hand - TWIN JET BLACK .45 CALIBER COLT STUN PISTOLS . BLASTING AWAY . The soldiers stagger , twist and stumble before succumbing to the Demerol . LIGHTS OUT .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLACKED OUT COMMUNICATIONS ROOM - CONTINUOUS<\/stage_direction>\n    <character>CLAY<\/character>\n    <dialogue>Go.<\/dialogue>\n    <scene_description>The sound of HEAVY IRON RELEASING as the WALLS START TO SEPARATE , revealing we are INSIDE THE BROKEN - DOWN TRUCK .<\/scene_description>\n    <character>CLAY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Make the call.<\/dialogue>\n    <scene_description>Jensen taps into the military emergency band . Takes a breath , centers himself , then .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Base One, this is Cavalier 415! We have been in a collision with a civilian vehicle! Carvey's dead an' Freeman's hurt bad! He's messed up his neck! He ca n't move! Oh god, it's horrible! We need medevac immediate! HE'S GOT KIDS, BASE ONE, HE'S GOT KIDS!<\/dialogue>\n    <character>BASE ONE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Roger, Cavalier 415! We're scrambling a chopper, hang in there!<\/dialogue>\n    <scene_description>Jensen , all smiles , looks up at Clay .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Robert De Niro who?<\/dialogue>\n    <scene_description>Pooch and Roque have the four drugged soldiers laid out on the sand . All four are clearly breathing .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Sleeping like babies.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>What about their ride?<\/dialogue>\n    <scene_description>Clay steps off the trailer with a heavy duty air hoist .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Flip it.<\/dialogue>\n    <scene_description>TIGHT SHOTS of the air ram attached to the undercarriage of the Humvee . The tires start to lift off the ground . higher . Four pairs of hands start rocking the truck . Pooch and Jensen , on one side . Quietly :<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>What do you think's up with that `` do n't call me Colonel'' stuff?<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>Classic loss of identity. Clay defined himself by his place in the military structure. It was his way of measuring the good he did in the world. Without it, he's just another loser like the rest of us.<\/dialogue>\n    <scene_description>Pooch blinks , impressed . Then :<\/scene_description>\n    <character>JENSEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You know there's a website where you can download MP3's of donkeys farting? How cool is that?<\/dialogue>\n    <scene_description>A FINAL PUSH . and the Humvee FLIPS . FROM JENSEN 'S RADIO :<\/scene_description>\n    <character>BASE ONE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Cavalier 415 this is Medevac Delta. Be advised, we are airborne and in - bound to your position!<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>All right, everyone get into character.<\/dialogue>\n    <scene_description>Jensen and Roque LIE ON THE GROUND by the flipped Humvee .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Lot of work to bum a ride.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Shut up, Jensen.<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>You shut up, Roque. You're dead, I'm the spinal injury - Spinal injury can talk, dead ca n't.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Stop talking or I'll break your neck for real.<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>Seriously, you have to get more into your role! Dead guy! No talking! Dead guy!<\/dialogue>\n    <scene_description>Clay leans against the truck . In the distance , the faint outline of a massive DOUBLE ROTOR TROOP TRANSPORT CHOPPER .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Here we go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHOPPER - NEW MEXICO SKY - SAME<\/stage_direction>\n    <scene_description>Behind the pilot as he moves in on the accident scene .<\/scene_description>\n    <character>PILOT<\/character>\n    <parenthetical>( INTO RADIO . )<\/parenthetical>\n    <dialogue>Base One, this is Medevac Delta. We have visual on Cavalier 415.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CRASH SITE - NEW MEXICO DESERT - CONTINUOUS<\/stage_direction>\n    <scene_description>Clay waves the chopper in . It lands on the road . TWO EMTs leap out and race towards the fallen soldiers . The first EMT kneels by Jensen .<\/scene_description>\n    <character>EMT<\/character>\n    <dialogue>Alright buddy, we're gon na get you patched up in no time.<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>Y - you ever treat anyone who'd been gut shot.<\/dialogue>\n    <character>EMT<\/character>\n    <dialogue>Sure, in Iraq. What a mess.<\/dialogue>\n    <scene_description>Jensen pulls his COLT , presses it up into the EMT 's GUT .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Means you know what's coming to you if try to play hero. Now, lose the radio mic, Bones.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHOPPER COCKPIT - SAME<\/stage_direction>\n    <scene_description>The two pilots wait behind full reflective face shields<\/scene_description>\n    <character>PILOT ONE<\/character>\n    <dialogue>What are they jawing about out there? We're burning fuel -<\/dialogue>\n    <scene_description>CLACK - CLACK . The pilots turn as TWO MACHINE GUNS jam up on them from out of the darkness . Pooch and Cougar .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>You heard of car - jacked? You've just been chopper - jacked, my man.<\/dialogue>\n    <character>PILOT ONE<\/character>\n    <dialogue>You're robbing the US Army?<\/dialogue>\n    <scene_description>TRANQ - TRANQ ! The Pilots slump . Pooch , to Cougar :<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>When he says it out loud, it does sound kinda ridiculous.<\/dialogue>\n    <scene_description>Clay pops his head in :<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Where's my wild goose?<\/dialogue>\n    <scene_description>Pooch reaches in and rips the chopper 's TRANSPONDER OFF .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW MEXICO DESERT - LATER<\/stage_direction>\n    <scene_description>THE CHOPPER , now UNDER A TARP on the back of the truck trailer . The TRANSPONDER , strapped to a SMALL ROCKET .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>We're all set here. Ready to take a giant step for. well, for guys who steal stuff, I guess.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Hit it.<\/dialogue>\n    <scene_description>Jensen FIRES THE ROCKET . The transponder takes off .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Beautiful. Let'em chase that.<\/dialogue>\n    <scene_description>FROM THE CHOPPER 'S RADIO :<\/scene_description>\n    <character>BASE ONE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Medevac Delta, this is Base One. What's your situation, over?<\/dialogue>\n    <scene_description>Pooch gets up behind the wheel .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Time to move.<\/dialogue>\n    <scene_description>The team gets into the big double cab . Pooch fires up the engine and the heave rig tears out onto the highway . AFTER THEY 'RE GONE - On one of the drugged soldiers . Trying to sit up . He looks around . WIDE : Seven soldiers out cold on the side of the road . Alone .<\/scene_description>\n    <character>DRUGGED SOLDIER<\/character>\n    <dialogue>Well, shit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW ORLEANS WAREHOUSE -- NIGHT<\/stage_direction>\n    <scene_description>Our guys are prepping . Pooch and Clay check out maps . Cougar , in full face mask , spray paints something big .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>no, what you want is a gas turbine generator running a force - fed rectifier unit, hook it up to the fuel tank.<\/dialogue>\n    <scene_description>Aisha sits , watching in silence . Jensen approaches her .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>So, you grew up in the Hindu Kush, huh? That must've been rough.<\/dialogue>\n    <character>AISHA<\/character>\n    <parenthetical>( watching the chopper . )<\/parenthetical>\n    <dialogue>Uh - huh.<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>Got any hobbies?<\/dialogue>\n    <scene_description>Aisha , never taking her eyes off the chopper :<\/scene_description>\n    <character>AISHA<\/character>\n    <dialogue>When I was a girl, I collected human ears. I had over three dozen pairs when a feral dog came into our camp one night and took them. The dog was good eating, though.<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>I'm gon na go somewhere else now.<\/dialogue>\n    <scene_description>He departs . Aisha stands , walking over to the chopper .<\/scene_description>\n    <character>AISHA<\/character>\n    <dialogue>Are small arms gon na be a problem?<\/dialogue>\n    <scene_description>Clay and Pooch look at the new girl .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>It's taken care of - we lined the hull with half inch steel plate.<\/dialogue>\n    <scene_description>Roque steps forward .<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>Which brings us to our next question.<\/dialogue>\n    <scene_description>He PULLS a DESERT EAGLE and LEVELS IT at Aisha 's skull .<\/scene_description>\n    <character>ROQUE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What's your angle in this?<\/dialogue>\n    <scene_description>Aisha just smiles . Clay , more annoyed than worried :<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Roque.<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>I'm giving you a chance to get even. That's all you need to know.<\/dialogue>\n    <scene_description>Roque stares at Aisha . Neither backing down .<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>I'm gon na shoot her, Clay.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>No, you're not.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Yes, I am.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Right now.<\/dialogue>\n    <scene_description>He thumbs back the hammer . A TENSE MOMENT . And then Roque lowers the gun .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>See?<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>She's coming with us. And if anything feels like a set - up, I put a bullet in her skull.<\/dialogue>\n    <parenthetical>( TO AISHA . )<\/parenthetical>\n    <dialogue>Sound fair?<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>Oh, completely. Now, if you'll excuse me, it's time for prayers.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>You're Muslim?<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>You know, you are a sharp one - and do n't let any of these other boys tell you different.<\/dialogue>\n    <scene_description>With that , she turns and walks away into the shadows . Roque lowers the weapon . A beat . To Clay :<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>I do n't like this.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>I picked up on that.<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>I'm with Roque, man. Agency thinks we're dead. We show up alive and kickin', start waving our dicks around in public, they're gon na make it their business to bury us. They'll call us terrorists, all KINDSA SHIT -<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>What do you think we are now?<\/dialogue>\n    <parenthetical>( to all of them . )<\/parenthetical>\n    <dialogue>Best case scenario, this gets us face to face with Max -<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>What if it does n't? What if we never get face to face with him. Are you gon na be able to live with that? Ever?<\/dialogue>\n    <scene_description>Clay does n't reply . A pall , cast over the guys . Finally :<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Hell, let's just say it out loud.<\/dialogue>\n    <parenthetical>( PAUSE . )<\/parenthetical>\n    <dialogue>We do this, we're declaring war on the Central Intelligence Agency.<\/dialogue>\n    <scene_description>Silence , as the guys take this in . Then , from the corner :<\/scene_description>\n    <character>COUGAR<\/character>\n    <dialogue>They started it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW ORLEANS -- ESTABLISHING -- DAY<\/stage_direction>\n    <scene_description>SWOOPING DOWN over the waterways , threading our way between buildings , past the islands slamming into<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRIVATE AIRPORT, NEW ORLEANS<\/stage_direction>\n    <scene_description>A G - 550 , tire chalked . A fork lift removes a large VAULT - LIKE PACKAGE from the back of the plane - THE CARGO . A fifteen ton ATTACK - STABILIZED CASH TRANSPORT RIG idles , surrounded by TWENTY ASSAULT TROOPERS , loading up . Machine guns , frag grenades , body armor . BY THE JET - WADE and FENNEL , our briefcase bomb friends , talks with a G. Gordon Liddy wrinkle muscleman .<\/scene_description>\n    <character>FENNEL<\/character>\n    <dialogue>As of this moment, the truck is designated an extraterritorial zone of immunity. Under no circumstances whatsoever are you or your men to allow the package to leave the truck before it's secure in the compound - to do so would be considered an act of treason and punishable as such.<\/dialogue>\n    <character>LIDDY<\/character>\n    <dialogue>Understood and acknowledged, sir.<\/dialogue>\n    <scene_description>As the package is loaded into the MONSTER ARMORED RIG .<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Ten men ride with the package and another ten ride chase.<\/dialogue>\n    <scene_description>Ten rock hard WARRIORS in a beefed up chase van .<\/scene_description>\n    <character>WADE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Let's go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRIVATE AIRPORT -- DAY<\/stage_direction>\n    <scene_description>The two truck armored convoy pulls out of the private airport and passes a parked TOWN CAR .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOWN CAR - SAME<\/stage_direction>\n    <scene_description>Clay , Roque , and Jensen watch the armored trucks pass by . Roque has a silenced long gun out as the second truck passes . As Roque PULLS THE TRIGGER .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRIVATE AIRPORT - CONTINUOUS<\/stage_direction>\n    <scene_description>A silenced AIR BLAST - we TRAVEL FAST with Roque 's ordinance - SMACKING SILENT onto the rear bumper of the lead truck . A ballistic , putty - coated recon tracker .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOWN CAR - CONTINUOUS<\/stage_direction>\n    <scene_description>Jensen 's laptop GPS goes hot . Green dot indicates CONVOY .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Are we wired?<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>Like Belushi.<\/dialogue>\n    <parenthetical>( INTO RADIO . )<\/parenthetical>\n    <dialogue>Target is westbound. Heading for the bridge.<\/dialogue>\n    <scene_description>Clay fires up the Town Car and follows . AERIAL - LOOKING DOWN as the armored cars head towards the city . TILT UP to reveal the CRESCENT CITY CONNECTION - eight suspended lanes spanning the Mighty Mississippi .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CRESCENT CITY CONNECTION<\/stage_direction>\n    <scene_description>HIGH ANGLE - Looking down at the bridge traffic . Sliding into frame , buckle - harnessed and very armed - COUGAR TWO HUNDRED FEET ABOVE GROUND . Lashed into a BRIDGE SUPPORT . He racks the bolt of his NTW - 20 ANTI MATERIAL RIFLE - a monster of a weapon with a bulky starlight scope . As the FIRST SWAT TRUCK reaches the center of the BRIDGE -<\/scene_description>\n    <character>CLAY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Take em'.<\/dialogue>\n    <scene_description>Cougar FIRES - And everything begins happening very fast . The SWAT TRUCK 'S nearside front wheel EXPLODES , blown clear off the axle mount - The wheel spins away , bounces wild , smashes a windshield -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SWAT TRUCK -- FRONT CAB -- DAY<\/stage_direction>\n    <scene_description>The Driver , wrestling with the wheel .<\/scene_description>\n    <character>SWAT DRIVER<\/character>\n    <dialogue>Shit, I'm losing it!<\/dialogue>\n    <scene_description>The Truck SLEWS sideways - PLOWS into a car ! The Driver SLAMS the truck in reverse , FLOORS IT -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CRESCENT CITY CONNECTION -- DAY<\/stage_direction>\n    <scene_description>Cougar FIRES AGAIN - the other front wheel DETONATES , and the truck 's nose SLAMS down on the asphalt GRINDING SPARKS ! Going nowhere fast . THE CHASE VAN Screeches to a hard stop behind . SECURITY CREW OUT - WEAPONS RAISED - taking up DEFENSIVE POSITIONS . Ice cold professionals .<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Form a defensive perimeter around the truck!<\/dialogue>\n    <character>FENNEL<\/character>\n    <dialogue>They're out of their minds, there's no way off this bridge.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN CAR<\/stage_direction>\n    <scene_description>Now at the entrance to the bridge . Roque smiles as he hefts an MGL - 40 GRENADE LAUNCHER . FIRING . BY THE CONVOY THICK TEAR GAS EXPLODES in dark blues , billowing across traffic . SECURITY MEN CHOKE , lost in the SMOKE .<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Masks on! Secure the package!<\/dialogue>\n    <character>SWAT GUY<\/character>\n    <dialogue>Where are they? I ca n't see them -<\/dialogue>\n    <scene_description>COUGAR pumps a round into the EMPTY CHASE VAN - Armor - glass BLASTING APART , showering the roadway - Fennel DIVES for cover , PANICKING - Lifts the radio to his lips :<\/scene_description>\n    <character>FENNEL<\/character>\n    <dialogue>Code RED! We are under attack! Need Chopper Support right now!<\/dialogue>\n    <scene_description>ROQUE fires another TEAR GAS GRENADE into the melee - CIVILIANS running and screaming - TOTAL PANDEMONIUM -<\/scene_description>\n    <character>CONTROL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Acknowledged, EVAC is enroute!<\/dialogue>\n    <scene_description>As the CHASE VAN is BLOWN APART behind them ! Fennel trying to orient through smoke and gas . Then , a NEW SOUND . DEEP RUMBLING . Thick bass vibrations . The thick tear gas being blown aside by the thunderous twin - rotor downwash of a CHINOOK HEAVY LIFT CHOPPER ! It bellies in low , the boarding ramp already lowering . Wade crouch - runs to the SWAT TRUCK , HAMMERING the rear DOORS -<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Cavalry's here!<\/dialogue>\n    <scene_description>The doors BURST OPEN and the SWAT Team CRASH - ROLLS the precious CARGO CRATE towards the Chinook 's boarding ramp -<\/scene_description>\n    <character>WADE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Move! Point cover! Go, go!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. CHINOOK HELICOPTER -- DAY<\/stage_direction>\n    <scene_description>SWAT Guys laying down point cover as their comrades hustle the crate into the Chinook 's WINDOWLESS HOLD . The ramp RISING as Fennel dives onboard as well . BY THE CONVOY Wade makes a `` take off '' sign to the Chinook pilot who flips him a salute as THE CHINOOK LIFTS INTO THE AIR . The ramp closing . The team and cargo safely aboard .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CRESCENT CITY CONNECTION -- UPPER SUPERSTRUCTURE<\/stage_direction>\n    <scene_description>Passing Cougar 's sniper - harness , which now HANGS EMPTY . Twisting in the wind . As we hear the rotors fade into the distance .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CRESCENT CITY CONNECTION -- DAY<\/stage_direction>\n    <scene_description>Wade slumps against the burnt out wreckage of the chase van . Sighing in relief . SILENCE . His radio crackles :<\/scene_description>\n    <character>CHOPPER PILOT<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>This is Chopper Support - we are inbound your position, ETA five minutes! Hang in there!<\/dialogue>\n    <scene_description>As a HORRIFIED LOOK OF REALIZATION crosses Wade 's face and he stares up into the sky .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHINOOK -- WINDOWLESS HOLD -- DAY<\/stage_direction>\n    <scene_description>The SWAT Guys pull off their masks and high - five . They think they kicked ass . Fennel , reaching for the cockpit door handle . He ca n't turn it .<\/scene_description>\n    <character>FENNEL<\/character>\n    <dialogue>What the hell? It's welded shut!<\/dialogue>\n    <character>SWAT GUY<\/character>\n    <parenthetical>( REALIZING . )<\/parenthetical>\n    <dialogue>The windows too! We're sealed in!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHINOOK COCKPIT -- DAY<\/stage_direction>\n    <scene_description>We hear the FAINT YELLING of Fennel and the Swat Guys in the hold . The Chinook Pilot flips up his goggles to reveal - It 's POOCH ! AISHA sitting co - pilot . Both grinning as they hear the protestations from behind them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOUISIANA BAYOU -- EVENING<\/stage_direction>\n    <scene_description>The middle of nowhere . A small clearing . Skeeters and crickets harmonize . Clay waits with Jensen and Roque . THE CHINOOK crests the tree line . Hovers above .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHINOOK -- WINDOWLESS HOLD -- EVENING<\/stage_direction>\n    <scene_description>Fennel and the SWAT Guys try to maintain balance and personal dignity as they stumble and fall all over each other . The chopper SETS DOWN . The men gather themselves . Weapons up . Checking clips , safeties off .<\/scene_description>\n    <character>FENNEL<\/character>\n    <dialogue>We're down, okay! You go the second the ramp lowers! Hit them hard, three round bursts, center mass!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHINOOK -- EVENING<\/stage_direction>\n    <scene_description>Aisha clambers onto the Chinook 's hull , clutching a RUBBER HOSE . Screws the end to an inlet valve marked `` FIRE RETARDANT SYSTEM '' . Looks down at Clay . With a grin :<\/scene_description>\n    <character>AISHA<\/character>\n    <dialogue>Open the valve.<\/dialogue>\n    <scene_description>TIGHT ON a 3 - inch turn valve . Hard hands grab and open .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHINOOK -- WINDOWLESS HOLD -- EVENING<\/stage_direction>\n    <character>FENNEL<\/character>\n    <dialogue>These guys are about to get the surprise of their lives.<\/dialogue>\n    <scene_description>Cut off as a CLEAR LIQUID begins to rain down on them from the SPRINKLER SYSTEM .<\/scene_description>\n    <character>FENNEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What the hell they trying to do, drown us?<\/dialogue>\n    <character>SOLDIER 1<\/character>\n    <dialogue>Sir, that smell! It's - gasoline!<\/dialogue>\n    <scene_description>Their EYES GO WIDE . HYDRAULICS WHINE . The RAMP LOWERS . The gas drenched soldiers BURST OUT , weapons up . Squinting through the fumes . CLAY STANDS ALONE . The men fan out around him . Multiple rifles TRAINED AT HIS HEAD from every direction . Fennel blinks , surprised to see him alive . Nevertheless :<\/scene_description>\n    <character>FENNEL<\/character>\n    <dialogue>Eat the ground, or they blow your head off!<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>I do n't think so.<\/dialogue>\n    <character>FENNEL<\/character>\n    <dialogue>First and only warning, Clay!<\/dialogue>\n    <scene_description>Clay calmly LIGHTS A CIGARETTE . TIGHT ON THE BURNING CHERRY : The soldiers , wide eyed .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Gasoline. Muzzle flash. Think about it.<\/dialogue>\n    <scene_description>AS THAT SINKS IN - Fennel looks like his puppy just died . GASOLINE DRIPS from the muzzle of his own tooled up H&amp;K G36 assault rifle . Clay takes a long smooth drag .<\/scene_description>\n    <character>CLAY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Things'll kill you.<\/dialogue>\n    <scene_description>A beat . and then the fight just goes out of the SWAT Team . They DROP THEIR GUNS and RAISE THEIR HANDS .<\/scene_description>\n    <character>CLAY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Good boys. Now, let's see what kind of cargo you got in there.<\/dialogue>\n    <character>FENNEL<\/character>\n    <dialogue>Clay, no bullshit - you open that box and we all die.<\/dialogue>\n    <scene_description>Clay steps up to him . Near nose to nose .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>I'm already dead, remember?<\/dialogue>\n    <scene_description>WHAP ! Clay 's fist to Fennel 's jaw . Knocking him cold . TIGHT ON FENNEL as he and the Team sit bound and gagged in the back of the Chinook . As the ramp rises , he shoots panicked glances to Clay . The ramp closes between them . Clay turns back to THE CRATE on the ground in front of our guys . Pooch and Cougar hydro - pop the locks . OPEN TO REVEAL an interior crate . Smaller , polished steel . A TEN DIGIT numeric KEYPAD on top , and a LOGO STAMPED on the side - GOLIATH .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Goliath the oil company?<\/dialogue>\n    <scene_description>Clay looks to Aisha .<\/scene_description>\n    <character>AISHA<\/character>\n    <dialogue>It must be how he moves the drugs.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Great. The super evil bad guy is in bed with the world's largest oil company. That's just fabulous.<\/dialogue>\n    <scene_description>Pooch hefts a tire iron . Smacking it into his palm .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>You want me to go ask Fennel the combination?<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>Nah, I can bypass no problem.<\/dialogue>\n    <scene_description>He jacks his laptop into the keypad . A few keystrokes and HISSSSSSS .<\/scene_description>\n    <character>JENSEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Voila! Ten million dollars of horse, comin' up!<\/dialogue>\n    <scene_description>The second crate opens . Revealing a THERMO - NUCLEAR WARHEAD . Our guys stand there . COMPLETELY STUNNED . Silence .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Is that?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>The TIMER display BLINKS ON and begins COUNTING BACK - 59 , 58 , 57 .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Is that?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Yeah. Jensen, you're up.<\/dialogue>\n    <scene_description>Jensen blinks . Still in shock .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>The bomb.<\/dialogue>\n    <character>JENSEN<\/character>\n    <parenthetical>( HOLLOW . )<\/parenthetical>\n    <dialogue>But I'm not good with bombs.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Get better.<\/dialogue>\n    <scene_description>46 , 45 , 44 .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Okay. Okay.<\/dialogue>\n    <parenthetical>( OPENING LAPTOP . )<\/parenthetical>\n    <dialogue>Nukes. That's a nuke. Who makes nukes? Department of Defense. DOD Mainframe. I got ta hack the DOD MAINFRAME -<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>SHOULD WE -<\/dialogue>\n    <character>JENSEN<\/character>\n    <parenthetical>( TYPING FAST . )<\/parenthetical>\n    <dialogue>It would really be good if you did n't talk right now - get that casing off for me.<\/dialogue>\n    <scene_description>Pooch , staring at the warhead warily .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>What if that sets it off?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Then we die thirty seconds early - do it.<\/dialogue>\n    <scene_description>Aisha and Pooch with drills POP THE SCREWS . Lifting the casing off the bomb housing - looking down at the MULITITUDE OF COLORED WIRES .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>I got wires - red, blue, green, white, yellow -<\/dialogue>\n    <character>JENSEN<\/character>\n    <parenthetical>( STILL TYPING . )<\/parenthetical>\n    <dialogue>Okay, just hold position!<\/dialogue>\n    <scene_description>25 , 24 , 23 .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>There's also pink -<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>Hold position!<\/dialogue>\n    <scene_description>He 's typing like the damn wind now - IMAGES on his laptop , FLYING PAST as he HACKS THE D.O.D . 15 , 14 , 13 .<\/scene_description>\n    <character>AISHA<\/character>\n    <dialogue>Are you trying to make this more dramatic?<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>Almost. Almost. Shit!<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>Computer crashed!<\/dialogue>\n    <scene_description>His screen , FROZEN .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Are you kidding me?<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>Yes, cause this is the time for HUMOR -<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>JENSEN -<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>I told you, I'm not good at bombs!<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Do you have time to reboot?<\/dialogue>\n    <scene_description>9 , 8 , 7 . No way . They 're fucked .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Okay, someone pick a color!<\/dialogue>\n    <character>AISHA<\/character>\n    <parenthetical>( STRANGELY CALM . )<\/parenthetical>\n    <dialogue>Pull out all the wires.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>You ever hear of a clock radio that exploded cause you unplugged it - pull out all the wires.<\/dialogue>\n    <scene_description>With no other options POOCH DOES . The clock , STILL GOING : 3 , 2 , 1 . The end of the wires FIZZLE . Then NOTHING . SILENCE .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Opening it without the code must have triggered the timer.<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>You think?<\/dialogue>\n    <scene_description>And then Roque PULLS HIS GUN . Levelling it at Aisha :<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>Did you know?<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>I just saved our lives -<\/dialogue>\n    <character>ROQUE<\/character>\n    <parenthetical>( FEVER PITCH . )<\/parenthetical>\n    <dialogue>Did you know?<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>Of course not!<\/dialogue>\n    <scene_description>Clay TURNS SUDDENLY , stalking towards the Chinook .<\/scene_description>\n    <character>ROQUE<\/character>\n    <parenthetical>( CONFUSED . )<\/parenthetical>\n    <dialogue>Where the hell are you -<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Fennel.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHINOOK -- WINDOWLESS HOLD -- NIGHT<\/stage_direction>\n    <scene_description>The Losers stand around Fennel , who 's been CRYING . Urine stain on his pants . Sniveling , spilling his guts rapidly :<\/scene_description>\n    <character>FENNEL<\/character>\n    <dialogue>Max thinks the country's lost it's way, gone soft in the War on Terror! This is his solution!<\/dialogue>\n    <scene_description>Clay JAMS A GUN to his temple .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Elaborate.<\/dialogue>\n    <character>FENNEL<\/character>\n    <dialogue>He wanted us to nuke a U.S. target, pin it on the ragheads and boom - freedom is on the march again! The same people who want us to pull back will be screaming to turn the place into a parking lot!<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>What was the target?<\/dialogue>\n    <character>FENNEL<\/character>\n    <dialogue>I CA N'T -<\/dialogue>\n    <scene_description>BLAM ! Clay FIRES - INCHES FROM Fennel 's HEAD ! Fennel SCREAMS<\/scene_description>\n    <character>FENNEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>The Mall of America! Christ!<\/dialogue>\n    <scene_description>They stare down at him in disbelief .<\/scene_description>\n    <character>FENNEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm serious! It's his sense of humor! He told us we could choose between there and Epcot Center.<\/dialogue>\n    <scene_description>A beat as our guys take this in .<\/scene_description>\n    <character>JENSEN<\/character>\n    <parenthetical>( AMAZED . )<\/parenthetical>\n    <dialogue>Holy shit, it's like we were framed by Dr. No.<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>What about Goliath?<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>Yeah, what would an oil company want with the Middle East?<\/dialogue>\n    <character>FENNEL<\/character>\n    <parenthetical>( STILL FREAKED . )<\/parenthetical>\n    <dialogue>The ships that service their offshore oil rigs are exempt from US Customs! It's how Max gets the drugs in and out of the country -<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>This is conspiracy theory bullshit -<\/dialogue>\n    <character>FENNEL<\/character>\n    <dialogue>It's not! There's proof!<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>FENNEL<\/character>\n    <dialogue>Max's heroin operation - Goliath keeps accounts of the shipments!<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>Come on, dude, they'd be morons to keep records of shit like this -<\/dialogue>\n    <character>FENNEL<\/character>\n    <dialogue>It's on a stand - alone hard drive! It's their insurance policy against Max - they know he's crazy, this way they have something on him!<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>So this hard drive - it contains evidence of what Max has been doing?<\/dialogue>\n    <character>FENNEL<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <scene_description>Our guys exchange looks .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Can you get us this drive?<\/dialogue>\n    <scene_description>Fennel goes even paler .<\/scene_description>\n    <character>FENNEL<\/character>\n    <dialogue>I do n't know where it is! They do n't let me have access! But -<\/dialogue>\n    <scene_description>Fennel goes pale when he sees Clay MOVE TOWARD HIM :<\/scene_description>\n    <character>FENNEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>No, wait! Please do n't kill -<\/dialogue>\n    <scene_description>Clay plasters DUCT TAPE over Fennel 's mouth . Stepping outside the Chinook . The others , going with him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOUISIANA BAYOU -- NIGHT<\/stage_direction>\n    <scene_description>The Warhead , still sitting there . Nobody speaks for a bit . Then :<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>I say we hit Goliath headquarters.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>And do what - go after this non - existent hard drive?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>We find out if it exists. If it does, we steal it and trade it for immunity.<\/dialogue>\n    <scene_description>Roque stares at him .<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>That's your plan?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>You got a better one? Max gives us back our lives or we upload the data to the net, show the American people what's being done in their names.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Why risk our lives again when we already have something to trade?<\/dialogue>\n    <scene_description>He gestures to the WARHEAD . Clay , shocked .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>You want to give it back to him?<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>I want to at least discuss it before signing up for another suicide mission on the say - so of some flunky -<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>It's not happening.<\/dialogue>\n    <scene_description>Roque blinks at Clay 's abruptness . Pissed .<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>So you want to take down Goliath now? Then who? McDonald's? American Airlines? Microsoft?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>You do n't want Max to pay?<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>I want my life back! This is supposed to be us getting clear - not saving the world!<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>ROQUE -<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>We're not the goddamn good guys anymore! I love you guys, but I had a life before this shit, and I sure as hell am not going to risk getting it back because you came down with a case of the Dudley Damn Do - Rights!<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Do n't raise your voice at me -<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>I will raise whatever the hell I want - you got a death wish because you got beat by a voice on a radio -<\/dialogue>\n    <scene_description>WHAP ! Clay throws a STRAIGHT RIGHT to Roque 's jaw ! Roque , surprised and staggered by the blow . Then he SMILES through the blood , DRAWING A KNIFE :<\/scene_description>\n    <character>ROQUE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm gon na cut your head off.<\/dialogue>\n    <scene_description>This got serious quick . Pooch steps between them . A really dangerous beat . Clay and Roque , full on eyefucking one another . On Aisha - she seems to be DIGGING IT . Broken by :<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>I say we hit Goliath. Jensen?<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>Goliath. Cougs?<\/dialogue>\n    <scene_description>Cougar nods .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Aisha?<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>She does n't get a vote -<\/dialogue>\n    <character>AISHA<\/character>\n    <parenthetical>( staring at Roque . )<\/parenthetical>\n    <dialogue>Goliath.<\/dialogue>\n    <scene_description>Silence . Roque , ODD MAN OUT . His fingers tighten around the handle of the knife .<\/scene_description>\n    <character>POOCH<\/character>\n    <parenthetical>( SOFTLY . )<\/parenthetical>\n    <dialogue>Put it away.<\/dialogue>\n    <scene_description>A long beat . and Roque slides the knife back into it 's SCABBARD . Clay , staring at him :<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>You want your life back, you're gon na have to steal it. We hit them in two days.<\/dialogue>\n    <scene_description>He stalks away . Roque glowers . Heads the other direction .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Do n'tcha hate it when Mom and Dad fight?<\/dialogue>\n    <scene_description>Cougar grunts in response .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>So what do we do about the nuke?<\/dialogue>\n    <parenthetical>( PAUSE . )<\/parenthetical>\n    <dialogue>Did I just actually say that?<\/dialogue>\n    <scene_description>On Aisha . A smile forming .<\/scene_description>\n    <character>AISHA<\/character>\n    <dialogue>I have an idea.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW ORLEANS POLICE DEPARTMENT -- DAY<\/stage_direction>\n    <scene_description>The DESK SERGEANT sips a cup of coffee . Doing the Sunday crossword . Poorly . A quiet afternoon . A HUB - BUB outside . Rising voices .<\/scene_description>\n    <character>PATROLMAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Holy - Sarge, come quick!<\/dialogue>\n    <scene_description>The Sergeant rises , and we follow him through the station towards the front doors . Moving faster and more nervously as the NOISE OUTSIDE GROWS . Finally stepping out into<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW ORLEANS POLICE DEPARTMENT -- DAY<\/stage_direction>\n    <scene_description>The street where a CROWD has gathered . Lookie - loos with camcorders . The Sergeant pushes through them to find FENNEL . Eyes wide with fear . DUCT TAPED TO THE WARHEAD . A SIGN hangs around his neck that reads Death to America ! in big cheery letters and has a SMILEY FACE on it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMOKED UP ASIAN BAR -- BACK ROOM -- DAY<\/stage_direction>\n    <scene_description>The image of FENNEL tied to the bomb , broadcast on the THAI NEWS on a black and white TV . Wade squints at it .<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>That's gon na be a quick trial.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Wonderful guy, salt of the earth, he'll be missed - who took my bomb, Wade?<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>You're not gon na like it.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Because I've been such a fan of how things have gone up till now?<\/dialogue>\n    <scene_description>Wade shrugs and slides some PHOTOS across the table to him . SCREEN - GRABS from TRAFFIC CAMERAS - CLAY , ROQUE , and JENSEN in the towncar during the heist . A long beat .<\/scene_description>\n    <character>MAX<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Who the hell are these people?<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Colonel Clay and his unit. You had them killed three years ago?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>I also had several African nations overthrown three years ago, I'm a BUSY GUY -<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>The Jamal al - Fadhil situation?<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Okay, they need to get dead. Get me a six man fire team ready in twelve hours.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>So what's the plan?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>What's the plan? The plan is - get me a six man fire team ready in twelve hours.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Are we now clear on the plan or do you want to try a third go - around?<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>WE'RE CLEAR -<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Because what I'm going to need you to do is get me a six man fire team ready in twelve hours. You get that, right?<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>I get it.<\/dialogue>\n    <scene_description>Wade heads for the door .<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>And Wade?<\/dialogue>\n    <scene_description>Wade turns back . Max , SMILING :<\/scene_description>\n    <character>MAX<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>We're gon na need a new bomb.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NORTH DELHI - PRIVATE HANGAR - DAY<\/stage_direction>\n    <scene_description>Wade waits as FOUR INDIAN MEN climb out of LIMO . The first we recognize as one of the scientists that Wade did not throw out the window . The other three : INDIAN TOUGH GUYS . The scientist got smart , brought some MUSCLE .<\/scene_description>\n    <character>SHORT SCIENTIST<\/character>\n    <dialogue>We appreciate you meeting us in a single story facility.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>No problem. I look at that entire incident as your standard `` getting to know'' each other business orientation.<\/dialogue>\n    <character>SHORT SCIENTIST<\/character>\n    <dialogue>I agree. Now that we know each other, know, please, that if you come near me with any more of that Yankee Doodle tough guy bullshit, you will be fed to my dogs.<\/dialogue>\n    <scene_description>Small smile from Wade .<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Fair enough, Doc. Can we now move past the verbal aggression and get into some business?<\/dialogue>\n    <character>SHORT SCIENTIST<\/character>\n    <dialogue>You want another device. One billion dollars is now the price. One billion dollars cash.<\/dialogue>\n    <scene_description>Wade stares at the scientist .<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>That's going to be difficult.<\/dialogue>\n    <character>SHORT SCIENTIST<\/character>\n    <dialogue>Life the way you people want to live it is very difficult, Mr. Wade. You want less difficult move to my country, study Hinduism. Meditate. Cultivate serenity. Much less difficult. You want to buy atomic bombs. I'm afraid that is a more difficult way of life.<\/dialogue>\n    <scene_description>And he smiles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY - NORTH OF DELHI - LATER<\/stage_direction>\n    <scene_description>Wade drives in a Jeep , heading back to the city .<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>He wants one billion in cash.<\/dialogue>\n    <scene_description>INTERCUT WITH MAX in the SMOKED UP ASIAN BAR :<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue \/>\n    <scene_description>That 's a lot of a paper routes .<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue \/>\n    <scene_description>Can we swing it ?<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue \/>\n    <scene_description>Not even close .<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue \/>\n    <scene_description>The Company ?<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue \/>\n    <scene_description>Wo n't give it to us willingly . -LRB- THINKING . -RRB- You get that six man team together like I asked ?<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue \/>\n    <scene_description>Yeah .<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue \/>\n    <scene_description>Change of plans . Kill them .<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue \/>\n    <scene_description>Kill them ?<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue \/>\n    <scene_description>Or fire them , whichever 's easier .<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue \/>\n    <scene_description>Honestly ? Firing them .<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue \/>\n    <scene_description>Fine , fine , I 'm not a detail guy . What I need - wait . Did you give them intel on Clay 's people ?<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue \/>\n    <scene_description>Well , yeah .<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue \/>\n    <scene_description>Aaaand we 're back to killing them .<\/scene_description>\n    <character>WADE<\/character>\n    <parenthetical>( ANNOYED . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Fine , I 'll kill them - what are we doing instead ?<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Touchy, touchy. Jeez, what are you related to them?<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Actually, one of them, yes.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>By blood?<\/dialogue>\n    <character>WADE<\/character>\n    <parenthetical>( he 's had it . )<\/parenthetical>\n    <dialogue>A brother - in - law, I said I'd kill him, what are we doing?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>It's not what we're doing, it's what Clay is going to do for us.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>And that is?<\/dialogue>\n    <character>MAX<\/character>\n    <parenthetical>( GRINNING . )<\/parenthetical>\n    <dialogue>Get us our billion dollars.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OUTSIDE HOUSTON - BEAT TO SHIT MOTEL ROOF - NIGHT<\/stage_direction>\n    <scene_description>Clay . Sitting on his bed . Shirt off . Going over schematics - GOLIATH WORLD HEADQUARTERS . A KNOCK on Clay 's door . He gets up , checks the eye hole . Opens it . AISHA .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>I was just going over the plan.<\/dialogue>\n    <scene_description>She looks at him . Sexual . Predatory .<\/scene_description>\n    <character>CLAY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You want to go over the plan?<\/dialogue>\n    <scene_description>She steps into the room towards him . Reaching for her :<\/scene_description>\n    <character>CLAY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Let's go over the plan.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL ROOM BALCONY -- NIGHT<\/stage_direction>\n    <scene_description>Clay and Aisha . After . Looking out at the city .<\/scene_description>\n    <character>AISHA<\/character>\n    <dialogue>So, what really happened to you in Afghanistan?<\/dialogue>\n    <scene_description>Clay looks over at her . Down at the TEDDY BEAR tattoo . And shakes his head .<\/scene_description>\n    <character>CLAY<\/character>\n    <parenthetical>( SOFTLY . )<\/parenthetical>\n    <dialogue>That's not for you.<\/dialogue>\n    <scene_description>She traces her fingers over it .<\/scene_description>\n    <character>CLAY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Why do you want Max dead?<\/dialogue>\n    <scene_description>Aisha , taken aback by the suddenness of the question .<\/scene_description>\n    <character>AISHA<\/character>\n    <dialogue>He's a bad man. Is n't that enough?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>A beat . She looks at him .<\/scene_description>\n    <character>AISHA<\/character>\n    <dialogue>When you tell me about Afghanistan? I'll tell you about Max.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Fine. It's hot. There's lots of sand. Your turn.<\/dialogue>\n    <scene_description>Aisha smiles at this . Shaking her head .<\/scene_description>\n    <character>AISHA<\/character>\n    <dialogue>Why were you alone when I found you?<\/dialogue>\n    <scene_description>That takes Clay off guard . Looking out at the city .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>The guys got sick of it.<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>Sick of what?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Of hearing about Max. Of hearing me say we had to do something when there was n't anything to do. They wanted to be around their families. Jensen has a sister. Pooch has a wife and daughters.<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>And he has n't told them he is alive?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Would you? The people you loved the most, would you put them in that kind of danger?<\/dialogue>\n    <scene_description>Aisha , side - stepping the question :<\/scene_description>\n    <character>AISHA<\/character>\n    <dialogue>So Roque has no one.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>He's got me.<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>And you have.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Enough hate to get us both through the day. He stuck with me when no one else would. And I ai n't the easiest guy to stick with.<\/dialogue>\n    <scene_description>Aisha studies him .<\/scene_description>\n    <character>AISHA<\/character>\n    <dialogue>If you two really fought, he would kill you, I think.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>You think.<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>I'm almost sure of it.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>Because you care what happens to the others. You would n't put them at risk to save yourself.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>And you think that's a weakness.<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>I know it is. Law of the jungle.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>We're not in the jungle.<\/dialogue>\n    <scene_description>She looks at him .<\/scene_description>\n    <character>AISHA<\/character>\n    <dialogue>Oh, yes we are.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAN -- MORNING<\/stage_direction>\n    <scene_description>Idling . Blacked out windows . Pooch behind the wheel , Cougar shotgun , Roque in back . Back door slides open and Clay and Aisha enter . Together . It does n't go unnoticed .<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>Well, that's just great.<\/dialogue>\n    <scene_description>That 's it . Fed up , Pooch SHUTS THE ENGINE like dad in the family truckster .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>We're not going anywhere until you two squash this shit.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Pooch, we're on a schedule here -<\/dialogue>\n    <scene_description>Pooch takes the keys out of the ignition and folds his arms . Clay sighs . Looks over to Roque . A beat . Then :<\/scene_description>\n    <character>CLAY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Sorry I hit you.<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>Good. Roque?<\/dialogue>\n    <scene_description>A longer beat .<\/scene_description>\n    <character>POOCH<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Roque?<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Sorry I threatened to cut your head off.<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>Verrrry good. Now do n't you two feel better?<\/dialogue>\n    <character>CLAY AND ROQUE<\/character>\n    <parenthetical>( IN UNISON . )<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>I do n't give a shit, I do.<\/dialogue>\n    <parenthetical>( starts the van . )<\/parenthetical>\n    <dialogue>Now, let's go watch Jensen single - handedly knock over the largest oil company on the planet.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT DOWNTOWN HOUSTON -- DAY<\/stage_direction>\n    <scene_description>Houston , Texas . ESTABLISHING : Skyscrapers . One large one stands out - The GOLIATH HEADQUARTERS TOWER . JENSEN heads towards the building . Street bicycle , bike shorts , messenger bag . He 's disguised as a Bike Messenger .<\/scene_description>\n    <character>JENSEN<\/character>\n    <parenthetical>( SINGING . )<\/parenthetical>\n    <dialogue>I got jungle fever, you've got jungle fever, we've got jungle fever, we're in love.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOLIATH TOWER -- RECEPTION -- DAY<\/stage_direction>\n    <scene_description>Jensen enters the reception area singing . Moves to the receptionist desk . A PRETTY RECEPTIONIST answering phones .<\/scene_description>\n    <character>JENSEN<\/character>\n    <parenthetical>( STILL SINGING . )<\/parenthetical>\n    <dialogue>. she's gone black - boy crazy, I've gone white - girl hazy, ai n't no thinking maybe, we're in love.<\/dialogue>\n    <scene_description>He looks down at the Receptionist .<\/scene_description>\n    <character>JENSEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Yo! Package for Henderson!<\/dialogue>\n    <scene_description>The Receptionist looks up . She 's on the phone , distracted :<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>Excuse me one moment -.<\/dialogue>\n    <parenthetical>( TO JENSEN . )<\/parenthetical>\n    <dialogue>I'll take that, thank you.<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>No can do, chica, got ta put it in his hands. He's got ta sign.<\/dialogue>\n    <character>RECEPTIONIST<\/character>\n    <parenthetical>( back on phone . )<\/parenthetical>\n    <dialogue>I'm sorry - could you say that again?<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>Babydoll, I'm on the clock here!<\/dialogue>\n    <scene_description>The Receptionist looks up at Jensen , not particularly amused . She points towards the elevators .<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>Forty fifth floor.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR -- GOLIATH TOWER -- CONTINUOUS<\/stage_direction>\n    <scene_description>TIGHT ON JENSEN as the elevator doors close on him .<\/scene_description>\n    <character>JENSEN<\/character>\n    <parenthetical>( SINGING . )<\/parenthetical>\n    <dialogue>I got jungle fever, you've got jungle fever, we've got jungle fever, we're in love.<\/dialogue>\n    <scene_description>DOORS CLOSE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR \/ HENDERSON'S OFFICE - GOLIATH TOWER<\/stage_direction>\n    <scene_description>Alone , Jensen opens the messenger bag . REVEAL A SUIT . Pre - set , ready to slide on over his bike clothes . Dials a cell phone while he dresses super fast .<\/scene_description>\n    <character>JENSEN<\/character>\n    <parenthetical>( ON PHONE . )<\/parenthetical>\n    <dialogue>Mr. Henderson, please.<\/dialogue>\n    <scene_description>INTERCUT WITH HENDERSON 'S OFFICE : A SECRETARY sitting in the outer office .<\/scene_description>\n    <character>SECRETARY<\/character>\n    <dialogue>Who's calling, please?<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>Richard Hertz from Internal Security.<\/dialogue>\n    <character>SECRETARY<\/character>\n    <dialogue>One moment, please.<\/dialogue>\n    <scene_description>JENSEN , PANTSLESS , as the elevator STOPS . The 25th FLOOR . The DOORS OPEN . Two SECRETARIES about to enter the elevator freeze at the sight of PANTSLESS JENSEN .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Ladies. hi.<\/dialogue>\n    <scene_description>The ladies stare at Jensen . He calculates their gazes .<\/scene_description>\n    <character>JENSEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Liking the angle of the dangle?<\/dialogue>\n    <scene_description>DOORS SHUT before they can protest .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HENDERSON'S OFFICE<\/stage_direction>\n    <scene_description>HENDERSON , a middle aged mid - level manager reaches for his phone as the secretary looks on from her desk .<\/scene_description>\n    <character>HENDERSON<\/character>\n    <dialogue>This is Henderson.<\/dialogue>\n    <scene_description>INTERCUT WITH JENSEN IN ELEVATOR<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Good afternoon, Mr. Henderson, Richard Hertz from Internal Security. If you'd be kind enough to make your way down to the lobby?<\/dialogue>\n    <character>HENDERSON<\/character>\n    <dialogue>Uh. Can I ask what this is about?<\/dialogue>\n    <scene_description>Jensen is just about dressed .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>It's a matter of a somewhat sensitive nature involving an individual exposing himself to women in the elevators - best discussed in person. If you'd just head on down.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HALLWAY BY ELEVATORS -- CONTINUOUS<\/stage_direction>\n    <scene_description>Henderson plods into his elevator . As the DOORS CLOSE on his elevator , the DOORS OPEN on the SECOND ELEVATOR . JENSEN , suited and pressed , steps out . Briefcase in hand .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HENDERSON'S OUTER OFFICE<\/stage_direction>\n    <scene_description>Jensen enters , looking down at Henderson 's secretary .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Hi, I'm Skippy from tech support. Is Henderson around? I'm supposed to install a firewall on his system -<\/dialogue>\n    <character>SECRETARY<\/character>\n    <dialogue>Oh, you just missed him by like two seconds. Can you come back in like an hour or so?<\/dialogue>\n    <scene_description>Jensen checks his watch . Big sigh .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Oooooh - no can do. Upstairs breathing down my neck. They want security upgraded for the senior managers all of a sudden.<\/dialogue>\n    <scene_description>Jensen , already moving into HENDERSON 'S OFFICE :<\/scene_description>\n    <character>JENSEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Five minutes and I'll be out of your hair!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HENDERSON'S OFFICE<\/stage_direction>\n    <scene_description>QUICK TIGHT SHOTS OF JENSEN doing what Jensen does best : Tearing into Henderson 's computer . FROWNING . Henderson 's secretary reaching for her phone .<\/scene_description>\n    <character>SECRETARY<\/character>\n    <dialogue>Security?<\/dialogue>\n    <scene_description>BACK IN HENDERSON 'S OFFICE : Jensen checking his download . Smiles at the Secretary , then looks back to he screen . Pressing his RADIO EARPIECE .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>According to this, the drive exists, Clay.<\/dialogue>\n    <scene_description>INTERCUT WITH THE VAN : Clay shoots a look at Roque .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>You're sure?<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>Abso - tootly.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Is it in the building?<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>No, somewhere off - site. It's got ta be a remote location, stand - alone. I'm checking their security logs - wherever they've detailed the most guys is probably where it'll be.<\/dialogue>\n    <character>SECURITY GUARD 1<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>`` Skippy''?<\/dialogue>\n    <scene_description>Jensen turns . He 's face to face with a solid looking SECURITY OFFICER . He tries a smile :<\/scene_description>\n    <character>SECURITY GUARD 1<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Show me some ID. Real easy.<\/dialogue>\n    <scene_description>Jensen stands up , holding his briefcase .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Whoa! Take it easy. You're the -<\/dialogue>\n    <scene_description>WHAM ! Jensen SMASHES his metal briefcase across the security guard 's face ! The guard is unconscious before he hits the ground . Keying his RADIO EARPIECE :<\/scene_description>\n    <character>JENSEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Get me out of here, Clay.<\/dialogue>\n    <character>CLAY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( THROUGH RADIO . )<\/parenthetical>\n    <dialogue>There's a fire exit thirty yards north of your position.<\/dialogue>\n    <scene_description>Jensen , heading for it .<\/scene_description>\n    <character>BIG SECURITY 1<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Freeze like a statue, pretty boy!<\/dialogue>\n    <scene_description>Jensen slow turns to find THREE GUNS trained straight at him . Major security . These guys look extremely competent .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>I'm warning you, man, I'm a lethal weapon.<\/dialogue>\n    <scene_description>Jensen turns on the big fellah .<\/scene_description>\n    <character>JENSEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It was this secret government project. They did stuff to me. Spooky stuff. Anal stuff. Turned me into a dangerous Telekinetic.<\/dialogue>\n    <parenthetical>( wiggles index fingers . )<\/parenthetical>\n    <dialogue>As the old saying goes - you do n't start none. there wo n't be none.<\/dialogue>\n    <scene_description>Big Security moves in on Jensen with a pair of handcuffs .<\/scene_description>\n    <character>BIG SECURITY 1<\/character>\n    <dialogue>Telekinetic your way out of this.<\/dialogue>\n    <scene_description>Jensen RAISES HIS RIGHT HAND at the guard . Fingers cocked like a gun aimed at the guard 's Kevlar covered vest .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Bang.<\/dialogue>\n    <scene_description>The guard is HIT HARD , BLASTED BACKWARDS off his feet ! Screaming in pain , he goes down . Jensen spins , aims his left fingers at the SECOND GUARD .<\/scene_description>\n    <character>JENSEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Boom.<\/dialogue>\n    <scene_description>and the second guard is blown backwards too , KEVLAR VEST SMOKING . Moaning :<\/scene_description>\n    <character>BIG SECURITY 2<\/character>\n    <dialogue>You broke my ribs.<\/dialogue>\n    <scene_description>Jensen - Fingers levelled at the THIRD GUARD .<\/scene_description>\n    <character>THIRD GUARD<\/character>\n    <dialogue>Please - d - do n't shoot.<\/dialogue>\n    <scene_description>TIGHT ON JENSEN : Full Dirty Harry .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Face down, or I'll make your hearts stop beating with my mind.<\/dialogue>\n    <scene_description>They comply . Jensen looks down at them . Smiles . Then slowly turns looking out the FLOOR TO CEILING GLASS WINDOWS . Makes the `` OK '' sign out the window .<\/scene_description>\n    <character>JENSEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Thanks, Coug.<\/dialogue>\n    <scene_description>TIGHT ON THE CIRCLE OF JENSEN 'S OK FINGER SIGN : Three tight bullet holes in the glass . SMASH ZOOM out the window , 500 yards to a neighboring office tower .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEIGHBORING OFFICE BUILDING - HOUSTON - SAME<\/stage_direction>\n    <scene_description>Rifle , still smoking . Hat low , the ever vigilant COUGAR .<\/scene_description>\n    <character>COUGAR<\/character>\n    <dialogue>De Nada.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HANGAR OFFICE -- DAY<\/stage_direction>\n    <scene_description>Max , on the phone . SPEAKING JAPANESE . Wade pokes his head in . Hands him a note - GOLIATH JUST GOT HIT . Max cups his hand over the receiver , as the voice on the other end prattles on . To Wade :<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>By your boys?<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>They're not `` my boys''. I do n't like this. I say we grab Clay and kill the rest.<\/dialogue>\n    <character>MAX<\/character>\n    <parenthetical>( STILL LISTENING . )<\/parenthetical>\n    <dialogue>If you can find them -<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>I can.<\/dialogue>\n    <scene_description>There 's something in his voice . Max looks at him . Intrigued . Holds up a finger - let me finish up here .<\/scene_description>\n    <character>MAX<\/character>\n    <parenthetical>( into phone ; JAPANESE . )<\/parenthetical>\n    <parenthetical>( hangs up ; to Wade . )<\/parenthetical>\n    <dialogue>Why, Mr. Wade. methinks you have a secret.<\/dialogue>\n    <parenthetical>( CONSIDERING . )<\/parenthetical>\n    <dialogue>Okay. Put a fire team together.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>You're sure? You're not going to call me in two hours and have me kill them?<\/dialogue>\n    <parenthetical>( off Max 's look . )<\/parenthetical>\n    <dialogue>I'm on it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAREHOUSE -- DAY<\/stage_direction>\n    <scene_description>The team gathers around as Jensen downloads the Goliath security specs off his computer .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Everything on Goliath - security, personnel history, the works.<\/dialogue>\n    <scene_description>Aisha 's brow furrows at this . Only we notice .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Where's the drive being kept?<\/dialogue>\n    <scene_description>Jensen spins the laptop around to show them GRAPHICS OF<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Port of New York, baby. Total stand alone facility, and they're spending 30K a day on onsite security - you do n't drop that kinda green to just guard oil.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>What are we up against?<\/dialogue>\n    <scene_description>Jensen , typing :<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Let me check, I - oh, shit.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>What's `` oh, shit''?<\/dialogue>\n    <scene_description>Jensen looks up at them . Softly :<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>They've hired Par - Sec.<\/dialogue>\n    <scene_description>A beat . This clearly means something bad to all of them .<\/scene_description>\n    <character>CLAY<\/character>\n    <parenthetical>( HONESTLY . )<\/parenthetical>\n    <dialogue>Oh, shit.<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>Who's Par - Sec?<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>Paradigm Security Services. Ex - Special Forces.<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>Basically guys like Cougar but without the warm and cuddly side.<\/dialogue>\n    <scene_description>Cougar just glowers .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Goliath must have brought them in after we hit their truck.<\/dialogue>\n    <scene_description>Silence as they ponder the significance of a Par Sec security force .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Our drive is being guarded by military trained, trigger repressed, blood thirsty, stone cold killers. Am I the only one who's thinking maybe we just chill out and go to Six Flags?<\/dialogue>\n    <scene_description>Silence .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Comb that drive for every last scrap of info. We're on a plane for New York tomorrow.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEAT TO SHIT MOTEL ROOM - LATE NIGHT<\/stage_direction>\n    <scene_description>Clay 's room again . Knock at the door again . Aisha again .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Oh, hi.<\/dialogue>\n    <scene_description>She covers his mouth with hers .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAREHOUSE - NIGHT<\/stage_direction>\n    <scene_description>Jensen and Pooch sitting at a table . Both with laptops . Jensen tapping his keys . Roque enters , carrying a coffee . Stops short , seeing the others . Surprised .<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>Thought you guys'd be back at the hotel.<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>Could n't sleep.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Me neither. Grabbed a coffee from the machine - you want one?<\/dialogue>\n    <scene_description>He slides into a chair .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>No thanks.<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>You wo n't believe how detailed these files are. Every Goliath executive they've ever insured, their policies, their payouts -<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Life insurance?<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>What's the biggest payout?<\/dialogue>\n    <character>JENSEN<\/character>\n    <parenthetical>( STILL TYPING . )<\/parenthetical>\n    <dialogue>Got ta be wrongful death.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Pretty much what we're gon na be risking.<\/dialogue>\n    <parenthetical>( TO POOCH . )<\/parenthetical>\n    <dialogue>What are you doing up?<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>Jensen hacked a satellite for me earlier.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>The hell you need a satellite for?<\/dialogue>\n    <scene_description>Pooch shows him the screen of his computer - RECORDED VIDEO from earlier in the day . An OVERHEAD VIEW of a Playground - POOCH 'S DAUGHTERS PLAYING . They both watch for a bit . The only sound , Jensen 's typing . Then :<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>When we first went over in 2001, Jolene and my oldest Tina wanted to do the yellow ribbon thing, right? Only problem was there was no yellow ribbon to be found - all the stores had been cleaned out.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Military neighborhood.<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>No doubt. And Tina's four at the time, and what she ca n't understand is why the ribbon's got ta be yellow. So Jolene sings her the song, right? To show her where the idea comes from. And when she's all done, Tina, four years old, looks my wife dead in her eye and says `` that's the dumbest song I ever heard.''<\/dialogue>\n    <parenthetical>( LAUGHING . )<\/parenthetical>\n    <dialogue>So my wife and my four year old ended up tying a frilly purple ribbon round the old oak tree in our yard to bring Daddy home.<\/dialogue>\n    <character>ROQUE<\/character>\n    <parenthetical>( SMILING . )<\/parenthetical>\n    <dialogue>Thought that counts, right?<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>POOCH<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Jolene dated a guy last summer. Did n't turn into anything and I sure as hell ca n't blame her, but that man was in my house, Roque. I know you're not a hundred percent on this op, but if it can get me back to them.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>I hear you, man.<\/dialogue>\n    <scene_description>A moment between them . Broken by :<\/scene_description>\n    <character>JENSEN<\/character>\n    <parenthetical>( READING . )<\/parenthetical>\n    <dialogue>Okay, biggest payout on a Goliath exec ever - 14 million and it was wrongful death - Vice President of Operations in Afghanistan, three years ago, paid to his daughter.<\/dialogue>\n    <scene_description>HE TRAILS OFF IN SHOCK . Looking to Pooch and Roque :<\/scene_description>\n    <character>JENSEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>We're going to need to drive fast.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEAT TO SHIT MOTEL ROOM - LATE NIGHT<\/stage_direction>\n    <scene_description>Clay and Aisha , in bed . After . She traces her fingers along his Teddy Bear tattoo . Clay looks down at her . She gives him a smile . Mixing just the right amount of sensitivity and curiosity .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>You really want to know about Afghanistan?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAN (MOVING) -- NIGHT<\/stage_direction>\n    <scene_description>As Pooch TEARS through the Texas streets :<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>You think she's gon na kill him?<\/dialogue>\n    <character>POOCH AND ROQUE<\/character>\n    <parenthetical>( various versions of . )<\/parenthetical>\n    <dialogue>Uh - uh. No way.<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>Yeah, I think so too.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEAT TO SHIT MOTEL ROOM - LATE NIGHT<\/stage_direction>\n    <character>AISHA<\/character>\n    <dialogue>And this man you found in the basement - he was your true target?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Max's true target. Yeah.<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>And you spoke with him?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>He knew we were off mission. He knew Max wanted him dead.<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>Did he beg?<\/dialogue>\n    <scene_description>Clay blinks .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>The man in the basement. Did he beg for his life?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>He begged to die - why are you asking me this?<\/dialogue>\n    <scene_description>Aisha smiles , trying to recover but - WHAM ! The door SPLINTERS INWARDS and -<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Freeze!<\/dialogue>\n    <scene_description>Roque and Pooch behind him , GUNS DRAWN . Aisha 's hand dips into her purse and comes up with a GUN faster than you can spit - MEXICAN STAND - OFF TIME :<\/scene_description>\n    <character>JENSEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>She's his daughter, Clay! The guy in the basement's daughter and she's got a gun and it's pointed.<\/dialogue>\n    <parenthetical>( realizing ; not happy . )<\/parenthetical>\n    <dialogue>. at my dick! Her gun is pointed at my dick!<\/dialogue>\n    <character>AISHA<\/character>\n    <parenthetical>( CALM . )<\/parenthetical>\n    <dialogue>Would you rather I pointed it at your head?<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>I know it makes no sense, but actually yes.<\/dialogue>\n    <scene_description>Aisha ADJUSTS , pointing it at his head . As she does , the bedsheet falls away from her UPPER BODY . We do n't see the goods , but our guys in the doorway do . Aisha watches them . CLOSE ON THEIR EYES . Nobody moves . Nobody breathes . And then . Jensen 's eyes FLICK DOWNWARD . Just for a millisecond but Aisha pulls the trigger . BOOM ! Jensen , falls back screaming , HIT IN THE SHOULDER - Aisha , moving and firing , running for the bathroom nude - The guys UNLOADING AT HER - she dives through the doorway - HOLES PUNCHED IN THE WALL behind Clay 's head as she RETURNS FIRE through the drywall - Clay , diving to the floor below the crossfire - Aisha kicks the BATHROOM DOOR SHUT - And suddenly EVERYONE 'S RELOADING . Silence as clips are slapped into weapons until .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Wait.<\/dialogue>\n    <scene_description>TAPS HIS EAR . They stop . Listening . CHOPPERS .<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>Shit, she's got back - up!<\/dialogue>\n    <scene_description>Clay pulls on his pants and they run for the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOTEL -- SECOND FLOOR -- NIGHT<\/stage_direction>\n    <scene_description>smack into COUGAR who points into the sky - TWO HEAVILY ARMED COBRAS , searchlights on , headed for the motel . And again with that one important word :<\/scene_description>\n    <character>COUGAR<\/character>\n    <dialogue>Run.<\/dialogue>\n    <scene_description>The FIRST COBRA OPENS UP with it 's AUTOMATIC CANNON . The BULLETS CHEWING UP the far side of the CHEAP TWO STORY MOTEL ! Our guys VAULT the railing , sprinting to the van .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAN -- NIGHT<\/stage_direction>\n    <scene_description>POOCH , sliding behind the wheel as the others pile in .<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>Go, go, go!<\/dialogue>\n    <scene_description>Pooch hits the gas before his door is even shut . As they PEEL OUT of the PARKING LOT - The STRAFING hits the GAS MAIN - WHOOMP ! Half the motel SWALLOWED in a FIREBALL .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Think that got her?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>She ai n't that lucky. Jensen, status!<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>My dick remains unshot!<\/dialogue>\n    <scene_description>Roque , looking out the back window :<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>Here they come.<\/dialogue>\n    <scene_description>Sure enough , the COBRAS are now tracking the VAN . Spotlights , swinging towards them . The asphalt behind them ERUPTS . CANNON - FIRE blowing HUGE CHUNKS OF ROAD into the sky ! SCREAMING over the SOUND :<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Somebody shoot something!<\/dialogue>\n    <scene_description>Cougar HEFTS HIS RIFLE . Setting up shop in the back . Sighting the choppers through his scope . Jensen , excited , and a little delirious from blood loss :<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>I think Cougar's got a plan! Coug, do you have a plan?<\/dialogue>\n    <parenthetical>( to the others . )<\/parenthetical>\n    <dialogue>He's got a plan!<\/dialogue>\n    <character>POOCH<\/character>\n    <parenthetical>( trying to steer . )<\/parenthetical>\n    <dialogue>Stop yelling at the sniper!<\/dialogue>\n    <scene_description>THROUGH THE SCOPE - Cougar sights the TAIL ROTOR of the chopper on the left . Smiles , PRESSES THE TRIGGER . And we see how one bullet can bring down two helicopters . The bullet strikes the tail rotor DEAD CENTER - it SHORTS and spins off - sending the chopper itself into a spin - COLLIDING with it 's TWIN CHOPPER on the right - they both twist and hink up - their ROTORS SLICING INTO EACH OTHER - both FINALLY CAREENING ONTO THE FREEWAY BEHIND Our guys . Driving away from the carnage of two exploding Cobra Helicopters splattered across the road . Safe .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEAR JET 550 (FLYING) -- DAY<\/stage_direction>\n    <scene_description>Coming in for LANDING .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEAR JET 550 -- DAY<\/stage_direction>\n    <scene_description>As it taxis towards a HANGAR . Max straightens his suit . Wade on the phone , frowning . Bad news . He flips the phone shut . To Max :<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>They got away.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>So?<\/dialogue>\n    <parenthetical>( off Wade 's look . )<\/parenthetical>\n    <dialogue>We know exactly where they're going, Wade. Port of New York, for their big final awesome stand against the forces of evil where they die.<\/dialogue>\n    <scene_description>He claps Wade and the shoulder and heads down the steps .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HANGAR -- DAY<\/stage_direction>\n    <scene_description>where the TWO INDIAN SCIENTISTS wait . The Indian THUG CREW has been beefed - up to about TEN BIZARRE LOOKING , BLACK SUITED TOUGH GUYS .<\/scene_description>\n    <character>SHORT SCIENTIST<\/character>\n    <dialogue>Do you have the money?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Jesus, always with the money! So impersonal! How are you? How have you been?<\/dialogue>\n    <character>SHORT SCIENTIST<\/character>\n    <dialogue>I recently attended the funeral of my best friend who you had thrown out a window. How have you been?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Ca n't complain. I'm thinking of getting satellite radio in my car.<\/dialogue>\n    <character>SHORT SCIENTIST<\/character>\n    <dialogue>I think you're a freak. Too much Ronald McDonald. Too much fantasy football.<\/dialogue>\n    <scene_description>Max smiles and spreads his arms .<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Hey, I'm all about the bombs, baby.<\/dialogue>\n    <character>SHORT SCIENTIST<\/character>\n    <dialogue>We have your ordinance. You have twenty four hours to get the money.<\/dialogue>\n    <scene_description>Max looks over to Wade .<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Time to go make a withdrawal.<\/dialogue>\n    <scene_description>As he turns back to the plane .<\/scene_description>\n    <character>SHORT SCIENTIST<\/character>\n    <dialogue>New change of plan. You stay.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>I've got to go get your money.<\/dialogue>\n    <character>SHORT SCIENTIST<\/character>\n    <dialogue>He'll get your money. You stay right here.<\/dialogue>\n    <scene_description>A PAUSE as Max contemplates this little twist .<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>God, are you short.<\/dialogue>\n    <character>SHORT SCIENTIST<\/character>\n    <dialogue>Twenty three hours, fifty nine minutes.<\/dialogue>\n    <scene_description>Max looks at Wade .<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Get it done.<\/dialogue>\n    <scene_description>Wade heads for the jet . Max watches him go . As Wade boards the jet Max takes a big sigh . For the first time , looks like a guy who might not be quite as sure of things as he would like . Max Looks back to the Short Scientist .<\/scene_description>\n    <character>MAX<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>How much do you weigh? Seriously.<\/dialogue>\n    <character>SHORT SCIENTIST<\/character>\n    <dialogue>I do not think you are funny.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Where the hell is my bomb?<\/dialogue>\n    <scene_description>The Short Scientist points to a large flatbed pick - up . A HEAVY TARPED BOMB LIKE PACKAGE strapped to the back .<\/scene_description>\n    <character>SHORT SCIENTIST<\/character>\n    <dialogue>You do not get it till I get the money.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>For a guy who's all about transcending materialism, you talk about money so much!<\/dialogue>\n    <character>SHORT SCIENTIST<\/character>\n    <dialogue>If you keep talking, Pop - Amm will cut your mouth out of your face.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Fine.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEDICAL SUPPLY STORE -- NIGHT<\/stage_direction>\n    <scene_description>After business hours . A WINDOW SMASHES . Roque climbs inside . Goes to the front and unlocks it for the others , who carry a BLEEDING JENSEN in . They lay him on a table .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>She burned us, Clay.<\/dialogue>\n    <character>CLAY<\/character>\n    <parenthetical>( PACING . )<\/parenthetical>\n    <dialogue>I know.<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>The whole op is compromised -<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>Hey, fallen comrade here! Blood flowing out of his body.<\/dialogue>\n    <parenthetical>( SMALLER VOICE . )<\/parenthetical>\n    <dialogue>Precious, precious blood.<\/dialogue>\n    <character>CLAY<\/character>\n    <parenthetical>( RE : JENSEN . )<\/parenthetical>\n    <dialogue>Cougar?<\/dialogue>\n    <scene_description>Cougar nods . Gathers gauze , needle , thread , and a WOODEN DOWEL . Comes over as Jensen looks at the last one .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>What's that for?<\/dialogue>\n    <scene_description>Cougar SHOVES IT BETWEEN JENSEN 'S TEETH as an answer .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>So we split up again. Right?<\/dialogue>\n    <scene_description>Clay does n't respond .<\/scene_description>\n    <character>POOCH<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Right?<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Pooch.<\/dialogue>\n    <character>POOCH<\/character>\n    <parenthetical>( IGNORING HIM . )<\/parenthetical>\n    <dialogue>Goddammit, Clay, whatever she knows, Max knows! It's over!<\/dialogue>\n    <scene_description>His words echo through the room . JENSEN SCREAMS through the dowel as Cougar sews him up . This is how low they 've sunk . Clay finally looks up .<\/scene_description>\n    <character>CLAY<\/character>\n    <parenthetical>( SLOWLY . )<\/parenthetical>\n    <dialogue>Okay. We split up. Some of us should go international. I'll do that if nobody else wants to -<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>So we just run again?<\/dialogue>\n    <scene_description>Clay turns to him .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>There's nothing else we can do.<\/dialogue>\n    <scene_description>Silence . Then :<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>There's something we can do.<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Three years is enough. If there's a drive at that port that we can use to get clear -<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>What part of `` he knows we're coming for it'' do you not get? They're gon na be waiting for us. Par - Sec is gon na waiting for us.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>So figure out a way around them ; you're good at that shit, Clay!<\/dialogue>\n    <scene_description>He turns , addressing all of them :<\/scene_description>\n    <character>ROQUE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>We run now, we're gon na be running forever. This is our one chance to get our lives back.<\/dialogue>\n    <parenthetical>( TO CLAY . )<\/parenthetical>\n    <dialogue>To steal them back. And I'm prepared to do anything to any one to make that happen.<\/dialogue>\n    <scene_description>He looks Clay dead in the eye .<\/scene_description>\n    <character>ROQUE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Never play a longshot, you're never gon na win.<\/dialogue>\n    <scene_description>A long beat . Clay , not breaking his look with Roque :<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Pooch, what's the minimum time to scout the patrols, get an accurate head count on - site at the Port?<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>48 hours, but Aisha knows that -<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>So we hit them in twelve.<\/dialogue>\n    <scene_description>Roque smiles . Pooch blinks .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Twelve hours from now? You mean - you want us to go in blind?<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Last thing they'll expect.<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>Yeah, cause it's dumb.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Jensen's already got the layout, and Cougar can spot on site. Right?<\/dialogue>\n    <scene_description>Cougar nods . He 's in .<\/scene_description>\n    <character>CLAY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Jensen?<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>Yeah, cause gettin' shot is awesome, I'm totally up for doing it again.<\/dialogue>\n    <scene_description>He gives a weak thumbs - up . In . All that 's left is<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Pooch?<\/dialogue>\n    <scene_description>Pooch , struggling with the decision .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Last time we went in blind on an op, we lost everything.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>So?<\/dialogue>\n    <scene_description>A beat . Pooch looks up .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>So let's go get it back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK HARBOR -- DAWN<\/stage_direction>\n    <scene_description>ESTABLISHING . The harbor is enormous . A small TWIN HURRICANE BOAT cuts through the morning waves . Half mile from the Goliath docks . At the controls , Clay and Roque . THROUGH CLAY 'S BINOCULARS : GOLIATH EMPLOYEES going about their business , preparing for a tanker docking . All seems normal until we look a bit closer : FOUR - MAN Par Sec security patrols . Bomb sniffing DOGS . Two Cobra ATTACK CHOPPERS .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>You ready?<\/dialogue>\n    <scene_description>A GOLIATH TANKER approaches from behind . Roque looks back at the tanker . Not answering - he seems to have something on his mind .<\/scene_description>\n    <character>CLAY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Roque?<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>I'm ready.<\/dialogue>\n    <scene_description>Clay drops the twin throttles and spins the speed boat towards the APPROACHING TANKER . Several TUGS and SECURITY LAUNCHES are maneuvering around it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SECURITY LAUNCH - NEW YORK HARBOR<\/stage_direction>\n    <scene_description>Clay and Roque approach one of the launches from behind . Climbing aboard . They take the two SECURITY MEN from behind with TASERS , then strip off their outer gear , revealing PAR - SEC UNIFORMS .<\/scene_description>\n    <character>CLAY<\/character>\n    <parenthetical>( INTO RADIO . )<\/parenthetical>\n    <dialogue>We're in. Status.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOLIATH TERMINAL - PERIMETER STREET<\/stage_direction>\n    <scene_description>A block off the front gate . A blacked out Chevy van . Pooch sits behind the wheel . Ready for exfiltration .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>The Pooch is good.<\/dialogue>\n    <character>CLAY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Cougar, squelch if you're in position.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOLIATH TERMINAL - SHORELINE<\/stage_direction>\n    <scene_description>A drainage pipe with a thick security cage covering it . We PUSH IN HARD , reveal a small opening cut in the cage it - THROUGH the opening - FIRE 70 FEET into the pipe - through a second opening - down another long pipe and SLAM UP HARD ON COUGAR . Crouched BELOW the terminal . Looking up through a grilled man hole at Par - sec Guards .<\/scene_description>\n    <character>COUGAR<\/character>\n    <dialogue>Squelch.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK HARBOR<\/stage_direction>\n    <scene_description>Clay and Roque dock their Launch and hop out . Blending in perfectly with the Par - Sec Guards .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Jensen, we're coming. You ready?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOLIATH SHIPPING ROOM - SAME<\/stage_direction>\n    <scene_description>A huge shipping room with hundreds of crates . We push in on a LARGE WOODEN CRATE . The side of the crate STARTS TO FLEX . and SPLINTERS as Jensen breaks out of his box !<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>And the crowd goes wild.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \/ EXT. GOLIATH - SHIPPING ROOM DOOR<\/stage_direction>\n    <scene_description>Clay and Roque approach . Knock . From the inside , Jensen leaning up against the door .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>What's the password? ROQUE.<\/dialogue>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Open the door before we kill you.<\/dialogue>\n    <scene_description>Jensen opens the door . Clay and Roque quickly move in .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Drive should be in the Computer Room, two skylights over.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Roque and I will set the charges here but we wo n't detonate until you have the drive.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>You ca n't settle for stealing the drive, you got ta blow up Goliath's shit too.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>What can I say, I hold a grudge.<\/dialogue>\n    <parenthetical>( TO JENSEN . )<\/parenthetical>\n    <dialogue>Get gone.<\/dialogue>\n    <scene_description>Jensen nods . Knows how important his job is . Heading for a ladder . Clay and Roque begin to set CHARGES throughout the room .<\/scene_description>\n    <character>CLAY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Be ready to move the second Cougar hits the fire alarm.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOLIATH TERMINAL - DAY<\/stage_direction>\n    <scene_description>Cougar avoiding security . SCALING A LARGE OIL TANK , taking up a sniper position on top of it . ACROSS THE TERMINAL Jensen hopping rooftop to rooftop . BACK TO Cougar in full sniper fire position . His sights dead on : A MASTER FIRE ALARM - 300 yards down . His RADIO CRACKLES :<\/scene_description>\n    <character>POOCH<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Guys, we got a problem.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOLIATH TERMINAL - PERIMETER STREET<\/stage_direction>\n    <scene_description>Pooch in the van , seeing through BINOCULARS .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Wade's here.<\/dialogue>\n    <scene_description>And he is . Being given a TOUR by PAR - SEC GUARDS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOLIATH SHIPPING ROOM<\/stage_direction>\n    <character>CLAY<\/character>\n    <dialogue>Are you kidding me?<\/dialogue>\n    <character>POOCH<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>No. I say we roll.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOLIATH ROOFTOPS<\/stage_direction>\n    <scene_description>Jensen , by a MIRRORED SKYLIGHT -LRB- so you ca n't see down into the room -RRB- . Attaching a HARNESS to his waist .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>I'm above the computer room, maybe thirty seconds from the drive.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOLIATH SHIPPING ROOM<\/stage_direction>\n    <scene_description>Clay , listening through the radio :<\/scene_description>\n    <character>POOCH<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Wade's headed your way - last chance to get the duck out of Fodge.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Something's not right. Something.<\/dialogue>\n    <character>ROQUE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Clay.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Roque , standing in front of a HUGE CARGO CONTAINER .<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>I think you should see this.<\/dialogue>\n    <scene_description>Roque 's got the doors of the container opened that he 's looking in . Clay approaches .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOP<\/stage_direction>\n    <scene_description>Jensen , finally ready to hit the computer room , GENUFLECTS once for luck .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOLIATH SHIPPING ROOM<\/stage_direction>\n    <scene_description>Clay and Roque staring .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>You think. Aisha?<\/dialogue>\n    <scene_description>THE CONTAINER - Top to bottom , completely loaded with fresh minted stack BUNDLES OF CASH . More physical money than we have ever seen . By a lot . Ever . Then :<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>No. Not Aisha.<\/dialogue>\n    <scene_description>Clay turns to him as - WHAM ! - a CROWBAR SMASHES DOWN on his head ! Roque , gripping it , looking down at Clay .<\/scene_description>\n    <character>ROQUE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You know, for a revenge driven conspiracy nut, you're pretty fucking gullible.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOP<\/stage_direction>\n    <scene_description>Jensen , leaping through the SKYLIGHT . SMASHING DOWN through the GLASS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \"COMPUTER ROOM\"<\/stage_direction>\n    <scene_description>And landing in an EMPTY ROOM . No computers . No stand - alone drives . No nothing . Except for PAR - SEC GUARDS with weapons trained at his head .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHEVY VAN - GOLIATH TERMINAL<\/stage_direction>\n    <scene_description>Pooch sitting in the van , into the radio :<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Jensen, you get it? Jensen?<\/dialogue>\n    <scene_description>Does not see the FIVE PAR - SEC SOLDIERS moving in on his car , long guns up and out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOLIATH OIL TANK - SAME<\/stage_direction>\n    <scene_description>Cougar flexed and aimed . Scope locked in on the fire alarm . CLICK ! Safety off on a gun pressed to his temple . Fuck . He LAYS DOWN THE GUN and puts his hands behind his head . Furious at himself for GETTING CAUGHT .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOLIATH SHIPPING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>From the shadows , WADE ENTERS . Clay looks up at him .<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Hello, Clay. Been awhile.<\/dialogue>\n    <parenthetical>( NODDING . )<\/parenthetical>\n    <dialogue>Roque.<\/dialogue>\n    <scene_description>Head wounds bleed bad . The crowbar caused a mother of a gusher on Clay . He wipes blood from his eyes . Manages :<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>When?<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>After the truck. I got tired of waiting for you to save us, so I up and saved myself. Reached out like I said and cut a deal - I set this up, I go free.<\/dialogue>\n    <scene_description>He begins walking around Clay as he talks .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Traitor.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>You gave me no choice. It was always gon na end like this, Clay. Us captured or dead. It was always a dead end. You made sure of it.<\/dialogue>\n    <character>CLAY<\/character>\n    <parenthetical>( SPITTING BLOOD . )<\/parenthetical>\n    <dialogue>Bullshit.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Not bullshit. You were gon na keep planning missions and ways to hit Max until it got us all killed.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Yes, Clay. Yes. Only difference with this situation is at least I get to walk away.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>We all could have walked. used the drive.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Do n't you get it yet? There is no drive. There never was.<\/dialogue>\n    <scene_description>Wade BEGINS LAUGHING . Clay looks like he 's been slapped .<\/scene_description>\n    <character>ROQUE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Fennel made it up to save himself. When I told Wade, he planted the info at Goliath to lead you here.<\/dialogue>\n    <scene_description>Clay stares at him .<\/scene_description>\n    <character>ROQUE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You really thought there was a happy ending coming? Pooch was gon na get his family back, we were gon na get to be soldiers again?<\/dialogue>\n    <parenthetical>( leans down ; softly . )<\/parenthetical>\n    <dialogue>We lost the moment we went off mission. This is just the logical conclusion of that playing out. You did n't want to hear it. You just wanted your revenge. Your face - to - face with the big bad wolf. I'm sorry, buddy, but it's the way of the world.<\/dialogue>\n    <scene_description>Roque straightens back up , shaking his head :<\/scene_description>\n    <character>ROQUE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Guys like us do n't beat guys like him.<\/dialogue>\n    <scene_description>In the corner , Wade nods at this . Behind him , A LARGE SEMI pulls up to the CASH CONTAINER . Over the following , a hydraulic lift hoists the cash container onto the truck :<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Kill me now. Maybe you live through this.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Oh, we're not gon na kill you. Someone's got ta get away with the cash. Your crew? I'm definitely wasting them. But you?<\/dialogue>\n    <scene_description>He nods to the HYDRO - WINCH slowly lowering the CASH CONTAINER onto the flat bed , with a smile .<\/scene_description>\n    <character>WADE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You're about to steal a billion dollars from the Central Intelligence Agency.<\/dialogue>\n    <scene_description>Clay stares at daggers at both of them .<\/scene_description>\n    <character>WADE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It's for our replacement nuke. When a billion goes missing, people tend to ask who took it.<\/dialogue>\n    <parenthetical>( CHUCKLING . )<\/parenthetical>\n    <dialogue>Max really does love to frame you.<\/dialogue>\n    <scene_description>Several Par - Sec Guards arrive . Wade points to Clay :<\/scene_description>\n    <character>WADE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Take him away. Drop him in Newark.<\/dialogue>\n    <parenthetical>( TO ROQUE . )<\/parenthetical>\n    <dialogue>I'll see you at Turner Airfield.<\/dialogue>\n    <scene_description>The Guards handcuff Clay and drag him to his feet . Pushing him towards the door . As he hustled past Roque :<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>Wait.<\/dialogue>\n    <scene_description>They stop . Roque looks at his old friend .<\/scene_description>\n    <character>ROQUE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm sorry it had to end this way.<\/dialogue>\n    <scene_description>Clay stares back at him .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>You're going to die very badly.<\/dialogue>\n    <scene_description>The guards hustle Clay out the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOLIATH TERMINAL - DAY<\/stage_direction>\n    <scene_description>PAR - SEC GUARDS lead the Pooch , Jensen , and Cougar towards the far end of the terminal . Each , bound . Cougar looks up to see a separate set of Guards leading CLAY the opposite way . Their eyes connect - both knowing : They 've lost .<\/scene_description>\n    <character>CLAY<\/character>\n    <parenthetical>( answering the question . )<\/parenthetical>\n    <dialogue>Roque.<\/dialogue>\n    <scene_description>Cougar lowers his head , sadly . Clay 's pushed into A TRUCK . Gone . The Guards take Pooch , Jensen , and Cougar BEHIND A WAREHOUSE . Looking at each other . Knowing , this is the end of the line . The Lead Guard RACKS HIS MACHINE GUN .<\/scene_description>\n    <character>LEAD GUARD<\/character>\n    <dialogue>On your knees.<\/dialogue>\n    <scene_description>Pooch SPITS AT HIM . The Lead Guard calmly SHOOTS HIM in BOTH LEGS ! Pooch SCREAMS . Falls . The Par - Sec boys force Cougar and Jensen down too , CLUBBING THEM with their rifles . Pooch looks up at his assailant . Gasps through the pain :<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Get on with it.<\/dialogue>\n    <scene_description>The Lead Guard smiles . Looks to Cougar , who 's shredding his skin to the bone trying to claw out of the cuffs .<\/scene_description>\n    <character>LEAD GUARD<\/character>\n    <dialogue>That's a nice hat.<\/dialogue>\n    <scene_description>He steps forward to take it , but Cougar is too quick for the man , MOVING HIS HEAD AWAY . He reaches for Cougar again . Again , Cougar evades . The guards laugh at their colleague , who continues trying to grab Cougar 's hat . The Lead Guard has had enough of Cougar 's antics . Levelling the rifle at his head .<\/scene_description>\n    <character>LEAD GUARD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Do n't really care of there's a hole in it. One wash, good as.<\/dialogue>\n    <parenthetical>( NOTICING . )<\/parenthetical>\n    <dialogue>What are you smiling at?<\/dialogue>\n    <scene_description>Cougar 's nods past him . As the Guards turn to see ON TOP OF AN OIL TANK . AISHA As she rises up to standing , A SLANT - K 600 ROCKET HIP BLASTER locked and loaded . Looking like an Old Testament style Goddess of Vengeance and Destruction . A moment of FROZEN SHOCK on the rest of Wade 's Hit Crew . And she pulls the trigger . A HIGH PITCHED WHISTLE as THE ROCKET STREAKS across the Terminal ! Headed straight for an ENORMOUS FUEL TANK . KA - BOOM ! The explosion ROCKS THE ENTIRE TERMINAL .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCK (MOVING)<\/stage_direction>\n    <scene_description>The Truck Clay is prisoner in is BLOWN INTO THE AIR by the SHOCKWAVE . SMASHING down onto it 's side , skidding .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BY THE WAREHOUSE<\/stage_direction>\n    <scene_description>Cougar and Jensen DESTROY the remaining Par - Secs with legs . Grabbing cuff keys and freeing themselves .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Should n't have gone after the hat.<\/dialogue>\n    <scene_description>WHAM ! Cougar kicks the Guard in the face , knocking him cold . Aisha rappels off the Oil Tower in the distance . VARIOUS PAR - SEC TEAMS fire at her ! Cougar scoops up two rifles and tosses one to Jensen - they give her covering fire as she comes ! As he shoots , to the wounded Pooch :<\/scene_description>\n    <character>JENSEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Can you stand?<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>I've been shot in both legs, what kind of dumbass question is that?<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>Oh, so we're Mr. Grumpy now? You're not the only one who's been shot recently, you know!<\/dialogue>\n    <scene_description>He empties a full clip into a Par - Sec team and reloads . AISHA - Pinned down forty yards away . Almost out of AMMO . Par - Sec Team , almost on top of her when A FIGURE emerges from an OVERTURNED TRUCK . GUN in each hand , BLAZING . The Par - Secs cut down one by one . The figure lowers his guns . Desert Eagles . Walks up to her . Underneath the blood , oil , and grime , it 's CLAY . They stare at each other . Then , incredibly , Aisha RAISES HER WEAPON AT HIM .<\/scene_description>\n    <character>AISHA<\/character>\n    <dialogue>Did you kill my father?<\/dialogue>\n    <scene_description>Jensen comes running up , interrupting :<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Clay?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Kind of in the middle of something here, Jensen -<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>Did you kill him?<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>There was no drive, Clay -<\/dialogue>\n    <character>CLAY<\/character>\n    <parenthetical>( eyes on Aisha . )<\/parenthetical>\n    <dialogue>I KNOW -<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>There was no drive and Roque's gone and Par - Sec's regrouping and Pooch could bleed out -<\/dialogue>\n    <scene_description>Aisha 's had enough , thumbing the hammer back :<\/scene_description>\n    <character>AISHA<\/character>\n    <dialogue>Did you kill him?<\/dialogue>\n    <scene_description>Clay , about to respond when :<\/scene_description>\n    <character>COUGAR<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I did.<\/dialogue>\n    <scene_description>They turn to see our LONG TALL SNIPER standing above them .<\/scene_description>\n    <character>COUGAR<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>He asked us. It was mercy. But you're his family, so I understand.<\/dialogue>\n    <scene_description>And then , incredibly , Cougar lays his rifle at her feet . SURRENDERING .<\/scene_description>\n    <character>COUGAR<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>But only me.<\/dialogue>\n    <scene_description>Clay and Jensen blink , shocked . Aisha stares at Cougar , equally surprised . She levels her pistol AT HIS HEAD . Silence . We CUT WIDE to see . A GUNSHOT . Muzzle flash from Aisha 's gun . COUGAR FALLS . In close again . Aisha stands over Cougar 's body . The others , stunned . And then Cougar rises . Face BLOODY . Cheek ripped open , from where the bullet creased his flesh . She FIRES AGAIN - BLAM ! Identical scar on his other cheek . Blood runs down his face . He does n't move to wipe it away .<\/scene_description>\n    <character>AISHA<\/character>\n    <dialogue>Wear it. Remember him.<\/dialogue>\n    <scene_description>Cougar nods . Leans down , picks up his rifle . Debt paid .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Okay, excellent, very tribal - We need to go.<\/dialogue>\n    <scene_description>As if on cue , BULLETS kick up DUST around them ! A new Par - Sec team , incoming . Clay , Jensen , Aisha , and Cougar hightail it back to where Pooch lies .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Can you stand?<\/dialogue>\n    <character>POOCH<\/character>\n    <dialogue>This is stupid question day, is n't it? It's stupid question day and someone forgot to tell me.<\/dialogue>\n    <scene_description>Clay slings Pooch over his shoulders fireman carry style . Looks across the Terminal to where Pooch 's van is parked . PUSH IN on Clay 's face for :<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Let's go.<\/dialogue>\n    <scene_description>And they do . Sprinting across the open space IN SLO - MO , Cougar and Aisha WASTING EVERYTHING THAT MOVES . A full on ballet of fully automatic mayhem . They make it to the van ! Piling in ! Cougar behind the wheel GUNS THE ENGINE and they PEEL OUT .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAN (MOVING) -- NIGHT<\/stage_direction>\n    <scene_description>Pulling on to the HIGHWAY . Silence sets in . The high of the firefight , over . Just pain and loss now . Five people , some terribly wounded , with nowhere to go . Just the rocking of the van as it heads down the road .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>They won. We lost. Way it goes.<\/dialogue>\n    <scene_description>Silence .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Way it always goes.<\/dialogue>\n    <scene_description>Clay looks at him .<\/scene_description>\n    <character>POOCH<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Guess we should just head home. Oh, wait, that's right. We do n't have homes.<\/dialogue>\n    <scene_description>Clay does n't respond . Aisha studies him . Nods . Knows what has to be done . They all do . From behind the wheel :<\/scene_description>\n    <character>COUGAR<\/character>\n    <dialogue>Where to, Colonel?<\/dialogue>\n    <scene_description>Clay looks up at the use of rank .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRIVATE AIRSTRIP -- NIGHT<\/stage_direction>\n    <scene_description>Wade pulls up in a Corvette . Gets out and walks over as Roque finishes supervising Par - Sec guards finish loading the CASH onto a HUGE TRANSPORT PLANE .<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Your friends jack - rabbitted. Should we be worried?<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Clay does n't take risks. It's why I'm here and he's not.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>You're sure?<\/dialogue>\n    <scene_description>Roque nods .<\/scene_description>\n    <character>WADE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Can I ask you something? Why'd you stick with those losers for so long?<\/dialogue>\n    <scene_description>Roque considers . Then :<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>They were good guys.<\/dialogue>\n    <scene_description>Wade half smiles at this . Shaking his head .<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>No such thing. I'll go call Max.<\/dialogue>\n    <scene_description>He begins walking towards HANGAR . CRACK ! As the FENCE by the AIRSTRIP is SMASHED INWARDS by the Van ! Headed straight for him ! Clay , WAVING :<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Hi, Wade!<\/dialogue>\n    <scene_description>BY THE PLANE Roque turns to the Pilot :<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>Declan, start the plane.<\/dialogue>\n    <scene_description>BY THE HANGAR WADE raises his UZI and FIRES - Taking out the Van 's front tires ! THE VAN Flips ! Smashing end over end , finally coming to a rest on it 's side ! Climbing out , groaning :<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>Next time, remind me - car crash first, then get shot.<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>Sounds less painful that way.<\/dialogue>\n    <scene_description>Clay looks across the tarmac to see the plane begin to Taxi . ROQUE stands in they back - loading ramp still down . FLIPS CLAY A SALUTE .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Cougar and I are going after that plane. The rest of you, get Wade.<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>Me and legless Pooch are on it!<\/dialogue>\n    <parenthetical>( RE : AISHA . )<\/parenthetical>\n    <dialogue>Where the hell is she going?<\/dialogue>\n    <scene_description>Aisha is heading off to the fenceline . Clay and Cougar run for Wade 's CORVETTE . Cougar slides behind the wheel and starts her up , PEELING OUT after the plane .<\/scene_description>\n    <character>POOCH<\/character>\n    <dialogue>You call me legless Pooch again, you're gon na be Headless Jensen.<\/dialogue>\n    <character>JENSEN<\/character>\n    <dialogue>What, it's a cool name! It makes you sound like a pirate!<\/dialogue>\n    <parenthetical>( off his look . )<\/parenthetical>\n    <dialogue>Fine, let's go kill Wade.<\/dialogue>\n    <scene_description>ON THE RUNWAY Cougar guns the engine , catching up to the TAXIING TRANSPORT PLANE . Clay leans out the window , shooting at ROQUE Huddled in the plane 's CARGO HOLD , RETURNING FIRE . The PILOT , yelling to him .<\/scene_description>\n    <character>PILOT<\/character>\n    <dialogue>We do n't have enough runway to take off - we're going to have to turn around and come back to get up to speed!<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Fine, just get us in the air!<\/dialogue>\n    <scene_description>He fires ANOTHER BURST from his weapon at the Vette ! CLICK - his WEAPON DRY .<\/scene_description>\n    <character>ROQUE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm out!<\/dialogue>\n    <scene_description>IN THE CORVETTE - SIMULTANEOUSLY , Clay , WEAPON DRY .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>I'm out.<\/dialogue>\n    <scene_description>He stares through the windshield to look at Roque .<\/scene_description>\n    <character>CLAY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Get me closer.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HANGAR -- NIGHT<\/stage_direction>\n    <scene_description>Jensen enters , carrying a MACHINE GUN .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Yoo - hoo! Wade!<\/dialogue>\n    <parenthetical>( a ` la the Warriors . )<\/parenthetical>\n    <dialogue>Come out and plaaaayyy -<\/dialogue>\n    <scene_description>The ROAR of an engine - Jensen DIVES out of the way as Wade WHIPS PAST on a MOTORCYCLE ! Heading for the runway !<\/scene_description>\n    <character>JENSEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( INTO RADIO . )<\/parenthetical>\n    <dialogue>Hey, Wade's coming at you! I.<\/dialogue>\n    <scene_description>He trails off . Looking at THE LEAR JET that Wade arrived in . Sitting in the Hangar 's Corner . Keys the radio .<\/scene_description>\n    <character>JENSEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I think I just found our way out of here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIRSTRIP -- DAY<\/stage_direction>\n    <scene_description>The Corvette , pulling behind the still lowered REAR RAMP of the TRANSPORT PLANE ! Clay , onto the CORVETTE 'S HOOD . Roque , rising to meet him . Waiting for him . Clay JUMPS ! Landing on the ramp ! IN THE CARGO HOLD - Roque smiles . Pulls a WICKED LOOKING KNIFE . The two men stand there . Sizing one another up .<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>Got ta admit, I always wondered how this would play out.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Aisha thinks you kill me.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>It's a distinct possibility.<\/dialogue>\n    <scene_description>They begin circling one another . Clay , still weaponless .<\/scene_description>\n    <character>ROQUE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You do n't have a knife?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Do n't need one.<\/dialogue>\n    <character>ROQUE<\/character>\n    <dialogue>Bit of as longshot for you.<\/dialogue>\n    <character>CLAY<\/character>\n    <parenthetical>( SMILING . )<\/parenthetical>\n    <dialogue>No. It's not.<\/dialogue>\n    <scene_description>Roque LUNGES AT HIM . But Clay does have a knife . He PULLS IT and SLAMS IT into Roque 's belly ! Roque , stunned ! Staggers back . For most men , that would be the end of the fight . But not these two . Roque gives Clay a bloody grin .<\/scene_description>\n    <character>ROQUE<\/character>\n    <dialogue>Now I really am gon na cut your head off.<\/dialogue>\n    <scene_description>He LUNGES AGAIN ! And now it is FULLY ON . The blades whip up and down - almost too fast to see Roque gets Clay with a left cross , then buries his knife in Clay 's shoulder . Clay twists free , slashes at Roque . Ten seconds in , the men separate again . Breathing hard . Clay sees Roque does n't have his knife . Looks - realizing it 's still embedded in his own shoulder . Pulls it out , TOSSES IT BACK TO ROQUE . They stand there , both panting . Then RUN AT EACH OTHER full tilt ! Here 's how it ends . And pay attention , IT HAPPENS FAST : Clay goes low - coming up to grab Roque 's knife hand , which is arcing DOWNWARDS TOWARDS CLAY 'S THROAT - Clay manages to HALT THE HAND , blade inches from his Adam 's apple - and there 's a moment where Roque could overpower him and actually cut his head off . But Clay THROWS HIS WEIGHT FORWARD and BREAKS ROQUE 'S RIGHT ARM ! And for the first time , Roque SCREAMS . Which seems to make Clay happy . So he BREAKS ROQUE 'S LEFT ARM too . Roque falls to his knees , BROKEN , BLOODY , AND BEATEN . TO REVEAL - The PILOT . Leaning out of the cockpit , DESERT EAGLE levelled at Clay .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>SHIT -<\/dialogue>\n    <scene_description>The Pilot PULLS THE TRIGGER . The bullet slams into Clay 's abdomen and BLOWS HIM off his feet backwards - FLYING OUT OF THE PLANE - And landing on hood of THE CORVETTE Clay SMASHES DOWN ON the windshield - Cougar pumps the brakes and spins the wheel - desperately trying to keep Clay from rolling off the hood . THE PLANE TURNING AROUND at the end of the runway . Beginning it 's final run to get up to speed . THE CORVETTE Now driving TOWARDS IT on a chicken - like collision course when WHOOSH ! WADE FLIES PAST ON HIS MOTORCYCLE ! Clay turns to Cougar through the spiderwebbed windshield :<\/scene_description>\n    <character>CLAY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Rifle.<\/dialogue>\n    <scene_description>Cougar passes Clay his SNIPER RIFLE and FLOORS IT . VISUALIZE THIS - AT ONE END OF THE RUNWAY , the plane starting to take off . AT THE OPPOSITE END , Wade 's motorcycle heading full speed at the approaching plane . Cougar and Clay , chasing Wade . And then AISHA steps out INTO THE MIDDLE of the runway . The ROCKET LAUNCHER clutched in her hands . She takes a knee . Aims at the plane , which is almost at lift speed . ROQUE sees her from the cockpit . She locks eyes with him and GRINS - FIRING into the LANDING GEAR of the plane AS . THE CORVETTE PULLS EVEN WITH WADE . Instead of shooting , Clay THROWS Cougar 's RIFLE BETWEEN THE SPOKES of Wade 's FRONT TIRE , causing the bike to CATAPULT WADE OFF and FORWARD . THROUGH THE AIR and into the RIGHT NUMBER TWO JET ENGINE of the now flying cargo plane . The ENGINE EXPLODES . Aisha , somehow safe on the ground , looking up at the escaping plane . Clay looking up . All of them watching . as Roque dies very badly . WHOOMP ! The big plane EXPLODES in a MONSTER FIREBALL - VA DOOOM ! Burning gas and iron and cash . FIRE RULES . ON THE GROUND Our guys . Bloody , eyes bitterly triumphant . Clay stares at the sight before him . Only one word for it .<\/scene_description>\n    <character>CLAY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Outstanding.<\/dialogue>\n    <scene_description>Jensen approaches , supporting Pooch .<\/scene_description>\n    <character>JENSEN<\/character>\n    <dialogue>Not to rain on everyone's we killed all the bad guys parade, but we should probably get gone - legless Pooch has a Learjet all gassed up for us in the Hangar.<\/dialogue>\n    <parenthetical>( off Pooch 's look . )<\/parenthetical>\n    <dialogue>It's a cool name -<\/dialogue>\n    <scene_description>From the smashed up bike Wade was driving , WADE 'S CELL PHONE RINGS . Clay gets off the hood of the Vette and Cougar and Aisha help him hobble over . Answering it :<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Hello?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NORTH INDIA -- HANGAR -- DAY<\/stage_direction>\n    <scene_description>MAX and the INDIANS . INTERCUT with Clay :<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>We good?<\/dialogue>\n    <scene_description>TIGHT ON CLAY realizing who he 's talking to .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>Not by a longshot. You're not having a real great day, Max.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Who is this?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Just a voice on the phone.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Where's Wade?<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Working on the engines.<\/dialogue>\n    <scene_description>A beat as it hits Max .<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Clay.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>It's Colonel.<\/dialogue>\n    <scene_description>In the distance , SIRENS .<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Colonel, yes. Well done.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>I understand you've always wanted to meet face to face. I'm sure that could be arranged.<\/dialogue>\n    <scene_description>A beat . Then :<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>I do n't think the guys you're about to stiff for a billion dollars are going to allow that to happen.<\/dialogue>\n    <parenthetical>( looks to the others . )<\/parenthetical>\n    <dialogue>We win. You lose. Goodbye.<\/dialogue>\n    <scene_description>He snaps the phone shut and tosses it into the fire . Turns to the others .<\/scene_description>\n    <character>CLAY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Lear jet?<\/dialogue>\n    <character>POOCH<\/character>\n    <parenthetical>( GRINNING . )<\/parenthetical>\n    <dialogue>Ready when you are.<\/dialogue>\n    <scene_description>Pooch , Jensen , and Cougar start for the Hangar . Clay looks to Aisha . A moment between them .<\/scene_description>\n    <character>AISHA<\/character>\n    <dialogue>I wanted to find and punish those responsible for my father's death. Max, his men, everyone.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>That why you slept with me?<\/dialogue>\n    <character>AISHA<\/character>\n    <dialogue>That and the cardio.<\/dialogue>\n    <scene_description>Clay smiles .<\/scene_description>\n    <character>CLAY<\/character>\n    <dialogue>You coming?<\/dialogue>\n    <scene_description>A beat . She nods .<\/scene_description>\n    <character>AISHA<\/character>\n    <dialogue>I'm coming.<\/dialogue>\n    <character>CLAY<\/character>\n    <dialogue>Good cause there's no way I could walk it.<\/dialogue>\n    <scene_description>She helps him up and we begin to PULL UP AND BACK as they head for the Hangar . Together .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NORTH INDIA -- HANGAR -- DAY<\/stage_direction>\n    <scene_description>Max lowers the phone . Looking stunned . The Short Scientist has run out of patience .<\/scene_description>\n    <character>SHORT SCIENTEST<\/character>\n    <dialogue>Time is up, Stretch.<\/dialogue>\n    <scene_description>Max looks at the Short Scientist .<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Stretch. That's a good one.<\/dialogue>\n    <scene_description>But he does n't look like he 's very amused .<\/scene_description>\n    <character>SHORT SCIENTEST<\/character>\n    <dialogue>Because you are so much taller than I.<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Yeah, no, I get it.<\/dialogue>\n    <scene_description>Momentary pause . The Short Scientist looks at Max . Slowly gets up , LEAVES MAX alone in the room with the ten Indians . Max takes a deep breath , looks up at the DEATH SQUAD .<\/scene_description>\n    <character>MAX<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You gentlemen consider yourselves to be soldiers or businessmen?<\/dialogue>\n    <scene_description>BLACK SCREEN We think it 's the end . But then we hear WIND . Blowing through trees . Crickets . The soft sound of evening television . Somewhere suburban .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN HOUSE -- NIGHT<\/stage_direction>\n    <scene_description>A nice quiet neighborhood . Outside the kitchen window Pooch 's wife JOLENE , doing dishes in the sink again . A RUSTLING . Jolene looks up this time . She obviously heard it . She puts down the dishes and goes to the door . Opens it and looks out to see . Nothing . Not even by the swingset . She sighs . About to head back inside when she spies A GLINT OF LIGHT . By the oak tree in the front . She steps outside . Walks down until she sees what it is . Her breath hitches in her chest . A frilly purple ribbon is tied around the old oak tree . And now there are tears in Jolene 's eyes . Because she knows what it means . Her husband is alive . And he will make it home . Someday . FADE OUT<\/scene_description>\n  <\/scene>\n<\/script>","summary":"The Losers are an elite black-ops team of United States Special Forces operatives, led by Clay (Jeffrey Dean Morgan) and formed by Roque (Idris Elba), Pooch (Columbus Short), Jensen (Chris Evans), and Cougar (\u00d3scar Jaenada), who are sent to Bolivia in a search-and-destroy mission on a compound run by a drug lord. While painting a target for an upcoming air strike, the Losers spot slave children in the compound and try to call off the attack, but their superior, codenamed Max (Jason Patric), ignores their pleas. With no other option, the Losers enter the compound, successfully rescue the children and kill the drug lord in the process. As a helicopter arrives to pick them up, Max, convinced that they know too much, orders it to be destroyed, unaware that they decided to rescue the children first. The Losers watch as a missile destroys the helicopter and kills 25 innocents. Knowing that the attack was meant to kill them, they fake their deaths and become stranded in Bolivia, lacking the funds and paperwork necessary to go home. Four months later, Clay is approached by Aisha (Zoe Saldana), a mysterious woman who offers him the chance to kill Max, against whom she wants revenge. Clay accepts and Aisha arranges for the group to return to the United States, where they proceed to attack a convoy supposedly carrying Max, only to discover Aisha has tricked them into stealing a hard drive with Max's secrets. Unable to access the files, Jensen infiltrates the company that made the drive and steals an algorithm that allows him to crack the code, discovering that the drive contains credits for a $400 million transfer in Max's name, which he received for selling \"Snukes\" \u2013 eco-friendly bombs with the potency of a nuclear warhead, but no fall-out \u2013 to international terrorists. Tracing the money flow to the Los Angeles International Port of Entry, which the Losers deduce is Max's base, they form a plan to attack it and kill Max. While studying the drive, Jensen discovers that their mission in Bolivia was a cover so Max could eliminate the drug lord\u2014who had discovered his plan\u2014and that Aisha is the man's daughter, seeking revenge for his death. After her cover is blown, Aisha shoots Jensen and escapes. Believing that she might betray them, the Losers decide to speed up their attack on Max's base, only to be betrayed by Roque and captured by Max and his right-hand man and chief of security, Wade (Holt McCallany). As the Losers are lined up to be executed, Aisha returns and ambushes Max's team. In the ensuing fight, Clay confirms that he killed Aisha's father. Roque attempts to steal Max's plane, loaded with his money, and tries to escape. As Roque's jet heads down the runway, Wade takes a motorcycle and goes after him to retrieve Max's money. Cougar shoots the motorcycle's engine, causing Wade to be hurled into the jet's engine and the flaming motorcycle to be hurled into the cockpit of the plane, which explodes, killing Roque. As Jensen, Cougar and Aisha help Pooch, who has been shot in both legs by one of Max's security guards, Clay pursues Max to a crane, where Max says that he has activated a Snuke that will destroy Los Angeles, and Clay will have to choose between de-activating it or killing Max. Clay chooses the former and Max escapes, but Clay affirms that he now knows what Max looks like and will soon find him. Max escapes on a bus and is robbed by two thugs. His fate after this is unknown. Shortly thereafter, the Losers help Pooch reach the hospital where his pregnant wife is giving birth to their son and attend Jensen's 8-year-old niece's soccer game."}
{"movie_name":"La La Land_2016","imdb_id":"tt3783958","script":"<script>\n  <scene>\n    <character>LA LA LAND<\/character>\n    <dialogue>by<\/dialogue>\n    <scene_description>Damien Chazelle<\/scene_description>\n    <character>FADE IN...<\/character>\n    <dialogue>A sun-blasted sky. We HEAR radios -- one piece of music after another...<\/dialogue>\n    <dialogue>We're --<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 101 FREEWAY - DAY<\/stage_direction>\n    <scene_description>Cars are at a standstill. It's a horrific traffic jam. Morning rush hour. Sun beating down, asphalt shimmering in the heat. The blown-out downtown L.A. skyline hovers in the distance. We DRIFT past more CARS. Hear one snippet of audio after another... One driver taps his steering wheel to PROG ROCK. Another sings to OPERA. A third raps along to a HIP-HOP track. We move from a RADIO INTERVIEW to a FRENCH BALLAD to TECHNO, until finally we begin to hear... ...a new, original piece of music... \\[ANOTHER DAY OF SUN\\] We settle on the CAR from which this new tune is playing. The driver is a YOUNG WOMAN. She hums along to the riff on her radio -- then starts SINGING. Then -- she EXITS her car. Then -- she starts MOVING down the lane. One by one, more DRIVERS join her -- SINGING and DANCING along. Without a single cut, we've found ourselves in a FULL- FLEDGED MUSICAL NUMBER... Drivers leap on car-tops, dance Jerome Robbins-style, making use of the road and the hot gleam of the automobiles. Arms swaying, feet banging, dancers darting, as the MUSIC blasts. We WEAVE and SWIRL and DART between and around the cars, taking the magic in... Finally -- all the drivers swing back into their vehicles -- and the song comes to a dramatic stop. Flash title card:<\/scene_description>\n    <character>WINTER<\/character>\n    <dialogue>A1 We settle on a new car. A 1983 Dodge Riviera. In it is<\/dialogue>\n    <scene_description>SEBASTIAN, 32, L.A. native. He's listening to the radio. He's playing a track on his music system -- a tape of Thelonious Monk's \"Japanese Folk Song\". But he keeps stopping it, over and over and over -- always rewinding to the same exact spot. B1 OMIT C1 We DRIFT from his car to one further up ahead. A light-green 2005 Prius. Inside is MIA, 27, Nevada-raised. Six years of \"no\" in L.A. have toughened her, but she's still a dreamer. She seems to be on the phone, speaking into her car's system. Fast, fiery, full of energy --<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>...and I swear to God, she was wrecked. It was pure insanity.<\/dialogue>\n    <scene_description>Mia stops. Thinks. Mutters to herself: \"Insanity\"... Then leans down and grabs a piece of paper from the passenger seat. It's a SCRIPT.<\/scene_description>\n    <character>MIA<\/character>\n    <parenthetical>(reading now)<\/parenthetical>\n    <dialogue>Pure lunacy. Oh God, I know...<\/dialogue>\n    <scene_description>Just then -- the traffic around Mia starts to let up. She's too focused on her lines to notice. Then -- a long, sustained honk behind her: AHHHHHHHHHHHHHHHT. Mia comes to. Jerked back to reality. The honking car behind her swerves into the next lane. It's Sebastian. Mia gives him the finger. We then FOLLOW her as she drives... 2 OMIT 3 OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COFFEE SHOP - DAY<\/stage_direction>\n    <scene_description>Mia works, photos of Hollywood icons on the wall behind her, as --<\/scene_description>\n    <character>CUSTOMER #1<\/character>\n    <dialogue>This doesn't taste like almond milk.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Don't worry, it is. I know sometimes it --<\/dialogue>\n    <character>CUSTOMER #1<\/character>\n    <dialogue>Can I see the carton?<\/dialogue>\n    <scene_description>Mia hands it over. The Customer looks.<\/scene_description>\n    <character>CUSTOMER #1<\/character>\n    <dialogue>I'll have a black coffee.<\/dialogue>\n    <scene_description>Mia gets the coffee. Quickly sneaks a look at a script hidden underneath her counter. The same one we saw in her car... She hands the coffee to the Customer. We follow the Customer out through the door -- as a WOMAN walks into the shop. We don't see the Woman's face, but we see all the eyes in the shop turn immediately to her. We see one CUSTOMER whisper to another, discreetly pointing as the WOMAN passes by...<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Cappuccino, please.<\/dialogue>\n    <scene_description>Mia nods. Gets it made. The Manager takes it from her.<\/scene_description>\n    <character>MANAGER<\/character>\n    <dialogue>On us.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>No, I insist.<\/dialogue>\n    <scene_description>She pays. Then smiles at Mia and drops a bill in the tip jar. Mia watches as the Woman walks off, is joined by a STUDIO EMPLOYEE on a golf cart outside -- we realize this coffee shop is on a STUDIO LOT -- and is driven away... Then -- Mia's phone rings. It reads: \"MOM\". Mia presses \"IGNORE\" and the time pops up on the phone's screen: 4:07.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <scene_description>Removing her apron and hurrying out, turning back as --<\/scene_description>\n    <character>MANAGER<\/character>\n    <dialogue>Where do you think you're going?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>It's -- five past...<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>You'd better be here early tomorrow.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Ok.<\/dialogue>\n    <scene_description>-- then realizes she doesn't have her script, runs back to grab it, hurries on and then -- CRASHES into a table. Coffee and food spill all over her shirt, and all at once we're --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITION ROOM - DAY<\/stage_direction>\n    <scene_description>Mia's in a thick winter coat, covering her stained shirt. On her cell, loudly laughing while her adrenaline surges --<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>And I swear to God, she was wrecked. It was pure lunacy. Oh God, I know...<\/dialogue>\n    <scene_description>Her nerves are practically visible. As she talks, we PULL BACK -- to see that she's auditioning for a CASTING DIRECTOR.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>No, no, Turner's fine. So you -- are you waiting 'til Denver to tell her...?<\/dialogue>\n    <parenthetical>(as her smile contracts)<\/parenthetical>\n    <dialogue>Oh. I see...<\/dialogue>\n    <parenthetical>(silence; she clenches her jaw...)<\/parenthetical>\n    <dialogue>No, you're right. I understand.<\/dialogue>\n    <parenthetical>(...and a tear falls from her eye)<\/parenthetical>\n    <dialogue>Ok... I just... Oh...<\/dialogue>\n    <scene_description>An ASSISTANT appears through the glass on the door behind Mia, waving to the Casting Director: Yoohoo. Can I come in?<\/scene_description>\n    <character>MIA<\/character>\n    <parenthetical>(crying now)<\/parenthetical>\n    <dialogue>No, I'm happy for you... I -- I just --<\/dialogue>\n    <character>CASTING DIRECTOR<\/character>\n    <dialogue>One second.<\/dialogue>\n    <scene_description>Mia stops. The Casting Director waves the Assistant in. The Assistant scurries in, shows her boss a post-it. Mia stands there, trying to hold onto the tears, hold onto the emotion, as the Casting Director reads the post-it and thinks.<\/scene_description>\n    <character>CASTING DIRECTOR<\/character>\n    <dialogue>...I'll call her back. Tell her I'm almost done in here.<\/dialogue>\n    <scene_description>The Assistant nods. Walks out. Mia waits, trying to maintain...<\/scene_description>\n    <character>CASTING DIRECTOR<\/character>\n    <dialogue>You know what? I think we're good. Thanks for coming in.<\/dialogue>\n    <scene_description>Mia looks at her. A beat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY - DAY<\/stage_direction>\n    <scene_description>Mia exits. Nerves still on edge. Passes one beautiful redhead after the next -- all getting ready to cry. Enters the elevator with two other WOMEN -- tall, statuesque. Also redheads.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIA'S APARTMENT - EARLY EVENING<\/stage_direction>\n    <scene_description>Mia enters. Exhausted. Heads to her ROOM. Old movie posters hang on the walls, including a big Ingrid Bergman one over the bed. There's also a shelf filled with acting books -- Uta Hagen, Stella Adler. Various other trinkets: an old globe, an old blue-and-red suitcase. Mia takes off her shoe. A blister on her sole. 8 WE CUT TO: Mia in the BATHROOM. Just showered, wrapped in a towel. She hums to herself. The mirror is fogged up. She turns off the vent. The mist on the glass thickens. She dabs some of it away. Dims the lights. Looks... With the fog in place, her reflection looks like one of those soft-focus old Hollywood close-ups. She hums as she brushes her hair... Then -- the door SWINGS open -- and the spell is broken.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Holy Mother of God.<\/dialogue>\n    <scene_description>Mia snaps out of it. Turns. Fog is enveloping TRACY, 27.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Ever heard of a vent?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>I wanted to give you an entrance.<\/dialogue>\n    <character>ALEXIS<\/character>\n    <parenthetical>(appearing in the hall, 26, eating Cheetos)<\/parenthetical>\n    <dialogue>Mia! How'd it go?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Eh...<\/dialogue>\n    <character>ALEXIS<\/character>\n    <dialogue>Same here. Was Jen there? Or Rachel?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>I don't know who Jen and Rachel are.<\/dialogue>\n    <character>ALEXIS<\/character>\n    <dialogue>They're the worst.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>I don't know if they were there.<\/dialogue>\n    <scene_description>As Mia slips away --<\/scene_description>\n    <character>ALEXIS<\/character>\n    <dialogue>I bet they were.<\/dialogue>\n    <character>CAITLIN<\/character>\n    <parenthetical>(appearing, 27)<\/parenthetical>\n    <dialogue>Why is there a convention in the bathroom?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Two minutes, people! Mia you're coming, right?<\/dialogue>\n    <scene_description>WE PAN TO find Mia poking her head out of her bedroom --<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>Can't. Working.<\/dialogue>\n    <character>TRACY (O.S.)<\/character>\n    <dialogue>What?<\/dialogue>\n    <parenthetical>(we PAN BACK to Tracy)<\/parenthetical>\n    <dialogue>Did she say \"working\"?<\/dialogue>\n    <scene_description>A8 We follow Mia INSIDE her room. She closes the door. Takes a moment. You can tell in her eyes -- work or not, a night on the town is the last thing she wants to do now. B8 WE CUT to the HALLWAY, to find Tracy POUNDING on Mia's door.<\/scene_description>\n    <character>MIA<\/character>\n    <parenthetical>(opening up)<\/parenthetical>\n    <dialogue>Yes?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Look, I know things didn't go well today. There are four things in my inbox that you're perfect for and I will submit you. But right now -- you're coming.<\/dialogue>\n    <scene_description>C8 With that -- she barges in and beelines to Mia's closet --<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>It'll be fun.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>It'll be a bunch of social climbers packed into one of those glass houses.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Exactly. Fun.<\/dialogue>\n    <scene_description>She pulls out a blue dress. As Alexis hurries in --<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>This looks familiar.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>I was going to give it back!<\/dialogue>\n    <scene_description>Alexis moves from Mia's perfume to the dress, lighting up as she grabs it --<\/scene_description>\n    <character>ALEXIS<\/character>\n    <dialogue>Come on, Mia. When else do you get to see every Hollywood clich\u00e9 crammed into a single home?<\/dialogue>\n    <character>TRACY<\/character>\n    <parenthetical>(faux-offended)<\/parenthetical>\n    <dialogue>Lex! I'm disappointed in you. There's nothing to make fun of. This party will be humanity at its finest.<\/dialogue>\n    <scene_description>Mia rolls her eyes -- and, with that -- Tracy BREAKS INTO SONG. \\[SOMEONE IN THE CROWD\\] She play-acts the clich\u00e9s this party will represent. Alexis and Caitlin join in, giddy and playful. Mia can't help but laugh. The roommates sing and dance, hoping to persuade Mia to join the night's revelry... Mia remains reluctant. Stays behind in her room as her roommates head out the door. But she's starting to wonder: A night at home, feeling sorry for herself -- or a night out with her friends...?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. APARTMENT BUILDING \/ STREET - NIGHT<\/stage_direction>\n    <scene_description>We're outside now, and BACK with Tracy, Alexis and Caitlin, marching across the courtyard and toward the street. They sing, dance, half-assuming Mia is a no-go -- -- until Mia APPEARS, blue-dress-clad. Her roommates look at her in surprise -- then delight. The energy swells and the four characters dance their way together down the street. They dive into a single CAR, and WE DISSOLVE TO... 10 OMIT. A10 OMIT.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY - NIGHT<\/stage_direction>\n    <scene_description>An old-fashioned MONTAGE of a night on the town: neon signs and overflowing champagne glasses. Soon enough, we're at...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MODERN HILLTOP HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Valet cars lined up. We FOLLOW Alexis, Tracy, Caitlin and Mia to the door...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. HILLTOP HOUSE - NIGHT<\/stage_direction>\n    <scene_description>...and into a big-glass hilltop pad. We FOLLOW Mia as she takes in her surroundings. A D.J. turning tables. A FAT OLD PRODUCER dancing with a TWENTY-SOMETHING. A trio of AGENTS glad-handing each other in rhythm by the bar. Yep -- every clich\u00e9 is here... Mia tries talking to a pair of WOMEN -- who promptly ditch her. Seeing she's now alone, a YOUNG MAN swoops in to hit on her. She makes a hasty exit toward the bar -- but the line's obscenely long. She nears the BATHROOM door -- but a COUPLE stands in her way, making out. She slips in behind them... A13 Inside the BATHROOM, Mia takes a moment. The joy of seconds ago is gone from her eyes now. She gazes into the mirror -- -- and SINGS by herself. This verse, sung in private, belongs to a new style: less brash, and far more vulnerable... Once finished, Mia takes a breath, steels herself to once again face the world, opens the door -- and rejoins the crowd... B13 We MOVE with her slowly now -- surrounded by the party, but everything set at a snail's pace, the crazed carousers moving in SLOW MOTION. It's the sadness underneath the revelry, the pain underneath the clich\u00e9s... Gradually we RAMP UP. Follow Mia OUTSIDE, where we see the splash of blue-green that is the POOL -- and a flurry of FAKE SNOW falling from above... As we reach FULL-SPEED, a PARTY-GOER races to the edge, jumps -- -- and we PLUNGE WITH HIM INTO THE POOL. This is the climax of the number. Everyone joins in, circling the pool -- a swath of color against the black sky. Everyone dances, everyone sings -- and the song concludes with a blast of fireworks. C13 OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A14 EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>Close on a sign: \"NO PARKING ANYTIME: TOW-AWAY ZONE\".<\/scene_description>\n    <character>MIA (O.S.)<\/character>\n    <dialogue>No...<\/dialogue>\n    <scene_description>We see Mia -- all alone, staring at the sign. No car in sight. She reaches into her purse, pulls out her cell phone to call Tracy. It's dead.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>No...<\/dialogue>\n    <scene_description>15 OMIT 16 OMIT 17 OMIT A17 OMIT B17 OMIT 18 OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILL \/ LOS ANGELES STREETS - NIGHT<\/stage_direction>\n    <scene_description>Mia trudges down the steep hill in her unwieldy heels. She's an hour-and-a-half walk from her place. She crosses roads and lots, navigates stretches where the sidewalk stops and gives way to shrubbery. A19 And then -- she hears something... Music. A piano, in the distance. And a MELODY -- one we will come to know very well... Without being sure why, she FOLLOWS THE SOUND. Passes several doors. Then stops. Has found where it's coming from... She reaches out -- and slowly opens a door...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 101 FREEWAY - EARLIER THAT MORNING<\/stage_direction>\n    <scene_description>AHHHHHHHHHHHHHHHHHHHHHHT. The same 101 traffic jam we began with. This time we're on Sebastian -- the honker. He passes Mia's car. She gives him the finger. He drives on, shaking his head... 21 OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RAYO'S - MOMENTS LATER<\/stage_direction>\n    <scene_description>Sebastian sips a coffee as he gazes across the street -- at a 30's Deco building. A sign above the door: \"VAN BEEK\". A newer sub-heading below: \"TAPAS &amp; TUNES\". The door opens. Two EMPLOYEES step out, setting up a valet stand. Sebastian watches them -- and shakes his head. The employees notice him. Recognize him. What is it with that guy...? 23A OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEBASTIAN'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Sebastian enters his apartment -- cramped, dingy, bare walls, no furniture or decoration, boxes filled with dusty black-and-white photographs and unused instruments on the floor, a black Steinway upright piano in the center of the living room -- and sees a WOMAN rummaging around.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>You gotta stop breaking into my home.<\/dialogue>\n    <scene_description>She looks up. She's 37 quickly going on 50, and dressed like she doesn't care. This is LAURA, Sebastian's older sister.<\/scene_description>\n    <character>LAURA<\/character>\n    <dialogue>You think Mom or Dad would call this a home?<\/dialogue>\n    <scene_description>Seeing that she's seated on a stained, decrepit stool --<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Please don't sit on that.<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>Are you serious?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Yes. Hoagy Carmichael sat on that stool. The Baked Potato was gonna throw it away.<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>I wonder why.<\/dialogue>\n    <parenthetical>(then, rising,)<\/parenthetical>\n    <dialogue>I brought you this. It's a throw rug.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Don't need it.<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>Yeah? What if I told you Miles Davis pissed on it?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>That's almost insulting...<\/dialogue>\n    <parenthetical>(then,)<\/parenthetical>\n    <dialogue>Did he?<\/dialogue>\n    <scene_description>She shakes her head: Unbelievable. Tosses the rug to the side.<\/scene_description>\n    <character>LAURA<\/character>\n    <dialogue>When are you going to unpack these boxes?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>When I unpack them in my club.<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>Oh my God. It's like a girl broke up with you and you're stalking her.<\/dialogue>\n    <parenthetical>(then, looks at him --)<\/parenthetical>\n    <dialogue>You're not still going by there, are you?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>A beat. Then --<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>They've turned it into a tapas-samba place. You believe that?<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>Seb --<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Who wants to tapas while they samba?<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>I have someone I want you to meet.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I don't want to meet anyone.<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>You'll like her.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Uh-huh. Does she like jazz?<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>Probably not.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Then what are we gonna talk about?<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>You'll talk about the weather.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Ok. Then I have someone I'd like you to meet. He's got a face tattoo, but a heart of gold.<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>Sebastian --<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>How long's it been?<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>You need to get serious. You live like a hermit. You're driving without insurance.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I am serious. I had a very serious plan for my future. It's not my fault I got Shanghai'ed.<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>You did not get \"Shanghai'ed\", you got ripped off.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>What's the difference?<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>It's not as romantic as that.<\/dialogue>\n    <parenthetical>(she starts to walk off)<\/parenthetical>\n    <dialogue>And everyone knew that guy was shady except for you.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Why do you say romantic like it's a dirty word?<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>Unpaid bills are not romantic. Call her.<\/dialogue>\n    <scene_description>She heads to the door. He follows her, won't give it up --<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>You're acting like life's got me on the ropes -- what you don't understand is, I want to be on the ropes. I'm letting life hit me 'til it gets tired. Then I'm gonna make my move. It's a classic rope-a-dope.<\/dialogue>\n    <scene_description>Laura can't help but laugh. Stops by the door. Looks at him.<\/scene_description>\n    <character>LAURA<\/character>\n    <dialogue>I love you. Unpack your boxes.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I'm changing the locks.<\/dialogue>\n    <character>LAURA<\/character>\n    <parenthetical>(out the door with a smile --)<\/parenthetical>\n    <dialogue>You can't afford it.<\/dialogue>\n    <scene_description>She's gone. Sebastian thinks for a beat, then calls out --<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I'm a phoenix rising from the ashes!<\/dialogue>\n    <scene_description>No reply to his triumphant declaration. He shuts the door. Looks again at the napkin. Thinks. Tosses it in the trash.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A23 INT. SEBASTIAN'S APARTMENT - LATER<\/stage_direction>\n    <scene_description>Moments later. Sebastian takes a slice of pizza from the fridge, pours himself some more coffee, places a Thelonious Monk LP onto a record player, and sits down at the piano. \"Japanese Folk Song\" -- the piece we heard in his car -- plays... Sebastian plays along. Stops. Moves the record back a few bars. Starts it again. Plays the same passage over. Stops. Moves the record back a second time. Plays the passage again. Stops. Over and over, just like in his car -- until, finally, he gets it right. He keeps playing, louder now, and we're -- B23 OMIT 24 OMIT 25 OMIT 26 OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>A red-booth bar-and-restaurant. Christmas decorations all over. Sebastian steps in. Immediately beelining over --<\/scene_description>\n    <character>BOSS<\/character>\n    <dialogue>Seb.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <parenthetical>(putting on a smile)<\/parenthetical>\n    <dialogue>Bill. Thanks for having me back.<\/dialogue>\n    <character>BOSS<\/character>\n    <dialogue>Your welcome. Stick to the set list.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <parenthetical>(under his breath as he heads to the piano)<\/parenthetical>\n    <dialogue>Though I don't think they care what I play.<\/dialogue>\n    <character>BOSS<\/character>\n    <dialogue>I do, and I don't want to hear the free jazz.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>How 'bout one for you, one for me? Or two for you, one for me?<\/dialogue>\n    <parenthetical>(the Boss just glares)<\/parenthetical>\n    <dialogue>Or all for you, none for me? Ok, that works. Good deal.<\/dialogue>\n    <scene_description>Sebastian sits down at the keys. A WAITRESS passes by.<\/scene_description>\n    <character>WAITRESS<\/character>\n    <dialogue>Well... Welcome back.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>There's a nice way to say that.<\/dialogue>\n    <scene_description>With that -- he starts playing \"Jingle Bells\".<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RESTAURANT - LATER<\/stage_direction>\n    <scene_description>The restaurant's demographic has changed. It's now younger stragglers wandering in. Sebastian looks beyond bored. He finishes \"We Wish You a Merry Christmas\". Zero applause. He begins a new chart: \"Deck the Halls\". But something seems to come over him now. He's restless. Slowly, his playing drifts off -- his fingers charting their own path... And then -- we hear a melody. The one Mia heard outside. The one we'll refer to from now on as Mia and Sebastian's song... The door opens -- and Mia steps in. She sees Sebastian at the piano. Is instantly struck by his playing. \\[MIA AND SEBASTIAN'S THEME\\] Gradually -- all sounds but the music drop out. We drift away from reality. Even the walls seem to go slightly darker -- as though Sebastian and Mia were all alone... He concludes his piece with a jumble of chords, his playing almost free jazz now, as we pull back to real life... ...and see the Boss looking on in scorn. Sebastian finishes. Silence. Mia looks like the wind has been knocked out of her. Sebastian looks up for a second -- and sees her. They look at one another. Just a moment. Then -- the Boss taps Sebastian on the shoulder. WE STAY ON Mia as she watches Sebastian rise with the Boss. We just see the Boss talking to Sebastian, can't hear what is said. Then, we get closer -- and realize:<\/scene_description>\n    <character>BOSS<\/character>\n    <dialogue>...every goddamned night.<\/dialogue>\n    <scene_description>Sebastian is silent. Then, doesn't want to have to beg but --<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I'll stick to the set list, I promise --<\/dialogue>\n    <character>BOSS<\/character>\n    <dialogue>Too late. You're done.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>You're not gonna find a better player. You know that.<\/dialogue>\n    <character>BOSS<\/character>\n    <parenthetical>(leans in, and --)<\/parenthetical>\n    <dialogue>Do you think anyone here gives a shit?<\/dialogue>\n    <scene_description>With that, the Boss walks off. We linger on Sebastian. Anger giving way -- to hurt. He starts hurrying toward the door. BACK TO Mia -- who didn't hear what was said. She watches Sebastian -- takes a breath, so moved that she's about to lay it all out -- swoops in to corner him -- and --<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>I just wanted to say -- I saw your playing, and I --<\/dialogue>\n    <scene_description>-- but Sebastian just walks right by -- his shoulder bumping against Mia's for an added measure of disdain. He heads out the door. Slams it shut. Mia is left standing on her own. She looks like she's just been slapped. SMASH CUT TO BLACK. 29 OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITION ROOMS - DAY<\/stage_direction>\n    <scene_description>Mia auditions. Pilot season cattle-call -- a series of soul- crushing try-outs. She's pandering to the hilt. Quick glimpses:<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>I don't like the fissure on the GT scan. Did you test for achromatopsia?<\/dialogue>\n    <scene_description>31 Then, a second audition --<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>D.O.A. on 23rd, perp laughing his face off at P.D. Damn Miranda Rights.<\/dialogue>\n    <scene_description>32 And finally, a third audition --<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>This is my classroom. You don't like it, the door's to my left.<\/dialogue>\n    <character>READER (O.S.)<\/character>\n    <parenthetical>(a well-dressed forty-year-old WOMAN reading from sides)<\/parenthetical>\n    <dialogue>Lady why you be trippin' like that?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>No, Jamal. You be trippin'.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARTY - DAY<\/stage_direction>\n    <scene_description>Mia wanders around another party. A BAD 80's COVER BAND plays.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>There you are! You need to meet someone! Carlo, this is Mia. Mia, Carlo's a writer.<\/dialogue>\n    <character>CARLO<\/character>\n    <dialogue>Nice to meet you, Mia.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>He's got projects all over town.<\/dialogue>\n    <character>CARLO<\/character>\n    <parenthetical>(shrugs, faux-modest)<\/parenthetical>\n    <dialogue>They say I have a knack for world-building.<\/dialogue>\n    <character>MIA<\/character>\n    <parenthetical>(takes this in; then --)<\/parenthetical>\n    <dialogue>Congratulations. I have to grab a drink...<\/dialogue>\n    <scene_description>She slips away. Presses toward the bar. The music gets louder, more obnoxious. She peers toward the band to get a look... And then she sees him. Sebastian. Playing keyboard-guitar for the band. Dressed up like his band- mates in a bright polyester outfit. And hating every second. The band finishes, and the SINGER addresses the (thin) crowd.<\/scene_description>\n    <character>SINGER<\/character>\n    <dialogue>Alright, one more for y'all before we break. Do I hear any requests?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>\"I Ran\".<\/dialogue>\n    <scene_description>Sebastian turns. Sees Mia, looking at him with a defiant grin, enjoying her power. He thinks -- then recognizes the face.<\/scene_description>\n    <character>SINGER<\/character>\n    <dialogue>\"I Ran\" it is.<\/dialogue>\n    <parenthetical>(to Sebastian)<\/parenthetical>\n    <dialogue>Wanna start us off, piano-man?<\/dialogue>\n    <scene_description>Sebastian stays silent. Mortified. Finally, so reluctant, he taps his keyboard to count the band in and begins playing. On the keys, it's a single note, repeated measure after measure. Mia knew this. Sebastian looks at her. She smiles right back.<\/scene_description>\n    <character>SINGER<\/character>\n    <dialogue>I walked along the avenue...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARTY \/ INT. HOUSE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Set break. Sebastian hurries from the keys -- enters the house, looks both ways, finally spots Mia and --<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Ok. I remember you.<\/dialogue>\n    <scene_description>Mia looks at him. One eyebrow raised. Yeah?<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>And I'm sorry if I was curt that night.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>\"Curt\"?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Ok I was an asshole. I can admit that.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Ok.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>But requesting \"I Ran\" from a serious musician -- it's too far.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>My God. Did you just call yourself \"a serious musician\"?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I don't think so.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Can I borrow what you're wearing?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Because I have an audition next week. I'm playing a serious fire-fighter.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <parenthetical>(irritation building --)<\/parenthetical>\n    <dialogue>So you're an actress. That makes sense. Have I seen you in anything?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Uh... The coffee shop on the Warner Brothers lot. That's a classic.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Oh, you're a barista. Well now I see how you can look down on me from all the way up there.<\/dialogue>\n    <character>SINGER<\/character>\n    <parenthetical>(popping in from nowhere)<\/parenthetical>\n    <dialogue>Sebastian. Second set.<\/dialogue>\n    <scene_description>Sebastian looks at Mia. She smirks. Pleased. The Singer walks off.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>He doesn't tell me what to do.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>He just told you what to do.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I let him.<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>What's your name?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Mia.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Mia. Guess I'll see you in the movies.<\/dialogue>\n    <scene_description>He heads back to the keys, and the band resumes:<\/scene_description>\n    <character>SINGER<\/character>\n    <dialogue>Never seen you lookin' so lovely as you did tonight...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARTY \/ STREET - NIGHT<\/stage_direction>\n    <scene_description>The party's finished. Sebastian exits, pulling out his keys, as we DRIFT and see a long line to the VALET. Standing way in the back, waiting, is Mia. She's stuck once again with CARLO, who's regaling her --<\/scene_description>\n    <character>CARLO<\/character>\n    <dialogue>...Goldilocks from the point of view of the bears. Home-invasion thriller. Fox and Warners are going crazy for it.<\/dialogue>\n    <scene_description>Mia spots Sebastian, passing by the Valet with his keys.<\/scene_description>\n    <character>CARLO<\/character>\n    <dialogue>...We're going after Charlize. For the bear. We're flipping it. Feels like a franchise. But the thing is it's grounded.<\/dialogue>\n    <character>MIA<\/character>\n    <parenthetical>(to Sebastian)<\/parenthetical>\n    <dialogue>George Michael!<\/dialogue>\n    <scene_description>Sebastian stops. Looks at her. Surprised.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>You again.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Did you just get your keys?<\/dialogue>\n    <scene_description>Sebastian thinks. Sees the Valet. Playing it off --<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>...Yeah.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Can you grab mine?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>...Which one is it?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>The Prius.<\/dialogue>\n    <scene_description>A beat. Sebastian turns to the Valet's box. Motions to the Valet: Sorry. One second. Looks. All the keys are Prius keys.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>The one with the green ribbon.<\/dialogue>\n    <scene_description>Another beat. Sebastian finds it. Grabs it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>Mia and Sebastian trudge up a hill lined with cars. Mia aims her key fob. No beep. Sebastian points his own keys, also aiming for a beep. Silence. They've been at this for a while.<\/scene_description>\n    <character>MIA<\/character>\n    <parenthetical>(almost tripping in her heels)<\/parenthetical>\n    <dialogue>Shit...<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Those look comfortable.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>They are...n't.<\/dialogue>\n    <scene_description>A beat. She aims again. No beep.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>Thank you for saving the day back there.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>You didn't give me much of a choice.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Strange that we keep running into each other.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>It is strange. Maybe it means something.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>I doubt it.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Yeah I don't think so either.<\/dialogue>\n    <scene_description>On that, Mia aims again. As always -- no beep. Noticing --<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Put the clicker under your chin.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Sebastian demonstrates with his fob. He looks idiotic.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>It turns your head into an antenna. Probably gives you cancer, but you find your car more quickly.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Uh-huh.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>You don't live as long, but you get things done faster, so it all evens out.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Oh my God.<\/dialogue>\n    <scene_description>Just then, they reach a clearing -- AND THE CITY SKYLINE APPEARS BELOW. A ribbon of lights, stretching as far as you can see. It's the most romantic sight imaginable. They look at each other. A beat. And then --<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>Eh.<\/dialogue>\n    <scene_description>They walk on, the lights shimmering behind.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Not much to look at.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Agreed. I've seen better.<\/dialogue>\n    <scene_description>And on that -- they SING. \\[A LOVELY NIGHT\\] Mia and Sebastian try to downplay the romanticism of this setting, this moment -- being lost here, at night, alone together, atop a hill, the city glittering before them. It's \"no big deal\", nothing they haven't seen or felt before -- because, after all, there's no chance for romance between them... Of course, the music, swelling and building, suggests otherwise. Mia tires of her heels, finds a bench and fishes for flats in her handbag. Sebastian sits beside her as she slips the flats on. They look at each other, suspicious... He moves his foot. She moves hers. They look at each other again. Still suspicious... He moves again. She moves again. They seem to be moving in sync -- without their even wanting to... And -- bit by bit -- before our eyes -- they've almost slipped into DANCE... Sebastian rises. Mia rises as well. The two look at each other. Run back to the bench, hop atop it -- the lights stretch out like a magic carpet. They share a moment -- share a look -- jump off -- AND START REALLY DANCING NOW... Mia does a move, Sebastian responds. Sebastian does a move, Mia shakes her head: \"Nope\". They make the road their own, growing more and more energized, as surprised as we are to find -- ...that they can really dance together. Just as this starts to look like a blossoming romance, real joy peeking through, our two heroes getting closer and closer and closer, looking at each other almost giddily... ...a sound cuts through. It's a CELL PHONE ring. Mia and Sebastian turn -- to her handbag, back by the bench. Snapped out of it, Mia heads over and pulls out her cell.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>Hey... Greg...? Can you hear me...? Yeah, I'm just leaving now... K, see you soon...<\/dialogue>\n    <scene_description>She hangs up. Looks at Sebastian. An awkward silence. Finally -- she presses her fob again. Puts it under her chin this time. A BEEP can be heard. They see her Prius.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>Ah. Great... Well... Do you want a ride to your car?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>No, that's fine... Thanks...<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>...Ok...<\/dialogue>\n    <scene_description>Not sure what else to say, she heads to her vehicle. Waves.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>Night.<\/dialogue>\n    <scene_description>Sebastian waves back. Mia drives off. Fast. Silence... Looking even more disappointed than he thought he'd be, Sebastian walks on for a bit -- then retreats back down. A37 Comes to a stop across from the party, and we see his Riviera -- right, it seems, where he knew it was all along. He pulls out his keys -- they don't have a clicker after all. 38 OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COFFEE SHOP - DAY<\/stage_direction>\n    <scene_description>CLOSE on --<\/scene_description>\n    <character>CUSTOMER<\/character>\n    <dialogue>Are these pastries gluten-free?<\/dialogue>\n    <scene_description>Mia's at work. A typically chaotic day.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>No...<\/dialogue>\n    <character>CUSTOMER<\/character>\n    <dialogue>What?? I want a refund.<\/dialogue>\n    <scene_description>Mia nods, heads to the Manager --<\/scene_description>\n    <character>MANAGER<\/character>\n    <dialogue>You're closing up Friday.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>I have an audition. Remember?<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>Do I look like I care? Reschedule it.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>But you said --<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>And fix your apron.<\/dialogue>\n    <scene_description>With that, the Manager walks off. Mia is silent for a moment -- wants to talk back but needs this job -- then turns -- and sees Sebastian at the counter.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>...Hi.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>What are you doing here?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Meetings. Studio heads.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Uh-huh. How'd you get on the lot?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Piece of cake.<\/dialogue>\n    <scene_description>Mia looks at him. He's sweating through his shirt. A beat.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Actually it took me four hours and I ended up running. We probably have twenty minutes before the guy finds me. You got a break coming up?<\/dialogue>\n    <scene_description>Mia laughs. A moment.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>I'm off in ten.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Great. I'll hide in the bathroom.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COFFEE SHOP \/ STUDIO LOT - DAY<\/stage_direction>\n    <scene_description>Mia exits, apron off. She and Sebastian start walking. She points across the street -- to the fa\u00e7ade of a Parisian apartment.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>That's the window Ingrid Bergman and Humphrey Bogart looked out of in Casablanca.<\/dialogue>\n    <scene_description>Sebastian nods. They start walking.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>What's your Bogart's name...?<\/dialogue>\n    <parenthetical>(Mia looks at him)<\/parenthetical>\n    <dialogue>Is it Greg?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Yeah. Greg.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>How long have...?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>We've been seeing each other for a few months.<\/dialogue>\n    <scene_description>An awkward beat. They pass a wooden SALOON -- where a WESTERN is being shot. Extras in COWBOY costumes drink coffee on the steps.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>I love this stuff. Makes coming to work easier.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I know what you mean. I get breakfast five miles out of the way just to sit outside a jazz club.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Oh yeah?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>It was called Van Beek. The swing bands played there. Count Basie. Chick Webb.<\/dialogue>\n    <parenthetical>(then,)<\/parenthetical>\n    <dialogue>It's a samba-tapas place now.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>A what?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Samba-tapas. It's... Exactly. The joke's on history.<\/dialogue>\n    <scene_description>Mia laughs.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Anyway, that's L.A. They worship everything and they value nothing.<\/dialogue>\n    <scene_description>They reach a patch of green. Another shoot. A P.A. yells out:<\/scene_description>\n    <character>P.A.<\/character>\n    <dialogue>Clear the frame!<\/dialogue>\n    <character>MIA<\/character>\n    <parenthetical>(to Sebastian)<\/parenthetical>\n    <dialogue>We need to wait here.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I know. They shoot movies on my street. \"C-stands.\" \"Apple box.\" \"Don't forget to sign out.\"<\/dialogue>\n    <scene_description>Mia laughs. A beat.<\/scene_description>\n    <character>A.D. (O.S.)<\/character>\n    <dialogue>Quiet on set!<\/dialogue>\n    <scene_description>Mia and Sebastian watch the cameras roll. Then, in a whisper --<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>How'd you get into all this?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Into...? Oh -- I -- my aunt was an actress. She was in this traveling theater company... And there was this little library across the street from my house when I was growing up. This was Boulder City, Nevada -- every house looked exactly the same. I was ten and already I needed to get out. And one day, my aunt flew into town, and she showed me the library's old-movie section. We spent a whole day watching one after the other. Bringing Up Baby. Notorious. Casablanca.<\/dialogue>\n    <parenthetical>(a beat; then,)<\/parenthetical>\n    <dialogue>I never knew the world was so big.<\/dialogue>\n    <character>DIRECTOR (O.S.)<\/character>\n    <dialogue>Cut!<\/dialogue>\n    <scene_description>Mia and Sebastian resume walking. Now, at full volume --<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>I started putting on plays in my garage. I'd write the scripts and print up programs, and she'd give me props to use from wherever she'd just been -- New York, London, Paris. And then she'd jet off again and I wouldn't hear from her for another year.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Who would you invite to watch? Your parents?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>God no -- I didn't invite anyone. That would have been terrifying.<\/dialogue>\n    <scene_description>C40 CUT TO: The entrance to a giant soundstage.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>Honestly, I wish I loved something else. I've tried so hard to want other things.<\/dialogue>\n    <scene_description>She and Sebastian stop. Peer inside the stage.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>I left school after two years to come here, my fourth manager just dropped me, and my last audition was for a teen soap pitched as Dangerous Minds meets The O.C.<\/dialogue>\n    <parenthetical>(a beat; then, deadpan --)<\/parenthetical>\n    <dialogue>Should've been a lawyer.<\/dialogue>\n    <scene_description>They resume walking. D40 CUT TO: A row of closed soundstages, sandy-tan against the bright blue sky.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>...'Cause the world needs more lawyers.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Well it doesn't need more actresses.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>You're not just an actress.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>What do you mean, \"just an actress\"?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>You said it yourself, you're a child- prodigy playwright.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>That is not what I said.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>You're too modest to say it but it's true. So you could write your own roles. Write something that's as interesting as you are.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Last thing I wrote was a stand-up routine for an open-mic night. It was horrible.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>All I'm saying is -- Louis Armstrong could have played the marching-band charts he was given. What did he do instead? He made history.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Ok, I'll stop auditioning and make history instead.<\/dialogue>\n    <scene_description>Sebastian laughs.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>Anyway -- I'm getting a feeling there's something I should tell you...<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>I hate jazz.<\/dialogue>\n    <scene_description>Sebastian stops. Turns to her.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>What does that mean? \"I hate jazz\"?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>It means when I listen to it I don't like it.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>But it's such a blanket statement. It's like saying \"I hate animals\".<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>I do hate some animals.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Do you need to be anywhere right now?<\/dialogue>\n    <scene_description>Mia looks at him. We hear DRUMS. A swinging ride pattern. And we're in --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIGHTHOUSE CAFE - DAY<\/stage_direction>\n    <scene_description>-- an old-school JAZZ CLUB. It's almost empty, only aged JAZZ CATS here -- except for Mia and Sebastian, watching a QUARTET...<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Most people say they hate jazz because they don't have context. They don't get where it came from. All these people packed into flophouses in New Orleans, speaking five different languages, and jazz was how they talked to each other.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>I thought it was just Kenny G.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>...What?<\/dialogue>\n    <scene_description>Mia looks at him. Already knows just how to get to him.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>I associate it with facials. It's relaxing.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>It's not relaxing! Sid Bechet got into a gunfight 'cause somebody told him he played a wrong note!<\/dialogue>\n    <character>MIA<\/character>\n    <parenthetical>(laying it on thick)<\/parenthetical>\n    <dialogue>Right, but it's good to talk over. Where I grew up there's this jazz station they'd play at cocktail parties whenever they served the salami and cheese.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Mia. These are things you can't unsay.<\/dialogue>\n    <scene_description>She bursts into laughter. Sebastian points to the band --<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>It's not cocktail music -- it's a high- wire act. These guys are performing and composing and rearranging all at once.<\/dialogue>\n    <scene_description>A beat. Mia looks at the band. We DRIFT over the instruments...<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>That's why you need to be in the space and see what's at stake. This whole thing -- it's dying. In twenty minutes they'll head off to cut commercial sessions or do pit at the Pantages 'cause they have to -- but when I have my own place -- my club -- they'll play whatever they want.<\/dialogue>\n    <scene_description>Mia looks at Sebastian. Her laughter has subsided. She can see something in him now -- the same passion he's speaking of...<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>Your club?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>...It's gonna be the old Van Beek. I'm getting the lease back. It'll be perfect.<\/dialogue>\n    <scene_description>He watches the band. Lost in the sound. Then -- sincere --<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>The world tells everyone to move on. Says the music's had its moment. But I love it too much. I'm not moving on.<\/dialogue>\n    <scene_description>The band finishes. The ride cymbal sizzles in the air...<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>So?<\/dialogue>\n    <scene_description>He looks at Mia. She's visibly moved. Just then -- we hear a BEEP. Mia looks at her phone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIDE CORRIDOR - LIGHTHOUSE CAFE - CONTINUOUS<\/stage_direction>\n    <character>MIA<\/character>\n    <dialogue>Hi, I just missed a call...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIGHTHOUSE CAFE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Mia steps out, dazed. Sebastian's listening to a new tune. He spots Mia, turns to her -- as, shouting over the music --<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>I got a call-back!<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Really? For what?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>That show I told you about.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Dangerous Minds meets The O.C.?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Right. It's -- actually more like Rebel Without a Cause.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>That's amazing! \"I got the bulletsssss!\"<\/dialogue>\n    <scene_description>Mia laughs. But Sebastian can tell something in her laugh...<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>You've seen it, right?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Obviously.<\/dialogue>\n    <parenthetical>(a beat; then --)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>What? You're the movie person.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>It's the one I lie about.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Come on. You can't do this audition and never see Rebel. The theater near me's playing it. If you want -- I can take you. For research.<\/dialogue>\n    <character>MIA<\/character>\n    <parenthetical>(considering this)<\/parenthetical>\n    <dialogue>...Ok.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>10pm Monday at the Rialto. Cool?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Ok.<\/dialogue>\n    <parenthetical>(another nod, taking it in)<\/parenthetical>\n    <dialogue>For research.<\/dialogue>\n    <scene_description>Mia looks at him -- he looks at her -- each of them suppressing a newfound giddiness... And on that --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIGHTHOUSE CAFE - EVENING<\/stage_direction>\n    <scene_description>Mia and Sebastian exit. Wave \"good-bye\". We FOLLOW Sebastian. He rounds the corner, nears the Hermosa Beach pier... ...and begins to SING. \\[CITY OF STARS\\] Lifted by a strange new feeling -- a feeling he wasn't expecting. The feeling that perhaps -- just perhaps -- he's falling in love... He gazes out at the sea, the purple sky. Dances with an OLD COUPLE, then continues on his way, as though caught in a dream. There's an uncertainty in his singing -- he's not sure if this dream will sustain. But for now, it's a beautiful feeling... The MUSIC simmers down -- and WE FADE OUT.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AUDITION BUILDING - DAY<\/stage_direction>\n    <scene_description>A Pasadena building. As Mia approaches the door, another cell ring. It's her MOM. This time, Mia is happy to get the call:<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>Hi, Mom!<\/dialogue>\n    <character>MIA'S MOM (O.S.)<\/character>\n    <dialogue>Hi, sweetie. How are you?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Great, actually: I got a call-back on a pilot.<\/dialogue>\n    <character>MIA'S MOM (O.S.)<\/character>\n    <dialogue>Oh my God! You're going to be on TV??<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Well -- it's not picked up yet.<\/dialogue>\n    <character>MIA'S MOM (O.S.)<\/character>\n    <dialogue>Not picked up?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>First they make the pilot, then if they like the pilot it goes on TV.<\/dialogue>\n    <character>MIA'S MOM (O.S.)<\/character>\n    <dialogue>And you're in the pilot?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Well, no, I have a call-back.<\/dialogue>\n    <character>MIA'S MOM (O.S.)<\/character>\n    <dialogue>I see... Didn't you audition for a TV thing last week?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>It's another audition.<\/dialogue>\n    <character>MIA'S MOM (O.S.)<\/character>\n    <dialogue>I see... So you might get a role in a thing that might one day be put on TV...<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>...Well when you put it like that it sounds like a huge accomplishment.<\/dialogue>\n    <character>MIA'S MOM (O.S.)<\/character>\n    <dialogue>No, I don't mean that, it's so exciting. What channel? ABC? HBO?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Oxygen.<\/dialogue>\n    <character>MIA'S MOM (O.S.)<\/character>\n    <dialogue>Oxygen?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>You know what, I have to go. I love you.<\/dialogue>\n    <scene_description>She hangs up. Takes a deep breath. Enters the building.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAITING ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Mia sits, starts reviewing her script. Looks around her -- the room is filled with ACTRESSES silently MOUTHING THEIR LINES. It's a bizarre sight: a dozen women moving their mouths, with no sound coming out at all. What's more, they're all in variations of the same type of costume: Michelle Pfeiffer's leather jacket from Dangerous Minds. A few stare at Mia, sizing her up. In the corner, another one of them GRUNTS while performing stretches. Then -- a DOOR to the side opens, and Mia can hear --<\/scene_description>\n    <character>DIRECTOR (O.S.)<\/character>\n    <dialogue>...We'll be seeing you very soon.<\/dialogue>\n    <scene_description>An ACTRESS exits. Absolutely beaming. And then, a bored voice --<\/scene_description>\n    <character>ASSISTANT<\/character>\n    <dialogue>Mia Dolan?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITION ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Mia steps in. The pilot's DIRECTOR is seated at a table, looking in his folder at Mia's head-shot. He looks up at Mia.<\/scene_description>\n    <character>DIRECTOR<\/character>\n    <dialogue>Whenever you're ready.<\/dialogue>\n    <scene_description>Mia breathes in. Heart pounding. Sweat percolating. Has been practicing this for days now. Fighting her nerves, she begins --<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>Two options. Follow my rules, or follow my rules. Kapish? You want to bully, you'd best be ready to get bullied --<\/dialogue>\n    <character>DIRECTOR<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Mia is taken aback.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>I can do it another way --<\/dialogue>\n    <character>DIRECTOR<\/character>\n    <dialogue>No, thanks, that was great.<\/dialogue>\n    <scene_description>We linger on Mia for a moment, and then --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT \/ INT. MIA'S CAR - DAY<\/stage_direction>\n    <scene_description>Crestfallen, humiliated, Mia hurries to her car. Sees a voice- mail on her cell. Plays it --<\/scene_description>\n    <character>MIA'S MOM (O.S.)<\/character>\n    <dialogue>Dad just helped me find Oxygen on the guide! So exciting! So will you be getting health insurance now?<\/dialogue>\n    <scene_description>Mia switches her phone off and drives. Clenches her jaw. Turns left and sees a movie theater. The Rialto. Manages a smile. Something she can remain upbeat about...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIA'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Mia in her room, sorting through outfits. Slips into jeans --<\/scene_description>\n    <character>ALEXIS<\/character>\n    <dialogue>Mia?<\/dialogue>\n    <scene_description>-- then spins around, startled. Alexis is at the door, eating Fritos. Has been crying.<\/scene_description>\n    <character>ALEXIS<\/character>\n    <parenthetical>(with difficulty)<\/parenthetical>\n    <dialogue>Greg's here...<\/dialogue>\n    <scene_description>Mia looks at Alexis -- completely confused. Then -- Greg steps out behind Alexis. Waves to her.<\/scene_description>\n    <character>GREG<\/character>\n    <dialogue>Hey... I'm parked out front. But we should hurry, my brother just landed.<\/dialogue>\n    <scene_description>Mia looks at him, still confused. Then remembers.<\/scene_description>\n    <character>GREG<\/character>\n    <dialogue>Did you forget?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Shit. No. Yes. I'll change...<\/dialogue>\n    <character>GREG<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>It's ok.<\/dialogue>\n    <scene_description>Mia closes her door -- turns -- and we see her face. She's crushed. She goes to call Sebastian -- then freezes. Remembers something else. She never got his number... We linger on her face, as, on his phone outside her door --<\/scene_description>\n    <character>GREG (O.S.)<\/character>\n    <dialogue>Josh! Yep, just picking Mia up now. Will be there in twenty.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIGHTHOUSE CAFE - NIGHT<\/stage_direction>\n    <scene_description>Sebastian's playing a jam session. Excited, distracted. 10pm can't come quickly enough.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAR - NIGHT<\/stage_direction>\n    <scene_description>Mia, in a green dress, with Greg, his brother JOSH, and Josh's FIANCEE. The restaurant is posh, modern. Josh wears a Brooks Brothers suit: he seems better-off than his brother.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>That's right -- but now we've got a surround-sound set-up, so it's like --<\/dialogue>\n    <character>FIANCEE<\/character>\n    <dialogue>It's like being in a movie theater.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>It's better than going to a theater, really. You know theaters these days --<\/dialogue>\n    <character>GREG<\/character>\n    <dialogue>Oh, sure --<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>-- they're so dirty, and they're either too hot or too cold, and there's always people talking, which is just --<\/dialogue>\n    <parenthetical>(his phone buzzes)<\/parenthetical>\n    <dialogue>-- just so annoying, I mean you're trying to watch a movie -- one second --<\/dialogue>\n    <parenthetical>(opens phone)<\/parenthetical>\n    <dialogue>Hello?...<\/dialogue>\n    <scene_description>His Fianc\u00e9e smiles, looks at Greg and Mia, proud.<\/scene_description>\n    <character>FIANCEE<\/character>\n    <dialogue>Probably work.<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Yeah, I'll have to call you back.<\/dialogue>\n    <parenthetical>(closes and pockets his phone)<\/parenthetical>\n    <dialogue>So, yeah, we love it.<\/dialogue>\n    <scene_description>Awkward silence. Mia hasn't spoken a word.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIALTO MOVIE THEATER - NIGHT<\/stage_direction>\n    <scene_description>Sebastian paces. People shuffle in. He looks. No sign of Mia.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAR - NIGHT<\/stage_direction>\n    <scene_description>Midway through the meal. Mia is bored, restless, uneasy.<\/scene_description>\n    <character>JOSH<\/character>\n    <dialogue>One word for you. Nicaragua.<\/dialogue>\n    <character>GREG<\/character>\n    <dialogue>I've never heard anyone say that. Was it amazing?<\/dialogue>\n    <character>JOSH<\/character>\n    <dialogue>Oh my God. A five-star jungle eco-resort. It was unbelievable.<\/dialogue>\n    <scene_description>Mia stays quiet, in her own thoughts, the voices around her fading away. And then she hears it -- coming from the restaurant speakers, peeking out subtly at first: the melody we now know so well... Her and Sebastian's song. She FREEZES. The radio music seems to have morphed into the melody, and the tune stirs something deep within her... A few seconds pass. And then she can't deny it any longer. It's clear as day to her now. She rises from her seat --<\/scene_description>\n    <character>GREG<\/character>\n    <dialogue>Mia?<\/dialogue>\n    <scene_description>-- looks at Greg --<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <scene_description>-- and -- as the sounds of a FULL ORCHESTRA swoop in -- -- RUNS out of the restaurant as fast as she can.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JAR - NIGHT<\/stage_direction>\n    <scene_description>The MUSIC SWELLS, strings carrying us through and lifting Mia's spirits as she runs down the street in her green dress, for once absolutely sure of what she's doing...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RIALTO MOVIE THEATER - NIGHT<\/stage_direction>\n    <scene_description>Inside the Rialto, Sebastian settling into his seat, the show about to begin. He's visibly disappointed that he's alone. The lights dim. Projector light cuts through the darkness. And then, as the movie's credits start up, Sebastian spots, out of the corner of his eye, a figure in the aisle... He looks. The figure turns. Looks at him. It's Mia. And, caught like a freeze-frame in the projector light, her green dress incandescent, the giant movie screen behind her like a great piece of back-projection, she looks more beautiful than ever right now. A true old-fashioned screen siren. Sebastian's eyes go wide. He's surprised. And thrilled. He waves. Mia hurries toward him. Takes the seat next to his, as Rebel Without a Cause begins...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RIALTO MOVIE THEATER - LATER<\/stage_direction>\n    <scene_description>Half an hour has passed. The movie plays, lights flickering on Mia and Sebastian's darkened faces. He puts his arm on the armrest, she moves hers nervously. He scoots to his right, she scoots back. She edges her elbow onto the armrest, he moves his arm. Inch by inch, their bodies grow closer. Hands approaching, breaths quickening, hearts pounding... ...until finally their hands touch... And then, suddenly -- just as James Dean and Natalie Wood arrive at Griffith Observatory, and Mia and Sebastian seem about to kiss -- -- burn marks streak their way across the image. The screen goes blank. Silence. The lights go on. Mia and Sebastian turn around. AUDIENCE MEMBERS start murmuring. Sebastian can barely believe his bad luck. But then Mia turns to him. Energized.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>I have an idea.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - NIGHT<\/stage_direction>\n    <scene_description>Sebastian's car, traveling up a winding road, stars glittering above it, the lights of Los Angeles glittering below it. The sky is a deep, painted blue. Music plays... \\[PLANETARIUM\\] The car is bending around the turns, making its way up to... A57 ...the real Griffith Observatory. There, our MUSIC crests. Our two characters get out of the car and wander, searching for an open entrance. They find one -- and sneak in...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRIFFITH OBSERVATORY - CONTINUOUS<\/stage_direction>\n    <scene_description>They ascend a staircase. Make their way past the exhibits -- the Tesla coil shooting off electric bolts. They reach the pendulum, gaze up at the mural above it, look at one another. Circle the pendulum, and then -- so tenderly, so nervously... ...they begin to DANCE. This is a dance that fulfills all the promise in their earlier duet. They circle the floor, gently and gracefully. The music BUILDS, and they drift into... A58 ...the PLANETARIUM. It's darkened, empty. Mia removes her shoes, feels the soft carpet under her feet. Turns on the projector. The screen STARTS TO GLOW. She and Sebastian take in the sight -- the STARS and GALAXIES... Enchanted, they look at one another, the lights from the screen reflected on their faces. They approach, as though about to kiss... When -- -- Mia's shoes LIFT UP. Float toward the ceiling -- toward the star-filled screen. She and Sebastian trade looks. Realize. And then they too begin to FLOAT... ...RISING from the floor, nothing stopping them. SOARING past the views of comets and moons and nebulae. Eyes wide, their emotions seized, as they HOLD EACH OTHER TIGHT... And so unspools a gravity-free dance. Mia and Sebastian SPIN and TWIRL through the planetarium as though they themselves were in outer space, flying through the cosmos. The music carries them higher and higher, and their spirits likewise soar -- JOYOUS, EXUBERANT -- until, finally... ...the music SOFTENS. Mia and Sebastian drift back to the floor like feathers. They land on a pair of seats. There, once again seated like audience members at a movie, they turn and look into each other's eyes. The music picks back up for the big finish, as the lovers lean in and -- in true movie- movie old-Hollywood big-musical fashion --<\/scene_description>\n    <character>-- LOCK LIPS.<\/character>\n    <dialogue>It's their first kiss, and it's a kiss to remember -- full of all the hope and yearning and terror and wonder of love's first blush. A swoon-worthy kiss, with the orchestra soaring and the camera swooping in to catch the embrace in all its glory.<\/dialogue>\n    <dialogue>On this triumphant moment...<\/dialogue>\n    <dialogue>...we IRIS FADE OUT.<\/dialogue>\n    <scene_description>59 OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIA'S APARTMENT - LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Mia's scribbling in a notebook. It's dialogue. We see character headings, scene headings. Seems to be some kind of a script...<\/scene_description>\n    <character>TRACY (O.S.)<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <scene_description>Mia turns. Tracy has wandered in -- pajamas, eating cereal.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Is that a script?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>It's a play. I'm going to put it on myself.<\/dialogue>\n    <character>ALEXIS (O.S.)<\/character>\n    <parenthetical>(chiming in from her bedroom)<\/parenthetical>\n    <dialogue>A play? You better give us roles!<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Actually -- it's a -- it's a one-woman show...<\/dialogue>\n    <scene_description>A beat -- and then --<\/scene_description>\n    <character>AHHHHHHHHHHHHHHHHHHHHHHHHHHHT.<\/character>\n    <dialogue>HONKING outside the nearest window. It's a honk we recognize:<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>...Is that gonna happen every time?<\/dialogue>\n    <character>MIA<\/character>\n    <parenthetical>(glowing)<\/parenthetical>\n    <dialogue>I think so.<\/dialogue>\n    <scene_description>A60 OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIA'S APARTMENT BUILDING - DAY<\/stage_direction>\n    <scene_description>Mia dashes out -- and LEAPS into Sebastian's car and into his arms. They KISS -- giddy, emotional, as though they'd been separated for years. Sebastian drives off -- when --<\/scene_description>\n    <character>MIA (O.S.)<\/character>\n    <dialogue>It's one-way!!<\/dialogue>\n    <scene_description>The car SCREECHES to a stop in front of a TRUCK going the opposite direction. Sebastian goes into REVERSE as Mia cracks up laughing. A BURST OF MUSIC as a title card pops on:<\/scene_description>\n    <character>SUMMER<\/character>\n    <dialogue>The MUSIC carries us through the following series of GLIMPSES:<\/dialogue>\n    <scene_description>62 -- Mia and Sebastian ambling past weathered 30's bungalows in<\/scene_description>\n    <character>BUNKER HILL...<\/character>\n    <dialogue>63 -- Mia guiding Sebastian down a street peppered with SILENT-<\/dialogue>\n    <scene_description>ERA HOMES, past old gas-lamps and palms... 65 -- VAN BEEK. Sebastian gestures to the \"TAPAS &amp; TUNES\" sign. Excitedly tries to deface it. Mia, aghast, pulls him back... 66 -- The HUNTINGTON GARDENS, where Mia and Sebastian gaze at the tiny forest... A66 -- WATTS TOWERS, where the two lovers stroll and kiss... 67 OMIT 64 -- The GRAND CENTRAL MARKET, where they grab food... 68 -- ANGEL'S FLIGHT at night, where they stumble and slip into a tipsy, love-soaked dance... 69 OMIT Interspersed throughout, WE SEE IMAGES OF LOS ANGELES: 1940's high-rises, green movie-movie lettering, ochre walls shaded by palm fronds, red flowers and Spanish missions, old lamps and Art Deco hotels. It's a gorgeous city, and the music only makes it more gorgeous -- building and carrying us to...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIGHTHOUSE CAFE - NIGHT<\/stage_direction>\n    <scene_description>A Lighthouse JAM SESSION. Sebastian's at the keys, having a blast. The place is again mostly empty, but Mia is dancing her heart out. She shoots looks at Sebastian. He laughs, plays out for her. The two of them are in their own world -- one of pure, unadulterated JOY... The song ends. Sebastian rises, joins Mia. They sit down as the band strikes up a new tune, and kiss.<\/scene_description>\n    <character>KEITH (O.S.)<\/character>\n    <dialogue>Sebastian?<\/dialogue>\n    <scene_description>Mia and Sebastian look up, startled. A YOUNG MAN, 35, is standing next to them. Tall, fierce eyes. This is KEITH.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Keith?<\/dialogue>\n    <character>KEITH<\/character>\n    <dialogue>Holy shit. Come here, man.<\/dialogue>\n    <scene_description>Sebastian gets up. Gives him a hug. But Mia can sense an unease in Sebastian's eyes. It's a strained hug.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>This is Mia. Mia, Keith.<\/dialogue>\n    <parenthetical>(explaining to Mia)<\/parenthetical>\n    <dialogue>We used to play together.<\/dialogue>\n    <character>KEITH<\/character>\n    <dialogue>Hey, Mia.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Hey...<\/dialogue>\n    <scene_description>Sebastian sits back down. Wants to end the conversation.<\/scene_description>\n    <character>KEITH<\/character>\n    <dialogue>So how've you been?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Great. You?<\/dialogue>\n    <character>KEITH<\/character>\n    <dialogue>Keeping busy. Got a new combo.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Good for you.<\/dialogue>\n    <character>KEITH<\/character>\n    <dialogue>...Looking for keys.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <parenthetical>(after a beat)<\/parenthetical>\n    <dialogue>I'm good.<\/dialogue>\n    <character>KEITH<\/character>\n    <dialogue>You sure? It pays.<\/dialogue>\n    <scene_description>Sebastian looks at Keith. A moment.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I'm good.<\/dialogue>\n    <scene_description>Keith almost smiles. Expected this.<\/scene_description>\n    <character>KEITH<\/character>\n    <dialogue>Let's just grab a drink then. Call me. It's been too long.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>You bet.<\/dialogue>\n    <character>KEITH<\/character>\n    <dialogue>Nice meeting you, Mia.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Nice meeting you.<\/dialogue>\n    <scene_description>Keith walks off. Mia and Sebastian look at each other. Then --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEBASTIAN'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON MIA. She looks anxious. CLOSE ON Sebastian. He looks head-over-heels in love.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>It's beautiful.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>...You're just saying that.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>No... I'm not.<\/dialogue>\n    <scene_description>We PULL BACK -- and see a script on Mia's lap. She's just finished reading Sebastian her play.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>I don't know... Is the whole thing too nostalgic?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>That's the point.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>But do you think people will like it?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Fuck 'em.<\/dialogue>\n    <character>MIA<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>You always say that.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I truly believe it.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Fine -- as long as you sit front-row 'cause I'll probably throw up on the middle of the stage otherwise.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I'll be front-row.<\/dialogue>\n    <scene_description>Mia looks at him. Smiles. It genuinely means the world to her. Then, a glow in her eyes, wants to reciprocate --<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>I made something for you.<\/dialogue>\n    <scene_description>She hops off the bed, fishes through a bag. Pulls out a drawing.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>It could be the name design. On the door.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Why does it say \"Seb's\"?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>That's what you should name it.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Never.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Sebastian, no one's going to a club called \"Chicken on a Stick\".<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>You don't get it. Charlie Parker got the name \"Bird\" because he loved chicken. So my club's gonna be old-school jazz and beer and chicken. \"Chicken on a Stick\".<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>No. Drop the chicken. Drinks and jazz.<\/dialogue>\n    <parenthetical>(he rolls his eyes)<\/parenthetical>\n    <dialogue>And it's time to start looking for other places.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>It's gotta be Van Beek. I can't let them samba all over its history.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Make your own history.<\/dialogue>\n    <scene_description>Sebastian looks at her. Appreciates that line. A beat. Then --<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Your play's incredible.<\/dialogue>\n    <scene_description>Mia smiles. He approaches her, sits by her side.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>The whole world from your bedroom? Who's doing that?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>I'm doing that.<\/dialogue>\n    <scene_description>They laugh.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>So who was that guy at the Lighthouse?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>...Which guy?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>The one who offered you a gig.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>You mean Keith? He's the worst.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Why was it weird between you two?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>It's always weird with him.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>He did offer you a job.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Right...<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Are you going to call him?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>Ok...<\/dialogue>\n    <scene_description>A moment passes. They lie down, side by side.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Here's what we know. It's definitely Chicken on a Stick --<\/dialogue>\n    <parenthetical>(Mia rolls her eyes)<\/parenthetical>\n    <dialogue>-- and your play is going to be a triumph.<\/dialogue>\n    <scene_description>She looks at him. He looks at her. A shared smile. And on that --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEBASTIAN'S APARTMENT - MORNING<\/stage_direction>\n    <scene_description>The next morning. Sebastian is in bed. Hears snatches of Mia's voice -- she's on her phone in the other room:<\/scene_description>\n    <character>MIA (O.S.)<\/character>\n    <dialogue>...No, Mom, it's a one-woman show... No, I'm acting in it as well... No, I'm not getting paid, I'm paying to do it...<\/dialogue>\n    <parenthetical>(then,)<\/parenthetical>\n    <dialogue>He's great... He's going to open his own jazz club. It's going to be incredible...<\/dialogue>\n    <parenthetical>(beat; then, softer --)<\/parenthetical>\n    <dialogue>Well he has to get the money together first, and... He's figuring it out... Yeah, it's just been a little tricky lately...<\/dialogue>\n    <scene_description>Sebastian listens. Takes it in.<\/scene_description>\n    <character>MIA (O.S.)<\/character>\n    <dialogue>Look -- he's going to find a way to open it and you're going to love it. Ok? How's Dad?<\/dialogue>\n    <scene_description>On Sebastian. He thinks...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REHEARSAL SPACE - DAY<\/stage_direction>\n    <scene_description>Sebastian enters. Keith's combo is assembled. It's a sign-up practice room in the West Valley. There's a drummer, electric bassist, and trumpeter: COLE, MALCOLM and TOM. They're more polished in their looks than Sebastian. Well-groomed beards, tighter jeans.<\/scene_description>\n    <character>KEITH<\/character>\n    <dialogue>Sebastian.<\/dialogue>\n    <scene_description>Sebastian approaches.<\/scene_description>\n    <character>KEITH<\/character>\n    <dialogue>Didn't know if I'd see you today.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <parenthetical>(a bit awkward)<\/parenthetical>\n    <dialogue>Well... Here I am.<\/dialogue>\n    <scene_description>A moment. Then --<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Where's the piano?<\/dialogue>\n    <scene_description>Keith gestures -- to an electronic keyboard. Sebastian winces.<\/scene_description>\n    <character>KEITH<\/character>\n    <dialogue>Here's the deal. We've got distribution with Universal, got our own imprint. We're about to go on the road. We can cut you in for 1K a week while we tour, plus an equal share of any merchandise or ticket revenue that comes in. Sound good?<\/dialogue>\n    <scene_description>We see Sebastian's face. Taken aback.<\/scene_description>\n    <character>KEITH<\/character>\n    <dialogue>Sebastian?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Yeah, that...that...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>...sounds good.<\/dialogue>\n    <scene_description>A moment. Keith smiles.<\/scene_description>\n    <character>KEITH<\/character>\n    <dialogue>Let's play, see how it feels.<\/dialogue>\n    <scene_description>He pulls out a guitar. Cole starts on drums. Keith joins in. Malcolm and Tom follow suit. Sebastian listens. It sounds like modern jazz -- electronic in feel, but still jazz... Sebastian approaches the keyboard. Joins -- slowly, one step at a time. Then begins playing out a bit more, his fingers starting to race. Malcolm gives Keith a look: \"Damn\". Keith gives Malcolm a look back: \"I told you so.\" Bit by bit, Sebastian eases into the groove. This isn't so bad... Then -- Keith moves to a LAPTOP. Introduces a DRUM-MACHINE SAMPLE. Sebastian, into the music, is caught off-guard. Uneasy now. This isn't him... Keith plays a riff on his guitar. Tom echoes it on bass, then Malcolm on trumpet. Now it's Sebastian's turn. He hesitates. And then -- finally -- he plays the riff... It doesn't feel so bad. The guys build on the riff. Sebastian keeps up with them, trying to let go of his presuppositions. After all -- these guys can play... The music builds, the whole thing swelling and finally CARRYING US TO -- A73 LATER: Sebastian and Keith sit across from each other as the other players pack up. Sebastian looks pensive. Noticing --<\/scene_description>\n    <character>KEITH<\/character>\n    <dialogue>I know. It's different.<\/dialogue>\n    <scene_description>Sebastian stays silent. Then, leaning in --<\/scene_description>\n    <character>KEITH<\/character>\n    <dialogue>But you say you want to save jazz. How are you going to save jazz if no one's listening? Jazz wouldn't exist if people hadn't gotten tired of what they were listening to before.<\/dialogue>\n    <parenthetical>(then,)<\/parenthetical>\n    <dialogue>I mean, do you really think a bunch of ninety-year-olds in a basement is the future of the form? Traditionalists whined when Kenny Clarke started dropping bombs. If traditionalists had their way, we'd still be playing Dixieland.<\/dialogue>\n    <scene_description>Sebastian considers this. As much as he might make a play of resisting -- we can tell the words are getting to him...<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>You're holding onto the past. But jazz is about the future.<\/dialogue>\n    <scene_description>A moment. Then --<\/scene_description>\n    <character>KEITH<\/character>\n    <dialogue>I get it. I got it wrong. Last guy wasn't as good as you. But you're a pain in the ass, man.<\/dialogue>\n    <scene_description>Sebastian nods. Knows he can't argue with that. Another beat.<\/scene_description>\n    <character>KEITH<\/character>\n    <dialogue>If it's not your thing, just let me know. I don't want you uncomfortable and trying to change this into something it's not. But if you want it -- the job's yours.<\/dialogue>\n    <scene_description>Sebastian looks at Keith. A moment. He's really weighing this. And on that -- his look of uncertainty -- we're -- 74 OMIT 75 OMIT 76 OMIT 77 OMIT 77pt INT. SEBASTIAN'S APARTMENT - DUSK The door opens. Mia enters. Takes a deep breath. Hears piano. Steps forward and sees Sebastian at his piano -- playing a melody we've heard before. \\[CITY OF STARS AS DUET\\] She smiles. Sebastian begins to SING. Mia sits down beside him and begins to SING as well. They share a duet -- simple, unaffected, hopeful -- the music just perhaps suggesting their uncertainty about what they might be about to do... As the vocals give way to instrumentation, we're -- A77 OMIT B77 OMIT C77 OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINER - DAY<\/stage_direction>\n    <scene_description>Sebastian and Keith hunched over paperwork. Sebastian signs...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A78 INT. COFFEE SHOP \/ STUDIO LOT - DAY<\/stage_direction>\n    <scene_description>Mia handing the Manager her apron. She's done with the job...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRACTICE SPACE - DAY<\/stage_direction>\n    <scene_description>The band rehearsing in their new PRACTICE SPACE. We see Sebastian play, see Keith sing this time...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFE - DAY<\/stage_direction>\n    <scene_description>Mia hunched over her script, obsessively fine-tuning it... 81 OMIT 82 OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DESIGNER CLOTHING STORE - DAY<\/stage_direction>\n    <scene_description>Sebastian gets dressed up in a new suit...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLACK-BOX THEATER - DAY<\/stage_direction>\n    <scene_description>We follow Mia through a BLACK-BOX THEATER in North Hollywood. The space is small, simple -- but perfect. We see her haggle with the OWNER -- and then light up. They shake hands...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GREEN ROOM - EVENING<\/stage_direction>\n    <scene_description>Sebastian and the band in a green room, waiting. Sebastian's wearing the new suit. Looking sharper...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VINTAGE SHOP - DAY<\/stage_direction>\n    <scene_description>Mia looking for PROPS. Another wild assortment -- a TOP HAT, a CANE, a DIORAMA of London, rolled-up MAPS, an old GLOBE... 87 OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT - DAY<\/stage_direction>\n    <scene_description>We MOVE IN on a laptop. On it a YOUTUBE video plays -- an interview with Sebastian, Keith and the rest of the band...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIALTO - DAY<\/stage_direction>\n    <scene_description>Mia drives by the Rialto theater. It's now CLOSED...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEBASTIAN'S APARTMENT - LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Mia sits on the floor, penciling out drawings for her play. Costume and poster sketches scattered by her feet. She's tired. The clock on the wall reads: 10:54pm.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A90 INT. SEBASTIAN'S APARTMENT - BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Mia gets into bed. Checks her phone. Turns off the light.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>B90 INT. SEBASTIAN'S APARTMENT - LIVING ROOM - DAWN<\/stage_direction>\n    <scene_description>Sebastian enters the apartment. Checks his reflection in the mirror -- a new addition. The clock reads: 4:57am.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>C90 INT. SEBASTIAN'S APARTMENT - BEDROOM - DAWN<\/stage_direction>\n    <scene_description>Sebastian gets into bed, careful not to wake Mia.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>D90 INT. SEBASTIAN'S APARTMENT - LIVING ROOM - MORNING<\/stage_direction>\n    <scene_description>Mia crosses through to the kitchen to get herself breakfast, careful not to wake Sebastian. The clock: 7:02am.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>E90 INT. SEBASTIAN'S APARTMENT - BEDROOM - MORNING<\/stage_direction>\n    <scene_description>Sebastian in bed, fast asleep. And WE RETURN TO...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>F90 INT. SEBASTIAN'S APARTMENT - DUSK<\/stage_direction>\n    <scene_description>...Mia and Sebastian at the piano, before this latest journey began, finishing their song. The last lyrics resonating as they look into one another's eyes:<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>City of stars...<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>You've never shined so brightly.<\/dialogue>\n    <scene_description>On that -- this image of love, Sebastian playing out the final chords on his piano -- WE GO DARK. All sound fades out. And then, we hear -- -- a CROWD CHEERING. \\[START A FIRE\\] We see -- a white spotlight. It reveals Sebastian. We're --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE ECHO - NIGHT<\/stage_direction>\n    <scene_description>Sebastian is on-stage. He's the only musician we can see. The floor beyond the stage is FILLED with people. Among them, we spot Mia -- beaming with pride. Sebastian sees her, smiles to her as he plays a piano intro. Mia grins right back, heart swelling... A SECOND SPOTLIGHT turns on, illuminating Keith. He SINGS. He has a beautiful voice. Mia bobs her head. It's just Keith and Sebastian right now, all acoustic, a simple, catchy tune... And then -- suddenly -- a DRUM MACHINE SURGES IN -- and -- BOOM! The entire CLUB is lit up as the MUSIC EXPLODES. A full- fledged dance beat and a thick radio-ready electronic track. Mia is taken aback. But she keeps bobbing her head -- as the crowd around her GOES CRAZY... Keith owns the stage, as Sebastian plays out more -- now switched to an electronic keyboard, complete with synth sounds. We recognize fragments of melody from when Keith and Sebastian first rehearsed -- but the tune has been transformed beyond recognition. Not a hint of jazz... Keith breaks into the CHORUS -- and a TRIO OF BACKUP SINGERS are revealed stage-left. The band surges into the song's bridge -- and BACKUP DANCERS appear stage-right, scantily- clad. And then -- the lights go NUTS. It's a full-out LIGHT SHOW now, shafts of red, blue, green and orange cutting through the dark. The crowd starts CHEERING, pumping their fists... Mia looks at Sebastian. He's not fighting any of this. He sees her. She smiles. But something is changing in her expression... She looks at the lights, the singers, the dancers, Sebastian and his bandmates in matching magazine-cover-ready outfits. She looks at the crowd around her -- their hollers growing more and more frenzied as Sebastian launches into a prolonged SOLO... Mia looks back at him, takes it all in: Is this really him...? As the mass of people swells and moves, Mia finds herself PUSHED TO THE SIDE, bit by bit, away from the center... She tries to hold her ground, but is edged FURTHER AND FURTHER AWAY. Sebastian, deep in his solo, doesn't notice. Mia tugs against the tide of the crowd, but to no avail. She's pushed to the back of the club, away from the lights and into shadow... The final chorus begins -- floor-shaking, fist-pounding. We linger on Mia's face -- watching as the band feverishly tear into their climactic bars, the dancers on-stage and the crowd below busting out one last burst of CRAZED CHOREOGRAPHY -- ending the song just as we SMASH CUT TO A TITLE CARD OVER BLACK:<\/scene_description>\n    <character>FALL<\/character>\n    <dialogue>Silence.<\/dialogue>\n    <dialogue>We take a moment to collect ourselves before --<\/dialogue>\n    <scene_description>92 OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. \/ INT. CHINESE RESTAURANT - LOS ANGELES - DAY<\/stage_direction>\n    <scene_description>CLOSE on Mia. She looks tired. A bit weathered. She's nursing a green tea across from Laura. They've finished eating.<\/scene_description>\n    <character>LAURA<\/character>\n    <dialogue>Look at him -- watch --<\/dialogue>\n    <scene_description>Mia glances out the window. A MAN in his early 40's has just parked, is walking around his car, inspecting it.<\/scene_description>\n    <character>LAURA<\/character>\n    <dialogue>Now he's going to check the other window. Yep, it's closed. Now he's going to check again. Yep, still closed.<\/dialogue>\n    <scene_description>Mia smiles. The MAN enters the restaurant -- greets Mia -- and kisses Laura. This is HARRY. Her new boyfriend.<\/scene_description>\n    <character>HARRY<\/character>\n    <dialogue>Hey. I'm grabbing some pastries, you two want anything?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Thanks Harry, I'm good.<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>Same here but I think someone's trying to break into your car.<\/dialogue>\n    <scene_description>Harry rolls his eyes, heads to the front. Laura looks at Mia.<\/scene_description>\n    <character>LAURA<\/character>\n    <dialogue>Don't stress about the play. Where's Seb now?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>I think today's San Diego. I'm not sure...<\/dialogue>\n    <scene_description>A moment passes.<\/scene_description>\n    <character>LAURA<\/character>\n    <dialogue>You should come over tonight. Harry's cooking, but don't let that stop you.<\/dialogue>\n    <parenthetical>(Mia manages a smile; a beat)<\/parenthetical>\n    <dialogue>What's the matter?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Nothing...<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>You miss him.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>I guess. I'm adapting.<\/dialogue>\n    <character>LAURA<\/character>\n    <parenthetical>(nods; then,)<\/parenthetical>\n    <dialogue>I got used to being alone. Growing up it was just me and Seb. We only had each other.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>He told me.<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>I wasn't looking for anybody. Then I met Harry and -- we just fit...<\/dialogue>\n    <parenthetical>(Mia smiles)<\/parenthetical>\n    <dialogue>You've changed Seb. You know that?<\/dialogue>\n    <scene_description>Laura means it positively -- but Mia seems concerned...<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>Do you think he's happy?<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>Is he happy?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>I mean with the band, the travel, all of it.<\/dialogue>\n    <scene_description>Laura shrugs.<\/scene_description>\n    <character>LAURA<\/character>\n    <dialogue>Our dad never got to do what he wanted. We were always treading water, he took a job running a washer-dryer store. But every night at home he'd play his clarinet along to a Benny Goodman record.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>So I look at Sebastian... Playing music, getting paid for it. I'm happy for him.<\/dialogue>\n    <scene_description>She notices Harry through the window, returning. Her thoughts drift.<\/scene_description>\n    <character>LAURA<\/character>\n    <dialogue>Dreams change.<\/dialogue>\n    <scene_description>A beat. She looks back at Mia. Sees her worry.<\/scene_description>\n    <character>LAURA<\/character>\n    <dialogue>Don't overthink it. He'll be home soon.<\/dialogue>\n    <scene_description>Harry rejoins the table. Hands Laura a sponge cake.<\/scene_description>\n    <character>LAURA<\/character>\n    <dialogue>I told you not to get me anything!<\/dialogue>\n    <character>HARRY<\/character>\n    <dialogue>Oh, right -- I'll eat it I guess.<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>No -- I changed my mind.<\/dialogue>\n    <scene_description>They laugh. Kiss. Tender. Loving. Mia watches...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINER - NIGHT<\/stage_direction>\n    <scene_description>Mia eats, her laptop next to her meal. She takes a bite, types. We see her screen -- an e-mail draft, glimpses of words: \"one- woman show\", \"one night only\", \"7pm\", \"I would be thrilled...\" She thinks. Picks up her phone. Dials Sebastian. Waits. No answer.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>Hey it's me... Not sure where you are -- maybe Boston? Or Dallas? Anyway... I haven't heard from you in a while... I miss you...<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>Ok... Bye...<\/dialogue>\n    <scene_description>She hangs up. Resumes typing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEBASTIAN'S APARTMENT COMPLEX \/ APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Mia walks through the courtyard. Reaches the door. Then hears something... Music -- LOUD, FAST JAZZ... She enters -- has to jostle the door handle to do so -- -- and then freezes in place. Sebastian is sashaying around a fully-decked table, lighting candles as he moves. He looks up, sees her -- and grins.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Surprise.<\/dialogue>\n    <scene_description>She lights up. He lifts up silver serving trays, revealing what he's cooked. Roast chicken. Pasta.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>And...<\/dialogue>\n    <parenthetical>(he hurries to the kitchen -- and holds up a big apple pie)<\/parenthetical>\n    <dialogue>There's twenty-five pounds of apples in it. It probably destroyed an ecosystem but it tastes good.<\/dialogue>\n    <scene_description>Mia laughs. Can't believe it. Sebastian looks at her -- sincere now.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I have to head back in the morning but I needed to see you.<\/dialogue>\n    <scene_description>Mia's eyes seem almost on the brink of tears. Beyond moved, she runs into Sebastian's arms. A LONG, HEARTFELT KISS...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEBASTIAN'S APARTMENT - EVENING<\/stage_direction>\n    <scene_description>CLOSE ON: The record player. An old jazz track. We see Mia and Sebastian seated at the table -- eating, drinking, laughing.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Feels so good to be home.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Stay.<\/dialogue>\n    <scene_description>He smiles.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>How's the play going?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>I'm nervous.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Because...<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>What if people show up?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Fuck 'em!<\/dialogue>\n    <scene_description>Laughter. Then --<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>You're nervous about what they think?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>I'm nervous to be up on a stage and perform in front of people. I'm terrified.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>They should be so lucky to see it.<\/dialogue>\n    <parenthetical>(then,)<\/parenthetical>\n    <dialogue>It's going to be incredible. I can't wait.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>I can.<\/dialogue>\n    <scene_description>A smile. Beat.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>What time do you leave in the morning?<\/dialogue>\n    <scene_description>6:45.:<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>Ugh.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Yep. Boise.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Boise?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <parenthetical>(nods)<\/parenthetical>\n    <dialogue>You should come.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>To Boise?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Yeah, you could knock that off your bucket list.<\/dialogue>\n    <scene_description>Mia laughs.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>Wish I could.<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Why can't you?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Come to Boise?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Because I have to rehearse.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Can't you rehearse anywhere?<\/dialogue>\n    <scene_description>She looks at him.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>You mean anywhere you are?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>...I -- I guess...<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Well, all my stuff is here and my show's in a few weeks and -- I don't know, it doesn't seem practical...<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Right... I just -- we're going to have to do things so we can see each other. We never see each other.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>I know, but when are you done?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>...What do you mean?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>When are you done with the tour?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>But -- as soon as we're done with the tour we go back and record, and then we go back on tour.<\/dialogue>\n    <scene_description>Mia looks at him. Doesn't seem to understand.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>We tour so we can make the record, and then we go back on tour to sell the record.<\/dialogue>\n    <scene_description>Beat. Mia takes this in.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>So it's...the long haul?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>...What does that mean?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>I mean the long haul -- like, you're going to be in this band for a long time.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>What did you think I was going to do?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>I don't know, I didn't think the band would --<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>You didn't think we'd be successful.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>No, that's not what I meant. What I meant was -- this band -- you're going to be on the road for -- what, years now?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Yeah, feasibly -- I could be on the road for years with just this record.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>Do you like the music you're playing?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I don't know how that matters.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>It matters if you're going to give up your dream to be on the road for years.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Do you like the music I'm playing?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Yes. I do.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I just didn't think you did.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Yeah, well, I --<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>And now I hear you're going to be on the road for years, and I'm --<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>What are you doing? Why are you doing this?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>What do you mean why am I doing this?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>This is what you wanted from me.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>To be in this band?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>To have a steady job.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Yes, I wanted you to have a job so you could take care of yourself and start your club.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>So I'm doing that. So why aren't we celebrating?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Why aren't you starting your club?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>You said yourself no one wants to go to that club! No one wants to go to a club called Chicken on a Stick --<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Change the name!<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>-- and no one likes jazz. Not even you.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>I do like jazz now, because of you.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <parenthetical>(not listening to her)<\/parenthetical>\n    <dialogue>What am I supposed to do? Go back to playing \"Jingle Bells\" so I can save money for some Shangri-La club no one wants to go to?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>People will want to go to it! People love what other people are passionate about.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Not in my experience.<\/dialogue>\n    <scene_description>A beat. Mia realizes she's getting nowhere. A moment of quiet. Then --<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Anyway -- it's time to grow up. You know? This is what I'm doing. If you had a problem, I wish you would've said something earlier, before I signed on the dotted line.<\/dialogue>\n    <character>MIA<\/character>\n    <parenthetical>(trying again)<\/parenthetical>\n    <dialogue>You had a dream that you were sticking to, that --<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>This is the dream!<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>This is not your dream.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Guys like me go their whole lives and never do anything that's liked. I'm finally doing something that people enjoy. What is wrong with that?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Why do you care so much about being liked -- ?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <parenthetical>(finally bursting--)<\/parenthetical>\n    <dialogue>You're an actress, who are you to talk??<\/dialogue>\n    <scene_description>Silence. We suddenly realize -- -- the LP has finished. You can hear the needle scratch against it now -- back and forth, back and forth. Sebastian looks at Mia. A moment. Finally --<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Maybe you liked me more when I was a failure because it made you feel better about yourself.<\/dialogue>\n    <scene_description>Mia looks back at him. Can't believe he said that. Tears starting to well in her eyes. She tries to suppress them.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>Are you kidding?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>They stare at each other. Then -- all of a sudden -- the FIRE ALARM blares. Sebastian turns and sees smoke billowing from the KITCHEN. A dish in the oven has started to burn. Sebastian rises, springs toward the kitchen -- then sees Mia grabbing her things.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Wait --<\/dialogue>\n    <scene_description>But she's out the door. It slams shut, as Sebastian pulls the burnt apple pie from the oven. And on that -- WE SMASH CUT TO -- 97 OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THEATER - DAY<\/stage_direction>\n    <scene_description>A poster, placed on the front of the theater we saw before. A title. A name below it: \"MIA DOLAN.\" And a word: \"TONIGHT.\" We spot Mia, carrying a box of props. She enters the theater. And we're --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THEATER - DAY<\/stage_direction>\n    <scene_description>The empty theater. Dark. Silent. Then -- a light turns on. Mia steps in. We stay WIDE. She seems small from this vantage point, surrounded by her props and backdrops. She takes a moment. Looks at all the empty seats. Takes a deep breath. Nervous. And then, nodding to herself -- you can do this -- she starts setting up...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRACTICE SPACE - DAY<\/stage_direction>\n    <scene_description>A BLAST of music. The Messengers have just finished a rehearsal. Sebastian packs his stuff, heads toward the exit, nodding to the others --<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>See you tomorrow.<\/dialogue>\n    <character>COLE<\/character>\n    <dialogue>See ya.<\/dialogue>\n    <scene_description>-- when --<\/scene_description>\n    <character>KEITH<\/character>\n    <dialogue>You good for tonight, right?<\/dialogue>\n    <scene_description>Sebastian stops. Looks at Keith.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>...Tonight?<\/dialogue>\n    <character>KEITH<\/character>\n    <dialogue>Seven. The photo shoot.<\/dialogue>\n    <parenthetical>(reading Sebastian's face, adding --)<\/parenthetical>\n    <dialogue>Mojo.<\/dialogue>\n    <scene_description>A beat. Sebastian is confused.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I thought that was next Thursday.<\/dialogue>\n    <character>KEITH<\/character>\n    <dialogue>No. It's tonight.<\/dialogue>\n    <scene_description>We linger on Sebastian for a moment...<\/scene_description>\n    <character>KEITH<\/character>\n    <dialogue>Is that ok?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. REHEARSAL SPACE - DAY<\/stage_direction>\n    <scene_description>Sebastian stands out front. Checks his watch. Thinks... 102 OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THEATER \/ INT. BACKSTAGE - NIGHT<\/stage_direction>\n    <scene_description>People are shuffling into the theater. We DRIFT BACKSTAGE. Mia, now in a male suit and tie, watches behind a curtain. Checks her phone. 7:04. Breathes in. Nervous, and alone... She turns. Nods to the OWNER, off to the side. He heads to a switch, and the lights GO DOWN. You can hear the murmurs beyond the curtain. The audience, expecting. Mia tries to get her nerves under control. She can do this... Sets her phone aside -- one last breath -- -- and walks out. 104 OMIT 105 OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHOTO STUDIO - NIGHT<\/stage_direction>\n    <scene_description>LOUD MUSIC. It's the band's song, blaring from a speaker. They're pantomiming -- the musicians styled and ready for their close-ups. A PHOTOGRAPHER grabs shots.<\/scene_description>\n    <character>PHOTOGRAPHER<\/character>\n    <dialogue>Put a light on the drums... I need more fill in this corner...<\/dialogue>\n    <scene_description>We ZERO IN on Sebastian. His hair sticks out at various angles. An artfully-undone tie hangs from his neck. He fake-plays, as Keith pretends to lay in sampled beats... Keith, Tom, Malcolm, Cole -- they all grin, as excited as kids. Sebastian looks at them -- then down at his elaborate outfit, then back up at the Photographer running around, then at his watch...<\/scene_description>\n    <character>PHOTOGRAPHER<\/character>\n    <dialogue>Bass, head up. Piano, look down at the keys.<\/dialogue>\n    <scene_description>Sebastian does as told, but his thoughts are elsewhere. The Photographer moves in close, SNAPPING shots of just him --<\/scene_description>\n    <character>PHOTOGRAPHER<\/character>\n    <dialogue>Cut the music. Turn the keyboard live. Piano look up, play.<\/dialogue>\n    <scene_description>The track stops. Sebastian stops as well. The CLICKS of the Photographer's camera loud now.<\/scene_description>\n    <character>PHOTOGRAPHER<\/character>\n    <dialogue>No -- piano -- actually play something.<\/dialogue>\n    <scene_description>Sebastian is still. Then he starts to play a single melody on the keys. We recognize it. The first notes of his and Mia's song...<\/scene_description>\n    <character>PHOTOGRAPHER<\/character>\n    <dialogue>Good, now bite your lip like you're concentrating on a solo.<\/dialogue>\n    <scene_description>Beat. Sebastian stops. Silence. He stares ahead.<\/scene_description>\n    <character>PHOTOGRAPHER<\/character>\n    <dialogue>That was good. Don't stop.<\/dialogue>\n    <scene_description>We PUSH IN on Sebastian...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THEATER - NIGHT<\/stage_direction>\n    <scene_description>We're CLOSE on Mia. In ordinary clothes now. Behind her is a wallpapered wall, and a small window. By her side are the globe we saw in her room, and other little trinkets: a pearl necklace, an old suitcase, a roll of maps. Outside the window, projection of a starlit Parisian night sky. Completely silent, Mia moves to a lamp, turns it off. We go BLACK. Then -- the house lights go on. White, fluorescent. Thin applause can be heard. Mia manages a smile, as we finally see -- -- that the theater is less than a quarter full. Mia takes a bow. Peers out. One seat, in the front row, has a \"RESERVED\" sign on it. The seat is empty. 108 OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THEATER - DRESSING ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Mia slips inside, holding in her hurt. Starts collecting a few outfits -- then overhears two AUDIENCE MEMBERS outside --<\/scene_description>\n    <character>AUDIENCE MEMBER #1 (O.S.)<\/character>\n    <dialogue>I swear to God, if I have to hear one more hipster waxing nostalgic I'm gonna slit my wrists.<\/dialogue>\n    <character>AUDIENCE MEMBER #2 (O.S.)<\/character>\n    <dialogue>Seriously.<\/dialogue>\n    <character>AUDIENCE MEMBER #1 (O.S.)<\/character>\n    <dialogue>She's not even good. That window thing...?<\/dialogue>\n    <character>AUDIENCE MEMBER #2 (O.S.)<\/character>\n    <dialogue>Christ... Don't quit your day job...<\/dialogue>\n    <scene_description>Laughter. Mia freezes. The nail in the coffin. The voices fade. She slides into a chair.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THEATER - NIGHT<\/stage_direction>\n    <scene_description>Sebastian SPEEDING. Screeching to a stop. He's at Mia's THEATER. He dashes out and runs to the door. But it's locked. No one's in sight. Fuck. He spins around, frantic -- when Mia appears from an adjacent doorway, alone and carrying her box of props to her car.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Mia!<\/dialogue>\n    <scene_description>She turns. Sees him. He runs to her. WRAPS his arms around --<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I'm sorry --<\/dialogue>\n    <scene_description>-- and KISSES her. The kind of kiss that might once have swept her off her feet. He starts to move with her... ...starts to DANCE -- but --<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>Stop --<\/dialogue>\n    <scene_description>She pulls away. Steps back. Sebastian looks at her. Unmoored.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I'm -- I'm sorry I missed it -- and I'm sorry I was a dick and I -- I promise I'll make it up to you --<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>It's over.<\/dialogue>\n    <scene_description>She doesn't say the words with any anger. Just acceptance.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <parenthetical>(a beat; then --)<\/parenthetical>\n    <dialogue>...What do you mean?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>I'm done embarrassing myself.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>You didn't embarrass yourself...<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>No one showed up. I can't even pay back the theater.<\/dialogue>\n    <scene_description>She says this as though just realizing it. Sebastian looks at her. A moment passes. He doesn't know what to say now.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>I'm gonna go home for a while.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>...This is home.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Not anymore.<\/dialogue>\n    <scene_description>Sebastian is silent now. A tear in his eye. He clenches his jaw. Mia looks at him one more time, steps into her car, and drives off. Sebastian lingers. Doesn't move. Silence. Then, music. Soft, melancholy, just piano, as... 111 OMIT A111 OMIT ...WE DISSOLVE TO: 112 OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIA'S CAR - DAY<\/stage_direction>\n    <scene_description>Mia drives, boxes stacked in the back. A113 She gets on the 405... Heading out of the city...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. \/ INT. MIA'S HOUSE - NEVADA - DUSK<\/stage_direction>\n    <scene_description>Mia steps inside a modest house. Her MOM is by the door. Hugs her. Her DAD stands by the hallway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIA'S HOUSE - BEDROOM - DUSK<\/stage_direction>\n    <scene_description>Mia enters her old bedroom. Slides in a suitcase. Moves a couple of boxes from the hall. Looks around. Old photos. Old soccer trophies. She sits down on the bed. Takes a breath. And, finally, we're...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ORANGE GROVE - DAY<\/stage_direction>\n    <scene_description>Laura and Harry's ENGAGEMENT PARTY. We're outside, in a sun- dappled grove. A small gathering. Sebastian plays a baby grand piano -- the source, we realize, of the music we've been hearing... As he watches Laura dance with her new fianc\u00e9 -- this woman he has known for so many years as a romantic cynic, now once again full of all the youthful innocence of first love -- his thoughts seem to drift. The music comes to a close and... 117 LATER: Sebastian with Laura, by the orange trees...<\/scene_description>\n    <character>LAURA<\/character>\n    <dialogue>You remember the McKenzies?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Oh God, I didn't see them.<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>Yeah. They kept going, \"oh Sebastian's so handsome\".<\/dialogue>\n    <scene_description>Sebastian smiles. Then --<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>You look beautiful.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I hope it was ok. I haven't played in a while.<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>You were great<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>You're always great when you play.<\/dialogue>\n    <scene_description>Sebastian is silent. Then --<\/scene_description>\n    <character>LAURA<\/character>\n    <dialogue>Now -- listen to me. I want you to save for a down payment. You understand? You need a home.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Yes ma'am.<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>I'm not gonna be hovering anymore.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>...You still think New York?<\/dialogue>\n    <character>LAURA<\/character>\n    <dialogue>I think so. Maybe Boston. I don't know, it's exciting...<\/dialogue>\n    <scene_description>Sebastian smiles again. Some calls from the distance --<\/scene_description>\n    <character>LAURA<\/character>\n    <dialogue>Ah I gotta -- the future in-laws...<\/dialogue>\n    <scene_description>She lights up. Likes the sound of that.<\/scene_description>\n    <character>LAURA<\/character>\n    <dialogue>Is my...my hair...?<\/dialogue>\n    <scene_description>Sebastian, without a word, pulls a strand back. Laura smiles, kisses him on the cheek. A quiet, tender moment. Then she hurries off. Sebastian stands there. Watches...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEBASTIAN'S APARTMENT - MORNING<\/stage_direction>\n    <scene_description>RINGING. Sebastian is awoken. Groaning, he rolls over. Lets the phone ring. It keeps going. Endless... Finally, fed up, he reaches for it. Answers --<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>What...?<\/dialogue>\n    <character>WOMAN #2 (O.S.)<\/character>\n    <dialogue>Hi, I'm trying to reach Mia Dolan.<\/dialogue>\n    <scene_description>Sebastian is taken aback. He goes to hang up, saying just --<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Wrong number.<\/dialogue>\n    <character>WOMAN #2 (O.S.)<\/character>\n    <dialogue>-- She's not answering her cell and I was told I might find her here.<\/dialogue>\n    <scene_description>Sebastian pauses. Hurt by the mere mention of Mia's name --<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Yeah, well...not anymore.<\/dialogue>\n    <character>WOMAN #2 (O.S.)<\/character>\n    <dialogue>Ok. If you do talk to her --<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I won't.<\/dialogue>\n    <character>WOMAN #2 (O.S.)<\/character>\n    <dialogue>-- please tell her Jane at Amy Brandt Casting is trying to reach her.<\/dialogue>\n    <scene_description>A beat. Sebastian sits up. Suddenly wide-eyed.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>\"Casting\"...?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIA'S HOUSE - KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Dinner has just finished. Mia's Mom gives her a kiss --<\/scene_description>\n    <character>MIA'S MOM<\/character>\n    <dialogue>Night, sweetie.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Night, Mom.<\/dialogue>\n    <scene_description>-- and heads off, as Mia and her Dad stay behind. Getting up to scrape the dish --<\/scene_description>\n    <character>MIA'S DAD<\/character>\n    <dialogue>You want some more rice?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>I'm ok.<\/dialogue>\n    <character>MIA'S DAD<\/character>\n    <dialogue>You look hungry.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>I'm good...<\/dialogue>\n    <scene_description>A moment. Mia's Dad puts a few more dishes away, then sits back down across from her.<\/scene_description>\n    <character>MIA'S DAD<\/character>\n    <dialogue>It's fun having you back. Your mom ditches me at ten.<\/dialogue>\n    <scene_description>Mia laughs. A moment.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>You took down the swing.<\/dialogue>\n    <character>MIA'S DAD<\/character>\n    <dialogue>She made me.<\/dialogue>\n    <scene_description>A smile.<\/scene_description>\n    <character>MIA'S DAD<\/character>\n    <dialogue>I've still got all your old tapes.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Oh God. Throw those away.<\/dialogue>\n    <character>MIA'S DAD<\/character>\n    <dialogue>Never.<\/dialogue>\n    <scene_description>Just then -- a loud, persistent HONK. Mia's Dad looks up, eyebrow raised. Mia turns, hearing it as well. The HONKING is nearby -- just outside... Mia's thoughts suddenly sharpen. Ears perk up. She's heard the honking before:<\/scene_description>\n    <character>AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHT.<\/character>\n    <dialogue>MIA'S DAD<\/dialogue>\n    <scene_description>What the hell...? Disbelief on Mia's face. It can't be. She heads to the nearest window. There -- at the corner, smack-dab in front of her house -- is SEBASTIAN'S CAR. A NEIGHBOR angrily yells at him. Sebastian sees Mia. They lock eyes. And on that --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIA'S HOME \/ SEBASTIAN'S CAR - MOMENTS LATER<\/stage_direction>\n    <scene_description>Mia and Sebastian stand next to his car.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>Why did you come here?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Because I have good news.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Ok...<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Amy Brandt. The casting director.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>I know who she is.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>She was at your play. And she loved it. And she loved it so much that she wants you to come audition for a huge movie she's got.<\/dialogue>\n    <scene_description>He's brimming over with excitement. But Mia just shakes her head.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>I'm not going.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>...Excuse me?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>I'm -- no... That will kill me.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>That's it?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>So you're happy here?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>I'm happier.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Why won't you come?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>I told you.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I don't buy it.<\/dialogue>\n    <character>MIA<\/character>\n    <parenthetical>(finally letting it out, fed up --)<\/parenthetical>\n    <dialogue>Because it's another audition!<\/dialogue>\n    <parenthetical>(a beat; then --)<\/parenthetical>\n    <dialogue>I've been to hundreds of auditions. Do you want to know what happens? Either they interrupt me because someone ordered a sandwich, or they cut me off after two seconds, or I'm crying and they start laughing, or I'm one of a hundred lookalikes in the waiting room who never has a chance, because --<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>-- because --<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Because what?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Because I'm probably not good enough.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Yes you are.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>No. Maybe I'm not.<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>Maybe I'm one of those people who's always wanted to do it but never had a chance. It's a pipe dream. Maybe it's like you said. Maybe I need to grow up.<\/dialogue>\n    <scene_description>She hesitates. Continues --<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>I can go back to school. I can find something else that I'm supposed to do. I left school to give it a shot, and it didn't work out, and it took six years, and I don't want to do it anymore.<\/dialogue>\n    <scene_description>Beat. But Sebastian isn't giving up.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Why what?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Why don't you want to do it anymore?<\/dialogue>\n    <scene_description>Mia thinks about this one for a moment.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>...Because it hurts a little bit too much.<\/dialogue>\n    <scene_description>Sebastian shakes his head. Nope. Won't accept this.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I told them you'd be there at five-thirty tomorrow. I'll swing by here before I drive back at eight. Either you'll be outside or you won't.<\/dialogue>\n    <scene_description>With that, he gets back into his car. Mia is silent. Then --<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>How did you find me?<\/dialogue>\n    <scene_description>Sebastian turns. Points. Matter-of-fact --<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>The house across from the library.<\/dialogue>\n    <scene_description>He drives off. Mia looks up. There, sure enough, is the LIBRARY, crouched on the corner. The library that once helped set her on her path to acting. She looks at it. Thinks...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIA'S STREET - NIGHT\/DAY<\/stage_direction>\n    <scene_description>Wide on the street. All is quiet. Night becomes morning...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIA'S HOME - DAY<\/stage_direction>\n    <scene_description>Sebastian's car pulls over. He sits there. Sips a coffee, a second coffee in the holder. The time: 8:02. A moment passes. He taps the wheel. Looks at the house. The front door remains closed. No Mia. He leans back. Seems worried. Closes his eyes, breathes out. We MOVE CLOSE on him. He breathes in and out again... He opens his eyes. 8:10. The door's still closed. Resigned, he starts his car up, BEGINS TO PULL AWAY, when -- -- BAM! A KNOCK on the opposite window. He jumps. It's Mia. She's just arrived at the car from the other side, two just-bought cups of coffee and a bag of pastries in her hands. A beat. Sebastian smiles. Then OPENS the door for her. 123 OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARAMOUNT STUDIO LOT - DAY<\/stage_direction>\n    <scene_description>A cloudy late afternoon. Mia and Sebastian slowly walk through the lot together. They pass the New York street, the murals and posters of classic Hollywood, the old Art Deco ornaments and the big soundstages and backdrops. Neither says a word...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAITING LOBBY - DAY<\/stage_direction>\n    <scene_description>Mia and Sebastian are seated. Waiting. The DOOR opens. An ACTRESS exits. A second later --<\/scene_description>\n    <character>ASSISTANT #2<\/character>\n    <dialogue>Mia?<\/dialogue>\n    <scene_description>Mia gathers her nerves. Gets up. And steps in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITION ROOM \/ INT. LOBBY - DAY<\/stage_direction>\n    <scene_description>In the room is AMY BRANDT -- mid-forties. Seated behind her is the director, FRANK.<\/scene_description>\n    <character>AMY BRANDT<\/character>\n    <dialogue>Hi, Mia.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>AMY BRANDT<\/character>\n    <dialogue>I'm Amy, this is Frank. Glad we found you.<\/dialogue>\n    <scene_description>Mia nods. Smiles. A moment.<\/scene_description>\n    <character>AMY BRANDT<\/character>\n    <dialogue>The movie shoots in Paris. There's no script.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>We want to build the character with you. It's a process. Three-month rehearsal, four-month shoot.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>...Ok.<\/dialogue>\n    <character>AMY BRANDT<\/character>\n    <dialogue>So why don't you just tell us a story?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>...About...?<\/dialogue>\n    <character>AMY BRANDT<\/character>\n    <dialogue>About anything.<\/dialogue>\n    <scene_description>Mia nods again. A moment.<\/scene_description>\n    <character>AMY BRANDT<\/character>\n    <dialogue>Whenever you're ready.<\/dialogue>\n    <scene_description>Mia thinks. She takes a breath -- then goes silent again. It seems she might be unsure what to do, might even be about to choke the audition. We fear she may botch this completely... A126 WE CUT TO THE LOBBY -- to Sebastian, hearing Mia's silence. On edge... Worried... B126 WE RETURN to the AUDITION ROOM... Brandt and Frank waiting...<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>My aunt lived in Paris for a bit... She used to tell me these stories, when I was growing up, about living abroad...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I remember -- she told me she jumped into the Seine once...<\/dialogue>\n    <scene_description>She pauses, and then continues -- in SONG. \\[TRACK: AUDITION\\] Yes, this audition is different than the rest, and the switch to song signals just that. Mia's nerves fade away -- all the accents and fakery of earlier auditions a distant memory. This is Mia undisguised -- pure and stark and beautiful... She uses the story of her aunt jumping into the river to paint a portrait of all the dreamers in the world -- all the people who are told they're nuts for pursuing their passion -- all the so-called \"fools\" who take the plunge. She sings about them and for them. This is why Mia does what she does -- why she simply has no choice... The song ends, and we linger on her for a moment. Then...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRIFFITH PARK - DAY<\/stage_direction>\n    <scene_description>Mia and Sebastian sit on a bench, the Observatory perched behind them. The clouds have parted, and it's now a gorgeous Los Angeles afternoon, minutes before dusk. Sebastian looks at Mia. A moment passes.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>When do you find out?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>They said the next couple of days... But I'm not expecting to find anything out.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>You're going to get it.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>No, I'm not.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>You are. I know these things.<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>Where are we?<\/dialogue>\n    <scene_description>Sebastian looks at her.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Griffith Park.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>I mean -- where are we?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I know...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I don't know.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>What do we do?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I don't think we can do anything. Because when you get this --<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>If I get this --<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>When you get this -- you've got to give it everything you've got.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>It's your dream.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>What are you going to do?<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I've got to follow my own plan. Stay here. Get my own thing going. You know...<\/dialogue>\n    <scene_description>A moment. Mia nods. Sebastian looks at her again.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>You're going to be in Paris. Good jazz there. And you love jazz now.<\/dialogue>\n    <scene_description>Mia smiles.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Right?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>Right.<\/dialogue>\n    <scene_description>Another moment. And then, finally --<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I guess we're just going to have to wait and see.<\/dialogue>\n    <scene_description>Mia's eyes well up, just slightly, as she hears this. She nods.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>You know I'm always going to love you.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>I'm always going to love you too.<\/dialogue>\n    <scene_description>Beat. Sebastian looks up at the Observatory.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Look at this view.<\/dialogue>\n    <character>MIA<\/character>\n    <parenthetical>(playfully)<\/parenthetical>\n    <dialogue>I've seen better.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Agreed.<\/dialogue>\n    <scene_description>They laugh. Then, almost to herself --<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>I've never been here during the day.<\/dialogue>\n    <scene_description>Sebastian smiles. A moment. We CUT TO WIDE. Sebastian and Mia sit side by side. We linger here, our two characters framed by the white-and-green Observatory, the rest of L.A. stretching out beyond. And then, ever so slowly... ...we FADE TO:<\/scene_description>\n    <character>WINTER<\/character>\n    <dialogue>A palm tree, a cloudless sky. We PULL BACK -- to reveal it's all painted...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STUDIO LOT - DAY<\/stage_direction>\n    <scene_description>We're on a studio lot, looking at one of the old painted backdrops, of a palm tree and sky. A new title card: Five years later... We TILT down to the studio's entryway. A CAR enters. A WOMAN steps out. We don't see her face. We FOLLOW her from behind. She walks elegantly, poised. The wind picks up a strand of her hair. She makes her way down side-streets we've seen before, past Parisian-style fa\u00e7ades. Then enters a COFFEE SHOP we recognize...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COFFEE SHOP - DAY<\/stage_direction>\n    <scene_description>The eyes inside all look the WOMAN's way. She reaches the counter -- and we finally SEE HER FACE:<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>Hi... Iced coffee, please.<\/dialogue>\n    <scene_description>MIA looks different. Different haircut, different way of handling herself. The BARISTA hurries to get Mia's order. We recognize this as the shop where Mia used to work. A man who appears to be the NEW MANAGER gives Mia the coffee --<\/scene_description>\n    <character>NEW MANAGER<\/character>\n    <dialogue>On us.<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>No, no, that's fine.<\/dialogue>\n    <scene_description>Mia hands over a few dollar bills. Then drops another bill into the tip jar. The Barista smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COFFEE SHOP - MOMENTS LATER<\/stage_direction>\n    <scene_description>Mia exits the coffee shop...and is met by a CREW MEMBER on a GOLF CART. She gets on the cart -- and is driven away... CUT TO: CLOSE ON hands on piano keys, fluttering across the ivories. We PULL BACK: it's SEBASTIAN. We're in...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAZZ CLUB - DAY<\/stage_direction>\n    <scene_description>...a small jazz club. Simple, tasteful, cool. Stone arches in 1940's style. The seats close to the band, the piano in the center. The club has the same old-school character as the Lighthouse -- but it's not run-down. It's polished, inviting. The place is empty save for Sebastian and an EMPLOYEE. It's before-hours. Sebastian finishes playing. Feels out the lowest keys once more, then the highest. Then turns and --<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Alright, I'm done.<\/dialogue>\n    <parenthetical>(gets up)<\/parenthetical>\n    <dialogue>Harris did a nice job with it.<\/dialogue>\n    <character>EMPLOYEE<\/character>\n    <dialogue>Took him long enough.<\/dialogue>\n    <scene_description>Sebastian smiles.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>No one touches the instruments. Carson's coming an hour early to test levels.<\/dialogue>\n    <character>EMPLOYEE<\/character>\n    <dialogue>I got a check for you to sign.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>How'd we do last month?<\/dialogue>\n    <character>EMPLOYEE<\/character>\n    <dialogue>Not too bad.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <parenthetical>(as he signs the check)<\/parenthetical>\n    <dialogue>Not too bad is great.<\/dialogue>\n    <parenthetical>(taps the Employee on the shoulder)<\/parenthetical>\n    <dialogue>See you tonight.<\/dialogue>\n    <character>EMPLOYEE<\/character>\n    <dialogue>See you tonight.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHATEAU MARMONT - DAY<\/stage_direction>\n    <scene_description>Mia pulls into the driveway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM - CHATEAU MARMONT - DAY<\/stage_direction>\n    <scene_description>She steps inside. Flowers and cards. We glimpse cursive \"CONGRATULATIONS\" written on a few of them. A stack of scripts on a nearby table. Her name visible. She drops her things, spots someone, goes in to kiss him. A long, tender, loving embrace, as we pull back... ...and see that it's not Sebastian. It's a MAN we haven't seen before: DAVID, mid-thirties. He and Mia kiss again. And, running over and grabbing Mia's leg, is a TWO-YEAR-OLD GIRL...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEBASTIAN'S APARTMENT - EVENING<\/stage_direction>\n    <scene_description>Sebastian steps in. The place is more habitable than his old digs. Fully furnished, warm and welcoming. He heads to the kitchen, pulls out some pork cutlets he's been thawing. We see, sitting on the counter, a Christmas card with a photo attached: Laura, Harry, and a FOUR-YEAR-OLD BOY, all gathered on a couch and smiling at the camera.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEBASTIAN'S APARTMENT - LATER<\/stage_direction>\n    <scene_description>Sebastian eats his meal, in a new shirt and pants. Checks his watch.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JAZZ CLUB - DAY<\/stage_direction>\n    <scene_description>Sebastian pulls up outside the club. New car, same style. Gets out and passes by a movie poster as he walks. We can't see the title, but we can catch a glimpse of a face on it. It's MIA...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAZZ CLUB - NIGHT<\/stage_direction>\n    <scene_description>We're back in the club. It's bustling now -- the BARTENDERS setting up, DOORMEN coming in, MUSICIANS sound-checking. Sebastian enters, the musicians greet him --<\/scene_description>\n    <character>DRUMMER<\/character>\n    <dialogue>King Seb!<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Hothouse Eddie -- miss me?<\/dialogue>\n    <character>DRUMMER<\/character>\n    <dialogue>Like the desert misses the rain.<\/dialogue>\n    <scene_description>And then -- we see a SAXOPHONIST we recognize. One of the old Lighthouse players.<\/scene_description>\n    <character>SAXOPHONIST<\/character>\n    <dialogue>Seb -- Edgar's bringing his horn tonight.<\/dialogue>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Yeah? Tell him to tune it, huh?<\/dialogue>\n    <character>SAXOPHONIST<\/character>\n    <dialogue>That's not Edgar.<\/dialogue>\n    <scene_description>Laughs, pats on the back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM - CHATEAU MARMONT - NIGHT<\/stage_direction>\n    <scene_description>Mia, in a new outfit, crosses the living area and grabs her purse and jacket. David is by the door, jacket on as well. Mia bends back around a sofa, where the GIRL we saw before is seated next to a nineteen-year-old baby-sitter, CHELSEA.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>Bye, sweetie. You be nice to Chelsea.<\/dialogue>\n    <scene_description>The Girl nods. Mia kisses her forehead. Heads to the door.<\/scene_description>\n    <character>CHELSEA<\/character>\n    <dialogue>Bye, Mrs. Dolan.<\/dialogue>\n    <scene_description>139 OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - NIGHT<\/stage_direction>\n    <scene_description>David drives, Mia seated beside him. They're on the 101. Gridlock traffic up ahead.<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>What if we miss this? What do we tell Natalie?<\/dialogue>\n    <character>MIA<\/character>\n    <dialogue>We can just see it back in New York...<\/dialogue>\n    <scene_description>David nods. Looks at the time on the car. 8:06.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - LATER<\/stage_direction>\n    <scene_description>Mia and David are seated. Still not moving. Mia looks at the clock again: 8:27.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>Do you want to just skip it...? Turn off here and get dinner?<\/dialogue>\n    <scene_description>David looks at her. Smiles.<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>Alright...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY STREET - NIGHT<\/stage_direction>\n    <scene_description>Mia and David walk down a street. A few open restaurants and bars, a few other closed storefronts. A lot of old, weathered buildings: 1930's stucco, Art Deco signs. Then -- David's ears perk up. He hears something. MUSIC... He looks around. Doesn't see the source. Heads to the end of the block, then sees, just up ahead, a few people entering a building. Seems to be where the music's coming from... Mia heads over, curious. The music grows louder -- sounds like a JAZZ COMBO. Mia peeks toward the door... ...and then FREEZES. The sign on the door reads: \"SEB'S\". It's written the way she drew it for Sebastian, years ago... Coming up to her side, oblivious --<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>This looks fun.<\/dialogue>\n    <scene_description>David edges past Mia. Glimpses the bar inside. Turns to her, inviting --<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>Come on...<\/dialogue>\n    <scene_description>Mia doesn't know what to say. She follows David...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAZZ CLUB - CONTINUOUS<\/stage_direction>\n    <scene_description>Inside, a JAZZ COMBO is tearing through a fast bop chart. The seats around the band are almost all occupied. Young fans, older couples, passersby trickling in from outside. It's an excited crowd, far more varied than what we saw at the Lighthouse -- a real range of ages and styles. Mia's eyes drift as David heads to the bar. She recognizes the images on the walls -- all Sebastian's. Recognizes a stool by the bar -- also Sebastian's, formerly Hoagy Carmichael's...<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>Mia?<\/dialogue>\n    <scene_description>She turns to David. Wavering, unsure what to do, she follows him as he manages to find two empty seats close to the bandstand... The combo finishes. Hearty applause. A young PIANIST rises from the keys, waves \"thanks\". And -- just then -- Sebastian appears. Mia looks at him, frozen.<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <parenthetical>(taking the microphone)<\/parenthetical>\n    <dialogue>Manny Halloran, ladies and gentlemen.<\/dialogue>\n    <parenthetical>(more applause)<\/parenthetical>\n    <dialogue>I don't know, I told him to play \"Jingle Bells\".<\/dialogue>\n    <scene_description>The crowd laughs. Sebastian smiles, looks at them -- -- and sees Mia. Shock. The two LOCK EYES -- and you can tell it's the first time they've seen each other in years. A prolonged silence. Sebastian is speechless. Then -- forcing himself to keep on a face --<\/scene_description>\n    <character>SEBASTIAN<\/character>\n    <dialogue>Welcome to Seb's.<\/dialogue>\n    <scene_description>More applause. Sebastian sits at the piano. Looks at the keys. He seems uncertain -- perhaps unsure what to play. He looks at Mia. Takes the sight in. Beat. Then looks at his fellow musicians. Murmurs to them. Then turns back to the keys -- -- and finally starts playing. A quieter tune, just piano, soft and tender and melancholy. A melody we -- and Mia -- instantly recognize... It's Mia and Sebastian's song. Mia looks at Sebastian. He looks at her, then back at his keys. This is the most beautiful we've ever heard his playing. The most tender, and full of emotion, it has ever sounded. We MOVE CLOSER on Sebastian. We recognize this image. It recalls the visualization of his dream, back at the RESTAURANT that night in winter, years ago. Gradually, as Sebastian plays, his surroundings seem to grow DARKER. Slowly, subtly at first, with just shifts in lighting, then a shift in perspective, the interior of the club changes, and soon... 144 ...we find ourselves back at that same RESTAURANT... Back when Mia laid eyes on Sebastian for the first time... Within this fantasy-flashback, Sebastian finishes his piece. We stick on Mia, watching him as his Boss talks to him. All is as before, as we remember it... And sure enough, Mia approaches Sebastian as he walks near her, and --<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>I just wanted to say -- I saw your playing, and I --<\/dialogue>\n    <scene_description>-- but instead of brushing past her -- -- Sebastian decks her with a kiss for the ages. A BURST OF ORCHESTRAL MUSIC. The DINERS in the restaurant spin around to face Mia and Sebastian -- and SNAP their fingers in time. Even the Boss starts to DANCE. Mia and Sebastian grin -- and then strut out together, hand in hand... \\[EPILOGUE\\]<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW APARTMENT - DAY<\/stage_direction>\n    <scene_description>Mia and Sebastian push open a new door -- to their new place. It's a shabby one-bedroom -- but it's theirs...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIGHTHOUSE CAFE - NIGHT<\/stage_direction>\n    <scene_description>Next, Keith approaches Sebastian at the Lighthouse -- but Sebastian immediately shakes his head \"no\".<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THEATER - NIGHT<\/stage_direction>\n    <scene_description>Sebastian watches Mia perform -- it's the night of her play. He stands up to applaud -- and behind him, the entire theater, utterly packed, rises as well. A huge standing ovation. Mia's ROOMMATES are there, giddy with joy, as are LAURA and HARRY...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STUDIO SOUNDSTAGE - DAY \/ NIGHT<\/stage_direction>\n    <scene_description>Mia and Sebastian walk together outside -- but now that we're outside we realize this isn't the real L.A. at all.. This, in fact, is an L.A. that doesn't exist. A painted- backdrop L.A., just like the one we saw Mia pass by when parking on the lot... The old orange groves and the gabled rooftops and the moss- covered bungalows and the ivy-decked lamps, the jacaranda trees and the giant hills and Griffith and the Santa Monica Pier -- all painted, all props, all figments of a studio- backdrop imagination. We've entered a fully fantastical realm, the realm of the old Hollywood ballets of the 40's and 50's... A148 Everyone DANCES -- the pedestrians and the street performers and the cops and the guards... AMY BRANDT races up to Mia -- seems to beckon her to audition... We see the audition silhouetted against a wall... We don't hear Mia sing, but the music takes on the melody of her song, carrying us to... B148 PARIS... Sebastian travels there with Mia... We chart the journey through an OLD GLOBE -- the same one we saw Mia use for her play -- a miniature plane and dissolves, the old- Hollywood-movie way... Finally, we find ourselves looking at a PAINTED BACKDROP of Paris -- the same one Mia used for her play. The Sacr\u00e9-C\u0153ur and the Arc de Triomphe and the Eiffel Tower etched in bright colors, the ornate lampposts and the cobblestones stretching before us... And then a sign -- \"CAVEAU DE LA HUCHETTE\"... C148 We see a jam session at the Caveau -- a crypt-like jazz club. Sebastian plays, on cloud nine... C148pt We see a MOVIE SHOOT, Mia surrounded by lights and cranes, decked in movie-movie glow. We're BACK to the Caveau. The lights go out -- except for the TRUMPETER, playing out a lovelorn solo, rim-lit. We MOVE in close on his horn -- DIVE into the bell -- D148 -- and emerge into NIGHTTIME PARIS. All painted. Mia and Sebastian wander through this wonderland, pedestrians frozen around them... Finally, they stop and look at one another... And -- as the city lights behind them start to glitter like all the stars of the galaxy... ...they DANCE. This is the last time we'll ever see them dance, and they seem to recognize that, so graceful and poised are their movements... Remember -- this is a romance more perfect than a real romance could ever be... We DISSOLVE again -- to a projector beam... 16mm footage plays on a screen, full of scratches and pockets of light... Mia and Sebastian sit down to watch together -- and we see the following moments in brief, vivid GLIMPSES, as we move in closer on the imagery: 149 The first home... (16mm) 150 Mia's pregnancy... (16mm) 151 The newborn child... (16mm) 152 The child's first birthday... (16mm) 153 The child's first day of pre-school, all dressed up... (16mm) Everything here glows with the warmth of old home movies... These are memories, fluttering by, grabbed at random -- and yet all concocted, dreamed up out of nothing... The SCORE continuing to sway and taking us right up to... 154 Sebastian and Mia, husband and wife, father and mother, hiring a babysitter because they've decided to go out for a night at the movies... (We're back to 35mm now.) The look here is unaffected, just everyday. The MUSIC quiets slightly, everything goes more natural, as this happily married couple hit the road... 155 ...then find themselves blocked by a traffic jam...then take a side route, winding up in another part of L.A... 156 ...then walk down the street, then hear music -- a jazz combo playing somewhere... 157 ...and step into a place that looks just like Sebastian's club... They sit down to listen... And then -- and this is how our imagined montage-musical number ends -- the combo's PIANIST, who of course is not Sebastian, launches into Mia and Sebastian's melody... ...and Mia and Sebastian look at each other, recognizing it. The music goes full-circle, back to where it started, as Mia and Sebastian look into each other's eyes, lean in and, softly, but with all the love in the world...<\/scene_description>\n    <character>...KISS.<\/character>\n    <dialogue>158 WE CUT BACK TO THE PIANO: Sebastian has just finished his<\/dialogue>\n    <scene_description>piece. We're back to reality. The audience in the club applauds. Beat. Mia looks at Sebastian. Looks away. A moment passes.<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>Do you want to stay for another?<\/dialogue>\n    <scene_description>She's silent for a second. Then she looks at David.<\/scene_description>\n    <character>MIA<\/character>\n    <dialogue>No... We should go.<\/dialogue>\n    <scene_description>He nods. They rise from their seats and head for the exit. Just as they reach the door, and as David steps out, Mia turns and looks back at Sebastian. He looks at her. Their eyes lock. A hint of a tear in both... And, ever so subtly, for just a fleeting second, Mia smiles. It's the kind of smile you could miss if you blinked -- but it's enough to signal to Sebastian that she recognized the melody he played, and that she still remembers it, and still thinks of it to this day... Then she walks out the door. Sebastian glances at his fellow musicians. Then, he nods, and they launch into a new chart.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>It's silent outside. You can't hear the music. Mia and David reach their car. They get in. It pulls out. Passing by Sebastian's club, the car continues on. We stay put, the jazz club on one side of the frame, the lights of the car on the other. Those lights growing smaller and smaller, before finally disappearing into the big L.A. night...<\/scene_description>\n    <character>IRIS FADE OUT.<\/character>\n    <dialogue>THE END<\/dialogue>\n  <\/scene>\n<\/script>","summary":"While stuck in Los Angeles traffic, jazz pianist Sebastian \"Seb\" Wilder has a moment of road rage directed at aspiring actress Mia Dolan. After a hard day at work, Mia's next audition goes awry when the casting director takes a phone call during an emotional scene. That night, her roommates take her to a lavish party in the Hollywood Hills, promising her that someone in the crowd could jump-start her career. After her car is towed, she walks home in disappointment. During a gig at a restaurant, Seb slips into jazz improvisation, despite the owner's warning to only play traditional Christmas pieces. Mia overhears him playing as she passes by. Moved, she enters the restaurant and observes Seb being fired for his disobedience. As he storms out, Mia attempts to compliment him, but he brushes her off. Months later, she runs into Seb at a party where he plays in a 1980s pop cover band. After the gig, they walk to their cars and lament wasting a lovely night together despite their clear chemistry. Seb arrives at Mia's workplace, and she shows him around the Warner Bros. backlot, where she works as a barista, while expressing her passion for acting. He takes her to a jazz club, describing his passion for jazz and his desire to open his own club. Seb invites Mia to a screening of Rebel Without a Cause and she accepts, forgetting a date with her boyfriend. Bored with the latter date, she rushes to the theater and finds Seb as the film begins. When the screening is interrupted due to a projector malfunction, Seb and Mia spend the rest of the evening together with a romantic visit to the Griffith Observatory. After more failed auditions, Mia decides, with Seb's encouragement, to write a one-woman play. He begins to perform regularly at a jazz club, and they eventually move in together. A former bandmate of Seb invites him to be the keyboardist in a new jazz fusion band, which will give him a steady income. Although dismayed by the band's pop style, Seb signs on after overhearing Mia trying to convince her mother that he is working on his career. The band finds success, but Mia knows their music is not the type of music Seb wants to perform. During the band's first tour, Seb and Mia have an argument: she accuses him of abandoning his dreams, while he claims that she liked him more when he was unsuccessful because it made her feel better about herself. Two weeks later, Seb misses Mia's play due to a photoshoot he had forgotten about. The play does not go as successfully as either hoped, with few people attending and Mia overhearing dismissive comments about her performance. Unable to forgive him for missing her play and their previous argument, Mia returns to her hometown of Boulder City, Nevada. Seb receives a phone call from a prominent casting director, who attended Mia's play and invites her to audition for an upcoming film. He drives to Boulder City and persuades her to attend which she reluctantly agrees to. During the audition, Mia is asked to simply tell a story. In response, she sings about how her aunt, a onetime stage actress who eventually died from alcoholism, inspired her to chase her dreams. Confident the audition was a success, Seb encourages Mia to devote herself to acting. The two then recognize that they will always love each other despite what may come for their relationship. Five years later, Mia is a famous actress and married to a different man, with whom she has a daughter. One night, the couple stumble upon a jazz bar. Recognizing the logo she had once designed, Mia realizes that Seb has opened his own jazz club. When he notices Mia in the crowd, Seb begins to play their love theme on the piano. A dream sequence unfolds in which the two imagine what might have been, had their relationship thrived along with their careers. Once the sequence ends, Seb and Mia acknowledge each other with a silent exchange of smiles before she leaves, each going their own separate ways."}
{"movie_name":"Beginners_2010","imdb_id":"tt1532503","script":"<script>\n  <scene>\n    <stage_direction>INT. HAL FIELDS HOME.<\/stage_direction>\n    <scene_description>A single daisy stands in a vase in an empty kitchen .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S BEDROOM<\/stage_direction>\n    <scene_description>OLIVER FIELDS clicks on the light to the closet . He looks at the rack of his parents ' clothes . He begins to put some in a box marked `` home '' , some in a box marked `` thrift '' .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S BATHROOM<\/stage_direction>\n    <scene_description>Oliver enters the bathroom and flushes bottle after bottle of pills and liquids down the toilet . Next he struggles as he looks over the old toothbrush , hairbrush , all the bottles and tubes besides the sink . He stares for a beat , then throws them all away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. HAL'S TRASH AREA<\/stage_direction>\n    <scene_description>Oliver hauls trash outside , adding it to a very large pile of bags . An older Jack Russell Terrier , ARTHUR , follows him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S OFFICE<\/stage_direction>\n    <scene_description>Oliver and Arthur sit on the office floor surrounded by papers , boxes , books and trash bags . He finds a photo of HAL FIELDS in an open Jean jacket , no shirt , it 's attached to a personal ad application which he begins to read . CUT TO PAST<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LARGE EMPTY PARKING LOT NIGHT<\/stage_direction>\n    <scene_description>In the dark , OLIVER FIELDS has a tape recorder and microphone , he follows ANDY as he excitedly prepares , a group of friends looks on .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Okay. Is it on?<\/dialogue>\n    <parenthetical>( recorder . )<\/parenthetical>\n    <dialogue \/>\n    <character>OLIVER<\/character>\n    <dialogue>Yeah yeah.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>This is for our friend Hal Fields. Hal. We love you.<\/dialogue>\n    <scene_description>Andy quickly lights a rack of large fireworks , they shoot up into the night and explode - smoke - more explosions - everyone 's laughing . Oliver looks up at the fireworks , recording the sounds , happy . BOOM , BOOM , BOOM , BOOM , BOOM . CUT TO PRESENT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAL'S DRIVEWAY - NIGHT<\/stage_direction>\n    <scene_description>Oliver has packed his car , he leans down to Arthur .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>You're coming to live with me now.<\/dialogue>\n    <scene_description>Arthur looks at him .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>This is my car.<\/dialogue>\n    <scene_description>Arthur hops in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>Oliver 's car drives down Sunset boulevard .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Oliver and Arthur enter , he 's carrying a box , his house is dark and lonely .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S DINNING ROOM<\/stage_direction>\n    <scene_description>Oliver enters his dining room , Arthur in tow .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>This is the dining room where people come and eat sometimes.<\/dialogue>\n    <scene_description>The dog listens intently . Oliver moves on , the dog follows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S LIVING ROOM<\/stage_direction>\n    <scene_description>Oliver and Arthur enter the living room .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>This is the living room.<\/dialogue>\n    <scene_description>Oliver looks around , the dog looks with him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S BATHROOM<\/stage_direction>\n    <scene_description>We see the door open revealing Oliver and Arthur continuing their tour .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>That's the bathroom.<\/dialogue>\n    <scene_description>The dog looks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Arthur lays next to Oliver in bed . Unable to sleep , Oliver looks to the ceiling . CUT TO NARRATED SEQUENCE STILL BLACK AND WHITE AND COLOR PHOTOGRAPHS OF THE SUN , THE STARS , YOSEMITE , GEORGE W. BUSH FLASH BY :<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>This is 2003. This is what the sun looks like, and the stars, nature. This is the President.<\/dialogue>\n    <scene_description>NOW PHOTOS OF THE SUN , STARS , NATURE , ETC. . FROM 1955 FLASH<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And this is the sun in 1955, and the stars, and nature, and cars, and phones, and movies, and the President. These are what pets looked like. These are fireworks. This was smoking.<\/dialogue>\n    <scene_description>PHOTOGRAPHS , CROPPED IN ON FACES FROM 1955 , VERY FAST<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>This is what it looked like when people kissed.<\/dialogue>\n    <scene_description>FAST SEQUENCE OF FACES FORM 1955 LAUGHING :<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>When they were happy.<\/dialogue>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>When they were sad.<\/dialogue>\n    <scene_description>FAST SEQUENCE OF MARRIAGE PHOTOS FROM 1955 :<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>My parents got married in 1955.<\/dialogue>\n    <scene_description>SHOT OF LOS ANGELES COUNTY MUSEUM , SHOT OF AN OLD HOUSE :<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>He was a museum director - she fixed up old houses.<\/dialogue>\n    <scene_description>1955 STILL PHOTO OF A BABY BEING BORN :<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>They had a child, and they stayed married for 44 years.<\/dialogue>\n    <scene_description>A SEQUENCE OF STILL SHOTS OF FRENCH TOAST IN DIFFERENT STAGES OF BEING EATEN , THEN STILL SHOTS OF STRAWS THAT JUMP CUT INTO CIGARETTES , THEN LIVE ACTION CLIP FROM THE TELETUBBIES , AND THEN RAPID FIRE THROUGH STILL SHOTS OF EVERY PRESIDENT FROM 1924 TO 2003 AND BACK .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Until she died in their bed, after four months of cancer and eating French toast for every meal and watching the Teletubbies everyday and confusing white straws for her cigarettes and skipping back and forth through time inside her head.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S HOUSE LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Hal fields sits on a couch , in a purple sweater , looking into camera , struggling for words .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Six months later, my father told me he was gay. He had just turned 75.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>I'm gay.<\/dialogue>\n    <scene_description>Same camera angle , Hal still looking into camera we jump cut to him wearing a robe .<\/scene_description>\n    <character>OLIVER V.O.<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I always remember him wearing a purple sweater when he told me this but actually he wore a robe.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>I'm gay.<\/dialogue>\n    <scene_description>Same angle , we continue to jump cut through Hal talking to camera , each cut in different clothes , and with each cut his line has a different inflection .<\/scene_description>\n    <character>HAL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm gay.<\/dialogue>\n    <scene_description>Jump cut , new outfit .<\/scene_description>\n    <character>HAL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I loved your mother, but, uh. now I want to explore this side.<\/dialogue>\n    <scene_description>Jump cut , new outfit .<\/scene_description>\n    <character>HAL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I do n't want to be just theoretically gay, I want to do something about it.<\/dialogue>\n    <scene_description>New outfit and inflection .<\/scene_description>\n    <character>HAL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I want to do something about it.<\/dialogue>\n    <scene_description>New outfit and inflection .<\/scene_description>\n    <character>HAL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I want to do something about it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. VARIOUS - DAY<\/stage_direction>\n    <scene_description>A live action `` portrait '' of Hal , looking into camera , first in old clothes , then jump cut to new all black outfit .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He changed all his clothes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARK - DAY<\/stage_direction>\n    <scene_description>The camera moves through a large group of men and streamers gathered for Los Angeles Pride event .<\/scene_description>\n    <character>OLIVER V.O.<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>He got a boyfriend, Andy, a physical trainer who was also studying for his professional pyrotechnic license.<\/dialogue>\n    <scene_description>Camera lands on Hal beaming with pride , his arm around Andy who looks into camera and says .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Since I came out to my father, he never speaks to me. That's why I've been always attracted to older men.<\/dialogue>\n    <scene_description>Hal and friends laugh warmly at Andy . We cut to live action `` portraits '' of a priest , a therapist , the Primetimers , his movie - night club , and the large L.A. Pride group , all looking into camera .<\/scene_description>\n    <character>OLIVER V.O.<\/character>\n    <dialogue>He found an out gay priest to guide him spiritually. He saw a therapist for the first time. He joined the Primetimers. Movie night. Los Angeles Pride, and then.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S LIVING ROOM<\/stage_direction>\n    <scene_description>We see Hal 's living room , empty of furniture in the morning light .<\/scene_description>\n    <character>OLIVER V.O.<\/character>\n    <dialogue>Four years after he came out, he died in this room.<\/dialogue>\n    <scene_description>CUT TO PRESENT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S KITCHEN - MORNING<\/stage_direction>\n    <scene_description>Oliver enters , followed closely by Arthur . Oliver walks through the kitchen - Arthur follows him . Oliver walks through the living room - Arthur follows . Oliver makes a circle through the house - Arthur follows . Oliver sits , looking down at Arthur .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Look, its lonely out here, so you'd better learn how to talk with me.<\/dialogue>\n    <scene_description>Arthur 's face looks up at him filled with a dog 's love and no words .<\/scene_description>\n    <character>ARTHUR SUBTITLE<\/character>\n    <dialogue>While I understand up to 150 words - I do n't talk.<\/dialogue>\n    <scene_description>Oliver leans down , pushing his head into Arthur 's .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>I know. I know.<\/dialogue>\n    <scene_description>CUT TO PAST A SERIES OF QUICK MEMORIES .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL HALLWAY<\/stage_direction>\n    <scene_description>Camera follow 's Oliver down a long corridor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICU ROOM - NIGHT<\/stage_direction>\n    <scene_description>Oliver sits as HAL lays in a coma on a ventilator . The room is dark , Oliver uses a flashlight to quietly read to his father .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICU ROOM - DAY<\/stage_direction>\n    <scene_description>QUICK CUTS . A nurse opens the shades . A DOCTOR and two nurses stand over Hal , everyone 's nervous . Hal is struggling with all the tubes down his throat . Oliver is trying to help him breathe , talking into his ear . Oliver is ushered out of the room . The nurse draws the curtain . MOMENTS LATER : Oliver sits with Hal , now off the ventilator but still very weak and disoriented . Oliver coaches his breathing .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Calm. Calm, calm breaths.<\/dialogue>\n    <scene_description>Hal coughs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICU ROOM<\/stage_direction>\n    <scene_description>It 's the middle of the night , Hal is connected to many I.V.s in both arms , still disoriented , he 's tangled up in the tubes , trying to pull them out of his arms . He wakes up Oliver .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Oliver! Please help me with all these ropes.<\/dialogue>\n    <scene_description>Oliver rushes and helps him .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Pop, Pop, stop - you're gon na hurt yourself.<\/dialogue>\n    <scene_description>A NURSE quickly enters and helps hold down his arms .<\/scene_description>\n    <character>NURSE<\/character>\n    <dialogue>Mr. Fields, we're going to have to secure your arms again.<\/dialogue>\n    <scene_description>She puts his hands in restraints , Oliver helps .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>You two married?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>No, Pop.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Why not? She's great.<\/dialogue>\n    <scene_description>The nurse smiles , embarrassed , and continues with her job .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>She's a great nurse in the hospital, we do n't really know her, you're very high on drugs.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>You always have some very good reason, have n't you?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>No, Pop, I just do n't want to be like you and mom.<\/dialogue>\n    <parenthetical>( aside to the nurse . )<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>CUT TO PAST<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S CHILDHOOD HOME 1978<\/stage_direction>\n    <scene_description>IN THE KITCHEN : We see 10 - year - old Oliver watching his mother GEORGIA and father kiss quickly , politely , and then his father leaves quickly . Hal remains in silhouette through the shot . DIFFERENT DAY , IN OLIVER 'S BEDROOM : Oliver watches Hal and Georgia kiss , and Hal leave - more like a performance than anything real . DIFFERENT DAY , IN PARENT 'S BEDROOM : Oliver watches Hal and Georgia kiss and Hal exit , quick and dry . 10 - year - old Oliver studies them each time . DIFFERENT DAY , OLIVER 'S BEDROOM : Georgia quickly opens the door and finds Oliver drawing .<\/scene_description>\n    <character>GEORGIA<\/character>\n    <dialogue>Oliver!<\/dialogue>\n    <scene_description>He turns and Georgia shoots him with her finger , Oliver falls to the ground .<\/scene_description>\n    <character>GEORGIA<\/character>\n    <dialogue>Olly, you can do better.<\/dialogue>\n    <scene_description>He gets up and she shoots him again - He falls more dramatically , knocking his head on the floor .<\/scene_description>\n    <character>GEORGIA<\/character>\n    <dialogue>That's good.<\/dialogue>\n    <scene_description>His mom looks at him affectionately . CUT TO PRESENT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ECHO PARK STREET - NIGHT<\/stage_direction>\n    <scene_description>Oliver walks Arthur across a lit field , towards the dog park .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOG PARK - NIGHT<\/stage_direction>\n    <scene_description>Everywhere dogs and their people are playing . Oliver and Arthur sit on a bench like two humans . Oliver watches the action , Arthur stares at Oliver .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Go have your own experiences with your own people. I'll be right here.<\/dialogue>\n    <scene_description>Arthur stays by Oliver 's side .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm a human. I'm not a dog. And you're a Jack Russell, that's a breed. Your personality was created by this guy John Russell, a hunting enthusiast, in the 1800s. And he bred your ancestors to have stamina and courage for the hunt. You think you're just you, and you want to chase the foxes, but other people planted that in you years ago. Now, somewhat arbitrarily, you are considered very cute by us humans, and we keep breeding you not to chase foxes, but to be cute, and we put you in movies and television shows, and you, you're chasing tennis balls cause there as close to a fox as you're going to get.<\/dialogue>\n    <scene_description>Arthur stays by Oliver 's side .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S OFFICE<\/stage_direction>\n    <scene_description>CU on Oliver 's hands as he draws a T - shirt that reads : `` My personality was created by someone else and all I got was this stupid T - shirt . '' Reveal that Oliver is in a design office . LIZ , 30 's enters , they IMPROV hellos . JUMP CUT thru a series of Oliver 's drawings . A speech bubble that reads : `` A fair amount of failures . '' He draws portraits of girls with dates : `` Ellen O. 1984 - 1988 '' - `` Julie P. 1988 - 1989 '' - `` Liz B. 1993 - 1995 '' - `` Lynette I. 1995 '' - `` Amanda Y. 1996 - 2000 '' - `` Yuki H. 2000 '' - `` Christina S. 2001 '' - `` Michelle M. 2001 - 2003 '' Oliver stops drawing , lost in his thoughts . CUT TO PAST<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S HOSPITAL ROOM - NIGHT<\/stage_direction>\n    <scene_description>In the dark I.C.U. room , Hal is still attached to many I.V.s , Oliver is helping Hal look at a book of Japanese rock gardens with a flashlight .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Want me to read this? I found it in your books.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Yeah, alright. Give me the flashlight.<\/dialogue>\n    <scene_description>Oliver opens it , they look at a few pages together , photos of serene gardens .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Nice.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Oh, that's nice.<\/dialogue>\n    <scene_description>Hal keeps peeking at a bouquet of flowers in the corner of the room . Hal takes the flashlight from Oliver and guides it to the flowers .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Oh, Andy brought those for you.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Oh, yeah?<\/dialogue>\n    <scene_description>Hal continues to direct the light across the room , we follow the circle of light as it moves a cross a wall landing on a painting .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Oh, who did that painting?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Well, I do n't know. Its just a painting on the wall.<\/dialogue>\n    <scene_description>Hal continues exploring , Oliver 's enjoying his father 's curiosity , he lands on some photos displayed on the table .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>A -, and these?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>They're just photos, Pop.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>But how do they relate to the exhibit?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>They're just personal photos. They're not art.<\/dialogue>\n    <scene_description>Hal slowly moves the flashlight up the wall , across the ceiling to a strange assortment of fire detectors , sprinklers , sensors , all laid out against the acoustic tile ceiling . Hal points up . Oliver looks for a beat , then .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Uh, well that's the water sprinkler thing.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Well, its beautiful.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>What is?<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Putting the Japanese gardens there. It's just beautiful.<\/dialogue>\n    <scene_description>Oliver looks from the ceiling to the rock garden book . The ceiling and the gardens look the same . Oliver is moved by Hal 's confusion . ANDY , 45 - years - old , physical , boyish , storms into the room .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Hal.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Andy!<\/dialogue>\n    <scene_description>Andy gets on the bed opposite Oliver . He gives Hal a big kiss on the lips . Hal glows . Oliver backs away slowly . Andy picks up Hal 's hand , turns it palm up and presses his face into it .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>I brought something for you.<\/dialogue>\n    <scene_description>Oliver watches from outside the room as Andy excitedly pulls a portable tape player out of his bag .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>We made a recording for you.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Oh, God.<\/dialogue>\n    <scene_description>Andy pushes play , on the recording we hear Andy 's voice :<\/scene_description>\n    <character>ANDY ON TAPE<\/character>\n    <dialogue>This is for our friend Hal Fields. Hal. We love you.<\/dialogue>\n    <scene_description>We hear voices HOOTING , and then large FIREWORKS , LAUGHTER and CLAPPING . Oliver watches his father 's happiness from a distance . CUT TO PRESENT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S OFFICE<\/stage_direction>\n    <scene_description>CU on Oliver 's hands drawing bright streaming colors of the fireworks . LATER : Oliver get 's to his real work , pulling out a few 8X10 photos of a band `` The Sads '' . There are some instructions on record company letterhead - he is to do an album design for their new record - they want him to draw portraits of the three members . Oliver begins to do quick portraits of them based on the photo .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Jesus, Liz. Another band that wants portraits.<\/dialogue>\n    <character>LIZ<\/character>\n    <dialogue>Well, at least it pays the rent.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>You do something decent once, and that's all people ever want.<\/dialogue>\n    <scene_description>JUMP CUT through the different portraits developing . It 's not what Oliver want 's to do .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S OFFICE - LATER<\/stage_direction>\n    <scene_description>Elliott and Shauna let themselves in . Elliot grabs a stool and sits down .<\/scene_description>\n    <character>ELLIOTT<\/character>\n    <dialogue>Hi Liz.<\/dialogue>\n    <scene_description>Oliver continues to draw , as Shauna and Elliott try to get his attention .<\/scene_description>\n    <character>ELLIOTT<\/character>\n    <dialogue>Oliver?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>ELLIOTT<\/character>\n    <dialogue>The pen is not your friend. The paper is not your friend. The party is your friend. We're your friends. Your friends are your friends.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S LIVING ROOM<\/stage_direction>\n    <scene_description>Elliot is now dressed as a cop and Shauna as a large chicken , they are dancing with no music as Oliver sits on a couch depressed dressed as Sigmund Freud , complete with wig - beard - glasses - pipe .<\/scene_description>\n    <character>SHAUNA<\/character>\n    <dialogue>I got the skills. he's got the moves.<\/dialogue>\n    <character>ELLIOTT<\/character>\n    <dialogue>I got the moves. you've got the skills. 10\/29\/07 14.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S FRONT DOOR<\/stage_direction>\n    <scene_description>Oliver , Elliott , and Shauna are leaving . Arthur ca n't believe he 's being left behind . It 's actually the first time they will separate .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Arthur, you have n't been invited to this party. You're gon na stay and look after the house.<\/dialogue>\n    <scene_description>Oliver tentatively shuts the door , takes three steps , Arthur begins to howl . Oliver tries to ignore it , but stops again . He looks back at the house and the howling .<\/scene_description>\n    <character>CUT TO:<\/character>\n    <dialogue \/>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S CAR - DRIVING<\/stage_direction>\n    <scene_description>Arthur , victorious , sits in Elliot 's lap in the front seat , while Oliver drives and Shauna is squeezed in back in her chicken outfit .<\/scene_description>\n    <character>ELLIOTT<\/character>\n    <dialogue>You remember when Oliver was funny? And he could actually, like, talk, in complete sentences?<\/dialogue>\n    <character>SHAUNA<\/character>\n    <dialogue>Funny? Funny? I do n't think so Fun maybe, but not funny unless, like, serious is funny. Then he's' fucking hilarious.<\/dialogue>\n    <scene_description>Elliot and Oliver laugh .<\/scene_description>\n    <character>SHAUNA<\/character>\n    <dialogue>But, lovable. You are very lovable.<\/dialogue>\n    <character>ELLIOTT<\/character>\n    <dialogue>Yeah, very lovable.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE PARTY - NIGHT<\/stage_direction>\n    <scene_description>Oliver carries Arthur , they all enter a costume party , making their way through the crowd of people in all kinds of disguises , music blaring , Oliver slides into the less populated kitchen . A woman rushes up to Oliver , surprised to see he has a dog .<\/scene_description>\n    <character>FEMALE PARTIER<\/character>\n    <dialogue>So cute, does he do tricks?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>His name's Arthur - he does n't do tricks.<\/dialogue>\n    <scene_description>In the background are a couple dressed as JULIAN and ETHEL ROSENBERG , we see them observe Oliver and Arthur .<\/scene_description>\n    <character>PARTIER<\/character>\n    <dialogue>No? Arthur, SIT!<\/dialogue>\n    <scene_description>Arthur promptly sits down . Oliver 's totally surprised .<\/scene_description>\n    <character>PARTIER<\/character>\n    <dialogue>He's so cute. Shake!<\/dialogue>\n    <scene_description>Arthur sticks out his paw . Oliver does n't like seeing Arthur blindly perform .<\/scene_description>\n    <character>PARTIER<\/character>\n    <dialogue>Oh my god, he's so cute, I want him.<\/dialogue>\n    <character>OLIVER<\/character>\n    <parenthetical>( in Freud accent . )<\/parenthetical>\n    <dialogue>Does it make you feel powerful to order my dog around? Maybe give you a sense of power?<\/dialogue>\n    <character>PARTIER<\/character>\n    <dialogue>Oh, you're being a therapist! Freud!<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Thanks, yeah. Very good.<\/dialogue>\n    <scene_description>Oliver picks up Arthur and escapes the kitchen . The Rosenberg 's are still watching . LATER . Oliver and Arthur sit in a chair next to a couch where a man dressed as a witch , complete with green face and long black hair , is lying back as if in a traditional analysis session .<\/scene_description>\n    <character>LONG-HAIRED MAN<\/character>\n    <dialogue>Well, I did n't ask for this. Who would ask for this? This color. This nose. This cheek, this chin. You know, this is my life. This is n't a story. This is n't a joke.<\/dialogue>\n    <scene_description>Oliver is playing along , but he 's really not emotionally ready for this party . He feels very far away .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>LONG-HAIRED MAN<\/character>\n    <dialogue>I'm so glad you came, Doc. Just really good to get this stuff off my chest.<\/dialogue>\n    <character>OLIVER<\/character>\n    <parenthetical>( in Freud accent . )<\/parenthetical>\n    <dialogue>I'm sorry. Our time is up, uh. for this week. Thank you for coming in.<\/dialogue>\n    <scene_description>The witch moves on . Oliver sits with Arthur in his lap , alone , lost in all this joviality . We see that the woman dressed as Julius Rosenberg is watching him . Just as Oliver is about to get up , she plops herself down onto the couch , ready for her session .<\/scene_description>\n    <character>OLIVER V.O.<\/character>\n    <dialogue>Oh, I was just - I was gon na take a break, actually.<\/dialogue>\n    <scene_description>She pulls out a writing pad , oblivious . Oliver can tell she 's not going to give it up .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( back in accent . )<\/parenthetical>\n    <dialogue>Well, I guess we should start with your mother.<\/dialogue>\n    <scene_description>The woman writes on her notepad and shows it to Oliver : `` Never had one . ''<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Well then your father.<\/dialogue>\n    <scene_description>She mimes shooting herself in the head and dying .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>I do n't understand. You ca n't talk? Is it a mental problem? Do you need analysis?<\/dialogue>\n    <scene_description>She writes on her pad : `` I have laryngitis ''<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>That's a physical problem.<\/dialogue>\n    <scene_description>She smiles at him , looks at him a little too long , Oliver is more and more pulled in by her playfulness - she writes : `` Why are you at a party if you 're sad ? '' CU on Oliver , surprised and impressed by her observation .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>I was doing such a good job of hiding it. How could you tell?<\/dialogue>\n    <scene_description>Ethel holds up her notebook . She has drawn TWO EYES . Oliver 's taken by her .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Clearly, I'm gon na need a drink. You?<\/dialogue>\n    <scene_description>She smiles and nods .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>You, stay here, yeah?<\/dialogue>\n    <scene_description>Oliver moves to -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT KITCHEN<\/stage_direction>\n    <scene_description>Elliot and Shauna are deeply engaged in conversation with someone dressed as a pickle and someone dressed as much less colorful chicken .<\/scene_description>\n    <character>ELLIOTT<\/character>\n    <dialogue>No, its just not a natural color for a chicken.<\/dialogue>\n    <character>SHAUNA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ELLIOTT<\/character>\n    <parenthetical>( motioning to Shauna 's COSTUME . )<\/parenthetical>\n    <dialogue>And look, you see what happens when you free yourself from the cage, walk away from the factory.<\/dialogue>\n    <character>SHAUNA<\/character>\n    <dialogue>You just have no real color.<\/dialogue>\n    <character>YOU'RE LIKE--<\/character>\n    <dialogue \/>\n    <scene_description>Oliver slips past , hands Arthur to Elliot . He scoops ice from the bucket and starts filling two cups .<\/scene_description>\n    <character>ELLIOTT<\/character>\n    <dialogue>Hey, hey.<\/dialogue>\n    <character>SHAUNA<\/character>\n    <parenthetical>( COUNTING CUPS . )<\/parenthetical>\n    <dialogue>Uh - oh, one. Uh - oh, two.<\/dialogue>\n    <character>ELLIOTT<\/character>\n    <dialogue>Two drinks.<\/dialogue>\n    <character>SHAUNA<\/character>\n    <dialogue>What does that me -, one, two.<\/dialogue>\n    <character>ELLIOTT<\/character>\n    <dialogue>Well that's two, two people.<\/dialogue>\n    <character>SHAUNA<\/character>\n    <dialogue>Two people. A girl and a guy?<\/dialogue>\n    <character>ELLIOTT<\/character>\n    <dialogue>Hopefully.<\/dialogue>\n    <character>SHAUNA<\/character>\n    <dialogue>Yeah, wow, making moves.<\/dialogue>\n    <scene_description>Oliver leaves Arthur in Elliott 's arms .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Watch him OK?<\/dialogue>\n    <scene_description>Oliver begins to leave his drinks . We see his POV of the woman dressed as Julius Rosenberg waiting on the couch . Oliver slips into one of his memories . CUT TO PAST<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S BEDROOM\/INT. HAL'S BEDROOM - LATE NIGHT<\/stage_direction>\n    <scene_description>INTERCUT : The phone RINGS , wakes up Oliver , he turns on the light , answers the phone . PRE - CANCER Hal talks excitedly .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Oliver?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>I'm not sorry I woke you! I went to Akbar tonight.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>You did?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AKBAR - NIGHT<\/stage_direction>\n    <scene_description>Hal and his friends , BRIAN and ROBERT , make their way through a crowded gay club . Hal is by far the oldest , and most excited , man there .<\/scene_description>\n    <character>HAL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>They had wonderfully loud music. In - sit, in - sit, in - sit. What kind of music is that?<\/dialogue>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Probably house music?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Hal gets a pad and pen to write this down .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>`` House music.''<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AKBAR - NIGHT<\/stage_direction>\n    <scene_description>A bunch of Young Gay guys dance . Hal is on the side , dancing by himself , hands in the air twinkling his fingers .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>So did you meet anyone?<\/dialogue>\n    <scene_description>At the packed bar , Hal drinks alone .<\/scene_description>\n    <character>HAL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Young gay men do n't go for older gay men.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S HOUSE CONTINUOUS<\/stage_direction>\n    <scene_description>Back to Oliver in bed , on the phone .<\/scene_description>\n    <character>HAL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>You have it easy.<\/dialogue>\n    <scene_description>CUT TO PRESENT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE PARTY - NIGHT<\/stage_direction>\n    <scene_description>Oliver snaps out of his memory . He makes his way through the crowd and delivers the drink to her . He looks at her a little too intensely , then blurts out .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Would you like to dance?<\/dialogue>\n    <scene_description>She happily nods yes . They walk to the dance floor , we think Oliver 's going to be shy , but he breaks into a kinetic , angular , dance . She 's surprised with us - she laughs , they have a good time . JUMP CUT THROUGH THE NIGHT : Oliver , `` Julius '' , Elliott and Shauna are talking to a magician . `` Julius '' picks a card , the magician mixes it into the full deck , pops a card into the air , it is hers . Shauna and Elliott can see that Oliver 's coming alive . LATER . They dance again , now they 're sweaty , the dance floor 's packed - it 's the pinnacle of the party .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PARTY BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>The party 's winnowing down in the background - `` Julius '' and Oliver look at each other in the mirror for a beat , and then simultaneously take their wigs off , revealing their true selves .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <scene_description>Shes mouths a silent `` hi '' .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Can I give you my number?<\/dialogue>\n    <scene_description>She pulls out her pad and pen and hands them to him .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>As he writes , Oliver spies Arthur sitting in the corner of the bathroom , staring directly at him .<\/scene_description>\n    <character>ARTHUR SUBTITLE<\/character>\n    <dialogue>Tell her the darkness is about to drown us unless something drastic happens right now.<\/dialogue>\n    <scene_description>Oliver looks to her .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>I feel bad dragging Arthur to the party. I should get home. It was really nice meeting you.<\/dialogue>\n    <scene_description>She writes on her pad : `` Au Revoir ''<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( CHUCKLES . )<\/parenthetical>\n    <dialogue>Au revoir. Yeah.<\/dialogue>\n    <scene_description>He leaves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET OUTSIDE PARTY - NIGHT (CONTINUOUS)<\/stage_direction>\n    <scene_description>Oliver and Arthur walk up the empty street - Oliver kicking himself for missing his chance with her . His phone rings .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>ON THE OTHER END : Silence . A little breathing , the party in background .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Is that you?<\/dialogue>\n    <scene_description>BEEP .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>One beep means yes?<\/dialogue>\n    <scene_description>BEEP .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I've always wanted to have a phone call with someone who does n't talk.<\/dialogue>\n    <scene_description>BEEEEEEEEEEEEP .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You want to do something?<\/dialogue>\n    <scene_description>BEEP<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Now?<\/dialogue>\n    <scene_description>BEEP .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Okay, I'm parked just right up the street.<\/dialogue>\n    <scene_description>BEEP . They hang up . Oliver is filled with hope . CUT TO : `` Julius '' walking out into a pool of street light . They smile at each other , but do n't say anything . They get into his car .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Okay. You point - I'll drive.<\/dialogue>\n    <scene_description>Oliver starts the engine . She points forward and they head off . At the light she points left , he follows . Down the street she points right .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>This way?<\/dialogue>\n    <scene_description>She nods . Oliver drives up on the sidewalk before the street , heads down it for half a block , then takes her right . We can hear them laughing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. HOTEL ROOM LOBBY - NIGHT<\/stage_direction>\n    <scene_description>Oliver , Arthur and the woman enter a very fancy hotel lobby . Oliver is impressed . She mime 's giving him a tour but still does n't talk .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - NIGHT (CONTINUOUS)<\/stage_direction>\n    <scene_description>Oliver and the woman open the door and enter her suite . They look at each other nervously .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Nice place.<\/dialogue>\n    <scene_description>They sit on her bed . She steals his pipe , put 's it in her mouth - writes on her pad and shows it to him .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oh, my mother. My mother died five years ago.<\/dialogue>\n    <character>ANNA<\/character>\n    <parenthetical>( in a hoarse whisper . )<\/parenthetical>\n    <dialogue>Oh merd.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Oh, you spoke.<\/dialogue>\n    <character>ANNA<\/character>\n    <parenthetical>( A WHISPER . )<\/parenthetical>\n    <dialogue>I'm not supposed to.<\/dialogue>\n    <scene_description>She writes and present him with a new question .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>My father died two months ago, almost three.<\/dialogue>\n    <scene_description>She looks at him with sincere empathy and surprise . Oliver 's opened up , an now everything gushes out , he barely knows what he 's saying .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>He, he was gay.<\/dialogue>\n    <scene_description>She 's very surprised .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>He was gay the whole time they were married. He came out after my mother died and, uh. he was 75 years old.<\/dialogue>\n    <scene_description>There 's a quiet moment of deep connection .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Sorry.<\/dialogue>\n    <scene_description>She mouths `` No '' -LRB- do n't say sorry -RRB- . She reaches out and gently runs a finger across Oliver 's brow and the outline of his face , he 's so vulnerable , she lovingly\/mischievously squishes his face together and messes up his hair . Then she leans in , and they kiss for the first time - delicately .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( WHISPER . )<\/parenthetical>\n    <dialogue>Can we just sleep?<\/dialogue>\n    <character>OLIVER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Sure, sure.<\/dialogue>\n    <scene_description>They lay down , she takes his arm and pulls him into spooning her . He pulls the covers over them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - THE NEXT MORNING<\/stage_direction>\n    <scene_description>Oliver wakes , still in his clothes . ANNA is already up . She waves and Oliver smiles . Anna holds up her notebook : `` Who are you ? ''<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Oliver.<\/dialogue>\n    <scene_description>She writes again : `` Go to NY . Audition . Back Thursday . ''<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>How long are you here when you get back?<\/dialogue>\n    <scene_description>Anna holds up one finger .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>A year?<\/dialogue>\n    <scene_description>Anna shakes her head and smiles . She gestures smaller .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>A month? Right. And then?<\/dialogue>\n    <scene_description>She pantomimes a camera rolling , and herself acting .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>You're filming here. Acting.<\/dialogue>\n    <scene_description>Oliver smiles as he interprets her gestures .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>And after?<\/dialogue>\n    <scene_description>She makes a casual tossing motion with her hand .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Just somewhere else. Where?<\/dialogue>\n    <scene_description>Anna only shrugs . She writes more , and tosses the notepad on his lap . Oliver reads : `` Can I see you again ? '' He 's very happy .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Yes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL HALLWAY<\/stage_direction>\n    <scene_description>They walk down the long hallway , Oliver carries her bags , Anna holds onto Arthur 's leash . Oliver reaches out and holds her hand . They stop and kiss - gentle and comfortable with each other .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANNA'S HOTEL, RED HALLWAY - DAY<\/stage_direction>\n    <scene_description>Oliver now alone with Arthur - heading home , he 's happy . CU on his face as he remembers . REPEAT SCENE : Oliver and Anna 's first kiss , tentative and delicate . CUT TO PAST<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Oliver 's POV : Hal and Andy kiss lovingly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S KITCHEN - DAY<\/stage_direction>\n    <scene_description>Oliver 's POV : Andy comes up behind Hal doing the dishes , kisses him . Hal smiles very happy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Oliver 's POV : Andy kisses Hal in the Hospital . CUT TO PRESENT 10\/29\/07 25 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER HOUSE ENTRY WAY<\/stage_direction>\n    <scene_description>Oliver and Arthur enter his home , much more alive than the last time we saw him come through the door .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Hello house.<\/dialogue>\n    <parenthetical>( Low voice . )<\/parenthetical>\n    <dialogue>hello Oliver.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S DINING ROOM - DAY<\/stage_direction>\n    <scene_description>Oliver makes two piles of mail , one says Oliver Fields , one has a yellow forwarding sticker that says Hal Fields . The Hal Fields pile is much bigger .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Jesus, Pop, you get so much mail.<\/dialogue>\n    <scene_description>Oliver slows and stares at his father 's magazine - The Advocate . Two attractive , shirtless men on the cover under the title : America 's Sweethearts . Oliver 's lost in memory .<\/scene_description>\n    <character>DOCTOR LONG<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hal, its remarkable how well you've recovered from being on the ventilator.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S HOSPITAL ROOM<\/stage_direction>\n    <scene_description>Hal sit 's on top of his hospital bed , wearing one of his all black outfits , looking much healthier . A doctor sits on his bed , Oliver listens from the side .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>But?<\/dialogue>\n    <character>DOCTOR LONG<\/character>\n    <dialogue>The bronchoscopy revealed a mass about the size of a quarter. It is located in your lower right lung.<\/dialogue>\n    <scene_description>CU on Hal taking this in .<\/scene_description>\n    <character>DOCTOR LONG<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm afraid the biopsy showed it's cancerous.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Uh - huh. I see.<\/dialogue>\n    <character>DOCTOR LONG<\/character>\n    <dialogue>It appears to have spread. to the large hilar lymph nodes in your chest and liver. With the already weakened state of your heart and lungs.<\/dialogue>\n    <scene_description>As Dr. Long talks about treatments , Oliver drifts back from the conversation , slowly retreating to a window in the far corner , as we continue to hear Dr. Long speak , we see Oliver 's thoughts , fixating on `` a mass about the size of a QUARTER ''<\/scene_description>\n    <character>DR. LONG<\/character>\n    <parenthetical>( O.S. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Surgery is n't possible given its location. We can start radiation treatments and see if you're strong enough for Chemo. You will be able to go home.<\/dialogue>\n    <scene_description>SHOT OF A QUARTER ON BLACK SHOT OF TWO DIMES AND A NICKEL SHOT OF 5 NICKELS . SHOT OF 25 PENNIES . We cut back to Hal 's face , stoically digesting the news .<\/scene_description>\n    <character>DOCTOR LONG<\/character>\n    <dialogue>Do you have any questions?<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>No. Thank you.<\/dialogue>\n    <scene_description>As the doctor leaves . Oliver takes his father 's hand .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Well, let's not rush out and tell everyone.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Andy?<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>No need to get him up a tree.<\/dialogue>\n    <scene_description>Hal takes a moment and composes himself . In his eyes we can see that he knows there is an end to his life .<\/scene_description>\n    <character>HAL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Can you read me something?<\/dialogue>\n    <scene_description>Hal hands Oliver his Advocate magazine , he begins to read from `` Tough Guys Do Dance . ''<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>The Brazilian ballet star is already known not only as a skilled partner, but also as a gifted and versatile dancer, who adeptly fields roles ranging.<\/dialogue>\n    <scene_description>Camera tracks out of the room , leaving the two men alone . CUT TO PRESENT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S OFFICE - DAY<\/stage_direction>\n    <scene_description>SERIES OF CU JUMP CUTS : We see Oliver 's hands as he draws a series of silhouetted figures hanging from trees , others happily beheaded , all with talking bubbles that say , `` Let 's not rush out and tell everyone '' JUMP CUTS : Oliver draws another severed head , then a woman smoking next to the words , `` First lung cancer . '' JUMP TO LATER : Oliver tacks his drawings to the wall , looks at them . He looks down and pets Arthur , as we hear . CUT TO PAST<\/scene_description>\n    <character>OLIVER V.O.<\/character>\n    <dialogue>Yeah, he's fine. He sleeps on your bed.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>But is he eating?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S HOSPITAL ROOM<\/stage_direction>\n    <scene_description>Hal sits on his bed fully dressed , Oliver is visiting .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Yeah, yeah, he's eating.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Oh God, I worry so much about -<\/dialogue>\n    <scene_description>As Andy enters , his hands mysteriously cupped together .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Oh here we are.<\/dialogue>\n    <scene_description>Andy shows Hal his cupped hands .<\/scene_description>\n    <character>HAL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What have you got in there?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>A slug.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Oh, Andy, you ca n't bring that kind of thing in here.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Oh I can look.<\/dialogue>\n    <scene_description>Andy flashes open his hands , revealing nothing . He snorts and laughs .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Fuck you.<\/dialogue>\n    <scene_description>Oliver watches with amusement . NURSE SOPHIA enters .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>It's time for inspection.<\/dialogue>\n    <scene_description>The nurse works her way between Andy and Hal to take his pulse .<\/scene_description>\n    <character>NURSE<\/character>\n    <dialogue>Hello, Mr. Fields.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <scene_description>Andy feels interrupted , strangely hurt by the nurse . The nurse begins to take Hal 's vital signs .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>I'm Andy. Hal's boyfriend<\/dialogue>\n    <character>NURSE<\/character>\n    <dialogue>I'm Sophia.<\/dialogue>\n    <scene_description>Andy gets more and more upset .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>You know, I have the right to be here as much as anyone else.<\/dialogue>\n    <scene_description>Hal lovingly cuts him off , trying to ease the tension .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Go take a walk. Calm yourself.<\/dialogue>\n    <scene_description>Andy walks out , feeling embarrassed and rejected .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>What was all that?<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Oh, Andy has n't had it easy. Be nice to him.<\/dialogue>\n    <scene_description>To everyone 's surprise , Andy storms back in with a bouquet of flowers , dumps them on Hal 's chest , kisses him triumphantly and leaves again .<\/scene_description>\n    <character>HAL<\/character>\n    <parenthetical>( knowing he stole them . )<\/parenthetical>\n    <dialogue>Andy, where did you get these?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM NIGHT<\/stage_direction>\n    <scene_description>JUMP CUTS : Oliver helps a group of Hal 's gay friends and Andy get settled . They 're jovial , they come with drinks and flowers , the room gets very full . Oliver hands out cups , offers wine , Andy lifts his paper cup and makes a toast .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Guys, guys, this is to us. Cheers.<\/dialogue>\n    <scene_description>A NURSE suddenly enters .<\/scene_description>\n    <character>STRICT NURSE<\/character>\n    <dialogue>Drinking's not allowed in the room.<\/dialogue>\n    <scene_description>All the guys freeze .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Oh, it's not?<\/dialogue>\n    <scene_description>She shakes her head no , the party stops , she leaves . Oliver instinctively polite , starts packing up their cups .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <scene_description>Moans and complaints from the group .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>No, no, no. She's a wonderful nurse.<\/dialogue>\n    <parenthetical>( he pauses a beat , then raises his cup again . )<\/parenthetical>\n    <dialogue>Here's to health care.<\/dialogue>\n    <scene_description>Hal swigs back his wine . They all laugh , grab their cups and toast .<\/scene_description>\n    <character>EVERYONE<\/character>\n    <dialogue>To health care!<\/dialogue>\n    <scene_description>Hal looks happy , Oliver smiles but ca n't believe his dad .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>What did you do with my father? He was so polite.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Oh, I invited him - but he never returns my calls.<\/dialogue>\n    <scene_description>The guys drink merrily . Someone shoves a cup into Oliver 's hand , pours him a drink . CUT TO PRESENT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLD MELROSE BOOKSTORE - NIGHT<\/stage_direction>\n    <scene_description>Oliver , Elliott and Arthur are shopping in a very old and crowded used book store . Oliver picks up a stack of magazines as Elliott interrogates him .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Two, four, six, eight.<\/dialogue>\n    <character>ELLIOTT<\/character>\n    <dialogue>That's it? That's all you're gon na tell me?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>I'm gon na meet her at her hotel again. You happy?<\/dialogue>\n    <character>ELLIOTT<\/character>\n    <dialogue>Yeah, I'm very happy. Are you happy?<\/dialogue>\n    <scene_description>Oliver drops his books on the counter to check out .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( to shop owner . )<\/parenthetical>\n    <dialogue>Here's eight.<\/dialogue>\n    <scene_description>Turns to Elliot .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>We have n't actually had a conversation yet, so, you know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS NIGHT - CONTINUOUS<\/stage_direction>\n    <scene_description>The three are now in Oliver 's car .<\/scene_description>\n    <character>ELLIOTT<\/character>\n    <dialogue>You're thinking about her all the time.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>And you know that because?<\/dialogue>\n    <character>ELLIOTT<\/character>\n    <dialogue>Because you're not talking about it. I know you.<\/dialogue>\n    <scene_description>There 's a pause , then the truth .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>It's true. It's embarrassing. I'm 38 and falling for a girl again.<\/dialogue>\n    <scene_description>CUT TO PAST<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGIA'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>Georgia works at her writing table . Young Oliver , bored , watches her .<\/scene_description>\n    <character>OLIVER V.O.<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It's like I lost the instructions or I, I never had them.<\/dialogue>\n    <scene_description>Young Oliver walks up to Georgia .<\/scene_description>\n    <character>YOUNG OLIVER<\/character>\n    <dialogue>Where's Pop?<\/dialogue>\n    <character>GEORGIA<\/character>\n    <dialogue>At the museum.<\/dialogue>\n    <character>YOUNG OLIVER<\/character>\n    <dialogue>Is something wrong with you guys?<\/dialogue>\n    <scene_description>Georgia is startled , she hides her feelings with humor .<\/scene_description>\n    <character>GEORGIA<\/character>\n    <dialogue>What're you, in the FBI?<\/dialogue>\n    <character>YOUNG OLIVER<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>GEORGIA<\/character>\n    <dialogue>The CIA?<\/dialogue>\n    <character>YOUNG OLIVER<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>GEORGIA<\/character>\n    <dialogue>KGB?<\/dialogue>\n    <parenthetical>( Oliver shakes his head , no . )<\/parenthetical>\n    <dialogue>SLA?<\/dialogue>\n    <parenthetical>( no . )<\/parenthetical>\n    <dialogue>PTA?<\/dialogue>\n    <parenthetical>( no . )<\/parenthetical>\n    <dialogue>BMW?<\/dialogue>\n    <scene_description>Oliver sits silently .<\/scene_description>\n    <character>GEORGIA<\/character>\n    <dialogue>There is nothing wrong with me and Pop.<\/dialogue>\n    <scene_description>Georgia 's mask breaks revealing sadness . Oliver can see it , she can see he sees it . Georgia gets up and leads Oliver out of the room .<\/scene_description>\n    <character>GEORGIA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>C'mon.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHILDHOOD HALLWAY - DAY<\/stage_direction>\n    <scene_description>They stand in front of his bedroom door .<\/scene_description>\n    <character>GEORGIA<\/character>\n    <dialogue>When you feel bad, you go into a room and scream - loud as you want, for a minute or two, then it's out of you. It's called catharsis.<\/dialogue>\n    <scene_description>She opens the door , pushes him inside , and closes the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S CHILDHOOD ROOM - DAY<\/stage_direction>\n    <scene_description>Young Oliver pauses , confused in his room . He does n't scream .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHILDHOOD HALLWAY - DAY<\/stage_direction>\n    <scene_description>He comes back out . Sheepish .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>I do n't feel like screaming.<\/dialogue>\n    <scene_description>Georgia , never ruffled .<\/scene_description>\n    <character>GEORGIA<\/character>\n    <dialogue>You will.<\/dialogue>\n    <scene_description>CUT TO PRESENT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOLLYWOOD STREET - LATE AT NIGHT<\/stage_direction>\n    <scene_description>Oliver and Arthur watch from the car as Elliott gets a can of spray paint , heads to a blank wall across the street and sprays a large tag on a wall . He then runs back to the car , looks proudly at his work .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>What the fuck is that?<\/dialogue>\n    <character>ELLIOTT<\/character>\n    <dialogue>L - E - IT, Elliot<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Well, that's ridiculous.<\/dialogue>\n    <character>ELLIOTT<\/character>\n    <dialogue>I know!<\/dialogue>\n    <parenthetical>( Getting his criticism more . )<\/parenthetical>\n    <dialogue>You're not very supportive.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Well, its just copying something someone did, like, 30 years ago in the Bronx.<\/dialogue>\n    <character>ELLIOTT<\/character>\n    <dialogue>Well yeah. I'm part of a tradition of civil disobedience, something bigger than myself.<\/dialogue>\n    <scene_description>Oliver ca n't believe Elliott said that .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW STREET<\/stage_direction>\n    <scene_description>Elliott drives along - side Oliver who 's walking with a spray paint can , terrified as he 's never done this before . He tries to spray , nothing comes out .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>How does it work?<\/dialogue>\n    <character>ELLIOTT<\/character>\n    <dialogue>Shake it, you have to shake it.<\/dialogue>\n    <scene_description>Oliver shakes it awkwardly , then sprays across the wall : 1985 BUSH FINDS JESUS Oliver runs back to the car , exhilarated .<\/scene_description>\n    <character>ELLIOTT<\/character>\n    <dialogue>What was that?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Historical consciousness. you know, something bigger than myself.<\/dialogue>\n    <scene_description>Elliott scoffs .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Let's do it again.<\/dialogue>\n    <scene_description>Elliott drives off . Oliver 's coming to life .<\/scene_description>\n    <character>ELLIOTT<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Okay, but when you see her, do n't tell her that you painted historical consciousness on the wall.<\/dialogue>\n    <scene_description>WE SEE : more of Oliver 's graffiti on different buildings : 1983 CHICKEN MCNUGGETS 2003 BRITNEY SPEARS MOST GOOGLED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OLIVER'S HOUSE DAY<\/stage_direction>\n    <scene_description>Oliver exits his house alone , down his front stairs to the street . Halfway down , he hears now familiar sound of Arthur barking and howling . Oliver ca n't believe it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANNA'S HOTEL ROOM<\/stage_direction>\n    <scene_description>Anna is sitting on the bed , gently petting Arthur .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>He's sweet. He misses your Dad.<\/dialogue>\n    <scene_description>She stops . Gets up , nervous , and walks past Oliver into the next room . Oliver follows her in . They pause uncomfortably , Anna suddenly leans in and kisses him . Before it goes to far .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Maybe we, we could, um, just talk for a second.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Right.<\/dialogue>\n    <scene_description>They awkwardly break apart . Anna goes to a chair , Oliver follows . While nothing has really been expressed between the two , Anna seems to understand the problem .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Well, my name is Anna. You're worried you ca n't trust me because you do n't know who I am. I get it. That makes sense to me.<\/dialogue>\n    <scene_description>She falters , looks at him vulnerably . Oliver abruptly kisses her . She pushes back . They pause . She traces his brow slowly with her index finger , the way she did their first night . JELLY ROLL MORTON 'S `` SWEET JAZZ MUSIC '' PLAYS The music carries us , they lie in bed , naked . Anna innocently leans over and takes Oliver 's arm and bites down hard . He grimaces . She stops and kisses it , admiring her teeth marks . She gets up , sits at a side table and finds her cigarettes . Oliver watches her . The music seems to bend and slow down , this continues as we fall into memory . CUT TO PAST<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGIA'S BEDROOM<\/stage_direction>\n    <scene_description>CU on young Oliver 's hand pushing on a record making the bending , slowing sounds .<\/scene_description>\n    <character>GEORGIA<\/character>\n    <dialogue>Oliver, stop it.<\/dialogue>\n    <scene_description>Oliver stands up bored , Georgia 's in the connecting bathroom getting ready to go out .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>This music's old.<\/dialogue>\n    <character>GEORGIA<\/character>\n    <dialogue>It's black, black music is the deepest cause they suffered the most, them and the Jews.<\/dialogue>\n    <scene_description>Oliver plops down on the bed , listening to her .<\/scene_description>\n    <character>GEORGIA<\/character>\n    <dialogue>In my next life I'm gon na marry a good hot blooded Jew - someone full of emotion.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>I'm Jewish right?<\/dialogue>\n    <scene_description>Georgia comes and sits with him , caresses his hair as she talks with him .<\/scene_description>\n    <character>GEORGIA AT 50<\/character>\n    <dialogue>You're a quarter, I'm a half, your father's none. He has the least emotions, You'll have more emotions than him, but I'll have the most emotions.<\/dialogue>\n    <scene_description>She likes that she has the most emotions . They head out .<\/scene_description>\n    <character>GEORGIA AT 50<\/character>\n    <dialogue>You get to play chauffeur but just to the bottom of the hill.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OLIVER'S CHILDHOOD CAR<\/stage_direction>\n    <scene_description>10 year old Oliver 's in the driving sear , Georgia smokes and admires his handling of the car .<\/scene_description>\n    <character>GEORGIA<\/character>\n    <dialogue>You're turning into a wonderful driver.<\/dialogue>\n    <scene_description>Oliver 's proud .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LACMA ART MUSEUM STEPS DAY<\/stage_direction>\n    <scene_description>Oliver escorts Georgia up the large steps of the museum . The crowd from an opening gathers at the top .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAVID SMITH GALLERY LACMA DAY<\/stage_direction>\n    <scene_description>Georgia and Oliver approach a David Smith sculpture . After staring at it 's angels for a beat , Georgia begins to do an angular modern - dance - pantomime of the sculpture , imitating it 's shapes with her body . Oliver locks up with embarrassment . A confused and concerned museum guard approaches .<\/scene_description>\n    <character>SECURITY GUARD<\/character>\n    <dialogue>Excuse me Mrs. Fields.<\/dialogue>\n    <character>GEORGIA<\/character>\n    <dialogue>What? You're not allowed to interact with the art?<\/dialogue>\n    <character>SECURITY GUARD<\/character>\n    <dialogue>It's just that.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>C'mon.<\/dialogue>\n    <scene_description>Still embarrassed , Oliver takes Georgia 's hand and walks her away from the guard .<\/scene_description>\n    <character>GEORGIA<\/character>\n    <dialogue>You too? You like being a good citizen?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>CUT TO PRESENT 10\/29\/07 37 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANNA'S HOTEL ROOM - LATER<\/stage_direction>\n    <scene_description>Anna 's sits in her kimono . Oliver 's buttoning his shirt .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Can you toss me my camisole.<\/dialogue>\n    <scene_description>Oliver throws a sweater .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>No, my camisole.<\/dialogue>\n    <scene_description>She throws the sweater back at him . Oliver looks around helplessly . He grabs a flower out of a vase and hands it to her .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Camisole?<\/dialogue>\n    <scene_description>Anna laughs .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>You do n't know what a camisole is?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>I was brought up by these animals and they did n't like questions.<\/dialogue>\n    <scene_description>They 're both smiling now .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>They were very frowned upon. So I had to guess.<\/dialogue>\n    <scene_description>Anna takes this in .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>You can ask me anything.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Anything?<\/dialogue>\n    <scene_description>CUT TO : Oliver and Anna at the window .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>What's out there?<\/dialogue>\n    <scene_description>She points .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>That's a tree.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>And cars.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Uh - huh.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Another building like this one.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>People in the building like us. Half of them think things will never work out. The other half believe in magic. It's like a war between them.<\/dialogue>\n    <scene_description>Oliver smiles . He moves away from the window .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>How do you know so much about people?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Oh. Well, you have to learn how to read their faces.<\/dialogue>\n    <scene_description>She climbs onto his lap , straddles him .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>For example. here is mad.<\/dialogue>\n    <scene_description>Anna passes her hand across her face , and she 's `` mad '' .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Happy.<\/dialogue>\n    <scene_description>Her hand passes again and she 's `` happy '' .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Sometimes its just nothing.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Oh yeah?<\/dialogue>\n    <scene_description>She points at her blank face .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>This is nothing. And they are good at looking one way and being another way.<\/dialogue>\n    <scene_description>Her playfulness is very meaningful to Oliver , he 's in love . 10\/29\/07 39 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FREEWAY PEDESTRIAN OVERPASS<\/stage_direction>\n    <scene_description>They walk through a caged - in freeway overpass - Oliver is carrying Arthur while blindfolding Anna with his hands . Over this we hear the sounds of the quiet hotel room and an intimate conversation between them .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>You do n't know me. I like that.<\/dialogue>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>No, that's not true.<\/dialogue>\n    <character>ANNA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Oh yeah?<\/dialogue>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Yeah, you have blonde hair that goes down to about here. You smoke in non - smoking rooms.<\/dialogue>\n    <scene_description>Oliver is still covering her eyes , leading her to a certain point , the busy sound of the freeway fading up .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Okay, open your eyes.<\/dialogue>\n    <scene_description>HIGH ANGLE on huge trucks and traffic racing just beneath Oliver and Anna 's feet under the overpass . The trucks lay on their horns as they pass , scaring and thrilling them . MOMENTS LATER : they walk alongside the LA river together , arm in arm , happy . The intimate conversation continues in voice over .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Oh yeah? You drive on the sidewalk. You were raised by animals. Sometimes you look very alone, like you just got here.<\/dialogue>\n    <scene_description>They meet up with friends on the banks of the river .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Yeah, you see, you do n't know me at all.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANNA'S HOTEL HALLWAY<\/stage_direction>\n    <scene_description>Oliver and Arthur are leaving , walking down the long hallway together . Arthur seems to stop and look up at Oliver .<\/scene_description>\n    <character>ARTHUR SUBTITLE<\/character>\n    <dialogue>She's unlike any girl I've ever met.<\/dialogue>\n    <scene_description>Oliver stops and looks at Arthur .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Someone flashy walks into your life and you're just gon na fall for it?<\/dialogue>\n    <character>ARTHUR SUBTITLE<\/character>\n    <dialogue>Are we married yet?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>No, uh, it does n't work like that. There are other steps, it's complicated.<\/dialogue>\n    <scene_description>They look at each other a beat and then walk on together .<\/scene_description>\n    <character>ARTHUR SUBTITLE<\/character>\n    <dialogue>I hope this feeling lasts.<\/dialogue>\n    <scene_description>CUT TO PAST<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S HOSPITAL BATHROOM - DAY<\/stage_direction>\n    <scene_description>Oliver is shaving Hal 's face .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>What happened with Michelle?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>You know. I do n't know.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>She seemed great.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>She was great.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Maybe you should take out a personal ad, where you explain your situation?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>My situation?<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Yeah, I mean, you want to be in a relationship but you ca n't stay in one.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>That's your fatherly advice? Personal ads?<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Well, a lot of people use them. I did.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>If Andy was n't going to be monogamous, why should I be?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Jesus, Pop.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Jesus yourself.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL FIELD'S HOUSE- DAY<\/stage_direction>\n    <scene_description>Hal 's friends hold up a hand - made `` WELCOME HOME '' sign in the living room . Oliver helps Hal walk to his crew , Andy at the center holding Arthur .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Hello house.<\/dialogue>\n    <parenthetical>( Answers back in deep voice . )<\/parenthetical>\n    <dialogue>Hello Hal.<\/dialogue>\n    <scene_description>Andy holds Arthur . Hal and Arthur kiss . They 've clearly missed each other . JUMP CUTS : Oliver takes bottles of pills and syrups and inhalers out of a Sav - On bag . He makes a chart of the medicine , the dosage , and puts the pills in a dish . It 's emotional job for him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S DINING\/KITCHEN<\/stage_direction>\n    <scene_description>Oliver watches as Andy sneaks up behind Hal with his hands cupped closed . Hal turns and smiles .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Oh God, what have you got this time?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>It's a green caterpillar.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>No, no, no, you do n't have a green caterpillar.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Oh yeah I do.<\/dialogue>\n    <scene_description>Andy opens his hands to reveal he actually does have a green caterpillar .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Oh my God. Gross! Oh, Jesus.<\/dialogue>\n    <parenthetical>( LAUGHING . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Andy puts the caterpillar down on the saucer of Hal 's tea cup , gives him a big kiss , and starts to leave .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Hey, you going?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Yeah, Michael's in town.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Oh. Right.<\/dialogue>\n    <scene_description>Andy waves goodbye and leaves . Hal is sad but covering it up . He catches Oliver watching .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>I thought he was your boyfriend?<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Well, at least I'm the number one boyfriend.<\/dialogue>\n    <scene_description>Hal grimaces in pain , doubles over .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Pop.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Oh, my stomach.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Alright, come on. Come on.<\/dialogue>\n    <scene_description>Oliver tries to clear the couch of books and dogs for Hal to sit down .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Arthur, down.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Well, let's say, when you were little, you always dreamed of some day getting a lion?<\/dialogue>\n    <scene_description>Oliver eases Hal down onto the couch .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>And you wait and you wait and you wait and you wait and the lion does n't come. Then along comes a giraffe.<\/dialogue>\n    <scene_description>Oliver helps Hal get his feet up .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>You can be alone or you can be with the giraffe.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>I'd wait for the lion.<\/dialogue>\n    <scene_description>Oliver grabs the oxygen tubes and puts them on Hal 's face .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>That's why I worry about you.<\/dialogue>\n    <scene_description>Hal looks at Oliver with love and concern . CUT TO PRESENT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S OFFICE - DAY<\/stage_direction>\n    <scene_description>CU on Oliver 's hands as he writes `` THE HISTORY OF SADNESS '' . CUT TO him drawing an explosion with the caption : `` EARTH BEGINS -LRB- SADNESS NOT YET INVENTED -RRB- '' . He draws a man and a woman with the caption : `` FIRST COUPLE TO MARRY FOR WRONG REASONS . '' He draws a spilled glass - `` INVENTION OF ALCOHOL , ANCIENT EGYPT . '' He draws a man 's face and torso : `` FIRST GAY MAN ACCUSED OF BEING MENTALLY ILL. '' He draws a man labelled `` PRESENT '' having been crushed by a giant boulder labelled `` PAST . '' Oliver stops drawing , thinking of a conversation with his father . CUT TO : Hal on his couch -LRB- previous scene -RRB- talking to Oliver .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>You want me to be with someone like me. I like Andy cause he's not like me. he's fun.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANNA'S HOTEL HALLWAY<\/stage_direction>\n    <scene_description>Arthur runs down the hotel hallway , followed by Oliver , they come to a corner and Anna jumps out , scaring them , they laugh and continue on together . 10\/29\/07 44 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MELROSE BOOK STORE NIGHT<\/stage_direction>\n    <scene_description>Oliver and Anna are in the overcrowded used book store we saw earlier . Oliver sees her down the aisle .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Hey, what did you get?<\/dialogue>\n    <scene_description>She puts the cover of Liv Ullman 's `` Changing '' over her face - Ullman 's face on the cover becomes Anna 's .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Liv Ullman. Very serious.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>And I found this crazy book.<\/dialogue>\n    <scene_description>She holds an old copy of THE JOY OF SEX in front of her face .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>That's kind of a classic American thing.<\/dialogue>\n    <scene_description>Anna opens the book to a large drawing of a couple having sex .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Maybe we can figure out some classic American things to do.<\/dialogue>\n    <scene_description>Oliver takes the book and flips through the pages .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Yeah, Like page 75?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Uh - huh.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Or 75 all the way through, through 80.<\/dialogue>\n    <scene_description>LATER . Oliver , Anna and Arthur sit at the end of an aisle looking at a book on `` Old Hollywood '' . The book has a photo of Louise Brooks from the Twenties .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( READING . )<\/parenthetical>\n    <dialogue>Louise Brooks, star of silent screen. effectively banned from Hollywood in early Thirties, ended up working as a salesgirl at Saks Fifth Avenue.<\/dialogue>\n    <scene_description>Anna listens . Oliver turns the page , we see a photo of Veronica Lake .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Veronica Lake.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Oh I love her.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>She was a pin - up model and a film star. Success was short - lived. series of broken marriages. She struggled with mental illness and alcoholism. She died of hepatitis at the age of 53.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>All these actor stories end sad. I can tell you that already. It's not a good life.<\/dialogue>\n    <scene_description>Oliver closes the book , they share a look , and something vulnerable . Anna changes the mood , pulls out The Joy Of Sex , skips through the pages as she talks .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So. Now I want real Mexican food.<\/dialogue>\n    <scene_description>She stops on an illustration she likes .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And I want to try page. 46.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET TACO TRUCK - NIGHT<\/stage_direction>\n    <scene_description>Oliver , Anna and Arthur walk up to a typical L.A. Taco truck on the side of the street . There is nothing fancy looking about it .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>It's really good.<\/dialogue>\n    <scene_description>JUMP CUT : They 're sitting on milk crates by the truck , ready to take their first bite , Anna dives in un - selfconsciously , we 're not sure what she thinks .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>It's so good.<\/dialogue>\n    <scene_description>Oliver 's so relieved .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>It's good? Oh, I was n't sure you'd like it.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>You're an actress and staying in that fancy hotel.<\/dialogue>\n    <scene_description>Anna can barely swallow her huge bite .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>I like this place.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANNA'S HOTEL ROOM<\/stage_direction>\n    <scene_description>They lie on the bed , continuing their conversation , side by side , looking up at the ceiling together .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>I used to love hotels. But now I'm always in a new apartment or. in another hotel somewhere.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>How do you keep hold of friends. or boyfriends?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>It makes it very easy to end up alone - to leave people.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>You can stay in the same place and still find ways to leave people.<\/dialogue>\n    <scene_description>She reaches up with her hand , their fingers intertwine .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>You are like that? Its what you do?<\/dialogue>\n    <scene_description>Oliver nods yes . They know each other much better than either one knew .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>So we are the same?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Yeah, I guess so.<\/dialogue>\n    <scene_description>The look to each other . CUT TO PAST<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S HOUSE - OLIVER'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Thumps and loud 1920 's music wakes Oliver in the middle of the night . He turns the lights on , discombobulated . He gets up , works his way through the dark house . Turning on lights .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Pop?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Hal 's awake , he 's taken down dozens of books from a wall to wall bookshelf . A huge physical task . MARIA a nurse is with him . Oliver 's dumbfounded .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Oh, did I wake you? Yeah.<\/dialogue>\n    <parenthetical>( Handing Maria some books . )<\/parenthetical>\n    <dialogue>Thank you Maria.<\/dialogue>\n    <parenthetical>( to Oliver . )<\/parenthetical>\n    <dialogue>And now that you're here, uh, would you please put those up there?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>What are you -? Pop. What?<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>I'm reorganizing.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Prednisone makes you crazy.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>I'm just not sleepy. I feel great.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S OFFICE<\/stage_direction>\n    <scene_description>Oliver and Hal are sitting at either side of his desk , Arthur is in hal 's lap . The sound from last scene bleeds over .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Pop, you should rest.<\/dialogue>\n    <scene_description>Hal looks sick but energized , he shuffles his desk of papers .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>As soon as I finish these papers. Right, papers?<\/dialogue>\n    <parenthetical>( In a different voice . )<\/parenthetical>\n    <dialogue>Right, Hal. As soon as you're done, you can rest.<\/dialogue>\n    <scene_description>Oliver can only sit and worry . CUT TO PRESENT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ELYSIAN PARK<\/stage_direction>\n    <scene_description>Anna , Oliver and Arthur are walking in Elysian park , a view of downtown behind them . Oliver 's looking at her face , she notices .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Nothing, you're pretty.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Jewish girls are not pretty. They can be `` interesting'', or cute, but not pretty.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>You're kidding right?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>That's what my mom told me.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>She did not.<\/dialogue>\n    <scene_description>Anna laughs . As Anna continues to explain , the sound begins to fade down .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>No, you're right, this girl at school told me that. And I went home and my mom said, ` Anna, who told you that?<\/dialogue>\n    <scene_description>And Oliver 's narration fades in over them walking .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>This is what it looks like when Anna tells me about being Jewish in 2003. And when I tell her that my mother was Jewish. And then my father turned in his gay badge when my mother turned in her Jewish badge. And they got married in 1955.<\/dialogue>\n    <scene_description>CUT TO NARRATED SEQUENCE PHOTOS OF GEORGIA IN 1938 , F.D.R. , BUSINESS MEN .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>My mother did n't know she was Jewish until she was 13. It was 1938. This is what people looked like.<\/dialogue>\n    <scene_description>THEN LIONS AND GIRAFFES FROM 1938 . THEN ADOLF HITLER ON TIME MAGAZINE COVER .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And lions and giraffes. This man was Man of the Year.<\/dialogue>\n    <scene_description>THEN GEORGIA 'S FATHER IN 1938 , GEORGIA 'S SWIM TEAM PHOTO .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Her father tried to hide that they were Jewish. This is the swim team that asked her to leave once they discovered that she was Jewish.<\/dialogue>\n    <scene_description>THEN A QUICK SERIES OF ANGLO LOOKING FEMALE MODELS AND PIN - UP 'S FROM 1938 .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>This is what pretty looked like in 1938.<\/dialogue>\n    <scene_description>NOW A STILL PHOTO OF HAL IN 1938 .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>My father realized he was gay when he was 13. It was 1938.<\/dialogue>\n    <scene_description>THEN A SERIES OF PHOTOS OF MALE MODELS IN SWIM SUITS AND EXERCISING .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>This is what pretty looked like.<\/dialogue>\n    <scene_description>THEN PHOTOS OF THEIR HIGH SCHOOL , G.I. 'S FROM W.W. 2 , AND JAMES DEAN . This is the high school where they first met . This is the war they both went to . And this man was popular when they met again . NOW A PHOTO OF A PUBLIC RESTROOM .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>This is the only place my father could hide and have sex in the Fifties.<\/dialogue>\n    <scene_description>NOW HISTORICAL FILM FOOTAGE OF GAY MEN BEING BUSTED BY THE VICE SQUAD IN THE 1950 'S AND BEING LOADED INTO PATTY - WAGONS .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>My father said if you got caught my the Vice Squad you could lose everything. This is everything.<\/dialogue>\n    <scene_description>A RAPID - FIRE SEQUENCE OF FACES AND PEOPLE FROM 1950 'S ADVERTISEMENTS - EVERYONE HAPPY AND ENJOYING THEIR CARS , FAMILIES , MEALS AND HAIR PRODUCTS . NOW A STILL PHOTOGRAPH OF A PSYCHIATRISTS COUCH .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>My father laid down on a couch like this and told the psychiatrist all his problems in 1955. The doctor told him that homosexuality was a mental illness, but it could be cured.<\/dialogue>\n    <scene_description>AND THEN A MEDICAL MODEL OF A HUMAN BRAIN .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Not everyone got cured.<\/dialogue>\n    <scene_description>A MAP OF 1950 'S LA , WITH SMALL ARROW POINTING TO THEIR HOME<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>This is where my parents lived in 1955.<\/dialogue>\n    <scene_description>ANOTHER ARROW SUPERS ON VERY CLOSE TO THEIR HOME . TITLE : THE MATTACHINE SOCIETY<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And this is the home where the first gay rights group was secretly meeting.<\/dialogue>\n    <scene_description>NOW A STILL PHOTO OF AN EMPTY CHURCH FROM THE 1950 'S .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>While they were reciting their vows, here in this church.<\/dialogue>\n    <scene_description>AND THEN A STILL FROM ALLEN GINSBERG 'S 1955 APARTMENT .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Allen Ginsburg was writing his famous poem, Howl, blocks away in this room.<\/dialogue>\n    <scene_description>AS WE SLOWLY ZOOM INTO GINSBERG 'S APARTMENT , HISTORICAL RECORDING OF HIM READING HOWL FADES UP AND OVER THE NEXT SCENE .<\/scene_description>\n    <character>ALLEN GINSBERG<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Who let themselves be fucked in the ass by saintly motorcyclists and screamed with joy. Who blew and were blown.<\/dialogue>\n    <scene_description>CUT TO PRESENT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S OFFICE - DAY<\/stage_direction>\n    <scene_description>GINSBERG 'S READING CONTINUES OVER : Oliver flips through a mock - up he made for `` The Sads '' - it 's all the happy faces from 1950 's advertising that we saw in the last scene . One face per - panel . LATER : the three members of `` The Sads '' and a RECORD COMPANY REP arrive . Jelly Roll Morton piano plays , we see but do not hear the meeting take place . The Sads look at the designs , which include many of the `` History Of Sadness '' drawings we have seen now in CD cover format - and no portraits of the band . It 's clear that The Sads are not into Oliver 's work . CUT TO : After the meeting , the RECORD COMPANY REP talks to Oliver alone .<\/scene_description>\n    <character>RECORD COMPANY LADY<\/character>\n    <dialogue>Just do the portrait of them, it's an album cover, right? That's what they want. Yeah?<\/dialogue>\n    <scene_description>Oliver 's very disappointed but polite .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Yeah. Right.<\/dialogue>\n    <character>CUT TO:<\/character>\n    <dialogue \/>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT OFFICE BUILDING - CONTINUOUS<\/stage_direction>\n    <scene_description>Oliver and Arthur leave the office , defeated . CUT TO PAST<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Oliver walks into Hal 's living room , carrying his full tray of medication .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Here, Pop.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Oh, God.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>I know, I know. Come on.<\/dialogue>\n    <scene_description>Hal begins taking his many pills , with each one he pings his glass with a teaspoon as he swallows . The room is cluttered with books . Oliver picks up a toppling pile of files from a paper - filled side table .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Hey, no, no, no. That's the Gay Pride Day stuff. Just leave those.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Alright.<\/dialogue>\n    <scene_description>Oliver begins to neaten a messy pile of books on top of a chair .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>And that's for gay book club. You better leave those too.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>But what about this chair? Is it gay?<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>The chair's not gay. Obviously.<\/dialogue>\n    <scene_description>Hal gets up and walks to the kitchen , his oxygen cannon cord is attached to the pump behind him , stopping him short .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Pop, Pop, the cord wo n't go that far.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Oh, to hell with it.<\/dialogue>\n    <scene_description>Hal pulls off the oxygen and keeps walking , frail but determined . Andy enters with a large pilates ball .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Oh, hey what's that?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Now that you're out of the hospital, you'll have to exercise, get you back into shape.<\/dialogue>\n    <scene_description>Oliver ca n't believe it .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>That's a great idea.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Okay, let's try it. I'll, I'll show you how.<\/dialogue>\n    <scene_description>Hal 's still heading to the sink .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Yeah, later on, I'm gon na make myself some tea.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Okay, I'll clean it up. It's a little - yech.<\/dialogue>\n    <scene_description>Andy walks out , Hal pours water into a kettle , in front of him on the window sill is the same vase from the first scene of the film , with some dead daisies in it .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Your mother's vase needs some flowers.<\/dialogue>\n    <scene_description>Oliver looks at them frustrated and uneasy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAPLES - DAY<\/stage_direction>\n    <scene_description>Oliver and Hal walk amongst all the products . Hal wears his portable oxygen and grabs different kinds of papers , dumping them in the basket Oliver holds .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Pop, you just got out of the hospital, you should take it easy.<\/dialogue>\n    <scene_description>They 're in a new isle , Hal continues his march .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>You need to tell Andy that you're. not well.<\/dialogue>\n    <scene_description>Hal , continues on , avoiding looking at Oliver .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>You'll tell him, wo n't you?<\/dialogue>\n    <scene_description>Oliver 's flabbergasted , but his dad 's vulnerability is clear to him .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Me?<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Please?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S GUEST HOUSE - DAY<\/stage_direction>\n    <scene_description>Andy 's on an elliptical trainer , through a window we can see Oliver approaching with the weight of the world on his shoulders . Andy see 's him , can immediately sense that something is wrong .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>Oliver approaches seriously , this makes Andy nervous , he stops his workout . Oliver tries to find his words .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>You know that I tried to have sex with women?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Yeah. I wanted you to know I tried, it just, it did n't work.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Hey, I do n't have a problem with gay guys.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Have you ever had sex with a man?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>I heard that if a man has n't had sex with another man, he's always afraid of gay men. You know, they're a threat.<\/dialogue>\n    <scene_description>Oliver 's blown away by the logic .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>I do n't know Andy.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>I did n't want you to feel threatened, I do n't want to have sex with you. What I do, most people would n't even call it sex.<\/dialogue>\n    <scene_description>Andy 's relieved he got this off his chest , all tension is relieved for him , Oliver is just confused .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Okay, okay.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>Andy gives Oliver a big sweaty hug . Oliver leaves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S KITCHEN - CONTINUOUS<\/stage_direction>\n    <scene_description>Oliver enters as Hal 's finishing the dishes .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>I could n't tell him.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>That's okay.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>No it's not. You ca n't hide this from him. He loves you.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>For someone with so much relationship advice, you seem awfully alone.<\/dialogue>\n    <scene_description>Oliver , angry but at a loss for words , takes the flower vase and leaves , Arthur follows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAL'S HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Oliver and Arthur exit a side door , go to a planter full of daisies and cuts some for his mother 's vase . He looks back Arthur .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Just act natural. When he's not looking, we'll make a run for it, okay?<\/dialogue>\n    <scene_description>CUT TO PRESENT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRIFFITH PARK<\/stage_direction>\n    <scene_description>We cut to Arthur sprinting up a trail in Elysian park . Oliver and Anna chase after him . In contrast to the previous scene there is lightness and laughter here .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANNA'S HOTEL ROOM NIGHT<\/stage_direction>\n    <scene_description>The three enter , the phone is ringing , Anna is staring at it with dread . Oliver looks at her , he finally moves to pick it up .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Do n't, do n't.<\/dialogue>\n    <scene_description>It keeps ringing .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>It's my dad.<\/dialogue>\n    <scene_description>They both watch the phone as it rings and stops .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>He's that bad?<\/dialogue>\n    <scene_description>She picks up the phone , and gestures for Oliver to pick up the line next to him .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'll be my dad, you be me.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue \/>\n    <character>OK.<\/character>\n    <dialogue>says.<\/dialogue>\n    <character>ANNA<\/character>\n    <parenthetical>( In a deep man 's voice . )<\/parenthetical>\n    <dialogue>Honey?<\/dialogue>\n    <scene_description>She gestures again , Oliver picks up the phone on his side of the bed . Anna turns away , he can only see her back across the bed . He turns away too .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Oui?<\/dialogue>\n    <scene_description>Anna continues to talk in a different voice .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>C'est toi, cheri?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Oui Papa.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>You never call me back.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>You know, I ca n't stop thinking about, you know, about it. Doing it.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Doing what?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Killing myself. You are the only one I can tell that to.<\/dialogue>\n    <scene_description>Oliver breaks role , turns around looks at her .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>You should tell mom about that, not me.<\/dialogue>\n    <scene_description>She just looks at him . Back into phone .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>You are my girl.<\/dialogue>\n    <scene_description>They hang up . She 's embarrassed , she lightens the mood to get out of this intimacy .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Now I have to kill you.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Just as it was going so well.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I know. I'm sorry.<\/dialogue>\n    <scene_description>She tosses a pillow over his face and pretends to shoot him twice . She pulls the pillow back tentatively , he 's smiling .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Hey Anna?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Hey Oliver?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>How do you feel about vandalism?<\/dialogue>\n    <scene_description>It 's the last question she thought he 'd ask . She 's amused .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>I do n't know. Pretty okay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOS ANGELES STREETS\/INT. CAR - NIGHT<\/stage_direction>\n    <scene_description>Anna , Oliver , Elliott , Shauna and Arthur drive up Sunset Blvd. . They arrive at Alvarado , park and get out . Above them a well lit large blank\/white billboard . As Oliver and Elliott get spray paint cans from the back of the car .<\/scene_description>\n    <character>ELLIOTT<\/character>\n    <dialogue>Oliver, do n't write any of that serious stuff, okay? Just write something funny. Girls like funny.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOP<\/stage_direction>\n    <scene_description>The gang get to the top of the stairs , on to the roof where they can see the large blank billboard towering in front of them .<\/scene_description>\n    <character>SHAUNA<\/character>\n    <dialogue>You know what? Here, give me Arthur. We'll just stay here and get arrested. You know, that's good.<\/dialogue>\n    <scene_description>Oliver leaves Arthur with her , and Anna and Elliott and him head off to the billboard . They climb it 's structure , it 's high and a bit scary . On the top is a gang plank looking over the city . Anna is happy she came . Elliott goes to paint the back side of the billboard . Oliver meets up with Anna , over looking the city .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Yeah. I'm gon na stay here with my new friend.<\/dialogue>\n    <parenthetical>( the handrail she holds . )<\/parenthetical>\n    <dialogue>.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Oliver walks out and writes big letters across the billboard . YOU MAKE ME LAUGH BUT IT 'S NOT FUNNY . He makes his way back . Anna 's not where she was , he looks and finds her in the gangways between the two billboards with a view to downtown below her .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>C'est beau ici.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>He comes to her , wanting to get beyond the romance somehow .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>I'm trying to impress you.<\/dialogue>\n    <character>ANNA<\/character>\n    <parenthetical>( Gasps ironically . )<\/parenthetical>\n    <dialogue>Really?<\/dialogue>\n    <scene_description>She walks to him and puts her hands around his head , somehow it 's more intimate and vulnerable now .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>It's working.<\/dialogue>\n    <scene_description>They kiss . MOMENTS LATER . They 're at the bottom of the ladder . They all run back to their car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANNA'S HOTEL - NIGHT<\/stage_direction>\n    <scene_description>Oliver , Anna and Arthur walk down the hallway . Arthur bolts ahead suddenly , getting free of Oliver , he runs to and OLD MAN - wearing all black and looking just like Hal . Oliver runs up to stop Arthur .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Arthur, Arthur. I'm sorry.<\/dialogue>\n    <scene_description>We see the old man 's face , it 's not Hal , but it the resemblance hits Oliver too . The man is struggling with his hotel key card .<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>Oh. No problem. No problem. What's with this card?<\/dialogue>\n    <character>OLIVER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Uh, do you mind?<\/dialogue>\n    <scene_description>Oliver swipes the man 's key , the door opens .<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>He disappears . Oliver looks overwhelmed by this ghost . Anna senses what 's happened . She leads Oliver to their room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANNA'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Oliver sits on the bed , sinking . Anna watches him . She comes to him , hugs him .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>He looked like your dad?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>She wants to take care of him , she lays him back on the bed , helps him take his coat off , she 's sitting on him , caressing him - Oliver is overwhelmed by memory .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Somewhere along the line, he stopped admitting to himself that he was sick.<\/dialogue>\n    <scene_description>CUT TO PAST<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - DAY<\/stage_direction>\n    <scene_description>1 . Camera tracks with Oliver helping Hal into the Cancer Center . Hal is full of life . SAME ANGLE TWO MORE TIMES , DIFFERENT DAYS , DIFFERENT CLOTHES AND EXTRAS . 2 . Hal arrives at the cookie plate in the Cancer Center Lobby . SAME ANGLE TWO MORE TIMES , DIFFERENT DAYS , DIFFERENT CLOTHES AND EXTRAS . 3 . CU on the cookie plate . SAME ANGLE TWO MORE TIMES , DIFFERENT DAYS , DIFFERENT COOKIES . 4 . Hal sits happily eating his cookie . He is chipper , alive , without self - pity . SAME ANGLE TWO MORE TIMES , DIFFERENT DAYS , DIFFERENT CLOTHES AND COOKIES .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RADIATION ROOM<\/stage_direction>\n    <scene_description>Hal looks into camera -LRB- Oliver 's perspective -RRB- as he pulls his shirt off , the radiation machine is in the background . Hal grandly introduces Oliver to the Technician .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Oliver, this is Blake. He's a wonderful man.<\/dialogue>\n    <scene_description>CU of the small round registration tattoos on Hal 's chest<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Look. I finally got a tattoo. Registration purposes of course.<\/dialogue>\n    <scene_description>CUT BACK TO PRESENT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANNA'S HOTEL ROOM<\/stage_direction>\n    <scene_description>Anna still straddles Oliver , she 's moved by his story .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Good for him.<\/dialogue>\n    <scene_description>CUT BACK TO PAST Oliver continues to tell Anna about Hal .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COUNTERPOINT BOOKSTORE<\/stage_direction>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He did a lot of shopping. Bought all these books.<\/dialogue>\n    <scene_description>SAME ANGLE AND LOCATION , JUMP CUT THROUGH 3 DIFFERENT DAYS OF HAL LOOKING FOR BOOKS . JUMP CUT THROUGH 3 DIFFERENT SETS OF BOOKS BEING PUSHED TOWARDS THE CASH REGISTER .<\/scene_description>\n    <character>OLIVER V.O.<\/character>\n    <dialogue>And new clothes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MENS CLOTHING STORE DRESSING ROOM.<\/stage_direction>\n    <scene_description>SAME ANGLE , MENS DRESSING ROOM , 3 DIFFERENT DAYS , OLIVER BRINGS DIFFERENT CLOTHES TO HAL IN THE DRESSING ROOM .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAPLES STYLE STORE - DAY<\/stage_direction>\n    <scene_description>Hal buying more and more paper , Oliver helping him .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He was obsessed with Staples.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NURSERY<\/stage_direction>\n    <scene_description>JUMP CUT THROUGH TWO DIFFERENT DAYS , OLIVER HELPS HAL BUY PLANTS .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He bought a lot of plants.<\/dialogue>\n    <scene_description>CUT BACK TO PRESENT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANNA'S HOTEL ROOM<\/stage_direction>\n    <scene_description>Oliver 's very emotional now , as is Anna .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>He had a lot of parties.<\/dialogue>\n    <scene_description>CUT TO PAST<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Oliver arrives at Hal 's , there is a party going on , Oliver is surprised , he carries groceries with him .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Well, glad you could make it.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>I thought I was making dinner?<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>It's movie night.<\/dialogue>\n    <scene_description>Oliver and Hal make their way through a crowd of Hal 's gay friends . They 're in party mode .<\/scene_description>\n    <character>PARTY GUEST<\/character>\n    <dialogue>Hal, you look wonderful.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Oh, I'm turning the corner on this thing.<\/dialogue>\n    <scene_description>We loose Hal and Oliver in the group .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S DINNING ROOM - ANOTHER DAY<\/stage_direction>\n    <scene_description>Twelve of Hal 's gay friends sit around the table in an assembly line of paper folding - envelope stuffing - labeling , stamping .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He had these political letter writing parties, there was an out gay congressman he was supporting.<\/dialogue>\n    <scene_description>Hal leads the guys as they put the letters together .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S HOUSE (BACK TO MOVIE NIGHT PARTY)<\/stage_direction>\n    <scene_description>BACK TO Oliver and Hal , arriving in the kitchen with the groceries .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He started telling everyone that he was getting better.<\/dialogue>\n    <scene_description>They 're finally almost alone .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Why're you telling them you're `` turning the corner''?<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Well.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>You have stage 4 cancer?<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>It's not as bad as it sounds.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Pop. There is no stage 5.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>That's not what it means.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>What does it mean?<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>It just means it's been through 3 other stages.<\/dialogue>\n    <scene_description>Oliver does n't know what to say , he looks through the door at all of Hal 's friends - happy , laughing , partying . He looks back at Hal , ready to fight him more , but for the first time we can see fear and doubt in Hal 's face .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>What movie are we watching?<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>`` The Life of Harvey Milk.'' He was the first openly gay politician.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Yeah I know who Harvey Milk is.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Good, good.<\/dialogue>\n    <scene_description>Hal heads back to the party , leaving Oliver alone in the kitchen overwhelmed . MOMENTS LATER : Everyone is crowded onto the couches , they 're watching the Harvey Milk film .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S OFFICE<\/stage_direction>\n    <scene_description>Hal paces and dictates to a secretary .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He hired a secretary that he could dictate to.<\/dialogue>\n    <scene_description>LIVE ACTION PORTRAIT OF THE SECRETARY LOOKING INTO CAMERA .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>He wrote an essay about religion.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S DINNING ROOM - ANOTHER DAY<\/stage_direction>\n    <scene_description>Hal works with his secretary as Oliver looks on . Hal pulls the lap - top to himself and reads what he has dictated .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Eventually Jesus grew old. He could no longer walk far and he could no longer preach in a loud voice. One day he announced to his apostles that he was departing. The three disciples prayed with him, gave him water, bathed and fed him. After gasping for breath for several days, one morning, just as dawn came, Jesus passed away.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>You re - wrote Jesus' death?<\/dialogue>\n    <scene_description>They all laugh .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>It was so violent, we need new stories.<\/dialogue>\n    <scene_description>Oliver goes over and kisses Hal on the head .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S LIVING ROOM<\/stage_direction>\n    <scene_description>Oliver enters and sees Hal and Andy taking a nap together on the day bed . Hal wakes up and waves at Oliver .<\/scene_description>\n    <character>OLIVER V.O.<\/character>\n    <dialogue>For the first time I saw him really in love.<\/dialogue>\n    <scene_description>Oliver waves back at his father .<\/scene_description>\n    <character>ANNA V.O.<\/character>\n    <dialogue>He sounds amazing. But that must have been crazy for you.<\/dialogue>\n    <scene_description>CUT TO PRESENT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANNA'S HOTEL ROOM<\/stage_direction>\n    <scene_description>Anna hugs and kisses Oliver . She 's both overwhelmed by his need and sympathetic to all that he 's lost . LATER THAT NIGHT : The room is dark , Oliver is asleep . Anna is nervously awake . She quietly gets out of bed , puts her pants on , and sneaks to the door . Arthur wakes up and hops to her wanting to follow .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Stay here.<\/dialogue>\n    <scene_description>She starts to close the door , Arthur scratches , she tries again , he scratches . She opens the door , Arthur trots out into the hallway - Anna catches up with him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL HALLWAY<\/stage_direction>\n    <scene_description>A troubled Anna walks down the hallway with Arthur .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL BALLROOM<\/stage_direction>\n    <scene_description>A dark empty ballroom , filled with tables . Anna sits in the dark and smokes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM<\/stage_direction>\n    <scene_description>Oliver wakes up , slowly figures out that Anna is not in bed .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Anna?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL HALLWAY<\/stage_direction>\n    <scene_description>Oliver , now in clothes , sleepily looks for Anna . 10\/29\/07 66 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL BALLROOM<\/stage_direction>\n    <scene_description>Oliver enters the ballroom , Arthur trots to him . He see 's Anna across the room - full of heavy feelings . He sits by her .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>I could n't sleep, I wanted to walk around.<\/dialogue>\n    <scene_description>Oliver 's petting Arthur . He 's confused and hurt .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>You've lost so much. What if I ca n't make up for that?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>If this is too much, then we should just stop.<\/dialogue>\n    <scene_description>Oliver gets up and starts to leave , Anna 's surprised . She catches up with him puts her arms around him from behind .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Wait, wait.<\/dialogue>\n    <scene_description>She forces him to stay there .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>I do n't want to stop.<\/dialogue>\n    <scene_description>They hold this pose in silence for a beat , then , surprisingly , he hoists her over his shoulder , and carries her back to their room . She laughs , they 've made it past this trouble . CUT TO PAST<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LARGE PARKING LOT - DUSK<\/stage_direction>\n    <scene_description>Andy shouts .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Ready?<\/dialogue>\n    <scene_description>Andy has a set - up of large fireworks ready to go , Hal and twelve friends stand by , Oliver 's behind .<\/scene_description>\n    <character>EVERYONE BUT OLIVER<\/character>\n    <dialogue \/>\n    <character>YES!<\/character>\n    <dialogue>says.<\/dialogue>\n    <scene_description>Mock enthusiasm .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>The fireworks go off . BOOOM BOOOM BOOOM BOOOM IT IS INCREDIBLY LOUD . Big fireworks explode , the guys laugh and HOLLER . Hal raises his arms up in the air in celebration .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Again!<\/dialogue>\n    <character>EVERYONE<\/character>\n    <dialogue \/>\n    <character>AGAIN! AGAIN!<\/character>\n    <dialogue>AGAIN! says.<\/dialogue>\n    <scene_description>As Andy lights up some more . BOOOM BOOOM BOOOM BOOOM Oliver covers his ears , he yells out .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue \/>\n    <character>FFFFFUUUUCCCCKKKKKK!!!!!!!!<\/character>\n    <dialogue>says.<\/dialogue>\n    <scene_description>He 's still yelling after the explosions stop . The guys , all sensing the insanity laugh and yell back at him .<\/scene_description>\n    <character>GUYS<\/character>\n    <dialogue \/>\n    <character>FFFFFUUUUUCCCCCCKKKKKK!!!!!<\/character>\n    <dialogue>says.<\/dialogue>\n    <scene_description>Oliver 's laughing now - the noise , the absurdity . Hal and Oliver make eye contact . Hal yells less strongly than the others but trying .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue \/>\n    <character>FFFFFFUUUUUCCCCKKKKK!!!!!<\/character>\n    <dialogue>says.<\/dialogue>\n    <scene_description>They keep eye contact . They are bonded , happy , out of their normal confines . Oliver comes to Hal , yelling again .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue \/>\n    <character>FFFFFUUUUUCCCCCCKKKKKK!!!!!<\/character>\n    <dialogue>says.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue \/>\n    <character>FFFFFUUUUUCCCCCCKKKKKK!!!!!<\/character>\n    <dialogue>says.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue \/>\n    <character>FFFFFUUUUUCCCCCCKKKKKK!!!!!<\/character>\n    <dialogue>says.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue \/>\n    <character>FFFFFUUUUUCCCCCCKKKKKK!!!!!<\/character>\n    <dialogue>says.<\/dialogue>\n    <scene_description>CUT TO LATER : All the guys spread out across the parking lot looking for Arthur who must of fled during the explosions .<\/scene_description>\n    <character>EVERYONE<\/character>\n    <dialogue>Arthur! Arthur. Arthur.<\/dialogue>\n    <scene_description>CUT TO PRESENT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANNA'S HOTEL ROOM MORNING<\/stage_direction>\n    <scene_description>Arthur runs towards camera chasing a tennis ball that Anna threw for him . He runs back and jumps onto the bed , waking Oliver . He 's sleepy , she 's happy , wants him to wake up .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Ah, you're awake! Arthur says it's time to get up, he says he has the day off.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>He talks to you too?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Your English is not so perfect. And he said ten minutes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOONLIGHT ROLLER RINK - NIGHT<\/stage_direction>\n    <scene_description>Hard cut Oliver and Anna roller - skating to carousel music . They 're having a great time being terrible at it . Oliver and Anna join Elliott and Shauna on the side of the rink . Arthur is half hidden in a duffle bag at their feet .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <parenthetical>( to Anna . )<\/parenthetical>\n    <dialogue>You did really well.<\/dialogue>\n    <character>ELLIOTT<\/character>\n    <dialogue>Yeah, I ca n't believe that was your first time.<\/dialogue>\n    <character>OLIVER<\/character>\n    <parenthetical>( To Arthur . )<\/parenthetical>\n    <dialogue>You watching all the humans going around and around.<\/dialogue>\n    <scene_description>The manager of the rink suddenly arrives , upset .<\/scene_description>\n    <character>MANAGER<\/character>\n    <dialogue>Excuse me. There's no dogs allowed in the building. You need to remove him from the premises please.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>If I leave him on his own, he loses all control.<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>I'm sorry. There's no dogs allowed in the building.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Yeah, but if I leave him in the car, he cries, he howls. I ca n't leave him in the car.<\/dialogue>\n    <character>ELLIOTT AND SHAUNA<\/character>\n    <dialogue>C'mon, it's her first time!<\/dialogue>\n    <character>ANNA<\/character>\n    <parenthetical>( ANGRILY . )<\/parenthetical>\n    <dialogue>A ca vas! C'est bon!<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>I do n't know what she's saying but I do n't like it.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>She is just talking in French. She's saying it's OK, it is such a small dog.<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>You need to remove the dog from the premises or I'm going to have to call the authorities.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>You're gon na call the authorities?<\/dialogue>\n    <character>ELLIOTT AND SHAUNA<\/character>\n    <dialogue>Fuck it, steal the skates, just leave.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Dans ce pays! On ne peut pas amener un chien. On peut rien faire. Mais c'est con.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOONLIGHT ROLLERINK BACK DOOR - CONTINUOUS<\/stage_direction>\n    <scene_description>Oliver , Anna and Arthur make their way out the door and down the street in their skates .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAIN HOTEL HALLWAY<\/stage_direction>\n    <scene_description>They roll down the main lobby hallway , Arthur running behind , dodging people as they go . 10\/29\/07 70 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSTAIRS HOTEL HALLWAY<\/stage_direction>\n    <scene_description>They struggle to skate down the hotel hallway , past a maid .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Sorry, excuse us, sorry.<\/dialogue>\n    <scene_description>They enter Anna 's door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANNA'S HOTEL ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Oliver , Anna , Arthur enter on their skates . Still very playful , they skate around the big room . The phone rings . Anna 's face falls , they both know it must be her father . She muster 's on trying to have a good time . Oliver goes and unplugs the phone .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>He should n't do this to you.<\/dialogue>\n    <scene_description>The phone in the next room keeps ringing . He awkwardly skates to it and unplugs it . He returns . Oliver skates to her concerned .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Even if we do n't answer, he's still in here.<\/dialogue>\n    <parenthetical>( points to her head . )<\/parenthetical>\n    <dialogue>. I go somewhere else, he's still here.<\/dialogue>\n    <scene_description>Oliver can relate .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Your leaving soon?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>I think you should come to my house and move in with me.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Would you want a strange girl like me?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Yeah, a lot.<\/dialogue>\n    <scene_description>She 's very moved .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Do you cook?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <parenthetical>( not so sure . )<\/parenthetical>\n    <dialogue>.<\/dialogue>\n    <scene_description>She laughs . She almost cries as she thinks this over . She skates to him , puts her arms around him .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>I would love that.<\/dialogue>\n    <scene_description>They kiss .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>But now I'm going to have to kill you for sure now.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Cause I'm falling in love with you.<\/dialogue>\n    <scene_description>The sound in the room fades down , Oliver 's narration fades in over the shot of them embracing in their skates .<\/scene_description>\n    <character>OLIVER V.O.<\/character>\n    <dialogue>Anna and I are in a relationship in 2003.<\/dialogue>\n    <scene_description>STILL PHOTOS OF THE SUN IN 2003 , THE STARS , LIVE ACTION SHOT OF OLIVER AND ANNA EATING , TALKING AT NIGHT IN BED :<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>This is what the sun looks like and the stars. This is what it looks like when we eat. When we tell each other the stories in our heads.<\/dialogue>\n    <scene_description>THEN STILL PHOTOS OF L.B.J. , GEORGES POMPIDOU , THEN SUN IN 1971 , ANNA 'S CAT , ANNA 'S PARENTS IN THE 70 'S , ANNA 'S<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I was born in 1965. Anna was born in 1971. This is what the sun looked like. Her pets. Her parents. She left home when she was 16. She lived here and here and here.<\/dialogue>\n    <scene_description>NOW STILL PHOTOS OF FOUR DIFFERENT YOUNG MEN , 3 DRAWINGS OF OLIVER 'S X 'S :<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>She had three serious relationships. She left all of them. I had four serious relationships. I left them too. Or let them fall apart.<\/dialogue>\n    <scene_description>STILL PHOTOS OF W.W. 2 GI 'S SEEN BEFORE , AND THE PUBLIC MENS ROOM SEEN BEFORE . LIVE ACTION SHOT OF ANNA FEELING TROUBLED , LIVE ACTION SHOT OF ANNA WALKING BY THE RIVER LOOKING INTO CAMERA HAPPY .<\/scene_description>\n    <character>OLVIER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>We did n't go to this war. We did n't have to hide to have sex. Our god fortune allowed us to feel a sadness that our parents did n't have time for and a happiness that I never saw with them.<\/dialogue>\n    <scene_description>NOW LIVE ACTION SHOT OF OLIVER AND ANNA TALKING AT NIGHT , LIVE ACTION SHOT OF OLIVER AND ANNA RUNNING BACKWARDS IN PRETEND SLOW MOTION . THEN ANNA 'S EYES LOOKING INTO CAMERA , HER EAR , HER FEET , ANNA SAYING `` I LOVE YOU '' .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>We did n't know how we learned the stories in our heads but sometimes they stop running and I can really see Anna's eyes in 2003. Her ears. Her feet. This is what it looks like when she says, I love you, in 2003.<\/dialogue>\n    <scene_description>LIVE ACTION SHOT OF ANNA CRYING WITH OLIVER , LIVE ACTION SHOT OF OLIVER HUGGING HER AND ANNA SAYING SOMETHING WE CAN NOT HEAR .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>This is what it looks like when she cries. When she tells me there's always a new empty room waiting for her. They used to make her feel free. Now they make her feel the opposite of free.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Oliver 's at his desk , looking at photos of himself and his mother at a museum exhibit from the 70 's . We see young Oliver and Georgia , an exhibit of stuffed animals , a quote on a wall . Oliver goes to his notebooks , looks through them till he finds a small rainbow sticker . He puts it on the table and thinks . CUT TO PAST<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAL'S DINNING ROOM<\/stage_direction>\n    <scene_description>Oliver 's helping Hal take his medication , Hal deals with is mail .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Next one.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Lord.<\/dialogue>\n    <scene_description>With each swallow he pings a glass with a fork . Hal opens a letter from a gay rights organization , he hands Oliver the rainbow sticker we just saw .<\/scene_description>\n    <character>HAL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Here, that means gay pride.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Yeah, everyone knows that, here.<\/dialogue>\n    <scene_description>He gives Hal another pill , another reluctant difficult swallow , another ping .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>No they do n't.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Everyone knows about that Pop.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Do n't be ridiculous.<\/dialogue>\n    <scene_description>Hal 's hiding something , he does n't look Oliver in the eyes when he asks .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Did you know, about me?<\/dialogue>\n    <scene_description>Oliver shakes his head no .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>No, I just thought you and mom were n't in love.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>We loved each other.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>But you were gay that whole time.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>I learned how not to be.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>For 44 years?<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>I knew I was gay, though, at dinner parties I was looking at the husbands not the wives. I could n't have survived if I did n't know that. I just chose not to follow those instincts.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>What about sex? You guys had sex?<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>She did n't think I was the greatest lover, but we made do. Look, I liked my life, the museum, our house, that's what I wanted.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>And mom? You wanted mom too right?<\/dialogue>\n    <scene_description>Frustrated and angry , Oliver takes the pill tray into the kitchen , leaving Hal behind .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Yes, stop that.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>She proposed to me you know.<\/dialogue>\n    <scene_description>This draws Oliver back into the room .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>I said - look I love you and we're great buddies but you know what I am. And then she says, that does n't matter. I'll fix that.<\/dialogue>\n    <scene_description>Oliver 's never heard this part of the story before . ` HAL I thought . Oh , God . I 'll try anything . SCREEN FILLS SOLID PINK .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Sex.<\/dialogue>\n    <scene_description>SCREEN FILLS SOLID RED .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Life.<\/dialogue>\n    <scene_description>SOLID ORANGE .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Healing.<\/dialogue>\n    <scene_description>SOLID YELLOW .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Sunlight.<\/dialogue>\n    <scene_description>GREEN .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue \/>\n    <character>NATURE<\/character>\n    <dialogue \/>\n    <scene_description>TURQUOISE .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Spirit.<\/dialogue>\n    <scene_description>WE SEE STILL PHOTOS OF THE FIRST GAY PRIDE FLAG , THE 1977 SAN FRANCISCO GAY PRIDE PARADE .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The first Gay Pride flag was made in 1978 by a man named Gilbert Baker. He gave a meaning to each color.<\/dialogue>\n    <scene_description>NOW STILLS PHOTOS OF CARTER , A LEGO FIGURE , SUPERMAN , PETS :<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>This man was President. This was invented, this is what movies looked like. Pets.<\/dialogue>\n    <scene_description>HISTORICAL FOOTAGE OF HARVEY MILK 'S BODY BEING CARRIED AWAY ON A STRETCHER .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>On November 27th, 1978. Harvey Milk was shot and killed.<\/dialogue>\n    <scene_description>STILL PHOTOS OF THE MUSEUM EXHIBIT OF STUFFED ANIMALS .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>One week later, my father opened his annual Museum Christmas Exhibit. He collected stuffed animals from people in the community, and put them on display. My father printed a quote from The Velveteen Rabbit in large type on the wall.<\/dialogue>\n    <scene_description>NOW A STILL PHOTO OF THE QUOTE ON THE WALL OF THE MUSEUM .<\/scene_description>\n    <character>OLIVER V.O.<\/character>\n    <dialogue>` The stuffed rabbit asked - What is real? And the Horse said, `` Real is n't how you're made. It's a thing that happens to you. When a child loves you for a long long time not just to play with, but really loves then you become real.<\/dialogue>\n    <scene_description>NOW WE SEE HISTORICAL FOOTAGE OF GAY MEN BEING LOADED INTO PATTY WAGONS BY THE VICE SQUAD IN THE 1950 'S :<\/scene_description>\n    <character>OLVIER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And the rabbit asked, ` Does it hurt?' And the horse said, ` Sometimes.' ` Does it happen all at once like being wound up, or bit by bit?'.<\/dialogue>\n    <scene_description>THEN HISTORICAL FOOTAGE OF CASTRO STREET DURING THE 1977 GAY<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>` It takes a long time. That's why it does n't happen to people who break easily.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S LIVING ROOM<\/stage_direction>\n    <scene_description>Oliver enters to find Hal and Andy dancing humorously to loud opera music . Hal dances free , without restraint , full of life .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Generally by the time you are real, most of your hair has been loved off, and your eyes drop out and you get loose in the joints. But these things do n't matter at all because you are real and you ca n't be ugly, except to people who do n't understand.'''<\/dialogue>\n    <scene_description>The music blares as Arthur greets Oliver . Hal comes to Oliver , Andy continues to dance .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Andy's moving in.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Yeah? Is that a good idea?<\/dialogue>\n    <scene_description>Hal hugs Oliver .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Just be happy about it.<\/dialogue>\n    <scene_description>Oliver ca n't just be happy about it . CUT TO PRESENT 10\/29\/07 77 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S OFFICE<\/stage_direction>\n    <scene_description>HARD CUT TO : Oliver 's design for The Sads tacked on his wall - a clumsy drawing of a man and a woman with the caption : `` First couple too in love to feel sad . '' Reveal a Sads band member looking at the design in disbelief . The rest of the band looks at Oliver 's wall of designs - there are no portraits of them . We cut into the meeting mid melt - down .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>This is the idea, is that it's the history of sadness.<\/dialogue>\n    <scene_description>Oliver spreads out an impossible long CD panel design .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Here, this could be your.<\/dialogue>\n    <scene_description>The panels go on and on .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Your gon na need a big CD box.<\/dialogue>\n    <scene_description>JUMP CUT : Later , Oliver 's still trying to talk the band into his idea . Four billion years ago , Earth begins . And the idea is that sadness has not been created yet . JUMP CUT : Oliver and the RECORD COMPANY REP now alone .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>RECORD COMPANY REP<\/character>\n    <dialogue>I'm sorry too.<\/dialogue>\n    <scene_description>They shake hands and she leaves . JUMP CUT : Oliver 's now alone with Arthur in his lap .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Well, that went well.<\/dialogue>\n    <character>ARTHUR SUBTITLE<\/character>\n    <dialogue>Are we married yet?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OLIVER'S HOUSE<\/stage_direction>\n    <scene_description>Oliver 's car stands in front of his house . He gets Anna 's suitcase out of his car .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Come on Arthur.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S FRONT DOOR<\/stage_direction>\n    <scene_description>They enter his house , it 's her first time there . She 's nervous , but tries to get over it .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>This is the living room.<\/dialogue>\n    <scene_description>He leads her into the dining room .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Dining room.<\/dialogue>\n    <scene_description>Oliver points to a photo of his parents when they were in their 50 's .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>There are my parents. My mom. Hal, Georgia, this is Anna - Anna - Hal, Georgia.<\/dialogue>\n    <scene_description>Anna 's overwhelmed feeling increases , she continues to try to roll with it .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Hello.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S STAIRWELL<\/stage_direction>\n    <scene_description>Oliver continues his tour , leading her up the stairs to his room .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>These're the stairs.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>They go up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S BEDROOM<\/stage_direction>\n    <scene_description>They enter , Anna 's churning , he shows her some drawers in his dresser that he emptied out .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>I emptied these for you. I'll get your case.<\/dialogue>\n    <scene_description>Anna looks around , not able to deal with the intimacy , stability and generosity .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Are you okay?<\/dialogue>\n    <scene_description>She want 's to be , she hides it all by initiating sex with him , physical and fast .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S BEDROOM - NIGHT (LATER)<\/stage_direction>\n    <scene_description>They sleep .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S BEDROOM - DAWN<\/stage_direction>\n    <scene_description>Oliver wakes up , he figures out he 's alone again . Feelings he was trying to overlook come to the surface now .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S LIVING ROOM - MORNING<\/stage_direction>\n    <scene_description>Oliver comes into the living room finds Anna on the couch . Feelings of hurt and mistrust well up in him . Nervous at Oliver 's look , feeling in trouble , she tries to reconnect .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>You OK?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Are you?<\/dialogue>\n    <character>ANNE<\/character>\n    <dialogue>I could n't sleep, I did n't want to bug you.<\/dialogue>\n    <scene_description>Oliver ca n't overcome his mistrust of her and the whole situation . She tries to defend herself , honest and vulnerable .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>I was nervous, and excited. I kept thinking, maybe I'm not so lost.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Why were you crying yesterday?<\/dialogue>\n    <scene_description>They 're miles apart .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Oliver deep in thought , something building in him . CUT TO PAST REPEAT MEMORY : Young Oliver watches his mother and father go through the motions of kissing . CUT TO PRESENT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OLIVER'S HOUSE- NIGHT<\/stage_direction>\n    <scene_description>Oliver and Arthur stand outside his house at night .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S BEDROOM<\/stage_direction>\n    <scene_description>Oliver notices Anna 's drawers are still empty .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S DINING ROOM<\/stage_direction>\n    <scene_description>They eat , their connection is broken . Oliver is moody and distant .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>CUT TO:<\/character>\n    <dialogue \/>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S KITCHEN ROOM - MORNING<\/stage_direction>\n    <scene_description>Oliver alone in the kitchen , brooding . Anna enters in her Kimono .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>You seem so unhappy with me.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Well are you happy here?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Maybe I'm not perfect at it. I do n't really know what I'm doing. but I want to be here.<\/dialogue>\n    <scene_description>He 's silent , distant , confused . She 's hurt by his silence and mistrust and leaves . 10\/29\/07 81 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S BEDROOM<\/stage_direction>\n    <scene_description>WE SEE BUT DO N'T HEAR : Oliver and Anna talking\/arguing through a series of jump cuts . The sound comes back for the last line .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>I do n't know Anna. I do n't think this is what I am supposed to feel like.<\/dialogue>\n    <scene_description>Anna looks crushed and surprised .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Okay. I will go back to New York then.<\/dialogue>\n    <scene_description>She gets up to go .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OLIVER'S HOUSE DAY<\/stage_direction>\n    <scene_description>A cab is picking her up , Anna looks back up at Oliver 's house , hoping something will happen , nothing does , she puts her suitcase in the trunk and gets in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S LIVING ROOM DAY<\/stage_direction>\n    <scene_description>Oliver paces by his door . He rests his head against the door , lost in a confused sadness , we cant tell he 's crying . CUT TO PAST<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL HALLWAY - DAY<\/stage_direction>\n    <scene_description>Oliver 's POV as he pushes Hal 's wheelchair down a cold hospital hallway .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOCTORS' OFFICE - DAY<\/stage_direction>\n    <scene_description>Inside a small doctor 's office , Hal , Oliver and Dr. Long have a meeting .<\/scene_description>\n    <character>DR. LONG<\/character>\n    <dialogue>Hal, you do n't need to come in for any more treatments.<\/dialogue>\n    <scene_description>Stoic and irreverent , Hal feigns surprise .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Have I done something wrong?<\/dialogue>\n    <character>DR. FLASTER<\/character>\n    <dialogue>It's best that you stay home. Hospice can help you more now, any more treatments would just - cause more pain.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>I see.<\/dialogue>\n    <character>DR. LONG<\/character>\n    <dialogue>I'm sorry, I wish we could do more.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>You did an excellent job Dr. Long. Thank you. for. For coming to the party.<\/dialogue>\n    <scene_description>Oliver 's devastated .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S HOME - DAY - LATER<\/stage_direction>\n    <scene_description>JUMP CUTS : From Hal and Oliver 's POV we jump through time as two men deliver and set up a hospital bed in Hal 's living room . And the nurse puts sheets and a blanket on the bed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAL'S STREET - DAY<\/stage_direction>\n    <scene_description>Oliver wheels Hal 's chair in outside the house , taking him to see a view of the canyons . Hal 's face reveals he 's finally stopped denying the end is near .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Oliver and Hal sit side by side in his new hospital bed , it 's dark and quite and Oliver has his hand in Hal 's .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>You always wanted to hold my hand when you were little. I could n't, you know. I was afraid it would look funny. I wanted to be close, you know and my father certainly was never close with me. God, I hope I was n't like that.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>I can barely remember you from when I was little.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>I guess I was at work.<\/dialogue>\n    <scene_description>CUT TO PAST 10\/29\/07 83 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSEUM OPENING 1978<\/stage_direction>\n    <scene_description>Young Oliver walks behind Georgia as she meanders through the crowd , feeling alone . She turns and finds Oliver on her tail . A fancy woman is talking pretentiously about a painting . Georgia 's critical and amused , she sidles up to the woman and gently places her head on the woman 's shoulder .<\/scene_description>\n    <character>FANCY WOMAN<\/character>\n    <dialogue>Oh!<\/dialogue>\n    <scene_description>Georgia smiles at her , casually unnerving . Oliver pulls her away .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Let's go home.<\/dialogue>\n    <scene_description>CUT TO : Oliver and Georgia heading away through the gallery .<\/scene_description>\n    <character>GEORGIA<\/character>\n    <dialogue>What about your father? What will he possibly do without us?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSEUM HALLWAY<\/stage_direction>\n    <scene_description>As they 're making their way out of the museum an formal older lady stops them .<\/scene_description>\n    <character>OLDER WOMAN<\/character>\n    <dialogue>Georgia? You leaving?<\/dialogue>\n    <character>GEORGIA<\/character>\n    <dialogue>Yes Mary, it's an emergency, Oliver's appendix has ruptured.<\/dialogue>\n    <character>OLDER WOMAN<\/character>\n    <dialogue>Oh dear.<\/dialogue>\n    <scene_description>They look at Oliver who 's mortified .<\/scene_description>\n    <character>GEORGIA<\/character>\n    <dialogue>He's a very composed child.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Let's go.<\/dialogue>\n    <scene_description>Oliver pulls her away before she starts any more trouble .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET\/INT. GEORGIA'S CAR<\/stage_direction>\n    <scene_description>Georgia 's in drivers seat , they 're at a stoplight .<\/scene_description>\n    <character>GEORGIA<\/character>\n    <dialogue \/>\n    <scene_description>Oliver points left and she turns .<\/scene_description>\n    <character>GEORGIA<\/character>\n    <dialogue>Aha. The infamous left.<\/dialogue>\n    <scene_description>Up a new street , they arrive at the next stop .<\/scene_description>\n    <character>GEORGIA<\/character>\n    <dialogue>And?<\/dialogue>\n    <scene_description>Oliver points left .<\/scene_description>\n    <character>GEORGIA<\/character>\n    <dialogue>Left again. Going in circles. I like it.<\/dialogue>\n    <scene_description>Irreverent but heavy , they drive on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S CHILDHOOD HOME<\/stage_direction>\n    <scene_description>Oliver and Georgia enter . She heads down the hallway to her room , Young Oliver follows behind . She walks down the hallway to her bedroom , enters and closes the door . CUT TO PRESENT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Oliver lies on his bed in the half darkness . He 's been there a while , Arthur staring at him . CUT TO PAST<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANNA'S HOTEL<\/stage_direction>\n    <scene_description>Oliver remembers Anna on her hotel bed the night they met , messing up his hair , kissing for the first time . BACK TO PRESENT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S BEDROOM<\/stage_direction>\n    <scene_description>Oliver feeling the most lost , ca n't help but look at Arthur who 's staring him down .<\/scene_description>\n    <character>ARTHUR SUBTITLE<\/character>\n    <dialogue>We knew it would n't work even before we met her.<\/dialogue>\n    <scene_description>Oliver get 's this more than ever . Something changes inside of him , he picks up his cel phone and dials .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue \/>\n    <character>OLIVER<\/character>\n    <dialogue>Anna? Where where you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ELLIOTT'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Oliver arrives with Arthur in a hurry .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ELLIOTT'S DOOR - DAY<\/stage_direction>\n    <scene_description>Oliver hands Arthur , a dog bed , and a bag of dog food to Elliott .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>ELLIOTT<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>OLIVER<\/character>\n    <parenthetical>( TO ARTHUR . )<\/parenthetical>\n    <dialogue>You're going to take care of Elliott. I'll be back in a couple of days.<\/dialogue>\n    <parenthetical>( TO ELLIOT . )<\/parenthetical>\n    <dialogue>Good luck.<\/dialogue>\n    <character>ELLIOTT<\/character>\n    <dialogue>Alright.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Okay? Thanks.<\/dialogue>\n    <scene_description>Elliott closes the door . Oliver heads back to his car and Arthur 's howling begins . It 's an incredibly sad and desperate howl . Oliver gets to his car , the howling does n't stop , Oliver ca n't ignore it . Oliver get 's out of the car , heads back to house to get Arthur .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OLIVER'S CAR - DAY<\/stage_direction>\n    <scene_description>Oliver and Arthur drive up to a new house . Oliver looks at Arthur with guilt .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANDY'S BACKYARD - DAY (CONTINUOUS)<\/stage_direction>\n    <scene_description>Oliver watches Andy cry as Arthur licks him all over .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>He remembers me.<\/dialogue>\n    <scene_description>It 's true , Oliver 's surprised . 10\/29\/07 86 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANDY'S HOUSE - DAY (CONTINUOUS)<\/stage_direction>\n    <scene_description>Andy closes the door , Oliver walks the first ten feet , to his surprise , silence . He walks to the edge of the yard , silence . He tentatively gets into his car , silence . He drives away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI CAB - NEW YORK - DAWN<\/stage_direction>\n    <scene_description>Oliver sees the Manhattan skyline as they cross the bridge into Manhattan .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 2ND AVENUE - CONTINUOUS<\/stage_direction>\n    <scene_description>Oliver crosses the cold New York avenue .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AVENUE B AND 10TH ST. - CONTINUOUS<\/stage_direction>\n    <scene_description>Oliver passes a bodega with flowers - he pauses .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANNA'S STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>Oliver now with a bouquet of flowers in his hand , looking for the right number , finds her building . On his way to the door , he has doubts about the flowers , he decides to throw them away . Oliver rings her buzzer , no answers , a stranger leaves the building and he catches the door before it close , he enters .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANNA'S DOOR<\/stage_direction>\n    <scene_description>Oliver makes it to her door , he knocks , there 's no answer . He pulls out his phone and calls her .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Hey.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Hey. Look I'm so sorry. But I'm, I'm at your front door. I'm in New York.<\/dialogue>\n    <scene_description>Anna , still in bed , sits up and feels something .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I'm in Los Angeles.<\/dialogue>\n    <scene_description>Oliver 's flabbergasted she 's not behind the door .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>You, you're in LA?<\/dialogue>\n    <scene_description>Anna laughs , but is touched .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You said you were coming here?!<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Yeah, but I did n't leave.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Fuck. I'm in your building.<\/dialogue>\n    <scene_description>Anna laughs .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Okay. See the window? Near the radiator?<\/dialogue>\n    <scene_description>Oliver looks around and sees the radiator - goes to look .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>There is a hide - a - key behind it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANNA'S APARTMENT.<\/stage_direction>\n    <scene_description>The door opens , Oliver tentatively enters the empty room . The apartment is very spare , barely lived in . A lone couch , clothes on a rack , a few personal photos taped to the wall .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Okay, I'm inside. Wow, there's like nothing here.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Oliver moves forward into the kitchen .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>This is my kitchen. It's where I eat.<\/dialogue>\n    <scene_description>Oliver follows her tour , while she 's not there , it 's strangely intimate .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>This is my bathroom. It's very fancy.<\/dialogue>\n    <scene_description>The bare , poor bathroom is not fancy .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Outside my window.<\/dialogue>\n    <scene_description>Oliver walks and looks out her window .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>That's my neighbor's roof. The room at the end is my bedroom.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANNA'S BEDROOM<\/stage_direction>\n    <scene_description>Oliver enters her bedroom .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>That's my closet. Those are my clothes and my pictures.<\/dialogue>\n    <scene_description>There is a single rack holding up some clothes . Her pictures are taped to the wall . Oliver sits on her bed .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Why do you leave everyone? Why did you let me go?<\/dialogue>\n    <scene_description>Oliver thinks for a moment . CUT TO PAST<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S CHILDHOOD HOME - NIGHT<\/stage_direction>\n    <scene_description>REPEAT MEMORY : Oliver watches his mother walk down the hallway , very alone , and enter her bedroom - it feels like some gesture of hopelessness . WE HEAR OLIVER 'S ANSWER OVER THIS IMAGE :<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Maybe because I, I do n't really believe that it's gon na work. And then I make sure it does n't work.<\/dialogue>\n    <scene_description>CUT TO PAST<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S LIVING-ROOM - DAY<\/stage_direction>\n    <scene_description>Hal lies in the hospital bed set up in his living room . JUAN , a young handsome and probably gay hospice nurse is gently helping him take his morphine . Hal looks at Juan with love and affection . Oliver watches from the kitchen door .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Is n't Juan's hair wonderful.<\/dialogue>\n    <character>JUAN<\/character>\n    <dialogue>Thanks. I use this great mousse.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Well it's terrific.<\/dialogue>\n    <character>JUAN<\/character>\n    <dialogue>Do you wan na try some?<\/dialogue>\n    <scene_description>Hal turns shy and young .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Oh, no.<\/dialogue>\n    <character>JUAN<\/character>\n    <dialogue>Just a little bit?<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>I do n't think so.<\/dialogue>\n    <character>JUAN<\/character>\n    <dialogue>Come on. Just try a little bit. It'll be fun.<\/dialogue>\n    <character>HAL<\/character>\n    <parenthetical>( LAUGHS . )<\/parenthetical>\n    <dialogue>Yeah?<\/dialogue>\n    <character>JUAN<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>How do you do it?<\/dialogue>\n    <character>JUAN<\/character>\n    <dialogue>Okay, I'm going to show you how.<\/dialogue>\n    <scene_description>Juan steps away and grabs his mousse , puts a little in his hand and sits back down on Hal 's bed . He begins to spread it gently through wisps of Hal 's white hair . Oliver watches Hal close his eyes , and deeply enjoy this simple affection and camaraderie with another gay man .<\/scene_description>\n    <character>JUAN<\/character>\n    <dialogue>There.<\/dialogue>\n    <character>HAL<\/character>\n    <dialogue>Is that it?<\/dialogue>\n    <scene_description>Hal looks into camera which is Oliver 's POV .<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>How do I look?<\/dialogue>\n    <scene_description>Oliver 's filled with love , happiness , regret .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Great. You look great.<\/dialogue>\n    <scene_description>CUT TO PRESENT 10\/29\/07 90 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANNA'S BEDROOM<\/stage_direction>\n    <scene_description>Oliver 's still on her bed , his heart and mind is somewhere else . CUT TO PAST<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Hal 's unconscious on his hospital bed . Some of Hal 's friends gather around his hospital bed as Hal 's gay priest gives him his Last Rites - Oliver and Juan watch in disbelief in the background .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAL'S KITCHEN - LATER<\/stage_direction>\n    <scene_description>Oliver 's alone in the kitchen , his head on the table - asleep . Juan walks to him and wakes him .<\/scene_description>\n    <character>JUAN<\/character>\n    <dialogue>Oliver. He's gone.<\/dialogue>\n    <scene_description>Oliver gets up . He can now see to the hospital bed , Hal 's lifeless profile . Oliver is lost . Oliver goes to Hal , puts his head on his chest and cries . CUT TO NARRATED SEQUENCE CUT TO BLACK<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Once you make the call, you have less than an hour before two men come and place the body into a bag.<\/dialogue>\n    <scene_description>WE SEE STILL PHOTO OF A CHECK TO THE NEPTUNE SOCIETY , A JAR OF PEANUT BUTTER , A METAL ASH CONTAINER .<\/scene_description>\n    <character>OLVIER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>They charge 1485 Dollars for cremation and deliver the remains in a small metal container, the size of a jar of peanut butter. You will need to get a death certificate.<\/dialogue>\n    <scene_description>NOW HAL 'S DEATH CERTIFICATE , CREDIT CARDS , PHONE BILLS , INSURANCE STATEMENTS , MORTGAGE STATEMENT , TAX FORM<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>You will need to make copies and send them to cancel every credit card, phone account, utility, gym membership, every insurance policy, mortgage, to settle their taxes.<\/dialogue>\n    <scene_description>A FAST SEQUENCE OF STILLS OF HAL 'S MAIL PILING UP , THEN LIVE ACTION SHOT OF A HAND WRITING THE OBITUARY . STILL PHOTO OF A TRASH BAG , HAL 'S PURPLE SWEATER .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>You will have all their mail forwarded to your address. You will write their obituary. You run it with a photo in the paper for two dollars a word. You will wonder if it's right. You'll throw a lot of their stuff away. You'll bring a lot of their stuff to your house. This is the photo my mother kept in her bedroom.<\/dialogue>\n    <scene_description>A STILL PHOTO OF DOROTHEA LANGE 'S FRAMED DAISY PHOTOGRAPH . THEN , MULTIPLE VERSIONS OF THE PHOTO WITH DIFFERENT HANDS AND DIFFERENT CONFIGURATIONS OF DAISIES FLASHES BY .<\/scene_description>\n    <character>OLIVER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>When I was a kid I thought that was my arm giving her daisies. Now I make a new mistake and think it's her arm giving me the daisies, saying, here, here's simple and happy. That's what I meant to give you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANDY'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Oliver arrives at Andy 's door . Andy answers , Arthur 's jumps up to see Oliver .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Arthur.<\/dialogue>\n    <scene_description>Oliver picks him up , he gets all of Arthur 's stuff , he 's a little cold to Andy .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Thank you. Thanks.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>It's cause I'm gay, is n't it?<\/dialogue>\n    <scene_description>Oliver stops and looks back .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>You never called or came to see me?<\/dialogue>\n    <scene_description>Oliver falters , not know how to say it , then .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>No. No, it's because my father loved you so much.<\/dialogue>\n    <scene_description>This hits Andy hard . Oliver turns to leave but ca n't . He turns back , goes to Andy and they hug .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S BEDROOM<\/stage_direction>\n    <scene_description>Oliver and Arthur arrive , happy and relieved , Oliver jumps on his bed and Arthur follows .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Arthur. hey. Hey, how've you been?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S HOUSE - LIVING ROOM<\/stage_direction>\n    <scene_description>Oliver opens the front door to Anna .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>She 's a bit tentative , but she 's here and happy .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Come in, come in.<\/dialogue>\n    <scene_description>Arthur runs up and Anna bends down to greet him . They missed each other . Anna walks in and Oliver follows .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>The living room.<\/dialogue>\n    <scene_description>She heads to the dinning room .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Dining room.<\/dialogue>\n    <scene_description>Oliver laughs nervously . In the dining room , Hal 's old boxes are still stacked along the walls . Oliver leans forward and pulls something out of a box . She looks at a personal ad application , with the picture of Hal in the open jean jacket we saw at the beginning of the film .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Oh. Crazy picture.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Can I read it?<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I'm looking for sex with the hope it turns into friendship or a relationship. But I do n't insist on monogamy.<\/dialogue>\n    <scene_description>CUT TO PAST VARIOUS LOCATIONS We see REPEAT SHOTS of Hal , and in every shot he 's looking at camera . Hal telling Oliver he 's gay , Hal napping with Andy and waving at Oliver , Hal after Juan put in his hair mousse looking at Oliver , Hal showing Oliver his radiation tatoo .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I'm an old senior guy, 78, but I'm attractive and horny. I'm an art historian, now retired.<\/dialogue>\n    <scene_description>MORE REPEAT SHOTS : Hal with Andy at the L.A. Pride picnic , Hal playing with Arthur on his couch .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And in addition to art, I like houses, gardens, parties, and walking with my Jack Russell. I'm 5' 11'', 160 pounds. I'm trim, gray hair, blue eyes, hairy cheest.<\/dialogue>\n    <scene_description>CUT BACK TO THE PRESENT<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>Chest.<\/dialogue>\n    <character>ANNA<\/character>\n    <parenthetical>( LAUGHS . )<\/parenthetical>\n    <dialogue>Chest? I like giving and, and what?<\/dialogue>\n    <scene_description>Oliver finishes reading for her .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>I like giving and getting rubdowns and then going into mutual soft stuff.<\/dialogue>\n    <scene_description>They both smile .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>I have a nice house with food, drinks, friends and me. If you are willing to try an older guy, let's meet and see what happens.<\/dialogue>\n    <scene_description>She looks at the photo again .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>He did n't give up.<\/dialogue>\n    <scene_description>They look at each other , more vulnerable and willing than we 've seen them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S HALLWAY<\/stage_direction>\n    <scene_description>Anna walks down the hallway , Oliver follows her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLIVER'S BEDROOM<\/stage_direction>\n    <scene_description>Anna and Oliver sit side by side on his bed .<\/scene_description>\n    <character>OLIVER<\/character>\n    <dialogue>What happens now?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>OLIVER<\/character>\n    <dialogue>How does that work?<\/dialogue>\n    <scene_description>They look at each other , they smile . CUT TO MAIN TITLE<\/scene_description>\n  <\/scene>\n<\/script>","summary":"The film is structured as a series of interconnected flashbacks. Set in 2003 in Los Angeles, following the death of his father Hal from cancer, Oliver reflects on their relationship during the almost five years following the death of Oliver's mother, Georgia, also from cancer. Shortly after her death, Hal came out to his son and began exploring life as an openly gay man. He becomes active in the gay community, finds love with Andy, a much younger man and becomes more honest with himself and with his son. Oliver discovers that, although his parents were married for 44 years from 1955, theirs was not a romantic love. Good friends, and officially boyfriend and girlfriend in high school, as it was the custom to negate gayness, after the war she asked him to marry her. During Oliver's childhood, he had detected a lack of passion in his parents' marriage so, he says he has never settled for a passionless relationship. As a result, Oliver and Hal become closer during the last years of his life. Oliver helps him during his treatment, observes as he refuses to face his diagnosis and to tell Andy that the cancer progresses to stage IV. Two months after Hal's death, Oliver meets Anna, a French actress, at a party. They instantly connect and end up kissing, and he asks if he can just sleep at her place. The next day, she has to go away for a film shoot but wants to see him again. Inspired by his father's attitude towards the end of his life and their relationship, Oliver decides to pursue a romance with her. When Anna comes back, Oliver finally feels he can open up to her. Periodically as they interact, he get flashbacks to his mother as she reminds him of her. His dad's terrier Arthur, who he can rarely leave, takes very strongly to her. Talking, they both realize they find ways of running from relationships. Oliver invites Anna to move in with him, she does but then he is unhappy when she doesn't embrace it. After a very short time she announces she's moving back to New York City. He soon misses her, as she doesn't return his calls, so Oliver leaves Arthur with Andy and flies to see her in New York City. Anna finally answers her phone, but she's still in Los Angeles. She gives Oliver a tour via mobile. He apologizes, then returns to Los Angeles, where they start over."}
{"movie_name":"Blue Ruin_2013","imdb_id":"tt2359024","script":"<script>\n  <scene>\n    <character>BLUE RUIN<\/character>\n    <dialogue>Written by<\/dialogue>\n    <scene_description>Jeremy Saulnier (PRODUCTION DRAFT- WHITE 8\/10\/2012) A spacious 2nd floor of faux paint and crushed sea shells. A TV REMOTE with a shit-ton of buttons. Behind it, a FLAT- SCREEN squawks to an empty room. A SNACK PLATE and EMPTY CUP sit atop a kitchen island. PUSHING PAST a BIN of CHILDREN'S TOYS, down a hallway filling with STEAM...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - SUNNY HOUSE - DAY<\/stage_direction>\n    <scene_description>THE STEAM swirls around the spa-like interior. A PLASTIC COMB rests between HIS AND HER SINKS, under EMPTY TOWEL RACKS. Buried within the aquatic echo-chamber, FAINT CRUNCHING. The faucet SQUEAKS OFF. DRIPS resonate from behind the shower curtain. Through a cracked window, an OCEAN BREEZE swallows the steam. A CAR STEREO attacks and decays. Then quiet. The shower SQUEAKS ON and the STEAM retakes the room. ANOTHER NOISE. The water SQUEAKS OFF and the shower curtain yanks back, revealing a BEARDED MAN (36) with sun-baked skin, alarmed but motionless. Muffled, through walls: TIRES ON GRAVEL. THE THUMP OF CAR DOORS. ON THE BEARDED MAN: FIGHT-OR-FLIGHT...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOYER - SUNNY HOUSE - DAY (MOMENTS LATER)<\/stage_direction>\n    <scene_description>A FAMILY spills through the door (FATHER, MOTHER, weighed down with GROCERIES and TWO YOUNG DAUGHTERS running wild)- a wonderful cacophony disrupting the quiet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - SUNNY HOUSE - DAY (CONTINUOUS)<\/stage_direction>\n    <scene_description>The FATHER places REALTOR'S HOUSE KEYS on the island counter, beside the SNACK PLATE...<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>Hey! QUIET...<\/dialogue>\n    <scene_description>The TV IS AUDIBLE. The Father sidesteps into the hallway, seeing DISSIPATING STEAM DRIFT FROM THE BATHROOM.<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>Honey. AMANDA. Take them back to the car. Call 911.<\/dialogue>\n    <scene_description>The Wife corrals the girls as the Father DRAWS FROM A WOODEN KNIFE BLOCK SET, creeping down the hallway...<\/scene_description>\n    <character>MOTHER<\/character>\n    <parenthetical>(urgent whisper)<\/parenthetical>\n    <dialogue>Eric! What are you doing?<\/dialogue>\n    <character>FATHER<\/character>\n    <parenthetical>(bluffing a threat)<\/parenthetical>\n    <scene_description>I'VE GOT A DOG!:<\/scene_description>\n    <character>DAUGHTER (O.S.)<\/character>\n    <dialogue>There's a dog?!<\/dialogue>\n    <scene_description>Nearing the bathroom threshold, the Father tightens a two- handed grip around his weapon, realizing he's selected a ROUNDED STEEL SHARPENER from the knife block. HE SLIPS TO THE HARD WOOD FLOOR, landing torso upright with a SHARP BREATH. A Daughter breaks free as the Mother fumbles her purse. The Father's lower vantage reveals A TRAIL OF WET FOOTPRINTS LEADING TO THE BACK OF THE HOUSE. His daughter runs past GIGGLING, following the footprints.<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>ELLA! NO! Dammit...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACK BEDROOM - SUNNY HOUSE (CONTINUOUS)<\/stage_direction>\n    <scene_description>Her Father in pursuit, the Daughter crosses the carpeted room and pokes her head through an open window.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACKYARD - SUNNY HOUSE - DAY<\/stage_direction>\n    <scene_description>FROM ABOVE: The Bearded Man runs naked clutching a wad of clothes, disappearing into an alleyway. father scoops her up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEYWAY - DAY<\/stage_direction>\n    <scene_description>Obscured through CLOTHESLINES and fencing, the Bearded Man jogs to a stop and steps into his worn khakis.<\/scene_description>\n    <character>CLACK.<\/character>\n    <dialogue>He squats and rises, inspecting his PLASTIC COMB, now speckled with sand. He blows it clean.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - BEACH BLOCK - DAY<\/stage_direction>\n    <scene_description>Dressed but damp, the Bearded Man drips a trail up the sandy walkway, anxiously combing his hair. He moves against beach traffic past modern condos, older bungalows and monstrous resort homes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAIN DRAG - DAY<\/stage_direction>\n    <scene_description>The Bearded Man sheaths his comb and turns down a walkway leading to a SMALL TOWN POLICE STATION.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - DAY<\/stage_direction>\n    <scene_description>The Bearded Man opens the door for an exiting PATROL OFFICER, returning a nod and weaving his way past RECEPTION to a FEMALE OFFICER (55) eating an egg sandwich at her desk.<\/scene_description>\n    <character>BEARDED MAN<\/character>\n    <dialogue>If you get any calls about 104 St. Louis...<\/dialogue>\n    <scene_description>She looks up from her desk, chewing.<\/scene_description>\n    <character>BEARDED MAN<\/character>\n    <dialogue>...it was me.<\/dialogue>\n    <character>FEMALE OFFICER<\/character>\n    <dialogue>Good morning...<\/dialogue>\n    <scene_description>He fails to read her expectant look.<\/scene_description>\n    <character>FEMALE OFFICER<\/character>\n    <parenthetical>(relenting)<\/parenthetical>\n    <dialogue>I think I just heard that go out.<\/dialogue>\n    <scene_description>She motions to a nearby DISPATCHER who removes his HEADSET. Dale, who picked up the ten- fourteen?<\/scene_description>\n    <character>DISPATCH OFFICER<\/character>\n    <dialogue>Maucieri and Lutz.<\/dialogue>\n    <scene_description>She picks a WALKIE TALKIE from her desk, waving it.<\/scene_description>\n    <character>FEMALE OFFICER<\/character>\n    <dialogue>May I?<\/dialogue>\n    <character>DISPATCH OFFICER<\/character>\n    <parenthetical>(replacing headset)<\/parenthetical>\n    <dialogue>Yes ma'am.<\/dialogue>\n    <character>FEMALE OFFICER<\/character>\n    <parenthetical>(into walkie)<\/parenthetical>\n    <dialogue>County five one nine?<\/dialogue>\n    <scene_description>She deadpans the Bearded Man. He returns an anxious stare.<\/scene_description>\n    <character>MALE VOICE (OVER WALKIE STATIC)<\/character>\n    <dialogue>Go for county five one nine.<\/dialogue>\n    <character>FEMALE OFFICER<\/character>\n    <dialogue>Make that ten fourteen on St. Louis a ten-thirty-one. Repeat, ten- thirty-one, same address.<\/dialogue>\n    <character>MALE VOICE (OVER WALKIE STATIC)<\/character>\n    <dialogue>Roger.<\/dialogue>\n    <scene_description>She sets the walkie down and gestures to the untouched half of her sandwich. The Bearded Man shakes 'no'.<\/scene_description>\n    <character>BEARDED MAN<\/character>\n    <dialogue>Is there anything I should do? There was a kid. Kids.<\/dialogue>\n    <character>FEMALE OFFICER<\/character>\n    <dialogue>Sure, hon- not do it again.<\/dialogue>\n    <character>BEARDED MAN<\/character>\n    <dialogue>Use houses or get busted?<\/dialogue>\n    <character>FEMALE OFFICER<\/character>\n    <dialogue>One would take care of the other, wouldn't it? Next time, you'll be processed.<\/dialogue>\n    <scene_description>He nods. She returns to her sandwich. And I'd worry more about the realtor. Those places go for three thousand a week. (bites, chews) Four.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>The Bearded Man stands curbside, gazing vulnerably into RUSHING TRAFFIC.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH - ATLANTIC OCEAN - DAY<\/stage_direction>\n    <scene_description>LOOKING TOWARDS THE OCEAN, a CROWDED stretch of beach. The Bearded Man hunches into a foreground SILHOUETTE, settling under the shade of the boardwalk. Foot traffic CLUNKS above as he observes the bustle. A TOSSED FOOD CARTON lands in the nearby sand. He looks up. SEAGULLS HOVER ABOVE, aggressively competing for scraps.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH - ATLANTIC OCEAN - EARLY EVENING<\/stage_direction>\n    <scene_description>THE WIND WHIPS across the now desolate beach. An older couple scan the shore with a METAL DETECTOR. The Bearded Man collects RECYCLABLES, placing them in an oversized canvas bag.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VACANT LOT - EARLY EVENING<\/stage_direction>\n    <scene_description>The Bearded Man drags the bag through reeds and coarse grass. He digs into his shirt collar and lifts a BALL BEARING NECKLACE over his head. Threaded through the necklace, a set of CAR KEYS. He unlocks the trunk of a BLUE FOUR-DOOR 1990 PONTIAC BONNEVILLE, in disrepair and weathered by the sun. He heaves the recyclables into the trunk and latches it. The Bearded Man opens the driver's side doors, throwing light onto stacks of neatly folded clothes, books and supplies. A pillow and sheets line the back seat. He pulls out BOOTS and throws a SATCHEL over his shoulder. FROM THE FRONT OF THE VEHICLE, chipped paint and rust surround BULLET HOLES grouped by the windshield frame.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOARDWALK - ATLANTIC OCEAN - EVENING<\/stage_direction>\n    <scene_description>FROZEN CUSTARD, AMUSEMENT RIDES and OVERFLOWING GARBAGE CANS. The beachfront shops cash-in on an ARMY OF TOURISTS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK OF HOTEL - EVENING<\/stage_direction>\n    <scene_description>The BOARDWALK DIN carries to a hotel service entrance. The Bearded Man expertly sifts through a DUMPSTER. He wipes grease off a 'FUNLAND' TICKET BOOK and tucks it away. He rescues a FATTY CUT OF MEAT from a nest of foil. Opening his satchel, he reveals a FOOD-PREP KIT WITH MISMATCHED COOKING UTENSILS AND CONTAINERS. He places the meat in Tupperware, adding a homemade marinade before sealing the lid.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VACANT LOT - EVENING<\/stage_direction>\n    <scene_description>ON A TIN PLATE: STEAK BONES sucked clean. The Bearded Man wraps a RAG around the handle of a dented CAMPING KETTLE and pulls it from a COOKING FIRE. He pours BOILING WATER into a CUP.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BONNEVILLE - VACANT LOT - NIGHT<\/stage_direction>\n    <scene_description>WIND through reeds, crashing WAVES, and CHIRPING Crickets. The Bearded Man reclines in the back, sipping tea and reading under a solar garden lamp hung from sagging upholstery. His eyes drift from the page. He slides the 'FUNLAND' TICKETS into the crease and closes the book. FROM OUTSIDE, the lamp dims to black. THROUGH A LONG LENS: Distorted by rising heat from the crowded boardwalk planks, the Bearded Man offers something in his hand to several PASSERS-BY. He is ignored.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FUNLAND - LATE AFTERNOON<\/stage_direction>\n    <scene_description>ON THE 'FUNLAND' TICKETS: six are ripped from the book. A TICKET-TAKER seats the Bearded Man in a suspended track ride-car and secures the lap bar. The ride-car lurches forward and up through hydraulic HAUNTED MANSION DOORS with a BLAST OF PIPE ORGAN MUSIC...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAUNTED MANSION RIDE - FUNLAND - AFTERNOON<\/stage_direction>\n    <scene_description>The Bearded Man RUMBLES PAST A MIRROR MAZE, BOBBING SKULLS, HOWLING WEREWOLVES, A MISTY GRAVEYARD... A STROBE flashes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAUNTED MANSION RIDE - BOARDWALK - AFTERNOON<\/stage_direction>\n    <scene_description>THE EXIT DOORS HISS OPEN: The Bearded Man squirms from the ride-car before the ATTENDANT can lift the lap bar. A GHOULISH LAUGH through crackling speakers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 'WHAC-A-MOLE' BOOTH - FUNLAND - AFTERNOON<\/stage_direction>\n    <scene_description>The Bearded Man SLAPS the ticket book on the counter of a WHAC-A-MOLE amusement game. A LUCKY KID snatches it up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH INLET - EVENING<\/stage_direction>\n    <scene_description>The Bearded Man CASTS A ROD AND REEL from the surf, his SATCHEL over his shoulder.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VACANT LOT - NIGHT<\/stage_direction>\n    <scene_description>By the light of a MAKESHIFT HEAD-LAMP, the Bearded Man FILLETS A BLUEFISH with a CORK HANDLED FISHING KNIFE. 'O-Dark-thirty'. A COMPACT CAR drifts by upscale homes, tossing out NEWSPAPERS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BONNEVILLE - VACANT LOT - DAWN<\/stage_direction>\n    <scene_description>Cast in deep blue light diffused through dew-covered windows, the Bearded man lies curled in the back seat.<\/scene_description>\n    <character>TIRES CREEPING ACROSS SANDY ASPHALT.<\/character>\n    <dialogue>THROUGH THE DRIVER'S SIDE WINDOW, abstracted by moisture, POLICE LIGHTS roll in. A CAR DOOR opens and shuts. A BLURRY FIGURE approaches the Bonneville and KNOCKS.<\/dialogue>\n    <dialogue>The Bearded Man rises, waiting with blinking eyes.<\/dialogue>\n    <character>FEMALE VOICE (O.S.)<\/character>\n    <dialogue>It's officer Eddy.<\/dialogue>\n    <scene_description>He flips the lock and pushes the door open for OFFICER EDDY, the Female Officer from the police station.<\/scene_description>\n    <character>OFFICER EDDY<\/character>\n    <dialogue>I'd like you to come in to the station.<\/dialogue>\n    <character>BEARDED MAN<\/character>\n    <dialogue>Is this about the house? I coul-<\/dialogue>\n    <character>ON A WIDE OF THE SCENE:<\/character>\n    <dialogue>OFFICER EDDY<\/dialogue>\n    <scene_description>Dwight, sweetheart, I'll explain. Just come with me.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE CRUISER (MOVING) - EARLY MORNING<\/stage_direction>\n    <scene_description>The Bearded Man, DWIGHT, stews in the back of the cruiser. FLASHING THE CRUISER'S TURRET, Officer Eddy coasts through a red light and turns off the road.<\/scene_description>\n    <character>OFFICER EDDY<\/character>\n    <dialogue>How 'bout some breakfast?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DRIVE-THRU RESTAURANT - EARLY MORNING<\/stage_direction>\n    <scene_description>The cruiser rolls under a canopy up to a DRIVE-THRU WINDOW. The SPEAKER CRACKLES. A SKELETON CREW works to the HUM of vending machines and a few SLURRED OUTBURSTS from the drunk tank. Officer Eddy guides Dwight past empty desks and down a hallway, carrying a TAKE-OUT BAG and NEWSPAPER.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BREAK ROOM - POLICE STAION - MORNING<\/stage_direction>\n    <scene_description>Officer Eddy seats Dwight at a kitchenette table and pulls boxed food from the bag.<\/scene_description>\n    <character>OFFICER EDDY<\/character>\n    <dialogue>I apologize for the mystery- I don't mean to scare you. You're not in any trouble, everything's fine-<\/dialogue>\n    <scene_description>She winces into a solemn, regretful grin. Dwight settles into his seat as she takes hers.<\/scene_description>\n    <character>OFFICER EDDY<\/character>\n    <dialogue>-you'll be fine. Oh, see, I just don't know exactly how to handle this. And I know I'm not to bring this up- but, honey, someone brought this to our stoop.<\/dialogue>\n    <parenthetical>(unfolding the newspaper)<\/parenthetical>\n    <dialogue>I just thought you should be somewhere safe when you found out.<\/dialogue>\n    <scene_description>Dwight suppresses a rush of realization.<\/scene_description>\n    <character>OFFICER EDDY<\/character>\n    <dialogue>With somebody...<\/dialogue>\n    <scene_description>She slides the newspaper across the table. He pulls it close without laying eyes on it. His attention shifts to a WALL CALENDAR hanging behind her.<\/scene_description>\n    <character>OFFICER EDDY<\/character>\n    <dialogue>He's going to be released. I'm not sure how much you... I just need you to know that you're safe and that you can let me know whatever you need. They are missed. It's an awful thing he did to them. I'm just going to hold you here for a little bit, let you breathe. And who knows? This might even be an opportunity...<\/dialogue>\n    <character>HER VOICE WASHES INTO CARDIOVASCULAR PULSING.<\/character>\n    <dialogue>DWIGHT'S FACE GOES SLACK.<\/dialogue>\n    <dialogue>Dwight takes the center of a residential street, moving numbly through pools of orange light, the NEWSPAPER in hand.<\/dialogue>\n    <dialogue>COLLEGE KIDS watch him from a outdoor hot tub. Their mouths are moving, but Dwight hears no voices.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH - ATLANTIC OCEAN - SUNRISE<\/stage_direction>\n    <scene_description>Dwight takes a solitary swim in the Atlantic. And goes under for a long time...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUPERMARKET - MORNING<\/stage_direction>\n    <scene_description>Aluminum and glass CLANK into a self-serve RECYCLING MACHINE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUPERMARKET CHECKOUT - MORNING<\/stage_direction>\n    <scene_description>Dwight hands a RECEIPT to a CASHIER and sets a 'DE, MD, VA' ROAD MAP on the counter. He looks half-dead.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BONNEVILLE - VACANT LOT - DAY<\/stage_direction>\n    <scene_description>Dwight pops the lid off a rusted coffee can from his trunk. He adds a handful of SMALL BILLS to the modest stash. He pulls out a GAS CANISTER and sets it down. ...opens the driver's side door, pops the gas and the hood. ...shakes the canister, empties it into the tank. ...walks an 8\" cube wrapped in plastic bags from the trunk to the hood. ...peels away the plastic bags, revealing a CAR BATTERY. ...props the hood open, sets the battery in the tray and secures the connections.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BONNEVILLE - VACANT LOT - DAY<\/stage_direction>\n    <scene_description>Dwight places the map on the seat and turns the engine over. Beside the map is THE NEWSPAPER. An article is titled: '97 PLEA DEAL MANDATES VA DOUBLE MURDERER FREED. HALF-FLAT FRONT TIRES roll back, breaking free of overgrown grass. The car reverses out of the sandy lot onto the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOOD MART \/ GAS STOP - DAY<\/stage_direction>\n    <scene_description>A general store with a fueling station. Dwight presses a HISSING AIR HOSE to a tire, behind him a display of colorful rafts and floatation devices. He moves to the next tire.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAWN SHOP - AFTERNOON<\/stage_direction>\n    <scene_description>HAND GUNS LAID ON VELVET, behind thick glass. TAGS tied to the trigger guards are marked from $180-$700. Dwight thumbs his cash and pockets it, surveying the shop: florescent lights, drop ceiling and linoleum. He drifts along the gun displays, spotting HIMSELF ON A SURVEILLANCE MONITOR atop a stack of VHS DECKS. He locates the security camera and turns to the WOMAN behind the register. She glances under the counter and stares back hard. Dwight approaches. She steps closer to the counter. He stops at the register and spins a CAROUSEL OF POSTCARDS.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>Do you sell stamps?<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>I do. But those ones have postage included.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BONNEVILLE - CURBSIDE - AFTERNOON<\/stage_direction>\n    <scene_description>CLOSE-UP, POSTCARD: OUT OF FOCUS TEXT, a BALLPOINT PEN hovers above in contemplation... In crude script: 'Your brother,'<\/scene_description>\n    <character>A WIDER VIEW:<\/character>\n    <dialogue>The Bonneville idles beside a MAILBOX. Dwight signs his name and deposits the postcard.<\/dialogue>\n    <dialogue>Dwight drives a two lane highway bordered by corn fields and metal framed irrigation equipment.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BONNEVILLE - ROADSIDE VENUE - EVENING<\/stage_direction>\n    <scene_description>CICADAS drown out THUMPING LIVE MUSIC. Dwight watches HEADLIGHTS SWEEP BY before exiting the car.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BONNEVILLE - ROADSIDE VENUE - EVENING<\/stage_direction>\n    <scene_description>A jumbo shack-themed bar for half-assed bikers. Dim light from the facade casts a warm edge onto the VEHICLES in the lot. Dwight walks along the cars, inspecting their contents. He tries a car door- LOCKED. He tries the next- UNLOCKED- and rummages inside, thrown off by the OVERHEAD INTERIOR LIGHT. Nothing. Another UNLOCKED DOOR. He SWITCHES OFF the interior light before searching. Nothing again. Cupping glass, Dwight checks the cab of a locked PICKUP TRUCK. He moves to ANOTHER TRUCK a few spots down with a 'NATIONAL ASSOCIATION OF RIFLE OWNERS' WINDOW DECAL. He spies something on the cab's floor, angling his head for a better view. He circles around and tries the other door- LOCKED...<\/scene_description>\n    <character>AND A LOUD FUCKING ALARM.<\/character>\n    <dialogue>Dwight flees, nearly tripping over a ROCK- he snatches it up, does an about face and SMASHES it through the cab window.<\/dialogue>\n    <dialogue>He reaches through the jagged glass and unlatches the door, pulling a SMALL PLASTIC CASE from under the seat.<\/dialogue>\n    <dialogue>THE LIVE MUSIC SURGES as a COWBOY exits the bar holding a KEG CUP, wresting his keys from his tight jeans.<\/dialogue>\n    <dialogue>Dwight dives behind his car, panicking across the dirt.<\/dialogue>\n    <dialogue>The COWBOY aims his keys at the BLARING truck.<\/dialogue>\n    <dialogue>TWO QUICK HONKS and the ALARM IS SILENCED. The Cowboy heads back inside with a BELCH.<\/dialogue>\n    <dialogue>Dwight rolls up his window. DUST SETTLES as he checks the rear view and opens the case beside him: BINGO- A SNUB-NOSED REVOLVER fitted in foam with SIX .357 CARTRIDGES.<\/dialogue>\n    <dialogue>He lifts the weapon, noticing a HEAVY DUTY TRIGGER LOCK.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCENIC OVERLOOK - MORNING<\/stage_direction>\n    <scene_description>MUTED, RHYTHMIC CRACKING ECHOES through the river valley. The Bonneville is parked alone in the lot, below tall trees and rock formations. WATER RUSHES nearby. There's a small PLAQUE for tourists, a rustic TRASH BIN and PORTA-POTTIES.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NATURE TRAIL - SCENIC OVERLOOK - MORNING (CONTINUOUS)<\/stage_direction>\n    <scene_description>Dwight SMASHES THE REVOLVER'S TRIGGER LOCK WITH A TIRE IRON. He assesses the damage- very little. He places the gun on a rock and pounds with more and more might and less and less control, following it with wild swings into the dirt. THWAP, THWAP, CRUNK. The metal gives. He dusts off the gun- it's broken in several places, the TRIGGER LOCK STILL INTACT.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCENIC OVERLOOK - RUSTIC TRASH BIN - MORNING<\/stage_direction>\n    <scene_description>TRACKING WITH DWIGHT, marching in disappointment towards the trash bin. He watches a HYBRID SUV pull in with a half- hearted smile and nod. He discretely deposits the broken gun, returning to the Bonneville as the SUV DRIVER (40), fit and wearing fleece, hops out with a LEASH and a LATTE. A DOG BARKS from the SUV as Dwight pulls out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WINDING ROAD- BONNEVILLE - AFTERNOON<\/stage_direction>\n    <scene_description>The Bonneville weaves between eastern foot-hills.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INTERSECTION - DUSK<\/stage_direction>\n    <scene_description>A shadowed ROAD SIGN against a waning blue sky. HEADLIGHTS illuminate it: 'PRISON AREA: HITCHHIKING PROHIBITED' Soft morning light. Dwight sits with predatory stillness.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATE PRISON LOT - EARLY MORNING (CONTINUOUS)<\/stage_direction>\n    <scene_description>The Bonneville is parked a few rows from the lot's edge with a view of the prison gate. Rising behind it is high fencing, razor wire and concrete.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BONNEVILLE - STATE PRISON LOT - DAY (HOURS LATER)<\/stage_direction>\n    <scene_description>Midday sun beams into the car. The PATTER OF LIQUID FLOWING INTO PLASTIC. Dwight is hunched in his seat, eyes to his lap.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BONNEVILLE - STATE PRISON LOT - DAY<\/stage_direction>\n    <scene_description>LOW ANGLE OF TIRES AND GRAVEL, the prison visible between the ground and the car chassis: the driver's side door opens and urine pours from a plastic bottle onto the gravel. A large sedan pulls into the lot.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BONNEVILLE - STATE PRISON LOT - DAY<\/stage_direction>\n    <scene_description>Dwight tugs his door closed, observing THROUGH THE WINDSHIELD: An early '90s model WHITE STRETCH LIMOUSINE parks in the spot closest to the prison gates. ON THE DOOR: 'CLELAND LIMOUSINE' From the far side, A MAN and a WOMAN step out for cigarettes, the engine idling. Dwight half turns the keys in the ignition and rolls down the passenger side window. Their VOICES compete with MUSIC emanating from the limousine, their smoke puffs drift into the wind. Dwight pulls his satchel from the floor and rests it on the passenger's seat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATE PRISON LOT - DAY (LATER)<\/stage_direction>\n    <scene_description>LOUDER MUSIC and LAUGHTER from behind the closed doors of the limousine. Dwight's Bonneville hasn't moved. Dwight squints at the prison entrance. An INMATE (42, white male) is being escorted out by a CORRECTIONS OFFICER. The inmate struts in prison issued slacks and shirt, carrying a cardboard BOX. He's tattooed up his arms and neck, strong but with a gut. Dwight is frozen. THE FAMILY exits the limousine with a brief BLAST OF MUSIC. The TEDDY (45), stocky in casual preppie attire, hops back inside the driver's seat to lower the volume. There's CARL(39), wiry and tattooed in baggy clothes, CHRIS (46), scornful with teased, dirty blond hair, and HOPE (42), tight pony-tail and a dark, chiseled face. A BOY (14), lanky with hand-me-down clothes, scoots to the edge of the back seat, slouched over a HAND-HELD VIDEOGAME CONSOLE. The corrections officer hands the inmate a white envelope and heads back with PARTING WORDS. The Family Members circle the Inmate. Chris motions for the Boy to greet the Inmate, but he refuses. She power-walks over and grabs the Boy around the biceps. He shakes her off, retreating into the car as she palms his chin and shoves it back. They all pile back in the limousine. Dwight starts his car.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. BONNEVILLE (MOVING) - HIGHWAY - DAY<\/stage_direction>\n    <character>ON THE REAR OF THE SPEEDING LIMOUSINE, FROM THE HOOD OF THE<\/character>\n    <dialogue>BONNEVILLE, several car lengths back.<\/dialogue>\n    <dialogue>CHRIS rises from the SUNROOF with a PLASTIC CUP in hand. She flinches as airborne debris blows into her eye, the cup goes flying as she awkwardly ducks below.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BONNEVILLE (MOVING) - HIGHWAY - DAY (CONTINUOUS)<\/stage_direction>\n    <scene_description>The cup CLACKS PAST Dwight's vibrating car. He checks the speedometer. They're averaging 83 MPH. The limousine pulls into the dirt lot of a single story stucco bar. The only other vehicle is a TRUCK FOR SALE. The Bonneville whips past, maintaining course.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BONNEVILLE (MOVING) - HIGHWAY - DAY<\/stage_direction>\n    <scene_description>Watching his rearview, Dwight slows to a stop on the shoulder. P.O.V. (DWIGHT): HOPE yanks up a metal entrance gate, a PADLOCK in her hand. The Family follows her into the bar. ON DWIGHT as he rolls out into a wide U-turn.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY BAR - DAY<\/stage_direction>\n    <scene_description>Dwight pulls the Bonneville up a grassy incline beside the limousine and cuts the engine.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BONNEVILLE - HIGHWAY BAR - DAY (CONTINUOUS)<\/stage_direction>\n    <scene_description>Dwight has a look around the car cabin and UNZIPS the satchel. He slides SOMETHING into his pant pocket. He closes his eyes. Then yanks the keys.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY BAR - DAY<\/stage_direction>\n    <scene_description>Dwight steps from the Bonneville, looping his key chain around his neck and tucking it into his shirt. TRACKING WITH DWIGHT as he shuts the door and walks unsteadily around the side of the building. A SOUND SYSTEM inside the bar cycles through RADIO STATIONS. Muffled, celebratory VOICES lure Dwight towards the back. He tries a side door near a dumpster. Locked.<\/scene_description>\n    <character>A DOOR SPRING. A WOMAN'S VOICE. A CLINKING CHAIN.<\/character>\n    <dialogue>Dwight follows the wall towards the sound, peeking one eye beyond the edge of the building.<\/dialogue>\n    <dialogue>Hope is crouched by the rear entrance, opening cellar doors as the Teddy rolls a BEER KEG from a gated cold-storage unit.<\/dialogue>\n    <character>OLDER TEDDY (O.S.)<\/character>\n    <dialogue>Stop breathing out your mouth.<\/dialogue>\n    <character>HOPE (O.S.)<\/character>\n    <dialogue>Yeah, if you stop talking out your ass. Putting him on your books- they'll be looking at you if he fucks up even once- and it won't be on me...<\/dialogue>\n    <scene_description>Dwight TUNES OUT, drawn to a DISTANT RUMBLE above. IN THE SKY: a drifting contrail in the wake of a jet... The cellar doors swing SHUT. Dwight pivots around the corner- they're gone. He slips inside the back door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - HIGHWAY BAR - DAY (CONTINUOUS)<\/stage_direction>\n    <scene_description>From bright daylight into a black cave. AUTO-TUNED RAP SWELLS as Dwight navigates the memorabilia- lined hallway, his eyes adjusting to the darkness. TRACKING BEHIND DWIGHT, as he reaches in his pocket and pulls out the CORK HANDLED FISHING KNIFE. He passes the kitchen, steadying himself against the wall, nearly knocking off a framed picture. He presses his hand to a door and it swings open...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - HIGHWAY BAR - DAY (CONTINUOUS)<\/stage_direction>\n    <scene_description>It's a cramped, dingy-tiled bathroom bisected by a narrow walkway. On one wall: two stalls and a trash can. On the other: two urinals and a stickered-up mirror mounted above a porcelain sink. Dwight crosses the walkway and turns to face the door. He adjusts the blade in his hand. The MUSIC lowers, then blasts LOUDER. ON DWIGHT, inching towards the door- VOICES from just beyond it stop him short. plastic cups.<\/scene_description>\n    <character>CONVICT<\/character>\n    <dialogue>Naw, man- she just talks too much. Shit- I ain't used to that.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>She talks shit, or she just talks too much?<\/dialogue>\n    <scene_description>IN THE FAR STALL, Dwight stands silent, shadowed.<\/scene_description>\n    <character>CONVICT<\/character>\n    <parenthetical>(jokingly fed up)<\/parenthetical>\n    <dialogue>Motherfucker.<\/dialogue>\n    <scene_description>The two men place their cups atop the urinals and relieve themselves.<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>What, me too?<\/dialogue>\n    <character>CONVICT<\/character>\n    <dialogue>Yeah, maybe just let me piss. Haven't done it alone with four walls in over a decade.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Ha, dude.<\/dialogue>\n    <scene_description>They share a bit of a laugh then urinate in silence. Carl Finishes up and ZIPS.<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Hey, man. You all right?<\/dialogue>\n    <character>CONVICT<\/character>\n    <dialogue>Got some shit lined up. Favors.<\/dialogue>\n    <scene_description>Carl walks to the door.<\/scene_description>\n    <character>CONVICT<\/character>\n    <dialogue>You ain't gonna wash up?<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Naw, man, I don't piss on my hands.<\/dialogue>\n    <parenthetical>(walking out)<\/parenthetical>\n    <dialogue>You want another one? Or you want beer?<\/dialogue>\n    <character>CONVICT<\/character>\n    <dialogue>All that shit...<\/dialogue>\n    <dialogue>I hear that.<\/dialogue>\n    <scene_description>The door swings shut behind Carl. The Convict lets out a deep breath, passes some gas. He zips up, his face expressionless as he steps to the sink across from the far stall. Dwight is three feet from the Convict, DIRECTLY BEHIND HIM. The Convict pumps soap, scrubs his hands. INSIDE THE STALL, Dwight watches, sweaty, seething. ON THE FISHING KNIFE, Dwight nervously auditions hand grips. ON DWIGHT'S contorting face. The MUSIC IS LOUD. The convict splashes his face and inspects his pores in the mirror- his jaw tenses as his EYES LOCK ON A REFLECTION IN THE STALL BEHIND HIM. Counterbalanced by fear and rage, Dwight's thrust is almost lethargic. The Convict whirls around as the stall door pushes open- DWIGHT SWINGS THE FISHING KNIFE, CUTTING A DEEP SLICE INTO THE BACK OF THE CONVICT'S NECK. The Convict fails to register the wound and rushes Dwight, grabbing him by the throat with jailhouse power, forcing him against the stall.<\/scene_description>\n    <character>CONVICT<\/character>\n    <dialogue>THE FUCK? MOTHERFUCKER.<\/dialogue>\n    <scene_description>IN THE MIRROR BEHIND THEM, we see the severity of the Convict's wound, LIKE A BLOODY GILL, AS IT RAPIDLY OVERFLOWS WITH DARK RED FLUID. Dwight gasps in the Convict's two-handed clench, flailing, WEAKLY JABBING THE KNIFE INTO THE CONVICTS RIBS.<\/scene_description>\n    <character>CONVICT<\/character>\n    <scene_description>DWIGHT RAISES THE FISHING KNIFE AND THRUSTS IT DOWNWARD INTO THE CONVICT'S SKULL. The Convict lets out an open-mouthed GRUNT, the KNIFE PLANTED IN THE TOP OF HIS HEAD. Enraged, with shock setting in, the Convict throws Dwight towards the still-running sink, then to the floor. They slip and flail, bathed in blood. Dwight takes a beating until the Convict BLEEDS OUT, clutching Dwight's shirt. disentangles from the Convict, who crumples to the floor, wheezing. He stares at Dwight, a hint of recognition.<\/scene_description>\n    <character>CONVICT<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Do I know you?<\/dialogue>\n    <scene_description>Dwight stares back.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Dwight ramps into hyperventilation.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>YES.<\/dialogue>\n    <scene_description>He leans over the Convict, YANKS THE KNIFE FROM HIS SKULL.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>YES!<\/dialogue>\n    <scene_description>Unhinged, Dwight STABS THE CONVICT REPEATEDLY IN THE CHEST. Then collapses, completely spent. SOMEONE POUNDS ON THE DOOR.<\/scene_description>\n    <character>TEDDY (O.S.)<\/character>\n    <parenthetical>(muffled, through door)<\/parenthetical>\n    <dialogue>Hurry the fuck up, man! Party's for you!<\/dialogue>\n    <scene_description>Dwight crawls to the sink, puts a bloody hand on it and pulls himself to his feet.<\/scene_description>\n    <character>TEDDY (O.S.)<\/character>\n    <parenthetical>(projecting further away)<\/parenthetical>\n    <character>WHAT? HELL NO! HE'S PROBABLY<\/character>\n    <dialogue>BEATIN' OFF.<\/dialogue>\n    <scene_description>Dwight heaves with pain, resigned. He tosses the knife towards the door.<\/scene_description>\n    <character>TEDDY (O.S.)<\/character>\n    <parenthetical>(through door)<\/parenthetical>\n    <dialogue>Told you we shoulda had a hooker waiting...<\/dialogue>\n    <scene_description>Two playful SMACKS AGAINST THE DOOR. Dwight's breathing regulates. Eyes on the door: JUST MUSIC.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - HIGHWAY BAR - DAY (CONTINUOUS)<\/stage_direction>\n    <scene_description>TRACKING WITH DWIGHT, COVERED IN BLOOD, swaying into the hallway and heading out the way he came. Behind him, Teddy walks off, oblivious. The RADIO STATION runs an ADVERTISEMENT, the stereo CYCLES THROUGH STATIONS, casual VOICES and LAUGHTER fill the void until it lands on CLASSIC ROCK. As Dwight exits, the sunlight is blinding.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY BAR - DAY<\/stage_direction>\n    <scene_description>Dwight treads heavily towards the Bonneville, past the limousine. He turns back and STABS THE LIMOUSINE'S FRONT TIRE, HIS HAND SLIDING DOWN THE BLADE ON IMPACT. He leaves the knife in the FIZZLING tire, HIS HAND DRIPPING BLOOD TOWARDS HIS CAR.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BONNEVILLE - HIGHWAY BAR - DAY<\/stage_direction>\n    <scene_description>Dwight takes his seat, admiring the DEEP CUT ACROSS HIS FINGERS. He reaches into his collar, feels around his neck: NO KEYS. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - HIGHWAY BAR - DAY<\/stage_direction>\n    <scene_description>DWIGHT'S CAR KEYS ON THE BATHROOM FLOOR, the broken ball- bearing necklace threaded through. CLASSIC ROCK ECHOES.<\/scene_description>\n    <character>CARL (O.S.)<\/character>\n    <parenthetical>(muffled, through door)<\/parenthetical>\n    <dialogue>Let's go, brother. Coming in...<\/dialogue>\n    <scene_description>In the background, the door swings in and impacts the Convict's body, sliding it a few inches on the wet tile.<\/scene_description>\n    <character>CARL (O.S.)<\/character>\n    <dialogue>Oh...fuck. Oh FUCK!<\/dialogue>\n    <scene_description>WHISTLING WIND and QUIET ROCK. ON THE STABBED TIRE, as Dwight shuffles past. He rounds the limousine hood and tries the driver's side door- UNLOCKED.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMOUSINE - HIGHWAY BAR - DAY (CONTINUOUS)<\/stage_direction>\n    <scene_description>Dwight sits and scours for keys- the ignition...the visor. He digs in a console CUP-HOLDER and pulls out a set, turning them in the ignition as the bar door opens. LOUD, OFFENSIVE MUSIC emanates from the limousine's stereo as Dwight shifts and hits the gas.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIMOUSINE - HIGHWAY BAR - DAY (CONTINUOUS)<\/stage_direction>\n    <scene_description>ON THE STABBED TIRE, as it WHIRLS THE KNIFE. The limousine carves a wobbly path, kicking up DUST as the Family Members exit, confused, furious, bloody. Hope holds a PUMP SHOTGUN. Chris and Carl sprint after the limousine, shouting hysterically.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMOUSINE (MOVING) - HIGHWAY - DAY (CONTINUOUS)<\/stage_direction>\n    <scene_description>Dwight's face quivers with emotion, but he can't quite cry. DOWN THE ROAD, about a quarter mile, there's a CONCRETE BARRIER along a curve. MUSIC STILL BLASTS. ON THE SPEEDOMETER: from 50MPH to 70MPH.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIMOUSINE (MOVING) - HIGHWAY - DAY (CONTINUOUS)<\/stage_direction>\n    <scene_description>The shredded tire DISINTEGRATES, only the rim remains, SHRIEKING METAL and SHOWERING SPARKS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMOUSINE (MOVING) - HIGHWAY - DAY (CONTINUOUS)<\/stage_direction>\n    <scene_description>Dwight TURNS OFF THE BLASTING RADIO. Relaxing now, with peace soon upon him, he maxes out the speed of the teetering sedan. HE CLOSES HIS EYES. Dwight blinks aware, triangulating the source- it's behind him, in the passenger compartment.<\/scene_description>\n    <character>VISIBLE BEHIND THE PASS-THROUGH WINDOW: THE BOY, BEATING<\/character>\n    <dialogue>AGAINST THE SOUNDPROOF GLASS, unnerved but composed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY - DAY<\/stage_direction>\n    <scene_description>The limousine WHIRS to a stop amidst SMOKE AND DUST. Dwight exits the car, caked in blood, opening the rear-hinged passenger door like a zombie chauffeur. The BOY climbs out grasping his video game console, scurrying a safe distance before turning to face Dwight. They regard each other. Chris and Carl pant towards them, far in the distance. Dwight pushes the passenger door closed and turns away.<\/scene_description>\n    <character>BOY<\/character>\n    <dialogue>Did you hurt Wade?<\/dialogue>\n    <scene_description>Dwight turns back, breaths some air.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>I did. Wade hurt my parents.<\/dialogue>\n    <character>BOY<\/character>\n    <dialogue>No he didn't. He just helped out.<\/dialogue>\n    <scene_description>The boy turns and walks the highway towards his relatives, their frantic YELLING LOST IN THE WIND.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONCRETE BARRIER - HIGHWAY - DAY<\/stage_direction>\n    <scene_description>The limousine SPARKS past the barrier at sublethal speed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMOUSINE (MOVING) - HIGHWAY - DAY<\/stage_direction>\n    <scene_description>Dwight hangs in limbo, his adrenaline dumped.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <parenthetical>(under his breath)<\/parenthetical>\n    <dialogue>Silly...<\/dialogue>\n    <scene_description>FROM INSIDE THE BONNEVILLE, Family Members congregate around Dwight's vehicle. The MAP and the NEWSPAPER flap on the passenger's seat. LOST IN THE BACKGROUND: Chris YELLS ABUSIVELY at the Boy. Carl burns testosterone with VOWS OF REVENGE. Closer to the Bonneville, inspecting the bullet holes...<\/scene_description>\n    <character>HOPE<\/character>\n    <dialogue>Was that the car?<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>Yep.<\/dialogue>\n    <character>HOPE<\/character>\n    <dialogue>You think he was alone?<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>Do we care?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE DITCH - DAY<\/stage_direction>\n    <scene_description>The limousine CARVES INTO A DITCH AND LANDS HARD. Dwight pops from the door, dismounts the SMOULDERING sedan and walks off towards a TREE LINE on the far side of an open field.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - DAY<\/stage_direction>\n    <scene_description>Dwight takes cover in the shade of trees.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS (DEEPER IN) - DAY<\/stage_direction>\n    <scene_description>Dwight DRY HEAVES, nestled between limbs of a fallen oak.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CREEK - WOODS - LATE AFTERNOON<\/stage_direction>\n    <scene_description>A shallow creek of mostly mud. Dwight follows the trickle of water upstream to a CONCRETE DRAINAGE DITCH. He follows the ditch to a clearing, beyond which lies a RESIDENTIAL DEVELOPMENT. A crowded cul-de-sac of McMansions surrounded by vacant land. Some homes are unfinished- cars in some driveways, piles of red, upturned dirt in others.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RESIDENTIAL DEVELOPMENT - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Dwight watches from closer in, crouched on a hill. All's quiet. A PILE OF BAGGED NEWSPAPERS lies two stoops in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCMANSION - EVENING<\/stage_direction>\n    <scene_description>A well kept, oversized home. Evening light filters through the windows. A TV REMOTE with a shit-ton of buttons. Behind it, a FLAT- SCREEN illuminates the room. A RIPPED-OPEN PACKAGE OF SANDWICH MEATS and an empty GALLON JUG sit atop the kitchen counter.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASTER BEDROOM - MCMANSION - EVENING<\/stage_direction>\n    <scene_description>PUSHING TOWARDS the MASTER BATH as backlit STEAM drifts into the shadowed chamber.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASTER BATHROOM - MCMANSION - EVENING<\/stage_direction>\n    <scene_description>The fogged-up medicine cabinet hangs open. A PLASTIC COMB, RAZOR and SCISSORS sit between HIS AND HER SINKS littered with HAIR TRIMMINGS and pink, DILUTED BLOOD. IN THE SHOWER: Dwight scrubs the coagulated mess off his body, his face CLEAN SHAVEN.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - MCMANSION - LATER<\/stage_direction>\n    <scene_description>Seated on the toilet, Dwight pours HYDROGEN PEROXIDE over his GASHED HAND into a small trash bin. FIRST AID SUPPLIES are laid out on the sink beside him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLOSET - MASTER BEDROOM - MCMANSION - NIGHT<\/stage_direction>\n    <scene_description>Dwight picks through a rack of clothes, finding a modest outfit: COLLARED SHIRT, SLACKS AND WORK SHOES. GEAR, placing the contents neatly on a shelf.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - MCMANSION - NIGHT<\/stage_direction>\n    <scene_description>Dwight chugs water from the gallon jug. On the counter, the workout bag is zipped and loaded. Next to it, half a roll of paper towels and his bloody clothes in a plastic grocery bag. Dwight refills the jug at the sink and chugs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWNSTAIRS BATHROOM - MCMANSION - NIGHT<\/stage_direction>\n    <scene_description>Dwight stands over the toilet pissing like a racehorse.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - MCMANSION - LATER<\/stage_direction>\n    <scene_description>Dwight combs his hair in the mirror.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - MCMANSION - NIGHT<\/stage_direction>\n    <scene_description>Dwight cycles through LOCAL NEWS CHANNELS on the TELEVISION: - CLICK - \"A tornado touched down in Western VA\" - CLICK - \"an area surgeon was accused of sexual abuse\" - CLICK...<\/scene_description>\n    <character>NEWSCASTER (ON TELEVISION)<\/character>\n    <dialogue>...porch. Small dogs and cats should be kept in an enclosure if left unattended, as coyotes are able to jump fences- get this Amy- up to seven feet, oops, it says 'less than seven feet'- I guess that would make it six feet and eleven inches and anything below? Curious wording...<\/dialogue>\n    <character>CO-ANCHOR\/AMY (ON TELEVISION)<\/character>\n    <parenthetical>(rescuing her co-anchor)<\/parenthetical>\n    <dialogue>- More or less Steven, and I was surprised that they could climb even taller...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MCMANSION - BACK PORCH - NIGHT<\/stage_direction>\n    <scene_description>Dwight locks the door handle before closing it, the workout bag draped over his shoulder and the grocery bag in hand. Dwight circles from the porch to a basement window left ajar. He slides it shut and trots silently across the sodded lawn.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRUCK STOP - NIGHT<\/stage_direction>\n    <scene_description>Dwight stuffs the bag of soiled clothes into a pebbled trash receptacle near the perimeter of a truck stop. Industrial lights cast a sick hue across the asphalt lot. BIG RIGS all over- CHUGGING on and off the highway, lining up for fuel, idling in an adjacent lot. Dwight heads for a filling station CONVENIENCE STORE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONVENIENCE STORE - TRUCK STOP - NIGHT (CONTINUOUS)<\/stage_direction>\n    <scene_description>Dwight clears the side of the store, stepping into the fluorescent lights of its facade and within yards of a parked STATE POLICE CRUISER. The STATE TROOPER is visible inside, paying for coffee. Dwight's eyes track the Trooper as he exits the store and settles in to his cruiser. The Trooper throws Dwight a dismissive glance and starts the engine. Dwight steps closer with an awkward, expectant gaze. The Trooper backs out, reversing over to Dwight.<\/scene_description>\n    <character>STATE TROOPER<\/character>\n    <parenthetical>(rolling down window)<\/parenthetical>\n    <dialogue>You alright, sir?<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Are... you looking for me?<\/dialogue>\n    <character>STATE TROOPER<\/character>\n    <parenthetical>(halfhearted jest)<\/parenthetical>\n    <dialogue>Not unless you're looking for trouble...<\/dialogue>\n    <scene_description>A forced smile from the trooper, nothing in return from Dwight...<\/scene_description>\n    <character>STATE TROOPER<\/character>\n    <dialogue>Okay then. You got ID?<\/dialogue>\n    <scene_description>and hands over a ratty ID. The trooper runs his name.<\/scene_description>\n    <character>STATE TROOPER<\/character>\n    <dialogue>You have a vehicle here, Mr. Evans? You driving?<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Not right now, no.<\/dialogue>\n    <character>STATE TROOPER<\/character>\n    <dialogue>Good. This is a learner's permit from...<\/dialogue>\n    <parenthetical>(inspecting the ID)<\/parenthetical>\n    <dialogue>...nineteen ninety-seven. You got anything else?<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>No, sir.<\/dialogue>\n    <character>STATE TROOPER<\/character>\n    <dialogue>Get this up to date. And I don't want you hitchhiking in the meantime, alright?<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>STATE TROOPER<\/character>\n    <dialogue>Have a safe night.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. TRACTOR TRAILER (MOVING) - NIGHT<\/stage_direction>\n    <scene_description>Dwight stares out from the cab of a truck, the DRIVER focused on the road ahead. CRACKLING COUNTRY MUSIC and RUSHING WIND.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - RANCH HOUSE - MORNING<\/stage_direction>\n    <scene_description>Two KIDS (4&amp;6), watching TELEVISION.<\/scene_description>\n    <character>A DOOR BELL RINGS.<\/character>\n    <dialogue>A MOM (39) walks through, plucks CAR KEYS from a CERAMIC JAR atop a cluttered table and exits into the foyer.<\/dialogue>\n    <dialogue>A DOOR floods daylight inside and she reappears with a BABY SITTER (30's).<\/dialogue>\n    <parenthetical>(to the sitter)<\/parenthetical>\n    <dialogue>Bit of a late start- you mind moving the sprinkler into the bushes in about twenty minutes?<\/dialogue>\n    <character>BABY SITTER<\/character>\n    <dialogue>Sure, yeah.<\/dialogue>\n    <scene_description>The Mom kisses her kids on the cheeks.<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Then turn it off after fifteen. They painted Shrinky-Dinks last night- if you could put 'em in the oven? I think three minutes at three-fifty- it's on the box.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RANCH HOUSE - MORNING<\/stage_direction>\n    <scene_description>The Mom walks briskly from the modest, two-story home. A 'FOR SALE' SIGN is staked in the neat grass. Juggling her keys, purse and a file folder, she ducks behind a hedge and OPENS AN EXTERIOR FAUCET.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HATCHBACK - RANCH HOUSE - MORNING (CONTINUOUS)<\/stage_direction>\n    <scene_description>The Mom slips into the car as water PATTERS across the windshield. She starts up, plops her purse and checks the REAR VIEW MIRROR. She waits for the passing sprinkler and rolls down her window...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HATCHBACK - RANCH HOUSE - MORNING (CONTINUOUS)<\/stage_direction>\n    <scene_description>...She pops her head out towards the rear.<\/scene_description>\n    <character>MOM<\/character>\n    <parenthetical>(friendly warning)<\/parenthetical>\n    <dialogue>Pulling out!<\/dialogue>\n    <scene_description>Dwight, standing at the edge of her driveway, sidesteps to the lawn. The Mom retracts into the car with a wave.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HATCHBACK - RANCH HOUSE - MORNING (CONTINUOUS)<\/stage_direction>\n    <scene_description>PROFILE ON THE MOM as she backs the car out, struck by a REVELATION. She hits the brake. The Mom pops her head back out with a furrowed brow.<\/scene_description>\n    <character>MOM<\/character>\n    <dialogue>Dwight?<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Hi, Sam.<\/dialogue>\n    <scene_description>The Mom, SAM, is quietly stunned. Dwight sets his bag down and cautiously approaches.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Dwight?<\/dialogue>\n    <scene_description>He's clean shaven, in respectable attire, his ill-fitting shirt tucked tight into his pants.<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>(searching)<\/parenthetical>\n    <dialogue>...You look good.<\/dialogue>\n    <scene_description>His pained eyes, his BANDAGED AND BLOODY HAND.<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>(shifting car into 'park')<\/parenthetical>\n    <dialogue>Or do you?<\/dialogue>\n    <scene_description>WIDE SHOT: Dwight backs away as Sam swings open the car door and stands. A protracted silence, then a tentative embrace... ...the SPRINKLER TICKS ITS SPRAY onto them.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Let me call work.<\/dialogue>\n    <scene_description>She has another look and Dwight, starts untucking his shirt.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>...sorry, but 'no' to this.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FAST FOOD RESTAURANT - MORNING<\/stage_direction>\n    <scene_description>An independent version of Roy Rogers half full with LOCALS. At the register, Sam lifts a plastic tray, one shoulder bracing her phone. Dwight, seated, watches her approach. Two wrapped breakfast sandwiches slide in front of him atop the tray. Sam scoots into the booth across. Wish I had more time, I've got an asset inventory that can't push. Dwight absorbs the surreal setting.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>You need money?<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>No, I - did you get my letter?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>There haven't been any letters.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Sent it after I crossed the bridge- it was a postcard.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>No. When?<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Couple of days ago.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Yeah, postcards take more time- Dwight, I'm not following...<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>I sent it on my way to Deerfield.<\/dialogue>\n    <scene_description>She leans with deep concern.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I know he's out, if that's why you're here. D.O.C. sends a notification. And a restraining order. Let's not...<\/dialogue>\n    <scene_description>She trails off, unwraps her sandwich.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>You're selling the house?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Have been. For two years. It's not really a hot market here. I've gotten a better job since then...<\/dialogue>\n    <scene_description>She bites into her sandwich. Not enjoyable.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>But you want to leave?<\/dialogue>\n    <dialogue>The absolute second I can.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Why can't you?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Good god, Dwight. You want me to answer that?<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Sorry. It's fine...<\/dialogue>\n    <parenthetical>(stretching jaw)<\/parenthetical>\n    <dialogue>I'm not used to talking this much.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Well, it's what people do.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>He unwraps his sandwich. It's greasy and grey.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Do you? Wanna know what I do?<\/dialogue>\n    <scene_description>Dwight kindly postures for a storm.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I'm a secretary for a probate attorney.<\/dialogue>\n    <scene_description>Dwight can't ask.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>They settle estates. I knew so much about it, he hired me during the interview...<\/dialogue>\n    <parenthetical>(fighting tears)<\/parenthetical>\n    <dialogue>I couldn't 'just leave'. I fought Uncle Steve in court. He wanted the house. I got the IRS on him and he took off to the Philippines. I was holding on but there was nothing...<\/dialogue>\n    <parenthetical>(blowing a breath)<\/parenthetical>\n    <dialogue>So I married an asshole. He tried to take the house too. I probably should've let him...<\/dialogue>\n    <scene_description>Dwight reaches for Sam's hand. She pulls away, then takes hold of his. Crap. I took us here so this wouldn't happen. There's way too much...<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>I'm sorry I left.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'm sorry too.<\/dialogue>\n    <parenthetical>(sniffs, wipes)<\/parenthetical>\n    <dialogue>For this busted sandwich.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>I've had worse.<\/dialogue>\n    <scene_description>They behold their sandwiches.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>As far as the estate- you're still owed twenty eight hundred dollars.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>You keep it.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I spent it on new siding for the house. It apparently needed curb appeal. I'll pay you from the proceeds when it sells- if it sells. And there's still a box of your things. I gave some to the kids- mostly the toys. Sold the rest at yard sales.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>It's fine. Keep it all.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Dwight, I don't want it. And you need to register the Bonneville in your name if you still have it. I have spare keys if you want 'em.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>It's...gone.<\/dialogue>\n    <scene_description>They share some silence.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>So, how's Delaware?<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>You knew...?<\/dialogue>\n    <dialogue>Not exactly where. We still go when we can- every few years, keep the tradition. Mostly for the kids- I've got two now.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>I know-I mean... I saw you. Few summers ago.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You didn't say anything?<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>I... looked a mess.<\/dialogue>\n    <scene_description>His hand retracts and presses his sandwich bun.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>You were on the boardwalk. Your older one was crying.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>So why now? Wade Cleland gets released?<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>I thought it'd be on the news, but there's nothing...<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>We knew. This was the deal to avoid trial.<\/dialogue>\n    <scene_description>Dwight wraps his sandwich then stops.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>I killed him, Sam. I killed Wade Cleland.<\/dialogue>\n    <scene_description>She looks again at his bandaged hands, mild shock setting in.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>What? Bullshit. When?<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>I think yesterday...<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>God damn you. This was over.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Never for me.<\/dialogue>\n    <dialogue>People don't do this.<\/dialogue>\n    <scene_description>Dwight shrugs a pathetic laugh.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>Thought he'd kill me first.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Well I'm glad he didn't.<\/dialogue>\n    <parenthetical>(quiet, seething)<\/parenthetical>\n    <dialogue>And I'm glad he's dead. I hope he suffered...<\/dialogue>\n    <scene_description>Sam's attention is drawn to a LARGE MAN looking straight at them, sitting behind Dwight at an adjacent booth.<\/scene_description>\n    <character>LARGE MAN<\/character>\n    <dialogue>S'cuse me.<\/dialogue>\n    <scene_description>Dwight turns to face him.<\/scene_description>\n    <character>LARGE MAN<\/character>\n    <dialogue>Y'all got ketchup on yours? We don't.<\/dialogue>\n    <scene_description>Sam slides their KETCHUP to Dwight, who passes it over his shoulder to the Large Man.<\/scene_description>\n    <character>LARGE MAN<\/character>\n    <dialogue>Sorry, thank you.<\/dialogue>\n    <scene_description>Dwight and Sam stare at each other.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>The Clelands still live up on East Hundred. The older one, he owns limousines-<\/dialogue>\n    <character>DWIGHT<\/character>\n    <parenthetical>(between her words)<\/parenthetical>\n    <dialogue>Yup.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>-How great is that? Operates out of Charlottesville. Every time I see one on the way to the airport, or pass through town- fucking June, fucking prom... You don't own-<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>WHERE ARE YOUR KIDS?<\/dialogue>\n    <scene_description>Home. With the sitter...<\/scene_description>\n    <character>DWIGHT<\/character>\n    <parenthetical>(standing up)<\/parenthetical>\n    <dialogue>Let's get back in your car.<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>(following)<\/parenthetical>\n    <dialogue>What? Why?<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>They never called the police.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HATCHBACK - FAST FOOD RESTAURANT - MORNING<\/stage_direction>\n    <character>ON THE EMPTY SEATS. AMBIENT AUDIO CUTS OUT.<\/character>\n    <dialogue>MUSIC FADES-IN: A SINGLE, PIERCING NOTE ON STRINGS.<\/dialogue>\n    <dialogue>Dwight takes the wheel. Sam takes shotgun, dialing her phone.<\/dialogue>\n    <character>HAND HELD, CHOPPY CUTS. TIME IS BROKEN.<\/character>\n    <dialogue>THE ROAD BLURS THROUGH THE WINDSHIELD.<\/dialogue>\n    <character>SAM (BARELY AUDIBLE)<\/character>\n    <dialogue>She's not picking up. She's not picking up!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RANCH HOUSE - DAY<\/stage_direction>\n    <scene_description>PUSHING TOWARDS THE HOUSE, THE PIERCING STRINGS CUT OUT as the hatchback SCRAPES up the driveway and SKIDS to a halt. Dwight and Sam race from the car.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>No no no no no no...<\/dialogue>\n    <scene_description>Dwight makes it to the door.<\/scene_description>\n    <character>BABYSITTER (O.S.)<\/character>\n    <dialogue>Wait!<\/dialogue>\n    <scene_description>The Babysitter stands from behind the hedge, holding the sprinkler.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Oh my god.<\/dialogue>\n    <scene_description>Sam runs past Dwight into the house, the Babysitter follows. What's wrong?!<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>Me...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOYER - RANCH HOUSE - DAY<\/stage_direction>\n    <scene_description>As Dwight enters, he's SMACKED REPEATEDLY IN THE FACE by Sam, her kids in the background, SAFE AND SOUND. Dwight barely resists. The Sitter looks the children over.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - RANCH HOUSE - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Sam pulls BURNT SHRINKY-DINKS from the oven, tossing them into a flip up GARBAGE CAN.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK PORCH - RANCH HOUSE - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Dwight peers into the kitchen through a glass-pained door.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <parenthetical>(through door)<\/parenthetical>\n    <dialogue>...She knew them from the beach. I think she knew dad from the car shows. We don't talk much about it, but she looks out for me. I'll do it there. Her name is... I forgot her first name. Officer Eddy.<\/dialogue>\n    <scene_description>Sam appears through the glass, Dwight straightens up.<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>(through door)<\/parenthetical>\n    <dialogue>The Clelands need to be arrested.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <parenthetical>(rubbing his face)<\/parenthetical>\n    <dialogue>All of them? For what?<\/dialogue>\n    <scene_description>Sam nervously bites her lip, leaves frame. Some CLANKING from the kitchen.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <parenthetical>(through door)<\/parenthetical>\n    <dialogue>I'll turn myself in here if that's what you want. But I can't do it until I know you're safe- the kids are safe. Just go.<\/dialogue>\n    <scene_description>Pittsburgh. As long as you're not here, Sam. Sam reappears, UNLATCHES the door and opens it a crack.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>It's my house, Dwight.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>They know it, and the car is registered here. It's not worth- I messed up, sis...<\/dialogue>\n    <parenthetical>(fading)<\/parenthetical>\n    <dialogue>I didn't mean to scare you.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Well, I'm scared.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Is there a gun in the house?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Of course not.<\/dialogue>\n    <scene_description>She walks off, leaving the door open. Dwight enters and locks the door behind him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - RANCH HOUSE - LATE AFTERNOON<\/stage_direction>\n    <scene_description>The television sits on the floor, an extension cord attached. Sam's two kids are seated on the floor, watching it. Dwight sits by the closed door, watching the children.<\/scene_description>\n    <character>SAM (O.S.)<\/character>\n    <parenthetical>(muffled, through door)<\/parenthetical>\n    <dialogue>Okay. I only told work. Nobody else.<\/dialogue>\n    <scene_description>He opens the door, Sam stands amongst hastily PACKED BAGS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HATCHBACK\/DRIVEWAY- RANCH HOUSE - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Dwight closes the packed trunk. He walks to Sam's window as she puts the car in gear.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I'd forgive you if you were crazy. But you're not. You're weak.<\/dialogue>\n    <scene_description>Dwight watches them leave. The car stops, then keeps going.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RANCH HOUSE - VARIOUS - EVENING<\/stage_direction>\n    <scene_description>The air conditioner is dialed off, silencing a rickety HUM. The front window is cracked open, EXTERIOR SOUNDS pour in. A lamp is turned off. Then another. A kitchen drawer is opened. Dwight removes a FLASHLIGHT. A LETTER OPENER too. Winter coats, a scooter, umbrellas... a closet door SHUTS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHED\/BACKYARD - RANCH HOUSE - EVENING<\/stage_direction>\n    <scene_description>A rusty shed door SQUEALS open. Dwight selects a broom- handled, metal-spiked WEEDER from a RACK OF TOOLS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - RANCH HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Street light spills in, silhouetting Dwight by the window. Just CRICKETS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - RANCH HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Dwight scans the backyard through the kitchen door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - RANCH HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Dwight dozes in the chair, his chin sunk into his neck. He sucks in air, groggily uprighting himself. OUT THE WINDOW: still clear.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - RANCH HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Dwight prepares a cup of tea by flashlight, careful to pull the kettle off the burner just before it whistles. The flashlight beam pushes through the door and sweeps low, settling on an ATTIC DOOR in the wall. Dwight unlatches it and pulls, inspecting faded PENCIL SCRAWLINGS that once transformed the inside panel into a spaceship cockpit. He crawls into the dark and drags out a CARDBOARD BOX. He pulls out a shoebox, paper stacks and a dusty yearbook bound in blue leather. Leafing through the pages, he- THE HUM OF AN ENGINE echoes quietly through the house. He sets the yearbook down and kills the flashlight.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRCASE - RANCH HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Dwight descends the stairs, old wood CREAKING underfoot.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - RANCH HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Dwight floats to the window, LOOKING OUT:<\/scene_description>\n    <character>THE BONNEVILLE IS PARKED A FEW DOORS DOWN, ACROSS THE STREET.<\/character>\n    <dialogue>DWIGHT<\/dialogue>\n    <scene_description>Shit. There's SHAPES within the car, hard to make out. ON THE BONNEVILLE: A FLICKER WARMS CARL'S FACE as he lights a smoke, its ember lingering in the dark. ON DWIGHT: Reaching for the garden weeder propped against the wall: IT SLIPS FROM HIS GRASP, SCRAPES THE WALL AND CLUNKS TO THE FLOOR. He grimaces, frozen with anticipation... ON THE BONNEVILLE: The ember is snatched and tossed out by the driver's silhouette, ORANGE SPARKS bounce from the curb.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM - RANCH HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Dwight grabs the weeder, crossing the foyer into the adjacent dining room. He settles by a window closer in and waits. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM - RANCH HOUSE - NIGHT (LATER)<\/stage_direction>\n    <scene_description>Dwight opens his eyes. BACK TO CRICKETS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRCASE - RANCH HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Dwight sets the weeder down and CREAKS his way upstairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRONT BEDROOM - RANCH HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Keeping low, Dwight grabs bed pillows and positions them under the sheets to emulate a person. He crawls to a bedside table and reaches up into a lamp shade...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RANCH HOUSE - NIGHT<\/stage_direction>\n    <scene_description>FROM OUTSIDE, the bedroom window WARMS WITH LIGHT, now a beacon in the dark.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - RANCH HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Dwight crawls into the bathroom, craning to FLICK ON THE LIGHT. He twists the SINK FAUCET ON. Backing out, he sets the door open a crack.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM - RANCH HOUSE - NIGHT<\/stage_direction>\n    <character>AN EMPTY DOOR FRAME. CREAK, CREAK, CREAK...<\/character>\n    <dialogue>Dwight slinks in and takes position by the window.<\/dialogue>\n    <character>THROUGH THE WINDOW: THE BONNEVILLE SITS EMPTY ON THE STREET.<\/character>\n    <dialogue>The front door handle CLICKS. A TUG tests the lock.<\/dialogue>\n    <dialogue>Dwight's eyes dart around. He walks to the foyer, listening, winding up the garden weeder...<\/dialogue>\n    <dialogue>The CLINK of a fence latch from the side of the house.<\/dialogue>\n    <dialogue>side window...<\/dialogue>\n    <dialogue>THROUGH THE WINDOW: A fenced, narrow side yard filled with junk, shadowed by the BLUE LIGHT OF A BUG-ZAPPER.<\/dialogue>\n    <dialogue>Teddy moves through shadows with a SPORTING SHOTGUN.<\/dialogue>\n    <dialogue>Dwight can hear his own pulse.<\/dialogue>\n    <dialogue>He backs into the foyer.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - RANCH HOUSE - NIGHT (CONTINUOUS)<\/stage_direction>\n    <scene_description>Dwight peers through the living room into the kitchen:<\/scene_description>\n    <character>TEDDY APPEARS THROUGH THE BACK DOOR WINDOW, WRAPPING A<\/character>\n    <dialogue>BANDANA AROUND HIS KNUCKLES.<\/dialogue>\n    <character>FUCK.<\/character>\n    <dialogue>Dwight heads to the front door, slowing his pace to appease THE SQUEAKING FLOOR.<\/dialogue>\n    <character>FROM THE KITCHEN, A MUFFLED POP, SPRINKLING GLASS...<\/character>\n    <dialogue>He squats to the door, surgically unlatching the lock. CLICK.<\/dialogue>\n    <dialogue>FROM THE KITCHEN, A few more TAPS, CLINKING GLASS...<\/dialogue>\n    <dialogue>He turns the knob, cracks the front door, revealing a DIRECT VIEW OF THE BONNEVILLE.<\/dialogue>\n    <dialogue>BZZZZZ. Just outside, a CELL PHONE LIGHTS UP with a text message. Carl removes a glove and types a response. Dwight pulls back and re-locks the door.<\/dialogue>\n    <dialogue>He commando-crawls to the living room, checking the kitchen.<\/dialogue>\n    <dialogue>AT THE BACK DOOR, THROUGH BROKEN GLASS: Teddy's face GLOWS in the cool light of his cell phone.<\/dialogue>\n    <dialogue>Dwight crawls to the SIDE TABLE...<\/dialogue>\n    <dialogue>He POPS ON HIS FLASHLIGHT, cupping the beam with his hand, searching frantically through the CERAMIC JARS.<\/dialogue>\n    <character>THE BACK DOOR OPENS, FOOTSTEPS OVER GLASS AND LINOLEUM.<\/character>\n    <dialogue>Dwight sifts through rusty paperclips, rubber bands and coins, inspecting KEY SETS with plastic tabs and handwritten labels: 'Honda', 'Shed', 'Ginny'.<\/dialogue>\n    <character>THE FOOTSTEPS APPROACH.<\/character>\n    <dialogue>Dwight pockets his flashlight and makes a fist over the keys, crawling off as Teddy steps in.<\/dialogue>\n    <dialogue>Dwight hides under the dining table, a bit exposed, containing his breaths.<\/dialogue>\n    <dialogue>Teddy enters the foyer- shotgun first, stopping feet from Dwight. He unlocks the front door and opens it, greeting Carl with his gloved index finger over his lips, gesturing upstairs:<\/dialogue>\n    <character>THE BATHROOM DOOR IS CRACKED WITH LIGHT, RUNNING WATER RUSHES<\/character>\n    <dialogue>FROM WITHIN.<\/dialogue>\n    <dialogue>Carl steps into Dwight's view, nodding: he's carrying a SCOPED HUNTING CROSSBOW, a sheathed BOWIE KNIFE hanging from his belt.<\/dialogue>\n    <dialogue>The brothers ascend the SQUEAKY STAIRS with heavy boots.<\/dialogue>\n    <dialogue>Behind them, Dwight crawls across the foyer.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - RANCH HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Dwight steps through the kitchen, CRUNCHING over shards of glass and slipping out the back door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIDE YARD - RANCH HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Dwight breaks for the front fence.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RANCH HOUSE - NIGHT (CONTINUOUS)<\/stage_direction>\n    <scene_description>Dwight pushes through the gate and scurries across the lawn. SQUEAKING FROM THE HOUSE- Dwight looks back over his shoulder... ON THE FRONT BEDROOM WINDOW: Carl holding his crossbow upright, violently cranking the casement window open...<\/scene_description>\n    <character>DWIGHT SPRINTS TO THE BONNEVILLE.<\/character>\n    <dialogue>THMMMP- An ARROW rips through the air and CLANKS into the street. Dwight reaches the Bonneville and unlocks the door with trembling hands.<\/dialogue>\n    <dialogue>Dwight with the shotgun.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BONNEVILLE - SAM'S STREET - NIGHT (CONTINUOUS)<\/stage_direction>\n    <scene_description>Dwight starts the car and pops it into gear.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAM'S STREET - NIGHT (CONTINUOUS)<\/stage_direction>\n    <scene_description>Teddy slows and levels the shotgun. THMMMP. An ARROW WHIPS PAST Teddy, SINKING INTO A NEARBY TREE. He looks furiously up to Carl at the window.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BONNEVILLE - SAM'S STREET - NIGHT (CONTINUOUS)<\/stage_direction>\n    <scene_description>FLOORING IT, Dwight bites his lip and shuts his eyes. KADUNK.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAM'S STREET - NIGHT (CONTINUOUS)<\/stage_direction>\n    <scene_description>Teddy BOUNCES HARD OFF THE HOOD INTO THE STREET, the shotgun RATTLING beside him. He's out cold. The Bonneville jolts to a stop. Dwight hesitates, then bursts out and drags Teddy towards the idling car. Teddy exits the house, lining up a crossbow arrow. Dwight drops Teddy and scrambles for the shotgun.<\/scene_description>\n    <character>THMMMP. AN ARROW PINGS OFF THE HOOD OF THE CAR.<\/character>\n    <dialogue>Dwight snatches up the shotgun, hands inexpertly finding the trigger and pump, sending Carl into full retreat.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RANCH HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Carl bolts up the driveway and through the wooden gate, Dwight giving chase with the shotgun...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIDE YARD - RANCH HOUSE - NIGHT (CONTINUOUS)<\/stage_direction>\n    <scene_description>Dwight steps through the gate and stops cold. He can't see into the BLUE DARKNESS and it's suddenly DEAD QUIET. Nearby, A BUG GETS ZAPPED.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BONNEVILLE - SAM'S STREET - NIGHT<\/stage_direction>\n    <scene_description>Dwight sets the shotgun next to Teddy and muscles him into the back. He slams the door and turns for the shotgun- THMMP. AN ARROW EMBEDS INTO DWIGHT'S HIP. Nearly collapsing, he limps back, LEAVING THE GUN. Carl loads another arrow from Sam's driveway. Dwight hops in the Bonneville and shifts, GRUNTING IN PAIN.<\/scene_description>\n    <character>THMMP, THE ARROW CRACKS THE FAR WINDOW.<\/character>\n    <dialogue>Carl drops the crossbow and sprints to the car, opening the back door as Dwight PEELS OUT.<\/dialogue>\n    <dialogue>CARL IS YANKED TO THE STREET as Dwight speeds off with an open door.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BONNEVILLE (MOVING) - SAM'S STREET - NIGHT<\/stage_direction>\n    <scene_description>Dwight steers, contorting to keep pressure off the ARROW IN HIS HIP. THROUGH THE BACK WINDOW: Carl gathers strewn weapons in the street... The car slows, then speeds up, SWINGING THE BACK DOOR SHUT. DAY IS STARTING TO BREAK.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. BONNEVILLE - FIELD - DAWN<\/stage_direction>\n    <scene_description>Teddy is unconscious across the back seat, WHEEZING through his nose. Dwight searches his pockets, removing a WALLET, HIS BLOODY CAR KEY NECKLACE, a CELL PHONE, a TOBACCO POUCH, SHOTGUN SHELLS and a FOLDED PAPER. He pockets CASH from the wallet and unfolds the paper.<\/scene_description>\n    <character>ON THE PAPER: THE BONNEVILLE'S EXPIRED VIRGINIA REGISTRATION<\/character>\n    <dialogue>listing the owners: 'Evans, William C., Evans, Katherine J.'<\/dialogue>\n    <dialogue>He puts the loot in the glove box and POPS THE TRUNK.<\/dialogue>\n    <dialogue>ON A WIDE: The car is parked in a desolate field under a purple-gray sky. The trunk bobs open.<\/dialogue>\n    <dialogue>THE TRUNK, slamming it down and testing the latch.<\/dialogue>\n    <dialogue>Reconsidering, HE POPS THE TRUNK AGAIN.<\/dialogue>\n    <character>CLOSEUP: TOOLS FROM THE TRUNK CLANK TO THE GROUND.<\/character>\n    <dialogue>He strips off Teddy's hunting jacket, SLAMS THE TRUNK.<\/dialogue>\n    <dialogue>He picks a HANDSAW from the grass and positions his hip against the open frame of his car door.<\/dialogue>\n    <character>WITH GRITTED TEETH, HE SHUTS THE DOOR ON THE CARBON ARROW<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHARMACY - MORNING<\/stage_direction>\n    <scene_description>MUZAK. Dwight hobbles down an isle with a basket, concealing his wound with Teddy's jacket. 'PAIN RELIEF': He tips an ASPIRIN BOTTLE into his basket... 'FIRST AID': Grabs RUBBING ALCOHOL, PEROXIDE, GAUZE... 'HOUSEHOLD': A SEWING KIT, X-ACTO-KNIFE... 'HARDWARE': Sets down SEWING KIT, picks up SUPER-GLUE...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CASH REGISTER - PHARMACY - MORNING<\/stage_direction>\n    <scene_description>A CLERK counts behind a register, noticing BLOODY BILLS. He looks to Dwight. Dwight: So. Fucking. Tired.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>Just uh...<\/dialogue>\n    <parenthetical>(walking away)<\/parenthetical>\n    <dialogue>Yup.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BONNEVILLE - FIELD - MORNING<\/stage_direction>\n    <scene_description>Dwight is prepped in the back with a NOVICE SURGICAL KIT. He pours HYDROGEN PEROXIDE on his wound. He dips NEEDLE-NOSED PLIERS in RUBBING ALCOHOL and goes to work. ON HIS GORY WOUND: Fatty tissue hugging the carbon shaft, the tip buried within. The pliers delicately clamp down on the shaft. Then a tug. CUT TO: SLIDING AUTOMATIC DOORS PART FOR DWIGHT. He strides in, pale and damp with sweat. A TRIAGE NURSE looks up from her computer.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <parenthetical>(depleted)<\/parenthetical>\n    <dialogue>'Scuse me. I have a question. Maybe a little goofy...<\/dialogue>\n    <character>TRIAGE NURSE<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Do you need- are you required- to report arrow wounds? Like an accident- hunting accident. With buddies. Alone, actually...<\/dialogue>\n    <character>TRIAGE NURSE<\/character>\n    <dialogue>Sir, do you need medical assistance?<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Just, um...yeah. A little hunting accident- my hip. Do you need to report it, if it's self-inflicted ...by mistake?<\/dialogue>\n    <character>TRIAGE NURSE<\/character>\n    <dialogue>I'd have to check with the charge nurse, sir. I've never handled-<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Dwight's eyes flutter open. They close again in feigned sleep as a NURSE steps close, checking his CHART. He waits for her to walk off then lifts his gown to inspect THE WOUND: IT'S PROPERLY STITCHED AND DRESSED. There's a wall mounted light box with an X-RAY OF HIS INJURY. There's a bin of BLOODY POST-OP CLOTHES. He pulls TAPE and TUBING and NEEDLES from his arms. Dwight climbs out a window wearing his bloody clothing, now HANGING FLAPS OF SURGICALLY CUT FABRIC.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BENEATH A BRIDGE - LATE AFTERNOON<\/stage_direction>\n    <scene_description>MOVING WITH DWIGHT, as he walks under a secluded railroad bridge, cautiously approaching...<\/scene_description>\n    <character>...THE BONNEVILLE: PUSHING IN ON THE TRUNK.<\/character>\n    <dialogue>Dwight leans in, his ear to the trunk.<\/dialogue>\n    <dialogue>He TAPS LIGHTLY-<\/dialogue>\n    <character>POUNDING AND EXASPERATED SHOUTS ERUPT FROM WITHIN, STARTLING<\/character>\n    <dialogue>DWIGHT.<\/dialogue>\n    <character>TEDDY (O.S.)<\/character>\n    <parenthetical>(muffled, in trunk)<\/parenthetical>\n    <character>...HEY! I'M IN HERE! I GOTTA GET<\/character>\n    <dialogue>OUT! HELP...<\/dialogue>\n    <scene_description>Dwight backs off and plucks the car keys from the wheel well.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BONNEVILLE - BENEATH A BRIDGE - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Dwight starts the engine, letting it idle as the PLEADING devolves to POUNDING HOSTILITY.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BONNEVILLE - BENEATH A BRIDGE - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Dwight exits, walks over and SLAMS his fist on the trunk.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <parenthetical>(projecting through steel)<\/parenthetical>\n    <dialogue>You're alone. You came into my sister's house with guns. Unless you be quiet, I WILL DRIVE THIS DAMNED CAR OFF A BRIDGE!<\/dialogue>\n    <scene_description>The pounding and yelling stop. Dwight walks off...<\/scene_description>\n    <character>ON A PROFILE SHOT OF THE TRUNK (MOUNTED TO THE CAR).<\/character>\n    <dialogue>Dwight returns, bending down into frame.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>I just want this to be over.<\/dialogue>\n    <parenthetical>(muffled, through trunk)<\/parenthetical>\n    <character>SURE, MAN. LET ME OUT AND THIS CAN<\/character>\n    <dialogue>END RIGHT NOW.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>You guys got guns. I'm not opening the trunk until I have one.<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>Shit, I could get-<\/dialogue>\n    <scene_description>DWIGHT:<\/scene_description>\n    <character>BE QUIET.<\/character>\n    <dialogue>Dwight exits frame: HOLD ON TRUNK SHOT...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THRIFT STORE - EVENING (CAR MOUNT)<\/stage_direction>\n    <scene_description>JUMP CUT OF THE SAME TRUNK SHOT, in a parking lot donation site. Dwight sorts through MATTRESSES and JUNK, expertly digging out a BAG OF CLOTHES... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GAS STATION - EVENING (CAR MOUNT)<\/stage_direction>\n    <scene_description>JUMP CUT OF THE SAME TRUNK SHOT, at a gas station. Dwight fills the tank, wearing a SWEATSHIRT AND CORDUROYS... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COMMERCIAL STRIP - EVENING (CAR MOUNT)<\/stage_direction>\n    <scene_description>JUMP CUT OF THE SAME TRUNK SHOT, stopping at a busy intersection... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAM'S STREET - EVENING (CAR MOUNT)<\/stage_direction>\n    <scene_description>JUMP CUT OF THE SAME TRUNK SHOT, turning off a tranquil street into SAM'S DRIVEWAY. THE CAR DOOR OPENS AND SHUTS OFF SCREEN, Dwight speed walks into frame towards the house. A WIDE PROFILE OF THE STAIRCASE. A faint RUSH.. Dwight treads heavily through the door and up the stairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - RANCH HOUSE - EVENING (CONTINUOUS)<\/stage_direction>\n    <scene_description>ON THE SINK, THE WATER STILL RUNNING. Dwight turns the faucet off, hits the lights and heads downstairs. Halfway down, he doubles back...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NURSERY - RANCH HOUSE - EVENING<\/stage_direction>\n    <scene_description>Dwight's CARDBOARD BOX, where he left it. He drags it off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIDE YARD - RANCH HOUSE - EVENING<\/stage_direction>\n    <scene_description>Dwight places the box in the garbage, salvaging the YEARBOOK. He folds up a cardboard top-flap and RIPS IT OFF.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - RANCH HOUSE - EVENING<\/stage_direction>\n    <scene_description>Dwight TAPES THE CARDBOARD FLAP OVER THE BROKEN WINDOW. He sweeps up GLASS with a BROOM and DUSTPAN.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOYER - RANCH HOUSE - EVENING<\/stage_direction>\n    <scene_description>ON THE FRONT DOOR: Dwight swings it open and exits. It LOCKS from outside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BONNEVILLE - PARK - NIGHT<\/stage_direction>\n    <scene_description>Dwight flips though his YEARBOOK, circa 1996: TEENAGE PORTRAITS, names in black type: denim, Hard Rock Cafe' shirts, acne, crimped hair and braces. BZZZZZZ. A vibration inside the car. Dwight opens the glove compartment and removes Teddy's CELL PHONE.<\/scene_description>\n    <character>ON THE SCREEN: 'C IS BACK. WHERE R U?!'<\/character>\n    <parenthetical>(muffled, through trunk)<\/parenthetical>\n    <character>WHAT'S THAT? I NEED WATER.<\/character>\n    <dialogue>DWIGHT<\/dialogue>\n    <character>NOT UNTIL I HAVE A GUN.<\/character>\n    <dialogue>Dwight sets the phone down and returns to the yearbook.<\/dialogue>\n    <character>ON THE YEARBOOK: UNDER THE HEADING 'JROTC', A PORTRAIT OF A<\/character>\n    <dialogue>TEENAGER IN MILITARY FATIGUES.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEN'S MOTHER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>An interior door opens inward, MARGARET GALICIA (67) stands guardedly behind a screen door.<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Hi, Mrs. Galicia. I'm looking for Ben. Is he still in town?<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>No, he moved a while ago.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Okay. I'm Dwight, from Orange High. I just...<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>Oh! I'm so sorry- you had me a little scared. Mr. Galicia is already in bed. I didn't recognize you, Dwight.<\/dialogue>\n    <parenthetical>(a rush of sympathy)<\/parenthetical>\n    <dialogue>Oh my.<\/dialogue>\n    <scene_description>Dwight deflects with a polite nod.<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>Ben has a house near Wyndam. Come in, I'll write down the address...<\/dialogue>\n    <scene_description>Margaret unlocks the screen door and Dwight follows her inside.<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>He moved when he got back from Japan. He was deployed...<\/dialogue>\n    <scene_description>Margaret leads Dwight to the kitchen table. She opens her address book on the counter, picks up a phone and dials.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>Oh, he doesn't know I'm coming-<\/dialogue>\n    <character>MARGARET<\/character>\n    <parenthetical>(gesturing to sit)<\/parenthetical>\n    <dialogue>Oh he'll be thrilled...<\/dialogue>\n    <scene_description>He watches her as the line TONES.<\/scene_description>\n    <character>MARGARET<\/character>\n    <parenthetical>(hanging up)<\/parenthetical>\n    <dialogue>He's not picking up. He works at a concert hall in the city. He's probably playing tonight...<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Richmond?<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>Yes. I never remember the name. It's not a nice place...<\/dialogue>\n    <scene_description>She passes a finger along POST-ITS, MAGNETS and PHOTOS displayed on her refrigerator. She slides a BUSINESS CARD from under a magnet and brings her address book to the table. Dwight watches her pencil information onto the card and into her book.<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>This way...we can both have everything...just need this...for myself...<\/dialogue>\n    <parenthetical>(pointing to the card)<\/parenthetical>\n    <dialogue>Here. This is where he works.<\/dialogue>\n    <parenthetical>(flipping it)<\/parenthetical>\n    <dialogue>This is where he lives. You can take this 'to go'.<\/dialogue>\n    <scene_description>A TEA KETTLE WHISTLES. She hands the card over and rises.<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>You might need a map, it's out of the way, off six twenty four.<\/dialogue>\n    <scene_description>I've got a map. Thank you.<\/scene_description>\n    <character>MARGARET<\/character>\n    <dialogue>Are you in a rush?<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Sort of. Yes, ma'am.<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>I'd offer you tea, otherwise.<\/dialogue>\n    <scene_description>Dwight glances around, and at Margaret.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>I'd love some, Mrs. Galicia.<\/dialogue>\n    <character>MARGARET<\/character>\n    <dialogue>Oh good! Ben works late anyway. And they play God awful music...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEN'S MOTHERS HOUSE - NIGHT<\/stage_direction>\n    <scene_description>THROUGH THE EXTERIOR WINDOW: Margaret pours Dwight tea in the warm kitchen glow. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BONNEVILLE (MOVING) - HIGHWAY - NIGHT<\/stage_direction>\n    <character>POUNDING FROM THE TRUNK.<\/character>\n    <dialogue>Dwight speeds down the road, patting around his seat. He checks the glove box, shuts it.<\/dialogue>\n    <dialogue>He reads the address off the business card, looks ahead.<\/dialogue>\n    <character>THROUGH THE WINDSHIELD:<\/character>\n    <dialogue>A HIGHWAY SIGN: 'Zion Crossroads, Fork Union Exit 136'<\/dialogue>\n    <dialogue>ANOTHER: 'I64E Richmond'<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MUSIC VENUE - NIGHT<\/stage_direction>\n    <scene_description>MUSIC BELLOWS WITHIN a textured concrete building with concert posters hung over blacked-out windows. Dwight walks up. Dwight angles past SMOKERS, along a vinyl rope partition, greeted by a ROCK GIRL (20s).<\/scene_description>\n    <character>ROCK GIRL<\/character>\n    <parenthetical>(over the music)<\/parenthetical>\n    <character>FIVE DOLLARS.<\/character>\n    <dialogue>Disoriented by the THROBBING MUSIC, he pulls CRINKLED BILLS from his pocket and hands them over.<\/dialogue>\n    <dialogue>He continues past the Rock Girl as she counts six singles then yanks Dwight back.<\/dialogue>\n    <character>ROCK GIRL<\/character>\n    <dialogue>HOLD ON...<\/dialogue>\n    <scene_description>Dwight resists as she steadies his arm, shoves the extra dollar in his hand and STAMPS IT with a BLACK-LIGHT LOGO. He hurries off, inspecting it...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAIN ROOM - MUSIC VENUE - NIGHT<\/stage_direction>\n    <scene_description>Dwight dips through the crowd to the STAGE. He checks out the BAND MEMBERS. NOTHING. He scans around, lost.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTRY HALLWAY - MUSIC VENUE - NIGHT<\/stage_direction>\n    <scene_description>The Rock Girl rolls her eyes as Dwight timidly approaches.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>EXCUSE ME. I'M LOOKING FOR A BAND<\/dialogue>\n    <character>MEMBER NAMED BEN. BEN GALICIA. HE'S<\/character>\n    <dialogue>SUPPOSED TO BE PLAYING TONIGHT?<\/dialogue>\n    <character>ROCK GIRL<\/character>\n    <dialogue>YEAH. BENNY?<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>YES.<\/dialogue>\n    <character>ROCK GIRL<\/character>\n    <dialogue>HE'S HERE- HE WORKS THE BOARD. HE'S<\/dialogue>\n    <character>NOT IN THE BAND.<\/character>\n    <dialogue>DWIGHT<\/dialogue>\n    <character>THAT'S FINE. WHEN DOES HE GO HOME?<\/character>\n    <dialogue>AROUND TWO-THIRTY OR THREE.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>I'LL WAIT HERE.<\/dialogue>\n    <character>ROCK GIRL<\/character>\n    <dialogue>HE USUALLY LEAVES OUT THE BACK. YOU<\/dialogue>\n    <character>CAN'T WAIT HERE.<\/character>\n    <dialogue>DWIGHT<\/dialogue>\n    <parenthetical>(pivoting in search)<\/parenthetical>\n    <character>OKAY. I'LL WAIT OUT AROUND BACK.<\/character>\n    <dialogue>ROCK GIRL<\/dialogue>\n    <parenthetical>(pointing)<\/parenthetical>\n    <character>OUT THE FRONT AND AROUND THAT WAY.<\/character>\n    <dialogue>THERE'S AN ALLEY.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>THANK YOU. DO YOU THINK I COULD<\/dialogue>\n    <character>HAVE MY MONEY BACK? I COULDN'T STAY<\/character>\n    <dialogue>IN THERE...<\/dialogue>\n    <character>ROCK GIRL<\/character>\n    <dialogue>NO, MAN. YOU'RE GONNA NEED TO FUCK<\/dialogue>\n    <character>OFF...<\/character>\n    <dialogue>DWIGHT<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK ALLEY - MUSIC VENUE - NIGHT (LATER)<\/stage_direction>\n    <scene_description>IT'S QUIET. A BAND is loading up GEAR into a CONVERSION VAN. IN THE RED WASH OF BREAK LIGHTS, Dwight watches them pull out. He's alone. There's a DUMPSTER across the alley. He walks over, places his hand on the rim and rises onto tip-toes. He peeks in- A METAL DOOR SCREECHES OPEN. Dwight wipes his hands on his shirt, observing a LARGE MAN with long black hair turn down the alley.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>Ben?<\/dialogue>\n    <scene_description>The Large Man walks on, insulated by HEAVY METAL MUSIC coursing through his HEADPHONES. Dwight follows. Dwight steps from the alley, guided by HEADPHONE SPILL.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VENUE PARKING LOT - NIGHT<\/stage_direction>\n    <scene_description>The Large Man unlocks his PICKUP. Dwight stops short of the truck, noting the numerous MILITARY AND FIREARM DECALS.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>BEN!<\/dialogue>\n    <scene_description>The Large Man turns, whipping his headphones off, LOUDER around his neck. Dwight stands ready with a cautious hand.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>Ben. Hey, it's Dwight. Evans.<\/dialogue>\n    <scene_description>The Large Man, BEN, walks over, assessing the claim. Dwight meets him at the tailgate and they shake.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Wow, bro- you look square.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>I've been away.<\/dialogue>\n    <scene_description>Ben nods, waiting for more.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>No shit, man- just peaced-the-fuck- out...<\/dialogue>\n    <scene_description>He pulls out cigarettes, Dwight declines and Ben lights up.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>...Same year El Duce got hit by a train.<\/dialogue>\n    <parenthetical>(slaps his truck)<\/parenthetical>\n    <dialogue>Yo, I put the first two hundred miles on this thing stapling up your 'missing' posters.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <parenthetical>(struck, ashamed)<\/parenthetical>\n    <dialogue>Never thought of that.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Your sister, man. She was hell bent. Then I think a bunch of your parking tickets came in the mail- she called it all off...<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>I took off too!<\/dialogue>\n    <parenthetical>(lifting shirt, showing a 'U.S.M.C.' tattoo)<\/parenthetical>\n    <dialogue>Joined up soon as I graduated. Nev-<\/dialogue>\n    <scene_description>Ben cuts himself off, cocking his head.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Was...that you?<\/dialogue>\n    <parenthetical>(pointing back)<\/parenthetical>\n    <dialogue>By the dumpster?<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Yeah... So should we get beers?<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Look, I need to warn you that I'm here- that I came to you- for a favor. A big one.<\/dialogue>\n    <scene_description>Ben reaches in his jacket, SILENCING HIS HEADPHONES.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Sure. What do you need?<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>I need a gun. And I don't have a lot of time to get it. You were the only person I could trust.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Whoa.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>And has guns.<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>(taking a drag)<\/parenthetical>\n    <dialogue>Shit, man- you can pretty much buy one anywhere.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>I tried to get one on my own. I don't have any money- wait...<\/dialogue>\n    <parenthetical>(digging crumpled bills from his pocket)<\/parenthetical>\n    <dialogue>I mean, I've got- but my I.D. is-<\/dialogue>\n    <scene_description>Hold on. Are you a junkie, dude?<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>No. No, I shouldn't have just...<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>(realizing)<\/parenthetical>\n    <dialogue>Oh, wait. Shit. It's about that time...<\/dialogue>\n    <scene_description>Ben gives a subtle nod, takes another drag.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Yeah. Hop in brother.<\/dialogue>\n    <scene_description>Ben heads to his truck.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>I should take my car...<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>You gassed up? I'm in the boonies.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY ROAD - NIGHT<\/stage_direction>\n    <scene_description>The Bonneville's headlights project onto kicked-up dust from Ben's truck. The tree-lined road vanishes into pitch black.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEN'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>The two vehicles pull past a shotgun shack up to a single story prefab house. Dwight parks twenty feet short.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - BEN'S HOUSE - PRE-DAWN<\/stage_direction>\n    <scene_description>HALLWAY LIGHTS CLICK ON. Ben leads Dwight into the sparse, earthy room, neatly kept if a bit dank.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Hey- I got something..<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <scene_description>Ben opens a JUNK DRAWER in a old bureau, rifles through it.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>You remember when James Henry's brother had the stripper at his party? At his shop?<\/dialogue>\n    <scene_description>Haven't thought that far back in a while.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I got a Polaroid of me and you with the stripper. It's hilarious- we're both terrified.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Ben. I need to hurry.<\/dialogue>\n    <scene_description>Ben nods, shoving the drawer closed, turning to two METAL LOCKERS along the wall.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>Do you hunt?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Very little.<\/dialogue>\n    <scene_description>Ben pulls a MAGNETIC BOX from behind a locker, shaking out KEYS and turning them in the locks.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>More into target shooting. What do you need it for?<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>I'd rather...<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Oh- no, man. The less I know, the better. What do you need out of the gun. At range? Close quarters?<\/dialogue>\n    <scene_description>Dwight stands at a loss as Ben swings open the doors.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Close up or far away?<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Probably close. I don't know. Hopefully not at all.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Roger that. See what I've got...<\/dialogue>\n    <parenthetical>(running his hand along the racks)<\/parenthetical>\n    <dialogue>An Enfield mark three, Circuit Judge, a Mosin...<\/dialogue>\n    <scene_description>He pulls out a vintage BOLT-ACTION RIFLE, feeling the weight. ...which is my current favorite. Bolt action, heavy, and the surplus ammo is cheap. He sets it on the bed and wipes his nose.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>The AK, Mossberg- might be a bit much. What do you weigh?<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Don't know.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>...the Sterling might jam up on you.<\/dialogue>\n    <scene_description>Ben pulls out a VINTAGE SUB MACHINE GUN.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>It'll clear a room, though. Ah.<\/dialogue>\n    <scene_description>He replaces the sub machine gun, removing a bulky automatic pistol from the cabinet.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I picked this up this year. Steyr nineteen-twelve. Shoots it's own nine mil cartridge, great shape- but you gotta load it slide-back with a stripper clip.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Nothing that's special to you- the least expensive, as long as it works...<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>The World War I and II models are bring-backs- no papers, no import marks. But you don't want a bolt- action...<\/dialogue>\n    <scene_description>Dwight stews in ignorance. Ben reads it, selecting a MINI-14 RIFLE.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Here. The Mini Fourteen. Gunshow- no papers. It's a carbine- that just means it's short. Semi-auto- it fires every time you pull the trigger- twenty rounds. Very reliable. Plus, I got ammo here.<\/dialogue>\n    <scene_description>trigger finger extended against the guard.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Recognize it?<\/dialogue>\n    <scene_description>Dwight shakes 'no'.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>It's the A-Team gun. From the show. Their's were stainless...<\/dialogue>\n    <scene_description>Ben presents the rifle. Dwight grabs it, but Ben holds firm.<\/scene_description>\n    <character>BEN<\/character>\n    <parenthetical>(nodding)<\/parenthetical>\n    <dialogue>What's up with that?<\/dialogue>\n    <scene_description>Dwight follows Ben's gaze to a BLOOD STAIN on his SHIRT AND PANTS.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>Oh, that's not- it's from an arrow. It's stitched up.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Not so well, huh.<\/dialogue>\n    <scene_description>Ben lets go of the rifle. Dwight feels the weight.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>So then, you're already in this?<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Ben locks eyes with sincere concern.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Because I was just blowing smoke up your ass, bro. Preparing a speech in my head to stop you from whatever crazy shit you're about to do.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>It's already done...<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Thought about calling the cops.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Please don't. Not yet. I don't have a speech- just please trust me.<\/dialogue>\n    <scene_description>I do, bro. But I can't send you off like this. I could teach you. CQB, man! Surprise, speed, violence of action...<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>I just need somewhere quiet right now.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>I've got sixteen acres. Follow the road we came in on 'till it ends- you'll see the targets.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>You right handed?<\/dialogue>\n    <scene_description>Dwight nods 'yes'.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Real quick. Keep the safety off. Wherever your eyes look, the gun follows. And keep your distance- or it can get sloppy.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>I know. You ever killed anyone?<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>(shutting the lockers)<\/parenthetical>\n    <dialogue>Two on purpose.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <parenthetical>(nodding thoughtfully)<\/parenthetical>\n    <dialogue>Can I get a thing of water?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SECLUDED AREA - BEN'S PROPERTY - EARLY MORNING<\/stage_direction>\n    <scene_description>A dead end clearing littered with SANDBAGS, TRAFFIC CONES, SHOT-UP TARGETS and a ROTTING PICNIC TABLE. A field of tall grass flanks one side. CLOSE-UP: A WATER BOTTLE is placed on grass. ON DWIGHT, rising with the MINI-14 RIFLE, like a seven year old about to jump off the high-dive for the first time.<\/scene_description>\n    <character>ON THE TRUNK OF THE BONNEVILLE.<\/character>\n    <dialogue>The passenger door hangs open. Dwight takes a knee, stretching in to unlatch the glove box.<\/dialogue>\n    <dialogue>He pockets the CELL PHONE, draws a breath and POPS THE TRUNK.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BONNEVILE - SECLUDED AREA - EARLY MORNING<\/stage_direction>\n    <scene_description>Dwight scurries to the trunk as it's pushed up by Teddy, emerging disoriented in a sheen of filth and sweat.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>Stay in the trunk.<\/dialogue>\n    <scene_description>Teddy swallows air, squinting in the daylight, seeing the rifle trained on his chest.<\/scene_description>\n    <character>TEDDY<\/character>\n    <parenthetical>(hoarse)<\/parenthetical>\n    <dialogue>That's easy, my leg is broke.<\/dialogue>\n    <scene_description>Dwight stands mute, the bottle of water by his feet.<\/scene_description>\n    <character>TEDDY<\/character>\n    <parenthetical>(weakly snapping his finger)<\/parenthetical>\n    <dialogue>That for me?<\/dialogue>\n    <scene_description>Dwight wiggles a firmer grip around the rifle.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>Were you coming for me or for her?<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>You came to my sister's house. Who were you coming for?<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>Look, man. You.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Then how come you didn't just call the police? Send me to jail?<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>Same as you. Keeping it 'in-house'.<\/dialogue>\n    <scene_description>Dwight tosses the water bottle, TEDDY snatches it from the air, uncaps it and chugs... What if I surrender? Teddy raises his eyebrows, chugging. He empties the bottle and tosses it to the ground.<\/scene_description>\n    <character>TEDDY<\/character>\n    <parenthetical>(ecstatic breath)<\/parenthetical>\n    <dialogue>I accept.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Please, dammit. To the police- I'll plead guilty.<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>You don't get to do what you did and just lock yourself up. Shit, I'd give you props if he wasn't my brother. Or if he had it coming.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>If Wade didn't deserve it, then nobody ever has.<\/dialogue>\n    <scene_description>Teddy rubs his face, looks off.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>Which one are you, again?<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>Teddy.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>And who was the boy in the limousine?<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>You totaled it. That's my livelihood...<\/dialogue>\n    <scene_description>Dwight waits patiently for the answer.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>Just a boy. Not a concern.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>When I let him out, he said something about Wade. That he didn't hurt anyone...<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>Yeah, well-<\/dialogue>\n    <parenthetical>(chuckling)<\/parenthetical>\n    <dialogue>Coupla dead negroes might disagree.<\/dialogue>\n    <scene_description>He just meant Wade didn't kill your parents.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>Not true.<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>Well that settles it, then.<\/dialogue>\n    <scene_description>Dwight anxiously finds a new stance, flushing red.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>That's how this works, man. The one with the gun gets to tell the truth. Problem is, you don't know shit.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Tell me.<\/dialogue>\n    <character>TEDDY<\/character>\n    <parenthetical>(quiet, taunting)<\/parenthetical>\n    <dialogue>I should've done the time.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <parenthetical>(raising the rifle)<\/parenthetical>\n    <dialogue>Are you saying you killed them?<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Forget this.<\/dialogue>\n    <scene_description>Dwight CLICKS THE SAFETY, taking aim at Teddy's arm.<\/scene_description>\n    <character>TEDDY<\/character>\n    <parenthetical>(flinching, blurting)<\/parenthetical>\n    <dialogue>What'er you tryin' to do?! WHAT'ER YOU TRYIN' TO DO!?<\/dialogue>\n    <scene_description>DWIGHT SQUEEZES THE TRIGGER - PANG! - AND MISSES.<\/scene_description>\n    <character>TEDDY<\/character>\n    <parenthetical>(exhilarated)<\/parenthetical>\n    <dialogue>HOT DAMN! Fish in a barrel!<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>STOP IT!<\/dialogue>\n    <scene_description>Teddy settles, suppressing a smug grin. Whatever you're saying, say it.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>I didn't do it. Wade didn't do it. Our father, Big Wade, shot your dad. As was his right.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>His right?<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>You don't fuck with a man's wife. His family.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Whatever my dad did, he did with your mom. They made a mistake. Togeth-<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>SHIT'S NOT A MISTAKE.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Whatever it was, both my parents are dead-<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>Your dad got what he deserved. Your mom was just in the car- that was a fuckup. I'll give you that...<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>I don't want your opinion on things. If it's true about Wade- why did he...?<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>Big Wade had cancer. We couldn't let him die in prison. I would've done the time, but I had two strikes. Would've been life with no parole. Little Wade could take a plea... You smoke?<\/dialogue>\n    <scene_description>Teddy watches intently as Dwight, lost in thought, lets the rifle barrel drift downward. Dwight pulls out the CELL PHONE.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>Call them.<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>Who's them? The cops?<\/dialogue>\n    <dialogue>Your family.<\/dialogue>\n    <scene_description>Teddy gestures for the phone. Dwight cautiously lobs it over, Teddy catches it and checks the screen.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>What do you want me to say?<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>We're all going to meet up- somewhere public- and it's going to end.<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>He dials and waits.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>Don't say my name and don't say anything about a gun. We're in Kentucky.<\/dialogue>\n    <character>TEDDY<\/character>\n    <parenthetical>(surveying)<\/parenthetical>\n    <dialogue>You ever been to Kentucky?<\/dialogue>\n    <scene_description>Dwight blinks, re-focusing down the rifle sights.<\/scene_description>\n    <character>TEDDY<\/character>\n    <parenthetical>(into cell phone)<\/parenthetical>\n    <dialogue>It's me. Call me back. NOW.<\/dialogue>\n    <parenthetical>(to Dwight)<\/parenthetical>\n    <dialogue>Not picking up. May I call the house?<\/dialogue>\n    <scene_description>Dwight nods his approval. Teddy dials and waits.<\/scene_description>\n    <character>TEDDY<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Hey. Yeah- shut up. I'm fine...just my leg. I'm with him, he's here. Not now, he wants to meet- fine. I'll try, but we just went through it.<\/dialogue>\n    <parenthetical>(to Dwight)<\/parenthetical>\n    <dialogue>She wants to talk to you.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>My sister. She's bossy...<\/dialogue>\n    <dialogue>Throw it.<\/dialogue>\n    <scene_description>Teddy pivots the phone in his hand, tweaking its position.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>I would- the signal's weak. We can't blow this- just take it...<\/dialogue>\n    <scene_description>He extends the phone with one hand.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>It's fine. You can point that thing right at my face. I'm not moving.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Turn around. Look away.<\/dialogue>\n    <scene_description>Teddy shifts his weight around, looking back into the trunk.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>Keep your finger on the trigger...<\/dialogue>\n    <scene_description>Dwight approaches, two hands gripping the rifle, pointing it directly at the back of Teddy's head.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>It's over as far as I'm concerned.<\/dialogue>\n    <parenthetical>(towards the phone)<\/parenthetical>\n    <dialogue>You hear that, sis?<\/dialogue>\n    <scene_description>Dwight reaches for the phone, steps on the discarded water bottle. CRUNCH.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>...don't go starting ANY SHIT-<\/dialogue>\n    <scene_description>TEDDY WHIPS FROM HIS CORE, ARMS SWEEPING BROADLY AROUND, DEFLECTING THE GUN BARREL AS DWIGHT FIRES INTO THE TRUNK. PATANG! TEDDY LAUNCHES FROM THE TRUNK AND TACKLES DWIGHT TO THE GROUND, ELBOWING HIM HARD TO THE FACE. Teddy snatches the gun and SLAMS THE PHONE INTO DWIGHT'S STUNNED FACE.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>THERE'S NOBODY HOME, STUPID FUCK!<\/dialogue>\n    <dialogue>They're huntin'...<\/dialogue>\n    <scene_description>He backs off fast, rising with the gun. YES. FUCK! My fucking legs are asleep... Teddy wobbles back to the rear bumper and sits. He pulls the slide handle and ejects a cartridge. Dwight grimaces, his jaw trembling...<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>I'll die. I should. But my sister never did anything. Just tell me...<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>You bet. I got the gun, you get the truth. But not to satisfy your fucking curiosity, Dwight.<\/dialogue>\n    <scene_description>Teddy rises and hovers over Dwight with a cold stare.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>Just know that the man who killed your parents didn't die by your hands. He smoked and he drank and he- guess he didn't fuck cuz of the cancer- but he watched all his favorite TV shows and he died a free man. You'll die like your whore father did... ...Shot in the fucking face. Or first do you wanna open up that belly? See your guts steam?<\/dialogue>\n    <scene_description>Teddy raises the M-14 barrel to Dwight's stomach. Dwight drowns in dread.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>Must have a little in there since you took Wade from us.<\/dialogue>\n    <parenthetical>(quiet, sinister)<\/parenthetical>\n    <dialogue>And for that, your sister and tho-<\/dialogue>\n    <scene_description>SWIP. THE AIR BETWEEN THEM IS DISTURBED VIOLENTLY. Dwight and Teddy share confusion. KOOSH. A distant thundering sound. Teddy looks to the far tree line, searching. Dwight looks to Teddy as HIS HEAD SMACKS APART AT THE BASE OF THE NECK AND JAW. the side.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>...wait.<\/dialogue>\n    <scene_description>Dwight sits up, face smattered with blood, finding where Teddy's eyes were trained. BEN IS WALKING BRISKLY ACROSS THE FIELD AIMING HIS MOSIN BOLT- ACTION RIFLE. Wearing camouflage hunting overalls, he ejects a shell and loads the chamber.<\/scene_description>\n    <character>BEN<\/character>\n    <parenthetical>(echoing across the field)<\/parenthetical>\n    <character>JUST THE ONE?<\/character>\n    <dialogue>Dwight nods 'yes', his chest heaving. Ben is too far for subtle gestures.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <parenthetical>(echoing back)<\/parenthetical>\n    <character>YES.<\/character>\n    <dialogue>Ben safeties his weapon, still bridging the distance.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>SORRY. COULDN'T SHOOT 'TILL HE<\/dialogue>\n    <character>AIMED AT YOU. HAD TO BE LEGAL- ON<\/character>\n    <dialogue>MY END AT LEAST.<\/dialogue>\n    <scene_description>Ben reaches the clearing, pulls the clip and sets the Mosin on the picnic table.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>His head...<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>That's what bullets do.<\/dialogue>\n    <scene_description>Dwight watches in awe as Ben scoops the Mini-14 from the ground, pops the clip and safeties it beside the Mosin.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Jesus man, I am not impressed. Told you to keep your distance- you missed from two yards?<\/dialogue>\n    <scene_description>Ben grabs Teddy's corpse under the armpits, waits for Dwight.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Let's go man. I'd like him off my property. C'mon.<\/dialogue>\n    <scene_description>lift and carry.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>This Wade Cleland?<\/dialogue>\n    <character>DWIGHT<\/character>\n    <parenthetical>(straining)<\/parenthetical>\n    <dialogue>His older brother. Wade's already dead.<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>(noticing the blood)<\/parenthetical>\n    <dialogue>Wipe your face off. He's probably got hepatitis.<\/dialogue>\n    <scene_description>They drop the body in the open trunk.<\/scene_description>\n    <character>BEN<\/character>\n    <parenthetical>(re: Teddy's cell phone)<\/parenthetical>\n    <dialogue>Pick that up, throw it in here.<\/dialogue>\n    <scene_description>Dwight does as he's told.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Don't forget to wipe it down before you get rid of it. You got the keys?<\/dialogue>\n    <scene_description>Dwight checks his pockets and nods 'yes'.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Show 'em to me.<\/dialogue>\n    <scene_description>Dwight presents the keys. Ben shuts the trunk firmly.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <parenthetical>(pointing)<\/parenthetical>\n    <dialogue>What about the rest of his head?<\/dialogue>\n    <scene_description>There's BRAIN TISSUE AND CARTILAGE in the nearby grass.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Coyotes will get that.<\/dialogue>\n    <parenthetical>(second look)<\/parenthetical>\n    <dialogue>Long as there's no teeth...<\/dialogue>\n    <character>DWIGHT<\/character>\n    <parenthetical>(wiping face with shirt)<\/parenthetical>\n    <dialogue>They won't let it end. Not now.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Yeah, well. I'm switching you to buckshot.<\/dialogue>\n    <character>A CRUDE STACK OF JUGS AND CRATES BLOWS APART.<\/character>\n    <dialogue>Dwight FIRES a CIRCUIT JUDGE REVOLVING RIFLE.<\/dialogue>\n    <dialogue>He lowers the barrel, pops the cylinder and tosses the spent shells, looking to Ben.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>It's doesn't have the stopping power of a twelve gauge- but you seem comfortable with it.<\/dialogue>\n    <scene_description>Dwight nods, drifting. Ben swaps guns as Dwight TUNES OUT.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Shoots slugs too- but you wouldn't hit anything. Only five shots though, so the Steyr is your secondary- backup. Another eight rounds, and stopping power-<\/dialogue>\n    <scene_description>Ben steps to Dwight until his wandering eyes make contact.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>This is personal, I know. But that's how you'll fail. No talking. No speeches. If you point the gun, you shoot the gun.<\/dialogue>\n    <scene_description>Dwight nods.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DRIVEWAY - BEN'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Dwight and Ben load the guns and a pack in the Bonneville.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>This should do you.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Where's the closest car repair?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Well, once you're back to the main road- closest one's about 20 miles. But that's east. I assume you're heading west. It's just a gas station, though- watcha need?<\/dialogue>\n    <dialogue>It'll be fine. But do you have some food I could take?<\/dialogue>\n    <parenthetical>(holding his belly)<\/parenthetical>\n    <dialogue>Think I'm going to pass out...<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Yeah, man.<\/dialogue>\n    <scene_description>Dwight watches Ben double time it to the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - BEN'S HOUSE - DAY (CONTINUOUS)<\/stage_direction>\n    <scene_description>Ben piles SNACKS from cabinets into a SHOPPING BAG. From a pantry he pulls packets of VACUUM SEALED FOOD.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEN'S HOUSE - DAY (MOMENTS LATER)<\/stage_direction>\n    <scene_description>Dwight shuts the Bonneville's door and turns to Ben, approaching with the grocery bag.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Threw a few MREs in there.<\/dialogue>\n    <scene_description>Dwight accepts the bag and hands Ben the OLD YEARBOOK.<\/scene_description>\n    <character>BEN<\/character>\n    <parenthetical>(flipping through)<\/parenthetical>\n    <dialogue>Nice! I lost mine, or shot it up...<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>I wish I didn't bring all this to you.<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>(closing yearbook)<\/parenthetical>\n    <dialogue>It's come and gone. Plus, I'm glad you did. You'd be dead otherwise.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>You know what I mean.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>If it were my family, I might do the same. I don't know. But I'm not helping 'cus this is right. This is ugly, man.<\/dialogue>\n    <scene_description>The two stand in silence, acknowledging the weight. Hey. If you ever do come across that Polaroid- of us with the stripper- Ben smiles.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>Do me a favor?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Destroy it?<\/dialogue>\n    <scene_description>Ben's smile fades.<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Okay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BONNEVILLE (MOVING) - HIGHWAY - DAY<\/stage_direction>\n    <scene_description>Dwight drives west, squinting peacefully into the sun, wind from open windows scattering his hair. ON THE RADIO: He powers it up and SCANS STATIONS.<\/scene_description>\n    <character>A LOCAL OLDIES STATION CRACKLES THROUGH THE SPEAKERS.<\/character>\n    <dialogue>ON THE BACK SEAT FLOOR: WIND WHIPS A CANVAS TARP OFF THE<\/dialogue>\n    <character>GUNS.<\/character>\n    <dialogue>CLOSE UP: TRACKING ALONG THE RIFLE BARREL, THE TARP FLAPPING<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PICKUP TRUCK - BEN'S HOUSE - DAY<\/stage_direction>\n    <scene_description>The truck cab is packed with HUNTING GEAR. Ben tucks TWO RIFLE CASES behind the seats and turns the ignition.<\/scene_description>\n    <character>THE ENGINE DOESN'T TURN OVER, NOT EVEN A CLICK.<\/character>\n    <dialogue>He pulls the hood latch and hops out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PICKUP TRUCK - BEN'S HOUSE - DAY (CONTINUOUS)<\/stage_direction>\n    <scene_description>Ben lifts the hood, revealing an EMPTY BATTERY TRAY WITH LOOSE HANGING CONNECTOR CABLES. Ha.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE DINER - DAY<\/stage_direction>\n    <character>THE OLDIES SONG REMAINS.<\/character>\n    <dialogue>The Bonneville pulls into the lot of a greasy spoon cafe'.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROADSIDE DINER - DAY<\/stage_direction>\n    <character>THE OLDIES SONG REMAINS.<\/character>\n    <dialogue>Dwight unfolds a paper napkin at a booth. Before him, a CHEAP STEAK and a GLASS OF RED WINE.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - BEN'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Ben returns RIFLES to their locker, looks off...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BONNEVILLE (MOVING) - HIGHWAY - DAY<\/stage_direction>\n    <character>THE OLDIES SONG SURGES.<\/character>\n    <dialogue>Back on the road, Dwight heads into the horizon.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - BEN'S HOUSE - DAY<\/stage_direction>\n    <character>FLASHES OF BLINDING BLUE LIGHT WITH MELTING, BUBBLING LAYERS.<\/character>\n    <dialogue>It's a POLAROID PICTURE BURNING IN A MICROWAVE.<\/dialogue>\n    <dialogue>Ben leans against the kitchen counter, watching the show with a TALL-BOY in hand.<\/dialogue>\n    <dialogue>He drinks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY SHOULDER - DAY<\/stage_direction>\n    <character>THE OLDIES SONG IS DROWNED BY HARSH WIND AND PASSING TRAFFIC.<\/character>\n    <dialogue>Dwight leans against the Bonneville, VOMITING on the road.<\/dialogue>\n    <character>LOW STRINGS BUILD.<\/character>\n    <dialogue>A panoramic view of rolling-hill country.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLY ROAD - AFTERNOON<\/stage_direction>\n    <scene_description>The Bonneville turns off the main road and up an incline.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BONNEVILLE (MOVING) -HILLY ROAD - AFTERNOON<\/stage_direction>\n    <scene_description>ON THE CAR WHEELS, from CRACKED PAVEMENT TO RAW DIRT.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - AFTERNOON<\/stage_direction>\n    <scene_description>Dwight backs the Bonneville into an off road clearing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BONNEVILLE - WOODS- AFTERNOON<\/stage_direction>\n    <scene_description>Dwight darkens. He cuts the engine. FROM THE BACK SEAT: Dwight opens the rear door and gathers his WEAPONS. ON THE KEYS, STILL DANGLING IN THE IGNITION, as Dwight shuts the door and passes the window. He places a FALLEN BRANCH against the car, shading the interior. Then another.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRONT GATE - CLELAND PROPERTY - AFTERNOON<\/stage_direction>\n    <scene_description>A narrow, rutted road leads to a weathered brick entrance with an iron gate secured by a HEAVY CHAIN and PADLOCK. A worn, hand painted PLAQUE reads: 'CLELAND'<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FENCE - CLELAND PROPERTY - AFTERNOON<\/stage_direction>\n    <scene_description>Dwight slides the Circuit Judge rifle and the Steyr pistol under a low, twisted fence. He tosses his backpack over and straddles the sagging wire, rolling over and off...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - CLELAND PROPERTY - AFTERNOON<\/stage_direction>\n    <scene_description>TRACKING WITH DWIGHT, traversing dense woods, rifle in hand. Dwight crouches, getting the lay of the land. A rustic single story house sits in a half acre clearing. A two-car garage lies beyond, its doors obstructed by a BOAT TRAILER parked on sunken concrete. Four generation's worth of ARTIFACTS clutter the property.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLELAND HOME - AFTERNOON<\/stage_direction>\n    <scene_description>WIDE, FROM AFAR, Dwight starts towards the quiet house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACKYARD - CLELAND HOME - AFTERNOON<\/stage_direction>\n    <scene_description>Dwight rounds the back with trained eyes, moving past an old TOW TRUCK, its load covered in BLUE TARP. THE BACK SCREEN DOOR, FRAMED IN WOOD. Dwight leans close, listening inside. He cracks it open, turning the interior door handle. LOCKED.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIDE OF HOUSE - CLELAND HOME - AFTERNOON<\/stage_direction>\n    <scene_description>Dwight hugs the mossy siding, ducking under a window. He sets the rifle down, cupping the glass for a view.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLELAND HOME - AFTERNOON<\/stage_direction>\n    <scene_description>Dwight stalks towards the front door. A DISTANT NOISE. He pivots to the woods and listens.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLELAND HOME - AFTERNOON<\/stage_direction>\n    <scene_description>THROUGH A WINDOW, Dwight appears, squinting into the dark interior cast in green from surrounding foliage.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACKYARD - CLELAND HOME - AFTERNOON<\/stage_direction>\n    <scene_description>Dwight opens the back screen door, widens his stance and VIOLENTLY KICKS THE INTERIOR DOOR. The screen SMACKS his back with each LOUD IMPACT. clears out, the screen door SLAMMING behind him. He scampers behind the tow truck and readies the rifle, his grip arm resting on a fender.<\/scene_description>\n    <character>RIFLE SIGHTS ON THE BACK DOOR...<\/character>\n    <dialogue>Nobody comes.<\/dialogue>\n    <dialogue>He turns to the tarp behind the truck, weighted by a CINDER BLOCK. He kicks it over and lifts the tarp.<\/dialogue>\n    <dialogue>UNDER THE TARP: The WHITE LIMOUSINE wreckage, scorched and half-cannibalized.<\/dialogue>\n    <dialogue>THUNK. Dwight plants the CINDER BLOCK, propping open the screen door. He leans the rifle by the frame and backs off.<\/dialogue>\n    <dialogue>With a running start, Dwight delivers a POWERFUL KICK.<\/dialogue>\n    <dialogue>The INTERIOR DOOR CAVES INWARD SEVERAL INCHES and the frame comes loose.<\/dialogue>\n    <dialogue>He backs up further and runs...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLELAND HOME - AFTERNOON (CONTINUOUS)<\/stage_direction>\n    <character>THE BACK DOOR SMASHES OPEN AND THE FRAME GIVES.<\/character>\n    <dialogue>The rifle barrel pushes inside, Dwight guiding it.<\/dialogue>\n    <character>HAND HELD WITH DWIGHT AS HE SEARCHES:<\/character>\n    <dialogue>DOWN A HALLWAY. It's musty and dark, THICK DRAPES block the daylight.<\/dialogue>\n    <dialogue>THROUGH THE NARROW KITCHEN with JUNK FOOD WRAPPERS and dated appliances.<\/dialogue>\n    <dialogue>INTO THE DINING AREA with an oval TABLE, three ASHTRAYS, chairs piled with NEWSPAPERS and a wood laminate CREDENZA.<\/dialogue>\n    <dialogue>THROUGH THE LIVING ROOM, past a feline SCRATCHING POST, a corduroy COUCH, COFFEE TABLE, RECLINER and an oversized projection TV.<\/dialogue>\n    <dialogue>INTO THE MASTER BEDROOM with a QUEEN BED, STUFFED ANIMALS and a COT.<\/dialogue>\n    <dialogue>BACK OUT AND DOWN A HALLWAY, ducking in and out of a BATHROOM, past an IRONING BOARD against the wall.<\/dialogue>\n    <dialogue>TELEVISION and a GAME CONSOLE...<\/dialogue>\n    <dialogue>AND BACK INTO THE HALLWAY- the full tour. Dwight lowers the rifle in the light of the doorway.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GARAGE - CLELAND HOME - AFTERNOON<\/stage_direction>\n    <character>DWIGHT CRASHES THE RIFLE BUTT THROUGH THE GLASS OF THE SIDE<\/character>\n    <dialogue>DOOR. He reaches in, unlatching the dead bolt.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARAGE - CLELAND HOME - AFTERNOON<\/stage_direction>\n    <scene_description>Dwight moves through a mudroom stacked with BOXES, swinging his rifle into the garage. Scattered LIMOUSINE PARTS, TOOLS, a REFRIGERATOR, and a full sized MATTRESS and BOX SPRING. BLOOD SPLATTER above the baseboard bleeds through FRESH WALL PAINT. On the floor lies a ROLLER, an ALUMINUM TRAY and a CAN OF WHITE PAINT. ON DWIGHT, turning to the near wall... OVER HIS SHOULDER: HALF A DOZEN RIFLES ON RACKS, encased in the glass of an ANTIQUE CABINET. There are TWO EMPTY RACKS IN THE CASE. His shoulders sink, gazing at the arsenal before him. He turns a KEY in the lock and the door drifts open. He turns to the bed. Atop a MILK CRATE 'end table' are scraps of TIN-FOIL, BOTTLE CAPS and a cloudy GLASS PIPE. Dwight PULLS THE TOP SHEET FROM THE MATTRESS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GARAGE - CLELAND HOME - AFTERNOON<\/stage_direction>\n    <scene_description>Dwight backs out the side door dragging the bedsheet, the CLATTERING guns wrapped inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - CLELAND HOME - AFTERNOON<\/stage_direction>\n    <scene_description>Dwight opens the drapes, cross-lighting stagnant dust. He runs his hands under the couch. He pulls open a side table drawer. With a knee to the floor, he searches the credenza. He stands, noticing a BLINKING ANSWERING MACHINE on top. He hits 'PLAY'.<\/scene_description>\n    <character>CHRIS (ON ANSWERING MACHINE)<\/character>\n    <dialogue>Teddy, check in. We took the truck. Headed to the shore, left you the map and your charger. William is with Sherri. She is not happy about all this. Might need to do something about her too. This is a fucking mess. Erase this if you get it. We'll pick William up on the way back. Should be there Thursday night. I hope to God you're not dead. Erase this if you get it.<\/dialogue>\n    <scene_description>BEEP. Dwight finds the PHONE CHARGER and MAP on the dining table. It's his map from the Bonneville, with a line from Delaware to Virginia.<\/scene_description>\n    <character>TEDDY &amp; DWIGHT (ON ANSWERING MACHINE)<\/character>\n    <parenthetical>(muffled, wind whipped)<\/parenthetical>\n    <dialogue>TEDDY: ...he's here. No. Listen. Not now, he wants to meet- fine. I'll try, but we've already been through it. She wants to talk to you. DWIGHT: Who? TEDDY: My sister. She's bossy... DWIGHT: Throw it... TEDDY: Shit. The signal's weak. I don't want to blow this- just take it. It's fine. You can point that thing right at my face. I'm not moving. DWIGHT: Turn around. Look away. TEDDY: Keep your finger on the trigger... It's over as far as I'm concerned. You hear that, sis? Don't go starting ANY SHIT- AN OVERMODULATED SCUFFLE TEDDY: THERE'S NOBODY HOME, STUPID FUCK! They're hun-<\/dialogue>\n    <scene_description>CLICK. BEEP. Dwight has his finger on the 'STOP' button. He presses 'PLAY ALL' and continues searching...<\/scene_description>\n    <character>TEDDY (ON ANSWERING MACHINE)<\/character>\n    <dialogue>Hey, when you're home stay there. Had to swap out a tire to tow her four down- hitched up now, should be there by eight or nine. We'll take his car. Call me on my cell. And keep Carl in check.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASTER BEDROOM - CLELAND HOME - AFTERNOON<\/stage_direction>\n    <scene_description>Dwight circles the bed, checking under the mattress.<\/scene_description>\n    <character>FEMALE VOICE (ON ANSWERING MACHINE)<\/character>\n    <dialogue>Hello. This is officer Downey with Community Corrections calling to reach Wade Cleland...<\/dialogue>\n    <scene_description>He slides open a bedside drawer and removes a NICKEL PLATED REVOLVER. He tests the weight and tucks it in his belt.<\/scene_description>\n    <character>FEMALE VOICE (ON ANSWERING MACHINE)<\/character>\n    <dialogue>You had a post release and urinalysis scheduled this morning which you did not attend, I'm gonna need you to contact me immediately and make that up this week to avoid a violation. Don't wanna start off on the wrong foot...<\/dialogue>\n    <scene_description>BLACK. A CLOSET DOOR OPENS, Dwight pushes aside hanging clothes: VACUUM CLEANER, STUFFED ANIMALS, lots of REEBOKS.<\/scene_description>\n    <character>FEMALE VOICE (ON ANSWERING MACHINE)<\/character>\n    <dialogue>You can reach me at four three four, two nine five, seven one nine four, Community Corrections, Probation and Parole District 9. Officer Downey.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 2ND BEDROOM - CLELAND HOME - AFTERNOON<\/stage_direction>\n    <scene_description>Dwight checks the mattresses. One BED is messy, tucked in a corner with a metal frame and headboard. CIGARETTES by the pillow.<\/scene_description>\n    <character>CARL (ON ANSWERING MACHINE)<\/character>\n    <dialogue>Pick up. Pick up! She was not there- he was. Pick up...<\/dialogue>\n    <scene_description>Dwight's eyes settle on a HOMEMADE BANNER draped above the door frame with letters drawn in marker: 'Welcome Home Wade!!!'<\/scene_description>\n    <character>CARL (ON ANSWERING MACHINE)<\/character>\n    <dialogue>...I'm not saying anything on this, but I need a ride and Teddy is not with-<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACKYARD - CLELAND HOME - AFTERNOON<\/stage_direction>\n    <scene_description>The bedsheet lies open by the back door. Dwight tosses the hung antiques onto the HEAP OF GUNS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILL - CLELAND HOME - AFTERNOON<\/stage_direction>\n    <scene_description>Dwight drags the bedsheet down an incline, coming upon a low, rusted gate bordering a CRUDE GRAVE SITE. LIMESTONE MEMORIALS, GRANITE HEADSTONES and SLABS OF SLATE sit shaded by a tree, crooked from its roots. Near the edge, FRESHLY CHURNED DIRT with DRIED WILD FLOWERS and a LIQUOR BOTTLE in place of a stone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - CLELAND PROPERTY - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Dwight shovels dirt under a canopy of trees. He pulls the bedsheet of guns into the ditch and fills it in. He walks over loose dirt, packing it down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - CLELAND HOME - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Glistening with muddy sweat, Dwight pulls a cup from a cabinet, filling it from the tap and chugging water. He refills it.<\/scene_description>\n    <character>ON THE FRESH GRAVE, PUSHING PAST IT, MOVING TOWARDS A GRANITE<\/character>\n    <dialogue>HEADSTONE: 'WADE MARSHAL CLELAND SR.'<\/dialogue>\n    <dialogue>Urine desecrates the grave. A healthy amount of it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM HALLWAY - CLELAND HOME - EVENING<\/stage_direction>\n    <scene_description>ON THE WELCOME MAT, Dwight props a GLASS JAR of coins, tacks and hardware against the front door. He takes shelter behind a PILED FURNITURE BUNKER, bracing against the wall, his rifle barrel resting on a couch pillow. Dwight waits patiently in the dark.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLELAND HOME - NIGHT<\/stage_direction>\n    <scene_description>The BUSY DRONE of night creatures.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Dwight's heavy, drifting eyes.<\/scene_description>\n    <character>HUM...TICK - THE LIVING ROOM LAMP THROWS WARM LIGHT AND DEEP<\/character>\n    <dialogue>SHADOWS IN EVERY DIRECTION.<\/dialogue>\n    <dialogue>Dwight springs up with his weight against the wall.<\/dialogue>\n    <dialogue>His eyes sharpen, his breaths ease- in through the nose, out through the mouth. The rifle is trained steadily on the door.<\/dialogue>\n    <dialogue>He hunts for a trace of sound or motion.<\/dialogue>\n    <dialogue>But there is none.<\/dialogue>\n    <dialogue>He steps in for a better angle of view. Still no trace.<\/dialogue>\n    <dialogue>He ducks past the window and drops down.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - CLELAND HOME - NIGHT (CONTINUOUS)<\/stage_direction>\n    <scene_description>Dwight crawls through the kitchen and out the back door. Dwight jogs in a crouch around the house, sweeping with his eyes through the rifle sights. He lines-up the front porch. Nothing but night.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - CLELAND HOME - NIGHT<\/stage_direction>\n    <scene_description>Dwight enters from the kitchen, approaching the PHANTOM LAMP. He drops to all fours and traces the lamp cord to an OUTLET. Between the plug and socket is a SMALL BEIGE DEVICE, like a thermostat, but marked with hours instead of degrees. Written in brown font: 'Intermatic TIME-ALL' It's set for 9PM. From his low vantage point, Dwight notices a stack of BOOKS under the coffee table. He pulls out two dusty vinyl PHOTO ALBUMS. He cocks his head and listens. Then settles on the floor against the recliner and flips through...<\/scene_description>\n    <character>THE PHOTO ALBUM:<\/character>\n    <dialogue>A photo timeline of the Clelands. Vintage black and whites, faded color prints and stained Polaroids. From stoic, depression era hunters to Teddy and his limousines.<\/dialogue>\n    <dialogue>Pelts and guns.<\/dialogue>\n    <dialogue>A man and a woman.<\/dialogue>\n    <dialogue>The man sick. The woman pregnant.<\/dialogue>\n    <dialogue>The woman with a baby, others wear black.<\/dialogue>\n    <dialogue>A young boy beside a slain deer, with indifferent eyes...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - CLELAND HOME - EARLY MORNING<\/stage_direction>\n    <scene_description>Dwight sits asleep on the floor against the recliner, the album across his lap. The lamp's warm glow clashes against the morning blue. HUM...TICK. The lamp turns off. Dwight wakes in the cold light. Dwight pulls the bedsheet off the air mattress, sets the cigarette carton back on top.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - CLELAND PROPERTY - MORNING<\/stage_direction>\n    <scene_description>TRACKING WITH DWIGHT, back through the woods, the sheet over his shoulder.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BONNEVILLE - WOODS - MORNING<\/stage_direction>\n    <scene_description>PUSHING IN ON THE BONNEVILLE, half camouflaged with branches. ON THE TRUNK as it unlatches and bobs. Dwight lifts it open, wincing at the escaping smell. He spreads the bedsheet on the ground, holds his breath and lunges into the trunk, grappling with TEDDY'S BODY until it slumps over the edge and onto the sheet. Dwight gasps upward for air, pockets Teddy's CELL PHONE and shuts the trunk. He wraps the body.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FENCE - CLELAND PROPERTY - MORNING<\/stage_direction>\n    <scene_description>Dwight struggles with THE BODY, caught in the fence by its own weight.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - CLELAND PROPERTY - LATE MORNING<\/stage_direction>\n    <scene_description>Dwight drags THE BODY by the bedsheet, torn and muddy with blood pooling at one end. He's exhausted, sweating profusely.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRAVE SITE - CLELAND HOME - DAY<\/stage_direction>\n    <scene_description>ON DWIGHT'S FACE, as he shovels dirt. ON THE GRAVE he's digging, by the edge of the gated plot. WIDER, Dwight stands in the ditch, hips at ground level. He pulls THE BODY into the grave. ON DWIGHT'S FACE, as he shovels. AGAIN, clearly now- A TELEPHONE RING.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - CLELAND HOME - DAY<\/stage_direction>\n    <scene_description>ON THE PHONE. Dwight stomps to a halt, catching his breath as the ANSWERING MACHINE ENGAGES.<\/scene_description>\n    <character>TEDDY'S VOICE (V.O.)<\/character>\n    <parenthetical>(answering machine)<\/parenthetical>\n    <dialogue>You've reached the Cleland residence- drop it like it's hot.<\/dialogue>\n    <character>BEEP. DEAD AIR.<\/character>\n    <dialogue>FOUR NUMERIC TONES. Dwight tenses.<\/dialogue>\n    <character>ANSWERING MACHINE<\/character>\n    <parenthetical>(electronic menu voice)<\/parenthetical>\n    <dialogue>You have-no-new messages. You have- five-saved mes-<\/dialogue>\n    <scene_description>THREE NUMERIC TONES. Dwight steps closer with wide eyes.<\/scene_description>\n    <character>ANSWERING MACHINE<\/character>\n    <parenthetical>(electronic menu voice)<\/parenthetical>\n    <dialogue>You have-no-messages.<\/dialogue>\n    <character>A SUSTAINED DIAL TONE...<\/character>\n    <dialogue>CLICK. Dwight stares, shaken.<\/dialogue>\n    <dialogue>He fishes in his pocket, sets Teddy's phone on the dining table and plugs in the charger.<\/dialogue>\n    <dialogue>Fumbling with the power connector, Dwight scowls until the phone CHIRPS AFFIRMATIVE.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRAVE SITE - DAY<\/stage_direction>\n    <scene_description>Dwight wiggles a SLAB OF ROCK flush with the dirt. He PAINTS 'TEDDY' on it with the roller and tray.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM HALLWAY - CLELAND HOME - DAY<\/stage_direction>\n    <scene_description>Dwight swings his rifle in the hallway, testing the width. Dwight shuts the closet door and pinches the drapes, reaching through them to open the bottom window pane. He kneels behind the bed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 2ND BEDROOM - CLELAND HOME - DAY<\/stage_direction>\n    <scene_description>Dwight closes the drapes and turns on a table lamp, leaving the door slightly ajar.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - CLELAND HOME - DAY<\/stage_direction>\n    <scene_description>Dwight steps to the ironing board against the wall. He moves it aside and discovers a narrow doorway into a utility area.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UTILITY AREA - CLELAND HOME - DAY<\/stage_direction>\n    <scene_description>Dwight enters the dark and pulls a hanging chain. A fluorescent light warms up, flickering above a compact washing machine and utility sink. DRIED BLOOD coats the sink rim, a bag of soiled clothes sits on the washer. A silver CHARM NECKLACE dangles from a wire shelf.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - CLELAND HOME - AFTERNOON<\/stage_direction>\n    <scene_description>ON THE CELLPHONE, atop the dining table. It CHIRPS again, the charger unplugged. Dwight rises behind it. He disconnects the phone and arranges the charger on the table as he found it beside the map. He dials a number on Teddy's cell phone, referring to a LABEL on the house phone. He waits. The house phone RINGS... The answering machine CLICKS AND SPEWS SHRILL AUDIO FEEDBACK.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK YARD - CLELAND HOME - AFTERNOON<\/stage_direction>\n    <scene_description>Dwight stands thirty feet from the house, the phone pressed to his ear, waiting for a BEEP. (into phone) Hello. It's me...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - CLELAND HOME - EVENING<\/stage_direction>\n    <scene_description>ON THE WELCOME MAT: Dwight removes the GLASS JAR from against the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM HALLWAY - CLELAND HOME - EVENING<\/stage_direction>\n    <character>LOW, BROODING STRINGS.<\/character>\n    <dialogue>The furniture bunker is gone. Dwight tucks to the wall and sinks to the floor, the rifle in his lap.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLELAND HOME - EVENING<\/stage_direction>\n    <scene_description>FIREFLIES BLINK in the brush as the house darkens.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - CLELAND PROPERTY - EVENING<\/stage_direction>\n    <scene_description>The night sky envelopes the surrounding woods.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - CLELAND PROPERTY - NIGHT<\/stage_direction>\n    <scene_description>Black trees sway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRONT GATE - CLELAND PROPERTY - NIGHT<\/stage_direction>\n    <scene_description>Through the rusted gate, HEADLIGHTS APPEAR around a bend and skip off the dirt.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - CLELAND HOME - NIGHT<\/stage_direction>\n    <character>EXTREME CLOSE-UP, THE INTERNAL MECHANISM OF A LOW TECH<\/character>\n    <dialogue>ELECTRONIC DEVICE. ROTATING PLASTIC AROUND SIMPLE WIRING.<\/dialogue>\n    <character>A FAMILIAR BUZZ...CLICK.<\/character>\n    <dialogue>The PHANTOM LAMP illuminates.<\/dialogue>\n    <dialogue>DOWN THE HALL, Dwight waits.<\/dialogue>\n    <scene_description>Dwight brings his knees to his chest, his feet flat against the carpet. He pulls out Teddy's cell phone, presses a button and waits. OUTSIDE, A VEHICLE PULLS UP. Dwight backs into the dark, pressing another button. THE HOUSE PHONE RINGS. MUFFLED VOICES OUTSIDE. RUNNING FEET.<\/scene_description>\n    <character>CHRIS (O.S.)<\/character>\n    <parenthetical>(through door)<\/parenthetical>\n    <dialogue>It's the phone!<\/dialogue>\n    <character>CARL (O.S.)<\/character>\n    <parenthetical>(through door)<\/parenthetical>\n    <dialogue>Move!<\/dialogue>\n    <scene_description>KEYS CLANK AGAINST THE DOOR. THE DOOR LATCHES OPEN: CARL, CHRIS, AND HOPE BURST THROUGH... ON DWIGHT, shadowed out of view, quietly closing the phone and slipping it away. THE RINGING STOPS as the trio reaches the phone.<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Fuck!<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>There's a message!<\/dialogue>\n    <character>HOPE<\/character>\n    <dialogue>Go. Play it!<\/dialogue>\n    <scene_description>Chris presses 'PLAY'. ON DWIGHT, DOWN THE HALLWAY, dripping sweat. He raises the Circuit Judge Rifle, finds a firm grip. Chris, Hope and Carl gather around the table, listening intently to the message. THEY'RE ALL IN HIS SIGHTS. CLICK. BEEP. Hello. It's me. Dwight Evans...<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>MOTHER FUCKER!<\/dialogue>\n    <character>HOPE<\/character>\n    <dialogue>Shut the fuck up!<\/dialogue>\n    <character>DWIGHT (ON ANSWERING MACHINE)<\/character>\n    <dialogue>Wade is dead. Teddy is dead too. He told me everything. I think.<\/dialogue>\n    <scene_description>Chris weeps. Carl BLURTS but Hope SLAPS him quiet.<\/scene_description>\n    <character>DWIGHT'S VOICE (ON ANSWERING MACHINE)<\/character>\n    <dialogue>I didn't kill him- well, I guess I did. It doesn't matter. By my count that's two of yours and two of mine. I don't know how this ends, but I'd like it to, uh... Or it can keep going. I just need my sister to be left out if this-<\/dialogue>\n    <character>CARL<\/character>\n    <parenthetical>(erupting)<\/parenthetical>\n    <character>THAT'S WHY WE'RE GOING TO<\/character>\n    <scene_description>BOOM! CARL'S CHEST POPS OPEN, SPLATTERING BLOOD ON THE ANSWERING MACHINE AND ACROSS THE DINING AREA. Carl keels over YELLING THROUGH CLENCHED TEETH as Dwight steps from the shadows.<\/scene_description>\n    <character>HOPE<\/character>\n    <dialogue>WHAT THE FUCK ARE YOU?!!<\/dialogue>\n    <character>CHRIS<\/character>\n    <dialogue>THAT'S HIM!<\/dialogue>\n    <character>DWIGHT'S VOICE (ON ANSWERING MACHINE)<\/character>\n    <dialogue>I have Teddy's phone.<\/dialogue>\n    <scene_description>Dwight aims and fires. BOOM. A MISS. The bulk of the buckshot SPLINTERS THE TABLE, some of it GRAZES HOPE, HER SLEEVE TEARING WITH BLOODY MIST.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <parenthetical>(quick, instinctual)<\/parenthetical>\n    <dialogue>Sorry.<\/dialogue>\n    <scene_description>HE CHECKS HIS AIM AND BLOWS ANOTHER HOLE IN CARL'S SIDE.<\/scene_description>\n    <character>WE'RE GONNA FUCKING KILL YOU!<\/character>\n    <dialogue>DWIGHT'S VOICE (ON ANSWERING MACHINE)<\/dialogue>\n    <scene_description>You'll find his body in the yard with some family. Dwight nods, showing teeth. Carl slumps in the corner.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>Wish you woulda...<\/dialogue>\n    <scene_description>He aims, alternating between Chris and Hope.<\/scene_description>\n    <character>DWIGHT'S VOICE (ON ANSWERING MACHINE)<\/character>\n    <dialogue>Call it if you want to talk this through...<\/dialogue>\n    <scene_description>Tears flow down Dwight's flushed face.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <parenthetical>(trembling)<\/parenthetical>\n    <dialogue>You people...<\/dialogue>\n    <character>DWIGHT'S VOICE (ON ANSWERING MACHINE)<\/character>\n    <dialogue>Sorry to bother you at home.<\/dialogue>\n    <scene_description>CLICK. BEEP. Chris looks to the wall above the television.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>Guns are gone. Buried them.<\/dialogue>\n    <scene_description>He shows the nickel plated revolver tucked in his belt.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>This one too.<\/dialogue>\n    <scene_description>Chris looks to the RECLINER. Hope turns her head ever so slightly, eyes drifting to the front door: THROUGH THE FRONT DOOR: OUT OF DWIGHT'S VIEW STANDS THE BOY, grasping his hand held video game console. He creeps backward towards the PARKED TRUCK.<\/scene_description>\n    <character>CHRIS (O.S.)<\/character>\n    <dialogue>Don't shoot us.<\/dialogue>\n    <character>DWIGHT (O.S.)<\/character>\n    <dialogue>I've been here a while. Waiting.<\/dialogue>\n    <scene_description>BARRELED SHOTGUN from a GUN RACK.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>Trying to think of reasons not to do this- to end your family. There's a thousand. But there's one why I should.<\/dialogue>\n    <character>HOPE<\/character>\n    <dialogue>Fine. We'll leave her out.<\/dialogue>\n    <scene_description>Dwight looks up from his sights.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>How ca-<\/dialogue>\n    <scene_description>BOOM. DWIGHT IS THROWN BACK SEVERAL FEET BY THE IMPACT FROM THE SHOTGUN BLAST, HIS RIFLE DROPS TO THE GROUND. Dwight defiantly attempts to stand, bleeding from his ribs.<\/scene_description>\n    <character>HOPE<\/character>\n    <dialogue>GO! BLOW HIS HEAD OFF!<\/dialogue>\n    <scene_description>The Young Boy walks in closer as Dwight staggers to his feet.<\/scene_description>\n    <character>CHRIS<\/character>\n    <dialogue>KILL HIM, WILLIAM.<\/dialogue>\n    <character>HOPE<\/character>\n    <parenthetical>(to Dwight)<\/parenthetical>\n    <dialogue>Your whole family will die...<\/dialogue>\n    <scene_description>The Young Boy, William, shakes his head 'no' as Chris steps towards the door.<\/scene_description>\n    <character>WILLIAM<\/character>\n    <parenthetical>(crying, still walking)<\/parenthetical>\n    <dialogue>I don't want to.<\/dialogue>\n    <scene_description>As William approaches, Dwight grabs the Circuit Judge from the floor and swings it like a sword, sweeping and SMACKING THE BARREL OF WILLIAM'S SHOTGUN. BOOM. PLASTER FROM THE CEILING RAINS DOWN ON DWIGHT AND WILLIAM. Chris reaches the recliner in a crouch as Dwight puts her in his sights.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>STOP.<\/dialogue>\n    <scene_description>Chris stands slowly. William stands stunned with a loose grip on the shotgun. ON THE SHOTGUN: TWO SMOKING BARRELS, TWO TRIGGERS.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <parenthetical>(calmly, to William)<\/parenthetical>\n    <dialogue>I don't know much about guns. But I think I have more bullets than you.<\/dialogue>\n    <character>HOPE<\/character>\n    <dialogue>DON'T KILL HIM.<\/dialogue>\n    <character>DWIGHT<\/character>\n    <parenthetical>(to Hope)<\/parenthetical>\n    <dialogue>If he dies tonight, your father killed him. Your father killed everyone here.<\/dialogue>\n    <scene_description>Dwight lifts his shirt, exposing the GUSHING HOLE IN HIS SIDE.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <parenthetical>(calmly, to William)<\/parenthetical>\n    <dialogue>I think you did your job, William. I still gotta finish up, though. Fast, I think.<\/dialogue>\n    <scene_description>William looks around the room. Dread everywhere. Settling into shock, Dwight watches his shotgun wound bleed.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>It's funny- hurts less than the...uh, arrow...<\/dialogue>\n    <scene_description>Hope Nods to William. He backs towards the door.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <parenthetical>(calmly, to William)<\/parenthetical>\n    <dialogue>Leave the gun. You can just wipe it off... My car is down the road, off in the woods a little. It's dark though.<\/dialogue>\n    <scene_description>Chris nervously shifts her weight as William runs past and out the door, gun still in hand. Dwight, Hope and Chris stand listening to the PAT OF WILLIAMS FEET AGAINST THE DIRT ROAD. Until they stand in silence. He's my Father's son? Chris and Hope find each other's eyes.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>Teddy told me about the cancer. Big Wade.<\/dialogue>\n    <character>CHRIS<\/character>\n    <parenthetical>(quiet, furious)<\/parenthetical>\n    <dialogue>Don't you mention their names.<\/dialogue>\n    <scene_description>Dwight pulls out the nickel plated revolver and sets it on the window ledge to his side.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>You know what's awful?<\/dialogue>\n    <scene_description>He raises the Circuit Judge.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <dialogue>Just because my Dad and your Mom loved each other? We all end up dead...<\/dialogue>\n    <scene_description>Eyes glistening, lip trembling, DWIGHT LOWERS THE BARREL. CHRIS DIVES FOR THE RECLINER, SLAPS THE WOODEN LEVER ON THE SIDE, EXTENDING THE FOOT REST.<\/scene_description>\n    <character>HOPE<\/character>\n    <scene_description>HOPE CHARGES DWIGHT. DWIGHT AIMS AND FIRES. BOOM. HOPE'S LEG SPEWS BLOODY CHUNKS- IT DOESN'T SLOW HER DOWN ONE BIT. UNDERNEATH THE RECLINER'S EXTENDED FOOTREST: A HOMEMADE WOODEN GUN COMPARTMENT REINFORCED WITH DUCT TAPE: CHRIS PULLS OUT A TEC-9 MACHINE PISTOL, UNLOADING THE 30 ROUND CLIP AT DWIGHT. PTRDDDDDDDDDDDD.... ON DWIGHT, RATHER CALM. AIMING... THE FURNITURE AND WOOD PANELED WALLS BEHIND HIM ARE RIDDLED WITH BULLETS AS HOPE FLAILS CLOSER. DWIGHT BLASTS A HOLE IN CHRIS' SHOULDER, SHATTERING THE LAMP BY THE DOOR. ILLUMINATED BY RAPID GUNFIRE: THE BULLET SPRAY FROM CHRIS' TEC-9 RIPS APART HOPE'S BACK AS SHE REACHES DWIGHT.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLELAND HOME - NIGHT<\/stage_direction>\n    <scene_description>William watches from the dark woods holding the shotgun. The Cleland home is ABLAZE IN GUNFIRE. Within seconds, it falls QUIET. William turns to the front gate, tossing the shotgun before disappearing into the darkness. Just the DRONE OF THOSE BUSY NIGHT CREATURES.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - CLELAND HOME - NIGHT (CONTINUOUS)<\/stage_direction>\n    <scene_description>The DRONE carries inside. The room is A DARK, BLOODY MESS. CLOSE ON DWIGHT. He sets his chin atop the window sill, unable to focus his gaze beyond the glass pane. WITH HEAVY BREATH, he tucks his neck until his forehead rests on the sill and his eyes stare down at the shag carpet.<\/scene_description>\n    <character>DWIGHT<\/character>\n    <parenthetical>(gurgling)<\/parenthetical>\n    <dialogue>Keys are in the car. The keys are ...in the car...<\/dialogue>\n    <scene_description>His words are overtaken by blood.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLELAND HOME - NIGHT<\/stage_direction>\n    <scene_description>The Cleland property sits still in the night. Can't see Dwight.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN NEIGHBORHOOD - MORNING<\/stage_direction>\n    <character>A TRANQUIL SUBURBAN SOUNDSCAPE.<\/character>\n    <dialogue>KIDS ON BICYCLES pass a BENT CARBON ARROW by a sewer drain.<\/dialogue>\n    <dialogue>Another ARROW, EMBEDDED IN AN OAK TREE. Just behind it, an oblivious NEIGHBOR cleaning his gutters.<\/dialogue>\n    <dialogue>ON THE GARBAGE: Dwight's CARDBOARD BOX sits atop the pile along with a few bird droppings.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RANCH HOUSE - MORNING<\/stage_direction>\n    <scene_description>IN THE KITCHEN: the TAPED UP CARDBOARD on the back window. UNDER THE DINING TABLE: The GARDEN WEEDER lies in a pool of sunlight.<\/scene_description>\n    <character>THE SOUND OF SOMEONE APPROACHING FROM OUTSIDE.<\/character>\n    <dialogue>ON THE FRONT DOOR: The Mail slot swings open, fluttering daylight as a STACK OF MAIL shoves through.<\/dialogue>\n    <dialogue>ON THE FLOOR: SAM'S HOUSE KEYS, 4 days worth of JUNK MAIL, and a POSTCARD, with a drawing of Thomas Jefferson's home and outlined block letters filled-in with images of lighthouses, waterfalls, blue mountains and trees.<\/dialogue>\n    <character>IT READS:<\/character>\n    <dialogue>'Greetings from Virginia: The Old Dominion State'<\/dialogue>\n    <scene_description>CUT TO BLACK.<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Dwight Evans, a vagrant, lives out of his car in Delaware and scavenges for food and money. After learning of the impending release of Wade Cleland, the man who murdered Dwight's parents twenty years earlier, Dwight returns to his hometown in Virginia. En route he steals a gun but breaks it trying to open its trigger lock. Dwight watches the Clelands collect Wade from prison in a limousine and follows them. They go to a local club to celebrate Wade's release. Dwight follows Wade to the club's restroom and fatally stabs him in the head. Having dropped his car keys in the club, Dwight steals the Clelands' limousine. Discovering a teenage boy, William Cleland, in the back of the car, Dwight lets him go. William implies that Wade didn't kill Dwight's parents. After cleaning himself up, Dwight visits his sister, Sam, for the first time in years and tells her that he has killed Wade. Sam is shocked but relieved by this revelation. As the killing has gone unreported on the news, Dwight surmises that the Clelands have decided to seek revenge without police involvement. Since Dwight's car is registered to Sam's address, she flees her home with her daughters and Dwight waits in the family house for the Clelands' attack. Wade's two brothers, Teddy and Carl, arrive in Dwight's car. As Dwight escapes, he runs over Teddy and places the unconscious body in the trunk. Before he can drive away, Carl shoots him with a crossbow. After having the wound treated at a hospital, Dwight returns to Sam's house to clean up from the attack. He tracks down Ben Gaffney, an old high school friend, and asks for help. After obtaining a rifle, Dwight interrogates Teddy at gunpoint on Ben's property. Teddy reveals that Wade was not his parents' killer. Dwight's father and Wade Sr.'s wife were having an affair. As revenge, Wade's now-deceased father killed his father and his mother's death was incidental, as she just happened to be in the car during the ambush. Wade Jr. took the blame so that his father, who had terminal cancer, did not have to die in prison. Teddy wrestles the gun from Dwight but is shot dead by Ben. Dwight and Ben put Teddy's body back into the trunk and part ways after Ben resupplies Dwight with food and more weapons. To keep Ben from further involvement, Dwight sabotages his truck. Dwight goes to the Clelands' house and removes as many hidden firearms as he can. He buries Teddy and waits to ambush the Clelands. He leaves a message on the answering machine informing them of Teddy's death and asks them to leave Sam out of the dispute. Carl, his older sister, Kris, and their cousin, Hope, return and listen to Dwight's message. When it becomes clear that the Clelands intend to kill Sam, Dwight fatally shoots Carl. He holds the women at gunpoint while musing out loud about whether he should kill them all. William, entering through another door, shoots Dwight. Dwight disarms William and tells him to leave with his car. As William leaves, Dwight tells the women that William is his half-brother. Hope attacks Dwight as Kris reaches for a hidden gun. Kris accidentally kills Hope, and mortally wounds Dwight, before he shoots her dead. Dwight dies on the floor, mumbling that the keys are in the car."}
{"movie_name":"The Debt_2010","imdb_id":"tt1226753","script":"<script>\n  <scene>\n    <stage_direction>INT. CARGO PLANE. MILITARY AIRBASE. ISRAEL - DAY<\/stage_direction>\n    <scene_description>A strange ROARING sound . CLOSE ON A YOUNG WOMAN . in darkness . Light begins to spill on her from the right - revealing her face , lost in thought . This is RACHEL SINGER - pretty , painfully young looking . A surgical dressing covers half her face . As we pull back a little we see that two YOUNG MEN sit either side of her . They are STEPHAN GOLD -LRB- thirties -RRB- thick - set , capable , and DAVID PERETZ -LRB- late twenties -RRB- , dark - haired and pale - faced . The three faces in the darkness , each looking straight ahead - something from a Caravaggio painting . The roaring , which we realise is the sound of ENGINES , gradually runs down into silence . The light from the bay door which is opening off - screen begins to flood the scene with HARSH DAYLIGHT , revealing the inside of a CARGO PLANE . Stephan turns to look at the growing light . Then he turns to Rachel .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>Breathe.<\/dialogue>\n    <scene_description>He stands . Rachel turns to look at David but he is standing too , his face a mask . Rachel gathers herself , then stands and turns to follow the other two , walking towards the light . As the three approach the opening and descend the ramp of the bay door , we hear a woman 's voice :<\/scene_description>\n    <character>SARAH<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>We should never forget how young they were.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIRBASE RUNWAY. ISRAEL - DAY<\/stage_direction>\n    <scene_description>TRACKING THE THREE . as they walk across the tarmac - first Stephan .<\/scene_description>\n    <character>SARAH<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>My father, Stephan Gold, was the youngest Unit Commander in Mossad.<\/dialogue>\n    <scene_description>David is next .<\/scene_description>\n    <character>SARAH<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>David Peretz had his twenty - ninth birthday while on the mission.<\/dialogue>\n    <scene_description>Then Rachel .<\/scene_description>\n    <character>SARAH<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>My mother was even younger. Only twenty - five.<\/dialogue>\n    <scene_description>RACHEL 'S P.O.V Silhouetted against the bright light is a group of waiting MILITARY and MOSSAD DIGNITARIES . Their hands are raised in applause .<\/scene_description>\n    <character>SARAH<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Despite their youth they'd had the courage to confront an unimaginable evil.<\/dialogue>\n    <scene_description>The three walk towards their welcoming party . Rachel blinks against the sunlight , takes out a pair of sunglasses and slips them on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FUNCTION ROOM. HOTEL NEAR TEL AVIV - DAY<\/stage_direction>\n    <scene_description>CLOSE ON OLDER RACHEL . now 56 . Handsome , impeccably groomed . A long crooked SCAR runs down one side of her face .<\/scene_description>\n    <character>SARAH<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>a man whose sadistic experiments left thousands disfigured or dead, who became known by a name which defiles the annals of medicine : The Surgeon of Birkenau.<\/dialogue>\n    <scene_description>She 's wearing tinted glasses , staring at us , listening to Sarah speak . REVERSE Rachel 's daughter - SARAH - stands at a podium , reading the Dedication to a rather large audience who have come for the launch of her first book . She 's 31 , and clearly her mother 's daughter . The cover image from the book is projected on a screen behind Sarah - a black and white photograph of a young Rachel , David and Stephan . Above their faces , the title - In Our Hands .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Their mission had been to return him to Israel to stand trial. Instead it ended with his death on the streets of East Berlin.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MILITARY AIRBASE. ISRAEL - DAY - THE PAST<\/stage_direction>\n    <scene_description>CLOSE ON YOUNG RACHEL . as she waits behind David and Stephan , face bleached out by the sunlight . She stares at the ground .<\/scene_description>\n    <character>SARAH<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>But this was not what was celebrated. It was their youth itself that became a symbol. Here were the children who had faced Israel's greatest nightmare, her greatest pain.<\/dialogue>\n    <scene_description>David and Stephan have moved out of shot and Rachel reaches the DIGNITARIES . Still looking down , she manages a smile , a bob of her head , reaches out to shake the first hand .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FUNCTION ROOM. HOTEL NEAR TEL AVIV. DAY<\/stage_direction>\n    <scene_description>CLOSE ON OLDER RACHEL . lost in the memory .<\/scene_description>\n    <character>SARAH<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>and in the simple act of facing the Monster, had helped to vanquish it.<\/dialogue>\n    <scene_description>Sarah , has finished reading and looks for her mother in the audience .<\/scene_description>\n    <character>SARAH<\/character>\n    <parenthetical>( O.S. ; CONT 'D . )<\/parenthetical>\n    <dialogue>This book is dedicated to my inspiration. My mother, Rachel Singer.<\/dialogue>\n    <scene_description>People around Rachel begin to applaud , the sound almost startling her . Automatically she gives the same bob of the head , acknowledging the applause . Sarah , cheeks burning with a mixture of embarrassment and emotion , has n't finished yet . She locks eyes with her mother .<\/scene_description>\n    <character>SARAH<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Mother, I'm so very proud to be your daughter.<\/dialogue>\n    <scene_description>More applause . Rachel manages to smile .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FUNCTION ROOM. HOTEL NEAR TEL AVIV - LATER<\/stage_direction>\n    <scene_description>The room is now alive with the excited chatter of the guests . Rachel moves against the tide of the audience with a fixed social smile , murmuring thanks to well - wishers , trying to get out , trying not to look like she 's trying to get out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TEL AVIV. HOTEL NEAR TEL AVIV. PATIO - CONTINUOUS<\/stage_direction>\n    <scene_description>She emerges onto the empty patio , slides the glass door shut behind her , muffling the chatter from the room beyond . She lights a cigarette , inhales greedily , trying to calm down . She stares at the sun blazing over the Mediterranean ahead of her . Her glasses darken against the reflected glare . As if sensing something she turns to see a SMALL BOY - her GRANDSON - watching her from behind the glass of the patio door , something UNNERVING in his direct gaze . Rachel stares back at him in silence . Sarah appears behind the boy , her son , and scoops him up into a hug . Still the boy stares at his grandmother , who gives a tight smile and turns back to the sea . Another guest walks up to Sarah and she nods , smiling , at what he is saying to her but her eyes slide back to her mother , standing on the other side of the glass .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. APARTMENT BLOCK. TEL AVIV SUBURB - DAY<\/stage_direction>\n    <scene_description>A shabby , dimly - lit stairwell in a run - down section of the city . A YOUNG MOSSAD AGENT knocks at one of the apartment doors . After a moment it is answered by OLDER DAVID , now 62 .<\/scene_description>\n    <character>YOUNG AGENT<\/character>\n    <dialogue>David Peretz?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>YOUNG AGENT<\/character>\n    <dialogue>You were expecting me?<\/dialogue>\n    <scene_description>David looks at this young version of himself .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>Yes. I was expecting you.<\/dialogue>\n    <character>YOUNG AGENT<\/character>\n    <dialogue>Would you come with me sir?<\/dialogue>\n    <scene_description>David stares at him , then walks back into the apartment . The door almost swings shut and the Agent catches it , considering walking in after him . But before he can , David re - emerges carrying his jacket .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>Let's go.<\/dialogue>\n    <scene_description>TITLES BEGIN - We TRACK with David , CLOSE on his face as the two men begin the long walk down the staircase . He does n't say anything to his companion , does n't look around him , and we HOLD on that face as his mind tries to catch up , tries to work something out , to decide .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>The apartment block stands on stilts . Abandoned furniture is piled around the columns supporting the building . Still on David as the two men walk out from the darkness into the street that services the run - down estate . David follows as the agent moves ahead towards a larger road . They cross a busy carriageway , and wait for a moment on the central reservation for a break in the traffic . Parked on the far side of the road , two identical cars , their windows tinted . The Agent moves to the leading car , opens the driver 's door and gets in . David stops in the road , opens the rear passenger door and throws his jacket inside . He pauses for a moment and turns to look back at the second car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - CONTINUOUS<\/stage_direction>\n    <scene_description>A MAN sits in the back of the car , silhouetted against the brightness outside . This is OLDER Stephan , now 63 . He watches as David straightens up , hands on hips , squinting up at the sun .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET. TEL AVIV SUBURB - CONTINUOUS<\/stage_direction>\n    <character>DAVID<\/character>\n    <parenthetical>( Indistinctly . )<\/parenthetical>\n    <dialogue>Sorry.<\/dialogue>\n    <scene_description>The Agent turns .<\/scene_description>\n    <character>YOUNG AGENT<\/character>\n    <dialogue>What, sir?<\/dialogue>\n    <character>DAVID<\/character>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>I - I think I.<\/dialogue>\n    <scene_description>He stands like that for a moment and then suddenly STEPS OUT INTO THE ROAD in front of an on - coming TRUCK . The impact sweeps him out of the frame . The shocked Agent scrambles out of the vehicle as other cars screech to a halt in front of David 's lifeless body . TITLES END .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TERRACE. HOTEL NEAR TEL AVIV - NIGHT<\/stage_direction>\n    <scene_description>A celebratory dinner for the book launch is in progress - publishers , journalists , local dignitaries . Rachel is re - joining the table , taking her place beside her daughter amidst the dinner party chatter . Sarah watches her .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>When are you going to stop?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Stop what?<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>The smoking.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Soon.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>I hope so. Do it for your grandson.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Are you sure you have to go back home tomorrow?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>It's all arranged, I'm afraid.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>But we'll have breakfast before you go? I thought maybe we could take a walk on the beach?<\/dialogue>\n    <parenthetical>( Trying to sound casual . )<\/parenthetical>\n    <dialogue>I'd like you to see more of him.<\/dialogue>\n    <scene_description>A WAITER leans over with WINE for Rachel . She covers her glass .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( To Sarah , ill - at - ease . )<\/parenthetical>\n    <dialogue>Well, I'll be back. We can. maybe in the holidays or.<\/dialogue>\n    <scene_description>MIRIAM , a PUBLISHER appears at her shoulder with a copy of Sarah 's book .<\/scene_description>\n    <character>MIRIAM<\/character>\n    <dialogue>I've marked the place. I thought perhaps from chapter eleven?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Yes, thank you.<\/dialogue>\n    <scene_description>Rachel nods absently , flicking through the pages of the book . Sarah realizes , with a small stab of pain , that she has no idea what that means .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>If you'd rather read something else, mother.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>No, that's fine.<\/dialogue>\n    <scene_description>Rachel is barely listening . She is staring at a black and white photograph in the book . We see that the photograph is of a YOUNG MAN in NAZI UNIFORM . It 's titled : DIETER VOGEL , `` The Surgeon of Birkenau . ''<\/scene_description>\n    <character>MIRIAM<\/character>\n    <dialogue>You must be very proud.<\/dialogue>\n    <scene_description>Rachel looks up at her , realizes what Miriam is talking about .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( A little automatic . )<\/parenthetical>\n    <dialogue>. It's a wonderful achievement. I'm very proud of her.<\/dialogue>\n    <character>MIRIAM<\/character>\n    <dialogue>And I'm sure you were invaluable in the research.<\/dialogue>\n    <character>SARAH<\/character>\n    <parenthetical>( Keeping it light . )<\/parenthetical>\n    <dialogue>Actually, my mother withstood all interrogation. My father was the talker.<\/dialogue>\n    <parenthetical>( Trying a joke . )<\/parenthetical>\n    <dialogue>I'm the only journalist in Israel she wo n't speak to.<\/dialogue>\n    <scene_description>Miriam laughs obligingly but Sarah instantly regrets the remark . There is a sudden excited MURMUR from the table . The women look over to where Stephan approaches the table . He is in a motorised WHEELCHAIR . The Mossad Agent attends discreetly in the background . Rachel 's face hardens .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I thought he could n't come.<\/dialogue>\n    <character>SARAH<\/character>\n    <parenthetical>( Standing up , surprised . )<\/parenthetical>\n    <dialogue>So did I.<\/dialogue>\n    <scene_description>Several of the local POLITICOS have stood up to greet Stephan , who is all smiles and handshakes .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( To the politicos . )<\/parenthetical>\n    <dialogue>Please, sit, sit. My God, it must be election season.<\/dialogue>\n    <scene_description>There 's good - natured laughter from the table . Sarah joins her father , kissing his cheek .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>You came.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>I came. So you're the famous author I've heard so much about?<\/dialogue>\n    <scene_description>Rachel watches as he takes a place at the table , picks up a copy of the book and examines the cover photograph , holding his glasses a little from his eyes to focus .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( Without looking . )<\/parenthetical>\n    <dialogue>Rachel.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Stephan.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <parenthetical>( To Sarah . )<\/parenthetical>\n    <dialogue>Now you're the expert, maybe you could tell me something.<\/dialogue>\n    <parenthetical>( Pointing to himself . )<\/parenthetical>\n    <dialogue>Who's this handsome devil on the cover?<\/dialogue>\n    <scene_description>More polite laughter from the table .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It went well?<\/dialogue>\n    <character>SARAH'S HUSBAND<\/character>\n    <dialogue>She was wonderful.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>That's good. Good, good. That's very good.<\/dialogue>\n    <scene_description>Rachel takes a sip of water and notices Stephen 's hands , crumbling some bread - they 're SHAKING . She looks up at his face , reads the hidden STRAIN there . He senses her gaze and meets it , and for a second his smile falters and SOMETHING LIKE PANIC flickers in his eyes . Rachel stares back at him , disturbed . Miriam stands , tapping her glass with her fork .<\/scene_description>\n    <character>MIRIAM<\/character>\n    <dialogue>I just want thank you all for coming to help us celebrate the launch of this wonderful book. I'm sure we're all particularly thrilled to have two of the heroes of this story at the table. And even more thrilled that one of them has agreed to read for us.<\/dialogue>\n    <scene_description>Applause . She gestures to Rachel who stands , still looking at Stephan . The table quietens down . Rachel opens the book at the marked place and hesitates , only now realising what she is about to read . Then .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( reading . )<\/parenthetical>\n    <dialogue>`` On the evening of the 31st of December, it began to rain more heavily. So isolated had they become from the outside world that it was only when she looked out of the window that Rachel remembered it was New Year's Eve.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN. BERLIN SAFE HOUSE - NIGHT - THE PAST<\/stage_direction>\n    <scene_description>Young Rachel stands in the small kitchen . Rain lashes on the window . She stares out at some FIREWORKS exploding nearby , then turns away and begins to gather three METAL SAUCEPANS from the shelves . We TRACK with her as she walks into the . LIVING ROOM And begins to place the pots on the floor to catch the rainwater which is dripping through various points in the ceiling . As she positions the last pot we REVOLVE around her to get our first view of the far wall . And there , tied to a radiator , is DIETER VOGEL , now 50 . He 's bound , his mouth taped , apparently asleep . Rachel does n't , of course , react to this sight . Instead she begins to clear away some pieces of BROKEN GLASS BOWL from the floor . We TRACK with her as she walks back down the short hallway into the kitchen , drops the pieces of bowl into the bin . From the living room comes the three distinct PINGS of rainwater dripping in the pots . She stops suddenly , puzzled . It 's a moment before she works out what she 's noticed - something has changed in the sound of the rainwater next door . There are only two drips instead of three . She walks back towards the living room . RACHEL 'S P.O.V - through the living room door we can see that one of the pots has been overturned . Rachel slows to a stop . A sudden wave of adrenalin causes her to turn but . it 's too late . Vogel steps out of the alcove he 's been standing in so that he is directly in front of her . Before she can even cry out he has slashed her face open with a SHARD OF GLASS . Instinctively she cups her hands to her ripped face . Vogel grabs her by the hair and stepping behind her , tries to worm his other hand underneath her raised arms to reach her throat with the glass . Her training kicking in , Rachel uses a krav magah move to grab and twist Vogel 's forearm , breaking his hold on her and turning the arm until , with a yell of pain , Vogel drops the shard . He swings wildly at her , but Rachel ducks the fist and drives the palm of her hand up into his face . Vogel stumbles back , surprised by her speed and the sudden pain of the blow . Rachel is about to press home the attack but is blinded by blood from her wound washing into her eyes . As she wipes her eyes clear , Vogel grabs a LAMP from a small chest of drawers in the hall and smashes it into her face . She falls . Vogel begins to run , but , driven by adrenaline and desperation , Rachel scrambles onto all fours and lunges at him , catching hold of his trouser leg as he moves towards the front door . Vogel stumbles , manages to pull a leg free and stamps down on Rachel who lets go with a moan . He stamps again , steps free and kicks her hard in the head . Rachel rolls with the force of the kick and comes to a rest , losing consciousness . RACHEL 'S P.O.V - LOW ANGLE - Fluttering in and out of darkness - Vogel 's feet as he stands beside us , breathing hard . Then he turns and hurries to the front door . and out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WALKWAY. BERLIN SAFE HOUSE - NIGHT.<\/stage_direction>\n    <scene_description>Vogel hurries along the walkway and sets off DOWN THE SPIRAL STAIRCASE of the apartment building .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERLIN SAFE HOUSE. NIGHT.<\/stage_direction>\n    <scene_description>Rachel lies motionless . Then a cough . And another . And finally she rolls over , holding her gaping cheek with one hand , and drags herself towards the CHEST OF DRAWERS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STAIRWELL - NIGHT<\/stage_direction>\n    <scene_description>Vogel runs down the spiral staircase .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>With difficulty , Rachel pulls out a GUN fitted with a silencer . and pulls herself towards the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STAIRWELL - NIGHT<\/stage_direction>\n    <scene_description>Vogel 's dwindling figure as he nears the bottom of the stairs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WALKWAY - NIGHT<\/stage_direction>\n    <scene_description>Streaming blood from her face , Rachel heaves herself out of the apartment towards the railings guarding the walkway . We hear the clatter of Vogel 's feet on the stairs below . She raises the gun to the railings , to take aim .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTYARD - NIGHT<\/stage_direction>\n    <scene_description>Bursting from the stairwell , Vogel starts to run across the courtyard towards the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WALKWAY\/COURTYARD - NIGHT<\/stage_direction>\n    <scene_description>Rachel 's aim follows Vogel 's lunge for the gateway . RACHEL 'S P.O.V There is a lurid flash of fireworks from nearby and for a moment we see Vogel lit , about to make it to the gate and disappear forever . Rachel FIRES . A single shot . And , improbably , incredibly , the tiny figure of Vogel drops . Rachel hangs over the banisters far above us , gun in hand , staring at us with disbelief .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TERRACE. HOTEL NEAR TEL AVIV - NIGHT<\/stage_direction>\n    <scene_description>Rachel finishes reading and puts the book down . Nobody moves . The air of bonhomie has been replaced by an uneasy silence . Not knowing what else to do , one of the guests begins to clap and the others hurriedly join in . Rachel does n't acknowledge the applause . Stephan is staring at her with a STRANGE INTENSITY .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. STEPHEN'S CAR. TEL AVIV - NIGHT<\/stage_direction>\n    <scene_description>Stephan and Rachel sit in the back of the car . Behind a screen the young Mossad Agent we saw earlier sits in the front next to the Driver . Tel Aviv races by in neon smears . The air is charged with tension .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( Of the driver . )<\/parenthetical>\n    <dialogue>He's driving too fast.<\/dialogue>\n    <scene_description>Stephan ignores her . She turns to the window , watches as they streak past another car .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>This is ridiculous. What's so important? Tell me where we're going?<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>We're going to David's apartment.<\/dialogue>\n    <scene_description>Rachel turns to him , startled .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>David?<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>I keep track of people Rachel. It's my job.<\/dialogue>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>I know he came to see you yesterday.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( contemptuous . )<\/parenthetical>\n    <dialogue>What's this? The jealous ex - husband or the intelligence officer?<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>A little of both. What did he want?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Fuck you.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>What did he tell you?<\/dialogue>\n    <scene_description>Something about his intensity unnerves her .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>He did n't tell me anything.<\/dialogue>\n    <parenthetical>( Off his look . )<\/parenthetical>\n    <dialogue>He did n't! He told me where he'd been travelling, that he'd been teaching. We spoke for a few minutes and then I had to go.<\/dialogue>\n    <scene_description>Stephan is still staring at her , reading her .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( Bristling . )<\/parenthetical>\n    <dialogue>If you do n't believe me ask him yourself.<\/dialogue>\n    <scene_description>And then he ca n't keep it from his face - and she knows . Something terrible has happened .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM. DAVID'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Stephan sits in the middle of the squalid living room , lost in thought . BEDROOM Rachel walks slowly though the room , taking it all in - the little islands of occupation , the places where David sat , read , slept . Piles of newspapers . Used cups . A mound of laundry . ON Rachel as she looks about her , looking for something , some sign from the man she knew . But there 's nothing personal here . These are the rooms of a man who had no real home . BATHROOM Rachel walks in and switches on the light . She stares around the dirty bathroom . CLOSE ON YOUNG DAVID . turning to face us , the beautiful smile . BACK ON OLDER RACHEL . as she begins to cry . LIVING ROOM - CONTINUOUS Stephan sits listening to her breaking down . LIVING ROOM - LATER Rachel sits on the couch .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Why did he do it?<\/dialogue>\n    <scene_description>Stephan looks at her , considering . He takes out a sheet of PRINTED PAPER , hands it to her . She reads some of the first page , then looks up at him . And now we see it on her face too . Fear .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STAIRWELL OUTSIDE DAVID'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>The Mossad Agent sits on the stairs , smoking . As the door behind him opens he stands aside and watches Rachel SWEEP past him down the stairs , without giving him a glance .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RACHEL'S HOTEL - NIGHT<\/stage_direction>\n    <scene_description>Rachel is packing , folding clothes neatly , precisely , silently - all the time a terrible tension in her movements . She tries to close a drawer but it sticks , She keeps trying , then in a sudden rush of fury yanks the drawer free and hurls it across the room . She stands breathing hard .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PATIO TERRACE\/BEACH. HOTEL NEAR TEL AVIV - DAY<\/stage_direction>\n    <scene_description>The next day . Tables under umbrellas are ranged along the terrace . Sarah and her husband are on the beach below , playing with their son , laughing . As if feeling our gaze , she looks up at us , shielding her eyes against the sun . REVERSE Rachel sits at a table with Stephan , watching her daughter . Stephan takes out an ENVELOPE and passes it to her . She opens it and examines the contents - an AIR - PLANE TICKET and TWO PASSPORTS . Stephan takes out a small BLACK CASE and slides it across the table towards her . She turns to look at it with disgust , KNOWING WHAT IT IS . Then she takes it and puts it in her handbag .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>My car's waiting outside. It can take you to the airport.<\/dialogue>\n    <scene_description>Rachel turns back to stare at her daughter . ON THE BEACH Sarah , playing with her son , glances up once more at her mother on the patio . SARAH 'S P.O.V Rachel stands , an elegant woman at breakfast , her dark glasses , her suit . She raises a hand and waves . Puzzled , Sarah waves back , then watches as her mother begins to walk away from her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY\/STREET - DAY<\/stage_direction>\n    <scene_description>PULLING RACHEL . as she walks from the bright light of the patio into the relative darkness of the hotel lobby , suitcase in hand , face set , steely . We TRACK with her as she emerges from the shadow of the hotel back into the bright sunshine of the street and starts to walk along the sidewalk . After a moment a CAR purrs alongside . She ignores it for a moment , keeps on walking , the car cruising beside her . Finally , almost angrily , she stops and gets in . The YOUNG AGENT sits in the back seat next to her . The car pulls smoothly away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TEL AVIV AIRPORT - DAY<\/stage_direction>\n    <scene_description>Rachel climbs from the car and walks towards the building , pulling her wheeled suitcase . The young agent has climbed out and moves swiftly ahead of her , waiting as she passes into the departure building .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPORT PASSPORT CONTROL - DAY<\/stage_direction>\n    <scene_description>Rachel looks down at her passport . We see her PHOTOGRAPH and name - RACHEL SINGER . She hardly reacts as the agent ushers her to the front of the queue . An Officer takes her passport , and as he checks it , we see .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHECK-POINT CONTROL BOOTH. EAST BERLIN - DAY - THE PAST<\/stage_direction>\n    <scene_description>the passport again . We 're now looking at the black and white image of YOUNG RACHEL . The name beneath it is ELSA ROGET . The passport is slid back across the counter and we find ourselves in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHECK-POINT. EAST BERLIN - DAY<\/stage_direction>\n    <scene_description>Rachel takes her passport back from the BORDER GUARD and walks forward , past the barrier into EAST GERMANY . RACHEL 'S P.O.V A CROWD of people are waiting beyond the check - point for their loved ones . They 're all looking eagerly at us . Only one YOUNG MAN has his back to us , turning away to light a cigarette . Then he turns - Young David - a fine , sensitive face , darkly shadowed eyes . This is the SHOT we saw earlier . A moment when we see how anxious he is to play his part right . Then he smiles his beautiful smile . Supered TITLES read `` East Berlin , 1965 . '' Rachel walks up to him and after a fractional hesitation they embrace .<\/scene_description>\n    <character>DAVID<\/character>\n    <parenthetical>( In German . )<\/parenthetical>\n    <dialogue>How was your trip?<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( German . )<\/parenthetical>\n    <dialogue>Fine. Everyone sends their love.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>You've cut your hair.<\/dialogue>\n    <scene_description>HIGH ANGLE David takes her suitcase , and they begin to walk away , hand in hand , along the BERLIN WALL . Finally .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>I'm David.<\/dialogue>\n    <scene_description>Rachel nods , embarrassed .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Rachel.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANOTHER STREET - DAY<\/stage_direction>\n    <scene_description>They have turned into another , quieter street . David lets go of her hand , and they walk on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTYARD\/BALCONY. APARTMENT BUILDING - DAY<\/stage_direction>\n    <scene_description>A figure leans over the railing on the crumbling balcony at the top of the building , smoking a cigarette , watching . This is YOUNG STEPHAN . HIGH SHOT - POV David and Rachel are coming through the iron gate into the run - down looking courtyard . A MIDDLE - AGED WOMAN - the building 's only other occupant - watches the couple as the pass , David murmuring a greeting .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. STAIRWELL - DAY<\/stage_direction>\n    <scene_description>A brief glimpse of the couple climbing the winding stairs - a view we have seen before .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EAST BERLIN - SAFE HOUSE. DAY<\/stage_direction>\n    <scene_description>The place looks like a squat . YOUNG Stephan sits playing idly at a battered old upright piano , a cigarette in his mouth . He looks up as David and Rachel walk in and stand framed in the doorway , looking every inch the young married couple . Stephan looks at them for a beat , then starts to play the first few bars of Mendelssohn 's wedding march . The other two blush furiously , not amused . Rachel takes her case from David .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Where do I sleep?<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>You're in my room.<\/dialogue>\n    <scene_description>He waits just long enough to enjoy her reaction .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm moving in with him.<\/dialogue>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>You're at the end there.<\/dialogue>\n    <scene_description>She nods and walks off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - LATER<\/stage_direction>\n    <scene_description>Stephan is smoking . David sits at the table . He is using a file to create a notch at the bottom of a thin strip of sprung steel . Both men can hear the BATH RUNNING in the bathroom , both very aware of this new female presence in the house they 've been sharing together for the last month .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>What do you think of your new wife?<\/dialogue>\n    <scene_description>David frowns at the steel strip , seeming preoccupied .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>Too young.<\/dialogue>\n    <scene_description>Stephan watches him , amused .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>Pretty.<\/dialogue>\n    <scene_description>David shrugs .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You did n't notice.<\/dialogue>\n    <scene_description>He begins to sort his possessions out .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You know what I've noticed? You do n't notice women. I've noticed that. How long have I known you?<\/dialogue>\n    <character>DAVID<\/character>\n    <parenthetical>( examining the steel . )<\/parenthetical>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>Two years. All the places we've been to. You do n't look at women. Before I get into that bed, is there anything you have to tell me?<\/dialogue>\n    <scene_description>David sighs , blows on the steel strip and holds it up for Stephan to examine . We hear the bathroom door open and there is a quick glimpse of Rachel wrapped in a towel as she slips past the door heading for her room . The two men watch her pass . Stephan turns and catches David 's expression .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>Well, well. I think he just noticed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAFE HOUSE - RACHEL'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Rachel sits on her bed drying her hair . She stops , listening to the indistinct murmur of the men 's voices from the room next door . Rachel leans towards the wall , trying to hear more but the voices fall silent .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAFEHOUSE - MORNING<\/stage_direction>\n    <scene_description>David , holding a kitchen knife , MOVES TO STAB Stephan . Stephan uses a krav magah move to disarm him . The knife clatters to the floor as he twists David 's arm behind his back . There 's an element of showing off and Stephan uses a little more force than is necessary . David winces but does n't say anything . Stephan turns to Rachel who has been watching .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <scene_description>Rachel nods and they change places . David picks up the knife and repeats the `` attack '' move on her . She disarms him easily .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Now an attack from behind.<\/dialogue>\n    <scene_description>David takes his position , grabbing Rachel from behind , but he 's so awkward with her the attack seems a little tentative . Stephan talks as Rachel practises breaking free from the hold .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Where have you come from?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Argentina.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>Really? Whereabouts?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Cordoba.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>What were you doing there?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>My husband is an Industrial Chemist.<\/dialogue>\n    <scene_description>Stephan glances at David , amused .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>He does look like a chemist.<\/dialogue>\n    <scene_description>David grabs Rachel again , once more holding back a little .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>She's not going to fucking break, David. Move.<\/dialogue>\n    <scene_description>He takes David 's place .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What were you doing before this?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Before Argentina we lived in Hungary where my husband studied.<\/dialogue>\n    <scene_description>Stephan is smiling . She realizes he 's talking about Mossad .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oh. Liaison.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>And what did you do in Liaison?<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>Translator.<\/dialogue>\n    <scene_description>Stephan looks even more amused .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>So, first time in the field.<\/dialogue>\n    <scene_description>Rachel feels herself blush a little angrily . Stephan grabs her from behind and Rachel executes a perfect break , twisting Stephen 's arm . Stephan winces , surprised .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Good. That's. good.<\/dialogue>\n    <scene_description>David gives the slightest of smiles .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>Welcome to Metsada.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERLIN SAFE HOUSE - RACHEL'S BEDROOM. NIGHT.<\/stage_direction>\n    <scene_description>Rachel lies in bed , restlessly playing with a locket around her neck . Giving up on trying to sleep , Rachel rises from the bed , throws on a robe and pads out of the room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERLIN SAFE HOUSE - LIVING ROOM. CONTINUOUS.<\/stage_direction>\n    <scene_description>and into the living room . She sits down at the table , stares at a FILE before her . She hesitates then opens it , forces herself to look at the terrible PHOTOGRAPHS inside - a pile of severed legs , bodies covered in mustard gas wounds , phosphorus burns , a naked woman , barely a skeleton , held up by two Nazi nurses , a row of DEAD BABIES , rulers laid beside them to indicate dimensions . Rachel stares at this last image , overwhelmed . HALLWAY David stands watching her through the half open door . He makes a small move - perhaps to go to her - then stops himself and slips back into the darkness .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - MORNING<\/stage_direction>\n    <scene_description>A tram trundles down the wide Berlin street . Rachel and David are walking to Vogel 's surgery , holding hands . She 's pale , very frightened . David walks , trying , and failing , to think of anything to say to her . He suddenly notices an odd sound . It 's Rachel , humming tunelessly to herself , very low . Something about this pierces him . He gives her hand a squeeze .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLINIC - DAY<\/stage_direction>\n    <scene_description>The two stand in the doorway , at the foot of the stairs leading into the clinic , their husband and wife routine .<\/scene_description>\n    <character>DAVID<\/character>\n    <parenthetical>( In German . )<\/parenthetical>\n    <dialogue>I'll be waiting for you.<\/dialogue>\n    <scene_description>She nods , trying to smile .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( her throat is tight . )<\/parenthetical>\n    <dialogue>I wo n't. be long.<\/dialogue>\n    <scene_description>They kiss . She turns to go , looking so young and lost . David hesitates , staring after her , then walks quickly away . Rachel walks up the steps towards the entrance .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAITING ROOM. DAY.<\/stage_direction>\n    <scene_description>A large NOTICE BOARD covered with photographs of grateful smiling MOTHERS holding their NEWBORN BABIES - row upon row of new life . Rachel sits staring at the board . She turns her attention to the frosted glass door to the doctor 's surgery . Indistinct shadows move on the other side . She turns to look at the other two women sitting looking through magazines , then back to the door . A shadow darkens as it approaches the glass , then the door opens and a NURSE leans out . -LRB- All dialogue at the clinic is in German , subtitled . -RRB-<\/scene_description>\n    <character>NURSE<\/character>\n    <dialogue>Frau Roget?<\/dialogue>\n    <scene_description>With a smile , the Nurse gestures for Rachel to enter .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EXAMINATION ROOM. DAY.<\/stage_direction>\n    <scene_description>Rachel stands behind a SCREEN , trying to control her nerves . All we can hear is the sound of RUNNING WATER and Rachel 's tense breathing . Finally she takes off her skirt and unbuttons her blouse with trembling fingers . She puts on the gown , and slips out of her underpants , stumbling as she steps out of them . We TRACK with her as she walks out from behind the screen into the large brightly lit room . She walks towards the GYNAECOLOGICAL CHAIR at the centre of the room . On the far wall , behind a screen , someone stands washing their hands at a basin . As she walks , Rachel passes a tray of MEDICAL INSTRUMENTS , her glance lingering on it . She reaches the chair and climbs onto it . A pause and then , tentatively , she lifts her feet into the stirrups , tugging the gown to cover herself as best she can . She tries to steady her breathing , focussing on the ceiling . A bright LIGHT shines down on her . We hear footsteps approach . Rachel closes her eyes .<\/scene_description>\n    <character>VOGEL<\/character>\n    <dialogue>Good morning, Frau Roget. I'm Doctor Bernhardt.<\/dialogue>\n    <scene_description>Rachel opens her eyes . Vogel is sitting on a small stool , taking a speculum from the tray of instruments , his back to us .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Good morning, doctor.<\/dialogue>\n    <scene_description>He turns and smiles at us - and he has a wonderful , warm smile , the air of a gruff but kindly Uncle .<\/scene_description>\n    <character>VOGEL<\/character>\n    <dialogue>Alright now, just relax. We're going to do a little examination. If you feel at all uncomfortable, you just say. Alright?<\/dialogue>\n    <scene_description>She manages to nod .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Alright, this is my hand. and this is the speculum. It's going to feel cold.<\/dialogue>\n    <scene_description>Rachel reacts as Vogel pushes the speculum into place , opens it and begins the examination . She stares up into the light .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Can I ask how old you are?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Twenty five.<\/dialogue>\n    <character>VOGEL<\/character>\n    <dialogue>And how long have you and your husband been trying for a baby?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Nearly two years.<\/dialogue>\n    <character>VOGEL<\/character>\n    <dialogue>Uhuh. Well, the ovaries look fine. Alright, let's see. your cervix is slightly retroverted. Tilted backwards?<\/dialogue>\n    <scene_description>Rachel raises her hand to her LOCKET NECKLACE and begins to fiddle with it .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Really?<\/dialogue>\n    <scene_description>The angle from which we next see VOGEL , and the way the image of his face freezes in black and white , tells us clearly that this locket conceals a CAMERA DEVICE .<\/scene_description>\n    <character>VOGEL<\/character>\n    <dialogue>Mmm. But that generally should n't affect fertility.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Oh, good.<\/dialogue>\n    <character>VOGEL<\/character>\n    <dialogue>You have a slight accent, Frau Roget. Where are you from?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Argentina. We just moved here. A few months ago.<\/dialogue>\n    <character>VOGEL<\/character>\n    <dialogue>Whereabouts in Argentina? Buenos Aires?<\/dialogue>\n    <scene_description>He looks up at her and Rachel instinctively moves her hand away from the locket . She finds herself nodding . Vogel looks away again . Rachel bites down on a wave of panic .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oh, Buenos Aires. Beautiful. I went once, when I was young. We went to the Opera house I remember. What's it called again?<\/dialogue>\n    <scene_description>Rachel stares at the light . Beat .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Teatro Colon.<\/dialogue>\n    <scene_description>He turns back to her , holding a swab , the warm smile .<\/scene_description>\n    <character>VOGEL<\/character>\n    <dialogue>That's right. Beautiful. This might sting a little, dear.<\/dialogue>\n    <scene_description>Rachel winces .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm sorry. Now, there's a couple of tests we need to run, make sure there are no problems. Is that alright?<\/dialogue>\n    <scene_description>Rachel nods . He pats her hand .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Brave girl.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLINIC - DAY<\/stage_direction>\n    <scene_description>Rachel walks out and finds David waiting , smoking . He takes her hand and they walk off without speaking .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. QUIET STREET - DAY<\/stage_direction>\n    <scene_description>The two turn the corner , out of sight of the clinic . David glances at her . She looks pale , shaken . He feels a wave of sudden tenderness for her , opens his mouth to say something then catches himself . CLOSE on their hands . After a moment David LETS GO . They walk on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAR - DAY<\/stage_direction>\n    <scene_description>Stephan sits at a table . Rachel and David appear beside him and join him . There is an awkward silence for a moment . Stephan sips his coffee .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( in German . )<\/parenthetical>\n    <dialogue>So. Everything?<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( in German , abruptly . )<\/parenthetical>\n    <dialogue>Next appointment is on Wednesday.<\/dialogue>\n    <scene_description>She looks at David but he is staring at the table . Like Stephan he is uncomfortable with the thought of what Rachel has been through . She takes his hand . He looks up , surprised , searches her face . But then Rachel lets go and walks off towards the toilets . David looks down at the SILVER LOCKET lying in his palm .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>Stephan walks down the street . A SMARTLY DRESSED MAN walks towards him , absently jingling his CAR KEYS in his hand . As he nears Stephan , the man fumbles the keys and they drop . Stephan dips down to pick them up and hands them back to the man with a smile .<\/scene_description>\n    <character>SMARTLY DRESSED MAN<\/character>\n    <dialogue>Vielen dank!<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>Bitte sehr.<\/dialogue>\n    <scene_description>The two continue on their way , and we follow the smartly dressed man , closing in on his hand , in which he now holds his keys AND THE LOCKET . We see him tuck it into his jacket pocket as he walks on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RAILWAY STATION - FOOTBRIDGE - EARLY EVENING<\/stage_direction>\n    <scene_description>The FOOTBRIDGE which crosses over a closed RAILWAY STATION below . On either side of the bridge runs a barbed wire topped FENCE . A few PEDESTRIANS cross the bridge in the early evening gloom , intent on getting home . David and Stephan appear , walking over the bridge towards us . David 's eyes flick to the tracks ahead and below as a TRAIN begins to thunder by . Stephan begins to COUNT softly to himself as the train runs below his feet .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>One, two, three, four, five, six.<\/dialogue>\n    <character>DAVID<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>It's a ghost station.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN. SAFE-HOUSE - EVENING<\/stage_direction>\n    <scene_description>A hand - drawn plan of a RAILWAY STATION is on the table . David indicates the tracks on the plan .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>West Berlin trains pass through East Berlin on this track, but do n't stop.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>Usually.<\/dialogue>\n    <scene_description>He raises a lighter to the cigarette in his mouth .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RAILWAY BRIDGE - EVENING<\/stage_direction>\n    <scene_description>As the train disappears into the gloom and Stephan slows to light his cigarette . Beside him David 's eyes flick to the STATION PLATFORM in between the tracks below , eerily lit in the gathering dusk . DAVID 'S P.O.V - several BORDER GUARDS patrol the abandoned platform .<\/scene_description>\n    <character>DAVID<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The station's guarded at all times.<\/dialogue>\n    <scene_description>We 're TRACKING PAST the entrance to stairs leading down from the bridge onto the platform below . We see it 's been sealed off with a locked gate . Another BORDER GUARD stands on the stairs below , staring up at us as we pass .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN. SAFEHOUSE - EVENING<\/stage_direction>\n    <scene_description>AT KITCHEN TABLE David indicates the point on the plan .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>and the stairs to the platform are sealed off.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RAILWAY BRIDGE - EVENING<\/stage_direction>\n    <scene_description>The two men have walked on past the mid - point of the bridge . David glances at the far track . DAVID 'S P.O.V - the track runs along the far side of the platform . On the other side of the track is a barbed - wire topped WIRE FENCE .<\/scene_description>\n    <character>DAVID<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Our train driver makes an unscheduled stop on the near track.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The last two carriages will be around.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN SAFEHOUSE - EVENING<\/stage_direction>\n    <scene_description>Stephan indicates a point on the track .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>here. And they will be empty. Once that train has stopped, the guards wo n't be able to see this fence. And on the other side of the fence is.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE RAILWAY BRIDGE - EVENING<\/stage_direction>\n    <scene_description>The two men are at the top of the stairs on the other side of the bridge now . Stephan glances to his right . STEPHEN 'S P.O.V - TRACKING as we descend the stairs . We can see that on the other side of that high wire fence is a CAR PARK and a long , low building .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>a postal depot.<\/dialogue>\n    <scene_description>We see that car park is lined with the yellow VANS of Deutsche Post . Several FEMALE POSTAL WORKERS in dark skirts and white blouses stand around the car park on their breaks , smoking and chatting . As we watch one of the vans trundles out of the OPEN FACTORY GATE .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The vans come and go all day long.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN. SAFEHOUSE - EVENING<\/stage_direction>\n    <scene_description>David rolls up the plan .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>We're just one more parcel. Once we're in West Berlin there'll be transport to Templehof airbase and a private charter.<\/dialogue>\n    <scene_description>Stephan stubs out his cigarette .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>That's the wrapping. Now all we need is the present.<\/dialogue>\n    <scene_description>Rachel realises both men are looking at her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM. BERLIN SAFE HOUSE - EVENING<\/stage_direction>\n    <scene_description>Rachel runs the hem of a partially - made WHITE GARMENT through a SEWING MACHINE . She finishes and takes it over to where Stephan stands waiting . It 's unfinished , but a fairly good approximation of a MEDIC 'S WHITE COAT .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Try this on.<\/dialogue>\n    <scene_description>Stephan puts it on . She tugs at the coat , straightens the unfinished collar , runs her hands down the front to smooth it out .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( re : the coat . )<\/parenthetical>\n    <dialogue>How does it feel?<\/dialogue>\n    <character>STEPHAN<\/character>\n    <parenthetical>( Flirting . )<\/parenthetical>\n    <dialogue>Nice.<\/dialogue>\n    <scene_description>Rachel ignores this , begins to pin the cuff of one of the sleeves .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Here you are, Mossad agent, all those years of training, the highest levels of marksmanship and krav magah, first big mission. sewing.<\/dialogue>\n    <scene_description>Rachel resists a smile , brandishes the pin .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Black belt in dressmaking.<\/dialogue>\n    <scene_description>He holds up his hands in surrender .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>I never argue with an armed woman.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN. SAFEHOUSE - LATER<\/stage_direction>\n    <scene_description>Rachel and Stephan sit as David serves the dinner . Rachel examines her dish .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( Politely . )<\/parenthetical>\n    <dialogue>What is it?<\/dialogue>\n    <character>DAVID<\/character>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>It does n't have a name.<\/dialogue>\n    <scene_description>Stephan tastes his .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( Grimacing . )<\/parenthetical>\n    <dialogue>Shit.<\/dialogue>\n    <scene_description>David lifts his spoon , blows on it .<\/scene_description>\n    <character>DAVID<\/character>\n    <parenthetical>( Solemn . )<\/parenthetical>\n    <dialogue>Now it does.<\/dialogue>\n    <scene_description>They laugh a little , settle into eating . David stares at his bowl , deciding whether or not to say something . Finally .<\/scene_description>\n    <character>DAVID<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It's my birthday.<\/dialogue>\n    <scene_description>They look up at him in surprise .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAR - LATER<\/stage_direction>\n    <scene_description>Tinny music plays . The place is almost empty . In the back of the bar the three sit in a corner drinking beer - just young people , laughing , a little drunk . They could be students . Rachel is reciting something from memory .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Uh, at ten - study the Mishnah, at fifteen - study the Talmud. By eighteen - stand under the wedding canopy.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>We're too late for all of those.<\/dialogue>\n    <scene_description>They laugh .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Uh. twenty. In your twenties you are to `` pursue your life's goals.''<\/dialogue>\n    <character>STEPHAN<\/character>\n    <parenthetical>( Flirtatious . )<\/parenthetical>\n    <dialogue>What are you pursuing Rachel?<\/dialogue>\n    <scene_description>Rachel thinks about it , shrugs .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I do n't know. I'm waiting to find out.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <parenthetical>( smiles to himself . )<\/parenthetical>\n    <dialogue>Youth.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>What about you, grandfather? Have you got a goal?<\/dialogue>\n    <character>STEPHAN<\/character>\n    <parenthetical>( Smiling . )<\/parenthetical>\n    <dialogue>Oh yes. We believe in goals in my family. We're very driven men. My father was Director of Collections by the time he was fifty.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>So what's your goal?<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>Director of Collections by forty.<\/dialogue>\n    <scene_description>They laugh .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( To David . )<\/parenthetical>\n    <dialogue>What about you David. What `` life goal'' are you pursuing?<\/dialogue>\n    <scene_description>David smiles , stares at his drink .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>This is it.<\/dialogue>\n    <scene_description>Rachel laughs , looks around at their less than glamorous surroundings .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>This is it? This is all you want?<\/dialogue>\n    <scene_description>David laughs . He would obviously rather change the subject but Rachel is a little drunk , a little curious .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Seriously, what do you want out of life?<\/dialogue>\n    <character>DAVID<\/character>\n    <parenthetical>( Beat , shrugs . )<\/parenthetical>\n    <dialogue>I want this. I want to get Vogel. I want him to be put on trial and I want the world to watch so everyone knows what he did. I want them all to know the truth.<\/dialogue>\n    <scene_description>He looks up at their faces , embarrassed at having darkened the atmosphere .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>And. I want another drink.<\/dialogue>\n    <scene_description>He gets up and walks off to the bar . Rachel stares after him . Stephan watches her .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>Forget about it.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Forget about what?<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>I've spent two years with him, and I do n't know him. Nobody knows him. He's alone.<\/dialogue>\n    <scene_description>Rachel thinks this over .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>What about family?<\/dialogue>\n    <scene_description>Stephan stares at her . She realises what this means .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>All of them?<\/dialogue>\n    <character>STEPHAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>All of them.<\/dialogue>\n    <scene_description>He looks over at David standing at the bar .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Maybe it's not always a blessing to survive.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET\/PARK - DAY<\/stage_direction>\n    <scene_description>A tram passes , revealing Stephan walking across the scrubby , desolate park , jingling car keys in his hand . Suddenly he drops them . He 's about to pick them up when a man dips down and hands them back to him . We recognize the moment .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>Vielen dank!<\/dialogue>\n    <character>SMARTLY DRESSED MAN<\/character>\n    <dialogue>Bitte sehr.<\/dialogue>\n    <scene_description>Stephan walks on . In his hand he is now holding a small METAL TUBE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EXAMINATION ROOM. CLINIC - DAY.<\/stage_direction>\n    <scene_description>From Rachel 's POV we are watching Vogel as he prepares his instruments . She has come for her second examination .<\/scene_description>\n    <character>VOGEL<\/character>\n    <dialogue>This is my hand. This is the speculum.<\/dialogue>\n    <scene_description>Rachel flinches as she feels the speculum .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>How did you find me?<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>VOGEL<\/character>\n    <dialogue>Who told you about me?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Who. told us?<\/dialogue>\n    <character>VOGEL<\/character>\n    <dialogue>Were you referred by a doctor, or?<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( trying to conceal her relief . )<\/parenthetical>\n    <dialogue>Oh, Doctor Eisenberg.<\/dialogue>\n    <character>VOGEL<\/character>\n    <dialogue>Ah - ha. How is the old Jew?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Very good.<\/dialogue>\n    <scene_description>Vogel busies himself for a moment .<\/scene_description>\n    <character>VOGEL<\/character>\n    <dialogue>Any history of infertility in your family Frau Roget?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>VOGEL<\/character>\n    <dialogue>Are your periods irregular?<\/dialogue>\n    <scene_description>Rachel stares up at the light .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>VOGEL<\/character>\n    <dialogue>Yes. I think we've found the problem.<\/dialogue>\n    <scene_description>Rachel stares at him - she did n't know there was a problem .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It's very common. Your ovarian follicles. well, inside you're still immature. We need to help you with this. There's something we can use, a little injection. Do you want to proceed?<\/dialogue>\n    <scene_description>Rachel nods , dumbly . Vogel nods , turns back to his tray of instruments , begins preparing an injection . Vogel turns back to her with the HYPODERMIC NEEDLE . Instinctively Rachel stiffens . He injects her .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( As he works . )<\/parenthetical>\n    <dialogue>How many brothers and sisters do you have?<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( Stiff . )<\/parenthetical>\n    <dialogue>None.<\/dialogue>\n    <character>VOGEL<\/character>\n    <dialogue>An only child?<\/dialogue>\n    <scene_description>Rachel nods . Vogel smiles , not unkindly .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And yet you say there's no family history of fertility problems?<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>I lost my mother in the war.<\/dialogue>\n    <scene_description>Vogel stares at her . Then , to her dismay , he TAKES HER HAND , and pats it with such a sad , sympathetic look , that she feels her eyes prick with tears . Then he lets go and turns back to the examination .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLINIC - DAY<\/stage_direction>\n    <scene_description>Rachel comes out to find David waiting for her again . Once more he takes her hand and they walk off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. QUIET STREET - DAY<\/stage_direction>\n    <scene_description>As they turn into the quiet street , David lets go of her hand . Rachel stops . She looks shaken . David watches her .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>Are you alright?<\/dialogue>\n    <scene_description>She nods . Suddenly Rachel takes his hand again . David stares straight ahead but he DOES N'T PULL FREE and they walk on like that .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAFE HOUSE - LIVING ROOM - EVENING<\/stage_direction>\n    <scene_description>Rachel and David walk into the room and find Stephan waiting for them .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>Identity is confirmed. We have a green light.<\/dialogue>\n    <scene_description>Rachel and David stare at him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANOTHER STREET - DAY<\/stage_direction>\n    <scene_description>We are looking at a yellow DEUTSCHE POST van . Stephan and David are walking towards it . Stephan stops by the van , shielding David as he drops the length of thin steel we saw him working on earlier , from his sleeve - an improvised SLIM JIM . With professional ease he slips the Jim between the window and the weather shield . In seconds he has the door open and the two climb in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN. SAFE HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Rachel comes out of the bathroom in her nightclothes , with her hair wet around her . She looks into the kitchen . David is sitting smoking . Rachel pauses in the doorway and then walks in . A small two bar electric fire provides the only light in the room . Rachel kneels down in front of it to dry her hair . David looks at her as Rachel spreads her hair around her shoulders . She looks very beautiful . She starts to comb her hair . On impulse , Rachel HOLDS OUT the comb to David . David takes it . He starts to comb , pulling it slowly through her hair . Then stops . The atmosphere is suddenly charged .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>It's a brave thing you're doing.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I'm not brave. I'm terrified.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>But you're doing it anyway. Because you know how important it is.<\/dialogue>\n    <scene_description>Another stroke and then he stops again , stares at the comb in his hand .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>You're very brave.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>David.<\/dialogue>\n    <scene_description>Rachel turns round and stares at him , overcome with longing . She leans in to KISS HIM . For a moment David hesitates , but then it 's as if something inside him closes and he pulls back from Rachel , his face cold . Without a word he gets up and walks out . Rachel sits , crushed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM. BERLIN SAFE HOUSE - LATER.<\/stage_direction>\n    <scene_description>Rachel , sits at the piano in her robe , picking out notes . She 's been crying . Stephan stands watching her from the doorway , holding a drink - something slightly predatory about him . He crosses to her , sits down beside her and starts to match her notes . They work out a nonsense tune between them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - CONTINUOUS<\/stage_direction>\n    <scene_description>David listens as they play .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Rachel picks up Stephen 's drink and takes a sip .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>It's whiskey.<\/dialogue>\n    <scene_description>Defiantly Rachel drains the glass , grimaces a little . Stephan watches her . He continues to play , moving the melody up in octaves until his hand is beside hers , then covering hers . Rachel brushes him away . He puts his hand back and starts to caress her wrist .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You're so beautiful.<\/dialogue>\n    <scene_description>He begins to kiss her neck . Rachel stares ahead , pretending it is n't happening . Then she gives in , turning to him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RACHEL'S BEDROOM - MORNING<\/stage_direction>\n    <scene_description>Rachel stands at the mirror , dressing in a DARK SKIRT and WHITE BLOUSE , trying to control all the emotions she is feeling . Behind her Stephan lies in the bed watching her . Neither speaks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTYARD\/STREET - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Rachel and David cross the courtyard to the gate . David holds it open for Rachel . As they turn into the street , David takes her hand . Both stare fixedly ahead , only too aware of what happened the night before .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EXAMINATION ROOM. LATER<\/stage_direction>\n    <scene_description>Rachel is in the chair for what she knows will - whatever happens - be the last time .<\/scene_description>\n    <character>VOGEL<\/character>\n    <dialogue>Alright, this is my hand. And this is the speculum.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Vogel begins the exam . From beneath her GOWN Rachel slips a HYPODERMIC NEEDLE .<\/scene_description>\n    <character>VOGEL<\/character>\n    <dialogue>You had intercourse last night?<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( Tight . )<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <character>VOGEL<\/character>\n    <dialogue>Good. You're at the most fertile stage of your cycle. This is very good timing.<\/dialogue>\n    <scene_description>He turns to his tray of implements .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I think we are going to see results. All you have to do is have faith. Ask any of my patients.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>What about your patients in Birkenau?<\/dialogue>\n    <scene_description>Vogel looks up in shock . Rachel grabs a fistful of his hair and pulls his head to one side . With her other hand she jams the needle into the side of his neck , and begins to depress the syringe . Vogel gives a grunt of surprise , opens his mouth to speak but no sound comes . He grabs vaguely for Rachel 's throat with one hand , struggles with the needle with his other , eyes dull with fury , fighting the drug racing through him . Rachel fights to hold him , bucking on the chair , pinned beneath his weight , struggling for breath . Weakening , VOGEL manages to pull the needle free and it drops to the floor . INSERT OF SYRINGE . which we see still contains some FLUID . A rope of spittle drools from Vogel 's contorted mouth onto her face . Then his eyelids flutter and close and he collapses onto her . Rachel pulls his hand from her throat , gasps for air . Finally she pushes him to the ground . She leaps up and deliberately knocks the tray of medical instruments to the floor .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Help!<\/dialogue>\n    <scene_description>The Nurse runs in , reacts at the sight of the prone VOGEL .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>He collapsed!<\/dialogue>\n    <character>NURSE<\/character>\n    <dialogue>My God! What happened?!<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( overlapping . )<\/parenthetical>\n    <dialogue>I do n't know! I do n't know! He just clutched his chest and collapsed!<\/dialogue>\n    <scene_description>The Nurse grabs for the phone and dials .<\/scene_description>\n    <character>NURSE<\/character>\n    <parenthetical>( into the phone . )<\/parenthetical>\n    <dialogue>I need an ambulance! Karl - Gustav - Strasse. The clinic. My husband has had a heart attack.<\/dialogue>\n    <scene_description>Rachel reacts to this revelation .<\/scene_description>\n    <character>EMERGENCY OPERATOR<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( Over phone . )<\/parenthetical>\n    <dialogue>Your name please?<\/dialogue>\n    <character>NURSE<\/character>\n    <dialogue>It's Frau Bernhardt, please, please hurry!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. REAR OF CLINIC - CONTINUOUS<\/stage_direction>\n    <scene_description>Stephan kneels in a recess of the building , by the open NETWORK JUNCTION BOX of the clinic . He 's wearing HEADPHONES , alligator - clipped to two cables in the box .<\/scene_description>\n    <character>EMERGENCY OPERATOR<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( Over phones . )<\/parenthetical>\n    <dialogue>The ambulance is already on the way, madam.<\/dialogue>\n    <scene_description>Stephan un - clips the phones and pockets them . He straightens up , closes the junction box and walks calmly away , through a gate in the wall , into the next courtyard . HIGH SHOT As Stephan races up some steps , along a balcony , and into the building .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. APARTMENT BUILDING - CONTINUOUS<\/stage_direction>\n    <scene_description>TRACKING with Stephan through the hallway , out of the door and onto the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMBULANCE DISPATCH - CONTINUOUS<\/stage_direction>\n    <scene_description>An AMBULANCE , sirens wailing , starts out of the dispatch , and swings onto the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET OUTSIDE CLINIC - CONTINUOUS<\/stage_direction>\n    <scene_description>Stephan rounds the corner of the street and walks TOWARDS THE CLINIC . He checks his watch as he turns into an alley opposite the entrance .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EXAMINATION ROOM. LATE AFTERNOON<\/stage_direction>\n    <scene_description>Rachel finishing dressing , looks anxiously at the nurse as she crouches by her unconscious husband , monitoring his breathing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>The AMBULANCE speeds on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET NEAR CLINIC - CONTINUOUS<\/stage_direction>\n    <scene_description>Stephan pulls back some rusty doors . Parked in the small courtyard beyond is the van we saw before , now decorated with AMBULANCE DECALS and LIGHTS . David drives the car forward as Stephan climbs into the passenger side .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EXAMINATION ROOM. LATE AFTERNOON<\/stage_direction>\n    <scene_description>Rachel paces outside the door , looking down the corridor . The nurse wipes away a tear , tense and frightened .<\/scene_description>\n    <character>NURSE<\/character>\n    <parenthetical>( to no one in particular . )<\/parenthetical>\n    <dialogue>Oh god! Come on, come on! Hurry!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CLINIC - CONTINUOUS<\/stage_direction>\n    <scene_description>A SIREN approaches and Rachel moves to the door .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>They're here. Stay with him. I'll go and get them.<\/dialogue>\n    <scene_description>The nurse nods gratefully .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLINIC - CONTINUOUS<\/stage_direction>\n    <scene_description>a vehicle pulling up . Whether it 's the real ambulance or the fake one , we 're not sure .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY. CLINIC - CONTINUOUS.<\/stage_direction>\n    <scene_description>Rachel runs past the concerned patients in the waiting area to see . David and Stephan , coming up the stairs , holding a stretcher .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EXAMINATION ROOM. MOMENTS LATER<\/stage_direction>\n    <scene_description>Rachel leads them in . Stephan crouches down beside Vogel and takes his pulse .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>We need to take him to the hospital.<\/dialogue>\n    <scene_description>He and David open up the stretcher and transfer Vogel to it with some efficiency .<\/scene_description>\n    <character>NURSE<\/character>\n    <dialogue>Oh God!<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>He's going to be alright.<\/dialogue>\n    <scene_description>Rachel and the nurse follow David and Stephan as they carry the stretcher out through the waiting room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY. CLINIC - CONTINUOUS<\/stage_direction>\n    <scene_description>We hear the siren of the real ambulance starting up not - so - very - far - away down the street as David and Stephan push the stretcher towards the doors . The nurse follows , but David stops her .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>I'm sorry, Madam, but you'll need to meet us at the hospital.<\/dialogue>\n    <character>NURSE<\/character>\n    <dialogue>But. I want to travel with him.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Not possible I'm afraid. New regulations.<\/dialogue>\n    <scene_description>We begin to register that the siren is growing louder with every second . As Stephan and David carry the stretcher down the stairs , Rachel takes the nurse 's hand to detain her .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Do n't worry, he's in good hands now. He's going to be fine.<\/dialogue>\n    <character>NURSE<\/character>\n    <dialogue>Thank you. thank you.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You should get your things, go to the hospital to meet him.<\/dialogue>\n    <scene_description>The Nurse nods tearfully , starts to back towards her office , watching as they disappear .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLINIC - LATE AFTERNOON.<\/stage_direction>\n    <scene_description>David closes the rear door of the van and the two jump in and drive off as Rachel comes out of the building . She begins to walk briskly away . Behind her , the real ambulance is pulling up at the clinic . She does n't turn back .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTYARD\/STREET NEAR CLINIC - LATE AFTERNOON<\/stage_direction>\n    <scene_description>The DEUTSCHE POST VAN that David and Stephan stole earlier pulls out into the street . Behind it we catch a glimpse of the now abandoned ambulance . David quickly closes the gate and climbs in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET NEAR CLINIC - MOMENTS LATER<\/stage_direction>\n    <scene_description>Stephan draws up alongside Rachel and she climbs in as the door is opened for her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACK OF VAN - MOMENTS LATER<\/stage_direction>\n    <scene_description>The winter evening is gathering outside . David and Rachel are in the back of the van . David has taken off the white coat . David checks his watch .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( Tense . )<\/parenthetical>\n    <dialogue>I know, I know.<\/dialogue>\n    <scene_description>He accelerates . Rachel grabs hold of the back of the seat to avoid falling . She looks down at the stretcher - Vogel lies unconscious . One of his hands jolts free and drops onto her foot . Gingerly she steps free .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEUTSCHE POST DEPOT - NIGHT<\/stage_direction>\n    <scene_description>HIGH ANGLE The depot car park is dark - rows of postal vans parked up . An eerie silence . Through the high fence behind the vans we can make out the tracks and dimly lit STATION PLATFORM beyond - GUARDS patrolling in the little pools of light . As we watch a POSTAL WORKER comes out of the depot and walks through the carpark and out of the gate , his shift finished . INSIDE THE VAN P.O.V - THROUGH VAN WINDSCREEN We 're watching the WORKER walk in front of us and leave the car park . In the dark of the back of the van , Rachel crouches , watching him leave . She turns back to where Stephan and David wait by the van doors , bolt cutters in their hands . On the floor of the van lies Vogel 's unconscious form . They wait in absolute silence , listening to the fading footsteps of the worker . David checks his watch , holds up a single finger to Stephan . Moments later we hear the sound of an approaching TRAIN . Stephan raises a hand and counts them down - five , four , three , two , one . The two men open the van doors and run at a crouch to the base of the foot - bridge stanchion , as the train roars from the darkness and begins to pass them , screening the two men from the GUARDS ON THE PLATFORM . Rachel closes the rear door behind them and runs along the line of the fence to the other end of the yard and crouches down by a junction box , screened from the platform , standing watch . She looks over to Stephen and David in the shadows of the bridge stanchion . Again silence falls . Then faintly we hear another engine approach . Moments later another train begins to roar past . Instantly the two men rise from the shadows and begin to CUT through the wire fence , working with fierce concentration .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( Softly . )<\/parenthetical>\n    <dialogue>One, two, three, four, five, six.<\/dialogue>\n    <scene_description>AT THE JUNCTION BOX Rachel checks the car park behind for workers . AT THE FENCE The train is almost past . The two men work feverishly , snipping through the remaining links , working their way towards each other - forming a four foot long split in the fence . They sprint for the stanchion again .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( As he runs . )<\/parenthetical>\n    <dialogue>Twenty, twenty one, twenty two.<\/dialogue>\n    <scene_description>As they dive for cover the last carriages of the train pass . A guard on the platform glances over but sees nothing but darkness and the vague outline of the postal vans beyond the fence . He continues walking down the platform . AT THE VAN Rachel holds her breath , but nothing disturbs the new silence . Along the fence she can just make out the two men crouched in the shadows . Stephan raises his hand in an OK , signalling they 're ready . Rachel suddenly hears FOOTSTEPS echoing in the car park . Through the window of a van , she can see a POSTAL WORKER emerging from the depot and crossing the car park . As she watches he takes out a cigarette , starts to light it but then stops . He is staring over at the footbridge , as if he can faintly make out those dark shapes at the base . He takes a few steps forward , puzzled . A little closer and he might really see something . Rachel looks to the PLATFORM - the two guards visible there are talking to each other , looking the other way . She takes her chance - moves up behind the parked vans . ON THE WORKER . as he takes a few steps closer to where Stephan and David are crouched .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( calling . )<\/parenthetical>\n    <dialogue>Do you have a light?<\/dialogue>\n    <scene_description>The man turns and takes in this pretty postal worker , who has emerged BEHIND HIM . He smiles and walks back towards her . He lights her cigarette , studies her face .<\/scene_description>\n    <character>WORKER<\/character>\n    <dialogue>You new?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>First shift. The girls said it was okay to come out for a smoke.<\/dialogue>\n    <scene_description>AT THE FENCE David and Stephan lie listening to the murmured conversation .<\/scene_description>\n    <character>WORKER<\/character>\n    <dialogue>Yeah, it's okay. Are you working until midnight?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>WORKER<\/character>\n    <dialogue>After the late shift most of us go to the Vetter. Do you know it?<\/dialogue>\n    <scene_description>David checks his watch again , nods at Stephan . We hear another APPROACHING TRAIN . ON RACHEL . smiling , pretending to be listening to the Worker .<\/scene_description>\n    <character>WORKER<\/character>\n    <dialogue>it's just on the corner. You should come along.<\/dialogue>\n    <scene_description>She glances through the fence and down the track to where the train 's LIGHT can be seen approaching in the gloom . This is it . INSIDE THE VAN The inert body of Vogel , lying on the floor . His hands , bound at the wrist , suddenly twitch involuntarily . IN THE TRAIN - DRIVER 'S CAB - CONTINUOUS POV - the Border Guards on the platform . The driver begins to BRAKE . ON THE PLATFORM The Border Guards watch in surprise as the train slows . AT THE FENCE As it passes them , the train screens Stephan and David from the platform . The two men rise and swiftly begin to cut the remaining section of fence . As the train comes to a halt the last carriages stop directly opposite them , empty and dark . They 're almost there . ON THE PLATFORM In the distance , at the head of the train , the driver can be seen stepping down and gesturing to the guards , pointing up ahead .<\/scene_description>\n    <character>DRIVER<\/character>\n    <dialogue>There's something on the tracks up here!<\/dialogue>\n    <scene_description>The Guards peer doubtfully into the gloom ahead . One sets off to investigate . ON RACHEL . getting rid of the Worker .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Well, maybe I'll see you there? I finish in half an hour. Why do n't you go and get me a drink ready?<\/dialogue>\n    <scene_description>The Worker ca n't believe his luck .<\/scene_description>\n    <character>WORKER<\/character>\n    <dialogue>Half an hour then.<\/dialogue>\n    <scene_description>He starts to move towards the gate . Suddenly the VAN HORN BLARES , shattering the silence of the car park . AT THE FENCE Stephan and David turn back to the van . ON RACHEL She turns , shocked . The Worker too turns back in surprise . IN THE VAN Vogel , hands still tied has wormed his way over the seats and is pressing frantically on the HORN . He claws at the tape over his mouth , manages to pull it free . Stephan leaps into the van and is upon him in seconds . Vogel manages to give a HOARSE YELL , then Stephan uses a krav magah move to silence him . ON THE PLATFORM The remaining Border Guard is staring over at the darkened car park , trying to work out what he just heard . ON RACHEL<\/scene_description>\n    <character>WORKER<\/character>\n    <dialogue>What was that?<\/dialogue>\n    <scene_description>AT THE FENCE David watches in dismay as a Guard comes into view at the far end of the platform , entering a GUARD HUT . He lifts a TELEPHONE inside .<\/scene_description>\n    <character>DAVID<\/character>\n    <parenthetical>( Softly . )<\/parenthetical>\n    <dialogue>Fuck.<\/dialogue>\n    <scene_description>He heads for the van at a crouching run . ON RACHEL Rachel indicates the vans closest to them .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I think it came from over here?<\/dialogue>\n    <character>WORKER<\/character>\n    <dialogue>No, it was one of those.<\/dialogue>\n    <scene_description>He steps past her , peering at the shadowy vans ahead . Rachel stares at him wondering if she can take him down silently .<\/scene_description>\n    <character>BORDER GUARD<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Stay where you are!<\/dialogue>\n    <scene_description>She turns to see two BORDER GUARDS approaching the side gate of the car park . ON THE PLATFORM . as the Border Guard comes back from checking the lines ahead .<\/scene_description>\n    <character>BORDER GUARD<\/character>\n    <dialogue>There's nothing there. Get moving now!<\/dialogue>\n    <scene_description>His part of the mission completed , the Driver climbs back into his cab . ON RACHEL . as one of the Guards approaches her , pistol drawn . The second guard fans past , walking slowly towards the bridge . The first guard SHINES A TORCH into Rachel 's face .<\/scene_description>\n    <character>FIRST GUARD<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I work here. I'm on a break.<\/dialogue>\n    <character>FIRST GUARD<\/character>\n    <dialogue>Show me your papers, both of you.<\/dialogue>\n    <scene_description>The Worker nervously fumbles for his papers , passes them to the Guard who inspects them . AT THE FENCE David watches Rachel offer her papers to the Guard as the train starts to rumble back into life . He moves back towards the van . AT THE VAN<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( hissing . )<\/parenthetical>\n    <dialogue>We have to go!<\/dialogue>\n    <scene_description>David stares over at Rachel . Stephan grabs Vogel .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>We can make it. Help me with him.<\/dialogue>\n    <scene_description>ON RACHEL<\/scene_description>\n    <character>FIRST GUARD<\/character>\n    <parenthetical>( Handing them back . )<\/parenthetical>\n    <dialogue>You can go.<\/dialogue>\n    <scene_description>The Worker gratefully hurries away . Rachel is watching tensely as the Second Guard closes on the van . AT THE VAN Stephan watches the train pulling away , THEIR LAST CHANCE . He has pulled Vogel 's body to the door .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( Hissing . )<\/parenthetical>\n    <dialogue>We're going! Now!<\/dialogue>\n    <scene_description>David shakes his head .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>Not without her.<\/dialogue>\n    <scene_description>He moves up the blind side of the van . IN FRONT OF THE VAN The Second Guard takes a few more steps and stops in surprise - the OPENING in the fence VISIBLE NOW .<\/scene_description>\n    <character>SECOND GUARD<\/character>\n    <parenthetical>( Startled . )<\/parenthetical>\n    <dialogue>Hey! Over here!<\/dialogue>\n    <scene_description>David appears behind him and downs him , fast . A Guard on the platform has turned to see the opening in the fence , and yells out . ON RACHEL As the Guard beside her turns his attention to his comrade , Rachel grabs the guard 's gun hand , sweeping it away from her , at the same time stepping in close and punching the guard 's throat with her other hand . As he staggers back choking , she twists the gun free . ON THE PLATFORM Another guard hits an ALARM . A SIREN begins to sound . ON RACHEL About to head back to the van . A shot rings out and a BULLET suddenly strikes the ground beside her . She looks up to see a GUARD has appeared up on the bridge , rifle aimed at her . Other Guards open FIRE , jumping down onto the tracks and advancing towards the cut fence . Acting on instinct , Rachel returns fire with the pistol , and takes cover behind the wall . AT THE VAN Stephan has jumped into the driver 's seat and starts the engine . David scrambles into the back , barely making it before Stephan is peeling out , the back door hanging open . ON RACHEL . as more guards appear at the side - gate behind her - she 's caught between them now . She watches in dismay as the van heads for the exit . Suddenly it brakes . IN THE VAN Stephan throws the gear into reverse . ON RACHEL and the van begins to reverse with a scream of tyres towards Rachel . The Guards at the side - gate open fire on the van hurtling towards them , bullets pocking the rear doors . The side door is flung open and Rachel dives in , just as Stephan roars forward again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAN - CONTINUOUS<\/stage_direction>\n    <scene_description>P.O.V - THROUGH WINDSCREEN The Guard from the bridge has run down the stairs and is now between us and the exit . As we watch he raises his rifle .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>Down!<\/dialogue>\n    <scene_description>The three duck as the Guard fires , punching a neat hole in the windscreen . Seconds later the van thuds into him , sending him flying .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VAN - CONTINUOUS<\/stage_direction>\n    <scene_description>as it roars out of the depot gates , bullets flying past it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD NEAR STATION - NIGHT<\/stage_direction>\n    <scene_description>STEPHAN 'S P.O.V On the road ahead a Border Guard Jeep appears , driving directly towards them . Stephan has no choice - he floors it . At the last second the jeep tries to pull right but the van catches its rear side and barrels straight through , the jeep spinning off and smashing into the wall . IN THE VAN Stephan fights to keep the van under control , screeches into a turn and off down the road .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>Is he dead?<\/dialogue>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>Is he dead?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>The Guard! The one who saw your face! Is he dead?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Stephen 's grim silence says everything . He glances back at the unconscious Vogel lying between the other two .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>How did he come round? How the fuck did he come round? You gave him the full injection?<\/dialogue>\n    <scene_description>Rachel hesitates .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>Did you give him the.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I do n't know! I thought I.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>Jesus Christ!<\/dialogue>\n    <scene_description>Stephan ca n't believe it 's all fallen apart so quickly .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>We could have gone!<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>It's not over.<\/dialogue>\n    <character>STEPHEN<\/character>\n    <dialogue>We could have fucking!<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>WE STILL HAVE HIM! IT'S NOT OVER! We still have him.<\/dialogue>\n    <scene_description>Stephan glares at David but does n't say anything . The van roars on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAFE HOUSE. CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>Rachel sits on the floor looking towards the living room , staring at something . RACHEL 'S P.O.V . three POTS have been placed under drips from the ceiling inside the room . We hear the three distinct notes of the water drops . Rachel stares dully at the water dripping , feeling exhausted and numb . A key scrapes and Rachel turns to the door as Stephan and David walk in , hair soaked from the rain .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( Standing up . )<\/parenthetical>\n    <dialogue>What did he say?<\/dialogue>\n    <scene_description>Stephan stalks past , ignoring her .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You made contact?<\/dialogue>\n    <scene_description>David nods . David looks after Stephan who 's walked on into the living room in grim silence .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>What did he say?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>It's going to take time. They need to open up a new route, they need to find political help. Maybe the Americans. Two weeks. maybe three.<\/dialogue>\n    <scene_description>Rachel reacts with dismay . Rachel moves after David towards the living room . The camera continues after her .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>We work four shifts guarding him. We feed him at the end of each shift. We never leave him alone.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <parenthetical>( turns to Rachel , hard . )<\/parenthetical>\n    <dialogue>And you're compromised. You do n't leave the fucking house.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>We can do this. We just need to stay focussed.<\/dialogue>\n    <scene_description>The three turn to stare at something off - screen . The camera continues into the room to find Vogel 's body slumped on the floor , bound to the radiator , mouth taped , slumped , unconscious . We continue towards him . closing on his face . CLOSER . Then his eyes open and he looks at us .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM\/LIVING ROOM. SAFE HOUSE. - DAY<\/stage_direction>\n    <scene_description>Rachel 's EYES OPEN and she lies in bed listening to the muffled sound of Vogel CURSING and YELLING in German next door - a breakfast ritual that has been going on for days . IN THE LIVING ROOM<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( In German . )<\/parenthetical>\n    <dialogue>. Fucking assholes! Fucking pig shit food! Fuck you! Fuck you! Fuck.<\/dialogue>\n    <scene_description>David and Stephan are wrestling with an enraged Vogel , trying to feed him . A BOWL clatters to the floor . Vogel 's shouts are muffled as his mouth is taped again . BEDROOM He continues to swear at his captors as best he can through his gag . Rachel tries to block out the sound with her blanket . KITCHEN Rachel walks in and finds a flushed David wiping oatmeal off his trousers , the empty bowl on the bench beside him .<\/scene_description>\n    <character>DAVID<\/character>\n    <parenthetical>( Off her look . )<\/parenthetical>\n    <dialogue>At this rate he's going to starve himself to death before we can get him back.<\/dialogue>\n    <scene_description>LIVING ROOM - LATER Rachel sits in the armchair near the end of her shift , watching Vogel who is slumped asleep . He looks dishevelled , the oatmeal he refused to eat smeared down his chin . She ca n't delay the moment anymore . She takes a bowl of prepared oatmeal from the table beside her and walks towards Vogel , stirring the bowl with an unsteady hand . She kneels down in front of him . In the silence , we hear rain falling heavily outside . Vogel wakes , stays slumped , staring at her with dull eyes . She takes the napkin that was covering the bowl and wipes the food from his chin . Finally she removes the tape from his mouth . Vogel watches her without moving . She offers him a spoon of oatmeal , waiting for the sudden yelling and abuse . He says nothing , just opens his mouth obediently . Rachel feeds him a spoonful of oatmeal . He speaks to Rachel in German , subtitled .<\/scene_description>\n    <character>VOGEL<\/character>\n    <dialogue>My wife.<\/dialogue>\n    <scene_description>Rachel ignores him , feeds him another spoonful .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Is she hurt?<\/dialogue>\n    <scene_description>Another spoonful , and another .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Is she alright?<\/dialogue>\n    <scene_description>An ALARM CLOCK on the table , rings - the end of her shift . She wipes his mouth , tears some tape from the roll . Vogel closes his eyes , a look of such genuine suffering it stops Rachel .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Please? Tell me she's alright.<\/dialogue>\n    <scene_description>Rachel puts the tape over his mouth and stands . David walks in and takes his place in the ARMCHAIR facing Vogel . Rachel begins to leave . She looks back at Vogel who is staring after her , eyes pleading . She hesitates then gives a small nod and turns to walk out of the room , passing Stephan who has been standing in the doorway , watching her . KITCHEN - CONTINUOUS Rachel starts to wash the oatmeal bowl . Stephan follows her in .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>You ca n't talk to him.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I did n't say anything.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>You ca n't listen to him.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I know. I just.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <parenthetical>( overlapping . )<\/parenthetical>\n    <dialogue>I'm not angry -<\/dialogue>\n    <scene_description>He rubs her back . Rachel stiffens a little .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>- I'm just telling you - we do n't talk to him. We do n't listen to him. He is n't there. He is n't a human being. He.<\/dialogue>\n    <scene_description>He stops himself .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>We have a date. Ten days time. The Americans are going to help.<\/dialogue>\n    <scene_description>Rachel looks at him , relieved .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Good.<\/dialogue>\n    <scene_description>He smiles , stares at her , moves a little closer but Rachel has already side - stepped him and walked away . MONTAGE LIVING ROOM - DAY Stephan sits on the armchair in front of Vogel , taking the GUN apart , cleaning it . LIVING ROOM - DAY Vogel thrashes around on the floor as best he can , David holding him down . Stephan tries to force oatmeal into him . He spits it back out . KITCHEN - DAY Rachel is cleaning , trying to keep busy , trying to keep the encroaching decay of the kitchen at bay , scrubbing and scrubbing . HALLWAY - MORNING An exhausted David , finishing his shift , walks out of the living room as Stephan walks out of his bedroom to take his place . Rachel walks out of the bathroom and into her bedroom , for a moment the three criss - crossing each other 's paths . Rachel 's bedroom door closes . Both men avoid looking at each other as they pass it . HALLWAY - MORNING Stephan and David are carrying a struggling , cursing Vogel towards the bathroom . Before they can get there Vogel pisses himself , the urine puddling on the floor at their feet .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>Fuck!<\/dialogue>\n    <scene_description>Stephan drops Vogel in disgust jumping back out of the way . Vogel lies in the pool , staring up at him , eyes triumphant .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAFEHOUSE. LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Vogel leans against the wall , staring blankly at the window , sunk into a profound depression . He looks filthy , jaw dark with beard growth . Rachel watches him from the doorway . LATER Rachel is washing Vogel 's face with a towel . He pays no attention , continuing to stare out of the window . Rachel picks up a bowl of shaving cream , strips the tape off VOGEL 's mouth , and begins to brush the cream over his face . She produces a RAZOR and carefully begins to shave his cheeks . She stops suddenly , a TEAR is running down Vogel 's cheek , cutting a line through the soap . He turns his eyes to her .<\/scene_description>\n    <character>VOGEL<\/character>\n    <dialogue>Why do n't you just kill me now?<\/dialogue>\n    <scene_description>Rachel pauses for a moment .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>How can you keep me waiting to die like this!<\/dialogue>\n    <scene_description>Rachel keeps on shaving .<\/scene_description>\n    <character>VOGEL<\/character>\n    <dialogue>I know what you want. You want to hand me over to the others, let there be some fucking sham of a trial. Then, when they kill me, you can tell yourself that there was no blood on your hands.<\/dialogue>\n    <scene_description>Rachel switches to the other cheek . Vogel 's getting more animated , tears in his eyes , a kind of bizarre indignation .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>But that is n't true. There will be blood on your hands. You will be my murderer! You fucking hypocrite. You fucking.<\/dialogue>\n    <scene_description>Rachel tilts his chin up a little and puts the razor to his throat . He falls silent , tenses , waiting . Then .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( Softly . )<\/parenthetical>\n    <dialogue>Yes. Do it. You want to do it.<\/dialogue>\n    <scene_description>Rachel finishes with a trembling hand . Vogel slumps back against the wall , the tension in his body easing away . He gives her a long , calculating look . And as we watch some CHANGE seems to come over him , some new fire beginning to kindle in him - a sense of cold contempt for Rachel and with it , perhaps , a fresh determination to survive this .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>That's right. I'd forgotten. You Jews never knew how to kill. Only how to die.<\/dialogue>\n    <scene_description>Rachel wipes the razor clean on the towel , SLAPS fresh tape onto Vogel 's mouth and gets up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - MORNING<\/stage_direction>\n    <scene_description>Rachel is cleaning the kitchen again , clearing some of the mess of dishes into the sink . She moves a dirty pan which has been left overnight and stops , staring at the COCKROACH which is crawling inside . A sudden wave of NAUSEA hits her . BATHROOM - MOMENTS LATER Rachel crouches at the toilet , vomiting . She finishes , rinses her mouth , looks at her pale reflection . She opens the door and steps out . Vogel stands DIRECTLY IN FRONT OF HER . Rachel stands frozen - a split second of total panic . Then Stephan steps into sight behind Vogel , gun in hand - the morning bathroom visit . Rachel flattens herself against the hall wall , quickly wiping her mouth dry , as Stephan pushes Vogel past her towards the bathroom .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - EVENING<\/stage_direction>\n    <scene_description>Stephan is walking back home . A POLICE CAR SIREN wails somewhere nearby and Stephan hurriedly cuts into an alley , waiting in the shadows until the siren has faded away . Then he hurries on his way . LIVING ROOM - EVENING Rachel uncovers the dish of prepared oatmeal and kneels down beside a sleeping Vogel . She removes the tape . Vogel wakes , breathes out , watches her . After a moment .<\/scene_description>\n    <character>VOGEL<\/character>\n    <dialogue>I was dreaming about my wife.<\/dialogue>\n    <scene_description>She feeds him some more .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>One of the great regrets of my life is that we were unable to have children. My wife would have made a wonderful mother.<\/dialogue>\n    <scene_description>Vogel watches her , then suddenly SPEAKS IN ENGLISH .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It's a great blessing.<\/dialogue>\n    <scene_description>Rachel stares at him .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You should try lemons. For the morning sickness.<\/dialogue>\n    <scene_description>Rachel ca n't move .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>They say it helps.<\/dialogue>\n    <scene_description>Rachel struggles to hold it together , feeds him another spoonful .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What's your name?<\/dialogue>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>Sarah? Hannah? Rachel? Esther?<\/dialogue>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>You Jews stay close to your roots, do n't you? It's a good thing. Very good.<\/dialogue>\n    <scene_description>Rachel spoons in another mouthful .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I loved the bible as a child. Retribution. Higher justice.<\/dialogue>\n    <scene_description>Rachel shovels in another mouthful . He chews it thoughtfully , examines her face .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Yes. I understand you perfectly.<\/dialogue>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>You were n't lying at the clinic when you told me about your mother were you? About her death?<\/dialogue>\n    <scene_description>Rachel loads the spoon with more oatmeal , determined not to show any emotion .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm very sorry for your loss.<\/dialogue>\n    <scene_description>It almost takes her breath away . She tears the tape and puts it over his mouth , gets up and walks away , determined not to show him any emotion . Vogel watches her go . HALLWAY - MOMENTS LATER Rachel makes it out into the hallway before she feels the tears running down her face . She gives in to them , turns and finds David behind her .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>What happened? What's the matter?<\/dialogue>\n    <scene_description>She ca n't speak at first .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Nothing. He. nothing.<\/dialogue>\n    <scene_description>She wipes her face .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>He can understand us.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>He can understand every word we're saying. He just spoke to me.<\/dialogue>\n    <scene_description>Her face contorts as she tries to compose herself . David reaches out to hold her .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>It's alright. It's alright. It's nearly over.<\/dialogue>\n    <scene_description>He pulls her close , holds her , rests his forehead against hers . They stand like that , eyes closed . The moment hangs .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( Suddenly . )<\/parenthetical>\n    <dialogue>Why did n't you go? At the station. You could have got away. Why did n't you?<\/dialogue>\n    <scene_description>She looks up at him . He stares into her eyes . Beat . Then , suddenly he kisses her . It 's what she 's waited so long for and she 's stunned for a moment , then puts her arms around his neck , returning the kiss hungrily . They are helpless with desire for one another . There is a sudden scratch of a key at the front door and , instinctively , the two break apart . Stephan enters , hair wet from the rain . He stops , seeing them , sensing the atmosphere . They stare back at him . Rachel steps away a little , wiping her face .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What did they say?<\/dialogue>\n    <scene_description>Stephan stares at them in silence . He unbuttons his coat .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>Stephan?<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>It's not happening.<\/dialogue>\n    <scene_description>They stare at him aghast - this is the last thing they wanted to hear .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>What the fuck does that mean?<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>The Americans have pulled out.<\/dialogue>\n    <parenthetical>( To Rachel . )<\/parenthetical>\n    <dialogue>Has he been fed?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>So. so what does that mean?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Oh God.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>Did you feed him?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>What does that mean? What's the plan now?<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( rising panic . )<\/parenthetical>\n    <dialogue>We just need to get him to the airfield, there must be some other way, some.<\/dialogue>\n    <scene_description>Stephan starts down the hallway towards her , angry .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>I said has he?<\/dialogue>\n    <scene_description>David instinctively steps in front of Rachel , raises a hand .<\/scene_description>\n    <character>DAVID<\/character>\n    <parenthetical>( overlapping . )<\/parenthetical>\n    <dialogue>I'm asking you.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <parenthetical>( overlapping . )<\/parenthetical>\n    <dialogue>I'm talking to her! Supposedly it's her shift now, but instead of doing what she's supposed to be doing she's out here with you!<\/dialogue>\n    <parenthetical>( To Rachel . )<\/parenthetical>\n    <dialogue>Now answer the fucking question : Did you feed him?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>YES! I fed him!<\/dialogue>\n    <scene_description>Stephan stands glaring at her , then turns abruptly away .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>There's no plan. There's no fucking plan. They said the operation is being `` re - evaluated.''<\/dialogue>\n    <scene_description>He turns to David .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>You know what that means? They're going to cut us loose.<\/dialogue>\n    <scene_description>They stare at him shocked .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>It's a fucking mess and they're backing away from it quickly as they can.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>It's happening. I can feel it.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>They ca n't just leave us!<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>Yes they can! Because we fucked it all up! We fucked it all up and now we're on our own!<\/dialogue>\n    <scene_description>Suddenly we hear someone KNOCKING on the front door . The three FREEZE , staring at each other . Silence .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>Were you followed?<\/dialogue>\n    <scene_description>Stephan stares at the door , thrown .<\/scene_description>\n    <character>DAVID<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Could you have been?<\/dialogue>\n    <scene_description>There is another KNOCK at the door . Stephan turns to the chest of drawers and takes out the GUN .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Stephan?<\/dialogue>\n    <scene_description>Stephan is hurriedly screwing the SILENCER onto the GUN . There 's another KNOCK at the door .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Stephan!<\/dialogue>\n    <scene_description>Stephan walks into the living room and aims the gun at Vogel . Vogel instinctively squirms away , falling to one side , wriggling back as far as he can .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>If it's them, he dies.<\/dialogue>\n    <scene_description>Vogel lies , breathing hard through his nose , eyes on the gun aimed at him . David suddenly steps in between the two , the gun now pointing at his chest .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Move.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>You're not doing this.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>He's not getting away from me.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>This is n't the mission.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>I decide what the mission is! If I say he dies, he dies.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>We're finishing this mission. We're taking him back.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>Get out of the way!<\/dialogue>\n    <scene_description>There is another KNOCK at the door . David and Stephan stare at each other , the tension building . Abruptly Rachel turns and walks down the hallway towards the door . Stephan calls after her .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>Rachel. Rachel!<\/dialogue>\n    <scene_description>From the hallway we hear the sound of the door being opened - the murmur of conversation . The two men stand frozen , listening . Vogel lies , breathing hard through his nose . We hear the door close . The three listen as footsteps approach down the hall . Rachel walks back in . A long beat .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( Dully . )<\/parenthetical>\n    <dialogue>It was the lady from the bottom apartment. She invited us to her New Year's Eve party.<\/dialogue>\n    <scene_description>She turns and walks back out . The others stay where they are , frozen . We hear a PIANO PLAYING as we . KITCHEN - DAY As the piano music plays we see David and Stephan practise krav magah moves - careful , controlled , but under it all an edge of real tension between them . LIVING ROOM Vogel is tied in his usual place . Stephan sits in a dangerous mood . He 's playing the piano . A lyrical rendering of Deutschland Uber Alles . Vogel is watching him . KITCHEN As the music continues the two men 's workout grows more intense - the punches and blocks build in speed , faster and faster , both men breathing hard with the exertion , neither willing to stop , a real violence simmering under the surface .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Stephan knows he 's watched and avoids Vogel 's gaze until he can stand it no longer and looks . KITCHEN David is the first to break through the blocks - his fist stopping inches from Stephen 's face . The two men freeze , staring at each other , breathing hard . The music crashes to a halt . LIVING ROOM Stephan is staring at Vogel . He begins to play the anthem more discordantly , hitting the keys more violently , as if the music is possessing him . Then suddenly he stops , stands up and walks away from the keyboard . Stares at Vogel . Vogel is very aware of the sudden change in atmosphere , a sense of impending violence . Stephan does n't move . The moment hangs . LATER David is taking over the shift from Stephan . They pass each other in the doorway without a word . David stops , staring . Vogel lies in his usual place . A SACK has been placed over his head , hooding him . The effect is deeply sinister . KITCHEN - MOMENTS LATER Stephan sits eating with Rachel . David walks in and throws the SACK on the table . Stephan glances at it , continues eating .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>It's your shift.<\/dialogue>\n    <character>DAVID<\/character>\n    <parenthetical>( To Rachel . )<\/parenthetical>\n    <dialogue>Did you know about this?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>About what?<\/dialogue>\n    <character>DAVID<\/character>\n    <parenthetical>( To Stephan . )<\/parenthetical>\n    <dialogue>His mouth's taped. You want him to suffocate?<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>I was sick of seeing his face. Go back in.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Do n't do that again.<\/dialogue>\n    <scene_description>Stephan gets up and walks calmly towards David as if shooing him back out the room .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>You do n't give orders David. It's your shift now so you can go back in there.<\/dialogue>\n    <scene_description>He has his hands on David 's chest , gently pushing him back . David takes his hold of the hands , pulling them free and suddenly there 's a flurry of violent movement as Stephan yanks his arms free of David and the two men shove at each other .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Stop it!<\/dialogue>\n    <scene_description>They stop , breathing hard .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>We're not animals. Just remember what we are. Remember what we're not.<\/dialogue>\n    <scene_description>He walks back out . Stephan sits back at the table , starts eating again . He glances at Rachel , but she wo n't look at him . After a moment she gets up and walks out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SITTING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>David looks up from his chair to see in the hallway . Something purposeful in her manner alerts him . HALLWAY - CONTINUOUS David appears in time to see Rachel is putting on her overcoat .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <scene_description>Rachel does n't look at him .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I have to get out.<\/dialogue>\n    <character>DAVID<\/character>\n    <parenthetical>( Gently . )<\/parenthetical>\n    <dialogue>Rachel.<\/dialogue>\n    <scene_description>Rachel tries to unbolt the door . David bars her . Rachel tries to talk calmly but she 's fighting panic .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Get out of my way, please. I'm just going to go out for a few minutes. That's all I want to do.<\/dialogue>\n    <scene_description>Stephan walks out of the kitchen , taking in the scene .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>She wants to go out.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( appealing . )<\/parenthetical>\n    <dialogue>No one will see me. Tell him, David. I just want to walk. I just want to get some. air. Please.<\/dialogue>\n    <scene_description>Stephan shakes his head . Rachel tries to unlock the door , but David has hold of it . She struggles against him .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>Do n't be stupid.<\/dialogue>\n    <scene_description>He takes her arm . Rachel jerks free .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>GET OFF ME!<\/dialogue>\n    <scene_description>Then she slumps against the door , her back to them . She 's crying brokenly . A beat as the two men stand over her , not attempting to comfort her any further . Stephan turns and walks away . David leans his head against the door , waiting for her to stop .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAFEHOUSE - LIVING ROOM. EVENING.<\/stage_direction>\n    <scene_description>It 's raining heavily outside and water is dripping through the cracks in the ceiling . David kneels next to VOGEL with a bowl of oatmeal and strips the tape from his mouth .<\/scene_description>\n    <character>VOGEL<\/character>\n    <dialogue>Thank you. David.<\/dialogue>\n    <scene_description>David does n't react . Vogel hums a tune to himself in between spoonfuls , watching David , his mood strange .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>David and Stephan and Rachel.<\/dialogue>\n    <scene_description>He gives a soft laugh , finding something amusing in the sound of the names .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>If I had a choice I'd prefer Rachel to feed me. So gentle. in another life, the makings of a Nurse, I think. in another life.<\/dialogue>\n    <scene_description>David continues to feed , careful to appear immune to Vogel .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>How is she today?<\/dialogue>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You should let her get more rest. It's a dangerous time, the first month or two of the pregnancy.<\/dialogue>\n    <scene_description>David stares at him , unable to hide his shock .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>You did n't know?<\/dialogue>\n    <scene_description>Vogel absorbs this thoughtfully .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You're not the father then?<\/dialogue>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>I thought it would be you. I thought. I do n't know. The way you look at her. The way she looks at you.<\/dialogue>\n    <scene_description>David stirs the oatmeal , trying to think about what he 's just discovered . Vogel does n't take his eyes off him .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Women can be like that, they like to make you dance first, I remember.<\/dialogue>\n    <parenthetical>( As though to himself . )<\/parenthetical>\n    <dialogue>So, she chose the other one?<\/dialogue>\n    <scene_description>He shakes his head , shrugs .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>That must be hard, watching them together, right in front of you. And you not saying a word. Like the Poet says - `` Great souls suffer in silence.'' I would n't have taken Stephan as a family man. Too ambitious, too? Whereas you? David, I see you with children.<\/dialogue>\n    <character>DAVID<\/character>\n    <parenthetical>( Quietly . )<\/parenthetical>\n    <dialogue>Shut up.<\/dialogue>\n    <scene_description>Vogel stares at him . This is the first time someone has spoken to him in weeks . He 's quick to hide his sense of triumph .<\/scene_description>\n    <character>VOGEL<\/character>\n    <dialogue>I am expressing my sympathy. For your suffering.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>What does a monster like you know about suffering?<\/dialogue>\n    <character>VOGEL<\/character>\n    <dialogue>I'm a doctor, David.<\/dialogue>\n    <scene_description>David stares at him .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>A doctor.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You blind children trying to change the colour of their eyes. You inject people with petrol. You. you replace people's hands and legs and you watch as they.<\/dialogue>\n    <scene_description>He stops himself .<\/scene_description>\n    <character>DAVID<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>This is n't medicine. This is disease. This is sickness.<\/dialogue>\n    <scene_description>Vogel seems to consider this .<\/scene_description>\n    <character>VOGEL<\/character>\n    <dialogue>So we were all insane? Is that the answer?<\/dialogue>\n    <character>DAVID<\/character>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>There's no answer. I'm not looking for an answer. I'm not looking for.<\/dialogue>\n    <scene_description>He forces himself to be silent , tries to regain control of himself . He offers Vogel another spoonful , but his hand trembles a little with the violence of his emotions .<\/scene_description>\n    <character>VOGEL<\/character>\n    <dialogue>You're trembling.<\/dialogue>\n    <scene_description>David pushes the spoon into Vogel 's mouth , starts to load another spoonful .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It's strange. Here I am - the victim, kidnapped, bound, soon to be murdered, but I think you are the one that is afraid, David.<\/dialogue>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>Afraid of the monster.<\/dialogue>\n    <scene_description>He leans closer to David .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( Softly . )<\/parenthetical>\n    <dialogue>Boo.<\/dialogue>\n    <scene_description>They stare at each other , eye to eye . Vogel senses a new brittleness in David . His tone becomes more assured .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Yes. Do you know why it was easy to exterminate you people? Your weakness. I saw it. Every day I saw it. Every one of them, thinking only of how to avoid being flogged, or kicked, or killed. Only thinking of themselves.<\/dialogue>\n    <scene_description>David looks up at him with a strange , crooked smile , eyes glittering .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Why do you think it only took four soldiers to lead a thousand people to the gas chambers? Entire families? Because not one, out of thousands, had the courage to resist, the courage to be the first to fall. Not one would sacrifice himself. Even when we took their children from them. I knew then that you people had no right to live, no right to.<\/dialogue>\n    <scene_description>He may have begun his speech hoping to get a reaction from David but he has lost himself in his rant and so rather than triumph we see only a moment of startled fear in his eyes as David suddenly swings the bowl violently at his head , SHATTERING IT on the pipe to which he is tied . He grabs Vogel by the collar and begins to punch him , hard , again and again . Vogel slides sideways , limp . And still David punches him in a murderous rage , possessed , wanting to break his skull open , to kill him . Rachel and Stephan run in , with Rachel reaching him first . She throws her arms around him , trying to stop him , but - instinctively - he throws a punch behind him . It connects , splitting her lip and sending her flying to the ground . Stephan runs at him , knocking him to the floor , and remains lying on him , the two of them breathing hard , the assault finally over . VOGEL slumps forward , held up only by the rope at his wrists binding him to the pipe on the wall . Stephan is still struggling with David , who 's panting , adrenalised , staring wildly at Vogel 's slumped body .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>Out. We're going out.<\/dialogue>\n    <scene_description>He begins to drag him out . Stephan nods in the direction of VOGEL .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( to Rachel . )<\/parenthetical>\n    <dialogue>Are you going to be alright?<\/dialogue>\n    <scene_description>Rachel nods . As she hears the door close , she turns to stare at Vogel . He 's barely conscious , his face smeared with blood .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAFEHOUSE - BATHROOM. NIGHT.<\/stage_direction>\n    <scene_description>Rachel drenches a cloth under the tap .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAFEHOUSE - LIVING ROOM. MOMENTS LATER<\/stage_direction>\n    <scene_description>Rachel cleans the blood from VOGEL 's face . He has his eyes closed .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( Mumbling , in German . )<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>She tears off a new strip of tape and places it over VOGEL 's mouth , gently . She notices the rain leaking in through the ceiling and walks off towards the kitchen . We hold on Vogel , apparently sleeping . Then his tied hand reaches out , straining and manages to reach one of the SHARDS of broken bowl . KITCHEN - CONTINUOUS Rachel gathers three METAL SAUCEPANS . She stops for a moment looking at FIREWORKS flashing in the sky . She remembers - it 's New Years Eve . We TRACK with her as she walks into the living room and begins to place the pots on the floor to catch the rainwater which is dripping through various points in the ceiling . CLOSE ON VOGEL 'S HANDS As he uses the shard to saw through his ropes . ON RACHEL . as she finishes with the pots and notices the pieces of shattered bowl scattered around Vogel . She kneels down in front of him and collects up the pieces . She glances up at Vogel , checking him . He is still slumped , eyes closed . We TRACK with her as she walks back into the kitchen . From the living room comes the three distinct PINGS of rainwater dripping in the pots . She drops the pieces of bowl into the bin and stops , puzzled . It 's a moment before she works out what she 's noticed - something has changed in the sound of the rainwater next door . There only two drips instead of three . She walks back towards the living room . RACHEL 'S P.O.V - through the living room door we can see that one of the pots has been overturned . Rachel slows to a stop . A sudden wave of adrenalin causes her to turn but . it 's too late . Vogel steps out of the alcove he 's been standing in so that he is directly in front of her . Before she can even cry out he has slashed her face open with a SHARD OF GLASS . Instinctively she cups her hands to her ripped face . Vogel grabs her by the hair and stepping behind her , tries to worm his other hand underneath her raised arms to reach her throat with the glass . Her training kicking in , Rachel uses a krav magah move to grab and twist Vogel 's forearm , breaking his hold on her and turning the arm until , with a yell of pain , Vogel drops the shard . He swings wildly at her , but Rachel ducks the fist and drives the palm of her hand up into his face . Vogel stumbles back , surprised by her speed and the sudden pain of the blow . Rachel is about to press home the attack but is blinded by blood from her wound washing into her eyes . As she wipes her eyes clear , Vogel grabs a LAMP from a small chest of drawers in the hall and smashes it into her face . She falls . Vogel begins to run , but , driven by adrenaline and desperation , Rachel scrambles onto all fours and lunges at him , catching hold of his trouser leg as he moves towards the front door . Vogel stumbles , manages to pull a leg free and stamps down on Rachel who lets go with a moan . He stamps again , steps free and kicks her hard in the head . Rachel rolls with the force of the kick and comes to a rest , losing consciousness . RACHEL 'S P.O.V - LOW ANGLE - Fluttering in and out of darkness - Vogel 's feet as he stands beside us , breathing hard . Then he turns and hurries to the front door . and out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WALKWAY. BERLIN SAFE HOUSE - NIGHT.<\/stage_direction>\n    <scene_description>Vogel hurries along the walkway and sets off down the spiral staircase of the apartment building .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - NIGHT.<\/stage_direction>\n    <scene_description>Rachel lies motionless . We wait for her to cough as we saw her do before . But she does n't . She just continues to lie still .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STAIRCASE - CONTINUOUS<\/stage_direction>\n    <scene_description>Below us Vogel clatters on down the stairs , flight after flight .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>No movement from Rachel .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STAIRWELL\/COURTYARD - CONTINUOUS<\/stage_direction>\n    <scene_description>Vogel clears the stairs and bursts into the courtyard . There is a lurid flash of fireworks from nearby and for a moment we see Vogel lit , as he passes the point where earlier we saw him drop to the ground . He reaches the gate and goes through , his shadow disappearing on the pavement . He 's gone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERLIN SAFEHOUSE - LIVING ROOM. NIGHT<\/stage_direction>\n    <scene_description>Rachel holds a blood - soaked tea towel to her cheek , trying to staunch the flow . David sits , staring ahead , in shock . Stephan bursts in , out of breath .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>Nothing. Not a trace. Nothing at all.<\/dialogue>\n    <scene_description>He hurries to the drawers and takes out the gun , puts it into his waistband .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>He might go to the house, might try and get a message to the wife.<\/dialogue>\n    <character>DAVID<\/character>\n    <parenthetical>( Without looking up . )<\/parenthetical>\n    <dialogue>He's not going back to the house. He's gone. Fifteen years, it took them to find him. And he's gone. And no - one's going to find him again.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>So we what? We. are you going to make the phone call? Are you going to tell them how he got a fucking piece of broken bowl? Wonderful. But do n't try and take me down with you. I've done nothing wrong. Remember that!<\/dialogue>\n    <scene_description>Stephan kicks at the chair , at the drawers .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( muttering tensely . )<\/parenthetical>\n    <dialogue>This ca n't happen! This is never going to go away.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I take responsibility. It was my shift.<\/dialogue>\n    <character>DAVID<\/character>\n    <parenthetical>( Quietly . )<\/parenthetical>\n    <dialogue>This happened because of me. I let him go. And no - one's ever going to find him again.<\/dialogue>\n    <scene_description>He closes his eyes , struggling with the enormity of his guilt . Stephan drops the gun onto the table , sits down . Outside we hear more fireworks . Suddenly .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>No - one's ever going to find him again.<\/dialogue>\n    <scene_description>Something in his voice causes Rachel to look up at him .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>What if he did n't escape?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>Only four people know what happened in this room. Us, and him. And he's not talking. No one will ever hear from him again.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( Realizing what he means . )<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>Nobody needs to know what happened here.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>He escaped.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>That's the truth. But that does n't have to be the truth we take home. The truth can be anything we want it to be. The truth is Vogel tried to escape, you struggled with him and got hurt. The truth is, seconds before he got away, Rachel got the gun and shot him. The truth is we got rid of him. got rid of the body. got rid of every trace of the Surgeon of Birkenau.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>We ca n't lie about this!<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>No, you know what? We have to. We have to! This is. this is n't about us. This is about Israel. This is a national humiliation! We ca n't be seen to fail. And in the end, Vogel rots away his life in some jungle, looking over his shoulder, waiting for the bullet? Who's to say?<\/dialogue>\n    <scene_description>He looks at them both , trying to convince them , trying to convince himself .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Maybe that's a worse fate. Maybe that's. The important thing is justice. justice is seen to be done!<\/dialogue>\n    <scene_description>Rachel turns to David , waiting , expecting him to say something . But David looks like he 's been barely listening , lost in his own thoughts . He notices Rachel staring at him .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>He's gone. What does it matter?<\/dialogue>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>He's gone.<\/dialogue>\n    <scene_description>Stephan seizes on this , sensing he 's close to convincing them .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( Seizing . )<\/parenthetical>\n    <dialogue>He's right. It makes no difference. No difference. All we have to agree is that we never talk about this. No matter what happens, we never tell anyone. The truth stays in this room. Between us. Agreed?<\/dialogue>\n    <scene_description>Rachel looks at David again , wanting some kind of sign .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( To Rachel . )<\/parenthetical>\n    <dialogue>Agreed? Say it.<\/dialogue>\n    <parenthetical>( Silence . )<\/parenthetical>\n    <dialogue>I need to hear you say it!<\/dialogue>\n    <scene_description>She 's still staring at David . He 's still avoiding her gaze .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( To Rachel . )<\/parenthetical>\n    <dialogue>Say it. Say.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Agreed.<\/dialogue>\n    <scene_description>Silence . Rachel closes her eyes . Instead of relief she feels a kind of immense disappointment .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>David?<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>Rachel? Say it. It's an oath. Say it.<\/dialogue>\n    <scene_description>We CLOSE on Rachel . The moment that will change her life forever . From outside comes the sound of some REVELLERS on the street cheering , more fireworks . We hear some people chanting a countdown to the New Year .<\/scene_description>\n    <character>REVELLERS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( From outside . )<\/parenthetical>\n    <dialogue>. vier, drei, zwei, ein!<\/dialogue>\n    <scene_description>But just before the expected barrage of fireworks we .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DAVID'S APARTMENT - 1997 - NIGHT.<\/stage_direction>\n    <scene_description>The young Mossad Agent stands smoking outside David 's door . This is the scene we saw earlier . From within we can hear indistinct shouting .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAVID'S APARTMENT - LIVING ROOM - CONTINUOUS.<\/stage_direction>\n    <scene_description>Rachel is holding the PRINTED SHEET - the point at which we left this scene earlier .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( crying out . )<\/parenthetical>\n    <dialogue>How could this happen? You said he would never speak! You said he'd never.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>We do n't know it's him.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Oh God! Oh God!<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>If you read it.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>He's alive! He's in the Ukraine! What else is there to read?<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>This is a little internet story.<\/dialogue>\n    <parenthetical>( Grabbing the paper , reading . )<\/parenthetical>\n    <dialogue>. `` a psychiatric patient claiming to be the Surgeon of Birkenau.'' Some crazy old man. No - one is paying this any attention. Yet.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( as if her mind was elsewhere . )<\/parenthetical>\n    <dialogue>How did you find it?<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>David comes back after all this time, I want to know why. I had his apartment searched. This was on his computer.<\/dialogue>\n    <scene_description>Rachel stares at him .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>He did n't say anything to you last night?<\/dialogue>\n    <scene_description>Rachel does n't answer .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Rachel?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>Beat .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>Why would he do this?<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>Because he could n't handle it. I told him we had to deal with it and he could n't handle it. He thought it was all going to come out and he panicked.<\/dialogue>\n    <scene_description>He trails off , thinking about what happened down on the road . Rachel stares at him . His previous words have just sunk in .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( Suddenly . )<\/parenthetical>\n    <dialogue>Deal with it?<\/dialogue>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>What does that mean? Deal with it?<\/dialogue>\n    <scene_description>Stephan stares at her .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What did you tell him to do?<\/dialogue>\n    <character>STEPHAN<\/character>\n    <parenthetical>( Simply . )<\/parenthetical>\n    <dialogue>I told him to find Vogel. I told him to finish it.<\/dialogue>\n    <scene_description>Rachel stares at him . She stands up , starts to walk away , comes back , slaps him hard across the face .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( quiet rage . )<\/parenthetical>\n    <dialogue>Did you know he'd been ill? Did you? You knew, did n't you? You killed him. YOU killed him! You knew he was n't strong enough.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <parenthetical>( overlapping . )<\/parenthetical>\n    <dialogue>FUCK DAVID! I do n't want to hear about David! David took the coward's way out!<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You could have left it alone! It's an old man in a hospital! You said - nobody will believe it! No - one will notice!<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>There's a journalist.<\/dialogue>\n    <scene_description>This stops her .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>A Ukrainian. He's heard about it and he's going to interview Vogel.<\/dialogue>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>Then it all comes apart.<\/dialogue>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>We do n't have the name of the hospital. You have to find out where he is.<\/dialogue>\n    <scene_description>Rachel stares at him .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>David's taken himself out of the equation.<\/dialogue>\n    <parenthetical>( Indicating his chair . )<\/parenthetical>\n    <dialogue>I ca n't do it. You're the only one left.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Are you insane?<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>We ca n't.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I'm not. Look at me! I'm not capable of. This is insane. I ca n't do this.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <parenthetical>( Beat .<\/parenthetical>\n    <parenthetical>Simply . )<\/parenthetical>\n    <dialogue>You have to, Rachel. Because for thirty years you've been taking the credit for it.<\/dialogue>\n    <parenthetical>( Beat , carefully . )<\/parenthetical>\n    <dialogue>And there's Sarah.<\/dialogue>\n    <scene_description>It 's as if he 's struck her . Beat .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I wo n't do this.<\/dialogue>\n    <scene_description>She walks out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STAIRWELL OUTSIDE DAVID'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>And into the stairwell . As before , the Mossad agent stands to let her pass , and watches as she sweeps down the stairs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RACHEL'S HOTEL - MORNING<\/stage_direction>\n    <scene_description>The scene we saw earlier . Rachel is packing , folding clothes neatly , precisely , silently - but all the time there 's a terrible tension about her movements . She tries to close a drawer but it sticks , She keeps trying , then in a sudden rush of fury yanks the drawer free and hurls it across the room . She stands breathing hard . Then something we did n't see - her gaze settles on a photograph beside her table - SARAH holding her son , smiling at us . Rachel stares at the photograph , her breathing slowing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PATIO TERRACE. HOTEL NEAR TEL AVIV - DAY<\/stage_direction>\n    <scene_description>Stephan sits amongst the remains of a meal . Sarah and her husband are on the beach below , playing with their son . Stephan watches them . He senses a presence and turns to find Rachel behind him . She sits down , stares down at the beach through her dark glasses . Stephan watches , almost holding his breath , working through lightning calculations of how to handle her . But Rachel is the first to speak .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>I always knew this would happen. I knew we'd be punished. I knew we'd have to pay.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <parenthetical>( Quietly . )<\/parenthetical>\n    <dialogue>I thought I'd already been punished.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>God does n't plant car bombs.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>I was n't referring to the wheelchair.<\/dialogue>\n    <scene_description>They look at each other .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>If I could go back, Rachel, I'd change it all. If I could give you back a chance to be happy, to be.<\/dialogue>\n    <scene_description>He stops . She is staring back at him coldly , unmoved . He shrugs , letting that go .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>But there's one thing I would never change.<\/dialogue>\n    <scene_description>She looks over to where Sarah is playing with her son , laughing .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( Instantly . )<\/parenthetical>\n    <dialogue>She is n't going to find out.<\/dialogue>\n    <scene_description>She shakes her head , as if the idea itself were impossible .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>She can never find out.<\/dialogue>\n    <scene_description>Stephan stares at her , KNOWING THAT HE HAS HER , that it 's already decided . He takes out the envelope and slides it across the table towards her . She examines the ticket and passports inside . Then he slides her the BLACK CASE . We 've seen this part of the scene before . She stares at it with disgust , knowing what it is . Then she takes it and puts it in her handbag .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>My car's waiting outside. It can take you to the airport.<\/dialogue>\n    <scene_description>She stands up , an elegant woman at lunch , her dark glasses , her suit . She looks down to Sarah , raises a hand in farewell . Sarah , not understanding , waves a hand in response , calls something which is lost under the sound of the sea .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Go down to her. Say goodbye to her.<\/dialogue>\n    <scene_description>Rachel stands stock still , staring down at her daughter .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>How can I?<\/dialogue>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>How can I?<\/dialogue>\n    <scene_description>She turns and walks away . ON THE BEACH Sarah stands , shading her eyes , watching the small figure of her mother walking away from her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY CENTRE. KIEV. UKRAINE - DAY.<\/stage_direction>\n    <scene_description>A tram wipes through the frame to reveal Rachel walking across a busy street towards the stark facade of an imposing 1960 's building . A TITLE reads : Kiev , Ukraine<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE BUILDING - DAY<\/stage_direction>\n    <scene_description>The public area of the building - a main reception desk , a little cafe , a sweeping staircase leading up to the floor above . Rachel is at the reception desk . NEWSPAPER BUILDING - MEZZANINE LEVEL - CONTINUOUS Rachel crosses to a TABAC KIOSK , glancing back to some glass doors behind her . A sign indicates the offices of the UKRAINIAN EVENING NEWS . We can see a RECEPTIONIST at her desk . A young man walks through the entrance , and she throws a knowing glance up at him as he passes . Rachel takes in the ALARM PAD beside the receptionist .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( turning to the Kiosk Owner . )<\/parenthetical>\n    <dialogue>Cigarettes please.<\/dialogue>\n    <scene_description>GROUND FLOOR CAFE . OFFICE BUILDING - DAY Rachel sits , silhouetted against the large window . Rachel opens her pack and lights a cigarette . A WAITER approaches .<\/scene_description>\n    <character>WAITER<\/character>\n    <parenthetical>( In Russian . )<\/parenthetical>\n    <dialogue>What can I get you?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Just a coffee.<\/dialogue>\n    <scene_description>She stares out at the stream of people passing in and out of the building .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HANGAR - DAY - THE PAST<\/stage_direction>\n    <scene_description>Late sixties . Young Rachel , Stephan and David are giving a talk to a group of young Israeli soldiers . This is a well - rehearsed routine , something they have probably done many times .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>At that moment, I do n't think I was thinking about myself at all. I was thinking about my mother. I was thinking about how she had suffered in Europe.<\/dialogue>\n    <scene_description>The FACES of the soldiers , moved by this . One raises a hand .<\/scene_description>\n    <character>SOLDIER<\/character>\n    <dialogue>The same question to Mr. Peretz.<\/dialogue>\n    <scene_description>The others look at David , waiting for him to make his usual response . But David does n't move . Stephan looks along the row . David sits staring straight ahead . The silence GROWS . And we realize he 's NOT GOING TO ANSWER .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RACHEL AND STEPHEN'S HOUSE - BEDROOM - EVENING<\/stage_direction>\n    <scene_description>The house is cold , white , aggressively modern . Rachel sits in her underwear , drunk , a bottle and glass of wine on her dressing table . Stephan is dressing behind her .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( Calmly . )<\/parenthetical>\n    <dialogue>Fuck him.<\/dialogue>\n    <scene_description>He examines his reflection in the mirror .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>Fuck him.<\/dialogue>\n    <scene_description>A DOORBELL rings downstairs . He walks out to answer it , taking the wine bottle from her as he goes .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hurry up.<\/dialogue>\n    <scene_description>Rachel finishes her glass , starts to apply some eye makeup . She senses something and turns to find YOUNG SARAH -LRB- four -RRB- watching her from the doorway . She stares back at her dully .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Go to bed, Sarah.<\/dialogue>\n    <scene_description>LIVING ROOM - EVENING A cocktail party in progress - Stephan is mingling with the guests - Mossad high - fliers , Military , politicians . She watches him handle them - just the right mix of deference and charm . Rachel stands against a wall , drunk , watching him as he laughs sycophantically at something one of the politicians has said . He crosses over to an attractive BLONDE WOMAN and greets her . As Rachel watches he runs a hand down the woman 's back - an unmistakably INTIMATE gesture . Rachel watches - depressed by how little this makes her feel . She begins to mix herself another drink , sees someone across the room , and her face changes . ON DAVID He 's standing alone drinking , nervous . Rachel appears beside him .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>My own party and you're the only friend I have.<\/dialogue>\n    <scene_description>She turns , leans against the wall , scans the party , watches Stephan working the room .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>all Stephen's friends. Stephen's girlfriends.<\/dialogue>\n    <scene_description>She turns to see what David 's reaction to this is , but he continues to watch Stephan .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And what kind of a friend are you? I call you last night and.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I thought the silence was for the audience, I did n't know you'd really lost your voice.<\/dialogue>\n    <scene_description>David suddenly takes her hand and pulls her round the corner . AROUND THE CORNER He turns to her , his face alive with an energy that we have n't seen before - fear or excitement ?<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>Why do you call me?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>You call me, at night, when you're drunk. Why do you call me?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>What are you?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Do you want us to fuck around behind his back? Like he fucks around behind yours? Is that what you want?<\/dialogue>\n    <scene_description>Rachel stares at him , upset and angry .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I want a friend<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>I do n't want to be your friend.<\/dialogue>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>I'm leaving.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Good. I do n't know why you bothered coming if your just going to.<\/dialogue>\n    <character>DAVID<\/character>\n    <parenthetical>( interrupting . )<\/parenthetical>\n    <dialogue>Come with me.<\/dialogue>\n    <scene_description>She realises he is n't talking about the party . Beat .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Where. whare are you going?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>It does n't matter. Away from Israel, away from this. poison. I ca n't stand what it is doing to us. Come with me. We'll go to Spain. Or Italy. We can save ourselves.<\/dialogue>\n    <character>WIFE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>This is such a beautiful photograph, Rachel. You look like a pair of Angels.<\/dialogue>\n    <scene_description>A YOUNG ISRAELI and his WIFE are admiring a photograph the Wife has picked up from the table - a portrait of Rachel and Sarah .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( Mouth dry . )<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <character>WIFE<\/character>\n    <parenthetical>( showing it to David . )<\/parenthetical>\n    <dialogue>Is n't it lovely?<\/dialogue>\n    <scene_description>David does n't answer , is still staring at Rachel . The husband senses a scene , takes the photograph .<\/scene_description>\n    <character>HUSBAND<\/character>\n    <parenthetical>( Smoothly . )<\/parenthetical>\n    <dialogue>You know you have to excuse us.<\/dialogue>\n    <parenthetical>( to his wife . )<\/parenthetical>\n    <dialogue>. we must catch Michael.<\/dialogue>\n    <scene_description>His wife is confused .<\/scene_description>\n    <character>HUSBAND<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( leading her away . )<\/parenthetical>\n    <dialogue>. before he leaves, you remember?<\/dialogue>\n    <scene_description>Rachel is staring at David , shaking her head , eyes glittering with tears .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>You ca n't do this to me now. We had our chance. We said we would live with it. This is me living with it.<\/dialogue>\n    <scene_description>David takes her hands .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>I'm in love with you, Rachel. I want my life back so I can live it with you. Come with me.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You can start again. You do n't have a child. You do n't have anyone.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>I thought I did.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Why ca n't we be happy?<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( after a beat , quietly . )<\/parenthetical>\n    <dialogue>Because we did a terrible thing.<\/dialogue>\n    <character>He nods, finally, and lets go of her hand. Beat. Then he<\/character>\n    <dialogue>Beat. Then he says. turns and walks away from her through the crowd to the door, and is gone.<\/dialogue>\n    <character>She moves to follow him, then stops.<\/character>\n    <dialogue>says.<\/dialogue>\n    <character>Rachel turns and finds STEPHAN standing against the wall,<\/character>\n    <dialogue>waiting. They stare at each other.<\/dialogue>\n    <scene_description>STEPHAN . -LRB- flat . -RRB- There you are .<\/scene_description>\n    <character>He leads her back towards the party.<\/character>\n    <dialogue>says.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEWSPAPER BUILDING - GROUND FL. CAFE - EARLY EVENING<\/stage_direction>\n    <scene_description>Rachel sits , still smoking , though it 's dark outside now . There is a sound of chatter from above her and she looks up to see JOURNALISTS spilling out from the offices above , coming down the stairs towards her . Rachel eases a PHOTOCOPIED SHEET from her bag and examines it . INSERT SHEET A photocopy of a JOURNALIST 'S BY - LINE - a long , rather mournful face , the name YURI TITOV . She checks the face , slips the sheet back in the bag , looks up , studying the men descending towards her . Moments later she has found him - chatting to a colleague . He reaches the ground floor and walking past her , goes to the bar for a coffee . Rachel finds herself staring at him - the man WHO COULD DESTROY HER LIFE . Yuri seems to sense someone watching him and looks to where Rachel was sitting . But there 's no - one there .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEWSPAPER OFFICE LOBBY. CONTINUOUS.<\/stage_direction>\n    <scene_description>The PRETTY RECEPTIONIST stands chatting to her BOYFRIEND , a young journalist . He is holding her coat for . She starts to put it on and the Boyfriend gives a brief bark and play - bites at her neck . She laughs , pushing him away . Rachel hurries in .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( Russian . )<\/parenthetical>\n    <dialogue>Am I late? I'm sorry. Can I place an advertisement?<\/dialogue>\n    <character>RECEPTIONIST<\/character>\n    <parenthetical>( gathering her things . )<\/parenthetical>\n    <dialogue>100 grivna for twenty words. 5 grivna a word after that.<\/dialogue>\n    <scene_description>Rachel proffers an envelope .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Here.<\/dialogue>\n    <scene_description>The girl takes it .<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Rachel fishes in her bag and hands over a 100 GRIVNA NOTE .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>This should cover it.<\/dialogue>\n    <scene_description>The girl drops the envelope onto her desk , and slips the money into a small DESKTOP DRAWER UNIT , as Rachel leaves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEWSPAPER OFFICE - MEZZANINE LEVEL. CONTINUOUS.<\/stage_direction>\n    <scene_description>Rachel pauses outside the doors , zipping her bag , watching the receptionist tap a code into the alarm key - pad before letting herself and the Boyfriend out . She locks the door after them and the two walk past Rachel who smiles a goodbye . She watches them go .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEWSPAPER BUILDING - GROUND FLOOR CAFE - NIGHT<\/stage_direction>\n    <scene_description>The place is dark now , eerily lit by the street lights outside . An ELDERLY SECURITY GUARD trudges past , whistling softly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEWSPAPER OFFICE - LOBBY. CONTINUOUS.<\/stage_direction>\n    <scene_description>We 're looking through the glass doors to the shadowy mezzanine level beyond . A DARK FIGURE stands silhouetted at the door . We hear the scrape of tools working on the lock . There is a click , the doors open and Rachel slips inside . The alarm begins to BEEP . Rachel takes out a TORCH . A quick twist and the beam becomes ULTRAVIOLET . As Rachel moves swiftly towards the alarm box , the beam from the torch sweeps across the girl 's desk , and we see Rachel 's envelope glowing a deep PURPLE . We may also notice that the desktop drawer unit where the girl placed the money is smudged with purple FINGERPRINTS . Rachel opens the alarm box and shines her beam onto the keypad . We see four PURPLE FINGERPRINTS , one deeply pigmented , the other three progressively less so . Rachel takes a deep breath and punches the four marked keys in what she hopes is the correct order . The alarm falls silent . She moves quickly out of the lobby , down the corridor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEWSPAPER OFFICE - MAIN ROOM. CONTINUOUS.<\/stage_direction>\n    <scene_description>and into the main press room . Using her torch on its regular setting , Rachel scours the desks for information . On one desk is a photograph of the journalist we just met - YURI - HOLDING A LARGE FISH in triumph . Rachel dives into the desk 's FILING UNIT and begins to rifle through the files . Presently , she finds an OLD PICTURE OF VOGEL . He wears SS uniform , the same shot we have seen before . Behind it , a stack of SCRIBBLED NOTES . She begins to scan them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEWSPAPER BUILDING - MEZZANINE LEVEL - CONTINUOUS<\/stage_direction>\n    <scene_description>The Receptionist and her drunk BOYFRIEND stand at the doors to the newspaper office , trying to open them . It takes them a moment , as - unaware that it was unlocked - the girl has accidentally locked it . Her boyfriend tussles with her playfully , keen for her to let him try instead , but she swats him away , turns the key again and finally they 're in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEWSPAPER OFFICE - MAIN ROOM. NIGHT.<\/stage_direction>\n    <scene_description>Rachel , unaware , is still reading through the notes . She takes out paper and pen and copies down the information she needs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEWSPAPER OFFICE - LOBBY. NIGHT.<\/stage_direction>\n    <scene_description>The receptionist stands by the alarm box , drunk and confused , as the Boyfriend , impatient and equally drunk , comes up close behind her and reaches round to clumsily unbutton her coat .<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <parenthetical>( Whispering . )<\/parenthetical>\n    <dialogue>That's weird.<\/dialogue>\n    <scene_description>The coat undone , the Boyfriend reaches round and snakes his hands up inside her sweater . She ignores him .<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I set the alarm.<\/dialogue>\n    <character>BOYFRIEND<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>The alarm's not on.<\/dialogue>\n    <character>BOYFRIEND<\/character>\n    <dialogue>Who gives a shit?<\/dialogue>\n    <scene_description>He moves his hands from her breasts to grab her around the waist and pull her away from the alarm box .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEWSPAPER OFFICE - MAIN ROOM. CONTINUOUS.<\/stage_direction>\n    <scene_description>Rachel is still at the desk reading . Suddenly the main LIGHTS are switched on and the Receptionist and the Boyfriend stagger into sight . Rachel stands frozen , COMPLETELY VISIBLE . The girl and boyfriend stand kissing , too engrossed in each other to see the woman standing only ten feet from them . The Receptionist pulls free , laughing , makes it back to the entrance and switches the lights off , plunging the room into darkness . Rachel moves behind a column . Laughing softly , the Boyfriend leads the girl over to a desk . He opens a drawer , searches through it , triumphantly produces a PETTY CASH TIN .<\/scene_description>\n    <character>BOYFRIEND<\/character>\n    <dialogue>The loot!<\/dialogue>\n    <scene_description>He starts to take some cash from the box .<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <parenthetical>( Laughing . )<\/parenthetical>\n    <dialogue>You ca n't!<\/dialogue>\n    <character>BOYFRIEND<\/character>\n    <dialogue>I'll put in an i - o - u.<\/dialogue>\n    <scene_description>He scribbles on a piece of paper .<\/scene_description>\n    <character>BOYFRIEND<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>`` Andrei borrowed money to take Katia to Club Oxygen.''<\/dialogue>\n    <scene_description>He drops the note in the tin .<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>You're going to get fired.<\/dialogue>\n    <scene_description>He kisses her .<\/scene_description>\n    <character>BOYFRIEND<\/character>\n    <dialogue>You're worth it.<\/dialogue>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>You're going to get me fired!<\/dialogue>\n    <character>BOYFRIEND<\/character>\n    <parenthetical>( Kissing her . )<\/parenthetical>\n    <dialogue>I'm worth it.<\/dialogue>\n    <scene_description>They kiss again , slowly backing up against the desk Rachel was searching . The two struggle with their clothes . BEHIND THE COLUMN Rachel has no way of reaching the door . She closes her eyes as the young couple begin to have sex on the desk . Then she opens her eyes and notices something . RACHEL 'S P.O.V - CLOSE on her TORCH which is still on the desk . The Boyfriend seems to be staring RIGHT AT IT . Rachel watches , holding her breath . ON BOYFRIEND . as we realise he is staring STRAIGHT THROUGH the torch , lost in the moment . Next moment the couple change positions and some books and the torch are swept from the desk and clatter to the floor . The TORCH ROLLS across the carpet to the shadowy entrance of the cubicle . BEHIND THE COLUMN Rachel stares at the torch , wondering if she can reach it before they can see her . But at the moment the desktop tryst reaches its noisy conclusion . AT THE DESK The Boyfriend does up his trousers and pulls on his coat . The Receptionist adjusts her dress . She notices the fallen items and begins to pick them up , following the trail to the torch . BEHIND THE COLUMN Rachel stands frozen as the Receptionist stoops down directly IN FRONT OF HER and picks up the torch . The Boyfriend notices .<\/scene_description>\n    <character>BOYFRIEND<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>I'm tidying up.<\/dialogue>\n    <character>BOYFRIEND<\/character>\n    <dialogue>Are you working? Are you at work now?<\/dialogue>\n    <character>RECEPTIONIST<\/character>\n    <parenthetical>( Laughing . )<\/parenthetical>\n    <dialogue>No, I'm not working.<\/dialogue>\n    <character>BOYFRIEND<\/character>\n    <dialogue>So leave them.<\/dialogue>\n    <scene_description>She drops the objects and follows her Boyfriend out . Shaking , Rachel picks up her torch and replaces the items she is still holding from Yuri 's file into the filing cabinet . From OS , we hear the BEEP BEEP BEEP of the alarm being reset . Rachel 's heart sinks . OS , we hear office doors close , and the KEY TURNING in the lock . Rachel 's eyes alight on A MOTION SENSOR , blinking in the corner of the room . She waits . And eventually - no choice - she runs for the door . The motion sensor lights up and the alarm strikes up loudly with a warning BEEP - BEEP - BEEP .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEWSPAPER OFFICE - LOBBY. CONTINUOUS.<\/stage_direction>\n    <scene_description>Frantic , Rachel dashes to the alarm box , the insistent beep - beep - beep even louder here . Rachel runs for the door , yanks it open and bolts out . Moments later , the alarm CLANGS into action .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK OF BUILDING - NIGHT<\/stage_direction>\n    <scene_description>Rachel bursts out of a fire exit , the siren blaring and disappears into the night .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RACHEL'S CAR. KIEV STREET - NIGHT<\/stage_direction>\n    <scene_description>Rachel 's car drives off down the road .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR. UKRAINIAN ROAD - NIGHT.<\/stage_direction>\n    <scene_description>Rachel has pulled over and is on her cell - phone to Stephan .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>He's at the BABENKO Hospital.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEPHAN'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Stephan is alone , working at his computer . He taps in the name , searches , clicks on the link to a map .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It's outside Vinnycja. About a hundred and fifty miles south - west of you. What name is he going under?<\/dialogue>\n    <scene_description>Rachel checks her notes .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Ivan Schevchuk. He's the right age.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <dialogue>When is he supposed to interview him?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - NIGHT<\/stage_direction>\n    <character>RACHEL<\/character>\n    <dialogue>Tomorrow.<\/dialogue>\n    <scene_description>There 's silence from the other end . Both know what this means .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>This will be over soon. And when it is.<\/dialogue>\n    <scene_description>Rachel hangs up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - MORNING<\/stage_direction>\n    <scene_description>A car drives through the wintry landscape .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. HIRE CAR. ROAD - MORNING<\/stage_direction>\n    <scene_description>A forest of fir trees pass as she drives . Rachel 's mind is elsewhere . The car drifts to the wrong side , then swerves as she corrects .<\/scene_description>\n    <character>STUDENT<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>What were you thinking at that moment?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNIVERSITY LECTURE HALL. TEL AVIV -   EVENING<\/stage_direction>\n    <scene_description>The night before David 's suicide . RACHEL is being interviewed by a FEMALE FACULTY MEMBER . Projected on a screen behind is an image of the young Rachel , Stephan and David . The audience consists of mainly female students , hands raised .<\/scene_description>\n    <character>STUDENT<\/character>\n    <dialogue>Did you think you were going to die?<\/dialogue>\n    <scene_description>Rachel seems to consider this carefully , although we know by now that this is a question she 's been asked thousands of times and has a carefully rehearsed answer to .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I'll tell you something. At that moment, when I was on the floor, I was n't thinking about myself at all. I was thinking about my mother. And what she had suffered in Europe. I think that was what gave me the strength to get up again.<\/dialogue>\n    <scene_description>The audience listen , moved . Rachel looks out and then FREEZES - Older David sits near the back of the room .<\/scene_description>\n    <character>LECTURER<\/character>\n    <dialogue>Well, I'm sure you'll all join me in thanking Ms Singer.<\/dialogue>\n    <scene_description>As the audience applaud enthusiastically Rachel smiles , trying to regain her composure but her eyes are drawn back to David , standing in the shadows , watching her intently .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - LATER<\/stage_direction>\n    <scene_description>The place is empty now , only David and Rachel sitting in the seats . David looks like a man who 's been up on speed for too long , eyes strangely bright in his exhausted face . Neither of them seems to be able to bridge the divide<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>You look well.<\/dialogue>\n    <character>Rachel ignores this.   She's waiting for an explanation.<\/character>\n    <dialogue>She's waiting for an explanation. says.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Does Stephan know you're here?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>I expect so.<\/dialogue>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>I read about him. How is he?<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>The same. Different. Resigned to life at a desk. He likes to play the tragic hero.<\/dialogue>\n    <scene_description>She stops herself , ashamed .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Things became. very bad between us. We try to stay civil for Sarah.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Have you met anyone else?<\/dialogue>\n    <scene_description>Rachel stares at him . How can he even ask this ?<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>No. Thank you for asking. There was someone. but he left. And I never heard from him again.<\/dialogue>\n    <parenthetical>( beat , hard . )<\/parenthetical>\n    <dialogue>What are you doing here, David?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>I wrote you letters.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Pity you did n't send any of them<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Rachel.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( overlapping . )<\/parenthetical>\n    <dialogue>What is it? Thirty years?<\/dialogue>\n    <scene_description>She 's suddenly so angry , she starts to gather her things to go .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>I wanted to see you.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( overlapping . )<\/parenthetical>\n    <dialogue>All that time. Not a single word?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Do n't go.<\/dialogue>\n    <scene_description>She stops .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>I was ill for a while, Rachel.<\/dialogue>\n    <parenthetical>( A beat . )<\/parenthetical>\n    <dialogue>I spent some time in. in a kind of hospital<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Mexico<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>What were you doing in Mexico?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Different jobs. Some teaching. Whatever I could get.<\/dialogue>\n    <scene_description>Beat .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>I travelled a lot. The States. Most of South America. North Africa. I kept moving.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Looking for him<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Who?<\/dialogue>\n    <scene_description>He does n't answer and she looks up , suddenly realising who he means . She feels a sudden , instinctive rush of fear .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Why?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>What would you have done if you had found him?<\/dialogue>\n    <scene_description>He 's watching her intently<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>I would have told the truth. I would have gone to the newspaper, and said `` this is the Surgeon of Birkenau.'' I could have finally seen him face trial.<\/dialogue>\n    <scene_description>Rachel listens to this , mesmerised .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>And what would have happened to us?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>We'd be free. Whatever happened to us, it seemed to me we'd be free.<\/dialogue>\n    <scene_description>Rachel stares at him without answering<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>Do n't you agree? Are n't you tired of lying? Is n't that what you would have done - if you'd found him?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>But it is n't just us.<\/dialogue>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>It's Sarah.<\/dialogue>\n    <scene_description>Beat . Something changes in David 's face , something fading away . He sits slowly back<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>She has n't done anything wrong.<\/dialogue>\n    <character>DAVID<\/character>\n    <parenthetical>( Quietly . )<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>If the truth had come out she would be destroyed.<\/dialogue>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>So. no, I would n't have told the truth.<\/dialogue>\n    <parenthetical>( A long beat . )<\/parenthetical>\n    <dialogue>But you never found him<\/dialogue>\n    <scene_description>She looks at him , waiting for him to contradict this .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>No I never did.<\/dialogue>\n    <scene_description>The LECTURER appears at the doors to the auditorium .<\/scene_description>\n    <character>LECTURER<\/character>\n    <dialogue>Ms Singer?<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( Relieved . )<\/parenthetical>\n    <dialogue>Yes. Thank you.<\/dialogue>\n    <scene_description>She stands up again , the spell is broken .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>There's a car for me.<\/dialogue>\n    <parenthetical>( Putting on her coat . )<\/parenthetical>\n    <dialogue>Did you hear about Sarah's book?<\/dialogue>\n    <scene_description>After a moment , David nods .<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>The launch is tomorrow. Perhaps you could come? I do n't know if Stephan will be there or not, but.<\/dialogue>\n    <character>DAVID<\/character>\n    <parenthetical>( suddenly . )<\/parenthetical>\n    <dialogue>If we could go back. if I'd waited for you. if you'd come. would it have been different?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>We ca n't go back.<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Come tomorrow. We'll talk then?<\/dialogue>\n    <scene_description>David gives a smile that might be an assent . Or might not . Rachel nods , walks quickly out of the auditorium . David sits as the light banks above switch off one at a time , watches the line of shadow moving towards him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD. UKRAINE - DAY - THE PRESENT<\/stage_direction>\n    <scene_description>A car roars past and is gone , revealing Rachel standing amongst the trees beside her car , a cigarette forgotten in her hand , absorbing what it was David was asking her . Finally she drops the cigarette and climbs back into her car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - DAY<\/stage_direction>\n    <scene_description>CLOSE ON RACHEL . driving , lost in thought . She drives into some grounds . RACHEL 'S P.O.V THROUGH WINDSCREEN The BABENKO HOSPITAL - a huge , imposing building stands in wintry grounds . A long drive leads up to the car park and the entrance . I\/E . CAR - CONTINUOUS Rachel stares up at the building as she drives towards it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BABENKO HOSPITAL - RECEPTION. CONTINUOUS.<\/stage_direction>\n    <scene_description>The large lobby area , vast pillars . A few stairs lead up from this to a waiting area , separated from the corridors beyond by BARS AND LOCKED GATES . Rachel approaches a young male REGISTRAR at RECEPTION .<\/scene_description>\n    <character>RACHEL<\/character>\n    <parenthetical>( Russian . )<\/parenthetical>\n    <dialogue>Good morning. I'm here to visit Mr. Schevchuk?<\/dialogue>\n    <scene_description>The man squints at her , checks his register an squints at her again .<\/scene_description>\n    <character>REGISTRAR<\/character>\n    <dialogue>You're from the newspaper? Because I have a man's name here.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Oh, no, no. I'm Mr Schevchuk's niece. Anna Barova. I've been before, do you remember?<\/dialogue>\n    <scene_description>A moment 's scrutiny , then a shrug .<\/scene_description>\n    <character>REGISTRAR<\/character>\n    <dialogue>Well, our visiting hours have n't changed, I'm afraid. Eleven till one.<\/dialogue>\n    <scene_description>He points to a PLAQUE that reads : VISITING HOURS : 11:00 am - 1:00 am , 5:00 pm - 8:00 pm Sarah glances at her watch . It 's 10.25 .<\/scene_description>\n    <character>REGISTRAR<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Take a seat?<\/dialogue>\n    <scene_description>He points to a waiting area . Rachel walks up the few stairs past a large PILLAR and takes a seat , trying to think of her next step . She glances to her left , through the bars , and sees an OLD WOMAN in a patient 's gown staring blankly at her from the far end of the corridor . A DOCTOR appears and leads the Old Woman away , still staring . Rachel looks away , unnerved . Someone has just walked in and is talking to the Receptionist . Rachel 's view is obscured by the pillar and she leans slightly to see who it is . RACHEL 'S P.O.V - YURI stands showing his press card to the Registrar . AT RECEPTION The Registrar passes the press card back .<\/scene_description>\n    <character>REGISTRAR<\/character>\n    <dialogue>Mr. Schevchuk is in room 414. Visiting time starts at eleven o'clock. You can take a seat over there.<\/dialogue>\n    <scene_description>Yuri walks across the lobby , towards where Rachel is waiting , but as he clears the pillar we see her seat is EMPTY . ON THE OTHER SIDE OF THE PILLAR . Rachel waits for Yuri to pass and then slips back out of the lobby .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BABENKO HOSPITAL - CONTINUOUS.<\/stage_direction>\n    <scene_description>Rachel emerges - panicking . Time is almost up . What can she do ?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. CAR. REAR OF HOSPITAL - MOMENTS LATER<\/stage_direction>\n    <scene_description>Rachel 's car is speeding down a narrow road that runs behind the hospital . Two stone arches frame the road , where the building meets the hillside . RACHEL 'S P.O.V - high fences - the forbidding facade of the hospital - rows of barred windows . Rachel is scanning the building , looking for some way in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. CAR\/REAR ENTRANCE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Suddenly we pass a central arched entrance . A man is opening large double METAL DOORS for A LAUNDRY VAN to leave the hospital . It takes Rachel a few moments to register it . Then she BRAKES .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK OF HOSPITAL - MOMENTS LATER<\/stage_direction>\n    <scene_description>The LAUNDRY VAN is driving through the doors . It stops , engine idling , and the DRIVER begins to climb down to close the doors after him . Before he clears the side of the truck , Rachel slips into the darkness . The DRIVER , oblivious , reaches the doors and begins to swing them shut .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BABENKO HOSPITAL - DAY<\/stage_direction>\n    <scene_description>Rachel runs up the staircase from the service area of the hospital .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR. BABENKO HOSPITAL - DAY<\/stage_direction>\n    <scene_description>Long and bleak with rows of BARRED DOORS . Rachel runs on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAITING AREA. BABENKO HOSPITAL -DAY.<\/stage_direction>\n    <scene_description>Yuri is writing in a notebook . The clock says : 10:50 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANOTHER CORRIDOR. BABENKO HOSPITAL - DAY<\/stage_direction>\n    <scene_description>Rachel reaches a junction - the vast , white corridors stretching away from her in different directions , like a nightmarish maze . She stares about her , picks a corridor and begins to run again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR\/CENTRAL STAIRWELL - DAY<\/stage_direction>\n    <scene_description>Rachel reaches a MAP on the wall and scans it , frantically trying to locate the room she needs . She hurries on to an ancient looking ELEVATOR and gets in , jabs at the fourth floor button . With a groan of its motor the elevator begins to rise . CORRIDOR RACHEL 'S P.O.V - TRACKING past rows of NUMBERED DOORS . Finally we reach it - ROOM 414 . Rachel stares at the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOILETS. BABENKO HOSPITAL - DAY<\/stage_direction>\n    <scene_description>Rachel sits in a CUBICLE . She takes the BLACK CASE from her handbag and opens it . Inside is a pen . She lifts this and the false bottom of the case away to reveal a HYPODERMIC NEEDLE and an AMPULE of a clear liquid . With trembling hands she begins to prepare the injection . She ca n't quite believe what she is about to do .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 414 - CONTINUOUS<\/stage_direction>\n    <scene_description>Rachel enters the room . The curtains are drawn and Rachel hesitates for a moment , her eyes adjusting to the gloom . A MAN sits in a chair , angled towards the window , his back to us . An IV drip hangs on a stand , its tube running into a cannula on the back of a withered hand which hangs from the chair . The only sound is the faint , rasping breath of the man . Rachel moves a little closer . On the bottom of the bed hangs a medical chart . The name reads Ivan Schevchuk . Rachel moves closer , carefully taking the HYPODERMIC NEEDLE from her pocket .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BABENKO HOSPITAL - RECEPTION. DAY.<\/stage_direction>\n    <scene_description>A NURSE is unlocking the gate at the waiting area for Yuri . He walks through them and over to the ELEVATOR .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 414 - DAY<\/stage_direction>\n    <scene_description>Rachel stands by the IV drip and tube . She can inject directly into the tube - and it will be over . She holds the tube , rests the tip of the needle against it . She struggles with herself . Just one tiny push . She ca n't do it . She stands frozen for a moment then slowly lowers the needle . Beside her , the steady breathing alters . The Man stirs and a cadaverous face half turns towards us . Rachel and Schevchuk stare at each other . The face is ancient , lined . but IT IS N'T THE FACE OF VOGEL .<\/scene_description>\n    <character>IVAN SCHEVCHUK<\/character>\n    <parenthetical>( Weakly . )<\/parenthetical>\n    <dialogue>Are you the journalist?<\/dialogue>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>Do you know who I am?<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( Beat , meaning it . )<\/parenthetical>\n    <dialogue>No. No, I do n't.<\/dialogue>\n    <character>IVAN SCHEVCHUK<\/character>\n    <dialogue>My name is Dieter Vogel. I am the Surgeon of Birkenau.<\/dialogue>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>Have you heard of me?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Yes. I've heard of you.<\/dialogue>\n    <scene_description>Schevchuk looks at his withered hands .<\/scene_description>\n    <character>IVAN SCHEVCHUK<\/character>\n    <parenthetical>( Simply . )<\/parenthetical>\n    <dialogue>I have killed thousands. You can take my photograph. The last photograph of the Surgeon of Birkenau?<\/dialogue>\n    <scene_description>He struggles to raise his arm in the Nazi salute , a pathetic sick man . Rachel sits down at Schevchuk 's desk , feeling suddenly exhausted .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR - DAY<\/stage_direction>\n    <scene_description>Yuri stands in the elevator waiting for the doors to close .<\/scene_description>\n    <character>NURSE<\/character>\n    <dialogue>Hold the doors please.<\/dialogue>\n    <scene_description>Yuri holds the doors , as the Nurse approaches , escorting an ELDERLY WOMAN with a walker - the two moving at a snails pace . Yuri watches , amused .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 414 - DAY<\/stage_direction>\n    <scene_description>We CLOSE on Rachel , lost in thought . Beside her Schevchuk rambles on .<\/scene_description>\n    <character>IVAN SCHEVCHUK<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>It comes down to blood. We were n't afraid of power. It was our destiny. The slave races had bred with apes. But we Aryans are descendants of the Theozoa who come from another planet. We were born to rule and to.<\/dialogue>\n    <scene_description>He dissolves into a fit of weak coughing . Rachel stares at a NOTEPAD AND PEN on the desk beside her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - DAY<\/stage_direction>\n    <scene_description>Yuri walks towards Schevchuk 's room . He pays no attention to Rachel as he passes her , sitting on a bench , dialling her cell phone . She listens to the other end ring .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TEL AVIV - STEPHAN'S OFFICE - CONTINUOUS<\/stage_direction>\n    <scene_description>Stephan is talking to a couple of OFFICIALS . His cell phone rings .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( Answering . )<\/parenthetical>\n    <dialogue>Yes?<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( Beat . )<\/parenthetical>\n    <dialogue>It is n't him.<\/dialogue>\n    <scene_description>Stephan nods , a fixed smile on his face , covers the mouthpiece .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( gesturing to Officials . )<\/parenthetical>\n    <dialogue>A family matter. Would you give me a moment?<\/dialogue>\n    <scene_description>The two OFFICIALS leave the office , closing the door behind them . Stephan takes a a beat to calm his breathing .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( Into phone . )<\/parenthetical>\n    <dialogue>You're sure?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR. BABENKO HOSPITAL - DAY<\/stage_direction>\n    <character>RACHEL<\/character>\n    <dialogue>It is n't him. It's over.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Thank God. Thank God. This is wonderful. This is. and you're okay? Rachel? You're alright, yes?<\/dialogue>\n    <scene_description>Rachel stares at the wall . Silence .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( O.S. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Rachel?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You were wrong.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Well, thank God I was, but.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>About David. You were wrong about him.<\/dialogue>\n    <scene_description>ON STEPHAN . smiling and gesturing `` one minute '' to the two officials on the other side of the glass partition .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>About David?<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>He did n't kill himself because he was afraid the story would come out.<\/dialogue>\n    <scene_description>This gets Stephan 's attention . ON RACHEL<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>When he came to see me, he was asking me for something.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>My permission. And I did n't give it. I would n't let him tell the truth and he was tired of living with the lie.<\/dialogue>\n    <scene_description>ON STEPHAN . mind whirring . He can sense something .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>Truth is a luxury, Rachel. Some people have to put other things first - their country, their people. their children.<\/dialogue>\n    <scene_description>ON RACHEL Struggling not to cry .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Sarah's so proud of you, Rachel. You have to think about her.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( Crying . )<\/parenthetical>\n    <dialogue>I want her to be proud of me.<\/dialogue>\n    <scene_description>Stephan is desperate to talk her down from the ledge .<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( Soothing . )<\/parenthetical>\n    <dialogue>Of course you do.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>I want to do something to make her proud of me.<\/dialogue>\n    <scene_description>ON STEPHAN<\/scene_description>\n    <character>STEPHAN<\/character>\n    <dialogue>Rachel? Rachel?<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>People have to know the truth, Stephan. David was right.<\/dialogue>\n    <scene_description>ON RACHEL<\/scene_description>\n    <character>STEPHAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Listen to me.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Goodbye.<\/dialogue>\n    <character>STEPHAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Rachel, listen to me!<\/dialogue>\n    <scene_description>She hangs up . ON STEPHAN . listening to the dial tone , panic overwhelming him . There 's a knock at the door and an ASSISTANT appears .<\/scene_description>\n    <character>ASSISTANT<\/character>\n    <dialogue>Sir?<\/dialogue>\n    <scene_description>Stephan does n't move . ON RACHEL She sits for a moment , then stands up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR. HOSPITAL - CONTINUOUS<\/stage_direction>\n    <scene_description>LONG SHOT From the other end of the corridor , as the small figure of Rachel steps away from the bench . She straightens her scarf and wipes her eyes , then begins to walk towards us . REVERSE - ON RACHEL - OVER THE SHOULDER As she walks towards the end of the corridor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANOTHER CORRIDOR. BABENKO HOSPITAL - DAY<\/stage_direction>\n    <scene_description>PULLING RACHEL As she moves down another corridor . She reaches an opening on her left , which reveals a STAIRCASE winding around a central lift shaft , caged in frosted glass panels . She glances through it as she passes . And just for a second we see an ELDERLY MAN walking down the stairs . Rachel has walked on a few steps before it registers , and she stops - VOGEL . She walks back to the opening . The figure seems to have retraced their steps , because they are now walking FURTHER UP the staircase , on the other side of the lift shaft - a shadowy figure through the frosted glass which quickly disappears from sight . Rachel stares after him , frozen . What did she just see ?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRWELL. HOSPITAL - DAY<\/stage_direction>\n    <scene_description>She begins to climb the stairs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REC ROOM - DAY<\/stage_direction>\n    <scene_description>Rachel comes through double doors and finds herself in a long REC ROOM - PATIENTS and some STAFF grouped around the room . Rachel begins to walk through the room - elderly men all around her , playing cards , reading , some sitting staring vacantly . She walks through them , staring at faces . Is he here ? Is he amongst this ordinary world ? She feels her pace quicken as she 's drawn on through the room . It 's as if she 's back at that terrible night . Vogel 's ahead of her somewhere , escaping all over again . She FLASHES through DOUBLE DOORS into a junction area - a long , empty corridor leading away from her on the right , ahead another set of double doors . She bursts through these doors and finds herself in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCKER ROOM\/BATHROOM - DAY<\/stage_direction>\n    <scene_description>A long , white tiled corridor of a room . A row of windows down the right , under which sit WASHBASINS . There 's a row of LOCKERS and DOORS along the left . Rachel walks on , feeling increasingly as if she 's in a dream . She 's deep into the room before she realises it 's a dead - end - there 's no exit ahead of her .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( a dull rasp . )<\/parenthetical>\n    <dialogue>Why did you come?<\/dialogue>\n    <scene_description>She turns and freezes . Vogel has emerged from one of the doorways on the left . Now he 's between her and the doors on the far side of the room .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Why did you have to come? You did n't have to follow me.<\/dialogue>\n    <scene_description>He begins to advance slowly towards her .<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Was it Schevchuk? Did he talk?<\/dialogue>\n    <scene_description>Rachel stands frozen as he creeps closer . He reaches out a hand as if to reassure her , a ghastly attempt at reasonableness .<\/scene_description>\n    <character>VOGEL<\/character>\n    <dialogue>I can stop him. I wo n't tell him anymore.<\/dialogue>\n    <parenthetical>( Almost pleading . )<\/parenthetical>\n    <dialogue>Nobody needs to know.<\/dialogue>\n    <scene_description>As if the spell has broken Rachel makes a sudden dart for the doors . But before she can pass him , Vogel has moved with surprising speed and , almost before Rachel has seen the SCISSORS in his other hand , he has stabbed them into her shoulder . She reels over against the opposite wall , dislodging a GLASS SHELF which shatters into a WASHBASIN behind her . Vogel goes after her , pinning her against the basin , one hand on her throat , the other hand trying to stab her again . Rachel manages to grab the scissor hand and the two struggle frantically . The scissors inch closer to her FACE , to her EYE . Her other hand emerges from the basin behind her holding a piece of the broken glass shelf , which she whips across Vogel 's face . He gives a horrible shriek and lets her go , clutching at his cheek . Rachel collapses gasping to the floor . Moaning , Vogel stumbles to a basin , blood dripping down onto the white porcelain from his slashed face . He suddenly notices Rachel has made it to her knees and is trying to crawl towards the door , He walks after her , pulls back her head , gets ready to stab the scissors into her throat .<\/scene_description>\n    <character>VOGEL<\/character>\n    <dialogue>You Jews never knew how to kill. Only how to die.<\/dialogue>\n    <scene_description>Then he gives a gasp of pain , eyes closed , his whole body doubling with the pain , hands weakly scrabbling at the PIECE OF GLASS Rachel has stabbed into his thigh . He falls , almost on top of Rachel , and she finds herself pressed against his contorted face as he hisses and spits in agony . His hand searches blindly for the dropped scissors . Rachel grapples with him , almost embracing him , apparently trying to prevent him for reaching it . His searching hand locates the scissors and his eyes open in triumph , staring straight into Rachel 's . He raises the scissors above his head . Then he stabs Rachel in the stomach . Rachel jack - knifes , as if she 's been punched . Then . nothing . Both lie still . The only sound is Vogel 's rasping breathing . Slowly Vogel gathers himself , drops the scissors , gets onto his knees - the victor . He climbs to his feet and begins to limp towards the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - DAY<\/stage_direction>\n    <scene_description>PULLING VOGEL . as he walks down the corridor , breathing hard , trying to make it back to his room , back to safety . Suddenly he staggers against the wall . Something 's wrong , something in his back . He twists around trying to locate the source of the strange sensation . And there it is - the HYPODERMIC NEEDLE Rachel has stuck between his shoulders . He touches it with his fingertips , eyes wide with horror , feeling the rush of lethal chemicals through his blood . He twists again trying to pull the needle free but his legs are already giving way and he collapses to the floor . Moments later he 's dead .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WASHROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Rachel manages to turn over , starts to drag herself up . MUSIC begins .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 414 - DAY<\/stage_direction>\n    <scene_description>As the music continues we see Yuri putting his coat on . He 's evidently finished his fruitless interview with Schevchuk , who is sitting slumped by the window . Yuri turns , about to leave , when he suddenly notices a NOTE upon the desk , ADDRESSED TO HIM . Surprised , he picks up the note and begins to read it . INSERT We see the first line - `` My name is Rachel Singer . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BABENKO HOSPITAL - CONTINUOUS<\/stage_direction>\n    <scene_description>The road at the back of the hospital . The music continues as we TRACK with Rachel , staring steadily ahead , walking slowly down the long road , her coat pulled around her . In the distance , framed between the arches , her abandoned car . Blood begins to spot the ground behind her . YOUNG RACHEL 'S P.O.V - THE PAST We are in darkness . Then a DOOR opens ahead of us and slides to one side revealing an oval of brilliant white light . Slowly we TRACK FORWARD towards the harsh light . OLDER RACHEL . walking on towards her car . MILITARY AIRBASE . ISRAEL - THE PAST YOUNG RACHEL 'S P.O.V - We 're at the top of an AIRPLANE STAIRWAY , which leads down to the runway below , and two lines of waiting DIGNITARIES , applauding . OLDER RACHEL Walking on - a small lone figure against the white of the snow . MILITARY AIRBASE . ISRAEL - THE PAST The three YOUNG PEOPLE begin their descent down the stairs towards the WELCOME PARTY . OLDER RACHEL . tiny , framed within the two arches . Still moving towards the car . MILITARY AIRBASE . ISRAEL - THE PAST We CLOSE on Young Rachel as she blinks against the harsh sunlight , takes out a pair of sunglasses and slips them on . Then she steps forward to accept her reward . FADE OUT<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In 1997, Rachel is honoured by her daughter Sarah during a release party in Tel Aviv for Sarah's book based on the account Rachel, Stefan and David gave of the events in 1965. Concurrently, David is escorted from his apartment by an Israeli government agent for a debriefing. David recognises Stefan waiting in another vehicle and unable to face their lie, he commits suicide by stepping in front of an oncoming truck. In 1965, a young Mossad agent Rachel Singer on her first field assignment arrives in East Berlin to meet with more experienced agents David Peretz and Stefan Gold. Their mission is to capture Nazi war criminal Dieter Vogel\u2014infamously known as \"The Surgeon of Birkenau\" for his medical experiments on Jews during World War II\u2014and bring him to Israel to face justice. Rachel and David present themselves as a married couple from Argentina and Rachel becomes a patient at Vogel's obstetrics and gynaecology clinic. At a doctor appointment, Rachel injects Vogel with a sedative during an examination and induces the nurse to believe that he has suffered a heart attack. Stefan and David arrive dressed as paramedics and make off with the unconscious Vogel in an ambulance. They attempt to leave by train, but Vogel awakens and sounds the horn of the van where he is being held, alerting guards to their presence. In the ensuing shootout, David sacrifices his chance to escape in order to save the compromised Rachel. The agents have no choice but to bring Vogel to their apartment and plan a new extraction. The agents take turns monitoring and feeding Vogel while leaving him chained to the wall heater. During his shift, David becomes violently enraged after Vogel explains his beliefs that Jews have many weaknesses, such as selfishness, making them easily subdued. David smashes a glass plate over Vogel's head and repeatedly beats him, only to be stopped and restrained by Stefan. Later on, Stefan and David go out, leaving Rachel home to monitor Vogel by herself. After managing to cut through his bonds using a shard of the broken plate, Vogel ambushes Rachel with the shard, leaving her with a permanent scar on her face and escapes. Panicking and hoping to avoid humiliation, Stefan convinces Rachel and David to go along with the fiction that Vogel was killed. They agree to lie and use the cover story that Rachel shot and killed Vogel as he attempted to flee. In the following years, the agents become venerated as national heroes for their roles in the mission. At a dinner after their daughter's book release party, Stefan takes Rachel aside to set a meeting to discuss new information he has obtained. Later, at David's flat, Stefan provides evidence that Vogel is in a Mental Hospital in Ukraine, and is soon scheduled to be interviewed by a local journalist. Stefan claims David killed himself because he was a coward. Rachel refutes Stefan's explanation, recalling an encounter with David a day before his suicide, in which he revealed his shame about the lie and disclosed that he had spent years unsuccessfully searching the world for Vogel so he could finally be brought to justice. He was further disheartened by Rachel's admission that she would continue propagating the lie to protect those closest to her, particularly her daughter. Nevertheless, Rachel finally feels compelled to travel to Kiev. She investigates the journalist's lead and is able to travel to the asylum. She reaches the room just minutes before the journalist and discovers the man claiming to be Vogel is not him. Describing the encounter to Stefan over the phone, Rachel declares she will not continue to lie about the 1965 mission. She leaves a note for the journalist and suddenly spots the real Vogel among the other patients and follows him to an isolated area of the hospital. After a confrontation in which Vogel stabs her twice with scissors, Rachel kills Vogel by plunging a poisoned syringe into his back. Later Rachel's note is discovered and read by the journalist. It describes the truth of the mission, ready to be relayed to the world."}
{"movie_name":"The White Ribbon_2009","imdb_id":"tt1149362","script":"<script>\n  <scene>\n    <stage_direction>INT. COVERED RIDING SCHOOL OF THE MANORIAL ESTATE - DAY MONTAGE OF CLOSE-SHOTS:<\/stage_direction>\n    <scene_description>A man is riding a dressage horse . We ca n't see his face . Only his boots , spurs , whip , the taut reins , the horse 's foamy mouth , the movements that steer the animal . We watch him for a while and hear the SNORTS of the horse , the dull SOUND of THE HOOVES on the ground , the fast - uttered COMMANDS of the rider . Then we start to hear a gentle voice :<\/scene_description>\n    <character>NARRATOR<\/character>\n    <parenthetical>( o.s . )<\/parenthetical>\n    <dialogue>I do n't know if the story that I want to tell you, reflects the truth in every detail. Much of it I only know by hearsay, and a lot of it remains obscure to me even today, and I must leave it in darkness. Many of these questions remain without answer. But I believe I must tell of the strange events that occurred in our village, because they may cast a new light on some of the goings - on in this country.<\/dialogue>\n    <scene_description>LONG SHOT OF THE RIDING STABLES . The rider is the village doctor , a gaunt , intellectual - looking man of around 60 , who has finished his dressage session , and now rides toward the open gate beside the CAMERA , goes through it and into the landscape . We see him in the avenue , now visible behind him , and watch him grow smaller until he vanishes .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <parenthetical>( o.s. continuing . )<\/parenthetical>\n    <dialogue>Everything began, if I remember correctly, with the doctor's riding accident. After his dressage session in the manor's riding school, he was first headed for his home.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE DOCTOR'S PROPERTY  - DAY<\/stage_direction>\n    <scene_description>The garden opens up on the meadows and fields of the flat countryside . The doctor lies beside his wounded horse . His arm is strangely twisted , his broken collarbone has made a bump in the blood - drenched jacket . He yells with pain . After a few moments Xenia , the doctor 's 12 - year old daughter , comes running out of the house . She rushes up to her father and looks at him , horrified , then at the twitching horse , screams with horror . Her father shouts something to her , she bends over him and tries to raise him to his feet . He screams at her as he 's in such pain . She staggers back helplessly , he shouts something to her again , whereupon she runs off . We hear all this from far away , because during the whole scene the narrator has continued his tale :<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>to see if any of his patients had arrived. As it entered the property, the horse had tripped over a hardly visible, taut wire that had been strung between two trees. The doctor's fourteen - year old daughter had watched the accident from the window of the house, and was able to inform the woman who was their neighbor, who in turn got the message to the manor house, so that the agonizing doctor could be transported to the hospital of the district capital that was over 30 kilometers away.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLAGE-STREET AND SCHOOL  - DAY<\/stage_direction>\n    <scene_description>Emilie Wagner , a skinny , modestly dressed woman in her late thirties hurries along the village street .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>The neighbor, a single woman of around 40, was the village midwife, who had filled the invaluable position of housekeeper and receptionist for the doctor since the death of his wife in childbirth. After tending to the doctor's two children, she had gone to the school to fetch her own son, Hans. Since she did n't like leaving him alone, she asked me - in return for a small fee - to keep him at the school with me every day, after the other children had finished their lessons. But on the day of the riding accident there was choir practice in the afternoon, so that most of the children were still present.<\/dialogue>\n    <scene_description>A few children pass Emilie and greet her . Then she reaches the school . The door is open . The schoolchildren stream out . We see the schoolteacher , a slight man , hardly 30 years old , talking inside to some of the older students . Martin , a tall gangly boy of around 12 , whose elegant clothes make him stand out among the other children coming out of the school , turns to the midwife :<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Were you at Xenia's place?<\/dialogue>\n    <scene_description>He 's interrupted by Marie , a delicate , pretty and polite girl of around 13 who has the odd characteristic of already behaving like an adult .<\/scene_description>\n    <character>MARIE<\/character>\n    <dialogue>Ca n't you say hello? Good afternoon, Mrs. Wagner, excuse me.<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <dialogue>Hello, Marie.<\/dialogue>\n    <character>MARIE<\/character>\n    <dialogue>We're so worried, you know. That's why Martin forgot his manners.<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <dialogue>That's all right.<\/dialogue>\n    <character>MARIE<\/character>\n    <dialogue>How is the Doctor?<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <dialogue>Not very well.<\/dialogue>\n    <character>MARIE<\/character>\n    <dialogue>Will he have to stay in the hospital?<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <scene_description>The midwife is tired of Marie 's precocious and endless questions . She peers over the heads of children surrounding them , looking for someone in the classroom .<\/scene_description>\n    <character>MARIE<\/character>\n    <dialogue>We'll take care of Xenia. Maybe, we can help her somehow.<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <parenthetical>( distracted . )<\/parenthetical>\n    <dialogue>Good idea. It'll cheer her up.<\/dialogue>\n    <scene_description>She has seen her son , who 's coming out of the door : he is a mongoloid boy of 8 . His name is Hans . He hesitates , as he sees his mother surrounded by the others . The midwife leaves the group and goes over to him .<\/scene_description>\n    <character>MIDWIFE<\/character>\n    <dialogue>Well, did you enjoy the singing?<\/dialogue>\n    <character>HANS<\/character>\n    <parenthetical>( nods eagerly . )<\/parenthetical>\n    <dialogue>It was great!<\/dialogue>\n    <scene_description>The schoolteacher comes in .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Show your mother what you've been singing.<\/dialogue>\n    <scene_description>Hans looks doubtfully , first at the schoolteacher , then at his mother , who nods at him encouragingly . After hesitating for a second , he starts to SING :<\/scene_description>\n    <character>HANS<\/character>\n    <dialogue>La. La. lalala.<\/dialogue>\n    <scene_description>MARIE turns to leave .<\/scene_description>\n    <character>MARIE<\/character>\n    <dialogue>Good - bye, Sir. Good - bye, Mrs. Wagner.<\/dialogue>\n    <scene_description>Her saying good - bye acts as an invitation to the other children : they also SAY GOOD - BYE , though some less distinctively , and follow the girl . TRACKING SHOT with the children . After a short distance , Georg , a strong boy of around 13 , shouts , encouraging the others :<\/scene_description>\n    <character>GEORG<\/character>\n    <dialogue>Last one is a rotten egg!<\/dialogue>\n    <scene_description>Then he sprints off . Most of the children follow him . But Marie and some of the other kids merely walk off at a brisk pace . The CAMERA , that stopped when Georg ran off , now FOLLOWS Marie , so that , after a while , the others can be seen again at the far end of the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE DOCTOR'S HOUSE  - DAY<\/stage_direction>\n    <scene_description>Xenia , who is herself in a pitiful condition , holds her four - year - old brother Rudolph on her knees . She rocks him and herself back and forth . As his head is bowed , we can only guess that he 's crying . After a while<\/scene_description>\n    <character>XENIA<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>If you want, I can cut out some animals for you, as I did last week?<\/dialogue>\n    <scene_description>No reaction .<\/scene_description>\n    <character>XENIA<\/character>\n    <dialogue>Would you like that?!<\/dialogue>\n    <scene_description>Rudolph shakes his head faintly .<\/scene_description>\n    <character>XENIA<\/character>\n    <dialogue>We could color them together, no?<\/dialogue>\n    <scene_description>No reaction .<\/scene_description>\n    <character>XENIA<\/character>\n    <dialogue>Or we could cut them from the lovely colored paper? The golden one, do you remember? The one I got for Easter?<\/dialogue>\n    <scene_description>No reaction . Xenia ends up pressing her head helplessly against her little brother 's head and mutters :<\/scene_description>\n    <character>XENIA<\/character>\n    <dialogue>Come on, come on.<\/dialogue>\n    <scene_description>They remain that way for a while . Finally Xenia raises Rudolph high enough so she can stand up :<\/scene_description>\n    <character>XENIA<\/character>\n    <dialogue>All right! Now I'm going to make us something to eat. Mrs. Wagner has prepared everything, I.<\/dialogue>\n    <character>RUDOLPH<\/character>\n    <parenthetical>( interrupts her softly , his head still . )<\/parenthetical>\n    <dialogue>bowed. -RRB- What if he never comes back?<\/dialogue>\n    <character>XENIA<\/character>\n    <parenthetical>( as if she has n't understood . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Rudolph merely shakes his bowed head . Xenia kneels down in front of her brother and tries to look into his eyes , but the boy bows his head even deeper .<\/scene_description>\n    <character>XENIA<\/character>\n    <parenthetical>( tenderly . )<\/parenthetical>\n    <dialogue>Come on! Do n't be stupid! It goes away just like the flu. Remember last winter? You were very sick, were n't you? And then, two weeks later.<\/dialogue>\n    <scene_description>A NOISE makes her cock her ear : it 's as if something had hit the window in the next room . Xenia stands up and listens . SILENCE . And then , after listening for a while , once again the same noise .<\/scene_description>\n    <character>XENIA<\/character>\n    <dialogue>Hush!<\/dialogue>\n    <scene_description>She goes into the OTHER ROOM and , hiding behind the curtain , looks out . Outside , the group of children are gathered around Marie . They look up at the house . They 're waiting for something . After a while , Georg , the boy who earlier had urged them to race , throws another stone at the window . Xenia is startled . She hesitates . Finally , she opens the window .<\/scene_description>\n    <character>GEORG<\/character>\n    <dialogue>Hi, Xeni!<\/dialogue>\n    <scene_description>Xenia does n't answer . After a while<\/scene_description>\n    <character>MARIE<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>How are you? Can we help you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MANOR  - NIGHT<\/stage_direction>\n    <scene_description>The steward of the estate , a heavy set rustic man in his mid fifties , is talking with the landowner -LRB- who 's about the same age -RRB- . They are standing beside a team of carthorses . With a torch the steward lights up a dead horse that lies on the ground after being towed in by the carthorses .<\/scene_description>\n    <character>STEWARD<\/character>\n    <dialogue>its tendons were almost severed. It never would have recovered.<\/dialogue>\n    <scene_description>The landowner bends down and examines the wounds on the pasterns of the dead animal 's front legs .<\/scene_description>\n    <character>LANDOWNER<\/character>\n    <dialogue>How did that thing get there? Did n't the Doctor say anything?<\/dialogue>\n    <character>STEWARD<\/character>\n    <parenthetical>( with a snicker . )<\/parenthetical>\n    <dialogue>He was in no mood to talk, with his collarbone sticking out of his throat. I asked his daughter. She has no idea. He always rides through those trees.<\/dialogue>\n    <character>LANDOWNER<\/character>\n    <dialogue>Did you look at the wire?<\/dialogue>\n    <character>STEWARD<\/character>\n    <dialogue>Of course. It's thin, but strong. You can hardly see it, if you do n't look closely.<\/dialogue>\n    <character>LANDOWNER<\/character>\n    <dialogue>But why was it tied there?<\/dialogue>\n    <character>STEWARD<\/character>\n    <parenthetical>( shrugging . )<\/parenthetical>\n    <dialogue>And at knee height! I do n't know. Maybe so the kids could jump over it. No idea. I do n't think the doctor himself was stupid enough to tie that thing there.<\/dialogue>\n    <character>LANDOWNER<\/character>\n    <dialogue>Meaning?<\/dialogue>\n    <character>STEWARD<\/character>\n    <dialogue>Meaning : I do n't know. Anyway it was definitely put there intentionally and looks damn.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MANOR. LIVING ROOM ON THE TOP FLOOR.  - NIGHT<\/stage_direction>\n    <scene_description>Sigi , the 9 - year old son of the landowner stands at the window , and watches his father and the steward standing in the torchlight beside the dead horse . In the background MUSIC -LRB- Piano\/violin -RRB- . After a short while the two men down in the courtyard separate : the landowner heads to the manor , the steward with the team of carthorses to a farm building . Sigi turns away from the window and looks into the room . There his mother Beatrix , a beautiful , nervous woman in her late thirties , is sitting at a baby grand piano . Beside her stands the tutor , holding a violin tucked under his chin . He looks as if he 's in his late twenties , plump and slightly greasy , and obviously infatuated with his beautiful employer , who has just interrupted her playing with an annoyed sigh .<\/scene_description>\n    <character>TUTOR<\/character>\n    <dialogue>I'm sorry, Madame. You're just playing too well for me.<\/dialogue>\n    <character>BEATRIX<\/character>\n    <dialogue>Stop apologizing and concentrate. That'll be more helpful for both of us.<\/dialogue>\n    <character>TUTOR<\/character>\n    <dialogue>To tell the truth : You're just playing too fast for me. I'm not Paganini.<\/dialogue>\n    <scene_description>Beatrix looks up at him with a quick amused smile , then turns back the pages of her sheet music .<\/scene_description>\n    <character>BEATRIX<\/character>\n    <dialogue>Well, let's start all over again at the letter D.<\/dialogue>\n    <scene_description>The tutor does the same , they glance at each other and start again . Sigi watches them from the window , then he saunters in , stops some distance away and watches . Then he saunters away again . Suddenly , Beatrix stops playing again .<\/scene_description>\n    <character>BEATRIX<\/character>\n    <dialogue>Listen, darling. If you like the music, then sit down beside me and turn the pages of the sheet music. But if you're bored, go up to your room and at least stay out of my sight. It makes me nervous if you're constantly sauntering around in front of me.<\/dialogue>\n    <scene_description>Sigi bows his head ashamed , but does n't move .<\/scene_description>\n    <character>BEATRIX<\/character>\n    <parenthetical>( turning to the tutor . )<\/parenthetical>\n    <dialogue>By the way, what time is it? Where is the girl?<\/dialogue>\n    <scene_description>The tutor pulls out his pocket watch .<\/scene_description>\n    <character>TUTOR<\/character>\n    <dialogue>She's with the twins, I presume. Twenty to nine.<\/dialogue>\n    <character>BEATRIX<\/character>\n    <dialogue>Twenty to nine?!<\/dialogue>\n    <parenthetical>( turning to Sigi . )<\/parenthetical>\n    <dialogue>: You should have been in bed long ago.<\/dialogue>\n    <parenthetical>( to the tutor . )<\/parenthetical>\n    <dialogue>Has he done his homework?<\/dialogue>\n    <character>TUTOR<\/character>\n    <dialogue>Of course, Madame.<\/dialogue>\n    <character>BEATRIX<\/character>\n    <dialogue>All right.<\/dialogue>\n    <parenthetical>( to Sigi . )<\/parenthetical>\n    <dialogue>: Well, do you want to turn the pages for me or not?<\/dialogue>\n    <scene_description>Sigi nods .<\/scene_description>\n    <character>BEATRIX<\/character>\n    <dialogue>Then come here!<\/dialogue>\n    <scene_description>With a little caustic smile , she taps beside her on the piano bench . Sigi comes over sits down beside her and looks at the sheet music . Beatrix turns the pages back .<\/scene_description>\n    <character>BEATRIX<\/character>\n    <parenthetical>( to the tutor . )<\/parenthetical>\n    <dialogue>All right, here we go again the letter D. Try to play a bit faster. Or else I might as well play with the village schoolteacher.<\/dialogue>\n    <scene_description>They PLAY again . Sigi reads the music with her , then turns the page .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RECTORY. DINING ROOM.  - NIGHT<\/stage_direction>\n    <scene_description>Marie and Martin come through the door and stand in front of it . At the dinner table , the pastor -LRB- in his mid - forties -RRB- sits with his back to the door . In front of him , at the other end of the table , sits his wife Anna , a woman in her late forties . On the sides of the table sit the children : Anton -LRB- 11 -RRB- , Magdalena -LRB- 10 -RRB- , Katharina -LRB- 9 -RRB- and Florian -LRB- 7 -RRB- . Two other places are empty . The table is set for 8 people , but the plates are empty . SILENCE .<\/scene_description>\n    <character>MARIE<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>Please forgive us.<\/dialogue>\n    <character>MARTIN<\/character>\n    <parenthetical>( following her lead . )<\/parenthetical>\n    <dialogue>Please forgive us.<\/dialogue>\n    <scene_description>SILENCE . Then the pastor speaks very quietly , without turning to the two children :<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>There's no question of forgiving. You have n't offended me. It's your mother and your brothers and sisters that you have frightened away and offended. Ask them for forgiveness. You amaze me. I did n't know that the two oldest and therefore most reasonable of my children would n't mind frightening their mother and brothers and sisters to death.<\/dialogue>\n    <scene_description>He turns around toward the two children :<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>Are you now grown up enough to live on your own? Are you? Do you want to leave home and start a life of your own? So you can come and go as you please, and nobody gets in your way. Is that what you want?<\/dialogue>\n    <scene_description>The two remain silent , their heads bowed . The pastor turns his back to them again , and faces the table .<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>Nobody at this table has eaten tonight. When it grew dark, and you had n't returned, your mother went all over the village in tears, looking for you. Do you really think we could've enjoyed our meal, if we feared something had happened to you? Do you think we can enjoy our meal now, when you've come back and dish up lies as an excuse? I do n't know what's worse your absence or your coming back.<\/dialogue>\n    <parenthetical>( PAUSE . )<\/parenthetical>\n    <dialogue>. Tonight we shall all go to bed hungry.<\/dialogue>\n    <scene_description>He stands up , followed by the mother and the children who were sitting at the table . Again he turns to the two wrongdoers :<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>You probably agree with me, that I can not leave your offense unpunished, if we want keep living in mutual respect. So, tomorrow evening at this hour, I shall give each of you 10 strokes of the cane. Until then, you have time to ponder over your offense. Do you agree with me?<\/dialogue>\n    <character>MARIE and MARTIN<\/character>\n    <dialogue>Yes, Father.<\/dialogue>\n    <character>PASTOR<\/character>\n    <dialogue>All right then. Go to bed now, all of you.<\/dialogue>\n    <scene_description>The children who were sitting at the table go first to their mother , then to their father . They kiss their hands and leave the room . As Marie and Martin want to do the same , the father says<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>I refuse to be touched by you. Your mother and I will sleep poorly because we know I have to hurt you tomorrow, and because it will more painful to us than the strokes will be painful to you. Leave us alone and go to bed.<\/dialogue>\n    <scene_description>As the two children are about to leave the room , he says<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>When you were small, your mother once in a while would tie a ribbon in your hair or around your arm. Its white color was to remind you of innocence and purity. I thought that at your age you were well - mannered enough to get by without such reminders. I was wrong. Tomorrow, once you've been purified by your punishment, your mother will tie such a ribbon on you again, and you'll wear it until your behavior shows us that we can trust you again.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE DOCTOR'S PROPERTY  - DAY<\/stage_direction>\n    <scene_description>CLOSE ANGLE : one of the trees to which the wire was tied that tripped up the doctor 's horse . A policeman is looking for clues . With him are Xenia , Rudolph , the midwife and her son Hans . The two boys do n't show much interest in the investigation . They run after each other in the garden and the neighboring fields . Hans especially seems enjoy this , and is shrieking with delight .<\/scene_description>\n    <character>POLICEMAN<\/character>\n    <dialogue>Where is the wire now?<\/dialogue>\n    <scene_description>The midwife looks at Xenia , who shrugs her shoulders .<\/scene_description>\n    <character>POLICEMAN<\/character>\n    <dialogue>Then who took it away?<\/dialogue>\n    <character>XENIA<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>POLICEMAN<\/character>\n    <dialogue>You were n't here?<\/dialogue>\n    <scene_description>Xenia , uncertain , looks at the midwife .<\/scene_description>\n    <character>POLICEMAN<\/character>\n    <dialogue>Did you accompany your father? To town?<\/dialogue>\n    <character>XENIA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>POLICEMAN<\/character>\n    <dialogue>That means you were here.<\/dialogue>\n    <character>XENIA<\/character>\n    <dialogue>I was in school. Today.<\/dialogue>\n    <character>POLICEMAN<\/character>\n    <dialogue>And when you left for school, the wire was still here?<\/dialogue>\n    <character>XENIA<\/character>\n    <dialogue>I did n't check.<\/dialogue>\n    <scene_description>The policeman turns to the midwife :<\/scene_description>\n    <character>POLICEMAN<\/character>\n    <dialogue>And when did you come?<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <dialogue>At noon. I make lunch for the Doctor and the kids. Since the death of the Doctor's wife, I've been helping him out.<\/dialogue>\n    <character>POLICEMAN<\/character>\n    <dialogue>Since when?<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <dialogue>It's been 4 years. Since the birth of little Rudolph. I'm the midwife here. We often work together.<\/dialogue>\n    <character>POLICEMAN<\/character>\n    <dialogue>But you did n't see anything?<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>POLICEMAN<\/character>\n    <dialogue>Do you have any idea how long the wire had been there?<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <dialogue>I'd never seen it before.<\/dialogue>\n    <character>POLICEMAN<\/character>\n    <parenthetical>( angrily . )<\/parenthetical>\n    <dialogue>Let me get this straight : Nobody saw the thing before, nobody saw it afterwards. It wound itself around the two trees all alone, and made itself vanish after the doctor's fall. Right?<\/dialogue>\n    <scene_description>Neither the midwife nor Xenia know what to answer . At that moment Hans comes running in from the field , excited :<\/scene_description>\n    <character>HANS<\/character>\n    <dialogue>Mother! Look! Look. come!<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <parenthetical>( reluctantly . )<\/parenthetical>\n    <dialogue>What's happening?<\/dialogue>\n    <character>HANS<\/character>\n    <dialogue>People! Lots of people. Come!<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <parenthetical>( to the policeman . )<\/parenthetical>\n    <dialogue>Sorry.<\/dialogue>\n    <scene_description>Indeed , as the midwife sets outs for the field , a group of people hurry along the path bordering the doctor 's property , and cross our POV . They carry a body on a makeshift stretcher . The policeman and Xenia follow the midwife . The group vanishes as quickly as it appeared behind the surrounding bushes . As the group was approaching , we have been hearing<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>The day following the doctor's riding accident not only brought no solution to the question of who'd done it, but a second, far more tragic incident almost made people forget the misfortune of the previous day the wife of a tenant farmer died in a work - accident.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FARM  - DAY<\/stage_direction>\n    <scene_description>It 's very dark in the low - ceilinged room . Small windows . A couple of women in peasant dresses take care of the dead woman , who 's been laid out on the bed . The women remove her clothes and wash her .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>The woman, who because of an injured arm could only do light work, had been dispensed by the steward from harvesting chores, and was assigned to easier work in the sawmill.<\/dialogue>\n    <scene_description>Everything happens very silently . An elderly woman , a midwife specialized in bathing , takes care of the proceedings . Every time the door is opened , one hears the mutterings of the people waiting outside . Soiled water is carried out , new underwear brought in , and the women start to clothe the naked corpse again . Outside , the sounds of excited VOICES are getting louder . Then the door opens and the farmer -LRB- around fifty -RRB- enters the room . The old midwife turns around angrily :<\/scene_description>\n    <character>BATHING-MIDWIFE<\/character>\n    <dialogue>You stay outside! I have n't yet.<\/dialogue>\n    <character>FARMER<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>Get out!<\/dialogue>\n    <scene_description>Reluctantly , the old midwife abandons her half completed work , not without having spread the dress she had draped over the still half - naked body of the dead woman . The other women follow her , embarrassed . Once the door has closed behind them , the farmer just stands there . Only after a long while does he move forward and sit beside his dead wife . He remains seated , motionless . For a very long time . He only tugs once at the dress draped over the half - naked body , as if he wanted to cover a patch of nudity . Then he just sits there again in the dark room , and only his halting breath lets us know that any moment he may cry .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A RIVER AND MEADOW WITH BRIDGE  - DAY<\/stage_direction>\n    <scene_description>With his net and his fishing rod the schoolteacher is landing a fish .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>On the same day, I had a strange encounter the weather was beautiful and hot, so I decided to try and improve my meager menu with some brown trout, which are plentiful in the river. The landowner apparently liked me, and allowed me to fish.<\/dialogue>\n    <scene_description>Suddenly , the schoolteacher stops dead : like a tightrope walker Martin is walking along on the top of the wall of the bridge , thirty feet above the riverbed .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( shouts , fearful . )<\/parenthetical>\n    <dialogue>Martin!<\/dialogue>\n    <scene_description>The boy does n't seem to hear him and keeps up his balancing act .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( louder . )<\/parenthetical>\n    <dialogue>Martin!<\/dialogue>\n    <scene_description>The boy keeps at it . The schoolteacher quickly wades ashore , throws his fishing rod and the net and the wriggling fish on the gravel beside the river and climbs up the river bank . When he gets on top , he sees the boy balancing himself at the other end of the bridge .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Martin, be careful!<\/dialogue>\n    <scene_description>The boy takes a few more steps , then reaches the end of the wall and jumps down onto the bridge . Hesitatingly , he turns to the schoolteacher , who comes toward him .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Are you completely insane?! Do you want to break your neck?!<\/dialogue>\n    <character>MARTIN<\/character>\n    <parenthetical>( his head bowed . )<\/parenthetical>\n    <dialogue>Hello, sir.<\/dialogue>\n    <scene_description>The schoolteacher has reached him .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>What's happening? Are you mad?! Do n't you know how high that is?<\/dialogue>\n    <scene_description>The boy remains silent , keeping his head bent down .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Did n't you hear me? I shouted to you.<\/dialogue>\n    <character>MARTIN<\/character>\n    <parenthetical>( after a short silence . )<\/parenthetical>\n    <dialogue>Yes, I did.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Well?<\/dialogue>\n    <scene_description>The boy remains silent .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Well?!<\/dialogue>\n    <scene_description>Keeping his head bowed , the boy shrugs a little . The schoolteacher , realizing that this wo n't get him any further , tries again , talking in a gentle voice :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>You saw me down there and wanted to impress me?<\/dialogue>\n    <scene_description>The boy shakes his head .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Well, why did n't you.<\/dialogue>\n    <character>MARTIN<\/character>\n    <parenthetical>( interrupting him . )<\/parenthetical>\n    <dialogue>I gave God an opportunity to kill me. He did n't do it. That means, he's pleased with me.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( staggered . )<\/parenthetical>\n    <dialogue>What are you saying?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>He does n't want me to die.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( bewildered . )<\/parenthetical>\n    <dialogue>Who? Who does n't want you to die?<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>God.<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Why would God want you to die?<\/dialogue>\n    <scene_description>The boy stops answering , his head bowed again . The schoolteacher remains silent and looks at him for a while . Then , he adds softly :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Promise me never to do such nonsense again. All right? Look at me.<\/dialogue>\n    <scene_description>Martin looks up reluctantly .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Promise it to me.<\/dialogue>\n    <scene_description>Martin remains silent . He does n't dare look down , and instead looks past the schoolteacher .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>You do n't trust me, do n't you?<\/dialogue>\n    <character>MARTIN<\/character>\n    <parenthetical>( polite , emotionless . )<\/parenthetical>\n    <dialogue>Yes, I do, Sir.<\/dialogue>\n    <scene_description>The schoolteacher realizes that there 's no use in talking any further .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( concluding . )<\/parenthetical>\n    <dialogue>All right. Go home now. I'll be coming tomorrow for the piano lesson. I'll talk to your father then.<\/dialogue>\n    <scene_description>Martin turns and faces the schoolteacher , and says in such a pleading voice that it startles him :<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Please, do n't tell him! Please, sir, do n't!<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Why?<\/dialogue>\n    <scene_description>Martin just looks pleadingly at the schoolteacher and shakes his head , as if to stress his request .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAWMILL  - DAY<\/stage_direction>\n    <scene_description>Franz , the farmer eldest son , is searching for evidence of his mother 's accident . He is accompanied by the neighbor 's son Matti , a slight boy of around 16 . The sawmill is a ramshackle wooden building beside the river . Matti , who obviously was there when the accident happened , shows Franz the place .<\/scene_description>\n    <character>MATTI<\/character>\n    <dialogue>There. Be careful. Everything's rotten here.<\/dialogue>\n    <scene_description>Franz moves slowly forward . He looks down at the lower floor . Immediately below : the saw . Franz steps back carefully and turns to Matti :<\/scene_description>\n    <character>FRANZ<\/character>\n    <dialogue>Who made her climb up here?<\/dialogue>\n    <character>MATTI<\/character>\n    <dialogue>I have n't a clue. They told us to collect all the lose ends. She just climbed up there.<\/dialogue>\n    <character>FRANZ<\/character>\n    <dialogue>She could never stand heights. It made her dizzy. Who assigned you to this job?<\/dialogue>\n    <character>MATTI<\/character>\n    <parenthetical>( uneasy . )<\/parenthetical>\n    <dialogue>You know how it works. The sawmill needed to be cleaned up, and the foremen pick the weaker harvesters<\/dialogue>\n    <character>FRANZ<\/character>\n    <dialogue>Who picked her?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET AT THE END OF THE VILLAGE  - DAY<\/stage_direction>\n    <scene_description>. The schoolteacher with his fishing gear and several fish that he caught .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>It was on my way home after the strange encounter with Martin that I met Eva for the first time.<\/dialogue>\n    <scene_description>Eva -LRB- 18 -RRB- , a redhead , somewhat chubby , but pretty girl , crosses him way on her bicycle . A big bag is strapped to the baggage carrier .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>EVA<\/character>\n    <parenthetical>( passing by . )<\/parenthetical>\n    <dialogue>Hello.<\/dialogue>\n    <scene_description>The schoolteacher stops , turns to the girl :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( hesitantly . )<\/parenthetical>\n    <dialogue>Excuse me!<\/dialogue>\n    <character>EVA<\/character>\n    <parenthetical>( Off . )<\/parenthetical>\n    <dialogue>Yes?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( embarrassed . )<\/parenthetical>\n    <dialogue>Excuse me for accosting you this way. You're the new nanny of the Baron's children, are n't you?<\/dialogue>\n    <scene_description>We hear the bicycle stopping .<\/scene_description>\n    <character>EVA<\/character>\n    <parenthetical>( o.s . )<\/parenthetical>\n    <dialogue>Why?<\/dialogue>\n    <scene_description>The schoolteacher has turned around and now moves toward the girl .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>They say you're from Oberdorf.<\/dialogue>\n    <character>EVA<\/character>\n    <dialogue>Who says that?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Folks around here.<\/dialogue>\n    <character>EVA<\/character>\n    <dialogue>Oh. So what?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Nothing. I do n't know. Sorry. I'm the schoolteacher here. I just thought I. I do n't know.<\/dialogue>\n    <parenthetical>( he laughs embarrassed . )<\/parenthetical>\n    <dialogue>when I saw you, I thought. I'm from Grundbach. I'm the tailor's son.<\/dialogue>\n    <character>EVA<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( confused . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>EVA<\/character>\n    <dialogue>The Baroness already told me.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>What did she tell you?<\/dialogue>\n    <character>EVA<\/character>\n    <dialogue>That the schoolteacher is from the village next to mine.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>Oh, I see! Yes. Well. I thought.<\/dialogue>\n    <parenthetical>( he points at the bag on the baggage carrier . )<\/parenthetical>\n    <dialogue>You look as if you're going there.<\/dialogue>\n    <character>EVA<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Back home. To Oberdorf.<\/dialogue>\n    <character>EVA<\/character>\n    <parenthetical>( does n't understand what he 's referring to . )<\/parenthetical>\n    <dialogue>Yes?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Are you going there?<\/dialogue>\n    <character>EVA<\/character>\n    <dialogue>Yes, I am.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( does n't know what to say . )<\/parenthetical>\n    <dialogue>Well, I thought. since you'll cycle through our village. you might perhaps.<\/dialogue>\n    <parenthetical>( he 's thinking , looks down and sees the fish . )<\/parenthetical>\n    <dialogue>. say hello to my father and.<\/dialogue>\n    <parenthetical>( laughing at his own idea , he holds up a fish . )<\/parenthetical>\n    <dialogue>bring him one of the fishes. They're fresh. I just caught them.<\/dialogue>\n    <scene_description>Now Eva laughs too .<\/scene_description>\n    <character>EVA<\/character>\n    <dialogue>What?!<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( smiling as if to apologize . )<\/parenthetical>\n    <dialogue>Well. I'm sure he'd be delighted. Especially as it's the start of the weekend.<\/dialogue>\n    <scene_description>She nods at the fish . The absurdity of the suggestion amuses her . At the same time she does n't really know how to behave .<\/scene_description>\n    <character>EVA<\/character>\n    <dialogue>Well, how.<\/dialogue>\n    <scene_description>The schoolteacher holds up the fish , laughs , as if he himself does n't how he got this idea .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>I do n't know either. Unfortunately, I have nothing to wrap them in.<\/dialogue>\n    <scene_description>The both laugh . Pause . Then the girl points at the bag on the baggage carrier of her bicycle and says regretfully :<\/scene_description>\n    <character>EVA<\/character>\n    <dialogue>Neither have I. Unfortunately.<\/dialogue>\n    <scene_description>The schoolteacher has a new `` idea '' :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( `` amused '' . )<\/parenthetical>\n    <dialogue>I could give you some fishing line, to tie them up.<\/dialogue>\n    <character>EVA<\/character>\n    <parenthetical>( equally amused . )<\/parenthetical>\n    <dialogue>There on the bicycle?!<\/dialogue>\n    <scene_description>The schoolteacher shrugs his shoulders with a smile -LRB- `` why not '' -RRB- .<\/scene_description>\n    <character>EVA<\/character>\n    <dialogue>I do n't think that's a very good idea.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>You're right. It was just an idea.<\/dialogue>\n    <character>EVA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Embarrassed pause . Then<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Is that your bicycle?<\/dialogue>\n    <character>EVA<\/character>\n    <parenthetical>( `` What an idea ! ''<\/parenthetical>\n    <parenthetical>. )<\/parenthetical>\n    <dialogue>No! It belongs to the estate.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>I see.<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Is this your first day off?<\/dialogue>\n    <character>EVA<\/character>\n    <parenthetical>( rather suspicious because all this is too . )<\/parenthetical>\n    <dialogue>intimate for her. -RRB- Yes.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Well, you're probably looking forward to being at home.<\/dialogue>\n    <character>EVA<\/character>\n    <dialogue>Yes, I am.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>I can imagine.<\/dialogue>\n    <scene_description>Pause . Then<\/scene_description>\n    <character>EVA<\/character>\n    <parenthetical>( putting the pedals and handlebar in a . )<\/parenthetical>\n    <dialogue>`` ready to leave'' position. -RRB- Well. I've still a long way to go.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( stepping back . )<\/parenthetical>\n    <dialogue>Of course. Well, good - bye.<\/dialogue>\n    <character>EVA<\/character>\n    <dialogue>Good - bye.<\/dialogue>\n    <scene_description>She 's about to ride off .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( with a smile . )<\/parenthetical>\n    <dialogue>If you cycle through Grundbach and see my father, at least say hello to him from me.<\/dialogue>\n    <character>EVA<\/character>\n    <dialogue>I do n't know your father.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>That's true.<\/dialogue>\n    <scene_description>They look at each other for a while and then Eva rides off . The CAMERA FOLLOWS her . Eva and the bicycle are tottering a bit . The girl looks around and shouts , laughing :<\/scene_description>\n    <character>EVA<\/character>\n    <dialogue>I only learned to ride a bicycle today!<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( now o.s. , also shouting . )<\/parenthetical>\n    <dialogue>Well, you're doing fine! But be careful! As she picks up speed, Eva rides better and soon is just a speck on the dusty country road.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE DOCTOR'S HOUSE  - DUSK<\/stage_direction>\n    <scene_description>It 's still too early to switch on the light . Xenia and little Rudolph are sitting in the kitchen , eating . For quite a while . Suddenly<\/scene_description>\n    <character>RUDOLPH<\/character>\n    <dialogue>The woman today. What was wrong with her?<\/dialogue>\n    <character>XENIA<\/character>\n    <parenthetical>( eating . )<\/parenthetical>\n    <dialogue>Which woman? Oh, I see. She was dead.<\/dialogue>\n    <scene_description>Pause . Then<\/scene_description>\n    <character>RUDOLPH<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>XENIA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RUDOLPH<\/character>\n    <dialogue>Dead.<\/dialogue>\n    <scene_description>Xenia looks up from her meal .<\/scene_description>\n    <character>XENIA<\/character>\n    <dialogue>What's dead? My God, that's when someone does n't live anymore. When he's stopped living.<\/dialogue>\n    <scene_description>SILENCE . Then<\/scene_description>\n    <character>RUDOLPH<\/character>\n    <dialogue>When does one stop living?<\/dialogue>\n    <scene_description>Xenia looks up from her meal again . Now she tries to talk more seriously to her brother because she understands that these questions matter to him . But she 's also feeling uneasy and put on .<\/scene_description>\n    <character>XENIA<\/character>\n    <dialogue>When you're too old or very ill.<\/dialogue>\n    <character>RUDOLPH<\/character>\n    <dialogue>And the woman?<\/dialogue>\n    <character>XENIA<\/character>\n    <dialogue>She had an accident.<\/dialogue>\n    <character>RUDOLPH<\/character>\n    <dialogue>An accident?<\/dialogue>\n    <character>XENIA<\/character>\n    <dialogue>Yes. That's when you hurt yourself very badly.<\/dialogue>\n    <character>RUDOLPH<\/character>\n    <dialogue>Like Dad?<\/dialogue>\n    <character>XENIA<\/character>\n    <dialogue>Yes, but much worse than that. So bad, that your body ca n't take it anymore.<\/dialogue>\n    <scene_description>Another SILENCE , Then<\/scene_description>\n    <character>RUDOLPH<\/character>\n    <dialogue>And then you're dead?<\/dialogue>\n    <character>XENIA<\/character>\n    <dialogue>Yes. But most people do n't have an accident.<\/dialogue>\n    <character>RUDOLPH<\/character>\n    <dialogue>That means they do n't need to die?<\/dialogue>\n    <character>XENIA<\/character>\n    <dialogue>No, they die much later.<\/dialogue>\n    <character>RUDOLPH<\/character>\n    <dialogue>When?<\/dialogue>\n    <character>XENIA<\/character>\n    <dialogue>Later, when they're very old.<\/dialogue>\n    <scene_description>Long PAUSE .<\/scene_description>\n    <character>RUDOLPH<\/character>\n    <dialogue>Do all people die?<\/dialogue>\n    <character>XENIA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>RUDOLPH<\/character>\n    <dialogue>All of them, really?<\/dialogue>\n    <character>XENIA<\/character>\n    <dialogue>Yes, everyone dies.<\/dialogue>\n    <character>RUDOLPH<\/character>\n    <dialogue>But not you, Xeni?<\/dialogue>\n    <character>XENIA<\/character>\n    <dialogue>Me too. Everyone.<\/dialogue>\n    <character>RUDOLPH<\/character>\n    <dialogue>But not Dad?<\/dialogue>\n    <character>XENIA<\/character>\n    <dialogue>Dad too.<\/dialogue>\n    <character>RUDOLPH<\/character>\n    <dialogue>Me too?<\/dialogue>\n    <character>XENIA<\/character>\n    <dialogue>You too. But not before a very very long time. All of us, only in a very long time.<\/dialogue>\n    <character>RUDOLPH<\/character>\n    <dialogue>And you ca n't do anything against it? It has to happen?<\/dialogue>\n    <character>XENIA<\/character>\n    <dialogue>It has to happen. But not now, not for a very long time.<\/dialogue>\n    <scene_description>Long PAUSE . Then<\/scene_description>\n    <character>RUDOLPH<\/character>\n    <dialogue>And Mom? She did n't go on a trip?<\/dialogue>\n    <scene_description>PAUSE .<\/scene_description>\n    <character>RUDOLPH<\/character>\n    <dialogue>Is she dead too?<\/dialogue>\n    <scene_description>PAUSE .<\/scene_description>\n    <character>XENIA<\/character>\n    <dialogue>Yes. She's dead too. But that was a long time ago.<\/dialogue>\n    <scene_description>Both remain SILENT . In the meantime it has grown dark in the kitchen . Suddenly , Rudolph brushes away his plate off the table with an angry movement , and turns away from Xenia . The plate shatters on the floor . At first Xenia is stunned , paralyzed . Then she starts to sob , but tries to hide it from her brother .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RECTORY. DINING ROOM.  - NIGHT<\/stage_direction>\n    <scene_description>While we hear the SOUNDS of the punishment and the children being beaten , COUNTING the strokes with increasing MOANS and stifled WHINING , we see -LRB- CLOSE ANGLES -RRB- the faces of the other brothers and sisters . Some have turned away their faces , and others start to cry with pity and fear . Finally both have received their 10 strokes . CLOSE ANGLE : The pastor . He is breathless and beads of sweat on his forehead .<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>There.<\/dialogue>\n    <scene_description>He hands Martin the cane . CLOSE ANGLE : Martin .<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>Here, take the cane and put it back in its place.<\/dialogue>\n    <scene_description>As Martin is about to go , his father goes on :<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>But first you can thank me for trying to protect you from any further misconduct.<\/dialogue>\n    <character>CLOSE ANGLE<\/character>\n    <dialogue>Marie. You know how much I love you and how much it hurts me to inflict such pain on you. Today was a very sad day in my life, and I hope for all of us that it does n't happen again.<\/dialogue>\n    <character>CLOSE ANGLE<\/character>\n    <dialogue>Both kiss their father's hand.<\/dialogue>\n    <character>CLOSE ANGLE<\/character>\n    <dialogue>The pastor.<\/dialogue>\n    <character>PASTOR<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>And now hug me. There's nothing we have to forgive each other anymore. I love you with all my heart.<\/dialogue>\n    <scene_description>He first hugs Marie who , her face still wet with tears , tries a forced smile and then Martin . Then , the pastor turns to his wife :<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>Now the ribbon, Anna.<\/dialogue>\n    <scene_description>Anna goes toward the two children , tying a white ribbon around Martin 's upper arm and another in Marie 's hair .<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>This will remain on you until we're all sure you have learned how to fight bad thoughts and manners. You're well aware, this year you will receive Christ's body in the form of bread and wine. Until then, strive to be free of sinful thoughts. Now let's eat.<\/dialogue>\n    <scene_description>Martin carries the cane out of the room . The pastor and the other children sit around the table . Marie leaves the room with her mother . After all the others have sat down and put their plates back where they were before the punishment , the two come back with two soup bowls and put them on the table . Martin has also come back and sits down at his place beside his father . The pastor folds his hands in prayer , the others follow suit .<\/scene_description>\n    <character>PASTOR<\/character>\n    <parenthetical>( very friendly . )<\/parenthetical>\n    <dialogue>Marie, would you say grace today?<\/dialogue>\n    <character>MARIE<\/character>\n    <parenthetical>( smiling eagerly . )<\/parenthetical>\n    <dialogue>With pleasure, father.<\/dialogue>\n    <scene_description>She bows her head , so do the others .<\/scene_description>\n    <character>MARIE<\/character>\n    <dialogue>Come Lord Jesus and be our guest And bless what you've given to us.<\/dialogue>\n    <character>PASTOR<\/character>\n    <dialogue>Amen. Blessed be this meal.<\/dialogue>\n    <character>THE OTHERS<\/character>\n    <dialogue>Blessed be this meal.<\/dialogue>\n    <scene_description>The mother and Marie open the soup tureens and hand out the soup . Then they eat .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FARM  - NIGHT<\/stage_direction>\n    <scene_description>The body of the farmer 's wife has been laid out . The candles to its left and right are almost burnt out . Its very quiet . Little five - year old Sepp sneaks into the room , bare - foot and wearing a shirt . He hesitates . Then , slowly and carefully , he comes over to his dead mother . He ends up standing beside the bed . The face of the dead woman is covered with a white handkerchief . Sepp is very frightened . He makes several attempts before he dares to lift the handkerchief . Then he watches her , breathless , his eyes and mouth wide open . Suddenly , startled by a noise , he jerks back . He turns around : his 14 - year old brother Paul is sitting on a bench against the wall . He too only wears a shirt .<\/scene_description>\n    <character>SEPP<\/character>\n    <parenthetical>( surprised , with a whispering voice . )<\/parenthetical>\n    <dialogue>Pauli?!<\/dialogue>\n    <scene_description>Paul does n't say a word . Sepp does n't know what to do . He looks at his mother again , then again at his brother . He goes over to him and sits beside him on the bench . Like birds in a cage , they remain seated in the dark . Very close together .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ESTATE. THE STEWARD'S HOUSE. LIVING ROOM. BEDROOM. NIGHT<\/stage_direction>\n    <scene_description>The steward and his children Liesl -LRB- 15 -RRB- , Georg and Ferdinand -LRB- 10 -RRB- -RSB- are waiting for something . Then the door opens and the midwife comes out . She tells them to come into the other room .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>That night, the wife of the steward gave birth to her fourth and last child at the age of 42.<\/dialogue>\n    <scene_description>The children want to follow their father . At least Liesl , a chubby and good - natured teenager , rather plain , ca n't wait to go in . But the midwife tells them to be patient , and only the father is let through .<\/scene_description>\n    <character>LIESL<\/character>\n    <parenthetical>( burning with curiosity . )<\/parenthetical>\n    <dialogue>What is it?<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <parenthetical>( smiling . )<\/parenthetical>\n    <dialogue>Well, what do you think?<\/dialogue>\n    <character>LIESL<\/character>\n    <parenthetical>( shakes her head impatiently . )<\/parenthetical>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <dialogue>It's a boy.<\/dialogue>\n    <character>FERDINAND<\/character>\n    <dialogue>Oh God!<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <dialogue>What do you mean?! Do n't you want a brother?<\/dialogue>\n    <character>FERDINAND<\/character>\n    <dialogue>Pff!<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <dialogue>You're lucky your father ca n't hear you.<\/dialogue>\n    <scene_description>Instead of the father , Georg hits his brother on the back of the head . They quarrel .<\/scene_description>\n    <character>MIDWIFE<\/character>\n    <dialogue>Stop that!<\/dialogue>\n    <scene_description>She steps in and distributes a few smacks . Liesl runs out of the room howling .<\/scene_description>\n    <character>MIDWIFE<\/character>\n    <dialogue>You should be ashamed.<\/dialogue>\n    <character>FERDINAND<\/character>\n    <parenthetical>( Suddenly , as if he 'd become another . )<\/parenthetical>\n    <dialogue>person. -RRB- Sorry.<\/dialogue>\n    <scene_description>The midwife looks at him , confused .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRACK NEAR THE FARM  - DAWN<\/stage_direction>\n    <scene_description>The farmer , Franz and Paul leave the farm , they go to work . The two oldest carry scythes . In the background vast fields of crops . The three walk hurriedly . After a while<\/scene_description>\n    <character>FRANZ<\/character>\n    <parenthetical>( hesitantly . )<\/parenthetical>\n    <dialogue>Father, I have to tell you something.<\/dialogue>\n    <character>FARMER<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>FRANZ<\/character>\n    <dialogue>I went to the sawmill.<\/dialogue>\n    <scene_description>The farmer keeps on walking as if he has n't heard . Franz looks at him from the side . For a long moment he remains silent , while all three keep walking . Then , Franz goes on softly :<\/scene_description>\n    <character>FRANZ<\/character>\n    <dialogue>The floor, on the first level, where mother worked, was totally rotten.<\/dialogue>\n    <scene_description>They keep on walking .<\/scene_description>\n    <character>FRANZ<\/character>\n    <dialogue>The steward, who sent her there, must have known it. And the landowner too.<\/dialogue>\n    <scene_description>The farmer remains silent . They keep walking .<\/scene_description>\n    <character>FRANZ<\/character>\n    <dialogue>Father?!<\/dialogue>\n    <character>FARMER<\/character>\n    <parenthetical>( hostile . )<\/parenthetical>\n    <dialogue>What do you want?<\/dialogue>\n    <character>FRANZ<\/character>\n    <parenthetical>( does n't understand his father 's refusal . )<\/parenthetical>\n    <dialogue>They sent her there knowing it was dangerous.<\/dialogue>\n    <scene_description>The farmer stops , turns to Franz :<\/scene_description>\n    <character>FARMER<\/character>\n    <parenthetical>( aggressive . )<\/parenthetical>\n    <dialogue>What are you getting at?<\/dialogue>\n    <character>FRANZ<\/character>\n    <parenthetical>( does n't understand . )<\/parenthetical>\n    <dialogue>But.<\/dialogue>\n    <character>FARMER<\/character>\n    <parenthetical>( furious , but with forced calm . )<\/parenthetical>\n    <dialogue>Do you want me to sue the Baron? Or kill the steward?<\/dialogue>\n    <character>FRANZ<\/character>\n    <dialogue>I.<\/dialogue>\n    <character>FARMER<\/character>\n    <dialogue>Go and cut off his head of with your scythe. Sure, that'll bring your mother back to life.<\/dialogue>\n    <scene_description>He turns away from Franz and keeps on walking . The others follow . After a few steps<\/scene_description>\n    <character>FRANZ<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>I think our father loved our mother.<\/dialogue>\n    <scene_description>Suddenly the farmer stops and screams , almost crying with fury and despair :<\/scene_description>\n    <character>FARMER<\/character>\n    <dialogue>Shut up!<\/dialogue>\n    <scene_description>CLOSE ANGLE : Paul . He was listening carefully the whole time . He looks at the father . Then , lowers his eyes .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>After these two days in July, life in the village returned to what it had always been.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MONTAGE. INS. DAY\/NIGHT<\/stage_direction>\n    <scene_description>a -RRB- Harvesting . Even teenagers and children are used to tie the sheaves and to do other easier jobs .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>The daily harvesting drove the people almost to exhaustion. Most of the children were busy helping their parents.<\/dialogue>\n    <scene_description>b -RRB- The midwife is doing housework in the Doctor 's house . A quarrel between her retarded son and the 4 - year old Rudolph -LRB- that we barely can follow due to the Narrator 's voice , o.s. -RRB- is settled by the midwife in favor of her son .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>For the time being, the doctor remained in the hospital. In the meantime the midwife catered the basic needs of Xenia and Rudolph, his two children. After the burial of the farmer's wife, that was attended by the whole village, the two accidents were soon forgotten.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MANOR  - DAY<\/stage_direction>\n    <character>NARRATOR<\/character>\n    <dialogue>until the harvest festival at the end of the summer brought the whole village together again, first in a festive hustle and bustle, and then in horror and perplexity.<\/dialogue>\n    <scene_description>The courtyard is full of people , dressed in their Sunday best : Farmers , seasonal - workers , people from the village , children and teenagers . A dance hall has been set up . On it we see the landowner , the steward and the pastor with their families . A couple of younger women , a delegation of the harvesters , goes over to present the harvest crown to the landowner .<\/scene_description>\n    <character>HARVESTER<\/character>\n    <dialogue>with our songs and our prayers We've gathered the rye and given that crown to your lordship. It is not big, it is not small, But pretty, nice and fine. Not with thistles or thorns is it made, but with pure grain. Had our lordship sowed more, The men would've scythed more And we girls gathered more. We girls have gathered the grain, Over mountains and valleys, Over thistles and thorn, Over the fields of our lordship. I wish our lordship a happy life, As many years as there's sand on the beach As many years as there are drops in the rain So much may our lordship be blessed. And as a reward to be of good cheer We'd like for our folks a barrel of beer, And if we could have a fried goose perchance Then we'll all be ready to dance.<\/dialogue>\n    <scene_description>During the poem , the camera has shown all those we have met until now . They have all -LRB- except for the Doctor , the farmer and his two eldest sons -RRB- come to the feast . While all the folks present LAUGH and SHOUT , the maid , with a clumsy curtsy , hands over the harvest crown to the Baron . The village band plays a fanfare . As soon as the hullabaloo has died down<\/scene_description>\n    <character>BARON<\/character>\n    <parenthetical>( answering . )<\/parenthetical>\n    <dialogue>My thanks to all of you. Thank you very much. You have worked well and the heavens were merciful, and now the barns are full. Therefore there's more than enough beer, and you wo n't starve today.<\/dialogue>\n    <scene_description>He points to the open barn , where food and beer are waiting . In front of the barn are tables with long benches .<\/scene_description>\n    <character>BARON<\/character>\n    <dialogue>Enjoy your meal! Eat and drink as much as you wish. You deserve it.<\/dialogue>\n    <scene_description>Again the people YELL and CHEER . Then , the MUSIC starts and the feast is off and running .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VEGETABLE GARDEN OF THE MANOR  - DAY<\/stage_direction>\n    <scene_description>The vegetable garden is at the back of the manor house . In the distance we hear the MUSIC from the feast . Franz , in working clothes , comes over , opens a gate in the fence , then goes to a large field with the cabbages and slices them all off with his scythe . The whole scene looks like a mass execution .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ESTATE  - DAY<\/stage_direction>\n    <scene_description>The party is in full swing : people dance and shout , children run around , young men quarrel and show off in front of the young girls . Older women are stand around in groups , gossiping . Some farmers are gathered around the landowner - he is friendly with them , but we do n't understand what they 're talking about . His wife , with her nervous frailty , looks out of place in this crowd . She 's talking to the schoolteacher .<\/scene_description>\n    <character>BEATRIX<\/character>\n    <dialogue>did n't you promise us a little chorale sung by your prot\u00e9g\u00e9s.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>You have to talk to the pastor, Baroness. We're still busy studying the choir pieces for the confirmation feast.<\/dialogue>\n    <character>BEATRIX<\/character>\n    <parenthetical>( amused . )<\/parenthetical>\n    <dialogue>But that's in spring, my dear. This is the start of autumn.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( smiles , embarrassed . )<\/parenthetical>\n    <dialogue>I know, but unfortunately not all of our little singers are very musical. I'm sorry if.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ESTATE. UNDER THE LIME TREE.  - DAY<\/stage_direction>\n    <scene_description>A quieter part of the estate . Under a big shadowy tree , we see the two strollers of the landowner 's family , a small table and a few chairs . Eva is sitting beside the twins and watches the colorful bustle . Sitting beside her , turning her back to the manor , is Emma , the steward 's wife who is breastfeeding her baby . The steward separates from a group of men and comes over to the two women . As he comes over , he shouts to them :<\/scene_description>\n    <character>STEWARD<\/character>\n    <dialogue>Well, you two `` mothers''? Do n't you want to be part of the festivities?<\/dialogue>\n    <scene_description>Eva looks at the steward 's wife , not knowing , how to react to the `` mother joke '' . But the slightly naive wife of the steward is basically fond of any jokes her husband cracks . She turns halfway to him and says :<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>It's so nice here in the shade.<\/dialogue>\n    <scene_description>In the meantime the steward has come over . He 's smoking a pipe .<\/scene_description>\n    <character>STEWARD<\/character>\n    <parenthetical>( in excellent mood . )<\/parenthetical>\n    <dialogue>Well, our son seems to be enjoying that, right?!<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>STEWARD<\/character>\n    <dialogue>I can imagine. Who would n't like that.<\/dialogue>\n    <character>EMMA<\/character>\n    <parenthetical>( rebuking him gently . )<\/parenthetical>\n    <dialogue>Georg!<\/dialogue>\n    <character>STEWARD<\/character>\n    <parenthetical>( to Eva . )<\/parenthetical>\n    <dialogue>What about you? Do n't you get bored taking care of other people's children, with all the young lads over there?<\/dialogue>\n    <character>EVA<\/character>\n    <parenthetical>( uneasy , with forced sweetness . )<\/parenthetical>\n    <dialogue>No Sir, I love to be with the children.<\/dialogue>\n    <scene_description>He gives his wife a short glance , then sits on a chair beside Eva :<\/scene_description>\n    <character>STEWARD<\/character>\n    <dialogue>How old are you anyway?<\/dialogue>\n    <character>EVA<\/character>\n    <dialogue>Eighteen, Sir.<\/dialogue>\n    <character>STEWARD<\/character>\n    <dialogue>Eighteen! And you want me to believe you'd rather hold the Baroness's baby in your arms than your true love?<\/dialogue>\n    <character>EMMA<\/character>\n    <parenthetical>( good - naturedly . )<\/parenthetical>\n    <dialogue>Come on, Georg, leave her alone.<\/dialogue>\n    <character>STEWARD<\/character>\n    <dialogue>I'm not doing her any harm. Can you get us something to eat, Emma?<\/dialogue>\n    <character>EVA<\/character>\n    <parenthetical>( stands up , to Emma . )<\/parenthetical>\n    <dialogue>If you mind the children for a moment, I'll get us something.<\/dialogue>\n    <character>STEWARD<\/character>\n    <parenthetical>( stands up too . )<\/parenthetical>\n    <dialogue>Do n't worry, princess, I'm going. Not to panic.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ESTATE. THE PATH LEADING TO THE VEGETABLE GARDEN. DAY<\/stage_direction>\n    <scene_description>A bunch of children between 5 and 15 , dressed up in their Sunday best , among them Marie and Martin , both wearing their white ribbons , the pastor 's other children , Xenia , Rudolph as well as Hans , Liesl , Georg , Ferdinand and Sigi . They leave the manor and head toward the fields . As they pass by the vegetable garden , they notice the sliced off cabbages and stop . Some laugh at it , others are unsettled . Most of the children keep run on out into the open fields .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ESTATE. OUTSIDE THE BARN.  - DAY<\/stage_direction>\n    <scene_description>Farmhands and tenant farmers are eating at the tables . One of them tells a story , that we only partially understand because of all the noise :<\/scene_description>\n    <character>FIRST TENANT FARMER<\/character>\n    <dialogue>so the guy really tried to steal the rooster from the steeple. He was already completely pickled, but even then they could n't stop him. A huge, massive guy, you see. So they just let him go, saying to themselves : if he falls down, he falls down, that's it. But he did n't get much farther than the first window, that's where the trellis ends, see. And even with all his strength, he could n't hoist himself up on the lightning rod. So the guy stands up there in the window. And what do you think that idiot does he starts to crow! He crows, shouting I'm the rooster on the steeple. You'll never catch me! He made such a commotion that little by little the people in the neighborhood started to wake up.<\/dialogue>\n    <scene_description>At the same time someone else starts to shout , causing the others to join in :<\/scene_description>\n    <character>FARMHANDS and FARMERS:<\/character>\n    <dialogue>More beer, more beer, or I'll fall down, hurray! More beer, more beer, or I'll fall down. Has the landlord hung himself, that he does n't serve me any beer? More beer, more beer, or I'll fall down!<\/dialogue>\n    <scene_description>Laughter . Leni , Franz 's sister , and another farmgirl do their best to cater to the drinker 's thirst as fast as possible . The two young women try to keep their spirits up , but the guest 's indelicate jokes and rude gestures do n't make it easy .<\/scene_description>\n    <character>LENI<\/character>\n    <dialogue>I'm coming. I have n't got a magic wand.<\/dialogue>\n    <character>FIRST FARMHAND<\/character>\n    <parenthetical>( with a grin . )<\/parenthetical>\n    <dialogue>Shall I help you, Leni? I'd love to help you.<\/dialogue>\n    <character>SECOND FARMHAND<\/character>\n    <parenthetical>( also grinning . )<\/parenthetical>\n    <dialogue>What do you want to help her with?!<\/dialogue>\n    <scene_description>LAUGHTER .<\/scene_description>\n    <character>FIRST FARMHAND<\/character>\n    <dialogue>All over. Front and backside.<\/dialogue>\n    <scene_description>More LAUGHTER .<\/scene_description>\n    <character>THIRD FARMHAND<\/character>\n    <parenthetical>( to Leni . )<\/parenthetical>\n    <dialogue>Are you as slow with the Baron?<\/dialogue>\n    <character>SECOND TENANT FARMER<\/character>\n    <dialogue>Come on, leave her alone<\/dialogue>\n    <character>SECOND FARMHAND<\/character>\n    <dialogue>You like her that much? Go and help her.<\/dialogue>\n    <character>FOURTH FARMHAND<\/character>\n    <parenthetical>( sitting beside the second , . )<\/parenthetical>\n    <dialogue>almost in a whisper. -RRB- Do n't you know : it was her mother who had that accident?<\/dialogue>\n    <scene_description>At the same time a boy of ten comes over to the first farmer and butts in to his story :<\/scene_description>\n    <character>BOY<\/character>\n    <dialogue>Father, they cut off the Baron's cabbages.<\/dialogue>\n    <character>FIRST TENANT FARMER<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>BOY<\/character>\n    <parenthetical>( grin . )<\/parenthetical>\n    <dialogue>They cut off the Baron's cabbages.<\/dialogue>\n    <scene_description>Leni , who 's just putting some glasses with beer on the table , glares at the boy , flabbergasted .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ESTATE. DANCE FLOOR.  - DAY<\/stage_direction>\n    <scene_description>On the dance floor , Eva and the schoolteacher try to dance . Neither is very talented . Eva keeps looking at her feet and smiles , embarrassed .<\/scene_description>\n    <character>EVA<\/character>\n    <dialogue>I never learned it.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( also with a smile . )<\/parenthetical>\n    <dialogue>Neither did I. You just have to count out loud. One. Two. Three. One. Two. Three. One.<\/dialogue>\n    <scene_description>Their steps are far too big . They look clumsy and embarrassed , but happy . After a few spins<\/scene_description>\n    <character>EVA<\/character>\n    <dialogue>Are n't you afraid your students might laugh at you, when they see you dancing with me that way, sir.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>They'd better not! And stop being so formal with me. I'm not that old, am I?<\/dialogue>\n    <scene_description>Eva laughs , embarrassed and looks down .<\/scene_description>\n    <character>EVA<\/character>\n    <dialogue>One. Two. Three. One. Two. Three. One. Two. Three. One. Two. Three.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>You see : we're getting better.<\/dialogue>\n    <character>EVA<\/character>\n    <dialogue>Well.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Stop looking at your feet.<\/dialogue>\n    <scene_description>She lifts her head , looks at him and . stumbles . They laugh and start again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VEGETABLE GARDEN  - DAY<\/stage_direction>\n    <scene_description>MUSIC of the village band can be heard coming from the manor . The Baroness reaches the vegetable garden , followed by the pastor 's wife , the tutor and some `` ladies '' from the village . Behind the fence , among the `` beheaded '' cabbages are the Baron , the steward and some farmers . A couple of curious onlookers have gathered by the fence . Mutters , and now and then laughter . The Baron turns to his wife and , with a snicker , points to the `` heads '' lying around him .<\/scene_description>\n    <character>BARON<\/character>\n    <dialogue>Quite a job, is n't it?!<\/dialogue>\n    <scene_description>The Baroness looks at the extent of the disaster . Then says , revolted :<\/scene_description>\n    <character>BARONESS<\/character>\n    <dialogue>This is disgusting.<\/dialogue>\n    <scene_description>The steward comes over to them and , with a little grin , comments on the sensitivity of his masters :<\/scene_description>\n    <character>STEWARD<\/character>\n    <dialogue>It used to be an old custom.<\/dialogue>\n    <parenthetical>( he quotes . )<\/parenthetical>\n    <dialogue>: `` Now that the harvesting's done, `` It's time to pay us, every one, `` Any miser who leaves us in a rut, `` He shall have his cabbage cut.<\/dialogue>\n    <scene_description>The Baroness , who does n't think the symbolic character of the deed is funny at all , looks briefly at him and then back again at the cabbage cemetery . Suddenly , she turns away and leaves the scene headed toward the manor . She makes her way through the bystanders , who step aside to let her through .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RECTORY. STUDY.  - DUSK<\/stage_direction>\n    <scene_description>The pastor works at his desk . Suddenly a KNOCK on the door<\/scene_description>\n    <character>PASTOR<\/character>\n    <parenthetical>( looking up . )<\/parenthetical>\n    <dialogue>Come in<\/dialogue>\n    <scene_description>Florian comes hesitantly through the door .<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>FLORIAN<\/character>\n    <parenthetical>( shy , almost frightened . )<\/parenthetical>\n    <dialogue>I'd like to ask you something, Father.<\/dialogue>\n    <character>PASTOR<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <scene_description>The boy comes over to the desk , opens a few buttons of his shirt and then seizes something inside . In the open shirt we see the head of a little bird .<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>So what?<\/dialogue>\n    <character>FLORIAN<\/character>\n    <dialogue>I have found it. It's wounded.<\/dialogue>\n    <scene_description>Short PAUSE .<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>FLORIAN<\/character>\n    <parenthetical>( pleadingly . )<\/parenthetical>\n    <dialogue>May I keep it?<\/dialogue>\n    <scene_description>Short pause . The pastor is moved by the request of his youngest son , but manages to hide his emotion skillfully .<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>How do you plan to do that?<\/dialogue>\n    <character>FLORIAN<\/character>\n    <dialogue>We'll heal it.<\/dialogue>\n    <character>PASTOR<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>And when it's healed?<\/dialogue>\n    <scene_description>Florian looks at him with round eyes , he does n't know what to answer . The pastor continues :<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>Do n't you think, you'll be attached to it then? Will you let it fly away?<\/dialogue>\n    <scene_description>Florian thinks , then nods toward a cage behind the desk .<\/scene_description>\n    <character>FLORIAN<\/character>\n    <dialogue>`` Pipsi'' also lives in a cage.<\/dialogue>\n    <scene_description>The pastor looks at the cage shortly , hides a smile and turns to Florian again :<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>Yes, but Pipsi grew up in captivity.<\/dialogue>\n    <parenthetical>( nodding at Florian 's bird . )<\/parenthetical>\n    <dialogue>This one is used to living in freedom.<\/dialogue>\n    <scene_description>Florian does n't know what to answer . So he merely looks at his father with pleading eyes .<\/scene_description>\n    <character>PASTOR<\/character>\n    <parenthetical>( repeats . )<\/parenthetical>\n    <dialogue>Will you set him free, as soon he's healed?<\/dialogue>\n    <scene_description>Florian , looks down and nods with a heavy heart .<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>Have you already asked Mother?<\/dialogue>\n    <scene_description>Florian nods eagerly .<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>And? What did she say?<\/dialogue>\n    <character>FLORIAN<\/character>\n    <dialogue>She said, it was for Father to decide.<\/dialogue>\n    <character>PASTOR<\/character>\n    <parenthetical>( smiling faintly . )<\/parenthetical>\n    <dialogue>That's what she said?<\/dialogue>\n    <scene_description>Florian nods eagerly and looks at his father with eyes that are pleading with expectation .<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>You'll really to take care of it? That's a heavy responsibility. You know that, do n't you?<\/dialogue>\n    <scene_description>Sensing that his father is not quite against it , Florian nods eagerly .<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>Well. You're its father and mother now.<\/dialogue>\n    <scene_description>Florian nods yet more eagerly , if that 's possible . The pastor finds it difficult not to smile :<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>We'll have to find a cage for your patient.<\/dialogue>\n    <scene_description>Florian can hardly believe it . He 'd like to fling his arms around his father 's neck , but does n't dare . So he just keeps standing there , beaming .<\/scene_description>\n    <character>FLORIAN<\/character>\n    <dialogue>Thanks, Father!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRACK TO THE FARM  - DUSK<\/stage_direction>\n    <scene_description>Leni comes along the track , excited . She ` s almost running . She reaches the farm and disappears inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FARM. ROOM.  - DUSK<\/stage_direction>\n    <scene_description>The family is eating . They 're in working clothes , since they did n't attend the Thanksgiving feast . Only Leni , who visibly just came into the room , is still wearing the clothes she wore at the feast . She 's out of breath and very excited . The farmer looks very concerned .<\/scene_description>\n    <character>FARMER<\/character>\n    <parenthetical>( to Franz . )<\/parenthetical>\n    <dialogue>Is that true?<\/dialogue>\n    <character>FRANZ<\/character>\n    <parenthetical>( hostile , keeps on eating . )<\/parenthetical>\n    <dialogue>I do n't know nothing.<\/dialogue>\n    <character>FARMER<\/character>\n    <parenthetical>( threatening . )<\/parenthetical>\n    <dialogue>Is - that - true?!<\/dialogue>\n    <character>FRANZ<\/character>\n    <parenthetical>( looks at him , aggressively . )<\/parenthetical>\n    <dialogue>Nothing is true! And even if it was true, so what?! Serves him right, that miser!<\/dialogue>\n    <character>FARMER<\/character>\n    <parenthetical>( trying to control himself . )<\/parenthetical>\n    <dialogue>Did you do it, or did you not do it?<\/dialogue>\n    <scene_description>Franz does n't answer and keeps on eating .<\/scene_description>\n    <character>LENI<\/character>\n    <dialogue>It seems somebody saw you.<\/dialogue>\n    <scene_description>For a moment Franz remains calm , then he bursts out :<\/scene_description>\n    <character>FRANZ<\/character>\n    <parenthetical>( to Leni . )<\/parenthetical>\n    <dialogue>So what? They should be glad that they still have their own heads.<\/dialogue>\n    <parenthetical>( to the farmer . )<\/parenthetical>\n    <dialogue>And I want you to know this, Father I'm proud of it!<\/dialogue>\n    <scene_description>The father responds to this by slapping his face hard . Franz jumps up .<\/scene_description>\n    <character>FARMER<\/character>\n    <parenthetical>( orders Franz without looking at him . )<\/parenthetical>\n    <dialogue>Sit down!<\/dialogue>\n    <scene_description>For a moment , we do n't know how Franz will behave . Sitting on the corner bench , he 's jammed between his father and his brothers and sisters , who stare at the table , embarrassed . Only Paul , who sits opposite his brother , looks up at him . Franz finally sits down again . SILENCE . The farmer stares at his plate , tries to speak softly , which is obviously difficult for him , to judge by the sound of his voice .<\/scene_description>\n    <character>FARMER<\/character>\n    <dialogue>What did you intend to do?<\/dialogue>\n    <scene_description>As Franz does n't answer , he looks up , right into Franz 's face , who avoids his father 's eyes .<\/scene_description>\n    <character>FARMER<\/character>\n    <dialogue>Well?<\/dialogue>\n    <character>FARMER<\/character>\n    <dialogue>Tell me.<\/dialogue>\n    <scene_description>Franz keeps on glaring straight ahead . The farmer adopts a gentler tone .<\/scene_description>\n    <character>FARMER<\/character>\n    <dialogue>Come on. Tell me :<\/dialogue>\n    <character>FRANZ<\/character>\n    <parenthetical>( who can hardly speak . )<\/parenthetical>\n    <dialogue>You know why, Father.<\/dialogue>\n    <character>FARMER<\/character>\n    <parenthetical>( after a pause . )<\/parenthetical>\n    <dialogue>Because of your mother? Because you feel they're responsible for her death? Is that it? What do you think? That I'm not man enough to settle this? It's that what you think?<\/dialogue>\n    <scene_description>Franz keeps on glaring , remaining silent . The father tries to stay calm , staring straight ahead . He takes a spoon and eats twice from the milk soup . He puts down the spoon , and looks at Franz again .<\/scene_description>\n    <character>FARMER<\/character>\n    <parenthetical>( after a pause . )<\/parenthetical>\n    <dialogue>Did you ever think of what your behavior can mean for the whole family? If Leni loses her job, which enables us to keep our heads above water for the whole year? What if we ca n't work there anymore during the summer?<\/dialogue>\n    <scene_description>Franz makes an impatient movement , takes raises his spoon and wants to go on eating . The farmer grabs his arm and slams it down . The two stare at each other . For a moment , we do n't know what will happen . Then the farmer goes on :<\/scene_description>\n    <character>FARMER<\/character>\n    <parenthetical>( after a pause . )<\/parenthetical>\n    <dialogue>You want to marry and take over the farm in two years? Yes? And how will you feed them all.<\/dialogue>\n    <parenthetical>( he points with his head at the other children . )<\/parenthetical>\n    <dialogue>without the help of the manor, tell me?<\/dialogue>\n    <scene_description>Franz turns his head away . He disagrees , but does not know what to answer . The farmer goes on :<\/scene_description>\n    <character>FARMER<\/character>\n    <parenthetical>( after a pause . )<\/parenthetical>\n    <dialogue>And how do you know they're responsible?<\/dialogue>\n    <scene_description>Franz turns to him abruptly :<\/scene_description>\n    <character>FRANZ<\/character>\n    <dialogue>And how do you know they're innocent?<\/dialogue>\n    <scene_description>The farmer looks at Franz with round eyes . A long PAUSE follows . Then the<\/scene_description>\n    <character>FARMER<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>I do n't know.<\/dialogue>\n    <scene_description>And after another PAUSE .<\/scene_description>\n    <character>FARMER<\/character>\n    <dialogue>But I do n't know the opposite either.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MANOR. STAIRWELL.  - NIGHT<\/stage_direction>\n    <scene_description>The Baron stands at the bottom and shouts up at the tutor who 's standing on the stairs :<\/scene_description>\n    <character>BARON<\/character>\n    <dialogue>What do you mean `` not there''?<\/dialogue>\n    <character>TUTOR<\/character>\n    <parenthetical>( sheepish . )<\/parenthetical>\n    <dialogue>He. disappeared. I ` ve already looked everywhere. I ca n't find him.<\/dialogue>\n    <character>BARON<\/character>\n    <dialogue>Nonsense. He ca n't have vanished into thin air. When did you see him last?<\/dialogue>\n    <character>TUTOR<\/character>\n    <parenthetical>( as above . )<\/parenthetical>\n    <dialogue>Around 2 o'clock.<\/dialogue>\n    <character>BARON<\/character>\n    <parenthetical>( his anger mounting . )<\/parenthetical>\n    <dialogue>Around two? Do you know what time it is?!<\/dialogue>\n    <character>TUTOR<\/character>\n    <parenthetical>( guiltily . )<\/parenthetical>\n    <dialogue>I know, Sir.<\/dialogue>\n    <scene_description>Furious , the landowner turns away from the nincompoop , pensive . Then he turns to the TUTOR again :<\/scene_description>\n    <character>BARON<\/character>\n    <dialogue>What does my wife say, does n't she have any clue?<\/dialogue>\n    <character>TUTOR<\/character>\n    <dialogue>Madame sent me to you, Baron. She is beside herself with fear.<\/dialogue>\n    <character>BARON<\/character>\n    <parenthetical>( wryly . )<\/parenthetical>\n    <dialogue>I can imagine.<\/dialogue>\n    <parenthetical>( looks up to the tutor . )<\/parenthetical>\n    <dialogue>You're an idiot, Huber. Why do you think you're here? To take care of a single child! Is that such a hard task?<\/dialogue>\n    <character>TUTOR<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>I'm awfully sorry, Baron.<\/dialogue>\n    <character>BARON<\/character>\n    <dialogue>You're even too stupid for that.<\/dialogue>\n    <scene_description>The Baron turns away and heads for the door . Then he turns around again and asks :<\/scene_description>\n    <character>BARON<\/character>\n    <dialogue>Where did you see my son for the last time?<\/dialogue>\n    <character>TUTOR<\/character>\n    <dialogue>Outside, in the courtyard. He said, he was going to play with the other children.<\/dialogue>\n    <character>BARON<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>TUTOR<\/character>\n    <dialogue>That he did n't say.<\/dialogue>\n    <character>BARON<\/character>\n    <dialogue>And my wife did n't notice anything either?<\/dialogue>\n    <character>TUTOR<\/character>\n    <dialogue>After that business with the cabbage heads, Madame retired to her room. She was indisposed.<\/dialogue>\n    <character>BARON<\/character>\n    <parenthetical>( sarcastically . )<\/parenthetical>\n    <dialogue>Indisposed?!<\/dialogue>\n    <character>TUTOR<\/character>\n    <dialogue>Yes. She had a terrible migraine attack.<\/dialogue>\n    <character>BARON<\/character>\n    <parenthetical>( almost to himself . )<\/parenthetical>\n    <dialogue>My God, this place is a zoo!<\/dialogue>\n    <scene_description>He turns away and goes out into the courtyard . The tutor follow him with his eyes . He feels he 's being badly treated and hates the Baron for his insults . Finally he goes back up the stairs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MANOR.  - NIGHT<\/stage_direction>\n    <scene_description>BACK TO THE SCENE . The torches of the feast have almost burned out . Here and there we see some lanterns , put there to facilitate the cleaning up . Coming from the front door , the Baron crosses the vast courtyard . Half way across he screams :<\/scene_description>\n    <character>BARON<\/character>\n    <dialogue>Br\u00e4ker!<\/dialogue>\n    <scene_description>The steward is overseeing a dozen farmhands , who are putting the tables and the benches of the feast back the barn . He walks toward the Baron .<\/scene_description>\n    <character>BARON<\/character>\n    <dialogue>Have you seen my son?<\/dialogue>\n    <character>STEWARD<\/character>\n    <parenthetical>( surprised . )<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <character>BARON<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>Could you please ask your boys. Apparently, Sigi has disappeared with a whole bunch of kids.<\/dialogue>\n    <character>STEWARD<\/character>\n    <dialogue>Immediately.<\/dialogue>\n    <parenthetical>( shouting to the farmhands . )<\/parenthetical>\n    <dialogue>When you're finished with the cleaning up, wait for me. There's still a job to do. Get some fresh torches and lanterns!<\/dialogue>\n    <character>BARON<\/character>\n    <dialogue>In the meantime I'll go round up the men.<\/dialogue>\n    <scene_description>The steward goes to his house , the Baron to the outbuildings . There , he switches on the SIREN .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>The steward's children said, they had seen Sigi only for a short time, that he had gone off with other kids, and that they did n't pay much attention to it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. MONTAGE. NIGHT<\/stage_direction>\n    <scene_description>IN THE COURTYARD . Many men of different ages with lanterns and torches . The Baron makes a short speech and the steward assigns the areas to be searched . Most of this is drowned out by the narrator 's voice .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>The search began shortly after midnight. Before, the Baron had ridden to the Rectory. But there he found out nothing new from the children who had been specially woken up.<\/dialogue>\n    <scene_description>STABLE AND OUTBUILDINGS OF THE ESTATE . VARIOUS LANDSCAPES : FOREST , FIELD , RIVER MEADOWS . The search .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>The searchers, who were tired and some of whom were still drunk, were divided into two groups : one group started to search all the buildings on the estate, one by one, while the others combed the surrounding areas. It was around half past two, when some members of the search party had already preferred to lie down somewhere and to sleep off their drunkenness, that the siren suddenly sounded again, calling the men back to the courtyard.<\/dialogue>\n    <scene_description>IN THE COURTYARD . The men come in with a stretcher .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>They had found Sigi. He had been tied up in the old sawmill, upside down. His trousers had been pulled down and his buttocks were bleeding from cane strokes. He seemed to be in a state of shock, was unable to walk and had to be brought back to the manor on a makeshift stretcher, lying on his belly.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH  - DAY<\/stage_direction>\n    <scene_description>The room is packed . The whole village is gathered .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>The next Sunday, the Baron, at the end of the service, asked the pastor if he could say a few words :<\/dialogue>\n    <character>BARON<\/character>\n    <dialogue>You all know now what was done to my son Siegmund. Policemen from the district town were here this week. They questioned many of you. But to no avail. First I thought that the people who tortured my child were the same people who cut off my family's `` cabbage heads''.<\/dialogue>\n    <scene_description>Unrest in the attendance .<\/scene_description>\n    <character>BARON<\/character>\n    <dialogue>because they wanted to `` get even''. Get even for what? Because their mother had died while she was working in the sawmill, and it was supposedly my fault, which is an absurd assertion.<\/dialogue>\n    <scene_description>The farmer , Leni and the other children are there , with the exception of Franz . The unrest grows .<\/scene_description>\n    <character>BARON<\/character>\n    <dialogue>At least, that's what Franz Felder gave as the motive for his `` mowing prowess'', when the policemen arrested him. I have always supported the farmer Felder and his family, but one ca n't always expect people to be grateful. That's a matter of character.<\/dialogue>\n    <scene_description>The farmer wants to leave the church .<\/scene_description>\n    <character>BARON<\/character>\n    <dialogue>Do n't run away, Felder. It's your honor I want to salvage. It has turned out that the valiant Franz Felder has been boasting of his feat in front of his fianc\u00e9e. Then the coward that he is, hid among his family, and so he did n't have time to torture my son. And there's one thing I know for sure the senior Felder would rather bite off his tongue, than cover for his wayward son. May I remind you something what most of you have already forgotten. Almost two months ago, the doctor had a riding accident and he has still not returned from the hospital. This accident was caused by a wire that had been strung in his garden with the explicit intent of bringing him down. And in that case too, nobody knows anything, saw anything or heard anything.<\/dialogue>\n    <scene_description>Disconcerted MUTTER among the attendance .<\/scene_description>\n    <character>BARON<\/character>\n    <dialogue>We all know that the people responsible for the terrible injuries suffered by my son, and those suffered by the doctor are sitting here among us, in this room. I wo n't tolerate that crimes of this nature go unpunished. I do n't wish something similar to happen to any of your children. That's why I call upon you all to help me find the culprit or the culprits. Ask questions, keep your ears open, be watchful. If we fail to find out the truth, the peace within our community will be gone. Thank you, pastor.<\/dialogue>\n    <scene_description>The pastor says a few last words which we do n't grasp , that the narrator 's voice drowns out . The people file out of the church , quietly and slowly , but talking worriedly to each other .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>The landowner's speech frightened the people. Most knew about the incident at the Thanksgiving feast. But the majority did n't know exactly what had happened, and in the end they did n't care. The Baron was not really popular among the people, but he was respected as a powerful social figure, as well as the employer of nearly the whole village.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. IN FRONT OF THE CHURCH  - DAY<\/stage_direction>\n    <scene_description>BACK TO THE SCENE . The people are leaving the church , groups are forming . As the farmer Felder and his children come out , they 're shunned . Gauntlet down the village street . The CAMERA follows .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>His threat about loosing the peace of the community could n't mean anything good. At the same time the mysterious character of what were obviously criminal deeds fed the mistrust of the farmers, deeply rooted since time immemorial.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL.  - NIGHT<\/stage_direction>\n    <scene_description>The empty classroom . On the harmonium : a petroleum lamp . The schoolteacher is PLAYING . After a while , someone knocks at the door . The schoolteacher stops .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( surprised . )<\/parenthetical>\n    <dialogue>Come in!<\/dialogue>\n    <scene_description>The door opens hesitantly . In the dark : Eva -LRB- hardly recognizable because she 's so far from the lamp -RRB- .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( surprised and glad . )<\/parenthetical>\n    <dialogue>Eva!<\/dialogue>\n    <character>EVA<\/character>\n    <parenthetical>( hardly understandable . )<\/parenthetical>\n    <dialogue>May I come in?<\/dialogue>\n    <scene_description>The Schoolteacher stands up , goes toward and , laughing with surprise , says to her .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>What a question. Of course. Come in. What happened.<\/dialogue>\n    <scene_description>Eva enters the room and closes the door behind her . She 's carrying a suitcase . Shyly she looks around and does n't say a word .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Come over here. It's so dark. Come on.<\/dialogue>\n    <scene_description>He moves toward the lamp and waits half - way because she does n't follow .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <character>EVA<\/character>\n    <dialogue>They fired me.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( startled . )<\/parenthetical>\n    <dialogue>What do you mean?<\/dialogue>\n    <scene_description>She shrugs her shoulders .<\/scene_description>\n    <character>EVA<\/character>\n    <dialogue>Nothing. They just threw me out.<\/dialogue>\n    <parenthetical>( pause , then . )<\/parenthetical>\n    <dialogue>The tutor has also been fired.<\/dialogue>\n    <scene_description>Suddenly , in the middle of a sentence , she bursts into floods of tears . At the same time she turns away from the schoolteacher . He goes over to her , and stops in front of her , but is too shy to touch her . Suddenly she turns to him again and says , sobbing :<\/scene_description>\n    <character>EVA<\/character>\n    <dialogue>I do n't know where to go. I ca n't go back home in the middle of the night. I'm afraid to walk on the road all alone.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( calming her down . )<\/parenthetical>\n    <dialogue>Do n't worry. Try to calm down. There's nothing to worry about.<\/dialogue>\n    <character>EVA<\/character>\n    <parenthetical>( sobbing , childish . )<\/parenthetical>\n    <dialogue>There is.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( with a calming smile . )<\/parenthetical>\n    <dialogue>Come here and sit down. Please calm down and then tell me what happened. All right?<\/dialogue>\n    <scene_description>She 's sits down on the school bench beside her . The schoolteacher sits on his haunches in front of her :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Well?!<\/dialogue>\n    <scene_description>It takes her time to calm down .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <scene_description>Slowly she manages to calm down , breathes deeply a few times . The schoolteacher is visibly charmed by her childish despair .<\/scene_description>\n    <character>EVA<\/character>\n    <dialogue>The son of the Baron is n't at all well. His parents are angry and desperate. Now they say that it's the tutor's and my fault, because we did n't pay enough attention to him. But I'm only there for the twins.<\/dialogue>\n    <scene_description>She starts to sob again :<\/scene_description>\n    <character>EVA<\/character>\n    <dialogue>I've always taken care of them very well. When you and I were dancing, the Baroness had given me permission. I have n't done anything wrong, really.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>I know, come on. Stop crying!<\/dialogue>\n    <character>EVA<\/character>\n    <dialogue>Where shall I go now? We need the money I was earning here.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>You'll find something else. Besides, you know very well that the Baron is quick - tempered. With him, nothing is ever as bad as it seems.<\/dialogue>\n    <character>EVA<\/character>\n    <parenthetical>( fiercely shaking her head . )<\/parenthetical>\n    <dialogue>No, no, that's all over now, I know it. The Baroness does n't want to see anyone. She wants to take the children with her to town or to her parent's estate - I do n't know exactly.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( after a pause . )<\/parenthetical>\n    <dialogue>: I'll try to talk to her. A while back, we played music together.<\/dialogue>\n    <parenthetical>( with a smile . )<\/parenthetical>\n    <dialogue>Unfortunately, I was n't very good. Now she's got the tutor, he plays better. As far as I know, he's been studying music in town.<\/dialogue>\n    <character>EVA<\/character>\n    <parenthetical>( forgetting her grief a bit . )<\/parenthetical>\n    <dialogue>He does n't play that well.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>That's true.<\/dialogue>\n    <character>EVA<\/character>\n    <parenthetical>( after a pause , serious again . )<\/parenthetical>\n    <dialogue>Who could have done such things?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>EVA<\/character>\n    <dialogue>To beat a child that way.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <scene_description>Long PAUSE . Then she says softly :<\/scene_description>\n    <character>EVA<\/character>\n    <dialogue>Can I stay here tonight? Do n't send me away, sir, please.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>How can you think something like that?<\/dialogue>\n    <character>EVA<\/character>\n    <dialogue>I'll just wait for the daylight to come. Here in the classroom. Then I'll leave.<\/dialogue>\n    <scene_description>Suddenly she starts to cry again :<\/scene_description>\n    <character>EVA<\/character>\n    <dialogue>They wo n't understand this, at home. They'll think I did something wrong.<\/dialogue>\n    <scene_description>PAUSE . Then the<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Do you want me to come with you.<\/dialogue>\n    <scene_description>She stops crying and looks at him , surprised .<\/scene_description>\n    <character>EVA<\/character>\n    <dialogue>What did you say?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( cheerful . )<\/parenthetical>\n    <dialogue>Tomorrow, after school? I can try to find us a carriage. I'll be back by evening.<\/dialogue>\n    <character>EVA<\/character>\n    <dialogue>And why should you do that, Sir.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Stop being so formal.<\/dialogue>\n    <character>EVA<\/character>\n    <parenthetical>( after a break . )<\/parenthetical>\n    <dialogue>Why should you do this?<\/dialogue>\n    <scene_description>PAUSE . Then the schoolteacher stands up and says :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Come here, I'll play something for you. If you'd like that.<\/dialogue>\n    <scene_description>She thinks for a moment , then she nods eagerly . She follows him , as he goes and settles in front of the harmonium . She sits on a bench nearby . He starts to PLAY .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. FARM. PIGSTY. DAY<\/stage_direction>\n    <scene_description>The farmer and Paul are cleaning the pigsty which is not very big . The pigs grunt excitedly because of the disturbance . Suddenly , Franz enters .<\/scene_description>\n    <character>FRANZ<\/character>\n    <dialogue>Good morning, Father.<\/dialogue>\n    <scene_description>The farmer looks up , keeps on working as if nobody had come in . Paul greets Franz with a nod , remaining silent . After a while , they 've done their work . Ignoring Franz , the farmer goes outside . Franz , who has stepped aside to let his father by , says to him as he goes out :<\/scene_description>\n    <character>FRANZ<\/character>\n    <dialogue>I'm back again. They set me free.<\/dialogue>\n    <scene_description>At this , the farmer stops and turns around . He looks Franz right into the eyes :<\/scene_description>\n    <character>FARMER<\/character>\n    <dialogue>I can see that. So what?<\/dialogue>\n    <scene_description>Franz bows his head . Paul , who has followed his father , out of the pigsty , glances surreptitiously at his brother . The farmer goes over to the fountain and washes himself . Franz follows him slowly and stops beside his father , who keeps ignoring him . After a while<\/scene_description>\n    <character>FRANZ<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Ca n't you forgive me, Father?<\/dialogue>\n    <scene_description>The farmer stops washing and turns to Franz :<\/scene_description>\n    <character>FARMER<\/character>\n    <dialogue>What do you want me to forgive for? That the estate wo n't give me any work now? That Leni has been fired in disgrace? That your brothers and sisters soon wo n't have anything to eat. Is that what you mean? Or is it something else?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY ROAD AND DOCTOR'S PROPERTY  - DAY<\/stage_direction>\n    <scene_description>The CAMERA follows the carriage in which are Eva and the schoolteacher .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>The next day, after school, I went to the estate to inquire about Sigi's health and to intercede for Eva's reinstatement. We were told the Baroness had left that morning with her children. Reluctantly, the steward lent me a carriage to take Eva home.<\/dialogue>\n    <scene_description>An open carriage with the Doctor inside comes from the opposite direction . The passengers of the two carriages greet each other . The CAMERA follows the Doctor and looses Eva and the schoolteacher . The doctor has one arm in a sling . The Doctor 's carriage ends up turning into his property . The driver helps the doctor get out . Xenia comes running out of the house and greets her father . The driver unloads the luggage . The doctor and Xenia go into the house .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>Just as we were leaving the village, we met the doctor. A few days after the Thanksgiving feast, Rudolph, his four year old son, had suddenly disappeared. Of course, everybody was terribly upset in view of all the previous occurrences. Finally, he was found walking down the road, scantily dressed for a trip, headed eagerly toward the town. When he was asked where he was going, he said he wanted to visit his father. Seems he fought tooth and nail against being taken home. Somebody must have told this to the Doctor. Since he was scheduled to be released from medical care anyway, he had prematurely put an end to his stay at the hospital.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE DOCTOR'S HOUSE  - DAY<\/stage_direction>\n    <scene_description>BACK TO THE SCENE . STAIRWELL .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <parenthetical>( calls several times . )<\/parenthetical>\n    <dialogue>Rudi?<\/dialogue>\n    <scene_description>He throws an ironical inquiring look at Xenia . Xenia shrugs her shoulders , clueless :<\/scene_description>\n    <character>XENIA<\/character>\n    <dialogue>He was in the living room a short time ago.<\/dialogue>\n    <scene_description>Just as they 're about to go to the living room , the driver comes in with the luggage . The Doctor thanks him and pays him . The driver leaves . Xenia has been waiting in the doorway . Now they go together into the LIVING ROOM There 's nobody . They go into the kitchen KITCHEN . Nobody . The look under the kitchen table , in the pantry . Nobody .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>Rudi? Where are you?<\/dialogue>\n    <scene_description>Again the STAIRWELL . The doctor does n't know whether to be angry or to laugh about the whole matter . He goes to his wardrobe to take his off his jacket . Because of the sling , Xenia has to help him . That 's when she notices the toilet . She tells her father with a smile . As Xenia hangs up the doctor 's jacket , he goes to the toilet door and tries to open it . It 's locked . The Doctor stops in front of it .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <parenthetical>( quiet . )<\/parenthetical>\n    <dialogue>Hello, Rudi. Do n't you want to say hello to your father? No?<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>I heard you even wanted to visit me at the hospital. And now you lock yourself in?<\/dialogue>\n    <scene_description>PAUSE . The doctor looks shortly at Xenia who 's carrying the luggage upstairs . Then he keeps on talking to<\/scene_description>\n    <character>RUDOLPH<\/character>\n    <dialogue>All right. Then, I do n't want to see you either. I'm going away now. You can stay in the toilet, if you want.<\/dialogue>\n    <scene_description>He goes down the few steps to the entrance , waits a moment and then leaves the house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PROPERTY THE DOCTOR'S  - DAY<\/stage_direction>\n    <scene_description>BACK TO THE scene . The doctor steps out of the door , and wanders through the garden . He goes over to the trees , where the wire had been strung . He examines the traces of the wire on the bark . He lights a cigar , then looks out at the mowed fields . After a while Xenia comes over to him . He glances at her , then again at the fields . Both remain silent . After a while<\/scene_description>\n    <character>XENIA<\/character>\n    <dialogue>Everything is ready in your practice. Mrs. Wagner prepared everything yesterday.<\/dialogue>\n    <scene_description>PAUSE then<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>Why do you tell me that?<\/dialogue>\n    <scene_description>Xenia looks at him , surprised , shrugs her shoulders .<\/scene_description>\n    <character>XENIA<\/character>\n    <dialogue>I do n't know. I just thought you might want to know.<\/dialogue>\n    <scene_description>PAUSE .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>Has she taken good care of you?<\/dialogue>\n    <character>XENIA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>PAUSE . The doctor turns to Xenia :<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>How old are you now?<\/dialogue>\n    <character>XENIA<\/character>\n    <dialogue>Fourteen.<\/dialogue>\n    <scene_description>The doctor looks at her , laughs silently and shakes his head . Again he looks out on the fields . After a while he says :<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>It's amazing how much you look like your mother.<\/dialogue>\n    <scene_description>Xenia remains silent . Suddenly she whispers :<\/scene_description>\n    <character>XENIA<\/character>\n    <dialogue>Dad.<\/dialogue>\n    <scene_description>The doctor turns to her . She nods toward the house . The doctor follows her look . Indeed Rudolph , who from here looks even smaller than he really is , has stepped gingerly out of the door . Unsure and undecided , torn between defiance and longing , he 's kept one hand on the door handle that he can barely reach .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RECTORY. STUDY.  - NIGHT<\/stage_direction>\n    <scene_description>The pastor cleans the cage of the small bird behind the desk and feeds the animal . As he does it , he talks to Martin , who , the white ribbon still tied around his upper arm , stands in front of the desk .<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>Your mother and I are deeply worried about you. Think about it. Are you sleeping badly? Are you overtired?<\/dialogue>\n    <character>MARTIN<\/character>\n    <parenthetical>( as if he did n't understand the . )<\/parenthetical>\n    <dialogue>question. -RRB- No.<\/dialogue>\n    <character>PASTOR<\/character>\n    <dialogue>Do you have problems in school that I do n't know?<\/dialogue>\n    <character>MARTIN<\/character>\n    <parenthetical>( as above . )<\/parenthetical>\n    <dialogue>No, Father.<\/dialogue>\n    <scene_description>The pastor turns shortly around to his son , looks at him , then turns again to the bird .<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>You probably do n't understand why we worry. It comes from a sad experience I want to tell you briefly about : As you know, I'm also acting as pastor for the communities of Birkenbrunn and Hebern. In the latter place, some years ago, a mother came to see me. She had noticed that her son, who was about the same age as you, and had the same symptoms that you've been showing for some time. Although until then the boy had been healthy and active, suddenly he showed a noticeable weariness, he had dark rings under the eyes, seemed depressed and joyless. The boy had also changed emotionally before he had been funny, frank, almost naughty, but now he became withdrawn. He tried not to look his parents in the eye, and was caught telling small and even big lies.<\/dialogue>\n    <scene_description>The pastor has finished the cleaning and feeding , and now sits down behind his desk , Martin opposite him :<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>That lasted approximately half a year. Then everything went very fast he lost his appetite, could n't sleep any more, his whole face took on the brownish color of the rings under his eyes, his hands began to shake, his memory stated to fail him, he was covered with numerous small pustules, first on his face, then on his whole body and finally he died. The body, which I blessed, looked like the body of an old man.<\/dialogue>\n    <scene_description>The pastor watches Martin :<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>Do you understand now why I'm worried?<\/dialogue>\n    <scene_description>Martin reacts with a timid nod of his head .<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>So, according to you : what caused these changes that led to the miserable end of this boy?<\/dialogue>\n    <character>MARTIN<\/character>\n    <parenthetical>( hardly able to speak . )<\/parenthetical>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>PASTOR<\/character>\n    <dialogue>I think you know well.<\/dialogue>\n    <scene_description>Martin does n't know what to say , he looks down . The pastor watches him for a long moment , then he gets up , walks around the desk and sits down on its edge , in front of the boy , so that their heads are facing each other .<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>Wo n't you tell me? No? Then I'll tell you what the cause was The boy had learned from someone, who had harmed the finest nerves of his body, in the area where God's will has erected sacred barriers. The boy imitated this action. He could n't stop doing it, so that at the end he destroyed all the nerves in his body, and so much that he died of it.<\/dialogue>\n    <scene_description>Martin seems very affected . He has bowed his head , swallows several times , and hardly dares to breath .<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>Look at me, Martin.<\/dialogue>\n    <scene_description>Martin looks up fearfully , then immediately looks away again .<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>I just want to help you. I love you with all my heart. Look at me.<\/dialogue>\n    <scene_description>Martin looks his father in the eyes .<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>Be sincere, Martin. Why did you blush and become so nervous when I told you the story of the poor boy.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Blushed? I do n't know. I felt sorry for him.<\/dialogue>\n    <character>PASTOR<\/character>\n    <dialogue>Is that all? No, Martin, there has to be another reason. It's written on your face. Be sincere, Martin. Sincerity brings you closer to God, our beloved Father, and to all human beings.<\/dialogue>\n    <character>MARTIN<\/character>\n    <parenthetical>( starts to cry . )<\/parenthetical>\n    <dialogue>Oh, my God!<\/dialogue>\n    <scene_description>He cries in a such pitiful way that even the pastor has tears in his eyes . He embraces the boy . The latter seizes the hand of his father and kisses it intensely .<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>Well, Martin, why are you crying? Shall I spare you that confession? You too have done what that wretched boy did, have n't you?<\/dialogue>\n    <character>MARTIN<\/character>\n    <parenthetical>( crying . )<\/parenthetical>\n    <dialogue>Oh my God! Yes.<\/dialogue>\n    <scene_description>THE SCREEN GOES BLACK .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE MIDWIFE'S HOUSE. LIVING ROOM.  - NIGHT<\/stage_direction>\n    <scene_description>Intercourse between the midwife and the doctor . She holds on to the sideboard , as he penetrates her from behind . Both are fully dressed , she has just lifted her skirt . When he is ready , she turns around and puts her arms around him . He lets her do it , with a patronizing smile and pulls gently away from her .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>Careful, my arm.<\/dialogue>\n    <scene_description>She tries to hide her frustration , sits down again with him at the table , on which are the leftovers of their meal . With a little ironic smile , the doctor raises his glass to her . She takes her glass and clinks it with his . She drinks . An embarrassed silence follows . Finally , she says<\/scene_description>\n    <character>MIDWIFE<\/character>\n    <dialogue>It's great that you're back. It was about time.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>You can say that. Yes.<\/dialogue>\n    <scene_description>PAUSE .<\/scene_description>\n    <character>MIDWIFE<\/character>\n    <dialogue>It was difficult with the children, without you.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <dialogue>He does n't like me.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <dialogue>Rudi.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <parenthetical>( after a pause . )<\/parenthetical>\n    <dialogue>He's at a difficult age.<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <dialogue>Actually not.<\/dialogue>\n    <scene_description>PAUSE . Then :<\/scene_description>\n    <character>MIDWIFE<\/character>\n    <dialogue>They're always at a difficult age.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <parenthetical>( more to himself , with a faint smile . )<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>LONG PAUSE .<\/scene_description>\n    <character>MIDWIFE<\/character>\n    <dialogue>You did n't miss me.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>Come on. What are you saying?!<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <dialogue>Nothing. I said it because it's the truth.<\/dialogue>\n    <scene_description>PAUSE .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>There's nothing like a nice dose of self - hate.<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>Nothing. Forget it.<\/dialogue>\n    <scene_description>After a pause , she reaches over the table , takes his hand , puts her cheek against it . He lets her do it , then takes his hand from under her head and strokes her hair .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCH  - DAY<\/stage_direction>\n    <scene_description>It 's snowing . From the inside of the church , we hear the children 's choir :<\/scene_description>\n    <character>CHILDREN<\/character>\n    <parenthetical>( singing in harmony . )<\/parenthetical>\n    <dialogue>us free from all misery, That has hit us now. That old evil enemy, Is serious about it, Great power and much deceit Are his cruel armor, No one on earth resembles him. *<\/dialogue>\n    <scene_description>Over this :<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>Winter came early that year. At the Reformation feast on the first Sunday of November, a deep blanket of snow covered the village. The Baron, who had come back without his family, did n't attend, which was very unusual for him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH  - DAY<\/stage_direction>\n    <scene_description>IMMEDIATE BACK TO THE scene . The community celebrates the Reformation Feast . The schoolteacher conducts the children 's choir . The children sing enthusiastically . Marie and Martin wear the white ribbon on their arm .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>The villagers took that as a sign of his anger. Indeed, no evidence had been found as to the possible author of the crime, although the Baron's appeal had led to a flood of mutual suspicions, even to some attempts of denunciation that had all turned out to be untenable.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE STEWARD'S HOUSE.  - NIGHT<\/stage_direction>\n    <scene_description>The doctor examines the steward 's baby that is crying . Finally , he turns to the parents .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>Well, it's not pneumonia. But you must be careful. If his temperature rises, call me again. For the time being you must give these drops every two hours. And hang some wet sheets over the oven. That facilitates breathing.<\/dialogue>\n    <scene_description>While the mother puts the child back in the cradle , the doctor and the father go down the STAIRWAY to the LIVING ROOM .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>How long has the window been open?<\/dialogue>\n    <character>STEWARD<\/character>\n    <dialogue>Difficult to say. My wife nursed him at about one o'clock. When she came back, it was around half past two. At that time it was icy cold in this room.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>And the baby did n't cry?<\/dialogue>\n    <character>STEWARD<\/character>\n    <dialogue>No. The children were upstairs and did n't hear anything either.<\/dialogue>\n    <scene_description>They have reached the living room where Liesl , Georg and Ferdinand get up as he comes in .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <parenthetical>( to the children . )<\/parenthetical>\n    <dialogue>He's doing all right, considering the circumstances. We have to wait.<\/dialogue>\n    <scene_description>The children seem worried . To calm them the doctor adds :<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>For now we'll have to wait.<\/dialogue>\n    <scene_description>The steward has gone to the sideboard .<\/scene_description>\n    <character>STEWARD<\/character>\n    <dialogue>Can I offer you something to warm you up?<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>No, thanks. I'm overloaded with work. When one has been away for so long.<\/dialogue>\n    <character>STEWARD<\/character>\n    <dialogue>Georg!<\/dialogue>\n    <scene_description>At a sign of the father , Georg jumps up and gets the doctor 's coat and hat from outside . In the meantime , the father keeps on chatting with the doctor :<\/scene_description>\n    <character>STEWARD<\/character>\n    <dialogue>And how is your arm doing?<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>It's all right. Everything will be fine in two or three weeks.<\/dialogue>\n    <character>STEWARD<\/character>\n    <dialogue>That must be terrible, I imagine. You probably feel like half a man when you ca n't use your arm properly.<\/dialogue>\n    <scene_description>Georg has come back with the hat and the coat , and hands them to the doctor ,<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>The steward helps him with his coat because of his bad arm .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>Quod erat demonstrandum. Thank you. Well, good night, children.<\/dialogue>\n    <character>CHILDREN<\/character>\n    <dialogue>Good night, Doctor.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <parenthetical>( to the steward who holds the door open . )<\/parenthetical>\n    <dialogue>Thank you. If your wife thinks that the baby.<\/dialogue>\n    <scene_description>The steward closes the door to the stairwell , so that we ca n't grasp the rest of their conversation . The children are alone . They remain silent . Then<\/scene_description>\n    <character>FERDINAND<\/character>\n    <dialogue>Well.<\/dialogue>\n    <character>GEORG<\/character>\n    <dialogue>What do you mean `` well''?<\/dialogue>\n    <character>FERDINAND<\/character>\n    <parenthetical>( `` dumb question , it 's obvious '' . )<\/parenthetical>\n    <dialogue>I mean! That's fine.<\/dialogue>\n    <scene_description>PAUSE .<\/scene_description>\n    <character>LIESL<\/character>\n    <parenthetical>( to Ferdinand . )<\/parenthetical>\n    <dialogue>When did you go down to see Father? Down in his office.<\/dialogue>\n    <character>FERDINAND<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>LIESL<\/character>\n    <dialogue>Just asking.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SNOW-COVERED COUNTRY ROAD  - DAY<\/stage_direction>\n    <scene_description>The schoolteacher , a rucksack on his back , walks through the snow which is only furrowed by some carriage tracks .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>In mid - December, I finally got a letter from Eva. Her father had found her a new job in the district capital, which she would start at the beginning of the New Year. Since that night, where she had come looking for shelter in the school and we had tried to tell each other the story of our short lives until the wee hours of the morning, I could no longer banish from my thoughts her pale face, her shy but frank personality and her shining hair red. The school holidays lasted until the morning after New Year's Day, but already the second day after Christmas - the weather was cold but sunny - I went on my way to Obersdorf in order to visit Eva and her parents.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HORSE-TRADER'S LIVING-ROOM  - DAY<\/stage_direction>\n    <scene_description>A lower middle - class room . The schoolteacher sits in front of Eva and her siblings , 6 children between 14 and 6 , mostly red - haired like Eva . Embarrassed silence . The younger children whisper and giggle . The conversation is slow . After a long pause<\/scene_description>\n    <character>EVA<\/character>\n    <dialogue>And Sigi?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>I do n't know. The Baroness is n't back yet.<\/dialogue>\n    <character>EVA<\/character>\n    <dialogue>And the Baron?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>We hardly see him. He talks to nobody. I do n't know. Some say they've gone to the south. To Italy.<\/dialogue>\n    <character>EVA<\/character>\n    <dialogue>To Italy? Really.<\/dialogue>\n    <scene_description>PAUSE . The children giggle , amused over the embarrassment of the two people . The schoolteacher and Eva look at each other , but Eva soon averts her eyes .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>They now want to tear down the sawmill for good. That's what the steward says. Because it is n't worthwhile to.<\/dialogue>\n    <scene_description>At that moment the door opens and Eva 's parents come in . Obviously , the mother went to fetch the father . She is plump , in her late forties and only wears a woolen shawl over her shoulders . The father wears a hat and overcoat . He 's a sturdy man in his early fifties , of peasant stock . He probably came straight from a tavern , and appears to be slightly drunk . The schoolteacher , Eva and the children stand up . The schoolteacher bows deeply :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Good morning.<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>Good morning, young man.<\/dialogue>\n    <scene_description>They shake hands .<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>Please be seated. We're not very formal here.<\/dialogue>\n    <scene_description>With a short movement of his hand the father invites him to sit down .<\/scene_description>\n    <character>FATHER<\/character>\n    <parenthetical>( to the children . )<\/parenthetical>\n    <dialogue>Scram!<\/dialogue>\n    <scene_description>The children , rather sheepish since the arrival of their father , leave the room . The father unbuttons his over coat , throws the hat on the sofa and sits down . The mother has removed her shawl and asks the schoolteacher :<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>Would you like something to drink?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>No, thank you. Very kind.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Really. Thank you very much.<\/dialogue>\n    <scene_description>The father sits down beside Eva and looks at the schoolteacher . Eva appears to be awkward , and stares at the table in front of her .<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>So you're a schoolteacher.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>Can you afford to have a wife?<\/dialogue>\n    <scene_description>Short embarrassed PAUSE .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>My father works as a tailor in Grundbach. I have an apprentice's diploma. So I earn quite a bit on the side<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>You should have taken over your father's business, that would have been smarter.<\/dialogue>\n    <scene_description>PAUSE .<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>Well. And why are you so focused on that girl? She's almost still a child. You could almost be her father.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>I'm thirty - one.<\/dialogue>\n    <character>FATHER<\/character>\n    <parenthetical>( grinning . )<\/parenthetical>\n    <dialogue>Well, you can still handle what matters.<\/dialogue>\n    <character>MOTHER<\/character>\n    <parenthetical>( embarrassed . )<\/parenthetical>\n    <dialogue>Father!<\/dialogue>\n    <scene_description>Eva and the schoolteacher do n't know where to look .<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>Let's be serious : do you know whether she's willing to get married. She's still a child. She has n't seen anything of the world.<\/dialogue>\n    <parenthetical>( To Eva . )<\/parenthetical>\n    <dialogue>Say something. Do you want him?<\/dialogue>\n    <scene_description>Eva wishes the earth would engulf her .<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>Come on. Do n't make such a fuss. He walked all the way over through the fresh snow.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>Why do n't you leave her alone. Of course, she wants him. Ca n't you feel that?!<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>How can I? If she keeps her mouth shut!<\/dialogue>\n    <scene_description>Eva jumps up and runs out , so as not to burst into tears out of shame . The mother follows her , shaking her head disapprovingly at the father . The schoolteacher stands up , as Eva ran out . He 'd rather follow her , but has to remain polite toward the father . The father says calmly :<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>Just sit down. That's how women are. A bit hysterical, the whole lot of them. Listen. I'm not a big talker. On one hand, it suits me for the girl to leave the house. We have a lot of mouths to feed, as you can see. On the other hand, it's all moving a bit too fast for me. I do n't know you. It's not that I do n't like you, but I need to get some information about you first. Besides, the town hairdresser has agreed to take her on as an apprentice. That way she'll get to meet people and she can make up he mind whether she really wants this or not. And if in a year's time she has stuck to this idea, we can l talk about it again. And you can make up your mind too, all right?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>I actually thought I.<\/dialogue>\n    <character>FATHER<\/character>\n    <parenthetical>( interrupts him . )<\/parenthetical>\n    <dialogue>I know, I know. But it's either that or nothing. You get it?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( after a short pause . )<\/parenthetical>\n    <dialogue>If you insist.<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>Yes, I do.<\/dialogue>\n    <scene_description>He holds out his hand to the schoolteacher , who accepts it after a brief hesitation .<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>That's it. I'm pleased. Well, business is waiting. Even on holidays. I'll send the girl back in so that you can say good - bye. A year goes by fast. The world wo n't collapse. And during your holidays you can come and visit her. Good - bye.<\/dialogue>\n    <scene_description>He leaves the room . The schoolteacher is thrown off balance by all this . He stands up and takes a few steps . He sits down again and thinks . Finally , the door opens and Eva enters . She does n't really know what to do . Neither does the schoolteacher . As she comes in he stands up again . Finally Eva goes over to the table and sits down . The schoolteacher also sits down . They exchange a short glance and an equally brief smile . PAUSE .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Did your father tell?<\/dialogue>\n    <character>EVA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>PAUSE .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Is that all right with you?<\/dialogue>\n    <scene_description>PAUSE .<\/scene_description>\n    <character>EVA<\/character>\n    <dialogue>Is that all right with you, sir?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Do n't be so formal with me.<\/dialogue>\n    <scene_description>Eva looks up . Their eyes meet . Then she takes his hand in her hand . They remain seated without saying a word .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RECTORY. THE BOYS' BEDROOM.  - NIGHT<\/stage_direction>\n    <scene_description>It is dark . Martin , Anton and Florian , whom we do n't recognize at first glance , are lying in their beds . Through the window , a red glow , slowly getting stronger . Suddenly<\/scene_description>\n    <character>MARTIN'S VOICE<\/character>\n    <dialogue>Toni! Are you awake? Toni!<\/dialogue>\n    <character>ANTON'S VOICE<\/character>\n    <parenthetical>( half asleep . )<\/parenthetical>\n    <dialogue>What is it?<\/dialogue>\n    <character>MARTIN VOICE<\/character>\n    <dialogue>Look.<\/dialogue>\n    <character>ANTON'S VOICE<\/character>\n    <dialogue>What's happening?<\/dialogue>\n    <character>MARTIN VOICE<\/character>\n    <dialogue>Look! Look what's happening out there!<\/dialogue>\n    <scene_description>Now , Anton sits up slowly , rubs his eyes .<\/scene_description>\n    <character>ANTON'S VOICE<\/character>\n    <dialogue>My God, what do you want?<\/dialogue>\n    <character>MARTIN VOICE<\/character>\n    <dialogue>Over there! Have a look out of the window!<\/dialogue>\n    <scene_description>Anton turns to the window and looks at the red glow . Then he slips out of the bed and goes to the window . Suddenly , he is wide - awake :<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>Something is burning! Over there at the estate!<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Untie me!<\/dialogue>\n    <scene_description>Anton turns around to Martin , hesitates .<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Come on, untie me!<\/dialogue>\n    <scene_description>Anton does n't really know what to do . He turns to the window again , then again to Martin . The latter screams angrily :<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>I told you to untie me!<\/dialogue>\n    <character>ANTON<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>I'll beat you black and blue, if you do n't untie me!<\/dialogue>\n    <scene_description>The loud dispute has now also awakened Florian , who says in a drowsy voice :<\/scene_description>\n    <character>FLORIAN<\/character>\n    <dialogue>What's happening? Why ca n't you be quiet.<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>Flori, come over and untie me!<\/dialogue>\n    <character>FLORIAN<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <character>MARTIN<\/character>\n    <parenthetical>( yells . )<\/parenthetical>\n    <dialogue>Untie me, dammit! You idiots! It's burning!<\/dialogue>\n    <character>FLORIAN<\/character>\n    <dialogue>It's burning?<\/dialogue>\n    <scene_description>Florian gets up himself and patters to the window . He looks out and then says , amazed and enthusiastic :<\/scene_description>\n    <character>FLORIAN<\/character>\n    <dialogue>It's burning!<\/dialogue>\n    <character>MARTIN<\/character>\n    <parenthetical>( imitates him angrily . )<\/parenthetical>\n    <dialogue>OK, it's burning! Now untie me, godammit!<\/dialogue>\n    <scene_description>Florian looks at Anton with questioning eyes and then says to Martin :<\/scene_description>\n    <character>FLORIAN<\/character>\n    <dialogue>But Father has n't allowed it.<\/dialogue>\n    <scene_description>Reverse angle POV of the two boys at the window toward Martin , who we see for the first from the front . His wrists are tied to the left and the right side of the bed . Trying sit up , he pulls furiously at his ties .<\/scene_description>\n    <character>MARTIN<\/character>\n    <parenthetical>( furious . )<\/parenthetical>\n    <dialogue>But if there's an emergency, you idiot. Somebody must warn them!<\/dialogue>\n    <parenthetical>( he yells loudly . )<\/parenthetical>\n    <dialogue>Faaaather! Mooooother! Father!<\/dialogue>\n    <scene_description>Frightened by his screams , Anton now goes over to him and undoes his ties .<\/scene_description>\n    <character>ANTON<\/character>\n    <dialogue>Stop shouting. I'll untie you.<\/dialogue>\n    <character>FLORIAN<\/character>\n    <dialogue>Shall I call Mother?<\/dialogue>\n    <scene_description>We already hear hurried STEPS in the corridor . The door opens and the mother enters , dressed in a nightgown .<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>What's going on here?<\/dialogue>\n    <scene_description>Martin has just been untied .<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>It's burning!<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>I know. Your father has already gone.<\/dialogue>\n    <scene_description>In the door , the girls appear after their mother . They have left their room attracted by the noise . The mother turns to them :<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <parenthetical>( to everyone . )<\/parenthetical>\n    <dialogue>: You all go to bed now. It's nothing. There's a fire on the estate. You do n't need to be afraid. Go to bed and sleep. Come on, Marie, take your sisters with you and go to your room. Otherwise you'll catch a cold.<\/dialogue>\n    <scene_description>The girls disappear again . The mother turns to Martin :<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>Why did you make so much noise? You woke us all up!<\/dialogue>\n    <scene_description>Martin does n't know what to answer . Then he says apologetically :<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>I thought it was dangerous.<\/dialogue>\n    <character>ANTON<\/character>\n    <parenthetical>( apologizing . )<\/parenthetical>\n    <dialogue>I had to untie his hands.<\/dialogue>\n    <character>MOTHER<\/character>\n    <parenthetical>( calming them down . )<\/parenthetical>\n    <dialogue>Now, everything's all right again. Tomorrow, Father will tell you what happened with the fire. All right? Now you all got back to bed. I'll wait till you're back in bed. It's freezing cold outside.<\/dialogue>\n    <scene_description>The three boys go back to bed . But first Anton ties up Martin 's hands again . He pulls a blanket over his brother . Then they all disappear under their blankets .<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>Good night then. Sleep well.<\/dialogue>\n    <character>MARTIN, ANTON, FLORIAN<\/character>\n    <dialogue>Good night, Mom!<\/dialogue>\n    <scene_description>The mother closes the door . Coming from outside , we can see the glow of the fire .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ESTATE  - NIGHT<\/stage_direction>\n    <scene_description>ESTABLISHING SHOT . A big barn is blazing fiercely . SOUNDS of the FIRE . Against it we see , as silhouettes , the Baron , the steward and his wife , the pastor , and all those , who are vainly trying to save thing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE STEWARD'S HOUSE  - NIGHT<\/stage_direction>\n    <scene_description>In the children 's bedroom , lit by the reflection from the nearby flames : Liesl , Georg and Ferdinand . They stand at the window and stare into the flames .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FARM BUILDINGS. DAY<\/stage_direction>\n    <scene_description>Paul discovers his dead father in the pigsty . The farmer has hung himself up from a hook in the wall . The knocked - over stool still lies beneath his dangling feet . Paul runs from the stable out to the courtyard . He stops . Then he tiptoes toward the stable door . As he touches the stable door , he lacks the strength to go inside again . Slowly he heads for the living room . The children , who are gathered , pay no attention to him . Leni , who 's cooking , has looked up from her work briefly . Paul sits down on the bench against the wall . It is quite dark in there .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE DOCTOR'S HOUSE. OFFICE.  - DAY<\/stage_direction>\n    <scene_description>The doctor sits at his desk , the midwife sits on the visitor 's chair opposite him . She tries to masturbate him . This time , too , both are fully dressed . Over his clothes , the doctor wears an unbuttoned white coat . He watches the woman for a while in her activity , then he says coldly :<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>Would n't it be better if you stopped doing that?<\/dialogue>\n    <scene_description>It 's like a slap in the face . She looks dumbfounded .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>Why all the effort? Do n't look at me so dumbfounded. It's not that you lack talent. It's just that I ca n't do it with you any more, that's all. To tell you the truth you disgust me.<\/dialogue>\n    <scene_description>He gets up and buttons up his pants . She feels as if the world had collapsed around her .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>Please finish your work now? I do n't want to spend all night here.<\/dialogue>\n    <scene_description>The midwife remains seated , her head bowed , as if struck by a lightning<\/scene_description>\n    <character>MIDWIFE<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>What did I do to you?<\/dialogue>\n    <character>DOCTOR<\/character>\n    <parenthetical>( irritated . )<\/parenthetical>\n    <dialogue>My God, you have n't done anything at all. You're ugly, you're messy, you're flabby and you have bad breath. Is n't that enough?<\/dialogue>\n    <scene_description>PAUSE . He points at the examination couch on the other side of the small room , saying casually :<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>The upholstery has to be sterilized with boiling water<\/dialogue>\n    <scene_description>She remains immobile , and shoots a quick mechanical glance at the examination couch . He looks at her .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>Stop sitting there as if you were carrying all the world's woes on your shoulders. The world wo n't collapse down. Not on you, or on me.<\/dialogue>\n    <parenthetical>( explains . )<\/parenthetical>\n    <dialogue>I just want it to stop, that's all. I've been trying, but it's just disgusting. I try to think of another woman when I'm making love to you, a woman who smells good, who's young one, one who's less flabby than you, but my imagination ca n't handle it. In the end, it's you again and then I just feel like throwing up and am embarrassed at myself. So what's the point?!<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <dialogue>Are you through?<\/dialogue>\n    <character>DOCTOR<\/character>\n    <parenthetical>( contemptuously . )<\/parenthetical>\n    <dialogue>. -RRB- : Yes, I have been for ages.<\/dialogue>\n    <scene_description>He turns away . The midwife hardly moves . She 's still sitting on the visitor 's chair . It takes her a lot of strength not to faint - at the same time she speaks out calmly .<\/scene_description>\n    <character>MIDWIFE<\/character>\n    <dialogue>You must be very unhappy to be so mean.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>Oh God! Please, not that routine!<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <dialogue>I know that I'm not much to look at. My bad breath comes from my stomach, you know that very well. But it did n't bother you in the past when we got together. I already had my ulcer when your wife was still alive.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>Please spare me these sordid details. But let me reassure you it has always disgusted me. I accepted it, because I wanted to ease my pain after Erika's death and I did n't care with whom. I could have screwed a cow. Whores are unfortunately too far from here and regrettably once every two months is n't enough for me, even though I'm getting older. So skip your damn martyrdom routine and get out.<\/dialogue>\n    <scene_description>PAUSE .<\/scene_description>\n    <character>MIDWIFE<\/character>\n    <parenthetical>( keeps on speaking softly . )<\/parenthetical>\n    <dialogue>Why did this only occur to you now?<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>According to you : when should it have occurred to me? At the hospital, I had forgotten how tiresome you were. One grows sentimental when one's in pain.<\/dialogue>\n    <scene_description>PAUSE .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <parenthetical>( tired . )<\/parenthetical>\n    <dialogue>Get out. Why do n't you get out. Do n't you have any pride?<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <parenthetical>( equally tired . )<\/parenthetical>\n    <dialogue>There's no room for any with you.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>That's true.<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <dialogue>Are n't you afraid that I might do something silly?<\/dialogue>\n    <character>DOCTOR<\/character>\n    <parenthetical>( laughs with disdain . )<\/parenthetical>\n    <dialogue>Go ahead. At least that would surprise me. But be careful it might be painful.<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <dialogue>I know. I'm ridiculous. You would n't care anyway.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>Well.<\/dialogue>\n    <scene_description>She looks at him .<\/scene_description>\n    <character>MIDWIFE<\/character>\n    <dialogue>Why do you despise me? For helping to raise the boy? For watching you fingering your little daughter and not saying a word?<\/dialogue>\n    <scene_description>The doctor goes over and slaps her . Tears start to run down her face , but after a short pause she keeps on speaking , `` unmoved '' :<\/scene_description>\n    <character>MIDWIFE<\/character>\n    <dialogue>For helping you to deceive yourself? For listening to you claim how unique your love for Erika was, though the whole village knew, how badly you treated her? For loving you, although I know you ca n't stand being loved?<\/dialogue>\n    <scene_description>The doctor snorts with disdain .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>That's it. Now leave me alone. I've got work to do.<\/dialogue>\n    <scene_description>She gets up and makes room for him . He sits down at the desk and `` works '' . She looks down at him :<\/scene_description>\n    <character>MIDWIFE<\/character>\n    <dialogue>You ca n't afford to get rid of me. Who would do the dirty work for you, who would help you with the children, and here in you practice? You're not speaking seriously. You just want to see how far you can go, do n't you will she still put up with it or can I drag her even lower through the mud?<\/dialogue>\n    <scene_description>PAUSE . The doctor `` works '' , as if he had n't heard . She keeps watching him for a while , and then says softly :<\/scene_description>\n    <character>MIDWIFE<\/character>\n    <dialogue>I'm tired too. I've got two retarded children : Hans and you. You're the one that gives me most trouble.<\/dialogue>\n    <scene_description>He looks up at her . After a pause , he says :<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>My God, why do n't you just die?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FARM.  - DAY<\/stage_direction>\n    <scene_description>Rays of cold winter sun . The men carry the coffin out of the house . Some people are already waiting outside . All wear mourning clothes . The coffin is shouldered , the funeral procession forms , with the pallbearers and in the lead . The others who had gathered in the house follow . Paul comes out with Sepp , whom he tries to calm . Finally Leni comes out and , in words that we ca n't hear , asks the old midwife to look after the farm for a short while . She gathers her sisters and with them gets in the funeral procession right behind the coffin . The procession starts to move off . As it comes around the corner of the farm to go down the path leading to the village , Franz comes toward them . Muttering is heard from the villagers . They do n't know how to react . The procession slows down . Franz comes over . For a while he stands in front of the coffin , head bowed . Then he joins his brothers and sisters . He and Leni exchange a glance , then he takes his place beside her . After he has motioned to the coffin bearers , the procession starts to move off again slowly , despite of the continued muttering . Paul , who is still carrying Sepp , looks expectantly toward his older brother who squeezes his hand . Paul smiles shyly . Then Franz takes over little Sepp , in the most natural way . For a long moment it almost looks as if , despite of all the gloom , these people were n't desperate .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLAGE AND SURROUNDING LANDSCAPE  - DAY<\/stage_direction>\n    <scene_description>Various long shots of the snow - covered landscape .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>The year was coming to an end with fine weather. The sun made the snowy landscape sparkle so brightly that it hurt the eyes. None of us suspected that it would be the last time a year moved on to the next in an era of peace, and that that same year a radical change would take place of which no one had the faintest inkling.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RECTORY. LIVING ROOM.  - DAY<\/stage_direction>\n    <scene_description>The decorated Christmas tree . Outside bright sunlight . The pastor is taking the white ribbon off Marie 's head and Martin 's arm . The rest of the family witnesses this almost solemn act .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>Despite of the strange events, that had unsettled the village, we thought of ourselves as united in the belief that the life in our community was God's will and worth living.<\/dialogue>\n    <character>PASTOR<\/character>\n    <dialogue>I take of this ribbon from you, in the belief that from now on you'll no longer need it. You, Marie, will be accepted this year as a full member of the church community. You will receive Christ's body as bread and as wine. May the time of preparation for the confirmation feast be one of happiness and enrichment. And you, Martin from now on you shall not only be free of that ribbon, but also from those nightly ties that were intended to save you from yielding to the temptations of your young body. For in a house full of festive expectation, you too, on your own, shall make your contribution to mental and physical purity. I trust in you, my beloved children, and wish you a profitable and happy new year.<\/dialogue>\n    <scene_description>He strokes the children 's heads . They kiss his hand . The mother embraces them heartily .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ESTATE  - DAY<\/stage_direction>\n    <scene_description>Springtime . The Baroness , Sigi and a new , a forty - ish nanny with the twins are get out of a carriage in front of the manor .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>Shortly after Easter, in the last week of April, the Baroness came back with the children. She was accompanied by a new nurse. Thus my secret hope that Eva would be able to come back here, had definitely been dashed. The nurse was a chubby, middle - aged Italian who came, as everybody soon learned, from the town on the Mediterranean coast where the Baroness had spent the winter.<\/dialogue>\n    <scene_description>A maid hurries out of the house with reinforcements , the Baroness is being welcomed respectfully and the luggage is being unloaded . The nurse gives instructions in Italian , which leads to some confusion . Then the nanny talks to Sigi who translates to the servants , laughing . Besides , the boy looks transformed : instead of his former pale skin color , his face now has a nice tan , his fair hair has been further bleached by the sun , he has grown taller and looks altogether stronger and happier . The Baroness too seems more relaxed and restored . She and Sigi are about to go straight into the house when we hear , coming from the other side of the courtyard<\/scene_description>\n    <character>FERDINAND'S VOICE<\/character>\n    <dialogue>Sigi!<\/dialogue>\n    <scene_description>Sigi turns around . Ferdinand has seen him from the window and called . Sigi waves back :<\/scene_description>\n    <character>SIGI<\/character>\n    <dialogue>Hi, Ferdinand!<\/dialogue>\n    <character>FERDINAND<\/character>\n    <dialogue>Wait! I'm coming down!<\/dialogue>\n    <scene_description>Sigi wants to run over to the steward 's house .<\/scene_description>\n    <character>BARONESS<\/character>\n    <dialogue>Stay here, Sigi, you can see him later.<\/dialogue>\n    <character>NURSE<\/character>\n    <parenthetical>( in Italian . )<\/parenthetical>\n    <dialogue>Let him go, Signora! He's so happy to be home again.<\/dialogue>\n    <character>BARONESS<\/character>\n    <parenthetical>( muses , then smiles . )<\/parenthetical>\n    <dialogue>All right, you can go. But do n't stay too long.<\/dialogue>\n    <scene_description>Sigi hurries off . The Baroness and the nurse look at each other in agreement . The Baroness smiles faintly . Then they go through the door into the house . For a moment we only see the open door with the dark stairwell behind it . Then we hear the STEPS of the Baron , first on the gravel in the yard . Then Baron comes into frame , and goes through the door into the house . He vanishes into the darkness of the stairwell . From there we hear his voice :<\/scene_description>\n    <character>BARON<\/character>\n    <parenthetical>( calling . )<\/parenthetical>\n    <dialogue>Beatrix? Beatrix, where are you?<\/dialogue>\n    <scene_description>The nurse comes out after a while again<\/scene_description>\n    <character>NURSE<\/character>\n    <parenthetical>( calls in Italian . )<\/parenthetical>\n    <dialogue>Sigi. Do n't you want to come say hello to your father?<\/dialogue>\n    <scene_description>But Sigi is talking intensely to Ferdinand on the other side of the courtyard and does n't answer .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL.  - DAY<\/stage_direction>\n    <scene_description>CLASSROOMS . The children are going wild . Brawling , sponge and chalk are flying through the air . Some are packing up their belongings , preparing to leave the classroom . In short , the way children behave once the lesson is over . Marie stands at the classroom door . She watches her classmates . The she looks through the door into the CORRIDOR . It 's empty . She comes back to the CLASSROOM , but stays at the door so that she can still keep an eye on the corridor . Apparently , she has been posted there as a lookout to warn against the possible arrival of a teacher . The shouting , laughter and brawling goes on . Suddenly , Marie sees the schoolteacher in the CORRIDOR with her father . The two are having an animated conversation . Marie bursts into the CLASSROOM and closes the door to muffle the noise , then she shouts to her classmates :<\/scene_description>\n    <character>MARIE<\/character>\n    <dialogue>Watch out, he's coming!<\/dialogue>\n    <scene_description>But with all the shouting and laughter , her voice is n't heard by all of the pupils . The noise dies down , some of them stop misbehaving . Somebody picks up the sponge , and the blackboard is quickly cleaned up of the traces of the fight . But a small group who had started to chase each other around , does n't hear and keeps at it . Marie shouts to them again , this time louder :<\/scene_description>\n    <character>MARIE<\/character>\n    <dialogue>Be quiet! For God's sake! Be quiet!<\/dialogue>\n    <scene_description>But as the wild chase goes on and some over - exited children even make fun of her , and she yells at the top of her voice :<\/scene_description>\n    <character>MARIE<\/character>\n    <dialogue>QUIET!<\/dialogue>\n    <scene_description>At that moment , the door opens and the pastor comes in with the schoolteacher . Almost instantly , the room becomes QUIET . Without saying a word , the pastor goes over to Marie , grabs her by the ear and drags her through the whole classroom to the stove , where he makes her stand , face to the wall . The pupils remain silent , embarrassed . While the pastor goes back to the black board , putting his briefcase on the desk without saying a word , the schoolteacher , who feels slightly responsible for the lack of discipline of his classroom , says :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>What's going on here? Why are you still here? You know that there's a confirmation class now! Get out!<\/dialogue>\n    <scene_description>The children disappear quickly . To the first child who tries to sneak out the schoolteacher says :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>How about saying good - bye?<\/dialogue>\n    <scene_description>Immediately all the CHILDREN rushing out say :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Good - bye, Sir! Good - bye, Pastor!<\/dialogue>\n    <scene_description>Finally , all the children have left the classroom , except eight candidates for confirmation , among them Paul , Xenia and Marie with her face still turned to the wall . The schoolteacher turns to the pastor :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>I'm sorry, Pastor. It wo n't happen again.<\/dialogue>\n    <scene_description>The pastor answers with a reserved nod . In an icy silence , he has waited for the all the younger pupils to leave . As the schoolteacher notices that there will be no further reaction from the pastor , he bows slightly to him and says :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Good - bye, Pastor.<\/dialogue>\n    <character>PASTOR<\/character>\n    <dialogue>Good - bye.<\/dialogue>\n    <scene_description>The schoolteacher leaves the room . The pastor turns to the candidates for confirmation :<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>Let us pray.<\/dialogue>\n    <scene_description>They say the LORD 'S PRAYER together . Then the pastor says :<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>Sit down.<\/dialogue>\n    <scene_description>The students sit down . Marie keeps standing facing the wall . The pastor stops too . After a while he begins to talk .<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>This is a very sad day for me. In a few weeks, we all want to celebrate the confirmation feast together. For many months I have tried to bring God's word closer to you, and to make responsible human beings out of you in His spirit. And what do I face today? A horde of yelling monkeys, without any discipline or human dignity, as childish as the seven - year olds, with whom you're sharing this classroom. But what makes me even sadder is the fact that my own daughter is playing the leading role in this pitiful display. Last year I bound a white ribbon in her hair. Well, you all know that white is the color of innocence. The ribbon was meant to help Marie to avoid sin, selfishness, envy, indecency, lies and sloth. Well, at the start of the year, I was naive enough to believe, that now, in the year of her confirmation, she'd become mature enough, and that she would n't need that ribbon any more I believed that she felt responsible, being the daughter of the spiritual leader of a Christian communi.<\/dialogue>\n    <scene_description>Marie , who all this time has been waiting beside the stove , faints and collapses to the floor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE DOCTOR'S HOUSE.  - NIGHT<\/stage_direction>\n    <scene_description>STAIRWELL . The only light comes in from the living room . Rudolph comes down the stairs , wearing a nightshirt .<\/scene_description>\n    <character>RUDOLPH<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Xeni?<\/dialogue>\n    <scene_description>He goes into the LIVING ROOM . It 's empty .<\/scene_description>\n    <character>RUDOLPH<\/character>\n    <parenthetical>( as above , anxiously . )<\/parenthetical>\n    <dialogue>Xeni? Where are you?<\/dialogue>\n    <scene_description>He goes into the KITCHEN . It 's also empty . Rudolph is desperate . He starts to cry . Finally , he goes back to the STAIRWELL and goes up the stairs to his room . On the stairway , he notices light coming from under the door of the practice . He goes back down the stairs down again and opens the door of the PRACTICE . In the bright light , sitting in front of each other , are the doctor and Xenia . The doctor has his back to Rudolph , so that we see Xenia 's face first . She sits on the visitor 's chair . He has placed his chair in front of hers , and his legs are closed around her legs . She 's crying . The situation is ambiguous , we do n't know what has happened . The noise at the door startles Xenia , she looks at Rudolph :<\/scene_description>\n    <character>XENIA<\/character>\n    <parenthetical>( startled , her face tearstained . )<\/parenthetical>\n    <dialogue>Rudi?!<\/dialogue>\n    <scene_description>The doctor spins around , and looks stunned to his young son . Both look as if they have been caught red - handed .<\/scene_description>\n    <character>XENIA<\/character>\n    <dialogue>What are you doing here? Why are n't you in bed?<\/dialogue>\n    <scene_description>Rudolph does n't really know , what to think of all this , but being the good child he is , he answers automatically :<\/scene_description>\n    <character>RUDOLPH<\/character>\n    <dialogue>I ca n't get to sleep.<\/dialogue>\n    <character>XENIA<\/character>\n    <dialogue>That's why you're wandering around like a ghost in the middle of the night?<\/dialogue>\n    <character>RUDOLPH<\/character>\n    <dialogue>I woke up and you were n't there.<\/dialogue>\n    <scene_description>Short PAUSE . Xenia wipes the tears from her face .<\/scene_description>\n    <character>XENIA<\/character>\n    <parenthetical>( trying to smile . )<\/parenthetical>\n    <dialogue>Dad has pierced my earlobes.<\/dialogue>\n    <character>RUDOLPH<\/character>\n    <dialogue>Does it hurt?<\/dialogue>\n    <character>XENIA<\/character>\n    <dialogue>Yes, a bit.<\/dialogue>\n    <character>RUDOLPH<\/character>\n    <dialogue>That's why you're crying?<\/dialogue>\n    <character>XENIA<\/character>\n    <parenthetical>( tries to smile . )<\/parenthetical>\n    <dialogue>I'm not crying any more.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <parenthetical>( trying to joke . )<\/parenthetical>\n    <dialogue>Beauty has to suffer. That's what they say. At least for girls.<\/dialogue>\n    <scene_description>He gets up and goes , still seen from behind , to a closet , and puts something into it that we ca n't recognize . He 's straightens his clothes . Then he goes over to Rudolph :<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>Now go to bed again. You too, Xeni.<\/dialogue>\n    <character>XENIA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>As Rudolph hesitates and looks at her dubiously , she explains , almost eagerly :<\/scene_description>\n    <character>XENIA<\/character>\n    <dialogue>I have n't worn earrings for a long time, that's why my earlobes grew back again.<\/dialogue>\n    <scene_description>To show him , she grasps one of her ears .<\/scene_description>\n    <character>XENIA<\/character>\n    <dialogue>For Whitsun feast, when we all want to look our best make ourselves look beautiful, I'm getting new earrings. The ones that Mom had, with garnets.<\/dialogue>\n    <scene_description>Rudolph looks at her . He does n't think she 's telling the truth .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RECTORY. THE PASTOR'S STUDY.  - DAY<\/stage_direction>\n    <scene_description>Marie comes in . She 's wearing a nightshirt , her hair is damp and sticks to her head . She looks sick and feverish . She closes the door quietly , then goes to her father 's desk and opens a few drawers . She ends up finding the letter - opener . It has a hilt and looks like a small sword . She takes the letter - opener , goes to the birdcage , puts the letter - opener down beside it and grabs the tiny canary . As the bird chirps , she glances round at the door , as if to make sure that nobody is coming .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>A few days after Marie's fainting - fit that frightened us all, and that was followed by her feverish and debilitated state.<\/dialogue>\n    <scene_description>She takes the bird into her left hand so that its little head is turned upwards , and picks up the letter - opener with her right hand .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ESTATE. STEWARD'S HOUSE.  - DAY<\/stage_direction>\n    <scene_description>The schoolteacher is led by the steward 's wife to the living room . She carries an apron and her sleeves are rolled up . Apparently she was just preparing a cake , and her sticky hands make her open the door with her elbow . Because of the narrator 's voice , we do n't grasp what they 're saying , but we understand that she 's asking him to come in and wait for the person he wants to see , and that she ca n't keep him company now .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>I went to see the steward, because I wanted to borrow the carriage for the Whitsun holidays again. Since my marriage proposal, Eva had written me once a week, and I got the feeling that she felt lost and alone in the city, and was asking me between the lines to come to see her again, despite of her father's interdiction. I wanted to spend Whitsun Saturday with her so that I could be back on Sunday again and prepare the confirmation feast with the pastor. The steward had gone to the sawmill, but was supposed to be back any minute. His wife, who was busy preparing for Whitsun, asked me into the living room and to wait there for his return.<\/dialogue>\n    <scene_description>The steward 's wife has left the room . The schoolteacher sits around , bored . After a while he gets up , goes to the window and looks out . The courtyard is empty . Suddenly , the schoolteacher hears a female VOICE in the next room SPEAKING softly . He listens , then he goes to the wing door and looks through the gap on the etched glass - window of the door into the next room . There , Liesl sits beside the cradle and talks quietly to the baby . The schoolteacher opens the door . Liesl sees him , gets up and greets him politely with a curtsy :<\/scene_description>\n    <character>LIESL<\/character>\n    <dialogue>Good morning, Sir.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Hello, Liesl.<\/dialogue>\n    <scene_description>Smiling , the schoolteacher goes to the cradle and looks into it .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>He's cute.<\/dialogue>\n    <character>LIESL<\/character>\n    <dialogue>Yes, he is.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Do you like him.<\/dialogue>\n    <character>LIESL<\/character>\n    <dialogue>Yes. Very much.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>He was very sick last winter, I was told.<\/dialogue>\n    <character>LIESL<\/character>\n    <dialogue>Yes. Very sick. But the doctor cured him. With God's help.<\/dialogue>\n    <scene_description>PAUSE . The schoolteacher looks out the window to see if the steward is n't coming .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Maybe, I'll pop back this evening.<\/dialogue>\n    <character>LIESL<\/character>\n    <dialogue>I'm sure Father will be back for coffee at four.<\/dialogue>\n    <scene_description>She looks at the grandfather clock , that indicates quarter to four . The schoolteacher thinks for a moment , then he goes to the living room :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Then, I'll go sit down again next door.<\/dialogue>\n    <character>LIESL<\/character>\n    <dialogue>Can I bring you something? A cup of coffee. I'm sure it's ready.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( smiling at her eagerness . )<\/parenthetical>\n    <dialogue>No, no. Thanks.<\/dialogue>\n    <scene_description>He stands in the door :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>I'll sit down over there again and just wait.<\/dialogue>\n    <scene_description>He wants to close the door behind himself . Suddenly<\/scene_description>\n    <character>LIESL<\/character>\n    <dialogue>Sir!<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>LIESL<\/character>\n    <dialogue>Can dreams come true?<\/dialogue>\n    <scene_description>The schoolteacher smiles , surprised at the unexpected question :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>That depends, why?<\/dialogue>\n    <character>LIESL<\/character>\n    <parenthetical>( serious . )<\/parenthetical>\n    <dialogue>On what?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( smile . )<\/parenthetical>\n    <dialogue>On what does it depend? Well if you dream of getting the first prize at the school feast, and study hard for it, then your dream can come true.<\/dialogue>\n    <character>LIESL, shakes her head, quietly<\/character>\n    <dialogue>That's not what I meant.<\/dialogue>\n    <scene_description>The schoolteacher feels that she has something on her mind and asks , this time without irony :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Well, what did you mean then?<\/dialogue>\n    <scene_description>She looks at him , wondering if she should really discuss it . He nods to encourage her .<\/scene_description>\n    <character>LIESL<\/character>\n    <dialogue>I mean, if you dream something in your sleep, I mean, if you really dream it in your sleep, can it come true?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( also serious . )<\/parenthetical>\n    <dialogue>Why, what did you dream?<\/dialogue>\n    <scene_description>She bows her head . The schoolteacher thinks for a moment , then he goes over to her .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Come on, tell me. You have something on your mind, have n't you?<\/dialogue>\n    <scene_description>She shakes her bowed head . But suddenly , she starts to cry :<\/scene_description>\n    <character>LIESL<\/character>\n    <parenthetical>( crying . )<\/parenthetical>\n    <dialogue>I always dream such horrible things.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( dear . )<\/parenthetical>\n    <dialogue>Tell me what you've been dreaming?<\/dialogue>\n    <scene_description>She sobs , he takes out a handkerchief and hands it to her :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Take this. Now, calm down again. And then tell me what's going on.<\/dialogue>\n    <scene_description>Liesl takes the handkerchief , blows her nose and wipes away her tears . She does n't completely manage to hold her tears back , and breathes haltingly . She hands the handkerchief back to the schoolteacher .<\/scene_description>\n    <character>LIESL<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>The schoolteacher puts the handkerchief away with an imperceptible smile and then says reassuringly :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>All right. Now go on.<\/dialogue>\n    <scene_description>The girl sniffles a couple of times again , then swallows and says quietly :<\/scene_description>\n    <character>LIESL<\/character>\n    <dialogue>I dreamt that the Hansi - the midwife's odd little boy.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( reassuringly . )<\/parenthetical>\n    <dialogue>I know, I know.<\/dialogue>\n    <character>LIESL<\/character>\n    <dialogue>-. that something very bad is going to happen to him.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Something very bad?<\/dialogue>\n    <scene_description>Liesl nods eagerly .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Like what?<\/dialogue>\n    <character>LIESL<\/character>\n    <dialogue>I do n't know. Something like what happened to Sigi not long ago. But even worse.<\/dialogue>\n    <scene_description>She starts to cry again :<\/scene_description>\n    <character>LIESL<\/character>\n    <dialogue>But he's so sweet. He harms no one.<\/dialogue>\n    <scene_description>Touched , the schoolteacher puts his arm around Liesl 's shoulder .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>All right. All right. That was just a dream. You need n't take it so seriously.<\/dialogue>\n    <character>LIESL<\/character>\n    <parenthetical>( crying . )<\/parenthetical>\n    <dialogue>They always make fun of him, because he does n't really.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( calmly . )<\/parenthetical>\n    <dialogue>Yes, I know, but nobody will do him any harm, you can be sure of that.<\/dialogue>\n    <scene_description>Liesl ca n't calm down .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Do you want my handkerchief back?<\/dialogue>\n    <scene_description>She shakes her head .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>What gave you the idea that your dream would come true?<\/dialogue>\n    <scene_description>She just shakes her head , and keeps on crying . Then he takes the handkerchief out again and hands it to her . As she does n't take it , he nudges her . She looks up , confused . He holds the handkerchief again with a cheerful nod . She takes it and blows her nose . The she slowly calms down .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( now `` reasonable '' in order to . )<\/parenthetical>\n    <dialogue>`` calm her down''. -RRB- Dreams do n't come true. Let alone that kind.<\/dialogue>\n    <scene_description>She shrugs her shoulders , as if she disagrees with what he 's saying . Her head bowed she stands before him , holding his handkerchief . She breathes a few more times , then says with an almost `` adult '' voice :<\/scene_description>\n    <character>LIESL<\/character>\n    <parenthetical>( serious . )<\/parenthetical>\n    <dialogue>But sometimes my dreams do come true.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <scene_description>PAUSE .<\/scene_description>\n    <character>LIESL<\/character>\n    <dialogue>Last winter, before Putzl.<\/dialogue>\n    <parenthetical>( she points to the baby . )<\/parenthetical>\n    <dialogue>became ill, I dreamt that my brother put him beside the open window, so that he'd die. And the day the window was open and he caught a chill and he almost died.<\/dialogue>\n    <scene_description>The schoolteacher is completely perplexed . At first he does n't know what to say .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>What are you saying there? That's complete nonsense!<\/dialogue>\n    <scene_description>Liesl bows her head again .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Somebody probably did n't close the window properly. What gave you that idea? Why would your brother do such a thing?<\/dialogue>\n    <character>LIESL<\/character>\n    <parenthetical>( defiantly , as he 's not believing her . )<\/parenthetical>\n    <dialogue>Because he's jealous.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>And because you believe that, you dreamt it. It does n't mean anything at all. It's just a coincidence.<\/dialogue>\n    <character>LIESL<\/character>\n    <parenthetical>( keeping her head bowed . )<\/parenthetical>\n    <dialogue>All right.<\/dialogue>\n    <scene_description>The schoolteacher bends over to catch her gaze .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Look at me.<\/dialogue>\n    <scene_description>She looks at him reluctantly , maintaining her defiant reserve .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Do n't tell such stories to anybody! You obviously do n't realize the harm you can do with it.<\/dialogue>\n    <scene_description>Again she looks down at the floor .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>You did n't tell the story to your parents, did n't you?<\/dialogue>\n    <scene_description>She shakes her head .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>All right then. Forget it quickly. I shall forget it, too. Promise?<\/dialogue>\n    <scene_description>As she does n't answer , he repeats :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Promise?<\/dialogue>\n    <scene_description>She nods almost imperceptibly .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Good. Now can I have my handkerchief back.<\/dialogue>\n    <scene_description>He holds his hand out to her . Astonished she looks at the handkerchief in her hands . She had forgotten it completely , and gives it back the schoolteacher .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>He pockets the handkerchief .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Now, we both have a secret. And you promise me that it will remain a secret between us. All right?<\/dialogue>\n    <scene_description>She nods reluctantly . He insists , seeks her gaze :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Yes?!<\/dialogue>\n    <character>LIESL<\/character>\n    <parenthetical>( reluctantly . )<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Well. All right then. You do n't have to worry. Nothing will happen to Hansi.<\/dialogue>\n    <parenthetical>( smiling . )<\/parenthetical>\n    <dialogue>Nobody is jealous of him.<\/dialogue>\n    <scene_description>She glances at him to see whether he 's making fun of her . He looks at her seriously and gives her a nod that demands an answer . She nods briefly . But it is n't clear whether she just does it to please him .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Dreams do n't come true. That only happens in fairy - tales. Forget all about it.<\/dialogue>\n    <scene_description>He looks at her , as she stands there , head bowed . Finally he smiles and tries to `` crack a joke '' to make the matter less serious :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Do you know what they did to little girls who predicted the future in ancient times? They burned them at the stake as witches.<\/dialogue>\n    <scene_description>She looks up at him , round - eyed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RECTORY. THE PASTOR'S STUDY.  - DAY<\/stage_direction>\n    <scene_description>The pastor comes through the door , goes to his desk , and is about to put down his briefcase . The dead bird lies in the middle of the desk with its wings spread out . The pastor 's letter - opener is stuck in its neck - only the hilt sticks out from its beak .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET.  - DAY<\/stage_direction>\n    <scene_description>The schoolteacher and Eva drive in the carriage . In the background , we catch glimpses of the town .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>We had arranged to meet at the town railway station, since Eva wanted to avoid being seen with me. She was living with distant relatives, who were apparently reporting regularly to Eva's parents about her life - style. She had become thinner which made her even prettier, and once again I was ravished by her mixture of shyness and almost childlike outspokenness.<\/dialogue>\n    <character>EVA<\/character>\n    <parenthetical>( imitating somebody . ) ''<\/parenthetical>\n    <dialogue>. You want your hair parted r to the right or to the left?'' `` How about one parting to the left and one to the right''?<\/dialogue>\n    <scene_description>Both laugh heartily .<\/scene_description>\n    <character>EVA<\/character>\n    <dialogue>All the people in the saloon were laughing their heads off. Even Mr. Murer, who's so distinguished that he never cracks a smile, had to laugh.<\/dialogue>\n    <scene_description>SHORT PAUSE , in which the laughter fades down .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Then, it is n't really so awful, is it?<\/dialogue>\n    <character>EVA<\/character>\n    <dialogue>No. But sweeping up hair all day - honestly the twins were more fun, I must say. But it's all right. I ca n't really complain.<\/dialogue>\n    <scene_description>The schoolteacher looks at her sideways , smiling :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>No?<\/dialogue>\n    <scene_description>She looks at him , does n't understand that he 's trying to make her complain about their forced separation , and says cheerfully :<\/scene_description>\n    <character>EVA<\/character>\n    <dialogue>No. Really.<\/dialogue>\n    <scene_description>The schoolteacher exchanges a smiling glance with her , then looks back at the road :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( smiling . )<\/parenthetical>\n    <dialogue>And apart from the twins, there's nothing you're missing?<\/dialogue>\n    <scene_description>She looks at him , surprised . Suddenly , she understands . She shakes her head with a smile , then takes his hand for a short moment , as if she were apologizing for her lack of sensitivity .<\/scene_description>\n    <character>EVA<\/character>\n    <dialogue>Oh, you of course!<\/dialogue>\n    <scene_description>He looks at her hand on his , but she already has withdrawn it . Both seem very happy . After a few moments , during which the horse keeps trotting , Eva leans against the schoolteacher and puts her head against his shoulder . But the shaking of the carriage on the rutted road makes that position untenable and so they sit side by side again and drive on . Finally<\/scene_description>\n    <character>EVA<\/character>\n    <dialogue>And how is the nurse? Does she only speak Italian?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>I do n't know. That's what the steward told me.<\/dialogue>\n    <character>EVA<\/character>\n    <dialogue>I see.<\/dialogue>\n    <scene_description>At that moment the road crosses a brook , that runs through a small wood . The schoolteacher steers the carriage on to a trail that branches off the road after the bridge .<\/scene_description>\n    <character>EVA<\/character>\n    <dialogue>Where are you going?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Over there, into the forest beside the brook. We can picnic over there. I brought a basket of food.<\/dialogue>\n    <character>EVA<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>I do n't want that.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( perplexed . )<\/parenthetical>\n    <dialogue>Why?<\/dialogue>\n    <scene_description>Eva looks down and shakes her head . The schoolteacher stops the carriage , turns to her :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <character>EVA<\/character>\n    <dialogue>Nothing. Please.<\/dialogue>\n    <scene_description>Now he understands . He smiles although he ca n't really understand that she 's been thinking such a thing of him . Now he talks to her almost as to a child , astonished and reassuringly .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>But I do n't want anything forbidden from you. I just wanted you to enjoy the picnic.<\/dialogue>\n    <scene_description>She looks up at him .<\/scene_description>\n    <character>EVA<\/character>\n    <dialogue>Please.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( astonished . )<\/parenthetical>\n    <dialogue>Do you think, I might want to bring disgrace on my future wife?<\/dialogue>\n    <scene_description>She keeps looking at him pleadingly . Finally he gives in , slightly disappointed :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>All right then. I'll turn over there.<\/dialogue>\n    <scene_description>He drives on . After a few meters , Eva puts her hand on his hands and on the reins . He stops the carriage , she looks at him .<\/scene_description>\n    <character>EVA<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>He does n't know what say . They look at each other . Suddenly Eva leans forward and kisses him on the lips very cautiously . They remain that way for a long while without their bodies touching each other . After separating , they forget at first to keep breathing . Then , once the worst of the confusion has abated , they both turn away from each other . The schoolteacher lets the horse start trotting again , and they sit side by side on the bumping vehicle , looking straight ahead , quiet and overwhelmed by the happiness of the moment .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH  - DAY<\/stage_direction>\n    <scene_description>The church is packed . The 8 candidates for confirmation are kneeling at the Communion bench . One after the other , the pastor puts the cup to their lips .<\/scene_description>\n    <character>PASTOR:<\/character>\n    <dialogue>Accept and drink! This is the blood of the New Testament, Shed for the forgiveness of your sins.<\/dialogue>\n    <scene_description>As he reaches Marie , who is kneeling fifth in line , he hesitates a long moment . For so long , that this causes a few irritated stares from the devout parish . Even more than the other children , Marie is also numb with excitement . It almost looks like she might faint again . But then he holds out the cup to her too , and she drinks :<\/scene_description>\n    <character>PASTOR:<\/character>\n    <dialogue>Accept and drink! That is the blood of the new will, spilled for you so that your sins will be forgiven.<\/dialogue>\n    <scene_description>He wipes the cup , where Marie 's mouth drank - as he does after each child - and goes on to the next one , repeating the rite .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST  - NIGHT<\/stage_direction>\n    <scene_description>Distant VOICES . At first incomprehensible . Gradually we understand them better :<\/scene_description>\n    <character>VOICES<\/character>\n    <dialogue>Hansi? Where are you? Give us a sign! Hansi, where are you?<\/dialogue>\n    <scene_description>Here and there silhouettes appear in the half - light . Some carry lanterns , other torches . It takes some time before they get nearer and become recognizable : they 're men and women from the village . After a while<\/scene_description>\n    <character>MAN'S VOICE<\/character>\n    <parenthetical>( calling . )<\/parenthetical>\n    <dialogue>Over here. He's here.<\/dialogue>\n    <scene_description>We follow those running over : Bound to a tree is a small boy . His whole head is wrapped up in rags . A small slit has been left open so the nose can breathe . He MOANS . A paper has been tied around his neck with a white ribbon . The people hurry toward the child , free the child of its fetters . The child slumps down , his head is unwrapped , covered in blood : it 's the mongoloid son of the midwife . Astonished , somebody reads the words written in block letters on the paper -RRB- : FOR I THE LORD YOUR GOD AM A JEALOUS GOD , VISITING THE INIQUITY OF THE FATHERS UPON THE CHILDREN TO THE THIRD AND THE FOURTH GENERATION OF THOSE WHO HATE ME .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL.  - DAY<\/stage_direction>\n    <scene_description>CORRIDOR . Marie , Martin , Paul , Georg , and a couple of other children are waiting at the classroom door . They remain silent . They 're listening .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>After this intricate atrocity committed on the retarded boy, even the Baron was finally convinced that it would be more intelligent to call upon the professional help of the county's police force. So a few days later a couple of plainclothes policemen arrived and, after a visit to the several of the crime scenes, started to ask in various homes if anyone had noticed anything suspicious.<\/dialogue>\n    <scene_description>CLASSROOM The two detectives question Liesl in the presence of the schoolteacher and become more and more aggressive . Liesl ends up crying .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>After learning of Hansi's torture, I did n't think at first of what Liesl had told me. When it came back to my mind, I at first hesitated to tell the authorities about it. Because of such an absurd coincidence, I did n't want to jeopardize the reputation and inner peace of the steward's family. But when I heard that Hansi might loose his eyesight because of his injuries, one afternoon I made Liesl come to school and tell the police officers about her dream.<\/dialogue>\n    <character>FIRST POLICE OFFICER<\/character>\n    <dialogue>Thank God, we're not as stupid as you might think.<\/dialogue>\n    <character>LIESL<\/character>\n    <parenthetical>( crying , desperate . )<\/parenthetical>\n    <dialogue>But I only dreamt it.<\/dialogue>\n    <scene_description>PAUSE . The officers exchange an impatient look with the schoolteacher , who himself does n't really know what to think of Liesl 's story . He looks at her thoughtfully . The police officer turns to the girl again :<\/scene_description>\n    <character>FIRST POLICE OFFICER<\/character>\n    <dialogue>Now listen carefully! I'll<\/dialogue>\n    <character>give you a last chance<\/character>\n    <dialogue>you tell me, who told you about the plan to torture the boy, and we wo n't tell anybody who told us. All right?<\/dialogue>\n    <scene_description>Liesl shakes her head desperately , crying again . The police officer looks at the schoolteacher . The latter doubts whether he should speak up . He feels sorry for the girl . Finally , he says :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>She's already dreamed of something that has come true.<\/dialogue>\n    <character>FIRST POLICE OFFICER<\/character>\n    <parenthetical>( ironic . )<\/parenthetical>\n    <dialogue>Is that so? And what was it, if I may ask?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( wanting to spare her talking . )<\/parenthetical>\n    <dialogue>about it. -RRB- Something that happened in her family.<\/dialogue>\n    <character>FIRST POLICE OFFICER<\/character>\n    <parenthetical>( just as before . )<\/parenthetical>\n    <dialogue>I see. Something to do with her family. And have you checked if it was true?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( irritated . )<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <scene_description>The police officer looks at him , grunts with disdain , and turns to his colleague :<\/scene_description>\n    <character>FIRST POLICE OFFICER<\/character>\n    <parenthetical>( scornfully . )<\/parenthetical>\n    <dialogue>Well, all that may be true. Maybe we're really dealing here with an authentic clairvoyant, and we do n't realize how lucky we are. Maybe we only need to ask her, who's behind all this. The we send her to bed, she dreams a bit, and tomorrow she tells us who did it. How about that? Everything's possible, is n't it?<\/dialogue>\n    <scene_description>Suddenly , he yells at the girl :<\/scene_description>\n    <character>FIRST POLICE OFFICER<\/character>\n    <dialogue>Stop crying!<\/dialogue>\n    <scene_description>Liesl jumps up with fear . The police officer stands right in front of her :<\/scene_description>\n    <character>FIRST POLICE OFFICER<\/character>\n    <dialogue>Your deceitful whining wo n't work with me. I've got other ways to make you talk. I do n't believe in witches and magicians, let alone that a chubby little girl like you has supernatural hallucinations. Therefore you'd better get used to the idea of telling the truth, because you wo n't bet rid of me until you've come clean. Is that clear? All right, and now we're going to visit your parents to see what they think of your version of the story.<\/dialogue>\n    <scene_description>He pulls the girl to her feet . She 's thoroughly intimidated , and sniffles faintly . Then he leads her toward the door , at the same time turning to the schoolteacher :<\/scene_description>\n    <character>FIRST POLICE OFFICER<\/character>\n    <dialogue>I'd be grateful if you came too.<\/dialogue>\n    <scene_description>The schoolteacher finds the policeman 's behavior toward the child exaggeratedly aggressive , but he follows reluctantly :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>The police officer opens the door to the CORRIDOR and almost bumps into a group of pupils that have assembled there .<\/scene_description>\n    <character>FIRST POLICE OFFICER<\/character>\n    <dialogue>Oooops! What do we have here?<\/dialogue>\n    <character>MARIE<\/character>\n    <parenthetical>( kindly . )<\/parenthetical>\n    <dialogue>Good afternoon. Good afternoon, Sir.<\/dialogue>\n    <character>CHILDREN<\/character>\n    <parenthetical>( as before . )<\/parenthetical>\n    <dialogue>Good afternoon. Good afternoon, Sir.<\/dialogue>\n    <scene_description>Obviously the schoolteacher did n't expect them , but does n't want to show it in front of the police .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Good afternoon.<\/dialogue>\n    <character>FIRST POLICE OFFICER<\/character>\n    <dialogue>Why are you eavesdropping?<\/dialogue>\n    <character>MARIE<\/character>\n    <parenthetical>( politely . )<\/parenthetical>\n    <dialogue>We saw from outside that the schoolteacher was having visitors. We did n't want to intrude. We were just waiting to talk to the schoolteacher.<\/dialogue>\n    <scene_description>PAUSE . The police officer looks at the schoolteacher :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>MARIE<\/character>\n    <parenthetical>( as if she was too shy to talk in front of . )<\/parenthetical>\n    <dialogue>strangers. -RRB- We wanted to ask you something about Hansi.<\/dialogue>\n    <scene_description>Again , the police officer looks at the schoolteacher .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <scene_description>MARIE hesitates a moment , then `` screws up her courage '' and asks<\/scene_description>\n    <character>MARIE<\/character>\n    <dialogue>We heard he is n't well. We just wanted to ask if we could be of any help.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE MIDWIFE'S HOUSE  - NIGHT<\/stage_direction>\n    <scene_description>The doctor carefully examines Hansi 's wounds . Especially the areas around eyes that are badly affected . The boy moans softly . The midwife stands beside him , trying to stay calm , but she is paralyzed with fear , and visibly still in a state of shock . It 's very quiet . The doctor speaks with a soothing , almost tender voice to the child , who keeps on moaning :<\/scene_description>\n    <character>DOCTOR<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>All right. Everything's all right, Hansi. I know, it hurts. You've got to be patient. everything will be fine again. everything.<\/dialogue>\n    <scene_description>He has finished his treatment -LRB- and has bandaged the boy 's eyes again -RRB- , and wants get up . But Hansi 's hand clings to his , and holds him back . He hesitates a moment . The doctor and the midwife exchange a brief glance . Then , the doctor cautiously frees his hand from the child 's .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>I have to go now, Hansi. Do n't worry, I'll be back tomorrow.<\/dialogue>\n    <scene_description>The boy moans louder and tries again to grasp the hand of the doctor , who he ca n't see . Brief exchange of glances between the doctor and the midwife , who ends up sitting on Hansi 's bed , taking the boy 's hands .<\/scene_description>\n    <character>MIDWIFE<\/character>\n    <dialogue>It's all right, Hansi. Do n't be afraid. The Doctor will be back.<\/dialogue>\n    <scene_description>The doctor motions to the midwife that she should stay with the child , and leaves the room silently and almost hastily .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LANDSCAPE WITH A BROOK AND PASTURES  - DAY<\/stage_direction>\n    <scene_description>Sitting at a brook , Sigi , Ferdinand and Georg have cut willow twigs with their pocketknives and are now carving whistles out of them . Their feet dangle in the water , they 're concentrated on their work . Georg is the first to have finished . Proudly he tries it out , but the little whistle does n't sound very good . He hides his disappointment , and keeps on carving to improve the sound . Then Sigi 's whistle is ready and it sounds very good . Sigi is delighted . After a short and proud look over to his rivals , he leans back into the grass and keeps on whistling . Georg looks with irritation at the `` braggart '' , and keeps on carving . Then he gives it another try , but the whistle does n't sound much better than before . Sigi 's whistling makes Georg 's seem ridiculous . Ferdinand looks at Georg with a gloating grin . Suddenly Georg pounces on Sigi and tries to grab his whistle . Sigi fights back and refuses to let go . Ferdinand also gets up and watches the two , grinning . Even if Sigi is no longer the weakling he used to be before his stay in Italy , Georg , who is three years older than him , is much stronger : with the weight of his whole body he charges at Sigi , making him fall backward into the shallow water of the brook , and takes his whistle away . The shock almost knocks out Sigi , and though the stream is n't deep , half of his head lies under the flowing water . Georg sees the danger , but his pride prevents him from helping him , as it means admitting his own unjust behavior . For a moment he hesitates , a helpless and defiant grin on his face . But Ferdinand has already jumped into the water and pulls out Sigi , who shakes his head to fully come to his senses . Ferdinand looks up at Georg , who is standing on the bank , still holding the whistle in his hand . Then Georg points his finger at him , and says furiously and guiltily .<\/scene_description>\n    <character>GEORG<\/character>\n    <parenthetical>( threatening . )<\/parenthetical>\n    <dialogue>If you rat on me, you'll be sorry!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RECTORY. STUDY.  - DAY<\/stage_direction>\n    <scene_description>The pastor sits at his desk , working . A KNOCK is heard .<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>Come in!<\/dialogue>\n    <scene_description>Florian comes in , hesitantly . In his hand , he carries a birdcage -LRB- we 've already seen it in Scene 49 in the boy 's bedroom at night -RRB- . In the cage is the bird that Florian had found on Thanksgiving day , and who has recovered in the meantime .<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <scene_description>The boy looks embarrassed . He glances at his father , then comes over with the cage and puts it carefully on his father 's desk . As Florian approaches , the pastor looked on , amazed . After putting down the cage , Florian steps back a little , then stops , his head slightly bowed .<\/scene_description>\n    <character>PASTOR<\/character>\n    <parenthetical>( not really understanding . )<\/parenthetical>\n    <dialogue>What is it? What do you want?<\/dialogue>\n    <character>FLORIAN<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>For Pipsi.<\/dialogue>\n    <parenthetical>( PAUSE .<\/parenthetical>\n    <parenthetical>Then even more softly . )<\/parenthetical>\n    <dialogue>Because Father is sad.<\/dialogue>\n    <scene_description>The pastor looks at him , does n't know how to react . Then , with a hoarse voice and trying to look indifferent , he says :<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>FLORIAN<\/character>\n    <parenthetical>( as apprehensive in front of his . )<\/parenthetical>\n    <dialogue>father's perceptible emotion. -RRB- You're welcome, Father.<\/dialogue>\n    <scene_description>For a moment , neither of them knows what to do . Then the boy leaves the room . The pastor follows him with his eyes . Then , he sits down . He tries to keep his composure , but in the end he bursts into tears . He sobs haltingly , trying hard not let it be heard .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. THE STEWARD'S HOUSE - DAY<\/stage_direction>\n    <scene_description>THE CHILDREN 'S ROOM . Georg stands at the window and looks down at the COURTYARD Coming from the manor , the steward is walking over briskly . THE CHILDREN 'S ROOM . Georg leaves the window and sits down at his table , doing his homework . We hear the FRONT DOOR opening downstairs , then the father 's hasty STEPS on the stairs . Finally , the father appears in the door . He 's out of breath , furious , and tries to speak quietly<\/scene_description>\n    <character>STEWARD<\/character>\n    <dialogue>Give me that whistle!<\/dialogue>\n    <scene_description>Georg looks at his father , `` not understanding '' .<\/scene_description>\n    <character>GEORG<\/character>\n    <dialogue>I beg your pardon?<\/dialogue>\n    <character>STEWARD<\/character>\n    <parenthetical>( forcedly , with threatening calm . )<\/parenthetical>\n    <dialogue>Give me that whistle!<\/dialogue>\n    <character>GEORG<\/character>\n    <dialogue>What whistle?<\/dialogue>\n    <scene_description>At this , the steward pounces on the boy and smacks him so hard that he falls out of his chair .<\/scene_description>\n    <character>STEWARD<\/character>\n    <dialogue>Give it to me!<\/dialogue>\n    <character>GEORG<\/character>\n    <parenthetical>( on the ground . )<\/parenthetical>\n    <dialogue>What whistle?<\/dialogue>\n    <scene_description>The steward yanks him up and shoves him against the wall . Georg stumbles over the table which is standing in the way , and lies back on the table top , trying to protect his face with his hands .<\/scene_description>\n    <character>STEWARD<\/character>\n    <dialogue>Give away it to me, or I'll kill you.<\/dialogue>\n    <character>GEORG<\/character>\n    <parenthetical>( half moaning . )<\/parenthetical>\n    <dialogue>I have no whistle.<\/dialogue>\n    <scene_description>The steward lets go of him and starts to beat him furiously .<\/scene_description>\n    <character>GEORG<\/character>\n    <parenthetical>( screaming . )<\/parenthetical>\n    <dialogue>Ouch! Ouch!<\/dialogue>\n    <character>STEWARD<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You bastard, you wretch!<\/dialogue>\n    <character>GEORG<\/character>\n    <parenthetical>( scream . )<\/parenthetical>\n    <dialogue>Ouch! Ouch!! Please do n't<\/dialogue>\n    <scene_description>At that moment , attracted by the noise , Emma , the mother , appears :<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>For God's sake, Georg, what are you doing? What has the boy done?<\/dialogue>\n    <scene_description>The mother 's arrival has snapped the father out of his blind rage . He glances at her , then turns to the boy again , breathless with excitement , but forcing himself to be calm :<\/scene_description>\n    <character>STEWARD<\/character>\n    <dialogue>For the last time : give it to me!<\/dialogue>\n    <character>GEORG<\/character>\n    <parenthetical>( almost crying with pain . )<\/parenthetical>\n    <dialogue>But I do n't know what you mean, Father.<\/dialogue>\n    <scene_description>The mother looks uncomprehendingly from one to the other , then turns pleadingly to her husband :<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>What's going on? What are you talking about?<\/dialogue>\n    <character>STEWARD<\/character>\n    <parenthetical>( to Georg . )<\/parenthetical>\n    <dialogue>You know exactly what I mean.<\/dialogue>\n    <scene_description>Again the mother looks from one to the other , trying to save the situation :<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>But if he says so! Georg! What's going on?<\/dialogue>\n    <scene_description>The steward turns to her , annoyed by her insistence , looks at her for a long moment , then at Georg again and turns on his heels and leaves the room . STAIRWELL . The steward runs down the stairs . The mother follows him .<\/scene_description>\n    <character>EMMA<\/character>\n    <parenthetical>( excited . )<\/parenthetical>\n    <dialogue>Georg! Please wait! What did the boy do?! Please, tell me! Why are you so furious?<\/dialogue>\n    <scene_description>She reaches the steward as he is just about to open the front door and places herself in front of him .<\/scene_description>\n    <character>EMMA<\/character>\n    <parenthetical>( imploring , `` reasonable '' . )<\/parenthetical>\n    <dialogue>Georg! Please! Calm down. If you could tell me.<\/dialogue>\n    <character>STEWARD<\/character>\n    <parenthetical>( also `` reasonable '' , in order to get rid of her . )<\/parenthetical>\n    <dialogue>Please do n't interfere. Leave me alone now! I have to go back to the Baron. He.<\/dialogue>\n    <scene_description>At that moment we hear from upstairs the full SOUND of Sigi 's whistle s from above , wild and lasting . For a moment , the steward is paralyzed , then he seizes the horsewhip hanging from hook in the wardrobe and dashes upstairs . We hear him thrashing the boy in the room , and soon the WHISTLING is replaced by Georg 's SCREAMS OF PAIN After a short hesitation , the mother runs upstairs after her husband , and we now hear her trying in vain trying to control her husband .<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>Georg! Please! Stop it! Do n't kill him!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. ESTATE. DINING ROOM. COURTYARD. NIGHT<\/stage_direction>\n    <scene_description>The meal is over . The Baroness watches the maid clearing the table and putting everything away on a tray . The Baron has stood up , standing with his back to his wife . He pours himself a glass of brandy .<\/scene_description>\n    <character>BARON<\/character>\n    <dialogue>with the birches over there in Aigen that should make about six - thousand cubic meters. Working steadily, they should have finished it within three weeks. If until the end of the month we.<\/dialogue>\n    <scene_description>The maid has left with the tray .<\/scene_description>\n    <character>BARONESS<\/character>\n    <parenthetical>( interrupts him . )<\/parenthetical>\n    <dialogue>I wo n't stay here.<\/dialogue>\n    <character>BARON<\/character>\n    <parenthetical>( does n't understand . )<\/parenthetical>\n    <dialogue>What did you say?<\/dialogue>\n    <character>BARONESS<\/character>\n    <dialogue>I wo n't stay here.<\/dialogue>\n    <character>BARON<\/character>\n    <parenthetical>( turns around to her . )<\/parenthetical>\n    <dialogue>What do you mean<\/dialogue>\n    <character>BARONESS<\/character>\n    <dialogue>What I mean is that I shall leave with the children.<\/dialogue>\n    <character>BARON<\/character>\n    <dialogue>What do you mean : you're leaving with the children?<\/dialogue>\n    <character>BARONESS<\/character>\n    <dialogue>Come on, Armin! It's not that difficult to understand, is it?<\/dialogue>\n    <scene_description>PAUSE .<\/scene_description>\n    <character>BARON<\/character>\n    <dialogue>May I ask you how you plan to do that?<\/dialogue>\n    <character>BARONESS<\/character>\n    <parenthetical>( quiet . )<\/parenthetical>\n    <dialogue>I do n't know yet. But in any case, we're leaving this place.<\/dialogue>\n    <character>BARON<\/character>\n    <parenthetical>( sarcastic . )<\/parenthetical>\n    <dialogue>We.<\/dialogue>\n    <scene_description>Look of the Baroness -LRB- `` I do n't need that kind of irony '' -RRB- .<\/scene_description>\n    <character>BARONESS<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>The maid enters to clear the rest of the table . It leads to a longer PAUSE . The Baron drinks his brandy , goes to the window , waits . As the maid leaves the room , she looks at the Baroness inquiringly :<\/scene_description>\n    <character>BARONESS<\/character>\n    <parenthetical>( to the maid . )<\/parenthetical>\n    <dialogue>I do n't need you any longer. Thank you.<\/dialogue>\n    <character>MAID<\/character>\n    <dialogue>Good night, Baroness. Good night, Baron.<\/dialogue>\n    <character>BARONESS<\/character>\n    <dialogue>Good night.<\/dialogue>\n    <scene_description>Even after the maid has left , they remain SILENT for quite a long while . Finally , she says<\/scene_description>\n    <character>BARONESS<\/character>\n    <dialogue>I returned from Italy only out of deceny toward you. I wanted to give us a chance.<\/dialogue>\n    <character>BARON<\/character>\n    <parenthetical>( turns around . )<\/parenthetical>\n    <dialogue>You wanted me `` to give me a chance''?!<\/dialogue>\n    <character>BARONESS<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>BARON<\/character>\n    <dialogue>Well, that's brilliant! And did I miss my chance? Or what?<\/dialogue>\n    <scene_description>PAUSE .<\/scene_description>\n    <character>BARONESS<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>Do you think that will help us solve the problem?<\/dialogue>\n    <character>BARON<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>BARONESS<\/character>\n    <dialogue>Your sarcasm.<\/dialogue>\n    <character>BARON<\/character>\n    <dialogue>Actually, what is the problem that has to be solved?<\/dialogue>\n    <scene_description>The Baroness looks at him , then gets up and wants to leave the room .<\/scene_description>\n    <character>BARON<\/character>\n    <parenthetical>( suddenly yelling . )<\/parenthetical>\n    <dialogue>You stay here!<\/dialogue>\n    <scene_description>She turns around , looks at him .<\/scene_description>\n    <character>BARON<\/character>\n    <parenthetical>( softer . )<\/parenthetical>\n    <dialogue>You only leave this room if I tell you to do so.<\/dialogue>\n    <scene_description>She looks at him .<\/scene_description>\n    <character>BARONESS<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <scene_description>She goes back to her chair and sits down .<\/scene_description>\n    <character>BARONESS<\/character>\n    <dialogue>I wanted to spare you this, but you force me to do it : During our stay with Uncle Edoardo I fell in love with a man. He's from Lombardy, he works in the banking business and helped Uncle Edoardo in a financial matter. He courted me and was also very fond of the children. If Sigi has blossomed and grown so healthy, it's largely thanks to him. Despite all this, we came back. Because I feel committed to you. But I ca n't stand this place any longer. Not so much for me personally, though I ca n't say that life with you is exactly thrilling for a woman of my age. But if I leave this place, it's because I do n't want Sigi, and later the twins, to grow up in surroundings dominated by malice, envy, apathy and brutality. What happened with Sigi's whistle was the last straw. I'm sick and tired of persecutions, threats and perverse acts of revenge.<\/dialogue>\n    <scene_description>PAUSE .<\/scene_description>\n    <character>BARON<\/character>\n    <dialogue>Did you sleep with him?<\/dialogue>\n    <character>BARONESS<\/character>\n    <parenthetical>( laughing scornfully . )<\/parenthetical>\n    <dialogue>You do n't understand anything.<\/dialogue>\n    <character>BARON<\/character>\n    <dialogue>Did you sleep with him?<\/dialogue>\n    <scene_description>PAUSE .<\/scene_description>\n    <character>BARONESS<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>No. I did n't sleep with him.<\/dialogue>\n    <scene_description>PAUSE .<\/scene_description>\n    <character>BARON<\/character>\n    <dialogue>You're lying, are n't you?<\/dialogue>\n    <scene_description>The Baroness looks at him . Then she gets up , about to leave the room again . At the same moment , somebody KNOCKS at the door . After a short gesture of irritation<\/scene_description>\n    <character>BARON<\/character>\n    <parenthetical>( irked . )<\/parenthetical>\n    <dialogue>Come in!<\/dialogue>\n    <scene_description>The steward appears .<\/scene_description>\n    <character>STEWARD<\/character>\n    <dialogue>Good evening. Could I talk to you for a moment, Baron?<\/dialogue>\n    <character>BARON<\/character>\n    <parenthetical>( annoyed . )<\/parenthetical>\n    <dialogue>Ca n't it wait until tomorrow?<\/dialogue>\n    <character>STEWARD<\/character>\n    <dialogue>It's really urgent. Normally, I would n't have disturbed you so late.<\/dialogue>\n    <scene_description>Annoyed , the Baron leaves the room with him . As he goes out , the steward greets the Baroness with a nod . Once the door is closed , she stops for a moment , goes to the window , and looks out pensive . She ends up going to the small bar and pours herself a glass of brandy . Her hands are shaking a little . She drinks from the glass , goes back to the window and looks out waiting , taking a sip from now and then . Below in the COURTYARD a few people walk around nervously . But it does n't look particularly unusual . A saddled horse is led into the stable . Finally , the door of the DINING ROOM opens again . The Baron comes back inside . He looks distressed . The Baroness does n't know whether this is the result of her conversation , or of the message brought by the steward . The Baron paces a few steps , pondering , then glances at his wife . Finally , she asks<\/scene_description>\n    <character>BARONESS<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <character>BARON<\/character>\n    <dialogue>They've shot the heir to the throne of Austria. In Sarajevo.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLAGE AND SURROUNDING LANDSCAPE  - DAY<\/stage_direction>\n    <scene_description>The same setting as in Scene 57 . The countryside in all its summer splendor .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>The news spread around the village like wildfire. What would the consequences be? The first person who spoke the word WAR, was severely contradicted. But once it had been uttered, it remained at the center of all our thoughts in a curiously stubborn way. I wanted to go to the town as quickly as possible, in order to discuss it with Eva, what we should do if war broke out. Perhaps her father would now agree to an earlier marriage. I asked the Baroness for the bicycle, with which Eva had visited her parents some time ago. The following weekend I planned use it to ride to town and see her.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ESTATE  - DAY<\/stage_direction>\n    <scene_description>The schoolteacher is pushing the bicycle out of the manor house . He says good - bye to a maid , who closes the door behind him . Some SHOUTING o.s. makes him look toward the steward 's house : the steward comes out with the midwife , and it looks like he 's throwing her out with a flood of angry insults .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>When I went to the estate on Friday evening to pick up the bicycle, so I could take it with me to the school, and get going early, as the trip was a quite long one, I witnessed a strange confrontation :<\/dialogue>\n    <character>STEWARD<\/character>\n    <dialogue>completely mad! Go if you want. He'll throw you out on your ear. Slandering other people and creating trouble. That's all we need now! Get out and never come back again! This is unbelievable! Go ahead, do whatever you think you have to do! You're hysterical!<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <parenthetical>( simultaneously . )<\/parenthetical>\n    <dialogue>I'll go to the Baron. We'll see what he says. You wo n't silence me. Who do you think you are?! You'll see. I'll tell him that you tried to prevent me from giving the police a statement.<\/dialogue>\n    <scene_description>Angrily the steward slams the door behind him . At first the midwife does n't know what to do . Finally she turns away from the door and starts to cross the yard . There , she sees the schoolteacher . She comes over to him .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Good afternoon, Mrs. Wagner. What's happening?<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <parenthetical>( very excited . )<\/parenthetical>\n    <dialogue>Good afternoon. Can I borrow your bicycle?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>It's not mine.<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <dialogue>Could I borrow it just the same?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>I just borrowed it myself. I going to ride to town, to see my fianc\u00e9e.<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <dialogue>Please! Lend it to me!<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Why do you need it? Where do you want to go?<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <dialogue>I must go to town.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>What for?<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <dialogue>I asked the steward for a carriage, but that stubborn fool wo n't agree to anything.<\/dialogue>\n    <scene_description>PAUSE .<\/scene_description>\n    <character>MIDWIFE<\/character>\n    <dialogue>Please! Lend me the bicycle.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Why? What is going on?<\/dialogue>\n    <scene_description>After hesitating a while<\/scene_description>\n    <character>MIDWIFE<\/character>\n    <dialogue>I have to go to the police in town. I now know who committed all these crimes.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( flabbergasted . )<\/parenthetical>\n    <dialogue>Who?<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <dialogue>Will you let me have the bicycle?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Why do n't you tell me?<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <dialogue>From now on I shall only talk to the police. I wo n't let them insult me.<\/dialogue>\n    <parenthetical>( turning to the steward 's house . )<\/parenthetical>\n    <dialogue>As you just saw.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Ca n't the doctor can lend you his horse?<\/dialogue>\n    <character>MIDWIFE<\/character>\n    <dialogue>I do n't know how to ride.<\/dialogue>\n    <scene_description>The schoolteacher looks at her inquisitively , because he still does n't understand what it 's all about , but she does n't respond , and says :<\/scene_description>\n    <character>MIDWIFE<\/character>\n    <dialogue>Please! Believe me!<\/dialogue>\n    <parenthetical>( She hesitates and adds , now quietly and imploringly . )<\/parenthetical>\n    <dialogue>: My son told me who did it to him. He may loose his eyesight. Please, you let me have the bicycle!<\/dialogue>\n    <scene_description>The schoolteacher looks at her . The midwife looks pitiful : she tries to smile at him pleadingly , tears are streaming down her face . Finally , he gives the bicycle to her . She grabs it quickly , says<\/scene_description>\n    <character>MIDWIFE<\/character>\n    <dialogue>Thanks!<\/dialogue>\n    <scene_description>and rides away . The schoolteacher remains behind , alone . He stands pensive , then he goes slowly back to the village .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>The state that woman was in, who I knew was level - headed, had deeply impressed me. What had her son told her, that she did n't dare tell anybody?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLAGE STREET.  - DUSK<\/stage_direction>\n    <scene_description>The schoolteacher goes home . TRACKING SHOT .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>With each step I took from the estate back to the school, I felt more foolish for having given away the bicycle.<\/dialogue>\n    <scene_description>As he passes the midwife 's house , he sees behind the fence in the garden , half hidden behind the bushes , Marie and a few other children . The shutters of the house are closed .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>As I passed the midwife's house, I saw Marie, Martin, and a few other children in the garden.<\/dialogue>\n    <scene_description>The schoolteacher stops , watches the children . After a few moments , they notice that somebody is watching them .<\/scene_description>\n    <character>MARIE<\/character>\n    <dialogue>Good evening, Sir.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Good evening, Marie.<\/dialogue>\n    <character>CHILDREN<\/character>\n    <dialogue>Good evening, Sir.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <character>MARIE<\/character>\n    <dialogue>We wanted to see how Hansi was doing.<\/dialogue>\n    <scene_description>PAUSE .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>But ca n't you see that the shutters are closed.<\/dialogue>\n    <scene_description>PAUSE .<\/scene_description>\n    <character>MARIE<\/character>\n    <dialogue>Yes. We were worried. We saw Mrs. Wagner riding off on a bicycle. So we wondered what had happened to Hansi.<\/dialogue>\n    <scene_description>PAUSE .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Go home now. Nobody said you could come in here.<\/dialogue>\n    <scene_description>The children go out slowly . They open the wooden gate in the fence , and go out into the street . They 're visibly embarrassed at being caught by the schoolteacher when they were doing something wrong . Some avoid the schoolteacher 's eyes , while others mutter a greeting , as if they wanted to say goodbye , as they went away . The schoolteacher looks annoyed . As Marie steps out of the garden door , he says :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>You better go back home now, hurry.<\/dialogue>\n    <scene_description>Marie does n't seem to feel guilty at all . Again she greets him politely .<\/scene_description>\n    <character>MARIE<\/character>\n    <dialogue>Good evening, Teacher.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( reluctantly . )<\/parenthetical>\n    <dialogue>Good evening.<\/dialogue>\n    <scene_description>The children go away . The schoolteacher also goes on his way . After a few steps he turns around and looks at the children , then walks on .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>Then I thought of Liesl's dream again. What if Liesl had n't dreamt, but had known, that Hansi was going to be tortured. Whose crimes did she know of? Whose name had she refused to reveal? The strong interest of the children in Hansi seemed strange to me, considering that they had usually refused to have any contact with him because of his disability, or only dealt with him in a rather disdainful manner.<\/dialogue>\n    <scene_description>The schoolteacher stops . He ponders about this . Then he goes back to the midwife 's house .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>Suddenly I wondered why the midwife had closed the shutters of the house. Nobody in the village ever shut their house. Why had the midwife locked her boy in?<\/dialogue>\n    <scene_description>He has reached the front of the house again . Indeed , with its closed shutters , it looks uninhabited . Only because of the tidy little front garden , could one tell that somebody lived there . The schoolteacher opens the garden gate and goes up to the house . He tries to open the door and then the shutters . Everything is well shut . He peers through the cracks in the wooden shutters .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Hansi? Can you hear me? Hansi!<\/dialogue>\n    <scene_description>Nobody seems to answer . For a short moment the schoolteacher disappears behind the house , apparently looking for another way to get inside . But he soon comes back without having found anything .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>If the midwife could n't take care of him, she would have entrusted the boy to me, or to the doctor. But since the night he was mistreated, I had n't seen him again.<\/dialogue>\n    <scene_description>He leaves the midwife 's house and hurries to the neighboring house , the doctor 's .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>I decided to ask the doctor directly.<\/dialogue>\n    <scene_description>He enters the property , goes up to the entrance and rings . Nobody answers . He rings again , then he sees a note tacked up : The doctor 's practice is closed until further notice .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RECTORY.  - NIGHT<\/stage_direction>\n    <scene_description>STAIRWELL . The pastor 's wife and the schoolteacher stand before the closed front door .<\/scene_description>\n    <character>PASTOR'S WIFE<\/character>\n    <dialogue>His daughter? Was n't she with you at your school?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Yes, she was.<\/dialogue>\n    <character>PASTOR'S WIFE<\/character>\n    <dialogue>And she did n't say anything?<\/dialogue>\n    <scene_description>The schoolteacher shakes his head . They both remain silent and pensive .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>I have a request.<\/dialogue>\n    <character>PASTOR'S WIFE<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Could I ask Marie and Martin?<\/dialogue>\n    <character>PASTOR'S WIFE<\/character>\n    <dialogue>Do n't you want to wait for my husband? He's at the church. The service will be over in a quarter of an hour. But if you insist. Please, come in.<\/dialogue>\n    <scene_description>She opens the door LIVING ROOM and points to a chair .<\/scene_description>\n    <character>PASTOR'S WIFE<\/character>\n    <dialogue>Please be seated. Please. I'll fetch the kids for you.<\/dialogue>\n    <scene_description>She leaves the room . The schoolteacher remains standing . Waiting . Finally , the pastor 's wife comes back with the two children .<\/scene_description>\n    <character>MARIE and MARTIN<\/character>\n    <dialogue>Good evening, Sir.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Good evening.<\/dialogue>\n    <scene_description>PAUSE .<\/scene_description>\n    <character>THE PASTOR'S WIFE<\/character>\n    <dialogue>Do n't you want to sit down?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( who has n't thought of it . )<\/parenthetical>\n    <dialogue>Yes. Perhaps. With pleasure.<\/dialogue>\n    <scene_description>They sit down . The children sit opposite the schoolteacher .<\/scene_description>\n    <character>PASTOR'S WIFE<\/character>\n    <dialogue>Can I offer you something?<\/dialogue>\n    <parenthetical>( smiling faintly . )<\/parenthetical>\n    <dialogue>A cup of coffee? Like during the piano lessons<\/dialogue>\n    <scene_description>First the schoolteacher wants to refuse , then he decides to accept so as to get rid of the woman , and be alone with the children .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Yes, with pleasure. That's very kind of you.<\/dialogue>\n    <character>PASTOR'S WIFE<\/character>\n    <dialogue>I'll be back in a minute.<\/dialogue>\n    <scene_description>The schoolteacher turns to the children :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Did you know that the Doctor was leaving Eichwald?<\/dialogue>\n    <scene_description>Short PAUSE .<\/scene_description>\n    <character>MARIE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>But you do n't seem surprised at my question.<\/dialogue>\n    <character>MARIE<\/character>\n    <dialogue>Our mother told us when she came to fetch us.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>And Xenia did n't tell you anything about it?<\/dialogue>\n    <character>MARIE<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>She looks at Martin who confirms it :<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( incredulously . )<\/parenthetical>\n    <dialogue>Not a word? It's very unusual for a child not to tell his classmates before going away on a trip.<\/dialogue>\n    <character>MARIE<\/character>\n    <parenthetical>( unimpressed . )<\/parenthetical>\n    <dialogue>Xenia never talks much about home.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Well, that's something completely different?!<\/dialogue>\n    <scene_description>Apparently Marie does n't take it as a further question , and remains silent .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>I get the feeling you're hiding something from me.<\/dialogue>\n    <character>MARIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>That's what I'd really like to know.<\/dialogue>\n    <scene_description>SILENCE . Then the schoolteacher turns to Martin :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>When you were looking for Hansi a while ago, what did you want from him?<\/dialogue>\n    <scene_description>Short PAUSE .<\/scene_description>\n    <character>MARIE<\/character>\n    <dialogue>We were worried. He's ill.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>I'm asking Martin.<\/dialogue>\n    <scene_description>PAUSE .<\/scene_description>\n    <character>MARTIN<\/character>\n    <dialogue>Yes. He is n't well. And since his mother is gone. we thought, we should go and pay him a visit.<\/dialogue>\n    <scene_description>The schoolteacher realizes that he wo n't get any further this way .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Did you ever ask yourselves who could have treated Hansi that way?<\/dialogue>\n    <scene_description>PAUSE . Then the schoolteacher adds :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>And Sigi?<\/dialogue>\n    <scene_description>PAUSE .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>And who tied the wire in the doctor's garden? And who set fire to the barn? Well?!<\/dialogue>\n    <scene_description>PAUSE .<\/scene_description>\n    <character>MARIE<\/character>\n    <dialogue>Yes, of course we wondered.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Well?<\/dialogue>\n    <character>MARIE<\/character>\n    <dialogue>We discussed it with Father. He said it must be a sick person.<\/dialogue>\n    <scene_description>PAUSE . The schoolteacher does n't know how to go on .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Sigi was with you at Thanksgiving. And so was Hansi.<\/dialogue>\n    <scene_description>PAUSE .<\/scene_description>\n    <character>MARIE<\/character>\n    <dialogue>I do n't understand.<\/dialogue>\n    <scene_description>With demonstrative helplessness she looks at the schoolteacher , then at her brother , and again at the schoolteacher : Shaking her head and shrugging her shoulders .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>What did they do to you?<\/dialogue>\n    <character>MARIE<\/character>\n    <parenthetical>( does n't seem to understand . )<\/parenthetical>\n    <dialogue>Who?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Sigi and Hansi?<\/dialogue>\n    <character>MARIE<\/character>\n    <parenthetical>( as above . )<\/parenthetical>\n    <dialogue>Why?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>They obviously were being punished. For what?<\/dialogue>\n    <character>MARIE<\/character>\n    <parenthetical>( as above . )<\/parenthetical>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Liesl foresaw that Hansi would be punished? What for?<\/dialogue>\n    <character>MARIE<\/character>\n    <parenthetical>( as above . )<\/parenthetical>\n    <dialogue>I do n't know.<\/dialogue>\n    <scene_description>PAUSE .<\/scene_description>\n    <character>MARIE<\/character>\n    <dialogue>Why do you ask us?<\/dialogue>\n    <scene_description>PAUSE .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>You're an intelligent girl, Marie. Do n't try and play dumb.<\/dialogue>\n    <scene_description>PAUSE .<\/scene_description>\n    <character>MARIE<\/character>\n    <dialogue>I do n't understand you, Sir. You should talk with Father about this or with Mother. Shall I go get her?<\/dialogue>\n    <scene_description>The schoolteacher looks at her .<\/scene_description>\n    <character>MARIE<\/character>\n    <dialogue>Martin, would you please get her?<\/dialogue>\n    <scene_description>Martin gets up and is about to go to the door .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Stay here, Martin : I'll talk to your parents when I consider it's the right time. Now, I'm talking to you. And I expect you tell me the truth.<\/dialogue>\n    <scene_description>Martin sits down after exchanging a glance with Marie again .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Where were you on the evening Hansi was found?<\/dialogue>\n    <character>MARIE<\/character>\n    <parenthetical>( does n't seem to understand . )<\/parenthetical>\n    <dialogue>At home.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>I mean after the confirmation?<\/dialogue>\n    <scene_description>At that moment , the pastor 's wife enters with the coffee cups on a tray .<\/scene_description>\n    <character>PASTOR'S WIFE<\/character>\n    <dialogue>There we are. The coffee will be ready in a minute.<\/dialogue>\n    <scene_description>She puts the tray on the table . Turns to the schoolteacher , friendly as ever :<\/scene_description>\n    <character>PASTOR'S WIFE<\/character>\n    <dialogue>Were the children able to help you?<\/dialogue>\n    <scene_description>The schoolteacher looks at Marie , then he answers :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>I'm afraid not. They do n't know anything, either.<\/dialogue>\n    <character>PASTOR'S WIFE<\/character>\n    <dialogue>That's really odd. A doctor ca n't vanish into thin air. What about his patients?<\/dialogue>\n    <parenthetical>( to the children . )<\/parenthetical>\n    <dialogue>Did n't his daughter tell you anything at school?<\/dialogue>\n    <scene_description>The schoolteacher gets up , ready to leave .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>No. I'm sorry if I disturbed you.<\/dialogue>\n    <character>PASTOR'S WIFE<\/character>\n    <dialogue>Why do n't you stay? My husband will be back any moment, and the coffee is almost ready.<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>That's very kind of you, but I'm really worried about the midwife's son.<\/dialogue>\n    <character>PASTOR'S WIFE<\/character>\n    <dialogue>And she did n't say when she'd be back?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>I did n't ask her. She caught me off guard. She was completely panicked.<\/dialogue>\n    <scene_description>The pastor 's wife shakes her head thoughtfully .<\/scene_description>\n    <character>PASTOR'S WIFE<\/character>\n    <dialogue>Strange. Wait a second! I think that's my husband.<\/dialogue>\n    <scene_description>And indeed , outside one can hear the FRONT DOOR and then the STEPS of the pastor . The wife goes to the door to open it . The pastor appears .<\/scene_description>\n    <character>PASTOR<\/character>\n    <parenthetical>( surprised to see the schoolteacher . )<\/parenthetical>\n    <dialogue>Good evening.<\/dialogue>\n    <character>PASTOR'S WIFE<\/character>\n    <dialogue>Good evening. The schoolteacher has been anxiously waiting for you.<\/dialogue>\n    <character>PASTOR<\/character>\n    <parenthetical>( to the schoolteacher . )<\/parenthetical>\n    <dialogue>Yes?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Yes. I'd like to have a quick chat with you.<\/dialogue>\n    <scene_description>The pastor does n't really understand what can be so urgent , and why the schoolteacher , which was unusual for him , came to see him in the evening . But he remains friendly :<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>Please. We'd better go to my study. It's quieter there.<\/dialogue>\n    <scene_description>The schoolteacher nods to the pastor 's wife , who is glad that the required meeting can now take place , while the pastor walks ahead with an inviting gesture . As the pastor opens the door of the STUDY , he asks :<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>Well, how can I help you?<\/dialogue>\n    <scene_description>They enter the room and the pastor offers the schoolteacher a chair . Then he realizes that the windows are open and closes them , as the schoolteacher starts to speak .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>I spoke to the midwife today : she said she now knew who tortured her son.<\/dialogue>\n    <character>PASTOR<\/character>\n    <parenthetical>( `` who '' ? )<\/parenthetical>\n    <dialogue>She does?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>She'll only tell the police. That's why she went to town.<\/dialogue>\n    <character>PASTOR<\/character>\n    <parenthetical>( does n't quite understand what the . )<\/parenthetical>\n    <dialogue>schoolteacher is getting at. -RRB- Well?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>She left the boy behind alone and has locked the whole house.<\/dialogue>\n    <character>PASTOR<\/character>\n    <dialogue>Locked it?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( nods . )<\/parenthetical>\n    <dialogue>I went to the doctor's next door to ask him what was going on, whether he was taking care of the child or. But there's a piece of paper saying that the practice is closed until further notice. The doctor and his children have disappeared.<\/dialogue>\n    <scene_description>The pastor has almost finished closing the windows . He pauses and turns to the schoolteacher :<\/scene_description>\n    <character>PASTOR<\/character>\n    <parenthetical>( stunned . )<\/parenthetical>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>I do n't know. I thought you might have been informed. That's why I'm here.<\/dialogue>\n    <scene_description>After a startled PAUSE the pastor shakes his head :<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>I have no idea.<\/dialogue>\n    <scene_description>He finishes closing the windows . Then he goes thoughtfully over to the schoolteacher and sits down in front of him .<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>Xenia. Was n't his daughter in school?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Yes, she was. She never mentioned anything.<\/dialogue>\n    <scene_description>SILENCE . The pastor ponders . Then , after a while<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>I asked Marie and Martin. They both know nothing either.<\/dialogue>\n    <character>PASTOR<\/character>\n    <parenthetical>( looks up to the schoolteacher , . )<\/parenthetical>\n    <dialogue>`` stunned''. -RRB- Why should they?<\/dialogue>\n    <scene_description>The schoolteacher almost dodges speaking further :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>I do n't know. When I went to the midwife's place, they were there with a few others in the garden.<\/dialogue>\n    <character>PASTOR<\/character>\n    <parenthetical>( `` does n't understand '' . )<\/parenthetical>\n    <dialogue>To do what?!<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>They were looking for the boy.<\/dialogue>\n    <character>PASTOR<\/character>\n    <parenthetical>( as before . )<\/parenthetical>\n    <dialogue>Why?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>They wanted to help him.<\/dialogue>\n    <character>PASTOR<\/character>\n    <dialogue>So what<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( hesitates , then says . )<\/parenthetical>\n    <dialogue>I do n't know how to say it. I have the feeling they're hiding something.<\/dialogue>\n    <character>PASTOR<\/character>\n    <parenthetical>( refuses . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>SCHOOLTEACHER<\/character>\n    <parenthetical>( keeps on searching hesitantly for . )<\/parenthetical>\n    <dialogue>his words. -RRB- I do n't know.<\/dialogue>\n    <parenthetical>( finally he dares to come out with his suspicion . )<\/parenthetical>\n    <dialogue>When the doctor had his accident. last year, you remember, Suddenly the children were in his garden. Supposedly, in order to help Xenia.<\/dialogue>\n    <character>PASTOR<\/character>\n    <parenthetical>( does n't understand . )<\/parenthetical>\n    <dialogue>Yes. and?<\/dialogue>\n    <scene_description>The schoolteacher , uneasy , breathes hard . He knows that his suspicions will seem odd , and senses that the pastor wo n't go along with then .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>Nothing. I had forgotten it. Today, it came back to my mind again.<\/dialogue>\n    <character>PASTOR<\/character>\n    <parenthetical>( as before . )<\/parenthetical>\n    <dialogue>I do n't understand.<\/dialogue>\n    <scene_description>PAUSE .<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>When they found the Baron's son. the last time he had been seen, he was with the children.<\/dialogue>\n    <scene_description>The pastor looks at the schoolteacher , then his face slowly freezes to a mask of refusal :<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>What are you getting at?<\/dialogue>\n    <scene_description>Of course , the schoolteacher notices the reaction . But he has already gone too far to backtrack . After a PAUSE he goes on :<\/scene_description>\n    <character>SCHOOLTEACHER<\/character>\n    <dialogue>A couple of days before Hansi was almost beaten to death, the steward's daughter had predicted precisely that to me. Supposedly, she had dreamed it. The police thinks she's lying. Who told her about it? Who announced it to her?<\/dialogue>\n    <scene_description>LONG SILENCE . Finally , the pastor gets up , takes a few steps , then , after another PAUSE , turns again to the schoolteacher . His face is ashen , and he can hardly speak :<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>If I understand you correctly, you're saying that your pupils, my children included, committed these crimes. Is that right?<\/dialogue>\n    <scene_description>The schoolteacher has little affirmative and regretful gesture . He feels extremely uncomfortable in this role . Another PAUSE . Then , the pastor continues :<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>Do you realize what you're saying?<\/dialogue>\n    <scene_description>PAUSE . He breathes heavily , tries to control his emotions .<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>Do you know.<\/dialogue>\n    <scene_description>His voice fails . His chin starts to shake , tears flood his eyes , and he suddenly turns away . The schoolteacher who has been looking at him , now looks down and stays where he is without saying a word . After a while , the pastor has regained enough control of himself to turn back to the schoolteacher :<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>I assume that I'm the first person to whom you've uttered this monstrosity.<\/dialogue>\n    <scene_description>Mute reaction of the schoolteacher -LRB- `` of course '' -RRB- .<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>If you ever dare to bother other people with it, if you publicly denounce respectable families and their children in this abject way, I shall make sure - and you can take my word for it - that you will go to prison.<\/dialogue>\n    <scene_description>The schoolteacher wants to reply something , but the pastor continues :<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>I've seen quite a lot during my work as a pastor, but I've never come across anything as repulsive as this.<\/dialogue>\n    <scene_description>He looks at the schoolteacher for a moment with disdain :<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>One can tell that you have no children. Otherwise, you would n't stoop to such viciousness. You have a sick mind. I wonder how the school authorities could let you loose among those poor creatures. I'll have a word with the authorities at the proper time. And now please leave my house. I never want to see you here again.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE MIDWIFE'S HOUSE  - DAY<\/stage_direction>\n    <scene_description>The steward , his wife and the schoolteacher try to break into the house . First the steward tries several keys . As this does n't work , they break down a door at the rear of the house and go in .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>The midwife never came back. I waited until the morning, two days later. Then, I went to the manor house to inform the Baron. He referred me to the steward and said to open the house immediately and to look after the disabled boy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE MIDWIFE'S HOUSE  - DAY<\/stage_direction>\n    <scene_description>BACK TO THE SCENE . The schoolteacher , the steward and his wife search through the house . Because of the closed shutters , its rooms are veiled in half - light . Several times they call `` Hansi '' ! , `` Hello , Hansi , where are you '' ? , which can faintly be heard under the narrator 's voice . In the midwife 's bedroom , the schoolteacher notices a photo : it shows the doctor , an unknown woman , and Xenia as a small girl . The boy is nowhere to be found .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>I had never come to the midwife's house and felt uncomfortable at the idea of barging into somebody else's house without asking. It was strange, but we were still seeking and calling out anxiously Hansi's name, and I already knew, that we were searching in vain. Anyone who knew the midwife also knew how devoted she was to her disabled child, and that she would never have left her wounded Hansi all alone.<\/dialogue>\n    <scene_description>The three searchers , who have found nothing , meet again in the stairwell .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE MIDWIFE'S HOUSE  - DAY<\/stage_direction>\n    <scene_description>The schoolteacher , the steward and his wife come out from behind the house , leave the property and go their separate ways on the street . All that is left is the empty house with its closed shutters .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>During the next few weeks, the village gossip - factory worked overtime. Some claimed, the doctor was Hansi's father. He and the midwife had tried to abort the child so that the shame of their relationship would n't be found out, and that's how the child became disabled. Others even went as far as to claim that there was something fishy about the death of the doctor's wife, and that they would n't be surprised, if the two were n't responsible for it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MONTAGE:  - DAY<\/stage_direction>\n    <scene_description>The houses of the doctor , the pastor , the farmer , the street before the school , the estate 's administrative buildings and the manor house . There is nobody to be seen .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>Whoever had lynched the boy obviously knew about the hidden crimes of his parents. Suddenly it seemed even possible that the doctor and the midwife, as potential murderers, were also the perpetrators of all the other crimes. It was suspected, that the doctor had wanted to spare his legitimate children and himself public disclosure of his guilt, and had therefore fled with them. Apparently he had taken the disabled boy with him out of guilt. Understandably enough, he had left behind his accomplice and the mother of the disgraced child. The fact that it was on a bicycle that she tried to catch up with the man who had happily escaped, was the cause of a great deal of laughter.<\/dialogue>\n    <scene_description>The deserted estate is decorated with flags .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>On July 28th Austria declared war on Serbia. It was followed on Saturday, August 1rst, by the German declaration of war on Russia, and on France the following Monday.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH. DAY<\/stage_direction>\n    <scene_description>The villagers are about to take their seats . The smaller children are sitting with their parents on the pews . All are in their Sunday best , the members of the militia are in uniform . Flags are planted . Joyful excitement reigns everywhere . Once the church is full , the Baron , the Baroness and their son Sigi walk down the aisle and sit down in the front row .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>On the Sunday between those dates, the whole village came to the festive service. An atmosphere of expectation and departure was in the air. From now on nothing would be the same. Only a few days ago everybody would have called the life they lived as God's will, worthy of being lived, and would have shunned any change. The strange joy with which the coming war was greeted, showed that this certainty of order and security was based on very shaky foundations.<\/dialogue>\n    <scene_description>Of all the adult leading characters of the film , aside from the doctor and the midwife . Also of Eva and her father .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>In the frenzy of patriotic enthusiasm that was flaring up, the events that had shaken Eichwald, had become an irrelevant. In the face of the coming war, Eva's father had taken his daughter back and, at her pleading, had come to Eichwald to cast an eye at the place where his future son - in - law was living and working. The prospect, that I might soon call this beloved creature my wife, turned this day also into a solemn day for me. The pastor never mentioned our conversation again. Our relationship was limited to what was required professionally. He apparently never went through with his threat to denounce me to the school - authorities.<\/dialogue>\n    <scene_description>MORE CLOSE - UPS . The schoolteacher on the gallery lifts his hands and cues them to begin . They start SINGING . We see them one after the other . At the end we see Marie : she wears the white ribbon in her hair .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>Today, more than a quarter of a century later, toward the end of my life, and several years after the end of a second war that was to change this world in a more cruel and radical way than the first one, the one we faced at the time, I wonder if the events of those days and our silence about them, were n't the germ of the tragedy toward which we were heading. Did n't we all know secretly what had happened in our midst? Had n't we, in a way, made it possible by closing our eyes? Did n't we keep our mouths shut because otherwise we would have had to wonder if the misdeeds of these children, of our children, were n't actually the result of what we'd been teaching them?<\/dialogue>\n    <scene_description>The image of Marie singing with the shining white ribbon freezes .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>I was drafted at the start of the third year of the war. After the war, I sold the house in Grundbach that I had inherited from my father, who had died in the meantime, and with the money I opened a tailor's shop in the town, where I still live now. I never saw anybody from the village again.<\/dialogue>\n    <scene_description>Over the FREEZE FRAME the END CREDITS begin . Once the narrator 's VOICE has gone silent , we listen to Bach 's solemn chorale . The children sing beautifully .<\/scene_description>\n  <\/scene>\n<\/script>","summary":"The memories of an unnamed elderly tailor form a parable from the distant year he worked as a village schoolteacher and met his fianc\u00e9e Eva, who served as nanny to the twins of a local baron. The setting is the fictitious Protestant village of Eichwald, Germany, from July 1913 to 9 August 1914, where the local pastor, the doctor and the baron rule the roost over the area's women, children and peasant farmers. The puritanical pastor leads confirmation classes and gives his pubescent children a guilty conscience over apparently small transgressions. He has them wear white ribbons as a reminder of the innocence and purity from which they have strayed. When his son confesses to impure touching, the pastor has the boy\u2019s hands tied to his bed frame each night. The doctor, a widower, treats the village children kindly but humiliates his housekeeper (the local midwife) and is found with his teenage daughter at night. The baron, who is the lord of the manor, underwrites harvest festivities for the villagers, many of them his farm workers. He summarily dismisses Eva for no apparent reason yet defends the integrity of a farmer whose son has destroyed the baron's field of cabbages. The schoolteacher's friendship with Eva leads to an invitation to her family home during a Christmas break, and they receive permission from her parents to marry after a one-year engagement. Unexplained events occur. A wire is stretched between two trees causing the doctor a terrible fall from his horse. The farmer's wife dies at the sawmill when rotten floorboards give way; her grieving husband later hangs himself. The baron\u2019s young son goes missing on the day of the harvest festival and is found the following morning in the sawmill, bound and badly caned. A barn at the manor burns down. The baroness tells her husband that she is in love with another man. The steward's daughter has a violent dream about the midwife's handicapped son, then the boy is attacked and almost blinded. Shortly after his daughter opens his parakeet's cage with scissors in hand, the pastor finds the bird cruelly impaled. The steward at the baron's estate thrashes his son for a petty theft. The midwife commandeers a bicycle from the schoolteacher to go into town, claiming that she has evidence for the police given to her by her son. She and her son are not seen again, and the doctor's family has also vacated the premises, leaving his practice closed. The schoolteacher's growing suspicions lead to a confrontation in the pastor's rectory, where he insinuates that the pastor's children had prior knowledge of the local troubles. Offended, the pastor threatens the schoolteacher, warning that he will face legal action if he repeats his accusations. The film ends at the time of the declaration of war on Serbia by Austria\u2013Hungary, with the conclusion in church on the day of a visit from the narrator's prospective father-in-law. Disquiet remains in the village. The narrator left Eichwald, never to return."}
{"movie_name":"Fruitvale Station_2013","imdb_id":"tt2334649","script":"<script>\n  <scene>\n    <scene_description>FOR YOUR CO N S I D E R AT I O N 2013<\/scene_description>\n    <character>BEST WRITING (ORIGINAL SCREENPLAY)<\/character>\n    <dialogue>Ryan Coogler<\/dialogue>\n    <character>FRUITVALE<\/character>\n    <dialogue>by<\/dialogue>\n    <scene_description>Ryan Coogler<\/scene_description>\n    <character>GOLDENROD SCRIPT<\/character>\n    <dialogue>Thursday, July 19th 2012<\/dialogue>\n    <scene_description>Pink Pages: 06\/25\/2012 (pg. 3-13, 15-27, 29, 32-37, 39- 41A, 45, 46-66, 73-84, 86-98, 102, 104, 109-116) Blue Pages: 06\/13\/2012 (pg. 1-8, 13-16, 18-20, 22, 28, 31-35A, 37, 39-42, 44-45A, 48, 71-72, 75, 85-86, 89, 115-116) White Pages: 06\/03\/2012 WGA Registered Ryan Coogler Significant Productions 3349 Cahuenga Blvd, Suite 3 Los Angeles, CA 90068 1 OMITTED 1 \\* CONTINUED: \\*:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OSCAR'S APARTMENT- BEDROOOM- NIGHT<\/stage_direction>\n    <scene_description>We open on an expensive looking flip cellphone sitting on a dresser. Next to it, a large zip lock bag of marijuana. We stay here.<\/scene_description>\n    <character>OSCAR (O.S.)<\/character>\n    <dialogue>What's your resolution?<\/dialogue>\n    <character>SOPHINA (O.S.)<\/character>\n    <dialogue>I'm gonna cut carbs.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>OSCAR (O.S.)<\/character>\n    <dialogue>You trippin. You look fine. Plus you Mexican. You cut carbs and you can't eat nothin yo grandma cooks.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>SOPHINA (O.S)<\/character>\n    <dialogue>FUCK YOU...You just gotta help me stick to it. It only takes 30 days to form a habit. Then it becomes second nature.<\/dialogue>\n    <character>OSCAR (O.S.)<\/character>\n    <dialogue>Really? Who told you that?<\/dialogue>\n    <character>SOPHINA (O.S.)<\/character>\n    <dialogue>... Oprah<\/dialogue>\n    <scene_description>Oscar laughs hard at this. \\*<\/scene_description>\n    <character>SOPHINA (CONT'D) \\*<\/character>\n    <dialogue>What's yours. \\*<\/dialogue>\n    <character>OSCAR \\*<\/character>\n    <dialogue>I'm gonna quit selling trees. \\*<\/dialogue>\n    <scene_description>The PHONE VIBRATES and RINGS \"MARCUS CALLING\" shows on the outer screen. Oscar's moves towards the cellphone.<\/scene_description>\n    <character>SOPHINA (O.S.)<\/character>\n    <dialogue>Osc.<\/dialogue>\n    <scene_description>Oscar stops in his tracks.<\/scene_description>\n    <character>SOPHINA (O.S.)<\/character>\n    <dialogue>Don't go out there tonight, stay home.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>OSCAR (O.S.)<\/character>\n    <dialogue>You gonna give me a reason to?<\/dialogue>\n    <scene_description>Sophina doesn't answer. The phone rings again. Oscar's hand quickly picks it up and flips it open. We follow the phone to his face and we see him for the first time, a 22 year old Black man with a warm smile.<\/scene_description>\n    <character>OSCAR<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Aye bruh it's bad tonight. I gotta catch you tomorrow.<\/dialogue>\n    <scene_description>He closes it before the guy on the other end can respond. He takes the phone with him as he climbs back into bed with SOPHINA MESA, a curvy 24 year old Mexican American woman.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Look, I'm not going out, you happy now?<\/dialogue>\n    <scene_description>Sophina nods. Oscar moves closer to her and kisses her on her neck. She kisses him back a bit, then scoots away. \\* Oscar kisses her again. Puts his hand in her hair.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>Osc. Osc, hold up.<\/dialogue>\n    <scene_description>Oscar stops. Sophina scoots away even further. CONTINUED:<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Man, wussup? I been home hella long...<\/dialogue>\n    <character>SOPHINA<\/character>\n    <dialogue>I don't know...Every time you touch me, I can't help to think about how you was touchin that Bitch.<\/dialogue>\n    <scene_description>Oscar shakes his head at this, sighs.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>You know what? You right, go.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>What I gotta do? I'm here, right now. I fucked up one time, alright?<\/dialogue>\n    <character>SOPHINA<\/character>\n    <dialogue>No, you fucking got caught, one time. You gonna sit here and tell me that was the first time you kicked it with that Bitch. Never seen her before that huh?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Look I'm done with that shit. All I want is you and T, forever.<\/dialogue>\n    <scene_description>Sophina looks at him, searching for the truth in his eyes.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>What you mean, forever?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Let me show you.<\/dialogue>\n    <scene_description>Oscar kisses her, moves in. Sophina scoots away from him. KNOCK KNOCK KNOCK. Oscar and Sophina look over at the door.<\/scene_description>\n    <character>CHILD'S VOICE (O.S.)<\/character>\n    <dialogue>Daddy.<\/dialogue>\n    <scene_description>Oscar looks at Sophina.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>What? She's askin for you.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>OSCAR<\/character>\n    <parenthetical>(to child)<\/parenthetical>\n    <dialogue>Hold on, T.<\/dialogue>\n    <scene_description>Oscar jumps up and grabs the bag of weed off of the dresser and hides it in the closet. He rushes over and opens the door where we see TATIANA GRANT, a cute 4 year old girl, standing wearing footie pajamas.<\/scene_description>\n    <character>TATIANA<\/character>\n    <dialogue>I can't sleep...<\/dialogue>\n    <scene_description>Before Tatiana can even finish, Oscar has her in his arms. He brings her over to the bed and places her next to Sophina.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>You want to sleep in here with Mommy and Daddy?<\/dialogue>\n    <scene_description>Tatiana nods.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>You know better than that T.<\/dialogue>\n    <parenthetical>(to Oscar)<\/parenthetical>\n    <dialogue>What time is it?<\/dialogue>\n    <scene_description>Oscar picks up his phone and looks at it.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Damn, it's after midnight.<\/dialogue>\n    <scene_description>He opens his phone up. Presses compose text message (as he types the message, the words appear as graphics across the screen like Sub Titles)<\/scene_description>\n    <character>TO MOM:<\/character>\n    <dialogue>HAPPY BIRTHDAY!!! LOVE YOU!!!<\/dialogue>\n    <scene_description>Oscar sends the text off. He hooks his phone up to the charger and hits the light switch, leaving us in darkness.<\/scene_description>\n    <character>TATIANA<\/character>\n    <dialogue>Daddy.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Wussup, baby?<\/dialogue>\n    <character>TATIANA<\/character>\n    <dialogue>I don't want to move to Livermore.<\/dialogue>\n    <scene_description>Oscar and Sophina laugh at this. CONTINUED:<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>Hella nosy...<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Don't worry T, aint nobody's moving right now. Go to sleep. \\*<\/dialogue>\n    <scene_description>\\*:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OSCAR'S APARTMENT- BATHROOM- DAY<\/stage_direction>\n    <scene_description>Oscar stands in the shower, letting the water run over his head. There looks to be a lot on his mind.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OSCAR'S APARTMENT- KITCHEN- DAY<\/stage_direction>\n    <scene_description>Sophina and Oscar move around the small kitchen like a well oiled machine. Sophina, wearing a WalMart uniform, makes two lunches. Oscar wipes milk from Tatiana's face and fixes her hair.<\/scene_description>\n    <character>TATIANA<\/character>\n    <dialogue>Mommy can I have two of the fruit snacks today?<\/dialogue>\n    <character>SOPHINA<\/character>\n    <dialogue>No, T. You can take an extra apple if you want.<\/dialogue>\n    <character>TATIANA<\/character>\n    <dialogue>But mommy I-<\/dialogue>\n    <character>SOPHINA<\/character>\n    <dialogue>Don't argue T.<\/dialogue>\n    <scene_description>Tatiana pouts. Sophina downs a cup full of orange juice, grabs both lunch bags, Tatiana, and heads for the door.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>Com'on Osc. We gotta stop and get gas too.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>We got enough to get yall there.<\/dialogue>\n    <scene_description>Sophina shoots Oscar a look.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Go start the car up. You got your keys?<\/dialogue>\n    <scene_description>CONTINUED: Sophina nods.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Go. I gotta grab my beanie.<\/dialogue>\n    <scene_description>Sophina and Tatiana leave. Oscar watches them go for a beat. He turns to the cabinet. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIRST FRUIT LEARNING CENTER- DAY<\/stage_direction>\n    <scene_description>Oscar and Tatiana walk to the downstairs entrance of a two story house. A picture of an apple tree is painted next to the door. Oscar squats down to her level and brushes down a frizz in her hair. He looks back at the car. We see that Sophina is adjusting her make up in the fold down mirror. Oscar turns to Tatiana. He then takes her hand, and places something inside of it. Tatiana looks down into her hand and we see that it is a small bag of fruit snacks. She looks up at Oscar with a bright eyed expression. But Oscar quickly places his finger over his lips. Tatiana nods in agreement, trying to hold back a huge smile. She gives him a swift kiss on the cheek. He stands up and knocks on the front door. MRS. STACY a motherly looking Black woman in her 50's opens the door.<\/scene_description>\n    <character>MRS. STACY<\/character>\n    <dialogue>Good morning Tatiana!<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>TATIANA<\/character>\n    <dialogue>Good morning Mrs. Stacy.<\/dialogue>\n    <scene_description>Tatiana heads into the house. Oscar smiles at Mrs. Stacey, and she nods back. He watches Tatiana run off into house. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOPHINA'S CAR- WALMART PARKING LOT- DAY<\/stage_direction>\n    <scene_description>Oscar and Sophina look on at the WAL MART Entrance.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>See? Told you we'd make it. The light aint even on yet.<\/dialogue>\n    <scene_description>She looks at the dashboard where there is a PICTURE of Oscar holding Tatiana tucked in the glass. The fuel gage sits almost under E, but the light still isn't on. She stares at the store entrance.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>You gonna go home and sleep, right?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Naw, Imma go up to the job. Get some stuff for tonight.<\/dialogue>\n    <character>SOPHINA<\/character>\n    <dialogue>Ugh. I'd rather die than come here on my day off.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>What time we supposed to be at your grandma's?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Prolly like seven.<\/dialogue>\n    <character>SOPHINA<\/character>\n    <dialogue>We gonna go to Frisco again? Catch the fireworks?<\/dialogue>\n    <scene_description>Oscar nods. Sophina smiles at the idea of Frisco, for a beat.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>Let me get in here.<\/dialogue>\n    <scene_description>CONTINUED: She quickly sits up. Oscar leans over to give her a kiss on the cheek, makes a farting sound on her neck instead. Sophina chuckles at this as she gets out of the car.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>Bye.<\/dialogue>\n    <character>OSCAR<\/character>\n    <parenthetical>(playfully)<\/parenthetical>\n    <dialogue>Love you too.<\/dialogue>\n    <scene_description>SLAM! Sophina shuts the door on him. Oscar laughs. His smile fades, as he watches her go inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOPHINA'S CAR- DAY<\/stage_direction>\n    <scene_description>Oscar, now in the car by himself rides in the car listening to HIP HOP MUSIC. He comes to a red light. He looks at the car radio clock: 8:58 AM. He thinks to himself for a beat, he looks dissatisfied. He turns his music up for a beat and listens to it. He looks around, still not at ease. He turns off his music and pulls out his cellphone. He takes a quick look around to see what cars are around, before dialing numbers. CALLING MOM flashes on the screen. He holds the phone to his ear. INTERCUT WITH:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UPS WAREHOUSE ENTRANCE- DAY<\/stage_direction>\n    <scene_description>A beautiful Black woman in her late 40's wears a UPS manager's uniform, this is WANDA JOHNSON. She walks towards the entrance of her store, when her cellphone rings in her purse. She pulls it out, stressed. Answers it without looking.<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Last shot right here, you sure you want to work on your birthday? You still got time to catch a cold...<\/dialogue>\n    <scene_description>Wanda's face brightens up with a familiar looking smile. CONTINUED:<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>Hello Son! Thanks for the text last night.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>No problem. Come on, let's go celebrate right now.<\/dialogue>\n    <scene_description>CONTINUED: Wanda laughs at this.<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>As tempting as that sounds... this place would be a mess without me today.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>We close early though...<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Okay...You still want me to get a couple crabs, right?<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Yes, and can you pick some... are you driving?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Yeah Ma.<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>You wearing your earpiece?<\/dialogue>\n    <scene_description>Oscar hesitates for a beat.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Yeah...<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Don't lie to me. That's all you need is to get pulled over right now. Put your earpiece on, Oscar.<\/dialogue>\n    <scene_description>Oscar sighs... this is nothing new. CONTINUED:<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Hold on.<\/dialogue>\n    <scene_description>He pulls the car over. He looks around for his earpiece for beat- no luck. He takes his cellphone, and slides it into the elastic of his beanie- a poor man's Bluetooth. He pulls off.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>It's on now?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Yeah Ma.<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Okay pick up a couple of packets of dried shrimp too. Come by on your way, I'll give you the money.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Nah Ma, it's good.<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Alright I'll pay you back tonight.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Ma, don't trip off that. I got you.<\/dialogue>\n    <scene_description>Wanda pauses for a beat.<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>Okay, so you're buying this, with Farmer Joe's money... right?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Ye-<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Because that's the only kind of money you have right now... right?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Yeah Ma, and I'm gonna use my discount.<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Okay, well let me run in here. I'll see you later tonight.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Love you.<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Love you too.<\/dialogue>\n    <scene_description>Wanda hangs up the phone. She looks at it for a beat. Then puts it back in her purse and heads into the warehouse.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A11 EXT. FARMER JOE'S PARKING LOT- DAY- MOMENTS LATER A11<\/stage_direction>\n    <scene_description>We see the entrance of Farmer Joe's, and shoppers coming in and out. Oscar looks around for a beat, and takes off his hoody, and puts it into his back pocket. We follow him into-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FARMER JOE'S- DAY- MOMENTS LATER<\/stage_direction>\n    <scene_description>It is a moderately sized grocery store, but several SHOPPERS move about the aisles. Oscar walks over to the seafood section where Cato CALDWELL, a 22 year old charismatic Black \\* male stands behind the counter wearing a Deli apron. Cato sees Oscar and smiles brightly. He takes a pile of fish \\* off the scale, bags it, ands it to an older BLACK WOMAN. He takes off his clear glove and slaps hands with Oscar over the counter.<\/scene_description>\n    <character>CATO \\*<\/character>\n    <dialogue>Sup Osc, bruh?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Shit. What's good?<\/dialogue>\n    <character>CATO \\*<\/character>\n    <dialogue>You lookin for Emi?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Yeah. He here today?<\/dialogue>\n    <character>CATO \\*<\/character>\n    <dialogue>Hell yeah he is. He was just over here...<\/dialogue>\n    <scene_description>CONTINUED: Cato looks around at the surrounding aisles. No signs of him. \\*<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>I came to get some crabs too.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>CATO \\*<\/character>\n    <dialogue>Oh yeah, tell Moms I said Happy Birthday. I had meant to call her this morning.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>You should come through grandma house tonight.<\/dialogue>\n    <character>CATO \\*<\/character>\n    <dialogue>Bruh I wish I could, but I gotta bust a couple moves tonight. What's good for the countdown though?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Frisco. Fireworks and the whole shit-<\/dialogue>\n    <scene_description>Oscar sees something out of the corner of his eye. He motions his head for Cato to look. Cato turns and sees- \\* KATIE, a White girl in her mid 20's, playing with her iPhone while waiting for help. Cato quickly makes his way over. \\*<\/scene_description>\n    <character>CATO \\*<\/character>\n    <dialogue>You ready?<\/dialogue>\n    <character>KATIE<\/character>\n    <dialogue>Uh, yeah... I want to get a pound of, wait... Can I see what your sole looks like?<\/dialogue>\n    <character>CATO \\*<\/character>\n    <dialogue>Sole?<\/dialogue>\n    <scene_description>Cato takes a sidestep over to his left and motions to a pile \\* of fish.<\/scene_description>\n    <character>KATIE<\/character>\n    <dialogue>Yeah, no, wait. Your catfish. Let me see what that looks like....<\/dialogue>\n    <scene_description>Cato points to the catfish. Katie looks at it, then looks \\* down to her phone.<\/scene_description>\n    <character>KATIE<\/character>\n    <dialogue>Okay but, I want to fry it. Like a fish fry. Are these the ones you can fry?<\/dialogue>\n    <scene_description>Cato gives her an \"are you serious?\" look. \\* CONTINUED:<\/scene_description>\n    <character>CATO \\*<\/character>\n    <dialogue>Every fish we sell here can be fried.<\/dialogue>\n    <scene_description>CONTINUED: Katie looks at him, still flustered.<\/scene_description>\n    <character>KATIE<\/character>\n    <dialogue>Okay, let me have a second.<\/dialogue>\n    <scene_description>She looks back down at her iPhone, and takes a step back. Cato turns to Oscar. \\*<\/scene_description>\n    <character>CATO \\*<\/character>\n    <dialogue>What you need for moms, bruh?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Let me get three Dungeness.<\/dialogue>\n    <scene_description>Cato nods and walks over to the crab. \\*<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Fat ones too, bruh.<\/dialogue>\n    <character>CATO \\*<\/character>\n    <dialogue>Bet.<\/dialogue>\n    <scene_description>Oscar turns to Katie.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Your family having a fish fry for New Years or something?<\/dialogue>\n    <scene_description>Katie looks up from her phone, a bit caught off guard.<\/scene_description>\n    <character>KATIE<\/character>\n    <dialogue>Ahh, yeah. Something like that.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>It's cool. I work here.<\/dialogue>\n    <scene_description>She looks at Oscar suspiciously.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>It's my day off.<\/dialogue>\n    <scene_description>Katie smiles nervously. Looks at Cato who nods at Katie in \\* approval. CONTINUED:<\/scene_description>\n    <character>KATIE<\/character>\n    <dialogue>Oh, okay.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Well, I'm cooking dinner tonight for my friend, before we go to the city. And he really likes fried fish, like southern style. And I maybe lied a bit, and said that I know how to cook like that.<\/dialogue>\n    <scene_description>Oscar laughs at this. Katie shakes her head.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Is he black?<\/dialogue>\n    <character>KATIE<\/character>\n    <dialogue>What? Who?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Your boyfriend.<\/dialogue>\n    <scene_description>Katie blushes.<\/scene_description>\n    <character>KATIE<\/character>\n    <dialogue>He's white. But he knows a lot of black people... He's not my boyfriend either...<\/dialogue>\n    <scene_description>Oscar chuckles at this. CONTINUED: Katie looks down at her phone again. She uses her fingers to zoom in on something.<\/scene_description>\n    <character>KATIE<\/character>\n    <dialogue>I'm not sure what type of fish he wants. And most of these recipes are different on this site.<\/dialogue>\n    <scene_description>Oscar watches her with a look of pity. Suddenly, an idea flashes before his eyes. He pulls out his cellphone, quickly dials a number, and holds it to his ear.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRANDMA BONNIE'S HOUSE- KITCHEN- CONTINUOUS<\/stage_direction>\n    <scene_description>We see GRANDMA BONNIE, a black woman in her early 70's , putting flowers into a vase on her kitchen counter. A cordless phone RINGS on the counter. She looks at the phone for a beat then she cheers up.<\/scene_description>\n    <character>GRANDMA BONNIE<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FARMER JOE'S- SEAFOOD SECTION- CONTINUOUS<\/stage_direction>\n    <scene_description>Oscar holds his cellphone and snaps at Katie to get her attention.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Grandma...<\/dialogue>\n    <character>GRANDMA BONNIE<\/character>\n    <dialogue>Oscar? What's going on Baby?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>I'm at my job, and this girl here-<\/dialogue>\n    <character>GRANDMA BONNIE<\/character>\n    <dialogue>You say you're at work?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Well, yeah....<\/dialogue>\n    <character>GRANDMA BONNIE<\/character>\n    <dialogue>Boy you know better than to be talking on the phone while you're at work! Bye!<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Grandma, Grandma, I'm off today. I'm just shopping for the party.<\/dialogue>\n    <character>GRANDMA BONNIE<\/character>\n    <dialogue>Oh, I thought you were up there playing on the phone.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Naw grandma. But I got this girl here, she wants to fry fish for her boyfriend, but she don't know how. You think you could tell her what she needs to know and everything?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>GRANDMA BONNIE<\/character>\n    <dialogue>Oh no problem, baby. What kind of fish does she want to fry?<\/dialogue>\n    <character>OSCAR<\/character>\n    <parenthetical>(to Katie)<\/parenthetical>\n    <dialogue>What type of F--, wait..<\/dialogue>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>She don't know.<\/dialogue>\n    <character>GRANDMA BONNIE<\/character>\n    <dialogue>What you mean she don't know? Put her on the phone.<\/dialogue>\n    <character>OSCAR<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Hold on.<\/dialogue>\n    <scene_description>Oscar holds out the phone for Katie. She reaches out apprehensively. He gives her a reassuring look. She takes it.<\/scene_description>\n    <character>KATIE<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>What's her name?<\/dialogue>\n    <character>OSCAR<\/character>\n    <parenthetical>(whispering back)<\/parenthetical>\n    <dialogue>Grandma Bonnie.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>KATIE<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Hello, Grandma Bonnie, it's Katie, Nice to meet you.<\/dialogue>\n    <scene_description>Katie smiles and blocks her other ear to hear better.<\/scene_description>\n    <character>CATO (O.S.) \\*<\/character>\n    <dialogue>Pssst!<\/dialogue>\n    <scene_description>Oscar snaps his head to Cato, who motions for Oscar to look \\* down the aisle. Oscar looks over and sees, EMI, a thirtysomething Hispanic man wearing a white collared shirt and a name tag. He checks the shelves with a barcode scanning device. Oscar slowly heads over.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Good morning, Emi.<\/dialogue>\n    <character>EMI<\/character>\n    <dialogue>Oscar, what's going on??<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Had to grab some stuff for my Mom's birthday.<\/dialogue>\n    <character>EMI<\/character>\n    <dialogue>I hope you found everything that you need.<\/dialogue>\n    <scene_description>Emi turns and starts for the next aisle.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Emi, hold up man, I wanted to talk to you.<\/dialogue>\n    <character>EMI<\/character>\n    <dialogue>It's a little nuts right now, holiday and all. But what's up?<\/dialogue>\n    <scene_description>Long beat. CONTINUED:<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>I just want...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I need my job back. I need my job back.<\/dialogue>\n    <character>EMI<\/character>\n    <dialogue>Position's been filled. Take care man.<\/dialogue>\n    <scene_description>Emi turns to head down the aisle, Oscar reaches out and grabs Emi by his sleeve. Emi stops and turns around.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Look, I was going through some shit, trying to get back on my feet. But I need this job man. I'll show up early every day. You can start me back off with one shift a week or whatever. I'm here. You can work me 40 hours a week and pay me for 20. I'm here.<\/dialogue>\n    <character>EMI<\/character>\n    <dialogue>Oscar, dude. I hired somebody else. For me to hire you back, that means I have to let someone else go. Someone with no felonies. Who's never showed up late once. I like you man, but I can't do that. I'm sorry. If something else opens up, maybe I'll let you know. Take care of yourself.<\/dialogue>\n    <scene_description>Emi walks away. Oscar watches him.<\/scene_description>\n    <character>KATIE (O.S.)<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>Oscar turns around to find Katie, holding out his phone for him to take. Oscar looks at her basket, it's now full of fish and supplies.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>You sure you got enough?<\/dialogue>\n    <character>KATIE<\/character>\n    <dialogue>Oh my god, Your grandmother is so sweet! I can't believe she was kind enough to do that.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Trust me. She's happy to help.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>KATIE<\/character>\n    <dialogue>Thank you so much... Katie by the way.<\/dialogue>\n    <scene_description>She extends her hand to shake with Oscar. Oscar smiles, shakes it.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Oscar.<\/dialogue>\n    <character>KATIE<\/character>\n    <dialogue>Oscar... like the Grouch!!<\/dialogue>\n    <scene_description>Oscar shakes his head at this. Katie starts off towards the register.<\/scene_description>\n    <character>KATIE<\/character>\n    <dialogue>Take care.<\/dialogue>\n    <scene_description>Oscar's nods. He walks back over to Cato, who is weighing \\* fish for another CUSTOMER. He spots Oscar.<\/scene_description>\n    <character>CATO \\*<\/character>\n    <dialogue>How it go?<\/dialogue>\n    <scene_description>Oscar smiles wide and nods. He reaches over the counter and grabs the bag of crabs, then bumps fists with Cato. \\*<\/scene_description>\n    <character>CATO (CONT'D) \\*<\/character>\n    <dialogue>That's wussup bruh! Imma hit you tonight! Yall can ride with me.<\/dialogue>\n    <scene_description>Oscar nods and heads towards the checkout line, his smile fading.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OSCAR'S HOUSE KITCHEN- MOMENTS LATER<\/stage_direction>\n    <scene_description>Oscar places the bag of crabs in the refrigerator. He closes it and looks at the refrigerator for a beat. On it we see several drawings done by Tatiana held on the door by magnets. Oscar smiles at these. His phone rings: BIG SIS CALLING<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KFC MANAGER'S OFFICE- CONTINUOUS<\/stage_direction>\n    <scene_description>Chantay, a 25 year old Black woman, wearing a KFC employee uniform pinches a cellphone between her ear and her shoulder. She organizes papers in a folder while she talks into the phone.<\/scene_description>\n    <character>CHANTAY<\/character>\n    <dialogue>Hey, chump! What you doin?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>At the house, just got back from the job.<\/dialogue>\n    <character>CHANTAY<\/character>\n    <dialogue>I thought you were off today.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>I am.<\/dialogue>\n    <character>CHANTAY<\/character>\n    <dialogue>Oh... You call mom yet?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Yup.<\/dialogue>\n    <character>CHANTAY<\/character>\n    <dialogue>Oh okay. I got good news and bad news.<\/dialogue>\n    <scene_description>Oscar thinks for a bit.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Bad news first.<\/dialogue>\n    <character>CHANTAY<\/character>\n    <dialogue>I need help with the rent for this month.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>How much?<\/dialogue>\n    <character>CHANTAY<\/character>\n    <dialogue>Like $300. I'll get you back in a couple of weeks.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Okay. What's the good news.<\/dialogue>\n    <character>CHANTAY<\/character>\n    <dialogue>I'm working overtime tonight.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>What? That's fucking bad news too.<\/dialogue>\n    <character>CHANTAY<\/character>\n    <dialogue>No it's not. Double time and a half.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>C'mon Chantay.<\/dialogue>\n    <character>CHANTAY<\/character>\n    <dialogue>Hey, gotta do it. Moms understands. But I need you to get her a card and sign it for me.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Aight.<\/dialogue>\n    <character>CHANTAY<\/character>\n    <dialogue>And Osc, don't get me a fake ass card with white people on it. I want a black card. And not one of those joke cards either.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Aight. I got you.<\/dialogue>\n    <character>CHANTAY<\/character>\n    <dialogue>Thank you Oscar, love you.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Love you too, scrub.<\/dialogue>\n    <character>CHANTAY<\/character>\n    <dialogue>Bye.<\/dialogue>\n    <scene_description>Oscar closes his phone. Thinks to himself for a beat. He opens his phone back up and punches some numbers. Calling Marcus flashes across the screen.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARBER SHOP- DAY<\/stage_direction>\n    <scene_description>MARCUS, a tough looking Asian- American man about Oscar's age sits in a barber's chair, A Black BARBER cuts his hair. His phone vibrates in his pocket, and the Barber steps back to let him answer it. He pulls out an iPhone and talks into it.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>Wussup wit it, Osc?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Wussup bruh? My bad about last night. You still tryna get that?<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Yeah, but I aint out that way. Imma be in the Town all day.<\/dialogue>\n    <scene_description>Oscar takes a beat.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Shit bruh I can come to you.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Okay... Meet me over there by the water bruh. Right off of 80. I'll be over there in like a hour.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Aight, bet.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Bet.<\/dialogue>\n    <scene_description>Oscar hangs up his phone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OSCAR'S BEDROOM<\/stage_direction>\n    <scene_description>Oscar quickly walks over to his closet and grabs the bag of weed. He neatens up the room a bit, and takes off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLMARK STORE- DAY<\/stage_direction>\n    <scene_description>The store is small and brightly lit. Oscar is reading a card from off the BIRTHDAY FOR MOTHER rack. We see that on the card is a picture of a black woman walking on the beach holding her son's hand. Inscribed over it are the words to the religious poem \"Footsteps\" by Anonymous. Oscar's eyes quickly scan the poem: he's read it before. Oscar opens the card, and looks inside for a beat. He looks up, moved by the words. He stares off into space.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VISITING ROOM- SAN QUENTIN CORRECTIONAL FACILITY-<\/stage_direction>\n    <character>TEN MONTHS EARLIER<\/character>\n    <dialogue>We look through a foggy window at Wanda sitting at one of several large wooden tables with plastic chairs placed around them. There are a few VISITORS already sitting at tables with inmates. Several Corrections Officers stand by.<\/dialogue>\n    <dialogue>We see Oscar, shirtless, arms behind his head, is looking through the glass window of the search room. A Corrections Officer is conducting a search. Oscar's face is bruised under his left eye, and there is a small white bandage strip on the left side of his face. He turns around, bends over and coughs. He turns back around, and the officer hands him his Blue shirt and pants. Oscar puts them on and-<\/dialogue>\n    <dialogue>BUZZ. The door opens, and Oscar walks through the large room to Wanda's table. As he approaches she stands up.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Hey Ma.<\/dialogue>\n    <scene_description>Oscar gives her a hug, leaning across the table. CONTINUED:<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>What happened to your face?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>You look nice.<\/dialogue>\n    <scene_description>Wanda shakes her head.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>My girls come over last night?<\/dialogue>\n    <scene_description>Wanda nods. Laughs a bit.<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>We played board games.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>\"Candyland\"?<\/dialogue>\n    <scene_description>Wanda nods. Laughing a bit more now.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Yall let her win too, I bet.<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Yall hella weak for that. She gets no easy victories with me around.<\/dialogue>\n    <scene_description>Oscar smiles and notices Wanda is smiling about something on her mind.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Do you remember that microwave popcorn you bought a while back?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Yeah, the kettle corn. Hella good.<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Yes, kettle corn. I popped some of that for us, and I was putting it into a bowl. Tatiana's looking up at me, like she wants something.<\/dialogue>\n    <scene_description>Wanda starts to chuckle a bit again.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>C'mon. What she say?<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>She looks up at me and says,\"Grandma, do we have any dark butter?\"<\/dialogue>\n    <scene_description>Oscar looks at Wanda with a confused look.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Dark butter?<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Yeah, I'm thinking she saw \"Food Network\" or something. So I say, \"what's dark butter sweetheart?\" She says, \"When Daddy took me to see WALL.E he asked for light butter, so I want to try some dark butter this time.\"<\/dialogue>\n    <scene_description>Oscar looks at Wanda with a bright eyed expression.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>She is gettin way too smart.<\/dialogue>\n    <scene_description>Another BUZZ from the door is heard. CONTINUED: As the two share a moment, DANIEL CALE, a stocky white inmate in his early 30's walks past Oscar and Wanda's table. He has a large, square bandage under his left eye.<\/scene_description>\n    <character>CALE<\/character>\n    <parenthetical>(just loud enough for Oscar to hear)<\/parenthetical>\n    <dialogue>This moms right here?<\/dialogue>\n    <scene_description>Anger flashes over Oscar's eyes.<\/scene_description>\n    <character>CALE<\/character>\n    <dialogue>She a snitch to?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>What? What the Fuck you say about my Mom bruh?<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Oscar!<\/dialogue>\n    <character>CALE<\/character>\n    <dialogue>Fuck you and that bitch.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>You tough in here with these guards huh?<\/dialogue>\n    <scene_description>Two Corrections Officers move quickly over to Oscar's table. Cale, continues to walk towards a the table with the Woman and the Frizzy Haired Girl.<\/scene_description>\n    <character>CORRECTIONS OFFICER 1<\/character>\n    <dialogue>Is there a problem here?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Naw, we good.<\/dialogue>\n    <character>CALE<\/character>\n    <dialogue>That's my best friend right there.<\/dialogue>\n    <scene_description>Cale flashes a mischievous smile. The Corrections Officer comes over and stands between the two. Oscar watches as Cale sits down across from the woman, who holds the baby. Cale smiles at the woman, and makes coochie coo faces at the baby. CONTINUED: Woman passes the child to Cale over the table. Oscar looks on with malice.<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>Oscar, Calm down.<\/dialogue>\n    <scene_description>Wanda's voice snaps the anger off of his face. He looks back to Wanda, and his anger subsides.<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>What happened to your face?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Dark butter huh? She always listening.<\/dialogue>\n    <scene_description>Wanda stares at Oscar.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>She too smart for her own good man. The preschool said we should think about starting her in school early. Phina tell you that?<\/dialogue>\n    <scene_description>Wanda doesn't respond.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Yeah, we're gonna put her in private school. I was lookin at St. Bede the other day. It's this other school that starts them off learning Spanish, then it gradually gets them back going on English. It's like a new thing-<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>I'm not coming to see you anymore.<\/dialogue>\n    <scene_description>Oscar stops in his tracks.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>What you mean?<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>I'm not coming here, to these visits anymore. This is the last time.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>I know I know I know. This is my last time too. I told you that. I ain't goin down no more. \\*<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>You want to keep putting Sophina through this... go ahead. But Tatiana doesn't deserve this. She didn't have a choice.<\/dialogue>\n    <scene_description>Oscar takes this in.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>She too young to know what's going on right now.<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>I guess that's why she asked me why you love taking your vacations more than being with her.<\/dialogue>\n    <scene_description>Oscar cut his eyes from Wanda.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>She aint say that.<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>So I'm the liar now.<\/dialogue>\n    <scene_description>Oscar takes a beat to think about this.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Tell her that I love her more than anything in the world. And that I-<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>Tell her yourself. Next time you call. Tell your daughter how much you love her over the phone. Or better yet, just let her come visit you?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>I don't want her to see me like this.<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Like what?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>In a box.<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>But this is how you are right now.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>I don't want her to be exposed to this.<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>You've already exposed her to it!<\/dialogue>\n    <scene_description>Wanda leans back in her chair- she's done.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>So you really not gonna visit me no more? I got four more months!!<\/dialogue>\n    <scene_description>Oscar leans in.<\/scene_description>\n    <character>OSCAR<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Ma, this shit aint like Rita. It's crazy in here. I don't know if I can make it without you seeing you that long.<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>I love you Oscar, I'm praying for you, and I'll see you when you get home.<\/dialogue>\n    <scene_description>Wanda scoots back in her chair, stands up, and heads towards the exit. CONTINUED: Oscar remains seated in his chair.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Ma, hold up. Let me get a hug.<\/dialogue>\n    <scene_description>Wanda continues to walk. Oscar stands up, and follows behind Wanda. His feet pass a yellow line.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Ma!<\/dialogue>\n    <scene_description>Wanda continues on, not turning around.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Ma! Hold up!<\/dialogue>\n    <scene_description>The C.O. sees this.<\/scene_description>\n    <character>CORRECTIONS OFFICER 1<\/character>\n    <dialogue>Grant, back in your assigned visiting area.<\/dialogue>\n    <scene_description>Oscar ignores him, and continues to follow his Mom. The C.O. hits a button on his walkie, and motions to the other C.O.'s. They quickly move towards Oscar and attempt to grab him.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Get the fuck off me!<\/dialogue>\n    <scene_description>Oscar jerks away.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Ma!<\/dialogue>\n    <scene_description>The C.O.'s grab Oscar and lift him up off of the ground.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Get off me! Ma! Ma!<\/dialogue>\n    <scene_description>Wanda continues on. CONTINUED:<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Ma. Ma! Hold up!<\/dialogue>\n    <parenthetical>(to C.O.'s)<\/parenthetical>\n    <dialogue>Let me just give her a hug right quick before she leave!<\/dialogue>\n    <scene_description>We pull back with Wanda as she walks away, trying to hide her pain. Another Corrections Officer sprints past her towards Oscar, who we can still see in the distance.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Ma! Ma!<\/dialogue>\n    <parenthetical>(to the C.O.s)<\/parenthetical>\n    <dialogue>Get the fuck off me!<\/dialogue>\n    <parenthetical>(to Wanda)<\/parenthetical>\n    <dialogue>Ma! Ma!<\/dialogue>\n    <scene_description>Oscar looks on at Wanda as she leaves, growing small in the distance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLMARK STORE- DAY- PRESENT<\/stage_direction>\n    <scene_description>Oscar still stares off into space, moved by this memory. He snaps out of it, heads towards the register with the cards in hand.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOPHINA'S CAR- DAY<\/stage_direction>\n    <scene_description>Oscar starts the car up, looks at his dashboard. He sees that the fuel light is on.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GAS STATION- DAY<\/stage_direction>\n    <scene_description>Oscar pumps his gas. He looks at a poster of Obama that reads CHANGE, posted on the gas pump. He looks across the lot and notices a Zales engagement ring poster. He pulls out his phone. Starts to text.<\/scene_description>\n    <character>TO SOPHINA:<\/character>\n    <dialogue>WANT ME TO COME UP THERE FOR YOUR<\/dialogue>\n    <character>LUNCH BREAK?<\/character>\n    <dialogue>He sends it off. Closes, waits for a bit. It buzzes. He opens it.<\/dialogue>\n    <character>FROM SOPHINA:<\/character>\n    <dialogue>ALREADY TOOK IT.<\/dialogue>\n    <scene_description>Oscar puts his phone back into his pocket. He turns and begins to pump his gas. He sets the handle to automatically pump, and looks up and notices something. CONTINUED: We see it is a gnarly- looking male PIT BULL sniffing around a few feet from Oscar's tires. It looks to be maybe 3 or 4 years old. Oscar whistles at the dog and calls him over. Oscar pets him on the head, we see its ears are a bit scarred, but it has beautiful brown eyes. He feels around the dog's neck- no collar. Oscar looks around for an owner for a beat while the dog licks his hand. CLICK- Oscar's gas tank is full. He turns away from the dog, places the pump back on the base, and screws his fuel cap back in. He looks back to where the dog was and doesn't see him. He scans the block and panic strikes his face. He takes off running towards the street.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Shit! No, No, No Stop!<\/dialogue>\n    <scene_description>SCHREECH... BAM! We hear it before we see it. A sickening sound. An animal YELPS, a car SPEEDS OFF. Oscar runs into the street chasing a car going too fast for us to see.<\/scene_description>\n    <character>OSCAR<\/character>\n    <parenthetical>(at the car)<\/parenthetical>\n    <dialogue>Hey! Stop you bitch ass Muthafucka!!<\/dialogue>\n    <scene_description>He stops, turns around, and runs over to something lying in the street. It's the dog, and he's in bad shape. Oscar picks the dog up out of the street, and places him on the sidewalk.<\/scene_description>\n    <character>OSCAR<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Come'on boy. Come on.<\/dialogue>\n    <scene_description>The dog's breathing grows more struggled.<\/scene_description>\n    <character>OSCAR<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>Shit.<\/dialogue>\n    <parenthetical>(shouting)<\/parenthetical>\n    <dialogue>Somebody help! Somebody fucking Help!<\/dialogue>\n    <scene_description>CONTINUED: Oscar continues to pet his head. The dog starts to violently shake... He becomes unnaturally still. Oscar stares at the Dog for a long beat, shaken up by this. He looks around, no one seems to have noticed. He bends down, closes the Dog's eyes, and heads for his car.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POINT EMERY- PARKING LOT- DAY<\/stage_direction>\n    <scene_description>It is an empty parking lot next to a beautiful view of the Bay. Oscar's car pulls up. After a short beat. A Lexus pulls up along side of it. Marcus hops out of the Lexus and walks over to Oscar's car.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOPHINA'S CAR<\/stage_direction>\n    <scene_description>Oscar leans over and opens the passenger side door for Marcus to get in.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>Shit bruh I didn't think we was ever gonna link up. You been good?<\/dialogue>\n    <scene_description>Oscar stares out of the window.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>I got good news and bad news my nigg.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Awww naw, Osc bruh, don't tell me you aint got it.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Sold it to a white boy bruh.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Awww Osc. For how much?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Gave me a rack for it.<\/dialogue>\n    <scene_description>Marcus makes a face. CONTINUED:<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>No way I was goin that high. Shit bruh. I needed that though... What's the good news?<\/dialogue>\n    <scene_description>Oscar turns to Marcus hands him a brown pre- rolled joint.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>For your troubles.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Right on Osc bruh.<\/dialogue>\n    <scene_description>He pulls out a wad of money.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>It's good bruh. Take it.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>You sure?<\/dialogue>\n    <scene_description>Oscar nods.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>Right on bruh.<\/dialogue>\n    <scene_description>Marcus pulls out a lighter.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>Burn one with ya boy right quick.<\/dialogue>\n    <scene_description>Marcus lights up the joint, takes a hit, holds it out for Oscar, but Oscar just stares out of the Window.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>I'm good, that's all you bruh.<\/dialogue>\n    <scene_description>Marcus puts it back into his mouth.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>Right on Osc, then bruh.<\/dialogue>\n    <scene_description>They slap hands, and Marcus gets out of the car. We hear him get into his car, and start his car up. Oscar waits for a beat. He then reaches under his seat and grabs something.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POINT EMERY- SHORELINE- DAY<\/stage_direction>\n    <scene_description>Oscar walks out onto the shoreline, looking at the water. He looks around for a beat. He walks all the way out into the water. Standing on rocks. CONTINUED: He looks over both shoulders, to make sure no one is watching. He then goes into his waistband and pulls out the Ziplock bag of weed. He squats down, opens the bag, and dumps it into the water. He watches as the green buds float off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WALMART ENTRANCE- CONTINOUS<\/stage_direction>\n    <scene_description>Oscar walks up to the heavily crowded store entrance. We see Sophina exiting holding a large cardboard cake box. Oscar takes it from her. CONTINUED:<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>What flavor did you get.<\/dialogue>\n    <character>SOPHINA<\/character>\n    <dialogue>Carrot cake.<\/dialogue>\n    <scene_description>Oscar looks at the cake box.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Why you didn't get ice cream?<\/dialogue>\n    <character>SOPHINA<\/character>\n    <dialogue>Cause it aint your birthday nigga.<\/dialogue>\n    <character>SOPHINA<\/character>\n    <dialogue>Can you take me by my grandma's house so I can get changed?<\/dialogue>\n    <character>JASON \\*<\/character>\n    <dialogue>Yeah. You know it would be hella easier if you just had your stuff at my spot right. When you gonna move in.<\/dialogue>\n    <character>SOPHINA<\/character>\n    <dialogue>Probably when you stop having trees in the car before we pick up T.<\/dialogue>\n    <scene_description>She gets into the car. OMITTED 27A OMITTED 27A<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIRST FRUIT LEARNING CENTER- BACKYARD- DAY- CONTINUOUS<\/stage_direction>\n    <scene_description>We follow Oscar as he turns the corner into a backyard full of toys and KIDS Tatiana's age. Mrs. Stacey watches them, smiling, but with vigilant eyes. Tatiana spots Oscar and runs up and gives him a hug. Oscar waves and smiles at Mrs. Stacey, who waves back. He walks over to the sign out sheet and grabs a pen. CONTINUED:<\/scene_description>\n    <character>TATIANA<\/character>\n    <dialogue>We played \"Freeze Tag\" today.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Oh yeah?<\/dialogue>\n    <character>TATIANA<\/character>\n    <dialogue>They couldn't catch me.<\/dialogue>\n    <scene_description>Oscar looks up from the sign in sheet.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>You think you're faster than daddy?<\/dialogue>\n    <scene_description>Tatiana looks back at Oscar challengingly. Oscar looks at something behind Tatiana with concern.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>What's that right there?<\/dialogue>\n    <scene_description>Tatiana takes the bait- the oldest trick in the book. Oscar takes off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIRST FRUIT LEARNING CENTER- DAY<\/stage_direction>\n    <scene_description>Oscar is beating Tatiana to the car by a mile. Tatiana follows him laughing loudly.<\/scene_description>\n    <character>TATIANA<\/character>\n    <dialogue>You cheated!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOPHINA'S GRANDMOTHER'S HOUSE- KITCHEN- DAY<\/stage_direction>\n    <scene_description>A small television sits next to the stove playing a Telenovella. Looking at the episode from the kitchen doorway is MARIANA PANGELINA, Sophina's 65 year old grandmother. SIZZLING can be heard coming from the kitchen. The front door opens, and in walks Sophina, Oscar, and Tatiana.<\/scene_description>\n    <character>TATIANA<\/character>\n    <dialogue>Bisabuella!<\/dialogue>\n    <character>MARIANA<\/character>\n    <dialogue>Hola Tatiana!<\/dialogue>\n    <scene_description>Tatiana runs to Mariana and gives her a hug. Oscar gives her a kiss on the cheek. Sophina gives her a hug. The three take a seat at the kitchen table. CONTINUED: Mariana continues to cook.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>Grandma, can you watch T tonight? We gonna go to Frisco.<\/dialogue>\n    <scene_description>Mariana shakes her head.<\/scene_description>\n    <character>MARIANA<\/character>\n    <dialogue>Ask your sister.<\/dialogue>\n    <character>SOPHINA<\/character>\n    <dialogue>But Rose got hella kids to watch.<\/dialogue>\n    <character>MARIANA<\/character>\n    <dialogue>But what's the difference between watching six kids, and watching seven?<\/dialogue>\n    <scene_description>Sophina think about this.<\/scene_description>\n    <character>MARIANA<\/character>\n    <parenthetical>(to Tatiana)<\/parenthetical>\n    <dialogue>Quieres pasar la noche con sus primos?<\/dialogue>\n    <scene_description>Tatiana nods. Sophina sighs, pulls out her cell phone, and heads out of the kitchen. Mariana turns to Oscar. CONTINUED:<\/scene_description>\n    <character>MARIANA<\/character>\n    <parenthetical>(to Oscar)<\/parenthetical>\n    <dialogue>How's work?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>You know... it's work.<\/dialogue>\n    <character>MARIANA<\/character>\n    <dialogue>Hmm.<\/dialogue>\n    <scene_description>Oscar thinks on this, exits the kitchen in the direction of Sophina. Only Tatiana is left at the table. Mariana smiles. At her. She puts some pollo on a fork, and takes it over to her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOPHINA'S CHILDHOOD BEDROOM- MOMENTS LATER<\/stage_direction>\n    <scene_description>As Oscar enters, we see Sophina is in her bra and panties, talking into her cellphone. She lays several different outfits out on the bed. Oscar closes the bedroom door, leans on it.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Alright... We'll be through there at like 10..<\/dialogue>\n    <scene_description>She hangs up her phone, and tosses it on the bed.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>Rose gonna watch T.<\/dialogue>\n    <scene_description>She looks through the clothes on her bed and lifts up a checkered hoodie, puts it to her chest. Looks at herself in a full body mirror, sighs at her reflection.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>What you think?<\/dialogue>\n    <character>OSCAR<\/character>\n    <parenthetical>(disinterested)<\/parenthetical>\n    <dialogue>It's cool.<\/dialogue>\n    <scene_description>CONTINUED: Sophina turns around and looks at Oscar, senses something is eating at him. She puts the hoodie down, and walks over to him.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>You okay? You been hella weird today.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Naw, I'm smooth. Just a little tired.<\/dialogue>\n    <scene_description>Sophina's not buying it.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>Osc. Wussup?<\/dialogue>\n    <scene_description>Oscar looks at her for a beat. Cuts his eyes.<\/scene_description>\n    <character>OSCAR<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>Fuck it.<\/dialogue>\n    <parenthetical>(to Sophina)<\/parenthetical>\n    <dialogue>I lost my job.<\/dialogue>\n    <scene_description>Sophina looks at him like he's speaking another language... for a long beat.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>What the fuck you mean? Did they lay you off?<\/dialogue>\n    <scene_description>Oscar doesn't say anything.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>They doing cutbacks or some shit?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>I got fired.<\/dialogue>\n    <character>SOPHINA<\/character>\n    <dialogue>For what?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Showin up late. Missed a couple days when I had to get some money.<\/dialogue>\n    <character>SOPHINA<\/character>\n    <dialogue>They told you today?<\/dialogue>\n    <scene_description>Oscar waits a beat. CONTINUED:<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Keep it real, they fired me two weeks ago.<\/dialogue>\n    <scene_description>Sophina's eyes get as wide as quarters.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>My bad-<\/dialogue>\n    <character>SOPHINA<\/character>\n    <dialogue>Don't fucking my bad me Osc! What was you doin when you was pretending to go to work? You know what? I don't even want to know.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>I thought I was gonna be able to get my shit back.<\/dialogue>\n    <scene_description>Sophina looks at him and shakes her head.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <parenthetical>(to herself)<\/parenthetical>\n    <dialogue>You think life a fucking joke... You think you're gonna get fired and then somebody is gona give you thier job back? What world do you live in?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Phina,<\/dialogue>\n    <character>SOPHINA<\/character>\n    <dialogue>You aint shit, you know that? You lie to me, you lie to your fucking daughter. You don't give a fuck about us.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>I didn't have to tell you shit.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>So you would have just kept faking like you were going to work? And would have just been out bustin nocks? And doing whatever else, or WHOEVER else you do while I'm at work?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>I thought you wanted the truth... But you ain't trying to hear that.<\/dialogue>\n    <scene_description>Sophina doesn't know what to say to this.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>I want you to be honest with me. But off top. From the fucking jump. Not after you lie for two weeks get cornered, and don't have a choice.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>What did you today. Hmm. I bet you sold that fucking zip.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>I dumped it. I'm done with that shit. I'm tired. That's what I'm trying to tell you. Thought I could start fresh today. But that shit aint working out.<\/dialogue>\n    <scene_description>A long beat.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>You threw it away?<\/dialogue>\n    <scene_description>Oscar nods. CONTINUED:<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>You tossed a whole zip of weed. And you don't have a job.<\/dialogue>\n    <scene_description>Oscar doesn't say anything. He smiles at this.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>Oh my God I could slap you right now.<\/dialogue>\n    <scene_description>Sophina hugs him, he doesn't resist this time. Hugs her back.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>What are you gonna do?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>I don't know? Something legal. Gonna see if my sister can hire me again, while I look. Maybe if I can just not fuck up, for 30 days.. Oprah said that's all it takes to form a habit, right?<\/dialogue>\n    <scene_description>Sophina laughs, Oscar kisses her.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>Look at me.<\/dialogue>\n    <scene_description>Oscar looks at her closely.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>You really done with that shit?<\/dialogue>\n    <scene_description>He nods.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>You better be. Don't make me have to do this shit alone, again. I don't know if I can.<\/dialogue>\n    <scene_description>Oscar kisses her neck. Sophina reaches back and unhooks her bra. Oscar kisses her face, picks her up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOPHINA'S GRANDMOTHER'S HOUSE- KITCHEN- DUSK<\/stage_direction>\n    <scene_description>Mariana and Tatiana sit side by side at the table, spellbound by the Telenovella.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRANDMA BONNIE'S HOUSE- PORCH- NIGHT<\/stage_direction>\n    <scene_description>Oscar, with Tatiana sitting on his shoulders, and a bag of crabs in his hand, walks up to the porch of a modest house. Sophina stands at his side holding a cake. Oscar uses his key to open the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRANDMA BONNIE'S HOUSE- ENTRANCE- NIGHT<\/stage_direction>\n    <scene_description>The three enter the house and walk through the house into the kitchen. Wanda, wearing casual clothes now, fills up a pot with water. Grandma Bonnie washes a basin full of vegetables.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Happy Birthday!<\/dialogue>\n    <scene_description>Oscar takes Tatiana off her shoulders and sits her down. Everyone greets each other.<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>Hey baby. You guys are just in time.<\/dialogue>\n    <scene_description>Oscar sits the crabs down on the counter next to the sink. He gives his mother a big bear hug. She smiles, hugs him back just as tight. Oscar lets go and moves on to his grandmother. Sophina and Tatiana come give Wanda hugs.<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>Oh my god, you guys got a cake too?<\/dialogue>\n    <scene_description>Sophina blushes. Everyone laughs at this... even Ceephus. Wanda and Grandma Bonnie begin to take the groceries out of the plastic bag. Wanda pulls out two massive crabs. Looks in the bag and sees the third.<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>Osc. You know all I needed was two, you didn't have to spend so much money.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Don't trip, it wasn't that much.<\/dialogue>\n    <scene_description>Oscar turns from the kitchen into the den.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRANDMA BONNIE'S HOUSE- DEN- NIGHT<\/stage_direction>\n    <scene_description>Two men in their 50's sit down on the couch across from a TV playing ESPN. These are Oscar's uncles DARYL and CEEPHUS JOHNSON. Oscar walks over to a recliner adjacent to them and pulls the Hallmark Bag out of his waistband. He sits down in the recliner and signs his Mom's card.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Who you goin for in the Super Bowl Unc?<\/dialogue>\n    <scene_description>Oscar watches, and waits for them to take the bait.<\/scene_description>\n    <character>CEEPHUS<\/character>\n    <dialogue>Steelers.<\/dialogue>\n    <scene_description>Daryl shakes his head at this.<\/scene_description>\n    <character>DARYL<\/character>\n    <dialogue>A Raiders fan, cheering for the Steelers.<\/dialogue>\n    <character>CEEPHUS<\/character>\n    <dialogue>Black uniforms, black players, black coach. Coach even has a black wife. I'm going with the Steelers.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>DARYL<\/character>\n    <dialogue>You're insane, you know that?<\/dialogue>\n    <scene_description>Oscar cracks up at this.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRANDMA BONNIE'S HOUSE- KITCHEN- NIGHT- CONTINUOUS<\/stage_direction>\n    <character>START MONTAGE<\/character>\n    <dialogue>Wanda and Sophina clean the crab with brushes and different utensils. Grandma Bonnie starts up a roux in a large skillet.<\/dialogue>\n    <dialogue>Uncle Daryl makes a large pitcher of lemonade from concentrate. Sophina and Oscar pull out glasses, dishes, and utensils for everyone. Tatiana watches Oscar closely.<\/dialogue>\n    <scene_description>CONTINUED: A large pot is placed atop the gas stove. The burner blazes under it, as Wanda drops the now clean crabs into the bucket. She drops in the vegetables and begins to stir. Bowls are grabbed by everyone and they are filled up by Wanda, with white rice first, and then the brown gumbo is poured over it, along with large pieces of un- cracked crab. Everyone eats their gumbo in the kitchen. Laughing talking. Wanda blows out the candles on her cake, cuts it, Hands out everyone a slice.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRANDMA BONNIE'S HOUSE- DEN- HOURS LATER<\/stage_direction>\n    <scene_description>Everyone is finishing up their cake, it's about half gone now. Oscar sits on the couch between Wanda and Sophina. Ceephus and Daryl now sit in plush chairs with metal frames pulled up next to the coffee table. Grandma Bonnie sits in a recliner at the foot of the coffee table.<\/scene_description>\n    <character>GRANDMA BONNIE<\/character>\n    <dialogue>If somebody told me say twenty years ago, that I would live to see it happen, I'd have laughed in their face.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>If somebody would have told me that two years ago I would have laughed in their face.<\/dialogue>\n    <character>DARYL<\/character>\n    <dialogue>And here we are. 2008 and its happened.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>CEEPHUS<\/character>\n    <dialogue>But I think it's a sign of the times. The country is in bad enough shape for them to hand it over to a black guy. Look, if Bush hadn't have messed the country up so bad. Would he have even had a shot?<\/dialogue>\n    <character>DARYL<\/character>\n    <dialogue>I think he still would have had a shot.<\/dialogue>\n    <character>CEEPHUS<\/character>\n    <dialogue>But would he have won though?<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Well, I'm happy the did win. If the country really is as messed up as you say, I think he's our best chance of fixing it.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>I keep thinking about how much it means for T.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>When I was coming up, Teachers used to love to tell me, \"You can be the President of the United States.\"<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>You'd make a great politician. You can talk your way out of anything.<\/dialogue>\n    <scene_description>Sophina and Oscar share a look.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>But I'll never forget, in my fourth grade classroom we had this poster. It had all 40 some odd presidents on that thang. And I looked at all they faces. And it was all white dudes. At that point, I realized my teachers was lying to me.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>A part of me aint believed what no teacher has said to me since.<\/dialogue>\n    <character>DARYL<\/character>\n    <dialogue>Now there will be a black face on those posters.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>GRANDMA BONNIE<\/character>\n    <dialogue>Well let's let him get in there first.<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>I know, I still feel like it's just too good to be true.<\/dialogue>\n    <character>CEEPHUS<\/character>\n    <dialogue>What's so good about it?<\/dialogue>\n    <character>DARYL<\/character>\n    <dialogue>A black man, one of us has been elected president, fair and square.<\/dialogue>\n    <scene_description>Ceephus shakes his head at this.<\/scene_description>\n    <character>CEEPHUS<\/character>\n    <dialogue>But he's not one of us. He wasn't affected by slavery.<\/dialogue>\n    <scene_description>Wanda has had enough of this. She stands up and starts to grab everyone's plates. She heads into the kitchen to wash. Oscar watches her for a beat, then follows after her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRANDMA BONNIE'S HOUSE- KITCHEN- MOMENTS LATER<\/stage_direction>\n    <scene_description>Wanda stands over the sink washing the dishes. Oscar stands next to her, drying them. \\*<\/scene_description>\n    <character>WANDA (O.S.)<\/character>\n    <dialogue>Thanks for your help tonight.<\/dialogue>\n    <scene_description>\\*:<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Oh, Come'on Ma, don't mention it. You shouldn't even be doing this.<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>I enjoy washing dishes. It's relaxing.<\/dialogue>\n    <scene_description>CONTINUED: Oscar rolls his eyes at this. She hands him another dish.<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>I really enjoyed having you here.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You think it's safe for me to get used to having you around?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>I told you. I aint missin no more parties.<\/dialogue>\n    <scene_description>She looks at Oscar for a long beat, searching for the truth in his eyes. She finds it.<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>You guys got plans for tonight?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Yeah, nothing major. Gonna meet up with Cato, Jack, Jason and couple \\* other cats. Head out to the City.<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>You guys gonna go OUT OUT?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Naw. We gonna keep it low key. Probably just catch the fireworks, and then roll around after that.<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Roll around?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Yeah, just chill, we'll be cool. Sophina's got work in the morning too.<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>You guys gonna be drinking?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>I'm sure they will. I'm not gonna be drinking.<\/dialogue>\n    <scene_description>Wanda looks at Oscar, not buying it. Oscar laughs.<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>Why don't you catch BART out there? That way you can drink and hang out, and not have to worry about anything.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Yeah we might catch BART.<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>No traffic either. You know its gonna be crazy. Going and coming back.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Yeah, we might have to do it.<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Promise me, if you and your friends go, you'll catch the train.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm serious.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Okay, I promise.<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Aight. Don't make me follow you guys to make sure... you remember Prom.<\/dialogue>\n    <scene_description>Oscar laughs at this so hard he has to sit the bowl. He pulls out his phone and starts to text.<\/scene_description>\n    <character>TO CATO: \\*<\/character>\n    <dialogue>Let's catch BART out there. Tell everybody to meet at South Hayward Station.<\/dialogue>\n    <scene_description>He presses send. He picks the dish back up, and dries it. His phone buzzes. He look at it.<\/scene_description>\n    <character>FROM CATO: \\*<\/character>\n    <dialogue>Aight bet. We'll see you there in minute.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRANDMA BONNIE'S- HOUSE- DEN- 20 MINUTES LATER<\/stage_direction>\n    <scene_description>Oscar, Sophina, and Tatiana say their good-byes to Grandma Bonnie, and Uncle Daryl and Uncle Ceephus. Oscar walks up to Wanda.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Alright we out, Birthday Girl. Love you.<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Love you too, son. And Happy New Year.<\/dialogue>\n    <scene_description>Oscar gives her a big hug and kiss, then turns and leads his family out of the door. Wanda watches them, and shuts the door behind him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOPHINA'S CAR- LATER<\/stage_direction>\n    <scene_description>Oscar drives through Hayward in silence, turning his wheels. Tatiana watches out of the backseat passenger window with a solemn expression. She looks up at a bright flash of light in the sky. We see outside her window, a group of YOUNG TEENAGERS stand on a street corner and shoot off a Roman Candle. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOPHINA'S CAR- CONTINUOUS<\/stage_direction>\n    <scene_description>Oscar and Sophina sit in the front seat of the car. They both look tired. They look back at Tatiana who continues to lookout of the window.<\/scene_description>\n    <character>OSCAR<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>You don't want to just call it a night?<\/dialogue>\n    <scene_description>Sophina thinks about this. Shakes her head.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <parenthetical>(whispering as well)<\/parenthetical>\n    <dialogue>I want to go to the city... It's been a minute since we been out together too.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Alright.<\/dialogue>\n    <scene_description>They both get out of the car. Oscar grabs Tatiana and walks up to the house. He rings the doorbell.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROSE'S HOUSE- LIVING ROOM- CONTINUOUS<\/stage_direction>\n    <scene_description>ROSE, Sophina's 27 year old sister, sits on the couch in front of a small television. She wears sweatpants and a pink T shirt. Sprawled out a pallate of blankets and pillows on the carpet are Rose's kids, (all Hispanic) Lala (8) Issac (6) twins Eilly and Angelo (5), Alena (2). The doorbell rings, and Rose gets up off of the couch and opens up the door. Oscar bursts into the living room.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Happy New Year!!!! ARRRGHHHH!!!<\/dialogue>\n    <character>KIDS<\/character>\n    <dialogue>Uncle Oscar!!!!!<\/dialogue>\n    <scene_description>Rose's kids all jump up and growl back, mobbing Oscar, all smiles, clawing at his pants.<\/scene_description>\n    <character>ISSAC<\/character>\n    <dialogue>You gonna sleep over uncle Oscar?<\/dialogue>\n    <scene_description>Oscar smiles at this, and shakes his head.<\/scene_description>\n    <character>LALA<\/character>\n    <dialogue>Pleeeaaaase mommy can Uncle Oscar spend the night?<\/dialogue>\n    <scene_description>Oscar struggles for a bit, laughing, Tatiana jumps into the fray, helping her cousins tackle her Dad. Oscar, gives up, laughing, and falls to the carpet. Rose and Sophina look on at this. Sophina laughs, Rose doesn't.<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>C'mon Osc, I just got them ready for bed...<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Ok, ok, ok. My bad. Stop you guys. Time out.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>ROSE<\/character>\n    <dialogue>You guys let your uncle up.<\/dialogue>\n    <scene_description>The kids ease up on Oscar a bit. Oscar sits up, and looks at Tatiana. CONTINUED:<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Let's brush those teeth.<\/dialogue>\n    <character>TATIANA<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>She backs up smiling, and laughing.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>You want your teeth to rot? And your breath to smell like gumbo?<\/dialogue>\n    <character>TATIANA<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <scene_description>Oscar looks at her seriously.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>No you don't. Because then- THE GUMBO MONSTER WILL GET YOU!!!!!<\/dialogue>\n    <scene_description>Oscar quickly moves in for the attack. Tickling Tatiana and picking her up. Rose's Kids laugh and follow Oscar towards-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROSE'S HOUSE- BATHROOM- NIGHT<\/stage_direction>\n    <scene_description>It is a modest bathroom. Oscar sits Tatiana on a wooden stool in front of the sink. Tatiana gets ready to place the toothbrush into her mouth but stops. She looks up at Oscar.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>TATIANA<\/character>\n    <dialogue>You had gumbo, too.<\/dialogue>\n    <scene_description>Oscar looks back at Tatiana guiltily. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROSE'S HOUSE- BATHROOM- SECONDS LATER<\/stage_direction>\n    <scene_description>Both Tatiana and Oscar stand side by side brushing their teeth, smiling while brushing. Oscar uses his finger.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROSE'S HOUSE- BEDROOM<\/stage_direction>\n    <scene_description>Oscar puts Tatiana into her pajamas. Sophina stands in the doorway watching them.<\/scene_description>\n    <character>TATIANA<\/character>\n    <dialogue>You guys aren't gonna sleep over too?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Me and Mommy are gonna go see some friends for a little bit. We'll be right back.<\/dialogue>\n    <character>TATIANA<\/character>\n    <dialogue>But I don't want you to go.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>We'll be back, in a few hours I promise.<\/dialogue>\n    <character>TATIANA<\/character>\n    <dialogue>But you should go to bed. You already brushed your teeth. Remember?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>I know, I know. But me and Mommy promised our friends we would go and visit them. We'll be back before you wake up, okay?<\/dialogue>\n    <scene_description>Oscar leans over and gives Tatiana a kiss on the cheek. He gets up and gets ready to leave.<\/scene_description>\n    <character>TATIANA<\/character>\n    <dialogue>Nooo! Don't go.<\/dialogue>\n    <scene_description>She grabs his arm. Tears well up in her eyes.<\/scene_description>\n    <character>TATIANA<\/character>\n    <dialogue>I'm scared.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Scared of what?<\/dialogue>\n    <character>TATIANA<\/character>\n    <dialogue>I hear guns outside.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Those are just firecrakers. You'll be safe inside.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>TATIANA<\/character>\n    <dialogue>But what about you daddy?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>I'll be just fine. I'll tell you what, tomorrow when we wake up, we'll play \"Candyland\". And then guess what we can do after that?<\/dialogue>\n    <character>TATIANA<\/character>\n    <dialogue>Go to the park?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Better.<\/dialogue>\n    <character>TATIANA<\/character>\n    <dialogue>\"Toys R Us?\"<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Better than that.<\/dialogue>\n    <character>TATIANA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Chuck e Cheese's.<\/dialogue>\n    <scene_description>Tatiana cracks a gigantic smile.<\/scene_description>\n    <character>TATIANA<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>I promise. We'll play all the games. And daddy's gonna give you lots of tokens okay?<\/dialogue>\n    <character>TATIANA<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>And me and you are gonna eat up all the pizza okay? We're gonna even eat mommy's pizza because she can't have carbs.<\/dialogue>\n    <character>TATIANA<\/character>\n    <dialogue>What's a carb?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Don't worry about that.<\/dialogue>\n    <scene_description>Oscar stands up. CONTINUED:<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>I'm gonna head out now baby, okay?<\/dialogue>\n    <scene_description>Tatiana pouts.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>You don't want to go in there with your cousins?<\/dialogue>\n    <scene_description>CONTINUED: Tatiana shakes her head, still not happy about Oscar leaving.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>I love you.<\/dialogue>\n    <scene_description>He kisses her on the cheek.<\/scene_description>\n    <character>TATIANA<\/character>\n    <dialogue>Love you too Daddy.<\/dialogue>\n    <scene_description>Oscar and Sophina leave the room. We hear them say bye to Rose. OMITTED CONTINUED:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOUTH HAYWARD BART STATION PARKING LOT- LATER<\/stage_direction>\n    <scene_description>We follow Oscar and Sophina as they approach a tough looking group of 20 somethings. Among the group is Cato, Jason GREER, \\* KRIS RAFFERTY, Brandon and Tim BRYSON, CARLOS REYES, and \\* VANESSA RODRIGUEZ. \\* Oscar approaches the group and greets everyone.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Yall ready?<\/dialogue>\n    <scene_description>The group starts walking towards the BART turnstiles. Talking as they walk. Jason leans in and whispers to Cato. \\*<\/scene_description>\n    <character>JASON \\*<\/character>\n    <dialogue>I can't believe these niggas brought they broads. Finna be hella work in Frisco tonight.<\/dialogue>\n    <scene_description>Vanessa takes a Tea Bottle from Carlos, her boyfriend.<\/scene_description>\n    <character>CARLOS<\/character>\n    <dialogue>You gonna slow down? I'm not dragging your drunk ass all over Frisco.<\/dialogue>\n    <scene_description>CONTINUED: Brandon leans in to Kris and Tim. \\*<\/scene_description>\n    <character>BRANDON \\*<\/character>\n    <dialogue>Two Thousand Nine... don't even sound right bruh. But Twenty Ten? Twenty Ten is the year my nigga. We gettin it in, for Twenty Ten. See? Don't nothing even rhyme with Two Thousand Nine.<\/dialogue>\n    <scene_description>Tim shakes his head. \\*<\/scene_description>\n    <character>TIM \\*<\/character>\n    <dialogue>What you said just rhymed, you dumb ass nigga!<\/dialogue>\n    <character>BRANDON \\*<\/character>\n    <dialogue>Man fuck that. I'm boycottin 2009 bruh. Come twelve o' clock it's officially Twenty- Ten. We \"gettin it in\" in Twenty- Ten.<\/dialogue>\n    <scene_description>Kris thinks about this.<\/scene_description>\n    <character>KRIS<\/character>\n    <dialogue>What about Twenty Twenty though? That shit hard as fuck. Two twenties. We \"gettin' plenty\" in twenty twenty.<\/dialogue>\n    <character>BRANDON \\*<\/character>\n    <dialogue>But that's skippin too many years bruh. You can't skip a whole decade.<\/dialogue>\n    <scene_description>Brandon turns to Oscar. \\* CONTINUED:<\/scene_description>\n    <character>BRANDON (CONT'D) \\*<\/character>\n    <dialogue>Osc, Osc! Take a shot with ya bruh for the New Year.<\/dialogue>\n    <scene_description>Oscar smiles, takes it. Drinks a small shot, and hands it back to Brandon. Brandon lifts the bottle up at Oscar like a \\* toast.<\/scene_description>\n    <character>BRANDON (CONT'D) \\*<\/character>\n    <dialogue>To Twenty- Ten.<\/dialogue>\n    <scene_description>He takes a quick swig. Oscar gives Brandon a \"What the fuck \\* are you talking about\" look. The group laughs at this, and follow Oscar's lead towards the station entrance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOUTH HAYWARD BART STATION LOBBY- CONTINUOUS<\/stage_direction>\n    <scene_description>The group enters through the turnstiles, sticking their tickets in and retrieving them as they pass through. They head up the stairs towards the platform.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOUTH HAYWARD BART STATION PLATFORM- CONTINUOUS<\/stage_direction>\n    <scene_description>The San Francisco bound train is docked and a few passengers are still getting on to it.<\/scene_description>\n    <character>BART ANNOUNCEMENT VOICE<\/character>\n    <dialogue>Please stand clear, doors closing.<\/dialogue>\n    <scene_description>Oscar runs up and stops the doors just as they are about to close. He holds it while the rest of the group boards.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAN FRANCISCO BOUND TRAIN- CAR 1- CONTINUOUS<\/stage_direction>\n    <scene_description>Oscar boards, the doors close, and the train takes off. He looks around and sees the car is packed with COMMUTERS. He moves through the crowd to the back of the car he pulls open the doors and the group enters-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAN FRANCISCO BOUND TRAIN- CAR 2- CONTINUOUS<\/stage_direction>\n    <scene_description>Oscar looks around and heads over to some standing room next to where DANAE a gorgeous Black woman in her late 20's sits wearing a ball gown and leather jacket. Across from her sit KAREN and DONALD, a White couple dressed in similar clothing. There is an empty seat next to Danae, but Oscar, Sophina, Tim, Kris, Vanessa, and Carlos all remain \\* standing. Brandon, however, slides into the empty seat. He \\* puts his arm around Danae's seat.<\/scene_description>\n    <character>BRANDON \\*<\/character>\n    <dialogue>Make sure you keep your hands to yourself...<\/dialogue>\n    <scene_description>The group laughs at this. Danae turns and looks at Brandon, \\* who is making a funny face at her. She can't hold in her smile. Brandon takes his arm down and offers her the bottle of \\* Hennessy- she declines. He turns to Karen and Donald, and offers it. Donald opens his jacket and pulls out a flask. He lifts it at Brandon, smiling. Brandon lifts his bottle in \\* return. The both take a swig.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAYWARD STREET- NIGHT- CONTINUOUS<\/stage_direction>\n    <scene_description>The BART train zooms by above street traffic.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAN FRANCISCO BOUND BART- TRAIN CAR 2- CONTINUOUS<\/stage_direction>\n    <scene_description>A few seats down from Oscar. Jason and Cato have found some \\* company. LAUREN and ASHAE two super attractive Black girls in their 20's sit next to each other. They pass a \"Black and Mild\" cigar back and forth. Cato and Jason hold onto the rails standing over them. Cato \\* takes his joint from behind his ear, lights it.<\/scene_description>\n    <character>CATO \\*<\/character>\n    <dialogue>You know it's illegal to smoke \"Blacks\" on BART right?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>LAUREN<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>Is that right officer?<\/dialogue>\n    <scene_description>Cato passes the lit joint to Jason. \\*<\/scene_description>\n    <character>CATO \\*<\/character>\n    <dialogue>But its cool. We'll let you slide cause its New Years and all.<\/dialogue>\n    <scene_description>Ashae looks up at Jason. \\*<\/scene_description>\n    <character>ASHAE<\/character>\n    <dialogue>I like your dreads.<\/dialogue>\n    <scene_description>Jason passes her the joint. She takes it, puts her to her \\* lips.<\/scene_description>\n    <character>JASON \\*<\/character>\n    <dialogue>I like your everything. We should work something out.<\/dialogue>\n    <scene_description>Ashae smiles and shakes her head as she takes a drag in. Lauren laughs.<\/scene_description>\n    <character>LAUREN<\/character>\n    <dialogue>We gay.<\/dialogue>\n    <scene_description>Cato looks at them for a beat. He puts his arm around Jason. \\*<\/scene_description>\n    <character>CATO \\*<\/character>\n    <dialogue>Shit, we gay too. We can do the whole gay thing together.<\/dialogue>\n    <character>JASON \\*<\/character>\n    <dialogue>Collaboration... It'll be fun.<\/dialogue>\n    <scene_description>Lauren and Ashae laugh at this. Not buying it for a second.<\/scene_description>\n    <character>LAUREN<\/character>\n    <dialogue>Yall not gay.<\/dialogue>\n    <character>CATO \\*<\/character>\n    <dialogue>Real shit... watch...<\/dialogue>\n    <scene_description>Cato turns to Oscar, who is hugged up with Sophina. \\*<\/scene_description>\n    <character>CATO (CONT'D) \\*<\/character>\n    <parenthetical>(shouting across the car)<\/parenthetical>\n    <dialogue>Osc!! Osc my nigga!!!<\/dialogue>\n    <scene_description>(motions to Jason) \\* Aint we gay? CONTINUED:<\/scene_description>\n    <character>OSCAR<\/character>\n    <parenthetical>(shouting back)<\/parenthetical>\n    <dialogue>Yall niggas is Gay as Fuck!<\/dialogue>\n    <scene_description>Everyone on the train laughs at this. Cato turns back to the \\* girls.<\/scene_description>\n    <character>CATO \\*<\/character>\n    <dialogue>See?<\/dialogue>\n    <character>MALE BART TRAIN OPERATOR (V.O.)<\/character>\n    <dialogue>Now approaching... West Oakland Station.<\/dialogue>\n    <scene_description>The standing passengers brace themselves, as the train slows to a stop.<\/scene_description>\n    <character>MALE BART TRAIN OPERATOR (V.O.)<\/character>\n    <dialogue>Sorry folks, there's gonnna be a slight delay while we sort out an issue with this other train.<\/dialogue>\n    <scene_description>Hands open connecting car doors from the other side, revealing DARIUS, a tough looking Back teenager wearing a hoodie and a colorful backpack. He is followed by two other BLACK TEENAGERS- his friends. Darius makes eye contact with Oscar for a long beat... lifts his head. Oscar lifts his head back, and looks down at his phone: It reads 11:55pm.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>We gon miss the countdown bruh.<\/dialogue>\n    <character>BRANDON \\*<\/character>\n    <dialogue>We aint gonna miss shit, we can get it poppin right here.<\/dialogue>\n    <scene_description>He presses a few buttons on his iPhone. It plays the MAC DRE song \"FEELIN MYSELF\" he turns it up. Oscar's friends nod their heads to the music. Darius' face brightens up and he takes off his backpack, He digs in it.<\/scene_description>\n    <character>DARIUS<\/character>\n    <dialogue>Wait, bruh.<\/dialogue>\n    <scene_description>He pulls some laptop speakers out of his bag, leans over Danae, and plugs the jack into Brandon's phone. The MAC DRE \\* now pumps through the whole car. CONTINUED:<\/scene_description>\n    <character>BRANDON \\*<\/character>\n    <dialogue>Right on lil bruh!<\/dialogue>\n    <scene_description>More commuters start to dance, including Darius, and his two friends, who move like professional \"Turf\" dancers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWNTOWN SAN FRANCISCO SKYLINE- SIMUTANEOUS<\/stage_direction>\n    <scene_description>The Bay Bridge and skyscrapers are beautifully illuminated in the moonlight.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EMBARCADERO ST. SAN FRANCISCO- SIMULTANEOUS<\/stage_direction>\n    <scene_description>A group of hundreds of people are gathered on the pier overlooking the water. The group is mostly white though diverse in age: Teenagers, young families with kids in strollers, middle aged married couples, tweens. They check their wrist watches and cell phones periodically, and look to the sky with anticipation.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAN FRANCISCO BOUND BART TRAIN- CAR 2- CONTINUOUS<\/stage_direction>\n    <scene_description>It's a party on BART. The train starts to move, and everybody CHEERS.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Wait, how we gonna do the countdown?<\/dialogue>\n    <character>TIM \\*<\/character>\n    <dialogue>Use your phone bruh.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>My phone don't got no seconds.<\/dialogue>\n    <scene_description>Oscar looks around the car, zeroes in on Donald.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>You bruh, you got a watch?<\/dialogue>\n    <scene_description>Donald holds up his left wrist and nods his head. Oscar turns to Brandon. \\*<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Turn the music off bruh!!!<\/dialogue>\n    <scene_description>Brandon turns down the dial on the music. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EMBARCADERO ST.\/ FERRY BUILDING- SIMULTANEOUS<\/stage_direction>\n    <scene_description>We see what the crowd is staring at- A large old fashioned clock on the side of the Ferry Building reads 11:58. The minute hand ticks to 11:59pm.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAN FRANCISCO BOUND BART TRAIN- CAR 2<\/stage_direction>\n    <scene_description>Oscar, Sophina and the other commuters are huddled around Donald, who is now standing up, watching the second hand tick on his watch, and waving his right finger like an orchestral conductor.<\/scene_description>\n    <character>EVERYBODY ON CAR<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EMBARCADERO ST.\/ FERRY BUILDING- SIMULTANEOUS<\/stage_direction>\n    <scene_description>Hundreds of faces look off into the sky with anticipation in their eyes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAN FRANCISCO BOUND BART TRAIN- CAR 2<\/stage_direction>\n    <character>EVERYBODY ON CAR<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EMBARCADERO ST.\/ FERRY BUILDING SAN FRANCISCO-<\/stage_direction>\n    <character>SIMULTANEOUS<\/character>\n    <dialogue>A CHILD, white girl about 6 years old, points to something in the sky, she smiles.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAN FRANCISCO BOUND BART TRAIN- CAR 2- SIMULTANEOUS<\/stage_direction>\n    <character>EVERYBODY ON CAR<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EMBARCADERO ST.\/ FERRY BUILDING SAN FRANCISCO-<\/stage_direction>\n    <character>SIMULTANEOUS<\/character>\n    <dialogue>SLOW MOTION- CHILD'S POV<\/dialogue>\n    <dialogue>A clear sky except for a small gray spec that slowly approaches the center of frame and suddenly...<\/dialogue>\n    <scene_description>CONTINUED: BOOM! The spec explodes into a dazzling cluster of red and blue fireworks. BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EMBARCADERO ST.\/ FERRY BUILDING SAN FRANCISCO-<\/stage_direction>\n    <character>SIMULTANEOUS<\/character>\n    <dialogue>The crowd looks on with wonder, their faces illuminated by the fireworks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAN FRANCISCO BOUND BART TRAIN- CAR 2- SIMULTANEOUS<\/stage_direction>\n    <character>EVERYBODY ON CAR<\/character>\n    <dialogue>HAPPY NEW YEAR!!!!!!!!!!<\/dialogue>\n    <scene_description>It's pandemonium. Everyone on the car is going crazy. Brandon \\* turns on the MAC DRE again.<\/scene_description>\n    <character>BRANDON \\*<\/character>\n    <dialogue>Happy TWENTY- TEN!!! FUCK TWO THOUSAND NINE.<\/dialogue>\n    <scene_description>Donald gives Karen a peck on the lips. Lauren and Ashae kiss passionately, showing off. Cato and Jason record this with \\* their cell phones.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EMBARCADERO ST.\/ FERRY BUILDING SAN FRANCISCO-<\/stage_direction>\n    <character>SIMULTANEOUS<\/character>\n    <dialogue>The fireworks are dazzling. Now greens, blues, purples, and whites, all beaming brilliantly.<\/dialogue>\n    <dialogue>The crowd cheers in amazement. An ASIAN COUPLE kiss.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAN FRANCISCO BOUND BART TRAIN- CAR 2- SIMULTANEOUS<\/stage_direction>\n    <scene_description>Oscar holds Sophina close.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Happy New Year baby.<\/dialogue>\n    <character>SOPHINA<\/character>\n    <dialogue>Happy New Year, Osc.<\/dialogue>\n    <scene_description>They kiss.<\/scene_description>\n    <character>BART ANNOUNCEMENT VOICE<\/character>\n    <dialogue>Now approaching Montgomery Station.<\/dialogue>\n    <scene_description>Oscar and Sophina brace, as the train comes to a stop, almost loosing their balance. They laugh at this. The doors open and the group, along with the other passengers, exit the car.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MONTGOMERY STATION LOBBY- MOMENTS LATER<\/stage_direction>\n    <scene_description>The group walks through the Bart Station Lobby, ahead A MUSICIAN sits in a chair playing an ERHU, a box full of dollar bills sits in front of him. As the group passes the Musician, Cato drops a dollar in his \\* hat.<\/scene_description>\n    <character>JASON \\*<\/character>\n    <dialogue>Nigga, you could have gave that shit to me!<\/dialogue>\n    <character>CATO \\*<\/character>\n    <dialogue>Learn how to play the guitar, and I got you bruh!<\/dialogue>\n    <scene_description>The group steps onto an escalator, and we follow them up to-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EMBARCADERO STREET- NIGHT- CONTINUOUS<\/stage_direction>\n    <scene_description>The group exits the BART station and walks out onto the Downtown San Francisco street. PEDESTRIANS are everywhere.<\/scene_description>\n    <character>VANESSA<\/character>\n    <dialogue>I gotta find somewhere to pee.<\/dialogue>\n    <character>SOPHINA<\/character>\n    <dialogue>I gotta go too.<\/dialogue>\n    <scene_description>We loose the group into the crowd of pedestrians. OMITTED CONTINUED:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAN FRANCISCO LIQUOR STORE- MOMENTS LATER<\/stage_direction>\n    <scene_description>Oscar looks from closed store to closed store, the group following closely behind him. He spots Sammy, Middle Eastern, \\* Early 50's, closing the metal gates on his store. Oscar trots up ahead of the group to Sammy. \\*<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Say bruh.<\/dialogue>\n    <character>SAMMY \\*<\/character>\n    <dialogue>We're all closed.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>I know man, but a couple young ladies with me really got to use the bathroom man.<\/dialogue>\n    <character>SAMMY \\*<\/character>\n    <dialogue>I'm all closed up, besides, I don't even have a rest room for customers.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>But you got one for employees right?<\/dialogue>\n    <scene_description>Sammy ignores him. \\* Sophina, Vanessa, and the rest of the group gather behind Oscar now. Sammy shuts the gate and pulls out the key. \\* Oscar sees this. He turns to Sophina and Vanessa who look as if they are both about to explode. Oscar goes into his pocket. He pulls out a $10 bill. CONTINUED:<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Look bruh, I aint rich. This my last ten dollars. All I got on me. Now you can take this $10, and open the store up and let them use the bathroom. Or you could go home, and when you get here tomorrow, its gonna be a puddle of piss right there.<\/dialogue>\n    <scene_description>Oscar points to the ground in front of the door.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Cause they aint gonna piss on themselves bruh.<\/dialogue>\n    <scene_description>Oscar holds out the money. Sammy turns and looks at him. \\*<\/scene_description>\n    <character>SAMMY \\*<\/character>\n    <dialogue>Just two girls?<\/dialogue>\n    <scene_description>Oscar looks back to the group. Sophina and Vanessa step up meekly.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>These two right here.<\/dialogue>\n    <scene_description>Sammy looks them over for a beat. \\*<\/scene_description>\n    <character>SAMMY \\*<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <scene_description>He opens the gate and starts to unlock the door.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>Thank you so much.<\/dialogue>\n    <scene_description>He nods and opens up the door. Oscar steps over and tries to hand him the $10 bill, but Sammy waves it off. \\*<\/scene_description>\n    <character>SAMMY \\*<\/character>\n    <dialogue>Its okay. Happy New Year.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Right on bruh. Happy New Year to you too. Thank you.<\/dialogue>\n    <scene_description>He nods back at Oscar and walks into the store followed by the two girls. Oscar looks back at the group. CONTINUED: A limo, filled with girls has pulled up down the street. Brandon walks up and tries to talk his way onto it. All the \\* boys head over and talk to the girls, leaving Oscar by himself for a beat.<\/scene_description>\n    <character>PETER (O.S.)<\/character>\n    <dialogue>Please tell me this place has a bathroom.<\/dialogue>\n    <scene_description>Oscar turns around sees PETER a white thirty something guy in a North Face jacket. His wife STEPH, 30's is six months pregnant, and is doing the same potty dance we saw earlier from Vanessa. Oscar pounds on the glass door of the liquor store. Sammy \\* walks out into view. He lifts his hands, \"What?\" Oscar points to Steph. Sammy opens up the door. \\*<\/scene_description>\n    <character>SAMMY \\*<\/character>\n    <dialogue>You gotta be kidding me.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>She pregnant...<\/dialogue>\n    <scene_description>Steph looks at him with puppy dog eyes. Sammy breaks down and \\* lets her in.<\/scene_description>\n    <character>STEPH<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Sammy turns to Oscar. \\*<\/scene_description>\n    <character>SAMMY \\*<\/character>\n    <dialogue>No more man.<\/dialogue>\n    <scene_description>Oscar nods.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Thanks bro.<\/dialogue>\n    <scene_description>Sammy closes the door. \\*<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Appreciate that man. Thought she was gonna have to go in the street.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>No problem.<\/dialogue>\n    <scene_description>Oscar notices the ring on Peter's finger. CONTINUED:<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>How long yall been married?<\/dialogue>\n    <character>PETE<\/character>\n    <dialogue>Eight years.<\/dialogue>\n    <scene_description>Oscar nods at this. Pete looks at Oscar's hand for a ring, doesn't see one.<\/scene_description>\n    <character>PETE<\/character>\n    <dialogue>You thinking about it?<\/dialogue>\n    <scene_description>Oscar nods.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>What's stopping you?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Money.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Shitty reason. When we got married, we had nothing. Lived in the back of her parent's house for the first two years.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>For real?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Shit you not man. I wasn't working at all and she's a teacher, which might as well be the same thing as far as money goes.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>How'd you get the ring?<\/dialogue>\n    <scene_description>Peter looks around for a beat.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I stole it.<\/dialogue>\n    <scene_description>Oscar looks at him like he is crazy. CONTINUED:<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Yeah man, I told you, I had nothing. I used to be good with credit cards if you know what I mean. I wouldn't go that route if I were you though man.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Yeah, I'm straight off that.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Yeah. I ended up getting locked up for a bit. My wife had to sell the ring to bail me out. Got my business going about a year after I got out, and got her the one she wears now.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>What you do?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I own a web design company. We do a lot of business with companies in the valley.<\/dialogue>\n    <scene_description>Peter pulls out his wallet and hands Oscar a card. Oscar looks at it.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Peter?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Oscar.<\/dialogue>\n    <scene_description>They shake hands.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Hit me up if you ever need anything man. But about that ring bro, it doesn't matter. If she loves you, any ring'll do.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>What about the wedding though?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Shit man. Find whoever's got the nicest backyard. Tell all your boys over there to each bring a dish.<\/dialogue>\n    <scene_description>Oscar laughs at this. CONTINUED: The three girls, Sophina, Vanessa, and Steph make their way out of the Store laughing like best friends. Sammy follows \\* them and closes the door.<\/scene_description>\n    <character>STEPH<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <parenthetical>(to Sophina and Vanessa)<\/parenthetical>\n    <dialogue>It was nice meeting you guys.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Thanks again, and take care man.<\/dialogue>\n    <scene_description>Peter and Steph head down the street. Oscar, Sophina, and Vanessa cross the street to meet the rest of the group.<\/scene_description>\n    <character>KRIS<\/character>\n    <dialogue>This was a burnt ass mission. Let's get back to the house.<\/dialogue>\n    <scene_description>The group nods, and they head back across the street walking briskly. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MONTGOMERY BART STATION PLATFORM- CONTINUOUS<\/stage_direction>\n    <scene_description>The platforms is PACKED. The group comes off the stairs and we see a train is already there, doors open.<\/scene_description>\n    <character>CATO \\*<\/character>\n    <dialogue>Come'on bruh, this us.<\/dialogue>\n    <scene_description>Cato cuts through people to get close to the train entrance. \\* Oscar grabs Sophina by the hand and follows closely behind Cato. \\* CONTINUED:<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Hold up, bruh bruh.<\/dialogue>\n    <scene_description>The rest of the group passes up Oscar, following Cato. We see \\* through the windows of the train that each car is full to the brim. Standing room only.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>This shit packed bruh. Let's catch the next one.<\/dialogue>\n    <character>SOPHINA<\/character>\n    <dialogue>It might not be a next one baby.<\/dialogue>\n    <character>CATO \\*<\/character>\n    <dialogue>Come'on bruh!<\/dialogue>\n    <scene_description>Cato jumps onto the train, Sophina does as well. Oscar looks \\* around for a beat, and then steps on. We stay outside of the train as we watch the doors close behind him, and the train takes off. The cars go by, picking up speed rapidly until we are left looking at a dark empty tunnel. We hold on this.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BART TRAIN- CAR 1- MOMENTS LATER<\/stage_direction>\n    <scene_description>It's a multi ethnic sardine can. Oscar holds on to the overhead rail, and Sophina holds on to him, her head resting on his chest.<\/scene_description>\n    <character>KEISHA<\/character>\n    <dialogue>West Oakland Station<\/dialogue>\n    <scene_description>The train begins to slow down, and a LONE COMMUTER, stands up and move towards the door. Sophina sees the open seat and quickly slides into it. Oscar remains standing uncomfortably. CONTINUED:<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>Find a spot... I'm good.<\/dialogue>\n    <scene_description>Oscar nods, and begins to looks around the car for a less dense section. He makes out a small space in the corner of the train car, and starts towards it. He passes by an OLDER COUPLE, white 40's. This is MR. and MRS. ZAFIRATOS. They stand next to their SON (9)and DAUGHTER (14). As Oscar pushes past him, Mr. Zafiratos gives Oscar an unwelcome look. He pulls his daughter away as to avoid Oscar bumping up against her. Oscar exchanges a look with him briefly, and continues to push towards the space.<\/scene_description>\n    <character>BART ANNOUNCEMENT VOICE<\/character>\n    <dialogue>Now approaching Lake Merritt Station.<\/dialogue>\n    <scene_description>The Train comes to a stop, and commuters crush onto the car. We see Katie, from Farmer Joe's, standing a few people in front of Oscar wearing a jacket over the same outfit. She's hugged up with JOE, a handsome white man in his 20's wearing a CAL sweatshirt. He holds her protectively.<\/scene_description>\n    <character>BART ANNOUNCEMENT VOICE<\/character>\n    <dialogue>Please stand by, doors are closing.<\/dialogue>\n    <scene_description>DING. The doors close, and the train takes off. Katie closes her eyes and leans into Joe's chest for a beat, then Joe pulls her out of the way of a passenger who squeezes by. Katie opens her eyes, and sees that the passenger is Oscar. Her face lights up. CONTINUED:<\/scene_description>\n    <character>KATIE<\/character>\n    <dialogue>Oscar. Oscar!<\/dialogue>\n    <scene_description>Oscar turns around a bit confused.<\/scene_description>\n    <character>KATIE<\/character>\n    <dialogue>Right here. Its me, from Farmer Joe's.<\/dialogue>\n    <scene_description>Oscar continues to look, until he hears a MAN'S VOICE from right behind him.<\/scene_description>\n    <character>MAN'S VOICE (O.S.)<\/character>\n    <dialogue>Oscar? Oscar the fucking snitch?<\/dialogue>\n    <character>E.C.U. OSCAR'S FACE<\/character>\n    <dialogue>Oscar recognizes this voice, and he doesn't like it. He whips around to find, standing a few people away---<\/dialogue>\n    <dialogue>Cale, wearing an oversized white T shirt, and a multitude of tattoos on his forearms. With him are FOUR LARGE HISPANIC MEN, and his GIRLFRIEND.<\/dialogue>\n    <character>CALE<\/character>\n    <dialogue>Wussup with that shit you was hollerin?<\/dialogue>\n    <scene_description>Cale turns to one of the Men.<\/scene_description>\n    <character>CALE<\/character>\n    <dialogue>This the cat from bitch ass Palma Ceia I was tellin you about.<\/dialogue>\n    <scene_description>The Hispanic Man cuts a mean look at Oscar, flashes a gang sign at him.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Watch out with that shit bruh. This aint the time. I got my girl here and shit.<\/dialogue>\n    <character>CALE<\/character>\n    <dialogue>Fuck that shit, Bitch! My girl right here too. I don't give a fuck.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>I aint nobody's Bitch nigga!<\/dialogue>\n    <character>CALE<\/character>\n    <dialogue>Fuck Palma Ceia!!!<\/dialogue>\n    <scene_description>Cale moves towards Oscar. Sophina sees the commotion going on and stands up and looks, sees Oscar about to be surrounded. She starts towards him.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>Osc! Osc whats going on?<\/dialogue>\n    <scene_description>Oscar cuts his eyes from Cale to Sophina.<\/scene_description>\n    <character>OSCAR<\/character>\n    <parenthetical>(to Sophina)<\/parenthetical>\n    <dialogue>Get Cato and them niggas! \\*<\/dialogue>\n    <scene_description>BOOM! Cale punches Oscar in the right side of his face-hard. Oscar rebalances himself and punches back, with three quick shots to the head and chest. He moves like an experienced fighter, but both men struggle in the crowded train. The other passengers begin to shout and try to move out of the way. Sophina sees this, and turns to their group of friends who are at the back of the train.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>Cato! They jumpin Osc! \\*<\/dialogue>\n    <scene_description>Cato, Brandon, and the rest of the group head towards the \\* commotion and make their way through the other passengers.<\/scene_description>\n    <character>CATO \\*<\/character>\n    <dialogue>Fuck these niggas bruh!<\/dialogue>\n    <scene_description>Brandon pushes past Mr. Zafiratos who is holding his \\* daughter. And looking on at the fight.<\/scene_description>\n    <character>MR. ZAFIRATOS<\/character>\n    <dialogue>Watch it! You're gonna get somebody hurt!<\/dialogue>\n    <scene_description>Cale moves in and grabs Oscar, putting him into a headlock. Oscar grapples with him, holding his other arm to avoid being punched in the head. CONTINUED: Cale's friends circle Oscar and throw punches at his back. Cato and Brandon push through to be in arm's reach of the \\* fight, and start swinging on Cale and his friends. Cato hits \\* Cale flush in the back of the head.<\/scene_description>\n    <character>CATO \\*<\/character>\n    <dialogue>Get off of him!<\/dialogue>\n    <scene_description>Brandon punches one of the large Hispanic men hard. \\*<\/scene_description>\n    <character>BRANDON \\*<\/character>\n    <dialogue>Wussup now nigga?<\/dialogue>\n    <scene_description>Sophina swings on Cale's girlfriend. Just misses her. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BART TRAIN CAR 1- CONTINUOUS<\/stage_direction>\n    <scene_description>Oscar has breaks free of Cale's hold and is being held back and secured by Kris and Cato. Cale and his group back up off \\* Oscar's group and begin to flee to the second car, pushing past the other passengers.<\/scene_description>\n    <character>CATO \\*<\/character>\n    <dialogue>You alright bruh?<\/dialogue>\n    <scene_description>Oscar nods and brushes his head off.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>You okay baby?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Yeah, I'm good. Fuck them bruh.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>BRANDON \\*<\/character>\n    <dialogue>They aint even want it when they seen us, bruh! Punk ass Southside niggas...<\/dialogue>\n    <parenthetical>(towards Cale's group)<\/parenthetical>\n    <character>RAN LIKE SOME LITTLE BITCHES!!<\/character>\n    <dialogue>KEISHA (V.O.)<\/dialogue>\n    <scene_description>Fruitvale station. There's been an incident reported on the train. Everyone remain please remain calm. There will be a slight delay here. The train starts to decelerate. Oscar looks around, looks at the other passengers on the train. They look at Oscar and his friends like lepers.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>We gotta get off this train bruh.<\/dialogue>\n    <scene_description>79 OMITTED 79 \\* CONTINUED: \\*:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS<\/stage_direction>\n    <scene_description>Something isn't right here, the platform is completely empty. The group exits the train, lead by Sophina, Vanessa and Kris. Oscar follows behind them apprehensively. As other commuters exit the train, Cato mixes into this group \\* of people and breaks off to the side. \\* As they walk Sophina notices two Cops coming up to the \\* platform- One is an imposing white man in his 30's, tall athletic build, military haircut. This is OFFICER CARUSO. He is flanked by a short female officer who looks to be in her late 20's this is OFFICER SALAZAR. Sophina taps Oscar quickly.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>Baby, the boys already up here.<\/dialogue>\n    <scene_description>Oscar stops dead in his tracks.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>Just get back on the train, get back on the train, quick..<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Aight. Imma meet you at the Hayward station, Okay?<\/dialogue>\n    <scene_description>Sophina nods. Oscar turns to Jason \\*<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>The boys, bruh. \\*<\/dialogue>\n    <character>JASON \\*<\/character>\n    <dialogue>Shit. \\*<\/dialogue>\n    <character>OSCAR \\*<\/character>\n    <dialogue>Split up! \\*<\/dialogue>\n    <scene_description>Cato blends into the crowd headed towards the far end of the \\* platform. Jason quickly goes back to CAR 1, Oscar jumps onto \\* the closest train, CAR 2. \\* CONTINUED: 81 OMITTED 81 \\* OMITTED 83 OMITTED 83 \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BART TRAIN- CAR 2- CONTINUOUS<\/stage_direction>\n    <scene_description>Oscar pushes his way onto the train and looks out of the \\* door. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A84 INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS A84 \\*<\/stage_direction>\n    <character>OSCAR'S POV FROM TRAIN \\*<\/character>\n    <dialogue>Sophina, Vanessa, Kris, and Carlos, Brandon, and Tim walk \\* towards the escalator. Kris out ahead of Sophina and Vanessa. \\*<\/dialogue>\n    <dialogue>Sophina, Vanessa, and Kris, make it past the cops, but \\* Caruso stops Carlos, Brandon, and Tim. The officers pull out \\* their tasers and back the three boys up against the wall. \\* Brandon takes off his jacket and Caruso takes it, searches it \\* and throws it. Brandon says something to Salazar, and Caruso \\* roughly slams him against the wall. \\*<\/dialogue>\n    <dialogue>Caruso turns back towards the train, and seemingly makes \\* direct eye contact with Oscar. \\*<\/dialogue>\n    <scene_description>OMITTED CONTINUED:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BART TRAIN- CAR 2<\/stage_direction>\n    <scene_description>Oscar turns and tries to hide in the crowd He tries not to \\* look suspicious, but he sticks out like a sore thumb on this car. He sees Cale and his friends in the crowd And Zafiratos. \\*<\/scene_description>\n    <character>CARUSO (O.S.)<\/character>\n    <dialogue>If you were involved in the fight get the fuck off the train right now!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Don't make me come in there and pull you off. This ain't my first fucking Rodeo.<\/dialogue>\n    <scene_description>Mrs. Zafiratos looks at Oscar.<\/scene_description>\n    <character>MRS. ZAFIRATOS \\*<\/character>\n    <dialogue>Just get off the train, please. \\* People have families on here. \\*<\/dialogue>\n    <scene_description>There is a visible commotion at the door, and passengers start to move back, we see Caruso storm through the car doors. He looks around the crowd, and makes eye contact with Mrs. \\* Zafiratos gives a subtle look over at Oscar. Caruso sees Oscar and makes his way towards him. CONTINUED:<\/scene_description>\n    <character>CARUSO<\/character>\n    <dialogue>You. Get off the train.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>What are you talking about? What did I do?<\/dialogue>\n    <scene_description>Caruso pulls out his taser and points it at Oscar's neck.<\/scene_description>\n    <character>CARUSO<\/character>\n    <dialogue>Come on. Let's go.<\/dialogue>\n    <scene_description>Oscar immediately puts his hands up.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Alright, alright, Fuck. \\*<\/dialogue>\n    <scene_description>Oscar walks towards Caruso, who quickly grabs him by the back of the shirt and walks him out of the train car. \\* OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS<\/stage_direction>\n    <scene_description>Caruso walks Oscar over to the wall.<\/scene_description>\n    <character>CARUSO<\/character>\n    <dialogue>Sit down right here.<\/dialogue>\n    <scene_description>He places Oscar in between Carlos and Brandon. Oscar puts his \\* hands up, still holding his cellphone.<\/scene_description>\n    <character>OSCAR \\*<\/character>\n    <dialogue>What the fuck bruh, we didn't do \\* anything. \\*<\/dialogue>\n    <character>BRANDON \\*<\/character>\n    <dialogue>I've been trying to tell them bruh. \\* She don't want to listen to me, \\* cute ass. What you doing after this \\* baby? \\*<\/dialogue>\n    <character>SALAZAR<\/character>\n    <dialogue>Quiet! \\*<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Hold on bruh. Are yall arresting us \\* or what? \\*<\/dialogue>\n    <character>CARUSO \\*<\/character>\n    <dialogue>Where are your friends at? Huh? \\*<\/dialogue>\n    <character>TIM \\*<\/character>\n    <dialogue>What friends? \\*<\/dialogue>\n    <scene_description>Caruso turns and looks back at CAR 1 for a beat. \\*<\/scene_description>\n    <character>CARUSO \\*<\/character>\n    <dialogue>(to Salazar) \\*<\/dialogue>\n    <scene_description>I see another one of these \\* goofballs. \\* He starts for the train. \\* OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS<\/stage_direction>\n    <scene_description>Down the platform, Cato watches Pirone and his friends \\* closely. A small crowd around him. \\* 91 OMITTED 91 \\* CONTINUED:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS<\/stage_direction>\n    <scene_description>Salazar stands over Brandon holding her taser pointed towards \\* the ground. She grabs her walkie talkie.<\/scene_description>\n    <character>SALAZAR<\/character>\n    <parenthetical>(into walkie)<\/parenthetical>\n    <dialogue>On the platform, in need of backup, four suspects apprehended. \\*<\/dialogue>\n    <scene_description>She looks back at Brandon and Oscar. \\*<\/scene_description>\n    <character>BRANDON \\*<\/character>\n    <dialogue>This is some bullshit. Yall not \\* even the real police. You way too \\* cute to be a cop anyway... \\*<\/dialogue>\n    <scene_description>Brandon starts to stand up slowly. \\*<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Be cool bruh, chill out. Let me \\* talk to her. \\*<\/dialogue>\n    <character>SALAZAR<\/character>\n    <dialogue>Hey, sit back down!<\/dialogue>\n    <scene_description>She points the taser at Brandon's chest. Brandon backs up \\* against the wall, but does not sit down.<\/scene_description>\n    <character>BRANDON \\*<\/character>\n    <dialogue>Why the fuck you keep pointing that \\* taser at me, bitch? We didn't even \\* do nothing wrong. \\*<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>OSCAR'S POV \\*<\/character>\n    <dialogue>We see Caruso pull Jason off the train and slam him to the \\* ground, face down. He straddles him and handcuffs his wrists behind his back.<\/dialogue>\n    <dialogue>He picks Jason up by the handcuffs, and drags him towards the \\* wall.<\/dialogue>\n    <dialogue>Oscar looks at this in shock. He turns his attention back to Brandon, who still is standing. Salazar pushes Brandon in his \\* chest. \\*<\/dialogue>\n    <character>SALAZAR<\/character>\n    <dialogue>Sit the fuck back down!<\/dialogue>\n    <character>BRANDON \\*<\/character>\n    <dialogue>Get your hands off me. \\*<\/dialogue>\n    <scene_description>Oscar stands up.<\/scene_description>\n    <character>OSCAR<\/character>\n    <parenthetical>(to Salazar)<\/parenthetical>\n    <dialogue>I got him.<\/dialogue>\n    <scene_description>He holds his hands out puts his hands on Salazar's forearms, and brushes them away from Brandon's chest. \\*<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>(to Brandon) \\*<\/dialogue>\n    <scene_description>Chill out bruh, chill out. Chill out and we goin home man. Salazar pushes at Brandon again, and Oscar reaches out his \\* hands to stop her.<\/scene_description>\n    <character>SALAZAR<\/character>\n    <dialogue>Don't touch me! \\*<\/dialogue>\n    <scene_description>Caruso hears this, and quickly lets go of Jason, who is now \\* sitting down. He rushes over to Oscar and- BOOM! Caruso punches Oscar flush in the right side of his face, knocking Oscar's head up against the wall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BART TRAIN- CAR 3- CONTINUOUS<\/stage_direction>\n    <scene_description>The passengers ERUPT at the sight of this. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS<\/stage_direction>\n    <scene_description>Cato sees the punch. \\*<\/scene_description>\n    <character>CATO \\*<\/character>\n    <dialogue>What the fuck?<\/dialogue>\n    <scene_description>He walks closer to the scene. \\* OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS<\/stage_direction>\n    <scene_description>Oscar holds his face where he got hit and sits back down. He looks up at Caruso with confusion and puts his hands up.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>What the fuck is you doing bruh?<\/dialogue>\n    <character>BRANDON \\*<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>Caruso quickly removes his Taser and points it at Brandon's \\* face. Brandon quickly sits down, and puts his hands up. \\* Caruso turns to Salazar.<\/scene_description>\n    <character>CARUSO<\/character>\n    <dialogue>You alright Babe?<\/dialogue>\n    <scene_description>She nods. CONTINUED: The crowd on the train is ROARING now. Yelling various things about the police.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>I'm just tryna get home. I got a daughter at home bruh. \\*<\/dialogue>\n    <scene_description>Caruso points his taser at the rest of the boys sitting down- waving it like a flashlight.<\/scene_description>\n    <character>CARUSO<\/character>\n    <dialogue>Shut up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS<\/stage_direction>\n    <scene_description>Oscar looks down the platform and sees Cato approaching. He \\* looks over at the train, sees nothing but cell phones and video cameras. He looks to the escalator and sees a huge, clean shaven white cop in his late 20's sprinting up to the platform: this is OFFICER INGRAM. He is followed by 3 other Cops, NEWSOME (40's) SANCHEZ (30's) and DAVIDSON (30's).<\/scene_description>\n    <character>CATO \\*<\/character>\n    <dialogue>Hey, hey officer, this shit is brutality! What the fuck you doing to them?<\/dialogue>\n    <scene_description>Cato takes out his cellphone and starts to record. \\*<\/scene_description>\n    <character>CATO (CONT'D) \\*<\/character>\n    <dialogue>Fuckin fake ass cops. We got you on camera!<\/dialogue>\n    <scene_description>Ingram jogs over to Cato. \\*<\/scene_description>\n    <character>INGRAM<\/character>\n    <dialogue>Hey, back up! Get back!<\/dialogue>\n    <scene_description>Ingram reaches for his taser, pulls it out. Cato keeps \\* recording, but backs up.<\/scene_description>\n    <character>CATO \\*<\/character>\n    <dialogue>You gonna Tase me for using my cellphone?<\/dialogue>\n    <scene_description>Newsome and Sanchez run over to keep Cato back. Newsome \\* stands in the view of Cato's camera phone. Ingram turns and \\* jogs over to help Caruso. Caruso arrives next to Ingram, who turns to him. CONTINUED:<\/scene_description>\n    <character>CARUSO<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>This is a shit show. Keep these assholes secured, I'm gonna check the train for witnesses.<\/dialogue>\n    <scene_description>Ingram nods. He points his taser at Oscar and Brandon. Oscar \\* takes a picture of Ingram pointing his taser at Brandon with \\* his cellphone. His phone rings in his hand. He checks it: \"Sophina Calling\". He answers it.<\/scene_description>\n    <character>OSCAR<\/character>\n    <parenthetical>(into the phone)<\/parenthetical>\n    <dialogue>Phina?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRUITVALE BART STATION ENTRANCE- NIGHT- SIMULTANEOUS<\/stage_direction>\n    <scene_description>Sophina stands on the sidewalk of the BART station entrance. Vanessa and Kris stand behind her<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>Osc, where you at? Are you on the train?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Hell naw, we still up here at Fruitvale. They holding us here and beatin on us for no reason.<\/dialogue>\n    <character>SOPHINA<\/character>\n    <dialogue>Who? Who's beatin on you?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>The fuckin police. I'm about to get us up out of here though. Imma hit you back.<\/dialogue>\n    <scene_description>Oscar hangs up the phone. He sees Caruso walking over to him Oscar stands up against the wall.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Are you in charge man? Look...<\/dialogue>\n    <character>CARUSO<\/character>\n    <dialogue>SIT THE FUCK BACK DOWN!!<\/dialogue>\n    <scene_description>Caruso rushes Oscar, pushes him into a seated position, and knees him in the right side of his face. CONTINUED:<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>What the fuck, bruh?<\/dialogue>\n    <scene_description>Caruso holds Oscar by his shirt.<\/scene_description>\n    <character>CARUSO<\/character>\n    <dialogue>Are you gonna fucking comply? Are you gonna comply?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>I'm complying, just take your fucking hands off of me! I'm fucking complying.<\/dialogue>\n    <scene_description>Caruso backs up off of Oscar.<\/scene_description>\n    <character>BRANDON \\*<\/character>\n    <dialogue>That's brutality you fucking toy cop!<\/dialogue>\n    <scene_description>Oscar holds his face.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Chill out Brandon bruh. We about to \\* go home. They can hold us here as long as they want, but they can't arrest us bruh, we aint do shit.<\/dialogue>\n    <character>CARUSO<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>He turns to Ingram.<\/scene_description>\n    <character>CARUSO<\/character>\n    <dialogue>Cuff these two assholes. They're fucking going to jail.<\/dialogue>\n    <character>INGRAM<\/character>\n    <dialogue>Get on your knees.<\/dialogue>\n    <scene_description>Brandon who lifts up onto his knees. \\*<\/scene_description>\n    <character>BRANDON \\*<\/character>\n    <dialogue>Fuck, bruh!<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>You can't arrest him. Fuck that shit. For what? We aint do noting!<\/dialogue>\n    <character>CARUSO<\/character>\n    <dialogue>Oh yeah?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>TIM \\*<\/character>\n    <dialogue>Yall some fake ass cops foreal.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>(to Tim) \\*<\/dialogue>\n    <scene_description>Shut the fuck up bruh. (to Caruso) Just tell us why you're arresting us. We didn't do anything wrong.<\/scene_description>\n    <character>CARUSO<\/character>\n    <dialogue>We don't have to tell you shit.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Bruh I got a daughter at home, I'm trying to get to. I'm not trying to go to jail.<\/dialogue>\n    <character>CARUSO<\/character>\n    <dialogue>You should have thought about that before you decided to be a piece of shit.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Man you a bitch ass nigga, foreal.<\/dialogue>\n    <scene_description>Caruso walks closer to Oscar.<\/scene_description>\n    <character>CARUSO<\/character>\n    <dialogue>I'm the bitch ass nigga huh?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>What? What the fuck?<\/dialogue>\n    <character>CARUSO<\/character>\n    <dialogue>Bitch ass nigga huh?!<\/dialogue>\n    <scene_description>Oscar stiffens up.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Don't call me a nigga bruh!<\/dialogue>\n    <character>CARUSO<\/character>\n    <dialogue>BITCH ASS NIGGA RIGHT?<\/dialogue>\n    <scene_description>Oscar lifts up to his knees.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>MAN FUCK YOU!!!<\/dialogue>\n    <scene_description>BOOM! Ingram takes Oscar down to the ground from behind, but Oscar lands awkwardly, with his back on Carlos' legs. Ingram continues to push down on top of him. Caruso backs up, nodding his head. CONTINUED:<\/scene_description>\n    <character>CARUSO<\/character>\n    <dialogue>Yeah! Yeah!<\/dialogue>\n    <scene_description>CONTINUED: Carlos holds his hands up while Oscar squirms, now on his side.<\/scene_description>\n    <character>CARLOS<\/character>\n    <dialogue>HE'S ON MY LEG BRUH!!! HE'S ON MY<\/dialogue>\n    <character>FUCKING LEG!<\/character>\n    <dialogue>OSCAR<\/dialogue>\n    <character>AGGGHHH, MY BACK! GET THE FUCK OFF<\/character>\n    <dialogue>ME!<\/dialogue>\n    <scene_description>Caruso bends down, grabs Oscar's head, and puts his knee on it, driving his weight into the Oscar's ear. Oscar writhes in pain.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>AGHH! MY HEAD! SHIT!<\/dialogue>\n    <character>BRANDON \\*<\/character>\n    <dialogue>WHAT THE FUCK ARE YOU DOING TO HIM,<\/dialogue>\n    <character>YOU'RE FUCKING HURTING HIM!<\/character>\n    <dialogue>CARUSO<\/dialogue>\n    <scene_description>Don't worry about it. Don't worry.<\/scene_description>\n    <character>INGRAM<\/character>\n    <dialogue>ROLL OVER! ON YOUR STOMACH!!<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Fuck, I can't move!<\/dialogue>\n    <scene_description>Caruso stands up, pushing off Oscar's head with his hands. Ingram flips him over off of Carlos' legs and onto his stomach. Oscar squirms again, while Caruso grabs his hand trying to put it behind his back. Caruso puts his knee back down on Oscar, driving down hard, at the base of his head, pressing Oscar's face against the ground.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>AGHHH, AGHHH!<\/dialogue>\n    <character>INGRAM<\/character>\n    <dialogue>Fuck. I can't get his hands! Back up.<\/dialogue>\n    <scene_description>Caruso lifts up off of Oscar. Ingram stands up a bit, keeping one knee in Oscar's back, reaches on the right side of his belt and pulls a black gun from the holster. He stands up, aims it at Oscar's back. BLAM!!! CONTINUED: Oscar's body jerks against the pavement. He lets out a sickening, hollow sound. Dead silence.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRUITVALE BART STATION ENTRANCE- NIGHT- SIMULTANEOUS<\/stage_direction>\n    <scene_description>Sophina whips her head around towards the platform.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BART TRAIN CAR 1<\/stage_direction>\n    <scene_description>Katie and Joe's jaw's drop at the sound of the shooting.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BART TRAIN CAR 3<\/stage_direction>\n    <scene_description>We see Pete, and Steph, who have been on this train the whole time. Pete recording with his video camera, with shock on his face.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS<\/stage_direction>\n    <scene_description>Cato is frozen by shock. Caruso takes a step back, and looks \\* at Ingram with confusion. Oscar takes a struggled breath in, coughs up some blood. He stiffly turns his body around to Ingram.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>..you shot me... you shot me. i got a daughter...<\/dialogue>\n    <scene_description>Brandon, Carlos, Tim stare at Oscar is disbelief. \\*<\/scene_description>\n    <character>CATO \\*<\/character>\n    <dialogue>They shot Osc! They fuckin shot Osc bruh!<\/dialogue>\n    <scene_description>Cato looses it, he pushes past the police officers in front \\* of him. He throws his cellphone at Ingram, just missing his face. It hits the wall, and explodes into pieces. the Cops rush Cato, taking him to the ground. \\* Oscar's friends go berserk they start screaming. Brandon \\* tries to stand up, still handcuffed.<\/scene_description>\n    <character>BRANDON \\*<\/character>\n    <dialogue>OSC! OSC! GET UP MY NIGGA!!!<\/dialogue>\n    <parenthetical>(to Ingram)<\/parenthetical>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>BRANDON<\/character>\n    <dialogue>YOU SHOT MY HOMIE!!! HE WASN'T<\/dialogue>\n    <scene_description>CONTINUED: Three Cops rush over and take Brandon to the ground. Other \\* Cops descend on the other boys.<\/scene_description>\n    <character>CARLOS<\/character>\n    <dialogue>Call the ambulance!<\/dialogue>\n    <character>CARUSO<\/character>\n    <dialogue>WHEN YOU SHUT THE FUCK UP, WE WILL!<\/dialogue>\n    <scene_description>Ingram flips Oscar back over and handcuffs him, and starts to search him.<\/scene_description>\n    <character>TIM \\*<\/character>\n    <dialogue>What the fuck you handcuffing him for?<\/dialogue>\n    <scene_description>The Cops take all of the boys towards the escalators. But none of them go without a struggle. It takes four Cops to control Brandon. \\* Caruso runs over to Tenisha who looks on from the Operator car with panic in her eyes.<\/scene_description>\n    <character>CARUSO<\/character>\n    <dialogue>Take off!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Go!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BART TRAIN CAR 3<\/stage_direction>\n    <scene_description>The Passengers are shouting and going crazy, still filming. The doors suddenly close.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Hey! Hey open the fucking doors! Somebody help him!!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BART TRAIN CAR 2- CONTINUOUS<\/stage_direction>\n    <scene_description>Mr. Zafiratos holds his daughter while looking out the windows as if he'd just seen a ghost. Cale still blends into the crowd. The doors close.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BART TRAIN CAR 1- CONTINUOUS<\/stage_direction>\n    <scene_description>Passengers are even crazier on this car. Hanging out the doors in the front of the crowd are Katie and Joe. Katie continues to record with her iPhone- her face red with rage. CONTINUED: The car doors start to close, but Katie sticks her hand out them causing them to open back up. She continues filming.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS<\/stage_direction>\n    <scene_description>Tenisha looks down at the control board, while Caruso leans in her car window.<\/scene_description>\n    <character>CARUSO<\/character>\n    <dialogue>Go! Fucking pull off!<\/dialogue>\n    <character>TENISHA \\*<\/character>\n    <dialogue>I can't somebody's blocking the doors.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS<\/stage_direction>\n    <scene_description>Caruso turns and looks down the platform. He sees Katie hanging out of the first car and sprints over to her.<\/scene_description>\n    <character>CARUSO<\/character>\n    <dialogue>Clear the door!<\/dialogue>\n    <character>KATIE<\/character>\n    <dialogue>NO! YOU GUYS JUST SHOT HIM!<\/dialogue>\n    <character>CARUSO<\/character>\n    <dialogue>CLEAR THE FUCKING DOOR!<\/dialogue>\n    <scene_description>Caruso pushes Katie's hand back and the doors shut. The train pulls off. Caruso grabs his walkie.<\/scene_description>\n    <character>CARUSO<\/character>\n    <parenthetical>(into walkie)<\/parenthetical>\n    <dialogue>Yeah there's been a shooting. Here at the Fruitvale station--<\/dialogue>\n    <scene_description>Ingram finishes searching Oscar only finds a wallet. He's sweating bullets. Caruso runs over to Ingram.<\/scene_description>\n    <character>CARUSO<\/character>\n    <dialogue>What the fuck happened?<\/dialogue>\n    <scene_description>Ingram can't answer. Caruso snatches Oscar's wallet out of his hands and waves him away. He and bends down and un-cuffs Oscar. He rolls him over and we see Oscar's eyes are starting to grow distant.<\/scene_description>\n    <character>CARUSO<\/character>\n    <parenthetical>(whispering to Oscar)<\/parenthetical>\n    <dialogue>Come'on breathe, man.<\/dialogue>\n    <scene_description>Caruso bends down to look at Oscar. CONTINUED: We see Oscar's phone is on the ground ringing. The screen reads, \"Sophina Calling\".<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRUITVALE BART STATION ENTRANCE- CONTINUOUS<\/stage_direction>\n    <scene_description>Sophina now frantic, stands with her cellphone to her ear. Kris and Vanessa talk to three POLICE OFFICERS who are guarding the entrance like club bouncers. Sophina hangs up the phone, then quickly dials another number.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WANDA'S BEDROOM- NIGHT<\/stage_direction>\n    <scene_description>Only moonlight fills the room. A cellphone RINGS. Wanda wakes up, checks it, answers the phone.<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>Sophina?<\/dialogue>\n    <character>SOPHINA<\/character>\n    <dialogue>The police got Oscar and them and we heard something I don't know if it was a beanbag or a taser or what.<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Sophina, baby calm down. I can't hear you. Is Oscar there with you?<\/dialogue>\n    <character>SOPHINA<\/character>\n    <dialogue>Naw, he upstairs, with the Police and I can't see them. We downstairs-<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Where are you?<\/dialogue>\n    <character>SOPHINA<\/character>\n    <dialogue>We in Oakland, at Fruitvale BART.<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Did Oscar get arrested?<\/dialogue>\n    <character>SOPHINA<\/character>\n    <dialogue>I don't know, I think so.<\/dialogue>\n    <scene_description>Wanda closes her eyes for a beat, this hurts. She gets out of bed and starts putting on her clothes. CONTINUED: A SIREN is now super close. Sophina turns to see four PARAMEDICS rush through the emergency entrance turnstile rolling a large gurney with medical equipment on it. CONTINUED:<\/scene_description>\n    <character>SOPHINA<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Imma call you back.<\/dialogue>\n    <scene_description>Sophina hangs up the phone and runs towards the paramedics.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <scene_description>They ignore her, and quickly get into the elevator with their gear, the doors close behind them. Sophina hears COMMOTION coming from the escalators. She looks over and sees Brandon \\* kicking and struggling, as the Cops bring him down. Cato, \\* Tim, Jason, and Carlos follow, all surrounded by Cops. \\* Vanessa and Kris run over to them as the bring them out towards the parking lot, where several Police Cars are parked.<\/scene_description>\n    <character>VANESSA<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <scene_description>Sophina sprints over to the cars. Cato and Brandon are going \\* so crazy that they don't even notice her.<\/scene_description>\n    <character>NEWSOME<\/character>\n    <parenthetical>(to Sophina)<\/parenthetical>\n    <dialogue>Get back!!<\/dialogue>\n    <scene_description>Sophina get's Jason's attention. \\*<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>Where Osc at? What happened?<\/dialogue>\n    <character>JASON \\*<\/character>\n    <dialogue>THEY FUCKING SHOT HIM PHINA!!! THEY<\/dialogue>\n    <character>SHOT OSC IN HIS BACK FOR NO<\/character>\n    <dialogue>REASON!!!<\/dialogue>\n    <character>SOPHINA<\/character>\n    <dialogue>WHAT? IS HE OKAY? WHERE IS HE?<\/dialogue>\n    <scene_description>The Cops stuff Jason into the back of their car before he can \\* answer. They stuff Tim into the same car. \\* It takes four Cops to get Brandon. Another group of Cops are \\* having the same problem with Cato. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS<\/stage_direction>\n    <scene_description>Oscar still lies on the ground, Caruso lies over him, holding his hand. CONTINUED:<\/scene_description>\n    <character>CARUSO<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Come on man keep your eyes open. Breathe, man.<\/dialogue>\n    <scene_description>The elevator doors open, and the Paramedics rush towards Oscar. Caruso stands up, starts talking to PARAMEDIC 1, hands him Oscar's ID. The others immediately begin tending to Oscar. They check his vitals, and pull out a pair of large scissors and quickly cut off his shirt. They flip him over, revealing a large entry wound on his left shoulder blade. It bleeds profusely. Paramedic 1 walks over to Oscar and kneels down.<\/scene_description>\n    <character>PARAMEDIC 1<\/character>\n    <dialogue>Oscar? Oscar can you hear me?<\/dialogue>\n    <scene_description>Oscar tries to nod.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRUITVALE BART STATION LOBBY- DOWNSTAIRS- CONTINUOUS<\/stage_direction>\n    <scene_description>Sophina is in tears, arguing with the Cops guarding the platform.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>Please let me through, that's my boyfriend up there.<\/dialogue>\n    <scene_description>Her cellphone rings. She looks down at it and grows more frantic. She answers it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WANDA'S BEDROOM- NIGHT- CONTINUOUS<\/stage_direction>\n    <character>WANDA<\/character>\n    <dialogue>Sophina baby, what's going on?<\/dialogue>\n    <character>SOPHINA<\/character>\n    <parenthetical>(through the phone)<\/parenthetical>\n    <dialogue>The cops won't let me through, and, and Jason said that Osc... \\* OH MY GOD! OH GOD! IS THAT OSC! NO, NO!<\/dialogue>\n    <scene_description>Horror flashes over Wanda's face.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRUITVALE BART STATION LOBBY- DOWNSTAIRS- NIGHT-<\/stage_direction>\n    <character>CONTINUOUS<\/character>\n    <dialogue>Sophina is hysterical, we finally see what she sees-<\/dialogue>\n    <scene_description>CONTINUED: The paramedics rushing Oscar, dressed only in his red boxers out of the elevator on a gurney, his mouth connected to a hand pumped oxygen mask. They quickly wheel him out towards the ambulance, which is parked next to the Police cars. Sophina runs after them.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>That's my fucking baby daddy right there! Is he dead? Did they fucking kill him?<\/dialogue>\n    <scene_description>PARAMEDIC 1 turns to Sophina as they load Oscar in.<\/scene_description>\n    <character>PARAMEDIC 1<\/character>\n    <dialogue>He's been shot, he's still alive but we gotta get him to Highland.<\/dialogue>\n    <scene_description>He quickly boards the ambulance, they shut the door in Sophina's face. Sophina breaks down.<\/scene_description>\n    <character>WANDA (O.S.)<\/character>\n    <parenthetical>(out of phone speaker)<\/parenthetical>\n    <dialogue>Sophina, Sophina!<\/dialogue>\n    <character>SOPHINA<\/character>\n    <dialogue>They shot him. They shot Oscar! They say he alive, but he's bleeding and his eyes was closed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WANDA'S BEDROOM- NIGHT- CONTINUOUS<\/stage_direction>\n    <scene_description>Wanda screams. She prays to herself and regains control a bit.<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>Where are they taking him?<\/dialogue>\n    <character>SOPHINA (O.S.)<\/character>\n    <parenthetical>(through phone)<\/parenthetical>\n    <dialogue>They takin him to Highland, you gotta come and get us, our car in Hayward.<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>I'm on my way.<\/dialogue>\n    <scene_description>Wanda hangs up the phone, and rushes out of the bedroom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRUITVALE BART STATION LOBBY- DOWNSTAIRS- CONTINUOUS<\/stage_direction>\n    <scene_description>Sophina hangs up the phone and watches as the Ambulance speeds off down Fruitvale Blvd. Cato, still in the back of the police car, is kicking the \\* window with both feet. Brandon continues to scream from his \\* car. The police cars pull off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGHLAND HOSPITAL EMERGENCY ROOM ENTRANCE- NIGHT-<\/stage_direction>\n    <character>MOMENTS LATER<\/character>\n    <dialogue>The doors burst open, and the Paramedics wheel Oscar into the ER Trauma room.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAUMA ROOM- MOMENTS LATER<\/stage_direction>\n    <scene_description>We are close on Oscar as he lies on his back, unconscious breathing tubes are attached to his mouth. His chest rises up and down slowly, struggled. SURGEONS, and PARAMEDICS move around Oscar. The LEAD SURGEON, a tall, slim Black man in his 50's, points to an object that lies just under Oscar's right clavicle, just under his skin.<\/scene_description>\n    <character>LEAD SURGEON<\/character>\n    <dialogue>It's here, its right beneath the skin.<\/dialogue>\n    <character>CLOSE ON OSCAR'S CLAVICLE<\/character>\n    <dialogue>The surgeon takes a scalpel and cuts into Oscar's skin, just above the protruding mass. Blood runs out, he presses down and pops out the bullet, that looks like a large metal mushroom. The surgeon examines it.<\/dialogue>\n    <character>LEAD SURGEON<\/character>\n    <dialogue>Jesus. It's like it hit something solid. Bone wouldn't do this.<\/dialogue>\n    <scene_description>He places the bullet into an empty beaker atop a cart. He turns back to Oscar and begins to stitch up the incision. The Lead Surgeon looks at xrays of Oscar's chest on a light board. Paramedic 2 stands over his shoulder. CONTINUED:<\/scene_description>\n    <character>PARAMEDIC 1<\/character>\n    <dialogue>He was lying face down on the ground.<\/dialogue>\n    <scene_description>A Resident Surgeon points to a large dark cloud on the xrays.<\/scene_description>\n    <character>LEAD SURGEON<\/character>\n    <dialogue>Right here, right lung looks to be what's causing the pulse problem.<\/dialogue>\n    <character>CLOSE ON OSCAR'S CHEST<\/character>\n    <dialogue>The Surgeon sticks a tube into the right side of Oscar's chest, and blood flows out of the tube uncontrollably. Spilling onto the floor.<\/dialogue>\n    <character>LEAD SURGEON<\/character>\n    <dialogue>Shit, Shit, we gotta get him upstairs!<\/dialogue>\n    <scene_description>The medical staff sees this, and kicks their movements into high gear.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OPERATING ROOM- SIMULTANEOUS<\/stage_direction>\n    <scene_description>Oscar lies on the operating table, sedated. The Surgeons talk medical speak. They move with astounding quickness and precision. Lead Surgeon takes a large scalpel, and makes a 14 inch incision under Oscar's right nipple. Blood rushes out, it's worse than they thought. It begins to hit the floor. A RESIDENT SURGEON reacts to this, and quickly grabs a large emesis basin. He puts it underneath the wound, catching the blood. Another Surgeon places a spreader into the wound, and opens it up. The Lead surgeon looks inside of the incision. He lets his head down in frustration at what he sees.<\/scene_description>\n    <character>LEAD SURGEON<\/character>\n    <dialogue>His lung's gone. We gotta prep for removal.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICU NURSE'S STATION- NIGHT 120 \\*<\/stage_direction>\n    <scene_description>A NURSE stands behind a reception desk.. Wanda, Sophina, Vanessa, and Kris storm into the room. Wanda goes up to the RECEPTIONIST, a black woman in her 20's. \\* CONTINUED:<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>My son is Oscar Julius Grant III. He's been shot, and they told me to come here-<\/dialogue>\n    <scene_description>The Nurse sits at the computer.<\/scene_description>\n    <character>RECEPTIONIST \\*<\/character>\n    <dialogue>G-R-A-N-T?<\/dialogue>\n    <scene_description>Wanda nods.<\/scene_description>\n    <character>RECEPTIONIST (CONT'D) \\*<\/character>\n    <dialogue>He's still in the operating room. Go to the ICU waiting room and \\* someone will be out soon to let you know everything that's going on.<\/dialogue>\n    <scene_description>Wanda nods and walks over towards the chairs.<\/scene_description>\n    <character>WANDA<\/character>\n    <parenthetical>(under her breath)<\/parenthetical>\n    <dialogue>Lord please let him be okay. Please watch over him with your healing hands Lord. Keep him Safe Lord. Keep him safe so that I can hold him once again.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OPERATING ROOM- MOMENTS LATER<\/stage_direction>\n    <scene_description>The operation is fully underway. A surgeon removes Oscar's lung from the incision. We see a NURSE change out a bag of Donor Blood on one of the many IV systems Oscar is hooked up to. She tosses into a bin, where it lands atop five other empty bags. OMITTED CONTINUED:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICU WAITING ROOM- MOMENTS LATER<\/stage_direction>\n    <scene_description>Wanda sits in the waiting room next to Sophina. The Boys storm into the room along with JACK BRYSON SR. a Hispanic looking man in his 40's. Kris greets the boys, and they head over to Wanda. He stands close to his sons Jack and Tim. The Nurse walks out \\* from behind the back room with the Lead Surgeon, who now wears fresh scrubs.<\/scene_description>\n    <character>LEAD SURGEON<\/character>\n    <dialogue>Wanda?<\/dialogue>\n    <scene_description>Wanda nods, and stands up.<\/scene_description>\n    <character>LEAD SURGEON<\/character>\n    <dialogue>Oscar was shot, okay? We've stabilized him, but he's in critical condition. The bullet caused massive internal bleeding and we had to remove the right lung.<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>His lung? How is he... How is he going to be able to breathe?<\/dialogue>\n    <character>LEAD SURGEON<\/character>\n    <dialogue>Well, his breathing isn't our concern. It's the bleeding. We're working very hard to get his blood to clot. But right now, his body isn't taking the transfusions.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>But he's going to make it right?<\/dialogue>\n    <character>LEAD SURGEON<\/character>\n    <dialogue>Hard to say, but we're gonna do everything we can okay?<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Okay, okay. Please do whatever you can, okay? My son is a good boy. \\*<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>Please do what you can. Please.<\/dialogue>\n    <scene_description>He nods and pats Wanda on the shoulder for a beat, then turns and heads back into the ICU. Wanda walks back over to the group. She gives them the news from the doctor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICU RECOVERY ROOM- MORNING- FEW HOURS LATER<\/stage_direction>\n    <scene_description>Several Nurses Operate around Oscar who still lies unconscious his breathing sounding more struggled than ever. Suddenly blood begins to run from his right nostril, then his right eyelid, and his left nostril after that. His EKG machine begins to BEEP loudly. The Nurses go into panic mode.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICU WAITING ROOM- CONTINUOUS<\/stage_direction>\n    <scene_description>Early morning daylight streams into the waiting area. Where Wanda, Sophina, Chantay, Ceephus, Daryl, and Oscar's friends \\* hold hands. Wanda, leads them in prayer. \\* CONTINUED:<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>--and we ask that you may put your healing hands around your child, we ask that you may operate through these doctors, and breathe strength into their hands as they work on him. Heal him lord so that we may one day see his smile again.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICU RECOVERY ROOM- MORNING- CONTINUOUS<\/stage_direction>\n    <scene_description>Lines of blood trickle from Oscar's eyes, nose, and mouth. The Lead is now in the room and has taken over commands.<\/scene_description>\n    <character>NURSE<\/character>\n    <dialogue>Loosing a pulse.<\/dialogue>\n    <scene_description>Oscar's body begins to violently shake. A young male RESIDENT DOCTOR, grabs the paddles, the Lead Surgeon touches Oscar's chest, we see under his skin is filled with fluid. He taps the Resident Doctor on the shoulder and shakes his head. He looks up at the clock.<\/scene_description>\n    <character>LEAD SURGEON<\/character>\n    <dialogue>Calling it. Time of Death 9:01 am.<\/dialogue>\n    <scene_description>He pulls off his mask, frustrated, and walks out. Oscar's convulsions stop. A morbid, continuous beep echoes from the EKG.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICU WAITING ROOM- DAY- MOMENTS LATER<\/stage_direction>\n    <scene_description>The Lead Surgeon walks out, and Wanda is still in the circle praying. The Nurse goes over to her, pulls her aside. Wanda approaches the Lead Surgeon with a hopeful look in her eyes. She reads his eyes for a beat. The Lead Surgeon looks at her for a beat. And shakes his head. Wanda puts her face in her hands, her legs wobble. Sophina who was watching and listening closely sees this. She breaks down, buries her face in Oscar's hoodie. Daryl and Ceephus run over to Wanda, just as he arrives, her \\* legs buckle a bit, he catches her. Oscar's friends begin to break down. \\* CONTINUED:<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>Can I see him?<\/dialogue>\n    <scene_description>The Lead Surgeon nods.<\/scene_description>\n    <character>LEAD SURGEON<\/character>\n    <dialogue>But its a homicide, so they can't let you in the room with him, ok?<\/dialogue>\n    <scene_description>Wanda nods. \\*<\/scene_description>\n    <character>LEAD SURGEON (CONT'D) \\*<\/character>\n    <dialogue>How many of you will be coming \\* down. \\*<\/dialogue>\n    <character>WANDA \\*<\/character>\n    <dialogue>Just me. \\*<\/dialogue>\n    <character>CEEPHUS \\*<\/character>\n    <dialogue>Wanda are you sure? \\*<\/dialogue>\n    <scene_description>Wanda nods. Nurse looks at the Surgeon. \\*<\/scene_description>\n    <character>NURSE \\*<\/character>\n    <dialogue>I can take her down. \\*<\/dialogue>\n    <scene_description>He heads towards the exit doors with Wanda. \\* \\*:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MORGUE HALLWAY- DAY- MOMENTS LATER 128 \\*<\/stage_direction>\n    <scene_description>The Nurse walks Wanda through a long corridor. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>128A INT. MORGUE- DAY- MOMENTS LATER 128A<\/stage_direction>\n    <scene_description>Wanda steps up to the glass and looks into it.<\/scene_description>\n    <character>WANDA'S POV<\/character>\n    <dialogue>The MORTICIAN pulls back a white sheet, and we see Oscar's \\* mangled Body lying on the slab. \\*<\/dialogue>\n    <character>WANDA<\/character>\n    <dialogue>I told him to catch the train. I told him to catch BART! I didn't know they were gonna hurt him. I didn't know. I should have just let him drive. I should have let him drive. I wanted him to be safe. Please please let me hug him.<\/dialogue>\n    <scene_description>128A CONTINUED: 128A<\/scene_description>\n    <character>WANDA<\/character>\n    <dialogue>Please let me go hug him. He didn't like to be alone!! I let my baby \\* die alone!<\/dialogue>\n    <scene_description>128A CONTINUED: 128A \\*:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICU WAITING ROOM- DAY<\/stage_direction>\n    <scene_description>Sophina sits in a chair still smelling Oscar's hoodie, her head spinning. REPORTERS are starting to show up at the hospital. We see Katie there, still wearing the same clothes, talking to Brandon's father, pointing at her cellphone. \\* Sophina looks up at a flat screen television in the hospital, sees a report that showing Oscar's picture. She takes out her cellphone. Dials a number, puts it to her ear.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Rose, don't turn on the TV okay? I'm coming to get T right now.<\/dialogue>\n    <scene_description>Sophina hangs up the phone and runs over to Brandon's father. \\*<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>Can you to take me to my car?<\/dialogue>\n    <scene_description>He nods. \\* OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROSE'S HOUSE- LIVING ROOM- DEN- MORNING<\/stage_direction>\n    <scene_description>Sophina lets herself into the house. We see Rose in the bathroom sitting on the stool, grief-stricken. Sophina turns into the den, where Tatiana and her cousins are still asleep. She steps over them to get to Tatiana.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>T, come on.<\/dialogue>\n    <scene_description>Tatiana groggily wakes up. Sophina picks her up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OSCAR'S HOUSE- DAY<\/stage_direction>\n    <scene_description>Sophina walks in and looks around the house. Tatiana walks inside. And goes straight for Oscar and Sophina's bedroom. CONTINUED:<\/scene_description>\n    <character>TATIANA<\/character>\n    <dialogue>Daddy? Daddy? Time to go to \"Chuck E Cheese\"!<\/dialogue>\n    <scene_description>Tatiana comes out of the bedroom looking confused.<\/scene_description>\n    <character>TATIANA<\/character>\n    <dialogue>Where's Daddy?<\/dialogue>\n    <character>SOPHINA<\/character>\n    <dialogue>Come on T, we gotta take a shower.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OSCAR'S BATHROOM- DAY<\/stage_direction>\n    <scene_description>The same shower from earlier. Sophina turns the water on, helps Tatiana with her clothes, and puts her in. She takes off her own clothes and steps in as well.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>Is the water okay T?<\/dialogue>\n    <character>TATIANA<\/character>\n    <dialogue>Yeah. Where's daddy? Is he on vacation again?<\/dialogue>\n    <character>SOPHINA<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Sophina tries to find her words. Lets the water run on her face for a bit, then rubs down the friz in Tatiana's hair.<\/scene_description>\n    <character>SOPHINA<\/character>\n    <dialogue>Remember when I told you about God... and the angels?<\/dialogue>\n    <character>TATIANA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>SOPHINA<\/character>\n    <dialogue>And about how when we die we go to heaven?<\/dialogue>\n    <character>TATIANA<\/character>\n    <dialogue>Yeah. \\*<\/dialogue>\n    <character>SOPHINA<\/character>\n    <dialogue>Well, God needed another angel, so he took Daddy to come and live in heaven with him.<\/dialogue>\n    <scene_description>Tatiana looks at Sophina for a long beat. CONTINUED:<\/scene_description>\n    <character>TATIANA<\/character>\n    <dialogue>But I don't want Daddy to live in heaven. I want him to be with me.<\/dialogue>\n    <character>SOPHINA<\/character>\n    <dialogue>He can't. Once you go to heaven, you can't come back.<\/dialogue>\n    <scene_description>Tatiana thinks about this.<\/scene_description>\n    <character>TATIANA<\/character>\n    <dialogue>Well does he have his cellphone? Maybe if I call him and talk to him, he will come back.<\/dialogue>\n    <character>SOPHINA<\/character>\n    <dialogue>No. Daddy doesn't have his cellphone baby. You can't call him where he is.<\/dialogue>\n    <scene_description>FADE OUT.:<\/scene_description>\n  <\/scene>\n<\/script>","summary":"The film depicts the last day of the life of Oscar Grant III, a 22-year-old from Hayward, California, before he was fatally shot by BART Police in the early morning hours of January 1, 2009. It begins with actual footage of Oscar and his friends being detained by BART Police at the Fruitvale station in Oakland on January 1, 2009, at 2:15 a.m., right before the shooting. Oscar and his girlfriend Sophina argue about Grant's recent infidelity. He unsuccessfully attempts to get his job back at Farmer Joe's, a grocery store. He briefly considers returning to dealing marijuana, but instead decides to dump his stash. In the evening, he attends a birthday party for his mother, Wanda, and agrees to take the BART train to see fireworks and other New Year's festivities in San Francisco, since she worries about him driving. On the return train, Katie, a customer at the grocery store where Oscar used to work, recognizes him and calls out his name. This causes a man Oscar knew in prison to notice him, and a fight breaks out. BART police respond to the scene, and Oscar is among the passengers who are detained. While being restrained by officers Caruso and Ingram, Oscar is shot in the back by Ingram. A stunned Caruso demands to know what happened. Oscar is rushed to the hospital and dies just hours after undergoing emergency surgery. Onscreen text describes the aftermath: Oscar's killing sparked a series of protests and riots across the city after several witnesses recorded the incident with cellphones and video cameras. The BART officers involved were fired, and \"Ingram\" (the officers' names were changed) was later tried and found guilty of involuntary manslaughter, claiming he mistook his gun for his Taser, and served an 11-month sentence. The final footage is of a gathering of people celebrating Oscar's life on January 1, 2013, with Grant's daughter, Tatiana, among them."}
{"movie_name":"Fresh_2022","imdb_id":"tt13403046","script":"<script>\n  <scene>\n    <character>FRESH<\/character>\n    <dialogue>\"Men are afraid women will laugh at them. Women are afraid that<\/dialogue>\n    <scene_description>men will kill them.\" - Margaret Atwood Written by Lauryn Kahn 6\/17\/20<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - EVENING<\/stage_direction>\n    <scene_description>NOA, (late 20's\/early 30's) sits in her parked car in front of a small strip mall. It's the kind of strip mall that looks a little gross but has some cool hipster restaurant in it. Noa is cute with curves. A real woman's body none of this Instagram model bullshit. She's dressed in a t-shirt and jeans but wears it well. She's perfected the \"natural\" look that definitely takes a lot of makeup. Her car is cluttered but clean. A few empty water bottles and bags of things litter the passenger seat and floor. She takes a deep breath and stares for a moment at a few people standing outside a restaurant chatting and smoking cigarettes. She picks up a La Croix out of her drink holder and looks at it. She takes a sip immediately disgusted. Warm and flat. She opens her door and spits it out. She pulls down the car mirror and inspects her face. She takes a tweezer and leans in close to the mirror plucking out an eyebrow hair or two, maybe a chin hair. She grabs a lip balm and puts it on as we hear the sound of a text message coming in. She picks up her phone to look. TEXT: Chad: \"Fyi, this place is cash only.\" She audibly scoffs and picks up her phone quickly typing. We see her send a text. NOA: This dude just texted me \"Fyi, this place is cash only.\" After a split second the thought bubble appears. MOLLIE: Fuuuuuuuck that. Just leave. NOA: I'm already here. Hopefully it will make for a good story. MOLLIE: That's why I do most things. She smiles and puts her phone away. She gets out of the car as we watch her walk away from us to the entrance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRENDY DIVEY THAI PLACE- A LITTLE WHILE LATER.<\/stage_direction>\n    <scene_description>We're close on Noa's face. She nods and smiles, pretending to be interested but is clearly zoned out. We don't hear what's being said for a moment it just sounds like muffled Charlie Brown characters. Finally we hear the scene around her come into focus.<\/scene_description>\n    <character>CHAD<\/character>\n    <dialogue>.... Even though it gives me terrible acid reflux.<\/dialogue>\n    <scene_description>We now see who Noa is sitting across from. Her date Chad is cute but wears a t-shirt and scarf around his neck. Noa takes a small bite of her dish.<\/scene_description>\n    <character>NOA<\/character>\n    <parenthetical>(chewing)<\/parenthetical>\n    <dialogue>Oh. Yeah. That sucks.<\/dialogue>\n    <character>CHAD<\/character>\n    <dialogue>But I don't care cause I love it.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Yeah I guess for me it just depends on the spice. I love Wasabi but Thai spices, forget it.<\/dialogue>\n    <scene_description>A waitress stops by.<\/scene_description>\n    <character>WAITRESS<\/character>\n    <dialogue>You guys good?<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Yeah thanks. I'm pretty much done.<\/dialogue>\n    <character>CHAD<\/character>\n    <dialogue>Cool. We'll wrap all this up.<\/dialogue>\n    <scene_description>Noa looks down. There isn't much left of their larger shared plates. The waitress walks away. Chad takes out his wallet.<\/scene_description>\n    <character>CHAD<\/character>\n    <dialogue>You bring cash?<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Yup. You reminded me.<\/dialogue>\n    <scene_description>The waitress stops by and drops to-go containers. Chad starts dumping the meal in.<\/scene_description>\n    <character>CHAD<\/character>\n    <dialogue>My brother's coming to town so if it's cool I was gonna snag the leftovers and then you can just leave a couple bucks less on the tip, make sense?<\/dialogue>\n    <scene_description>Noa stares at him a beat. What a gentleman.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Your scarf is dipping into the Pad See Ew.<\/dialogue>\n    <scene_description>Chad looks down. It is.<\/scene_description>\n    <character>CHAD<\/character>\n    <dialogue>Oh shit I love this scarf.<\/dialogue>\n    <scene_description>He pulls it out and starts wiping it off with a wet napkin. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RESTAURANT- FEW MOMENTS LATER<\/stage_direction>\n    <scene_description>We watch through the glass window from inside the restaurant looking out as Noa and her date say goodbye. It's obvious from Noa's body language that she's done but her date Chad is clearly not picking up on it.<\/scene_description>\n    <character>CHAD<\/character>\n    <dialogue>This was awesome. You're really cute.<\/dialogue>\n    <character>NOA<\/character>\n    <parenthetical>(polite disinterest)<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <character>CHAD<\/character>\n    <parenthetical>(flirty)<\/parenthetical>\n    <dialogue>We should do this again.<\/dialogue>\n    <scene_description>Normally Noa would just fake it and smile and say \"totally\" and then ghost through text but she seems, fed up.<\/scene_description>\n    <character>NOA<\/character>\n    <parenthetical>(politely)<\/parenthetical>\n    <dialogue>Yeah, I don't know if we're really a match, ya know?<\/dialogue>\n    <scene_description>Chad seems caught off guard. He scoffs.<\/scene_description>\n    <character>CHAD<\/character>\n    <dialogue>Well, whatever. I was just being polite. You're not even my type.<\/dialogue>\n    <scene_description>Noa can't help but laugh. This makes Chad angrier.<\/scene_description>\n    <character>CHAD<\/character>\n    <dialogue>Oh it's funny?<\/dialogue>\n    <character>NOA<\/character>\n    <parenthetical>(still smiling)<\/parenthetical>\n    <dialogue>Kind of.<\/dialogue>\n    <scene_description>Chad is pissed. He starts to walk away. He calls back behind him but doesn't turn around.<\/scene_description>\n    <character>CHAD<\/character>\n    <dialogue>Have fun finding a guy you stuck up bitch!<\/dialogue>\n    <scene_description>Noa's shocked and momentarily speechless.<\/scene_description>\n    <character>NOA<\/character>\n    <parenthetical>(calling after him)<\/parenthetical>\n    <dialogue>Cool. You sound really stable!<\/dialogue>\n    <scene_description>Chad may or may not have heard. Noa stands alone in front of the restaurant. After a moment of quiet she scoffs again shaking her head, \"did that just happen?\" Suddenly she looks around and realizes she's in a mostly empty dark parking lot. She sees a man standing outside the 7- 11 in the strip. He spots her and starts walking what seems like in her direction. She doesn't want to seem obvious but starts to pick up speed walking quickly to her car parked under a broken street light. It's eerily quiet except for the clicking sound of her boots. As she jumps in and locks the doors she now turns to see him closer. He's older than she thought. She spots a wedding band. She shakes her head to herself, silly for being scared. But then again that's being a fuckin woman, ain't it?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WORKOUT CLASS- AFTERNOON<\/stage_direction>\n    <scene_description>Noa and her friend MOLLIE (late 20's-30's, loyal and sassy) are in workout clothes sitting on the floor stretching with each other. The class is filled with punching bags. Other women stretch around them. We come in mid conversation.<\/scene_description>\n    <character>MOLLIE<\/character>\n    <dialogue>I still can't get over it. What the fuck is wrong with people?<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Right? I mean I know it'll eventually be a funny story but right now I'm just pissed.<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>I want you to text him and tell him what a piece of shit he is.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>It's not worth it. My silence is stronger.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Although I was so flustered when he said it as he was walking away I just froze. I wasn't prepared. And I just said something dumb. Then as soon as I got in my car I thought of like 100 better things to say.<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>L'esprit de l'escalier.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>What is that?<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>It's a french saying that's basically the feeling of thinking of the perfect reply a hair too late.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Yesssss. In English it's probably called \"the jerk store.\"<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Seinfeld.<\/dialogue>\n    <scene_description>A workout instructor gets on her head set.<\/scene_description>\n    <character>WORKOUT INSTRUCTOR<\/character>\n    <parenthetical>(too chipper)<\/parenthetical>\n    <dialogue>Ok ladies we're gonna start with kicking some serious ass and close it out with some amazing restorative yoga.<\/dialogue>\n    <scene_description>Noa and Mollie look at each other smiling and rolling their eyes a bit. CUT TO: WORKOUT CLASS - A FEW MINUTES LATER. Noa and Mollie are keeping up with the teacher as she punches and kicks the bag and does all different maneuvers over music. We can't hear what she's saying but she's explaining the power behind each move before she does them. The girls get sweaty kick-boxing. JUMP CUT TO: WORKOUT CLASS- LITTLE WHILE LATER. Everyone sits crosslegged on their yoga mats with their eyes closed humming in unison. It's s jarring change from the crazy kickboxing.<\/scene_description>\n    <character>WORKOUT INSTRUCTOR<\/character>\n    <dialogue>The light in me sees the light in you. Life can get crazy. Remember to find your inner peace and your inner strength. It's there. Namaste.<\/dialogue>\n    <scene_description>The class bows forward together with prayer hands.<\/scene_description>\n    <character>CLASS<\/character>\n    <dialogue>Namaste.<\/dialogue>\n    <scene_description>Noa and Mollie open their eyes. They're sweaty and disheveled. They seem a bit rejuvenated but look at each other with a smile as if making fun of what just went down. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMOOTHIE SHOP - LITTLE WHILE LATER<\/stage_direction>\n    <scene_description>Noa and Mollie sit at a corner table sipping smoothies both with that thousand yard post workout stare. It's comfortable silence between them.<\/scene_description>\n    <character>MOLLIE<\/character>\n    <dialogue>This smoothie is my inner peace.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>They were gonna charge me $3 to add like 5 blueberries. How dareeeee you.<\/dialogue>\n    <scene_description>Mollie rolls her eyes and shakes her head in agreement. They continue sipping in silence.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>I should go home and do work.<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>It's Saturday!<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>I'm on a deadline. Freelancing and working from home is cool but also sucks balls.<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>Sucking balls isn't so bad.<\/dialogue>\n    <scene_description>Noa chuckles. A beat. Noa's thinking about something.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>I'm so sick of obsessing about dating...<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>Nice segue.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>It's just, I'm cool, I'm nice, I'm a catch. I'm happy and I feel fulfilled and I try not to think about it but it's always just there in the back of my mind.<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>Me too dude. Meanwhile if this was a movie our lives wouldn't pass the Bechdel test.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>What the fuck is that?<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>It's like a test for female characters in movies to see how often they talk about things other than men basically.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>What?! That's bullshit. We're so well rounded. We hike, we bike, we go to museums and volunteer. We talk about all sorts of things! We rated the best ice creams for like almost an hour the other night.<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>We were very stoned. Noa, don't get defensive. I'm just teasing. I love you. You can talk to me about anything, always. Duh.<\/dialogue>\n    <scene_description>Noa warms.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Sorry. Did I tell you about the new campaign I'm working on?<\/dialogue>\n    <scene_description>Mollie shakes her head.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>I'm designing a bunch of marketing materials for these biodegradable bags. They basically disintegrate cause they're made from the yucca root.<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>That's really cool.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Yeah it's nice to be working on something good for the world for once.<\/dialogue>\n    <parenthetical>(jokingly)<\/parenthetical>\n    <dialogue>I'm just a really good person.<\/dialogue>\n    <character>MOLLIE<\/character>\n    <parenthetical>(scoffs)<\/parenthetical>\n    <dialogue>You're an angel shot right down from God's butthole.<\/dialogue>\n    <scene_description>Noa loudly slurps up the last bits of her smoothie with her straw and burps.<\/scene_description>\n    <character>MOLLIE<\/character>\n    <dialogue>Never mind I take it back.<\/dialogue>\n    <scene_description>They laugh a bit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - STUDIO APARTMENT - A COUPLE NIGHTS LATER- DUSK<\/stage_direction>\n    <scene_description>Noa is sitting on her small couch with her laptop in her lap and feet on a small mid century coffee table. We see her working on the yucca bag campaign. She's eating Cheezits from the box and also occasionally scrolling through Bumble on her phone. It's all about multitasking. Her apartment is small and the decor is a bit thrown together but not sloppy. A KILL BILL poster in Japanese hangs on the wall above her couch next to some minimalist art and another poster that just says \"Carpe That Fucking Diem\". You get the feeling she went through a bunch of stages in figuring out who she is and just kept all the fazes bunched together in her apartment. A LOUD KNOCK ON THE DOOR. It's jarring. She looks immediately panicked. Even her breathing gets quieter. She mutes the TV. More knocks. They sound kind of aggressive right? She isn't expecting anyone. She tiptoes as slowly and quietly as possible toward the door without being in direct view of the peephole. She creeps up on the door nervously and leans over to it from the side of the door ever so slowly. We see an older woman through the peephole. Noa looks relieved as she opens it.<\/scene_description>\n    <character>OLDER WOMAN<\/character>\n    <parenthetical>(emotionless)<\/parenthetical>\n    <dialogue>I got some of your mail.<\/dialogue>\n    <scene_description>She hands it over.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>You could have texted me? It's kinda scary when someone just knocks on your door at night ya know? It's not like the good ol days.<\/dialogue>\n    <character>OLDER WOMAN<\/character>\n    <dialogue>Mm hm.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>I assumed you were a murderer.<\/dialogue>\n    <character>OLDER WOMAN<\/character>\n    <dialogue>Murderers don't knock.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>True.<\/dialogue>\n    <character>OLDER WOMAN<\/character>\n    <parenthetical>(monotone)<\/parenthetical>\n    <dialogue>They're already inside.<\/dialogue>\n    <scene_description>Noa laughs nervously.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Ok?<\/dialogue>\n    <scene_description>She turns and walks away.<\/scene_description>\n    <character>OLDER WOMAN<\/character>\n    <dialogue>Have a good one.<\/dialogue>\n    <scene_description>Noa watches her for a beat and shuts the door. What a weirdo. Noa walks over to her fridge and opens it. It's sad. An Almond milk, a few moldy strawberries in a container, a couple of seltzers and some deli meat. She winces.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN STREET- NIGHT<\/stage_direction>\n    <scene_description>Noa walks out the front door of her apartment and starts to walk down a quiet street in a hipster neighborhood. It's on the edge of cool but still somewhat grimy and shady. She seems a bit tense and nervous even. Basically just being a woman alone at night. We tilt down to her hand to see her key sticking out in her closed fist. All of our moms taught us this move so we could stab potential assailants with our keys. A rustling sound a little ways behind her. Noa tries to casually look over her shoulder. She sees a man walking but can't make out much else because it's dark. She's nervous. She speeds up a little. She tries to casually look again. He's getting closer. Suddenly, she sees he's walking a dog. Ok. Phew. The dog makes her less tense. She gets to her car and quickly unlocks it jumping in. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMALL GROCERY STORE- NIGHT<\/stage_direction>\n    <scene_description>Noa is meandering around a small local grocery store. She reads the back of a granola bar box and puts it in. She makes her way to the fruit and starts picking up different containers of raspberries trying to find the best ones.<\/scene_description>\n    <character>STEVE (O.S.)<\/character>\n    <dialogue>Have you ever had these?<\/dialogue>\n    <scene_description>Noa lifts her head a bit startled to see a really cute guy talking to her. He's definitely a few years older than Noa but has a warmth to him. And great hair. He's dressed simply but stylish. He looks like he smells good. He's holding out a bag of grapes.<\/scene_description>\n    <character>NOA<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>Grapes?<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Oh no. These are called cotton candy grapes. And I'm not kidding they taste just like them.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Yeah. I'm buying them for my sister and my niece because I told them and they were like no way fuck you and it was a whole thing so I'm getting them now on my way there.<\/dialogue>\n    <character>NOA<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>Your niece said \"Fuck you\"?<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Yeah. 4 year olds are crazy.<\/dialogue>\n    <scene_description>Noa chuckles. He's cute.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>I can tell you don't believe me so you're just gonna have to try one so you don't leave here thinking I'm a weirdo.<\/dialogue>\n    <scene_description>He opens the bag as if to offer her one. She clocks her eyes down to his left hand. No ring. Down to his shoes. Black Chuck Taylors. For some reason that's comforting. She pulls out a grape and chews. She looks happily surprised.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Holy shit.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>See?<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>I guess science ain't so bad.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Fruit breeding for the win.<\/dialogue>\n    <scene_description>They exchange a smile.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Do you live around here?<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Yeah I live over in Echo Park. You?<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>I'm outside of Glendale.<\/dialogue>\n    <scene_description>Steve looks like he wants to say something. A pregnant pause.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>I always hoped I'd meet a cute girl in a grocery store.<\/dialogue>\n    <scene_description>Noa laughs, blushing.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Sorry. That was dumb.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>No. It's ok.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Do you think..I can maybe get your number? Then I can tell my sister a good story when I bring them the grapes.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I've always wanted to meet a cute guy in a grocery store too.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Whoa. It's fate then.<\/dialogue>\n    <scene_description>He smiles big giving her a very subtle glance up and down. A quick moment that you might barely catch. It's normal though right? Something about his smile. Her gut is slightly nervous. Probably because he's so cute. Stop being so weird and paranoid about everything for once. Steve takes out his phone.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>323-555-0938<\/dialogue>\n    <scene_description>He types it in.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>I'm Steve by the way. I didn't even ask-<\/dialogue>\n    <scene_description>He outstretches his hand for her to shake. A firm handshake.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>I'm Noa.<\/dialogue>\n    <scene_description>He types the name into his phone.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>That's a good name. Well, I'll try to play it cool and not text for a day or two but just know that I'll want to. Bye Noa.<\/dialogue>\n    <scene_description>He smiles and walks off leaving her a bit elated. She tries to hide it. Did that just happen?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NOA'S STUDIO APARTMENT - DAY.<\/stage_direction>\n    <scene_description>Noa and Mollie sit on the couch eating Mexican food. Noa looks like she wants to say something.<\/scene_description>\n    <character>MOLLIE<\/character>\n    <dialogue>..And then he goes well that's just your opinion. And I was like well technically it's not because I'm your superior so maybe just fix it?<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Ugh. Fire his ass.<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>Well I can't technically but it's just exhausting.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Totally.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Ok I'm trying to play it all cool and causal because I don't want to jinx it but I met a super hot guy in the grocery store last night and he asked for my number.<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>What?! Who does that?<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>There's not much to tell. He's hot. He was charming. And flirty. But not too flirty? And he asked for my number. Like I met a guy in real life not on an app.<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>Plane, grocery, dog park. These are all the dream places women hope to meet a husband.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Whoa easy. I'm sure it's too good to be true somehow.<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>Stop. Ok well keep me updated the second you hear or make plans or anything.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Of course. Wanna sleepover?<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>I do but I have to get up early for work. We're prepping these team building exercises we're doing with some of the departments.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>You owe me a bunch of juicy HR stories by the way. I still don't even know the details about firing the butt tapper.<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>Oh my boss did it not me. But he said he's gonna sue us. Says he has more respect for women than anyone but all the allegations are from lying bitches who have it out for him.<\/dialogue>\n    <scene_description>Noa scoffs.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Obviously.<\/dialogue>\n    <scene_description>Noa shakes her head and they get back to eating.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NOA'S STUDIO - AFTERNOON<\/stage_direction>\n    <scene_description>Noa walks in her front door with a bag of stuff and an iced coffee. She plops on her couch and opens her laptop ready to work. She opens up the program and starts typing when there's the sound of a text message. She grabs her phone. TEXT: (213)555-3323- \"Ok I waited a day and a half. Hopefully it's cool and aloof enough to ask you for a drink?\" We see Noa smiling from ear to ear. She takes a moment to think of her response. She puts her phone down a moment. She wants to be cool and unavailable too. Oh the games we play. She goes to start working again but on second thought picks up the phone instead and types. \"Perfect balance of interested and aloof. Ha. I'm down for drinks. Any ideas?\" Send. She smiles. Waiting. Tries to do work. We hear the ping of another text.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARK BAR- FEW NIGHTS LATER<\/stage_direction>\n    <scene_description>Noa walks into a dark dingy bar. It's not very crowded. She looks around and sees Steve sitting at the bar. He spots her and jumps off his seat. They exchange slightly awkward hellos when she approaches him.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Please sit!<\/dialogue>\n    <scene_description>She does. She feels nervous and excited.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>So this place is off the beaten path.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>All the cool places are.<\/dialogue>\n    <scene_description>The bartender approaches.<\/scene_description>\n    <character>BARTENDER<\/character>\n    <dialogue>You guys know what you want?<\/dialogue>\n    <scene_description>Steve hands her a menu. Noa looks at the bartender and stares a beat longer. She recognizes him but he wouldn't know her. She looks away.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Some olives would be great. Just need another few for drinks.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>I love olives. I would drink olive juice if it was socially acceptable.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Ha. I would do a lot of things in public if they were acceptable.<\/dialogue>\n    <scene_description>He smiles and hands his card to the bartender.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Let's keep it open.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>So, not to be that guy but tell me more about you. What do you do?<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>I work in graphic design and marketing. Blah blah. I'm freelance right now but working. It's pretty cool.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>So you get to work from home in yoga pants? You don't have to go into an office or anything?<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>That's awesome.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>So what do you do?<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>I work in reconstructive surgery.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Damn! Are you a doctor?<\/dialogue>\n    <character>STEVE<\/character>\n    <parenthetical>(shyly)<\/parenthetical>\n    <dialogue>Yeah. But who cares. We can talk more about that later. So what's your family like? You close with them?<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Not really, no. My Dad died when I was young and my mother and I had a falling out. No siblings. It's a bummer. What about you?<\/dialogue>\n    <scene_description>He stares at her nodding and listening. Taking everything in.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>I'm sorry. I have a sister here and brother in Texas. We're pretty close. My parents were married 30 years and then my Dad died of cancer. They were amazing together though. Friendship, love and respect. The trifecta.<\/dialogue>\n    <scene_description>Noa is smitten. He says all the right things.<\/scene_description>\n    <character>BARTENDER<\/character>\n    <dialogue>You guys ready?<\/dialogue>\n    <scene_description>They look up. FADE TO: BAR- A LITTLE WHILE LATER Noa and Steve are a few drinks in. They're giggling and have loosened up.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>It's not that weird!<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Not even Instagram? Twitter?<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>I just never got into social media. I felt like once I did one then it would be a domino effect.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>I mean I respect you but how am I supposed to stalk you now?<\/dialogue>\n    <scene_description>Steve laughs.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>You can't! Guess you'll just have to get to know me the old fashioned way.<\/dialogue>\n    <scene_description>She playfully leans into him pushing him a bit.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Ugh how boring!<\/dialogue>\n    <scene_description>As she leans into him he puts his arm around her for a moment and gives her a playful squeeze on her upper arm. We're close on the squeeze as he grabs it. He's really feeling it between his fingers. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAR- LITTLE WHILE LATER<\/stage_direction>\n    <scene_description>Steve and Noa stand outside the bar. Noa is a little buzzed.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>This was really fun. You're easy to talk to.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>You too.<\/dialogue>\n    <scene_description>He smiles and with all the confidence in the world leans in and kisses her. It's perfect. After they pull away she looks smitten. She stares up at him smiling like an idiot.<\/scene_description>\n    <character>NOA<\/character>\n    <parenthetical>(buzzed)<\/parenthetical>\n    <dialogue>You're hot.<\/dialogue>\n    <scene_description>Steve chuckles.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>No you are. Let me get you a Lyft.<\/dialogue>\n    <scene_description>He opens his phone. Noa is feeling a flood of buzzed confidence.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Would you like to join me in said Lyft?<\/dialogue>\n    <scene_description>He smiles. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NOA'S STUDIO<\/stage_direction>\n    <scene_description>The door swings open to Noa and Steve kissing. He's grabbing her all over. He takes big handfuls of her ass in his hand. They stop kissing for a moment.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Can I get you anything to drink? Or eat?<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Just you.<\/dialogue>\n    <scene_description>He smiles as they start kissing again and make their way to her bed. She bends over to pick up a few pieces of clothing on the floor to get it out of the way. He looks at her body.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Your ass is delicious.<\/dialogue>\n    <scene_description>We see Noa's face which is away from him. She's blushing but definitely turned on. They fall onto the bed hooking up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NOA'S STUDIO- THE NEXT DAY<\/stage_direction>\n    <scene_description>Noa is walking around her apartment with a towel on after getting out of the shower. Her phone starts ringing. The ringtone is: SONG: THANK YOU FOR BEING A FRIEND BY ANDREW GOLD \"Thank you for being a friend. Travel down the road and back again...\" She picks it up.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>We had sex. It was great.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE - SAME TIME<\/stage_direction>\n    <scene_description>Mollie sits in a cubicle on her cell phone. We intercut the phone call between both places.<\/scene_description>\n    <character>MOLLIE<\/character>\n    <dialogue>Yessss. Two snaps for a modern woman owning her sexuality.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Yeah I wanted to so I did. Boom. I really like him. He was just taking in every inch of my body it was so hot. Made me just feel confident in my own skin.<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>What's his Instagram I wanna stalk a bit.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>He doesn't have one. He's not really on social media at all.<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>What? What do you mean at all? Ok that's shady I'm sorry. Red flag.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Are you kidding? I think it's cool. I know plenty of people that aren't on social media.<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>Name two.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Well, one of my client's said her daughter is against it and-<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>You're proving my point.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Whatever. I like him. Stop raining on my sex parade.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Ohhhh by the way remember Paul that guy you used to hook up with? He was the bartender at that dive bar in the middle of nowhere. He didn't recognize me but he looked good.<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>He was hot but strange. So did Stevey pay for your drinks like a gentleman?<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Oh yeah. Put his credit card down right away. He was no \"this place is cash only\" guy...Ok I should get back to work.<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>Love you.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Love you.<\/dialogue>\n    <scene_description>They hang up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RESTAURANT - FEW NIGHTS LATER<\/stage_direction>\n    <scene_description>Noa and Steve are at a little corner table looking at menus. It's dark and they're tucked away.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>You find very cool places.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Yeah. It's fun to discover new places. I can't decide if I wanna tell people because then everyone will be coming.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Well I feel privileged.<\/dialogue>\n    <scene_description>He smiles then looks back down at his menu.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Let's go crazy. Eat all the food. Stuff ourselves until they have to roll us out. I like a girl that eats.<\/dialogue>\n    <scene_description>She chuckles. He smiles at her.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Sounds good. I never really understood what \"being full\" was anyway. Do you like steak?<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Ok don't judge me but I don't eat animals.<\/dialogue>\n    <scene_description>Noa seems curious.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Wow. No that's great. Is it a health thing or an animal thing?<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Cows are like dogs. Pigs are like dogs. I don't know I just like animals. People are the fucked up ones.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>True.<\/dialogue>\n    <scene_description>Noa is thinking. She feels a little judged possibly but tries to hide it.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>But it's totally fine that you eat meat. I'm not judging you, promise.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Ok.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Plus we can also share all the pasta and fried things right?<\/dialogue>\n    <character>NOA<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>Definitely.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RESTAURANT - A LITTLE BIT LATER<\/stage_direction>\n    <scene_description>Noa and Steve are eating off many plates in front of them. Steve watches her eat her steak.<\/scene_description>\n    <character>STEVE<\/character>\n    <parenthetical>(flirty)<\/parenthetical>\n    <dialogue>So have you told anyone about me?<\/dialogue>\n    <character>NOA<\/character>\n    <parenthetical>(coy)<\/parenthetical>\n    <dialogue>Maybe.<\/dialogue>\n    <scene_description>Steve raises an eyebrow.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>My best friend Mollie.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>What did you say?<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>That I met a cool guy and I like him.<\/dialogue>\n    <scene_description>Steve smiles. There's almost a twinge of calculation behind it but you wouldn't catch it if you weren't looking.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Tell me more about Mollie.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Uhm well we met like 10 years ago working at Starbucks together. She's my closest friend here. Like a sister. Hopefully you'll meet her soon.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>So, have you told anyone about me?<\/dialogue>\n    <character>STEVE<\/character>\n    <parenthetical>(smiley)<\/parenthetical>\n    <dialogue>Maybe. My sister. A few friends. Some business associates.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>And what did you say?<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Wouldn't you like to know.<\/dialogue>\n    <scene_description>The waiter comes by.<\/scene_description>\n    <character>WAITER<\/character>\n    <dialogue>Are you guys all finished?<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Yes I'm stuffed thanks.<\/dialogue>\n    <scene_description>Steve continues to stare and smile at her.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>I can't wait to get to know you more.<\/dialogue>\n    <scene_description>Noa chuckles.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Me too.<\/dialogue>\n    <scene_description>HERE COMES THE \"GET TO KNOW YOU\" MONTAGE Song: -Noa and Steve are getting ice cream. Steve encourages her to get more scoops, she gives in. They eat together walking down the block. -Steve and Noa get out of a shower together. He playfully squeezes her in different places. She giggles. -Steve and Noa eat pizza and pasta together at Noa's place. He puts more pasta on her plate. -Steve and Noa dance together at a small crowded bar. He grabs her everywhere as they dance nibbling on her neck.<\/scene_description>\n    <character>NOA<\/character>\n    <parenthetical>(playfully)<\/parenthetical>\n    <dialogue>What am I a piece of meat?<\/dialogue>\n    <scene_description>He bites her neck again. Maybe a bit too hard.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>You're my piece of meat.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT TIME<\/stage_direction>\n    <scene_description>Steve and Noa walk in the darkness except for the glow of an occasional street light. She looks like she's floating on a cloud. Those feelings of love drunk and the beginning of a relationship when nothing else matters.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>So, I know this is probably fast but would you wanna go away together for the weekend?<\/dialogue>\n    <scene_description>Noa stops walking. She's intrigued. She waits a moment.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Yeah. I would. Where to?<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Can it be a surprise?<\/dialogue>\n    <scene_description>She smiles big. This kind of thing never happens to her.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Ok.<\/dialogue>\n    <scene_description>They keep walking. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NOA'S STUDIO<\/stage_direction>\n    <scene_description>Noa is pacing her small studio on the phone with Mollie.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>It's a surprise!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOLLIE'S OFFICE - CUBICLE<\/stage_direction>\n    <scene_description>Mollie is in her office eating a protein bar behind her laptop with her hair up in a messy bun.<\/scene_description>\n    <character>MOLLIE<\/character>\n    <dialogue>I don't know. I've never even met him. You're all love drunk and going away to god knows where for the weekend. I haven't even seen this guy.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Oh shit I totally forgot. Hold on. I'm sending you a photo of him!<\/dialogue>\n    <scene_description>Noa pulls the phone away from her ear and sends the photo. Mollie receives it and looks. The photo is of Steve sleeping peacefully. His face is a bit covered. His chest and arm are exposed. There are scars on his arm where it looks like he might have been cut.<\/scene_description>\n    <character>MOLLIE<\/character>\n    <dialogue>I mean he looks hot but it's hard to tell, you creep.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>He's very hot.<\/dialogue>\n    <scene_description>Mollie zooms in the photo.<\/scene_description>\n    <character>MOLLIE<\/character>\n    <dialogue>What's on his arm? Some weird scar?<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Probably some cool scar story I'll ask him. Anyway, I'll text you once we get there and let you know everything, ok?<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>Ok. I'm excited for you. It's a girl's fantasy come true.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Right?! Love you.<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>Love you.<\/dialogue>\n    <scene_description>Noa hangs up and starts packing. Cute underwear? Yup. Perfume, toothbrush, dress? Jacket? It's hard to know weather wise what to pack for. She stuffs it all in. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NOA'S APARTMENT BUILDING - NIGHT TIME<\/stage_direction>\n    <scene_description>We're close on a suitcase that's being wheeled out a building and down some steps. Noa is dragging it to Steve's car parked in front. A Tesla. Whoa. He jumps out and takes it from her popping his trunk and putting it in. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVE'S CAR - SOMETIME LATER<\/stage_direction>\n    <scene_description>Noa and Steve drive in silence for a moment as Noa looks out the window. Low music plays on his stereo.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Sorry I had to work so late. I'm excited for you to finally see my place though and then we can leave in the morning.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Yeah. I'm excited. Are you going to tell me where we're going?<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <scene_description>He smiles at her. Staring a beat too long. Noa looks out the window as trees and houses quickly pass by in the darkness as they continue up a hill. The houses become fewer and far between.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Where do you live again?<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Not much further.<\/dialogue>\n    <scene_description>Noa smiles and then turns away looking out the window trying to get a gage on where she is. A moment of nerves wash over her face as she stares out the window. Was this a stupid decision? Is she crazy? She does barely know this guy. She pulls out her phone to text Mollie. She types. \"Hey dude. Going to his place tonight to crash and then leave in the morning. Somewhere in the Glendale mountains. It doesn't even feel like LA!\" She hits send but sees there are no bars left. It just sits there half sent not going through.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Ah, my cell isn't working.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Yeah service is spotty up here.<\/dialogue>\n    <scene_description>Steve maybe notices the nerves on Noa's face as she tries to hide it.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>It should come back at my place though. You ok?<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>They share a smile.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FANCY MODERN HOME - NIGHT TIME<\/stage_direction>\n    <scene_description>Noa and Steve get out of the car which is parked in the driveway of a sleek and modern home on a dead end with no other homes in sight. It's eerily quiet. Just the crickets and night time sounds. Not like normal LA. Noa looks around and takes everything in while Steve grabs her bag.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>It's so quiet up here. It smells good.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Yeah. I love it. Feels far away.<\/dialogue>\n    <scene_description>Noa's eyes click everywhere. WE SEE QUICK CUTS OF WHAT HER EYES ARE SEEING. Click - his home. Click - his car. Click - the empty street. Click - to Steve pulling out her bag. Click - to the woods surrounding the home. Click. The mental photos we all take.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVE'S HOME- NIGHT<\/stage_direction>\n    <scene_description>Noa is walking around Steve's living room with a glass of wine. It feels much warmer on the inside. Not like the uber modern exterior. She feels more at ease. It's very West Elm. He comes from the kitchen behind her as she looks at all of his stuff. Bluetooth speakers sit on a wall table with a bowl for his keys and a manly candle. She picks it up and smells it and smiles as she looks around.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Sizing me up?<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Oh yeah. Good scent. I approve.<\/dialogue>\n    <scene_description>Click. Her eyes dart around the room again taking in her surroundings. Click - Fancy leather chair. Click - refurbished wood floors. Click- his sneakers at the door. Click - his keys in the bowl. She quickly remembers something as she grabs her phone from her back jean pocket and looks at the text. There still isn't service. Steve notices.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Do you have Wifi? Still no service.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Only a router. Hardwired house.<\/dialogue>\n    <scene_description>He chuckles. Is he joking? She chuckles too.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Appetizers are ready. I actually made a signature cocktail not a big deal.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Oh really?<\/dialogue>\n    <scene_description>She follows him into... THE KITCHEN - CONTINUOUS It's modern and clean. Too clean? Three different sets of knives sit in blocks across his countertop. He looks like quite the chef. Click, Noa's eyes go to the knives. Click, to the table setting, Click to him finishing up the drinks on a small rolling bar in the corner. He stirs with a drink stirring spoon. As he pulls it out he licks it. She watches him.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Perfect. Ok this is my version of an Old Fashioned with a twist.<\/dialogue>\n    <scene_description>He hands her the drink he tried off the spoon and picks up his own. She looks down at the drink. A twist of orange peel and a cherry. He tasted hers it's probably fine. Why are these crazy thoughts even entering her head? Why didn't she get the wifi password yet? Why is her gut talking to her? Shut up gut. She looks up to see him holding out his cocktail.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Cheers to a great weekend.<\/dialogue>\n    <scene_description>She lifts her drink still a dash of apprehension underneath.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>So, are you gonna tell me where we're going?<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>You don't like surprises huh?<\/dialogue>\n    <scene_description>Noa shrugs with a slight smile.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Ok well... I'm taking you to Joshua Tree. I found this amazing AirBnB with a hot tub under the stars.<\/dialogue>\n    <scene_description>Her eyes and smile get big. What was she even thinking? It's hard to figure out your gut from your paranoia sometimes. She clinks his glass.<\/scene_description>\n    <character>NOA<\/character>\n    <parenthetical>(giddy)<\/parenthetical>\n    <dialogue>Yay! I'm so excited. Cheers.<\/dialogue>\n    <scene_description>She takes a big sip of her drink.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>That's really good.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Right? I make a mean cocktail.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Come sit.<\/dialogue>\n    <scene_description>He motions to the table. She sits.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Take another sip. Notice an interesting flavor?<\/dialogue>\n    <scene_description>She takes another sip as he watches her. Rolling the flavors around her mouth.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Peach?<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Nope. Close. Try again.<\/dialogue>\n    <scene_description>He looks at her deeply. His eyes piercing into her. She sips. He looks at the drink.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Apricot?<\/dialogue>\n    <scene_description>He takes a sip of his.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Oooh. So close.<\/dialogue>\n    <scene_description>She sips again. Looking at him over her glass. Her heart beats a little faster.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Nectarine?<\/dialogue>\n    <scene_description>Steve smiles. He seems at ease in a strange way that makes Noa uncomfortable. Even his posture seems different suddenly.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>You got it.<\/dialogue>\n    <scene_description>Steve stands up and goes to the counter. Noa watches him, feeling uneasy again. He turns around holding a cheese plate and brings it back. He sits and picks up his drink to clink her glass. They do and he drinks. She follows and takes a deep exhale imploring herself to relax. She can't seem to slow down her heartbeat. She looks around the kitchen again. Click, click, click with her eyes. In the corner of the floor near the oven is a tiny dark red smear. You'd easily miss it. She stares at it a beat.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>So have you ever been to Joshua Tree?<\/dialogue>\n    <scene_description>He snaps her out of her stare.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>No but I've always wanted to go.<\/dialogue>\n    <scene_description>He cuts a piece of soft cheese and spreads it on a cracker. Another quick smile from Steve as if there's some inside joke only he is in on. He chews slowly as she watches. She feels strange, sleepy, groggy, and then suddenly....BOOM. BLACK Nothing. Darkness. Just the sound of breathing. Slow and steady and scared. A FLASH of.. Eyes looking up at Steve. They wobble side to side as if looking out from the eyes up to him. Noa is being held up. Most likely drunk. A FLASH of.. A large metal door in a small hallway with a padlock. The camera whips to the other side to see Steve walking toward it. A FLASH of.. Steve going through Noa's things. Pulling out her stuff from her purse. BLACKNESS More breathing. The camera is in the point of view of eyes slowly opening. Blurry light pours in as the location ever so slowly comes into focus. Gray walls. A small trash can. A door. Epoxy floors. As the room is now in focus we see..<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMALL ROOM - WHO KNOWS WHERE OR WHAT TIME<\/stage_direction>\n    <scene_description>Noa is wearing her outfit from before but without shoes. Her makeup is a bit worn off and her hair is tousled. She sits up on a mattress with a cozy throw blanket folded at the end. The mattress sits on the floor in the corner of a windowless room. But there's weird warmth to the room. A pretty patterned rug next to the bed. A cool tissue box. A mid century light hanging from the ceiling. A pretty lamp on the side table. It's, confusing? Suddenly she realizes her right wrist is handcuffed to the bedpost. She pulls at it, freaking out, jiggling it, looking at it. Her breathing gets fast and heavy as she looks around trying to get her bearings. This can't be real. She's dreaming. It's a nightmare. What happened? Where the fuck is she?!<\/scene_description>\n    <character>NOA<\/character>\n    <parenthetical>(croaking out words)<\/parenthetical>\n    <dialogue>Hello...<\/dialogue>\n    <scene_description>She gets choked up but stops herself from fully crying.<\/scene_description>\n    <character>NOA<\/character>\n    <parenthetical>(louder now)<\/parenthetical>\n    <dialogue>Hello!<\/dialogue>\n    <scene_description>She puts her feet on the ground. Looks down at the trendy rug. Fuzzy slippers sit on the rug.<\/scene_description>\n    <character>NOA<\/character>\n    <parenthetical>(screaming)<\/parenthetical>\n    <dialogue>Hello! Hello! Someone! PLEASE!<\/dialogue>\n    <scene_description>She swallows hard and tries to slow her breathing. She suddenly reaches for her back pocket with her left hand awkwardly going into them. She comes up empty. FOOTSTEPS. Creaking from somewhere above. She hears them and her breathing gets so fast. She tries her best to put on a brave face. She looks at the handcuff. It's a futile effort. The steps arrive at her door. The slow sound of a window on the door being slid open. Steve's eyes appear. They look different now.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Hi cutie.<\/dialogue>\n    <scene_description>The sound of a key going in. Then another key. Double locks. As the door swings open there's Steve. Almost looking apologetic and embarrassed. What the fuck?<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>You sleep ok?<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>What the fuck is going on!? Take this handcuff off NOW!<\/dialogue>\n    <scene_description>She tries to sound authoritative. It's not quite working.<\/scene_description>\n    <character>STEVE<\/character>\n    <parenthetical>(exhaling)<\/parenthetical>\n    <dialogue>I can't do that.<\/dialogue>\n    <scene_description>She gets choked up again. She can't help it and starts crying. She pulls at her wrist trying to break the handcuff off somehow.<\/scene_description>\n    <character>NOA<\/character>\n    <parenthetical>(through tears)<\/parenthetical>\n    <dialogue>I'm so fucking stupid! I'm so fucking stupid!<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>No you're not. Come on, buck up. Do you need a tissue?<\/dialogue>\n    <scene_description>He motions to the cool tissue box. She sniffles in the snot and tries to compose herself.<\/scene_description>\n    <character>NOA<\/character>\n    <parenthetical>(through tears)<\/parenthetical>\n    <dialogue>Why are you doing this?<\/dialogue>\n    <scene_description>Steve exhales and makes a sound when your lips flap together as you exhale.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Ok I'm not trying to make this all scary and keep you in suspense. So I'm gonna tell you but you're probably gonna freak out.<\/dialogue>\n    <character>NOA<\/character>\n    <parenthetical>(nervously)<\/parenthetical>\n    <dialogue>Are you going to rape me?<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>What?! No! Ew. I would never. I like you.<\/dialogue>\n    <parenthetical>(exhale, beat)<\/parenthetical>\n    <dialogue>I'm, gonna sell your meat.<\/dialogue>\n    <scene_description>Her face goes from sadness to disgust to fear to WHAT THE FUCK?!<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>And eat you. Sorry. People pay a lot of money for that sweet meat. And your hair and weird shit like that. Not my bag but I don't judge. And listen, I'm gonna keep you alive and happy as long as I can unless you act up. I'll make sure you don't even feel your body parts being removed. I'm a doctor, remember?<\/dialogue>\n    <scene_description>Noa starts crying again.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>I tried to make your space cozy. Thought the rug was very \"you\".<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>This isn't fucking happening...<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Yeah, it is. It'll take a little time to accept and then hopefully you just sorta give in and everyone is happy. Who knows, you could be alive for a while! The fresher the meat the better so I really don't want to kill you. But you know you won't have much left eventually and blah blah blah you'll bleed out and die. It's gross you don't need to hear it.<\/dialogue>\n    <character>NOA<\/character>\n    <parenthetical>(through tears)<\/parenthetical>\n    <dialogue>I don't wanna die.<\/dialogue>\n    <character>STEVE<\/character>\n    <parenthetical>(disturbingly chipper)<\/parenthetical>\n    <dialogue>I mean, we all die, right? Listen, why don't you calm down for a bit and then we can have you eat a nice big meal and have a hot shower. I'd love to fatten you up some more this week before we start. You're skinnier than most but don't worry.<\/dialogue>\n    <scene_description>She lunges out of bed and brings the bed with her just an inch, her arm still handcuffed but it keeps her put for the most part. He jumps ever so slightly just from the surprise of her jumping up.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>You evil fucking asshole!<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Don't be fresh. I like you. I liked fucking you. I really do think you're special. That doesn't take any of that away.<\/dialogue>\n    <scene_description>Noa sits and stares at him disgusted.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Where am I?<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Where you'll always be. Get comfortable.<\/dialogue>\n    <scene_description>He smiles and shuts the door. We hear the double lock followed by walking and footsteps in the near distance going upstairs and another door closing. Noa sniffles and tries to stop herself from heaving. Those heaving breathes like when you've cried too much as a kid and you just can't control it. She looks around the room again. In the corner near her bed the paint is chipping. She leans down and with her nail makes a line on the wall as if it's a \"1\" for the first day. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMOOTHIE SHOP - DAY TIME<\/stage_direction>\n    <scene_description>Mollie is standing near where they are serving smoothies waiting for hers. She's on her phone.<\/scene_description>\n    <character>MOLLIE<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Hi, it's me again. Where the fuck are you? You're getting me all freaked out. I don't think any of my texts have even been delivered and your location isn't showing up you said you'd leave it on in case. Don't make me call the cops bitch. Call me back or text me! And I wanna hear where he took you!<\/dialogue>\n    <scene_description>She hangs up and sees her smoothie is ready. She grabs it and goes to get a straw. As she's walking out she hears her phone buzz. She pulls it out. TEXT: \"Hi bitch. Sorry no service here. We're in Joshua Tree! Extending the trip. I need a long break after my job. It's beautiful.\" Mollie stares at it for a moment. Something doesn't feel right. We all know the way our friends text us. She starts to type but isn't sure what to say. Finally she does.. TEXT: \"When can you talk? I wanna hear your voice. Send a pic of where you are!\" Sent. A moment or two before the three dots show up. Then disappear. Show up again. Mollie waits frozen at the door forgetting the world around her. Someone tries to get by.<\/scene_description>\n    <character>PERSON<\/character>\n    <dialogue>Excuse me.<\/dialogue>\n    <scene_description>Mollie looks up and lets them through. Her phone dings. TEXT: \"Ok I'll try! Service is spotty. I love you. I have to go.\" Mollie reads this. It doesn't sit right. She walks out with her smoothie toward her car in a bit of a daze. DING. She looks. It's a pretty sunset photo from Joshua Tree. Mollie's furrowed brow releases a bit and she smiles a tiny bit. She's crazy, everything is fine.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NOA'S NEW DIGS - MAYBE NIGHT TIME?<\/stage_direction>\n    <scene_description>Noa is staring off zoned out. Who knows how long she's been sitting there. Suddenly she snaps out of it.<\/scene_description>\n    <character>NOA<\/character>\n    <parenthetical>(frantic)<\/parenthetical>\n    <dialogue>Hello! Hello! Helloooooo! Steve!<\/dialogue>\n    <scene_description>She looks at her handcuff and inspects it. There's got to be a way to get it off. She hears footsteps. The door locks click as Steve opens to the door.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>How you feelin?<\/dialogue>\n    <character>NOA<\/character>\n    <parenthetical>(seemingly defeated)<\/parenthetical>\n    <dialogue>I have to go to the bathroom.<\/dialogue>\n    <scene_description>He motions over to the bucket on the floor. Next to it is a little stack of toilet paper. She lifts her handcuffed hand.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Well I can't reach it.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Good point.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Please. Let me use a toilet. You can handcuff both my hands.<\/dialogue>\n    <scene_description>Steve thinks a beat.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Ok. But don't be fresh.<\/dialogue>\n    <scene_description>Steve keeps the door slightly ajar. Click, Noa's eyes go outside the door. There's a hallway across from another door. Steve goes into a pocket and pulls out a set of keys. Click, her eyes go to the keys. He shuffles through them as he walks over. She stares at him emotionless.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Put out your other hand.<\/dialogue>\n    <scene_description>She does.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>And don't move.<\/dialogue>\n    <scene_description>Steve goes to handcuff her hands together in front of her. She stares at him, calculating. Could she attack him now, try to run out the door? Probably not.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Up we go.<\/dialogue>\n    <scene_description>He pulls her up and holds her arm as they walk out the door. Click, her eyes go to the hallway, click, to other doors. Click, there are stairs at the end of the hall. Click, to the top of the stairs there's another door which is shut. An overhead light shines dimly in the hallway. Steve stops in front of a door at the end and opens it. He clicks on a light to reveal a small gross bathroom with a toilet, a shower and a stained bathmat. There's no window. Steve nods for her to go. She sits down on the toilet emotionless. Her eyes click to everything in the bathroom but it's pretty empty. A single small towel hangs on a rack. The sound of her peeing against the more than awkward silence. She awkwardly wipes with the handcuffs on. Stands up and tries to wash her hands.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>You'll need a shower soon.<\/dialogue>\n    <scene_description>She looks over. It's really gross.<\/scene_description>\n    <character>NOA<\/character>\n    <parenthetical>(innocently)<\/parenthetical>\n    <dialogue>Can I shower upstairs?<\/dialogue>\n    <scene_description>He stares at her. Sizing her up.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Maybe. But not tonight.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>It's night time?<\/dialogue>\n    <scene_description>Steve nods. He grabs her handcuffed arms and brings her back to the room.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>I'm not coming back down tonight, ok? So stop screaming. I won't handcuff you to the bed so we can work on trust and you can get some rest.<\/dialogue>\n    <scene_description>He smiles and kisses her on the forehead. Sits her down on the bed and takes off the handcuffs. She tries her best to maintain composure. Everything in her wants to attack him with all her might in that moment but she knows she couldn't get away. He leaves as she hears the doors lock followed by the footsteps. Her eyes well up with tears again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NOA'S NEW ROOM - HOURS LATER<\/stage_direction>\n    <scene_description>Noa is on her side curled up in the fetal position staring into space. Her mind filling with all of the places she could be, all of the things she could be doing, the sunlight, the world. This can't be real.<\/scene_description>\n    <character>NOA<\/character>\n    <parenthetical>(screaming)<\/parenthetical>\n    <character>FUUUUUUUUUUCK!<\/character>\n    <dialogue>She sits on the ground defeated. Then slowly walks over to the door and crouches down trying to see if she can see anything under the door. It's barely a slit of light.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>HELP ME! HELP ME! FUCKING HELP<\/dialogue>\n    <character>MEEEEEEEEE!!!!!<\/character>\n    <dialogue>She's out of breath. As she catches it a quiet slightly muffled voice...<\/dialogue>\n    <character>WOMAN'S VOICE (O.S.)<\/character>\n    <parenthetical>(calmly)<\/parenthetical>\n    <dialogue>He's not here.<\/dialogue>\n    <scene_description>Noa is shocked. She tries her hardest to look under the door.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Hello? Who are you? Please help me! Please! I'll do anything.<\/dialogue>\n    <scene_description>The voice laughs a bit.<\/scene_description>\n    <character>WOMAN'S VOICE (O.S.)<\/character>\n    <dialogue>I can't help you. I'm in the same boat girlie.<\/dialogue>\n    <scene_description>Noa starts crying.<\/scene_description>\n    <character>WOMAN'S VOICE (O.S.)<\/character>\n    <dialogue>Don't cry. It's a waste of energy. What's your name?<\/dialogue>\n    <scene_description>Noa tries to stop herself.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Noa.<\/dialogue>\n    <character>PENNY (O.S.)<\/character>\n    <dialogue>I'm Penny. I'm from Phoenix. I was visiting LA. Met Steve. Blah blah blah, now I'm being eaten.<\/dialogue>\n    <scene_description>Noa reacts. Penny is strangely matter of fact in a way that comforts Noa.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>How long have you been here?<\/dialogue>\n    <character>PENNY (O.S.)<\/character>\n    <dialogue>Hard to say. Probably almost a month.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>People have to be looking for you! Your family, the police, people have to be searching by now.<\/dialogue>\n    <scene_description>Penny chuckles.<\/scene_description>\n    <character>PENNY (O.S.)<\/character>\n    <dialogue>Yeah I don't really have much family. So I doubt it.<\/dialogue>\n    <scene_description>Noa thinks, realizing it's probably part of the reason he picked her.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Me neither.<\/dialogue>\n    <character>PENNY (O.S.)<\/character>\n    <dialogue>He definitely knew that. He leaves at night. I don't know where he goes but it's almost every night I think. We should start sharing information.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Ok. Are you...missing any...I don't know how to-<\/dialogue>\n    <character>PENNY (O.S.)<\/character>\n    <dialogue>Yeah. It's not pretty.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Are there others?<\/dialogue>\n    <character>PENNY (O.S.)<\/character>\n    <dialogue>There were. Just one other now besides us I think.<\/dialogue>\n    <scene_description>Noa sits and thinks taking in all of this information.<\/scene_description>\n    <character>PENNY (O.S.)<\/character>\n    <dialogue>MELISSA! You hear me girl?!<\/dialogue>\n    <scene_description>Penny shouts this pretty loud. Suddenly muffled a little bit further from where they are Noa hears something strange. Someone is doing the sounds of drums with their mouth.<\/scene_description>\n    <character>MELISSA (O.S.)<\/character>\n    <parenthetical>(singing Phil Collins)<\/parenthetical>\n    <dialogue>I can feel it coming in the air tonight....hold on.. I've been waiting for this moment for all my life...<\/dialogue>\n    <scene_description>Noa tries to figure out what the fuck is going on.<\/scene_description>\n    <character>PENNY (O.S.)<\/character>\n    <dialogue>She's lost her mind. I get it.<\/dialogue>\n    <character>MELISSA (O.S.)<\/character>\n    <parenthetical>(yelling)<\/parenthetical>\n    <dialogue>Fat guy in a little coat! Fat guy in a little coaaaaat!<\/dialogue>\n    <scene_description>Noa smirks slightly. She can't help herself. A moment of levity among the madness.<\/scene_description>\n    <character>PENNY (O.S.)<\/character>\n    <parenthetical>(to Melissa)<\/parenthetical>\n    <dialogue>Bitch you're crazy!<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>We gotta get outta here.<\/dialogue>\n    <character>PENNY (O.S.)<\/character>\n    <parenthetical>(chuckles)<\/parenthetical>\n    <dialogue>Oh yeah totally. Get some rest. You're gonna need it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOLLIE'S OFFICE - CUBICLE - DAY TIME<\/stage_direction>\n    <scene_description>Mollie sits at her desk eating a boring salad. She opens up Google on her desktop and types \"Steve, doctor, Los Angeles.\" Too many links show up. She rolls her eyes. She texts Noa. We see the back of Mollie's phone case covered in cute pink sloths. TEXT: \"How's it going? Send more pics!\" The texts delivers. Mollie googles again. \"Steve. Reconstructive Surgeon, Los Angeles.\" So many links. She goes to google image. So many different faces. Ugh. Ding. She looks. It's a text from Noa. TEXT: \"So great! Having the best time. Need a technology break though so shutting my phone off for a bit.\" She sees this and feels worry all over again. She scrolls through texts between her and Noa trying to decipher anything. She gets to the photo of Joshua Tree at sunset and clicks it to make it bigger. It's beautiful. Perfect. Too perfect. She stares. She plucks it in an email and sends it to herself from her phone. She opens her email on her computer and takes the photo and plucks it into Google images doing a reverse search. It quickly matches to Palmspringslife.com. Fuck. It's not her photo. It's plucked from a website. She sits up. Something is seriously wrong. TEXT: Call me it's an emergency!!!!!!!!! She watches and waits to see the text deliver. It doesn't. Music starts as we stare at Mollie's nervous face... PRE-LAP: Song: GLORIA by Laura Branigan Music starts as we cut to...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVE'S KITCHEN - DAY TIME<\/stage_direction>\n    <scene_description>The song blasts as we see the back of Steve wearing an apron at his kitchen island wiggling his butt happily to the music. We hear a buzzing. THIS ENTIRE SCENE PLAYS OUT TO THE SONG. As we face him we see he's using an electric knife to slice into a LARGE calf. It's tough but working decently. His apron has two big cookies on it where breasts would be and it says \"Check out these cookies.\" It's splattered in blood. He's slicing the meat off of it and putting it into a bag that's filled with other meat slices. His gloved hands are slightly bloody. He licks his fingers. He vacuum seals the bag and tosses it into a large box filled with ice packs. He sings GLORIA to the calf. On the kitchen table is a stack of photos. On the top is a photo of a woman in one of those INSTAGRAM museums giving a peace sign and smiling. Next to that is a folded tank top. He momentarily takes off his gloves and goes into a purse sitting in a chair. He pulls out a small perfume and sprays the tank top. He smells the tank top. Perfect. Quick cuts of him filling coolers with dry ice and packaged meats. A few different packages. More quick cuts of other boxes filled with meat and items from women. Photos, clothing, jewelry, makeup. These boxes are wrapped with fancy tissue paper and a bow. After we watch these boxes be filled we cut to them lined up near the front door. Steve opens a flip phone. He dials and talks briefly on the phone but we don't hear it over the music. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STEVE'S HOUSE - SOMETIME LATER<\/stage_direction>\n    <scene_description>A large dark SUV pulls up. A man comes out and takes all of the packages placing them meticulously in his trunk.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OPEN ROAD- LATER<\/stage_direction>\n    <scene_description>The SUV drives and drives. Through day and night. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN STREET- AFTERNOON<\/stage_direction>\n    <scene_description>The man pulls up to a gigantic house. A cop car is parked in the driveway. We watch the man bring the package to the door. An older white man answers the door and takes it, shaking hands with the driver. He quickly leaves. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MEGA CHURCH - NIGHT TIME<\/stage_direction>\n    <scene_description>The SUV pulls up. The driver goes to the back office of a mega church. A black man answers in a brightly colored suit. You get the feeling he's the preacher at this mega church. He takes the package and brings the driver into an awkward hug. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OPEN ROADS - EARLY MORNING<\/stage_direction>\n    <scene_description>The SUV continues to drive.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN STREET- DAY TIME<\/stage_direction>\n    <scene_description>The SUV pulls up to another massive gaudy mega-house. In the front yard is a political sign to vote GREG SMITH for City Controller with a man's smiling face giving a thumbs up in one corner. The driver spots this and rolls his eyes. The door opens and it's the guy on the sign. He takes the package and gives the driver a condescending pat on the arm as he walks off and back to the car. As the door shuts the song abruptly ends and the scene cuts out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVE'S KITCHEN - EVENING<\/stage_direction>\n    <scene_description>Steve is at his kitchen sink scrubbing his hands aggressively with soap. Suddenly a very low voice is heard. More sounds. The voice comes into focus more.<\/scene_description>\n    <character>NOA (O.S.)<\/character>\n    <dialogue>STEVEEEEEE!!! STEVE!!!!<\/dialogue>\n    <scene_description>He exhales slightly annoyed and cleans up a bit. He picks up a wrapped up calf and walks down a hall to a nearby door and opens it. It's a walk in freezer. Different body parts sit on shelves. A leg, a torso, breasts. He puts the calf in it. As he walks out and shuts the door he hears Noa again.<\/scene_description>\n    <character>NOA (O.S.)<\/character>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NOA'S NEW DIGS<\/stage_direction>\n    <scene_description>Noa sits in front of a half eaten plate of food. Pasta with cream sauce, a large piece of cake with frosting, french fries. A small vase with flowers. She taps it against the table. It's plastic. She looks different. A little angrier. She hears the footsteps and softens her face. The door unlocks.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Hi sugar. Did you like your meal?<\/dialogue>\n    <scene_description>She nods emotionless.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Good.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Do you think I can shower upstairs now? I smell.<\/dialogue>\n    <scene_description>He stares at her a beat.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Well that's no good. Are you gonna be a good girl?<\/dialogue>\n    <scene_description>She nods. Click, her eyes go to his shirt. Tiny blood stains. Click, down his shoes, same thing.<\/scene_description>\n    <character>STEVE<\/character>\n    <parenthetical>(flirty)<\/parenthetical>\n    <dialogue>Are you gonna need help in the shower?<\/dialogue>\n    <scene_description>She stares at him, blinking, is he fucking serious? She's careful with her answer.<\/scene_description>\n    <character>NOA<\/character>\n    <parenthetical>(emotionless)<\/parenthetical>\n    <dialogue>No. I don't think so.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>I wish you'd loosen up a little. If you could relax it'd make everything easier. For you too, I promise. Come on, gimme a smile.<\/dialogue>\n    <scene_description>She stares at him blankly then gives him a smile only with her mouth not with her eyes.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>There she is.<\/dialogue>\n    <scene_description>He takes out handcuffs and implores her to stand up.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Put your hands out in front of you.<\/dialogue>\n    <scene_description>He walks up and handcuffs her hands together. They walk out of the room. CUT TO: TOP OF THE STAIRS - CONTINUOUS He walks out of the stairwell closing the door behind him and locking it. The sound of her heartbeat. Getting faster. She can hear it so loudly in her ears. She tries to control her breathing. We hear it slow a bit. He holds her arm as they walk through the hallway past the kitchen. Click, her eyes go to the kitchen, click, to the many knives on the counter, click to the blood stained cutting board. Click, to the front door, click to a large metal door in the hallway they pass. They get to the bathroom. It's strangely warm but mostly clean and empty. Cool soap dispenser, toothbrush holder. Click, to the toilet. Click, to the plunger next to it. He holds onto her arm quite tightly as he opens the cabinet under the sink to get a fluffy towel.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>There's body wash in the shower.<\/dialogue>\n    <scene_description>She just stares at him and nods. Thinking. Plotting. Planning.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>I'll get you fresh clothes.<\/dialogue>\n    <scene_description>He handcuffs her to the towel bar on the sliding glass door in the bathroom. He leaves for a moment and comes back with some clothing folded. He picks up her underwear and looks.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Ooh sexy. Were you gonna wear this for me on our vacation?<\/dialogue>\n    <scene_description>He starts the shower for her as he unlocks her handcuffs. She gets undressed as he watches and gets into the shower. We're in the shower with her as she has a moment of peace. The warm water washes over her as she rinses her face. She closes her eyes a moment pretending she isn't there. Listening to the sound of the water hit the shower floor. Steve sits on the toilet looking at her silhouette through the glass. Watching her. Giving her the once over. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Noa is dressed and barefoot in the bathroom with damp hair. Steve is about to handcuff her again when they hear a sound. Muffled but loud coming from the basement. Possibly Melissa being crazy. For a brief moment before Noa is handcuffed Steve turns away from her to listen to the sound as it happens again. As he's about to turn back to face her, Noa feels rage well up inside her. Her brief opportunity is about to pass. Silence as he listens again. BAM! SUDDENLY, Noa grabs his hair as hard as she can PULLING HIM and kicking him in the back. She dives for the plunger and grabs it hitting him with the wooden handle as hard as she can in the body and head. He turns to face her. He slams her HARD into the wall. She falls. As he leans down to grab her... She DIGS her nails into his neck and face. She KICKS at whatever her feet can reach. Her body takes over with blind rage. She's screams visceral expletives. He grabs hold of one of her wrists. She BITES his hand. He SCRATCHES and GRABS at her face as she does that. She's strong but he's obviously stronger. He leans down trying to pick her up as she fights. It's MESSY and GRUESOME and there are no quick cuts just a brutal bloody fight.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>YOU FUCKING MONSTER!<\/dialogue>\n    <scene_description>He's gaining momentum and she's losing badly. She CLAWS at his face scratching and bloodying him. She punches him in the nose and it starts bleeding. You can tell it hurt.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>BAD! GIRL!<\/dialogue>\n    <scene_description>He's smiling. Strangely turned on. They're facing each other now and she's no match. She wriggles out of his grip on the floor of the bathroom trying to crawl out. She KICKS and SCREAMS as he comes toward her. She rolls over and kicks him in the knees and shins and tries to crawl out the door again. Steve laughs. Does she really think she's going anywhere?<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>You're so feisty!<\/dialogue>\n    <scene_description>He lets her crawl for just a moment amused by her will. Then suddenly he grabs her by the shoulders, picks up her head and BAM! He SLAMS it into the tile bathroom floor in one swift move. She's out cold. DARKNESS The low sounds of RESTLESS HEART by Peter Cetera play over the darkness. We hear the sound of Noa breathing. As she opens her eyes the music gets louder and her blurry surroundings come into focus. She is face down laying on a metal table. She's groggy and disoriented. Suddenly she hears Steve singing along to the song. Her eyes are focused now as she sees a table to her left filled with operating tools and equipment. She tries to turn her head but barely can.<\/scene_description>\n    <character>STEVE<\/character>\n    <parenthetical>(singing)<\/parenthetical>\n    <dialogue>I don't want to lose you I don't want you walking away We're so good together Tell me it's forever, 'cause I want you to stay...<\/dialogue>\n    <scene_description>She tries to struggle but can't move. I CAN'T MOVE.:<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>It's for your own good you little firecracker. Girls are so funny. I gave you an epidural. You shouldn't feel..much.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>What the fuck are you doing?!<\/dialogue>\n    <scene_description>She hears some tools starting up and then leans down right by her face.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>I'm gonna eat your ass.<\/dialogue>\n    <scene_description>He laughs. Noa slowly realizes what he's doing.<\/scene_description>\n    <character>NOA<\/character>\n    <parenthetical>(begins to cry and panic)<\/parenthetical>\n    <dialogue>No no no no no no. PLEASE! PLEASE! I'll do anything!<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>You lost my trust Noa. So there has to be consequences.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>You understand that. Plus, I have customers waiting.<\/dialogue>\n    <scene_description>He leans down right near her face.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>You might smell something. I'm cauterizing you so you won't be a bloody mess. See? I'm nice!<\/dialogue>\n    <scene_description>Noa just cries. He watches her a moment. Then wipes a hand on her cheek wiping away a tear. Then he licks it.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>I can't wait to taste you.<\/dialogue>\n    <scene_description>He mashes his mouth together. The sounds get louder as she SCREAMS! He makes the music louder to drown her out. It's a chaotic cacophony of sounds; the song, the screaming, him singing REALLY loudly and the tools burning her skin open and SLICING OFF HER ASS CHEEKS. He's screaming over the music.<\/scene_description>\n    <character>STEVE<\/character>\n    <parenthetical>(yelling over everything)<\/parenthetical>\n    <dialogue>Don't worry I'm gonna sew your skin back on and leave some muscle so you'll be able to walk a little longer. See? I'm cool!<\/dialogue>\n    <scene_description>FLUMP. On that a large, jiggly, bloody ass cheek is SLAPPED down onto a metal table nearby where he is operating. Noa sees this. She hyperventilates and screams with pure visceral horror and rage. As she screams we... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARK BAR- SAME TIME<\/stage_direction>\n    <scene_description>The low echo of her scream can still be heard inside the bar as Mollie walks in. For a beat it's almost as if Mollie can feel the scream. As she opens the door light from the day pours in but quickly disappears as the door closes. She approaches the empty bar with one man at the end drinking a beer and another man sitting quietly at a table. It's a depressing scene. Mollie spots the bartender who is the same one from Steve and Noa's date. She approaches him.<\/scene_description>\n    <character>MOLLIE<\/character>\n    <dialogue>Paul. Hi. Thanks for letting me stop by.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>No problem.<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>I know it's really weird and was hard to explain in text.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>I sill can't give you his info Mollie. If I even had it.<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>Please. It's the only connection I have. My best friend is missing and I know this mother fucker has something to do with it.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Then go to the police.<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>And say what? My friend went away with a guy and extended her trip and she's texting me but I know it's not her?<\/dialogue>\n    <scene_description>Paul just looks at her and shrugs.<\/scene_description>\n    <character>MOLLIE<\/character>\n    <dialogue>She wouldn't just disappear like this. Please. I'm begging you.<\/dialogue>\n    <scene_description>Paul softens a bit. Is she breaking through to him?<\/scene_description>\n    <character>MOLLIE<\/character>\n    <dialogue>I'm desperate and I'm fucking scared. I gave you the date and time they were here. She told me you were their bartender and he used a credit card. You could get me his full name.<\/dialogue>\n    <scene_description>She looks desperate and even a bit choked up.<\/scene_description>\n    <character>MOLLIE<\/character>\n    <dialogue>Please. Please!<\/dialogue>\n    <scene_description>He stares at her. Paul takes a deep breath.<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>(softens)<\/parenthetical>\n    <dialogue>Let me think it over.<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>Thank you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NOA'S ROOM - WHO KNOWS WHAT TIME<\/stage_direction>\n    <scene_description>The Fade in and out of a nail digging into the wall signifying the days there. Finally a 9th scratch is made. Noa is laying on her floor mattress staring at a wall. She looks pained and defeated. Next to her on the ground is a glass of water in a plastic cup, a full plate of fattening food, a napkin, some pills and a small stack of magazines. She grabs a handful of mashed potato with her hand and eats it.<\/scene_description>\n    <character>PENNY (O.S.)<\/character>\n    <dialogue>Hey. How's your ass?<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Still gone.<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Ha. I meant like-<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>I know. Pain meds are helping me not care as much. They're fucking strong.<\/dialogue>\n    <character>PENNY<\/character>\n    <parenthetical>(sarcastically)<\/parenthetical>\n    <dialogue>He's so caring right?<\/dialogue>\n    <scene_description>She chuckles. Noa gives the slightest smirk.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>He gave me magazines. They're so old. Worse than the dentist's office.<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Damn I never got magazines. You probably won't be the favorite much longer.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>I just wanna fucking hurt him. Torture him. Kill him.<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Me too. It's the only thing I think about anymore. Crazy that we fucked him right? Ugh, men. Anyway. Can you walk yet?<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>A little.<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Get your strength. You're gonna need it. It won't be long before he takes more.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>He's not getting anymore.<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Thatta girl. Night sweet Noa.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Night Penny.<\/dialogue>\n    <character>PENNY<\/character>\n    <parenthetical>(yelling)<\/parenthetical>\n    <dialogue>Night Melissa!<\/dialogue>\n    <character>MELISSA (O.S.)<\/character>\n    <dialogue>AND GOD, BLESS US, EVERYONE!<\/dialogue>\n    <scene_description>Noa listens to this and nods a bit. She leans over and grabs another bite of food with her hands. She grabs a magazine and looks at the cover. COSMOPOLITAN MAY 2014 She flips through it like a zombie not really caring. She puts it down on top of a few others and curls on her side trying to close her eyes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOLLIE'S OFFICE - DAY TIME<\/stage_direction>\n    <scene_description>Mollie looks tired and melancholy as she works at her computer. Her phone dings. As she looks at it we see a text message from PAUL. TEXT MESSAGE: Hey. His name is Brett Steven Kemp. Please delete this and keep me far away from it. Mollie's eyes get big. She takes a deep breath and a slight determined smile comes across her face.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NOA'S ROOM - SAME TIME<\/stage_direction>\n    <scene_description>Noa is on her side on the bed. She takes a deep breath and leans on her arms to help her stand up. She's wobbly and it still hurts to walk as she takes baby steps around the room. She slowly gets on her knees and down to the ground and starts doing pushups. She keeps going until her body gives up. She lays on the cold floor with her cheek and closes her eyes and sighs, forgetting where she is for a moment. Suddenly she hears footsteps. She leans her head up terrified he's coming for her. She gets herself up and goes back over to lay down on the bed. She looks scared but puts on a brave face. She hears the door unlock close-by. She can't hear what's happened just muffled talking. A deep voice, Steve and a higher pitched one, possibly Penny. SCREAMING. AND CRYING. AND PLEADING. It's getting louder as they pass by her door. It's Penny.<\/scene_description>\n    <character>PENNY (O.S.)<\/character>\n    <dialogue>NO! PLEASE! DON'T FUCKING DO THIS!<\/dialogue>\n    <character>I CAN FATTEN UP EVEN MORE! PLEASE!<\/character>\n    <dialogue>Noa is frozen as she listens to her being dragged upstairs and fighting. She squeezes her eyes tightly a moment. Why isn't this a fucking nightmare? Is this it? The door shuts at the top of the stairs. Noa is left alone in silence.<\/dialogue>\n    <dialogue>Her face is hard to read as she breathes fast and heavily. Then she gets herself back on the ground and starts doing push ups again.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COFFEE SHOP - EVENING<\/stage_direction>\n    <scene_description>Mollie sits with her laptop at a corner table frantically typing. We see she has a crazy amount of windows open all laying on top of each other. There's an article about who we know as Steve losing his medical license in San Francisco for a series of eerie complaints. Mollie scans through it. After some frantic googling she comes across a Facebook page. It's a photo of a smiling blond woman with two perfect little kids. A boy and a girl. Next to her is STEVE. HOLY SHIT HE HAS A FAMILY?! Mollie can't believe it. She scrolls through the wife's Facebook page but only a few family photos come up because it's private. There are some BLUE LIVES MATTER main photos and a Roden &amp; Fields post. Nothing unusual. Steve doesn't have a Facebook page himself. The few photos we see are of a smiling family man not the fucked up Cannibal we've come to know. Mollie scrolls down the page and comes upon a photo of the family in front of a house that's been sold. She zooms in on the sold sign and sees the Realtor's name and info: Maria Riviera. On the Facebook post it says: \"We're Home! \"#CasaOntario.\" She looks at the date then Googles \"Ontario St., Los Angeles, Homes for Sale, 2015, Maria Riviera.\" BINGO. The address comes up. She goes onto Zillow to double check and sees the house and when it was sold. It's the same one as in the photo. She now has his address. One step closer.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NOA'S ROOM - WHO KNOWS WHAT TIME<\/stage_direction>\n    <scene_description>Noa is back on her cot, where else. Her nails have gotten longer. She picks dirt out from under them. She tries to sharpen them on the wood base around her mattress. They are getting a little pointier. She looks them over. The familiar sound of the door opening at the top of the stairs. She perks up a bit. She hears the sound of two people, maybe one. Wobbly footsteps like one person is bearing most of the weight holding the other up. The door nearby opens and shuts. Some muffled talking. It sounds like fighting but it's hard to make out. She hears muffled crying. Noa swallows hard and tries to compose herself as she hears footsteps toward her door. Steve slides open the peep window in the door. His eyes peering in at her.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Hi. How you feelin?<\/dialogue>\n    <scene_description>She smiles innocently. She slowly sits up on the bed, leaning on her side a bit as to not sit directly on her lack of ass cheeks.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Better. Thank you. And thanks for all the extra things.<\/dialogue>\n    <scene_description>She motions her eyes to the food and pills.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>I'm gonna give you a little more time before the next session. Gain some meat on those bones.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Ok...I'm sorry I betrayed you.<\/dialogue>\n    <scene_description>He stares at her. Not sure if it's an act.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Good.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You're gonna die here Noa. This is the last place you'll ever see. And the quicker you get used to that, the better.<\/dialogue>\n    <scene_description>He flashes a quick fake smile before walking out and locking the door. After he leaves and his footsteps retreat Noa stares silently crying feeling the gravity of his statement. She nods her head and lets herself cry and snot and let everything out, giving into the fact that he's right. She's gonna die there. She lays down on her side and falls asleep with tears all over her face. FADE IN: NOA'S BED - WHO KNOWS WHAT TIME She's laying on her side in the same position as we left her. She opens her eyes slowly, emotionless. Her face is still a little blotchy and red from crying. She clocks the old magazines and picks one up. She starts mindlessly flipping through but then starts reading a bit. Her eyes click through all the vapid articles: 99 WAYS TO PLEASE YOUR MAN. She rolls her eyes. THE HOTTEST BOOTS FOR FALL. Ugh. She scoffs. She has bigger problems now. The cover says OCTOBER 2015. Suddenly she gets to a page and stops as her eyes go wide. She leans in closer as we now see what she's looking at. Written in tiny lettering in pen is a note on a page in the middle of the magazine. Her mouth opens slightly as we hear her breath. \"If you're reading this you're still alive. And he likes you. He keeps an extra set of keys to all the rooms in his bedside table on the left side facing the bed. KEEP FUCKING FIGHTING. You're not a piece of meat. Stop acting like it. My name is Kate Farney. I tried.\" The words hang there. She stares reading them over and over again. Keep fucking fighting. The words echo in her head. She closes the magazine and quickly puts it at the bottom of the pile.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN STREET - EARLY EVENING<\/stage_direction>\n    <scene_description>A perfect idyllic suburban street with big gorgeous homes. The sun has almost set but there's still a little bit of light out. It's magic hour, fuck it. Mollie is parked across the street from one of these homes sitting in her car staring at it. She looks down at her phone to an address in her notes. We see the mailbox with the same numbers.<\/scene_description>\n    <character>MOLLIE<\/character>\n    <parenthetical>(whispering to herself)<\/parenthetical>\n    <dialogue>What am I doing?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVE'S HOME - SAME TIME<\/stage_direction>\n    <scene_description>Steve puts on his shoes and jacket about to leave when on second thought he goes toward the stairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NOA'S ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>The sound of footsteps down the stairs. Noa perks up. Steve slides open the window.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Do you need anything?<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>I'm ok. Thanks for asking.<\/dialogue>\n    <scene_description>She smiles at Steve.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Do you need anything?<\/dialogue>\n    <scene_description>Steve smiles and chuckles a little bit.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>I'm ok too.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Can I ask you something? Did you, always, eat people?<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Of course not. It was a slow transition. Maybe I'll tell you about it sometime.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>I have to admit, I'm interested...<\/dialogue>\n    <scene_description>Steve softens a bit. He opens the door and walks in.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>It's not an easy thing. A lot of stigmas as you can imagine. But it's my business now too. And I'm passionate about it.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Millions of innocent animals are factory farmed and abused and slaughtered everyday and everyone happily eats their bloody flesh and doesn't bat an eye. But eat one woman and suddenly you're a freak.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>You're...right. It is weird. I guess, if I'm being totally honest, there's this dark part of my brain that's curious, ya know?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>What is tastes like.<\/dialogue>\n    <scene_description>Steve looks at her a beat. He's a bit hard to read.<\/scene_description>\n    <character>STEVE<\/character>\n    <parenthetical>(intrigued)<\/parenthetical>\n    <dialogue>Really?<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Yeah. Sorry. I shouldn't have even said that out loud.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Mmhmm. I'm sure you're bullshitting me with your feminine guile but whatever.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Ha. I wish I was. It's, I don't know. I feel- bad for even thinking it.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Don't feel bad. Get some rest. I'll see you tomorrow.<\/dialogue>\n    <character>NOA<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>Ok.<\/dialogue>\n    <scene_description>She lays down all cute and innocent. He leaves and locks her in. The footsteps retreat down the hall, up the stairs as the door opens and shuts.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN STREET- SAME TIME<\/stage_direction>\n    <scene_description>The sun has set as Mollie still sits there staring at the house. After another moment a minivan pulls into the driveway. The woman from the Facebook photo Mollie saw earlier gets out of the driver side. She slides open the back door of the van letting out her two young children, a boy and a girl. The kids run toward the front of the house as she grabs a bag of groceries from the trunk and follows them. Mollie watches as she unlocks the door and goes inside. After a beat she exhales.<\/scene_description>\n    <character>MOLLIE<\/character>\n    <dialogue>Fuck it.<\/dialogue>\n    <scene_description>She turns off the car and gets out. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOME - MOMENTS LATER<\/stage_direction>\n    <scene_description>Mollie is now standing at the front door of the house. She rings the bell and notices immediately it's the kind that has a camera in it. A voice comes over a speaker.<\/scene_description>\n    <character>WOMAN'S VOICE<\/character>\n    <dialogue>Can I help you?<\/dialogue>\n    <scene_description>The woman's voice is cold and assertive.<\/scene_description>\n    <character>MOLLIE<\/character>\n    <dialogue>Hi. My name is Mollie. Uhm, so, actually, do you mind opening the door so we can talk face to face? I- It's hard to explain.<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>WOMAN'S VOICE<\/character>\n    <dialogue>Do I know you?<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>No. I'm looking for my friend and I'm hoping-wondering if maybe you can help me? I think your husband might know her. It should only take a minute.<\/dialogue>\n    <character>WOMAN'S VOICE<\/character>\n    <dialogue>Do you know how sketchy that sounds?<\/dialogue>\n    <character>MOLLIE<\/character>\n    <parenthetical>(meekly)<\/parenthetical>\n    <dialogue>Yes. Sorry.<\/dialogue>\n    <scene_description>Another beat. The door opens and the woman is standing there. She's gorgeous up close with pulled back blond hair and perfect cheekbones. She looks to be in her 40's but it's hard to tell. This is ANN. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOME - MOMENTS LATER<\/stage_direction>\n    <scene_description>Mollie is sitting on a gorgeous couch in a formal living room shaking her leg, obviously nervous. Her love of Noa propelled her here but now she doesn't exactly know what the fuck she's doing. She can hear the sounds of the kid's fighting and playing in a back den somewhere.<\/scene_description>\n    <character>ANN (O.S.)<\/character>\n    <dialogue>Go up to the playroom while I start dinner!<\/dialogue>\n    <scene_description>The rambunctious kids run up the stairs as Ann walks into the living room with a glass of water and sits in a chair across from her.<\/scene_description>\n    <character>ANN<\/character>\n    <dialogue>So you were saying?<\/dialogue>\n    <scene_description>Mollie can't hide her frantic nerves. What is she even doing in this woman's living room?<\/scene_description>\n    <character>MOLLIE<\/character>\n    <dialogue>So I know this all sounds crazy and I didn't really plan this out well but well so my friend is missing. And I- don't know how to say this but....I think she may have been seeing your husband.<\/dialogue>\n    <scene_description>The woman looks shocked.<\/scene_description>\n    <character>ANN<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>I know this is all shocking and I'm not trying to screw your family up here but..has your husband been around much? Is he out of town?<\/dialogue>\n    <character>ANN<\/character>\n    <dialogue>No. I just saw him this morning before he went to work. Honestly this is crazy and I don't know you so..I think you need to leave.<\/dialogue>\n    <scene_description>Ann ushers her up off the couch. Mollie tries to think of what to say as she stands there.<\/scene_description>\n    <character>MOLLIE<\/character>\n    <dialogue>Does he go out of town for work or anything? They went away to Joshua Tree and that's the last time I saw her almost two weeks ago and-<\/dialogue>\n    <character>ANN<\/character>\n    <dialogue>What proof do you have that they were seeing each other? That it's even my husband?<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>Just, well, his name and they were at a bar together and I connected it and I-<\/dialogue>\n    <scene_description>The sound of a car pulling up outside. They both look toward it.<\/scene_description>\n    <character>ANN<\/character>\n    <dialogue>You need to leave right now.<\/dialogue>\n    <scene_description>Ann starts ushering her toward the door. Mollie stares at her right in the eyes.<\/scene_description>\n    <character>MOLLIE<\/character>\n    <parenthetical>(getting a little frantic)<\/parenthetical>\n    <dialogue>I'm sorry I'm just desperate right now. Please. Woman to woman. Maybe your husband has more info then? I'm not trying to accuse anyone of anything I just want to find her. You have to understand.<\/dialogue>\n    <scene_description>Ann softens for a moment but still seems upset by this information. Is she getting through? She looks like she's about to say something. And with that Steve walks in the front door with a briefcase as if he's been at work all day. He puts down his briefcase by the door and looks at them confused as to what's going on. Mollie looks at Steve. He can sense the tension in the situation. Does Steve know who she is?<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Hi. What's going on?<\/dialogue>\n    <character>ANN<\/character>\n    <dialogue>This woman was just leaving. I shouldn't have let her into our home in the first place I'm sorry honey.<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>Steve, right?<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>No. My name is Brett.<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>But do you go by Steve? I think you were dating my friend Noa. She's missing.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>No I don't know who that is and I'm sorry but I'm going to have to ask you to leave as well.<\/dialogue>\n    <scene_description>Mollie looks at him deeply. A moment of silence.<\/scene_description>\n    <character>MOLLIE<\/character>\n    <dialogue>Ok.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Listen I'm sorry about your friend but if you're concerned you should definitely go to the police. You don't just show up to a stranger's home, right? That's also pretty dangerous for a woman to do.<\/dialogue>\n    <scene_description>Mollie starts to walk to the door toward Steve who's hand is fidgeting in his pocket. She's now standing equidistant in the hallway between Steve and Ann.<\/scene_description>\n    <character>MOLLIE<\/character>\n    <dialogue>You're right. I'm sorry.<\/dialogue>\n    <scene_description>As she walks she takes out her phone by her side casually and without looking down we see her press and call Noa. The phone lights up and it say \"NOA calling mobile....\" Suddenly a song starts playing in Steve's briefcase. \"Thank you for being a friend. Travel down the road and back again. Your heart is true...\" THAT'S MOLLIE'S RINGTONE. Holy shit. Fuck. What does she do?! Mollie's breathing gets quicker as she is literally frozen in fear. Now what? She looks at Ann trying to connect.<\/scene_description>\n    <character>ANN<\/character>\n    <dialogue>You really shouldn't have done that.<\/dialogue>\n    <scene_description>Mollie is a deer in headlights. BAM! Steve quickly approaches her from the back with a cloth he's pulled from his pocket. She turns back to him but not completely as he aggressively grabs her putting the cloth over her mouth and nose and lifting her off the ground so her feet don't make any sounds.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Shhhhhhhhhhh.<\/dialogue>\n    <scene_description>Ann just stares at Mollie and watches her go unconscious. CUT TO: DARKNESS The silence is deafening. After a moment a tiny bit of light comes in and sound too. The muffled sounds of music and someone singing happily. Where are we? We're inside the trunk of a car. It's almost as dark as before but we can make out a little bit of the surrounding. The sound of fast breathing. It's Mollie. She's trying to catch her breath. The car stops. The engine turns off. The sound of something. A car door opens. The sound of footsteps walking and suddenly BOOM. The trunk is popped open as light pours in. It's dark out but it's more light than the blackness from inside the trunk. Steve is standing menacingly over Mollie looking down at her. Her hands are tied together and she has duct tape over her mouth.<\/scene_description>\n    <character>STEVE<\/character>\n    <parenthetical>(creepily chipper)<\/parenthetical>\n    <dialogue>Peek-a-boo!<\/dialogue>\n    <scene_description>It's over the top and he knows it. He chuckles a bit at his own weird joke. He leans into the trunk as Mollie flinches unsure of what he's going to do.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Relax. Don't you want to get out of the trunk?<\/dialogue>\n    <scene_description>Mollie doesn't react but he grabs onto her and helps her out. She gets out and stands up as he holds onto her arm. She's in a closed garage. We watch as he walks her into the house. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVE'S OTHER HOUSE - SAME TIME<\/stage_direction>\n    <scene_description>Ann is standing in her son's bedroom doorway next to the light switch. The light is dim and he's tucked into bed. On his night table is an owl night light projecting stars onto the ceiling.<\/scene_description>\n    <character>ANN<\/character>\n    <dialogue>Ok honey, tell me when.<\/dialogue>\n    <character>SON<\/character>\n    <dialogue>Will Dad be back soon?<\/dialogue>\n    <character>ANN<\/character>\n    <dialogue>Later on after you're asleep. But I'll make sure he comes and gives you a kiss.<\/dialogue>\n    <character>SON<\/character>\n    <dialogue>Ok. Can you leave the door open a little?<\/dialogue>\n    <character>ANN<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>SON<\/character>\n    <dialogue>Ok. I'm ready.<\/dialogue>\n    <scene_description>Ann clicks off the light.<\/scene_description>\n    <character>ANN<\/character>\n    <dialogue>Sweet dreams jelly bean.<\/dialogue>\n    <character>SON<\/character>\n    <dialogue>Love you.<\/dialogue>\n    <character>ANN<\/character>\n    <dialogue>Love you.<\/dialogue>\n    <scene_description>She closes the door leaving it open a crack and walks down the hall. She passes another door that's cracked open and peeks in. She sees her daughter sleeping peacefully and shuts the door all the way. We follow her into her bedroom and into the master bath. She stares into the mirror a moment, taking her face in. Her eyes now look cold and empty. She looks closely inspecting every inch of her face and every tiny wrinkle. She pulls her skin back imagining what she'd look like with a face lift. After a moment she starts taking off her jewelry and putting it in a small dish on the counter next to the sink. Her gigantic diamond earrings, her diamond necklace, her rings. She starts the shower. It gets hot quickly as steam begins to rise. She takes off her shirt. She unbuttons her pants and starts to pulls them off. As she pulls them down just a bit we see past her hip on the right side she has an entire prosthetic leg from her groin down. She rubs her hand on the smooth surface of the leg a moment. From the back we see her unhook her bra and pull off her underwear. After everything is off she unscrews the leg and hops over to the shower. Now without the jewelry and sleek outfit and hair back she's just a vulnerable woman missing a leg. There's a large ledge type seat in the shower and she expertly holds on the towel bar and shimmies herself in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NOA'S ROOM - SAME TIME<\/stage_direction>\n    <scene_description>Noa is practicing walking around the room. She's gotten much better. She tries to do some lunges. It looks painful. There's a knock at her door. She flinches as the little window in the door is opened. Steve's eyes appear as Noa gives him an innocent smile.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Whatcha doin?<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Not much!<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>I have a surprise for you.<\/dialogue>\n    <scene_description>Noa tries not to react. Steve opens the door and is holding pants and a shirt folded.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>I got some of your clothes from your suitcase. Thought you might want to change.<\/dialogue>\n    <scene_description>Steve walks in with them and puts them on her cot.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Thank you. I appreciate it.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>So, I keep thinking about what you told me. About your, curiosity.<\/dialogue>\n    <character>NOA<\/character>\n    <parenthetical>(embarrassed)<\/parenthetical>\n    <dialogue>Yeah. Sorry. Honestly forget I said anything. I want that part of my brain to disappear.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Don't be sorry. That's how it started for me. I knew you were special Noa. I wanted to see if you'd like to have dinner with me tomorrow night. Learn a bit more about this life. You'll need to be handcuffed though.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>I understand. I'd, love to.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>And maybe we can work on regaining some trust.<\/dialogue>\n    <character>NOA<\/character>\n    <parenthetical>(innocently)<\/parenthetical>\n    <dialogue>I'd like to work on that.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Good. I'll get you something to wear.<\/dialogue>\n    <character>NOA<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>Ok.<\/dialogue>\n    <scene_description>Steve smiles back. He walks to the door to close it. Noa still smiling at him flirting.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Goodnight Noa.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Night.<\/dialogue>\n    <scene_description>He shuts the door as her smile abruptly drops. The sound of his steps walking away and up the stairs. She looks over at her clothing. She picks it up and inhales it. The smell of fresh laundry. Of her life before. She changes out of her ratty t-shirt and into the new one. Same with the pants. Cozy cute pajama pants she cherishes in this moment. Below her waist is still bandaged up. She starts practicing walking again in circles. She walks over to the door and bends down near the crack at the base of the door.<\/scene_description>\n    <character>NOA<\/character>\n    <parenthetical>(whisper screaming)<\/parenthetical>\n    <dialogue>Penny! Penny!<\/dialogue>\n    <scene_description>Nothing.<\/scene_description>\n    <character>NOA<\/character>\n    <parenthetical>(louder now)<\/parenthetical>\n    <dialogue>Penny! Please just answer already it's been days. PLEASE!<\/dialogue>\n    <character>PENNY (O.S.)<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Jesus. Was that so hard? I wanted to know you're alive for fuck sake.<\/dialogue>\n    <scene_description>Silence.<\/scene_description>\n    <character>PENNY (O.S.)<\/character>\n    <dialogue>Barely.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Stop that shit.<\/dialogue>\n    <scene_description>Silence.<\/scene_description>\n    <character>PENNY (O.S.)<\/character>\n    <dialogue>I'm done Noa. I'm a fucking gimp monster piece of meat now. That's all I ever was I suppose.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>No you're fucking not.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Listen, I'm having dinner with Steve tomorrow.<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>What?!<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Yeah. So buck up gimpy. Girl power, right?<\/dialogue>\n    <scene_description>Penny chuckles.<\/scene_description>\n    <character>PENNY (O.S.)<\/character>\n    <dialogue>I think my leg might still exist.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Well then we're getting your leg back.<\/dialogue>\n    <character>PENNY<\/character>\n    <parenthetical>(chuckles)<\/parenthetical>\n    <dialogue>Now that is a fucked up sentence I never thought I'd hear.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>There she is!<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Sleep well, ok? Big days ahead.<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>If you say so.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVE AND ANN'S BEDROOM - NIGHT TIME<\/stage_direction>\n    <scene_description>Steve and Ann lay in a large king sized bed in the dark both staring at the ceiling in deep thought pretty far away from each other.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>I'm going to have to work late tomorrow night. Some big clients are expecting packages.<\/dialogue>\n    <scene_description>Ann continues to look up at the ceiling.<\/scene_description>\n    <character>ANN<\/character>\n    <dialogue>Ok.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Goodnight jelly bean. Love you.<\/dialogue>\n    <scene_description>He leans over and kisses her on the cheek then rolls over facing away from her.<\/scene_description>\n    <character>ANN<\/character>\n    <dialogue>Love you too.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVE'S CANNIBAL HOUSE - KITCHEN- DAY TIME<\/stage_direction>\n    <scene_description>SONG: JACKSON BROWNE - SOMEBODY'S BABY Steve dances around his sun drenched kitchen wearing an apron that says \"The Grillfather\" in \"Godfather\" font. The kitchen looks a lot different in the daytime. A large bag of groceries sits on the counter. He's making an omelette on the stove top. He chops and mixes and happily cooks. He seems to be looking for something. He looks in the grocery bag and then opens the fridge. As it opens we get quick glimpse of the inside. Normal things like Almond milk and fruits and veggies but also a large container of blood with small chunks in it, a container of an indistinguishable bloody raw meat wrapped in plastic wrap, some cooked meat as well in a container with sauce. He grabs a tomato and closes the fridge. He's having a grand old time singing along while he cooks and bops around the kitchen. There's a beeping sound as if something is ready. He goes over to a Dehydrator and opens it. What sort of looks like beef jerky but much grosser and let's be honest it's fucking human meat. He grab a piece and bites into it. He chews for a while. It's chewy. Gross. He loves it.<\/scene_description>\n    <character>STEVE<\/character>\n    <parenthetical>(excitedly)<\/parenthetical>\n    <dialogue>Fuck yeah.<\/dialogue>\n    <scene_description>He slices the tomato and sits it on top of the omelette. He opens the oven and pulls out hash browns dishing them next to the omelette. A perfect plate. He looks over at a pretty floral dress hanging on a hanger on a hook nearby and smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NOA'S ROOM - SAME TIME<\/stage_direction>\n    <scene_description>The song plays out while Noa sits on a bucket in the corner of the room peeing staring off into space. A small pile of wadded up tissue sits next to the bucket. She finishes and wipes herself. The sound of footsteps and knocking on her door.<\/scene_description>\n    <character>STEVE (O.S.)<\/character>\n    <parenthetical>(cheerfully)<\/parenthetical>\n    <dialogue>Knock knock.<\/dialogue>\n    <scene_description>He slides open the window in the door as she is getting off the bucket. His eyes creepily peer in.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Well hello there.<\/dialogue>\n    <scene_description>She finishing pulling up her pants. She's moving more nimbly now even though she's sans an ass. He opens the door holding a tray with the expertly prepared omelette, hash browns and fresh squeezed orange juice. It looks amazing. In his other hand is the new dress with tags.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>I made you brunch. Some eggs, hashbrowns, OJ and a lot of TLC. The care, not the band.<\/dialogue>\n    <scene_description>He chuckles. What a creep. No pun intended.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Ha. That's a good one. It looks amazing. I'm so hungry.<\/dialogue>\n    <scene_description>He hands it to her. She places it down on a little box sitting next to her cot.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>I love to cook. I'm pretty good if I do say so myself.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Everything you've made me has been delicious.<\/dialogue>\n    <scene_description>He holds up the dress.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>I thought you might like to wear something new for our dinner this evening. Thought you'd look sexy in this.<\/dialogue>\n    <scene_description>She walks over to him confidently but innocent and takes the dress from him looking at it.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>It's perfect. You really know my style.<\/dialogue>\n    <scene_description>He doesn't.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Thanks. And here.<\/dialogue>\n    <scene_description>He reaches into his pocket and pulls out a lipstick, an eye shadow and mascara.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Grabbed it from your purse. So you can freshen up.<\/dialogue>\n    <scene_description>She stares at him a beat then musters a smile.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Ok well...see you soon!<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>I'll be here!<\/dialogue>\n    <scene_description>He walks out closing the door and double locking it behind him then shutting the little window. Her frozen smile immediately drops.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HALLWAY- SAME TIME<\/stage_direction>\n    <scene_description>Steve looks happy. He walks down the dark hallway and gets to another door. He slides open the window and looks inside. Mollie is huddled in a corner with duct tape still over her mouth and her hands bound. Her pants are wet from peeing herself. Her mascara is black around her eyes. It's been a rough one to say the least.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Oof.<\/dialogue>\n    <parenthetical>(weird comical accent)<\/parenthetical>\n    <dialogue>You no look so good.<\/dialogue>\n    <scene_description>He laughs and unlocks the door and walks in.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>If I take off the duct tape are you gonna scream?<\/dialogue>\n    <scene_description>She nods her head no.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>I don't like liars so I hope you're being honest.<\/dialogue>\n    <scene_description>He walks over and rips the duct tape off her mouth.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>He smiles. She just stares at him.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>I'll get you a dry pair of pants. I forgot you'd have to go to the bathroom. And I'll get you a bucket and toilet paper. And some food.<\/dialogue>\n    <character>MOLLIE<\/character>\n    <parenthetical>(creaking out words)<\/parenthetical>\n    <dialogue>Are you gonna kill me?<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Well yeah, eventually. But not yet. Are you hungry?<\/dialogue>\n    <scene_description>Mollie starts crying.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Ugh. Too much emotion.<\/dialogue>\n    <scene_description>She keeps crying.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Oh stop. You did this to yourself.<\/dialogue>\n    <scene_description>Mollie tries to catch her breath and control her crying.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Listen, I'm gonna need you to call in sick to work for a while so I can figure some stuff out ok?<\/dialogue>\n    <scene_description>Mollie just stares.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Helloooo? Do you understand the words comin out of my mouth?<\/dialogue>\n    <scene_description>Mollie slowly shakes her head yes. Steve walks closer. Mollie tries not to flinch too much. He approaches her and leans down. Looking at her eye to eye, then looking down at her breasts. He cups her breasts in both hands inspecting and looking and squeezing them as if they don't even belong to her body.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>I'm a breast man.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Are they real? They feel real.<\/dialogue>\n    <scene_description>Mollie barely nods yes.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Yummy.<\/dialogue>\n    <scene_description>He smiles. She just looks at him. He gets up.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>I'll be back in a bit with some clothes and your phone so we can call your job together. Try to relax pee-pee pants. It'll make the next part easier.<\/dialogue>\n    <scene_description>He walks out shutting the door and locking it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NOA'S ROOM<\/stage_direction>\n    <scene_description>Noa is sitting on the bed eating the plate of food with a plastic spoon, all she was trusted with. She looks at it. It's awkward. She chugs the OJ enjoying it. As she eats she looks over at the dress draped on the bed. She rolls her eyes and touches it a bit looking at it. CUT TO: STEVE'S KITCHEN - A FEW MINUTES LATER. Steve is wearing an apron getting ready to make a meal. He turns on his bluetooth speakers per usual. SONG: GO WEST - King of Wishful Thinking He happily bops around the kitchen again cooking. He walks over to a door in the hallway. He unlocks it and walks into a small walk in freezer filled with body parts. He still bops as he points and looks deciding on what to choose before he pulls down a woman's torso wrapped in plastic wrap. It's heavy. He almost falls over holding it. CUT TO: STEVE'S BACKYARD - MOMENTS LATER Steve's at a bench in his dark backyard wearing goggles slicing off a part of the frozen torso and stomach with a chainsaw. He uses a blowtorch to warm the piece up that he's sliced off. CUT TO: BACK IN HIS KITCHEN Steve has a large super sharp knife and slices the skin off then cutting the torso into smaller pieces. Sweat beads gathers at his forehead. He wipes them with a kitchen towel. CUT TO: NOA'S ROOM - SAME TIME Noa stares at the dress a beat. She starts to get undressed and smells her pits. She combs her hair with her fingers and tries to put it into a side braid. CUT TO: BACK IN THE KITCHEN - SAME TIME Quick cuts of Steve making a tomato sauce. Chopping tomato, onions, pressing garlic, seasoning, putting everything together. The torso\/stomach pieces look mangled and scary. He turns on a large meat grinder on the counter and starts pushing pieces through. We're close up as the gross meat comes mushing out of the machine like human play-do. He takes that and mixes it with breadcrumbs and seasoning.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>I make-a the meat-a balls!<\/dialogue>\n    <scene_description>NOA'S ROOM - SAME TIME Noa is now wearing the dress. She seems uncomfortable and paces. She gets down and does more push ups. She pulls at the dress a bit. She looks at the makeup sitting in a small pile on her bed. She rolls her eyes and scoffs. IN THE KITCHEN Steve makes a salad. The meatballs are cooking. The sauce is made. He starts cleaning up his cooking area. He puts a table cloth down and sets the table with nice china. He walks over to a wine rack and picks out a bottle. CUT TO: STEVE'S OTHER BEDROOM - NIGHT Steve has just gotten out of the shower with a towel around his waist. A crisp shirt and slacks are laid out on the bed. He sprays some men's cologne and walks into it wafting it on himself. He brushes his hair in the mirror. He puts on moisturizer and stares at his face a moment inspecting it. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NOA'S ROOM - DOOR - A LITTLE WHILE LATER<\/stage_direction>\n    <scene_description>Steve is standing in the basement in front of Noa's door. He's about to slide open the window but decides to knock instead.<\/scene_description>\n    <character>NOA (O.S.)<\/character>\n    <dialogue>Come in.<\/dialogue>\n    <scene_description>Steve walks in to find Noa in her dress standing in the middle of the room. She's wearing the makeup he gave to her. She looks nice. As good as one can considering the fucked up circumstances. She smiles at him.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Wow. You look beautiful.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Thanks. I'm ready for our date- I mean dinner.<\/dialogue>\n    <scene_description>He smiles. He likes the way that sounds.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Shall we?<\/dialogue>\n    <scene_description>She holds her hands out in front of her. He smiles and approaches handcuffing them together. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN- MOMENTS LATER<\/stage_direction>\n    <scene_description>Noa is seated at the table with a small donut pillow under her non-ass. The table has been moved over near the dish washer. Her left hand is handcuffed to the handle of it. SONG: Sade: \"Kiss of Life\" The song plays low from a speaker as Steve stands quietly mouthing along to the words while cutting the foil off a bottle of wine. Noa stares at his back deep in thoughts. Noa's eyes start to take in her surroundings with purpose. Click, to the knives, click, to Steve's cooking. Click, to the back kitchen door and the triple locks. Her eyes clicking everywhere are interrupted by Steve turning around..<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Do you like red wine?<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>She locks in and watches him finish opening the bottle. He catches her intently staring.<\/scene_description>\n    <character>STEVE<\/character>\n    <parenthetical>(cheerily)<\/parenthetical>\n    <dialogue>Don't worry, I'm not gonna drug you.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Again!<\/dialogue>\n    <character>NOA<\/character>\n    <parenthetical>(playing along)<\/parenthetical>\n    <dialogue>You better not!<\/dialogue>\n    <scene_description>The both chuckle. He pours her a glass of wine and hands it to her.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Mmm. That's amazing.<\/dialogue>\n    <scene_description>He brings a salad bowl to the table and serves them each a brightly colored salad. After that he sits across from her. He picks up his glass to toast.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>A toast.<\/dialogue>\n    <scene_description>She raises hers.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>To curiosities. And the possibility of new beginnings.<\/dialogue>\n    <scene_description>They clink glasses and drink. She looks down at her salad. Inspecting it with her eyes.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Heirloom tomatoes, arugula, cucumber, fresh parmesan and croutons I made myself.<\/dialogue>\n    <scene_description>Phew. They eat quietly for a moment as smooth jazz plays in the background.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>How are you feeling?<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Better.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>You've seemed to settle in. It makes me happy.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>I have. Thank you. I wanna be better.<\/dialogue>\n    <scene_description>He smiles.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>So...you mentioned you were curious. About my way of life. Do you have, any questions?<\/dialogue>\n    <scene_description>Noa stares. She has a million questions. Which ones will benefit her? Where to begin? Go slow. Be easy. Get him to trust you.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Well...yeah....I guess..what does it taste like?<\/dialogue>\n    <scene_description>A big smile crawls up his face. The perfect question. He takes a deep breath.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>It's so hard to describe. Decadent, rich, buttery...just, special. Like the best Kobi you could ever possibly imagine. But sweeter.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>And how did you first try it?<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>A boss of mine many years ago brought me into the world. I was very lucky he saw something in me. It's an extremely prestigious community of mostly men. The wealthiest. The most powerful. The most elite.<\/dialogue>\n    <scene_description>Her mouth opens but she doesn't know what to say. So many thoughts are swirling in her head. He watches her. She smiles coyly.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>I cooked us something. Would you be open to trying it?<\/dialogue>\n    <scene_description>He motions his eyes over to the stovetop where pots of food are warming. Her face is frozen.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Is it......me?<\/dialogue>\n    <scene_description>Steve laughs.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>No. Let me make you a plate.<\/dialogue>\n    <scene_description>She swallows hard. You can almost hear it. Does he notice? He gets up and walks over to the stove as she watches. He puts some spaghetti on her plate as she uses this moment to take in more of her surroundings. Click, the hallway. Click, a chair in the corner of the living room. Click, the front door in the distance. Click, locked cabinets in the kitchen. She watches him get a ladle and pour tomato sauce and meatballs over the spaghetti. Her breathing gets faster. He places the plate in front of her as he goes to serve himself some. She stares down. We go close, closer, extremely close on the meatball glistening in sauce. Even with all the breadcrumbs and sauce in the world this meatball can't help but look different. He makes himself a plate and sits down.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>I think you'll be pleasantly surprised. And maybe understand everything a bit more. Cheers.<\/dialogue>\n    <scene_description>He cuts a meatball in half and expertly twirls pasta onto his fork then stabbing into the meatball. He looks over at her, frozen.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Let's have a bite together.<\/dialogue>\n    <scene_description>She slowly starts to make herself a bite. She puts the most minuscule piece of meatball on her fork.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Come on, put more meat on your fork Noa.<\/dialogue>\n    <scene_description>He says it in an authoritative way.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>I'm...scared.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>I was too.<\/dialogue>\n    <scene_description>She takes a much bigger piece. We are super close as the fork with meatball, sauce and spaghetti makes it's way into her mouth. They both silently chew. She zones out as her eyes half focus a million miles away at nothing. She tries her best not to think about the fact that she's eating some poor woman's body. But she can't stop. She's eating a fucking human being. A small gag comes up in her throat. She fights it. She fakes it. She forces it. She swallows. He smiles at her waiting for a response. He watches her face. She looks pleasantly surprised.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>It's.....amazing.<\/dialogue>\n    <scene_description>He smiles big.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>See? I knew you'd love it.<\/dialogue>\n    <scene_description>They start eating together more. Each bite appears easier. She expertly chews and swallows. She focuses on the task. She gulps wine and tries to act normal.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>So would you like to know a little more about our meal?<\/dialogue>\n    <scene_description>Oh fuck. She nods.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>The price tag is about $20,000. But you're eating it for free. Because you're special.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>That's, so expensive.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Well it's a difficult task. But it's worth it.<\/dialogue>\n    <scene_description>She tries to make another bite. She looks up from her plate.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Fed an organic diet. Cage Free.<\/dialogue>\n    <scene_description>He chuckles. She brings the fork to her mouth again.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>She fed many powerful people. And will continue to do so. Her name was Hope. Ironic, huh?<\/dialogue>\n    <character>NOA<\/character>\n    <parenthetical>(coyly)<\/parenthetical>\n    <dialogue>It tastes so good.<\/dialogue>\n    <scene_description>She licks her lips.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>I feel really lucky. Thank you.<\/dialogue>\n    <scene_description>He smiles creepily. She swallows hard.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>How many people are, in this community?<\/dialogue>\n    <scene_description>He's enjoying the prying. He feels powerful.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>You'd be surprised. The extremely wealthy and powerful just want something that no one else has. Or can get. Because that's power. Full ownership. You can almost taste it.<\/dialogue>\n    <scene_description>She nods. He watches her. She chews another bite \"savoring\" the flavor.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>It makes me feel powerful.<\/dialogue>\n    <scene_description>He smiles.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>It should. Maybe there will be more meals in your future.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>I feel bad saying this but...I think I'd like that.<\/dialogue>\n    <scene_description>They smile at each other.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>I just want you to know I still find you very sexy. I can separate the two.<\/dialogue>\n    <character>NOA<\/character>\n    <parenthetical>(flirty)<\/parenthetical>\n    <dialogue>I find you sexy too. I have since we met.<\/dialogue>\n    <scene_description>He gets up and slowly walks over to her seat. She remains composed. He stands over her menacingly trying to look sexy. He puts his hand on the back of her neck as he leans down and kisses her. He stares at her a beat.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Ok. It's time for you to go to bed.<\/dialogue>\n    <scene_description>She gives a tiny nod.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>But let's do this again.<\/dialogue>\n    <scene_description>CUT TO: DOORWAY- BETWEEN NOA'S ROOM AND THE HALLWAY Noa is standing in her room smiling as Steve gets ready to lock her in.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Goodnight sweet Noa. See you soon.<\/dialogue>\n    <character>NOA<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>Thanks again.<\/dialogue>\n    <scene_description>He winks and shuts the door locking it. We watch her smile fade as he leaves her. She starts silently gagging. Her breathing quickens as her brain remembers everything that went down that night.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HALLWAY- SAME TIME<\/stage_direction>\n    <scene_description>Steve approaches another door and knocks. Then slides open the window and looks inside. Mollie is curled in the fetal position on a cot next to a half eaten plate of food. She's waking up from his knock.<\/scene_description>\n    <character>STEVE<\/character>\n    <parenthetical>(peering in)<\/parenthetical>\n    <dialogue>Time to make the donuts!<\/dialogue>\n    <scene_description>She sits up abruptly. Not sure what's going to happen. He unlocks the door and walks in.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>I'm glad you ate.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>You ready?<\/dialogue>\n    <character>MOLLIE<\/character>\n    <parenthetical>(fearful)<\/parenthetical>\n    <dialogue>For what?<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Now I don't want to ruin the surprise.<\/dialogue>\n    <scene_description>He smiles and grabs her up. She starts crying again.<\/scene_description>\n    <character>MOLLIE<\/character>\n    <dialogue>Please don't kill me! Where's Noa?! PLEASE! I'll do anything!<\/dialogue>\n    <scene_description>He rolls his eyes and continues to pull her out of the room and into the hallway. She resists trying to stay put.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Mollie. Now don't-be-difficult!<\/dialogue>\n    <scene_description>She struggles as he gets her into the hallway.<\/scene_description>\n    <character>MOLLIE<\/character>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NOA'S ROOM - SAME TIME<\/stage_direction>\n    <scene_description>Noa is leaned over her bucket spitting and drooling and gagging herself trying to make herself throw up. She sits up like an alert animal as she hears the screams. The acute awareness of that scream. That voice. She feels it in her soul. It's her best friend. She runs over to the door to listen closer.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY- SAME TIME<\/stage_direction>\n    <character>STEVE<\/character>\n    <dialogue>Stop it!<\/dialogue>\n    <scene_description>Mollie screams bloody murder trying to prevent him from taking her any further. It's all she can do. BOOM. He suddenly cold cocks her right in the face as she screams. She's taken completely off guard. A painful brutal punch. She's probably never felt anything like that, let alone by surprise. She looks pained and confused and bleeds from the nose as her face swells a bit. She can't do anything but give in. He pulls her up the stairs as she quietly cries.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NOA'S ROOM- SAME TIME<\/stage_direction>\n    <scene_description>Noa is right by her door. She crouches down to listen more but the screaming has stopped as she hears the door at the top of the stairs shut and lock.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Penny!<\/dialogue>\n    <character>PENNY (O.S.)<\/character>\n    <dialogue>Yeah I heard it. Sounds like someone new.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>We're getting out of here soon.<\/dialogue>\n    <character>PENNY (O.S.)<\/character>\n    <dialogue>Oh cool. Let's see; I got my iPad, phone charger, all my cute going out dresses, some bathing suits. Am I packing for the snow? For the sun?<\/dialogue>\n    <scene_description>Noa chuckles a bit.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>All of it...<\/dialogue>\n    <parenthetical>(a determined smile to herself)<\/parenthetical>\n    <dialogue>We're gonna get this mother fucker.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>PENNY (O.S.)<\/character>\n    <dialogue>I'm nodding. You can't see it so thought I'd tell you.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Ok good. Love you Penny.<\/dialogue>\n    <character>PENNY (O.S.)<\/character>\n    <dialogue>Love you too girl.<\/dialogue>\n    <scene_description>Noa smiles. PRE-LAP MUSIC: DAN HARTMAN: \"I Can Dream About You.\" JUMP CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVE'S SURGERY ROOM- SAME TIME<\/stage_direction>\n    <scene_description>Another chipper song. This can't be good... We're close up on Mollie's face. She's breathing heavily with duct tape back over her mouth. Her face is swollen and all around a bit of a mess. She looks over to her right as we.. Pull back to reveal her laying on a metal table in the same room where Steve sliced off Noa's ass. We can tell she's topless. Steve is wearing a long blue medical outfit over his clothes as he bops along to the music readying a large shot of something. Next to that on a table is a chunk of Mollie's hair that's been cut. Mollie just stares at him. Steve is cheery and there's nothing creepier. He starts lip synching to Mollie. She just blinks.<\/scene_description>\n    <character>STEVE<\/character>\n    <parenthetical>(lip syncing)<\/parenthetical>\n    <dialogue>\"I'm gonna press my lips against you and hold you to meeee...\"<\/dialogue>\n    <scene_description>He starts playing air saxophone for the solo. He walks up to the table and injects a shot into her breast and then into her other one. She winces as he does.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>This should help the pain. But not completely. Sowwy.<\/dialogue>\n    <scene_description>He chuckles. She stares at him.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>I would've put you under completely but you were being such a drama queen with all the screaming.<\/dialogue>\n    <scene_description>Her eyes fill with rage. He approaches her with some medical tools.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>So normally the incision would look like an apostrophe and then I would separate the tissue from the skin wall removing it.<\/dialogue>\n    <scene_description>Mollie starts crying through the duct tape.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>But, I got this client that wants your nipple and everything so..It's not my bag but who am I to judge.<\/dialogue>\n    <scene_description>He dives in and starts expertly cutting her entire breast off. We can hear the slicing mixed with her screams through her duct taped mouth. His gloved hands appear back in frame super bloody. FWAP. The sound of a large bloody breast put onto the metal side table. Maybe we see it...<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Relax. I'll get some skin from your thigh and sew your chest back up real nice so you don't bleed out.<\/dialogue>\n    <scene_description>She's moaning and crying.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Ughhhh. Your crying is killing my vibe. Try to enjoy the music, will ya?<\/dialogue>\n    <scene_description>He turns up a song as he walks back over to cut off her other breast.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NOA'S ROOM - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Noa sits on her cot staring off. We're far away as we ever so slowly move in closer to her face. She's thinking intently about something. Rage fills her eyes. This is not the woman we first met. Her deep thoughts are interrupted by a knock on her door as the window is slid open and reveals her now smiling face.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>I have a surprise for you.<\/dialogue>\n    <scene_description>She smiles bigger. He opens the door and is holding another dress. It's floral and dainty and so not her.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Wow. It's beautiful.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>I knew you'd love it. Pick you up at 8?<\/dialogue>\n    <character>NOA<\/character>\n    <parenthetical>(chuckling)<\/parenthetical>\n    <dialogue>Well, I have no idea what time it is but sure.<\/dialogue>\n    <character>STEVE<\/character>\n    <parenthetical>(chuckling)<\/parenthetical>\n    <dialogue>That's so true! Ok see you in a few hours.<\/dialogue>\n    <scene_description>He winks.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Can't wait.<\/dialogue>\n    <scene_description>He smiles and walks out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVE'S DINING AREA - EVENING<\/stage_direction>\n    <scene_description>A candlelit dinner is set up. Romantic music plays on omnipresent speakers. Flowers in the center of the table. Linens, good china, the whole nine yards. We sit on this as we hear Steve and Noa approach. Their voices get louder as they get closer.<\/scene_description>\n    <character>STEVE (O.S.)<\/character>\n    <dialogue>....but then next thing you know it's like the iPhone 100Z. You can't ever keep up! It's just consumerism at it's grossest in my opinion.<\/dialogue>\n    <character>NOA (O.S.)<\/character>\n    <dialogue>Yrah. I totally agree. Buy, buy, buy. Take, take, take.<\/dialogue>\n    <scene_description>They walk over to the table. Steve holding Noa's handcuffed arm. Noa sees the beautiful set up.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Wow. This is gorgeous.<\/dialogue>\n    <scene_description>Noa is wearing the dress and makeup. Her hair is combed through with her fingers.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Just for you Noa.<\/dialogue>\n    <scene_description>He handcuffs her to a heavy long mid-century cabinet.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>Please sit.<\/dialogue>\n    <scene_description>Noa goes to awkwardly sit down as Steve walks into the kitchen. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TABLE - FEW MINUTES LATER<\/stage_direction>\n    <scene_description>Noa is seated at the table and Steve is in the kitchen.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>So what are we drinking tonight?<\/dialogue>\n    <scene_description>She looks at her arm and pulls at it a bit. The cabinet doesn't budge.<\/scene_description>\n    <character>STEVE<\/character>\n    <parenthetical>(calling from kitchen)<\/parenthetical>\n    <dialogue>2002 Abreu Cabernet Thorevilos.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Sounds expensive.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>It is.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>I feel like getting loose.<\/dialogue>\n    <scene_description>Steve peaks out.<\/scene_description>\n    <character>STEVE<\/character>\n    <parenthetical>(flirty)<\/parenthetical>\n    <dialogue>Oh really?<\/dialogue>\n    <scene_description>Noa just coyly smiles and shrugs. Steve smiles and goes back into the kitchen. He comes out with two glasses of wine and pours the rest into a carafe on the table. She picks it up and goes to clink his glass.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>To new discoveries.<\/dialogue>\n    <scene_description>They cheers.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>I like that.<\/dialogue>\n    <scene_description>Noa starts drinking as she watches Steve do the same. He sniffs and swirls the wine taking a sip before going back into the kitchen.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Almost finished with the first course.<\/dialogue>\n    <scene_description>As Steve's back is turned Noa quickly and quietly pours most of her wine back into the Carafe. Leaving just a bit to sip on.<\/scene_description>\n    <character>STEVE<\/character>\n    <parenthetical>(calling from kitchen)<\/parenthetical>\n    <dialogue>Cooking is like love to me...<\/dialogue>\n    <scene_description>As Steve blathers on Noa clocks her surrounding like a hawk with her eyes. Click, the hallway, click, to Steve's shoes, Click, to the kitchen, Click, to the knives.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>You can share that love through food. And open up someone's eyes.<\/dialogue>\n    <scene_description>He walks out with two small plates. On them are Crostini's with some sort of spread. He places them down and sits. She lifts her wine glass showing him it's almost done with a sly smile.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Uh oh better catch up.<\/dialogue>\n    <scene_description>He chugs and then pours her another glass followed by himself.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>I like your style.<\/dialogue>\n    <scene_description>She looks down at her plate.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>I thought we could kick up the exploration a notch. I made Pate.<\/dialogue>\n    <scene_description>Her eyes are hard to read.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>As in...liver?<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>And Rosemary and garlic and butter. But yes. Dig in.<\/dialogue>\n    <scene_description>He smiles and takes a bite. He closes his eyes savoring the flavor. We're in close on his mouth as he chews. Too close.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Mmmmmmm. It gets me hard.<\/dialogue>\n    <scene_description>Noa sips her wine. Steve opens his eyes.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Go on. Don't be a pussy.<\/dialogue>\n    <scene_description>Noa smiles slightly and nods. She picks it up and focuses taking a bite. She chews it and swallows. Steve waits impatiently for a response.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>It's amazing. So decadent and smooth. Wow.<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>That's my girl.<\/dialogue>\n    <scene_description>They sip their wine and eat their Crostini. He stares at her as she eats. Smitten.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>When you're done I want to show you something.<\/dialogue>\n    <scene_description>Noa raises an eyebrow. She eats a bit more quickly.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Mmmmm. I think it might be getting me hard too.<\/dialogue>\n    <scene_description>They chuckle together.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Uh-oh!<\/dialogue>\n    <scene_description>They finish. Steve gets up and walks over to her side. He unlocks her handcuff and pulls her up. He holds her arm and walks her toward the hallway. Noa looks down at him holding her arm, tightly. She clocks all the doors in the hallway as they walk. He approaches a door.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>This is where the magic happens.<\/dialogue>\n    <scene_description>He opens the door. Inside a small office are boxes of different sizes and 6 little piles lined up on a couch. In each pile is a few items like lipstick, underwear, photos, driver's licenses, etc. They're all slightly different.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>This is where I make my client packages. They like to feel closer to the women. Connected in a way.<\/dialogue>\n    <scene_description>Noa doesn't talk but walks over slowly to a pile. She leans over and picks up a photo and pulls it closer to herself. An Instagram type shot of a girl on a beach smiling. She looks happy, innocent, naive to her fate.<\/scene_description>\n    <character>NOA<\/character>\n    <parenthetical>(quietly almost to herself)<\/parenthetical>\n    <dialogue>It's like a fucked up Birchbox.<\/dialogue>\n    <scene_description>Noa sees a little piece of paper next to the pile with a name typed up. \"Kate Farney\". She stares at it. The girl who left her the note. Noa picks up a small roll on perfume with Kate's pile of stuff. She rolls a bit on her wrist and closes her eyes to smell it. She suddenly opens her eyes and looks at him.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Where's my stuff?<\/dialogue>\n    <character>STEVE<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>Not here right now.<\/dialogue>\n    <scene_description>Noa gives him a small inviting smile. Her eyes scan to a pile at the corner of the couch. Her eyes lock in on a phone case sitting on top of a small pile. We go in closer. It has Pink Sloths all over it. Mollie's phone. We linger a moment. She tries to maintains composure as Steve snaps her out of it.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Come on, let's eat.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING AREA- MOMENTS LATER<\/stage_direction>\n    <scene_description>Noa is seated back at the table, handcuffed again. Steve is back in the kitchen making plates for them.<\/scene_description>\n    <character>STEVE<\/character>\n    <parenthetical>(from the kitchen)<\/parenthetical>\n    <dialogue>You know, I was thinking. Maybe we can still go to Joshua Tree?<\/dialogue>\n    <scene_description>Noa again quietly pours her wine back into the Carafe while his back is turned.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>You've never been right?<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>It's so serene out there. It feels endless and you just really feel connected to nature. And Joshua trees are just so cool. Who is Joshua anyway? Why does he get a tree? Maybe I'll show you the Steve tree if you're lucky. Ha, just kidding.<\/dialogue>\n    <scene_description>He turns toward the dining area and brings in two plates. Some vegetables and garlic bread along with thin slices of meat that look really weird. They maybe almost resemble slices of a woman's breast. Noa looks down and stares. She grits her teeth and tenses her jaw. We can almost see her jaw bulging in and out. Her eyes lift up to him. She holds up her wine glass.<\/scene_description>\n    <character>NOA<\/character>\n    <parenthetical>(coyly)<\/parenthetical>\n    <dialogue>Catch up, pussy.<\/dialogue>\n    <scene_description>Steve likes this. He chugs his glass and pours himself more from the Carafe drinking it quickly as well. The quiet sounds of the knife and fork cutting the meat and scratching on the plate. Noa eats some salad first. A song plays in the background.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>This is really nice. Thank you for everything.<\/dialogue>\n    <scene_description>She's buzzed. Or at least acting like it. It's hard to say.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>You're welcome. I like spending time with you. Always have.<\/dialogue>\n    <scene_description>Noa cuts a piece of the thin piece of meat.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>I'm nervous to ask what this is?<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>It's breast meat but I really think you'll love it.<\/dialogue>\n    <scene_description>She lifts up a slice on her fork. He's chewing on a piece already.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>It's fatty and delicious. Think of it like pork belly.<\/dialogue>\n    <scene_description>She puts it in her mouth and chews then swallows.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>It should feel, familiar.<\/dialogue>\n    <scene_description>What the fuck does that mean? They eat together for a moment in silence. Noa takes a small sip of her wine then holds up the glass.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Cheers. To you.<\/dialogue>\n    <scene_description>He cheers' her glass then drinks. She watches him. He looks looser now. The alcohol is hitting.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Good wine.<\/dialogue>\n    <scene_description>She takes more small bites. Focuses. She looks different. There's a change in her. It's hard to say when it happened because it's been a long time coming. SONG: MEET ME IN THE WOODS: LORD HURON (This specific song is really important to the movie and this part. Look it up and listen. Check the lyrics. It's a mood for sure.) The song begins is the background.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Oh wow. I fucking love this song.<\/dialogue>\n    <scene_description>She smiles at him.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Oh yeah? It's just some Pandora station.<\/dialogue>\n    <scene_description>She closes her eyes listening for a bit. Then opens them.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Do you, wanna dance?<\/dialogue>\n    <scene_description>She smiles at him. She looks seductive. He chuckles.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>He gets up and removes the handcuff. He takes her hand. They walk to the living room and he makes the music much louder. They start moving and gyrating to the music together. She rubs up against him. He's into it and follows her lead. She backs away as he watches. The music is loud. She lets herself be taken over by it. Suddenly we watch her as she slowly transforms. She looks like she is letting go of everything in her as she dances in an almost primal way moving where the music takes her. It's sexy and fearless. They move their bodies together like some dark and twisted \"Dirty Dancing\" shit. Body parts rubbing. They both let go. He's loose from the alcohol. She looks like she is almost engulfing power from somewhere. Maybe all the women who came before her. He watches her for a moment, turned on. She kisses him deeply with confidence. She whispers something but we don't hear it. He smiles devilishly and leads her into the bedroom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVE'S BEDROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>They get into his bedroom and she pushes him on the bed and climbs on top of him starting to undress him. She takes off his shoes and pants and tosses them aside. It's passionate and messy and sexy even? We see her say something although we don't hear it. Probably that she has to pee. He looks drunk. The music plays loud through all of this. She walks to the bathroom as he waits.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM<\/stage_direction>\n    <scene_description>She is quickly looking around. Her breathing is fast now. There's nothing in the bathroom. She opens the mirrored cabinet. Just Aspirin, a toothbrush and toothpaste. It's mostly empty. She closes it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM<\/stage_direction>\n    <scene_description>Steve calls for her but we don't hear it over the music. She comes back out sexy as ever. The music continues. She dives on the bed as they start making out. He goes to put his hand where her ass used to be. She takes it away. He understands. After a moment she peels off his boxer briefs. His eyes start to close as we see him feeling only the music and her warm mouth all over him. A few moments of ecstasy. We see her eyes staring up at him as she begins to suck his dick. We see her back as she breathes heavy and then... MOTHER FUCKIN BIGGITY BAM! The music ABRUPTLY cuts out as we are faced with the sounds of Steve's blood curdling screams. She lifts her face which is now covered with blood. She just chomped right into his dick. There's blood everywhere. She spits everywhere disgusted but motivated and focused. As he sits up to attack her she quickly pulls toothpaste out from behind her back in her bandage and squeezes it on her hands quickly rubbing it into his eyes with all her might.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Not today SATAN!<\/dialogue>\n    <scene_description>She's covered in his blood as she dives over to the side table and opens the drawer fumbling through everything and finally finding and grabbing his keys. He is screaming and trying to reach for her but can't see much and she kicks him in the stomach away from her.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>You stupid little bitch! I'm gonna fucking kill you!<\/dialogue>\n    <scene_description>She runs out of the room grabbing his pants and shoes. She's a sight to be seen. Wild hair, cheesy floral dress and her entire mouth and face covered in blood. He manages to stand up but is half blind as he wipes the toothpaste out of his eyes as much as he can on the blanket. He still screams and bends over from the pain in his dick. She slams the door and grabs the chair from the living room she'd previously spotted and pushes it under the door knob.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>You got this you got this you got this. Stay fucking focused.<\/dialogue>\n    <scene_description>She runs with his shoes and pants toward the basement door and right before she opens it to run down the stairs she grabs his other pair of sneakers in the living room.<\/scene_description>\n    <character>NOA<\/character>\n    <parenthetical>(screaming)<\/parenthetical>\n    <character>I'M HERE I'M HERE!<\/character>\n    <dialogue>She runs directly to Penny's room and slides open the little window.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Let's fucking go!<\/dialogue>\n    <scene_description>She looks in and we finally see Penny for the first time. She's missing an arm and a leg and is sitting on her mattress. Noa fumbles with the keys.<\/scene_description>\n    <character>PENNY<\/character>\n    <dialogue>Fuck! It's gonna be kinda hard to run!<\/dialogue>\n    <scene_description>Noa breathes heavily.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Right. Ok. I'll be right back!<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Ok!<\/dialogue>\n    <scene_description>Noa runs along each door quickly opening up the windows. Empty, empty but messy, empty and blood stained. She slides open another window and sees Mollie sleeping on her mattress.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Mollie! Come on we're going!<\/dialogue>\n    <scene_description>Mollie is groggy but quickly wakes up and comes to. Her entire chest is flat and bandaged up. She's barefoot. She runs to the door as Noa fumbles trying every key. Mollie screams through the door as she gets up running over to it.<\/scene_description>\n    <character>MOLLIE<\/character>\n    <dialogue>I love you! I'm sorry! I tried!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVE'S BEDROOM.<\/stage_direction>\n    <scene_description>Steve has wiped most of the toothpaste out of his eyes now. His eyes are red and he still winces in pain as he runs toward the door. He can't open it. He pushes and runs into it. From the outside we see the chair moving a bit. If he runs and pushes hard enough it may eventually break the wooden chair.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT - SAME TIME<\/stage_direction>\n    <scene_description>Mollie and Noa are now together. Noa gives her Steve's shoes so she's not barefoot. She fumbles with the keys to Penny's room. She finally opens it and runs over to Penny quickly leaning down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Noa and Mollie run out of Penny's room. Penny is now seated on a blanket as they drag her down the hallway and she holds on with her hand.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Melissa's gone. We're the only ones left.<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Let's murder this fucking guy!<\/dialogue>\n    <scene_description>UP THE STAIRS FROM THE BASEMENT They swing open the door right as Steve starts rushing the stairs from the hallway. A broken chair behind him near the bedroom door. They run into the kitchen.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>You worthless fucking cunts!<\/dialogue>\n    <scene_description>Mollie and Noa rush him as they both kick and punch and scratch him as they FIGHT FOR THEIR FUCKING LIVES. Noa grabs a knife out of the wood block and starts stabbing him wherever she can manage. Mollie grabs a pan next to the sink within reach. She beats him over the head with it. Penny punches and scratches at his legs with her one arm. There are no clever cut aways just messy bloody in the moment fighting. He grabs the pan away from Mollie and pulls her by the hair and punches her in the face. Noa tries to grab his arm back from punching Mollie and drops the knife to Penny who is sitting on the ground.<\/scene_description>\n    <character>PENNY<\/character>\n    <dialogue>My turn you piece of shit!<\/dialogue>\n    <scene_description>She picks up the knife and starts cutting him in the shins. He leans down screaming and tries to kick her protecting himself. As he does Noa and Mollie start pushing and punching him.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Over here!<\/dialogue>\n    <scene_description>Noa nods her head to the basement door. Noa opens as they get him to the edge and both PUSH. CLUNK CLUNK CLUNK etc. He falls violently down the stairs as they close and lock it. Noa runs down the hallway.<\/scene_description>\n    <character>MOLLIE<\/character>\n    <dialogue>What are you doing we gotta get the fuck out of here!<\/dialogue>\n    <scene_description>Noa gets to a door and after some fumbling unlocks it with the keys. It's the meat freezer. She comes back dragging a leg wrapped in cellophane that has a label on it \"PENNY\".<\/scene_description>\n    <character>PENNY<\/character>\n    <dialogue>My leg!<\/dialogue>\n    <scene_description>They lift Penny back onto the blanket and she holds on. Noa quickly runs over to the small bowl on the table near the door to grab his car keys. FUCK! They aren't there. She looks all over the table and floor but there isn't time.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Ok ok ok no car keys. New plan!<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>We need to fucking run!<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>WAIT!<\/dialogue>\n    <scene_description>She runs back into the room with all of the women's stuff. She messily and quickly swipes and dumps all she can into a bag she finds in a corner leaving only a few things.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT - SAME TIME<\/stage_direction>\n    <scene_description>Steve bloody and battered at the bottom of the stairs manages to stand up wobbly and bleeding all over from stab wounds but starts crawling back up the stairs as he pulls out his cell phone and starts dialing a number. UPSTAIRS Noa runs out of the room holding the bag and they run toward the back kitchen door dragging Penny behind them. Noa grabs a knife before they leave. It's a little slower with Penny and her holding the leg but they're making it work.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>There's a house in the distance a few city blocks away through the woods. I've seen the lights out the window.<\/dialogue>\n    <scene_description>They get out the back door but have to lift her up and take her down the stairs first. Once they're down the stairs they put her back on the blanket and start running as fast as they can muster.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT STAIRS- TOP -SAME TIME<\/stage_direction>\n    <scene_description>Steve has made it to the top of the stairs and fumbles with his own keys.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STEVE'S HOUSE - BACKYARD - NIGHT<\/stage_direction>\n    <scene_description>Noa and Mollie are dragging Penny in eerie silence except for their heavy breathing and the sound of crunching leaves beneath their feet. The yard stretches back littered with lots of trees. The girls breathe heavily and try to keep up speed seeing the lights of a house in the distance but they're exhausted from fighting and weak from all of it. Noa turns to Mollie.<\/scene_description>\n    <character>PENNY<\/character>\n    <dialogue>Why is your mouth so bloody?<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>I chomped into his dick.<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>How did you even-<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>That's fuckin dope.<\/dialogue>\n    <scene_description>Noa chuckles a bit. She looks at Mollie who looks like a shell of herself.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>I ate your tit. I'm sorry.<\/dialogue>\n    <scene_description>Penny lets out a laugh. Mollie turns to her. She's hard to read.<\/scene_description>\n    <character>MOLLIE<\/character>\n    <dialogue>You did what you had to. Was it good at least?<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Fuck no.<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Hate to break up this touching moment but we should really move faster. Sorry I'm a gimp.<\/dialogue>\n    <scene_description>They try to speed up. Suddenly the sound of the Steve's back door in the distance. He comes out limping and bleeding with a gun. He spots them in the distance.<\/scene_description>\n    <character>PENNY<\/character>\n    <dialogue>This fucking guy!<\/dialogue>\n    <character>STEVE<\/character>\n    <dialogue>You vile little chunks of flesh!<\/dialogue>\n    <scene_description>With pure adrenaline he begins to speed up and starts shooting.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Fuck!<\/dialogue>\n    <scene_description>They try to duck and move and get out of the way.<\/scene_description>\n    <character>MOLLIE<\/character>\n    <dialogue>Split up! We gotta zig zag and shit I saw it on Dateline!<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>What about me?!<\/dialogue>\n    <scene_description>We see Steve watching as they disperse and move in different directions as he runs closer. Mollie drags Penny and Noa goes a different way. He keeps shooting and holds a big ass knife in his other hand. He squints trying to see but between the trees and the darkness they've disappeared. He runs closer but slows down as it becomes eerily silent. The leaves crunch under his feet. He stops and looks around waiting for something. A movement, a sound, anything.<\/scene_description>\n    <character>STEVE<\/character>\n    <parenthetical>(calling out)<\/parenthetical>\n    <dialogue>I'm sad Noa! I guess we won't be going to Joshua Tree after all!<\/dialogue>\n    <scene_description>He keeps looking around as he walks.<\/scene_description>\n    <character>STEVE<\/character>\n    <parenthetical>(calling out)<\/parenthetical>\n    <dialogue>Now I'm just gonna have to kill all of you and make it super fucking painful.<\/dialogue>\n    <scene_description>Behind a tree but it's hard to tell where Noa sits crunched into a fetal position scared and motionless. She tries to quiet her breathing as best she can. Steve waits. Suddenly, music.... \"Thank you for being a friend. Travel down the road and back again. Your heart is true you're a pal and a confidante...\" It echos against the silence of the woods as he chuckles and runs toward it before it stops abruptly. As he gets closer and is about to start shooting he sees the phone still lit up near a tree. He turns around looking everywhere and starts to run when... BAM, he trips over something. PENNY'S FROZEN LEG.<\/scene_description>\n    <character>PENNY<\/character>\n    <dialogue>Get the fuck over here!<\/dialogue>\n    <scene_description>He falls to the ground and looks up as they all descend on him. Penny dives for his gun. Noa and Mollie run from different trees as he reaches for Penny beating her the best he can. Noa and Mollie get to Steve to pull him off and start BEATING THE EVER LOVING SHIT OUT OF HIM. Noa stomps on his chest, hands and face.<\/scene_description>\n    <character>NOA<\/character>\n    <parenthetical>(as she beats him)<\/parenthetical>\n    <dialogue>You pathetic piece of shit!<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>You're not funny or charming! You're embarrassing!<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>And you're gonna die right fucking now!<\/dialogue>\n    <scene_description>He tries to block the beating and fight back but finally, it's a futile effort.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>You sick! Evil! Fucker!<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>You disgusting excuse for a man!<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>We're all gonna fucking laugh over your dead body!<\/dialogue>\n    <scene_description>He is so badly bloodied and beaten he's barely recognizable. He quietly croaks out the words. A condescending smirk still on his face.<\/scene_description>\n    <character>STEVE<\/character>\n    <dialogue>You're just pieces of meat. That's all you'll ever be. Long after I'm gone.<\/dialogue>\n    <scene_description>Noa asks for the gun from Penny.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>May I?<\/dialogue>\n    <scene_description>Penny hands her the gun. Noa smiles. She stares a bit as he looks back up at her bloodied to a pulp with labored breathing.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Namaste motherfucker.<\/dialogue>\n    <scene_description>And with that she shoots him in the face. He is very very dead. She throws down the gun and puts her hands together in a loose prayer position and bows her head.<\/scene_description>\n    <character>PENNY<\/character>\n    <dialogue>Damn. I'd give you a standing ovation but, you get it.<\/dialogue>\n    <scene_description>Noa grabs Mollie into a brief but tight hug. They lean down and hug Penny. The only sound is of the crickets and their heavy breathing. A brief moment of true love between women.<\/scene_description>\n    <character>MOLLIE<\/character>\n    <dialogue>Ok. Let's get to that house. Now.<\/dialogue>\n    <scene_description>Noa turns on the flashlight from her cell phone as they light up the path in front of them. They start to drag Penny on the blanket and walk-run toward the light in the distance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STEVE'S HOUSE - DRIVEWAY<\/stage_direction>\n    <scene_description>A car's headlights shine into the driveway. Steve's wife Ann gets out with a large man (the delivery driver from the \"packages\" earlier) dressed in a black shirt and slacks. She looks a bit in shock. They walk in silence into the house. They don't speak as Anne looks around at the scene. It's a mess. A broken chair near the door to the bedroom. Blood EVERYWHERE. The kitchen is chaos. Knives, pots, pans, etc. She walks through observing everything and being careful not to touch. The back door is open. Blood smeared everywhere. She looks out into the woods.<\/scene_description>\n    <character>ANN<\/character>\n    <dialogue>Get a flashlight.<\/dialogue>\n    <scene_description>The man nods and leaves. She walks to the office and pushes the door the rest of the way open cautiously. Mostly everything was taken by Noa. It's a mess of a few papers and random things strewn about. Suddenly she spots a clean pile of things in a different corner. She approaches it. On top of that pile is a little piece of paper with the word \"PAUSE\" written on it. It seems to hit a nerve but she manages to keep herself composed. Underneath it is a pile of stuff. She leans down and picks something up from the pile. It's Noa's driver's license. She stares at it a beat then pockets it. She walks out of the office and the man is back now with the flashlight.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STEVE'S HOUSE- CONTINUOUS<\/stage_direction>\n    <scene_description>The two of them walk into the backyard shining the flashlight. They walk for a few moments in silence shining it everywhere until a heap catches their eye. They approach it. It's Steve's badly beaten and shot dead body. Ann stares and then bends down next to him. Her lip quivers. She gets choked up but tries to stay strong.<\/scene_description>\n    <character>ANN<\/character>\n    <dialogue>We need to clean the house immediately of anything connecting us.<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>Yes M'ayam.<\/dialogue>\n    <scene_description>He watch as Anne holds his hand and silently cries for a moment. It's brief. She pushes down all the emotion.<\/scene_description>\n    <character>ANN<\/character>\n    <parenthetical>(composed again)<\/parenthetical>\n    <dialogue>Ok. We'll get his body on ice before the meat goes bad.<\/dialogue>\n    <scene_description>The man tries to hide is shock.<\/scene_description>\n    <character>ANN<\/character>\n    <dialogue>He'd want to be eaten.<\/dialogue>\n    <scene_description>She stands up. Suddenly something catches her eye. A light in the woods a bit of a distance going back and forth. She watches a beat.<\/scene_description>\n    <character>ANN<\/character>\n    <parenthetical>(to herself)<\/parenthetical>\n    <dialogue>This bitch.<\/dialogue>\n    <parenthetical>(to the guy)<\/parenthetical>\n    <dialogue>Stay here.<\/dialogue>\n    <scene_description>Ann walks away into the woods. The guy is left alone with Steve's body. He looks down at it. Gulp. He takes out a cigarette. We see his hand shake with the lighter and he lights it. He's not as strong as he's pretending to be. The whole situation is getting to him. DEEPER IN THE WOODS Our trio of girls walk in silence exhausted. Noa's iPhone flashlight shines back and forth in front of them. They're closer to the lights now and run full speed (as best they can) toward it. As they get right up to it they are hit with the shittiest of realizations. It's a medium sized greenhouse. They try to open the door. It's locked. Noa jiggles the handle helplessly.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Hello! Hello! HELP! PLEASE!<\/dialogue>\n    <scene_description>They peer inside. Tons of Cannabis plants are growing. A shovel and small ladder sit next to the door which has a little light overhead. Lights are on inside shining on the plants.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>This is just torture right now. All this weed and no one to smoke it.<\/dialogue>\n    <character>PENNY<\/character>\n    <dialogue>Coming from someone who was just tortured I agree. It smells good as hell.<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>Let's call 911.<\/dialogue>\n    <scene_description>Mollie takes out her phone to dial. Noa lifts her phone and tries as well.<\/scene_description>\n    <character>MOLLIE<\/character>\n    <dialogue>Fuck! Mine doesn't have service.<\/dialogue>\n    <scene_description>Noa tries to call 911 on her phone. The service isn't strong enough.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Damn it! It's not going through.<\/dialogue>\n    <scene_description>She tries again. Nothing. She hands Mollie the bag of the women's stuff and grabs her phone.<\/scene_description>\n    <character>NOA<\/character>\n    <parenthetical>(to Penny and Mollie)<\/parenthetical>\n    <dialogue>Ok turn these phones on. See if any have service or battery and try to call 911. I'm gonna walk back into the woods a little ways where we called my phone. I'll be right back.<\/dialogue>\n    <scene_description>She grabs Mollie's phone from her.<\/scene_description>\n    <character>MOLLIE<\/character>\n    <dialogue>Ok. Come right the fuck back. Keep your flashlight on.<\/dialogue>\n    <character>NOA<\/character>\n    <parenthetical>(obviously sarcastic)<\/parenthetical>\n    <dialogue>No I'm gonna turn it off for fun.<\/dialogue>\n    <scene_description>Noa turns it on and shines it in front of her as she walks away. Mollie and Penny reach into the bag and start trying to turn on phones. Noa walks deeper into the woods. It's eerily silent except for the crunching of leaves under her feet. She holds up a phone as she walks and shines the light from the other.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <scene_description>She switches phones. We see the bars almost non existent.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STEVE'S HOUSE - BACKYARD<\/stage_direction>\n    <scene_description>The man is still standing there smoking a cigarette along in the eerie darkness. He hears something and jumps a bit. Then he looks down at Steve's body again. He lightly kicks at him with his foot, maybe making sure he's dead, maybe trying to believe this is all real.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WOODS- SAME TIME<\/stage_direction>\n    <scene_description>Noa moves the phones around trying to get service. She presses 911. It won't dial. It just says \"calling....\" She looks over at the light of the greenhouse in the distance. She's tired and beaten down. Why can't a phone fucking work! Suddenly the sound of crunching leaves. She takes in a quick sip of air. What the fuck was that? She shines the light of the phone one way. SWISH. More crunching sounds. She turns it the other way. SWISH. BAM. Anne. Standing right in front of her. She starts to cry.<\/scene_description>\n    <character>ANN<\/character>\n    <parenthetical>(crying)<\/parenthetical>\n    <dialogue>I was at the house! I was so scared! I heard you! But I got out!<\/dialogue>\n    <scene_description>Noa's face quickly tries to process what the hell is going on. She's confused, not sure what to believe. Who is this?<\/scene_description>\n    <character>ANN<\/character>\n    <dialogue>We're free! I didn't think I'd ever see outside that room!<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>What?! Who are you?!<\/dialogue>\n    <scene_description>As Noa's defenses are momentarily down Anne LUNGES at her and begins to strangle Noa with everything in her. I mean she just killed this crazy bitch's husband right? Noa's knocked down into the dirt and leaves. She's already bruised and battered. She starts clawing at Ann's face and pulling at her hair but Ann is relentless, she doesn't seem fazed at all.<\/scene_description>\n    <character>ANN<\/character>\n    <dialogue>I wanna watch your life slip away.<\/dialogue>\n    <scene_description>She stares at her deeply as Noa tries to turn her neck and gasp for air. She reaches for one of the cell phones with her fingers just an inch or two away. Her fingers searching as she tries to pull Ann's hands off her neck with the other hand and claw at her. YES! She reaches the phone and starts BASHING Ann in the side of the head with it as hard as she can. Punching with the other. It throws Ann off her game. She gains some momentum. Ann is starting to bleed from her head.<\/scene_description>\n    <character>ANN<\/character>\n    <dialogue>YOU WHORE!<\/dialogue>\n    <scene_description>As Noa continues to hit Ann in the head with the phone the flashlight is still on and the light goes back and forth. IN FRONT OF THE GREENHOUSE Penny and Mollie turn on phones and dial. Mollie looks toward the light in the distance. It flashes back and forth in a weird pattern.<\/scene_description>\n    <character>MOLLIE<\/character>\n    <parenthetical>(to Penny)<\/parenthetical>\n    <dialogue>Stay here.<\/dialogue>\n    <scene_description>That'll be easy.<\/scene_description>\n    <character>PENNY<\/character>\n    <dialogue>Come on!<\/dialogue>\n    <scene_description>IN THE WOODS Noa and Ann fight. Scratch, kick, pull, punch. Noa gets on top of her and starts beating her with the phones. Hey, use what you got. BOOM. One final blow and Ann is knocked unconscious. Noa leans back and gets off her trying to catch her breath. The flashlight from the iPhone now shines a pink light from being covered in blood. She lifts it up and looks. One bar. She turns away from Ann momentarily to see if the bars will go up as she holds up the phone away from her.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>MOLLIE! MOL-<\/dialogue>\n    <scene_description>BOOM! FUCK! ANN is on her back again, clawing at Noa's eyes.<\/scene_description>\n    <character>ANN<\/character>\n    <dialogue>DIRTY SLUT!<\/dialogue>\n    <scene_description>She tries to turn and face Ann pulling her hands off her face and eyes. Ann cold cocks Noa in the face. She's groggy for a minute. Ann gets on top of her. Noa's so weak. Ann starts strangling her again. Damn this woman is relentless.<\/scene_description>\n    <character>NOA<\/character>\n    <parenthetical>(choking out words)<\/parenthetical>\n    <character>PLEASE!<\/character>\n    <dialogue>Ann looks at her. A teeny tiny moment. A person inside. Someone who has seen things. Who knows who Ann was before. Is she getting through to her? It's hard to tell. Probably not. Noa is starting to lose consciousness.<\/dialogue>\n    <dialogue>BING! A shovel flies across Ann's head. Ann flops off of Noa as Mollie stands behind her holding the shovel from outside the greenhouse. Noa gasps for air.<\/dialogue>\n    <character>ANN<\/character>\n    <parenthetical>(screaming)<\/parenthetical>\n    <character>YOU FUCKING CUNTSSSSSS!!!<\/character>\n    <dialogue>It echos through the woods.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STEVE'S HOUSE - BACKYARD - SAME TIME<\/stage_direction>\n    <scene_description>The man looks up hearing Ann's scream as it echos through the woods. He is FREAKED out. That was the final straw. He drops his cigarette and BOOKS it the hell out scared shitless. IN THE WOODS- SAME TIME Noa still gasps for air breathing heavy.<\/scene_description>\n    <character>NOA<\/character>\n    <parenthetical>(croaking out words)<\/parenthetical>\n    <dialogue>Thank God.<\/dialogue>\n    <scene_description>Mollie turns to Ann on the ground. She's far from finished. She starts beating the shit out of her with the shovel.<\/scene_description>\n    <character>MOLLIE<\/character>\n    <dialogue>YOU! SHOULD! HELP! OTHER! WOMEN!<\/dialogue>\n    <character>YOU! FUCKING! BITCH!<\/character>\n    <dialogue>Damn. She dead. Mollie falls to the ground, exhausted. They reach for each other's hands and sit in silence catching their breath. So weak. Noa finally reaches for her phone with the other and looks.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>We have service.<\/dialogue>\n    <scene_description>The phone shows 911 CALLING. Mollie slowly nods her head. The sound of it ringing on speakerphone.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Who the hell is this?<\/dialogue>\n    <character>MOLLIE<\/character>\n    <dialogue>Steve's wife.<\/dialogue>\n    <character>NOA<\/character>\n    <dialogue>Fuck.<\/dialogue>\n    <character>OPERATOR<\/character>\n    <parenthetical>(through speaker)<\/parenthetical>\n    <dialogue>911 what's your emergency?<\/dialogue>\n    <scene_description>They looks at each other. It's over. Finally.<\/scene_description>\n    <character>NOA<\/character>\n    <dialogue>Why can't I just meet a normal guy?<\/dialogue>\n    <scene_description>BOOM. BLACK. KICK ASS SONG. CREDITS. MIA - BAD GIRLS<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Noa, a woman from Portland, is increasingly disillusioned with online dating and the rude men she interacts with. One day at the supermarket, a man named Steve flirts with her and they exchange numbers. On their first date, the two quickly hit it off and have sex. After several dates, Steve invites Noa for a weekend break away alone with him. Against the advice of her best friend Mollie, Noa agrees to the trip. Planning to travel early the following day, Noa spends the evening at Steve's luxury home. Steve drugs Noa's cocktail and she falls unconscious. Noa wakes up in captivity, chained to the ground. Steve explains that he is a butcher of human meat, which he both consumes himself and sells to wealthy clients, revealing himself as a sadistic cannibal. His clients prefer the meat of young women, so he regularly lures and abducts women on dates. He says that he will keep Noa alive as long as possible in order to keep her meat fresh as he intends to surgically remove different pieces of her body over time. Steve allows Noa to take a shower, but she tries to escape. Steve captures her and harvests her buttocks as punishment. Noa speaks to a woman named Penny who is being held captive in an adjacent room. Penny shares with Noa that a woman that can be heard singing incoherently is another victim named Melissa who has gone insane. Meanwhile, Mollie becomes concerned about Noa's disappearance and begins investigating with her friend Paul, a bartender who served Noa and Steve drinks on their first date. After searching online, Mollie discovers Steve is actually named Brendan, and is married to a woman named Ann with whom he has children. Mollie visits Ann and informs her of Brendan\u2019s apparent affair. Brendan arrives, but denies any knowledge of Noa when questioned by Mollie. As she leaves, Mollie calls Noa's phone, which begins ringing in Brendan's pocket. Ann, realizing he's been caught, knocks Mollie unconscious. In a shower scene with Ann, it is revealed that she has a prosthetic leg, implying that she might have been one of Brendan's past victims. Noa gains Brendan's trust by flirting and pretending to be interested in what human meat tastes like. Brendan invites her to dinner and persuades her to taste a lavish meal containing human meat, which Noa eats, pretends to enjoy and later vomits in her cell. Meanwhile, Brendan takes Mollie away for harvesting. Brendan invites Noa to another dinner, providing her with a pink dress as a gift. Before dinner, Brendan shows Noa a hidden compartment filled with items belonging to his victims, indicating he has abducted and murdered dozens of women before her. While observing Brendan's trophies, Noa recognizes Mollie's phone amongst those of the kidnapped victims. At dinner, he feeds Noa breast meat, which Brendan connotes as possibly tasting \"familiar.\" Following dinner, Noa persuades Brendan to have sex with her and let her perform fellatio on him; she instead, bites off his penis. With Brendan injured, but in pursuit, Noa helps Mollie and Penny escape from their rooms. The three encounter Brendan in the kitchen and fight him, then escape into the woods with Brendan pursuing them with a gun. In the meantime, before she was abducted, Mollie had shared her location via phone with Paul. When he does not hear back from Mollie, Paul follows the location and arrives at Brendan's house. However, hearing gunshots fired by Brendan, Paul turns away fearing for his life. In the woods, Noa, Mollie, and Penny manage to attack him again, with Noa taking the gun and shooting Brendan dead. Ann arrives at the house and finds Brendan's body. She encounters Noa in the woods and tries to strangle her, but Noa stabs Ann in the neck with car keys. As Ann recovers and attempts to strangle Noa again, Mollie angrily bludgeons Ann to death with a shovel. As she and Mollie relax at last, Noa receives a text from a man she went out with at the beginning of the film. A mid-credits scene depicts five of Brendan's clients in a white room, seated at a table with bleeding human meat at the center."}
{"movie_name":"Man on the Moon_1999","imdb_id":"tt0125664","script":"<script>\n  <scene>\n    <stage_direction>INT. VOID - DAY<\/stage_direction>\n    <scene_description>Standing in a nonexistent set is ANDY KAUFMAN , looking a bit nervous . Wide - eyed , tentative , he stares at us with a needy , unsettling cuteness . His hair is slicked - down , and he wears the `` FRIENDLY WORLD '' costume from the Andy Kaufman special . Finally , Andy speaks - in a peculiar FOREIGN ACCENT .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( AS FOREIGN MAN . )<\/parenthetical>\n    <dialogue>Hallo. I am Andy. Welcoom to my movie.<\/dialogue>\n    <parenthetical>( beat ; he gets upset . )<\/parenthetical>\n    <dialogue>I hoped the story of my life would be nice. but it turned out terrible! It is all LIES! Tings are mixed up. real people I knew play different people. WHAT A MESS! So I broke into Universal and cut out the junk. Now it's much shorter. In fact, this is the end of the movie. So tanks for comink! Bye - bye!<\/dialogue>\n    <scene_description>Andy puts a needle on a phonograph , and swelling CLOSING CREDITS MUSIC starts to play . FINAL CREDITS roll . Andy stands frozen , awkwardly looking at the audience . Every time the music ends he picks up the needle and restarts the music . He does that as many times as the credits require . Finally , CREDITS END . And then - a sly smile . He leans in . DROPS HIS ACCENT and WHISPERS .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( AS REGULAR VOICE . )<\/parenthetical>\n    <dialogue>Okay! Just my friends are left. I wanted to get rid of those other people. they would have laughed in the wrong places.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I was only kidding about the movie. it's actually PRETTY GOOD! It shows everything. from me as a little boy until my death -.<\/dialogue>\n    <parenthetical>( his eyes pop ; he covers his mouth . )<\/parenthetical>\n    <dialogue>Oops! I was n't supposed to talk about that! Oh. Eh, uh, we better just begin. It starts back in Great Neck, Long Island.<\/dialogue>\n    <scene_description>Andy turns to a primitive 16mm PROJECTOR and turns it on . WHIR ! He smiles at the flickering light .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Oh, yes. I remember it well.<\/dialogue>\n    <scene_description>We PUSH INTO the white light . It fills our frame , blazing whiter , whiter .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KAUFMAN HOUSE - 1957 - DAY<\/stage_direction>\n    <scene_description>A BLACK AND WHITE image slowly becomes COLOR . Great Neck , 1957 . An upper - class Jewish neighborhood . In the street , crewcut BOYS play t - ball , laughing and shouting . A fat convertible pulls up to the smallest house , and STANLEY KAUFMAN , 40 , gets out . Still in his suit , he 's a well - meaning slave to his job - tired , responsible . Stanley goes over to admire the t - ball game . At bat is his son MICHAEL , 6 , a natural charmer . Michael swings - crack ! - and hits a solid single . Stanley smiles .<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>That's my boy! Good swingin', kiddo.<\/dialogue>\n    <parenthetical>( warm beat ; then a look . )<\/parenthetical>\n    <dialogue>Hey - Michael. where's your brother?<\/dialogue>\n    <character>MICHAEL<\/character>\n    <dialogue>He's inside.<\/dialogue>\n    <scene_description>Instantly - Stanley 's mood turns black . He frowns angrily , then snatches his briefcase and marches in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KAUFMAN HOUSE, KITCHEN - 1957 - DAY<\/stage_direction>\n    <scene_description>Baby CAROL is crying . Mom JANICE , 35 , quickly peels carrots , trying to get dinner made . Stanley marches past .<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>Is he in his room?<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>Of course he's in his room.<\/dialogue>\n    <parenthetical>( aggravated . )<\/parenthetical>\n    <dialogue>All his `` friends'' are in there.<\/dialogue>\n    <scene_description>Stanley glowers . He huffs upstairs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KAUFMAN HOUSE, HALLWAY - 1957 - DAY<\/stage_direction>\n    <scene_description>Stanley hurries up to Andy 's shut door . We hear little Andy doing VOICES .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( as WORRIED GIRL . )<\/parenthetical>\n    <dialogue>But professor, why are the monsters growing so big?<\/dialogue>\n    <parenthetical>( now as BRITISH PROFESSOR . )<\/parenthetical>\n    <dialogue>It's something in the jungle water. I need to crack the secret code.<\/dialogue>\n    <scene_description>Stanley rolls his eyes . He opens the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KAUFMAN HOUSE, ANDY'S ROOM - 1957 - DAY<\/stage_direction>\n    <scene_description>revealing ANDY , 8 , performing for the wall . Andy is happy and enthusiastic . as long as he 's acting .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( as BRITISH PROFESSOR . )<\/parenthetical>\n    <dialogue>Maybe I should talk to the natives.<\/dialogue>\n    <parenthetical>( as dancing NATIVES . )<\/parenthetical>\n    <dialogue>Shoom boom boo ba! Shoom boom boo ba -<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>Andy!<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( startled . )<\/parenthetical>\n    <dialogue>Oh!<\/dialogue>\n    <scene_description>The boy suddenly turns off , becoming introverted . awkward . Frustrated , Stanley stares at his son .<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>Andy, this has to stop. Our house is n't a television station. There is not a camera in that wall.<\/dialogue>\n    <scene_description>Andy glances over at the wall . Hmm .<\/scene_description>\n    <character>STANLEY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( trying to cope . )<\/parenthetical>\n    <dialogue>Son. listen to me. It is n't healthy. You should be outside, playing sports.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>But I've got a sports show. Championship wrestling, at five.<\/dialogue>\n    <character>STANLEY<\/character>\n    <parenthetical>( he blows his top . )<\/parenthetical>\n    <dialogue>You know that's not what I meant! Look, I'm gon na put my foot down! No more playing alone. You wan na perform, you GOT TA have an audience!<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( he points at the wall . )<\/parenthetical>\n    <dialogue>B - but I have them.<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>No! That is NOT an audience! That is PLASTER! An audience is people made of flesh! They - live and breathe! Got it?!<\/dialogue>\n    <scene_description>Andy thinks , considering his options . Then , he nods .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KAUFMAN HOUSE, FAMILY ROOM - 1957 - LATER THAT DAY<\/stage_direction>\n    <scene_description>Baby Carol sits in her crib . Andy 's hands suddenly YANK her out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KAUFMAN HOUSE, ANDY'S ROOM - 1957 - DAY<\/stage_direction>\n    <scene_description>Andy hurries in and plops Carol down on the floor . She dutifully sits there , deadpan . Andy returns to the center of the room . He resumes his show .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( as KIDDIE SHOW HOST . )<\/parenthetical>\n    <dialogue>And now, boys and girls! It's time for. TV Fun House!<\/dialogue>\n    <parenthetical>( he makes an APPLAUSE SOUND . )<\/parenthetical>\n    <dialogue>Hi, everybody! Are you ready for a singalong? I'll say the animal, and you make his sound! Okay? Okay!<\/dialogue>\n    <parenthetical>( he starts to SING . )<\/parenthetical>\n    <dialogue>`` Oh, the cow goes.''<\/dialogue>\n    <scene_description>Carol stares , unblinking . Then -<\/scene_description>\n    <character>CAROL<\/character>\n    <dialogue>Moo.<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( he smiles , pleased . )<\/parenthetical>\n    <dialogue>`` And the dog goes.''<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>WOOF!<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>`` And the cat says.''<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NY NIGHTCLUB - 1975 - NIGHT<\/stage_direction>\n    <scene_description>TIGHT on ANDY , now GROWN UP . 26 - years - old , still performing the song .<\/scene_description>\n    <character>DRUNK AUDIENCE<\/character>\n    <dialogue>MEOW!<\/dialogue>\n    <scene_description>WIDE - It 's a small , hip New York nightclub .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>`` And the bird says.''<\/dialogue>\n    <character>DRUNK AUDIENCE<\/character>\n    <dialogue>TWEET!<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>`` And the lion goes.''<\/dialogue>\n    <character>DRUNK AUDIENCE<\/character>\n    <dialogue>ROAR!<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>`` And that's the way it goes!''.<\/dialogue>\n    <parenthetical>( he grins . )<\/parenthetical>\n    <dialogue>Thank you. Goodbye!<\/dialogue>\n    <scene_description>Andy waves and bows . There 's faint scattered applause . Andy sighs . An irritated MANAGER steps onstage . He shoots Andy a disgruntled look , then takes the mike .<\/scene_description>\n    <character>MANAGER<\/character>\n    <dialogue>The comedy stylings of Andy Kaufman, Ladies and Gentlemen!<\/dialogue>\n    <scene_description>In the b.g. , Andy starts packing up his props : Hand puppets , conga drums , a phonograph . it all goes into a big bulky case .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NY NIGHTCLUB - 1975 - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>The club is empty . At the bar , the manager cleans up . Andy eagerly comes over . Offstage , his presence is soft , placid - his voice barely above a whisper .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>So, Mr. Besserman, same slot tomorrow?<\/dialogue>\n    <character>MANAGER<\/character>\n    <parenthetical>( awkward . )<\/parenthetical>\n    <dialogue>Eh, I dunno. Andy. I'm. thinkin' of letting you go.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>You're firing me?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You do n't even pay me!<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>Look - I do n't wan na seem insulting. But. your act is like amateur hour : Singalongs. puppets. playing records.<\/dialogue>\n    <scene_description>A stunned beat . Andy is hurt .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>What do you want? `` Take my wife, please''?<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>Sure! Comedy! Make jokes about the traffic. Do impressions. Maybe a little blue material.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>I do n't swear. I - I do n't do what everyone else does!<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>Well, everyone else gets this place cookin'! Pal, it's hard for me to move the booze when you're singin' `` Pop Goes The Weasel.''<\/dialogue>\n    <scene_description>Andy stares , disheartened .<\/scene_description>\n    <character>MANAGER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I'm sorry. You're finished here.<\/dialogue>\n    <scene_description>An uncomfortable beat - and then Andy starts crying . The manager is dumbfounded . He does n't know what to do . Tears are rolling pitifully down Andy 's cheeks . The manager is confused - totally disoriented . Shamed , Andy covers his face , then runs out . Silence . The manager stares after him . having no idea what just happened .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NY NIGHTCLUB - 1975 - NIGHT<\/stage_direction>\n    <scene_description>Sobbing Andy bursts out the door . He steps onto the sidewalk - and IMMEDIATELY STOPS CRYING . Just like that . Andy lifts his big case and starts walking . Andy shakes his head angrily . He turns down a dark street , hurrying alone through an unsavory New York neighborhood . But then . TWO MEN appear . silently approaching . Andy stops uncertainly - debating whether to turn around . But in that second - the thugs are upon him , glaring menacingly .<\/scene_description>\n    <character>THUG #1<\/character>\n    <dialogue>Give us your wallet.<\/dialogue>\n    <scene_description>Andy stares fearfully . An anxious moment . He thinks . considering his options . Then , he suddenly stammers in a thick FOREIGN ACCENT .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( AS FOREIGN MAN . )<\/parenthetical>\n    <dialogue>I - doo not unterstand!<\/dialogue>\n    <character>THUG #1<\/character>\n    <dialogue>Give us your money!<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( AS FOREIGN MAN . )<\/parenthetical>\n    <dialogue>What? What mooney? Abu daboo! I do not have mooney!<\/dialogue>\n    <scene_description>The thugs glance at each other .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( AS FOREIGN MAN ; cont 'd . )<\/parenthetical>\n    <dialogue>Pleaze! I just move to America yezterday! I do not know!<\/dialogue>\n    <character>THUG #1<\/character>\n    <dialogue>What's in the case?<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( AS FOREIGN MAN . )<\/parenthetical>\n    <dialogue>NO! Eeet, eet is just perzonal trifles from my homeland -<\/dialogue>\n    <character>THUG #2<\/character>\n    <dialogue>Shut up! Gim me that thing!<\/dialogue>\n    <scene_description>The guy snatches the case . He impulsively BREAKS the lock . and clothes , congas and records fall out . The thugs are dismayed .<\/scene_description>\n    <character>THUG #1<\/character>\n    <dialogue>Goddamn immigrants!<\/dialogue>\n    <character>THUG #2<\/character>\n    <dialogue>This guy's pathetic. Let's go.<\/dialogue>\n    <scene_description>Harsh glances . They angrily turn and leave . Andy takes a nervous breath , then starts picking his things off the street . He shouts after the guys :<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( AS FOREIGN MAN . )<\/parenthetical>\n    <dialogue>Tank you veddy much!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NY IMPROV - 1975 - NIGHT<\/stage_direction>\n    <scene_description>The Improv , the biggest comedy club around . People are lined up , waiting . The man strides up - GEORGE SHAPIRO , a Hollywood talent manager . George is old school : Bronx accent , shmooze and a hug . but with a surprising sweetness that is quite disarming . A DOORMAN sees him , grins , and waves George in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NY IMPROV, BAR - 1975 - NIGHT<\/stage_direction>\n    <scene_description>The bar is packed with COMICS and SHOW BIZ TYPES . A few turn and smile - `` George ! '' `` Hey , George ! '' George takes a couple hands , whispers to someone else , then drifts into the .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NY IMPROV, SHOWROOM - 1975 - NIGHT<\/stage_direction>\n    <scene_description>Where the show 's in progress . Owner BUDD FRIEDMAN sees George and gives him a bear - hug . Then he hustles George to a table . George sits - and gives the stage his undivided attention . Up there is a WISEASS COMIC .<\/scene_description>\n    <character>WISEASS COMIC<\/character>\n    <dialogue>So I'm getting my mother - in - law a special Christmas present : A pre - paid funeral! The mortician asked me if I wanted her buried, embalmed or cremated. I said, `` Make it all three! I'm not takin' any chances!''.<\/dialogue>\n    <parenthetical>( the crowd LAUGHS . )<\/parenthetical>\n    <dialogue>Thank you. Good night!<\/dialogue>\n    <scene_description>The comic waves and exits . APPLAUSE . George politely claps . A PIANO PLAYER jumps in with an upbeat show tune . We think there 's a break . when Andy suddenly , awkwardly steps on stage . He is in character as Foreign Man . Pink jacket , tie , hair slicked back , frightened like a deer in headlights . He puts down his big case , pulls out various junk , and arranges it on chairs . The room hushes , uncertain as to who the hell this guy is . Andy tentatively grabs the mike . The stagefright is agony .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( AS FOREIGN MAN . )<\/parenthetical>\n    <dialogue>Now? Now?<\/dialogue>\n    <parenthetical>( looking around . )<\/parenthetical>\n    <dialogue>Tank you veddy much. I am very happy to be here. I tink - this is a very beautiful place. But one ting I do not like is too much traffic. Tonight I had to come from, eh, and the freeway, it was so much traffic. It took me an hour and a half to get here!<\/dialogue>\n    <scene_description>Andy chuckles , as if this were a punchline . Silence . The crowd is baffled .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( AS FOREIGN MAN ; cont 'd . )<\/parenthetical>\n    <dialogue>But - talking about the terrible things : My wife. Take my wife, please take her.<\/dialogue>\n    <scene_description>Yikes . A few NERVOUS LAUGHS . Andy gestures , as if they got the joke .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( AS FOREIGN MAN ; cont 'd . )<\/parenthetical>\n    <dialogue>No really, I am only foolink. I love my wife very much. But she do n't know how to cook. You know, one time, she make a steak and mashed potato. Ehh, and the night before, she make spaghetti and meatballs. Her cooking is so bad. is terrible.<\/dialogue>\n    <scene_description>People are embarrassed . Some avert their eyes . A couple hipsters laugh mockingly . George leans forward . Andy wipes the sweat from his brow .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( AS FOREIGN MAN ; cont 'd . )<\/parenthetical>\n    <dialogue>Right now, I would like to do for you some imitations. So first, I would like to imitate Archie Bunker.<\/dialogue>\n    <parenthetical>( no change in his voice . )<\/parenthetical>\n    <dialogue>`` You stupid, everybody ees stupid! Ehh, get, get out of my chair Meathead. go in the, eh, Dingbat get into the kitchen, making the food! Ehh, everybody ees stupid! I do n't like nobody, ees so stupid!'' Tank you veddy much.<\/dialogue>\n    <parenthetical>( pleased , he proudly bows . )<\/parenthetical>\n    <dialogue>Now I would like to imitate Jimmy Carter, the President of the United States.<\/dialogue>\n    <parenthetical>( no change in his voice . )<\/parenthetical>\n    <dialogue>`` Hello, I am Jimmy Carter, the President of the United States.''<\/dialogue>\n    <scene_description>Some people BOO and walk out . A few giggle , getting into the groove . George is intrigued .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( AS FOREIGN MAN ; cont 'd . )<\/parenthetical>\n    <dialogue>And now. I would like to imitate the Elvis Presley.<\/dialogue>\n    <scene_description>A woman LAUGHS caustically . Andy grins stupidly , then turns his back to us . He presses `` Play '' on a CASSETTE RECORDER . and the THEME FROM 2001 starts playing . House lights dim dramatically . With a flourish , Andy pulls tape off his pants - revealing rhinestones . He removes his pink coat - putting on a white jeweled jacket . He combs his hair . Then he brushes his hair . Then he combs his hair some more . Finally he picks up a guitar , strikes a pose - and spins around . He is ELVIS . CONFIDENT . SEXY . LIP CURL . DEAD - ON PERFECT . The crowd is blown away . Vegas Elvis INTRO MUSIC suddenly blasts . Andy\/Elvis swaggers stage left and takes a bow . Then he goes stage right and takes a bow . Then he returns stage left for another bow . Music STOPS .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( AS ELVIS . )<\/parenthetical>\n    <dialogue>Thank you very much.<\/dialogue>\n    <scene_description>Wow . Flabbergasted , people APPLAUD . This man is Elvis . Suddenly - `` JAILHOUSE ROCK '' guitar kicks in .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( AS ELVIS ; cont 'd . )<\/parenthetical>\n    <parenthetical>( SINGING . )<\/parenthetical>\n    <dialogue>`` Warden threw a party In the county jail! Prison band was there And they BEGAN to WAIL!''<\/dialogue>\n    <scene_description>ANGLE - GEORGE He is astonished . George can not quite figure out what 's going on . but he wants in . He waves Budd over . Budd leans down , and George WHISPERS .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Pst. What's the story with this guy?<\/dialogue>\n    <character>BUDD<\/character>\n    <dialogue>I think he's Lithuanian. None of us can understand him.<\/dialogue>\n    <scene_description>George nods admiringly .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>He does a hell of an Elvis.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NY IMPROV, BACKSTAGE - 1975 - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Andy is packing up his things . He very methodically folds each item of clothing , then checks the creases . George strolls up .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Hey, I really enjoyed your set.<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( AS FOREIGN MAN . )<\/parenthetical>\n    <dialogue>Tank you veddy much.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>So I understand you're from Lithuania?<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( AS FOREIGN MAN . )<\/parenthetical>\n    <dialogue>No. Caspiar.<\/dialogue>\n    <scene_description>George is puzzled .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Caspiar? I have n't heard of that.<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( AS FOREIGN MAN . )<\/parenthetical>\n    <dialogue>It's a veddy small island in de Caspian Sea.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>It sunk.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Oh. Hm. I'm uh, sorry.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Well, look, I'm probably out of my mind - but I think you're very interesting. If you ever need representation. we should talk.<\/dialogue>\n    <scene_description>George hands him a BUSINESS CARD . Andy reads it - then his eyes pop . He DROPS the accent .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Mr. Shapiro, it's an honor!<\/dialogue>\n    <scene_description>George realizes it 's all been an act . He laughs heartily .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Caspiar, huh?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOHO HEALTH FOOD RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>A Bohemian health food restaurant , staffed by hippie waitresses in sandals . Andy and George sit together , trying to get a sense of each other .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>You see, I want to be the biggest star in the world.<\/dialogue>\n    <scene_description>George is surprised at this hubris .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>People love. comedians.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>I'm not a comedian. I have no talent.<\/dialogue>\n    <parenthetical>( he shrugs . )<\/parenthetical>\n    <dialogue>I'm a song - and - dance man.<\/dialogue>\n    <scene_description>George looks up at Andy - and inexplicably there is a giant MOIST BOOGER hanging from Andy 's nostril . George cringes . He does n't know what to say . A waitress brings over two plates of awful 70 's HEALTH FOOD - seaweed , beans , stringy paste . George frowns . Andy beams .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Mmm! I particularly recommend the Lotus root.<\/dialogue>\n    <scene_description>Andy pulls out a little Handi - wipe and cleanses his hands . Then he starts arranging the food in compulsive little piles : Beans in pinwheel shapes . Sprouts in piles . George peers at the bizarre food behavior .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>You show a lot of promise. but. my concern is I do n't know where to book you. You're not a stand - up. your act does n't exactly translate to films. help me. where do you see yourself?<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( bright . )<\/parenthetical>\n    <dialogue>I've always wanted to play Carnegie Hall.<\/dialogue>\n    <scene_description>George is unsure if that 's a joke .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Yeah, ha - ha. That's funny.<\/dialogue>\n    <scene_description>Andy dips his silverware in the water glass . Two dunks , then he dries it with his napkin . George stares , perplexed . He looks back up - and Andy 's booger has suddenly switched nostrils . Huh ?<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>See, I do n't want easy laughs.<\/dialogue>\n    <scene_description>Andy 's about to eat - but first bows his head in silent prayer . George raises an eyebrow . Andy snaps his head back up .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I want gut reactions! I want that audience to go through an experience. They love me! They hate me! They walk out - it's all GREAT!<\/dialogue>\n    <scene_description>Andy triumphantly eats a bean . George peers , unable to take the booger anymore . He hands Andy a napkin and points to his nose . Andy nods , removes the rubber booger , and carefully puts it in a little box .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>After I'm famous, I can sell these as `` Worn by Andy Kaufman.''<\/dialogue>\n    <scene_description>And at that . George is won over . He smiles broadly .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>You're insane.<\/dialogue>\n    <parenthetical>( then sincere . )<\/parenthetical>\n    <dialogue>But - you might also be brilliant. Alright, Andy. let's do it.<\/dialogue>\n    <scene_description>George warmly extends his hand . Andy slowly smiles , then takes George 's hand . The men shake . A moment of supreme importance . EST. . BEVERLY HILLS - DAY The glitz strip of Los Angeles . Money . Beauty .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHAPIRO\/WEST - DAY<\/stage_direction>\n    <scene_description>Real working showbiz offices . No glamour at all . It looks more like an insurance agency . George sits in his office , reassuring someone on the phone .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Sammy, opening for David Brenner is a fine gig. You'll be on the road. get some exposure.<\/dialogue>\n    <scene_description>O.S. , a SECRETARY shouts out .<\/scene_description>\n    <character>SECRETARY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Tony Clifton on the phone!<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>SECRETARY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>He says he's an associate of Andy Kaufman's.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <parenthetical>( back to the phone . )<\/parenthetical>\n    <dialogue>Sammy, think about it. I got ta go.<\/dialogue>\n    <parenthetical>( he punches a line . )<\/parenthetical>\n    <dialogue>Hello? George Shapiro here.<\/dialogue>\n    <scene_description>On the phone , a STACCATO , ABRASIVE NASAL VOICE blares .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Uh, yeah. Is this GEORGE SHAPIRO?<\/dialogue>\n    <character>GEORGE<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Er, yes. Speaking.<\/dialogue>\n    <character>TONY CLIFTON<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>`` Speaking''! Reeking, seeking, creaking. Freaking!<\/dialogue>\n    <scene_description>George is baffled .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Can I help you with something?<\/dialogue>\n    <character>TONY CLIFTON<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Yeah! You stay away from that Andy Kaufman, if you know what's good for you!<\/dialogue>\n    <character>GEORGE<\/character>\n    <parenthetical>( stunned . )<\/parenthetical>\n    <dialogue>Who is this?<\/dialogue>\n    <character>TONY CLIFTON<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>You - you know damn straight who it is. Tony Clifton! A name to respect. A name to fear.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Beer. Gear. Deer. Ear.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Look. I do n't know what your problem is.<\/dialogue>\n    <character>TONY CLIFTON<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Kaufman's a lying bastard! If you sign him, I'll RUIN YOU!<\/dialogue>\n    <scene_description>CLICK . Clifton hangs up . George is bewildered .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEDITATION INSTITUTE UNIVERSITY, CLASSROOM - DAY<\/stage_direction>\n    <scene_description>The light is magical . Soothing SITAR music plays . Andy and fifteen other BAREFOOT STUDENTS sit on mats in a semi - circle . Eyes shut , bodies in different yoga positions , they are all meditating . Facing them on a throne - like chair sits a reverent , Indian YOGI . At his feet is the class teacher , LITTLE WENDY , a teeny lady with an absurdly high - pitched voice .<\/scene_description>\n    <character>LITTLE WENDY<\/character>\n    <dialogue>Now, while continuing your deep breathing, slowly open your eyes. You should feel rested, relaxed, and alert.<\/dialogue>\n    <scene_description>The students all open their eyes .<\/scene_description>\n    <character>YOGI<\/character>\n    <dialogue>Do any thoughts come?<\/dialogue>\n    <character>STUDENT #1<\/character>\n    <dialogue>My mind is clear. I feel great.<\/dialogue>\n    <character>YOGI<\/character>\n    <dialogue>Good.<\/dialogue>\n    <character>STUDENT #2<\/character>\n    <dialogue>All the tension is gone from my body.<\/dialogue>\n    <scene_description>The Yogi 's eyes go to Andy . Andy smiles sweetly .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>I want to thank you, your Holiness. My heart is radiating with pure energy.<\/dialogue>\n    <scene_description>The Yogi nods kindly .<\/scene_description>\n    <character>YOGI<\/character>\n    <dialogue>You always had a good heart. But I'm proud of the progress you've made in your discipline.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Yes. TM got me focused. In fact, my manager got me a TV gig! It's just some new show with no budget, but I'm still excited.<\/dialogue>\n    <scene_description>Oh . The Yogi peers intently .<\/scene_description>\n    <character>YOGI<\/character>\n    <dialogue>Are you at peace with your family?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Um, yes. I have n't fought with them, since I started here.<\/dialogue>\n    <character>YOGI<\/character>\n    <dialogue>Goals are important.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>I stopped drinking. I gave up drugs. And I'm meditating three hours a day. It's the center of my life.<\/dialogue>\n    <character>YOGI<\/character>\n    <dialogue>We are all impressed.<\/dialogue>\n    <scene_description>Andy smiles beatifically . This means a lot .<\/scene_description>\n    <character>LITTLE WENDY<\/character>\n    <dialogue>Okay. Anyone else -?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Oh, wait! I have a question.<\/dialogue>\n    <parenthetical>( beat ; working up his nerve . )<\/parenthetical>\n    <dialogue>Is there. is there a secret to being funny?<\/dialogue>\n    <scene_description>Huh ? The Yogi thinks hard . squinching up his face . Then . he finally speaks .<\/scene_description>\n    <character>YOGI<\/character>\n    <dialogue>Yes. Silence.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SNL SET - NIGHT<\/stage_direction>\n    <scene_description>An AUDIENCE sits , waiting for the commercial to end . TECHIES tweak lights . CAMERAMEN get ready . Sitting in VIP seats are Andy 's FAMILY . Stanley and Janice are in their late 50 's , Michael and Carol in their 20 's . They 're all anxious .<\/scene_description>\n    <character>CAROL<\/character>\n    <dialogue>I still ca n't believe my brother's gon na be on TV!<\/dialogue>\n    <character>JANICE<\/character>\n    <dialogue>I hope he does n't get nervous.<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>What's the difference? This thing's on in the middle of the night - no one's even gon na see it.<\/dialogue>\n    <scene_description>The commercial ends , and the `` APPLAUSE '' sign blinks . The crowd APPLAUDS . An `` ON THE AIR '' sign lights up .<\/scene_description>\n    <character>HOST<\/character>\n    <dialogue>Welcome back to Saturday Night Live! And now, as a special treat on our first show. musical guest ANDY KAUFMAN!<\/dialogue>\n    <scene_description>The SNL orchestra starts the intro into a song . Andy enters the stage with a boom box , and positions himself in front of the microphone . When the vocals are supposed to start , Andy does n't open his mouth . Instead he looks around - frightened . The band stops . and starts again . Andy remains mute . The Band stops again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SNL SET, BOOTH - NIGHT<\/stage_direction>\n    <scene_description>The SNL producer , LORNE MICHAELS , looks worried .<\/scene_description>\n    <character>LORNE MICHAELS<\/character>\n    <dialogue>What's happening to him?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SNL SET - NIGHT<\/stage_direction>\n    <scene_description>At that moment , Andy puts the boom box down and blares it loudly . The THEME FROM `` MIGHTY MOUSE '' plays - but Andy just blankly stands there . He 's purposefully doing nothing .<\/scene_description>\n    <character>MIGHTY MOUSE THEME<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>`` Although we are in danger, We never despair, Because we know where there is danger He is there!''<\/dialogue>\n    <scene_description>The audience is puzzled . The Kaufmans are alarmed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SNL SET, BOOTH - NIGHT<\/stage_direction>\n    <scene_description>Lorne Michaels is panicked .<\/scene_description>\n    <character>LORNE MICHAELS<\/character>\n    <dialogue>Oh my God, he's doing nothing. It's dead air!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SNL SET - NIGHT<\/stage_direction>\n    <scene_description>BACK ON ANDY .<\/scene_description>\n    <character>MIGHTY MOUSE THEME<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>`` We're not worrying at all. We're just listening for his call.''<\/dialogue>\n    <scene_description>Then SUDDENLY - Andy comes to life and triumphantly LIP SYNCS .<\/scene_description>\n    <character>MIGHTY MOUSE THEME<\/character>\n    <parenthetical>( V.O. ; cont 'd . )<\/parenthetical>\n    <dialogue>`` Here I come to save the day!''<\/dialogue>\n    <scene_description>Shocked , the crowd HOWLS with LAUGHTER . Then instantly - Andy resumes his blank expression .<\/scene_description>\n    <character>MIGHTY MOUSE THEME<\/character>\n    <parenthetical>( V.O. ; cont 'd . )<\/parenthetical>\n    <dialogue>`` That means that Mighty Mouse is on the way!''<\/dialogue>\n    <scene_description>The audience SCREAMS with glee . The tune ENDS , and the audience APPLAUDS CRAZILY . Delighted , Andy grins and bows . The Kaufmans clap the hardest . Stanley locks eyes with Andy . and the beaming father smiles the proudest of all .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHAPIRO\/WEST - DAY<\/stage_direction>\n    <scene_description>George jumps from his desk . Andy is walking in .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Andy, c'mon IN! Thanks for flyin' out here!<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>The stewardess let me keep my headphones.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>That's. terrific! But I got something better. This is BIG.<\/dialogue>\n    <parenthetical>( giddy ; milking the moment . )<\/parenthetical>\n    <dialogue>You are getting a once - in - a - lifetime, unbelievably lucrative opportunity to star on. a PRIMETIME NETWORK SITCOM!<\/dialogue>\n    <scene_description>Andy 's smile drops . He freezes up .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Sitcom?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>And this is a CLASS ACT! It's the guys who did the Mary Tyler Moore and Bob Newhart shows! It takes place in a taxi stand! And you're gon na be the Fonzie!<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( confused . )<\/parenthetical>\n    <dialogue>I'm - Fonzie?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>NO! The Fonzie! The crazy breakout character! The guy that all the kids impersonate and put on their lunchboxes!<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( soft . )<\/parenthetical>\n    <dialogue>George, I hate sitcoms.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>HANG ON, you ai n't heard the best part! ABC has seen your foreign man character, and they want to turn him into -.<\/dialogue>\n    <parenthetical>( he checks his notes . )<\/parenthetical>\n    <dialogue>`` Latka,'' a lovable, goofy mechanic!<\/dialogue>\n    <scene_description>Long pause . Then - Andy responds .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>`` No''? `` No'' to which part?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>No to the whole thing. None of it sounds good.<\/dialogue>\n    <scene_description>George is flummoxed .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Andy. this is every comedian's dream.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>I told you, I'm not a comedian. And sitcoms are the lowest form of entertainment : Stupid jokes and canned laughter.<\/dialogue>\n    <character>GEORGE<\/character>\n    <parenthetical>( shocked . )<\/parenthetical>\n    <dialogue>B - but, this is classy. they did Bob Newha -<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>I'm not interested. I want to create my own material.<\/dialogue>\n    <scene_description>Beat . George glares .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>You have to do it.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>I refuse.<\/dialogue>\n    <character>GEORGE<\/character>\n    <parenthetical>( he explodes . )<\/parenthetical>\n    <dialogue>LISTEN, you arrogant putz! I've been in this business for twenty years! I know! If you walk away from this opportunity, you will never, NEVER see another one like it again!<\/dialogue>\n    <scene_description>Long pause . Andy stares at George , amazed at this passion . Then Andy gets up and looks around the office . He stares at the awards . the gold records . emblems of success and experience . Andy thinks - then nods .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Okay. Fine, I'll do it.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>But I have a few terms.<\/dialogue>\n    <character>GEORGE<\/character>\n    <parenthetical>( relieved . )<\/parenthetical>\n    <dialogue>Of course! That's what negotiations are for.<\/dialogue>\n    <scene_description>Andy starts to write on a piece of paper .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Writing down my terms.<\/dialogue>\n    <scene_description>George watches patiently . Andy clicks his pen , done . George smiles and takes the list . He scans it . then his face gets totally befuddled .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Are you makin' fun of me -? This is RIDICULOUS!<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( blas\u0439 . )<\/parenthetical>\n    <dialogue>Those are my terms.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>They're IMPOSSIBLE! Jesus!<\/dialogue>\n    <parenthetical>( he points at one item . )<\/parenthetical>\n    <dialogue>I mean - `` two guaranteed guest shots for Tony Clifton''?! Who is this TONY CLIFTON?!<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>He's a Vegas entertainer. I used to do impressions of him. We sorta. got in a fight over that.<\/dialogue>\n    <scene_description>George gets a look .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>This Clifton called me up. He's a loon! He HATES you!<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Nah, he just talks tough. But I owe him one.<\/dialogue>\n    <scene_description>Andy smiles ingenuously , then turns stern .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>If I'm the new Fonz. ABC's just gon na have to give me what I want.<\/dialogue>\n    <parenthetical>( a sarcastic FONZIE IMPRESSION . )<\/parenthetical>\n    <dialogue>Heyyyyyy!<\/dialogue>\n    <scene_description>George winces . He stares at the list .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABC CONFERENCE ROOM - LA - DAY<\/stage_direction>\n    <scene_description>George sits across a conference table from three NETWORK SUITS . He stoically reads the men his demands .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Mr. Kaufman will only appear in half the episodes.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Mr. Kaufman requires an undisturbed 90 minutes of meditation prior to filming.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Mr. Kaufman wo n't rehearse.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Mr. Kaufman gets his own network Special.<\/dialogue>\n    <scene_description>The execs are stupefied . Finally - George delivers the clincher .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>And Taxi must guarantee two guest appearances to. Tony Clifton.<\/dialogue>\n    <character>NETWORK GUYS<\/character>\n    <dialogue>WHO?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Tony Clifton.<\/dialogue>\n    <character>NETWORK GUY #1<\/character>\n    <dialogue>Who is he?!<\/dialogue>\n    <character>GEORGE<\/character>\n    <parenthetical>( solemn . )<\/parenthetical>\n    <dialogue>I do n't know.<\/dialogue>\n    <scene_description>Long pause . The execs stare at George like he 's lost his mind .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>But Andy says he's fabulous.<\/dialogue>\n    <parenthetical>( awkward . )<\/parenthetical>\n    <dialogue>He also says, these are the terms.<\/dialogue>\n    <scene_description>The execs ' leader , MAYNARD SMITH , shudders hopelessly .<\/scene_description>\n    <character>NETWORK GUY #2<\/character>\n    <dialogue>Could n't Kaufman ask for more money, like everyone else?<\/dialogue>\n    <scene_description>George slowly , sadly shakes his head : No . Maynard glances at his team - then frowns .<\/scene_description>\n    <character>MAYNARD<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>George, we do n't book phantom performers. The deal's off.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHAPIRO\/WEST - DAY<\/stage_direction>\n    <scene_description>GEORGE throws his attach\u0439 case on the desk , then slumps into his chair . He picks up the phone and dials .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Andy?<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hi George!<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Eh, hi, Andy. Look, this Tony Clifton. is he performing anywhere?<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Of course.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>But only on Monday nights.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>That's alright. Where?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAMA ROMA'S - NIGHT<\/stage_direction>\n    <scene_description>Mama Roma 's , a dark Italian restaurant with red booths , wise guys , and cigarette smoke . The Maitre 'd guides George to a booth . A small BAND fills the `` stage '' - a six - foot space in the back of the room . The lights dim . A BLARING ANNOUNCER speaks .<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And now, Mama Roma's is proud to present International Singing Sensation. a man who has sold more records than Elvis and the Beatles combined.<\/dialogue>\n    <scene_description>George is skeptical .<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <parenthetical>( V.O. ; cont 'd . )<\/parenthetical>\n    <dialogue>Ladies and Gentlemen, Mr. Entertainment. TONY CLIFTON!<\/dialogue>\n    <scene_description>The DRUMMER starts a drum roll . Patrons APPLAUD . A LIGHT SPOT hits the entrance area . and nobody enters . The spot is waiting . waiting . still waiting . until the drum roll slows down and stops . The announcer BOOMS again .<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <parenthetical>( V.O. ; cont 'd . )<\/parenthetical>\n    <dialogue>Ladies and Gentlemen, out of respect for Mr. Clifton's vocal demands, could everyone please extinguish your cigarettes and cigars.<\/dialogue>\n    <scene_description>The crowd GRUMBLES angrily - then irritably complies . One ANGRY GUY thrusts his cigar into a water glass .<\/scene_description>\n    <character>ANGRY GUY<\/character>\n    <dialogue>Goddamn, I paid five dollars for this.<\/dialogue>\n    <character>ANNOUNCER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And now! A man who needs no introduction. TONY CLIFTON!<\/dialogue>\n    <scene_description>The band starts playing lounge standard `` VOLARE '' . And then , obnoxious TONY CLIFTON swaggers out . Tony has a rubbery face , black wig and moustache , sunglasses , a padded belly , and a peach tuxedo with blue shirt and velvet piping . Tony stops , smirks at the audience , and sucks on a cigarette . He blows smoke rings at them .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <dialogue>Heh - heh. How ya all doin'?<\/dialogue>\n    <scene_description>The crowd is furious .<\/scene_description>\n    <character>ANGRY GUY<\/character>\n    <dialogue>Fuck you!<\/dialogue>\n    <scene_description>People light back up and start talking . Tony ignores the ruckus . He starts SINGING , pinched and off - key .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>`` Volare! Whoa, whoa. Cantare, Whoa whoa whoa whoa.''<\/dialogue>\n    <scene_description>George winces . He 's horrible .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>`` I got the wings of your love, I got the wings of a dove. I got the. uh.<\/dialogue>\n    <parenthetical>( forgetting the words . )<\/parenthetical>\n    <dialogue>. the chicken wings from Eh, Kentucky Fried.''<\/dialogue>\n    <scene_description>The band is lost .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Oh. Whoop do doo, Whoop de di, Stick a needle in your eye.<\/dialogue>\n    <scene_description>The band gives up and stops .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Eh, the hell with that song.<\/dialogue>\n    <scene_description>One person CLAPS . Most BOO .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>So how ya doin'!<\/dialogue>\n    <parenthetical>( leering . )<\/parenthetical>\n    <dialogue>How ya doin' over here? How ya doin' over there?<\/dialogue>\n    <parenthetical>( he approaches a WOMAN . )<\/parenthetical>\n    <dialogue>How's that pasta carbonara?<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Leave me alone.<\/dialogue>\n    <character>TONY CLIFTON<\/character>\n    <dialogue>Okay!<\/dialogue>\n    <parenthetical>( he spins around . )<\/parenthetical>\n    <dialogue>So, you havin' a good time, sir?!<\/dialogue>\n    <scene_description>Tony approaches a LONELY SAD SACK sitting at the bar . Tony thrusts his mike at the guy .<\/scene_description>\n    <character>SAD SACK<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>TONY CLIFTON<\/character>\n    <dialogue>What's your name?<\/dialogue>\n    <character>SAD SACK<\/character>\n    <dialogue>Bob.<\/dialogue>\n    <character>TONY CLIFTON<\/character>\n    <parenthetical>( he reacts as if this is enormously funny . )<\/parenthetical>\n    <dialogue>`` Bob''? BOB! Bob bob bob.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Bob what?<\/dialogue>\n    <character>SAD SACK<\/character>\n    <dialogue>Bob Gorsky.<\/dialogue>\n    <character>TONY CLIFTON<\/character>\n    <dialogue>`` Gorsky''? What is that, Polish?<\/dialogue>\n    <character>SAD SACK<\/character>\n    <parenthetical>( meek . )<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Tony gets indignant .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <dialogue>Are you tryin' to do some of that Polack humor? Well if that's so, you can just get the hell out of this restaurant!<\/dialogue>\n    <character>SAD SACK<\/character>\n    <parenthetical>( timid . )<\/parenthetical>\n    <dialogue>It's my name.<\/dialogue>\n    <character>TONY CLIFTON<\/character>\n    <dialogue>SHUT UP! I hate them Polish jokes!<\/dialogue>\n    <scene_description>People are embarrassed .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I do a clean show! Like, I would n't do that one. oh, you know it. `` What do you call a pretty girl in Poland''?<\/dialogue>\n    <character>SAD SACK<\/character>\n    <parenthetical>( he giggles stupidly . )<\/parenthetical>\n    <dialogue>A - a tourist.<\/dialogue>\n    <character>TONY CLIFTON<\/character>\n    <dialogue>See, that's EXACTLY what I'm talkin' about!<\/dialogue>\n    <parenthetical>( enraged . )<\/parenthetical>\n    <dialogue>Here! I'LL give you a little humor!<\/dialogue>\n    <scene_description>Tony snatches Bob 's water glass and POURS IT over his head ! George is appalled . The crowd is aghast . Bob is wet . People BOO AND HURL THINGS . Bob starts weeping , then bolts up and runs from the building .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>And stay out, Fatso!<\/dialogue>\n    <scene_description>The room erupts , outraged . George covers his face , looking ill . Suddenly , Tony snaps at him .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>And YOU. I wan na see you backstage!<\/dialogue>\n    <scene_description>George is rattled .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAMA ROMA'S, KITCHEN - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>The kitchen staff is working . George wanders around . then finally spots Tony , back to us , eating pasta at the employees ' table . Aggravated , George aggressively steps up .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Alright, I'm here. What do you want?<\/dialogue>\n    <scene_description>Tony puts down his fork . He pauses . slowly turns around . and is Andy . George GASPS . His eyes bulge . Andy smiles innocently . He gestures to an empty seat .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Are you hungry?<\/dialogue>\n    <scene_description>George is breathing heavily , like someone about to have a heart attack . His brain melting , he shakily reaches for a chair and sits . George glances down . Lying alongside the food is Tony 's rubber face .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>I. I - I do n't understand this act.<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( in jolly spirits . )<\/parenthetical>\n    <dialogue>It's good old - fashioned entertainment. Everyone loves a villain.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Yeah? Well tell that to the poor schlub who you humiliated!<\/dialogue>\n    <scene_description>Beat - then Bob strolls over . His real name is BOB ZMUDA .<\/scene_description>\n    <character>ZMUDA<\/character>\n    <dialogue>Hey Andy, good show.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Oh George, this is Bob Zmuda. Bob and I have been buddies for years.<\/dialogue>\n    <scene_description>George gapes . On closer inspection , Bob is cocky , aloof , and conniving . He and Andy grin naughtily at each other .<\/scene_description>\n    <character>ZMUDA<\/character>\n    <dialogue>That was a really hot house!<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>So your name's not Gorsky.<\/dialogue>\n    <character>ZMUDA<\/character>\n    <dialogue>Do n't believe everything you hear.<\/dialogue>\n    <scene_description>George thinks about this - then laughs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABC CONFERENCE ROOM - LA - DAY<\/stage_direction>\n    <scene_description>Maynard and the ABC suits sit at the table , mesmerized . George is confidentially whispering to them .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>This has to stay in the room. but here's the thing : Andy is Tony. And Tony is Andy! They'll deny it up and down, but I swear to God, they're the same person!<\/dialogue>\n    <parenthetical>( with urgency . )<\/parenthetical>\n    <dialogue>It's smart business! You'll get two Andy Kaufmans for the price of one!<\/dialogue>\n    <scene_description>Maynard thinks about this , quite methodically . A beat , and then he cracks a smile .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALPHA BETA SUPERMARKET - NIGHT<\/stage_direction>\n    <scene_description>1 a.m. in the supermarket . Just a few people linger . including Andy , who 's at the Space Invaders videogame . Andy stares intently at the screen , eyes piercing , fingers hammering the buttons while he blows up Martians . Andy is oblivious to all around him . In the b.g. , George suddenly enters . He looks around the market , then spots Andy . He feverishly runs up .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Andy!<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( still playing the game . )<\/parenthetical>\n    <dialogue>What's up?<\/dialogue>\n    <scene_description>George grins crazily , ecstatically .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Andy. THEY SAID YES! They agreed to it all! They thought your terms were a shining example of your `` irreverent wit'' - and precisely why they want you!<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You're getting EVERYTHING!<\/dialogue>\n    <scene_description>Whoa . Andy looks up , astonished . His space station EXPLODES , but he does n't notice . He turns to George . and slowly smiles sweetly . Genuinely .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Well thank you very much!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI SET - DAY<\/stage_direction>\n    <scene_description>The first week of `` TAXI . '' The CAST rehearses on the Taxi set . PRODUCERS watch from the bleachers . -LRB- The actual TAXI scene will be determined . -RRB- JUDD HIRSCH , TONY DANZA , and MARILU HENNER read their lines . Then . a bored BLACK STAND - IN reads Latka 's line . The cast glances around . Tony Danza loses his temper .<\/scene_description>\n    <character>TONY DANZA<\/character>\n    <dialogue>Man, this is bullshit!<\/dialogue>\n    <parenthetical>( he marches up to the PRODUCER . )<\/parenthetical>\n    <dialogue>Where's Kaufman? Why is n't he here?<\/dialogue>\n    <scene_description>One producer stands . This is tightly - wound ED WEINBERGER .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>You'll see him on Friday when we shoot. Now run the lines with Rodney.<\/dialogue>\n    <scene_description>An angry beat . The actors resume .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI SET - DAYS LATER<\/stage_direction>\n    <scene_description>The AUDIENCE is filtering in . They fill the studio bleachers .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI SET, BACKSTAGE - DAY<\/stage_direction>\n    <scene_description>Actors mingle outside the dressing rooms .<\/scene_description>\n    <character>JUDD HIRSCH<\/character>\n    <dialogue>I'm taking bets we do the show with the stand - in.<\/dialogue>\n    <character>MARILU HENNER<\/character>\n    <dialogue>No, I hear Andy arrived. Rumor is he's locked inside his dressing room.<\/dialogue>\n    <scene_description>Judd is surprised .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI SET, ANDY'S DRESSING ROOM - DAY<\/stage_direction>\n    <scene_description>Andy is meditating . He 's tranquil , at total inner peace . Silence - until a little clock radio CHIRPS . Andy snaps his eyes open . He exhales a few calm breaths , then sits upright . Andy reaches for a sealed envelope , rips it open , and removes a SCRIPT . Andy sighs , opens the script , and starts scanning the pages like a speedreader .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI SET - LATER THAT DAY<\/stage_direction>\n    <scene_description>Bleachers are full . They 're now filming TAXI -LRB- the same scene as earlier -RRB- . On cue , Andy enters as LATKA - wide - eyed , endearing , in mechanic 's overalls . Andy is hilarious . The crowd HOWLS with laughter . MONTAGE - TAXI In quick succession , a series of Andy 's best Latka moments . He 's beloved . The applause grows louder , louder , LOUDER .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI SET, BACKSTAGE - DAY<\/stage_direction>\n    <scene_description>TAXI curtain calls . The whole cast takes bows , then runs offstage . Everyone is grinning - except Andy . He soberly strolls up to Zmuda .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>I'm gon na quit.<\/dialogue>\n    <character>ZMUDA<\/character>\n    <dialogue>What?!?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Each show is worse than the next.<\/dialogue>\n    <character>ZMUDA<\/character>\n    <dialogue>Are you nuts?! 40 million people watch you every week!<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>So? What do they know?<\/dialogue>\n    <character>ZMUDA<\/character>\n    <dialogue>Absolutely nothing! That's the beauty!<\/dialogue>\n    <parenthetical>( he lowers his voice . )<\/parenthetical>\n    <dialogue>It's credibility. You make them love you. and then later, on your special, you'll screw with their heads!<\/dialogue>\n    <scene_description>Hmm ?! Andy raises an eyebrow .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAYNARD SMITH'S OFFICE - LA - DAY<\/stage_direction>\n    <scene_description>The power office of Maynard Smith , the powerful ABC exec . He shouts into a phone .<\/scene_description>\n    <character>MAYNARD<\/character>\n    <dialogue>I do n't care! Travolta signed a contract, he's a Sweathog for life! Oh yeah? Just try to sue us.<\/dialogue>\n    <scene_description>He HANGS up . His ASSISTANT peeks her head in .<\/scene_description>\n    <character>ASSISTANT<\/character>\n    <dialogue>Sir, they're having a problem down on the Kaufman Special. They say he's not following the. technical requirements.<\/dialogue>\n    <scene_description>Maynard is baffled .<\/scene_description>\n    <character>MAYNARD<\/character>\n    <dialogue>`` Technical''?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \"KAUFMAN SPECIAL\" SET, TECH BOOTH - SAME TIME<\/stage_direction>\n    <scene_description>Andy is in a booth , arguing with a HEAVYSET TECHNICIAN . Zmuda watches and eats a banana .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>It's my show! Now make it roll!<\/dialogue>\n    <character>TECHNICIAN<\/character>\n    <dialogue>NO!<\/dialogue>\n    <scene_description>Maynard strolls up , buttoning his suit jacket , irritated as he walks around Little Wendy meditating in front of a ring of candles .<\/scene_description>\n    <character>MAYNARD<\/character>\n    <dialogue>Andy, I hear fabulous things about the Special.<\/dialogue>\n    <parenthetical>( a delicate pause . )<\/parenthetical>\n    <dialogue>Eh, I understand we've hit a teeny speedbump?<\/dialogue>\n    <character>TECHNICIAN<\/character>\n    <parenthetical>( harried . )<\/parenthetical>\n    <dialogue>Yeah, Kid Genius told me to mess with the horizontal hold! He wants the picture to roll!<\/dialogue>\n    <scene_description>Maynard does n't exactly understand .<\/scene_description>\n    <character>MAYNARD<\/character>\n    <dialogue>Show me.<\/dialogue>\n    <scene_description>The technician pushes a button . ON THE MONITOR - Andy 's image briefly appears .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( ON - SCREEN . )<\/parenthetical>\n    <dialogue>And now. in her television debut, the incredible Chubby Rosalie!<\/dialogue>\n    <scene_description>At that moment , Andy 's image starts rolling across the screen , until it disappears into a blur of static .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( happy . )<\/parenthetical>\n    <dialogue>It'll be great. The viewer will think their TV is broken. They'll get out of their chair, they'll twist the knobs, they'll hit the TV, but they wo n't be able to fix it!<\/dialogue>\n    <scene_description>Maynard stares at the monitor . The totally indecipherable picture still rolls . A glum pause .<\/scene_description>\n    <character>MAYNARD<\/character>\n    <dialogue>Andy. we do n't want the viewer to get out of their chair. They might change the channel.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>But it's funny! It's a practical joke. They'll get frustrated!<\/dialogue>\n    <scene_description>Andy beams giddily . Maynard gazes dully , struggling to reason .<\/scene_description>\n    <character>MAYNARD<\/character>\n    <dialogue>Andy. uhh. this network has a long - standing policy : The viewer must be able to see the program.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>But it's only for thirty seconds!<\/dialogue>\n    <scene_description>Beat .<\/scene_description>\n    <character>MAYNARD<\/character>\n    <dialogue>Five.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Twenty!<\/dialogue>\n    <character>MAYNARD<\/character>\n    <dialogue>Ten.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Deal.<\/dialogue>\n    <scene_description>Both men quickly extend their hands and shake . Maynard nods and leaves . Beat . Then , Andy pulls out a Handi - wipe and cleans his palm . A STUDIO PAGE walks over . He has a huge MAIL BAG .<\/scene_description>\n    <character>STUDIO PAGE<\/character>\n    <dialogue>Mr. Kaufman, do you want your mail?<\/dialogue>\n    <scene_description>Andy looks up - and his face lights up like Christmas .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANDY'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Andy 's crappy apartment , which looks like a dorm room : Cheap furniture , stained carpet , and a framed photo of the Maharishi . Andy lies on his bed , which is covered with THOUSANDS OF LETTERS . He happily chats on the phone .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Yes, it's Andy Kaufman! Really! I got your fan letter. So you like the show? Your letter said I was silly. Did you think I was too silly? Oh good. I'm glad.<\/dialogue>\n    <scene_description>Andy holds a letter which has a GIRL 'S SNAPSHOT stapled to it . He is very nervous .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>It was real nice of you to send your picture, Mimi.'Cause you knew what I looked like. and now, I know what you look like!<\/dialogue>\n    <scene_description>Andy flips the letter over . He glances at the return address .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>So, um. San Bernardino.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>That's just a couple hours away, is n't it?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAN BERNARDINO, DOWNTOWN - DUSK<\/stage_direction>\n    <scene_description>The sun is setting . In an ugly shopping district , Andy walks along with sexy , wholesome MIMI .<\/scene_description>\n    <character>MIMI<\/character>\n    <dialogue>so after I finish junior college, I'll go to work for my dad's accounting firm. Unless, I decide to live with my friend Valerie, but she wants to move to Anaheim, and I do n't want to do that.<\/dialogue>\n    <scene_description>A disinterested beat .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>Another beat .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>So do you wan na wrestle?<\/dialogue>\n    <character>MIMI<\/character>\n    <dialogue>Excuse me -?<\/dialogue>\n    <scene_description>ANDY Do you wan na wrestle ? It 's a good way of breaking the ice . -LRB- pause . -RRB- That instant physical intimacy really brings two people together . Mimi is bewildered , and offended .<\/scene_description>\n    <character>MIMI<\/character>\n    <dialogue>What are you talking about?! We just met an hour ago.<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( calm . )<\/parenthetical>\n    <dialogue>No no no, it's not sex! I mean - it can lead to sex. but really, it's just wrestling.<\/dialogue>\n    <character>MIMI<\/character>\n    <dialogue>I do n't wan na talk about it!<\/dialogue>\n    <scene_description>An awkward silence . They continue walking . She points up .<\/scene_description>\n    <character>MIMI<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>The sunset is really beautiful.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>MIMI<\/character>\n    <parenthetical>( a bit offput . )<\/parenthetical>\n    <dialogue>I mean - uh - the colors in the sky are so vibrant. I love this time of day.<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( he shrugs dully . )<\/parenthetical>\n    <dialogue>I've never understood that. It's just. getting dark.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>But I like you! Hey! Why do n't we fill the car with gas, drive to Tijuana, and GET MARRIED?<\/dialogue>\n    <scene_description>ANGLE - MIMI Fear . She shivers , then hoarsely speaks .<\/scene_description>\n    <character>MIMI<\/character>\n    <dialogue>I think I wan na go home.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABC CONFERENCE ROOM - LA - DAY<\/stage_direction>\n    <scene_description>George screens Andy 's TV Special for Maynard and his team . The network execs look constipated . ON THE TV - Andy speaks tenderly , lovingly to Howdy Doody .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( ON TV . )<\/parenthetical>\n    <dialogue>You know. I was once in your gallery. I was just sitting there and I wanted to touch you. I was kind of depressed because I could see what everyone was like, and I was wondering if, now, maybe I could. touch you.<\/dialogue>\n    <scene_description>Very gently , Andy touches Howdy 's cheek and starts weeping . THE EXECS - are horrified .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( ON TV . )<\/parenthetical>\n    <parenthetical>( cont'd. ) Howdy , I 've been watching you ever since I was a little boy .<\/parenthetical>\n    <parenthetical>( choked up , nervous . )<\/parenthetical>\n    <dialogue>You're the first friend from television I ever had. I always wanted to meet you. and now. I finally am.<\/dialogue>\n    <character>EXEC #2<\/character>\n    <dialogue>This is NOT funny.<\/dialogue>\n    <character>EXEC #3<\/character>\n    <parenthetical>( ominous . )<\/parenthetical>\n    <dialogue>`` Artsy Fartsy shit''.<\/dialogue>\n    <character>GEORGE<\/character>\n    <parenthetical>( worried at this response . )<\/parenthetical>\n    <dialogue>No. eh, the Special is n't all like this. just wait. it will be hysterical.<\/dialogue>\n    <scene_description>At that moment , the picture turns to FUZZY SNOW . Maynard scowls .<\/scene_description>\n    <character>MAYNARD<\/character>\n    <dialogue>Christ! We're the Number One Network - ca n't we afford decent TVs?!<\/dialogue>\n    <scene_description>Maynard angrily jumps and POUNDS on the TV . BANG , BANG ! George winces - then mutters awkwardly .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>No, um. it's part of the snow.<\/dialogue>\n    <scene_description>An awful beat . Maynard is embarrassed . Finally - he explodes . MAYNARD Tell Kaufman we will NEVER air this program !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JERRY'S DELI - NIGHT<\/stage_direction>\n    <scene_description>A delicatessen . Andy wears an apron and angrily cleans tables . He stacks dirty dishes and wipes up the food . Two BLUE COLLAR GUYS gesture from a booth .<\/scene_description>\n    <character>BLUE COLLAR GUY 1<\/character>\n    <dialogue>Excuse me, could I please have more coffee?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Yeah, yeah, in a sec'.<\/dialogue>\n    <parenthetical>( he lugs the dishes to the kitchen . )<\/parenthetical>\n    <dialogue>That was decaf, right?<\/dialogue>\n    <scene_description>The guy nods . Andy hurries over with the coffeepot and starts pouring .<\/scene_description>\n    <character>BLUE COLLAR GUY 1<\/character>\n    <dialogue>You know, you look just like Andy Kaufman.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Yeah, I get that all the time.<\/dialogue>\n    <scene_description>Andy hurries off . The guy 's buddy leans in , whispering .<\/scene_description>\n    <character>BLUE COLLAR GUY 2<\/character>\n    <dialogue>I'm telling you, it's him.<\/dialogue>\n    <character>BLUE COLLAR GUY 1<\/character>\n    <dialogue>You wan na bet? If that was him, he would n't be workin' here, pouring my coffee!<\/dialogue>\n    <scene_description>NEAR THE KITCHEN Andy dumps out wet coffee grounds . He is sweating . In the b.g. , George enters the restaurant . He sees Andy , sits at a table and YELLS OUT .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Hey! Could you clear this table and bring me a piece of poundcake?<\/dialogue>\n    <scene_description>Andy turns . They stare down each other .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Andy, this is ridiculous. Take off that apron.<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( infuriated . )<\/parenthetical>\n    <dialogue>NO! I'd rather work here, than at ABC. There's no lying in a restaurant. They do n't promise you a job as a cashier, then suddenly make you a frycook!<\/dialogue>\n    <scene_description>Andy hurries off with a water pitcher . George chases him .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Look, I'm sorry. They're assholes! But we work in a creative business. You ca n't predict what people are gon na like -<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>The ONLY reason I did Taxi was so I could have my own Special!<\/dialogue>\n    <character>GEORGE<\/character>\n    <parenthetical>( trying to calm him . )<\/parenthetical>\n    <dialogue>Tell you what. I'll book you on some concerts, and meanwhile, we'll show the Special around. see if somebody wants to buy it -<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( bitter . )<\/parenthetical>\n    <dialogue>Yeah, we can have a garage sale. `` Hey look, I got a floor lamp and a network TV Special for only fifty cents!''<\/dialogue>\n    <scene_description>A glum moment . Andy fills water glasses .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>How long is left on my Taxi contract?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>You signed for five years -.<\/dialogue>\n    <parenthetical>( awkward . )<\/parenthetical>\n    <dialogue>So four years, seven months.<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( he looks up . )<\/parenthetical>\n    <dialogue>Okay. I'll go back. But just let them know, first they ai n't gettin' Latka. They're gettin' Tony!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TEXAS A&amp;M COLLEGE AUDITORIUM - NIGHT<\/stage_direction>\n    <scene_description>A marquee says `` TEXAS A&amp;M PRESENTS - ANDY KAUFMAN '' Inside , a ROAR of APPLAUSE surges .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLEGE AUDITORIUM - SAME TIME<\/stage_direction>\n    <scene_description>Andy is walking onstage . The excited CLAPPING swells . He 's a gigantic presence to these people . Andy smiles and bows .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Thank you. It's great to be here. We're going to have a very nice time. We'll sing some songs -<\/dialogue>\n    <character>SORORITY GIRL<\/character>\n    <dialogue>DO LATKA!<\/dialogue>\n    <scene_description>Andy reacts , perturbed . He struggles to stay composed .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Uh, we'll play with puppets -<\/dialogue>\n    <character>DRUNKS IN UNISON<\/character>\n    <dialogue>LATKA! LATTTTKAAAA!<\/dialogue>\n    <scene_description>Andy scowls . Then - he loses it .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Excuse me one moment.<\/dialogue>\n    <scene_description>Andy angrily hurries offstage .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLEGE AUDITORIUM, BACKSTAGE - NIGHT<\/stage_direction>\n    <scene_description>Zmuda is with the congas and props . Andy runs up .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Give me the book.<\/dialogue>\n    <character>ZMUDA<\/character>\n    <parenthetical>( startled . )<\/parenthetical>\n    <dialogue>No! Andy, do n't do it -<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>They're asking for it.<\/dialogue>\n    <scene_description>Andy fiercely GRABS a small book from Zmuda . Zmuda cringes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLEGE AUDITORIUM - NIGHT<\/stage_direction>\n    <scene_description>Andy strides back out . He gazes at the crowd .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Since you're such a special audience. I'm going to reveal, for the first time ever, the real me.<\/dialogue>\n    <parenthetical>( he goes into a CLIPPED BRITISH ACCENT . )<\/parenthetical>\n    <dialogue>I'm actually British. I was raised in London and educated at Oxford. And though I dabble in clowning, I do find it so boorish. So. American.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I prefer the fine arts. Henceforth, tonight, I'd like to grace you with a reading of the greatest novel ever written!<\/dialogue>\n    <parenthetical>( he holds up the book . )<\/parenthetical>\n    <dialogue>`` The Great Gatsby'', by F. Scott Fitzgerald!<\/dialogue>\n    <scene_description>BEAT . Heh ? The crowd is n't quite clear if this is good or bad . A confused murmur .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( BRITISH . )<\/parenthetical>\n    <parenthetical>( he cracks open the book . )<\/parenthetical>\n    <dialogue>Chapter One.<\/dialogue>\n    <parenthetical>( he starts READING . )<\/parenthetical>\n    <dialogue>`` In my younger and more vulnerable years, my father gave me some advice that I've been turning over in my mind ever since. ` Whenever you feel like criticizing anyone,' he told me, ` just remember that all the people in this world have n't had the advantages you've had.'''<\/dialogue>\n    <scene_description>There 's a little NERVOUS LAUGHTER . Is he really gon na read this ?<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( BRITISH ; cont 'd . )<\/parenthetical>\n    <dialogue>`` He did n't say any more, but we've always been unusually communicative in a reserved way, and I understood that he meant a great deal more than that.''<\/dialogue>\n    <scene_description>Suddenly , somebody from the audience screams :<\/scene_description>\n    <character>FRAT BOY IN AUDIENCE<\/character>\n    <dialogue>LATKA!<\/dialogue>\n    <scene_description>The audience ROARS approvingly . Andy stops reading and looks at the student . He smiles .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( AS LATKA . )<\/parenthetical>\n    <dialogue>Tank you veddy much!<\/dialogue>\n    <scene_description>The audience APPLAUDS enthusiastically . Andy waits until the applause dies and goes back to the book .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( BRITISH . )<\/parenthetical>\n    <dialogue>`` When I came back from the East last autumn, I felt that I wanted the world to be in uniform and at a sort of moral attention forever ; I wanted no more riotous excursions with privileged glimpses into the human heart.''<\/dialogue>\n    <scene_description>People start BOOING . Andy looks up .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( BRITISH ; cont 'd . )<\/parenthetical>\n    <dialogue>Please, let's keep it down. We have a long way to go.<\/dialogue>\n    <parenthetical>( he resumes reading . )<\/parenthetical>\n    <dialogue>`` Only Gatsby, the man who gives his name to this book, was exempt from my reaction - Gatsby, who represented everything for which I have an unaffected scorn.''<\/dialogue>\n    <scene_description>The crowd is incredulous .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLEGE AUDITORIUM - LATER THAT NIGHT<\/stage_direction>\n    <character>ANDY<\/character>\n    <parenthetical>( BRITISH . )<\/parenthetical>\n    <dialogue>Chapter Two.<\/dialogue>\n    <scene_description>The crowd is horribly bored .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLEGE AUDITORIUM, BACKSTAGE - NIGHT<\/stage_direction>\n    <scene_description>The clock says 11:30 . The PROMOTER glares at Zmuda .<\/scene_description>\n    <character>PROMOTER<\/character>\n    <dialogue>Is he ever going to stop?<\/dialogue>\n    <character>ZMUDA<\/character>\n    <parenthetical>( dour . )<\/parenthetical>\n    <dialogue>Sure. When he reaches `` The End.''<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLEGE AUDITORIUM - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>People are streaming out . Maybe fifty are left . Andy realizes this - but is committed . He must continue .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( BRITISH . )<\/parenthetical>\n    <dialogue>`` Tom was evidently perturbed at Daisy's running around alone, for on the following Saturday night he came with her to Gatsby's party. Perhaps his presence gave the evening its peculiar quality of oppressiveness.''<\/dialogue>\n    <scene_description>A weak VOICE feebly shouts :<\/scene_description>\n    <character>WEAK VOICE<\/character>\n    <dialogue>Do Latka.<\/dialogue>\n    <scene_description>Andy looks up , shocked . Insulted , he `` blows his temper . ''<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( BRITISH . )<\/parenthetical>\n    <dialogue>Look! I do n't have to tolerate this impoliteness! Forget it - I'm gon na stop the show. GOODBYE!<\/dialogue>\n    <scene_description>He slams the book shut . People CHEER . Andy starts to storm off - then turns .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( BRITISH ; cont 'd . )<\/parenthetical>\n    <dialogue>No, no, I'm only fooling.<\/dialogue>\n    <scene_description>The audience GROANS .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( BRITISH ; cont 'd . )<\/parenthetical>\n    <dialogue>I'll tell you what. Would you rather have me continue reading or would you like to hear the phonograph record?<\/dialogue>\n    <scene_description>The audience ROARS for the record . Andy smiles , puts the needle on and to everyone 's horror more `` Gatsby '' comes out .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( BRITISH - FROM THE RECORD . )<\/parenthetical>\n    <dialogue>`` His presence gave the evening its peculiar quality of oppressiveness - it stands out in my memory from Gatsby's other parties that summer.''<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLEGE AUDITORIUM - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>There are six people left in the audience . Andy reads on .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( BRITISH . )<\/parenthetical>\n    <dialogue>`` Tomorrow we will run faster, stretch out our arms farther. And one fine morning - So we beat on, boats against the current borne back ceaselessly into the past.''<\/dialogue>\n    <scene_description>Andy somberly shuts the book .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( BRITISH ; cont 'd . )<\/parenthetical>\n    <dialogue>The End.<\/dialogue>\n    <scene_description>A moment of quiet personal euphoria . Andy looks enraptured , the man who has just climbed Everest . A pause - but no applause . It 's dead silence . Andy looks out . and realizes the few audience members are asleep . Andy shrugs , then shuffles off - stage . In the wings , Zmuda snores loudly in a folding chair .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COLLEGE AUDITORIUM - DAWN<\/stage_direction>\n    <scene_description>Andy and Zmuda walk out , Zmuda squinting groggily . They drag the suitcase containing the props . They walk slowly towards their rental car , the campus totally deserted .<\/scene_description>\n    <character>ZMUDA<\/character>\n    <dialogue>Nobody likes anarchy more than me. but this is science fiction!<\/dialogue>\n    <scene_description>Andy nods uncomprehendingly .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Let's get some breakfast.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHAPIRO\/WEST - DAY<\/stage_direction>\n    <scene_description>George is yelling at Andy and Zmuda . They are seated on his couch , heads bowed in shame .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>What kind of show was this?!<\/dialogue>\n    <parenthetical>( angrily reading off a LIST . )<\/parenthetical>\n    <dialogue>There were three - hundred walkouts! The promoter wants a refund!<\/dialogue>\n    <scene_description>Andy mumbles in a pipsqueak whimper .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>I'm sorry, George.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>You're DAMN RIGHT you're sorry!<\/dialogue>\n    <parenthetical>( turning on Zmuda . )<\/parenthetical>\n    <dialogue>And you - you're the road manager! You should be watchin' out for him!<\/dialogue>\n    <character>ZMUDA<\/character>\n    <parenthetical>( a guilty sigh . )<\/parenthetical>\n    <dialogue>We might have lost our focus.<\/dialogue>\n    <scene_description>George paces furiously .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>When you play the Midwest and South, you DO N'T MINDFUCK THESE PEOPLE! It's not postmodern - it's rude.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>If you wan na perform in Texas, you give'em Mighty Mouse! You give'em Elvis!<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>But George, I like to push the boundaries.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>And that's great. But do it in LA and New York! There you experiment! Show up with a sleeping bag and take a nap on stage! I do n't care!<\/dialogue>\n    <scene_description>Hmm . Andy thinks .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>How long would they let me sleep?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>I do n't know!<\/dialogue>\n    <parenthetical>( he composes himself and lowers his voice to a hush . )<\/parenthetical>\n    <dialogue>Andy. you need to look inside : Who are you trying to entertain? The audience. or yourself?<\/dialogue>\n    <scene_description>ANGLE - ANDY He does n't know the answer .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHAPIRO\/WEST, BATHROOM - DAY<\/stage_direction>\n    <scene_description>Andy is manically washing his hands . Using liquid soap from the dispenser , then rubbing his hands under the water . Then more liquid soap . More rubbing . Then more liquid soap .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHAPIRO\/WEST - DAY<\/stage_direction>\n    <scene_description>George sighs at Zmuda .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>I'm worried about Andy. His stress level is affecting his work.<\/dialogue>\n    <character>ZMUDA<\/character>\n    <parenthetical>( he thinks . )<\/parenthetical>\n    <dialogue>Is n't Tony Clifton going on Taxi soon? Maybe that'll chill him out.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Bob, Andy needs to RELAX. See if you can get him away from all this. Take him to Hawaii, or Bali. Find something special. Something nice.<\/dialogue>\n    <scene_description>Zmuda mulls this over .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MUSTANG RANCH, NEVADA - DAY<\/stage_direction>\n    <scene_description>A tattered sign says `` Welcome to the MUSTANG RANCH . '' The world - famous whorehouse sits behind a barb - wire fence . Dusty connected trailers sit in the sand . A CAR idles out front . Zmuda and a scared Andy sit inside .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>I dunno about this.<\/dialogue>\n    <parenthetical>( worried . )<\/parenthetical>\n    <dialogue>What will my mother think?<\/dialogue>\n    <character>ZMUDA<\/character>\n    <dialogue>She'll say, `` Now my son is a man.''<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>It's so dirty.<\/dialogue>\n    <character>ZMUDA<\/character>\n    <dialogue>Nah. The girls sponge off between johns.<\/dialogue>\n    <scene_description>Andy nods .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Okay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSTANG RANCH - DAY<\/stage_direction>\n    <scene_description>The reception room - wood paneling and black - lite posters . Music is playing . Twenty deadpan HOOKERS are lined up . Andy , nervous as a high school kid , points at one . then another . then the first .<\/scene_description>\n    <character>ZMUDA<\/character>\n    <dialogue>Which one?<\/dialogue>\n    <scene_description>Beat - then Andy becomes GERMAN , with a monocle and stiff walk .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( GERMAN . )<\/parenthetical>\n    <dialogue>I vill haf both! I vill haf dat fraulein. unt. the vun vith the big strudels!<\/dialogue>\n    <scene_description>The two chosen girls take Andy 's hands and lead him off . He reaches the door - then gives Zmuda a nervous look . Zmuda smiles reassuringly . Andy gulps , and goes in . Beat . Zmuda turns to the older , jaded MADAM .<\/scene_description>\n    <character>ZMUDA<\/character>\n    <dialogue>This is a big day. It's my friend's first time with a prostitute.<\/dialogue>\n    <character>MADAM<\/character>\n    <parenthetical>( mocking . )<\/parenthetical>\n    <dialogue>What're you talking about? Andy comes here almost every weekend.<\/dialogue>\n    <scene_description>Zmuda 's jaw drops , stupefied .<\/scene_description>\n    <character>ZMUDA<\/character>\n    <dialogue>You're talking about. Andy?<\/dialogue>\n    <character>MADAM<\/character>\n    <dialogue>Oh, he does n't always call himself that. Sometimes he's Tony, and wears a tux.<\/dialogue>\n    <scene_description>Disbelief - then Zmuda LAUGHS sharply . He 's been conned .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSTANG RANCH, BEDROOM - DAY<\/stage_direction>\n    <scene_description>Andy and the two hookers are WRESTLING . They grapple and roll around , all three of them in their underwear . Suddenly Andy flips the girls over and pins them with his arms . Breathing hard , he stares down .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>You let me win.<\/dialogue>\n    <character>HOOKER<\/character>\n    <parenthetical>( she giggles sexily . )<\/parenthetical>\n    <dialogue>What if we did?!<\/dialogue>\n    <scene_description>Andy grins and leans down .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Hey. If I give you three - hundred dollars, will you come to LA and help me destroy a TV show?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI SET, REHEARSAL ROOM - DAY<\/stage_direction>\n    <scene_description>The Taxi cast sits irritably around a big table , holding scripts . Ed Weinberger enters .<\/scene_description>\n    <character>TONY DANZA<\/character>\n    <dialogue>Where is he?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>He just arrived.<\/dialogue>\n    <character>CAROL KANE<\/character>\n    <dialogue>He's an hour late.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Look, I'm told this Clifton guy is a little eccentric. You're all just gon na have to roll with the punches this week.<\/dialogue>\n    <scene_description>Suddenly - the door SLAMS open . Tony bounds in , filthy drunk , clutching a bottle in a brown bag .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <dialogue>Taxi! Laxy! Just the factsy, Maxie! Them's all the words that rhyme with taxi! Right, girls?<\/dialogue>\n    <scene_description>Little Wendy and the Hooker sashay in , dressed as tarts . Tony feels them up , and they SQUEAL . The cast stares in horror .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Eh, why the blue faces? You musta read the script!<\/dialogue>\n    <parenthetical>( he chuckles . )<\/parenthetical>\n    <dialogue>Well, do n't worry! Your pal Tony stayed up all night, writin' some fixes on it.<\/dialogue>\n    <parenthetical>( he pulls out some SCRIBBLED PAGES . )<\/parenthetical>\n    <dialogue>I added me a musical number, cut out Judd Hirsch, and changed the location to Mardi Gras!<\/dialogue>\n    <scene_description>Ed 's expression goes ashen .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI SET - LATER THAT DAY<\/stage_direction>\n    <scene_description>An attempted rehearsal . Tony is tap - dancing on top of a car hood . He does a `` fancy '' move , and his booze bottle suddenly flies away and CRASHES against the wall . The cast watches , pissed and bored .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <dialogue>And now, the new theme song!<\/dialogue>\n    <parenthetical>( he starts SINGING . )<\/parenthetical>\n    <dialogue>`` Oh yes, we drive a taxi, And we're havin' fun. Yeah, we work together, And we get the freakin' job done.''<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI SET, TECH BOOTH - DAY<\/stage_direction>\n    <scene_description>Beleaguered Ed sits with George .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>George, we've lost two days. Filming is on Friday. We HAVE to let him go!<\/dialogue>\n    <character>GEORGE<\/character>\n    <parenthetical>( worried . )<\/parenthetical>\n    <dialogue>I'm not sure how Andy's gon na take this.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>So we'll go downstairs and tell him!<\/dialogue>\n    <scene_description>He points at Tony , swaggering around on the set . George shakes his head .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>But that's Tony down there. That's not Andy. Trust me, it's like `` Sybil'' - Andy's nowhere on the premises!<\/dialogue>\n    <scene_description>Ed glares .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Well whoever the fuck that is, I'm firing him!<\/dialogue>\n    <character>GEORGE<\/character>\n    <parenthetical>( he sighs . )<\/parenthetical>\n    <dialogue>Okay. But we'll have to warn Andy first. I think he's up in San Francisco, doing a concert.<\/dialogue>\n    <scene_description>Heh ? Ed raises his eyebrows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI SET, TECH BOOTH - SECONDS LATER<\/stage_direction>\n    <scene_description>George is on the phone . Ed hovers .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( INTO PHONE . )<\/parenthetical>\n    <dialogue>Hi, Diane, this is George. I'm trying to reach Andy up in San Francisco.<\/dialogue>\n    <parenthetical>( a stilted pause . )<\/parenthetical>\n    <dialogue>Yeah, I'll wait.<\/dialogue>\n    <scene_description>Ed glances down at the stage . and suddenly Tony is no longer there . He 's magically vanished . Beat . George turns on the SPEAKERPHONE , then CLICK ! Andy 's happy voice pops on the line .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Hi, George! Good to hear from you!<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Hi, Andy. How's the weather up there?<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Oh, you know the Bay Area! Always foggy!<\/dialogue>\n    <scene_description>Ed looks totally off - balance . George winks at him .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>I'm here with Ed over at Taxi. There's been some trouble with Tony.<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Oh no! Did he get hurt?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>No, no, Andy, nothing like that.<\/dialogue>\n    <parenthetical>( nervous beat . )<\/parenthetical>\n    <dialogue>But. Tony's not fitting in. His style of performance is too. burlesque.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI SET, ANDY'S DRESSING ROOM - DAY<\/stage_direction>\n    <scene_description>Tony is on the phone . Little Wendy is busily refilling his whiskey bottle with canned ice tea . He looks up , insulted .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <parenthetical>( AS ANDY . )<\/parenthetical>\n    <dialogue>`` Burlesque''?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI SET, TECH BOOTH - DAY<\/stage_direction>\n    <character>ED<\/character>\n    <dialogue>Andy, I'm calling you up like this because I have the utmost respect for your artistry. But - I need your permission to fire him.<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Oh dear!<\/dialogue>\n    <parenthetical>( upset . )<\/parenthetical>\n    <dialogue>George, this is gon na kill Tony. He's waited his whole life for this break.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>There'll be other shots.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Andy, I have to do it. He's a terrible actor.<\/dialogue>\n    <scene_description>Andy thinks about this .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I guess I understand. But Ed - please. let him down gentle.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Yes, Andy, I will.<\/dialogue>\n    <scene_description>Andy hangs up . A relieved Ed turns to George .<\/scene_description>\n    <character>ED<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI SET - LATER THAT DAY<\/stage_direction>\n    <scene_description>Tony SCREAMS insanely .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <dialogue>FUCK YOU! I AI N'T GOIN'!<\/dialogue>\n    <scene_description>WIDE Ed is stupefied . The cast stands nervously behind him .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>We had a deal!<\/dialogue>\n    <character>TONY CLIFTON<\/character>\n    <dialogue>I do n't know what yer talkin' about. You musta talked to someone else -<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Yeah! I talked to Andy Kaufman!<\/dialogue>\n    <character>TONY CLIFTON<\/character>\n    <dialogue>I do n't know nothin' about no Kaufman. He's been ridin' my coattails, smearing my reputation. Been usin' my good name, to get places.<\/dialogue>\n    <scene_description>Ed is livid . He gazes harshly at Tony - Tony 's burning eyes piercing through the rubber features .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Get off my stage! You're fired!<\/dialogue>\n    <character>TONY CLIFTON<\/character>\n    <dialogue>I GOT A CONTRACT! I'm gon na take you to the DEPARTMENT OF LABOR!<\/dialogue>\n    <scene_description>Suddenly - FLASH ! Ed looks over . A REPORTER has a camera .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Who're YOU?!<\/dialogue>\n    <character>REPORTER<\/character>\n    <dialogue>I'm from the LA Times. We're doing a little puff piece on Mr. Clifton.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Mr. Kaufman arranged it.<\/dialogue>\n    <scene_description>UP IN THE BLEACHERS - George enters . He looks down at the growing debacle , and winces . Uh - oh . ONSTAGE - Enraged , Ed blows up .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Security! Escort this man off the lot!<\/dialogue>\n    <scene_description>ONSTAGE - Studio SECURITY GUARDS run over . They GRAB Tony .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <dialogue>Stop! GETCHER HANDS OFF ME!<\/dialogue>\n    <scene_description>Tony scuffles . The camera FLASHES .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>LEM ME GO! I'M A BIG STAR!<\/dialogue>\n    <scene_description>IN THE BLEACHERS - George stares at this mess . and starts giggling . ONSTAGE - Two guards drag Tony to the door .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You'll be SORRY! One day I'm gon na OWN this town!<\/dialogue>\n    <scene_description>Tony SCREAMS and gets removed . Dead silence . Then -<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>I do n't want those pictures getting out.<\/dialogue>\n    <character>SECURITY GUARD<\/character>\n    <parenthetical>( to the reporter . )<\/parenthetical>\n    <dialogue>This is a closed set. You'll have to give me the film in that camera.<\/dialogue>\n    <scene_description>The Guard reaches for the camera . An uncertain moment . until Zmuda authoritatively cuts in , from out of nowhere .<\/scene_description>\n    <character>ZMUDA<\/character>\n    <dialogue>I'll take care of this.<\/dialogue>\n    <scene_description>Zmuda takes the camera . He casually starts to make his way for the exit . when Ed suddenly HOLLERS .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Wait - he's one of THEM!<\/dialogue>\n    <scene_description>Zmuda gasps . Two guards go running for him . Zmuda barrels away , trying to escape . The guards chase . Zmuda races by George , and suddenly palms off the camera into George 's arms . The guards whip by , oblivious . George grimaces , unclear about his loyalties . He sweatily peers at the timebomb in his hands . And then - George thrusts it under his jacket . He bolts for the door and feverishly scampers out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARAMOUNT LOT - DAY<\/stage_direction>\n    <scene_description>George runs for his life . He knocks aside a rack of costumes and serpentines between people . At the gate , Tony 's being dragged , kicking and screaming .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <dialogue>Stop! HELP! You would n't do this to Wayne Newton -<\/dialogue>\n    <scene_description>The guards toss Tony out the gate . He lands in a heap . In the b.g. , George crazily flies by . He gets out the exit .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARAMOUNT LOT, OUTSIDE THE GATES - DAY<\/stage_direction>\n    <scene_description>George doubles over , trying to catch his breath . He glances down . and Tony is lying next to him . Little Wendy and Zmuda run up , out of breath . They all look at each other . There 's a moment of understanding .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <dialogue>Hey. Good hustlin'.<\/dialogue>\n    <scene_description>George slowly smiles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI OFFICES - SAME TIME<\/stage_direction>\n    <scene_description>Ed storms in , insanely angry .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>That asshole! That FUCKING BASTARD!<\/dialogue>\n    <parenthetical>( he SLAMS the door behind him . )<\/parenthetical>\n    <dialogue>We had a fuckin' deal, and THAT COCKSUCKER SHAFTED ME!<\/dialogue>\n    <scene_description>Ed is seething . His SECRETARY timidly speaks .<\/scene_description>\n    <character>SECRETARY<\/character>\n    <dialogue>Um, Ed. you have a phone call -<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>I'M NOT IN!<\/dialogue>\n    <character>SECRETARY<\/character>\n    <dialogue>Well, um. it's Andy Kaufman.<\/dialogue>\n    <scene_description>Heh ?! Shaking with fury , Ed stares at the telephone . then slowly picks it up .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <scene_description>A long pause . then Andy 's voice calmly speaks .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>You were brilliant.<\/dialogue>\n    <scene_description>A flabbergasted beat .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>You were in the moment. You became a producer losing his mind.<\/dialogue>\n    <parenthetical>( sincerely joyful . )<\/parenthetical>\n    <dialogue>It was the best improv I've ever seen.<\/dialogue>\n    <scene_description>TIGHT - ED He thinks intently about this . And then . amazingly , a magnificent smiles comes over his face .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Well - thank you.<\/dialogue>\n    <scene_description>Pause .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Okay. See you next week.<\/dialogue>\n    <scene_description>Andy hangs up . Ed just sits there , astounded .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LA HEALTH FOOD RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Andy , Zmuda , George and Little Wendy are squeezed in a booth , laughing and celebrating . They eagerly read the LA Times . INSERT - The headline says `` WHO IS TONY CLIFTON ? '' Below is a PHOTO of Tony being thrown off the Taxi set . They all HOWL .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>This is great! It makes Tony REAL - three - dimensional! It's very good for his career.<\/dialogue>\n    <scene_description>Zmuda reads one paragraph .<\/scene_description>\n    <character>ZMUDA<\/character>\n    <dialogue>`` Was this in actuality Andy Kaufman? And if it was Andy Kaufman, is Andy Kaufman crazy?''<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( he chortles . )<\/parenthetical>\n    <dialogue>Boy, they totally fell for it! I'm only acting crazy!<\/dialogue>\n    <scene_description>Hmm . A few awkward glances . Then - Andy grins at his meal .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Boy, this is tasty.<\/dialogue>\n    <parenthetical>( he shouts to a WAITER . )<\/parenthetical>\n    <dialogue>Hey, can I please have some more seaweed?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOOKER'S OFFICE - DAY<\/stage_direction>\n    <scene_description>A slick BOOKER , sitting in a crowded office full of head shots . He 's on the phone . He 's reading the LA Times story .<\/scene_description>\n    <character>BOOKER<\/character>\n    <dialogue>Mr. Shapiro, this is Gene Knight, up at Harrah's Tahoe. We'd like to book Andy Kaufman for our showroom.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHAPIRO\/WEST - DAY<\/stage_direction>\n    <scene_description>George on the phone .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Ehh - Andy does n't really like playing casinos. The audiences do n't work well for him.<\/dialogue>\n    <character>BOOKER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>Disappointed beat . The booker thinks .<\/scene_description>\n    <character>BOOKER<\/character>\n    <parenthetical>( O.S. ; cont 'd . )<\/parenthetical>\n    <dialogue>What about Tony Clifton?<\/dialogue>\n    <character>GEORGE<\/character>\n    <parenthetical>( startled . )<\/parenthetical>\n    <dialogue>Really?! You want Tony Clifton to headline Harrah's Tahoe?<\/dialogue>\n    <character>BOOKER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( being tricky . )<\/parenthetical>\n    <dialogue>Eh, sure. We're trying to expand our audience base - and I know the college kids really love Andy Kaufman.<\/dialogue>\n    <scene_description>George winces .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Look - I got ta be clear with you. Tony Clifton is NOT Andy Kaufman.<\/dialogue>\n    <character>BOOKER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Yeah, yeah, yeah. I know!<\/dialogue>\n    <parenthetical>( he LAUGHS merrily . )<\/parenthetical>\n    <dialogue>Wink wink! Nudge nudge!<\/dialogue>\n    <character>GEORGE<\/character>\n    <parenthetical>( frustrated . )<\/parenthetical>\n    <dialogue>No, I'm serious. If you book Tony, do NOT EXPECT TO GET ANDY.<\/dialogue>\n    <character>BOOKER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( LAUGHING harder . )<\/parenthetical>\n    <dialogue>I'll take my chances!<\/dialogue>\n    <scene_description>George rolls his eyes in annoyance . Finally , he shrugs .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Fine, be my guest! Book him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUNSET BLVD - DAY<\/stage_direction>\n    <scene_description>George is driving in his convertible . Suddenly , something catches his eye - and in shock he HITS the brakes . Three cars behind him SCREECH crazily , trying not to hit each other . George is oblivious . He 's staring up at a BILLBOARD . The BILLBOARD : It says `` HARRAH 'S TAHOE PRESENTS , ANDY KAUFMAN &amp; TONY CLIFTON ! TOGETHER ON STAGE ! ONE NIGHT ONLY ! '' George is flabbergasted .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUNSET BLVD, PHONEBOOTH - DAY<\/stage_direction>\n    <scene_description>George is shouting into a payphone .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Gene, you misunderstood! You're not getting BOTH of them!<\/dialogue>\n    <parenthetical>( upset . )<\/parenthetical>\n    <dialogue>It's physically impossible!<\/dialogue>\n    <character>BOOKER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Why's that? You said over and over and over, Tony Clifton is not Andy Kaufman -<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Yeah, I KNOW what I said! But - trust me, it's not gon na happen!<\/dialogue>\n    <character>BOOKER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Sure it is. Tony called me himself. He yelled at me, insisting that his dressing room be bigger than Andy's. They're both going on tonight, believe me!<\/dialogue>\n    <scene_description>George is stupefied . He looks at his watch .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAKE TAHOE - DUSK<\/stage_direction>\n    <scene_description>Magnificent HARRAH 'S dominates the skyline . The marquee blares `` TONY CLIFTON AND ANDY KAUFMAN ! '' George screeches up in a rental car . He jumps out and runs inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARRAH'S SHOWROOM - NIGHT<\/stage_direction>\n    <scene_description>The showroom is packed . It hums with curiosity . WAITERS clean off the dinner tables . George rushes in and is seated in a far booth , with some STRANGERS . He overhears a heated conversation between a PUSHY MAN and his WIFE .<\/scene_description>\n    <character>PUSHY MAN<\/character>\n    <dialogue>You're not listenin'! It's a VERY simple concept.<\/dialogue>\n    <character>WIFE OF PUSHY MAN<\/character>\n    <dialogue>You're making no sense. How can they be the same person -?<\/dialogue>\n    <character>PUSHY MAN<\/character>\n    <dialogue>Trust me! You'll never see them on stage at the same time!<\/dialogue>\n    <scene_description>The onstage ORCHESTRA hits a fanfare . LIGHTS DIM . Sharp SPOTLIGHTS meet at the foot of the stage . Suddenly - Tony swaggers out , hands over his head in a gesture of triumph . Thunderous APPLAUSE . Tony beams . The music stops . George leans in , curious as to how Andy will wiggle out of this . Tony bows theatrically , turns back to face the orchestra , and waits . The NOISE LEVEL slowly drops - but not entirely . Tony waits , and waits , and waits . until suddenly he turns towards the audience and SCREAMS FURIOUSLY .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <dialogue>SHUT UP!<\/dialogue>\n    <scene_description>Everybody looks up , alarmed . The general murmur almost dies . Tony stands there , eyes flashing with anger at all the unruly people . As they quiet down . Tony turns back to the orchestra and raises his arms . The MUSICIANS lift their instruments . Silence is total - except for the clank of china . Waiters are serving coffee . Tony spins back around , livid .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>THAT APPLIES TO YOU, TOO, PENGUINS!<\/dialogue>\n    <scene_description>People signal `` shh '' ! The waiters realize Tony 's addressing them , and they stare back in disbelief ! This is their job !<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Yeah! Yeah! YOU! I'm talkin' to YOU! And you better freeze, or I'll get your asses fired!<\/dialogue>\n    <scene_description>Tony 's outburst is so commanding that they all freeze . The waiters stand there like statues , staring in terror . Satisfied , Tony burns back to the orchestra and raises his arms . Again , the musicians lift their instruments . In anticipation of loud music , the waiters start moving about . Audience members start whispering . Tony hears this - and drops his arms and head in despair . The musicians lower their instruments . Tony waits for absolute silence . Only then does he signal the musicians to get ready again . They do . And then at that precise moment - somebody DROPS a spoon . Tony jolts , as if hit by a current . He drops his hands again , turns , and gives the perpetrator a murderous look . Then he turns again , lowers his head , and waits . And waits . And waits . The man at George 's table WHISPERS to his wife .<\/scene_description>\n    <character>PUSHY MAN<\/character>\n    <dialogue>He's never gon na start! Kaufman thinks this is funny!<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>We've paid forty bucks for a show that's never gon na start!<\/dialogue>\n    <scene_description>George grins stupidly . The silence is now deafening . Slowly , very slowly , Tony raises his arms . Slowly . the musicians get their instruments ready . Tony stands there , and stands , and stands , waiting for something . anything . to disturb the silence . In vain . Somebody COUGHS . The whole scene repeats itself . Finally - finally - Tony is surrounded by total silence . Then , -LRB- only a moment before the length of this scene would become unbearable -RRB- , he begins to move . Tony pivots around , looks at the audience . And the entire room looks like Tussaud 's Wax Museum . Tony starts LAUGHING hysterically . The audience 's reaction is mixed : Some people LAUGH . Some BOO . Some ask perplexed questions . Some SCREAM OBSCENITIES . Some even APPLAUD . Tony is very happy . He turns to the orchestra , raises his baton - and commences the downbeat ! The MUSIC BEGINS . A SPOTLIGHT hits the wings . and then ANDY STRIDES OUT . George 's jaw drops .<\/scene_description>\n    <character>WIFE OF PUSHY MAN<\/character>\n    <dialogue>You see! I told you! They're not the same person!<\/dialogue>\n    <scene_description>The whole audience BURSTS INTO APPLAUSE . Life is back to normal . Andy bows shyly and takes his place in front of a prepared row of congas . He starts to play . Tony Clifton grabs the microphone .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <dialogue>Thank you! Thank you! I wrote this tune for my friend Frank Sinatra. He had a nice little success with it. but forgot to thank me on the album.<\/dialogue>\n    <scene_description>He starts to BELT `` I Got ta Be Me '' . George squints his eyes , trying to figure out who this is .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>`` Whether I'm right Or whether I'm wrong Whether I find a place in this world Or never belong! I got ta be me! I got ta be me! What else can I be, but what I am?''<\/dialogue>\n    <scene_description>Tony 's singing is awful . Andy happily accompanies on congas . The audience does n't know what to think . Tony 's SINGING reaches the end . aggressive and off - key .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Let's bring it on home -.<\/dialogue>\n    <parenthetical>( he hits his screeching CLIMAX . )<\/parenthetical>\n    <dialogue>`` I GOT TA BE MEEEEEE!''<\/dialogue>\n    <scene_description>The BAND ends with a brassy punch . The crowd responds with LOUD BOOING .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARRAH'S, BACKSTAGE - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>George wanders the corridor , looking for the dressing rooms . He turns and finds a door marked `` KAUFMAN '' . Next to it is a door marked `` CLIFTON '' . George stares . He thinks , then opens the `` KAUFMAN '' door . Andy is inside alone , gathering his things . He 's pleasantly surprised to see George . George does n't enter . He goes to the `` CLIFTON '' door . Andy follows . George opens the mystery door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARRAH'S, CLIFTON'S DRESSING ROOM - NIGHT<\/stage_direction>\n    <scene_description>and inside , taking off the rubber Tony makeup , is Zmuda . George starts hyperventilating . Shaking , he tries to sit himself down . Andy enters , beaming . George is amazed .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>You're so proud. You're like some retarded kid comin' home from school : `` Look, Dad, I got an F!''<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>But was n't it funny?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>`` Funny''? I dunno. But `` intriguing''. `` mindboggling''. perhaps `` headache - inducing''. sure.<\/dialogue>\n    <parenthetical>( softening . )<\/parenthetical>\n    <dialogue>Like, that moment, when you both came onstage.<\/dialogue>\n    <scene_description>Andy excitedly jumps up and down .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Uh - huh! See, with all these articles, people think they're insiders. They see Tony Clifton, and they say, `` Ah, that's really Andy Kaufman.'' But that spoils it. So NOW, Tony denying being me is the truth! Tony's not me! But maybe he is! The audience will never know.<\/dialogue>\n    <parenthetical>( giddy . )<\/parenthetical>\n    <dialogue>They'll think they're laughin' at me - but actually I'll be laughin' at them, because they're wrong and I'm right!<\/dialogue>\n    <scene_description>George is dazed .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>So you've got this big elaborate joke, which is really only funny to two people in the universe.<\/dialogue>\n    <parenthetical>( dry . )<\/parenthetical>\n    <dialogue>You. and you.<\/dialogue>\n    <character>ZMUDA<\/character>\n    <dialogue>Sure! But WE think it's kickass! Now I get to be Tony. I get to dump the glass of water on someone else's head!<\/dialogue>\n    <character>GEORGE<\/character>\n    <parenthetical>( he turns serious . )<\/parenthetical>\n    <dialogue>But what's the POINT? How will any of this make you the biggest star in the world?<\/dialogue>\n    <scene_description>Hmm . Andy contemplates this .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>George. I'm at a stage where the audience expects me to constantly shock them. But short of faking my death, or setting the theater on fire, I do n't know what else to do.<\/dialogue>\n    <parenthetical>( thoughtful . )<\/parenthetical>\n    <dialogue>'Cause I've always got to be one step ahead of them.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>But I feel you're extending this philosophy to real life. It's obsessive. Nothing's ever on the level anymore.<\/dialogue>\n    <scene_description>A perplexed beat .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>George, it never was.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Did n't you know that?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANDY'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Arnold Schwarzenegger , in his glory days as a body - builder , on the cover of a magazine . Magazines are everywhere . Body - building . Women 's . Wrestling . ANDY is sifting through them . Zmuda watches , worried .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Look at this! An evil Russian! Ooo, here's an evil Nazi - he likes to fight dirty! Hey, here's an evil Japanese guy!<\/dialogue>\n    <character>ZMUDA<\/character>\n    <dialogue>What is this, World War Two?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>You know, I always wanted to be a bad - guy wrestler.<\/dialogue>\n    <character>ZMUDA<\/character>\n    <dialogue>No offense, pal, but I just do n't think you're built for it. These he - men'll kick your ass! They're huge!<\/dialogue>\n    <scene_description>Andy 's face drops . He realizes Zmuda 's right . Beat - then Andy notices an issue of Sumo Magazine , with a picture of a wrestler and his cute little fianc\u0439e on the cover . He slowly lifts it up , intrigued .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Maybe I'll pick on someone smaller than me!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MERV GRIFFIN SHOW - DAY<\/stage_direction>\n    <scene_description>CLOSE UP on Andy and Merv Griffin . Andy wears a goofy wrestling outfit that resembles thermal underwear . He is shouting like a wrestler .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>And I vow to continue wrestling until I am BEA TEN, in a three - minute match, with my shoulders pinned to the mat!<\/dialogue>\n    <character>MERV<\/character>\n    <parenthetical>( nonplussed . )<\/parenthetical>\n    <dialogue>By a woman.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Yes! BY A WOMAN!<\/dialogue>\n    <parenthetical>( emphatic . )<\/parenthetical>\n    <dialogue>I'm doing this because I feel that a woman can not beat a man in wrestling. Even if they train with weights. it requires a certain mental ability -.<\/dialogue>\n    <parenthetical>( a clumsy pause . )<\/parenthetical>\n    <dialogue>And, uh - I just do n't feel they have that.<\/dialogue>\n    <scene_description>The audience MURMURS uncomfortably . Andy laughs and backpedals .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>No no! Women are superior in many ways. When it comes to cooking and cleaning, washing the potatoes, scrubbing the carrots, raising the babies, mopping the floors, they have it all over men. I believe that!<\/dialogue>\n    <scene_description>An appalled silence . Merv winces . Some people start BOOING . We can tell Andy is pleased .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>But when it comes to wrestling, forget it! If there's a woman that can prove me wrong, come up here. I'll shut my mouth and pay her 500 dollars.<\/dialogue>\n    <scene_description>Merv baitingly turns to the crowd .<\/scene_description>\n    <character>MERV<\/character>\n    <dialogue>Any. volunteers?<\/dialogue>\n    <scene_description>WIDE All the WOMEN 'S hands angrily shoot up ! We move through the crowd , finally picking out . a feisty woman , LYNNE . She mutters , half hateful , half laughing -<\/scene_description>\n    <character>LYNNE<\/character>\n    <dialogue>I wan na kill that jerk.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MERV GRIFFIN SHOW - MINUTES LATER<\/stage_direction>\n    <scene_description>Andy and Lynne stand in the ring . She scornfully watches him preen about . Zmuda is in a referee 's uniform .<\/scene_description>\n    <character>ZMUDA<\/character>\n    <parenthetical>( AS REFEREE . )<\/parenthetical>\n    <dialogue>Will you please shake hands, go to your corners, and come out wrestling.<\/dialogue>\n    <scene_description>Lynne extends her hand . Andy fakes a shake - then snidely refuses and struts away . The crowd HISSES . DING ! It 's the bell . The match begins . Lynne barrels at him , craving a victory , but terribly unprepared for this experience . Andy immediately grabs her by the legs and flips her over . WHUMP ! She 's down . Andy has trained for this . Zmuda gets on his knees , watching , trying to look official . Lynne struggles and slithers away . She grabs Andy 's arm and forces him down . People CHEER . His torso hits the mat . LOUDER CHEERS . But suddenly he rolls over and pulls her hair ! Her head snaps back . The crowd is INCENSED . Zmuda hurries over and pantomimes a stern warning . Andy nods , and they separate . They do a little dance around the ring , Lynne looking for a hole . Suddenly , Andy spins her into a Half - Nelson . Her arms are pinned . They struggle , then he throws her down on her stomach . One ! Two ! Three ! And DING ! It 's OVER . Andy jumps up and sneers at the crowd .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>I'm the winner! I've got the BRAINS!<\/dialogue>\n    <parenthetical>( he points at his head . )<\/parenthetical>\n    <dialogue>Now baby, do n't fight nature! Get back in the kitchen where you belong!<\/dialogue>\n    <scene_description>Lynne glares . Out of the blue , and old RECORDING OF BOUNCY PIANO MUSIC starts playing . A chicken CLUCKS to the music , and Andy lip - syncs along , doing an obnoxious cock o ' the walk around the ring .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MERV GRIFFIN SHOW, BACKSTAGE - LATER THAT DAY<\/stage_direction>\n    <scene_description>Lynne is escorted by a GUEST COORDINATOR . Lynne is dazed . The Coordinator hands her a bunch of crap .<\/scene_description>\n    <character>GUEST COORDINATOR<\/character>\n    <dialogue>Here's your complimentary photo with Merv. Here's your Turtle Wax -<\/dialogue>\n    <character>LYNNE<\/character>\n    <dialogue>I do n't need Turtle Wax.<\/dialogue>\n    <character>GUEST COORDINATOR<\/character>\n    <dialogue>Every guest of Merv gets it. And here's your dinner - for - two voucher at Red Lobster.<\/dialogue>\n    <scene_description>Lynne takes her junk and hobbles off . She passes Andy , who sees her and grins .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Gosh, you scored! Look at all those goodies!<\/dialogue>\n    <character>LYNNE<\/character>\n    <dialogue>Buzz off. Go patronize somebody else.<\/dialogue>\n    <scene_description>Lynne coldly hurries away . Andy chases after her .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Hey, I hope you did n't take that stuff I said seriously. It was just part of the show!<\/dialogue>\n    <parenthetical>( eager to impress . )<\/parenthetical>\n    <dialogue>It's like the old days, when a carnival barker would try to rile up the crowd.<\/dialogue>\n    <character>LYNNE<\/character>\n    <dialogue>Oh. So you were just pretending to be an asshole.<\/dialogue>\n    <scene_description>Andy nods , pleased .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>It's what I'm good at!<\/dialogue>\n    <scene_description>Lynne stares - then begrudgingly cracks a smile .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOLD'S GYM - DAY<\/stage_direction>\n    <scene_description>Jumbo - sized BEEFY MEN work out , sweating and groaning . In a corner , Andy lifts huge barbells . George stares , pained .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Merv Griffin has received 2000 pieces of hate mail. Andy, Merv Griffin does n't GET hate mail.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>That means it was a success. I woke up the audience - like punk rock!<\/dialogue>\n    <parenthetical>( he hands him a BARBELL . )<\/parenthetical>\n    <dialogue>Here, take this.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>No, I'm not gon na take it. If I take it I'll break my back.<\/dialogue>\n    <scene_description>He crosses his arms . Andy frowns and lowers the weight .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Buddyboy, they detest you! Next time you make an appearance, women are gon na picket.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>They're having a laugh.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>WRONG! You have n't given them any clues that it's a parody!<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>That's because they've only seen it once. But I'll do it again, and again, and AGAIN.<\/dialogue>\n    <parenthetical>( a maniacal grin . )<\/parenthetical>\n    <dialogue>They'll catch on!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WRESTLING RING<\/stage_direction>\n    <scene_description>MATCH 1 - Andy throws a FAT WOMAN to the ground . MATCH 2 - Andy squeezes a SMALL WOMAN in a headlock . MATCH 3 to MATCH 20 - Andy throws an ITALIAN LADY from the ring . He then proudly waves a phony plastic belt over his head .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>I am the Intergender Wrestling Champion of the World!<\/dialogue>\n    <scene_description>The crowd BOOS in disgust .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOVIE THEATER - DAY<\/stage_direction>\n    <scene_description>ANDY is at the box office , buying tickets .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Two, please.<\/dialogue>\n    <scene_description>Two tickets jump out of the machine .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOVIE THEATER - DAY<\/stage_direction>\n    <scene_description>ANDY is standing in front , waiting . A CAB stops and out steps - Lynne .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>LYNNE<\/character>\n    <dialogue>Hi. am I late?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>No, I'm sure we'll be fine.<\/dialogue>\n    <scene_description>Andy gives Lynne her ticket . They enter the theater .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOVIE THEATER - DAY<\/stage_direction>\n    <scene_description>Andy hurries up to the candy counter .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Popcorn?<\/dialogue>\n    <character>LYNNE<\/character>\n    <dialogue>No thanks.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>I really want one.<\/dialogue>\n    <parenthetical>( at the counter . )<\/parenthetical>\n    <dialogue>One large tub of popcorn, please, extra butter.<\/dialogue>\n    <scene_description>The CANDY GIRL makes Andy his popcorn . He pays . then heads to the exit .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Okay. Let's go.<\/dialogue>\n    <scene_description>Lynne is baffled .<\/scene_description>\n    <character>LYNNE<\/character>\n    <dialogue>Andy, the theater's that way!<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Hey, I love movie theater popcorn. but that does n't mean I have to sit through `` On Golden Pond.''<\/dialogue>\n    <scene_description>Lynne stands in place . Andy smiles .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>C'mon. We'll go for a walk.<\/dialogue>\n    <character>LYNNE<\/character>\n    <parenthetical>( beat ; then she laughs . )<\/parenthetical>\n    <dialogue>Fine.<\/dialogue>\n    <scene_description>She throws down her ticket and runs after him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOVIE THEATER, STREET - DAY<\/stage_direction>\n    <scene_description>They leave the theater and walk down the sidewalk .<\/scene_description>\n    <character>LYNNE<\/character>\n    <dialogue>Why did you call me? The last person I ever expected to get a call from was you.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Gosh. Gee, Lynne. I was just so impressed with your wrestling moves.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOVIE THEATER - DAY<\/stage_direction>\n    <scene_description>ANDY is standing in front , waiting . A CAB stops and out steps - Lynne .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>LYNNE<\/character>\n    <dialogue>Hi. am I late?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>No, I'm sure we'll be fine.<\/dialogue>\n    <scene_description>Andy gives Lynne her ticket . They enter the theater .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOVIE THEATER - DAY<\/stage_direction>\n    <scene_description>Andy hurries up to the candy counter .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Popcorn?<\/dialogue>\n    <character>LYNNE<\/character>\n    <dialogue>No thanks.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>I really want one.<\/dialogue>\n    <parenthetical>( at the counter . )<\/parenthetical>\n    <dialogue>One large tub of popcorn, please, extra butter.<\/dialogue>\n    <scene_description>The CANDY GIRL makes Andy his popcorn . He pays . then heads to the exit .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Okay. Let's go.<\/dialogue>\n    <scene_description>Lynne is baffled .<\/scene_description>\n    <character>LYNNE<\/character>\n    <dialogue>Andy, the theater's that way!<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Hey, I love movie theater popcorn. but that does n't mean I have to sit through `` On Golden Pond.''<\/dialogue>\n    <scene_description>Lynne stands in place . Andy smiles .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>C'mon. We'll go for a walk.<\/dialogue>\n    <character>LYNNE<\/character>\n    <parenthetical>( beat ; then she laughs . )<\/parenthetical>\n    <dialogue>Fine.<\/dialogue>\n    <scene_description>She throws down her ticket and runs after him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOVIE THEATER, STREET - DAY<\/stage_direction>\n    <scene_description>They leave the theater and walk down the sidewalk .<\/scene_description>\n    <character>LYNNE<\/character>\n    <dialogue>Why did you call me? The last person I ever expected to get a call from was you.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Gosh. Gee, Lynne. I was just so impressed with your wrestling moves.<\/dialogue>\n    <character>LYNNE<\/character>\n    <dialogue>You were impressed with something. It's pretty odd when a man sports a hard - on that large on national television.<\/dialogue>\n    <scene_description>Andy is shocked .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Oh! Uh, I hope I did n't offend you.<\/dialogue>\n    <character>LYNNE<\/character>\n    <dialogue>I'm here, ai n't I?<\/dialogue>\n    <scene_description>A charged moment . Andy 's eyes widen . His speech gets faster .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Do you wan na to go to Memphis and get married?<\/dialogue>\n    <character>LYNNE<\/character>\n    <parenthetical>( incredulous . )<\/parenthetical>\n    <dialogue>Do I wan na go to Memphis and get married?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Beat .<\/scene_description>\n    <character>LYNNE<\/character>\n    <dialogue>Why Memphis?<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( he SPEAKS VERY FAST . )<\/parenthetical>\n    <dialogue>Because Memphis is the wrestling capital of the world! I'll go in the ring, and I'll announce that I will shave my head and marry any woman who beats me! Then you'll come up, we'll wrestle and I'll let you win! Then you'll scalp me, and we'll get married on Letterman, like Tiny Tim did on Carson. right there on the show! What do you say?<\/dialogue>\n    <scene_description>Whoa . Lynne stares into his eyes .<\/scene_description>\n    <character>LYNNE<\/character>\n    <dialogue>And all this will be for real?<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( a soft smile . )<\/parenthetical>\n    <dialogue>If you want.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MID-SOUTH COLISEUM, MEMPHIS - NIGHT<\/stage_direction>\n    <scene_description>The arena is filled with furious BOOING SOUTHERN WRESTLING FANS . Ladies in hair nets . Men clutching beer cans . This is a rougher crowd than we 've seen before . Andy stands in the ring , unshaven in a torn green robe . He 's screaming at them .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( screaming . )<\/parenthetical>\n    <dialogue>SHUT UP!<\/dialogue>\n    <parenthetical>( more BOOS . )<\/parenthetical>\n    <dialogue>SHUT UP! Show some respect! I want SILENCE when I speak!<\/dialogue>\n    <scene_description>People BOOO louder and throw debris . Andy is pleased .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>If any woman can defeat me, I will pay her 1000 dollars! Then I'll shave my head bald! And then as a bonus - that lucky lady will get to marry me!<\/dialogue>\n    <scene_description>Screeching JEERS and CATCALLS . Down front . Lynne jumps up .<\/scene_description>\n    <character>LYNNE<\/character>\n    <dialogue>Look here, Andy Kaufman! I'll take you on - SISSY!<\/dialogue>\n    <scene_description>The mob LAUGHS harshly .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Ooo, the little lady's upset. Well I say - get back in the kitchen!<\/dialogue>\n    <character>LYNNE<\/character>\n    <parenthetical>( `` outraged '' . )<\/parenthetical>\n    <dialogue>No! YOU get in the kitchen. I'm gon na make you dry my dishes!<\/dialogue>\n    <scene_description>The crowd APPLAUDS . Lynne grins and starts to climb in the ring . Andy 's eyes are ablaze . But suddenly - an oversized Southern MAN jumps in and snatches the mike away .<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>STOP IT! This woman's a FAKE! She's nothing but Kaufman's girlfriend!<\/dialogue>\n    <scene_description>Andy and Lynne are startled .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>T - that's not true -<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>It's a set - up! And I wo n't allow our great sport to be degraded by a fix!<\/dialogue>\n    <scene_description>The crowd angrily starts to HISS . Lynne whispers to Andy .<\/scene_description>\n    <character>LYNNE<\/character>\n    <dialogue>Andy. who is that?<\/dialogue>\n    <character>LAWLER<\/character>\n    <dialogue>I'm Jerry Lawler, the KING of Memphis wrestling!<\/dialogue>\n    <parenthetical>( this gets HUGE CHEERS . )<\/parenthetical>\n    <dialogue>So if Kaufman wants to tangle, I've brought a real wrestler! She's trained and she's READY! Kaufman, do you think you can handle. FOXY JACKSON?!<\/dialogue>\n    <scene_description>At that , a striking , muscular black woman stands - FOXY . The coliseum SCREAMS with excitement . People POUND their seats . The roar is deafening . Lawler gleams cockily . Lynne looks worriedly at Andy - he 's concerned .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MID-SOUTH COLISEUM - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>DING ! The bell rings . Foxy comes out , ready to brawl . But Andy remains in his corner , running down the clock . He nonchalantly peels off his robe . Foxy dances around impatiently . Andy casually removes a towel from his neck . People BOO . Still stalling , Andy then takes off his watch . People SCREAM so furiously they 're red - faced . Andy is tormenting them . A TATTOOED GUY jumps up .<\/scene_description>\n    <character>TATTOOED GUY<\/character>\n    <dialogue>Are you scared?<\/dialogue>\n    <scene_description>Andy sneers . He cracks his knuckles , finally walks over . and commences a WINDMILL . Absurdly , he spins his arms around and around , daring Foxy to get near him . She rolls her eyes and waits . The REF jumps out of the way . A minute has counted down . Finally , Andy stops - and the real wrestling begins . Foxy lunges at him and immediately goes for a choke - hold . The crowd CHEERS , relieved . Lawler motions signals . Foxy yanks - but Andy jerks away . Andy is intrigued . She 's coming to play ! Andy gestures to the Ref and points UP . The Ref looks away - and Andy SLAPS Foxy . The crowd furiously JEERS . The Ref spins around , and Andy shrugs innocence . He then runs at Foxy and theatrically pushes her into the ropes . She bounces off , stumbles back - and Andy drops to his knees . She trips over him and hits the mat . Andy aggressively jumps onto Foxy 's shoulders and pins her . The Ref counts : One ! Two ! Three ! DING ! It 's over . But Andy stays on her , shaking his ass , leering rudely . Jerry Lawler yells from the corner .<\/scene_description>\n    <character>LAWLER<\/character>\n    <dialogue>Alright, you won. GET OFF HER!<\/dialogue>\n    <scene_description>Andy remains , flapping his arms like a chicken . THE BOOING grows . Louder . More emotional .<\/scene_description>\n    <character>ANGRY VOICES<\/character>\n    <dialogue>Jerry, help her! Get in there! Do something!<\/dialogue>\n    <scene_description>Lawler hesitates - then suddenly climbs in the ring and lifts Andy off ! Lawler angrily PUSHES Andy down . Andy is flabbergasted .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>W - what are you DOING? I do n't fight men!<\/dialogue>\n    <scene_description>Lawler snickers and walks away . Completely overreacting , Andy grabs the mike .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I'm gon na SUE YOU!<\/dialogue>\n    <parenthetical>( he starts RANTING berserkly . )<\/parenthetical>\n    <dialogue>Let me tell you something, Lawler! I am not a hick - I'm a national TV star! And I DO N'T like a dumb cracker pushing me around in the ring! I never agreed to wrestle you! So you know what I'm gon na do?<\/dialogue>\n    <parenthetical>( seething . )<\/parenthetical>\n    <dialogue>I'm gon na hire a lawyer to sue you for every cent you've got! This was assault and battery! In a court of law, I'm gon na kick your Southern - fried rump!<\/dialogue>\n    <scene_description>Lawler snatches the mike and bellows .<\/scene_description>\n    <character>LAWLER<\/character>\n    <dialogue>YEAH?! Well I got news for you, Andy Kaufman! Wrestling is a serious sport to me! I do n't like anyone makin' fun of it, and I hate anyone insultin' the South! So we can settle this two ways : We can go to court. or you can get in the ring with a man, and wrestle for REAL!<\/dialogue>\n    <scene_description>Andy watches , fuming . He is INFURIATED .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>He - ca n't get away with this.<\/dialogue>\n    <parenthetical>( to Lawler . )<\/parenthetical>\n    <dialogue>YOU! You think I'm CHICKEN?!<\/dialogue>\n    <scene_description>Andy grabs back the mike . He sticks his face in shocked Lawler 's .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( sarcastic SOUTHERN ACCENT . )<\/parenthetical>\n    <dialogue>You wan na `` wraaastle'' me?! You wan na `` WRAAASTLE'' me? Okay, Lawler - let's rumble! Yeah, I've only wrestled women, but they were bigger than you! In fact, they're probably smarter than you,'cause you're from `` Maaamphis, Taaanassee!''.<\/dialogue>\n    <parenthetical>( back to his regular voice , he points at his head . )<\/parenthetical>\n    <dialogue>I'm from Hollywood. I have the brains. That's how I win. And Mr. Lawler, I'm gon na make you cry `` Mama!''<\/dialogue>\n    <scene_description>Andy bears his teeth . Enraged , Lawler tries to take a swing at him . HANDLERS run in and separate the angry men .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MID-SOUTH COLISEUM, TUNNEL - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>We hear NOISE from the main event above . Andy and Lynne hurry along . She is disgruntled . He swaggers arrogantly , still in his fighting outfit .<\/scene_description>\n    <character>LYNNE<\/character>\n    <dialogue>Is this an act - or are you addicted to causing trouble?<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( he jokingly impersonates a drunk . )<\/parenthetical>\n    <dialogue>I can shtop whenever I want.<\/dialogue>\n    <scene_description>She 's unamused .<\/scene_description>\n    <character>LYNNE<\/character>\n    <dialogue>Then stop treating me like a fucking prop.<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( he drops the act . )<\/parenthetical>\n    <dialogue>I - I'm sorry. I got caught up in the action!<\/dialogue>\n    <scene_description>She shoots him a stern look .<\/scene_description>\n    <character>LYNNE<\/character>\n    <dialogue>I'm warning you, Kaufman : One morning you're gon na wake up. and your head's gon na be shaved.<\/dialogue>\n    <scene_description>Andy laughs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHAPIRO\/WEST - DAY<\/stage_direction>\n    <scene_description>George stares glumly at Andy . Andy is quite cheerful - eating a big piece of chocolate cake .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Andy, do you realize you do n't do comedy anymore? Where's that sweet guy who used to do.<\/dialogue>\n    <parenthetical>( he SINGS Mighty Mouse . )<\/parenthetical>\n    <dialogue>`` Here I come to save the day!''?<\/dialogue>\n    <parenthetical>( long beat . )<\/parenthetical>\n    <dialogue>Please, enough with the wrestling! You've lost touch with reality!<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( ingenuous . )<\/parenthetical>\n    <dialogue>What, you do n't think I can beat him?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>He is the Southern Heavyweight Champion. He'll kill you.<\/dialogue>\n    <parenthetical>( very disapproving . )<\/parenthetical>\n    <dialogue>First, you piss - off women. Then you piss - off the South. Then you get killed!<\/dialogue>\n    <parenthetical>( dry . )<\/parenthetical>\n    <dialogue>And I did the bookings.<\/dialogue>\n    <scene_description>Andy shrugs , lacking a response . He eats more cake .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Andy, look. there's a job I want you to take - guest - hosting the TV show `` Fridays.'' It's not so hot. but this is a great opportunity for you. The show's live, they'll give you carte blanche, and you can get back to the business of making people laugh.<\/dialogue>\n    <scene_description>Andy gets a strange gleam . He only heard one thing .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>You said - live?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRIDAYS SET, BACKSTAGE - DAY<\/stage_direction>\n    <scene_description>The FRIDAYS CAST prepares . In a corner , ANDY is arguing with director JACK BURNS .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>I'm not comfortable with the last sketch. I DO N'T do drug humor!<\/dialogue>\n    <character>JACK BURNS<\/character>\n    <dialogue>Andy, it'll be fine! It's what we're known for!<\/dialogue>\n    <parenthetical>( playing `` stoned '' . )<\/parenthetical>\n    <dialogue>`` Maui? `` Wowie!''<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( losing his temper . )<\/parenthetical>\n    <dialogue>You're not listening to me -<\/dialogue>\n    <character>JACK BURNS<\/character>\n    <dialogue>Do n't worry! The kids will love it -<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( he BLOWS up . )<\/parenthetical>\n    <dialogue>But I do n't do drugs! And I do n't enjoy making light of them!<\/dialogue>\n    <parenthetical>( YELLING . )<\/parenthetical>\n    <dialogue>I was promised creative control!<\/dialogue>\n    <scene_description>Andy storms off . Eavesdropping cast shake their heads .<\/scene_description>\n    <character>ACTOR<\/character>\n    <dialogue>What a prick!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRIDAYS SET, CONTROL BOOTH - DAY<\/stage_direction>\n    <scene_description>Up in the control booth is - Maynard . He smiles strangely .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KAUFMAN HOUSE, FAMILY ROOM - NIGHT<\/stage_direction>\n    <scene_description>Stanley sits in front of his TV . The Fridays JINGLE and CREDITS come on . We hear dishes being washed in the kitchen .<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>It's on! JANICE, IT'S ON!<\/dialogue>\n    <scene_description>Janice rushes in , still holding some dishes . -LRB- THE FOLLOWING IS INTERCUT : Between the studio and the show on tv at Andy 's parents . -RRB-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRIDAYS SET - NIGHT<\/stage_direction>\n    <scene_description>The show is going , live . A SNIGGERING NARRATOR steps out front . -LRB- During his monologue , the CAMERA PANS the audience . -RRB-<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>In this next sketch, two married couples are out to dinner. Now. everybody has secretly brought along a joint -.<\/dialogue>\n    <parenthetical>( crowd WHOOPS , he grins . )<\/parenthetical>\n    <dialogue>So, when each person leaves the table, they sneak into the restroom to get a little high.<\/dialogue>\n    <scene_description>The crowd CHEERS rowdily .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KAUFMAN HOUSE, FAMILY ROOM - SAME TIME<\/stage_direction>\n    <character>JANICE<\/character>\n    <dialogue>I saw Michael!<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>JANICE<\/character>\n    <parenthetical>( points to the set . )<\/parenthetical>\n    <dialogue>There!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRIDAYS SET - NIGHT<\/stage_direction>\n    <scene_description>In the front row , Michael sits with a girl . He whispers .<\/scene_description>\n    <character>MICHAEL<\/character>\n    <dialogue>Afterwards, I'll take you backstage. You can meet my brother.<\/dialogue>\n    <scene_description>The girl smiles excitedly . The SKETCH is on a French restaurant set . ANDY sits at a table with actor RICHARDS and actress MELANIE . Another actress , MARY , tiptoes back over , GIGGLING stupidly , playing stoned .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>`` Gee, restaurants are amazing, are n't they? All these strangers sitting around. stuffing dead animals in their faces! It's just incredible!''<\/dialogue>\n    <scene_description>She GIGGLES more . The other three play baffled .<\/scene_description>\n    <character>MELANIE<\/character>\n    <dialogue>`` If you say so.''<\/dialogue>\n    <character>ACTOR<\/character>\n    <dialogue>`` Excuse me, I'll be right back.''<\/dialogue>\n    <scene_description>Andy stands and walks out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KAUFMAN HOUSE, FAMILY ROOM - SAME TIME<\/stage_direction>\n    <character>JANICE<\/character>\n    <dialogue>Hmph! They sure did n't give Andy much to do.<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>He said he's coming back!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRIDAYS SET - NIGHT<\/stage_direction>\n    <scene_description>Actors read the menus . Suddenly Andy returns , a strange grin on his face . He 's swaying on his feet . The audience WHOOPS : `` Yeah ! All right ! '' Andy awkwardly sits . He has a strange hesitancy .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>`` Gee, that bathroom is so colorf -''<\/dialogue>\n    <scene_description>Suddenly he STOPS . The actors glance up . Andy purses his lips , fretting . An endless pause . Uh - oh . Andy wo n't finish the line . The cast looks around worriedly . Live TV is beaming out . Finally , Melanie covers .<\/scene_description>\n    <character>MELANIE<\/character>\n    <dialogue>You okay, honey? Something wrong, Carl?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>I ca n't, um.<\/dialogue>\n    <scene_description>Andy shakes his head . The crowd laughs nervously .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I ca n't play stoned.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRIDAYS SET, CONTROL BOOTH - NIGHT<\/stage_direction>\n    <scene_description>The TECH DIRECTOR and his crew are bewildered . They flip through script pages .<\/scene_description>\n    <character>TECH DIRECTOR<\/character>\n    <dialogue>Shit! What's he doing?<\/dialogue>\n    <scene_description>But Maynard raises a calm hand .<\/scene_description>\n    <character>MAYNARD<\/character>\n    <dialogue>It's okay. Stay with it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRIDAYS SET - NIGHT<\/stage_direction>\n    <scene_description>Silence . Andy is torn up inside .<\/scene_description>\n    <character>RICHARDS<\/character>\n    <parenthetical>( whispering to Andy . )<\/parenthetical>\n    <dialogue>Just read the cue cards!<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( he shakes his head . )<\/parenthetical>\n    <dialogue>I ca n't play stoned. I feel really stupid.<\/dialogue>\n    <scene_description>More silence . The actors are trapped and upset .<\/scene_description>\n    <character>MELANIE<\/character>\n    <dialogue>You feel stupid? What about us?!<\/dialogue>\n    <scene_description>The tension is awful . Unsure beat - then fed - up Richards jumps up and storms off the set . A CAMERAMAN hesitantly pans , confused what to do . Mary is lost . She continues giggling , `` stoned . '' Richards returns . with the CUE CARDS . Irked , he dumps them over Andy 's head . The crowd CHEERS stupidly .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>You did n't have to do that!<\/dialogue>\n    <scene_description>Andy gets enraged , grabs his prop water glass and THROWS it in Richard 's face .<\/scene_description>\n    <character>RICHARDS<\/character>\n    <dialogue>Hey! CUT IT OUT!<\/dialogue>\n    <character>MELANIE<\/character>\n    <dialogue>You JERK!<\/dialogue>\n    <scene_description>Melanie slaps her prop butter in Andy 's hair . WIDE - Jack runs up from the floor . He gestures at the booth .<\/scene_description>\n    <character>JACK BURNS<\/character>\n    <dialogue>Go to commercial, man!<\/dialogue>\n    <parenthetical>( he turns to Andy . )<\/parenthetical>\n    <dialogue>Get off the stage!<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>I said I did n't want to do the sketch.<\/dialogue>\n    <character>JACK BURNS<\/character>\n    <parenthetical>( he JABS him . )<\/parenthetical>\n    <dialogue>GET OFF!<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>DO N'T TOUCH ME!<\/dialogue>\n    <scene_description>Andy HITS Jack . Jack recoils and SLUGS him . They start FIGHTING . BURLY CREWMEN run in . The crowd WHOOOOOS . Chaos . Andy swings wildly . The brawl goes wild . Actors duck . Crewmen struggle to separate Andy and Jack . Everyone gets dragged in . IN THE AUDIENCE - Michael tries to run up and help . A SECURITY GUY blocks him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRIDAYS SET, CONTROL BOOTH - NIGHT<\/stage_direction>\n    <scene_description>The tech crew is freaking out . Maynard is oddly calm .<\/scene_description>\n    <character>TECH DIRECTOR<\/character>\n    <dialogue>Go to three! Eh, go to four!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KAUFMAN HOUSE, FAMILY ROOM - SAME TIME<\/stage_direction>\n    <scene_description>Stanley and Janice are flabbergasted . Jaws wide . On their TV - fists are flying . Suddenly , the BAND kicks in and the show abruptly cuts to COMMERCIAL . They stare at the TV . Until -<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>I shoulda made him play outdoors.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRIDAYS SET - NIGHT<\/stage_direction>\n    <scene_description>Andy and Jack are socking each other . A FLOOR DIRECTOR screams at the top of his lungs .<\/scene_description>\n    <character>FLOOR DIRECTOR<\/character>\n    <dialogue>We've gone to commercial! I said, WE'VE GONE TO COMMERCIAL!<\/dialogue>\n    <scene_description>Andy turns . He notices the red lights are off - and . instantly stops fighting . Just like that . Jack instantly stops too . They glance at each other - hold a beat - then break into GUFFAWS . They laugh and joyously kid each other . In the audience , Michael is STUNNED .<\/scene_description>\n    <character>MELANIE<\/character>\n    <dialogue>Oh my God -!<\/dialogue>\n    <scene_description>All the commotion stops . The audience does n't know whether to laugh or boo . The actors are flabbergasted - then furious .<\/scene_description>\n    <character>MELANIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>He's a fuckin' psycho!<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>Why did n't someone tell us?<\/dialogue>\n    <scene_description>Suddenly Maynard runs out of the booth , beaming . People watch curiously . Andy seems discombobulated . Maynard shouts out to EVERYBODY assembled .<\/scene_description>\n    <character>MAYNARD<\/character>\n    <dialogue>Excuse me! I have an announcement to make! You've all just participated in a `` happening.'' To make it real, some of you knew, and some of you did n't.<\/dialogue>\n    <scene_description>The audience LAUGHS and APPLAUDS wildly . The actors stare in disbelief . One laughs hysterically . Most are pissed .<\/scene_description>\n    <character>MAYNARD<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>But we do n't want to upset the folks at home. So now Andy is now going to apologize and explain that it was all a prank. Right, Andy?<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( very quiet . )<\/parenthetical>\n    <dialogue>Right.<\/dialogue>\n    <character>MAYNARD<\/character>\n    <dialogue>Okay, great! So let's reset!<\/dialogue>\n    <scene_description>Crew members start moving things around . In the audience , Michael locks eyes with Andy . An odd , knowing moment between the brothers . Michael whispers , getting worried .<\/scene_description>\n    <character>MICHAEL<\/character>\n    <dialogue>Andy!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KAUFMAN HOUSE, FAMILY ROOM - SAME TIME<\/stage_direction>\n    <scene_description>Stanley and Janice feel as if the commercials are lasting forever .<\/scene_description>\n    <character>JANICE<\/character>\n    <dialogue>Why is Andy doing this? Why? Why?<\/dialogue>\n    <scene_description>The Fridays JINGLE starts , and Andy 's face fades in on the TV . He looks directly into the camera , nervous , stiff and serious .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( ON TV . )<\/parenthetical>\n    <dialogue>During the commercial, the people at ABC asked me to apologize. and to tell you the truth. They wanted me to explain that this whole fighting episode was staged.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRIDAYS SET - NIGHT<\/stage_direction>\n    <scene_description>The sign above blinks `` APPLAUSE '' . The audience obediently APPLAUDS . In the booth , Maynard grins .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>And. um.<\/dialogue>\n    <parenthetical>( choking up . )<\/parenthetical>\n    <dialogue>I ca n't do this.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I - I ca n't say it.<\/dialogue>\n    <parenthetical>( upset . )<\/parenthetical>\n    <dialogue>It's a lie! A cover - up!<\/dialogue>\n    <scene_description>Maynard is suddenly very confused . The crowd laughs nervously .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Why are you laughing? I'm not trying to be funny! They threatened to fire me from Taxi, unless I gave in to their demands!<\/dialogue>\n    <parenthetical>( shaken . )<\/parenthetical>\n    <dialogue>But. I wo n't! Because what you saw was REAL!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRIDAYS SET, CONTROL BOOTH - NIGHT<\/stage_direction>\n    <scene_description>Maynard looks like he 's gon na faint .<\/scene_description>\n    <character>MAYNARD<\/character>\n    <dialogue>Cue the commercial!<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( ON TV . )<\/parenthetical>\n    <dialogue>These kinds of things go on everyday at the networks, only you never see it, because they cut to commercials.<\/dialogue>\n    <parenthetical>( he talks extremely fast , to get in as much information before he 's cut off . )<\/parenthetical>\n    <dialogue>Now for sure they're gon na fire me, so if you want to see me again, you'll have to come to Memphis.<\/dialogue>\n    <scene_description>And BLINK ! Andy gets CUT OFF . Maynard jumps up , furious . He snaps .<\/scene_description>\n    <character>MAYNARD<\/character>\n    <dialogue>I'm gon na STRANGLE George Shapiro!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KAUFMAN HOUSE, FAMILY ROOM - SAME TIME<\/stage_direction>\n    <scene_description>The parents stare at the commercials . They 're totally disoriented .<\/scene_description>\n    <character>JANICE<\/character>\n    <dialogue>What's in Memphis?<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>Who knows?! That kid is totally meshuga.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MID-SOUTH COLISEUM, MEMPHIS - NIGHT<\/stage_direction>\n    <scene_description>Memphis wrestling . The announcer stands center ring , booming into the mike .<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <dialogue>And now! The MAIN EVENT of the evening! The match you've been waiting for : The King Jerry Lawler, versus Hollywood Andy Kaufman!<\/dialogue>\n    <scene_description>The THEME FROM `` ROCKY '' PLAYS - and Lawler enters from the tunnel , wearing a shimmering hero 's cape ! The crowd ROARS with approval .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MID-SOUTH COLISEUM, DRESSING ROOM - SAME TIME<\/stage_direction>\n    <scene_description>Andy is meditating , eyes shut , at rest in his private oasis . Suddenly - DESPERATE BANGING on the door .<\/scene_description>\n    <character>UPSET VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>C'MON, KAUFMAN! Christ, you're ON!<\/dialogue>\n    <scene_description>Andy awakens . He smiles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MID-SOUTH COLISEUM - NIGHT<\/stage_direction>\n    <scene_description>The THEME FROM `` MIGHTY MOUSE '' begins playing . Then , ANDY strides in , a sneer on his grungy face . The crowd SCREAMS and BOOS pure pile . Andy is euphoric , loving the hatred . Down in the front row sit Stanley , Janice , Zmuda , and Lynne . Several PHOTOGRAPHERS take pictures of the parents . They squint , unused to all this . Andy prances into the ring . He takes the mike .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Before we begin this event, I just wan na say a few things to you foul people.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>This city is filthy! You Southerners live like pigs! So I'm going to teach you some lessons in hygiene. bring you out of your squalor.<\/dialogue>\n    <scene_description>Holy cow . The crowd is flabbergasted . Women in K - mart dresses gape . Ruddy men in trucker caps glare .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Are you listening?<\/dialogue>\n    <parenthetical>( audience BOOS . )<\/parenthetical>\n    <dialogue>OKAY!<\/dialogue>\n    <scene_description>Lynne snickers . But Stanley and Janice are ashen - faced .<\/scene_description>\n    <character>JANICE<\/character>\n    <dialogue>Why is he saying these things?!<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>They're gon na lynch him!<\/dialogue>\n    <character>ZMUDA<\/character>\n    <parenthetical>( he shakes his head . )<\/parenthetical>\n    <dialogue>Nah. He's just engaging a passive audience.<\/dialogue>\n    <scene_description>Andy reaches in his pocket and removes . a bar of SOAP .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>People, this is a bar of soap. Does it look familiar to you? If you wet it, it'll clean your hands.<\/dialogue>\n    <scene_description>Stanley 's eyes bulge . The crowd is enraged - rumblings of imminent violence . Andy smiles helpfully .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>And now, for your next lesson : This - is toilet paper.<\/dialogue>\n    <scene_description>Andy holds up a ROLL OF TISSUE . That 's it . The crowd goes NUTS . Jerry Lawler races over and snatches the mike , trying to maintain his dignity .<\/scene_description>\n    <character>LAWLER<\/character>\n    <dialogue>Kaufman, we've had enough! Let's you and me do what we came here for - WRESTLING!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MID-SOUTH COLISEUM - SECONDS LATER<\/stage_direction>\n    <scene_description>And DING ! That 's the bell ! Andy strikes a threatening pose . Lawler takes a step forward - and Andy instantly , cowardly , runs for the ropes and jumps out of the ring . BOOOOO ! Andy grins at the crowd and points at his brain : I 'm smarter .<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And Kaufman's left the ring! Lawler's waiting for him to return.<\/dialogue>\n    <character>LYNNE<\/character>\n    <parenthetical>( to Zmuda . )<\/parenthetical>\n    <dialogue>Is this a strategy?<\/dialogue>\n    <scene_description>Lawler disparagingly frowns . The REF checks his watch . Andy crosses to the opposite end of the ring , gauging his rival . then slowly climbs in - Until the second Lawler moves . Then Andy leaps back out !<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And Kaufman's left the ring again! He does n't seem interested in actually making contact with his opponent.<\/dialogue>\n    <scene_description>Andy struts around the floor , pointing to his brain . He smirks at various spectators . until he finds himself face - to - face with - his parents . An unexpected moment . Andy 's finger frozen on his brain . Janice shakes her head despairingly .<\/scene_description>\n    <character>JANICE<\/character>\n    <dialogue>Andy, please. Let's go home!<\/dialogue>\n    <scene_description>Cameras FLASH . The paparazzi love these moments .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Do n't worry, Mom. I'll make you proud!<\/dialogue>\n    <scene_description>Beat - then Andy gets HIT in the head with a cup . People HOOT . Disoriented , Andy returns to the ringside . Lawler is losing his patience .<\/scene_description>\n    <character>LAWLER<\/character>\n    <dialogue>Hey! Did you come down here to wrestle, or to act like an ass?<\/dialogue>\n    <scene_description>Andy paces around , unsure of his next move .<\/scene_description>\n    <character>LAWLER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Look. if you get in here, I'll give you a free headlock.<\/dialogue>\n    <scene_description>Lawler leans down and offers his neck . Andy peers skeptically . People JEER . Andy looks at waiting Lawler . then tentatively climbs in . As promised , Lawler does n't move . So Andy crosses over and grabs Lawler 's head ! Andy grins triumphantly . He squeezes his arms tight , muscles flexing , riding high on this moment . Until - Lawler stands and flips him over . Andy SLAMS DOWN on his back . CRUNCH !<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It's a side suplex!<\/dialogue>\n    <scene_description>Andy lies on the mat , unmoving . Lawler does n't care . He picks up Andy 's prone body and grips it upside - down . Janice covers her eyes . Stanley is worried .<\/scene_description>\n    <character>REFEREE<\/character>\n    <parenthetical>( frantically gesturing . )<\/parenthetical>\n    <dialogue>NO! NO!<\/dialogue>\n    <scene_description>Lawler disregards the Ref and slams Andy 's head in a pile - driver ! A horrible THUD . DING ! The BELL immediately RINGS . JANICE opens her eyes and SCREAMS .<\/scene_description>\n    <character>JANICE<\/character>\n    <dialogue>JESUS CHRIST!<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>Why is n't he MOVING?<\/dialogue>\n    <scene_description>Andy 's parents ' reaction is a fiesta for photographers .<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Lawler has committed a PILEDRIVER, which is an AUTOMATIC DISQUALIFICATION! Match goes to Kaufman by disqualification, after two minutes, twelve seconds!<\/dialogue>\n    <scene_description>Andy is splayed unconscious . Raging Lawler promenades around the ring , arms over his head . The crowd SHOUTS CRAZILY , rooting him on . Lynne runs to the ropes , SCREAMING for help .<\/scene_description>\n    <character>LYNNE<\/character>\n    <dialogue>ANDY!<\/dialogue>\n    <parenthetical>( frantic . )<\/parenthetical>\n    <dialogue>Somebody get a DOCTOR!<\/dialogue>\n    <character>ZMUDA<\/character>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>WE NEED A STRETCHER!<\/dialogue>\n    <scene_description>Stanley , totally numbed , holds Janice . They 're on the verge of collapsing . Tons of commotion . Cameras FLASH BLINDINGLY . A stretcher is lifted into the ring . Andy is loaded on . MUSIC fights the deafening NOISE . BEDLAM . Andy is carried through the crowd , followed by his entourage . A soft object HITS Stanley on the head .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MID-SOUTH COLISEUM, CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>Andy is being carried by the Coliseum EMPLOYEES into the dressing room . The entourage follows . Zmuda pushes out the crowd of REPORTERS , PHOTOGRAPHERS , and ONLOOKERS . He slams the door and locks it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MID-SOUTH COLISEUM, DRESSING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Janice runs to Andy 's side . She 's crying .<\/scene_description>\n    <character>JANICE<\/character>\n    <dialogue>Andy! Are you okay?!?<\/dialogue>\n    <scene_description>Andy opens his eyes .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>I'm fine, Mom, you can calm down.<\/dialogue>\n    <scene_description>A confused beat .<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>B - but. we saw. your neck.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Nah, it's phony baloney - I faked the whole thing.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>It did n't hurt at all. It was just a yoga move. I tucked my head in.<\/dialogue>\n    <scene_description>Deadpan , Andy sits up . Total silence . Stanley stares . then a FURY comes over him .<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>Andrew - HOW DARE YOU! For all we knew, you were DYING! Look at your mother - she's still shaking!<\/dialogue>\n    <scene_description>Andy is splayed unconscious . Raging Lawler promenades around the ring , arms over his head . The crowd SHOUTS CRAZILY , rooting him on . Lynne runs to the ropes , SCREAMING for help .<\/scene_description>\n    <character>LYNNE<\/character>\n    <dialogue>ANDY!<\/dialogue>\n    <parenthetical>( frantic . )<\/parenthetical>\n    <dialogue>Somebody get a DOCTOR!<\/dialogue>\n    <character>ZMUDA<\/character>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>WE NEED A STRETCHER!<\/dialogue>\n    <scene_description>Stanley , totally numbed , holds Janice . They 're on the verge of collapsing . Tons of commotion . Cameras FLASH BLINDINGLY . A stretcher is lifted into the ring . Andy is loaded on . MUSIC fights the deafening NOISE . BEDLAM . Andy is carried through the crowd , followed by his entourage . A soft object HITS Stanley on the head .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MID-SOUTH COLISEUM, CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>Andy is being carried by the Coliseum EMPLOYEES into the dressing room . The entourage follows . Zmuda pushes out the crowd of REPORTERS , PHOTOGRAPHERS , and ONLOOKERS . He slams the door and locks it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MID-SOUTH COLISEUM, DRESSING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Janice runs to Andy 's side . She 's crying .<\/scene_description>\n    <character>JANICE<\/character>\n    <dialogue>Andy! Are you okay?!?<\/dialogue>\n    <scene_description>Andy opens his eyes .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>I'm fine, Mom, you can calm down.<\/dialogue>\n    <scene_description>A confused beat .<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>B - but. we saw. your neck.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Nah, it's phony baloney - I faked the whole thing.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>It did n't hurt at all. It was just a yoga move. I tucked my head in.<\/dialogue>\n    <scene_description>Deadpan , Andy sits up . Total silence . Stanley stares . then a FURY comes over him .<\/scene_description>\n    <character>STANLEY<\/character>\n    <dialogue>Andrew - HOW DARE YOU! For all we knew, you were DYING! Look at your mother - she's still shaking!<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>But that's it. I needed you to believe! Our family will be in the newspapers. People will look, and they'll be touched. Because your emotions were honest!<\/dialogue>\n    <scene_description>Stanley has a blank expression . But Janice starts to cry .<\/scene_description>\n    <character>JANICE<\/character>\n    <dialogue>Andy, I love you! I love you, whatever you do!<\/dialogue>\n    <scene_description>She hugs Andy tightly . Andy is genuinely shocked . He looks at his quivering mother . and then his voice softens , truly remorseful .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Geez, I'm sorry. Maybe I should n't have put you through all that.<\/dialogue>\n    <parenthetical>( quiet . )<\/parenthetical>\n    <dialogue>Well, from now on, you'll always know the rule of thumb : Anything that happens to me. IS NOT REAL.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MID-SOUTH COLISEUM - NIGHT<\/stage_direction>\n    <scene_description>A crowd of reporters parts . They make way for Andy , who is carried out on the stretcher and loaded into a waiting AMBULANCE . He is `` unconscious . '' Cameras CLICK and FLASH . The ambulance speeds away , siren WAILING .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOCTOR'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Andy sits watching an OLD DOCTOR examining a number of x - rays clipped to light panels .<\/scene_description>\n    <character>OLD DOCTOR<\/character>\n    <dialogue>I do n't see any injury to your neck, Mr. Kaufman.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Are you sure?<\/dialogue>\n    <character>OLD DOCTOR<\/character>\n    <dialogue>Positive.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>But my neck hurts. and I have a slight cough.<\/dialogue>\n    <character>OLD DOCTOR<\/character>\n    <dialogue>It's probably just a strained muscle.<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( intent . )<\/parenthetical>\n    <dialogue>Doctor, I think I need a neck brace.<\/dialogue>\n    <scene_description>The Doctor gives up .<\/scene_description>\n    <character>OLD DOCTOR<\/character>\n    <dialogue>If it makes you happy.<\/dialogue>\n    <scene_description>Andy in the ring , Andy outside the ring , on the floor , with his frightened parents , in a neck brace , on the stretcher , etc. .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANDY'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>George , Zmuda and Andy are looking through hundreds of clippings from the newspapers .<\/scene_description>\n    <character>ZMUDA<\/character>\n    <parenthetical>( reading aloud . ) ''<\/parenthetical>\n    <dialogue>. has been rushed to a nearby hospital, where doctors are checking him for possible paralysis. His parents are at his bedside. Fans will best remember Kaufman as lovable Latka on television's Taxi''.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>It's a rave! Boy, if I ever fake my death, they'll really miss me.<\/dialogue>\n    <character>ZMUDA<\/character>\n    <dialogue>It's working for Elvis.<\/dialogue>\n    <character>GEORGE<\/character>\n    <parenthetical>( sarcastic . )<\/parenthetical>\n    <dialogue>Yeah, he's just laying low, waitin' for his comeback.<\/dialogue>\n    <parenthetical>( he sees an article and winces . )<\/parenthetical>\n    <dialogue>God, listen to this! `` It was morally wrong to take advantage of such an unstable individual.''<\/dialogue>\n    <character>ZMUDA<\/character>\n    <dialogue>Wow, you ca n't BUY this kind of publicity!<\/dialogue>\n    <scene_description>George rolls his eyes .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>George, let's not drop the ball on this. I've made some kind of cosmic career move.<\/dialogue>\n    <scene_description>Somebody KNOCKS outside . Andy jumps up , puts on his neck brace , and transforms himself into a shuffling invalid . A DELIVERY BOY drags in an enormous basket of flowers and goodies . Andy takes the card . It reads `` Andy , we 're all praying for you . Your friends at Taxi . '' Andy chuckles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROCKEFELLER CENTER - DAY<\/stage_direction>\n    <scene_description>George is eating with the Saturday Night Live Producer , Lorne Michaels . They 're eating lunch in an outdoor cafe .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Thanks for seeing me on such short notice.<\/dialogue>\n    <parenthetical>( he takes a careful beat . )<\/parenthetical>\n    <dialogue>I. I wanted to talk to you about booking Andy on `` Saturday Night Live.''<\/dialogue>\n    <scene_description>Lorne Michaels squirms uncomfortably . He chooses his words .<\/scene_description>\n    <character>LORNE MICHAELS<\/character>\n    <dialogue>George - I do n't know if Andy works for our show anymore. That wrestling stuff. is such a turnoff.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>We agree completely.<\/dialogue>\n    <parenthetical>( tactfully begging . )<\/parenthetical>\n    <dialogue>Andy has to reconnect with his core audience. So I got him on Letterman tonight. He's gon na apologize to Jerry Lawler, then repent for all his bad guy shenanigans.<\/dialogue>\n    <scene_description>Lorne Michaels mulls this over .<\/scene_description>\n    <character>LORNE MICHAELS<\/character>\n    <dialogue>That's smart.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>He's very sincere.<\/dialogue>\n    <parenthetical>( quietly emphatic . )<\/parenthetical>\n    <dialogue>And he needs your show.<\/dialogue>\n    <scene_description>Beat . Lorne Michaels nods .<\/scene_description>\n    <character>LORNE MICHAELS<\/character>\n    <dialogue>Okay. It'd be good to have the old Andy back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAVID LETTERMAN SHOW - NIGHT<\/stage_direction>\n    <scene_description>Andy and Jerry Lawler are on DAVID LETTERMAN 'S show . Andy is pallid , hair shaggy , in a neckbrace and tweed jacket . Husky Lawler wears loud red pants and gold chains . Andy speaks timidly , seeming a bit dazed and regretful .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>I apologize for all the wrestling I've ever done. I'm sorry for all the abuse I've ever given.<\/dialogue>\n    <parenthetical>( soft . )<\/parenthetical>\n    <dialogue>I was just playing bad guy wrestler. That's not me. it's just a role. But Jerry took it personally.<\/dialogue>\n    <scene_description>Lawler and Letterman are unimpressed .<\/scene_description>\n    <character>LETTERMAN<\/character>\n    <dialogue>You said some pretty inflammatory things.<\/dialogue>\n    <character>LAWLER<\/character>\n    <dialogue>He thinks everything's a joke - but it's not.<\/dialogue>\n    <parenthetical>( to Andy . )<\/parenthetical>\n    <dialogue>Did you laugh when you were layin' in the hospital?<\/dialogue>\n    <scene_description>The crowd WHOOOOS . Angst flickers on Andy 's sweaty face . He stammers .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>T - there was n't a reason to purposely hurt me -<\/dialogue>\n    <character>LAWLER<\/character>\n    <dialogue>You're a wimp.<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( upset . )<\/parenthetical>\n    <dialogue>My father said I should've gotten a lawyer -!<\/dialogue>\n    <character>LAWLER<\/character>\n    <dialogue>Then your father's a wimp.<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( losing it . )<\/parenthetical>\n    <dialogue>And you're just poor white trash!<\/dialogue>\n    <scene_description>Lawler 's had enough . Enraged , he wildly stands and SLAPS Andy . BAM ! Andy crashes over and falls from his chair . THUD . He 's on the floor . Dead silence . Everyone is astonished . They 're all slack - jawed . Even PAUL SHAFFER . Trying to cover , Paul hurriedly kicks in with a ROCKABILLY TUNE . Andy jumps up , crazed .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I'M SICK AND TIRED OF THIS SHIT!<\/dialogue>\n    <scene_description>Lawler freezes in his seat . Letterman hides behind his desk . Andy storms over , out - of - control . From a safe distance , he starts SCREAMING at Lawler .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>YOU ARE FULL OF SHIT, Lawler! I WILL SUE YOUR ASS! YOU'RE A FUCKING ASSHOLE!<\/dialogue>\n    <parenthetical>( he POUNDS the desk . )<\/parenthetical>\n    <dialogue>FUCK YOU! FUCK YOU! I WILL GET YOU FOR THIS!<\/dialogue>\n    <scene_description>Freaked , Andy leaps up and storms out .<\/scene_description>\n    <character>LETTERMAN<\/character>\n    <dialogue>You said some pretty inflammatory things.<\/dialogue>\n    <character>LAWLER<\/character>\n    <dialogue>He thinks everything's a joke - but it's not.<\/dialogue>\n    <parenthetical>( to Andy . )<\/parenthetical>\n    <dialogue>Did you laugh when you were layin' in the hospital?<\/dialogue>\n    <scene_description>The crowd WHOOOOS . Angst flickers on Andy 's sweaty face . He stammers .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>T - there was n't a reason to purposely hurt me -<\/dialogue>\n    <character>LAWLER<\/character>\n    <dialogue>You're a wimp.<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( upset . )<\/parenthetical>\n    <dialogue>My father said I should've gotten a lawyer -!<\/dialogue>\n    <character>LAWLER<\/character>\n    <dialogue>Then your father's a wimp.<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( losing it . )<\/parenthetical>\n    <dialogue>And you're just poor white trash!<\/dialogue>\n    <scene_description>Lawler 's had enough . Enraged , he wildly stands and SLAPS Andy . BAM ! Andy crashes over and falls from his chair . THUD . He 's on the floor . Dead silence . Everyone is astonished . They 're all slack - jawed . Even PAUL SHAFFER . Trying to cover , Paul hurriedly kicks in with a ROCKABILLY TUNE . Andy jumps up , crazed .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I'M SICK AND TIRED OF THIS SHIT!<\/dialogue>\n    <scene_description>Lawler freezes in his seat . Letterman hides behind his desk . Andy storms over , out - of - control . From a safe distance , he starts SCREAMING at Lawler .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>YOU ARE FULL OF SHIT, Lawler! I WILL SUE YOUR ASS! YOU'RE A FUCKING ASSHOLE!<\/dialogue>\n    <parenthetical>( he POUNDS the desk . )<\/parenthetical>\n    <dialogue>FUCK YOU! FUCK YOU! I WILL GET YOU FOR THIS!<\/dialogue>\n    <scene_description>Freaked , Andy leaps up and storms out . The crowd CHEERS rowdily . An unsure moment . Dave glances at Lawler . Until , Andy stumbles back in . He tries to calm himself .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I am sorry. I am sorry to use those words on television. I apologize! I'm sorry!<\/dialogue>\n    <parenthetical>( demented . )<\/parenthetical>\n    <dialogue>But YOU - you're a MOTHERFUCKING ASSHOLE!<\/dialogue>\n    <scene_description>Andy slams Dave 's desk . Dave jerks nervously . Crazed , Andy looks down at Dave 's coffee cup . Uh - oh . Suddenly , Andy grabs the coffee and DUMPS it on Lawler ! Lawler jumps , burned . A SECURITY GUARD runs in . Andy screams and hurtles away . He slams open the stage door and barrels out of sight .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LORNE MICHAELS' HOUSE - SAME TIME<\/stage_direction>\n    <scene_description>Lorne Michaels is watching this at home . He gapes in disbelief .<\/scene_description>\n    <character>LORNE MICHAELS<\/character>\n    <dialogue>Jesus Christ.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SATURDAY NIGHT LIVE - ONE WEEK LATER<\/stage_direction>\n    <scene_description>A SMUG COMIC stands on stage , speaking into camera . The show 's going out live .<\/scene_description>\n    <character>SMUG COMIC<\/character>\n    <dialogue>Hi. Um, we were supposed to have Andy Kaufman on our show this week - but now our producers are n't sure if it's such a good idea.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Some of us at Saturday Night Live think Kaufman's a comic genius. But others disagree. they say he's just not funny anymore.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>So we're putting the decision up to you. Please call up and vote. To keep Andy, call 1 - 900 - 244 - 7618. To DUMP him, call.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHAPIRO\/WEST - DAY<\/stage_direction>\n    <scene_description>Tight on Andy , staring at the LA Times . A small headline says `` JOKESTER ANDY KAUFMAN VOTED OFF ` SATURDAY NIGHT LIVE ' '' He is bothered .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>This is bad. I only got 28 percent! I'm like McGovern in'72.<\/dialogue>\n    <scene_description>George sighs .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>And this was n't `` Merv.'' This was the hippest audience on television.<\/dialogue>\n    <parenthetical>( grim . )<\/parenthetical>\n    <dialogue>They've turned on you.<\/dialogue>\n    <scene_description>At that . we reveal that SOMEONE ELSE is sitting next to Andy . But only the back of his head is visible .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>It's like you two guys wanted to destroy Andy's career! Upsetting all those people. putting out that toxic venom.<\/dialogue>\n    <parenthetical>( helpless . )<\/parenthetical>\n    <dialogue>What did you THINK would happen?!<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( guilty . )<\/parenthetical>\n    <dialogue>We were just trying to push the envelope -<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>You're BLIND! There is no envelope anymore!<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>It hurts me to say this. but there's only one solution -.<\/dialogue>\n    <parenthetical>( pained . )<\/parenthetical>\n    <dialogue>I do n't want you two to ever work together again.<\/dialogue>\n    <scene_description>We WIDEN . And the other person is JERRY LAWLER . He feels bad .<\/scene_description>\n    <character>JERRY LAWLER<\/character>\n    <dialogue>I'm sorry. We thought it was funny.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Jer', it's not your fault. You were terrific.<\/dialogue>\n    <parenthetical>( sad . )<\/parenthetical>\n    <dialogue>But maybe George is right.<\/dialogue>\n    <character>JERRY LAWLER<\/character>\n    <dialogue>That's fine. But I would n't have traded it for anything.<\/dialogue>\n    <parenthetical>( poignant . )<\/parenthetical>\n    <dialogue>Because for one brief, shining moment. the world thought that wrestling was real.<\/dialogue>\n    <scene_description>Andy gulps emotionally .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>We'll stay in touch. Next time I'm in Memphis, I'll stop by the house, and Noreen can make me her double chocolate cake.<\/dialogue>\n    <character>JERRY LAWLER<\/character>\n    <dialogue>Alright, buddy.<\/dialogue>\n    <parenthetical>( choked up . )<\/parenthetical>\n    <dialogue>Stay good.<\/dialogue>\n    <scene_description>Andy and Jerry hug . A touching beat . until Andy gets a Quixotic gleam .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Maybe I can turn it into a bit. I can go back on the show, and say it was rigged. Demand a recount.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Andy! You do n't get it!<\/dialogue>\n    <parenthetical>( somber . )<\/parenthetical>\n    <dialogue>They do n't want you back.<\/dialogue>\n    <scene_description>Andy 's face drops .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEDITATION INSTITUTE UNIVERSITY, CORRIDOR - DAY<\/stage_direction>\n    <scene_description>The Yogi slowly walks down the corridor , deep in thought . A few DISCIPLES IN TURBANS mill around .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEDITATION INSTITUTE UNIVERSITY, CLASSROOM - DAY<\/stage_direction>\n    <scene_description>NINE STUDENTS , sitting in the Lotus position , are listening to a teacher . The teacher is Andy .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Open your eyes. close your eyes. open your eyes. close your eyes. open your eyes. close your eyes.<\/dialogue>\n    <scene_description>Andy is repeating this faster and faster ; the students are blinking their eyes faster and faster . The door opens . The Yogi sticks his head in .<\/scene_description>\n    <character>YOGI<\/character>\n    <dialogue>Excuse me, Andy.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Yes, your Holiness?<\/dialogue>\n    <scene_description>The Yogi signals Andy to step out of the room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEDITATION INSTITUTE UNIVERSITY, CORRIDOR - DAY<\/stage_direction>\n    <scene_description>Andy steps out .<\/scene_description>\n    <character>YOGI<\/character>\n    <dialogue>This is very difficult for me to say. but - perhaps it would be best if you did n't attend the retreat.<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( surprised . )<\/parenthetical>\n    <dialogue>Why? I. I attend every year.<\/dialogue>\n    <character>YOGI<\/character>\n    <dialogue>Yes - we do not doubt your devotion to TM. But we feel that perhaps. you and the program have grown apart philosophically.<\/dialogue>\n    <scene_description>Andy is stunned .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>`` Philosophically''?<\/dialogue>\n    <character>YOGI<\/character>\n    <parenthetical>( he sighs . )<\/parenthetical>\n    <dialogue>The wrestling. the sexist remarks. the foul language. these things are not becoming of an enlightened individual.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>It seems you have no respect for anything.<\/dialogue>\n    <scene_description>Andy is stupefied . He does n't know how to respond .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Of course I do.<\/dialogue>\n    <scene_description>The Yogi shakes his head . Andy ca n't believe it . He looks around - men in turbans staring at him . Andy cracks .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Please! You've GOT to let me take the classes! It's how I keep myself BALANCED!<\/dialogue>\n    <character>YOGI<\/character>\n    <dialogue>It is apparently not working.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>So HELP ME! All I wan na do is MEDITATE!<\/dialogue>\n    <character>YOGI<\/character>\n    <parenthetical>( pained . )<\/parenthetical>\n    <dialogue>Andy, do n't raise your voice. We do n't wish your presence here.<\/dialogue>\n    <scene_description>Andy is broken . He fights to bottle his rage - then notices Little Wendy down the corridor , peering helplessly . Beaten , Andy waves goodbye to her . Little Wendy gulps , then waves goodbye too .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANDY'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Middle of the afternoon , Andy lies in bed . Covers pulled up to his face , expression glum , he 's like a tragic still - life . Suddenly DING - DONG ! It 's the doorbell . Andy ignores this . Beat . Another DING - DONG ! Then KNOCKING .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Go away.<\/dialogue>\n    <character>LYNNE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>It's me.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Oh, it's open.<\/dialogue>\n    <scene_description>The door opens . Lynne enters , holding a carton of ice cream .<\/scene_description>\n    <character>LYNNE<\/character>\n    <dialogue>I brought you Haagen Dazs. Chocolate.<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( mournful . )<\/parenthetical>\n    <dialogue>I do n't deserve Haagen Daz. I'm a horrible person.<\/dialogue>\n    <character>LYNNE<\/character>\n    <dialogue>Andy, you're not horrible. You're just. complicated.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>You do n't know the real me.<\/dialogue>\n    <character>LYNNE<\/character>\n    <dialogue>Andy. there is no real you.<\/dialogue>\n    <scene_description>TIGHT - ANDY An astonished silence . And then . he slowly smiles .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>You're probably right.<\/dialogue>\n    <scene_description>They both giggle . Andy studies her . looking at Lynne 's face , body , eyes . Pause .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Do you wan na move in together?<\/dialogue>\n    <scene_description>Lynne smiles slyly . She leans down and kisses him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAUREL CANYON HOUSE - DAY<\/stage_direction>\n    <scene_description>A moving van outside a funky 60 's house . MOVERS carry boxes in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAUREL CANYON HOUSE, LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Andy sits disoriented in the living room . Movers bustle around him . Mirrors get leaned against opposing walls - and he finds himself looking into multiple reflections of himself . In the b.g. , Lynne arranges some vases , then hurries out . Andy opens a box and pulls out his old Howdy Doody doll . He smiles , then places Howdy on the shelf next to the vases . Suddenly a phone on the floor RINGS . He grins .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Hey! Our first phone call!<\/dialogue>\n    <parenthetical>( he scrambles for the phone . )<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <character>GEORGE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Andy. it's me. I've got some crummy news.<\/dialogue>\n    <parenthetical>( long beat . )<\/parenthetical>\n    <dialogue>Taxi's been canceled.<\/dialogue>\n    <scene_description>Silence . Andy has no response .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( V.O. ; cont 'd . )<\/parenthetical>\n    <dialogue>Do you want me to come over? Talk about it?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Um. no. Uh, I'm sorta busy right now. Thanks. We'll get together next week.<\/dialogue>\n    <scene_description>Andy hangs up . He just sits there . confused . unsure how to react . Andy scratches his head - then feels something odd . He goes over to the mirror . On the back of his neck . is an inflamed red pimple . Andy grimaces .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Yuck!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LA IMPROV, SHOWROOM - LATE NIGHT<\/stage_direction>\n    <scene_description>Very late - a clock says 1:15 . A YOUNG COMIC is onstage , performing to the DOZEN audience members left . In back walks . Andy . Unshaven , morose , he quietly approaches paternal owner BUDD FRIEDMAN . Budd sees him , grins , and gives him a hearty hug . Andy points at the stage and asks for something - Budd eagerly nods .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LA IMPROV, SHOWROOM - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Budd is onstage .<\/scene_description>\n    <character>BUDD<\/character>\n    <dialogue>And now we have a treat for you late - night diehards. The star of Taxi - here in person, Andy Kaufman!<\/dialogue>\n    <scene_description>The sparse crowd APPLAUDS . Budd leaves , and Andy shuffles up .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Actually, Budd, you're wrong. I found out today that Taxi's been canceled.<\/dialogue>\n    <scene_description>The crowd AWWWWS sadly . Andy blinks .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Yeah, that's how I felt too. though I do n't know why.'Cause for years, all I wanted to do was get off that show.<\/dialogue>\n    <parenthetical>( quiet , very confessional . )<\/parenthetical>\n    <dialogue>But now that nobody will hire me, and nobody thinks I'm funny. I guess it was probably a pretty good job.<\/dialogue>\n    <scene_description>One guy LAUGHS sharply . Andy gives him a look - thinks - then continues .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Not to mention that my wife has left me. And she took the kids.<\/dialogue>\n    <parenthetical>( he sighs . )<\/parenthetical>\n    <dialogue>I do n't know what I'm gon na do with myself. My options are sorta limited.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>This morning, I noticed I've got a cyst, or some kind of boil, on the back of my neck. It's really disgusting. Look.<\/dialogue>\n    <scene_description>Andy turns . The red lump is bigger , grosser . The crowd GROANS , revolted .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>So I was thinking, since I'm sort of a quasi - celebrity, that I could charge people to touch it.<\/dialogue>\n    <parenthetical>( candid . )<\/parenthetical>\n    <dialogue>Does anybody want to pay a buck to touch my cyst?<\/dialogue>\n    <scene_description>A couple stoners GIGGLE and CLAP . Andy COUGHS , then frowns .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I'm serious.<\/dialogue>\n    <scene_description>A pause . then a few curious people walk up to the stage . The first taker is a GOOFY BLONDE WOMAN . She starts to reach for the cyst - when Andy stops her .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>No, no, you got ta pay first.<\/dialogue>\n    <scene_description>She nods , discomforted , and reaches for her purse .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LA IMPROV, BAR - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>A BUSBOY sweeps up . Budd counts money in the cash register . Andy shuffles out of the showroom . He waves some bills .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>I made six bucks. That's good money.<\/dialogue>\n    <scene_description>Budd stares sadly .<\/scene_description>\n    <character>BUDD<\/character>\n    <dialogue>This is a comedy club - not a medical sideshow.<\/dialogue>\n    <parenthetical>( trying to be kind . )<\/parenthetical>\n    <dialogue>If you wan na perform here, take a shower, get some sleep, and pull yourself together. Come back and do the material that people love : Do the Mighty Mouse, the Foreign guy! Andy, you got ta snap out of this funk! If you can - I'll give you the headline spot tomorrow.<\/dialogue>\n    <scene_description>Andy thinks . The wheels are spinning .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MELROSE - DAY<\/stage_direction>\n    <scene_description>George is driving down Melrose , listening to the radio . He glances at the passing marquee - then does a doubletake . It says `` ANDY KAUFMAN - 9 P.M. ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LA IMPROV, LOBBY - THAT NIGHT<\/stage_direction>\n    <scene_description>Puzzled George hurries inside . COMICS greet him : `` Hey George ! '' `` George , you got a second ?! '' George distractedly waves and moves through . At the showroom door , he finds Budd .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Hey, what's going on here?<\/dialogue>\n    <character>BUDD<\/character>\n    <dialogue>George, you wo n't believe it. I got Andy to do all the old material!<\/dialogue>\n    <parenthetical>( grinning . )<\/parenthetical>\n    <dialogue>And he's killin' them!<\/dialogue>\n    <scene_description>Inside , there 's HUGE LAUGHTER . George 's eyes widen . Piqued , he goes in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LA IMPROV, SHOWROOM - NIGHT<\/stage_direction>\n    <scene_description>And it 's packed ! Andy is onstage , playing struggling , lovable Foreign Man .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( AS FOREIGN MAN . )<\/parenthetical>\n    <dialogue>but one ting I do not like is too much traffic. Tonight I had to come on de freeway, and it was so much traffic.<\/dialogue>\n    <parenthetical>( giggling . )<\/parenthetical>\n    <dialogue>It took me an hour and a half to get here!<\/dialogue>\n    <scene_description>Foreign Man chuckles pathetically . The crowd HOWLS . Andy 's rockin ' .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( AS FOREIGN MAN ; cont 'd . )<\/parenthetical>\n    <dialogue>But talking about the terrible things : My wife. Take my -<\/dialogue>\n    <character>INTERRUPTING JERK<\/character>\n    <dialogue>`` Take my wife, please take her.''<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( AS FOREIGN MAN . )<\/parenthetical>\n    <dialogue>T - take my wife, please take her.<\/dialogue>\n    <scene_description>The rhythm is thrown . A couple laughs . A flustered pause . Andy glances down , then continues .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( AS FOREIGN MAN ; cont 'd . )<\/parenthetical>\n    <dialogue>No really, I am only foolink. I love my wife very much. But she do n't know how to cook -<\/dialogue>\n    <character>INTERRUPTING JERK<\/character>\n    <dialogue>`` Her cooking is so bad, is terrible.''<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( AS FOREIGN MAN . )<\/parenthetical>\n    <dialogue>H - her cooking.<\/dialogue>\n    <parenthetical>( Andy stumbles uncomfortably . )<\/parenthetical>\n    <dialogue>Uh, cooking is so bad, is terrible.<\/dialogue>\n    <scene_description>The laughs are weaker . The act is getting wrecked . IN BACK - George grimaces . Who the hell 's doing this ? Angry , George hurries down front , looking for the loud jerk . He scans the tables . and it 's Zmuda .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( AS FOREIGN MAN ; cont 'd . )<\/parenthetical>\n    <dialogue>But right now -<\/dialogue>\n    <character>ZMUDA<\/character>\n    <parenthetical>( AS JERK . )<\/parenthetical>\n    <dialogue>`` But right now I would like to do for you some imitations. First, the Archie Bunker.''<\/dialogue>\n    <scene_description>Andy freezes up . The audience is embarrassed . A frazzled confusion , then Andy drops the accent . He glares at Zmuda .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Sir, do you have a problem?<\/dialogue>\n    <character>ZMUDA<\/character>\n    <parenthetical>( AS JERK . )<\/parenthetical>\n    <dialogue>Yeah, my problem is you're tired.<\/dialogue>\n    <scene_description>Andy winces .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>I, I was asked to do this material -<\/dialogue>\n    <character>ZMUDA<\/character>\n    <parenthetical>( AS JERK . )<\/parenthetical>\n    <dialogue>Sure, because your new stuff's a bunch of crap. Kaufman, people are sick of you. The wrestling. the hoaxes.<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( defensive . )<\/parenthetical>\n    <dialogue>Hey - that stuff gets written - up in the papers -<\/dialogue>\n    <character>ZMUDA<\/character>\n    <parenthetical>( AS JERK . )<\/parenthetical>\n    <dialogue>Who gives a shit?! It's not funny!<\/dialogue>\n    <scene_description>GEORGE - is dumbfounded .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>Why? Andy, why?<\/dialogue>\n    <scene_description>ON ANDY AND ZMUDA<\/scene_description>\n    <character>ZMUDA<\/character>\n    <dialogue>I used to think you were original.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>I was very original!<\/dialogue>\n    <character>ZMUDA<\/character>\n    <dialogue>Yeah, exactly - `` was''! But now, you're creatively bankrupt.<\/dialogue>\n    <parenthetical>( he gleams cruelly . )<\/parenthetical>\n    <dialogue>In fact, Ladies and Gentlemen, Kaufman's so desperate, he PAID me to do this tonight! I'm a plant. It's just a fresh coat of paint on an old broken - down routine.<\/dialogue>\n    <parenthetical>( back to Andy . )<\/parenthetical>\n    <dialogue>Is n't that true?<\/dialogue>\n    <scene_description>Andy shudders . The audience averts their eyes . A painful silence . `` Andy Kaufman '' has been destroyed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LA IMPROV - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Andy and George walk sadly down the street . There is a horrible gloom over them .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>The world thinks Andy Kaufman sucks. So I was just giving'em what they want.<\/dialogue>\n    <character>GEORGE<\/character>\n    <parenthetical>( sadly . )<\/parenthetical>\n    <dialogue>Andy, they do n't think you suck. They've just. lost a reason to love you.<\/dialogue>\n    <scene_description>The guys stop walking . George gently speaks .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You've got ta make the public embrace you again. You have to win back their sympathy.<\/dialogue>\n    <scene_description>ON ANDY He nods .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>I'll come up with something.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAUREL CANYON, BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>The telephone wakes up Lynne in the new bedroom . She looks over - Andy 's not there . She looks at the clock and it 's 4:30 am . She picks up the phone .<\/scene_description>\n    <character>LYNNE<\/character>\n    <dialogue>Andy! Where are you? I've been worried sick. NOW? Where do you want to meet? Okay, I'll call them.<\/dialogue>\n    <scene_description>Lynne 's baffled .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DENNY'S - DAWN<\/stage_direction>\n    <scene_description>Late - night Hollywood weirdos mill about . Andy sits with bleary Lynne , Zmuda , and George . Zmuda admires the menu .<\/scene_description>\n    <character>ZMUDA<\/character>\n    <dialogue>Look at that Grand Slam! Two eggs, two bacon, two sausage, two pancakes - $ 2.99! How do they do it?<\/dialogue>\n    <character>LYNNE<\/character>\n    <dialogue>They get you on the coffee.<\/dialogue>\n    <character>GEORGE<\/character>\n    <parenthetical>( irritable . )<\/parenthetical>\n    <dialogue>Excuse me - but could Andy tell us why we're here?<\/dialogue>\n    <scene_description>All heads turn . A long pause . Then - Andy stiffly speaks .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>I have cancer.<\/dialogue>\n    <scene_description>Beat . Zmuda nods .<\/scene_description>\n    <character>ZMUDA<\/character>\n    <dialogue>Hey, that's good! We can make that play.<\/dialogue>\n    <parenthetical>( spitballing . )<\/parenthetical>\n    <dialogue>And we'll really drag it out. You get better, you get worse. you die.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>FORGET IT. It's in terrible taste! I want nothing to do with this.<\/dialogue>\n    <scene_description>Pause . Lynne is puzzled .<\/scene_description>\n    <character>LYNNE<\/character>\n    <dialogue>Andy, are you serious?<\/dialogue>\n    <character>ZMUDA<\/character>\n    <parenthetical>( grinning . )<\/parenthetical>\n    <dialogue>Serious like a heart attack! Hey, maybe I can push you around in some goofy wheelchair!<\/dialogue>\n    <scene_description>Andy softly shakes his head .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>No, it's true. I have lung cancer.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>That's ridiculous. You do n't even smoke.<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( emphatic . )<\/parenthetical>\n    <dialogue>I - I got some freaky rare kind. It's called large - celled carcinoma.<\/dialogue>\n    <scene_description>Lynne 's eyes tear up . She hugs onto Andy .<\/scene_description>\n    <character>LYNNE<\/character>\n    <dialogue>Jesus, Andy! Can they cure it?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>They do n't know. they've got ta run more tests.<\/dialogue>\n    <character>LYNNE<\/character>\n    <parenthetical>( starting to cry . )<\/parenthetical>\n    <dialogue>Have you told your family?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>No, NO! Not yet. I feel bad - I've jerked'em around so many times.<\/dialogue>\n    <scene_description>George and Zmuda glance skeptically at each other . Hmm . Confused , George leans in to Andy .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Andy. you look me in the eye, and tell me this is true.<\/dialogue>\n    <scene_description>Andy gulps .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>George - it's true.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DENNY'S BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>George confronts Zmuda .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>If I find out you're behind this, I'll kill you.<\/dialogue>\n    <character>ZMUDA<\/character>\n    <dialogue>What are ya TALKIN' ABOUT?! I was the one saying I did n't believe it!<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Exactly. That's the sort of thing you guys would work out to fuck me up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAUREL CANYON HOUSE - DAY<\/stage_direction>\n    <scene_description>Andy is doing laundry . He empties the clean clothes , puts them in a basket , and carries them to the rug . Then he sits down and starts laying out pairs of socks in highly symmetrical patterns . Focused , impassive , Andy pointlessly orders the socks like the world depended on it . Lynne enters , emotionally wrecked . She stares in frustration at Andy 's behavior .<\/scene_description>\n    <character>LYNNE<\/character>\n    <dialogue>How can you be so casual?!<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( he shrugs . )<\/parenthetical>\n    <dialogue>Even if I'm dying - I still need clean socks.<\/dialogue>\n    <character>LYNNE<\/character>\n    <dialogue>You're NOT DYING!<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Okay. You're probably right.<\/dialogue>\n    <scene_description>He keeps working . Lynne loses it .<\/scene_description>\n    <character>LYNNE<\/character>\n    <dialogue>God, you're so detached!<\/dialogue>\n    <scene_description>Lynne storms out . Andy finishes his socks . Satisfied . he turns on the TV . ON THE TV : It 's `` Lassie . '' Little TIMMY is laid - up in bed , with a broken leg . Suddenly LASSIE runs in , holding a book . Lassie places the book on his lap . The boy smiles gratefully .<\/scene_description>\n    <character>TIMMY<\/character>\n    <parenthetical>( ON TV . )<\/parenthetical>\n    <dialogue>Thank you, girl. You're my best friend.<\/dialogue>\n    <scene_description>Timmy warmly embraces the dog . ANDY - is terribly touched . Tears start rolling down his face . Genuine sobbing . Terrible grief , until he wipes his cheeks . Andy collects himself , then reaches for a phone . He dials a long number .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( on phone . )<\/parenthetical>\n    <dialogue>Dad?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CEDARS SINAI, RADIATION ROOM - DAY<\/stage_direction>\n    <scene_description>ANDY lies under the machine . It bombards his body with powerful radiation .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CEDARS SINAI, DOCTOR'S OFFICE - DAY<\/stage_direction>\n    <scene_description>The whole Kaufman family is gathered . Stanley , Janice , Michael and Carol listen to a BLAND DOCTOR in a white coat .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>The cancer started in Andy's left arm and spread to his lungs. We've initiated an aggressive radiation program. see if we can eradicate the affected cells.<\/dialogue>\n    <parenthetical>( his BEEPER goes off . )<\/parenthetical>\n    <dialogue>Excuse me. I'll be right back.<\/dialogue>\n    <scene_description>The doctor leaves . A somber silence - and then Janice bursts into tears . Stanley hugs her tightly . Carol watches the doctor with great hostility . His old tennis shoes are grabbing her attention . He leaves , and she frowns .<\/scene_description>\n    <character>CAROL<\/character>\n    <dialogue>What a crock.<\/dialogue>\n    <character>STANLEY<\/character>\n    <parenthetical>( angered . )<\/parenthetical>\n    <dialogue>How dare you make light of this!<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>Dad, I cried when he broke his neck. He's not gettin' me again -<\/dialogue>\n    <character>STANLEY<\/character>\n    <parenthetical>( impassioned . )<\/parenthetical>\n    <dialogue>Jesus! He's got lung cancer!<\/dialogue>\n    <scene_description>A standoff moment . Carol loses it .<\/scene_description>\n    <character>CAROL<\/character>\n    <dialogue>See, that's exactly it! He picked lung cancer, because he does n't smoke. That makes it weird! If he'd picked leukemia, it'd be totally believable, and we'd all be going, `` Poor Andy, he's really sick.'' So he chose lung cancer, because he WANTS us to be scratching our heads, saying, `` Is this real?''<\/dialogue>\n    <character>JANICE<\/character>\n    <parenthetical>( trying to convince herself . )<\/parenthetical>\n    <dialogue>Of course it's real. We're in a hospital.<\/dialogue>\n    <character>MICHAEL<\/character>\n    <dialogue>Mom, it's Cedars - Sinai! It's a showbiz hospital! Andy's studio friends probably run this place!<\/dialogue>\n    <character>CAROL<\/character>\n    <dialogue>He plans these things out. He takes over, hires actors.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Personally, I did n't think that `` doctor'' was very convincing.<\/dialogue>\n    <character>MICHAEL<\/character>\n    <dialogue>Did you notice his costume had the wrong shoes?<\/dialogue>\n    <character>CAROL<\/character>\n    <parenthetical>( excited . )<\/parenthetical>\n    <dialogue>Yeah! He did n't have doctor shoes!<\/dialogue>\n    <scene_description>A moment of total silence . All four of them look at each other . Is there . a glimmer of hope ?<\/scene_description>\n    <character>MICHAEL<\/character>\n    <dialogue>We all know he's talked about faking his own death.<\/dialogue>\n    <character>STANLEY<\/character>\n    <dialogue>Sure - but what if he is n't?<\/dialogue>\n    <parenthetical>( sad ; poignant . )<\/parenthetical>\n    <dialogue>My son could be dying. and we're actin' like we're on Candid Camera.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAUREL CANYON HOUSE - DAY<\/stage_direction>\n    <scene_description>George pulls up in his convertible . He jumps out . He walks to the door and starts to knock - when suddenly it creeps open . It 's Lynne , putting her finger to her lips : Shh !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAUREL CANYON HOUSE, LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>The house is dark . Lynne leads George into the shrouded living room . and Andy is sitting in a Lotus position , concentrating . In front is a WILD - HAIRED MAN in a purple robe .<\/scene_description>\n    <character>WILD-HAIRED MAN<\/character>\n    <dialogue>I want you to visualize. Visualize big, healthy white cells in your body. Now visualize little cancer cells. Now those big white cells are attacking the cancer cells.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>I see them. I see the white cells.<\/dialogue>\n    <scene_description>In the corner - George stares . He 's fighting his skepticism .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAUREL CANYON HOUSE, LIVING ROOM - LATER THAT DAY<\/stage_direction>\n    <scene_description>The drapes are open . Sunlight streams in . Andy hugs the teacher goodbye , and the man leaves . George has been waiting in back .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>What was that all about?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>It's visualization therapy. He's helping me turn inward and fight the disease.<\/dialogue>\n    <scene_description>Long beat .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>He's an actor. I remember him in `` The In - Laws.''<\/dialogue>\n    <scene_description>Ah . Andy 's eyes widen . His wheels are spinning fast .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Uh, yes. that's true. But he's also ordained in holistic medicine.<\/dialogue>\n    <scene_description>ON GEORGE - He glares , stewing . George is fed up . ON ANDY - An unspoken tension . Then suddenly , he breaks down .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>George, what am I supposed to do?! I'm sick, and I'm tryin' to get better. but everyone's lookin' at me funny! Even you come to my home and act like I'm puttin' on a skit!<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>You must take a little pleasure in it.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Of course!<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>But that does n't mean I do n't need everyone's support! I ca n't be surrounded by negative energy.<\/dialogue>\n    <scene_description>George shakes his head .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Andy, you're surrounded by what you create. You are the KING of negative energy.<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( thrown . )<\/parenthetical>\n    <dialogue>Y - yeah? Well, then it has to stop! Because if these bad vibes get out. then everyone will be talkin' about how sick I am, and it becomes a self - fulfilling prophecy, and then - I'm dead.<\/dialogue>\n    <scene_description>Andy struggles to remain composed . George sighs .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>So how can I help you?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>I wan na go back to work and put on a happy show.<\/dialogue>\n    <parenthetical>( bright - eyed . )<\/parenthetical>\n    <dialogue>The best show anybody's ever seen!<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Do you wan na tour the clubs?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>No clubs. I wan na reach the TOP!<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Carnegie Hall!<\/dialogue>\n    <scene_description>George gently smiles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL ENQUIRER OFFICES - DAY<\/stage_direction>\n    <scene_description>A STAFF meeting at the National Enquirer .<\/scene_description>\n    <character>REPORTER #1<\/character>\n    <dialogue>I'm working on a great cover story : I've got a guy in the lab at Cedars. He says Andy Kaufman is dying of lung cancer.<\/dialogue>\n    <scene_description>Beat . The room GROANS .<\/scene_description>\n    <character>EDITOR<\/character>\n    <dialogue>What bullshit! No. No more Kaufman stories! He's burned us too many times!<\/dialogue>\n    <character>REPORTER #2<\/character>\n    <dialogue>Yeah, he's definitely not dying. He's playing Carnegie Hall next month!<\/dialogue>\n    <scene_description>The Reporter frowns .<\/scene_description>\n    <character>REPORTER #1<\/character>\n    <dialogue>Jesus. Only Kaufman would use cancer as a publicity stunt.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAUREL CANYON HOUSE - NIGHT<\/stage_direction>\n    <scene_description>A 16mm PROJECTOR runs a scratchy 1930 's movie short on the wall . Smiling fake COWBOYS and COWGIRLS dance , the cowgirls straddling hobby horses . They all SING .<\/scene_description>\n    <character>COWBOYS AND COWGIRLS<\/character>\n    <dialogue>`` I've got spurs That jingle - jangle jingle.''<\/dialogue>\n    <scene_description>WE WIDEN Andy , George and Zmuda watch . Andy 's face is enthralled like a kid .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>This is great. The crowd's gon na love this!<\/dialogue>\n    <parenthetical>( giddy ; thinking . )<\/parenthetical>\n    <dialogue>Hey. do you still think any of those cowgirls are still alive?<\/dialogue>\n    <character>ZMUDA<\/character>\n    <dialogue>I dunno. If they were, they'd be pushin' 80.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Well, call SAG. It'd be cool to get one on the show.<\/dialogue>\n    <parenthetical>( excited . )<\/parenthetical>\n    <dialogue>I want the evening to build and build. It's gon na have the most incredible ending : Singers, dancers, the `` Hallelujah Chorus'' - then the sky opens, and Santa Claus comes flying down!<\/dialogue>\n    <character>ZMUDA<\/character>\n    <dialogue>And you say, `` Santa, what am I gettin' for Christmas?'' And he says, `` Cancer!''<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>No! NO NO NO! None of that! I want this show to be positive!<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>That's great. but this show's gon na cost a fortune. Even if it sells out, you'll still lose eighty grand.<\/dialogue>\n    <scene_description>Andy smiles .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>I do n't care about the money. I just want the show to deliver.<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>So who's gon na pay for it?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Tony Clifton.<\/dialogue>\n    <character>GEORGE<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You know Tony does n't have that kind of money.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Then he'll borrow it. I know Tony better than you do. Even if he has to work another ten years to pay it off, he'll do it!<\/dialogue>\n    <scene_description>Pause . George considers this - then slowly nods .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Okay, Andy. Will do.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CEDARS SINAI - DAY<\/stage_direction>\n    <scene_description>Andy silently sits . The doctor and two NURSES administer a chemo drip into Andy 's body . He stares at the needle in his arm . The chemo begins .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARNEGIE HALL - NIGHT<\/stage_direction>\n    <scene_description>A dressy NEW YORK CROWD pushes into Carnegie Hall . The marquee says `` ANDY KAUFMAN . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARNEGIE HALL - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>The show is on . Andy effusively PLAYS his conga drum and SINGS nonsense words to `` Allouette , Gentille Alloutte . ''<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Abbu daba, abi abbu daba! Abbu daba, abu dabu do!<\/dialogue>\n    <parenthetical>( to the crowd . )<\/parenthetical>\n    <dialogue>Abbu dabbu da ba do!<\/dialogue>\n    <scene_description>Everyone repeats . In the audience , George sings along too .<\/scene_description>\n    <character>AUDIENCE<\/character>\n    <dialogue>ABBU DABBU DA BA DO!<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>A ba du ba ti la ma na go!<\/dialogue>\n    <character>AUDIENCE<\/character>\n    <dialogue>A BA DU BA TI. LA. MA NA GO.<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( grinning . )<\/parenthetical>\n    <dialogue>Abbu da ba du ba ti lama na gobo abi tabu la!<\/dialogue>\n    <character>AUDIENCE<\/character>\n    <dialogue>ABBU DA BA DU.<\/dialogue>\n    <scene_description>The crowd hopelessly breaks out LAUGHING . ANDY laughs along . They 're all having a good time .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARNEGIE HALL - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>The corny `` Jingle Jangle Cowboy '' MOVIE is playing on a big screen . It finishes . Beaming Andy grabs the mike .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Ladies and Gentlemen! I'm pleased to announce that we have with us the one surviving cowgirl from that 1931 film, Eleanor `` Cody'' Gould!<\/dialogue>\n    <scene_description>Crazed APPLAUSE . Frail ELEANOR GOULD , 75 , comes onstage .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>It's such an honor to have you here.<\/dialogue>\n    <character>ELEANOR<\/character>\n    <parenthetical>( squinting into the lights . )<\/parenthetical>\n    <dialogue>Andy. this is so overwhelming.<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Well, it's gettin' even better!'Cause we found one of the original hobby horses! Do you - do you think you could treat us to a few steps from `` Jingle Jangle Jingle''?<\/dialogue>\n    <scene_description>Eleanor starts to protest - but Andy hands her the HOBBY HORSE . She blushes . Andy turns away , goes to the band , and starts conducting . They begin to PLAY `` JINGLE JANGLE JINGLE . '' Eleanor awkwardly starts dancing in circles . Andy gets excited and conducts FASTER . Eleanor is sweating . She dances faster . Andy impatiently SPEEDS UP the MUSIC MORE . Eleanor desperately skips in circles , trying to keep up . when suddenly she grabs her heart . Eleanor stops - and collapses . She 's down . A horrified GASP from the crowd . The band stops playing . CREW MEMBERS run on from backstage . One checks her heart . She 's not moving . Zmuda runs out , horrified .<\/scene_description>\n    <character>ZMUDA<\/character>\n    <dialogue>Is there a doctor in the house?!<\/dialogue>\n    <scene_description>The crowd is stunned silent . Pause - then one man stands . It 's Michael . Straight - faced , he hurries out of his seat , sprints down the aisle , and goes on stage . Michael checks her pulse and loosens her blouse . He presses Eleanor 's chest , trying to restart her heart . But then - he shakes his head sadly . She 's dead . The crowd MOANS sadly . Michael covers Eleanor with a jacket .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARNEGIE HALL, BACKSTAGE - NIGHT<\/stage_direction>\n    <scene_description>Andy watches , pleased . Suddenly , he COUGHS harshly . Andy drinks some water . Pause . then he puts on a goofy Indian headdress and runs back out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARNEGIE HALL - NIGHT<\/stage_direction>\n    <scene_description>Eleanor lies dead . Andy skips over and starts doing an Indian war dance around her body . The crowd is baffled . Andy WHOOPS , he CHANTS . and then Eleanor starts to rise ! He WHOOPS triumphantly . She lives , like Frankenstein reborn ! The crowd CHEERS , surprised and giggling .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Ladies and Gentlemen, she's alive!<\/dialogue>\n    <scene_description>Huge APPLAUSE .<\/scene_description>\n    <character>CHOIR<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>HALLELUJAH! HALLELUJAH!<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Ladies and Gentlemen, the Mormon Tabernacle Choir!<\/dialogue>\n    <scene_description>Rear curtains part , and the MORMON TABERNACLE CHOIR belts out the `` Hallelujah Chorus '' ! It 's spectacular . The crowd goes nuts .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Oh my gosh, it's the Rockettes!<\/dialogue>\n    <scene_description>Yes indeed , TWO DOZEN ROCKETTES rush in from the sides , legs kicking high . The crowd WHOOS .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Girls and Boys, it's Santa Claus!<\/dialogue>\n    <scene_description>Snow start falling , and SANTA ON HIS SLEIGH drops from above . The crowd screams with excitement . It 's unbelievable . They leap to a standing ovation . In front are Stanley and Janice . They start crying . Beaming Andy embraces Eleanor . Then he takes the mike .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>And it's not over yet!'Cause I'm taking you all out to Milk and Cookies!<\/dialogue>\n    <scene_description>The crowd laughs .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I'm serious!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARNEGIE HALL - MINUTES LATER<\/stage_direction>\n    <scene_description>A thousand people file out - and THIRTY - FIVE SCHOOLBUSES are parked up and down Fifth Avenue ! The crowd is AWED . Andy euphorically marches out , pushing his endurance . He 's the Pied Piper .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Single file! Do n't rush! There's enough cookies for everyone!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ELEMENTARY SCHOOL - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>The schoolbuses pull up to a school . The disoriented passengers step out , not sure what to expect .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEMENTARY SCHOOL, CAFETERIA - NIGHT<\/stage_direction>\n    <scene_description>The audience crowds inside . and LADY CAFETERIA WORKERS in hairnets are dispensing milk and cookies . It 's remarkable . At a little kids table sit Andy and Lynne . Andy 's face is pure joy . He watches all the adults munching on their cookies , everyone giddy at the silliness of it all . Andy smiles beautifully . He squeezes Lynne 's hand , then whispers .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>I do n't want this to ever end.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW MEXICO DESERT - DAY<\/stage_direction>\n    <scene_description>A stucco SPA RESORT sits in the middle of the rocky desert .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPA - SAME TIME<\/stage_direction>\n    <scene_description>A room with soft lighting and billowing curtains . A New Age HEALER is laying crystals upon Andy 's body . Andy COUGHS . His hat is off , revealing he 's bald .<\/scene_description>\n    <character>HEALER<\/character>\n    <dialogue>Now we'll place a blue crystal. Very high vibrations. It's wonderful for it's healing powers.<\/dialogue>\n    <character>ANDY<\/character>\n    <parenthetical>( spellbound . )<\/parenthetical>\n    <dialogue>Okay. Let's try two of those. and one of the pink ones.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPA - DAY<\/stage_direction>\n    <scene_description>Zmuda stands with a swarmy ADMINISTRATOR .<\/scene_description>\n    <character>ADMINISTRATOR<\/character>\n    <dialogue>Your friend is doing four crystal sessions a day, but it's just not helping.<\/dialogue>\n    <character>ZMUDA<\/character>\n    <dialogue>I know.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>The cancer's terminal.<\/dialogue>\n    <character>ADMINISTRATOR<\/character>\n    <dialogue>Yes. That was n't made particularly clear to us when he checked in.<\/dialogue>\n    <character>ZMUDA<\/character>\n    <parenthetical>( irked . )<\/parenthetical>\n    <dialogue>Look, personally, I think rubbing rocks on people is a load of horseshit. But if it makes Andy happy, that's all that matters.<\/dialogue>\n    <scene_description>The man purses his lips .<\/scene_description>\n    <character>ADMINISTRATOR<\/character>\n    <dialogue>I'm sorry to sound crass - but we do n't want to be `` that health resort in New Mexico where Andy Kaufman died.''<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I'm going to have to ask you to leave.<\/dialogue>\n    <scene_description>Zmuda is speechless .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPA, ANDY'S ROOM - LATER THAT DAY<\/stage_direction>\n    <scene_description>Zmuda angrily packs Andy 's bags . Zmuda is seething . But Andy is strangely calm and unaffected .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>It's okay, Bob. It was n't really working.<\/dialogue>\n    <parenthetical>( a gentle smile . )<\/parenthetical>\n    <dialogue>We'll find something better.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAUREL CANYON HOUSE, KITCHEN - DAY<\/stage_direction>\n    <scene_description>Lynne and Little Wendy are cooking Andy lunch . Lynne mashes up strange unidentifiable plant products .<\/scene_description>\n    <character>LITTLE WENDY<\/character>\n    <dialogue>What is this stuff?<\/dialogue>\n    <character>LYNNE<\/character>\n    <dialogue>It's all macrobiotic. Millet, burdock root, kelp. Andy says it'll purify him.<\/dialogue>\n    <scene_description>Suddenly - a SHARP VOICE .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>What is that crap? Looks like somethin' my dog would puke up!<\/dialogue>\n    <scene_description>The women turn . It 's Andy - dressed as Tony Clifton . A spooked moment . Tony 's wig , peach tux , and sunglasses are there . but Andy is barely strong enough to bark out the attitude .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <dialogue>How ` bout me and you dolls go get some REAL food : French fries and a Porterhouse steak!<\/dialogue>\n    <character>LYNNE<\/character>\n    <parenthetical>( not sure what to say . )<\/parenthetical>\n    <dialogue>. Andy?<\/dialogue>\n    <scene_description>Little Wendy 's eyes pop : Oh no she broke the rule ! Tony gets very indignant .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <dialogue>I ai n't Andy! I'm Tony! Andy's sick - pick, chick, kick, lick! The doctor says he's a goner.<\/dialogue>\n    <parenthetical>( rousing himself . )<\/parenthetical>\n    <dialogue>But Tony's built like a mule! Andy asked me to be his pallbearer! I'll do it for him! I'm getting stronger and stronger! Here, watch this!<\/dialogue>\n    <scene_description>Tony picks up a CHAIR and starts lifting it : Up , down , up , down . Worried , the women rush to stop him . They take the chair .<\/scene_description>\n    <character>LYNNE<\/character>\n    <dialogue>Stop it! C'mon, put that down.<\/dialogue>\n    <character>TONY CLIFTON<\/character>\n    <dialogue>Yeah, you're right. We better get movin'. We do n't wan na miss Happy Hour at Kelbos - all the Mai Tai's you can drink for $ 4.99.<\/dialogue>\n    <scene_description>Tony jauntily turns to exit . He gestures to the ladies .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Let's go!<\/dialogue>\n    <parenthetical>( he starts SINGING `` New York , New York '' . )<\/parenthetical>\n    <dialogue>`` These vagabond blues, Are washin' away. I'll make a brand new start of it.''<\/dialogue>\n    <scene_description>Tony reaches the doorway - and collapses . He clutches himself in pain .<\/scene_description>\n    <character>LYNNE AND LITTLE WENDY<\/character>\n    <dialogue>Andy!<\/dialogue>\n    <scene_description>Shocked , they run over . Tony lies huddled on the ground . He mutters sadly , defeatedly .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <dialogue>Dammit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAUREL CANYON HOUSE - DUSK<\/stage_direction>\n    <scene_description>The sun is setting , purple and orange over the hills . Andy and George lie on chaise lounges , serenely staring out . Andy has a blank look on his face , and has lost more weight . He is a shadow of himself .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>I ca n't move my arm.<\/dialogue>\n    <character>GEORGE<\/character>\n    <parenthetical>( awkwardly . )<\/parenthetical>\n    <dialogue>You've got good days and bad days.<\/dialogue>\n    <scene_description>Andy softly sighs .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>My hair is coming out.<\/dialogue>\n    <character>GEORGE<\/character>\n    <parenthetical>( whispers . )<\/parenthetical>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>George silently pats Andy . Andy 's energy is sapped , but he forces himself to be upbeat .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>I've got an idea for a new TV show for me to star in. It's called `` Uncle Andy's Fun House'' - it'll be a Saturday morning thing where I can goof off with the kids. You know, puppets, magic tricks.<\/dialogue>\n    <scene_description>George is choked up . He goes along with it .<\/scene_description>\n    <character>GEORGE<\/character>\n    <parenthetical>( long pause . )<\/parenthetical>\n    <dialogue>I think we can sell that.<\/dialogue>\n    <scene_description>Silence . George struggles not to shatter Andy 's enthusiasm . Andy smiles gratefully .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>Hey. thanks for always backin' me.<\/dialogue>\n    <scene_description>George clenches Andy 's hand .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Did your - doctor say it's okay for you to go back to work?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Ehhh, you know those guys. If he had his way, I'd be stuck in the hospital, running tests all day.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>And anyway, I've found a new guy who's gon na be able to instantly remove the cancer.<\/dialogue>\n    <character>GEORGE<\/character>\n    <parenthetical>( startled . )<\/parenthetical>\n    <dialogue>Really?<\/dialogue>\n    <character>ANDY<\/character>\n    <dialogue>Yeah! He's a psychic surgeon in the Philippines, and he's amazing! He rubs you and sucks the disease right out!<\/dialogue>\n    <scene_description>Andy beams . George stares sadly .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>The Philippines? I dunno. Andy. he sounds like one of your characters.<\/dialogue>\n    <scene_description>TIGHT - ANDY His voice gets hushed .<\/scene_description>\n    <character>ANDY<\/character>\n    <dialogue>No. this guy's special.<\/dialogue>\n    <parenthetical>( very sincere . )<\/parenthetical>\n    <dialogue>He performs miracles.<\/dialogue>\n    <scene_description>George does n't know how to respond . Andy looks up pleadingly .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>He's my last chance.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAGUIO CITY, PHILIPPINES - DAY<\/stage_direction>\n    <scene_description>Baguio , a tiny scratched - in - the - dirt Philippine city . Suddenly , a rattletrap COMMUTER PLANE lurches out of the sky . It hits a dirt runway . Dust flies . Chickens squawk and run .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEAT UP TAXI, PHILIPPINES - DAY<\/stage_direction>\n    <scene_description>Andy , Lynne , and Zmuda ride through the impoverished city . Andy stares in amazement .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLINIC, PHILIPPINES - DAY<\/stage_direction>\n    <scene_description>They reach a brick building . A sign says `` CLINIC , '' with an eye over a triangle .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLINIC, PHILIPPINES - DAY<\/stage_direction>\n    <scene_description>A NURSE hurriedly helps weakened Andy sign a bunch of forms . Money is handed over . Andy 's clothes are stripped off . They 're thrown in a locker .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLINIC OPERATION ROOM, PHILIPPINES - DAY<\/stage_direction>\n    <scene_description>A large white tiled room . Lynne and Zmuda roll in pallid Andy , his limp body unmoving . Andy looks up . and there 's a LONG LINE OF SICKLY PEOPLE . Primarily Japanese , emaciated , all stripped to their underwear and barely able to stand . They have a look of desperation and reverence . At the head of the line is JUN ROXAS at his work station : A bench , a sink , and ATTENDANTS with clean towels . A SICKLY WOMAN crawls onto the bench . Jun impassively presses his hand into the fatty flesh of her stomach , kneading , searching . Pause , then he removes some BLOODY GUTS . He flings them into a bucket . The woman cries out . Andy gasps . The woman is helped away . Jun turns to wash his hands . An attendant gives him a towel to dry with . Then a SICKLY MAN crawls up . Andy rolls closer . He stares at all this with fear . Nervousness . Hope . Jun impassively presses his hand against the man 's head . He concentrates , searching . then pulls out some BLOODY GUTS . He flings them into a bucket . The man shakes . He is helped away . Andy is wide - eyed . He gets closer . closer . More patients . More bloody guts . More sobbing . Andy 's excitement builds . Then - he reaches the front . A moment . Lynne and Zmuda stare into Andy 's eyes , drawn in by his total belief . They are overcome . It feels like they 're saying goodbye . Lynne gives Andy a tender kiss . Zmuda starts to shake his hand - and instead hugs him tightly . Andy smiles , then the attendants lift him from the wheelchair . They help him up to the bench . Andy lies down . Fluorescent lights buzz overhead . He looks over , and Jun Roxas is washing his hands from the previous patient . Andy shivers , anticipating the miracle . Jun turns . An attendant gives him a towel to dry off . Andy relaxes , readying for it all . He glances at Jun 's hands . Jun hands back the towel - and under it the attendant quickly slips Jun a sack of animal intestines . Jun discreetly palms it . He 's a fake . CLOSEUP - ANDY A moment of stunned disbelief . He is shocked . Outraged . Disappointed . Flabbergasted . The faith is meaningless . The joke is cosmic . The con man has been conned . Andy 's overpowering emotions coalesce . and he starts to LAUGH . It 's sidesplittingly funny . Andy LAUGHS , and LAUGHS , and LAUGHS , like a crazy man with no salvation , the joy releasing him , the tears rolling down his cheeks . His face flushes with color . Life sparkles in his eyes . Andy laughs and guffaws until he 's hoarse . This is the best gag of them all .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FUNERAL HOME - DAY<\/stage_direction>\n    <scene_description>Andy lies in peace in a casket . He has died . His expression is pleasantly bland . Almost Latka - like . But his face is caked with so much funeral - home makeup , it almost looks like a mask . We slowly widen . The casket is surrounded by beautiful flowers . We TILT UP . and high above . is a MOVIE SCREEN . On the SCREEN is a projection of Andy , silently staring at us . There 's a gentle smile on his face . It 's the image from the opening of this film . ANDY 'S POV : The chapel is filled with GRIEVING MOURNERS . All are in black . Everyone 's quiet , in a state of shock . Andy 's family is huddled . Lynne sits alone in a pew , crying . George gives Zmuda a hug . Little Wendy comes over . and they comfort each other . Everyone who ever knew Andy is there : Taxi cast , Fridays cast , TM followers , hookers , Jerry Lawler , Ed Weinberger , Maynard Smith , Budd Friedman , it goes on and on . And - they all have odd discombobulated expressions . They stare up at the PROJECTED ANDY .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( ON FILM . )<\/parenthetical>\n    <dialogue>Well. My show is over. I did my best, and I just want to say, until we meet again. please remember :.<\/dialogue>\n    <parenthetical>( he begins to SING . )<\/parenthetical>\n    <dialogue>`` In this friendly, friendly world. With each day so full of joy. Why should any heart be lonely.''<\/dialogue>\n    <scene_description>Some gathered people tentatively join in the SINGING .<\/scene_description>\n    <character>ANDY<\/character>\n    <parenthetical>( ON FILM ; cont 'd . )<\/parenthetical>\n    <dialogue>So everybody! Put your arm around the person next to you, even if you do n't like that person. Come on!<\/dialogue>\n    <parenthetical>( he resumes SINGING . )<\/parenthetical>\n    <dialogue>`` The world is such a wonderful place, To wander through, When you've got someone to love, To wander along with you. With the sky so full of stars, And the river so full of songs, Every heart should be so thankful, Thankful for this friendly, friendly world.''<\/dialogue>\n    <scene_description>The curtain behind the coffin OPENS and the casket with Andy 's body slowly slides into the DARKNESS . The curtain closes . The FILM ENDS . And all goes silent . Some people cry . Some begin to leave . Most of them are just staying , numbed . George and Zmuda whisper .<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>It's a perfect Kaufman audience.<\/dialogue>\n    <character>ZMUDA<\/character>\n    <dialogue>Yeah. They do n't know whether to be sad, or angry.<\/dialogue>\n    <scene_description>The Taxi cast are flustered .<\/scene_description>\n    <character>CAROL KANE<\/character>\n    <dialogue>Why are people leaving? The curtain's gon na open. Andy's gon na come out. I know it!<\/dialogue>\n    <character>TONY DANZA<\/character>\n    <dialogue>Sure, the body was just made of wax!<\/dialogue>\n    <parenthetical>( a very long beat . )<\/parenthetical>\n    <dialogue>Was n't it?<\/dialogue>\n    <scene_description>Silence . They look to the front . The closed curtain wafts . then settles motionless . FADE OUT .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUNSET BLVD.\/COMEDY STORE - NIGHT<\/stage_direction>\n    <scene_description>A SUPER slowly appears : `` EXACTLY ONE YEAR LATER '' On Sunset , TWO DUDES come riding along on skateboards . Suddenly they reach - INSANITY . Traffic on Sunset is jammed . HONKING limousines jockey to squeeze by . Confused , one Dude squints into the distance - and his eyes pop .<\/scene_description>\n    <character>DUDE #2<\/character>\n    <dialogue>Oh my GOD.<\/dialogue>\n    <parenthetical>( stupefied . )<\/parenthetical>\n    <dialogue>That's the freakiest thing I've ever seen! Look!<\/dialogue>\n    <scene_description>He points . His friend turns - and gasps . AT THE COMEDY STORE - The marquee says `` TONY CLIFTON : LIVE ! ''<\/scene_description>\n    <character>DUDE #1<\/character>\n    <dialogue>Man, we were right! He's not dead!<\/dialogue>\n    <character>DUDE #2<\/character>\n    <dialogue>He's just been lyin' low for a year! WE GOT TA GO!<\/dialogue>\n    <scene_description>Hysterical , the guys race up to the club . But outside , there 's a CRAZED , PULSING MOB . People are screaming . Police have barricades . Everybody cries to get in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMEDY STORE - SAME TIME<\/stage_direction>\n    <scene_description>It 's packed . Every square inch is filled with glittery Hollywood VIPs . People make chit - chat . but there is a squeamish excitement in the air . A brooding unease . Nobody knows what to expect . Suddenly - the lights go black . A BOOMING ANNOUNCER .<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Ladies and Gentlemen! Please put your hands together for. Tony Clifton!<\/dialogue>\n    <scene_description>The THEME FROM 2001 starts playing . `` DAAAAA , DAAAAA , DAAAAA ! DA - DAAAAA '' ! A small SPOT appears - on a peach tuxedo . The light grows bigger , bigger . the tension magnifying . people gasping . our view widening . until Tony Clifton is revealed onstage ! It 's an extraordinary theatrical moment - without response . The crowd has no idea what to do . Tony smirks .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <dialogue>How ya doin'?<\/dialogue>\n    <scene_description>Dead silence . Tony struts downstage . He waves to the crowd .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>How you doin' back there?!<\/dialogue>\n    <parenthetical>( to the front rows . )<\/parenthetical>\n    <dialogue>How you doin' up here?!<\/dialogue>\n    <scene_description>Still no response . Until - a lone reckless VOICE .<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Andy!<\/dialogue>\n    <scene_description>Whoa . The crowd rustles nervously . Tony grimaces .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <dialogue>Do n't know nothin' about no Andy. Just some dead guy tryin' to ride my coattails.<\/dialogue>\n    <parenthetical>( to the BAND . )<\/parenthetical>\n    <dialogue>Let's HIT IT, boys! One, two, anda one two three four!<\/dialogue>\n    <scene_description>The BAND kicks in with disco anthem `` I WILL SURVIVE . '' Tony starts SINGING the schmaltzy opening :<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>`` First I was afraid I was petrified. Kept thinkin' I could never live Without you at my side.''<\/dialogue>\n    <parenthetical>( he wipes away a pretend tear . )<\/parenthetical>\n    <dialogue>`` Were you the one that tried to Hurt me with goodbye? Did you think I'd crumble? Did you think I'd lay down and Die?''<\/dialogue>\n    <scene_description>We PAN the room full of enthralled spectators . At a front table are George and Lynne . Tony attacks the chorus .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>`` Oh no not I! I WILL SURVIVE! As long as I know how to love, I know I'll simply stay alive!''<\/dialogue>\n    <scene_description>In the crowd , we pass face after face - smiling . frowning . intrigued . confused . until we settle on a man in the very last row . Bob Zmuda . Enjoying the show more than anyone .<\/scene_description>\n    <character>TONY CLIFTON<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>`` I've got all my life to live I've got all my life to give. I will survive.''.<\/dialogue>\n    <parenthetical>( he hits his big finish . )<\/parenthetical>\n    <dialogue>`` I - WILL - SURVIVE!''<\/dialogue>\n    <scene_description>The music CRESCENDOS , and the song ENDS . Zmuda grins and APPLAUDS proudly . FADE OUT . THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Andy Kaufman is a struggling performer whose act fails in nightclubs because, while the audience wants comedy, he sings children's songs and refuses to tell conventional jokes. As the audience begins to believe that Kaufman may have no real talent, his previously timid \"foreign man\" character puts on a rhinestone jacket and does a dead-on Elvis impersonation. The audience bursts into applause, realizing Kaufman had tricked them. Kaufman catches the eye of talent agent George Shapiro, who signs him as a client and immediately lands him a network TV series, Taxi, much to Kaufman's dismay, since he dislikes sitcoms. Because of the money, visibility, and a promise that he can do his own television special, Kaufman accepts the role, turning his foreign man into a mechanic named Latka Gravas. Secretly he hates doing the show and expresses a desire to quit. Invited to catch a different act at a nightclub, Shapiro witnesses a performance by a rude, loud-mouthed lounge singer, Tony Clifton, whom Kaufman wants to guest-star on Taxi. Clifton's bad attitude is matched by his horrible appearance and demeanor. But backstage, when he meets Shapiro in person, Clifton takes off his sunglasses and reveals that he is actually Kaufman. Clifton is a \"villain character\" created by Kaufman and his creative partner, Bob Zmuda. Once again, the gag is on the audience. Kaufman's profile increases with appearances on Saturday Night Live, but he has problems with his newfound fame. When performing live, audiences dislike his strange anti-humor and demand that he perform as Latka. At one show, he deliberately antagonizes attendees by reading The Great Gatsby aloud from start to finish. Kaufman shows up on the Taxi set as Clifton and proceeds to cause chaos until he is removed from the set. He relates to Shapiro that he never knows exactly how to entertain an audience \"short of faking my own death or setting the theater on fire.\" Kaufman decides to become a professional wrestler \u2014 but to emphasize the \"villain\" angle, he will wrestle only women (hired actresses) and then berate them after winning, declaring himself \"Inter-Gender Wrestling Champion.\" He becomes smitten with one woman he wrestles, Lynne Margulies, and they begin a romantic relationship. Problems arise when, during an appearance on ABC's live TV comedy show Fridays, Kaufman refuses to speak his lines. Kaufman feuds publicly with Jerry Lawler, a male professional wrestler, who challenges him to a \"real wrestling match\", which Kaufman accepts. Lawler easily overpowers and appears to seriously injure Kaufman. Lawler and an injured Kaufman (wearing a neck brace) appear on NBC's Late Night with David Letterman, ostensibly to call a truce, but Lawler insults Kaufman, who spews a vicious tirade of epithets and throws coffee at the wrestler. It is later revealed that Kaufman and Lawler were in fact good friends and staged the entire feud, but Kaufman pays a price when he is banned from SNL by a vote of audience members, weary of his wrestling antics. Shapiro advises Kaufman and Lawler not to work together again, and later calls Kaufman to inform him that Taxi has been canceled. After a show at a comedy club, Kaufman calls together Lynne, Zmuda, and Shapiro to disclose that he has been diagnosed with a rare form of lung cancer and may die soon. They aren't sure whether to believe this, thinking it could be yet another stunt, with Zmuda actually believing a fake death would be a fantastic prank. With little time to live, Kaufman gets a booking at Carnegie Hall, his dream venue. The performance is a memorable success, culminating with Kaufman inviting the entire audience out for milk and cookies. His health deteriorates. Desperate, Kaufman heads to the Philippines to seek a medical miracle through psychic surgery only to find it a hoax, laughing at the irony. He dies soon after. At Kaufman's funeral, friends and loved ones sing along to \"This Friendly World\" with a video of Kaufman. One year later, in 1985, Clifton appears at Kaufman's tribute at The Comedy Store's main stage, performing \"I Will Survive\". Zmuda watches in the audience."}
{"movie_name":"Horrible Bosses 2_2014","imdb_id":"tt2170439","script":"<script>\n  <scene>\n    <character>HORRIBLE BOSSES 2<\/character>\n    <dialogue>by<\/dialogue>\n    <scene_description>Jonathan Goldstein<\/scene_description>\n    <character>&amp;<\/character>\n    <dialogue>John Francis Daley<\/dialogue>\n    <scene_description>April 20, 2012<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY - MORNING<\/stage_direction>\n    <scene_description>From overhead, we see a Toyota Prius chugging along down the highway.<\/scene_description>\n    <character>NICK (V.O.)<\/character>\n    <dialogue>When you're the president of the 98th largest financial services company in America you need to project a certain image. An image of boldness, strength and confidence.<\/dialogue>\n    <scene_description>Suddenly, a brand new, shiny black Porsche Boxster convertible ZOOMS around the Prius, leaving it in the dust. As we move in, we see the driver of the Porsche is NICK HENDRICKS. Sunglasses. Top down. Wind in his hair. He looks pretty cool.<\/scene_description>\n    <character>NICK (V.O.)<\/character>\n    <dialogue>You're not gonna get that image driving a Prius.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COMNIDYNE PARKING LOT - MOMENTS LATER<\/stage_direction>\n    <scene_description>Nick pulls into the lot and takes a reserved spot near the entrance with a sign that reads \"NICK HENDRICKS, PRESIDENT.\" He gets out of the Porsche and removes the dealer's paper floormat from under the pedals.<\/scene_description>\n    <character>NICK (V.O.)<\/character>\n    <dialogue>I put in a lot of years to become president of Comnindyne and now I'm earning a lot more and working a lot... more. The strange thing is, when I finally made it to the top, I realized that I'd actually only made it to the bottom of the top.<\/dialogue>\n    <scene_description>Nick heads toward the building, passing several parking spots with much more expensive sports cars (Ferrari, Porsche 911 Turbo, Mercedes SLR McLaren) each with a sign bearing a name and the title \"PRESIDENT.\"<\/scene_description>\n    <character>NICK (V.O.)<\/character>\n    <dialogue>Turns out Comnidyne has seven presidents. And I'm the most junior.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONFERENCE ROOM - MINUTES LATER<\/stage_direction>\n    <scene_description>Nick enters to find his more senior COLLEAGUES in their morning meeting.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Hey, sorry I'm late.<\/dialogue>\n    <parenthetical>(holding up keys)<\/parenthetical>\n    <dialogue>Had to stop by the dealership to pick up a little something.<\/dialogue>\n    <scene_description>The others all react, impressed. PETER, 40's, squat, gnome- like, heads to the window which looks down at the parking lot.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Well done. Hendricks got himself some big boy wheels.<\/dialogue>\n    <scene_description>Another colleague, ARTHUR, 60's, joins them at the window.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <parenthetical>(looking outside)<\/parenthetical>\n    <dialogue>Which one is she?<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(pointing)<\/parenthetical>\n    <dialogue>Right there. She's the Porsche.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Barely. You got a Boxster?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Uh huh. Two-thousand thirteen.<\/dialogue>\n    <scene_description>A sallow-looking woman, JEANINE, 50's, chimes in.<\/scene_description>\n    <character>JEANINE<\/character>\n    <dialogue>Cost you that much?<\/dialogue>\n    <scene_description>The others all laugh derisively.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>It's a great little car.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>That's adorable. You're a great little man.<\/dialogue>\n    <scene_description>GLEN, 50's, hairpiece and jowls, steps up.<\/scene_description>\n    <character>GLEN<\/character>\n    <dialogue>I got my daughter a Boxster for her Sweet 16. Made me take it back. Said it was \"too girly.\"<\/dialogue>\n    <scene_description>They all laugh again. Nick grits his teeth.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Okay. Maybe we should get to work.<\/dialogue>\n    <character>ARTHUR<\/character>\n    <dialogue>You couldn't at least spring for the Carrera?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Figured I'd go with the classic.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Uh, the Boxster was introduced about forty years after the Carrera. So, not exactly \"a classic.\"<\/dialogue>\n    <character>JEANINE<\/character>\n    <parenthetical>(patting him on the shoulder)<\/parenthetical>\n    <dialogue>Don't worry, Nick. Another ten years here, you'll be able to afford a real car.<\/dialogue>\n    <scene_description>Nick stares at her.<\/scene_description>\n    <character>ARTHUR<\/character>\n    <dialogue>All right, guys. Looks like the Swiss are about to change their drawdown regs, so we need to talk about a new home for our master feeder fund.<\/dialogue>\n    <scene_description>The presidents turn back to the piles of paperwork on the table in front of them and resume their dreary work. As they talk, the sound drops down and we PUSH IN on Nick as he stares at his colleagues.<\/scene_description>\n    <character>NICK (V.O.)<\/character>\n    <dialogue>You know what's at the top of the corporate ladder? Another goddamn ladder. I may be a president, but I'm really just a fucking corporate tool.<\/dialogue>\n    <scene_description>FREEZE ON Nick's forlorn expression as the words appear over him: FUCKING CORPORATE TOOL<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACKYARD POOL - DAY<\/stage_direction>\n    <scene_description>We find KURT BUCKMAN sitting poolside on a chaise lounge, reading US Weekly and sipping a can of beer.<\/scene_description>\n    <character>KURT (V.O.)<\/character>\n    <dialogue>You're probably wondering, \"how does this handsome bastard get to sit by the pool with a beer on a workday?\" Well, here's how: you quit your job, find a sugar mama whose rich husband is out of the picture and let her take care of you.<\/dialogue>\n    <scene_description>He puts the magazine over his face and is about to take a nap.<\/scene_description>\n    <character>WOMAN'S VOICE (O.S.)<\/character>\n    <dialogue>Kurt! Refill!<\/dialogue>\n    <scene_description>Kurt sets the magazine aside and springs to his feet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARKEN LIVING ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Kurt enters, carrying three glasses of mojitos. Sitting on the couch is RHONDA HARKEN and her friends, NIKKI, late 30's, a lot of work done, and HEIDI, early 40's, even more work.<\/scene_description>\n    <character>KURT (V.O.)<\/character>\n    <dialogue>Does it bother me that my sugar mama happens to be the ex-wife of the man who tried to kill me and my friends? Meh.<\/dialogue>\n    <character>RHONDA<\/character>\n    <parenthetical>(to the girls)<\/parenthetical>\n    <dialogue>She spends thousands on Botox. She should spend 50 cents on a razor for that moustache.<\/dialogue>\n    <character>HEIDI<\/character>\n    <dialogue>She looks like Tom Selleck with fake boobs!<\/dialogue>\n    <scene_description>The girls cackle. Kurt quietly sets the glasses on the coffee table and turns to go.<\/scene_description>\n    <character>RHONDA<\/character>\n    <dialogue>Kurt. Really?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RHONDA<\/character>\n    <dialogue>The table. It's African bubinga wood. I've told you. Use a coaster.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Right. Sorry.<\/dialogue>\n    <scene_description>He puts a coaster under each glass.<\/scene_description>\n    <character>RHONDA<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <parenthetical>(back to the girls)<\/parenthetical>\n    <dialogue>Speaking of Erica, have you seen how fat her husband has gotten?<\/dialogue>\n    <character>NIKKI<\/character>\n    <dialogue>Have you seen my tub of shit lately? He's gained thirty pounds since the holidays.<\/dialogue>\n    <character>HEIDI<\/character>\n    <parenthetical>(to Rhonda, indicating Kurt)<\/parenthetical>\n    <dialogue>At least you got a good one.<\/dialogue>\n    <scene_description>Kurt grins, flattered.<\/scene_description>\n    <character>RHONDA<\/character>\n    <dialogue>He's okay.<\/dialogue>\n    <scene_description>Kurt's smile fades.<\/scene_description>\n    <character>RHONDA<\/character>\n    <dialogue>Getting a little doughy in the middle.<\/dialogue>\n    <character>NIKKI<\/character>\n    <dialogue>I don't believe it.<\/dialogue>\n    <character>RHONDA<\/character>\n    <dialogue>It's true.<\/dialogue>\n    <parenthetical>(to Kurt)<\/parenthetical>\n    <dialogue>Pop that shirt off. Show them.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>RHONDA<\/character>\n    <dialogue>The shirt. Pop it off.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>I'm not gonna--<\/dialogue>\n    <character>RHONDA<\/character>\n    <parenthetical>(sternly)<\/parenthetical>\n    <dialogue>Pop it.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Rhonda, I really don't--<\/dialogue>\n    <character>RHONDA<\/character>\n    <dialogue>Pop. It. Off.<\/dialogue>\n    <scene_description>Resigned, Kurt takes his shirt off. He's in pretty good shape.<\/scene_description>\n    <character>RHONDA<\/character>\n    <dialogue>Look at that.<\/dialogue>\n    <character>HEIDI<\/character>\n    <dialogue>He looks all right to me.<\/dialogue>\n    <character>RHONDA<\/character>\n    <dialogue>No, look.<\/dialogue>\n    <scene_description>She grabs what belly fat Kurt has, pinching and jiggling it.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>RHONDA<\/character>\n    <dialogue>How do we get rid of this? Because this is gross. Here, touch it.<\/dialogue>\n    <scene_description>As the other women begin to poke and prod Kurt's abdomen, he sighs heavily.<\/scene_description>\n    <character>KURT (V.O.)<\/character>\n    <dialogue>I guess the only real downside of this whole arrangement is that sometimes I feel kinda, I don't know, bad about myself. Like I've turned into a ball-less little bitch.<\/dialogue>\n    <scene_description>FREEZE ON Kurt as the words appear over him: BALL-LESS LITTLE BITCH<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DALE'S HOUSE - DAY<\/stage_direction>\n    <scene_description>DALE ARBUS opens the front door of his tiny house. His VERY pregnant wife, STACY, bids him goodbye. Dale leans in to kiss her, but her enormous belly makes it hard to reach her face.<\/scene_description>\n    <character>DALE (V.O.)<\/character>\n    <dialogue>It's all happening. I got married. Stacy's pregnant-- with triplets! And I finally got my sex offender status expunged. Which is great, because otherwise I'd have to stay 100 yards from my own kids.<\/dialogue>\n    <scene_description>Dale crosses to his car and pulls out of the driveway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DR. SLOCUM'S OFFICE - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Dale pulls into the parking lot, passing a sign that reads \"DR. HARLEN SLOCUM, PEDIATRIC DENTIST\" above an image of a cartoon TOOTH having its own tooth pulled by another TOOTH dressed as a dentist.<\/scene_description>\n    <character>DALE (V.O.)<\/character>\n    <dialogue>I quit my dental assistant job and got a new job. As a dental assistant. But for a really sweet man.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DR. SLOCUM'S OFFICE HALLWAY - MOMENTS LATER<\/stage_direction>\n    <scene_description>Dale walks down a hallway, passing framed photos of DR. SLOCUM in his dental scrubs at age 35... 45... 55... 75... 80-something.<\/scene_description>\n    <character>DALE (V.O.)<\/character>\n    <dialogue>A really sweet, really, really old man.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAITING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Dale enters a world of CHAOS populated by screaming KIDS and a handful of exhausted PARENTS. Toys lie strewn everywhere. A group of TODDLERS tear the upholstery out of a sofa cushion. A RECEPTIONIST sits at a desk, oblivious. Dale takes a step and TRIPS over something off-camera. He looks down and picks up the CRYING INFANT he stumbled on.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Okay, whose baby is this? You can't just leave your babies on the floor.<\/dialogue>\n    <scene_description>A harried MOTHER takes the baby from him as he carefully picks his way across the kid-covered floor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EXAMINATION ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Dale enters to find a 4 YEAR-OLD BOY, GABE, hollering miserably as DR. SLOCUM, 80's, sits slumped asleep with dental tools still inside Gabe's open mouth.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Not again.<\/dialogue>\n    <scene_description>Dale hurries over and nudges the dentist awake.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Dr. Slocum! Wake up. You're with a patient.<\/dialogue>\n    <character>DR. SLOCUM<\/character>\n    <parenthetical>(groggy)<\/parenthetical>\n    <dialogue>What?! I know. What?!<\/dialogue>\n    <scene_description>Dale gently removes the tools from Gabe's mouth. Gabe stops yelling.<\/scene_description>\n    <character>DALE<\/character>\n    <parenthetical>(to Gabe)<\/parenthetical>\n    <dialogue>You're okay, buddy.<\/dialogue>\n    <parenthetical>(checking)<\/parenthetical>\n    <dialogue>Nothing bleeding here.<\/dialogue>\n    <character>GABE<\/character>\n    <dialogue>I have to pee.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Okay. Bathroom's down the hall.<\/dialogue>\n    <character>GABE<\/character>\n    <dialogue>Someone has to take me.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Where's your mommy?<\/dialogue>\n    <character>GABE<\/character>\n    <dialogue>She's at Target.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Oh. Okay, I'll take you.<\/dialogue>\n    <character>DR. SLOCUM<\/character>\n    <dialogue>Hang on. I've got to check his lower left cuspid.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>He's gotta go to the bathroom, doctor.<\/dialogue>\n    <character>DR. SLOCUM<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <scene_description>Dale escorts the boy out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Dale leads Gabe to the bathroom door.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Okay. Here you go.<\/dialogue>\n    <character>GABE<\/character>\n    <dialogue>You have to come in and help me.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Help you? What do you mean?<\/dialogue>\n    <character>GABE<\/character>\n    <dialogue>You have to unbutton my pants.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>I don't think that's a great idea, Gabe.<\/dialogue>\n    <character>GABE<\/character>\n    <dialogue>Please! I have to go!<\/dialogue>\n    <scene_description>Dale looks around furtively.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Okay, come on.<\/dialogue>\n    <parenthetical>(hustling him inside)<\/parenthetical>\n    <dialogue>Quick, quick, come on.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Dale and Gabe enter. Dale locks the door behind them and starts uncomfortably undoing Gabe's pants.<\/scene_description>\n    <character>DALE<\/character>\n    <parenthetical>(mumbling)<\/parenthetical>\n    <dialogue>It's just that I recently had something expunged from my record. It was a big misunderstanding. Empty playground. No kids anywhere. But I really shouldn't be doing this...<\/dialogue>\n    <scene_description>He gets the pants open and heads for the door.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Okay. You're good to go. I'll wait outside.<\/dialogue>\n    <character>GABE<\/character>\n    <dialogue>No! You have to aim for me.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>What?! No one's taught you how to aim?<\/dialogue>\n    <scene_description>Gabe shakes his head.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>What kind of parenting-- Is your mom always at Target?<\/dialogue>\n    <character>GABE<\/character>\n    <dialogue>I'm gonna go in my pants!<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>I'm gonna go to jail!<\/dialogue>\n    <scene_description>Gabe does a desperate pee pee dance.<\/scene_description>\n    <character>GABE<\/character>\n    <dialogue>Please! It hurts!<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Aw man. You're really gonna make me do this?<\/dialogue>\n    <parenthetical>(sighs)<\/parenthetical>\n    <dialogue>All right. Let's get it over with.<\/dialogue>\n    <scene_description>Dale takes a latex glove from his dental scrubs and pulls it on his hand. With his arm outstretched and looking the other way, he helps Gabe aim (off-screen). We hear the sound of peeing.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>There you go.<\/dialogue>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>This is not a good situation.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - MINUTES LATER<\/stage_direction>\n    <scene_description>A mortified Dale leads Gabe back to the exam room. Dale peels off his glove and tosses it in a bin.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Feel better?<\/dialogue>\n    <character>GABE<\/character>\n    <dialogue>Yes. Thank you.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>You're welcome.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Now, you don't necessarily have to tell your mom that I helped you pee. It can be our secret.<\/dialogue>\n    <parenthetical>(quickly)<\/parenthetical>\n    <dialogue>Not a secret. Just a fun thing that we never tell anyone else.<\/dialogue>\n    <parenthetical>(quickly)<\/parenthetical>\n    <dialogue>Not a fun thing. Just a secret.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DR. SLOCUM'S OFFICE - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Dale peers through the blinds and sees Gabe getting in a car with his MOTHER. The car pulls out of its parking spot and drives forward fifty feet or so, then SCREECHES to a halt, SLAMS into reverse and ZOOMS back into the parking lot. Dale looks like he's going to puke as Gabe's mother exits the car and marches toward the building.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Oh shit oh shit oh shit...<\/dialogue>\n    <scene_description>He hurries to the waiting room to head her off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAITING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Dale bursts through the door to find Gabe's mother walking up to the receptionist.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Let me expl--<\/dialogue>\n    <character>GABE'S MOTHER<\/character>\n    <parenthetical>(to Receptionist)<\/parenthetical>\n    <dialogue>I completely forgot to schedule Gabe's next appointment.<\/dialogue>\n    <scene_description>Dale lets out an enormous sigh of relief.<\/scene_description>\n    <character>DALE (V.O.)<\/character>\n    <dialogue>I guess if I'm being honest, this job stresses the crap out of me. I'm not so much a dental assistant as a goddamn babysitter.<\/dialogue>\n    <scene_description>We FREEZE on Dale's face as the words appear: GOD DAMN BABYSITTER<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSCALE HOTEL BAR - THAT NIGHT<\/stage_direction>\n    <scene_description>Nick, Kurt and Dale sit at a table with drinks. Like Nick, most of the PATRONS wear business attire. Many are older. A PIANIST plays soft jazz in one corner.<\/scene_description>\n    <character>KURT<\/character>\n    <parenthetical>(to Dale)<\/parenthetical>\n    <dialogue>What's the deal with you and little kids' dicks?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>There weren't \"dicks.\" It was just one. You make it sound like it was a boys choir!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I don't know, Dale. I'm starting to see a pattern here. I mean, if I had been on the sex offender registry, I'd try and avoid handling kids' private parts.<\/dialogue>\n    <character>KURT<\/character>\n    <parenthetical>(to Dale)<\/parenthetical>\n    <dialogue>I don't think I can be friends with you anymore.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Yeah, feels like two strikes is enough.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>What was I supposed to do? Let the kid piss in his pants?<\/dialogue>\n    <character>KURT\/NICK<\/character>\n    <dialogue>Yeah.\/Uh huh.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>You guys don't get it. You're not fathers-to-be. You don't have the instinct to protect children.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>I have the instinct to protect them from people like you.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Very funny.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>How's Stacy feeling?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Pregnant. Very pregnant. I don't think the human body is designed to carry three babies.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Are you grossed out by her body?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>No! Of course not. It's beautiful.<\/dialogue>\n    <parenthetical>(off their looks)<\/parenthetical>\n    <dialogue>It's a little gross. She's got this weird line that runs down her belly.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Yeesh. Not worth it, I say. A WAITER sets down a fresh dish of olives, removing the old dish full of pits. Dale eagerly begins eating the new ones.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Dale, that's your fourth bowl of olives.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>I like olives.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Just because they keep bringing them doesn't mean you have to keep wolfing them down.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>But I like 'em.<\/dialogue>\n    <character>KURT<\/character>\n    <parenthetical>(to Nick)<\/parenthetical>\n    <dialogue>What do you care?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>It's embarrassing. This is a classy place.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>It's a bullshit place. I don't know why you drag us here all the time.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Yeah, what was wrong with our old bar?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>This is much nicer.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Hotel bars suck. The beer costs ten bucks and the women are either old or hookers I can't afford.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>And that bathroom attendant expects me to pay him for paper towels, so I can't even wash my hands.<\/dialogue>\n    <scene_description>Kurt and Nick grimace as Dale roots through the olive dish.<\/scene_description>\n    <character>KURT<\/character>\n    <parenthetical>(to Nick)<\/parenthetical>\n    <dialogue>I know why you like this place. You're a fancypants.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Admit it. Since you became president, you've gotten all fancy.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I'm not a fancypants.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Dale?<\/dialogue>\n    <character>DALE<\/character>\n    <parenthetical>(to Nick)<\/parenthetical>\n    <dialogue>You're a little fancy.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Fuck you guys.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Hey, hey. That's not a very fancy thing to say.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>It's just that lately you seem to care a lot more about where you drink, what you wear, what kind of car you drive--<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>How many olives I eat.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Look, when you get to my position, people expect certain things of you.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>But you're the boss. Doesn't that mean you don't have to care what people think of you anymore?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>It's more complicated than that.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Hey, as long as it's making you happy.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>We stay on NICK. It's pretty clear that he is not happy. From the hallway outside the bar, they suddenly hear MUSIC blaring over a loudspeaker. It's \"I GOTTA FEELING\" by The Black Eyed Peas, accompanied by CHEERING from what sounds like a decent-sized crowd.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>What's going on out there?<\/dialogue>\n    <scene_description>They exchange a curious look.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL BALLROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Nick, Kurt and Dale open the door find a motivational seminar in progress. An audience of around 100 PEOPLE sit in rows of seats as the music BOOMS from a PA. On a riser at the front of the room, an energetic 40-something man claps along to the song.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Who is that?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>You don't know who that is? That's Denny Paul.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>How do you know him?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>From his sign.<\/dialogue>\n    <scene_description>Dale points behind them to a sign featuring a headshot of DENNY PAUL beneath the title \"YOU DA BOSS!\" Denny picks up a mic as the music fades out.<\/scene_description>\n    <character>DENNY<\/character>\n    <dialogue>Am I the only one who has a feeling that tonight is gonna be a good, good night?!<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Let's go.<\/dialogue>\n    <scene_description>Nick and Kurt start to go.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Wait. Let's see what Denny has to say.<\/dialogue>\n    <character>DENNY<\/character>\n    <dialogue>Show of hands. Who here had a vision when they were younger of where they wanted their life to go?<\/dialogue>\n    <scene_description>Most of the crowd raises their hands.<\/scene_description>\n    <character>DENNY<\/character>\n    <dialogue>Okay. Now how many of you are living that vision? Who here is living their \"vision life\"?<\/dialogue>\n    <scene_description>Only a few hands go up. Denny \"scans\" the crowd.<\/scene_description>\n    <character>DENNY<\/character>\n    <dialogue>Hmm. I don't see any hands. Oh wait, here's one. Boom.<\/dialogue>\n    <scene_description>He puts up his own hand and points at it.<\/scene_description>\n    <character>DENNY<\/character>\n    <dialogue>That's right. This guy with his hand up? You know who he is? He's me. Just little old me. Living my vision life. Wanna know how I did it?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Don't care.<\/dialogue>\n    <character>DENNY<\/character>\n    <dialogue>I grabbed the reins of the horse that was my life and I slapped that horse's ass and I made it ride where I wanted it to ride. Not down some shitty path that the horse wanted to ride. Because horses are idiots.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>He's not wrong.<\/dialogue>\n    <character>DENNY<\/character>\n    <dialogue>Here's the deal, gang: the only people who are truly happy in this crazy world are the ones who don't have to answer to anybody. They're their own boss. They control their destiny.<\/dialogue>\n    <scene_description>ANGLE ON Nick and Kurt who are actually listening now.<\/scene_description>\n    <character>DENNY<\/character>\n    <dialogue>See, I used to be just like you. A drone. No self-respect. Working for the man. Then I realized, I am the man. I quit my job, left my loveless marriage and started my own business... helping other people start their own business. And here's the kicker, folks. Last year, I made in the very high five figures. Guess what? Vision life. Lovin' it.<\/dialogue>\n    <scene_description>Denny drops the mic to the floor. The crowd applauds appreciatively. After a moment, Denny picks up the mic again.<\/scene_description>\n    <character>DENNY<\/character>\n    <dialogue>So let's get into the fifteen steps. Step one: take a good look at yourself in the mirror, or any reflective surface: a shiny pan, a still puddle--<\/dialogue>\n    <scene_description>A HOTEL EMPLOYEE approaches the guys.<\/scene_description>\n    <character>HOTEL EMPLOYEE<\/character>\n    <dialogue>Excuse me, gentlemen, can I see your tickets, please?<\/dialogue>\n    <scene_description>Nick, Kurt and Dale all shake their heads and wander out of the ballroom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSCALE HOTEL BAR - LATER<\/stage_direction>\n    <scene_description>The guys are back in the bar.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>All I'm saying is, Denny Paul has a point. I thought that when I went to work for Dr. Slocum I'd be happier. But my job still kinda sucks.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I hear you, Dale. I'm not exactly living the dream either.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Seriously? Have you learned nothing? You want to kill your bosses again?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>What? No! I just mean, maybe the problem wasn't working for our old bosses. Maybe the problem is working for anyone.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>I don't work for anyone.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>You kinda do.<\/dialogue>\n    <character>DALE<\/character>\n    <parenthetical>(to Kurt)<\/parenthetical>\n    <dialogue>Mrs. Harken treats you like a slave.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>You don't have sex with a slave.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Thomas Jefferson did.<\/dialogue>\n    <character>DALE<\/character>\n    <parenthetical>(noticing)<\/parenthetical>\n    <dialogue>Hey, look.<\/dialogue>\n    <scene_description>ANGLE ON Denny Paul drinking a whisky at the bar.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>It's Denny Paul.<\/dialogue>\n    <parenthetical>(calling to him)<\/parenthetical>\n    <dialogue>Denny! Mr. Paul!<\/dialogue>\n    <parenthetical>(Denny looks over)<\/parenthetical>\n    <dialogue>Can we buy you a drink?<\/dialogue>\n    <scene_description>Nick and Kurt grimace. Denny shrugs, downs his drink, signals the bartender for another one, and ambles over to them. He looks fairly drunk.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Buying him a drink.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Doesn't really look like he needs one.<\/dialogue>\n    <character>DENNY<\/character>\n    <parenthetical>(a bit slurred)<\/parenthetical>\n    <dialogue>What's up, guys?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>We really enjoyed your seminar--<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>We snuck in.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>And we left after five minutes.<\/dialogue>\n    <character>DENNY<\/character>\n    <dialogue>Candor alert! Look out.<\/dialogue>\n    <scene_description>The Waiter sets down Denny's drink. He downs it in one gulp and gestures for another.<\/scene_description>\n    <character>KURT<\/character>\n    <parenthetical>(sotto to Nick)<\/parenthetical>\n    <dialogue>Alcoholic alert.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Look out.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>I'm Dale. This is Nick and Kurt. We were just talking about how great it would be to be our own bosses.<\/dialogue>\n    <character>DENNY<\/character>\n    <dialogue>If talking was doing, a telephone would be a hammer.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Not sure I get that.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>That's only because it makes no sense.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>How did you do it, Denny? Did you follow your own fifteen steps?<\/dialogue>\n    <scene_description>Denny looks at them and considers for a beat.<\/scene_description>\n    <character>DENNY<\/character>\n    <dialogue>Buy me another drink.<\/dialogue>\n    <scene_description>Dale signals the waiter.<\/scene_description>\n    <character>DENNY<\/character>\n    <parenthetical>(leaning in)<\/parenthetical>\n    <dialogue>You wanna know a secret? The fifteen steps are bullshit.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Get out of town.<\/dialogue>\n    <character>DENNY<\/character>\n    <dialogue>Yeah. I just made 'em up. People love steps. And they love being told what to do.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>So, what do we do? Tell us?<\/dialogue>\n    <character>DENNY<\/character>\n    <dialogue>You want to know how I started my business?<\/dialogue>\n    <scene_description>He fumbles for his wallet, taking it out and handing them a business card.<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>International Venture Partners?<\/dialogue>\n    <character>DENNY<\/character>\n    <dialogue>Bingo. Venture capital. These guys set me up with enough cash to get \"You Da Boss\" off the ground.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>What's the catch?<\/dialogue>\n    <character>DENNY<\/character>\n    <dialogue>No catch. They take a 10 percent ownership stake. They make money when you make money. You just gotta have a good enough idea.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>And \"You Da Boss\" was a good enough idea?<\/dialogue>\n    <character>DENNY<\/character>\n    <dialogue>Did you see that crowd tonight? I'm a very charismatic guy.<\/dialogue>\n    <scene_description>Denny notices a WOMAN in a pencil skirt walk past.<\/scene_description>\n    <character>DENNY<\/character>\n    <dialogue>Excuse me. Are you a prostitute?<\/dialogue>\n    <scene_description>The guys look horrified.<\/scene_description>\n    <character>WOMAN<\/character>\n    <parenthetical>(after a beat)<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <character>DENNY<\/character>\n    <parenthetical>(getting up)<\/parenthetical>\n    <dialogue>All right, guys. Good luck with... whatever we were talking about.<\/dialogue>\n    <scene_description>He stumbles off with the prostitute. Kurt and Nick watch him go, incredulous. Dale stares at the business card.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Hmm. A lot to think about.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARKEN'S HOUSE - LATER<\/stage_direction>\n    <scene_description>Nick, Kurt and Dale enter from the front door.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Keep your voices down. I don't want to wake her.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>It's past your curfew, isn't it?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>You want to get smacked?<\/dialogue>\n    <character>DALE<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <scene_description>They head into the living room.<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(looking around nervously)<\/parenthetical>\n    <dialogue>Does she still have that cat?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>No. He ran away months ago.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Good.<\/dialogue>\n    <scene_description>Relieved, Nick sits on the sofa. As he does, a CAT leaps onto his shoulder from behind with a YOWL and darts away.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>What the hell?! You said he ran away.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>That's the new cat.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>What, does she rescue them from a haunted house?<\/dialogue>\n    <scene_description>Kurt pours drinks from a wet bar and they all sit. Dale sets his drink on the table.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Dale! Use a coaster. That's bubinga wood.<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(to Kurt)<\/parenthetical>\n    <dialogue>Who are you?<\/dialogue>\n    <character>DALE<\/character>\n    <parenthetical>(holding up business card)<\/parenthetical>\n    <dialogue>I think we should seriously consider this venture capital thing.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>They don't just hand you money, Dale. You need to pitch them a good business idea.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Like an invention?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Could be.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>I've got a ton of ideas for inventions.<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(dubious)<\/parenthetical>\n    <dialogue>Do you?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>You know how your dick sticks to your balls when it's hot out?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Um...<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Picture this: underwear with compartments that separate your dick from your balls.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>No one's gonna fund that.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>When it's hot out, they will. We'll just pitch it on a hot day.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>That's a stupid idea.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>It should be a non-stick spray for your balls, like Pam.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Much better.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Wait, wait, I got one. Regular sized condoms that are packaged in Magnum condom wrappers. So the girl you're with thinks you've got a big dick.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Ooh, that just gave me an idea. A condom in a spray can. It goes on as a liquid, and then it hardens into a solid.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>You're just taking my ideas and putting them in spray cans.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <character>KURT<\/character>\n    <dialogue>And how are you supposed to remove the rubber after it's fused onto your penis?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>It'll come with an antidote spray. Some kind of acid. That's for our lab guys to figure out.<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(to Dale and Kurt)<\/parenthetical>\n    <dialogue>Why do all of your inventions have to do with dicks and balls?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>I don't know. Why were all of the Wright Brothers' ideas about planes?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Maybe Nick's right. Maybe we need to focus more on vagina inventions.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>No, the key to a good invention is that it solves some everyday problem.<\/dialogue>\n    <scene_description>They sit there and think for a minute.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Okay, here's an everyday problem: showering. You gotta shampoo, condition, lather up, rinse, repeat. It takes forever.<\/dialogue>\n    <scene_description>There's a beat.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>So what's the invention?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>I don't know. I thought we were just talking about problems.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I think I'm gonna go to bed.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>One sec. Dummy may be onto something. It does seem like showering is pretty inefficient.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Right? I bet the average person loses a day every week just showering.<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(re: Dale's math)<\/parenthetical>\n    <dialogue>Feels wrong.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>What if there was some kind of a showerhead that you fill with soap, shampoo and conditioner and it mixes it with the water?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Yeah! You could turn a dial to choose what you want it to spray. Like those Miracle-Gro things you attach to a garden hose.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Right.<\/dialogue>\n    <scene_description>They turn to Nick for his reaction.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>It's... not terrible. But I'm sure it already exists.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARKEN KITCHEN - MOMENTS LATER<\/stage_direction>\n    <scene_description>The guys stand around a laptop computer. On the screen is a Google search for \"showerhead with built-in soap.\"<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Not finding it.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Try Bed, Bath &amp; Beyond. They've got everything.<\/dialogue>\n    <scene_description>Kurt does.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>So, should we call that venture capital guy?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>It's 2 in the morning, Dale. And you don't have a prototype or even a name for this thing.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>How about... the Shower Buddy?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>That sounds like a gay friend who soaps up your back in the shower.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>I don't know why you go right to \"gay.\"<\/dialogue>\n    <parenthetical>(types on laptop)<\/parenthetical>\n    <dialogue>Let's see what comes up under \"Shower Buddy.\"<\/dialogue>\n    <scene_description>They all cringe and recoil at what appears on screen.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Okay, that's pretty gay. But it's not a product.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>It's more of a... position.<\/dialogue>\n    <scene_description>Rhonda enters in a bathrobe.<\/scene_description>\n    <character>RHONDA<\/character>\n    <dialogue>What's going on in here?<\/dialogue>\n    <scene_description>Kurt hastily slams the laptop shut on Dale's hand.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Ow!<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Just hanging out with the guys, hon.<\/dialogue>\n    <character>RHONDA<\/character>\n    <dialogue>Do you know what time it is? Some of us have to work in the morning.<\/dialogue>\n    <character>KURT<\/character>\n    <parenthetical>(under his breath)<\/parenthetical>\n    <dialogue>You don't work.<\/dialogue>\n    <character>RHONDA<\/character>\n    <dialogue>I've got yoga at ten. And I don't appreciate the attitude. It's time to say goodnight to your friends.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>But--<\/dialogue>\n    <scene_description>She shuts him down with a look.<\/scene_description>\n    <character>KURT<\/character>\n    <parenthetical>(to Nick and Kurt)<\/parenthetical>\n    <dialogue>You guys better go.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>What about our Shower Buddy?<\/dialogue>\n    <scene_description>Rhonda looks confused. Kurt herds Nick and Dale toward the door.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Forget it, Dale. It's silly.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>I don't think it's silly. I think it could be the key to our vision life.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Goodnight, Kurt. Rhonda.<\/dialogue>\n    <scene_description>Nick and Dale exit. Rhonda heads for the stairs.<\/scene_description>\n    <character>RHONDA<\/character>\n    <dialogue>Let's go. Upstairs. My pussy's not going to eat itself.<\/dialogue>\n    <scene_description>Kurt sighs, then slumps out after her. MUSIC CUE: \"Modern Man\" by Arcade Fire<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COMNIDYNE PARKING LOT - NEXT DAY<\/stage_direction>\n    <scene_description>Nick walks to his Boxster and stops abruptly when he sees a BUMPER STICKER has been stuck to his rear bumper that reads: \"My Other Car is a Porsche\" Nick tries to peel it off, but only part of the top layer comes off. Pissed, he looks around and notices his fellow PRESIDENTS watching from a window and laughing their asses off at him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUPERMARKET - DAY<\/stage_direction>\n    <scene_description>Kurt stands at the checkout counter as a CUTE FEMALE CASHIER rings up his purchases. He gives her a flirty smile which she returns... until she sees what he's buying: Secret deodorant, Oil of Olay, and an enormous value pack of tampons. He hands her a credit card. INSERT the card: it belong to Rhonda Harken and has her photo on it. The cashier looks at him dubiously. Kurt shrugs sheepishly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DR. SLOCUM'S EXAM ROOM - DAY<\/stage_direction>\n    <scene_description>Dale sits on his stool making detailed, yet crudely drawn, sketches on a steno pad of the proposed \"Shower Buddy\" device. He smiles, pleased, then looks up to see Dr. Slocum has fallen asleep and the dental chair is empty. He looks around frantically and gasps when he spots the PATIENT, a five year-old girl, who has climbed halfway out the window. Dale hurries over to rescue her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OFFICE BUILDING - LATER<\/stage_direction>\n    <scene_description>Dale's car pulls up to a sleek, modern building.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DALE'S CAR - CONTINUOUS<\/stage_direction>\n    <scene_description>Dale wears a slightly tattered business suit. He takes out of his pocket the International Venture Partners card that Denny Paul gave them and double checks the address.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MR. NAGOPIAN'S OFFICE - LATER<\/stage_direction>\n    <scene_description>Dale sits on a couch in a well-appointed office and finishes his pitch to someone offscreen. Beside him stands an easel with his Shower Buddy sketch tacked to it.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>The Shower Buddy eliminates the endless cycle of washing and rinsing and washing and rinsing. It's not just a time saver. It's a life saver. My team is ready to move on this with or without your help. But the only way we can do that is with your help.<\/dialogue>\n    <scene_description>REVERSE ON ALEX NAGOPIAN, 40's, well dressed, confident and slightly intimidating (think Liam Neeson). Beside him sits JOYCE, 30's, an attractive colleague. Nagopian considers Dale's pitch for a beat.<\/scene_description>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>You're a funny little man, Dale.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Go on.<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>As far as your idea, this \"Shower Buddy\"?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I love it.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Seriously?!<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Yes. It's smart, it fills a niche. What do you think, Joyce?<\/dialogue>\n    <character>JOYCE<\/character>\n    <dialogue>Sounds like the kind of product we like to fund.<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Of course, our due diligence people will have to make sure no one else has done it.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Well, we googled it and didn't find anything.<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>I see. And why aren't your partners here with you?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>They're very busy men. We all are. Very busy. Men.<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>But you have power of attorney to sign on their behalf?<\/dialogue>\n    <scene_description>Dale stares at him for a beat.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>...yes.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Does this mean we're in business?<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>That depends. How much do you need to get the Shower Buddy off the ground?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Do you have a piece of paper?<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>So I can write down the amount and slide it across the table to you.<\/dialogue>\n    <scene_description>Nagopian looks mildly annoyed. He nods to Joyce, who tears a piece of paper off a pad and hands it to Dale.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Great. Thanks. I've always wanted to do this.<\/dialogue>\n    <scene_description>Dale scribbles on the paper and slides it across the coffee table. Nagopian looks at it.<\/scene_description>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>I can't read this. Is this a \"2\"?<\/dialogue>\n    <character>JOYCE<\/character>\n    <parenthetical>(leaning in)<\/parenthetical>\n    <dialogue>Looks like a \"G.\"<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>No, that's a \"9.\"<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Then I don't understand this number. You have two commas next to each other.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>No, no, that's not a comma. That's also a nine-- you know what? Let me write it again--<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Why don't you just say the number?<\/dialogue>\n    <character>DALE<\/character>\n    <parenthetical>(tentatively)<\/parenthetical>\n    <dialogue>Nine hundred ninety-nine thousand, nine-hundred, ninety nine dollars?<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Why not an even million?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>It sounds like less?<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>This isn't the Radio Shack. A million is fine.<\/dialogue>\n    <character>DALE<\/character>\n    <parenthetical>(floored)<\/parenthetical>\n    <dialogue>Fuck me.<\/dialogue>\n    <parenthetical>(then, covering)<\/parenthetical>\n    <dialogue>Wonderful.<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Joyce here will bring you to our legal department to sign the necessary paperwork.<\/dialogue>\n    <scene_description>Nagopian stands and shakes Dale's hand.<\/scene_description>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Congratulations, Dale. We look forward to a long and profitable relationship with you and your Shower Buddy.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>That name? Is it a little gay?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Fair enough.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Dale sits at a desk in another room as Joyce places a large stack of documents in front of him.<\/scene_description>\n    <character>JOYCE<\/character>\n    <dialogue>All you have to do is sign on the last page for you and your partners.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Not so fast. If there's one thing I know about business: you never sign anything without reading it carefully.<\/dialogue>\n    <character>JOYCE<\/character>\n    <dialogue>Take your time.<\/dialogue>\n    <scene_description>She sits down as Dale begins to read the first page. SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE - TWO MINUTES LATER<\/stage_direction>\n    <scene_description>Two pages into the stack, Dale is BORED OUT OF HIS MIND and fighting to stay awake.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Okay, this all looks good.<\/dialogue>\n    <scene_description>He flips to the last page and in an INSERT we see him sign first his own name, then forge the signatures of \"Nick Hendricks\" and \"Kurt Buckman.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BURGER JOINT - DAY<\/stage_direction>\n    <scene_description>Nick, dressed for work, joins Dale, still in his suit, and Kurt at an outdoor table.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>I have fifteen minutes, Dale. I never do lunch outside the office. What's going on?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>He wouldn't tell me anything till you got here.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>This isn't something I could tell you over the phone.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Why are you wearing your church clothes?<\/dialogue>\n    <scene_description>Kurt and Nick exchange a grave look.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Is it your unborn babies?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Oh, Dale. I'm so sorry. How's Stacy doing?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>She's fine! The babies are fine! Jesus.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Well, why did you scare us like that?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>I didn't scare anybody! You're scaring me.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>So you dragged us out here to tell us your babies are fine?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>No! This has nothing to do with my babies! You're ruining this!<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Ruining what?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>This!<\/dialogue>\n    <scene_description>He pulls a check from his jacket pocket and gingerly holds it up for them to see. INSERT CHECK in the amount of ONE MILLION DOLLARS made out to Nick Hendricks, Kurt Buckman and Dale Arbus.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>What-- what are we looking at here, Dale?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Is that one of those Publishers Clearinghouse checks?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>No. It's a real check. From the venture capital place Denny Paul used. I pitched them the Shower Buddy and they loved it!<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>They loved the Shower Buddy?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>They said it filled a niche.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Let me see that.<\/dialogue>\n    <scene_description>He grabs the check and examines it.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Why would you do this without telling us?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Because I knew you didn't believe in the Buddy like I did.<\/dialogue>\n    <scene_description>Nick gets up.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Where are you going?<\/dialogue>\n    <scene_description>Nick points across the street at a bank.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>I'm gonna see if this thing is real.<\/dialogue>\n    <scene_description>Dale scurries after him. Kurt grabs his burger and follows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANK - MINUTES LATER<\/stage_direction>\n    <scene_description>Nick, Kurt and Dale huddle around the window of a BANK TELLER who types the check information into her computer. After a beat,<\/scene_description>\n    <character>BANK TELLER<\/character>\n    <dialogue>Would you like this deposited to separate or joint accounts?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>So it's real?<\/dialogue>\n    <character>BANK TELLER<\/character>\n    <dialogue>Um, yes it is.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Fuck me.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Told you!<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(to Teller)<\/parenthetical>\n    <dialogue>Can I have that back, please?<\/dialogue>\n    <scene_description>Nick takes the check and the three move away.<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(to Dale)<\/parenthetical>\n    <dialogue>You need to return this.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>What?!<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Whoa, whoa. Hang on.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>No one hands you a million dollars without there being a catch. This is too good to be true.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>What if it's too good to be not true? Shouldn't we at least consider it?<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(checks watch)<\/parenthetical>\n    <dialogue>I'm going to be late for work.<\/dialogue>\n    <scene_description>He turns to go but Kurt stops him.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>So what? So you're late for work. You're late for being miserable.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I'm sorry?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>You hate working at that place. You've always hated it. Why keep doing something that makes you unhappy?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Yeah, Nick. This could be a whole new start.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>If I quit, the ten years of hard work I put in at Comndiyne will have been for nothing.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>It was always for nothing. What do you think is going to happen? On your death bed, Mr. Comnidyne's gonna come in, thank you for giving up your entire life and escort you to corporate heaven?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>There is no Mr. Comnidyne.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>No shit. People who work at those places do it because they're too afraid to do something better.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Touch\u00e9.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>This coming from the guy who lives with a woman who treats him like a sex butler.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Touch\u00e9.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>(to Dale)<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>(to Dale)<\/dialogue>\n    <scene_description>Stop it. Shut up.<\/scene_description>\n    <character>KURT<\/character>\n    <parenthetical>(to Nick)<\/parenthetical>\n    <dialogue>You know what? You're right. I'm gonna leave Rhonda. Dale and I have a business to start.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>That's what's up!<\/dialogue>\n    <scene_description>He high-fives Kurt.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Come on, Nick.<\/dialogue>\n    <parenthetical>(holding up the million dollar check)<\/parenthetical>\n    <dialogue>Life doesn't give you a lot of opportunities like this. But do what you gotta do.<\/dialogue>\n    <scene_description>Off Nick's ambivalence,<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COMNIDYNE CONFERENCE ROOM - LATER<\/stage_direction>\n    <scene_description>Having returned to work, Nick joins his colleagues for another board meeting.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Hey, where's Arthur?<\/dialogue>\n    <character>JEANINE<\/character>\n    <dialogue>You didn't hear? He had another heart attack this morning.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Is he okay?<\/dialogue>\n    <character>GLEN<\/character>\n    <dialogue>It's his third. I'm sure he's used to them by now.<\/dialogue>\n    <scene_description>They chuckle.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Should we send him something?<\/dialogue>\n    <character>JEANINE<\/character>\n    <dialogue>What do you get the guy who has everything... wrong with his heart.<\/dialogue>\n    <scene_description>Everyone but Nick laughs again.<\/scene_description>\n    <character>GLEN<\/character>\n    <dialogue>Let's get him something small and cheap.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>How about Nick's Boxster?<\/dialogue>\n    <scene_description>They laugh.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>I quit.<\/dialogue>\n    <scene_description>They all look at him for a beat. Is he joking?<\/scene_description>\n    <character>JEANINE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Yeah. I can't do this anymore.<\/dialogue>\n    <scene_description>He starts to gather his things in his briefcase.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>With all due respect, guys, I just don't respect any of you. And I really don't want to turn into you.<\/dialogue>\n    <scene_description>He suddenly stops loading his case.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>What am I doing? I don't need any of this. I've got my Shower Buddy now. See ya.<\/dialogue>\n    <scene_description>He dumps the files out, shuts his case and exits. There's a stunned silence, then<\/scene_description>\n    <character>GLEN<\/character>\n    <dialogue>\"Shower buddy\"?<\/dialogue>\n    <character>JEANINE<\/character>\n    <dialogue>Did he just come out of the closet?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>That explains the Boxster.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DR. SLOCUM'S OFFICE - SAME TIME<\/stage_direction>\n    <scene_description>Dale sits across a desk from Dr. Slocum.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>...it's nothing personal. You're a very nice man and I appreciate you hiring me, but it's time for me to take another direction with my career. Now, I realize you're fast asleep...<\/dialogue>\n    <scene_description>REVERSE ANGLE to reveal Slocum is, in fact, fast asleep at his desk.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>...but I wanted to tell you in person anyway. So...<\/dialogue>\n    <parenthetical>(getting up)<\/parenthetical>\n    <dialogue>...guess I'm just gonna... go.<\/dialogue>\n    <scene_description>He quietly opens the door to the office, but it stops halfway, banging into something in the hall. SFX: BABY CRYING Dale reaches down and picks up another unhappy BABY.<\/scene_description>\n    <character>DALE<\/character>\n    <parenthetical>(calling out to the waiting room)<\/parenthetical>\n    <dialogue>What did I say about leaving babies on the floor?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACKYARD POOL - SAME TIME<\/stage_direction>\n    <scene_description>Rhonda, Nikki and Heidi lounge by the pool.<\/scene_description>\n    <character>RHONDA<\/character>\n    <dialogue>So I had to fire Monica.<\/dialogue>\n    <character>NIKKI<\/character>\n    <dialogue>I thought you liked her.<\/dialogue>\n    <character>RHONDA<\/character>\n    <dialogue>I did. But I saw \"The Help\" and it just felt racist to have a black cleaning lady.<\/dialogue>\n    <scene_description>From inside we hear the sound of something being dragged across the floor.<\/scene_description>\n    <character>RHONDA<\/character>\n    <dialogue>Do you know any white cleaning ladies?<\/dialogue>\n    <character>HEIDI<\/character>\n    <dialogue>Wait, you're firing your black cleaning lady and replacing her with a white one because you don't want to feel racist?<\/dialogue>\n    <character>RHONDA<\/character>\n    <parenthetical>(matter of fact)<\/parenthetical>\n    <dialogue>Uh huh.<\/dialogue>\n    <scene_description>The dragging sound gets louder and the women look up to see the BUBINGA WOOD COFFEE TABLE emerge from the house, being shoved outside by Kurt.<\/scene_description>\n    <character>RHONDA<\/character>\n    <dialogue>What the hell? Kurt, what are you doing?<\/dialogue>\n    <character>KURT<\/character>\n    <parenthetical>(grunting from effort)<\/parenthetical>\n    <dialogue>I thought of a great spot for this bubinga wood table.<\/dialogue>\n    <scene_description>He gives the table a final push RIGHT INTO THE POOL. The water splashes Rhonda and her friends who gasp in disbelief.<\/scene_description>\n    <character>RHONDA<\/character>\n    <dialogue>Are you insane?!<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>That's right. I'm sorry. I forgot the coaster.<\/dialogue>\n    <scene_description>He takes a coaster from his pocket and tosses it into the pool.<\/scene_description>\n    <character>KURT<\/character>\n    <parenthetical>(nodding to Nikki and Heidi)<\/parenthetical>\n    <dialogue>Ladies.<\/dialogue>\n    <scene_description>And with that, Kurt turns, smiles and goes. MUSIC CUE: \"Move On Up\" by Curtis Mayfield STARTING THE BUSINESS MONTAGE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAREHOUSE - DAY<\/stage_direction>\n    <scene_description>Nick, Kurt and Dale stand with a REALTOR in the large, empty space. Looking pleased, Nick and Kurt shake the Realtor's hand. Dale goes in for a hug. The Realtor looks uncomfortable. We go into a TIME LAPSE sequence as the warehouse is transformed into a production\/office space with manufacturing equipment.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WAREHOUSE - DAY<\/stage_direction>\n    <scene_description>The guys watch as a WORKER on a cherrypicker installs a sign that reads NICKURDALE INDUSTRIES -- Home of the \"Shower Buddy\"! Nick and Kurt shake hands. Dale goes in for a hug.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONSUMER PRODUCTS TESTING LAB - DAY<\/stage_direction>\n    <scene_description>The three guys stand with a LAB TECH observing a male TEST SUBJECT in a bathing suit trying out prototypes of the Shower Buddy in a glass shower stall. QUICK SERIES OF POPS as the prototypes malfunction: -- The pressure builds up in the shower head and bursts in the subject's face. -- The subject, now a bit more nervous, turns on the water and nothing but soap oozes from the shower head. -- The shower head sprays the perfect combination of water and soap. Our guys look pleased until the shower head inexplicably stops spraying. The subject cautiously inspects the device and suddenly the shower head bursts in his face again. -- Our guys follow the bruised and pissed off subject to his car, apologizing profusely. They manage to convince him to go back into the building. -- Fearing for his life, the same subject gingerly turns on the shower which has a new model Shower Buddy installed. This time it actually works as it should. Nick and Kurt high- five. In the test chamber we see Dale yank open the shower stall and hug the subject.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NICKURDALE OFFICE - DAY<\/stage_direction>\n    <scene_description>The guys shake hands and say goodbye to a SEXY YOUNG WOMAN they've just finished interviewing. She hands over her resum\u00e9 and goes. Nick and Dale shake their heads, unimpressed. Kurt, on the other hand, gives them an enthusiastic thumbs up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NICKURDALE OFFICE - DAY<\/stage_direction>\n    <scene_description>The guys shake hands and say goodbye to an average-looking MIDDLE AGED WOMAN they've just finished interviewing. Nick and Dale nod approvingly. Kurt gives them a thumbs down and tears up her resum\u00e9.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NICKURDALE OFFICE - DAY<\/stage_direction>\n    <scene_description>The guys shake hands and say goodbye to an EXTREMELY HANDSOME MAN they've just finished interviewing. The guys all look at each other self-consciously. No one is sure how to react.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAREHOUSE - DAY<\/stage_direction>\n    <scene_description>The guys stand at the end of a production line manned by about a dozen WORKERS as the very first consumer-ready Shower Buddy rolls off the line. Nick, Kurt and Dale proudly hold the device up as a PHOTOGRAPH is taken. FREEZE on the image. PULL BACK to see the picture is on the cover of \"FORTUNE\" Magazine. Then PULL BACK further to see the cover is on Dale's laptop screen. Dale is showing Nick and Kurt what he Photoshopped. He gives them a look: \"wouldn't that be cool?\" They shake their heads at him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOLF COURSE - DAY<\/stage_direction>\n    <scene_description>The guys smoke cigars as they cruise down the fairway in a golf cart, enjoying a mid-week outing. In QUICK POPS we see Nick, Kurt and Dale each tee off. Then three more QUICK POPS as each tries to recover their ball, still smoking their cigars: Nick uses his club to try and knock his ball down from a tree where it's wedged. Nick and Dale hold onto Kurt's belt as he leans over a pond searching for his ball. Dale knocks on the door of a house. A pissed off GUY opens the door and hands him his golf ball. WIDEN to reveal a golf ball-sized hole in one window of the house. Dale smiles sheepishly, takes the ball and hurries away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KURT'S LOFT - DAY<\/stage_direction>\n    <scene_description>Kurt shows Nick and Dale around his new apartment. Moving boxes are scattered around, but it's a cool pad. A DOG follows them around. Just then, the Sexy Young Woman they interviewed comes out of the bedroom in one of Kurt's shirts. Nick and Dale give Kurt a disapproving look.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DALE'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Covering Stacy's eyes, Dale leads her outside to surprise her with a brand new minivan wrapped in a bow in the driveway. He presses a button on the remote and the side door opens, revealing two car seats installed in the back seat and one in the front passenger seat. Stacy kisses him... then points to the car seat in the front and shakes her head.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAILBOAT - DAY<\/stage_direction>\n    <scene_description>CLOSE ON our three guys toasting themselves with glasses of champagne on the deck of a rented 40-foot sailboat. Wind in their hair, white linen pants, etc. Suddenly, they are violently jolted to the side. PULL BACK to show their boat is in the harbor and has DRIFTED sideways into another docked sailboat. Their sails are in disarray-- clearly none of them knows the first thing about sailing. Panicked, Dale begins winching a line which only TEARS the mainsail down the middle. Kurt and Nick step onto the dock and head off, leaving Dale to deal with the mess. END OF MONTAGE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NICKURDALE CONFERENCE ROOM - MORNING<\/stage_direction>\n    <scene_description>The guys sit with GREG and NANCY, the handsome guy and middle- aged woman they interviewed earlier.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Nancy, how we doing on our production quota?<\/dialogue>\n    <character>NANCY<\/character>\n    <dialogue>Solid. We've got five thousand units in inventory.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Good. Greg, how are things on the marketing front?<\/dialogue>\n    <character>GREG<\/character>\n    <dialogue>I'm talking to my contacts at QVC, HSN and Amazon. There's a lot of interest.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Nice. Dale, can I get a refill?<\/dialogue>\n    <scene_description>Nick holds up his empty coffee mug.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>You bet!<\/dialogue>\n    <scene_description>Dale crosses to a coffee pot and refills Nick's cup.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Kurt, how are sales?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Well, we haven't sold a single unit yet, so sales are... non-existent. But here's the thing: it takes time to build awareness. The only thing standing between us and a multi- million dollar success story is one giant distributor. Like, say, SkyMall.<\/dialogue>\n    <scene_description>Kurt slaps a SkyMall catalogue down on the table.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Maybe you've heard of it. Reaches six hundred fifty million airline passengers a year.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Yeah? So? Did you call them or something?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Nope. They called us. They're interested in the Shower Buddy and want to meet with us later today about putting it in their fall catalogue.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Booyah!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>That's great news.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>It's better than great. Skymall made household names out of the Marshmallow Shooter, the Old Time Popcorn Cart, the Pet Ramp. They put the \"world's largest wall map\" on the map!<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Stacy and I got one of those Pet Ramps for Darvis when he couldn't jump onto the bed anymore.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>That dog reeks of shit. You let him in your bed?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Of course. We love Darvis.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>If you love him, why don't you give him a bath once in a while?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Dogs don't need baths. They're self-cleaning.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>That's cats.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Ugh. I hate the smell of cats.<\/dialogue>\n    <scene_description>ANGLE ON Greg and Nancy, who exchange a look that says, \"Who the hell are we working for?\"<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(to Greg and Nancy)<\/parenthetical>\n    <dialogue>Sorry.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>If the Skymall people are coming, we've got to get ready for that pitch. I'll work up a presentation. Kurt, why don't you set up the demo in here? Dale, we're gonna need a lot more coffee.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>I'm on it.<\/dialogue>\n    <scene_description>We follow Nick as he heads out into<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NICKURDALE OFFICE - CONTINUOUS<\/stage_direction>\n    <scene_description>Nick crosses a second floor walkway that overlooks the modest assembly line below. He passes an UNDERLING.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Hey, Tim. Did you get that shipment in yet?<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>Yep. A bunch of pens and stress reliever balls with the company name on it.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Perfect. Keep up the good work.<\/dialogue>\n    <scene_description>Nick heads into an office with a sign on the door that reads: \"NICK HENDRICKS, CO-CEO\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NICK'S OFFICE - CONTINUOUS<\/stage_direction>\n    <scene_description>Nick crosses to his desk, but before he gets there he's startled by a voice.<\/scene_description>\n    <character>MAN'S VOICE (O.S.)<\/character>\n    <dialogue>Nice suit.<\/dialogue>\n    <scene_description>Nick whirls around to see Mr. Nagopian sitting on the sofa. Off to the side stands a LARGE MAN in a suit.<\/scene_description>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>You're much better dressed than your \"co-CEO\" Dale.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Thank you. And you are...?<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Alex Nagopian. International Venture Partners.<\/dialogue>\n    <scene_description>He stands and shakes Nick's hand.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Oh. Right. It's nice to finally meet you.<\/dialogue>\n    <scene_description>Nick nods at the big guy in the corner.<\/scene_description>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>This is my associate, Ghoukas.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Hi... Ghoukas.<\/dialogue>\n    <parenthetical>(then, to Nagopian)<\/parenthetical>\n    <dialogue>Thank you for believing in what we're doing here.<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Believing is my business. And how is business?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>So far, so good. We've got a big pitch lined up. Could be great for- -<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Good, good. Well, we're not here to get in the way. We just came by to remind you that your repayment is due tomorrow.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Re-what, now?<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Your repayment. Didn't Dale explain to you the terms of our loan?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Loan? You made a capital investment. Didn't you take a ten percent stake in the company?<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Why would I want ten percent of \"the Shower Friend?\"<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Shower Buddy.<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Friend, Buddy. It's a stupid idea.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Then why did you invest in it?<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>I didn't. I simply loaned you and your friends a million dollars for a month. And tomorrow, you owe me two million dollars.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I think there's been a misunderstanding--<\/dialogue>\n    <parenthetical>(pushing his intercom)<\/parenthetical>\n    <character>NICK<\/character>\n    <dialogue>Jennifer, can you get Dale and Kurt in here, please?<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>It's all in the paperwork Dale signed on your behalf.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>So what is this? Some kind of scam?<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>A scam? No one forced you to borrow a million dollars from us.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>There's no way we can make a payment like that by tomorrow. The money you gave us is all invested in the company.<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>In that case, I wouldn't be surprised if something unpleasant happened to you and your friends.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Are you threatening us?<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Of course not. I've just noticed that the people who fail to repay me tend to have accidents. And strangely, Ghoukas is often the one who finds them.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>That's a threat!<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>It's not. Have some sympathy for poor Ghoukas. He's the one who's always finding these horribly disfigured bodies.<\/dialogue>\n    <character>GHOUKAS<\/character>\n    <dialogue>I kill them.<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Ghoukas! We're doing a conceit.<\/dialogue>\n    <scene_description>Ghoukas shrugs.<\/scene_description>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>All I'm saying is, if you fail to repay me by tomorrow, something terrible may or may not happen to you and your friends.<\/dialogue>\n    <character>GHOUKAS<\/character>\n    <dialogue>I'll kill you.<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Ghoukas!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>All right, you know what? This is the stupidest shakedown ever. If we die, how are we going to pay you back?<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>From the life insurance policies Dale signed.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>He didn't say anything about life insurance policies.<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>That's probably because he didn't read them.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Fuuuuck.<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Don't worry, Nick. One way or the other, I'll get my money.<\/dialogue>\n    <scene_description>He pats Nick on the cheek and starts to exit. Ghoukas heads out right on his heels.<\/scene_description>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Ghoukas, please. You don't have to walk that close.<\/dialogue>\n    <scene_description>Ghoukas stops walking. Nagopian exits. Ghoukas stands there, unsure what to do.<\/scene_description>\n    <character>MR. NAGOPIAN (O.S.)<\/character>\n    <dialogue>Now you're too far!<\/dialogue>\n    <scene_description>Ghoukas heads out. Nick slumps in his chair and distractedly grabs a Nickurdale stress reliever ball. He squeezes the hell out of it for a beat. Dale and Kurt enter.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Hey, was that Mr. Nagopian I saw leaving? Why wouldn't he say hi? That's weird--<\/dialogue>\n    <scene_description>In the blink of an eye, Nick grabs Dale and slaps him across the face.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Ow!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>You fucking idiot!<\/dialogue>\n    <scene_description>Kurt steps between them.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Hey, hey. What's all this?<\/dialogue>\n    <scene_description>Nick reaches past Kurt and smacks Dale again.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Ow!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>You killed us! We're all dead thanks to you!<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>What did I do?!<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>What did he do?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Nagopian? That \"venture capital\" guy he got our money from? He's nothing but a loanshark! Dale signed papers saying that tomorrow we owe him two million bucks backed up with life insurance policies. If we don't pay, we die.<\/dialogue>\n    <scene_description>Kurt turns to Dale and looks at him for a moment. Then he also smacks him across the face.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Ow!<\/dialogue>\n    <scene_description>Nick slaps Dale again.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Stop it! How was I supposed to know? There was so much to read!<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>You goddamn moron.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I knew I shouldn't have listened to you guys. I gave up my career for this.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>You're worried about your career? What about our lives? Did this Nagopian actually threaten you?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Basically. Ghoukas definitely did.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>What's a Ghoukas?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>We should go to the cops.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>And tell them what? That Nagopian handed us perfectly legal loan documents which you forged our signatures on? All that does is send you to prison.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>It does?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>I'm fine with that.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Hang on.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I'm fine with it, too. But as far as Nagopian's concerned, we still stole a million dollars from him. You don't think Ghoukas is going to kill us?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>What's a Ghoukas?<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(to Kurt)<\/parenthetical>\n    <dialogue>If we liquidated everything right now, how much cash would we have?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>About three hundred grand.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>That means we have three days to come up with 1.7 million dollars.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>So, basically, we're riding a cat without a candle.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>What? What is that?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>It's a saying. It means we're fucked.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>I think I've heard that.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>No, you haven't.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>It's a common expression. It's from the olden days.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>It's from the no days. Why would you ride a cat? And why would a candle help?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>I don't know. I didn't come up with it.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I think you did.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Guys, please. The longer we fight, the more we're riding a cat without a candle!<\/dialogue>\n    <scene_description>Nick's assistant, JENNIFER, pops her head in.<\/scene_description>\n    <character>JENNIFER<\/character>\n    <dialogue>Guys? The SkyMall people said they're on their way.<\/dialogue>\n    <scene_description>She goes.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Shit, that's right!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Hang on. This could be a good thing. If we sell these guys on the Buddy, we could get enough up- front money to pay off Nagopian.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>So, we've just gotta nail this pitch.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Or we die. No pressure.<\/dialogue>\n    <scene_description>The guys exchange tense looks. SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NICKURDALE CONFERENCE ROOM - LATER<\/stage_direction>\n    <scene_description>Nick, Kurt and Dale are mid-pitch. They look FRAZZLED and SWEATY as they stand across from two seated SkyMall reps, DAN and CLAIRE, 40's. Behind the guys is a large schematic drawing on an easel along with a PORTABLE SHOWER STALL with a Shower Buddy attached.<\/scene_description>\n    <character>DALE<\/character>\n    <parenthetical>(rapid-fire, manic)<\/parenthetical>\n    <dialogue>...there's a reason everybody hates showers because it takes so long and the average person wastes one week every month taking showers--<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Well, maybe not a week--<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>It's all the soaping up and the rinsing off and the shampooing and the rinsing off and the conditioning and the rinsing off--<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>What Dale is trying to say is, the Shower Buddy eliminates the wasted time and streamlines your shower process.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Dale means that we waste a lot of time showering and the Shower Buddy helps to streamline that process.<\/dialogue>\n    <character>CLAIRE<\/character>\n    <dialogue>Sounds great. How does it work?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>That's an excellent question, Claire.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Great question.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Really good.<\/dialogue>\n    <scene_description>There's an awkward silence.<\/scene_description>\n    <character>CLAIRE<\/character>\n    <dialogue>...So, how does it work?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Right--<\/dialogue>\n    <parenthetical>(to Kurt)<\/parenthetical>\n    <dialogue>You wanna get her in here?<\/dialogue>\n    <scene_description>Kurt hurries out.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>We thought the best way to show you how the Shower Buddy works is to show... you... how the Shower Buddy works.<\/dialogue>\n    <scene_description>Dale crosses to the shower stall and begins fiddling with a portable water pump attached to a tank. Kurt ushers in a 20-something model, BROOKE, in a bathrobe.<\/scene_description>\n    <character>KURT<\/character>\n    <parenthetical>(to Brooke)<\/parenthetical>\n    <dialogue>Hurry, hurry.<\/dialogue>\n    <parenthetical>(to Dan and Claire)<\/parenthetical>\n    <dialogue>This is Brooke. She's gonna demonstrate the Shower Buddy for you by taking a shower. Brooke?<\/dialogue>\n    <scene_description>Brooke drops her robe. She's in a bikini.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Sorry, Dan. I know you were hoping she was naked under there.<\/dialogue>\n    <parenthetical>(to Claire)<\/parenthetical>\n    <dialogue>Don't tell his wife.<\/dialogue>\n    <character>CLAIRE<\/character>\n    <dialogue>I am his wife.<\/dialogue>\n    <character>KURT<\/character>\n    <parenthetical>(covering)<\/parenthetical>\n    <dialogue>I know. Husband and wife. Working together. You're like Lucy and Desi. Only at SkyMall. Nice.<\/dialogue>\n    <character>DALE<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>This fucking pump...<\/dialogue>\n    <scene_description>Brooke steps into the stall.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>How we doin', Dale?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>I think there's something wrong with the motor on this pump. But I can do it by hand. No biggie.<\/dialogue>\n    <character>KURT<\/character>\n    <parenthetical>(nudging Claire and Dan)<\/parenthetical>\n    <dialogue>Our next invention's gonna be a better water pump. Right, husband and wife?<\/dialogue>\n    <scene_description>Dale kneels beside the stall and begins rhythmically jerking the water pump.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Might take a second here to get the flow going...<\/dialogue>\n    <scene_description>Brooke stands awkwardly in the dry shower.<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(to Claire and Dan)<\/parenthetical>\n    <dialogue>Shouldn't be long.<\/dialogue>\n    <character>DALE<\/character>\n    <parenthetical>(pumping away)<\/parenthetical>\n    <dialogue>Getting close. Almost there.<\/dialogue>\n    <scene_description>There's an uncomfortable beat as they all watch Dale. There's no getting around how much it looks like he's jerking off on his knees beside a woman in a shower.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Close your eyes, Brooke. Here it comes!<\/dialogue>\n    <scene_description>Just then, a GOB OF LIQUID SOAP dribbles out of the Shower Buddy, landing on Brooke's face.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <scene_description>The model does her best to work with the limited amount of water dribbling on her. She spreads the soap on her chest.<\/scene_description>\n    <character>KURT<\/character>\n    <parenthetical>(whispering to Nick)<\/parenthetical>\n    <dialogue>Kinda looks like--<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>I know.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Dale, can we get any more water pressure here?<\/dialogue>\n    <character>DALE<\/character>\n    <parenthetical>(winded)<\/parenthetical>\n    <dialogue>I'm pumping as hard as I can!<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>All right, let me help.<\/dialogue>\n    <scene_description>Kurt joins Dale and the two of them begin working the pump together.<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(to Dan and Claire)<\/parenthetical>\n    <dialogue>Okay, well, obviously, this isn't the best demonstration. With normal water pressure, there's a steady stream of soap delivered--<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>Ow! It got in my eyes!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Twist the nozzle to \"rinse.\"<\/dialogue>\n    <character>BROOKE<\/character>\n    <dialogue>I can't see.<\/dialogue>\n    <scene_description>She fumbles with the showerhead.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>All right, let me help you.<\/dialogue>\n    <scene_description>Nick reaches into the stall and tries to adjust the showerhead.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Ugh, it got in my mouth.<\/dialogue>\n    <scene_description>Creamy soap runs down his and Brooke's arms, as Dale and Kurt, on their knees and dripping with flop sweat, continue to pump away. ANGLE ON DAN and CLAIRE who look appalled.<\/scene_description>\n    <character>DALE (O.S.)<\/character>\n    <dialogue>Not so hard, Kurt, you're hurting me!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NICKURDALE WAREHOUSE - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Drenched and disheveled from the demonstration, the guys wave goodbye as Dan and Claire's car drives away.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Goodbye!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Take care now!<\/dialogue>\n    <scene_description>There's a beat.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>So, when do you think we'll find out?<\/dialogue>\n    <scene_description>They give him a withering look.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>That was awful. It felt like we were fucking each other for crack.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I'm covered in soap, but I feel so dirty.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>That goddamned Shower Buddy.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Don't blame the Buddy. The Buddy works. It just needed to be in a real shower.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Well, that was our only shot.<\/dialogue>\n    <character>KURT<\/character>\n    <parenthetical>(to Dale)<\/parenthetical>\n    <dialogue>You know, none of this would've happened if you hadn't bought that dipshit Denny Paul a drink.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Oh yeah. How come Denny didn't get killed? He borrowed from Nagopian too.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>And why would he refer us to him if he knew he was a loan shark?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Let's call that fucker and find out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KURT'S OFFICE - MINUTES LATER<\/stage_direction>\n    <scene_description>The guys sit around Kurt's desk. Denny Paul is on the speaker phone.<\/scene_description>\n    <character>DENNY (O.S.)<\/character>\n    <dialogue>How did you find me?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>You're in the phone book.<\/dialogue>\n    <scene_description>INTERCUT WITH:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DENNY PAUL'S HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>Denny wears no pants. Just a long \"You Da Boss\" T-shirt. He looks haggard.<\/scene_description>\n    <character>DENNY<\/character>\n    <dialogue>Shit! Fucking phone book.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Under what name?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Your name.<\/dialogue>\n    <character>DENNY<\/character>\n    <dialogue>Fuck! I didn't think you would find me.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>You're also on Facebook.<\/dialogue>\n    <character>DENNY<\/character>\n    <dialogue>Fucking Facebook! I thought I was off the grid.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>You want to tell us why you hooked us up with a loan shark?!<\/dialogue>\n    <character>DENNY<\/character>\n    <dialogue>Is this a secure line?<\/dialogue>\n    <scene_description>The guys look at each other. Huh?<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>I don't know. What's the difference?<\/dialogue>\n    <character>DENNY<\/character>\n    <dialogue>They could be listening.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>DENNY<\/character>\n    <dialogue>I can't say unless it's a secure line.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Okay, it's a secure line.<\/dialogue>\n    <character>DENNY<\/character>\n    <dialogue>All right. Look, Nagopian is a loan shark--<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>We know that!<\/dialogue>\n    <character>DENNY<\/character>\n    <dialogue>I've barely been making my payments. Every dime I earn goes straight to him. I thought if I brought him some fresh meat he'd cut me some slack.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Fresh meat?<\/dialogue>\n    <character>DENNY<\/character>\n    <dialogue>I'm sorry I dragged you into this. But hey, maybe if we work together, we can fix it.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>DENNY<\/character>\n    <dialogue>Neither of us alone has enough evidence against these guys, but if we combine what we know, I bet we can figure out a way to turn the tables on Nagopian.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>How?<\/dialogue>\n    <character>DENNY<\/character>\n    <dialogue>Leave that to me. Come on over to my place. The address is--<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>We have it. It's on your Facebook page.<\/dialogue>\n    <character>DENNY<\/character>\n    <dialogue>Fuck!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - LATER<\/stage_direction>\n    <scene_description>Kurt pulls his car up to a suburban house. Nick is in the passenger seat, Dale in back.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Here it is.<\/dialogue>\n    <scene_description>They exit the car. Kurt notices Dale is carrying a grocery bag.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>What is that?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>I brought humus in case we get hungry.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Just humus? No chips?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>I figured he'd have chips.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>What if he doesn't? What are we gonna eat it with?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Celery? Spoons? I don't know. I didn't have to bring anything.<\/dialogue>\n    <scene_description>Across the street, Denny steps out his front door and waves to them as they approach.<\/scene_description>\n    <character>DENNY<\/character>\n    <dialogue>Hey. You found the pl--<\/dialogue>\n    <scene_description>BOOM!! An ENORMOUS EXPLOSION tears through the house, engulfing Denny in a FIREBALL and RIPPING HIM TO SHREDS! The windows of Kurt's car SHATTER. Car alarms go off. Nick, Kurt and Dale scream and drop to the ground as debris rains down around them. They hold their ears which are ringing from the blast.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>What the fuck?!!<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Jesus!<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>He blew up! Denny blew up!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Are you guys okay?!<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>What?! I can't hear you!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>What?!<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>What did you say?!<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>I can't hear!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>What?!<\/dialogue>\n    <scene_description>As NEIGHBORS begin to come outside to see what happened, Nick and Kurt suddenly notice something on Dale. They look horrified.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Dale, your shoulder!<\/dialogue>\n    <scene_description>A FLESHY MOUND of some sort has landed on Dale's shoulder.<\/scene_description>\n    <character>DALE<\/character>\n    <parenthetical>(still deaf)<\/parenthetical>\n    <dialogue>Huh?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>What is that?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>I'm not sure. Is that Denny's chin?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Looks more like an elbow.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>What are you guys saying?!<\/dialogue>\n    <character>KURT<\/character>\n    <parenthetical>(peering closer)<\/parenthetical>\n    <dialogue>Oh god. I think it's his ball sack.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>No! Can't be.<\/dialogue>\n    <scene_description>Dale looks at his shoulder and reacts.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Agh! What is that?! Get it off!<\/dialogue>\n    <scene_description>He frantically wiggles his shoulder, trying to knock off the unidentified body part. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DENNY PAUL'S HOUSE - LATER<\/stage_direction>\n    <scene_description>Fire trucks and police cars surround the now smoldering remains of the house. Nick, Kurt and Dale, wrapped in blankets, are being treated for cuts and scratches at an ambulance. DETECTIVE HAGAN approaches.<\/scene_description>\n    <character>HAGAN<\/character>\n    <dialogue>Excuse me, gentlemen. I wonder if I can get a--<\/dialogue>\n    <parenthetical>(recognizing them)<\/parenthetical>\n    <dialogue>Aw, shit. Not you clowns again.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Detective. We know who did this.<\/dialogue>\n    <character>HAGAN<\/character>\n    <dialogue>What do you mean, you know who did this? Fire department says it was an accidental gas leak.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>It was no accident.<\/dialogue>\n    <character>HAGAN<\/character>\n    <dialogue>Is that right? How come every time someone dies in front of their house, you assholes aren't far away?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Just hear us out. We were coming to meet with the victim because we were all scammed by the same loan shark.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>We got venture capital from him and now he wants it all back or he's gonna kill us.<\/dialogue>\n    <character>HAGAN<\/character>\n    <dialogue>What the hell did you need venture capital for?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>For our Shower Buddy.<\/dialogue>\n    <character>KURT<\/character>\n    <parenthetical>(off Hagan's confusion)<\/parenthetical>\n    <dialogue>It's an adjustable showerhead that dispenses soap, shampoo and conditioner with the water.<\/dialogue>\n    <character>HAGAN<\/character>\n    <dialogue>You three came up with this?<\/dialogue>\n    <parenthetical>(they nod)<\/parenthetical>\n    <dialogue>That's not a bad idea.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Thank you. Nickurdale is very proud of it.<\/dialogue>\n    <character>HAGAN<\/character>\n    <parenthetical>(shocked)<\/parenthetical>\n    <dialogue>Who's proud of it?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Nickurdale.<\/dialogue>\n    <character>HAGAN<\/character>\n    <dialogue>Nigger Dale?!<\/dialogue>\n    <character>NICK\/KURT\/DALE<\/character>\n    <dialogue>No!\/Oh no!\/No, no!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>It's Nick, Kurt and Dale combined. Nickurdale. It's our company name.<\/dialogue>\n    <character>HAGAN<\/character>\n    <dialogue>Yeah, you need to change that company name.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>We're not going to have a company, or our lives, if you don't help us take down Nagopian.<\/dialogue>\n    <character>HAGAN<\/character>\n    <dialogue>Nagopian?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Yeah. Alex Nagopian. He's the guy we borrowed money from.<\/dialogue>\n    <character>HAGAN<\/character>\n    <dialogue>Get outta here.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>What? You know him?<\/dialogue>\n    <character>HAGAN<\/character>\n    <dialogue>We've been watching him for years. The Feds think he's the head of Armenian Power.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>What's Armenian Power?<\/dialogue>\n    <character>HAGAN<\/character>\n    <dialogue>It's the Armenian mob.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>That's great. That's perfect. We borrowed money from a mob boss.<\/dialogue>\n    <character>KURT<\/character>\n    <parenthetical>(to Hagan)<\/parenthetical>\n    <dialogue>Hang on. If you know he's a criminal, why don't you arrest him?<\/dialogue>\n    <character>HAGAN<\/character>\n    <dialogue>Nagopian's smart. He keeps himself insulated from the shit his gang does. And as far as we can tell, this here was just an accident.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>And what happens on Monday when the three of us also die in accidents?<\/dialogue>\n    <character>HAGAN<\/character>\n    <dialogue>Well, then I'll have a case.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Will you at least come with us to Nagopian's office where I met with him? I bet there's a ton of evidence there.<\/dialogue>\n    <scene_description>Hagan looks at his watch and sighs.<\/scene_description>\n    <character>HAGAN<\/character>\n    <dialogue>I was going to watch \"American Horror Story\" with my wife.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Shit. Come on.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OFFICE BUILDING - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Kurt's WINDOWLESS car pulls up to the Venture Partners International building followed by Hagan's unmarked car. He and the guys get out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR - MOMENTS LATER<\/stage_direction>\n    <scene_description>Hagan and the guys ride in the elevator. There's an awkward silence. Then,<\/scene_description>\n    <character>DALE<\/character>\n    <parenthetical>(to Hagan)<\/parenthetical>\n    <dialogue>How have you been?<\/dialogue>\n    <scene_description>Hagan just gives him a contemptuous look. The doors open and they all step out into<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE - CONTINUOUS<\/stage_direction>\n    <scene_description>What was Venture Partners International is now the west coast corporate headquarters of Quiznos Sandwiches.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Wait a minute. What floor is this?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Five.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>This wasn't here. This was Nagopian's office!<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Are you sure we're in the right building?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Yes! I pitched Nagopian right here!<\/dialogue>\n    <scene_description>Dale points to the room we saw earlier, but it's now occupied by a middle-aged executive, TIM, at a desk.<\/scene_description>\n    <character>TIM<\/character>\n    <dialogue>Hi, you must be my five o'clock.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>You're not Nagopian.<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>No... Are you my five o'clock?<\/dialogue>\n    <character>HAGAN<\/character>\n    <parenthetical>(to the guys)<\/parenthetical>\n    <dialogue>You're telling me you dragged me clear across town to visit some goddamn sandwich company?<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>We also have salads and flatbreads.<\/dialogue>\n    <character>HAGAN<\/character>\n    <dialogue>This is some bullshit.<\/dialogue>\n    <character>DALE<\/character>\n    <parenthetical>(to Tim)<\/parenthetical>\n    <dialogue>How long have you been in this office?<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>Since the building opened last week. We're the first tenants.<\/dialogue>\n    <parenthetical>(then, realizing)<\/parenthetical>\n    <character>TIM<\/character>\n    <dialogue>You're not my five o'clock, are you?<\/dialogue>\n    <scene_description>Hagan shakes his head and goes to leave. The guys hurry after him.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Wait. You can't just leave.<\/dialogue>\n    <character>HAGAN<\/character>\n    <dialogue>Watch me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OFFICE BUILDING - MOMENTS LATER<\/stage_direction>\n    <scene_description>It's dark now and it's begun to drizzle as Hagan crosses to his car with the guys on his heels.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Detective, if you go, we're as good as dead.<\/dialogue>\n    <character>HAGAN<\/character>\n    <dialogue>Since I've known you three, nothing you've told me has been true. Why would I listen to you now?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Can't you at least give us some police protection?<\/dialogue>\n    <character>HAGAN<\/character>\n    <dialogue>Protection from what? Your own foolishness?<\/dialogue>\n    <scene_description>Hagan climbs into his car.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>So you're just going to drive away and leave us riding a cat without a candle?!<\/dialogue>\n    <character>HAGAN<\/character>\n    <dialogue>The hell you say?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>It's an expression.<\/dialogue>\n    <character>HAGAN<\/character>\n    <dialogue>No it isn't.<\/dialogue>\n    <scene_description>Hagan slams the door and drives off.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>I don't understand. If Quiznos was the first tenant, how was Nagopian's office there?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>I know how. Quiznos is in on this. I didn't see a single sandwich up there. And who puts a Quiznos on the fifth floor of an office building--?<\/dialogue>\n    <scene_description>Kurt puts a hand over Dale's mouth and keeps it there.<\/scene_description>\n    <character>KURT<\/character>\n    <parenthetical>(to Nick)<\/parenthetical>\n    <dialogue>What do we do now?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Let's figure it out in the car. There's no point standing out here in the rain.<\/dialogue>\n    <scene_description>SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KURT'S CAR - MINUTES LATER<\/stage_direction>\n    <scene_description>Kurt drives. Nick is up front and Dale in the back. Without the benefit of a windshield or a sunroof, WIND-DRIVEN RAIN soaks the guys as they drive. Kurt shields his eyes with his hand so he can see. They yell over the wind.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Glad we got out of the rain!<\/dialogue>\n    <scene_description>The windshield wipers flop ridiculously across the dashboard.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Maybe we should all stay together tonight! Might be safer!<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Good idea! But not my place! I don't want my pregnant wife to get blown up!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Kurt, your apartment is probably the most secure!<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Okay, we can--<\/dialogue>\n    <scene_description>Just then, a wet PLASTIC BAG flies through the open windshield and sticks to Kurt's face. The car VEERS wildly as he tries to pull the bag off. Nick and Dale scream.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PARKING GARAGE - LATER<\/stage_direction>\n    <scene_description>Still damp, the guys exit the car and head for the stairs. Kurt absentmindedly locks his windowless car. BEEP.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>It's good that you locked it.<\/dialogue>\n    <scene_description>They head for the stairs to Kurt's loft.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>We've got to establish a secure perimeter at your place. Booby traps, an early warning system... I'm going to need twine, small bells, thumb tacks, mousetraps--<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Calm down, Macaulay Culkin. I've got an alarm system.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>I guess that'll work.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KURT'S LOFT - MOMENTS LATER<\/stage_direction>\n    <scene_description>The door to Kurt's loft opens and the guys enter.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>So what exactly will we do if they show up?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>We'll figure that out. The main thing is that we're ready for them if they do come.<\/dialogue>\n    <scene_description>Kurt flips on the lights and they all gasp as they see Nagopian's thug, Ghoukas, sitting on the sofa, pointing a gun at them. Another armed THUG appears behind them in the hall.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Oh god.<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(to Kurt)<\/parenthetical>\n    <dialogue>I thought you said you had an alarm.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>I never turn it on.<\/dialogue>\n    <character>GHOUKAS<\/character>\n    <dialogue>Let's go.<\/dialogue>\n    <scene_description>Ghoukas and the other thug usher them back out.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Can I at least feed my dog first?<\/dialogue>\n    <character>GHOUKAS<\/character>\n    <dialogue>Your dog doesn't need to be fed anymore.<\/dialogue>\n    <character>KURT<\/character>\n    <parenthetical>(horrified)<\/parenthetical>\n    <dialogue>You killed my dog?!<\/dialogue>\n    <character>GHOUKAS<\/character>\n    <dialogue>I fed him.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Thanks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONSTRUCTION SITE - NIGHT<\/stage_direction>\n    <scene_description>An SUV pulls up to a construction trailer which is set up beside an unfinished 10-story office building. Ghoukas and the other thug open the door and escort the guys toward the trailer. Kurt notices a sign reading \"Nagopian Construction.\"<\/scene_description>\n    <character>KURT<\/character>\n    <parenthetical>(to the guys)<\/parenthetical>\n    <dialogue>He's also got a construction company?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>That's probably how he set up in that other building before it opened.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Wow. Construction, venture capital, mob boss. He's a real Renaissance man.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NAGOPIAN'S CONSTRUCTION TRAILER - MOMENTS LATER<\/stage_direction>\n    <scene_description>Nick, Kurt and Dale stand across from Nagopian who sits at a metal desk covered in blueprints. Ghoukas and the other thug hover nearby.<\/scene_description>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>So you don't have my money?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>It's just not possible to double a million dollar loan in one month.<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Not normally, no.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Come on, man. There has to be a more reasonable payment plan option.<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Of course there is. It's called \"The Ghoukas Kills You\" plan.<\/dialogue>\n    <scene_description>Ghoukas snickers.<\/scene_description>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Here's what I'm thinking...<\/dialogue>\n    <parenthetical>(to Kurt and Nick)<\/parenthetical>\n    <dialogue>On your way home, you two will die in a terrible car accident. Your bodies will be so badly burned, it will be impossible for forensics to know that you were already dead before the car crashed.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Jesus.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>So specific.<\/dialogue>\n    <character>DALE<\/character>\n    <parenthetical>(nervously)<\/parenthetical>\n    <dialogue>What about me?<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>You?<\/dialogue>\n    <parenthetical>(considers, then)<\/parenthetical>\n    <dialogue>Auto-erotic asphyxiation.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Wha?<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>The police will find you hanging from a belt with your cock in your hand.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Aw, man! Can't I just be in the car with them?<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Well, isn't there another way I can die?<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>The police will find you with your head in the oven.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>That's better.<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>...and your cock in your hand.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>C'mon!<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Wait. You don't want to kill us. Dale's wife is pregnant with triplets.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>That's right.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>What if he were to give you two of his babies?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Yeah. Wait, what?<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(to Kurt)<\/parenthetical>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>KURT<\/character>\n    <parenthetical>(to Nagopian)<\/parenthetical>\n    <dialogue>Dale keeps one. You get two. You sell them on the black market. Come on. Two healthy white babies? That's got to be worth a million right there.<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>It's worth sixty thousand.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Creepy that you know that.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>I'm not selling my babies anyway.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>You've got three! Don't be selfish.<\/dialogue>\n    <parenthetical>(then, to Nagopian)<\/parenthetical>\n    <dialogue>What if Dale sucks your dick?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Selfish!<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Ghoukas. Drank' herru.<\/dialogue>\n    <scene_description>Ghoukas takes out his gun and gestures them toward the door. The guys exchange a dire look.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Wait. Please. There has to be another way. Isn't there anything we can do for you? Anything at all?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Dale will do anything.<\/dialogue>\n    <scene_description>Nagopian's Thug snorts and chimes in.<\/scene_description>\n    <character>THUG<\/character>\n    <dialogue>Nrank' karogh yen goghanal arrak'man.<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>Vor urakh kliner.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>What is that? What's he saying?<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <parenthetical>(to Ghoukas)<\/parenthetical>\n    <dialogue>Spasel.<\/dialogue>\n    <scene_description>Ghoukas stops the guys.<\/scene_description>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>There is one thing.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Okay, great. What is it?<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Today I sold a truck to Ara\u00f1a Pandilla.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Who's he?<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>It's not a \"he.\" It's a Dominican street gang. And they're assholes.<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>They're keeping the truck at a strip club they own. If you can steal it from them and bring it back to me tonight, I'll consider your debt paid.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Why would you steal back something you just sold?<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Because that way I get their money and my truck back.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>This truck must mean a lot to you. Has it been in your family a long time?<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>What? No. I don't give a shit about the truck. I want what's in the truck!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>What's in the truck?<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>None of your fucking business. Just get it back by sun-up. And if you try to run--<\/dialogue>\n    <character>GHOUKAS<\/character>\n    <dialogue>Something terrible may or may not happen to you and your families.<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>No, Ghoukas! We're past the conceit now.<\/dialogue>\n    <character>GHOUKAS<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <parenthetical>(to the guys)<\/parenthetical>\n    <dialogue>I'll kill you and your families.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. URBAN NEIGHBORHOOD - NIGHT<\/stage_direction>\n    <scene_description>The SUV driven by Ghoukas heads off, leaving Nick, Kurt and Dale standing on the curb.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Now where the fuck are we?<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(pointing)<\/parenthetical>\n    <dialogue>That must be the strip club.<\/dialogue>\n    <scene_description>A block away from them is a seedy, unwelcoming club with a neon sign that reads \"PUTAS DESNUDAS.\"<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>\"Putas Desnudas\"? What does that mean?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>\"Naked Whores.\"<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Kind of on-the-nose, huh?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I don't see a truck.<\/dialogue>\n    <scene_description>They walk closer to the club and notice around the corner is a fenced-in parking lot with an 18-wheeler parked inside. TWO heavily tattooed HISPANIC GUARDS stand nearby. Our guys quickly back up into the shadows.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Look at this. A locked fence, guards. It's a suicide mission.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I think that's what Nagopian had in mind.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Those guys have tattoos on their faces. That does not bode well.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>If it were easy to rob a truck from one gang and give it to another, people would be doing it all the time.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>I had no idea starting a small business would be this hard.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>All right, let's just put our heads together and figure out how to pull this off without getting killed.<\/dialogue>\n    <scene_description>There's a long beat.<\/scene_description>\n    <character>DALE<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>What would Ocean's 11 do?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Well, first of all, they'd have eight more people.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>And I don't think we're going to have to do backflips through a room full of lasers in there.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>You're thinking of Catherine Zeta- Jones in \"Entrapment.\"<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>No, I'm not. Catherine Zeta-Jones was also in \"Ocean's 11.\"<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>No, she wasn't. She was in \"Ocean's 12.\"<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>It was the same cast.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Yeah, plus a twelfth person: Catherine Zeta-Jones.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>You're an idiot.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Am I?! Okay, I'm iMDB'ing it.<\/dialogue>\n    <scene_description>He starts furiously typing into his smart phone.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Probably not the best use of our time.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Well, there is one thing all those movies had in common. Besides Catherine Zeta-Jones.<\/dialogue>\n    <character>DALE<\/character>\n    <parenthetical>(still typing)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <character>KURT<\/character>\n    <parenthetical>(to Nick)<\/parenthetical>\n    <dialogue>They always created a distraction so the rest of the team could carry out the heist.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>That's true. Maybe create a commotion inside the club. Draw the guards in.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>What are you thinking? Smoke pellets?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Do you have smoke pellets?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Do you know how to make smoke pellets?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Guess that rules out smoke pellets.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>What if two of us stage a fake fight in there? Get everyone watching that.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>That only leaves one of us to hot- wire the truck and no one to keep a lookout.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>What did I say?!<\/dialogue>\n    <parenthetical>(holds up his phone)<\/parenthetical>\n    <dialogue>Ocean's 11! No Catherine Zeta-Jo--<\/dialogue>\n    <scene_description>Kurt swats the phone out of Dale's hand.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>Dale scrambles after it. Kurt turns back to Nick as if nothing happened.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>We're gonna need a fourth person.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Who do we know that we can call at one in the morning to help us commit a really dangerous crime?<\/dialogue>\n    <scene_description>SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DIVE BAR - NIGHT<\/stage_direction>\n    <scene_description>The guys sit in their regular booth across from MOTHERFUCKER JONES.<\/scene_description>\n    <character>MOTHERFUCKER<\/character>\n    <dialogue>You three clowns just can't abide by the law, can you?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Clearly, some bad decisions were made. Now can you please help us, Motherfucker Jones?<\/dialogue>\n    <character>MOTHERFUCKER<\/character>\n    <dialogue>What'd you call me?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Motherfucker Jones. Isn't that your name?<\/dialogue>\n    <character>MOTHERFUCKER<\/character>\n    <dialogue>Not anymore. I changed it when I got married.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Oh, congratulations.<\/dialogue>\n    <character>MOTHERFUCKER<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Your wife didn't like the name \"Motherfucker\"?<\/dialogue>\n    <character>MOTHERFUCKER<\/character>\n    <dialogue>No, bitch. She didn't like the name \"Jones.\" I took her last name.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Really.<\/dialogue>\n    <character>DALE<\/character>\n    <parenthetical>(to Motherfucker)<\/parenthetical>\n    <dialogue>So what's your name now?<\/dialogue>\n    <character>MOTHERFUCKER<\/character>\n    <dialogue>Motherfucker Quang. She's Chinese. The hot kind. Not the big round head kind.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>So she was okay with \"Motherfucker\" but she didn't like \"Jones\"?<\/dialogue>\n    <character>MOTHERFUCKER<\/character>\n    <dialogue>I'm pretty sure she doesn't know what the word \"motherfucker\" means. She doesn't know what a lot of words mean.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>She sounds nice.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>But why did you take her last name?<\/dialogue>\n    <character>MOTHERFUCKER<\/character>\n    <dialogue>Because I respect women and I believe in equality.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>That's fair.<\/dialogue>\n    <character>MOTHERFUCKER<\/character>\n    <dialogue>And because she does everything I tell her to do. No matter how fucked up.<\/dialogue>\n    <character>DALE<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>That took a weird turn.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Okay, we don't have a lot of time here. So we need to know if you'll help us, Motherfucker... Quang?<\/dialogue>\n    <character>MOTHERFUCKER<\/character>\n    <dialogue>I'll help you. But it'll be fifty large.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Here we go.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>No. It's not going to be fifty large. It's not going to be anything large. It's going to be small.<\/dialogue>\n    <character>MOTHERFUCKER<\/character>\n    <parenthetical>(sighs, then)<\/parenthetical>\n    <dialogue>All right. Gimme your watch.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>This is a Tag Heuer.<\/dialogue>\n    <character>MOTHERFUCKER<\/character>\n    <dialogue>I know what it is.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Just give it to him, Nick.<\/dialogue>\n    <scene_description>Nick rolls his eyes and gives Motherfucker the watch.<\/scene_description>\n    <character>MOTHERFUCKER<\/character>\n    <dialogue>Thank you. From here on out, I'm going to be your heist consultant.<\/dialogue>\n    <scene_description>They all ad lib \"no's\" as they usher him out of the booth.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. URBAN NEIGHBORHOOD - LATER<\/stage_direction>\n    <scene_description>The guys stand with Motherfucker across from the strip club parking lot.<\/scene_description>\n    <character>MOTHERFUCKER<\/character>\n    <dialogue>I don't know about this. You didn't tell me these guys had tattoos on their faces.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>You have tattoos on your head!<\/dialogue>\n    <character>MOTHERFUCKER<\/character>\n    <dialogue>That's different. I grow out my hair, I look like everyone else. They grow out their hair, they look even crazier.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>We can't turn back now.<\/dialogue>\n    <character>MOTHERFUCKER<\/character>\n    <dialogue>I can.<\/dialogue>\n    <scene_description>He turns and starts to walk away.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Wait! We'll give you stock in Nickurdale.<\/dialogue>\n    <character>MOTHERFUCKER<\/character>\n    <parenthetical>(shocked)<\/parenthetical>\n    <dialogue>Nigger what?!<\/dialogue>\n    <character>NICK\/KURT\/DALE<\/character>\n    <dialogue>No, no!\/That's not--\/Oh boy.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Ni-Kur-Dale. It's the name of our company.<\/dialogue>\n    <character>MOTHERFUCKER<\/character>\n    <dialogue>Yeah, you gotta change that name.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>How much stock?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>A thousand shares.<\/dialogue>\n    <character>MOTHERFUCKER<\/character>\n    <dialogue>Ten thousand.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Done.<\/dialogue>\n    <character>DALE<\/character>\n    <parenthetical>(leaning in to Nick)<\/parenthetical>\n    <dialogue>I didn't know we have stock.<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>We don't.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Okay, here's how I see this going down. Motherfucker and I will stage a fight in the club. As soon as the guards come inside to break it up, you and Dale climb the fence, hot wire the truck, drive it through the fence and pick us up out front.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Seems like Dale and I have the much harder end of the plan.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Are you kidding? Do you know how hard it is to stage a convincing fake fight? The only reason I've chosen myself for it is because--<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(rolling his eyes)<\/parenthetical>\n    <dialogue>Don't say \"West Side Story.\"<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>\"West Side Story.\" The school paper said I was the most convincing Bernardo they'd ever seen.<\/dialogue>\n    <character>DALE<\/character>\n    <parenthetical>(leaning in to Motherfucker)<\/parenthetical>\n    <dialogue>Bernardo is Maria's brother. The leader of the Sharks. Motherfucker just stares at Dale.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Yeah, well, I was Tony. I know how to fake fight too.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Come on, Nick. You know Tony avoided all the rumbles like a little bitch. Bernardo was deep in the shit the whole show.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Dale, you saw the show. Which of us was the better fake fighter?<\/dialogue>\n    <character>DALE<\/character>\n    <parenthetical>(delicately)<\/parenthetical>\n    <dialogue>You were.<\/dialogue>\n    <scene_description>Nick scoffs.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>You were the better dancer, Nick.<\/dialogue>\n    <character>MOTHERFUCKER<\/character>\n    <dialogue>Fuck this shit.<\/dialogue>\n    <scene_description>Motherfucker turns and starts to walk away.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Okay, wait Motherfucker-- You and Kurt will do the fake fight, Dale and I will steal the truck. Somehow.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Good luck, guys.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>The Sharks are going to have their way tonight.<\/dialogue>\n    <scene_description>As they split up, Motherfucker turns to Kurt.<\/scene_description>\n    <character>MOTHERFUCKER<\/character>\n    <dialogue>You three should just fuck each other already.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRIP CLUB - MOMENTS LATER<\/stage_direction>\n    <scene_description>Kurt and Motherfucker enter the dimly-lit club which is populated by dozens of Ara\u00f1a Pandilla GANG BANGERS who greet them with hostile looks. On a stage, a STRIPPER works the pole.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Damn. This place makes your bar look like the Cheesecake Factory.<\/dialogue>\n    <scene_description>They take a seat at a table near the stage and eye their surroundings nervously.<\/scene_description>\n    <character>MOTHERFUCKER<\/character>\n    <dialogue>So, how do you want to do this?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>I guess we should start with some raised voices, then I'll throw the first punch. I won't touch you, but it'll be close, so you gotta pretend I made contact. Then we'll just sort of wing it from there. WWE style.<\/dialogue>\n    <character>MOTHERFUCKER<\/character>\n    <parenthetical>(raising his voice)<\/parenthetical>\n    <dialogue>That sounds good to me!<\/dialogue>\n    <character>KURT<\/character>\n    <parenthetical>(also raising his voice)<\/parenthetical>\n    <dialogue>Oh, okay! We're going right into this?!<\/dialogue>\n    <scene_description>Kurt stands, knocking his chair down. Motherfucker does the same. A few heads turn. It's hard for other people to hear what they're yelling over the music.<\/scene_description>\n    <character>MOTHERFUCKER<\/character>\n    <dialogue>Fuck yeah, we are!<\/dialogue>\n    <scene_description>Motherfucker grabs Kurt by the shirt.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>'Cause I kinda wanted to psych myself up for it a little more!<\/dialogue>\n    <scene_description>Kurt gives Motherfucker a little shove.<\/scene_description>\n    <character>MOTHERFUCKER<\/character>\n    <dialogue>Might as well get this over with, 'cause I gotta work in the morning!<\/dialogue>\n    <character>KURT<\/character>\n    <parenthetical>(\"angrily\")<\/parenthetical>\n    <dialogue>I didn't know you had a job! What do you do?!<\/dialogue>\n    <scene_description>Motherfucker shoves Kurt back.<\/scene_description>\n    <character>MOTHERFUCKER<\/character>\n    <parenthetical>(\"furious\")<\/parenthetical>\n    <dialogue>I run the coffee shop at a Barnes and Noble!<\/dialogue>\n    <character>KURT<\/character>\n    <parenthetical>(\"outraged\")<\/parenthetical>\n    <dialogue>Nice!<\/dialogue>\n    <scene_description>Motherfucker grabs a bottle and breaks it on the edge of the table.<\/scene_description>\n    <character>KURT<\/character>\n    <parenthetical>(still threatening)<\/parenthetical>\n    <dialogue>Oh, shit! Don't tell me you're actually gonna use that bottle! 'Cause that would really hurt me!<\/dialogue>\n    <character>MOTHERFUCKER<\/character>\n    <parenthetical>(getting in his face)<\/parenthetical>\n    <dialogue>Don't worry! I won't!<\/dialogue>\n    <scene_description>Motherfucker sets the bottle on the table. By now, most of the bar patrons are watching this \"fight.\"<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>I'm gonna punch you in the face with my right hand! You ready for that?!<\/dialogue>\n    <character>MOTHERFUCKER<\/character>\n    <dialogue>Bring it!<\/dialogue>\n    <scene_description>Kurt winds back and PUNCHES Motherfucker in the face, but instead of missing him, he accidentally NAILS HIM RIGHT IN THE NOSE. Motherfucker falls back and clutches his face.<\/scene_description>\n    <character>KURT<\/character>\n    <parenthetical>(realizing)<\/parenthetical>\n    <dialogue>Oh my god, I'm so sorry.<\/dialogue>\n    <character>MOTHERFUCKER<\/character>\n    <dialogue>You hit me!<\/dialogue>\n    <scene_description>Motherfucker looks at his hand and sees that his nose is bleeding.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>I know. You must've leaned into it.<\/dialogue>\n    <character>MOTHERFUCKER<\/character>\n    <dialogue>Leaned into it?! I'll lean into you, bitch!<\/dialogue>\n    <scene_description>Now angry for real, Motherfucker punches Kurt.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Ow! Hey!<\/dialogue>\n    <character>MOTHERFUCKER<\/character>\n    <dialogue>You want another one, Bernardo?!<\/dialogue>\n    <scene_description>The patrons regard this scuffle with little interest. Motherfucker lunges for Kurt, who tries to fend him off with a chair. But instead of hitting Motherfucker with it, he swings it into a table where TWO GANG MEMBERS sit.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Uh oh.<\/dialogue>\n    <scene_description>The gang members stand up and grab the chair from Kurt. One of them HURLS it at him but Kurt DODGES at the last second and the chair flies into another GANG MEMBER who looks pissed. All at once, the club ERUPTS IN A FRENZY of chair-throwing, punching and brawling.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STRIP CLUB - CONTINUOUS<\/stage_direction>\n    <scene_description>Nick and Dale stand in the shadows, watching the club's parking lot. Nick notices a THUG come out of the club and gesture for the two guards to come inside. They leave their posts and head in.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Look. They're going in.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Now's our chance.<\/dialogue>\n    <scene_description>They sneak over to the 10-foot chain-link fence, topped with barbed wire, that encloses the parking lot.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>There's barbed wire. How do we get over that?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Not a problem.<\/dialogue>\n    <scene_description>Dale takes off his jacket.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>I've seen people do this. You toss your jacket onto the barbed wire and then you just climb over it.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Okay. Do it.<\/dialogue>\n    <scene_description>Dale tosses his jacket up... and right over the fence where it lands on the ground on the other side. Nick gives him a look.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>I overshot it.<\/dialogue>\n    <scene_description>Dale tries to fish his jacket through a link in the fence but it's too thick and he only manages to wedge it halfway through.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Damn it.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Can I have your jacket?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>No. I'll do it.<\/dialogue>\n    <scene_description>Nick takes his jacket off puts his over his shoulder, then carefully climbs up the fence.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Oh, you're not going to toss it from the ground? That makes sense...<\/dialogue>\n    <scene_description>Nick reaches the top and drapes his coat over the barbed wire. He delicately clambers over the top.<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(hushed)<\/parenthetical>\n    <dialogue>Ow. Ow! Shit!<\/dialogue>\n    <scene_description>He reaches the ground.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>See? I told you that would work.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Didn't work at all, Dale. Went right through the jacket.<\/dialogue>\n    <scene_description>Nick holds out his hands which are flecked with bloody scratches.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Oof.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRIP CLUB - CONTINUOUS<\/stage_direction>\n    <scene_description>Kurt and Motherfucker cower next to the stage as COMPLETE CHAOS surrounds them.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Look, obviously I didn't hit you on purpose. I said I'm sorry.<\/dialogue>\n    <scene_description>A stripper falls off the stage and lands on them.<\/scene_description>\n    <character>MOTHERFUCKER<\/character>\n    <dialogue>All right. I'm done with this shit!<\/dialogue>\n    <scene_description>Motherfucker stands.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Where are you going?<\/dialogue>\n    <character>MOTHERFUCKER<\/character>\n    <dialogue>Home. You guys are a bad influence on me.<\/dialogue>\n    <scene_description>He scurries toward the exit.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Motherfucker Quang, wait! We'll give you fifty thousand shares!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COUNTING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>We're seeing the chaos from above, through an interior window.<\/scene_description>\n    <character>OSCAR (O.S.)<\/character>\n    <parenthetical>(Spanish with subtitles)<\/parenthetical>\n    <dialogue>What's going on down there?<\/dialogue>\n    <scene_description>REVEAL OSCAR, 30's, a tough as nails Ara\u00f1a Pandilla member, with the word \"JEFE\" tattooed across his forehead (think Javier Bardem). He smokes a cigarette and maintains an eerie calm, even under the most extreme circumstances. As he looks out a window onto the floor of the club, two GANG MEMBERS bundle stacks of cash behind him.<\/scene_description>\n    <character>GANG MEMBER<\/character>\n    <parenthetical>(Spanish with subtitles)<\/parenthetical>\n    <dialogue>Some kind of fight.<\/dialogue>\n    <scene_description>Oscar notices the two guards who came in from outside are among the fighters.<\/scene_description>\n    <character>OSCAR<\/character>\n    <parenthetical>(calmly)<\/parenthetical>\n    <dialogue>Who's guarding my fucking truck?<\/dialogue>\n    <scene_description>Oscar puts the cigarette in his mouth and heads out of the office.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRIP CLUB - CONTINUOUS<\/stage_direction>\n    <scene_description>Oscar goes down the stairs and into the war zone of the club. As he heads for the back door, he is completely unfazed by the violence around him. He's like Robert Duvall in \"Apocalypse Now,\" but instead of explosions, he walks through flying chairs and bottles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRUCK - CONTINUOUS<\/stage_direction>\n    <scene_description>The 18-wheeler sits in the lot. A very faint light can be seen coming from inside the cab.<\/scene_description>\n    <character>DALE (O.S.)<\/character>\n    <dialogue>We're looking for a red wire with a green or yellow stripe.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCK CABIN - CONTINUOUS<\/stage_direction>\n    <scene_description>Nick and Dale crouch on the floor of the truck. Nick holds a handful of wires from under the steering column while Dale follows instruction on his smartphone.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>I see a blue wire with a yellow stripe--<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>No! Don't touch that one!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Calm down. We're not defusing a nuclear warhead.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Right. Sorry. I'm a little jumpy.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Here's a red wire.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Okay good. According to this wiki, that should be the power wire. We need to connect that to the starter wire.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Which is the starter wire?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Hang on, it's loading.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Loading...<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Come on, Dale.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>I can't help it. It's 3G.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Loading...<\/dialogue>\n    <scene_description>Suddenly, they hear a door bang shut outside.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>What was that?<\/dialogue>\n    <scene_description>Dale peeks up out the window and sees Oscar emerging from the club and looking around suspiciously.<\/scene_description>\n    <character>DALE<\/character>\n    <parenthetical>(whisper yell)<\/parenthetical>\n    <dialogue>Someone's coming!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Get down!<\/dialogue>\n    <scene_description>Nick yanks Dale down below the window.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - CONTINUOUS<\/stage_direction>\n    <scene_description>Oscar notices Dale's jacket wedged into the bottom of the chain-link fence. He tosses away his cigarette as he crosses to the back of the truck. He takes out his keys, unlocks the rear door and opens it. He checks out the contents of the trailer (we don't see what's inside).<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCK CABIN - CONTINUOUS<\/stage_direction>\n    <scene_description>Nick and Dale huddle together, terrified.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>What's he doing back there?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Shhh.<\/dialogue>\n    <scene_description>Just then, they hear the rear door slam shut. CLOSE ON the jumble of exposed wires. The slight movement of the cabin from the door slamming causes the red wire to make contact with a brown one. The two wires SPARK and we hear: SFX: Truck ignition starting<\/scene_description>\n    <character>DALE<\/character>\n    <parenthetical>(hushed)<\/parenthetical>\n    <dialogue>Yes!<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(hushed)<\/parenthetical>\n    <dialogue>No!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRUCK - CONTINUOUS<\/stage_direction>\n    <scene_description>Oscar reacts startled to the sound of the truck starting up.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>\u00bfQu\u00e9 diablos?<\/dialogue>\n    <scene_description>He crosses to the driver's side door and pulls it open revealing... No one.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCK CABIN - CONTINUOUS<\/stage_direction>\n    <scene_description>Oscar climbs into the driver's seat and examines the ignition. As he does, we REVEAL Nick and Dale cowering in the backseat directly behind Oscar. Oscar is about to turn in their direction when Dale spots a six-pack of Coke on the floor. Without thinking, he grabs a can and BASHES Oscar over the head with it.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Augghhh!<\/dialogue>\n    <scene_description>Oscar crumples over in the front seat. Nick and Dale exchange a look of shock.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Jesus, Dale!<\/dialogue>\n    <scene_description>Before Dale can reply, Oscar sits up.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>What the fuck was that--?!<\/dialogue>\n    <scene_description>Dale hits him again. Coke spritzes out of the dented can.<\/scene_description>\n    <character>OSCAR<\/character>\n    <parenthetical>(still conscious)<\/parenthetical>\n    <dialogue>Ow! My head!<\/dialogue>\n    <scene_description>CLONK! Dale slams him again.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>You son of a--<\/dialogue>\n    <scene_description>CLONK!<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Fuck!<\/dialogue>\n    <scene_description>Nick and Dale can't believe this guy is still awake.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>You're not hitting him hard enough!<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>I'm hitting as hard as I can! You try it!<\/dialogue>\n    <scene_description>Nick grabs a fresh can of Coke and clocks Oscar over the head. But still Oscar fails to fall unconscious.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Damn it!<\/dialogue>\n    <scene_description>Nick and Dale both start BASHING Oscar over the head with their respective cans. Coke sprays everywhere.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>Ouch! Shit! Oooh!<\/dialogue>\n    <scene_description>At long last, Oscar slumps over, out cold. Nick and Dale catch their breath.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>God, it's hard to knock someone out.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Especially with a soda can.<\/dialogue>\n    <scene_description>There's a beat. Dale takes a sip from his battered can.<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(noticing something)<\/parenthetical>\n    <dialogue>Oh damn.<\/dialogue>\n    <scene_description>REVERSE to see several THUGS exiting the club and hurrying toward the truck.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>We've gotta go!<\/dialogue>\n    <scene_description>Nick and Dale scramble into the front seat.<\/scene_description>\n    <character>DALE<\/character>\n    <parenthetical>(re: Oscar)<\/parenthetical>\n    <dialogue>What about him?!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Just move him over!<\/dialogue>\n    <scene_description>Dale drags Oscar off the front seat as Nick slams the door shut and grabs the gearshift.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Let's get the hell out of here.<\/dialogue>\n    <scene_description>ACTION MUSIC crescendoes as Nick stomps on the gas pedal... but the truck doesn't move. Instead, we hear a horrible GRINDING SOUND from the engine.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>What are you doing?!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I don't know how to drive a truck! There's like eighteen gears on this thing!<\/dialogue>\n    <scene_description>A GUNSHOT rings out, shattering the driver's side window. Dale and Nick duck down.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>They're shooting at us!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I got that.<\/dialogue>\n    <scene_description>Nick continues to grind the gears and the noise gets even uglier. By now, the gang members are almost upon the truck.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Come on, first gear... where are you?<\/dialogue>\n    <scene_description>Finally, he grinds it into gear and the truck slowly lurches forward toward the fence.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Gun it!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I'm trying, Dale! There's like five pedals down there!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - CONTINUOUS<\/stage_direction>\n    <scene_description>A THUG manages to leap onto the side of the cab. He climbs up to the window and points his gun at Nick. Just as he's about to fire, the truck rumbles through the fence -- not fast, but with enough speed to bust through. The torn fence scrapes along the sides of the truck and YANKS the thug from his perch.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STRIP CLUB - MOMENTS LATER<\/stage_direction>\n    <scene_description>Kurt runs out the front door of the club just as the truck clumsily barrels around the corner, the trailer jumping the curb and taking out a parking meter. Kurt hurries over as Nick slows down for him to climb aboard.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCK CABIN - CONTINUOUS<\/stage_direction>\n    <scene_description>Kurt slams the door shut as he takes a seat behind Nick and Dale.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Took you long enough. Do you have any idea what was going on in there?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Do you have any idea what was going on in here?!<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Where's Motherfucker?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>He took off. Couldn't take the heat.<\/dialogue>\n    <parenthetical>(then, noticing Oscar)<\/parenthetical>\n    <dialogue>Who's this gentleman?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>He's in the gang. We knocked him out with cans.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>No shit? That's cool.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>We should probably tie him up or something.<\/dialogue>\n    <scene_description>Kurt finds some bungee cords and proceeds to tie Oscar's hands behind his back.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Are they following us?<\/dialogue>\n    <character>DALE<\/character>\n    <parenthetical>(looking out the side window)<\/parenthetical>\n    <dialogue>I don't see anyone.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Hey, what do you think is in this truck anyway?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>No idea. Could be anything. Drugs, weapons...<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Sex slaves.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>I hope it's not sex slaves.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>It's not our business. The less we know the better.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'll go easier on the turns in case it's sex slaves.<\/dialogue>\n    <scene_description>SFX: Dale's cell phone rings<\/scene_description>\n    <character>DALE<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Hey, honey. What's up?<\/dialogue>\n    <scene_description>INTERCUT WITH:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DALE'S HOUSE - SAME TIME<\/stage_direction>\n    <scene_description>Flushed and out of breath, Stacy is on all fours on the floor of the kitchen.<\/scene_description>\n    <character>STACY<\/character>\n    <parenthetical>(into speaker phone)<\/parenthetical>\n    <dialogue>Dale?! Where are you?! It's four in the morning.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Uh... got stuck at the office.<\/dialogue>\n    <character>STACY<\/character>\n    <dialogue>Well, it's time!<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Time for what, hon?<\/dialogue>\n    <character>STACY<\/character>\n    <dialogue>Time for three babies to come out of my body!<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Right now? Are you sure?!<\/dialogue>\n    <scene_description>She glances over at a huge puddle of water on the floor next to her.<\/scene_description>\n    <character>STACY<\/character>\n    <dialogue>Pretty sure.<\/dialogue>\n    <parenthetical>(groans)<\/parenthetical>\n    <dialogue>Ohhhhh god!<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Breathe, Stacy! Are you dilated? Is your vagina dilated?!<\/dialogue>\n    <scene_description>Kurt and Nick exchange a look.<\/scene_description>\n    <character>STACY<\/character>\n    <dialogue>I can't see my vagina, Dale.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Right. Okay. We'll be right there! Just hang on!<\/dialogue>\n    <scene_description>He hangs up.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>We've got to take Stacy to the hospital.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>She's in labor. We've got to pick her up.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>In a stolen truck full of sex slaves?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Not to mention the man with the dragon tattoo back there.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Can't she call a cab?<\/dialogue>\n    <character>DALE<\/character>\n    <parenthetical>(steely)<\/parenthetical>\n    <dialogue>You listen to me. My wife and babies are the most important things in the world to me. And nothing's going to stop me from being there for them. So you either drive this fucking rig to my house and pick up Stacy or I will.<\/dialogue>\n    <scene_description>He holds a Coke can and glares at Nick threateningly. Nick glances over at Kurt who shrugs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>Nick takes a hard left. The trailer SCRAPES against a parked car, nearly totalling it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DALE'S HOUSE - MINUTES LATER<\/stage_direction>\n    <scene_description>Dale and Kurt carefully help Stacy to the truck.<\/scene_description>\n    <character>STACY<\/character>\n    <dialogue>What is this? What are you driving?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>It's a truck.<\/dialogue>\n    <parenthetical>(thinking fast)<\/parenthetical>\n    <dialogue>It's the Nickurdale company truck.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCK CABIN - MOMENTS LATER<\/stage_direction>\n    <scene_description>Dale helps Stacy recline in the back seat as Kurt climbs in the front and Nick pulls away from the curb.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Hey, Stacy. How you feeling?<\/dialogue>\n    <character>STACY<\/character>\n    <dialogue>Hey Nick. I didn't know you knew how to drive a truck.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Oh yeah. Been driving them since I was--<\/dialogue>\n    <scene_description>He is drowned out by a DEAFENING GRINDING SOUND as he struggles to shift gears. All of a sudden, Stacy lets out a SCREAM.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>What? Is it a contraction?!<\/dialogue>\n    <character>STACY<\/character>\n    <dialogue>There's a man on the floor!<\/dialogue>\n    <scene_description>She points to Oscar who lies unconscious at her feet.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Oh, right. That's...<\/dialogue>\n    <parenthetical>(sees the \"Jefe\" tattoo on Oscar's forehead)<\/parenthetical>\n    <dialogue>Jeffy. He's an old college pal. Latino college pal.<\/dialogue>\n    <character>STACY<\/character>\n    <dialogue>What's wrong with him?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>He's a drunk. Big drunk. We call him Jeffy the... Drunk.<\/dialogue>\n    <character>STACY<\/character>\n    <dialogue>He's got so many tattoos. He looks like a gang member.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>That's a little racist, hon.<\/dialogue>\n    <character>STACY<\/character>\n    <dialogue>You're right. I'm sorry.<\/dialogue>\n    <scene_description>As they speak, Nick notices something out his side-view mirror.<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Kurt. Is that--?<\/dialogue>\n    <scene_description>Kurt checks his mirror and sees two cars speeding up on the truck's tail. Inside can be seen several of the Ara\u00f1a Pandilla members.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Shit. Gun it.<\/dialogue>\n    <scene_description>Nick floors it and the truck picks up speed. At the same time, Stacy begins to MOAN as her contractions get worse.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Hang on, babe. Just try to relax and stay calm...<\/dialogue>\n    <scene_description>Dale glances out his window and sees one of the gang cars has caught up and pulled alongside. A GANG MEMBER leans out his window and aims a 9MM pistol at them.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Fuck my shit!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Hang on.<\/dialogue>\n    <scene_description>He SWERVES SHARPLY to the right, putting some distance between the truck and the gang car.<\/scene_description>\n    <character>STACY<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Nothing. You just focus on keeping those babies inside for a little longer.<\/dialogue>\n    <scene_description>CLOSE ON the speedometer which reads 90 MPH. Kurt checks his mirror again and sees another GANG MEMBER aiming his gun at them. SMASH! The mirror SHATTERS as a bullet strikes it.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Whoa.<\/dialogue>\n    <scene_description>Nick can see that the cars have taken positions on either side of the truck. Thinking fast, he swerves first left, then right, causing the trailer to JACKKNIFE just enough to impact each car. The gang cars go into a spin, driving off the road and onto the shoulders.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <scene_description>The truck increases its distance from the pursuers.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>I think we're losing them.<\/dialogue>\n    <character>STACY<\/character>\n    <dialogue>The babies?!<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>No, no! The babies are fine.<\/dialogue>\n    <scene_description>SFX: POLICE SIREN<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>No way.<\/dialogue>\n    <scene_description>Sure enough, a PATROL CAR has pulled out and is speeding up behind the truck.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Gun it.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I'm not gunning anything. It's a cop.<\/dialogue>\n    <scene_description>Nick slows down and pulls over to the side of the road. The squad car stops behind the truck and a PATROLMAN steps out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - SAME TIME<\/stage_direction>\n    <scene_description>Several hundred yards back, the two cars full of gang members have stopped and turned off their lights, waiting to see what happens.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRUCK - CONTINUOUS<\/stage_direction>\n    <scene_description>The Patrolman approaches Nick's window.<\/scene_description>\n    <character>PATROLMAN<\/character>\n    <dialogue>Do you know you were doing 90 miles an hour back there? A class 7 vehicle shouldn't be going faster than 55.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I am so sorry about that, Officer. It's--<\/dialogue>\n    <character>PATROLMAN<\/character>\n    <dialogue>What are you hauling back there?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Hmm?<\/dialogue>\n    <character>PATROLMAN<\/character>\n    <dialogue>What's in the trailer?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Just stuff. I don't even know.<\/dialogue>\n    <character>DALE (O.S.)<\/character>\n    <dialogue>Nothing secret.<\/dialogue>\n    <character>KURT (O.S.)<\/character>\n    <dialogue>Dale!<\/dialogue>\n    <scene_description>The Patrolman reacts to the disembodied voices.<\/scene_description>\n    <character>PATROLMAN<\/character>\n    <dialogue>All right, well, you're going to show me. Everyone out of the cab, please--<\/dialogue>\n    <scene_description>Just then, Stacy lets out a pained MOAN.<\/scene_description>\n    <character>PATROLMAN<\/character>\n    <dialogue>What the hell's going on in there?<\/dialogue>\n    <scene_description>He steps up on the running board and peers into the cab. From his POV he sees Dale tending to Stacy. Oscar isn't visible.<\/scene_description>\n    <character>PATROLMAN<\/character>\n    <dialogue>Is she all right?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>She's having a baby.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Triplets!<\/dialogue>\n    <scene_description>Stacy moans again.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>That's actually why we were speeding. We're taking her to the hospital.<\/dialogue>\n    <character>PATROLMAN<\/character>\n    <dialogue>Why didn't you say so? Come on. I'll give you an escort.<\/dialogue>\n    <scene_description>Suddenly, Oscar MOANS as he begins to regain consciousness. The Patrolman looks puzzled for a moment. Stacy moans again and he shakes it off and hurries back to his car.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>All right then.<\/dialogue>\n    <scene_description>As soon as the cop is gone, Dale grabs a fresh can of soda and CLOCKS Oscar over the head with it. Oscar slumps over.<\/scene_description>\n    <character>STACY<\/character>\n    <dialogue>Why did you hit your friend with a can?!<\/dialogue>\n    <character>DALE<\/character>\n    <parenthetical>(struggling to cover)<\/parenthetical>\n    <dialogue>It's an inside joke. Don't worry.<\/dialogue>\n    <scene_description>The patrol car turns on its siren and pulls out. The truck follows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>The gang members watch, pissed off, as the truck leaves with the cop.<\/scene_description>\n    <character>GANG MEMBER<\/character>\n    <parenthetical>(Spanish with subtitles)<\/parenthetical>\n    <dialogue>What the fuck?<\/dialogue>\n    <character>GANG MEMBER #2<\/character>\n    <parenthetical>(Spanish with subtitles)<\/parenthetical>\n    <dialogue>Don't worry. We'll get to them.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY - MINUTES LATER<\/stage_direction>\n    <scene_description>The truck ZOOMS down the road following the patrol car.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOSPITAL - NIGHT<\/stage_direction>\n    <scene_description>The truck and the patrol car pull to a stop at the emergency room entrance. Dale jumps out.<\/scene_description>\n    <character>DALE<\/character>\n    <parenthetical>(yelling)<\/parenthetical>\n    <dialogue>Wheelchair! Can we get a wheelchair here?!<\/dialogue>\n    <scene_description>No one comes.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>This is a terrible hospital.<\/dialogue>\n    <scene_description>He hurries inside. Kurt and Nick help Stacy out of the truck as the cop joins them.<\/scene_description>\n    <character>STACY<\/character>\n    <dialogue>Oh god! They're coming out!<\/dialogue>\n    <character>DALE (O.S.)<\/character>\n    <dialogue>Here I am! I'm coming!<\/dialogue>\n    <scene_description>Dale runs back out pushing a wheelchair and Stacy sits.<\/scene_description>\n    <character>DALE<\/character>\n    <parenthetical>(to Nick and Kurt)<\/parenthetical>\n    <dialogue>I'll be right back.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Kind of in a time crunch here, Dale.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>I know. But I got us into this and I'm not gonna send you there without me.<\/dialogue>\n    <parenthetical>(wheeling Stacy inside)<\/parenthetical>\n    <dialogue>Wish us luck!<\/dialogue>\n    <scene_description>Dale and Stacy go.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Good luck.<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(to Patrolman)<\/parenthetical>\n    <dialogue>Thank you, Officer. You've been a big help.<\/dialogue>\n    <character>PATROLMAN<\/character>\n    <dialogue>My pleasure. Y'know, I've always wanted to do that: escort a pregnant lady to the hospital. It's kind of the reason I became a cop.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Aww, that's nice.<\/dialogue>\n    <character>PATROLMAN<\/character>\n    <dialogue>That and getting to shoot people.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Aww.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Well, we don't want to keep you, so...<\/dialogue>\n    <character>PATROLMAN<\/character>\n    <dialogue>Just going to need to see the contents of your trailer.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>I'm sorry?<\/dialogue>\n    <character>PATROLMAN<\/character>\n    <dialogue>Yeah, you didn't get to show me before.<\/dialogue>\n    <scene_description>Nick and Kurt exchange a fearful look.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Uhhh...<\/dialogue>\n    <character>PATROLMAN<\/character>\n    <parenthetical>(no nonsense)<\/parenthetical>\n    <dialogue>Let's go.<\/dialogue>\n    <scene_description>Nick lets out a sigh and slowly leads the Patrolman toward the rear door of the trailer. He and Kurt stand there, staring at the door for a beat.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Here we are...<\/dialogue>\n    <character>PATROLMAN<\/character>\n    <dialogue>Open it, please.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Yup.<\/dialogue>\n    <scene_description>Nick unlatches the door and slides it up, revealing the trailer's interior. The patrolman shines his flashlight inside.<\/scene_description>\n    <character>PATROLMAN<\/character>\n    <dialogue>Holy crap.<\/dialogue>\n    <scene_description>REVERSE ANGLE to reveal stacked boxes labeled \"DORA THE EXPLORER PLUSH DOLLS.\" Kurt and Nick exhale, relieved.<\/scene_description>\n    <character>PATROLMAN<\/character>\n    <dialogue>My daughter would cream her jeans if she saw this.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Big \"Dora the Explorer\" fan, is she?<\/dialogue>\n    <character>PATROLMAN<\/character>\n    <dialogue>Oh my god. She loves that little bitch.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Why don't you take one for your daughter?<\/dialogue>\n    <character>PATROLMAN<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <scene_description>Kurt hops onto the trailer and tears open a box. He hands a Dora doll to the cop.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Here, y'know what? Take a Boots the Monkey, too.<\/dialogue>\n    <scene_description>He hands the cop another doll.<\/scene_description>\n    <character>PATROLMAN<\/character>\n    <dialogue>Thanks, guys. When my daughter sees these, she's gonna blow a load.<\/dialogue>\n    <scene_description>Kurt and Nick look a bit disgusted.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCK CABIN - SHORT TIME LATER<\/stage_direction>\n    <scene_description>Nick and Kurt climb back into the cab.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Why the hell would Nagopian want a truck full of Nick Jr. dolls?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>I don't know and I don't care. But we're not waiting anymore. We've got to get this truck back by sun- up.<\/dialogue>\n    <scene_description>Nick GRINDS the truck into gear.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Oh yeah. What's with the whole \"sun-up\" thing, by the way? He couldn't just give us a time? This isn't \"High Noon.\" Even that had a time. Noon.<\/dialogue>\n    <scene_description>Before Nick pulls out, they see Dale running up.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Hey, wait! I'm ready to go!<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>What about the babies?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>She had 'em! Two boys and a girl! And some poop. But I'm a dad!<\/dialogue>\n    <scene_description>He climbs aboard and they pull out.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>You weren't going to leave without me, were you?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Sun's coming up, Dale. We're running out of time.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Check it out.<\/dialogue>\n    <scene_description>He shows them a photo on his phone. INSERT: Stacy struggling to hold THREE NEWBORN BABIES<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Congratulations, Dale.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Adorable.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Is the one on the right a little wonky?<\/dialogue>\n    <scene_description>INSERT: the same photo. The one on the right is smaller and goofier looking than his siblings.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Milo? He's not wonky. He's just a little smaller than the other two.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>They're all beautiful.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>He sits back. Nick leans toward Kurt.<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>There's definitely something going on with Milo.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Right?<\/dialogue>\n    <parenthetical>(then, checks watch)<\/parenthetical>\n    <dialogue>I think we're okay. I think we're gonna make it back to Nagopian in time.<\/dialogue>\n    <character>OSCAR (O.S.)<\/character>\n    <dialogue>So you're working for that piece of crap?<\/dialogue>\n    <scene_description>The guys jump, startled. Oscar has regained consciousness, his hands still tied.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>I should've figured.<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(re: Oscar)<\/parenthetical>\n    <dialogue>Shit. I forgot about him.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>What I don't understand is, why would Nagopian hire three putos like you?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>If we're such putos, how did we steal your truck and knock you out?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Yeah! And what's a puto?<\/dialogue>\n    <scene_description>Oscar smiles calmly.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>You have no idea what kind of shit you're in.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>What about you? I hate to think what Nagopian's going to do to you when we get there.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>I'm not worried.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>If you're not worried, then why are you crying?<\/dialogue>\n    <parenthetical>(looking closer)<\/parenthetical>\n    <dialogue>Oh wait. That's a tattoo.<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Whatever happens to me, my men will find you and kill you.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>You have \"men\"? Why do you have \"men\"?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Because I'm the leader of the Ara\u00f1a Pandilla.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRUCK - CONTINUOUS<\/stage_direction>\n    <scene_description>Nick JAMS ON the brakes and the truck SQUEALS to a stop.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCK CABIN - CONTINUOUS<\/stage_direction>\n    <character>NICK<\/character>\n    <parenthetical>(to Oscar)<\/parenthetical>\n    <dialogue>You're the gang leader?!<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>What do you think this fucking tattoo on my forehead says?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Jeffy. Isn't your name Jeffy?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>Jefe. It means \"boss\"! Didn't any of you take Spanish in school?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>I took French.<\/dialogue>\n    <character>KURT<\/character>\n    <parenthetical>(to Nick and Dale)<\/parenthetical>\n    <dialogue>Why did you guys kidnap the gang leader?!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>He got in the truck. We didn't have a choice.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>What do we do with him?<\/dialogue>\n    <character>OSCAR<\/character>\n    <dialogue>You let me go.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>We're not letting you go.<\/dialogue>\n    <parenthetical>(then, quietly to Nick)<\/parenthetical>\n    <dialogue>Should we let him go?<\/dialogue>\n    <scene_description>Dale leans forward to listen.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>I don't know. If we take him to Nagopian he'll probably kill him.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Yeah. But if we let him out, he'll kill us.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>How? His hands are tied.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>They won't be tied forever, Dale.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Maybe we can make a deal with him. We let him go and Nagopian doesn't kill him. And in return for saving his life, he lets us off the hook.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Seems reasonable.<\/dialogue>\n    <parenthetical>(turning to Oscar)<\/parenthetical>\n    <dialogue>How does that sound, Jeffy?<\/dialogue>\n    <scene_description>They all look to see the rear truck door is open and Oscar is gone.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Where did he go?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRUCK - CONTINUOUS<\/stage_direction>\n    <scene_description>Dale and Kurt get out of the truck and look around.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>He's gone.<\/dialogue>\n    <parenthetical>(calling)<\/parenthetical>\n    <dialogue>Jeffy?!<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>You think he's going to come back if you call him?<\/dialogue>\n    <character>NICK (O.S.)<\/character>\n    <dialogue>Forget about him. The sun is coming up. Let's get this damn truck back.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>How did he open the door with his hands tied? He's like a Dominican ninja. A Dominja.<\/dialogue>\n    <scene_description>We hear horrible GRINDING SOUNDS from the transmission and Kurt and Dale climb in as the truck jerks forward.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONSTRUCTION SITE - DAWN<\/stage_direction>\n    <scene_description>The sun is just rising as the 18-wheeler pulls up to Nagopian's office trailer. Nagopian and Ghoukas exit the trailer as Nick, Kurt and Dale step down from the truck.<\/scene_description>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>You actually made it? No fucking way.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Yes, fucking way. Here's your truck. Are we done now?<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>One moment. Ghoukas.<\/dialogue>\n    <scene_description>Ghoukas crosses to the back of the truck.<\/scene_description>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>How did you get past the Dominicans?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>You ever see \"Oceans 11\"?<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>With Catherine Zeta-Jones?<\/dialogue>\n    <character>DALE<\/character>\n    <parenthetical>(frustrated)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Ghoukas returns with a Dora the Explorer doll and hands it to Nagopian.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>What is that?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>That's what was in the truck.<\/dialogue>\n    <character>KURT<\/character>\n    <parenthetical>(to Nagopian)<\/parenthetical>\n    <dialogue>Why did you need a bunch of dolls so badly?<\/dialogue>\n    <scene_description>Nagopian yanks the head off the doll and pulls out a baggie filled with powder.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Ah. Right. Drugs of some sort. That makes more sense.<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(leaning in)<\/parenthetical>\n    <dialogue>We gave them to that cop's daughter.<\/dialogue>\n    <character>KURT<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>Ooh. Probably shouldn't have, huh?<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>I have to admit, I'm impressed. I didn't think you mongoloids would pull it off.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>So, are we... good?<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Well, since you did bring me a truck worth 20 million dollars, I'm going to forgive your debt.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Oh, thank god.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>20 million?<\/dialogue>\n    <parenthetical>(whistles)<\/parenthetical>\n    <dialogue>If anything, you should pay us more.<\/dialogue>\n    <character>NICK<\/character>\n    <parenthetical>(quickly)<\/parenthetical>\n    <dialogue>He's kidding. Thank you, Mr. Nagopian. We're really glad we could work this all out without any of us... being killed.<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Ghoukas, call our friends a cab.<\/dialogue>\n    <scene_description>They shake hands with Nagopian just as a car pulls up, driven by a WOMAN. Nagopian hands the Dora doll to Ghoukas who takes it away. The woman steps out of the car. Dale looks at her. Why does she look familiar?<\/scene_description>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Hello, dear.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Hi, hon. Gabe and I wanted to say goodbye before we head for the airport.<\/dialogue>\n    <scene_description>Dale looks even more uneasy. The woman opens the rear passenger door and out steps Gabe, THE BOY WHO DALE HELPED GO TO THE BATHROOM. Dale's jaw drops.<\/scene_description>\n    <character>DALE<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>No fucking way.<\/dialogue>\n    <scene_description>Nagopian gives his wife a kiss and lifts up his son for a hug.<\/scene_description>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>How's my little monster?<\/dialogue>\n    <character>GABE<\/character>\n    <dialogue>Good.<\/dialogue>\n    <character>DALE<\/character>\n    <parenthetical>(nervously)<\/parenthetical>\n    <dialogue>Well, we should get out of your hair.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>We're waiting for a cab, Dale.<\/dialogue>\n    <character>DALE<\/character>\n    <parenthetical>(getting panicky)<\/parenthetical>\n    <dialogue>That's okay. We don't need a cab.<\/dialogue>\n    <character>GABE'S MOTHER<\/character>\n    <parenthetical>(noticing Dale)<\/parenthetical>\n    <dialogue>Hey, don't you work for Gabe's dentist?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Hm? No. What? I don't think so.<\/dialogue>\n    <parenthetical>(to Nick and Kurt)<\/parenthetical>\n    <dialogue>Time to go, guys. Come on.<\/dialogue>\n    <character>GABE'S MOTHER<\/character>\n    <dialogue>Yeah, you work with Dr. Slocum.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Don't know who that is.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>What is your problem? You did work for Dr. Slocum.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Nope! Different person. Let's go.<\/dialogue>\n    <character>GABE<\/character>\n    <dialogue>I know you.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>No, you don't.<\/dialogue>\n    <character>GABE<\/character>\n    <dialogue>Yeah, you're the man who took out my penis.<\/dialogue>\n    <scene_description>There's a stunned silence. Nick and Kurt exchange a look of disbelief. Dale forces a laugh.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>What?! Where did that come from?<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>What are you saying, Gabe? This man? He touched you?<\/dialogue>\n    <character>GABE<\/character>\n    <dialogue>Just my penis.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Okay, hang on! Gabe asked me to do it! He was practically begging me--<\/dialogue>\n    <scene_description>Mrs. Nagopian gasps. Nagopian's expression turns stone cold as he glares at Dale.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Let me back up. I took him to the bathroom. Come on, Gabe. Tell them why I did it.<\/dialogue>\n    <character>GABE<\/character>\n    <dialogue>I can't.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Why not?!<\/dialogue>\n    <character>GABE<\/character>\n    <dialogue>You said we had to keep it secret.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Oh damn.<\/dialogue>\n    <parenthetical>(to Kurt)<\/parenthetical>\n    <dialogue>Should we--?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Run? Yeah.<\/dialogue>\n    <scene_description>They grab Dale's arm and take off RUNNING toward the exit of the construction site.<\/scene_description>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Ghoukas!<\/dialogue>\n    <character>KURT<\/character>\n    <parenthetical>(breathing hard)<\/parenthetical>\n    <dialogue>God damn it, Dale. We were off the hook!<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Of all the kids you could've molested...<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>I didn't molest anyone!<\/dialogue>\n    <scene_description>As they approach the exit, two cars speed onto the construction site. Oscar hangs out the passenger window of one car, holding a gun. He rides with a half dozen of his tattooed GANG MEMBERS.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Is that--?<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>It's Jeffy!<\/dialogue>\n    <scene_description>Oscar aims and FIRES his gun, narrowly missing them. Gravel flies up beside them.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>This way!<\/dialogue>\n    <scene_description>Nick, Kurt and Dale retreat back the way they came. But before they get far, they see Nagopian, Ghoukas and another THUG leave the office trailer carrying weapons.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Not this way!<\/dialogue>\n    <scene_description>Nagopian's thug aims his Uzi at the guys, but before he can fire, he is SHOT IN THE ARM by one of the Dominicans. Caught in the crossfire, our guys duck and scramble for cover. Kurt spots the main entrance to the unfinished 10- story office building.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Over here!<\/dialogue>\n    <scene_description>As the two gangs take pot shots at each other, Nick, Kurt and Dale scurry into the building. ANGLE ON Nagopian and Ghoukas, who see them go in and hurry after them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNFINISHED BUILDING - CONTINUOUS<\/stage_direction>\n    <scene_description>Nick, Kurt and Dale race up the emergency stairs. The higher they go, the more unfinished the building is. They stop on the third floor to catch their breath. They can hear gunfire from outside. Nick pulls out his cell phone and dials.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Who are you calling?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>My mom.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <character>911!<\/character>\n    <dialogue>Dale peers down the open area of the staircase.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>I don't see anyone--<\/dialogue>\n    <scene_description>P-TING! A bullet RICOCHETS off the railing beside Dale. REVEAL Nagopian and Ghoukas at the bottom of the stairs aiming up at them.<\/scene_description>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>I'm going to put a bullet in your balls!<\/dialogue>\n    <character>DALE<\/character>\n    <parenthetical>(calling down)<\/parenthetical>\n    <dialogue>He was gonna pee in his pants! I helped him--<\/dialogue>\n    <scene_description>P-TING! Another bullet flies past.<\/scene_description>\n    <character>DALE<\/character>\n    <parenthetical>(to Kurt)<\/parenthetical>\n    <dialogue>He doesn't want to listen.<\/dialogue>\n    <scene_description>The guys continue up the stairs.<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Yes, hello. There are Dominicans and Armenians shooting at us!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Well, it's a long story. The main thing to focus on is that they're shooting at us.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONSTRUCTION SITE - CONTINUOUS<\/stage_direction>\n    <scene_description>An SUV pulls up and unloads four ARMENIAN MOBSTERS, all carrying automatic weapons. They take cover as the Ara\u00f1a Pandilla turn their fire on them. Oscar slips into the unfinished building and heads for the stairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNFINISHED BUILDING - MOMENTS LATER<\/stage_direction>\n    <scene_description>Nick, Kurt and Dale are now at the top floor. Nick's still on the phone. They leave the stairwell and take cover behind a stack of drywall. There are no outside walls or windows, only plastic sheets which flutter in the wind. SFX: BEEP Nick looks at his phone to see an incoming call. The caller ID reads: \"SKYMALL INC.\"<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(showing Kurt and Dale)<\/parenthetical>\n    <dialogue>Guys, look.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>SkyMall? What could they want?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Maybe they had second thoughts about the Shower Buddy. Take it.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Not the best time for a business call, Kurt. We're about to be shot to death.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Exactly. Wouldn't you rather die knowing that we're not just three idiots who quit their jobs for no reason?<\/dialogue>\n    <scene_description>Nick hesitates. Kurt grabs the phone from him and answers the call, putting 911 on hold.<\/scene_description>\n    <character>KURT<\/character>\n    <parenthetical>(\"casually\" into phone)<\/parenthetical>\n    <dialogue>Nickurdale Industries, this is Kurt.<\/dialogue>\n    <character>CLAIRE (O.S.)<\/character>\n    <parenthetical>(on phone)<\/parenthetical>\n    <dialogue>Kurt, hi, it's Claire Robbins from SkyMall. Hope we're not catching you too early.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>No, no, this is a great time.<\/dialogue>\n    <scene_description>BANG! A shot overhead showers the guys with drywall pieces. Kurt peeks out from his cover to find Nagopian and Ghoukas scanning the room for them. A piece of plastic blows in from the wind. Ghoukas FIRES at it.<\/scene_description>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>We're going to find you fuckers!<\/dialogue>\n    <scene_description>INTERCUT WITH:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SKY MALL OFFICES - SAME TIME<\/stage_direction>\n    <scene_description>Claire is on the phone at her desk.<\/scene_description>\n    <character>CLAIRE<\/character>\n    <dialogue>What is that noise?<\/dialogue>\n    <character>KURT<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>I'm just down on the factory floor. How can I help you, Claire?<\/dialogue>\n    <scene_description>As Claire speaks, the three crawl behind various piles of construction equipment to avoid being found by the Armenians.<\/scene_description>\n    <character>CLAIRE<\/character>\n    <dialogue>Well, despite our misgivings about you and your colleagues on a personal level, we showed your Shower Buddy to our boss and she flipped for it.<\/dialogue>\n    <character>KURT<\/character>\n    <parenthetical>(full voice)<\/parenthetical>\n    <dialogue>Seriously?<\/dialogue>\n    <parenthetical>(to Nick and Dale)<\/parenthetical>\n    <dialogue>They like the Buddy!<\/dialogue>\n    <scene_description>BANG! Hearing Kurt's voice, Nagopian fires in his direction. Nick, Kurt and Dale hustle for a new hiding spot.<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(to Kurt)<\/parenthetical>\n    <dialogue>Shhh!<\/dialogue>\n    <character>CLAIRE<\/character>\n    <dialogue>We do have a couple of questions, though, before we can make an order.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Sure, sure. That's great. Do you think we could call you back a little later in the day?<\/dialogue>\n    <character>CLAIRE<\/character>\n    <dialogue>Unfortunately, we go to press on our fall catalogue today, so it's kind of a now-or-never situation. That's why we're calling so early.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>I see. Okay, well, we'll be happy to answer your questions--<\/dialogue>\n    <scene_description>He peeks out from his hiding spot and sees Oscar and four of his thugs run in with weapons drawn.<\/scene_description>\n    <character>KURT<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>Holy shit.<\/dialogue>\n    <scene_description>Nagopian and Ghoukas take cover as Oscar and his men turn their attention to them.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>You think you can steal from me, pendejo?!<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>Jaj tam vret!<\/dialogue>\n    <scene_description>They open fire on each other. BANG, BANG, BANG! Kurt, Nick and Dale cower.<\/scene_description>\n    <character>CLAIRE<\/character>\n    <dialogue>Was that gunfire?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Nope. Those are... bolt guns. They're shooting bolts into the thing.<\/dialogue>\n    <character>CLAIRE<\/character>\n    <dialogue>All right, well, first of all, we need to know if the estimates you gave us on your maximum output capacity were theoretical or rated?<\/dialogue>\n    <scene_description>One of the Ara\u00f1a Pandilla members is SHOT multiple times. He collapses directly over where Kurt is hiding, dropping his gun and BLEEDING DOWN ONTO KURT'S HEAD.<\/scene_description>\n    <character>KURT<\/character>\n    <parenthetical>(reacting)<\/parenthetical>\n    <dialogue>Ugghhh.<\/dialogue>\n    <parenthetical>(then, keeping it together)<\/parenthetical>\n    <dialogue>Those estimates were rated, based on actual productivity figures over a two week period-- Pfft!<\/dialogue>\n    <scene_description>Kurt spits blood out of his mouth that has dripped down from the fallen gang member above him.<\/scene_description>\n    <character>CLAIRE)<\/character>\n    <dialogue>Okay, good. And tell me about your replenishment lead time.<\/dialogue>\n    <scene_description>More of Nagopian's men have joined the battle on the top floor. It's an all-out gang war. Struggling to see despite the blood that has dripped into his eyes, Kurt spots an Armenian THUG heading in his direction.<\/scene_description>\n    <character>KURT<\/character>\n    <parenthetical>(spits more blood)<\/parenthetical>\n    <dialogue>Pfft! I'm gonna hand you over to my co-CEO, Nick. He can tell you all about our<\/dialogue>\n    <parenthetical>(loudly for Nick's sake)<\/parenthetical>\n    <dialogue>replenishment lead time.<\/dialogue>\n    <scene_description>Kurt tosses the phone to Nick and scrambles for cover on his hands and knees. As Nick speaks, he \"army crawls\" under a tarp.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Hi, Claire. As far as our RLT goes, our assembly line can produce 75 completed units per hour, so we can meet any orders with a minimum of lead time--<\/dialogue>\n    <scene_description>BANG! A bullet rips through the tarp just over Nick. He flinches.<\/scene_description>\n    <character>CLAIRE<\/character>\n    <dialogue>Is everything okay there?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Everything's just f--UCK!<\/dialogue>\n    <scene_description>Nick holds up his left hand which we see has a BULLET HOLE IN IT.<\/scene_description>\n    <character>CLAIRE<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <scene_description>Freaking out, Nick spots Dale hiding nearby.<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(pained)<\/parenthetical>\n    <dialogue>I'm gonna transfer you to my colleague, Dale. DALE!<\/dialogue>\n    <scene_description>Nick throws the phone at Dale and grabs his hand in agony.<\/scene_description>\n    <character>DALE<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Dale here.<\/dialogue>\n    <character>CLAIRE<\/character>\n    <dialogue>Um, hello. I was just going to ask if your manufacturing cycle efficiency matches the throughput estimates from your production spec sheet.<\/dialogue>\n    <scene_description>Dale hasn't the slightest idea what Claire's talking about.<\/scene_description>\n    <character>DALE<\/character>\n    <parenthetical>(after a beat)<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <character>CLAIRE<\/character>\n    <dialogue>That's all we needed to know. Welcome to the SkyMall family.<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Thanks, lady!<\/dialogue>\n    <scene_description>Claire shrugs and hangs up. Dale pumps his fist victoriously.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Guys, we did it!<\/dialogue>\n    <scene_description>He looks over at Kurt who is disgustedly wiping blood from his face, then at Nick who is frantically wrapping his bloody hand.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>Whoa. Are you okay?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>No, I'm not okay! I got shot in the fucking hand!<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>I swallowed gangster blood!<\/dialogue>\n    <parenthetical>(noticing)<\/parenthetical>\n    <dialogue>Oh shit.<\/dialogue>\n    <scene_description>They turn to see Oscar stalking straight toward them, his gun drawn.<\/scene_description>\n    <character>OSCAR<\/character>\n    <dialogue>And now you learn what happens when you kidnap the head of the Ara\u00f1a P--<\/dialogue>\n    <scene_description>BLAM! A bullet blasts right through Oscar's head, SPLATTERING ONLY KURT'S FACE WITH BLOOD.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Ugghh! With the blood. Pfft!<\/dialogue>\n    <scene_description>Oscar falls, revealing Nagopian standing behind him, his own gun drawn.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>You saved our lives.<\/dialogue>\n    <character>MR. NAGOPIAN<\/character>\n    <dialogue>I was aiming at you. He got in the way.<\/dialogue>\n    <character>DALE<\/character>\n    <parenthetical>(disappointed)<\/parenthetical>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>Nagopian takes aim directly at Dale. Dale cringes. Nick spots a wheelbarrow filled with POWDERED CONCRETE. He grabs a handful and TOSSES it into Nagopian's face, momentarily blinding him.<\/scene_description>\n    <character>NICK<\/character>\n    <parenthetical>(clutching his wounded and now concrete caked hand)<\/parenthetical>\n    <dialogue>Ow!<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Come on!<\/dialogue>\n    <scene_description>They take off running in the direction of the stairs but stop when they see Ghoukas blocking their path.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Ghoukas.<\/dialogue>\n    <scene_description>They head off in another direction. By now, Nagopian has recovered and is hunting them down. Our guys find themselves at the edge of the building with a HUNDRED FOOT DROP IN FRONT OF THEM.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>It's a dead end.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>There's no way down.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Wait, look.<\/dialogue>\n    <scene_description>Kurt points to a construction debris chute (like a waterslide) that leads to a dumpster below.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Are you kidding? We wouldn't survive that.<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Sure we will. It's just like the slides at Raging Waters.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Yeah, if those slides ended in a dumpster full of sharp metal!<\/dialogue>\n    <scene_description>Nagopian and Ghoukas are closing in.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Well, I'm going.<\/dialogue>\n    <scene_description>Kurt jumps feet first into the slide and disappears. Nick and Dale look at each other for a beat. Dale shrugs and jumps into the slide. Nick sighs.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>God damn it.<\/dialogue>\n    <scene_description>He follows his friends down the chute.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEBRIS CHUTE - CONTINUOUS<\/stage_direction>\n    <scene_description>Kurt BARRELS down the dusty slide.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>WHOAAAAHHHHH!<\/dialogue>\n    <scene_description>Right behind him, Dale speeds along.<\/scene_description>\n    <character>DALE<\/character>\n    <dialogue>AHHHHHHHHHHH!<\/dialogue>\n    <scene_description>Bringing up the rear is Nick.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>SHHHIIIIIIIT!<\/dialogue>\n    <scene_description>From Kurt's POV, we see the bottom of the chute rapidly approaching. A LONG, SHARP piece of REBAR juts into the slide, pointing directly up toward Kurt's oncoming testicles.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Oh fuck.<\/dialogue>\n    <scene_description>He desperately splays out his legs and hands, slowing himself down on the walls of the chute. He manages to stop his descent a MERE FOOT from the pointy end of the steel bar... UNTIL DALE SLAMS INTO HIM from behind, shoving him six inches closer to the bar.<\/scene_description>\n    <character>KURT<\/character>\n    <dialogue>Ahh!<\/dialogue>\n    <character>DALE<\/character>\n    <dialogue>Oof!<\/dialogue>\n    <scene_description>Just then, Nick SLIDES INTO THE TWO OF THEM, shoving Kurt's crotch down to within AN INCH of being impaled. Kurt takes a deep breath, then kicks the rebar to the side.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONSTRUCTION SITE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Filthy, bloody and exhausted, the three guys climb out of the dumpster only to find a half dozen GUNS pointed at them.<\/scene_description>\n    <character>MAN (O.S.)<\/character>\n    <dialogue>Freeze!<\/dialogue>\n    <scene_description>The guys realize they are surrounded by COPS, including Hagan. A couple SWAT team vans unload and take up positions around the building.<\/scene_description>\n    <character>HAGAN<\/character>\n    <dialogue>So you dildos weren't bullshitting me after all.<\/dialogue>\n    <scene_description>He gestures for the cops to lower their guns. An OFFICER steps up to Hagan.<\/scene_description>\n    <character>OFFICER<\/character>\n    <dialogue>Sir, we've apprehended Nagopian.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Think you have enough evidence on him now, Detective?<\/dialogue>\n    <scene_description>Hagan gives him a look.<\/scene_description>\n    <character>HAGAN<\/character>\n    <dialogue>You guys okay?<\/dialogue>\n    <character>KURT<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <parenthetical>(re: the blood crusted on his face)<\/parenthetical>\n    <dialogue>Think I could get an AIDS test?<\/dialogue>\n    <scene_description>Nick's cell phone rings. It's SkyMall again.<\/scene_description>\n    <character>NICK<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>CLAIRE (O.S.)<\/character>\n    <dialogue>It's Claire Robbins again. I'm sorry, I forgot one last thing.<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>CLAIRE (O.S.)<\/character>\n    <dialogue>Your company name. Nickurdale? It kinda sounds like...<\/dialogue>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>\"N-word Dale.\" Any way you could change it?<\/dialogue>\n    <character>NICK<\/character>\n    <dialogue>Hmm, never occurred to us. But sure, we can change it.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAREHOUSE - TWO WEEKS LATER<\/stage_direction>\n    <scene_description>A RECEPTIONIST picks up the phone.<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Thank you for calling Danickur.<\/dialogue>\n    <parenthetical>(pronounced \"da nigger\")<\/parenthetical>\n    <dialogue>How may I direct your call?<\/dialogue>\n    <scene_description>PULL BACK to reveal the NEW COMPANY NAME on the wall behind her: \"DANICKUR INDUSTRIES\" TRACK THROUGH the now bustling office, filled with activity. We pass a stack of SkyMall catalogues on a coffee table, the Shower Buddy is on the cover. We continue down to the factory floor where WORKERS are producing and packaging hundreds of Shower Buddy's. We FOLLOW one unit as it moves down the production line. A worker picks it up and we MATCH CUT TO: OVER CREDITS:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NICK'S SHOWER - DAY<\/stage_direction>\n    <scene_description>CLOSE ON a Shower Buddy in use. REVEAL Nick taking a shower. He turns the dial from \"shampoo\" to \"conditioner\" and smiles as the showerhead performs perfectly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KURT'S SHOWER - DAY<\/stage_direction>\n    <scene_description>Kurt lathers up happily under his own Shower Buddy.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DALE'S SHOWER - DAY<\/stage_direction>\n    <scene_description>Dale is loving life as he showers with his three BABIES in his arms. One of them looks a little wonkier than the other two.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTHERFUCKER'S SHOWER - DAY<\/stage_direction>\n    <scene_description>Motherfucker dials his Shower Buddy to \"soap.\" Two hands reach into frame and soap his back. It's his ASIAN WIFE. They start to make out under the water. Soap gets in their mouths and they spit it out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOWER - DAY<\/stage_direction>\n    <scene_description>Nagopian looks unhappy as he adjusts his Shower Buddy. PULL BACK to see he is showering with a DOZEN OTHER NAKED MEN in the PRISON SHOWER BLOCK.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NICK'S SHOWER - DAY<\/stage_direction>\n    <scene_description>ANGLE ON THE FLOOR of the shower where the Shower Buddy has left a thick and DANGEROUSLY SLIPPERY accumulation of soap, shampoo and conditioner. Nick shifts his weight and his feet SLIP out from under him. He goes down hard.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KURT'S SHOWER - DAY<\/stage_direction>\n    <scene_description>Kurt turns and also falls on his ass, pulling the shower curtain down with him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DALE'S SHOWER - DAY<\/stage_direction>\n    <scene_description>Dale, still holding his three babies, slips. From outside the shower, we hear him hit the floor, followed by the sound of THREE BABIES CRYING.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTHERFUCKER'S SHOWER - DAY<\/stage_direction>\n    <scene_description>Motherfucker and his wife are already on the floor, struggling to stand but having no luck in the slippery mess.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON SHOWER - DAY<\/stage_direction>\n    <scene_description>It's total chaos as naked INMATES slip and slide on the cement floor, trying desperately to get their footing. A couple GUARDS try to help, but wind up falling into the writhing mass of nude criminals. FADE OUT.:<\/scene_description>\n    <character>THE END<\/character>\n  <\/scene>\n<\/script>","summary":"Three years after the first film, Nick, Dale, and Kurt invent a car wash-inspired shower head, the \"Shower Buddy\". They are approached by Bert Hanson and his son Rex, and Bert agrees to invest if they can make 100,000 units. With a business loan, the trio outfit a warehouse, producing the quota. However, Bert backs out, as he never signed an agreement, and tells them that he plans to take their inventory in foreclosure and sell them (renamed as the \"Shower Pal\") himself, leaving them in debt $500,000 with their outstanding loan. Seeking financial advice, the three visit Nick's imprisoned former boss, Dave Harken, who says they have no feasible legal way to recover their losses. They then resolve to kidnap Rex for ransom. Seeking \"Motherfucker\" Jones' help, he suggests keeping the victim unconscious the entire kidnapping. Their ransom note asks for $500,000. They go to the office of Dale's former boss, Dr. Julia Harris, to steal nitrous oxide. While there, Kurt and Dale are almost caught by members of Julia's sex addiction support group; once they leave, Nick distracts Julia, allowing Dale and Kurt to escape. At Rex's, while hiding in the closet, Dale accidentally knocks them out with the gas. Waking up in the morning, Rex is gone. Returning to the warehouse, they find him tied up in their trunk. Getting out, he reveals he found them in his closet, but staged his own kidnapping. Rex sent the ransom note to Bert, increasing the ransom to $5 million. The three doubt Rex's plan, but he threatens to go to the police if they back out. They call Bert to inform him of Rex's kidnapping, threatening to kill him if the police are summoned. However the police, led by Detective Hatcher, subsequently arrive at the warehouse to question the suspects. When the police leave, Rex breaks down when he finds out Bert cares more about his money than him. Now sympathetic, the trio agrees to do the fake kidnapping together. They form a plan to outsmart the police and get the ransom money using untraceable phones, a basement garage to block out any tracking signal, and Kurt disguised as Bert. While the plan is in motion, the trio realize Kurt mistakenly left Bert his own phone instead of the untraceable one to give Bert instructions. Nevertheless they use Kurt's phone to give. Before leaving, Julia arrives, demanding Dale sleep with her or she will report them for breaking into her office. Dale's wife Stacy, with their three daughters, unexpectedly arrives. Believing he is cheating with Julia, she storms off. Dale angrily locks Julia in the bathroom so they can leave. In the basement garage, they demand Bert give them the money and the cell phone. However, Bert is killed by Rex, who reveals that, when his father did not care about him, he decided to kill him, framing them to inherit everything. As they are pursued by the police, Jones arrives. Anticipating they would be killed, he was going to take the ransom money himself. Jones drives them to the warehouse so they can prove their innocence. Upon arrival, he escapes with the money and the police find Rex tied up. Before they arrest the trio, Kurt's phone rings in Rex's pocket; the police recognize the ringtone as that left to Bert by the kidnappers. When Rex claims the phone is his, Hatcher asks why he did not call the police if he had a phone, so he takes him hostage. When Dale attempts to attack Rex, Rex shoots him. Hatcher subdues and arrests him, thanks to the distraction. Dale wakes up in the hospital. As Dale helped save Hatcher's life, the charges were dropped. Julia helped with Stacy, although hints at having raped him during his coma and promises to have sex with his wife as well. In the end, their business goes into foreclosure but Harken buys it, allowing the trio to stay employed. Jones, meanwhile, uses the ransom money to invest in Pinkberry."}
{"movie_name":"Stan & Ollie_2018","imdb_id":"tt3385524","script":"<script>\n  <scene>\n    <scene_description>'Stan and Ollie' A Screenplay By Jeff Pope BLACK.: UNDER THIS THIS WE HEAR A CONVERSATION.:<\/scene_description>\n    <character>HARDY (V.O.)<\/character>\n    <dialogue>... so Madelyn turned up.<\/dialogue>\n    <character>LAUREL (V.O.)<\/character>\n    <dialogue>Madelyn turned up?<\/dialogue>\n    <character>HARDY (V.O.)<\/character>\n    <dialogue>Completely out of the blue. Haven't seen her in fifteen years...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRESSING ROOM\/ROACH LOT\/STUDIO - DAY<\/stage_direction>\n    <scene_description>Oliver HARDY leans against the door to a dressing room, worried expression, talking to his friend Stan LAUREL. Both are in their late-40s, (at the peak of their movie careers), but to begin with we have no real clue as to who they are, where they are or what they do. They are just two guys in cheap suits talking to each other. HARDY lights up a cigarette as he talks.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>There she was, all gussied up on the front door step. And that's something I never thought I'd see again.<\/dialogue>\n    <scene_description>LAUREL picks up a boot (the right one) with a large hole in the sole. Using a knife he levers off the heel.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>What'd she want?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Twenty thousand bucks.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Twenty thousand?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Fifteen years of back alimony. I \\*\\* said 'what alimony? When we broke \\*\\* up I gave you whatever money I had \\*\\* and you took the car.' We both \\*\\* agreed that was that.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Jeez even Mae wasn't after that much - and she wanted me to pay for a chauffeur. It's because our faces \\*\\* are plastered all over town. \\*\\* Probably some lawyer's bright idea. \\*\\*<\/dialogue>\n    <scene_description>LAUREL levers off the other heel.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Well in any case I haven't got it. \\*\\* Myrtle cleaned me out when we split.<\/dialogue>\n    <scene_description>As he pulls the boots on LAUREL considers this but doesn't reply. HARDY picks up his Bowler hat, then LAUREL picks up his and they leave the dressing room (without putting them on). In a CONTINUOUS SHOT we follow them out to... A studio corridor. As they continue on their journey LAUREL finishes fastening a frayed cuff with a paper clip for a cuff-link.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>You been down to Tijuana?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>What makes you say that?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>We had a few days off. \\*\\*<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>I did have a little run down there with Mysterious Montague yes, trying to win some back. Not... entirely successfully. Which \\*\\* reminds me. Would you do me favour, \\*\\* don't talk money with Hal today. \\*\\*<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Charlie, Buster, Harold - they get ten times what he pays us.<\/dialogue>\n    <scene_description>They pass through a door and emerge into the bright California sunshine, now making their way along an alleyway between buildings on the Roach lot. Caption Culver City California, 1937<\/scene_description>\n    <character>HARDY \\*\\*<\/character>\n    <dialogue>Well they own their own pictures. \\*\\*<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Exactly. And that's what we're \\*\\* gonna do. \\*\\*<\/dialogue>\n    <scene_description>As they pass a couple of SCENE HANDS moving parts of a Roman set along on a trolley - starting to give us a sense of the business they are in.<\/scene_description>\n    <character>SCENE HAND<\/character>\n    <dialogue>Hey boys how's it goin'!<\/dialogue>\n    <scene_description>The first SCENE HAND moves his hair up into a mad quiff - Laurel-style. The second fiddles with his tie, just like Hardy. LAUREL and HARDY smile and wave back politely.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>We're just going shark fishing - Mr. Laurel doesn't know it yet but he's the bait.<\/dialogue>\n    <scene_description>LAUREL screws his face up into the start of a 'cry'; the SCENE HANDS laugh and they continue on their way. As the BOYS turn a corner we see, in the background, the ranch-fronted main building to Hal Roach's Culver City studios, pure old Hollywood. Still, the conversation continues:<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>How we gonna do that? We're under \\*\\* contract, we can't just change the \\*\\* terms. \\*\\*<\/dialogue>\n    <character>LAUREL \\*\\*<\/character>\n    <dialogue>We stick together, renegotiate with \\*\\* Hal and get a slice of the pie. Or \\*\\* we walk and we set up on our own. \\*\\*<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Oh I don't know Stan. I'd love to \\*\\* own our pictures but it's just not \\*\\* a good time for this. I have a lot \\*\\* going on, my overhead is killing \\*\\* me. \\*\\*<\/dialogue>\n    <scene_description>Coming towards them is a sweaty, worried-looking young man, BURGESS, early 20s - a studio runner.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Ah Burgess, just the man. Take this \\*\\* to our friend, put it on Bold \\*\\* Venture, fourth race at Santa \\*\\* Anita. On the nose. \\*\\*<\/dialogue>\n    <scene_description>Hardy give Burgess and envelope and some extra money. \\*\\*<\/scene_description>\n    <character>HARDY \\*\\*<\/character>\n    <dialogue>This is for you. \\*\\*<\/dialogue>\n    <scene_description>A pretty chorus girl walks by. \\*\\*<\/scene_description>\n    <character>CHORUS GIRL \\*\\*<\/character>\n    <dialogue>Hi Babe! \\*\\*<\/dialogue>\n    <scene_description>She waves. Hardy twiddles his tie, flutters his eyes then \\*\\* turns back to Burgess. \\*\\*<\/scene_description>\n    <character>HARDY \\*\\*<\/character>\n    <dialogue>Do it now, it starts soon. \\*\\*<\/dialogue>\n    <character>\\*\\*<\/character>\n    <dialogue>BURGESS \\*\\*<\/dialogue>\n    <scene_description>Okay. Thank you Mr. Hardy, Mr. Laurel. He hurries off in the opposite direction as they continue.<\/scene_description>\n    <character>LAUREL \\*\\*<\/character>\n    <dialogue>Listen Babe we'll be alright. Just \\*\\* lay off the horses and don't get \\*\\* married again. \\*\\*<\/dialogue>\n    <character>HARDY \\*\\*<\/character>\n    <dialogue>Oh that reminds me. I proposed to \\*\\* Lucille. \\*\\*<\/dialogue>\n    <character>LAUREL \\*\\*<\/character>\n    <dialogue>Script-y Lucille? \\*\\*<\/dialogue>\n    <character>HARDY \\*\\*<\/character>\n    <dialogue>Yeah. \\*\\*<\/dialogue>\n    <character>LAUREL \\*\\*<\/character>\n    <dialogue>Damn! That's great news Babe. \\*\\*<\/dialogue>\n    <scene_description>Laurel hugs Hardy. \\*\\*<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>I'm never marrying again. I'm just gonna find a woman I don't like and \\*\\* buy her a house. \\*\\*<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>That's a good one. But listen, it's \\*\\* not a good time for me to fool \\*\\* around with my income. Please don't \\*\\* antagonize Hal, I don't like to \\*\\* talk business. Not when we're \\*\\* working. \\*\\*<\/dialogue>\n    <character>LAUREL \\*\\*<\/character>\n    <dialogue>Alright, I promise I'll be nice as \\*\\* pie... so long as he doesn't show \\*\\* up. \\*\\*<\/dialogue>\n    <character>HARDY \\*\\*<\/character>\n    <dialogue>Hey I'm chartering a sail boat on \\*\\* Saturday to Catalina. You want to \\*\\* come? \\*\\*<\/dialogue>\n    <character>LAUREL \\*\\*<\/character>\n    <dialogue>I don't think so. I gotta figure \\*\\* out the gags for the bar routine \\*\\* for Monday. \\*\\*<\/dialogue>\n    <character>HARDY \\*\\*<\/character>\n    <dialogue>Gonna be a lot of ladies there. \\*\\*<\/dialogue>\n    <character>LAUREL \\*\\*<\/character>\n    <dialogue>Oh yeah. \\*\\*<\/dialogue>\n    <character>HARDY \\*\\*<\/character>\n    <dialogue>Myrnaloy will be on board. \\*\\*<\/dialogue>\n    <character>LAUREL \\*\\*<\/character>\n    <dialogue>Really? Alright, maybe I'll come. \\*\\*<\/dialogue>\n    <scene_description>Men in Roman costumes walk past Laurel and Hardy. \\*\\*<\/scene_description>\n    <character>HARDY \\*\\*<\/character>\n    <dialogue>What are all these Romans doing \\*\\* here? \\*\\*<\/dialogue>\n    <character>LAUREL \\*\\*<\/character>\n    <dialogue>Maybe there's a sale on at the \\*\\* Forum. \\*\\*<\/dialogue>\n    <character>HARDY \\*\\*<\/character>\n    <dialogue>Always working. \\*\\*<\/dialogue>\n    <scene_description>The boys enter Studio Two where a busy set is being prepared \\*\\* for their latest movie, a western. The hum of activity, the lights, the camera, a huge back projection screen erected - all add to the mounting sense of anticipation. Just for a moment, they are backlit against the studio lights, two familiar silhouettes - the thin guy and the fat guy - as they make their way onto set. \\*\\* As they walk on set HARDY sees LUCILLE, late 20s, the script supervisor, sitting by the camera, clipboard on her knees. Director James HORNE, 50s, calls over to her:<\/scene_description>\n    <character>HORNE<\/character>\n    <dialogue>Lucille you got my sides over there?<\/dialogue>\n    <scene_description>She holds up the director's well-thumbed script and he wanders over to her. HARDY catches her eye and gives her a secret smile, then kisses the tips of his fingers and blows them to her. She smiles back, shyly. HARDY turns to LAUREL:<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Hey Stan. Why don't we hold off on \\*\\* leaving right now and just push him \\*\\* for a raise?<\/dialogue>\n    <scene_description>Actor James FINLAYSON, 50, bald head, big whiskery moustache, walks past them on his way out of the studio having overheard the end of their conversation. HARDY greets him:<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Hey Jimmie.<\/dialogue>\n    <character>FINLAYSON<\/character>\n    <dialogue>Give you a raise? He'd rather lower Hollywood. And that's a Scotsman talking.<\/dialogue>\n    <scene_description>With familiar grumpy face and big eye, he bustles off.<\/scene_description>\n    <character>FINLAYSON<\/character>\n    <dialogue>Ah'm goin' for a smoke.<\/dialogue>\n    <scene_description>LAUREL sees studio boss Hal ROACH, 40s, a bullish native of New Jersey, heading straight for them with a red, angry face.<\/scene_description>\n    <character>ROACH<\/character>\n    <parenthetical>(To LAUREL)<\/parenthetical>\n    <dialogue>That's it Stan, we're through.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Good morning Hal.<\/dialogue>\n    <character>ROACH<\/character>\n    <dialogue>I'm pullin' a morals clause on ya.<\/dialogue>\n    <scene_description>A couple of MAKE-UP GIRLS - trying desperately to concentrate on their job - start to touch up LAUREL and HARDY. One pulls HARDY'S hair, which was parted at the side, down into a fringe. The other applies pancake-white make up to LAUREL. In CLOSE UP we see some bruising and discoloration around LAUREL'S upper lip, which is swiftly covered up.<\/scene_description>\n    <character>ROACH<\/character>\n    <parenthetical>(To HARDY)<\/parenthetical>\n    <dialogue>Another fight at his place last night, one of the neighbours sees Ruthie sock him in the mouth so they call the cops.<\/dialogue>\n    <scene_description>LAUREL turns to HARDY, embarrassed:<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>She found out bout Vera.<\/dialogue>\n    <character>ROACH<\/character>\n    <dialogue>Cost me five hundred bucks to keep it out the papers - and that's comin' out of your paycheck. You signed a contract: 'Second party agrees not to shock, insult or offend the community, or prejudice Hal Roach studios'.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>That's the last thing I'd want to do, not when you have so much prejudice already. How's your old buddy Mussolini, the one you were gonna go into business with before he started bombing all those poor \\*\\* people in Africa?<\/dialogue>\n    <scene_description>See ROACH, fuming. Laurel's MAKE-UP GIRL now arranges his (un- styled) hair into a spiky quiff; Hardy's starts to apply the pancake white make-up to him. \\*\\*<\/scene_description>\n    <character>ROACH<\/character>\n    <dialogue>All he wants to do is fight. How \\*\\* many times you been married Stan?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>My personal life is my own business - that's one thing you don't hold the rights to.<\/dialogue>\n    <character>HARDY \\*\\*<\/character>\n    <dialogue>Why can't we all be friends here? \\*\\*<\/dialogue>\n    <character>ROACH \\*\\*<\/character>\n    <dialogue>Friends? When were me and him ever \\*\\* friends? \\*\\*<\/dialogue>\n    <character>LAUREL \\*\\*<\/character>\n    <dialogue>Finally something we agree on! \\*\\*<\/dialogue>\n    <character>\\*\\*<\/character>\n    <dialogue>ROACH<\/dialogue>\n    <scene_description>What is it you're still lookin' for? LAUREL and HARDY stand on marks in the middle of the set: an \\*\\* exterior of a saloon with a patch of ground prepared in front of them, and that huge back projection screen behind.<\/scene_description>\n    <character>LAUREL<\/character>\n    <parenthetical>(Needled)<\/parenthetical>\n    <dialogue>I'm looking for a fair price for a Laurel and Hardy picture and you know it.<\/dialogue>\n    <character>ROACH<\/character>\n    <dialogue>Money. His favourite subject.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Oh right, you don't like money Hal. \\*\\* You're in it for the laughs. That's \\*\\* why our pictures sell all over the \\*\\* world and we haven't got a dime. \\*\\*<\/dialogue>\n    <scene_description>See HARDY, thinking about protesting this but, actually, knows it's true.<\/scene_description>\n    <character>ROACH<\/character>\n    <dialogue>Because you keep gettin' divorced!<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>No. Because you're a cheapskate who \\*\\* got rich off our backs!<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Stan please-<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>A cheapskate, a skinflint, and a... a... parvenu!<\/dialogue>\n    <scene_description>He nods, satisfied that he's landed a blow. But ROACH - and HARDY - clearly don't know what a 'parvenu' is.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>A parvenu?<\/dialogue>\n    <character>LAUREL<\/character>\n    <parenthetical>(To HARDY)<\/parenthetical>\n    <dialogue>My contract's up and he thinks because you've still got another ten months on yours I can't go anywhere and I'll have to take what he's offering.<\/dialogue>\n    <character>ROACH \\*\\*<\/character>\n    <dialogue>(suspicious) \\*\\*<\/dialogue>\n    <scene_description>Wait. What's a Parvenu? \\*\\*<\/scene_description>\n    <character>LAUREL \\*\\*<\/character>\n    <dialogue>It's someone who's come from \\*\\* nowhere and made a load of money \\*\\* but has no class. Look it up in the \\*\\* dictionary Hal, there's a picture \\*\\* of you. \\*\\*<\/dialogue>\n    <character>ROACH \\*\\*<\/character>\n    <dialogue>You're such a smart ass. Well guess \\*\\* what, I'm smarter. \\*\\*<\/dialogue>\n    <character>LAUREL \\*\\*<\/character>\n    <dialogue>(Back to ROACH, referring \\*\\* to HARDY) \\*\\*<\/dialogue>\n    <scene_description>Has he told you yet? We're setting \\*\\* up on our own. \\*\\* Hardy looks surprised. \\*\\*<\/scene_description>\n    <character>\\*\\*<\/character>\n    <dialogue>Final touches - Laurel's MAKE-UP GIRL gives him dark eye \\*\\* liner; Hardy's blackens his moustache.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Hal, it might be better if you \\*\\* could see your way to a modest raise. \\*\\*<\/dialogue>\n    <scene_description>But ROACH ignores him and addresses his response to LAUREL:<\/scene_description>\n    <character>ROACH<\/character>\n    <dialogue>What happens to Babe when you go off and make movies for somebody else? Like you said, he's still under contract to me. And I ain't releasin' him.<\/dialogue>\n    <scene_description>A WRANGLER hands the reins of a mule to HARDY.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>You can't have Hardy without Laurel.<\/dialogue>\n    <character>ROACH<\/character>\n    <dialogue>We'll see about that.<\/dialogue>\n    <scene_description>Director HORNE is ready to shoot. He tries to interject:<\/scene_description>\n    <character>HORNE<\/character>\n    <dialogue>Hal could you maybe continue this some other time? Unless you wanna pay for an extra day?<\/dialogue>\n    <scene_description>ROACH is aware all eyes are on him.<\/scene_description>\n    <character>ROACH<\/character>\n    <dialogue>Go ahead - shoot!<\/dialogue>\n    <parenthetical>(HORNE looks at him)<\/parenthetical>\n    <dialogue>Go ahead!<\/dialogue>\n    <character>HORNE<\/character>\n    <parenthetical>(Turning to LAUREL)<\/parenthetical>\n    <dialogue>Okay, we're on a wide two-shot here Stan, like you wanted, and then-<\/dialogue>\n    <character>ROACH<\/character>\n    <dialogue>What are you checking with him for - you're the director!<\/dialogue>\n    <scene_description>The CREW, COWBOY EXTRAS and a four piece harmony group the 'AVALON BOYS', dressed in cowboy outfits and arranged in readiness on a verandah outside the saloon, watch in stunned silence. HARDY gives LUCILLE a small, helpless shrug.<\/scene_description>\n    <character>ROACH \\*\\*<\/character>\n    <parenthetical>(As he storms off)<\/parenthetical>\n    <dialogue>Next person you'll hear from is my lawyer! \\*\\*<\/dialogue>\n    <scene_description>ROACH storms out the studio. \\*\\*<\/scene_description>\n    <character>HARDY \\*\\*<\/character>\n    <dialogue>Well that went well... \\*\\*<\/dialogue>\n    <character>LAUREL \\*\\*<\/character>\n    <dialogue>So who else is going to be on the \\*\\* boat? \\*\\*<\/dialogue>\n    <character>HARDY \\*\\*<\/character>\n    <dialogue>Clark Gable I think. \\*\\*<\/dialogue>\n    <character>LAUREL \\*\\*<\/character>\n    <dialogue>No... women. \\*\\*<\/dialogue>\n    <character>HARDY \\*\\*<\/character>\n    <dialogue>Carole Lombard. I think she's \\*\\* friends with Myrnaloy. \\*\\*<\/dialogue>\n    <character>LAUREL \\*\\*<\/character>\n    <dialogue>Ok. I'm gonna come. \\*\\*<\/dialogue>\n    <character>HORNE<\/character>\n    <dialogue>Okay show's over. Let's roll camera.<\/dialogue>\n    <scene_description>This has no impact, everybody just looks at him, dumbstruck.<\/scene_description>\n    <character>HORNE<\/character>\n    <dialogue>I said roll camera!<\/dialogue>\n    <scene_description>As the crew now prepares for a shot, HARDY looks at LAUREL: They have to be funny now?<\/scene_description>\n    <character>HORNE<\/character>\n    <dialogue>Ready boys?<\/dialogue>\n    <scene_description>A beat, then the boys exchange a nod and pull on their Bowlers. They are ready. HORNE sees this and knows they are ready for a take. He touches the arm of the CLAPPER\/LOADER, who marks the take:<\/scene_description>\n    <character>CLAPPER\/LOADER<\/character>\n    <dialogue>Way Out West, scene twelve, take one.<\/dialogue>\n    <character>HORNE<\/character>\n    <dialogue>Back projection!<\/dialogue>\n    <character>LAUREL \\*\\*<\/character>\n    <dialogue>Remember. After the curtseys, knee \\*\\* down, turn and shake. \\*\\*<\/dialogue>\n    <character>HARDY \\*\\*<\/character>\n    <dialogue>Got it. \\*\\*<\/dialogue>\n    <scene_description>The screen behind the boys flickers into life, wondrously creating the illusion of a bustling western main street.<\/scene_description>\n    <character>HORNE<\/character>\n    <dialogue>Okay, aaaand action!<\/dialogue>\n    <scene_description>Now the set comes to life too, with COWBOYS crossing the \\*\\* street to and fro... and the AVALON BOYS strike up a song - 'At The Ball, That's All'...<\/scene_description>\n    <character>AVALON BOYS<\/character>\n    <dialogue>Commence advancin', commence advancin' Just start a prancin', right and left a-glancin' A moochee dancin', slide and glide entrancin' You do the tango jiggle With a Texas Tommy wiggle<\/dialogue>\n    <scene_description>And so with all the elements now in place, all that remains is for Stan and Ollie - those two guys complaining about ex- wives and paychecks - to now become the movie stars 'Laurel &amp; Hardy', the best loved comedy duo in the world. The transition is apparently effortless; to begin with, smiles on their faces, LAUREL and HARDY (in character) take a few steps into shot, having just arrived in town. HARDY tethers the mule to a post and turns to enjoy watching the boys singing.<\/scene_description>\n    <character>AVALON BOYS<\/character>\n    <dialogue>Take your partner And you hold her Tightly enfold her A little bolder Just work your shoulder Snap your fingers one and all In the hall, at the ball That's all - some ball<\/dialogue>\n    <scene_description>They start to nod their heads and tap their toes, letting the music take them. Director HORNE watches, tense, excited. The 'AVALON BOYS' repeat the first verse, adding deep harmonies and yodels, and LAUREL and HARDY now start to perform an apparently impromptu dance routine in time with the song. Building slowly, it is all light steps, twirls and synchronized movement. The watching CREW get caught up in it; LUCILLE seems entranced. Even FINLAYSON has come back to watch, leaning against a wall, moustache twinkling. LAUREL and HARDY come together and hold each other like ballroom dancers, clasping each other close and marching up and down stage. Under this we hear SFX LAUGHTER...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PICTURE HOUSE, NEW YORK - NIGHT<\/stage_direction>\n    <scene_description>A huge New York audience is packed into a magnificent Art- Deco theatre watching 'Way Out West'. As LAUREL and HARDY continue the dance on screen the audience howls, rows and rows of faces full of laughter. CUT TO: We follow the dance on screen, (full screen), the extraordinary grace and daintiness of HARDY and the slapstick of LAUREL. But above all they seem to project such a deep dependency and affection for each other, as if nobody else in their world exists. They come together again, LAUREL holds HARDY'S hand and he twirls, then they swap and LAUREL twirls. They skip jauntily up... down... and then back up the steps to the saloon and, with one final kick, enter through swinging doors. The audience in the theatre breaks into thunderous, applause. We feel as if we have witnessed magic. CUT TO: BLACK.: SILENCE. THEN, UNDER THIS, WE FADE UP SFX OF AN EXPRESS TRAIN RATTLING ALONG. SOUND GRADUALLY INCREASES UNTIL WE...: CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN - DAY<\/stage_direction>\n    <scene_description>CLOSE UP: LAUREL and HARDY sitting together on a train, swaying gently with the motion of the carriage as they speed through the English countryside. Sixteen years have passed since we last saw them, and it's a shock to suddenly see them so old and tired, neither seemingly in the best of health. LAUREL is much more skinny, whilst HARDY is heavier than ever - now nearly three hundred pounds. Caption England, 1953 HARDY'S mind is pleasantly blank. LAUREL, ever-industrious, reads a script, marking it with his pen. Finally, LAUREL turns to HARDY:<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>How about if I punch you right on the nose? I haven't done that in a long time.<\/dialogue>\n    <scene_description>HARDY thinks about this for a few moments.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Can I poke you in the eye?<\/dialogue>\n    <character>LAUREL<\/character>\n    <parenthetical>(Nodding)<\/parenthetical>\n    <dialogue>Or maybe you could punch me in the throat?<\/dialogue>\n    <character>HARDY<\/character>\n    <parenthetical>(After due consideration)<\/parenthetical>\n    <dialogue>I think I'd prefer the eye.<\/dialogue>\n    <character>LAUREL<\/character>\n    <parenthetical>(Offering this up)<\/parenthetical>\n    <dialogue>I can do the tongue if you punch me in the throat?<\/dialogue>\n    <scene_description>LAUREL mimes a chop to his throat, sticking his tongue out at the moment of impact (as if caused by it). HARDY laughs - LAUREL can always make him laugh.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRYSIDE - DUSK<\/stage_direction>\n    <scene_description>As the shadows lengthen their steam train thunders north through a barren, wintry English countryside. From inside:<\/scene_description>\n    <character>HARDY (V.O.)<\/character>\n    <dialogue>You know, I'm not so sure of my balance any more Stan.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN - DUSK<\/stage_direction>\n    <scene_description>LAUREL is looking at the countryside go by.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>That's okay, we can just finish with a song instead of the dance.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>I'm not talking about the stage show - I mean the scene in this movie, where I cross the river.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>But it's historical - Robin Hood has this fight in the middle of a log. We have to do it.<\/dialogue>\n    <scene_description>HARDY massages his right knee, obviously in some discomfort. He tries straightening the leg - wincing as he does so.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Well, all I can do is give it my best shot...<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Is there anything they can give you for that?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>They put me on these blue tablets. I was on the red ones but Lucille told the doctor they weren't doing any good-<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>-so he put you on the blue ones.<\/dialogue>\n    <character>HARDY<\/character>\n    <parenthetical>(Overlaps)<\/parenthetical>\n    <dialogue>-blue ones.<\/dialogue>\n    <scene_description>They both nod in agreement.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>I'll talk to this producer, Miffin - I'm sure he can cut round you when we shoot it.<\/dialogue>\n    <scene_description>HARDY now looks out of the window for a few moments, taking in the view. LAUREL starts scribbling again in his notebook.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Maybe I'll punch you in the throat.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GUEST HOUSE, NEWCASTLE - NIGHT<\/stage_direction>\n    <scene_description>To establish a small, shabby guest house in the shadow of the smog-shrouded Tyne Bridge. The street is deserted as a taxi pulls up outside and LAUREL and HARDY get out. HARDY looks at the guest house then turns to LAUREL, his expression betraying his thoughts. 'Is this it?' Theatre impresario Bernard DELFONT, dapper, 40s - the boys' tour promoter - emerges from the guest house arms outstretched:<\/scene_description>\n    <character>DELFONT<\/character>\n    <dialogue>Stanley! Oliver! Welcome to England - welcome to Newcastle!<\/dialogue>\n    <scene_description>He hurries up to the BOYS and shakes their hands warmly.<\/scene_description>\n    <character>DELFONT<\/character>\n    <dialogue>It's so wonderful to see you. How was the journey?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>It sure takes it out of you, that train ride up here.<\/dialogue>\n    <character>DELFONT<\/character>\n    <parenthetical>(Not listening)<\/parenthetical>\n    <dialogue>Good good.<\/dialogue>\n    <scene_description>DELFONT signals to his DRIVER, waiting in a side street in a black Rolls Royce.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>It's swell of you to come up here to meet us Mr. Delfont.<\/dialogue>\n    <character>DELFONT<\/character>\n    <dialogue>Bernie, please. This is a partnership gentlemen, I want to do everything I possibly can to make sure this tour starts off on the right foot.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Yes we wanted to talk to you about that over dinner - we're just a little concerned that some of the show dates might clash-<\/dialogue>\n    <character>DELFONT<\/character>\n    <dialogue>Ah so sorry-<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>-with the Robin Hood picture we're gonna be doing?<\/dialogue>\n    <scene_description>The Rolls Royce is now alongside DELFONT, he opens the door and gets in.<\/scene_description>\n    <character>DELFONT<\/character>\n    <dialogue>-such wretched bad luck but I've promised to drop in on one of my other acts tonight - Norman Wisdom? A blazing new talent - huge fan of yours.<\/dialogue>\n    <scene_description>DELFONT shuts the door, leans out through the window:<\/scene_description>\n    <character>DELFONT<\/character>\n    <dialogue>And we must nurture the next generation gentlemen, I know you both feel as passionately about that as I do. We'll talk anon!<\/dialogue>\n    <scene_description>DELFONT waves as he is whisked away in his Rolls Royce. LAUREL and HARDY look on, nonplussed. LAUREL pulls a beret from his pocket and puts it on. HARDY looks at him, puzzled.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Where d'you get that?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>From a shop. It's handy 'cos you can fold it away in your pocket.<\/dialogue>\n    <scene_description>He demonstrates taking it off, folding it up and putting it in his pocket, then pulling it out and putting it on again - spreading his hands in a 'what d'you think of that' gesture.<\/scene_description>\n    <character>HARDY<\/character>\n    <parenthetical>(Somehow irritated by this)<\/parenthetical>\n    <dialogue>We're here to make a movie - Delfont knows that doesn't he Stan? The tour is just something we do while-<\/dialogue>\n    <parenthetical>(Overlapping)<\/parenthetical>\n    <dialogue>-we're waiting to get started.<\/dialogue>\n    <character>LAUREL<\/character>\n    <parenthetical>(Overlapping)<\/parenthetical>\n    <dialogue>-waiting to get started.<\/dialogue>\n    <parenthetical>(Continues)<\/parenthetical>\n    <dialogue>Don't worry. Our lawyer spelled it out and it was all agreed up-front, one hundred and ten per cent.<\/dialogue>\n    <character>HARDY<\/character>\n    <parenthetical>(Thinks about it)<\/parenthetical>\n    <dialogue>The extra ten is strangely comforting.<\/dialogue>\n    <scene_description>During this the TAXI DRIVER has pulled all their luggage from the car - a very large trunk (Hardy's), another case (Laurel's), a small valise each and a set of Hardy's golf clubs - and drives off leaving them alone on the pavement with their luggage, nobody coming out to help them. Abandoned. A look between them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUEST HOUSE, NEWCASTLE - NIGHT<\/stage_direction>\n    <scene_description>A female RECEPTIONIST, mid-30s, watches as the front door opens, allowing in smog from outside. Through this enters LAUREL and HARDY, HARDY carrying just the small valise, whilst LAUREL struggles with the big trunk and other case, the golf clubs over his shoulder (as if he's Hardy's lackey). It's a pre-arranged bit of business they like to do in hotels and shows how they love to 'perform', no matter how small the audience (in this case just one person - the RECEPTIONIST). HARDY pompously places his valise on the desk; LAUREL heaves the other luggage behind him and - giving the RECEPTIONIST a smile - presses the bell for attention. HARDY looks at him, 'irritated'. When LAUREL rings it again he slaps his hand. LAUREL slaps back HARDY'S hand, they squabble, HARDY gives LAUREL a push, LAUREL gives HARDY a push back and he nearly falls over the trunk which LAUREL has left behind him. He kicks it away angrily. LAUREL rings the bell again and now HARDY pulls the bell away. LAUREL looks at him, blankly 'confused'. HARDY sighs, gestures to the RECEPTIONIST.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Now can't you see with your own two eyes this nice lady standing here? There's no need to ring that bell, is there.<\/dialogue>\n    <scene_description>LAUREL looks at him, looks at the RECEPTIONIST. He shakes his head, guiltily, starting to 'cry'. HARDY turns back to the RECEPTIONIST, who is spellbound at this 'show' just for her.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Please excuse my friend, now can somebody show us to our rooms? You should be expecting us - I'm Mr. Hardy, and this is my very dear friend Mr. Laurel.<\/dialogue>\n    <scene_description>The RECEPTIONIST is about to burst.<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>You just wait 'til I tell me mam it's you! We never get anybody famous stayin' here - to be honest I thought you'd retired!<\/dialogue>\n    <scene_description>HARDY takes the pen from it's holder and with an extravagant flourish signs in to the register.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>No no, we may be getting old but we're not done yet.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>You know, I'm so old now I walked into an antique shop the other day and they bought me.<\/dialogue>\n    <scene_description>The RECEPTIONIST laughs.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>He's exaggerating, of course. But we've come a long way since our first job, selling hot dogs at Custer's Last Stand.<\/dialogue>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>All me family loves your films - where are yous gonna be appearin' then - the Theatre Royal?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>No it's...<\/dialogue>\n    <scene_description>He's forgotten the name - LAUREL answers for him:<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>The Queen's Hall.<\/dialogue>\n    <character>RECEPTIONIST<\/character>\n    <parenthetical>(Surprised)<\/parenthetical>\n    <dialogue>Queen's Hall? That can't be right. All the big stars play at the Theatre Royal. That's where you'll be playing.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>I'm sure you're right.<\/dialogue>\n    <parenthetical>(to Laurel)<\/parenthetical>\n    <dialogue>It is the Theatre Royal?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>No, It's the Queen's Hall.<\/dialogue>\n    <scene_description>A few moments of uncomfortable silence.<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>Well never mind, here's your room keys.<\/dialogue>\n    <scene_description>She hands LAUREL and HARDY their keys.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <parenthetical>(Looks round expectantly)<\/parenthetical>\n    <dialogue>Is there a Bell Boy please?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR, GUEST HOUSE, NEWCASTLE - NIGHT<\/stage_direction>\n    <scene_description>There are no Bell Boys. LAUREL and HARDY struggle along a corridor to their rooms, HARDY - now with the golf clubs over his shoulder - dragging his heavy trunk behind him. LAUREL stops by his door and, as he unlocks it, turns to HARDY who is in the room opposite.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>My room in ten minutes?<\/dialogue>\n    <scene_description>HARDY looks at him, aghast. He still wants to work tonight?<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>I thought we could run some lines?<\/dialogue>\n    <character>HARDY<\/character>\n    <parenthetical>(Barely concealed sarcasm)<\/parenthetical>\n    <dialogue>Sure. Why not.<\/dialogue>\n    <scene_description>HARDY opens the door to his room and enters.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARDY'S BEDROOM, NEWCASTLE GUEST HOUSE - NIGHT<\/stage_direction>\n    <scene_description>HARDY struggles in with his luggage. He turns the light on and surveys the room: shabby and uninviting, a tatty, candlewick bedspread on the bed. He goes to haul the trunk up onto his bed, but it pops open and a huge cache of tinned food - ham, peaches, potatoes, corned beef, which were on top of his clothes - tumbles out and rolls all over the floor. HARDY sighs heavily.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Oh death where is thy sting?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GUEST HOUSE, NEWCASTLE - NIGHT<\/stage_direction>\n    <scene_description>Yellow light spills from a curtained, upper storey window. Over this we hear, SFX the clack clack of a typewriter.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAUREL'S ROOM, NEWCASTLE GUEST HOUSE - NIGHT<\/stage_direction>\n    <scene_description>A meagre coal fire glows in the grate as LAUREL, puffing on a cigarette, taps at a battered portable typewriter by the light of a table lamp. A pot of tea and a plate of dog eared sandwiches has been set out on a coffee table. He pauses, pulls the typed page from the typewriter and reads it back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOE SCHENCK'S OFFICE - DAY \\[FLASHBACK\\]<\/stage_direction>\n    <scene_description>A CLOSE UP of a contract, the logo of 'Twentieth Century Fox' at the top of the page. It's 1938 and we REVEAL LAUREL on a chair, an empty one next to him, flicking through the contract. He is in the luxurious office of executive Joe SCHENCK, late 50s. Surrounded by wood panelling, leather, and portraits of stars of the day - Sonja Henje, Betty Grable, Spencer Tracey, Tyrone Power - LAUREL feels uncomfortable, out of place. The man next to him is obviously his lawyer (round glasses, 40s, curly hair slicked back) and LAUREL hands him the contract. LAUREL is acutely aware that he is keeping SCHENCK waiting; he catches him looking at his watch and tries a smile which is not returned.<\/scene_description>\n    <character>SCHENCK<\/character>\n    <dialogue>You sure he wants to do this Stan? I mean, Fox would love to have you here, but...<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>This is what we've both been waiting for Joe. I can't imagine what's held him up.<\/dialogue>\n    <character>LAWYER<\/character>\n    <dialogue>Why doesn't Stanley sign, then all we have to do is have Oliver sign when he gets here.<\/dialogue>\n    <character>LAUREL<\/character>\n    <parenthetical>(Taking out his pen)<\/parenthetical>\n    <dialogue>That's a good idea, isn't it Joe?<\/dialogue>\n    <scene_description>SCHENCK - who is quickly losing patience - doesn't respond. The LAWYER hands LAUREL the contract back and LAUREL hands him the pen. LAUREL realises he needs the pen and takes it back from the LAWYER, giving him the contract at the same time. Is it genuine confusion, or a little bit of business? LAUREL takes pen and contract back from his LAWYER and signs next to his name, leaving Hardy's blank. He looks up, tries another smile with SCHENCK - again, not returned. We hear HARDY'S voice under this:<\/scene_description>\n    <character>HARDY (V.O.)<\/character>\n    <dialogue>I wish I was there with you...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRONT DESK, NEWCASTLE GUEST HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Back to 1953. HARDY is using the hotel telephone to make a transatlantic call to his wife:<\/scene_description>\n    <character>HARDY<\/character>\n    <parenthetical>(Dreamily)<\/parenthetical>\n    <dialogue>... sitting out the back, watching the sun go down.<\/dialogue>\n    <character>LUCILLE (V.O.)<\/character>\n    <dialogue>What's the hotel like?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>It's like a castle, set in the countryside, beautiful grounds...<\/dialogue>\n    <parenthetical>(Warming to it)<\/parenthetical>\n    <dialogue>... which go down to a lake, with a little stone bridge over it.<\/dialogue>\n    <scene_description>The RECEPTIONIST returns to the desk from a back office. HARDY, a little embarrassed, gives her a polite smile.<\/scene_description>\n    <character>LUCILLE (V.O.)<\/character>\n    <dialogue>Are you getting enough to eat?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>The staff lay out little sweetmeats and pastries wherever we turn. Everyone's so happy to see us touring again we're being treated like kings.<\/dialogue>\n    <character>LUCILLE (V.O.)<\/character>\n    <dialogue>Ida and I received our tickets today so we're just as excited as can be.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>I am too, and this...<\/dialogue>\n    <scene_description>He sees the NIGHT PORTER is watching him so turns away-<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>-is for you, with all my love-<\/dialogue>\n    <scene_description>-kisses his finger tips and blows the kiss down the phone.<\/scene_description>\n    <character>LUCILLE (V.O.)<\/character>\n    <dialogue>I love you too Oliver, you know I do.<\/dialogue>\n    <parenthetical>(Beat, slight edge in her voice)<\/parenthetical>\n    <dialogue>So... how are things with Stanley?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Oh... you know Stan.<\/dialogue>\n    <character>LUCILLE<\/character>\n    <dialogue>How has he been towards you?<\/dialogue>\n    <scene_description>On HARDY, thoughtful for a moment.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOUND STAGE - DAY \\[FLASHBACK\\]<\/stage_direction>\n    <scene_description>HARDY, serious expression, walks on set wearing a dark suit but carrying an unfamiliar top hat.<\/scene_description>\n    <character>HAL ROACH<\/character>\n    <dialogue>Babe! Where have you been? You had me worried for a minute there...<\/dialogue>\n    <scene_description>He gives a (plainly uncomfortable) HARDY a bear hug.<\/scene_description>\n    <character>HAL ROACH<\/character>\n    <dialogue>What the hell, you're here now. You're both here.<\/dialogue>\n    <scene_description>He gestures and HARDY looks across to someone with his back to us, also wearing a dark suit and top hat, being given a last check over by a MAKE-UP LADY. From his build we assume it must be Laurel. HARDY takes position next to an ELEPHANT with a hot water bottle bandaged to its head. The set is a wooden barn scattered with bales of hay, and he's playing a vet treating a sick circus elephant. As he sits on a stool LUCILLE, carrying a clip board, stops by to reassure him:<\/scene_description>\n    <character>LUCILLE<\/character>\n    <dialogue>Mr. Hardy, everything alright?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>You know, first day of school Mrs. Hardy. I'm glad you're here. Do you think it's going to be ok?<\/dialogue>\n    <character>LUCILLE<\/character>\n    <dialogue>It's just a movie Babe.<\/dialogue>\n    <scene_description>She squeezes his hand then carries on to her position (as script supervisor) next to the director GORDON DOUGLAS, who is younger than Horne and less assured in his manner. A WRANGLER hands HARDY a mallet and gives him some last minute instructions - though HARDY looks totally preoccupied:<\/scene_description>\n    <character>WRANGLER<\/character>\n    <parenthetical>(Patting the elephant)<\/parenthetical>\n    <dialogue>When you touch her knee with the mallet, she'll lift her leg like you're checking her reflexes.<\/dialogue>\n    <scene_description>ROACH calls over:<\/scene_description>\n    <character>ROACH<\/character>\n    <dialogue>You wanna go for one you two?<\/dialogue>\n    <scene_description>HARDY looks over again to 'LAUREL', and now, as he turns, we see that he's... not Laurel. It is in fact HARRY LANGDON, a Laurel look-alike, who is playing the elephant's owner. LANGDON is of similar build to Laurel and wears the same pancake white make up.<\/scene_description>\n    <character>LANGDON<\/character>\n    <dialogue>Ready when you are Babe.<\/dialogue>\n    <scene_description>We now see that this is Roach's attempt at a new partnership - just with different hats. LANGDON comes over and stands next to HARDY. He puts his hand lightly on HARDY'S shoulder (and he involuntarily stiffens at the touch). As he looks around HARDY becomes aware that various CREW MEMBERS, who have worked on Laurel &amp; Hardy films, are avoiding eye contact with him as they go about their work.<\/scene_description>\n    <character>ROACH<\/character>\n    <dialogue>This is great, you and Harry are gonna be just great together.<\/dialogue>\n    <scene_description>HARDY looks at LANGDON, who spreads his hands and gives him a blank smile, exactly as Laurel would. HARDY returns a polite smile, but we can see he's uncomfortable - that he can't escape the feeling he's betraying Stan. He looks to LUCILLE, who tries to encourage him with a smile.<\/scene_description>\n    <character>DOUGLAS<\/character>\n    <dialogue>Okay let's roll camera...<\/dialogue>\n    <scene_description>He gets the response 'Rolling' from sound and camera. On HARDY, suppressing a sinking feeling:<\/scene_description>\n    <character>DOUGLAS<\/character>\n    <dialogue>Aaand - action!<\/dialogue>\n    <scene_description>ROACH, over-excited, shouts out simultaneously:<\/scene_description>\n    <character>ROACH<\/character>\n    <dialogue>Action!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAUREL'S ROOM, NEWCASTLE GUEST HOUSE - NIGHT<\/stage_direction>\n    <scene_description>A closed door. SFX KNOCKING from outside. LAUREL, who has been frowning in concentration, looks up:<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Just a minute!<\/dialogue>\n    <scene_description>He quickly stubs his cigarette out and wafts away the smoke, hides the ashtray in the bin, then unlocks the door to HARDY, who sniffs theatrically, looks at LAUREL suspiciously.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Do you realise what you've done?<\/dialogue>\n    <scene_description>A beat, then LAUREL - going along with it for fun - nods miserably. HARDY enters and turns to LAUREL:<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Well, come on - out with them.<\/dialogue>\n    <scene_description>LAUREL takes a packet of Chesterfield cigarettes from his inside pocket and HARDY snatches it off him. He takes one, then offers the pack to LAUREL who also takes one. HARDY produces a lighter and they both light up and take deep puffs, HARDY putting the pack back in his pocket.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Now isn't that better? Sharing?<\/dialogue>\n    <scene_description>LAUREL nods, big smile on his face.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>And here's something else we're not supposed to have.<\/dialogue>\n    <scene_description>He produces a half bottle of Scotch from inside his jacket. LAUREL rustles up a couple of cups and HARDY pours them each a large measure.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>For medicinal purposes...<\/dialogue>\n    <scene_description>They clink cups together and the 'skit' ends.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>I'm getting a sinking feeling about this place. Did you see her face when we told her what theatre we were playing?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>It'll be fine, Queen's Hall is a good theatre.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Well we gotta make sure we're in nicer hotels when the girls arrive.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>I'll get onto it.<\/dialogue>\n    <scene_description>HARDY crosses to the window to peer out into the murky night with a shiver.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>You heard from Muffin?<\/dialogue>\n    <scene_description>LAUREL starts to correct his script by hand.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Miffin.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Miffin. Is that really his name? Has he given you our shooting dates yet?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>I'm waitin' on a call.<\/dialogue>\n    <scene_description>HARDY lets the curtain drop and sits down in one of two easy chairs by the fireside - his leg causing him some pain as he lowers himself. He picks up his cup of Scotch, takes a sip.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>What do you think about this for a title: 'Rob 'Em Good'. You know, playin' off 'Robin Hood'? There was a picture used that in the 20s but nobody would remember by now.<\/dialogue>\n    <scene_description>During this HARDY takes a sandwich from the plate on the coffee table, peels back the top and looks suspiciously at the filling smeared inside, wrinkling his nose as he sniffs.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>What is this stuff?<\/dialogue>\n    <scene_description>LAUREL takes one, bites into it.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Fish paste. It's the war rationing.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Still?<\/dialogue>\n    <parenthetical>(LAUREL shrugs)<\/parenthetical>\n    <dialogue>Explains why they looked at me like I was nuts when I asked for an egg sandwich.<\/dialogue>\n    <scene_description>HARDY looks at LAUREL, already making corrections to the page he's just typed with his pen as he flicks through his work.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>'Rob 'Em Good'. I like that Stan.<\/dialogue>\n    <scene_description>HARDY takes another sip of his Scotch.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>I been workin' on this scene for the movie where we go into the castle to rescue Maid Marian, and we're hiding behind this curtain-<\/dialogue>\n    <scene_description>HARDY decides hunger has got the better of him and - after liberally sprinkling salt over the filling - tries the sandwich. LAUREL starts to giggle as he tells the story.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>-and the guards are lookin' for us-<\/dialogue>\n    <scene_description>He's really making himself laugh as he tells the story - and it's infectious. HARDY starts to chuckle too - even though he doesn't know the punchline.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>-and, I'll show you, turn around...<\/dialogue>\n    <scene_description>HARDY turns round; we stay on him as we hear some rustling:<\/scene_description>\n    <character>LAUREL (OOV)<\/character>\n    <dialogue>Okay...<\/dialogue>\n    <scene_description>HARDY turns back and sees LAUREL'S shoes poking out from beneath the curtains in his room.<\/scene_description>\n    <character>LAUREL (OOV)<\/character>\n    <parenthetical>(From behind curtain)<\/parenthetical>\n    <dialogue>Now you stab me with your sword-<\/dialogue>\n    <scene_description>HARDY looks about, picks up a shoe horn and, getting into character-<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>A-ha! A-ha! So you think you can play that game do you - well you can't hide from me!<\/dialogue>\n    <scene_description>-uses it to stab the curtain at about chest height.<\/scene_description>\n    <character>LAUREL (OOV)<\/character>\n    <dialogue>And then you pull the curtain back, and...<\/dialogue>\n    <scene_description>HARDY pulls the curtain back and there is LAUREL on his knees, below where the 'sword' went in to the curtain, kneeling on his shoes like Toulouse-Lautrec, looking at himself in a dressing mirror opposite. He looks so ridiculous that HARDY howls with laughter - which makes LAUREL laugh even harder.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Isn't that silly!<\/dialogue>\n    <scene_description>HARDY pulls his shoes off and - with some painful grunting - lowers himself to kneel on them the same as LAUREL. Now they're both doing it - getting a little hysterical with laughter as they look at themselves in the mirror.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Now I'm down here - I can't get up again!<\/dialogue>\n    <scene_description>This sets them both off again. LAUREL tries to get up-<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Neither can I!<\/dialogue>\n    <parenthetical>(Gasping for air)<\/parenthetical>\n    <dialogue>We're stuck!<\/dialogue>\n    <scene_description>We go OUT on the boys, howling with laughter at themselves in the mirror.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. QUEEN'S HALL THEATRE - DAY<\/stage_direction>\n    <scene_description>A grey day, the rain falling. A provincial English theatre, small and shabby - Hardy's sinking feeling was spot on. An OLD MAN passes, oblivious, as a WORKMAN pastes up a poster: Bernard Delfont Presents The Personal Visit Of Hollywood's Greatest Comedy Couple Stan LAUREL &amp; Oliver HARDY Under this we hear the incredulous voice of Stan's wife IDA:<\/scene_description>\n    <character>IDA (V.O.)<\/character>\n    <dialogue>-you stay in guest house? You should be in best hotel.<\/dialogue>\n    <character>LAUREL (V.O.)<\/character>\n    <dialogue>Well, beggars can't be choosers can they my darling.<\/dialogue>\n    <character>IDA (V.O.)<\/character>\n    <dialogue>Why are you not play West End? I \\* don't like this Delfont.<\/dialogue>\n    <scene_description>As the shot TRACKS we see LAUREL in a public phone box next to the theatre, on a transatlantic call:<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Ida, he's put this tour together for us, and we didn't exactly have too many other offers did we? Anyway, we got the movie to look forward to.<\/dialogue>\n    <scene_description>He glances at the little Queen's Hall Theatre outside.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Okay the theatre is a little on the small side, but that means it'll be easier to sell it out.<\/dialogue>\n    <character>IDA (V.O.)<\/character>\n    <dialogue>How is Oliver - is he pulling weight?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>He's doing fine.<\/dialogue>\n    <parenthetical>(Quickly moves on)<\/parenthetical>\n    <dialogue>Tell me all the news. How are the ducks?<\/dialogue>\n    <character>IDA (V.O.)<\/character>\n    <dialogue>Well, I try to get them into duck house at night but-<\/dialogue>\n    <scene_description>The pips sound, he has to quickly insert more coins.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Hello? Ida?<\/dialogue>\n    <character>IDA (V.O.)<\/character>\n    <dialogue>Stanley?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Oh thank goodness, I thought I'd lost you.<\/dialogue>\n    <scene_description>He looks glumly at the rain spattering against the windows of the phone box...<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>I just wanted to tell you how much I'm missing you, and how cold the bed is without you.<\/dialogue>\n    <character>IDA (V.O.)<\/character>\n    <dialogue>I am missing you too. I am trying not to cry each night...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACKSTAGE, QUEEN'S HALL THEATRE, NEWCASTLE - NIGHT<\/stage_direction>\n    <scene_description>Opening night. LAUREL and HARDY are in costume, preparing to go on. HARDY sits himself on a hospital bed and a stage hand (BILLY BRADY, 20s) encases his leg in an oversized plaster cast. LAUREL glances through a crack in the curtain and, worried, sees the house is barely half full. BRADY attaches a cable to HARDY'S plaster cast and starts to hoist it up like it's in traction. BRADY glances over to LAUREL and sees he is going through his pre-show ritual of checking his cuffs are held in place by paper clips, and that there are no heels on his boots. BRADY plucks up the courage to talk to him:<\/scene_description>\n    <character>BRADY<\/character>\n    <dialogue>You worked with my grandad Mr. Laurel.<\/dialogue>\n    <scene_description>LAUREL looks up at him.<\/scene_description>\n    <character>BRADY<\/character>\n    <dialogue>He told me how you never have heels on your boots, to make you walk funny.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Your grandad?<\/dialogue>\n    <character>BRADY<\/character>\n    <dialogue>Billy Brady, I was named after him.<\/dialogue>\n    <scene_description>LAUREL looks at him. BRADY does a wide-eyed, goofy smile and a camp flutter of his hands.<\/scene_description>\n    <character>BRADY<\/character>\n    <dialogue>'Billy Brady - He's No Lady'?<\/dialogue>\n    <scene_description>Suddenly the mists part, and LAUREL realises who this man is.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Oh my goodness, it's like staring straight into the past!<\/dialogue>\n    <parenthetical>(Shakes his hand warmly)<\/parenthetical>\n    <dialogue>You're Billy's grandson... he was a wonderful comic. Very funny drag act.<\/dialogue>\n    <character>BRADY<\/character>\n    <parenthetical>(To HARDY)<\/parenthetical>\n    <dialogue>He always said, Mr. Hardy, that Stan were obsessed with his comedy. Never stopped working on his act - even though he reckoned in them days it were crap.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Nothing much has changed there Billy.<\/dialogue>\n    <scene_description>BRADY laughs - so does LAUREL.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>He was a very good friend of mine your grandad was - how is he?<\/dialogue>\n    <character>BRADY<\/character>\n    <dialogue>Oh, he passed away a few years ago.<\/dialogue>\n    <scene_description>LAUREL seems very moved by this.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>I'm sorry to hear that.<\/dialogue>\n    <scene_description>The STAGE MANAGER comes out to give them all a heads up:<\/scene_description>\n    <character>STAGE MANAGER<\/character>\n    <dialogue>Curtain up in one minute Stan?<\/dialogue>\n    <scene_description>LAUREL nods his okay.<\/scene_description>\n    <character>BRADY<\/character>\n    <dialogue>He was on stage right up 'til the end. Did a panto the night before he died.<\/dialogue>\n    <scene_description>HARDY listens to this as BRADY wheels his bed to centre stage. LAUREL takes a position in the wings and BRADY now comes over and hands him a paper bag and a bunch of flowers.<\/scene_description>\n    <character>BRADY<\/character>\n    <dialogue>He was very weak but he was determined to get through it.<\/dialogue>\n    <scene_description>This seems to hit home with LAUREL who, as the lights dim, falls quiet. He looks to HARDY, alone in bed in the backstage gloom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. QUEEN'S HALL THEATRE, NEWCASTLE - NIGHT<\/stage_direction>\n    <scene_description>There's a buzz of expectation out front, then the orchestra strikes up 'The Dance Of The Cuckoos', Laurel &amp; Hardy's instantly recognisable theme tune. LAUREL looks across to HARDY and they exchange that same nod. Then, stage lights up, curtain open, and loud applause as the audience sees HARDY on stage in the bed. LAUREL silently counts in his head, then- LAUREL strides on stage to another round of warm applause, clutching the bunch of flowers and paper bag, blank expression. The sketch begins:<\/scene_description>\n    <character>LAUREL \\*<\/character>\n    <dialogue>Hi Ollie, how are you? \\*<\/dialogue>\n    <character>HARDY \\*<\/character>\n    <dialogue>Never mind how I am - what took you \\* so long to get here? \\*<\/dialogue>\n    <character>LAUREL \\*<\/character>\n    <dialogue>Well they said no visitors so I \\* said I was your son and it worked \\* like a charm. \\*<\/dialogue>\n    <character>HARDY \\*<\/character>\n    <dialogue>My son! You have a lot of nerve \\* telling them I was your father. \\*<\/dialogue>\n    <character>LAUREL \\*<\/character>\n    <dialogue>I couldn't tell them you were my \\* mother. \\*<\/dialogue>\n    <character>HARDY \\*<\/character>\n    <dialogue>Of course you couldn't. I've never \\* even been married... \\*<\/dialogue>\n    <scene_description>Big laughs - the audience are loving it. \\*<\/scene_description>\n    <character>HARDY \\*<\/character>\n    <dialogue>What have you got there?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>I brought you some hard boiled eggs and some nuts.<\/dialogue>\n    <scene_description>HARDY looks to the audience, exasperated, and they laugh. The reaction is warm and genuine, but the theatre is only half full - there are empty seats everywhere.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Now you know I can't eat hard boiled eggs and nuts! If you wanted to bring me something why didn't you bring me a box of candy?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Well, they cost too much.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>What has that got to do with it?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>And you didn't pay me for the last box I brought you.<\/dialogue>\n    <scene_description>Laughter. LAUREL offers HARDY the bag:<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Have one?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>No. I'd rather not.<\/dialogue>\n    <parenthetical>(To the audience, with disgust)<\/parenthetical>\n    <dialogue>Hard boiled eggs and nuts...<\/dialogue>\n    <scene_description>LAUREL ignores him, takes an egg out and starts to peel it and eat it. HARDY watches, incredulous, as Laurel pulls a salt cellar from his pocket and sprinkles some on.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACKSTAGE\/STAGE, QUEEN'S HALL THEATRE, NEWCASTLE - NIGHT<\/stage_direction>\n    <scene_description>Helped by BRADY and another STAGE HAND, LAUREL and HARDY - who winces as he jars his knee - do a quick change into their crumpled suits and Bowler hats, ready for the finale.<\/scene_description>\n    <character>HARDY<\/character>\n    <parenthetical>(Dismayed)<\/parenthetical>\n    <dialogue>What's going on out there? All those empty seats...<\/dialogue>\n    <scene_description>LAUREL, though also concerned, doesn't respond - he nods to the STAGE MANAGER. 19aA INT. QUEEN'S HALL THEATRE, NEWCASTLE - NIGHT 19aA 'The Dance Of The Cuckoos' plays again, and the curtain rises. LAUREL waits for a particular note, then steps out on set... but he only manages two paces before HARDY reaches out and pulls him back. He goes out first in this partnership. Laughter. But as HARDY strolls out self importantly, LAUREL kicks him up the ass. More laughter. Finally they both walk out together to warm applause. They go into a bowing routine, to the side, to the front, then towards each other - clashing heads. Laughter. LAUREL sees HARDY put his hand on his knee to push himself straight again - sees a flash of pain across his face. HARDY covers it well as he fiddles with his tie; LAUREL takes his hat off and scratches his hair underneath.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Ladies and gentlemen, thank you for making us feel so welcome on our first night back in England. We hope you've enjoyed our bit of fun this evening - we've sure enjoyed ourselves haven't we Ollie?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>We certainly have Stanley, we've been made to feel right at home here in Newcastle, and now we'd like to finish-<\/dialogue>\n    <scene_description>He gives LAUREL a brief nod of reassurance about his knee-<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>-with a little dance routine we like to do. Music please maestro.<\/dialogue>\n    <scene_description>The tune to 'At The Ball, That's All' strikes up.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Stanley.<\/dialogue>\n    <scene_description>Formally, HARDY holds his hand out and LAUREL takes it, as if he were his dance partner, and they begin to perform the same dance routine we saw in 'Way Out West'. Though older and slower, they still dance beautifully, the affection their characters have for each other shining through. They come together to finish, hold hands and take a bow. They look out at the half full auditorium, but still keep up their smiles. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>19A EXT. STAIRWELL, TRAIN STATION - DAY 19A<\/stage_direction>\n    <scene_description>LAUREL and HARDY puff and blow as they clamber up a long staircase carrying their luggage. HARDY, golf clubs again over his shoulder, drags the heavy trunk behind him.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>It was a little slow last night, wasn't it.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Slow? We could have invited the audience back for a party in our hotel suite - there'd have been plenty of room.<\/dialogue>\n    <scene_description>LAUREL smiles, HARDY is struck with a sudden thought:<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>We got to be careful Muffin doesn't come see us 'til the houses pick up - we don't want him getting cold feet about the movie.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>You're right. I'll put him off 'til we get to London...<\/dialogue>\n    <scene_description>LAUREL reaches the top, rests his case, looks about for where to go next.<\/scene_description>\n    <character>LAUREL<\/character>\n    <parenthetical>(Takes out a slip of paper)<\/parenthetical>\n    <dialogue>Glasgow train... 8.05 Platform Four.<\/dialogue>\n    <parenthetical>(Looks about)<\/parenthetical>\n    <dialogue>Which way is Platform Four..?<\/dialogue>\n    <character>HARDY<\/character>\n    <parenthetical>(Still struggling up the stairs)<\/parenthetical>\n    <dialogue>8.05? What time is it now?<\/dialogue>\n    <scene_description>LAUREL looks at his wrist - he's not wearing a watch:<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>I don't have my watch on.<\/dialogue>\n    <scene_description>HARDY instinctively brings up his left wrist to look at his watch - but in doing so he lets go of the heavy trunk... which promptly slides away down the staircase. A moment as they both watch it trundle to the bottom and come to a stop - an inescapable echo of the piano famously plummeting down those long flight of stairs in their movie 'The Music Box'.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>You know one of us is going to have to get that.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>It's me isn't it?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>It certainly is.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RESTAURANT CAR, TRAIN - DAY<\/stage_direction>\n    <scene_description>HARDY lies back in his seat, bad leg propped up, dozing. LAUREL brings back two Scotches from the buffet bar. He sets them down, then resumes his seat, the remains of some sandwiches and tea in front of them. LAUREL glances at HARDY, takes a sip from his Scotch, then nudges him.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Babe.<\/dialogue>\n    <parenthetical>(No response, so louder)<\/parenthetical>\n    <dialogue>Babe.<\/dialogue>\n    <scene_description>HARDY wakes up, sees LAUREL. With a grimace of pain he sits up, bringing his leg down from the seat opposite.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>I got you a drink.<\/dialogue>\n    <scene_description>HARDY sees the Scotch, takes it and downs it.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>LAUREL now hands him a few typed pages of script. HARDY looks at them, confused for a moment, then takes them.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>I been workin' on some new scenes for 'Rob 'Em Good', thought we could run 'em?<\/dialogue>\n    <scene_description>HARDY sees a pot of tea and some cups in front of them, puts the script down and pours himself a cup.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>We don't have to if you don't want to.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>No no...<\/dialogue>\n    <parenthetical>(Almost as an aside)<\/parenthetical>\n    <dialogue>I know my place.<\/dialogue>\n    <scene_description>It's a little barb he throws out but LAUREL doesn't take it. With great delicacy HARDY begins a long ritual: dropping four cubes of sugar in, then milk and carefully stirring, making sure the lumps dissolve. He then spills some red tablets from a bottle onto the little table in front of him.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Knee still bad?<\/dialogue>\n    <scene_description>HARDY nods as he counts out four and puts the others back in the bottle.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>I thought you were on the blue tablets?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>I already had the blue ones and it's still killin' me. I thought I'd give the red ones one more chance.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Well won't the blue ones get upset about that?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>I never thought about it.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>It's got to be one or the other, you can't keep both of them on the go at the same time...<\/dialogue>\n    <scene_description>Finally, after one last emphatic stir, HARDY puts the first tablet in his mouth, picks his cup up with a crooked little finger, and takes a sip to wash it down.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>-they'll get jealous and start fighting over you.<\/dialogue>\n    <scene_description>HARDY immediately reacts, pulls a face, but is forced to swallow.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Why didn't you tell me it was cold?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>I thought you knew?<\/dialogue>\n    <scene_description>HARDY looks at him, exhales in frustration, and downs the other three tablets quickly with another gulp of cold tea. He shudders with distaste, then picks the script up again and starts to read through it. But he's distracted, can't concentrate. He turns to LAUREL:<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>That guy who went on stage the night before he died....<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Billy Brady?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Yeh.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Wasn't that something, to still be working in his old age like that?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>That's what's been bothering me. He wasn't working, he was dying. Didn't you find it sad?<\/dialogue>\n    <scene_description>As LAUREL thinks about this, HARDY takes the flask from him and has a sip.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Well... look at Jimmy Finlayson.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>What about him?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Nobody even knew he'd died, just lay there in his bed, all alone. He \\* finished too soon - same cafe every morning, reading the papers, trying to make that stretch to midday so he's only got the afternoon to kill? Who wants that?<\/dialogue>\n    <scene_description>HARDY has another sip.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Maybe he was happy doing nothing. There's an awful lot to be said for it...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EMPIRE THEATRE, GLASGOW - DAY<\/stage_direction>\n    <scene_description>A grey morning, the wind whipping across the Clyde. HARDY smokes a cigarette as he stands down the street from the boys' next venue - the 'Empire Glasgow'. Under this we hear:<\/scene_description>\n    <character>LAUREL (V.O.)<\/character>\n    <dialogue>Mr. Miffin please... Yes this is Stan Laurel... Well that's very nice of you to say so...<\/dialogue>\n    <dialogue>Shot TRACKS to REVEAL LAUREL making another call in a public phone box. HARDY, out of earshot, waits for him.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Mr. Hardy? Oh he's indisposed right now-<\/dialogue>\n    <parenthetical>(Sees HARDY outside)<\/parenthetical>\n    <dialogue>-he's working in a Swiss cheese factory. He got a job putting in the holes-<\/dialogue>\n    <parenthetical>(He obviously gets a laugh, listens some more)<\/parenthetical>\n    <dialogue>He's in a meeting? Okay, it's just that I need to confirm a date for him to come see us in London.<\/dialogue>\n    <parenthetical>(Listens)<\/parenthetical>\n    <dialogue>No please don't interrupt him, I'll try again another time.<\/dialogue>\n    <parenthetical>(Listens)<\/parenthetical>\n    <dialogue>No that's fine... you too.<\/dialogue>\n    <scene_description>He hangs up and emerges from the phone box, joins HARDY and they walk away together.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>How was Ida?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Fine. Ducks were fine...<\/dialogue>\n    <scene_description>LAUREL suddenly stops and pulls out another beret from his coat pocket and hands it to HARDY.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Here, I got you a present.<\/dialogue>\n    <scene_description>HARDY takes it and, delighted, puts it on immediately (LAUREL is already wearing his).<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>How does it look?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Swell.<\/dialogue>\n    <scene_description>WIDE SHOT: the two of them walk off towards the theatre.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>We're two peas in a pod.<\/dialogue>\n    <scene_description>They pass a WOMAN pushing a pram and both politely doff their berets to her.<\/scene_description>\n    <character>ELDERLY WOMAN (V.O.)<\/character>\n    <dialogue>-yes but we just wanted to know who's going to be playing Laurel and Hardy please?<\/dialogue>\n    <scene_description>DELETED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOYER, EMPIRE GLASGOW - DAY<\/stage_direction>\n    <scene_description>An ELDERLY COUPLE are at the box office with the MANAGER:<\/scene_description>\n    <character>MANAGER<\/character>\n    <dialogue>They're playing themselves.<\/dialogue>\n    <character>ELDERLY WOMAN<\/character>\n    <dialogue>Who are?<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>Laurel and Hardy. 'Here In Person' the poster says - they're here in person.<\/dialogue>\n    <character>ELDERLY WOMAN<\/character>\n    <dialogue>Yes but they've been retired for years. Before we buy any tickets we want to know the names of the actors who are going to be playing them here? In this actual theatre?<\/dialogue>\n    <character>MANAGER<\/character>\n    <parenthetical>(Exasperated)<\/parenthetical>\n    <dialogue>They are playing themselves!<\/dialogue>\n    <scene_description>At this point LAUREL and HARDY walk through the foyer on their way into the theatre. They spot the ELDERLY COUPLE and once more politely doff their berets:<\/scene_description>\n    <character>LAUREL AND HARDY<\/character>\n    <parenthetical>(Smiling politely)<\/parenthetical>\n    <dialogue>Good afternoon.<\/dialogue>\n    <scene_description>Out on the ELDERLY COUPLE'S astonished expressions. UNDER this we hear...<\/scene_description>\n    <character>HARDY (V.O.)<\/character>\n    <dialogue>... Ladies and gentlemen, we'd like to thank you for making us feel so welcome here in Glasgow...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EMPIRE, GLASGOW - NIGHT<\/stage_direction>\n    <scene_description>The audience tonight is again, disappointingly, only half full - though they are enjoying seeing the boys resplendent in kilts especially for their Scottish fans. We pick out DELFONT in the audience, looking around, noting the gaps.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Not just Glasgow, the whole of Wales.<\/dialogue>\n    <scene_description>Hardy points to the kilts they are wearing<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Why aren't we wearing any trousers? \\*<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Because we're in Scotland. \\*<\/dialogue>\n    <character>LAUREL \\*<\/character>\n    <dialogue>Yes but why aren't we wearing any \\* trousers? \\*<\/dialogue>\n    <character>HARDY \\*<\/character>\n    <dialogue>Never mind. Ladies and gentlemen \\* we'd like to finish with a dance. \\*<\/dialogue>\n    <scene_description>Laurel throws him a knowing look - Hardy's not well enough to \\* do the dance number. \\*<\/scene_description>\n    <character>HARDY \\*<\/character>\n    <dialogue>No? \\*<\/dialogue>\n    <character>LAUREL \\*<\/character>\n    <dialogue>No. No, you sing a song and I'll do \\* a dance. \\*<\/dialogue>\n    <character>HARDY \\*<\/character>\n    <dialogue>Alright, have it your way. What \\* song would you like to do? \\*<\/dialogue>\n    <character>LAUREL \\*<\/character>\n    <dialogue>We'd like to perform 'Shine on \\* Harvey Moon'. \\*<\/dialogue>\n    <character>HARDY \\*<\/character>\n    <dialogue>'Shine on Harvest Moon'. \\*<\/dialogue>\n    <character>LAUREL \\*<\/character>\n    <dialogue>Alright, we'll do that one then. \\*<\/dialogue>\n    <character>HARDY \\*<\/character>\n    <dialogue>Maestro, may I have a ukulele? \\*<\/dialogue>\n    <character>\\*<\/character>\n    <dialogue>HARDY starts to play on his ukulele then sings the song in his beautiful tenor voice, LAUREL harmonizing, his gentle, flat voice a perfect foil. At the same time LAUREL performs a little soft shoe shuffle around the (stationary) HARDY.<\/dialogue>\n    <character>LAUREL AND HARDY<\/character>\n    <parenthetical>(Singing)<\/parenthetical>\n    <dialogue>Oh, Shine on, shine on, harvest moon Up in the sky... I ain't had no lovin'<\/dialogue>\n    <character>LAUREL AND HARDY<\/character>\n    <dialogue>Since January, February, June or July Snow time ain't no time to stay Outdoors and spoon Shine on, shine on, harvest moon For me and my gal...<\/dialogue>\n    <scene_description>Enthusiastic applause; they go into their 'bowing routine' (ending with them banging heads in the middle). They get laughs, but we see how pale and sweaty HARDY is - the physical demands of this type of touring taking a toll.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GLASGOW PUB - NIGHT<\/stage_direction>\n    <scene_description>That evening. LAUREL and HARDY, glum and apprehensive after another poorly attended show, sit in a corner booth with DELFONT, who tucks into a pub meal of sausage and mash. LAUREL and HARDY don't eat but have pints of beer in front of them and both smoke heavily, a thick haze hanging over the booth. Nothing is said until, finally, DELFONT finishes his last mouthful and dabs vigorously at his mouth with a napkin:<\/scene_description>\n    <character>DELFONT<\/character>\n    <dialogue>Now then, gentlemen...<\/dialogue>\n    <parenthetical>(More dabbing, puts napkin down)<\/parenthetical>\n    <dialogue>Terrific though the show is, and it really is terrific-<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>DELFONT<\/character>\n    <dialogue>-we really do have to have a little think about where we go from here.<\/dialogue>\n    <scene_description>Sweating profusely, HARDY pours himself a glass of water from the ever-present jug he has at the dinner table.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>We have new material we can work in, don't we Stan.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>We have a double door routine we can do, set in a railway station, and as soon as Babe's leg is better we can bring back the dance number at the end.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>It's getting better all the time.<\/dialogue>\n    <character>DELFONT<\/character>\n    <dialogue>Yes, I think that would all help enormously. And of course it's early days and all that but, unfortunately, the houses have thus far been extremely disappointing.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>But that's because we're playing in all these little theatres.<\/dialogue>\n    <character>DELFONT<\/character>\n    <dialogue>Yes and I'm absolutely furious about that.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>But you booked us in them? What happened to the big ones we played last time we were over?<\/dialogue>\n    <character>DELFONT<\/character>\n    <dialogue>Well we couldn't be sure how ticket sales would go you see, and-<\/dialogue>\n    <scene_description>LAUREL, suddenly getting it, looks thunderstruck.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Wait a minute, wait a minute... you want to close us down?<\/dialogue>\n    <character>DELFONT<\/character>\n    <dialogue>Absolutely not. That's the last thing I want to do.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>We haven't even done a week!<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>When do you want us to finish?<\/dialogue>\n    <character>DELFONT<\/character>\n    <dialogue>I thought it would be best if we wrapped it up before you got to London?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>What!<\/dialogue>\n    <character>DELFONT<\/character>\n    <dialogue>That would give us another ten shows or so. With a bit of a push - 'last shows', that sort of thing - and the advance bookings we already have, we should just about be able to wash our hands.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>But the producer of the movie's coming to see the show in London next month, isn't he Stan?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>And Lucille and Ida are coming over in a couple of weeks - we can't finish early.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>We made it perfectly clear-<\/dialogue>\n    <parenthetical>(Grasps at the figure)<\/parenthetical>\n    <dialogue>-one hundred and ten per cent clear, that the only reason we came over for this tour was to be available for that movie.<\/dialogue>\n    <scene_description>DELFONT looks at them both, considering the situation.<\/scene_description>\n    <character>DELFONT<\/character>\n    <dialogue>I thought you'd jump at the chance. Neither of you looks particularly well?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>I'm in perfect health.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>And so is he.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Mr Delfont, we need this tour to continue.<\/dialogue>\n    <character>DELFONT<\/character>\n    <dialogue>And of course I'm enormously sympathetic. Enormously. But your audience doesn't quite seem to be what it was, and advance bookings are very slow. It's a wonderful show, very charming and sweet, but perhaps... tastes have changed? All good things must come to an end, that sort of thing?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>We can turn it around.<\/dialogue>\n    <character>DELFONT<\/character>\n    <dialogue>The public moves on. So many don't even come to the theatre now, just stay at home watching their television sets... watching your films on their television sets, come to think of it - and you not even getting any residuals.<\/dialogue>\n    <parenthetical>(Shakes his head and tuts)<\/parenthetical>\n    <dialogue>Filthy business.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Just tell us what you want us to do and we'll do it.<\/dialogue>\n    <scene_description>DELFONT looks from HARDY, who wipes the sweat from his forehead with a napkin, to LAUREL, who looks at him expectantly.<\/scene_description>\n    <character>DELFONT<\/character>\n    <dialogue>Well... if you really want to keep this tour going, then all I can think of... is you're going to have to get out there and publicize it.<\/dialogue>\n    <parenthetical>(He looks at them both)<\/parenthetical>\n    <character>DELFONT<\/character>\n    <dialogue>Which would mean a very large amount of extra work for you both, making personal appearances, opening shops, meeting local dignitaries and so on and so forth. And for, broadly speaking, very little extra money.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>I take it that 'very little' actually means no extra money at all?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>That we would have to flog ourselves half to death for nothing?<\/dialogue>\n    <character>DELFONT<\/character>\n    <dialogue>Well...<\/dialogue>\n    <parenthetical>(Sees in their eyes that there's no point lying)<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>LAUREL and HARDY exchange. A beat, then:<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Well okay.<\/dialogue>\n    <character>DELFONT<\/character>\n    <dialogue>Sorry?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>We'll do it.<\/dialogue>\n    <scene_description>DELFONT is taken aback by how upbeat and defiant they seem.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>BLACK AND WHITE NEWSREEL FOOTAGE: On a freezing cold day, a good-sized crowd has gathered to watch LAUREL and HARDY pose for some shots with local PRESS PHOTOGRAPHERS. The boys are wearing uniforms of white overalls and black peaked caps with scarves wrapped round their necks to keep them warm, and they are surrounded by young SCHOOL CHILDREN.<\/scene_description>\n    <character>NEWSREEL COMMENTARY (V.O.)<\/character>\n    <dialogue>Taking time out from a nationwide tour of music halls - tickets still available - Messrs. Laurel and Hardy were in Merthyr Tydfil this week for to lend their support to a new road safety programme.<\/dialogue>\n    <character>JUMP CUT TO:<\/character>\n    <dialogue>The BOYS now stand in the middle of a Zebra crossing holding 'Lollipop' signs saying 'STOP CHILDREN CROSSING', as they wave the CHILDREN cross the road \\[NOTE - LAUREL'S SIGN IS BIGGER THAN HARDY'S\\].<\/dialogue>\n    <character>NEWSREEL COMMENTARY<\/character>\n    <dialogue>On a bitterly cold day the boys had luckily come prepared.<\/dialogue>\n    <scene_description>As the CHILDREN cross HARDY stamps his feet and blows his hands to keep warm. Meanwhile LAUREL pulls a hot water bottle from inside his coat and a cup from his pocket then - to laughs - pours some tea into it from the hot water bottle. HARDY rolls his eyes in exasperation - then suddenly notices that Laurel's sign is bigger than his. Annoyed, he grabs it off him and hands LAUREL his smaller one.<\/scene_description>\n    <character>NEWSREEL COMMENTARY<\/character>\n    <dialogue>Although with these two around nothing ever goes quite to plan...<\/dialogue>\n    <scene_description>Looking at his smaller 'Lollipop', LAUREL decides to get revenge by bopping HARDY on the head with it. HARDY howls and touches his head gingerly, then responds in kind - and a squabble quickly develops, the two of them attacking each other with their 'Lollipops'. END NEWSREEL FOOTAGE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRYSIDE - DAY (MONTAGE SEQUENCE)<\/stage_direction>\n    <scene_description>A steam train thunders across country; underneath this a 1950s vintage graphic shows the progress of the tour, from Glasgow to Manchester, Liverpool, and then finally starting to head south, to Nottingham, Leicester, Birmingham...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THEATRE - NIGHT (MONTAGE SEQUENCE)<\/stage_direction>\n    <scene_description>LAUREL is stood next to HARDY'S bed, his arm resting on the \\* iron headboard. But, unknown to LAUREL his arm is looped \\* through the rope holding up HARDY'S leg. \\*<\/scene_description>\n    <character>HARDY \\*<\/character>\n    <dialogue>If you really want to help me, why \\* don't you get me a nice glass of \\* water. \\*<\/dialogue>\n    <scene_description>LAUREL turns round to the bed side table but in doing so \\* pulls HARDY'S leg up even higher and the counterweight lands \\* on HARDY'S head. HARDY lets out an 'oohhh'. LAUREL quickly \\* turns back to HARDY. \\*<\/scene_description>\n    <character>LAUREL \\*<\/character>\n    <dialogue>What's the matter? \\*<\/dialogue>\n    <character>HARDY \\*<\/character>\n    <dialogue>My head hurts. \\*<\/dialogue>\n    <character>LAUREL \\*<\/character>\n    <dialogue>I'll get the doctor. \\*<\/dialogue>\n    <scene_description>LAUREL again turns around, lifting HARDY'S leg and landing \\* the counterweight on his head. HARDY lets out another \\* 'oohhh'. LAUREL turns back to HARDY again. \\*<\/scene_description>\n    <character>HARDY \\*<\/character>\n    <dialogue>Never mind the doctor, just get me \\* my glass of water. \\*<\/dialogue>\n    <scene_description>LAUREL turns around for a third time to get the glass of \\* water, but this time HARDY pushes his leg down hard quickly \\* pulling LAUREL back round to face him and accidentally \\* throwing the glass of water all over HARDY. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VARIOUS THEATRES - DAY (MONTAGE SEQUENCE)<\/stage_direction>\n    <scene_description>Various shots of posters being pasted up outside theatres. We see the poster headings - 'Hippodrome Birmingham'; 'Alhambra Bradford'; 'Palace Hull'...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHIP SHOP - DAY (MONTAGE SEQUENCE)<\/stage_direction>\n    <scene_description>A small crowd has gathered as the BOYS pose for photos for the local paper in a chip shop. The boys each hold bags of chips, then HARDY is handed a bottle of vinegar by the chip shop owner. He starts to sprinkle vinegar on his chips but allows himself to be 'distracted' and turns away to one side, smiling to fans, and doesn't see LAUREL put his bag of chips over Hardy's so he gets all the vinegar instead. LAUREL takes his bag away just as HARDY turns back, and starts to eat his chips with a big smile. HARDY looks at him suspiciously.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAIN STATION - DAY (MONTAGE SEQUENCE)<\/stage_direction>\n    <scene_description>The train has arrived and LAUREL steps down from the carriage, waving to fans on the platform before turning to help HARDY down. HARDY looks pale and - frankly - exhausted. He's wobbly on the steps with his bad knee but once he's safely on the platform he also turns and waves to the fans. The boys then go into their bowing routine: to each side, to the front, then to each other - banging heads. Big laughs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THEATRE FOYER - NIGHT (MONTAGE SEQUENCE)<\/stage_direction>\n    <scene_description>A queue of fans in the foyer; we snake along the line until we reach the box office, where money is slapped down hand over fist for tickets; demand seems to be growing. 33 DELETED 33 \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY (MONTAGE SEQUENCE)<\/stage_direction>\n    <scene_description>Another PA - PHOTOGRAPHERS snap away as LAUREL and HARDY, each with a conductor's ticket machine strapped to his chest, manually wind out tickets from their machines for PASSENGERS boarding a trolley-bus. Inevitably LAUREL winds out a ticket, hands it to HARDY and he accepts it - before realising what it is and - to laughs - angrily screwing it up and throwing it away. JUMP CUT TO: The BOYS - now on the trolley bus - wave goodbye to everyone from the rear as it rattles off down the street. DELETED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRYSIDE - NIGHT (MONTAGE SEQUENCE)<\/stage_direction>\n    <scene_description>An express sleeper, the engine's headlamp illuminating swirls of steam as, even at night, the boys keep on moving, moving. The graphic map shows the tour stopping at Cardiff, then Bristol, then Exeter before reaching Plymouth. END MONTAGE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HER MAJESTY'S THEATRE, PLYMOUTH - NIGHT<\/stage_direction>\n    <scene_description>All the hard work leads to here. HARDY sits on a bench in an unfamiliar set - a railway platform - looking at his watch impatiently. The auditorium is jam-packed full; the audience - spread across all ages - happy, expectant. On stage HARDY can wait no more, gets up and exits through a door into the waiting room. At this exact moment LAUREL comes out onto the stage through another door next to the first door. LOUD APPLAUSE as he looks around, puzzled, for Hardy. LAUREL checks his watch, then decides to go and look for him - but once again at the precise moment he exits through his door HARDY enters through the other one. BIG LAUGHS. The sketch builds through multiple exits and entrances, the split second timing impeccable, their reactions and expressions supremely skilful. As the sketch continues the laughter builds, the audience loving what they see. At one point they both exit the stage, then enter together. The CHILDREN in the audience are HOWLING, but LAUREL and HARDY 'don't notice' each other, turning in the wrong direction to look for each other and exiting together. A moment, then they enter again and walk smack bang into each other - bringing the house down. The audience is on it's feet APPLAUSE, CHEERS and CRIES ringing down. They beam in appreciation, blowing kisses as the curtain falls.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACK STAGE, PALACE THEATRE PLYMOUTH - NIGHT<\/stage_direction>\n    <scene_description>As LAUREL and HARDY come offstage to huge applause, dripping with sweat, they turn to each other and from their expressions they know that tonight has gone well. Really well. DELFONT is in the wings waiting for them.<\/scene_description>\n    <character>DELFONT<\/character>\n    <dialogue>Gentlemen - we're back in business! Well done, well done - we've turned it around! I never doubted we would...<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Your faith sustained us.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Our wives arrive next week Mr. Delfont, we'd sure like to still have a show when they get here.<\/dialogue>\n    <character>DELFONT<\/character>\n    <dialogue>Not only will you still have a show, but it will be playing in London!<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>For real?<\/dialogue>\n    <character>DELFONT<\/character>\n    <dialogue>The Lyceum was free so I have \\*\\* booked a two week run, beginning a week on Sunday.<\/dialogue>\n    <character>LAUREL<\/character>\n    <parenthetical>(Delighted)<\/parenthetical>\n    <dialogue>The Lyceum? \\*\\*<\/dialogue>\n    <scene_description>DELFONT shakes both of their hands, vigorously.<\/scene_description>\n    <character>DELFONT<\/character>\n    <dialogue>Hearty felicitations - we must celebrate!<\/dialogue>\n    <scene_description>He snaps his fingers and a STAGE HAND brings over a tray with two glasses of champagne on it; DELFONT hands them out.<\/scene_description>\n    <character>LAUREL<\/character>\n    <parenthetical>(Taking his)<\/parenthetical>\n    <dialogue>Thank you very much, our wives will be delighted. How about dinner tonight, on us?<\/dialogue>\n    <character>HARDY<\/character>\n    <parenthetical>(Taking his)<\/parenthetical>\n    <dialogue>That's a good idea. I'm having steak. A big, thick juicy steak smothered with onions.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>I'm having the same as he's having. Except I want fish. And no onions.<\/dialogue>\n    <character>DELFONT<\/character>\n    <parenthetical>(Smiling thinly)<\/parenthetical>\n    <dialogue>Ha - yes let's do that. Can't make it tonight I've said I'll say hello to Danny Kaye after his show - huge fan of yours of course. But we must celebrate. We'll talk anon!<\/dialogue>\n    <scene_description>He leaves. On LAUREL and HARDY watching him go. A beat, then they turn to each other and HARDY holds up his glass:<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>To us.<\/dialogue>\n    <scene_description>LAUREL smiles, and clinks his glass against Hardy's.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Bottoms up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN - DAY<\/stage_direction>\n    <scene_description>LAUREL and HARDY read from scripts as they rehearse some lines from the movie.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>You're on the log with Robin Hood and he asks what it is you want to see him about, and you say:<\/dialogue>\n    <character>HARDY<\/character>\n    <parenthetical>(As 'Friar Hardy')<\/parenthetical>\n    <dialogue>We're going to give him a piece of my mind, aren't we Stanley.<\/dialogue>\n    <character>LAUREL<\/character>\n    <parenthetical>(As 'Stanley-A-Dale')<\/parenthetical>\n    <dialogue>We sure are.<\/dialogue>\n    <character>HARDY<\/character>\n    <parenthetical>(As 'Friar Hardy')<\/parenthetical>\n    <dialogue>We'd give him a piece of his too, but he doesn't have any to spare.<\/dialogue>\n    <scene_description>HARDY smiles at this, comes out of character.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Yeh, that's a nice line.<\/dialogue>\n    <parenthetical>(Beat, thoughtful)<\/parenthetical>\n    <dialogue>Is this movie happening Stan?<\/dialogue>\n    <character>LAUREL<\/character>\n    <parenthetical>(Taken off guard)<\/parenthetical>\n    <dialogue>Yes. Of course it is. Why d'you ask that?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Oh... it's just that Lucille will ask me about it, and I know you've been struggling to get through to Muff-<\/dialogue>\n    <parenthetical>(He remembers)<\/parenthetical>\n    <dialogue>-Miffin.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>I'm meeting him next week, it's all lined up.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>I mean, I'm enjoying how the show's going, but... it's the movie we're doing this for isn't it.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>That's right - and then one thing leads to another.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Because we can't keep touring like this forever, can we.<\/dialogue>\n    <scene_description>Before LAUREL can answer, a GUARD walks past their compartment, calling out to passengers:<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>London terminus, next and final stop.<\/dialogue>\n    <scene_description>They look at each other, then get up, excitedly. They go out into the corridor and pull down the window on the door so they can lean outside. It's a bit of a squeeze, but - hair blowing in the wind - they can see the unmistakable London skyline fast approaching. With excited faces they shake hands, delighted to have made it to the capital.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAVOY HOTEL, LONDON - DAY<\/stage_direction>\n    <scene_description>Next morning, LAUREL exits the hotel dressed in unfamiliar business attire (smart overcoat and Homburg hat), smiling and nodding to the BELL BOYS. He takes in the air, full of energy and expectation, then strolls off down the Strand.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEST END CINEMA - DAY<\/stage_direction>\n    <scene_description>Taxis and red buses weave past, with adverts for Bovril, Players cigarettes and Schweppes on the side. Men in hats and ladies in heels bustle along this busy corner of the west end. LAUREL walks along, (to where we don't yet know), then pauses to study a poster outside a cinema: 'Abbott &amp; Costello Go To Mars'. The blurb tells us they are 'Hollywood's No. One Comedy Duo'. This is the double act that has effectively replaced Laurel &amp; Hardy in the affections of modern moviegoers. LAUREL looks at their young faces, the silver space suits, the shiny rocket, the future... A MAN walks up and stands next to him, also to look at the poster. A few moments then LAUREL, aware of the MAN standing on his shoulder, turns to look at him. At the same time the MAN turns to LAUREL and gives him a polite smile. LAUREL goes to smile back but realises the MAN is tremendously boss-eyed - his eyes literally looking in opposite directions. LAUREL double takes. The MAN politely raises his hat, then walks away. OUT on LAUREL.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STRAND TUBE STATION - DAY<\/stage_direction>\n    <scene_description>Wearing his beret, a smiling HARDY - full of the joys of life - strolls down the street singing softly to himself, humming some of the words he can't quite bring to mind:<\/scene_description>\n    <character>HARDY<\/character>\n    <parenthetical>(Singing)<\/parenthetical>\n    <dialogue>Let me call you Sweetheart, I'm in love with you Let me hear you whisper that you love me too Keep the da-da hmm hmm in your eyes so true Let me call you Sweetheart, I'm in love with you...<\/dialogue>\n    <scene_description>He passes a little florist's stall outside the tube station, is about to go down the stairs when he decides he's feeling so good he wants a buttonhole. He selects a red carnation and, with great delicacy, pulls a shilling from his wallet to pay for it. Back to the song, he hums and whistles as he carries on jauntily into the tube station, pinning the carnation to his lapel as he goes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEST END - DAY<\/stage_direction>\n    <scene_description>LAUREL strides up to a building with brass business plates outside, checks the address against a slip of paper, enters.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE RECEPTION - DAY<\/stage_direction>\n    <scene_description>LAUREL removes his hat and approaches the RECEPTIONIST, an insipid-type, mid-20s.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>I'm here to see Mr. Miffin.<\/dialogue>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>And your name please?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Mr. Laurel.<\/dialogue>\n    <scene_description>She starts to write everything down.<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>Do you have an appointment Mr. Lauren?<\/dialogue>\n    <scene_description>He doesn't pick her up on mispronouncing his name.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>We keep missing each other on the telephone so I thought if I dropped by that would be the easiest thing.<\/dialogue>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>Because he's not here right now.<\/dialogue>\n    <character>LAUREL<\/character>\n    <parenthetical>(Beat, thinks about this)<\/parenthetical>\n    <dialogue>That's okay, I can wait. I think I've been speaking to another girl on the telephone about this - I've been speaking to her for a while?<\/dialogue>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>She's left. Are you sure you want to wait? He may be quite a while?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Well, I'm here now aren't I.<\/dialogue>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>Take a seat over there Mr. Lauren-<\/dialogue>\n    <parenthetical>(Indicates a row of chairs)<\/parenthetical>\n    <dialogue>-I'll let his office know you're here.<\/dialogue>\n    <scene_description>He still doesn't pick her up on the name thing. As she makes an internal call he sits down. He looks over to a door at the far end of the reception area. Another closed door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JEWELLERS, BURLINGTON ARCADE - DAY<\/stage_direction>\n    <scene_description>A tray of diamond bracelets are removed from a shop window.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JEWELLERS, BURLINGTON ARCADE - DAY<\/stage_direction>\n    <scene_description>The tray is set down by a (male) ASSISTANT in front of HARDY. The ASSISTANT indicates a bracelet in the middle of the tray.<\/scene_description>\n    <character>ASSISTANT<\/character>\n    <dialogue>A beautiful piece sir.<\/dialogue>\n    <scene_description>HARDY looks at it, but his eye is taken by one above it which is much, much classier with alternating diamonds and rubies.<\/scene_description>\n    <character>ASSISTANT<\/character>\n    <dialogue>Mr. Laurel not with you today?<\/dialogue>\n    <scene_description>HARDY, preoccupied, answers without looking up:<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Oh he's just got himself a new job, mending broken biscuits.<\/dialogue>\n    <scene_description>The ASSISTANT laughs.<\/scene_description>\n    <character>ASSISTANT<\/character>\n    <dialogue>I think it's wonderful you're still going.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Rigor mortis hasn't set in just yet-<\/dialogue>\n    <scene_description>He points to the expensive bracelet.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>-I'm very taken with this one?<\/dialogue>\n    <scene_description>The ASSISTANT takes it from the tray and lays it out on a small patch of velvet cloth.<\/scene_description>\n    <character>ASSISTANT<\/character>\n    <dialogue>One of our best pieces, diamonds and rubies set in a gold bracelet.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>My wife's arriving from overseas today and it's a gift, you see.<\/dialogue>\n    <character>ASSISTANT<\/character>\n    <dialogue>It's the most expensive item on the tray. One hundred and fifty pounds.<\/dialogue>\n    <scene_description>HARDY smiles at him.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Pardon me for just a moment.<\/dialogue>\n    <scene_description>He takes his wallet from his back pocket, turns away from the ASSISTANT, opens it and counts through the notes inside with his fingers. He doesn't have enough. Not nearly. A thoughtful frown for a moment, then he turns back to the ASSISTANT:<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>I wonder if you could just hold it for me and I'll be right back with the full amount...<\/dialogue>\n    <parenthetical>(Motions 'hurrying feet' with his fingers)<\/parenthetical>\n    <dialogue>...'tout suite'.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE RECEPTION - DAY<\/stage_direction>\n    <scene_description>LAUREL, patient as ever, is still being kept waiting. He catches the eye of the RECEPTIONIST and gives her a familiar ruffle of his hair into a mad quiff. But this produces no response - she simply thinks him rather odd. So he tries something else: putting his hat back on, he puts his finger in his mouth and blows it like it's a valve. He can see the RECEPTIONIST trying not to look, but finding herself wondering what on earth he's doing. He puts his finger in again and blows harder; by leaning the brim of his hat back slightly against the wall behind him, he makes it look as if his hat is lifting off his head. She watches this, but there's still no laugh - she just looks vaguely uncomfortable, embarrassed even. LAUREL gives up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PHONE BOX - DAY<\/stage_direction>\n    <scene_description>HARDY is in a public phone box making a call. The pips go and he inserts a coin to connect.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Concierge please...<\/dialogue>\n    <parenthetical>(Waits)<\/parenthetical>\n    <dialogue>Hello? Raymond..?<\/dialogue>\n    <parenthetical>(Listens)<\/parenthetical>\n    <dialogue>Ray it's Mr. Hardy from room 430-<\/dialogue>\n    <parenthetical>(Listens)<\/parenthetical>\n    <dialogue>-I'm very well thank you - now that discussion the other day about our four-legged friends...<\/dialogue>\n    <parenthetical>(Listens)<\/parenthetical>\n    <dialogue>Yes I wonder if you could speak to your man and place a bet for me...<\/dialogue>\n    <scene_description>He puts the phone in the crook of his neck, pulls out his wallet, and takes out a slip of paper with a name and meeting scribbled on it:<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>... it's Hometown Boy, in the 2.30 at Kempton. Five to one shot.<\/dialogue>\n    <scene_description>As he listens he opens his wallet again and counts with his fingers five of the ten pounds notes in there (leaving another tenner and a fiver).<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Fifty.<\/dialogue>\n    <parenthetical>(Fingers the last tenner and the fiver)<\/parenthetical>\n    <dialogue>... let's make that sixty.<\/dialogue>\n    <parenthetical>(Amount repeated to him)<\/parenthetical>\n    <dialogue>Yes sixty. On the nose.<\/dialogue>\n    <parenthetical>(Listens)<\/parenthetical>\n    <dialogue>Thank you so much. Yes, tally-ho to you too.<\/dialogue>\n    <scene_description>He hangs up and nods to himself, confident, certain.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE RECEPTION - DAY<\/stage_direction>\n    <scene_description>LAUREL is fixated on the closed door. Something snaps and he gets up and walks over to it. As he passes the RECEPTIONIST:<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>Hello? Can I help you?<\/dialogue>\n    <scene_description>He ignores her, goes up to the door and knocks.<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>I have asked you to wait...<\/dialogue>\n    <scene_description>LAUREL knocks again.<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>-please you're not allowed in there-<\/dialogue>\n    <scene_description>LAUREL grips the handle, opens the door and strides into...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIFFIN'S OFFICE - DAY<\/stage_direction>\n    <scene_description>... an empty office. Desk and chair, leather sofa facing; posters from various low budget British movies from the 40s and 50s on the walls. He looks around. Empty. From behind:<\/scene_description>\n    <character>CYNTHIA (OOV)<\/character>\n    <dialogue>You're here to see Mr. Miffin?<\/dialogue>\n    <scene_description>He turns round, sees CYNTHIA, 50s, glasses, a formidable- looking production executive, standing in the doorway.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Yes. Sorry, I... Yes.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>I'm his production executive, Cynthia Clarke.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Hello Cynthia.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Mr. Miffin is still detained, but I've just spoken to him on the telephone and he wanted me to explain the situation to you.<\/dialogue>\n    <parenthetical>(LAUREL swallows)<\/parenthetical>\n    <dialogue>He says he's sorry, but he's been unable to raise the finance needed to proceed with the film.<\/dialogue>\n    <character>LAUREL<\/character>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>Oh... I see.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>He said he made it clear in a cable he sent to you before you left the United States, that all the finance wasn't in place?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Yes but I thought he'd have it all lined up by now.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>He wanted you to know that he did everything he could to bring the project together, but he feels sure you'll understand that the market is very challenging at the moment, and that it just wasn't possible.<\/dialogue>\n    <scene_description>LAUREL looks at her, crushed, as the enormity of what she's saying now starting to sink in. But he remains polite.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Yes. Thank you. Thank you very much for your time...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STRAND TUBE STATION - DAY<\/stage_direction>\n    <scene_description>HARDY - in coat and beret, cigarette hanging from his lips - hurries out of the tube station and makes for a newspaper vendor who is opening some bales of freshly-arrived evening papers. He pays for one, feverishly turns to the racing pages and scans the 'Stop Press'. He finds his race, and... he's lost. We see his bitter disappointment. He screws the paper up and is about to angrily hurl it into a litter bin when he sees some SCHOOL KIDS, in uniform, staring at him shyly. A beat, then he forces a smile, calmly drops the paper in the bin and flutters his tie at them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAVOY HOTEL - DAY<\/stage_direction>\n    <scene_description>Late afternoon now. LAUREL and HARDY, each glum for different reasons, smoke cigarettes as they wait outside the hotel by the taxi rank. The boys savour deep puffs, as if their last. HARDY'S attention is caught by a NEWSREEL CREW setting up to cover the entrance. He looks puzzled...<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Delfont's idea, thought the girls arriving would be a good excuse for some free publicity.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>I'm sure lookin' forward to seeing them again.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>I been countin' the days.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Forty six.<\/dialogue>\n    <parenthetical>(HARDY looks at him, puzzled)<\/parenthetical>\n    <dialogue>Since we got here. Forty six days.<\/dialogue>\n    <parenthetical>(HARDY still puzzled)<\/parenthetical>\n    <dialogue>I thought you said you been countin' them?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>I just meant the last few. Seven or eight.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Not forty six. Who counts from forty six?<\/dialogue>\n    <scene_description>LAUREL shrugs, blankly.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>You know, I been thinking... they don't need to know about everything we been doing, do they? Like, for instance, all the personal appearances...<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>No sense in getting them all worked up.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>In a way, it's a kindness keeping them in the dark.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>It certainly is.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Well that's settled. We'll just talk about how well the tour's going.<\/dialogue>\n    <parenthetical>(Afterthought)<\/parenthetical>\n    <dialogue>And the movie.<\/dialogue>\n    <scene_description>LAUREL can't bring himself to break it to Hardy - not yet.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Yeh. The movie.<\/dialogue>\n    <scene_description>LAUREL takes another deep puff on his cigarette. He glances over to the MOVIETONE CREW and an idea forms:<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Hey, if the car pulls up there-<\/dialogue>\n    <parenthetical>(Indicates in front of them)<\/parenthetical>\n    <dialogue>-maybe we can do the door thing?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Will you give it a rest Stan?<\/dialogue>\n    <scene_description>A limousine sweeps up to the front of the hotel.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Here they are!<\/dialogue>\n    <scene_description>Like naughty schoolboys LAUREL and HARDY quickly throw their cigarettes away; the PHOTOGRAPHERS and NEWSREEL CREW spring into action. As the car pulls up in front of them LAUREL gives HARDY a look and he reluctantly nods, 'okay'. He goes to the side of the car nearest the wall and from there opens the rear door whilst LAUREL goes to the other side of the car and opens that. LAUREL leans in and in the back are LUCILLE HARDY, a pretty, unfussy Southern belle, 40s, and Laurel's wife IDA, same age glamorously dressed, of Russian descent. He gives IDA a kiss:<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Hiya sweetie pie. Girls, can you both get out this side - I got something I want to do.<\/dialogue>\n    <character>IDA<\/character>\n    <parenthetical>(Thick Russian accent)<\/parenthetical>\n    <dialogue>Of course dahling, where do you want me? I give them my good side.<\/dialogue>\n    <scene_description>LUCILLE isn't as thrilled at the idea of a bit of 'business' after her long journey-<\/scene_description>\n    <character>LUCILLE<\/character>\n    <dialogue>Oh no Stanley... we just got here?<\/dialogue>\n    <scene_description>-but she follows them out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAVOY HOTEL - DAY<\/stage_direction>\n    <scene_description>BLACK AND WHITE NEWSREEL FOOTAGE: LAUREL leads IDA and LUCILLE around the back of the limousine to HARDY'S side, where their progress is blocked by his open door.<\/scene_description>\n    <character>NEWSREEL COMMENTARY<\/character>\n    <dialogue>Comedy duo Laurel and Hardy were joined in London this week by their wives. But even in a simple situation like this, trouble just seems to follow them around.<\/dialogue>\n    <scene_description>LAUREL feigns 'confusion'. What does he do now? We... CUT TO: HARDY waits by the door, with his back to LAUREL and the GIRLS, wondering where they are.<\/scene_description>\n    <character>NEWSREEL COMMENTARY<\/character>\n    <dialogue>Oliver Hardy, Bachelor of Arts, always seems to have the situation under control... but somehow things never seem to work out that way.<\/dialogue>\n    <scene_description>CUT TO: LAUREL now leads the girls back round to the other side of the limousine, takes them through the driver's compartment and out Hardy's side, where HARDY 'jumps' in surprise and gives the GIRLS a coy flutter of his tie in greeting. The two couples hold hands and enter the hotel together, stopping by the entrance for a cheery wave to camera.<\/scene_description>\n    <character>NEWSREEL COMMENTARY<\/character>\n    <dialogue>Yes they're reunited again, and now everyone can start making up for lost time.<\/dialogue>\n    <scene_description>For the camera HARDY takes LUCILLE'S hand and kisses it, then does the same to IDA. LAUREL kisses IDA'S hand then LUCILLE'S, and finally LAUREL offers HARDY his hand and HARDY kisses that too - before slapping it away in 'distaste'.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAVOY HOTEL - DAY<\/stage_direction>\n    <scene_description>The two COUPLES enter the foyer.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Did they get all that okay?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>It was fine, it'll get a laugh.<\/dialogue>\n    <character>LUCILLE<\/character>\n    <parenthetical>(Sarcastic)<\/parenthetical>\n    <dialogue>Well I'm awfully glad about that I'm sure, but it would have been nice to say hello to my husband after eight weeks without immediately being pressed into one of your skits Stanley.<\/dialogue>\n    <character>IDA<\/character>\n    <dialogue>It was just small funny.<\/dialogue>\n    <character>LUCILLE<\/character>\n    <dialogue>Is that what it was.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RESTAURANT, SAVOY - NIGHT<\/stage_direction>\n    <scene_description>The LAURELS and HARDYS dine together, IDA and LUCILLE taking the opportunity to both dress glamorously.<\/scene_description>\n    <character>LUCILLE<\/character>\n    <dialogue>Can't we visit the Tower Of London? And Saint Paul's. And Harrods.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>LUCILLE<\/character>\n    <dialogue>And Buckingham Palace, where that darling new queen lives.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Of course my angel, you can visit wherever you like.<\/dialogue>\n    <character>IDA<\/character>\n    <dialogue>Winter Palace at St. Petersburg, this is Palace. Buckingham is little dog house.<\/dialogue>\n    <character>LUCILLE<\/character>\n    <dialogue>To think of her in there, with all those rooms, and the soldiers outside looking after her. Isn't she's just the sweetest little doll?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>What about if we knock on the door and ask for a cup of sugar?<\/dialogue>\n    <character>LUCILLE<\/character>\n    <dialogue>Don't you dare!<\/dialogue>\n    <scene_description>But then she laughs when she realises LAUREL is just kidding.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>You know, we been counting the days 'til you got here. All forty six of them.<\/dialogue>\n    <character>LUCILLE<\/character>\n    <dialogue>Oh Oliver, that is the sweetest thing.<\/dialogue>\n    <scene_description>HARDY can't look at LAUREL. He busies himself sprinkling more salt on his food.<\/scene_description>\n    <character>LUCILLE<\/character>\n    <dialogue>How's the movie coming along Stanley?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>It's all set up, for when we finish the tour.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>The producer is this fellow called Muffin, and Stan's re-written the script for him, and then-<\/dialogue>\n    <character>LUCILLE<\/character>\n    <dialogue>Oliver that's enough salt.<\/dialogue>\n    <scene_description>HARDY immediately stops.<\/scene_description>\n    <character>LUCILLE<\/character>\n    <dialogue>You know it's bad for your blood pressure.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Sorry honey, just force of habit. Anyway, the producer's going to come and watch the show next week isn't that right Stan?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Yeh, he said he'd try and get along.<\/dialogue>\n    <scene_description>LUCILLE wonders about this response. Why is he only going to 'try' to see them?<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>And Stan's been looking after me wonderfully, making sure daddy takes all his tablets.<\/dialogue>\n    <scene_description>He kisses the ends of his fingers and blows them to her, like he always does.<\/scene_description>\n    <character>LUCILLE<\/character>\n    <dialogue>Has he been taking the blue ones Stanley?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Blue? I been giving him green ones.<\/dialogue>\n    <character>LUCILLE<\/character>\n    <dialogue>Green! Oh my goodness what are they?<\/dialogue>\n    <scene_description>She looks at HARDY, worried. He just smiles nervously.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>He's just kidding.<\/dialogue>\n    <character>LUCILLE<\/character>\n    <parenthetical>(quietly to herself)<\/parenthetical>\n    <dialogue>I'm not finding that funny.<\/dialogue>\n    <scene_description>HARDY secretly glares at LAUREL - not the time or place to joke! Suddenly, IDA announces:<\/scene_description>\n    <character>IDA<\/character>\n    <dialogue>I was dancer. I dance for Preston Sturges I dance for Harold Lloyd.<\/dialogue>\n    <character>LUCILLE<\/character>\n    <parenthetical>(Rolling her eyes)<\/parenthetical>\n    <dialogue>Really Ida? You've never mentioned this before?<\/dialogue>\n    <character>IDA<\/character>\n    <dialogue>When my knee hurt, I dance some more, I go faster, I jump high - and the hurt go away. I forget pain. Pain is only in your mind Oliver.<\/dialogue>\n    <character>LUCILLE<\/character>\n    <dialogue>It's not in his mind Ida, it's in his knee.<\/dialogue>\n    <character>LUCILLE<\/character>\n    <dialogue>And there's no way Stanley, that he can do the scene in this movie where he falls into the river.<\/dialogue>\n    <scene_description>LAUREL shoots a glance to HARDY, who looks embarrassed.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>I was telling her about the script...<\/dialogue>\n    <character>IDA<\/character>\n    <dialogue>They can use double?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>That's what I told her.<\/dialogue>\n    <character>IDA<\/character>\n    <dialogue>Preston Sturges use double.<\/dialogue>\n    <character>LUCILLE<\/character>\n    <dialogue>And it's okay for him to sit about in a river all day is it, catching his death of cold? Honestly Stanley...<\/dialogue>\n    <character>IDA<\/character>\n    <dialogue>Why you keep say Stanley?<\/dialogue>\n    <character>LUCILLE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>IDA<\/character>\n    <dialogue>Anyway, show must go on. And don't worry about river jump, it's easy as cake.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Easy as pie.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>It's a piece of cake.<\/dialogue>\n    <character>IDA<\/character>\n    <dialogue>That's what's I say.<\/dialogue>\n    <scene_description>LUCILLE thinks about biting back, but decides against it. She places her cutlery on her plate, finished.<\/scene_description>\n    <character>LUCILLE<\/character>\n    <dialogue>Well, I'm ready for an early night. I'm pooped. And I don't suppose it'll do you boys any harm either - goodness knows what you've been getting up to while we were away.<\/dialogue>\n    <character>IDA<\/character>\n    <parenthetical>(Wagging finger at LAUREL)<\/parenthetical>\n    <dialogue>Yes. If I find out you been drinking and smoking oh boy, you in big trouble.<\/dialogue>\n    <scene_description>They both try to look innocent and offended.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARDY'S SAVOY HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Back up in their room, LUCILLE is busy arranging flowers from a huge bunch Hardy has bought her, into a vase.<\/scene_description>\n    <character>LUCILLE<\/character>\n    <dialogue>Oh Oliver they're lovely, you really know how to spoil me.<\/dialogue>\n    <scene_description>She looks to HARDY, who is lying on the bed watching her.<\/scene_description>\n    <character>LUCILLE<\/character>\n    <dialogue>I was so worried you were going to go out and buy me something we couldn't afford.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>In future I am only buying you things I don't have enough money for.<\/dialogue>\n    <scene_description>He tries to joke about it, but she can see he's downcast. She goes over to the bed, sits next to him.<\/scene_description>\n    <character>LUCILLE<\/character>\n    <dialogue>You don't have to buy me anything, you're everything I could ever want.<\/dialogue>\n    <scene_description>LUCILLE takes off her dressing gown and gets in bed with HARDY, who cuddles up to her, arms around her.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>This is what I've been waiting for.<\/dialogue>\n    <scene_description>LUCILLE smiles, squeezes his arm contentedly.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Why are you interested in a fat old man like me?<\/dialogue>\n    <scene_description>This is clearly an old joke between them.<\/scene_description>\n    <character>LUCILLE<\/character>\n    <dialogue>Hey you, that's my husband you're talking about. I love you and you can't stop me.<\/dialogue>\n    <scene_description>LUCILLE shuts her eyes and tries to relax.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>How was the trip over with Ida?<\/dialogue>\n    <character>LUCILLE<\/character>\n    <dialogue>You know Ida, exhausting. When she gets something in her head she won't let it go 'til she's worried it to death, and God forbid anyone should raise the slightest criticism of Stanley.<\/dialogue>\n    <scene_description>Hardy laughs.<\/scene_description>\n    <character>LUCILLE<\/character>\n    <dialogue>Has he been pushing you too hard Babe?<\/dialogue>\n    <character>HARDY<\/character>\n    <parenthetical>(Tired sigh)<\/parenthetical>\n    <dialogue>Well, it's more difficult than I first thought.<\/dialogue>\n    <scene_description>HARDY closes his eyes. She looks at him, worried how hard he's pushing himself. She strokes his forehead.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAR, SAVOY HOTEL - NIGHT<\/stage_direction>\n    <scene_description>LAUREL finishes making an order at the hotel bar and comes back to sit with IDA at a table.<\/scene_description>\n    <character>IDA<\/character>\n    <dialogue>Oliver is like cat on hot roof with Lucille. She wear pants in Hardy house.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>He's been like that with all his wives. Jumps around after them the whole time, trying to please them.<\/dialogue>\n    <character>IDA<\/character>\n    <dialogue>You can learn this.<\/dialogue>\n    <scene_description>LAUREL smiles.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>But she's been good for him, considering the state he was in.<\/dialogue>\n    <parenthetical>(Thinks about this)<\/parenthetical>\n    <dialogue>That we were both in.<\/dialogue>\n    <parenthetical>(Turns to IDA)<\/parenthetical>\n    <dialogue>But now we don't smoke and we don't drink and we're much happier.<\/dialogue>\n    <character>IDA<\/character>\n    <dialogue>He should say 'thank you' to you, for all you do for him. You could have said long time ago, 'goodbye Oliver'.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>That's all in the past, where it should stay.<\/dialogue>\n    <scene_description>A WAITER brings them over cups of coffee each and also places a Scotch in front of LAUREL.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>IDA<\/character>\n    <dialogue>Are you crazy! Take it back.<\/dialogue>\n    <character>LAUREL<\/character>\n    <parenthetical>(To WAITER)<\/parenthetical>\n    <dialogue>It's okay.<\/dialogue>\n    <parenthetical>(To IDA)<\/parenthetical>\n    <dialogue>I'm not going to drink it...<\/dialogue>\n    <scene_description>LAUREL holds the tumbler up to his nose:<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>I just wanted to smell it.<\/dialogue>\n    <scene_description>LAUREL breathes in the aroma of the Scotch<\/scene_description>\n    <character>IDA<\/character>\n    <dialogue>Bad for diabetes.<\/dialogue>\n    <scene_description>But LAUREL continues to toy with it. Annoyed, IDA snatches it from him and downs it in one.<\/scene_description>\n    <character>IDA<\/character>\n    <dialogue>Now you can't drink.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>I don't want to lose you Stanley.<\/dialogue>\n    <scene_description>He puckers up and she gives him a kiss.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>And nobody even knows you're really a man.<\/dialogue>\n    <scene_description>She gives him a weary smile and a little shove.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PALLADIUM THEATRE, LONDON - NIGHT<\/stage_direction>\n    <scene_description>To establish the boys' opening night in London, their names up in lights outside the iconic London Palladium, the country's premier theatre.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACKSTAGE PALLADIUM THEATRE, LONDON - NIGHT<\/stage_direction>\n    <scene_description>Backstage, almost ready to start the show. HARDY paces about, nervous. LAUREL, checking the paper clips on his cuffs, peers out through a crack and this time sees the auditorium is packed. He allows himself a smile. He checks - no heels on his boots.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM, PALLADIUM THEATRE - NIGHT<\/stage_direction>\n    <scene_description>DELFONT, all hand-squeezes and big smiles, takes his seat next to LUCILLE and IDA just in time for the start. He looks about, very happy.<\/scene_description>\n    <character>DELFONT<\/character>\n    <dialogue>A sell out!<\/dialogue>\n    <scene_description>The house lights dim and the orchestra strikes up 'The Dance Of The Cuckoos'. LAUREL walks out on stage followed by HARDY. HARDY turns, looking to the applauding audience, but LAUREL continues into the wings on the other side of the stage. HARDY gestures for him to come back onto the stage. LAUREL slowly walks out, pretending to argue with someone in the wings. A lone guitarist picks out the intro to 'Trail Of The Lonesome Pine'. The BOYS sing together in harmony:<\/scene_description>\n    <character>HARDY<\/character>\n    <parenthetical>(Singing)<\/parenthetical>\n    <dialogue>On a mountain in Virginia stands a lonesome pine Just below is the cabin home of a little girl of mine Her name is June and very, very soon she'll belong to me For I know she's waiting there for me 'neath that lone pine tree<\/dialogue>\n    <character>LAUREL AND HARDY<\/character>\n    <dialogue>In the blue ridge mountains of Virginia On the trail of the lonesome pine In the pale moon shine our hearts entwine Where she carved her name and I carved mine Oh, June like the mountains I'm blue like the pine I am lonesome for you In the blue ridge mountains of Virginia On the trail of the lonesome pine<\/dialogue>\n    <scene_description>Suddenly LAUREL hogs the vocal, singing in such an impossibly deep voice that HARDY is put off:<\/scene_description>\n    <character>LAUREL<\/character>\n    <parenthetical>(Singing)<\/parenthetical>\n    <dialogue>In the blue ridge mountains of Virginia on the trail of the lonesome pine<\/dialogue>\n    <scene_description>HARDY, annoyed, gestures to the wings and a STAGE HAND hurries on with a mallet for him. HARDY tests the weight with a few practice swings as LAUREL continues-<\/scene_description>\n    <character>LAUREL<\/character>\n    <parenthetical>(Singing)<\/parenthetical>\n    <dialogue>In the pale moon shine our hearts entwine Where she carved her name and I carved mine Oh, June like the mountains I'm blue like the pine I am lonesome for you...<\/dialogue>\n    <scene_description>-at this precise moment HARDY whacks LAUREL on the head with the mallet. LAUREL looks like he might fall over, but as HARDY prepares to take over LAUREL now continues 'soprano':<\/scene_description>\n    <character>LAUREL<\/character>\n    <parenthetical>(Singing)<\/parenthetical>\n    <dialogue>In the blue ridge mountains of Virginia On the trail of the lonesome pine...<\/dialogue>\n    <scene_description>He sways, then falls over with 'delayed' concussion. Big laughs all round. DELETED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAR, PALLADIUM THEATRE, LONDON - NIGHT<\/stage_direction>\n    <scene_description>LUCILLE and IDA have been left by themselves in a corner. DELFONT has arranged a little after-show party but is firmly with the money - variety club patrons LORD and LADY WARLEY and another well-heeled couple, the BROCKETT-SMITHS. Ever the attentive host he fills their glasses and laughs at their jokes - but has forgotten about the girls.<\/scene_description>\n    <character>LUCILLE<\/character>\n    <dialogue>I wonder when the boys will be up?<\/dialogue>\n    <character>IDA<\/character>\n    <dialogue>Why don't we ask for someone to go get them?<\/dialogue>\n    <scene_description>LUCILLE looks over to DELFONT.<\/scene_description>\n    <character>LUCILLE<\/character>\n    <dialogue>He seems a little preoccupied... with his lords and ladies.<\/dialogue>\n    <character>IDA<\/character>\n    <dialogue>Come - we stand like lemon.<\/dialogue>\n    <scene_description>IDA heads for DELFONT and his GUESTS, LUCILLE follows. DELFONT spots them approaching:<\/scene_description>\n    <character>DELFONT<\/character>\n    <dialogue>Ladies! I'm so sorry - I was just on my way over to ask what you wanted to drink. Mrs Laurel and Mrs Hardy, may I present Lord and Lady Warley and Mr. &amp; Mrs Brockett- Smith.<\/dialogue>\n    <scene_description>General greetings between everybody.<\/scene_description>\n    <character>LUCILLE<\/character>\n    <dialogue>Did you enjoy the show?<\/dialogue>\n    <character>LORD WARLEY<\/character>\n    <dialogue>Yes very good, stuff and nonsense wasn't it.<\/dialogue>\n    <scene_description>On LUCILLE, not entirely sure this is a compliment?<\/scene_description>\n    <character>LUCILLE<\/character>\n    <dialogue>Mr. Delfont told us that you-<\/dialogue>\n    <character>IDA<\/character>\n    <parenthetical>(Abruptly cuts across her)<\/parenthetical>\n    <dialogue>I have many offers to perform on London stage, but Hollywood call me.<\/dialogue>\n    <character>LORD WARLEY<\/character>\n    <dialogue>You're an actress yourself?<\/dialogue>\n    <character>LUCILLE<\/character>\n    <parenthetical>(Interjecting)<\/parenthetical>\n    <dialogue>More of a dancer really. With a very high pain threshold.<\/dialogue>\n    <character>IDA<\/character>\n    <dialogue>I make film with Preston Sturges and Harold Lloyd. No time for London stage.<\/dialogue>\n    <character>LUCILLE<\/character>\n    <dialogue>And I'm sure the London stage has been kicking itself all these years-<\/dialogue>\n    <parenthetical>(Looks around, desperate to get away)<\/parenthetical>\n    <dialogue>I wonder where those boys are?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRESSING ROOM, PALLADIUM THEATRE LONDON - NIGHT<\/stage_direction>\n    <scene_description>HARDY, full of energy, is on his feet, clutching his script. Still on a high from how well the show went, he (and this time not Laurel) has insisted on running lines from 'Robin Hood'. LAUREL, by contrast, sits at his dressing table finishing removing his make up. He is guilty, downcast, struggling with the knowledge that the movie has been canned - and that he hasn't yet told HARDY.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>This line Robin Hood has when he says he steals from the rich and gives to the poor - there's a gag in there somewhere Stan...<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Babe, the girls are waiting. And Delfont's got some people he wants us to meet from his charity.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>We just gotta work it up some more. What day's Muffin comin' to watch the show?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>He didn't say.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>He should have been here tonight. Went big tonight.<\/dialogue>\n    <scene_description>LAUREL decides that the time has finally come to tell the truth about the movie.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Babe, there's something I gotta tell you-<\/dialogue>\n    <character>HARDY<\/character>\n    <parenthetical>(Suddenly stopping pacing)<\/parenthetical>\n    <dialogue>How about we tell Robin Hood he's got it all wrong and he should steal from the poor and give to the rich? Or something like that?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>The thing is...<\/dialogue>\n    <scene_description>LAUREL'S voice chokes. Is he still going to tell him?<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>You can play around with that Stan, can't you?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Well, you see...<\/dialogue>\n    <scene_description>LAUREL had every intention of confessing all... but now that HARDY has planted this thought in his mind, the chance to create something takes over. As he thinks about the scene, slowly LAUREL'S expression changes from a frown to a smile.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>How about, we give to the poor by stealing from the poor, and cutting out the middle man?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>That's it!<\/dialogue>\n    <scene_description>HARDY heads for the door, continuing as 'Friar Hardy':<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Stealing from the rich to give to the poor - who ever heard of anything so ridiculous?<\/dialogue>\n    <scene_description>As LAUREL follows him out we see that he has abandoned all thoughts of confessing - his creative juices are flowing. DELETED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACKSTAGE PALLADIUM THEATRE LONDON - NIGHT<\/stage_direction>\n    <scene_description>The BOYS make their way through the backstage area towards the (darkened) stage.<\/scene_description>\n    <character>HARDY<\/character>\n    <parenthetical>('Friar Hardy')<\/parenthetical>\n    <dialogue>It's obvious - steal from the poor, and give to the poor, and thereby cutting out the middle man.<\/dialogue>\n    <character>LAUREL<\/character>\n    <parenthetical>('Stanley-A-Dale')<\/parenthetical>\n    <dialogue>And the rich need never be any the wiser.<\/dialogue>\n    <character>HARDY<\/character>\n    <parenthetical>('Friar Hardy', emphatically)<\/parenthetical>\n    <dialogue>Precisely.<\/dialogue>\n    <scene_description>They emerge into the wings of the theatre. They continue their journey across the empty stage towards an exit at the side of the auditorium leading up to the bar - where they know everybody is waiting for them.<\/scene_description>\n    <character>HARDY<\/character>\n    <parenthetical>(Out of character)<\/parenthetical>\n    <dialogue>That's great Stan, that's funny.<\/dialogue>\n    <scene_description>But as they cross the stage HARDY - still excited and animated - sees a couple of brooms and stops to pick one up. He throws LAUREL the other:<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Hey Stan, let's just play it out\/run through it. You be Robin Hood.<\/dialogue>\n    <scene_description>He turns to face LAUREL.<\/scene_description>\n    <character>HARDY<\/character>\n    <parenthetical>(As 'Friar Hardy')<\/parenthetical>\n    <dialogue>I'm warning you now - let me pass.<\/dialogue>\n    <scene_description>HARDY takes a swipe over LAUREL'S head.<\/scene_description>\n    <character>HARDY<\/character>\n    <parenthetical>('Friar Hardy')<\/parenthetical>\n    <dialogue>I'm an expert at this...<\/dialogue>\n    <parenthetical>(Tries the line differently)<\/parenthetical>\n    <dialogue>I have excellent staffing skills.<\/dialogue>\n    <parenthetical>(Tries for a better line)<\/parenthetical>\n    <dialogue>I am noted for my staff play.<\/dialogue>\n    <character>LAUREL<\/character>\n    <parenthetical>(As Stan)<\/parenthetical>\n    <dialogue>I've got great stick work.<\/dialogue>\n    <character>HARDY<\/character>\n    <parenthetical>(As 'Friar Hardy')<\/parenthetical>\n    <dialogue>I'm warning you, I've got great stick work.<\/dialogue>\n    <scene_description>HARDY swipes at LAUREL'S legs, he steps over it.<\/scene_description>\n    <character>LAUREL<\/character>\n    <parenthetical>(As Stan)<\/parenthetical>\n    <dialogue>Then one more swish underneath - Robin Hood will jump.<\/dialogue>\n    <scene_description>LAUREL positions himself behind HARDY, as if standing on the log behind him.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>And I'm standing behind you, I tap you on the shoulder and say \"watch he doesn't hit you on the leg\"<\/dialogue>\n    <parenthetical>(Getting into it)<\/parenthetical>\n    <dialogue>And then he cracks you one-<\/dialogue>\n    <scene_description>LAUREL mimes crashing his 'staff' across HARDY'S head. HARDY howls in pain and gingerly touches his sore skull. CUT TO: LUCILLE and IDA enter through a side entrance into the stalls and - unseen in the dark by their husbands - quietly approach the stage, watching all the time. CUT TO: LAUREL hurries back to HARDY'S side, becoming 'Stanley-A- Dale' again, and they start a shoving match.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>-and because I laugh, you get mad and take a swing at me and I duck and you unbalance and fall off the log into the river-<\/dialogue>\n    <character>HARDY<\/character>\n    <parenthetical>(Out of character)<\/parenthetical>\n    <dialogue>Give me a hand here Stan.<\/dialogue>\n    <scene_description>LAUREL helps HARDY by holding his arm as - with great difficulty - he lowers himself to the ground.<\/scene_description>\n    <character>CUT TO:<\/character>\n    <dialogue>LUCILLE watches, appalled, about to say something but holding back for now. IDA is, again, engrossed in the sketch.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>So you're down there in the water, and you look into the lens-<\/dialogue>\n    <scene_description>HARDY mimes wiping his eyes and spitting out some water-<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>-then you feel something wiggling about inside your cassock and you reach inside and pull out a great big salmon-<\/dialogue>\n    <scene_description>HARDY mimes feeling a fish flapping around inside his cassock and pulls it out. He looks up at LAUREL-<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>-and I just go-<\/dialogue>\n    <scene_description>LAUREL spreads his hands in a helpless gesture.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>\"I didn't put it there\" -and then I'll give you a line from there to finish, and that's the scene.<\/dialogue>\n    <scene_description>A silence, then LUCILLE speaks up from the stalls:<\/scene_description>\n    <character>LUCILLE<\/character>\n    <dialogue>Stanley he's not going to fall into that river and that's all there is to it.<\/dialogue>\n    <scene_description>They both turn to look at her. She is angry, determined.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR\/BAR, PALLADIUM THEATRE - NIGHT<\/stage_direction>\n    <scene_description>LAUREL and HARDY and LUCILLE and IDA approach the bar, HARDY still trying to calm LUCILLE down:<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Come on honey, if the script says I fall in the river, that's what I have to do.<\/dialogue>\n    <parenthetical>(Suddenly remembers)<\/parenthetical>\n    <dialogue>It's historical - right Stan?<\/dialogue>\n    <scene_description>LAUREL is plunged back into his guilty secret - and now Babe and Lucille are arguing about something that he knows won't be happening. Delfont's drinks party is in full swing - lots of furs and tuxedos on show - and as LAUREL and HARDY enter DELFONT throws his arms out grandly:<\/scene_description>\n    <character>DELFONT<\/character>\n    <dialogue>Ladies and gentlemen, Mr. Stan Laurel and Mr. Oliver Hardy!<\/dialogue>\n    <dialogue>Everybody breaks into applause; the BOYS acknowledge this, embarrassed. They exchange another of their tiny, private nods - compelled, in spite of the situation, to offer a little bit of business. HARDY steps forward to address everybody formally, LAUREL alongside him:<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Well, Stan and I would just like to express how very pleased and humbled we are to meet you all-<\/dialogue>\n    <scene_description>LAUREL taps his shoulder like he wants to say something.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Would you be quiet for a moment-<\/dialogue>\n    <parenthetical>(Back to GUESTS)<\/parenthetical>\n    <dialogue>Mr. Delfont has told us about the wonderful work you do for deserving causes-<\/dialogue>\n    <parenthetical>(LAUREL taps again)<\/parenthetical>\n    <dialogue>I am trying to speak to the honoured guests-<\/dialogue>\n    <parenthetical>(Back to GUESTS)<\/parenthetical>\n    <dialogue>And we're looking forward to saying hello to everybody here tonight in person-<\/dialogue>\n    <parenthetical>(LAUREL taps again and he snaps)<\/parenthetical>\n    <dialogue>What do you want!<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>You're standing on my foot.<\/dialogue>\n    <scene_description>Laughter. DELFONT beaming that the boys have done a little routine for everybody:<\/scene_description>\n    <character>DELFONT<\/character>\n    <dialogue>Two wonderful legends of comedy, thank you so much gentlemen.<\/dialogue>\n    <scene_description>A round of applause which allows everybody to return to their private conversations. As LAUREL turns back to IDA he grabs - without thinking - a glass of champagne from a WAITER:<\/scene_description>\n    <character>IDA<\/character>\n    <parenthetical>(Sternly)<\/parenthetical>\n    <dialogue>Stanley.<\/dialogue>\n    <scene_description>He hands it to her and she drinks it.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>I think we got something here - the more I drink, the drunker she gets.<\/dialogue>\n    <scene_description>HARDY takes a glass of champagne for himself and LUCILLE, but she refuses hers, obviously still worked up. IDA watches this.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Won't you loosen up angel? \\*<\/dialogue>\n    <character>IDA<\/character>\n    <dialogue>Yes loosen. This movie could be \\* big break for boys.<\/dialogue>\n    <character>LUCILLE<\/character>\n    <dialogue>A big break? Oh please... Oliver is \\* sixty one years old. He's made a hundred and fifty films.<\/dialogue>\n    <scene_description>HARDY, embarrassed with how loud she's speaking, tries to 'Sshh' her. She lowers her voice but is getting really angry:<\/scene_description>\n    <character>LUCILLE<\/character>\n    <dialogue>And please tell me how can they be a matter of weeks away from making this movie and still not had any shooting dates confirmed Stanley? This is just such a ridiculous situation.<\/dialogue>\n    <scene_description>IDA feels compelled to defend her husband.<\/scene_description>\n    <character>IDA<\/character>\n    <dialogue>Maybe ridiculous, but situation is not Stanley's fault. \\*<\/dialogue>\n    <character>LAUREL \\*<\/character>\n    <dialogue>Ida please let's just go back to \\* the room. \\*<\/dialogue>\n    <character>LUCILLE<\/character>\n    <dialogue>Whose fault is it then Ida? What are you trying to insinuate?<\/dialogue>\n    <character>HARDY<\/character>\n    <parenthetical>(Trying to calm things)<\/parenthetical>\n    <dialogue>Oh come on now-<\/dialogue>\n    <character>LUCILLE<\/character>\n    <dialogue>No, I'd like to know how this-<\/dialogue>\n    <parenthetical>(Lowers her voice)<\/parenthetical>\n    <dialogue>Nutty tour which, let's face it, \\* they're only doing for the money, \\* is anything to do with Oliver? \\*<\/dialogue>\n    <scene_description>All eyes on IDA. \\* \\*:<\/scene_description>\n    <character>IDA \\*<\/character>\n    <dialogue>Because Oliver make elephant film. \\*<\/dialogue>\n    <scene_description>Nobody knows what to say, she has - literally - referred to the elephant in the room. A horrified silence. At this precise moment DELFONT brings over LORD and LADY WARLEY.<\/scene_description>\n    <character>DELFONT<\/character>\n    <dialogue>Gentlemen may I introduce two huge fans of yours, Lord Angus and Lady Mary Warley.<\/dialogue>\n    <character>LORD WARLEY<\/character>\n    <dialogue>My wife loves your films, I don't \\* really watch them. I remember the \\* one about the piano though. You \\* pushed it up those stairs didn't \\* you. \\*<\/dialogue>\n    <scene_description>(to LADY WARLEY) \\* Have you seen that one? \\*<\/scene_description>\n    <character>LADY WARLEY \\*<\/character>\n    <dialogue>No. \\*<\/dialogue>\n    <character>LORD WARLEY \\*<\/character>\n    <dialogue>It's very good they push this piano \\* up the top of the stairs you see, \\* and it's a long way, it goes all \\* the way to the top, and then the \\* bloody thing goes all the way down \\* to the bottom again. And then \\* you've got to push it all the way \\* back up and would you believe it \\* goes down to the bottom again? \\*<\/dialogue>\n    <character>HARDY \\*<\/character>\n    <dialogue>Yes, that's what happened. \\*<\/dialogue>\n    <character>LADY WARLEY \\*<\/character>\n    <dialogue>Was the piano damaged? \\*<\/dialogue>\n    <character>HARDY \\*<\/character>\n    <dialogue>Would you excuse us for a moment? \\*<\/dialogue>\n    <scene_description>HARDY steers LAUREL away. \\*<\/scene_description>\n    <character>DELFONT \\*<\/character>\n    <dialogue>(To LUCILLE and IDA) \\*<\/dialogue>\n    <scene_description>Now I'm being a terrible host - \\* won't you please come and have a \\* few nibbles from the buffet before \\* it all goes? \\*<\/scene_description>\n    <character>LORD WARLEY \\*<\/character>\n    <dialogue>They've got langoustines. Haven't \\* seen a langoustine since 1939. \\*<\/dialogue>\n    <character>\\*<\/character>\n    <dialogue>LUCILLE and IDA allow themselves - reluctantly - to be led \\* away by DELFONT. \\*<\/dialogue>\n    <character>CUT TO: \\*<\/character>\n    <dialogue>HARDY has found a quiet corner where he and LAUREL can talk \\* alone. \\*<\/dialogue>\n    <character>HARDY \\*<\/character>\n    <dialogue>What was that Ida said about the \\* elephant film? Are you still \\* carrying that around with you? \\*<\/dialogue>\n    <character>LAUREL \\*<\/character>\n    <dialogue>Oh you know how it is, sometimes I \\* just like to let off a little \\* steam. She doesn't really know what \\* she's sayin'. \\*<\/dialogue>\n    <character>HARDY \\*<\/character>\n    <dialogue>Well that's obviously what you \\* think, because you're still talking \\* about it with her. \\*<\/dialogue>\n    <character>LAUREL \\*<\/character>\n    <dialogue>This is a load of baloney - It's \\* just too silly for words. \\*<\/dialogue>\n    <character>HARDY \\*<\/character>\n    <dialogue>You think this is all my fault \\* because I went off and did a movie \\* with someone else sixteen years \\* ago? Is that what you think? You \\* weren't there any more. You left \\* the studio. \\*<\/dialogue>\n    <character>LAUREL \\*<\/character>\n    <dialogue>I was fired. \\*<\/dialogue>\n    <character>HARDY \\*<\/character>\n    <dialogue>Because you were a pain in the ass. \\* You wouldn't negotiate with Hal. I \\* was under contract, I had to do \\* that movie without you. \\*<\/dialogue>\n    <character>LAUREL \\*<\/character>\n    <dialogue>Well, that's not how I see it. \\*<\/dialogue>\n    <character>HARDY \\*<\/character>\n    <dialogue>How do you see it Stan? \\*<\/dialogue>\n    <character>LAUREL \\*<\/character>\n    <dialogue>Well, if we're puttin' our cards on \\* the table, the only reason we're in \\* this situation is because when I \\* was trying to get a better deal \\* with Hal you were nowhere to be \\* seen. \\*<\/dialogue>\n    <character>HARDY \\*<\/character>\n    <dialogue>I had no choice and you know it. I \\* was broke. \\*<\/dialogue>\n    <character>LAUREL \\*<\/character>\n    <dialogue>You did have a choice. You chose to \\* spend your time at the country club \\* or the race track. \\*<\/dialogue>\n    <character>HARDY \\*<\/character>\n    <dialogue>We had a good thing going with Hal \\* but you had a big chip on your \\* shoulder because you weren't being \\* treated like Chaplin. \\*<\/dialogue>\n    <character>LAUREL \\*<\/character>\n    <dialogue>You're damn right. And you didn't \\* have the guts to ask for what we \\* deserved. I'm getting a drink. \\*<\/dialogue>\n    <character>CUT TO: \\*<\/character>\n    <dialogue>LUCILLE and IDA are walking around the buffet choosing bits \\* of food for themselves. \\*<\/dialogue>\n    <character>LUCILLE \\*<\/character>\n    <dialogue>Look Ida, I don't want to fight, I \\* just want to do what's best for \\* Babe. \\*<\/dialogue>\n    <character>IDA \\*<\/character>\n    <dialogue>Oliver agreed to tour. Life is not \\* easy - it does not come on dinner \\* plate. \\*<\/dialogue>\n    <character>LUCILLE \\*<\/character>\n    <dialogue>Are you implying that Oliver and I \\* aren't hard working? \\*<\/dialogue>\n    <character>IDA \\*<\/character>\n    <dialogue>(Shrugs) \\*<\/dialogue>\n    <scene_description>You live in Hollywood. \\*<\/scene_description>\n    <character>LUCILLE \\*<\/character>\n    <dialogue>So do you and Stan! \\*<\/dialogue>\n    <character>IDA \\*<\/character>\n    <dialogue>I may live in Hollywood but I am \\* not Hollywood. \\*<\/dialogue>\n    <character>LUCILLE \\*<\/character>\n    <dialogue>You are the epitome of Hollywood. \\*<\/dialogue>\n    <scene_description>IDA misunderstanding. \\*<\/scene_description>\n    <character>IDA \\*<\/character>\n    <dialogue>Don't you pity me. \\*<\/dialogue>\n    <scene_description>LUCILLE rolls her eyes at IDA'S confusion. \\*<\/scene_description>\n    <character>IDA (CONT'D) \\*<\/character>\n    <dialogue>I've worked my whole life to get \\* where I am. \\*<\/dialogue>\n    <character>LUCILLE \\*<\/character>\n    <dialogue>Well, I had a job. \\*<\/dialogue>\n    <character>IDA \\*<\/character>\n    <dialogue>(Dismissive) \\*<\/dialogue>\n    <scene_description>Yes, script lady. \\*<\/scene_description>\n    <character>LUCILLE \\*<\/character>\n    <dialogue>How's your acting career? \\*<\/dialogue>\n    <character>LORD WARLEY \\*<\/character>\n    <dialogue>(OOV, from behind) \\*<\/dialogue>\n    <scene_description>Aren't they marvellous... \\* LUCILLE and IDA turn around to see LORD WARLEY behind them, \\* getting some food for himself. \\*<\/scene_description>\n    <character>LORD WARLEY (CONT'D) \\*<\/character>\n    <dialogue>They just never stop do they. \\*<\/dialogue>\n    <scene_description>He gestures to LAUREL and HARDY, gesticulating at each other \\* animatedly. And, yes, from a distance it really does look \\* like they are in a sketch. \\*<\/scene_description>\n    <character>LORD WARLEY (CONT'D) \\*<\/character>\n    <dialogue>So funny... \\*<\/dialogue>\n    <character>CUT TO: \\*<\/character>\n    <dialogue>HARDY is rubbing his painful knee as LAUREL continues: \\*<\/dialogue>\n    <character>HARDY \\*<\/character>\n    <dialogue>Look, if you want to accuse me of \\* trying to get along with people \\* then I'm guilty. I'm an actor. I do \\* want people to like me, I want \\* people to hire me. \\*<\/dialogue>\n    <character>LAUREL \\*<\/character>\n    <dialogue>You wouldn't say boo to a goose. \\* Everybody loves Babe. Go and play a \\* round with Babe - while I'm \\* sleeping on a couch in the editing \\* suite. \\*<\/dialogue>\n    <character>HARDY \\*<\/character>\n    <dialogue>That's the way you wanted it. You \\* cared about that stuff. I didn't. \\*<\/dialogue>\n    <character>LAUREL \\*<\/character>\n    <dialogue>You can't have - or you wouldn't \\* have gone off and worked with \\* somebody else. I couldn't sleep for \\* days when they told me what you'd \\* done. \\*<\/dialogue>\n    <character>HARDY \\*<\/character>\n    <dialogue>And I couldn't sleep when I did it. \\*<\/dialogue>\n    <character>LAUREL \\*<\/character>\n    <dialogue>But you still did it. You betrayed \\* me, you betrayed our friendship. \\*<\/dialogue>\n    <character>HARDY \\*<\/character>\n    <dialogue>Friendship? We're only friends \\* because Hal Roach put us together. \\* And the only reason we stayed \\* together was because the audience \\* wanted it. I have real friends and \\* yes, we play golf together and we \\* go to ball games and we have \\* sauerkraut with our bratwurst. \\*<\/dialogue>\n    <character>LAUREL \\*<\/character>\n    <dialogue>People will remember our films long \\* after you've finished your hotdog. \\* You know something? You're just \\* plain lazy Babe, and you're dead \\* lucky because you met me. \\*<\/dialogue>\n    <character>HARDY \\*<\/character>\n    <dialogue>Lucky!? To spend my life with a \\* hollow man who hides behind his \\* typewriter? You're not a real \\* person Stan. You're hollow. You're \\* empty. \\*<\/dialogue>\n    <character>LAUREL \\*<\/character>\n    <dialogue>I loved us. \\*<\/dialogue>\n    <character>HARDY \\*<\/character>\n    <dialogue>Well, you may have loved us, but \\* you never loved me. \\*<\/dialogue>\n    <character>LAUREL \\*<\/character>\n    <dialogue>So what. \\*<\/dialogue>\n    <scene_description>HARDY takes the beret LAUREL gave him from his pocket and \\* throws it at him. It hits him in the chest and lands on the \\* floor. HARDY starts to leave. LAUREL picks up a bread roll, \\* looks at it, he throws it - \\*<\/scene_description>\n    <character>CUT TO: \\*<\/character>\n    <dialogue>\\*<\/dialogue>\n    <scene_description>- the bread roll hitting HARDY on the back of the head. He \\* turns to look at LAUREL, HARDY's expression: 'Really?' \\* Keeping his dignity, he decides not to retaliate, and he and \\* LUCILLE exit. \\* We hear a smattering of applause. We CUT to see they have had \\* an audience. \\*<\/scene_description>\n    <character>LORD WARLEY \\*<\/character>\n    <dialogue>Bravo. \\*<\/dialogue>\n    <scene_description>IDA approaches LAUREL. \\* \\*:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARDY'S SAVOY HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>HARDY is cooking hot dogs in their tin (from his stash) over the fire in his room. LUCILLE sits at a dressing table brushing her hair, getting ready for bed.<\/scene_description>\n    <character>LUCILLE<\/character>\n    <dialogue>What are you going to say to him?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Nothing. I have nothing to say.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAUREL'S SAVOY HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>LAUREL and IDA sit next to each other on the bed.<\/scene_description>\n    <character>IDA<\/character>\n    <dialogue>You are in big demand always. Maybe Oliver hold you back... Maybe you don't need him anymore?<\/dialogue>\n    <character>LAUREL<\/character>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>You're right.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARDY'S SAVOY HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>HARDY sits at the table eating his hot dogs; LUCILLE is at the table with him but doesn't eat anything.<\/scene_description>\n    <character>LUCILLE<\/character>\n    <dialogue>Oliver, I would go to the ends of the earth for you, I would do anything for you, but I won't stand by and watch Stanley put you in a wooden box and nail the lid shut. There, I've said it. I'm sorry, but it's true.<\/dialogue>\n    <scene_description>HARDY appears to come to a momentous decision.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>You know, you're absolutely right.<\/dialogue>\n    <parenthetical>(Bite of hot dog)<\/parenthetical>\n    <dialogue>Just as soon as we've finished up here-<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAUREL'S SAVOY HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>It's like LAUREL finishes his sentence:<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>-as soon as we've finished our commitments here, that's it. It's over-<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARDY'S SAVOY HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Now HARDY finishes Laurel's sentence:<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>-I'm done with him, once and for all.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOYER, SAVOY HOTEL - DAY<\/stage_direction>\n    <scene_description>Next morning. LAUREL walks up to the CONCIERGE.<\/scene_description>\n    <character>CONCIERGE<\/character>\n    <dialogue>Your taxi is outside Mr. Laurel.<\/dialogue>\n    <character>LAUREL<\/character>\n    <parenthetical>(Looking around)<\/parenthetical>\n    <dialogue>Have you seen Mr. Hardy at all?<\/dialogue>\n    <character>CONCIERGE<\/character>\n    <dialogue>He left about fifteen minutes ago sir.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>He did? By himself?<\/dialogue>\n    <scene_description>OUT on LAUREL.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOLIDAY CAMP, WORTHING - DAY<\/stage_direction>\n    <scene_description>A classic 50s holiday camp. HOLIDAYMAKERS sit round a pool or on the grass eating sandwiches. An open-air stage has been set up in front of the pool, a little band to one side. A banner tells us a 'Bathing Beauty Contest' will be judged 'in person' by 'Laurel and Hardy'. The turn-out is impressive.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TENTED AREA - DAY<\/stage_direction>\n    <scene_description>A tented back stage area: LAUREL enters to find HARDY already seated at the far end of the tent, avoiding his gaze.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Why d'you leave without me?<\/dialogue>\n    <scene_description>HARDY doesn't answer. An ORGANIZER enters at Hardy's end.<\/scene_description>\n    <character>ORGANIZER<\/character>\n    <dialogue>Is there anything I can get you gentlemen?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Would you be so kind as to get me a cup of tea.<\/dialogue>\n    <scene_description>There are some tea things on a table by LAUREL.<\/scene_description>\n    <character>ORGANIZER<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>LAUREL gets up and starts to pour himself a cup:<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>I'll do it.<\/dialogue>\n    <character>HARDY<\/character>\n    <parenthetical>(To ORGANIZER)<\/parenthetical>\n    <dialogue>Thank you, if it's all the same I'd rather you did it.<\/dialogue>\n    <scene_description>For a split second she is confused, then works out that all is not well between the boys.<\/scene_description>\n    <character>ORGANIZER<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>She goes over to the tea things and pours a cup out for him.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Milk and four sugars please.<\/dialogue>\n    <scene_description>The ORGANIZER stirs in the sugar, takes the tea up to HARDY and hands it to him.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Thank you so much.<\/dialogue>\n    <character>ORGANIZER<\/character>\n    <dialogue>Well I think it's amazing that you two are still going strong, still doing the same old material.<\/dialogue>\n    <scene_description>A back-handed compliment, if ever there was one.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>HARDY<\/character>\n    <parenthetical>(Looking in a different direction)<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>She notes how the two men are obstinately and frostily turned away from each other as they sip their tea. DELETED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOLIDAY CAMP, WORTHING - DAY<\/stage_direction>\n    <scene_description>But now, in public, LAUREL and HARDY are a picture of (on- stage) friendship and togetherness, seated at the judge's table as a line up of BATHING BEAUTIES files past them. Slipping into stage 'business' with practised ease, HARDY does a lot of simpering and twiddling of his tie to the GIRLS; but when LAUREL does a goofy smile and waves to one of them an 'annoyed' HARDY slaps him down. Laughter - it all seems to be going well.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TENTED AREA - DAY<\/stage_direction>\n    <scene_description>Late afternoon, the sun starting to set. LAUREL and HARDY are to the side of the stage, at the bottom of some steps, out of view of the audience - and once again ignoring each other. On stage PHOTOGRAPHERS snap away as the three beauty contest FINALISTS parade for the crowd. Eventually:<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>I was talking to this fella about eggs... I know you're interested in eggs. He said they get dried powder to supplement the ration.<\/dialogue>\n    <parenthetical>(HARDY ignores him)<\/parenthetical>\n    <dialogue>You get a packet a month, same as twelve eggs. Doesn't taste too good, but you can make omelettes with it.<\/dialogue>\n    <parenthetical>(Still no answer)<\/parenthetical>\n    <dialogue>That's what he said.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>I have nothing to say.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Well I have nothing to say to you either. And you can forget what I just said 'cos I won't be repeating it.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Good.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Good.<\/dialogue>\n    <scene_description>LAUREL gets a nod from the ORGANIZER, cutting the conversation short. A moment, then he bounds up a few steps onto the temporary stage. HARDY goes to follow him but pauses on the steps. LAUREL takes the microphone to enthusiastic APPLAUSE.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Hello everybody. Mr. Hardy and I would like to thank you for making us feel so welcome today here in Worthing, one of my favourite seaside towns...<\/dialogue>\n    <scene_description>Applause. He sees HARDY, still on the steps.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Don't forget we're appearing next week at the Lyceum... \\*\\*<\/dialogue>\n    <scene_description>He looks to HARDY, waiting for him to join him - but he doesn't move.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Tickets still available.<\/dialogue>\n    <scene_description>Weak laughter.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Well all that remains is to crown today's lovely winner-<\/dialogue>\n    <scene_description>The ORGANIZER hands him an envelope, then the winner's tiara. LAUREL gives him back the envelope so he can take the tiara - realises he doesn't have the envelope so gives him the tiara so he can take back the envelope. All good business and he's getting laughs, but still HARDY doesn't join him.<\/scene_description>\n    <character>LAUREL<\/character>\n    <parenthetical>(Harsh whisper)<\/parenthetical>\n    <dialogue>Will you quit sulkin'?<\/dialogue>\n    <scene_description>But HARDY just doesn't move. LAUREL opens the envelope.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>And the winner is...<\/dialogue>\n    <scene_description>The BAND strikes up a fanfare; LAUREL looks to HARDY, sure that he will now grab the envelope from him and read out the winner's name himself. But HARDY stares ahead, glazed eyes, then sways and with a last, anguished look to LAUREL, loses consciousness - for real. He slumps down the steps and slides to the ground below. At first the crowd assumes it's part of the act and laughs - but when LAUREL jumps down off the stage to tend his friend the mood becomes fearful and the music stops. A couple of REDCOATS push the crowd back.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Give him some air - please!<\/dialogue>\n    <scene_description>LAUREL helps HARDY into the recovery position.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>What is it Babe - what is it?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>I felt faint Stan... like somebody turned the lights out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAVOY HOTEL, LONDON - NIGHT<\/stage_direction>\n    <scene_description>A taxi pulls up outside the hotel and the TAXI DRIVER hurries round to help LAUREL get HARDY - who looks absolutely terrible - from the back of the cab.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAVOY HOTEL, LONDON - NIGHT<\/stage_direction>\n    <scene_description>LAUREL and the TAXI DRIVER get HARDY inside.<\/scene_description>\n    <character>LAUREL<\/character>\n    <parenthetical>(To TAXI DRIVER)<\/parenthetical>\n    <dialogue>Thank you so much, I can take it from here with the Bell Boys.<\/dialogue>\n    <scene_description>Watched with great amusement by a couple of BELL BOYS, LAUREL goes to hand the TAXI DRIVER a half crown.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Thank you so much this is for you.<\/dialogue>\n    <scene_description>But he hands the TAXI DRIVER the money round the back of HARDY, whilst the TAXI DRIVER goes to receive it round the front. It's entirely accidental and quickly corrected, but the BELL BOYS assume it's a bit of impromptu entertainment.<\/scene_description>\n    <character>TAXI DRIVER<\/character>\n    <parenthetical>(Now taking the coin)<\/parenthetical>\n    <dialogue>Thank you sir.<\/dialogue>\n    <scene_description>The TAXI DRIVER leaves and LAUREL turns to the BELL BOYS.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Could you help me get Mr. Hardy up to his room please, he's not feeling too good.<\/dialogue>\n    <scene_description>But the BELL BOYS think it's a set up, and just smile at him. HARDY almost falls and LAUREL has to grab him quickly to keep him upright. The BELL BOYS just laugh - assuming this is more 'business'. LAUREL is getting desperate:<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>I need some help here!<\/dialogue>\n    <scene_description>The BELL BOYS look at each other - neither wanting to be the butt of what they assume will be a prank. One of them wiggles his tie at them, 'Hardy-style', waiting to be entertained.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>No, I really...<\/dialogue>\n    <scene_description>But, exasperated, he sees they are not going to help him. And so - alone - LAUREL is forced to stagger across the foyer to the elevators, using all his strength to keep HARDY upright. As the elevator doors open and LAUREL eases HARDY inside, the BELL BOYS still think something's going to happen. LAUREL pokes his head out before the doors shut:<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>I really did need some help you know.<\/dialogue>\n    <scene_description>And the BELL BOYS fall about laughing. He pulls his head back in and the doors shut.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR, SAVOY HOTEL - NIGHT<\/stage_direction>\n    <scene_description>The seriousness of Hardy's condition, and the poignancy of LAUREL having to help his friend all by himself, is brought home as we see LAUREL struggling desperately to get a semi- conscious HARDY back to his hotel room, inching painfully along the corridor a step at a time until, finally, he manages to knock on his door. LUCILLE - in her dressing gown - opens it, sees the state HARDY is in and blanches.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>He took a funny turn.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARDY'S SAVOY HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>LAUREL and LUCILLE get HARDY to the bed and lay him down.<\/scene_description>\n    <character>LUCILLE<\/character>\n    <dialogue>Oh my goodness...<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>We were about to go on stage and he said he wasn't feeling too well, and he sort of collapsed.<\/dialogue>\n    <character>LUCILLE<\/character>\n    <dialogue>Collapsed!<\/dialogue>\n    <scene_description>LUCILLE makes a grab for the phone.<\/scene_description>\n    <character>LUCILLE<\/character>\n    <dialogue>I need to get a doctor right now.<\/dialogue>\n    <character>HARDY<\/character>\n    <parenthetical>(Weakly)<\/parenthetical>\n    <dialogue>No doctor...<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>I got him back here as fast as I could.<\/dialogue>\n    <character>LUCILLE<\/character>\n    <dialogue>You should have taken him to a hospital - look at the state he's in-<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>I tried-<\/dialogue>\n    <character>LUCILLE<\/character>\n    <parenthetical>(She gets through)<\/parenthetical>\n    <dialogue>-yes hello this is Mrs Hardy in room 430 I need a doctor to attend to my husband right away please.<\/dialogue>\n    <parenthetical>(Listens)<\/parenthetical>\n    <dialogue>Mr. Oliver Hardy, yes.<\/dialogue>\n    <scene_description>As LUCILLE waits on the phone:<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>I'm really sorry Lucille.<\/dialogue>\n    <character>LUCILLE<\/character>\n    <dialogue>Thank you Stan, I'll take it from here...<\/dialogue>\n    <scene_description>LAUREL looks miserably at his stricken friend on the bed, LUCILLE on the phone. A moment then he turns and leaves, shutting the door behind him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR, SAVOY HOTEL - NIGHT<\/stage_direction>\n    <scene_description>LAUREL walks along in a daze, all the worries of the world on his shoulders.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAUREL'S SAVOY HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>LAUREL sits on the edge of his bed, loosening his collar and tie, dumbstruck. IDA kneels at his feet, silently unlacing his shoes and taking them off for him. She looks up at him, knows there's nothing she can say.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARDY'S SAVOY HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>A DOCTOR finishes listening to HARDY'S heart with his stethoscope. He listens intently, then removes the instrument from his ears and folds it up.<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>I can get you admitted to hospital tonight-<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>LUCILLE<\/character>\n    <dialogue>Oliver don't be ridiculous.<\/dialogue>\n    <character>HARDY<\/character>\n    <parenthetical>(Weak, distressed)<\/parenthetical>\n    <dialogue>I'm not going to hospital. I'm in the middle of a very important tour and we also have a movie scheduled to go into production. I just had a funny turn.<\/dialogue>\n    <character>LUCILLE<\/character>\n    <dialogue>Oliver please!<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>Mr. Hardy I believe you've suffered a mild heart attack today. I also believe that there is some evidence of congestive failure.<\/dialogue>\n    <character>LUCILLE<\/character>\n    <dialogue>Oh dear God, I knew it-<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>If you won't admit yourself to hospital here, I suggest you go home as soon as you possibly can to seek specialist treatment in the United States. You cannot possibly go on stage again in your current condition.<\/dialogue>\n    <scene_description>HARDY stares at him, dumbfounded. DELETED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RESTAURANT, SAVOY - DAY<\/stage_direction>\n    <scene_description>LAUREL has met with DELFONT for breakfast. He toys with his food, no appetite; DELFONT again tucks in enthusiastically.<\/scene_description>\n    <character>DELFONT<\/character>\n    <dialogue>What's the latest?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Lucille won't let anybody near him.<\/dialogue>\n    <character>DELFONT<\/character>\n    <dialogue>So we can't expect him back any time soon?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>I don't think so.<\/dialogue>\n    <character>DELFONT<\/character>\n    <dialogue>Shame, the advance London bookings are very strong. Everybody wants to see you. The show's a huge success.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>It's not Babe's fault he got sick.<\/dialogue>\n    <character>DELFONT<\/character>\n    <dialogue>Of course not, of course not.<\/dialogue>\n    <scene_description>He cuts off a strategic slice of smoked salmon, wolfs it down. A few moment's silence, then DELFONT 'casually' changes tack.<\/scene_description>\n    <character>DELFONT<\/character>\n    <dialogue>Stanley am I right in thinking that before you teamed up with Oliver you worked with other partners?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Well, I had lots of different partners in Vaudeville yes, I once worked with Charlie Chaplin, but...<\/dialogue>\n    <character>DELFONT<\/character>\n    <dialogue>And of course Oliver made his elephant film with a different partner?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>What's that got to do with anything?<\/dialogue>\n    <character>DELFONT<\/character>\n    <dialogue>Oh.. I don't know, random thought - there's a very popular double act here called Cook and Baker, I know them very well. Cook is the Hardy to Baker's Laurel, if you see what I mean.<\/dialogue>\n    <parenthetical>(Takes a sip of orange juice)<\/parenthetical>\n    <dialogue>I was just wondering whether you might not consider trying a couple of shows with Nobby Cook, just to keep things going until Babe can return?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>You mean, go on without Babe?<\/dialogue>\n    <character>DELFONT<\/character>\n    <dialogue>No no. Silly idea.<\/dialogue>\n    <scene_description>DELFONT glances at LAUREL and can see he's got him thinking; that he's planted a seed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR, SAVOY HOTEL - DAY<\/stage_direction>\n    <scene_description>LAUREL walks nervously up to Hardy's hotel room. He knocks. A moment, then LUCILLE answers. She looks at him coldly:<\/scene_description>\n    <character>LUCILLE<\/character>\n    <dialogue>Please don't tire him out.<\/dialogue>\n    <scene_description>LUCILLE grabs her bag and exits. LAUREL goes inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARDY'S SAVOY HOTEL ROOM - DAY<\/stage_direction>\n    <scene_description>HARDY is propped up in bed with pillows, looking pale. He sees LAUREL enter and gives him a weak smile. LAUREL takes his coat off, sits on the bed.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>I got you a present.<\/dialogue>\n    <scene_description>He pulls two boiled eggs from his pocket and holds them out.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Eggs?<\/dialogue>\n    <scene_description>It looks like Laurel is echoing the moment on stage when he visits Hardy in hospital - but he's perfectly serious.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>I went down to the kitchen to see if they could spare any. Cost me three shillings each.<\/dialogue>\n    <scene_description>HARDY takes them, delighted.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>I'll have one now if I may.<\/dialogue>\n    <scene_description>He starts to peel the shell off one straight away; sees LAUREL looking enviously at the other one.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Go ahead.<\/dialogue>\n    <scene_description>LAUREL needs no further encouragement, and takes the other egg, also starting to peel it.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>I'll get you some more.<\/dialogue>\n    <scene_description>The two men peel the shell off their eggs contentedly.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Where's Lucille gone? She could have stayed, it was just a silly row about nothing the other day. Just... nothing.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>I got something to tell you Ollie-<\/dialogue>\n    <character>HARDY<\/character>\n    <parenthetical>(Overlapping)<\/parenthetical>\n    <dialogue>I'm retiring.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>-about the movie... what?<\/dialogue>\n    <scene_description>LAUREL falls silent, cut off in mid-sentence.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>The doctor's told me I can't go on with the tour, and I've promised Lucille I won't.<\/dialogue>\n    <scene_description>LAUREL stares at him - no words will come out.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>So I'm retiring Stan. I've promised Lucille and that's all there is to it. I'm sorry.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>I should never have made us take this tour.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Je ne regret rien. And you shouldn't regret rien either.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Can't you rest, and then we can start again when you're better?<\/dialogue>\n    <character>HARDY<\/character>\n    <parenthetical>(Shakes his head)<\/parenthetical>\n    <dialogue>He's told me my heart won't stand it. I'm going back home as soon as we can arrange a crossing.<\/dialogue>\n    <scene_description>A long beat. HARDY can see LAUREL'S finding this so difficult. Both of them hold their half-finished eggs.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>You're retiring...<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Yes. Retiring.<\/dialogue>\n    <scene_description>HARDY looks at his friend, his head down, clearly devastated.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>I know how much this tour, and... doing the picture meant to you.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Oh that's... forgotten.<\/dialogue>\n    <parenthetical>(Long beat)<\/parenthetical>\n    <dialogue>You're retiring.<\/dialogue>\n    <scene_description>It's like he has to say it out loud again, as if this will somehow change things. HARDY can see he's in distress.<\/scene_description>\n    <character>HARDY<\/character>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>What have you been working on?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>LAUREL takes out a handkerchief from his pocket.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>What new scenes for the movie have you been working on?<\/dialogue>\n    <character>LAUREL<\/character>\n    <parenthetical>(Loudly blows his nose)<\/parenthetical>\n    <dialogue>Oh... nothing really.<\/dialogue>\n    <scene_description>HARDY gives LAUREL a hard stare. Silence. Finally LAUREL meets his gaze.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Now aren't you ashamed of yourself?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Lying to me, your oldest and dearest friend, here on my sickbed.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>I don't know what you mean?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>I haven't seen you for two days, and you're trying to tell me you haven't been working on any new material in that time?<\/dialogue>\n    <scene_description>A beat, then LAUREL has to smile.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Come on then, out with it.<\/dialogue>\n    <character>LAUREL<\/character>\n    <parenthetical>(Long beat)<\/parenthetical>\n    <dialogue>I did think of this romantic scene. You're pining for Maid Marian, who has been holed up in the castle by the Sheriff of Nottingham-<\/dialogue>\n    <scene_description>LAUREL even feels sufficiently cheered to take another bite of his egg. Through a mouthful he continues:<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>-so we hear this sad violin music.<\/dialogue>\n    <scene_description>HARDY starts to hum some sad, sweet tune to LAUREL.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>And it's all too much for you, and you begin to cry.<\/dialogue>\n    <scene_description>HARDY starts to look upset as he hums, wiping away a 'tear'.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>And the tears begin to fall. And they fall pretty heavy, splashing down your cheeks... but I'm not upset one bit and I don't know what to do, but you're crying so much... so what I do is move a pot plant under you to catch them, so the plant gets a good watering, and it starts to grow like crazy...<\/dialogue>\n    <scene_description>HARDY slaps his thigh and laughs, LAUREL is thrilled.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>The props guys can fix me up so the tears are like two little waterfalls - it'll be a riot! That's great Stan, that'll go big.<\/dialogue>\n    <scene_description>As he laughs HARDY is gripped by another coughing fit; LAUREL quickly hands him a glass of water but HARDY has to find his breath first before he takes a sip; he slumps back against his pillow, exhausted.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Can you get me another blanket, I feel so cold.<\/dialogue>\n    <scene_description>LAUREL grabs another blanket and throws it over him.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Your hands are like ice.<\/dialogue>\n    <scene_description>He gets under the blanket with him to warm him up, lying right next to him - just like they did in their films.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>There, is that better?<\/dialogue>\n    <scene_description>The two men lie together happily side by side, each envisaging the 'pot plant' scene - but knowing they'll never get to perform it. A beat, then:<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Have you spoken to Delfont?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Yeh I saw him this morning.<\/dialogue>\n    <scene_description>They are both gazing up at the ceiling rather than at each other as they talk.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>What'd he say?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Well he didn't know you were retiring of course but he asked me, since you were sick, how I felt about carrying on the show with somebody else.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>English comedian, called Nobby Cook.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>That makes sense.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>I haven't said I would yet.<\/dialogue>\n    <scene_description>HARDY turns to LAUREL.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Why not? You didn't get sick.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>It's for the best Stan.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Yes. Maybe it is.<\/dialogue>\n    <scene_description>HARDY returns to gazing at the ceiling.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Well, that's it. I'm retiring, and you're going on with a new partner.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Yes. That's it.<\/dialogue>\n    <scene_description>OUT on the two of them in bed together, accepting the end.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALLADIUM THEATRE, LONDON - DAY<\/stage_direction>\n    <scene_description>The auditorium is empty, a rehearsal in progress. Nobby COOK, 50s, not Hardy's size but a big, stout, northerner, is on stage lying on the bed in the hospital set we are now so familiar with. DELFONT brings LAUREL onto stage and introduces him to COOK.<\/scene_description>\n    <character>DELFONT<\/character>\n    <dialogue>Stanley can I introduce you to Nobby Cook, one of our finest music hall comedians.<\/dialogue>\n    <scene_description>COOK looks nervous, but LAUREL shakes his hand warmly.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Very pleased to meet you Nobby - I heard a lot of great things about you.<\/dialogue>\n    <character>COOK<\/character>\n    <dialogue>How do you do Mr. Laurel, I'm a big fan of yours - watched all your films.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Come on now, we'll have none of that - I'm Stan and you're Nobby. I'm looking forward to working with you.<\/dialogue>\n    <character>COOK<\/character>\n    <dialogue>Thank you very much, very nice of you to say so. How's Mr. Hardy?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Oh he's doing fine, and sends you his very best wishes.<\/dialogue>\n    <character>COOK<\/character>\n    <dialogue>That means a lot to me.<\/dialogue>\n    <character>DELFONT<\/character>\n    <dialogue>This is terrific. You two are going to be just terrific together...<\/dialogue>\n    <scene_description>DELFONT allows himself a satisfied smile. LAUREL is trying very hard to be positive.<\/scene_description>\n    <character>DELFONT<\/character>\n    <dialogue>Shall we have a run through?<\/dialogue>\n    <character>COOK<\/character>\n    <dialogue>If you like - it's up to Stan.<\/dialogue>\n    <character>LAUREL<\/character>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>Why don't I go out and then come back in and we can run it from the top.<\/dialogue>\n    <character>DELFONT<\/character>\n    <dialogue>Good idea.<\/dialogue>\n    <scene_description>LAUREL walks back to the wings. He picks up a bunch of flowers and a paper bag that has been put there for him. He sees COOK readying himself in the hospital bed, his leg in the plaster cast which is then hoisted up on pulleys.<\/scene_description>\n    <character>COOK<\/character>\n    <dialogue>Beltin' this. Guaranteed laugh here Stan.<\/dialogue>\n    <scene_description>COOK gives LAUREL a smile and a thumbs up, which LAUREL returns, trying to reassure him. COOK then briefly runs some lines in his head, saying them quietly to himself:<\/scene_description>\n    <character>COOK<\/character>\n    <dialogue>What have you got there? Hard boiled eggs and nuts. Hard boiled eggs and nuts? Don't be so daft! What's the matter with you - you know I can't eat them...<\/dialogue>\n    <scene_description>As we see LAUREL listening to him, we see he's as uncomfortable about this as Hardy was all those years ago...<\/scene_description>\n    <character>DELFONT (OOV)<\/character>\n    <dialogue>Okay and... cue Stanley!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARDY'S SAVOY HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>LUCILLE feeds HARDY, laid up in bed, some soup from a bowl - like he's a sick child.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PALLADIUM THEATRE, LONDON - NIGHT<\/stage_direction>\n    <scene_description>That same poster tells us that 'Hollywood's Greatest Comedy Couple' are appearing; but a pasted-on banner strip reads: 'Tonight featuring Nobby Cook - the Lancashire Hot-Pot'...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRESSING ROOM, PALLADIUM THEATRE, LONDON - NIGHT<\/stage_direction>\n    <scene_description>LAUREL is alone in his dingy dressing room, applying his usual pancake-white make up. Something causes him to pause for a moment, deep in his thoughts. Under this we hear:<\/scene_description>\n    <character>GUARD (V.O.)<\/character>\n    <dialogue>Open up - we know they're in there!<\/dialogue>\n    <character>MAID MARIAN (V.O.)<\/character>\n    <dialogue>Quick, hide...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CASTLE - DAY \\[ROBIN HOOD 'MOVIE'\\]<\/stage_direction>\n    <scene_description>A door is smashed open and half a dozen GUARDS burst in.<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>Where are they?<\/dialogue>\n    <character>MAID MARIAN<\/character>\n    <dialogue>I don't know what you're talking about.<\/dialogue>\n    <scene_description>One of the others attracts the GUARD'S attention, nodding to a curtain with two sets of feet poking out from the bottom. The GUARDS gesture amongst themselves to 'sshhh' and creep over to the curtain. Two of them draw swords, and...<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>A-ha! A-ha! So you think you can play that game do you-<\/dialogue>\n    <scene_description>-they both stab viciously through the curtain at chest height. A moment's confusion, then they pull the curtain back to reveal LAUREL (Stanley-A-Dale) and HARDY (Friar Hardy) on their knees looking up at them, shoes tucked under them like Toulouse-Lautrec. \\[Note: the boys are physically in their prime, just like they looked in 'Way Out West'\\].<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARDY'S SAVOY HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>HARDY, now alone in bed, smiles, as if thinking to himself of the same piece of material. Under this we hear:<\/scene_description>\n    <character>HARDY (V.O.)<\/character>\n    <dialogue>We're on our way to give him a piece of my mind, aren't we Stanley?<\/dialogue>\n    <character>LAUREL (V.O.)<\/character>\n    <dialogue>We sure are.<\/dialogue>\n    <character>HARDY (V.O.)<\/character>\n    <dialogue>We'd give him a piece of his too, but he doesn't have any to spare.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHERWOOD FOREST - DAY \\[ROBIN HOOD 'MOVIE'\\]<\/stage_direction>\n    <scene_description>And there are LAUREL and HARDY, standing on one end of a log across a river running through the forest, attempting to cross. ROBIN HOOD blocks their way. HARDY is dressed as 'Friar Hardy' in a cassock, his hair in a monk's tonsure; LAUREL is standing next to him, as 'Stanley-A-Dale' with a feather in his hat. Again it's the 'Robin Hood' movie that didn't happen, brought to life in Laurel's imagination.<\/scene_description>\n    <character>ROBIN HOOD<\/character>\n    <dialogue>And what, pray tell, has Robin Hood done to inspire such wrath?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Well, we've heard that he steals from the poor to give to the rich, isn't that right Stanley?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Isn't that stupid? That's just robbing Peter to pay Paul - he's got the whole thing the wrong way round.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Exactly. Our idea, you see, is to give to the poor by stealing from the poor. And thereby cutting out the middle man.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>The rich need never be any the wiser.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Precisely. So, if you'd please stand aside we have important business afoot...<\/dialogue>\n    <scene_description>HARDY steps forward but ROBIN HOOD bars the way with his staff, jabbing him in the belly with it. They look at each other, sizing things up.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>So that's the way you want to play it?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Didn't you hear what he said about his foot?<\/dialogue>\n    <character>HARDY \\*<\/character>\n    <dialogue>I'm warning you, I've got great \\* stick work. \\*<\/dialogue>\n    <character>\\*<\/character>\n    <dialogue>\\*<\/dialogue>\n    <scene_description>HARDY takes a sudden swipe at ROBIN HOOD, who deftly avoids it; he tries another, same result. LAUREL positions himself \\* behind HARDY and taps him on the shoulder. \\*<\/scene_description>\n    <character>LAUREL \\*<\/character>\n    <dialogue>Watch he doesn't hit you on the \\* leg. \\*<\/dialogue>\n    <scene_description>Then ROBIN HOOD brings his staff crashing down on HARDY'S \\* head, snapping it in half. HARDY howls in pain, drops his staff, gingerly touching his skull. LAUREL, standing behind HARDY, starts to laugh. HARDY gets really annoyed with him because of this and punches him in the throat - making his tongue come out. LAUREL retaliates by punching HARDY on the nose; HARDY howls with pain, they get into a shoving match and HARDY ends up in the river. He sits in the water, spits some out of his mouth, wipes his eyes. There's some heavy flapping from inside his cassock and he wriggles around until he pulls out a huge salmon and throws it away. He LOOKS TO CAMERA, full of utter frustration with what he has to put up with, then he looks up at LAUREL, on the log, staring at him blankly.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Well, here's another nice mess you've gotten me into.<\/dialogue>\n    <scene_description>LAUREL spreads his hands, guilty face, beginnings of a 'cry'.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRESSING ROOM, PALLADIUM THEATRE, LONDON - NIGHT<\/stage_direction>\n    <scene_description>LAUREL looks at his reflection in the mirror, his face old and tired. There are tears in his eyes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARDY'S SAVOY HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>On HARDY in bed, tears rolling silently down his cheeks. LUCILLE, her back to him as she writes a letter, chatters away oblivious.<\/scene_description>\n    <character>LUCILLE<\/character>\n    <dialogue>Isn't this so much nicer, all the worry gone, just you and I relaxing together. I spoke to mother today and she passes on her love, she's knitting you a scarf...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALLADIUM THEATRE, LONDON - NIGHT<\/stage_direction>\n    <scene_description>A decent-sized audience is in for tonight's performance. DELFONT takes a seat next to IDA, ready for the show. The lights dim, the orchestra strikes up a breezy introductory number. DELFONT looks excited, eagerly anticipating this new partnership. IDA looks more nervous.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACKSTAGE, PALLADIUM THEATRE, LONDON - NIGHT<\/stage_direction>\n    <scene_description>LAUREL, in costume, waits in the wings to go on, he looks through a crack in a curtain to check the size of the audience. We can see how anxious and troubled he is by what he is about to do. He turns, sees COOK getting into the hospital bed and having his foot encased in the comedy plaster cast. As he turns to LAUREL, COOK strokes a little Hardy-style moustache he's been given by the make-up department:<\/scene_description>\n    <character>COOK<\/character>\n    <dialogue>What do you think Stan - I thought I'd try and look the part?<\/dialogue>\n    <scene_description>LAUREL returns a nervous smile.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>That's fine. That's fine.<\/dialogue>\n    <scene_description>LAUREL makes a cursory check of his heels and cuffs, trying to convince himself he's perfectly fine with this.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALLADIUM THEATRE, LONDON - NIGHT<\/stage_direction>\n    <scene_description>DELFONT and IDA wait patiently for curtain up. And they wait... but it doesn't lift. Some restlessness in the audience. What's going on? Finally, after a few more moments, the orchestra stops and the THEATRE MANAGER walks out on stage into a spotlight.<\/scene_description>\n    <character>THEATRE MANAGER<\/character>\n    <dialogue>Ladies and gentlemen, I'm afraid due to circumstances beyond our control tonight's performance has been cancelled...<\/dialogue>\n    <scene_description>A large murmur of discontent. DELFONT looks around at the full house, in despair.<\/scene_description>\n    <character>DELFONT<\/character>\n    <dialogue>Cancelled!<\/dialogue>\n    <scene_description>IDA realizes straight away what has happened.<\/scene_description>\n    <character>IDA<\/character>\n    <dialogue>Oh Stanley...<\/dialogue>\n    <scene_description>DELETED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAVOY HOTEL BAR - NIGHT<\/stage_direction>\n    <scene_description>IDA enters the bar. She sees LAUREL, by himself, a tumbler of Scotch in front of him, smoking a cigarette. She goes over to him, sits down next to him. She gently takes his cigarette and stubs it out; and as before takes his Scotch and drinks it, to stop him drinking it. \\*:<\/scene_description>\n    <character>LAUREL<\/character>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>When you watch our movies, nobody else in the stories knows us. And we don't know anybody either. It was just the two of us, the only thing we had was each other. And that was the way we wanted it.<\/dialogue>\n    <parenthetical>(Beat, looks at her)<\/parenthetical>\n    <dialogue>I love him Ida.<\/dialogue>\n    <scene_description>IDA looks at him and gently smiles. She nods, accepts his decision.<\/scene_description>\n    <character>IDA<\/character>\n    <dialogue>We go home?<\/dialogue>\n    <scene_description>LAUREL nods.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Don't tell Babe. Tell him I'm going to continue with the dates in Ireland... it'd upset him to think of me cancelling the tour. \\*<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>I'm sorry my darling...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARDY'S SAVOY HOTEL ROOM - DAY<\/stage_direction>\n    <scene_description>LUCILLE brushes her hair in front of a mirror as she chats away to HARDY, who stares ahead, thoughtfully.<\/scene_description>\n    <character>LUCILLE<\/character>\n    <dialogue>... the doctor thinks you should be well enough to travel tomorrow, which is wonderful. Now I'm going to go down and see if there's any mail, and then the Laurels will be stopping by to say goodbye - I do hope it's not going to rain today when that wind gets up the chill cuts right through to the bone...<\/dialogue>\n    <scene_description>She stands up, final check of her appearance in the mirror-<\/scene_description>\n    <character>LUCILLE<\/character>\n    <dialogue>I won't be long papa.<\/dialogue>\n    <scene_description>She kisses him on the forehead and leaves. HARDY, lost in his thoughts, doesn't say a word.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAUREL'S SAVOY HOTEL ROOM - DAY<\/stage_direction>\n    <scene_description>LAUREL sits in a chair, three packed suitcases nearby, ready to go downstairs. He concentrates gloomily on the door as IDA flits about picking up the last few bits from the room. Soon, when the Bell Boy comes through that door, it'll all be over.<\/scene_description>\n    <character>IDA<\/character>\n    <dialogue>You have money for Bell Boy?<\/dialogue>\n    <scene_description>LAUREL nods. He looks at the door. There's a knock.<\/scene_description>\n    <character>IDA<\/character>\n    <dialogue>Answer please I need bathroom. You give him five shillings only. No more.<\/dialogue>\n    <scene_description>As IDA disappears into the bathroom LAUREL hauls himself up with a sigh, fumbles through his pockets for change and opens the door... to find a fully dressed HARDY standing outside. He's pale and a little unsteady on his feet, but his eyes are clear and his expression determined. LAUREL looks at him, speechless.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARDY'S SAVOY HOTEL ROOM - DAY<\/stage_direction>\n    <scene_description>LUCILLE lets herself in.<\/scene_description>\n    <character>LUCILLE<\/character>\n    <dialogue>One of the Bell Boys down there, Raymond I think his name was, said to tell you he had a good tip for you on a horse...<\/dialogue>\n    <scene_description>She walks through to the bedroom.<\/scene_description>\n    <character>LUCILLE<\/character>\n    <dialogue>Have you been gambling Oliver Hardy?<\/dialogue>\n    <scene_description>She sees the empty bed, Hardy's crumpled pyjamas on it. And instantly, she knows what has happened.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAUREL'S SAVOY HOTEL ROOM - DAY<\/stage_direction>\n    <scene_description>LAUREL and HARDY face each other over the doorstep. Finally, HARDY speaks:<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Come Stanley, I believe we have some engagements to fulfil.<\/dialogue>\n    <scene_description>On LAUREL, a long beat. Then, he understands what this means. He and HARDY don't need to say any more, they just look at each other.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HARDY'S SAVOY HOTEL ROOM - DAY<\/stage_direction>\n    <scene_description>LUCILLE sits on the bed, upset but not angry. Deep down she knew this was inevitable.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DECK, STEAMER - DAY<\/stage_direction>\n    <scene_description>The sun shines in a clear, bright sky but it's bracing up on deck. HARDY is lying on a deck lounger wrapped in a blanket, LUCILLE next to him. IDA and LAUREL (wearing his beret) walk back to them from a trip around deck.<\/scene_description>\n    <character>LUCILLE<\/character>\n    <dialogue>I think we should all get below now, out of this wind.<\/dialogue>\n    <character>IDA<\/character>\n    <dialogue>Dahling I agree.<\/dialogue>\n    <character>LUCILLE<\/character>\n    <dialogue>Oliver? Will you at least listen to me about this? Or are you determined to catch pneumonia?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>I'm enjoying the fresh air honey. Stan come and sit with me - you girls go ahead.<\/dialogue>\n    <scene_description>LUCILLE hesitates for a moment, not happy.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>I'll bring him down.<\/dialogue>\n    <scene_description>She nods, gives LAUREL a smile. Then she and IDA depart. LAUREL takes a beret from his pocket and hands it to HARDY.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Here. Thought you might want this back.<\/dialogue>\n    <scene_description>HARDY looks at him, smiles, takes back the beret he threw at Laurel during their big argument and pulls it on his head.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>LAUREL sits down next to him, takes a pair of gloves from his pocket and pulls them on, finger by finger, carefully making sure each one is pulled on tight. HARDY watches with increasing exasperation. Then, finally:<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Babe... I lied to you.<\/dialogue>\n    <character>HARDY<\/character>\n    <parenthetical>(Stern expression)<\/parenthetical>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>There is no movie.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>Miffin told me a couple of weeks ago it had fallen through. I guess... nobody wants a Laurel &amp; Hardy picture any more.<\/dialogue>\n    <parenthetical>(A few moments as this sinks in)<\/parenthetical>\n    <dialogue>But if I'd told you straight away... well maybe we could have finished the tour early and you wouldn't have got sick.<\/dialogue>\n    <character>HARDY<\/character>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>You knew two weeks ago that there was no movie?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Yes. And I been feelin' terrible about it.<\/dialogue>\n    <scene_description>On HARDY, a long beat. Then...<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Stan, I knew.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>I knew.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Why didn't you tell me you knew?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>I thought you already knew I knew.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>How could I know that you knew I already knew.<\/dialogue>\n    <character>HARDY<\/character>\n    <parenthetical>(Flounders for a moment)<\/parenthetical>\n    <dialogue>What's the next line?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>'I thought you already knew I knew, but you were pretending you didn't know I knew'.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>So if you knew, why did you let me keep rehearsing the movie with you?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>What else are we gonna do?<\/dialogue>\n    <scene_description>They exchange a smile. HARDY pulls his coat up around his neck against the cold.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COBH HARBOUR - DAY<\/stage_direction>\n    <scene_description>Caption Cobh harbour, Ireland The steamer heads into Cobh harbour, an old seaport on the southern coast of Ireland dominated by St. Coleman's Cathedral, towering over the quay from its hillside perch. We see feet, small feet - some with no socks, just in clogs - running. We see CHILDREN emerging from street corners to make their way down to the quayside - where a crowd is gathering.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STEAMER, DECK - DAY<\/stage_direction>\n    <scene_description>The LAURELS and HARDYS make their way up out of the ship's interior on to the gangplank, LAUREL with two big cases and HARDY just a small valise (their old trick whenever they arrive somewhere). But they stop as they look out at the quayside. We now... CUT TO: -what they see: a huge crowd of people of all ages has gathered to greet them, standing patiently, silently. IDA and LUCILLE drop back so that LAUREL and HARDY can walk down the gangplank together. Once the crowd sees them, the big guy and the little guy from the movies, a great cheer erupts. As they descend the gangplank hats are thrown in the air and the crowd surges forward to greet them. Then, just as they reach the bottom of the gangplank, something extraordinary happens. From the cathedral bells at the top of the hill, 'The Dance Of The Cuckoos' - the boys' theme tune - is rung out from the bell tower. LAUREL and HARDY look at each other, unable to quite believe what is happening. They both weep openly, amazed at the reception, at the warmth and love which engulfs them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OLYMPIA THEATRE, DUBLIN - NIGHT<\/stage_direction>\n    <scene_description>Tonight's performance by 'Hollywood's Greatest Comedy Couple' has 'SOLD OUT' banners pasted over the posters.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLYMPIA THEATRE, DUBLIN - NIGHT<\/stage_direction>\n    <scene_description>A full house, all ages; the audience impatient to see their heroes. We see LUCILLE and IDA in the front row, DELFONT next to them, beaming with pride. His hands are clasped firmly together, a small sign of how nervous he is. Of how much, deep down, he really does care about the boys.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WINGS OLYMPIA THEATRE, DUBLIN - NIGHT<\/stage_direction>\n    <scene_description>HARDY is having his leg hoisted up in 'traction', LAUREL checks his cuffs and heels. Their eyes meet, and they exchange that nod.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLYMPIA THEATRE, DUBLIN - NIGHT<\/stage_direction>\n    <scene_description>The house lights go down, an expectant hush. 'The Dance Of The Cuckoos' begins, curtain goes up and there is the hospital room set, HARDY in bed, leg in plaster. Applause. LAUREL enters stage left with the bunch of flowers and paper bag and at the sight of the two men together there is renewed applause, whistles and even cheers. LAUREL waits for it to die down.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Hi Ollie, how are you?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Never mind how I am - what took you so long to get here?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Well they said no visitors so I said I was your son and it worked like a charm.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>My son! You have a lot of nerve telling them I was your father.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>I couldn't tell them you were my mother.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Of course you couldn't. I've never even been married...<\/dialogue>\n    <scene_description>Big laughs - the audience are loving it.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>What have you got there?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>I brought you some hard boiled eggs and some nuts.<\/dialogue>\n    <scene_description>HARDY looks to the audience, exasperated, and they laugh.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Now you know I can't eat hard boiled eggs and nuts! If you wanted to bring me something why didn't you bring me a box of candy?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Well, they cost too much.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>What has that got to do with it?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>And you didn't pay me for the last box I brought you.<\/dialogue>\n    <scene_description>Laughter. LAUREL offers HARDY the bag:<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>Have one?<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>No. I'd rather not.<\/dialogue>\n    <parenthetical>(To the audience, with disgust)<\/parenthetical>\n    <dialogue>Hard boiled eggs and nuts...<\/dialogue>\n    <scene_description>LAUREL ignores him, takes an egg out and starts to peel it and eat it. HARDY watches, incredulous, as Laurel pulls a salt cellar from his pocket and sprinkles some on. We see DELFONT smiling at what he sees on stage but, as ever, twisting his head round to make a quick mental calculation on the size of the house. Business is business... We see LUCILLE, next to IDA. LUCILLE is worried, but trying to smile through it. IDA seems calm. DELETED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLYMPIA THEATRE, DUBLIN - NIGHT<\/stage_direction>\n    <scene_description>The double door routine. HARDY sweaty, but still on his feet, his and LAUREL'S timing slick as ever as one goes in one door, the other emerges through another.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACKSTAGE, OLYMPIA THEATRE, DUBLIN - NIGHT<\/stage_direction>\n    <scene_description>LAUREL and HARDY, helped by their DRESSERS, hurriedly change into their battered suits and Bowlers for the finale. Outside there is clapping, cheering and whistling. As they wait in the wings, ready to go on, LAUREL is concerned with how exhausted HARDY looks - drenched in sweat, breathless from the effort he's put in already, struggling to even get on his jacket.<\/scene_description>\n    <character>LAUREL<\/character>\n    <dialogue>You look tired out Babe - why don't we just go out and say goodnight and finish it there? We don't have to do the song...<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>I'm fine...<\/dialogue>\n    <parenthetical>(Sudden thought)<\/parenthetical>\n    <dialogue>Listen, I had this idea for the picture. How about I grab Robin Hood's staff and go to hit you with that, but instead I knock down this bees' nest and it lands on my head?<\/dialogue>\n    <character>LAUREL<\/character>\n    <parenthetical>(Smiles)<\/parenthetical>\n    <dialogue>That's a swell idea. That'll go big.<\/dialogue>\n    <scene_description>The 'Dance Of The Cuckoos' strikes up out front, and the curtain starts to open.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>It was fun while it lasted, wasn't it Stan.<\/dialogue>\n    <scene_description>LAUREL smiles, then waits for his cue. On that same note he walks out - only to be hooked back by HARDY-<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>I'll miss us when we're gone.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>So will you.<\/dialogue>\n    <scene_description>Now HARDY walks out on stage, and LAUREL kicks him up the ass as he goes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLYMPIA THEATRE, DUBLIN - NIGHT<\/stage_direction>\n    <scene_description>HARDY and then LAUREL walk on together to a storm of clapping and cheering; they wait patiently for it to die down.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>Ladies and gentlemen we hope you've enjoyed our bit of fun tonight, we've sure enjoyed ourselves haven't we Stanley?<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>We certainly have.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>We'll never forget the warm welcome we've received here in Dublin.<\/dialogue>\n    <character>LAUREL<\/character>\n    <dialogue>Not just Dublin, but the whole of Scotland.<\/dialogue>\n    <character>HARDY<\/character>\n    <dialogue>Dublin isn't in Scotland.<\/dialogue>\n    <character>LAUREL<\/character>\n    <parenthetical>(thinking)<\/parenthetical>\n    <dialogue>I was wondering why we got on that boat.<\/dialogue>\n    <parenthetical>(realising, whispering to HARDY)<\/parenthetical>\n    <dialogue>We must be in Ireland.<\/dialogue>\n    <character>HARDY<\/character>\n    <parenthetical>(sarcastically)<\/parenthetical>\n    <dialogue>We must be in Ireland!<\/dialogue>\n    <scene_description>Another burst of applause.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>We'd like to finish tonight with a little dance...<\/dialogue>\n    <scene_description>HARDY and LAUREL share a look.<\/scene_description>\n    <character>HARDY<\/character>\n    <dialogue>From our film 'Way Out West'. Maestro... Stanley.<\/dialogue>\n    <scene_description>Then, just as LUCILLE looks like she's about to pass out with worry, she feels IDA'S hand reaching for hers. She's shocked. She turns to her, and IDA smiles. LUCILLE smiles back, and squeezes IDA'S hand warmly, grateful that she's there to support her at this moment. They both turn back to the stage, still holding hands. On stage HARDY, in that very proper way of his, extends a hand which is taken by LAUREL - and now they are also holding hands. They bow to the audience then wait for the music cue. As the orchestra starts 'At The Ball, That's All', the BOYS tap their feet, then begin their dance routine once again - and we are transported back to the magic of 'Way Out West'. In spite of HARDY'S physical problems and illness, his light footedness is as exquisite as ever. And although both men are now looking old, their grace and elegance defies their years. LAUREL matches HARDY every step of the way, the two dancing together like the loving couple they most surely are. We finish behind LAUREL and HARDY, silhouetted against the lights, looking out at the audience. As they come together and hold each other's hands, we FREEZE... Captions Laurel and Hardy returned to America after the tour, but they never performed together again. Hardy's health went into decline and, after a long illness, he died in August 1957. Laurel refused all offers to perform without his old partner and went into retirement. But he continued writing comedy material for Laurel and Hardy right up until his death in February 1965. The End<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In 1937, while making Way Out West, Stan Laurel and Oliver Hardy discuss their contracts, agreeing they are not being justly compensated. Stan advocates leaving Hal Roach to set up their own production company while Oliver is reluctant to rock the boat. Later, at Fox Studios, Stan waits for Oliver so they can sign to Fox. Oliver does not arrive and remains tied to Roach, who puts him in the film Zenobia with an elephant, leading to a rift between the two men. In 1953, they embark on a music hall tour of the UK and Ireland while trying to get a comedic movie of Robin Hood made. Poor publicity in Britain has the tour begin in near-empty backstreet theatres as producer Bernard Delfont focuses on his up-and-coming star Norman Wisdom. Public appearances improve ticket sales, and they sell out much larger prestigious venues. Meanwhile, driven by Stan, they continue to write and develop for the movie against an ominous silence from its London producer. Stan discovers the movie has been cancelled for insufficient funding. Unable to tell Oliver, he continues work on the script. Their wives, Ida Laurel and Lucille Hardy, join them at the Savoy Hotel. They sell out the Lyceum Theatre where, at the opening night party, Ida mentions the \"elephant movie\" resulting in an argument over the contract fiasco 16 years earlier. Stan expresses resentment at Oliver's betrayal of their friendship and accuses him of laziness; Oliver says they were never true friends, that Stan is a hollow man hiding behind his typewriter. When Stan says, \"I loved us\", Oliver counters that Stan loved Laurel and Hardy, \"but you never loved me.\" Judging a beauty contest in Worthing, Oliver pointedly rebuffs Stan's attempts at conversation and collapses as Stan addresses the crowd. Delfont suggests Stan replace him with English comic Nobby Cook. Stan goes to Oliver who tells him he is retiring. Going on stage could be fatal, so Oliver has promised Lucille he will not, and they will leave for the United States as soon as possible. They agree it is for the best, that Stan will carry on with a new partner, and that they had not meant the things they said in their argument. At the next show, Stan observes Nobby Cook onstage from the wings as the orchestra tunes up. Delfont and Ida watch from a box as the Laurel and Hardy Overture is played, only to be interrupted by an announcement that the performance has been cancelled. Ida finds Stan at the bar, he says he loves Oliver and will not continue the tour without him, and not to upset Oliver by telling him. Oliver, in his room, recalls the doctor's words while reminiscing appreciative fans. Lucille returns from an errand to find him gone; he is at Stan's door telling him not to leave as they have shows to perform. On the boat to Ireland Stan confesses there is no longer a movie and Oliver says he knew, and thought Stan knew he knew. Stan asks why, then, did they continue to rehearse, and Oliver asks, \"What else are we going to do?\" A large crowd welcomes their arrival in Ireland as church bells ring out their tune. On stage, Stan expresses concern for Oliver's condition in moments when they are hidden from the audience and says they need not finish with the song. Oliver says he is fine, and surprises Stan by announcing to the audience that they will finish with a dance - to Lucille's consternation. As they perform \"At the Ball, That's All\" Ida takes, and squeezes, Lucille's hand. Stan and Ollie take their bow to wild cheering and applause. A text epilogue explains they never performed together again; Oliver's health did not recover and he died in 1957. Stan refused all offers to perform without Oliver but continued, until his death in 1965, to write material for Laurel and Hardy."}
{"movie_name":"The Transformers: The Movie_1986","imdb_id":"tt0092106","script":"<script>\n  <scene>\n    <stage_direction>EXT. SPACE<\/stage_direction>\n    <scene_description>A small planet glows in the light of its sun . Suddenly , we hear a loud rumble , and see a thick , electronic mist behind the planet . Then , the electronic mist begins to engulf the planet , and we hear the horrible sounds of destruction . Almost like somebody , or something , is eating it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE NEAR SIDE OF THE PLANET'S SURFACE<\/stage_direction>\n    <scene_description>Strange robotic creatures scramble around the planet in a wild panic . It looks like Pompeii must have looked as Vesuvius erupted . ANGLE ON ONE OF THE CREATURES - TRACKING The creature is KRANIX . We will meet him later on in a very different context , but for now , he is running from the ever - growing mist that threatens to engulf him . ANOTHER ANGLE - THE PANIC As Kranix runs , another creature , ARBLUS , calls to him .<\/scene_description>\n    <character>ARBLUS<\/character>\n    <dialogue>Transform and flee, Kranix! You must warn all you meet of the horror of Unicron! Suddenly, the pitiful creature is surrounded by the strange energy cloud and it looks like his body has simultaneously caught fire and been doused with acid.<\/dialogue>\n    <character>KRANIX<\/character>\n    <dialogue>Arblus! No!<\/dialogue>\n    <scene_description>ANGLE ON KRANIX The mist threatens to engulf him too . He transforms into a small rocket ship and . TRACK WITH KRANIX AS . He takes off . As we rise higher and higher in the atmosphere , we see the horror wrought by the hideous and still mysterious Unicron . The planet cracks like an egg and rivers of lava leak out . The energy cloud surrounds it and . Dissolves everything . And when the smoke clears , we get our first look at Unicron . It is horrifying . A massive , metal orb with a gaping maw and a field of electricity . PAN FORWARD to SHOW that this hideous planet is on a direct collision course with . MOONS ORBITING CYBERTRON IN DEEP SPACE There are TWO MECHANISTIC MOONS orbiting the huge planet Cybertron . But we are most concerned with a small , greenish metal one .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>It is the year 2005. The treacherous Decepticons have conquered the Autobots' home planet of Cybertron. But from secret staging grounds on two of Cybertron's moons the valiant Autobots prepare to retake their homeland.<\/dialogue>\n    <scene_description>CLOSER ON GREEN MOON At first , we see nothing unusual or suspicious . Then , pulling closer , we see that the top of the moon is covered with moon camouflage `` netting '' and underneath it is a huge cache of futuristic weapons . This is the Autobot staging ground for an assault on Cybertron . DOLLY THROUGH THE COMPLEX until we arrive at a Command Center where several Autobots peer into monitors , running constant surveillance on Cybertron . ANGLE ON IRONHIDE He peers into a monitor . As he speaks , we see the monitor PAN to an area where a huge Decepticon Symbol is emblazoned on Cybertron .<\/scene_description>\n    <character>IRONHIDE<\/character>\n    <dialogue>Every time I look into this thing, my circuits sizzle. I'm tired of this waiting game, Prime. When are we gon na start bustin' Deceptichops?<\/dialogue>\n    <scene_description>ANGLE ON OPTIMUS PRIME He stands over a holographic map which shows various invasion plans for Cybertron .<\/scene_description>\n    <character>OPTIMUS PRIME<\/character>\n    <dialogue>We still do n't have enough Energon cubes to power a full scale assault, Ironhide.<\/dialogue>\n    <character>IRONHIDE<\/character>\n    <dialogue>Then let me make another run to Autobot City on Earth. I'll bring you back more cubes than you'll know what to do with.<\/dialogue>\n    <scene_description>ANGLE ON PRIME He solemnly hands down an order<\/scene_description>\n    <character>PRIME<\/character>\n    <dialogue>Alright, ready the shuttle for launch.<\/dialogue>\n    <scene_description>ANGLE ON IRONHIDE He raises a fist in a warwhoop !<\/scene_description>\n    <character>IRONHIDE<\/character>\n    <dialogue>YAHOO!<\/dialogue>\n    <parenthetical>( looking into monitor . )<\/parenthetical>\n    <dialogue>Your days are numbered now Decepticreeps.<\/dialogue>\n    <scene_description>A SMALL MOON `` MOUNTAIN '' Ironhide transforms and Races toward a mountain , which stands about a half mile from the secret Autobot facility .<\/scene_description>\n    <character>OPTIMUS PRIME<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Jazz, report security status.<\/dialogue>\n    <scene_description>COMMAND CENTER - ANGLE ON THE CONSOLES<\/scene_description>\n    <character>JAZZ<\/character>\n    <dialogue>No sign of Decepticons in this sector, Prime.<\/dialogue>\n    <character>PRIME<\/character>\n    <dialogue>What about Moon Base 2?<\/dialogue>\n    <character>JAZZ<\/character>\n    <dialogue>Jazz to Moon Base 2.<\/dialogue>\n    <scene_description>PAN UP and through the sky to -<\/scene_description>\n    <character>ANOTHER MOON<\/character>\n    <dialogue>This is the second moon. It is much closer to Cybertron than the first one. This is where Bumblebee and Spike are stationed.<\/dialogue>\n    <character>JAZZ<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Jazz to Moon Base 2.<\/dialogue>\n    <scene_description>ANGLE ON BUMBLEBEE AND SPIKE They stand together a communication console . Spike is now 35 years old . Bumblebee looks as he has always looked , save for a couple of funny bumper stickers on his tail : I -LRB- heart -RRB- Cybertron . I -LRB- club -RRB- Decepticons .<\/scene_description>\n    <character>BUMBLEBEE<\/character>\n    <dialogue>Bumblebee and Spike here.<\/dialogue>\n    <character>JAZZ<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>We're about to send up the bird. Any Decepticon shenanigans in your sector?<\/dialogue>\n    <character>BUMBLEBEE<\/character>\n    <dialogue>All clear, Jazz.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue \/>\n    <character>SPIKE<\/character>\n    <dialogue>Hey, Ironhide, tell my son, Daniel, I miss him, and tell him I'll be coming home as soon as we've kicked Megatron's tail across the galaxy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE SHUTTLE<\/stage_direction>\n    <scene_description>Ironhide and Prowl sit at the controls , running a series of pre - launch tests .<\/scene_description>\n    <character>IRONHIDE<\/character>\n    <dialogue>Will do, Spike.<\/dialogue>\n    <scene_description>ANGLE ON PRIME , CLIFFJUMPER , AND THE OTHERS Standing at the Command Center , watching :<\/scene_description>\n    <character>PRIME<\/character>\n    <dialogue>Commence countdown, Cliffjumper.<\/dialogue>\n    <character>CLIFFJUMPER<\/character>\n    <dialogue>Five. Four. Three. Two.<\/dialogue>\n    <scene_description>THE LUNAR `` MOUNTAIN '' Suddenly , smoke starts pouring out of the mountain .<\/scene_description>\n    <character>CLIFFJUMPER<\/character>\n    <dialogue>One.<\/dialogue>\n    <scene_description>Then , the `` mountain '' which must be made of paper mache or something blows away revealing - The shuttle !<\/scene_description>\n    <character>CLIFFJUMPER<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>Liftoff.<\/dialogue>\n    <scene_description>Suddenly , the shuttle rips out of the ground in a ball of fire . As it takes off , we realize this is n't any dinky shuttle , but a massive ship , capable of carrying all the energon needed to fight a war and an army to boot . The screen is bathed in smoke and fire which slowly clears . ANGLE ON PRIME As he watches the shuttle shoot into the distance .<\/scene_description>\n    <character>PRIME<\/character>\n    <dialogue>Now, all we need is a little Energon and a lot of luck.<\/dialogue>\n    <scene_description>ANGLE BEHIND PRIME We see a bank of computers . Suddenly , a small tape deck pops open . a cassette pops out and transforms into . Laserbeak who flies away unseen .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE    - LATER<\/stage_direction>\n    <scene_description>The shuttle hurtles though a massive asteroid field .<\/scene_description>\n    <character>PROWL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Slow down, Ironhide. We want to get to Autobot city in one piece.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE SHUTTLE<\/stage_direction>\n    <scene_description>Ironhide is at the controls .<\/scene_description>\n    <character>IRONHIDE<\/character>\n    <dialogue>If I can dodge Dececpticon rays, I can sure as shootin' dodge a couple of asteroids.<\/dialogue>\n    <scene_description>Suddenly , there is a terrible BANG ! on the side of the ship , and the two Autobots are thrown from their seats .<\/scene_description>\n    <character>PROWL<\/character>\n    <dialogue>You were saying?<\/dialogue>\n    <character>IRONHIDE<\/character>\n    <parenthetical>( IRKED . )<\/parenthetical>\n    <dialogue>That was n't an asteroid. There is a blast of light and they turn to see.<\/dialogue>\n    <scene_description>ANGLE ON THE SHIP The most powerful laser light anybody has ever seen cuts a gaping hole in the side of the ship . Then , when the light clears , a panel of the ship falls in and we see - MEGATRON ! In all his glory .<\/scene_description>\n    <character>MEGATRON<\/character>\n    <dialogue>Die Autobots!<\/dialogue>\n    <scene_description>Then , he transforms to Gun Mode , spins into STARSCREAM 'S arms and Starscream fires .<\/scene_description>\n    <character>BRAWN<\/character>\n    <dialogue>is cut in half by Megatron's blast.<\/dialogue>\n    <character>ON PROWL<\/character>\n    <dialogue>as SCAVENGER MELTS HIM DOWN.<\/dialogue>\n    <character>THE INSECTICONS<\/character>\n    <dialogue>eat away at the hole in the shuttle to make way for. an ARMY of other Decepticons including Laserbeak who enter, firing.<\/dialogue>\n    <scene_description>IRONHIDE AND RATCHET While FIRING back are FUSED TOGETHER . then blasted apart and fall in smoking , glowing fragments . ON STARSCREAM AND MEGATRON As they enter the now empty ship , a number of Decepticons flood past them , taking positions and searching for other living Autobots .<\/scene_description>\n    <character>MEGATRON<\/character>\n    <dialogue>This was almost too easy, Starscream.<\/dialogue>\n    <character>STARSCREAM<\/character>\n    <dialogue>Much easier, oh mighty Megatron, than attacking the real threat : the Autobots moon base.<\/dialogue>\n    <character>MEGATRON<\/character>\n    <dialogue>You're an idiot, Starscream. Were we simply to wipe out that minuscule base, they could build another one. But when we slip by their security systems in their own ship and destroy Autobot city, the Autobots will be vanquished forever!<\/dialogue>\n    <character>IRONHIDE<\/character>\n    <dialogue>Fat chance, Megatron!<\/dialogue>\n    <scene_description>Ironhide pulls himself up and grabs onto Megatron who flings him against the wall .<\/scene_description>\n    <character>MEGATRON<\/character>\n    <dialogue>Such heroic nonsense!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EARTH - CLOSE SHOT- MINIATURE RADAR SCREEN<\/stage_direction>\n    <scene_description>A child 's hands hold a scanner device which tracks a TRAVELING BLIP across a star map towards a pulsing dot which represents the Earth .<\/scene_description>\n    <character>DANIEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The Shuttle just zipped past checkpoint zeta.<\/dialogue>\n    <character>ON DANIEL<\/character>\n    <dialogue>Daniel, a classic twelve year old American boy watches the portable viewer which is like an over - sized Boy Scout compass. WIDEN SHOT to show he is at an old fashioned `` fishin' hole'' on Earth - surrounded by weeping willows, assorted trees and shrubs, and that his fishing pole is stuck in the dirt, the line floating lazily out on the water.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Let's watch Ironhide land it, Hot Rod! As Daniel runs to small skateboard - like device, hits a button, and watches, it transforms into a hoverboard and rides it, like a surfer up a steep, grassy hillside we change angle to feature.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>an `` adolescent'' Autobot. He is in robot mode, sitting with his fishing rod held between two fingers, looking bored with it all.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Talk about dull!<\/dialogue>\n    <scene_description>Then , he tosses the rod into the water . ON DANIEL RIDING HIS HOVERBOARD UP THE HILL<\/scene_description>\n    <character>DANIEL<\/character>\n    <parenthetical>( calling excitedly . )<\/parenthetical>\n    <dialogue>Hurry or we'll miss it!<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>lopes up hill after Daniel.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>If you're gon na ride, Dan - O. ride in style! Hot Rod catches up with Daniel, scoops him off his hoverboard, TRANSFORMS to automotive mode and RIDES OVER CREST OF HILL with Daniel in the front seat.<\/dialogue>\n    <scene_description>ANOTHER ANGLE - ON AUTOBOT CITY FOLLOW Hot Rod up and over a roadway leading around the perimeter of Autobot City which becomes visible the instant Hot Rod clears the rim of a hill . As they travel , we SHOULD also be getting a sense of what Autobot City is all about . -LRB- DESIGN NOTE : Autobot City looks like a federal energy project gone mad . Here , the Autobots are trying to exploit every known means of getting energy . The mountain is covered with solar panels , windmills spin in the valley , oil derricks pump , and not far away a hydroelectric dam catches millions of volts . Near all of these various things are energon compressors , which turn the raw energy into energon cubes . IN THE BACKGROUND of these scenes , we should see various panel truck - type Autobots cruise up in auto mode to stacks of this energon , convert to humanoid mode , load up their vans , then convert to Auto mode again and drive the Energon into Autobot City . In short , it should be clear that the purpose of Autobot City is to harvest energy . All the while , Hot Rod and Daniel are riding recklessly out from the Autobot City and up into neighboring hills for an overview of the - CIRCULAR LANDING AREA which resides within the `` bowl '' created by the City structure and natural surroundings .<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Hey! Let me out.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>Why settle for a peek when you can see everything from Lookout Mountain?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>But we're not supposed to go beyond City limits!<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>Chromo - Chicken!<\/dialogue>\n    <scene_description>ON KUP AND OTHER AUTOBOTS KUP - a grizzled , `` old Soldier '' of an Autobot - is directing the positioning of a large metal road barricade . Hot Rod barrels through a sign which reads : `` STOP - THIS AREA OFF LIMITS '' , almost knocking Kup over in dust and wind<\/scene_description>\n    <character>KUP<\/character>\n    <dialogue>disgustedly watches Hot Rod drive up the mountain.<\/dialogue>\n    <character>KUP<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( to sound like swearing . )<\/parenthetical>\n    <dialogue>Cam bustin', turbo revvin' young punk.<\/dialogue>\n    <scene_description>MOUNTAIN ABOVE AUTOBOT CITY - LOOKOUT POINT Hot Rod arrives at a viewing platform carved in mountainside and TRANSFORMS back to humanoid mode . Daniel rushes to a set of PUBLIC VIEWING BINOCULARS and peers into them .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>This is it! Now take a squint through those babies.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Hot Rod, look! There's a hole in the shuttle!<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>What!?<\/dialogue>\n    <scene_description>DANIEL 'S P.O.V - BINOCULAR MATTE - THE SHUTTLE The hole Megatron blasted in order to get into the shuttle mars the otherwise perfect exterior of the ship . ANGLE ON DANIEL AND HOT ROD Hot Rod looks up and a pair of futuristic binoculars pop out of his eyes . HOT ROD 'S POV - THE SHUTTLE Hot Rod 's vision , now , infinitely better than human vision , spots something truly disturbing - - Starscream , and several Constructicons inside the ship !<\/scene_description>\n    <character>HOT ROD<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Decepticons!<\/dialogue>\n    <scene_description>ANGLE ON HOT ROD Drawing his gun , he starts FIRING on the shuttle .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>This is for Ironhide. As so's this!<\/dialogue>\n    <scene_description>ANGLE ON THE SHUTTLE Rays streak through the hole searing .<\/scene_description>\n    <character>STARSCREAM<\/character>\n    <dialogue>He ducks away from the door.<\/dialogue>\n    <character>STARSCREAM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm hit!<\/dialogue>\n    <scene_description>ANGLE ON MEGATRON Standing behind a pair of Decepticons who pilot the shuttle , he turns to see .<\/scene_description>\n    <character>THE CONSTRUCTICONS<\/character>\n    <dialogue>Firing out of the hole.<\/dialogue>\n    <character>MEGATRON<\/character>\n    <dialogue>He's furious.<\/dialogue>\n    <character>MEGATRON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You imbecile, our cover is blown!<\/dialogue>\n    <character>STARSCREAM<\/character>\n    <dialogue>It was your stupid strategy!<\/dialogue>\n    <scene_description>ANGLE ON KUP , CONSTRUCTION CREW Kup and the Autobot Construction Crew watch Hot Rod shooting at the shuttle .<\/scene_description>\n    <character>KUP<\/character>\n    <dialogue>What's that darn fool doing? Hound looks up and points.<\/dialogue>\n    <character>HOUND<\/character>\n    <dialogue>Decepticons!<\/dialogue>\n    <scene_description>ANGLE ON THE SHUTTLE Suddenly it cracks open , and Decepticons shoot out of the wreckage like toys from a pinata . CLOSE - MEGATRON In mid - air<\/scene_description>\n    <character>MEGATRON<\/character>\n    <parenthetical>( shouting to forces . )<\/parenthetical>\n    <dialogue>Attack!<\/dialogue>\n    <parenthetical>( he looks down and fires . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>HOT ROD AND DANIEL Hot Rod pulls Daniel back as Megatron 's BLAST SHEARS OFF the VIEWING PLATFORM which crumbles and falls down the steep mountain !<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>Hang on!<\/dialogue>\n    <scene_description>Putting Daniel under one arm , he pivots and kicks up at . Hook and Scavenger who are descending on him in humanoid mode . causing them both to crash against the mountainside which starts a . landslide which Hot Rod `` rides '' down the slope , pursued by . Decepticon FIRE .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <parenthetical>( SHOUTING . )<\/parenthetical>\n    <dialogue>WHoooooooaaah<\/dialogue>\n    <scene_description>ANGLE ON BOTTOM OF MOUNTAIN SLOPE - BLITZWING Blitzwing flies down in jet mode , transforms to robot mode , looks up at the `` slide riding '' Hot Rod and Daniel , transforms to tank mode and takes aim .<\/scene_description>\n    <character>BLITZWING<\/character>\n    <parenthetical>( amused . )<\/parenthetical>\n    <dialogue>Come on down, Autobrat!<\/dialogue>\n    <scene_description>ON HOT ROD AND DANIEL as Hot Rod tumbles , he covers Daniel with his arms and tries unsuccessfully to slow his fall .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>Yiiiiiiiiii!<\/dialogue>\n    <character>ON BLITZWING<\/character>\n    <dialogue>about to fire, when.<\/dialogue>\n    <scene_description>Kup 's arm descends into SHOT , spinning Blitzwing 's turret around . Blitzwing 's blast , scorches .<\/scene_description>\n    <character>SHRAPNEL<\/character>\n    <dialogue>who is flying nearby.<\/dialogue>\n    <character>BLITZWING<\/character>\n    <dialogue>transforms to robot mode and turns as. Kup comes flying, feet first, into Blitzwing knocking him off the mountain ledge.<\/dialogue>\n    <scene_description>FOLLOW Kup as he lands in front of Hot Rod , who is just coming to a stop at the bottom with Daniel .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>Not bad for an old timer!<\/dialogue>\n    <character>KUP<\/character>\n    <parenthetical>( gruffly . )<\/parenthetical>\n    <dialogue>Old timer?! That's something you'll never be if you do n't get back to the city. You know what we used to do with cocky, insubordinate upstarts?<\/dialogue>\n    <character>HOT ROD<\/character>\n    <parenthetical>( interrupting . )<\/parenthetical>\n    <dialogue>Save it.<\/dialogue>\n    <character>STARSCREAM<\/character>\n    <dialogue>transforming into jet mode, fires on them with laser bursts which.<\/dialogue>\n    <scene_description>chew up the ground beside them . HOT ROD AND KUP with Daniel race toward Autobot City , transforming into vehicle mode as shots gouge the terrain around them . PERCEPTOR IN MICROSCOPE MODE ON `` BATTLEMENT '' OF AUTOBOT CITY he watches . PERCEPTOR 'S POV - THE DECEPTICON ATTACK Megatron , Insecticons , Constructicons , and other Decepticon forces attack the city from the sky and ground .<\/scene_description>\n    <character>PERCEPTOR<\/character>\n    <dialogue>transforms to humanoid and runs toward. Three new Autobots, ARCEE, a lovely female Autobot of about Hot Rod's age, SPRINGER, a very muscular and bantering `` Indiana Jones'' type Autobot and ULTRA MAGNUS, the large and soldierly City Commander.<\/dialogue>\n    <character>PERCEPTOR<\/character>\n    <dialogue>Ultra Magnus. a cursory evaluation of Decepticon capability indicates a distinct tactical deficit!<\/dialogue>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>In other words, Perceptor.<\/dialogue>\n    <character>SPRINGER<\/character>\n    <parenthetical>( translating . )<\/parenthetical>\n    <dialogue>We're outnumbered!<\/dialogue>\n    <scene_description>He turns and FIRES from his hip . DIRGE IN JET MODE Zooms in to strafe as . SPRINGER 'S BLAST . Explodes on his wing tip . SPRINGER , ULTRA MAGNUS AND OTHERS as Decepticon BOMBS AND LASER FIRE pour in on the City .<\/scene_description>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>Springer, Arcee, transform Autobot City!<\/dialogue>\n    <scene_description>HIGH ANGLE - LOOKING DOWN ON COURTYARD - TRACKING SPRINGER AND ARCEE<\/scene_description>\n    <character>STARSCREAM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Pathetic fools!<\/dialogue>\n    <character>STARSCREAM<\/character>\n    <dialogue>TRANSFORMS and hovers in robot mode, firing all around them as they.<\/dialogue>\n    <scene_description>. dive for the switch and pull it down .<\/scene_description>\n    <character>STARSCREAM<\/character>\n    <dialogue>There's no escape. Uuuuh! Just then, the floor of the courtyard STARTS TRANSFORMING - the center line of the floor snaps shut like the halves of a gigantic steel shelled clam, trapping Starscream's foot.<\/dialogue>\n    <character>STARSCREAM<\/character>\n    <dialogue>Agggggggh! My foot!<\/dialogue>\n    <scene_description>ANGLE ON SPRINGER AND ARCEE as they make it through an archway which TRANSFORMS INTO A STEEL SHIELD as they run through ON STARSCREAM - HIS FOOT STILL CAUGHT IN `` CLAM '' OF COURTYARD He struggles to get free before he is crunched by the still transforming city . In the nick of time , he shoots a `` shoe horn '' like projection from his wrist and pulls his boot free , then . dodges away . The `` clam '' shape RETRACTS COMPLETELY and more armored shielding SLIDES INTO PLACE TO COVER where the Courtyard was . He winces in mid - air and flies away as the city continues to transform to a fortress below . ANOTHER ANGLE - THE TRANSFORMING CITY The towers and buildings of the city , picot and retract . withdrawing like periscopes , turning and vanishing into steel shield coverings .<\/scene_description>\n    <character>ON MEGATRON<\/character>\n    <dialogue>as he FLIES OVER SCENE, BLASTING this way and that, shouting<\/dialogue>\n    <character>MEGATRON<\/character>\n    <dialogue>Breach their defenses!<\/dialogue>\n    <character>ON INSECTICONS<\/character>\n    <dialogue>who are trailing Megatron, attack the fast CLOSING CITY, trying to GNAW AND DEVOUR their way through the PORTS and BRIDGES leading inside.<\/dialogue>\n    <character>KICKBACK<\/character>\n    <parenthetical>( Chewing on jamb of doorway near bridge . )<\/parenthetical>\n    <dialogue>Delicious, eh Shrapnel?<\/dialogue>\n    <character>SHRAPNEL<\/character>\n    <parenthetical>( CHEWING on draw - bridge to City . )<\/parenthetical>\n    <dialogue>A little heavy on the electrons. Electrons.<\/dialogue>\n    <scene_description>KUP , HOT ROD AND DANIEL as Kup and Hot Rod are racing down mountain toward the transforming city 's drawbridge .<\/scene_description>\n    <character>KUP<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The Insecticons are in our way.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Wrong! They're our way in! Yaaaaaaay - hah!<\/dialogue>\n    <character>ANOTHER ANGLE<\/character>\n    <dialogue>Hot Rod speeds up, passes Kup and. rides up and over Kickback's back, using it like a stunt driver's ramp to.<\/dialogue>\n    <scene_description>hurtle across the open space between Kickback and the doorway into the city .<\/scene_description>\n    <character>ON SHRAPNEL<\/character>\n    <dialogue>As Shrapnel looks up and reacts. Kup hurtles up and over Kickback's back just as Kickback is starting to rise to see what knocked him face down onto the bridge in the first place. Kup goes SAILING OT OVER OPEN SPACE between Kickback's back and the doorway into the city - clobbering Shrapnel, who is in the way and landing on the city doorstep, driving in as.<\/dialogue>\n    <character>THE DOORWAY<\/character>\n    <dialogue>transforms, shutting down with metal shields with a `` clank'' sound as Kickback and Shrapnel both leap at is to. bite Kup and Hot Rod and instead BREAK THEIR TEETH on steel door, falling face down with a grunt as LAST BITS OF CITY<\/dialogue>\n    <scene_description>TRANSFORM .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CITY SIDE OF DRAWBRIDGE<\/stage_direction>\n    <scene_description>as Kup and Hot Rod roll in and TRANSFORM where Ultra Magnus is waiting for them with Perceptor . Other Autobots are moving into battle stations in the b.g. and ALARMS SOUND . Daniel looks on in awe .<\/scene_description>\n    <character>ULTRA MAGNUS<\/character>\n    <parenthetical>( sternly . )<\/parenthetical>\n    <dialogue>You can explain your security violation later, Hot Rod! Now, man your battle station.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>I do n't have to explain my so called violation to you or anyone.<\/dialogue>\n    <character>KUP<\/character>\n    <parenthetical>( tugs him along roughly . )<\/parenthetical>\n    <dialogue>He said `` later!''<\/dialogue>\n    <scene_description>Kup moves OFF with Hot Rod and Daniel . BLASTER ON FORTIFIED '' CROWS NEST '' LOOKOUT TOWER The `` Crows Nest '' has windows all around and Blaster 's seat rotates so he can watch action and broadcast battle reports like a Top 40 Deejay . Perceptor climbs up ladder into `` Crows Nest '' from lower level . As Blaster speaks , we see Decepticons FIRING at the windows of the Crows Nest but the bursts explode harmlessly against the glass<\/scene_description>\n    <character>BLASTER<\/character>\n    <dialogue>Lookout and shout! Yow! Explosions rock the Crows Nest. Blaster swivels around and tilts to see.<\/dialogue>\n    <scene_description>BLASTER 'S POV - INSECTICONS Chewing on armor plating at the lower edge of the fortified , transformed city .<\/scene_description>\n    <character>BLASTER<\/character>\n    <dialogue>activates turret type LASER CANNON<\/dialogue>\n    <character>BLASTER<\/character>\n    <dialogue>Gon na lay some slugs on those overweight bugs!<\/dialogue>\n    <parenthetical>( FIRES Laser Cannon . )<\/parenthetical>\n    <dialogue \/>\n    <character>CANNON SWIVELS<\/character>\n    <dialogue>LASER BLAST cooks out and we FOLLOW IT OFF SCREEN to.<\/dialogue>\n    <character>THE INSECTICONS<\/character>\n    <dialogue>as a Laser BLAST hurls Bombshell up and out of sight and causes Shrapnel and Kickback to get sucked into the vacuum.<\/dialogue>\n    <character>BLASTER<\/character>\n    <dialogue>Perceptor joins him.<\/dialogue>\n    <character>BLASTER<\/character>\n    <parenthetical>( joyful at his direct hit . )<\/parenthetical>\n    <dialogue>I'm talkin' hits here, Autobuddies! Hits with a capital `` aitch'' like in Hard, Heavy and.<\/dialogue>\n    <parenthetical>( sees Perceptor . )<\/parenthetical>\n    <dialogue>Hey, Perceptor, what's shakin' other than this fortress?<\/dialogue>\n    <scene_description>BLASTS of enemy fire continue to rock the crows nest as Perceptor answers<\/scene_description>\n    <character>PERCEPTOR<\/character>\n    <dialogue>Blaster, Ultra Magnus sends orders to contact Optimus Prime for reinforcements.<\/dialogue>\n    <character>BLASTER<\/character>\n    <dialogue>Alright! Cover your receptors, Perceptor! Blaster transforms to ghetto blaster mode and broadcasts VISIBLE waves.<\/dialogue>\n    <character>THE WAVES<\/character>\n    <dialogue>rise and expand into space<\/dialogue>\n    <character>BLASTER<\/character>\n    <dialogue>Optimus Prime. Do you read me? The Decepticons are blitzing Autobot City. We're really takin' a pounding. Do n't know how much longer we can hold out.<\/dialogue>\n    <scene_description>ON WAVES SPREADING THROUGH SPACE MEGATRON LEADING ASSAULT ON TRANSFORMED AUTOBOT CITY He is FIRING at ARMORED DOOR , trying to melt through when he reacts to SOUND of Blaster 's broadcast for help , stops , and looks up at CROWS NEST .<\/scene_description>\n    <character>MEGATRON<\/character>\n    <dialogue>Soundwave! Jam that transmission.<\/dialogue>\n    <character>ON SOUNDWAVE<\/character>\n    <dialogue>SOUNDWAVE moves forward and starts heaving CASSETTES upwards toward Blaster's Crows Nest position.<\/dialogue>\n    <character>SOUNDWAVE<\/character>\n    <dialogue>Rumble! Frenzy! Ravage! Ratbat! Eject! Operation : interference.<\/dialogue>\n    <character>ON CASSETTES<\/character>\n    <dialogue>as they transform and attack the crows nest.<\/dialogue>\n    <character>ON RUMBLE<\/character>\n    <dialogue>as he starts PILE DRIVER MOTION on Crows Nest windows<\/dialogue>\n    <character>RUMBLE<\/character>\n    <dialogue>First we crack the shell. Then we crack the nuts inside.<\/dialogue>\n    <scene_description>INSIDE CROWS NEST as Blaster and Perceptor see Rumble and others and react . Blaster stops broadcasting .<\/scene_description>\n    <character>BLASTER<\/character>\n    <dialogue>We got Cassette Critters knockin' on the window!<\/dialogue>\n    <character>ON RUMBLE<\/character>\n    <dialogue>as he CRACKS THROUGH GLASS and he and others swarm in and attack Perceptor who tries to beat them away<\/dialogue>\n    <character>PERCEPTOR<\/character>\n    <dialogue>Run, Blaster! Save yourself!<\/dialogue>\n    <character>BLASTER<\/character>\n    <dialogue>No way. Two can play!<\/dialogue>\n    <character>ON BLASTER<\/character>\n    <dialogue>as he spews out CASSETTES which TRANSFORM into CUBBIE, a lion, STRIPES, a tiger, STINGER, a scorpion and BOLTS, a small, tough robot.<\/dialogue>\n    <character>BLASTER<\/character>\n    <dialogue>Sic'em!<\/dialogue>\n    <character>ON RUMBLE<\/character>\n    <dialogue>as Cubbie takes him down by the foot, turning him over and over<\/dialogue>\n    <character>ON STRIPES<\/character>\n    <dialogue>as he SNAPS at Ratbat who screams and darts, trying to escape as we move to<\/dialogue>\n    <scene_description>STINGER AND BOLTS as Bolts swats Frenzy into Stinger who JABS Stinger into Frenzy making him yowl and run . PERCEPTOR AND BLASTER As they fight Decepticons .<\/scene_description>\n    <character>PERCEPTOR<\/character>\n    <dialogue>You think you got through to Prime?<\/dialogue>\n    <character>BLASTER<\/character>\n    <dialogue>Let's hope so! Cause if I did n't we're gon na look like burnt out toaster ovens!<\/dialogue>\n    <scene_description>LONG SHOT - AUTOBOT CITY BESIEGED The city shows gaps , dents , smoking holes and Decepticons continue to pump fire into it and get back sporadic return fire from inside as . Megatron moves INTO SHOT and fills THE SCREEN<\/scene_description>\n    <character>MEGATRON<\/character>\n    <dialogue>Constructicons merge for the kill!<\/dialogue>\n    <scene_description>IN `` PILLBOX '' LIKE GUN EMPLACEMENT IN CITY 'S ARMORED WALL Where Springer and Arcee clear the twisted remains of Autobot defenders away from a CATAPULT LIKE TORPEDO LAUNCHER . POV - THROUGH LAUNCHER PORT we see the mountain where the Decepticons are getting ready for the final charge .<\/scene_description>\n    <character>SPRINGER<\/character>\n    <dialogue>Great! Megatron's making his big push and we ca n't even push.<\/dialogue>\n    <parenthetical>( struggling to turn Catapult around to re - aim it . )<\/parenthetical>\n    <dialogue>. back!<\/dialogue>\n    <scene_description>Arcee starts to push beside him . THE HUGE CATAPULT moves slowly as we CHANGE ANGLE and Kup , Hot Rod and Daniel ENTER SHOT .<\/scene_description>\n    <character>KUP<\/character>\n    <dialogue>Keep at it, Springer, lad! Help's at hand!<\/dialogue>\n    <parenthetical>( to Hot Rod . )<\/parenthetical>\n    <dialogue>Together now!<\/dialogue>\n    <scene_description>Hot Rod joins the others in pushing the huge Catapult into firing position .<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>also leans against it, his small legs churning.<\/dialogue>\n    <character>THE CATAPULT<\/character>\n    <dialogue>starts moving easily now.<\/dialogue>\n    <scene_description>ON ARCEE BESIDE HOT ROD Pushing on the busted catapult .<\/scene_description>\n    <character>ARCEE<\/character>\n    <parenthetical>( pushing , manages to speak to Hot Rod .<\/parenthetical>\n    <parenthetical>She likes him but does n't want to go too far . )<\/parenthetical>\n    <dialogue>I was afraid you'd be trapped outside the city walls.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <parenthetical>( likes her , too , but tries to be cool and collected . )<\/parenthetical>\n    <dialogue>Hey, I was n't worried for a micro - second, Arcee!<\/dialogue>\n    <character>ARCEE<\/character>\n    <parenthetical>( enjoying letting him have it . )<\/parenthetical>\n    <dialogue>Then you probably did n't understand the situation. Before Hot Rod can react, Kup steps back from repositioned Catapult<\/dialogue>\n    <character>KUP<\/character>\n    <dialogue>That did it!<\/dialogue>\n    <scene_description>DANIEL AT LAUNCHER PORT -LRB- Opening in `` pillbox '' through which the Catapult will fire -RRB-<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Kup, Hot Rod! Look!<\/dialogue>\n    <parenthetical>( he points . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>THEIR P.O.V. - THE CONSTRUCTICONS as they start linking themselves together into enormous DEVASTATOR .<\/scene_description>\n    <character>KUP<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Devastator!<\/dialogue>\n    <character>ON DEVASTATOR<\/character>\n    <dialogue>as he rises up and starts FIRING, HAMMERING, TEARING AWAY at metal shields which create armored walls of the transformed City.<\/dialogue>\n    <scene_description>WIDEN SHOT TO INCLUDE MEGATRON , STARSCREAM , DIRGE , ET , AL. as they line up behind Devastator , FIRING INTO THE CITY , ready to follow Devastator inside when he has torn the `` roof '' off . ON SPRINGER , ARCEE , HOT ROD , KUP AT CATAPULT as Springer LOADS TORPEDOES ONTO CATAPULT LIKE SLING<\/scene_description>\n    <character>SPRINGER<\/character>\n    <dialogue>I got better things to do today than die.<\/dialogue>\n    <parenthetical>( he FIRES Catapult . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>ANGLE ON CATAPULT as it HURLS FLAMING TORPEDO BOMBS one after the other out the launch port and we FOLLOW THEM TO MEGATRON AND OTHER DECEPTICONS waiting for Devastator to open the way as a succession of torpedo - bombs explode , knocking them aside , some of the Torpedo - Bombs strike .<\/scene_description>\n    <character>DEVASTATOR<\/character>\n    <dialogue>and explode harmlessly as Devastator continues to grunt and tear off armored layers of the city. He grabs Hot Rod and Kup and starts to crush them.<\/dialogue>\n    <character>ARCEE<\/character>\n    <dialogue>Hot Rod!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE EDGE OF THE EARTH'S ATMOSPHERE<\/stage_direction>\n    <scene_description>as Optimus Prime 's Space Shuttle hurtles in . INSIDE THE SPACE SHUTTLE - OPTIMUS PRIME WITH DINOBOTS<\/scene_description>\n    <character>OPTIMUS PRIME<\/character>\n    <dialogue>Dinobots. Destroy Devastator!<\/dialogue>\n    <character>GRIMLOCK<\/character>\n    <dialogue>Uhhhh! Me Grimlock love challenge! Dinobots, transform!<\/dialogue>\n    <character>DINOBOTS<\/character>\n    <dialogue>transform into humanoid mode, and, with Grimlock at the front. fly out of the shuttle in wedge formation, blasting in unison.<\/dialogue>\n    <character>FOLLOW DINOBOTS<\/character>\n    <dialogue>In as they transform again and, in dino mode, swoop over to Devastator.<\/dialogue>\n    <character>DEVASTATOR<\/character>\n    <dialogue>Roars towards the Dinobots.<\/dialogue>\n    <character>THEIR BATTLE<\/character>\n    <dialogue>shakes the Earth.<\/dialogue>\n    <scene_description>buckling City walls , menacing the Autobots inside . Hot Rod and Kup are released during the struggle . ANGLE ON THE DINOBOTS As they try to destroy Devastator . Their strength is more than matched and soon they are overwhelmed by him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE BATTLEFIELD - MOMENTS LATER<\/stage_direction>\n    <scene_description>Prime stands outside the dented shuttle with Sunstreaker and Hound . As he talks he shoots at a swarm of Decepticons who battle their way towards him .<\/scene_description>\n    <character>PRIME<\/character>\n    <dialogue>Megatron must be stopped.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>PRIME 'S POV - MEGATRON The Decepticon leader stands a hundred yards away , vanishing and reappearing with the shifting waves of Generic Decepticons that charge back and forth .<\/scene_description>\n    <character>PRIME<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>No matter the cost.<\/dialogue>\n    <scene_description>PRIME 'S CHARGE : A SERIES OF SHOTS PRIME 'S CHARGE - HEROIC BATTLE THEME SONG Optimus Prime leader and hero of the Autobots charges into certain doom . As he battles his way through the Decepticons , we HEAR an inspiring anthem of courage , strength and triumph , like `` Eye of the Tiger '' . This theme will reprise during the film when the Autobots are battling at impossible odds . He charges headlong into the Decepticon forces which separate him from Megatron . Decepticons fire on him , but he takes the shots , and . Spinning and whirling like the Sundance Kid , he takes a lot out . Then , Decepticons attempt to block his charge and Prime . Like a powerback , transforms to Truck Mode and barrels into them , sending Decepticons flying around like shards of glass hit by a .45 . finally , he is engulfed by an incoming swarm , and it looks like his attack is foiled .<\/scene_description>\n    <character>MEGATRON<\/character>\n    <dialogue>as he commands his troops.<\/dialogue>\n    <character>MEGATRON<\/character>\n    <dialogue>Their defenses are broken. Let the slaughter begin.<\/dialogue>\n    <scene_description>Then he turns and sees .<\/scene_description>\n    <character>MEGATRON<\/character>\n    <dialogue>Prime!?<\/dialogue>\n    <character>PRIME<\/character>\n    <dialogue>smashing through a wall of lesser Decepticons.<\/dialogue>\n    <character>PRIME<\/character>\n    <dialogue>One shall stand, one shall fall.<\/dialogue>\n    <scene_description>CLOSE ON MEGATRON his eyes blazing with hatred .<\/scene_description>\n    <character>MEGATRON<\/character>\n    <dialogue>Why throw away your life so recklessly?<\/dialogue>\n    <scene_description>ON OPTIMUS PRIME Dirge takes a sneaky leap at him . Optimus stiffarms him with a shuddering clank . then turns him upside down with one hand and . drives him headfirst into the rocky ground , letting him crumple and fall .<\/scene_description>\n    <character>OPTIMUS PRIME<\/character>\n    <dialogue>That's a question you should ask yourself.<\/dialogue>\n    <character>MEGATRON<\/character>\n    <dialogue>hurls himself at Optimus Prime. both tumble into the walls of the City. denting the walls and causing the electronic panels inside to short circuit, surrounding them with a fiery nimbus of crackling electrical energy.<\/dialogue>\n    <scene_description>Ultra Magnus in car carrier mode barrels out of city carrying several Autobots . He and the others transform into robot mode and fire lasers at the Decepticons . INTERCUT TO HOT ROD , KUP , DANIEL , ARCEE , BLASTER , PERCEPTOR , fighting their way to the battle of the titans .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>We've got to save Prime! Punching.<\/dialogue>\n    <character>KUP<\/character>\n    <dialogue>That's his fight, lad! Stay away. Shooting.<\/dialogue>\n    <scene_description>And charging . ANGLE ON OPTIMUS AND MEGATRON Megatron attempts to kick Prime in the throat . Prime catches his foot , twists it . and hurls Megatron backwards into a metal pile .<\/scene_description>\n    <character>MEGATRON<\/character>\n    <dialogue>grabs a jagged, spearlike piece of steel and hurls it at<\/dialogue>\n    <character>PRIME<\/character>\n    <dialogue>The steel `` spear'' pierces his side and sticks in him as. he charges Megatron,. dodging shots from Megatron's gun to. deliver a huge UPPERCUT which. lifts Megatron into the air so high that. his head butts sharply against overhanging concrete balcony, mashing him down.<\/dialogue>\n    <character>MEGATRON<\/character>\n    <dialogue>lands and stealthily slips a laser dagger from his boot, turning and slashing at.<\/dialogue>\n    <character>PRIME<\/character>\n    <dialogue>as he comes for him, tearing. a gash across Prime's midsection, which spews smoke and sparks and.<\/dialogue>\n    <scene_description>dropping Prime to one knee .<\/scene_description>\n    <character>MEGATRON<\/character>\n    <parenthetical>( gloating . )<\/parenthetical>\n    <dialogue>Farewell, Prime!<\/dialogue>\n    <scene_description>As Megatron hurls the laser dagger as we CHANGE ANGLE to -<\/scene_description>\n    <character>OPTIMUS PRIME<\/character>\n    <dialogue>as he lifts chunks of broken concrete and catches the laser dagger on it, tossing it aside as he lunges at -<\/dialogue>\n    <character>MEGATRON<\/character>\n    <dialogue>who claws his fingers and digs them into Prime's eyes<\/dialogue>\n    <character>MEGATRON<\/character>\n    <dialogue>I'll rip out your optics! Optimus grabs Megatron's clawed hand in one of his hands, twists it in see - sawing test of strength which. Optimus wins in a judo toss which sends Megatron - skidding face first through steel rubble, in a shower of sparks until he crashes into the side of the city.<\/dialogue>\n    <scene_description>ANGLE ON HOT ROD He dispatches a Decepticon and turns to Prime .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>That's showing him, Optimus!<\/dialogue>\n    <character>KUP<\/character>\n    <dialogue>knocks two Decepticons on their tails and turns.<\/dialogue>\n    <character>KUP<\/character>\n    <dialogue>Finish him off, Prime! Do it now!<\/dialogue>\n    <character>ON MEGATRON<\/character>\n    <dialogue>as he spots a gun on the ground ahead of him<\/dialogue>\n    <character>MEGATRON<\/character>\n    <dialogue>No more, Optimus Prime! Grant me mercy, I beg of you!<\/dialogue>\n    <scene_description>ANOTHER ANGLE FEATURING OPTIMUS PRIME AND HOT ROD as Optimus Prime warily moves out to look down at the cowering Megatron , keeping him in his gun sights .<\/scene_description>\n    <character>OPTIMUS PRIME<\/character>\n    <dialogue>You who are without mercy now plead for it. I thought you were made of sterner stuff, Megatron!<\/dialogue>\n    <scene_description>ON HOT ROD as he sees Megatron go for the gun and leaps out to grapple with him<\/scene_description>\n    <character>PRIME<\/character>\n    <dialogue>Out of the way, Hot Rod.<\/dialogue>\n    <scene_description>MEGATRON AND HOT ROD as Hot Rod grabs for the Blaster - Megatron quickly gets Hot Rod in a headlock and using Hot Rod as a shield , gets the gun and . BLASTS PRIME IN THE WOUND HE 'D MADE WITH HIS LASER DAGGER ON OPTIMUS PRIME his midsection now glowing and smoking , a huge hole where the Blaster has struck .<\/scene_description>\n    <character>ON MEGATRON<\/character>\n    <dialogue>firing blaster again and again<\/dialogue>\n    <character>MEGATRON<\/character>\n    <dialogue>Fall! Fall!<\/dialogue>\n    <scene_description>Megatron tosses Hot Rod aside like a rag doll and stands above the dying Prime .<\/scene_description>\n    <character>MEGATRON<\/character>\n    <dialogue>I would have waited an eternity for this. Crawl, slave! On your knees!<\/dialogue>\n    <scene_description>ON OPTIMUS PRIME as he gathers his remaining strength and smashes Megatron with both fists clasped together .<\/scene_description>\n    <character>OPTIMUS PRIME<\/character>\n    <parenthetical>( gasping painfully . )<\/parenthetical>\n    <dialogue>Never!<\/dialogue>\n    <scene_description>He bashes in Megatron 's torso casing , fracturing the sides which split , spilling wires , fuses , lights , circuitry . Megatron falls ! Prime falls to his knees , tries to rise , collapses to his side and falls slowly back . HOT ROD runs over to him .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>Optimus! Forgive me!<\/dialogue>\n    <scene_description>ANOTHER ANGLE - MEGATRON Starscream and other Decepticons stand over the smoking body .<\/scene_description>\n    <character>STARSCREAM<\/character>\n    <parenthetical>( sarcastic , filled with false sympathy . )<\/parenthetical>\n    <dialogue>How do you feel, Mighty Megatron?<\/dialogue>\n    <parenthetical>( he kicks Megatron . )<\/parenthetical>\n    <dialogue \/>\n    <character>MEGATRON<\/character>\n    <parenthetical>( weakly clutching at Starscream 's hand , gasping . )<\/parenthetical>\n    <dialogue>Enshrine me!<\/dialogue>\n    <character>STARSCREAM<\/character>\n    <parenthetical>( drops Megatron 's hand coldly , calls to other Decepticons . )<\/parenthetical>\n    <dialogue>Take this scrap to Cybertron! Astrotrain, transform and get us out of here!<\/dialogue>\n    <scene_description>ANOTHER ANGLE - ASTROTRAIN as he MOVES ONTO SCENE in Humanoid mode , showing battle burns and scars . Then , he converts to train mode , and rolls through a crowd of generic Decepticons , crushing many under his wheels , as he makes his way towards Starscream . ANGLE ON THE EXODUS Ramjet , Thrust , Dirge , the Constructicons , Soundwave and his cassettes , et.al . run towards Astrotrain . ANGLE ON KUP AND ARCEE They fight for a moment , then they notice their attackers are beating feet .<\/scene_description>\n    <character>ARCEE<\/character>\n    <dialogue>The Decepticons are retreating.<\/dialogue>\n    <character>KUP<\/character>\n    <dialogue>Prime did it. He turned the tide! He shoots.<\/dialogue>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>into.<\/dialogue>\n    <scene_description>A CROWD OF DECEPTICONS Who fight each other for a place on the shuttle . ANGLE ON STARSCREAM dragging Megatron by one leg , callously disregarding the way Megatron 's head and upper body BUMP AND GET KNOCKED from dragging .<\/scene_description>\n    <character>THE AUTOBOTS<\/character>\n    <dialogue>fire after them, closing ranks on the shuttle, and pouring shots into the melee.<\/dialogue>\n    <scene_description>ANGLE ON ASTROTRAIN Decepticons make way for Starscream as he tosses the nearly lifeless Megatron into the shuttle and gets in . Then , standing at the door , he kicks other Decepticons away .<\/scene_description>\n    <character>STARSCREAM<\/character>\n    <dialogue>Astrotrain, take off.<\/dialogue>\n    <scene_description>ANGLE ON ASTROTRAIN The shuttle takes off , leaving a number of generic Decepticons behind , who immediately raise their hands upon realizing that they are surrounded by Autobots .<\/scene_description>\n    <character>OPTIMUS PRIME<\/character>\n    <dialogue>as he lies on an improvised bier - like platform, a profusion of electricity discharging tubes and `` plasma'' bottle devices hooked up to his arms and into his gaping middle wound.<\/dialogue>\n    <character>SCANNERS<\/character>\n    <dialogue>emit bleeps and show oscilloscopic patterns but sounds and wave patterns are steadily growing weaker and weaker.<\/dialogue>\n    <character>PERCEPTOR<\/character>\n    <dialogue>is bent over Prime, in microscope mode, examining him. He then transforms and straightens up, his voice strained and cracking with emotion.<\/dialogue>\n    <character>PERCEPTOR<\/character>\n    <dialogue>I fear the wounds are.<\/dialogue>\n    <parenthetical>( he ca n't finish what he 's going to say . )<\/parenthetical>\n    <dialogue>INTERCUT TO HOT ROD, KUP, ARCEE, DANIEL AND OTHER AUTOBOTS as they react.<\/dialogue>\n    <character>OPTIMUS PRIME<\/character>\n    <parenthetical>( using remaining strength to makes himself heard . )<\/parenthetical>\n    <dialogue>Autobots. do not grieve. Soon, I shall be one with the matrix.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <parenthetical>( a flash of hope . )<\/parenthetical>\n    <dialogue>Prime!<\/dialogue>\n    <parenthetical>( looks off at Prime . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>HIS P.O.V. - OPTIMUS PRIME His head is turned so all assembled can see . His eyes flicker weakly , his voice RUMBLES with overtone of vast weariness and resignation<\/scene_description>\n    <character>OPTIMUS PRIME<\/character>\n    <parenthetical>( reaches up with right hand with great effort . )<\/parenthetical>\n    <dialogue>Ultra Magnus! It is to you, old friend, I shall pass the matrix as it was passed to me.<\/dialogue>\n    <scene_description>ANOTHER ANGLE FEATURING ULTRA MAGNUS as he steps forward unwillingly , mixed grief and surprise on his face<\/scene_description>\n    <character>MAGNUS<\/character>\n    <dialogue>Prime, I'm just a soldier. I'm not worthy.<\/dialogue>\n    <character>OPTIMUS PRIME<\/character>\n    <parenthetical>( gasping . )<\/parenthetical>\n    <dialogue>Nor was I, but one day, an Autobot shall rise from our ranks and use the powers of the Matrix to light our darkest hour.<\/dialogue>\n    <scene_description>TIGHT SHOT - ULTRA MAGNUS AND OPTIMUS PRIME Optimus Prime is tilted into half sitting position by other Autobots manipulating the platform as Ultra Magnus grasps his hand with great emotion<\/scene_description>\n    <character>OPTIMUS PRIME<\/character>\n    <parenthetical>( voice failing , pressing on with it . )<\/parenthetical>\n    <dialogue>Until that day.<\/dialogue>\n    <scene_description>Until all are one . Continue the struggle . -LRB- sags , gasps , hanging on -RRB- Transfer the Matrix of Leadership . TIGHTEN SHOT ON ULTRA MAGNUS AND OPTIMUS PRIME A distraught Ultra Magnus nods , reaches out with free hand and points his forefinger at Optimus Prime 's chest . Then , pressing a button on Prime 's chest , a small , secret doorway opens , and we see something extremely bright glowing in there . Ultra Magnus , nearly blinded by the intense light , reaches in , and lifts out - THE AUTOBOT LEADERSHIP MATRIX , - and holds it for a moment in his hand . ANGLE ON ALL The bright light , which emanates from the perfect crystal , seems to blind everybody and washes all color out of the shot . Then , slowly , Ultra Magnus moves it into his own chest , closes the door , and the light is gone , save for a momentary , and extremely powerful glow from his eyes . ON KUP , HOT ROD , ARCEE AND PERCEPTOR They are all full of great sorrow . ON PRIME - HE DIES All of his lights go out , including his eyes . UNICRON Rotating satellite dishes on the surface spark with electricity . Dissolve inside Unicron to reveal scenes of Prime 's death and the passing of the Matrix to Ultra Magnus playing on various monitors . Some of the scenes are in slow motion , others are sped up . The effect should be eerie .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ASTROTRAIN<\/stage_direction>\n    <scene_description>As it whizzes through the Solar System .<\/scene_description>\n    <character>ASTROTRAIN<\/character>\n    <dialogue>Jettison some weight, or I'll never make it to Cybertron.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ASTROTRAIN<\/stage_direction>\n    <scene_description>The ship is packed with living , dead and wounded Decepticons . Starscream addresses them like an Athenian Orator .<\/scene_description>\n    <character>STARSCREAM<\/character>\n    <dialogue>Fellow Decepticons, Astrotrain has requested that we lighten our burden!<\/dialogue>\n    <scene_description>ANGLE ON BONECRUSHER<\/scene_description>\n    <character>BONECRUSHER<\/character>\n    <dialogue>In that case, I say it's survival of the fittest.<\/dialogue>\n    <character>STARSCREAM<\/character>\n    <dialogue>So I hear a second on that?<\/dialogue>\n    <scene_description>ASSORTED SHOTS<\/scene_description>\n    <character>HEALTHY DECEPTICONS<\/character>\n    <dialogue>Aye!<\/dialogue>\n    <character>STARSCREAM<\/character>\n    <dialogue>And against?<\/dialogue>\n    <scene_description>NOT HEALTHY DECEPTICONS -LRB- WEAKLY -RRB- NAY !<\/scene_description>\n    <character>STARSCREAM<\/character>\n    <dialogue>The ayes' have it!<\/dialogue>\n    <scene_description>A robotic hand flips a switch , and chaos ensues . Strong Decepticons start heave - hoing the weaker ones out into space . DECEPTICONS . -LRB- AD LIB . -RRB- Beat it ! Spare me ! ANGLE ON STARSCREAM AND MEGATRON Starscream picks him up and holds him up by the door .<\/scene_description>\n    <character>STARSCREAM<\/character>\n    <parenthetical>( sarcastic . )<\/parenthetical>\n    <dialogue>Oh, how it grieves me to do this.<\/dialogue>\n    <character>MEGATRON<\/character>\n    <dialogue>Wait, I still function!<\/dialogue>\n    <scene_description>Starscream kicks him out .<\/scene_description>\n    <character>STARSCREAM<\/character>\n    <dialogue>Wan na bet?<\/dialogue>\n    <scene_description>MEGATRON IN SPACE - TRACKING He shakes his fist .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE SHIP<\/stage_direction>\n    <scene_description>The last of the weak Decepticons is tossed , and the others dust off their hands .<\/scene_description>\n    <character>STARSCREAM<\/character>\n    <dialogue>Well, as Megatron has, how shall we say - departed. I nominate myself as the new leader.<\/dialogue>\n    <scene_description>ON THE CONSTRUCTICONS<\/scene_description>\n    <character>SCRAPPER<\/character>\n    <dialogue>The Constructicons form Devastator, the most powerful robot. We should rule.<\/dialogue>\n    <character>SOUNDWAVE<\/character>\n    <dialogue>Constructicons inferior. Soundwave superior.<\/dialogue>\n    <character>BONECRUSHER<\/character>\n    <dialogue>Who are you calling inferior.<\/dialogue>\n    <character>HOOK<\/character>\n    <dialogue>Nobody would follow an uncharismatic bore like you.<\/dialogue>\n    <scene_description>The five cassettes : BUZZSAW , FRENZY , RUMBLE , RAVAGE AND LASERBEAK pop from his chest transform , and prepare to attack .<\/scene_description>\n    <character>RUMBLE<\/character>\n    <dialogue>Hey, nobody calls Soundwave uncrazmatic.<\/dialogue>\n    <character>FRENZY<\/character>\n    <dialogue>Yeah! Let's kick tailgate.<\/dialogue>\n    <character>THE CONSTRUCTICONS<\/character>\n    <dialogue>try to form Devastator, but.<\/dialogue>\n    <character>HOOK<\/character>\n    <dialogue>Constructicons, unite!<\/dialogue>\n    <scene_description>RUMBLE AND FRENZY quake the ship so hard with their pile - driver arms that , with the help of Laserbeak , Buzzsaw and Ravage , they keep knocking the Constructicons off .<\/scene_description>\n    <character>RUMBLE\/FRENZY<\/character>\n    <dialogue>No way!<\/dialogue>\n    <scene_description>Over the battle .<\/scene_description>\n    <character>BLITZWING<\/character>\n    <dialogue>I am a triple changer. I am worth any two of you. I should run things.<\/dialogue>\n    <scene_description>DIRGE<\/scene_description>\n    <character>DIRGE<\/character>\n    <dialogue>Death comes to anyone who crosses me. He attacks Blitzwing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ASTROTRAIN - SAME TIME<\/stage_direction>\n    <scene_description>He is flying a very wobbly course past Pluto .<\/scene_description>\n    <character>ASTROTRAIN<\/character>\n    <dialogue>Stop squabbling or we're gon na crash.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - LATER<\/stage_direction>\n    <scene_description>Megatron and the other dented , dinged and dead Decepticon bodies float through space . we follow the wailing Megatron and the others down to : THE SURFACE OF UNICRON littering the otherwise beautiful technological expanse .<\/scene_description>\n    <character>UNICRON<\/character>\n    <dialogue>Welcome, Megatron.<\/dialogue>\n    <character>MEGATRON<\/character>\n    <parenthetical>( looking around . )<\/parenthetical>\n    <dialogue>Who said that?<\/dialogue>\n    <character>UNICRON<\/character>\n    <dialogue>I am Unicron.<\/dialogue>\n    <character>MEGATRON<\/character>\n    <dialogue>Show yourself!<\/dialogue>\n    <character>UNICRON<\/character>\n    <dialogue>I have summoned you here for a purpose.<\/dialogue>\n    <character>MEGATRON<\/character>\n    <dialogue>Nobody summons Megatron!<\/dialogue>\n    <character>UNICRON<\/character>\n    <dialogue>Then it pleases me to be the first.<\/dialogue>\n    <character>MEGATRON<\/character>\n    <dialogue>State your business.<\/dialogue>\n    <character>UNICRON<\/character>\n    <dialogue>Bring me the Autobot Matrix. It is the one thing - the only thing that can stand in my way.<\/dialogue>\n    <character>MEGATRON<\/character>\n    <dialogue>You have nothing to fear. I have already crushed Optimus Prime with my bare hands.<\/dialogue>\n    <character>UNICRON<\/character>\n    <dialogue>You exaggerate.<\/dialogue>\n    <character>MEGATRON<\/character>\n    <dialogue>The point is, he is dead! And the Matrix died with him.<\/dialogue>\n    <character>UNICRON<\/character>\n    <dialogue>No. It has been passed to their new leader. Get it for me.<\/dialogue>\n    <character>MEGATRON<\/character>\n    <dialogue>Why should I? What's in it for me?<\/dialogue>\n    <character>UNICRON<\/character>\n    <dialogue>Your bargaining posture is highly dubious, but very well, I will provide you with a new body, and new troops to command.<\/dialogue>\n    <character>MEGATRON<\/character>\n    <dialogue>And.<\/dialogue>\n    <character>UNICRON<\/character>\n    <dialogue>And nothing.<\/dialogue>\n    <scene_description>You belong to me now .<\/scene_description>\n    <character>MEGATRON<\/character>\n    <dialogue>I belong to nobody.<\/dialogue>\n    <character>UNICRON<\/character>\n    <dialogue>Perhaps I misjudged you. Proceed on your way to oblivion. The Mist appears and starts to dissolve Megatron.<\/dialogue>\n    <character>MEGATRON<\/character>\n    <parenthetical>( pleading . )<\/parenthetical>\n    <dialogue>No, no. I accept your terms. I accept!<\/dialogue>\n    <character>UNICRON<\/character>\n    <dialogue>Excellent! Behold - Galvatron! X - ray images : wiring, circuitry, etc. flash on and off as a new and larger being starts to form, changing from dented Megatron to a huge, new creation : Galvatron.<\/dialogue>\n    <scene_description>THE TRANSFORMATION - CREATION ends in a blinding flash and Galvatron - who still resembles Megatron - laughs and flexes his muscles and stretches . His voice is deeper , different from Megatron 's<\/scene_description>\n    <character>GALVATRON<\/character>\n    <dialogue>Long live Galvatron!<\/dialogue>\n    <character>UNICRON<\/character>\n    <dialogue>And these shall be your minions.<\/dialogue>\n    <scene_description>ANGLE ON OTHER DECEPTICONS Their bodies are turned from battered Decepticons to .<\/scene_description>\n    <character>SCOURGE<\/character>\n    <dialogue>SCOURGE.<\/dialogue>\n    <parenthetical>( Sweep character . )<\/parenthetical>\n    <dialogue>is bearded, fanged and ferocious looking and as soon as he has been CREATED, he roars and stretches and an ARRAY OF SIMILAR CREATURES - smaller and all wearing dark and matching uniforms - are INSTANTLY CREATED FROM OTHERS behind him<\/dialogue>\n    <character>UNICRON<\/character>\n    <dialogue>Scourge, the tracker. and his huntsmen. the Sweeps.<\/dialogue>\n    <scene_description>ON CYCLONUS -LRB- NEW DECEPTICON WITH PLANE TRANSFORM ABILITY -RRB- CYCLONUS is CREATED and then his `` armada '' of similar , but smaller and similarly colored and clad creatures are formed .<\/scene_description>\n    <character>UNICRON<\/character>\n    <dialogue>Cyclonus, the warrior. and his armada.<\/dialogue>\n    <scene_description>ANGLE FEATURING GALVATRON<\/scene_description>\n    <character>GALVATRON<\/character>\n    <dialogue>To Cybertron!<\/dialogue>\n    <scene_description>He roars with a mad power - rush , gets into Cyclonus -LRB- who will be his personal ship -RRB- and leading the armada , takes off for the distant stars .<\/scene_description>\n    <character>UNICRON<\/character>\n    <parenthetical>( loudly proclaiming over the scene . )<\/parenthetical>\n    <dialogue>Bring me the Autobot matrix! DURING UNICRON'S COMMAND we CHANGE ANGLE TO SHOW<\/dialogue>\n    <scene_description>LONG SHOT OF UNICRON as Galvatron and his newly created force FLY UP AND AWAY with great speed .<\/scene_description>\n    <character>GALVATRON<\/character>\n    <dialogue>I will rip open Autobot after Autobot until it is yours, Unicron.<\/dialogue>\n    <scene_description>THE DECEPTICON HALL OF HEROES - STARSCREAM This is the closest thing the Decepticons have to a throne room . It is a massive , circular room with tombs of old leaders , and a raised area where Starscream stands . STARSCREAM AND OTHERS The Decepticon plane looks slightly ridiculous with cloak on his shoulders and Thrust and Ramjet at his side , weapons held high , but ready for action should anybody question Starscream 's rule . In front of him stands Astrotrain holding a huge Metallic CROWN over his head .<\/scene_description>\n    <character>OTHER DECEPTICONS<\/character>\n    <dialogue>in neat ranks but their grim expressions show their displeasure.<\/dialogue>\n    <character>STARSCREAM<\/character>\n    <parenthetical>( preening . )<\/parenthetical>\n    <dialogue>Get on with the ceremony! Dirge and others react to EERIE SOUNDS and look up and off. Starscream looks where others are looking and reacts.<\/dialogue>\n    <scene_description>HIS P.O.V. - GALVATRON AND HIS FORCES as they descend in Hall of Heroes and Galvatron moves out to confront Starscream ON STARSCREAM AND GALVATRON<\/scene_description>\n    <character>STARSCREAM<\/character>\n    <dialogue>Who disrupts my coronation?<\/dialogue>\n    <character>GALVATRON<\/character>\n    <dialogue>Coronation? This is bad comedy!<\/dialogue>\n    <character>STARSCREAM<\/character>\n    <dialogue>Megatron, is that you?<\/dialogue>\n    <character>GALVATRON<\/character>\n    <dialogue>Here's a clue!<\/dialogue>\n    <scene_description>HIS P.O.V - GALVATRON as Galvatron transforms into cannon , FIRING A HUGE BURST ON STARSCREAM as BLAST hits him . For a moment , he retains his shape then piece by piece , he falls apart . Only a pair of boots remain on the floor .<\/scene_description>\n    <character>GALVATRON<\/character>\n    <dialogue>He transforms back to robot mode and confronts other Decepticons boastfully.<\/dialogue>\n    <character>GALVATRON<\/character>\n    <dialogue>Will anyone else attempt to fill his shoes?<\/dialogue>\n    <scene_description>ON DECEPTICONS - THRUST , DIRGE , ASTROTRAIN , BONECRUSHER , ET . AL. . PAN for their reactions as they ponder for a brief beat and then exchange looks \/ DECEPTICONS -LRB- AD LIB -RRB- LONG LIVE . -LRB- they look at each other -RRB- What did he say his name was . He did n't .<\/scene_description>\n    <character>GALVATRON<\/character>\n    <dialogue>Galvatron.<\/dialogue>\n    <scene_description>DECEPTICONS LONG LIVE GALVATRON !<\/scene_description>\n    <character>UNICRON<\/character>\n    <dialogue>Bit by bit, we see new sections of the planet being generated. Then, the sinister mist we saw at the beginning of the film starts pouring out.<\/dialogue>\n    <scene_description>He 's about to do the big munch on . THE FIRST MOON OF CYBERTRON - PUSH IN TO - JAZZ AND CLIFFJUMPER Standing outside the `` netted '' complex , looking off at .<\/scene_description>\n    <character>UNICRON<\/character>\n    <dialogue>A strange, LOUD HUM fills the air and the ground heaves and SHAKES beneath their feet<\/dialogue>\n    <character>JAZZ<\/character>\n    <dialogue>Where'd that come from?!<\/dialogue>\n    <character>CLIFFJUMPER<\/character>\n    <dialogue>Who cares? I'm more worried about where it's going!<\/dialogue>\n    <character>JAZZ<\/character>\n    <parenthetical>( on communicator device . )<\/parenthetical>\n    <dialogue>Talk to me, Earth! We got a situation out here!<\/dialogue>\n    <scene_description>AUTOBOT CITY - EARTH - LONG SHOT Autobot City is almost rebuilt , and we see Kup and Hot Rod working with other Autobots to move large panels into position . In the background , two huge SPACE SHUTTLES are almost completed and Ultra Magnus is directing the work . During this ESTABLISHING SERIES OF SHOTS , we HEAR JAZZ 'S VOICE OVER<\/scene_description>\n    <character>JAZZ<\/character>\n    <parenthetical>( V.O. - FILTER . )<\/parenthetical>\n    <dialogue>Roger me. Wilco me. Anything? Hello. Hello Earth.<\/dialogue>\n    <scene_description>OUTSIDE OF LARGE SPACE SHUTTLE UNDER CONSTRUCTION Springer and Arcee fit a hull section in place with Daniel motioning to them , directing the action .<\/scene_description>\n    <character>BLASTER<\/character>\n    <dialogue>He reacts to muffled transmission from Jazz.<\/dialogue>\n    <character>BLASTER<\/character>\n    <dialogue>I'm pickin' up a faint signal! BLASTER TRANSFORMS to blaster mode and Jazz's VOICE is broadcast loud and clear causing Springer, Arcee, and Daniel to react<\/dialogue>\n    <character>JAZZ<\/character>\n    <parenthetical>( V.O. - ON FILTER . )<\/parenthetical>\n    <dialogue>This is Jazz. I gi - normous weird lookin' planet just showed up in the suburbs of Cybertron.<\/dialogue>\n    <character>CLIFFJUMPER<\/character>\n    <dialogue>And it's attack.<\/dialogue>\n    <scene_description>STATIC obscures the message<\/scene_description>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>Jazz! Cliffjumper!<\/dialogue>\n    <scene_description>THE FIRST MOON is covered by Unicron 's energy field , and slowly seems to dissolve . ANOTHER ANGLE FEATURING UNICRON a great maw works more intensely crushing bits of the planet . JAZZ AND CLIFFJUMPER ON THAT MOON as quakes , tremors and cyclonic winds toss and tear at all structures on the moon and the energy field closes in on Jazz and Cliffjumper - who , using handholds every step of the way - et into AN ESCAPE POD VEHICLE as Unicron looms larger , larger , the energy field seems to dissolve the landscape .<\/scene_description>\n    <character>JAZZ<\/character>\n    <dialogue>Got. to. blast free. if we can. They get in and start retro blasters, the flame of blasters whirling in wild winds as moon is engulfed.<\/dialogue>\n    <character>CLIFFJUMPER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Ignition and.<\/dialogue>\n    <scene_description>SOUNDS of torrential winds , quakes , etc as moon is quickly becoming Unicron 's lunch .<\/scene_description>\n    <character>JAZZ<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Hit it!<\/dialogue>\n    <scene_description>ON ESCAPE POD as it BLASTS OFF and away from Unicron with an EXPLOSION . For a moment , it looks like they are going to get clean away , but .<\/scene_description>\n    <character>ANOTHER ANGLE<\/character>\n    <dialogue>Suddenly it is pulled deep into Unicron.<\/dialogue>\n    <scene_description>ANOTHER ANGLE - THE MOON as Moon shatters like a hollow egg and is sucked completely into Unicron 's maw which closes around it with a snap . GALVATRON IN DECEPTICON HALL OF HEROES Silence . No more winds . No more movement .<\/scene_description>\n    <character>GALVATRON<\/character>\n    <dialogue>How dare Unicron?!<\/dialogue>\n    <parenthetical>( defiant . )<\/parenthetical>\n    <dialogue>Cybertron and all it's moons are mine!<\/dialogue>\n    <scene_description>ANOTHER ANGLE ON GALVATRON His body starts to twist making him writhe in pain powerless to resist<\/scene_description>\n    <character>SCOURGE<\/character>\n    <dialogue>But remember, WE belong to HIM!<\/dialogue>\n    <character>GALVATRON<\/character>\n    <parenthetical>( gasping for breath , writhing , nods . )<\/parenthetical>\n    <dialogue>I. will obey, Unicron! Decepticons, to Earth! The torture stops and Galvatron clutches his throat and tries to regain his composure as we.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AUTOBOT CITY -- ULTRA MAGNUS<\/stage_direction>\n    <scene_description>He has a portable communication device . Spike and Bumble can be seen on it . Springer , Kup , the Dinobots , Blurr , and Hot Rod look on amid general gathering of Autobots . Arcee holds Daniel up on her shoulder so he can see . Blaster is in b.g.<\/scene_description>\n    <character>SPIKE<\/character>\n    <dialogue>It's like a terrible nightmare, Ultra Magnus.<\/dialogue>\n    <character>BUMBLEBEE<\/character>\n    <dialogue>This thing - this juggernaut just ripped the first moon to shreds.<\/dialogue>\n    <character>SPIKE<\/character>\n    <dialogue>And it's heading this way.<\/dialogue>\n    <character>BUMBLEBEE<\/character>\n    <dialogue>We'll try'n slow it down.<\/dialogue>\n    <character>SPIKE<\/character>\n    <dialogue>But you'd better get here fast because. Suddenly, static obscures the transmission.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Dad!<\/dialogue>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>Autobots, prepare to board the shuttles. This new menace is more dangerous than all the Decepticons put together. Somehow we must destroy it before it devours Cybertron.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>But what about my dad? He's on the moon between that monster and Cybertron.<\/dialogue>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>Daniel, I'll do everything I can for Spike.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>And what are we going to do when we get there? If that thing crunches moons, it'll make short work of us.<\/dialogue>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>Maybe the Matrix can stop it.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>You're right! It can.<\/dialogue>\n    <character>KUP<\/character>\n    <dialogue>What do you know about it lad?<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>It's just a feeling.<\/dialogue>\n    <scene_description>Hot Rod looks up and sees something .<\/scene_description>\n    <character>KUP<\/character>\n    <dialogue>Look!<\/dialogue>\n    <scene_description>THE AUTOBOTS TURN TO SEE POV - ANGLE ON ATTACKING DECEPTICONS Decepticon ships seem to dive from nowhere to attack the Autobots .<\/scene_description>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>To the shuttles!<\/dialogue>\n    <scene_description>ANGLE ON DECEPTICON JETS Galvatron is in the lead .<\/scene_description>\n    <character>GALVATRON<\/character>\n    <dialogue>There is no escape. I, Galvatron will crush you just as the magnificent Megatron crushed Prime!<\/dialogue>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>And you'll die trying just like Megatron! Ultra Magnus fires Laser and hits Galvatron.<\/dialogue>\n    <character>GALVATRON<\/character>\n    <dialogue>aaaaaaaah! Autobot cur!<\/dialogue>\n    <character>CYCLONUS<\/character>\n    <dialogue>You want me to gut Ultra Magnus for you?<\/dialogue>\n    <character>GALVATRON<\/character>\n    <dialogue>There are plenty of Autobots for you. Ultra Magnus is mine!<\/dialogue>\n    <scene_description>THE BATTLE - QUICK CUT Decepticons dive on fleeing Autobots . ANGLE - ARCEE AND DANIEL As Daniel looks up and Arcee moves over to him protectively . Hot Rod looks at Arcee in the same way she is looking at Daniel .<\/scene_description>\n    <character>ARCEE<\/character>\n    <dialogue>Stay close to me, Daniel.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <parenthetical>( to Arcee . )<\/parenthetical>\n    <dialogue>And you better stay close to me. Arcee pulls Hot Rod toward her before he gets hit by laser<\/dialogue>\n    <character>ARCEE<\/character>\n    <dialogue>No, you'd better stay close to me. Blurr is trying to get Grimlock into Shuttle with the rest of the Dinobots as Decepticon FIRE COMES IN ALL AROUND. Grimlock is like a `` spooked horse'' refusing to be shut in the barn.<\/dialogue>\n    <character>BLURR<\/character>\n    <parenthetical>( pleading with him , shoving him , talking very , very rapidly . )<\/parenthetical>\n    <dialogue>Nice Dino, good, Dino, sweet Dino! Wo n't you step into the nice spaceship for Blurr? Please, pretty please.<\/dialogue>\n    <character>GRIMLOCK<\/character>\n    <parenthetical>( sticking head out past struggling Blurr . )<\/parenthetical>\n    <dialogue>Me, Grimlock, not `` nice Dino!'' Me bash brains!<\/dialogue>\n    <scene_description>HIS P.O.V. - SEVERAL DECEPTICON JETS COMING AT HIM<\/scene_description>\n    <character>GRIMLOCK<\/character>\n    <dialogue>He gives FIRE BREATHING BLAST AT JETS as they go by STRAFING THE<\/dialogue>\n    <scene_description>SHUTTLE , SHOTS RICOCHETING AROUND GRIMLOCK AND BLURR THE DECEPTICON JETS as Grimlock 's BLAST SETS THEM ALL ON FIRE and they spin into one another as we CHANGE ANGLE TO<\/scene_description>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>as Kup, Hot Rod and Arcee MOVE INTO SCENE BEHIND HIM<\/dialogue>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>Kup, Hot Rod. Get the Dinobots out of here!<\/dialogue>\n    <scene_description>KUP AND HOT ROD as they run into Dinobot Shuttle , retracting their entry ramp in HAIL OF FIRE FROM SCOURGE AND HIS SWEEPS .<\/scene_description>\n    <character>ON SCOURGE<\/character>\n    <dialogue>as he TRANSFORMS to Humanoid mode and shouts orders, FIRING AT Blurr who BLURRS PAST and then at Arcee who also SHIPS BY<\/dialogue>\n    <character>SCOURGE<\/character>\n    <dialogue>No survivors!<\/dialogue>\n    <scene_description>IN DINOBOT SHUTTLE as Hot Rod squeezes past Sludge Swoop , and Slag to join Kup who is already at control deck where Grimlock sticks his head down to look out the window . Kup shoves him aside .<\/scene_description>\n    <character>KUP<\/character>\n    <dialogue>This reminds me of the battle on Alpha 9, when the Petro - Rabbits were.<\/dialogue>\n    <parenthetical>( annoyed . )<\/parenthetical>\n    <dialogue>Grimlock, get your noodle out of my face!<\/dialogue>\n    <parenthetical>( starts throwing switches . )<\/parenthetical>\n    <dialogue \/>\n    <character>GRIMLOCK<\/character>\n    <dialogue>Me, Grimlock, love Kup's war stories!<\/dialogue>\n    <character>KUP<\/character>\n    <dialogue>You're living one now!<\/dialogue>\n    <parenthetical>( to Hot Rod . )<\/parenthetical>\n    <dialogue>Engage the boosters for Cybertron's sake! Hot Rod nods and quickly passes his hand over bank of SWITCHES all of which GLOW AND PULSE with the action.<\/dialogue>\n    <character>ANOTHER ANGLE<\/character>\n    <dialogue>as DECEPTICON FIREBALL COMES UP and SPLATTERS AGAINST WINDOW, sending tongues of fire running across the glass behind Hot Rod's head<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>You got'em!<\/dialogue>\n    <scene_description>BACK TO KUP AND GRIMLOCK Grimlock still trying to stick his face in the control panel as Kup works furiously and more DECEPTICON FIRE HITS THE SHIP<\/scene_description>\n    <character>GRIMLOCK<\/character>\n    <parenthetical>( to Kup . )<\/parenthetical>\n    <dialogue>Tell Grimlock about Petro - Rabbits again.<\/dialogue>\n    <character>KUP<\/character>\n    <parenthetical>( muttering , using joystick . )<\/parenthetical>\n    <dialogue>I'll give you Petro - Rabbits. Contact! The Shuttle lurches and shakes<\/dialogue>\n    <scene_description>ANGLE ON SHUTTLE WITH DINOBOTS It takes off amidst a hail of Decepticon fire .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Yaaaaaaaaho! We're airborne!<\/dialogue>\n    <character>GRIMLOCK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Groooooowwwwwrrrr!<\/dialogue>\n    <scene_description>ON CYCLONUS AND HIS `` WING '' OF PLANES as they bank down toward RISING SHUTTLE FAR BELOW .<\/scene_description>\n    <character>CYCLONUS<\/character>\n    <dialogue>Vaporize them!<\/dialogue>\n    <scene_description>Jets streak down toward upward rising Shuttle as we ANOTHER PART OF SHUTTLE LAUNCH AREA Springer springs onto scene with Daniel , Ultra Magnus and Perceptor are guarding the entry ramp , firing at Decepticons .<\/scene_description>\n    <character>SPRINGER<\/character>\n    <parenthetical>( to Daniel . )<\/parenthetical>\n    <dialogue>Looks like we're shipmates, squirt!<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>All right!<\/dialogue>\n    <character>SPRINGER<\/character>\n    <dialogue>But if you get space sick, you're gon na walk home.<\/dialogue>\n    <scene_description>ANOTHER ANGLE FEATURING ULTRA MAGNUS AND PERCEPTOR<\/scene_description>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>Hurry!<\/dialogue>\n    <scene_description>Blurr blurs up ramp . Arcee reaches the ramp as the shuttle takes off horizontally . ON BOARD THE SHUTTLE - ANGLE ON SPRINGER as he reaches down for Arcee .<\/scene_description>\n    <character>SPRINGER<\/character>\n    <dialogue>Jump.<\/dialogue>\n    <character>ON ARCEE<\/character>\n    <dialogue>still going up the ramp while the shuttle slowly leaves the ground.<\/dialogue>\n    <scene_description>Just as the wind and gravity are about to knock her off , she jumps up and . INSIDE THE SHUTTLE Springer grabs her hand and pulls her in , narrowly avoiding a barrage Daniel is watching , terrified .<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>That was close!<\/dialogue>\n    <scene_description>Concussion of Decepticon hit rocks the shuttle<\/scene_description>\n    <character>SPRINGER<\/character>\n    <dialogue>Believe it or not, this is the fun part.<\/dialogue>\n    <scene_description>IN `` COCKPIT '' OF ULTRA MAGNUS ' SHUTTLE Ultra Magnus is at control deck with Perceptor as they `` taxi '' for launch and we see oncoming Decepticon jets firing at them<\/scene_description>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>No time to preheat. Can this ship take it?<\/dialogue>\n    <character>PERCEPTOR<\/character>\n    <dialogue>With an accelerated ignition procedure the ceramic housings might create a magnetic flux.<\/dialogue>\n    <character>ULTRA MAGNUS<\/character>\n    <parenthetical>( baffled . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>SPRINGER<\/character>\n    <parenthetical>( ENTERING SHOT , reaches in and pushes joystick forward . )<\/parenthetical>\n    <dialogue>He says `` go for it!''<\/dialogue>\n    <scene_description>Powerful rockets ignite , and the shuttle SHAKES with the sound . ANGLE ON RUNWAY The Shuttle 's rockets surge , melting the pursuing Sweeps as the Shuttle hits the sky and soars upwards . ON DINOBOT SHUTTLE Cyclonus ' Jets fire on it , as we CHANGE ANGLE ON ULTRA MAGNUS ' SHUTTLE It roars up behind Cyclonus ' jets and overtakes and smashes through them , scattering them as it pulls up alongside the Dinobot shuttle<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINOBOT SHUTTLE- KUP AND HOT ROD IN \"COCKPIT\"<\/stage_direction>\n    <scene_description>Grimlock is peering out of the side ports .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>gives the thumbs up gesture.<\/dialogue>\n    <character>ANOTHER ANGLE<\/character>\n    <dialogue>INCLUDING Ultra Magnus' shuttle through side port as Springer gives thumbs up signal in return and Daniel waves<\/dialogue>\n    <character>ON SPRINGER<\/character>\n    <dialogue>as he turns and reacts, looking straight up and ahead<\/dialogue>\n    <character>SPRINGER<\/character>\n    <dialogue>It ought to be smooth sailin' from here on in.<\/dialogue>\n    <scene_description>ON ASTROTRAIN AND DECEPTICON JETS<\/scene_description>\n    <character>ASTROTRAIN<\/character>\n    <dialogue>Fuse them!<\/dialogue>\n    <scene_description>Astrotrain starts diving into upcoming Shuttles BLASTING AWAY .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINOBOT SHUTTLE - \"COCKPIT\"<\/stage_direction>\n    <scene_description>as Kup struggles to hold controls , his shuttle also ROCKING from direct hits<\/scene_description>\n    <character>KUP<\/character>\n    <parenthetical>( using intercom . )<\/parenthetical>\n    <dialogue>Ultra Magnus. what next?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ULTRA MAGNUS' SHUTTLE - \"COCKPIT\"<\/stage_direction>\n    <scene_description>shuttle ROCKS WITH DIRECT HITS as Ultra Magnus struggles with controls<\/scene_description>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>Remember what we did off Beta Four!<\/dialogue>\n    <character>KUP<\/character>\n    <dialogue>I remember it well.<\/dialogue>\n    <scene_description>ON THE SHUTTLES They fire -LRB- O.S. -RRB- at . A LARGE ASTEROID With incredible precision , the rays strike the asteroid , splitting it in two parts . ANGLE ON ONE OF THE ASTEROID HALVES It shoots through space and strikes another asteroid , which , breaks into several pieces , many of them angling back towards .<\/scene_description>\n    <character>GALVATRON'S SHIPS<\/character>\n    <dialogue>which swerve to avoid them as.<\/dialogue>\n    <scene_description>THE OTHER ASTEROID PART Hits another moon or asteroid or general rock in space , doing the same thing . WIDEN SHOT to show that the pieces are shooting around like pool balls after an incredibly violent break . zinging into each other . Narrowly missing Galvatron 's ship . Filling space with incredible amounts of Dust , lava from inside the moons , multi - colored gasses , explosions and generally making a mess of space . -LRB- Note : think of this scene as the `` Asteroids '' video game . -RRB- ANGLE ON THE AUTOBOT SHUTTLES As all of this is going on , they jam into hyperspace . Corkscrewing and arcing off into the galaxy , leaving only blurred images of themselves as .<\/scene_description>\n    <character>GALVATRON'S SHIP<\/character>\n    <dialogue>emerges from the chaos.<\/dialogue>\n    <scene_description>ON CYCLONUS<\/scene_description>\n    <character>CYCLONUS<\/character>\n    <dialogue>The explosions jammed my sensors.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>I have lost track of the Autobots!<\/dialogue>\n    <scene_description>ON GALVATRON<\/scene_description>\n    <character>GALVATRON<\/character>\n    <dialogue>Damn it! They did the same thing to me off Beta four!<\/dialogue>\n    <scene_description>DEEP AND SERENE SPACE - ULTRA MAGNUS ' SHUTTLE AND DINOBOT<\/scene_description>\n    <character>SHUTTLE<\/character>\n    <dialogue>Possible song - optimistic adventure with the suggestion that all dreams might not happen.<\/dialogue>\n    <scene_description>as both shuttles soar majestically through the vast depth of infinite space .<\/scene_description>\n    <character>ULTRA MAGNUS<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Congratulations Autobots, we've lost'em at least for a while. So rest up. We'll refuel on the Junk Planet and work out our battle plan there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINOBOT SHUTTLE - KUP<\/stage_direction>\n    <scene_description>Kup sits spinning yarns , leaning back in chair as Grimlock , Sludge , Slag and Swoop lie , lounge , sit with chin on hands , all listening like little kids to a bedtime story - in rapt attention<\/scene_description>\n    <character>KUP<\/character>\n    <dialogue>Yep, I remember the dust was so thick off Beta 4 had to use windshield wipers on your optic sensors.<\/dialogue>\n    <character>GRIMLOCK<\/character>\n    <parenthetical>( impatiently . )<\/parenthetical>\n    <dialogue>Me, Grimlock, know all about wipers! Want to hear good part of story!<\/dialogue>\n    <character>SWOOP<\/character>\n    <parenthetical>( beating wings rapidly , excitedly . )<\/parenthetical>\n    <dialogue>Good part, Kup! Tell Swoop good part!<\/dialogue>\n    <character>SLUDGE<\/character>\n    <dialogue \/>\n    <character>SLAG<\/character>\n    <parenthetical>( excitedly . )<\/parenthetical>\n    <parenthetical>( beating tail on Unh unh unh .<\/parenthetical>\n    <parenthetical>floor . )<\/parenthetical>\n    <dialogue>Good part. tell<\/dialogue>\n    <scene_description>tell .<\/scene_description>\n    <character>KUP<\/character>\n    <dialogue>Okay, Okay. The dust was really thick and then this gigantic Ick Yak.<\/dialogue>\n    <scene_description>ON HOT ROD He is practicing sparring with a SPINNING AUTO - COMBATANT - a very high tech quintain with many arms , legs , and weapons that test the user 's skills , and reflexes . Hot Rod wears sparring gauntlet , and holds a small LASER DAGGER and special shield . As he lowers shield and reacts to Dinobot reactions to Kup 's story .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>Do n't you think we have better things to do now than tell stories Kup?<\/dialogue>\n    <character>KUP<\/character>\n    <dialogue>Like what?<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>Like maybe figure out how we're gon na stay alive.<\/dialogue>\n    <character>DINOBOTS<\/character>\n    <parenthetical>( ALL SHUSH HIM . )<\/parenthetical>\n    <dialogue>As he is speaking, Auto - Combatant `` sees'' its opening and gives Hot Rod a swift kick in the rear, sending him flying.<\/dialogue>\n    <parenthetical>( o.s . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>THE AUTO COMBATANT Then hammers its fists on top of his head . ON HOT ROD Irked .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Time out, for Cybertron's sake!<\/dialogue>\n    <scene_description>ON AUTO - COMBATANT 'S FACE as it sticks out a metal tongue and gives him a LOUD RASPBERRY BACK TO SCENE as Hot Rod rises and draws his fist back to clobber the Auto - Combatant<\/scene_description>\n    <character>AUTO COMBATANT<\/character>\n    <parenthetical>( mechanically , quickly . )<\/parenthetical>\n    <dialogue>Time out, time out, time out! Suddenly, the shuttle rocks from impact and SPARKS and flames shoot out of large hole in wall<\/dialogue>\n    <scene_description>ON ULTRA MAGNUS AT CONSOLE INTERCOM<\/scene_description>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>Kup! Raise your force fields at once! They're armed with.<\/dialogue>\n    <scene_description>ON GALVATRON ON `` BRIDGE '' OF FLAT TOP as he presses firing button .<\/scene_description>\n    <character>ULTRA MAGNUS<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Moleculon Missiles!<\/dialogue>\n    <scene_description>ANGLE ON GALVATRON 'S CARRIER Particularly deadly looking missiles shoot out . ANGLE ON THE DINOBOT SHUTTLE It zooms towards a whopper of a planet , surrounded by several small moons . We will later learn that this planet is Quintesson , but for now , it 's mysterious . The moleculon missiles streak after it like sidewinders .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE DINOBOT SHUTTLE<\/stage_direction>\n    <scene_description>Kup and Hot Rod pilot the thing for all it 's worth .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>They're closing on us!<\/dialogue>\n    <character>KUP<\/character>\n    <dialogue>Yep, like the shrikebats of Dromedon!<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>Yeah, how'd you beat them?<\/dialogue>\n    <character>KUP<\/character>\n    <dialogue>I'm trying to remember. there were an awful lot of casualties that day.<\/dialogue>\n    <scene_description>ANGLE ON THE SHUTTLE AND MISSILES The missiles streak toward them .<\/scene_description>\n    <character>KUP<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Oh yeah, we inversed polarities.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>That'll tear the ship apart!<\/dialogue>\n    <character>KUP<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>You got a better idea?! With that, the ship seems to stop, on a dime, in mid air! The missiles zoom past it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE SHIP (KUP AND HOT ROD)<\/stage_direction>\n    <scene_description>Hot Rod watches wide - eyed , as Kup watches ahead warily , hands on the controls .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>Okay, so you were right.<\/dialogue>\n    <character>KUP<\/character>\n    <dialogue>Do n't run your programs until they're debugged.<\/dialogue>\n    <scene_description>ANGLE OUT THE VIEWSCREEN Suddenly , the moleculon missiles , reverse course and start coming back .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>They're coming back.<\/dialogue>\n    <character>KUP<\/character>\n    <dialogue>Let's just hope we've screwed up their trajectories.<\/dialogue>\n    <scene_description>ANGLE ON THE MISSILES The missiles sidewind towards them , then their paths cross and BOOOM ! Everything flashes white . ANGLE ON THE DINOBOT SHUTTLE<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>Whew!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE DINOBOT SHUTTLE<\/stage_direction>\n    <scene_description>Kup and Hot Rod look forward , their eyes , blinking , as if strained .<\/scene_description>\n    <character>KUP<\/character>\n    <dialogue>Yep, I thought we'd had it that time for sure.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANGLE ON THE SHIP<\/stage_direction>\n    <scene_description>It sits next to a gigantic alien - made moon . Suddenly , a hatch opens and a massive grabber that looks like a lobster claw shoots out at it . ANGLE ON HOT ROD He sees the claw coming out of the viewscreen .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>Dive!<\/dialogue>\n    <scene_description>ANGLE THROUGH THE VIEWSCREEN The claw snaps on the front of the ship , smashing the window and .<\/scene_description>\n    <character>ANOTHER ANGLE<\/character>\n    <dialogue>crushing the area between Hot Rod and Kup.<\/dialogue>\n    <scene_description>SPACE - ANGLE ON THE SHIP As it explodes , flinging the Autobots inside down toward the Quintesson 's planet . GALVATRON PURSUING ULTRA MAGNUS ' SHUTTLE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ULTRA MAGNUS' SHUTTLE - ULTRA MAGNUS, SPRINGER<\/stage_direction>\n    <scene_description>as they man control panel in cockpit . In the background , Blurr and Arcee work to patch other holes in hull and Daniel helps them . Perceptor slowly plots coordinates on light - up table , oblivious to SHAKES AND ROCKINGS of their ship .<\/scene_description>\n    <character>SPRINGER<\/character>\n    <dialogue>Kup and Hot Rod just bought it!<\/dialogue>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>I ca n't deal with that now.<\/dialogue>\n    <character>SPRINGER<\/character>\n    <dialogue>Face it, Magnus, the Decepticons're gon na dog us until they see us dead! Ultra Magnus nods solemnly<\/dialogue>\n    <character>ULTRA MAGNUS<\/character>\n    <parenthetical>( cryptic . )<\/parenthetical>\n    <dialogue>Then that's exactly what they're gon na see.<\/dialogue>\n    <scene_description>THE DECEPTICON FLAT TOP AND CYCLONUS ' ARMADA<\/scene_description>\n    <character>ON GALVATRON<\/character>\n    <dialogue>as he works controls which eject more Moleculon Missiles.<\/dialogue>\n    <scene_description>HIS P.O.V. - ULTRA MAGNUS ' SHUTTLE electrical outline envelopes it and there is a . blinding flash after which . remnants of the hull and superstructure explode toward camera and past camera accompanied by explosive sound and then , silence ! Where the shuttle had been there is now . nothing ! Just loose asteroids and clouds of space dust<\/scene_description>\n    <character>CYCLONUS<\/character>\n    <dialogue>The Autobots have been terminated!<\/dialogue>\n    <character>GALVATRON<\/character>\n    <dialogue>Excellent. And soon we shall say the same of that infernal Unicron. Suddenly, Galvatron's body begins to twist, and he writhes in pain.<\/dialogue>\n    <character>GALVATRON<\/character>\n    <parenthetical>( CONT . )<\/parenthetical>\n    <dialogue>Aaaah! Take me to Unicron. Aaaah!<\/dialogue>\n    <scene_description>LONG SHOT ON THE HUGE FLAT TOP as it veers off and away from the space cloud , followed by Cyclonus ' Armada . Hold for a beat , and then CLOSE IN on the dust cloud as . part of Ultra Magnus ' shuttle flies into the clear . ANGLE ON THE COCKPIT Arcee , Perceptor , Springer , Blurr are crowded together in cramped remnant of cockpit as Daniel and Ultra Magnus sit at the control deck<\/scene_description>\n    <character>ARCEE<\/character>\n    <dialogue>Did we have to detonate three - quarters of the ship?!<\/dialogue>\n    <character>SPRINGER<\/character>\n    <dialogue>Seeing how they would have detonated four quarters, I think it was a good choice. SUDDEN SHUDDER AND THE SHIP DROPS SHARPLY, all holding on to each other and to any protruding handhold<\/dialogue>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>Perceptor. can you still locate the Junk Planet?<\/dialogue>\n    <character>PERCEPTOR<\/character>\n    <dialogue>Gamma waves in this sector of space create marginal navigation probabilities, however.<\/dialogue>\n    <parenthetical>( looks at Ultra Magnus . )<\/parenthetical>\n    <dialogue \/>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>Holds his head in his hands as Springer grimaces<\/dialogue>\n    <scene_description>RESUME ON PERCEPTOR realizes he 's overdoing it again , clears his throat<\/scene_description>\n    <character>PERCEPTOR<\/character>\n    <dialogue>Ahem. yes I think I can.<\/dialogue>\n    <scene_description>LONG SHOT - SHUTTLE CHANGING COURSE TOWARD LARGE DISTANT PLANET which we see as dim shadow on the edge of space A small , falling object appears high above Quintesson and hurtles down , down , over and over until it is in view and we see it is .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>still cartwheeling down toward the planet below, trying to change the angle of his fall<\/dialogue>\n    <scene_description>HOT ROD - TRACKING He plummets down through layers of atmosphere and continues to fall past shiny rock pinnacles of unusual construction as we CHANGE ANGLES TO AERIAL VIEW OVER A VAST SEA OF LIQUID ENERGY as Hot Rod falls into the sea , we CUT TO THE SILVERY ENERGY SEA Hot Rod sinks to the bottom where he collides with . a metallic reef , bounces , manages to right himself , shaking his head as he regains equilibrium , and . Then he transforms into auto mode modified for undersea action and starts riding off as he calls through intercom .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <parenthetical>( bubbling , filtered voice . )<\/parenthetical>\n    <dialogue>Kup. Grimlock? Slag! Anybody? WE FOLLOW him through undersea world as he rounds a `` corner'' of the Reef Wall and reacts<\/dialogue>\n    <scene_description>HIS P.O.V. - A HUGE , MECHANICAL 0 SQUID CREATURE The ROBOTOID SQUID is tearing Kup to pieces and tossing the pieces across the ocean floor with its silvery metal tentacles ON HOT ROD<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>Kup!<\/dialogue>\n    <scene_description>He transforms and blasts .<\/scene_description>\n    <character>THE SQUID<\/character>\n    <dialogue>angrily streaks toward Hot Rod.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>Fires at the Squid, but not stopping him.<\/dialogue>\n    <character>ANOTHER ANGLE<\/character>\n    <dialogue>Hot Rod's shot plinks off a couple of tentacles, but the squid keeps coming.<\/dialogue>\n    <scene_description>Wraps his tentacles around Hot Rod and starts crushing . Hot Rod looks like he 's about to be crushed , but he . Shoots . Its hideous Optical Sensor .<\/scene_description>\n    <character>THE SQUID<\/character>\n    <dialogue>releases a laser print ink stream which boils out in the water in a series of dots and `` x'' shapes and retreats.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>Do n't worry, I'm not coming after you.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>lowers his head and blows blast of air through head - piece. The air blast clears the water, revealing Kup's head and torso half buried in the `` sand''<\/dialogue>\n    <scene_description>ON HOT ROD AND KUP 'S HEAD as hot Rod kneels<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>Kup! Say something!<\/dialogue>\n    <scene_description>CLOSE ON KUP 'S HEAD as he turns head around to look up at Hot Rod and spits out a mouthful of sand<\/scene_description>\n    <character>KUP<\/character>\n    <parenthetical>( bubbling as he speaks . )<\/parenthetical>\n    <dialogue>Fix me!<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>Sure, Kup. right away! Hot Rod rapidly PULLS KUP'S SCATTERED BODY PARTS TOGETHER.<\/dialogue>\n    <scene_description>KUP AND HOT ROD ON THE RED DESERT SHORE OF THE ENERGY SEA Kup stands impatiently while Hot Rod reassembles them .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>Well. what do you think? Kup feels his elbow joint, twists his neck side to side and gets creaks and squeaks and moves legs in odd, creaky way as he is trying himself out.<\/dialogue>\n    <character>KUP<\/character>\n    <parenthetical>( a beat , then grimaces . )<\/parenthetical>\n    <dialogue>There's a piece missing.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>No way.<\/dialogue>\n    <parenthetical>( sifts through pile of SCRAP METAL PARTS lying at Kup 's feet . )<\/parenthetical>\n    <dialogue>See, this was n't yours. it's some kind of prehistoric ion cruncher. and this doohickey looks like a funky energon funnel. and this.<\/dialogue>\n    <character>KUP<\/character>\n    <parenthetical>( moving up and back , bending arms and hands , CREAKING , CLUNKING , SQUEAKING . )<\/parenthetical>\n    <dialogue>Well, I still think I'm short a part!<\/dialogue>\n    <parenthetical>( sees Hot Rod hang his head . )<\/parenthetical>\n    <dialogue>But all things considered, you did an amazing job, lad! Amazing!<\/dialogue>\n    <character>HOT ROD<\/character>\n    <parenthetical>( brightening . )<\/parenthetical>\n    <dialogue>Really?<\/dialogue>\n    <character>KUP<\/character>\n    <parenthetical>( rotates arm rapidly . )<\/parenthetical>\n    <dialogue>Yeah, you even got rid of a nasty burr on my rotator! Now, let's find the Dinos and get off this twisted planet!<\/dialogue>\n    <character>ON KUP<\/character>\n    <dialogue>as he transforms it's evident that a fender is misplaced and a wheel mounted improperly so it wobbles and he rides unevenly with much chugging and oil spewing<\/dialogue>\n    <character>KUP<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( in vehicular mode . )<\/parenthetical>\n    <dialogue>Of all the circuit glitched diode blowin' dim - wittery. I told you a part was missin'.<\/dialogue>\n    <scene_description>we watch Hot Rod and Kup move off into the distance as we : ANOTHER PART OF QUINTESSON Kup and Hot Rod walk along a swampy , marshy area . Suddenly , there are several loud gurgles , and we can see the shapes of something terrible emerging through the muck . Hot Rod spins to fire , but Kup bats down his arm . PAN TO SHOW EIGHT SHARKTICONS -LRB- in humanoid mode -RRB- surrounding them . The Sharkticons are smaller than the Autobots , but they look ugly and vicious .<\/scene_description>\n    <character>KUP<\/character>\n    <dialogue>Do n't act hostile. I'll use the universal greeting.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>Universal Greeting.<\/dialogue>\n    <character>KUP<\/character>\n    <dialogue>Watch. I'll have them eating out of my hand.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>Or our faces.<\/dialogue>\n    <scene_description>Kup holds out his hands to show that he has no weapon . Then , he addresses them .<\/scene_description>\n    <character>KUP<\/character>\n    <dialogue>Bah - weep - Graaaaagnah wheep ni ni bong.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <parenthetical>( mocking , mimicking . )<\/parenthetical>\n    <dialogue>Bah - weep - Graaaaagnah wheep ni ni bong. The Sharkticons look interested.<\/dialogue>\n    <scene_description>SHARKTICONS -LRB- GROWL VERSION OF THE SAME THING -RRB-<\/scene_description>\n    <character>KUP<\/character>\n    <dialogue>See, the Universal Greeting works every time.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Now, without making any sudden moves, give them an Energon goody. Kup reaches into his belt, presses a button and pulls out an Energon cube. Hot Rod, somewhat suspicious of the whole process does the came.<\/dialogue>\n    <scene_description>They hold out the cubes and two of the Sharkticons take the Energon cubes , like dogs getting a treat . Then , the other six show up looking for cubes .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>This is getting expensive.<\/dialogue>\n    <character>KUP<\/character>\n    <dialogue>Do n't worry, they'll reciprocate. They each hand out three Energon goodies to the remaining six Sharkticons. The Sharkticons eat them happily. Then, they back off, eyeing the two Autobots with menace.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>I thought they were supposed to reciprocate.<\/dialogue>\n    <character>KUP<\/character>\n    <parenthetical>( not sure of himself . )<\/parenthetical>\n    <dialogue>Customs vary from place to place. Suddenly, the Sharkticons transform to their vicious mode and lunge at them.<\/dialogue>\n    <scene_description>The two robots , taken by surprise , fall backwards . PAN FROM the fallen robots to an area behind a tree . For just a moment , we see a small yellow Autobot in robot mode . There , then , as quickly as we realize what it is , it transforms into automode and vanishes in a flash . It was Wheelie . THE SHARKTICON CAMP ON QUINTESSON - KUP , HOT ROD AND SHARKTICONS Sharkticons march Kup and Hot Rod into a HOLDING PEN within a walled compound . As we FOLLOW THEM INTO PEN we PULL BACK and PAN to establish that entry procession is being watched by .<\/scene_description>\n    <character>THE QUINTESSONS<\/character>\n    <dialogue>slender, spindly framed robotic creatures with oversized five sided heads, each side bearing a different mechanistic face with a different expression on each - smiling, angry, grimacing, suspicious and the fifth face is not yet to be seen. As Hot Rod and Kup are led to certain death in the Quintesson dungeons, harsh, dissonant, metallic and terrifying music plays, underscoring the brutal evil they face,<\/dialogue>\n    <character>KUP<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Reminds me of the Niter Slave Mines on Golgonath Seven.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>Every place reminds you of some place else.<\/dialogue>\n    <character>KUP<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Experience, lad. You should learn to appreciate it.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>A lot of good it's done us so far!<\/dialogue>\n    <scene_description>ON HOT ROD AND KUP as Hot Rod looks around and reacts sharply HIS P.O.V. - THE QUINTESSONS as we feature the Leader Quintesson who is taller and wears a different color robe from others . He is watching arrival of Kup and Hot Rod and his faces rotate so it goes from smiling face to suspicious face to angry face to furious grimace . RESUME ON HOT ROD AND KUP as Sharkticons shove and prod them , JOLTING them into the holding pen and locking the gate . Then , they install RESTRAINING BOLTS .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>I ca n't transform!<\/dialogue>\n    <character>KUP<\/character>\n    <dialogue>They're restraining bolts, lad.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <parenthetical>( looking around . )<\/parenthetical>\n    <dialogue>We got to get a new travel agent. What is this place?<\/dialogue>\n    <scene_description>PAN FROM HIS P.O.V. - A SHADOWED , ALCOVE LIKE HUT as a figure moves forward slightly and speaks in a harsh , bass ' o voice . It is GRANIX . We saw him in the first scene , escaping from his planet when Unicron ate it . -LCB- Note : The script says * G * ranix here . Not my mistake . -RCB-<\/scene_description>\n    <character>KRANIX<\/character>\n    <dialogue>The world of the savage Sharkticons and their cruel masters the Quintessons. They hunt down those who try to escape the wrath of Unicron, and put them on trial.<\/dialogue>\n    <character>KUP<\/character>\n    <dialogue>But what if they're innocent?<\/dialogue>\n    <character>KRANIX<\/character>\n    <dialogue>Guilty or innocent, the sentence is always the same - death!<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>Unicron?! Who's Unicron?<\/dialogue>\n    <character>KRANIX<\/character>\n    <dialogue>A planet six times the size of this one that absorbs everything in its path.<\/dialogue>\n    <character>KUP<\/character>\n    <dialogue>So that's the monster's name.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>I wonder if there's any connection between it and Galvatron.<\/dialogue>\n    <scene_description>Suddenly , a Quintesson Guard roars in .<\/scene_description>\n    <character>QUINTESSON GUARD<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>That one!<\/dialogue>\n    <scene_description>All turn and look off , reacting as two Guards thunder in , grab Granix and pull him back out of the door . -LCB- NOTE : Another instance of the spelling of Granix -RCB- ANOTHER ANGLE - INCLUDING THE LEAD QUINTESSON as he points at Kup and Hot Rod<\/scene_description>\n    <character>QUINTESSON GUARD<\/character>\n    <dialogue>Soon, you too shall receive your sentence.<\/dialogue>\n    <scene_description>THEIR POV - OUT THE WINDOW THE ARENA Kranix stands on what almost looks like a wide diving board over a watery -LRB- or oily -RRB- pit teeming with Sharkticons .<\/scene_description>\n    <character>LEAD QUINTESSON<\/character>\n    <dialogue>Jury, have you reached a verdict?<\/dialogue>\n    <character>JUROR #1<\/character>\n    <dialogue>We have your honor.<\/dialogue>\n    <character>LEAD QUINTESSON<\/character>\n    <parenthetical>( to jury of Quintessons . )<\/parenthetical>\n    <dialogue>Guilty. Or innocent. I repeat.<\/dialogue>\n    <character>KRANIX<\/character>\n    <dialogue>Spare me this mockery of justice.<\/dialogue>\n    <character>LEAD QUINTESSON<\/character>\n    <dialogue>I repeat, guilty. or innocent.<\/dialogue>\n    <character>JURORS<\/character>\n    <dialogue>Guilty!<\/dialogue>\n    <scene_description>Jury 's faces rotate to fifth expression - a DEATH 'S HEAD ON GRANIX -LCB- NOTE : Yet another , final , reference to Kranix as Granix -RCB- Suddenly , the Robot is dumped into a pit of teeming Sharkticons and there is a mad frenzy . In moments , he is no more . ANGLE ON KUP He watches grimly through the bars .<\/scene_description>\n    <character>KUP<\/character>\n    <dialogue>Not the end I'd wish for, lad.<\/dialogue>\n    <scene_description>THE EDGE OF A HUGE , SHADOWY PLANET IN SPACE as Ultra Magnus ' Shuttle is BUFFETED BY WINDS AND STORMS as it enters the atmosphere of JUNKION .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE SHUTTLE<\/stage_direction>\n    <scene_description>as it SHAKES AND RATTLES VIOLENTLY<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Where are we, Springer?<\/dialogue>\n    <character>SPRINGER<\/character>\n    <dialogue>The place where everything ends up after you throw it out.<\/dialogue>\n    <scene_description>TIGHT ON BLURR as he holds up hands and CROSSES fingers . RESUME ON SPRINGER Tenses and crouches protectively around Arcee and Daniel as we see mountains of junk whizz past the window .<\/scene_description>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>Brace for impact!<\/dialogue>\n    <scene_description>ON SHUTTLE - TRACKING It plummets through the mountains and canyons of junk , narrowly avoiding crashing , but frequently hitting junk pinnacles or sides of junk walls , and causing avalanches of junk . By the time the ship lands , it is nearly indistinguishable from the junk .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE SHUTTLE<\/stage_direction>\n    <scene_description>Everyone is in a jumbled tangle - Ultra Magnus beneath Blurr , Perceptor upside down and hanging from torn end of stairway , Arcee crouched over Daniel and Springer with half his body sticking through the hull<\/scene_description>\n    <character>SPRINGER<\/character>\n    <parenthetical>( pulling himself free of hull wall . )<\/parenthetical>\n    <dialogue>Remind me to give the Auto Pilot a raise. Daniel creeps out from under Arcee and shakes bits of broken metal and dust off his shoulders<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Wow! That was better'n the Roller Coaster at Future World!<\/dialogue>\n    <character>PERCEPTOR<\/character>\n    <parenthetical>( working scanner , computer device , thoughtfully . )<\/parenthetical>\n    <dialogue>The composition of this planet seems to be a chaotic amalgam of discarded ferrous and non - ferrous articulations.<\/dialogue>\n    <character>ULTRA MAGNUS<\/character>\n    <parenthetical>( baffled . )<\/parenthetical>\n    <dialogue>How's that?<\/dialogue>\n    <character>SPRINGER<\/character>\n    <parenthetical>( opening hull door with a RIPPING OF METAL . )<\/parenthetical>\n    <dialogue>He says the planet's made of junk.<\/dialogue>\n    <scene_description>SPRINGER AND PERCEPTOR AT OPEN DOOR as they look out on landscape of `` living '' junk<\/scene_description>\n    <character>SPRINGER<\/character>\n    <dialogue>Yep, this dump is a dump.<\/dialogue>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>as he straps on TOOL BELT<\/dialogue>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>We might be able to salvage this thing.<\/dialogue>\n    <parenthetical>( checks LASER DRILL , turns it on , off . )<\/parenthetical>\n    <dialogue>Ultra Magnus starts for door followed by Blurr who takes up a saw and tool belt and Perceptor who rolls up Shuttle Plans as Daniel moves out to join them<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Can I help, too?<\/dialogue>\n    <character>SPRINGER<\/character>\n    <dialogue>It's rough out there, kid. Stay inside and play with crayons or something.<\/dialogue>\n    <character>ARCEE<\/character>\n    <dialogue>as she steps forward with a smile, a strange GRID LIKE `` SUIT'' in her hand<\/dialogue>\n    <character>ARCEE<\/character>\n    <dialogue>I think Daniel can make himself useful with. this! It used to be Spike's.<\/dialogue>\n    <parenthetical>( holds Grid - like metal frame `` suit '' . )<\/parenthetical>\n    <dialogue \/>\n    <character>DANIEL<\/character>\n    <dialogue>Wow! Dad's exo - suit. He told me about it but I never saw it.<\/dialogue>\n    <character>ARCEE<\/character>\n    <dialogue>Here, try it on.<\/dialogue>\n    <scene_description>She starts helping him into the exo - suit .<\/scene_description>\n    <character>ON DANIEL<\/character>\n    <dialogue>as he gets inside the `` suit'' which fits over his body like a grid - work metal `` cage.''<\/dialogue>\n    <scene_description>Daniel clips `` cage '' of Exo - Suit shut and stands up inside the gridwork which makes him taller and broader . He moves awkwardly , barely able to advance a step<\/scene_description>\n    <character>SPRINGER<\/character>\n    <dialogue>Just think about what you want to do before you do it!<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>brows knitted, thinking.<\/dialogue>\n    <character>SPRINGER<\/character>\n    <dialogue>Do n't fight it Dan - O.<\/dialogue>\n    <scene_description>He suddenly starts moving rapidly backwards , then sideways , then forward , then he starts dancing rapidly , then bounces off walls . spinning upside down , then flips over several times and lands in a splatter , legs spread , arms this way and that - amused , startled and unhurt .<\/scene_description>\n    <character>DANIEL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>It's kind of tricky.<\/dialogue>\n    <scene_description>He suddenly flips around twice in mid - air then regains his feet and leans way over against Arcee for support . She laughs and pats his shoulder<\/scene_description>\n    <character>ARCEE<\/character>\n    <dialogue>For the first time out, you were great!<\/dialogue>\n    <scene_description>ON SPRINGER AT DOOR as he sends down RAMP and motions to the others curtly<\/scene_description>\n    <character>SPRINGER<\/character>\n    <dialogue>Show time's over! We've got work to do!<\/dialogue>\n    <parenthetical>( he starts out . )<\/parenthetical>\n    <dialogue \/>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE SHUTTLE<\/stage_direction>\n    <scene_description>as Springer , Arcee , Daniel et.al . come down the ramp and look around at the lush `` vegetation '' of growing junk clumps all around them and a long vista of junk mountains and spires of weathered junk - rock .<\/scene_description>\n    <character>DANIEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( whistles . )<\/parenthetical>\n    <dialogue>This must be the junk capital of the universe!<\/dialogue>\n    <scene_description>LONG SHOT - DANIEL AND THE OTHERS as they start DIGGING for parts to repair the ship , sinister Junkions begin to emerge from the junk to watch them . Their leader , WRECK - GAR , speaks to his fellow Junkions .<\/scene_description>\n    <character>WRECK-GAR<\/character>\n    <parenthetical>( in guttural , rusty , metallic rumble . )<\/parenthetical>\n    <dialogue>Stop thief! No welcome - wagon, `` hello stranger!'' that good coffee flavor<\/dialogue>\n    <character>OTHER JUNKIONS<\/character>\n    <dialogue>Yeah, or your money back! Wreck - Gar shows large JUNK GUN with all sorts of razor sharp fins and rusty little rocket missiles mounted around the howitzer like barrel<\/dialogue>\n    <character>WRECK-GAR<\/character>\n    <dialogue>Operators are standing by! They laugh in guttural, clanking sounds and look out at Springer and the others who keep working as we<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   THE GATE TO THE QUINTESSON PALACE<\/stage_direction>\n    <scene_description>At first , we see only the face of a sinister Quintesson gatekeeper , backed up by heavily armed Sharkticons .<\/scene_description>\n    <character>QUINTESSON<\/character>\n    <dialogue>Greetings, noble strangers.<\/dialogue>\n    <scene_description>ANGLE ON THE DINOBOTS They stand at the gate , looking more like kids showing up at your door wondering if you can come out and play , than like serious robots on a serious mission .<\/scene_description>\n    <character>GRIMLOCK<\/character>\n    <dialogue>Yes, me, Grimlock, noble! Me, Grimlock search for friends.<\/dialogue>\n    <scene_description>ANGLE ON QUINTESSON AND GRIMLOCK The Quintesson , showing his friendly face , smiles .<\/scene_description>\n    <character>QUINTESSON<\/character>\n    <dialogue>And who might they be?<\/dialogue>\n    <character>GRIMLOCK<\/character>\n    <dialogue>Autobots. Hot Rod and Kup.<\/dialogue>\n    <character>QUINTESSON<\/character>\n    <parenthetical>( feigning recognition . )<\/parenthetical>\n    <dialogue>Oh yes. A young one and an old one.<\/dialogue>\n    <character>GRIMLOCK<\/character>\n    <dialogue>Yes. You know friends. Where are they?<\/dialogue>\n    <character>QUINTESSON<\/character>\n    <dialogue>They went down that path. He points to.<\/dialogue>\n    <character>A PATH<\/character>\n    <dialogue>It probably is n't lined with primroses, but it should be.<\/dialogue>\n    <character>GRIMLOCK<\/character>\n    <dialogue>GRIMLOCK You good friend to Grimlock. I reward you, sometime.<\/dialogue>\n    <scene_description>With that , the four Dinobots head towards the `` primrose path . '' ANGLE ON THE QUINTESSON His head rotates and he smiles a sinister , evil smile .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNICRON<\/stage_direction>\n    <scene_description>Galvatron stands upon the demonic planet , in an extremely contorted position .<\/scene_description>\n    <character>GALVATRON<\/character>\n    <dialogue>Why do you torture me?!<\/dialogue>\n    <scene_description>VARIOUS ANGLES ON UNICRON We have no idea where this godly voice is coming from , but this place sure is spooky .<\/scene_description>\n    <character>UNICRON<\/character>\n    <dialogue>You have failed.<\/dialogue>\n    <character>GALVATRON<\/character>\n    <dialogue>No, Unicron. Ultra Magnus is dead.<\/dialogue>\n    <character>UNICRON<\/character>\n    <dialogue>Then where is the matrix?<\/dialogue>\n    <character>GALVATRON<\/character>\n    <dialogue>Destroyed, with him.<\/dialogue>\n    <character>UNICRON<\/character>\n    <dialogue>The matrix can not be destroyed.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>And Ultra Magnus lives on the planet of Junk. Stalk him. Cut him open! And bring the matrix to me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE PRIMROSE PATH<\/stage_direction>\n    <scene_description>They step along the primrose path , not noticing as sinister things start to happen all around them . ANGLE ON A METAL EATING PLANT This thing looks like a metal version of a `` venus fly trap , '' and it has a malevolent red eye which lights up . Swoop walks past it in humanoid mode . SNAP ! It misses him by an inch .<\/scene_description>\n    <character>GRIMLOCK<\/character>\n    <dialogue>Me Grimlock, positive Hot Rod and Kup close! Get thump, thump, thump.<\/dialogue>\n    <parenthetical>( taps his head hard . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>ANGLE ON THE GROUND - IN FRONT OF SLAG Suddenly , a section of stones drop away in front of Slag revealing a spiked pit .<\/scene_description>\n    <character>SLAG<\/character>\n    <dialogue>Me, Slag say you are full of beryllium balony. He is just about to fall in when.<\/dialogue>\n    <scene_description>ANGLE ON GRIMLOCK AND SLAG Grimlock , in dino mode , slaps him with his tail , knocking him away an instant before he steps into the hole .<\/scene_description>\n    <character>GRIMLOCK<\/character>\n    <dialogue>Me, Grimlock, say you full of cesium salami! Slag gets up.<\/dialogue>\n    <character>SLAG<\/character>\n    <dialogue>Beryllium balony!<\/dialogue>\n    <character>GRIMLOCK<\/character>\n    <dialogue>Argh!<\/dialogue>\n    <scene_description>ANGLE ON GRIMLOCK He is about to pounce on Slag when a massive tree , which is actually more like a sword , suddenly is spring and arcs toward him . The machete like blade strikes the ground , between Grimlock and Slag narrowly missing them . He turns and sees the thing stocking in the ground .<\/scene_description>\n    <character>GRIMLOCK<\/character>\n    <dialogue>Me, Grimlock think trees here are cheap model.<\/dialogue>\n    <character>SLAG<\/character>\n    <dialogue>Like your head!<\/dialogue>\n    <parenthetical>( laughs at own joke . )<\/parenthetical>\n    <dialogue>Grimlock jumps on Slag and wrestles him to the ground. Suddenly, a SQUEAKY, ODDLY CHILDISH VOICE speaks from o.s.<\/dialogue>\n    <character>SQUEAKY VOICE<\/character>\n    <parenthetical>( WHEELIE . )<\/parenthetical>\n    <dialogue>Friends find. Look behind.<\/dialogue>\n    <character>GRIMLOCK<\/character>\n    <parenthetical>( furious . )<\/parenthetical>\n    <dialogue>Who say that?<\/dialogue>\n    <scene_description>HIS P.O.V. - WHEELIE WHEELIE is the Wolf Boy of Quintesson - an Autobot who 's been evading the Sharkticons since his parents ' ship crashed , killing everybody else in his party . He wears a necklace of Sharkticon teeth , packs a three bladed laser knife and a special SLING which hurls FIRE STONES . He fears nothing , especially the Dinobots , and he cockily struts into the clear . walks right up Sludge 's tail onto Sludge 's back and then shinnies up his neck and jumps onto . Slag 's head where he stands eye to eye with Grimlock<\/scene_description>\n    <character>WHEELIE<\/character>\n    <dialogue>Friends find. Look behind. Many Face lie. You fool! You buy!<\/dialogue>\n    <scene_description>GRIMLOCK AND WHEELIE<\/scene_description>\n    <character>GRIMLOCK<\/character>\n    <parenthetical>( eyes blaze , furious . )<\/parenthetical>\n    <dialogue>Me, Grimlock, `` fool?''<\/dialogue>\n    <character>WHEELIE<\/character>\n    <parenthetical>( smiling breezily . )<\/parenthetical>\n    <dialogue>Picture you got. Now fool you not!<\/dialogue>\n    <parenthetical>( he laughs in a wild , metallic cackle . )<\/parenthetical>\n    <dialogue>Grimlock raises a claw to swipe Wheelie off Slag's head<\/dialogue>\n    <character>GRIMLOCK<\/character>\n    <dialogue>Me, Grimlock, no like you!<\/dialogue>\n    <character>ON WHEELIE<\/character>\n    <dialogue>as he scowls and quickly loads FIRESTONE IN SLING and slings it onto Grimlock's nose where it EXPLODES making Grimlock yowl and pull back, feeling his reddened nose and speaking through his nose angrily<\/dialogue>\n    <character>GRIMLOCK<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Doooooooow! Why boy hit by dose?<\/dialogue>\n    <character>WHEELIE<\/character>\n    <parenthetical>( folds arms across his chest . )<\/parenthetical>\n    <dialogue>Wheelie say, find friends today!<\/dialogue>\n    <parenthetical>( nods defiantly . )<\/parenthetical>\n    <dialogue>Grimlock and Slag react as we<\/dialogue>\n    <scene_description>THE QUINTESSON `` COURTROOM '' Kup and Hot Rod stand on the platform over the Sharkticon pit . They are `` bound '' by restraining bolts . ANGLE ON THE QUINTESSON JUDGE<\/scene_description>\n    <character>QUINTESSON JUDGE<\/character>\n    <dialogue>Before we deliver your verdict, would you like to beg for your lives?<\/dialogue>\n    <scene_description>ANGLE ON KUP AND HOT ROD Kup turns to Hot Rod .<\/scene_description>\n    <character>KUP<\/character>\n    <dialogue>Remember when you put me together today?<\/dialogue>\n    <character>HOT ROD<\/character>\n    <parenthetical>( sarcastic . )<\/parenthetical>\n    <dialogue>Sure, that's all I got to think about.<\/dialogue>\n    <character>KUP<\/character>\n    <dialogue>I know what part you forgot.<\/dialogue>\n    <character>QUINTESSON JUDGE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Silence or I'll hold you in contempt of this court.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>I have nothing but contempt for this court.<\/dialogue>\n    <scene_description>ANGLE ON THE QUINTESSON JUDGES Suddenly , their heads swivel around to deaths heads . ON KUP AND HOT ROD The platform drops away and they tumble . KUP AND HOT ROD - TRACKING Suddenly , Kup in double - jointed fashion slips out of the restraining bolt .<\/scene_description>\n    <character>KUP<\/character>\n    <dialogue>That doohickey you lost was part of my shoulder socket. Watch this, lad. without it, I'm double jointed as Houdini.<\/dialogue>\n    <scene_description>Then , he transforms to humanoid mode and shoots off Hot Rod 's bolt .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>Wish you'd figured that out a little sooner.<\/dialogue>\n    <character>KUP<\/character>\n    <dialogue>Better late than never!<\/dialogue>\n    <scene_description>ANGLE ON THE SHARKTICON PIT In full humanoid mode , they land , their weapons drawn . ANGLE ON ALL Kup and Hot Rod fire , driving some Sharkticons back .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>They've got more Sharkticons than we have photon charges!<\/dialogue>\n    <scene_description>Kup transforms to Auto mode .<\/scene_description>\n    <character>KUP<\/character>\n    <dialogue>Let's hold a demolition derby! Then, he roars into a bunch of them, slamming a massive stack into the wall.<\/dialogue>\n    <scene_description>ANGLE ON HOT ROD He transforms , too and does the same thing . ANGLE ON THE SHARKTICON PIT As fast as the Autobots can run the miserable things over , new swarms of them come out . ANGLE ON KUP AND HOT ROD They clear out a circle in the center of the pit and transform to humanoid mode .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>Did n't even bend a fender.<\/dialogue>\n    <character>KUP<\/character>\n    <dialogue>Yeah, but look. There are a lot more of those cam dinging, grill - crackin' things.<\/dialogue>\n    <scene_description>WHAT HE SEES is a wave of larger , more powerful Sharkticons .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>We ca n't hold out forever, but we can give them one whopper of a repair bill.<\/dialogue>\n    <scene_description>ANGLE ON THE SHARKTICONS They charge Kup and Hot Rod Kup and Hot Rod fire into them , destroying several , but are . Soon overrun . The Sharkticons crawl all over them , munching on their metal . SUDDENLY -<\/scene_description>\n    <character>DINOBOTS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( WAR WHOOP . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>ANGLE ON THE DINOBOTS They fly down and land on the pile , transforming into Dinobot mode . ASSORTED SHOTS OF DINOBOT CARNAGE SLUDGE in brontosaurus mode , swats several around with his tail , while stomping them with his feet .<\/scene_description>\n    <character>GRIMLOCK<\/character>\n    <dialogue>Lowers his teeth to devour a much smaller Sharkticon, the Sharkticon bares his teeth, realizes that he's a second stringer, and scampers away.<\/dialogue>\n    <character>GRIMLOCK<\/character>\n    <dialogue>Me Grimlock want to munch metal! Slag barrels into Sharkticons, making a quick shishkebob out of them, while.<\/dialogue>\n    <scene_description>Swoop picks two up with his claws , flies in the air and drops them on other Sharkticons .<\/scene_description>\n    <character>THE SHARKTICONS<\/character>\n    <dialogue>suddenly back off and begin transforming.<\/dialogue>\n    <parenthetical>( bowing . )<\/parenthetical>\n    <dialogue>to the dinobots.<\/dialogue>\n    <scene_description>ANGLE ON ALL Kup and Hot Rod dig themselves out of a pile of Sharkticon parts .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>I never thought I'd be so happy to see those big bozos.<\/dialogue>\n    <scene_description>ANGLE ON GRIMLOCK He turns to Hot Rod .<\/scene_description>\n    <character>GRIMLOCK<\/character>\n    <dialogue>Me Grimlock no bozo. Me king!<\/dialogue>\n    <scene_description>ANGLE ON QUINTESSON JUDGES They look down , their angry faces showing .<\/scene_description>\n    <character>QUINTESSON JUDGE<\/character>\n    <dialogue>Sharkticons! Execute them.<\/dialogue>\n    <scene_description>ANGLE ON GRIMLOCK He points to the Quintessons .<\/scene_description>\n    <character>GRIMLOCK<\/character>\n    <dialogue>Me Grimlock say execute them.<\/dialogue>\n    <character>THE SHARKTICONS<\/character>\n    <dialogue>for a brief instant, do n't seem to know what to do. Then, they charge the Quintessons.<\/dialogue>\n    <character>THE CHASE<\/character>\n    <dialogue>The Quintessons start to flee, but it's clear that the Sharkticons, who climb over the stacked bodies of other Sharkticons, are going to catch them.<\/dialogue>\n    <character>KUP<\/character>\n    <dialogue>I think the problems on this planet will be solved very shortly.<\/dialogue>\n    <scene_description>ON HOT ROD<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>But what about our problems. We need a ship.<\/dialogue>\n    <character>WHEELIE<\/character>\n    <dialogue>WHEELIE You get a ship if I get a trip.<\/dialogue>\n    <scene_description>ANGLE ON HOT ROD He turns to the little , feral , robot .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>Who are you.<\/dialogue>\n    <scene_description>SLAG AND WHEELIE The dinobot lifts up Wheelie .<\/scene_description>\n    <character>SLAG<\/character>\n    <dialogue>Him Wheelie, him friend.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>HOT ROD He'll be mine too, if he can find a Quintesson ship.<\/dialogue>\n    <scene_description>ANGLE ON WHEELIE He points into the distance . WHAT WE SEE is the strangest looking corkscrew ship we 've every seen sticking out of the ground .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>That's a ship?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE SECOND MOON OF CYBERTRON<\/stage_direction>\n    <scene_description>PAN ACROSS an enormous stockpile of weaponry as we hear the terrible roar we have come to associate with Unicron .<\/scene_description>\n    <character>SPIKE<\/character>\n    <dialogue>If this does n't do it, nothing will.<\/dialogue>\n    <scene_description>ANGLE ON SPIKE He sets a timer to 20 seconds . The L.E.D. clicks down .<\/scene_description>\n    <character>BUMBLEBEE<\/character>\n    <dialogue>now with a new bumpersticker which is a Unicron with a red circle and slash through it, looks very fidgety.<\/dialogue>\n    <character>BUMBLEBEE<\/character>\n    <dialogue>Let's get out of here.<\/dialogue>\n    <scene_description>BUMBLEBEE AND SPIKE They run over to a small space ship as . The timer counts down .<\/scene_description>\n    <character>THE SPACESHIP<\/character>\n    <dialogue>takes off.<\/dialogue>\n    <scene_description>ANGLE ON THE SECOND MOON Now , for the first time , we see what is really going on . Unicron looms behind it , about to do the big munch . ANGLE ON BUMBLEBEE AND SPIKE They roar away .<\/scene_description>\n    <character>ON UNICRON<\/character>\n    <dialogue>His mist surrounds the planet.<\/dialogue>\n    <scene_description>ON BUMBLEBEE AND SPIKE They stop their ship in space .<\/scene_description>\n    <character>BUMBLEBEE<\/character>\n    <dialogue>Five, four, three, two, one.<\/dialogue>\n    <scene_description>ON THE SECOND MOON AND UNICRON BLAMMMOLA ! An incredible display of fireworks goes off , seemingly blowing Unicron to smithereens . ON BUMBLEBEE AND SPIKE They slap palms . Then , they look up , horrified .<\/scene_description>\n    <character>BUMBLEBEE<\/character>\n    <dialogue>It is n't even dented.<\/dialogue>\n    <character>SPIKE<\/character>\n    <dialogue>Let's get out of here!<\/dialogue>\n    <character>ON UNICRON<\/character>\n    <dialogue>The great Maw opens and we hear a grand cosmic roar! Suddenly, the smoke and space junk from the explosion are sucked into his mouth.<\/dialogue>\n    <scene_description>ON BUMBLEBEE AND SPIKE They try to fly away .<\/scene_description>\n    <character>SPIKE<\/character>\n    <dialogue>We're being sucked into it!<\/dialogue>\n    <scene_description>ANGLE ON THEIR SHIP AND UNICRON Despite the fact that their thrusters are on full power , they are still sucked into . UNICRON . Whose great mouth shuts when he 's got the human and the Autobot . DEEP SPACE - THE PLANET JUNKION ANGLE ON ULTRA MAGNUS ' SHUTTLE as Arcee and Springer work on the ship , while Perceptor watches .<\/scene_description>\n    <character>PERCEPTOR<\/character>\n    <dialogue>Be sure the fittings are securely welded!<\/dialogue>\n    <scene_description>ANGLE ON BLURR as he uses FLAME JETS FROM FINGER TIPS TO WELD joints where new `` canopy '' is fitted<\/scene_description>\n    <character>BLURR<\/character>\n    <parenthetical>( very fast , as usual . )<\/parenthetical>\n    <dialogue>Absolutely, positively, definitely.<\/dialogue>\n    <scene_description>WIDE SHOT TO INCLUDE DANIEL as he helps Blurr install a junk part .<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>This exo - suit is fantastic!<\/dialogue>\n    <parenthetical>( to Blurr . )<\/parenthetical>\n    <dialogue>Want me to do that?<\/dialogue>\n    <character>BLURR<\/character>\n    <dialogue>Weld? You? Really? Well, why not? Give it a try, but think it through first! Daniel knits his brow, extends FINGER OF EXO - GLOVE which is part of exo - suit.<\/dialogue>\n    <scene_description>CLOSE ON EXO GLOVE AND DANIEL 'S HAND as hand quivers and his finger shoots out a tiny flame which sputters , sparks and then goes out like a wet match RESUME ON BLURR AND DANIEL<\/scene_description>\n    <character>BLURR<\/character>\n    <dialogue>Practice, practice, practice!<\/dialogue>\n    <scene_description>WRECK - GAR AND JUNKIONS IN HIDING Wreck - Gar starts to motion them to the attack , and the Junkions ready their weapons .<\/scene_description>\n    <character>WRECK-GAR<\/character>\n    <dialogue>Forward, avanti, apfel and like, go for gusto.<\/dialogue>\n    <parenthetical>( stops as OMINOUS ROAR comes from overhead and he looks up . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>HIS P.O.V. - GALVATRON AND HUGE DECEPTICON FORCE<\/scene_description>\n    <character>WRECK-GAR<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Hang on, this be industrial strength We watch.<\/dialogue>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>as he, too, hears and then looks up and sees the Decepticon force<\/dialogue>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>Decepticons!<\/dialogue>\n    <parenthetical>( to Springer . )<\/parenthetical>\n    <dialogue>We've got to draw them off and then double back to the ship!<\/dialogue>\n    <scene_description>ANGLE ON CYCLONUS with Galvatron piloting , races up and launches a particularly nasty looking missile which streaks INTO SHOT and . ANGLE ON ULTRA MAGNUS ' SHIP . BLAMMOLA ! Turns it into junk . Springer FIRES UP at INCOMING JETS , calling to the others<\/scene_description>\n    <character>SPRINGER<\/character>\n    <dialogue>Cancel that last order.<\/dialogue>\n    <scene_description>ON ARCEE , DANIEL , BLURR as Arcee transforms and moves off in one direction . Daniel looks at Blurr who is starting to transform<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>What do I do?<\/dialogue>\n    <character>BLURR<\/character>\n    <dialogue>Transform! You can do.<\/dialogue>\n    <parenthetical>( TRANSFORMATION complete , he blurs off and , in V.O. adds . )<\/parenthetical>\n    <dialogue>. it!<\/dialogue>\n    <scene_description>Blurr GOES OFF outblurring past HAIL OF LASER FIRE from Ramjet scorching by overhead<\/scene_description>\n    <character>ON DANIEL<\/character>\n    <dialogue>as he reacts, looks around, thinks, brows knitting, looking off, reacting<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Transform.<\/dialogue>\n    <scene_description>HIS P.O.V. - SCAVENGER Coming at him from one side , Shrapnel coming from the other side<\/scene_description>\n    <character>ON SCAVENGER<\/character>\n    <dialogue>as he starts reaching for Daniel<\/dialogue>\n    <character>SCAVENGER<\/character>\n    <dialogue>Human germ!<\/dialogue>\n    <character>ON DANIEL<\/character>\n    <dialogue>as his Exo - Suit SUDDENLY TRANSFORMS INTO auto mode and takes off and drives through.<\/dialogue>\n    <scene_description>SCAVENGER AND SHRAPNEL , knocking them over .<\/scene_description>\n    <character>DANIEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Wooooh!<\/dialogue>\n    <character>GALVATRON<\/character>\n    <dialogue>flies up to a ridge in advance of his forces, motioning to them to split off and follow.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JUNKION - THE CHASE<\/stage_direction>\n    <scene_description>BIRD 'S EYE VIEW - THE AUTOBOTS They dash through the maze - like walls of junk , pursued by Sweeps , who strike them from above .<\/scene_description>\n    <character>SWEEP<\/character>\n    <dialogue>He lets out a rayblast.<\/dialogue>\n    <scene_description>ANGLE ON PERCEPTOR - TRACKING . Hitting Perceptor and spinning him around . Until he stumbles to the ground . ANGLE ON PERCEPTOR AND ULTRA MAGNUS . Perceptor lies on the ground , stunned . Ultra Magnus stops next to him .<\/scene_description>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>Perceptor!<\/dialogue>\n    <scene_description>Suddenly , shots tear into the junk all around them as . ANGLE ON A SWEEP ROARS towards them . ANGLE ON PERCEPTOR He suddenly transforms to cannon mode and fires ! Blowing the sweep to protons .<\/scene_description>\n    <character>ON PERCEPTOR<\/character>\n    <dialogue>He transforms to humanoid mode.<\/dialogue>\n    <character>PERCEPTOR<\/character>\n    <dialogue>It appears that my lacerations were primarily superficial.<\/dialogue>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>Then move it.<\/dialogue>\n    <scene_description>ANGLE ON PERCEPTOR He takes off .<\/scene_description>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>Stays behind, taking a few shots at.<\/dialogue>\n    <character>SWEEPS<\/character>\n    <dialogue>which streak over in deadly formations.<\/dialogue>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>He stands and shoots.<\/dialogue>\n    <character>SPRINGER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Ultra Magnus!<\/dialogue>\n    <scene_description>Ultra Magnus turns to see . THE OTHER AUTOBOTS several yards down the junk - lined corridor .<\/scene_description>\n    <character>PERCEPTOR<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Your estimated survival time is 10 seconds.<\/dialogue>\n    <scene_description>ANGLE ON ULTRA MAGNUS He shoots at the junk walls .<\/scene_description>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>Then use that time to escape! The Matrix was designed for an emergency like this. I'll try to unleash its power.<\/dialogue>\n    <character>SPRINGER<\/character>\n    <dialogue>But what if it does n't work.<\/dialogue>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>Until all are one!<\/dialogue>\n    <scene_description>THE OTHER AUTOBOTS AND JUNK WALLS Ultra Magnus ' ray hits the walls and they tumble down , separating him from the other Autobots . ANGLE ON ULTRA MAGNUS His back to a wall of fallen junk , he pulls out the matrix . ANGLE ON GALVATRON IN CYCLONUS Galvatron pops out of Cyclonus and both transform , to land in front of Ultra Magnus . ANGLE ON ULTRA MAGNUS Struggling to open the leadership matrix . He puts his hand inside of it and gets a powerful shock ! He pulls his hand out quickly .<\/scene_description>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>Damn it! Open it!<\/dialogue>\n    <scene_description>ANGLE ON GALVATRON He laughs . ON ULTRA MAGNUS He still struggles .<\/scene_description>\n    <character>ULTRA MAGNUS<\/character>\n    <parenthetical>( baffled . )<\/parenthetical>\n    <dialogue>Prime, you said the Matrix would light our darkest hour.<\/dialogue>\n    <scene_description>ANGLE ON GALVATRON Four sweeps fly TOWARD CAMERA in formation . Galvatron pops out a communication device from his helmet .<\/scene_description>\n    <character>GALVATRON<\/character>\n    <dialogue>Sweeps, quarter him!<\/dialogue>\n    <scene_description>ANGLE ON THE SWEEPS - TRACKING Four rope - like rays shoot out of them and . ON ULTRA MAGNUS wrap around his arms and legs . ANGLE ON ULTRA MAGNUS AND THE SWEEPS His arms and legs caught by the four ropes , he knows he 's just about had it . He struggles for one last moment , then . ANGLE ON THE SWEEPS AND ULTRA MAGNUS Pulling their rays taut , the Sweeps fly in four separate directions , effectively drawing and quartering the Autobot leader . ON ULTRA MAGNUS As all of his limbs are separated from his body and scattered in the distance , he SCREAMS IN HORROR .<\/scene_description>\n    <character>ULTRA MAGNUS<\/character>\n    <parenthetical>( SCREAMS IN HORROR . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>ANGLE ON THE MATRIX It tumbles from Ultra Magnus ' hands to . Galvatron 's hands ! ANGLE ON GALVATRON He holds the Autobot Matrix .<\/scene_description>\n    <character>GALVATRON<\/character>\n    <dialogue>Unicron, my `` master,'' with this I shall make you my slave!<\/dialogue>\n    <scene_description>Galvatron gets into Cyclonus and flies off<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>as he moves out and looks down at Ultra Magnus' remains<\/dialogue>\n    <character>DANIEL<\/character>\n    <parenthetical>( tearful . )<\/parenthetical>\n    <dialogue>Ultra Magnus!<\/dialogue>\n    <scene_description>ANOTHER ANGLE - BLURR , SPRINGER , ARCEE AND PERCEPTOR as they move up beside Daniel .<\/scene_description>\n    <character>BLURR<\/character>\n    <dialogue>Without the Matrix there is no hope. No hope at all!<\/dialogue>\n    <scene_description>WRECK - GAR AND AN ARMY OF JUNKIONS as they are moving in battle array towards the Shuttle . Junkions are an interesting species . They ride themselves . That is , the Junkions ride transforms of themselves , so that if their vehicle breaks down , the driver will become the vehicle , and the vehicle will transform to become the driver . They are gibbering , singing almost a wild kind of junk - rock , war - cry song which , like their language , is constructed of bits and pieces of the museum junk of our culture - a humorous aggressive song which makes a surreal kind of sense . `` Slice 'em dice 'em . And that 's all folks or your money back . ''<\/scene_description>\n    <character>ON WRECK-GAR<\/character>\n    <dialogue>as he roars into the lead and shows his teeth<\/dialogue>\n    <character>WRECK-GAR<\/character>\n    <dialogue>Do n't look behind door number two, Monty. It's time to play End - of - the - line - my valentine! Geroni - roni - doo - ron - ron - i - mo!<\/dialogue>\n    <parenthetical>( he charges . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>ON SPRINGER AND OUR FRIENDS as they react<\/scene_description>\n    <character>SPRINGER<\/character>\n    <dialogue>Get gone!<\/dialogue>\n    <scene_description>Springer leads the way and Blurr , Arcee , Daniel and Perceptor follow and we MOVE TO A ROAD WARRIOR STYLE CHASE as Springer and Arcee ride on either side of Daniel and Perceptor with Blurr bringing up the rear - zig zagging back and forth to keep the Junkions from getting at Daniel .<\/scene_description>\n    <character>A JUNKION<\/character>\n    <dialogue>roars alongside Springer on his motorcycle and throws out laser barbed grappling hook, trying to hook Springer. Springer ducks first pass of hook.<\/dialogue>\n    <character>ON JUNKION<\/character>\n    <dialogue>as he hurls GRAPPLING HOOK AGAIN<\/dialogue>\n    <character>ON SPRINGER<\/character>\n    <dialogue>as he catches HOOK BY THE CHAIN AND YANKS IT<\/dialogue>\n    <character>THE JUNKION<\/character>\n    <dialogue>goes flying off his motorcycle.,, He transforms into a motorcycle as The motorcycle transforms into a rider and hops on the new motorcycle and then.<\/dialogue>\n    <scene_description>turns around to come back .<\/scene_description>\n    <character>ON SPRINGER<\/character>\n    <dialogue>He looks over, astonished.<\/dialogue>\n    <character>SPRINGER<\/character>\n    <dialogue>It's not hard to knock'em down. It's getting them to stay down that's the trick.<\/dialogue>\n    <character>ON ARCEE<\/character>\n    <dialogue>as she fires at a Junkion who is trying to swerve her off the road knocking him off the motorcycle. The Junkion looks down at his missing arm, digs around in the junk for a minute, comes up with another, and then transforms to a motorcycle.<\/dialogue>\n    <character>ANOTHER ANGLE<\/character>\n    <dialogue>as Junkion rides over to her, starts belting her with junk sword<\/dialogue>\n    <character>ARCEE<\/character>\n    <dialogue>They're indestructible!<\/dialogue>\n    <character>ON DANIEL<\/character>\n    <dialogue>as he skids, stopping his Exo - Suit as he reacts to what's ahead<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>They're everywhere!<\/dialogue>\n    <scene_description>HIS P.O.V. - PILES OF JUNK as Junkions arise out of every junk pile in sight and , gibbering , singing their junk - rock battle song , start moving in<\/scene_description>\n    <character>ON SPRINGER<\/character>\n    <dialogue>as he stops and Arcee, Daniel, Perceptor and Blurr stop around him. They close ranks and look out at the Junkions grimly<\/dialogue>\n    <character>PERCEPTOR<\/character>\n    <dialogue>Perhaps they're not as vicious as they look.<\/dialogue>\n    <character>ON WRECK-GAR<\/character>\n    <dialogue>as he gnashes his teeth and grins and then BLINKS HIS EYES which roll to show eyes like ping pong balls. Wreck - Gar makes blipping noises as he does this<\/dialogue>\n    <character>ON SPRINGER<\/character>\n    <dialogue>reacting to Wreck - Gar's noises and eyeball display<\/dialogue>\n    <character>SPRINGER<\/character>\n    <parenthetical>( to Perceptor . )<\/parenthetical>\n    <dialogue>Positive thinking gets on my nerves. Suddenly, all react to sound and wind of passing space cruiser their P.O.V - HOT ROD, KUP AND DINOBOTS IN CRUISER as it shoots past and banks, coming back for a closer look<\/dialogue>\n    <character>SPRINGER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It ca n't be. it's. Hot Rod! He's alive!<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>as he looks up at passing Cruiser and waves<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>And Kup and the Dinobots! We're saved!<\/dialogue>\n    <character>PERCEPTOR<\/character>\n    <dialogue>I would n't count on that!<\/dialogue>\n    <parenthetical>( indicating Junkions . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>HIS P.O.V. - EVEN MORE JUNKIONS ARISING OUT OF THE JUNK HILLS as Junkions newly risen from Junk look up and point at Cruiser and make hostile signs toward it , shaking weapons , etc. .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CRUISER   - MOVING SHOT - VIEW THROUGH CANOPY<\/stage_direction>\n    <scene_description>Hot Rod and Kup look down on the army of Junkions below surrounding their friends as they SWOOP BY<\/scene_description>\n    <character>KUP<\/character>\n    <dialogue>Not since the Crocodillos of Strontero have I seen such a sight.<\/dialogue>\n    <scene_description>ANOTHER ANGLE GRIMLOCK as he sticks his face up next to Hot Rod . Wheelie , riding on Grimlock 's head , slips down to stand on console next to Hot Rod<\/scene_description>\n    <character>GRIMLOCK<\/character>\n    <dialogue>Maybe they make me king, too!<\/dialogue>\n    <character>KUP<\/character>\n    <dialogue>Do n't hold your breath, your majesty.<\/dialogue>\n    <character>WRECK-GAR<\/character>\n    <dialogue>as he watches Cruiser descend and start gliding in for a landing<\/dialogue>\n    <character>WRECK-GAR<\/character>\n    <dialogue>Steady as she goes, mob! Snoopy visitors get mud in the eye bye and bye, and film at five!<\/dialogue>\n    <parenthetical>( gives thumbs up sign , RIDES OFF . )<\/parenthetical>\n    <dialogue \/>\n    <character>JUNKIONS<\/character>\n    <dialogue>Everything must go by midnight! With a SINGING ROAR of musical, tribal excitement, the Junkions sweep Springer and our friends along with them, following course of landing Cruiser to<\/dialogue>\n    <scene_description>CRUISER LANDING SITE Cruiser sets down and Junkions line up with weapons aimed at rampway as they watch door<\/scene_description>\n    <character>ON DOORWAY<\/character>\n    <dialogue>as Hot Rod steps out with big smile and hand full of energon sticks followed by a very wary Kup, and the Dinobots with Wheelie riding Sludge's neck.<\/dialogue>\n    <scene_description>INTERCUT TO SPRINGER , DANIEL , ARCEE ET . AL FOR REACTIONS ON WRECK - GAR AND OTHER JUNKIONS as they react to hot Rod 's smile , Wreck - Gar trying to mimic that smile to his followers who laugh ON HOT ROD as he steps up beside Kup and gently pushes Kup 's rifle aside<\/scene_description>\n    <character>HOT ROD<\/character>\n    <parenthetical>( aside to Kup , still holding smile . )<\/parenthetical>\n    <dialogue>Guns are n't exactly friendly.<\/dialogue>\n    <character>KUP<\/character>\n    <parenthetical>( through his teeth to Hot Rod . )<\/parenthetical>\n    <dialogue>Neither are they in case you have n't noticed.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <parenthetical>( sotto . )<\/parenthetical>\n    <dialogue>What was the Universal greeting again?<\/dialogue>\n    <character>WRECK-GAR<\/character>\n    <dialogue>growls and slips a SNIPPER, BLOW TORCH CUTTING TOOL out of a holster and starts toward Hot Rod with it<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>HOT ROD.<\/dialogue>\n    <parenthetical>( big smile . )<\/parenthetical>\n    <dialogue>Bah weep graaaagnah wheep ni ni bong?<\/dialogue>\n    <scene_description>WRECK - GAR AND OTHER JUNKIONS They look at one another , blink , then beam with smiles<\/scene_description>\n    <character>WRECK-GAR<\/character>\n    <dialogue>Bah weep graaaagnah wheep ni ni bong?<\/dialogue>\n    <character>HOT ROD<\/character>\n    <parenthetical>( nodding , smiling . )<\/parenthetical>\n    <dialogue>Bah weep graaaagnah wheep ni ni bong?<\/dialogue>\n    <parenthetical>( presses energon sticks forward . )<\/parenthetical>\n    <dialogue>As Hot Rod says this.<\/dialogue>\n    <scene_description>Wreck - Gar takes the energon sticks and holds them over his head and . all the Junkions smile and cheer and start chanting the universal greeting phrase , laughing , clapping their hands and dancing around , taking Arcee 's hand and . taking Springer and Perceptor and Daniel out into center of a square dance type gathering , moving back and forth with them dancing happily , singing the universal greeting in a melodic , rhythmic way<\/scene_description>\n    <character>EVERYBODY<\/character>\n    <dialogue>Bah weep graaaagnah wheep ni ni bong Bah weep graaaagnah wheep ni ni bong! Bah weep graaaagnah wheep ni ni bong.<\/dialogue>\n    <character>WRECK-GAR<\/character>\n    <dialogue>hugs Hot Rod, and Perceptor who winces and tries to enjoy it, and then hugs Daniel, Wheelie, Arcee, laughing and dancing as SINGING goes.<\/dialogue>\n    <character>ON GRIMLOCK<\/character>\n    <dialogue>as he reacts to Wreck - Gar kissing his leg<\/dialogue>\n    <character>GRIMLOCK<\/character>\n    <dialogue>Yuck! Me Grimlock, not a kisser! Me, Grimlock, a king!<\/dialogue>\n    <character>WHEELIE<\/character>\n    <dialogue>claps his hands and gleefully makes noises as he hops about, dancing with Junkions until we CUT TO<\/dialogue>\n    <character>WRECK-GAR<\/character>\n    <dialogue>as he stands on top of platform and RINGS JUNK BELLS AND SIRENS getting silence and smiling as he waves hands all around<\/dialogue>\n    <character>WRECK-GAR<\/character>\n    <dialogue>Have a nice day and please, close cover before striking, friends! Amigos, buddies and side kicks, Breep drit, aw rootie! So say the Junkions!<\/dialogue>\n    <parenthetical>( holds hands over his head . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>ANGLE ON HOT ROD He looks at them , strangely .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>Where did you learn to talk like that?<\/dialogue>\n    <scene_description>ANGLE ON WRECK - GAR He reaches into his body , and about where a heart or some other organ would be , he pulls out a Watchman .<\/scene_description>\n    <character>THE WATCHMAN<\/character>\n    <dialogue>On it is a crazy Eddy - type commercial.<\/dialogue>\n    <character>WRECK-GAR<\/character>\n    <dialogue>We talk T.V.. You talk some T.V?<\/dialogue>\n    <character>KUP<\/character>\n    <dialogue>looks around nervously.<\/dialogue>\n    <character>KUP<\/character>\n    <dialogue>I talk some TV. And now, Hot Rod for the news. Do n't touch that dial. Void where prohibited. JUNKIONS cheer wildly while the Dinobots react with uncertainty<\/dialogue>\n    <scene_description>RESUME ON WRECK - GAR as he points off and shouts happily .<\/scene_description>\n    <character>WRECK-GAR<\/character>\n    <dialogue>By George kimosabes your smashed up, blotto friend, soon like brand new with ninety day warranty all iciban parts and labor is!<\/dialogue>\n    <scene_description>HIS P.O.V. - JUNKIONS WITH ULTRA MAGNUS The Junkions move Ultra Magnus ' mangled body through an amazing assembly line , quickly piecing together his body parts , using junk when they ca n't find a part . Then , they lube him , dust him , spray him and polish him . Then , Wreck - Gar hits a switch , and Ultra Magnus ' eye lights go on .<\/scene_description>\n    <character>WRECK-GAR<\/character>\n    <dialogue>Happy motoring! Cock - a - doodle - do!<\/dialogue>\n    <scene_description>ON ULTRA MAGNUS as he steps away from Junkion line of reconstruction and into group consisting of Hot Rod , Kup and Springer .<\/scene_description>\n    <character>SPRINGER AND OTHERS<\/character>\n    <parenthetical>( Ad lib jubilation . )<\/parenthetical>\n    <dialogue>Ultra Magnus!<\/dialogue>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>You're all alive.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>The matrix!<\/dialogue>\n    <scene_description>All turn to Ultra Magnus .<\/scene_description>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>It's gone.<\/dialogue>\n    <character>KUP<\/character>\n    <dialogue>And with it, all hope.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>No.<\/dialogue>\n    <parenthetical>( inspired . )<\/parenthetical>\n    <dialogue>The matrix will not fail us.<\/dialogue>\n    <character>ARCEE<\/character>\n    <dialogue>Did n't you hear Ultra Magnus. We do n't have it anymore. Galvatron does.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>Then we've got to trust in ourselves, and no matter what they odds, destroy Unicron.<\/dialogue>\n    <character>ON WRECK-GAR<\/character>\n    <dialogue>His eyes light up.<\/dialogue>\n    <character>WRECK-GAR<\/character>\n    <dialogue>Yeah! Destroy Unicron. Kill the grand poobah. Flush cosmic troubles down the drain.<\/dialogue>\n    <scene_description>ANGLE ON JUNKIONS<\/scene_description>\n    <character>JUNKIONS<\/character>\n    <parenthetical>( almost chanting . )<\/parenthetical>\n    <dialogue>Destroy Unicron. Kill the grand poobah. Flush cosmic troubles down the drain.<\/dialogue>\n    <scene_description>ANGLE ON SPRINGER The Quintesson ship in the BACKGROUND .<\/scene_description>\n    <character>SPRINGER<\/character>\n    <dialogue>Listen, I do n't want to rain on anybody's parade, but how are we going to move the army to Unicron. We do n't have enough room on that ship.<\/dialogue>\n    <character>WRECK-GAR<\/character>\n    <dialogue>No fuss, no muss.<\/dialogue>\n    <parenthetical>( to others . )<\/parenthetical>\n    <dialogue>Hurry, hurry. Sale must end! Rush right on down to bridge and test drive latest with no obligation.<\/dialogue>\n    <scene_description>Suddenly , several Junkions scramble to concealed doorways in the Junk .<\/scene_description>\n    <character>ULTRA MAGNUS<\/character>\n    <dialogue>You have ships here?<\/dialogue>\n    <character>WRECK-GAR<\/character>\n    <dialogue>New, improved Junkion planet, is sleek sexy import with turbo handling.<\/dialogue>\n    <character>SPRINGER<\/character>\n    <dialogue>What's he talking about?<\/dialogue>\n    <scene_description>ANGLE ON QUINTESSON Suddenly , boosters fire from the back side of the junk , and somewhere under all of the junk , we realize is a real space ship . Maybe the junk is the space ship . It takes off , bits and pieces of junk flying off as it moves .<\/scene_description>\n    <character>SPRINGER<\/character>\n    <dialogue>This is what I call traveling in style.<\/dialogue>\n    <scene_description>LONG SHOT - UNICRON as Galvatron stands on the surface of Unicron , holding the Matrix .<\/scene_description>\n    <character>GALVATRON<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Listen to me, or suffer the consequences.<\/dialogue>\n    <character>UNICRON<\/character>\n    <dialogue>Are n't we getting pompous?<\/dialogue>\n    <character>GALVATRON<\/character>\n    <dialogue>I now possess that which you most fear. Unicron LAUGHS and the force of it rocks the surface of the planet, knocking Galvatron to his knees.<\/dialogue>\n    <character>GALVATRON<\/character>\n    <dialogue>You will do my bidding, or. Unicron roars with laughter.<\/dialogue>\n    <character>GALVATRON<\/character>\n    <dialogue>taste my wrath.<\/dialogue>\n    <scene_description>He leans down and starts trying to open the matrix . ANOTHER ANGLE - FAVORING GALVATRON IN THE BACKGROUND , we see Cybertron getting closer . Galvatron struggles with the Matrix , but gets a big shock .<\/scene_description>\n    <character>UNICRON<\/character>\n    <dialogue>You underestimate me Galvatron.<\/dialogue>\n    <scene_description>ANOTHER ANGLE - GALVATRON ON UNICRON He desperately struggles to open the matrix . The planet suddenly starts shaking . Galvatron is bathed in a reddish light , and looks up in horror ! ANGLE ON UNICRON A hideous transformation is beginning . The surface of the planet in front of Galvatron opens up , and we see that the hideous light comes from eyes set on a hideous head ! GALVATRON AND UNICRON Galvatron is maybe the size of a single tooth on the horrible head before him .<\/scene_description>\n    <character>UNICRON<\/character>\n    <dialogue>For a time, I considered sparing your measly little planet, but now you shall witness its dismemberment!<\/dialogue>\n    <scene_description>ANGLE ON GALVATRON Suddenly , the ground he stands on drops away , and he falls through space . Landing on a protruding plate which sticks out of Unicron 's chest . GALVATRON - CLOSE He looks around himself in horror and lets out a loud scream as he realizes the unimaginable horror that surrounds him . ANGLE ON UNICRON - LONG SHOT The massive planet transforms , arms and legs fold out of the enormous body , hands unfold from the arms , jets from it 's back propel it towards . Cybertron , which , now looks lonely and vulnerable in space . ANGLE ON GALVATRON He stands on a ledge on Unicron and desperately tries to open the matrix , but no cigar .<\/scene_description>\n    <character>GALVATRON<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>ANGLE ON CYBERTRON Unicron enters shot and grasps at Cybertron with a hideous claw . ANGLE ON A TOWER ON CYBERTRON Shockwave talks into a communications device , as alarms sound and troopers run everywhere .<\/scene_description>\n    <character>SHOCKWAVE<\/character>\n    <dialogue>Decepticons. we're under attack. Scramble - Then his voice is cut off as.<\/dialogue>\n    <scene_description>SHOCKWAVE 'S POV - OUT HIS WINDOW Unicron 's hand reaches towards the window , squeezes , and the walls crash in . SPACE - UNICRON AND CYBERTRON Unicron tears off the tower and crushes it as . A FLEET OF DECEPTICON SHIPS streak out of Cybertron and begin firing on the enormous planet . Here , we see the true scale of Unicron . The fighters are the size of bees as they attack . ANGLE ON UNICRON He looks down on the swarm of fighters and . Breathes fire down on them . The fighters POP and burn like popcorn in a blowtorch . In moments they disappear like sparks from a fire . ANGLE ON CYBERTRON Decepticon troopers man a massive gun emplacement as . Unicron 's huge hand reaches down . scraping buildings and . tearing out gun emplacements . ANOTHER ANGLE - UNICRON 'S FACE as he puts his face down so his mouth will receive all the rockets , laser blasts , etc. . THE DECEPTICON DEFENDERS are silhouetted like ants in the foreground as Unicron OPENS HIS MOUTH and swallows the fire barrage<\/scene_description>\n    <character>GALVATRON<\/character>\n    <dialogue>GALVATRON Stop feeding him, you fools!<\/dialogue>\n    <scene_description>ANGLE ON UNICRON AND CYBERTRON As yet more Decepticon fighters rip out of the planet , it looks like Unicron is going to have a field day tearing it apart .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - SAME TIME<\/stage_direction>\n    <scene_description>The massive Junkion ship and the corkscrew cruiser piloted by Hot Rod and Kup race through the dark void .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>I do n't believe it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   THE QUINTESSON SHIP - SAME TIME<\/stage_direction>\n    <scene_description>Hot Rod , Kup , Springer , Arcee and Daniel as they also look through canopy , astonished<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Wow!<\/dialogue>\n    <scene_description>THEIR P.O.V. - UNICRON Destroying CYBERTRON<\/scene_description>\n    <character>HOT ROD<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Does n't it remind you of something, Kup?<\/dialogue>\n    <scene_description>RESUME ON KUP , DANIEL AND HOT ROD as they MOVE CLOSER STILL . Kup is glassy eyed .<\/scene_description>\n    <character>KUP<\/character>\n    <parenthetical>( entranced . )<\/parenthetical>\n    <dialogue>Nope, never seen anything like it.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>I knew there had to be a first time.<\/dialogue>\n    <parenthetical>( using intercom . )<\/parenthetical>\n    <dialogue>Battle stations!<\/dialogue>\n    <scene_description>LONG SHOT - HOT ROD 'S CRUISER AND THE JUNKION SPACE SHIP as hatches open and the Dinobots start FLYING OUT .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - CRUISER<\/stage_direction>\n    <scene_description>Hot Rod shoves joystick forward and Cruiser DRIVES TOWARD UNICRON whom we see turn to take a swat at it through glass canopy ON JUNKION SPACE SHIP as it pulls up beside Hot Rod 's Cruiser so they are both in a line . The Dinobots behind both ships . all diving toward Unicron 's nose<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JUNKION SHIP - WRECK-GAR AT CONTROLS<\/stage_direction>\n    <scene_description>As Wreck - Gar also has joystick shoved down and watches Unicron 's face loom closer , closer , closer LONG SHOT - CRUISER , JUNKION SHIP AND DINOBOTS IN FORMATION as Unicron smiles and cups both hands together , preparing to catch the lot of them as soon as they get within reach<\/scene_description>\n    <character>UNICRON'S CHEST<\/character>\n    <dialogue>Galvatron, the matrix hanging around his neck. Transforms to Cannon and fires up at. A bright panel on Unicron's chest.<\/dialogue>\n    <scene_description>BLAAAM ! He hits the panel and lights and sparks fly out , causing the gigantic robot to flicker momentarily . ANGLE ON UNICRON The monster lets out a ROAR ! Then , reaches down , picks up Galvatron and drops him into his mouth like a raisin . ANGLE ON GALVATRON He drops into the deep pit of Unicron 's mouth , narrowly avoiding both a torrent of fire , and his sharp , crushing teeth .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE SPACE BATTLE - SAME TIME<\/stage_direction>\n    <scene_description>As they Junkion cruiser comes close , Unicron lets out a burst of fire . Flames lick the ship , but when the fire subsides , nothing has happened .<\/scene_description>\n    <character>WRECK-GAR<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Patented enamel resists fire, rain and corrosion. Five year warranty, satisfaction guaranteed.<\/dialogue>\n    <character>OTHER JUNKIONS<\/character>\n    <dialogue>Or your money back!<\/dialogue>\n    <scene_description>The ship fires back , dumping rays into . Unicron 's face , but not really doing any damage . UNICRON AND JUNKION CRUISER Unicron grabs the Junkion cruiser with both of it 's hands and .<\/scene_description>\n    <character>CLOSER<\/character>\n    <dialogue>tears it in half.<\/dialogue>\n    <character>WRECK-GAR<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Unshakable, unbreakable, unbeatable. And for a limited time we include.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CRUSHED JUNKION SHIP<\/stage_direction>\n    <scene_description>As Ultra Magnus , Perceptor and the others watch in amazement .<\/scene_description>\n    <character>WRECK-GAR<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Free bonus surprise!<\/dialogue>\n    <character>JUNKIONS<\/character>\n    <dialogue>Free bonus surprise!<\/dialogue>\n    <scene_description>THE JUNKIONS RUN AROUND welding things . screwing things together . and kicking control panels to make them work .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE<\/stage_direction>\n    <scene_description>Both halves of the Junkion ship act as independent space ships .<\/scene_description>\n    <character>PERCEPTOR<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Most unscientific, but. effective.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT THE SPACE BATTLE<\/stage_direction>\n    <scene_description>As the Quintesson ship shoots toward Unicron 's face .<\/scene_description>\n    <character>THE CRUISER<\/character>\n    <dialogue>Is suddenly struck by a ray from Unicron's eye, and half of it is knocked off.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT THE CRUISER<\/stage_direction>\n    <scene_description>Lights go off , and the Autobots are thrown around like toys . ANGLE THROUGH THE VIEWSCREEN They are heading right to Unicron 's eye . ANGLE ON UNICRON AND THE CRUISER Unicron swipes at the cruiser , but misses . The Cruiser crashes right through Unicron 's eye like a corkscrew !<\/scene_description>\n    <character>UNICRON<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Graaaaaaaaaaa!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNICRON'S HEAD - SAME TIME<\/stage_direction>\n    <scene_description>The cruiser rips through the eye socket and smashes through several electrical membranes that are , in fact , Unicron 's brain . ANGLE ON THE SHIP As the ship tumbles through , it dumps off the various Autobots like rubbish and disintegrates . ANGLE ON HOT ROD He tumbles out of the rubbish and down a deep pit -LRB- which we can assume is a robotic sinus or something -RRB-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE BRAIN AREA<\/stage_direction>\n    <scene_description>Kup , Springer , Daniel and Arcee are scattered about the floor in the giant , flickering chamber .<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Where's Hot Rod?<\/dialogue>\n    <character>SPRINGER<\/character>\n    <dialogue>Sees something in the distance.<\/dialogue>\n    <character>SPRINGER<\/character>\n    <dialogue>I do n't know, but I hope they did n't get him.<\/dialogue>\n    <scene_description>WHAT HE SEES Are dozens of hovering Robots that look like floating bear traps , snapping their jaws as they drift slowly towards the Autobots . ANGLE ON THE AUTOBOTS<\/scene_description>\n    <character>KUP<\/character>\n    <dialogue>Debugoids!<\/dialogue>\n    <character>ARCEE<\/character>\n    <dialogue>Quick! This way.<\/dialogue>\n    <scene_description>They run into a long , cave - like chamber which looks like the central nervous system or something .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANOTHER CHAMBER - LATER<\/stage_direction>\n    <scene_description>Hot Rod drops through the darkness and lands in a pile of miscellaneous junk . ON HOT ROD He slowly gets up and looks around the chamber . WHAT HE SEES Pan as Hot Rod looks over various different bits of junk , until he sees the glowing shape of the Autobot Matrix apparently suspended in mid air .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>The Autobot Matrix!<\/dialogue>\n    <scene_description>Then , suddenly two red , burning eyes light up above the matrix , and we see the hideous form of Galvatron .<\/scene_description>\n    <character>GALVATRON<\/character>\n    <dialogue>It will do you no good, Autobot. It can not be opened.<\/dialogue>\n    <scene_description>ON HOT ROD He stands up and walks towards Galvatron .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>Not by a Decepticon.<\/dialogue>\n    <scene_description>ANGLE ON HOT ROD AND GALVATRON Hot Rod steps towards Galvatron .<\/scene_description>\n    <character>GALVATRON<\/character>\n    <dialogue>It is strange that we should find ourselves as allies.<\/dialogue>\n    <character>ON GALVATRON<\/character>\n    <dialogue>Suddenly, his body is violently twisted, and his arms are almost broken off.<\/dialogue>\n    <character>GALVATRON<\/character>\n    <dialogue>Uhhhh.<\/dialogue>\n    <character>UNICRON<\/character>\n    <dialogue>Destroy him, or feel yourself torn from limb to limb.<\/dialogue>\n    <character>GALVATRON<\/character>\n    <dialogue>Of course, my master!<\/dialogue>\n    <scene_description>ANGLE ON GALVATRON AND HOT ROD Galvatron takes a shot at Hot Rod . Hot Rod dives away , as electricity seems to flash everywhere .<\/scene_description>\n    <character>ON GALVATRON<\/character>\n    <dialogue>He peers into the gloom.<\/dialogue>\n    <scene_description>GALVATRON 'S POV - PANNING THE ROOM Hot Rod is nowhere to be seen amidst all of the junk .<\/scene_description>\n    <character>ON GALVATRON<\/character>\n    <dialogue>Weapon drawn.<\/dialogue>\n    <character>GALVATRON<\/character>\n    <dialogue>Puny Autobot, you lack even Prime's courage. There is no response.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - THE BATTLE<\/stage_direction>\n    <character>ASSORTED SHOTS<\/character>\n    <dialogue>Unicron now stands atop Cybertron, fighting the various ships that swarm around him like bees. Rays streak from his one good eye. His hands smash fighters. Fire shoots from his mouth.<\/dialogue>\n    <character>THE DINOBOTS<\/character>\n    <dialogue>Now reaching Unicron's butt, start kicking.<\/dialogue>\n    <character>GRIMLOCK<\/character>\n    <dialogue>Me Grimlock kick Butt.<\/dialogue>\n    <scene_description>ANGLE ON UNICRON Suddenly ; he looks down , sending down a searing blast of fire . ANGLE ON THE DINOBOTS They transform to robot mode and fly away .<\/scene_description>\n    <character>GRIMLOCK<\/character>\n    <dialogue>Me, Grimlock, need new strategy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CORRIDOR IN UNICRON -- SAME TIME<\/stage_direction>\n    <scene_description>Kup , Arcee , Springer and Daniel dash down the corridor . Suddenly , Daniel 's foot is caught in a maze of wiring . ANGLE ON THE OTHERS Not noticing , they keep running . ANGLE ON DANIEL He tries to pull his foot out . No luck . Then , he looks up . WHAT HE SEES The Robotic Antibodies are drawing very close to him .<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>He looks o.s. towards the others.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Help.<\/dialogue>\n    <scene_description>ANGLE ON KUP AND ARCEE They turn around and see Daniel about to be munched by the antibodies .<\/scene_description>\n    <character>ARCEE<\/character>\n    <dialogue>Daniel!<\/dialogue>\n    <scene_description>ANGLE ON SPRINGER , KUP AND ARCEE They dash down the corridor firing on . THE ROBOTIC ANTIBODIES Their shots hit some , knocking them to scrap , but there are so many of them , that they ca n't hold back the tide as it . ANGLE UNDER THE ANTIBODIES Daniel , unscathed by the things , which hover over his head , munching their way towards the Autobots , gets his foot free .<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>I'm okay. They do n't even see me.<\/dialogue>\n    <scene_description>ANGLE ON THE AUTOBOTS It looks like Custer 's last stand as they are surrounded by the vicious antibodies .<\/scene_description>\n    <character>KUP<\/character>\n    <dialogue>They must not programmed to catch flesh creatures.<\/dialogue>\n    <character>SPRINGER<\/character>\n    <dialogue>Us, on the other hand.<\/dialogue>\n    <character>ARCEE<\/character>\n    <dialogue>Daniel. Try to find help! Arcee fires.<\/dialogue>\n    <scene_description>HER SHOT - TRACKING Misses the Antibodies , but strikes a large tube . ANGLE ON THE TUBE When it is hit , it pours a torrent of liquid which . Goes over the swarm of Antibodies , but hits Daniel . Carrying him away in a flood of glowing liquid . ON DANIEL - TRACKING He shouts as he finds himself in a river of flowing goo .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   UNICRON - A FLOWING TUNNEL<\/stage_direction>\n    <scene_description>Daniel rips through what seem to be endless caves on the torrent of liquid , until he is dumped down a high waterfall into . A glowing lake . He stays under for a moment , and then bobs up to see .<\/scene_description>\n    <character>UNICRON'S STOMACH<\/character>\n    <dialogue>This is the central processing area for Unicron's `` food'' and `` energy.'' A long conveyer belt drops junk into a clear, bubbling vat, where it is separated into raw material and energy. The energy, which comes out in raw form, goes into a machine and is crunched into energon cubes, while the solid material, is separated into it's component metals and plastics, formed into ingots and sent elsewhere in an assembly line fashion.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>watches this with awe until he sees.<\/dialogue>\n    <scene_description>ANGLE ON THE ASSEMBLY LINE . Several Decepticon troopers hanging from cables like shirts at a dry cleaners are dropped into the bubbling vat , and in moments converted to nothing . Then , Cliffjumper and Jazz roll out of the line .<\/scene_description>\n    <character>ON DANIEL<\/character>\n    <dialogue>He dashes to the shores of the glowing lake.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Cliffjumper! Jazz!<\/dialogue>\n    <scene_description>And then Spike comes rolling down , followed by Bumblebee !<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Bumblebee! Dad!<\/dialogue>\n    <scene_description>ON CLIFFJUMPER , JAZZ , AND SPIKE They look down , but ca n't move because they are held by massive pincers .<\/scene_description>\n    <character>SPIKE<\/character>\n    <dialogue>Shut off the control, Daniel. Daniel looks around.<\/dialogue>\n    <scene_description>Then , he sees .<\/scene_description>\n    <character>A CONTROL<\/character>\n    <dialogue>which controls the whole thing.<\/dialogue>\n    <character>ON DANIEL<\/character>\n    <dialogue>He runs up a catwalk towards it.<\/dialogue>\n    <scene_description>ANGLE ON DANIEL He reaches the flickering panel .<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>What do I do? It does n't have any buttons or anything.<\/dialogue>\n    <scene_description>ANGLE ON SPIKE - TRACKING He looks down .<\/scene_description>\n    <character>SPIKE<\/character>\n    <dialogue>Shoot it, Son.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>But I do n't have a gun.<\/dialogue>\n    <character>SPIKE<\/character>\n    <dialogue>Use your exo - suit.<\/dialogue>\n    <scene_description>ANGLE ON DANIEL He looks down at his hand and concentrates as hard as he can . Then , a spark comes out . It grows longer . ANGLE ON THE MACHINE Spike and the Autobots are about to go in .<\/scene_description>\n    <character>CLIFFJUMPER<\/character>\n    <dialogue>Hurry!<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Starts frying the command console!<\/dialogue>\n    <scene_description>ANGLE ON THE LINE It keeps moving . Then , Cliffjumper is dropped in ! ANGLE ON DANIEL He looks back , and to his horror sees Jazz , Bumblebee and his father about to be dropped in . He keeps firing . The panel starts exploding !<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>I ca n't stop it!<\/dialogue>\n    <scene_description>ANGLE ON THE ASSEMBLY LINE Jazz drops in , then Bumblebee , then Spike .<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>turns around and sees this.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Dad!<\/dialogue>\n    <scene_description>There is no answer . Play the moment . Then .<\/scene_description>\n    <character>SPIKE<\/character>\n    <dialogue>Son.<\/dialogue>\n    <scene_description>ANGLE ON THE VAT It is empty . The Autobots and Spike sit at the bottom , smoking but alright .<\/scene_description>\n    <character>SPIKE<\/character>\n    <dialogue>You did it!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   THE DARK CAVERN WITH GALVATRON AND HOT ROD<\/stage_direction>\n    <scene_description>Galvatron , the Matrix at his neck , stalks around the room . Looking everywhere for Hot Rod .<\/scene_description>\n    <character>GALVATRON<\/character>\n    <dialogue>Come out, Autobot. We all must die sometime.<\/dialogue>\n    <scene_description>Suddenly , shockingly , Hot Rod jumps out of the floor and grabs Galvatron , sinking his fist into the Decepticon 's face .<\/scene_description>\n    <character>GALVATRON<\/character>\n    <dialogue>stumbles backward.<\/dialogue>\n    <scene_description>ANGLE ON GALVATRON AND HOT ROD Galvatron jumps at Hot Rod . Hot Rod transforms to a car and races away . ANGLE ON GALVATRON He transforms to cannon mode and fires . Hot Rod transforms to humanoid mode and the shot goes through his legs . Then , he fires back at Galvatron . Hitting him as he transforms back to humanoid mode and angering him . Raises his gun , then lowers it .<\/scene_description>\n    <character>GALVATRON<\/character>\n    <dialogue>No, I will crush you with bare hands. Hot Rod transforms back to car and tries to race away. Galvatron jumps after him and catches him. Hot Rod, nearly pinned by Galvatron transforms to humanoid mode.<\/dialogue>\n    <scene_description>Galvatron wrestles him to his back . The Adolescent Robot tries to fight back , but the other is stronger . Galvatron puts his hands around Hot Rod 's neck and starts squeezing . We hear the crunching of metal .<\/scene_description>\n    <character>GALVATRON<\/character>\n    <dialogue>First Prime, then Ultra Magnus and now you. It is a pity Autobots die so easily or I might have a sense of satisfaction now. Hot Rod desperately gasps and pulls at Galvatron's hands.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - THE BATTLE<\/stage_direction>\n    <scene_description>Unicron shoots down more Decepticons with his remaining eye , while he crushes the Junkion ship .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE JUNKION SHIP<\/stage_direction>\n    <scene_description>The walls crush in . The Junkions and the Autobots are being smashed together .<\/scene_description>\n    <character>WRECK-GAR<\/character>\n    <dialogue>Ashes to ashes. Junk to junk.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE DARK CAVERN<\/stage_direction>\n    <scene_description>Galvatron still strangles Hot Rod .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>Gasps.<\/dialogue>\n    <character>GALVATRON<\/character>\n    <dialogue>Die!<\/dialogue>\n    <character>ANOTHER ANGLE<\/character>\n    <dialogue>On Hot Rod, his hands, nearly dead, spring to life for a moment and grasp the Matrix which hangs from Galvatron's chest.<\/dialogue>\n    <scene_description>ANGLE ON THE MATRIX Suddenly , it lights up .<\/scene_description>\n    <character>ANOTHER ANGLE<\/character>\n    <dialogue>A miraculous transformation takes place. Hot Rod begins to grow at an alarming rate. Age shows on his face. He is stronger and wiser.<\/dialogue>\n    <character>OPTIMUS PRIME<\/character>\n    <dialogue>Arise, Rodimus Prime.<\/dialogue>\n    <character>HOT ROD<\/character>\n    <dialogue>Optimus!<\/dialogue>\n    <scene_description>ANGLE ON GALVATRON He fires at Hot Rod as .<\/scene_description>\n    <character>GALVATRON<\/character>\n    <dialogue>Nooooooo!<\/dialogue>\n    <scene_description>Hot Rod gets up . The shot does n't even dent him .<\/scene_description>\n    <character>HOT ROD<\/character>\n    <dialogue>This is the end of the road, Galvatron. With that, he picks up the Decepticon and throws him through.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNICRON - SAME TIME<\/stage_direction>\n    <scene_description>Unicron 's side .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE DARK CAVERN<\/stage_direction>\n    <scene_description>Hot Rod , bathed in the glow of the matrix . Sticks his hand in the way we saw Galvatron and Ultra Magnus try earlier . There is no shock . Then , like pulling the pin on a hand grenade , he unleashes the spiritual equivalent of a bomb ! ASSORTED SHOTS - INVASION OF THE MATRIX The matrix rips through Unicron 's body , blowing up wires causing floods and generally causing havoc .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - THE BATTLE<\/stage_direction>\n    <scene_description>Unicron suddenly lets out a scream and lets go of the Junkion ship , sending it hurtling .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE JUNKION SHIP<\/stage_direction>\n    <scene_description>It tumbles through space . AUTOBOTS AND JUNKIONS -LRB- THEY SCREAM WITH EXHILARATION -RRB- ANGLE ON UNICRON Suddenly , he starts tearing into his body .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE<\/stage_direction>\n    <scene_description>Unicron writhes in space , tearing himself apart , ripping off a leg , and sending out sparks like a roman candle .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CORRIDOR WHERE KUP ET.AL ARE TRAPPED<\/stage_direction>\n    <scene_description>They are overrun by the antibodies . One takes a whopper bite out of Springer 's chest .<\/scene_description>\n    <character>SPRINGER<\/character>\n    <dialogue>I'm almost out of energy. Suddenly, he looks up and sees one of the creatures explode above<\/dialogue>\n    <scene_description>HIM . Then another explodes , then another . SPRINGER 'S POV - A WALL OF ANTIBODIES Suddenly , every antibody in the wall begins exploding , and through the carnage , we see Bumblebee , Spike , Daniel , Cliffjumper and Jazz . ANGLE ON THE BATTLE The last of the antibodies is blown away , and Kup , Arcee and Springer sit up amidst a pile of antibody bodies .<\/scene_description>\n    <character>SPRINGER<\/character>\n    <dialogue>That's what I call the nick of time.<\/dialogue>\n    <scene_description>ANGLE ON ALL Suddenly , an entire wall vanishes as Unicron 's hand tears at things .<\/scene_description>\n    <character>JAZZ<\/character>\n    <dialogue>Let's burn rubber!<\/dialogue>\n    <scene_description>ANGLE ON THE TUNNEL They transform . The humans jump in . THE CHASE - TRACKING They race up the tunnel , one step ahead of Unicron 's hand which shoots after them , pulling apart what we know must be pieces of his brain . Then , they reach what seems like a dead end . In fact , it is the back side of Unicron 's good eye . The hand comes in after them ! ANGLE DOWN THE CORRIDOR An unbelievably fast and powerful robot races towards the Autobots . When it gets there , we realize that it is Rodimus Prime .<\/scene_description>\n    <character>KUP<\/character>\n    <dialogue>I knew you had potential, lad!<\/dialogue>\n    <scene_description>ANGLE ON RODIMUS PRIME<\/scene_description>\n    <character>RODIMUS PRIME<\/character>\n    <dialogue>Autobots, transform and roll out. Rodimus Prime transforms into truck mode as the other Autobots also transform. Daniel and Spike jump into him. Then, in a continuous line, he shoots off, the other Autobots racing behind him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNICRON<\/stage_direction>\n    <scene_description>Rodimus Prime shoots out the second eye . Followed by the others . ANGLE ON UNICRON An arm and a leg dangle uselessly as the Autobot essence spreads throughout the body , blowing circuits . Suddenly , Unicron lets out a loud agonized ROAR . SPARKS seem to shoot out of every part of his body . Then , he spins in space like some kind of a fireworks display , shooting off sparks . And then . BANG ! We get the big visual explosion .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - MUCH LATER<\/stage_direction>\n    <scene_description>Unicron 's head orbits Cybertron . PAN to Cybertron where and PUSH IN on Rodimus Prime , Arcee , Kup , Springer , Ultra Magnus , Wreck - Gar , Daniel , Perceptor , Blaster and Spike watch construction being done on Cybertron below .<\/scene_description>\n    <character>RODIMUS PRIME<\/character>\n    <dialogue>Let this mark the end of the Cybertronian wars as we move forward to a new age of peace and happiness.<\/dialogue>\n    <character>ALL<\/character>\n    <dialogue>Until all are one!<\/dialogue>\n    <scene_description>THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In 2005, the war between the Autobots and Decepticons has culminated in the Decepticons conquering their home planet Cybertron, while the Autobots operate from its two moons preparing a counter-offensive. Optimus Prime sends an Autobot shuttle to Earth's Autobot City for Energon supplies, but the Decepticons, led by Megatron, commandeer the ship and kill the crew, consisting of Ironhide, Ratchet, Prowl and Brawn. Travelling to Earth, the Decepticons attack Autobot City, slaughtering many Autobots and leaving only a small group alive including Hot Rod, Kup, Ultra Magnus, Arcee, Springer, Blurr, Perceptor, Blaster, and the human Daniel Witwicky. The next day, Optimus and the Dinobots arrive as reinforcements. Optimus single-handedly defeats the Decepticons and engages Megatron in a climactic battle that leaves both of them mortally wounded. On his deathbed, Optimus passes the Matrix of Leadership to Ultra Magnus, informing him that its power will light the Autobots' darkest hour, and dies. The remaining Decepticons retreat from the battle at Autobot City and head back to Cybertron. Mid-journey they jettison their wounded from Astrotrain, including Megatron at the hands of his treacherous second-in-command Starscream. Drifting in space, the wounded are found by Unicron, a gigantic sentient cyber-planet who consumes other planets. Unicron offers Megatron a new body in exchange for destroying the Matrix, which has the ability to destroy him. Megatron reluctantly agrees and is converted into Galvatron, while the corpses of the Decepticons jettisoned along with him are used to create his new troops. Going to Cybertron, Galvatron crashes Starscream's coronation as Decepticon commander and destroys him, before travelling back to Autobot City to eliminate Ultra Magnus. The surviving Autobots escape in separate shuttles, which are damaged by the Decepticons and crash-land on different planets. Hot Rod and Kup are taken prisoner by the Quintessons, multi-faced tyrants who hold kangaroo courts and execute prisoners by feeding them to the Sharkticons. Hot Rod and Kup learn of Unicron from Kranix, a survivor of Lithone \u2013 a planet devoured by Unicron. After Kranix is executed, Hot Rod and Kup escape their own trial, aided by the arrival of the Dinobots and the small Autobot Wheelie, who helps them find a ship to leave the planet. The other Autobots land on the Junk Planet, where Galvatron kills Ultra Magnus and seizes the Matrix, intending on using it to control Unicron. The Autobots reunite and befriend the local Junkions, led by Wreck-Gar, who then rebuild Magnus. Learning Galvatron has the Matrix, the Autobots and Junkions fly to Cybertron, which Unicron, discovered to be a gigantic Transformer also now in robot form, begins to destroy. The Autobots crash their spaceship through Unicron's eye, but they end up separated. Daniel rescues his father Spike and Jazz, Bumblebee and Cliffjumper from being devoured. Hot Rod confronts Galvatron, who tries to form an alliance, but is forced into attacking Hot Rod by Unicron. Hot Rod obtains the Matrix, which converts him into Rodimus Prime, the Autobot that Optimus said would light their darkest hour. Rodimus tosses Galvatron into space and uses the Matrix's power to destroy Unicron from the inside. The Autobots celebrate the war's end and Cybertron's retaking with Rodimus Prime's inauguration, while Unicron's severed head orbits Cybertron."}
{"movie_name":"The Two Popes_2019","imdb_id":"tt8404614","script":"<script>\n  <scene>\n    <character>THE TWO POPES<\/character>\n    <dialogue>Written by<\/dialogue>\n    <scene_description>Anthony McCarten Pre-Title: Over a black screen we hear the robotic voice of a modern telephone system.<\/scene_description>\n    <character>VOICE:<\/character>\n    <dialogue>Welcome to Skytours. For flight information please press \"1\". If you're calling about an existing booking please press \"2\". If you're calling about a new booking please press \"3\" ...<\/dialogue>\n    <scene_description>The beep of someone (Bergoglio) pressing a button.<\/scene_description>\n    <character>VOICE:<\/character>\n    <dialogue>Did you know that you can book any flight on the Skytour website and that our discount prices are internet only ...<\/dialogue>\n    <character>BERGOGLIO: (V.O.)<\/character>\n    <dialogue>Oh good evening I ... oh.<\/dialogue>\n    <scene_description>He's mistaken this last for a human voice but ...<\/scene_description>\n    <character>VOICE: (V.O.)<\/character>\n    <dialogue>... if you still wish to speak to an operator please press one ...<\/dialogue>\n    <scene_description>Another beep.<\/scene_description>\n    <character>VOICE : (V.O.)<\/character>\n    <dialogue>Good morning welcome to the Skytours sales desk ...<\/dialogue>\n    <character>BERGOGLIO: (V.O.)<\/character>\n    <dialogue>Ah. Yes. I'm looking for a flight from Rome to Lampedusa. Yes I know I could book it on the internet. I've only just moved here.<\/dialogue>\n    <character>VOICE:<\/character>\n    <dialogue>Name?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Bergoglio. Jorge Bergoglio.<\/dialogue>\n    <character>VOICE:<\/character>\n    <dialogue>Like the Pope.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Well ... yes ... in fact.<\/dialogue>\n    <character>VOICE:<\/character>\n    <dialogue>Postcode?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Vatican city.<\/dialogue>\n    <scene_description>There's a long pause.<\/scene_description>\n    <character>VOICE:<\/character>\n    <dialogue>Very funny.<\/dialogue>\n    <scene_description>The line goes dead. Title: The Two Popes. (All the scenes that take place in Argentina are acted in Spanish)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLA 21 (2005) - DAY<\/stage_direction>\n    <scene_description>A smartly-dressed boy is walking along the narrow streets of Villa 21 - a poor area that is exploding with music, street vendors, traffic. He struts past the astonishing murals that decorate the walls of the area. The boy is heading for an outdoor mass, celebrated by Archbishop Bergoglio. As he walks along we tune into the sermon on VO ...<\/scene_description>\n    <character>BERGOGLIO (V.O.)<\/character>\n    <dialogue>Once a young man - his name was Francesco Bernadone - was walking in the wood...<\/dialogue>\n    <character>BERGOGLIO (V.O.)<\/character>\n    <dialogue>Hab\u00eda una vez un muchacho que caminaba por un bosque... se llamaba Francisco Bernadone.<\/dialogue>\n    <scene_description>This fairy tale opening seems at odds with the noisy urban surroundings but as the young man walks, we see the murals on the wall come to life = animated illustrations of the story we are hearing ... On the dilapidated city wall we see this story from the life of St. Francis begin to unfold.<\/scene_description>\n    <character>BERGOGLIO: (V.O.)<\/character>\n    <dialogue>He found a chapel - a ruined chapel ...one wall had fallen down. So he stepped inside. The crucifix was still on the wall where the altar had been. Afterwards Francesco always said it \"captivated his senses\". It spoke to him. It said, \"Francesco repair my Church.\" Francesco was a practical man. He said OK, went up to the quarry on top of Mount Subaccio, cut stones, carted them down the mountain and started to repair the broken wall.<\/dialogue>\n    <character>BERGOGLIO (V.O.)<\/character>\n    <dialogue>... de pronto encontr\u00f3 una capilla - una capilla muy venida abajo... con todas las paredes pr\u00e1cticamente destruidas. El muchacho entr\u00f3... El crucifijo todav\u00eda estaba ah\u00ed, en el lugar donde hab\u00eda estado el altar. De pronto, Francisco sinti\u00f3 como si alguien cautivara sus sentidos... El crucifijo le habl\u00f3 y le dijo: Francisco repara mi iglesia. Francisco era un hombre pr\u00e1ctico. Y dijo \"C\u00f3mo no...\" Fue a la cantera en la punta del Monte Subaccio, cort\u00f3 unas piedras, las arrastr\u00f3 hasta abajo y empez\u00f3 a reconstruir las paredes que estaban ca\u00eddas.<\/dialogue>\n    <scene_description>At this point, another boy crosses the mural and we follow him down the street and into the back of a big colorful crowd...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLA 21 - OUTDOOR MASS (2005) - DAY<\/stage_direction>\n    <scene_description>The crowd is the congregation of the big outdoor mass which Bergoglio is con-celebrating with a younger priest - Pepe (38). The story we have been listening to was Bergoglio's sermon. He's finishing now ...<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Even the longest journey has to start somewhere. Even the most glorious journey can start with a mistake. So when you feel lost, don't worry. That's when God is looking for you. And when you think everything is broken - don't worry. God will not give up on it. OK?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Cualquier traves\u00eda, por m\u00e1s larga que sea, siempre comienza en alg\u00fan lugar. Cualquier traves\u00eda, por m\u00e1s gloriosa que sea, puede comenzar con un error. Por eso, cuando se sientan perdidos, no se preocupen. Ese es el momento en que Dios los va a estar observando. Y cuando piensen que todo est\u00e1 perdido, no se preocupen, Dios no se dar\u00e1 por vencido. \u00bfEntendido?<\/dialogue>\n    <scene_description>This isn't a rhetorical question. People shout \"si\" back but not loud enough.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>OK?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>\u00bfEntendido?<\/dialogue>\n    <scene_description>Now they shout louder. PICK UP ON the Lorenzo, who has cut through the crowd to join a group of other well-dressed young men, all perched on top of a slab. They're all pals. They're not that interested in what Bergoglio is saying.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>And now we come to the part of the mass where we normally ask Our Lady to pray for us. But I've been thinking ... we've got lots of troubles here in Villa 21 so maybe it's not fair to leave it all to Our Lady. Who else could we ask to pray for us?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Ahora llegamos a esa parte de la misa donde generalmente le pedimos a Nuestra Se\u00f1ora que rece por nosotros. Pero estuve pensando... hemos tenidos muchos problemas, ac\u00e1, en la villa 21, entonces quiz\u00e1s no es justo dejar todo en manos de Nuestra Se\u00f1ora... \u00bfA quien m\u00e1s le podemos pedir que rece por nosotros?<\/dialogue>\n    <scene_description>He points to a well-dressed young man in the crowd.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Hombre, what's your name?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>A ver... el joven... \u00bfc\u00f3mo te llam\u00e1s?<\/dialogue>\n    <character>YOUNG MAN:<\/character>\n    <dialogue>(on edge) Lorenzo.<\/dialogue>\n    <character>HOMBRE JOVEN:<\/character>\n    <dialogue>(sobre la losa) Lorenzo.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>The name of my team - San<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>El nombre de mi equipo...<\/dialogue>\n    <scene_description>Lorenzo! \u00a1San Lorenzo! This provokes huge, good-natured booing. In Villa 21 they support Hurac\u00e1n. But the young man looks uncomfortable about becoming the object of attention. He's with the well-dressed boy ...<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>San Lorenzo, pray for us.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>San Lorenzo, reza por nosotros.<\/dialogue>\n    <scene_description>The well-dressed young men are looking uneasy. They are drug dealers. CUT TO: Pepe and Bergoglio, making their way, people stop them to ask for blessings or just say hi. Someone hands Bergoglio a mate. He takes a drink and passes it on. A woman barges through the crowd to the priests and blurts out some news. The little bell from the local church rings...<\/scene_description>\n    <character>WOMAN:<\/character>\n    <dialogue>Fathers, it's the Pope. Pope is dead.<\/dialogue>\n    <character>MUJER:<\/character>\n    <dialogue>The muri\u00f3.<\/dialogue>\n    <scene_description>INSERT: ARCHIVAL FOOTAGE Straight off that announcement on a street in South America, we cut to the awesome sight of John Paul II's body being carried through the crowd to the Basilica.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY WITH ARCHES, THE VATICAN (2005) - DAY<\/stage_direction>\n    <scene_description>CARDINAL Joseph RATZINGER (77), (soft spoken, a natural recluse) is walking along a corridor accompanied by his trusted assistant\/PA - Paolo. Paolo has a set of flash cards - a photo on one side and some information on the back. As they walk he shows them - card by card - to Ratzinger, who responds by identifying the people in the photograph - he always gets it right ...they speak in Italian.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>(of first photo). Lula, President of Brazil.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Lula, presidente del Brasile.<\/dialogue>\n    <character>PAOLO:<\/character>\n    <dialogue>Correct. Seems like he is saving the country.<\/dialogue>\n    <character>PAOLO:<\/character>\n    <dialogue>Giusto. Sembra che stia salvando il paese.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>(of first photo) Margaret Queen of Denmark ...<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Margareth Regina della Dinamarca.<\/dialogue>\n    <character>PAOLO:<\/character>\n    <dialogue>Correct.<\/dialogue>\n    <character>PAOLO:<\/character>\n    <dialogue>Giusto.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Chain smokes. Illustrates children's books.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Grande fumatrice. Illustra libri per bambini.<\/dialogue>\n    <scene_description>Another card.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>Mr. Blair prime minister of Britain, likes to be called Tony.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Il Signore Blair primo ministro della Gran Bretagna, gli piace essere chiamato Tony.<\/dialogue>\n    <character>PAOLO:<\/character>\n    <dialogue>Good. This one ...<\/dialogue>\n    <character>PAOLO:<\/character>\n    <dialogue>Bene. Questo...<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Cardinal Arinze of Nigeria. Many say he will be the first African Pope.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Cardinale Arinze della Nigeria. Molti dicono che sar\u00e0 il primo Papa Africano.<\/dialogue>\n    <character>PAOLO:<\/character>\n    <dialogue>Will he be?<\/dialogue>\n    <character>PAOLO:<\/character>\n    <dialogue>E lo sara'?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>No because we've already had three. Admittedly the last one died in the year 492 so it's not surprising people have forgotten.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>No perch\u00e9 ne abbiamo gi\u00e0 avuiti tre. Legittimamente l'ultimo \u00e8 morto nell'anno quattrocento novantadue, quindi non \u00e8 sorprendente che la gente l'abbia dimenticato.<\/dialogue>\n    <scene_description>The atmosphere between Paolo and Ratzinger is warm and familiar. Paolo has been a trusted aide for years. He shows another photograph - Bergoglio. Ratzinger doesn't respond.<\/scene_description>\n    <character>PAOLO:<\/character>\n    <dialogue>Bergoglio - Argentina. Leading advocate for reform in the Church. He's extremely popular in ...<\/dialogue>\n    <character>PAOLO:<\/character>\n    <dialogue>Bergoglio - Argentina. Principale difensore per la riforma della Chiesa. Molto benvoluto in...<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>I know who he is.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Lo so chi \u00e8.<\/dialogue>\n    <scene_description>A bit sharp. Paolo is quick to pick up on the mood.<\/scene_description>\n    <character>PAOLO:<\/character>\n    <dialogue>Perhaps we should leave the clergy until later.<\/dialogue>\n    <character>PAOLO:<\/character>\n    <dialogue>Forse dovremmo lasciare il clero per dopo (pi\u00f9 tardi)<\/dialogue>\n    <scene_description>As they walk along the corridor, more and more officials tag along, hoping for a word. Paolo shows another card.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>Yes, yes I know who George Bush is.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Si, si lo so chi \u00e8 George Bush.<\/dialogue>\n    <scene_description>He keeps moving. He seems to have the world at his finger- tips. Off the photos of World leaders we CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUENOS AIRES EZEIZA AIRPORT (2005) - DAY<\/stage_direction>\n    <scene_description>Bergoglio struggles through the crowd towards Departures.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUENOS AIRES EZEIZA (2005) - DAY<\/stage_direction>\n    <scene_description>Bergoglio is at security. He puts his bag, his belt and his shoes into one of the trays as it goes through the scanner. The X-Ray reveals a crucifix inside his bag. He looks anxiously at his watch. He watches his shoes go by on the conveyor belt. A security guard approaches and - by instinct - Bergoglio straightens up and puts his hands up, ready to be frisked.<\/scene_description>\n    <character>SECURITY:<\/character>\n    <dialogue>I was going to ask you for a blessing your Eminence.<\/dialogue>\n    <character>GUARDIA SEGURIDAD:<\/character>\n    <dialogue>Disculpe... Iba a pedirle su bendici\u00f3n, eminencia.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Oh. Right. Sure.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Ah... Claro... C\u00f3mo no...<\/dialogue>\n    <scene_description>He blesses the man. This attracts attention and soon 3 other members of security are asking to be blessed.<\/scene_description>\n    <character>BERGOGLIO :<\/character>\n    <dialogue>I think we may be causing a little congestion. How about if I just blessed everyone<\/dialogue>\n    <character>BERGOGLIO<\/character>\n    <dialogue>Creo que si seguimos as\u00ed vamos a provocar un l\u00edo b\u00e1rbaro... \u00bfQu\u00e9 les parece si<\/dialogue>\n    <scene_description>... mejor no los bendigo a todos juntos? He gets up on tip-toe and blesses everyone. They say amen and then thank you.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VATICAN SECURITY ROOM (2005) - DAY<\/stage_direction>\n    <scene_description>Banks of monitors and keyboards, the feeds of the cameras that are keeping watch over the Vatican where the greatest gathering of World leaders ever seen will take place. On the screens we glimpse Chirac, Bush, Mandela. Ratzinger is overseeing it all.<\/scene_description>\n    <character>HEAD OF SECURITY:<\/character>\n    <dialogue>Monarchs and sovereigns take precedence over presidents. Presidents are seated in alphabetical order of country. Extra seating for the Polish delegation.<\/dialogue>\n    <character>CAPO DELLA SICUREZZA:<\/character>\n    <dialogue>Monarchi e sovrani hanno la precedenza sui presidenti. I presidenti sono seduti secondo l'ordine alfabetico dei paesi. Posti addizionali a sedere per la delegazione polacca.<\/dialogue>\n    <scene_description>As he speaks we: INSERT: Footage of the funeral itself. World Leaders come up to be blessed by Ratzinger. CUT AWAY TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMPROVISED CHANGING ROOM - ST PETER'S BASILICA (2005) -<\/stage_direction>\n    <scene_description>DAY Ratzinger is standing in front of a mirror, practising his sermon. He tries different intonations. He tries not looking at his notes. He's trying to memorise it.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>None of us can ever forget<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Nessuno di noi potra' mai<\/dialogue>\n    <scene_description>... can any of us ever forget dimenticare... possiamo mai ... we shall never forget, dimenticare?... non never forget how on that Last dimenticheremo mai, mai come Easter Sunday of his life ... quell'ultima domenica di Pasqua della sua vita... CUT STRAIGHT: BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ST PETER'S SQUARE (2005) - DAY<\/stage_direction>\n    <scene_description>Ratzinger is in the pulpit, delivering his sermon with ease and authority.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>None of us can ever forget how in that last Easter Sunday of his life, the Holy Father, marked by suffering and visibly in pain, came one last time to the window and one last time gave us his blessing ...<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Nessuno di noi potra' mai dimenticare quell'ultima domenica di Pasqua della sua vita, quando il Santo Padre, segnato visibilmente dalla sofferenza e dal dolore, venne un'ultima volta alla finestra e per un'ultima volta ci dette la sua benedizione...<\/dialogue>\n    <scene_description>At this gathering of immensely powerful people, Ratzinger is centre stage. He seems comfortable and capable of the role. INSERT: Footage of the Saint Peter Basilica - The Cardinals - including Bergoglio and a few others who will meet later - ranged in front of the coffin in their red robes. End on the plain, simple coffin of John Paul II standing on display in the midst of all this. A wind blows turning the pages of the bible on the coffin.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ST. PETER'S SQUARE (2005) - DAY<\/stage_direction>\n    <scene_description>As the Cardinals filter across the square, some are grabbed for interview by TV crews, others greet old friends warmly.<\/scene_description>\n    <character>AMERICAN JOURNALIST:<\/character>\n    <dialogue>Having bidden farewell to the last Pope, the cardinals will vote for the new Pope, in a conclave, hidden from view, behind the locked doors of the Sistine chapel.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VATICAN PARKING LOT (2005) - DAY<\/stage_direction>\n    <scene_description>One group of cardinals finds time to banter quietly on their way in. They are Bergoglio, Turkson (warm, intellectual Ghanaian), and Hummes (Brazilian). They banter in English - the lingua franca.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>It'll be like the World Cup - everyone will be hoping for a beautiful game between Brazil (NODS AT HUMMES) and Italy (NODS AT MARTINI) but in the end the Germans (NODS TOWARDS RATZINGER) will win on penalties.<\/dialogue>\n    <character>TURKSON:<\/character>\n    <dialogue>Yes and everyone will say this is surely Africa's year but then Ghana and Nigeria will crash out in the quarter finals.<\/dialogue>\n    <character>HUMMES:<\/character>\n    <dialogue>I'm not sure about Brazil. I think it might be Argentina this year ...<\/dialogue>\n    <scene_description>He nudges Bergoglio.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Argentina? No, no, no. I'm a Jesuit. There's never been a Jesuit Pope.<\/dialogue>\n    <character>TURKSON:<\/character>\n    <dialogue>Exactly what we need. Something there has never been before.<\/dialogue>\n    <character>AMERICAN JOURNALIST &amp; US TV REPORTER:<\/character>\n    <dialogue>The hidden machinery of the electoral process, unchanged since medieval times, will soon begin in secret. The cardinals will have a week of discussions and meetings before the voting. They will have to decide between the tradition supported by the Curia or for reforms supported mostly by non European cardinals.<\/dialogue>\n    <scene_description>Cardinals wearing their black cassocks are talking everywhere. Feels like politicians. We see them in mini- buses, at the dining room in Santa Marta, in the gardens, in corridors.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM\/ SISTINE CHAPEL (2005) - DAY<\/stage_direction>\n    <scene_description>Ratzinger is washing his hands. He pauses. Someone is whistling, a lovely, slow melody in the cubicle. He turns and looks at the cubicle. Out of the cubicle comes BERGOGLIO. They nod at each other. There is no love lost here. A moment of pause, then Ratzinger's diplomatic skills kick in. He asks a politely neutral question in Latin.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>What's the name of the song you are singing?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Quid est nomen carminis quod cantas?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Dancing Queen<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Regina Saltans<\/dialogue>\n    <scene_description>Ratzinger looks slightly puzzled. Bergoglio goes into detail.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>By Abba<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Cantant Abba<\/dialogue>\n    <scene_description>As Ratzinger leaves, Bergoglio carries on whistling.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CURIA MEETING ROOM (2005) - DAY<\/stage_direction>\n    <scene_description>Before the Conclave starts the Cardinals gather at the Curia to talk to each other. Several groups are formed. It feels like the coffee break at a corporate convention. As they do so, they pass Ratzinger, who is deep in conversation with the elegant, austere, conservative Arinze. But even as he is having this philosophical discussion, Ratzinger greets each passing cardinal by name.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>We have to protect his legacy. The truth is under siege. We need to build strong walls around the gospel.<\/dialogue>\n    <character>ARINZE:<\/character>\n    <dialogue>How many winds of change we have known in recent decades, how many ideological currents. We need a voice of certainty.<\/dialogue>\n    <scene_description>Meanwhile PICK UP ON Bergoglio, he moves toward his little group of friends. He looks up in wonder. The place is astounding. The radical Italian cardinal - Martini - leans over his shoulder and mutters to him.<\/scene_description>\n    <character>MARTINI:<\/character>\n    <dialogue>The church is too used to this ... to glory, to Europe. Churches that are beautiful but empty. We're like a fire covered in ash. There is still light in there but someone needs to blow the ash away.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>You?<\/dialogue>\n    <character>MARTINI:<\/character>\n    <dialogue>It would be better if it was someone from outside Europe.<\/dialogue>\n    <scene_description>Is Martini lobbying Bergoglio? Ratzinger comes to the group where Bergoglio is. He's been greeting all the Cardinals one by one. Turkson first.<\/scene_description>\n    <character>TURKSON:<\/character>\n    <dialogue>Danke f\u00fcr die sch\u00f6ne Predigt bei der Beerdigung ...<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Bitte schon. (TO HUMMES) Dom Claudio Hummes, a vida era mais f\u00e1cil quando todos falavam Latin. Encantado.<\/dialogue>\n    <scene_description>Hummes laughs and shakes his hand. Bergoglio is next. He gets nothing but a handshake, barely any eye-contact. As they move off, Hummes says quietly to Bergoglio.<\/scene_description>\n    <character>HUMMES:<\/character>\n    <dialogue>No \"encantado\" for you.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>No.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ST. PETER'S SQUARE + ARCHIVE (2005) - DAY<\/stage_direction>\n    <character>TV REPORTERS:<\/character>\n    <dialogue>The cardinals only communication with the outside World will be through that chimney. White smoke for a new Pope. Black for no decision.<\/dialogue>\n    <scene_description>We get a close up of \"THAT CHIMNEY\" - a little tin stove pipe on top of the Vatican. Then we see news reporters from different countries all saying the same thing in their various languages. Amusingly, each one of them in turn points up to \"that chimney\" - making the same point one after another.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - STAIRS TO THE SISTINE CHAPEL (2005) - DAY<\/stage_direction>\n    <scene_description>Cardinals climbing the majestic stairs, crossing the lobby. Swiss guards line their way as they head towards the doors of the Sistine Chapel.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ST. PETER'S SQUARE (2005) - DAY<\/stage_direction>\n    <scene_description>The square is full of people watching the pageantry on big screens, telling their rosary beads, holding their breath.<\/scene_description>\n    <character>TV REPORTERS<\/character>\n    <dialogue>And now the great doors will finally be locked. Not be opened again until we have a new Pope.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SISTINE CHAPEL (2005) - DAY<\/stage_direction>\n    <scene_description>CLOSE ON: A BIG KEY locking the door to the CHAPEL. The sound of the key turning and then silence. We see the last few cardinals going to their places.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SISTINE CHAPEL (2005) - DAY<\/stage_direction>\n    <scene_description>A scrutineer calls a cardinal by name. He stands up, walks the length of the chapel, hands over his vote, walks back to his place. We see cardinal after cardinal go up, vote and sit down - in a kind of ritual choreography. Until it stops.<\/scene_description>\n    <character>SCRUTINEER \/ CAMERLENGO:<\/character>\n    <dialogue>The results of the first round of voting are as follows...Joseph Ratzinger - 47 votes Jorge Bergoglio - 10 votes<\/dialogue>\n    <character>SCRUTATORE \/ CAMERLENGO:<\/character>\n    <dialogue>I risultati del primo scrutinio sono i seguenti... Joseph Ratzinger - 47 voti Jorge Bergoglio - 10 voti<\/dialogue>\n    <scene_description>REACTION: BERGOGLIO, shocked. He barely can hear the rest of the votes as the Scrutineer continues ...<\/scene_description>\n    <character>SCRUTINEER \/ CAMERLENGO:<\/character>\n    <dialogue>Carlo Maria Martini - 9 votes Camillo Ruini - 6 votes Angelo Sodano - 4 votes ...<\/dialogue>\n    <character>SCRUTATORE \/ CAMERLENGO:<\/character>\n    <dialogue>Carlo Maria Martini - 9 voti Camillo Ruini - 6 voti Angelo Sodano - 4 voti<\/dialogue>\n    <scene_description>REACTION: Ratzinger is watching Bergoglio trying to process what just happened. He too barely listens ...<\/scene_description>\n    <character>SCRUTINEER \/ CAMERLENGO:<\/character>\n    <dialogue>Oscar Maradiaga - 3 votes Dionigi Tettamanzi - 2 votes Giacomo Biffi - 1 vote Others - 33 votes<\/dialogue>\n    <character>SCRUTATORE \/ CAMERLENGO:<\/character>\n    <dialogue>Oscar Mariadaga - 3 voti Dionigi Tettamanzi - 2 voti Giacomo Biffi - 1 voto Altri - 33 voti<\/dialogue>\n    <scene_description>REACTION: BERGOGLIO, shocked. REACTION: Ratzinger looks at Bergoglio trying to understand what has just happened.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ST PETER'S SQUARE (2005) - DAY<\/stage_direction>\n    <scene_description>Come in again on \"that chimney pot\". The first puffs of smoke appear.<\/scene_description>\n    <character>TV REPORTERS:<\/character>\n    <dialogue>And we have smoke! Is it white? Is it black?<\/dialogue>\n    <scene_description>The EXCITED PUBLIC see smoke coming out of the CHAPEL CHIMNEY. They strain to see what color. They stand on tip toe, pull out binoculars.<\/scene_description>\n    <character>TV REPORTERS:<\/character>\n    <dialogue>It's Black! It's Black! So no candidate has achieved the seventy seven votes required for an overall majority. We go to another vote.<\/dialogue>\n    <scene_description>Sigh of disappointment from the crowd.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ST. MARTA (2005) - DAY<\/stage_direction>\n    <scene_description>The cardinals are queueing at the buffet. Pick up on Ratzinger talking to a cardinal. He'll make the same speech - discreetly - to one cardinal after another during the lunch break. The dialogue is continuous, but the lines will be repeated in four different situations. At the buffet, seated, standing in a corner with three African Cardinals, talking to a table full of Asian Cardinals.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>We need one common point of reference. Interpreted from many angles yes. But one, unchanging eternal truth. Take the traveller who is lost. He takes out a, what?<\/dialogue>\n    <character>CARDINAL:<\/character>\n    <dialogue>A mobile phone?<\/dialogue>\n    <character>RATZINGER<\/character>\n    <dialogue>In my day a compass--Only when it finds True North can the compass help. Without God, humanity has no agreed reference point, no axis mundi.<\/dialogue>\n    <scene_description>Pick up on Bergoglio sitting with his friends.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>It's just ten votes.<\/dialogue>\n    <character>TURKSON:<\/character>\n    <dialogue>No one from the Southern Hemisphere has had so many before. The World just tipped on its axis.<\/dialogue>\n    <character>HUMMES:<\/character>\n    <dialogue>Martini got nine. That's nineteen votes for real change. If he tells his followers to transfer their votes to you ...<\/dialogue>\n    <character>TURKSON:<\/character>\n    <dialogue>Like the mustard seed which when it is planted is the smallest of all seeds but which when it grows ...<\/dialogue>\n    <character>HUMMES:<\/character>\n    <dialogue>The birds of the air make their nests in it.<\/dialogue>\n    <scene_description>PICK UP ON Ratzinger giving his pitch to another cardinal. He goes from one table to the next like a groom at his wedding. Networking. Go back to Bergoglio, Hummes and Turkson. They talk out of the corners of their mouths. BERGOGLIO: Reform needs a politician. Transfer your votes to Cardinal Martini. He has fought for reform for years.<\/scene_description>\n    <character>HUMMES:<\/character>\n    <dialogue>I already voted for Martini.<\/dialogue>\n    <character>TURKSON:<\/character>\n    <dialogue>What!?<\/dialogue>\n    <character>HUMMES:<\/character>\n    <dialogue>(TO BERGOGLIO) You said you didn't want it and I believed you. And now Martini has just asked anyone who voted for him to vote for you instead.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>No. Please.<\/dialogue>\n    <character>TURKSON:<\/character>\n    <dialogue>(Enjoying the discomfort) The most important qualification for any leader is not wanting to be leader....Plato.<\/dialogue>\n    <character>HUMMES:<\/character>\n    <dialogue>That's why it must not be Ratzinger. He really wants it.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Do you feel he wants it? I think he'd rather be in peace writing in Bavaria. Being Pope is like being a martyr.<\/dialogue>\n    <scene_description>He looks over at Ratzinger as he says this. Ratzinger spots the look. He knows they are talking about him. He glances at the camera. A bell rings and we go back to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SISTINE CHAPEL (2005) - DAY<\/stage_direction>\n    <scene_description>That timeless choreography of cardinals going up one by one to vote. And of votes being counted. The results of the second vote are announced. Bergoglio is still in there. His vote has slightly increased.<\/scene_description>\n    <character>SCRUTINEER :<\/character>\n    <dialogue>Joseph Ratzinger 65 ... Jorge Bergoglio 35 ... Angelo Sodano 4... Dionigi Tettamanzi 2... Giacomo Biffi 1... Dario Hoyos 1\u2026<\/dialogue>\n    <scene_description>INSERT: Shot of \"that chimney\" and some black smoke. INSERT: Time lapse of the Sun going down over the dome of St. Peter's.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ST. PETER'S SQUARE (2005) - EVENING<\/stage_direction>\n    <scene_description>Now familiar shot of Vatican-watchers sighing with disappointment.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUS PARKING SISTINE CHAPEL (2005) - EVENING<\/stage_direction>\n    <scene_description>The cardinals are filing out, ready to be shown into a cavalcade of mini-buses. PICK UP ON Bergoglio stepping back to let another cardinal get on the bus ahead of him. As he does so, Arinze - who is heading for a different mini-bus - pauses and says something to him discreetly.<\/scene_description>\n    <character>ARINZE:<\/character>\n    <dialogue>Ratzinger has been here all his life. If he was the man to change things he would have done it by now. I'll join you for breakfast tomorrow. I can bring you fifteen votes if the conversation goes well.<\/dialogue>\n    <scene_description>He slides off. That was the most discreet piece of lobbying you ever saw in your life. Hummes however saw it, through the window of the minibus. He raises his eyes brows meaningfully at Bergoglio as he gets in. The busloads of cardinals move off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MINI BUS (2005) - EVENING<\/stage_direction>\n    <scene_description>The bus load of cardinals - including Bergoglio - drives round to the St. Marta. There's a matey, male atmosphere. Hummes, Bergoglio and others in the back of a minibus. Hummes whispers in Bergoglio's ear.<\/scene_description>\n    <character>HUMMES:<\/character>\n    <dialogue>If the taking you're refund Jorge.<\/dialogue>\n    <character>HUMMES:<\/character>\n    <dialogue>conservatives are you seriously... well going to have to get a on your return flight,<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOMS - ST. MARTA (2005) - NIGHT<\/stage_direction>\n    <scene_description>Hummes opens his room door and finds an A4 envelope on the floor. He picks it up, frowns. He looks down the corridor. Every one of the rooms has an identical envelope protruding from under the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ST. MARTA - BREAKFAST ROOM (2005) - MORNING<\/stage_direction>\n    <scene_description>Hummes and Bergoglio are collecting their coffee and rolls. Hummes is telling him what happened. On a nearby table a group of cardinals are conversing. A couple of them have copies of the dossier with them. Some of them glance discretely look at Bergoglio.<\/scene_description>\n    <character>HUMMES:<\/character>\n    <dialogue>It's a dossier. About you. About your past.<\/dialogue>\n    <character>HUMMES:<\/character>\n    <dialogue>Es un informe. Sobre usted. Sobre su pasado.<\/dialogue>\n    <scene_description>A look of anguish on Bergoglio's face.<\/scene_description>\n    <character>HUMMES:<\/character>\n    <dialogue>You've got an enemy, Jorge. Could be the government - back home. The last thing they need is to have to pretend to be pleased to have an Argentine pope, when he spends all his time attacking them for neglecting the poor. Or it could come from the leftwing press in Argentina, you know they don't like you either. Or it could be this lot - the Curia. You've got a choice of enemies, Jorge.<\/dialogue>\n    <character>HUMMES:<\/character>\n    <dialogue>Usted tiene un enemigo, Jorge. Podr\u00eda ser el gobierno de su pa\u00eds... Lo \u00faltimo que desean es verse obligados a fingir que les encanta tener un papa argentino, cuando usted no ha dejado de atacarlos por ignorar a los pobres. O bien podr\u00eda ser el ala izquierda de la prensa de Argentina... Usted sabe que a ellos tampoco les cae bien... O podr\u00eda ser alguien de nuestro mismo grupo... La Curia. Usted tiene enemigos de toda clase, Jorge.<\/dialogue>\n    <scene_description>BERGOGLIO spots Arinze coming towards him, carrying his own austere breakfast. Arinze turns on his heel, blanking him. Bergoglio's status has changed over night.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SISTINE CHAPEL (2005) - DAY<\/stage_direction>\n    <scene_description>Back to the choreography of cardinals walking up to vote. Their votes are handed over. They are counted.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ST. PETER'S SQUARE (2005) - DAY<\/stage_direction>\n    <scene_description>Back to that stove-pipe chimney but this time the chimney is in the foreground, and the crowd is the background. A puff of smoke.<\/scene_description>\n    <character>TV REPORTERS:<\/character>\n    <dialogue>(WEARY) Black smoke again. This is the second day and the third round of voting so...no, wait. It's white. The smoke is white.<\/dialogue>\n    <scene_description>A huge cheer from the square. Bells start ringing. INSERT: Shots of more cheering in - Tokyo, Manila, Madrid.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM OF TEARS \/ VATICAN (2005) - DAY<\/stage_direction>\n    <scene_description>MONTAGE of: A) One of three VELVET RED SHOES being selected by the ASSISTANT. B) The SHOES being slipped onto the PAPAL FEET... C) One of three PAPAL VESTMENTS is selected by the ASSISTANT. D) One of three WHITE SKULL CAPS... E) The PAPAL RING is lifted from a CRIMSON VELVET PILLOW.<\/scene_description>\n    <character>TV REPORTER (V.O.)<\/character>\n    <dialogue>The new Pope is taken into the dressing room which has been known for centuries as the Chamber of Tears. Pope John XXIII famously said that no one tells the new Pope whether they are tears of joy or of sorrow. He has to find out for himself.<\/dialogue>\n    <scene_description>F) A SHORT RED CAPE, the MOZZETA, is selected. G) The PAPAL PALLIUM, a thick red decorated band that encircles the neck with pendants on the end, is lifted from a frame... H) A GOLDEN MITRE is set into the now RINGED HAND of the NEW PONTIFF...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ST. PETER'S SQUARE (2005) - DAY<\/stage_direction>\n    <scene_description>- the DOORS of the BALCONY open - and the red-robed Protodeacon - ESTEVEZ - appears, flanked by two SWISS GUARDS. One of the GUARDS swings a MICROPHONE on a pole in front of ESTEVEZ, as the CROWD falls silent....<\/scene_description>\n    <character>ESTEVEZ:<\/character>\n    <dialogue>Fratelli e sorelle carissimi (the italians roar) Querid\u00edsimos hermanos y hermanas.<\/dialogue>\n    <parenthetical>(the hispanic contingent roars)<\/parenthetical>\n    <dialogue>Bien chers fr\u00e8res et s\u0153urs.<\/dialogue>\n    <parenthetical>(the French roar)<\/parenthetical>\n    <dialogue>Liebe Br\u00fceder und Schwestern<\/dialogue>\n    <parenthetical>(a German roar)<\/parenthetical>\n    <dialogue>Dear brothers and sisters<\/dialogue>\n    <character>ESTEVEZ:<\/character>\n    <dialogue>Annuntio vobis gaudium magnum; habemus Papam!<\/dialogue>\n    <scene_description>The CROWD ROAR, and then fall silent, awaiting the name of the new POPE.<\/scene_description>\n    <character>ESTEVEZ<\/character>\n    <dialogue>Eminentissimum ac Reverendissimum Dominum, Dominum Josephum Sanctae Romanae Ecclesiae Cardinalem Ratzinger, qui sibi nomen imposuit Benedictum XVI.<\/dialogue>\n    <scene_description>ANGLE ON: The GERMAN contingent, identified by a GERMAN FLAG, who erupt in JUBILANT JOY, jumping up and down and screaming like football supporters. Estevez retires and - a second later - the NEW POPE steps out onto the BALCONY in FULL CEREMONIAL DRESS, wearing mitre. He raises his hands and joins them above his head, as the CROWD begin to CHANT:<\/scene_description>\n    <character>CROWD<\/character>\n    <dialogue>VIVA PAPA! VIVA PAPA! VIVA PAPA!<\/dialogue>\n    <scene_description>CLOSE ON: RATZINGER, smiling.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>My dear brothers and sisters in Christ, after the great Pope John Paul II, the cardinals have elected me, a simple and humble worker in the vineyard of the Lord. I am consoled by the fact that the Lord knows how to work even with flawed instruments.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Cari fratelli e sorelle, dopo il grande Papa Giovanni Paolo II, i signori cardinali hanno eletto me, un semplice e umile lavoratore nella vigna del Signore. Mi consola il fatto che il Signore sa lavorare e agire anche con strumenti insufficienti.<\/dialogue>\n    <scene_description>REACTION CROWD: Listening, respectfully, but - seem UNEMOTIONAL, COOL.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VATICAN (2005) - EVENING<\/stage_direction>\n    <scene_description>Bergoglio is talking to Hummes as they leave. We can still hear music and cheering from outside.<\/scene_description>\n    <character>CLAUDIO HUMMES:<\/character>\n    <dialogue>What will you do now?<\/dialogue>\n    <character>CLAUDIO HUMMES:<\/character>\n    <dialogue>\u00bfQu\u00e9 piensa hacer ahora?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Back to Buenos Aires. Plan my retirement.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Volver a Buenos Aires y planear mi retiro.<\/dialogue>\n    <character>CLAUDIO HUMMES:<\/character>\n    <dialogue>I was actually asking what you were going to do for lunch. You're too young to retire.<\/dialogue>\n    <character>CLAUDIO HUMMES:<\/character>\n    <dialogue>En realidad le preguntaba que pensaba hacer para el almuerzo. Usted es demasiado joven para retirarse.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>The church has just voted to make sure overdue reforms remain overdue. I can probably do more good as a parish priest.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>La Iglesia acaba de votar para que las reformas que no se hicieron sigan sin hacerse... Creo que puedo ayudar m\u00e1s trabajando como un simple cura de parroquia.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUENOS AIRES GALLERIA (2012)- SATURDAY EVENING<\/stage_direction>\n    <scene_description>Bergoglio is coming out of a barbershop, having just had his hair cut. Outside the shop is a post office kiosk. A woman - LISABETTA - is also at the kiosk, buying stamps. Bergoglio goes in for a bit of banter.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Don't buy stamps from 'Tonio. They don't work.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>No le compres estampillas a Tonio que no sirven para nada.<\/dialogue>\n    <character>TONIO:<\/character>\n    <dialogue>There's nothing wrong with my stamps.<\/dialogue>\n    <character>TONIO:<\/character>\n    <dialogue>Mis estampillas no tienen nada de malo.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I wrote a beautiful, elegant letter to someone a month ago and no reply. Sent the same letter again, still no reply. His stamps don't work.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Escrib\u00ed una carta preciosa el mes pasado y nunca me respondieron. La mand\u00e9 de nuevo y tampoco recib\u00ed respuesta. Sus estampillas no sirven.<\/dialogue>\n    <character>LISABETTA:<\/character>\n    <dialogue>It doesn't matter how good your letter is, Jorge, they are never going to let you play in goal for San Lorenzo.<\/dialogue>\n    <character>LISABETTA:<\/character>\n    <dialogue>(bromea) No importa lo bien escrita que est\u00e9 su carta, Jorge... nunca van a dejarlo jugar en<\/dialogue>\n    <scene_description>San Lorenzo! Bergoglio sonr\u00ede.<\/scene_description>\n    <character>LISABETTA: (CONT'D) (CONT'D) LISABETTA:<\/character>\n    <dialogue>Maybe you got the wrong Talvez la mand\u00f3 a la address. direcci\u00f3n equivocada.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>It's quite a well-known address.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Imposible... Es una direcci\u00f3n bastante conocida.<\/dialogue>\n    <character>LISABETTA:<\/character>\n    <dialogue>Who is it?<\/dialogue>\n    <character>LISABETTA:<\/character>\n    <dialogue>\u00bfA qui\u00e9n se la mand\u00f3?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>The Pope.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Al Papa<\/dialogue>\n    <scene_description>Lisabetta gives Bergoglio a letter.<\/scene_description>\n    <character>LISABETTA:<\/character>\n    <dialogue>So Tonio's stamps work. I came to bring you this letter. It's from the Vatican.<\/dialogue>\n    <character>LISABETTA:<\/character>\n    <dialogue>Las estampillas de Tonio si' funcionan. Vine a traerle esta carta. Es del Vaticano.<\/dialogue>\n    <scene_description>PICK UP. Lisabetta and Bergoglio walk along the galeria. Bergoglio takes the letter from the envelope and starts reading.<\/scene_description>\n    <character>LISABETTA:<\/character>\n    <dialogue>Why do you want to talk to the pope?<\/dialogue>\n    <character>LISABETTA:<\/character>\n    <dialogue>Porque quiere hablar con el Papa?<\/dialogue>\n    <scene_description>PICK UP ON - He hasn't yet read the letter.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Already booked my flight.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Ya reserv\u00e9 mi vuelo.<\/dialogue>\n    <character>LISABETTA:<\/character>\n    <dialogue>No. Seriously? Why? What's so urgent?<\/dialogue>\n    <character>LISABETTA:<\/character>\n    <dialogue>No. En serio?? Porqu\u00e9? Qu\u00e9 puede ser tan urgente?<\/dialogue>\n    <scene_description>Once again he doesn't respond except by looking through the letters. He's being evasive. She guesses.<\/scene_description>\n    <character>LISABETTA:<\/character>\n    <dialogue>You're going to resign.<\/dialogue>\n    <character>LISABETTA:<\/character>\n    <dialogue>Usted quiere renunciar.<\/dialogue>\n    <scene_description>He looks up.<\/scene_description>\n    <character>LISABETTA:<\/character>\n    <dialogue>You wrote telling him and he didn't reply. No. Don't. We need you. Maybe that's why he didn't reply. Maybe he can see how much Buenos Aires needs you.<\/dialogue>\n    <character>LISABETTA:<\/character>\n    <dialogue>Le escribi\u00f3 para dec\u00edrselo y \u00e9l no le contest\u00f3. No. No lo haga. Nosotros lo necesitamos. Tal vez por eso no le contest\u00f3. Tal vez \u00e9l puede ver cuanto lo necesita Buenos Aires.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>He'd need a good telescope to spot that from the Vatican palace. (Skim -reading) He's<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Va a necesitar un buen largavistas para verlo desde el palacio del Vaticano.<\/dialogue>\n    <scene_description>summoned me to Rome. (lee por encima la carta) Quiere verme en Roma.<\/scene_description>\n    <character>LISABETTA:<\/character>\n    <dialogue>Maybe he does have a telescope.<\/dialogue>\n    <character>LISABETTA:<\/character>\n    <dialogue>Parece que ya se consigui\u00f3 un buen largavistas...<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I booked my flights BEFORE I was summoned.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Yo reserv\u00e9 mi vuelo antes de recibir este citatorio.<\/dialogue>\n    <character>LISABETTA:<\/character>\n    <dialogue>That's quite a coincidence.<\/dialogue>\n    <character>LISABETTA:<\/character>\n    <dialogue>Es una coincidencia.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>There's no such thing as coincidences. We're in God's hands.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Las coincidencias no existen. Todos estamos en las manos de Dios.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRIVATE CHAPEL, VATICAN (2012) - DAY<\/stage_direction>\n    <scene_description>Ratzinger alone, praying in Latin, takes his HANDS FROM HIS FACE, and finishes praying in a little side-chapel.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>Domine exaudi orationem meam.<\/dialogue>\n    <scene_description>He makes a weary SIGN of the CROSS, approaches the ALTAR and, with a CANDLE SNUFFER, SNUFFS out the flame. Oddly, the SMOKE from the flame doesn't rise, but drifts left and right, meandering! Ratzinger looks upward, for the cause. He tries to waft the smoke upwards.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. \/INT (2012) - NEWS REPORT<\/stage_direction>\n    <scene_description>MONTAGE: of news reports of Benedict as Pope.<\/scene_description>\n    <character>NEWSREADERS:<\/character>\n    <dialogue>It's \"What the Butler leaked\" as another scandal rocks the Vatican. Word today of a new crisis as a leaked 300 page dossier surfaces which paints a damning picture of the curia. Riven with factionalism, resisting reform, malpractice by the Vatican bank; and even sexual misconduct among high-ranking members of the clergy. The man who leaked the document - the Pope's own personal assistant, Paolo Gabrielle - has been arrested and charged with theft for stealing the document.<\/dialogue>\n    <scene_description>A) Paolo opens the door for Ratzinger at the private entrance at the Vatican. B) Paolo pours Fanta for Ratzinger as he dines with other Cardinals. C) We could also have a bad quality image of a priest with a prostitute in the street at night. D) Vatican Bank seen from outside. E) Money. F) A Bishop coming out of a fancy car. G) On the TV, Paolo is being lead away by some Italian police. Off Paolo's face we - CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUENOS AIRES HIGHWAY TO AIRPORT (2012) - END OF DAY.<\/stage_direction>\n    <scene_description>Bergoglio looks out of the bus window at the passing shanty town.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FIUMICINO - LEONARDO DA VINCI (2012) - DAY<\/stage_direction>\n    <scene_description>Bergoglio's battered shoes stroll through Arrivals. He is wearing a black jacket and trousers, like a parish priest. When he steps through the doors he spots a liveried driver holding up a sign with BERGOGLIO written on it. DRIVER: Are you the Cardinal Archbishop of Buenos Aires? He is. The driver was expecting someone better dressed. DRIVER: Eminence ... He offers to take Bergoglio's bag. BERGOGLIO: No, no. It's fine thanks.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIUMICINO - LEONARDO DA VINCI (2012) - DAY<\/stage_direction>\n    <scene_description>Bergoglio strolls out of the airport, stops and stares. The car that is waiting for him is a massive Merc.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I'm guessing it's that one?<\/dialogue>\n    <scene_description>He goes to open the front passenger door. The driver opens the back one.<\/scene_description>\n    <character>DRIVER:<\/character>\n    <dialogue>Oh but Eminence ...<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I prefer to ride up front.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR (2012) - DAY<\/stage_direction>\n    <scene_description>The car drives off. As it pulls away, two motorbikes cruise in front of it.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Did you hear the story of the time the Pope was out in one of these and he really wanted to drive it himself so he persuaded the driver to give him a go?<\/dialogue>\n    <character>DRIVER:<\/character>\n    <dialogue>With respect Eminence I am the Papal driver and I don't recall any such incident.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Anyway the driver got in the back, the Pope got behind the wheel and he really let rip - full throttle, way over the speed limit.<\/dialogue>\n    <character>DRIVER:<\/character>\n    <dialogue>Whoever told you this was not telling you the truth.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>So the police pull him over and he winds the window down. The policeman looks shocked. He radios back to his station. He says, boss I don't know what to do. I just pulled a guy over. I don't know who he is but he must be super- important. Because his chauffeur is the Pope.<\/dialogue>\n    <scene_description>The driver still hasn't clocked that this is a joke. BERGOGLIO: It wasn't the present Pope by the way so ... Suddenly it clicks and the driver bursts out laughing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADS (2012) - DAY<\/stage_direction>\n    <scene_description>As they drive towards the Lazio hills...<\/scene_description>\n    <character>BERGOGLIO : (V.O.)<\/character>\n    <dialogue>This isn't the way to Rome.<\/dialogue>\n    <character>DRIVER:<\/character>\n    <dialogue>The Pope - the present Pope - is in his Summer residence.<\/dialogue>\n    <character>BERGOGLIO : (V.O.)<\/character>\n    <dialogue>Oh. Summer residence. Maybe that's why he didn't get my letters.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADS IN LAZIALE (2012) - DAY<\/stage_direction>\n    <scene_description>As the car draws closer to Castel Gandolfo. DRIVER: Eminence, if you are meeting His Holiness this morning he prefers to see his bishops dressed like bishops and his cardinals like cardinals.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Really? Do you have a spare cardinal's hat.<\/dialogue>\n    <scene_description>The driver is taken aback but it's just another joke.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>It's Ok, I do have my cassock with me.<\/dialogue>\n    <scene_description>PICK UP ON The big limo and outriders parked up in a lay by next to a porqueto snack truck. Behind the truck, Bergoglio takes off his jacket and shirt and pulls on a black cassock. Across the lake we can see the dome of Castel Gandolfo.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>(Of the distant town) Is that it?<\/dialogue>\n    <scene_description>The driver nods. Bergoglio looks uneasy.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CASTEL GANDOLFO (2012) - DAY<\/stage_direction>\n    <scene_description>The POPE's Summer Retreat. The LIMO arrives and enters the gate. Evidence everywhere of wealth, and power.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POPE'S OFFICE\/CASTEL GANDOLFO (2012) - DAY<\/stage_direction>\n    <scene_description>TRACK IN on: Ratzinger (now Pope Benedict), from behind, as he looks out of the window at the arriving Limo. A nun goes to greet the limo and welcome the guest. Behind him his new assistant - Roberto - is on the phone. We can just about overhear...<\/scene_description>\n    <character>ROBERTO:<\/character>\n    <dialogue>Yes, His Holiness is reading the report as we speak. Yes, His Holiness is very much aware. He will return to Rome very soon.<\/dialogue>\n    <character>ROBERTO:<\/character>\n    <dialogue>Si', Sua Santita' sta leggendo la relazione proprio mentre parliamo. Si, Sua Santita' ne e' al corrente. Rientrera' a Roma molto presto.<\/dialogue>\n    <scene_description>Roberto hangs up.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>Make him comfortable. I'll come and speak with him shortly.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Mettetelo a suo agio. Verro' a parlargli tra breve.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GARDEN\/CASTEL GANDOLFO (2012) - DAY<\/stage_direction>\n    <scene_description>A NUN leads Bergoglio into a stunning, formal, immaculately manicured garden. Fountains bubble. Birds sing. Topiary casts elegant shadows.<\/scene_description>\n    <character>NUN:<\/character>\n    <dialogue>His Holiness will join you shortly.<\/dialogue>\n    <scene_description>Bergoglio chooses a stone bench upon which to sit. He waits, looks at his watch.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Does the Holy Father meet his Cardinals here often?<\/dialogue>\n    <character>NUN:<\/character>\n    <dialogue>No. First time.<\/dialogue>\n    <scene_description>The servant returns with an umbrella.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>It's not raining.<\/dialogue>\n    <character>NUN:<\/character>\n    <dialogue>In Rome, one never knows what will happen next.<\/dialogue>\n    <scene_description>The servant goes. Bergoglio looks up at the sky, takes out his breviary and starts to pray.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CASTEL GANDOLFO (2012) - DAY<\/stage_direction>\n    <scene_description>Ratzinger is walking along the corridor accompanied by Roberto. They are intercepted by a well-dressed Vatican APPARATCHIK who mutters something to Roberto. He's carrying an iPad and showing Roberto stuff as he goes along.<\/scene_description>\n    <character>ROBERTO:<\/character>\n    <dialogue>Holiness ...<\/dialogue>\n    <character>ROBERTO:<\/character>\n    <dialogue>Santita'...<\/dialogue>\n    <scene_description>Ratzinger allows himself to be turned aside. He seems to be a prisoner here.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CASTEL GANDOLFO - GARDEN BRIDGE (2012) - DAY<\/stage_direction>\n    <scene_description>Bergoglio is still reading but now the heat is intensifying. He checks his watch and mops his brow. He unties his shoes. He sees a gardener from where he's seated. He checks his watch again, decides to go and chat to the gardener.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CASTLE GANDOLFO - GARDEN BRIDGE - DAY<\/stage_direction>\n    <scene_description>Ratzinger crosses the little bridge that leads to the garden but can't find Bergoglio, he sees only his suitcase on the bench. He looks up and sees Bergoglio talking to the gardener, marvelling at how easily he gets on with people.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>(TO ROBERTO) How long has he been here?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>(a ROBERTO) Da quanto tempo e' qui?<\/dialogue>\n    <character>ROBERTO:<\/character>\n    <dialogue>An hour.<\/dialogue>\n    <character>ROBERTO:<\/character>\n    <dialogue>Un'ora.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>He looks as though he's lived here all his life.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Sembra che abbia vissuto qui tutta la vita.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CASTLE GANDOLFO - HERB GARDEN - DAY<\/stage_direction>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Is this oregano?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Questo e' origano?<\/dialogue>\n    <scene_description>It is. He plucks a leaf and smells it.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>It takes me back. My mother swore by oregano. It made everything taste good. It could cure the common cold<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Mi riporta nel passato. Mia madre non poteva farne a meno. Dava a tutto un buon sapore. Curava il<\/dialogue>\n    <scene_description>... it could raise the dead. raffreddore... poteva resuscitare i morti.<\/scene_description>\n    <character>GARDENER:<\/character>\n    <dialogue>Mine was the same. Shred it into the breadcrumbs ...<\/dialogue>\n    <character>GIARDINIERE:<\/character>\n    <dialogue>Anche la mia. Lo tritava nel pangrattato...<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I still do it that way.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Io lo preparo ancora cosi'.<\/dialogue>\n    <scene_description>They're laughing and chatting when we pull back to find Ratzinger and Roberto have now entered the garden. Ratzinger takes a breath, smooths himself down and transforms himself from a rattled, edgy old man into a decorous, dignified pontiff. He seems to do this with a single breath. He glides over to Bergoglio and greets him in Spanish.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>Good morning.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Buenos d\u00edas.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Holiness ...<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Sanctitas...<\/dialogue>\n    <scene_description>He kisses Ratzinger's ring and holds the umbrella so it shades both himself and the Pope.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>Last time we met we spoke Latin.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Ultima qua conv\u00e9nimus occasione, latine locuti sumus<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>It was a very short meeting. But please, not Latin. I was never the student you were, Holy Father<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Conventus brevissimus erat.Obsecro, non Latine. Numquam studiosus fui ut tu, Sancte Pater.<\/dialogue>\n    <scene_description>Ratzinger humorously agrees to slip into English. He displays his sense of humour about the irritable cardinals.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>Latin is useful. Especially when I have to announce bad news to Cardinals. Only 20% become angry as only 20% know what I have said. I'm sorry to have kept you waiting. I know you value punctuality.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>It's a beautiful afternoon. I have my breviary. I take the last hour as a gift of peace from you.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>My last assistant - Paolo - he would have made sure I got here on time. He was perfect.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>But now he's in jail.<\/dialogue>\n    <scene_description>He knows this isn't a sensitive comment.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>That must have been hard for you.<\/dialogue>\n    <scene_description>Ratzinger indicates the bench, inviting him to sit down. The lake is seen behind.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>We could walk if you preferred.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>That might not be wise.<\/dialogue>\n    <scene_description>Puzzling remark. He clarifies.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>Your shoelaces are undone ...<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Oh!<\/dialogue>\n    <scene_description>Instinctively he goes to hand the umbrella to Ratzinger so he can tie his laces but Ratzinger doesn't offer to take it. That would be a breach of protocol. So Bergoglio is left awkwardly trying to put down the umbrella and tie his shoes at the same time. It's a power play. While Bergoglio is crouched down Ratzinger takes advantage of his discomfort.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>You wrote to me asking for permission to resign.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Oh. Yes. I have my papers with me.<\/dialogue>\n    <scene_description>He takes the papers from his jacket but when he looks up. Ratzinger seats on the bench with the view of the lake behind. Bergoglio catches up, now juggling papers and umbrella.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>Cardinals are not required to offer their resignation until they're seventy five. Are you ill?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I have a problem with my lungs.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>You were born with that. It's not really troubled you so far.<\/dialogue>\n    <scene_description>Bergoglio looks askance. Ratzinger makes a gesture for him to seat. He does.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>It's in your file.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>My file!?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>We have files on everyone. You have no reason to feel flattered.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I'm not ill.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>In fact you're very active. You walk everywhere. Sometimes use a bicycle.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I also tango. Once a week.<\/dialogue>\n    <scene_description>Ratzinger is taken aback at this.<\/scene_description>\n    <character>BERGOGLIO<\/character>\n    <dialogue>I'm Argentinian. Football and tango are compulsory.<\/dialogue>\n    <character>RATZINGER<\/character>\n    <dialogue>With ... somebody?<\/dialogue>\n    <character>BERGOGLIO<\/character>\n    <dialogue>One might look foolish if one attempted the tango alone. So for the sake of the dignity of my office - yes. With someone.<\/dialogue>\n    <character>RATZINGER<\/character>\n    <dialogue>You have been one of my harshest critics. There's a lot of competition for that title.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I've never spoken out against you.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Not directly. When I made it easier to get permission to use the old Tridentine mass, I was criticized because it contains a prayer for the conversion of the Jews.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I never said a word.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>You invited the chief rabbi to a public lunch.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Rabbi Skora and I go back a long way. Also I'd cooked too much. Wasting food is stealing from the poor.<\/dialogue>\n    <scene_description>By now they have strolled into one of those decorative mazes. Preoccupied, they take the twists and turns as they come.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>You refuse to live in the official Archbishop's palace.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>It's too big for me. Too grand.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>By living so simply you imply that the rest of us are not living simply enough.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Surely one can never live simply enough.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>On married priests ...<\/dialogue>\n    <character>BERGOGLIO<\/character>\n    <dialogue>I was misquoted. I said celibacy can be a blessing but it might also be a curse.<\/dialogue>\n    <character>RATZINGER<\/character>\n    <dialogue>On homosexuality ...<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>All I said was ...<\/dialogue>\n    <character>RATZINGER<\/character>\n    <dialogue>You were no doubt misquoted again?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Taken out of context.<\/dialogue>\n    <scene_description>Ratzinger stops walking and faces Bergoglio.<\/scene_description>\n    <character>RATZINGER<\/character>\n    <dialogue>Might I suggest you try telling newspapers the opposite of what you think?! Your chances of being quoted correctly might improve!<\/dialogue>\n    <scene_description>Ratzinger seems rattled. Bergoglio composed. He smiles.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Yes, Holiness.<\/dialogue>\n    <scene_description>They are interrupted by a beep from the watch. Ratzinger explains.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>My doctor gave it to me. It counts your steps and monitors your heart beat ... He said \"you are in good shape for 86, but very bad shape for a human being.\" I believe this was a joke.<\/dialogue>\n    <scene_description>The watch speaks again.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>I'm patronized by a watch!<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I know how it feels to be patronized.<\/dialogue>\n    <scene_description>Benedict gives Bergoglio a look. The watch pipes up<\/scene_description>\n    <character>WATCH:<\/character>\n    <dialogue>Don't stop now! Keep moving!<\/dialogue>\n    <scene_description>Bergoglio smiles. Ratzinger smiles back. They get walking.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CASTEL GANDOLFO - MAZE 1 (2012) - DAY<\/stage_direction>\n    <scene_description>They walk through a maze with narrow aisles. Bergoglio is behind Benedict but still holding the umbrella so it protects the Pope. It's not easy. Again Ratzinger seems not to notice the other man's discomfort. They walk and talk.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>You openly give the sacraments to those who are out of communion ... to the divorced, for instance ...<\/dialogue>\n    <scene_description>Bergoglio comes back on this, cutting the Pope off.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I believe the sacraments are not a reward for the virtuous. They're food for the starving.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>So what matters is what YOU believe, not what the Church has taught for hundreds of years.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CASTLE GANDOLFO, ARCH - DAY<\/stage_direction>\n    <scene_description>Ratzinger walks away looking slightly self-satisfied. He's provoked this explosion. Bergoglio follows.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Mark 2.xvii - \"I came to call sinners,\" as the Church has taught for THOUSANDS of years.<\/dialogue>\n    <scene_description>They walk up - ARCH<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>But if we do not draw a line ...<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>... or build a wall to separate ...<\/dialogue>\n    <character>RATZINGER<\/character>\n    <dialogue>You speak as if all walls are bad. A house is made of walls. Strong walls.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Did Jesus build walls? His face is Mercy. The bigger the sinner, the warmer the welcome. Mercy is the dynamite that blows down walls.<\/dialogue>\n    <character>RATZINGER<\/character>\n    <dialogue>You have answers for everything. Don't you? You're clever. Far too clever.<\/dialogue>\n    <scene_description>Ratzinger walks away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - CASTLE GANDOLFO - TEA TABLE - DAY<\/stage_direction>\n    <scene_description>Ratzinger and Bergoglio are having tea.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>You see my dilemma. You are eloquent. You are popular. If I allow you to resign, it will look like a protest. The Church being attacked from all sides. Why would you want to abandon her to her enemies? Does a shepherd run away when the wolves appear?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I'm not running away. I'll take a parish. I'll be a good shepherd to its people.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Don't you see? You were very nearly elected Pope. If you go, that is a criticism. The way you live is a criticism. Your SHOES are a criticism.<\/dialogue>\n    <scene_description>Bergoglio looks down at his shoes...<\/scene_description>\n    <character>BERGOGLIO: (SMILING)<\/character>\n    <dialogue>What is wrong with my shoes? They look...<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Do not make a joke. It's dishonest. I am the Pope. Have enough respect to show me your real anger.<\/dialogue>\n    <scene_description>Bergoglio is on the back foot now.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Holy Father ...<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>If I allow someone of your standing simply to walk away - it will look like a protest. Is it a protest?<\/dialogue>\n    <scene_description>Bergoglio is on the spot now.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>Do you think the Church is failing?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>We are losing people. In America, if Lapsed Catholics were a religion, it would be the fourth biggest one.<\/dialogue>\n    <character>RATZINGER<\/character>\n    <dialogue>And this is the fault of the Church? Not of Western relativism and permissiveness, of anything goes?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>You called the church narcissistic. Or were you misquoted?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>No. I did say that. It seems to me that the Church - your Church -<\/dialogue>\n    <character>RATZINGER<\/character>\n    <dialogue>My church?<\/dialogue>\n    <character>BERGOGLIO:.<\/character>\n    <dialogue>OUR Church is moving in directions I can't condone ... or not moving at all when the times cry out for movement. I no longer wish to be a salesman...<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>A salesman?<\/dialogue>\n    <character>BERGOGLIO:.<\/character>\n    <dialogue>For a product..<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>A product?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>That I can't with full conscience endorse.<\/dialogue>\n    <character>RATZINGER<\/character>\n    <dialogue>...that you don't believe in?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>It's like we don't belong to this world...<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>\"A church that marries the spirit of the age ...<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>... will be widowed in the next age.\" Yes yes I know.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>When you were leader of the Jesuits in Argentina you removed all the books on Marxism from the library.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>For many years I made the seminarians wear cassocks all day - even when they were working in the vegetable patch. And I called civil marriage for homosexuals, the devil's plan.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>You were not unlike me.<\/dialogue>\n    <scene_description>There's a flicker of emotion here - as though this change in him is a personal betrayal.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I changed.<\/dialogue>\n    <character>RATZINGER<\/character>\n    <dialogue>No. You compromised.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>No. I changed. It's a different thing.<\/dialogue>\n    <scene_description>Ratzinger starts to walk away from Bergoglio again. He has had enough of semantics this morning. (\"Changed\" - \"Compromised\" - Enough!)<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Life - the life He gave us - is all change. You are the successor of St. Peter. St. Peter was married!<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Oh, thank you for telling me. I had no idea.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>We didn't ask priests to be celibate until 12th Century. Angels! Barely mentioned until the fifth century then suddenly angels are everywhere -- like pigeons! Nothing is static in nature or in the universe, not even God.<\/dialogue>\n    <scene_description>The Pope stops in front of a pond, turns to Bergoglio - He is tired of all of this. Pause.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>God does not change!<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Yes. He does. He is evolving. He moves towards us as we...<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>I am the way! The truth! And the life! Where should we find him if He is always moving?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>On the journey?<\/dialogue>\n    <scene_description>Ratzinger stops again. Buzz of dragonflies, insects and birds by the pond. He flicks a fly from his face. He sees a gardener. The gardener looks.<\/scene_description>\n    <character>GARDENER 2:<\/character>\n    <dialogue>Your Holiness.<\/dialogue>\n    <scene_description>Ratzinger waves to him. Smiles.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>Buon Giorno.<\/dialogue>\n    <scene_description>The greeting made the gardener's day. They walk again, towards a gate.<\/scene_description>\n    <character>RATZINGER<\/character>\n    <dialogue>This is ego. You think you know better.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I'm an Argentinian. How does an Argentinian kill himself? He climbs to the top of his ego and jumps off!<\/dialogue>\n    <scene_description>This quip is supposed to thaw the ice a little. It doesn't.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CASTLE GANDOLFO - WOODS - DAY<\/stage_direction>\n    <scene_description>They move through a gate into a wooded area. Ratzinger looks around, uneasy.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>I'm not familiar with this part of the garden...<\/dialogue>\n    <scene_description>He suddenly seems frail and elderly. Bergoglio takes his arm.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>If there is some shade.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Yes, and perhaps we'll find God over there. On \"the journey\"! I'll introduce you to him.<\/dialogue>\n    <scene_description>On a dirty wild path. Walk and talk. The sound of cicadas is suddenly shrill and deafening.<\/scene_description>\n    <character>RATZINGER<\/character>\n    <dialogue>We defend two thousand years of tradition. But Bergoglio knows better.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>We - have spent these last years disciplining anyone who questions the line on birth control, divorce, being gay.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>While our planet was being destroyed, while inequality grew like a cancer, we worried about whether it was alright to say mass in Latin, whether girls should be allowed to be altar servers? We built a wall around ourselves and all the time the real danger was inside with us.<\/dialogue>\n    <character>RATZINGER<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <scene_description>They are in a less well-kept area, with fallen branches, an area where no one goes.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I think you know. We knew that there were priests ... bishops ... great men of the Church who preyed on children. And what did we do?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>We are addressing this. No one could have imagined the scale, the difficulty. From the outside, with hindsight this seems simple but when you are trying to lead an organisation that has a billion members ...<\/dialogue>\n    <scene_description>Bergoglio cuts him off.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>We heard their confession. And moved them on to their next parish, where they could start all over again.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>We believed if they showed repentance ...<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>\"That it was better if nine children suffer than if nine million lost their faith because of a scandal?\"<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>No. Of course not. That's grotesque.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>A bishop. He said it to me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CASTLE GANDOLFO - BENCH IN THE WOODS<\/stage_direction>\n    <scene_description>They are now in a little glade with a bench in it. Ratzinger doesn't answer but sinks down onto the bench. Bergoglio is not sure if protocol allows him to sit too.<\/scene_description>\n    <character>RATZINGER<\/character>\n    <dialogue>How did you answer him?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I ordered him to strip the priest of his priestly ministry, and to initiate a canonical trial in his tribunal. Straight away. I did not think that a few magic words from the priest would make everything alright again.<\/dialogue>\n    <character>RATZINGER<\/character>\n    <dialogue>\"Magic words\"?! Is that how you describe the sacrament of ...<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Confession cleans the sinner's soul. It doesn't help the victim. Our whole church is in need of forgiveness. Where is our humility? Sin is a wound, not a stain. It needs to be treated, healed. Forgiveness is not enough.<\/dialogue>\n    <scene_description>The urbane, calm approach he took at first has gone. He speaks with passion and anger. Ratzinger responds with forensic cool.<\/scene_description>\n    <character>RATZINGER<\/character>\n    <dialogue>You say \"we\" but you mean Ratzinger.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>No, Father, believe me.<\/dialogue>\n    <character>RATZINGER<\/character>\n    <dialogue>Who was too busy defending our teachings? Who fretted about the words of the liturgy? I am the one you think was to blame.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Father ..<\/dialogue>\n    <character>RATZINGER<\/character>\n    <dialogue>Your resignation is a protest against the Holy See. And you are asking me to ratify it.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>You say you no longer wish to be a Cardinal Archbishop. Are you sure you still wish to be even a priest?<\/dialogue>\n    <scene_description>Ratzinger turns on his heel and goes. Bergoglio groans. This didn't go well. He puts his head in his hands. Bergoglio walks, alone, towards the residence.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CASTEL GANDOLFO (2012) - EVENING<\/stage_direction>\n    <scene_description>At the door where she greeted him earlier, the nun is waiting holding his briefcase.<\/scene_description>\n    <character>NUN:<\/character>\n    <dialogue>The Holy Father has retired now until dinner. I'm to show you your room.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Room!?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CASTEL GANDOLFO - CORRIDOR (2012) - EVENING<\/stage_direction>\n    <scene_description>Bergoglio is following the nun along the intimidating corridors. He's not happy here. The nun shows him a room.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Thank you, sister.<\/dialogue>\n    <character>NUN:<\/character>\n    <dialogue>Oh. I almost forgot. A message from your assistant in Buenos Aires ...<\/dialogue>\n    <scene_description>She hands him a piece of paper. He unfolds it, troubled. She shows him to his room. As he goes into his room...<\/scene_description>\n    <character>NUN:<\/character>\n    <dialogue>Is it bad news, father?<\/dialogue>\n    <scene_description>INSERT: Shot of the piece of paper in his hand. It's a starting line up for tonight's big San Lorenzo game.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I'm afraid so. Lavezzi is not in the starting line up for Argentina and Equador tomorrow.<\/dialogue>\n    <scene_description>PICK UP ON Bergoglio trying to pray a little later. He is distracted by the decoration in the room - paintings of saints surrounded by beaming baby-faced cherubim.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM \/ CASTEL GANDOLFO (2012) - NIGHT<\/stage_direction>\n    <scene_description>Bergoglio comes downstairs. He's lost until the same nun spots him and summons him. She shows him to the dining room. The nun shows him to his place. He's surprised to see the table is only set for one.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>What about his Holiness?<\/dialogue>\n    <character>NUN:<\/character>\n    <dialogue>His Holiness eats in his room.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Was it something I said?<\/dialogue>\n    <scene_description>The nun titters.<\/scene_description>\n    <character>NUN:<\/character>\n    <dialogue>No, no. The Pope eats alone.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Why?<\/dialogue>\n    <scene_description>A covered plate is placed before Bergoglio.<\/scene_description>\n    <character>NUN:<\/character>\n    <dialogue>He just prefers it that way. But he has arranged for you both to eat the same meal. It's a traditional Bavarian dish. A favorite. Just as his Mother used to make it.<\/dialogue>\n    <scene_description>She takes the lid off the plate. Underneath is a profoundly unappetizing Bavarian soup with noodles. Bergoglio reacts.<\/scene_description>\n    <character>NUN:<\/character>\n    <dialogue>Knoedel mit sosse.<\/dialogue>\n    <scene_description>There's a lot of sympathy in just saying the name. Bergoglio laughs. The nun joins in. Off their laughter we - CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAPAL APARTMENTS (2012) - NIGHT<\/stage_direction>\n    <scene_description>Ratzinger eating the same unappetizing soup, alone. He reaches for his wine glass and fills it with ... Fanta. We can just hear the faint echo of nun-laughter from below.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CASTEL GANDOLFO - TV ROOM \/ MUSIC ROOM (2012) - NIGHT<\/stage_direction>\n    <scene_description>The Nun shows Bergoglio into a room with a TV in it.<\/scene_description>\n    <character>NUN:<\/character>\n    <dialogue>After dinner sometimes he comes here to relax.<\/dialogue>\n    <scene_description>She goes. Idly, Bergoglio picks up the TV remote and channel flicks. He's looking for the match ... But an electronic voice says \"Bravo\". Surprised, Bergoglio looks up to see that Ratzinger has come in - still wearing his white ROBES but over it now a classic BAVARIAN KNITTED VEST.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>The watch. 10000 steps. My target. We travelled a long way this afternoon.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Physically perhaps.<\/dialogue>\n    <scene_description>RATZINGER places the papers and book(s) on the table and notices without even looking up (he misses nothing) BERGOGLIO moving to switch off the TV.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>No. Please. I know you love football. I've never understood the excitement myself.<\/dialogue>\n    <scene_description>RATZINGER looks around to find his reading glasses - somewhere in the room. Walks in front of BERGOGLIO.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Not even during the World Cup? You know, your national team, and mine, we could be in the final together next year. They could be - Germany - a match for Argentina.<\/dialogue>\n    <scene_description>RATZINGER mouths a HARD CANDY MINT.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <parenthetical>(disinterested)<\/parenthetical>\n    <dialogue>Yeah. It's good.<\/dialogue>\n    <scene_description>BERGOGLIO pulls out his papers, for the POPE to sign.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Holy Father, I want you to -- look at my papers.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>No, no, no, no -<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Please, please, this is the reason I'm here.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <parenthetical>(firmly)<\/parenthetical>\n    <dialogue>Nein!<\/dialogue>\n    <scene_description>Awkward silence.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>Please. I know you like to talk but I'm tired, I'm exhausted. I need to rest. Sit down and just be quiet together. Please sit. That's good... I get so tired. Would you like a tea or coffee?<\/dialogue>\n    <character>BERGOGLIO<\/character>\n    <dialogue>No, no. I find if I drink coffee too late at night I can't sleep.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Me, too...<\/dialogue>\n    <scene_description>The men sit in silence for several moments. SILENCE.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>You know... the hardest thing is to listen, to hear his voice...God's voice.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Even for a Pope?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Maybe especially for a Pope.<\/dialogue>\n    <scene_description>Ratzinger is almost speaking to himself as he checks through the music sheets.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>When I was young - many hundreds of years ago - I always knew what He wanted of me - God - What purpose He had for me. But now, I don't know - perhaps I need to listen more intently. What do you think Cardinal Bergoglio?<\/dialogue>\n    <scene_description>They look at one another - no comment from Bergoglio.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>I don't know. Perhaps I need a spiritual hearing aid. Who does knows? When I first heard that voice - that call - God - whatever that was - God's voice. It brought me peace. Such peace.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>You must have felt that?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>The call yes, the peace...<\/dialogue>\n    <scene_description>FLASHBACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TANGO CLUB\/ BUENOS AIRES - NIGHT<\/stage_direction>\n    <scene_description>The opposite of peace. Tango music, laughter, bodies.<\/scene_description>\n    <character>BERGOGLIO: (V.O.)<\/character>\n    <dialogue>No, I wouldn't call it peace... The world around us can be chaotic... There can be such beauty in that movement (that chaos)...<\/dialogue>\n    <character>BERGOGLIO: (V.O.)<\/character>\n    <dialogue>When I was a kid I started to think about being a priest. I wasn't sure so my grandma said, \"ask God for a sign\". I did. Nothing. Silence.<\/dialogue>\n    <character>BERGOGLIO: (V.O.)<\/character>\n    <dialogue>I felt abandoned. God stopped talking to me. I stopped talking to him. So I got on with life. I had Amalia. I had a job. I had a future.<\/dialogue>\n    <scene_description>Through the whirl of limbs comes the 19 year old Bergoglio with his girlfriend - Amalia. They are superb dancers, and their moves are replete with passion, drama, technical prowess, c\u00f3digos and yeta, and milonga, their bodies arching away from each other but contacting at the hip. Hot stuff! They steal the show and then move to the shadows.<\/scene_description>\n    <character>AMALIA:<\/character>\n    <dialogue>I don't date bouncers. Nothing but trouble.<\/dialogue>\n    <character>AMALIA:<\/character>\n    <dialogue>Yo no salgo con gente de la noche. S\u00f3lo traen problemas.<\/dialogue>\n    <character>YOUNG BERGOGLIO:<\/character>\n    <dialogue>I'm leaving all this behind. Got the job at the laboratory.<\/dialogue>\n    <character>JOVEN BERGOGLIO:<\/character>\n    <dialogue>Eso ya qued\u00f3 atr\u00e1s. Consegu\u00ed el trabajo en el laboratorio.<\/dialogue>\n    <character>AMALIA:<\/character>\n    <dialogue>Oh! So, you're a scientist now?!<\/dialogue>\n    <character>AMALIA<\/character>\n    <dialogue>Ah! Entonces ahora sos un cient\u00edfico...<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Correct.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Correcto.<\/dialogue>\n    <scene_description>He kisses her. She pulls back.<\/scene_description>\n    <character>AMALIA:<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>AMALIA:<\/character>\n    <dialogue>\u00bfQu\u00e9 est\u00e1s haciendo?<\/dialogue>\n    <character>YOUNG BERGOGLIO:<\/character>\n    <dialogue>I'm conducting a little experiment. In chemistry.<\/dialogue>\n    <character>JOVEN BERGOGLIO:<\/character>\n    <dialogue>Un peque\u00f1o experimento de qu\u00edmica.<\/dialogue>\n    <scene_description>He kisses her again.<\/scene_description>\n    <character>YOUNG BERGOGLIO:<\/character>\n    <dialogue>I have (kiss) a theory (kiss)<\/dialogue>\n    <character>JOVEN BERGOGLIO:<\/character>\n    <dialogue>Tengo (la besa) una teor\u00eda<\/dialogue>\n    <scene_description>that if you fuse (kiss) two (la besa): si uno fusiona (la unstable elements (kiss) besa) dos elementos something magic happens ... inestables (la besa) sucede algo m\u00e1gico... He reaches into the top of her blouse ..<\/scene_description>\n    <character>AMALIA:<\/character>\n    <dialogue>Stop. What are you ...<\/dialogue>\n    <character>AMALIA:<\/character>\n    <dialogue>Par\u00e1... \u00bfQu\u00e9 est\u00e1s---<\/dialogue>\n    <scene_description>... and produces as if by magic a ring. She beams.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HICKTHIER FOOD LABORATORY (1955)<\/stage_direction>\n    <scene_description>Young Bergoglio hands a sheaf of papers to Esther. She scans them.<\/scene_description>\n    <character>ESTHER:<\/character>\n    <dialogue>These results are the same as last time.<\/dialogue>\n    <character>ESTHER:<\/character>\n    <dialogue>Son los mismos resultados de la \u00faltima vez.<\/dialogue>\n    <character>YOUNG BERGOGLIO:<\/character>\n    <dialogue>Same experiment.<\/dialogue>\n    <character>JOVEN BERGOGLIO:<\/character>\n    <dialogue>Es el mismo experimento.<\/dialogue>\n    <scene_description>She stares at him.<\/scene_description>\n    <character>ESTHER:<\/character>\n    <dialogue>No. I mean these are EXACTLY the same. You haven't re-done the experiment. How many times do I have to tell you, we test, test and test again. We live or die by facts. Facts are ... you've had a haircut.<\/dialogue>\n    <character>ESTHER:<\/character>\n    <dialogue>Quiero decir que son exactamente los mismos resultados. No repetiste el experimento. \u00bfCu\u00e1ntas veces te lo tengo que decir? Tenemos que probar, probar y probar de nuevo... Vivimos o morimos por los hechos. Los hechos son---<\/dialogue>\n    <parenthetical>(se interrumpe, algo le llama la atenci\u00f3n)<\/parenthetical>\n    <dialogue>Te cortaste el pelo.<\/dialogue>\n    <character>YOUNG BERGOGLIO:<\/character>\n    <dialogue>That is a fact.<\/dialogue>\n    <character>JOVEN BERGOGLIO:<\/character>\n    <dialogue>Eso es un hecho.<\/dialogue>\n    <scene_description>She undoes the top of his lab coat.<\/scene_description>\n    <character>ESTHER:<\/character>\n    <dialogue>And you're wearing your best shirt.<\/dialogue>\n    <character>ESTHER:<\/character>\n    <dialogue>Y te pusiste tu mejor camisa.<\/dialogue>\n    <character>YOUNG BERGOGLIO:<\/character>\n    <dialogue>That's also a fact.<\/dialogue>\n    <character>JOVEN BERGOGLIO:<\/character>\n    <dialogue>Eso tambi\u00e9n es un hecho.<\/dialogue>\n    <character>ESTHER:<\/character>\n    <dialogue>You're finally going to ask her.<\/dialogue>\n    <character>ESTHER:<\/character>\n    <dialogue>\u00a1Por fin te decidiste! \u00a1Le vas a proponer casamiento!<\/dialogue>\n    <character>YOUNG BERGOGLIO:<\/character>\n    <dialogue>Now that is speculation.<\/dialogue>\n    <character>JOVEN BERGOGLIO:<\/character>\n    <dialogue>Eso es especulaci\u00f3n.<\/dialogue>\n    <character>ESTHER:<\/character>\n    <dialogue>No. That's deduction.<\/dialogue>\n    <character>ESTHER<\/character>\n    <dialogue>No. Es una deducci\u00f3n.<\/dialogue>\n    <character>YOUNG BERGOGLIO:<\/character>\n    <dialogue>Well it's incorrect. I already asked her. Tonight I'm going to ask her parents.<\/dialogue>\n    <character>JOVEN BERGOGLIO:<\/character>\n    <dialogue>Bueno... Es incorrecta. Ya le propuse casamiento. Esta noche voy a hablar con sus padres.<\/dialogue>\n    <character>ESTHER:<\/character>\n    <dialogue>So you finally decided that you're not going to be a priest.<\/dialogue>\n    <character>ESTHER:<\/character>\n    <dialogue>Finalmente decidiste que no vas a ser cura!<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>That's a logical conclusion.<\/dialogue>\n    <character>JOVEN BERGOGLIO:<\/character>\n    <dialogue>Esa es una conclusi\u00f3n l\u00f3gica.<\/dialogue>\n    <character>ESTHER:<\/character>\n    <dialogue>What took you so long?<\/dialogue>\n    <character>ESTHER:<\/character>\n    <dialogue>Porqu\u00e9 tardaste tanto?<\/dialogue>\n    <character>YOUNG BERGOGLIO:<\/character>\n    <dialogue>I had to, you know, listen.<\/dialogue>\n    <character>JOVEN BERGOGLIO:<\/character>\n    <dialogue>Ten\u00eda que escuchar a...<\/dialogue>\n    <scene_description>(He points up to Heaven) I (mira hacia el cielo) thought He might have other ... vos me entend\u00e9s... Pens\u00e9 plans for me. que \u00c9l ten\u00eda otros planes para mi.<\/scene_description>\n    <character>ESTHER:<\/character>\n    <dialogue>The last thing this country needs is more priests. Go. I'll re-do the tests. But don't ever try to short- change me again. OK?<\/dialogue>\n    <character>ESTHER:<\/character>\n    <dialogue>Lo \u00faltimo que necesita este pa\u00eds es otro cura. And\u00e1. Yo me encargo de hacer las pruebas de nuevo... \u00a1Pero no vuelvas a engatusarme nunca m\u00e1s!<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>OK.<\/dialogue>\n    <character>JOVEN BERGOGLIO:<\/character>\n    <dialogue>(asintiendo)<\/dialogue>\n    <scene_description>Prometido.<\/scene_description>\n    <character>ESTHER:<\/character>\n    <dialogue>And Jorge - fix your hair.<\/dialogue>\n    <character>ESTHER:<\/character>\n    <dialogue>Y, Jorge..., arreglate ese pelo!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FLORES BASILICA (1955) - EVENING<\/stage_direction>\n    <scene_description>BERGOGLIO, dressed in his best clothes, stops to buy YELLOW ROSES from a stall in front of the basilica. As he passes the Church, he hears music playing. That's odd.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMALIA'S BEDROOM (1955) - EVENING<\/stage_direction>\n    <scene_description>AMALIA gets herself ready for JORGE, pulling on a pretty dress. Putting on make-up. Her Mother puts a flower in AMALIA's HAIR, and then nods, approving, excited. She knows what's going on.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASILICA OF ST JOSEPH OF FLORES (1955) - NIGHT<\/stage_direction>\n    <scene_description>Young Bergoglio goes into the church. It's empty. Or so it seems. The music stops. Suddenly theThe Pope \/ Contract. music stops and a priest crosses to the confessional. Seeing Bergoglio he waves him into the confessional. He assumes that that's what Bergoglio was waiting for ...<\/scene_description>\n    <character>YOUNG BERGOGLIO:<\/character>\n    <dialogue>Oh. No Father. I was just ...<\/dialogue>\n    <character>JOVEN BERGOGLIO:<\/character>\n    <dialogue>Oh... No, padre... Yo s\u00f3lo estaba...<\/dialogue>\n    <scene_description>But the door of the confessional has closed. Now Bergoglio steps inside.<\/scene_description>\n    <character>PRIEST (O.S.)<\/character>\n    <dialogue>Close the door.<\/dialogue>\n    <character>SACERDOTE (O.S.)<\/character>\n    <dialogue>Pod\u00e9s cerrar la puerta.<\/dialogue>\n    <scene_description>He dimly sees the profile of a priest through the lattice. INTERCUT between - BERGOGLIO and his POV of the PRIEST through the LATTICE - and the PRIEST'S POV of BERGOGLIO through the LATTICE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONFESSIONAL BOX\/BASILICA OF ST JOSEPH OF FLORES (1955) -<\/stage_direction>\n    <scene_description>NIGHT BERGOGLIO kneels there in silence for a long moment, then finally \"blesses\" himself (makes the sign of the cross). Then-<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Bless me father...<\/dialogue>\n    <character>JOVEN BERGOGLIO:<\/character>\n    <dialogue>Bend\u00edgame padre..<\/dialogue>\n    <parenthetical>(pause) (pausa)<\/parenthetical>\n    <dialogue>...for I have sinned. ... porque he pecado.<\/dialogue>\n    <character>UNKNOWN PRIEST:<\/character>\n    <dialogue>Yes my son--and how have you sinned?<\/dialogue>\n    <character>SACERDOTE:<\/character>\n    <dialogue>Te escucho, hijo... \u00bfQu\u00e9 pecado has cometido?<\/dialogue>\n    <scene_description>BERGOGLIO becomes troubled--and falls silent again.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Father - before we start -<\/dialogue>\n    <character>JOVEN BERGOGLIO:<\/character>\n    <dialogue>Padre... - antes de empezar<\/dialogue>\n    <scene_description>may I ask - I haven't seen \u00bfpuedo preguntarle algo?... you before. Where are you No lo hab\u00eda visto antes... from? \u00bfDe d\u00f3nde es usted?<\/scene_description>\n    <character>UNKNOWN PRIEST:<\/character>\n    <dialogue>Parque Patricios. I come here to celebrate Mass here now and then.<\/dialogue>\n    <character>SACERDOTE:<\/character>\n    <dialogue>De Parque Patricios, de vez en cuando vengo a celebrar misa aqu\u00ed.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Before we speak ... I pray you're not a Hurac\u00e1n supporter.<\/dialogue>\n    <character>JOVEN BERGOGLIO:<\/character>\n    <dialogue>Antes de que sigamos hablando... ya estoy rezando para pedir que usted no sea hincha de Hurac\u00e1n.<\/dialogue>\n    <character>UNKNOWN PRIEST:<\/character>\n    <dialogue>Your prayers are answered.<\/dialogue>\n    <character>SACERDOTE:<\/character>\n    <dialogue>Tus rezos han sido<\/dialogue>\n    <scene_description>(beat) escuchados... No, I live close by, in the (pausa) priests' home for the sick. Vivo aqu\u00ed cerca... En la casa parroquial para los enfermos.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>You tend to the sick?<\/dialogue>\n    <character>JOVEN BERGOGLIO:<\/character>\n    <dialogue>\u00bfCuida a los enfermos?<\/dialogue>\n    <character>UNKNOWN PRIEST:<\/character>\n    <dialogue>No. I am sick myself. I have cancer. Leukemia.<\/dialogue>\n    <character>SACERDOTE:<\/character>\n    <dialogue>No... Soy uno de ellos. Tengo c\u00e1ncer. Leucemia.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>(moved)<\/dialogue>\n    <character>JOVEN BERGOGLIO:<\/character>\n    <dialogue>(conmovido)<\/dialogue>\n    <scene_description>Then father, why are you Entonces, padre, \u00bfporqu\u00e9 est\u00e1 here? ac\u00e1?<\/scene_description>\n    <character>UNKNOWN PRIEST:<\/character>\n    <dialogue>Because--when I woke this morning at 6 o'clock, the Lord told me to come here to hear confession. But until you, no-one has come, so I suppose--he wanted me to be here, to speak to you.<\/dialogue>\n    <character>SACERDOTE:<\/character>\n    <dialogue>Cuando me despert\u00e9 esta ma\u00f1ana a las seis, el Se\u00f1or me dijo que viniera a confesar... Pero no vino nadie... hasta que llegaste... Por eso supongo que \u00cbl quer\u00eda que viniera para que hablara con vos.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>To me?<\/dialogue>\n    <character>JOVEN BERGOGLIO:<\/character>\n    <dialogue>\u00bfConmigo?<\/dialogue>\n    <character>UNKNOWN PRIEST:<\/character>\n    <dialogue>Si. Has something been troubling you? Your Father wants to help you.<\/dialogue>\n    <character>SACERDOTE:<\/character>\n    <dialogue>S\u00ed... \u00bfHay algo que te anda preocupando? Tu Padre quiere ayudarte.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Some time ago, father. I asked Him for a sign.<\/dialogue>\n    <character>JOVEN BERGOGLIO:<\/character>\n    <dialogue>Hace un tiempo Le ped\u00ed una se\u00f1al, padre.<\/dialogue>\n    <character>UNKNOWN PRIEST:<\/character>\n    <dialogue>Perhaps He just gave you one.<\/dialogue>\n    <character>SACERDOTE:<\/character>\n    <dialogue>Quiz\u00e1s te la est\u00e1 dando ahora.<\/dialogue>\n    <scene_description>BERGOGLIO is stunned by this news - and inside him he experiences an epiphany -<\/scene_description>\n    <character>UNKNOWN PRIEST:<\/character>\n    <dialogue>So now--my son--whom the Lord sees--make a full confession and free your heart.<\/dialogue>\n    <character>SACERDOTE:<\/character>\n    <dialogue>Hijo... ahora que ya sab\u00e9s que el Se\u00f1or te est\u00e1 mirando... Pod\u00e9s confesarte y liberar tu coraz\u00f3n.<\/dialogue>\n    <scene_description>PICK UP ON the priest giving absolution. There is a little crucifix in the room with him. Young Bergoglio touches it as he joins in the prayer. Then he gets up and opens the door of the confessional onto... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CORDOBA (ARGENTINA) (1955) - DAY<\/stage_direction>\n    <scene_description>The confessional door opens onto a beautiful, empty landscape. The Young Bergoglio - still in his best clothes - walks out across the rocks and sand, looking up at the vast sky and far horizon. He steps into the shadow of a great rock. The shadow acts like a kind of doorway leading onto ..<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RICOLETA (1955) - NIGHT<\/stage_direction>\n    <scene_description>Young Bergoglio, holding his bunch of roses, sits waiting for Amalia. He sees her coming towards him with her chaperone (a girl her own age). She smiles. He smiles back. But awkwardly. The chaperone moves aside as he walks towards her. We pull back and watch them approach each other like two dancers. He offers her the flowers. She takes them. They face each other as though about to dance. But then she turns from him and starts to walk away. He stands and watches. We are watching the choreography of break-up. As she walks away, she looks back one last time. He watches as she lets the flowers drop to the floor as she walks off. Only when she is out of sight does he turn away - alone and forlorn. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COLEGIO MAXIMO (1958) - DAY<\/stage_direction>\n    <scene_description>YOUNG BERGOGLIO arrives at a seminary, followed by another priest, where he is warmly greeted by the novice master - Fr. JALICS - who will become important to us later.<\/scene_description>\n    <character>JALICS:<\/character>\n    <dialogue>Bergoglio?<\/dialogue>\n    <character>JALICS:<\/character>\n    <dialogue>\u00bfBergoglio?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Father ...<\/dialogue>\n    <character>JOVEN BERGOGLIO:<\/character>\n    <dialogue>Padre...<\/dialogue>\n    <character>JALICS:<\/character>\n    <dialogue>Welcome home.<\/dialogue>\n    <character>JALICS:<\/character>\n    <dialogue>Bienvenido a casa.<\/dialogue>\n    <scene_description>As Young Bergoglio steps inside the seminary ...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLEGIO MAXIMO (1958) - DAY<\/stage_direction>\n    <scene_description>JALICS leads Bergoglio into the college. They walk some steps, Jalics continues as they walk away.<\/scene_description>\n    <character>JALICS:<\/character>\n    <dialogue>Do you know what you are saying No to?<\/dialogue>\n    <character>JALICS:<\/character>\n    <dialogue>\u00bfSab\u00e9s a qu\u00e9 est\u00e1s renunciando entrando ac\u00e1?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Yes. She even has a name.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Si. Mi renuncia tiene nombre, adem\u00e1s.<\/dialogue>\n    <character>JALICS:<\/character>\n    <dialogue>Love has many names. Learn to know her by a new one. Thinking you can live without love, that's a great mistake.<\/dialogue>\n    <character>JALICS:<\/character>\n    <dialogue>El amor tiene muchos nombres. Aprend\u00e9 a conocerla con un nombre nuevo. Pensar que pod\u00e9s vivir sin amor, es una gran equivocaci\u00f3n.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I still have San Lorenzo.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Todav\u00eda me queda San Lorenzo.<\/dialogue>\n    <character>RATZINGER (V.O)<\/character>\n    <dialogue>Have you thought what your life would be like had that priest not been in that confessional booth at that moment?<\/dialogue>\n    <character>BERGOGLIO (V.O)<\/character>\n    <dialogue>No, I see now there was never any alternative. That priest--that day-- finding him... Even if I had passed by, God would have found another way to call me...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSIC ROOM\/CASTEL GANDOLFO (2012) - NIGHT<\/stage_direction>\n    <scene_description>Ratzinger stares at BERGOGLIO -<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>You have such certainty.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Yes. And now, I'm certain He wants me to retire...<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Please. Just for this evening. I know we have our differences, our disagreements, but for this one evening let us just be brothers for a while. Shall we?<\/dialogue>\n    <scene_description>RATZINGER goes over to the piano to close the lid of the keyboard. He closes the lid.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>Do you play?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>No. But I know you do. You made an album. \"Music from the Vatican Alma Mater.\"<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>That's right, I did. Do you have a copy?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Yes, yes of course.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>I could sign it for you.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Well I'm a bit out of practice. Let's see. I'll try.<\/dialogue>\n    <scene_description>RATZINGER opens the keyboard lid and sits at the piano bench.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>I've got this little piece by my favourite Czech -- a wonderful lullaby. I see what I can do.<\/dialogue>\n    <scene_description>RATZINGER looks at the keyboard a moment. Then starts to play...<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>He lived a very tragic life, you know.<\/dialogue>\n    <parenthetical>(plays)<\/parenthetical>\n    <dialogue>You know the album - It was recorded at a world famous studio in London - I was told I should feel honoured because The Beatles were there - you know the Beatles?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Yes. I know who they are.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>(laughs) Of course you do.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Eleanor Rigby.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>\"Eleanor Rigby.\"<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>I don't know -<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>\"Yellow Submarine\"<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Sorry, I don't know.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>The album. Yellow Submarine.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>That's silly. Yellow Submarine. That's very funny.<\/dialogue>\n    <scene_description>RATZINGER starts playing the Schumann Traumerei -<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>Anyway, the recording was done in London, at - I can't remember the name of the place - a church or something.<\/dialogue>\n    <character>BERGOGLIO<\/character>\n    <dialogue>Abbey Road.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Yes, an Abbey.<\/dialogue>\n    <scene_description>RATZINGER starts playing the Schumann Traumerei<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>You went to Abbey Road?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Oh no. Not in person. That would have not been appropriate.<\/dialogue>\n    <scene_description>RATZINGER switches tunes, and plays a more uptempo song -<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>You like?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>It's very different! It's wonderful.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>It's an old Berlin cabaret song. It was made famous before the war by a singer called Zara Leander.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Zara Leander. She was Hitler's favorite singer. She had a deep voice. She was Swedish.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Sorry, who was it?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Zara Leander. Would you like some wine? Next door.<\/dialogue>\n    <character>BERGOGLIO<\/character>\n    <dialogue>Oh, si. Grazie.<\/dialogue>\n    <scene_description>BERGOGLIO exits, then returns with a DECANTER of wine.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>For you?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>No, no.<\/dialogue>\n    <parenthetical>(sings)<\/parenthetical>\n    <dialogue>Dah, dah, dah, dee dee...<\/dialogue>\n    <parenthetical>(plays)<\/parenthetical>\n    <dialogue>Good wine?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Good music.<\/dialogue>\n    <scene_description>RATZINGER stops playing, closes the lid.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>I am afraid at the keyboard, I am not infallible. But I enjoy it.<\/dialogue>\n    <scene_description>RATZINGER and BERGOGLIO settle down into TWO ARM-CHAIRS in front of the TV.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>Oh well. There. I get so tired. You know?<\/dialogue>\n    <scene_description>BERGOGLIO takes out an ENVELOPE, and a PEN and puts them down on the coffee table. An awkward silence follows as BERGOGLIO waits for the POPE to pick up the PEN. Ratzinger leans forward. Is this it? No. He only picks up the remote from the coffee table.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>A silly little program, a guilty pleasure. Wait.<\/dialogue>\n    <scene_description>Suddenly Bergoglio is alert, excited by a possibility. ANGLE ON: The TV, as the POPE finally gets \"Kommissar Rex\" on the TV. Show the OPENING CREDIT SEQUENCE, an astonishingly cheesy German crime show, about a DOG. He hasn't been listening to Bergoglio - too busy with the TV.<\/scene_description>\n    <character>RATZINGER<\/character>\n    <dialogue>It is called \"Kommissar Rex\". Do you know it? It's about a German Shepherd dog that solves crimes. What trouble he gets into each week! Ha! Ha!<\/dialogue>\n    <scene_description>BERGOGLIO looks at his watch - anxious - then back at the hilariously bad TV SHOW OPENING CREDITS -<\/scene_description>\n    <character>RATZINGER<\/character>\n    <dialogue>It takes my mind off things. You know, they liken me to a dog-\"God's Rottweiler\" - that is their nickname for me. The fierce guard dog of the house of God.<\/dialogue>\n    <scene_description>BERGOGLIO is in mental pain about missing his football match.<\/scene_description>\n    <character>RATZINGER<\/character>\n    <dialogue>Oh. The signal is poor today. Strange how some days it's good, some days it's bad.<\/dialogue>\n    <scene_description>Bergoglio clocks this remark. Smiles to himself.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>It's a small pleasure.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Small pleasures are important.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>I lack company. Always alone.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Isiah 41.x.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>\"Do not be afraid for I will be with you.\" Yes He's there but He doesn't laugh, you know. At least I don't hear Him laugh. You know. No, you don't know. Someone like you would not know.<\/dialogue>\n    <scene_description>Bergoglio doesn't know how to react. Ratzinger sidesteps any emotional response by returning to the TV.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>But I mustn't spoil your enjoyment of the show.<\/dialogue>\n    <scene_description>LATER. BERGOGLIO sits there, as the PROGRAM plays, but his eyes turn to the POPE...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..who has nodded off in his CHAIR, emitting a soft snore. Held tightly in the POPE's hands is the REMOTE CONTROL.<\/stage_direction>\n    <scene_description>BERGOGLIO checks the time on his watch, and moves toward the sleeping POPE, carefully reaching out for the remote. The POPE's GRIP is too intense, and BERGOGLIO cannot prize the REMOTE CONTROL FREE. The POPE wakes up, with a SNORT, and immediately LAUGHS as he resumes watching the GERMAN PROGRAM...<\/scene_description>\n    <character>RATZINGER<\/character>\n    <parenthetical>(to BERGOGLIO)<\/parenthetical>\n    <dialogue>You enjoy?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Yes of course. Thank you.<\/dialogue>\n    <scene_description>Ratzinger gets up to go to bed but before he does so, bows his head and begins that beautiful little prayer - the Nunc Dimitis. Bergoglio joins in.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>Nunc dimittis. Let your servant depart in peace now Lord, according to your word..<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>(joining in the prayer) ... For my eyes have seen your salvation which you have prepared for all the peoples. To be a light to lighten the world.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>God grant us a quiet night and a perfect end. Goodnight.<\/dialogue>\n    <scene_description>Bergoglio goes to give him a big hug but Ratzinger mistakes the gesture for an incoming handshake and they end up awkwardly holding hands as if about to dance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CASTEL GANDOLFO - NIGHT<\/stage_direction>\n    <scene_description>The setting sun sets fire to the lovely mirror of Lake Albano. The sky is full of stars. A shooting star crosses the air. Feels like a Disney movie. But a telephone starts to ring breaking the magic. A telephone rings non stop.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CASTEL GANDOLFO - DINING ROOM - MORNING<\/stage_direction>\n    <scene_description>A couple of Nuns have set up a buffet breakfast. Bergoglio is mid breakfast when Roberto swans in. In the distance a phone is ringing non-stop.<\/scene_description>\n    <character>ROBERTO:<\/character>\n    <dialogue>His Holiness apologizes. He has been called back to Rome. Urgent business. If you could be ready as soon as possible, Eminence. I will arrange for your bags to be collected.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Of course. Don't worry about my bags. I travel light.<\/dialogue>\n    <scene_description>But Roberto doesn't respond. His own phone is ringing now too.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CASTEL GANDOLFO - MORNING<\/stage_direction>\n    <scene_description>Bergoglio comes out carrying his bag. He is intercepted by the gardener, who passes him a little bundle of fresh oregano.<\/scene_description>\n    <character>GARDENER:<\/character>\n    <dialogue>I took a cutting. When you get home you can plant it.<\/dialogue>\n    <character>GIARDINIERE:<\/character>\n    <dialogue>Ho preso delle talee. Quando arrivate a casa potete piantarle.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Thank you. I'll remember you whenever I cook with it.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Grazie. Mi ricordero' di lei ogni volta che le usero'.<\/dialogue>\n    <scene_description>Roberto comes to chivvy Bergoglio. A car is waiting.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CASTEL GANDOLFO (2012) - HELIPAD DAY<\/stage_direction>\n    <scene_description>The car pulls up. Bergoglio climbs out and stares in amazement. A helicopter is waiting - Ratzinger already on board.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAPAL HELICOPTER (2012) - DAY<\/stage_direction>\n    <scene_description>Ratzinger indicates the head-set so that they will be able to speak to each other.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I hope this urgent business is nothing too distressing.<\/dialogue>\n    <scene_description>But Ratzinger blanks this tenderness.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>The plant? Is it basil?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Oregano. Your gardener ...<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Ah yes. It must be very useful, this popularity of yours. Is there a trick to it?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I try to be myself.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Hmm, when I try to be myself, people don't seem to like me very much.<\/dialogue>\n    <scene_description>The helicopter takes off, swinging into the sky.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>With regard to my resignation ...<\/dialogue>\n    <scene_description>Ratzinger points at the earphones with a \"can't hear you\" gesture.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE VATICAN (2012) - DAY<\/stage_direction>\n    <scene_description>A SWEEPING AERIAL of the VATICAN CITY and the dome of ST PETERS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELIPORT (2012) - DAY<\/stage_direction>\n    <scene_description>The helicopter lands - still some distance from the Vatican. There's a car waiting for Ratzinger. As soon as he leaves the helicopter Ratzinger is given a fat report. Around him stand advisers, CLERGY and non-CLERGY. BENEDICT opens the REPORT as he is informed of its contents. (We do not hear what weighty matters are discussed, but can only infer that the crisis is a large one.) ANGLE ON: Ratzinger, troubled, heavily burdened, as he receives the BRIEFING, climbing into the car. He seems tired as he listens to the impassioned arguments and counsel of his Curia staff. Bergoglio has been more or less forgotten. Roberto appears next to him.<\/scene_description>\n    <character>ROBERTO:<\/character>\n    <dialogue>The Holy Father wants to finish his conversation with you but first he must deal with...an urgent matter.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>May I know the nature of it?<\/dialogue>\n    <character>ROBERTO:<\/character>\n    <dialogue>When the Holy Father is ready I'll come and find you.<\/dialogue>\n    <scene_description>Roberto goes to the car. Bergoglio is left behind.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ST. PETER'S SQUARE (2012) - DAY<\/stage_direction>\n    <scene_description>Bergoglio - bag in hand - is leaving the Vatican. He runs into a pack of opportunistic photographers and journalists. We assume they are connected with whatever it is that has brought Ratzinger back to Rome.<\/scene_description>\n    <character>AMERICAN JOURNALIST:<\/character>\n    <dialogue>Father would you care to make a statement about the latest events?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>The second goal was never off-side. If the referee wasn't blind, San Lorenzo would be sitting on top of the Primera today.<\/dialogue>\n    <character>AMERICAN JOURNALIST:<\/character>\n    <dialogue>Father, the international community ...<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Oh! International! No worries on that score. Argentina will definitely qualify for the World Cup.<\/dialogue>\n    <character>AMERICAN JOURNALIST:<\/character>\n    <dialogue>Do you have anything to say about the latest scandal?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I'm just visiting. If you don't mind...what IS the latest crisis?<\/dialogue>\n    <scene_description>Rebuffed and wondering, Bergoglio moves on. The journalists roll their eyes, thinking Bergoglio is playing them.<\/scene_description>\n    <character>AMERICAN JOURNALIST:<\/character>\n    <dialogue>Ok father. I know you can't talk... Good luck tonight...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS - ROME (2012) - DAY<\/stage_direction>\n    <scene_description>Bergoglio glances back at the mighty facade. He walks towards the Domus Internationalis. He's just an ordinary man, walking through city crowds.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOMUS INTERNATIONALIS (2012) - DAY<\/stage_direction>\n    <scene_description>Bergoglio is washing his socks in the sink, while watching the TV - a report on about a scandal at the Vatican bank.<\/scene_description>\n    <character>UK FEMALE NEWSREADER:<\/character>\n    <dialogue>It's the only bank in the World where the ATM gives you instructions in Latin. It's the only bank in the World - says a new report - that operates an off-shore tax haven from the centre of a capital city. Tonight the Italian government has seized tens of millions in deposits from the Vatican Bank. Pope Benedict has been forced to return from Castel Gandolfo - his summer palace - to talk to one of the bank's directors - a priest - Father Scarano. Tonight, the Vatican itself is under siege.<\/dialogue>\n    <scene_description>Bergoglio watches as the TV plays images of Ratzinger leaving the helicopter earlier - the very journey on which Bergoglio was a passenger just a few hours ago.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPORTS BAR, ROMA (2012) - NIGHT<\/stage_direction>\n    <scene_description>There's a bar with an Argentinian flag over the door and jerseys on the wall. Bergoglio hurries towards it. He knows it from previous trips.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RATZINGER'S BEDROOM - VATICAN (2012) - NIGHT<\/stage_direction>\n    <scene_description>Benedict kneeling in intense prayer in his bedroom.<\/scene_description>\n    <character>CUT TO:<\/character>\n    <dialogue>INT. SPORTS BAR ROMA (2012) - NIGHT<\/dialogue>\n    <dialogue>Argentina are playing Ecuador in the World Club qualifier. Everyone is cheering. Argentina has scored. Bergoglio turns to his fellow fans.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>You prayed for it to go in. You should give thanks that it did.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Ya que rezaron para que meta el gol... \u00a1Ahora deber\u00edan agradecer que lo meti\u00f3!<\/dialogue>\n    <scene_description>There's a grudging acknowledgement of this logic.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Thank you Lord for the gift of El Pipita.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Gracias Se\u00f1or por el talento de El Pipita.<\/dialogue>\n    <character>FAN:<\/character>\n    <dialogue>Amen.<\/dialogue>\n    <character>FAN:<\/character>\n    <dialogue>Amen<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Help to keep his temper.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Te pedimos que lo ayudes a controlar su car\u00e1cter.<\/dialogue>\n    <character>FAN:<\/character>\n    <dialogue>Amen. Double amen.<\/dialogue>\n    <character>FAN:<\/character>\n    <dialogue>Amen. Doble Amen.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Also, God bless our Pope.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Que Dios bendiga a nuestro Papa tambi\u00e9n<\/dialogue>\n    <scene_description>One fan immediately object to this.<\/scene_description>\n    <character>FAN:<\/character>\n    <dialogue>This Pope?! The German. No, no, no. Let him bless himself.<\/dialogue>\n    <character>FAN:<\/character>\n    <dialogue>\u00bfEste papa? El alem\u00e1n. No,no,no! Que \u00e9l se bendiga solo.<\/dialogue>\n    <scene_description>Bergoglio is taken aback by the popular dislike for Ratzinger. On the TV the commentator is becoming excited. Another goal maybe. Everyone turns back to the TV. But Bergoglio has lost his sociability. He stands at one remove.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RATZINGER'S BEDROOM - VATICAN (2012) - NIGHT<\/stage_direction>\n    <scene_description>Back to Ratzinger praying. This time we hear his prayer. It's the Nunc Dimittis in Latin.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>Nunc dimittis servum tuum, Domine, secundum verbum tuum in pace.<\/dialogue>\n    <character>BERGOGLIO: (V.O.)<\/character>\n    <dialogue>Let your servant depart in peace now Lord, according to your word.<\/dialogue>\n    <character>BERGOGLIO: (V.O.)<\/character>\n    <dialogue>Ahora, Se\u00f1or, seg\u00fan tu promesa, puedes dejar a tu siervo irse en paz<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOMUS INTERNATIONALIS BEDROOM (2012) - NIGHT<\/stage_direction>\n    <scene_description>Bergoglio saying HIS prayers. He's praying for Ratzinger.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>God grant him a quiet night and a perfect end.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Que Dios le conceda una noche serena y un final feliz.<\/dialogue>\n    <scene_description>INSERT: The sun comes up over Rome. Big stone pines silhouetted against a red sky.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR VATICAN (2012) - EARLY MORNING<\/stage_direction>\n    <scene_description>Roberto almost runs along the corridor. His phone keeps buzzing. He keeps having to reject calls. PICK UP ON him talking to Ratzinger who is being dressed by his dresser. Ratzinger is still in his underwear - his unusually lengthy underpants and long socks look slightly comic.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>What do you mean he's not here?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Che vuol dire con non e' qui?<\/dialogue>\n    <character>ROBERTO:<\/character>\n    <dialogue>I ... we can't find him.<\/dialogue>\n    <character>ROBERTO:<\/character>\n    <dialogue>Io... Non lo troviamo.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>(frantic) What room did you give him?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>(Agitato) Quale stanza gli avete dato?<\/dialogue>\n    <character>ROBERTO:<\/character>\n    <dialogue>I assumed, as a Jesuit, he would be staying in the Jesuit mother house.<\/dialogue>\n    <character>ROBERTO:<\/character>\n    <dialogue>Ho dato per scontato, che come gesuita, avrebbe alloggiato alla Casa Professa dei Gesuiti.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>He hasn't stayed there for years. He has a problematic relationship with the order.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Non alloggia li' da anni. Ha un rapporto difficile con l'ordine.<\/dialogue>\n    <character>CUT TO:<\/character>\n    <dialogue>INT. VATICAN SECURITY ROOM - DAY<\/dialogue>\n    <dialogue>The Head of Security listens to Roberto who is looking for Bergoglio. He turns and gives an order to someone next to him. (improvised)<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ST PETER'S SQUARE - DAY<\/stage_direction>\n    <scene_description>A Swiss Guard standing in front of the gate at Paolo VI listens to the walkie-talkie and looks around.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VATICAN - PAOLO VI (2012) - DAY<\/stage_direction>\n    <scene_description>Bergoglio - bag in hand - walking back towards the Vatican. There are still hordes of journalists and TV crews. A journalist approaches him with a microphone. Bergoglio doesn't stop walking. The journalist follows him.<\/scene_description>\n    <character>PRESS:<\/character>\n    <dialogue>Holiness do you have anything to say about the arrest of Father Scarano?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>What do you want me to say?<\/dialogue>\n    <character>PRESS:<\/character>\n    <dialogue>Will the Vatican be contesting it?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>What? No. It's not like he's been arrested for praying too many rosaries! I can't give a statement, but I can give you a blessing.<\/dialogue>\n    <scene_description>Swiss guard interrupts the interview.<\/scene_description>\n    <character>SWISS GUARD:<\/character>\n    <dialogue>Cardinal! Emminence ...<\/dialogue>\n    <scene_description>He leads Bergoglio by the elbow towards the entrance. He talks into his walkie-talkie, saying he's found him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VATICAN STAIRS (2012) - DAY<\/stage_direction>\n    <scene_description>The young Swiss Guard - in his fabulous uniform is now leading Bergoglio silently up the big stairs..<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I've always wondered ... the uniform, is it comfortable?<\/dialogue>\n    <scene_description>No response.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>It can't be easy to keep clean. Maybe someone else cleans it?<\/dialogue>\n    <scene_description>They come to a door in the middle of the stairs. The Guard stands back to let Bergoglio pass through it but as Bergoglio is about to pass him, he says quietly ...<\/scene_description>\n    <character>SWISS GUARD:<\/character>\n    <dialogue>It's not comfortable. But it is based on a painting by Michelangelo so...I'm a work of art.<\/dialogue>\n    <scene_description>They go up the stairs that feel like back-stage.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>You won't be a work of art forever.<\/dialogue>\n    <character>SWISS GUARD:<\/character>\n    <dialogue>I'm a student. Economics.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Ah! Economics...<\/dialogue>\n    <character>SWISS GUARD:<\/character>\n    <dialogue>Eminence, what you said about the trickle-down theory of wealth creation...<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>That nothing trickles down but humiliation and suffering?<\/dialogue>\n    <character>SWISS GUARD:<\/character>\n    <dialogue>I quoted it in my dissertation.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Did you get a good mark?<\/dialogue>\n    <character>SWISS GUARD:<\/character>\n    <dialogue>A-star.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Good work. When you finish your studies ... don't be a banker.<\/dialogue>\n    <scene_description>The Swiss Guard opens a door.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>That's where we're meeting?<\/dialogue>\n    <character>SWISS GUARD:<\/character>\n    <dialogue>I don't know. I was just asked to bring you here.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Bergoglio goes through the door into ...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SISTINE CHAPEL (2012) - DAY<\/stage_direction>\n    <scene_description>The Sistine Chapel - so vivid, so alive. It's heart- stopping. Bergoglio stops to take it all in. Walks towards the altar. Bergoglio considers the Last Judgement all alone. CLOSE ON: His old BLACK SHOES as he crosses the marble floor. He stops at the huge end-panel, with its rendering of HEAVEN and HELL, the ANGELS hauling up to heaven those souls in hellish torment - a powerful depiction of SIN. A door opens. A figure appears. It's Ratzinger. The POPE walks to BERGOGLIO, whose heart begins to pound, such is the drama of the setting.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>I've never been in here when it was empty before. I wanted to share the moment with you.<\/dialogue>\n    <scene_description>They both stand looking up at it, marvelling.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>If I was Pope I'd be in here every day.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>What else?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>If you had been chosen. What else would you do?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Holy Father ...<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>This place would be different, I think.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I wouldn't eat alone for a start. Apart from the theology, it's not good for you.<\/dialogue>\n    <scene_description>Ratzinger nods - noticing the concern as well as the ideology.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>All through the gospels Jesus is always breaking bread, feeding the people. Even after he came back from the dead he barbecued fish on the shore of Lake Galilee ...<\/dialogue>\n    <scene_description>He's describing some of the scenes from the frescoes.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>What else?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I'd sort out the bank.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Good luck with that.<\/dialogue>\n    <scene_description>Ratzinger laughs. Bergoglio is thrown.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>The banks almost destroyed my country. They beg for deregulation like tigers pleading to be let out of their cages. They devour everything in sight.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>The Curia's a machine. You put your hand inside, it chops it into mincemeat. It protects itself. To become Pope is to become breakfast.<\/dialogue>\n    <scene_description>Ratzinger sounds exhausted and bitter. Bergoglio looks and walks towards the Ghirlandaio fresco of the Vocation of the Apostles (it shows Christ on a beach with fishermen).<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>The only way to follow Him is to be where He is. Where is He? Right now? In the bomb craters in Syria. On the little beaches welcoming refugees. At Lampedusa. In hospitals...<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <parenthetical>(referring to the chapel)<\/parenthetical>\n    <dialogue>Not here... see?... You're beginning to be glad I'm resigning.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>For weeks, I've been praying for a sign.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I don't understand.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SISTINE CHAPEL - (PART 2) - DAY<\/stage_direction>\n    <scene_description>They're now seated on the marble bench against the curtain.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>When your request to resign came I knew I couldn't accept it without speaking to you. You had to come here. But perhaps you had to come here for some other purpose.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Like what?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>I have made a decision about something. A decision of great importance for the life of the whole Church. For her future. Something I ask you to hide in your soul, and speak of to no-one.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Sometimes you notice little things. The other night after prayers I blew out the candle. Instead of rising up, the smoke went down. Like Cain's offering. Do you notice such things?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I bought the tickets for my flight here before you requested my presence.<\/dialogue>\n    <scene_description>Ratzinger looks up at this. It's as though it's a clincher for him.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>No! Really? That gives me encouragement. You are the right person. I'm going to resign.<\/dialogue>\n    <scene_description>He's thrown this last sentence away so casually that Bergoglio doesn't notice it at first.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>The right person for what?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>To tell. I need to say it out loud to someone first.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Say what?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>What I just said. I'm going to resign.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Resign from what?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>The Papacy. The Chair of St Peter. The Bishopric of Rome. I'm going to renounce them all.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>But then...I mean...you can't. If you did that, you wouldn't be Pope any more.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Yes<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>But you are the Pope...<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Popes can't resign.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>In fact it's not without precedent. Celestine V did it in 1294.<\/dialogue>\n    <scene_description>Ratzinger is not comfortable on the marble bench. He looks to a security guard's cloth chair in the corner of the chapel.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Holy Father...You think people will not be shocked because this happened once before...seven hundred years ago!<\/dialogue>\n    <scene_description>Ratzinger stands up and goes to grab a chair.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>The marble is too cold.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I can't breathe... I came here just to ask for your signature on a piece of paper.<\/dialogue>\n    <scene_description>On his way to the chair he points to the door on the opposite side of the chapel, as if saying: \"get that other chair for you\". Bergoglio goes.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>Now you know why I couldn't give you that. There will be another conclave. It is important that you are there.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>But, Holy Father, you cannot do this. You must not! Why do the Presidents of America and Russia, of China, all come to you? Because, unlike them, your authority derives from the fact you will suffer and die on the job. A Pope represents service - life long - until death! - a martyr for justice and truth. For this all people come. Forgive me but...<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>But?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>... Christ did not come down from his cross.<\/dialogue>\n    <scene_description>Ratzinger is stung. But also reflective, almost wondering.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>God always grants you the right words.<\/dialogue>\n    <character>BERGOGLIO<\/character>\n    <dialogue>The Pope must go on, to the end. Be the personification of the crucified Christ! If you resign you will damage the prestige of the papacy forever.<\/dialogue>\n    <scene_description>They are now seated facing each other. Ratzinger seems to think this over before replying.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>And what damage will I do if I remain?<\/dialogue>\n    <scene_description>BERGOGLIO registers this point - But his thoughts flee and regroup like flocks of starlings.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I can't understand how this conversation is happening. The last time anyone discussed a thing like this, these frescoes weren't painted. Two Popes? Unthinkable.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>In 1978 we had three.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Not at the same time!<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>I was making a little joke.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>A joke?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>A German joke. It doesn't have to be funny.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>What would we call you?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Father Ratzinger? Brother Joseph?...<\/dialogue>\n    <scene_description>German humour again? Ratzinger comes up with a name:<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>Pope Emeritus? Would that work?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Two Popes. Both commanding authority.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Only one would command authority. I would hide away...out of the spot- light. Silence incarnate! \"Silentium Incarnatum\"<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Even if you are never seen or heard again, you will still exist.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>For a while at any rate.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>But your views, very well known views, will exist. And therefore will have authority still! Could you accept that?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>There's a saying - the Lord corrects one Pope by giving us the next. I'd like to see my correction.<\/dialogue>\n    <scene_description>BERGOGLIO throws up his hands -<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Where would you live?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>I'll find somewhere. I would keep out of your way.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>\"My\" way?!<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Possibly. I think it has to be a possibility ...<\/dialogue>\n    <scene_description>Bergoglio isn't going to have that conversation.<\/scene_description>\n    <character>BERGOGLIO<\/character>\n    <dialogue>Are you being pressured to go? The Curia?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>If there was pressure from there, I would resist it. I know my reasons are pure.<\/dialogue>\n    <scene_description>The Pope stares, neither confirms or denies this -<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>I'm a scholar not a manager--I have a pace-maker and can no longer see out of my left eye. Governance requires eyes I don't have.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>I have fought and fought to do what needs to be done. But I have lost.<\/dialogue>\n    <scene_description>BERGOGLIO is amazed to see the POPE humble himself like this. Ratzinger's watch beeps. \"-Time to walk\"\". Ratzinger stands up and starts walking towards the entrance of the chapel. He doesn't need to explain anything. Bergoglio follows Ratzinger and they both walk and talk back and forth in the Sistine Chapel as if it was a gym.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>It is our weakness that calls forth the grace of god. When we offer our weakness, He gives us strength.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>I've answered your question... Be satisfied.<\/dialogue>\n    <character>BERGOGLIO<\/character>\n    <dialogue>With respect, Holiness, it's not I who has to be satisfied. It's 1.2 billion believers. They will need to know why. Otherwise they will think there is some scandal, some plot...<\/dialogue>\n    <scene_description>Ratzinger goes quiet. Maybe there IS some mystery?<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>That is the calculation of leadership. A calculation we must both make.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Both? Why?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>For weeks I have been praying. I wanted to resign. But the thought that stopped me - what if at the next conclave, they voted for you.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Then I offered my resignation.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Exactly. And I was delighted. One reason I didn't want to resign was...what if you were next.<\/dialogue>\n    <scene_description>This is only half in jest. Bergoglio smiles.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>And so you came. And now I've changed.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>You compromised.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>No. I've changed. It's a different thing. Your approach, your style is radically different from mine. And I don't agree with most things you say and do...<\/dialogue>\n    <scene_description>BERGOGLIO smiles -<\/scene_description>\n    <character>RATZINGER<\/character>\n    <dialogue>But now I can see a necessity for Bergoglio. I cannot do this without knowing that there is at least a possibility that you might be chosen.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>No. Father, I could never...not me.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>We both know, in our hearts, that it could be. The Church needs change and you could be that change.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Not, not me, never. It could not be me.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>You know why...<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>I've read your files.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <parenthetical>(emphatic)<\/parenthetical>\n    <dialogue>The files are incomplete.<\/dialogue>\n    <scene_description>FLASHBACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONFESSIONAL - BASILICA DE FLORES (1955) - NIGHT<\/stage_direction>\n    <scene_description>We're back in 1955 with the young Bergoglio in the confessional, as we saw before.<\/scene_description>\n    <character>YOUNG BERGOGLIO:<\/character>\n    <dialogue>Bless me father for I have sinned.<\/dialogue>\n    <character>JOVEN BERGOGLIO:<\/character>\n    <dialogue>Bend\u00edceme padre porque he pecado...<\/dialogue>\n    <character>PRIEST:<\/character>\n    <dialogue>Go now and sin no more ...<\/dialogue>\n    <character>SACERDOTE:<\/character>\n    <dialogue>Pod\u00e9s irte y en adelante no vuelvas a pecar.<\/dialogue>\n    <scene_description>Young Bergoglio opens the door of the confessional but - as before - it doesn't lead into the peace of the basilica ... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVADAVIA (1976) - DAY<\/stage_direction>\n    <scene_description>An armored car rumbles by incredibly close. People peep out from behind curtains and shutters, too scared to protest. Soldiers barge past. Off this unnerving, violent moment we lurch into<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ARCHIVAL FOOTAGE\/ DIRTY WAR\/ ARGENTINA - DAY<\/stage_direction>\n    <scene_description>In a mix of re-enactments and archival footage Archive footage: We get the atmosphere of life under the Junta - including footage of tanks and protests.<\/scene_description>\n    <character>VIDELA (ARCHIVE)<\/character>\n    <dialogue>Al pueblo de Argentina. El pa\u00eds transita por una de las etapas m\u00e1s dif\u00edciles de su historia<\/dialogue>\n    <scene_description>Presence of military on the streets. Civilians are violently approached. Cars are stopped and checked.<\/scene_description>\n    <character>BERGOGLIO (V.O.)<\/character>\n    <dialogue>In the 70's, the government was overthrown by a military dictatorship. At that time, I became the head of the Jesuit priests in Argentina.<\/dialogue>\n    <scene_description>DURING A MASS, BERGOGLIO IS PLACING COMMUNION WAFERS ON THE TONGUES OF THE CONGREGATION WHO FILE FORWARD AND OPEN THEIR MOUTHS...<\/scene_description>\n    <character>BERGOGLIO: (V.O.)<\/character>\n    <dialogue>Everybody was a suspect. 30,000 people were killed. Anyone who disagreed, disappeared. Esther, my old boss, my friend, her daughter was among them.<\/dialogue>\n    <scene_description>INSERT ARCHIVE of MUGICA'S speech:<\/scene_description>\n    <character>PADRE MUGICA:<\/character>\n    <dialogue>No se trata m\u00e1s que de restituir al pueblo, lo que al pueblo le corresponde. Todo ser humano en una sociedad civilizada en la cual se aplique los principios de Jesus Cristo, tiene que tener derecho a su trabajo.<\/dialogue>\n    <scene_description>Fr. MUGICA - is gunned down outside his church.<\/scene_description>\n    <character>BERGOGLIO: (V.O.)<\/character>\n    <dialogue>Many priests were seen as supporters of the armed resistance. Father Mugica, the voice of the poor in Argentina was martyred in 1974... After him many priests and nuns were killed.<\/dialogue>\n    <scene_description>The body of a PRIEST is thrown on to the train tracks. Another PRIEST is shot. The DEATH SQUAD then drive away.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>This is not a time I am proud of, father.<\/dialogue>\n    <scene_description>A nun is dragged, about to be thrown from a military plane. Bergoglio is being presented to Massera in the lobby of his headquarters. He sees Astiz.<\/scene_description>\n    <character>BERGOGLIO: (V.O.)<\/character>\n    <dialogue>I felt my job was to make sure my priests were safe. So I talked to Admiral Massera, one of the leaders of the Junta. I tried to reason with him, to compromise.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAZA DE MAYO (1977) - DAY<\/stage_direction>\n    <scene_description>Footage of disappeared and the mothers of Plaza de Mayo. Esther is in the crowd being interviewed.<\/scene_description>\n    <character>ESTHER:<\/character>\n    <dialogue>Somos Argentinas, vivimos en Argentina, lo que podemos asegurar es que hay miles y miles de madres sufriendo mucha angustia, mucho dolor, mucha desesperaci\u00f3n. S\u00f3lo queremos saber d\u00f3nde est\u00e1n nuestros hijos. Vivos o muertos.<\/dialogue>\n    <scene_description>INSERT (ARCHIVE):<\/scene_description>\n    <character>VIDELA:<\/character>\n    <dialogue>\"There's no way we can deal with the disappeared because they disappeared.\"<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ESTHER'S HOUSE (1977) - DAY<\/stage_direction>\n    <scene_description>Esther and Bergoglio are having an argument. Esther's flat is a typical activist's home - full of books and leaflets.<\/scene_description>\n    <character>BERGOGLIO: (V.O.)<\/character>\n    <dialogue>Esther was an atheist, a Marxist. Before the dictatorship that didn't matter. Now she thought I was the enemy.<\/dialogue>\n    <scene_description>Bergoglio selects the books and put them on a card box, Esther just watches.<\/scene_description>\n    <character>ESTHER:<\/character>\n    <dialogue>All of them?<\/dialogue>\n    <character>ESTHER:<\/character>\n    <dialogue>Todos?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>No, this one can stay, the rest I'll take with me.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>No, \u00e9ste se puede quedar, el resto me los llevo.<\/dialogue>\n    <character>ESTHER:<\/character>\n    <dialogue>How do you know that they are watching me?<\/dialogue>\n    <character>ESTHER:<\/character>\n    <dialogue>Como sab\u00e9s que me est\u00e1n vigilando?<\/dialogue>\n    <scene_description>Bergoglio opens a news paper in which Astiz is seen among the mothers protesting. Esther's face turns ashen white. She looks as though she has been hit.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>This man who \"speaks out\" with you. His name is Astiz. Personal friend of Admiral Massera. They call him the Blonde Angel of Death. That's why I'm here. To warn you. He's an informer.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Este hombre que protesta con ustedes se llama Astiz. Es amigo personal del Almirante Massera. Le dicen el Angel de la Muerte. Por eso vine hasta ac\u00e1. Para prevenirte. Es un informante.<\/dialogue>\n    <character>ESTHER:<\/character>\n    <dialogue>Do you know him? What are you doing? Why don't you speak out!?<\/dialogue>\n    <character>ESTHER:<\/character>\n    <dialogue>Lo conoces? Y que est\u00e1s haciendo ac\u00e1? Porque' no sal\u00eds a hablar!?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>If I spoke out I would not be able to help you.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Si dijera algo, ya no podria ayudarte.<\/dialogue>\n    <character>BERGOGLIO: (V.O.)<\/character>\n    <dialogue>I took her books away for safekeeping. Marx, Gramsci, Guevara...<\/dialogue>\n    <scene_description>Esther's Daugther is arrested inside a bus and dragged to a paramilitar car. PICK UP ON a young woman, weeks later, walking into the flat. It's Esther's daughter. She is pregnant<\/scene_description>\n    <character>BERGOGLIO: (V.O.)<\/character>\n    <dialogue>She looked at me like a stranger... with fear... That was the last time I ever saw her. She warned me and I didn't listen. Had I listened I would not have made the mistakes I made.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEMINARY LIBRARY (1976) - DAY<\/stage_direction>\n    <scene_description>Helped by discontented seminarians, an orderly is taking books from the shelves and putting them into a trolley. And by a fuming Father JALICS (who we saw greet him when he joined the order)<\/scene_description>\n    <character>BERGOGLIO: (V.O.)<\/character>\n    <dialogue>I saw my role as to protect the Jesuit order and its priests. As you mentioned, I purged the library of Marxist texts.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASILICA (1976) - DAY<\/stage_direction>\n    <scene_description>During a MASS, BERGOGLIO is placing COMMUNION WAFERS on the tongues of the congregation who file forward and open their mouths...<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>The body of Christ...The body of Christ...<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>El cuerpo de Cristo... El cuerpo de Cristo.<\/dialogue>\n    <scene_description>But then a POOR WOMAN has her MOUTH CLOSED.<\/scene_description>\n    <character>BERGOGLIO: (V.O.)<\/character>\n    <dialogue>I stuck to the rules.<\/dialogue>\n    <character>POOR WOMAN:<\/character>\n    <dialogue>Remarried.<\/dialogue>\n    <character>MUJER HUMILDE:<\/character>\n    <dialogue>Me volv\u00ed a casar, padre.<\/dialogue>\n    <scene_description>BERGOGLIO nods, understandingly, and instead of offering her a WAFER, makes the SIGN OF THE CROSS instead, thereby \"blessing\" her. He then moves on to the next person and resumes setting wafers on tongues....<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVADAVIA - CAR WORKSHOP (1976) - DAY<\/stage_direction>\n    <scene_description>Yorio and Jalics are overseeing a car repair workshop run by young people - it's a slum project (we'll see more of later).<\/scene_description>\n    <character>BERGOGLIO: (V.O.)<\/character>\n    <dialogue>I closed down our projects in the slums.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RIVADAVIA - CAR WORKSHOP (1976) - DAY<\/stage_direction>\n    <scene_description>Some teenage boys are working under the bonnet of a truck in a roughly constructed workshop - the walls are made of old billboards. An older man (LUIS) is showing them what to do. Bergoglio arrives. Fr. Jalics sees him and comes to greet him warmly.<\/scene_description>\n    <character>JALICS:<\/character>\n    <dialogue>Jorge, Father Jorge. My dear son.<\/dialogue>\n    <character>JALICS:<\/character>\n    <dialogue>Jorge, padre Jorge... Mi hijo querido.<\/dialogue>\n    <scene_description>He embraces Bergoglio and introduces him to Luis.<\/scene_description>\n    <character>JALICS:<\/character>\n    <dialogue>This is Fr. Jorge. I used to teach him and now he is the head of all Jesuits in Argentina. Oh. And Uruguay.<\/dialogue>\n    <character>JALICS:<\/character>\n    <dialogue>Te presento al Padre Jorge. Yo fui su maestro y ahora \u00e9l es el superior de todos los Jesuitas de Argentina... ah... y de Uruguay!<\/dialogue>\n    <scene_description>Warm greetings.<\/scene_description>\n    <character>JALICS:<\/character>\n    <dialogue>The young men are learning skills here. (WRY) They're also learning about injustice<\/dialogue>\n    <character>JALICS:<\/character>\n    <dialogue>Los muchachos est\u00e1n aprendiendo algunas habilidades ...<\/dialogue>\n    <scene_description>- the injustice of their own (ir\u00f3nico) lives. Tambi\u00e9n est\u00e1n aprendiendo sobre las injusticias --- empezando por la injusticia de sus propias vidas.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I need you to close Rivadavia down.<\/dialogue>\n    <character>BERGOGLIO<\/character>\n    <dialogue>Necesito que cierren Rivadavia.<\/dialogue>\n    <character>JALICS:<\/character>\n    <dialogue>What?!<\/dialogue>\n    <character>JALICS:<\/character>\n    <dialogue>\u00bfQu\u00e9 dec\u00eds?<\/dialogue>\n    <scene_description>PICK UP ON Bergoglio and Jalics have now been joined by two other priests - YORIO and DOURRON.<\/scene_description>\n    <character>YORIO:<\/character>\n    <dialogue>We've built this mission from nothing. These are our people.<\/dialogue>\n    <character>YORIO:<\/character>\n    <dialogue>No construimos esta misi\u00f3n para nada... Esta es nuestra gente.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Since Massera took over, I have not lost one Jesuit because...<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Desde que Massera lleg\u00f3 al poder, no perd\u00ed ni un jesuita porque---<\/dialogue>\n    <character>JALICS:<\/character>\n    <dialogue>Because you don't speak out against the regime. Because you've made us irrelevant.<\/dialogue>\n    <character>JALICS:<\/character>\n    <dialogue>--- porque no habl\u00e1s en contra del r\u00e9gimen. Porque nos hiciste pasar por irrelevantes.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>No. I don't speak out. I shelter people in the Maximo. Smuggle people over the border.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>No... No hablo en contra... Sin embargo le di refugio a muchos en el M\u00e1ximo... Y ayud\u00e9 a otros a cruzar la frontera...<\/dialogue>\n    <character>YORIO:<\/character>\n    <dialogue>That's not the point. Saving a few here a few there. We need to save the country.<\/dialogue>\n    <character>YORIO<\/character>\n    <dialogue>Ese no es el punto. Salv\u00e1s a unos pocos por ac\u00e1 y a otros pocos por all\u00e1... Nosotros necesitamos salvar el pa\u00eds.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>They're watching you. They don't like what they see. I know this for a fact.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Los est\u00e1n vigilando. Y no les gusta lo que est\u00e1n viendo. Lo s\u00e9. Es un hecho.<\/dialogue>\n    <character>YORIO:<\/character>\n    <dialogue>How?<\/dialogue>\n    <character>YORIO:<\/character>\n    <dialogue>\u00bfC\u00f3mo?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>\u00bfQu\u00e9?<\/dialogue>\n    <character>YORIO:<\/character>\n    <dialogue>How do you know that, Jorge?<\/dialogue>\n    <character>YORIO:<\/character>\n    <dialogue>C\u00f3mo lo sab\u00e9s, Jorge.<\/dialogue>\n    <scene_description>Bergoglio looks uncharacteristically shifty.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>My role is to protect the order.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Mi funci\u00f3n es proteger a la Compa\u00f1\u00eda.<\/dialogue>\n    <character>YORIO:<\/character>\n    <dialogue>That's our calling now? To protect ourselves?<\/dialogue>\n    <character>YORIO:<\/character>\n    <dialogue>\u00bfEse es nuestro llamado ahora? \u00bfProtegernos a nosotros mismos?<\/dialogue>\n    <character>JALICS:<\/character>\n    <dialogue>I TAUGHT you in the seminary. How do we get to know Christ? By following his footsteps. Where do they lead? Here.<\/dialogue>\n    <character>JALICS:<\/character>\n    <dialogue>Yo te lo ense\u00f1\u00e9 en el seminario. \u00bfC\u00f3mo llegamos a conocer a Cristo? Siguiendo sus pasos. \u00bfY d\u00f3nde nos llevan esos pasos? Ac\u00e1.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Or to the firing squad.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>O al pelot\u00f3n de fusilamiento.<\/dialogue>\n    <character>YORIO:<\/character>\n    <dialogue>And if so, so be it.<\/dialogue>\n    <character>YORIO:<\/character>\n    <dialogue>Si eso es lo que tiene que ser, que sea.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I am your provincial, and I'm begging you - come back to the Maximo.<\/dialogue>\n    <character>BERGOGLIO<\/character>\n    <dialogue>Yo soy su superior. Y les estoy rogando que vuelvan al M\u00e1ximo.<\/dialogue>\n    <character>YORIO:<\/character>\n    <dialogue>And if we don't?.<\/dialogue>\n    <character>YORIO:<\/character>\n    <dialogue>\u00bfY si no obedecemos?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>You're Jesuits. You made a vow, break that vow and you are no longer Jesuits.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Ustedes son jesuitas. Hicieron un voto, rompan ese voto, y dejar\u00e1n de ser jesuitas.<\/dialogue>\n    <character>DOURRON:<\/character>\n    <dialogue>If we aren't recognised by the Order, we are no longer protected. You could be signing our death warrant.<\/dialogue>\n    <character>DOURRON:<\/character>\n    <dialogue>Si no somos reconocidos por la Compa\u00f1\u00eda, ya no estamos protegidos... Pod\u00e9s estar firmando nuestra sentencia de muerte.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>(imploring)<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>(implorando)<\/dialogue>\n    <scene_description>So keep to your vows. Come Entonces mantengan sus votos. back with me to the Maximo. Vuelvan al M\u00e1ximo. Jalics looks at the others before speaking.<\/scene_description>\n    <character>JALICS:<\/character>\n    <dialogue>We refuse to cease our activities here. You carry on taking tea with killers.<\/dialogue>\n    <character>JALICS:<\/character>\n    <dialogue>Nos oponemos a terminar con nuestras actividades ac\u00e1. Pod\u00e9s seguir tomando t\u00e9 con los asesinos.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I will talk to anyone who can help me save lives. And you will shut down, under obedience, your project in Villa 11.14, Rivadavia. That's an order.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Yo voy a hablar con quien sea que me pueda ayudar a salvar vidas. Y ustedes, bajo mandato de obediencia, van a terminar con su proyecto en la Villa 11.14, Rivadavia. Es una orden.<\/dialogue>\n    <scene_description>YORIO and JALICS say nothing, but rather turn and walk out. BERGOGLIO is furious. He kicks something.<\/scene_description>\n    <character>BERGOGLIO: (V.O.)<\/character>\n    <dialogue>They disobeyed my orders... questioned my authority...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SISTINE CHAPEL (2012) - DAY<\/stage_direction>\n    <scene_description>Bergoglio and Ratzinger are seated together under the balcony..<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>You made a difficult, perhaps an imperfect choice.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>What is an order if it's not its priests and its people. I missed it. I was supposed to protect them. I failed.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUENOS AIRES EZEIZA (1976) - DAY<\/stage_direction>\n    <scene_description>Father DOURRON is pedalling along a narrow street on his bicycle when he sees military vehicles approach the Mission. He looks behind him - some troops are walking into place at the other end of the street. He hides behind a fence. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVADAVIA (1976) - DAY<\/stage_direction>\n    <scene_description>Soldiers pile out of trucks and run to the Mission. PICK UP ON Jalics, who is trying to get to the Mission. He almost runs into a group of soldiers who level their weapons at him. He goes down on his knees with his hands in the air. At the same time the paramilitary take Yorio from the Mission to the second truck.<\/scene_description>\n    <character>BERGOGLIO: (V.O.)<\/character>\n    <dialogue>It is not easy to entrust oneself to God's mercy. I know, he has a very special capacity for forgetting our mistakes. God forgets, but I don't.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SISTINE CHAPEL - DAY<\/stage_direction>\n    <scene_description>Bergoglio looks up from the memory into the face of Ratzinger.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Fathers Jorio and Yalics - my old teachers - were taken away and tortured for months. Their hands were broken.<\/dialogue>\n    <scene_description>He looks up at the images of blood and martyrdom that run through the frescoes.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I went back to Massera. I took my tea. I implored for their freedom. But it wasn't enough.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ADMIRAL MASSERA'S OFFICE - DAY<\/stage_direction>\n    <scene_description>BERGOGLIO enters the Marine headquarters determined to talk to Massera. After a long wait he's taken to Massera's room. The door opens, Massera is watching a Tennis Match, Villas and Borg. He is a big fan.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>You have two of my priests. Fathers Jalics and Yorio. You're detaining them...<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Usted tiene a dos de mis sacerdotes. Padres Jalics y Yorio. Usted los tiene detenidos.<\/dialogue>\n    <character>ADMIRAL MASSERA<\/character>\n    <dialogue>I will of course make enquiries, Father.<\/dialogue>\n    <character>ALMIRANTE MASSERA<\/character>\n    <dialogue>Por supuesto har\u00e9 la investigaci\u00f3n pertinente, padre.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>They are not involved in any activities.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Ellos no est\u00e1n involucrados en ninguna actividad.<\/dialogue>\n    <character>ADMIRAL MASSERA<\/character>\n    <dialogue>Then why did you kick them<\/dialogue>\n    <character>ALMIRANTE MASSERA:<\/character>\n    <dialogue>\u00bfEntonces porqu\u00e9 los expuls\u00f3<\/dialogue>\n    <scene_description>out? (de la Compa\u00f1\u00eda)?<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I did not kick them out. They were temporarily out of communion. A technical issue only. Who told you this?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>No los expuls\u00e9. S\u00f3lo les negu\u00e9 la comuni\u00f3n temporalmente. Una cuesti\u00f3n t\u00e9cnica, nada m\u00e1s. \u00bfQui\u00e9n le dijo eso?<\/dialogue>\n    <character>ADMIRAL MASSERA:<\/character>\n    <dialogue>We see and hear everything.<\/dialogue>\n    <character>ALMIRANTE MASSERA:<\/character>\n    <dialogue>Nosotros vemos y oimos todo.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>It's been four months. What are you doing with them?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Ya pasaron cuatro meses. \u00bfQu\u00e9 est\u00e1 haciendo con ellos?<\/dialogue>\n    <character>ADMIRAL MASSERA:<\/character>\n    <dialogue>I am sure they are being well taken care of. I've told all this to Tortolo<\/dialogue>\n    <character>ALMIRANTE MASSERA:<\/character>\n    <dialogue>Estoy seguro de que los est\u00e1n cuidando muy bien. Ya he hablado de todo esto con el arzobispo Tortolo.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Monsignor Tortolo<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Monsignor Tortolo<\/dialogue>\n    <character>ADMIRAL MASSERA:<\/character>\n    <dialogue>(losing temper) Now look here Bergoglio!<\/dialogue>\n    <character>ALMIRANTE MASSERA:<\/character>\n    <dialogue>(perdiendo la paciencia) Ya basta, Bergoglio!<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Admiral! I know full well where my priests are, and I need them freed!<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Almirante! Yo s\u00e9 perfectamente d\u00f3nde est\u00e1n mis sacerdotes, y exijo que los liberen!<\/dialogue>\n    <character>ADMIRAL MASSERA:<\/character>\n    <dialogue>But they're not your priests, are they? As you said - a<\/dialogue>\n    <character>ADMIRAL MASSERA:<\/character>\n    <dialogue>Pero no son sus sacerdotes, no es as\u00ed? Como usted bien<\/dialogue>\n    <scene_description>\"technical issue\". You should dijo, \"una cuesti\u00f3n t\u00e9cnica\". think of the implications Deber\u00eda pensar en las before you act. implicancias de sus actos antes de actuar.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ESMA - DAY<\/stage_direction>\n    <scene_description>JALICS and YORIO sit semi naked in their cells, with sacks over their heads...<\/scene_description>\n    <character>BERGOGLIO (V.O.)<\/character>\n    <dialogue>My words had no impact. Empty.<\/dialogue>\n    <character>RATZINGER : (V.O.)<\/character>\n    <dialogue>Well you did all you could.<\/dialogue>\n    <character>BERGOGLIO : (V.O.)<\/character>\n    <dialogue>It wasn't enough. I did what was safe... and justified it as trying to protect my Order.<\/dialogue>\n    <character>RATZINGER : (V.O.)<\/character>\n    <dialogue>Dictatorships take away our freedom to choose... we both know that.<\/dialogue>\n    <character>BERGOGLIO : (V.O.)<\/character>\n    <dialogue>Yes, or perhaps they reveal our own weaknesses. They test who we are.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SISTINE CHAPEL (2012) - DAY<\/stage_direction>\n    <scene_description>The two men are still sitting under the balcony.<\/scene_description>\n    <character>BERGOGLIO<\/character>\n    <dialogue>December 18th, 1977.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>What is that?<\/dialogue>\n    <scene_description>Bergoglio looks haunted. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HERCULES MILITARY PLANE (1977) - DAY<\/stage_direction>\n    <scene_description>The scream of aero-engines. Esther's hand is grabbed by a naval officer and stretched out to its length. Another officer injects her with something. She is struggling but the injection makes her stop. WIDE: TWO OTHER WOMEN are being unshackled. They have all been drugged. The DOORS on the AIRCRAFT are then SLID OPEN, and we see that the PLANE is flying over Ocean. One by one the WOMEN are flung to their deaths. They do not resist. Cannot resist. Finally it's Esther's turn. She is pulled to the edge. And then thrown out into the sea.<\/scene_description>\n    <character>BERGOGLIO: (V.O.)<\/character>\n    <dialogue>And then they took Esther, my dear friend.<\/dialogue>\n    <scene_description>BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SISTINE CHAPEL (2012) - DAY<\/stage_direction>\n    <scene_description>Bergoglio and Ratzinger still talking together next to Michelangelo's Last Judgement with its images of smashed and tortured bodies.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>There were so many bodies washed up on the shores that the coast guard complained they could no longer cope.<\/dialogue>\n    <scene_description>BERGOGLIO's expression is one of great guilt. The Pope's face is bent in prayer. He finally opens his eyes and looks at BERGOGLIO...<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Where was Christ in the days of the dictatorship - was he having meetings in the presidential palace, or was he being tortured in the prisons. And where was I?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Dictatorships take away the freedom to choose. We both know that.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I could have spoken out in public.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>And if no one had listened. What then?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Every choice that Fathers Yorio and Jalics made, I made the opposite. A leader belongs with his people, not hidden away in a palace.<\/dialogue>\n    <scene_description>CUT AWAY TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CORDOBA (MID 1980'S) - DAY<\/stage_direction>\n    <scene_description>The figure of Bergoglio walking through the desolate, dusty condor-haunted hills. The image may seem like a metaphor at this point but we'll discover that it's a memory...<\/scene_description>\n    <character>RATZINGER: (V.O.)<\/character>\n    <dialogue>Perhaps the path appears straight when we look back at it. On the way we often feel lost...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SISTINE CHAPEL (2012) - DAY<\/stage_direction>\n    <scene_description>Ratzinger places his hand on Bergoglio's.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>You cannot teach mercy without having experienced mercy. Let me show you another Bergoglio, the one you are blind to. Let me reveal you to yourself -<\/dialogue>\n    <scene_description>Bergoglio looks up. What's going on? Is Ratzinger defending him?<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>You talk about your authority. What did you do with that authority? You used it to save dozens of lives.<\/dialogue>\n    <scene_description>Bergoglio is surprised that Ratzinger knows this.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>It's in the file. You hid families of trade unionists in the seminary. You even drove some of them up to the border yourself.<\/dialogue>\n    <character>BERGOGLIO<\/character>\n    <dialogue>It wasn't enough.<\/dialogue>\n    <scene_description>INSERT: Bergoglio hides activists at Colegio Maximo.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>Not for your brother Jesuits, no.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Pride obscured my judgement. The right to say Mass was removed and with it, the protection of the Church. I was supposed to protect them...I failed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLEGIO MAXIMO OFFICE (MID 1980'S) - DAY<\/stage_direction>\n    <scene_description>BERGOGLIO surrenders his many keys to the RECTOR...who solemnly watches this stripping away of BERGOGLIO's power...<\/scene_description>\n    <character>RATZINGER (V.O.)<\/character>\n    <dialogue>They accused you of hard line views, of being right-wing, of having sinned by doing too little, of being egotistical. These are the things that were said about you in the dossier, during the conclave.<\/dialogue>\n    <character>CUT TO:<\/character>\n    <dialogue>MONTAGE:<\/dialogue>\n    <dialogue>A) Majestic wide-shots of - mountains, dry hills, peasant farmers working their dry land...<\/dialogue>\n    <character>RATZINGER: (V.O.)<\/character>\n    <dialogue>You were cast out--removed from your position, stripped of all authority. Your supporters were dispersed, sent abroad and told not to contact you. Finally, in shame ..<\/dialogue>\n    <scene_description>B) BERGOGLIO, travelling by BUS, through this landscape. C) MIDDAY. CORDOBA. BERGOGLIO stands, looking at the Jesuit Residencia Mayor in Cordoba, Argentina. D) ROOM No. 5 of the simple adobe sleeping cells. The room is small and red. Heavy red curtains, red-tiled floor, red coverlet on the bed. A painting of the Crucifixion is the only adornment. It looks like the cell of a monk or a prisoner. BERGOGLIO enters - E) Canteen. Bergoglio is serving dinner to a group of old priests.<\/scene_description>\n    <character>BERGOGLIO: (V.O)<\/character>\n    <dialogue>Two years of introspection, of dark days and nights, of interior crisis.<\/dialogue>\n    <scene_description>F) Bergoglio bathes an old priest G) BERGOGLIO scrubs pots. H) - Bergoglio unfolds a packet with books related to Liberation Theology. Bergoglio reads a book related to the Theology of People Many other books are around. I) BERGOGLIO sleeps on a simple small bed.<\/scene_description>\n    <character>BERGOGLIO(V.O.)<\/character>\n    <dialogue>I heard a lot of confessions ...I<\/dialogue>\n    <scene_description>learned to listen and saw people that I didn't see before. BERGOGLIO in Room No. 5, sitting on his bed, under the shuttered window, hears Confession through the shutters. Outside the open shutters, a PEASANT admits his sins -<\/scene_description>\n    <character>PEASANT 1<\/character>\n    <dialogue>Bless me father for I have sinned.<\/dialogue>\n    <character>CAMPESINO 1<\/character>\n    <dialogue>Bend\u00edgame, padre, porque he pecado.<\/dialogue>\n    <character>PEASANT 2<\/character>\n    <dialogue>Bless me father for I have sinned.<\/dialogue>\n    <character>CAMPESINO 2<\/character>\n    <dialogue>Bend\u00edgame padre, porque he pecado.<\/dialogue>\n    <character>PEASANT 3<\/character>\n    <dialogue>Bless me father...<\/dialogue>\n    <character>CAMPESINO 3<\/character>\n    <dialogue>Bend\u00edgame padre---<\/dialogue>\n    <scene_description>BERGOGLIO, on his bed, his back to the wall under the shuttered window, weeps.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMALL CHAPEL\/ CORDOBA (MID 1980'S) - DAY<\/stage_direction>\n    <scene_description>BERGOGLIO is saying MASS to a small collection of country folk in a simple country CHAPEL. He moves to the LECTERN to deliver his sermon and looks at the simple COUNTRY FOLK. The COUNTRY FOLK look back at him. He goes to speak but his LIPS DO NOT MOVE - at first. But then he knows what he wants to say...<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I used to have a TV. I like to<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Yo sol\u00eda tener televisi\u00f3n. Me gustaba mirar f\u00fatbol.<\/dialogue>\n    <scene_description>watch football. (se detiene un instante) (beat) Yo soy hincha de--- bueno, My team is--well--I can tell eso se lo puedo decir m\u00e1s anyone who is interested tarde al que est\u00e9 later. interesado... Una televisi\u00f3n (beat) necesita una antena. Y una A TV needs--an aerial. And a se\u00f1al. A veces la se\u00f1al es signal. Some days the signal mala, quien sabe porqu\u00e9... is Como cuando rezamos. A veces bad--who knows why. Like la se\u00f1al que nos env\u00eda Dios prayer. Some days the signal es fuerte y clara, funciona from God is strong, it goes bien, uno puede sentir la very well, you feel that conexi\u00f3n, estamos realmente connection, really plugged enchufados, en comunicaci\u00f3n in, in direct communication, directa... Pero hay otros but other days--it's all you d\u00edas donde uno solo puede can do to feel \"well, I tried- decir: \"bueno... por lo menos -at least today I tried.\" You lo intent\u00e9\"... Porque uno feel you got nothing back. siente que no recibe nada... People expect it to be que no tiene respuesta. La different for a priest, as if gente piensa que para God nosotros, los sacerdotes, and I have a hot-line, funciona distinto, como si installed by Michelangelo Dios tuviera l\u00ednea directa working from a diagram by Da con nosotros, una l\u00ednea Vinci. construida por Miguel Angel gracias a un diagrama de Da Vinci. INSERT: Images of Bergoglio, alone, walking on the beautiful and dry landscape of Cordoba.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>(smiles)<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>(sonr\u00ede)<\/dialogue>\n    <scene_description>What I'm saying is...I am not Lo que quiero decir es... que worthy to deliver a sermon hoy no merezco darles un today. The words would be serm\u00f3n... Mis palabras ser\u00edan just my words would only be solo mis palabras... y mine...and so most likely probablemente ser\u00edan wrong or misleading. It would equivocadas o confusas... Son be better that you teach me. ustedes los que me tienen que I am sorry. ense\u00f1ar a mi. Eso ser\u00eda lo mejor. Disculpen. He moves back to the altar and continues the MASS - the congregation are stunned!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMALL CHAPEL CORDOBA (MID 1980'S) - DAY<\/stage_direction>\n    <scene_description>In a SLUM CHURCH, during a small MASS for the SLUM DWELLERS, he offers the WAFER (during \"COMMUNION\") then puts it into the open ouths of the congregation who file forward...<\/scene_description>\n    <character>BERGOGLIO<\/character>\n    <dialogue>The body of Christ... The body of Christ... The body of Christ...<\/dialogue>\n    <character>BERGOGLIO<\/character>\n    <dialogue>El cuerpo de Cristo... El cuerpo de Cristo... El cuerpo de Cristo...<\/dialogue>\n    <scene_description>But then one WOMAN has her MOUTH CLOSED. She whispers -<\/scene_description>\n    <character>SLUM WOMAN 1<\/character>\n    <dialogue>Father, I am divorced.<\/dialogue>\n    <character>MUJER HUMILDE 1<\/character>\n    <dialogue>(por lo bajo)<\/dialogue>\n    <scene_description>Padre, soy divorciada. BERGOGLIO nods, then doesn't hesitate, he places a WAFER into the woman's mouth.<\/scene_description>\n    <character>SLUM WOMAN 2<\/character>\n    <dialogue>Me too.<\/dialogue>\n    <character>MUJER HUMILDE 2<\/character>\n    <dialogue>Yo tambi\u00e9n soy divorciada.<\/dialogue>\n    <scene_description>He serves her. Then moves to the next man, who also has his mouth closed.<\/scene_description>\n    <character>SLUM MAN 1<\/character>\n    <dialogue>Remarried.<\/dialogue>\n    <character>HOMBRE HUMILDE<\/character>\n    <dialogue>Me volv\u00ed a casar, padre.<\/dialogue>\n    <scene_description>BERGOGLIO serves him too, then notices that the next man also has his MOUTH CLOSED. BERGOGLIO looks at the entire congregation. He shouldn't really be giving communion to any of these people - but does so.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SMALL CHAPEL\/ CORDOBA (MID 1980'S) - DAY<\/stage_direction>\n    <scene_description>Bergoglio is outside of the chapel sharing mate with the people that has just left. He's light and happy. MONTAGE CORDOBA LANDSCAPE CONTINUES: A) Bergoglio is walking with some priests. B) Bergoglio is sitting on a rock. C) Bergoglio is camping by a lake. D) Bergoglio is playing football with local teenagers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CORDOBA (MID 1980'S) - DAY<\/stage_direction>\n    <scene_description>Bergoglio walks alone along a dirty road. Huge mountains behind. He's insignificant compared to that landscape.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SISTINE CHAPEL (2012) - DAY<\/stage_direction>\n    <scene_description>Ratzinger and Bergoglio are still sitting together.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>It took years. Until you were noticed. Cardinal Quarracino noticed you at an international conference. You gave a famous speech. I have it here ...<\/dialogue>\n    <scene_description>He starts to read it...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MODERN BUILDING - BUENOS AIRES - 2000 - DAY<\/stage_direction>\n    <scene_description>A packed INTERNATIONAL AUDIENCE of PRIESTS and LAY-PEOPLE await the SPEAKER... BERGOGLIO (our older Bergoglio) is at the lectern, speaking in English.<\/scene_description>\n    <character>RATZINGER (V.O.)<\/character>\n    <dialogue>We have known tyranny in this country, but--a new tyranny rises up...<\/dialogue>\n    <scene_description>BERGOGLIO walks up to the lectern. Ratzinger's VO fades and Bergoglio's voice comes to the fore.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>A new tyranny rises up. Not just here, but across the world.<\/dialogue>\n    <scene_description>He stands there and surveys the large packed congregation, pausing before speaking. A protestor shouts...<\/scene_description>\n    <character>PROTESTOR<\/character>\n    <dialogue>Who are you to talk about tyranny! You were friends with the tyrant!<\/dialogue>\n    <scene_description>People join in, booing Bergoglio. Bergoglio bows his head, taking it, almost expecting it.<\/scene_description>\n    <character>BERGOGLIO<\/character>\n    <dialogue>A tyranny not just of oppression or repression or terror. A tyranny of unfair economic structures that create huge inequalities.<\/dialogue>\n    <character>BERGOGLIO<\/character>\n    <dialogue>Twenty percent of the world's population consumes resources at a rate that robs the poor nations and future generations of what they need to survive. Just as the commandment \"Thou shalt not kill\" sets a clear limit in order to safeguard the value of human life, today we also have to say \"thou shalt not\" to an economy of exclusion and inequality which idolises money. Such an economy also kills.<\/dialogue>\n    <scene_description>ANGLE ON: CARDINAL ANTONIO QUARRACINO, who realises he is hearing something new here, and so takes out a DICTAPHONE to record this. He starts TAPING the ADDRESS... Here, BERGOGLIO falls silent - and we prelap the POPE's words into the next scene -<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>There is a phrase now \"trickle down economics\". Let me tell you, nothing trickles down to the poor but poverty and injustice.<\/dialogue>\n    <scene_description>CARDINAL QUARRACINO looks around him to see how BERGOGLIO's message is being received. His POV of: transfixed people, riveted. He turns back to BERGOGLIO, who resumes -<\/scene_description>\n    <character>BERGOGLIO<\/character>\n    <dialogue>Every community is called to be an instrument for the liberation, the liberation and the promotion of the poor!<\/dialogue>\n    <scene_description>He steps down. The CONGREGATION are not quite sure what they have heard. Cardinal Quarracino sees Bergoglio surrounded by journalists. Quarrantino approaches to congratulate and talk to Bergoglio but we don't hear what they're saying.<\/scene_description>\n    <character>RATZINGER: (V.O.)<\/character>\n    <dialogue>You were made bishop. But you did not live like one.<\/dialogue>\n    <character>RATZINGER: (V.O.)<\/character>\n    <dialogue>You renounced luxury. You became the \"Bishop Of The Slums. You did the work you once denied Fathers Yorio and Jalics!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUENOS AIRES (2012) - DAY<\/stage_direction>\n    <scene_description>A Drone Shot shows two faces of the vast city; firstly showing the affluent skyline of office blocks then we're in the middle of Villa 21. Bergoglio is being driven on a trike through the Villa. The drone follows him from behind. Some people greet him as he walks.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLA 21 (2002), FOOD KITCHEN AND CLOTHES DISTRIBUTION<\/stage_direction>\n    <scene_description>CENTRE - DAY Bergoglio helping out in a food kitchen and distributing clothes.<\/scene_description>\n    <character>BERGOGLIO: (V.O.)<\/character>\n    <dialogue>I tried to walk the road from which I banished them. Every vegetable I chopped... Every eviction we prevented. Every case we pleaded, was some kind of penance.<\/dialogue>\n    <character>RATZINGER: (V.O.)<\/character>\n    <dialogue>Yes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SISTINE CHAPEL (2012) - DAY<\/stage_direction>\n    <scene_description>He is still sitting close to Ratzinger. He looks him in the eye.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>My dear son, you have confessed to me. Allow me to absolve you.<\/dialogue>\n    <scene_description>Bergoglio hesitates. Has he been out-manoeuvred?<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>Believe in the mercy that you preach.<\/dialogue>\n    <scene_description>Bergoglio bows his head.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>I absolve you in the name of the father and of the son and of the Holy Spirit.<\/dialogue>\n    <scene_description>Bergoglio looks up. He looks less haunted, more ready.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Thank you, Father.<\/dialogue>\n    <scene_description>The tourists door opens. Roberto comes in. Two security guards stay close to the door. We're aware of noise outside.<\/scene_description>\n    <character>ROBERTO:<\/character>\n    <dialogue>Holy Father, it's nine o'clock, they are opening the doors to the public.<\/dialogue>\n    <scene_description>The doors at the far end of the chapel open. A couple of Swiss Guards come in and take up positions.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>Oh, Heaven. The museums...the tourists...<\/dialogue>\n    <character>ROBERTO:<\/character>\n    <dialogue>Should I delay the opening, Holy Father?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>No, no. Of course not. Some of those people have waited all their lives to see this. (TO BERGOGLIO) Come ...<\/dialogue>\n    <scene_description>The guards hold the entrance door till the Pope has gone. The sound of tourists can be heard outside. Ratzinger opens a little door and they slip into...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VATICAN - CHAMBER OF TEARS (2012) - DAY<\/stage_direction>\n    <scene_description>As they settle down...<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Holy Father, are you hungry?<\/dialogue>\n    <scene_description>Ratzinger looks startled. No one ever asks him that.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>Do you know, I think perhaps I am.<\/dialogue>\n    <scene_description>He glances at Roberto, who is taken aback.<\/scene_description>\n    <character>ROBERTO:<\/character>\n    <dialogue>I could ask the kitchens to ...<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>No need. There's a place just in front of Via de Porta Angelica. Excellent coffee and pizzas.<\/dialogue>\n    <scene_description>Roberto looks utterly nonplussed. But the Pope nods at him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SISTINE CHAPEL (2012) - DAY<\/stage_direction>\n    <scene_description>The door is opened, as the tourists enter Roberto crosses the way in the opposite direction.<\/scene_description>\n    <character>GUARDS<\/character>\n    <dialogue>No photos, please... Nessuna foto, per favore...<\/dialogue>\n    <character>GUARDIE<\/character>\n    <dialogue>Niente foto, per favore... Nessuna foto, per piacere.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROME - VIA DE PORTA ANGELICA (2012) - DAY<\/stage_direction>\n    <scene_description>Roberto - looking painfully uncomfortable - has just ordered at the bar.<\/scene_description>\n    <character>BAR:<\/character>\n    <dialogue>To take away?<\/dialogue>\n    <character>BAR OWNER:<\/character>\n    <dialogue>Da portare via?<\/dialogue>\n    <character>ROBERTO:<\/character>\n    <dialogue>(NEVER SAID THIS BEFORE IN HIS LIFE) Yes. To take away.<\/dialogue>\n    <character>ROBERTO:<\/character>\n    <dialogue>(IN TUTTA LA SUA VITA NON L'HA MAI DETTO QUESTO) Si. Da portare via.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VATICAN - CHAMBER OF TEARS (2012) - DAY<\/stage_direction>\n    <character>RATZINGER:<\/character>\n    <dialogue>They call it the Chamber of Tears. I came in here Josef Ratzinger, I left as Benedict XVI. No one tells you if they are tears of joy or tears of sorrow.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I suppose that's up to you.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Yes. I suppose it is.<\/dialogue>\n    <scene_description>Roberto comes in with coffee, fanta and a pizza.<\/scene_description>\n    <character>ROBERTO:<\/character>\n    <dialogue>Fathers.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Thank you, Roberto.<\/dialogue>\n    <scene_description>He goes. Only when he's gone does Ratzinger allow himself to giggle.<\/scene_description>\n    <character>RATZINGER<\/character>\n    <dialogue>You know, whenever a Pope eats, there used to be three Jesuits present to act as \"food tasters.\" Lack of Jesuits has poisoned more than one Pope.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I can take a bite of your slice if you like. Just to be on the safe side. Would you say grace, Father?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Thank you Lord, for this food-- that we enjoy here--in this place--outside of time and the-- the relentless concerns of the outside world...<\/dialogue>\n    <scene_description>BERGOGLIO begins the Sign Of The Cross, thinking Grace completed...but...<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>...where--if but for a moment-- we may find serenity--peace-- tranquility...<\/dialogue>\n    <parenthetical>(silence, then - )<\/parenthetical>\n    <dialogue>Lord, your church, your flock is in crisis. Grant us the wisdom--and the strength...<\/dialogue>\n    <scene_description>BERGOGLIO thinks again the grace is over, until -<\/scene_description>\n    <character>RATZINGER<\/character>\n    <dialogue>...to oppose the hypocrisy that disfigures her.<\/dialogue>\n    <scene_description>Is it over? Surely it is! Until - the POPE resumes, even more fervently...the knuckles of his folded hands white with strain...something BERGOGLIO notices with concern -<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>St. Francis intercede for us as we seek to repair the church...<\/dialogue>\n    <scene_description>The POPE then opens his eyes - and looks DIRECTLY at BERGOGLIO...<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>Would you like to add anything?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Amen?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Amen.<\/dialogue>\n    <scene_description>They pick up the pizza.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>I was thinking of your teachers - Yorio and Jalics - did you ever reconcile with them?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>With Jalics. We said a Mass together...<\/dialogue>\n    <scene_description>FLASHBACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SACRISTY - CHURCH, ARGENTINA (1980'S) - DAY<\/stage_direction>\n    <scene_description>In the vestry, BERGOGLIO dresses. His back is to the door, when it opens and in walks - Fr. Jalics!<\/scene_description>\n    <character>BERGOGLIO<\/character>\n    <dialogue>Can you make sure the candles are lit?<\/dialogue>\n    <character>BERGOGLIO<\/character>\n    <dialogue>\u00bfControl\u00e1s que las velas est\u00e9n encendidas, por favor?<\/dialogue>\n    <scene_description>BERGOGLIO turns - and sees Jalics. Tension between them.<\/scene_description>\n    <character>JALICS:<\/character>\n    <dialogue>Arch-Bishop.<\/dialogue>\n    <character>JALICS<\/character>\n    <dialogue>Arzobispo...<\/dialogue>\n    <character>BERGOGLIO<\/character>\n    <dialogue>Jalics.<\/dialogue>\n    <character>BERGOGLIO<\/character>\n    <dialogue>Jalics.<\/dialogue>\n    <scene_description>Silence, then -<\/scene_description>\n    <character>JALICS:<\/character>\n    <dialogue>I must get ready.<\/dialogue>\n    <character>JALICS:<\/character>\n    <dialogue>Tengo que prepararme.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASS (1980'S) - DAY<\/stage_direction>\n    <scene_description>Bergoglio and Jalics are con-celebrating the mass together. Jalics pour water on Bergoglio's hand. Bergoglio washes it. As he gets the towel to dry, they look at each other. Bergoglio is uncomfortable. PICK UP:<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>The peace of the Lord be with you. We can give each other a fraternal hug to go in peace.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Que la paz del Se\u00f1or est\u00e9 con ustedes. Podemos darnos, fraternalmente entre todos, un abrazo de Paz.<\/dialogue>\n    <scene_description>They both turn to each other. Eyes meet eyes - both have compassion for the other.<\/scene_description>\n    <character>BERGOGLIO (V.O.)<\/character>\n    <dialogue>We cried. In each other's arms. He forgave me.<\/dialogue>\n    <scene_description>With his eyes, Jalics forgives, smiling through his tears.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VATICAN THE CHAMBER OF TEARS (2012) - DAY<\/stage_direction>\n    <scene_description>BERGOGLIO has begun to cry, at the memory. RATZINGER: And Yorio?<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>To the end he thought me a traitor. And now he is dead. I am still divisive in Argentina.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Yesterday you told me that Life is never static? (slight pause) You lead, not by power, not by intellect, but by how you live or the way you HAVE lived. (slight pause) You have changed.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>But, Father, that man, that doubt is still inside me.<\/dialogue>\n    <scene_description>Ratzinger looks around - almost as if looking for a clock - something distracting - something to deflect the conversation.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>What is the time I wonder?<\/dialogue>\n    <scene_description>Ratzinger gets up and goes to check that they are alone, looks at BERGOGLIO - then makes a decision.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>I am going to introduce you to a man who has not changed and refuses to change, and you are going to hear for yourself the price he has paid. I have to request that YOU hear his confession.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>My old friend Father Carmine usually hears it but this time I would prefer you. I mean, you wouldn't deny me a confession, would you Cardinal?<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Don't be afraid.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>How should I start?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>I don't know... What do you usually say?<\/dialogue>\n    <character>BERGOGLIO: (FEELS WRONG)<\/character>\n    <dialogue>How long since your last confession?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Eight days. Perhaps.<\/dialogue>\n    <scene_description>Bergoglio asks the formula questions and immediately gets nervous - they're not very Pope-appropriate.<\/scene_description>\n    <character>BERGOGLIO<\/character>\n    <dialogue>And have you sinned greatly in that time? I don't mean to imply that you ...<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Of course I've sinned - numerous sins - venal sins.<\/dialogue>\n    <parenthetical>(he begins)<\/parenthetical>\n    <dialogue>To God - I wish to repent for the sins of my life. In choosing to do wrong and failing to do good, I have sinned against You, Lord, whom I should love above all things.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>As a child I failed you first--by not having the bravery to taste life. I hid away in books.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <character>RATZINGER:<\/character>\n    <dialogue>Then in war I joined the Hitler Youth. Every fourteen year old was ordered to. I deserted. But within the church, I took part in the enforcement - enforcement of the truth.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Oh?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Yes. Rules, you see, defined my life. Obedience under the law.I know now that this has left me empty of the world our Church is meant to help. Is this why, as Archbishop--of Munich I failed you again?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Go on...<\/dialogue>\n    <scene_description>And here, POPE BENEDICT leans in closely to BERGOGLIO's ear. ECU on: his LIPS, as they begin to move. WIDE: We do not hear the POPE's CONFESSION. But see it at a distance - hearing nothing, until - BERGOGLIO moves back from him..<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>Forgive me.<\/dialogue>\n    <scene_description>Still BERGOGLIO withholds forgiveness<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>He was transferred--from parish to parish?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>I did not give sufficient attention to the duties assigned to this one priest.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>\"Sufficient attention\"?! (silence) On and on? Village after village?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Forgive me<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <character>RATZINGER:<\/character>\n    <dialogue>(Avoiding this) I should have known. The facts were sent to me. Evidence was placed on my desk<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>So while you were enforcing the truth, the rule, you forgot to love the people you were meant to protect. (beat). You confessed, you said there was more.<\/dialogue>\n    <character>RATZINGER<\/character>\n    <dialogue>I ask for forgiveness.<\/dialogue>\n    <scene_description>Bergoglio touches his shoulder.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>It's here, in confession, where we are forced to look at the vastness of our failures, that we finally see the vastness of His mercy.<\/dialogue>\n    <scene_description>BERGOGLIO sees the Pope's pain - and moves back to him.<\/scene_description>\n    <character>BERGOGLIO<\/character>\n    <dialogue>If this confession is the sole reason you wish to resign, then it's even more important you stay now and heal this wound Stay here. Complete the work you have begun.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Every reason I give you is never enough. Then listen again...!<\/dialogue>\n    <parenthetical>(powerfully)<\/parenthetical>\n    <character>SILENCE!<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I can no longer hear God's voice.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>We all have that experience -<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <parenthetical>(powerfully)<\/parenthetical>\n    <dialogue>I can no longer hear God! I believe in God! I pray...but only silence. How can I reveal his Word to our millions of pilgrims if I do not hear his presence?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I too ... Mother Theresa ... the Lord Himself cried out why have you abandoned me.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>No. I have been alone my whole life, but I have never been lonely, until now. You wished for an \"extraordinary reason\" for my resignation - do you have one now?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>And you have told this to - ?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>No-one. You. Just you. But these last two days, I have heard him again.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>You see?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Speaking to me in the last voice I expected him to use - yours. Yours Cardinal.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>I have heard him in you. Perhaps I could no longer hear Him, NOT because He is withdrawing from me, but because He is saying, \"go my faithful servant.\"<\/dialogue>\n    <scene_description>Bergoglio helps him out of his chair and faces him, then closes his eyes and folds his fingers...<\/scene_description>\n    <character>BERGOGLIO<\/character>\n    <dialogue>God, the father of mercies, has sent the Holy Spirit among us for the forgiveness of sins; May God grant you His pardon and peace and I absolve you of your sins ...<\/dialogue>\n    <scene_description>In a more personal tone Bergoglio quotes Ratzinger to himself. There's a tender irony.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>But remember... truth may be vital but without love it is also unbearable - Caritas in Veritate.<\/dialogue>\n    <scene_description>BERGOGLIO walks away, his back turned on The Pope, to say -<\/scene_description>\n    <character>BERGOGLIO<\/character>\n    <dialogue>In the name of the Father, and of the Son, and of the Holy Spirit. Amen.<\/dialogue>\n    <scene_description>The POPE and the CARDINAL, at a distance, bless themselves... BERGOGLIO now looks very burdened by the truth as the POPE rises to his feet -<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>You have lifted a great burden from my shoulders.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>You have placed a heavy one on mine.<\/dialogue>\n    <scene_description>Bergoglio opens the door to leave but the Sistine Chapel is packed with tourists. He quickly closes the door again.<\/scene_description>\n    <character>BERGOGLIO<\/character>\n    <dialogue>Is there another route? Shall I call security?<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>I've been hiding behind security for too long. They're my people. I'm their Pope. For now. Let's go.<\/dialogue>\n    <scene_description>Bergoglio grins. Opens the door. They go out into the fray.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SISTINE CHAPEL (2012) - DAY<\/stage_direction>\n    <scene_description>Ratzinger and Bergoglio cross the crowded Sistine Chapel. They try not to draw too much attention to themselves but it soon becomes clear that the Pope is in the place. People crowd around Ratzinger, asking for his blessing and for selfies. Roberto and the security are waiting rush to rescue the Pope but Bergoglio waves them away.<\/scene_description>\n    <character>BERGOGLIO<\/character>\n    <dialogue>Look. He's happy. Let him enjoy the moment.<\/dialogue>\n    <scene_description>Bergoglio steps back, watching and smiling at the fuss and the grace with which Ratzinger tries to deal with it. A barrage of cellphones point at Ratzinger, most of them with flashes on.<\/scene_description>\n    <character>GUARDS<\/character>\n    <dialogue>Nessuna foto, per favore...<\/dialogue>\n    <scene_description>When Ratzinger finally gets free he walks with Bergoglio.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VATICAN FORECOURT (2012) - DAY<\/stage_direction>\n    <scene_description>Bergoglio is carrying his bags to a car, where sits the same driver we saw earlier.<\/scene_description>\n    <character>RATZINGER<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You will be pleased to go home I expect?<\/dialogue>\n    <character>BERGOGLIO<\/character>\n    <dialogue>Speaking English is exhausting.<\/dialogue>\n    <character>RATZINGER<\/character>\n    <parenthetical>(nods)<\/parenthetical>\n    <dialogue>Terrible language--so many exceptions to every rule. Remember Cardinal -<\/dialogue>\n    <parenthetical>(pointing to himself)<\/parenthetical>\n    <dialogue>\"silence incarnate\".<\/dialogue>\n    <scene_description>He looks up at the building.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>You know the story of St. Francis? How when he heard God asking him to restore his church, he thought he meant bricks and mortar? Remember poor St. Francis. Remember even he was wrong sometimes.<\/dialogue>\n    <scene_description>Bergoglio goes in for a hug. Once again it's a bit awkward - Ratzinger is not used to being hugged - but this time at least they're both going for the same thing. They end up in a slightly odd embrace.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>You know Francis loved to dance. He would have learnt to tango.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Too late for me.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Easier than you think. Look.<\/dialogue>\n    <character>RATZINGER<\/character>\n    <dialogue>Nein, nein. No, no, no, no.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I will lead. My right leg, your left.<\/dialogue>\n    <scene_description>BERGOGLIO then proceeds to do the first TANGO steps with the Pope. ANGLE ON: the SWISS GUARDS. Trying not to watch as - - BERGOGLIO tries to lead the POPE in a dance... accompanying the effort by quietly singing a tango ... The Pope is a lousy dancer. They finally stop and laugh, as the POPE waves to ROBERTO, who approaches with a farewell GIFT... BERGOGLIO goes to the waiting car. The same driver as last time. He greets the driver warmly. The driver opens the front door. Smiles. Bergoglio enters the car watching and admiring, as the POPE goes back inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APOSTOLIC PALACE (2013) - DAY<\/stage_direction>\n    <scene_description>A routine canonization service. 60 Elderly bishops and cardinals are half asleep while Ratzinger reads from a prepared speech.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>Dear Brothers, I have convoked you to this Consistory, not only for the three canonizations, but also to communicate to you a decision of great importance for the life of the Church. After having repeatedly examined my conscience before God, I have come to the certainty that my strengths, due to an advanced age, are no longer suited to an adequate exercise of the Petrine ministry.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Fratres carissimi, Non solum propter tres canonizationes ad hoc Consistorium vos convocavi, sed etiam ut vobis decisionem magni momenti pro Ecclesiae vita communicem. Conscientia mea iterum atque iterum coram Deo explorata ad cognitionem certam perveni vires meas ingravescente aetate non iam aptas esse ad munus Petrinum aeque administrandum.<\/dialogue>\n    <scene_description>PICK UP ON a cardinal muttering a translation to another cardinal.<\/scene_description>\n    <character>BISHOP:<\/character>\n    <dialogue>Wait. This can't be right. Excuse me ...<\/dialogue>\n    <character>BISHOP:<\/character>\n    <dialogue>Aspetti. Mi devo essere sbagliato. Mi scusi...<\/dialogue>\n    <scene_description>He looks at the next cardinal.<\/scene_description>\n    <character>CARDINAL:<\/character>\n    <dialogue>Excuse me did I hear correctly? Did I translate this right?<\/dialogue>\n    <character>CARDINALE:<\/character>\n    <dialogue>Mi scusi ma ho sentito bene? Ho tradotto bene?<\/dialogue>\n    <scene_description>The Pope keeps talking.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>For this reason, and well aware of the seriousness of this act, with full freedom I declare that I renounce the ministry of Bishop of Rome, Successor of Saint Peter, entrusted to me by the Cardinals on 19 April 2005, in such a way, that as from 28 February 2013, at 20:00 hours, the See of Rome, the See of Saint Peter, will be vacant and a Conclave to elect the new Supreme Pontiff will have to be convoked by those whose competence it is.<\/dialogue>\n    <character>RATZINGER:<\/character>\n    <dialogue>Quapropter bene conscius ponderis huius actus plena libertate declaro me ministerio Episcopi Romae, Successoris Sancti Petri, mihi per manus Cardinalium die decima nona Aprilis anni bis millesimi quinti commissum renuntiare ita ut a die vigesima octava februarii anni bis millesimi decimi tertii, hora vigesima, sedes Romae, sedes Sancti Petri vacet et Conclave ad eligendum novum Summum Pontificem ab his quibus competit convocandum esse.<\/dialogue>\n    <scene_description>Like an autumn breeze blowing up dead leaves, the Pope's words disturb rank upon rank of elderly clerics one by one. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CATHEDRAL KITCHEN (2013) - DAY<\/stage_direction>\n    <scene_description>Bergoglio is in the kitchen with Lisabetta watching EWTN or similar while preparing a meal. He's laughing. Lisabetta is seated, being served. This is in Spanish but the TV is in English.<\/scene_description>\n    <character>LISABETTA:<\/character>\n    <dialogue>You're requested to give a<\/dialogue>\n    <character>LISABETTA:<\/character>\n    <dialogue>Lo invitan a dar un discurso--<\/dialogue>\n    <scene_description>speech at ... what? What are - qu\u00e9 pasa? De qu\u00e9 se r\u00ede? you laughing at.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>He did it in Latin! He always makes difficult announcements in Latin so that only a few of the cardinals will understand ...<\/dialogue>\n    <character>BERGOGLIO<\/character>\n    <dialogue>\u00a1Lo dijo en lat\u00edn! Siempre que tiene que decir algo embromado lo dice en lat\u00edn... y as\u00ed s\u00f3lo lo entienden unos pocos cardenales...<\/dialogue>\n    <scene_description>Lisabetta still doesn't know what's going on. On EWTN the commentator has suddenly flipped into panic mode.<\/scene_description>\n    <character>COMMENTATOR:<\/character>\n    <dialogue>It seems that the Pope has just made an extraordinary announcement. We're waiting for a translation.<\/dialogue>\n    <character>COMENTARISTA:<\/character>\n    <dialogue>It seems that the Pope has just made an extraordinary announcement. We're waiting for a translation.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>(TO LISABETTA) He just resigned.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>(a Lisabetta) El Papa acaba de renunciar.<\/dialogue>\n    <character>LISABETTA:<\/character>\n    <dialogue>He what?<\/dialogue>\n    <character>LISABETTA:<\/character>\n    <dialogue>\u00bfQu\u00e9?!!!<\/dialogue>\n    <character>COMMENTATOR:<\/character>\n    <dialogue>We apologise for the delay in the translation. It's because no one has had to use this word in this context for a thousand years. The Pope has RENOUNCED the papacy. We're witnessing a papal renunciation.<\/dialogue>\n    <scene_description>Off her astonishment we CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VATICAN - DAY<\/stage_direction>\n    <scene_description>The College of Cardinals arriving for the Conclave, just as at the beginning of the film. Lots of journalists taking photographs. In the front of shot, a bus pulls up and Bergoglio gets off and walks in unnoticed by the press.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ST. PETER'S SQUARE - DAY<\/stage_direction>\n    <scene_description>That tin pot chimney again - smokeless at the moment.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SISTINE CHAPEL - DAY<\/stage_direction>\n    <scene_description>The CARDINALS file up to the CHALICE to cast their vote. ANGLE ON: a reluctant-looking BERGOGLIO, sitting there, looking very weighed down, dazed, fearful of election. Beside him sits the ARCHBISHOP HUMMES, an old friend, who pats BERGOGLIO on the leg. BERGOGLIO would like to smile but can't. The first two SCRUTINEERS read the ballots silently and mark them on a TALLY...and then pass the ballot to - the THIRD SCRUTINEER, who calls out the name.<\/scene_description>\n    <character>THIRD SCRUTINEER<\/character>\n    <dialogue>Bergoglio!<\/dialogue>\n    <parenthetical>(next ballot)<\/parenthetical>\n    <dialogue>Bergoglio!<\/dialogue>\n    <parenthetical>(next ballot)<\/parenthetical>\n    <dialogue>Bergoglio!<\/dialogue>\n    <parenthetical>(and so on...)<\/parenthetical>\n    <dialogue>Applause breaks out - spontaneous applause from the Cardinals! - everyone has been keeping count. Everyone knows he's won.<\/dialogue>\n    <character>THIRD SCRUTINEER<\/character>\n    <dialogue>Bergoglio!<\/dialogue>\n    <parenthetical>(next ballot)<\/parenthetical>\n    <dialogue>Bergoglio!<\/dialogue>\n    <parenthetical>(and so on...)<\/parenthetical>\n    <dialogue>ANGLE ON: BERGOGLIO, as he opens his eyes. He looks at all the happy faces looking at him, applauding. Some rise to their feet. One or two CHEER. He stands up.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>May God forgive you all for this.<\/dialogue>\n    <scene_description>Beside him, HUMMES is grinning, and applauding too. They hug.<\/scene_description>\n    <character>HUMMES:<\/character>\n    <dialogue>No se olvide de los pobres.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ST PETER'S SQUARE - NIGHT<\/stage_direction>\n    <scene_description>Come in on the tin-pot chimney. White smoke begins to spill from it. The square is filled with umbrellas, it's a rainy night. The crowd strains its eyes - raises binoculars - it's white!<\/scene_description>\n    <character>VATICAN WATCHER:<\/character>\n    <dialogue>SMOKE! SMOKE! It's white!<\/dialogue>\n    <scene_description>We hear the hubbub, outside, of the vast CROWD. Guarding the doors to the balcony are TWO SWISS GUARDS. THREE sets of PAPAL ROBES, of three different sizes, and FIVE sets of RED SHOES, await the new Pope. Enter, the PROTODEACON (Cardinal Jean Louis Tauran)... ...the GUARDS open the doors to the famous balcony, and Tauran steps outside - to a huge roar (OFF) before the doors are closed again. We thereafter hear his speech (OFF- STAGE)...<\/scene_description>\n    <character>TAURAN:<\/character>\n    <dialogue>Fratelli e sorelle carissimi (the italians roar) Querid\u00edsimos hermanos y hermanas.<\/dialogue>\n    <parenthetical>(the hispanic contingent roars)<\/parenthetical>\n    <dialogue>Bien chers fr\u00e8res et s\u0153urs.<\/dialogue>\n    <parenthetical>(the French roar)<\/parenthetical>\n    <dialogue>Liebe Br\u00fceder und Schwestern<\/dialogue>\n    <parenthetical>(a German roar)<\/parenthetical>\n    <dialogue>Dear brothers and sisters<\/dialogue>\n    <character>TAURAN :<\/character>\n    <dialogue>Annuntio vobis gaudium magnum: HABEMUS...PAPAM!<\/dialogue>\n    <scene_description>Enter BERGOGLIO, the new POPE FRANCIS (wearing the SCARLET ROBES of a CARDINAL)....with a NUN and the CAMERLENGO.... He removes his SCARLET robes, stripping down to a simple WHITE CASSOCK with a SILK SASH. He looks at the THREE SETS of RED VELVET ROBES, with ermine collars. But instead of choosing, he turns to the nun.<\/scene_description>\n    <character>BERGOGLIO<\/character>\n    <dialogue>Do you have a phone?<\/dialogue>\n    <character>BERGOGLIO<\/character>\n    <dialogue>C'e' un telefono?<\/dialogue>\n    <scene_description>She looks amazed.<\/scene_description>\n    <character>BERGOGLIO<\/character>\n    <dialogue>I'd like to call the Pope. Pope Benedict.<\/dialogue>\n    <character>BERGOGLIO<\/character>\n    <dialogue>Vorrei chiamare il Papa. Papa Benedetto.<\/dialogue>\n    <scene_description>She dials for him. INT - MATER ECCLESIAE (2013)- NIGHT Telephone rings in Mater Ecclesiae but nobody is around to pick up. Ratzinger is watching the announcement on TV. His staff, two Nuns and a priest, are with him in the room. None of them hears the phone. On the TV we see... EXT - SAINT PETER'S SQUARE (2013) - NIGHT. On the balcony ...<\/scene_description>\n    <character>TAURAN:<\/character>\n    <dialogue>The Lord Jorge Mario, Cardinal Bergoglio, who has taken the name Francis.<\/dialogue>\n    <character>TAURAN:<\/character>\n    <dialogue>Eminentissimum ac reverendissimum dominum, dominum Georgium Marium, Sanctae Romanae Ecclesiae Cardinalem Bergoglio, qui sibi nomen imposuit Franciscum.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VATICAN - CHAMBER OF TEARS (2013) - NIGHT<\/stage_direction>\n    <scene_description>A GREAT ROAR from the crowd as the Vatican Bells ring out... BERGOGLIO (POPE FRANCIS) is still looking at the ROBES and the RING.<\/scene_description>\n    <character>NUN<\/character>\n    <dialogue>Nobody answered, Holy Father.<\/dialogue>\n    <character>CAMERLENGO<\/character>\n    <dialogue>You must choose, Holy Father.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I will wear what I am wearing. Thank you.<\/dialogue>\n    <character>CAMERLENGO<\/character>\n    <dialogue>But -<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Please. Thank you.<\/dialogue>\n    <character>CAMERLENGO<\/character>\n    <dialogue>And the shoes? At least the red shoes! They are part of a tradition going back to ...<\/dialogue>\n    <scene_description>He will wear what he is wearing already...simple BLACK SHOES.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>My own are fine. Thank you.<\/dialogue>\n    <scene_description>Then he is offered the scarlet stole.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>No. Thank you. The carnival is over.<\/dialogue>\n    <scene_description>He looks around the Room of Tears. He closes his eyes. For a second he sees, in his mind's eye, Ratzinger smiling at him saying the line about Francis being always happy. He opens his eyes and shakes these thoughts off.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>If there have to be tears, let's make them tears of joy.<\/dialogue>\n    <scene_description>He goes through to the balcony.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BALCONY \/ VATICAN (2013) - NIGHT<\/stage_direction>\n    <scene_description>He waves to the crowds, to a huge cheer.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Buona Sera.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM NEXT TO BALCONY \/ VATICAN (2013) - NIGHT<\/stage_direction>\n    <scene_description>The CAMERLENGO reacts with surprise at this break with tradition...<\/scene_description>\n    <character>CAMERLENGO<\/character>\n    <parenthetical>(whispered, to the NUN)<\/parenthetical>\n    <dialogue>Buona Sera?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BALCONY \/ VATICAN (2013) - NIGHT<\/stage_direction>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Good evening. You all know that the duty of the Conclave was to give a bishop to Rome. It seems that my brother Cardinals went almost to the ends of the Earth to find one-<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Buonasera. Voi sapete che il dovere del conclave era di dare un vescovo a Roma. Sembra che i miei fratelli cardinali siano andati a prenderlo quasi alla fine del<\/dialogue>\n    <scene_description>-but here we are. mondo -- ma, siamo qui... REACTION CROWD, EMOTIONAL, AMUSED, in thrall (in stark contrast to how they reacted to BENEDICT's LATIN address.)<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Above all, I'd like to make a prayer now for our Bishop Emeritus Benedict XVI. Let's pray together for him...Pater nostro qui est en ciello..<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Prima di tutto, vorrei fare una preghiera per il nostro Vescovo Emerito Benedetto XVI. Preghiamo tutti insieme per lui... Padre nostro che sei nei cieli...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TV ROOM\/ MATER ECCLESIAE\/ VATICAN (2013) - NIGHT<\/stage_direction>\n    <scene_description>Benedict watches the ceremony in his room. It's an emotional moment for him. He knows this is also a personal message for him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VATICAN BALCONY (2013) - NIGHT<\/stage_direction>\n    <scene_description>Bergoglio is addressing the crowds in Italian.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>And now let us begin this journey, this journey together, a journey of brotherhood in love,<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>... E adesso incominciamo questo cammino, questo cammino insieme, un cammino di fratellanza, d'amore, di fiducia fra noi.<\/dialogue>\n    <scene_description>of mutual trust. (pausa) (pause) ...Prima che il vescovo Before the bishop blesses the benedica il popolo, Vi people, I ask that you would chiedo, che voi, preghiate al pray to the Lord--to bless me Signore affinche' benedica - me... In another break with tradition, he bends to touch his head on the balcony. The great crowd falls completely silent!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLAT IN BUENOS AIRES (2013) - DAY<\/stage_direction>\n    <scene_description>Lisabetta is watching these events on TV. She starts to cry. Her husband comes in.<\/scene_description>\n    <character>HUSBAND:<\/character>\n    <dialogue>You OK?<\/dialogue>\n    <character>MARIDO:<\/character>\n    <dialogue>\u00bfQu\u00e9 pas\u00f3? \u00bfEst\u00e1s bien?<\/dialogue>\n    <character>LISABETTA:<\/character>\n    <dialogue>Yes. Of course. I just feel so bad for him. He'll never have his life back. He'll never come home again.<\/dialogue>\n    <character>LISABETTA:<\/character>\n    <dialogue>Si... si... Estoy bien... s\u00f3lo me siento triste por \u00e9l... Acaba de perder la vida que ten\u00eda. Nunca m\u00e1s va a volver a casa.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - VILLA 21 (2013) - DAY<\/stage_direction>\n    <scene_description>In a community centre in villa 21 people gather around Padre Pepe watch the same images on a TV.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM NEXT TO THE BALCONY. \/ VATICAN (2013) - NIGHT<\/stage_direction>\n    <scene_description>The NUN, CAMERLENGO and the protodeacon - TAURAN - all bow deeply.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Where are all the other cardinals?<\/dialogue>\n    <character>NUN<\/character>\n    <dialogue>It's the custom to leave you alone, Holiness.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I don't want to be alone. I want company. How am I getting home?<\/dialogue>\n    <character>CAMERLENGO<\/character>\n    <dialogue>You are home, Holy Father.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I would like to spend the night in my old room. With my brother Cardinals.<\/dialogue>\n    <character>CAMERLENGO<\/character>\n    <dialogue>I shall arrange the limousine.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>No, no, no, no. I will go with the other Cardinals.<\/dialogue>\n    <character>CAMERLENGO<\/character>\n    <dialogue>In--in the...?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>The Mini-van. You can say it. The Mini-van.<\/dialogue>\n    <character>CAMERLENGO<\/character>\n    <dialogue>The Mini-van.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>There! It didn't hurt you.<\/dialogue>\n    <scene_description>INT - MINIVAN (2013) - NIGHT Bergoglio dressed in white is in the mini-van with other cardinals.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ST. MARTA (2013) - DAY<\/stage_direction>\n    <scene_description>Bergoglio is on the phone. He's making the call with which the film opened. We hear the robotic voice on the other end of the line.<\/scene_description>\n    <character>VOICE:<\/character>\n    <dialogue>Did you know that you can book any flight on the Skytours website. Our discount prices are internet only...<\/dialogue>\n    <character>BERGOGLIO: (V.O.)<\/character>\n    <dialogue>Oh good evening I...oh.<\/dialogue>\n    <scene_description>He's mistaken this last for a human voice but ...<\/scene_description>\n    <character>VOICE: (V.O.)<\/character>\n    <dialogue>...if you still wish to speak to an operator please press one...<\/dialogue>\n    <scene_description>Another beep.<\/scene_description>\n    <character>VOICE : (V.O.)<\/character>\n    <dialogue>Good evening welcome to the Skytours sales desk...<\/dialogue>\n    <character>BERGOGLIO: (V.O.)<\/character>\n    <dialogue>Ah. Yes. I'm looking for a flight from Rome to Lampedusa. Yes I know I could book it on the internet. I've only just moved here.<\/dialogue>\n    <character>VOICE:<\/character>\n    <dialogue>Name?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Bergoglio. Jorge Bergoglio.<\/dialogue>\n    <character>VOICE:<\/character>\n    <dialogue>Like the Pope.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Well ... yes ... in fact.<\/dialogue>\n    <character>VOICE:<\/character>\n    <dialogue>Postcode?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Vatican city.<\/dialogue>\n    <scene_description>There's a long pause.<\/scene_description>\n    <character>VOICE:<\/character>\n    <dialogue>Very funny.<\/dialogue>\n    <scene_description>The line goes dead.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ST. MARTA CORRIDOR (2013) - DAY<\/stage_direction>\n    <scene_description>Bergoglio opens his bedroom door and is amazed to find a Swiss Guard standing outside.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Excuse me.<\/dialogue>\n    <scene_description>The guard does not speak.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Are you supposed to stand there all night?<\/dialogue>\n    <character>SWISS GUARD 2:<\/character>\n    <dialogue>Yes, Holy Father.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Do you know how to get the wifi in here? I need to book a flight and apparently it can only be done online. I'd be really grateful if you could help...<\/dialogue>\n    <scene_description>The Guard takes his cell phone from his pocket...<\/scene_description>\n    <character>SWISS GUARD 2:<\/character>\n    <dialogue>Of course, Holy Father...Where to?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Lampedusa<\/dialogue>\n    <character>SWISS GUARD 2:<\/character>\n    <dialogue>How many seats ?<\/dialogue>\n    <character>BERGOGLIO<\/character>\n    <dialogue>Just me.<\/dialogue>\n    <character>SWISS GUARD 2:<\/character>\n    <dialogue>Would they let you go alone, Holy father?<\/dialogue>\n    <scene_description>ARCHIVE FOOTAGE Bergoglio arrives in Lampedusa on a boat followed by 40 other boats! There's a huge crowd waiting for him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAMPEDUSA 8TH JULY 2013 - DAY<\/stage_direction>\n    <scene_description>Bergoglio - Pope Francis - preaching and teaching among the refugees on the island of Lampedusa. Footage of Lampedusa. Bergoglio goes up the stairs inside the Vatican followed by 14 refugees. Bergoglio shows the refugees the Sistine Chapel. Bergoglio has lunch with lots of refugees.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANTA MARTA (2014) - DAY<\/stage_direction>\n    <scene_description>Passing through the dining room Bergoglio catches a familiar smell. He spots a tray of media-lunas. He asks the server who is behind the counter...<\/scene_description>\n    <character>BERGOGLIO<\/character>\n    <dialogue>Media-lunas? We have these all the time back home. Can I take them?<\/dialogue>\n    <character>SERVER:<\/character>\n    <dialogue>How many Holy Father?<\/dialogue>\n    <character>BERGOGLIO<\/character>\n    <dialogue>I'll take them all. I'll take them to Brother Benedict.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MATER ECCLESIAE \/ VATICAN (2014) - DAY<\/stage_direction>\n    <scene_description>Establisher of the former convent in the south-west corner of the Vatican City.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MATER ECCLESIAE \/ VATICAN (2014) - DAY<\/stage_direction>\n    <scene_description>CAPTION: Summer, 2014 BENEDICT at his desk, he begins to write - he's working on a new huge theological book. A knock on the door. Enter POPE FRANCIS - wearing his SAN LORENZO FOOTBALL SCARF, carrying the tray with media-lunas.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Sorry to disturb you. I just thought you'd like to try these.<\/dialogue>\n    <scene_description>Ratzinger tries one.<\/scene_description>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Media lunas. They're the classic Argentinian treat. What d'you think?<\/dialogue>\n    <scene_description>Ratzinger nods as he finishes it.<\/scene_description>\n    <character>RATZINGER<\/character>\n    <dialogue>How are you, Holy Father?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>Adjusting, Holy Father. What are you writing?<\/dialogue>\n    <character>RATZINGER<\/character>\n    <dialogue>Replying to a journalist who believes God is nonsense, and belief in God the source of all evil. He has written me 30 intelligent questions. He would like to publish my reply. Do I have your permission?<\/dialogue>\n    <scene_description>POPE FRANCIS raises an eye-brow:<\/scene_description>\n    <character>BERGOGLIO<\/character>\n    <dialogue>\"Silence incarnate\"?<\/dialogue>\n    <scene_description>BENEDICT shrugs. The two men smile.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VATICAN GARDEN \/ GROTTO OF OUR LADY OF LOURDES (2014) -<\/stage_direction>\n    <scene_description>SUNSET The two POPES walk in the gardens, swapping trade secrets. We hear some of their conversation while they walk away.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>You are now under great pressure. How are you coping?<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>I cannot relax, Holy Father, until I know the outcome...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TV ROOM\/ MATER ECCLESIAE\/ VATICAN (2014) - NIGHT<\/stage_direction>\n    <scene_description>A slice of pizza is taken from a cardboard box placed on a coffee table. There's also a couple of bottles of beer. The TWO POPES sit before the TV. Bergoglio is once more wearing his FOOTBALL SCARF. Is the World Cup Final between Germany and Argentina! Bergoglio and Ratzinger sing their NATIONAL ANTHEMS along with their teams. Footage of the Game... 0-0, scoreless. Missed shots on goal. The GERMAN player, SWEINSTEIGER, has a head knock and his face is covered in BLOOD. Bergoglio seems quite pleased with the injury to the dangerous Sweinsteiger. When Ratzinger looks to Bergoglio to denounce the violence, Bergoglio shrugs \"that's football.\" Ratzinger takes an increasing interest in the game...and Bergoglio starts to become a little annoyed by the unexpected enthusiasm. The game ends. 0-0.<\/scene_description>\n    <character>RATZINGER:<\/character>\n    <dialogue>So-it is over. We both win.<\/dialogue>\n    <character>BERGOGLIO:<\/character>\n    <dialogue>No, no, no, no, no. Now we have extra time. I can't bear this.<\/dialogue>\n    <scene_description>TENSION is now high in the room, and BOTH POPES are fully engaged in the result... In SLOW-MOTION as the ball is passed to MARIO GOTZE - who takes the ball on his chest, then flips it over the KEEPER into the GOAL. GERMANY 1 - ARGENTINA 0 While Bergoglio's world comes crashing down - Ratzinger becomes super-animated, even FIST-PUMPING in CELEBRATION, much to Francis's chagrin, who tries but fails to smile. In the EXCITEMENT, Bergoglio almost topples the COFFEE TABLE. Ratzinger, as a precaution, extinguishes the SMALL CANDLE that sits there. CLOSE ON: The SMOKE from the EXTINGUISHED CANDLE, rising up, up, up, heavenward, in a fine black trail. ENDS<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In April 2005, Jorge Mario Cardinal Bergoglio, Archbishop of Buenos Aires, is called to the Vatican after the death of Pope John Paul II to elect a new pope. Joseph Cardinal Ratzinger, a prominent German prelate, is elected Pope Benedict XVI; Cardinal Bergoglio receives the second-highest vote count. Seven years later, the Catholic Church is embroiled in the Vatican leaks scandal, and Benedict's tenure has been tainted by public accusations regarding his role in the coverup. Jorge Cardinal Bergoglio has submitted his resignation as archbishop, but the Vatican has not responded. As he prepares to go to Rome and personally deliver his resignation, he is summoned to the Vatican. Bergoglio and Benedict meet at the Palace of Castel Gandolfo, the Pope's summer residence. The two debate the roles of God and the Church. Benedict recounts what led him to the priesthood and talks about his interests. The two watch Benedict's favorite TV show, Inspector Rex, which further delays their discussion about Bergoglio's resignation. Bergoglio recounts his early life and path into the church. He ended his marital engagement and joined the Jesuits. He was met by Father Franz Jalics and Father Orlando Yorio, who become his spiritual friends. Benedict rejects Bergoglio's resignation, saying the world would perceive it as a vote of no confidence in his leadership and weaken the Catholic Church. Benedict and Bergoglio put aside their differences and chat informally, gradually warming to each other. The next day, the two go to the Vatican by helicopter. Benedict continues to avoid discussing Bergoglio's resignation. Benedict meets with Bergoglio in the Room of Tears within the Sistine Chapel, where he confides his intention to resign the papacy. Shocked, Bergoglio objects and argues for church tradition and continuity. Benedict says his opinions regarding tradition are different now and believes change is essential. Benedict says Bergoglio could be his successor, but Bergoglio rejects the idea, citing the perception that he had collaborated with the Argentine military dictatorship, and his failure to protect his friends and confront the junta may have damaged his reputation. Following the \"Dirty War\", Bergoglio was removed as head of the Argentinian Society of Jesus and exiled to serve as an ordinary parish priest to the poor for the next ten years. Over time, Father Jalics reconciled with Bergoglio, but Bergoglio regrets never reconciling with Father Yorio. Memories of his actions and inaction during the dictatorship continually haunt him. Benedict comforts Bergoglio, reminding him that the freedom to choose to help is often stifled; he gives Bergoglio absolution. Then Benedict confesses he was aware of Father Marcial Maciel's long-term sexual misconduct and regrets staying silent, implying that this is the reason why he wants to resign: Benedict no longer hears God's words and affirms his wish to abdicate. Bergoglio comforts Benedict and offers him absolution as well. The two emerge from the room, surprising tourists. Benedict goes outside to greet the masses and take selfies with them. Bergoglio departs for Argentina. One year later, Pope Benedict XVI delivers his resignation to the world. Bergoglio is elected as his successor in the 2013 papal conclave and becomes Pope Francis; in his first Urbi et Orbi, he prays for Benedict, who watches the speech on television from Castel Gandolfo. The two popes watch the 2014 FIFA World Cup Final between their national home teams, Germany and Argentina, together."}
{"movie_name":"Drop Dead Gorgeous_1999","imdb_id":"tt0157503","script":"<script>\n  <scene>\n    <stage_direction>EXT. COUNTRY ROAD - MINNESOTA - DAY<\/stage_direction>\n    <scene_description>Vintage black and white stock footage of some farms and farmhouses .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY ROAD - DAY<\/stage_direction>\n    <scene_description>Color footage of cotton fields passing by . We FREEZE and FADE TO BLACK . 1995 MARKED THE FIFTIETH ANNIVERSARY OF THE NATION 'S OLDEST BEAUTY CONTEST . THE SARAH ROSE COSMETICS AMERICAN TEEN PRINCESS PAGEANT A DOCUMENTARY FILM CREW WAS SENT TO A SMALL TOWN IN MINNESOTA TO COMMEMORATE THIS OCCASSION .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAGEANT AUDITORIUM - MOUNT ROSE - DAY<\/stage_direction>\n    <scene_description>Vintage blue - toned stock footage of a teenage beauty pageant contestant . LEGS WIPE IN .<\/scene_description>\n    <character>MALE PAGEANT ANNOUNCER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Sarah Rose knows you're a beautiful person.<\/dialogue>\n    <scene_description>Blue - toned stock footage of a long row of beauty pageant contestants on stage .<\/scene_description>\n    <character>MALE PAGEANT ANNOUNCER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Sarah Rose knows you have an unusual talent. Sarah Rose knows you're a teenage girl.<\/dialogue>\n    <scene_description>Blue - toned stock footage of the row of contestants parading down some steps from the stage as CAMERA TILTS DOWN .<\/scene_description>\n    <character>MALE PAGEANT ANNOUNCER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Mmm, and she definitely knows that you are ready for the ultimate teen glamour.<\/dialogue>\n    <scene_description>ROUSING PATRIOTIC MUSIC . FAST PACED CUTS feature SMILING TEENAGE CONTESTANTS dancing and waving American flags . APPLAUSE !<\/scene_description>\n    <character>MALE PAGEANT ANNOUNCER<\/character>\n    <parenthetical>( cont'd. ) The American Teen Princess Pageant .<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Each contestant wears a BANNER ACROSS her dress reading : AMERICAN TEEN PRINCESS .<\/scene_description>\n    <character>MALE PAGEANT ANNOUNCER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>And now, a few words.<\/dialogue>\n    <scene_description>ANGLE ON Contestants DROP , ROLL and form a STAR . CHEERS !<\/scene_description>\n    <character>MALE PAGEANT ANNOUNCER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>from last year's host, Mr. Adam West.<\/dialogue>\n    <character>ADAM WEST<\/character>\n    <dialogue>The American Teen Princess Pageant has been enriching the lives of American - made girls since 1945.<\/dialogue>\n    <scene_description>TITLES FADE ON SCREEN : Adam West , TV 's Batman , then FADE OUT .<\/scene_description>\n    <character>ADAM WEST<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>The American Teen Princess Pageant provides personal growth, scholarship, travel, and you.<\/dialogue>\n    <scene_description>Numerous contestants stand up in SHOT and SURROUND ADAM .<\/scene_description>\n    <character>ADAM WEST<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>might even meet a few celebrities. At the national level, thousands of seventeen year - old girls like yourselves. and compete around the country in places like :<\/dialogue>\n    <character>MALE PAGEANT ANNOUNCER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Beautiful Mount Rose, Minnesota.<\/dialogue>\n    <character>ADAM WEST<\/character>\n    <dialogue>And make it all the way here to Lincoln, Alabama, to compete for the title of American Teen Princess.<\/dialogue>\n    <scene_description>LIGHTS come UP on the teenaged girls in the pageant as they pause . As they WAVE AMERICAN FLAGS . Adam West turns back to the camera .<\/scene_description>\n    <character>ADAM WEST<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>And now, a few words from last year's host, Mr. Adam West.<\/dialogue>\n    <scene_description>Contestants strike a pose around him . THUNDEROUS CANNED APPLAUSE !<\/scene_description>\n    <character>ADAM WEST<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( pointing to camera . )<\/parenthetical>\n    <dialogue>So, which one of you will it b -<\/dialogue>\n    <scene_description>SCREEN SUDDENLY STATIC .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL - GYM - DAY<\/stage_direction>\n    <scene_description>SCENE from `` DAYS OF OUR LIVES '' PULL BACK to reveal the VIDEO is on a TV in front of a GROUP OF SEVENTEEN YEAR - OLD GIRLS , sitting in gym bleachers . -LSB- NOTE : The film is shot documentary style . PEOPLE ARE REAL . Their lives revolve around this pageant . All speak with a THICK MINNESOTA ACCENT . -RSB- THREE `` CIVIL SERVETTES , '' the local women 's group . -LSB- Picture unattractive Stepford Wives in matching windbreakers -RSB- stand beside GLADYS LEEMAN , 34 , president . She STOPS THE VIDEO .<\/scene_description>\n    <character>GLADYS LEEMAN<\/character>\n    <dialogue>Good God, Iris, you taped your shows over it.<\/dialogue>\n    <character>IRIS<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <scene_description>Gladys turns to the GIRLS in the bleachers . SUPER : MOUNT ROSE , MINNESOTA POPULATION : 5,076<\/scene_description>\n    <character>GLADYS LEEMAN<\/character>\n    <dialogue>Now ladies, the rest of the tape - which is now gone forever - goes on about startin' this great American journey we call American Teen Princess. Yah - so, any of you young ladies who'd like to start on that journey, you just come right down here and sign up. And please. help yourselves to some coffee and bars.<\/dialogue>\n    <scene_description>Gladys seated with middle - aged women .<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Showtime.<\/dialogue>\n    <scene_description>SUPER : GLADYS LEEMAN , LOCAL CHAIRMAN , PAGEANT ORGANIZING COMMITTEE .<\/scene_description>\n    <character>DOCUMENTARIAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Do you think that most people would say that teenage beauty pageants are a good idea?<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>Oh yah - sure, I know what some of your big city, no bra wearin', hairy - legged women's libbers say, `` Pageants are old - fashioned'' and, uh, and `` demeaning'' to the girls -<\/dialogue>\n    <character>IRIS<\/character>\n    <parenthetical>( jumping in . )<\/parenthetical>\n    <dialogue>What's sick is women dressin' like men!<\/dialogue>\n    <scene_description>Civil Servettes stare at her a beat .<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Uh. You betcha, Iris.<\/dialogue>\n    <parenthetical>( quickly , back to camera . )<\/parenthetical>\n    <dialogue>Yah - I think yous boys'll find that things are different here in Mount Rose.<\/dialogue>\n    <scene_description>Civil Servettes AD - LIB AGREEMENT .<\/scene_description>\n    <character>GLADYS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>For one thing, y' know, we're God fearin' folk - every last one of us.<\/dialogue>\n    <scene_description>Civil Servettes AD - LIB AGREEMENT .<\/scene_description>\n    <character>GLADYS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You wo n't find a back room in our video store.<\/dialogue>\n    <scene_description>Servettes AD - LIB `` AMEN . YAH - YOU BETCHA . '' etc. .<\/scene_description>\n    <character>GLADYS<\/character>\n    <parenthetical>( cont 'd ; V.O . )<\/parenthetical>\n    <dialogue>that filth is better left in the `` Sin Cities.''<\/dialogue>\n    <character>IRIS<\/character>\n    <dialogue>A.k.a. Minneapolis - St. Paul.<\/dialogue>\n    <scene_description>PULL AWAY from MINNEAPOLIS SKYLINE to COUNTRYSIDE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. QUAINT MAIN STREET<\/stage_direction>\n    <scene_description>The camera drives down the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PICTURESQUE MIDDLE-CLASS NEIGHBORHOODS<\/stage_direction>\n    <scene_description>The camera drives down the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN HOUSE<\/stage_direction>\n    <scene_description>A HAPPY FAMILY raises the AMERICAN FLAG .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN DRIVEWAY<\/stage_direction>\n    <scene_description>BURLY GUYS look up from washing a FORD TRUCK .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAILER PARK<\/stage_direction>\n    <scene_description>Sign next to it reads : `` Welcome to Mount Rose , Home of Freda Klinghagen , Minnesota 's Oldest Living Lutheran '' complete with a photo of the extremely old woman smiling and waving .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CREW VAN<\/stage_direction>\n    <scene_description>An ELDERLY COUPLE looks in the passenger window of the van .<\/scene_description>\n    <character>ELDERLY MAN<\/character>\n    <parenthetical>( MAYOR . )<\/parenthetical>\n    <dialogue>Oh, yah - sure, Freda, yah. She was the oldest livin' Lutheran. Now she's dead as a doornail. It's them damn Shriners who ai n't taken that Goddamn sign down yet - those lazy sons - a - bitches. I tells kem, I tells kem every goddamn year, `` Take the Goddamn Freda sign down, you lazy sons - a - bitches!''<\/dialogue>\n    <scene_description>SUPER : MAYOR OF MOUNT ROSE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GLADYS' VAN - DAY<\/stage_direction>\n    <scene_description>Through the window a family waves to Gladys .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEIGHBORHOOD - DAY<\/stage_direction>\n    <scene_description>Two BOYS play basketball in the driveway of their home .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRONT LAWN - DAY<\/stage_direction>\n    <scene_description>SMALL CHILDREN in bathing suits play on a lawn . A boy shoots his water pistol .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEEMAN STATION WAGON - AFTERNOON<\/stage_direction>\n    <scene_description>Civil Servettes and crew are piled in . Gladys drives .<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Today's `` To Do'' list includes a trip to the Mall of America. We need outfits for the `` Physical Fitness'' number -<\/dialogue>\n    <character>IRIS<\/character>\n    <dialogue>Nothin' too showy!<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>Y' betcha, Iris. We still need a third judge and we need to think of a theme.<\/dialogue>\n    <scene_description>Servettes react with pleasure .<\/scene_description>\n    <character>IRIS<\/character>\n    <dialogue>Gladys - Gladys! Look out!<\/dialogue>\n    <scene_description>A CAR SWERVES .<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Oh, my!<\/dialogue>\n    <parenthetical>( waving out window . )<\/parenthetical>\n    <dialogue>Hello, Father Donigan! Sidewalks, sidewalks?<\/dialogue>\n    <scene_description>Iris mimes drinking , `` glug , glug . ''<\/scene_description>\n    <character>GLADYS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Iris, stop!<\/dialogue>\n    <parenthetical>( to camera . )<\/parenthetical>\n    <dialogue>It's not his fault. The communal wine just proves too temptin' for some of them.<\/dialogue>\n    <character>IRIS<\/character>\n    <dialogue>That's why we Lutherans use grape Koolaid for the blood of Christ.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MALL OF AMERICA<\/stage_direction>\n    <scene_description>In the vast , already full parking lot , we see Gladys Leeman 's station wagon searching for a parking spot .<\/scene_description>\n    <character>IRIS<\/character>\n    <dialogue>Oh, there's a parking space over there. Oh, no, that's just a compact. Sorry.<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>You'd think they'd build the parking lot of America to go with the Mall of America!<\/dialogue>\n    <scene_description>Gladys pulls into a HANDICAPPED SPOT . Servettes and CAMERA stand outside the car . Iris points at the sign .<\/scene_description>\n    <character>IRIS<\/character>\n    <dialogue>It's a two - hundred dollar fine!<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>I said I'd move if a cripple came. Let's just run in the store and pick out some outfits.<\/dialogue>\n    <character>IRIS<\/character>\n    <dialogue>All right, let's go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MALL OF AMERICA PARKING LOT<\/stage_direction>\n    <scene_description>Iris and another Servette start to get out of the car .<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Wait! Wait! Wait! Wait! Wait! Wait! Wait! I just thought of the theme.<\/dialogue>\n    <scene_description>Iris and the Servette stop .<\/scene_description>\n    <character>IRIS<\/character>\n    <dialogue>Oh! What is it?<\/dialogue>\n    <character>GLADYS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>`` Proud. to be. an. American.''<\/dialogue>\n    <scene_description>Servettes react with pleasure .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOA PARKING LOT - MOMENTS LATER<\/stage_direction>\n    <character>DOCUMENTARIAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>So what was the theme of the pageant last year?<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>Last year? It was, `` Buy American.''<\/dialogue>\n    <character>DOCUMENTARIAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>And the year before that?<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>`` U.S.A. is A - okay.''<\/dialogue>\n    <character>DOCUMENTARIAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Can you remember the theme of your favorite pageant?<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>`` Can I? I'm Amer - I - Can!'' People ask me where I get this. I do n't know, it's. maybe a gift from God or somethin'.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOUNT ROSE HIGH - GYM - DAY<\/stage_direction>\n    <scene_description>PAN DOWN row of EIGHT GIRLS signing up and eating bars . SUPER : LOCAL PAGEANT REGISTRATION , MOUNT ROSE HIGH SCHOOL ANGLE ON LESLIE MILLER - sexy\/peppy girl in CHEERLEADING UNIFORM .<\/scene_description>\n    <character>LESLIE MILLER<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <parenthetical>( giggles . )<\/parenthetical>\n    <dialogue>I'm Leslie Miller. I'm signin' up kcause - ah, y' know, I always watch pageants on the TV and my boyfriend thinks I'll win.<\/dialogue>\n    <scene_description>SUPER : CONTESTANT # 3 , LESLIE MILLER She makes `` gills '' on the sides of her head with her hands .<\/scene_description>\n    <character>LESLIE MILLER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>For my talent, I'm gon na be doing the.<\/dialogue>\n    <scene_description>Two FOOTBALL PLAYERS interrupt : PAT , her boyfriend , and BRETT , who smiles and gives a nod to Amber . Pat grabs Leslie and kisses her hard .<\/scene_description>\n    <character>LESLIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Uh, Pat, I'm trying to tell themabout my. Oh.<\/dialogue>\n    <scene_description>Hormones take over and they lock lips again . She wraps her legs around him . He feels up her ass . They continue groping as her Washington Monument slips off . Leslie waves and blows kisses while performing a cheerleader chant .<\/scene_description>\n    <character>LESLIE MILLER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Hi, Pat! Go, Muskies! Whoo!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL - GYM<\/stage_direction>\n    <scene_description>AMBER ATKINS - naturally pretty blonde , sweet as sugar pie , stares into camera like a deer caught in headlights .<\/scene_description>\n    <character>AMBER ATKINS<\/character>\n    <parenthetical>( suddenly looking O.C . )<\/parenthetical>\n    <dialogue>Hi, I - I'm Amber Atkins and, um, I'm signin' up k'cause, ah, my two favorite people in the world competed. My mom and Diane Sawyer. Course I hope I end up a little more like Diane Sawyer than my mom.<\/dialogue>\n    <scene_description>She flashes a GRIN , we melt .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FUNERAL HOME\/EMBALMING ROOM - DAY<\/stage_direction>\n    <scene_description>Amber tap - dances as she applies make - up to a MALE CORPSE . SUPER : CONTESTANT # 1 , AMBER ATKINS<\/scene_description>\n    <character>DOCUMENTARIAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Do you do any of the, uh, embalming?<\/dialogue>\n    <character>AMBER<\/character>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>Oh, my God, no. Oh, God. I just do the hair and makeup on the deceased.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - DAY<\/stage_direction>\n    <scene_description>Amber tap dances at the side of the road as traffic passes .<\/scene_description>\n    <character>AMBER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I'm lucky I have an after - school job where I can practice my talent.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOA PARKING LOT - DAY<\/stage_direction>\n    <character>GLADYS<\/character>\n    <dialogue>Oh, yeah, sure. You know, every pageant is special, but this one is extra - special to me. When I was seventeen, I do n't know if you know this, but I was crowned Mount Rose's American Teen Princess. And this year. drum roll please, my lovely daughter, Rebecca Ann Leeman is competin'.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL<\/stage_direction>\n    <scene_description>REBECCA LEEMAN stands in front of Amber and addresses the camerman -LRB- O.S. -RRB- .<\/scene_description>\n    <character>BECKY<\/character>\n    <dialogue>Is this my mark?<\/dialogue>\n    <parenthetical>( it is . )<\/parenthetical>\n    <dialogue>Hi, I'm Rebecca Leeman. And I believe this pageant is an important experience for every young woman. It, well, it teaches you what's really important in life, and it has the power to change you in ways you've never dreamed of.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUN RANGE<\/stage_direction>\n    <scene_description>Becky , in shooting goggles and ear muffs , FIRES a Glock - 17 9mm pistol with both hands . Sign on wall reads : `` Lutheran Sisterhood Gun Club . '' -LRB- See Iona in b.g. with an arsenal of sniper weaponry . -RRB-<\/scene_description>\n    <character>BECKY<\/character>\n    <parenthetical>( yelling over noise . )<\/parenthetical>\n    <dialogue>. What?! Klinghagen thinks it'll all come down to me and Amber?<\/dialogue>\n    <scene_description>Becky stops firing and takes off her hear muffs .<\/scene_description>\n    <character>BECKY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Well, you have to take everything Mrs. Klinghagen says with a grain of salt. Not all your Catholics go to communion for the wafers, if you know what I mean.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUTHERAN SISTERHOOD GUN RANGE - LATER<\/stage_direction>\n    <scene_description>Becky thumbs bullets into her magazine as she talks .<\/scene_description>\n    <character>BECKY<\/character>\n    <dialogue>Yah - my mom gave me this nine - mil for my thirteenth birthday.<\/dialogue>\n    <scene_description>SUPER : CONTESTANT # 6 , BECKY LEEMAN I 'll always remember what she wrote in the card . `` Jesus loves winners . '' That 's why , no matter what I do . She shoves the magazine back in her pistol .<\/scene_description>\n    <character>BECKY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I aim to win.<\/dialogue>\n    <scene_description>She smiles to camera , then violently fires off a few rounds . Zoom in on the MALE TARGET : several bullet holes in the head .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \"NEW YORK, NEW YORK\" BEDROOM - DAY<\/stage_direction>\n    <scene_description>It 's all NEW YORK MEMORABILIA . Lisa Swenson - big bubbly girl - sits on her bed .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Why? Well, uh, it's kind of like askin', `` Why do all the guys chew Copenhagen?'' You know? I mean, if you're seventeen and you're not a total fry, it's just what you do.<\/dialogue>\n    <scene_description>ETHEL MERMAN 's `` Everything 's Coming Up Roses '' PLAYS over speakers . SUPER : CONTESTANT # 7 , LISA SWENSON<\/scene_description>\n    <character>DOCUMENTARIAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Have you decided what your talent is going to be yet?<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>I'm gon na sing and dance to, `` New York, New York.'' See, I fell in love with The Big Apple last summer when I was visitin' my brother. He followed his dream to New York.<\/dialogue>\n    <scene_description>PICKS UP 8x10 's , shows to camera .<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>This is Peter as Liza. This is him as Madonna. Oh, here's me with him as Barbara.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \"GERMAN SHEPHERD\" BEDROOM - DAY<\/stage_direction>\n    <scene_description>TESS WEINHAUS , wearing an `` I love German Shepherds '' t - shirt . The room is filled with German Shepherd paraphernalia .<\/scene_description>\n    <character>TESS<\/character>\n    <dialogue>Uh. I do n't know what my talent's gon na be yet.<\/dialogue>\n    <scene_description>SUPER : CONTESTANT # 3 , TESS WEINHAUS<\/scene_description>\n    <character>TESS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Kenny. Kenny, come. Come, Kenny.<\/dialogue>\n    <scene_description>A DACHSHUND enters and jumps on her lap .<\/scene_description>\n    <character>TESS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>This is Kenny. Spike, my German Shepherd, went to live with a nice family on a farm after he attacked me. It was n't his fault. I had beef jerky in my front pocket.<\/dialogue>\n    <parenthetical>( pulling up shirt . )<\/parenthetical>\n    <dialogue>They re - made my belly with skin from my butt.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL LIBRARY - DAY<\/stage_direction>\n    <scene_description>IONA HILDERBRANDT - librarian , 65 + - stamps books . SUPER : IONA HILDERBRANDT , MOUNT ROSE AMERICAN TEEN PRINCESS - 1945<\/scene_description>\n    <character>IONA HILDERBRANTDT<\/character>\n    <parenthetical>( smoked for sixty years . )<\/parenthetical>\n    <dialogue>I was Mount Rose American Teen Princess in 1945. We were at war with the Japs.<\/dialogue>\n    <scene_description>ANGLE ON A vintage B&amp;W photograph of 18 - year - old IONA HILDERBRANDT , looking surprised with hands on cheeks , is being crowned MOUNT ROSE AMERICAN TEEN PRINCESS by TWO SOLDIERS on a GYM STAGE . YOUNG IONA , wearing TIARA , stands with SOLDIERS and WAR OFFICIALS beside a boiling pot of metal .<\/scene_description>\n    <character>IONA HILDERBRANTDT<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( cont'd. ) I did n't even get to keep my damn tiara .<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Iona 's about to drop her tiara into a recycling bin .<\/scene_description>\n    <character>IONA HILDERBRANTDT<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Had to turn it in for scrap.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOLLY HOWARD'S LIVING ROOM<\/stage_direction>\n    <scene_description>MOLLY HOWARD , a large white girl , sits between a JAPANESE COUPLE , Mr. and Mrs. HOWARD . SUPER : CONTESTANT # 5 , MOLLY HOWARD<\/scene_description>\n    <character>MR. HOWARD<\/character>\n    <parenthetical>( heavy accent . )<\/parenthetical>\n    <dialogue>. So we adopt Molly three year ago when we come to America, to help acclimate us to American.<\/dialogue>\n    <character>MOLLY<\/character>\n    <parenthetical>( smiling . )<\/parenthetical>\n    <dialogue>To America, Dad.<\/dialogue>\n    <scene_description>Mr. Howard laughs .<\/scene_description>\n    <character>MRS. HOWARD<\/character>\n    <dialogue>She all - American girl. She our American Teen Princess girl.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Oh, Mom.<\/dialogue>\n    <scene_description>The Howard 's biological daughter -LRB- they renamed her `` TINA '' -RRB- ENTERS FRAME . Although she 's the picture of beauty , grace , talent and charm , she represents their old life .<\/scene_description>\n    <character>TINA<\/character>\n    <parenthetical>( in Japanese . )<\/parenthetical>\n    <dialogue>Excuse me, Father, Mother, when are we moving back to Tokyo? I ca n't stand this place anymore. They put butter on everything.<\/dialogue>\n    <character>MR. HOWARD<\/character>\n    <parenthetical>( turning , suddenly angry . )<\/parenthetical>\n    <dialogue>English! English, you stupid little retard! We America now, Tina!<\/dialogue>\n    <character>TINA<\/character>\n    <parenthetical>( perfect English . )<\/parenthetical>\n    <dialogue>I'm sorry, Dad, but with all due respect, my name is n't `` Tina,'' it's Seiko.<\/dialogue>\n    <character>MR. HOWARD<\/character>\n    <dialogue>Tina! Tina! TINA!<\/dialogue>\n    <character>MRS. HOWARD<\/character>\n    <dialogue>`` Robert,'' settle down.<\/dialogue>\n    <character>MR. HOWARD<\/character>\n    <parenthetical>( screaming . )<\/parenthetical>\n    <dialogue>AHHHHHH!<\/dialogue>\n    <scene_description>Mr. Howard suddenly grabs his chest .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOLLY HOWARD'S LIVING ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Same scene . Mr. Howard is gone .<\/scene_description>\n    <character>TINA<\/character>\n    <dialogue>Mom, I just finished the third movement of that concerto I was working on. I put, like, this techno beat on this Japanese folk tune - wan na hear it?<\/dialogue>\n    <character>MR. HOWARD<\/character>\n    <parenthetical>( running down the hall . )<\/parenthetical>\n    <dialogue>No! We not like to hear it! Go to your room and shut up!<\/dialogue>\n    <character>TINA<\/character>\n    <dialogue>Oh, I almost forgot.<\/dialogue>\n    <parenthetical>( removing envelope from pocket . )<\/parenthetical>\n    <dialogue>I got my acceptance to Tokyo University.<\/dialogue>\n    <character>MR. HOWARD<\/character>\n    <dialogue>What, you deaf? I say shut up - shut up - SHUT UP!<\/dialogue>\n    <parenthetical>( coming at camera . )<\/parenthetical>\n    <dialogue>Cut her outta this!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOLLY HOWARD'S LIVING ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Same scene on couch .<\/scene_description>\n    <character>MR. HOWARD<\/character>\n    <dialogue>Now Molly, tell movie man what you talent do.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>I'll be line dancin'.<\/dialogue>\n    <character>MR. HOWARD<\/character>\n    <parenthetical>( giving thumbs up . )<\/parenthetical>\n    <dialogue>Country western!<\/dialogue>\n    <character>MRS. HOWARD<\/character>\n    <dialogue>Clint Black! Ruff!<\/dialogue>\n    <character>MR. HOWARD<\/character>\n    <dialogue>Hey, what he got I not got?<\/dialogue>\n    <scene_description>They all laugh .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL - GYM - STAGE<\/stage_direction>\n    <scene_description>CLOSE ON Michelle Johanson 's face .<\/scene_description>\n    <character>MICHELLE<\/character>\n    <dialogue>Yah - I'll be performing a dramatic monologue.<\/dialogue>\n    <scene_description>SUPER : CONTESTANT # 2 , MICHELLE JOHANSON<\/scene_description>\n    <character>MICHELLE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Right now, I'm thinkin' `` Othello'' or. `` Soylent Green.'' Lots of girls make a smooth transition from pageants into actin', y' know.<\/dialogue>\n    <scene_description>LOCAL TV COMMERCIAL -LRB- VIDEO -RRB- CONNIE , mid - 30 's , Midwestern attractive , wearing a sash and tiara , stands in front of a BLUE SCREEN of a FOREST .<\/scene_description>\n    <character>CONNIE<\/character>\n    <dialogue>Competin' for the title of Minnesota's American Teen Princess sure was excitin'. But, I never coulda won without my.<\/dialogue>\n    <scene_description>PULL BACK to reveal a table full of PORK PRODUCTS .<\/scene_description>\n    <character>CONNIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>St. Paul Pork Products!<\/dialogue>\n    <scene_description>LOCAL TV COMMERCIAL -LRB- VIDEO -RRB- SCREEN CHANGES to OUTSIDE FACTORY\/STOCK YARDS . Connie now wears a coat and hat and acts as if it 's chilly .<\/scene_description>\n    <character>CONNIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I've been enjoyin' St. Paul Pork Products for years. I grew up right next to these stock yards.<\/dialogue>\n    <scene_description>SCREEN CHANGES to VIDEO of a SLAUGHTER LINE . PIG CARCASSES move on hooks . Connie wears a hard hat and blood stained butcher 's apron .<\/scene_description>\n    <character>CONNIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>It's still the same family - run business that Walter and Vera Polarski started in 1920 when they raised and slaughtered their first pig.<\/dialogue>\n    <scene_description>Connie grabs a HOT DOG from O.C. and takes a bite .<\/scene_description>\n    <character>CONNIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Mmm - mmmm. I just love St. Paul Pork Products. In fact, I love kem so much<\/dialogue>\n    <scene_description>LOCAL TV COMMERCIAL -LRB- VIDEO -RRB- SLIDE CHANGES to VIDEO of the SAUSAGE LINE . Workers stuff sausages . Connie wears a white jumpsuit and hairnet .<\/scene_description>\n    <character>CONNIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I work here now!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BETZ LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>MRS. BETZ , a large woman , holds a tray of bars . CREW MEMBERS REACH IN THE SHOT and help themselves . JANELLE BETZ sits on the couch , SIGNING EVERYTHING she says .<\/scene_description>\n    <character>JANELLE<\/character>\n    <parenthetical>( slow , due to signing . )<\/parenthetical>\n    <dialogue>. My talent will be an interpretive dance while I sing, `` Through the Eyes of Love.'' I have a dream of spreadin' sign language around the world. Mom? Would you be so kind?<\/dialogue>\n    <scene_description>SUPER : CONTESTANT # 8 , JANELLE BETZ<\/scene_description>\n    <character>JANELLE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Yeah. Well, see, uh, I have a dream of spreading sign language around the world.<\/dialogue>\n    <parenthetical>( to Mrs. Betz . )<\/parenthetical>\n    <dialogue>Mom, would you be so kind.<\/dialogue>\n    <scene_description>Mrs. Betz quickly puts down the bars and goes to the piano where she starts `` Through the Eyes of Love . '' Janelle begins to gesticulate and sign words in an overly dramatic performance that looks like a bizarre seizure . SOUND occasionally DIPS OUT as the BOOM OPERATOR reaches for bars .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL - GYM - LATER<\/stage_direction>\n    <scene_description>TAMMY CURRY - a cute , jock - type . She wears a LETTER JACKET , covered with VARSITY SPORTS PATCHES .<\/scene_description>\n    <character>TAMMY CURRY<\/character>\n    <dialogue>Tammy Curry. I'm signin' up for the scholarship'n' all.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL - GYM<\/stage_direction>\n    <scene_description>She POINTS to VARIOUS PATCHES on her LETTER JACKET .<\/scene_description>\n    <character>TAMMY CURRY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>This one's for Varsity Soccer, uh, I'm captain.<\/dialogue>\n    <parenthetical>( pointing . )<\/parenthetical>\n    <dialogue>I run track, and, uh.<\/dialogue>\n    <parenthetical>( points to small gun patch . )<\/parenthetical>\n    <dialogue>Right here, I'm the new President of the Lutheran Sisterhood Gun Club.<\/dialogue>\n    <scene_description>ANGLE ON LSGC PRESIDENT logo patch .<\/scene_description>\n    <character>TAMMY CURRY<\/character>\n    <parenthetical>( cont 'd ;O .<\/parenthetical>\n    <parenthetical>S . )<\/parenthetical>\n    <dialogue>I love that one.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FARM FIELD<\/stage_direction>\n    <scene_description>Shot from crew van . Sun is setting behind a lovely field of green . A John Deere Thresher travels across the burning red horizon .<\/scene_description>\n    <character>DOCUMENTARIAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Would you say you have a good chance to win this pageant?<\/dialogue>\n    <scene_description>SUPER : CONTESTANT # 9 , TAMMY CURRY<\/scene_description>\n    <character>TAMMY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Yeah, you bet I do. I mean, maybe other people think I ca n't win a beauty pageant. But other people did n't think I could beat out Becky Leeman for President of the gun club, either. And I did. I - I - It's just like Anthony Robbins says, `` I'm a winner. Nobody can stop me but me!''<\/dialogue>\n    <scene_description>KABLOOM ! Tammy 's John Deere thresher BLOWS UP !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUTHERAN CHURCH BASEMENT - KITCHEN AREA - NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON framed school photo of Tammy Curry . PULL BACK to see her letter jacket - scorched and torn -LRB- Lutheran Gun Club patch is MISSING -RRB- - and flowers . CONTINUE PULLING BACK to reveal both are surrounded by buns , bars and coffee on a long buffet table . A line of somber and repressed Lutherans help themselves to the food . Servettes stand at the ready . Gladys and Iris face the camera .<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Well, you know, I think everyone's doing really well considering the fact that she was so young.<\/dialogue>\n    <character>IRIS<\/character>\n    <dialogue>It's always hard to see the young ones called home, especially on an exploding thresher. It's just so odd and gross.<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>You know that sometimes it's hard to understand God's great plan.<\/dialogue>\n    <character>IRIS<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Iris pats Gladys on the shoulder .<\/scene_description>\n    <character>FEMALE MOURNER #1<\/character>\n    <dialogue>May I have a tissue?<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>But the show must go on.<\/dialogue>\n    <parenthetical>( she faces Iris . )<\/parenthetical>\n    <dialogue>I got ta get a hold of Ted and ask him if we can use that barn light as a spot again. So you watch the Jell - o salad, okay?<\/dialogue>\n    <character>IRIS<\/character>\n    <dialogue>All right. Okay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL - GYM - LATER<\/stage_direction>\n    <scene_description>It 's smokey as hell . THREE `` FRY '' GIRLS and a PREGNANT `` FRY '' GIRL - all with `` shelf bangs '' - smoke and drink .<\/scene_description>\n    <character>FRY GIRL #1<\/character>\n    <dialogue>Oh, yeah - right. I ai n't gon na be in no goddamn pageant! Look what happened to that dork - ass farm girl.<\/dialogue>\n    <character>PREGNANT FRY GIRL<\/character>\n    <parenthetical>( O.C . )<\/parenthetical>\n    <dialogue>Tammy Curry?<\/dialogue>\n    <character>FRY GIRL #1<\/character>\n    <dialogue>Yah - yah. Everyone says this is a big accident? She got iced because she wins everything, and this time someone did n't want her to win.<\/dialogue>\n    <character>PREGNANT FRY GIRL<\/character>\n    <dialogue>This pageant's like a roach motel.<\/dialogue>\n    <character>FRY GIRL #1<\/character>\n    <dialogue>Girls check in, but they do n't check out.<\/dialogue>\n    <character>PREGNANT FRY GIRL<\/character>\n    <dialogue>Yeah. And they say smokin' is bad for your health.<\/dialogue>\n    <character>FRY GIRL #1<\/character>\n    <parenthetical>( raising cigarette into frame . )<\/parenthetical>\n    <dialogue>Yeah.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OLD TWO STORY HOUSE - ESTABLISHING - DAY<\/stage_direction>\n    <scene_description>SIGN painted on GARAGE DOOR : `` Dance Studio , Downstairs past the Laundry Room . '' CAMERA moves DOWNSTAIRS to converted basement . LISA SWENSON and two other large `` ballerinas '' practice at a 2x4\/ballet barre . MOZART plays in the b.g. CHLORIS KLINGHAGEN watches and smokes . -LRB- Picture Betty Davis in her final days . -RRB-<\/scene_description>\n    <character>CHLORIS<\/character>\n    <dialogue>And tendu. Close. Tendu. Close. Tendu. Close. Plie. And repeat. Suck in the belly, girls, and tuck in the tushes!<\/dialogue>\n    <scene_description>SUPER : CHLORIS KLINGHAGEN , CHOREOGRAPHER<\/scene_description>\n    <character>CHLORIS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Close those legs! You look like a bunch of bowlegged cows! Other side. And. tendu. Close. Tendu. Close. Tendu. Close. Plie.<\/dialogue>\n    <scene_description>Chloris smokes and talks to camera . `` Ballerinas '' practice .<\/scene_description>\n    <character>CHLORIS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Yeah, you boys sure picked a good year. If I was a betting woman, and there was a line on this in Vegas, I'd lay down ten - to - one that it all comes down to Amber Atkins and Becky Leeman. Oh, sweet Jesus, what a showdown this could be if Cain and Abel.<\/dialogue>\n    <scene_description>The SOUND RECORDIST enters and Lisa spins out of control , taking him out . She leans over and comforts him .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Ow! Oh, God. It's so em - so embarrassing.<\/dialogue>\n    <scene_description>EST. . SHOT - `` DAKOTA COUNTY EATING DISORDERS CLINIC '' - DAY<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( labored breaths . )<\/parenthetical>\n    <dialogue>My winning. the Mount Rose.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PATIENT'S ROOM - DAY<\/stage_direction>\n    <scene_description>SMILING ANOREXIC GIRL sits in bed - a TIARA in what 's left of her hair and a SASH over her hospital gown .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>American Teen Princess Pageant.<\/dialogue>\n    <scene_description>SUPER : MARY JOHANSON , REIGNING MOUNT ROSE AMERICAN TEEN PRINCESS<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>really changed my life.<\/dialogue>\n    <scene_description>The TIARA SLIPS OFF her BALDING HEAD and rolls to the floor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAKOTA COUNTY EATING DISORDERS CLINIC - MARY'S ROOM<\/stage_direction>\n    <scene_description>Amber fixes Mary 's hair , carefully brushing her balding head . Mary smiles , oblivious .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( labored breaths . )<\/parenthetical>\n    <dialogue>. Amber does my hair. once a week.<\/dialogue>\n    <character>AMBER<\/character>\n    <parenthetical>( flattered and embarrassed . )<\/parenthetical>\n    <dialogue>Well. it's the least I can do for the reigning Mount Rose Junior Miss Amer -<\/dialogue>\n    <scene_description>Amber pulls the brush away with a clump of Mary 's hair dangling from it .<\/scene_description>\n    <character>AMBER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Oh God.<\/dialogue>\n    <character>MARY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Huh? Oh. Uh, just a little snarl.<\/dialogue>\n    <scene_description>Amber mouths , `` Shhh ! Do n't tell ! '' to camera as she tries to pull the clump of hair from the brush .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAKOTA COUNTY EATING DISORDERS CLINIC - MARY'S ROOM<\/stage_direction>\n    <scene_description>Amber ties the tiara and missing clump of hair to Mary 's head with a ribbon .<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>There we go.<\/dialogue>\n    <scene_description>She holds the mirror for Mary .<\/scene_description>\n    <character>MARY<\/character>\n    <parenthetical>( delusional . )<\/parenthetical>\n    <dialogue>Beautiful. Maybe next week. a perm.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Yah. sure.<\/dialogue>\n    <scene_description>Amber gives a kind but worried smile to camera . Suddenly , Becky Leeman enters with a large box of chocolates . She 's fully aware of the cameras from the moment she enters .<\/scene_description>\n    <character>BECKY<\/character>\n    <dialogue>Hellooo, Little Mary Sunshine!<\/dialogue>\n    <parenthetical>( pretending to notice camera . )<\/parenthetical>\n    <dialogue>What?! Oh - oh my God! Lights! Camera! And me without a stitch of make - up on. What are you guys doin' here?<\/dialogue>\n    <scene_description>She 's in full make - up .<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>What're you doin' here?<\/dialogue>\n    <character>BECKY<\/character>\n    <dialogue>Oh, Amber, like you're the only one who visits Mary.<\/dialogue>\n    <character>MARY<\/character>\n    <parenthetical>( to Becky . )<\/parenthetical>\n    <dialogue>Who are you?<\/dialogue>\n    <character>BECKY<\/character>\n    <parenthetical>( covering . )<\/parenthetical>\n    <dialogue>`` Who are you?!'' Oh Mary, you kill me.<\/dialogue>\n    <parenthetical>( to camera . )<\/parenthetical>\n    <dialogue>She always says that. It's a little game we play. Every week - same dippy little look on her face. `` Who are you - who are you?'' Just like that.<\/dialogue>\n    <parenthetical>( in Mary 's face . )<\/parenthetical>\n    <dialogue>It's me - Becky - and I brought your favorites.<\/dialogue>\n    <scene_description>Becky puts the chocolates on Mary 's lap , a few spill . Throughout the following , Mary slowly reaches for them as if they 're forbidden fruit and she 's a very hungry Eve .<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>How nice, Becky, she's anorexic.<\/dialogue>\n    <scene_description>Becky roughly puts her hands over Mary 's ears , who 's now gently petting the spilled chocolates in her lap .<\/scene_description>\n    <character>BECKY<\/character>\n    <parenthetical>( sotto , reprimanding tone . )<\/parenthetical>\n    <dialogue>She's skinny, not deaf, Amber.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAILER - LATE AFTERNOON<\/stage_direction>\n    <scene_description>MONTAGE - Amber taps around the mobile home community , HOME FROM SCHOOL - backpack , Walkman , cool music blaring .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAILER - AMBER'S BEDROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Amber stands in a room the SIZE OF A CLOSET . Posters , articles and pictures of great tap dancers and Diane Sawyer cover the walls .<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>Dreams? Yah - sure I got kem. Sometimes I dream of winnin'. I dream of gettin' outta Mount Rose and bein' a big time reporter like Diane Sawyer. I mean, guys get outta Mount Rose all the time for hockey scholarships or prison. But the pageant's kinda my only chance.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAILER - AMBER'S BEDROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Amber points to LARGE PAGEANT PHOTO OF DIANE SAWYER - 1963<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>Yah - 1963. Her beauty worked against her when she started as a reporter in Louisville, her hometown. Those were different times.<\/dialogue>\n    <character>ANNETTE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( yelling , coughing . )<\/parenthetical>\n    <dialogue>Hey, Amber, y' get my smokes?<\/dialogue>\n    <character>AMBER<\/character>\n    <parenthetical>( smiling . )<\/parenthetical>\n    <dialogue>That's my mom.<\/dialogue>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>I'll get kem in a sec.<\/dialogue>\n    <scene_description>ANNETTE ATKINS , Amber 's mom - sexy , but tired - OPENS THE DOOR .<\/scene_description>\n    <character>ANNETTE<\/character>\n    <parenthetical>( surprised by cameras . )<\/parenthetical>\n    <dialogue>Oh shit!<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>They're from L.A.. They wanted to see my room and film me for their movie.<\/dialogue>\n    <character>ANNETTE<\/character>\n    <parenthetical>( mock - touched , to crew . )<\/parenthetical>\n    <dialogue>Oh. How quickly they grow up.<\/dialogue>\n    <parenthetical>( exiting , smiling . )<\/parenthetical>\n    <dialogue>Hey, if they ask you to take off your shirt, get the money first.<\/dialogue>\n    <scene_description>Annette is gone .<\/scene_description>\n    <character>ANNETTE<\/character>\n    <parenthetical>( cont 'd ;O .<\/parenthetical>\n    <parenthetical>S . )<\/parenthetical>\n    <dialogue>And go get my smokes!<\/dialogue>\n    <scene_description>EST. . SHOT - LEEMAN FAMILY HOME - DAY Landscaped grounds surround this lovely two - story .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEEMAN HOME - VARIOUS ROOMS<\/stage_direction>\n    <scene_description>Brief `` LIFESTYLES OF THE RICH &amp; FAMOUS '' montage of Gladys showing off interiors to the theme from `` GONE WITH THE WIND . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEEMAN HOME - LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>It looks like a Levitz showroom . Gladys sits stiffly between Becky and her husband , LESTER - mid - 60 's , gruff , `` old school '' salesman , drink in hand .<\/scene_description>\n    <character>LESTER<\/character>\n    <dialogue>You betcha. S'posed to be colder - n - a witches tit tonight.<\/dialogue>\n    <character>GLADYS<\/character>\n    <parenthetical>( nervous laugh . )<\/parenthetical>\n    <dialogue>Oh, Lester. He loves his weather, y' know.<\/dialogue>\n    <character>LESTER<\/character>\n    <parenthetical>( looking to crew , O.S . )<\/parenthetical>\n    <dialogue>Hey, ya like it? Open it. Yah - the globe. Pull at the equator there.<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>We're not in the showroom, Dear.<\/dialogue>\n    <scene_description>Banging and fumbling . A CORKSCREW flies into shot - CREW GUY quickly ENTERS SHOT and grabs it .<\/scene_description>\n    <character>LESTER<\/character>\n    <dialogue>Fits three full - size booze bottles. The cassette deck pulls outta Afghanistan, there.<\/dialogue>\n    <character>BECKY<\/character>\n    <parenthetical>( embarrassed . )<\/parenthetical>\n    <dialogue>Mommm.<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>Lester?<\/dialogue>\n    <character>LESTER<\/character>\n    <dialogue>Oh, all right.<\/dialogue>\n    <parenthetical>( to camera . )<\/parenthetical>\n    <dialogue>How soon they forget where all this comes from.<\/dialogue>\n    <character>BECKY<\/character>\n    <dialogue>Japan.<\/dialogue>\n    <character>LESTER<\/character>\n    <dialogue>That's enough, young lady.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEEMAN HOME - LIVING ROOM - LATER<\/stage_direction>\n    <character>GLADYS<\/character>\n    <dialogue>`` Impartial?'' Outside this house I'm Gladys Leeman, President, Civil Servettes - impartial as the day is long. But we're inside my home now and I've got ta warn you, I'm wearin' my `` wife apron'' and `` mom hat.'' So, I can safely say that I'm the mother of the most talented contestant Mount Rose has ever seen.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEEMAN HOME - LIVING ROOM - LATER<\/stage_direction>\n    <scene_description>Lester 's gone from the couch .<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>I'll field that one - Rebecca's saving her voice.<\/dialogue>\n    <scene_description>Becky smiles admiringly at Gladys .<\/scene_description>\n    <character>GLADYS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You - betcha, Rebecca's ready. She's been singin' and dancin' since she was knee high to a pig's eye.<\/dialogue>\n    <scene_description>Lester returns to the couch , large drink in hand .<\/scene_description>\n    <character>LESTER<\/character>\n    <dialogue>Yah - she's damn near as good as that little black fella - with the glass eye.<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>Sammy Davis, Jr., honey.<\/dialogue>\n    <character>LESTER<\/character>\n    <dialogue>Yeah, yeah, the Jew.<\/dialogue>\n    <character>BECKY<\/character>\n    <dialogue>Nice one, Dad. He's dead.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL - GYM<\/stage_direction>\n    <scene_description>Same scene . BOYS ' WRESTLING TEAM - tight singlets - runs laps around gym - between Servettes and camera .<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Yah - then, for the `` Judges Interview,'' each girl has a ten minute get - together with the judges before the pageant.<\/dialogue>\n    <scene_description>Gladys is distracted by the HARD , YOUNG bodies . All are .<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Yes, the Judges Interview. Each girl has a ten minute get - together with the judges prior to the pageant. Then we have the.<\/dialogue>\n    <scene_description>A HUNKY WRESTLER , TONY , waves .<\/scene_description>\n    <character>GLADYS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Hello, Tony.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>`` Hey'' to the folks.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Yeah, all right.<\/dialogue>\n    <character>IRIS<\/character>\n    <dialogue>The Judges Interview.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DRUGSTORE - MAIN STREET - DAY<\/stage_direction>\n    <scene_description>JOHN DOUGH - pharmacist , 30 - ish , thin , nervous - chain smokes outside the drugstore . SUPER : JUDGE # 1 , JOHN DOUGH<\/scene_description>\n    <character>DOCUMENTARIAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>So you've, uh, you've judged a lot of pageants over the years?<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>Nope. No. Uh - uh. Never judged a pageant before in my life. Nope. No way. Never around young girls. Even if I was, why would I wan na be, y' know? I - I - I do n't get off on that kinda thing and that's really why you're askin', right? S - someone say somethin'?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAROLD'S HARDWARE HANK - MAIN STREET - DAY<\/stage_direction>\n    <scene_description>HAROLD - owner , late 40 's - stands in front of this grubby little store front with his MILDLY RETARDED BROTHER , HANK , who SNIFFS and MUMBLES CONSTANTLY . SUPER : JUDGE # 2 , HAROLD VILMES<\/scene_description>\n    <character>DOCUMENTARIAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Do you judge the pageant every year?<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>Nope. Never judged nothin' afore -<\/dialogue>\n    <character>HANK<\/character>\n    <parenthetical>( pointing at camera . )<\/parenthetical>\n    <dialogue>Are we on `` Cops?'' Are we on `` Cops?'' Are we on `` Cops?''<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>Shut up, Hank. This here's business.<\/dialogue>\n    <scene_description>Harold CUFFS Hank .<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>Ow, Harold - Mom said not the head.<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>Well, Mom's dead, so shut your fly trap.<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>I will if you shut your piehole.<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>Do n't make me kick - ya where the good Lord split - ya.<\/dialogue>\n    <scene_description>Harold raises his hand , Hank FLINCHES and<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAROLD'S HARDWARE HANK - LATER<\/stage_direction>\n    <character>DOCUMENTARIAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>So are you excited?<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>Oh you betcha! We're happier than the day Hanky got acquitted. I get made a judge, then the furniture store hires us to paint the whole damn thing.<\/dialogue>\n    <parenthetical>( removing cap . )<\/parenthetical>\n    <dialogue>We're gon na use the money to get our mamma a proper headstone. Oh, and move her out to the cemetery.<\/dialogue>\n    <scene_description>Suddenly , Hank runs full speed into the window . BAM ! He falls to the ground inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEEMAN FURNITURE SHOWROOM - DAY<\/stage_direction>\n    <scene_description>Follow Lester around cheesy room displays . JEAN KANGAS , his meek , middle - aged secretary follows him everywhere . Lester CALLS OUT to a YOUNG COUPLE sitting in a dining room .<\/scene_description>\n    <character>LESTER<\/character>\n    <dialogue>Hey Tim, Carla - if yous kids do n't try to Jew me down none, I'll throw in a matchin' hutch.<\/dialogue>\n    <scene_description>The COUPLE smiles excitedly .<\/scene_description>\n    <character>LESTER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( to camera . )<\/parenthetical>\n    <dialogue>See, that there's my specialty. Do n't pay me less and I'll give ya more.<\/dialogue>\n    <parenthetical>( sotto . )<\/parenthetical>\n    <dialogue>Secret is, the hutch is included in the price. Ai n't that right, Jean?<\/dialogue>\n    <scene_description>Lester smacks Jean on the ass . SUPER : JUDGE # 3 , JEAN KANGAS .<\/scene_description>\n    <character>LESTER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Take a memo, sweetheart.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHLORIS KLINHAGEN HOUSE - GARAGE DOOR<\/stage_direction>\n    <scene_description>REHEARSAL MONTAGE BEGINS OVER MUSIC . Contestants run out the side door as if running on stage . Tess Weinhaus trips and falls , causing a chain reaction .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHLORIS KLINHAGEN HOUSE - GARAGE DOOR - LATER<\/stage_direction>\n    <scene_description>Now contestants run out carrying small wooden step ladders . As they reach the CHORUS LINE , they set the ladder down and LEAP FROG over . SUPER : FIRST DANCE REHEARSAL - 1 WEEK BEFORE PAGEANT<\/scene_description>\n    <character>CHLORIS<\/character>\n    <dialogue>Four, five, six, seven. And one.<\/dialogue>\n    <scene_description>Tess runs out , sets her ladder down , jumps and hits mid - crotch . She then slides painfully down to the ground .<\/scene_description>\n    <character>CHLORIS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Put that chair away! Get it! Come on! Get it!<\/dialogue>\n    <scene_description>Amber TWIRLS perfectly .<\/scene_description>\n    <character>CHLORIS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>All right. Let's got. Let's go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHLORIS KLINHAGEN HOUSE - SIDEWALK - CONTINUOUS<\/stage_direction>\n    <scene_description>PAN ACROSS NEIGHBORS ' sitting in lawn chairs , enjoying the music and the show . END ON JOHN DOUGH , leaning against his car , smoking and holding a video camera at his side .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHLORIS KLINHAGEN'S HOUSE - FRONT LAWN<\/stage_direction>\n    <scene_description>PAN DOWN row doing a seated chorus line on ladders . Most suck . Amber and Becky look great . Tess sits on the grass with a bag of ice on her crotch .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHLORIS KLINGHAGEN HOUSE - SIDEWALK<\/stage_direction>\n    <scene_description>On John Dough , beside his car .<\/scene_description>\n    <character>JOHN<\/character>\n    <dialogue>I'm just out here watching the young girls - contestants - like the rest of my friends and neighbors.<\/dialogue>\n    <scene_description>John quickly turns and starts to pry the hood open . ANGLE ON Pat and Brett watch the girls . Pat admires Amber 's moves .<\/scene_description>\n    <character>PAT<\/character>\n    <parenthetical>( re : Amber . )<\/parenthetical>\n    <dialogue>Are you gettin' her? Uh, the third one, the blonde one.<\/dialogue>\n    <character>BRETT<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>PAT<\/character>\n    <dialogue>See? Right over there. Right over there.<\/dialogue>\n    <scene_description>Brett slaps Pat on the back .<\/scene_description>\n    <character>BRETT<\/character>\n    <dialogue>Leave him alone, leave him alone. It's okay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHLORIS KLINHAGEN'S HOUSE - FRONT LAWN<\/stage_direction>\n    <scene_description>John , his car hood open , is caught aiming his video camera at the girls performing a dance . They wear partially constructed U.S. Monument Headdresses .<\/scene_description>\n    <character>JOHN<\/character>\n    <dialogue>Oh, this is just a. camera. I keep it in the glove compartment for car accidents. Insurance. You guys got a camera and no one's accusin' you of anything, right?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL - KITCHEN<\/stage_direction>\n    <scene_description>Move through kitchen . LUNCH LADIES haul , serve and prepare food . Pan over to Amber , who 's unhappily scraping and spraying lunch trays as they 're dropped off at her window . Becky , flirting her ass off , comes to the window with Brett , handsome football player we saw before . Both carry trays .<\/scene_description>\n    <character>BECKY<\/character>\n    <dialogue>So, Brett, do you wan na go to the lake with me on Thursday?<\/dialogue>\n    <character>BRETT<\/character>\n    <dialogue>Um, actually, I got practice on Thursday.<\/dialogue>\n    <character>BECKY<\/character>\n    <dialogue>Yah - well, maybe Friday, then. A bunch of us were gon na go cow - tippin'.<\/dialogue>\n    <scene_description>SUPER : BRETT CLEMMENS , CAPTAIN , MOUNT ROSE HIGH SCHOOL FOOTBALL TEAM<\/scene_description>\n    <character>BRETT<\/character>\n    <parenthetical>( seeing Amber . )<\/parenthetical>\n    <dialogue>Uh, I - uh - I'm kinda busy Friday.<\/dialogue>\n    <scene_description>Amber looks up to see Brett looking at her . He smiles . She smiles . You can feel the attraction . Amber becomes girlishly self - conscious - adjusting her rubber apron and brushing hair out of her eyes with her big rubber gloves .<\/scene_description>\n    <character>BRETT<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( to Amber . )<\/parenthetical>\n    <dialogue>Hi.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>Becky notices their attraction and goes from flirt to uber - bitch in a heartbeat .<\/scene_description>\n    <character>BECKY<\/character>\n    <dialogue>Giver her your tray, Brett. You're holdin' up the line.<\/dialogue>\n    <scene_description>Brett looks at Beck , then at Amber , not wanting to make her clean his tray .<\/scene_description>\n    <character>BRETT<\/character>\n    <dialogue>Uh.<\/dialogue>\n    <character>BECKY<\/character>\n    <dialogue>Give it to her!<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Here, I'll take it. It's my job.<\/dialogue>\n    <character>BRETT<\/character>\n    <dialogue>NO.<\/dialogue>\n    <parenthetical>( looking at Becky . )<\/parenthetical>\n    <dialogue>It's all right. I got it. Do n't worry about it.<\/dialogue>\n    <scene_description>He takes the sprayer from a surprised Amber and starts to clean off his own tray . Becky ca n't believe his defiance .<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>Well, you're supposed to put it in the.<\/dialogue>\n    <scene_description>Becky THROWS her tray on the counter spraying Amber with food as she storms off .<\/scene_description>\n    <character>BRETT<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Oh man, you got leutefisk in your hair.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Then it must be Wednesday.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL LIBRARY<\/stage_direction>\n    <scene_description>Same scene as `` funeral bun '' explanation .<\/scene_description>\n    <character>IONA<\/character>\n    <dialogue>Leutefisk is Cod Fish that's been salted and soaked in lye for a week or so. It's best with lots - a butter.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL - KITCHEN<\/stage_direction>\n    <scene_description>Same scene . Brett removes the offending leutefisk .<\/scene_description>\n    <character>BRETT<\/character>\n    <dialogue>So, uh, I - I'm not really busy Friday. I just said that - y' know.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>BRETT<\/character>\n    <dialogue>So if, uh, you wanted to do somethin'.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue \/>\n    <character>AMBER\/BRETT<\/character>\n    <dialogue>Huntin' season.<\/dialogue>\n    <scene_description>Shocked at the coincidence , they share a laugh .<\/scene_description>\n    <character>BRETT<\/character>\n    <dialogue>Well, uh, I'm cuttin' out early today to do a little duck huntin'. but, uh, maybe I could call you tonight.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Yah - sure, fine. fine.<\/dialogue>\n    <character>BRETT<\/character>\n    <dialogue>Okay. well, bye.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Bye.<\/dialogue>\n    <scene_description>Amber smiles , gives a shy little wave - then , to camera .<\/scene_description>\n    <character>AMBER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Oh, God - you do n't think Becky saw you guys, do you?<\/dialogue>\n    <parenthetical>( nervously looking around . )<\/parenthetical>\n    <dialogue>Look, you just should n't be in here.<\/dialogue>\n    <character>DOCUMENTARIAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>It's okay. Doreen gave us hair nets.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>No, listen.<\/dialogue>\n    <parenthetical>( whispering as she exits . )<\/parenthetical>\n    <dialogue>We should n't talk here. Stop by my house tonight, okay?<\/dialogue>\n    <scene_description>She looks around and motions them to rush off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY NEAR TRAILER PARK - EVENING<\/stage_direction>\n    <scene_description>From the CREW VAN we pass the crappy trailer homes that are off the Highway . -LRB- Patsy Cline 's `` King Of The Road '' PLAYS on the radio -RRB- .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. ATKINS TRAILER - EVENING<\/stage_direction>\n    <scene_description>Camera approaches the trailer . SIGN on the door reads `` Annette 's Family Hair Care . '' Inside , the kitchen has been turned into a mini hair salon . Annette gives Loretta , neighbor , mid - 50 's - a bouffant .<\/scene_description>\n    <character>LORETTA<\/character>\n    <dialogue>What do you mean, they take out her butt?<\/dialogue>\n    <character>ANNETTE<\/character>\n    <parenthetical>( seeing camera in window . )<\/parenthetical>\n    <dialogue>Oh, Jesus H. Christ!<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>Are we on `` Cops'' again?<\/dialogue>\n    <character>ANNETTE<\/character>\n    <dialogue>You could be quiet.<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>ANNETTE<\/character>\n    <dialogue>Hi.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATKINS TRAILER - MOMENTS LATER<\/stage_direction>\n    <character>ANNETTE<\/character>\n    <dialogue>It's just the guys that are. you know, makin' the movie about the pageant. I told you about kem.<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>Oh, naw. Hi.<\/dialogue>\n    <character>ANNETTE<\/character>\n    <dialogue>This here's Loretta.<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>I tell Annette, I says, `` You talk to me durin' my stories, you might as well be talkin' to the wall.''<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>You guys want a beer?<\/dialogue>\n    <character>DOCUMENTARIAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>No, thank you. Is Amber here?<\/dialogue>\n    <character>ANNETTE<\/character>\n    <dialogue>No. You just missed her. Amber got called in to the bone gardens tonight. You just missed her. She's in a helluva mood today, anyways.<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>Say, yous boys been to the Leeman's?<\/dialogue>\n    <character>ANNETTE<\/character>\n    <dialogue>Loretta, shut it.<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>Y' know, if you have, you got all the pictures of the winner you need.<\/dialogue>\n    <character>ANNETTE<\/character>\n    <dialogue>Shut it up, Loretta.<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>Oh, Christ, it's true.<\/dialogue>\n    <scene_description>Annette begins to comb out Loretta 's hair .<\/scene_description>\n    <character>LORETTA<\/character>\n    <parenthetical>( drinking beer . )<\/parenthetical>\n    <dialogue>Let's just say who should win, who deserves to win is Amber.<\/dialogue>\n    <character>ANNETTE<\/character>\n    <parenthetical>( mumbled to self . )<\/parenthetical>\n    <dialogue>Why do n't you paint a big red target on your ass, Loretta.<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>She's the prettiest, y' know. The best damn tapper. The most smartest.<\/dialogue>\n    <character>ANNETTE<\/character>\n    <dialogue>`` Most smartest?'' Oh, that's good, Loretta. Make sure you get a picture of that. `` Most smartest.'' We're cuttin you off and sendin' you home.<\/dialogue>\n    <scene_description>Annette takes Loretta 's beer , starts to push her out .<\/scene_description>\n    <character>LORETTA<\/character>\n    <dialogue>Well, excuse me, Annette, but I'm braggin' up your kid, here.<\/dialogue>\n    <parenthetical>( to crew . )<\/parenthetical>\n    <dialogue>Amber's gon na be the next Diane Sawyer, y' know.<\/dialogue>\n    <character>ANNETTE<\/character>\n    <dialogue>I'll be right back. See ya later.<\/dialogue>\n    <scene_description>CAMERA follows Annette and Loretta .<\/scene_description>\n    <character>ANNETTE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>They're makin' a movie, here, goddamn it.<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>All right, they're makin' a movie.<\/dialogue>\n    <character>ANNETTE<\/character>\n    <dialogue>You do n't know where this is gon na.<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>I got a hairdo.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. ATKINS TRAILER - EVENING<\/stage_direction>\n    <scene_description>Loretta holds onto the door frame so Annette ca n't push her out .<\/scene_description>\n    <character>DOCUMENTARIAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>What makes you think that Becky's going to win?<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>Why do I think Becky'll win? You're talkin'.<\/dialogue>\n    <parenthetical>( to Annette . )<\/parenthetical>\n    <dialogue>Do n't pinch!<\/dialogue>\n    <parenthetical>( back into camera . )<\/parenthetical>\n    <dialogue>You're talkin' kbout the richest family in a small town. It's front page news when one of kem takes a shit.<\/dialogue>\n    <parenthetical>( she laughs hard . )<\/parenthetical>\n    <dialogue>Can one of yous boys give me a ride home?<\/dialogue>\n    <character>ANNETTE<\/character>\n    <dialogue>Do n't fall for it. She lives two trailers down.<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>So? Be real easy.<\/dialogue>\n    <character>ANNETTE<\/character>\n    <dialogue>Go on home, Loretta. Come on. Go on, the party's over.<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>Anyone?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LARSON FUNERAL HOME - HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>A small sign on the door reads : `` EMBALMING - Please Knock ! '' PUSH INTO ROOM . Amber , back to us , frantically applies blusher to an OLD WOMAN . Another BODY , covered with a white sheet , is on the embalming slab . The top and brim of a HUNTING CAP can be seen . She TURNS AROUND to see the crew .<\/scene_description>\n    <character>AMBER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( surprised . )<\/parenthetical>\n    <dialogue>Ahhh! Je - sus - Christ - on - a - cross!<\/dialogue>\n    <parenthetical>( catching breath . )<\/parenthetical>\n    <dialogue>Look, number one rule in a funeral home - never sneak up on the livin'. You never know who could have an embalming needle or skull saw in their hand. Mr. Larson's son learned that the hard way - he's buried next to my Grandpa!<\/dialogue>\n    <scene_description>Amber turns to the slab to continue working . She pulls off the SHEET to reveal BRETT , handsome football player , still wearing his hunting plaid .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EMBALMING ROOM - LATER<\/stage_direction>\n    <character>DOCUMENTARIAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue \/>\n    <character>AMBER<\/character>\n    <parenthetical>( covering real emotions . )<\/parenthetical>\n    <dialogue>Upset about Brett? Nah. Hazard of the trade. I do n't really have time for guys anyways. It's weird, though. He took it right between the eyes. Do n't often see that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GUN RANGE - DAY<\/stage_direction>\n    <scene_description>Becky thumbs bullets into a 12 - gauge pump shotgun .<\/scene_description>\n    <character>DOCUMENTARIAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>So you know, Brett just got shot in the head.<\/dialogue>\n    <character>BECKY<\/character>\n    <parenthetical>( cool as a cucumber . )<\/parenthetical>\n    <dialogue>He did? Well, huntin's dangerous. So, anyways, my mom gave me this 30 - aught for my sixteenth birthday.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EMBALMING ROOM - LATER<\/stage_direction>\n    <scene_description>Amber wipes her eyes when Mr. Larson bursts in .<\/scene_description>\n    <character>MR. LARSON<\/character>\n    <dialogue>Amber, I need Stella now!<\/dialogue>\n    <scene_description>SUPER : MR. LARSON , OWNER , LARSON FUNERAL PARLOR<\/scene_description>\n    <character>MR. LARSON<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>The family's steamin' like a cow pie in July. Said she did n't look nothin' like the picture they gave you.<\/dialogue>\n    <scene_description>Amber turns from Brett and closes the coffin .<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>Sorry. I just thought she might not wan na meet her Maker lookin' like a cheap whore.<\/dialogue>\n    <character>MR. LARSON<\/character>\n    <dialogue>Well, your `` cheap whore'' is this family's `` lovin' mother.''<\/dialogue>\n    <parenthetical>( pointing at Brett . )<\/parenthetical>\n    <dialogue>The Clemens said to make him look like he just came from snowmobilin'. Pink cheeks, and.<\/dialogue>\n    <character>AMBER<\/character>\n    <parenthetical>( starting to mist up . )<\/parenthetical>\n    <dialogue>- red nose and ears. I know, I know.<\/dialogue>\n    <scene_description>Mr. Larson PULLS Stella 's coffin out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EMBALMING ROOM - LATER<\/stage_direction>\n    <scene_description>An obviously upset Amber puts make - up on Brett .<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>Sorry I could n't talk today kcause. I'm scared, okay?<\/dialogue>\n    <parenthetical>( deep breath . )<\/parenthetical>\n    <dialogue>I open my locker right after first period and there's a picture of Tammy Curry taped inside.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EMBALMING ROOM - LATER<\/stage_direction>\n    <scene_description>Amber holds up a snapshot of a SMILING GIRL on a THRESHER .<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>This was written on back.<\/dialogue>\n    <scene_description>She turns the picture over to reveal , `` YOU 'RE NEXT ! ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUNT ROSE - STREET<\/stage_direction>\n    <scene_description>TWIN OFFICERS lean against their car . One prepares to pack some snuff .<\/scene_description>\n    <character>TWIN OFFICER #1<\/character>\n    <dialogue>Oh - yah, helluva way to go, there. After some extensive investigation, we figure the Curry girl musta been drivin' and smokin' and KABLEWEY!<\/dialogue>\n    <character>TWIN OFFICER #2<\/character>\n    <parenthetical>( holding a Skoal tin . )<\/parenthetical>\n    <dialogue>Not enough left of her to fill a tin.<\/dialogue>\n    <scene_description>He puts a pinch between his cheek and gum .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EMBALMING ROOM - LATER<\/stage_direction>\n    <scene_description>A visibly upset Amber still applies make - up to Brett .<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>Yah - sure, Tammy liked to driver her dad's thresher - she said the heavy vibration helped her think, y' know? But I know for a fact she only smoked after a good drive. You ask me or anyone else who is n't scared to talk about it - Tammy was murdered.<\/dialogue>\n    <parenthetical>( holding back tears . )<\/parenthetical>\n    <dialogue>God, I bet Diane Sawyer never had to deal with crap like this.<\/dialogue>\n    <parenthetical>( to crew guy . )<\/parenthetical>\n    <dialogue>Toss me `` Caucasian # 5,'' would ya?<\/dialogue>\n    <scene_description>A crew guy walks IN FRAME and hands her a make - up jar .<\/scene_description>\n    <character>AMBER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Man, I ca n't wait for fishin' season.<\/dialogue>\n    <scene_description>Mr. Larson bursts in , white as a corpse .<\/scene_description>\n    <character>MR. LARSON<\/character>\n    <dialogue>Amber.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>No, do n't say it. Another stray bullet to the head.<\/dialogue>\n    <scene_description>She adjusts Brett 's red plaid hunting cap .<\/scene_description>\n    <character>AMBER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I'm gon na need more caps.<\/dialogue>\n    <character>MR. LARSON<\/character>\n    <dialogue>You hafta go home. There's some kinda emergency at the trailer park.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Relax, that's my ma's code for, `` Bring home milk and a carton - a Luckys.''<\/dialogue>\n    <character>MR. LARSON<\/character>\n    <dialogue>No. Loretta called. There's been a. a fire.<\/dialogue>\n    <scene_description>She grabs the keys and RUNS OUT .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAILER PARK STREET\/INT. HEARSE - NIGHT<\/stage_direction>\n    <scene_description>Amber drives fast and furious as we come to what 's left of her trailer . All the NEIGHBORS are out drinkin ' beers , eatin ' food and watchin ' the excitement .<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>Oh my God - no! Is my mom okay? Was she home?<\/dialogue>\n    <scene_description>Hearse SCREECHES to a halt . We hear a THUD , then MOANS from in back . Amber jumps out . Camera follows , a la `` COPS . '' It 's pandemonium with fire trucks , neighbors , an ambulance , etc. .<\/scene_description>\n    <character>AMBER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Mom! Mom!? MOMMMM!<\/dialogue>\n    <scene_description>Loretta runs up to Amber as TWO FIREMEN approach .<\/scene_description>\n    <character>FIREMAN #1<\/character>\n    <dialogue>You family?<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>No, she's just screamin' `` Mom, Mom!'' kcause she's got Tourettes. She's Annette's kid, dipshit.<\/dialogue>\n    <character>AMBER<\/character>\n    <parenthetical>( to Loretta . )<\/parenthetical>\n    <dialogue>Is Mom okay?<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>She's alive, sweetie.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Where is she?!<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>She's right over there.<\/dialogue>\n    <scene_description>Camera pans over to see a semi - conscious Annette as they load her stretcher into the ambulance , shut the doors and start to pull away . Amber runs after them .<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>Mommmm! I'll be right behind you in the hearse!<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>Do n't let that worry you, Annette!<\/dialogue>\n    <scene_description>EST. . SHOT - FARMINGTON MEMORIAL HOSPITAL - NIGHT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - ANNETTE'S ROOM<\/stage_direction>\n    <scene_description>A DOCTOR , Amber and Loretta stand beside Annette , who 's got an I.V. , bandages and her LEFT HAND wrapped and ELEVATED .<\/scene_description>\n    <character>DOCUMENTARIAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>So, doctor, is this sort of an unusual injury here?<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>Oh you betcha, this was a doozy. Right now, our chief concern is to stabilize Annette, then, in surgery, remove this here.<\/dialogue>\n    <scene_description>Removing BANDAGE to reveal BEER CAN , still held in her hand .<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>Oh, Mom, it's so ugly.<\/dialogue>\n    <character>ANNETTE<\/character>\n    <dialogue>Ruined a brand - new pair of Lee Press - ons.<\/dialogue>\n    <parenthetical>( weak . )<\/parenthetical>\n    <dialogue>Well, I sat down for a beer and KA - BLEWEY! Next thing I know, somethin' blows through my kitchen window. Next thing I know, I'm ass up in Loretta's flower bed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAILER PARK - DUSK<\/stage_direction>\n    <scene_description>SHAKY VIDEO of a 15 year - old rocker KID from the NECK<\/scene_description>\n    <character>ROCKER KID #1<\/character>\n    <parenthetical>( Beavis with a MN accent . )<\/parenthetical>\n    <dialogue>Yah - dude, put another fuckin' book under it.<\/dialogue>\n    <character>ROCKER KID #2<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Do n't say `` fuckin'.'' My ma's got the windows open.<\/dialogue>\n    <scene_description>CAMERA MOVES , then steadies . We see all of Rocker Kid # 1 . Rocker Kid # 2 runs into the shot with his guitar .<\/scene_description>\n    <character>ROCKER KID #2<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>kKay - dude, hurry. We gots like two fuckin' minutes left on the battery.<\/dialogue>\n    <character>ROCKER KID #1<\/character>\n    <dialogue>A one. two. one - two - three.<\/dialogue>\n    <scene_description>SUDDENLY Annette 's ' trailer EXPLODES behind them ! Rocker Kids turn to see a BODY -LRB- Annette 's -RRB- FLY through the air .<\/scene_description>\n    <character>ROCKER KIDS<\/character>\n    <dialogue>SHIIIIIIIIIIIIIT!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - ANNETTE'S ROOM<\/stage_direction>\n    <character>ANNETTE<\/character>\n    <parenthetical>( to Amber . )<\/parenthetical>\n    <dialogue>I shoved your tap shoes in my jeans before I was blown outta the house, Honey. Check with the guy who cut my pants off. He should have kem.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Mom, uh, about that. I - I'm - oh God.<\/dialogue>\n    <scene_description>Amber starts to cry and runs out .<\/scene_description>\n    <character>ANNETTE<\/character>\n    <dialogue>Oh - Jesus - Mary - n - Joseph, she's pregnant!<\/dialogue>\n    <parenthetical>( calling after her . )<\/parenthetical>\n    <dialogue>If you are - come back, sweetie. Mommy wants to talk, then KILL YOU!<\/dialogue>\n    <character>LORETTA<\/character>\n    <parenthetical>( running after Amber . )<\/parenthetical>\n    <dialogue>Annette, why do n't you just see if there's any beer left in that can and relax a bit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Loretta and Amber face off .<\/scene_description>\n    <character>LORETTA<\/character>\n    <dialogue>You're what?!<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>I - I'm quittin' the pageant.<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>I heard you, I was just tryin' to scare you into changin' your mind. Oh for Chrissakes, Amber, the woman clung to your tap shoes while flyin' through the air like a Goddamn lawn dart!<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Oh God, I'm dead.<\/dialogue>\n    <scene_description>A candy striper approaches them .<\/scene_description>\n    <character>CANDY STRIPER<\/character>\n    <dialogue>Hey, lil' Miss Sad - pants and her friend Serious Sally, how kbout some nice cool mints to turn those frowns upside - down. `` S.''<\/dialogue>\n    <character>LORETTA<\/character>\n    <parenthetical>( to candy striper . )<\/parenthetical>\n    <dialogue>D'ya think a nice cool mint'd help if I shoved your head up your ass?<\/dialogue>\n    <scene_description>Fear sweeps over the Candy Striper - she bolts down the hall ! Loretta puts an arm around Amber and starts to walk down the opposite direction .<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>So, what do I say?<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>Simple. Just say, `` Mom, I know you sacrificed everything - relationships, dreams - your tummy, ass and thighs - all to bring me into this world. All so I could have tap lessons and be in the pageant - the same one you were in. But, y' know what? I'm quittin'.'' There. Easy as pie.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Oh my God. I'm so dead.<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>Yeah, you betcha.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - ANNETTE'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Follow Amber in past the now crying candy striper .<\/scene_description>\n    <character>ANNETTE<\/character>\n    <parenthetical>( throwing mints . )<\/parenthetical>\n    <dialogue>Go on! Get out!<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Mom, look, do n't say anything. First of all, I'm not pregnant.<\/dialogue>\n    <scene_description>Amber sits on the bed . Annette grabs her shirt .<\/scene_description>\n    <character>AMBER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Mom!<\/dialogue>\n    <character>ANNETTE<\/character>\n    <dialogue>I ai n't lettin' go ktil you tell me what's up. I'm reaching' a point where I'd kill someone for the nicotine on their fingernails.<\/dialogue>\n    <character>AMBER<\/character>\n    <parenthetical>( deep breath . )<\/parenthetical>\n    <dialogue>Okay. Yesterday I. I got this picture. So I kinda, y' know, I'm thinkin' no. I'm gon na, I - I - I'm gon na quit the pageant.<\/dialogue>\n    <character>ANNETTE<\/character>\n    <dialogue>What?!<\/dialogue>\n    <scene_description>She hits Amber with her beer - canned hand .<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>Ow!<\/dialogue>\n    <character>ANNETTE<\/character>\n    <parenthetical>( to camera . )<\/parenthetical>\n    <dialogue>Would yous boys excuse us a second? Loretta, you too.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - ANNETTE'S ROOM<\/stage_direction>\n    <scene_description>SHOT THROUGH the window . Amber paces around Annette 's bed .<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>Nice mouth you got there, Mom, but I - I'm not goin' through this again.<\/dialogue>\n    <character>ANNETTE<\/character>\n    <dialogue>You're not goin' through this again? You? You're not the one who knows how Jiffy Pop feels.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Oh, c'mon. First the picture of Tammy, then Brett Clemens, now this? It's scary.<\/dialogue>\n    <character>ANNETTE<\/character>\n    <dialogue>Let me tell you `` scary,'' Amber. Look at me. Do you wan na look like you been rode hard and put away wet at my age? I'm a `` lifer'' here. Best I can hope for is to end up in a descent `` raisin ranch'' where they'll change me twice a day.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>That's it, I'm goin'.<\/dialogue>\n    <character>ANNETTE<\/character>\n    <dialogue>Honest to God, if I got to do it over? I'd start walkin' outta this town the minute I took my first step. Practically the only thing I would n't do different is have you.<\/dialogue>\n    <scene_description>Amber sits on the bed .<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>God I hope that's you and not your concussion talkin'.<\/dialogue>\n    <character>ANNETTE<\/character>\n    <parenthetical>( smiling . )<\/parenthetical>\n    <dialogue>It's me. I just do n't want this to be the thing you'd do over. This pageant's your ticket outta here. I know you can win, Amber.<\/dialogue>\n    <character>ANNETTE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>C'mere. I love you so much.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>I love you much.<\/dialogue>\n    <scene_description>Annette hugs Amber .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Follow a jubilant Amber and Loretta .<\/scene_description>\n    <character>LORETTA<\/character>\n    <dialogue>Hell - no, she ai n't quittin'.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>No. Mom said if I did, she'd look up my dad and marry him.<\/dialogue>\n    <character>DOCUMENTARIAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>So has your mom kept your dad's life a secret?<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>No. She never hid the fact that my dad picked his career over us. What'd she used to say?<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>`` Once a carnie, always a carnie.''<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Oh - yah.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUNT ROSE STREET - MORNING<\/stage_direction>\n    <scene_description>The twin officers lean against their car .<\/scene_description>\n    <character>TWIN OFFICER #1<\/character>\n    <dialogue>The Atkins fire? Foul play? Shit - no. After some thorough investigatin', we determined it musta been a bad wirin'. Mosta them trailer - folk plug a TV, VCR, crock pot and Fry - daddy into one outlet and do n't think nothin' of it ktil KABLEWEY!<\/dialogue>\n    <character>TWIN OFFICER #2<\/character>\n    <parenthetical>( taking a pinch of Skoal . )<\/parenthetical>\n    <dialogue>Not enough left to fill a tin.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - ANNETTE'S ROOM - DAY<\/stage_direction>\n    <scene_description>Annette is in bad shape . The candy striper nervously stands beside her , holding a syringe .<\/scene_description>\n    <character>ANNETTE<\/character>\n    <dialogue>`` Bad wirin'?!'' Well, if that ai n't the biggest crock - a - shit ever.<\/dialogue>\n    <parenthetical>( turning on the candy striper . )<\/parenthetical>\n    <dialogue>Ooowwww - Jesus! Did K - Mart have a sale on dull needles?<\/dialogue>\n    <character>CANDY STRIPER<\/character>\n    <dialogue>I - I just need one more `` do - over.''<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUNT ROSE V.F.W.<\/stage_direction>\n    <scene_description>Follow the contestants up to the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOUNT ROSE V.F.W. - MAIN HALL<\/stage_direction>\n    <scene_description>A smokey room with DRUNKEN VETS at the bar and CONTESTANTS , in Sunday best , crowded around some tables . They could n't seem more out of place .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOUNT ROSE V.F.W. - MAIN HALL<\/stage_direction>\n    <scene_description>SUPER : JUDGES INTERVIEWS - 3 DAYS BEFORE THE PAGEANT<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>So, remember the three most important parts of a good interview.<\/dialogue>\n    <character>IRIS<\/character>\n    <dialogue>Okay, everybody, listen up!<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>Number one, American Teen Princess' do n't cross their legs like streetwalkers.<\/dialogue>\n    <scene_description>The girls put their knees together .<\/scene_description>\n    <character>GLADYS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Excuse me, Miss Penthouse Ninety - eight, put your knees together.<\/dialogue>\n    <parenthetical>( contestants laugh . )<\/parenthetical>\n    <dialogue>I could drive a boat show in there.<\/dialogue>\n    <scene_description>Gladys paces .<\/scene_description>\n    <character>GLADYS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Ankles together. Hands resting lightly on your laps. Good. Sit up straight. Smile!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOUNT ROSE V.F.W. - MAIN HALL<\/stage_direction>\n    <character>GLADYS<\/character>\n    <dialogue>All right. Number two : the judges are as nervous as you are.<\/dialogue>\n    <scene_description>V.F.W. - BACK ROOM JUDGES - HAROLD , JOHN and JEAN KANGAS -LRB- Lester 's secretary -RRB- sit at a table , clipboards in front of them , STARING at the camera . HANKS sits behind them , fidgeting .<\/scene_description>\n    <character>DOCUMENTARIAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>So are you about ready to start the judging - start the interview, there?<\/dialogue>\n    <character>JOHN<\/character>\n    <parenthetical>( after long beat . )<\/parenthetical>\n    <dialogue>Uh, I - I guess I could answer that. Yep. We're ready. So, we should probably get the young girls in here, then. Y' know, to start the interviews.<\/dialogue>\n    <scene_description>V.F.W. - BACK ROOM Tess enters , sits , then quickly remembers how to sit . Judges nervously look at their clipboards - pencils ready .<\/scene_description>\n    <character>HAROLD<\/character>\n    <parenthetical>( trouble reading . )<\/parenthetical>\n    <dialogue>Uh, `` if you could be any tree in the woods, what kinda tree would you be?''<\/dialogue>\n    <character>TESS<\/character>\n    <parenthetical>( long pause . )<\/parenthetical>\n    <dialogue>Dogwood.<\/dialogue>\n    <scene_description>V.F.W. - BACK ROOM - MONTAGE ON MOLLY HOWARD , seated .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Bonsai.<\/dialogue>\n    <scene_description>V.F.W. - BACK ROOM - MONTAGE ON LESLIE , seated .<\/scene_description>\n    <character>LESLIE<\/character>\n    <dialogue>Green?<\/dialogue>\n    <scene_description>V.F.W. - BACK ROOM - MONTAGE ON MICHELLE JOHANSON , seated .<\/scene_description>\n    <character>MICHELLE<\/character>\n    <dialogue>A tree? I can be any tree you want. Gim me a minute.<\/dialogue>\n    <scene_description>She begins vocal and facial warm - up exercises . V.F.W. - BACK ROOM - MONTAGE ON BECKY , seated .<\/scene_description>\n    <character>BECKY<\/character>\n    <dialogue>One with strong roots in a community like Mount Rose, a solid Christian trunk and long leafy branches to provide shade for handicapped kids on a hot summer day.<\/dialogue>\n    <scene_description>V.F.W. - BACK ROOM - MONTAGE ON LISA SWENSON , seated , staring for a long beat , then :<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>You guys know the retard's pants are open?<\/dialogue>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>I do n't want to see that.<\/dialogue>\n    <scene_description>V.F.W. - BACK ROOM - MONTAGE ON THE JUDGES - Harold reads , John stares longingly .<\/scene_description>\n    <character>HAROLD<\/character>\n    <dialogue>`` Who would you pick to be president, dead or alive?''<\/dialogue>\n    <scene_description>PAN OVER to Molly Howard .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Uh, Emperor Hirohito.<\/dialogue>\n    <scene_description>V.F.W. - BACK ROOM - MONTAGE ON LESLIE , seated .<\/scene_description>\n    <character>LESLIE<\/character>\n    <dialogue>Brett Favre!<\/dialogue>\n    <scene_description>V.F.W. - BACK ROOM - MONTAGE ON BECKY , seated .<\/scene_description>\n    <character>BECKY<\/character>\n    <dialogue>My mother, kcause she could solve world hunger with one of her blue - ribbon rhubarb pies, create world peace with one of her prayers and still find time to look beautiful. for my dad, Lester Leeman.<\/dialogue>\n    <scene_description>V.F.W. - BACK ROOM - MONTAGE John Dough drinks nervously from his water glass .<\/scene_description>\n    <character>JOHN<\/character>\n    <dialogue>D - do you like to swim?<\/dialogue>\n    <scene_description>The other judges look at him , then at their clipboards trying to find this question . V.F.W. - BACK ROOM - MONTAGE ON LISA SWENSON<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Oh - yah, I love to swim. When I was in New York, I met Greg Louganis at one - a my brothers' shows.<\/dialogue>\n    <scene_description>V.F.W. - BACK ROOM - MONTAGE Janelle , sings a long answer . The Judges look at each other confused and frustrated .<\/scene_description>\n    <character>JOHN<\/character>\n    <dialogue>What the hell is she trying to say?<\/dialogue>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>Say it!<\/dialogue>\n    <character>JANELLE<\/character>\n    <dialogue>The ktards pants are completely off!<\/dialogue>\n    <scene_description>The Judges turn and look at Hank .<\/scene_description>\n    <character>HAROLD<\/character>\n    <dialogue>Close up shop. Close up shop, Hank.<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>Harold!<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>Close up shop!<\/dialogue>\n    <scene_description>V.F.W. - BACK ROOM - MONTAGE ON HAROLD<\/scene_description>\n    <character>HAROLD<\/character>\n    <dialogue>You Amber Atkins?<\/dialogue>\n    <character>AMBER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Yes. Yes I am. Thank you, hello.<\/dialogue>\n    <scene_description>All judges turn a page on their clipboards .<\/scene_description>\n    <character>HAROLD<\/character>\n    <dialogue>`` Name and spell all the United States in alphabetical order.''<\/dialogue>\n    <scene_description>PAN OVER to a stunned Amber .<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>Seriously?<\/dialogue>\n    <character>HAROLD<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Ah - yep.<\/dialogue>\n    <scene_description>Amber ca n't believe what she 's hearing .<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>Well, ah. Alabama. A - L - A - B - A - M - A. Alaska. A - L - A - S - K - A. Arizona. A - R - I - Z - O - N - A.<\/dialogue>\n    <scene_description>V.F.W. - BACK ROOM - MONTAGE<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>West Virginia. W - E - S - T - V - I - R - G - N - I - A. Wisconsin. W - I - S - C - O - N - S - O - N. Wyoming. W - Y - O - M - I - N - G.<\/dialogue>\n    <scene_description>Pan over to Judges . They ca n't believe it . Hank CLAPS retardedly . He loves her .<\/scene_description>\n    <character>HAROLD<\/character>\n    <parenthetical>( looking at others . )<\/parenthetical>\n    <dialogue>Uh - okay, then.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAKOTA COUNTY EATING DISORDERS CLINIC - MARY'S ROOM<\/stage_direction>\n    <scene_description>A NURSE now stands beside Mary .<\/scene_description>\n    <character>MARY<\/character>\n    <dialogue>With two weeks until the pageant.<\/dialogue>\n    <parenthetical>( continued labored breaths . )<\/parenthetical>\n    <dialogue>I was practicing my talent. Finishing my costume, brushing up on current events, and running eighteen miles a day on about four hundred calories. I was ready.<\/dialogue>\n    <scene_description>The nurse gives her a hit of oxygen . Mary smiles and gives a THUMBS UP from behind the oxygen mask . DRESSING ROOM - HALLWAY PAN DOWN long , narrow room . A counter , with mirrors and bare bulbs , cover one wall . Girls set up their areas and change into their talent costumes . SUPER : DRESS REHEARSAL - DAY BEFORE THE PAGEANT<\/scene_description>\n    <character>IRIS<\/character>\n    <dialogue>Coupla things. Gladys wants to be sure we go in show order today. All right? So very important. Do n't forget that.<\/dialogue>\n    <scene_description>DRESSING ROOM - HALLWAY CLOSE ON LESLIE MILLER , in cheerleading uniform , standing beside small framed photos of her boyfriend on the counter .<\/scene_description>\n    <character>LESLIE<\/character>\n    <parenthetical>( unusually serious . )<\/parenthetical>\n    <dialogue>Oh - yah, really nervous. It's been about two months. I have n't told my boyfriend yet. How did you know?<\/dialogue>\n    <character>DOCUMENTARIAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I meant, nervous about the pageant?<\/dialogue>\n    <character>LESLIE<\/character>\n    <parenthetical>( suddenly perky . )<\/parenthetical>\n    <dialogue>Oh! Nervous about the pageant! Yah sure!<\/dialogue>\n    <scene_description>She kisses a photo and GIGGLES . DRESSING ROOM - HALLWAY CLOSE ON BECKY holding a sequin - covered poodle skirt and sweater .<\/scene_description>\n    <character>BECKY<\/character>\n    <dialogue>There are eight thousand sequins and fifteen hundred beads on the skirt, alone. My mom and Mrs. Lopez make it. She's one of my father's many Mexican.<\/dialogue>\n    <parenthetical>( Me ` hee ` kan. ) workers he lifts from the poverty they know in Mexico .<\/parenthetical>\n    <parenthetical>( Me ` heek ` koe . )<\/parenthetical>\n    <dialogue>.<\/dialogue>\n    <scene_description>DRESSING ROOM - HALLWAY CLOSE ON AMBER ATKINS at the far end of the counter .<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>Yah - my ma's clothes all melted onto mine forming like this big polyester meteor in our closet, y' know? But, in some kinda weird miracle, our neighbor boy, Kenny Johanson, found my tap costume on the roof - a their trailer while he was settin' coon traps for his dad. Here's the weird part. It was still on the hanger.<\/dialogue>\n    <scene_description>DRESSING ROOM - HALLWAY CLOSE ON TESS WEINHAUS wearing `` I love German Shepherds '' sweatshirt , standing beside various trinkets .<\/scene_description>\n    <character>TESS<\/character>\n    <dialogue>And, uh, this is my lucky bolt. They think it fell from a DC - 10. The doctor said I was lucky the flat side hit me, um, otherwise it coulda gone right through my head.<\/dialogue>\n    <parenthetical>( holds up red tap dress . )<\/parenthetical>\n    <dialogue>I know, I know, gives me the willies, too. I guess the explosion.<\/dialogue>\n    <scene_description>Janelle Betz , wearing a flowing , nymph - like dress with ballet slippers , glides up to Amber .<\/scene_description>\n    <character>JANELLE<\/character>\n    <parenthetical>( slow , due to signing . )<\/parenthetical>\n    <dialogue>Amber? Can we switch numbers? I need to go first.<\/dialogue>\n    <parenthetical>( smiling to camera . )<\/parenthetical>\n    <dialogue>My cousin just had a deaf baby and I get to go see it!<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Yah - sure, eight's my luck number anyway. Diane Sawyer was number eight at her local.<\/dialogue>\n    <character>JANELLE<\/character>\n    <dialogue>Thank you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL - GYM - DAY<\/stage_direction>\n    <scene_description>ON STAGE `` Through the Eyes of Love '' plays as Janelle performs her INTERPRETATIVE DANCE while signing the words . In the f.g. , Gladys appears very serious .<\/scene_description>\n    <character>GLADYS<\/character>\n    <parenthetical>( loud whisper . )<\/parenthetical>\n    <dialogue>I'll be honest. This is a hard time for me. This is the part of the pageant when you realize that tomorrow night, all but one of these girls will walk out of here a loser. It's hard for me to know how that must feel, but I'm sure it does n't feel good.<\/dialogue>\n    <scene_description>In b.g. , a BIG STAGE LIGHT FALLS on Janelle 's head . CRASH ! Gladys and CAMERA rush the stage . `` Through the Eyes of Love '' continues throughout .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LORETTA'S TRAILER - PORCH - THAT NIGHT<\/stage_direction>\n    <scene_description>A very shaken Amber paces .<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>Do n't you get it? I was supposed to go first. I was contestant number one. That light was meant for my head. If Janelle had n't wanted to change numbers. God, I owe my life to that deaf baby.<\/dialogue>\n    <scene_description>Loretta enters , portable phone and drink in hand .<\/scene_description>\n    <character>LORETTA<\/character>\n    <dialogue>That was your mom. She wanted you to have this.<\/dialogue>\n    <character>AMBER<\/character>\n    <parenthetical>( taking drink . )<\/parenthetical>\n    <dialogue>Really, Loretta?<\/dialogue>\n    <character>LORETTA<\/character>\n    <parenthetical>( avoiding eye contact . )<\/parenthetical>\n    <dialogue>You - betcha.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>My mom wanted me to have this?<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>Oh, shut up. I thought it might help you get some sleep.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Loretta, never have kids.<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>Well God - love - ya for thinkin' I still could.<\/dialogue>\n    <scene_description>Loretta pulls a bag out of a closet and hands it to Amber .<\/scene_description>\n    <character>LORETTA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Here, your ma did want you to have this since your other one got toasted and all.<\/dialogue>\n    <scene_description>Amber pulls out an ELEGANT GREEN GOWN .<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>Oh. my. God! It's just like Diane Sawyer's! kCourse it's not a size ten, Diane was a little hippy back then. Oh, thank you! Thank you! Thank you!<\/dialogue>\n    <scene_description>She hugs Loretta .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. HIGH SCHOOL - MAIN ENTRANCE - NIGHT<\/stage_direction>\n    <scene_description>SUPER : NIGHT OF THE PAGEANT BANNER : `` Welcome to the Mount Rose American Teen Princess Pageant , sponsored by Sarah Rose COSMETICS . '' The ENTIRE TOWN is excitedly entering . CLOSE ON Mr. and Mrs. Howard and their daughter Tina , who 's embarrassed and continues to rant as they pass . All three wear T - shirts with MOLLY 'S FACE on them .<\/scene_description>\n    <character>MR. HOWARD<\/character>\n    <dialogue \/>\n    <character>MRS. HOWARD<\/character>\n    <dialogue>Go Molly! Go! Number one daughter!<\/dialogue>\n    <scene_description>Behind them Leslie Miller 's boyfriend , PAT , and a group of ROWDY GUYS approach .<\/scene_description>\n    <character>PAT<\/character>\n    <dialogue>Whooo! Leslie kicks Teen Princess ass! Go Muskies!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL - GYM - DAY<\/stage_direction>\n    <scene_description>STAGE IS DARK . Crowd takes their seats . You can feel the electricity . We hear the TAPE of a DRUM ROLL . SPOTLIGHT hits center stage . Gladys enters wearing a gaudy gown , takes mic . Applause !<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Welcome, welcome. Okay, alright, now. Is this for me or the gown?<\/dialogue>\n    <scene_description>Laughter and applause trail off .<\/scene_description>\n    <character>GLADYS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Welcome to the Mount Rose American Teen Princess Pageant. While every contestant you'll meet tonight is special and unique, they all have one thing in common. They're all `` Proud - to - be - an - American!''<\/dialogue>\n    <scene_description>Wild applause ! Jazzy patriotic medley tape . Gym doors fly open and like a Felliniesque Vegas review , CONTESTANTS enter wearing gowns and U.S. Monument Headdresses . They struggle to maintain balance as they dance , moving only their arms , on stage . Becky , whose head is built like another president into Mount Rushmore , is first at the mic . -LRB- The `` dance '' continues behind each contestant as she steps up to the mic . -RRB-<\/scene_description>\n    <character>BECKY<\/character>\n    <dialogue>I chose Mount Rushmore, because to live in a country where you can take an ugly old mountain and put faces on it, faces of great Americans, who did so much to make our country super great, well that makes me - Rebecca Leeman - PROUD TO BE AN AMERICAN!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL - GYM - MONTAGE<\/stage_direction>\n    <scene_description>A MONTAGE of OPENING NUMBER INTRODUCTIONS ON LISA SWENSON wearing a Statue of Liberty Headdress . -LRB- It 's a Barbie Doll that holds an unlit birthday candle . -RRB-<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>Living in a country where Lady Liberty keeps her flame burning bright.<\/dialogue>\n    <scene_description>She reaches up with a lighter to light the candle . It 's hard to reach and wo n't light .<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Keeps her flame burning bright.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL - GYM - MONTAGE<\/stage_direction>\n    <scene_description>ON LESLIE MILLER as she seductively strokes the sides of her Washington Monument Headdress .<\/scene_description>\n    <character>LESLIE<\/character>\n    <dialogue>The Washington Monument.<\/dialogue>\n    <scene_description>Guys WHOOP and CHEER O.S.<\/scene_description>\n    <character>LESLIE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( enjoying this . )<\/parenthetical>\n    <dialogue>. makes me, Leslie Miller, proud to be an American.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL - GYM - MONTAGE<\/stage_direction>\n    <scene_description>ON AMBER ATKINS with a MAP OF THE U.S. HEADDRESS , dances up to the mic .<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>Living in a country where no matter who you are or where you come from, you can grow up and become what you've always dreamed of, makes me, Amber Atkins, proud to be an American!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL - GYM - MONTAGE<\/stage_direction>\n    <scene_description>ON MOLLY HOWARD wearing an Atomic Blast at Hiroshima Headdress .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Atomic power makes me, Molly Howard, proud to be an Asian - American.<\/dialogue>\n    <scene_description>As she steps away from the mic , Tess Weinhaus , wearing a huge ball of twine headdress , dances up to the mic .<\/scene_description>\n    <character>TESS<\/character>\n    <dialogue>Uh, this, uh, my Uncle Phil's World's Largest Ball of Twine, in Bundy Minnesota, makes me, um, it makes me proud I'm American - I kinda misunderstood the assignment.<\/dialogue>\n    <scene_description>The ball of twine falls to the floor and rolls off the stage , still attached at one end to her head . BACKSTAGE - DRESSING ROOM Pandemonium ! Contestants change into their `` Physical Fitness '' outfits . -LRB- T - shirts with red flags , shorts -RRB- Civil Servettes try to help . A LARGE PICTURE of Janelle Betz sits at her counter space .<\/scene_description>\n    <character>IRIS<\/character>\n    <dialogue>Okay, okay! Listen - up. Coupla notes from last night's dress rehearsal.<\/dialogue>\n    <parenthetical>( off clipboard . )<\/parenthetical>\n    <dialogue>Number one, Gladys says a coupla yous are gettin' sexy with your hips durin' the `` Physical Fitness'' routine.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Oh my God! My - my tap costume's gone.<\/dialogue>\n    <scene_description>Commotion stops . Becky continues to get ready .<\/scene_description>\n    <character>IRIS<\/character>\n    <dialogue>Uh, Amber? We're not puttin' on our Talent costumes. You need to put on your `` Physical Fitness'' outfit. And let's shake a leg, ladies.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>No, wait. It - it was here before the openin' number. wait. What am I sayin'? I should just ask you, Becky. Where is it?<\/dialogue>\n    <scene_description>Becky freezes , staring daggers at Amber .<\/scene_description>\n    <character>BECKY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>You heard me. Where is it?<\/dialogue>\n    <scene_description>The other contestants slowly clear a path between them .<\/scene_description>\n    <character>BECKY<\/character>\n    <dialogue>If you're gettin' at somethin', you better just say it.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>I just did.<\/dialogue>\n    <character>BECKY<\/character>\n    <dialogue>Well then, you better be willin' to back it up, kcause you're talkin' like crazy.<\/dialogue>\n    <scene_description>They start to slowly circle each other - a cat fight 's brewin ' .<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>Oh - oh, you bring me some of that snotty attitude, Becky - bring it on.<\/dialogue>\n    <character>BECKY<\/character>\n    <dialogue>Well, as my mother says at Sunday dinner, `` Come and get it,'' bitch!<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Oh, I'll `` get it.'' I'll `` get it'' all right. I might even take seconds.<\/dialogue>\n    <scene_description>They 're moving ever closer .<\/scene_description>\n    <character>BECKY<\/character>\n    <dialogue>If you want seconds, then I'll make sure it's hot enough for ya.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Bitch!<\/dialogue>\n    <character>IRIS<\/character>\n    <parenthetical>( stepping between them . )<\/parenthetical>\n    <dialogue>Girls! Girls!<\/dialogue>\n    <character>BECKY<\/character>\n    <dialogue>Give me your stringy - ass hair!<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>I'll get you!<\/dialogue>\n    <character>CREW GUY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( barely audible . )<\/parenthetical>\n    <dialogue>Oh God, do n't stop kem now.<\/dialogue>\n    <character>BECKY<\/character>\n    <dialogue>You're choking my, you fucking bitch!<\/dialogue>\n    <character>IRIS<\/character>\n    <parenthetical>( putting hand over camera . )<\/parenthetical>\n    <dialogue>Y' know, I - I do n't think yous boys should, uh, should be in here while the girls are changin'.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>I hate her!<\/dialogue>\n    <character>IRIS<\/character>\n    <dialogue>We all do. Now let's go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL - GYM<\/stage_direction>\n    <scene_description>Gladys is center stage .<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Yah - so how kbout a big round of applause for last year's Mount Rose American Teen Princess, in a farewell performance. Who could forget her lip - synching to `` Do n't Cry Out Loud,'' by Melissa Manchester. And here she is, Mary Johanson!<\/dialogue>\n    <scene_description>Applause ! Gladys exits . TAPED MUSIC `` It 's My Turn . '' A NURSE pushes MARY JOHANSON out in her wheelchair , complete with portable oxygen . Mary wears a gigantic black wig and silver gown which hangs off her boney body . She moves her lips to the words as the nurse pushes her emotionally around the stage .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GYMNASIUM - HALLWAY<\/stage_direction>\n    <scene_description>Contestants , in `` physical fitness '' outfits , wait outside the double doors , holding freshly painted red , white and blue step ladders . Becky and Amber stare at each other from opposite ends of the line .<\/scene_description>\n    <character>IRIS<\/character>\n    <dialogue>All right, why do n't we take up the stepladders, all right? For the Physical Fitness number?<\/dialogue>\n    <character>BECKY<\/character>\n    <parenthetical>( picking up her stool . )<\/parenthetical>\n    <dialogue>They're wet.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Hey, my hands are stuck.<\/dialogue>\n    <character>MOLLY<\/character>\n    <parenthetical>( sniffing . )<\/parenthetical>\n    <dialogue>Uh, I'm kinda dizzy from the fumes.<\/dialogue>\n    <character>IRIS<\/character>\n    <dialogue>Well, hold kem away from you so it does n't get on the outfits.<\/dialogue>\n    <parenthetical>( turning to Servettes . )<\/parenthetical>\n    <dialogue>What kinda mental retard paints step ladders the morning of a pageant.<\/dialogue>\n    <scene_description>ON STAGE Hank is being pulled off stage by Harold . Gladys adjusts her dress , frazzled .<\/scene_description>\n    <character>HANK<\/character>\n    <parenthetical>( under throughout . )<\/parenthetical>\n    <dialogue>Here come the judge - pinch, pinch - here come the judge - pinch, pinch - here come the judge.<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>Get back! Get back, you total retard!<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>Go Hank!<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>I'm okay, I'm okay - dress is fine. I'm okay. well, our other judges are Jean Kangas and John Dough.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GYMNASIUM - HALLWAY<\/stage_direction>\n    <scene_description>Iris and Servettes go in the gym as Chloris Klinghagen comes out .<\/scene_description>\n    <character>CHLORIS<\/character>\n    <parenthetical>( loud whisper . )<\/parenthetical>\n    <dialogue>Opening number looked, uh, good. Solid. But now you're gon na have to actually dance, so.<\/dialogue>\n    <parenthetical>( holds up jar of Vaseline . )<\/parenthetical>\n    <dialogue>Here. Put a dab of this on the old choppers, ladies. It'll help you smile. And when they're lookin' at your teeth - God willin' - they wo n't be lookin at your feet.<\/dialogue>\n    <scene_description>Chloris gives Amber the jar and exits . From the gym , we hear TAPED PATRIOTIC MUSIC . Contestants CHEER and run in . `` PHYSICAL FITNESS '' ROUTINE - PATRIOTIC MUSIC As cuts of patriotic dance moves progress , the girls have more and more red , white and blue paint smeared on their clothes , arms and legs . Amber 's clearly the best . Taped music ENDS . Contestants , covered with paint , strike a final pose - sitting on ladders , standing , kneeling . Applause . BACKSTAGE - WALKWAY Contestants wait anxiously as they pass a can of TURPENTINE and a RAG to remove paint from their arms and legs .<\/scene_description>\n    <character>BECKY<\/character>\n    <dialogue>Hurry up.<\/dialogue>\n    <character>LESLIE<\/character>\n    <dialogue>Okay, guys, I think we all got some. You just take it off.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Here, I did n't get any.<\/dialogue>\n    <character>LESLIE<\/character>\n    <dialogue>Here, have some.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>Hand me another white one.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Listen, you guys, do n't go int the bathroom. Tess blew chunks all over. Man, she ate a big dinner.<\/dialogue>\n    <character>BECKY<\/character>\n    <dialogue>Maybe she shoulda shoved that lucky bolt down her throat for desert.<\/dialogue>\n    <scene_description>Becky storms off .<\/scene_description>\n    <character>AMBER<\/character>\n    <parenthetical>( sotto , to other girls . )<\/parenthetical>\n    <dialogue>And the winner of the `` Spirit'' award goes to.<\/dialogue>\n    <scene_description>Girls laugh quietly . Iris pulls a dazed and confused Tess - beg wet spot on her shirt - through the shot .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL - GYM<\/stage_direction>\n    <scene_description>Iris stands center stage , awkwardly holding the mic .<\/scene_description>\n    <character>IRIS<\/character>\n    <parenthetical>( reading from notecard . )<\/parenthetical>\n    <dialogue>`` I'd like to take you back seventeen years, when a peanut farmer was in the White House, a group - a boys callin' themselves kQueen' topped the record charts and Gladys Leeman was Gladys Wood and she was Mount Rose American Teen Princess!''<\/dialogue>\n    <scene_description>Gladys enters wearing sash , tiara and plaid culottes . Applause . A SLIDE is shown of her at 17 .<\/scene_description>\n    <character>GLADYS<\/character>\n    <parenthetical>( taking mic . )<\/parenthetical>\n    <dialogue>Thank you, thank you. You know, I won the talent contest by sewing these culottes, Butterick pattern 7 - 4 - 3 - 2. Can you believe it? They still fit!<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>She had a big ass then, she's got a big ass now.<\/dialogue>\n    <character>GLADYS<\/character>\n    <parenthetical>( pausing for applause . )<\/parenthetical>\n    <dialogue>Thank you, thank you. Our next eontestant is ready, so let's welcome her : Tess Weinhaus!<\/dialogue>\n    <scene_description>APPLAUSE . Tess is pushed on stage . BACKSTAGE - LEFT Amber paces . ON STAGE Tess drones on at the mic .<\/scene_description>\n    <character>TESS<\/character>\n    <parenthetical>( in the b.g. throughout . )<\/parenthetical>\n    <dialogue>The beagle is known for it's howl. `` Aaauuuuuhhhh.'' The Pekinese has it's own distinctive bark. `` Yip, yip, yip.'' Not to be confused with the Chihuahua's, `` Yap, yap, yap.'' But none can compare to the greatest bark of all - the German Shepherd.<\/dialogue>\n    <character>AMBER<\/character>\n    <parenthetical>( to camera , loud whisper . )<\/parenthetical>\n    <dialogue>. Yah - it's just gone.<\/dialogue>\n    <parenthetical>( eyes welling up . )<\/parenthetical>\n    <dialogue>I mean, I - I just wan na tap, y' know? I'm not sayin' I'm the best, or that I'd even win, but should n't I at least get a chance to compete?<\/dialogue>\n    <parenthetical>( starting to sob . )<\/parenthetical>\n    <dialogue>I just wanted my Mom to see me dance.<\/dialogue>\n    <scene_description>CHLORIS KLINGHAGEN enters , small bag in hand .<\/scene_description>\n    <character>CHLORIS<\/character>\n    <parenthetical>( loud whisper . )<\/parenthetical>\n    <dialogue>Amber - Amber, c ` mere.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Please, Mrs. K, I got so much Vaseline on my teeth, I'm gon na be smilin' for a year.<\/dialogue>\n    <character>CHLORIS<\/character>\n    <dialogue>No. Here.<\/dialogue>\n    <scene_description>Chloris pulls a simple BLACK LEOTARD from the bag .<\/scene_description>\n    <character>CHLORIS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>It's nothin' special, but talent like yours does n't need to hide behind sequins.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Mrs. K -<\/dialogue>\n    <character>CHLORIS<\/character>\n    <dialogue>You're. you're special and. Ah hell, go out there and kick some Leeman ass.<\/dialogue>\n    <scene_description>Amber , overcome with joy , gives her a big hug .<\/scene_description>\n    <character>CHLORIS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Not so hard, sweetie. I heard somethin' snap.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL - GYM<\/stage_direction>\n    <scene_description>ON STAGE : Leslie Miller , in uniform , performs an amazingly sexy cheer as TWO SINGLET - CLAD WRESTLERS wrestle -LRB- One is boyfriend , Pat . -RRB- .<\/scene_description>\n    <character>LESLIE<\/character>\n    <dialogue>Roll him over -.<\/dialogue>\n    <parenthetical>( clap , clap , clap . )<\/parenthetical>\n    <dialogue>Lay him flat.<\/dialogue>\n    <parenthetical>( clap , clap , clap . )<\/parenthetical>\n    <dialogue>Pin his shoulders.<\/dialogue>\n    <parenthetical>( clap , clap , clap . )<\/parenthetical>\n    <dialogue>To the mat.<\/dialogue>\n    <parenthetical>( clap , clap , clap . )<\/parenthetical>\n    <dialogue>Roll him over, lay him flat, pin his shoulders, to the mat! Yeahhhh!<\/dialogue>\n    <scene_description>She JUMPS , KICKS and ends with SPLITS . APPLAUSE !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL - GYM - LATER<\/stage_direction>\n    <scene_description>Michelle Johanson is on stage , sitting on a stool , wearing all black . She smiles warmly . Then , with one sweep of her hand across her face , her smile drops . She 's dead serious .<\/scene_description>\n    <character>MICHELLE<\/character>\n    <parenthetical>( without emotion . )<\/parenthetical>\n    <dialogue>Fade in. Earth. The year is two - thousand twenty - four. The question on everyone's mind : What is. Soylent Green?<\/dialogue>\n    <scene_description>She sweeps her hand back across her face and she 's `` in character , '' pained , near death , and overly dramatic . BACKSTAGE - LEFT - CONTINUOUS Amber , now in the leotard , talks to Iris . Michelle performs from `` Soylent Green '' in the b.g.<\/scene_description>\n    <character>AMBER<\/character>\n    <parenthetical>( loud whisper . )<\/parenthetical>\n    <dialogue>Mrs. Clark, why are you doing this to me? Why're you pretendin' you do n't know what's goin' on?<\/dialogue>\n    <character>IRIS<\/character>\n    <dialogue>Amber, I'm sorry. I really am. But you know the rules. All talent costumes hafta be okay'd by Gladys before the pageant.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>But, does n't someone taking your costume so you ca n't compete, overrule that rule?<\/dialogue>\n    <character>IRIS<\/character>\n    <dialogue>Sorry. I - I do n't make the rules.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>This, this. This is bullshit!<\/dialogue>\n    <character>IRIS<\/character>\n    <dialogue>Amber Atkins! That is not American Teen Princess language!<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Good, kcause this is n't an American Teen Princess Pageant - it's, it's Nazi Germany!<\/dialogue>\n    <scene_description>Amber storms off .<\/scene_description>\n    <character>IRIS<\/character>\n    <parenthetical>( shaking head . )<\/parenthetical>\n    <dialogue>Where do they get this stuff.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACKSTAGE<\/stage_direction>\n    <scene_description>CAMERA FOLLOWS AMBER as she storms over to BACKSTAGE - RIGHT where Gladys watches Michelle ON STAGE .<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>Mrs. Leeman?<\/dialogue>\n    <character>GLADYS<\/character>\n    <parenthetical>( turning . )<\/parenthetical>\n    <dialogue>Huh?<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>I - I'm wearin' this costume. I'm, uh, I'm gon na do my talent tonight.<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>Oh really - I do n't think so.<\/dialogue>\n    <parenthetical>( suddenly aware of camera . )<\/parenthetical>\n    <dialogue>Uh, Amber, I hate to be the bearer of bad news, but rules state that a costume must be okay'd at least a week in advance. And this.<\/dialogue>\n    <parenthetical>( pointing to costume . )<\/parenthetical>\n    <dialogue>This is why we have the rule. My goodness gracious, I could n't allow a neckline this low on stage. We have kids in the audience.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>But, you - I mean. It's not my fault. I - I. Please? I did n't do anything wrong.<\/dialogue>\n    <scene_description>Amber starts to cry .<\/scene_description>\n    <character>MICHELLE<\/character>\n    <parenthetical>( climaxing . )<\/parenthetical>\n    <dialogue>That's why. I must say.<\/dialogue>\n    <parenthetical>( raising arm upward . )<\/parenthetical>\n    <dialogue>Soylent Green. is. people.<\/dialogue>\n    <scene_description>She doubles over . She 's given it all . APPLAUSE .<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Oops, that's my cue.<\/dialogue>\n    <scene_description>Gladys starts out on stage as Molly Howard , dressed like a red , white and blue cowboy , runs up next to Amber . She 's twirling toy guns on her fingers .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Wish me luck.<\/dialogue>\n    <character>AMBER<\/character>\n    <parenthetical>( drying her eyes . )<\/parenthetical>\n    <dialogue>Good luck, Molly.<\/dialogue>\n    <scene_description>One of Molly 's guns flies off her finger . She goes to retrieve it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL - GYM<\/stage_direction>\n    <scene_description>Molly is line dancing , occasionally taking `` pretend '' shots into the air . It 's incredibly repetitive and dull . BACKSTAGE - CARL 'S `` LIGHT AND SOUND '' BOOTH - CONTINUOUS As Billy Ray Cyrus ' `` Achy Breaky Heart '' PLAYS in b.g. , Carl , the janitor , sets plastic army figures on fire with a cigarette lighter .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL - GYM<\/stage_direction>\n    <scene_description>Gladys is center stage . Molly Howard walks off crying , having just finished her routine . POLITE APPLAUSE . She 's still spinning her guns , again one goes flying .<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Thank you, Molly.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL\/STAIRWELL - DRESSING AREA<\/stage_direction>\n    <scene_description>Lisa , top hat , tails , giant `` I LOVE NY '' button - and others try to console a CRYING Amber . Becky continues singing O.S.<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>( arm around Amber . )<\/parenthetical>\n    <dialogue>Oh, Amber.<\/dialogue>\n    <character>AMBER<\/character>\n    <parenthetical>( ca n't catch breath . )<\/parenthetical>\n    <dialogue>I - I - I - I - I -, j - uh - j - uh - just wanted to compe - e - e - e - ete.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>I ca n't believe this is happenin'. I ca n't believe she said you could n't.<\/dialogue>\n    <scene_description>Getting an idea , Lisa starts to take off her jacket .<\/scene_description>\n    <character>LISA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Amber? Here.<\/dialogue>\n    <character>AMBER<\/character>\n    <parenthetical>( still sobbing . )<\/parenthetical>\n    <dialogue>`` Here,'' wh - wh - what?<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>My jacket. Take it kcause, y' know, I got my costume okay'd before the pageant. You can wear it.<\/dialogue>\n    <character>MICHELLE<\/character>\n    <dialogue>Oh man, Lisa, I would n't do this.<\/dialogue>\n    <character>LESLIE<\/character>\n    <parenthetical>( to Lisa . )<\/parenthetical>\n    <dialogue>They're never gon na let you perform naked. I asked.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Shut up, yous guys. Look, Amber, I'm not gon na win. And let's be honest, a family only needs one `` Liza'' and you know Peter's got much better legs than me.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Your parents'd kill you.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Oh c'mon, I love kem, but you know they only had me kcause Peter needed a kidney.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Lis, I want to, I really do, but. Oh, I ca n't.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Then do it for Peter. Mrs. Leeman used to call him a `` skinny little fag'' when he'd bag her groceries. He'd pop his Nancy - belt if his old jacket somehow, I do n't know, got her back.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Yah?<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Oh - you - beccha.<\/dialogue>\n    <scene_description>Amber hugs her and takes the jacket .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL - GYM - STAGE<\/stage_direction>\n    <scene_description>Gladys guides Molly off the stage .<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Now, it's with overwhelming pride that I introduce contestant number six, who also happens to be president of her class - two years running - a member of the honor roll and the new President of the Lutheran Sisterhood Gun Club - Rebecca Ann Leeman!<\/dialogue>\n    <scene_description>STAGE GOES BLACK . SPOT HITS BECKY , who sits at the edge of the stage , holding a mic . She 's head to toe sequins in her poodle skirt , sweater , saddle shoes , etc. .<\/scene_description>\n    <character>BECKY<\/character>\n    <parenthetical>( talking over music . )<\/parenthetical>\n    <dialogue>I do n't know how many of you know this, but I've got a very special fella in my life - that's right, I do. And if nobody minds, I'd like to sing a little song, just for him.<\/dialogue>\n    <scene_description>SPOT FOLLOWS as Becky stands and walks center stage to what appears to be a COVERED MANNEQUIN . TAPED INTRO TO `` I Ca n't Take My Eyes Off You . ''<\/scene_description>\n    <character>BECKY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You're just too good to be true. Ca n't take my eyes off of you. You'd be like Heaven to touch. I wan na hold you so much. At long last love has arrived and I thank God I'm alive.<\/dialogue>\n    <scene_description>Becky removes the sheet , revealing a MANNEQUIN dressed like JESUS as he appeared on the cross : long hair , beard , crown of thorns , loincloth . The ARMS ARE STUFFED so they move freely . -LRB- Hands of stigmata . -RRB-<\/scene_description>\n    <character>BECKY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You're just to good to be true. Ca n't take my eyes off of you.<\/dialogue>\n    <scene_description>Becky TALK - SINGS - a la William Shatner 's `` Rocket Man '' - and DANCES around the Jesus mannequin doing the jitter - bug , the twist and a slow dance -LRB- his arms on her shoulders -RRB- . DURING THE SLOW DANCE , THE LOIN CLOTH SLIPS AND BECKY MUST HOLD IT UP - GIVING THE APPEARANCE OF GRABBING HIS CROTCH .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL - GYM - BACKSTAGE<\/stage_direction>\n    <scene_description>Iris approaches Lisa who 's given her outfit to Amber .<\/scene_description>\n    <character>IRIS<\/character>\n    <dialogue>C'mon, Lisa. You're up next.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>I quit. And, uh, since my costume, y' know, was okay'd a month ago? I'm givin' it to Amber.<\/dialogue>\n    <scene_description>Amber breaks a smile . Taped music ENDS . APPLAUSE . Gladys , mic in hand , joins Becky for a big hug .<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Boy, I'd hate to follow that. Wow!<\/dialogue>\n    <scene_description>Becky exits , pulling the wheeled Jesus behind her .<\/scene_description>\n    <character>GLADYS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Voice of an angel, that one.<\/dialogue>\n    <scene_description>Iris runs self - consciously out on stage , whispers in Gladys ' ear , then runs back off stage .<\/scene_description>\n    <character>GLADYS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Uh, I was just told that contestant number seven, Lisa Swenson, has quite the pageant.<\/dialogue>\n    <scene_description>CROWD REACTS .<\/scene_description>\n    <character>GLADYS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Well, these things happen. At any rate, we still have one more contestant - number eight, Amber Atkins.<\/dialogue>\n    <scene_description>Gladys exits . A taped hip , hot DRUM BEAT starts . Suddenly , Amber glides into CENTER SPOT . -LRB- Now wearing Lisa 's costume , sleeves rolled up . -RRB- Her feet burst into an amazing routine . The loud drum beats seem to fly from her hands and feet as they punctuate the rhythm . There 's no glitz , just unbelievable skill . It appears effortless as she floats around stage . Like watching Michael Jackson moon walk for the first time , you ca n't take your eyes off her . She concludes , center stage , with the GREATEST THIRTY SECONDS OF HER LIFE . The audience goes WILD ! Amber takes bow after bow - they love her . Gladys enters quickly , mic in hand .<\/scene_description>\n    <character>GLADYS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Okay, okay, okay! Well, now, it's finally time to say good - bye to our judges, so they can go make the toughest decision of their lives.<\/dialogue>\n    <scene_description>PAN TO JUDGES . They look nervous as hell . A relaxed Hank sniffs from a paint soaked bag .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL - CLASS ROOM - NIGHT<\/stage_direction>\n    <scene_description>Judges stare nervously at the camera - clip boards in front of them . Hank 's LOUD BREATHING from the paint soaked bag is obviously getting on John 's nerves .<\/scene_description>\n    <character>DOCUMENTARIAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>So who get's the crown? How are you going to figure this all out?<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>Uh, we're gon na, y' know, compare scores and uh, figure out a - a winner. kCause we do n't know the winner yet. I mean, I - I do n't know who Jean and Harold picked. No idea. Did Gladys send you in here?<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>I know the winner! I know the winner! I know the winner!<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>No you do n't! Shut your goddamn mouth, you son - of - a - bitch!<\/dialogue>\n    <scene_description>Nerves shot , John suddenly LAUNCHES himself across the table at Hank .<\/scene_description>\n    <character>HAROLD<\/character>\n    <dialogue>Wait a second.<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>You shut it! You goddamn retard!<\/dialogue>\n    <scene_description>Hank freezes , then starts to wail !<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>EE - AAAYEEEE - AAAAYOUIAAAEEEEEEEE!<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>Come on! Hankey here ca n't help it if he was born crazier than a shithouse rat!<\/dialogue>\n    <scene_description>Hank stops crying and goes back to the bag .<\/scene_description>\n    <character>JOHN<\/character>\n    <dialogue>For fuck's sake, why did n't ya leave him with a sitter?<\/dialogue>\n    <scene_description>Hank begins crying again .<\/scene_description>\n    <character>HAROLD<\/character>\n    <dialogue>Real nice. You know the sitter's dead.<\/dialogue>\n    <scene_description>BACKSTAGE - DRESSING ROOM Girls , in gowns , sit in silence . Becky and Amber sit at opposite ends of the room . There 's obvious tension .<\/scene_description>\n    <character>LESLIE<\/character>\n    <dialogue>So, anyone talk to Janelle?<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Yah - I brought her some flowers this morning. She's in the room next to my mom. She's super happy.<\/dialogue>\n    <scene_description>Girls ad - lib SHOCK .<\/scene_description>\n    <character>TESS<\/character>\n    <dialogue>She's happy?<\/dialogue>\n    <character>LESLIE<\/character>\n    <dialogue>Why happy?<\/dialogue>\n    <character>AMBER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Oh - the blow to her head made her deaf.<\/dialogue>\n    <scene_description>Girls ad - lib `` Oh , I see . Okay - then . '' etc. . Another LONG BEAT of SILENCE follows . Becky gets up to re - touch her make - up .<\/scene_description>\n    <character>BECKY<\/character>\n    <parenthetical>( losing it . )<\/parenthetical>\n    <dialogue>Oh, good Lord! What're they doin'? Lettin' the retard count votes?!<\/dialogue>\n    <scene_description>Contestants stare at her in shock . Iris enters .<\/scene_description>\n    <character>IRIS<\/character>\n    <dialogue>It's time, ladies.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL - GYM<\/stage_direction>\n    <scene_description>Judges are back . Gladys is center stage . Girls enter and form a line behind her . TAPED AMERICAN MEDLEY STARTS .<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Welcome back, everyone. Judges. Our Second Runner - up and winner of a fifty -<\/dialogue>\n    <scene_description>Taped fanfare . Leslie bounds forward , grabs her trophy , stands to one side .<\/scene_description>\n    <character>PAT<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>You rule, Leslie!<\/dialogue>\n    <scene_description>Audience laughs . Leslie waves .<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Our next prize, a seventy - five dollar scholarship -<\/dialogue>\n    <scene_description>Audience ad - libs amazement .<\/scene_description>\n    <character>GLADYS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>will be awarded to the First Runner - up.<\/dialogue>\n    <scene_description>Taped DRUM ROLL . Contestants -LRB- except Becky -RRB- take hands . Iris gives Gladys an envelope and trophy .<\/scene_description>\n    <character>GLADYS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>And the First Runner - up is -.<\/dialogue>\n    <parenthetical>( opening envelope , face drops . )<\/parenthetical>\n    <dialogue>Contestant number eight, Amber Atkins.<\/dialogue>\n    <scene_description>Ad - lib audience shock and disbelief . Contestants are stunned . Amber steps forward , humbly takes the trophy and stands beside Leslie . Audience finally quiets .<\/scene_description>\n    <character>GLADYS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>And finally, the moment I know I've been waiting for.<\/dialogue>\n    <scene_description>Iris hands Gladys a LARGE TROPHY and envelope . Mary Johanson is wheeled out wearing sash and tiara .<\/scene_description>\n    <character>GLADYS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>With a scholarship of five - hundred dollars, courtesy Leeman Furniture, and all expenses paid for next weekend when she'll be competin' for the title of Minnesota American Teen Princess.<\/dialogue>\n    <scene_description>Taped drum roll . Gladys opens the envelope .<\/scene_description>\n    <character>GLADYS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Our new Mount Rose American Teen Princess is contestant number - ah heck, she's my daughter - number seven, Rebecca Ann Leeman!<\/dialogue>\n    <scene_description>Polite audience applause . Becky rushes forward . Gladys RIPS the tiara and sash off Mary , places them on Becky .<\/scene_description>\n    <character>BECKY<\/character>\n    <dialogue>Oh, thank you so much!<\/dialogue>\n    <scene_description>AUDIENCE Loretta and Annette watch on .<\/scene_description>\n    <character>ANNETTE<\/character>\n    <dialogue>Shit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL - GYM - STAGE<\/stage_direction>\n    <scene_description>The ELDERLY MAN\/MAYOR , from earlier scene , enters and sings to a tape as Becky takes her victory walk .<\/scene_description>\n    <character>ELDERLY MAN\/MAYOR<\/character>\n    <parenthetical>( tune of `` Miss America '' . )<\/parenthetical>\n    <dialogue>`` Here she is, Our Mount Rose American Teen Princess. Look at her, does n't she look fine. Our hearts swell big, as we look at her. Our Mount Rose American Teen Princess.''<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. HIGH SCHOOL - LATER<\/stage_direction>\n    <scene_description>AMBULANCE pulls up . Mary Johanson , unconscious , slumped in wheelchair , is brought out and put in . Amber and Loretta wheel Annette out . Paramedics put her in , too .<\/scene_description>\n    <character>ANNETTE<\/character>\n    <dialogue>We was robbed.<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>Okay. Take her purse.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Bye mom.<\/dialogue>\n    <character>ANNETTE<\/character>\n    <dialogue>We was robbed.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>It's okay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGH SCHOOL - MOMENTS LATER<\/stage_direction>\n    <scene_description>Amber faces camera as ambulance pulls away .<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>Oh, Mom's okay. They're just givin' her a ride back. She almost blew outta the back of Loretta's pick - up on the way over.<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>Thank God for bunge cords.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGH SCHOOL - MOMENTS LATER<\/stage_direction>\n    <character>AMBER<\/character>\n    <parenthetical>( tearing up . )<\/parenthetical>\n    <dialogue>. Yah - well, at least, y' know, I got to perform. And Mom got to see me.<\/dialogue>\n    <parenthetical>( crying . )<\/parenthetical>\n    <dialogue>I guess number eight only worked for Diane Sawyer.<\/dialogue>\n    <scene_description>Loretta puts her arm around Amber . They walk off as Leslie and Pat approach .<\/scene_description>\n    <character>LESLIE<\/character>\n    <dialogue>Hey - hey, I'm Second Runner - up! Whooo! I got second place!<\/dialogue>\n    <character>PAT<\/character>\n    <dialogue>Third.<\/dialogue>\n    <character>LESLIE<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <scene_description>Lisa passes by with her parents . They look pissed .<\/scene_description>\n    <character>LISA<\/character>\n    <dialogue>No, it was worth it. Amber shoulda won.<\/dialogue>\n    <character>LISA'S FATHER<\/character>\n    <dialogue>I'll tell ya one thing. Peter never woulda pulled a shenanigan like that.<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Well, y' know what, dad? Y' know what? Peter's gay!<\/dialogue>\n    <scene_description>She runs off . Her parents stop DEAD IN THEIR TRACKS .<\/scene_description>\n    <character>LISA'S FATHER<\/character>\n    <dialogue>What?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL - CLASS ROOM - NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON BECKY 'S FACE . Flashes illuminate it . With each photo she changes her smile and expression . She loves this . PULL BACK to reveal two older men , with old - style news cameras , flash pictures .<\/scene_description>\n    <character>DOCUMENTARIAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>So, how does it feel to be the new Mount Rose American Teen Princess, Becky?<\/dialogue>\n    <scene_description>OLDER MEN turn and look at camera , then take out a pen and note pad .<\/scene_description>\n    <character>BECKY<\/character>\n    <dialogue>Well, it's all happenin' so fast. Goodness - gracious, it hardly seems real, y' know? I mean, I won! I'm the winner! I'm going to State!<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>She's the winner and we're going to state.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOUNT ROSE HIGH - GIRL'S BATHROOM - DAY<\/stage_direction>\n    <scene_description>Fry Girl # 1 and Pregnant Fry Girl smoke .<\/scene_description>\n    <character>FRY GIRL #1<\/character>\n    <dialogue>What a surprise. Gladys Leeman's finally gon na go to State. And she'll probably ride on Becky's ass all the way to Nationals, too.<\/dialogue>\n    <character>PREGNANT FRY GIRL<\/character>\n    <dialogue>I wonder how she's gon na fix that one.<\/dialogue>\n    <character>DOCUMENTARIAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Are you ladies going to the parade tomorrow?<\/dialogue>\n    <character>PREGNANT FRY GIRL<\/character>\n    <dialogue>Nah. I think I'm like, due or somethin'.<\/dialogue>\n    <scene_description>MOUNT ROSE MAIN STREET - NEXT DAY Beautiful sunny day . Lester talks to camera .<\/scene_description>\n    <character>LESTER<\/character>\n    <dialogue>Ahhh. Beautiful as a whore's ass today. Eh, boys?<\/dialogue>\n    <scene_description>In the b.g. , Gladys holds a bullhorn , clipboard and points to a LARGE SWAN FLOAT .<\/scene_description>\n    <character>GLADYS<\/character>\n    <parenthetical>( into bullhorn . )<\/parenthetical>\n    <dialogue>Hey! Turn that float around. You think a swan's gon na swim ass first up Main Street?<\/dialogue>\n    <character>LESTER<\/character>\n    <dialogue>Yah - Gladys had me order that swan special made from Mexico.<\/dialogue>\n    <parenthetical>( Me ` hee ` koe . )<\/parenthetical>\n    <dialogue>in case Becky won. I do a lotta business with those people. I always offer to pay kem in tacos.<\/dialogue>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>Whoo, they love that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUNT ROSE MAIN STREET - LATER<\/stage_direction>\n    <scene_description>Entire town lines the road . The Mayor and the Leman family stand behind the red ribbon . Parade PARTICIPANTS are lined up behind them .<\/scene_description>\n    <character>MAYOR<\/character>\n    <parenthetical>( into bullhorn . )<\/parenthetical>\n    <dialogue>Yah - hello - hello. shit! How the fuck do ya work this damn thing, huh? Oh. Welcome to our first ever American Teen Princess Parade - which also happens to be the unveiling of our new sewer system!<\/dialogue>\n    <scene_description>CHEERS ! Becky cuts the ribbon . More CHEERS !<\/scene_description>\n    <character>MAYOR<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Yah - so, while Becky gets on her float, then, any questions kbout the new sewer? Yah, Clem?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUNT ROSE MAIN STREET - LATER<\/stage_direction>\n    <scene_description>- THREE FAT VETS , dressed as the Revolutionary War trio , hold American , Minnesota and POW\/MIA flags . - TWO BATON TWIRLERS stand in front of the Mount Rose High School Band . They play - way off key . - JUDGES wave from a convertible . Hank , in passenger 's seat , struggles to get out . His seatbelt prevents it . - TWO GRUNGY OLD CLOWNS smoke impatiently . - TWO FAT WHITE MEN , dressed as Indians , sit on scooters . - FAT MAN drives a riding lawnmower , pulling a flatbed with A SPEEDBOAT and a FISHING CAMP GROUP . - FARMER pulls a goat with a sign : `` Milk Me for $ 1.00 '' - A BRIGADE of tap dancing BASSOONISTS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUNT ROSE - STREET<\/stage_direction>\n    <scene_description>Harold and Hank pull over and park their truck . Harold quickly gets out , obviously in a hurry , slamming on a pouting Hank .<\/scene_description>\n    <character>HAROLD<\/character>\n    <dialogue>Let's get this straight right now. We would n't have been late at all if it was n't for you.<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>I want to have the big bag of little donuts.<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>You get nothing, Hank, okay?<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>I want to get the big bag of little donuts.<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>There's your paint can. The next time you drink window cleaner, I'm just gon na leave it in ya.<\/dialogue>\n    <scene_description>Harold rushes off for the parade , joining other folks carrying baskets , lawn chairs and flags on the sidewalk .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUNT ROSE STREET - BACK TO DOCUMENTARY CAMERA<\/stage_direction>\n    <scene_description>PAN OVER to see Gladys helping Becky climb on the swan , unaware of camera . In b.g. , DOCUMENTARY CREW interviews Amber and Leslie on their convertible behind the swan float .<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>C'mon, Rebecca, you wanted it. Now get up there. Ride it side - saddle if you have to - like a horse. C'mon, now.<\/dialogue>\n    <character>BECKY<\/character>\n    <dialogue>It smells funny. Like gasoline.<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>Oh for chrissakes, everything smells like that in Mexico.<\/dialogue>\n    <character>BECKY<\/character>\n    <dialogue>My dress'll reek.<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>Listen, little missy, this cost your dad a pretty penny. Now get your ass up there and show me some teeth.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUNT ROSE MAIN STREET - LATER<\/stage_direction>\n    <scene_description>Amber and Leslie , in gowns , look unhappy as they stare straight ahead , exhaust fumes - that appear to come from the swan 's ass - cover them and their old convertible .<\/scene_description>\n    <character>LESLIE<\/character>\n    <dialogue>Amber, if I die from these fumes, will you be sure to cover the hickies on my neck?<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>LESLIE<\/character>\n    <dialogue>And the bite marks on my ears?<\/dialogue>\n    <character>AMBER<\/character>\n    <parenthetical>( slowly turning . )<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <character>LESLIE<\/character>\n    <dialogue>I know it does n't matter, but on my inner thighs.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Yes, Leslie!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUNT ROSE MAIN STREET - LATER<\/stage_direction>\n    <scene_description>Hank rubs his head , then angrily gets out of the truck , SLAMMING THE DOOR ON ONE OF THE SUSPENDERS ON HIS OVERALLS . He starts to walk , but ca n't , eventually leaning out from the truck - only moving his arms as if walking .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUNT ROSE SIDE STREET - LATER<\/stage_direction>\n    <scene_description>Hank , still stuck in the door , is being teased by a GROUP OF KIDS who poke at him with flags and sticks . ANOTHER LITTLE KID taunts him with his cotton candy - keeping it just out of his reach . Hank bats at them like Frankenstein and the torch wielding townsfolk .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUNT ROSE SIDE STREET - LATER<\/stage_direction>\n    <scene_description>Hank , still stuck in the door , holds the little kid by the back of the shirt in one hand and eats the kid 's cotton candy with the other . The kid struggles to get away . A few BROKEN FLAGS are scattered on the ground .<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>Help. Hank! Help. Hank! Help. Hank! Help. Hank!<\/dialogue>\n    <scene_description>ON SWAN FLOAT . Gladys approaches .<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Okay, I designed the float, you know. And, what's gon na happen here is that this is going to look like a glistening lake beneath the swan.<\/dialogue>\n    <character>IRIS<\/character>\n    <dialogue>Uh, Gladys?<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>What!<\/dialogue>\n    <character>IRIS<\/character>\n    <dialogue>We need more bars!<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>This is - what?<\/dialogue>\n    <character>IRIS<\/character>\n    <dialogue>Enid ate a whole pan!<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>I swear to God she ca n't do anything by herself.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUNT ROSE MAIN STREET - LATER<\/stage_direction>\n    <character>AMBER<\/character>\n    <parenthetical>( to camera . )<\/parenthetical>\n    <dialogue>Oh - yah, this is exactly how I pictured it. Chokin' on swan gas.<\/dialogue>\n    <scene_description>Suddenly , like a gasoline soaked pinata , it EXPLODES ! Gladys is thrown back . Flames . Screaming . PANDEMONIUM ! Becky does n't have a chance . She 's a pink taffeta BALL OF FIRE . The swan 's back eventually collapses taking Becky into it 's burning belly . INTERCUT WITH MR. HOWARD 'S VIDEO . Gladys watches in stunned silence as her daughter and only chance at State go up in flames . Suddenly , she CRACKS !<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Oh my God! My Baby! The swan ate my baby!<\/dialogue>\n    <parenthetical>( grabbing at burning float . )<\/parenthetical>\n    <dialogue>Ow - ow - ow! Get up, Rebecca! Get outta there! We've got ta go to State! Oh hot!<\/dialogue>\n    <parenthetical>( she scorches her blouse . )<\/parenthetical>\n    <dialogue>Oh, damn. I like this blouse. Rebecca! Get up, angel face. Time to go to State! Ow - ow - ow!<\/dialogue>\n    <scene_description>Eventually , Gladys tries to climb up on the float . Iris pulls her off .<\/scene_description>\n    <character>GLADYS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Get offa me, you cow!<\/dialogue>\n    <scene_description>Gladys spins and notices the silent CROWD .<\/scene_description>\n    <character>GLADYS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What're you lookin' at? Huh? A whole God Damn town of losers! That's what I'm lookin' at!<\/dialogue>\n    <scene_description>Crowd reacts . Gladys notices Amber and runs up to her car .<\/scene_description>\n    <character>GLADYS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You! You piece - a - shit trailer trash! This shoulda been you! Damn, I shoulda killed you when I had the<\/dialogue>\n    <scene_description>The crows reacts again . Gladys spins , noticing someone . Lester approaches .<\/scene_description>\n    <character>GLADYS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Hey, Ted, sorry. I did n't know your family was in the garage when I set it on fire!<\/dialogue>\n    <character>LESTER<\/character>\n    <dialogue>Gladys! Stop it!<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>Guess it was n't a garage sale as much as it was a bake sale. Ah - hahahahahahahaha!<\/dialogue>\n    <scene_description>Lester tries to pull her away from the crowd .<\/scene_description>\n    <character>GLADYS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Let go - a - me, you old bastard!<\/dialogue>\n    <scene_description>She grabs a BURNING 2X4 off a float and starts swinging it .<\/scene_description>\n    <character>GLADYS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>At least you've got another daughter.<\/dialogue>\n    <scene_description>CROWD GASPS . Then stunned SILENCE . CAMERA CIRCLES Gladys and Lester getting reaction shots of the crowd .<\/scene_description>\n    <character>LESTER<\/character>\n    <dialogue>So help me, Gladys.<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>Becky was my only shot at state!<\/dialogue>\n    <character>LESTER<\/character>\n    <dialogue>That's enough!<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>Let go! Let go of me. Oh my God, it's COPS!<\/dialogue>\n    <scene_description>TWIN OFFICERS , followed by `` COPS '' TV CREW , run up and aggressively tackle Gladys . As the struggle on the ground continues , crew guys go over and shake hands with the `` COPS '' crew - obviously knowing them .<\/scene_description>\n    <character>GLADYS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( pointing to Lester . )<\/parenthetical>\n    <dialogue>He sells reproductions! His furniture's as fake as my orgasms!<\/dialogue>\n    <scene_description>The COPS crew begins to mingle with the DOCUMENTARY crew .<\/scene_description>\n    <character>SCOTT<\/character>\n    <dialogue>Hey, man, how're you doin'?<\/dialogue>\n    <character>DOCUMENTARIAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hi! What's up, Scott? You remember Bruce, right?<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>Long time, no see.<\/dialogue>\n    <character>DOCUMENTARIAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Bruce, that's Roy.<\/dialogue>\n    <parenthetical>( they shake hands . )<\/parenthetical>\n    <dialogue>Roy, Bruce.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRAVEYARD - DAY<\/stage_direction>\n    <scene_description>Lovely hillside . A PASTOR and TOWN FOLK - heads bowed - stand beside a FRESH GRAVE .<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>That's why, dear Lord, it's with such great sorrow that we turn over to you a young woman whose dream of ridin' on a giant swan brought about her untimely death. Maybe it's your way of telling us to buy American.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRAVEYARD - LATER<\/stage_direction>\n    <scene_description>The funeral is over . Amber , Loretta , Iris and Servettes awkwardly face each other beside the grave . Iris takes the PARTIALLY MELTED TIARA from the headstone .<\/scene_description>\n    <character>IRIS<\/character>\n    <dialogue>As, uh, actin' President of the Mount Rose Civil Servettes, it's my duty since Becky ca n't fulfill her duties - kcause she's dead - n - all - to make you Mount Rose American Teen Princess.<\/dialogue>\n    <scene_description>She puts the TIARA on AMBER . Loretta FLASHES pictures .<\/scene_description>\n    <character>MALE REPORTER #1<\/character>\n    <dialogue>Turn around and let me see.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRAVEYARD - LATER<\/stage_direction>\n    <scene_description>Annette , Amber -LRB- wearing her tiara -RRB- and Loretta are leaving the crowning ceremony . All are happy as they push an extremely drugged Annette out of the cemetery .<\/scene_description>\n    <character>LORETTA<\/character>\n    <dialogue>What is wrong with you?<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>I do n't know. I just did n't wan na win like this.<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>You stop right there. You are a good person. Good things happen to good people.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>No. It's pure bullshit, sweetie. You're lucky as hell, so you might as well enjoy it. Let's get you a root beer float.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>Do you guys want some shots? I'm buyin'.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LORETTA'S TRAILER - DAY<\/stage_direction>\n    <scene_description>Amber sits on the picnic table . In the b.g. , Loretta exits her trailer with a FED - EX GUY . She pats his buns as he exits . She approaches Amber with a packet .<\/scene_description>\n    <character>AMBER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I never liked her, but she did n't deserve to die in the belly of a swan like that. The whole thing's just kinda sad and lame at the same time.<\/dialogue>\n    <character>LORETTA<\/character>\n    <parenthetical>( handing over packet . )<\/parenthetical>\n    <dialogue>This came for you, sweetie.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Ah! It's from State! Oh my God!<\/dialogue>\n    <scene_description>Amber rips it open and holds up a color brochure with COLLEEN and TERRY in a glamour shot on the cover .<\/scene_description>\n    <character>AMBER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( paging through packet . )<\/parenthetical>\n    <dialogue>It's all the stuff I get to do. Oh my God, oh my God. Okay, okay. We get a `` personal consultation'' with a make - up artist - Eeeh! Okay, um, there'll be a choreographer to the stars and, oh no - No way. Oh. My. God!<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>What? For chrissakes, spit it out.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>I'll be stayin' overnight at. The Airport Howard Johnsons!<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>Right by the airport - Oh, Amber.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>There's an indoor swimming pool! Ahhhh!<\/dialogue>\n    <scene_description>Loretta joins in the screaming .<\/scene_description>\n    <character>AMBER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Oh crap - I only got four days. I got ta practice!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LORETTA'S TRAILER - MORNING<\/stage_direction>\n    <scene_description>MONTAGE BEGINS over MUSIC . Amber emerges from Loretta 's trailer , Pop Tart in mouth , book bag in hand . SMILES . WAVES .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAILER PARK<\/stage_direction>\n    <scene_description>Taps her way down the road , out of the trailer park .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFETERIA - MONTAGE<\/stage_direction>\n    <scene_description>Amber scrapes trays . PAN DOWN . She wears tap shoes , practices her routine .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - MONTAGE - DAY<\/stage_direction>\n    <scene_description>Amber walks around the room in high heels , balancing a bedpan on her head .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MORTUARY - MONTAGE<\/stage_direction>\n    <scene_description>Amber dances around the room , using a suit on a hanger as a partner . A naked old man is on the embalming slab , a sheet covering his nasties .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LORETTA'S TRAILER - NIGHT<\/stage_direction>\n    <scene_description>In silhouette , Amber taps on the picnic table by the light of the FULL HARVEST MOON .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIRPORT HOWARD JOHNSONS - DAY<\/stage_direction>\n    <scene_description>WHITE LETTERS ON BLACK : `` STATE FINALS '' We look up at the towering Howard Johnsons and see a huge banner which reads : `` WELCOME AMERICAN TEEN PRINCESS , FRIED CLAM PLATTER $ 9.99 . '' Suddenly , a 747 , not more than thirty feet above the hotel , flies over - the sound is deafening .<\/scene_description>\n    <character>LORETTA<\/character>\n    <dialogue>All right, say `` Airport Ho - Jo.''<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Airport Ho - Jo!<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>I got it! Yeah, why do n't ya take a<\/dialogue>\n    <scene_description>Mr. Larson unloads Amber 's luggage from the hearse . Loretta leans against it , arm around Amber , smoking and occasionally flipping off people who stop to stare at this unusual sight .<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>Loretta, do n't do that.<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>I'm sorry. They're just starin'.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>I got ta work with these women.<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>Okay, sweetie, that's all right. Let's go. Let's go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOWARD JOHNSONS - BAR AREA<\/stage_direction>\n    <scene_description>There 's a fake tropical look , with loads of plastic palms , etc. . CAMERA FOLLOWS Amber into area . BANNER : `` STATE FINALS - SPONSORED BY THE MINNESOTA MODELING ACADEMY '' Contestants -LRB- 25 -RRB- sit at tables , they seem more mature , more professional . Amber smiles and gives a little wave . Terry approaches Amber .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>And you are.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Mount Rose American Teen Princess.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Funny, you do n't look dead.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOWARD JOHNSONS - BAR AREA - MOMENTS LATER<\/stage_direction>\n    <scene_description>Colleen and Terry address the assembled contestants . SUPER : COLLEEN DOUGLAS AND TERRY MACEY - MINNESOTA AMERICAN TEEN PRINCESS STATE BOARD AND OWNERS OF THE MINNESOTA MODELING ACADEMY<\/scene_description>\n    <character>COLLEEN<\/character>\n    <dialogue>Okay ladies, listen up. I'm Colleen Douglas and this raving beauty on my right -<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>I'm a mirror.<\/dialogue>\n    <character>COLLEEN<\/character>\n    <dialogue>Correction. This spunky monkey on my right is Terry Macey. And we are your Minnesota American Teen Princess State Board.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>We're also the co - founders of the Minnesota Modeling Academy. Applications are at the tiki bar. We'll wave the fifty dollar application fee if you list a friend and put her address.<\/dialogue>\n    <character>COLLEEN<\/character>\n    <dialogue>That's right.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Okay?<\/dialogue>\n    <character>COLLEEN<\/character>\n    <dialogue>Mm - hm.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOWARD JOHNSONS - BAR AREA<\/stage_direction>\n    <scene_description>Loretta , seated at the bar , puts her arm around a man next to her .<\/scene_description>\n    <character>LORETTA<\/character>\n    <dialogue>So. you're cute. Oh, I see you're married.<\/dialogue>\n    <parenthetical>( to bartender . )<\/parenthetical>\n    <dialogue>You catch this in your mouth, I'll give you a present. All right? Open wide.<\/dialogue>\n    <parenthetical>( she throws the olive . )<\/parenthetical>\n    <dialogue>Oh, God, you got that on the first try. Come here.<\/dialogue>\n    <scene_description>Loretta kisses the bartender .<\/scene_description>\n    <character>LORETTA<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>You are cute.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOWARD JOHNSONS - COURTYARD STAGE AREA - DAY<\/stage_direction>\n    <character>TERRY<\/character>\n    <dialogue>Due to budgetary cutbacks - and the fact that Nationals did n't cough up a damn nickel this year - you wo n't be stayin' overnight. So pay attention, you've got about eight hours until showtime.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOWARD JOHNSONS - STAGE AREA - DAY<\/stage_direction>\n    <scene_description>A DISCO BEAT POUNDS from a boom box . Mr. Melchoir , the choreographer , watches contestants move in fast - paced crisscrossing formations . Amber is among them . Miss St. Paul screws up .<\/scene_description>\n    <character>MR. MELCHOIR<\/character>\n    <dialogue>Remember to count, ladies. Cross on the left and arms up on eight! On the beat! On the beat! Keep on it! Keep movin' it! C'mon, Miss Forest Lake, take that stick out of your ass or I will. All right. Very nice. Now come on, arms out. We're in the front row. Come on, sell it! That's very nice. Remember, figure eights, ladies.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOWARD JOHNSONS - BAR AREA - MOMENTS LATER<\/stage_direction>\n    <scene_description>Colleen and Terry smoke and drink at a tall tiki table that 's covered with empties . In the b.g. , a pageant worker passes out PINK BAGS to the contestants . All the while , TWO FAT KIDS play `` Marco Polo '' in the pool .<\/scene_description>\n    <character>COLLEEN<\/character>\n    <parenthetical>( tipsy , holding up glass . )<\/parenthetical>\n    <dialogue>I can sum up our entire philosophy with this glass. I look at it and say, `` it's half full.'' Which, in the beauty pageant biz means, `` Where the hell's my waiter!''<\/dialogue>\n    <scene_description>She laughs hard , then spins around in her chair .<\/scene_description>\n    <character>COLLEEN<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( screaming . )<\/parenthetical>\n    <dialogue>Stop with the fuckin' Marco - Polo before I rip your fat little heads off!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOWARD JOHNSONS - STAGE AREA - AUDIENCE CHAIRS<\/stage_direction>\n    <scene_description>A very mature Miss Burnsville talks to Amber who is staring at Miss Burnsville 's supernaturally well - supported chest .<\/scene_description>\n    <character>MR. MELCHOIR<\/character>\n    <dialogue>Miss Burnsville, you're up next.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAGE AREA - AUDIENCE CHAIRS - MOMENTS LATER<\/stage_direction>\n    <scene_description>Amber sits addressing the camera . Miss Burnsville is gone .<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>Do n't tell anyone, but, I have a little secret weapon of my own.<\/dialogue>\n    <scene_description>Amber pulls out a jar of Vaseline from her purse and smiles innocently .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOWARD JOHNSONS - BAR AREA - SHELLFISH BUFFET - DAY<\/stage_direction>\n    <scene_description>Contestants hungrily fill their plates with seafood .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOWARD JOHNSONS - BAR AREA - SHELLFISH BUFFET<\/stage_direction>\n    <scene_description>Amber stands beside the buffet , holding only a salad .<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>I do n't eat shellfish. Mom always says, `` Do n't ever eat nothin' that can carry its house around with it - who knows the last time it's been cleaned.'' She should know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOWARD JOHNSONS - BAR AREA<\/stage_direction>\n    <scene_description>Amber eats at a tall tiki table with Miss Minneapolis .<\/scene_description>\n    <character>MISS MINNEAPOLIS<\/character>\n    <dialogue>I've done about thirty - five pageants. I guess my most memorable one'd have to be Miss Teen America, 1995. It was in Vegas. My roommate did Adam West.<\/dialogue>\n    <scene_description>SUPER : MR. WEST WAS UNAVAILABLE FOR COMMENT<\/scene_description>\n    <character>MISS MINNEAPOLIS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>She said he was sooo horny.<\/dialogue>\n    <scene_description>Amber stares at her with wide - eyed disbelief .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOWARD JOHNSONS - STAGE AREA - DAY<\/stage_direction>\n    <scene_description>Amber watches four contestants in a row practice their talents . All are equally amazing . `` THEME from 2001 : A SPACE ODYSSEY '' starts . Miss Minneapolis steps ON STAGE - silver unitard , silver streamers , silver tap shoes . She starts a TAP ROUTINE that RIVALS AMBER 'S .<\/scene_description>\n    <character>AMBER<\/character>\n    <parenthetical>( whispering to camera . )<\/parenthetical>\n    <dialogue>Oh my God. Look at her, she's awesome. I should just go home now.<\/dialogue>\n    <scene_description>Terry and Colleen stand in front of the stage .<\/scene_description>\n    <character>TERRY<\/character>\n    <dialogue>Okay, okay, that's enough - I get it.<\/dialogue>\n    <scene_description>SUDDENLY Miss Minneapolis FREEZES .<\/scene_description>\n    <character>MISS MINNEAPOLIS<\/character>\n    <dialogue>Oh - oh my God.<\/dialogue>\n    <parenthetical>( doubling over in pain . )<\/parenthetical>\n    <dialogue>I got ta go!<\/dialogue>\n    <scene_description>She runs off toward the RESTROOM .<\/scene_description>\n    <character>COLLEEN<\/character>\n    <parenthetical>( calling after her . )<\/parenthetical>\n    <dialogue>Well, you're gon na have to do somethin' with those nerves before Nationals. Thirty - million people are n't gon na wait while you run to the john.<\/dialogue>\n    <scene_description>Other waiting contestants suddenly double over , ad - libbing `` oh no ! oh my God ! '' `` I 'm gon na puke ! '' etc. . More contestants grab their bellies . NEWS FOOTAGE : INT . HOWARD JOHNSONS - MORE FOOTAGE<\/scene_description>\n    <character>FEMALE REPORTER<\/character>\n    <parenthetical>( hand on earpiece . )<\/parenthetical>\n    <dialogue>Today, a beauty pageant turned ugly. A salmonella dysentery outbreak, now traced to improperly refrigerated shellfish, was believed to be the cause. Joining us now is David Richardson, a member of the documentary crew filming the pageant. He was there when tragedy struck.<\/dialogue>\n    <scene_description>TELEVISION SET<\/scene_description>\n    <character>CREW GUY<\/character>\n    <dialogue>Fuckin' beauty queens blowin' chunks everywhere. I've never seen anything like it before, and I live in L.A.<\/dialogue>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>Hey, Ed.<\/dialogue>\n    <character>FEMALE REPORTER #2<\/character>\n    <dialogue>Can you tell us any thing about the controversy? Is there a controversy here? Has there been sabotage?<\/dialogue>\n    <scene_description>Follow REPORTER as she runs over to Amber , Colleen and Terry . All three look dazed . Reporters SHOUT questions .<\/scene_description>\n    <character>COLLEEN<\/character>\n    <parenthetical>( with forced sobriety . )<\/parenthetical>\n    <dialogue>People, people - wait, wait a minute, here. Uh, while we have n't ruled out sabotage from neighboring state pageants - Iowa, Wisconsin, North Dakota.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>COLLEEN<\/character>\n    <dialogue>Dakota.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>Ohio.<\/dialogue>\n    <character>COLLEEN<\/character>\n    <dialogue>That bitch from.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>COLLEEN<\/character>\n    <dialogue>Wisconsin.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>All right, then.<\/dialogue>\n    <character>COLLEEN<\/character>\n    <dialogue>The bitch.<\/dialogue>\n    <character>TERRY<\/character>\n    <dialogue>The important thing is that we have a winner.<\/dialogue>\n    <scene_description>PULL BACK to reveal we 're :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOUNT ROSE V.F.W. - BAR - NIGHT<\/stage_direction>\n    <scene_description>The mayor and other vets , watch Amber on the TV .<\/scene_description>\n    <character>COLLEEN<\/character>\n    <parenthetical>( ON T.V . )<\/parenthetical>\n    <dialogue>And, on behalf of the Minnesota Modeling Academy, we proudly present Amber Atkins. Your new Minnesota American Teen Princess.<\/dialogue>\n    <scene_description>The place ERUPTS in CHEER ! ON TV : Terry sets a tiara on Amber 's head . FLASHES .<\/scene_description>\n    <character>MAYOR<\/character>\n    <dialogue>Yah, ai n't it just a kick in the fuckin' ass!?!? I'll be a snake's prick if tragedy and pageants ai n't got a way of bringin' folks together.<\/dialogue>\n    <parenthetical>( directly at camera . )<\/parenthetical>\n    <dialogue>Yous boys tell me when want me to start, okay?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL - LIBRARY<\/stage_direction>\n    <character>IONA<\/character>\n    <dialogue>Amber?! What - the - hell's goin' on around here? I'm Mount Rose American Teen Princess. Where the hell's my tiara? I bet those sneaky little Japs took it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFE - CONTINUOUS - NIGHT<\/stage_direction>\n    <scene_description>Cathy and other townsfolk are glued to a small TV set on the counter .<\/scene_description>\n    <character>FEMALE REPORTER<\/character>\n    <parenthetical>( ON T.V . )<\/parenthetical>\n    <dialogue>Amber, how do you feel?<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>I, uh. I feel like. I, uh, I need a shower.<\/dialogue>\n    <scene_description>Townsfolk laugh and cheer .<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>Jesus - Mary - n - Joseph I hope Gladys Leeman hangs herself in her cell when she hears this.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WOMEN'S PRISON - REC ROOM<\/stage_direction>\n    <scene_description>ROUGH HAND HELD FOOTAGE . We see Gladys walking around , holding onto the back of a large black woman 's belt .<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Uh - huh. No, no. Gosh, no. You know I still do n't want to be on camera.<\/dialogue>\n    <scene_description>SUPER : PHONE INTERVIEW WITH GLADYS LEEMAN FROM MINNETONKA WOMEN 'S FACILITY<\/scene_description>\n    <character>GLADYS<\/character>\n    <parenthetical>( V.O. ON THE PHONE . )<\/parenthetical>\n    <dialogue>Yah - I just wan na say - that little bitch better watch her back at Nationals kcause I'm makin' friends on the inside. Yah - friends who have friends on the outside.<\/dialogue>\n    <character>FEMALE PRISONER<\/character>\n    <dialogue>Get your sweet ass off the bunk, Cinnamon.<\/dialogue>\n    <character>GLADYS<\/character>\n    <parenthetical>( V.O. ON PHONE . )<\/parenthetical>\n    <dialogue>Got ta go.<\/dialogue>\n    <scene_description>Click . DIAL TONE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LORETTA'S TRAILER - DAY<\/stage_direction>\n    <scene_description>Annette -LRB- left arm 's been amputated and replaced with metal pincers which she has n't mastered yet -RRB- sits at the picnic table with Amber and Loretta . Throughout the following , Annette struggles to open a beer can which keeps flying out of her pincers . -LRB- Handmade `` congratulations '' posters cover the lawn and trailer . -RRB-<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>I just, I just ca n't believe it. I'm Minnesota's American Teen Princess!<\/dialogue>\n    <character>LORETTA<\/character>\n    <dialogue>Our baby's going to Nationals! Lincoln, Alabama - look out!<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>I'm gon na be on TV! Just like Diane Sawyer.<\/dialogue>\n    <scene_description>Annette opens a beer with a new HOOK replacing her hand .<\/scene_description>\n    <character>LORETTA<\/character>\n    <dialogue>Annette, just use your hand.<\/dialogue>\n    <character>ANNETTE<\/character>\n    <dialogue>They told me to practice.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>Okay, ready? Here's the signal I'm gon na give Ma when I'm on TV.<\/dialogue>\n    <scene_description>Amber MIMES inhaling a cigarette and Annette embraces her .<\/scene_description>\n    <character>ANNETTE<\/character>\n    <dialogue>My little Carol Burnett.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIR FIELD<\/stage_direction>\n    <scene_description>In the middle of a corn field . The `` runaway '' is a gravel path cut between rows of corn . A FOUR - SEATER plane is on the runway , in front of a group of town folk with hand - made `` good luck '' signs . Amber -LRB- in Minnesota sash and tiara -RRB- and the Mayor stand beside the plane . -LRB- NOTE : The plane never moves . -RRB-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIR FIELD - LATER<\/stage_direction>\n    <character>MAYOR<\/character>\n    <parenthetical>( into bullhorn . )<\/parenthetical>\n    <dialogue>Here she is, Minnesota's American Teen Princess - soon to be the next America's American Teen Princess - our little Amber!<\/dialogue>\n    <scene_description>ZOOM IN ON AMBER as PEOPLE cheer Amber on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SARAH ROSE COSMETICS, NAT'L HEADQUARTERS - DAY<\/stage_direction>\n    <scene_description>A giant Sarah Rose Cosmetics logo on the wall greets Amber . SUPER : SARAH ROSE COSMETICS NATIONAL HEADQUARTERS , LINCOLN , ALABAMA . The CONTESTANTS , including Amber , look around for the directory . It reads : FOR LEASE . A sign at the front of the building reads : SEIZED . SUPER : IN ITS FIFTIETH YEAR , SARAH ROSE COSMETICS WAS SEIZED BY THE IRS FOR TAX EVASION . As the CAMERA catches the reactions of our contestants - SUPER : THE SARAH ROSE COSMETICS AMERICAN TEEN PRINCESS PAGEANT WAS CANCELED . We STOP on MISS OKLAHOMA . She SCREAMS SUPER : . PERMANENTLY<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SARAH ROSE COSMETICS, NAT'L HEADQUARTERS - DAY<\/stage_direction>\n    <scene_description>As the contestants run out the building . SUPER : BUT IN ITS PASSING WE ARE INSPIRED BY THE SPIRIT OF THE MANY YOUNG WOMEN WHO WERE ITS HEART AND SOUL . Contestants THROW and HURL suitcases and items through the glass of the building . SUPER : . AND BY THE MANY WHO GAVE THEIR LIVES IN PURSUIT OF THE TITLE . The contestants TEAR DOWN the Sarah Rose Logo .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHASKA SCHOOL OF BEAUTY<\/stage_direction>\n    <scene_description>A very perky Leslie Miller , with very big hair , stands out front in a white lab coat . She smiles and waves to camera . SUPER : LESLIE MILLER ENTERED `` THE CHASKA SCHOOL OF BEAUTY '' .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STRIP BAR - NIGHT<\/stage_direction>\n    <scene_description>A COLOR PHOTO of slightly less perky Leslie , wearing go - go boots and a smile , dances in a cage . SUPER : SHE WAS LAST HEARD FROM SOMEWHERE IN THE PHILIPPINES . IF YOU SEE HER , PLEASE CALL 1 - 800 - X - QUEEN .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. HARDWARE HANK<\/stage_direction>\n    <scene_description>It 's a lovely shot of the front window SUPER : HAROLD VILMES DIED UNEXPECTEDLY OF LYMES DISEASE FROM A DEER TICK BITE Suddenly , HANK , buck naked , runs back and forth past the window , spanking himself and waving `` hi . '' SUPER CONT : LEAVING HANK THE STORE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUNT ROSE - STREET<\/stage_direction>\n    <scene_description>MOLLY HOWARD is being helped into a van with `` Lutheran Children 's Orphanage '' painted on the side . She looks sad . SUPER : MOLLY HOWARD RETURNED TO THE `` LUTHERAN CHILDREN 'S ORPHANAGE '' AFTER HER PARENTS WERE GUNNED DOWN BY A SNIPER OUTSIDE THE FOOD SHACK .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM - DAY<\/stage_direction>\n    <scene_description>CLOSE UP of a newspaper photo of Gladys . SUPER : GLADYS LEEMAN ENTERED A STATE - WIDE PRISON BEAUTY PAGEANT . The banner and hat she wears read : MINNESOTA 2ND PLACE , CELL BLOCK SUPER : . SHE CAME IN SECOND . INSERT : NEWSPAPER HEADLINES `` EX - BEAUTY QUEEN ESCAPES PRISON , VOWS `` REVENGE ON MOUNT ROSE ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAIN STREET - FOOD SHACK<\/stage_direction>\n    <scene_description>Gladys , wearing Army Fatigues and brandishing a semi - automatic rifle aimed at the FOOD SHACK , holds off a S.W.A.T. team .<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Come on out, you little blonde piece of trailer park trash!<\/dialogue>\n    <scene_description>LOCAL NEWSCAST Female reporter is on the scene of the Gladys Leeman stand - off outside the food shack . We see Amber , Annette -LRB- with hook hand -RRB- and other town folk behind her , watching the action . `` LIVE '' flashes on screen . SUPER : DURING THE SIX - HOUR GLADYS LEEMAN STAND - OFF<\/scene_description>\n    <character>FEMALE REPORTER<\/character>\n    <dialogue>We are here in the sixth hour of a shoot - out between Gladys Leeman -<\/dialogue>\n    <character>MAN AT FOOD SHACK<\/character>\n    <dialogue>Get down!<\/dialogue>\n    <scene_description>The female reporter suddenly stiffens and falls over . SUPER : LOCAL REPORTER PAT MILES WAS STRUCK BY A STRAY POLICE BULLET . Amber steps under the police barricade , over Pat 's body , takes the mic and continues the newscast . She 's a natural .<\/scene_description>\n    <character>AMBER<\/character>\n    <dialogue>This is Amber Atkins reporting live from the Food Shack for. KRLH News. One of our reporters has just been shot.<\/dialogue>\n    <scene_description>SUPER : AMBER , SHOWING AMAZING POISE UNDER PRESSURE , WAS GIVEN HER JOB .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MINNEAPOLIS NEWS STATION<\/stage_direction>\n    <scene_description>Amber , now looking like a Midwestern news anchor , sits with a BLOND MALE ANCHOR . A LOGO in B.G. reads : TV WAZB TWIN CITIES .<\/scene_description>\n    <character>BLONDE NEWS ANCHOR<\/character>\n    <dialogue>I'm Peter Aitchison.<\/dialogue>\n    <character>AMBER<\/character>\n    <dialogue>And I'm Amber Atkins for WAZB News.<\/dialogue>\n    <scene_description>SUPER : . was given her job .<\/scene_description>\n    <character>AMBER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Good night.<\/dialogue>\n    <scene_description>As they smile and laugh , we : FADE OUT .<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In 1995, Mount Rose is preparing for its annual beauty pageant, the Sarah Rose Cosmetics Mount Rose American Teen Princess Pageant. Amber Atkins (Kirsten Dunst) is an optimistic teenager who signs up to compete in the pageant so she can follow in the footsteps of her idols, television news reporter Diane Sawyer, and Amber's mother, Annette, a former contestant. Amber works after school applying makeup to corpses at the mortuary, and lives with her mother, Annette Atkins (Ellen Barkin), in a small trailer near their friend Loretta (Allison Janney). This is in stark contrast to fellow contestant Rebecca (\"Becky\") Leeman (Denise Richards), the daughter of the richest man in town and his wife, Gladys Leeman (Kirstie Alley), who is the head of the pageant organizing committee and a former winner. Various business connections between the Leeman Furniture Store and the judges of the pageant cause many to speculate that the contest will be rigged or fixed. Many odd events occur around town during the run-up to the pageant, including the death of a contestant, the athletic and competitive Tammy Curry (Brooke Elise Bushman), president of the Lutheran Sisterhood Gun Club, who is killed when her tractor explodes, and the death (ruled a hunting accident) of a boy who Becky liked, but who showed himself partial to Amber. Amber decides to pull out of the pageant after receiving a threatening note and her mother is injured in an explosion at their mobile home, but reconsiders and decides to compete to follow her dreams and make her mother proud. At the dress rehearsal, fellow contestant Jenelle Betz (Sarah Stewart) swaps numbers with Amber. Midway through Janelle's rehearsal performance, a stage light falls and hits her in the head, knocking her unconscious and rendering her deaf. Luckily, Jenelle is a master of American sign language so she claims that despite dropping out of the pageant, she has never been happier. At the pageant, Amber's dance costume mysteriously goes missing. Amber blames Becky and the two get into a catfight. Gladys Leeman's right-hand woman Iris Clark (Mindy Sterling) and Amber's best friend and fellow contestant Lisa Swenson (Brittany Murphy) pull them apart. Pageant choreographer Chloris Klinghagen (Mary Gillis) then gives Amber a new costume to perform in, however Amber is told by both Iris and Gladys that she can't perform due to her new costume not being approved weeks in advance. Later, Lisa finds Amber crying as the fellow contestants try to console her. After learning about the costume situation, Lisa then drops out of the pageant in order to give her own approved costume to Amber. Amber then performs her tap dance number to a standing ovation. Rebecca sings a cringe-worthy rendition of \"Can't Take My Eyes Off Of You\" as she dances with a life-size Jesus doll on a crucifix, both amusing and horrifying the audience. During judging, the previous year's winner Mary Johanson (Alexandra Holden) (now hospitalized with anorexia) reprises her talent act (lip-synching \"Don't Cry Out Loud\") while being pushed around the stage in her hospital wheelchair in a re-enactment of her dance movements. When the winners are announced, Leslie Miller, cheerleader portrayed by Amy Adams is named second runner up, Amber is named first runner-up, with Becky Leeman taking first place. During the victory parade the next day, Becky is killed in a freak accident when the elaborate swan float (made in Mexico, to save her father money) on which she is riding bursts into flames and explodes. The grief-stricken Gladys flies into a blind rage and admits to having killed Tammy and to being responsible for all the attempts against Amber in the run-up to the pageant, and is immediately arrested. Rebecca's tragic death and Gladys's antics leave Amber as the new pageant winner. At the State Competition, Amber wins the Minnesota American Teen Princess title by default after all the other contestants fall ill with seafood-related food poisoning, and Amber gets an all-expenses-paid trip to the national Sarah Rose American Teen Princess Pageant. Upon arrival there, Amber and the other state winners are devastated to find that the cosmetics company has been shut down by the IRS for tax evasion. This sends all the contestants except Amber on a rampage, vandalizing and destroying the property. A few years later, Gladys escapes from prison and is sniping from the top of the Mount Rose supermarket, declaring her intent to take revenge on Amber. During the six-hour police standoff, a television reporter doing a live report at the scene is hit by a stray bullet. Amber quickly picks up the reporter's microphone and takes over reporting the story, impressing the news station with her poise and confidence. The film closes with a scene showing Amber as co-anchor of the evening news for Minneapolis\u2013St. Paul television station WAZB-TV, thus living her dream of possibly becoming the next Diane Sawyer."}
{"movie_name":"Spider-Man: No Way Home_2021","imdb_id":"tt10872600","script":"<script>\n  <scene>\n    <character>SERENITY NOW<\/character>\n    <dialogue>Written by<\/dialogue>\n    <scene_description>Chris McKenna &amp; Erik Sommers OVER SONY LOGO:<\/scene_description>\n    <character>NY1 REPORTER (V.O.)<\/character>\n    <dialogue>We come to you now with revelations about last week's attack in London. An anonymous source provided this video. It shows Quentin Beck, aka Mysterio, moments before his death. Warning: you may find this video disturbing.<\/dialogue>\n    <scene_description>OVER COLUMBIA LOGO:<\/scene_description>\n    <character>QUENTIN BECK (V.O.)<\/character>\n    <dialogue>I managed to send the Elemental back through the dimensional rift, but I don't think I'm gonna make it off this bridge alive. Spider-Man attacked me for some reason. He has an army of weaponized drones, Stark technology. He's saying he's the only one who's gonna be the new Iron Man, no one else.<\/dialogue>\n    <character>E.D.I.T.H. (V.O.)<\/character>\n    <dialogue>Are you sure you want to commence the drone attack? There will be significant casualties.<\/dialogue>\n    <character>SPIDER-MAN (V.O.)<\/character>\n    <dialogue>Do it! Execute them all!<\/dialogue>\n    <scene_description>DRONES FIRE! EXPLOSIONS from the Tower Bridge. OVER MARVEL LOGO:<\/scene_description>\n    <character>NY1 REPORTER (V.O.)<\/character>\n    <dialogue>This shocking video was released earlier today on the controversial news website TheDailyBugle.net.<\/dialogue>\n    <character>J. JONAH JAMESON (V.O.)<\/character>\n    <dialogue>There you have it, folks: conclusive proof that Spider-Man was responsible for the brutal murder of Mysterio! An inter- dimensional warrior who gave his life to protect our planet, and who will no doubt go down in history as the greatest superhero of all time. But that's not all, folks. Here's the real blockbuster. Brace yourselves, you might wanna sit down.<\/dialogue>\n    <character>QUENTIN BECK (V.O.)<\/character>\n    <dialogue>Spider-Man's real... Spider-Man's real name is...<\/dialogue>\n    <scene_description>A DISTORTED SOUND VORTEX, then--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MADISON SQUARE GARDEN - DAY<\/stage_direction>\n    <scene_description>The last moments of Quentin Beck's broadcast from the end of FAR FROM HOME.<\/scene_description>\n    <character>QUENTIN BECK<\/character>\n    <dialogue>Spider-Man's name is Peter Parker!<\/dialogue>\n    <scene_description>Peter Parker's SCHOOL PHOTO appears on the jumbo-screen.<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>What the f--!<\/dialogue>\n    <scene_description>SPIDER-MAN, crouched on the streetlamp, watches J. JONAH JAMESON on the jumbo-screen.<\/scene_description>\n    <character>J. JONAH JAMESON (ON SCREEN)<\/character>\n    <dialogue>That's right, folks. Peter Parker. A 17-year-old high school delinquent harboring a homicidal hunger is in fact the vile vigilante villain Spider-Man.<\/dialogue>\n    <scene_description>BYSTANDERS look up at Spider-Man with new eyes... then turn to MJ standing on the sidewalk.<\/scene_description>\n    <character>BYSTANDER #1 (O.S.)<\/character>\n    <parenthetical>(re: MJ)<\/parenthetical>\n    <dialogue>She knows him.<\/dialogue>\n    <character>BYSTANDER #2<\/character>\n    <parenthetical>(to MJ)<\/parenthetical>\n    <dialogue>Are you Spider-Man's girlfriend?<\/dialogue>\n    <character>BYSTANDER #1 (O.S.)<\/character>\n    <dialogue>They swung in together.<\/dialogue>\n    <character>BYSTANDER #2<\/character>\n    <parenthetical>(pushy)<\/parenthetical>\n    <dialogue>Are you Spider-Man's girlfriend?<\/dialogue>\n    <scene_description>People close in on MJ. Spider-Man quickly jumps down to protect her.<\/scene_description>\n    <character>BYSTANDER #1 (O.S.)<\/character>\n    <dialogue>Whoa, it's him!<\/dialogue>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Whoa whoa whoa. Please don't touch her.<\/dialogue>\n    <character>BYSTANDER #3<\/character>\n    <dialogue>You're just a kid?<\/dialogue>\n    <character>BYSTANDER #4<\/character>\n    <dialogue>You murdered Mysterio?<\/dialogue>\n    <parenthetical>(to MJ)<\/parenthetical>\n    <dialogue>You helped him murder Mysterio?<\/dialogue>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Uh... no, I didn't--<\/dialogue>\n    <scene_description>Bystander #4 reaches for Spider-Man's mask.<\/scene_description>\n    <character>BYSTANDER #4<\/character>\n    <dialogue>Come on kid, let me see that face.<\/dialogue>\n    <scene_description>Spider-Man swats her hand away.<\/scene_description>\n    <character>BYSTANDER #4<\/character>\n    <dialogue>He hit me! Spider-Man hit me!<\/dialogue>\n    <scene_description>The others react: whoa! Everyone FILMS ON THEIR PHONES as she holds up her arm.<\/scene_description>\n    <character>BYSTANDER #4<\/character>\n    <dialogue>He hit me! Spider-Man hit me!<\/dialogue>\n    <scene_description>A crowd forms, closing in... Spider-Man grabs MJ and WEBS OFF! A MAN jumps after, trying to seize them, but misses.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NYC STREETS\/QUEENSBOROUGH BRIDGE - MOMENTS LATER (DAY)<\/stage_direction>\n    <scene_description>Spider-Man, clutching MJ, SWINGS frantically.<\/scene_description>\n    <character>J. JONAH JAMESON (V.O.)<\/character>\n    <dialogue>All this time, people looked up to this boy and called him a hero. Well I'll tell you what I call him: Public Enemy #1.<\/dialogue>\n    <scene_description>MJ holds tight to Spider-Man.<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>I told you I never wanted to do this ever again!<\/dialogue>\n    <scene_description>Her hands cover part of his mask.<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>MJ, I'm so sorry, but I can't see anything with your hand in my--<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>I'm sorry. Sorry...<\/dialogue>\n    <scene_description>They swing past another jumbo-screen. It features half of Peter's face and half of Spider-Man's mask under the words: \"PUBLIC ENEMY #1.\"<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>Okay, where are we gonna go?<\/dialogue>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>I don't know! Your house?!<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>No, no! We cannot go to my house, my dad will kill you!<\/dialogue>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>What? I thought you said your dad really liked me?<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Yeah, well not anymore!<\/dialogue>\n    <scene_description>Spider-Man and MJ LAND on top of the Queensborough Bridge. Spider-Man's phone VIBRATES! He answers--<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <character>DUDE!<\/character>\n    <dialogue>NED appears on Spider-Man's phone.<\/dialogue>\n    <character>NED (ON PHONE)<\/character>\n    <dialogue>DUDE!<\/dialogue>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>DUDE!<\/dialogue>\n    <character>NED (ON PHONE)<\/character>\n    <dialogue>DUDE!<\/dialogue>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>DUDE!<\/dialogue>\n    <character>NED (ON PHONE)<\/character>\n    <dialogue>DUUUUDE!<\/dialogue>\n    <character>MJ<\/character>\n    <parenthetical>(to Spider-Man)<\/parenthetical>\n    <character>DUDE!<\/character>\n    <dialogue>Spider-Man has left MJ STANDING PRECARIOUSLY ATOP THE BRIDGE!<\/dialogue>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Ah, I'm so sorry. Are you okay?<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>No, not really. Uh...<\/dialogue>\n    <character>GONDOLA PASSENGER (O.S.)<\/character>\n    <dialogue>Yo, Peter!<\/dialogue>\n    <scene_description>Spider-Man and MJ turn to see-- The EYES OF THE WHOLE CITY are on them: CROWDS on the Roosevelt Gondola FILM THEM WITH PHONES. PEOPLE point from balconies and high-rise windows. ROAR! A NEWS HELICOPTER flies up to them! Suddenly joined by ANOTHER ONE!<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>We should go. We should go, come on!<\/dialogue>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>But you said you don't want to swing.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Swing me. You should just swing me, yeah!<\/dialogue>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Okay, we can take the subway.<\/dialogue>\n    <scene_description>Spider-Man grabs MJ and... DIVES off the bridge! MJ SCREAMS. BELOW: FLASH strolls along the sidewalk, staring at his phone. ANGLE ON HIS PHONE SCREEN: The Daily Bugle official TikTok shows the half Spider-Man, half Peter Parker photo.<\/scene_description>\n    <character>FLASH<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>Flash gawks at it in disbelief, totally oblivious as-- Spider-Man and MJ PLUMMET into view behind him... Spider-Man WEBBING a grate in the sidewalk... YANKING it up... DROPPING them through the hole and... SLAMMING it closed behind them!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN TUNNEL - CONTINUOUS (DAY)<\/stage_direction>\n    <scene_description>Clutching MJ, Spider-Man SWINGS through the tunnels until--<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>Look out!<\/dialogue>\n    <scene_description>A train coming right at them! VVWHOOM! Spider-Man STEERS them into a different tunnel just in time!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. QUEENS STREET - LATER (DAY)<\/stage_direction>\n    <scene_description>A manhole cover slides open. Spider-Man emerges, stopping to help a rattled MJ climb out.<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>That was so much worse! But it's okay.<\/dialogue>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Are you okay?<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Yeah, yeah... I'm okay.<\/dialogue>\n    <scene_description>Spider-Man WEBS the manhole shut, then gestures for MJ to hop back on.<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Come on, come on, come on! Okay...<\/dialogue>\n    <scene_description>MJ jumps into Peter's arms. As they swing off again--<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>I'm so sorry!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PETER &amp; MAY'S APARTMENT BUILDING - LATER (DAY)<\/stage_direction>\n    <scene_description>Still carrying MJ, Spider-Man swings and lands outside his bedroom window. An unsteady MJ lifts the glass as Spider-Man hoists her up.<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>I'm sorry!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETER &amp; MAY'S APARTMENT - LIVING ROOM - SAME TIME (DAY)<\/stage_direction>\n    <scene_description>HAPPY stands just outside the door to the apartment. His eyes are red and puffy. As MAY goes to shut the door--<\/scene_description>\n    <character>HAPPY<\/character>\n    <dialogue>I just feel so dumb. I didn't realize you were... miserable.<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>No, it was really fun. You know, that's why they call it a \"fling.\" And we flung.<\/dialogue>\n    <character>HAPPY<\/character>\n    <dialogue>It was fun. I could've been more fun. I can be fun.<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>We'll hang out again.<\/dialogue>\n    <character>HAPPY<\/character>\n    <dialogue>Wait. When do you think?<\/dialogue>\n    <scene_description>A CRASH. From Peter's bedroom. May and Happy turn to it. Happy goes into security mode, walking back into the apartment, headed towards Peter's room. May rolls her eyes, thinking he's making excuses to stay.<\/scene_description>\n    <character>HAPPY<\/character>\n    <dialogue>I should see what that is.<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>No. No no no no, Happy--<\/dialogue>\n    <character>HAPPY<\/character>\n    <dialogue>It's what I do.<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>He's always coming and going. It's not--<\/dialogue>\n    <character>HAPPY<\/character>\n    <dialogue>Peter?<\/dialogue>\n    <character>MJ (O.S.)<\/character>\n    <dialogue>Peter!<\/dialogue>\n    <character>PETER (O.S.)<\/character>\n    <dialogue>Uh... oh no!<\/dialogue>\n    <character>MJ (O.S.)<\/character>\n    <dialogue>Oh God. Peter!<\/dialogue>\n    <character>PETER (O.S.)<\/character>\n    <dialogue>I don't know what to do! Ah!<\/dialogue>\n    <character>MJ (O.S.)<\/character>\n    <dialogue>Peter, Peter!<\/dialogue>\n    <scene_description>As Happy SHOVES open the door--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETER &amp; MAY'S APARTMENT - PETER'S ROOM - CONT. (DAY)<\/stage_direction>\n    <scene_description>Peter stands in front of MJ, in the act of taking off his suit. Both are startled and look guilty. All signs point to an interrupted romantic moment.<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>Oh, I can--<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Oh my God! Um...<\/dialogue>\n    <character>HAPPY<\/character>\n    <parenthetical>(covering his eyes)<\/parenthetical>\n    <dialogue>I didn't see anything.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>This isn't what it looks like!<\/dialogue>\n    <scene_description>May goes to shut the door--<\/scene_description>\n    <character>MAY<\/character>\n    <dialogue>I'm so sorry. Practice safe--<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>No no no, May, this is not what it looks like! May!<\/dialogue>\n    <scene_description>Then May turns back around and realizes--<\/scene_description>\n    <character>MAY<\/character>\n    <dialogue>Oh, hey! You must be MJ.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Yeah, sorry. Nice to meet you.<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>So nice to meet you.<\/dialogue>\n    <scene_description>As May and MJ shake hands, Peter notices Happy's face.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Wait, have you been crying?<\/dialogue>\n    <character>HAPPY<\/character>\n    <dialogue>We broke up.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>QUEENS RESIDENT #1 (O.S.)<\/character>\n    <dialogue>Hey, Spider-Man!<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(panicking)<\/parenthetical>\n    <dialogue>Oh! Uh--<\/dialogue>\n    <scene_description>Peter quickly webs the blinds shut. MJ hands him a T-shirt.<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>(to MJ)<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <parenthetical>(to May)<\/parenthetical>\n    <dialogue>I didn't know you guys broke up. I thought you were in love, May.<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>No, it was a moment in time.<\/dialogue>\n    <scene_description>Peter rushes May out of his room.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Can we talk about this in the kitchen?<\/dialogue>\n    <character>HAPPY<\/character>\n    <dialogue>You know I should probably leave. I think...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETER &amp; MAY'S APT. - HALLWAY\/LIVING ROOM - CONT. (DAY)<\/stage_direction>\n    <scene_description>Peter and May move down the hallway.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I, uh... I thought you guys were such a handsome couple.<\/dialogue>\n    <character>MAY<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>You know it's really about boundaries.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Oh, okay.<\/dialogue>\n    <scene_description>BUZZ! The building's front door!<\/scene_description>\n    <character>MAY<\/character>\n    <dialogue>Let me answer the door.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Oh, hang on. Let's go in here.<\/dialogue>\n    <scene_description>Peter steers May to the living room.<\/scene_description>\n    <character>HAPPY<\/character>\n    <dialogue>Is that the door?<\/dialogue>\n    <character>NOSEY NEIGHBOR<\/character>\n    <parenthetical>(peering in)<\/parenthetical>\n    <dialogue>Hey, is it true?<\/dialogue>\n    <character>HAPPY<\/character>\n    <dialogue>I was gonna go, but--<\/dialogue>\n    <scene_description>MJ hurries to shut the door on a NOSEY NEIGHBOR.<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>Not now!<\/dialogue>\n    <character>HAPPY<\/character>\n    <dialogue>--I'll stick around if you want.<\/dialogue>\n    <scene_description>The Neighbor KNOCKS:<\/scene_description>\n    <character>NOSEY NEIGHBOR (O.S.)<\/character>\n    <dialogue>Open up!<\/dialogue>\n    <scene_description>Peter sits May down.<\/scene_description>\n    <character>MAY<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>I didn't know you were so awkward about sex, Peter.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>This has nothing to do with sex!<\/dialogue>\n    <scene_description>MJ runs to shut one of the living room blinds while... BUZZ- BUZZ! The front door rings again.<\/scene_description>\n    <character>HAPPY<\/character>\n    <dialogue>Look, I'm really feeling like I shouldn't be part of this conversation. I should go, but if you wanna go over it again, I mean, I'm--<\/dialogue>\n    <scene_description>COMMOTION from outside the building.<\/scene_description>\n    <character>HAPPY<\/character>\n    <dialogue>What's that sound?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Uh...<\/dialogue>\n    <scene_description>Peter rushes to the remaining windows, shutting the blinds.<\/scene_description>\n    <character>QUEENS RESIDENT #2 (O.S.)<\/character>\n    <dialogue>Hey, Spider-Man!<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>Oh my God...<\/dialogue>\n    <character>HAPPY<\/character>\n    <parenthetical>(to May)<\/parenthetical>\n    <dialogue>I don't know what to do here. I... I mean, I'm happy to rehash it if you want to. But I just don't--<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>No, you take care of your side of the street and I'll take care of mine.<\/dialogue>\n    <scene_description>The COMMOTION outside continues to build, as Peter reaches to close the last blind.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I just want to tal--<\/dialogue>\n    <scene_description>The blind POPS OPEN. Peter goes back, webs it shut, as-- RING RING! Happy and May's phones light up with messages and calls.<\/scene_description>\n    <character>MAY<\/character>\n    <dialogue>What is happening with my phone? Mine is blowing up...<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Okay--<\/dialogue>\n    <scene_description>Peter frantically grabs their phones.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Will you get off your phones for, like, five minutes?! I just want to talk to you about your relationship. Okay?!<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Peter?<\/dialogue>\n    <scene_description>MJ points to the TV.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Peter, May, and Happy turn towards the TV. The local news is live with helicopter footage of the outside of the apartment. The lower third graphic reads: \"SPIDER-MAN'S IDENTITY REVEALED.\"<\/scene_description>\n    <character>MAY<\/character>\n    <parenthetical>(gasps)<\/parenthetical>\n    <dialogue>Is that--<\/dialogue>\n    <character>HAPPY<\/character>\n    <dialogue>Is that here?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Um...<\/dialogue>\n    <scene_description>The distraction is over. Peter sighs, slumps over, and pulls up the blind TO REVEAL... INSANITY. HELICOPTERS. PEOPLE gathered on the streets and nearby rooftops, calling out Peter's name. May and Happy join Peter at the window. Looking out at the chaos. Mouths agape.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I mean, maybe it's not such a big deal?<\/dialogue>\n    <scene_description>SMASH TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>NEWS BROADCAST: INT. DAILY BUGLE.NET NEWS DESK - DAY<\/stage_direction>\n    <character>J. JONAH JAMESON (V.O.)<\/character>\n    <dialogue>SPIDER-MENACE!<\/dialogue>\n    <scene_description>CLOSE ON a \"WANTED FOR MURDER\" sign with Peter's alarmed face. Over that, someone has given Peter devil's horns and graffitied in bright red ink: \"CRIMINAL!\" FLASH! The image turns black -- a photo-negative -- and slides towards the upper righthand corner of the screen to reveal J. Jonah Jameson at TheDailyBugle.net news desk.<\/scene_description>\n    <character>J. JONAH JAMESON<\/character>\n    <dialogue>Governments around the world launch investigations into the murderer known as Spider-Man!<\/dialogue>\n    <scene_description>The onscreen graphic changes to Peter's school photo next to a pair of handcuffs and a headstone that reads: \"MYSTERIO.\"<\/scene_description>\n    <character>J. JONAH JAMESON<\/character>\n    <dialogue>A.k.a Peter Parker! A.k.a. The Web-Headed War Criminal--<\/dialogue>\n    <scene_description>PULL WIDE to reveal Jameson's \"news desk\" is a cheap digital backdrop in a cluttered, conspiracy theorist's apartment.<\/scene_description>\n    <character>J. JONAH JAMESON<\/character>\n    <dialogue>--Who for years has been terrorizing the decent citizens of New York.<\/dialogue>\n    <scene_description>FLASH TO various newspaper and magazine covers: -- THE NEW YORK DAILY NEWS: The school photos of Peter, MJ, and Ned have been photoshopped into mug shots under a headline that reads, \"TRIO OF TERROR: PARKER'S CRONIES REVEALED!\" -- TIME MAGAZINE: An illustration of Spider-Man as a crying baby in a diaper under a headline that reads, \"IRON MAN JR? HOW DID A RECKLESS TEENAGER BECOME TONY STARK'S HEIR APPARENT?\" -- IN-TOUCH WEEKLY: Half of Spider-Man's mask over half of Peter Parker's face. The headline reads, \"WORLD EXCLUSIVE! TWO FACED -- HOW PARKER MAINTAINED HIS DUPLICITOUS DOUBLE LIFE AND WHY HE CAN'T BE TRUSTED.\"<\/scene_description>\n    <character>J. JONAH JAMESON<\/character>\n    <dialogue>Well now this city, and the world, see him for what he truly is!<\/dialogue>\n    <scene_description>AMATEUR PHONE CAMERA FOOTAGE of Spider-Man being doused with green paint as someone yells:<\/scene_description>\n    <character>MYSTERIO FANATIC (O.S.)<\/character>\n    <dialogue>Murderer! Mysterio forever!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>NEWS BROADCAST: INT. BRITISH NEWS DESK - DAY<\/stage_direction>\n    <scene_description>A BRITISH ANCHOR sits behind a news desk, mid-broadcast.<\/scene_description>\n    <character>BRITISH ANCHOR<\/character>\n    <dialogue>New details from last week's devastating attack in London have emerged.<\/dialogue>\n    <scene_description>FOOTAGE of the Tower Bridge attack from FAR FROM HOME. The lower third graphic reads, \"BREAKING NEWS: LONDON ATTACK.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PETER &amp; MAY'S APARTMENT BUILDING - NIGHT<\/stage_direction>\n    <scene_description>NEWS VANS. CROWDS OF PEOPLE outside Peter's home, holding signs and chanting.<\/scene_description>\n    <character>BRITISH ANCHOR (V.O.)<\/character>\n    <dialogue>For more, we go now to Joint Intelligence headquarters.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETER &amp; MAY'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Peter and May are watching the NEWS, still in shock.<\/scene_description>\n    <character>IRISH REPORTER (V.O.)<\/character>\n    <dialogue>Authorities, just a short while ago, confirmed--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>NEWS BROADCAST: INT. WAREHOUSE - DAY<\/stage_direction>\n    <scene_description>AUTHORITIES sift through hundreds of broken Stark drones, each sectioned off as evidence in taped-off quadrants.<\/scene_description>\n    <character>IRISH REPORTER (V.O.)<\/character>\n    <dialogue>--That the deadly drones used in the London attack were designed by Stark Industries.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETER &amp; MAY'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>A loud KNOCK at the front door.<\/scene_description>\n    <character>STERN VOICE (O.S.)<\/character>\n    <dialogue>Federal agents! Open up!<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>Federal agents?<\/dialogue>\n    <parenthetical>(to Peter)<\/parenthetical>\n    <dialogue>You stay here!<\/dialogue>\n    <scene_description>May opens the door to a group of DAMAGE CONTROL AGENTS, led by AGENT CLEARY.<\/scene_description>\n    <character>AGENT CLEARY<\/character>\n    <dialogue>Department of Damage Control. We have a warrant for the arrest of Peter Parker.<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>You know the Fourth Amendment?<\/dialogue>\n    <character>AGENT CLEARY<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>\"Unreasonable search and seizure?\"<\/dialogue>\n    <character>AGENT CLEARY<\/character>\n    <dialogue>Get in here guys. Let's go!<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>You are not getting in this house!<\/dialogue>\n    <scene_description>As DoDC Agents push past May-- FLASH! Agents photograph evidence inside the apartment: -- A framed photo of Ned and MJ at the school dance in HOMECOMING. -- The Iron Spider Suit charging chamber, next to a sign that reads: \"Iron Spider Charging, DO NOT UNPLUG.\" -- The glasses Tony left to Peter in FAR FROM HOME.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAMAGE CONTROL - INTERROGATION ROOM #1 - LATER (NIGHT)<\/stage_direction>\n    <scene_description>Agent Cleary interrogates Peter.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I didn't kill Quentin Beck, the drones did.<\/dialogue>\n    <character>AGENT CLEARY<\/character>\n    <dialogue>The drones that are yours.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>No! Well look-- Nick Fury was there the entire time. Just ask him and he can explain everything.<\/dialogue>\n    <character>AGENT CLEARY<\/character>\n    <dialogue>Nick Fury has been off-planet for the last year.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(totally confused)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>MJ (O.S.)<\/character>\n    <dialogue>Peter!<\/dialogue>\n    <scene_description>Just outside the glass walls of the interrogation room, DoDC AGENTS bring in May, MJ, and Ned for questioning.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>MJ!<\/dialogue>\n    <parenthetical>(to Agent Cleary)<\/parenthetical>\n    <dialogue>Ah, they have nothing to do with this, sir!<\/dialogue>\n    <character>MAY\/MJ<\/character>\n    <dialogue>Don't say anything without a lawyer!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAMAGE CONTROL - INTERROGATION ROOM #2 - LATER (NIGHT)<\/stage_direction>\n    <scene_description>MJ is interrogated.<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>I want a lawyer.<\/dialogue>\n    <character>AGENT CLEARY<\/character>\n    <dialogue>Miss Jones-Watson--<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Jones. I don't go by Watson.<\/dialogue>\n    <character>AGENT CLEARY<\/character>\n    <dialogue>Miss Jones, why do you want a lawyer if--<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>\"If I have nothing to hide?\"<\/dialogue>\n    <character>AGENT CLEARY<\/character>\n    <dialogue>Exactly. Unless--<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>\"I'm actually guilty of something?\" I'm very aware of your tactics and my rights.<\/dialogue>\n    <character>AGENT CLEARY<\/character>\n    <dialogue>Just answer my questions. I've seen your file. You're a smart, young woman with a bright future ahead of her. Why would you risk it all by getting involved with a vigilante like Peter Parker?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAMAGE CONTROL - INTERROGATION ROOM #3 - LATER (NIGHT)<\/stage_direction>\n    <scene_description>Ned sits, scared. Cleary enters with a fellow DoDC AGENT.<\/scene_description>\n    <character>AGENT CLEARY<\/character>\n    <dialogue>So sorry to keep you waiting.<\/dialogue>\n    <parenthetical>(to DoDC Agent)<\/parenthetical>\n    <dialogue>Can we get Ned a snack, please?<\/dialogue>\n    <character>DODC AGENT<\/character>\n    <dialogue>Absolutely.<\/dialogue>\n    <character>AGENT CLEARY<\/character>\n    <dialogue>He's been waiting here!<\/dialogue>\n    <character>DODC AGENT<\/character>\n    <dialogue>I got ya--<\/dialogue>\n    <scene_description>The DoDC Agent exits.<\/scene_description>\n    <character>AGENT CLEARY<\/character>\n    <parenthetical>(to Ned)<\/parenthetical>\n    <dialogue>Dude, I'm so sorry about that.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>I'm not supposed to say anything to you.<\/dialogue>\n    <character>AGENT CLEARY<\/character>\n    <dialogue>No, Ned. Not even a thing. I just have one question: when MJ told you that Peter was Spider-Man--<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Whoa whoa whoa.<\/dialogue>\n    <character>AGENT CLEARY<\/character>\n    <dialogue>What's up?<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>I knew way before MJ did. I was Spider-Man's \"Guy In The Chair.\"<\/dialogue>\n    <character>AGENT CLEARY<\/character>\n    <dialogue>Oh, I know about those. Dude, half my guys are Guys in the Chair.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Well, exactly! You would know. I literally helped him find the Vulture.<\/dialogue>\n    <character>AGENT CLEARY<\/character>\n    <parenthetical>(impressed)<\/parenthetical>\n    <dialogue>I didn't know that.<\/dialogue>\n    <character>NED<\/character>\n    <parenthetical>(proud)<\/parenthetical>\n    <dialogue>And I helped him hack a suit once and kind of helped him get to space.<\/dialogue>\n    <character>AGENT CLEARY<\/character>\n    <dialogue>So, in Spider-Man's illegal vigilanteism, you were his main accomplice.<\/dialogue>\n    <character>NED<\/character>\n    <parenthetical>(beat, scared)<\/parenthetical>\n    <dialogue>I would like to have my words stricken from the record.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAMAGE CONTROL - INTERROGATION ROOM #4 - LATER (NIGHT)<\/stage_direction>\n    <scene_description>May is interrogated by Cleary.<\/scene_description>\n    <character>MAY<\/character>\n    <dialogue>With all due respect -- and I mean that very insincerely -- unless you have some real specific charges to throw at us, legally you can't hold us here.<\/dialogue>\n    <character>AGENT CLEARY<\/character>\n    <dialogue>You should definitely lawyer up.<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>AGENT CLEARY<\/character>\n    <dialogue>Child endangerment's a nasty rap. A boy was entrusted to you, and as his legal guardian -- essentially his mother -- you not only allowed him to endanger himself, but you actually encouraged it. Who does that?<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>I want to see Peter right now!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STARK INDUSTRIES - NIGHT<\/stage_direction>\n    <scene_description>DoDC trucks rumble away from a Stark Industries facility, as over this:<\/scene_description>\n    <character>NY1 REPORTER (V.O.)<\/character>\n    <dialogue>Stark Industries was caught in the web of the Spider-Man\/Mysterio controversy today when federal agents opened an investigation into missing Stark Technology.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETER &amp; MAY'S APARTMENT - LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>The same news broadcast plays on May's TV.<\/scene_description>\n    <character>NY1 REPORTER (V.O.)<\/character>\n    <dialogue>Agents want to know exactly what was taken and whether or not it could fall into the wrong hands.<\/dialogue>\n    <scene_description>ON THE TV: A dated photo of Happy with long hair. The graphic next to it reads, \"NO COMMENT AT THIS TIME. - HAROLD HOGAN, STARK INDUSTRIES SECURITY.\"<\/scene_description>\n    <character>HAPPY<\/character>\n    <dialogue>At least they used a good picture.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(defeated)<\/parenthetical>\n    <dialogue>What is happening?<\/dialogue>\n    <scene_description>PULL BACK to reveal a man with a cane, Peter's LAWYER--<\/scene_description>\n    <character>MATT MURDOCK<\/character>\n    <parenthetical>(on the phone)<\/parenthetical>\n    <dialogue>That's great. Thank you.<\/dialogue>\n    <parenthetical>(hangs up)<\/parenthetical>\n    <dialogue>Well, I have some good news, Peter. I don't believe any of the charges against you are going to stick.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(relieved)<\/parenthetical>\n    <dialogue>Wait, seriously?!<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>Oh, I knew it.<\/dialogue>\n    <character>HAPPY<\/character>\n    <dialogue>Nice!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Oh my God, Mr. Murdock. Thank you! That's amazing!<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>Thank you, Matt.<\/dialogue>\n    <character>MATT MURDOCK<\/character>\n    <dialogue>You're welcome.<\/dialogue>\n    <character>HAPPY<\/character>\n    <dialogue>Perfect!<\/dialogue>\n    <character>MATT MURDOCK<\/character>\n    <dialogue>However, Mr. Hogan...<\/dialogue>\n    <character>HAPPY<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>MATT MURDOCK<\/character>\n    <dialogue>The feds are actively investigating the missing technology. I uh, understand your loyalty to Mr. Stark and his legacy. But if you were involved--<\/dialogue>\n    <character>HAPPY<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>If I was involved?<\/dialogue>\n    <character>MATT MURDOCK<\/character>\n    <dialogue>I advise securing a lawyer.<\/dialogue>\n    <character>HAPPY<\/character>\n    <parenthetical>(panicking)<\/parenthetical>\n    <dialogue>I need a lawyer because I'm-- I'm under investigation?<\/dialogue>\n    <parenthetical>(re: Peter)<\/parenthetical>\n    <dialogue>I thought he was-- You said that there were no charges. I could say, \"Under advisement of council, I refuse to answer the question, respectfully, because I-- The answer could incriminate me--\" It's the saying in Goodfellas. What did they say in Goodfellas?<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>I know that's what you think. Calm down, let's hear what he has to say. Matt?<\/dialogue>\n    <character>MATT MURDOCK<\/character>\n    <dialogue>You're gonna need a really good lawyer.<\/dialogue>\n    <parenthetical>(to Peter)<\/parenthetical>\n    <dialogue>Peter, you may have dodged your legal troubles, but things will get much worse. There is still the court of public opinion.<\/dialogue>\n    <dialogue>CRASH! A projectile BURSTS through the window... hurtling right at the four of them until--<\/dialogue>\n    <dialogue>Despite being completely blind, Murdock deftly CATCHES it in mid-air!<\/dialogue>\n    <character>MYSTERIO FAN (O.S.)<\/character>\n    <dialogue>Murderer! Mysterio forever!<\/dialogue>\n    <scene_description>Peter, May, and Happy are confused.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>How did you just do that?<\/dialogue>\n    <character>MATT MURDOCK<\/character>\n    <dialogue>I'm a really good lawyer.<\/dialogue>\n    <scene_description>Reveal the projectile is a brick wrapped in newspaper. On it, someone has misspelled: \"WE BELEIVE MYSTERIO.\"<\/scene_description>\n    <character>MAY<\/character>\n    <dialogue>We're gonna need a safer place to live.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAPPY'S CONDO BUILDING - ESTABLISHING SHOT - DAY<\/stage_direction>\n    <scene_description>PAN UP from the East River to see the large, block letters of the \"LONG ISLAND, LONG ISLAND\" sign. High-rises dot the shorefront.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - DAY<\/stage_direction>\n    <scene_description>CLICK! CLICK! CLICK! The three locks on the door open. Peter and May enter carrying their suitcases and belongings. An alarm SOUNDS overhead, while a large security monitor by the front door blinks with a message: \"ENTER ID CODE.\"<\/scene_description>\n    <character>MAY<\/character>\n    <dialogue>Oh...<\/dialogue>\n    <parenthetical>(covers ears)<\/parenthetical>\n    <dialogue>Ah!<\/dialogue>\n    <scene_description>May turns the alarm off.<\/scene_description>\n    <character>ALARM SYSTEM VOICE (V.O.)<\/character>\n    <dialogue>Alarm system deactivated.<\/dialogue>\n    <scene_description>They look around at a nightmare of a bachelor pad: framed Knicks and Islanders jerseys, a neon hot rod light, a putting turf, and Tony's old robot DUM-E. It waves at Peter and May. May stares at it all. Taking it in.<\/scene_description>\n    <character>MAY<\/character>\n    <dialogue>Huh... it looks nice and... this is safe.<\/dialogue>\n    <scene_description>Happy enters behind them carrying bags and a plant.<\/scene_description>\n    <character>HAPPY<\/character>\n    <dialogue>Welcome to the spiritual oasis. You like Donkey Kong Jr.?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - STORAGE ROOM - NIGHT<\/stage_direction>\n    <scene_description>Happy's half-finished laundry room\/storage space. Peter leans over the sink trying to scrub the green paint off his red and black suit. A radio broadcast plays in BG.<\/scene_description>\n    <character>RADIO BROADCASTER (V.O.)<\/character>\n    <dialogue>Nicky from Jersey City, you're on the line.<\/dialogue>\n    <character>NICKY (V.O.)<\/character>\n    <dialogue>Hi, I'm not saying I don't want to honor the Avengers, but, you know, we're not doing it this way. You know, putting the Captain America shield on the Statue of Liberty? Nah.<\/dialogue>\n    <scene_description>But the green paint isn't budging. Peter sighs.<\/scene_description>\n    <character>NICKY (V.O.)<\/character>\n    <dialogue>That's gonna look ridiculous! Leave the Statue of Liberty alone...<\/dialogue>\n    <scene_description>FWHIP! Peter grabs a nearby tarp and dries his hands with it. Then he notices -- the tarp was covering a large object marked \"Stark Cases.\" As it hits Peter what the case is...<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Oh Happy...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - LIVING ROOM\/INT. MJ'S BEDROOM - INTERCUT<\/stage_direction>\n    <scene_description>- NIGHT ANGLE ON the security monitor of Happy's condo. All is still and quiet, save for-- Peter lies on the couch talking with MJ via FaceTime.<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>Did you send in your applications yet?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I literally just finished my MIT one. You?<\/dialogue>\n    <character>MJ<\/character>\n    <parenthetical>(nodding)<\/parenthetical>\n    <dialogue>Same.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Can you imagine if we both got in? And Ned.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Yeah, but we'd have to get scholarships so that we could actually go.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Come on, you've got the scores and the grades and--<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>You think I'm being too pragmatic.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>No no no no no...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Well, kinda. It's okay. That's one of my favorite things about you.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Well what are your other favorite things?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I love your relentless optimism.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Yeah, I am a glass half-full kind of gal.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I really like how you're a people person.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>I love people. I love them so much.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You like sports.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>I think the Mets are gonna go all the way this year.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(skeptical)<\/parenthetical>\n    <dialogue>Really?<\/dialogue>\n    <scene_description>A low, persistent NOISE in the background.<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>What's that noise?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Oh, it's Happy. Look. He gave his room to May so he's sleeping down here.<\/dialogue>\n    <scene_description>He shifts his phone so MJ can see-- PHONE POV: Happy sleeping on the couch, wearing a sleep apnea mask and SNORING LOUDLY.<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>I have a weird question. Um... does any part of you feel relieved about all this?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Ever since I got bit by that spider, I've only had one week where my life has felt normal. Or kinda normal, I guess. And... that was when you found out. Because then everyone that was in my life that I wanted to know, knew. And it was perfect.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>But now everybody knows. And I am the most famous person in the entire world... and I'm still broke.<\/dialogue>\n    <scene_description>They laugh.<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>I'm excited to see you tomorrow.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Yeah, me too.<\/dialogue>\n    <scene_description>A tender moment between the two. Until--<\/scene_description>\n    <character>HAPPY<\/character>\n    <dialogue>Wrap it up!<\/dialogue>\n    <scene_description>Peter jumps! Turns to see--<\/scene_description>\n    <character>HAPPY<\/character>\n    <parenthetical>(through his sleep apnea mask)<\/parenthetical>\n    <dialogue>You both like each other, we get it. Hang up. There's no new ground being broken. Okay? I need my eight hours.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(to Happy)<\/parenthetical>\n    <dialogue>Have you been listening this whole time?<\/dialogue>\n    <scene_description>MJ waves on Peter's phone screen.<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>Hi, Happy.<\/dialogue>\n    <character>HAPPY<\/character>\n    <dialogue>Uh... not by choice.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>MJ says hi.<\/dialogue>\n    <character>HAPPY<\/character>\n    <parenthetical>(to MJ, waves)<\/parenthetical>\n    <dialogue>Hello.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIDTOWN HIGH - ESTABLISHING SHOT - DAY<\/stage_direction>\n    <character>BETTY (V.O.)<\/character>\n    <dialogue>We're covering the first day of senior year from Midtown High's most famous student...<\/dialogue>\n    <scene_description>Just outside the front doors, it's CHAOS. FANS, PROTESTERS, REPORTERS, etc. Including BETTY BRANT, in school reporter mode.<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>Peter Parker! Go get 'em, tiger. Or should I say, \"Spider?\"<\/dialogue>\n    <scene_description>Peter, MJ, and Ned walk down the corridor of chaos.<\/scene_description>\n    <character>NEWS REPORTER (V.O.)<\/character>\n    <dialogue>The crowd has continued to grow here all morning long at the Midtown School of Science and Technology--<\/dialogue>\n    <scene_description>Peter and MJ hold hands in support of one another.<\/scene_description>\n    <character>ANOTHER NEWS REPORTER (V.O.)<\/character>\n    <dialogue>The crowd seems evenly divided between supporters of Spider-Man and protestors.<\/dialogue>\n    <character>CROWD MEMBER #1<\/character>\n    <dialogue>MJ! MJ! MJ! We love you!<\/dialogue>\n    <scene_description>A MAN with MJ's face printed on his shirt yells for her attention.<\/scene_description>\n    <character>CROWD MEMBER #1<\/character>\n    <dialogue>MJ, are you going to have his spider babies?!<\/dialogue>\n    <scene_description>The crowd is growing closer and closer to Peter and MJ. They keep their heads down as SECURITY guides them through.<\/scene_description>\n    <character>SECURITY GUARD<\/character>\n    <dialogue>Back up! Back up!<\/dialogue>\n    <character>CROWD MEMBER #2<\/character>\n    <dialogue>You know he's a murderer, right?!<\/dialogue>\n    <character>CROWD MEMBER #3<\/character>\n    <dialogue>Hey Peter, come here, do a TikTok with me!<\/dialogue>\n    <character>CROWD MEMBER #4<\/character>\n    <dialogue>Hey! Let's see you and MJ kiss!<\/dialogue>\n    <character>NED<\/character>\n    <parenthetical>(to crowd)<\/parenthetical>\n    <dialogue>Back off!<\/dialogue>\n    <character>CROWD MEMBER #5<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>I'm Ned Leeds, I'm Spider-Man's best friend--<\/dialogue>\n    <character>FLASH<\/character>\n    <parenthetical>(stepping in)<\/parenthetical>\n    <dialogue>--I'm Peter Parker's best friend. You come at my boy, you come at Flash Thompson. And if you want to read about our inspiring friendship, you can now in my new book--<\/dialogue>\n    <scene_description>Flash holds up a BOOK with his portrait on the cover.<\/scene_description>\n    <character>FLASH<\/character>\n    <dialogue>--Flashpoint: One Spider, Two Hearts, a Million Crazy-Ass Memories. Check it out!<\/dialogue>\n    <scene_description>Ned walks off annoyed. Peter and MJ are stopped at the bottom of the school steps. Security scans Peter with a metal detector and separates him from MJ.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>No, I got to wait up--<\/dialogue>\n    <character>FRONT DOOR GUARD<\/character>\n    <dialogue>Go!<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(to MJ)<\/parenthetical>\n    <dialogue>I'll see you inside, okay?<\/dialogue>\n    <scene_description>MJ nods, as she too is scanned with the metal detector.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIDTOWN HIGH - ENTRYWAY\/HALLWAY - MOMENTS LATER (DAY)<\/stage_direction>\n    <scene_description>STUDENTS watch Betty's news coverage on the TVs.<\/scene_description>\n    <character>BETTY (ON TV)<\/character>\n    <dialogue>Keep watching Midtown News all year as we bring you up close and personal coverage of Peter fighting his biggest battle yet: college admissions.<\/dialogue>\n    <scene_description>Peter walks up the stairwell to find MR. DELL, MR. HARRINGTON, and COACH WILSON waiting for him. It's weird.<\/scene_description>\n    <character>MR. DELL<\/character>\n    <parenthetical>(big smile)<\/parenthetical>\n    <dialogue>Peter, we would love to welcome you back to Midtown High, where we shape heroes!<\/dialogue>\n    <scene_description>Mr. Harrington gestures to a nearby trophy case -- it's been turned into a SHRINE TO PETER. Above it is a homemade sign that reads: \"MIDTOWN HIGH -- WHERE WE SHAPE HEROES.\"<\/scene_description>\n    <character>COACH WILSON<\/character>\n    <dialogue>Or murderers...<\/dialogue>\n    <character>MR. HARRINGTON<\/character>\n    <dialogue>Stop it.<\/dialogue>\n    <parenthetical>(to Peter)<\/parenthetical>\n    <dialogue>It's an honor to serve you, sir.<\/dialogue>\n    <scene_description>Mr. Harrington salutes Peter. Is that a tear?<\/scene_description>\n    <character>COACH WILSON<\/character>\n    <dialogue>It's not. Mysterio was right.<\/dialogue>\n    <character>MR. HARRINGTON<\/character>\n    <dialogue>Stop. We don't--<\/dialogue>\n    <character>COACH WILSON<\/character>\n    <dialogue>Mysterio was right.<\/dialogue>\n    <character>MR. HARRINGTON<\/character>\n    <dialogue>That's all--<\/dialogue>\n    <parenthetical>(to Peter)<\/parenthetical>\n    <dialogue>Some of the students put this together for you.<\/dialogue>\n    <scene_description>Mr. Harrington and Mr. Dell redirect attention to the trophy case.<\/scene_description>\n    <character>COACH WILSON<\/character>\n    <parenthetical>(to Mr. Harrington)<\/parenthetical>\n    <dialogue>No. You did that! You did that.<\/dialogue>\n    <character>MR. HARRINGTON<\/character>\n    <dialogue>I... I helped a little bit.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(politely)<\/parenthetical>\n    <dialogue>Oh wow.<\/dialogue>\n    <character>COACH WILSON<\/character>\n    <dialogue>And I tried to stop you so many times, but you powered through. He did all of that.<\/dialogue>\n    <character>MR. DELL<\/character>\n    <dialogue>And he did a great job.<\/dialogue>\n    <character>MR. HARRINGTON<\/character>\n    <parenthetical>(to Peter)<\/parenthetical>\n    <dialogue>I hope you have time to stop and check it out, in closeup.<\/dialogue>\n    <character>MR. DELL<\/character>\n    <dialogue>And feel free to walk -- or swing -- through the hallway, or crawl on the ceiling to avoid everybody.<\/dialogue>\n    <character>MR. HARRINGTON<\/character>\n    <dialogue>We all know you can do it.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I'm just gonna...<\/dialogue>\n    <scene_description>As Peter heads off--<\/scene_description>\n    <character>COACH WILSON<\/character>\n    <dialogue>I know what you did.<\/dialogue>\n    <character>MR. HARRINGTON<\/character>\n    <dialogue>Stop it. You're embarrassing yourself.<\/dialogue>\n    <character>COACH WILSON<\/character>\n    <parenthetical>(to Peter)<\/parenthetical>\n    <dialogue>I know what you did.<\/dialogue>\n    <character>MR. HARRINGTON<\/character>\n    <parenthetical>(to Peter, re: Coach Wilson)<\/parenthetical>\n    <dialogue>He's a conspiracy theorist.<\/dialogue>\n    <scene_description>Peter, weirded out, walks down the long hallway of students, all crowding and reaching to get his picture. It's incredibly awkward.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIDTOWN ROOFTOP - LATER (DAY)<\/stage_direction>\n    <scene_description>A total contrast. Quiet. No one around. MJ reads from The New York Post, as Peter leans back and watches the clouds.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Can we just, like, stay up here all day? It is so crazy down there.<\/dialogue>\n    <scene_description>On the front page of the paper: a depiction of Peter controlling MJ and Ned with puppet strings. The headline reads: \"PETER PARKER &amp; HIS SPIDER-MINIONS.\"<\/scene_description>\n    <character>MJ<\/character>\n    <parenthetical>(re: newspaper)<\/parenthetical>\n    <dialogue>Oh wait, this one's good.<\/dialogue>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>\"Some suggest that Parker's powers include the male spider's ability to 'hypnotize' females, which he used to seduce Jones-Watson into his cult of personality.\"<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Oh come on... stop. Stop!<\/dialogue>\n    <character>MJ<\/character>\n    <parenthetical>(mock trance-like)<\/parenthetical>\n    <dialogue>Yes, my Spider-Lord.<\/dialogue>\n    <scene_description>It actually turns into a romantic moment, and they're about to kiss when... Ned clambers up onto the roof.<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>Finally, some privacy! It is so crazy down there!<\/dialogue>\n    <scene_description>Ned plops down next to them. Romantic moment spoiled.<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>So, I was thinking, when we get into MIT, we should live together.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Yeah, for sure.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Yeah, I'd love that.<\/dialogue>\n    <scene_description>Ned turns his laptop to show the MIT webpage -- a video of students playing frisbee on the quad.<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>This is gonna be us.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Yes, minus the frisbee. And the smiling.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>MIT's obviously the dream, but if we match up our backup schools, then either way we'll all be together in Boston. New school. New town. I can Spider-Man there.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I mean, they have crime in Boston, right?<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Yes, yes they do.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Yeah, wicked crime.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Yeah, so it'll be like a fresh start.<\/dialogue>\n    <scene_description>MJ sees how sincere he is, how much he wants this. But she's skeptical.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>What's up?<\/dialogue>\n    <character>MJ<\/character>\n    <parenthetical>(hesitant)<\/parenthetical>\n    <dialogue>I don't know, I just feel like if you don't-- If you expect disappointment, then you can never really get disappointed.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <scene_description>Peter takes her hand.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>It'll be a fresh start. And we'll all be together.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Yeah, no you're right, yeah. Fresh start.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Ned cluelessly takes their clasped hands -- another romantic moment spoiled.<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>Fresh start.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - KITCHEN - ANOTHER DAY<\/stage_direction>\n    <scene_description>May holds up a (non-MIT) college admissions envelope. (In the BG, DUM-E is just beginning to put together the LEGO Death Star from HOMECOMING.)<\/scene_description>\n    <character>MAY<\/character>\n    <dialogue>First one's here!<\/dialogue>\n    <scene_description>CUT TO: May punches the letter. Rejection.<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>(still optimistic)<\/parenthetical>\n    <dialogue>It's okay. It's a backup school.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - KITCHEN - ANOTHER DAY<\/stage_direction>\n    <scene_description>May runs in with another letter.<\/scene_description>\n    <character>MAY<\/character>\n    <dialogue>Peter!<\/dialogue>\n    <scene_description>Peter webs down with a coffee cup and almost spills, excited. CUT TO: Peter jumps up and down, eagerly awaiting May's reaction as she reads the letter. But she shakes her head.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>No?<\/dialogue>\n    <scene_description>May shakes her head -- no.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - KITCHEN - ANOTHER DAY<\/stage_direction>\n    <scene_description>May walks in with the final letter.<\/scene_description>\n    <character>MAY<\/character>\n    <dialogue>Last one.<\/dialogue>\n    <scene_description>Peter looks up from his bowl of cereal, mouth full.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>MIT?!<\/dialogue>\n    <scene_description>DUM-E twists and hits the nearly completed LEGO Death Star. It shatters into many pieces. Off Peter's reaction...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. DONUT SHOP - DAY<\/stage_direction>\n    <scene_description>Peter swings down in front of a donut shop decorated for Halloween. Some PEDESTRIANS eye him warily. Peter quickly enters the shop -- MIT envelope in tow -- and spots MJ at the cash register in her waitress uniform. She holds up her own MIT envelope -- ready? They head to the back of the shop and join Ned at the counter. He also has an MIT envelope resting in front of him.<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>Okay... ready?<\/dialogue>\n    <scene_description>MJ's BOSS approaches.<\/scene_description>\n    <character>DONUT SHOP BOSS<\/character>\n    <dialogue>Jones, I told you to take down the Halloween decorations.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Actually that was Sasha, so--<\/dialogue>\n    <character>DONUT SHOP BOSS<\/character>\n    <dialogue>Enough attitude, just do it.<\/dialogue>\n    <character>MJ<\/character>\n    <parenthetical>(swallowing pride)<\/parenthetical>\n    <dialogue>On it.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>I feel like I'm gonna puke.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Well don't... because he will just make me clean it.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>This is our only shot. It's here or nowhere.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Hey, come on!<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Okay, you guys ready?<\/dialogue>\n    <character>PETER\/NED<\/character>\n    <dialogue>Yeah...<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Okay. On three? One, two, three--<\/dialogue>\n    <scene_description>Deep breaths, then each opens their letter and reads... Peter's face falls -- the most painful rejection of all. He looks to MJ. She shakes her head.<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>No.<\/dialogue>\n    <parenthetical>(to Ned)<\/parenthetical>\n    <dialogue>You?<\/dialogue>\n    <character>NED<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>\"In light of recent controversy, we are unable to consider your application at this time.\"<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>This is so not fair. I mean, this is so not fair! I didn't do anything wrong. I mean, you guys definitely didn't do anything wrong.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Expect disappointment and you will never get disappointed.<\/dialogue>\n    <scene_description>Suddenly, Flash enters, sporting an MIT sweatshirt. He begins singing the BEASTIE BOYS' \"NO SLEEP TILL BROOKLYN.\"<\/scene_description>\n    <character>FLASH<\/character>\n    <dialogue>\"No sleep till -- bum-bum, bum- buuuum... Boston!\"<\/dialogue>\n    <scene_description>He looks to the others -- so? Gets nothing.<\/scene_description>\n    <character>FLASH<\/character>\n    <dialogue>You guys didn't get in?<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Yeah, because we're actually friends with Spider-Man.<\/dialogue>\n    <scene_description>Flash checks his watch.<\/scene_description>\n    <character>FLASH<\/character>\n    <dialogue>Uh yeah, I better get going. There's a-- They have a mixer for new admissions and... sorry, guys.<\/dialogue>\n    <scene_description>Flash quickly retreats out the door.<\/scene_description>\n    <character>DONUT SHOP BOSS (O.S.)<\/character>\n    <dialogue>Jones, what are you doing? Get back to work.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Yeah, I'm coming.<\/dialogue>\n    <scene_description>MJ rips up her letter.<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>You know what? I wouldn't change a thing I did.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Me neither.<\/dialogue>\n    <scene_description>Ned rips his letter up too. Then, picking up the pieces:<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>Although, I do need to show this letter to my parents.<\/dialogue>\n    <scene_description>Peter watches Ned slump away. He feels guilty and hopeless, until... Peter's eyes fall upon the decorations MJ is taking down. A set of Halloween lights that look like... wizards? Off Peter, getting an idea--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANCTUM SANCTORUM - 177A BLEEKER STREET - LATER (DAY)<\/stage_direction>\n    <scene_description>Peter approaches, about to ring the bell when... The doors swing open to REVEAL--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANCTUM SANCTORUM - FOYER - CONTINUOUS (DAY)<\/stage_direction>\n    <scene_description>SNOW. Everywhere. Covering the floor and the stairway. Two APPRENTICES futilely shovel snow into small buckets. Peter enters, CRUNCHING through the snow, shivering.<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>(to Apprentices)<\/parenthetical>\n    <dialogue>Um. Hi.<\/dialogue>\n    <parenthetical>(they stop)<\/parenthetical>\n    <dialogue>Hi? I'm, uh--<\/dialogue>\n    <character>WONG<\/character>\n    <dialogue>The most famous person in the world, I know.<\/dialogue>\n    <scene_description>WONG enters from a PORTAL, sets down several suitcases.<\/scene_description>\n    <character>WONG<\/character>\n    <dialogue>Wong. Try not to slip, we don't have liability insurance.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(re: snow)<\/parenthetical>\n    <dialogue>Is all this for a holiday party?<\/dialogue>\n    <character>WONG<\/character>\n    <dialogue>No, one of the Rotunda Gateways connects to Siberia. A blizzard blasted through.<\/dialogue>\n    <scene_description>A BLAST OF COLD AIR! Reveal DR. STRANGE in a parka, floating down the stairway with a mug of hot cocoa.<\/scene_description>\n    <character>DR. STRANGE<\/character>\n    <parenthetical>(re: Wong, pointed)<\/parenthetical>\n    <dialogue>Because someone forgot to cast the monthly maintenance spell to keep the seals tight.<\/dialogue>\n    <character>WONG<\/character>\n    <parenthetical>(re: Strange, pointed)<\/parenthetical>\n    <dialogue>That's right, he did, because he forgot I now have higher duties--<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <parenthetical>(balking)<\/parenthetical>\n    <dialogue>\"Higher duties?!\"<\/dialogue>\n    <character>WONG<\/character>\n    <dialogue>The Sorcerer Supreme has higher duties, yes.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(to Dr. Strange)<\/parenthetical>\n    <dialogue>Wait, I thought you were the Sorcerer Supreme--<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <parenthetical>(defensive)<\/parenthetical>\n    <dialogue>No, he got it on a technicality 'cause I blipped for five years.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <parenthetical>(to Wong)<\/parenthetical>\n    <dialogue>Well, congratulations.<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>If I'd been here, then I would have--<\/dialogue>\n    <character>WONG<\/character>\n    <dialogue>Burned the place down.<\/dialogue>\n    <parenthetical>(moving off, to Apprentices)<\/parenthetical>\n    <character>WONG<\/character>\n    <dialogue>You two! No one said, \"Stop shoveling!\"<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>So, Peter. To what do I owe the pleasure?<\/dialogue>\n    <scene_description>Peter is hesitant, shivering, slips a little on the snow...<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Right, um... I'm really sorry to bother you, sir, but--<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Please, we saved half the universe together, I think we're beyond you calling me \"sir.\"<\/dialogue>\n    <scene_description>Dr. Strange lights the fireplace with magic.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Okay, uh... Stephen--<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>That feels weird. But I'll allow it.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Uh, when, um... when Mysterio revealed my identity, my entire life got screwed up. And, I was wondering... I mean, I don't really know if this would actually work, but I was wondering if... maybe you could go back in time and make it so that he never did?<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Peter, we tampered with the stability of spacetime to resurrect countless lives. You want to do it again now just 'cause yours got messy?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>This isn't-- It's not about me. I mean, this is really hurting a lot of people. My uh... my Aunt May. Happy. My best friend, my girlfriend... their futures are ruined. Just because they know me, and they've done nothing wrong.<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <parenthetical>(sympathetic)<\/parenthetical>\n    <dialogue>I am so sorry. But even if I wanted to... I don't have the Time Stone anymore.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(deflated)<\/parenthetical>\n    <dialogue>That's right.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I'm really sorry if I wasted your time.<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>No, you didn't--<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Forget about it.<\/dialogue>\n    <scene_description>Wong picks up his suitcases.<\/scene_description>\n    <character>WONG<\/character>\n    <dialogue>Oh, he will. He's very good at forgetting things.<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <parenthetical>(getting idea)<\/parenthetical>\n    <dialogue>Wong, you've actually generated a good idea.<\/dialogue>\n    <character>WONG<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>The Runes of Kof-Kol.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(intrigued)<\/parenthetical>\n    <dialogue>The Runes of Kof-Kol...?<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Oh, it's just a standard spell of forgetting. It won't turn back time, but at least people will forget that you were ever Spider- Man.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Seriously? That would be--<\/dialogue>\n    <character>WONG<\/character>\n    <dialogue>No, not seriously.<\/dialogue>\n    <parenthetical>(to Dr. Strange)<\/parenthetical>\n    <character>WONG<\/character>\n    <dialogue>That spell travels the dark borders between known and unknown reality. It's too dangerous.<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>We've used it for a lot less. Do you remember the full moon party at Kamar-Taj?<\/dialogue>\n    <character>WONG<\/character>\n    <dialogue>No...<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Exactly.<\/dialogue>\n    <scene_description>Dr. Strange and Peter wait for Wong to relent. But Wong only stares back, unwavering.<\/scene_description>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Come on. Wong.... hasn't he been through enough?<\/dialogue>\n    <scene_description>Wong's face softens. Just behind him, a PORTAL OPENS.<\/scene_description>\n    <character>WONG<\/character>\n    <dialogue>Just leave me out of this.<\/dialogue>\n    <scene_description>Wong enters the PORTAL--<\/scene_description>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <character>WONG<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <scene_description>The PORTAL CLOSES. Dr. Strange turns to Peter... and grins.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANCTUM SANCTORUM - ANCIENT CHAMBER - MOMENTS LATER (DAY)<\/stage_direction>\n    <scene_description>Peter follows Dr. Strange downstairs into an ancient sub- level filled with crypts. As Dr. Strange prepares items for the spell, Peter looks around, spooked.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>So what is this place?<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>The Sanctum's built at the intersection of cosmic energy currents. We weren't the first to seek 'em out.<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Some of these walls are thousands of years old.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>And they shot an episode of The Equalizer here in the '80s.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Well, I um... really appreciate you doing this for me, sir.<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Don't mention it. And don't call me sir.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Right, sorry.<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>You ready?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I'm ready.<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Nice knowing you, Spider-Man.<\/dialogue>\n    <scene_description>Dr. Strange begins to cast the spell -- A GOLDEN RING OF RUNES encircles them...<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Wait, excuse me?<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>The entire world's about to forget that Peter Parker is Spider-Man, including me.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Everyone?<\/dialogue>\n    <parenthetical>(panicking)<\/parenthetical>\n    <dialogue>Uh... can't some people still know?<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>That's not how the spell works. And it's very difficult and dangerous to change it, mid- casting.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>So my girlfriend's just gonna forget about everything we've been through? I mean, is she even gonna be my girlfriend?<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>That depends. Was she your girlfriend just 'cause you're Spider-Man, or--<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I mean, I don't know. I really hope not!<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>All right, fine.<\/dialogue>\n    <scene_description>Strange works to adjust the spell.<\/scene_description>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Everyone in the world's gonna forget that you're Spider-Man, except your girlfriend.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Thank you so much, that--<\/dialogue>\n    <parenthetical>(then, realizing)<\/parenthetical>\n    <dialogue>Oh my God, Ned. Ned!<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>What is a \"Ned?\"<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>He's my best friend, so it's really important to me that Ned knows.<\/dialogue>\n    <scene_description>Strange sighs, works to adjust the spell. Again.<\/scene_description>\n    <character>DR. STRANGE<\/character>\n    <parenthetical>(trying to concentrate)<\/parenthetical>\n    <dialogue>Okay. Let's not change the parameters of this spell any more while I'm casting it.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Okay, I'm done. I'm done. I swear I'm done. I'm done.<\/dialogue>\n    <parenthetical>(beat, still processing)<\/parenthetical>\n    <dialogue>Ah! But my Aunt May should really know!<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Peter, stop tampering with the spell.<\/dialogue>\n    <scene_description>Strange swipes his hands, begins further spell adjustments. FOUR GOLDEN RINGS OF RUNES now swirl about them.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>When she found out that I was Spider-Man, it was really messy and I don't think that I can go through with that again.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>So, my Aunt May?<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Oh, thank you, thank you--<\/dialogue>\n    <parenthetical>(then, realizing)<\/parenthetical>\n    <dialogue>Happy?<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>No, I'm annoyed!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>No, it's a nickname. Harold \"Happy\" Hogan. He used to work for Tony Stark, but then he was kind of dating my aunt, and they broke up--<\/dialogue>\n    <scene_description>The spell SHIFTS, WAVERING, becoming ERRATIC...<\/scene_description>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Would you just stop talking!<\/dialogue>\n    <scene_description>BOOM! The spell ERUPTS! Dr. Strange is LIFTED TO HIS FEET, followed by Peter.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANCTUM SANCTORUM - FOYER - SAME TIME (DAY)<\/stage_direction>\n    <scene_description>UPSTAIRS, ON THE APPRENTICES: One of them reaches for a shaking relic (the same one Thor knocked over in RAGNAROK). Too late. It falls apart.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANCTUM SANCTORUM - ANCIENT CHAMBER - SAME TIME (DAY)<\/stage_direction>\n    <scene_description>BACK ON PETER AND STRANGE: The jumbled spell BILLOWS in rings around them. The room SHATTERS and SHAKES. Something is clearly, horribly wrong! Peter shouts over the chaos:<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Basically everyone that knew that I was Spider-Man before should still know!<\/dialogue>\n    <scene_description>LIGHTS AND NOISE! Strange STRUGGLES WITH THE SPELL as it BLASTS its way around them, ripping apart the crypt walls... UNUSUAL SHADOWS appear... With great effort, Strange shrinks the spell smaller and smaller, until-- Peter and Strange DROP to the ground, the walls around them reassembled and whole. Peter turns to see -- the spell is now a ball of light, TRAPPED INSIDE A PENTAGON-SHAPED ORB.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Did it work?<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>No. You changed my spell six times--<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(meekly)<\/parenthetical>\n    <dialogue>Five times.<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>You changed my spell! You don't do that! I told you--<\/dialogue>\n    <parenthetical>(re: trapped spell)<\/parenthetical>\n    <dialogue>And that is why!<\/dialogue>\n    <scene_description>They regard the now-tiny spell jostling within the orb.<\/scene_description>\n    <character>DR. STRANGE<\/character>\n    <dialogue>That spell was completely out of control. If I hadn't shut it down, something catastrophic could have happened!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Stephen, listen, I am so sorry--<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Call me sir.<\/dialogue>\n    <scene_description>A beat as that lands on Peter.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Sorry, sir.<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>You know, after everything we've been through together, somehow I always forget you're... you're just a kid.<\/dialogue>\n    <scene_description>The words weigh heavily on Peter. Now feeling lower than low. Strange clocks it and softens.<\/scene_description>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Look, Parker, the problem is not Mysterio. It's you. Trying to live two different lives, and the longer you do that the more dangerous it becomes. Believe me.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I'm so sorry about you and your friends not getting into college. But if they rejected you, and you tried to convince them to reconsider, there's nothing else you can do.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(beat, then)<\/parenthetical>\n    <dialogue>When you say \"convince them,\" you mean like I could have called them?<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I can do that?<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <parenthetical>(incredulous)<\/parenthetical>\n    <dialogue>You haven't called the--<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Well, I mean, I got their letter and I assumed that that was--<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>I'm sorry, are you telling me that you didn't even think to plead your case with them first before you asked me to brainwash the entire world?!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Well, I mean, when you put it like that, then--<\/dialogue>\n    <scene_description>SMASH TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANCTUM SANCTORUM - 177A BLEEKER STREET - LATER (DAY)<\/stage_direction>\n    <scene_description>BAM! The doors SLAM SHUT in Peter's face. He quickly grabs his phone and dials.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Come on, pick up, pick up, pick up, pick up...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIT CLUB LOUNGE - INTERCUT - SAME TIME (DAY)<\/stage_direction>\n    <scene_description>The MIT new students mixer. KIDS and ADULTS mingle. Flash answers his phone:<\/scene_description>\n    <character>FLASH<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Dude, what? I'm busy.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Flash, where's the MIT mixer?<\/dialogue>\n    <character>FLASH<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Because I need to come and talk to someone. I'm trying to get Ned and MJ a second chance at getting in.<\/dialogue>\n    <character>FLASH<\/character>\n    <dialogue>What's in it for me? I'm risking a lot just talking to you.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(sighs)<\/parenthetical>\n    <dialogue>Okay, I will, um... pick you up and swing you to school for one week?<\/dialogue>\n    <character>FLASH<\/character>\n    <dialogue>For a month.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>For a week.<\/dialogue>\n    <character>FLASH<\/character>\n    <dialogue>Two weeks.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Flash, please come on, help me!<\/dialogue>\n    <character>FLASH<\/character>\n    <parenthetical>(insistent)<\/parenthetical>\n    <dialogue>You know what I want.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Okay, I'll tell everyone that you're my best friend.<\/dialogue>\n    <scene_description>Flash grins, loving this.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Flash, please help me!<\/dialogue>\n    <character>FLASH<\/character>\n    <dialogue>Cool, cool, cool. So there's this lady, she's the Assistant Vice Chancellor. You can plead your case with her.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Okay, perfect. Where is she?<\/dialogue>\n    <character>FLASH<\/character>\n    <dialogue>She left.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>To go where?<\/dialogue>\n    <character>FLASH<\/character>\n    <dialogue>To the airport.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGH BRIDGE - LATER (DAY)<\/stage_direction>\n    <scene_description>Spider-Man soars above the High Bridge in his Iron Spider suit. He reaches a highway sign overlooking a traffic jam. ON PETER'S HUD--<\/scene_description>\n    <character>MALE IRON SPIDER VOICE (V.O.)<\/character>\n    <dialogue>Stark Network unavailable.<\/dialogue>\n    <scene_description>Spider-Man groans. A text from Flash comes through: \"HERES DA LADY UR LOOKING 4.\" Then a selfie of Flash and the ASSISTANT VICE CHANCELLOR (AVC) holding his Flashpoint book.<\/scene_description>\n    <character>MALE IRON SPIDER VOICE (V.O.)<\/character>\n    <dialogue>Facial recognition unavailable.<\/dialogue>\n    <scene_description>A DAILY BUGLE HELICOPTER approaches, filming Spider-Man -- his new normal.<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Ugh...<\/dialogue>\n    <parenthetical>(waves)<\/parenthetical>\n    <dialogue>Hi. Yeah, I can see you!<\/dialogue>\n    <scene_description>Spider-Man drops down to the road. The Iron Spider Suit retracts to reveal Peter is wearing a crumpled suit. He quickly searches the surrounding cars for the AVC, when-- A BARKING dog lunges at him from a nearby window. Peter jumps back, startled. Then he peers into another window. A TODDLER BOY and a TEENAGE GIRL notice him. The Toddler waves.<\/scene_description>\n    <character>TODDLER BOY<\/character>\n    <dialogue>That's Peter Parker.<\/dialogue>\n    <scene_description>Peter waves back. As the Teenage Girl reacts--<\/scene_description>\n    <character>TEENAGE GIRL<\/character>\n    <dialogue>Mom? Mom, look! Look, it's Peter Parker!<\/dialogue>\n    <scene_description>Peter moves on, spotting the AVC in the backseat of an SUV.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AVC SUV - SAME TIME (DAY)<\/stage_direction>\n    <scene_description>In the backseat, the AVC is on her phone. She peruses Flash's book.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGH BRIDGE - INTERCUT - SAME TIME (DAY)<\/stage_direction>\n    <scene_description>Just outside, Peter dodges a taxi--<\/scene_description>\n    <character>TAXI DRIVER<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>--And steels himself to approach the AVC's car.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Okay...<\/dialogue>\n    <scene_description>He KNOCKS on her window and waves. The AVC ends her call and rolls down her window. Reluctant.<\/scene_description>\n    <character>ASSISTANT VICE CHANCELLOR<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Hi, I'm Peter Parker.<\/dialogue>\n    <character>ASSISTANT VICE CHANCELLOR<\/character>\n    <dialogue>You do know you're in the street, right?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Yeah. I'm sorry. I just-- I really needed to talk to you--<\/dialogue>\n    <character>ASSISTANT VICE CHANCELLOR<\/character>\n    <dialogue>Uh-huh.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>--And I know you're on your way to the airport.<\/dialogue>\n    <character>ASSISTANT VICE CHANCELLOR<\/character>\n    <dialogue>Uh-huh.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(nervous rattling)<\/parenthetical>\n    <dialogue>MJ Watson and Ned Leeds are the two smartest people I've ever met in my entire life, and I'm the dumbest person because I let them help me. But if I didn't let them help me than millions of people would have died. So please don't-- Don't let MIT be dumb like me.<\/dialogue>\n    <character>ASSISTANT VICE CHANCELLOR<\/character>\n    <dialogue>MIT is dumb?<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(stumbling)<\/parenthetical>\n    <dialogue>No, I'm saying don't let MIT be dumb. I mean, like the dumber version of me that wouldn't have let them help.<\/dialogue>\n    <character>ASSISTANT VICE CHANCELLOR<\/character>\n    <dialogue>You didn't rehearse that, did you, Peter?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Basically, what I'm trying to sa--<\/dialogue>\n    <scene_description>Peter's SPIDER-SENSE TINGLES. He jumps on top of the car, spots PEOPLE running away. He turns to one of them:<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Why are you running? What--<\/dialogue>\n    <scene_description>UP AHEAD: CRASH! Patches of the highway CRUMBLE in a cloud of asphalt and dust. Peter activates his Iron Spider suit.<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Oh my God...<\/dialogue>\n    <scene_description>He KNOCKS on the roof of the car.<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Uh, Ma'am, you should, uh... you should get out of the car.<\/dialogue>\n    <parenthetical>(then, calling out)<\/parenthetical>\n    <dialogue>Everybody get off the bridge!<\/dialogue>\n    <scene_description>The AVC's DRIVER runs off. The AVC tries to get out too, but--<\/scene_description>\n    <character>ASSISTANT VICE CHANCELLOR<\/character>\n    <dialogue>The door's locked. Doors-- Hey!<\/dialogue>\n    <scene_description>CRASH! SLAM! BOOM! Something is piercing its way through the High Bridge roadway. Something with FOUR GIANT METAL TENTACLES. The dust clears to REVEAL... DOC OCK (Alfred Molina) in all his SPIDER-MAN 2 glory!<\/scene_description>\n    <character>DOC OCK<\/character>\n    <dialogue>Hello, Peter.<\/dialogue>\n    <character>SPIDER-MAN<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>Hi? Do we... do I know you?<\/dialogue>\n    <character>DOC OCK<\/character>\n    <dialogue>What have you done with my machine?<\/dialogue>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Your mach-- I don't know what you're talking about? I don't-- What machine?<\/dialogue>\n    <character>DOC OCK<\/character>\n    <dialogue>The power of the sun in the palm of my hand. It's gone!<\/dialogue>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Listen, sir, if you stop smashing cars, we could work together and I can help you find your machine.<\/dialogue>\n    <character>DOC OCK<\/character>\n    <dialogue>You want to play games?<\/dialogue>\n    <scene_description>One of Doc Ock's tentacles PIERCES the roof of a nearby car. The PASSENGERS scramble, as Ock FLINGS the car at Spider-Man--<\/scene_description>\n    <character>DOC OCK<\/character>\n    <dialogue>Catch!<\/dialogue>\n    <scene_description>Spider-Man flies backwards, dodging the empty vehicle, as ANOTHER CAR is immediately thrown in front of him -- this one FULL OF PEOPLE! Spider-Man attempts to stop it, but both he and the vehicle are spun over the bridge. As the family inside reels, Spider-Man runs across the length of the spinning car, WEBBING it to the underside of the bridge. He rips a side door open... ANGLE ON the AVC, finally able to open her door, but-- SLAM!<\/scene_description>\n    <character>ASSISTANT VICE CHANCELLOR<\/character>\n    <dialogue>Agh!<\/dialogue>\n    <scene_description>The door is pinned against a K-Rail. She still can't get out. BACK ON Spider-Man, now on top of the bridge, alongside the family he just saved.<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>It's okay. You guys are good, you're safe, get out of here!<\/dialogue>\n    <scene_description>As the family quickly runs off, THUNK! One of Doc Ock's tentacles GRABS Spider-Man, wrapping him tight in its grip.<\/scene_description>\n    <character>DOC OCK<\/character>\n    <dialogue>You think your fancy new suit's gonna save you?<\/dialogue>\n    <scene_description>Another tentacle claw clutches Spider-Man's head and FLINGS him into the AVC's car -- forcing the vehicle over the edge of the bridge, the AVC still trapped inside! Doc Ock then HURLS Spider-Man through a highway sign, CRASH- LANDING into a truck's windshield. Doc Ock's tentacles skewer a car engine -- it EXPLODES -- as he relentlessly pursues Spider-Man.<\/scene_description>\n    <character>DOC OCK<\/character>\n    <dialogue>I should have killed your little girlfriend when I had the chance.<\/dialogue>\n    <scene_description>Metal pierces through the roof of the truck to reveal Spider- Man, his IRON SPIDER ARMS fully deployed.<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>What did you just say?<\/dialogue>\n    <character>DOC OCK<\/character>\n    <parenthetical>(to tentacles)<\/parenthetical>\n    <dialogue>Looks like we've got competition.<\/dialogue>\n    <scene_description>SPIDER-MAN VS. DOC OCK! Mano-a-mano-a-mano-a-etc! The DAILY BUGLE HELICOPTER witnessing all. Spider-Man WEBS on top of a highway sign, Doc Ock following. Spider-Man fires webs! Flips! Kicks back Ock, then--<\/scene_description>\n    <character>ASSISTANT VICE CHANCELLOR (O.S.)<\/character>\n    <dialogue>Peter! Help!<\/dialogue>\n    <scene_description>Spider-Man turns, spots the AVC's teetering car. He leaps towards her, but-- THUNK! THUNK! Doc Ock's tentacles grab Spider-Man's arms in a vice, as another tentacle latches onto the DAILY BUGLE HELICOPTER. Doc Ock lifts Spider-Man up towards the ROTATING BLADES of the helicopter, Spider-Man fighting against it, until-- He WEBS two cars, YANKING them towards the highway sign, CRASHING into Doc Ock. The tentacles release, the Iron Spider Arms retract, and Spider-Man makes a break for the AVC's car. Doc Ock grabs CEMENT PIPES off a nearby truck and swings them over his head, directly into Spider-Man's path. FLIPS! SOMERSAULTS! FLINGING WEBS! Spider-Man is nearly at the AVC's car...<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Don't worry, ma'am! I'm coming!<\/dialogue>\n    <scene_description>He's SLAMMED into the side of a car by one of the pipes. He quickly recovers and takes off, the AVC's SUV beginning to fall--<\/scene_description>\n    <character>ASSISTANT VICE CHANCELLOR (O.S.)<\/character>\n    <dialogue>Peter!<\/dialogue>\n    <scene_description>The AVC GASPS, CLICKS her seatbelt on-- Doc Ock flings a car at Spider-Man, who flips backwards, arching over the roof of the thrown vehicle until-- SPLASH! The car barrels into impact attenuators full of water. Spider-Man quickly WEBS the AVC's car as it FALLS! He is dragged along behind it, his IRON SPIDER ARMS deploying to grab onto the edge of the bridge, as the car plummets to the train tracks below! A SUDDEN WRENCH! The vehicle stops just short of a MOVING FREIGHT TRAIN! Inside the car, the AVC trembles, in shock, as Spider-Man WEBS the car securely to the bridge. Then lowers himself to her door...<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Ma'am? Just stay calm. Just take a deep breath. Are you okay?<\/dialogue>\n    <character>ASSISTANT VICE CHANCELLOR<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>Spider-Man turns, sees Doc Ock approaching. A tentacle GRABS Spider-Man and YANKS him away. As he's WHIPPED around--<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <parenthetical>(to AVC)<\/parenthetical>\n    <dialogue>I promise... I've got this... all under... control...<\/dialogue>\n    <scene_description>Doc Ock SMASHES Spider-Man through the bridge, then PINS HIM AGAINST the underside. A tentacle claw RIPS OFF Spider-Man's chest of nanotech, revealing his crumpled suit beneath.<\/scene_description>\n    <character>MALE IRON SPIDER VOICE (V.O.)<\/character>\n    <dialogue>Suit compromised.<\/dialogue>\n    <character>DOC OCK<\/character>\n    <parenthetical>(impressed)<\/parenthetical>\n    <dialogue>Nanotechnology. Ah, you've outdone yourself, Peter.<\/dialogue>\n    <scene_description>The Iron Spider nanotech begins to MELD WITH DOC OCK'S TENTACLES -- transforming them into a hybrid of Ock's AI-tech and Stark's nanotech.<\/scene_description>\n    <character>DOC OCK<\/character>\n    <dialogue>I underestimated you. But now you die.<\/dialogue>\n    <scene_description>As Doc Ock launches a killing blow-- The Iron Spider tech defensively shifts nanos to cover Spider- Man's chest... EXPOSING PETER'S FACE.<\/scene_description>\n    <character>DOC OCK<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>You're not Peter Parker.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Ugh, I am so confused right now.<\/dialogue>\n    <scene_description>From inside her dangling car, the AVC looks on as Doc Ock's tentacles seem to be... malfunctioning?<\/scene_description>\n    <character>DOC OCK<\/character>\n    <parenthetical>(re: tentacles)<\/parenthetical>\n    <dialogue>What's happening?<\/dialogue>\n    <character>MALE IRON SPIDER VOICE (V.O.)<\/character>\n    <dialogue>New device detected.<\/dialogue>\n    <scene_description>A HOLOGRAPHIC IMAGE of Ock's tentacles appear on Peter's control panel. He pushes several buttons until...<\/scene_description>\n    <character>MALE IRON SPIDER VOICE (V.O.)<\/character>\n    <dialogue>Pairing new device.<\/dialogue>\n    <scene_description>The IRON SPIDER SUIT IS CONNECTED -- Peter is now in control of the tentacles!<\/scene_description>\n    <character>DOC OCK<\/character>\n    <parenthetical>(to tentacles)<\/parenthetical>\n    <dialogue>You don't listen to him, you listen to me!<\/dialogue>\n    <scene_description>Peter tests the connection -- the tentacles follow his every move. He laughs, relieved.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>Peter waves at Doc Ock. A tentacle claw waves back. With the connection secure, Peter launches a tentacle arm at the AVC's dangling car. Ock swings at Peter, but he can't even get close. Peter laughs, then gently rotates the tentacles...<\/scene_description>\n    <character>DOC OCK<\/character>\n    <parenthetical>(to tentacles)<\/parenthetical>\n    <dialogue>Hey-- Hey! Listen to me! No, not him, me!<\/dialogue>\n    <scene_description>Peter carefully sets the AVC's car, Doc Ock, and himself back on top of the bridge. The Iron Spider Suit retracts to reveal Peter's rumpled suit, his tie now cut in half. Peter RIPS the door off the AVC's car.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Ma'am, are you okay? Come on, you could still make your flight.<\/dialogue>\n    <character>ASSISTANT VICE CHANCELLOR<\/character>\n    <parenthetical>(shaken, but relieved)<\/parenthetical>\n    <dialogue>Peter... you're a hero.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>No, well, I'm-- No. I'm--<\/dialogue>\n    <character>ASSISTANT VICE CHANCELLOR<\/character>\n    <dialogue>I'm gonna talk to Admissions about your friends. And I'm gonna talk to them about you.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>No, but, ma'am, this isn't about me.<\/dialogue>\n    <character>ASSISTANT VICE CHANCELLOR<\/character>\n    <dialogue>I am going to talk to them about your friends and you. Okay?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>ASSISTANT VICE CHANCELLOR<\/character>\n    <dialogue>And if you keep your noses clean, maybe you'll have a fair shot. Here--<\/dialogue>\n    <scene_description>She shoves her bag into his arms.<\/scene_description>\n    <character>ASSISTANT VICE CHANCELLOR<\/character>\n    <dialogue>Get out of the way. Let me get that man.<\/dialogue>\n    <parenthetical>(to Doc Ock)<\/parenthetical>\n    <dialogue>Hey! You! I see you. Come here! That was not okay. Unbelievable!<\/dialogue>\n    <scene_description>As she walks off, Doc Ock tries once more to grab Peter. But yet again, he's held in place by his tentacles.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Hey! Hey, hey, hey-- Until you stop trying to kill me...<\/dialogue>\n    <parenthetical>(re: Iron Spider controls)<\/parenthetical>\n    <dialogue>I'm in control, buddy. Of this whole tentacle situation you got going on here. Okay?! Now who are you? What is going--<\/dialogue>\n    <scene_description>Peter's SPIDER-SENSE alerts him to the horizon. He wraps a tentacle around Doc Ock, holding him in place. DINK, DINK, DINK! A pumpkin bomb lands on the road. Who could it be...? BOOM-BANG! The bomb detonates! Peter activates his Iron Spider suit, as from out of the smoke and flames comes an EVIL CACKLE, then-- GREEN GOBLIN (Willem Dafoe) from SPIDER-MAN! Perched atop his glider.<\/scene_description>\n    <character>DOC OCK<\/character>\n    <dialogue>Osborn?<\/dialogue>\n    <scene_description>As the glider flies towards them -- a RING OF SPARKS! Spider- Man and Doc Ock DISAPPEAR.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANCTUM SANCTORUM - ANCIENT CHAMBER - CONTINUOUS (DAY)<\/stage_direction>\n    <scene_description>WHOOSH! Spider-Man MATERIALIZES. Alone in the dark. He looks around, confused. SPIDER-SENSES FLARING. Cautious, Peter deactivates the Iron Spider suit, takes a few steps--<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Doctor--<\/dialogue>\n    <scene_description>ROAR! A creature LUNGES with slashing claws and teeth! Peter jumps back in shock, as the monster HITS AN INVISIBLE BARRIER. In a cell. LIZARD (Rhys Ifans)! From THE AMAZING SPIDER-MAN! Doc Ock STORMS at Peter -- THUD! He too hits an INVISIBLE BARRIER. In a cell. Peter staggers backward. A HAND clamps his shoulder-- Peter SCREAMS, whips around-- Reveal Dr. Strange, now battered and bruised.<\/scene_description>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Be careful what you wish for, Parker.<\/dialogue>\n    <scene_description>Ock POUNDS on the barrier.<\/scene_description>\n    <character>DOC OCK<\/character>\n    <dialogue>Let me out of here!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Can you please explain to me what is going on?<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>That little spell that you botched where you wanted everyone to forget that Peter Parker's Spider-Man, it started pulling in everyone who knows Peter Parker's Spider-Man -- from every universe -- into this one.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>From \"every universe\"?<\/dialogue>\n    <character>DOC OCK<\/character>\n    <parenthetical>(to Dr. Strange)<\/parenthetical>\n    <dialogue>Who are you? And where am I?!<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <parenthetical>(ignoring Ock, to Peter)<\/parenthetical>\n    <dialogue>I think it's better we don't engage with them because frankly the Multiverse is a concept about which we know frighteningly little--<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(amazed)<\/parenthetical>\n    <dialogue>The Multiverse is real?!<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <parenthetical>(sighs)<\/parenthetical>\n    <dialogue>This shouldn't even be possible.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>But I thought you stopped the spell.<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>No, I contained it.<\/dialogue>\n    <parenthetical>(re: Doc Ock)<\/parenthetical>\n    <dialogue>But it would appear that a few of them squeaked through.<\/dialogue>\n    <scene_description>Off Peter, mind blown--<\/scene_description>\n    <character>DR. STRANGE<\/character>\n    <dialogue>After you left, I detected an otherworldly presence, I pursued it into the sewers, where I found that--<\/dialogue>\n    <parenthetical>(re: Lizard)<\/parenthetical>\n    <dialogue>--Slimy, green son of a gun.<\/dialogue>\n    <character>DOC OCK<\/character>\n    <dialogue>\"Spell?\" As in magic? What is this, a birthday party? Who is this clown? What is this madness?!<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <parenthetical>(to Peter)<\/parenthetical>\n    <dialogue>Watch this.<\/dialogue>\n    <parenthetical>(then, to Doc Ock)<\/parenthetical>\n    <dialogue>Do you know a Peter Parker who's Spider-Man?<\/dialogue>\n    <character>DOC OCK<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <parenthetical>(points at Peter)<\/parenthetical>\n    <dialogue>Is that him?<\/dialogue>\n    <character>DOC OCK<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <parenthetical>(to Peter)<\/parenthetical>\n    <dialogue>See?<\/dialogue>\n    <scene_description>As Peter considers that...<\/scene_description>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Okay, here's what we gotta do. I don't know how many of these \"visitors\" we've got--<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I saw another one. On the bridge. He was like a... like a flying green elf.<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Well he sounds jolly. Why don't you start with him. I need you to capture them, bring them here, while I figure out how to get them back before they destroy the fabric of reality. Or worse, Wong finds out.<\/dialogue>\n    <scene_description>Dr. Strange heads for the exit.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Uh... Dr. Strange?<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <parenthetical>(stopping, annoyed)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>My friends and I just got a second chance to get into MIT, and if the school sees me fighting these crazy monsters, then--<\/dialogue>\n    <character>DOC OCK<\/character>\n    <dialogue>Hey, watch your mouth!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I'm sorry, but--<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>You're seriously still talking about college?!<\/dialogue>\n    <scene_description>Strange magically flies one of Peter's web shooters off his wrist and into his hand. He sends a SWIRL OF MAGIC into it.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Hey, what did you just do?<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>This.<\/dialogue>\n    <scene_description>Strange aims the web shooter and... THWIP! WEBS PETER! ZAP! Peter DISAPPEARS. WHOOSH! And REAPPEARS. Inside a cell.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Hey, you can't just--<\/dialogue>\n    <scene_description>Peter walks into the magical cell wall.<\/scene_description>\n    <character>DOC OCK<\/character>\n    <parenthetical>(dumfounded, to Dr. Strange)<\/parenthetical>\n    <dialogue>How did you do that?<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Lots of birthday parties.<\/dialogue>\n    <scene_description>Strange crosses to an ANCIENT STONE DIAL and turns it. Peter's cell barrier drops, and he steps out.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Hey--<\/dialogue>\n    <scene_description>Dr. Strange flies the enchanted web shooter back onto Peter's hand.<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>(taking it in)<\/parenthetical>\n    <dialogue>Whoa...<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>One shot, send them here, move on. You're welcome. Get to work.<\/dialogue>\n    <scene_description>As Strange moves off--<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Sir?<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <parenthetical>(sighs)<\/parenthetical>\n    <dialogue>Now what?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I know this is my mess, and I swear to you that I'll fix it, but I'm gonna need some help.<\/dialogue>\n    <scene_description>Beat. Off Strange, considering...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANCTUM SANCTORUM - FOYER - LATER (DAY)<\/stage_direction>\n    <scene_description>Ned and MJ are led in by an unhappy Dr. Strange.<\/scene_description>\n    <character>NED<\/character>\n    <parenthetical>(awestruck)<\/parenthetical>\n    <dialogue>I can't believe I'm in the Sanctum Sanctorum!<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>Neither can I.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>So, how did you know you were made of magic? Because my nana says that we have it in our family and sometimes I get these tinglings in my hands--<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>You should talk to your physician.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Peter!<\/dialogue>\n    <scene_description>Peter walks up from the basement.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>Peter and MJ hug.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I'm so sorry for dragging you into this. Listen, you just gotta help me find these guys--<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>You don't have to apologize, okay? You got us a second shot at MIT.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>So, how did the bad guys get here?<\/dialogue>\n    <scene_description>Peter hesitates. Dr. Strange doesn't.<\/scene_description>\n    <character>DR. STRANGE<\/character>\n    <dialogue>He screwed up a spell trying to get you into college.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Wait, what? I thought it was the MIT lady you saved.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>You did it with magic?!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Uh, no, that was after. Listen let's just focus on the good news, okay?<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>No, let's just focus on the bad news: as of now, you have detected zero multiversal trespassers, so... get on your phones, scour the Internet, and Scooby-Doo this shit.<\/dialogue>\n    <character>MJ<\/character>\n    <parenthetical>(laughs, then)<\/parenthetical>\n    <dialogue>You're telling us what to do even though it was your spell that got screwed up, meaning that all of this is kinda your mess. You know, I know a couple of magic words myself, starting with the word \"please.\"<\/dialogue>\n    <scene_description>Dr. Strange softens, charmed.<\/scene_description>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Please Scooby-Doo this shit.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>You can work in the Undercroft.<\/dialogue>\n    <character>NED<\/character>\n    <parenthetical>(awed)<\/parenthetical>\n    <dialogue>The Undercroft?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANCTUM SANCTORUM - UNDERCROFT\/ANCIENT CHAMBER - MOMENTS<\/stage_direction>\n    <scene_description>LATER (DAY) A lightbulb turns on to REVEAL... The Undercroft, a.k.a. a normal, boring basement.<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>Badass!<\/dialogue>\n    <scene_description>BUZZ! A nearby dryer signal goes off. Ned, MJ, and Peter take in the Christmas decorations, camping stuff... Ned grabs a crossbow, in awe.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Guys, listen, about this whole spell thing--<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>It's totally okay.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Wait really?<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Yeah. I mean, I get it. You were just trying to fix things. And so, maybe just run it by us next time, you know? That way when you're thinking, \"Hey, I'm about to do something that could break the universe,\" we could, like, help you. Workshop something... or brainstorm ideas...<\/dialogue>\n    <scene_description>A smirk between them. MJ giving him shit. Becoming a genuine look. MJ forgiving him. Peter grateful for her.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Deal.<\/dialogue>\n    <scene_description>Peter's eyes shift to Ned -- will he forgive him?<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Ned?<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Oh, dude, I don't care. It's seriously not a big deal. Um--<\/dialogue>\n    <parenthetical>(then, excited)<\/parenthetical>\n    <dialogue>Oh! A torture rack!<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>That is a Pilates machine.<\/dialogue>\n    <parenthetical>(then, pointing to other room)<\/parenthetical>\n    <dialogue>That is...?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>The crypt.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Okay, so... we get the rest of the guys, you zap them, Dr. Magic will send them back. And when we get into MIT, a round of stale donuts, my treat.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Let's catch some Multiverse Men.<\/dialogue>\n    <character>DOC OCK<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>Reveal Doc Ock watching Ned and MJ from his cell.<\/scene_description>\n    <character>DOC OCK<\/character>\n    <dialogue>Who the hell are these two?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>These are my friends. This is MJ and uh, this is Ned.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Uh, I'm sorry, what was your name again?<\/dialogue>\n    <character>DOC OCK<\/character>\n    <dialogue>Doctor Otto Octavius.<\/dialogue>\n    <scene_description>A beat, then... they all laugh.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Wait, no seriously, what's your actual name?<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Oh, is that a dinosaur?!<\/dialogue>\n    <scene_description>From his cell, Lizard scowls, unamused.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANCTUM SANCTORUM - UNDERCROFT\/ANCIENT CHAMBER - LATER<\/stage_direction>\n    <scene_description>(DAY) ANGLE ON the holographic Iron Spider controls in command over Doc Ock's tentacles. QUICK POPS: -- Peter pulls his suit covered in green paint out of his backpack. -- As Peter grabs cleaning supplies, a doll on the shelf turns its face towards him. -- MJ scrolls through TikTok news updates on her phone. -- ZIP! Ned opens his backpack, pulls out his laptop, and turns it on. -- Curious, MJ pulls a box from a shelf, is surprised to read... it's a goatee template? -- Lizard sits in his cell, bored. Tosses a stone pebble. Peter scrubs his suit while on the phone with May.<\/scene_description>\n    <character>MAY (OVER PHONE)<\/character>\n    <dialogue>If the paint won't come off, bring it by the shelter and I'll get it out.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>No, no, no... May, we gotta find these guys first.<\/dialogue>\n    <character>MAY (OVER PHONE)<\/character>\n    <dialogue>Well, finish your mission and then come by. We're having a canned food drive.<\/dialogue>\n    <scene_description>Peter turns his suit inside out to REVEAL A BLACK AND GOLD INTERIOR, devoid of green paint.<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>That could work.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Uh, I got one, I got one, I got one...<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Uh May, I gotta go, I'll call you back.<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>Okay, love you! Bye!<\/dialogue>\n    <scene_description>Peter hangs up, joins MJ and Ned in front of Ned's laptop.<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>I mean, you can take the guy out of the chair, but you can't take the chair out of the guy.<\/dialogue>\n    <scene_description>MJ cocks her head -- not sure about that one.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>What'd you find?<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Uh, there's a...<\/dialogue>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>\"...disturbance near a military research facility outside of the city.\" And witnesses say that they saw a monster flying through the air.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>That's got to be the guy I saw on the bridge right?<\/dialogue>\n    <character>DOC OCK (O.S.)<\/character>\n    <dialogue>That's impossible.<\/dialogue>\n    <scene_description>Peter, Ned, and MJ look up at Doc Ock in his cell. As Peter moves towards him:<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>You know him, don't you? On the bridge, you said his name.<\/dialogue>\n    <character>DOC OCK<\/character>\n    <dialogue>Norman Osborn. Brilliant scientist. Military research. But he was greedy. Misguided.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>What happened to him?<\/dialogue>\n    <scene_description>Ock lunges forward, straining against the tentacles holding him in place.<\/scene_description>\n    <character>DOC OCK<\/character>\n    <dialogue>We tire of your questions, boy!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Okay. Um... I gotta go.<\/dialogue>\n    <parenthetical>(to Ned)<\/parenthetical>\n    <dialogue>Where am I going?<\/dialogue>\n    <character>DOC OCK<\/character>\n    <dialogue>It can't be him.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>DOC OCK<\/character>\n    <dialogue>Because Norman Osborn died. Years ago. So either we saw someone else. Or you're flying out into the darkness to fight a ghost.<\/dialogue>\n    <scene_description>Off Peter, unsettled...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POWER LINES - SUNSET<\/stage_direction>\n    <scene_description>Spider-Man swings -- HIS SUIT TURNED INSIDE OUT, BLACK AND GOLD -- along high-tension power lines strung between giant transmission towers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANCTUM SANCTORUM - UNDERCROFT - THAT NIGHT<\/stage_direction>\n    <scene_description>Ned opens the fridge door, pauses to examine boxes of takeout alongside otherworldly specimens held in old mason jars. What the...? Ned joins MJ at his laptop.<\/scene_description>\n    <character>MJ<\/character>\n    <parenthetical>(into laptop camera)<\/parenthetical>\n    <dialogue>Keep an eye out on the trees. We don't really know where this guy is.<\/dialogue>\n    <scene_description>ON NED'S LAPTOP: a live-feed of Spider-Man's POV as he swings.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POWER LINES\/EXT. FOREST - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>REVEAL Spider-Man's CELL PHONE, duct-taped to his chest. ON THE SCREEN: MJ and Ned (via FaceTime). \\[NOTE: This device is used throughout the following sequence. MJ and Ned participate in the action, right along with Spider- Man, their reactions visible on Spider-Man's chest.\\]<\/scene_description>\n    <character>MJ (ON PHONE SCREEN)<\/character>\n    <dialogue>I genuinely don't know how you do this without throwing up.<\/dialogue>\n    <scene_description>Spider-Man swings down from the power lines, landing in a dark forest. He walks forward, on alert... when SOMETHING MOVES THROUGH THE TREES!<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Did you guys see that?<\/dialogue>\n    <character>MJ (ON PHONE SCREEN)<\/character>\n    <dialogue>Um... no?<\/dialogue>\n    <character>NED (ON PHONE SCREEN)<\/character>\n    <dialogue>It's really dark.<\/dialogue>\n    <scene_description>More RUSTLING, now in the trees behind Spider-Man. He turns-- But nothing's there. In the distance, an owl CALLS. The wind WHISTLES through the trees...<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Okay, okay, okay...<\/dialogue>\n    <scene_description>Spider-Man continues on, searching, when-- He stops, SPIDER-SENSE flaring as an EERIE BLUE LIGHT CRACKLES behind him.<\/scene_description>\n    <character>NED (ON PHONE SCREEN)<\/character>\n    <dialogue>What's happening?<\/dialogue>\n    <character>MJ (ON PHONE SCREEN)<\/character>\n    <dialogue>Peter, what is it?<\/dialogue>\n    <scene_description>Spider-Man readies his web shooter. Three glowing rings appear...<\/scene_description>\n    <character>MJ (ON PHONE SCREEN)<\/character>\n    <dialogue>Are you getting, like, the tingle thing? Is the tingle thing happening? Is your tingle tingling?<\/dialogue>\n    <scene_description>Spider-Man quickly turns to see-- A BLUE GHOST. Hovering above the power lines, drawing energy from them. ELECTRO (Jamie Foxx) from THE AMAZING SPIDER-MAN 2! His spectral form at the movie's end.<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Are you guys seeing this?<\/dialogue>\n    <character>MJ (ON PHONE SCREEN)<\/character>\n    <dialogue>Yeah...<\/dialogue>\n    <character>NED (ON PHONE SCREEN)<\/character>\n    <dialogue>Osborn?<\/dialogue>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>No. He was green, this guy's blue.<\/dialogue>\n    <parenthetical>(calls out)<\/parenthetical>\n    <dialogue>Uh... you wouldn't happen to be from another universe, would you?<\/dialogue>\n    <scene_description>No reply, save for the CRACKLING BURSTS of electricity.<\/scene_description>\n    <character>MJ (ON PHONE SCREEN)<\/character>\n    <dialogue>What's he doing?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANCTUM SANCTORUM - UNDERCROFT - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>ANGLE ON Ned and MJ, watching this all on Ned's laptop.<\/scene_description>\n    <character>SPIDER-MAN (OVER LAPTOP SPEAKERS)<\/character>\n    <dialogue>I don't know. It looks like he's charging.<\/dialogue>\n    <scene_description>MJ shakes her head, concerned.<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>I don't like this. Just web him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POWER LINES\/EXT. FOREST - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>Spider-Man MAGIC-WEBS at Electro... But the web goes through his spectral form and hits a tree.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANCTUM SANCTORUM - ANCIENT CHAMBER - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>WHOOSH! A HUGE TREE appears in a cell, CRUNCHED into the confines of the space! MJ and Ned react, startled.<\/scene_description>\n    <character>MJ\/NED<\/character>\n    <dialogue>Whoa!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POWER LINES\/EXT. FOREST - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>CLOSE ON Electro as he JOLTS AWAKE! He spots Spider-Man-- Electro BLASTS BOLT AFTER BOLT at a retreating Spider-Man. On his cellphone screen, Ned and MJ try to direct him:<\/scene_description>\n    <character>NED (ON PHONE SCREEN)<\/character>\n    <dialogue>Dude, go left! Left, dude, left! Left, go-- Left, yes!<\/dialogue>\n    <character>MJ (ON PHONE SCREEN)<\/character>\n    <parenthetical>(to Ned)<\/parenthetical>\n    <dialogue>What are you doing?<\/dialogue>\n    <parenthetical>(to Spider-Man)<\/parenthetical>\n    <dialogue>Go right!<\/dialogue>\n    <scene_description>Over their ongoing \"advice\"...<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Guys! This is not helping!<\/dialogue>\n    <scene_description>Electro suddenly appears before Spider-Man. With a BLAST, he sends Spider-Man tumbling to the ground.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANCTUM SANCTORUM - UNDERCROFT - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>Ned's laptop screen sputters, losing connection...<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>Oh, no, no, no... what happened? Peter?<\/dialogue>\n    <character>NED<\/character>\n    <parenthetical>(panicking)<\/parenthetical>\n    <dialogue>Uh...<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Peter!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POWER LINES\/EXT. FOREST - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>Spider-Man writhes on the ground, reeling from the blast. Suddenly-- Electro charges at him, shooting another bolt, when-- A WALL OF SAND whirls up and takes the brunt of the shock... out of the swirling mass, a face appears...<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Whoa!<\/dialogue>\n    <scene_description>It's SANDMAN (Thomas Haden Church) from SPIDER-MAN 3!<\/scene_description>\n    <character>SANDMAN<\/character>\n    <dialogue>Peter, it's me! Flint Marko! You remember?<\/dialogue>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>I'm Peter, but I'm not your Peter.<\/dialogue>\n    <character>SANDMAN<\/character>\n    <dialogue>What do you mean you're \"not my Peter?\" What the hell is going on?!<\/dialogue>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>I'll explain everything. But first, can you help me stop this guy?<\/dialogue>\n    <character>SANDMAN<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>You try to surround him and I'll pull the plug. All right, let's go!<\/dialogue>\n    <scene_description>Spider-Man WEBS and SWINGS back up into the fight, Sandman acting as a wall of protective sand around him. SPIDER-MAN AND SANDMAN VS. ELECTRO! Electro launching electricity bolts! Sandman turns into a SAND TYPHOON, swirling around Electro. Spider-Man lands on a transmission tower, DODGES blast after blast of electricity... Sandman's face appears in the swirling typhoon.<\/scene_description>\n    <character>SANDMAN<\/character>\n    <dialogue>I can't... hold him much longer!<\/dialogue>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>I got it, I got it!<\/dialogue>\n    <scene_description>One by one, Spider-Man WEBS the various transmission towers... pulling back... SPARKS! The lines begin to rip... Electro's body grows dimmer as he draws less and less power... Spider-Man SEVERS the last power line and is THROWN BACK, slide-landing onto the ground. Electro expends his seemingly last BLAST -- before falling to the ground. Sandman appears at Spider-Man's side as he peels off his mask.<\/scene_description>\n    <character>SANDMAN<\/character>\n    <dialogue>A different Peter. Weird.<\/dialogue>\n    <scene_description>Peter slaps Sandman's hand--<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>--Sandman's hand scatters in the wind.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <character>SANDMAN<\/character>\n    <dialogue>Don't worry about it.<\/dialogue>\n    <scene_description>Reveal Electro. Now in HUMAN FORM. He looks around, remnants of electricity CRACKLING down his arm...<\/scene_description>\n    <character>ELECTRO<\/character>\n    <dialogue>I got my body back.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Hey, um... this is gonna sound really crazy, but uh... this isn't your universe.<\/dialogue>\n    <character>ELECTRO<\/character>\n    <dialogue>Another universe?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Uh-huh.<\/dialogue>\n    <character>SANDMAN<\/character>\n    <dialogue>What?!<\/dialogue>\n    <character>ELECTRO<\/character>\n    <dialogue>That's what I was feeling. The power, it's different... I like it!<\/dialogue>\n    <scene_description>As Electro's eyes FLASH--<\/scene_description>\n    <character>SANDMAN<\/character>\n    <dialogue>Easy, buddy.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>It's actually my fault that you're here.<\/dialogue>\n    <character>ELECTRO<\/character>\n    <dialogue>Like... like the universe? Or the woods? I hate the woods.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I meant the universe, sir.<\/dialogue>\n    <character>ELECTRO<\/character>\n    <dialogue>So what? Y'all just gonna stand here and act like I ain't butt-ass naked?<\/dialogue>\n    <character>SANDMAN<\/character>\n    <dialogue>I am.<\/dialogue>\n    <scene_description>Peter quickly looks away...<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Uh, no, no... uh... I uh--<\/dialogue>\n    <scene_description>Peter looks aside, sees a UTILITY SHED with some line worker clothes inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANCTUM SANCTORUM - ANCIENT CHAMBER - MOMENTS LATER<\/stage_direction>\n    <scene_description>(NIGHT) WHOOSH! Electro MATERIALIZES in a cell in ConEd clothes. MJ and Ned react -- whoa. As Doc Ock waves to Electro from his own cell...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POWER LINES\/EXT. FOREST - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>Sandman reacts to Peter magic-webbing Electro, spooked.<\/scene_description>\n    <character>SANDMAN<\/character>\n    <dialogue>What was that? What did you just do to him?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>No, no, no, it's okay, it's okay, it's okay...<\/dialogue>\n    <character>SANDMAN<\/character>\n    <dialogue>Did you kill him?<\/dialogue>\n    <scene_description>Sandman is becoming angry.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Whoa, whoa, whoa, listen, I can explain everything. You just have to trust me, please just trust me--<\/dialogue>\n    <character>SANDMAN<\/character>\n    <dialogue>I don't trust you! I don't know you!<\/dialogue>\n    <scene_description>Sandman lunges at Peter -- who FIRES his magic web shooter. WHOOSH! Sandman's gone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANCTUM SANCTORUM - ANCIENT CHAMBER - CONTINUOUS (NIGHT)<\/stage_direction>\n    <scene_description>Sandman MATERIALIZES in an empty cell. Furious, he pounds his fists against the barrier.<\/scene_description>\n    <character>SANDMAN<\/character>\n    <dialogue>Ugh, what is this?!<\/dialogue>\n    <character>ELECTRO<\/character>\n    <dialogue>You picked the wrong side.<\/dialogue>\n    <scene_description>Electro hears laughter -- looks over, spots Lizard.<\/scene_description>\n    <character>ELECTRO<\/character>\n    <dialogue>Connors?<\/dialogue>\n    <character>DOC OCK<\/character>\n    <dialogue>Wait. You know this creature?<\/dialogue>\n    <character>ELECTRO<\/character>\n    <dialogue>No, no, no, no... not a creature. A man.<\/dialogue>\n    <scene_description>Ned and MJ watch this whole scene play out.<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>Whoa, same universes.<\/dialogue>\n    <character>ELECTRO<\/character>\n    <dialogue>Dr. Curt Connors. He was a scientist at Oscorp when I worked there. A brilliant scientist. Until he turned himself into a lizard. Then he tried to turn the whole city into lizards, it was crazy!<\/dialogue>\n    <character>LIZARD<\/character>\n    <dialogue>It wasn't crazy, Max. It was the next step in human evolution.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>The dinosaur can talk?!<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Lizard.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>LIZARD<\/character>\n    <dialogue>Speaking of which -- what happened to you? Last I recall, you had bad teeth, glasses, and a combover. Did you get a makeover? You know I can give you a real makeover.<\/dialogue>\n    <character>ELECTRO<\/character>\n    <dialogue>Let me guess, into a lizard?<\/dialogue>\n    <character>LIZARD<\/character>\n    <dialogue>Exactly!<\/dialogue>\n    <character>SANDMAN<\/character>\n    <dialogue>Would you two just shut up?! Where are we?<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>It's complicated--<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>A wizard's dungeon.<\/dialogue>\n    <character>ELECTRO<\/character>\n    <dialogue>A wizard's... a wizard's dungeon?<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>There's no real way to sugar coat that. It's literally the dungeon of a wizard.<\/dialogue>\n    <character>ELECTRO<\/character>\n    <dialogue>Look, you can keep your magic.<\/dialogue>\n    <parenthetical>(re: glowing hands)<\/parenthetical>\n    <dialogue>I want a taste of that new energy I just felt.<\/dialogue>\n    <scene_description>The overhead lights flicker. MJ's phone RINGS. She answers.<\/scene_description>\n    <character>MJ<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Oh, Peter, hey!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POWER LINES\/EXT. FOREST - INTERCUT - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>Peter is on the phone, surrounded by downed power lines.<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Hey, uh... did those guys come through yet? There should be an electric guy and a sand guy.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Yeah, they're all here and locked up.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Okay, perfect. I'm gonna just stay here for a bit and try and fix some of this damage so they don't blame it on me again.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>But hey, I uh... I couldn't do any of this without you so... thank you.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Yeah, of course.<\/dialogue>\n    <scene_description>Ned inspects the tree in one of the cells, turns to MJ.<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>Hey, ask him if this is, like, a tree monster, or like a scientist that turned into a tree...?<\/dialogue>\n    <character>ELECTRO<\/character>\n    <dialogue>It's just a tree, man. Just a tree.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK CITY SKYLINE - ESTABLISHING SHOT - DAWN<\/stage_direction>\n    <scene_description>Day breaks through the skyline of Manhattan.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NYC ALLEY - MORNING<\/stage_direction>\n    <scene_description>In a deserted alley, NORMAN OSBORN desperately tries to cover up the Goblin Glider with trash.<\/scene_description>\n    <character>GREEN GOBLIN (V.O.)<\/character>\n    <dialogue>Coward! We have a new world to conquer.<\/dialogue>\n    <scene_description>Norman turns, sees the Green Goblin mask hanging on a nearby dumpster. He trembles with fear.<\/scene_description>\n    <character>GREEN GOBLIN (V.O.)<\/character>\n    <dialogue>You make me sick.<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Leave me alone. Please...<\/dialogue>\n    <character>GREEN GOBLIN (V.O.)<\/character>\n    <dialogue>Hiding in the shadows. Hiding from who you truly are.<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>GREEN GOBLIN (V.O.)<\/character>\n    <dialogue>You can't escape yourself!<\/dialogue>\n    <scene_description>Norman picks up a brick and SMASHES the mask. He runs off, Green Goblin's CACKLING LAUGHTER echoing around him...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POWER LINES\/EXT. FOREST - MORNING<\/stage_direction>\n    <scene_description>Peter swings down, looks at his handiwork -- power lines held together precariously with a lot of webs. His phone VIBRATES with a call from May.<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Hey, May.<\/dialogue>\n    <character>MAY (OVER PHONE)<\/character>\n    <dialogue>Hey, Peter. I'm at work and um...<\/dialogue>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>One of the guys you're looking for just walked in.<\/dialogue>\n    <scene_description>Off Peter's concerned face...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. F.E.A.S.T. SHELTER - LATER (MORNING)<\/stage_direction>\n    <scene_description>A billboard for the F.E.A.S.T. shelter featuring a waving Spider-Man. But someone has crossed out his face and graffitied \"MYSTERIO WAS RIGHT.\" Spider-Man SWINGS past the sign, landing in front of the shelter doors. He quickly runs inside--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. F.E.A.S.T. SHELTER - CONTINUOUS (MORNING)<\/stage_direction>\n    <scene_description>Spider-Man searches, frantic. He pulls off his mask.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>May! Where's May?<\/dialogue>\n    <scene_description>A FOOD SERVICE WORKER points Peter towards the kitchen.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Thank you!<\/dialogue>\n    <scene_description>Peter takes off, rounding the kitchen door to find... MAY HAVING TEA WITH NORMAN OSBORN. No armor. Dressed in ill-fitting clothes from the donation bin. Nursing tea in a mug, he looks tired, disoriented... even fragile.<\/scene_description>\n    <character>MAY<\/character>\n    <dialogue>Ah, hey, here he is! Norman, this is my nephew.<\/dialogue>\n    <scene_description>Peter is totally thrown.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Norman Osborn? I thought that you--<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>I saw Spider-Man in an ad for this place. And I thought he could help me. But you're not him.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Wait, so you want Spider-Man's help?<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>He... he just wandered in.<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>I didn't know where else to go. Someone's living in my house.<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Oscorp doesn't exist. My son...<\/dialogue>\n    <parenthetical>(beat, then)<\/parenthetical>\n    <dialogue>Sometimes I'm not myself. I'm... someone else.<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>Uh huh.<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>And every time he's in control, I can't remember.<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>Who is that?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>And now I'm here--<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>Who's \"in control?\"<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>--In this place--<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>Norman, who's in control?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>--In this city, and I don't know--<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>Uh huh.<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>--I don't know why, what's going on with me? And I don't--<\/dialogue>\n    <scene_description>May tries to calm him, comfort him.<\/scene_description>\n    <character>MAY<\/character>\n    <dialogue>Okay, okay, okay...<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>It doesn't make sense.<\/dialogue>\n    <scene_description>May pulls Peter aside.<\/scene_description>\n    <character>MAY<\/character>\n    <dialogue>He's lost. And I don't mean just in the cosmos, I mean in his mind. Are they all like this?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>Yeah?!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Well, I mean, they all have their own mental and physical issues.<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>Well, he needs help, and maybe they all do.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Wait, you don't mean--? No May, this isn't my problem.<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>Peter. Not your problem?<\/dialogue>\n    <scene_description>May locks eyes with Peter -- is he being honest with her and himself?<\/scene_description>\n    <character>MAY<\/character>\n    <dialogue>Hmm?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>May, their chance of getting help is way better back where they came from. Sending them home, that's the best thing that we can do for them.<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>For them? Or for yourself?<\/dialogue>\n    <scene_description>Her words hit Peter hard. She's guiding him, but leaving the choice open. He hesitates.<\/scene_description>\n    <character>MAY<\/character>\n    <dialogue>Look around you. This is what we do. We help people.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>This is what's best. For them. Trust me.<\/dialogue>\n    <scene_description>Off May, not entirely sold by that...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAILY BUGLE CONTROL ROOM - DAY<\/stage_direction>\n    <scene_description>Daily Bugle EMPLOYEES in a TV control room watch as J. Jonah Jameson wraps up a segment.<\/scene_description>\n    <character>J. JONAH JAMESON (ON SCREEN)<\/character>\n    <dialogue>But the fact remains, Spider-Man is a menace! We'll be right back...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAILY BUGLE STUDIO - SAME TIME (DAY)<\/stage_direction>\n    <scene_description>Reveal J. Jonah behind a desk in a professional news studio. He gestures to a bottle of vitamins at his side.<\/scene_description>\n    <character>J. JONAH JAMESON<\/character>\n    <dialogue>...After a brief word from Daily Bugle Supplements. The only other daily fix you need.<\/dialogue>\n    <character>PRODUCER (O.S.)<\/character>\n    <dialogue>And we're out.<\/dialogue>\n    <scene_description>J. Jonah answers his phone:<\/scene_description>\n    <character>J. JONAH JAMESON<\/character>\n    <dialogue>What?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. F.E.A.S.T. SHELTER - INTERCUT - SAME TIME (DAY)<\/stage_direction>\n    <scene_description>A DAILY BUGLE LACKEY sits in a parked car. He watches as a truck from the shelter pulls away.<\/scene_description>\n    <character>DAILY BUGLE LACKEY<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>I got eyes on him. He's with his aunt, some guy I don't know.<\/dialogue>\n    <character>J. JONAH JAMESON<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>You sure?<\/dialogue>\n    <character>DAILY BUGLE LACKEY (O.S.)<\/character>\n    <dialogue>They're just leaving the shelter.<\/dialogue>\n    <character>J. JONAH JAMESON<\/character>\n    <dialogue>Okay, don't lose him!<\/dialogue>\n    <scene_description>As J. Jonah eagerly walks off set...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANCTUM SANCTORUM\/INT. SHELTER TRUCK - LATER (DAY)<\/stage_direction>\n    <scene_description>May parks the F.E.A.S.T. truck outside the Sanctum Sanctorum. As Peter and Norman exit--<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Thanks, May! Hope to see you again.<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>Hey...<\/dialogue>\n    <scene_description>Peter turns back to his aunt.<\/scene_description>\n    <character>MAY<\/character>\n    <dialogue>He trusts you. So do I.<\/dialogue>\n    <scene_description>A beat as Peter takes that in, then--<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Thanks for cleaning my suit.<\/dialogue>\n    <scene_description>Reveal Peter in his black and red suit (no longer turned inside-out, the green paint removed). As Peter hops out of the van:<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I'll see you later!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANCTUM BASEMENT - UNDERCROFT - MOMENTS LATER (DAY)<\/stage_direction>\n    <scene_description>Peter walks Norman over to MJ and Ned, who are seated in front of Ned's laptop. They turn.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Um, guys, this is uh... Mr. Osborn.<\/dialogue>\n    <character>NORMAN<\/character>\n    <parenthetical>(correcting)<\/parenthetical>\n    <dialogue>It's Doctor.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Sorry. Um, Doctor Osborn, these are my friends. This is Ned and MJ.<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Mary Jane?<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>It's Michelle Jones, actually.<\/dialogue>\n    <scene_description>Norman reacts, understanding. Another universe.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Fascinating...<\/dialogue>\n    <scene_description>His attention is then drawn to the imprisoned villains below.<\/scene_description>\n    <character>NED<\/character>\n    <parenthetical>(aside, to MJ)<\/parenthetical>\n    <dialogue>Do you think there are other Ned Leeds-es?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANCTUM SANCTORUM - ANCIENT CHAMBER - CONTINUOUS (DAY)<\/stage_direction>\n    <scene_description>Norman looks around, then spots Doc Ock in his cell.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Octavius?<\/dialogue>\n    <character>DOC OCK<\/character>\n    <parenthetical>(amazed)<\/parenthetical>\n    <dialogue>...Osborn?<\/dialogue>\n    <character>NORMAN<\/character>\n    <parenthetical>(re: Ock's tentacles)<\/parenthetical>\n    <dialogue>What... what happened to you?<\/dialogue>\n    <character>DOC OCK<\/character>\n    <dialogue>What happened to-- You're the walking corpse!<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>DOC OCK<\/character>\n    <dialogue>You died, Norman. Years ago.<\/dialogue>\n    <scene_description>Peter looks up, having overheard.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>You're insane.<\/dialogue>\n    <character>ELECTRO<\/character>\n    <dialogue>God, I love it here.<\/dialogue>\n    <scene_description>Peter enters, gestures at Norman.<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>(to Doc Ock)<\/parenthetical>\n    <dialogue>What are you talking about? He's standing right there. He's not--<\/dialogue>\n    <character>SANDMAN<\/character>\n    <dialogue>Dead. They both died. Fighting Spider-Man.<\/dialogue>\n    <scene_description>Norman looks to Peter -- is this true? But Peter is just as shocked as him.<\/scene_description>\n    <character>SANDMAN<\/character>\n    <dialogue>It was all over the news. Green Goblin? Impaled by the glider you flew around on.<\/dialogue>\n    <scene_description>As this sinks in for Norman, Sandman turns to Doc Ock.<\/scene_description>\n    <character>SANDMAN<\/character>\n    <dialogue>And a couple years later, you, Doc Ock, drowned in the river with your machine.<\/dialogue>\n    <character>DOC OCK<\/character>\n    <dialogue>That's nonsense! Spider-Man was trying to stop my fusion reactor. So I stopped him! I had him by the throat and then I...<\/dialogue>\n    <parenthetical>(struggling to remember)<\/parenthetical>\n    <dialogue>And then I was here.<\/dialogue>\n    <character>ELECTRO<\/character>\n    <dialogue>Oh please, let me tell you something. I was whooping Spider- Man's ass -- he'll tell you. And then he caused an overload, I was stuck in the grid, absorbing data, I was about to turn into pure energy and then-- And then, uh-- And then--<\/dialogue>\n    <parenthetical>(realizes)<\/parenthetical>\n    <dialogue>Oh, shit. I was about to die.<\/dialogue>\n    <character>LIZARD<\/character>\n    <dialogue>Max, do you know -- do I die?<\/dialogue>\n    <scene_description>MJ and Ned join Peter, alarmed by what they're hearing. WHOOSH! A PORTAL OPENS. Dr. Strange enters with an elaborately designed puzzle box, the corrupted spell trapped inside. He spots Norman.<\/scene_description>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Oh great, you caught another one.<\/dialogue>\n    <scene_description>Strange flicks his wrist--<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>No no no, wait, Strange, he's not--<\/dialogue>\n    <scene_description>--And transports Norman into a cell.<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>(to Norman)<\/parenthetical>\n    <dialogue>It's okay. Um...<\/dialogue>\n    <parenthetical>(then, re: The Box)<\/parenthetical>\n    <dialogue>What is that?<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>It's an ancient relic. La Macchina di Kadavus. I've trapped your corrupted spell inside, and once I finish the proper ritual, it'll reverse the spell. And send these guys back to their universes.<\/dialogue>\n    <character>DOC OCK<\/character>\n    <dialogue>And then what? We perish?<\/dialogue>\n    <character>ELECTRO<\/character>\n    <dialogue>Nah, no thanks, I'll pass on that.<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Let me out of here. Peter!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Strange, we can't send them back. Not yet.<\/dialogue>\n    <scene_description>Strange reacts -- not yet?<\/scene_description>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Some of these guys are gonna die.<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Parker... it's their fate.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Come on, Strange. Have a heart.<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>In the grand calculus of the Multiverse, their sacrifice means infinitely more than their lives.<\/dialogue>\n    <scene_description>Peter takes that in, conflicted.<\/scene_description>\n    <character>DR. STRANGE<\/character>\n    <dialogue>I'm sorry, kid. If they die, they die.<\/dialogue>\n    <scene_description>Dr. Strange turns back to solving The Box. Peter turns to Ned and MJ -- what should he do? GOLDEN LIGHT begins to envelope the villains in their cells.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Peter!<\/dialogue>\n    <scene_description>The villains react, nervous and uneasy, as the GOLDEN LIGHT around them glows brighter... The Box is almost solved. A triangular BUTTON appears on top. As Strange goes to press it... TWHIP! Peter WEBS The Box.<\/scene_description>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Don't!<\/dialogue>\n    <scene_description>Peter YANKS The Box away just as-- THWIP! He MAGIC WEBS Dr. Strange into Sandman's cell!<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>Dude, what are you doing?<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Peter, you better go. Go!<\/dialogue>\n    <scene_description>As Peter takes off running, Dr. Strange frees himself from Sandman.<\/scene_description>\n    <character>DR. STRANGE<\/character>\n    <dialogue>This is why I never had kids.<\/dialogue>\n    <scene_description>Strange easily walks out of the cell, while Sandman SMACKS into the transparent wall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANCTUM SANCTORUM - MOMENTS LATER (DAY)<\/stage_direction>\n    <scene_description>Spider-Man races outside with The Box and WEBS AWAY -- right into a SERIES OF PORTALS that appear before him. WHOOSH! He comes out of one and lands right back in front of the Sanctum. Dr. Strange glares at him.<\/scene_description>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Give me The Box.<\/dialogue>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Spider-Man tries to MAGIC WEB Dr. Strange, but the shooter malfunctions... then completely DISAPPEARS!<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Whoa!<\/dialogue>\n    <scene_description>Spider-Man quickly WBES away with The Box. But his web flies into a PORTAL... and out another... WEBBING HIS OWN FOOT. He's stuck, dangling between the two portals, struggling. Using an Eldritch Whip, Dr. Strange pulls Spider-Man down and KNOCKS HIS ASTRAL BODY OUT OF HIS PHYSICAL BODY. Ghostlike, Spider-Man's Astral Body -- in the form of Peter Parker -- floats nearby.<\/scene_description>\n    <character>PETER (ASTRAL BODY)<\/character>\n    <dialogue>Oh my God, I'm dead.<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>You're not dead. You've just been separated from your physical form.<\/dialogue>\n    <character>PETER (ASTRAL BODY)<\/character>\n    <dialogue>My physical-- What?!<\/dialogue>\n    <scene_description>Spider-Man's Physical Body stands there, seemingly lifeless, holding The Box. Dr. Strange reaches for The Box-- But Spider-Man's Physical Body moves The Box away. Somehow Astral Peter is controlling Spider-Man's Physical Body!<\/scene_description>\n    <character>DR. STRANGE<\/character>\n    <dialogue>How are you doing that?<\/dialogue>\n    <character>PETER (ASTRAL BODY)<\/character>\n    <dialogue>I have no idea...<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <parenthetical>(reaching for The Box)<\/parenthetical>\n    <dialogue>You should not... be able... to do that.<\/dialogue>\n    <character>PETER (ASTRAL BODY)<\/character>\n    <parenthetical>(re: astral form)<\/parenthetical>\n    <dialogue>This feels amazing.<\/dialogue>\n    <scene_description>Astral Peter \"swims\" back to reenter his Physical Body... Spider-Man's immediately TOSSED BACK onto the road. He flips upright.<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>That might have been one of the coolest things that's ever happened to me. But don't ever do that again.<\/dialogue>\n    <scene_description>Spider-Man WEBS off with The Box. Dr. Strange sends the Cloak of Levitation after him. WHOOSH! The Cloak GRABS onto Peter.<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Hey-- get off of me!<\/dialogue>\n    <scene_description>Cloak flings Spider-Man back. With a flick of his wrist, Dr. Strange sends Spider-Man crashing into--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE MIRROR DIMENSION - NEW YORK CITY - CONTINUOUS (DAY)<\/stage_direction>\n    <scene_description>An EXACT REPLICA of the city, but separated from the real one, so they can fight unseen and without hurting anyone. Spider-Man free-falls, tightly gripping The Box. Dr. Strange flies after him, Cloak now billowing off his back. Strange manipulates the Mirror Dimension... A DEPARTMENT STORE FOLDS INTO ITSELF! Spider-Man WEBS, deftly navigating the building as it bends its way around him. He hurtles out a window, making his way through Central Park, still clutching The Box. Dr. Strange waves his hands to create a MAGICAL CLOTHESLINE. WHACK! Spider-Man is flung backwards-- Right into the path of a SUBWAY TRAIN, roaring out of a PORTAL opened by Strange! The Box lands on the train's roof. As Dr. Strange goes to grab it-- Spider-Man WEBS The Box back. Strange sighs. Spider-Man crawls on top of the train.<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>What is this place?<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>The Mirror Dimension. Where I'm in control.<\/dialogue>\n    <scene_description>Dr. Strange waves his hands, again altering the Mirror Dimension. The skyscrapers of New York City fold, bending into the rising peaks and valleys of--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE MIRROR DIMENSION - NEW YORK CITY\/THE GRAND CANYON -<\/stage_direction>\n    <scene_description>CONTINUOUS (DAY) The subway train careens through the two worlds of New York City and the Grand Canyon, now fused together. Spider-Man and Dr. Strange stand off on the train's roof.<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Strange, stop! Can we please just talk about this?!<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Parker, don't you realize that in the Multiverse there are an infinite number of people who know Peter Parker is Spider-Man.<\/dialogue>\n    <parenthetical>(re: Box)<\/parenthetical>\n    <dialogue>And if that spell gets loose, they're all coming here!<\/dialogue>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Look, I know. I get it! But we can't just send them home to die.<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>It's their fate. You can't change that any more than you can change who they are.<\/dialogue>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>But what if we could? What if we could change their fate?<\/dialogue>\n    <scene_description>Strange manipulates the Mirror Dimension...<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Whoa, whoa... what are you doing?<\/dialogue>\n    <scene_description>The train car duplicates again and again, becoming a spinning vortex around Spider-Man. As Spider-Man turns and runs off--<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>I'm not giving you the-- Whoa!<\/dialogue>\n    <scene_description>Dr. Strange PORTALS him -- dropping Spider-Man down one portal, through to the next, in a state of CONSTANT FREE- FALL. As Peter drops in and out, over and over-- Cloak flies in and grabs The Box back! Spider-Man. Cloak. Box. Spider-Man. Cloak. Box. Until-- Spider-Man WEBS the other side of Cloak, suspending them between the two portals.<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Give me that back!<\/dialogue>\n    <scene_description>As Cloak and Spider-Man battle it out, Dr. Strange lassos Cloak and The Box, pulling them away from Peter... bending the two portals closer and closer towards each other, when-- WHOOSH! The two portals fall in on each other. Everything begins SPINNING! New York streets kaleidoscopically folding into Grand Canyon rock walls. The Box goes flying. Dr. Strange, Cloak, and Spider-Man plummet after it. Spider-Man lands on top of a rock, noticing...<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Wait a minute. Is that an Archimedean spiral? The Mirror Dimension is just geometry? You're great at geometry! You can do geometry!<\/dialogue>\n    <scene_description>Spider-Man WEBS off as Dr. Strange GRABS hold of The Box, Cloak once more wrapped around him. THWIP! THWIP! Spider-Man WEBS in random directions--<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Square the radius... divide by Pi... at flat points along the curve...<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>It's over, Parker. I'll come pick you up when it's done.<\/dialogue>\n    <scene_description>Dr. Strange opens a PORTAL back to the Sanctum. As Spider-Man continues to WEB in random directions...<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Hey, Strange! You know what's cooler than magic?<\/dialogue>\n    <scene_description>Dr. Strange's foot snags on one of Spider-Man's seemingly random webs. Then the shifting of Mirror Dimension objects brings another web right into him.<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Math!<\/dialogue>\n    <scene_description>Strange looks around. Webs everywhere, closing in on him as the rocks turn and spin -- not so random after all -- as Strange is completely ensnared in a web! Spider-Man drops down in front of Dr. Strange and WEBS back The Box.<\/scene_description>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Don't do this.<\/dialogue>\n    <scene_description>Spider-Man WEBS the SLING RING off Dr. Strange's finger.<\/scene_description>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Ow.<\/dialogue>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>I'm sorry, sir. But--<\/dialogue>\n    <scene_description>He dives through the PORTAL with The Box and Sling Ring.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANCTUM SANCTORUM - ANCIENT CHAMBER - CONTINUOUS (DAY)<\/stage_direction>\n    <scene_description>Spider-Man looks back through the PORTAL.<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>I have to try.<\/dialogue>\n    <scene_description>Dr. Strange stares back, equal parts furious and concerned, as the PORTAL CLOSES. Ned and MJ approach--<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>Dude, what happened?<\/dialogue>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>I just had a fight with Dr. Strange and I totally won!<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>What?!<\/dialogue>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Lookit, I stole his ring thing.<\/dialogue>\n    <scene_description>Ned grabs the ring from Peter.<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>Whoa!<\/dialogue>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>I was swinging through the city and then I went through this massive--<\/dialogue>\n    <scene_description>He pulls off his mask.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>--Mirror thing. And then I was back in the city--<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Where is he? Where is he--<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Uh, he's trapped, but I'm not sure for how long.<\/dialogue>\n    <character>DOC OCK<\/character>\n    <dialogue>You could have just left us to die. Why didn't you?<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>'Cause that's not who he is.<\/dialogue>\n    <scene_description>Peter reacts to these words, takes in the villains in their cells.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I think I can help you guys. If I can fix what happened to you, then when you go back, things will be different, and you might not die fighting Spider-Man.<\/dialogue>\n    <character>ELECTRO<\/character>\n    <dialogue>What do you mean \"fix\" us?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Look, our technology is advanced, and I'm--<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>I can help you. You know, I'm something of a scientist myself. Octavius knows what I can do.<\/dialogue>\n    <character>DOC OCK<\/character>\n    <dialogue>\"Fix?\" You mean like a dog? I refuse.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I can't promise you guys anything. But at least this way you actually get to go home and have a chance... a second chance. I mean, come on. Isn't that worth trying?<\/dialogue>\n    <character>LIZARD<\/character>\n    <dialogue>Trust me, Peter. When you try to fix people there are always consequences.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I mean, you don't have to come. I also didn't know that you could talk.<\/dialogue>\n    <scene_description>Lizard shrugs.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>But if you stay here... you're gonna have to deal with the wizard.<\/dialogue>\n    <character>LIZARD<\/character>\n    <dialogue>Ah, so we go along or die. Not much of a choice, is it?<\/dialogue>\n    <character>SANDMAN<\/character>\n    <dialogue>I just want to go home.<\/dialogue>\n    <character>ELECTRO<\/character>\n    <dialogue>Well, I myself don't want to be killed, especially by a guy dressed like Dungeons &amp; Dragons, so... what's your plan?<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(lying)<\/parenthetical>\n    <dialogue>I have it all under control.<\/dialogue>\n    <scene_description>Peter pulls Ned and MJ aside.<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>(re: The Box)<\/parenthetical>\n    <dialogue>What are we gonna do about this thing?<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Uh, well, we need to find somewhere safe for it, right?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Yeah. Sure, right.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Yes, yes.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(to MJ)<\/parenthetical>\n    <dialogue>You gotta take it.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Wait, what?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>If something bad happens, I'll text you and then you just push this and then it's all over and they'll all be gone.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Peter, we're going with you. We're not gonna leave you.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You can't come with me, it's too dangerous. You guys have already done enough.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Peter, we're in this together.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I know we're in this together, Ned. But I can't do this if I know that you're in danger. Okay? So for me, MJ, please, just take this? ...Please?<\/dialogue>\n    <character>MJ<\/character>\n    <parenthetical>(caving)<\/parenthetical>\n    <dialogue>Fine.<\/dialogue>\n    <scene_description>MJ takes The Box.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>But Peter, I swear, if I don't hear from you, I'm pressing the button.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <parenthetical>(to villains)<\/parenthetical>\n    <dialogue>And I will do it!<\/dialogue>\n    <character>ELECTRO<\/character>\n    <parenthetical>(skeptical)<\/parenthetical>\n    <dialogue>Yeah, we all believe you, Michelle.<\/dialogue>\n    <character>LIZARD<\/character>\n    <dialogue>No way that's his girlfriend. No way.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(re: Box)<\/parenthetical>\n    <dialogue>She'll do it.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Absolutely. She will.<\/dialogue>\n    <scene_description>Peter turns from the villains, back to Ned.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Okay. See you later?<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Be safe.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You too.<\/dialogue>\n    <scene_description>Peter and Ned do their special handshake from HOMECOMING. As they bump hands, a SPARK emits from Dr. Strange's Sling Ring.<\/scene_description>\n    <character>PETER\/NED<\/character>\n    <dialogue>Whoa.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Okay...<\/dialogue>\n    <scene_description>Ned heads off, as MJ kisses Peter goodbye.<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>Be careful, okay?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Yeah, you too.<\/dialogue>\n    <scene_description>MJ follows after Ned. Peter turns to the villains.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>So, uh... who's coming with me?<\/dialogue>\n    <scene_description>As Norman considers this, then Doc Ock...<\/scene_description>\n    <character>ELECTRO<\/character>\n    <dialogue>Well, I'm in. But... if this goes sideways, imma fry you from the inside out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - LIVING ROOM - LATER (DAY)<\/stage_direction>\n    <scene_description>CLICK. CLICK. CLICK. The many locks release and the door opens. The villains hustle inside, past the security camera. As May enters...<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Where's Connors?<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>He told me he wants to stay in the truck.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>ALARM SYSTEM VOICE (V.O.)<\/character>\n    <dialogue>Alarm system deactivated.<\/dialogue>\n    <scene_description>As Peter closes the door, he whispers aside to May:<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Hey, May?<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I feel kinda bad using Happy's place like this.<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>No, no, no, he'll get over it.<\/dialogue>\n    <scene_description>REVEAL the absurd juxtaposition of the villains (sans Lizard) in Happy's bachelor pad: Electro shoots energy at the TV, and shorts it out.<\/scene_description>\n    <character>NEWS ANCHOR VOICE (FROM TV)<\/character>\n    <dialogue>A majority of New Yorkers oppose the Statue of Liberty's renovation.<\/dialogue>\n    <scene_description>Sandman sits on the black leather sofa. Sand FALLS everywhere.<\/scene_description>\n    <character>SANDMAN<\/character>\n    <dialogue>Oh... sorry.<\/dialogue>\n    <scene_description>He tries to brush it off the sofa. Unsuccessful. Norman puzzles over DUM-E in the kitchen. Doc Ock is wrapped into submission by his own tentacles. He scowls.<\/scene_description>\n    <character>DOC OCK<\/character>\n    <dialogue>So this is your plan, Peter? Hmm? No lab, no facilities, just performing miracles in a condominium? Hmm? What, are you going to cook us some cures and some frozen burritos in a microwave?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>I could go for a burrito.<\/dialogue>\n    <character>DOC OCK<\/character>\n    <dialogue>He's gonna kill us all.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Well, let's hope not. You're up first, Doc.<\/dialogue>\n    <scene_description>Ignoring Ock, Peter walks to the storage room.<\/scene_description>\n    <character>DOC OCK<\/character>\n    <dialogue>What? Hey, I told you, I don't need fixing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - STORAGE ROOM - CONTINUOUS (DAY)<\/stage_direction>\n    <scene_description>As Peter enters...<\/scene_description>\n    <character>DOC OCK<\/character>\n    <dialogue>I don't need fixing!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - LIVING ROOM - SAME TIME (DAY)<\/stage_direction>\n    <scene_description>Doc Ock fumes.<\/scene_description>\n    <character>DOC OCK<\/character>\n    <dialogue>Especially by a teenager using scraps from a bachelor's junk drawer.<\/dialogue>\n    <scene_description>Electro follows after Peter.<\/scene_description>\n    <character>ELECTRO<\/character>\n    <dialogue>Nah, nah, nah. He got something back there. I can feel it. That weird energy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - STORAGE ROOM - SAME TIME (DAY)<\/stage_direction>\n    <scene_description>CLOSE ON the tarp being removed from the large case (marked \"Stark Cases\") that Peter saw before. Norman, Electro, and May enter--<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>What the hell is that?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>It's a Fabricator.<\/dialogue>\n    <scene_description>Peter presses a button on the case -- it unfolds to reveal a STARK FABRICATOR, a portable version of the machine Peter used on the jet in FAR FROM HOME. Powered by an ARC REACTOR.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>It can analyze, design, construct basically anything.<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>I thought that was the tanning bed Happy broke.<\/dialogue>\n    <scene_description>ON THE FABRICATOR: readouts come alive, sections open and extend outward, growing to full size. Electro's eyes light up at the sight of the arc reactor.<\/scene_description>\n    <character>ELECTRO<\/character>\n    <dialogue>Look at that.<\/dialogue>\n    <scene_description>The unfolding machine keels forward and--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - KITCHEN - SAME TIME (DAY)<\/stage_direction>\n    <scene_description>WHAM! Punches a hole in the kitchen wall. Doc Ock glares.<\/scene_description>\n    <character>DOC OCK<\/character>\n    <dialogue>He's gonna kill us all.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAPPY'S CONDO BUILDING - PLAZA - EARLY EVENING<\/stage_direction>\n    <scene_description>Two PEDESTRIANS walk by the F.E.A.S.T. truck. BANG! RAWR! As the truck gently shakes--<\/scene_description>\n    <character>PEDESTRIAN<\/character>\n    <dialogue>Whoa... what's going on there?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - STORAGE ROOM - THAT NIGHT<\/stage_direction>\n    <scene_description>Peter works at the Fabricator. CLOSE ON a holographic scan of Doc Ock's compromised chip.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>So the chip in the back of Doc's neck was designed to protect his brain from the A.I. system that's controlling these tentacles. But if you look here...<\/dialogue>\n    <scene_description>Peter rotates the hologram with his hands. He singles out the compromised chip.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>The chip is fried. So rather than him being in control of the tentacles, the tentacles are now in control of him. Which I guess explains why he is so miserable all the time.<\/dialogue>\n    <scene_description>Norman takes in the holographic chip, intrigued and amazed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>ANGLE ON the holographic Iron Spider controls in command over Doc Ock's tentacles. REVEAL Doc Ock, his tentacles still wrapped around him as restraints. May taps one of them, holds up a glass of water.<\/scene_description>\n    <character>MAY<\/character>\n    <dialogue>Thirsty?<\/dialogue>\n    <character>DOC OCK<\/character>\n    <dialogue>Why yes, I am thirsty.<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>Fresh water or salt?<\/dialogue>\n    <parenthetical>(off his look)<\/parenthetical>\n    <dialogue>You know, because you're an octopus?<\/dialogue>\n    <character>DOC OCK<\/character>\n    <dialogue>...What?<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>Fresh water it is.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>By the windows, Electro stares out at the world.<\/scene_description>\n    <character>ELECTRO<\/character>\n    <dialogue>Look at this place. And all the possibilities...<\/dialogue>\n    <character>SANDMAN<\/character>\n    <dialogue>What? This condo?<\/dialogue>\n    <character>ELECTRO<\/character>\n    <dialogue>Yeah, yeah, the condo. I love the whole open floor plan. No. Nah, man. I'm talking about the world.<\/dialogue>\n    <parenthetical>(re: his cool new self)<\/parenthetical>\n    <dialogue>I kind of like who I am here.<\/dialogue>\n    <scene_description>Electro glances toward the storage room... THE ARC REACTOR.<\/scene_description>\n    <character>ELECTRO<\/character>\n    <dialogue>And all that power back there... I could be so much more.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>So why'd you come along?<\/dialogue>\n    <character>SANDMAN<\/character>\n    <dialogue>I have a daughter, and I want to see her. But he's not gonna send anyone home until he's finished his little science project back there.<\/dialogue>\n    <character>ELECTRO<\/character>\n    <dialogue>You trust him?<\/dialogue>\n    <character>SANDMAN<\/character>\n    <dialogue>I don't trust anyone.<\/dialogue>\n    <parenthetical>(beat, then)<\/parenthetical>\n    <dialogue>How'd you end up like that anyway?<\/dialogue>\n    <character>ELECTRO<\/character>\n    <dialogue>Oh, the place where I worked at, they were experimenting with electricity created by living organisms and then, uh... I fell into a vat of electric eels.<\/dialogue>\n    <character>SANDMAN<\/character>\n    <dialogue>You're kidding. I fell into a super collider.<\/dialogue>\n    <character>ELECTRO<\/character>\n    <dialogue>Damn. Gotta be careful where you fall.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - STORAGE ROOM - NIGHT<\/stage_direction>\n    <scene_description>The Fabricator holds the new MICROCHIP cure for Doc Ock. Peter adds the final pieces, as Norman looks on.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>Remarkable. The technology and you. When all this is over, if you need a job and you're willing to commute to another universe...<\/dialogue>\n    <scene_description>The Fabricator HUMS. The chip is finished.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>That worked! That totally worked!<\/dialogue>\n    <scene_description>Peter grabs the finished chip and races out of the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - KITCHEN\/2ND FLOOR LANDING - CONT. (NIGHT)<\/stage_direction>\n    <scene_description>Peter slides in with the new microchip, holds it up to May.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I got it. I did it, I did it. Uh... would you send him up?<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>Here we go.<\/dialogue>\n    <scene_description>Peter starts bounding up the stairs, as May adjusts the holographic Iron Spider controls. Peter suddenly stops, takes off his magnifying glasses, and tosses them to May. They almost hit the controls--<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Sorry!<\/dialogue>\n    <scene_description>Ock's tentacles begin to lift him upwards, towards the second- story loft.<\/scene_description>\n    <character>MAY<\/character>\n    <dialogue>Hold on, Doc.<\/dialogue>\n    <character>DOC OCK<\/character>\n    <dialogue>Oh, will these humiliations never cease?!<\/dialogue>\n    <scene_description>Peter reaches the second floor landing, Ock now suspended in front of the railing. As Peter approaches--<\/scene_description>\n    <character>DOC OCK<\/character>\n    <dialogue>You! Keep your science fair project away from me!<\/dialogue>\n    <character>NORMAN<\/character>\n    <parenthetical>(from below)<\/parenthetical>\n    <dialogue>Hey, it'll work. Have faith.<\/dialogue>\n    <character>DOC OCK<\/character>\n    <dialogue>Says the reckless fool who turned himself into a monster.<\/dialogue>\n    <scene_description>Norman and Sandman look up from below as Peter tries to implant the new chip.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Please stop moving your head. Hold still.<\/dialogue>\n    <character>DOC OCK<\/character>\n    <dialogue>Don't you dare.<\/dialogue>\n    <scene_description>May, Norman, and Electro anxiously await the result, as Doc Ock continues to squirm.<\/scene_description>\n    <character>DOC OCK<\/character>\n    <dialogue>I swear, when I get out of this, we're gonna rip you a new--<\/dialogue>\n    <scene_description>CLOSE ON the new chip being gently attached to Doc Ock's inhibitor chip. Ock passes out.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>...Doc?!<\/dialogue>\n    <scene_description>Electro looks up, waiting...<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Doc? Doc?! ...Doctor Octavi--<\/dialogue>\n    <scene_description>Ock GASPS, lifts his head. Amazed.<\/scene_description>\n    <character>DOC OCK<\/character>\n    <dialogue>It's so quiet. Those voices... inside my head... I'd almost forgotten.<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Otto?<\/dialogue>\n    <character>DOC OCK<\/character>\n    <dialogue>Yes, Norman...<\/dialogue>\n    <scene_description>Ock's tentacles lower him back to the ground. He stands tall.<\/scene_description>\n    <character>DOC OCK<\/character>\n    <dialogue>It's me.<\/dialogue>\n    <scene_description>Electro looks on. Stunned. Disappointed. This decision is real now. Peter jumps down from the 2nd floor landing.<\/scene_description>\n    <character>SANDMAN<\/character>\n    <parenthetical>(re: Doc Ock)<\/parenthetical>\n    <dialogue>Would you look at that.<\/dialogue>\n    <scene_description>Peter uses the holographic Iron Spider controls to release the hold over the tentacles. The nanotech reforms over Peter's red and black suit, forming a HYBRID SUIT. Ock holds out his hand to Peter.<\/scene_description>\n    <character>DOC OCK<\/character>\n    <dialogue>I'm grateful, dear boy. Truly.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(shaking hands)<\/parenthetical>\n    <dialogue>Yeah, you're welcome.<\/dialogue>\n    <character>DOC OCK<\/character>\n    <dialogue>How can I help?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Happy is speeding down the road. He calls Peter, gets his voicemail.<\/scene_description>\n    <character>PETER (OVER CAR SPEAKERS)<\/character>\n    <dialogue>This is Peter. Leave a message.<\/dialogue>\n    <character>HAPPY<\/character>\n    <dialogue>Uh, yeah, Peter this is Happy. I accessed my doorbell camera. Who are those guys, huh? Is that a cyborg? Did you bring a cyborg with robot legs into my house? Is one of the guys made of mud? What's going on? Call me back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - STORAGE ROOM - NIGHT<\/stage_direction>\n    <scene_description>ON THE FABRICATOR as it manufactures more cures. Norman does his own calculations off to the side.<\/scene_description>\n    <character>DOC OCK<\/character>\n    <dialogue>How does it feel, Norman? You're about to become whole again. No more darker half. Just you.<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>Just me.<\/dialogue>\n    <scene_description>Norman turns to face Doc Ock and smiles. As Ock grins back...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Electro and Peter sit at the kitchen table. Peter holds out Electro's cure device.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Okay, um... It just goes right here.<\/dialogue>\n    <scene_description>Peter places the device onto Electro's chest. IT ACTIVATES. Electro looks uneasy.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>That should be drawing power now. I'm gonna come back in a second just to check on it. But...<\/dialogue>\n    <scene_description>Peter points out INDICATOR LIGHTS on the device.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Keep an eye on the lights. When they're all green, it means that all the electricity in your body's dissipated. Well, not all of the electricity. I mean, obviously you know that you need electricity for your brain to function. Your nervous system is--<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I'm not really sure why I'm explaining electricity to you.<\/dialogue>\n    <character>ELECTRO<\/character>\n    <dialogue>Can I ask you a question?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>ELECTRO<\/character>\n    <parenthetical>(re: kitchen table)<\/parenthetical>\n    <dialogue>Are these your LEGOs?<\/dialogue>\n    <scene_description>An awkward beat. An ALERT SIGNALS from the storage room.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Uh, I gotta go. I'll be back.<\/dialogue>\n    <scene_description>Peter walks off. Electro shifts, uncomfortable. He checks the indicator lights. BEEP... ONE GREEN.<\/scene_description>\n    <character>ELECTRO<\/character>\n    <dialogue>Something feels off.<\/dialogue>\n    <character>SANDMAN (O.S.)<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>ELECTRO<\/character>\n    <dialogue>I don't like this.<\/dialogue>\n    <scene_description>Reveal Sandman watching from the windows.<\/scene_description>\n    <character>SANDMAN<\/character>\n    <dialogue>Leave it alone. The sooner you guys get through this, the sooner we go home.<\/dialogue>\n    <scene_description>BEEP... TWO GREEN. ANGLE ON Electro. Troubled. Changing his mind?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAPPY'S CONDO BUILDING - PLAZA - NIGHT<\/stage_direction>\n    <scene_description>The Daily Bugle van screeches to a halt. J. Jonah gets out, approaches the Daily Bugle Lackey.<\/scene_description>\n    <character>J. JONAH JAMESON<\/character>\n    <dialogue>Well? Where is he?<\/dialogue>\n    <character>DAILY BUGLE LACKEY<\/character>\n    <parenthetical>(points)<\/parenthetical>\n    <dialogue>Uh, he's inside.<\/dialogue>\n    <character>J. JONAH JAMESON<\/character>\n    <dialogue>And yet here we are, outside. Did you not hear me say, \"Don't lose him?!\"<\/dialogue>\n    <character>DAILY BUGLE LACKEY<\/character>\n    <dialogue>Yes, sir, I--<\/dialogue>\n    <character>J. JONAH JAMESON<\/character>\n    <dialogue>I want incriminating footage of Spider-Man. I already called Damage Control. They're on their way.<\/dialogue>\n    <scene_description>ANGLE ON the F.E.A.S.T. truck.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. F.E.A.S.T. TRUCK - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>Just inside, Lizard's eyes narrow as he overhears.<\/scene_description>\n    <character>LIZARD<\/character>\n    <dialogue>And so it begins.<\/dialogue>\n    <character>J. JONAH JAMESON (O.S.)<\/character>\n    <dialogue>The place is about to be swarming with cops!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - STORAGE ROOM - NIGHT<\/stage_direction>\n    <scene_description>As Peter works on his Sandman cure, he stops abruptly, looks around. SPIDER-SENSE GOING OFF.<\/scene_description>\n    <character>DOC OCK<\/character>\n    <parenthetical>(noticing)<\/parenthetical>\n    <dialogue>Peter?<\/dialogue>\n    <character>NORMAN<\/character>\n    <dialogue>What's wrong?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I don't know...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - KITCHEN\/LIVING ROOM - CONTINUOUS (NIGHT)<\/stage_direction>\n    <scene_description>Peter enters, Ock and Norman following.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>May?<\/dialogue>\n    <scene_description>Something's definitely wrong. May comes down the stairs.<\/scene_description>\n    <character>MAY<\/character>\n    <dialogue>What is it, Peter?<\/dialogue>\n    <scene_description>Electro and Sandman pick up on it too.<\/scene_description>\n    <character>SANDMAN<\/character>\n    <dialogue>What's happening?<\/dialogue>\n    <scene_description>Peter searches, on alert. What is he sensing? Is one of them about to betray him? Where is the threat?<\/scene_description>\n    <character>ELECTRO<\/character>\n    <parenthetical>(on edge)<\/parenthetical>\n    <dialogue>Why are you looking at me like that?<\/dialogue>\n    <scene_description>Peter closes his eyes and focuses on his SPIDER-SENSE when-- THWIP! Peter WEBS NORMAN'S HAND to the robot arm of DUM-E!<\/scene_description>\n    <character>GREEN GOBLIN<\/character>\n    <dialogue>That's some neat trick. That sense of yours.<\/dialogue>\n    <character>DOC OCK<\/character>\n    <dialogue>Norman?<\/dialogue>\n    <character>GREEN GOBLIN<\/character>\n    <dialogue>Norman's on sabbatical, honey.<\/dialogue>\n    <character>ELECTRO<\/character>\n    <dialogue>The hell?<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(realizing)<\/parenthetical>\n    <dialogue>Goblin.<\/dialogue>\n    <scene_description>Peter and May share a look of concern.<\/scene_description>\n    <character>GREEN GOBLIN<\/character>\n    <dialogue>\"No more darker half?\" Did you really think that I'd let that happen?<\/dialogue>\n    <scene_description>Off to the side, May quietly heads into the--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - STORAGE ROOM - CONTINUOUS (NIGHT)<\/stage_direction>\n    <scene_description>As she searches for the cures...<\/scene_description>\n    <character>GREEN GOBLIN (O.S.)<\/character>\n    <dialogue>That I'd let you take away my power just because you're blind to what true power can bring you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - KITCHEN\/LIVING ROOM - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>Back in the kitchen, Peter stares Goblin down.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>You don't know me.<\/dialogue>\n    <character>GREEN GOBLIN<\/character>\n    <dialogue>Don't I?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - STORAGE ROOM - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>May grabs the cures, one-by-one, and shoves them into her F.E.A.S.T. tote bag.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - KITCHEN\/LIVING ROOM - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>Back in the kitchen--<\/scene_description>\n    <character>GREEN GOBLIN<\/character>\n    <dialogue>I saw how she trapped you.<\/dialogue>\n    <scene_description>May sneaks back in from the storage room, clutching the bag of cures. She nods at Peter -- she has them.<\/scene_description>\n    <character>GREEN GOBLIN<\/character>\n    <dialogue>Fighting her holy moral mission. We don't need you to save us... We don't need to be \"fixed!\"<\/dialogue>\n    <scene_description>ANGLE ON Sandman, taking this in. Goblin turns to the others:<\/scene_description>\n    <character>GREEN GOBLIN<\/character>\n    <dialogue>These are not curses.<\/dialogue>\n    <scene_description>Electro looks down at his cure device. BEEP... another GREEN LIGHT.<\/scene_description>\n    <character>GREEN GOBLIN<\/character>\n    <dialogue>They're gifts.<\/dialogue>\n    <character>DOC OCK<\/character>\n    <dialogue>Norman, no.<\/dialogue>\n    <character>GREEN GOBLIN<\/character>\n    <dialogue>Quiet, lapdog.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You don't know what you're talking about.<\/dialogue>\n    <character>GREEN GOBLIN<\/character>\n    <dialogue>I've watched you from deep behind Norman's cowardly eyes. Struggling to have everything you want. While the world tries to make you choose.<\/dialogue>\n    <scene_description>ANGLE ON Electro and his cure device -- BEEP! Only one more light to go...<\/scene_description>\n    <character>GREEN GOBLIN<\/character>\n    <dialogue>Gods don't have to choose.<\/dialogue>\n    <scene_description>Electro looks at Norman, now really buying in...<\/scene_description>\n    <character>GREEN GOBLIN<\/character>\n    <dialogue>We take.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>May... RUN!<\/dialogue>\n    <scene_description>May breaks for the door with the bag of cures. Electro RIPS the cure device off his chest, as Goblin tears free from the web holding him to DUM-E. With a BOLT OF ELECTRICITY, Electro reaches towards the storage room-- CRASH! The ARC REACTOR tears free from the Fabricator, bursts through the kitchen wall, and flies into Electro's hand... SURGING ELECTRIC CONTACT! Goblin POUNCES on a distracted Peter. Freakishly strong. SMASHING him into the stairs. Seeing this, Sandman disintegrates into a whirl of sand. Retreating.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - ELEVATOR HALLWAY - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>May runs to the elevators, pressing the \"down\" button over and over...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - LIVING ROOM - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>Electro SURGES with arc power.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAPPY'S CONDO BUILDING - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>Lights throughout the condo building FLICKER ON AND OFF.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - ELEVATOR HALLWAY - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>May looks up -- the hallway lights are flickering here too. As she pushes the elevator \"down\" button once more...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - LIVING ROOM - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>Doc Ock looks at Electro in horror.<\/scene_description>\n    <character>DOC OCK<\/character>\n    <dialogue>Oh my God. What have you done?<\/dialogue>\n    <character>ELECTRO<\/character>\n    <dialogue>I liked you better before.<\/dialogue>\n    <scene_description>Electro unleashes a Stark-grade cascade of ELECTRICITY... blowing Ock back through the living room wall!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAPPY'S CONDO BUILDING - CONTINUOUS (NIGHT)<\/stage_direction>\n    <scene_description>Ock tears through glass and steel before finally coming to a wrenching stop -- his tentacle arms gripping the side of the building.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAPPY'S CONDO BUILDING - PLAZA - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>J. Jonah directs his CAMERAMAN.<\/scene_description>\n    <character>J. JONAH JAMESON<\/character>\n    <parenthetical>(pointing)<\/parenthetical>\n    <dialogue>Up here, he's up there!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAPPY'S CONDO BUILDING - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>NEWS CAMERA POV: Doc Ock climbs away, disappearing into the night.<\/scene_description>\n    <character>J. JONAH JAMESON (O.S.)<\/character>\n    <dialogue>It's the guy from the bridge!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - STAIRWELL - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>May heads for the emergency exit door, races downstairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - LIVING ROOM - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>Electro and the swirling cloud of sand that is Sandman approach the burst-open living room wall. Sandman propels himself forward, Electro following after... transforming into a BEING OF PURE ELECTRICITY (like he was at the power lines, but different -- arc energy).<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAPPY'S CONDO BUILDING - PLAZA - CONTINUOUS (NIGHT)<\/stage_direction>\n    <scene_description>The shelter truck rocks violently. SLASH! SLASH! Lizard EXPLODES out of the hole he cut open and runs off.<\/scene_description>\n    <character>J. JONAH JAMESON<\/character>\n    <dialogue>...Did you see that?!<\/dialogue>\n    <scene_description>POLICE and BYSTANDERS scramble for cover as Electro and Sandman take to the wind and fly off...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - LIVING ROOM - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>Green Goblin SMASHES Peter through a window... but Peter FIRES a web and pulls himself back inside... only to be FLUNG through another window, out onto the balcony.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - STAIRWELL - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>The overhead lights flicker as May hurries down the stairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAPPY'S CONDO BUILDING - BALCONY - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>Goblin pounces on Peter. Peter WEBS the balcony above to flip himself on top of Green Goblin... SMASHING him down to the balcony below...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAPPY'S CONDO BUILDING - BALCONY BELOW - CONT. (NIGHT)<\/stage_direction>\n    <scene_description>Peter tries to WEB away--<\/scene_description>\n    <character>GREEN GOBLIN<\/character>\n    <dialogue>No, you don't!<\/dialogue>\n    <scene_description>Goblin grabs Peter's leg and throws him through a window. CRASH! Peter is taking a beating.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAPPY'S CONDO BUILDING - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>The DAILY BUGLE HELICOPTER circles. Lights glaring. Capturing everything on camera.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - HALLWAY - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>CRASH! Peter is thrown THROUGH A WALL and into a hallway. Goblin KICKS through a door and steps out, looming over him.<\/scene_description>\n    <character>GREEN GOBLIN<\/character>\n    <dialogue>Strong enough to have it all...<\/dialogue>\n    <scene_description>Peter WEBS a table at Goblin. He knocks it away effortlessly.<\/scene_description>\n    <character>GREEN GOBLIN<\/character>\n    <dialogue>Too weak to take it!<\/dialogue>\n    <scene_description>Goblin PUNCHES Peter in the chest. Peter goes flying down the hallway, but recovers and CHARGES! He jumps on top of Goblin. Brutally PUNCHING, not holding back. Goblin smiles at Peter taking punch after punch. He LAUGHS maniacally. Goblin effortlessly SMASHES Peter through the floor into the hallway below. PETER'S POV: Green Goblin looks down at him through the hole in the floor, then disappears. Where is he going? Peter struggles to his feet, hobbles towards a window, and WEBS it open. He's blinded by the helicopter's LIGHTS as he climbs outside--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAPPY'S CONDO BUILDING - CONTINUOUS (NIGHT)<\/stage_direction>\n    <scene_description>Peter climbs up the wall to the floor above. He stops to catch his breath, looking down at all the damage below...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAPPY'S CONDO BUILDING - PLAZA - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>J. Jonah spots him.<\/scene_description>\n    <character>J. JONAH JAMESON<\/character>\n    <dialogue>Now I've gotcha.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAPPY'S CONDO BUILDING - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>ROAR! Lizard LEAPS onto Peter from above. They tumble down the side of the building. Lizard clutches Peter by the throat--<\/scene_description>\n    <character>LIZARD<\/character>\n    <dialogue>I told you there'd be consequences!<\/dialogue>\n    <scene_description>--And HURLS him through a window. As Lizard takes off...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - HALLWAY - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>Goblin seizes Peter, SMASHES him against the ceiling and then down... through floor, after floor, after floor...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - LOBBY - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>May emerges from the stairs, runs towards the front doors-- BOOM! Peter and Goblin CRASH through the ceiling, landing in the lobby. Goblin straddles Peter, strangling him. May pulls something out of the bag of cures -- the Green Goblin anti-serum!<\/scene_description>\n    <character>GREEN GOBLIN<\/character>\n    <dialogue>Your weakness, Peter, is morality. It's choking you!<\/dialogue>\n    <scene_description>Goblin squeezes harder -- Peter gasping for air...<\/scene_description>\n    <character>GREEN GOBLIN<\/character>\n    <dialogue>Can't you feel it?<\/dialogue>\n    <scene_description>May runs forward and STABS Goblin in the neck with the cure. Goblin SCREAMS! Peter GASPS! May staggers back, as Goblin pulls the cure device from his neck and throws it to the ground.<\/scene_description>\n    <character>GREEN GOBLIN<\/character>\n    <dialogue>It didn't work! Norman was right. He got it from you. That pathetic--<\/dialogue>\n    <scene_description>Goblin lands his foot on Peter's back, slamming his head into fallen debris.<\/scene_description>\n    <character>GREEN GOBLIN<\/character>\n    <dialogue>--sickness!<\/dialogue>\n    <scene_description>May grabs a metal rod from the wreckage, as Goblin grabs Peter, pulling his head back to whisper in his ear:<\/scene_description>\n    <character>GREEN GOBLIN<\/character>\n    <dialogue>You tried to fix me--<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>May, go--<\/dialogue>\n    <scene_description>But May won't leave Peter.<\/scene_description>\n    <character>GREEN GOBLIN<\/character>\n    <dialogue>Now... I'm gonna fix you.<\/dialogue>\n    <scene_description>The WHIR of an engine as...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAPPY'S CONDO BUILDING - PLAZA - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>GREEN GOBLIN'S GLIDER hovers just outside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - LOBBY - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>Peter calls out to May, pleading--<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>May, run, please...<\/dialogue>\n    <scene_description>May clenches the metal rod, psyching herself up when-- CRASH! Green Goblin's glider EXPLODES through the glass doors of the lobby... AND CUTS MAY DOWN! Goblin leaps on top of the glider.<\/scene_description>\n    <character>GREEN GOBLIN<\/character>\n    <dialogue>Peter, Peter, Peter... no good deed goes unpunished. You can thank me later.<\/dialogue>\n    <scene_description>Goblin glances at May -- on the ground, but still moving. As Peter realizes what Goblin means... CLOSE ON Goblin releasing a live pumpkin bomb. He tosses it towards May... Peter leaps to catch it... barely managing to knock the bomb aside-- BOOM!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAPPY'S CONDO BUILDING - PLAZA - CONTINUOUS (NIGHT)<\/stage_direction>\n    <scene_description>Goblin rockets away on his glider. Pumpkin bombs BLOWING the place to hell. When he's done, the plaza is a fiery, smoky wasteland.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - LOBBY - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>May gets up slowly. Groggy and covered in dust. Still clutching the bag of cures. Peter sits up, weakened. Clutching his side in pain.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>May? May, May, I'm here.<\/dialogue>\n    <scene_description>May stumbles through the smoke. Finds Peter and hugs him tightly.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>May! Yeah, I'm here. Are you okay?<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>Uh huh. Uh huh...<\/dialogue>\n    <scene_description>She stumbles back. Peter catches her.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>May... it's okay. We're okay, right?<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>Yeah, got knocked on my ass.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Yeah, me too.<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>That's all.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I think I broke my ribs.<\/dialogue>\n    <scene_description>He clutches his side, wincing. A beat as they catch their breaths, take in all the destruction...<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>This is all my fault, May.<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I should've just listened to Strange and let him send them back.<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>You did the right thing. They would have been killed. You did the right thing.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>But it's not my responsibility, May.<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>Oh. What Norman said? \"My moral mission?\" No.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>No, you--<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>No, no, Peter, you listen-- You listen to me!<\/dialogue>\n    <scene_description>May rests her hand on Peter's chest.<\/scene_description>\n    <character>MAY<\/character>\n    <dialogue>You have a gift. You have power, and with great power, there must also come great responsibility. Hmm?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>...Yeah, I know.<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>Let's get the... out of here.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Okay, let's go.<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>Let me just... catch my...<\/dialogue>\n    <scene_description>May notices something on her hands -- BLOOD. She drops to the ground.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAPPY'S CONDO BUILDING - PLAZA - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>LIGHTS. NOISE. DoDC SWAT TEAMS BURST out the back of their trucks. Weapons trained on the shattered building's lobby.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - LOBBY - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>Peter leans over a fallen May.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>What happened? Are you okay?<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>I'm okay.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Yeah, you're okay. What happened?<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>...Just have to... just catch my breath.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Okay, well catch your breath. I'm right here. We're gonna take our time, you catch your breath, and then we'll take you to a doctor, okay?<\/dialogue>\n    <scene_description>Peter looks at May's side, holds up his hand -- it's covered in her blood. His face falls.<\/scene_description>\n    <character>MAY<\/character>\n    <dialogue>Are you okay?<\/dialogue>\n    <scene_description>Peter calls out, frantic:<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Somebody help! I need an ambulance, please! Somebody!<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <scene_description>Peter turns back to May, holds her face in his hands.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Nothing happened. You're okay. You're okay...<\/dialogue>\n    <character>MAY<\/character>\n    <dialogue>I just... need to catch my breath...<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I'm right here. I'm right here... we're okay. Just me and you.<\/dialogue>\n    <scene_description>May's breaths slow. Her eyes glaze over. She falls still.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>May? ...May? Will you look at me, May? Please?<\/dialogue>\n    <parenthetical>(gently shakes her)<\/parenthetical>\n    <dialogue>May? ...May? What are you doing, May? Please, will you just wake up and talk to me? Please?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAPPY'S CONDO BUILDING - PLAZA - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>SCREECH! A car screams to a halt in front of the lobby, in between Peter and the incoming DoDC guys. Reveal Happy in the driver's seat. He turns, spots Peter and a fallen May.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAPPY'S CONDO - LOBBY - INTERCUT - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>Inside the lobby, Peter looks up-- Spots Happy in his car. They lock eyes. Instantly, Happy knows. His heart breaking. Happy turns to face the DoDC, lifting his hands into the air.<\/scene_description>\n    <character>DODC SWAT OFFICER<\/character>\n    <dialogue>Get out of the car now! Move!<\/dialogue>\n    <scene_description>Happy is pulled from his vehicle. Slammed onto the hood.<\/scene_description>\n    <character>HAPPY<\/character>\n    <dialogue>Peter! Run!<\/dialogue>\n    <scene_description>Trembling with grief, Peter whispers to May:<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>It's just me and you, okay? It's just me and you.<\/dialogue>\n    <scene_description>He kisses her forehead.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Oh May, I'm sorry. I'm so sorry. I'm so so so sorry.<\/dialogue>\n    <character>DODC SWAT OFFICER (O.S.)<\/character>\n    <dialogue>All right, Parker. Come out with your hands up! Come out right now, or we will open fire.<\/dialogue>\n    <character>HAPPY<\/character>\n    <dialogue>RUN!<\/dialogue>\n    <scene_description>The DoDC SWAT TEAM FIRES at Peter. He's HIT, flung back from May...<\/scene_description>\n    <character>DODC SWAT OFFICER (O.S.)<\/character>\n    <dialogue>All right, let's go, let's go! Move in!<\/dialogue>\n    <scene_description>Happy looks on in quiet horror as he's led away in cuffs. DoDC agents begin infiltrating the lobby... But Peter's already gone. HOLD ON May, lying amid the rubble, as a single tear falls down her cheek.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TIMES SQUARE - LATER (NIGHT)<\/stage_direction>\n    <scene_description>OVER BLACK:<\/scene_description>\n    <character>J. JONAH JAMESON (V.O.)<\/character>\n    <dialogue>Tragedy.<\/dialogue>\n    <scene_description>ANGLE ON the bag of broken cures on the ground, pelted by heavy rainfall.<\/scene_description>\n    <character>J. JONAH JAMESON (V.O.)<\/character>\n    <dialogue>What else can I call it? What more need be said?<\/dialogue>\n    <scene_description>PULL BACK TO REVEAL Peter on a rooftop, watching the news play on a GIANT SCREEN in Times Square. Devastated.<\/scene_description>\n    <character>J. JONAH JAMESON (ON SCREEN)<\/character>\n    <dialogue>The damage, the destruction, you saw it with your own eyes. When will people wake up and realize that everywhere Spider-Man goes, chaos and calamity ensue. Everything Spider-Man touches comes to ruin. And we, the innocents, are left to pick up the pieces.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>J. Jonah Jameson reporting. Good night... and God help us all.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NED'S LOLA'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>A quaint home adorned with family photos and tchotchkes. Ned and MJ sit at the kitchen table, worried. Ned's LOLA drops off a plate of YEMA ROLLS and gives her grandson a hug.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NED'S LOLA'S HOUSE - LATER (NIGHT)<\/stage_direction>\n    <scene_description>Lola is now gone. MJ watches the local news on the living room TV while checking her phone for any updates from Peter.<\/scene_description>\n    <character>LOCAL NEWS REPORTER (ON TV)<\/character>\n    <dialogue>We are told that multiple people have been injured. And we can confirm at least one person has been killed. There is a manhunt across the city for these suspects, and they are also looking for Peter Parker...<\/dialogue>\n    <scene_description>MJ turns to Ned:<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>Still nothing?<\/dialogue>\n    <scene_description>Ned checks his phone. (He wears Dr. Strange's SLING RING.)<\/scene_description>\n    <character>NED<\/character>\n    <parenthetical>(shakes head)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <scene_description>MJ sighs, sits at the kitchen table. A beat as she looks at The Box in front of them.<\/scene_description>\n    <character>MJ<\/character>\n    <parenthetical>(re: button)<\/parenthetical>\n    <dialogue>I'm gonna press it.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>But, what? No--<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>I know he told me to wait, but-- I'm gonna do it.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>I just wish-- I just wish we could see him.<\/dialogue>\n    <scene_description>Ned's gesticulating (with the Sling Ring on his hand) causes SMALL SPARKS to appear!<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>...Ned?<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Do that again.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Ned gesticulates, larger this time.<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>I just wish we could see him.<\/dialogue>\n    <scene_description>More SPARKS... a SMALL PORTAL OPENS... THEN CLOSES! Ned and MJ stand, alert.<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>Okay...<\/dialogue>\n    <scene_description>Ned psyches himself up, tries again. Even more forceful:<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>I just wish we could see Peter!<\/dialogue>\n    <scene_description>The PORTAL WIDENS! On the other side, a DARK FIGURE in an alley. ...Peter?! Lola peeks around the corner and GASPS.<\/scene_description>\n    <character>NED<\/character>\n    <parenthetical>(re: Sling Ring)<\/parenthetical>\n    <dialogue>Whoa...<\/dialogue>\n    <character>LOLA<\/character>\n    <parenthetical>(to Ned, in Tagalog: \"Magician!\")<\/parenthetical>\n    <dialogue>Salamangkero!<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Lola, you're right! I am magic.<\/dialogue>\n    <scene_description>MJ squints into the portal.<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>Is that him?<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Yeah, yeah, it has to be.<\/dialogue>\n    <scene_description>Ned and MJ start calling out:<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>Peter... Peter!<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Hey, Peter! Peter!<\/dialogue>\n    <scene_description>The Dark Figure hears them, runs for the portal, and-- --JUMPS THROUGH, INTO THE ROOM, TO REVEAL IT'S SPIDER-MAN! But he's wearing a different suit...<\/scene_description>\n    <character>MJ\/NED<\/character>\n    <dialogue>Whoa!<\/dialogue>\n    <scene_description>Lola SCREAMS!<\/scene_description>\n    <character>WEBB-VERSE SPIDER-MAN<\/character>\n    <parenthetical>(waves)<\/parenthetical>\n    <dialogue>Hi... hi!<\/dialogue>\n    <scene_description>Lola throws a pillow at Spider-Man, then hides.<\/scene_description>\n    <character>WEBB-VERSE SPIDER-MAN<\/character>\n    <dialogue>No, no, no... it's okay, it's okay, it's okay. I'm a nice guy.<\/dialogue>\n    <scene_description>Spider-Man pulls his mask off to reveal -- PETER PARKER (Andrew Garfield) from THE WEBB-VERSE!<\/scene_description>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Okay...<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Who the hell are you?<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>I'm Peter Parker.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>That's not possible.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>I am Spider-Man... in my world. But then yesterday, I was--<\/dialogue>\n    <parenthetical>(can't explain it)<\/parenthetical>\n    <dialogue>I was just here.<\/dialogue>\n    <scene_description>Lola peeks around the corner, as Webb-Verse Peter turns and studies the portal, geeking out.<\/scene_description>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Wow... string theory, multidimensional reality, and matter displacement...<\/dialogue>\n    <parenthetical>(to Ned and MJ)<\/parenthetical>\n    <dialogue>All real?<\/dialogue>\n    <character>MJ\/NED<\/character>\n    <parenthetical>(reluctantly)<\/parenthetical>\n    <dialogue>Yeah...<\/dialogue>\n    <scene_description>Ned speaks aside to MJ:<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>This has to be because of the spell.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>\"The spell?\" Like magic spell?<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>No, no... there's no spell.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>No spell.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Magic's real here too?<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>I mean--<\/dialogue>\n    <scene_description>MJ whispers aside to Ned:<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>Shut up, Ned.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>No, it's not real.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Shut up...<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>I mean, there's magicians and stuff. But there's no, like--<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Stop talking... stop. Stop!<\/dialogue>\n    <scene_description>MJ turns to Webb-Verse Peter.<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>Prove it.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Prove what?<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>That you're Peter Parker.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>I don't carry an I.D. with me. You know, it kind of defeats the whole \"anonymous superhero\" thing.<\/dialogue>\n    <scene_description>MJ throws a yema roll at him. She takes a defensive stance.<\/scene_description>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>...Why'd you do that?<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>I was trying to see if you have the tingle thing.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>I have the tingle thing, just not for bread.<\/dialogue>\n    <scene_description>As she picks up another yema roll--<\/scene_description>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Can you not throw the bread again? You're a deeply mistrusting person... and I respect it.<\/dialogue>\n    <scene_description>He JUMPS up and sticks one hand on the ceiling. Hanging there, feet off of the ground.<\/scene_description>\n    <character>MJ<\/character>\n    <parenthetical>(not impressed)<\/parenthetical>\n    <dialogue>Crawl around.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>\"Crawl around\"?<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Umm, no.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Yes. Crawl around.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Why do I need to crawl around?<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>'Cause this is not enough.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>This is plenty.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>No, it's not.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Yes, it is.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>No, it's not.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>It is.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Nuh-uh.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>How do I stick to the ceiling?!<\/dialogue>\n    <scene_description>MJ throws another yema roll at him.<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>Do it.<\/dialogue>\n    <scene_description>She reloads with another. Webb-Verse Peter shakes his head and sighs, still hanging from the ceiling by one hand.<\/scene_description>\n    <character>LOLA (O.S.)<\/character>\n    <dialogue>Ned?<\/dialogue>\n    <scene_description>Lola now stands in the room, speaking Tagalog. She points to Webb-Verse Peter. Ned translates for him:<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>My Lola is asking if you could just get the cobweb...<\/dialogue>\n    <parenthetical>(points)<\/parenthetical>\n    <dialogue>There. Since you're, like, up there?<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Webb-Verse Peter crawls over and grabs the cobweb--<\/scene_description>\n    <character>LOLA<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>--Then drops back to the ground. Dusts himself off.<\/scene_description>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>We good?<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>For now.<\/dialogue>\n    <scene_description>The PORTAL CLOSES behind Webb-Verse Peter. He stands there, shrugging like -- what now? Ned turns to MJ:<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>So, I opened the wrong portal to the wrong Peter Parker.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Yeah. I guess you just keeping doing it until we find the real one.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Ouch.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>No offense.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Okay...<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Okay, you got it.<\/dialogue>\n    <scene_description>Ned tries again -- swinging his hand in wide circles, as--<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>Find Peter Parker.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>What's the thing on his hand?<\/dialogue>\n    <scene_description>MJ SHUSHES him. Ned continues to gesticulate.<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>Find Peter Parker. Find Peter Parker!<\/dialogue>\n    <scene_description>Suddenly, a PORTAL OPENS BEHIND THEM. On the other side stands a FIGURE IN SILHOUETTE. The Figure steps through the portal to reveal PETER PARKER (Tobey Maguire) from THE RAIMI-VERSE! In civilian clothes.<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>Great, it's just some random guy.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <parenthetical>(little wave)<\/parenthetical>\n    <dialogue>Hello. Um, I hope it's okay, I just came through this, uh--<\/dialogue>\n    <scene_description>The PORTAL CLOSES behind him.<\/scene_description>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Oh. It just closed.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>You're Peter?<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Yeah. Peter Parker. I... I've seen you two--<\/dialogue>\n    <scene_description>He spots Lola. She blushes and waves. He kindly waves back:<\/scene_description>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>Then he pauses, notices Webb-Verse Peter across the room. They eye each other. Both sensing something. Two gunslingers sizing the other up...<\/scene_description>\n    <character>RAIMI-VERSE PETER<\/character>\n    <parenthetical>(re: Webb-Verse Peter)<\/parenthetical>\n    <dialogue>Wait, he's-- He's not your friend.<\/dialogue>\n    <scene_description>Then, THWIP! THWIP! Webb-Verse Peter FIRES A WEB at Raimi- Verse Peter, who dodges it with super-human speed and... FIRES A WEB BACK. Webb-Verse Peter dodges, equally fast. They both flip mid-air and land. Raimi-Verse Peter QUICKLY WEBS Webb-Verse Peter's web slinger. Webb-Verse Peter nods, impressed.<\/scene_description>\n    <character>NED<\/character>\n    <parenthetical>(to Raimi-Verse Peter)<\/parenthetical>\n    <dialogue>Wait, so you're Spider-Man too. Why didn't you just say that?<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>I generally don't go around advertising it. Kind of defeats the whole \"anonymous superhero\" thing.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>I just said that.<\/dialogue>\n    <character>MJ<\/character>\n    <parenthetical>(sotto, re: Webb-Verse Peter)<\/parenthetical>\n    <dialogue>It's what he just said.<\/dialogue>\n    <scene_description>Lola points about the room, giving a long, passionate speech in Tagalog. The Peters patiently wait for her to finish so that Ned can translate.<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>My Lola is asking if you could clean up the webs you just shot?<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Oh, sorry, Lola.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Yes, of course.<\/dialogue>\n    <character>LOLA<\/character>\n    <dialogue>I'm going to bed.<\/dialogue>\n    <scene_description>As she walks off...<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>Night, Lola.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Good night, Ned's Lola.<\/dialogue>\n    <scene_description>Webb-Verse Peter starts cleaning up the kitchen, as Raimi- Verse Peter approaches MJ and Ned.<\/scene_description>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Uh, this might seem kinda weird, but... I've been trying to find your friend ever since I got here. I just have this sense that... that he needs my help.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Our help.<\/dialogue>\n    <scene_description>Raimi-Verse Peter nods in agreement.<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>...He does.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>We don't know where he is.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>And um... honestly, right now, we're all he really has left.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Well, uh, is there some place that he might go that has meaning to him? Like a place where he would go to just--<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Get away from everything?<\/dialogue>\n    <scene_description>A glance of acknowledgment between the two.<\/scene_description>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>For me, it was the top of the Chrysler building.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Empire State. It's just... it's a better view.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>That is a sweet view.<\/dialogue>\n    <character>MJ<\/character>\n    <parenthetical>(realizing)<\/parenthetical>\n    <dialogue>Yes. Yeah. I... I think I know exactly where that would be.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIDTOWN ROOFTOP - LATER (NIGHT)<\/stage_direction>\n    <scene_description>Peter sits alone. The bag of destroyed cures next to him. Suddenly, Ned and MJ appear and wrap him in a hug. Peter collapses into them and sobs.<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>...I'm sorry.<\/dialogue>\n    <scene_description>MJ gently pulls back--<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>Peter, there's... there's some people here.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Peter leaps up, sensing them... Raimi-Verse and Webb-Verse Peter stare down from the school's tower, silhouetted by the moon. Peter takes a protective stance, guarding his friends, as Raimi-Verse Peter and Webb-Verse Peter swing down.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Hey, wait, wait-- whoa!<\/dialogue>\n    <scene_description>The other Peters' faces say it all. Yes, we're... you.<\/scene_description>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Sorry... about May.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Yeah, sorry. I've got some understanding of what it--<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>No, no, no... please don't tell me that you know what I'm going through.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <parenthetical>(nods)<\/parenthetical>\n    <dialogue>Okay.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>She's gone. And it's all my fault. She died for nothing.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>So I'm gonna do what I should have done in the first place.<\/dialogue>\n    <scene_description>Peter reaches for The Box in MJ's hand.<\/scene_description>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Peter--<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Please, don't! You don't belong here, either of you. So I'm sending you home. Those other guys are from your worlds, right?<\/dialogue>\n    <scene_description>Webb-Verse Peter nods.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>So you deal with it. And if they die, if you kill them... that's on you. It's not my problem. I don't care anymore. I'm done.<\/dialogue>\n    <parenthetical>(then, sincerely)<\/parenthetical>\n    <dialogue>I'm really sorry that I dragged you into this. But you have to go home now. Good luck.<\/dialogue>\n    <scene_description>Peter reaches for The Box again, but MJ gently pulls it back. She looks at Peter -- just hear them out.<\/scene_description>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>My uncle Ben was killed. It was my fault.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>I lost...<\/dialogue>\n    <parenthetical>(voice catching)<\/parenthetical>\n    <dialogue>I lost Gwen. My, um... she was my MJ. I couldn't save her. I'm never gonna be able to forgive myself for that. But I carried on, tried to, um... try to keep going, try to keep being the uh... that \"Friendly Neighborhood Spider-Man,\" 'cause I knew that's what she would have wanted. But at some point, I just-- I stopped pulling my punches. I got rageful. I got bitter. I just don't want you to end up like... like me.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>The night Ben died, I hunted down the man who I thought did it. I wanted him dead. I got what I wanted. It didn't make it better. It took me a long time to learn to get through that darkness.<\/dialogue>\n    <scene_description>Peter is reeling. Struck by their losses. Their regrets. Their warning.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I want to kill him. I want to tear him apart. I can still hear her voice in my head. Even after she was hurt, she said to me that we did the right thing. She told me that, \"With great power--\"<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>--\"Comes great responsibility.\"<\/dialogue>\n    <scene_description>The three of them look at each other. How do they know?<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Wait, what? How do you know that?<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Uncle Ben said it.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>The day he died.<\/dialogue>\n    <scene_description>The three Peter Parkers stare at each other, overwhelmed by this uncanny connection. Bound together across universes by those words.<\/scene_description>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Maybe she didn't die for nothing, Peter.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIDTOWN HIGH - ESTABLISHING SHOT - NIGHT<\/stage_direction>\n    <scene_description>The school at night. Lights blink on in a classroom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIDTOWN HIGH - CHEMISTRY LAB - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>The three Peters look over the broken cures. Ned and MJ watch from nearby.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Okay so, uh... Connors, Marko, Dillon, and um...<\/dialogue>\n    <scene_description>Peter hesitates. He sets aside the cure for Goblin.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Uh, look, I think that I can repair the devices for Dillon and Marko, but the others--<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <parenthetical>(a little cocky)<\/parenthetical>\n    <dialogue>Oh, I got Connors. I've already cured him once, so no big deal.<\/dialogue>\n    <parenthetical>(off their looks)<\/parenthetical>\n    <dialogue>What? It's no big deal.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Great.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Yeah, that's great.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>I think I can make an anti-serum for Dr. Osborn. Been thinking about it a long time.<\/dialogue>\n    <scene_description>Raimi-Verse Peter notices Peter's conflicted look.<\/scene_description>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>We gotta cure all of 'em, right?<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(playing it off)<\/parenthetical>\n    <dialogue>Right.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>That's what we do.<\/dialogue>\n    <scene_description>Raimi-Verse Peter walks off. Peter notices MJ watching him.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Just... three yous.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIDTOWN HIGH - CHEMISTRY LAB - LATER (NIGHT)<\/stage_direction>\n    <scene_description>QUICK POPS: -- A gloved hand grabs a metal water bottle. -- SNAP! Another rubber glove is pulled onto a hand. -- Plastic lab goggles are taken off their storage hooks. -- WHOOSH! A bunsen burner ignites. -- Several bottles of chemicals are pulled from their shelf. Everyone is hard at work. Ned rolls over to Raimi-Verse Peter.<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>So, do you have a best friend too?<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>I did.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>You did?<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>He died in my arms, after he tried to kill me.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>It was heartbreaking.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <parenthetical>(whispers to Ned)<\/parenthetical>\n    <dialogue>Dude...<\/dialogue>\n    <scene_description>Ned looks concerned. Will he do that??<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIDTOWN HIGH - CHEMISTRY LAB - MOMENTS LATER (NIGHT)<\/stage_direction>\n    <scene_description>Peter works on one of the cures. He turns to Ned:<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Will you uh... run a diagnostic?<\/dialogue>\n    <character>NED<\/character>\n    <parenthetical>(quiet)<\/parenthetical>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Ned refuses to make eye contact. He starts the diagnostic on Peter's laptop, then hurries off. What's up with him? MJ sidles up to Peter.<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>Hey, you okay?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Um, yeah, I'm fine. Are you okay?<\/dialogue>\n    <scene_description>She nods. Peter sighs.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>You don't deserve this. I've ruined your life--<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Hey, no. No, no, no... no.<\/dialogue>\n    <scene_description>MJ holds his face in her hands. A pep talk, as much for her as it is for him.<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>Look at me. I'm here. I'm not going anywhere. We're gonna get through this, and we're going to get through it together. Okay?<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(nods)<\/parenthetical>\n    <dialogue>Okay.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>'Kay.<\/dialogue>\n    <scene_description>MJ leans her head against his. Peter relaxes into her.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>ON WEBB-VERSE PETER, watching them with a tinge of longing. The kind of love he had... and lost.<\/scene_description>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>You have someone?<\/dialogue>\n    <scene_description>Raimi-Verse Peter has noticed him watching Peter and MJ.<\/scene_description>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>No. I got no time for uh, Peter Parker stuff, you know?<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Do you?<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Uh, that's a little complicated.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>No, I understand. I guess it's just not in the cards for guys like us.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Well, I wouldn't give up. It took a while, but... we made it work.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Yeah. Me and... MJ.<\/dialogue>\n    <scene_description>Webb-Verse Peter reacts -- MJ?<\/scene_description>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>My MJ. It, uh... it gets confusing here.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>Yeah.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Peter!<\/dialogue>\n    <scene_description>All three turn at once.<\/scene_description>\n    <character>PETER\/RAIMI-VERSE PETER\/WEBB-VERSE<\/character>\n    <dialogue>PETER<\/dialogue>\n    <scene_description>Yeah? Oh, sorry. Did you mean-- All three point at each other: Him? Memes!<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>Peter, Peter--<\/dialogue>\n    <character>PETER\/RAIMI-VERSE PETER\/WEBB-VERSE<\/character>\n    <dialogue>PETER<\/dialogue>\n    <scene_description>We're all called Peter--<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>Peter Parker?<\/dialogue>\n    <character>PETER\/RAIMI-VERSE PETER\/WEBB-VERSE<\/character>\n    <dialogue>PETER<\/dialogue>\n    <scene_description>Same again--<\/scene_description>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>We're all Peter Parker.<\/dialogue>\n    <character>NED<\/character>\n    <parenthetical>(giving up)<\/parenthetical>\n    <dialogue>It's uh... the computer!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Oh!<\/dialogue>\n    <scene_description>Peter moves to his laptop, spots the diagnostic results.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Oh, I'm ready.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Yeah. Me too. Okay, so now all we gotta do is lure these guys some place, right? Try to cure them while they try to kill us, and then send them home.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Using a magic box.<\/dialogue>\n    <scene_description>A look between them. This is crazy, but we're doing it.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Well, that's the plan.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <parenthetical>(to Raimi-Verse Peter)<\/parenthetical>\n    <dialogue>So, wait, are you gonna go into battle dressed as a cool youth pastor, or... do you got your suit?<\/dialogue>\n    <scene_description>Raimi-Verse Peter lowers his T-shirt collar to reveal he's wearing his Spider-Man suit underneath.<\/scene_description>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Good.<\/dialogue>\n    <scene_description>Ned slides over CARTRIDGES OF WEB FLUID to Peter.<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>Here are your web cartridges.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Oh thanks, man.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>What's that for?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Uh, it's my web fluid, it's for my web shooters. Why?<\/dialogue>\n    <scene_description>Raimi-Verse Peter raises his hand and FIRES A WEB FROM HIS BARE WRIST! The others all react in shock\/disgust.<\/scene_description>\n    <character>PETER\/WEBB-VERSE PETER<\/character>\n    <dialogue>Whoa...!<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>That came out of you!<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <parenthetical>(to Peter)<\/parenthetical>\n    <dialogue>You can't do that, huh?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <parenthetical>(amazed)<\/parenthetical>\n    <dialogue>How on earth does that even...?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Anyway, we're getting sidetracked.<\/dialogue>\n    <parenthetical>(re: laptop)<\/parenthetical>\n    <dialogue>Look, this is where we're gonna do this, okay? It's isolated, so no one should get hurt.<\/dialogue>\n    <scene_description>He turns his laptop around, shows it to the other Peters.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>We draw them there with The Box. It's the one thing they all want. All we have to do is figure out how we're going to get there.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Oh, we could portal there.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>NED<\/character>\n    <parenthetical>(proud)<\/parenthetical>\n    <dialogue>I'm magic now!<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Yeah, no, no, he's right. Yeah, he can.<\/dialogue>\n    <scene_description>The other Peters nod.<\/scene_description>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Yeah, we saw it.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Yeah, he is.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(to Ned)<\/parenthetical>\n    <dialogue>Wait, really?<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Dude, I got Dr. Strange-magic.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>No way!<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Yeah!<\/dialogue>\n    <parenthetical>(then, sincere)<\/parenthetical>\n    <dialogue>And I promise you, I won't turn into a super villain and try to kill you.<\/dialogue>\n    <scene_description>Webb-Verse Peter pats Ned on the back. Proud of him.<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>(reeling)<\/parenthetical>\n    <dialogue>Okay... thank you?<\/dialogue>\n    <parenthetical>(shaking it off)<\/parenthetical>\n    <dialogue>Um, all right. Here goes nothing.<\/dialogue>\n    <parenthetical>(to MJ)<\/parenthetical>\n    <dialogue>What's that thing you always say: \"Expect disappointment and--\"<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>No, no, no. No... we're gonna kick some ass.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Cure. Cure some ass.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Cure that ass.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK CITY - VARIOUS - LATER (NIGHT)<\/stage_direction>\n    <scene_description>Over various establishing shots of New York City, J. Jonah Jameson goes live:<\/scene_description>\n    <character>J. JONAH JAMESON (V.O.)<\/character>\n    <dialogue>Ladies and gentlemen, the Bugle tip line has just received a call from none other than the fugitive known as Spider-Man! Fresh from his rampage in Queens. So Peter Parker. What pernicious propaganda are you peddling?<\/dialogue>\n    <character>PETER (V.O.)<\/character>\n    <dialogue>Just the truth.<\/dialogue>\n    <character>J. JONAH JAMESON (V.O.)<\/character>\n    <dialogue>Oh sure...<\/dialogue>\n    <scene_description>ANGLE ON a TV in a restaurant window. Peter appears live on The Daily Bugle, FaceTiming with J. Jonah Jameson.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>The truth is... that this is all my fault.<\/dialogue>\n    <character>J. JONAH JAMESON (V.O.)<\/character>\n    <dialogue>Hmm!<\/dialogue>\n    <scene_description>The broadcast plays across giant video billboards in Times Square.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I accidentally brought those dangerous people here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>NEWS BROADCAST: INT. DAILY BUGLE STUDIO - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>J. Jonah Jameson at his anchor desk.<\/scene_description>\n    <character>J. JONAH JAMESON<\/character>\n    <dialogue>Well, he admits it!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONSTRUCTION SITE - INTERCUT - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>Peter stands amidst scaffolding and plastic sheeting. He continues his FaceTime with J. Jonah.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>And if those people are watching... just know that I really did try to help you. I mean, I could have killed you--<\/dialogue>\n    <scene_description>Peter holds up THE BOX.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>--At any given moment. But I didn't. Because my Aunt May taught me that everyone deserves a second chance. And that's why I'm here.<\/dialogue>\n    <character>J. JONAH JAMESON<\/character>\n    <dialogue>And where is \"here\" exactly?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>A place that represents second chances.<\/dialogue>\n    <scene_description>REVEAL he's on top of... THE STATUE OF LIBERTY! Mid-renovation. CONSTRUCTION SCAFFOLDING engulfs the statue. Its oxidized copper now restored to a GOLDEN LUSTER. The iconic torch concealed... by a GIGANTIC CAPTAIN AMERICA SHIELD.<\/scene_description>\n    <character>J. JONAH JAMESON (V.O.)<\/character>\n    <dialogue>The Statue of Liberty?! Good God, folks, he's about to destroy another national landmark!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>But world, if you're watching--<\/dialogue>\n    <character>J. JONAH JAMESON (V.O.)<\/character>\n    <dialogue>Believe me, the world is watching--<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Wish me luck. Your friendly neighborhood Spider-Man could really use some.<\/dialogue>\n    <scene_description>With that, Peter hangs up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - CROWN - LATER (NIGHT)<\/stage_direction>\n    <scene_description>Peter leaps onto the crown of the Statue of Liberty, holding the Box. He scans the horizon.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Okay guys, it could be any minute now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - SCAFFOLDING - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>Raimi-Verse Peter WEBS cures throughout the scaffolding, keeping them hidden and safe.<\/scene_description>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Yep, almost done.<\/dialogue>\n    <scene_description>As he sets the final cure in place...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - SCAFFOLDING\/CROWN - MOMENTS LATER<\/stage_direction>\n    <scene_description>(NIGHT) The calm before battle. Webb-Verse Peter and Raimi-Verse Peter hang around on the scaffolding.<\/scene_description>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>You know Max was, like, the sweetest guy ever... before he fell into a pool of electric eels.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>That'll do it.<\/dialogue>\n    <scene_description>Raimi-Verse Peter's back tenses up. He stretches.<\/scene_description>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Ah, there it goes.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Oh, it's my back. It's kinda stiff from all the swinging I guess.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Oh yeah, no, I got a middle back thing too.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Yeah. You want me to crack it?<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Yeah! Yeah, that'd be great.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>All right. You ready?<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Raimi-Verse Peter crosses his arms as Webb-Verse Peter CRACKS his back.<\/scene_description>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Oh, that's good.<\/dialogue>\n    <scene_description>Webb-Verse Peter sets Raimi-Verse Peter back down.<\/scene_description>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>How is it?<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Wow... that's good!<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <parenthetical>(proudly)<\/parenthetical>\n    <dialogue>Right?<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>That's better.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Yeah!<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <scene_description>Webb-Verse Peter sits down, taking in the moment.<\/scene_description>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Ah, this is so cool. I always wanted brothers.<\/dialogue>\n    <parenthetical>(then, curious)<\/parenthetical>\n    <dialogue>So you, like, make your own web fluid in your body?!<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <parenthetical>(defensive)<\/parenthetical>\n    <dialogue>I'd rather not talk about this.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>No! I don't mean to--<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>But are you teasing me--?<\/dialogue>\n    <scene_description>From his lookout post at the crown, Peter chimes in:<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>No, no, no! No, no, no... he's not teasing you. It's just that, we can't do that, so naturally we're curious as to how your web situation works. That's all.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>But if it's personal, I don't want to, like, pry. But I just think it's cool.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>No, I wish I could tell you, but it's like I don't do it. Like I don't... like I don't \"do breathing.\" Like, breathing just happens.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <parenthetical>(mind blown)<\/parenthetical>\n    <dialogue>Whoa...<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Like, does it just come out of your wrists? Or... does it come out of anywhere else?<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Only... only the wrists.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>You've never had a web block? 'Cause I run out of webs all the time. I have to make my own in a lab.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Right. That's--<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>And it's a hassle compared to what you got.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>That sounds like a hassle. Yeah... but I did actually, you said that, I was like, \"Oh! I had a web block.\"<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Whoa... why?<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Existential crisis stuff.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Yeah, I mean, like, don't get me started on that.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Hey, what are, like, some of the craziest villains that you guys have fought?<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Seems you've met some of them.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>That's a good question.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Yeah, I fought a... an alien made out of black goo once.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Oh, no way! I fought an alien too. On Earth and in space.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Oh!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Yeah, he was purple.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>I want to fight an alien!<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <parenthetical>(to Peter)<\/parenthetical>\n    <dialogue>I'm, I'm-- I'm still, like... that you've fought an alien in space.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <parenthetical>(sighs)<\/parenthetical>\n    <dialogue>I'm lame. Compared-- Like, I fought a Russian guy in, like, a rhinoceros machine.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Can we wind it back to the \"I'm lame\" part? 'Cause you are not.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Aw, thanks. No, yeah, I appreciate it. I'm not saying, \"I'm lame.\" I'm just saying, like--<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>But it's just the self-talk maybe we should, you know...<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <parenthetical>(sighs)<\/parenthetical>\n    <dialogue>Yeah, listen, uh...<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>'Cause you're... you're amazing. Just to take it in for a minute.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Yeah, yeah, yeah, I can take it in. No, I can take it in.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>You... you are amazing.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>I can take it in.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <parenthetical>(really grounding it)<\/parenthetical>\n    <dialogue>You are amazing!<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Thank you. Yeah--<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Will you say it?<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>No, I kinda need to hear that. Thank you.<\/dialogue>\n    <scene_description>ANGLE ON Peter at the crown. SPIDER-SENSES going off.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>All right, guys, focus up. You feel that?<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>The Peters stand their ground. A storm brews. Lightning FLASHES...<\/scene_description>\n    <character>ELECTRO (O.S.)<\/character>\n    <dialogue>'Sup, Pete?<\/dialogue>\n    <scene_description>Where'd that come from? ZAP! Electro bolts into view -- the ARC REACTOR mounted on his chest.<\/scene_description>\n    <character>ELECTRO<\/character>\n    <dialogue>How you like the new-new?<\/dialogue>\n    <parenthetical>(re: The Box)<\/parenthetical>\n    <dialogue>Look, you give it to me, I'm gonna destroy it.<\/dialogue>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>But I'll let you live. Don't make me a murderer, Peter.<\/dialogue>\n    <scene_description>Peter pulls on his mask and swings off with The Box. He calls out to the other Spider-Men over their comms:<\/scene_description>\n    <character>SPIDER-MAN (OVER COMMS)<\/character>\n    <dialogue>Okay, guys. Here he comes.<\/dialogue>\n    <scene_description>As Electro chases after... ON THE SCAFFOLDING, Raimi-Verse Peter and Webb-Verse Peter pull on their masks and swing into action. Webb-Verse Spider-Man launches at Electro with the cure.<\/scene_description>\n    <character>WEBB-VERSE SPIDER-MAN<\/character>\n    <dialogue>Hey, Max! I missed you, man-- Whoa!<\/dialogue>\n    <scene_description>Webb-Verse Spider-Man WEBS out of the way, just before-- ZAP! Electro barely misses him. BACK ON SPIDER-MAN<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>All right, MJ! Heads up!<\/dialogue>\n    <scene_description>He reaches a PORTAL by the crown, tosses The Box through to--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIDTOWN HIGH - CHEMISTRY LAB - CONTINUOUS (NIGHT)<\/stage_direction>\n    <scene_description>--MJ and Ned, at the ready. MJ catches The Box.<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>Got it!<\/dialogue>\n    <parenthetical>(to Ned)<\/parenthetical>\n    <dialogue>Close it.<\/dialogue>\n    <scene_description>Ned starts moving his arm in circles, like before. But... THE PORTAL WON'T CLOSE!<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>Uh... Ned, it's not closing.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Yeah, I know.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Why isn't it closing?<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>I don't know, I--<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Did you close it before?<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>No, I mean, I've opened some...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - PEDESTAL - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>At the watery base of the statue... RAWR! Lizard LEAPS out of the water.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - VARIOUS - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>Electro continues to shoot electric currents at Webb-Verse Spider-Man, who dodges them. Drops down on the crown.<\/scene_description>\n    <character>WEBB-VERSE SPIDER-MAN<\/character>\n    <dialogue>Max! Max, Max... can we just talk for a second? Just you and me, just--<\/dialogue>\n    <character>ELECTRO<\/character>\n    <dialogue>Look who showed up! My old friend, Spider-Man.<\/dialogue>\n    <character>WEBB-VERSE SPIDER-MAN<\/character>\n    <dialogue>I'm trying to save you, Max. That's all I've ever wanted.<\/dialogue>\n    <character>ELECTRO<\/character>\n    <dialogue>You're not trying to save me.<\/dialogue>\n    <character>WEBB-VERSE SPIDER-MAN<\/character>\n    <dialogue>I am.<\/dialogue>\n    <character>ELECTRO<\/character>\n    <dialogue>You ain't even the shit no more.<\/dialogue>\n    <scene_description>Webb-Verse Spider-Man sighs, drops his head.<\/scene_description>\n    <character>ELECTRO<\/character>\n    <dialogue>Don't worry about me.<\/dialogue>\n    <parenthetical>(re: arc reactor)<\/parenthetical>\n    <dialogue>I saved myself. Burn up!<\/dialogue>\n    <scene_description>Electro ZAPS a bolt -- flames licking Webb-Verse Spider-Man's heels as he dives away.<\/scene_description>\n    <character>WEBB-VERSE SPIDER-MAN (OVER COMMS)<\/character>\n    <dialogue>Well, I got his attention. Now what?<\/dialogue>\n    <character>RAIMI-VERSE SPIDER-MAN (OVER COMMS)<\/character>\n    <dialogue>Okay, great!<\/dialogue>\n    <scene_description>REVEAL Raimi-Verse swinging by... Lizard hanging off his leg!<\/scene_description>\n    <character>RAIMI-VERSE SPIDER-MAN (OVER COMMS)<\/character>\n    <dialogue>Uh, just FYI -- Lizard guy's here too!<\/dialogue>\n    <scene_description>Raimi-Verse Spider-Man KICKS Lizard loose -- sending Lizard SLAMMING onto the arm of a nearby crane. Raimi-Verse Spider-Man drops down above him, quickly backpedaling as Lizard advances.<\/scene_description>\n    <character>RAIMI-VERSE SPIDER-MAN (OVER COMMS)<\/character>\n    <dialogue>Guys, comm check! Hello?!<\/dialogue>\n    <scene_description>ANGLE ON Spider-Man on the scaffolding, watching as-- Webb-Verse Spider-Man FLIPS and WEBS his way around Electro's pummeling bolts.<\/scene_description>\n    <character>WEBB-VERSE SPIDER-MAN (OVER COMMS)<\/character>\n    <dialogue>I need Max's cure!<\/dialogue>\n    <character>SPIDER-MAN (OVER COMMS)<\/character>\n    <dialogue>Yeah! I'm on it!<\/dialogue>\n    <scene_description>Spider-Man looks to the crane -- Raimi-Verse Spider-Man frantically crawls away from an approaching Lizard.<\/scene_description>\n    <character>RAIMI-VERSE SPIDER-MAN (OVER COMMS)<\/character>\n    <dialogue>Peter, I need the Lizard cure!<\/dialogue>\n    <character>SPIDER-MAN (OVER COMMS)<\/character>\n    <dialogue>Uh, okay, okay!<\/dialogue>\n    <scene_description>But before Spider-Man can help-- SLAM! Sandman's MASSIVE FIST smashes into him... sending Spider-Man over the ledge of the scaffolding... where Sandman clutches him in mid-air.<\/scene_description>\n    <character>SANDMAN<\/character>\n    <dialogue>Where's The Box, Peter?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Flint, we can help everyone!<\/dialogue>\n    <character>SANDMAN<\/character>\n    <dialogue>I don't care!<\/dialogue>\n    <scene_description>Webb-Verse Spider-Man slingshots his way past them, Electro in hot pursuit. On the crane, Raimi-Verse Spider-Man battles Lizard. Just as... Spider-Man WEBS the crane, trying to pull himself out of Sandman's tightening grip... An unsuspecting Webb-Verse Spider-Man swings through-- WHAM! He's clotheslined by Spider-Man's web, FLUNG backwards, PLUMMETING... Webb-Verse Spider-Man WEBS a new line-- --WHICH HITS RAIMI-VERSE SPIDER-MAN IN THE FACE! As he struggles to see, Lizard SLAMS him into the crane.<\/scene_description>\n    <character>WEBB-VERSE SPIDER-MAN (OVER COMMS)<\/character>\n    <dialogue>Sorry!<\/dialogue>\n    <scene_description>Webb-Verse Spider-Man quickly WEBS a new line, as Raimi-Verse Spider-Man rips the webbing from his mask.<\/scene_description>\n    <character>RAIMI-VERSE SPIDER-MAN<\/character>\n    <dialogue>Gross!<\/dialogue>\n    <scene_description>Webb-Verse Spider-Man lands onto the crane. Electro approaches, calls out to Sandman:<\/scene_description>\n    <character>ELECTRO<\/character>\n    <dialogue>Sad to tell you, Sandman. Nobody's going home!<\/dialogue>\n    <scene_description>Electro blasts Webb-Verse Spider-Man... but hits the crane instead -- CRACK! The crane comes CRASHING down... Lizard and Raimi-Verse Spider-Man still battling onboard... The crane SEVERS Sandman's massive arm and head... which falls away... freeing Spider-Man from Sandman's grip. ANGLE ON the falling crane... Raimi-Verse Spider-Man WEBS off just before... Lizard rides it down... gets PINNED. Electro continues after Webb-Verse Spider-Man... BLASTS him into the scaffolding! On Sandman, angered by the loss of his hand and head. Now drawing sand from all over... creating a massive SANDSTORM. Electro's blinded by the whirling debris.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - SCAFFOLDING - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>On the scaffolding above the storm, Spider-Man rips off his mask, catching his breath. Well, that didn't go as planned. Webb-Verse Peter and Raimi-Verse Peter quickly join him.<\/scene_description>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>What the hell is going on out there?!<\/dialogue>\n    <parenthetical>(to Raimi-Verse Peter)<\/parenthetical>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>I keep yelling at you, Peter-Two, Peter-Two, Peter-Two--<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>I know, but I thought you were Peter-Two.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>What?! I'm not Peter-Two!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Stop arguing! Both of you! Listen to Peter-One. Look, we're clearly not very good at this!<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>I know, I know, we suck. I-- I don't know how to work as a team.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Me neither.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Well, I do! I have been in a team, okay? I don't want to brag, but I will... I was in The Avengers.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>The Avengers?!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>That's great!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>What is that?<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>Wait. You don't have The Avengers?<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Is that a band? Are you in a band?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>No, I'm not in a band. No, The Avengers is uh, uh... Earth's mightiest--<\/dialogue>\n    <dialogue>ZAP! A bolt of electricity amid the sandstorm.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>How's this helping?!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Look, it's not important. All we gotta do is focus, trust your tingle, and coordinate our attacks, okay?<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <parenthetical>(refocusing)<\/parenthetical>\n    <dialogue>Yes, okay. Let's pick one target.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Great.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>We take them off the board one at a time.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Now you got it! Okay--<\/dialogue>\n    <parenthetical>(points to self)<\/parenthetical>\n    <dialogue>Peter-One.<\/dialogue>\n    <parenthetical>(to Raimi-Verse Peter)<\/parenthetical>\n    <dialogue>Peter-Two.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Peter-Two.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(to Webb-Verse Peter)<\/parenthetical>\n    <dialogue>Peter-Three.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Peter-Three!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>All right. Let's do this. Ready?<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Let's go--<\/dialogue>\n    <scene_description>As they begin to move off--<\/scene_description>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Wait, wait, wait, wait, wait!<\/dialogue>\n    <scene_description>They all stop, turn back.<\/scene_description>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>I love you guys.<\/dialogue>\n    <scene_description>Awkward, but they take that in.<\/scene_description>\n    <character>PETER\/RAIMI-VERSE PETER<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>All right, let's do this.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Let's go.<\/dialogue>\n    <scene_description>The three of them share a determined look. Three Peters, united as one. They pull on their masks and LEAP off the scaffolding--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - VARIOUS - CONTINUOUS (NIGHT)<\/stage_direction>\n    <scene_description>THREE SPIDER-MEN SWINGING AS A TEAM! They land, one by one, on the Statue of Liberty's crown. Just as-- Sandman, Electro, and Lizard rise directly across from them. THREE SPIDER-MEN VS. THREE VILLAINS! Electro chases Spider-Man, swinging through the scaffolding.<\/scene_description>\n    <character>SPIDER-MAN (OVER COMMS)<\/character>\n    <dialogue>Okay, Spider-Mans, Sandman's first.<\/dialogue>\n    <scene_description>Sandman, now gigantic, chases Raimi-Verse Spider-Man through another part of the scaffolding.<\/scene_description>\n    <character>RAIMI-VERSE SPIDER-MAN (OVER COMMS)<\/character>\n    <dialogue>I'm gonna lead him inside the statue.<\/dialogue>\n    <scene_description>Lizard chases Webb-Verse Spider-Man.<\/scene_description>\n    <character>WEBB-VERSE SPIDER-MAN (OVER COMMS)<\/character>\n    <dialogue>I'll meet you at the top.<\/dialogue>\n    <scene_description>Webb-Verse Spider-Man grabs the SANDMAN CURE. Lizard LEAPS... pins Webb-Verse Spider-Man down.<\/scene_description>\n    <character>WEBB-VERSE SPIDER-MAN<\/character>\n    <dialogue>Hey, Doctor Connors...<\/dialogue>\n    <character>LIZARD<\/character>\n    <dialogue>Hello, Peter.<\/dialogue>\n    <scene_description>Just then, Spider-Man swings by, Electro trailing.<\/scene_description>\n    <character>WEBB-VERSE SPIDER-MAN (OVER COMMS)<\/character>\n    <dialogue>Peter-One!<\/dialogue>\n    <scene_description>Webb-Verse Spider-Man throws the cure...<\/scene_description>\n    <character>SPIDER-MAN (OVER COMMS)<\/character>\n    <dialogue>I got it!<\/dialogue>\n    <scene_description>CAUGHT! But Electro ZAPS... hitting Spider-Man... who drops the Sandman cure onto the scaffolding below. Elsewhere... Raimi-Verse Spider-Man scrambles to evade Sandman, who is closing in... Spider-Man crawls inside the Statue of Liberty, climbing and webbing his way to the top...<\/scene_description>\n    <character>RAIMI-VERSE SPIDER-MAN<\/character>\n    <dialogue>Flint! We're trying to help you!<\/dialogue>\n    <scene_description>But Sandman won't give up the chase. Raimi-Verse Spider-Man sighs... WEBS to the top of the Statue of Liberty... He's inside the crown -- there's nowhere else to go! Sand quickly flooding in all around him...<\/scene_description>\n    <character>RAIMI-VERSE SPIDER-MAN (OVER COMMS)<\/character>\n    <dialogue>Guys, I'm at the top. I need the cure!<\/dialogue>\n    <scene_description>Arms of sand grab at Raimi-Verse Spider-Man, pulling him under... Spider-Man rapidly climbs up the scaffolding.<\/scene_description>\n    <character>SPIDER-MAN (OVER COMMS)<\/character>\n    <dialogue>I'm coming, I'm coming, I'm coming!<\/dialogue>\n    <scene_description>But Webb-Verse Spider-Man is still pinned beneath Lizard... holding back his GAPING JAWS. He HEADBUTTS him.<\/scene_description>\n    <character>WEBB-VERSE SPIDER-MAN<\/character>\n    <dialogue>Just wait--<\/dialogue>\n    <scene_description>KICKS Lizard back.<\/scene_description>\n    <character>WEBB-VERSE SPIDER-MAN<\/character>\n    <dialogue>--Your--<\/dialogue>\n    <scene_description>WEBS Lizard to the scaffolding.<\/scene_description>\n    <character>WEBB-VERSE SPIDER-MAN<\/character>\n    <dialogue>--Turn, Doc!<\/dialogue>\n    <scene_description>Lizard's trapped. For now...<\/scene_description>\n    <character>WEBB-VERSE SPIDER-MAN<\/character>\n    <dialogue>I'll be right back.<\/dialogue>\n    <scene_description>Lizard ROARS in anger, as Webb-Verse Spider-Man runs off... He grabs the fallen Sandman cure, jumps off the scaffolding, and prepares to slingshot himself to the crown, when-- Electro appears, throws a BOLT-- Webb-Verse Spider-Man DODGES it just in time... FLINGING himself to the top of the statue. He throws the cure... Spider-Man catches it! He tosses the cure through the open slots of the statue's crown to... Raimi-Verse Spider-Man, now completely engulfed in sand, save for his grasping hand, which... GRABS the cure, clicks the device on-- BOOM! A BLAST OF GOLDEN LIGHT! The sand quickly retreats. Raimi-Verse Spider-Man pulls off his mask, gasping for air... He watches as the sand continues to fall away, to reveal... FLINT MARKO. A man once again. It worked!<\/scene_description>\n    <character>RAIMI-VERSE PETER<\/character>\n    <parenthetical>(amazed)<\/parenthetical>\n    <dialogue>It's okay, Flint. We're gonna get you home. Just... stay right here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - CROWN - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>FLASHES OF LIGHTNING! CRACKLING BOLTS! Electro grows with power, amplified by the ARC REACTOR on his chest. Raimi-Verse Spider-Man joins the other Spider-Men on top of the crown.<\/scene_description>\n    <character>RAIMI-VERSE SPIDER-MAN<\/character>\n    <dialogue>How do we stop him?<\/dialogue>\n    <character>WEBB-VERSE SPIDER-MAN<\/character>\n    <dialogue>I've never seen him this powerful.<\/dialogue>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>It's the arc reactor, we gotta get it off him.<\/dialogue>\n    <scene_description>Electro GLOWS brighter, shakes his head.<\/scene_description>\n    <character>ELECTRO<\/character>\n    <dialogue>You're not gonna take this away from me.<\/dialogue>\n    <scene_description>Spider-Man WEBS the arc reactor. Electro easily RIPS the web away.<\/scene_description>\n    <character>ELECTRO<\/character>\n    <dialogue>That's not gonna work!<\/dialogue>\n    <scene_description>CRACK! Electro fires a huge BOLT of arc electricity at the Spider-Men. They all jump, landing on the nearby scaffolding.<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Okay, we gotta do this up close. Peter-Two, go right. Peter-Three, go left. On me!<\/dialogue>\n    <scene_description>THWIP-TWHIP-THWIP! The three Spider-Men simultaneously fire webs, attempting to secure Electro. Spider-Man goes in for the cure... but is BLASTED by electricity! Raimi-Verse Spider-Man jumps in... Electro effortlessly JOLTS him... sending him tumbling off the scaffolding. Webb-Verse Spider-Man leaps forward, cure in hand. He too is SHOCKED by Electro... streams of electric currents holding him in place. Off his screams-- A sneak-attack from behind! Spider-Man leaps, but Electro deflects, SHOCKS Spider-Man straight into the Statue of Liberty. Spider-Man FREE-FALLS--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - SCAFFOLDING - CONTINUOUS (NIGHT)<\/stage_direction>\n    <scene_description>--Tumbling through construction netting, SLAMMING to a stop on the scaffolding below. Elsewhere... Lizard BREAKS FREE from the webs. He stops, hears Ned and MJ in the lab--<\/scene_description>\n    <character>MJ (O.S.)<\/character>\n    <dialogue>Um, I don't really know how else to tell you that it's not closing.<\/dialogue>\n    <character>NED (O.S.)<\/character>\n    <dialogue>I'm trying to close it, MJ! Don't tell them that it's not working!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIDTOWN HIGH - CHEMISTRY LAB - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>Ned struggles to close the portal. Deep breaths.<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>Okay, wait, wait. Yeah... wait. We'll just keep going.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>All right, no. It's fine... you're gonna do it again. We're just gonna keep trying.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>All right, all right, we got it, we got it... we got this!<\/dialogue>\n    <character>MJ<\/character>\n    <parenthetical>(calming voice)<\/parenthetical>\n    <dialogue>Focus. Close the portal... close the portal...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - SCAFFOLDING - INTERCUT - SAME (NIGHT)<\/stage_direction>\n    <scene_description>Spider-Man spots Lizard CHARGING at the portal!<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Oh no. No, no, no!<\/dialogue>\n    <scene_description>WHOOSH! Spider-Man SWINGS to the portal... IN THE LAB, as Ned and MJ panic--<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>And that is a lizard!<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>No, no, it's a big lizard!<\/dialogue>\n    <scene_description>They take off running as Lizard LEAPS through the portal, CRASHING through the chairs and lab tables. Spider-Man swings into the portal, KICKS Lizard back--<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Run!<\/dialogue>\n    <scene_description>Ned and MJ run for their lives. They have no choice but to head through the open portal onto-- THE STATUE OF LIBERTY SCAFFOLDING! Lizard nearly has them... but Spider-Man pulls him back--<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Connors, stop!<\/dialogue>\n    <scene_description>Spider-Man and Lizard battle it out... tumbling through the portal, back onto the Statue of Liberty scaffolding... Lizard SLAMS Spider-Man down, races after Ned and MJ.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - CROWN - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>On Webb-Verse Spider-Man, still pinned in place by Electro's surging power. As Electro laughs, Webb-Verse Spider-Man loses his grip on the Electro cure device -- it hits the scaffolding below-- --Where Raimi-Verse Spider-Man WEBS it! Readies for attack. When suddenly-- CLUNK! A tentacle arm GRABS him, swings him back. Raimi- Verse Spider-Man drops the cure, as-- CLUNK! Another tentacle arm GRABS Webb-Verse Spider-Man... Electro's bolts still JOLTING through him. CLOSE ON Doc Ock, rising into view behind Electro.<\/scene_description>\n    <character>DOC OCK<\/character>\n    <dialogue>Leave 'em. They're mine.<\/dialogue>\n    <character>ELECTRO<\/character>\n    <dialogue>I don't need your help. I've got it just fine.<\/dialogue>\n    <character>RAIMI-VERSE SPIDER-MAN<\/character>\n    <parenthetical>(recognizing)<\/parenthetical>\n    <dialogue>Dr. Octavius, no...<\/dialogue>\n    <scene_description>Off Doc Ock's grin... CLUNK! Electro looks down -- a third tentacle claw has LATCHED ONTO THE ARC REACTOR on his chest! It was a ruse to draw him closer, and it worked.<\/scene_description>\n    <character>ELECTRO<\/character>\n    <dialogue>What are you doing?!<\/dialogue>\n    <scene_description>Ock turns to face Electro...<\/scene_description>\n    <character>ELECTRO<\/character>\n    <dialogue>Get it off of me!<\/dialogue>\n    <scene_description>Doc Ock releases the Spider-Men to the scaffolding below... retrieves the fallen cure... On Electro as Doc Ock YANKS the arc reactor off him with one tentacle, and with another, SETS the ELECTRO CURE DEVICE in place! A BLAST OF DISSIPATING ELECTRIC CURRENTS!<\/scene_description>\n    <character>DOC OCK<\/character>\n    <dialogue>There you go.<\/dialogue>\n    <scene_description>Electro no more. Now MAX DILLON. Cured.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - SCAFFOLDING - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>On Ned and MJ, running for their lives from Lizard. Ned desperately tries to open a portal to some place else. Any place else. Lizard jumps at them-- Ned manages to OPEN A PORTAL! To the bottom of New York Bay! WATER floods through... knocking Lizard back. MJ grabs the Lizard cure device... Lizard skids to a stop, water and broken scaffolding falling about him. Spider-Man swings down to meet him, KICKS Lizard back--<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>MJ!<\/dialogue>\n    <scene_description>MJ throws Spider-Man the Lizard cure... RAWR! Lizard LEAPS forward... Spider-Man grabs the cure and SHOVES it into Lizard's gaping jaws. HISS! The gas is released. Lizard staggers backward, beginning to transform.<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>Whoa!<\/dialogue>\n    <scene_description>Ned and MJ watch, amazed. Then MJ grabs The Box from Ned.<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>We gotta hide this thing!<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Oh, right... right, right--<\/dialogue>\n    <scene_description>Ned quickly opens a PORTAL... a warm desert breeze blows in, as out of the Mirror Dimension steps-- DR. STRANGE. Glaring at Ned and MJ. Not happy.<\/scene_description>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Where is he?<\/dialogue>\n    <scene_description>Strange magics The Box out of MJ's hands.<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Wait, wait, wait--<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Before you do anything Mister-- Dr. Strange, sir, uh... Peter's plan is working!<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>What plan?<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>He's curing them!<\/dialogue>\n    <scene_description>Dr. Strange walks forward to see... Lizard transforming back into Dr. Curt Connors, Spider-Man at his side.<\/scene_description>\n    <character>SPIDER-MAN<\/character>\n    <dialogue>Doctor Connors?<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Welcome back, sir.<\/dialogue>\n    <scene_description>Strange reacts, surprised.<\/scene_description>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Well, I'll be damned.<\/dialogue>\n    <scene_description>He turns to Ned.<\/scene_description>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Did you just open a portal?<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Yes-- Yes, sir. I did.<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <parenthetical>(quietly impressed)<\/parenthetical>\n    <dialogue>Hmm.<\/dialogue>\n    <scene_description>He walks off. Ned looks to MJ, in shock. Did Dr. Strange just give him an approving nod?!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - UPPER SCAFFOLDING - SAME (NIGHT)<\/stage_direction>\n    <scene_description>One of Doc Ock's tentacles gently drops Max Dillon onto the scaffolding. Webb-Verse Peter drops down beside him.<\/scene_description>\n    <character>WEBB-VERSE PETER<\/character>\n    <parenthetical>(cautious)<\/parenthetical>\n    <dialogue>Max? Max...<\/dialogue>\n    <character>MAX DILLON<\/character>\n    <dialogue>Don't worry. I'm all tapped out.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Are you sure about that?<\/dialogue>\n    <scene_description>Max sighs, leans against a railing.<\/scene_description>\n    <character>MAX DILLON<\/character>\n    <dialogue>Back to being a nobody.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>You were never a nobody, Max.<\/dialogue>\n    <character>MAX DILLON<\/character>\n    <dialogue>Oh yes I was. Yes I was. You didn't see me.<\/dialogue>\n    <parenthetical>(laughs, then)<\/parenthetical>\n    <dialogue>Can I tell you something though?<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>MAX DILLON<\/character>\n    <dialogue>You gotta nice face. You just a kid.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Eh...<\/dialogue>\n    <character>MAX DILLON<\/character>\n    <dialogue>You from Queens. You got that suit. You help a lot of poor people. I just thought you was gonna be Black.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Oh man, I'm sorry.<\/dialogue>\n    <character>MAX DILLON<\/character>\n    <dialogue>No, no, don't apologize. There's gotta be a Black Spider-Man somewhere out there.<\/dialogue>\n    <scene_description>Webb-Verse Peter nods. There probably is.<\/scene_description>\n    <character>MAX DILLON<\/character>\n    <dialogue>Goddamn eels...<\/dialogue>\n    <scene_description>As Webb-Verse Peter helps Dillon to his feet...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - CROWN - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>Doc Ock examines the arc reactor in his hand.<\/scene_description>\n    <character>DOC OCK<\/character>\n    <dialogue>The power of the sun...<\/dialogue>\n    <character>RAIMI-VERSE SPIDER-MAN<\/character>\n    <dialogue>In the palm of your hand.<\/dialogue>\n    <scene_description>Doc Ock turns to see--<\/scene_description>\n    <character>DOC OCK<\/character>\n    <dialogue>Peter?<\/dialogue>\n    <scene_description>Raimi-Verse Spider-Man pulls off his mask. A reunion.<\/scene_description>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Otto.<\/dialogue>\n    <character>DOC OCK<\/character>\n    <dialogue>Oh, it's good to see you, dear boy.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>It's good to see you.<\/dialogue>\n    <character>DOC OCK<\/character>\n    <dialogue>You're all grown up.<\/dialogue>\n    <parenthetical>(then, laughs)<\/parenthetical>\n    <dialogue>How are you?<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Trying to do better.<\/dialogue>\n    <scene_description>They share a smile. Then a NOISE directs them towards-- Dr. Strange emerges from a PORTAL near the crown, carrying The Box. Spider-Man drops down in front of him, takes off his mask.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Strange, wait, we're so close--<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Skip it! I've been dangling over the Grand Canyon for twelve hours!<\/dialogue>\n    <scene_description>Dr. Strange stops when he notices... RAIMI-VERSE PETER.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I know. I know, I know, I, uh... um, ah...<\/dialogue>\n    <scene_description>Webb-Verse Peter falls in -- all three Spider-Men in a row. Dr. Strange's jaw drops.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I'm sorry about that, sir. I mean...<\/dialogue>\n    <scene_description>A confused Raimi-Verse Peter steps in, looks to Dr. Strange.<\/scene_description>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>You went to the Grand Canyon?<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>He coulda used your help, man.<\/dialogue>\n    <scene_description>Dr. Strange rolls his eyes, shakes his head.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>No, no, no, it's okay! It's okay! Uh, these... these are my new friends.<\/dialogue>\n    <parenthetical>(re: Raimi-Verse Peter)<\/parenthetical>\n    <dialogue>This is Peter Parker.<\/dialogue>\n    <parenthetical>(re: Webb-Verse Peter)<\/parenthetical>\n    <dialogue>This is Peter Parker. Spider-Man. Spider-Man. They're mes from... other universes. They're here to help.<\/dialogue>\n    <scene_description>This is all too much for Dr. Strange.<\/scene_description>\n    <character>DR. STRANGE<\/character>\n    <dialogue>No, no...<\/dialogue>\n    <scene_description>Peter turns to the other Peters:<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>This is the wizard that I was telling you about.<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Look, I am really impressed that you've managed to give them all a second chance, kid. But this has to end. Now.<\/dialogue>\n    <character>GREEN GOBLIN (O.S.)<\/character>\n    <dialogue>Can the Spider-Man come out to play?!<\/dialogue>\n    <scene_description>Raimi-Verse Peter turns towards that oh so familiar voice, his eyes WIDENING when he sees-- GREEN GOBLIN on his glider, silhouetted by the moon. He rockets down, lobbing volley after volley of PUMPKIN BOMBS! Doc Ock deftly springs into action -- GRABBING BOMBS out of Dr. Strange's path -- while the Peters quickly DODGE several EXPLOSIONS. In the chaos, Goblin swoops down and-- STEALS THE BOX from Dr. Strange! Peter turns to see-- THUNK! One of Doc Ock's tentacles grabs onto the glider, holding Goblin in place, as-- Dr. Strange uses an Eldritch Whip to TAKE BACK THE BOX! Furious, Goblin twists -- his glider SLICING through Ock's tentacle arm! AGH! Ock shudders in pain, as Goblin jets off. ANGLE ON Strange manipulating The Box with magic... Suddenly, all three Peters sense it... something off about The Box... something inside. A PUMPKIN BOMB!<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Strange, no--!<\/dialogue>\n    <scene_description>BOOM! The bomb detonates... THE BOX EXPLODES! Fragments of debris hurled in every direction... followed by the swirling, spinning magic of... THE BROKEN SPELL, unleashed and unstable! It RIPPLES through the Captain America shield, which BREAKS OFF--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - SCAFFOLDING - CONTINUOUS (NIGHT)<\/stage_direction>\n    <scene_description>--HURTLING through level after level of scaffolding... a crumbling avalanche of twisted metal. A SCREAM! MJ falls backwards, tumbling off the collapsing scaffolding. Ned tries to catch her, but LOSES HIS OWN FOOTING! He barely manages to grab a bent pole, dangling in mid-air... ANGLE ON Peter, hearing MJ... he DIVES after her... reaching out... almost there... WHAM! Green Goblin (on his glider) SLAMS into him, carrying Peter in the opposite direction! MJ's eyes go wide in horror as she plummets-- Webb-Verse Peter quickly reacts... swings down towards her--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - PEDESTAL - CONTINUOUS (NIGHT)<\/stage_direction>\n    <scene_description>--AND CATCHES MJ, just in time! MJ gasps for air, adrenaline surging.<\/scene_description>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Are you okay?<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Yeah. I'm okay.<\/dialogue>\n    <parenthetical>(then, noticing)<\/parenthetical>\n    <dialogue>Are you okay?<\/dialogue>\n    <scene_description>Overwhelmed with emotion, Webb-Verse Peter nods. Having just relived the worst moment of his life when he lost Gwen Stacy in THE AMAZING SPIDER-MAN 2. But this time, he prevailed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - CROWN - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>ON STRANGE Floating above the crown, shaking with effort as he tries to bring the errant spell under control...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>ON THE SHIELD Barely held back by flimsy bars of scaffolding. DING! One of the bars breaks. The shield SHUDDERS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - SCAFFOLDING - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>ON NED Hanging from the bent pole, straining to hold on.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - UPPER SCAFFOLDING - SAME (NIGHT)<\/stage_direction>\n    <scene_description>ON MAX DILLON As one of Doc Ock's tentacles wraps around him, moving him out of harm's way.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - CROWN - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>BACK ON STRANGE Straining... the spell nearly contained, when-- A BLAST OF MAGIC! The spell erupts, billowing outwards. DEEP, GLOWING CRACKS pierce through the night sky.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - SCAFFOLDING - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>AHH! Ned loses his grip on the bent pole... plummeting, flailing in mid-air, when-- WHOOSH! He's saved by THE CLOAK OF LEVITATION!<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>Whoa!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - VARIOUS - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>CRACK! The shield finally gives, RIPPING through the remaining scaffolding, SLAMMING onto the pedestal base, just as-- Raimi-Verse Peter WEBS Dr. Connors, Doc Ock, and Max Dillon, saving them from plunging to their deaths, as-- Cloak gently lowers Ned to the statue's base... where the shield ROLLS to a clattering stop at the water's edge.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - TORCH - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>Atop Lady Liberty -- her TORCH no longer obscured. Dr. Strange floats above it, looking all around... NEW RIFTS and OPENINGS SPLIT their way through the skyline. He quickly sets to work, combating the onslaught of the Multiverse... SEALING one rift... then another... Will he be able to hold back the tide?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOBLIN'S GLIDER - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>ON PETER Struggling with Green Goblin, hanging off his glider... Peter pulls out a pumpkin bomb.... shoves it into the glider's mechanics... BEEP-BEEP-BOOM! AGH! The two of them tumble, crash-landing across the FALLEN SHIELD.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - PEDESTAL - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>The Cloak of Levitation drops Ned down and flies off.<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>Thank you, Mr. Cape. Sir.<\/dialogue>\n    <character>MJ (O.S.)<\/character>\n    <dialogue>Ned?<\/dialogue>\n    <scene_description>MJ rounds the corner--<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>Ned... Ned!<\/dialogue>\n    <scene_description>They run into each other's arms.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE FALLEN SHIELD - SAME TIME (NIGHT)<\/stage_direction>\n    <scene_description>Peter gets to his feet, concerned, looking around...<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>(calls out)<\/parenthetical>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - PEDESTAL - INTERCUT - SAME (DAWN)<\/stage_direction>\n    <scene_description>MJ releases from the hug--<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>Peter?!<\/dialogue>\n    <character>PETER (O.S.)<\/character>\n    <dialogue>MJ?!<\/dialogue>\n    <scene_description>From the base of the Statue of Liberty, MJ and Ned look over to see... Peter on the shield at the water's edge. MJ waves.<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>Peter! Hey!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Are you okay?<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>We're okay.<\/dialogue>\n    <scene_description>He sighs in relief. Meanwhile... Green Goblin JOLTS upright at the other end of the shield. The sun just beginning to crest the horizon. Peter turns to face him, eyes narrowing, seeing red. Green Goblin rises, rips off his goggles.<\/scene_description>\n    <character>GREEN GOBLIN<\/character>\n    <dialogue>Poor, Peter. Too weak to send me home to die.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>No. I just want to kill you myself.<\/dialogue>\n    <character>GREEN GOBLIN<\/character>\n    <dialogue>Attaboy!<\/dialogue>\n    <scene_description>Enraged, Peter rushes at Green Goblin -- they CLASH! Peter PUMMELS him with a murderous intensity. Goblin breaks free -- SNICK! Releases his arm blades and swings them at Peter as they battle it out... Peter getting the upper hand, brutally beating Goblin back...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - PEDESTAL - SAME TIME (DAWN)<\/stage_direction>\n    <scene_description>At the base of the Statue of Liberty, Raimi-Verse and Webb- Verse Peter run forward to see--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE FALLEN SHIELD - SAME TIME (DAWN)<\/stage_direction>\n    <scene_description>Peter batters Goblin until he's down on his knees... a barrage of punches... Goblin collapses to the ground, spent.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - PEDESTAL - SAME TIME (DAWN)<\/stage_direction>\n    <scene_description>A quick look between the other Peters. We have to do something.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE FALLEN SHIELD - SAME TIME (DAWN)<\/stage_direction>\n    <scene_description>Peter lays into Goblin, who takes punch after punch after punch...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - PEDESTAL - SAME TIME (DAWN)<\/stage_direction>\n    <scene_description>MJ and Ned look on with concern as--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE FALLEN SHIELD - SAME TIME (DAWN)<\/stage_direction>\n    <scene_description>Peter grabs Goblin's glider, crashed at the base of the shield. He drifts towards Goblin, murder in his eyes... lifts the glider over his head, about to bring the gleaming blades down on Goblin when-- RAIMI-VERSE PETER jumps between them, stopping Peter! Peter screams, unrelenting... A pleading look on Raimi-Verse Peter's face. Don't do this. Slowly, gradually... Peter relaxes. A wordless understanding between the two Peter Parkers. As Peter sets the glider down-- SHUNK! Raimi-Verse Peter's face falls... Goblin STABBED him in the back! Raimi-Verse Peter collapses.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - PEDESTAL - SAME TIME (DAWN)<\/stage_direction>\n    <scene_description>ANGLE ON Webb-Verse Peter. He rushes forward with the Goblin cure, spots the standoff on the shield...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE FALLEN SHIELD - SAME TIME (DAWN)<\/stage_direction>\n    <scene_description>Goblin staggers upright, eager for more. Taunting Peter.<\/scene_description>\n    <character>GREEN GOBLIN<\/character>\n    <dialogue>She was there because of you...<\/dialogue>\n    <scene_description>Peter faces him, eyes narrowing.<\/scene_description>\n    <character>GREEN GOBLIN<\/character>\n    <dialogue>I may have struck the blow. But you...<\/dialogue>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>You are the one that killed her.<\/dialogue>\n    <scene_description>As Green Goblin CACKLES with glee...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - PEDESTAL - SAME TIME (DAWN)<\/stage_direction>\n    <scene_description>Webb-Verse Peter throws the Goblin cure!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE FALLEN SHIELD - INTERCUT - SAME TIME (DAWN)<\/stage_direction>\n    <scene_description>Peter turns, grabs it-- SHUNK! HE STABS GOBLIN IN THE NECK! Goblin staggers. Shocked. In pain. CLICK! PETER INJECTS GOBLIN WITH THE ANTI-SERUM! From the floor of the shield, Raimi-Verse Peter smiles with relief. From the pedestal, Webb-Verse Peter sighs with relief. Goblin falls back on his haunches, then... A look of recognition.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>...Peter?<\/dialogue>\n    <scene_description>Norman sees Raimi-Verse Peter on the ground. Remembering everything. May.<\/scene_description>\n    <character>NORMAN<\/character>\n    <dialogue>What have I done?<\/dialogue>\n    <scene_description>Webb-Verse Peter rushes to Raimi-Verse Peter's aid. The latter realizes the former tossed the cure.<\/scene_description>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>It was you...<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Uh, yeah, I'm good. I've been stabbed before.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Oh, good. Good, good, good...<\/dialogue>\n    <scene_description>Peter joins them.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <parenthetical>(re: stab wound)<\/parenthetical>\n    <dialogue>Oh, man.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Hey, nice catch.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Nice throw.<\/dialogue>\n    <scene_description>The three Peters share a moment. Then-- CHAOTIC RUMBLINGS FROM ABOVE!<\/scene_description>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>What? Is that happening, or am I dying?<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Oh, yeah, no. That's happening, that's real.<\/dialogue>\n    <character>RAIMI-VERSE PETER (O.S.)<\/character>\n    <dialogue>Are there... people in the sky?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - TORCH - SAME TIME (DAWN)<\/stage_direction>\n    <scene_description>High above the Statue of Liberty, the mangled spell continues... SHADOWY SILHOUETTES forming everywhere... Dr. Strange trembles from the strain of holding the Multiverse at bay. But try as he might, more and more silhouettes keep appearing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE FALLEN SHIELD - SAME TIME (DAWN)<\/stage_direction>\n    <scene_description>Peter can clearly see -- they're running out of time.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I gotta go.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Yeah, yeah, I got it.<\/dialogue>\n    <parenthetical>(to Raimi-Verse Peter)<\/parenthetical>\n    <dialogue>You okay?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - TORCH - MOMENTS LATER (DAWN)<\/stage_direction>\n    <scene_description>Peter WEBS to the top of the torch.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>What's happening?<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>They're starting to come through, and I can't stop 'em!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>There's gotta be something we can do! Can't you just cast the spell again? But the original way, before I screwed it up.<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>We're too late for that. They're here! They're here because of you.<\/dialogue>\n    <scene_description>A beat as this lands on Peter. Then--<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>What if everyone forgot who I was?<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>What?!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>They're coming here because of me, right? Because I'm Peter Parker? So cast a new spell, but this time make everyone forget who Peter Parker is. Make everyone forget... me.<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>But it would work, right?<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Yeah, it would work. But you gotta understand that would mean that everyone who knows and loves you, we...<\/dialogue>\n    <parenthetical>(voice catches, then)<\/parenthetical>\n    <dialogue>We'd have no memory of you. It would be as though you never existed.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>...I know.<\/dialogue>\n    <parenthetical>(resolved)<\/parenthetical>\n    <dialogue>Do it.<\/dialogue>\n    <scene_description>Dr. Strange reluctantly nods, his heart breaking for Peter.<\/scene_description>\n    <character>DR. STRANGE<\/character>\n    <dialogue>You better go and say your goodbyes. You don't have long.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Thank you, sir.<\/dialogue>\n    <scene_description>Peter moves to leave--<\/scene_description>\n    <character>DR. STRANGE<\/character>\n    <dialogue>Call me Stephen.<\/dialogue>\n    <scene_description>Peter stops, moved by the gesture.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Thank you, Stephen.<\/dialogue>\n    <character>DR. STRANGE<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>Yeah... still feels weird.<\/dialogue>\n    <scene_description>Peter smiles back.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I'll see you around.<\/dialogue>\n    <scene_description>As Peter swings off, Strange chokes back emotion.<\/scene_description>\n    <character>DR. STRANGE<\/character>\n    <dialogue>So long, kid.<\/dialogue>\n    <scene_description>Then he looks to the sky, the Multiverse unfolding. He begins to cast the new spell.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE FALLEN SHIELD - CONTINUOUS (DAWN)<\/stage_direction>\n    <scene_description>Webb-Verse Peter holds Raimi-Verse Peter up on his feet. Peter swings down to meet them.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Hey! Uh... I think this is it. I think you're about to go home.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>All right.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Um, look, I, uh... thank you! I just want to-- I want you-- I want to tell you that... I really don't know how to say this, I--<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Peter...<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I want you to know that I'm--<\/dialogue>\n    <scene_description>The other two Peters smile.<\/scene_description>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>You know. It's what we do.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>Yeah. It's what we do. Um... Right, I gotta find Ned and MJ.<\/dialogue>\n    <scene_description>Peter moves off, then quickly turns back. Hugs them.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Thank you. Thank you. Thank you. Thank you.<\/dialogue>\n    <parenthetical>(pulls back)<\/parenthetical>\n    <dialogue>I guess... I guess I'll see you.<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>Same.<\/dialogue>\n    <scene_description>A final smile between the three. More than just counterparts now. Friends. As Peter runs off, Raimi-Verse Peter winces.<\/scene_description>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>You're in so much pain, huh?<\/dialogue>\n    <character>RAIMI-VERSE PETER<\/character>\n    <dialogue>I am.<\/dialogue>\n    <character>WEBB-VERSE PETER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - PEDESTAL - CONTINUOUS (DAWN)<\/stage_direction>\n    <scene_description>Peter swings over to MJ and Ned. MJ sighs with relief.<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>You're okay!<\/dialogue>\n    <scene_description>A group hug. Then Peter pulls back, takes them in...<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Are you okay?<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Yeah, we're okay.<\/dialogue>\n    <scene_description>Peter notices a cut above MJ's eye.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Oh my God, you're bleeding.<\/dialogue>\n    <scene_description>Peter holds MJ's face in his hand, inspects her cut.<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>No, I'm fine. I'm okay.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Are you sure?<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>I'm fine. I promise.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(relieved)<\/parenthetical>\n    <dialogue>Okay. Okay...<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Um... we should go, right?<\/dialogue>\n    <scene_description>Peter struggles to find the words. ECHOING THUNDER from above. The new spell is quickly progressing...<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>You're gonna forget who I am.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>...What?<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Forget who you are -- what are you talking about?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>It's okay. I'm gonna come and find you, and I'll explain everything.<\/dialogue>\n    <scene_description>MJ and Ned's faces fall as they realize...<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I'll make you remember me, and it will be like none of this ever happened. Okay?<\/dialogue>\n    <character>MJ<\/character>\n    <parenthetical>(panicking)<\/parenthetical>\n    <dialogue>Okay, but what if that doesn't work? What if-- What if that doesn't work? What if we can't remember you? I don't want to do that. I don't-- I don't want to do that.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I know, MJ. I know.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>But, what-- Is there not something we can do? We can't come up with, like, a plan or something, you know? There's always something we can do?<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(shakes his head)<\/parenthetical>\n    <dialogue>There's nothing we can do.<\/dialogue>\n    <parenthetical>(then, reassuring)<\/parenthetical>\n    <dialogue>But it'll be okay.<\/dialogue>\n    <scene_description>MJ tries to catch her breath, as Ned's eyes brim with tears.<\/scene_description>\n    <character>NED<\/character>\n    <dialogue>You promise?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Yeah, I promise.<\/dialogue>\n    <scene_description>Peter and Ned do a bittersweet version of their special handshake from HOMECOMING. Then Peter pulls Ned into a hug.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I'll come find you, okay?<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>I know you will.<\/dialogue>\n    <scene_description>They release from the hug. Peter turns to MJ.<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>You better. If you don't, I'm just gonna figure it out. I've done it before, I can do it again.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I promise I'll fix this.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>I really hate magic.<\/dialogue>\n    <scene_description>Peter laughs, a small, knowing grin.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Yeah, me too.<\/dialogue>\n    <scene_description>She takes him in, then--<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>I love you.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I love--<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Just wait. Wait and tell me when you see me again.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>Ned looks to the sky -- more RUMBLINGS as the new spell takes effect. Peter turns to MJ. They don't have much longer... He pulls MJ into a kiss. Magic swirling above them, just as it did when the original spell was first cast in the Sanctum. Peter and MJ locked in embrace.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - TORCH - SAME TIME (DAWN)<\/stage_direction>\n    <scene_description>Atop the Statue of Liberty, Dr. Strange maneuvers the new spell to override the broken one.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE FALLEN SHIELD - SAME TIME (DAWN)<\/stage_direction>\n    <scene_description>Arms around each other, Raimi-Verse Peter and Webb-Verse Peter watch as the magic takes hold.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - TORCH - SAME TIME (DAWN)<\/stage_direction>\n    <scene_description>Dr. Strange continues to direct the new spell, as...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - PEDESTAL - SAME TIME (DAWN)<\/stage_direction>\n    <scene_description>Max Dillon FADES AWAY... then Octavius...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE FALLEN SHIELD - SAME TIME (DAWN)<\/stage_direction>\n    <scene_description>Norman DISAPPEARS...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - CROWN - SAME TIME (DAWN)<\/stage_direction>\n    <scene_description>Inside the crown, Marko EVAPORATES...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - PEDESTAL - SAME TIME (DAWN)<\/stage_direction>\n    <scene_description>Connors VANISHES...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - TORCH - SAME TIME (DAWN)<\/stage_direction>\n    <scene_description>A WIDE SHOT of Dr. Strange floating above the Statue of Liberty, manipulating the radiating circle of the spell.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE FALLEN SHIELD - SAME TIME (DAWN)<\/stage_direction>\n    <scene_description>Raimi-Verse Peter and Webb-Verse Peter wave goodbye as they DISSOLVE into the ether...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - PEDESTAL - SAME TIME (DAWN)<\/stage_direction>\n    <scene_description>BACK ON Peter and MJ, reluctant to let go... He makes the first move -- steps back, jumps up on a ledge. But before he webs off, he glances up at the Statue of Liberty--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - TORCH - INTERCUT - SAME TIME (DAWN)<\/stage_direction>\n    <scene_description>--Where Dr. Strange, his new spell nearly complete, nods his own goodbye. Peter looks back at MJ. The spell about to hit her, but she manages to mouth one last \"I love you.\" Peter WEBS off just before the light of the completed spell washes over them... A BLAST OF SPELL MAGIC! The sky clears. The new spell complete. All is calm. As the morning sun rises over Lady Liberty...<\/scene_description>\n    <character>J. JONAH JAMESON (PRE-LAP)<\/character>\n    <dialogue>It's been a few weeks since the fiasco on the Statue of Liberty--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAILY BUGLE STUDIO - A FEW WEEKS LATER (DAY)<\/stage_direction>\n    <scene_description>J. Jonah Jameson reports live from his desk.<\/scene_description>\n    <character>J. JONAH JAMESON<\/character>\n    <dialogue>--And Spider-Man's cultists continue to contend that the vile vigilante is a hero! Well, if he were a hero, he'd unmask himself and tell us who he really is! Because only a coward conceals his identity. Only a coward hides his true intentions!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DONUT SHOP - DAY<\/stage_direction>\n    <scene_description>Peter walks down the street. This time, no one recognizes him.<\/scene_description>\n    <character>J. JONAH JAMESON (V.O.)<\/character>\n    <dialogue>Rest assured, ladies and gentlemen, this reporter will uncover those intentions come hell or high water.<\/dialogue>\n    <scene_description>Peter reads aloud to himself from a hand-written note:<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Hi, my name is Peter Parker. You don't know me, but I... uh. Hi, my name is Peter Parker, and you don't know me, but you--<\/dialogue>\n    <scene_description>He stops outside the donut shop. Now with holiday decorations. Christmas lights. He enters...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DONUT SHOP - CONTINUOUS (DAY)<\/stage_direction>\n    <scene_description>Peter finds MJ, talking and laughing with an older customer, a STAN LEE LOOK-ALIKE. MJ turns, looks up at him, and waves. He's taken aback... Until he realizes she was waving at Ned, who has just entered behind him.<\/scene_description>\n    <character>NED<\/character>\n    <parenthetical>(to MJ)<\/parenthetical>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>Ned walks past Peter and sits at the counter.<\/scene_description>\n    <character>MJ<\/character>\n    <parenthetical>(to Ned)<\/parenthetical>\n    <dialogue>One sec.<\/dialogue>\n    <parenthetical>(to Peter)<\/parenthetical>\n    <dialogue>Can I help you?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Hi, um, My name is Peter Parker. And I...<\/dialogue>\n    <parenthetical>(loses nerve)<\/parenthetical>\n    <dialogue>Would like a coffee, please.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Okay, no problem, Peter Parker.<\/dialogue>\n    <scene_description>As MJ goes for the coffee pot, she chats with Ned. Hands over a free donut.<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>Donut for my fellow engineer.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Oh... Wait, what?<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>MIT, they're the Engineers. The Mascot.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Oh, right, right, right. I should probably know that.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Look at you with the school spirit!<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Tell anybody, I will deny it.<\/dialogue>\n    <character>NED<\/character>\n    <dialogue>Oh, right, right...<\/dialogue>\n    <scene_description>Ned looks back at his phone, scrolling. Peter smiles. Happy to see them. Thrilled that they got in. MJ slides Peter his coffee. ANGLE ON the cup: \"We Are Happy To Serve You.\"<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>Peter Parker.<\/dialogue>\n    <parenthetical>(no reply)<\/parenthetical>\n    <dialogue>...Peter Parker?<\/dialogue>\n    <scene_description>Peter breaks his concentration from Ned, turns to MJ.<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>Your coffee.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Right. Thank you.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>Mmm-hmm.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Um... are you excited for MIT?<\/dialogue>\n    <scene_description>MJ is confused at first. But then she realizes -- he must have overheard her and Ned.<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>Oh. Uh, right, yeah. Uh...<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Yeah, actually, I am excited which is weird 'cause I don't really get excited about things. I kind of expect disappointment--<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>--'Cause then you'll never actually be disappointed. Right?<\/dialogue>\n    <scene_description>A flicker of d\u00e9j\u00e0 vu on her face, then, recovering:<\/scene_description>\n    <character>MJ<\/character>\n    <dialogue>Uh, yeah. Right. It's just, um-- I dunno, it just kinda feels different this time for some reason.<\/dialogue>\n    <scene_description>This gives him pause. Her new life. Somewhat dazed, Peter pays for the coffee.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Um, what I was--<\/dialogue>\n    <scene_description>MJ brushes back her hair. He sees a Band-Aid above her eye -- her injury from the Statue of Liberty.<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>(re: Band-Aid)<\/parenthetical>\n    <dialogue>You okay?<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>It doesn't really hurt anymore.<\/dialogue>\n    <parenthetical>(beat, then)<\/parenthetical>\n    <dialogue>Is there anything else?<\/dialogue>\n    <scene_description>Peter pauses. The moment of truth... But he just shakes his head and smiles.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Uh... no.<\/dialogue>\n    <scene_description>Peter tucks his note back into his pocket.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>MJ<\/character>\n    <dialogue>No problem.<\/dialogue>\n    <scene_description>Peter takes his coffee, looks over at Ned, then back at MJ.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I'll uh... see you around.<\/dialogue>\n    <scene_description>He walks out the door. HOLD ON MJ, watching Peter go with a lingering sense of... recognition?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETERY - DAY<\/stage_direction>\n    <scene_description>A cold winter's day. Peter stands before May's grave, sets down a flower. Reveal the grave is covered in them, placed in front of a tombstone that reads: \"WHEN YOU HELP SOMEONE, YOU HELP EVERYONE.\" A figure approaches -- Happy. It's clear he doesn't recognize Peter.<\/scene_description>\n    <character>HAPPY<\/character>\n    <dialogue>How'd you know her?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Through Spider-Man. You?<\/dialogue>\n    <character>HAPPY<\/character>\n    <dialogue>Same.<\/dialogue>\n    <scene_description>They stare at the grave for a beat.<\/scene_description>\n    <character>HAPPY<\/character>\n    <dialogue>I lost a good friend a while back. Felt like this.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>It hurts 'cause they're gone. And then it hurts all over again because you remember what they stood for, and you wonder, \"Is all that gone too?\"<\/dialogue>\n    <scene_description>A beat as that lands on Peter.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>No, it's not gone. Everyone that she helped... they'll keep it going.<\/dialogue>\n    <character>HAPPY<\/character>\n    <dialogue>You really think so?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I know it.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Take care of yourself, okay?<\/dialogue>\n    <character>HAPPY<\/character>\n    <dialogue>Yeah. Nice to meet you.<\/dialogue>\n    <scene_description>Peter nods, then walks away, leaving Happy to pay his respects.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETER'S NEW APARTMENT - DAY<\/stage_direction>\n    <character>LANDLORD (O.S.)<\/character>\n    <dialogue>Rent is due on the first of the month. Don't be late.<\/dialogue>\n    <scene_description>Peter carries a box into a studio apartment. Turns on the light, takes in the barren space. His new home. A fresh start. He opens a box containing a GED test study manual, sets out his personal effects... including the LEGO Emperor figurine from the Death Star set he and Ned built (and rebuilt) many times together.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETER'S NEW APARTMENT - LATER (NIGHT)<\/stage_direction>\n    <scene_description>Peter looks out the window. Snow falling on New York. He turns to his Spider-Man mask on the bed, grabs it... Peter follows a New York police precinct app on his phone.<\/scene_description>\n    <character>PRECINCT VOICE #1 (OVER PHONE)<\/character>\n    <dialogue>4-3 Edward, do you need EMS assist?<\/dialogue>\n    <character>PRECINCT VOICE #2 (OVER PHONE)<\/character>\n    <dialogue>Uh, negative, Central. We're gonna need a car tow.<\/dialogue>\n    <scene_description>ANGLE ON a desk with a sewing machine. Scraps of red and blue fabric. Nearby rests the LEGO Emperor figurine and the coffee cup MJ gave Peter at the donut shop. He kept it. In BG, Spider-Man slides up the window and leaps outside...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK ROOFTOP - MOMENTS LATER (NIGHT)<\/stage_direction>\n    <scene_description>Spider-Man flips and rolls across a snowy roof in a BLUE AND RED SUIT (new for him, but reminiscent of suits he's seen before). Spider-Man leaps and--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROCKEFELLER PLAZA - CONTINUOUS (NIGHT)<\/stage_direction>\n    <scene_description>--Soars over the Rockefeller Christmas tree with a newfound sense of freedom. Liberated from having to juggle two lives. Peter Parker is no more, but Spider-Man lives on... FADE OUT.:<\/scene_description>\n    <character>THE END<\/character>\n  <\/scene>\n<\/script>","summary":"After Quentin Beck frames Peter Parker for his murder and reveals Peter's identity as Spider-Man, Peter is interrogated by the Department of Damage Control along with his girlfriend, Michelle \"MJ\" Jones-Watson; his best friend, Ned Leeds; and his aunt, May Parker. Lawyer Matt Murdock gets Peter's charges dropped, but the group grapples with negative publicity. After Peter's, MJ's, and Ned's MIT applications are rejected, Peter goes to the New York Sanctum to ask Dr. Stephen Strange for help. Strange starts casting a spell that would make everyone forget Peter is Spider-Man, but it is corrupted when Peter repeatedly requests alterations to let his loved ones retain their memories. Strange contains the corrupted spell. At Strange's suggestion, Peter tries to convince an MIT administrator to reconsider MJ's and Ned's applications. He is attacked by Otto Octavius, who rips nanotechnology from Peter's Iron Spider suit which bonds with his own mechanical tentacles and allows Peter to control them. As Norman Osborn arrives and attacks, Strange teleports Peter back to the Sanctum and locks Octavius in a cell next to Curt Connors. Strange explains that the corrupted spell summoned people from other universes within the multiverse who know Spider-Man's identity. He orders Peter, MJ, and Ned to find and capture them; they locate and retrieve Max Dillon and Flint Marko at a military research facility. Osborn reclaims control of himself from his split Green Goblin personality and destroys the Goblin mask. He gets help from May until Peter retrieves him. While discussing their battles with Spider-Man, Osborn, Octavius, and Dillon realize they were pulled from their universes just before their deaths. Strange prepares to reverse the contained spell and send the villains back to their respective universes, but Peter argues that they should first help each villain to possibly change their fates upon their return. When Strange refuses, Peter steals the spell, traps Strange in the Mirror Dimension, and takes the villains to Happy Hogan's apartment. He uses Stark Industries technology to cure Octavius. Before Peter can cure anyone else, his Spider-Sense is triggered and he realizes that the Goblin persona has retaken control of Osborn. Goblin convinces the other villains to betray Peter and fatally injures May as Dillon, Marko, and Connors escape. Before she dies, May tells Peter that \"with great power, there must also come great responsibility\". Ned discovers that he can create portals using Strange's sling ring, which he and MJ use to try to locate Peter. They instead find alternate versions of Peter from the villains' universes who were also summoned by Strange's spell and are nicknamed \"Peter-Two\" and \"Peter-Three\". The group finds this universe's Peter, nicknamed \"Peter-One\", who is ready to give up and send the villains home to die. The alternate Peters share stories of losing loved ones and encourage Peter-One to fight in May's honor. The three Peters develop cures for the villains. The group lures Dillon, Marko, and Connors to the Statue of Liberty. Peter-One and Peter-Two cure Connors and Marko, while Octavius arrives to help cure Dillon, and Ned frees Strange from the Mirror Dimension. The Goblin appears and unleashes the contained spell, which breaks apart the barriers between universes, pulling in countless others who know Parker's identity. Strange attempts to hold them off while an enraged Peter-One tries to kill the Goblin. Peter-Two stops him but gets stabbed by the Goblin. Peter-Three helps Peter-One inject the Goblin with his cure, restoring Osborn's sanity. Peter-One realizes that the only way to protect the multiverse is to erase himself from everyone's memory and requests Strange to do so while promising MJ and Ned that he will find them again. Strange reluctantly casts the spell, and everyone returns to their respective universes\u2014including Eddie Brock, who unknowingly leaves behind a piece of the Venom symbiote. Two weeks later, Peter visits MJ to reintroduce himself to her and Ned, but he decides against it. While mourning at May's grave, he has a conversation with Hogan and is inspired to carry on, making a new suit and resuming his vigilantism."}
{"movie_name":"The Burial_2023","imdb_id":"tt5648882","script":"<script>\n  <scene>\n    <character>THE BURIAL<\/character>\n    <dialogue>Screenplay by<\/dialogue>\n    <scene_description>Doug Wright and Maggie Betts Story by Doug Wright Based on The New Yorker Article by Jonathan Harr<\/scene_description>\n    <character>04\/22\/2022 - GREEN REVISED PAGES<\/character>\n    <scene_description>03\/28\/2022 - PINK REVISED PAGES 03\/11\/2022 - BLUE REVSIED PAGES<\/scene_description>\n    <character>03\/02\/2022 - PRODUCTION WHITE<\/character>\n    <dialogue>\u00a9 2021 AMAZON CONTENT SERVICES LLC OR ITS AFFILIATES. All Rights Reserved<\/dialogue>\n    <dialogue>This material is the exclusive property of AMAZON CONTENT SERVICES LLC OR ITS AFFILIATES and is intended solely for the use of its personnel. No portion of this script may be performed, or reproduced by any means, or quoted, or published in any medium without prior written consent of AMAZON CONTENT<\/dialogue>\n    <scene_description>SERVICES LLC.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SERIES OF VAST EMPTY FIELDS - TBD<\/stage_direction>\n    <scene_description>Somewhere in the bygone regions of the South, we see all these vast and beautiful fields. All these glistening sun- kissed landscapes of whistling breezes and tall swaying grass, with such an intensely haunting feeling about them. Until finally we land on one field in particular, gradually noticing something. Lying all by itself in the grass is an old AMERICAN FLAG. Somehow just left on its own out there.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. O'KEEFE FUNERAL HOMES - DAY<\/stage_direction>\n    <scene_description>Along the picturesque coastline of Gulfport, Mississippi, we hold upon the facade of a very old, traditional looking WHITE COLUMNED MANSION. On the lawn out front is a SIGN that reads: O'KEEFE FAMILY FUNERALS AND GULF NATIONAL INSURANCE CO.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. O'KEEFE FUNERAL HOMES\/ RECEPTION - DAY<\/stage_direction>\n    <scene_description>Moving inside of this quaint little funeral home, we drift along the walls, seeing all these old and cherished feeling PHOTOS. There are literally walls upon walls of PHOTOS documenting the long history of this proud FAMILY BUSINESS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. O'KEEFE FUNERAL HOMES\/ SHOWROOM- DAY<\/stage_direction>\n    <scene_description>ANGLE ON: Some kind of abstract and blurred-out shiny surface, at the same time as we hear a voice say:<\/scene_description>\n    <character>CASKET SALESMAN 1\/ LARRY (O.S.)<\/character>\n    <dialogue>Have a look at this beauty right here, Jerry. Just look at it. Brand new to the market..<\/dialogue>\n    <scene_description>We then PULL BACK to find ourselves inside a small SHOWROOM within the funeral home where, perched up on a stand, is also a FANCY LOOKING CASKET with THREE MEN standing around looking at it. Among them is also JEREMIAH O'KEEFE.<\/scene_description>\n    <character>CASKET SALESMAN 1\/ LARRY<\/character>\n    <dialogue>This here is what they call the, 'Calypso 7000'. And let me tell you something Jerry, when it comes to burying your loved ones in style, this here is like the Rolls Royce of top of the line caskets. Believe me, it just doesn't get any better than this, Jerry.<\/dialogue>\n    <character>CASKET SALESMAN 2\/ ARLO<\/character>\n    <dialogue>Gorgeous, just gorgeous. Isn't she a beauty, Jerry.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>CASKET SALESMAN 2\/ ARLO<\/character>\n    <dialogue>Go ahead, have a closer look there, Jerry. Go ahead...<\/dialogue>\n    <character>CASKET SALESMAN 1\/ LARRY<\/character>\n    <dialogue>We're talking top of the line finishes, a rich satin interior- go ahead, feel that- and a sleek innovative design that's frankly so dang pretty, it could damn near bring any corpse back to life.<\/dialogue>\n    <character>SALESMAN 2\/ ARLO<\/character>\n    <dialogue>Have another look at those lines, Jerry. Such clean, beautiful lines on this one. I can't get enough. Personally, when I go, this is what I plan to be buried in.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>It's a good looking casket fellas, that's for sure. But tell me again how much it retails for? I'm worried it might be a little too expensive for some of my customers.<\/dialogue>\n    <character>CASKET SALESMAN 1\/ LARRY<\/character>\n    <dialogue>Well, I suppose that depends.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Depends? What do you mean by that? Do you mean there isn't a standard retail price on it?<\/dialogue>\n    <character>CASKET SALESMAN 1\/ LARRY<\/character>\n    <dialogue>What I mean is, it kind of depends what county you're in. Like I've heard of some places, over in Clarke for example, where it's selling for as low as 899. But then in others, like Jefferson, people are charging as much as 2,800.<\/dialogue>\n    <scene_description>While Jerry just looks at them both, a bit confused.<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>But that just doesn't make any sense. Jefferson's poor, mostly Black folks, why would it cost more over there?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. O'KEEFE FUNERAL HOMES\/ RECEPTION AREA - SAME TIME<\/stage_direction>\n    <scene_description>Elsewhere in the home, a SECRETARY - CARRIE ANNE, 35- sits behind a desk, reading a MAGAZINE. As her eyes then happen to glance toward the window, she notices something unusual... CONTINUED: FOLLOWING HER POV: we see a beat-up old SEDAN has just pulled into the parking lot. Two very OFFICIAL MEN then slowly get out, brush themselves off, and stare up toward the building.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. O'KEEFE FUNERAL HOMES\/ SHOWROOM - CONTINUOUS<\/stage_direction>\n    <character>CASKET SALESMAN 1\/ LARRY<\/character>\n    <dialogue>So whaddya say Jerry, how about it? We gonna make a sale today or what?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Sorry fellas, I appreciate your dropping by. I'm just not in the market for any new models right now. Business has been a little bit stretched here lately...<\/dialogue>\n    <character>CASKET SALESMAN 2\/ ARLO<\/character>\n    <dialogue>That's okay Jerry, not a problem, say no more. How'bout some embalming fluid then? I can give-<\/dialogue>\n    <scene_description>There's then a quick knock at the door, with Carrie Anne peeking her head in. Turning to Jerry, she makes a discreet motion for him to come over, while whispering.<\/scene_description>\n    <character>CARRIE ANNE<\/character>\n    <dialogue>Hey Jerry, so sorry to interrupt. But there's two men here to see you, say they're from Jackson...<\/dialogue>\n    <scene_description>While Jerry just looks at her a moment.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. O'KEEFE FUNERAL HOMES - MOMENTS LATER<\/stage_direction>\n    <scene_description>We now follow tightly behind, as Jerry walks down the main hall of the funeral home, then gradually makes his way to... THE FOYER: Upon entering the foyer, he now looks up to see those same official-looking men- GARY REYNOLDS and JIM LAFONT- just kind of idly standing around and waiting for him.<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Hi there, is there something I can help you with?<\/dialogue>\n    <character>GARY REYNOLDS<\/character>\n    <dialogue>Are you Mr. O'Keefe, Jeremiah O'Keefe?<\/dialogue>\n    <character>JIM LAFONT<\/character>\n    <dialogue>Owner of Gulf National Insurance company, that Mr. O'Keefe?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>I am. What is this about?<\/dialogue>\n    <character>JIM LAFONT<\/character>\n    <dialogue>Name's Jim Lafont. This gentleman here is my colleague, Gary Reynolds. We're here on behalf of the State Insurance Commission.<\/dialogue>\n    <scene_description>On Jerry, he just looks at them, a little nervous.<\/scene_description>\n    <character>GARY REYNOLDS<\/character>\n    <dialogue>Mr. O'Keefe, as a registered burial insurance broker in the state of Mississippi, I'm sure you're aware that you're required to keep a certain minimum of funds in your reserves at all times.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>JIM LAFONT<\/character>\n    <dialogue>Listen, Mr. O'Keefe, is there maybe somewhere around here where we could talk more privately?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. O'KEEFE FUNERAL HOMES - MOMENTS LATER<\/stage_direction>\n    <scene_description>A little later, Jerry stands all alone on the porch, watching the men drive off. Holding on his face, he seems deeply unsettled, even a bit rattled. At the same time, we now hear an unknown VOICE drift in from elsewhere:<\/scene_description>\n    <character>WILLIE GARY (O.S.)<\/character>\n    <dialogue>How ya'll doin' today? Everybody okay, everybody good? Well all right now! Now, I believe most of you in here know me by now, and you also know my brother, Pastor Albert, sometimes ask me to come on up and do a little preachin'. I mean, if that's okay with ya'all...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SERIES OF VAST EMPTY FIELDS- TBD<\/stage_direction>\n    <scene_description>Returning again to see all those beautiful and great, wide open fields, the voice continues to gently drift over all:<\/scene_description>\n    <character>WILLIE GARY (O.S.)<\/character>\n    <dialogue>Now there'a subject he asked me to talk about. A subject I'm also pretty sure means a lot to all of us here in this room...<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>WILLIE GARY (O.S.)<\/character>\n    <dialogue>But before I get into that- I gotta question: Can I get a witness ya'all!! Come on now, ya'all heard me, I said, can I get a witness!! Come on now, praise the Lord! Let's praise his holy name together, can we do that please!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CALVARY OF LOVE BAPTIST CHURCH, FLORIDA - MORNING<\/stage_direction>\n    <scene_description>Inside a small and cramped, but completely JAM-PACKED black church in Florida, a raucous service takes place. Standing behind the pulpit, is also a man called WILLIE GARY (52):<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Like I said, I got something I want to preach to y'all about- And what it has do with, well, is death. I'm talking about the death of a loved one. I'm talking about the painful experience of losing someone we love. And what happens when we have to say goodbye for good... Y'all know what I mean!? Come on now! Cause I know ain't nobody in this room, hasn't been through it at least once!... And, oh man, losing someone you love, it'll break your heart like nothing else, won't it!?<\/dialogue>\n    <scene_description>On the congregation, we see them get more and more animated, more and more worked up- calling and hollering back.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>But still, the way I see it- Is no matter how sad and broken you are. I said no matter how broken!- You still got a choice in how you face it! You can either choose to walk in sorrow, giving up all hope, not caring no more... Or, you can come on home to the church! Hold on, I said, come on home to the church!- The Black Church... To find that comfort and solace in community....<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. REDEEMING LOVE BAPTIST CHURCH, FLORIDA - AFTERNOON<\/stage_direction>\n    <scene_description>With the service over and everybody filing out, we see Willie walking hand-in-hand with his wife, GLORIA, while flanked by two BODYGUARDS- All heading for the parking lot, specifically for a pair of red and blue BENTLEYS. What's more, there's also a large CROWD around Willie.<\/scene_description>\n    <character>LITTLE BOY (O.S.)<\/character>\n    <dialogue>Excuse me, Sir...<\/dialogue>\n    <scene_description>CONTINUED: Spinning around, Willie then looks down to see an adorable little BOY (8)- standing off to the side, staring up at him.<\/scene_description>\n    <character>LITTLE BOY<\/character>\n    <dialogue>I just want to say, you're the best preacher I've ever seen in my life.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Why thank you, young man. But I'm afraid I'm not a preacher....<\/dialogue>\n    <character>LITTLE BOY<\/character>\n    <dialogue>You're not? What do you mean? Then what are you?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>I'm Willie Gary. I'm a member of the legal profession, a lawyer.<\/dialogue>\n    <character>BOY'S MOTHER<\/character>\n    <dialogue>Say whaaat!? You mean to tell me you got ALL THIS right here, just from being a lawyer- A lawyer!?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>What can I say, God is good, baby. I'm thankful for all his blessings.<\/dialogue>\n    <scene_description>Turning back to the boy, Willie now bends down eye-level to him, while simultaneously pulling out a BUSINESS CARD.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Take this, young blood. That's my name on the card, right there.<\/dialogue>\n    <scene_description>He then leans in and whispers softly into the kids' ear.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Look here, I got something to tell you- Don't ever let nobody tell you what you can and cannot be. You can do it young man, you hear me.<\/dialogue>\n    <scene_description>MOMENTS LATER: We hear the sound of two BENTLEYS start up. Watching the cars drive off, the boy just stares at their two SIGNATURE PLATES: \"LDY\" and \"JUSTUS\".<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>11A INT. O'KEEFE FAMILY FUNERAL HOME\/ VIEWING ROOM - DAY 11A<\/stage_direction>\n    <scene_description>Jerry walks by himself down the hall. As he then happens to pass the VIEWING ROOM, he notices a light switched on. Stepping inside, Jerry's then a bit surprised to see a WOMAN sitting alone in the room. Staring ahead at a CLOSED CASKET. 11A CONTINUED: 11A<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Mrs. Cassidy? Is that you? I didn't realize anyone was still in here.<\/dialogue>\n    <scene_description>As the woman turns, we can see that she's been crying.<\/scene_description>\n    <character>MRS. CASSIDY<\/character>\n    <dialogue>Jerry. I'm sorry I'm still here. The viewing ended an hour ago and I know I should probably be gone by now but- I can't seem to leave yet.<\/dialogue>\n    <scene_description>Sensing she might need company, Jerry heads across the room.<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Now, you listen here to me, if there's anything you need... you just let me know.<\/dialogue>\n    <character>MRS. CASSIDY<\/character>\n    <dialogue>I appreciate it Jerry, thank you, but there's nothing. Just maybe forgive me for what a complete mess I am right now.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>It's perfectly fine...<\/dialogue>\n    <character>MRS. CASSIDY<\/character>\n    <dialogue>I somehow managed to convince myself it would be easier. But it's not easy. It's never easy, is it?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Grief is a peculiar thing. What I am about to tell you may not comfort you right now, but it will comfort you in one hour's time--and for every hour to come. I believe in an old cliche--an old saying-- popular wisdom: Time heals all wounds. It's going to get better, Sarah. It'll be better.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRIVATE GENTLEMEN'S CLUB, BILOXI - DAY<\/stage_direction>\n    <scene_description>Inside a very traditional, Southern Gentlemen's Club, Jerry sits at a quiet table in the corner, opposite his friend and associate, MIKE ALLRED (60). Both of them sipping Bourbons. CONTINUED:<\/scene_description>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Insurance regulators? You gotta be kidding me. But what did they say they wanted exactly?<\/dialogue>\n    <scene_description>It's quiet for a beat, Jerry suddenly looking a bit scared.<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>The truth is I may have gotten myself into some real trouble.<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Trouble?... What do you mean?<\/dialogue>\n    <scene_description>Jerry just looks at him.<\/scene_description>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Jerry, I've been your lawyer- what?- coming up on 30 years. Been your friend even longer than that. If there's something going on...<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>About a year ago a fellow came to me with an opportunity to invest in a savings and loan. It sure as hell looked like a safe bet at the time. The only problem was, I didn't have enough cash on hand to meet the buy- in... So, I ended up taking some money out of the company reserves.<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <parenthetical>(quietly shocked)<\/parenthetical>\n    <dialogue>I see... How much?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Enough. Point is, the deal tanked and I lost all of it. Everything... Nobody knows this but you and I, but I've been drowning in debt for years now. I just don't know how to fix it.<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>God, Jerry. I really had no idea.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>O'Keefe Family Funerals has been in my family since before the Civil War. I've spent my whole damn life just trying to hold on to the business, to keep it in the family. So I'd have something to leave behind for my kids.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Well look, let's not panic just yet. I get how stressful this is. But I'm pretty sure we can find a way out of this. Hold up a sec-<\/dialogue>\n    <scene_description>As an OLDER AFRICAN-AMERICAN WAITER passes their table, Mike subtly holds out his GLASS, shakes it a bit...<\/scene_description>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Excuse me, son. Whenever you have a chance, could I get another Bourbon over here...<\/dialogue>\n    <parenthetical>(turning back to Jerry)<\/parenthetical>\n    <dialogue>Have you considered selling off part of the business?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Forget it. No way. Hell no.<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>I'm not talking about all of it, just part of it.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>I'm not saying I want to but if I did, where the hell would I find a buyer?<\/dialogue>\n    <scene_description>Pulling out his wallet, Mike starts digging around before finding a small BUSINESS CARD and handing it to Jerry.<\/scene_description>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Well, Canada, actually. You familiar with these guys?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Loewen Group. Of course I'm familiar... What about them?<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>From what I'm told, they've been on a pretty significant acquisition spree. Going all across the country, buying up every independently-owned funeral chain they can get their hands on. These guys are really big players...<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Christ, Mike. You know how I feel about all these big corporations- All they care about is profit and don't give a damn about people, or community.<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>All I'm saying is it's an option and it's out there. Tell you what, you don't need to decide right now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. O'KEEFE RESIDENCE\/ BACKYARD - DAY<\/stage_direction>\n    <scene_description>In a large backyard behind the O'Keefe's home, a FAMILY GATHERING takes place. Three generations all muling around, happy, cheerful- frisbees, badminton, and touch football... A LITTLE LATER: Now everybody starts singing as an enormous BIRTHDAY CAKE is brought out over to Jerry at a table. Jerry smiles as his GRANDDAUGHTER (4) comes over with a CARD.<\/scene_description>\n    <character>LITTLE O'KEEFE GRANDDAUGHTER<\/character>\n    <dialogue>Happy Biiiirrrfffday, Granddaddy, I made it just for you!<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Did you? Well aren't I lucky. Can you read to me what it says...<\/dialogue>\n    <scene_description>At the same time as his eyes glance over to his wife, ANNETTE O'KEEFE, a sweetly smiling champion All-American Grandma. A LITTLE LATER: Jerry and Annette now stand off to the side, locked in an embrace, looking on proudly at their family.<\/scene_description>\n    <character>ANNETTE O'KEEFE<\/character>\n    <dialogue>13 children, 24 grandchildren- I'd say you done good Mr. O'Keefe.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>And you have done well, Mrs. O'Keefe. Very well indeed. Not one felon in the whole bunch.<\/dialogue>\n    <scene_description>As he continues to watch, however, we notice a very subtle shift in Jerry's expression. Annette seems to notice, too.<\/scene_description>\n    <character>ANNETTE O'KEEFE<\/character>\n    <dialogue>Hey. Hey you...Is everything okay?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>...What?<\/dialogue>\n    <character>ANNETTE O'KEEFE<\/character>\n    <dialogue>You just made a funny look, is all. Just checking in with you. I'm still allowed to do that, aren't I?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Of course, but I'm fine. Really. I couldn't be happier with this day.<\/dialogue>\n    <scene_description>CONTINUED: One of their younger daughters, then comes trotting over.<\/scene_description>\n    <character>JODIE O'KEEFE<\/character>\n    <dialogue>Hey Mom, Dad- Whenever you want, we're ready for the family photo.<\/dialogue>\n    <scene_description>MOMENTS LATER: Jerry and Annette now stand smack-dab in the center of their brood, while another child sets the self- timer on a CAMERA. Before 1, 2, 3... 'SAY CHEESE EVERYBODY!!' OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIRPORT\/ CURBSIDE - MORNING<\/stage_direction>\n    <scene_description>As a TAXI pulls up in front of the airport, we see Jerry climb out, with a BAG over his shoulder. Just as he looks up again, he sees Mike smiling and walking towards him.<\/scene_description>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Jerry, perfect timing. Need a hand with that?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Nope, got it thanks.<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Hey, so listen, you're sure about this, right? No deal's been made yet, you can still back out-<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>No need. I've given it a lot of thought and I believe it's the right thing to do for my family.<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Well, all righty then. Next stop Vancouver! You ready to go inside?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>We need to wait for Hal first...<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>I told you about, Hal. He's this incredibly bright young man, friend of my son's from college, that's just starting out as a lawyer...<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Oh right, I think you mentioned...<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>He recently passed the bar and is hungry to get some experience. So I invited him along, you don't mind... Actually, I think this is him right now.<\/dialogue>\n    <scene_description>We then FOLLOW THEIR POV to see a very young, preppy looking African American man- HAL DOCKINS (29)- hurrying down the curb toward them. Mike's expression turns a little shocked.<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Hey there Mr. O'Keefe! So sorry I'm a little late. Would you believe the taxi actually dropped me off at the wrong terminal....<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Don't mention it, Hal. Here, let me introduce you to Mike Allred...<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Great to meet you, Mr. Allred. Very excited to be a member of the team.<\/dialogue>\n    <scene_description>Hal reaches out to shake his hand, but Allred's still so shocked it takes him an extra second to shake back.<\/scene_description>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Hi there, nice to meet you. So, you're a lawyer...?<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>I know, people say I look too young. But- Yeah, guess I can finally call myself a real lawyer. Now that I've opened my own office.<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>You have your own... office?<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Yes, I do, I have my very own office. Just like you, Mr. Allred.<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Well that's just great, good for you, son. I'll see you guys inside.<\/dialogue>\n    <scene_description>As Mike then snatches up his bag and starts to head inside, Hal turns to Jerry and looks at him.<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>C'mon, let's go to Canada.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VANCOUVER MARINA - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Looking out across a marina, we see a massive 145 FOOT YACHT parked in a slip, with a long, GOLD PLAQUE: THE ALULA SPIRIT. At the same time, we suddenly PUSH IN FAST on the face of a very clean-cut executive- ROBERT SPERRY (42)- as he says:<\/scene_description>\n    <character>ROBERT SPERRY<\/character>\n    <dialogue>You must be, Mr. O'Keefe?<\/dialogue>\n    <scene_description>We then see Jerry, Hal and Allred there on the dock. Having just arrived at the marina, they all head towards Sperry.<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>That's right.<\/dialogue>\n    <character>ROBERT SPERRY<\/character>\n    <dialogue>Bob Sperry, we spoke on the phone. I work for Ray Loewen. He's really looking forward to meeting you.<\/dialogue>\n    <scene_description>SECONDS LATER: They now all walk along the dock together, heading towards the yacht. Jeremiah is not impressed.<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <parenthetical>(softly)<\/parenthetical>\n    <dialogue>So, we're meeting on a yacht, is that right?<\/dialogue>\n    <character>ROBERT SPERRY<\/character>\n    <dialogue>That's right. I suppose Ray fancies himself a bit of a seafarer. But given you guys had never been to VC, he thought you'd get a kick out of a cruise around the harbor.... As you've probably gathered, Ray's very hands-on. One of the only CEOs I know of who takes time to meet with every seller personally....<\/dialogue>\n    <scene_description>Finally reaching the yacht, they now all look up to see a rather large, imposing MAN, lingering along the deck. This is the infamous RAY LOEWEN (54).<\/scene_description>\n    <character>ROBERT SPERRY<\/character>\n    <dialogue>Hey, Ray. Allow me to introduce Mr. Jeremiah O'Keefe, of O'Keefe Family Funerals down in Mississippi, and some of his colleagues...<\/dialogue>\n    <scene_description>Sperry lends a hand, as they all climb aboard and start introducing and greeting one another.<\/scene_description>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>Pleasure to meet you all... So how'bout it, you guys like the way we do business up here in Canada?<\/dialogue>\n    <scene_description>CONTINUED: OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OCEAN - NIGHT<\/stage_direction>\n    <scene_description>We watch the sleek outline of Loewen's yacht cut across the ocean horizon and see all the lights twinkling from inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOEWEN YACHT\/ GALLEY\/ DINING CABIN - NIGHT<\/stage_direction>\n    <scene_description>ANGLE ON: The HAND OF A CHEF as he carefully arranges garnish upon a PLATTER OF LOBSTER. We then move into the DINING CABIN, where all 5 men are all seated around a large table.<\/scene_description>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>My old man was a small town undertaker- Same as yours, right, Jerry? Who inherited the business from his father, just like yours. Growing up, my dad had about 5 homes, doing a couple hundred calls per year. And he was proud of that. But for me, I don't know, all that legacy stuff never much interested me. Once the industry started to change in the 90s, I saw an opportunity. See, my strategy has always been simple: buy up as many funeral homes as I can, and put myself in position for what I like to call, 'The Golden Era of Death'.<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Sorry...?<\/dialogue>\n    <character>ROBERT SPERRY<\/character>\n    <dialogue>It's when all the baby-boomers across the US are finally going to reach the, 'age of their demise'.<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>In other words, start dropping like flies. Resulting in a minimum 60% increase in death rates nationwide. Do you have any idea how many people there are living in the US right now over the age of 65?<\/dialogue>\n    <scene_description>They all just look around, kind of shrugging, 'No'.<\/scene_description>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>51 million.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>That all seems kind of cynical. Don't you ever worry about losing sight of the customer?<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>The customer? What customer? My customers are dead guys...<\/dialogue>\n    <scene_description>Beat. Tense, awkward, laughter.<\/scene_description>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>Just kidding. Look, the more funeral homes I own, the more money I make. The more I'm able to meet the demands of my customers, provide for their growing needs.<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Exactly how many funeral homes is it the Loewen Group owns right now?<\/dialogue>\n    <character>ROBERT SPERRY<\/character>\n    <dialogue>At present, we own 1115 funeral homes, 427 cemeteries and 354 insurance companies.<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>My goodness. That must make you the largest single owner in death care?<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>Second largest. On that note, maybe it's time we drop all the chit chat, start talking about a deal. What do you say, gentlemen?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>I'm interested to hear what you have in mind, Ray.<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>Well, my understanding is you've been having a bit of trouble with the state regulators down there.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>How did you come to that understanding?<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>I have sources, Jerry. And then I have resources.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>Anyway, only reason I bring it up, is because it lets me understand your situation. You own what- 9 homes across the state?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>8. I own 8. Plus my insurance business, obviously.<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>So how about this- You sell me 3 of those homes, say at a fair market value to be agreed upon later. Then, not only do you keep the bulk of your assets. But that also should provide you with more than enough fresh cash to deal with those regulators.<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Sorry, but, if he sells you three of his homes, won't that leave you with a monopoly in half the state?<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>Oh I'm sorry, is that a problem for you? Last I checked, I didn't get to where I am by making everybody else's lunch for them.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>There's something else I want out of the deal.<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>Like what, Jerry? A hand-job in the backseat?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>I make most of my profit selling burial insurance and there's no way I can survive if you hold a monopoly on that too.<\/dialogue>\n    <scene_description>They all just look around for a moment.<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>What I'd like is to sell you three of my funeral homes at a fair market value. But you need to also make a promise, here and now, to no longer sell burial insurance in Southern Mississippi.<\/dialogue>\n    <scene_description>Another long, tense, pause. CONTINUED: (3)<\/scene_description>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>Okay. Sure, Jerry....<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>So.. Does this mean we have a deal?<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>We have a deal. I'll have our lawyers draw up a contract and we'll get it closed immediately.<\/dialogue>\n    <scene_description>Ray then reaches his hand over to shake with Jerry. FADE OUT.: 6 Months Later<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. O'KEEFE RESIDENCE - AFTERNOON<\/stage_direction>\n    <scene_description>Jerry, Hal and Allred are gathered in Jerry's living room.<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>What the hell's taking so long? We closed on this deal...<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Coming up on 4 months now. They keep trying to re-trade the terms. When we left Vancouver they said it'd take 30 days max.<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>I don't know. If you ask me, it all makes perfect sense.<\/dialogue>\n    <scene_description>Jerry and Mike then both turn to Hal.<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>What I mean is, have you ever considered the possibility that Loewen never had any intention of closing on the deal at all?<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Son, with all due respect, you really don't have the faintest idea what you're talking about.<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>With all due respect, I believe I do. Think about it: The longer he stalls, the worse you're screwed. First the insurance commission takes your license, destroying your livelihood.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Until sooner or later you have to declare bankruptcy. Now not only does Loewen get the 3 homes, but he can actually buy your entire business out from under you at a yard-sale price.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>You really think they're trying to bankrupt me? How can they- We have a signed contract!<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>But it was only signed on our end, with no closing date attached. By the way, I heard he never stopped selling insurance either.<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Oh come on, stop with all the conspiracy theories! Son, I'm sorry, but you really are paranoid.<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>You know what, would you mind doing me a favor? Would you mind not calling me son anymore. I'm not your son, Mike.<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Woah! Just take it easy, okay! You want to be taken seriously as a lawyer in this town...<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Sorry, who says I'm not!?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>All right, that's enough of that!<\/dialogue>\n    <scene_description>Jerry continues to try and process.<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Do you really think it's possible... that Loewen has the intent... of running me into the ground?<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>I do. Why the hell should they be on our clock anyway?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Jesus Christ, I don't believe this. That's it. I'm going to sue him.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>What?! Come on, that's a really bad idea! Litigation's always a last resort. Especially when you're talking about going up against a huge corporation with a shit ton of money.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>I don't care. The guy looked me in the eye, shook my hand, told me we had a deal, then tried to steamroll me. Just because he can, because he's rich and I'm not. So... I am going to sue the sonofabitch!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JACKSON MS, COURTHOUSE - DAY<\/stage_direction>\n    <scene_description>Holding on a facade of a massive courthouse building in the city of Jackson, we see a young MALE PARALEGAL carrying a STACK OF PAPERS go racing up the stairs, two at a time.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON, MS COURTHOUSE\/ OFFICES - MOMENTS LATER<\/stage_direction>\n    <scene_description>The paralegal now stands at a window, opposite a bored- looking SECRETARY, who smacks gum loudly.<\/scene_description>\n    <character>PARALEGAL IN COURTHOUSE<\/character>\n    <dialogue>I'm here to file a lawsuit.<\/dialogue>\n    <character>SECRETARY IN COURTHOUSE<\/character>\n    <dialogue>That the complaint right there, may I see it please?<\/dialogue>\n    <scene_description>As he slides all the PAPERWORK under to her, she takes it in her hands, glancing over the front page.<\/scene_description>\n    <character>SECRETARY IN COURTHOUSE<\/character>\n    <dialogue>Jeremiah J. O'Keefe Sr. Vs Loewen Group LLC- Oooooh, sounds salty! Who do you think's gonna win?<\/dialogue>\n    <character>PARALEGAL IN COURTHOUSE<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>SECRETARY IN COURTHOUSE<\/character>\n    <parenthetical>(stamping the paper)<\/parenthetical>\n    <dialogue>Never mind. Have a seat over there, someone will be with you shortly.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. O'KEEFE RESIDENCE\/ DINING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Sometime in the evening, Jerry and Annette sit opposite each other at their dining room table, having dinner. CONTINUED:<\/scene_description>\n    <character>ANNETTE O'KEEFE<\/character>\n    <dialogue>Are you really planning on going through with this whole lawsuit thing?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>We filed the complaint this morning.<\/dialogue>\n    <character>ANNETTE O'KEEFE<\/character>\n    <dialogue>This morning? Well, when were you going to tell me?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Well, Annie, I guess I'm telling you now.<\/dialogue>\n    <character>ANNETTE O'KEEFE<\/character>\n    <dialogue>Just seems so strange to me. You don't sue people. Not you.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Well, so...<\/dialogue>\n    <character>ANNETTE O'KEEFE<\/character>\n    <dialogue>So you really think 75 years of age is a good time to start? Old men don't file lawsuits.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>The way I see it, if someone tries to take advantage of you, and you know it's wrong, doesn't matter how old you are. This fellow tried to bully me out of business. I don't see why I should stand for that.<\/dialogue>\n    <scene_description>Before suddenly they hear the sound of the DOORBELL. Both of them glancing up curiously. MOMENTS LATER: Jerry now opens the door and is immediately perplexed by the sight of Hal right there on his doorstep.<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Jesus, Hal? What are you doing?<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Hi Mr. O'Keefe, sorry to just show up like this, but-<\/dialogue>\n    <scene_description>Just as Annette now peeks out from the end of the hall.<\/scene_description>\n    <character>ANNETTE O'KEEFE<\/character>\n    <dialogue>Oh, Hal, honey, is that you? Don't leave yet, I've got dessert coming!<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Oh hi, no, I'm fine thanks Mrs. O'Keefe. Really, thank you...<\/dialogue>\n    <parenthetical>(to Jerry again)<\/parenthetical>\n    <dialogue>I know it's late, and I'm sorry. But I had this idea for your case, and, well... Can I come in?<\/dialogue>\n    <scene_description>Just as Jerry's eyes slowly glance down to the peculiar sight of a beaten up OLD VHS TAPE clutched tightly in Hal's hand. MONTAGE UP: LIFESTYLES OF THE RICH AND FAMOUS. Suddenly the screen is overtaken by an old episode of LIFESTYLES OF THE RICH AND FAMOUS, featuring none other than, Willie Gary. Various images from the opening, accompany:<\/scene_description>\n    <character>VOICE OF ROBIN LEACH (V.O.)<\/character>\n    <dialogue>Good Evening and welcome to Lifestyles of the Rich and Famous!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>24A INT. BACK SEAT OF A STRETCH LIMO - DAY 24A<\/stage_direction>\n    <scene_description>Seated all alone in the back of his limo, a sharply dressed Willie, talks 'all business' into his oversized CAR PHONE.<\/scene_description>\n    <character>VOICE OF ROBIN LEACH (V.O.)<\/character>\n    <dialogue>Tonight we have the ultimate rags to riches story! Of a dirt poor migrant worker who became a golden legal eagle with the Midas touch!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>24B EXT. LAW OFFICES OF WILLIE GARY - DAY 24B<\/stage_direction>\n    <scene_description>As the LIMO pulls up in front, we see a hand reach in to open the door. Willie then steps out, brushes himself off, reaches out his arms so his BODYGUARD can help him into his jacket.<\/scene_description>\n    <character>VOICE OF ROBIN LEACH (V.O.)<\/character>\n    <dialogue>You won't believe the amazing journey of famed personal injury lawyer Willie E. Gary.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>24C INT. VERY FAKE LOOKING COURTROOM - DAY 24C<\/stage_direction>\n    <scene_description>Inside an extremely FAKE TV SET OF A COURTROOM, Willie exaggeratedly pantomimes the act of making an argument.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>24D INT. CASA GLORIA\/ LIVING ROOM - DAY 24D<\/stage_direction>\n    <scene_description>Sitting behind the desk, inside his plush faux mahogany and gold-trimmed office, Willie smiles toward camera: 24D CONTINUED: 24D<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>There are two things I believe in most in this world: Lady Justice and black excellence.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>24E INT. OLD BLACK AND WHITE PHOTO 24E<\/stage_direction>\n    <scene_description>In a very dated Ken Burns style move, we rapid SPIN AND PUSH IN on an old photo: A RANDOM SHOT OF A VAST EMPTY FIELD...<\/scene_description>\n    <character>VOICE OF ROBIN LEACH (V.O.)<\/character>\n    <dialogue>Born the 6th of 11 children to dirt poor Southern sharecroppers, life wasn't always easy for Willie Gary.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>24F INT. CASA GLORIA\/ LIVING ROOM - CONTINUOUS 24F<\/stage_direction>\n    <character>WILLIE GARY<\/character>\n    <dialogue>I just always had a burning desire to be somebody. I knew I was going to make something of myself, man!<\/dialogue>\n    <scene_description>We PAN along a mantle, seeing all kinds of pictures of Willie with various CELEBRITIES...<\/scene_description>\n    <character>VOICE OF ROBIN LEACH (V.O.)<\/character>\n    <dialogue>And make something of himself he did!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>24G EXT.\/INT. CASA GLORIA\/ VARIOUS - DAY 24G<\/stage_direction>\n    <scene_description>A RAPID PUSH IN on the MASSIVE GOLD DOORS of Willie's mansion, as they magically open for us...<\/scene_description>\n    <character>VOICE OF ROBIN LEACH (V.O.)<\/character>\n    <dialogue>Now Willie lives in a fabulous 50 room mansion along the coast of Florida, called, Casa Gloria....<\/dialogue>\n    <scene_description>We then gently begin to float through all the opulent, luxurious rooms of the house.<\/scene_description>\n    <character>VOICE OF ROBIN LEACH (V.O.)<\/character>\n    <dialogue>Together with his wife, and former childhood sweetheart, Gloria...<\/dialogue>\n    <scene_description>Then DISSOLVES to a a beautiful, CASINO-style portrait of Gloria, lounging sideways against a pearly WHITE PIANO.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>24H INT. CASA GLORIA\/ LIVING ROOM - DAY 24H<\/stage_direction>\n    <scene_description>Willie and Gloria now sit side by side on a couch, wearing MATCHING WHITE VELOUR TRACKSUITS, holding hands. 24H CONTINUED: 24H<\/scene_description>\n    <character>GLORIA GARY<\/character>\n    <dialogue>One thing I've always tried to remind Willie, is to never forget where he came from. To stay humble.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>God has been so generous to us, we feel blessed everyday for all that he's given us. And for each other.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>24J EXT. PRIVATE AIRPORT\/ WINGS OF JUSTICE - DAY 24J<\/stage_direction>\n    <scene_description>We see a sleek LIMO pull in, in front of a massive GULF II STREAM II EXECUTIVE JET: Aka \"Wings of Justice\".<\/scene_description>\n    <character>VOICE OF ROBIN LEACH (V.O.)<\/character>\n    <dialogue>Blessed indeed! As these days Willie no longer rides the bus! But travels on his very own Gulf Stream jet, called 'Wings of Justice.'<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>24K INT. WINGS OF JUSTICE - DAY 24K<\/stage_direction>\n    <scene_description>We gently float on our own through the plush, sumptuous interior of the plane, GOLD PLATING everywhere...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>24L EXT. PRIVATE AIRPORT\/ WINGS OF JUSTICE - CONTINUOUS 24L<\/stage_direction>\n    <scene_description>Willie stands before his jet and assumes his SIGNATURE POSE: Clasping his hands together, cocking his head to the side.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>24M EXT. CASA GLORIA\/ POOL - DAY 24M<\/stage_direction>\n    <scene_description>And now he does the EXACT SAME POSE in front of the pool.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>24N EXT. CASA GLORIA\/ DRIVEWAY - DAY 24N<\/stage_direction>\n    <scene_description>And now the EXACT SAME POSE in front of his TWO BENTLEYS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>24P INT. WILLIE GARY'S PRIVATE OFFICE - DAY 24P<\/stage_direction>\n    <scene_description>And now the EXACT SAME POSE leaning up against the desk in the office... Before the video instantly SHUTS OFF!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE O'KEEFE HOUSE\/ LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Together in Jerry's living room, Hal at last switches off the TV, before turning to Jerry with an eager expression. CONTINUED:<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Well, what do you think?<\/dialogue>\n    <scene_description>While Jerry just stares back in complete shock.<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>I don't know what to think. Are you suggesting I hire this guy as one of my lawyers?<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>I know it's seems like a crazy idea. But the fact is, this guy wins cases. Believe it or not, he's got a flawless trial record. He supposedly hasn't lost a case in over 12 years.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>What does he know about contract law? This is a contract law case?<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Does he really need to know much?<\/dialogue>\n    <scene_description>Jerry just looks at Hal curiously.<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Look, the case was filed down in Hinds County. Which is a 3 to 1 black\/white ratio. That means there's a 70% chance we'll end up with a black judge. And if we do go to trial, likely a black jury too.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>So what?<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>With all due respect, Mr. O'Keefe, you just can't put a guy like Mike Allred in front of a black jury.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Why the hell not? Mike's been my lawyer damn near 30 years, he knows contract law better than anyone.<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Are you really going to make me spell it out? He literally reeks of self-satisfied good ole' boy Southern bigotry. A black jury sees a guy like that coming...<\/dialogue>\n    <scene_description>Jerry doesn't seem to understand. CONTINUED: (2)<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Have you noticed how many times he's called me, 'son', in the mere three times we've met? Generally, when a white man calls a black man 'son' in the deep South. He doesn't mean son.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>I see your point. Still, the idea of us pandering to a jury like that- It's not a discrimination suit. You and I both know, race has nothing to do with it.<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>But isn't that the biggest lie of all, Mr. O'Keefe. You ask me, pretty much everything in America has to do with race... If you look at it long enough.<\/dialogue>\n    <scene_description>Clearly unsure, Jeremiah's quiet for a moment.<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>I happen to know for a fact that Gary's trying a case down in Florida this week. What if we just went down for a day and tried to meet him in person? It can't hurt.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>26A EXT. COURTHOUSE IN KISSIMMEE, FLORIDA - SAME TIME 26A<\/stage_direction>\n    <scene_description>Just outside the courthouse, we watch a TAXI pull up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM IN KISSIMMEE, FLORIDA - DAY<\/stage_direction>\n    <scene_description>Inside a tiny courtroom in Florida, we find a fully packed house. Literally every seat filled by an audience of ALL AFRICAN AMERICANS. While at the front, stands Willie Gary...<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Members of the jury, before I begin my closing argument, I just have one small question to ask?- Does anyone mind if I keep things simple? If I just talk in plain, ordinary talk?... Now to be perfectly honest, okay, to be perfectly honest- I don't deny that my no good client- Mr. Clovis Tubbs- was in fact drunk on the day of the accident... Matter of fact, he was drunk as a skunk. He was! No, he was! Pissed. Sloshed. Tanked.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Whatever! Whatever you want to call it! With a blood alcohol level of- excuse me for one second here...<\/dialogue>\n    <scene_description>He grabs a piece of paper, quickly reading over it.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>... With a blood alcohol level of .4%. And another thing! Another thing! Because it's also true that on the day of the accident, Clovis was depressed. He was in fact, extremely depressed and what some might call suicidal. Having already made several attempts on his life-<\/dialogue>\n    <scene_description>Jeremiah and Hal now discreetly slip in through the back.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>I mean as you yourselves saw in the records, he flat out told the therapist- He told these exact words to the therapist...<\/dialogue>\n    <parenthetical>(he starts reading)<\/parenthetical>\n    <dialogue>\"I want to die so bad I'd drive my car straight into a tree if I could. Only thing is they revoked my license. So, now I'm going to get me a bicycle and drive straight into oncoming traffic instead.\"... I know, pathetic right. But thing is folks, that's exactly what he did! He marched straight down to the liquor store that morning, that liquor store over on- where was it again?- liquor store over on Alberta and Vine. Sucked back a bottle of scotch, got up on his bicycle. Then drove right into the middle of the highway without stopping... Which, as we know, is also when a driver for the Finch and Co. Food Services company came around a corner on Elm. And BAM! -- Hit Clovis head on!... Then when he finally wakes up in the hospital about a week later. What does he decide to do?- He decides to sue!<\/dialogue>\n    <scene_description>We hear whispers from the jury.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Now, I know! Ladies and Gentlemen of the jury, I know! It really doesn't look good! The man was drunk, drunker than drunk! He was admittedly suicidal.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Ladies and gentlemen, I know!- But I still ask you to please open your hearts, and award us the mere 65 million dollars we believe we're rightfully owed in this case. Because poor Clovis, sad as he is, still had one thing going for him in life. Something that can't be denied and we believe proves the defendant's full and complete negligence... My man Clovis had the green light.<\/dialogue>\n    <scene_description>Willie gives the jury one last look, then turns to the judge.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Your honor, the plaintiff rests.<\/dialogue>\n    <scene_description>Suddenly there's a MASS ERUPTION OF APPLAUSE, all kinds of HOLLERIN', PEOPLE JUMPING FROM THEIR SEATS- INCLUDING MEMBERS OF THE JURY, the Judge frantically trying to regain order. All while Jerry, the lone white guy amidst all these black faces, just looks around. As much confused and bewildered, as he is awestruck and impressed. OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAW OFFICES OF WILLIE GARY\/ ELEVATOR\/ HALLWAY - DAY<\/stage_direction>\n    <scene_description>We hear the sound of an elevator go 'Ding!' as two shiny glistening gold doors open onto the top floor of Willie Gary's law offices. Hal and Jerry gradually step out. As they then head down a hall toward reception, both men also can't help but seem a little stunned by the sheer over-the- top and gaudy opulence of the place. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAW OFFICES OF WILLIE GARY\/ WILLIE'S OFFICE - LATER<\/stage_direction>\n    <scene_description>As the secretary leads Jerry and Hal into Willie's private office, we PUSH IN FAST on the face of Willie himself.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Gentlemen, come on in! How ya'll doing, Willie Gary, hope you guys weren't waiting too long...<\/dialogue>\n    <scene_description>Rising from his desk, Willie then crosses to shake hands with Jerry and Hal. While seated on a couch across the room, we also notice another man, a slightly younger, sharply dressed Black lawyer who is Willie's partner, REGGIE DOUGLAS (40). CONTINUED:<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>It's a pleasure to meet you Mr. Gary, name's Jeremiah O'Keefe.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Jeremiah? Okay, like from the bible, yeah, okay, I like that...<\/dialogue>\n    <parenthetical>(then turning to Hal)<\/parenthetical>\n    <dialogue>And what about you, young brother?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>My junior counsel, Halbert Dockins-<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Hal's fine, it's an honor Mr. Gary.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Oh, you a lawyer too? Ain't you a little young for that, negro? I'm just teasin', fellas go ahead and sit down, take a seat ya'll...<\/dialogue>\n    <scene_description>As Jerry and Hal take seats, they finally notice Reggie.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>This here is one of my partners, Reggie Douglas. Reggie runs point on all my cases, he's my number 1, 2 and 3. Hope you don't mind I asked him to sit in.<\/dialogue>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>Hey there fellas, welcome.<\/dialogue>\n    <scene_description>Willie himself then takes a seat, gently easing back in his chair, as we notice a SMALL PLAQUE on the desk: BLACK OWNED.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>So- What you got for me today, what you got for Willie Gary? Some kind of P.I. case?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Sorry, what's a P.I. case?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>P.I., man. As in: Personal Injury.<\/dialogue>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>Didn't ya'll see the sign on the door, that's the only kind of law we practice around here.<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Well, yes and no. I mean, I guess you could sort of call it a P.I. case, but with a bit of a twist.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Well, what kind of case are we talking about here fellas?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>It's a contract law case.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Contract law? We don't do no contract law around here.<\/dialogue>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>Contract law- Yuck! That's like a nap waiting to happen.<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>We recognize it's not your field, but if you could just hear him out. I think you'll find Jerry's got a very compelling story...<\/dialogue>\n    <scene_description>Hal then turns to Jerry, gently egging him on.<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>I am a funeral director from Biloxi, Mississippi. I own a business there, several businesses, actually. 8 funeral homes and one burial insurance company. About a year ago I ran into some trouble financially and decided to sell a few of the funeral homes as a way to raise cash. Which is how I ended up entering a deal with this corporation called The Loewen Group - a very big, very powerful consolidation firm. Point is, they agreed to buy 3 of my funeral homes, and we drew up a contract. But they refused to hold up their end of the deal.<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Basically, Loewen knew Jerry was in trouble, and that if they just ran the clock on the deal, he'd end up going bankrupt. Then they could buy not only his three funeral homes, but his entire company, for yard sale prices... Oh and he's also Canadian.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Canadian? Who's Canadian, Loewen?<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Look, all we want is just to be able to hold Loewen Group responsible for their actions.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>No, what you want is to make them pay.<\/dialogue>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>Make em' hurt, make em' pay!<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Okay so, how much ya'll suing for?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>6 million dollars. That's fair market value plus damages. I've already filed a civil claim in Hinds County.<\/dialogue>\n    <scene_description>Willie and Reggie glance at each other yet again.<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>So, what do you think, Mr. Gary? Do you like the case?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Ya'll want my honest opinion?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>I'd be much obliged, Mr. Gary.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Look, I'm sorry about what happened to you, Mr. O'Keefe, truly-. But this case just ain't for me, this case ain't for Willie Gary.<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Huh? Why not?<\/dialogue>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>Case ain't for Willie Gary, cause it's not a Willie Gary case.<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>But? But why? What's a Willie Gary case then? I don't understand-<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>A Willie Gary case is one where I can see the upper hand. A Willie Gary case is one where I already know it's going to trial, and I can play the jury like a symphony.<\/dialogue>\n    <scene_description>CONTINUED: (4)<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>A Willie Gary case is one where I know I can push for that big-dollar cash-money pay-out for my clients.<\/dialogue>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>In other words, a Willie Gary case is a case we know we can win. Your case, not so much. Matter of fact, your case sounds iffy...<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Not to mention, full disclosure, I normally don't take on too many white clients. No offense, Mr. O'Keefe. It's just unusual for me.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>No offense taken, Mr. Gary.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAW OFFICES OF WILLIE GARY\/ HALLWAY - LATER<\/stage_direction>\n    <scene_description>Jerry and Hal now come back down the hall, on their way out.<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>This guy is too rich and too famous for us, Hal.<\/dialogue>\n    <scene_description>Hal pauses, a funny expression on his face.<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Yeah, right, Actually, do you mind waiting here a sec...<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>What for?<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>I just want to talk to him one more time. Just give me 5 minutes...<\/dialogue>\n    <scene_description>Hal then quickly turns and starts heading away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAW OFFICES OF WILLIE GARY\/ WILLIE'S OFFICE - MOMENTS<\/stage_direction>\n    <character>LATER<\/character>\n    <dialogue>Back in Willie's office, he and Reggie continue to chat idly.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Hey, how'd you think that green light bit played with that one Latino juror in the back?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>You mean the lady with that, whatchacall- striped sweater thing?<\/dialogue>\n    <scene_description>Before the door swings open, Hal now marching straight in.<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Look, Mr. Gary, I'm so sorry to come back in here like this...<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>What!? You back in here? What's up, you get lost or something?!<\/dialogue>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>It's official. This young brother has completely lost his mind.<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Maybe so, but if I could have one more minute of your time, Mr. Gary, please, just a minute that's all-<\/dialogue>\n    <scene_description>Hal now hurries back over to the chair and sits down.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Man, you got a lot a chutzpah, you know that, barging back in here like this.<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Look, I heard everything you said before, I did- But still, I think you should reconsider our case.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>What? Reconsider? Come on, man. Why, what in the hell for?<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Just look at it from a jury's perspective, Jerry's a great client. He's a decorated war hero, that was awarded the distinguished Flying Cross in World War II?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>That's it, that's all you got...<\/dialogue>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>Wasn't World War II something like 50 years ago now? Nigga, that shit's old news.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Okay also- In 1976, when Jerry served as Mayor of his home town in Biloxi. The KKK tried to organize a march in his town, and he took a firm stance denied them a permit.<\/dialogue>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>What's Jerry supposed to be all our white savior now? Man, you sound like you're in love with Jerry.<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Okay, fine. Well, what about-<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>No, no, no! Let me stop you there. I like you Hal, I do. Which is also why I'm just going to give it to you straight, not pussy foot around- - Besides the fact that I already told you I don't do contract law. Besides the fact that I made it clear I'm not particularly partial to white clients. Besides all that... It's just not enough money.<\/dialogue>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>Seriously brother, don't you know where you are? You see all this mahogany wood in here, you see all this gold trim- This is the big leagues baby. We do 40, 50, 80 million dollar cases. Monthly.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>We just ain't interested in no 6 million dollar contract dispute between two white guys...<\/dialogue>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>Especially not between two white guys.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>...Decorated war hero or not.<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Okay, but how do you know that this case can't be bigger?<\/dialogue>\n    <scene_description>Willie and Reggie glance at each other and laugh.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>What's that supposed to mean? You know something I don't.<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>The truth is, Ray Loewen happens to sit at the top of one of the biggest secret industries in this country. I'm talking about the nearly 20 billion dollar 'death- care' industry. What's more, there are only two huge corporations out there, that are slowly moving in and taking over everything. And The Loewen Group is one of them. What they did to Jerry is awful, but I have a feeling it's not even the tip of the iceberg...<\/dialogue>\n    <parenthetical>(another deep breath)<\/parenthetical>\n    <dialogue>Should I, um, go on?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Sure, go ahead...<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>And, sure, you may do all these 80 million dollar cases and have your own plane and all that. But you know as well as I do, that as far as the more 'elite' legal community in this country is concerned- You're still just a glorified ambulance chaser. No offense... But maybe this could be the case that changes all that? Maybe this could even be the case, that one case, that finally puts you on the map. I'm talking about William Kuntsler, Clarence Darrow, Thurgood Marshall-<\/dialogue>\n    <scene_description>Pausing, Hal leans in closer, really feeling himself now.<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>I'm talking about Johnny- Motherfucking-Cochran!<\/dialogue>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>Uh oh, he said the 'J' word ya'll.<\/dialogue>\n    <scene_description>OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOEWEN CORPORATE OFFICES - DAY<\/stage_direction>\n    <scene_description>Within the sleek corporate offices of the Loewen Group, we follow Robert Sperry as he walks briskly down a hall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOEWEN CORPORATE OFFICES\/ CONFERENCE ROOM - DAY<\/stage_direction>\n    <scene_description>Inside a glistening white conference room, Ray Loewen sits at the head of a table, flanked by a massive team of ASSOCIATES.<\/scene_description>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>Someone want to fill me in on where we're at with that 16 home chain in Cleveland? How many calls per year?<\/dialogue>\n    <character>ASSOC #1 DAVID SHATTEROCK<\/character>\n    <dialogue>About 1600. As for where we are, we made a strong pitch, and they seem committed. Obviously, if we can get there before SCI, we'd have full proprietorship over the region.<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>Well then I'll choose to remain optimistic. Until you give me reason otherwise.<\/dialogue>\n    <scene_description>There's then a brief knock at the door, Black peeking in.<\/scene_description>\n    <character>ROBERT SPERRY<\/character>\n    <dialogue>Sorry to interrupt, Ray. But I just wanted to let you know that apparently that guy, Jeremiah O'Keefe, filed some kind of lawsuit against us in the U.S.<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>What? Who?<\/dialogue>\n    <character>ROBERT SPERRY<\/character>\n    <dialogue>Mr. O'Keefe. Jeremiah O'Keefe.<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>Forgive me- But am I supposed to know who the fuck that is?<\/dialogue>\n    <character>ASSOC#2 ERIC BELL<\/character>\n    <dialogue>Isn't he that local Mississippi guy you met with about 9 months ago. He had those 8 homes plus an insurance arm...<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>Oh, right. You mean the old guy with all the regulator problems... But hold on a sec, did I hear you correctly? Did you just say he's suing us? He's suing us? For what?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>ROBERT SPERRY<\/character>\n    <dialogue>As per the suit: \"Breach of contract. Predatory trade practices. Seeking to create a monopoly as a way to seize control over local markets.\"<\/dialogue>\n    <scene_description>They all just look around, kind of chuckling.<\/scene_description>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>Really, is that all! My goodness, this guy's got quite the set of balls on him. Isn't he like 80!?<\/dialogue>\n    <character>ASSOC #2 ERIC BELL<\/character>\n    <dialogue>He's 75.<\/dialogue>\n    <character>ASSOC #4\/ RICK BRONKSY<\/character>\n    <dialogue>He claims we had an ironclad agreement to purchase 3 of his homes, that we then reneged on.<\/dialogue>\n    <character>ASSOC #2 ERIC BELL<\/character>\n    <dialogue>Well but we did, didn't we.<\/dialogue>\n    <character>ROBERT SPERRY<\/character>\n    <dialogue>Did we what?<\/dialogue>\n    <character>ASSOC #2 ERIC BELL<\/character>\n    <dialogue>We did have an agreement to purchase his 3 homes.<\/dialogue>\n    <character>ASSOC #3 JEEF TOORAY<\/character>\n    <dialogue>Yeah but that doesn't mean shit...<\/dialogue>\n    <character>ASSOC #1 DAVID SHATTEROCK<\/character>\n    <dialogue>We were taking our sweet time to close, so-the-fuck-what.<\/dialogue>\n    <character>ASSOC #4\/ RICK BRONKSY<\/character>\n    <dialogue>Right. Deal with it dude...<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>Okay, okay, okay. But what I need to know is: does this guy have any actual case? What's he basing this on? Was there ever a contract?<\/dialogue>\n    <scene_description>They all just look around silently for a moment.<\/scene_description>\n    <character>ASSOC #1 DAVID SHATTEROCK<\/character>\n    <dialogue>There was a document that got floated a few times. But never signed on our end.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>So there wasn't ever a contract? Or there was? I'm confused.<\/dialogue>\n    <character>ASSOC #1 DAVID SHATTEROCK<\/character>\n    <dialogue>They're calling it a contract. I'd call it more like, \"agreement to agree\".<\/dialogue>\n    <character>ROBERT SPERRY<\/character>\n    <dialogue>What do you want to do, Ray? You want to maybe try and settle, or-?<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>Settle? Absolutely not. No way do I want to settle... Not yet at least. No, if Mr- Sorry, what's the name-<\/dialogue>\n    <character>ASSOC #2 ERIC BELL<\/character>\n    <dialogue>O'Keefe. Jeremiah O'Keefe.<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>If Mr. O'Keefe wants to sue, let him sue. Some local mom-and-pop from the middle of butt fuck nowhere actually has the gall to take us on? He's one guy and we're a half a billion dollar corporation<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRIVATE AIRPORT IN BILOXI - DAY<\/stage_direction>\n    <scene_description>We hear the loud roar of a jet engine, just as the mighty WINGS OF JUSTICE comes screeching down onto the runway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE ALLRED'S LAW FIRM\/ ALLRED'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Inside Allred's small, cramped, overstuffed office- Jerry, Hal and Allred all linger around talking, mid-conversation.<\/scene_description>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Well, I've never heard of him, that's for sure. Willie Gary. Never heard that name before in my life..<\/dialogue>\n    <parenthetical>(turning to Hal)<\/parenthetical>\n    <dialogue>Was this your idea by the way?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>No, it wasn't his idea, it was mine. Look, Mike, I can understand it probably pisses you off me bringing on additional counsel like-<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Piss me off? Of course not. Hell, it's your money, you can do what you want to with it. I just think you're making a mistake.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>All I'm trying to do is put us in the best position possible, in case we end up going to trial...<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Right, got it. Except we're not going to trial... Seriously, what's so special about this guy?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Hal and I went down and saw him try a case in Florida in front of a jury. And let me tell you, he's got this one-of-a- kind charisma unlike anything I've seen before.<\/dialogue>\n    <scene_description>Realizing how serious Jerry is, Mike softens a bit.<\/scene_description>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>If you really believe in him that much, then sure, okay, I'll work with him. Just as long as it's made clear, I'm still lead attorney.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>I appreciate your being such a good sport about this, Mike.<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>No problem. So what time's he supposed to get here anyway?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Well, that's what I meant to tell you...<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Actually, I think this is them right now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE ALLRED'S LAW FIRM\/ HALLWAY - MOMENTS LATER<\/stage_direction>\n    <scene_description>Looking down a long hall in Allred's firm, we see Willie together with a small posse of fellow lawyers, all coming straight toward us: Willie, Reggie, 3 other LAWYERS- CHRIS WAKEFIELD, AL JONES, DASHAAN HARRIS- Plus 2 BODYGUARDS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE ALLRED'S FIRM\/ ALLRED'S OFFICE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Willie and crew have arrived and are gathered in the doorway. Everybody's shaking hands, while Mike stares in muted shock.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Jerry, how bout it, man, what it is. Good to see you, man...<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Hey Willie, good to see you too.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Hal, what's going on? Hold up now, you get younger since I last saw you? What's that like some kind of Dorian Gray shit?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Willie, let me introduce you to Mike Allred.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Good to meet you, Mike. Heard we gonna be working together...<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Yeah, that's right. How are you doing, Mr. Gary?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Oh and these gentlemen here, these are all the key members of my legal team. This is Chris, Al, Reggie, Dashaan...<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Wow, you brought your...team.<\/dialogue>\n    <scene_description>Before Willie then turns more directly to Mike.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Look here, Mike. Don't take this the wrong way or nothing- But before we get started, I got one question I gotta ask...<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Sure. Feel free to ask me anything, I'm all ears...<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>So here it is: Man to man, I just need to know upfront if you've got any issues working with black folk?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Man to man...?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Man to man. I want to know how you feel about it?<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Okay, well. If you, um, really want an honest answer... Truth be told, I suppose I am a little prejudice.<\/dialogue>\n    <scene_description>Just as the room instantly falls silent. Long Beat.<\/scene_description>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>I'm not saying I'm proud of it. In fact, I've been working real hard, on trying to overcome it...<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <parenthetical>(sotto voce)<\/parenthetical>\n    <dialogue>Jesus, this really had to come out now...?<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>But, yes, since you asked, generally speaking, when it comes to, you know, \"black people\"- I'm not exactly what you fellas would call a huge fan. Black people tend to make me uncomfortable.<\/dialogue>\n    <character>DASHAAN HARRIS<\/character>\n    <parenthetical>(sotto voce)<\/parenthetical>\n    <dialogue>Mmm, mmm, mmm. Ain't that somethin'<\/dialogue>\n    <scene_description>Even more silence now, with all the black guys just staring.<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Well, okay, now that that's all cleared up. I think the rest of the team are all waiting in the conference room.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALLRED'S CONFERENCE ROOM - AFTERNOON<\/stage_direction>\n    <scene_description>Inside a small, disheveled conference room- Willie and co, plus Jerry, Hal and Mike all enter, gradually taking seats beside a handful of other LAWYERS from Allred's firm. After a moment, Mike stands up and is clearly about to speak. Before Willie jumps up too and takes over: CONTINUED:<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Afternoon everybody! For those who don't know, my name is Willie Gary. As you can see, myself and a couple partners from my firm are all up here from Florida. Here to help y'all out with winning this case... Now for some of you in here, who maybe ain't used to the Willie Gary style of litigation, let me break it down- Basically, we about to go to WAR people! Because that's what it is to me! Litigation is WAR! I'm talkin' battle to the death, baby! I'm talkin' some of that Van Damme, Lionheart, ass-kicking shit! No more Mr. Nice Guy!... And y'all need to trust me when I tell you, this case ain't gonna be easy. Because these people we're going up against- big, corporate, giant called the Loewen Group!- you better believe, they got the money! They got the money, they got the power, they got the resources- They got everything we DON'T! But we ain't gonna let that intimidate us. Now, it's no secret I ain't lost a case in 12 years! And there's a reason for that. It's because I HATE losing! Hate it, hate it! In fact, I'd rather DIE than lose! Shit, you show me a good loser, I'll show you a LOSER! Plain and simple... Oh and one more thing y'all need to hear right now: I do not- DO NOT!- have any intention of settling this case.<\/dialogue>\n    <scene_description>Dead silence--as all the lawyers from Allred's firm just gaze around in shock, no one sure where to look or what to say.<\/scene_description>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Ahhh excuse me, anyone mind if I say something here...?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Go ahead, Mike...<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Mr. Gary, when it comes to the matter of settling, I'm afraid that's not at all the strategy we've developed here.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>In fact, I've already drafted a letter to Mr. Loewen offering to settle at 8 million. Though between all of us in this room, we'd probably be willing to drop to 7 if need be...<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Thanks for the update. But unfortunately, that strategy's been changed. Like I said before, we ain't settling this case.<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Regardless of what you said, the discussion is still on the table. And it will remain so, until I've decided what the best course is-<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Until you've decided!? Okay hold up, hold up- who's in charge here? No seriously, who's in charge? Because I think it goes without saying, Now that Willie Gary is here we damn well going to trial and Willie Gary is damn well your lead attorney.<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Come again?<\/dialogue>\n    <character>DASHAAN HARRIS<\/character>\n    <dialogue>What's the matter, you need your ears checked or something?<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Excuse me, no you're not. Believe me, Mr. Gary, you're not lead attorney. Don't forget, you're in my town, sitting in my conference room, across the table from my client.<\/dialogue>\n    <character>CHRIS WAKEFIELD<\/character>\n    <dialogue>Mmm mmm mm, that prejudice come out real fast don't it.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>You know what, Mike man, I ain't here to fight with you.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Gentlemen, please. Let's just take the temperature down a bit...<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>I ain't here to fight with you at all, I'm here to get the job done.<\/dialogue>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>You heard the man, said he's here to get the job done.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>And because last I heard, Jerry's tryin' to actually win this case. Not put his ass up in the air and settle for no 8 million dollars. Like a little bitch.<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Jerry...?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>You know what Mike, let's you and I step outside for a minute.<\/dialogue>\n    <character>AL JONES<\/character>\n    <dialogue>Yeah, why don't y'all do that.<\/dialogue>\n    <character>DASHAAN HARRIS<\/character>\n    <dialogue>Sounds like a good idea to me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HALLWAY OUTSIDE CONFERENCE ROOM - SECONDS LATER<\/stage_direction>\n    <scene_description>Mike and Jerry now stand out in the hallway, WHISPERING to each other, with Mike practically apoplectic.<\/scene_description>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Jesus, what the hell is going on!? You're putting me on, right? You're blowing smoke up my ass? Please tell me you're blowing smoke up my ass. You can't honestly be serious about these guys!?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>I understand you're upset, but I still think we need to give him a chance.<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Did you hear that speech he gave!? He has no idea what he's doing!<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>We don't know that. Don't forget, he's got a flawless trial record.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>For personal injury cases!? He clearly knows nothing about real law, about contract law... What about lead attorney? You're not seriously considering giving him-<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>I think he made it pretty damn clear it's the only way he'll do it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALLRED'S CONFERENCE ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>The door to the room opens as Mike and Jerry now return from their little pow wow, quietly heading back to their chairs.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>We good? Everybody good...?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Everybody's just fine, Willie.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Great. Now anyone in here don't mind taking a dictation?<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Dictation? May I ask what for?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Because I'm about to draft a new letter to Mr. Loewen. If that's okay with you, Mike?<\/dialogue>\n    <scene_description>Mike just glares back, as everyone looks around, confused.<\/scene_description>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Cynthia can do it. Cynthia, do you mind taking dictation for Mr. Gary?<\/dialogue>\n    <scene_description>Turning to a YOUNG PARALEGAL in the corner, she quickly flips open her 1992 MACINTOSH POWER BOOK, ready to type...<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Addressed to Mr. Ray Loewen, Chairman, Loewen Group. \"Dear Mr. Loewen. My name is Willie E. Gary, and I have recently been retained as lead counsel in the suit brought against you by Jeremiah O'Keefe...\"<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Oh my God...<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>In regards to the prior settlement offer you received, in the amount of 8 million dollars, please consider it hereby rescinded. As of the date of this letter, we have a new offer in the amount of $100,000,000.\"<\/dialogue>\n    <scene_description>Just as every single jaw in the room drops to the floor.<\/scene_description>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>Boom! That's what I'm talkin' bout!<\/dialogue>\n    <character>ALLRED LAWYER #1 WENDELL ALDRIDGE<\/character>\n    <dialogue>What? Did he just say 100 million dollars?! As in, 8 zeros!?<\/dialogue>\n    <character>ALLRED LAWYER #2 GARNER DUCHAM<\/character>\n    <dialogue>That's what he said. 100 million.<\/dialogue>\n    <character>DASHAAN HARRIS<\/character>\n    <dialogue>Damn, why don't y'all just relax. Eat a donut, drink a Seven-Up...<\/dialogue>\n    <character>ALLRED LAWYER #3 RICK RIVERRIDGE<\/character>\n    <dialogue>It's literally 94 million dollars more than our original claim.<\/dialogue>\n    <character>CHRIS WAKEFIELD<\/character>\n    <dialogue>Sounds to me like your original claim was about 94 million short.<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Could you maybe walk us through how-<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>100 million, it's absurd and you know it! What are you trying to do, destroy this case! It's ridiculous!<\/dialogue>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>Yo Mike, anybody ever tell you, you got the balls of a garden slug?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Willie, I'm afraid I share everyone's concerns, it's way too much. We throw out a number like that, we'll humiliate ourselves.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>I hear you Jerry, I do. But you just gotta trust me okay. Okay, where was I...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOEWEN GROUP OFFICES\/ RAY'S SITTING ROOM - AFTERNOON<\/stage_direction>\n    <scene_description>Inside a luxurious sitting room in his office, Loewen, Sperry and a handful of associates all sit around, as one of them now reads WILLIE'S SETTLEMENT DEMAND LETTER aloud:<\/scene_description>\n    <character>ASSOC #3 JEFF TOORAY<\/character>\n    <dialogue>\"As for our new demand of 100 million dollars. Please take note that this offer will only remain open for exactly 30 days...\"<\/dialogue>\n    <scene_description>Just as they all CRACK UP LAUGHING together!<\/scene_description>\n    <character>ASSOC #2 ERIC BELL<\/character>\n    <dialogue>No, come on! Does it really say that, 100 million!? 8 zeros...?<\/dialogue>\n    <character>ASSOC #1 DAVID SHATTEROCK<\/character>\n    <dialogue>There's no way that's not a joke!<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>Jesus Christ, this O'Keefe guy is a real piece of work, is he not. And who the hell is this clown he hired as a lawyer?<\/dialogue>\n    <character>ROBERT SPERRY<\/character>\n    <dialogue>Apparently, some guy by the name of Willie Gary.<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>Thank you, Bob, I read the letter too. My question is who is he? What's his story? Where did O'Keefe find him?<\/dialogue>\n    <character>ASSOC #1 DAVID SHATTEROCK<\/character>\n    <dialogue>From what we could dig up, he's some kind of flashy personal injury lawyer out of Florida. Like an ambulance chaser type. But with an exceptional litigation record.<\/dialogue>\n    <character>ASSOC #4\/ RICK BRONKSY<\/character>\n    <dialogue>You honestly believe that?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>Personal injury? What do you mean, what does that mean, personal injury? It's a contract dispute. Why in the hell would he hire a personal injury lawyer for a contract dispute?<\/dialogue>\n    <character>ASSOC #2 ERIC BELL<\/character>\n    <dialogue>Maybe they just don't have regular lawyers down in backwater Mississippi.<\/dialogue>\n    <character>ROBERT SPERRY<\/character>\n    <dialogue>I think it's a bit more complicated than that. So, it turns out the case was filed in some remote county in the lower region of the state. Called, Hinds County.<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>Yeah, so...<\/dialogue>\n    <character>ROBERT SPERRY<\/character>\n    <dialogue>So this county also happens to be extremely poor, and about 70% black.<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>Oh, so that's why he was hired? Because he's black? Gary's black? He's an African-American man?<\/dialogue>\n    <scene_description>Looking around at each other, they all nod silently.<\/scene_description>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>And what about our guys? What color are they? Any of our guys black?<\/dialogue>\n    <scene_description>OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE ALLRED'S LAW FIRM\/ HALLWAY- DAY<\/stage_direction>\n    <scene_description>Holding on the hallway, we see another young ALLRED INTERN suddenly go racing down at top speed, FAST AS HE CAN.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JACKSON INTERNATIONAL AIRPORT - DAY<\/stage_direction>\n    <scene_description>We see a massive 747 come screeching down onto the runway.<\/scene_description>\n    <character>INT. MIKE ALLRED'S LAW FIRM\/ CONFERENCE ROOM - MOMENTS LATER<\/character>\n    <dialogue>The same INTERN now bursts into the conference room, where Willie, Hal, Reggie, Chris, Al and Dashaan are in the midst of packing up files. Getting ready to travel.<\/dialogue>\n    <character>ALLRED INTERN DUNCAN<\/character>\n    <dialogue>Sorry, to interrupt. We just got the info you requested on who Loewen appointed to lead counsel..<\/dialogue>\n    <scene_description>Hal reaches to grab the paper from the kid's hands.<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>May I have that please?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Who is he, anyone we know?<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>... She.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>She? What do you mean by, she?<\/dialogue>\n    <character>CHRIS WAKEFIELD<\/character>\n    <dialogue>Yeah, what does that mean- She?<\/dialogue>\n    <character>AL JONES<\/character>\n    <dialogue>She, as in like... You mean, like-<\/dialogue>\n    <character>DASHAAN HARRIS<\/character>\n    <dialogue>A woman! You saying Loewen hired a woman as his lead counsel? A woman?<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Yes. Her name is Mame Downes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JACKSON INTERNATIONAL AIRPORT\/ TARMAC - CONTINUOUS<\/stage_direction>\n    <scene_description>The same PLANE now slowly turns and taxis into the gate...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE ALLRED'S LAW FIRM\/ CONFERENCE ROOM- CONTINUOUS<\/stage_direction>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>So, apparently she got her BA from Howard University...<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Howard? That means she's not just a woman, she's a black woman.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>Well, what do you know. We somehow managed to get out'womaned and out'blacked all in one go.<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>... Graduated top of her class at Harvard Law. Jesus! Then went on to clerk 2 years for SCJ Day O'Connor. Then 3 years at Paul Weiss. Now is one of the youngest ever partners at Cranston, Brown and Atwell...<\/dialogue>\n    <character>AL JONES<\/character>\n    <dialogue>Okay now what that right there tells me, is this bitch gotta be seriously ugly- Am I right?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON INTERNATIONAL AIRPORT - CONTINUOUS<\/stage_direction>\n    <scene_description>As a group of PASSENGERS file out from the flight, we gradually pick up and track a single PAIR OF HIGH HEEL SHOES.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE ALLRED'S LAW FIRM\/ CONFERENCE ROOM- MOMENTS LATER<\/stage_direction>\n    <scene_description>Lingering off to the side, the intern raises his hand.<\/scene_description>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>What is it dude, speak up....<\/dialogue>\n    <character>ALLRED INTERN DUNCAN<\/character>\n    <dialogue>Sorry, it's just, a friend of mine used to work with her at C, B, and A. And he said her nickname around the office was... 'The Python'.<\/dialogue>\n    <scene_description>They all just stare back, like, \"Huuuuh? Whaaat?\"<\/scene_description>\n    <character>ALLRED INTERN DUNCAN<\/character>\n    <dialogue>On account of her particular style during cross, and how she always strikes when least expected... You know like how a python...<\/dialogue>\n    <character>DASHAAN HARRIS<\/character>\n    <dialogue>We got it, thanks...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON INTERNATIONAL AIRPORT\/ TERMINAL - CONTINUOUS<\/stage_direction>\n    <scene_description>The music now PUMPS UP, as we at last see the full face of the very formidable and beautiful MAME DOWNES (32). CONTINUED: Held throughout in a single, uninterrupted shot- We watch Mame stride through the terminal, pulling a suitcase behind.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>53X INT\/EXT. CAR\/ O'KEEFE FUNERAL HOMES - DAY 53X<\/stage_direction>\n    <scene_description>Pulling into the driveway, Jerry looks through the windshield, noticing something- Then jumps from the CAR! Along the entrance, and in the midst of taping some kind of NOTICE to the door, are the same two insurance men. A small handful of EMPLOYEES also stand around and watch.<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Hey, hey! What's going on here! What are you doing! Stop it! You have no right to do that, Sir!<\/dialogue>\n    <character>GARY REYNOLDS<\/character>\n    <dialogue>Mr. O'Keefe, I regret to inform you that as per regulations set forth by the Mississippi State Insurance Commission, your license been temporarily suspended.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>What! No, come on! You can't do this! You have to give me more time! I need more time!<\/dialogue>\n    <scene_description>They side-step Jerry, as he tries to block them on the steps.<\/scene_description>\n    <character>JIM LAFONT<\/character>\n    <dialogue>No, we don't have to give you more time, Sir. We gave you plenty of time. You were more than adequately warned about your reserves!<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>I understand, but it's more complicated than that! I don't have the money yet, but I will soon!<\/dialogue>\n    <character>GARY REYNOLDS<\/character>\n    <dialogue>Well then as soon as you do, you can give us a call and we'll work on getting your license reinstated.<\/dialogue>\n    <scene_description>OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WINGS OF JUSTICE AIRPLANE - DAY<\/stage_direction>\n    <scene_description>Hal, Reggie, Chris, Al, Dashaan are all seated around a table, with a bunch of CONTRACT LAW BOOKS spread in front of them. While Allred sits further back in a corner.<\/scene_description>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>Hey Hal- What's a \"Cure Period\"?<\/dialogue>\n    <scene_description>Glancing up, Hal's about to answer before:<\/scene_description>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Did you just say a Cure Period?<\/dialogue>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>That's right.<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>It's like when a default occurs in a contract between two parties, the party in breach will have a certain period of time to \"cure\" the default before the non-breaching party is allowed to seek remedies.<\/dialogue>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>Thanks Mike. Good looking out, man.<\/dialogue>\n    <scene_description>We now follow behind a STEWARDESS, who LEADS US from the back to the front, where Jerry and Willie sit facing each other.<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Tell me Willie, how does someone like you end up becoming a lawyer?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Someone like me? Depends, you want the long version or the short...?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Up to you.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Back when I was still a young husband, young father- I was making some money running this small landscaping company, and my wife and I decided we wanted to move to a bigger place. So I see an ad in the paper for this nice apartment. 3 bedrooms, in a brand new housing complex in the white neighborhood. Called, Raintree. I call up the owner and I'm like, \"Hey man, I'm looking for a place to move with my family, you got vacancies?\".<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>He's like, \"Sure we got plenty, I'll send you over a lease, ya'll can move in end of the month.\" So, it finally comes to moving day, and we all pile in the car- me, my wife, our two little boys, plus all our belongings. And you know like, gospel music goin', rocking and rollin', all happy as can be... But then once we show up and I walk in with the lease. Now the guy takes one look at me, one look at the color of my skin... Suddenly they ain't got no more vacancies.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>What did you do?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>I went straight back to the hotel we were staying at. Opened up the phone book, wrote down the first law school I saw. Applied, got in, graduated, took the bar... Until I finally got my license to practice. And then I went right back down to that same Raintree Apartments, bitch-slapped em' with a 5-count discriminatory practices suit!!<\/dialogue>\n    <scene_description>Jerry laughs, gently touched.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Way I see the courtroom, it's like a boxing ring, you know. A place where I can beat up on and get revenge on everybody that ever treated me like I was nothing all my life.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>So you're a fighter...<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Aren't you. Come on, it takes a lot of guts- hell of a lot of guts- to sue a huge corporation like Loewen. Coming from where you come from, small business owner and all... What made you decide to do it?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Because he tried to mess with the one thing that means more to me than anything else.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Being able to leave something behind for my kids, my grandkids, when I go. Being able to give them their legacy.<\/dialogue>\n    <scene_description>Willie and Jerry just look at each other, a very subtle yet tender moment of deep identification between them.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Hey, let's put on some music!<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>I like music, Willie. \\*<\/dialogue>\n    <scene_description>Willie then turns to the front where a large AFRICAN AMERICAN MAN, one of his bodyguards, STEVE, sits reading a book.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Yo Steve, let's put some music on.<\/dialogue>\n    <character>STEVE PLANE GUY<\/character>\n    <dialogue>Sure thing Boss, anything in particular you feel like hearing?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Know what, put on that one I like, by um- whatsitcall-Tony Toni Tone!<\/dialogue>\n    <parenthetical>(then back to Jerry)<\/parenthetical>\n    <dialogue>You like 'Tony Toni Tone', Jerry?<\/dialogue>\n    <scene_description>On Jerry, he looks a bit perplexed, as it's fairly clear he's never heard of them. Just as MUSIC- (TONY TONI TONE\/ FEELS GOOD)- now comes BLASTING in! While Willie instantly starts bopping to the music, it takes Jerry a beat or two to determine how he feels. Until gradually, Jerry starts gently bopping too. Bopping together, they smile at each other.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>YOU LIKE IT JERRY?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>I DO, IT'S NOT BAD.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>FEELS GOOD, RIGHT JERRY?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VARIOUS ESTABLISHING IMAGES OF JACKSON, MS - DAY<\/stage_direction>\n    <scene_description>Over images of the city.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JACKSON PRIVATE AIRPORT - DAY<\/stage_direction>\n    <scene_description>Along the tarmac, WINGS OF JUSTICE comes screeching down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON INTERCONTINENTAL HOTEL\/ LOBBY - AFTERNOON<\/stage_direction>\n    <scene_description>A little later, Hal and Willie now enter this faux grand, very corporate and cheesy hotel lobby, wheeling suitcases behind. They then gradually make their way to the FRONT DESK.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Hi, checking in. Reservation's under the name Gary, Willie Gary.<\/dialogue>\n    <character>HOTEL RECEPTIONIST<\/character>\n    <dialogue>Sure and welcome to Jackson Mr. Gary. If you happen to have a credit card I can run through, I'll get you set up right away.<\/dialogue>\n    <scene_description>As Willie then starts digging around for his wallet, Hal happens to glance across the lobby, before suddenly noticing:<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Oh snap, don't look now. But I think that must be Loewen's legal team over there. It's gotta be.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>What? Where?<\/dialogue>\n    <scene_description>Hal now motions to a small lounge across the lobby, where we see Mame seated side by side with 5 MUCH OLDER AND VERY DISTINGUISHED LOOKING AFRICAN AMERICAN GENTLEMEN.<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Over there. Jesus Christ, it's like a who's who of every prominent black lawyer in the country.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>You actually recognize some of them?<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>I read a lot of Harvard Law Review. See that guy there, that's Howard Pfieffer, he's a former state representative and president of the DC Bar association. Then over there is Richard Mayfield, widely regarded as one of the country's foremost experts on antitrust and complex business litigation. And that guy, his name is Walter Bell.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>A former Mississippi Supreme Court Justice. Fuck, Loewen must've spent a fortune on these dudes!<\/dialogue>\n    <scene_description>Willie then turns to look more closely himself.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>I must say, she's a lot better looking than I thought.<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>What, who?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Whatsherface, Mame Downes...<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Seriously? That's all you have to say about them?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>No. Because besides that, they all look like a bunch of chumps to me.<\/dialogue>\n    <scene_description>Just as Willie leans over the desk to the receptionist again.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Could you do me a favor and send a bottle of your finest champagne over to that group right there.<\/dialogue>\n    <character>HOTEL RECEPTIONIST<\/character>\n    <dialogue>Of course, sure thing. Do you prefer Dom, Moet, Cristal...?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Cristal. And if you don't mind adding a note that says: Compliments of Willie Gary.<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Seriously man, please don't...<\/dialogue>\n    <scene_description>MOMENTS LATER: Willie and Hal watch, as a WAITRESS arrives at the table, presenting them all with the CHAMPAGNE and pointing toward Willie. We PUSH IN on Mame, just as she turns to look at Willie. Willie waves, she hesitantly waves back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>58X INT. O'KEEFE RESIDENCE\/ BEDROOM - MORNING 58X<\/stage_direction>\n    <scene_description>Early in the morning, Jerry and Annette are together in their bedroom, getting ready for the day. 58X CONTINUED: 58X<\/scene_description>\n    <character>ANNETTE O'KEEFE<\/character>\n    <dialogue>I think we may need to call the cable company. Every time I try and turn on Turner Broadcast, it's just some weird empty screen. I think there's something wrong with it...<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>There's nothing wrong with it. I cancelled the subscription.<\/dialogue>\n    <character>ANNETTE O'KEEFE<\/character>\n    <dialogue>What do you mean, you cancelled it?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Annie, those regulators came back the other day and suspended my license this time, so... I'm going to have to shut down the business for awhile.<\/dialogue>\n    <scene_description>While Annette just stares back, silent and stunned.<\/scene_description>\n    <character>ANNETTE O'KEEFE<\/character>\n    <dialogue>What? What are you talking about?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>It's only temporary. As soon as we can get this trial out the way and Loewen makes restitution, I'll be able to-<\/dialogue>\n    <character>ANNETTE O'KEEFE<\/character>\n    <dialogue>Jerry, do you hear yourself? As soon as Loewen makes restitution- Do you really know that's even going to happen? You still haven't told me how we're paying for all this? That fancy new lawyer you just brought in from Florida-<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>You don't need to worry about that.<\/dialogue>\n    <character>ANNETTE O'KEEFE<\/character>\n    <dialogue>I just don't understand why you're continuing with this ridiculous lawsuit? You can find another buyer for those three homes. Clearly this is about something else for you...<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Well, maybe it is. Maybe I just don't want to let him get away with-<\/dialogue>\n    <scene_description>58X CONTINUED: (2) 58X<\/scene_description>\n    <character>ANNETTE O'KEEFE<\/character>\n    <dialogue>Who? Ray Loewen? My God, what is your whole obsession with this man?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>What do you mean by obsession? What do you expect me to do Annie? Just sit back and let him walk all over me, walk all over our family!<\/dialogue>\n    <character>ANNETTE O'KEEFE<\/character>\n    <dialogue>What I expect is for you to think of me at some point. Me. These were supposed to be our twilight years, spent enjoying each other, enjoying our family! Now you've brought this whole drama into our lives, even putting our finances at risk, without so much as the slightest concern for how it might affect me!<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>You don't think we can win...<\/dialogue>\n    <scene_description>She just stares back, shocked. As Jerry promptly gets up, and starts heading out of the room.<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>If you want to know how I'm paying for it- I took a third mortgage on the house.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON INTERCONTINENTAL\/ WAR ROOM - DAY<\/stage_direction>\n    <scene_description>Inside a large hotel conference room, transformed to a 'Legal War Room'- Willie, Hal, Allred, Reggie, Al, Dashaan, and a few WHITE ASSOCIATES- all sit around. Piles of DOCUMENTS, FOLDERS, BOXES, HALF EATEN LUNCHES are scattered everywhere.<\/scene_description>\n    <character>ALLRED ASSOC\/ WENDELL ALDRIDGE<\/character>\n    <dialogue>We keep the strategy simple. Stay focused on the contract, on firmly cementing the validity of the document as- 'a contract'- in the jury's minds. Win on points of law.<\/dialogue>\n    <character>DASHAAN HARRIS<\/character>\n    <dialogue>Aren't you forgetting, that's definitely going to be the defense's strategy too.<\/dialogue>\n    <character>ALLRED ASSOC\/ GARNER DUCHAM<\/character>\n    <dialogue>Except they'll be focused on proving how it's not a contract.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>And let's be honest, they'll likely be a lot better at it than we are. Given it's their area of expertise.<\/dialogue>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>Just forget all that contract nonsense, put it out of your heads. All it's gonna do is bog the jury down in a whole lot of technical nonsense- we already know they ain't interested in.<\/dialogue>\n    <character>CHRIS WAKEFIELD<\/character>\n    <dialogue>Personally, what I think we gotta do, what we gotta prove, rather- is motive. We center our argument squarely on the issue of Loewen Group stalling on closing. And show what they had to gain from it.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>We already know what they had to gain- Push Jerry into bankruptcy, buy up the remainder of his business, establish a monopoly in the region. Control the market.<\/dialogue>\n    <character>ALLRED ASSOC\/ RICK RIVERRIDGE<\/character>\n    <dialogue>Hence the, \"predatory trade practices\". But can we prove it?<\/dialogue>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>Okay, I see where you're going now, I kinda like this.<\/dialogue>\n    <character>AL JONES<\/character>\n    <dialogue>Yeah, I think I like it too.<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Actually, I'm not so sure.<\/dialogue>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>What!? Come again, Halbert-!??!<\/dialogue>\n    <character>DASHAAN HARRIS<\/character>\n    <dialogue>Yeah, what, Hal-!?!?<\/dialogue>\n    <character>AL JONES<\/character>\n    <dialogue>This little Urkle-Ass nigga couldn't grow facial hair up until a week ago- Now he's talkin' bout how he's, 'not so sure'.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>What I mean is, I'm not so sure it's possible to actually prove Loewen Group had motive. Unless we had some kind of memo from within the company, or someone openly admitting it. Like how do you actually prove that there was an intention behind stalling?... And by the way, I can grow facial hair. I'm a 29 year old man.<\/dialogue>\n    <character>CHRIS WAKEFIELD<\/character>\n    <dialogue>Seems to me, if we really want the jury to throw down an Alaskan- Assassin body-blow on the punitive, we also gotta prove Loewen himself knew. That Big Man was in on it.<\/dialogue>\n    <character>DASHAAN HARRIS<\/character>\n    <dialogue>Because otherwise they can always say,'this was just the rogue actions of some mid-level managers', and the company itself walks away scot-free.<\/dialogue>\n    <character>ALLRED ASSOC\/ GARNER DUCHAM<\/character>\n    <dialogue>Well, we're obviously never going to be able to prove that. No way.<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>The truth is we don't have a shot in hell at winning this case. Once again, I think our only real option here is to try and settle.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Goddamnit Mike!? How many times I gotta tell you! We AIN'T settling!<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>However many times doesn't change the fact that Jerry's already waist- deep in debt! Personally, I feel that to advise him to go forward with a trial under these circumstances, is not only completely unethical, it could actually destroy a man's life.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>For the last time, we're not settling!<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Settling's the same as losing, and I don't lose, you hear me! Ya'all just need to work harder, okay! Figure it out!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON INTERCONTINENTAL\/ HOTEL BAR - LATER<\/stage_direction>\n    <scene_description>A very exhausted and dispirited Willie sidles up to the bar.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Hey, can I get a ginger ale please.<\/dialogue>\n    <character>HOTEL BAR BARTENDER<\/character>\n    <dialogue>Sure thing, coming right up...<\/dialogue>\n    <scene_description>Willie then happens to glance across the room and notice none other the than Mame Downes, sitting all alone at a table.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Actually, send it over to that table right there when it's ready.<\/dialogue>\n    <scene_description>He gets up and starts to walk over.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>You must be Ms. Downes, I'm-<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Willie Gary. I'm aware. How are you, Mr. Gary. Nice to meet you.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Nice to meet you too. Whatcha doin' down here so late?<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Huh? Oh you know, just getting a little work done...<\/dialogue>\n    <scene_description>She then gently closes the top of her NOTES BINDER.<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Just felt like getting out of my room for a bit, so...<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Mind if I join you for a bit?<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>I don't know? Do you really think that's such a good idea?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Oh come on, what's the harm. Trial hasn't started yet anyway...<\/dialogue>\n    <scene_description>CONTINUED: A LITTLE LATER: They've both settled into their drinks a bit.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>This is kind of nice. I don't think I've ever sat down and had a drink with a member of the opposing council before. Almost feels like we're on a date or something.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Sure, if you say so...<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>So, where you from Ms. Downes? Wait, let me guess... Hmmm? I'm going to go with Baldwin Hills. Also known as 'The Black Beverly Hills'. Daddy was a doctor, with 3 separate degrees from Ivy League colleges. And Mommy was a homemaker. Am I close...?<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>You're close...<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Ah see, I knew it! I knew it!<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>I meant in proximity, not ideology. I'm actually from Compton. And no, mommy was not a homemaker. She was a single mom that worked 6 nights a week for 10 years straight, just to put me through law school.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Okay, well what about Daddy?<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>I wouldn't know. Never met the man.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>I'm sorry to hear that.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>What for? I'm not.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>You're tough, you know that. I like that about you. I like tough women.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>First of all, I'm told I'm immune to flattery, so I wouldn't waste your breath. Second of all, wait til you see me in that courtroom.<\/dialogue>\n    <scene_description>CONTINUED: (2) He laughs.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>So if you from really 'da hood', whatcha doin' messing around with all these fancy white clients?<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>All these? For the time being, there's just one. And I could ask you the same question, couldn't I?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>It just so happens that I believe in my case, Ms. Downes.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Just so happens that I believe in mine too, Mr. Gary.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Guess that's kind of unfortunate for one of us, isn't it.<\/dialogue>\n    <scene_description>Mame smiles, fiddles with her drink a bit.<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>But back to what you were saying, about my 'white clients'. Why does everyone think that just because I'm from the hood, I should be working in some shitty D.A.'s office, doing pro bono? Trying eviction cases, drug busts in the old neighborhood? I worked hard to get where I am, why shouldn't I enjoy the same opportunities as my white counterparts.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Hey, hey! You know what, fine by me, I ain't judging.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>What about you, what's your background, Mr. Gary?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Believe it or not, I grew up poor too, dirt poor. Son of migrant workers in Florida, already workin the fields by the time I was 8 years old. And now look at me, got a garage full of Bentleys and my own private jet.<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>I guess what that means, is we're both living our own little version of the American Dream. Just one with a little less red white and blue, and a slightly more beige complexion.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>What you're saying is you think that black people's American Dream is a different American Dream from white people's American Dream?<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Obviously, given that black Americans and white Americans are currently living in two separate countries. Case in point...<\/dialogue>\n    <scene_description>Mame motions over to a SMALL TV above the bar, where the ever ubiquitous OJ TRIAL COVERAGE continues to play on.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Ah, so we talkin' OJ now! The quote- unquote 'trial of the century'. You really want to go there?<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>I don't know, do we dare? I'll admit it's murky territory...<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Let's take the plunge! All right, which way you leaning- guilty or innocent? What's your gut tell you?<\/dialogue>\n    <scene_description>Mame stares at the TV a moment, thinking it over.<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>What my gut tells me, is that it doesn't really matter, because OJ's not what's on trial. White frontier justice, that's what's on trial. And unfortunately white frontier justice almost always wins.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Ain't that the truth. Okay, well what about this- If someone put a gun to your head...<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Gun to my head...?<\/dialogue>\n    <scene_description>CONTINUED: (4)<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>.... Put a gun to your head, and said you had to take over lead chair for either side, prosecution or defense, which would you choose?<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Hmmm? That is a good question...<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>It is right, I know. It's tough.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>But I think in the end I'd have to say the defense?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>The defense? Really, why's that?<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Just because I've never defended someone I knew was guilty before, and supposedly any lawyer worth their salt's got to try it at least once.... And you, Mr. Gary?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Oh prosecution for sure, definitely the prosecution. No question.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Huh? That's surprising. I wouldn't have expected that from you.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Maybe it's silly, but for so many years now I've had this weird recurring dream, of me going toe-to- toe with Johnny in the courtroom.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>And how does the dream usually end?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Usually, with me wiping the floor with ass.<\/dialogue>\n    <scene_description>A WAITER then approaches and gently lays a BILL down. Willie and Mame each reach for the check at the same time.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>No way, I got this.<\/dialogue>\n    <scene_description>CONTINUED: (5)<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>No, please, allow me. You were so generous to send us over that lovely bottle of what was it- Cristal?- the other day. Let me return the favor, just this once.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>All right then. That's very nice of you Mame, thank you very much.<\/dialogue>\n    <scene_description>She flips open the check, starts signing.<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>No problem. Just don't get too used to me being nice to you, okay Willie.<\/dialogue>\n    <scene_description>Closing the check, she then rises from her chair.<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Because starting in exactly two weeks time, and once we finally get in that courtroom... Nigga, I will tear you up.<\/dialogue>\n    <scene_description>She smiles once more at Willie, then walks away.<\/scene_description>\n    <character>MAME DOWNES (O.S.)<\/character>\n    <dialogue>Have a good night, Mr. Gary. This was most certainly not a date.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>60A INT. PLAINTIFF'S WAR ROOM - AFTERNOON 60A<\/stage_direction>\n    <scene_description>As the door to the War Room opens, we see a fleet of MOVERS wheeling in piles of LEGAL BOXES, which they then begin to unload and stack against the walls. All by himself in the room, Hal just stands off to the side watching them come in. MOMENTS LATER: with the movers all gone, Hal just stands there in the middle of the room, staring at all the boxes.<\/scene_description>\n    <character>HAL<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <scene_description>He takes a deep breath, goes and opens the first box he sees, pulls out a big chunk of documents and gets to work.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JUDGE'S CHAMBERS - DAY<\/stage_direction>\n    <scene_description>Inside the judge's chambers, a stern looking AFRICAN AMERICAN MAN in his 70s, sits behind a desk. While the entire plaintiff's team stand crammed side by side with the defense. CONTINUED:<\/scene_description>\n    <character>JUDGE GRAVES<\/character>\n    <dialogue>Afternoon, my name is Judge Graves. Let me assure you the name is a coincidence....<\/dialogue>\n    <scene_description>They all fidget and adjust themselves uncomfortably.<\/scene_description>\n    <character>JUDGE GRAVES<\/character>\n    <dialogue>Normally, it's my policy to encourage both parties to agree to a settlement, before we start picking a jury...<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Sorry, your honor, it's just not going to happen.<\/dialogue>\n    <character>JUDGE GRAVES<\/character>\n    <dialogue>Excuse me? And why is that?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>We already made a legitimate attempt to settle with the defendants in good faith.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Your honor, we received a letter sometime back with a request that was so ridiculous, we could only conclude it was a joke. In other words, plaintiff's counsel has yet to propose anything serious.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Sorry, your honor I disagree.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Well your honor, I don't disagree.<\/dialogue>\n    <character>JUDGE GRAVES<\/character>\n    <dialogue>Okay, seems I'm not getting through here. Let me start again. I don't want this case to go to trial, I don't see why it needs to. It's a commercial case, a contract case, should be easy enough to resolve on your own. So I'm going to ask you one more time, please take the next couple of days, do what you can to settle this outside the courtroom.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTHOUSE\/ HALLWAY - LATER<\/stage_direction>\n    <scene_description>Sometime later, we find Willie heading down a long hall on the main floor of the courthouse. Before he suddenly bumps straight into another very handsome older gentlemen - Mr. G. CONTINUED: As they then both look up, it's clear that they know each other.<\/scene_description>\n    <character>MR. G<\/character>\n    <dialogue>Excuse me, young man... Oh, Willie Gary! What's up, how you doin' man?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Oh, hey! Sorry, I didn't see you coming! What's happening man, what's up with you, how you been?<\/dialogue>\n    <character>MR. G<\/character>\n    <dialogue>Oh you know- Not bad, not bad at all. What are you doing out of Florida though...?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Huh? Oh yeah, well I'm here trying that O'Keefe vs. Loewen thing, civil case...<\/dialogue>\n    <character>MR. G<\/character>\n    <dialogue>Right, right. I heard something about that. Man, sure sounds like a tough case. I seriously wish you the best of luck, brother!<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Thanks, Doc! Nice to see you! Give me a call soon, okay...<\/dialogue>\n    <scene_description>Just as Mr. G starts heading off.<\/scene_description>\n    <character>MR. G<\/character>\n    <dialogue>Will do! Until next time, keep on keepin' on, partner!<\/dialogue>\n    <scene_description>Mr. G then quickly disappears, and just as Mame suddenly emerges, now standing right in front of Willie. CONTINUED: (2)<\/scene_description>\n    <character>MAME DOWNES (O.S.)<\/character>\n    <dialogue>Hey Willie, got something for you-<\/dialogue>\n    <scene_description>Turning around, Willie now sees Mame heading toward him holding a big manilla ENVELOPE, which she then hands to him.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>What's this, a valentine?<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Believe it or not, it's an offer for your client from Mr. Loewen.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Is it a 100 million dollars?<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>No, it's quite pointedly not 100 million dollars. That's absurd and you know it.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Then what is it, what's in here?<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>I'd call it a reasonable basis from which to begin a negotiation.<\/dialogue>\n    <scene_description>Holding the envelope right up in her face, Willie then starts to rip it into pieces. While Mame just stares in disbelief.<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>What the hell are you doing? You can't do that. You're supposed to take it to your client first.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>I already know my client ain't interested in your penny ante charity. We asked you for 100 million dollars.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>You do realize, you can't reject any offer without showing it to your client first.<\/dialogue>\n    <scene_description>Leaving the papers all over the floor, Willie just turns right around and starts heading away down the hall.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <parenthetical>(over his shoulder)<\/parenthetical>\n    <dialogue>So sue me. See you in court, little lady... Sister be warned: we gonna Clubber Lang clobber your ass!<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Little lady!? Are you fucking kidding me right now!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON INTERCONTINENTAL\/ BAR - EVENING<\/stage_direction>\n    <scene_description>As Willie and Hal sit together in the bar, we hold tight on Hal who's wearing a deeply shocked expression.<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>You did what!?! You ripped it up!? What do you mean, you ripped it up!<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>I mean, I ripped it up! And man, you should've seen her face. No joke, she looked like she was about to have a heart attack!<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Okay, but wait a minute. You don't even know what was in there, what the offer was. It could've been a substantial amount of money.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Maybe so. But it wasn't no 100 million dollars, I know that. Besides, what are you all bothered about? Ain't you the one that told me this case needed to go bigger.<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Yeah, sort of. But I didn't mean at the risk of you getting disbarred.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Disbarred!? Woah, what, disbarred!? What the hell you talking about, disbarred? Whose side are you on?<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>I'm not on anyone's side. It's just extremely unprofessional. You're obligated to take any offer that's presented and bring it to Jerry.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Hey, what's that like for you? Always being so amenable and pleasing to white people. Damn, I feel like you the type of brother that thinks he should be writing a thank you note to Miss Daisy, for letting you drive her to the store.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>You know what that's really low.<\/dialogue>\n    <scene_description>Willie just rolls his eyes, as he gets up.<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>I gotta go... Unlike you, Jerry's my only client. And you could seriously screw that up for me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON INTERCONTINENTAL\/ SUITE - EVENING<\/stage_direction>\n    <scene_description>The sound of- (ISAAC HAYES\/ IT'S ECSTASY WHEN YOU'RE LYING DOWN NEXT TO ME)- bumps through, as Willie carefully inserts SHOE TREES into his SHOES. Suddenly the PHONE then RINGS, Willie turns to look curiously at it, then picks it up.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Hello... Hey Jerry...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON INTERCONTINENTAL\/ ELEVATOR\/ HALLWAY - LATER<\/stage_direction>\n    <scene_description>We hear the elevator go, 'Ding', as Willie now steps out onto the lobby floor. Then continues on his way down a hall and we follow...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON INTERCONTINENTAL\/ WAR ROOM - LATER<\/stage_direction>\n    <scene_description>As the door opens to the war room, Willie steps in to find Jerry, Hal and Mike all across the room and waiting.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Hey guys, Mike, Jerry, Hal--how ya'll doing? Everybody good...?<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Wow, I don't fucking believe this. Is it true Loewen's lawyer offered you a settlement today and you ripped it up without even showing it to us first?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>As a matter of fact, it is true. I'm just a little surprised ya'll know about that.<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Oh come on, man...<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Surprised we know about it!? Seriously!?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Do you know how wrong it is to reject an offer without showing it to your client first!<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Mike, just watch it okay! And lower your voice! I'm not trying to hear it from you today!<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>I'm not lowering my voice, you lower yours! You've been a loose cannon ever since you got here!<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Last I checked I work for Jerry, not you partner! And you work for me!<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Everybody calm down. Willie, they're right. You can't throw away an offer without discussing it with me. We have no idea how much it could've been. Mike estimates it could've been 14, 15 million...<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Even if it was 14 or 15- I still would've told you not to take it! 14 or 15 million, come on, that's a joke to these people!<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Maybe so, but it's not to me! It could've made a huge difference to me. You should've consulted me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON INTERCONTINENTAL\/ ELEVATORS - LATER<\/stage_direction>\n    <scene_description>Willie steps onto the elevator in a huff. Just as the doors are about to close, Hal then steps on too. Both just standing side by side, refusing to speak, or even look at each other.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>You're a little tattle tale, you know that.<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Okay sure, that's really mature.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>You ought to be ashamed of yourself, selling another brother out like that. Seriously.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Selling another brother out? You know this whole Sanford and Son wisdom you like apply, gets old. Check the rhyme- It's 1995, bro.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Tattle tale.<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Got it. Heard you the first time.<\/dialogue>\n    <scene_description>Just as the elevator doors open and Hal heads down the hall. He walks completely normal, until halfway down he does a QUICK LITTLE TWO STEP, then goes back to walking normally. MONTAGE UP:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WILLIE'S HOTEL SUITE - MORNING<\/stage_direction>\n    <scene_description>Wearing only boxers and a tee shirt, Willie sits along the edge of the bed, going over his opening argument... We then slowly PAN DOWN along his body to see that his leg is also WILDLY SHAKING, jittery with nerves and pent up energy.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>68A INT. MAME'S HOTEL SUITE- MORNING 68A<\/stage_direction>\n    <scene_description>Dressed in a pair of OVERSIZED MEN'S PAJAMAS, with her morning hair all WILD and KINKY- Mame paces the floor of her hotel room, silently rehearsing her own opening statement...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>68B INT. O'KEEFE RESIDENCE\/ BATHROOM - MORNING 68B<\/stage_direction>\n    <scene_description>Jerry stands over the sink splashing water on his face. He then briefly pauses to stare at his reflection in the mirror.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>68C INT. WILLIE'S HOTEL SUITE - CONTINUOUS 68C<\/stage_direction>\n    <scene_description>Back in Willie's suite, he himself runs through a whole series of tried and true HAND GESTURES in the mirror.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>68D INT. MAME'S HOTEL SUITE\/ BATHROOM - MORNING 68D<\/stage_direction>\n    <scene_description>Back in Mame's suite, Mame stands before her own mirror in the bathroom, carefully running an old school HOT COMB through her kinky hair. Pulling it tight and straight.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>68E INT. O'KEEFE RESIDENCE\/ BEDROOM - MORNING 68E<\/stage_direction>\n    <scene_description>Jerry and Annette now stand facing each other in the bedroom, as she helps him into his suit jacket, then carefully adjusts his tie, kisses him on the forehead.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>68F INT. WILLIE'S HOTEL SUITE - CONTINUOUS 68F<\/stage_direction>\n    <scene_description>Back in Willie's suite, he stands fully dressed in the middle of the room, WILDLY SHADOW BOXING and getting PUMPED!!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>68G INT. MAME'S TOWN CAR - MORNING 68G<\/stage_direction>\n    <scene_description>ANGLE ON: A beaten-up old copy of SUN TZU'S ART OF WAR, clutched tightly in a WOMAN'S HAND. We then slowly PAN UP to see Mame alone in the backseat of her town car.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>68H INT. STREET OUTSIDE COURTHOUSE - MORNING 68H<\/stage_direction>\n    <scene_description>A few blocks from the courthouse, we see the entire PLAINTIFF'S SIDE- (WILLIE, JERRY, HAL, ALLRED, REGGIE, CHRIS, AL, DASHAAN)- all coming down the street together. As they all pass a PARKING METER, two of them casually split and walk on the other side. At which point Willie instantly FLIPS OUT, makes them all turn around and start again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>68J INT. JACKSON MS COURTHOUSE\/ ELEVATOR - MORNING 68J<\/stage_direction>\n    <scene_description>Squeezed in tight on the elevator are Mame and HER ENTIRE TEAM. She stands dead center, their fearless leader, with all 4 of her fellow male lawyers perfectly framed around her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>68JJ EXT. JACKSON MS COURTHOUSE\/ ENTRANCE - MORNING 68JJ<\/stage_direction>\n    <scene_description>The entire PLAINTIFF'S TEAM all head up the stairs together.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>68K INT. COURTHOUSE\/ PLAINTIFF'S CHAMBERS - MORNING 68K<\/stage_direction>\n    <scene_description>Inside a small private room, the PLAINTIFF'S TEAM all sit in total silence together. Anxiously waiting for the trial to begin. We slowly PAN around, from one face to the next. 68L OMITTED 68L<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>68M INT. COURTHOUSE\/ PLAINTIFF'S CHAMBERS - MORNING 68M<\/stage_direction>\n    <scene_description>ANGLE ON: A HAND knocking on the door outside the chambers. Before the door at last opens and a YOUNG CLERK peeks in.<\/scene_description>\n    <character>YOUNG CLERK<\/character>\n    <dialogue>Mr. O'Keefe, Mr. Gary, Mr. Allred- Soon as you're all ready, the Judge would like to begin.<\/dialogue>\n    <scene_description>Just as Willie JUMPS UP.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Showtime! Everybody ready! Let's get it on Chaka Kahn!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON MS COURTROOM - MORNING<\/stage_direction>\n    <scene_description>For the first time ever inside the courtroom- we PUSH IN FAST to a tight CLOSE UP on the BAILIFF, as she LOUDLY announces:<\/scene_description>\n    <character>BAILIFF<\/character>\n    <dialogue>All rise, all rise. The honorable judge James E. Graves- Circuit court judge of the first judicial district of Hinds County, Mississippi- presiding. This court is now in session pursuant to the adjournment. Hear ye, hear ye, all persons having business with this honorable court draw near, give your attention and you shall be-<\/dialogue>\n    <scene_description>MONTAGE UP: We now enter a rapid-fire MONTAGE, back and forth intercutting Willie and Mame in their opening statements.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Ladies and Gentlemen of the jury, how you all doing today...?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Members of the jury, thank you for being here....<\/dialogue>\n    <scene_description>CUT TO: CONTINUED:<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Let me start off by saying that this case you're about to hear, this case right here, this case is really about the oldest sin known to man- And that's GREED!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Contracts, that's it. Contracts, plain and simple. Mr. Gary would have you believe that this is a case about greed, about evil corporate practices. All of which sounds so entertaining, so dramatic. But the truth is, it's not about any of those things. It's just a case about contracts...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>We know for a fact, the deal had already been approved by Loewen and his board, and every aspect of it had been carefully outlined and put down in writing! We know that! We know that! That's called a contracts- No two ways about it!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>It was never signed. It was never signed. How can it be a contract between two parties, if it was never signed. Ask yourselves that? Because there's a big difference between a binding contract and what many key executives involved simply saw as an, \"agreement to agree\".<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>They knew! They knew! That if Jerry were to go bankrupt, they could pick up those same pieces, let's call it what it is folks- the DREGS of what was left of his business- for pennies on the dollar! They had one goal in mind, to stall him out!<\/dialogue>\n    <scene_description>CUT TO: CONTINUED: (2)<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>For Jeremiah O'Keefe, everything in his life was hinging on this deal. But for the Loewen Group- To be honest ladies and gentlemen, this was one of hundreds perhaps thousands of deals they were involved in that year. I hate to say it, but Mr. O'Keefe was irrelevant. He wasn't a priority.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Ya'll, these people LIED! That's what this all boils down to! Just another example of some big, greedy, big-money corporation- A Canadian corporation!- Trying to push around the little guy! AND FOLKS, IT AIN'T RIGHT!!<\/dialogue>\n    <scene_description>Until at last, we see THE JURY. Though a mix of ages and genders, there are 9 BLACKS and 3 WHITES. Beat.<\/scene_description>\n    <character>JUDGE GRAVES (O.S.)<\/character>\n    <dialogue>Would the Plaintiff's side like to call their first witness...<\/dialogue>\n    <scene_description>DISSOLVE TO: 70A 70A LATER: Perhaps a few hours later, a very nerdy, academic MAN in his 50s is now seated in the WITNESS BOX.<\/scene_description>\n    <character>PROFESSOR ROSSENCOMB<\/character>\n    <dialogue>In fact there is such a thing as an 'anticipatory' breach of contract. And this is when, though the actual breach has not yet occurred, there's nevertheless been some indication that one of the involved parties, heretofore referred to as the soon-to-be-breaching party, will not fulfill their obligations. Set forth by the terms of the...<\/dialogue>\n    <scene_description>As he continues to drone on, we turn to the jury- Seeing how utterly BORED and DISTRACTED they all look. In fact, there's even one guy in the back, who's gone to sleep completely.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAR ROOM - AFTERNOON<\/stage_direction>\n    <scene_description>As the entire plaintiff's team, minus Jerry, are all gathered in the War Room- We hold a tight Close Up on Willie's face.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Goddamnit! We almost two weeks in and this case ain't lining up in our favor at all!! All this contract talk, day-in day-out, is putting the jury to sleep! And costing us our edge with them! I'm making a decision, I'm going to move Jerry up in the schedule, put him on the stand of next week!<\/dialogue>\n    <scene_description>Just as everybody in the room now all turn to Willie at once!<\/scene_description>\n    <character>ALLRED ASSOC\/ WENDELL ALDRIDGE<\/character>\n    <dialogue>What? Why...?<\/dialogue>\n    <character>ALLRED ASSOC\/ GARNER DUCHAM<\/character>\n    <dialogue>Yeah, what do you mean, how-?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>What's the matter, y'all hard of hearing! I told you why! We gotta shake things up! Come on now, you ask me, Jerry's the perfect witness. He's honest, principled, hard-working, family man, war hero. And, don't forget 'bout all the good things he's done for Civil Rights. Black jury's gonna love that...<\/dialogue>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>Good ol' white savior Jerry.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Reggie shut your mouth or get out!<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>No, no way. Forget it. I'm sorry but I can't endorse this idea. It's much too soon to put Jerry on the stand, much too early in the trial. We don't have all the information yet.<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>He's right. There's a reason you wait to put your client on the stand.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Oh yeah, and what's that?<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Because we don't know anything about Mame. Thus far we've only seen her interact with technical witnesses, which doesn't tell us anything about her real cross- examination style. Or even how dangerous she might be.<\/dialogue>\n    <character>AL JONES<\/character>\n    <dialogue>Right. 'The Python'....<\/dialogue>\n    <character>DASHAAN HARRIS<\/character>\n    <dialogue>I agree. We just throw Jerry up there, without a better read on our opponent. Anything could happen.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Well guess what, I don't care what y'all think! This is the decision I made, and what I need you to do now is get on board! You tryin' to tell me I should be worried about Mame? Mame!? Believe me, I ain't worried about no Mame! She may be one of those slick corporate types, but she ain't no street fighter like me! She's too weak to ever go after a nice guy like Jerry on the stand. She ain't got the stomach for it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JACKSON MS COURTHOUSE - MORNING<\/stage_direction>\n    <scene_description>We slowly PAN across a long MURAL. Which also happens to feature a scenic rendering of an OLD SOUTHERN SLAVE SCENE. It then dissolves into an enormous PHOTOGRAPH of the O'KEEFE FAMILY. The same photo we saw taken in the beginning.<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>I'm sorry, your honor, but is this photo really necessary?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>I don't know what she's talking about. This here is a photo of the O'Keefe family. It shows what's really at stake for the man...<\/dialogue>\n    <scene_description>The Judge just looks at Willie, before pointing a finger into the audience, where we see the ENTIRE O'KEEFE FAMILY sitting. CONTINUED:<\/scene_description>\n    <character>JUDGE GRAVES<\/character>\n    <dialogue>But aren't they all right there...?<\/dialogue>\n    <scene_description>CUT TO: A little later, Willie now stands at the podium, directly opposite Jerry, who's himself seated in the witness box.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Let's talk about some of your values. Because if I'm not mistaken, Jerry, you're an 8 time decorated war hero, is that right? Shot down planes in World War II...<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Objection! Leading the witness!<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Oh come on now, he already said he was allowing it.<\/dialogue>\n    <character>JUDGE GRAVES<\/character>\n    <dialogue>Overruled, continue.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Served as a lieutenant in the Air Force. Was awarded the Air Medal, the Navy Cross, the Flying Cross, all in gratitude for your sacrifice to this country... That right?<\/dialogue>\n    <scene_description>Turning to the jury, we can see their interest pique.<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>I don't believe war is anything to celebrate. But I did serve my country, and quite proudly.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>And all your hard work and service to this county, didn't end there. Because after coming back home to take over the family business, in 1973 you decided to run for Mayor of your home town of Biloxi...<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>I ran twice and served two terms as Mayor, from 1974 to 1982.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>I even heard that during one of those terms, the Ku Klux Klan came and hit you with a request to hold a rally in your town. And what did you do...?<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Objection! Leading the witness again!<\/dialogue>\n    <character>JUDGE GRAVES<\/character>\n    <dialogue>Overruled!<\/dialogue>\n    <scene_description>Judge Graves then turns to the witness.<\/scene_description>\n    <character>JUDGE GRAVES<\/character>\n    <parenthetical>(to Jeremiah)<\/parenthetical>\n    <dialogue>You may answer the question.<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>I denied them a permit to demonstrate in the City of Biloxi.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Why did you do that?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>I am opposed to what they stand for -- any decent person would stand against them.<\/dialogue>\n    <scene_description>Turning to the jury, we can tell they're impressed.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>What are your values, Jerry? What's really important to you?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Simple things. Religion, patriotism, hard-work, honesty, taking care of my family.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Jerry, let's just get to it. Tell us what happened in this deal gone wrong between you and the Loewen Group? This guy screwed you six ways to Sunday, right?<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Objection! Leading!<\/dialogue>\n    <character>JUDGE GRAVES<\/character>\n    <dialogue>Overruled!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n    <character>INT. JACKSON MS COURTHOUSE \/ COURTROOM - LATER<\/character>\n    <dialogue>With Jerry still on the stand, Mame rises from her chair.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Good afternoon, Mr. O'Keefe. How are you today, you doing okay?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>I'm doing well, thanks.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>You are, you're doing well? Well good, that makes me happy to hear.<\/dialogue>\n    <scene_description>Mame laughs gently. Before flipping open her BINDER, glancing at pages for a long, silent beat. Then closing it again. CONTINUED:<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Having just listened to the testimony you gave- It's fair to say the real material substance of the examination, centered on the character... Would you agree?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>I'd agree...<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Sorry, I'm so sorry Mr. O'Keefe, I couldn't hear that answer...?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>I said, yes, I'd agree.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Yes. Good, thank you... So, character. Let's talk about character. Because in the testimony you just gave, we heard a lot about character. In fact, I believe the overall insinuation being made, is that while you are a man of honor, of strong moral principles. According to you, my client is not.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>I think Mr. Loewen and I have very different approaches to how we deal with people in business.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>In business. Yes, right, in business. I'm glad you brought that up actually.<\/dialogue>\n    <scene_description>Mame then heads over to the PODIUM and to her BINDER, and begins flipping pages for a long, long, long time.<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>So, I'm a little curious about something- How exactly did you end up needing to sell those three funeral homes to Loewen?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Well... I had run into some financial trouble.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Mr. O'Keefe I'm sorry to hear that. What kind of financial trouble...?<\/dialogue>\n    <scene_description>CONTINUED: (2) He just looks at her, not answering. Turning to the audience, we see Annette staring back, with a scared and troubled face.<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Was that an answer? Never mind, I'll redirect. Because I'm pretty sure the actual reason, you so desperately needed to sell, at the time you did- Is because the Mississippi State Insurance Commission was about to revoke your license- Is that right? As a matter of fact your license to sell insurance in the state of Mississippi is currently under suspension. Can we agree that's a true statement?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>No, we can't. What I mean is, it's a bit more complicated than-<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Than what? What is it more complicated than? Was your license suspended, or was it not?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Your honor, objection!!<\/dialogue>\n    <character>JUDGE GRAVES<\/character>\n    <dialogue>Overruled, Mr. Gary!<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>My license was suspended. But I've recently petitioned the commission-<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>The real truth here, is you lost your license because you got involved in some shady savings and loans \"business deal\" with a man that, if I'm not mistaken, is currently in jail now- Right? A man named, Franklin Lewis. And the money you used to finance this deal, did that money belong to you?<\/dialogue>\n    <scene_description>He's dead silent.<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>No, in fact, because you used other people's money, your clients' money, to finance your involvement in said \"business deal\". With a now convicted felon...<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Objection, objection! Your honor!<\/dialogue>\n    <character>CONTINUED: (3)<\/character>\n    <dialogue>JEREMIAH O'KEEFE<\/dialogue>\n    <scene_description>That's not how I would characterize-<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Is it possible that this entire case for you, stems from jealousy? Mr. O'Keefe? You said that you and Mr. Loewen have different ways of doing business. And you're right, you do. Because just like you, Ray Loewen inherited a business from his father. But unlike you, he was able to take that business and build it into a multimillion dollar empire. Meanwhile, what became of your father's legacy? You've really always just been about a hair shy of bankruptcy. Now you want Ray Loewen to bail you out for all your failures...<\/dialogue>\n    <scene_description>We hold on Jerry for a long beat. Then turn to Annette again, looking so utterly heart-broken and devastated for him.<\/scene_description>\n    <character>JURY MEMBER<\/character>\n    <parenthetical>(to another juror)<\/parenthetical>\n    <dialogue>Serves him right...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON MS COURTHOUSE\/ HALLWAY - MOMENTS LATER<\/stage_direction>\n    <scene_description>Holding on the long central hallway, suddenly Jerry comes storming out of the courtroom, heading down the hall. 74pt EXT. JACKSON MS COURTHOUSE\/ STEPS - MOMENTS LATER 74pt Jerry comes down the courthouse steps.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS OUTSIDE COURTHOUSE - MOMENTS LATER<\/stage_direction>\n    <scene_description>As Jerry comes charging down the sidewalk, we see Willie coming up behind him, chasing after him.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Hey, hey! Jerry! Wait up, man! Yo Jerry!! Come on, wait up will you!!<\/dialogue>\n    <scene_description>Jerry finally stops and turns around.<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>My God, what the hell was that!?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Huh!? What?! I don't understand, why are you angry at me!?<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Why am I angry at you? You were supposed to protect me up there! You were supposed to make sure I was safe under cross examination! Look at what just happened!<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Yeah, but it's not my fault! How was I supposed to know she was going to bring all that-<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Because it's your JOB to know!!<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Okay, but hold on now! You didn't tell me half the shit she brought up in there! You didn't say nothing about that guy being in jail, or this whole savings and loans thing, that you'd taken money out of the-<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Because I didn't know! I didn't know until now that he was in jail! And as for taking money out of the reserves, I had to! I needed the money! I'm not proud of what I did!<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>So, it's still not my fault!!<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>No, it is. Because right from the moment I hired you, you've tried to turn this whole thing into your own one man circus! I've sunk every last dollar I have into this case, and you're still screwing around!<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>That's not fair! Come on!<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Easy for you to say, you don't have anything on the line! But for me, it's MY LIFE!! My life is what's on the line! And I don't even know how much of it I have left! That's it, I'm making a change.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>What? What's that supposed to mean?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>I'm replacing you as lead counsel and putting Mike back in.<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>What!? Mike!? Come on Jerry, come on it's a huge mistake!? Mike!?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>No, Willie, you were the mistake! What I'm doing now, is trying to correct it.<\/dialogue>\n    <scene_description>Jerry then promptly turns and marches away down the street. MOMENTS LATER: Willie stands alone against the side of a building, lost, paralyzed, confused.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>75A EXT. CASA GLORIA - DUSK 75A<\/stage_direction>\n    <scene_description>Establishing shot on the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CASA GLORIA - EVENING<\/stage_direction>\n    <scene_description>Alone in her bedroom, Gloria lays sideways along the bed, bopping her head and tapping her ankles to the music as she reads ESSENCE MAGAZINE. After a moment, the PHONE RINGS.<\/scene_description>\n    <character>GLORIA GARY<\/character>\n    <dialogue>Hello...?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JACKSON INTERCONTINENTAL\/ ROOFTOP - EVENING<\/stage_direction>\n    <scene_description>Up on the roof of his hotel, Willie stares out at the skyline as he talks on his 1994 MODEL NOKIA 2110 MOBILE.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <parenthetical>(into the phone)<\/parenthetical>\n    <dialogue>Hey baby, it's me. Whatchadoin'?<\/dialogue>\n    <scene_description>The following conversation is then INTERCUT between the two:<\/scene_description>\n    <character>GLORIA GARY<\/character>\n    <dialogue>Nothing, doing a little reading, that's all. You sound a little down baby, is everything okay?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Yeah. Yes. Yeah... Well, no... Jerry, um, he replaced me today...<\/dialogue>\n    <character>GLORIA GARY<\/character>\n    <dialogue>What? Replaced you? Baby, what does that mean...?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Means I got pulled from first chair. Means I'm not lead attorney on the case no more.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>GLORIA GARY<\/character>\n    <dialogue>Oh honey, really? I'm so sorry to hear that. But I don't understand, why would he do that?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>I screwed up, just screwed up, that's all. I put Jerry on the stand, thinking I had it covered, and then he got annihilated on cross and- I mean it was bad, ugly. Now Jerry, he's upset. He's upset. And that makes me upset, to see him so upset.<\/dialogue>\n    <character>GLORIA GARY<\/character>\n    <dialogue>I see... You know, you sound like you really care about this man.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Who, Jerry? Yeah, of course, I like Jerry. Jerry's cool, he's, you know-<\/dialogue>\n    <character>GLORIA GARY<\/character>\n    <dialogue>What I mean is, the way you talk about him is different from how you talk about other clients. The way you talk about him is more sincere.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>I guess, yeah, maybe. I guess...<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>It's just... Whenever someone gives up on me, whenever someone stops thinking I can do it, stops believing in me... It just makes me feel all wobbly inside. Like my legs are gonna buckle or something.<\/dialogue>\n    <character>GLORIA GARY<\/character>\n    <dialogue>It's because you need all that constant affirmation. All that endless praise and attention and adjulation, like fuel to you, from whoever you can get it from... But maybe this time, it isn't only about you and your needs.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINER - MORNING<\/stage_direction>\n    <scene_description>Seated in a small booth is a MIDDLE AGED WHITE WOMAN with a very soft-spoken, disposition- LORRAINE MCGRATH (40). After a moment, her eyes glance up to notice Hal entering. CONTINUED:<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Are you, by any chance, Mrs. McGrath? Lorraine?<\/dialogue>\n    <scene_description>She just looks up at him, slightly confused.<\/scene_description>\n    <character>LORRAINE MCGRATH<\/character>\n    <dialogue>Well, yes, but... I'm sorry, I don't mean to be rude, it's just- I was kind of expecting a lawyer.<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>I am a lawyer. I'm the guy you spoke to on the phone, Hal Dockins.<\/dialogue>\n    <character>LORRAINE MCGRATH<\/character>\n    <dialogue>Oh, I'm so sorry... I hope I didn't offend you, it's just... Well, to be honest, you look very young.<\/dialogue>\n    <scene_description>A LITTLE LATER: They're now engaged in a quiet conversation.<\/scene_description>\n    <character>LORRIANE MCGRATH<\/character>\n    <dialogue>I worked t for a Loewen owned funeral home for 13 years. In all that time, I saw a lot, you know, in terms of how that company operates. A lot that<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Before we go any further, I just have one question: Would you be willing to testify?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON MS COURTHOUSE\/ MENS' ROOM - MORNING<\/stage_direction>\n    <scene_description>Standing alone at the sink, Willie washes his hands. Before suddenly one of the stall doors opens, and Jerry steps out.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Morning, Jerry...<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Willie, how are you?<\/dialogue>\n    <scene_description>Silence again, as Jerry heads to the sink beside Willie.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>I guess you're still mad at me, huh?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Yesterday was a very bad day. How about we leave it at that.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>All right look, damn, here it is. I screwed up, okay. I screwed up badly. And I'm, um... sorry about that... I'm sorry. I truly am.<\/dialogue>\n    <scene_description>While Jerry just looks at him in the mirror for a second.<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Sure, okay. Apology accepted.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>All right, cool. Glad that's over.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Is that the first time you've ever apologized to someone like that?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Ah well, yeah, actually. Matter of fact, if I'm honest, my wife helped with some of the phrasing.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Did she? She did a very nice job. Thank her for me, will you.<\/dialogue>\n    <scene_description>Glancing at each others' reflections, they both laugh a bit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON MS COURTROOM - AFTERNOON<\/stage_direction>\n    <scene_description>A little later, Allred now questions that same woman we saw earlier with Hal, Lorraine McGrath, on the stand.<\/scene_description>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Would you mind telling us how long you worked as an employee for the Durbin and Sons Funeral Home in Southaven, Mississippi?<\/dialogue>\n    <character>LORRAINE MCGRATH<\/character>\n    <dialogue>I worked at that funeral home for about 13 years before I quit.<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>And did you witness any transfer of ownership during that time period?<\/dialogue>\n    <character>LORRAINE MCGRATH<\/character>\n    <dialogue>Durban and Sons was bought by the Loewen Group sometime around 1990. I was there during that time.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>And did you notice any changes in the way the company was run, after the Loewen Group took over?<\/dialogue>\n    <character>LORRAINE MCGRATH<\/character>\n    <dialogue>The most significant was how they implemented this policy of raising prices on certain items, you know in areas where they held a monopoly and didn't have any competition. Mostly, this turned out to be poor areas.<\/dialogue>\n    <scene_description>On the jury, we can see their immediate concern over this.<\/scene_description>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Can you give an example of this kind of 'selective' pricing?<\/dialogue>\n    <character>LORRAINE MCGRATH<\/character>\n    <dialogue>There was this one particular casket I remember, the Wilburt Copper Trubune, that was supposed to retail for about $750. Which it did, in some places like, say, Madison. But then over in Corinth, which as you know is very poor...<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Yes, of course...<\/dialogue>\n    <character>LORRAINE MCGRATH<\/character>\n    <dialogue>Over there, they hiked up the price to something crazy, like 3x what it was supposed to cost. Just because they could, because customers didn't have anywhere else to go...<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>So basically, if I understand you, the Loewen group was involved in a form of systematic price gouging?<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>OBJECTION your honor!! How would she possibly know the intentions of people she's never met before...<\/dialogue>\n    <character>JUDGE GRAVES<\/character>\n    <dialogue>Sustained. I agree.<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Let me ask you this, Mrs. McGrath. In your time at Durban and Sons, were you ever left with the impression that the Loewen Group might've been specifically targeting minorities, in...<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>OBJECTION AGAIN, SPECULATION!! My God! What is your basis for this, Mr. Allred!<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>You know what, I apologize. No basis. It was just speculation, that's all. Consider it stricken.<\/dialogue>\n    <scene_description>As Mike then looks back at the jury again however, he can tell the insinuation has piqued their interest nonetheless.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>80A INT. JACKSON INTERCONTINENTAL\/ BAR - LATER 80A<\/stage_direction>\n    <scene_description>Seated around a table are Mike, Reggie, Al, Chris and Dashaan. Surprisingly, they also seem to all be getting along wonderfully! All of them toasting Mike on a great day, while Mike seems to secretly bask in all their newfound affection.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON INTERCONTINENTAL\/ DEFENSE'S WAR ROOM - NIGHT<\/stage_direction>\n    <scene_description>Deep in the night, Mame and her boys, Mayfield and Lee, stay up burning the midnight oil. Pouring over pages of documents.<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>You know what I really don't like about this man?<\/dialogue>\n    <character>RICHARD MAYFIELD<\/character>\n    <dialogue>What man is that?<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Mike Allred... It's like, I look at his face, and I can just feel that he's a bigot. You know what I mean, he's got that bigot kind of face.<\/dialogue>\n    <character>WALTER BELL<\/character>\n    <dialogue>I know what you mean, it's something in the expression.<\/dialogue>\n    <character>RICHARD MAYFIELD<\/character>\n    <dialogue>Generations upon generations of white privilege, all encapsulated in a single simpering grin.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>And to have to sit there and listen to him with that woman on the stand, trying to make himself out like some kind of representative for our people....<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>RICHARD MAYFIELD<\/character>\n    <dialogue>Unfortunately, I think the jury seemed to be eating it up...<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Didn't I see his name on a witness list at some point?<\/dialogue>\n    <character>WALTER BELL<\/character>\n    <dialogue>Supposedly Gary's planning on calling him as some kind of material witness to the agreement between O'Keefe and Loewen.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Which means I'll have him on cross.<\/dialogue>\n    <character>RICHARD MAYFIELD<\/character>\n    <dialogue>Which means you'll have him on cross. What are you going to do about it?<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>You wanna know what I'm going to do, Gentlemen. I'm going to dig, and I'm going to dig, and I'm going to dig. Then once I'm done with all that digging, I'm going to dig some more... Until I finally find it.<\/dialogue>\n    <character>WALTER BELL<\/character>\n    <dialogue>Find what?<\/dialogue>\n    <scene_description>While Mame just looks back and shrugs.<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Whatever it is I'm looking for.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON INTERCONTINENTAL\/ WAR ROOM - DAY<\/stage_direction>\n    <scene_description>Gathered in the plaintiff's war room, we find Hal with his two YOUNG INTERNS. Pouring over papers.<\/scene_description>\n    <character>HAL'S INTERN\/ PETER<\/character>\n    <dialogue>Hey, have any of you guys read about this deal that the Loewen Group made with something called the National Baptist Convention?<\/dialogue>\n    <character>HAL'S INTERN\/ MILES<\/character>\n    <dialogue>National Baptist Convention? What.. What is that?<\/dialogue>\n    <character>HAL'S INTERN\/ PETER<\/character>\n    <dialogue>It's like um, you know, like an arm of the black church.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>HAL'S INTERN\/ PETER<\/character>\n    <dialogue>But a really big one. Probably the biggest actually.<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Sorry, did you just say that Loewen Group has a deal with the black church? What do you mean? How? How does that make any sense?<\/dialogue>\n    <character>HAL'S INTERN\/ PETER<\/character>\n    <dialogue>I don't know, but it's all right here. Apparently they created some kind of partnership about a year ago. Hard to say why, though?<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Can you get me some more information on that?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON MS COURTROOM - DAY<\/stage_direction>\n    <scene_description>Back inside the courtroom, we turn to Judge Graves.<\/scene_description>\n    <character>JUDGE GRAVES<\/character>\n    <dialogue>Are the plaintiffs ready to call their next witness?<\/dialogue>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>Your Honor, we'd actually like to call Mr. O'Keefe's longtime attorney, Mr. Michael Allred, to the stand.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>What!? Seriously your honor, the plaintiffs are trying to call their own lawyer as a witness?! This is highly unprecedented and I'm not sure we're comfortable.<\/dialogue>\n    <character>JUDGE GRAVES<\/character>\n    <dialogue>I'm not sure I am other. What's going on here, Mr. Douglas?<\/dialogue>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>Your honor, we recognize how unusual this is. Mr. Allred was present as Mr. O'Keefe's lawyer during all of his dealings with Loewen. Therefore, we feel his testimony is essential.<\/dialogue>\n    <scene_description>CONTINUED: Judge Graves thinks it over, gradually turning to Mame who just shrugs. DISSOLVE TO: A LITTLE LATER: Mike himself now sits in the witness box opposite Reggie, looking incredibly uncomfortable.<\/scene_description>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>With over 30 years of experience practicing law, specializing in contract law- Did it ever occur to you, Mr. Allred, as you were drawing up the contract between O'Keefe and Loewen- That there could be any misunderstanding about what this document actually was?<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>It was extremely clear to everyone exactly what it was. It was a contract.<\/dialogue>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>And was there anything specifically in the language of the document, that might've suggested that the generally understood period for the deal to close, was open ended?<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>CUT TO: A LITTE LATER: As Mame now rises from her chair.<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Good afternoon, Mr. Allred. How does it feel to be sitting in that chair? Must feel kind of funny right, maybe a bit uncomfortable?<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>It's a little uncomfortable, yeah.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Imagine, and we haven't even gotten started yet.<\/dialogue>\n    <scene_description>The jury laughs a little.<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>So, you've been Mr. O'Keefe's lawyer for quite some time, right?<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>I have. I think maybe 25. No, more like 30 years. In other words, yes.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>And would you say you're also good friends? Are you and Mr. O'Keefe also close friends?<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Jerry's one of my closest friends. We share a lot in common and I admire him deeply.<\/dialogue>\n    <scene_description>Beat. She starts very slowly, methodically, turning pages in her BINDER, taking a very long pause. Looking closely at the pages, we see that it's actually no more then her TO DO LIST.<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Mr. Allred, would you say that this is a case about race?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Objection! The question has no relevance!<\/dialogue>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>Objection! Where's the relevance your honor!<\/dialogue>\n    <scene_description>Willie then shoots Reggie a look before Reggie sits down.<\/scene_description>\n    <character>JUDGE GRAVES<\/character>\n    <dialogue>Overruled! Your side started it, gentlemen. Go ahead Mr. Allred.<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Would I say this was a case about race? No, I wouldn't say it's a case about race.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Oh, but the subject of race does keep coming up, doesn't it? And pretty much exclusively from your side. For example, this whole heroic narrative of Mr. O'Keefe's civil rights record. Denying the KKK that permit and all that...<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>I think what that has to do with- It's about Jerry's character. It's more about Jerry's integrity, and-<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Because he does so many wonderful things for black people, Jerry does...?<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Objection!! Come on now, you<\/dialogue>\n    <character>JUDGE GRAVES<\/character>\n    <dialogue>No, I'm not. Sustained.<\/dialogue>\n    <scene_description>going to allow this!<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Stricken. It's also been made clear, hasn't it, how important family, family legacy, is to Jerry. How about you, do you feel the same? Is family very important to you too?<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Family's not just important, it's everything to me.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>So that's something you and Jerry share in common?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Objection!! Leading the witness!<\/dialogue>\n    <character>JUDGE GRAVES<\/character>\n    <dialogue>Witness can answer, but let's try and get to the point!<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Absolutely, it's something we share in common... Is this really what you want to ask me, Ms. Downes?<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>It is, actually. Because you love your family too, right? In the same way that Jerry loves his family?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Your honor, come on now! You<\/dialogue>\n    <character>JUDGE GRAVES<\/character>\n    <dialogue>Same answer as before.<\/dialogue>\n    <scene_description>gotta put a stop to this!<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>I should clarify, I don't just mean your immediate family. Your extended family too...<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>What are you talking about? I love all the members of my family.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Of course. And I'm sure you're not ashamed or penitent about any particular members of your family? No one you kind of secretly wish you could disown or-<\/dialogue>\n    <scene_description>CONTINUED: (4)<\/scene_description>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Hold on... What?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Objection!<\/dialogue>\n    <character>JUDGE GRAVES<\/character>\n    <dialogue>Overruled!<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>For example your grandfather? What about your grandfather?<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>... My grandfather? What is-<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Did you love your grandfather?<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>He was my grandfather.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>And how do you think he'd feel about you working side by side with all these black attorneys?<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Just remind me- How long was he also a member of the Ku Klux Klan? Your grandfather?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>OBJECTION!!! OBJECTION! OBJECTION!!<\/dialogue>\n    <scene_description>Judge Graves bangs his gavel.<\/scene_description>\n    <character>JUDGE GRAVES<\/character>\n    <dialogue>I heard you the first time, Mr. Gary. The objection is overruled-- answer the question, Mr. Allred.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>I didn't surprise you with that question, did I, Mike?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>OBJECTION!OBJECTION!! I'M JUST GONNA KEEP CALLING EM OUT JUDGE!<\/dialogue>\n    <character>JUDGE GRAVES<\/character>\n    <dialogue>Overruled! Please answer!<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Are you asking if I was aware that my grandfather was once a member of the Ku Klux Klan?<\/dialogue>\n    <scene_description>CONTINUED: (5)<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>I was, but I'm not anymore. No further questions.<\/dialogue>\n    <scene_description>CONTINUED: (6) On the jury, they look completely horrified.<\/scene_description>\n    <character>JURY MEMBER<\/character>\n    <parenthetical>(to another juror)<\/parenthetical>\n    <dialogue>So he a racist?<\/dialogue>\n    <scene_description>Enraged, Al suddenly SLAMS DOWN A PAD, gets up and walks straight out of the courtroom. He's followed by Chris, Reggie and Dashaan and finally the rest of the team. While Jerry just watches them all, stunned silent. Then lowers his head in his hands in total devastation and defeat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON MS COURTHOUSE\/ PLAINTIFF'S CHAMBERS - LATER<\/stage_direction>\n    <scene_description>The door goes FLYING OPEN! Dahsaan, Reggie, Chris, Al, Willie, Hal and Mike, come charging inside.<\/scene_description>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>What the fuck man!? So we in bed with the Klan now!? Is that what this has come to!<\/dialogue>\n    <character>CHRIS WAKEFIELD<\/character>\n    <dialogue>Wow, this shit is a complete disaster! Unreal!!!!<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Come on you guys, it was a total fucking ambush and you know it! She had no right to be asking questions like that! It was completely uncalled for!<\/dialogue>\n    <character>DASHAAN HARRIS<\/character>\n    <dialogue>Hey Mike, do me a favor, don't start talking about uncalled for...<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Jesus Christ!! Mike, seriously man, what the hell, what's the story?<\/dialogue>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>You know the story! The story is this man is a tried and true racist! I mean he literally told us RIGHT TO OUR FACES, right when we first met this nigga!<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>No, that's not true. I never said I was racist! Okay yes, my grandfather was once a member of the Ku Klux Klan.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>But so were a lot of people's grandfather's. It's the South!<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>AL JONES<\/character>\n    <dialogue>Mine wasn't... Oh hold on, let me think... Yeah, no, I'm pretty sure, my grandfather wasn't in no KKK.<\/dialogue>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>For cryin' out loud!! I KNEW we never should've taken this case!<\/dialogue>\n    <character>DASHAAN HARRIS<\/character>\n    <dialogue>Man, seriously!? Well said!<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Her conduct was unconscionable! You can't hold someone responsible for the mistakes of their ancestors!<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>THEY JUST DID, MAN!? THE GODDAMN<\/dialogue>\n    <character>JURY JUST DID!! THEY JUST DID!? AND<\/character>\n    <dialogue>I DON'T EVEN BLAME THEM!<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>But none of it has anything to do with this case!<\/dialogue>\n    <character>AL JONES<\/character>\n    <dialogue>Does anything that has to do with this case, actually have to do with this case?<\/dialogue>\n    <scene_description>Willie whips his head around to Hal.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Why you so quiet back there?<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>I'm processing...<\/dialogue>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>Disgusting! Your granddaddy was a disgusting man, you know that Mike!<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>Hey, watch it! That's still my grandfather you're talking about! Show some respect!<\/dialogue>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>Respect!? Your grandfather was a racist, prejudiced, bigoted piece of white Southern fried garbage!!<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>WHAT!? SAY THAT ONE MORE TIME!! SAY<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>OH YEAH! YOU MEAN IT! COME ON<\/dialogue>\n    <character>NIGGA, YOU WANNA GO! LET'S GO!<\/character>\n    <dialogue>Just as Mike makes a move on Reggie, and Reggie moves on him back! With Hal quickly stepping in between!<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Okay!! Okay!! JESUS!! OKAY!!<\/dialogue>\n    <scene_description>Holding on Mike, he looks a bit pensive, almost sad.<\/scene_description>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>It's true I used to be a certain way, because it's how I grew up, and was all I knew. But I've been changing a lot, and I don't want to be that way anymore. I like you guys so much.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>You know what Mike, we're not going to crucify you for this. Ain't nobody gonna blame you for-<\/dialogue>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>Wait a minute, you serious? You're giving him a pass on this? Seriously!?!<\/dialogue>\n    <scene_description>Beat. Willie doesn't say anything, as Reggie stares at him.<\/scene_description>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>That's it, I'm out!<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>What? Where are you going?<\/dialogue>\n    <character>REGGIE DOUGLAS<\/character>\n    <dialogue>I'm out, I'm done! I'm done with this case! I'm going back to Florida, I'm out!<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>What!?? What do you mean-!?<\/dialogue>\n    <character>CHRIS WAKEFIELD<\/character>\n    <dialogue>Me too, I'm tired of this shit. Case was a lost cause from day one.<\/dialogue>\n    <character>AL JONES<\/character>\n    <dialogue>Fuck it, then I'm out too!<\/dialogue>\n    <character>DASHAAN HARRIS<\/character>\n    <dialogue>Same. I'm too old for this shit!<\/dialogue>\n    <scene_description>CONTINUED: (4) Reggie and the others then head straight out, SLAMMING THE DOOR. Leaving Willie, Hal and Mike standing there, stupefied.<\/scene_description>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>I should probably... I should probably recuse myself, shouldn't I?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Huh, what? Nah Mike, you good. Just forget it. You don't have to-<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>No, I should, shouldn't I. If I even dare step foot in that courtroom again, the jury's never going to see me. They'll just see a guy with a sheet over his head.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Come on, you're not going anywhere. Shit, you may be some cracker ass backwater bigot. But you're my bigot. And I need you here, man.<\/dialogue>\n    <character>MIKE ALLRED<\/character>\n    <dialogue>It's kind of you to say, Willie But we both know if I stay on, my presence is just going hurt the case more. I don't want that.<\/dialogue>\n    <scene_description>Mike and Willie just look at each other for a beat before Mike reaches out a hand to shake, Willie instead pulls him in for a hug.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>84A INT. WAR ROOM - EVENING 84A<\/stage_direction>\n    <scene_description>As an intern lays fast asleep at a desk, we turn to Hal seated at the edge of the conference table. He looks utterly lost and despondent. Hal shoves a stack of papers across the table and they flying off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON INTERCONTINENTAL\/ ROOFTOP - EVENING<\/stage_direction>\n    <scene_description>All alone on the roof again, beneath a gathering twilight, Willie paces and stares out at the city, paces and stares out at the city. He looks so incredibly sad and frustrated<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. O'KEEFE FAMILY RESIDENCE - EVENING<\/stage_direction>\n    <scene_description>Jerry sits on the porch, looking like a man who's been through hell. After a moment Annette comes out to join him.<\/scene_description>\n    <character>ANNETTE O'KEEFE<\/character>\n    <dialogue>Hey, I was looking for you. How's everything going?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>We had another disastrous day in court. This whole sordid business with Mike's family suddenly being brought up out of nowhere...<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>ANNETTE O'KEEFE<\/character>\n    <dialogue>Mike's family? What does Mike's family have to do with anything?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Oh, it doesn't matter. Point is, this thing is really not going the way I hoped, and... Maybe you were right all along. Maybe it's time I throw in the towel. Give up.<\/dialogue>\n    <scene_description>Gently turning, she looks him dead in the eyes.<\/scene_description>\n    <character>ANNETTE O'KEEFE<\/character>\n    <dialogue>You're serious? You mean that?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>This whole thing was so stupid of me, wasn't it? To think that someone like me could ever stand a chance against someone like him? I'm sorry Annie. I'm so sorry for everything I put you through....<\/dialogue>\n    <character>ANNETTE O'KEEFE<\/character>\n    <dialogue>You don't need to be sorry, Jeremiah. Not to me anyway. I know who you are. One of your most admirable qualities has always been your utter inflexibility in the face of injustice. And I love you for that. And maybe a couple other things too... But it's an equally good quality to know when to let go.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Have you told Willie yet?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Not yet. I feel like I should do it in person, don't you?<\/dialogue>\n    <character>ANNETTE O'KEEFE<\/character>\n    <dialogue>I think that would be nice, yes. I think that would be the right thing to do.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>It's the weekend tomorrow. I'll go by the hotel in the morning.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON INTERCONTINENTAL\/ LOBBY - MORNING<\/stage_direction>\n    <scene_description>Entering the lobby, Jerry heads to the CONCIERGE DESK. CONTINUED:<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Hi there, would you mind calling up to Mr. Gary's room for me please...<\/dialogue>\n    <scene_description>Behind the desk, the same HOTEL RECEPTIONIST we saw before.<\/scene_description>\n    <character>HOTEL RECEPTIONIST<\/character>\n    <dialogue>Gary... Let's see... Oh, sorry Sir, I'm afraid he's checked out.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Checked out?<\/dialogue>\n    <character>HOTEL RECEPTIONIST<\/character>\n    <dialogue>Oh, I see, just for the weekend. He did leave a forwarding address, somewhere in Florida. But I'm afraid I'm not authorized to-<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>That's okay, I think I have it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CASA GLORIA\/ DRIVEWAY - AFTERNOON<\/stage_direction>\n    <scene_description>We see a TAXI slowly pull into the to massive driveway. Jerry then steps out, staring up curiously at the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. CASA GLORIA - SAME TIME<\/stage_direction>\n    <scene_description>As the SOUND OF THE DOORBELL echoes through, we follow tightly behind Gloria, skipping down a staircase to the door. SECONDS LATER: Gloria opens it and is immediately confused to discover this strange older white man on the other side.<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Hi there, you must be Mrs. Gary...?<\/dialogue>\n    <character>GLORIA GARY<\/character>\n    <dialogue>Yes...?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Forgive me for just showing up like this, but I'm Jeremiah O'Keefe.<\/dialogue>\n    <scene_description>Gloria's still confused, continuing to look at him. Before:<\/scene_description>\n    <character>GLORIA GARY<\/character>\n    <dialogue>Oh! You mean you're Jerry! The Jerry. That my husband's always going on about...?<\/dialogue>\n    <scene_description>She laughs and he laughs too. CONTINUED:<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>That Jerry, yes. I guess I am. Is Willie home by the way?<\/dialogue>\n    <character>GLORIA GARY<\/character>\n    <dialogue>Well, no, I'm afraid he's not. He's over at his mother's in Indiantown, where he usually goes on Saturdays.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Indiantown, okay? How far is that?<\/dialogue>\n    <character>GLORIA GARY<\/character>\n    <dialogue>About 20 miles. Tell you what, if you give me a minute to grab my keys, I can drive you there myself.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Are you sure? I'm happy to take a taxi, I wouldn't want to impose...<\/dialogue>\n    <scene_description>She looks at him a little funny, then smiles.<\/scene_description>\n    <character>GLORIA GARY<\/character>\n    <dialogue>No, no, it's all good. Come on now, I got you Jerry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LANDSCAPE - DAY<\/stage_direction>\n    <scene_description>In a majestic SUPER WIDE, we look out across the vast Florida landscape, seeing Gloria's little Mercedes, the lone car for miles, cut straight across the horizon.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GLORIA'S MERCEDES - SAME TIME<\/stage_direction>\n    <scene_description>Gloria and Jerry sit side by side in Gloria's car.<\/scene_description>\n    <character>GLORIA GARY<\/character>\n    <dialogue>So, what made you come all the way down from Mississippi? Are you and my husband having some kind of lover's quarrel...?<\/dialogue>\n    <scene_description>Confused by the question, Jerry suddenly gets tongue-tied.<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Are we-?... Sorry-?... What do you mean by-?<\/dialogue>\n    <scene_description>Gloria instantly starts laughing.<\/scene_description>\n    <character>GLORIA GARY<\/character>\n    <dialogue>Oh no, it's okay, it was a joke. It's a joke my baby, just a joke.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <parenthetical>(laughing too)<\/parenthetical>\n    <dialogue>Oh, right... Yeah... Of course.<\/dialogue>\n    <parenthetical>(then:)<\/parenthetical>\n    <dialogue>There's just something I need to talk to him about, and I thought it'd be best to do it in person.<\/dialogue>\n    <character>GLORIA GARY<\/character>\n    <dialogue>I see...<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>You know, even though Willie and I have had our differences, I still think he's a remarkable man.<\/dialogue>\n    <character>GLORIA GARY<\/character>\n    <dialogue>I think he thinks the same.<\/dialogue>\n    <scene_description>Jerry's eyes then gradually turn to the window.<\/scene_description>\n    <character>GLORIA GARY<\/character>\n    <dialogue>We're just entering Indiantown now.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>This is where Willie's from?<\/dialogue>\n    <character>GLORIA GARY<\/character>\n    <dialogue>This is where we're both from.<\/dialogue>\n    <scene_description>At the same time as Gloria reaches to turn the VOLUME up on the car's stereo, thrusting the music back up, as we... DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. IMAGES OF INDIANTOWN - TBD<\/stage_direction>\n    <scene_description>From the vantage point of a car slowly passing by, we see various vignettes of all the breathtaking poverty and destitution of this place. The music still carrying over... DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WILLIE'S MOTHER'S HOUSE - AFTERNOON<\/stage_direction>\n    <scene_description>In a very naturalistic, freeform way, we go to all kinds of little beats and moments from this LARGE FAMILY GATHERING.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WILLIE'S MOTHER'S HOUSE\/ LIVING ROOM - AFTERNOON<\/stage_direction>\n    <scene_description>All crammed inside this tiny family room, in front of a TV, are 15 ADULTS and CHILDREN, all members of the Gary Clan. With Willie sitting smack dab in the middle on the couch, all watching THE PRICE IS RIGHT together. CONTINUED:<\/scene_description>\n    <character>GLORIA GARY (O.S.)<\/character>\n    <dialogue>Hey Willie, you in here, I brought a surprise guest...?<\/dialogue>\n    <scene_description>Willie's then instantly shocked to see Jerry there. As Jerry is equally shocked to see all these faces staring up at him.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>What!? Jerry, what are you doing here! Damn, this is a surprise! Good to see you here, man!<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Hi Willie...<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Where are my manners. Let me introduce you to my family. Hey family, everybody say Hi to Jerry.<\/dialogue>\n    <character>ALL THE FAMILY MEMBERS TOGETHER<\/character>\n    <dialogue>HIIIIIIIIIIIIIIII JERRY!!!<\/dialogue>\n    <scene_description>Just as an utterly ADORABLE LITTLE GIRL (5) runs over and starts yanking Jerry's pant leg, trying to get his attention.<\/scene_description>\n    <character>LITTTLE GIRL<\/character>\n    <dialogue>Hi Jerry, I'm Shania.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Hi Shania, I'm Jerry.<\/dialogue>\n    <scene_description>MOMENTS LATER: As Jerry sits together with them all, holding Shania on his lap, mesmerizing her with some magic trick.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WILLIE'S MOTHER'S HOUSE\/ BACKYARD - LATER<\/stage_direction>\n    <scene_description>Beneath a radiant late afternoon sun, Willie and Jerry sit together with an older woman in her 80s. WILLIE'S MOTHER.<\/scene_description>\n    <character>MAMMA GARY<\/character>\n    <dialogue>Did Willie ever tell you he's one of 11 siblings? Number 6 out of 11.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Believe it or not, I have thirteen children myself.<\/dialogue>\n    <character>MAMMA GARY<\/character>\n    <dialogue>Do you? So you know there's always that one baby, that no matter what you do won't ever seem to let you go. Always wrapped around the bottom of your leg, clinging to you for dear life...<\/dialogue>\n    <scene_description>CONTINUED: Jerry nods, smiles. As Willie looks a little embarrassed.<\/scene_description>\n    <character>MAMMA GARY<\/character>\n    <dialogue>And just look where all that longing, all that desperation for love, has gotten him now...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON INTERCONTINENTAL\/ WAR ROOM - DAY<\/stage_direction>\n    <scene_description>We see a lot of sad faces, as Hal mulls about in the war room with his two INTERNS. All of them seeming so despondent.<\/scene_description>\n    <character>HAL'S INTERN\/ MILES<\/character>\n    <dialogue>You really think it's over, boss?<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>I don't think there's any way we can win anymore. My guess is Jerry's probably starting to see it that way too. Come on, let's start packing some of this stuff up.<\/dialogue>\n    <scene_description>As they all start piling boxes, Hal's eyes happen to fall on one BOX OF FILES in particular, being carried away:<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Hold up. What's in that one again?<\/dialogue>\n    <character>HAL'S INTERN\/ PETER<\/character>\n    <dialogue>It's that info you requested about Loewen's deal with the National Baptist Convention. Remember all those statements we took...<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>You know what, maybe don't take that one away just yet.<\/dialogue>\n    <scene_description>A LITTLE LATER: With everyone gone for lunch, Hal sits by himself, pouring over all the NBC DOCUMENTS. We notice him gently run his highlighter over a single name: Ruben Soames.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUGARCANE FIELDS - MAGIC HOUR<\/stage_direction>\n    <scene_description>Beneath a rosy-fingered canopy of clouds, Willie and Jerry walk through the cane fields behind his mom's house. Just walking side by side in silence, before Jerry finally stops:<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>The reason I came all the way out here is because there's something I need to talk to you about...<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>I already know. You're here to tell me you want to drop the case.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>I know how disappointing this must be. If I thought there was any chance we could still...<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>It's all right, I'm not angry at you Jerry. You gotta do what you gotta do, right. I just wish you would've given me one more shot at it, though. Because I know, I know- I just know with all my heart- That you and I together, we could've taken that company down Jerry. We could've taken that company down.<\/dialogue>\n    <scene_description>Jerry just looks at him a moment, thinking it over.<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>I hope you know how much I've enjoyed getting to know you. Even though this one didn't break our way, getting to know you was a highlight.<\/dialogue>\n    <scene_description>Before suddenly, they hear the faint sound of a PHONE BUZZ.<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Christ, what's that noise?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>... Oh wait, is that my phone... I think it's my phone...?<\/dialogue>\n    <scene_description>Willie starts patting all his pockets, before finally finding the phone. He answers it.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <parenthetical>(into the phone)<\/parenthetical>\n    <dialogue>Hello...Hal?... Hal?...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON INTERCONTINENTAL\/ WAR ROOM - DAY<\/stage_direction>\n    <scene_description>Back at the hotel, Hal sits on the phone in the war room. With the following conversation now INTERCUT:<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Willie, can you hear me?... Are you there?... Can you hear me?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Sort of... I can hear you a little better... Jesus, these things are the stupidest invention ever...<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Listen, are you with Jerry? Whatever you do, don't let him drop the case, okay... I repeat, DO NOT let Jerry drop the case...<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>What are you talking about, why?<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>Just trust me, okay. I may have found something.<\/dialogue>\n    <scene_description>Hanging up the phone, Wille stares at Jerry, who stares back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RURAL REGIONS OUTSIDE JACKSON - AFTERNOON<\/stage_direction>\n    <scene_description>Off in some vast and beautiful countryside, Hal and Willie walk together with ANOTHER MAN. An older, weathered, yet incredibly tender AFRICAN-AMERICAN MAN, RUBEN SOAMES (75).<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>So you're a funeral director, Mr. Soames, is that right?<\/dialogue>\n    <character>RUBEN SOAMES<\/character>\n    <dialogue>That's right. I've been in the business my whole entire life. I suppose tendin' to the dead and all those poor, hurtin' family members they leave behind- is kind of like a special calling for me.<\/dialogue>\n    <scene_description>As they continue to walk along, they gradually come to the edge of some great, wide open field. Rueben then stops.<\/scene_description>\n    <character>RUBEN SOAMES<\/character>\n    <dialogue>You know what this right here is?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Not sure....<\/dialogue>\n    <character>RUBEN SOAMES<\/character>\n    <dialogue>What it is, is a cemetery. Though you wouldn't ever know it, from looking at it- On account of the fact they're no headstones.<\/dialogue>\n    <scene_description>Hal and Willie just look at each other, he smiles at them. CONTINUED:<\/scene_description>\n    <character>RUBEN SOAMES<\/character>\n    <dialogue>But that's because this is a different kind of cemetery. An old slave burial ground. And everybody knows slaves didn't have no money of their own to ever bury their loved ones with headstones.<\/dialogue>\n    <scene_description>Just as MUSIC, the same- (SHOSTAKOVICH\/ SYMPHONY No 11 Op.103 PALACE SQUARE ADAGIO)- now gradually fills in again....<\/scene_description>\n    <character>RUBEN SOAMES<\/character>\n    <dialogue>All throughout the South, you see big empty fields just like this one-<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SERIES OF VAST EMPTY FIELDS - TBD<\/stage_direction>\n    <scene_description>In an exact replica of what we saw in the beginning of the movie, we enter into a series of all these vast wild fields.<\/scene_description>\n    <character>RUEBEN SOAMES (O.S.)<\/character>\n    <dialogue>And though you'd never know it to look, our entire history, the history of black people in the South, of our slave ancestors, is buried everywhere out here. Deep underground, pretty much everywhere you look, that's where our history is, in all these vast empty fields.<\/dialogue>\n    <scene_description>BACK TO:<\/scene_description>\n    <character>RUBEN SOAMES<\/character>\n    <dialogue>In some places, they even put up all these statues, you know like all these confederate monuments and statues you see all around here....<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SERIES OF VAST EMPTY FIELDS - TBD<\/stage_direction>\n    <scene_description>Cutting away again, we see more beautiful, overgrown fields:<\/scene_description>\n    <character>RUBEN SOAMES (O.S.)<\/character>\n    <dialogue>All a lot of them were put up right on top of slave burial grounds. Almost like taking one history and putting it right on top of another. Taking one man's legacy, and putting it on top of another. Til one day the other gets pushed down so deep, buried so deep- Can't no one ever find it no more.<\/dialogue>\n    <scene_description>CONTINUED: MOMENTS LATER: As the three of them walk toward Ruben's home, Hal notices something. It's that same AMERICAN FLAG lying all alone in the grass. Confused by it, Hal's just about to say something, but then changes his mind.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RUBEN SOAMES' FUNERAL HOME\/ LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Seated around this very tiny living room are Willie, Hal, Rueben, plus two OLDER AFRICAN AMERICAN WOMEN.<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>What can you tell us about the deal between Loewen Group and the National Baptist Convention?<\/dialogue>\n    <character>MATTIE THIBODEAU<\/character>\n    <dialogue>I can tell you nothing good ever come out of it, at least not for black folks. That's the truth.<\/dialogue>\n    <character>RUBEN SOAMES<\/character>\n    <dialogue>About a year back, Loewen Group connected with some of the top leadership in the NBC, one of the largest single branches of the black church. Representing some 33,000 churches and over than 8 million members. Anyway, so they propose this deal to the NBC. Told them that if they could convince the black church to endorse Loewen as its 'death-care provider of choice', they'd help turn some of its members into salesmen. You know like teach 'em how to sell everything from graves, crypts, headstones, burial insurance, straight to their own people.<\/dialogue>\n    <character>MATTIE THIBODEAU<\/character>\n    <dialogue>And for every product they sold, they could keep the commission.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>You tryin' to tell me Loewen managed to convince poor black people to hawk his funeral products to other poor black people. On the promise of some commission?<\/dialogue>\n    <character>RUBEN SOAMES<\/character>\n    <dialogue>Course they claimed it was all win- win, way to help folks out of poverty, boost economic empowerment. But it never did much for anyone, except Loewen Group.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>MATTIE THIBODEAU<\/character>\n    <dialogue>They were just trying to find another way to exploit black folks in their most vulnerable moments. Get them to pay way more money then they had for things couldn't never afford in the first place.<\/dialogue>\n    <character>RUBEN SOAMES<\/character>\n    <dialogue>In other words, American Capitalism at its finest.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RUBEN SOAMES' FUNERAL HOME\/ DRIVEWAY - LATER<\/stage_direction>\n    <scene_description>About an hour or so later, Hal and Willie now stand alone in the driveway, about to climb back into Willie's rented BMW.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>You know, my mamma used to have a saying. Just a very simple, very true saying...<\/dialogue>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>What was it?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>You don't fuck with the black church.<\/dialogue>\n    <scene_description>MOMENTS LATER: We follow from above, watching their car drive away down the road. SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON MS COURTROOM - DAY<\/stage_direction>\n    <scene_description>Back inside the courtroom, we now enter a rapid-fire MONTAGE of different WITNESSES in the box. All are African American.<\/scene_description>\n    <character>NBC WITNESS 1\/ MALE<\/character>\n    <dialogue>My child was lying there in the hospital. Dying. You can't even imagine what it feels like. Then suddenly this man from the NBC shows up, asking if I've made any funeral arrangements yet and if I'd be interested in the Loewen burial package. Said I'd get a much better deal if I paid upfront, before my son died...<\/dialogue>\n    <scene_description>CUT TO: CONTINUED:<\/scene_description>\n    <character>NBC WITNESS 2\/FEMALE<\/character>\n    <dialogue>I'd already given all the money I had, when this group from my church tried to convince me I still needed the pre-need burial insurance. Once my husband finally passed, That's when they said the package I bought still didn't cover the cost of embalming or moving the body.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n    <character>NBC WITNESS 3\/MALE<\/character>\n    <dialogue>He assured the coffin I bought for my mom was the least expensive one. Come to find out the one they sold me was three times more than average. When your own preacher comes to you telling you need something, and you're religious. You believe it.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n    <character>NBC WITNESS 4\/ FEMALE<\/character>\n    <dialogue>I had heard they were offering some kind of \"grief counseling\" at the church, and thought it would be worth trying. But rather than give me any comfort, the deacon assigned to be counsellor used it as an opportunity to shove me a bunch of brochures in my face and try and recruit me as a Loewen sales rep.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n    <character>NBC WITNESS 5\/ FEMALE<\/character>\n    <dialogue>Some of them members came to me and told me the actual cost of burying my father was going to be much more than what they said when I got the policy. They was charging for the embalming, viewing and other services that wasn't included. Then, when I told them I didn't have the extra money and didn't know how long it would take me to come up with it, they said they'd happily, 'keep the body on ice for me', until I did.<\/dialogue>\n    <scene_description>Until we finally land on a very different-looking witness. A more polished MIDDLE AGED WHITE MAN (45), executive type. CONTINUED: (2)<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>You work as a financial analyst overseeing high-level deals for the Loewen Group, that correct?<\/dialogue>\n    <character>GORDON METZGER<\/character>\n    <dialogue>Yes, it's correct.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>You were also one of the principal architects involved in designing the Loewen Group's recent deal with the National Baptist Convention...?<\/dialogue>\n    <character>GORDON METZGER<\/character>\n    <dialogue>Yes, I was.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Exactly how much money did Loewen Group expect to make, over time, as a result of its arrangement with the NBC? Remember you're under oath-<\/dialogue>\n    <character>GORDON METZGER<\/character>\n    <dialogue>Our original longterm projections on that deal, were somewhere around 1 maybe 1.2 billion dollars.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>And how much money was paid to the NBC by the Loewen Group as compensation for this arrangement?<\/dialogue>\n    <character>GORDON METZGER<\/character>\n    <dialogue>About 200,000... dollars.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON INTERCONTINENTAL\/ DEFENSE'S WAR ROOM - LATER<\/stage_direction>\n    <scene_description>Back in the defense team's war room, Mame is a complete frayed nerve, livid. Pow wowing with Mayfield and Lee.<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Fuck! How did we not have this!? Can someone explain how we didn't have this piece about the NBC!! It's embarrassing!<\/dialogue>\n    <character>RICHARD MAYFIELD<\/character>\n    <dialogue>We had it. We just didn't have it.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>We just didn't have it have it. Wow, thanks Richie, that's really helpful. This is such a mess, such a fucking mess! I can't believe it, but I think I've gotta call Loewen!<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>RICHARD MAYFIELD<\/character>\n    <dialogue>What? You're going to call Loewen, now? What time is it in Vancouver?<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>No, not on the phone, Richie- I mean to the stand. I've got to call Loewen as a witness, and put him on the stand!<\/dialogue>\n    <character>WALTER BELL<\/character>\n    <dialogue>Woah. Hang on there Downes. You know I've respected all your decision making thus far. But putting Loewen on the stand, sounds way risky to me.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>You think I don't know that already, Walter!? You think this is something I want!? We got murdered in there today! Look at where the fuck we are!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRIVATE AIRPORT IN JACKSON - NIGHT<\/stage_direction>\n    <scene_description>Late in the night, we see the flickering lights of another PRIVATE JET come screeching down onto a runway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAY LOEWEN'S PRIVATE JET - SAME TIME<\/stage_direction>\n    <scene_description>Seated in the cabin, Ray Loewen happens to glance out the window and notice another large JET, parked right beside his.<\/scene_description>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>Whose plane is that over there?<\/dialogue>\n    <character>LOEWEN'S STEWARD<\/character>\n    <dialogue>Oh, that? I'm pretty sure that plane belongs to Mr. Gary, Sir.<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>To who?<\/dialogue>\n    <character>LOEWEN'S STEWARD<\/character>\n    <dialogue>Willie Gary. He's the lawyer for the other side in the case against you in court right now.<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>The lawyer? You mean to tell me the lawyer, has a bigger plane than I do?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON MS COURTROOM - DAY<\/stage_direction>\n    <scene_description>Back inside the courtroom, Ray is now seated in the witness box opposite Mame, who stands across the room, at the podium.<\/scene_description>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>As a business man of over 30 years, dealing with people honestly has always been important to us. Do we seek to be tough competitors in an increasingly volatile market? Yes. But we don't cheat people, that's not how we operate.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>No further questions.<\/dialogue>\n    <scene_description>Mame then heads back to her table, just as Willie rises. Seated at the plaintiff's table, we notice Jerry turn behind him to look at Annette in the audience, who nods back at him.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Fair to say, we've heard from a lot of people during this trial- But the one person we really haven't heard from, is you. How about you give us your own version of what went down between you and Mr. O'Keefe in this deal.<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>Sure, I can do that. I believe it was roughly a year ago when we received an inquiry from a representative of Mr. O'Keefe's. In fact, I'm pretty sure it was his lawyer, Mr. Allred, who first reached out- wanting to know if our company might have any interest in purchasing a small parcel of funeral homes. My understanding is they were very anxious to sell. So we started looking at the deal, sussing it out, trying to determine if this was something that fit with our business. Sometime after that, is when I invited Mr. O'Keefe and his associates up to Vancouver. If I recall, they all came for dinner on my boat and we discussed things. After that, hard to say. Normally at that stage, I tend to hand things over to my acquisitions team. And am less involved in the day-today...<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Very helpful, thank you Mr. Loewen. And lucky for you, I really just have one follow-up question...<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>Well, why don't you go ahead and ask it then.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>What kind of boat?<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>Come again?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>A moment ago you said you invited Mr. O'Keefe and his associates for dinner on your \"boat\". I'm just wondering what kind of boat it was?<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>I don't understand? Are you asking about the particular make, or-<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Put it this way, does your boat have...<\/dialogue>\n    <parenthetical>(grabbing a paper)<\/parenthetical>\n    <dialogue>9 separate sunning decks, 6 elegant state rooms, 5 luxury guest cabins, a kitchen and dinning galley? Can you land a helicopter on top of your boat? If you had to choose between the two- would you say it's more of a boat or a yacht?<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>What's the difference?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>What's the difference? You don't know what the difference is between a boat and a yacht? Seriously?<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>No. I'm afraid I don't.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Exactly how much does this boat of yours, cost?<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>I really don't know.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>You don't? You don't know? You don't know how much it costs?<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>I'm afraid I don't. I'm sorry.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Didn't you buy it?<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>Yes, I did.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>But you don't remember how much it costs?<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>No, I don't.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Let me repeat the question, case you didn't hear me the first time- I asked how much your boat costs?<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>Like I just said, I don't know.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>I'll repeat the question, listen very carefully, you listening- How much does your boat cost?<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>I don't know?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>How much does your plane cost, Mr. Loewen? How much, Ray?<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>How much does your plane cost, Mr. Gary? I saw it on the runway.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>We're not here to talk about my plane right now, we're here to talk about your boat. You wanna tell me how much it costs now?<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Objection!!<\/dialogue>\n    <character>JUDGE GRAVES<\/character>\n    <dialogue>Overruled! The witness must answer the question!<\/dialogue>\n    <scene_description>CONTINUED: (3) HOW MUCH DOES YOUR BOAT COST!? CONTINUED: (4) I DON'T KNOW!!! HOW MUCH DOES YOUR BOAT COST!? I DON'T KNOW!!! HOW MUCH DOES IT COST! WHAT IS YOUR POINT!?!?<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>MY POINT!? MY POINT!?... My point is this: When you're sitting there, sunning yourself, on the deck of your 25 million dollar yacht. Eating your 30 dollar a head lobster- Does it ever bother you to know that- ALL OF IT- is being paid for by all the poor and destitute people your company systematically exploits everyday for profit.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Objection! Argumentative!!<\/dialogue>\n    <character>JUDGE GRAVES<\/character>\n    <dialogue>Overruled!!<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>People you not only took advantage of, and did so in their weakest moment! In their blinding fog of loss and grief! That it's being paid for by all the hardworking small business owners, all across this country, just trying to keep up, trying to stay afloat, while huge, greed driven corporations-<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>You know, I think I've had quite enough of this...<\/dialogue>\n    <scene_description>Furious, Ray starts to get up from his chair, before suddenly- SIT YOUR ASS BACK DOWN IN THAT CHAIR!! I AM NOT DONE WITH YOU YET, SIR!!! NOT BY A LONG SHOT!! Mame Downes jumps out of her seat. OBJECTION, YOUR HONOR!! CONTINUED: (5)<\/scene_description>\n    <character>JUDGE GRAVES<\/character>\n    <dialogue>Sustained! Mr. Gary, language of that nature will not be tolerated in my courtroom!!<\/dialogue>\n    <scene_description>Judge Graves then turns to look at the witness.<\/scene_description>\n    <character>JUDGE GRAVES<\/character>\n    <dialogue>Mr. Loewen, you are not allowed to leave the witness stand until you have been excused by me--do you understand?<\/dialogue>\n    <scene_description>Stunned, Ray just stares at Willie, slowly sits again.<\/scene_description>\n    <character>JUDGE GRAVES<\/character>\n    <parenthetical>(back to Willie)<\/parenthetical>\n    <dialogue>You may continue, Mr. Gary...<\/dialogue>\n    <scene_description>CONTINUED: (6)<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>I just want to know if it ever bothered you, that's all?<\/dialogue>\n    <scene_description>While Ray just glares back at him. MOMENTS LATER: As Ray gracefully steps down, he calmly goes to shake hands with each member of the plaintiff's team, smiling politely, thanking them all...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON INTERCONTINENTAL\/ DEFENSE'S WAR ROOM - LATER<\/stage_direction>\n    <scene_description>We suddenly see a CHAIR GO FLYING ACROSS THE ROOM! Then turn to see Ray in the middle of the room, in an absolute TIRADE! MOTHERFUCKER!!! WHAT THE FUCK WAS THAT!! I GOT SKEWERED UP THERE! While across the room Mame sits with Mayfield and Lee.<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Are you done? Are you finished?<\/dialogue>\n    <scene_description>He just looks at her.<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>You know what, Mr. Loewen, I'm no fool. We both know why you hired me. But I came here to do a job, and I'm going finish that job. Because it's my professional obligation to do so. I'll be back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON INTERCONTINENTAL\/ HALLWAY - MOMENTS LATER<\/stage_direction>\n    <scene_description>We see TWO DOORS OPEN in unison, suddenly realizing that each of the 'War Rooms' were adjacent this whole time. Stepping in the hall, Mame and Willie walk 10 feet to meet in the middle.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Whadd'up Sister Souljah? What you got for me?<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>I'm here to let you know that we've come to a decision.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Really, and what might that be?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Based on the day's events, we feel it would probably be best for all parties involved to reopen a settlement discussion. In other words, we're now prepared to make your client a very generous offer.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>All right, I like the sound of that. How generous are we talking?<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Obviously, it's not 100 million.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Obviously...<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Nevertheless, I'd say it's in a range where neither Jerry, nor his kids, or his grandkids- Should ever have to worry about anything again.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Why don't ya'll meet us over in our room in a couple hours. Oh and don't forget to bring your best negotiator. Cause oooh child your ass is gonna need him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON INTERCONTINENTAL\/ WAR ROOM - LATER<\/stage_direction>\n    <scene_description>We now find all parties involved seated around a table. Willie, Hal, Jerry, Annette. Mame, Loewen and a couple other lawyers. Plus the defense team's NEGOTIATOR- WHITE MALE (65).<\/scene_description>\n    <character>LOEWEN'S NEGOTIATOR<\/character>\n    <dialogue>Generally damages in tort are awarded to simply restore the plaintiff back to the position he\/she was in, before the tort occurred. However, given how protracted this whole matter has become, we believe it's in all our best interest, to just resolve this once and for all. We'd like to make you what we consider a very generous offer. Obviously, should you decide not to take it, we can all go back into court tomorrow and you can roll the dice with the jury. But frankly, the chances you'll win, or get anywhere close to this number- Is a risk I doubt you'll want to take.<\/dialogue>\n    <scene_description>CONTINUED: The Negotiator then takes out a small paper, scribbles down a number, folds it and hands it to Mame. She opens it, looks at it, folds it back up and slides it over to Willie.<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Here's our offer...<\/dialogue>\n    <scene_description>Willie opens the paper, looks at it. Then folds it back up and slides it to Jerry. Who himself opens it, looks at it, shares it with Annette, who looks at it too. Jerry and Annette then silently nod at each other.<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>The answer is, No.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Excuse me? Are you serious? Is he serious?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>I said the answer is, No.<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>You mean to tell me you're really turning that down? Really? You don't want to maybe take a little more time think about it?<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>I've thought about it enough.<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>Have you? I think we both know that's more money than you'll ever see in your lifetime.<\/dialogue>\n    <scene_description>Jerry stares back a moment, before sliding the paper back.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>We finished here? Or ya'all wanna keep wasting more of our time?<\/dialogue>\n    <scene_description>Loewen grabs the paper, crumbles it. He then leans over to whispers to Mame, who in turn whispers to the Negotiator, who jots down another number. He folds it, slides it to Mame, who looks at it, before folding it back up, sliding it to Willie.<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Consider this our best and final.<\/dialogue>\n    <scene_description>Willie has a quick look, folds it back up, slides it to Jerry. Who now opens and looks at it too, shows it too Annette, and they just look at each other again. Long beat.<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>The answer's still, No.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>Well this is fucking unbelievable. What the hell's the problem, O'Keefe? You can't honestly tell me it's not enough.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>Oh, it's more than enough for me. Just not enough for you. As in, not enough to put you out of business.<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>Ha! Let me tell you something, pal. The amount of money it would take to put me out of business- the real, actual amount- is a number you can't even calculate. Take the money. You're 75 years old.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Can you maybe speak to your client?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>And say what? He said it's a, No. Last I checked, means it's a, 'No'.<\/dialogue>\n    <character>RAY LOEWEN<\/character>\n    <dialogue>You know something, I gotta ask- What does it feel like to be some small-time, nobody funeral director on the verge of bankruptcy- who just turned down his one and only chance at 80 million dollars?<\/dialogue>\n    <scene_description>Undeterred, Jerry just stares back at Ray, firm and then all out of nowhere, he starts very softly SINGING:<\/scene_description>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <parenthetical>(a la Tony Toni Tone song)<\/parenthetical>\n    <dialogue>It feels goooood... Yeeeeah... It feels gooood... Badumbumbum bum...<\/dialogue>\n    <scene_description>Willie smiles and they both start singing together. Just as we hear the loud OPENING BEATS OF (FEELS GOOD) COME IN, STAY FOR 8 SECONDS, GO OUT. Willie SLAMS his hand on the table!<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>You heard the man!! No deal! See ya'll back in court!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON INTERCONTINENTAL\/ WILLIE'S SUITE - EVENING<\/stage_direction>\n    <scene_description>We hear the sound of a DOORBELL as Willie steps out from the bathroom. He heads over to the door to open it... Willie's then instantly surprised to discover none other than Gloria on the other side. They immediately start laughing. CONTINUED:<\/scene_description>\n    <character>GLORIA GARY<\/character>\n    <dialogue>Hey there handsome, thought you could use some company.<\/dialogue>\n    <scene_description>They continue to laugh so sweetly, endearingly, as MUSIC- (RALPH TRESVANT\/ SENSITIVITY)- drifts in and carries over...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VARIOUS TRANSITIONAL IMAGES - EVENING<\/stage_direction>\n    <scene_description>Various atmospheric transitional exteriors day to night, TBD.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON INTERCONTINENTAL\/ WILLIE'S SUITE - NIGHT<\/stage_direction>\n    <scene_description>Music blasts through the suite, as Willie and Gloria dance with each other. Him (badly) singing along to the song...<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Giiiiirl, I know it's been hard, since he went away... And left you so sad, you cry everyday... let me kiss your tears, erase all your doubts... Cause for you I'm here, you won't be without....<\/dialogue>\n    <character>WILLIE AND GLORIA TOGETHER<\/character>\n    <dialogue>Loooooooooooooooooove!!!<\/dialogue>\n    <scene_description>MOMENTS LATER: Now the music fades off as they fall onto the bed together. Lying side by side, staring at the ceiling.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>You put a smile on my face today, you know that?<\/dialogue>\n    <character>GLORIA GARY<\/character>\n    <dialogue>I aim to please.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Closing argument's tomorrow...<\/dialogue>\n    <character>GLORIA GARY<\/character>\n    <dialogue>You think I don't know that?<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>I done big cases before but- Never when I had so many people depending on me to make it right. Jerry, most of all... I keep thinking, what if I lose? What if I screw it up, let all these people down...<\/dialogue>\n    <character>GLORIA GARY<\/character>\n    <dialogue>Well, you're not going let them down, so you don't need to worry.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>You know that for a fact?<\/dialogue>\n    <character>GLORIA GARY<\/character>\n    <dialogue>I don't know 'it' for a fact. I just know you for a fact. I know the man I married. Oh, but one suggestion though, baby...<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Yeah, baby...<\/dialogue>\n    <character>GLORIA GARY<\/character>\n    <dialogue>When you're up there in court tomorrow, doing your thing...<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Doing my thing...<\/dialogue>\n    <character>GLORIA GARY<\/character>\n    <dialogue>Just try not to refer to yourself in the third person, okay...<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Huh? What do you mean by that? I don't do that, do I...?<\/dialogue>\n    <character>GLORIA GARY<\/character>\n    <dialogue>Yeah, you do. Just a little...<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Do I? No, I don't think so. I don't think I do...<\/dialogue>\n    <character>GLORIA GARY<\/character>\n    <dialogue>Trust me, you do. You know what, let's pray on it. Time to take it out of our hands, and put it in God's now baby. Come on...<\/dialogue>\n    <scene_description>MOMENTS LATER: They now sit facing each other with foreheads pressed together, intimately whispering their prayers. Beat.<\/scene_description>\n    <character>WILLIE GARY (O.S.)<\/character>\n    <dialogue>Ladies and Gentlemen, members of the jury...<\/dialogue>\n    <scene_description>OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON MS COURTROOM - DAY<\/stage_direction>\n    <scene_description>We find ourselves in a tightly packed, dead silent courtroom. All relevant parties present, everyone looking at Willie. CONTINUED:<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Before I begin my closing argument, I have one small question to ask? Does anyone mind if I keep things simple? If I just talk in plain, ordinary talk? You won't hold it against me, will you....<\/dialogue>\n    <scene_description>OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON COURTHOUSE\/ PLAINTIFF'S CHAMBERS - MORNING<\/stage_direction>\n    <scene_description>DEAD SILENCE as Willie, Jerry, Hal, Gloria, Annette all sit around staring at the floor, waiting. After a moment, Gloria then slowly gets up and walks across the room to Annette.<\/scene_description>\n    <character>GLORIA GARY<\/character>\n    <dialogue>You must Annette. I just wanted to come and introduce myself, I'm Gloria Gary.<\/dialogue>\n    <character>ANNETTE O'KEEFE<\/character>\n    <dialogue>It's so incredibly lovely to meet you, Gloria.<\/dialogue>\n    <scene_description>118A 118A<\/scene_description>\n    <character>INT. JACKSON MS COURTHOUSE\/ DEFENDANT'S CHAMBERS - MORNING<\/character>\n    <dialogue>In the defense's green room, we find much the same scene. Mame, Loewen, Sinkfield, Walter Lee and team, all just sit around waiting in silence. Utters pins and needles.<\/dialogue>\n    <scene_description>OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON MS COURTHOUSE\/ CHAMBERS' DOOR - MORNING<\/stage_direction>\n    <scene_description>ANGLE ON: A HAND gently knocking against the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACKSON MS COURTROOM - LATER<\/stage_direction>\n    <scene_description>With everyone returned to the pin-drop quiet courtroom. They all stand facing the front, where the JURY FOREMAN- is only seconds from reading the verdict.<\/scene_description>\n    <character>JURY FOREMAN<\/character>\n    <dialogue>After careful consideration, we the jury, in case number 9661 of the Hinds County District Court, Mr Jeremiah J.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>JURY FOREMAN<\/character>\n    <dialogue>O'Keefe vs The Loewen Group LLC, have decided to side in favor of the plaintiff, Jeremiah O'Keefe... We have further decided to award a verdict of 100 million dollars in compensatory damages, to be paid to Mr. O'Keefe, by defendant Loewen Group LLC. And a verdict of 400 million dollars in punitive damages, to be paid to Mr. O'Keefe, by defendant Loewen Group.<\/dialogue>\n    <scene_description>CONTINUED: (2) Now the room goes silent. Rather than some big, overwhelming reaction, everyone's left frozen in shock. Before finally:<\/scene_description>\n    <character>HAL DOCKINS<\/character>\n    <dialogue>500 million dollars. Oh my God, it's 500 million dollars....<\/dialogue>\n    <character>ENTIRE PLAINTIFF'S TEAM<\/character>\n    <dialogue>500 MILLION DOLLARS! 500 MILLION!<\/dialogue>\n    <scene_description>Now the whole room ERUPTS INTO SUCH ELECTRIC ENERGY! The Plaintiff's team weeping with euphoria- Willie, Hal, Gloria, Annette- all of them hugging, kissing, jumping up and down.<\/scene_description>\n    <character>JUDGE GRAVES<\/character>\n    <parenthetical>(banging his gavel loudly)<\/parenthetical>\n    <dialogue>ORDER, ORDER!! Court is still in session!<\/dialogue>\n    <scene_description>Somewhere in all of the chaos, we then gradually find Willie, who's eyes now gaze all around, looking for Jerry. But he literally doesn't see him anywhere. Willie looks so confused.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>121A EXT. SIDE EXIT OUTSIDE COURTHOUSE - MOMENTS LATER 121A<\/stage_direction>\n    <scene_description>Coming out an EXIT DOOR, Willie glances around, before seeing Jerry right there, sitting by himself along the steps.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>I was looking for you...<\/dialogue>\n    <scene_description>Willie goes to sit beside Jerry, and they're both silent for a long moment. Both so utterly overwhelmed and emotional.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>We did it, Jerry. We won.<\/dialogue>\n    <character>JEREMIAH O'KEEFE<\/character>\n    <dialogue>I know, Willie.<\/dialogue>\n    <scene_description>They're then silent again, both just staring off. Until ever so gradually, Jerry reaches out his hand to grab and squeeze Willie's shoulder. And Willie does the same. And they just stay like that, holding and squeezing each others' shoulders.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>121B INT. JACKSON INTERCONTINENTAL\/ LOBBY - MORNING 121B<\/stage_direction>\n    <scene_description>We hear the sound of the elevator go, 'Ding', just as Willie and Gloria step off the elevator and head into the lobby. 121B CONTINUED: 121B<\/scene_description>\n    <character>GLORIA GARY<\/character>\n    <dialogue>Hope we're not too late for the early-checkout 20% discount...<\/dialogue>\n    <scene_description>121B CONTINUED: (2) 121B<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Baby, why don't you go outside and check on the rest of the luggage, and I'll square up with the bill.<\/dialogue>\n    <scene_description>As Gloria then hurries off, Willie heads to the FRONT DESK.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Hey, checking-out please. Name's Gary, Willie Gary....<\/dialogue>\n    <character>MAME DOWNES (O.S.)<\/character>\n    <dialogue>Hey Willie...<\/dialogue>\n    <scene_description>Spinning around, Willie looks up to see Mame walking toward him. Pulling her own SUITCASE behind.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Ms. Downes! How you doin'? What's up, you coming over to give me one last licking.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>No, not quite. I really just wanted to congratulate you before I left.<\/dialogue>\n    <scene_description>So surprised, he looks her up and down for a second.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Seriously? You actually mean that?<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>It was a well-earned victory. I can be honest about that.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Well thanks very much, I appreciate that... But come on, 500 million? There's gotta be at least a tiny little part of you that thinks it's way too much.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Maybe. Or else there's another tiny part of me that secretly knows it's barely enough.<\/dialogue>\n    <scene_description>While Willie looks a little confused.<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>I just wonder if it's all going to the right place. The right guy got punished, which is good. But did the most right person get rewarded?<\/dialogue>\n    <scene_description>121B CONTINUED: (3) 121B<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Nothing against Jerry, but all those poor black folks that were the real victims, will probably never see a dime in the end.<\/dialogue>\n    <scene_description>On Willie, we can tell this affects him.<\/scene_description>\n    <character>MAME DOWNES<\/character>\n    <dialogue>Good luck to you, Mr. Gary. Guess I'll see you around the trail.<\/dialogue>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Good luck to you too, Ms. Downes. I look forward to that.<\/dialogue>\n    <scene_description>Mame grabs her suitcase again, turns and begins to walk away.<\/scene_description>\n    <character>WILLIE GARY<\/character>\n    <dialogue>Hey Mame! I just want you to know, you're one of the best lawyers I've ever been up against.<\/dialogue>\n    <character>MAME DOWNES<\/character>\n    <parenthetical>(calling back)<\/parenthetical>\n    <dialogue>Awww thanks, you too, baby. No doubt Johnny would be impressed.<\/dialogue>\n    <scene_description>And now we STAY WITH MAME. Holding her in a single frame, we travel all the way around and across the lobby with her, before she finally pushes through the doors and heads out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRIVATE AIRPORT IN JACKSON - AFTERNOON<\/stage_direction>\n    <scene_description>We see the mighty WINGS OF JUSTICE slowly back up into position. Before all of a sudden, it goes charging at top speed down the runway, bursting into the sky and into flight.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VAST EMPTY FIELD - MAGIC HOUR<\/stage_direction>\n    <scene_description>We find ourselves looking once more over one those great wide open fields. In fact it's the same field just beyond Ruben Soames' house. As we gradually notice that same AMERICAN FLAG, all by its lonesome in the grass. We hold on it... Before all out of nowhere, comes the strident roar of a jet plane overhead, which instantly lifts and blows the flag away. Revealed beneath, is no more than some old and worn-in HEADSTONE, bearing a simple 5-word epitaph: Here lies many buried things. FADE TO BLACK.:<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In 1995, financially troubled funeral home owner Jeremiah Joseph O'Keefe is forced to sell parts of his business to meet financial demands by the Mississippi State Insurance Commission. He makes a contract with Raymond Loewen of the Loewen Group, who never follows through on their oral agreement. His young lawyer Hal Dockins suggests that Loewen is intentionally trying to run O\u2018Keefe into bankruptcy to snatch up his entire business. An enraged O'Keefe hires Willie E. Gary, a flashy Florida personal injury lawyer, at Dockins' suggestion, because he thinks that his white contract lawyer Mike Allred will be unable to convince the presumably black jury. Tensions between Allred and Gary rise when the latter is named lead attorney and refuses a settlement offer, instead raising it to $100 million. Upon receiving the offer, Loewen hires a black lawyer team fronted by Mame Downes for similar reasons. In court, O'Keefe is cornered when Downes questions his character and points out his financial troubles stem from business deals with a now-convicted felon. Blaming Gary, O'Keefe replaces him with Allred as lead attorney. Dockins produces a valuable witness who insinuates that Loewen overcharges minority communities. Downes in turn questions Allred and reveals that his grandfather was a member of the Ku Klux Klan. When Gary stands up for Allred, his angered black legal team leaves him. Allred realizes he is too compromised and retracts from the case to give the team a higher chance to win. Just when O'Keefe decides to drop the case, Dockins digs up a lead to the black National Baptist Church, revealing that the Loewen group in fact did exploit the church members to sell overpriced packages to other members of the black community. When Raymond Loewen is confronted with this in court and shows no remorse, the jury is swayed in O'Keefe's favor, awarding him $500 million in damages\u2014$100 million in compensatory damages and $400 million in punitive damages."}
{"movie_name":"Point Break_1991","imdb_id":"tt0102685","script":"<script>\n  <scene>\n    <stage_direction>POINT BREAK<\/stage_direction>\n    <scene_description>We are in the belly of a wave . Light refracts in a constant collision of water . SLOW MOTION , the hallucinatory prisms , like liquid diamonds taking flight , dreamlike .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  OCEAN - DUSK<\/stage_direction>\n    <scene_description>Backlit against a flaming sun a solitary SURFER glides across the green glassy peak . TIME IS STRETCHED until his movements gain a grace and fluidity not of this world . Total Zen concentration . Body weight centered , eyes forward and on the next section .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  URBAN STREET - DUSK<\/stage_direction>\n    <scene_description>SLOW MOTION ON a black sedan . Creeping along store fronts . Past a Winchell 's . PEOPLE splash steps down rain - washed sidewalks in DREAM MOTION . The sedan turns past the FIRST VIRGINIA BANK and into an alley .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  BLACK SEDAN<\/stage_direction>\n    <scene_description>TWO MEN and ONE WOMAN in SUSPENDED TIME put on overcoats and hats . Under their hats strips of Scotch tape stretch taut from the base of their nose to their forehead , hideously distorting their features . Makes them look like human PIGS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  OCEAN<\/stage_direction>\n    <scene_description>SILVERY in this light , almost metallic , as if from some future - scape . The lone surfer SHREDS a long , endless right wall . ACCELERATING INTO REAL TIME - as he stares into the pit , digs in , drops into the sweet spot on the wave , hunkers down . His moves becoming aggressive , frenzied -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  BLACK SEDAN<\/stage_direction>\n    <scene_description>An M - 16 clip is SMACKED into place and cocked with a CACHACK ! Ammo clips are SNICK - SNICKED into handgun butts and a long clip is SSSNICKED into an UZI . Watches are checked . The PIG NOSE people nod to each other .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  BANK<\/stage_direction>\n    <scene_description>Pig Nose # 1 , steals into position near the glass doors , slams his back to the wall , weapon to cheek , breath fast .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  OCEAN<\/stage_direction>\n    <scene_description>FAST NOW - the surfboard rips a brutal gash in the face of the wave . The surfer TRIMS down the line , pivoting the board and going straight down , CARVING the bottom . He slashes viciously back toward the lip and - In a radical INVERTED AIR ATTACK sails SIX feet above the wave in an explosion of water -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  BANK<\/stage_direction>\n    <scene_description>- BAAAAAAMMM ! Glass doors explode OPEN and Pig Nose # 1 SPINS inside . He fires a burst into the ceiling . BRRAAMM !<\/scene_description>\n    <character>PIG NOSE #1<\/character>\n    <dialogue>EVERYBODY on the floor!<\/dialogue>\n    <scene_description>PEOPLE drop . VERY FAST HERE - Two bandits handle BANK EMPLOYEES and customers - Another PIG NOSE watches the door - Pig Nose # 1 moves behind counter , Uzi and canvas sack in hand .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SURVEILLANCE VAN<\/stage_direction>\n    <scene_description>Dark . Monitors SHOW SLOW SCANS of the bank INTERIOR . Two MEN wear headphones and black windbreakers with FBI stenciled on the back . One watches with binoculars .<\/scene_description>\n    <character>BINOCULARS<\/character>\n    <dialogue>Bingo. We're on. Let's go. Where's the big college quarterback?! Are you with us, Utah?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  BANK WALL<\/stage_direction>\n    <scene_description>A MAN in his twenties . His head spins revealing rain - slicked hair and face , eyes wide , bright . An edgy handsomeness to him . He pops a stick of Wrigley 's in his mouth , rests a shotgun on one leg and leans against the wall . He wears a headset . through which we hear the FBI guy yelling for him . This is JOHNNY UTAH .<\/scene_description>\n    <character>BINOCULARS<\/character>\n    <parenthetical>( FILTERED . )<\/parenthetical>\n    <dialogue>Utah, where the hell are ya!?<\/dialogue>\n    <scene_description>Utah takes his headset off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  BANK<\/stage_direction>\n    <scene_description>Pig Nose # 1 LEAPS over the counter , holds a canvas sack filled with booty from tellers ' drawers .<\/scene_description>\n    <character>PIG NOSE #1<\/character>\n    <dialogue>Fuckin' shake it!<\/dialogue>\n    <scene_description>Pig Nose # 2 nods with his snubby nose , hurries toward the exit .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  FIRST VIRGINIA BANK<\/stage_direction>\n    <scene_description>The bandits burst through the doors and sprint to the alley where they jump into the SEDAN . THE DRIVER , the WOMAN PIG NOSE , punches it and the TIRES WHIRRR on the slick pavement . The sedan launches down the alley . Utah running . Like a freight train . Splashing through a cross - alley . He does n't break stride as he slams his shoulder into a large , steel GARBAGE DUMPSTER . DRIVING it like a football training sled into the ALLEY where - THE SEDAN LOCKS 'EM UP seconds too late as it SKIDS and SLAMS into it , CRUNCHING into the brick wall and - Still alive - GRINDS into reverse back down the alley , HEADLIGHTS SMASHED , it guns it backward as - UTAH leaps over the dumpster and sprints after the car . He has a brick in his right hand . He cocks it back . Johnny HEAVES the brick thirty yards and - SMASH ! The brick EXPLODES into the windshield , SPIDERWEBBING the glass . Lady Pignose flinches from the glass fragments thrown into her face .<\/scene_description>\n    <character>LADY PIGNOSE<\/character>\n    <dialogue>Son of a bitch!<\/dialogue>\n    <scene_description>The car slews backward onto the street , slamming a parked car . Lady Pignose slams the thing into DRIVE , cuts the wheel hard , and punches it , skidding on wet pavement . UTAH hurtles from the alley . He leaps , somehow TACKLES the DRIVER 'S door handle and is dragged along the street . He pulls himself up , reaches inside the window , and whips the steering wheel hard right . The SEDAN fishtails into a parked Toyota . Utah bounces forward , slamming into the asphalt . Glass shards and crushed steel are strewn everywhere , as radiator steam whistles hot . Pig Nose # 2 , riding shotgun , is trapped . Ca n't get his crushed door open . The DRIVER pushes open her door . Gropes for her pistol . Utah springs - no respect for a lady . He slams the door , pins her arm and slams again and again until the gun drops . Utah kicks it away as the woman collapses in pain . Pig Nose # 1 bails out and runs across parking lot . Utah leaps up onto the crushed hood and draws down with the shotgun .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Halt. FBI!<\/dialogue>\n    <scene_description>Pig Nose # 1 spins . We sense reckless anger . He raises the UZI . Utah squeezes the trigger . No death . No blood . Just buzzers and flashing bulbs . Pig Nose 's flak vest lights up like a pinball machine . Utah 's laser weapon hit the `` kill zone '' . Pig Nose rips the tape off his face and the FBI CADET shakes his head in disgust . OBSERVERS step forward . Bank customers . Bank tellers . All FBI personnel . MEDICAL STAFF offer the woman driver assistance . Pig Nose # 1 heads for Johnny , but is subdued by other agents .<\/scene_description>\n    <character>PIG NOSE #1<\/character>\n    <parenthetical>( FBI CADET . )<\/parenthetical>\n    <dialogue>I wan na say just two words to you, asshole, SIMU - LATION! Johnny - fuckin' Utah. Guys like you will do anything to win!<\/dialogue>\n    <scene_description>Utah stares back in defiance . The SURVEILLANCE van pulls up nearby . BINOCULARS runs out and pinches two fingers together , right in Johnny 's face .<\/scene_description>\n    <character>BINOCULARS<\/character>\n    <dialogue>This far, Utah! You're this far from being the most overqualified guy Burger King ever had. Get me?!<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Yes sir. Sir?<\/dialogue>\n    <character>BINOCULARS<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Johnny gestures to the car .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>I did stop the perpetrators.<\/dialogue>\n    <scene_description>Utah turns to go . As he passes he casually raises his laser - shotgun and re - triggers Pig Nose 's flak vest . LIGHTS AND BUZZERS . Pig Nose explodes . More agents restrain him . Screams and shoving matches and pissed off guys . Utah walks off , down the simulated street , past a sign which bears the FBI SEAL and reads `` Combat Village , Quantico , Virginia . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  PACIFIC OCEAN - DAY<\/stage_direction>\n    <scene_description>Red sky . A luminous Pacific . Five foot faces . Nice curl . A lineup of SURFERS wait outside the break . Silhouetted , bobbing like a pack of sea mammals .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/ EXT.  TAXI<\/stage_direction>\n    <scene_description>A flood of orange through the windshield as the cab crawls down Ocean Park to the sea . CAMERA HANDHELD from the back seat . The driver turns to us .<\/scene_description>\n    <character>DRIVER<\/character>\n    <dialogue>Anywhere? You do n't care?<\/dialogue>\n    <character>UTAH<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Anywhere. I've just never seen the ocean before.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  VENICE BEACH<\/stage_direction>\n    <scene_description>JOHNNY UTAH trudging across the sand , holding his shoes . Garment bag and a big duffel over his shoulder . He looks silly in his dark suit , tie loosened , wearing a turned around baseball cap . He wiggles his toes in the sand , looks around like a kid . A pack of BOUNCING BEAUTIES jog through frame . Utah grins , reaches up and turns his cap around . It reads `` I Love L.A. ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  FEDERAL BUILDING<\/stage_direction>\n    <scene_description>Looking down the face of the concrete monolith at Wilshire and Veteran . Ant - like , Johnny Utah 's tiny figure moves toward the entrance .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( OVER . )<\/parenthetical>\n    <dialogue>Day One in LA, special agent Utah. You may have been top two percent of your class at Quantico but you have exactly zero hours in the field here. You know nothing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  FEDERAL BUILDING - FBI BULLPEN<\/stage_direction>\n    <scene_description>Supervising Agent BEN HARP leads Utah across the bullpen . Rows of desks . Agents sitting at computer terminals . Data hell . Looks like he got a job at Xerox .<\/scene_description>\n    <character>HARP<\/character>\n    <dialogue>You know less than nothing. If you even knew that you knew nothing, at least that would be something, but you do n't.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <scene_description>Utah is wearing a suit , carrying a briefcase . Harp is mid - thirties , confident of stride , tanned of skin , perfect of hair . GQ . Aggressive .<\/scene_description>\n    <character>HARP<\/character>\n    <dialogue>Eating solid breakfasts, Utah?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Sir?<\/dialogue>\n    <character>HARP<\/character>\n    <dialogue>All the food groups? Avoiding sugar? Caffeine? I see to it that my people maintain cardiovascular fitness. We stay off hard liquor, cigarettes.<\/dialogue>\n    <character>UTAH<\/character>\n    <parenthetical>( poker face . )<\/parenthetical>\n    <dialogue>I take the skin off chicken.<\/dialogue>\n    <scene_description>Harp glances at him , eyes narrowing . They reach a glassed - in compound of small offices . Harp swings the door open and the other agents look up as Utah enters .<\/scene_description>\n    <character>HARP<\/character>\n    <dialogue>This is us. Bank Robbery. And you're in the bank - robbery capital of the world -<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>1322 last year in LA county. Up 26 percent from the year before.<\/dialogue>\n    <character>HARP<\/character>\n    <dialogue>That's right. And we nailed over a thousand of them. We did it by crunching data. Good crime - scene work, good lab work, good data - base analysis. Nobody had to tackle a car once. You getting the signal, special agent?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Zero distortion, sir.<\/dialogue>\n    <scene_description>He picks up a donut from someone 's desk , a succulent glazed jelly .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>I love these things.<\/dialogue>\n    <scene_description>He looks right at Harp . Takes a big fuck - you bite .<\/scene_description>\n    <character>HARP<\/character>\n    <dialogue>You're a real blue - flame special, are n't you, Utah? I do n't know why they sent you to LA.. Must be an asshole shortage.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Not so far.<\/dialogue>\n    <scene_description>UNDERWATER A blue field with a pulsing network of rippling lines . VOOM ! A figure rockets down INTO FRAME in a curtain of bubbles . A gawky AGENT , in less than stylish FBI trunks , flails around blindfolded looking for bricks at the bottom of a pool .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  GYMNASIUM POOL - DAY<\/stage_direction>\n    <scene_description>The pool casts wavy distortions upon TWO DOZEN MEN , all grumbling as they stand in line , wearing T - shirts with FBI logos , sweats and sneakers . We hear a splash , and the men shuffle forward .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The dolls love this baby. It brings them luck when they rub it - right between their buttons.<\/dialogue>\n    <scene_description>CLOSE ON tape measure wrapped around a generous belly . PULL BACK to reveal VETERAN AGENT COREY measuring the ample waist of ANGELO PAPPAS . This 54 year old silver haired Greek stands rubbing his belly like a Zulu chief .<\/scene_description>\n    <character>COREY<\/character>\n    <dialogue>Angelo, we need a bigger tape.<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>Just read the goddamn number.<\/dialogue>\n    <character>COREY<\/character>\n    <dialogue>Still a 46. Maybe we can cinch it down, wear a girdle -<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>Screw you and this holistic fitness crap! At least my arms do n't flap in the wind.<\/dialogue>\n    <scene_description>Corey secretly squeezes his bicep as . A whistle blows . A broad shouldered MAN wearing an FBI cap barks at the Greek .<\/scene_description>\n    <character>BIG SHOULDERS<\/character>\n    <dialogue>Okay, Pappas, let's put on the blindfold. Wan na see you retrieve at least two bricks from the bottom.<\/dialogue>\n    <scene_description>JOHNNY UTAH enters the pool area in the distance . Says something to one of the agents . Is pointed toward us as - Corey ties the blindfold and guides Pappas to the edge of the pool .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>I've been in the field 33 years, fired my piece 23 times in the line of duty, and I got no idea what a blind man fetching bricks has got ta do with being a Special Agent!<\/dialogue>\n    <scene_description>Johnny has walked up . Pappas , blindfolded , turns directly to Utah as he continues , thinking it 's Corey .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Added to which indignity, I got three months left to retirement and they saddle me with some blue - flamer fresh out of Quantico for a partner. Some quarterback punk, Johnny Unitas or something.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>The shit they pull, huh?<\/dialogue>\n    <scene_description>Pappas snorts agreement and cannonballs into the pool . Huge backblast of water . The other agents hoot and holler . Corey swears and wipes off his clipboard . Johnny steps to the edge , looks down . We see the blindfolded Pappas groveling along the bottom . The other agents cheer as Pappas heads for the surface .<\/scene_description>\n    <character>COREY<\/character>\n    <dialogue>Here he comes. Hold up a fish, he'll take it right outta your hand.<\/dialogue>\n    <scene_description>Pappas surfaces in an explosion of spray as he sputters for breath . He grabs the edge and angrily slaps two bricks on the tiles . He rips off the blindfold looks up and frowns . A HAND ENTERS FRAME to help him up . Pappas takes it and Johnny hauls him on deck .<\/scene_description>\n    <character>COREY<\/character>\n    <dialogue>Hey Shamu, this is your guy.<\/dialogue>\n    <scene_description>Pappas eyes the new agent warily . Extends his hand .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Pappas. Angelo Pappas.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Punk. Quarterback Punk.<\/dialogue>\n    <character>PAPPAS<\/character>\n    <parenthetical>( grinning . )<\/parenthetical>\n    <dialogue>Welcome to Sea World, kid.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SEDAN - DAY<\/stage_direction>\n    <scene_description>SERIES OF TIGHT SHOTS ECU sweep hand of a dive watch clicks through the seconds . Magnum shells are fed into a pump shotgun . Velcro straps of Second Chance body armor are fastened . White gloves are pulled snug over strong hands . A silk tie is straightened . A shotgun slide is cocked . The sweep hand approaches the twelve . A LATEX MASK is pulled over the back of a man 's head .<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>The little hand says.<\/dialogue>\n    <scene_description>The mask turns into FULL CLOSE - UP . It is RONALD REAGAN .<\/scene_description>\n    <character>REAGAN<\/character>\n    <dialogue>let's rock and roll.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  BANK OF AMERICA<\/stage_direction>\n    <scene_description>Business as usual . The scene so normal you know something is about to happen . An exiting MAN stuffs bucks into his wallet , reaching for the door which - SLAMS INWARD . He is hit by a wall of EX - PRESIDENTS . REAGAN charges in with his buddies RICHARD M. NIXON , LYNDON BAINES JOHNSON and JOHN F. KENNEDY . Reagan throws the poor guy skidding across the floor . Nixon buttstrokes a guard , hard in the nuts , with his 12 gauge . The other guard goes for his holster - finds himself facing three shotguns and one very large handgun . Reagan sights down the pistol .<\/scene_description>\n    <character>REAGAN<\/character>\n    <dialogue>Use a gun, go to heaven.<\/dialogue>\n    <scene_description>The guard freezes . White and sweaty . Tricky Dick slips up to him and collects the pistol . Kennedy covers the stunned customers . Johnson backs up against the door jam , watching the street , and the sedan idling at the curb .<\/scene_description>\n    <character>REAGAN<\/character>\n    <dialogue>EVERYBODY FREEZE! That's right. ALL TELLERS step back from the counter! Hands on heads! MOVE!<\/dialogue>\n    <scene_description>Nixon and Reagan move quickly to the counter as the tellers comply .<\/scene_description>\n    <character>REAGAN<\/character>\n    <dialogue>Everybody else on the floor! Do it! On the floor, let's go.<\/dialogue>\n    <character>NIXON<\/character>\n    <dialogue>SUCK LINOLEUM, BITCH! You got earwax?!<\/dialogue>\n    <scene_description>Nixon grabs a stunned woman by the arm and hurls her to the floor . She lands hard . Everyone is on the deck by now . The Presidents move fast . Reagan leaps onto the counter . Stands up where he can see all . Nixon hurdles to tellers ' side and they start moving down the line together . Reagan controlling the room as Nixon quickly empties the tellers ' cash drawers into the sack . His hands move like lightning .<\/scene_description>\n    <character>REAGAN<\/character>\n    <dialogue>Just stay cool. Everybody stay cool. Heads down. Eyes down. The money's insured -<\/dialogue>\n    <scene_description>TIGHT ON - MONEY flying into the sack .<\/scene_description>\n    <character>REAGAN<\/character>\n    <dialogue>- it's not worth dying for. Another 45 seconds of your time. That's all. Then - Whoa, Tricky Dick!<\/dialogue>\n    <scene_description>Nixon pulls a pack of twenties back out of the bag and tosses it to the BANK MANAGER . Who reflexively catches it . Then drops it like a hot - potato just before - It EXPLODES into a cloud of blue ink . The manager is dyed blue . Burnt money showers on the terrified customers . LBJ looks at his watch and WHISTLES . The bandits sprint for the front doors . Kennedy exits first , followed by Reagan . LBJ pauses under the surveillance camera , drops his trousers and MOONS . Thank you is written across his white butt . BLACK AND WHITE VIDEO MONITOR - High angle , distorted wide shot . LBJ hoists his pants and splits , followed out by Nixon , who exits backward with the famous double peace - sign held high overhead . IMAGE FREEZES . Victorious Nixon , grainy . something from a time warp . The image SUDDENLY GOES INTO HIGH - SPEED REVERSE . The bank robbery sequence zips backward .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Twenty - seven banks in three years. In and out in 90 seconds. Nobody ever gets shot. We're talking solid professionals.<\/dialogue>\n    <scene_description>WE ARE IN -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  BANK CRIME SCENE - LATER<\/stage_direction>\n    <scene_description>UTAH &amp; PAPPAS are watching a monitor in the glassed - in office . The robbery REPLAYS on grainy BLACK &amp; WHITE videotape . The bandits barge in , raise shotguns and order everybody to the floor .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Good move.<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>Yeah, they control the room well. Stick strictly to the cash drawers.<\/dialogue>\n    <scene_description>VIDEO TAPE - Utah is reverse - scanning . The bandits walk BACKWARD into the bank . The explosion of blue ink is sucked back into the pack of money , then leaps back into President Nixon 's hand .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>They do n't go for the vault?<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>Never go for the vault. They never get greedy.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Smart. You burn time in the vault.<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>Reagan usually drives. Stolen switch car, they leave it running at the curb, looks parked from a distance. When they run, they dump the vehicle and vanish. And I mean vanish.<\/dialogue>\n    <scene_description>Utah stops the video , now FAST - FORWARDING it , stopping where President Nixon separates the exploding `` dye pack '' planted with the money , before he tosses it aside .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Surgical. Look at them separate the dye packs. Dick and Ronny know their jobs.<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>The Ex - Presidents are the best I've seen, kid.<\/dialogue>\n    <scene_description>Outside the windowed partition POLICE OFFICERS interview frightened customers . Hotshot agents MUNOZ and COLE enter from the main floor of the bank . Think they 're very slick .<\/scene_description>\n    <character>MUNOZ<\/character>\n    <dialogue>Anytime you two are finished jerking off watching MTV I need to get a look at that tape.<\/dialogue>\n    <character>COLE<\/character>\n    <parenthetical>( sloppy grin . )<\/parenthetical>\n    <dialogue>Hey, Pappas, you tell the kid your theory on the Presidents?<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>Just take the tape, Cole.<\/dialogue>\n    <scene_description>Now Munoz starts to smile .<\/scene_description>\n    <character>MUNOZ<\/character>\n    <dialogue>Hang ten, Pappas, like totally rad.<\/dialogue>\n    <parenthetical>( to Utah . )<\/parenthetical>\n    <dialogue>I got ta tell ya, the department loves it.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>What's he talking about, Angelo?<\/dialogue>\n    <scene_description>Harp raps glass . Cole and Munoz look sharp . Harp enters addressing Pappas and Utah .<\/scene_description>\n    <character>HARP<\/character>\n    <dialogue>They found the drop car up on Mulholland. I want you two to go work it.<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>What? Now I'm working the drop car? Who's handling the scene here?<\/dialogue>\n    <character>HARP<\/character>\n    <dialogue>Cole and Munoz. I'm uh. letting them run with the ball for a while.<\/dialogue>\n    <scene_description>Cole and Munoz gloat .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Cole and Munoz? I been on this case for two years.<\/dialogue>\n    <character>HARP<\/character>\n    <parenthetical>( zeroing in on Pappas . )<\/parenthetical>\n    <dialogue>That's the point, is n't it?<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>Yeah, I get it. Time to play let's dick the old guys, huh, Harp?<\/dialogue>\n    <character>HARP<\/character>\n    <dialogue>Supervising Special Agent, Harp. Now I want you to go work the drop car, okay, Angelo? Okay?<\/dialogue>\n    <scene_description>The Greek rises like a proud bull .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Sure. No problem. How about your office? Your office need vacuuming? We could do that too.<\/dialogue>\n    <scene_description>Pappas and Utah move toward the door . It 's a tight squeeze as they pass Cole and Munoz . Especially Pappas .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Excuse me.<\/dialogue>\n    <scene_description>Read as fuck you .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  MULHOLLAND SCENIC TURNOUT - NIGHT<\/stage_direction>\n    <scene_description>The diamond field of LA glitters below . The small parking area off Mulholland is filled with squad cars . Red and blue disco . A flock of UNIFORMS milling about a non - descript CHEVY .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SEDAN FRONT SEAT<\/stage_direction>\n    <scene_description>FLASHLIGHT BEAM prowls the interior , stopping on a small printed card , folded like a pup tent , left upon the bench seat . It reads `` Sanitized For Your Protection . ''<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Cute huh? They love to fuck with us.<\/dialogue>\n    <scene_description>UTAH &amp; PAPPAS pull their heads out of the sedan . Forensic expert , HALSEY , stands behind them .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Do n't tell me, let me guess. The switch - car was stolen this morning.<\/dialogue>\n    <parenthetical>( Halsey is nodding his head . )<\/parenthetical>\n    <dialogue>They vacuumed and 409'd the interior, did the windows, emptied the ashtrays.<\/dialogue>\n    <character>HALSEY<\/character>\n    <dialogue>Yeah, the usual drill.<\/dialogue>\n    <scene_description>Utah pulls on a rubber glove and lifts the card off the seat . Studies it . Talks to Halsey like Halsey 's the one that just out of Quantico , not Utah .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Could've taken their gloves off before setting that card. Laser it for prints. Maybe held it to his teeth - check the edges for saliva.<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>Today was a scorcher. This Chevy does n't have air conditioning.<\/dialogue>\n    <character>HALSEY<\/character>\n    <dialogue>Sweat secretions in the seatbacks?<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>You through, Mr. Wizard? Let me know if you find Jimmy Hoffa under the seat while you're at it.<\/dialogue>\n    <parenthetical>( looks at his watch . )<\/parenthetical>\n    <dialogue>Hell, it's only 7:30. The night's still young. you can solve this case and start on another one.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Well, what're your ideas on these guys?<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>Forget about it, kid. They're ghosts. Let the goddamn yuppie Mormon affirmative action assholes handle it. See I'm almost 55. so I must be senile, right? They better get me out before I start pissing myself in public. Drooling. It would look bad for the Bureau, right?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>So you're gon na coast to retirement, when you could nail these guys and go out with come dignity.<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>You watch your fucking mouth!<\/dialogue>\n    <parenthetical>( pounds his chest . )<\/parenthetical>\n    <dialogue>Mr. Hoover himself pinned the Seal of Honor right here!<\/dialogue>\n    <scene_description>The two men glare at each other . Utah looks away .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>Yeah. That was thirty years ago anyway.<\/dialogue>\n    <parenthetical>( stares out at the bright horizon . )<\/parenthetical>\n    <dialogue>L.A.'s changed a lot since then. The air got dirty and the sex got clean.<\/dialogue>\n    <parenthetical>( after a beat . )<\/parenthetical>\n    <dialogue>So you want to nail the Ex - Presidents? Be a big hero?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Yeah. What's your theory?<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>The fucking punks are surfers.<\/dialogue>\n    <scene_description>GRAINY BLACK &amp; WHITE VIDEO WITH TIME CODE Ex - Presidents charge into bank , raise shotguns . Image STOPS , then FAST - FORWARDS to the end . WE ARE IN -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  FEDERAL BUILDING - BULLPEN - NIGHT<\/stage_direction>\n    <scene_description>Dark , lit by the TV at the far end of the bullpen . PAPPAS and UTAH sit in front of the flickering Sony in the big empty room . Angelo punches a button on the VCR . ON THE SCREEN - LBJ turns his back to the fish - eye lens , drops trousers and moons the camera . Thank you . Angelo FREEZES on LBJ 'S butt .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>I'm tellin' ya, kid, it's in our face. Lookit the tan on this guy.<\/dialogue>\n    <scene_description>The young agent looks forward . Stares at the white inscribed butt bracketed by deep bronze tan lines .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Oh well he must be a surfer.<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>Shutup, you might learn somethin' you're not careful. So last year Nixon scuffs a counter going over. There was a soil sample. Non - specific mud traces of asphalt, oils, blah, blah. sand and. carnuba wax. So I became a wax expert. There's 80 some uses for this stuff, something like five hundred products.<\/dialogue>\n    <scene_description>He tosses Utah a ream of computer printout . Utah scans lists of brand names .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Candle wax. Car wax. Mustache wax? Could be anything. Guy's waxing his mustache at the beach. Gets sand in it. Wipes it off with a shoe. Shoe scuffs the counter.<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>The lab made three possible matches, this was one of'em.<\/dialogue>\n    <scene_description>Pappas opens his desk drawer , takes something out and throws it to Johnny . A pastel blue hockey puck wrapped in cellophane . A block of `` Mr. Zog 's Sex Wax '' .<\/scene_description>\n    <character>UTAH<\/character>\n    <parenthetical>( reading . )<\/parenthetical>\n    <dialogue>Sex wax? You're not into kinky shit, are you Angelo?<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>Surfers use it on their boards. They rub sand into it for traction.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Thanks for the tip. I needed this knowledge.<\/dialogue>\n    <scene_description>Pappas shoves a thick file folder toward Utah .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Now lookit the dates on the robberies. This is strictly a summer job for these guys.<\/dialogue>\n    <scene_description>Johnny leafs through it .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Four months. June to October. Mmmm. same the year before.<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>Another month and we do n't see'em again'til next summer.<\/dialogue>\n    <scene_description>Utah stares at Angelo as it dawns . Grins suddenly .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>They're traveling the rest of the year on the money, going where the waves are.<\/dialogue>\n    <scene_description>Pappas starts to smile . Suddenly , he jumps up onto his desk , gets down in a speed - crouch , arms extended .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <parenthetical>( to one and all . )<\/parenthetical>\n    <dialogue>The Ex - Presidents rip off banks to finance their endless summer!<\/dialogue>\n    <scene_description>Johnny watches , grinning . The night security GUARD walks in . Utah turns to the guard , shrugs .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>I think he needs a vacation.<\/dialogue>\n    <scene_description>The guard nods understanding .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SURFSHOP - MALIBU PIER - DAY<\/stage_direction>\n    <scene_description>Long stack - up rack of gleaming SURFBOARDS . A HAND reaches in , pulling out a board from the middle of the deck . JOHNNY UTAH hefts it . Sights along it . Trying to look familiar with alien equipment . Behind him is a whip - thin 15 YEAR OLD SALESMAN . Nut - brown with platinum hair , jammed day - glo shorts , sleeveless T - shirt , unlaced Ug - boots .<\/scene_description>\n    <character>15<\/character>\n    <dialogue>Highest performance, very kind. If you want to get aggro, man, this stick can handle your best rage. Where you surf?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>I do n't.<\/dialogue>\n    <character>15<\/character>\n    <dialogue>Whoa! Back up! This's a 5' 6'' tri - fin squash - tail thruster. You'd eat major shit on this, dude.<\/dialogue>\n    <scene_description>ACROSS THE ROOM we see Pappas trying on purple wraparound sunglasses . The salespunk pulls down a wide board with a garish firebird paint scheme . Like a lowrider flame - job . The logo reads `` Dance with the Universe . ''<\/scene_description>\n    <character>15<\/character>\n    <dialogue>Here, you need a rhino chaser like this one to learn on. Good board. I mean for a pig board.<\/dialogue>\n    <scene_description>Utah hefts the board . Scowls . Hates anything he 's not great at . PAPPAS sets his purchases on a counter : the glasses , some plutonium - pink shorts , T - shirts , sun - block . The GIRL behind the counter is sixteen , barely contained in a macrame bikini - top and `` Dolphin '' shorts . Angelo picks up a package of Sex Wax from a rack . Sniffs it .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <parenthetical>( reading the label . )<\/parenthetical>\n    <dialogue>`` Best for your stick'', huh? This might not be enough. I better get two.<\/dialogue>\n    <scene_description>The girl stifles a grin . Thinks he 's cute . At the other end of the counter , 15 is ringing up Utah 's board .<\/scene_description>\n    <character>15<\/character>\n    <dialogue>Hey, man, guys your age learning to surf, it's cool, there's nothing wrong with it.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>I'm twenty - five.<\/dialogue>\n    <character>15<\/character>\n    <dialogue>See that's what I'm saying, it's never too late.<\/dialogue>\n    <scene_description>Utah picks up the board and moves to leave .<\/scene_description>\n    <character>15<\/character>\n    <dialogue>Hope you stay with it. Surfin's the source. It'll change your life. Swear to God.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  MALIBU PIER - DAY<\/stage_direction>\n    <scene_description>Utah and Pappas walking back to the car . Two FBI agents in suits and ties walking with a day - glo orange surfboard . Surreal image . The ocean shimmers in B.G.<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Johnny, it's the only way.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Why ca n't I just walk around with this thing under my arm and act stoned? Ask a few questions.<\/dialogue>\n    <scene_description>Angelo stops at the railing , points toward the ocean .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Look. Look at them out there.<\/dialogue>\n    <scene_description>LONG LENS on packs of surfers sitting outside . Bobbing slowly . Hunched like sea birds . Waiting for an unseen sign . Disappearing and reappearing beyond the break .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>They're like some kind of tribe. Got their own language. You ca n't just walk up to these guys. You've got to get out there. Learn some moves. Get into their head. Pick up the speech.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Angelo, this stuff is for little rubber people who do n't shave yet.<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>It's all balance, right? And coordination. How hard can it be?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  SURFRIDER BEACH - DAY<\/stage_direction>\n    <scene_description>WHAAAAAM ! Johnny is CLOBBERED by a wave . He 's flipped off his board and hits the water face - first as the wave crashes over him . Other surfers steer clear . PAPPAS lounges in a beach chair in his plutonium pink shorts , purple Vuarnet 's and a T - shirt emblazoned with `` Surf This '' across the chest . A picnic basket sits close at hand . He winces at Utah 's wipeout . Shouts from his beach chair .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>I think you got ta hit them straight on!<\/dialogue>\n    <character>UTAH<\/character>\n    <parenthetical>( out of breath . )<\/parenthetical>\n    <dialogue>Got it.<\/dialogue>\n    <scene_description>UTAH holds the tip steady , gouges the face of a wave and squirts out the other side . Another wave rises and Utah glides up over the hump . He clears the swell and the ocean suddenly smooths out like a giant lake . Triumphant over having made the lineup , he sits up on the board , and falls over . PAPPAS slices a green apple , some feta cheese and eats off the knife . UTAH climbs back on his board . WHISTLES and HOOTS sound as SURFERS spot a new swell . Utah watches as the regulars start catching rides . Suddenly he feels like a lost dog on a busy freeway . A young LOCAL in a neon wetsuit slashes past him , inches away .<\/scene_description>\n    <character>LOCAL<\/character>\n    <dialogue>Outta the way, you dick!<\/dialogue>\n    <scene_description>Another , shredding viciously , is blasting toward him .<\/scene_description>\n    <character>LOCAL 2<\/character>\n    <dialogue>Move it, kook!<\/dialogue>\n    <scene_description>Johnny paddles rapidly , ducks under . Sees another , bigger wave coming . Pissed off . at himself , at the downy - cheeked hotshots , at the frustration , he turns his board around and starts paddling hard . He somehow gets the soles of his feet in contact with the top of the board , then struggles up . He 's standing - sort of . Arms pinwheeling , he topples in a nasty crash . Right in front of a SHAVED - HEAD SURFER on full afterburner . Johnny vanishes in an explosion of spray . His board SHOOTS OUT . It SMASHES SIDEWAYS INTO RAZORHEAD . The guy does an ugly endo . Utah comes up GASPING for air , arms flailing . His board , floating a few feet away , tugging at his ankle . He drapes his torso across the board and pants for breath . Razorhead , already back on his board , paddles over . Points to a small dent in the fiberglass .<\/scene_description>\n    <character>RAZORHEAD<\/character>\n    <dialogue>You dinged my board, kook!<\/dialogue>\n    <scene_description>Utah looks up in apology as - A CRUSHING RIGHT HOOK SMACKS HIS FACE ! Knocks him under . Razorhead pulls a KNIFE from a sheath held by a thong around his neck . As Johnny surfaces , Razorhead slashes in a vicious arc - Severing Utah 's leash , close to the board . His flame - job surfboard bobs away .<\/scene_description>\n    <character>RAZORHEAD<\/character>\n    <dialogue>Politeness counts, ASSHOLE!<\/dialogue>\n    <scene_description>The surf punk plunges under a wave , disappearing .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Goddamn son - of - a -<\/dialogue>\n    <scene_description>Before Utah can finish , another wave engulfs him and he tumbles to shore , Razorhead nowhere to be seen . ON PAPPAS as Johnny 's flame - job board washes in at his feet . He calmly picks it up as Utah staggers INTO FRAME out of the knee - deep whitewash . Johnny rubs his jaw . Spits blood .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Kid, maybe this ai n't your sport.<\/dialogue>\n    <scene_description>Utah grabs the board out of Pappas ' hands and stalks off across the beach .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  UTAH'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Johnny dead asleep . Silence . Then BRRRRR ! He jacknifes up like he just took 20,000 volts . His eyes read panic . He rolls up , legs scissor against tangled sheets and he collapses over empty boxes . He stumbles like a blind man through the mess until he finds - A tiny Indianapolis Colts FOOTBALL HELMET with a digital clock for eyes . 5:00 a.m. Johnny emits a drawn out groan .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  OCEAN - DAWN<\/stage_direction>\n    <scene_description>Deafening BOOM as a monster wave CRASHES below a sky the color of slate . A distant Pacific storm has brought the swell . 10 foot faces . Glassy , green walls the size of houses beckoning from beyond the soup . A lone FIGURE bobbing out beyond the break . The surfer disappears behind the swell . Then REAPPEARS , grinning across the smooth offshore barrel . UTAH wearing a wetsuit stands beside his surfboard , craning forward to get a better look . The surfer is a WOMAN . She moves with liquid grace , in perfect harmony with the sea , long hair flying out behind her . She undulates like a dancer . Dipping , carving , slicing , making it look sooooo easy . Johnny shakes his head . Oh man , if she can do it .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Fuck it.<\/dialogue>\n    <scene_description>He stands , grabs his board and heads out into the icy foam . OCEAN BREAK A horizon of whitecaps churn behind him . He lies on his board , rising and dropping with the swell . So far so good . He spots a wave . A fluid gray - green house rising , forever rising . Utah turns . Paddles . The house catching him , lifting him high upon its roof . Utah is committed . He gets to his feet as his board slices along the lip . He peers over the falls , down the face - holy shit ! - it looks like Niagara . He loses balance and spirals airborne , falling bullseye into the IMPACT ZONE . The entire force of the wave crashing upon him , plunging him down into the - WASHING MACHINE -LRB- UNDERWATER -RRB- where he SPINS like a whirling dervish , LASHED to a slamdancing surfboard at the mercy of God . He is held prisoner in a grey - green churning nightmare , like a six - ton pit bull has him by the neck , shaking him . He looks around . Ca n't tell up from down . WHAM ! His head slams into the bottom - rocks and sand . Stunned , he struggles toward the light , finally bursting to the - SURFACE . Gasping for breath . The good news is he 's breathing , the bad news is he 's surfaced in the impact zone . Another wave crashes down , stuffing him back into the washing machine . Leaving no sign of life in the white froth . The orangeade surfboard launches high into the sky , spinning like a misfiring Trident missile , trailing its broken leash like a kite tail . IN THE WASHING MACHINE , Utah tumbles in a cold green hell . His chest is convulsing , needing air now . Suddenly a FIGURE lunges down INTO FRAME . A hand snatches a fistful of his hair and yanks him toward - THE SURFACE . The WOMAN SURFER bursts through the foam . Grabs her board for leverage . Hauls Utah 's head above the water with one strong arm . He is choking , coughing , slapping fatigued arms against the surf , panic registering in his movements .<\/scene_description>\n    <character>WOMAN SURFER<\/character>\n    <parenthetical>( yelling above the roar . )<\/parenthetical>\n    <dialogue>Swim, goddammit! Come on! Move it!<\/dialogue>\n    <scene_description>The woman gets her board under one of his arms for support and sidekicks fiercely into the wave , holding him in a painful grip . With powerful strokes , she helps Utah make it to calmer water outside the break . The big waves , just forming up , lift them and drop them as they pass . Muted thunder when the waves hit the beach . She drags him half onto her surfboard . Practically slamming his face into the board . He 's coughing out saltwater . ON THE WOMAN , our first good look at her . She is EXQUISITE . Hair slicked tight to her high - cheekboned face , she looks sleek and feral , with eyes that burn bright . Especially when she 's pissed .<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Look crazy son of a bitch! You wan na commit suicide, you do it someplace else!<\/dialogue>\n    <scene_description>She undoes her leash and swims rapidly off , returning in a few seconds with Johnny 's board . He takes it from her and flops over it , still coughing . Wipes at the salt - snot running out of his nose . There is a cut over his eye from when he re - arranged the rocks on the bottom .<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Look at this pig - board piece - a - shit. It's still got the price tag on it, for Chrissakes. What'd you do, buy it yesterday? You've got no business out here whatsoever.<\/dialogue>\n    <scene_description>Still gagging and gasping , Johnny manages a goofy grin .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Well, I saw you and -<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Yeah, you saw me and you figured that if a mere girl can do it, a big strong stud like you should n't have any problem. Right?! Well you figured wrong, dork!<\/dialogue>\n    <scene_description>She yanks her board around and strokes powerfully away from him .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Hey! Uh, how do I get back in?<\/dialogue>\n    <character>WOMAN<\/character>\n    <parenthetical>( without turning . )<\/parenthetical>\n    <dialogue>Carefully, tough guy. Very carefully.<\/dialogue>\n    <character>UTAH<\/character>\n    <parenthetical>( yelling now . )<\/parenthetical>\n    <dialogue>My name's Johnny Utah!<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Who cares!<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>I'm telling you so when you look back on this moment, you can think. there was this guy named Utah and he was pretty much a dork but maybe not such a bad person and I let him drown in conditions he had no business being in whatsoever. when I could have easily helped him.<\/dialogue>\n    <scene_description>Johnny calmly starts paddling toward shore . Thundering white water pounding the rocks ahead of him . He 's stoic in the face of certain death .<\/scene_description>\n    <character>UTAH<\/character>\n    <parenthetical>( over his shoulder , gamely . )<\/parenthetical>\n    <dialogue>Bye.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Wait! Jesus Christ!<\/dialogue>\n    <parenthetical>( swimming back to him . )<\/parenthetical>\n    <dialogue>You're fucking crazy, you know that? You go in there you're gon na eat it on the rocks. Here, follow me.<\/dialogue>\n    <scene_description>The woman paddles parallel to the shore and Utah pumps along behind her . She gets him away from the rocks , then starts watching the incoming swell , timing it to the lull between sets .<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Go when I say. But stay down. Just lie on the board. Alright, let's go!<\/dialogue>\n    <scene_description>Utah paddles rapidly , following her , watching what she does . He is borne up by a low glassy wall . He bellyboards all the way into the mushy shorebreak . Tumbles . Stands unsteadily , grabbing his board . Runs clumsily out of the retreating foam as another wave comes , sucking water out . On terra firma he looks back to see the woman kick - out gracefully and disappear beyond the wave . He flops on the sand . Shivering . Miserable .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  COAST HIGHWAY - LATER<\/stage_direction>\n    <scene_description>LONG LENS . the woman is peeling off her wetsuit next to a BATHTUB PORSCHE that needs a paint job . Her board is propped in the passenger seat . Stereo is pumping . UTAH WATCHES THROUGH BINOCULARS from 50 yards up the road . THE WOMAN , in a bikini , towels off briskly . Swimmer 's shoulders . Long muscular legs . Lean and mean . She jumps into the car without bothering to open the door . Looks at her watch - her manner is late , in a hurry . Through the tiny windshield we watch her shimmy and shake as she pulls her bottoms off and struggles into something else , not too concerned about the morning traffic right next to her . She pulls on a T - shirt and them performs a Houdini act to extract the bikini top out of one sleeve hole . UTAH WATCHES IMPASSIVELY . He starts his car and pulls out onto PCH to follow as the bathtub Porsche zooms past .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  NEPTUNE'S NET<\/stage_direction>\n    <scene_description>Utah cruises up slowly , pulls off the road . Up ahead the Porsche turns into the parking lot of NEPTUNE 'S NET , a Coast Highway hangout that serves high - grade steamed sea - critters and beer to low - grade road trash , bikers and surfers . Lean - and - Mean , wearing jeans and T - shirt , jumps out of the Porsche . She hurries to the door of the Net , unlocking it for a couple of Mexican cooks - helpers wearing expressions like they wait like this for her every day . UTAH puts down his binoculars and jots the Porsche 's license number down on a Tastee - Freeze bag . 867CDH .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  COMPUTER ROOM - DAY<\/stage_direction>\n    <scene_description>Green glow washes the intent faces of Utah and Pappas as MISS DEER data specialist , enters 867 CDH into her computer . She is purebred American Indian , strong featured and beautiful . The screen freezes and the hard disk churns . The DMV rap sheet scrolls down the screen .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>This is your surfer contact? Female. Blond hair. Green eyes. 5' 6''. 119 lbs?<\/dialogue>\n    <character>MISS DEER<\/character>\n    <dialogue>Hmm, not bad, Utah.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Tyler Ann Endicott. Born 11 - 27 - 64.<\/dialogue>\n    <scene_description>The rap sheet scrolls and scrolls and scrolls . There is something frightening about the length of this file .<\/scene_description>\n    <character>UTAH<\/character>\n    <parenthetical>( reading from the screen . )<\/parenthetical>\n    <dialogue>. Exhibition of speed. Indecent exposure inside moving vehicle.<\/dialogue>\n    <character>MISS DEER<\/character>\n    <dialogue>Hot, very hot.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Felony arrest! `` See adjoining file''.<\/dialogue>\n    <parenthetical>( he types quickly . )<\/parenthetical>\n    <dialogue>Kidnapping?!<\/dialogue>\n    <scene_description>Pappas crowds over Johnny 's shoulder , reading .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>This is great. She ties some guy up. Nude. Leaves the scene and fails to return for 24 hours. No convection.<\/dialogue>\n    <character>MISS DEER<\/character>\n    <dialogue>Got ta avoid the rope tricks, Johnny.<\/dialogue>\n    <scene_description>Utah gives her a `` very funny '' look . More data scrolls forth .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>What else they got on her? I still have n't found anything I can really use. I got ta find an approach, a way in - here we go.<\/dialogue>\n    <parenthetical>( he reads . )<\/parenthetical>\n    <dialogue>Both parents deceased. Plane crash. San Diego,' 84. Mmmm. Yeah, definitely.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  NEPTUNE'S NET - DAY<\/stage_direction>\n    <scene_description>A fat biker pulls out on a loud Harley -LRB- like there 's any other kind -RRB- . The place is almost empty in the weekend lull between lunch and dinner . Utah 's car pulls in off PCH .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  NEPTUNE'S NET<\/stage_direction>\n    <scene_description>Tyler Endicott is working the counter . She jams an order on the wheel and turns TO US .<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Next! Oh, no.<\/dialogue>\n    <scene_description>REVERSE ON Johnny standing there . Her only customer .<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Shrimp and fries.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>I mean, what do you want? What are you doing hanging around here.<\/dialogue>\n    <character>UTAH<\/character>\n    <parenthetical>( very serious . )<\/parenthetical>\n    <dialogue>I need you to teach me.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Gim me a break.<\/dialogue>\n    <parenthetical>( to cook . )<\/parenthetical>\n    <dialogue>One shrimp and fries to go!<\/dialogue>\n    <parenthetical>( to Johnny . )<\/parenthetical>\n    <dialogue>Anything to drink?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>I'm serious.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>I can see that. But forget it. Stick to tennis, or whatever you're good at. Miniature golf. Here, your number's 37.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Well, I'm just gon na go back out there till I catch on to it or break my neck.<\/dialogue>\n    <scene_description>She 's looking at him . This guy 's nuts . She laughs .<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>What is it? You all of a sudden got this bug you had to go surfing? This is a line, right?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>No, no. See, all my life I've done things for other people. In high school I played football because my old man expected me to. Then my parents always figured I'd go to law school, so I did. Football scholarship. Graduated Phi Beta Kappa -<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>This gon na take long?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Wait, so I'm a big hero to my folks, right?<\/dialogue>\n    <parenthetical>( he leans forward , a little awkward . )<\/parenthetical>\n    <dialogue>But two years ago they got killed in a car wreck and I just suddenly realized all my goals had been their goals. And I had n't been living my own life. So I wanted something for myself. Something that maybe did n't make any sense. You know what I mean?<\/dialogue>\n    <scene_description>Tyler 's smile has faded during this . He 's managed to touch her , break through the tough - waitress act . Now she 's looking him right in the eye .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>I came out here from Ohio a month ago. Never saw the ocean before. I did n't think it would effect me so much. Like I'm drawn to it, or something. I want to do what you do. It's the truth.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Tomorrow, 6 AM. Here. If you're a minute late I'm gone.<\/dialogue>\n    <parenthetical>( he 's grinning . )<\/parenthetical>\n    <dialogue>And Stud. I did n't take you to raise. I can show you a few things but after that you're on your own. That'll be four fifty.<\/dialogue>\n    <scene_description>He plunks down a ten and backs out the door , grinning .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Keep the change, Teach.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  BEACH - DAWN<\/stage_direction>\n    <scene_description>UTAH &amp; TYLER walk across the sand . Tyler drops her board .<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Stop here.<\/dialogue>\n    <parenthetical>( she turns to him . )<\/parenthetical>\n    <dialogue>Do you agree to do exactly what I say when I say it?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>UTAH pops INTO FRAME , arms extended , one leg in front of the other , torso bent at the waist : classic surfing stance . Suddenly , he drops OUT OF FRAME . WE PULL BACK - Revealing Utah on his board , on the sand .<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Do it again.<\/dialogue>\n    <scene_description>Tyler is making him `` pop '' up to his feet . Again and again . GAWKERS stop to watch . Utah fights humiliation . He pops again . And again . Quick cuts . On the next pop we - PULL BACK to reveal Utah on his board , in a wave . He is surfing . For about three seconds . He flies off the deck , ass over teakettle . On the SPLASH we start - A SEQUENCE OF TIME CUTS Tyler and Utah straddle their boards outside the break . She nods as the set comes , mellow right tubes . Utah digs in , arms pumping . He feels the bite as the wave picks up his board and starts down the wall . And endos . CLOUDY PLATINUM DAWN . Tyler shouting at Utah as he fights for balance . He flies off again . BLINDING BRIGHT SUNRISE . TYLER NEXT TO UTAH in the lineup , straddling boards . She moves her hands like a fighter pilot explaining a dogfight maneuver . Utah watches intently . Utah , backlit in glorious slow motion , tries a little turn and feels his feet slip out . He slams down butt - first on the board , flips over , feet sticking straight up out of a blast of diamond spray . Tyler cringes , giving a look like it 's hopeless . TYLER AND UTAH , at their cars , skinning out of their wetsuits . Utah looks exhausted , downcast . She snaps her wet towel at his ass , cheering him up . MALIBU PIER . RAIN . Tyler jumps out of her Porsche and sees Utah sitting in his car . She goes to him , opens the door and starts pulling him out . Come on you pussy . UTAH and TYLER wait their turn in the lineup . Rain pelts their faces . The waves are depressing inside mushers under a gray sky . Utah starts to paddle . Tyler shakes her head no . Utah is committed to the I ` face . Tyler stifles a laugh .<\/scene_description>\n    <character>TYLER<\/character>\n    <parenthetical>( to the other surfers . )<\/parenthetical>\n    <dialogue>I'm not with him.<\/dialogue>\n    <scene_description>Johnny gouges the lip , pops and begins the drop . Suddenly , miraculously , he catches an edge and , still standing , is carried along the tiny wall . The wall begins to sag . Utah shoots along the mush hooting and continues hooting madly as he thrashes all the way to shore . He turns and grins foolishly out to sea . Tyler bursts out laughing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  MALIBU PIER - DUSK<\/stage_direction>\n    <scene_description>Big surf . Rough conditions . Closeout set . UTAH , board in arm , follows Tyler out of the whitewater onto the beach .<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>It's closing out completely. Let's call it.<\/dialogue>\n    <scene_description>Utah nods . His eyes track the unruly break .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Who's that?<\/dialogue>\n    <scene_description>A LONE SURFER slashing through the pilings of the pier . A real kamikaze run as the whitewater walls thunder behind him . SILHOUETTED against a crimson sky and backlit spray the figure pumps among the pier pilings in a frenzy of motion that is somehow balletic . Laying out bottom turns , torquing his body and blasting the lip a few times , moving so fast his long dark hair stands straight back as if he were leaning out a car window on the freeway .<\/scene_description>\n    <character>TYLER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>That's Bodhi. They call his the Bodhisattva.<\/dialogue>\n    <scene_description>Utah watches as THE BODHISATTVA gets vertical with a snap , trims down the volcanic wall , carves the bottom , pivots , pumps to the top , gouging the lip , getting six feet of air . Gawkers HOWL and shout praise at the manic surfer .<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>The modern savage. Guy's even crazier than you, Johnny Utah. C'mon.<\/dialogue>\n    <scene_description>They start to walk . The sky darkens as the sea finally closes out completely . The Bodhisattva seems to levitate through the shapeless mush to shore .<\/scene_description>\n    <character>ROACH<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Brah!<\/dialogue>\n    <scene_description>Suddenly a football whistles through the air above Utah 's head . He watches as - The Bodhisattva , board under arm , walking out of the whitewater , makes a one - handed chest catch . A few yards away two teams of SURFERS play football . Utah gazes down the beach at the Bodhisattva . Almost 30 years old , his body lean and hard as a tree trunk . Hardness in the face accented by long Comanche hair .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Hey Tyler!<\/dialogue>\n    <scene_description>She whirls . Bodhi pumps his arm . Tyler jogs back for the catch . Bullseye . She shoots Bodhi a look . Something crosses her face . Bodhi smiles . Tyler does n't . Then it passes . She chucks the ball to Utah . Who drops his board and makes the catch in one move . He SPINS the football on his fingertip , drops it on his foot , kicks it up into his hands . Razzle dazzle . He grins evilly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  BEACH - NIGHT<\/stage_direction>\n    <scene_description>Rimmed by a dozen car HEADLIGHTS at the edge of the sand . Utah crouches , waiting for the snap from NATHANIEL , ponytailed and powerfully built . Facing them on defense are Bodhi , Tyler and three others : ROACH , gonzo and spiked - haired . GROMMET . 17 and thin as a stick , and ROSIE , a biker with piggy eyes and arms blue with tattoos . MONTAGE STYLE - Utah tosses a flurry of mindboggling passes . Every one picture perfect . Nathaniel scrambles z - out left , turns and the ball is practically waiting for him . Touchdowns galore . Endzone dancing . Bodhi stares at him curiously . Tyler rushes . Utah enjoys scrambling , ducking left and right , twisting her into a pretzel . Play after play . Utah tosses another touchdown , but Tyler keeps coming . Sacking him . They lie together in a heap , laughing . Bodhi quarterbacks . Utah rushes . Bodhi fakes a pass then runs , ball tucked in his arm . Utah tears after him . Flat out speed run . Roach attempts a block . Utah hits him like a freight train . Roach hits the sand face first . Grommet and Rosie the biker in a squeeze play . Utah , fierce now , blasts between them . No mercy . Utah ca n't play for fun . We see his expression . Something scary there . What we will call `` juggernaut mode '' . Tyler just steps aside . Bodhi running along wet sand as a wave sweeps up the beach . Looks back . Sees a demon shooting up roostertails of spray behind him , gaining . Pours it on . Both of them pistoning through curtains of water . Not a game anymore . Closing on the endzone . 5 yards . Utah is airborne . SLAMS BODHI LIKE A SAM MISSILE . They crash and burn together in the surf . The other surfers run up . Who 's this newcomer that just centerpunched their main man ? Industrial strength tension .<\/scene_description>\n    <character>ROACH<\/character>\n    <dialogue>The fuck you doin' man?! You fuckin' crazy?<\/dialogue>\n    <scene_description>Bodhi flashes a million dollar smile .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Chill, brah. You know who this is? Johnny Utah. Ohio State, all - conference.<\/dialogue>\n    <parenthetical>( to Utah . )<\/parenthetical>\n    <dialogue>Rose Bowl three years ago. Right?<\/dialogue>\n    <scene_description>Johnny nods . Tyler looks at him - no shit ?<\/scene_description>\n    <character>ROACH<\/character>\n    <dialogue>Johnny fuckin' Utah! Fuckin' - A! Yeah, I remember that game, man. You were on - fire. They could not stop your ass.<\/dialogue>\n    <character>GROMMET<\/character>\n    <dialogue>Radical! Head - butt, dude!<\/dialogue>\n    <scene_description>Johnny gestures `` Please no '' . Enthused by the concept , Grommet turns to Nathaniel .<\/scene_description>\n    <character>GROMMET<\/character>\n    <dialogue>Head - butt!<\/dialogue>\n    <scene_description>They do . Their foreheads CRACK together . They stumble backwards in giddy euphoria . Nathaniel laughs like Pee Wee Herman .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Something happened. You got nuked in the last quarter.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Yeah, my knee got folded about 90 degrees the wrong way.<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>And that's why you never went pro?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Two years of surgery. I missed my window. Limped through law school instead.<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>Mmm. A lawyer, huh?<\/dialogue>\n    <parenthetical>( like it 's a disease . )<\/parenthetical>\n    <dialogue>Too bad. But at least you're surfing now. So your life's not over yet, right?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Not yet.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  FEDERAL BUILDING - 16TH FLOOR - DAY<\/stage_direction>\n    <scene_description>Utah , in shorts and T - shirt , carries his flame - job surfboard past surveillance cameras and portraits of Bush , Hoover and Webster . Special Agent Cole walks by . Eyes the board . Speaks deadpan .<\/scene_description>\n    <character>COLE<\/character>\n    <dialogue>Like totally rad stick, dude.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  BULLPEN<\/stage_direction>\n    <scene_description>Utah tries to act casual as he carries the board to his desk on the other side of the room . He has to walk past the entire gauntlet to get there .<\/scene_description>\n    <character>SEVERAL AGENTS<\/character>\n    <dialogue>Gnarly, man. hang ten. cowabunga. surf patrol. rip it up!<\/dialogue>\n    <scene_description>Harp comes straight for him like a homing missile .<\/scene_description>\n    <character>HARP<\/character>\n    <dialogue>How was the beach?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <character>HARP<\/character>\n    <dialogue>Surf conditions okay?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>A little mushy.<\/dialogue>\n    <character>HARP<\/character>\n    <dialogue>A little mushy! You think the taxpayers would like it, Utah, if they knew they were paying a federal agent to surf and pick up girls?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Babes.<\/dialogue>\n    <character>HARP<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>The correct term is babes, sir. Uh, this type of undercover operation is entirely dependent on picking up the idiom of the speech. Otherwise penetration is not possible, sir. Of the social infrastructure, I mean.<\/dialogue>\n    <scene_description>Harp inhales through his nose . A bad sign .<\/scene_description>\n    <character>HARP<\/character>\n    <dialogue>Where is Pappas?<\/dialogue>\n    <scene_description>Utah points across the room . Harp turns . PAPPAS , sitting behind his desk in his `` Surf This '' T - shirt and pink shorts , lifts the purple Vuarnets like Tom Cruise in Risky Business . Looks directly at Harp . Smiles innocently .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  HARP'S OFFICE<\/stage_direction>\n    <scene_description>Harp paces . Type - A suppressed rage . Utah and Pappas endure Harp 's wrath .<\/scene_description>\n    <character>HARP<\/character>\n    <dialogue>Special Agent Utah, this is not some job flippin' burgers at the drive - in. Yes, the surfboard bothers me. Yes, your approach to this case bothers me. And yes, you bother me. You two have produced squat in the last two weeks, during which time the Ex - Presidents have robbed two more banks! Do you have anything even remotely interesting to tell me?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Caught my first tube this morning.<\/dialogue>\n    <scene_description>Pappas signals , unseen by Harp , for Utah to shut the fuck up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  CORRIDOR TO COMPUTER ROOM<\/stage_direction>\n    <scene_description>Johnny and Angelo walking .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>What, you could n't have just left the thing in your car?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>It sticks out, so I ca n't lock it. Look, Angelo, you think I joined the FBI to learn to surf? This was your lame - o idea in the first place. You got ta back me up on this.<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>Johnny, all I can say is we better come up with something real soon.<\/dialogue>\n    <scene_description>Johnny cocks an eyebrow and opens the door to the computer room ceremonially , like a doorman at the Ritz - Carlton . Miss Deer looks up as they enter .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  COMPUTER ROOM<\/stage_direction>\n    <scene_description>TIGHT ON CRT as a lab report scrolls up the screen . Gas chromatography and spectroanalysis . Columns of elements and compounds , listed as percentage - of - sample .<\/scene_description>\n    <character>MISS DEER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Encino Savings &amp; Loan guard grabbed LBJ's ponytail. We recovered one hair.<\/dialogue>\n    <scene_description>WIDER , showing Utah and Pappas over her shoulder at the terminal .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Yeah, yeah, I remember, last year. Guy got his jaw broken for it.<\/dialogue>\n    <character>MISS DEER<\/character>\n    <dialogue>One four centimeter strand. Color brown. Oily. Slight wave.<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>Hell, what're we waiting for, let's go pick the guy up.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Angelo, pay attention. There's gon na be a test afterward. Lab is showing traces of toxins. PCBs. Heavy elements. selenium, titanium and arsenic.<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>Guy's the Toxic Avenger.<\/dialogue>\n    <scene_description>Utah is excited as he fits the pieces together for his partner .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>The beaches are always being closed because of waste spills, right? And surfers are territorial. They stick mostly to certain breaks. If we can get some hair samples, and get a match to a certain beach, we'd know which break the Ex - Presidents surf. You buyin' this?<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>No. But let's do it, anyway. It's gon na bug the shit out of Harp.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  LATIGO - DAY<\/stage_direction>\n    <scene_description>Department of Health sign reads , `` Beach Temporarily Closed . '' Beyond it crashes a wasted northwest swell . Two frustrated teenage SURFERS huddle underneath a towel . Marijuana smoke seeps upward . A sandaled FOOT enters frame and taps their leg . Angry heads poke up from beneath the towel , nostrils and mouths billowing smoke . The two wear T - shirts which read `` Passion for Slashin '' and `` Psycho Stick '' . PAPPAS smiles , standing there in his beach wear , trying to blend in . He does n't .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>When you two are done makin' out, I need to talk to you.<\/dialogue>\n    <character>\"PSYCHO-STICK\" T-SHIRT<\/character>\n    <dialogue>Hey, I ai n't no butt - bouncer, dude. We're from the valley. Mall babes'n shit.<\/dialogue>\n    <scene_description>The kids proudly high - five .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>I just want to know if you surf here a lot.<\/dialogue>\n    <character>\"PASSION FOR SLASHIN'\" T-SHIRT<\/character>\n    <dialogue>Shit yeah, like totally everyday when it's jammin'. What is this, fucking narco entrapment or what, dude?<\/dialogue>\n    <scene_description>Pappas flashes his FBI star . He whips out a pair of scissors . Brandishes them like some over - the - hill `` Jason '' .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Not exactly, dudes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  COUNTY LINE - DAY<\/stage_direction>\n    <scene_description>Row of SURFMOBILES parked along a cliff , facing the ocean , doors open , stereos blasting , SURFERS hanging , sitting on hoods . Utah moves along the cars , looking surfed - out . He 's tanned , relaxed . Hair starting to bleach out . One of the tribe .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Whoa, brah, easy now. Do n't move!<\/dialogue>\n    <parenthetical>( Utah bends close , reaching for Surf - Rat 's ear . )<\/parenthetical>\n    <dialogue>Got some huge sucker crawling into your -.<\/dialogue>\n    <parenthetical>( he plucks at a tuft of hair . )<\/parenthetical>\n    <dialogue>Got it! Uuuughhh.<\/dialogue>\n    <character>SURF-RAT<\/character>\n    <dialogue>Leave some fuckin' hair, man!<\/dialogue>\n    <scene_description>Utah squashes , then inspects the mysterious creepy - crawler hidden in his palm . He wipes his hand on his towel , which he keeps balled up in his other hand .<\/scene_description>\n    <character>SURF-RAT<\/character>\n    <dialogue>What was it?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Saved your butt, bro. Close one.<\/dialogue>\n    <scene_description>Utah shivers in disgust , then coyly turns and walks away . The surf - rat desperately pats his ear for traces .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  FORENSICS LAB - NIGHT<\/stage_direction>\n    <scene_description>A long series of ENVELOPES are displayed on a desk . Each has the name of a Southern California beach and is attached to a forensic printout . HALSEY inspects each envelope .<\/scene_description>\n    <character>HALSEY<\/character>\n    <dialogue>Naw, this is n't it.<\/dialogue>\n    <scene_description>UTAH holds up an envelope with a skinny woven ponytail sticking out . PAPPAS shrugs .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>He moved.<\/dialogue>\n    <scene_description>Halsey picks up an envelope marked `` Latigo Beach '' .<\/scene_description>\n    <character>HALSEY<\/character>\n    <dialogue>PCBs, selenium, titanium, arsenic. The percentages look right. Here's a match.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Latigo Beach.<\/dialogue>\n    <scene_description>Pappas grabs the envelope , studies it , crooks his head .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Surf's up, ace.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  LATIGO BEACH - DAY<\/stage_direction>\n    <scene_description>EXTREME LONG LENS scans the beach from a height . A gray , miserable day . Beach crowd thin except for diehards . The image drifts across faces , BODIES . Surfers walking with boards . Talking , sitting with pubescent girls . The image settles on Johnny , astride his board , bobbing beyond the break . ON PAPPAS , scanning with powerful binoculars from his car . CLOSE ON UTAH , out among the flock of hardcore surfers . Ostensibly waiting for a wave , his eyes search the others around him , clicking methodically from face to face . Finally he swings his board around and awkwardly catches a ride . The modest wave carries him toward the beach as he balances , tense and style - less . He passes someone we 've seen before . The RAZORHEAD from the first day . In concentration , Johnny does n't see the guy . But Razorhead definitely sees him . JOHNNY reaches the beach and jogs up the sand . He picks up a towel and talks into it as he dries his hair . A glimpse of the walkie - talkie hidden beneath .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Big zippo so far. How about you?<\/dialogue>\n    <character>PAPPAS<\/character>\n    <parenthetical>( RADIO . )<\/parenthetical>\n    <dialogue>Patience hotshot. Patience. It'll be subtle, if it's here at all.<\/dialogue>\n    <scene_description>PAPPAS WATCHES as Johnny crosses toward the outside shower next to the public restroom . LONG LENS view of Utah passing OUT OF SIGHT behind the building . AT THE SHOWER Johnny sets down his gear and opens his wetsuit to the warm , salt - free jet of water . TRACKING SLOWLY IN on him as he lets it pour over his face . A HAND ENTERS FRAME , shutting off the water suddenly . TIGHT ON UTAH , his eyes opening . REVERSE , revealing RAZORHEAD and THREE OTHERS . They are powerfully built SURF - NAZIS . Scalps shaved on the sides . Hair military short on top , lengthening into pigtails in the back . Tattoos . Wrist chains . TONE , ARCHBOLD and WARCHILD . The one who socked Utah before is BUNKER . They spread out flanking him .<\/scene_description>\n    <character>WARCHILD<\/character>\n    <dialogue>This the guy?<\/dialogue>\n    <character>BUNKER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>UTAH<\/character>\n    <parenthetical>( good natured . )<\/parenthetical>\n    <dialogue>Okay, so this is where you tell me all about how locals rule and yuppie insects like me should n't be surfing your break and all that, right?<\/dialogue>\n    <character>BUNKER<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>TONE<\/character>\n    <dialogue>Waste of time.<\/dialogue>\n    <character>WARCHILD<\/character>\n    <dialogue>We're just going to fuck you up.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>As they lunge , Utah grabs his board and swings it in a whistling roundhouse . Its edge slams Warchild in the gut and folds him double . The bad news is . Warchild gets an arm around it and brings a pile - driver hammer - punch down . The board splits into two pieces . Utah drops his end as the others close . A flurry of punches and kicks , most of which he blocks . But he 's lost the offensive . Bunker takes him to his knees with a vicious karate - style side - kick . TIGHT ON Utah 's towel , talking with Pappas ' voice .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Johnny? You there?<\/dialogue>\n    <scene_description>ANGELO gets out of the car fast . He jogs twenty feet and raises the binoculars . Catches a glimpse of the carnage around the edge of the building . Breaks into a run , massive legs pistoning . JOHNNY HITS THE GROUND hard . He rolls and comes up fast . The razorhead brothers are a little surprised .<\/scene_description>\n    <character>ARCHBOLD<\/character>\n    <dialogue>The dude can fight!<\/dialogue>\n    <scene_description>Warchild grabs Utah from behind . Gets him in a headlock . Archbold and Tone pin his arms . Bunker starts working him like a practice bag . At this moment , Johnny is getting the proverbial shit beat out of him . SUDDENLY , a new figure blurs INTO FRAME . BODHI seizes Bunker and flings him aside . He spins with remarkable agility and drives his heel into Warchild 's face . Utah breaks free , staggering back on the sand . The fight is still there in his eyes . Bodhi is at his side - holding the others at bay with a raised hand and an evil look .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Back off! Now! Just let it go!<\/dialogue>\n    <character>BUNKER<\/character>\n    <dialogue>Stay outta this, Bodhi!<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>He's with me. Now back off. Seriously.Just do it!<\/dialogue>\n    <parenthetical>( they relax slightly . )<\/parenthetical>\n    <dialogue>You alright Warchild?<\/dialogue>\n    <character>WARCHILD<\/character>\n    <parenthetical>( holding his bleeding nose . )<\/parenthetical>\n    <dialogue>Fuck you.<\/dialogue>\n    <scene_description>Everybody has backed off a bit , panting . Utah steps toward Bunker . Like he 's maybe going to shake hands .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>What's your name?<\/dialogue>\n    <character>BUNKER<\/character>\n    <dialogue>Bunker.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Well, listen, Bunker. I'm actually kinda glad you found me.<\/dialogue>\n    <character>BUNKER<\/character>\n    <dialogue>Yeah? Why?<\/dialogue>\n    <scene_description>Johnny answers with a LIGHTNING ROUNDHOUSE that hits with a CRACK ! They can hear it in Pomona . BUNKER HITS THE GROUND . Flat out . Lights out . Tone , Archbold and Warchild lunge like dogs . Bodhi yanks Utah out of the line of fire .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Whoa! Whoa! Hold it, ladies. Give it a rest.<\/dialogue>\n    <parenthetical>( to Utah . )<\/parenthetical>\n    <dialogue>Let's go.<\/dialogue>\n    <scene_description>He literally turns Utah around . They begin to walk , stepping over the pieces of Johnny 's board .<\/scene_description>\n    <character>BODHI<\/character>\n    <parenthetical>( under his breath . )<\/parenthetical>\n    <dialogue>Do me a favor, Johnny, just keep walking.<\/dialogue>\n    <scene_description>Tone starts to go after them . Archbold grabs his arm . They help Bunker up . Warchild holds he bleeding nose . Utah and Bodhi start up the stairs , turn a corner and run HEAD - ON into a huffing PAPPAS . The big man clocks a battered but intact Utah . We see him shift gears in his head in 2 tenths of a second .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <parenthetical>( out of breath . )<\/parenthetical>\n    <dialogue>Uh, you guys seen a kid, maybe 10, 12, running with a car stereo? Stole the fucking CD too, you believe it?<\/dialogue>\n    <scene_description>Utah is grateful for the cover .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>No, but there are four guys back there you might check out.<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>Thanks, buddy.<\/dialogue>\n    <scene_description>He shoves on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  PARKING LOT<\/stage_direction>\n    <scene_description>Bodhi and Utah weave among the cars and motorcycles , beach - types coming and going .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Friends of yours, huh?<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>The one you decked is Bunker Wiess. The big one is his brother, Warchild. The other two always hang. They think they're some kinda death squad around here.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>What's their program?<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>They're punks. Nazis. Their brains are wired wrong. They hurt surfing because they give nothing back, and they have no respect for the sea. They just want to get radical. It's mindless aggression. They'll never get it, the spiritual side of it.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>You always talk like this? You're not gon na start chanting or anything are you?<\/dialogue>\n    <character>BODHI<\/character>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>So I was up the beach. I saw it going down. you did n't hesitate. they never backed you up an inch. That's rare in this world.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Thanks for stepping in.<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>De nada.<\/dialogue>\n    <scene_description>Bodhi keeps on walking as Utah reaches his car and stops . Five paces on , he stops and turns back . A moment of decision .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Gon na be some people at my house tonight. Maybe you can make it.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>Come with Tyler. She knows.<\/dialogue>\n    <scene_description>Bodhi turns and saunters away . Utah considers his last words , wondering how well Tyler and Bodhi know each other .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/ EXT.  CAR - PCH - SANTA MONICA - DAY<\/stage_direction>\n    <scene_description>Utah is struggling into a T - shirt as Pappas drives , intently following a beat - to - shit JEEP . Paramilitary olive - drab and full of surfboards . And razorhead .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Ten seconds you're out of sight. Unbelievable.<\/dialogue>\n    <scene_description>Johnny is equipment - juggling now . cradling a cellular phone at his ear while steadying Pappas ' binoculars in front of his eyes .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>You're losin' them.<\/dialogue>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>That's right. Two - denver - four - sam - niner - five - niner. Late seventies Jeep.<\/dialogue>\n    <scene_description>LONG LENS , JOHNNY 'S POV through binoculars . Bunker 's jeep weaves aggressively through traffic ahead . Horns honk . Tone flips off the driver of a Toyota .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Look, if you're gon na go leavin' your piece and your shield in the car, you can damn well stay in sight. Okay?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Okay, Dad.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  VENICE STREET - DAY<\/stage_direction>\n    <scene_description>Low rent street off Washington . EXTREME LONG LENS on Jeep as it pulls onto the dead front lawn of a brown stucco house with bars on the windows . The razorheads get out , pulling boards and wetsuits from the Jeep . They are dressed now in ripped jeans , GI boots , sleeveless Megadeth T - shirts , etc. . Watching , we become aware that two of them have brown hair in a radical style . shaved sides and a short ponytail .<\/scene_description>\n    <character>UTAH<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The jeep is registered to a Bradley Wiess. My buddy. Guy's got quite a sheet.<\/dialogue>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Yeah, yeah. skip all that. Gim me the greatest hits. Misdemeanor possession of cocaine. That's good.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/ EXT.  CAR<\/stage_direction>\n    <scene_description>Utah on the cellular , Pappas behind the wheel as they slide to a stop half a block from the stucco house .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Felony B and E, three months in juvey. Better. Felony assault. Postgraduate work at Chino. Excellent. I'm lovin' it. What about the brother?<\/dialogue>\n    <parenthetical>( Utah is grinning . )<\/parenthetical>\n    <dialogue>Great! Another model citizen. These guys really fit the profile.<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>Remember, all bank robbers are losers, but not all losers are bank robbers.<\/dialogue>\n    <scene_description>LONG LENS POV of Razorheads house . Through the windows we see the four moving inside . Tone throws Archbold and Bunker a Coors from the fridge . Archbold shakes his and opens it in Warchild 's face . Warchild , in no mood , slams him against the wall . We feel the revved - up , chaotic energy of the group in silent pantomime . Bunker is met by a GIRL coming from the back of the house . She is wearing only panties and a black leather vest . Short black hair and tattoos stark on her white skin . Bunker puts one arm around her neck in a head lock embrace and slides his other hand under her vest . Tone pulls the curtains .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>These are the guys. I can feel it. I say we lay it on Harp.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  STREET NEAR HOUSE - NIGHT<\/stage_direction>\n    <scene_description>TELEPHOTO VIEW of house . Bunker and Archbold have partially disassembled the engine of a Kawasaki 1100 parked in the living room . They are drinking beer and arguing about the carburetors , lit by the blue glow of the TV . Warchild is watching a living - dead movie on tape . He replays the gory parts . Not a happening night at the Razorheads . REVERSE , as binoculars are lowered , revealing Cole . WIDER , to show the dynamic team of Cole and Munoz glowering in a plain sedan , Utah leaning in the side window .<\/scene_description>\n    <character>MUNOZ<\/character>\n    <dialogue>This is bullshit. This is a bullshit lead. This is totally bullshit. Harp must be fucking desperate if he's listening to you two flakes.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>See you bright and early, guys.<\/dialogue>\n    <scene_description>Pappas walks up with a grease - stained box . Jams it through the window .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Cold pizza? It's great for breakfast.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/ EXT.  PAPPAS' CAR - NIGHT<\/stage_direction>\n    <scene_description>Pappas pulls away from the curb , roaring past the other agents sedan . Utah and Cole flip each other off perfunctorily as they pass .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>When did Harp say they'd have the warrant?<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>He's pushing it through first thing. You better get some sleep tonight, it could be an interesting morning.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  BODHI'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>A bunker - like structure built of stone and glass on a cliff overlooking the Pacific . Surfmobiles and motorcycles parked in front . A strong backbeat thumps through the open front doors . Tyler 's Porsche pulls into the driveway . She and Johnny get out and head for the entrance .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Nice place.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>He rents it for the summer. Bodhi always gets some slick place and throws it open to every surf burnout around. Most a these guys ca n't keep a job. When the swell comes, they're gone, they have to ride.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/ EXT.  BODHI'S HOUSE<\/stage_direction>\n    <scene_description>Tyler leads Utah through the steady flow of SURF - RATS and other PCH NOMADS toward a large outdoor deck where a barbecue is in progress . Moonlit waves pound the shore eighty feet below . They are immediately distracted by the small crowd gathering around GROMMET who has his nose pressed flat against the center of a dart board . His eyes swivels back to ROACH , standing fifteen feet away , dart in hand , getting ready to throw .<\/scene_description>\n    <character>GROMMET<\/character>\n    <dialogue>Do your worst, man!<\/dialogue>\n    <scene_description>Roach drains a beer in one gulp , spies the sharp needle point of the dart , then squints at the target . ROSIE moves through the small crowd collecting bets . Suddenly Roaches arm snaps back . A collective hush . In a blur of tattoos the small feathered missile is airborne . TWAAAPPPPPP ! Bulls - eye . Centimeters from flesh . Grommet secretly exhales . Roach howls as Rosie rains money on his head . The crowd goes wild . BODHI stands nearby with his arm around a BEAUTIFUL WOMAN . Pleased to see Utah , he motions him over .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Do n't you gamble?<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>Only make bets I ca n't afford to lose. Only way to be 100 % committed.<\/dialogue>\n    <scene_description>With that , Bodhi smiles , then he and the woman vanish into the crowd . Utah watches them go , turns to Tyler .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Who's the girl?<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Catch of the day.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Oh, oh. That sounds personal.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>People are expendable to Bodhi.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Meaning you were expendable.<\/dialogue>\n    <character>TYLER<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>We went out for about five minutes. which is four minutes longer than most of them. But you ca n't hold it against him, he's. different.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Sure, he's `` the Bodhisattva''.<\/dialogue>\n    <character>TYLER<\/character>\n    <parenthetical>( she chuckles . )<\/parenthetical>\n    <dialogue>Yeah, he thinks he's evolved to a higher plane of existence, or something.<\/dialogue>\n    <parenthetical>( thoughtful . )<\/parenthetical>\n    <dialogue>Maybe he has. You've seen him surf. that frenzy. It seems like anger. It's not. It's the energy of lovemaking. The sea is the woman in his life. She's his only true lover.<\/dialogue>\n    <scene_description>Utah studies her a moment . He 's caught the faintest hint of regret in her voice . But also the straight - ahead pragmatism . He looks down at the waves pounding mercilessly against the rocks .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>All she does is beat the shit out of me.<\/dialogue>\n    <scene_description>PARTY - LATER Lingering surf - rats stoned and drunk . Nathaniel stands on the railing of the deck , Corona in hand , gazing out at the black water . He grins sloppily , body wavering dangerously as he hunkers down into a surfing stance .<\/scene_description>\n    <character>NATHANIEL<\/character>\n    <parenthetical>( beer soaked speech . )<\/parenthetical>\n    <dialogue>. Okay, so you're in the face, it's twenty - five feet straight down, your balls are about this big.<\/dialogue>\n    <parenthetical>( like he 's holding up two BB 's . )<\/parenthetical>\n    <dialogue>And the whole thing's moving, right, roaring like you're stuck to the front of a freight train. There ai n't nothin' like it, man. The ultimate rush. Forget about sex, it does n't even come close.<\/dialogue>\n    <character>ROACH<\/character>\n    <dialogue>You lose it right then, you're history. The fish'll be pickin' you outta the coral.<\/dialogue>\n    <scene_description>Nathaniel cackles that absurd Pee - Wee Herman laugh . He starts to flail , arms pinwheeling . Utah catches him by the back of the shorts and pulls him back . Nathaniel spins and drops clumsily onto the deck .<\/scene_description>\n    <character>NATHANIEL<\/character>\n    <parenthetical>( matter of factly . )<\/parenthetical>\n    <dialogue>Thanks, brah.<\/dialogue>\n    <scene_description>Tyler sits next to Johnny , sipping a beer . Bodhi is not in sight .<\/scene_description>\n    <character>ROACH<\/character>\n    <dialogue>See, it's all dynamic, it's all in motion. You ca n't just stop and walk on in to the beach if you do n't like the way things are going, y' know what I mean? You got ta ride it out man, all the way.<\/dialogue>\n    <character>GROMMET<\/character>\n    <dialogue>You ride the monsters, you got ta know you're ridin' a line between life and death. There ai n't no forgiveness.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>So what's the biggest? Waimea?<\/dialogue>\n    <character>BODHI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>No, Bells Beach, Australia.<\/dialogue>\n    <scene_description>Bodhi glides into the group and sits , his expression dark and enigmatic . The beautiful girl kneels behind him , massaging his neck . He seems not to notice .<\/scene_description>\n    <character>GROMMET<\/character>\n    <dialogue>Shit, yeah! I remember that day. gnarly fuckin' ass! Was your birthday -<\/dialogue>\n    <character>ROACH<\/character>\n    <dialogue>The set was northwest. Jacking up like a fucking mountain of gray glass -<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>I made that one mistake you pray you'll never make -<\/dialogue>\n    <character>NATHANIEL<\/character>\n    <dialogue>You shoulda fuckin' seen it. it was like he fell for - ever. Then the curl crashes down and he's gooone -<\/dialogue>\n    <character>GROMMET<\/character>\n    <dialogue>- held down in the washing machine, man. it was severe, we could n't see nothin' thought it was all over for sure -<\/dialogue>\n    <scene_description>Nathaniel HOWLS . Tyler watches Utah watching Bodhi . Notices how he is mesmerized by these war stories . Bodhi smiles , unexpectedly .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Not tragic to die doing what you love. You want the ultimate thrill, you got ta be willing to pay the ultimate price.<\/dialogue>\n    <character>NATHANIEL<\/character>\n    <dialogue>Fuckin' A.<\/dialogue>\n    <character>GROMMET<\/character>\n    <parenthetical>( draining a Corona . )<\/parenthetical>\n    <dialogue>Hell, I ai n't gon na see 30.<\/dialogue>\n    <scene_description>He and Nathaniel slap a warm , brotherly handshake . Utah notices that Tyler is giving him a dark look . She gets up suddenly and walks away from the group .<\/scene_description>\n    <character>UTAH<\/character>\n    <parenthetical>( to the surfers , covering . )<\/parenthetical>\n    <dialogue>Uh. I need another beer.<\/dialogue>\n    <scene_description>He heads out after Tyler .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  HALLWAY - DEN<\/stage_direction>\n    <scene_description>Johnny moves through the house , looking for her . As he passes the den , he sees Tyler standing inside , and goes into the dark room . It is the only personalized space we have seen in the house . A kind of shrine to the Bodhisattva . Shelves filled with books and artifacts from his travels . Maori masks , a blowgun , a skeletal shark mouth two feet across , a huge fossil ammonite . an unbelievable variety of tribal artifacts and marine specimens . The books include political literature , eastern religion , philosophy . A strange hodgepodge of titles and authors : Nietzsche , Marx , the Tao , `` Steal this Book '' , `` The Book of Five Rings '' , Frederick Forsyth thrillers . Tyler is looking at a wall of photographs and Johnny walks up behind her . Shots of Bodhi surfing a monster wave , mountain - biking , skydiving , flying an ultralight airplane , bungee - cord jumping , cliff diving . Every kamikaze activity in the book .<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Bunch of goddamn adrenaline junkies. I hope you're not buying into this banzai - bullshit like the rest of Bodhi's moonies.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>I've seen that kamikaze look, Johnny. You've got it. And Bodhi can smell it a mile away. He'll take you to the edge. and past it.<\/dialogue>\n    <parenthetical>( she looks past Johnny , sees something . )<\/parenthetical>\n    <dialogue>Hey, Bodhi.<\/dialogue>\n    <scene_description>Utah turns . Bodhi is in the doorway .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Johnny has his own demons, do n't you, Johnny?<\/dialogue>\n    <scene_description>Bodhi seems to stare into him . Utah breaks the look . Turns back to the photo gallery . Bodhi 's eyes swivel . He ponders something . Looks at Tyler .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Feel it?<\/dialogue>\n    <scene_description>Roach and some of the other surfers appear in the hallway , wondering what happened to their leader . He turns to them .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Gentlemen, it's time.<\/dialogue>\n    <scene_description>HOOT AND CHEERS . Everyone bursts into motion . Yelling and running through the house .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>What's goin' on?<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Swell's here, Johnny. Bodhi always knows.<\/dialogue>\n    <scene_description>Bodhi returns from another room with . AN ALL - BLACK SURFBOARD . It gleams like obsidian . Near the tip , in small gray letters it says `` Stealth Fighter '' . Bodhi thrusts it into Johnny 's hands . The others WHOOP maniacally . Johnny feels the challenge . The pull of the tribe .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Let's go, Utah. Time for a little stealth mission.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  LATIGO BEACH - NIGHT<\/stage_direction>\n    <scene_description>SIX DARK FIGURES walk toward us out of shafts of light . the headlights of Bodhi 's CHEVY 4WD and Tyler 's Porsche . The figures are Bodhi , Johnny , Tyler and the other surfers . ROSIE hangs back with the idling vehicles , tattooed arms crossed . He puffs on a cigarette . A WIDE SHOT -LRB- MATTE -RRB- of the beach shows a pool of light from the headlights , beyond it a vast silver ocean under a black sky . The full moon casts the world in cold monochrome . The little figures reach the sea .<\/scene_description>\n    <character>ROACH<\/character>\n    <parenthetical>( a voice in the distance . )<\/parenthetical>\n    <dialogue>Gaping barrels! Way overhead, man!<\/dialogue>\n    <scene_description>CLOSER , as moonlit figures run into the water . Utah stands on the beach , hoping his eyes will adjust .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>I can barely do this in broad daylight.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Come on. At least no one's gon na see how bad you are.<\/dialogue>\n    <scene_description>Johnny clenches his jaw and charges past her into the water . He strokes powerfully out through the black swell . UTAH 'S EBONY BOARD pierces the wave and he slides down the backside to where the others are waiting . Roach and Nathaniel , silhouettes nearby , see one they like and take off yelling . Johnny turns as a figure glides up next to him .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>I got ta be fucking crazy.<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>Yeah, but are you crazy enough?<\/dialogue>\n    <scene_description>Grommet gets a ride , slicing across in front of them . A ghost moving off into the silvery distance . Tyler waves jauntily and takes the next one . It 's Johnny 's turn .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Football's a man - made game. You keep score with numbers. But in this, there's no field, no rules, no opponent. Just you and the wave.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>I know that part. Tell me something I can use, here.<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>I've watched you once or twice. You surf like it's some kind of street fight. You jerk along from moment to moment, fighting everything that comes at you. Always trying to win.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>A flaw I'm working on.<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>The only way to win out here is to surrender. You have to feel what the wave is doing, accept its energy, get in sync. Just feel it all moving in the blackness. you do n't need to see.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Yeah, right, vision is highly over - rated.<\/dialogue>\n    <scene_description>Bodhi is looking at the lights along the shoreline . Without looking back , he senses the incoming swell .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>This one's got your name on it, Johnny.<\/dialogue>\n    <scene_description>Utah looks . Huge glassy face , perfectly formed . Black and terrifying .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Let's go.<\/dialogue>\n    <scene_description>Bodhi digs in with both hands , driving himself forward . Johnny starts grabbing water right behind him . The wave picks them up .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Shit, I'm gon na die. I'm gon na die now.<\/dialogue>\n    <scene_description>Johnny uses the patented Tyler - pop and makes it to his feet . Suddenly he 's going like a shot . He moves back on the board , trims out , slowing down . Maintains a fragile control . On pure adrenalized instinct , heart pounding , he falls in behind Bodhi , taking the same line along the roaring black face . Bodhi is like the Silver Surfer , ahead of him in the moonlight . Not wanting to drop too far behind , Johnny walks a little forward on the board . The nose dips , picking up speed . Johnny starts letting the speed work for him , learning that he can make long floating turns up and down the glassy face . Feeling the water under his feet , the tons of water piling up behind him . feeling its awesome power and borrowing a little of it . The Silver Surfer and the quarterback rocket through the night . Utah has a big feral grin plastered on his face . Bodhi looks back . Gives him a thumbs up . Then he cuts left and drops giddily down to the bottom , slashing back and climbing . Utah tries it , feels the drop like freefall . feels the speed . He makes his bottom turn , nearly falling . The grin dropping off his face . He falls in behind Bodhi again as the wave wraps over them like a great black wing . TYLER , paddling back out , watches them shoot past her . Utah raises his arms above his head and HOWLS like a gonzo wolf as they go by . She grins to herself , watching him . Knows he 's gotten the ride that will make him a surfer for life .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  BEACH PARKING LOT<\/stage_direction>\n    <scene_description>Rosie sits on the sand next to a blazing fire in a cement firepit . ANGLE THROUGH THE HEAT HAZE above the flames . Tyler punches through , a few feet away . She paddles toward him , coming alongside .<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>You had enough?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Yeah. I just want to sit out here for a minute.<\/dialogue>\n    <scene_description>He watches the lights along the shoreline as the gentle swell between sets lifts and drops them . His face is somehow childlike . A slow grin spreads itself across his face .<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Look at you.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Well, usually you have this sort of intense scowl of concentration, like you're doing this for a school project or something. I do n't know, like something's driving you.<\/dialogue>\n    <parenthetical>( she puts her fingertip to his forehead . )<\/parenthetical>\n    <dialogue>See, it's gone. If I did n't know better I'd say you looked almost happy.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>I. I do n't know. I ca n't describe what I'm feeling.<\/dialogue>\n    <character>TYLER<\/character>\n    <parenthetical>( smiling . )<\/parenthetical>\n    <dialogue>You do n't have to.<\/dialogue>\n    <scene_description>Her face seems luminous in the moonlight . The ocean silver . The shore a shimmering line of gold . The sky black velvet . Utah turns to Tyler , eyes exploring her , as in a dream . Water beads on her dark skin like crawling diamonds . He glides closer , holding her board like an uneasy horse alongside his . He runs his fingertips down her arm .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Goosebumps. Come here.<\/dialogue>\n    <scene_description>She leans closer and he rubs his hands up and down her arms , warming her . His hands stop on her shoulders . He pulls her to his mouth . Her tongue meets his . She wants this . He is surprised by the fierceness of her kiss , which overwhelms his . TIGHT ON THE ZIPPER of her shorty wetsuit as Johnny 's fingers draw it down . Slowly down , to where it ends between her legs . He spreads the front and slips his hands inside , along her ribs .<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Those are cold.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Warm them up.<\/dialogue>\n    <scene_description>She moves his strong hand onto her breast . His fingers massage her cold - stiffened nipple . She moans and grabs his wet hair in her other hand , pulling him into another intense kiss .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  OCEAN - UNDERWATER<\/stage_direction>\n    <scene_description>Looking up from the bottom , we see the silhouettes of two boards surrounded by pulsing shafts of moonlight . CAMERA TILTS DOWN to show the bottom . The dreamlike blue light shimmering on the sand and rocks . A big shark browses gracefully , ignoring the lovers . Their moment of harmony with the sea will be honored .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  BEACH - NIGHT<\/stage_direction>\n    <scene_description>Tyler 's Porsche stands alone in an empty lot . Her surfboard sticks up in back , next to Utah 's `` stealth fighter '' . Rosie 's fire is burning low . Tyler , half - wrapped in a blanket from the car , straddles Johnny on the sand like she straddles her board . The blanket slips down . Naked silhouettes in the firelight . She arches her back as they move together in prefect sync . Grips his shoulders and stares into his face , her teeth bared in a grimace of pleasure that looks like pain . She makes love like she does everything . with honesty and intensity . Utah , surprisingly , is gentle and slow . He strokes her hair after she collapses onto him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  BEACH - DAWN<\/stage_direction>\n    <scene_description>ECU JOHNNY as he cracks one eye open , registering the dawn light . He bolts up , looking around . Tyler is asleep beside him , with the quilt from the car pulled up tight to her chin . She looks radiant in sleep . He grabs his watch out of the sand and looks at it .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Holy shit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  ALLEY BEHIND RAZORHEAD HOUSE<\/stage_direction>\n    <scene_description>LONG LENS on UTAH 'S SEDAN fishtailing through the alley , narrowly missing dumpsters and parked cars . He pulls up next to several unmarked FBI sedans . No one in sight . UTAH jumps out tucking in yesterday 's shirt , stuffing his Beretta into his waistband . He also shoves a small leather case into his belt . Utah pulls open the door to one of the unmarked cars and rips a walkie - talkie out of the charging rack on the front seat . Running , he passes a gate . Goes back . Looks . HIS POV - FOUR MEN huddled behind a garage . COLE , MUNOZ , AND TWO OTHER AGENTS . All with guns and walkie - talkies .<\/scene_description>\n    <character>UTAH<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>You guys need any help?<\/dialogue>\n    <character>COLE<\/character>\n    <parenthetical>( not amused . )<\/parenthetical>\n    <dialogue>You're late.<\/dialogue>\n    <scene_description>We hear Pappas ' voice over the radio .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Did that worthless punk partner of mine ever show up?<\/dialogue>\n    <character>UTAH<\/character>\n    <parenthetical>( grinning . )<\/parenthetical>\n    <dialogue>Right here, partner.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  STREET - NEARBY<\/stage_direction>\n    <scene_description>Pappas has his shirt hiked up as another agent , BABBIT , tapes a microphone transmitter to his stomach . Pappas talks into his top button .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Good of you to join us, hotshot.<\/dialogue>\n    <parenthetical>( to Babbit . )<\/parenthetical>\n    <dialogue>Watch it. I told you, not on the hairs, goddammit.<\/dialogue>\n    <scene_description>Babbit moves the transmitter , putting the tape on differently .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>I'm ready to rock, Angelo. Where you want me?<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>Cole and Munoz are going in the back door. Babbit is backing me. So I want you at the side window by the hedge. You're strictly backup, got it?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Got it.<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>Awright. Get into position. I'm rolling.<\/dialogue>\n    <scene_description>Pappas pulls the loose Hawaiian shirt down over the radio - mike gear and his stalwart .38 snub . He steps out from behind a fence and walks along the sidewalk toward Bunker 's house , two doors down . He is wearing polyester shorts and sandals , and carrying a DOG LEASH .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Here Scooby! Where are you boy? Here Scooby! You furball piece of shit.<\/dialogue>\n    <scene_description>COLE AND MUNOZ snap around the corner of the garage and sprint low toward the rear of the brown stucco house . UTAH circles back out through the alley . TRACKING WITH HIM as he makes it to the neighbor 's back hedge and crab - walks toward Bunker 's house . BABBIT and ANOTHER AGENT make it to the front corner of the stucco house , staying out of sight of the windows . ANGELO is walking up to the falling - down porch of this low - rent roach - hotel . JOHNNY is elbow - crawling between the house and a tall hedge . He slides quietly in below a bedroom window . He pulls out the little leather kit he tucked in his waistband . Removes something from it . A DENTAL MIRROR . Moving slowly , he raises it above the window sill , angling it where he can see inside . TIGHT ON DENTAL MIRROR , Johnny 's POV . We see a bedroom through a gap in the venetian blind . Tone is lying on the bed , wearing headphones . Cranked up speedmetal . His eyes are screwed shut , and his fists pump to the beat like karate on 40,000 volts . The door to a bathroom is open , and the black - haired girl can be made out behind rippled shower glass . TIGHT ON DOORBELL as Pappas rings it . UTAH JUMPS at an explosion of sound . He spins in a microsecond , pistol aimed at . A LAWN MOWER . Through the hedge we can just see THE NEIGHBOR , sixtyish and polyester clad , as he adjusts the choke on the roaring machine about two feet from Johnny 's face . Utah exhales and lowers the gun . Wipes sweat from his eyes . TIGHT ON PAPPAS , smiling open - faced and goofily charming as . THE DOOR opens , revealing a GIRL we have n't seen before . She has hair like bleached fiberglass , black eye - makeup and nails . Ramones - style wardrobe . She looks tense , and wo n't open the door very far .<\/scene_description>\n    <character>FIBERGLASS<\/character>\n    <dialogue>Yeah? What?<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>Have you seen a little dog? Kind of a cockapoo lookin' thing. About this big.<\/dialogue>\n    <character>FIBERGLASS<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>UTAH blinks at what he sees . HIS POV , in the little mirror . Like a silent pantomime under the ROAR OF THE MOWER , he sees Bunker and Warchild come flying into the room . They are hyper and manic . Eyes wild . Bunker leaps clear over the bed . Grabs a COMBAT SHOTGUN from the closet . Throws it to Warchild . Tone is oblivious . Bunker thumps him in the chest and Tone leaps up like an overwound toy , gaping `` What the fuck ?! '' we read his lips saying . Bunker grabs a STEYR ASSAULT RIFLE , white knuckled , while Tone fumbles around and comes up with a .45 COLT AUTO .<\/scene_description>\n    <character>UTAH<\/character>\n    <parenthetical>( into his headset . )<\/parenthetical>\n    <dialogue>Babbit. Get Angelo out of there. They're pulling out a fucking arsenal! Babbit, you copy? Cole? Do n't let him pull his badge!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  BACK YARD<\/stage_direction>\n    <scene_description>Cole and Munoz push their earpieces in deeper . Scowl .<\/scene_description>\n    <character>MUNOZ<\/character>\n    <dialogue>Utah, say again. What?<\/dialogue>\n    <parenthetical>( to Cole . )<\/parenthetical>\n    <dialogue>I ca n't hear jack shit over this lawnmower. Christ.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  RAZORHEAD'S HOUSE<\/stage_direction>\n    <scene_description>In the bedroom , Bunker looks through a slit of door at Fiberglass . We hear Pappas just outside .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>and the guy next door said he saw it go into your backyard. My wife'll kill me if I lose the little bastard. Me, I could care less. Whole house smells from it's liftin' its leg all the time.<\/dialogue>\n    <scene_description>Bunker looks like he 's on paranoia overdrive .<\/scene_description>\n    <character>BUNKER<\/character>\n    <dialogue>Something's goin' down, man. This ai n't right.<\/dialogue>\n    <character>TONE<\/character>\n    <parenthetical>( freaked . )<\/parenthetical>\n    <dialogue>No, man, it's nothin'. It's nothin'.<\/dialogue>\n    <character>BUNKER<\/character>\n    <dialogue>Will you shut the fuck up! Check the windows. Do it!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  RAZORHEAD'S HOUSE<\/stage_direction>\n    <scene_description>Utah sucks up against the wall as Warchild looks furtively out the window . We see them both , but Warchild does n't see Johnny , plastered right below him . Johnny closes his eyes and grits his teeth . Shiiiiittt ! PAPPAS , AT THE FRONT DOOR , is bobbing his head , trying to look inside .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>You sure he is n't out back? You mind if I go take a look?<\/dialogue>\n    <character>FIBERGLASS<\/character>\n    <dialogue>Look, I do n't know anything about your dog, okay -<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>Well is there anyone else here that might have seen him?<\/dialogue>\n    <character>FIBERGLASS<\/character>\n    <dialogue>There's nobody else here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  HOUSE<\/stage_direction>\n    <scene_description>Warchild slams into the wall next to Bunker .<\/scene_description>\n    <character>WARCHILD<\/character>\n    <dialogue>There's two guys by the back door. Ducked down.<\/dialogue>\n    <character>TONE<\/character>\n    <dialogue>Oh, shit. Shit! We're fucked, man.<\/dialogue>\n    <character>BUNKER<\/character>\n    <dialogue>That fat fuck comes through the door I'm gon na pump him up. Swear to Christ, man, I'm gon na blow the dude up!<\/dialogue>\n    <scene_description>Scared and vicious , like a cornered dog . We believe him . Bunker jacks the bolt on the Steyr . Warchild cocks the shotgun .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  HOUSE<\/stage_direction>\n    <scene_description>JOHNNY is pissing himself . He can see it all going down . So fast he does n't have time to think . He goes into motion - slipping rapidly along the wall to the next window . The bathroom window . PAPPAS , AT THE FRONT DOOR , makes his move . He pushes the door open , breaking the security chain , and jams his FBI shield in the girl 's face as he grabs her arm .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>FBI, gorgeous. Now let's take a look around -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  HOUSE<\/stage_direction>\n    <scene_description>Bunker 's eyes bug out as he sees Pappas coming through the door . He snaps the assault rifle to his shoulder . Suddenly Johnny is behind him - half - in the bathroom window , pistol gripped double - handed like they taught him in Quantico .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>FBI! DROP IT!<\/dialogue>\n    <scene_description>Bunker whips around . Squeezing off a wild burst ! B - B - B - BLAM ! It rips the plaster next to Johnny 's shoulder . Shatters the shower door behind him . The BLACK - HAIRED GIRL screams . Johnny flinches , FIRING RAPIDLY . Wild . Bunker drops , hit . Warchild lets go with the 12 gauge . KABOOM ! Takes a chunk like a shark bite out of the doorframe by Johnny 's head . Deafening in the confined space . Johnny flattens himself behind the doorframe . Tone just splits . Down the hall like a greyhound . PAPPAS is on one knee , his piece drawn fast , holding Fiberglass in a neck - lock with one massive arm . Bunker , wild - eyed and bleeding , is on his knees in the bathroom doorway . He raises the Steyr . Mistake . Angelo FIRES . 30 years in the field tends to show . Three rounds . Chest . Chest . Head . Bunker is off the planet . MUNOZ KICKS THE BACKDOOR IN like they do in the movies . He and Cole charge into the rancid kitchen . Badass FBI agents . JOHNNY , hotwired and hyperventilating , pops out for a shot around the doorframe . He gets a glimpse of Warchild 's back disappearing into the hallway . FIRES . His shot is wasted , punching plaster . Suddenly a pink freight - train hits him . He forgot about the girl in the shower . Naked except for her tattoos , she bodyslams him face - first into the wall . As he tries to turn she grabs his hair in both hands and hammers his head into the medicine - cabinet - CRASH - shattering the mirror . Then she knees him in the balls as he ricochets off the wall into her . She drives her elbow into his back as he drops . `` FREIGHT TRAIN '' lands knee - first on his gun hand , and viciously kicks the pistol away with one bloody foot . It skitters under the bed . She 's cut up from flying glass . Demon - eyed and wired , her body lithe and muscular under white skin . She sprints across the bedroom , leaving Utah slumped , heaving for breath . IN THE HALLWAY , Tone is hidden behind a doorway . White - knuckling the forty - five . A wild - eyed kid with a big gun and not the slightest idea how to use it . He hears footsteps POUNDING behind him and spins . It 's Warchild , running with the shot - gun .<\/scene_description>\n    <character>WARCHILD<\/character>\n    <dialogue>Move it, man. Let's get the fuck out of here!<\/dialogue>\n    <scene_description>Off - guard , Tone is SLAMMED BY THE DOOR as Munoz drives into it with his shoulder . Pounded between the door and wall , Tone is wired so tight he pulls the trigger and blows a hole through his own right foot . He screams and drops to the floor . Munoz sandwiches him with the door and draws down on Warchild , who dives into a doorway . Cole drives past Munoz , who has Tone pinned , and pounds down the corridor . Cole reaches the doorway and goes for the shot on Warchild . `` Freight - train '' appears behind him from another door . She raises a pair of scissors and drives them into his back up to the hilt . Pulls them out , going for another stab , when - Pappas spins her around and slams her face - first into the wall . UTAH , in the bedroom , sees Warchild blur across his field of vision . On pure instinct , he kicks into overdrive . Johnny leaps the bed and goes ballistic . His flying tackle catches Warchild at the window .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  HOUSE<\/stage_direction>\n    <scene_description>The window EXPLODES OUTWARD in a spray of sunlit glass . Utah and Warchild crash to the ground . The razorhead , with 50 pounds on Johnny , rises like a bull . Bleeding from superficial lacerations , Warchild plows through the hedge . Johnny dives after him . The Polyester Neighbor stands paralyzed as the two crazed figures careen toward him . He is knocked flying , and the ROARING LAWNMOWER is flipped onto its side . Utah and Warchild are locked together . The shotgun lies nearby , out of play . Warchild jerks a 6 INCH KNIFE free from its sheath , hanging from a thong around his neck . He trusts straight at Johnny 's throat . Johnny deflects the thrust - INTO THE WHIRLING LAWNMOWER . KA - WHANGGG ! The knife is hammered out of Warchild 's hand . Whistles away , spinning . Warchild grabs Johnny as they scramble , and heaves him bodily toward the spinning blade . Utah catches the rim of the mower with both hands , stopping himself inches from the rotor . Warchild puts all his weight on Johnny . Pushing him face - first toward the blades . Johnny feels the wind on his face . The engine is roaring , full throttle . PAPPAS APPEARS BEHIND THEM . He aims the .38 . FIRES TWICE . The little Briggs &amp; Stratton dies young , its casing shattered . The rotor spins to a stop . Warchild looks up into the black eye of Pappas ' gun . Two inched from his face .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Speak into the microphone.<\/dialogue>\n    <scene_description>The razorhead sags , the fight going out of him . Babbit kicks him off Johnny , face down onto the lawn . Cuffs him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  BATHROOM - BEDROOM - LATER<\/stage_direction>\n    <scene_description>UTAH dry heaves over the sink . Turns the faucet on full blast and hoses his head . He lifts a dripping face , wipes water out of his eyes , stops on the reflection in the mirror . Pappas is there .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>It's always been lasers and paper targets until today, right?<\/dialogue>\n    <scene_description>Utah looks up at him and nods . He glances through the doorway at Bunker , dead in a pool of blood . Tone is wailing as paramedics work on his foot . Cole is being taken out on a stretcher .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>No difference, Utah. Just a little more to clean up.<\/dialogue>\n    <parenthetical>( squeezes the rookie 's shoulder . )<\/parenthetical>\n    <dialogue>It's alright. You did good today.<\/dialogue>\n    <scene_description>Across the bedroom AGENT BABBIT rips the back off a big speaker unit . Behind it , taped to the woofer , are two large packets of a white substance .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Oh shit.<\/dialogue>\n    <scene_description>Utah stares at the dope .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  POLICE HQ - OUTSIDE INTERROGATION ROOM - NIGHT<\/stage_direction>\n    <scene_description>TIGHT ON WARCHILD manacled to the chair screaming his head off . We can not hear him through the glass . It looks like pantomime . UTAH and PAPPAS watch through the one way observation window . THWAAAAAP ! The two taped packets slam the wall inches from Utah 's right ear . Johnny snaps his head around . Stares into the face of DIETZ who looks like Warchild 's meaner brother . And he 's pissed as hell .<\/scene_description>\n    <character>DIETZ<\/character>\n    <dialogue>You know what this is?! Two keys uncut crystal meth!<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>What the hell's your problem?<\/dialogue>\n    <scene_description>Dietz manically grabs a clump of his stringy hair .<\/scene_description>\n    <character>DIETZ<\/character>\n    <dialogue>You think I like this haircut? My wife wants me to stay at Ramada - I been working on these guys for THREE MONTHS! Finally - finally -.<\/dialogue>\n    <parenthetical>( nodding to Warchild . )<\/parenthetical>\n    <dialogue>- I get dickwad in there wantin' to play wheel of fortune so I can find out their supplier!<\/dialogue>\n    <scene_description>HARP emerges from the interrogation room , we hear a sliver of Warchild 's battle cry . He spies Utah .<\/scene_description>\n    <character>HARP<\/character>\n    <dialogue>This is agent Dietz, DEA. He's got a record of your suspect's movements every day for the last three months.<\/dialogue>\n    <character>DIETZ<\/character>\n    <parenthetical>( stabbing the air with the packets . )<\/parenthetical>\n    <dialogue>All I wan na know is how are these guys supposed to be holding up Tarzana City National on August 2nd, when they are in Fort - fucking - Lauderdale August 2ND!<\/dialogue>\n    <character>HARP<\/character>\n    <dialogue>Not an easy thing to do, is it, Utah?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Aw shit.<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>Nice tattoo, Dietz.<\/dialogue>\n    <scene_description>We hear a faint BUZZ , growing louder as we .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  BEDROOM - UTAH'S APARTMENT - DAWN<\/stage_direction>\n    <scene_description>The doorbell BUZZ shrieks through the room . It stops . Starts again . A ghostly dawn finds UTAH and TYLER sleeping peacefully , limbs entwined like vines . Johnny 's eyes snap open . Spies the clock . 4:00 a.m. Tyler stirs beside him , coming out of sleep . Johnny wraps a blanket around his waist and staggers to the door . BODHI stands outside the door wearing a lunatic grin . Behind him NATHANIEL , ROACH and GROMMET hoot from the pickup .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>C'mon brah, there's a righteous swell. Let's go! Let's go!<\/dialogue>\n    <scene_description>Tyler comes into the room , wrapped in a sheet . Utah sees her knowing smile .<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>He does this.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  BEACH - PREDAWN<\/stage_direction>\n    <scene_description>Vampire morning . A misty predawn , bled of all color . Steel gray tones . The ocean vanishes in the fog a few feet from shore . Tyler and Johnny , carrying their boards , walk toward the water .<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Come on, Utah. Everybody's out there catchin' all the good rides.<\/dialogue>\n    <scene_description>She realizes he has stopped ten feet behind her , like a great weight has dragged him to a halt .<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>What's wrong Johnny?<\/dialogue>\n    <parenthetical>( goes back to him . )<\/parenthetical>\n    <dialogue>You're like a different person.<\/dialogue>\n    <scene_description>He stares at her . His expression dark . wrestling with something .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>I am a different person, Tyler.<\/dialogue>\n    <scene_description>He lets out a long breath and looks away , out to sea . JOHNNY 'S POV . the water receding into a backlit wall of mist . FIGURES APPEAR , faint silhouettes in the fog . Shades of gray in the gray . IN SLOW MOTION they weave hypnotically across the screen , their shapes merging and unmerging as they cross each other . STACKED UP BY THE EXTREME LONG LENS , Bodhi , Roach , Grommet and Nathaniel crave and slash toward us with mystical grace . In SUSPENDED TIME we see them hooting and grinning at each other as they cut aggressive moves close to each other . Dolphins playing . Challenging each other in mock combat . So good , their boards slash past each other with inches to spare . There is an incredible sense of freedom and exhilaration . Bonding forged through mastery of this arcane art . For the first time we see the core group of Bodhi 's tribe , by themselves . It dawns on us . There are four of them . And at that moment Nathaniel drops in front of Bodhi , laughing at the near miss , and drops his pants in a nasty wig - wagging moon . TRACKING SLOWLY IN ON JOHNNY staring , mouth open . Watching the four horsemen of the Apocalypse ride toward him . IN SLOW MOTION , BODHI grins as he slashes past Nathaniel 's shining white butt . ON JOHNNY , as he reacts to the dawning certainty . He feels weak , dizzy . like the ground is moving under him .<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Hey. You okay? You look like you saw a ghost.<\/dialogue>\n    <scene_description>SHOCK CUT - ANGELO TURNING TOWARD HIM , at the drop car scene . Eons ago . The sound of his voice ringing .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Forget about it, kid, They're ghosts.<\/dialogue>\n    <scene_description>BACK TO JOHNNY , as he backs away from Tyler . Still in shock , recoiling from the situation .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>I. I got ta go.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Johnny. what's going on? I do n't get it. did I do something?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>No. I'm sorry. I have to go. I'll, uh. I'll call you later. I'm sorry.<\/dialogue>\n    <scene_description>He sets off running up the beach . Tyler stares after him . Confused and hurt .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  PAPPAS' HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Early evening . Utah pulls into the driveway . When he kills the engine we hear Greek music from inside the house . AT THE ENTRANCE Johnny finds the door ajar . He pushes it open a little to reveal -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  HOUSE<\/stage_direction>\n    <scene_description>Pappas dancing alone in the living room with his shirt off , holding a glass of ouzo . Facing away from the door the ample Greek hears Utah 's tentative knock . Without breaking from his dance or turning he calls out -<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Hey, babe. Get on over here so the big dog can teach ya how to bark.<\/dialogue>\n    <scene_description>Pappas howls like a bloodhound , then twirls around .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Woof, woof.<\/dialogue>\n    <scene_description>We see the startled Pappas , at a loss for the first time .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Johnny! Uh, you, uh. should call first, you know? Hey, where the hell were you all day? You got ta at least call in or something. You okay?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Angelo, we got ta talk.<\/dialogue>\n    <scene_description>Pappas moves toward him , kind of subconsciously herding Utah back out the door .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Listen, uh. if you're okay, can it wait till tomorrow morning, kid, I.<\/dialogue>\n    <scene_description>Johnny hears footsteps and turns . Miss Deer comes through the door like it 's not the first time , carrying a bag of groceries .<\/scene_description>\n    <character>MISS DEER<\/character>\n    <dialogue>Angie, they did n't have the kind of wine you like but I got. oh, hi Johnny!<\/dialogue>\n    <scene_description>Her icy office persona obviously got left there . Her hair is unbound and flows around her shoulders , and in halter top and jeans she looks delectably off - duty . Angelo looks at Utah like do n't you say a fucking word .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  HOUSE<\/stage_direction>\n    <scene_description>A few minutes later . Utah and Pappas leaning on his car . The younger agent seems to have regained his hunt - down fever .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>so I started tailing him.<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>This Zen master surfer.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Bodhi, yeah. I'm on him all day, right. He goes here, he goes there, he goes to Tower Records and buys come CDs, he has lunch at Patrick's Road House.<\/dialogue>\n    <parenthetical>( mock casual . )<\/parenthetical>\n    <dialogue>. he goes into the Assured Trust Savings and Loan.<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>Did he rob it?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Cute. He was inside for about 20 minutes. The other guy, Roach, waited in the truck. They were scoping it out, right?!<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Yeah, or cashing a check.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Wait, wait. Then these guys go back to their beach house and box up all their shit. Load it in Bodhi's truck and take it to a public storage unit. You see? Summer's almost over. They're splitting. They're gon na pick up a little traveling money tomorrow. The next day at the outside latest. I got a feeling.<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>Last time you got a feeling I had to kill a man, which I always hate because it looks bad on the report.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Angelo. I'm right this time. We can still win this one.<\/dialogue>\n    <scene_description>Angelo looks at the conviction in the other agent 's eyes . Pappas sighs and puts a hand on Johnny 's shoulder .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Alright, look. banks are closed. Nothing's gon na go down tonight, right? So we'll be on these guys like white on rice. first thing tomorrow morning. Okay? Tomorrow. Okay?<\/dialogue>\n    <scene_description>Utah nods . Then grins . Pappas starts backing up , like a long rubber band which was stretched taut is pulling him back into the house .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Woof, woof.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  STREET NEAR BODHI'S HOUSE - DAY<\/stage_direction>\n    <scene_description>LONG LENS POV scanning Bodhi 's house . There is a `` FOR RENT '' sign out front . The driveway and carpet are empty . no vehicles in sight .<\/scene_description>\n    <character>UTAH<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>They're gone. Son of a bitch. We missed them.<\/dialogue>\n    <scene_description>UTAH LOWERS HIS BINOCULARS . He 's standing next to the car while Pappas sits on the hood , sipping coffee from a thermos .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>They're on their way to Maui.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>No way. Not yet. Come on.<\/dialogue>\n    <scene_description>Utah jumps in and starts the car . Pappas is screwing the cap on the thermos . Johnny puts the car in gear , forcing Angelo to scramble in as the car starts to roll .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Jesus Christ, kid! The banks do n't open'till nine.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  CITY STREET - TRAFFIC - DAY<\/stage_direction>\n    <scene_description>Johnny weaves the sedan among the creeping commuters . Long glittering lines and heat waves .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>I say we call it in. Get some backup. But you got ta do it. Harp wo n't listen to me.<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>Sure. No problem. I'll just call up and tell him his favorite agent saw this one surfer moon another surfer yesterday and it looked real suspicious. Shit, he'll probably call out the National Guard.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>I say we do n't call it in. Under no circumstance are we to call this in.<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>Look, we handle it ourselves, for right now, okay? We cover the bank, whatever. You and me. That way if nothing happens, or more accurately, when nothing happens. I do n't get my tits any further into the wringer than they already are.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  ASSURED TRUST SAVING AND LOAN<\/stage_direction>\n    <scene_description>SLOW PAN from the facade of the bank halfway up the block to Utah 's sedan in the TIGHT F.G. Head flopped back over the seat , Angelo snoozes in the hot sun with a sports page over his face . Johnny looks at his watch for the fiftieth time . Whole lot of nothing going on . Angelo slides the sports page down to his chin , without otherwise moving .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Time for lunch.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Angelo, it's eleven thirty.<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>That place up the street has meatball sandwiches. Get me two.<\/dialogue>\n    <scene_description>Utah slides out of the car . Feeling a little exposed he pulls his Dodgers cap down a little tighter , and adjusts his sunglasses . He trudges off through the sidewalk crowd toward the FAST - FOOD STAND nearby . Pappas pulls the sports page back up to block the sun .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  FAST FOOD PLACE<\/stage_direction>\n    <scene_description>ON A LONG LENS , very stacked up , we see Johnny standing at the grody pick - up window . He keeps looking at the bank , visible B.G. . The pick - up window opens and food appears , sliding out . Utah turns , pulling out his wallet .<\/scene_description>\n    <character>VOICE FROM INSIDE<\/character>\n    <dialogue>Two meatball, one tuna on wheat, two lemonades. Total's seven eighty four.<\/dialogue>\n    <scene_description>As Johnny is counting out the bills , a BURGUNDY THUNDERBIRD pulls up in front of the bank . The doors fly open . The Ex - Presidents jump out . They sprint for the entrance . All this OUT OF FOCUS , B.G. Johnny misses it as he picks up the food order . The Presidents disappear inside . Johnny looks toward the bank again . There is no movement . REVERSE , as Utah walks back toward his car . Pappas is still under the paper . He slides it down when he smells food .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Here, yours is the one that looks like a road kill. Enjoy.<\/dialogue>\n    <scene_description>Utah throws a big stack of napkins through the window into Pappas ' lap . Still standing next to the car .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Here's your lemonade.<\/dialogue>\n    <parenthetical>( he looks down the street . )<\/parenthetical>\n    <dialogue>Did you see that T - Bird pull up?<\/dialogue>\n    <scene_description>Pappas pulls a disgusting mass from the bag , unwrapping one end .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <parenthetical>( without looking . )<\/parenthetical>\n    <dialogue>Damn, I could eat the ass out of an elephant. I shoulda had you get me three a these. What T - Bird?<\/dialogue>\n    <scene_description>Pappas is about to take a huge bite when a meatball falls out of the end of the sandwich . It lands on the seat next to him . He looks at it . Picks it up . Pops it into his mouth and - Freezes , mouth open . Eyes focused on . The Ex - Presidents , in living color , flashing through the doors of the bank 80 feet away . Johnny is so astounded he does n't do anything for about two seconds . Pappas coughs out his meatball , eyes bugging .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Jesus Christ! It's them!<\/dialogue>\n    <scene_description>The Presidents are piling into the car . Johnny reacts characteristically . He whips out the Beretta and yells -<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>FBI! Freeze! Right now!<\/dialogue>\n    <scene_description>NIXON spins , raising his shotgun . But Reagan knocks the muzzle down with his hand . Shoves him into the car . Then Reagan jumps behind the wheel . The back wheels light up , smoking , as the T - Bird launches . Utah FIRES . BLAM ! BLAM ! BLAM ! He puts two into the trunk and blows the back window into junk jewelry . The T - Bird peels out into traffic , clipping a Subaru which locks them up and spins .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Come on, kid, get in the car! Jesus!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/ EXT.  SEDAN<\/stage_direction>\n    <scene_description>Pappas reaches across , starting the engine as Johnny jumps in the driver 's side . Utah buries the throttle into the firewall and charges aggressively through the medium traffic . Their sedan slews around the back of an eighteen wheeler , fishtailing . It straightens out . No T - Bird in sight .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>The hell are they?!<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>They took a left at the next light!<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>You sure?!<\/dialogue>\n    <scene_description>Utah is totally wired . Totally concentrated . The adrenalin is kicking in , flashing through his system . His brain is on turbo boost , reacting a thousand times a second as they hit sixty through the traffic , which seems to be standing still .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>I got'em. I see'em. I'm on it, I'm on it.<\/dialogue>\n    <scene_description>High - speed slalom through cars and trucks . The world passes by in a hysterical blur .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>You even watching the road?<\/dialogue>\n    <scene_description>A car pulls out , straight ahead . Utah swerves wildly , mostly gets around him . The guy 's bumper and front grille are removed . Utah does a smoking skid - recovery . Does n't even slow down . The late model T - Bird is weaving manically . It makes a sliding turn onto a cross street half a block ahead of the FBI agents . Utah cuts the wheel into a huge Ralph 's parking lot . Pedestrians scatter . Utah center - punches a week 's supply of groceries in a cart .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/ EXT.  T-BIRD<\/stage_direction>\n    <scene_description>The Presidents hold on desperately as Reagan white - knuckles it through civilian traffic . They 're looking all around , trying to see where Utah went .<\/scene_description>\n    <character>LBJ<\/character>\n    <dialogue>Where are they, man? I do n't see'em. We lose'em?<\/dialogue>\n    <scene_description>Not exactly . THROUGH THE WINDSHIELD we see an airborne Utah hurtling from a Ralph 's entrance . The sedan lands on the street , tearing chunks out of the asphalt with the undercarriage . An instant later it hammers into the side of the T - Bird . The two cars spin out of control . Utah cuts the wheel , slamming into them again . Side by side demolition derby . WHAM ! Utah hits them again . The Presidents lose control , jumping a curb , losing the right front tire in the process . Utah 's car starts to swap ends . Hit the center island broadside . The sedan flips onto its back in an explosion of glass . SCREECH of steel on concrete as it comes to rest . Hanging upside down , Pappas is mightily pissed off .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Nice fuckin' work, hotshot. Christ!<\/dialogue>\n    <scene_description>They can see the T - Bird still moving . It slews drunkenly as the driver maintains speed on flapping rubber . Johnny shimmies out of the wreckage , sliding on his back in broken glass . Pappas is packed in , upside down , wriggling to get out through the side window . A tight fit .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/ EXT.  T-BIRD<\/stage_direction>\n    <scene_description>The Presidents are hammered up and down by the flailing tire .<\/scene_description>\n    <character>REAGAN<\/character>\n    <dialogue>Emergency sanitization! Here we go!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  GAS STATION<\/stage_direction>\n    <scene_description>The T - Bird vaults into the parking lot and slides to a smoking stop at one of the pump islands . The Presidents explode out of the car in a blur . Reagan bodyslams a TEENAGER putting gas in his MUSTANG . He flips his big pistol to LBJ as the other Presidents charge past him . Nixon jumps behind the wheel of the Mustang . LBJ and JFK pile in . Reagan grabs the gas nozzle out of the car . He pulls out a ZIPPO LIGHTER . Reagan raises the gas nozzle like a gun and holds the zippo below and slightly in front of it . He flicks the flame . Then pulls the trigger on the nozzle . Like an impromptu flame thrower , the nozzle spews A TWENTY FOOT JET OF FIRE which engulfs the T - Bird in an instant . Any physical evidence in the car is rapidly incinerated . Customers are running , screaming . Nixon has the Mustang fired up .<\/scene_description>\n    <character>NIXON<\/character>\n    <dialogue>Let's go! Move it, Ronny!<\/dialogue>\n    <scene_description>Ronny 's eyes sparkle behind his mask as he paints the scene with the jet of fire . You can see it getting good to him . In a second he 's going to blow up the whole block . But he 's getting his rocks off . He sets two other cars on fire . A FIGURE BLURS INTO FRAME . In a flying tackle , Utah catapults Reagan off his pins . They roll , skidding across the oily concrete . Spraying wild , the fire swirls around the pump island . Out of the black smoke , PAPPAS charges like an angry bull , his snubnose held high . NIXON sees him and floors it . The Mustang smokes out of the gas station as Pappas ' shots blow out the back window . Utah and Reagan roll away from the blaze . Johnny 's pants are burning . He gets to his knees in time for Reagan 's kick to take him square in the solar plexus . He folds in half . Drops to the cement . Reagan kicks him again and takes off running . The President is burning . His suit jacket is ablaze . He shucks out of it as he runs . Gasping , Johnny rapidly slaps his jeans . Puts himself out . He comes up running , pulling his Beretta . Sees the back of Reagan 's head disappearing into an alley behind the gas station .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  ALLEY<\/stage_direction>\n    <scene_description>A non - descript L.A. alley . commercial buildings on one side , walled suburb on the other . Two men running all out . A recent President and a wild - eyed cop trailing smoke like a crashing jet fighter . Beyond the buildings behind them A FIREBALL EXPLODES SKYWARD . We hear sirens and shouting , which recede as the two pelt along the alley . It gets quieter . Just the machine - gun slap of the shoes on pavement , and the hard breathing of the two men , each in overdrive , going all out in long blurring strides . REAGAN looks back . Sees the demon cop behind him , gaining . Utah has become an engine , a running machine . juggernaut mode . AHEAD OF THEM a BLACK AND WHITE swings into the alley . Reagan hangs a hard left and blasts a wooden gate half off its hinges . Utah whips through the gate a second later . Diving into suburbia .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/ EXT.  NEIGHBORHOOD - FOOTCHASE SEQUENCE<\/stage_direction>\n    <scene_description>It becomes a blur . Pure kinetic energy . Two meteors rocketing through a low - rent suburb . And God help anyone who gets in the way . Reagan crosses a cluttered backyard . Broken field run through toys , swing set , stacks of god - knows - what . He runs through a Mr. Turtle Pool in an explosion of spray . Crashes through a hedge . Through the narrow gap between houses . Utah powers into the tight space behind him . Blurring along between stucco walls . They emerge into the front yard . A WOMAN watering her lawn is so surprised she yelps and falls down . Reagan and Utah both hurdle her . AHEAD , KIDS ON BIKES , racing along the sidewalk . Reagan dodges the first , Utah slams into the next two . He crashes , rolling , tangled up in bikes and squawking teenagers . He comes out of a pile - up somehow still in high gear . Reagan flashes across the sunlit street . Dodges in front of a GARBAGE TRUCK which locks up the brakes . It stops so fast , one of the guys falls off the back . The GUY is getting up as Utah whips around the back of the truck . Knocks him sprawling . Utah does n't stop . Does n't look back . Like he does n't see anything in the real world but the figure running ahead of him . Like it 's some kind of hyperkinetic video game . Everything is a blur . Suburbia smeared into staccato impressions . The house across the street is blocked by fence on both sides . A MAN is picking up his mail . Reagan pounds past him . Right through the front door of the house . Utah follows . Panting as he sprints down a dark hallway . A WOMAN with a basket of washing SCREAMS as Reagan blasts past her , knocking her flying . Utah leaps over her sprawled legs . Cats blur underfoot . Utah crunches down on a tail . A CAT EXPLOSION . Screeching merges with the woman 's shrill shouts as Utah slams the back screen door off its hinges . Across the back yard . Fence . Over it . Running on . REAGAN looks back . Sees Utah still behind him like in a bad dream . He enters the next house . Sliding glass door . Utah sees Reagan pull it closed . Locking it . Without breaking stride Johnny grabs a potted plant off a patio wall . Heaves it ahead of him . The glass BURST INTO A WALL OF DIAMONDS . Utah blasts through a microsecond later . Topples the kitchen table . Furniture and crockery crashing everywhere . He sprints down a hallway after Reagan . A FIERCE WOMAN in a housecoat shouting at them as they pass , holding a vacuum cleaner like it 's shot - gun .<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Get the fuck out of this house! What the fuck do you think you're doing -<\/dialogue>\n    <scene_description>Around a corner . A VICIOUS SNARLING SOUND . Utah sees something flying at him . Reflexively catches it . Reagan has thrown a PIT - BULL . The Fierce Woman 's fierce dog . UTAH 'S POV - the snarling little demon right in his face . He drop - kicks it like a goddamn field - goal right through a doorway and runs on . Another door . Another explosion of sunlight . Another yard . Sprinklers this time . Reagan and Utah running through sunlit walls of rain . They crash through another hedge . Emerging drenched . The ground drops away . Slipping and sliding on iceplant , they skid down a steep slope . Reagan reaches bottom . A TEN FOOT RETAINING WALL , dropping off like a cliff to pavement below . Reagan falls , landing on his feet . Panting now , feeling it , he stumbles up and runs on . Utah rips down through the iceplant like a human lawnmower . Slides over the edge . Falls - lands hard . TIGHT ON HIS KNEE and SLOW MOTION . Taking the impact . We HEAR something go . Utah crashes to the pavement , his face contorted with pain . He grabs his tortured knee with both hands .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Not now. Not now!<\/dialogue>\n    <scene_description>Reagan runs on . They are in an enclosed storage yard of some kind . Ten foot chainlink all around . Utah struggles to get up and run . He sprawls forward , biting back a howl of pain . We see the incredible will driving him on . He gets up and again , hobbling . Trying to run . Reagan reaches the fence . He is heaving for breath . Holding his side . Utah stumbles , gets up , clutching his knee . Hobbling forward . His eyes wild , the veins in his neck bulging . Reagan starts to climb . Utah collapses to his knees . He ca n't go on . Reagan reaches the top of the fence . He looks back . UTAH HAS THE BERETTA POINTED RIGHT AT HIM . Twenty feet away . The muzzle rock - steady . He ca n't miss . They both are frozen , panting . Locked into the moment .<\/scene_description>\n    <character>REAGAN<\/character>\n    <dialogue>You want me, there's only one way.<\/dialogue>\n    <scene_description>PAPPAS reaches the top of the hill , 200 feet away , panting like he 's about to collapse . He sees the tableau . ECU - UTAH 'S FINGER on the trigger . Tightening . RACK TO his eyes . Blinking , water running into them . God , he wants to . ECU - REAGAN 'S EYES , through the mask . Locked with Utah 's . UTAH suddenly snaps his hand up and FIRES VERTICALLY . HE HOWLS WITH RAGE , FRUSTRATION AND PAIN . FIRES AGAIN . And AGAIN . Slumping back , his shoulders slam down onto the concrete . Straight - arming the Beretta he FIRES RAPIDLY . Bulleting the blue sky . HIGH ANGLE , looking straight down on the tableau . Reagan leaps off the fence and runs OUT OF FRAME , as Utah empties the magazine straight at us , the shots merging with his agonized howl , echoing as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  FBI BUILDING - BULLPEN - NIGHT<\/stage_direction>\n    <scene_description>UTAH sits next to the DISPATCHER waiting for news like a sailor in a storm . His leg is popped up on a chair with jeans split to the thigh and an ace bandage wrapped around his knee . His face is a nasty patchwork of scratches and bruises . He drains his coffee and gazes out at the empty bullpen . PAPPAS comes through the doors , wiping the remains of dinner off his mouth .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Nothing?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <scene_description>The Dispatcher talks into his headset , glances up at Pappas , shakes his head .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Go home, kid. Get the hell outta here. Get some sleep. You look like shit. They get anything even resembles your guy, I'm on your beeper. Here. You like feta?<\/dialogue>\n    <scene_description>He smiles warmly , handing his younger partner a brown paper sack .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Feta. My favorite.<\/dialogue>\n    <scene_description>Managing a weary smile . Lifts his body out of the chair , turns to go . Angelo ponders something .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Johnny.<\/dialogue>\n    <scene_description>Utah stops . Looks back at the man .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>All I wan na know is one thing, why did n't you just take the shot?<\/dialogue>\n    <scene_description>Johnny 's gaze turns inward .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  BATHROOM - UTAH'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>UTAH sits on the bathroom floor as Tyler dabs Betadyne antiseptic over his wounds . Utah cringes .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Ouch.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Betadyne does n't hurt.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>You're kneeling on my hand.<\/dialogue>\n    <scene_description>She laughs , shifts her weight and keeps tending him .<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>So what'd the other guy look like?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Never saw him, was your basic hit and run.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>But you look like you been in a train wreck, how'd he just drive away?<\/dialogue>\n    <scene_description>Utah acts like he wants to say something but his mouth wo n't quite form the words . Tyler dabs his face , touches a finger to his forehead .<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Johnny, what is it with you? You have that look again, it's like you're about to tell me something and then you do n't. or you ca n't. What's going on?<\/dialogue>\n    <scene_description>Johnny searches her eyes . She stares at him , becoming fragile suddenly .<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>What? What do you want to tell me?<\/dialogue>\n    <scene_description>Utah 's brow unfurls . The thought has passed . He slowly cups his hand over hers . Gently pulling her close .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>I'm glad you pulled me out of the water that day.<\/dialogue>\n    <scene_description>He presses his lips to the smooth curve of her forehead . A kiss to each downcast eye . Searching out her mouth with his own as his hands glide down the small of her back . Their reflection in the mirror as Utah slowly lowers Tyler to the bathroom floor . She clings tightly in a breathless kiss .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  CLIFF - NIGHT<\/stage_direction>\n    <scene_description>A Buddha in the moonlight , BODHI sits crosslegged upon the cliff , staring at the ocean . CAMERA CIRCLES AROUND HIM , focusing in upon his eyes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>UTAH asleep , flopped in a spread - eagled X . WE HEAR the bedroom door opening , see a slash of light fall across the bed . Johnny does n't stir . A shadow appears on the wall , moving toward him . An outstretched arm holding a gun . Utah snores softly , sleeping like a baby . CAMERA TRACKS IN on his peaceful face . A single eyelid flutters . Total silence , until . KABOOOOMMM ! The Pillow beside him EXPLODES into a blizzard of goosedown . Johnny rears up , eyes wide , mouth agape . TYLER stands above him , recovering from the kick of the smoking 9mm Beretta in her hand .<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>A lawyer!? You lied to me!<\/dialogue>\n    <scene_description>She throws his FBI gold star at his face .<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Look, Tyler, I can -<\/dialogue>\n    <scene_description>BOOM ! Tyler SQUEEZES off another round . Cascading goosefeathers falling like snow . Utah flinches sideways .<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Jesus Christ, Johnny - you've been using me! Your jacket's on the floor in the bathroom - this goddamn thing's half out of the pocket. Oh God, it's all part of some case, is n't it?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Tyler, put the gun down.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>You tell me the fucking truth Johnny. did your parents really die in a car crash? DID THEY?!<\/dialogue>\n    <scene_description>She waves the Beretta in his face .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>No. They live in Columbus Ohio.<\/dialogue>\n    <scene_description>Tyler lowers the pistol slowly , the strength leaving her . Her face begins to flood with tears .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>I work bank robbery. Guys I'm after are surfers. I needed you, at first, but not -<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Fuck you, Johnny Utah. Fuck you! Do n't you have a soul? Goddamn you to hell!<\/dialogue>\n    <scene_description>She goes limp as the sobs rack her body . The gun flops from her grip . Utah sweeps it under the bed with his foot . He moves to gently comfort her . She bolts at his touch , running from the bedroom . Utah is up and hopping into his pants to follow her . He stumbles .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Tyler! Wait!<\/dialogue>\n    <scene_description>From the living room we hear a rattling of keys , the front door opens and slams shut . He hobbles to the door , favoring his knee . Opens it . We hear the Porsche screeching away . Utah sags , the breath coming out of him long and slow . UTAH on the bed staring up at the ceiling . Phone cradled , listening to -<\/scene_description>\n    <character>TYLER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Hi, it's me. Leave a message.<\/dialogue>\n    <scene_description>BEEP ! He rests the telephone on his chest , letting the tape roll a moment before he speaks .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Tyler I. look, I fucked up, okay. I know I fucked up. I wanted to tell you, but I could n't - I was afraid you'd leave. good guess, huh?<\/dialogue>\n    <parenthetical>( grimacing . )<\/parenthetical>\n    <dialogue>Fuck, why ca n't I ever say what I really mean? I lied to you. I'm an asshole. but I need you, Tyler. I want you to know that I've never known anyone like you before in my life. and I. I hope you change your mind.<\/dialogue>\n    <scene_description>He cradles the receiver , looks out the window . Black of night . Dead still . UTAH asleep , telephone still perched on his bare chest . BUZZZZZZ ! The rasp of the doorbell . Johnny is airborne , phone flying across the floor . Hunting for his pants , realizes they are already on , limps in fast motion to the door .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Tyler! Wait, I -<\/dialogue>\n    <scene_description>Whips it open . BODHI standing in the doorway , smiling like an excited child .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Howdy brah.<\/dialogue>\n    <scene_description>NATHANIEL , ROACH , and GROMMET are there behind him . They look like sentry dogs . Johnny freezes . Bodhi walks past Utah , into the room .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>C'mon, get your gear on, we're rollin'.<\/dialogue>\n    <scene_description>Cheerful , hardly able to contain his exuberance . He moves through the room , grabbing Johnny 's shirt from a chair , a pair of sneakers on the floor . Utah sees his FBI shield sitting on the dresser in plain sight . He palms it when Bodhi is turned away , and slips it into his hip pocket to conceal it .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>What going on, Bodhi?<\/dialogue>\n    <scene_description>Bodhi plucks a couple socks off the couch , hands them to Utah .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Here.<\/dialogue>\n    <parenthetical>( spying Johnny 's cut face . )<\/parenthetical>\n    <dialogue>Hey, what happened? Ya cut yourself shaving?<\/dialogue>\n    <scene_description>Johnny meets Bodhi 's cold stare .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>I do n't think I wan na surf right now.<\/dialogue>\n    <scene_description>Bodhi 's face takes on a crazy glow .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Naw, this is different, Johnny. This is something totally different. you're gon na love this.<\/dialogue>\n    <scene_description>He winds an arm around Johnny 's shoulders , guides him toward the door .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>C'mon, let's go, let's go. Time's wastin', brah.<\/dialogue>\n    <scene_description>Bodhi claps Utah on the back , ushering him outside . Nathaniel , Roach and Grommet fall into step beside them . The door closes behind them . CAMERA DRIFTS back through the apartment , coming to rest on the 9mm Beretta , on the floor under the bed . useless .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  BODHI'S PICKUP - PREDAWN<\/stage_direction>\n    <scene_description>The pickup is a funnel of dust along the desert road . Black mountains against a silver sky .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  BODHI'S PICKUP<\/stage_direction>\n    <scene_description>The tapedeck blasts . BODHI and UTAH sit inside the cab . Through the rear window , we see NATHANIEL , ROACH and GROMMET in the flatbed . Bodhi swivels his eyes to Johnny , lowers the volume .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Life's sure got a sick sense of humor, do n't you think so Johnny?<\/dialogue>\n    <scene_description>Face splitting into a shit - eating grin .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>How you figure?<\/dialogue>\n    <character>BODHI<\/character>\n    <parenthetical>( slight laugh . )<\/parenthetical>\n    <dialogue>News, last night. those guys, the Ex - Presidents. they robbed my bank yesterday. And I was just there the day before, cashing a check. See. look. Assured Trust. same place.<\/dialogue>\n    <scene_description>He takes a beat up checkbook off the dash and flips it to Johnny . Utah opens the cover and looks . Sure enough . Assured Trust Savings and Loan .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>I was picking up some bucks cause we're leaving town. Bizarre, huh? If I'd waited a day I'd been right in the middle of it. Kinda sorry I missed it. I'd liked to've seen them.<\/dialogue>\n    <scene_description>A long pregnant pause . Utah breathes deeply , remaining calm , his voice carrying a chilling bravado .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Takes guts to rob a bank. All that adrenalin pumping, waving loaded guns, taking out the guards, getting everybody on the floor, never knowin' who's gon na burst in.<\/dialogue>\n    <parenthetical>( looks right at Bodhi . )<\/parenthetical>\n    <dialogue>. wondering what it's like to take a bullet. Must be some ride.<\/dialogue>\n    <scene_description>Utah 's smile is a personal challenge . Bodhi sits perversely intrigued . The mental warfare escalates .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Banks are insured, brah. Long as nobody gets shot, it's really a victimless crime. Just got ta scare'em a little, would be my guess.<\/dialogue>\n    <parenthetical>( ponders something . )<\/parenthetical>\n    <dialogue>Now if I was gon na rob a bank, with all those guys wearin' body armor these days, know what I'd carry?<\/dialogue>\n    <scene_description>Bodhi reaches his hand underneath the seat . He pulls out a huge holstered handgun , rests it in his lap , draws and holds the gun up against his cheek .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>454 Casull. Most powerful handgun on the planet. Muzzle velocity of 2000 feet per second. Twice the kinetic energy of a.44 Magnum.<\/dialogue>\n    <scene_description>Bodhi stares at Utah , then flashes his signature smile . Utah says coldly .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>One shot stopping.<\/dialogue>\n    <character>BODHI<\/character>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>` One shot stopping'. good, very good. I like you, Johnny. I like you because you'll sacrifice anything to win. I respect that. It elevates you a little above the drones who have learned compromise. Here, hold it. Check out the weight.<\/dialogue>\n    <scene_description>He twirls the gun , grabs the barrel and extends the handle to Utah . Johnny takes it slowly . Now it 's aimed at Bodhi .<\/scene_description>\n    <character>BODHI<\/character>\n    <parenthetical>( cheerfully . )<\/parenthetical>\n    <dialogue>Whoa. Careful. You got the muzzle pointing right at me, brah.<\/dialogue>\n    <scene_description>He casually pushes the barrel away , looking back at the highway . Johnny swings a stiff arm out his window and pumps a ROUND into open desert . KABOOOM ! The recoil blows Johnny 's arm back over the top of the truck . Practically breaks his wrist . Thunder rolls across the dark hills . From the back of the pickup Nathaniel howls . Grommet and Roach high five . Johnny turns to Bodhi , breaking slowly into a feral grin .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Nice.<\/dialogue>\n    <scene_description>He hands the smoking weapon back to him . As if to say `` two can play this game '' . Bodhi stands challenged . Each snared in the other 's power . Bodhi takes the weapon back , casually . Slips it under the seat .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>It's a special day, Johnny U. A very special day.<\/dialogue>\n    <scene_description>Utah 's gaze travels beyond the windshield . Where tentacles of brand new morning light vein the sky .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  DESERT AIRSTRIP<\/stage_direction>\n    <scene_description>TIGHT ON A turbo - prop engine ROARING . WIDER reveals a big Cessna twin . The PILOT , a weaselly guy we have n't seen before , fires up the second engine . The plane shudders eagerly in the metallic predawn light . A desert airstrip near Palmdale . A couple of aluminum - siding hangers and no tower . A few other planes around but no activity besides Bodhi 's rock - steady crew . UTAH watches Grommet whip back a tarp in the bed of Bodhi 's truck and starts tossing out PARACHUTE PACKS . Roach tosses one to Bodhi , who chucks it to Utah .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Ever done this before?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Once.<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>Pure adrenalin, right?! The ultimate rush. Other guys snort for it, jab a vein for it - all you got ta do is jump.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Sure, it's a blast, but listen, I sorta screwed up my knee yesterday -<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>Yeah, I noticed you limping.<\/dialogue>\n    <parenthetical>( grins . )<\/parenthetical>\n    <dialogue>But do n't worry about it, brah. Do n't worry at all. We're not gon na land on land!<\/dialogue>\n    <scene_description>Bodhi grabs his sleeve , ushering him into the plane .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Oh, well, that's fine then. I feel so much better.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  CESSNA<\/stage_direction>\n    <scene_description>Utah sits , wearing a day - glo jump suit , hugging the chute in his lap . Next to him is the gaping door . Beyond . a spectacular down sunburst at 10,000 feet . ROAR of wind and engines . Utah watches Bodhi , Nathaniel , Grommet and Roach wriggling into their colorful freefall suits . Nathaniel pulls on a pair of purple shorts over his suit . Looks real dorky . Grommet has on duck feet . Bodhi , apparently , is going to jump barefoot . Nobody has their chutes on yet . Johnny hefts his , as if weighing it , somehow judging the contents . His brain is racing . Bodhi shouts over the roar .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>It's a little ceremony we always have at the end of summer. One last speedstar.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>So, who. uh, who packed my chute?<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>I did. What's the matter? Do n't trust me?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>You got ta earn trust.<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>Then we'll earn it together. Here, take mine.<\/dialogue>\n    <scene_description>Bodhi swaps chutes with Johnny . Utah looks at the new chute uncertainly . Is this a game ? Poker moves ? Did Bodhi anticipate this step ?<\/scene_description>\n    <character>ROACH<\/character>\n    <dialogue>Hey. you do n't want Bodhi's, man. His pack - jobs suck. they only open half the time. Take Grommet's, man.<\/dialogue>\n    <scene_description>Roach 's grin is evil as he grabs Grommet 's chute out of his hands and switches it with Johnny 's . Keeps that one and gives his to Grommet .<\/scene_description>\n    <character>GROMMET<\/character>\n    <dialogue>Whoa, unfair, dude!<\/dialogue>\n    <scene_description>Grommet grabs his chute back and hands Johnny the one he had , which was Roach 's . I think . Johnny looks at the pack in his hands . Then at the grinning faces . Russian surfer freefall roulette . Shit . Bodhi studying him . Some kind of test . Fuck it . Utah starts putting the damn thing on .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>We gon na jump or jerk off?<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>My man!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  10,000 FEET - DAWN<\/stage_direction>\n    <scene_description>Multi - colored figures explode from the plane . Leaping into freefall . Tumbling end over end . WEARING HEADSETS , they hurtle downward .<\/scene_description>\n    <character>BODHI<\/character>\n    <parenthetical>( RADIO . )<\/parenthetical>\n    <dialogue>Utah, you copy bruddah?<\/dialogue>\n    <character>UTAH<\/character>\n    <parenthetical>( RADIO . )<\/parenthetical>\n    <dialogue>Whoooaaah! Shhiiittt! Whoooaaah!<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>I'll take that as a yes.<\/dialogue>\n    <scene_description>One by one they stabilize . Falling face down , knees bent , they angle their hands and feet minutely to move laterally . Utah flails , the last to trim out . But he 's holding his own . Grommet , working his duckfeet , pitches himself into a wild spin , rotating like a dervish in a head down dive . He flares out and `` flies '' back to the others . Rocketing through the void at 120 mph they seem to paradoxically hang above the world , almost unmoving . on a separate plane of existence . A hurricane of wind . Wild HOOTING . Despite his terror , Johnny has to grin at Nathaniel , falling butt first like he 's sitting on a big inner tube in the pool .<\/scene_description>\n    <character>ROACH<\/character>\n    <dialogue>Whip it out dudes! Cheap sex with the cosmos!<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>Ten thousand feet. Let's do it.<\/dialogue>\n    <scene_description>The group stabilizes , moving together . First Bodhi and Roach link arms , trimming constantly . Concentrating . Nathaniel flips over onto his stomach and maneuvers toward them . He grabs Roach 's arm . Grommet works his way next to Nathaniel . Locks in . They need Utah to complete the ring . Four faces beckoning to him , distorted by the hurricane wind .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Come on Johnny. Get in here!<\/dialogue>\n    <scene_description>Johnny moves his hands like flippers and glides clumsily toward them . Bodhi and Grommet grab him . He 's in . A perfect five - man star .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Relax, brah. I got you, I got you.<\/dialogue>\n    <character>GROMMET<\/character>\n    <dialogue>Righteous - ass speedstar, dudes!<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>You diggin' this?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Great! GREAT!<\/dialogue>\n    <scene_description>Johnny is exhilarated more than he could have thought . Screaming down through the dawn sky at 130 . Locked into the ring . Part of something . Connected to these guys far above the planet . Less far every second . Bodhi 's chest altimeter reads 6,000 feet .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Purty - thirty and we're meat waffles, folks. See ya downtown!<\/dialogue>\n    <scene_description>He releases Roach 's arm and the star disintegrates , drifting apart . Bodhi stays with Utah , falling parallel to the horizon , facing each other , holding hands . 4000 feet . Airspeed 140 . Grommet pulls his ripcord . He seems to be jerked upward by a great force . Suddenly he is far above , a brightly colored disc of fabric . Utah is suddenly aware of the earth rushing up at him . Nathaniel pulls , then Roach . They shoot upward , disappearing . Bodhi and Utah fall on , alone .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>You gon na pull?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>After you, Alfonse. I insist!<\/dialogue>\n    <scene_description>Bodhi looks at Utah . A slow grin . The meter on his chest harness reads 2000 ft. 150 mph . 12 seconds to Valhalla .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Do n't screw around man, pull it!<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>You do it. you first!<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>One thousand feet. Pull the goddamn cord!<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>You first!<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>Okay!<\/dialogue>\n    <scene_description>Bodhi reaches out suddenly and pulls Utah 's ripcord handle . He waves goodbye as Johnny 's canopy deploys . Utah is jerked upward . He feels his weight hanging brutally in the harness . Johnny looks down . Impossibly close to the ground . Bodhi 's canopy BURSTS OUT , an explosion of color . Below him is the shimmering mirror of a LARGE RESERVOIR . Two seconds later the bright yellow canopy meets its reflection and goes slack . An explosion of white water marks Bodhi 's impact . LOW ANGLE AT WATER LEVEL as Utah hits . IN SLOW MOTION a glorious wall of backlit spray shouts skyward . Molten glass falling back in the bright desert dawn . Utah surfaces , sputtering , and shucks out of the harness . He floats like a jellyfish , gasping for breath .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Jesus Christ. I got ta be losin' it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  AIRFIELD - DAY<\/stage_direction>\n    <scene_description>Bodhi walks toward us , dripping wet and grinning . He wraps his arm around Utah 's shoulders as the others walk up . They 're all soaked and stoked .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Ya see. I told you Johnny U was gon na be just fine!<\/dialogue>\n    <scene_description>Roach and the others clap him on the back . A moment of acceptance into the tribe . Utah is n't sure what it means yet .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>C'mere. There's something you need to see.<\/dialogue>\n    <scene_description>Bodhi leads him toward a PLAIN UTILITY VAN parked nearby . It was there earlier but Utah had no reason to notice it . Bodhi opens the rear doors and motions Johnny inside . Utah , puzzled and suddenly alert , steps in . Bodhi follows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  VAN - DAY<\/stage_direction>\n    <scene_description>The interior is empty except for several canvas duffel bags and a small portable VCR . It is one of the new sales presentation models , with deck and monitor together in one tiny unit .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>What's this?<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>Insurance policy. Now this is going to sting a bit, but it's for your own growth, brah. Press play.<\/dialogue>\n    <scene_description>Utah hits the button and an image comes up on the tiny screen . TIGHT ON SCREEN . A night shot . Rosie the biker has Tyler in a powerful grip . Her hands are cuffed behind her , and her mouth is taped . He has his switchblade up to her throat . Her eyes are wild , but with rage , not fear . She 's trying to struggle out of his grip , kicking at him viciously . He controls her efficiently . Bodhi stops the tape .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>She's a wild one, is n't she. Special Agent Utah?<\/dialogue>\n    <scene_description>Utah lunges , pinning Bodhi to the wall of the van . an elbow across his throat .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>You're a fucking dead man -<\/dialogue>\n    <character>BODHI<\/character>\n    <parenthetical>( gasping for breath . )<\/parenthetical>\n    <dialogue>Whoa, whoa! Think it through! I'm the only one knows where they are. Just let me talk for a second.<\/dialogue>\n    <scene_description>Johnny pulls back . Barely in control .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Talk.<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>She'll be fine, Rosie wo n't do anything. At least not as long as I meet him at a certain place and time, about. let's see.<\/dialogue>\n    <parenthetical>( he looks at his dive Rolex . )<\/parenthetical>\n    <dialogue>. six hours from now.<\/dialogue>\n    <scene_description>Utah 's voice sounds kind of strangled .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>You call him. right now. and tell him to let her go.<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>Sorry, ca n't do it, brah. He's on the road. And where they're going there's no phones. Damn, I hate this Johnny, I really do. I hate violence. See, that's why I need Rosie. I could never make this thing work, myself. No way I could hold a knife to Tyler's throat, man! She was my woman, once. We shared time in this world. But Rosie, he's kind of a. mechanism. Once you set him in motion, he wo n't stop. That's his gift, a kind of. blankness. Noon comes, straight up, he'll gut her like a pig and try not to get any on his shoes. Nothing I can do, unless I get there.<\/dialogue>\n    <scene_description>Utah blanches as he takes this in . Knows Bodhi well enough now to know he means business .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>So that makes us partners, does n't it? Because now we both have the same goal. to get me where I need to go. Right?<\/dialogue>\n    <scene_description>Utah 's expression turns suddenly cold as an executioner 's .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>We're wasting time.<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>See! That's what I like about you, man! You're just sharp as a razor blade.<\/dialogue>\n    <scene_description>Bodhi jumps out of the van and approaches the others , gathered nearby . He addresses the pilot first .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Get the plane down to Santa Monica and top up the tanks.<\/dialogue>\n    <parenthetical>( to the others . )<\/parenthetical>\n    <dialogue>Let's go. Let's saddle up!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  L.A. STREETS - DAY<\/stage_direction>\n    <scene_description>A STYLIZED LONG LENS SHOT stacks the cars into a dreamlike mirage . The van weaves slowly among them with predatory stealth .<\/scene_description>\n    <character>BODHI<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Okay. All I'm askin' for is ninety seconds of your life, Johnny. That's all.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  VAN<\/stage_direction>\n    <scene_description>EXTREME CLOSEUP ON the velcro straps of Second Chance armor . Tanned fingers cinch it tight . A SHELL slides into the cylinder of the Casull . A SHOTGUN is cocked . KACHACK !<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>It's basic dog psychology, brah. If you scare them, get them pissing down their leg, they submit. you control them. If you project weakness, you draw aggression. that's how people get hurt.<\/dialogue>\n    <scene_description>WIDER , revealing that Bodhi is in the back with Utah and Roach . Nathaniel and Grommet sit up front . The duffels contents are strewn around . Masks . Weapons . They 're all pulling on suit pants and jackets . Tying ties . Slipping on white gloves . Snappy Oxfords . Bodhi is pulling a suit jacket on over his BODY ARMOR . Utah is fumbling with his armored vest . He works with vicious , jerky moves . His jaw locked . Eyes down .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Fear causes hesitation, and hesitation will cause your worst fears to come true. You project strength to avoid conflict.<\/dialogue>\n    <character>ROACH<\/character>\n    <dialogue>Peace through superior firepower, babe.<\/dialogue>\n    <scene_description>Bodhi conspicuously empties all the shells from a PUMP 12 GAUGE . Pockets the shells . Tosses the weapon to Utah .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Here, you need this. You ca n't be comin' through that door with your dick in your hands, right?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>I ca n't do this.<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>Sure you can! You may even like it. it's a killer rush. You'll see. Hey, do n't I show you things, Johnny U?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Bodhi, this is your wake up call, man - I. am. an. Eff. Bee. Eye. Agent!<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>Wild, ai n't it?! See, we exist on a higher plane, you and I. We make our own rules. Why be a servant of the law Johnny U. when you can be it's master?<\/dialogue>\n    <character>GROMMET<\/character>\n    <dialogue>Fuckin' A!<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>Ninety seconds, man, door to door. A small price to pay for someone who loves you.<\/dialogue>\n    <parenthetical>( he looks up . )<\/parenthetical>\n    <dialogue>She does you know. It's not her style to fall so hard. I do n't think she did with me.<\/dialogue>\n    <scene_description>He pulls the Ronald Reagan mask over his head smoothly . Roach pulls his on . NIXON . Nathaniel becomes KENNEDY . Grommet transforms into LBJ . Bodhi looks in the bag - no more masks .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Sorry, Johnny. Guess you do n't get to be president.<\/dialogue>\n    <scene_description>JOHNNY 'S POV - the back doors of the van . And the promise of what is beyond . Bodhi enters FRAME . Looks straight at us .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Rock and roll!<\/dialogue>\n    <scene_description>BOOM - THE DOORS bang open , REVEALING -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  STREET - BANK - DAY<\/stage_direction>\n    <scene_description>STILL IN POV -LRB- HANDHELD -RRB- we hurl ourselves from the dark van into blasting daylight . Bodhi is ahead of us in the sprint for the bank doors . Dizzying forward momentum as we hammer through the doors into -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  BANK<\/stage_direction>\n    <scene_description>THE HANDHELD POV CONTINUES as we follow Bodhi , a wolf plunging among the sheep . A FAT GUARD inside the doors . He turns to us just as Bodhi butt - strokes him hard in the gut . Someone screams .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Everybody freeze! Do n't move!<\/dialogue>\n    <scene_description>AHEAD of us GROMMET\/LBJ covers the SECOND GUARD with his 12 gauge .<\/scene_description>\n    <character>GROMMET<\/character>\n    <dialogue>Do n't fucking do it, man!<\/dialogue>\n    <scene_description>The guy has his hand on the grip of his pistol but it 's like the thing suddenly weighs eight tons , he ca n't seem to lift it from the holster . ROACH\/NIXON slips up next to him and helps him with it . The guy is visibly trembling . A YOUNG JOCK makes a move to run . ` OUR ' SHOTGUN comes up like a reflex , right in his face . Roach\/Nixon throws the guy to the floor by his hair . AHEAD OF US , Bodhi is in action . Moving to the counter , shouting -<\/scene_description>\n    <character>BODHI\/REAGAN<\/character>\n    <dialogue>All Tellers back away from the counter! Hands on your heads! RIGHT NOW! That's right. You know the drill.<\/dialogue>\n    <scene_description>It 's like a replay of the robbery Utah saw on video . But he 's right in the middle of it , like in some kind of nightmare . WE 'RE STILL IN POV , the image WHIPPING wildly from side to side as Utah scans the room . We whirl dervish among the statuary of the customers and bank employees . Our gaze drifts across THE FLOOR MANAGER , a short guy in a brown suit standing with his hands clasped behind his back .<\/scene_description>\n    <character>BODHI\/REAGAN<\/character>\n    <dialogue>All customers on the floor. Let's go! Move it! Get down! On the floor! Right now! Let's go.<\/dialogue>\n    <scene_description>Roach and Grommet are pushing them down . Utah stands stiffly with the shotgun . He seems dazed . He catches the eye of a CUSTOMER . In a tenth of a second we see Johnny see the customer see his uncertainty . Fear has them both hyper - aware . Johnny gestures fiercely with the shotgun .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>On the floor, asshole! What's your problem?! I blow your fucking kneecaps out, you'll be on the floor!<\/dialogue>\n    <scene_description>The guy hits the deck like a sack of cement . BODHI\/REAGAN floats beside Johnny , scanning with the Casull . He speaks without turning his head .<\/scene_description>\n    <character>BODHI\/REAGAN<\/character>\n    <dialogue>Kick in the ass, ai n't it? Gon na be kinda hard to explain though. when they play the tapes back down at the bureau. Could look bad on your monthly evaluation.<\/dialogue>\n    <scene_description>Johnny looks up at surveillance camera . He 's quite fucked .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Can we just get the goddamn money and get out of here?!<\/dialogue>\n    <character>BODHI\/REAGAN<\/character>\n    <dialogue>That's the spirit!<\/dialogue>\n    <parenthetical>( to the room . )<\/parenthetical>\n    <dialogue>Head's down! Eyes down! Just a couple minutes of your life and we're gone.<\/dialogue>\n    <scene_description>Bodhi leaps to the counter , commanding the room . But at this point they diverge from their time - proven plan . Roach is n't going for the drawers . he 's sprinting for the VAULT .<\/scene_description>\n    <character>BODHI\/REAGAN<\/character>\n    <dialogue>You!<\/dialogue>\n    <parenthetical>( reading a name - tag . )<\/parenthetical>\n    <dialogue>Miss Jennings. of New Accounts. Be a dear and open the inner gate for my associate. NOW!<\/dialogue>\n    <character>MISS JENNINGS<\/character>\n    <dialogue>He - he - he has the keys. Mr. Duggan.<\/dialogue>\n    <character>BODHI\/REAGAN<\/character>\n    <dialogue>Whatta say, Mr. Duggan? Wan na give her the keys or do I pick through the blood and chunks for them?<\/dialogue>\n    <scene_description>DUGGAN , the bank manager , is surprisingly calm as he takes the keys from his pocket . Holds them out to the terrified woman .<\/scene_description>\n    <character>DUGGAN<\/character>\n    <dialogue>Do whatever they say, Terry.<\/dialogue>\n    <scene_description>MISS JENNINGS hurries to comply . She unlocks the STEEL CAGE inside the big vault door . Roach\/Nixon and Grommet\/LBJ take her inside with them . A CUSTOMER , lying on the floor near the fat guard catches his eye . The guard , face jammed against the linoleum , blanches as he sees the customer lift a corner of his shirt to reveal THE BUTT OF A PISTOL . The customer mouths the words `` I 'm a cop '' . The guard is hyperventilating . AT THE FRONT DOORS A WOMAN comes in out of the bright sunlight . JFK pulls her in fast and throws her to the floor . Then goes back to watching the street . JOHNNY is next to Bodhi\/Reagan .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>You're blowing it, man! You're breaking your own rules. pulling too much time!<\/dialogue>\n    <character>BODHI\/REAGAN<\/character>\n    <dialogue>JFK, how we doin'?<\/dialogue>\n    <character>NATHANIEL\/JFK<\/character>\n    <dialogue>All clear, man!<\/dialogue>\n    <scene_description>INSIDE THE VAULT Grommet and Roach are pillaging rapidly . Their hands blur as nice fat STACKS OF 20s and 100s are dumped into canvas sacks . ON THE MAIN FLOOR the OFF DUTY COP slips his hands slowly around the butt of his pistol , concealing the move with his body . He signals with his eyes to the fat guard , glancing at the guard 's ankle . TIGHT ON THE GUARD 'S ANKLE where we can see a sliver of BACK - UP GUN , a tiny .25 auto in an ankle holster . The guard 's eyes are pleading with the hard - on cop . `` Do n't make me do this '' . The guy is sweating , shaking . A yellow liquid spreads across the tiles next to his quivering hips . He 's actually pissing himself , he 's so scared . TIGHT ON the off - duty cop . Watching like a ferret . He cocks his .38 . ECU GUARD 'S EYES , wide with terror . It happens like lightning . The cop pops to his knees , straight - arming the .38 . The guard goes for his ankle holster . REAGAN spins . The cop FIRES . BLAM ! Reagan is catapulted backward off the counter by the impact . He crashes onto a desk on his back . Slides off , scattering papers . A teller screams . The cop spins toward Utah . Johnny throws down the shotgun . Shows his palms . He 's holding out his gold star .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Federal agent! Undercover!<\/dialogue>\n    <scene_description>The cop FIRES TWICE . Two in the chest . Utah is hurled back . Slams into the tellers ' counter . NATHANIEL\/LBJ lets go with the 12 gauge . BOOM ! The cop spins , hit by some 00 buck pellets . The guard caps - off like a maniac . BLAM , BLAM , BLAM , BLAM ! All of them wild , but serving to get Nathaniel pinned down behind a check - writing island . ROACH\/NIXON LEAPS THE COUNTER and lands behind the guard . The guard 's shoulder explodes as Roach 's 12 gauge detonates . He pitches onto his face , screaming and holding the wreckage of his upper arm . Grommet\/LBJ is coming over the counter behind Roach as the off - duty cop spins and fires . BLAM ! BLAM ! Roach takes it in the chest . Staggers back , firing into the floor . Trips and drops his shotgun . Grommet clutches his throat as blood streams over his fingers . IN SLOW MOTION Reagan 's face rises above the counter . The mask is askew . In order to see , Bodhi pulls it off . The Casull comes up in a slow , deliberate arc as - THE COP turns , terrified now , whipping his gun around , nightmarishly slow as - BODHI COCKS THE CASULL in dream - time and - KABOOOOM ! The world 's most powerful handgun proves its claim at 2000 feet per second . A gout of hamburger explodes out of the cop 's chest . He is lifted off his feet . Hits and slides across the floor leaving a two - foot wide red smear . Echoes slap the walls . Then all is still . Plaintive whimpering and moaning . The air is blue with smoke . Johnny is trying to catch his breath . He rips his shirt open to see two deep indentations in the Second Chance vest . Flattened .38 slugs caught in the Kevlar mesh . But no blood . Bodhi drops over the counter near Utah . The two men look at each other . Bodhi 's eyes seem lost . He stares around at the carnage he has wrought , the bloody wreckage of his ego game . His expression changes to something new - truly crazed now . We feel that the madness which has been held in check so long has been let off its leash .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Do n't anybody fucking move!<\/dialogue>\n    <scene_description>Roach , clutching his side , moves to Grommet , who is on his knees . Beneath LBJ 's stony countenance a river of blood flows down Grommet 's chest . Roach pulls off the mask . Revealing a terrified kid . Grommet pulls his blood - drenched hand away from his throat , stares at it bug - eyed .<\/scene_description>\n    <character>GROMMET<\/character>\n    <dialogue>Oh no, oh my god, oh god. it's all comin' out man, got ta stop it. it's all gon na come out. do something!<\/dialogue>\n    <scene_description>He 's trying to hold it in with his hands . This does n't work . A paste - white frightened kid . Eighteen years old . Suddenly realizing that this is not some video game . That death is real . He slumps back , losing the battle for consciousness . WE HEAR SIRENS APPROACHING .<\/scene_description>\n    <character>ROACH<\/character>\n    <parenthetical>( freaking to Bodhi . )<\/parenthetical>\n    <dialogue>We got ta bug out, man! We're eatin' it bad on this one. Let's go!<\/dialogue>\n    <scene_description>Bodhi reaches down and picks up Johnny 's FBI shield off the floor . He considers it for a long time . Then looks up at Johnny . His eyes seem to ask for forgiveness . A moment before he smashes the Casull into Johnny 's skull . JOHNNY 'S POV , as he drops to his knees . Everything going dark as we see Bodhi 's face distantly , his mouth moving slowly .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Goodbye, Johnny.<\/dialogue>\n    <scene_description>The floor rushes up and smashes us in the face . A view of shoes , running away from us , leaving bloody footprints . Then total darkness .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/ EXT.  FIRST SECURITY BANK - LATER<\/stage_direction>\n    <scene_description>Ten minutes later the bank `` crime scene '' is in full swing . UNIFORM COPS are everywhere , trying to get statements from sobbing witnesses . HARP , MUNOZ , COLE AND PAPPAS represent the FBI contingent . Cole has one arm strapped to his body in a fairly elaborate sling , and he moves slowly . Harp is barking orders to everyone in sight . Outside -LRB- visible beyond the doors -RRB- it 's total pandemonium , with cops and ambulances , and of course a huge crowd of rubberneckers . A MINICAM CREW shows up . Harp starts shouting at them . COLE , with evident pleasure , cinches down a pair of handcuff 's on Utah 's wrists with his good hand . Johnny has a deep cut on his forehead , and the blood is trickling into his eyes , but he seems not to notice . Not to hear MUNOZ speaking monotonously -<\/scene_description>\n    <character>MUNOZ<\/character>\n    <dialogue>- if you so desire, an attorney will be provided for you free of cost. Do you understand these rights I have explained to you? Utah?<\/dialogue>\n    <scene_description>Pappas charges through the crowd , pushing Munoz aside .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>He knows his goddamn rights!<\/dialogue>\n    <parenthetical>( looks at Utah . )<\/parenthetical>\n    <dialogue>Jesus, kid. I knew you were getting too close to these guys.<\/dialogue>\n    <parenthetical>( turns to the other agents . )<\/parenthetical>\n    <dialogue>Gim me the goddamn key to these things, Cole. Christ!<\/dialogue>\n    <scene_description>He gestures to the cuffs still cutting into Johnny 's wrists . Cole hands him the key . Harp storms toward them .<\/scene_description>\n    <character>HARP<\/character>\n    <dialogue>Do n't take those off. Just leave them on! Your partner's an accessory to murder. You realize that?<\/dialogue>\n    <scene_description>Harp spins Johnny by the shoulder to look at - Paramedics carrying the covered body of the off - duty cop . Beyond , still on the floor , is Grommet , his eyes staring in death . He was right about not making thirty .<\/scene_description>\n    <character>HARP<\/character>\n    <dialogue>Three men dead. One of them a cop. How's that sit in your gut, Utah?<\/dialogue>\n    <character>UTAH<\/character>\n    <parenthetical>( cold and scary . )<\/parenthetical>\n    <dialogue>Take your hand off my shoulder right now.<\/dialogue>\n    <scene_description>Harp pulls back instinctively . Utah 's eyes burn into him . Looks like Johnny 's not in the FBI anymore .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Look, Harp. Do n't turn him over to the uniforms like some punk. Let me ride him in.<\/dialogue>\n    <character>HARP<\/character>\n    <dialogue>Yeah, sure. Why not? You two screw - ups deserve each other. That's why I put you together in the first place. Christ Pappas, you're as bad as he is. talk about the blind leading the blind -<\/dialogue>\n    <scene_description>Pappas steps close to the Supervising Agent .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Harp, let me tell you something. I was an agent in this bureau when your mommy was still wiping your shinny pink ass, and you know one thing I learned in all those years that you still have n't?<\/dialogue>\n    <character>HARP<\/character>\n    <dialogue>What that?<\/dialogue>\n    <scene_description>Angelo steps in with a roundhouse that has all of his 280 pounds behind it . Harp 's head snaps back , and he flops in a heap .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>Respect your elders.<\/dialogue>\n    <parenthetical>( he takes Utah by the arm . )<\/parenthetical>\n    <dialogue>Let's go kid.<\/dialogue>\n    <scene_description>Harp struggles to sit up , rubbing his jaw , as Pappas stuffs Utah into his car . Harp is so shocked he does n't say a word .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  PAPPAS' CAR<\/stage_direction>\n    <scene_description>They drive for a couple of blocks in silence , side by side . Utah in disgrace . Contrite . Stony . Finally .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>I know where they're going.<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>Figured you did.<\/dialogue>\n    <scene_description>Angelo flips Johnny the key . Johnny lets himself out of the cuffs . He sits rubbing his wrists .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Only problem is. we ca n't arrest them or shoot them.<\/dialogue>\n    <scene_description>ON PAPPAS ' `` what the fuck ?! '' expression we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  SANTA MONICA AIRPORT<\/stage_direction>\n    <scene_description>LONG LENS SHOT through a forest of small planes as Pappas ' sedan glides INTO FRAME . It moves sharklike among through the Cessna forest . Slows to a stop . Through the jungle of wings and fuselages we see Pappas get out of the car and start working his way among the aircraft . Utah slides behind the wheel and drives on . TIGHT ON TURBOPROP ENGINE roaring as it warms up . The same aircraft as before . Bodhi and Nathaniel are loading duffel bags into the open back door as the pilot completes his pre - flight checks . The Ex - President 's suits have been removed , along with the body armor , and no guns are in sight . Just a couple of guys getting ready for a charter flight . Bodhi looks up and stops his work as . THE FBI SEDAN stops about 50 feet away . Nathaniel pulls a shotgun out of one of the duffels . Utah gets out . He holds his hands out from his body and turns completely around . Without his jacket on , it is evident that he is not carrying a gun . He walks forward .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>I'm not armed.<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>But you're not alone.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Good guess. There's a gun on you right now.<\/dialogue>\n    <scene_description>Bodhi feigns casual interest . Looks around . He ca n't see . PAPPAS nearby . Moving cat - like behind a row of service vehicles . He gets his snubnose .38 propped on the bumper of one , with a clear shot at Bodhi and Nathaniel .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Where's Roach?<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>Around somewhere. Listen, I'm in kind of a hurry, Johnny U. What can I do for you?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>You got ta tell me where she is.<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>And let my policy expire? Sorry.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Look, Bodhi man. People are dead. The ride is over.<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>I say when it's over!<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>The guy you killed was an off duty cop! If you get out of here they'll nail you wherever you land. They have a new thing called radar. Maybe you've heard of it.<\/dialogue>\n    <scene_description>Though he ca n't hear what 's going on . THE PILOT has clocked the tension between the two men . And the shotgun in Nathaniel 's hands . He blanches , and starts to shut down the plane 's power . By his reaction we see that he 's obviously not in on it . ROACH comes out of the hangar building nearby . Neither Utah nor Pappas see him . But he sees Pappas drawn down on Bodhi . He drops quickly to one knee and opens the duffel he was carrying . TIGHT ON DUFFEL BAG , as it opens . The pistol grip of a 12 gauge riot - gun sticks out of lots and lots of money . Roach 's hand slides the gun out slowly . UTAH IS VERY CLOSE to Bodhi .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>I know you man, when they fall on you, you wo n't back down. They'll have to burn your ass to the ground. And I ca n't stop them. I'm the last person they're ready to listen to right now. Thanks to you.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Shit may or may not happen.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Look, you got a death wish, you want to ride to glory. fine! But do n't take her with you, man. I'm begging you. tell me where she is. Then I walk away. We've earned that much trust, have n't we?<\/dialogue>\n    <scene_description>The pilot opens the door and is climbing out when Nathaniel wheels on him . The pilot goes cross - eyed staring down the muzzle of the 12 gauge , inches from his face .<\/scene_description>\n    <character>BODHI<\/character>\n    <parenthetical>( to the pilot . )<\/parenthetical>\n    <dialogue>Back in the hotseat, campadre. NOW!<\/dialogue>\n    <scene_description>BEHIND THE TRUCKS , Pappas senses something . His head snaps around . Roach is behind him with the 12 gauge . He FIRES . Pappas hurls his weight sideways , as the buckshot punches into the truck fender . Some of it catches Pappas in the hip . He hits the ground hard and whips up the .38 BAM ! BAM ! BAM ! Roach flips onto his back . The shotgun blows a hole in the sky as he hits the deck . Pappas is on the ground , totally exposed , 20 feet from the others . NATHANIEL fires once , wild . Terrified . His shot blows a divot out of the asphalt next to Pappas . He pumps the slide , chambering another round . Then Pappas ' fourth and fifth rounds drill into him . He slams back against the Cessna 's fuselage . Slides down . Two red smears on the white aircraft . Bodhi lunges for the fallen 12 gauge . Pappas takes aim . One round left . Utah sprints between them .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Angelo! Do n't fire!<\/dialogue>\n    <character>PAPPAS<\/character>\n    <dialogue>Kid, get outta the way!<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>NOOO!<\/dialogue>\n    <scene_description>Utah is blocking Bodhi with his body . Bodhi 's fingers are poised , frozen , a few inches from the shotgun . Standoff .<\/scene_description>\n    <character>PAPPAS<\/character>\n    <dialogue>GODDAMMIT!<\/dialogue>\n    <scene_description>He snaps the pistol up , aimed at the sky . Pappas stands panting . Enraged and frustrated . Pain searing his leg . Everything is tense and electrified . BOOM ! Pappas ' chest EXPLODES with a spray of blood ! BEHIND HIM , ROACH is lying on one elbow in a pool of scarlet . He cocks another round into the chamber and fires again . BOOM ! Angelo drops to his knees , holding his ruined body like he 's hugging himself . Johnny lunges toward him , his face distorted with shock .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>NNNOOOOOO!<\/dialogue>\n    <scene_description>Angelo 's eyes meet his for a moment . In his dilated pupils is the great question . Then he slumps forward and lies very still . The breath leaves his body and does n't go back in . Johnny moves toward his friend in a daze . Drops to one knee beside him . Roach aims the shotgun at him , coughing blood . Utah does n't notice . Or is beyond caring . Bodhi holds his hand up in a gesture like a benediction . Roach 's finger relaxes on the trigger . Utah puts his hand on Angelo 's white crewcut hair . He hears the scraping of steel on asphalt behind him as Bodhi picks up the other twelve gauge . Roach is working himself to his knees . His breath is sucking through a bloody hole in his chest as well as the customary breathing orifices . Bodhi crosses to him and helps him up . He covers Utah with the shot gun as he half - carries Roach to the plane . The pilot is white with shock . He 'd run if he could remember how .<\/scene_description>\n    <character>PILOT<\/character>\n    <dialogue>I ai n't flyin' you guys to San Phillipe man, forget it. Not now -<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>Thanks for telling the nice FBI agent where we're going.<\/dialogue>\n    <scene_description>Roach works his way up into the plane . He waves the shotgun at the pilot , his face a vicious , blood - flecked mask .<\/scene_description>\n    <character>ROACH<\/character>\n    <dialogue>Get in the fucking plane.<\/dialogue>\n    <scene_description>Bodhi stands behind Johnny , the shotgun aimed at his head . Their expressions are lethally cold . We see that Utah hates this man who was his friend , his teacher , more now than he dreamed it was possible to hate .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>We're gon na ride this out, all the way, Johnny. You and me. Let's go.<\/dialogue>\n    <scene_description>Johnny nods slowly , as if accepting that this was all somehow pre - ordained , and that they both knew the game would take them this far and beyond . He stands and walks to the plane .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  MEXICO - DAY<\/stage_direction>\n    <scene_description>THE SCREEN EXPLODES WITH A BLUR OF MOTION . POV of the ground racing below us at 180 mph . REVERSE , preceding the plane as it rockets through barren canyons . As close to the earth as the terrified pilot will take it . Under the radar .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  PLANE<\/stage_direction>\n    <scene_description>The aircraft bucks like a bull as the pilot jinks and banks wildly . Bodhi has the Casull aimed at the base of his skull from the jump seat just behind him . Roach holds the shotgun on Utah , seated across from him in the rear seats . Roach is a pale , sweaty mask . He is propped against a bulkhead , seemingly collapsed in on himself like a discarded coat . His entire shirtfront and lap are slick with blood . But his gaze is steady , and the shotgun is aimed into Utah 's guts . No one talks or moves on this grim hell - ride .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  ARROYO<\/stage_direction>\n    <scene_description>Near noon . The sun blisters a landscape out of time . The white Cessna rockets above the saguaros , its shadow pumping up and down over the broken terrain like some manic alter ego below it . It WOOSHES over us , raising dust devils .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  PLANE<\/stage_direction>\n    <scene_description>The pilot yells over his shoulder to Bodhi .<\/scene_description>\n    <character>PILOT<\/character>\n    <dialogue>Look, we been in Mexico the last half hour. can I quit mowing the lawn here or what? I'm getting more brush in the wheels than I usually like, you know what I'm saying?!<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>Yeah, get some height. Take her up to eight thousand on this heading.<\/dialogue>\n    <scene_description>The pilot pulls back on the yoke and the plane climbs . Bodhi moves back next to Roach , who 's fading .<\/scene_description>\n    <character>ROACH<\/character>\n    <dialogue>We're gon na pop up on their screens.<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>Does n't matter now. We're almost there, man. Here, let me help you get your gear on.<\/dialogue>\n    <scene_description>Bodhi drags a parachute pack up onto the seat next to Roach and starts helping him into the harness . Roach keeps the shot gun pointed at Johnny .<\/scene_description>\n    <character>ROACH<\/character>\n    <dialogue>I'm cold.<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>You're gon na be fine. Just fine. Johnny, toss me that money bag will you. Easy does it.<\/dialogue>\n    <scene_description>Utah hefts the duffel . Weighs its contents , and their price .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>You're cold because all the blood is running out of your body, Roach. You're going to be dead soon.<\/dialogue>\n    <parenthetical>( he tosses the bag . )<\/parenthetical>\n    <dialogue>I hope it was worth it.<\/dialogue>\n    <scene_description>Roach clutches the canvas sack to his chest like a Teddy bear . Glares at Utah . He hooks the strap of the duffel over one shoulder .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Hey, Johnny's just trying to psych you man, forget it. Just keep thinking about all those senoritas nursin' you back to health. Come on, amigo, let's get you set for the jump.<\/dialogue>\n    <scene_description>Bodhi props Roach next to the open door and takes a walkie - talkie from the seat , keying it .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Rosie, Rosie, this is Air Force One, do you copy, over?<\/dialogue>\n    <scene_description>A burst of static is followed by a surprisingly clear voice .<\/scene_description>\n    <character>ROSIE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Copy you, Air Force One. We have a visual on you. Lookin' fine.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Tell him to release Tyler.<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>Why should I?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>What if your chute fails, Bodhi? Rescind the order. Let her off the hook, she's served her purpose. Do it, man, you owe me that much. Let me hear it before you check out.<\/dialogue>\n    <scene_description>Bodhi meets his eyes and considers for a couple of seconds , then keys the walkie .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Rosie, listen carefully. Surgery is canceled, is that clear? Repeat it back to me.<\/dialogue>\n    <character>ROSIE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Copy you. Surgery is canceled. I'm lettin' the bitch go.<\/dialogue>\n    <scene_description>Bodhi looks out the doorway . Gauging distance , airspeed , the geography below . He looks at Utah , aiming the Casull at him . Johnny stares back at him like a pit viper .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>I know it's hard for you Johnny. You want me so bad it's like acid in your mouth. But not his time.<\/dialogue>\n    <parenthetical>( he braces Roach at the door . )<\/parenthetical>\n    <dialogue>Let's go.<\/dialogue>\n    <scene_description>Bodhi signals the pilot and Utah feels the plane drop as the engines are cut back to an idle . Bodhi slaps Roach on the shoulder and Roach slumps backward out of the plane . Bodhi braces to jump , looking at Johnny for a last split - second .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>You lose, campadre.<\/dialogue>\n    <scene_description>He chucks the Casull onto the seat beside the door and bails . Bodhi tumbles out into space . It 's over . Utah 's knuckles are white , gripping the seat . There 's a dynamo , spinning out of control in his head . He leaps up in an explosion of rage and drives his fists into a bulkhead . Looks around like a rabid animal . TWO SECONDS . THREE SECONDS . Then .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>FUCK IT!<\/dialogue>\n    <scene_description>Utah grabs the Casull off the seat and dives out of the plane .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  PLANE<\/stage_direction>\n    <scene_description>UTAH , WITHOUT A PARACHUTE , but carrying a very large gun , rockets downward . He presses his arms to his sides and falls head - down , building speed . Three hundred feet below him is Bodhi , freefalling in a spread - eagle position . Utah moves his feet and hands , angling toward him . Bodhi does n't see him . Falling flat , he tops out at terminal velocity for that position . 130 mph . Utah slashes downward at 160 mph . The gap between them closes . Utah is almost blinded by the windstream . His eyes burn . His lips are peeled back by the blasting air . Bodhi is eighty feet below him . 4000 feet to terra firma . Utah focuses all his incredible will and concentration . He 's only going to have one shot at this . Bodhi is right below him . Utah is closing like a SAM missile . He trims a little , and . WHAM ! Slams into Bodhi in a mid - air tackle . Bodhi 's eyes are wide with amazement as they tumble together . Utah has made the grab and locked his arms around Bodhi in an iron grip . He pulls the Casull 's muzzle up to Bodhi 's head and screams in his face .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Pull the parachute!<\/dialogue>\n    <scene_description>Bodhi looks at the gun . Looks at Utah . Grins wildly .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Pretty radical, Johnny. Even for you. Why do n't you pull it?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>No games, Bodhi. Pull the cord! Now!<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>Naw, you pull it!<\/dialogue>\n    <scene_description>Utah looks down . The earth is rushing at them . 2500 feet .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Go on, Johnny. Pull it. But you got ta drop the gun, first! Right?! You use your other hand what you gon na hold on with?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>Pull it right now or I'll blow your fucking head off and pull it myself!<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>Well that's the only way it's gon na happen, man. Do it! Come on, you want to do it. You're gon na die, Johnny. Five more seconds. Four.<\/dialogue>\n    <scene_description>1000 feet . The ground is close enough to see details . Cactus , sagebrush . They rocket past the bright yellow canopy of Roach 's chute a hundred feet away .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>You fucking crazy!? Pull it!<\/dialogue>\n    <scene_description>They 're right in each other 's faces . Taking it way beyond the edge . Bodhi 's eyes are wild . A gleeful , adrenalized madness . his pupils are the entrance to Hell .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Three seconds. two. one.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>SHIT!<\/dialogue>\n    <scene_description>Utah flings the Casull away and pulls the rip - cord so hard he almost loses his grip anyway . POOM ! The canopy cracks out . Full and round and bright red . The ground roars at us . WHAP ! Utah and Bodhi hit . Hard . They slide and tumble down the slope of an arroyo in a cloud of dust . Rocks and debris clatter into silence . NEARBY Roach hits the ground limp as a rag doll . He moves listlessly as his chute lines tug at him but his eyes stare without blinking right at the sun . Next to him the money satchel 's contents are spilled right into the sand . Roach 's lifeless hands lie limp among the bills that caper in the desert wind . UTAH AND BODHI are both completely still as the dust clears . Finally they groan and stir . Necks move , hands move , legs move . Bodhi rolls to his knees . He is cut and scraped , the blood running bright down his dust - covered skin . Utah looks around , blinking . Surreal that he should be plopped down here in the red - hot Mexican desert . Bodhi staggers to his feet and grins at him .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Wild ride, huh?<\/dialogue>\n    <character>UTAH<\/character>\n    <parenthetical>( gasping . )<\/parenthetical>\n    <dialogue>Jesus Christ, Bodhi!<\/dialogue>\n    <scene_description>Utah tries to rise and - grabs his knee in agony . We see by his mask of pain that it 's totaled inside .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>That pesky knee, huh? Too bad.<\/dialogue>\n    <scene_description>He looks up at the sound of an engine . BODHI 'S POV of his big four - by roaring toward us with a meteor tail of dust . It slides to a stop next to them . Rosie gets out of the driver 's side and stands calmly with a sawed - off over his shoulder . Utah blinks through his sweat and pain at - TYLER running toward him out of the dust . She kneels next to him and puts her arms around him . Bodhi limps to the truck . Through the swirling dust we see him look back .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>You had me worried there, for a second, Johnny U.<\/dialogue>\n    <scene_description>He swings up into the four - by and guns the engine . Rosie hops into the shotgun seat and the truck hurls up roostertails as it tears out across the desert toward Roach 's billowing gravemarker . Johnny touches Tyler 's face tenderly , leaving a smear of blood . He gives her a wan version of the Johnny Utah grin . HOLD ON the truck moving off in a heat - shimmered cloud of dust , becoming a mirage , then a memory as we - AN ENORMOUS WAVE which FILLS FRAME , seeming to rise endlessly before thundering down in a holocaust of spray .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  BEACH DAY - DAY<\/stage_direction>\n    <scene_description>An unfamiliar beach laid waste by monster waves under a storm sky . Wind whips sand across the narrow beach - road , throwing it against the front doors of the LIGHTHOUSE PUB . TITLE OVER : ONE YEAR LATER .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  LIGHTHOUSE PUB - DAY<\/stage_direction>\n    <scene_description>Dark . Almost empty . A snarling crocodile head is mounted above a tapper of Guinness Stout . A Koala bear with plastic eyes holds a Foster 's . A BARTENDER with leathered skin washes glasses . At the bar , a single disheveled customer . human driftwood . GUST OF WIND blows open a shuttered window . The bartender moves to close it .<\/scene_description>\n    <character>BARTENDER<\/character>\n    <dialogue>Gon na close early today, mate, ` fore the bloody storm hits.<\/dialogue>\n    <scene_description>JOHNNY UTAH swivels toward CAMERA . His tanned face is barely recognizable , jaws hidden underneath a slight beard , long bleach - out hair swept behind an ear . His muscular shoulders pop from a sleeveless football jersey . The man seems deadly focused .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>Storm's already here. It's bringing me the swell.<\/dialogue>\n    <scene_description>Johnny stares into his drink . ANOTHER BLAST OF COLD as the front door opens . Johnny turns at the sound . TYLER takes a step inside . Her hair is different , more bleached out , frazzled from the sun . Her eyes adjust to the dark room .<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>John, they're here.<\/dialogue>\n    <scene_description>Utah downs the drink and slides off his stool . He has a pronounced limps as he crosses to Tyler at the door . They exit into daylight under an old wooden sign which reads : LIGHTHOUSE PUB - BELL 'S BEACH , AUSTRALIA<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  LIGHTHOUSE PUB - DAY<\/stage_direction>\n    <scene_description>UTAH and TYLER walk out onto the roadway as several Australian Police cars converge on them . A dozen uniformed OFFICERS step out . The ranking officer , a fortyish LIEUTENANT , walks up to Utah .<\/scene_description>\n    <character>LIEUTENANT<\/character>\n    <dialogue>D'you see him, Mr. Utah?<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>No. But he's here.<\/dialogue>\n    <character>LIEUTENANT<\/character>\n    <dialogue>Now, look, I know you used to be a federal agent up in the states and all that, but you're a citizen now, so just find him and we'll handle it from there.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>No problem. Just give me a couple minutes with him first.<\/dialogue>\n    <scene_description>Johnny limps out across the huge expanse of sand alone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  BELL'S BEACH - AUSTRALIA - DAY<\/stage_direction>\n    <scene_description>WALL OF SOLID WATER FIVE STORIES HIGH CRASHES straight down in a holocaust of spray . Rising up from the ocean to meet a tormented sky , roll the most terrifying waves any surfer has ever seen . They close out , pummeling the ocean floor , casting a shockwave up the shore . SURFERS gather on the sand , gaze out to sea .<\/scene_description>\n    <character>1ST SURFER<\/character>\n    <dialogue>Jesus Almighty, the bloody sand's shakin'.<\/dialogue>\n    <scene_description>The beach sounds like a MORTAR RANGE . JOHNNY passes among the brahs .<\/scene_description>\n    <character>2ND SURFER<\/character>\n    <dialogue>Totally closed - out. It's fuckin' death on a stick.<\/dialogue>\n    <scene_description>ON BODHI , sitting crosslegged in the sand , arms folded around his knees . He stares pensively out at the waves . His hand reaches out and absently strokes a surfboard lying next to him .<\/scene_description>\n    <character>UTAH<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I knew you would n't miss the fifty year storm, Bodhi.<\/dialogue>\n    <scene_description>Bodhi smiles , the odd smile of a sportsman who appreciates the cunning of his opponent . Utah sits beside his prey and stares at the ocean . Bodhi stares with glittering eyes at the heaving ocean before him , face splitting into that feral , death 's head grin .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>And I always knew I could count on you, Agent Utah.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>I'm not FBI anymore.<\/dialogue>\n    <character>BODHI<\/character>\n    <dialogue>You never were.<\/dialogue>\n    <character>UTAH<\/character>\n    <dialogue>I asked them to give me a couple minutes.<\/dialogue>\n    <scene_description>Utah calmly glances over his shoulder . Bodhi follows Johnny 's gaze to the cops watching from the road .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>It went bad, brah. Real bad.<\/dialogue>\n    <parenthetical>( smiles inwardly . )<\/parenthetical>\n    <dialogue>I just felt it was time.<\/dialogue>\n    <scene_description>A BOOMING ROAR sounds from the ocean . Bodhi just stares at the waves , with awe and perhaps fear .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Time to dance with the universe.<\/dialogue>\n    <parenthetical>( he turns to Utah . )<\/parenthetical>\n    <dialogue>I could never handle a jail cell. You'll do this for me, wo n't you Johnny? Have n't I earned this much?<\/dialogue>\n    <scene_description>Utah does n't move to stop him as he stands , hefting the longboard . He half smiles , then turns toward the water , and starts walking . He stops . Turns around .<\/scene_description>\n    <character>BODHI<\/character>\n    <dialogue>Thanks, brah.<\/dialogue>\n    <scene_description>Bodhi does n't wait for a reply . He walks to the water 's edge , and never looks back . He throws his board into the foam and paddles , the riptide pulling him out . The monsters dwarf his body as they quickly suck him into the trough of the holocaust . UTAH stands and solemnly waits for the universe to deliver final justice . The cops are running clumsily across the sand , too late to stop Bodhi . Tyler steps up behind Johnny , and puts her hands on his shoulders . BODHI is nothing more than a SPECK as he shoots across the lip of the colossal wave , carving the board downward - AN UNTHINKABLE FOREHAND BLAST sends him into a 180 degree slide straight down the enormous face , eyes wild , his mouth opens in a soundless howl - Bodhi and the outer - limits wave are locked for one impossible yet glorious moment in perfect harmony , perfect symmetry , perfect union . There is no fear in his face , only awe as the mountain of water closes out , burying the Bodhisattva in a whitewater grave . Pieces of broken surfboard explode upward , only to fall back into the raging whiteness and vanish . UTAH remains pensive , eyes fixed on the riderless surf . Tyler lowers her head . A fragment of surfboard washes up onto wet sand . The wind gathers force . Johnny finally turns to his woman , curls an arm around her shoulder , gathering her close . Tears are streaming down her face as she stares at the sea .<\/scene_description>\n    <character>UTAH<\/character>\n    <dialogue>He rode it all the way.<\/dialogue>\n    <scene_description>CAMERA PULLS BACK AND UP , rising high above their heads as the liquid vertical walls continue to hammer the Australian shore . FADE TO BLACK<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Former Ohio State quarterback and rookie FBI agent Johnny Utah assists experienced agent Angelo Pappas in investigating a string of bank robberies by the \"Ex-Presidents\": a gang of robbers who wear facemasks depicting former US presidents Ronald Reagan, Richard Nixon, Lyndon B. Johnson, and Jimmy Carter to disguise their true identities. They raid only the cash drawers in banks\u2014never going for the vault\u2014and are always out within 90 seconds. Pursuing Pappas's theory that the criminals are surfers, Utah goes undercover to infiltrate the surfing community. He fabricates a personal family tragedy to persuade orphaned surfer Tyler Endicott to teach him to surf, after she saves him from drowning during his first attempt at surfing. Through her, he meets Bodhi, the charismatic leader of a gang of surfers consisting of Roach, Grommet, and Nathaniel. The group are initially wary of Utah, but accept him when Bodhi recognizes him as the former college football star. As he masters surfing, Utah finds himself increasingly drawn to the surfers' adrenaline-charged lifestyle, Bodhi's philosophies, and Tyler. Following a clue retrieved by analyzing toxins found in the hair of one of the bank robbers, Utah and Pappas lead an FBI raid on another gang of surfers, resulting in the deaths of two of them. Despite their criminal records, these surfers turn out to not be the Ex-Presidents and the raid inadvertently ruins a DEA undercover operation. Watching Bodhi's group surfing, Utah begins to suspect that they are the \"Ex-Presidents\", noting how close a group they are and the way one of them moons everyone in the same manner one of the robbers does when leaving a bank. Utah and Pappas stake out a bank and the Ex-Presidents appear. While wearing a Reagan mask, the gang leader (implied to be Bodhi) leads Utah on a foot chase through the neighborhood, which ends when Utah's old knee injury flares up after jumping into an aqueduct. Despite having a clear shot, Utah does not shoot and the leader escapes. At a campfire that night, it is confirmed that Bodhi and his gang are the Ex-Presidents. Tyler discovers Utah's FBI badge and angrily terminates their relationship after briefly holding him at gunpoint. Shortly afterwards, Bodhi aggressively recruits Utah into going skydiving with the group and he accepts. After the jump, Bodhi reveals that he knows Utah is an FBI agent and has arranged for his friend Rosie, a non-surfing thug, to hold Tyler hostage. Utah is blackmailed into participating in the Ex-Presidents' last bank robbery of the summer. As a result, Grommet, along with an off-duty police officer and a bank guard\u2014who both attempt to foil the robbery\u2014are killed. Outraged by Grommet's death, Bodhi knocks Utah out and leaves the scene. Defying their superior who arrests Utah for armed robbery, Pappas and Utah head to the airport where Bodhi, Roach, and Nathaniel are about to leave for Mexico. During a shootout, Pappas and Nathaniel are killed and Roach is seriously wounded. With Roach aboard, Bodhi forces Utah onto the plane at gunpoint. Once airborne and over their intended drop zone, Bodhi and Roach put on their parachutes and jump from the plane, leaving Utah to take the blame. With no other parachutes available, Utah jumps from the plane with Bodhi's gun and intercepts him. After landing safely, Utah's knee gives out again, allowing Bodhi to escape Utah's grasp. Bodhi meets with Rosie and releases Tyler, who reunites with Utah. Roach dies of his wounds, and Bodhi and Rosie leave with the money. Nine months later, Utah tracks Bodhi to Bells Beach in Victoria, Australia, where a record storm is producing lethal waves. This is an event Bodhi had talked about experiencing, calling it the \"50-Year Storm\". Utah attempts to bring Bodhi into custody, but Bodhi refuses. During a brawl in the surf, Utah manages to handcuff himself to Bodhi, who begs Utah to release him so he can ride the once-in-a-lifetime wave. Knowing Bodhi will not come back alive, Utah releases him, bids him farewell, and sees him step towards the wave. While the authorities watch Bodhi surf to his death, Utah walks away, throwing his FBI badge into the ocean."}
{"movie_name":"Frantic_1988","imdb_id":"tt0095174","script":"<script>\n  <scene>\n    <scene_description>Rev. 04\/28\/87 (Pink) Rev. 05\/21\/87 (Blue) Rev. 06\/25\/87 (Yellow) Rev. 07\/02\/87 (Green) Rev. 07\/06\/87 (Goldenrod) Rev. 07\/14\/87 (Buff)<\/scene_description>\n    <character>FRANTIC<\/character>\n    <dialogue>FINAL DRAFT<\/dialogue>\n    <dialogue>April 10, 1987<\/dialogue>\n    <scene_description>WARNERBROS. INC. \u00a9 1987 4000 Warner Boulevard WARNERBROS. INC. Burbank, California 91522 All Rights Reserved<\/scene_description>\n    <character>FRANTIC<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. TAXI - DAWN<\/stage_direction>\n    <scene_description>on the \"peripherique.\" A rainy spring morning. The taxi's WIPERS BEAT out a steady RHYTHM. The black driver listens to AFRICAN MUSIC. The freeway runs through an urban setting, not specific enough to identify any par- ticular city. Billboards advertise \"Coca Cola,\" \"Mercedes, \"FUJI.\" RICHARDWALKERwatches the anonymous scenery flash by while his WIFE dozes and snuggles into his shoulder.<\/scene_description>\n    <character>SONDRA(WIFE)<\/character>\n    <parenthetical>(managing to open an eye)<\/parenthetical>\n    <dialogue>Do you know where you are? \\*<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>It's changed too much.<\/dialogue>\n    <scene_description>The taxi plunges into a long tunnel with yellow lighting. Out of the tunnel there is a BANGand the taxi begins to weave. The driver grips the wheel. He brings the cab to a stop on the side and gets out. We see him bend over the right front tire and gesticulate angrily, swearing. Richard joins the driver outside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAYSHOULDER- DAWN<\/stage_direction>\n    <scene_description>Richard confirms that the tire is flat. In a mixture of French and sign language he offers to help change the flat. Muttering in French, the driver leads Richard to the back of the car. He opens the trunk. There are three white Samsonite suitcases inside. The driver kicks at the spare tire; it, too, is flat. He walks to the front of the cab, leans in and grabs the mike to radio his headquarters.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI - DAWN<\/stage_direction>\n    <scene_description>Richard eases into the back seat, Sondra's eyes flutter open.<\/scene_description>\n    <character>SONDRA<\/character>\n    <dialogue>-- We at the hotel?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Flat tire.<\/dialogue>\n    <character>3<\/character>\n    <dialogue>CONTINUED:<\/dialogue>\n    <character>SONDRA<\/character>\n    <dialogue>-- Mmmm<\/dialogue>\n    <character>...<\/character>\n    <dialogue>She wraps her arms around him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>3A EXT. HIGHWAY - SHOULDER - MORNING 3A<\/stage_direction>\n    <scene_description>The driver, hands in pockets, paces back and forth, waiting for help.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI - MORNING<\/stage_direction>\n    <character>SONDRA<\/character>\n    <dialogue>We've got the day to ourselves?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>How do you want to spend it? Shopping, sightseeing ... ?<\/dialogue>\n    <scene_description>She gives him a lazy look.<\/scene_description>\n    <character>SONDRA<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>-- What would you like to see?<\/dialogue>\n    <character>SONDRA<\/character>\n    <dialogue>I'll look in any direction you care to point me -- as long as we don't get off the bed ...<\/dialogue>\n    <scene_description>She kisses him lightly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - ANOTHER TAXI - MORNING<\/stage_direction>\n    <scene_description>With a woman driver and a big dog drooling beside her on the passenger seat as she drives through heavier traffic. Richard is now dozing on Sondra's shoulder.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. STREET - TAXI - MORNING<\/stage_direction>\n    <scene_description>CARS HONK. The taxi is stopped behind a garbage truck. Garbage collectors in green slowly and noisily empty the plastic trash cans. Richard has stirred awake, finds himself staring back at the drooling dog.<\/scene_description>\n    <character>6<\/character>\n    <dialogue>CONTINUED:<\/dialogue>\n    <character>SONDRA<\/character>\n    <parenthetical>(brushing the hair out of his eyes)<\/parenthetical>\n    <dialogue>Now do you know where you are?<\/dialogue>\n    <scene_description>The garbage truck pulls off onto a side street. Richard smiles and nods groggily. In the distance we see the Eiffel Tower.<\/scene_description>\n    <character>7<\/character>\n    <dialogue>I \u25ba<\/dialogue>\n    <character>EXT. HOTEL - MORNING<\/character>\n    <dialogue>Richard and Sondra step out. The woman driver opens the trunk and a porter loads the luggage onto a cart. Richard notes a McDonald's restaurant.<\/dialogue>\n    <character>8<\/character>\n    <dialogue>INT.<\/dialogue>\n    <scene_description>It is nearly empty. Cleaning women dust and vacuum. Richard approaches the front desk.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Good morning. Reservations, please, for Walker.<\/dialogue>\n    <scene_description>The DESK CLERK checks his book.<\/scene_description>\n    <character>DESK CLERK<\/character>\n    <dialogue>Walker, yes. May I have your passports, please?<\/dialogue>\n    <scene_description>Sondra hands them to the Desk Clerk and coolly glances over her shoulder at her husband whose eyes are very much on her. She maintains a Chanel-like propriety as the Desk Clerk calls out to Gaillard, the night CONCIERGE, 30ish, large and quite muscular.<\/scene_description>\n    <character>DESK CLERK<\/character>\n    <dialogue>Claude. La 402.<\/dialogue>\n    <scene_description>The Desk Clerk returns to the desk to take the plastic portfolio that Gaillard extends to him and gives it to Richard. She turns coolly back to the Desk Clerk.<\/scene_description>\n    <character>SONDRA<\/character>\n    <dialogue>Oh, and would you be good enough to hold the doctor's calls?<\/dialogue>\n    <character>9<\/character>\n    <dialogue>Richard<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>and Sondra<\/dialogue>\n    <character>9<\/character>\n    <dialogue>CONTINUED:<\/dialogue>\n    <scene_description>He glances down at the portfolio which has written in large letters on it: International Cardiovascular Surgery Convention. He opens it and looks casually through the convention literature. On top is a hand- written note.<\/scene_description>\n    <character>SONDRA<\/character>\n    <dialogue>May I?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Please.<\/dialogue>\n    <character>SONDRA<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>'I' On arrival<\/dialogue>\n    <scene_description>luncheon please at the Jules confirm Verne in I the Eiffel Tower today at one P.M. Regards, Dr. Maurice Alembert, numero ... (in fluent French)<\/scene_description>\n    <character>45 84 32 52.'<\/character>\n    <dialogue>She hands the note back to Richard with evident distaste. Richard looks to her. Sondra looks at the elevator ceiling.<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>The Desk<\/dialogue>\n    <character>HALLWAY- MORNING<\/character>\n    <dialogue>Clerk<\/dialogue>\n    <character>11<\/character>\n    <dialogue>In the through<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>suite's his routine.<\/dialogue>\n    <character>DESK CLERK<\/character>\n    <dialogue>The minibar. The light switch for this room and for the bedroom. Over there, the bathroom.<\/dialogue>\n    <scene_description>Richard looks around and finds Sondra has somehow dis- appeared. Discreetly the Desk Clerk exits, closing the door.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Sondra. Sondra?<\/dialogue>\n    <character>12<\/character>\n    <dialogue>She stands, Paris in all its<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>arms splendor.<\/dialogue>\n    <scene_description>CONTINUED: Richard comes up behind her. There's a lush basket of grapes, nuts and pears on the coffee table by her side.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Nice fruit.<\/dialogue>\n    <character>SONDRA<\/character>\n    <parenthetical>(without turning)<\/parenthetical>\n    <dialogue>I would have preferred flowers.<\/dialogue>\n    <scene_description>Richard hesitates, then:<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Nice view.<\/dialogue>\n    <character>SONDRA<\/character>\n    <dialogue>Magnificent -- it should look exceptionally lovely from the Eiffel Tower this afternoon, where you and Dr. Alembert can share it together -- where's my suitcase? I want to take a hot shower, oh, first give me the note so I can confirm your luncheon.<\/dialogue>\n    <scene_description>She reaches for it.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>What for?<\/dialogue>\n    <character>SONDRA<\/character>\n    <dialogue>Because you can't speak French and you don't know how to use the phones.<\/dialogue>\n    <scene_description>Again she indicates the note in Richard's hand.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Don't confirm the lunch.<\/dialogue>\n    <character>SONDRA<\/character>\n    <parenthetical>(furious)<\/parenthetical>\n    <dialogue>Why not? You did tell Alembert we were arriving a day early, didn't you, obviously you wanted to see him -- come on now, Richard, give me the note and don't mess around.<\/dialogue>\n    <scene_description>She goes for it with a swipe and misses. Richard puts it in his mouth and chews it.<\/scene_description>\n    <character>12<\/character>\n    <dialogue>RICHARD<\/dialogue>\n    <character>CONTINUED: ( 2)<\/character>\n    <parenthetical>(as he chews)<\/parenthetical>\n    <dialogue>... I didn't tell him when we were arriving ... Maurice Alembert is chairman of the convention ...<\/dialogue>\n    <parenthetical>(having some difficulty)<\/parenthetical>\n    <dialogue>not only that --<\/dialogue>\n    <character>SONDRA<\/character>\n    <dialogue>Richard, don't swallow it, you'll choke --<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>' (still<\/dialogue>\n    <scene_description>-- Oh now. chewing)<\/scene_description>\n    <character>SONDRA<\/character>\n    <dialogue>Well at least let me get you some \\* water to wash it down. \\*<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(following her into the bathroom)<\/parenthetical>\n    <dialogue>Not only that, Maurice Alembert<\/dialogue>\n    <scene_description>doesn't give a goddam about me ever since he saw you at the Berkeley seminar last year, 'Ow is your charming wife? Be sure and bring Sondra when you come ... ' I'm not the only man in Paris who wants to sleep with my wife! Sondra pauses, glass in hand over the bathroom sink.<\/scene_description>\n    <character>SONDRA<\/character>\n    <dialogue>-- At the Berkeley seminar? ... Was he the one with the long legs who took his shoes off when he spoke?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Never mind. You're not spending the day with anybody but me.<\/dialogue>\n    <scene_description>He takes her in his arms, pausing to spit out the last of the Alembert note in the sink. Sondra suppresses a giggle and kisses him. There's a KNOCKon the door and the bellboy enters with their bags. As he comes into the bedroom they exit the bathroom.<\/scene_description>\n    <character>SONDRA<\/character>\n    <dialogue>... How do you feel? Want some breakfast?<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>I've eaten, thanks.<\/dialogue>\n    <scene_description>Sondra goes to the bedroom phone, moving by the bellboy who is laying out their bags.<\/scene_description>\n    <character>SONDRA<\/character>\n    <dialogue>I'm going to order some cafe au lait and croissants and hop in the shower.<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(exiting to living room)<\/parenthetical>\n    <dialogue>Sounds good, I'll call the kids.<\/dialogue>\n    <scene_description>He tips the bellboy and tries to read the instructions on the living room phone for dialing -- having trouble without his glasses. He goes for them, but can't find the English instructions. As if she can see from the bedroom:<\/scene_description>\n    <character>SONDRA(O.S.)<\/character>\n    <dialogue>You can dial direct, honey, 0 to get an outside line ...<\/dialogue>\n    <parenthetical>(as he dials)<\/parenthetical>\n    <dialogue>then 19, one, 415.<\/dialogue>\n    <scene_description>He follows her instructions. After TWORINGS the phone is answered in San Francisco. It is RICHIE, the Walkers' 12-year-old son.<\/scene_description>\n    <character>RICHIE (V.O.)<\/character>\n    <dialogue>Hi, Dad. You made it!<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>It's eleven o'clock at night, Richie.<\/dialogue>\n    <character>RICHIE (V.O.)<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>What are you doing up?<\/dialogue>\n    <character>RICHIE (V. 0. )<\/character>\n    <dialogue>You woke me.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>-- Oh yeah.<\/dialogue>\n    <character>RICHIE (V.O.)<\/character>\n    <dialogue>That's okay, before that somebody else called from Paris. For Mom.<\/dialogue>\n    <character>12<\/character>\n    <dialogue>Sondra comes<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>flying<\/dialogue>\n    <scene_description>Richard's.<\/scene_description>\n    <character>SONDRA<\/character>\n    <dialogue>Honey, I cannot get these keys to work, is that Richie?<\/dialogue>\n    <scene_description>,. Your mother wants to say hello. (to Sondra) There was a call for you. From Paris.<\/scene_description>\n    <character>SONDRA<\/character>\n    <dialogue>For me? I don't know anybody in Paris.<\/dialogue>\n    <scene_description>I' She takes the phone, but stops cold when she sees Richard giving her a fishy look.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Maurice Alembert knows you.<\/dialogue>\n    <character>SONDRA<\/character>\n    <dialogue>He wouldn't, now stop that, Walker.<\/dialogue>\n    <character>RICHIE (V.O.)<\/character>\n    <dialogue>Stop what?<\/dialogue>\n    <character>SONDRA<\/character>\n    <dialogue>Nothing, dear<\/dialogue>\n    <parenthetical>(cupping phone)<\/parenthetical>\n    <dialogue>I can't open my bag, could you? ...<\/dialogue>\n    <scene_description>He nods with forbearance. She blows him an exaggerated kiss. He goes back to the bedroom.<\/scene_description>\n    <character>SONDRA<\/character>\n    <dialogue>Well, are you all right, honey? Who called me?<\/dialogue>\n    <character>RICHIE (V.O.)<\/character>\n    <dialogue>I don't know. Casey talked to him.<\/dialogue>\n    <character>SONDRA<\/character>\n    <dialogue>Him'? Put Casey on, would<\/dialogue>\n    <scene_description>you, sweetheart? She glances a little edgily toward the bedroom.<\/scene_description>\n    <character>RICHIE (V.O.)<\/character>\n    <dialogue>She's not here.<\/dialogue>\n    <character>SONDRA<\/character>\n    <dialogue>She left you alone? When did she go out?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUITE'S BEDROOM- DAY<\/stage_direction>\n    <scene_description>Richard, his luggage with medical slides and clothes laid out, works on the other Samsonite piece.<\/scene_description>\n    <character>RICHARD<\/character>\n    <parenthetical>(with some annoyance)<\/parenthetical>\n    <dialogue>Casey's out?<\/dialogue>\n    <scene_description>Sondra has a final exchange or two and returns to Richard who also is having a hard time with the Samsonite bag. Then his eye wanders up to something on it.<\/scene_description>\n    <character>SONDRA<\/character>\n    <dialogue>Everything's fine, Casey'll be<\/dialogue>\n    <scene_description>back in a while.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>No wonder you can't get these keys to work. It isn't your suitcase.<\/dialogue>\n    <character>SONDRA<\/character>\n    <dialogue>How can that be?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>It's not your name tag, in fact, there's no name on it at all. The \\* keys don't work. It's not your suitcase -- ninny.<\/dialogue>\n    <scene_description>Sondra sinks onto the bed. Lying on her back, looking up at him:<\/scene_description>\n    <character>SONDRA<\/character>\n    <dialogue>Walker, you did this on purpose. You wanted me to go shopping in Paris.<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(going for phone)<\/parenthetical>\n    <dialogue>Honey, I'll call T.W.A. right away and get this all straightened out -- besides -- could you get me T.W.A.? I know I can dial it, would you do it for me, please? The lost luggage department.<\/dialogue>\n    <parenthetical>(back to Sondra)<\/parenthetical>\n    <dialogue>-- For the next twenty-four hours you're not going to need anything to wear ...<\/dialogue>\n    <character>\\*<\/character>\n    <dialogue>She yawns and stretches luxuriantly.<\/dialogue>\n    <character>13<\/character>\n    <dialogue>SONDRA<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>I think I'll take my shower now.<\/dialogue>\n    <scene_description>She trots off to the john humming \"The Last Time I Saw Paris\" eventually breaking into full song under the SHOWER. T.W.A.:<\/scene_description>\n    <character>RICHARD<\/character>\n    <parenthetical>(watching Sondra and enjoying the sound of her voice)<\/parenthetical>\n    <dialogue>Oh yes, hello. I was on flight 862 from San Francisco this morning,<\/dialogue>\n    <scene_description>' and there small mix-up. picked seems to have been a My wife apparently up the wrong suitcase ... f<\/scene_description>\n    <character>AIRLINE WORKER (V.O.)<\/character>\n    <dialogue>Samsonite?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>That's right. You have\u00b7 it?<\/dialogue>\n    <character>AIRLINE WORKER (V.O.)<\/character>\n    <dialogue>I don't know. I'll have to look. But it's always Samsonite, what's your ticket number?<\/dialogue>\n    <scene_description>Richard is holding the stubs.<\/scene_description>\n    <character>RICHARD<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <character>62-9836,<\/character>\n    <dialogue>(to phone)<\/dialogue>\n    <character>9387 ...<\/character>\n    <dialogue>... so, it's 62-9835 ... white Samsonite.<\/dialogue>\n    <scene_description>Sondra is now out of the shower, in a hotel robe and drying her hair. She sits beside Richard.<\/scene_description>\n    <character>SONDRA<\/character>\n    <dialogue>How about it?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>-- They'll send a driver to pick this one up. For yours we'll have to fill out a form. Then we have to hope that whoever that belongs to ...<\/dialogue>\n    <parenthetical>(indicates bag)<\/parenthetical>\n    <dialogue>... doesn't like your stuff better.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>SONDRA<\/character>\n    <dialogue>I meant, how about breakfast in bed?<\/dialogue>\n    <scene_description>Richard immediately rises.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>See you in a minute.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM- MORNING<\/stage_direction>\n    <scene_description>Richard is in the SHOWER, humming a refrain to what Sondra had been singing. Through the bathroom door Sondra can be seen setting up their Walkman speakers. He glances through the bathroom door, glimpses Sondra's lower half on the bed, the robe falling away from her legs. He's pleased, shampoos his hair. Richard doesn't hear the phone ring or see Sondra move across the bed to pick it up. She has a short conver- sation before hanging up. Sitting on the bed framed in the bathroom doorway she says something to Richard that is inaudible -- though she looks annoyed.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Honey, I can't her yooo<\/dialogue>\n    <scene_description>She rolls off the bed out of his line of sight. He continues to shampoo his hair. We STAY ON the empty doorway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM- MORNING<\/stage_direction>\n    <scene_description>With a towel wrapped around his waist, Richard finishes shaving.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>We're awfully quiet in there ... I hope you haven't fallen asleep on me, I'm not shaving for drill here.<\/dialogue>\n    <scene_description>The DOORBELL RINGS.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>They're back again, aren't they?<\/dialogue>\n    <scene_description>The DOORBELL RINGS a SECOND TIME.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Can you get that?<\/dialogue>\n    <scene_description>CONTINUED: A long silence.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Honey?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUITE - MORNING<\/stage_direction>\n    <scene_description>Richard comes out of the bathroom in his towel and checks the bedroom. Her robe is on the bed, the sheets are pulled back, but Sondra is not there. Richard moves through the living room to open the door, assuming it must be Sondra. To his embarrassment, it's a waiter. The breakfast has come. The waiter rolls the table into the room as Richard, a bit timidly, sticks his head out the door and glances up and down the hallway. The waiter leaves. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Richard is slumped over the room service table, sound asleep. The breakfast has been pecked at, the plastic convention portfolio lies in front of him on the table with papers strewn around the table and floor. The DOORBELL RINGS. Richard wakes up, heavy-headed. Grog- gily he makes his way to the door. A BELLBOY hands him a package.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>What's this?<\/dialogue>\n    <character>BELLBOY<\/character>\n    <dialogue>This is your ... les affaires de toilette.<\/dialogue>\n    <scene_description>Confused, Richard investigates the contents of the bag: a toothbrush, toothpaste, cold cream, cotton balls, etc.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>What time is it?<\/dialogue>\n    <scene_description>The Bellboy looks at his watch.<\/scene_description>\n    <character>BELLBOY<\/character>\n    <dialogue>Ten past ten, sir.<\/dialogue>\n    <scene_description>Richard closes the door and finds his watch back in the bedroom. He sets the correct time, then looks around the room and notices Sondra's coat and handbag.<\/scene_description>\n    <character>19<\/character>\n    <dialogue>Richard, stand and around the lobby, seems increasingly himself to remain calm.<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>looking for his wife, which is quite worried as he searches,<\/dialogue>\n    <character>20<\/character>\n    <dialogue>EXT. SIDEWALK OUTSIDE HOTEL - DAY<\/dialogue>\n    <scene_description> 21 Richard<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.<\/stage_direction>\n    <scene_description>comes through<\/scene_description>\n    <character>FRONT DESK - DAY<\/character>\n    <dialogue>the door, looks left and right.<\/dialogue>\n    <scene_description>Richard walks up to the reception. There are three men behind the desk. Richard taps his key nervously on the counter, waiting for the other guests to be attended.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>I'm looking for my wife.<\/dialogue>\n    <scene_description>The Concierge turns to box 402, pulls out the two passports and checks for messages.<\/scene_description>\n    <character>CONCIERGE<\/character>\n    <dialogue>No messages, sir. Would you like your passports?<\/dialogue>\n    <scene_description>Richard seems to consent, but is obviously concerned by matters other than the passports. The Concierge checks the passports quickly to make sure they are the right ones, then puts them on the counter.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Where's that guy who was here this morning?<\/dialogue>\n    <scene_description>The Concierge looks at his COLLEAGUE questioningly.<\/scene_description>\n    <character>COLLEAGUE<\/character>\n    <dialogue>Gaillard ...<\/dialogue>\n    <character>CONCIERGE<\/character>\n    <dialogue>He stops work at eight. Perhaps I can help you?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Look, I uh ... I uh ... May I speak to the manager?<\/dialogue>\n    <character>22<\/character>\n    <dialogue>INT.<\/dialogue>\n    <scene_description>Seated on a chair in the lobby, Richard waits nervously, scanning the movements around him, arrivals and depar- tures at the front door.<\/scene_description>\n    <character>22<\/character>\n    <dialogue>Dynamically, hotel manager, in a great<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>defensively AUSTIER, hurry.<\/dialogue>\n    <character>AUSTIER<\/character>\n    <dialogue>Monsieur Walker?<\/dialogue>\n    <scene_description>Richard stands up as the manager introduces himself:<\/scene_description>\n    <character>AUSTIER<\/character>\n    <dialogue>Antoine Austier. You wished to see me?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Yeah, uh, I checked in this morning with my wife ...<\/dialogue>\n    <character>AUSTIER<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>And she left the room ...<\/dialogue>\n    <scene_description>'' I<\/scene_description>\n    <character>AUSTIER<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>And, uh ...<\/dialogue>\n    <parenthetical>(laughs nervously)<\/parenthetical>\n    <dialogue>... she didn't come back.<\/dialogue>\n    <character>AUSTIER<\/character>\n    <dialogue>Well, how may I help you?<\/dialogue>\n    <scene_description>A secretary brings Austier two blue slips to sign. Richard's words are stuck in his throat.<\/scene_description>\n    <character>AUSTIER<\/character>\n    <dialogue>Does she know Paris?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Pardon me?<\/dialogue>\n    <character>AUSTIER<\/character>\n    <dialogue>Maybe she is lost.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>No. I mean ... I.,. She couldn't have gone out. She didn't even take her bag ... She would have told me!<\/dialogue>\n    <scene_description>Austier signals to a tall, dapper man on the other side of the lobby.<\/scene_description>\n    <character>22<\/character>\n    <dialogue>At the same time, a BELLBOY approaches. his eyes at the Bellboy, him.<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Austier assuming The Bellboy indicates<\/dialogue>\n    <character>BELLBOY<\/character>\n    <dialogue>Telephone pour monsieur.<\/dialogue>\n    <scene_description>r Austier opens his arms as if everything were solved. r AUSTIER Ah! Richard follows the Bellboy's directions to the house phone.<\/scene_description>\n    <character>23<\/character>\n    <dialogue>Richard on the<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>picks line.<\/dialogue>\n    <character>VOICE (V.O.)<\/character>\n    <dialogue>Dr. Walker?<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(uncertainly)<\/parenthetical>\n    <dialogue>Yes?<\/dialogue>\n    <character>VOICE (V.O.)<\/character>\n    <dialogue>Hello, Doctor. Janet Perelman. Did you have a pleasant trip?<\/dialogue>\n    <scene_description>Richard is tremendously disappointed, but retains a pro- fessional and cool demeanor and voice.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Yes. Thank you.<\/dialogue>\n    <character>VOICE (V.O.)<\/character>\n    <dialogue>Doctor Alembert asked me to call. We have a slight scheduling problem. Aortic Valves seems to be a particularly temperamental group. So we wonder if you'd mind moving up a day, reading your paper tomorrow at five.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>That'd be fine. No problem.<\/dialogue>\n    <character>VOICE (V.O.)<\/character>\n    <dialogue>We'll have to get your slides in the morning.<\/dialogue>\n    <character>23<\/character>\n    <dialogue>RICHARD<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>VOICE (V.O.)<\/character>\n    <dialogue>Oh, and, Dr. Walker? About the lunch at the Eiffel Tower, would you like us to pick you up or can<\/dialogue>\n    <scene_description>r you get there on your own?<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>r I'm afraid we'll have to cancel.<\/dialogue>\n    <character>VOICE (V.O.)<\/character>\n    <dialogue>Oh, what a pity, it sounds like a tourist trap, but it's not. The food is great.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>I'm really sorry.<\/dialogue>\n    <character>VOICE (V.O.)<\/character>\n    <dialogue>Dr. Alembert was hoping to see you and your lovely wife before all the madness starts -- they are open for dinner by the way.<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(distracted)<\/parenthetical>\n    <dialogue>I'll have to check with Mrs. Walker, but uhhh -- I sure hope so ...<\/dialogue>\n    <character>VOICE (V.O.)<\/character>\n    <dialogue>If there is a problem, just call. If not, we'll see you at, say nine o'clock!<\/dialogue>\n    <scene_description>Richard hangs up the phone.<\/scene_description>\n    <character>24<\/character>\n    <dialogue>Austier Richard Richard<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>and the tall, had been sitting come towards<\/dialogue>\n    <character>AUSTIER<\/character>\n    <dialogue>Well?<\/dialogue>\n    <scene_description>Richard shakes his head. Austier's smile disappears.<\/scene_description>\n    <character>AUSTIER<\/character>\n    <dialogue>This is Pascal, our head of security.<\/dialogue>\n    <character>24<\/character>\n    <dialogue>Richard collected,<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>and Pascal a veteran<\/dialogue>\n    <character>PASCAL<\/character>\n    <dialogue>Does your wife know anybody in the hotel?<\/dialogue>\n    <scene_description>r RICHARD Not that I know of. r PASCAL Have you checked with the concierge? He may have seen something.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>He's off duty now. The big guy.<\/dialogue>\n    <character>PASCAL<\/character>\n    <dialogue>Ah! Gaillard. Why don't we try to give him a ring?<\/dialogue>\n    <character>25<\/character>\n    <dialogue>Pascal and Richard the DESK CLERK.<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>arrive<\/dialogue>\n    <character>PASCAL<\/character>\n    <dialogue>Jean Marie, tu m'appelles Gaillard S'il-te-plait? Chez lui ...<\/dialogue>\n    <scene_description>The Desk Clerk opens a book, runs his finger down the list of numbers and begins to dial.<\/scene_description>\n    <character>PASCAL<\/character>\n    <parenthetical>(very officious)<\/parenthetical>\n    <dialogue>Is your wife diabetic or, for instance, does she ...<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Look, I'm the doctor. This is not a medical problem.<\/dialogue>\n    <scene_description>The Desk Clerk gets through. Pacal raises his finger for silence so that he can listen to the conversation.<\/scene_description>\n    <character>DESK CLERK<\/character>\n    <dialogue>Allo, je suis bien chez Monsieur Gaillard?<\/dialogue>\n    <scene_description>Austier joins Pascal and Richard at the desk.<\/scene_description>\n    <character>25<\/character>\n    <dialogue>CONCIERGE (DESK CLERK)<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Je voudrais parler a ton papa ...<\/dialogue>\n    <parenthetical>(to Richard)<\/parenthetical>\n    <dialogue>... He says his father is sleeping.<\/dialogue>\n    <parenthetical>(to phone)<\/parenthetical>\n    <dialogue>Ta maman est la? Non? Reveille ton papa ...<\/dialogue>\n    <parenthetical>(to Richard)<\/parenthetical>\n    <dialogue>He's not supposed to wake him.<\/dialogue>\n    <scene_description>Austier grabs the phone.<\/scene_description>\n    <character>AUSTIER<\/character>\n    <parenthetical>(sternly)<\/parenthetical>\n    <dialogue>Ecoute, reveille ton papa. Dis- lui que c'est Antoine Austier, le directeur du Grand Hotel et que c'est urgent. Austier, tu as compris, man petit bonhomme? Aus ... tier ...<\/dialogue>\n    <scene_description>We hear the BUZZ of the PHONE being hung up. Austier I ' tries to regain his aura of authority.<\/scene_description>\n    <character>AUSTIER<\/character>\n    <dialogue>We'll call back later.<\/dialogue>\n    <character>PASCAL<\/character>\n    <dialogue>You've checked around the hotel?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>I've checked everywhere. The bar, outside ...<\/dialogue>\n    <scene_description>Richard points to the places he looked.<\/scene_description>\n    <character>PASCAL<\/character>\n    <dialogue>How about the ladies' room?<\/dialogue>\n    <scene_description>Richard reacts -- he hadn't thought of that.<\/scene_description>\n    <character>26<\/character>\n    <dialogue>Pascal rest<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>and Richard come down a flight room, where a woman ATTENDANT is<\/dialogue>\n    <character>PASCAL<\/character>\n    <dialogue>Bonjour, Ghislaine. Monsieur cherche sa femme. Vous n'auriez pas vu une americaine par hasard?<\/dialogue>\n    <character>26<\/character>\n    <dialogue>ATTENDANT<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <parenthetical>(shrugging)<\/parenthetical>\n    <dialogue>Ah non. Ya personnel<\/dialogue>\n    <scene_description>Just to make sure, Pascal checks the ladies' stalls. They are all empty.<\/scene_description>\n    <character>27<\/character>\n    <dialogue>INT.<\/dialogue>\n    <scene_description>Pascal, followed by Richard, walks into the adjacent men's room. The doors of all the stalls are open. They are empty too. The two men stand in silence between the urinals and stalls.<\/scene_description>\n    <character>PASCAL<\/character>\n    <dialogue>Clearly, she's not here. But I will check with the maids and room service. She couldn't have just vanished into thin air.<\/dialogue>\n    <character>I<\/character>\n    <dialogue>Pascal laughs at the thought.<\/dialogue>\n    <scene_description>I'<\/scene_description>\n    <character>28<\/character>\n    <dialogue>INT.<\/dialogue>\n    <scene_description>Unable to sit down, Richard paces like a caged animal. He looks out the window, comes back to the bed, where his eyes focus on Sondra's handbag. He hesitates for a moment, then picks it up, opens it and begins uneasily to remove the contents. He pulls out Sondra's birth control pills, and then a photograph. The photo is of the Walker family: Sondra, Richard, Casey and Richie. With the items spread over the bed, we see him on the the phone. He is talking to his daughter, Casey.<\/scene_description>\n    <character>CASEY (V.O.)<\/character>\n    <parenthetical>(sleepily)<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Hi, sweetheart. Wake you up?<\/dialogue>\n    <character>CASEY (V.O.)<\/character>\n    <dialogue>Oh, hi, Dad. What time is it?<\/dialogue>\n    <scene_description>Richard looks at his watch.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Here it's a quarter to twelve. What time is it there?<\/dialogue>\n    <scene_description>Casey is still not quite awake.<\/scene_description>\n    <character>28<\/character>\n    <dialogue>CASEY (V.O.)<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>I don't know, I was sleeping.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>... Uh, tell me something, sweetheart. Someone called for your mother, from here?<\/dialogue>\n    <scene_description>r<\/scene_description>\n    <character>CASEY (V.O.)<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Man or woman?<\/dialogue>\n    <character>CASEY<\/character>\n    <dialogue>Man. Had a funny accent.<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(very calm)<\/parenthetical>\n    <dialogue>What did he want? Do you remember what he said, exactly?<\/dialogue>\n    <character>CASEY (V.O.)<\/character>\n    <dialogue>He wanted to know where Mom was staying.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>You told him?<\/dialogue>\n    <character>CASEY (V.O.)<\/character>\n    <dialogue>Shouldn't I have?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Did you get his name, Case?<\/dialogue>\n    <character>CASEY (V.O.)<\/character>\n    <dialogue>No, but ...<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(annoyed)<\/parenthetical>\n    <dialogue>I've told you a hundred times ...<\/dialogue>\n    <character>CASEY(V.O.)<\/character>\n    <dialogue>I know, but he said he lost the number and that he was an old friend and stuff.<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(calm again)<\/parenthetical>\n    <dialogue>Okay, okay. It's five. Go back to sleep. \\*<\/dialogue>\n    <character>CASEY(V.O.)<\/character>\n    <dialogue>Can I speak to Mom?<\/dialogue>\n    <character>28<\/character>\n    <dialogue>RICHARD<\/dialogue>\n    <character>CONTINUED: ( 2)<\/character>\n    <dialogue>She's out. She's ... she's shopping.<\/dialogue>\n    <character>CASEY (V.O.)<\/character>\n    <dialogue>Wow. Shopping in Paris.<\/dialogue>\n    <scene_description>r RICHARD \u25ba Yeah. Gall you soon, okay? Sweet ' I dreams. I CASEY (V.O.) 'Bye, Dad. I Richard kisses her over the phone, he looks at his watch. hangs up. Anxiously<\/scene_description>\n    <character>29<\/character>\n    <dialogue>He approaches street. directly across from the hotel.<\/dialogue>\n    <character>INT.\/EXT.<\/character>\n    <dialogue>the window and looks out, His gaze settles upon a flower<\/dialogue>\n    <character>30<\/character>\n    <dialogue>Water cascades down the window of the flower shop.<\/dialogue>\n    <character>INT. FLOWERSHOP - DAY<\/character>\n    <dialogue>Richard, now wearing a tie and jacket, enters the shop. A SALESGIRL is busy fashioning a funeral wreath.<\/dialogue>\n    <character>SALESGIRL<\/character>\n    <dialogue>Monsieur?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Do you speak English?<\/dialogue>\n    <character>SALESGIRL<\/character>\n    <dialogue>Non.<\/dialogue>\n    <scene_description>Richard fishes out his wallet and pulls out the family photograph which he shows to the Salesgirl. Richard singles out Sondra in the snapshot. Half with gestures, half with his weak French, Richard attempts to explain what he's searching for.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>I'm looking for this lady.<\/dialogue>\n    <scene_description>The Salesgirl looks at him with uncomprehending eyes. From the back of the shop, the FLORIST appears and comes over to see what is up.<\/scene_description>\n    <character>30<\/character>\n    <dialogue>FLORIST<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Qu'est-ce que c'est, Martine?<\/dialogue>\n    <character>SALESGIRL<\/character>\n    <dialogue>Jene sais pas. Jene comprends pas.<\/dialogue>\n    <scene_description>r The Florist looks at the photo. Richard once again points ' out Sondra.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>My wife.<\/dialogue>\n    <scene_description>I (he shows her his wedding ring) I I Uh. . . mon amie?<\/scene_description>\n    <character>FLORIST<\/character>\n    <dialogue>Vous voulez des fleurs pour<\/dialogue>\n    <scene_description>I ' Madame? (he points out some roses) Des roses? Unable to make himself understood, Richard places the photo back in his wallet, smiles as politely as he can manage, and just walks out of the flower shop.<\/scene_description>\n    <character>31<\/character>\n    <dialogue>Richard makes his way to walk as the florist's.<\/dialogue>\n    <character>EXT. STREET - DAY<\/character>\n    <dialogue>a nearby<\/dialogue>\n    <character>32<\/character>\n    <dialogue>Customers register, Richard<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>are lined the CAFE OWNERreigns approaches<\/dialogue>\n    <character>CAFE OWNER<\/character>\n    <dialogue>Pour Monsieur?<\/dialogue>\n    <scene_description>Taken by surprise, Richard orders.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Expresso.<\/dialogue>\n    <scene_description>The Cafe Owner calls out to a barman.<\/scene_description>\n    <character>CAFE OWNER<\/character>\n    <dialogue>Un express, un.<\/dialogue>\n    <scene_description>Richard gives it another try. He attempts to get the attention of the busy Cafe Owner. CONTINUED:<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Excuse me ... speak English?<\/dialogue>\n    <character>CAFE OWNER<\/character>\n    <dialogue>Ah non.<\/dialogue>\n    <scene_description>Once again, Richard removes the photo from his wallet. He shows it to the Cafe Owner.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>My wife ...<\/dialogue>\n    <scene_description>The Cafe Owner looks at the photo and calls over a WAITER.<\/scene_description>\n    <character>CAFE OWNER<\/character>\n    <dialogue>Jacques! Viens voir un peu ce qu'il veut.<\/dialogue>\n    <scene_description>Near Richard, a WINO is standing in front of a glass of red wine. The Waiter comes over.<\/scene_description>\n    <character>WAITER<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>I'm looking for my wife.<\/dialogue>\n    <parenthetical>(he shows the photo)<\/parenthetical>\n    <dialogue>This one here. I was just wondering if you might have seen her ...<\/dialogue>\n    <scene_description>The Waiter shrugs his shoulders and shakes his head.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>She had on a red dress, no coat.<\/dialogue>\n    <character>CAFE OWNER<\/character>\n    <dialogue>Qu'est-ce qu'il veut?<\/dialogue>\n    <character>WAITER<\/character>\n    <dialogue>Il cherche sa femme.<\/dialogue>\n    <scene_description>The Wino on the side takes a look at the photo.<\/scene_description>\n    <character>CAFE OWNER<\/character>\n    <parenthetical>(shrugging)<\/parenthetical>\n    <dialogue>Ca alors.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Pardon me?<\/dialogue>\n    <character>32<\/character>\n    <dialogue>WAITER<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <parenthetical>(to Richard)<\/parenthetical>\n    <dialogue>A lot of people come here, you know. Sorry.<\/dialogue>\n    <scene_description>The Waiter moves off, back to work. The Wino comes closer r to Richard and begins to speak in broken English.<\/scene_description>\n    <character>WINO<\/character>\n    <dialogue>I Il ya eu de l'embrouille, this<\/dialogue>\n    <scene_description>morning, la-bas ... I\u2022 (he points other to the side of the street) II over there in the passage ... one man put one woman in the car. I I Richard focuses all his attention on the babbling Wino. I I The Cafe Owner tries to shoo the bum off.<\/scene_description>\n    <character>CAFE OWNER<\/character>\n    <dialogue>Tu vas arreter d'emmerder les<\/dialogue>\n    <scene_description>1I clients.<\/scene_description>\n    <character>WINO<\/character>\n    <dialogue>J'l'emmerde pas, j'1ui explique pour sa femme.<\/dialogue>\n    <parenthetical>(to Richard)<\/parenthetical>\n    <dialogue>Coming, coming, coming with me I explain to you.<\/dialogue>\n    <scene_description>Richard pays for his coffee. The Wino signals that Richard should pay for the glass of wine as well.<\/scene_description>\n    <character>33<\/character>\n    <dialogue>Richard street gesticulate.<\/dialogue>\n    <character>EXT. STREET - DAY<\/character>\n    <dialogue>and the to enter<\/dialogue>\n    <character>WINO<\/character>\n    <dialogue>Around here ... Yes it is true. Incredible! Incredible story.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>What exactly did you see?<\/dialogue>\n    <character>WINO<\/character>\n    <dialogue>Exactly. Exactly two friends of mine ont vu la scene. They saw everything.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>They saw what? What did they see?<\/dialogue>\n    <character>WINO<\/character>\n    <dialogue>One man push with brutality the poor woman in the car. She is your wife?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Where are these friends of yours?<\/dialogue>\n    <character>WINO<\/character>\n    <dialogue>Later, they go back later, you know.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>When?<\/dialogue>\n    <scene_description>The Wino begins to cough, a fit that lasts quite some time.<\/scene_description>\n    <character>WINO<\/character>\n    <dialogue>You have a cigarette?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>I don't smoke.. But I want to talk to your ...<\/dialogue>\n    <scene_description>Richard is removing a banknote from his wallet, when his eye is suddenly caught by a shiny object in the gutter. He walks over, bends down and picks it up. It is Sondra's golden name bracelet. Close on the letters: SONDRA.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - DAY<\/stage_direction>\n    <scene_description>CLOSE ON an Underwood TYPEWRITERTAPPING out the letters SONDRA. A DESK COP is filling out a missing person's form. Richard sits in front of him. Next to Richard stands Pascal, facing an INSPECTOR who is playing with the clasp of the name bracelet.<\/scene_description>\n    <character>INSPECTOR<\/character>\n    <dialogue>Il s'affole pas un peu vite votre client?<\/dialogue>\n    <character>PASCAL<\/character>\n    <dialogue>Un peu. Cette histoire de gourmette n'est pas evidente.<\/dialogue>\n    <scene_description>CONTINUED: The Desk Cop removes the sheet from the machine and rolls it back in on the flip side.<\/scene_description>\n    <character>DESK COP<\/character>\n    <parenthetical>(to Richard)<\/parenthetical>\n    <dialogue>Z'yeux?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>PASCAL<\/character>\n    <dialogue>Eyes.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>What about them? Oh. Uh, blue. \\* Grey blue depending on the light.<\/dialogue>\n    <character>\\*<\/character>\n    <dialogue>PASCAL<\/dialogue>\n    <parenthetical>(to Desk Cop)<\/parenthetical>\n    <dialogue>Bleus.<\/dialogue>\n    <character>\\*<\/character>\n    <dialogue>The Desk Cop pecks at the machine as Pascal pulls out a pack of Gauloise cigarettes and offers them around. The Inspector takes one, and Richard and the Desk Cop refuse. Pascal takes one himself then lights the cigarettes.<\/dialogue>\n    <character>DESK COP<\/character>\n    <parenthetical>(to Richard)<\/parenthetical>\n    <dialogue>Visage?<\/dialogue>\n    <scene_description>Richard looks at Pascal questioningly.<\/scene_description>\n    <character>PASCAL<\/character>\n    <dialogue>Face?<\/dialogue>\n    <scene_description>Richard still doesn't get it.<\/scene_description>\n    <character>PASCAL<\/character>\n    <dialogue>The shape.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Uh ... it's ... a normal face. Thin, kind of long ... round.<\/dialogue>\n    <character>PASCAL<\/character>\n    <parenthetical>(to Desk Cop)<\/parenthetical>\n    <dialogue>Ovale.<\/dialogue>\n    <scene_description>The Desk Cop taps out the information. The Inspector places the name bracelet in front of Richard. CONTINUED: ( 2)<\/scene_description>\n    <character>INSPECTOR<\/character>\n    <parenthetical>(to Pascal)<\/parenthetical>\n    <dialogue>Elle a peut-etre eu un coup de foudre pour autre chose que la Tour Eiffel.<\/dialogue>\n    <scene_description>Pascal chuckles.<\/scene_description>\n    <character>PASCAL<\/character>\n    <dialogue>Ah, Paris ...<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>City of Lights.<\/dialogue>\n    <scene_description>The ironic, allusive, casual tone of the men irritates Richard, even though he cannot understand.<\/scene_description>\n    <character>RICHARD<\/character>\n    <parenthetical>(to Pascal)<\/parenthetical>\n    <dialogue>Excuse me ... I expect to be taken seriously.<\/dialogue>\n    <scene_description>The Inspector answers in near perfect English.<\/scene_description>\n    <character>INSPECTOR<\/character>\n    <dialogue>You are being taken perfectly seriously here, sir. As a matter of fact you have a special treatment. Usually this form we fill out after a week or so. Usually we just take a deposition.<\/dialogue>\n    <scene_description>The Inspector removes a large book from a metal shelf and bangs it down on the counter, opening it to show the pages filled with handwriting.<\/scene_description>\n    <character>INSPECTOR<\/character>\n    <dialogue>Voila! La main courante. This is the procedure.<\/dialogue>\n    <scene_description>As the Inspector makes his point, the Desk Cop, nodding his head, pulls the \u00b7form out of the typewriter.<\/scene_description>\n    <character>DESK COP<\/character>\n    <dialogue>Photo?<\/dialogue>\n    <scene_description>Richard hands him the family photo. Quickly, emotion- lessly, the Desk Cop cuts Sondra's head out of the snap- shot and staples it with a bang to the form. He hands the photo with the square cut out back to Richard. \\*:<\/scene_description>\n    <character>35<\/character>\n    <dialogue>Richard<\/dialogue>\n    <character>EXT. STREET\/HOTEL - DAY<\/character>\n    <dialogue>and Pascal<\/dialogue>\n    <character>PASCAL<\/character>\n    <dialogue>The thing is, you see, that even if they find Mrs. Walker, they cannot disclose her whereabouts without her consent. Unless you get the Attorney of the Republic to make a formal request. Then perhaps ...<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>What are you talking about? Why wouldn't she want me to know where she is?<\/dialogue>\n    <character>PASCAL<\/character>\n    <dialogue>You and your wife have been to Paris before?<\/dialogue>\n    <scene_description>I I On our honeymoon.<\/scene_description>\n    <character>PASCAL<\/character>\n    <dialogue>Is it possible she met someone then?<\/dialogue>\n    <scene_description>Richard looks at him questioningly.<\/scene_description>\n    <character>PASCAL<\/character>\n    <dialogue>Someone she has been thinking about?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Since June 15, 1972?<\/dialogue>\n    <character>PASCAL<\/character>\n    <dialogue>Please. Don't take offense. I am an ex-cop. In my business we have seen this type of thing before.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Have you?<\/dialogue>\n    <character>PASCAL<\/character>\n    <dialogue>Oh yes. I once knew a charming couple -- but the wife she walked in her sleep completely naked up and down the halls.<\/dialogue>\n    <scene_description>Richard stops walking. CONTINUED:<\/scene_description>\n    <character>PASCAL \\*<\/character>\n    <dialogue>The husband never knew whose room she would be in when she woke up. \\* The husband, what could he do? He forgave her. She was walking in her sleep after all.<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(icily)<\/parenthetical>\n    <dialogue>Can we call the concierge again? See if he's up?<\/dialogue>\n    <character>36<\/character>\n    <dialogue>Pascal stands<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>is on the nearby.<\/dialogue>\n    <character>PASCAL<\/character>\n    <dialogue>Ah, oui, bon.<\/dialogue>\n    <parenthetical>(to Richard)<\/parenthetical>\n    <dialogue>It's his wife, Gaillard has gone out.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Well, where?<\/dialogue>\n    <character>PASCAL<\/character>\n    <dialogue>Ou est-ce qu'il est alle? ... Gym Tonic?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Gin and tonic?<\/dialogue>\n    <scene_description>I \u2022<\/scene_description>\n    <character>PASCAL<\/character>\n    <parenthetical>(to Richard)<\/parenthetical>\n    <dialogue>Gym Tonic, a gymnasium.<\/dialogue>\n    <scene_description>'I (to phone) Merci, madame. Pascal hangs up the phone.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Did you get a number?<\/dialogue>\n    <scene_description>Pascal tries to disguise his ineptness by reaching around very professionally to pull out a phone book. He opens it but has some trouble finding the number. Pascal dials the number.<\/scene_description>\n    <character>PASCAL<\/character>\n    <parenthetical>(to phone)<\/parenthetical>\n    <dialogue>Bonjour. Je voudrais parler a Monsieur Gaillard ... Oui, un client ... Ah.<\/dialogue>\n    <parenthetical>(to Richard)<\/parenthetical>\n    <dialogue>They don't take calls for customers.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Tell them it's an emergency.<\/dialogue>\n    <character>PASCAL<\/character>\n    <parenthetical>(to phone)<\/parenthetical>\n    <dialogue>Allo? C'est tres ...<\/dialogue>\n    <parenthetical>(to Richard)<\/parenthetical>\n    <dialogue>... They hung up.<\/dialogue>\n    <character>36<\/character>\n    <dialogue>Richard Pascal starts the page out of the telephone towards<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>stares looking book and begins the door.<\/dialogue>\n    <character>37<\/character>\n    <dialogue>EXT. HEALTH CLUB - DAY<\/dialogue>\n    <scene_description>A sign over the building reads \"Gym Tonic.\" As Richard gets out of a cab. He enters the building.<\/scene_description>\n    <character>37A<\/character>\n    <dialogue>INT.<\/dialogue>\n    <scene_description>In the weight room, men of all sizes are pedaling, stretching, pumping iron. Straining. A sweat-suited attendant leads Richard over to the bench press, where a muscular man is lifting a heavy barbell at a regular rhythm. The attendant says a few words to the man. He stands up from the bench press. It is Gaillard, the night concierge. The sweat runs down his face. Richard advances to speak to him. Gaillard is a bit confused, I ' but pleasant nonetheless. He cannot quite place the face in these unusual surroundings. He tries to summon the right name.<\/scene_description>\n    <character>GAILLARD<\/character>\n    <dialogue>Monsieur ... Monsieur ...<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Doctor Walker.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>That's right.<\/dialogue>\n    <scene_description>Gaillard, a bit embarrassed, wipes his forehead with a towel. He smiles politely.<\/scene_description>\n    <character>GAILLARD<\/character>\n    <dialogue>Is there something I can do for you, sir?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>My wife, do you remember her?<\/dialogue>\n    <character>GAILLARD<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>She left the hotel this morning. I think it was while you were still on duty.<\/dialogue>\n    <scene_description>37A CONTINUED: 37A<\/scene_description>\n    <character>GAILLARD<\/character>\n    <dialogue>That's right. I saw her.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>You saw her? Did you speak to her?<\/dialogue>\n    <character>GAILLARD<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>An expression of hope and relief spreads over Richard's face.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>What did she say?<\/dialogue>\n    <character>GAILLARD<\/character>\n    <dialogue>She asked me to send up some toilet articles, and then she left with the man who had called her.<\/dialogue>\n    <scene_description>Richard's face becomes somber.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>I'm not sure I understand.<\/dialogue>\n    <character>GAILLARD<\/character>\n    <dialogue>Well, a man asked me if Mrs. Walker was staying at the hotel. I said she was, and so he called your room. Then a few minutes later your wife came down. She asked me to get her some toothpaste, a toothbrush, some ... uh ... what do you call ... for taking makeup off your face?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Cotton balls?<\/dialogue>\n    <character>GAILLARD<\/character>\n    <dialogue>Cotton balls. And then they left together.<\/dialogue>\n    <scene_description>Richard is obviously stunned by this revelation.<\/scene_description>\n    <character>GAILLARD<\/character>\n    <dialogue>Is there some problem?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Did she know the man? Were they ... talking? Did you notice anything?<\/dialogue>\n    <scene_description>37A CONTINUED: ( 2) 37A<\/scene_description>\n    <character>GAILLARD<\/character>\n    <dialogue>I noticed she had wet hair, which is a bit strange.<\/dialogue>\n    <scene_description>Richard thinks this information over for a while.<\/scene_description>\n    <character>GAILLARD<\/character>\n    <dialogue>I didn't really hear what they were saying. But. . . he had his arm around her.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>What?! Around her waist?<\/dialogue>\n    <character>GAILLARD<\/character>\n    <dialogue>No. Around her shoulder.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>What did he look like?<\/dialogue>\n    <character>GAILLARD<\/character>\n    <dialogue>Tall, mustache, well-dressed. Dark skin. He had an accent.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>An accent?<\/dialogue>\n    <character>GAILLARD<\/character>\n    <dialogue>Not an American, if you know what I mean.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>No. I don't.<\/dialogue>\n    <character>GAILLARD<\/character>\n    <dialogue>More like ... Middle East.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Thank you, Mr. Gaillard. Thank you very much.<\/dialogue>\n    <scene_description>Lost in thought, Richard mechanically reaches into his pockets and pulls out a wallet. He holds a bill out to Gaillard. Gaillard turns the tip down with a discreet gesture.<\/scene_description>\n    <character>GAILLARD<\/character>\n    <dialogue>Dr. Walker.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET OUTSIDE AMERICAN EMBASSY - COURTYARD- DAY<\/stage_direction>\n    <scene_description>There is a long line of people outside the consular office of the US Embassy on Rue St. Florentin. CONTINUED: On either side of the gate, in armored Plexiglas guard booths, are two French policemen holding machine guns and wearing bulletproof vests. Just inside the entrance of the courtyard stands a table on which three plainclothes embassy EMPLOYEES with walkie-talkies and hand-held metal detectors, search bags and check passports. Richard is arguing with one of the plainclothesmen at the gate.<\/scene_description>\n    <character>EMPLOYEE<\/character>\n    <dialogue>You have to wait your turn.<\/dialogue>\n    <scene_description>Richard clenches his teeth.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>This is an emergency, you understand?<\/dialogue>\n    <character>EMPLOYEE<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>You understand but you don't give a damn, is that it?<\/dialogue>\n    <character>EMPLOYEE<\/character>\n    <dialogue>I'm sorry, sir. We have a lot of emergencies. You have to wait like everyone else.<\/dialogue>\n    <scene_description>Richard can hardly control his anger.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Has everyone else had his wife kidnapped?<\/dialogue>\n    <character>EMPLOYEE<\/character>\n    <dialogue>I don't know, sir.<\/dialogue>\n    <scene_description>Richard looks at the man as though he wants to kill him, but the Employee withstands the withering gaze, unim- pressed. Richard turns and gets at the end of the long line.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EMBASSY HALLWAY- DAY<\/stage_direction>\n    <scene_description>Richard slips his passport through a slot in a window: the glassed-in cubicle for the embassy's MARINE guard.<\/scene_description>\n    <character>39 CONTINUED: 39<\/character>\n    <dialogue>The Marine, rigid, impressive in his uniform, talks to other guards in the office, then picks up the passport very slowly and disinterestedly. He opens it and looks at the picture, looks at Richard, looks at the picture again, leafs through a computer printout at the side of the window, then speaks again to the other guards. He looks at the passport again.<\/dialogue>\n    <character>MARINE<\/character>\n    <dialogue>Where you from, sir?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>San Fran ... Don't they teach you guys to read?<\/dialogue>\n    <scene_description>Seeing Richard's state, the Marine lets it go.<\/scene_description>\n    <character>MARINE<\/character>\n    <dialogue>Why don't you step through the metal detector there.<\/dialogue>\n    <scene_description>He puts the passport back in the slot under the window. Richard takes it and begins to put it in his pocket, when a plainclothes SECURITY MAN stops him.<\/scene_description>\n    <character>,SECURITY MAN<\/character>\n    <dialogue>Here. I'll take that.<\/dialogue>\n    <scene_description>He takes the passport and motions Richard to step through the metal detector. There is a loud BUZZING as the ALARM goes off. Richard comes back through the detector, setting the ALARM off again.<\/scene_description>\n    <character>SECURITY MAN<\/character>\n    <dialogue>Remove all metal objects from your pockets.<\/dialogue>\n    <scene_description>Sheepishly, Richard removes the hotel key from his pocket and puts it down on the desk. The Security Man motions him back through the detector. This time the buzzer does not go off. The Security Man clips a \"VISITOR\" pass to Richard's jacket, and, as the Marine watches, motions him through the door into the American Services office.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE OF AMERICAN OFFICER - DAY<\/stage_direction>\n    <scene_description>Richard, the badge pinned to his lapel, sits across from WILLIAMS, the American officer, who has a form in front of him and a pen in his hand. He wears glasses and an Abe Lincoln beard. CONTINUED:<\/scene_description>\n    <character>WILLIAMS<\/character>\n    <dialogue>Eyes?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Blue -- both of them. \\*<\/dialogue>\n    <character>WILLIAMS<\/character>\n    <dialogue>I'll put down blue. Face?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Oval.<\/dialogue>\n    <parenthetical>(increasingly agitated)<\/parenthetical>\n    <dialogue>Look ...<\/dialogue>\n    <character>WILLIAMS<\/character>\n    <dialogue>I know. I know this must seem like annoying bureaucracy, but, really, we have to get one of these<\/dialogue>\n    <parenthetical>(he holds up the form)<\/parenthetical>\n    <dialogue>-- to the prefecture de police when we're dealing with a missing person.<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(seething)<\/parenthetical>\n    <dialogue>Mr. Williams, I've been to the police. I've filled out this damn form. And it's not a missing person. It's a kidnapping!<\/dialogue>\n    <character>WILLIAMS<\/character>\n    <dialogue>Don't you think it's a bit premature to be so ... positive?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>No. No, I don't think. I have witnesses! My wife was kidnapped! Do you understand what I'm saying to you?!<\/dialogue>\n    <character>WILLIAMS<\/character>\n    <parenthetical>(very calm)<\/parenthetical>\n    <dialogue>Yes, yes, of course. But what would you like us to do, exactly?<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(astonished)<\/parenthetical>\n    <dialogue>I want you to find my wife!<\/dialogue>\n    <scene_description>CONTINUED: ( 2) After a long pause, Williams speaks softly and soothingly.<\/scene_description>\n    <character>WILLIAMS<\/character>\n    <dialogue>You understand, Dr. Walker, that ours is basically a liaison function. We can assist you in communicating with the French police, we can put a little pressure on the Ministry of Interior ... But it's their country. It's their jurisdiction. We can't just ... send out a posse after her.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>What is your job here?<\/dialogue>\n    <character>WILLIAMS<\/character>\n    <dialogue>I'm the head of American Services. Visa applications, registering births, any general prob ...<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Do you have anyone who might be able to help me?<\/dialogue>\n    <scene_description>After a pause.<\/scene_description>\n    <character>WILLIAMS<\/character>\n    <dialogue>Why don't we have a word with our security officer.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE OF SECURITY OFFICER - DAY<\/stage_direction>\n    <scene_description>Seated at his desk, SHAAP, the security officer, fiddles with the clasp of Sondra's bracelet much in the way the French Inspector did at the police station. Richard sits across from him, with Williams standing, leaning over, hands on the desk.<\/scene_description>\n    <character>SHAAP<\/character>\n    <dialogue>Are you rich?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Rich? No. I'm well off. I'm a surgeon.<\/dialogue>\n    <character>SHAAP<\/character>\n    <dialogue>Are you involved in politics?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Not at all.<\/dialogue>\n    <character>SHAAP<\/character>\n    <dialogue>How about your wife?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>The same. We don't even vote anymore.<\/dialogue>\n    <character>SHAAP<\/character>\n    <dialogue>Doesn't seem to be much to go on to support your kidnapping theory.<\/dialogue>\n    <parenthetical>(showing bracelet)<\/parenthetical>\n    <dialogue>This is your only evidence. She could have just lost it.<\/dialogue>\n    <scene_description>Shaap begins to fiddle once again with the clasp of the bracelet.<\/scene_description>\n    <character>SHAAP<\/character>\n    <dialogue>A bit flimsy. Doesn't close very well.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>It used to.<\/dialogue>\n    <character>SHAAP<\/character>\n    <dialogue>You were in the shower when this person called your wife, is that right?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Shaap puts the bracelet around his wrist and fastens the clasp.<\/scene_description>\n    <character>SHAAP<\/character>\n    <dialogue>So you didn't actually hear any of their conversation?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>No, nothing. He called and ... ... and my wife left right away to meet him.<\/dialogue>\n    <scene_description>Shaap looks sharply at Richard and says softly:<\/scene_description>\n    <character>SHAAP<\/character>\n    <dialogue>Meet him.<\/dialogue>\n    <character>41 CONTINUED: (2) 41<\/character>\n    <dialogue>RICHARD<\/dialogue>\n    <scene_description>Yeah ... And then they left the hotel together. He had his arm around her.<\/scene_description>\n    <character>SHAAP<\/character>\n    <dialogue>Dr. Walker ...<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>He had his arm around her! Do you know what that means to me?<\/dialogue>\n    <scene_description>Richard jumps up, wraps one arm around Williams' shoulder, none too gently, and sticks his other arm inside his jacket, Napoleon-style.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Here. It means he could have had a gun, right here, pointing at her.<\/dialogue>\n    <parenthetical>(to Williams, force- fully, jabbing his hand against Williams' side)<\/parenthetical>\n    <dialogue>Smile! Walk! Let's go! Out of the lobby!<\/dialogue>\n    <scene_description>Richard doesn't let go of Williams, but he turns to Shaap, expectantly.<\/scene_description>\n    <character>SHAAP<\/character>\n    <dialogue>Yes. It could mean that. Or they could have just been having a good time.<\/dialogue>\n    <scene_description>Richard gets very still. A thin smile.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Look, Mr. Shaap. We've talking about my wife; you may be thinking about yours.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY - EVENING<\/stage_direction>\n    <scene_description>Richard stands in the alley, still, toying with Sondra's name bracelet. He is at the spot where he found it, and he is clearly looking for someone.<\/scene_description>\n    <character>WINO (O.S.)<\/character>\n    <dialogue>Hello! Hello!<\/dialogue>\n    <scene_description>CONTINUED: Richard sees the Wino he had met earlier coming from be- tween two parked cars.<\/scene_description>\n    <character>WINO<\/character>\n    <dialogue>Coming, coming. Welcome!<\/dialogue>\n    <scene_description>He leads Richard to the sidewalk. There, in a small recess, sit two other bums surrounded by their worldly possessions: bags, wine bottles and cardboard boxes.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Are those the ones who saw my wife?<\/dialogue>\n    <character>WINO<\/character>\n    <dialogue>Absolutely!<\/dialogue>\n    <parenthetical>(to the two bums)<\/parenthetical>\n    <dialogue>C'est lui. C'est l'amerlock qui cherche sa bonne femme.<\/dialogue>\n    <parenthetical>(to Richard)<\/parenthetical>\n    <dialogue>I forgot your name, sir.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Walker.<\/dialogue>\n    <character>WINO<\/character>\n    <dialogue>Walker. This is my friends, Milo and Tinou ... Pas vrai les gars que vous avez vu embarquer madame?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Quais m'sieur.<\/dialogue>\n    <character>TINOU<\/character>\n    <dialogue>On a tout vu.<\/dialogue>\n    <scene_description>Milo and Tinou attempt to replay the scene for Richard. They are very excited, each one trying to outdo the other's account.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Un grand mec arrive d'la-bas, du coin d'la rue avec une nana.<\/dialogue>\n    <character>TINOU<\/character>\n    <dialogue>D'un coup, 'shlak!' Dans une bagnole, une Mercedes.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>A Mercedes? She got into a Mercedes?<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>B.M.W. que je te dis, merde alors!<\/dialogue>\n    <character>TINOU<\/character>\n    <dialogue>Y'avait un autre type qui attendait au volant, c'etait p'etre bien une B.M.W.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Et y z'ont demarre a toute blinde.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>What are they saying, goddammit?<\/dialogue>\n    <character>WINO<\/character>\n    <parenthetical>(to bums)<\/parenthetical>\n    <dialogue>Attendez les mecs! J'traduis.<\/dialogue>\n    <parenthetical>(to Richard)<\/parenthetical>\n    <dialogue>My friends saw everything ... the big man coming with the woman, from the corner. Suddenly he pushed with brutality the woman in the car, a B.M.W. with a driver au volant.<\/dialogue>\n    <parenthetical>(he mimes a steering wheel)<\/parenthetical>\n    <dialogue>After he left very quickly ...<\/dialogue>\n    <character>WINO<\/character>\n    <parenthetical>(to bums)<\/parenthetical>\n    <dialogue>Apres les gars?<\/dialogue>\n    <scene_description>Increasingly excited, Milo and Tinou continue the tale.<\/scene_description>\n    <character>TINOU<\/character>\n    <dialogue>Y z'ont embouti la bagnole du fleuriste!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Venez voir ... venez voir.<\/dialogue>\n    <scene_description>The group heads over to a van with a florist's logo and advertising painted on it. It's an old van with plenty of bumps and scratches, but the bums immediately show Richard a blue scratch on the rear side panel. Richard looks at the scratch, and then at the bums' miming of an accident, without understanding the significance. The three bums all talk at the same time, while examining the damage.<\/scene_description>\n    <character>WINO<\/character>\n    <dialogue>Les encules!<\/dialogue>\n    <character>42 CONTINUED: ( 3) 42<\/character>\n    <dialogue>TINOU<\/dialogue>\n    <scene_description>On a releve leur numero.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Faut pas nous prendre pour des cons!<\/dialogue>\n    <character>TINOU<\/character>\n    <dialogue>Dis ya l'amerlock, dis y!<\/dialogue>\n    <character>WINO<\/character>\n    <dialogue>My very good friends take the number of the car.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>They got the license number?<\/dialogue>\n    <character>WINO<\/character>\n    <dialogue>Yes, Walker, yes!<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(sigh of relief)<\/parenthetical>\n    <dialogue>Thank you, thank you. What's the number?<\/dialogue>\n    <scene_description>He removes some bills from his wallet.<\/scene_description>\n    <character>WINO<\/character>\n    <dialogue>Donnez le numero de la bagnole! Vite, vite ...<\/dialogue>\n    <character>TINOU<\/character>\n    <dialogue>On l'a refile au fleuriste.<\/dialogue>\n    <scene_description>The three bums look horribly disappointed, even more so because of the bills in Richard's hand.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <character>WINO<\/character>\n    <dialogue>He give the number to the flower man, and now he forget.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Come, come with me.<\/dialogue>\n    <scene_description>The four men walk to the flower shop.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLOWERSHOP - EVENING<\/stage_direction>\n    <scene_description>The funeral wreath is now completed, with a purple sash and golden letters that say: \"A NOTRE TANTE REGRETTEE.\" CONTINUED: At the counter, the Florist is doing the books with a calculator. Richard enters the shop with the Wino. Milo and Tinou stay outside on the sidewalk, their noses glued to the shop window.<\/scene_description>\n    <character>FLORIST<\/character>\n    <dialogue>Qu'est-ce que c'est?<\/dialogue>\n    <character>WINO<\/character>\n    <dialogue>Excusez-moi de vous deranger, c'est apropos du numero mineralogique que ces messieurs ont releve d'une B.M.W. qui a embouti votre camionnette, la-bas. Pouvez-vous me le communiquer? C'est tres important.<\/dialogue>\n    <character>FLORIST<\/character>\n    <dialogue>J'ai rien compris.<\/dialogue>\n    <character>WINO<\/character>\n    <dialogue>Monsieur Walker qui recherche sa femme demande si vous avez le numero de la bagnole.<\/dialogue>\n    <character>FLORIST<\/character>\n    <dialogue>(to Wino)\u00b7<\/dialogue>\n    <scene_description>Qu'est-ce que c'est que cette histoire? Je l'ai foutu aux ordures leur bout de papier. He indicates two large garbage bins in the corner, over- flowing with leaves and dead flowers and paper and ribbons.<\/scene_description>\n    <character>FLORIST<\/character>\n    <parenthetical>(to Richard)<\/parenthetical>\n    <dialogue>Ils racontent n'importe quoi pour avoir deux cent francs.<\/dialogue>\n    <character>WINO<\/character>\n    <parenthetical>(to Richard)<\/parenthetical>\n    <dialogue>This man is stupid! He destroyed the paper with the number of the car with your poor wife inside.<\/dialogue>\n    <scene_description>The Wino goes to the garbage and begins sifting through it ... an impossible and ridiculous task.<\/scene_description>\n    <character>FLORIST<\/character>\n    <parenthetical>(to Richard)<\/parenthetical>\n    <dialogue>11 n'y a plus de papier.<\/dialogue>\n    <scene_description>CONTINUED: (2) He mimes tearing up and throwing out a piece of paper.<\/scene_description>\n    <character>FLORIST<\/character>\n    <dialogue>Fini, jete, parti ... compris?<\/dialogue>\n    <scene_description>He goes to the Wino, grabs him by the collar.<\/scene_description>\n    <character>FLORIST<\/character>\n    <parenthetical>(to Wino)<\/parenthetical>\n    <dialogue>Allez, fichez-moi la paix.<\/dialogue>\n    <scene_description>The Florist starts to walk away. Richard grabs him by the lapels, more desperate than angry.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>I need it! I've got to find it!<\/dialogue>\n    <character>FLORIST<\/character>\n    <dialogue>Merde! Je vais appeler la police!<\/dialogue>\n    <scene_description>Realizing it's useless, Richard relaxes his grip and walks out of the shop as the Florist shrugs, disgusted.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - EVENING<\/stage_direction>\n    <scene_description>In front of the flower shop, Richard comes out to join the three bums.<\/scene_description>\n    <character>WINO<\/character>\n    <dialogue>C'est un gars con!<\/dialogue>\n    <parenthetical>(to Richard)<\/parenthetical>\n    <dialogue>He says we come always for money.<\/dialogue>\n    <scene_description>Richard turns to the other two bums.<\/scene_description>\n    <character>RICHARD<\/character>\n    <parenthetical>(almost praying)<\/parenthetical>\n    <dialogue>Can you remember the number?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Qu'est-ce qu'il &lt;lit?<\/dialogue>\n    <character>WINO<\/character>\n    <dialogue>11 &lt;lit de vous creuser le cigare, d'trouver le numero.<\/dialogue>\n    <character>MILO<\/character>\n    <parenthetical>(to Richard)<\/parenthetical>\n    <dialogue>Bay-em-double-vay.<\/dialogue>\n    <character>WINO<\/character>\n    <parenthetical>(to Richard)<\/parenthetical>\n    <scene_description>B.M.W.: CONTINUED:<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>I know that.<\/dialogue>\n    <character>TINOU<\/character>\n    <dialogue>Elle etait bleue.<\/dialogue>\n    <character>WINO<\/character>\n    <dialogue>She was blue.<\/dialogue>\n    <character>TINOU<\/character>\n    <dialogue>Tiens! Tu te souviens! Y avait P.D. sur la plaque ... Quais, P ...<\/dialogue>\n    <character>D ...<\/character>\n    <dialogue>He begins to imitate a homosexual, twisting and turning. Milo, not wanting to be left out, begins also to gesticulate.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Moi aussi, moi aussi ca me revient: P.D.<\/dialogue>\n    <character>TINOU<\/character>\n    <dialogue>P. D. . . compris?<\/dialogue>\n    <character>,WINO<\/character>\n    <dialogue>He remembers two letter~ of the plaque mineralogique: P and D ... nothing more. P.D. in French is homosexual, you know.<\/dialogue>\n    <scene_description>Richard gives a bill to each of the three bums.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRONT DESK - NIGHT<\/stage_direction>\n    <scene_description>Richard, drained and despairing, comes up to the desk.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>402. Any messages?<\/dialogue>\n    <scene_description>The Concierge turns around and pulls a slip of paper out of box 402. Richard is delighted until he unfolds the \"message,\" a lost-luggage form from TWA with a number of graphic representations of the various types of suit- cases used by modern travelers.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>What's this?<\/dialogue>\n    <character>CONCIERGE<\/character>\n    <dialogue>T.W.A. came by to fetch some suitcase.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Oh, Christ! That suitcase.<\/dialogue>\n    <character>CONCIERGE<\/character>\n    <dialogue>He asked if you could leave it in the luggage room.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Can I have my key?<\/dialogue>\n    <character>CONCIERGE<\/character>\n    <dialogue>Your key isn't here, Mr. Walker.<\/dialogue>\n    <scene_description>Richard's face lights up as he turns and makes three elated steps towards the elevator before stopping dead. He remembers that he has the key in his pocket. He removes it, slightly embarrassed.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>I'm a bit out of it. Jet lag.<\/dialogue>\n    <scene_description>Richard walks off to the elevator.<\/scene_description>\n    <character>CONCIERGE<\/character>\n    <dialogue>Mr. Walker? I'll send the bellboy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUITE - NIGHT<\/stage_direction>\n    <scene_description>Glasses on, pen in hand, Richard fills out the TWA form. He flips to the back of the form, which resembles an intelligence test and ponders over it. Finally, he circles the drawing which most resembles his misplaced Samsonite bag. He stops, looking back at the suitcase in the room. A sudden realization brings him to his feet. As though he were drawn to it, he approaches the suitcase, and places it on the bed. He runs his hands over the case, then quickly heads to the minibar and grabs the can opener. Madly he pries at the locks until the suitcase breaks open. Looking for any kind of lead, Richard rummages through the contents. Not sure what he's looking for or even how to look for it, he shakes things, looks inside whatever he can look inside, tries to feel their weight, etc. The Samsonite contains women's clothing, lingerie, an issue of Elle, a transis- tor radio, a small Statue of Liberty, a carton of Philip Morris cigarettes and a toilet kit. Richard opens the kit with distaste. Inside he finds a toothbrush, soap, jars of cream, mascara, toothpaste, a set of keys on a key ring with a plastic blue parrot, lipstick, a comb, a brush full of long blonde hair, and a matchbook with the logo of a disco club: \"Blue Parrot.\" Inside the matchbook, in eyebrow pencil, is written the name Dede and under that a phone number: 47 00 80 78.<\/scene_description>\n    <character>46 CONTINUED: 46<\/character>\n    <dialogue>The DOORBELL RINGS.<\/dialogue>\n    <dialogue>Richard jumps. Unconsciously he slips the matchbook into his pocket and heads towards the door. It is the BELLBOY.<\/dialogue>\n    <character>BELLBOY<\/character>\n    <dialogue>I've come for the suitcase, sir.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Right. Uh ... hold on.<\/dialogue>\n    <scene_description>Richard closes the door just enough to let the Bellboy know that he should not enter, then hurriedly stuffs the contents of the suitcase back inside. He closes the suitcase as well as he can, picks up the form and hands both to the Bellboy. Richard dials the number on the matchbook. On the other end of the line is an answering machine.<\/scene_description>\n    <character>VOICE (V. 0. )<\/character>\n    <dialogue>Vous etes chez Dede Martin. Laissez votre numero apres le signal sonore.<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(to phone)<\/parenthetical>\n    <dialogue>Uh, yes, uh, please call Doctor Richard Walker, um, the Grand Hotel.<\/dialogue>\n    <parenthetical>(leaning down to read the number, hesitantly)<\/parenthetical>\n    <dialogue>Quatre, trois, quatre, deux, six, zero, six, zero. Je parle pas francais ... It's important.<\/dialogue>\n    <scene_description>He hangs up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUITE - NIGHT<\/stage_direction>\n    <scene_description>Richard paces. He turns the TV ON: it's a rerun of \"Dallas.\" J.R. speaks French. Richard paces some more. He goes to the minibar, pulls out a Pepsi.<\/scene_description>\n    <character>J.R. (V.O.)<\/character>\n    <parenthetical>(on TV)<\/parenthetical>\n    <dialogue>It'll be a cold day in hell before I let that woman in my house.<\/dialogue>\n    <scene_description>Richard switches the TV OFF. The PHONE RINGS and he leaps for it.<\/scene_description>\n    <character>47 CONTINUED: 47<\/character>\n    <dialogue>RICHARD<\/dialogue>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Hello!<\/dialogue>\n    <character>MAN (V.O.)<\/character>\n    <dialogue>Richard Walker?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <character>MAN (V.O.)<\/character>\n    <dialogue>Maurice Alembert. How are you, my friend?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Oh, God! I'm sorry!<\/dialogue>\n    <character>ALEMBERT(MAN) (V.O.)<\/character>\n    <dialogue>We're waiting to order.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>I'm really sorry, Monsieur Alembert. I should have called. My wife ... uh ... last minute complications.<\/dialogue>\n    <character>ALEMBERT(V. 0.)<\/character>\n    <dialogue>Is something wrong?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>No, nothing to worry about. We just won't be able to make it. I'll explain tomorrow.<\/dialogue>\n    <character>ALEMBERT(V.O.)<\/character>\n    <dialogue>Well, you're missing a nice meal and a beautiful view of Paris.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>I know. Good night.<\/dialogue>\n    <scene_description>Richard hangs up, then sticks his hand in his pocket and pulls out the matchbook from the \"Blue Parrot.\" He fingers it, stares at the matchbook pensively.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET OUTSIDE \"BLUE PARROT\" DISCO CLUB - NIGHT<\/stage_direction>\n    <scene_description>The neon sign, \"Blue Parrot\" blinks at the entrance of the club. Richard gets out of a taxi and steps in through the front door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DISCO CLUB - NIGHT<\/stage_direction>\n    <scene_description>The \"Blue Parrot\" is full of young customers: punks, blacks and transvestites who mix in the MUSIC, smoke and shadows of the discotheque. Above it there is a bar and restaurant, equally crowded, but a bit less noisy, and well enough lit so that people can see what they're eating. Richard comes up to the bar.<\/scene_description>\n    <character>BARMAN<\/character>\n    <dialogue>Vous prenez?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Beer.<\/dialogue>\n    <character>BARMAN<\/character>\n    <dialogue>Tuborg ou Heineken?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Yes. \\*<\/dialogue>\n    <scene_description>The Barman puts a glass and a bottle of Heineken on the counter.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Tell me something. You know someone here named Dede?<\/dialogue>\n    <scene_description>The Barman shrugs and moves on to the next customer. Next to Richard there is a RASTA who overheard Richard's question.<\/scene_description>\n    <character>RASTA<\/character>\n    <dialogue>You looking for Dede, man?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Yeah, do you know him?<\/dialogue>\n    <character>RASTA<\/character>\n    <dialogue>You don't look like you know him.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>How am I supposed to look?<\/dialogue>\n    <character>RASTA<\/character>\n    <dialogue>Desperate, man.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Oh yeah. Well, I'm desperate.<\/dialogue>\n    <scene_description>The Rasta laughs.<\/scene_description>\n    <character>RASTA<\/character>\n    <dialogue>Where you from, man? New York?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>San Francisco.<\/dialogue>\n    <character>RASTA<\/character>\n    <dialogue>Much better. North Beach, much better. Many places to dance.<\/dialogue>\n    <parenthetical>(starts to sing)<\/parenthetical>\n    <dialogue>'When you go to San Francisco be<\/dialogue>\n    <scene_description>sure to wear a flower in your hair.' (laughs again) Come, man. Buy me a Kahlua and tell Jacques about your desperate troubles. Richard lets the Rasta order a Kahlua with milk.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Look, uh, man, all I really need is Dede.<\/dialogue>\n    <character>RASTA<\/character>\n    <dialogue>All the boys and girls are looking for Dede these days, but Dede's been gone two nights.<\/dialogue>\n    <character>,RICHARD<\/character>\n    <dialogue>Yeah, but where?<\/dialogue>\n    <scene_description>The Rasta pauses, nudges Richard.<\/scene_description>\n    <character>RASTA<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Why not say what you're looking for? Dede's not the only one who can show you.<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(his hopes rising)<\/parenthetical>\n    <dialogue>You tell me. What am I looking for?<\/dialogue>\n    <scene_description>He places a bill on the bar. The Rasta glances down at it.<\/scene_description>\n    <character>RASTA<\/character>\n    <dialogue>The white lady, Now isn't that so?<\/dialogue>\n    <scene_description>Richard straightens up, can't believe his good fortune.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>CONTINUED: ( 2)<\/scene_description>\n    <character>RASTA<\/character>\n    <dialogue>Ah, now I see the desperate man.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Is she all right?<\/dialogue>\n    <character>RASTA<\/character>\n    <dialogue>Beautiful, man. Nobody has touched the lady, you don't worry. Follow me.<\/dialogue>\n    <scene_description>The Rasta rises abruptly off the bar stool and exits. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLUB REST ROOM- NIGHT<\/stage_direction>\n    <scene_description>Richard, puzzled, enters after the Rasta who promptly shuts the door and leans up against it. \\*<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Where is she?<\/dialogue>\n    <scene_description>The Rasta laughs.<\/scene_description>\n    <character>RASTA<\/character>\n    <dialogue>Nobody has so much as stepped on her toe, she's here, man, and pure as the driven snow.<\/dialogue>\n    <scene_description>He pulls out a paper packet and opens it up. Richard is staring down at a gram of coke.<\/scene_description>\n    <character>RASTA<\/character>\n    <dialogue>Come on, give it a try. Do a one and one and tell me if I lie!<\/dialogue>\n    <scene_description>He laughs and shoves a fingernail full of coke up Richard's nose.<\/scene_description>\n    <character>RASTA<\/character>\n    <dialogue>Come now, man. The nose knows.<\/dialogue>\n    <scene_description>Richard does, and it sets his head spinning. The Rasta\" laughs.<\/scene_description>\n    <character>RASTA<\/character>\n    <dialogue>Pure white lady. Good, eh?<\/dialogue>\n    <scene_description>Richard nods.<\/scene_description>\n    <character>RASTA<\/character>\n    <dialogue>Six hundred francs. You don't need Dede.<\/dialogue>\n    <character>51 CONTINUED: 51<\/character>\n    <dialogue>Richard shuffles through his wallet. He pulls out a 100- dollar bill. The Rasta tucks the cocaine into Richard's outside breast pocket, then reaches for the bill. Richard doesn't let go. Somebody tries to get into the john. Richard slams door shut and holds it shut.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>I still want Dede. Another one of these for his address.<\/dialogue>\n    <scene_description>The Rasta slaps Richard's palm. OMITTED &amp; &amp;<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DISCO CLUB - NIGHT<\/stage_direction>\n    <scene_description>Richard returns to the bar. The Rasta walks over to a table where a group of young people talk and laugh. The Rasta leans over to a pretty young blonde girl, MICHELE. He exchanges a few words with her. By the way they laugh and talk, it is clear they are quite friendly. He returns to the bar, takes a \"Blue Parrot\" matchbook and writes an address on the inside cover. As he is handed the match- book, Richard discreetly slips him the second $100.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUILDING - NIGHT<\/stage_direction>\n    <scene_description>Richard gets out of a taxi near the Republique metro. He checks the address on the matchbook then disappears into the main entrance of a building.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUILDING COURTYARD- NIGHT<\/stage_direction>\n    <scene_description>Richard crosses through the courtyard of a building and enters the foyer. He hesitates, then sees a luminous switch on the wall. With some trepidation, he pushes it so that the overhead staircase light comes on. It is an old building with no elevator. He walks up a flight of stairs leading to the mezzanine landing. On the door is a card that reads: Dede Martin. Richard rings the door- bell, and waits. The hall light goes off. It's dark except for another luminous switch on the landing. He hears the sound of LAUGHTER and lascivious FEMININE GIGGLING. THROUGH a window on the landing Richard sees a couple enter the foyer from the courtyard. They settle in a recess under the stairway. Richard is about to ring a second time, when he notices that the door is not completely closed: there is a light showing through cracks in the door. Around the lock the wood has been splintered. He pushes the door open.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEDE'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>It is a loft apartment, quite spacious and messy: the bed is unmade and clothes lie on the floor. A light comes from an open door at the other end of the apartment. A cat sitting on an armchair watches Richard as he enters.<\/scene_description>\n    <character>RICHARD<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Anybody here?<\/dialogue>\n    <scene_description>There is no answer. The cat jumps off the armchair and comes to Richard to rub against his leg. Richard ad- vances toward the light.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Hello? Monsieur Martin?<\/dialogue>\n    <scene_description>Richard enters into the brightly-lit kitchen. On the table are the remains of breakfast: a bowl of coffee, a piece of baguette, some butter and the racing form, \"Paris Turf.\" Looking to the side, Richard sees a man lying propped against the refrigerator, his throat cut, dried blood staining the front of his pajamas. Richard takes it in, then backs out of the kitchen and silently crosses the loft.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LANDING\/STAIRWAY - NIGHT<\/stage_direction>\n    <scene_description>Richard stops on the landing: under the stairway the couple is now screwing. He backs up and enters the apartment anew.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Carefully Richard closes the door, unable to decide what to do next. He looks at his watch. It is ten to one. The TELEPHONE RINGS, startling Richard. An ANSWERING MACHINE CLICKS ON. An incongruous, young, feminine voice begins to speak, with rock and roll MUSIC in the b.g.<\/scene_description>\n    <character>MICHELE (V.O.)<\/character>\n    <dialogue>Allo, Dede? C'est encore moi! Qu'est-ce que tu fous? Tu baises ou quoi? J'en ai marre. Je t 'attends. jusqu' a la fermeture et je viens chez toi.<\/dialogue>\n    <scene_description>The ANSWERING MACHINE STOPS. Richard has moved silently over to it. He rewinds the tape and plays it back. A few BEEPS then the same feminine voice without music.<\/scene_description>\n    <character>59<\/character>\n    <dialogue>MICHELE (V.O.)<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Alla, c'est Michele. Je suis revenue, j'ai fait unban voyage. Je te verrai ce soir au Parrot. Grosses bises ... N'oublie pas man fric.<\/dialogue>\n    <scene_description>Again the BEEP, then Richard hears his own voice.<\/scene_description>\n    <character>RICHARD (V.O.)<\/character>\n    <dialogue>Uh, yes, call Doctor Walker, um, the Grand Hotel. Quatre, trois, quatre ...<\/dialogue>\n    <scene_description>Richard turns OFF the ANSWERING MACHINE, removes the tape and slips it into his pocket. He moves back to 1, the door and opens it cautiously.<\/scene_description>\n    <character>60<\/character>\n    <dialogue>Below in the stairwell is gone. crosses building's<\/dialogue>\n    <character>EXT.\/INT.<\/character>\n    <dialogue>the coast Richard the courtyard front door.<\/dialogue>\n    <character>61<\/character>\n    <dialogue>Gaillard ing more and more worn out., his face etched Gaillard Richard returns<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>is back on duty as Richard with worry. hands him the key and smiles the smile.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>No messages?<\/dialogue>\n    <scene_description>Gaillard shrugs.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Nothing?<\/dialogue>\n    <character>GAILLARD<\/character>\n    <dialogue>Nothing here. Let me check with the operator ... why don't you come to the gym and do some sports, Dr. Walker?<\/dialogue>\n    <scene_description>Gaillard picks up the phone.<\/scene_description>\n    <character>61 CONTINUED: 61<\/character>\n    <dialogue>GAILLARD<\/dialogue>\n    <scene_description>Allo, Martine, y-a-t'il eu des appels pour la 402, Docteur Walker? ... Ah bon! Un homme ou une femme? ... Tres bien, merci. (turns his attention back to Richard) There were a couple of calls for you, but the man wouldn't leave a message.<\/scene_description>\n    <character>RICHARD<\/character>\n    <parenthetical>(murmuring to himself)<\/parenthetical>\n    <dialogue>Son of a bitch.<\/dialogue>\n    <parenthetical>(to Gaillard)<\/parenthetical>\n    <dialogue>Would you mind coming up to my 'Ir room?<\/dialogue>\n    <character>GAILLARD<\/character>\n    <dialogue>Very\\_ well.<\/dialogue>\n    <scene_description>Gaillard has a word with the other night concierge, then walks to the elevator with Richard.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY- NIGHT<\/stage_direction>\n    <scene_description>Richard and Gaillard arrive at the door to room 402. Richard pushes the door and they enter.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUITE - NIGHT<\/stage_direction>\n    <scene_description>Richard turns on the light to reveal the room in shambles. The suitcases lie open, the bureau drawers have been pulled out, and clothing is stewn all around the floor. Gaillard is shocked. The two men notice the sound of the RUNNINGFAUCETin the bathroom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM<\/stage_direction>\n    <character>- NIGHT 64<\/character>\n    <dialogue>The sink faucet is running. There are drops of blood on the sink, and a bloody towel next to it. One of the panes from the bathroom mirror lies in shards in the sink and on the floor. Gaillard, furious, heads to the phone. Richard is stunned.<\/dialogue>\n    <character>64<\/character>\n    <dialogue>GAILLARD<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Les salauds! I'll call the police.<\/dialogue>\n    <scene_description>Richard puts his hand on the receiver.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Not now!<\/dialogue>\n    <scene_description>Gaillard is taken aback by the firmness of Richard's command. I \u2022 I RICHARD The suitcase! I left a suitcase in the luggage room. Can you get it for me? Gaillard tries to synthesize the non sequitur.<\/scene_description>\n    <character>GAILLARD<\/character>\n    <dialogue>It's gone.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>GAILLARD<\/character>\n    <dialogue>They took it.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Who?!<\/dialogue>\n    <character>GAILLARD<\/character>\n    <dialogue>T.W.A. Just after I came on duty.<\/dialogue>\n    <scene_description>Richard digests the information, then sifts hurriedly through his slides, papers and the mess of clothing to find his tape recorder. He reaches into his pocket, pulls out the message cassette and puts it in the machine.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Can you tell me what this says?<\/dialogue>\n    <scene_description>He turns on the tape recorder and we hear the feminine voice.<\/scene_description>\n    <character>MICHELE (V.O.)<\/character>\n    <dialogue>Allo, c'est Michele. Je suis revenue ...<\/dialogue>\n    <scene_description>Gaillard begins to translate simultaneously.<\/scene_description>\n    <character>64<\/character>\n    <dialogue>GAILLARD<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>It's Michele. I'm back. I have made a good trip. I see you tonight at the ... Parrot? I kiss you. Don't forget my money.<\/dialogue>\n    <scene_description>Then comes Richard's message again. He fast-forwards the tape to the following message: the same feminine voice. Gaillard translates simultaneously.<\/scene_description>\n    <character>MICHELE (V.O.)<\/character>\n    <dialogue>I I Alors Dede? Je t'attends moi! I Tu viens ou quoi? J'ai ete oblige<\/dialogue>\n    <scene_description>de laisser ma valise clans ta consigne a la con. Il faut que tu me la recuperes. J'ai plus rien a me mettre sur le cul. J'ai meme pas la cle de chez moi. T'imagines le cirque?<\/scene_description>\n    <character>GAILLARD<\/character>\n    <dialogue>She says she is waiting for Dede and she wonders when he is coming. Something about her having to leave her suitcase in some locker ...<\/dialogue>\n    <scene_description>Richard jumps at the word \"suitcase.\"<\/scene_description>\n    <character>GAILLARD<\/character>\n    <dialogue>... And she doesn't have anything left to wear, she doesn't even have her keys.<\/dialogue>\n    <scene_description>Richard tries to absorb this information, to make sense of it. A few BEEPS, then the last message.<\/scene_description>\n    <character>MICHELE (V.O.)<\/character>\n    <dialogue>Allo Dede? C'est encore moil Qu'est-ce que tu fous? Tu baises ou quoi? J'en ai marre. Je t'attends au Perroquet jusqu'a la fermeture et je viens chez toi.<\/dialogue>\n    <character>GAILLARD<\/character>\n    <dialogue>It is her again, and she is angry now. She will wait until the Parrot closes and then go to his place.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>What time do nightclubs close?<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>GAILLARD<\/character>\n    <dialogue>Four, six, it depends.<\/dialogue>\n    <scene_description>Richard looks at his watch: it is 3:30.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRWAY OUTSIDE DEDE'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>The darkness is almost complete. A match is lit. We can see the \"Blue Parrot\" matchbook in Richard's hands and his wristwatch which reads 4:15. His collar turned up, Richard is concealed in the recess under the stairwell, where the couple was screwing on his first visit. Overcome by cold and fatigue, Richard struggles to stay awake. His head falls gradually until his chin rests on his chest. It is dark again, except for the faint glow of the luminous light switch. Richard is woken up by MEOWING. The CAT stands in front of him. He pets it, watches it move up the stairs, then nods off again. The hall light comes on. Richard wakes up and sees some- one climbing the stairs: it is Michele, the same pretty blonde girl who had given Dede's address at the Blue Parrot. She hesitates in front of\u00b7 the open door then walks into the apartment. Richard steps from his hiding place and silently climbs after her. We hear the sound of RUNNING inside the apartment. Wild-eyed, crazed, Michele bursts through the door. She just has enough time to see Richard, three steps below the landing, when the hall light goes out. Terrified, thinking it is the killer, she rushes forward and hits him with her handbag. He grabs her and they both fall and tumble down the stairs. Michele yells. Richard claps his hand over her mouth. She bites him. He manages to subdue her at last. She is trembling.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Ne me tuez pas, je vous supplie, ne me tuez pas ...<\/dialogue>\n    <scene_description>We get a closer look at Michele's terrified face. She is pretty and pale. She's wearing earrings. Richard shakes her angrily.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Where is she?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Quoi? Please don't kill me.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Answer me! Where is she?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Who? What do you want?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Where's my wife?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>What wife? Why did you kill him? Why did you kill him? ...<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Me? I didn't kill him.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>What do you want from me?<\/dialogue>\n    <scene_description>Michele picks up her hat which she lost in her tumble down the stairs. Richard lights a match and shows her the Blue Parrot matchbook. He points to the writing inside; Dede and his phone number.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Look familiar?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Where did you get that?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>In your suitcase.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>So you have it! Then pay me what you owe me. I did my job.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Job?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>That's right, you know what I mean.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>All I know is that I have your suitcase, and you have my wife's.<\/dialogue>\n    <character>MICHELE<\/character>\n    <parenthetical>(as it clicks in)<\/parenthetical>\n    <dialogue>Merde! Mais je suis foutue moil<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Do you understand?<\/dialogue>\n    <character>65<\/character>\n    <dialogue>: ( 2)<\/dialogue>\n    <character>CONTINUED<\/character>\n    <dialogue>65<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>I understand, I understand! Please, I must have that suitcase!<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>What did you bring back? What do they want?<\/dialogue>\n    <scene_description>A TOILET is FLUSHEDsomewhere in the building.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>I I Please! We must leave here! I Please, quick!<\/dialogue>\n    <character>66<\/character>\n    <dialogue>Richard and Michele clear the building. down the sinister and deserted street. side.<\/dialogue>\n    <character>EXT. STREET - NIGHT<\/character>\n    <dialogue>She looks warily Richard is by her She stops abruptly.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>I must have my suitcase! I'll do anything you say.<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(a mom~nt, then)<\/parenthetical>\n    <dialogue>You came from San Francisco on flight 862? \u2022<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Get me your plane ticket.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>What for?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>You want your suitcase, I want your plane ticket.<\/dialogue>\n    <scene_description>She looks at him a moment, trying to make sense of this. Then:<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>It's at my apartment.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Let's go. Can we get a cab?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>I have a car.<\/dialogue>\n    <scene_description>She points out a VW Beetle convertible on the other side of the street, and they walk over to it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. VW - NIGHT<\/stage_direction>\n    <scene_description>Richard is in the passenger seat, Michele behind the wheel. She reaches into her handbag and pulls out a tin box from which she removes a joint. She lights it, takes a lungful, then hands it to Richard, who declines the offer. She takes another hit and rubs her cheek.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>You really hurt me ...<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Can we go?<\/dialogue>\n    <scene_description>Michele sticks her hand under the steering wheel, pulls out two wires, and, to Richard's surprise, hotwires the CAR to START it. Before pulling away she takes the earring from her pocket and puts it back on her ear, looking at herself in the rearview mirror.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Merde, les flies!<\/dialogue>\n    <scene_description>Richard turns around to see a blue light flashing. A police van is coming up the street behind them. Michele spits on the roach, puts it back into the tin box, then opens the convertible top and waves her hands around to clear the smoke. The van stops slightly behind them as Michele puts in a cassette and a Grace Jones SONG COMESON. A POLICEMAN comes up to the driver's side of the car. A second one covers him with a machine gun, ready to spring in if necessary, as a third one circles around to the passenger side, his hand on his holster and a fourth one remains behind the wheel. Michele rolls down her window.<\/scene_description>\n    <character>POLICEMAN<\/character>\n    <dialogue>Vous avez vos papiers?<\/dialogue>\n    <scene_description>Michele digs into her bag for her papers and the Policeman checks the driver's license, registration and insurance.<\/scene_description>\n    <character>67 CONTINUED: 67<\/character>\n    <dialogue>POLICEMAN<\/dialogue>\n    <scene_description>Vous vous appelez comment?<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Viviane Dumas.<\/dialogue>\n    <character>POLICEMAN<\/character>\n    <dialogue>Le coffre.<\/dialogue>\n    <scene_description>Michele leans forward to pop open the trunk and the Police- man on the passenger side moves to the front of the car, lifts the hood and searches the trunk.<\/scene_description>\n    <character>POLICEMAN<\/character>\n    <dialogue>Montrez-moi votre sac a main.<\/dialogue>\n    <scene_description>Michele gives her handbag to the Policeman. It contains nothing out of the ordinary -- other than a can of mace.<\/scene_description>\n    <character>POLICEMAN<\/character>\n    <parenthetical>(indicating mace)<\/parenthetical>\n    <dialogue>Ca? \\*<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Ca quoi? \\*<\/dialogue>\n    <character>POLICEMAN<\/character>\n    <parenthetical>(to Richard)<\/parenthetical>\n    <dialogue>Papiers s'il vous plait.<\/dialogue>\n    <scene_description>Richard pulls out his passport. The trunk is banged shut. Seeing the American passport, the Policeman does not pur- sue the matter. He nods a salute and climbs back into his car, along with his partners. The police van moves away. Richard STOPS the MUSIC.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Which is it, Michele or Viviane?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Michele. I hate Viviane.<\/dialogue>\n    <scene_description>Richard searches around the car and under the seat.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Where'd you put the marijuana? \\*<\/dialogue>\n    <scene_description>To his mild surprise, she pulls it out of his pocket and puts the tin box back in her bag. She STARTS the CAR.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET\/CAR - NIGHT<\/stage_direction>\n    <scene_description>The VWmoves off and disappears around the corner.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRWAY - NIGHT<\/stage_direction>\n    <scene_description>Michele leads Richard up the staircase in her building. On the top floor there are two doors, one of which has a card reading \"Michele+ Sonia\" thumbtacked next to the doorbell. Richard stops in front of the door and watches Michele move over to a window, open it and begin to climb out.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>He runs over to the window and grabs onto her. The sight of the shadowy courtyard six flights down makes him dizzy.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Think I'm going to jump? I don't \\* have my key. My roommate's in \\* Bangkok ...<\/dialogue>\n    <scene_description>Richard lets go of Michele. She begins to make her way along the roof.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>And you know where my key is, don't you?<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>I do.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>I'll let you in.<\/dialogue>\n    <scene_description>Michele opens the door for him. \\*<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>You see, I didn't fly away.<\/dialogue>\n    <scene_description>Richard enters Michele's apartment.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>The decor of the large apartment is feminine, a la mode, and acceptably messy. Dolls and teddy bears, a water pipe, a TV and a large poster of Grace Jones. Richard goes right for the phone.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>I gotta call the hotel.<\/dialogue>\n    <scene_description>\\*:<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Forget bill.<\/dialogue>\n    <scene_description>it. Sonia didn't My roommate. pay A bitch. the \\*<\/scene_description>\n    <character>70<\/character>\n    <dialogue>Richard<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>sets<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>The ticket.<\/dialogue>\n    <scene_description>Michele goes to a nightstand covered with a pile of American coins, chewing gum and a copy of Interview magazine. She sorts through all of it.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>I threw it away.<\/dialogue>\n    <scene_description>I I I: She heads towards the kitchen. Richard follows.<\/scene_description>\n    <character>71<\/character>\n    <dialogue>INT.<\/dialogue>\n    <scene_description>Michele reaches under the sink to a garbage pail. She pulls out some orange peels, a milk carton, a crumpled cigarette pack -- and the plane ticket. She hands it to Richard. He checks the stub and pockets it.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Okay. I give you my ticket, you give me my suitcase.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Are you going to put it back in the locker?<\/dialogue>\n    <scene_description>Michele leaps up terrified.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>You are with the people who followed me this morning.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>I'm not with anyone.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Then how do you know about the locker?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>I listened to Dede's messages.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>You don't speak French.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>I had it translated.<\/dialogue>\n    <scene_description>Michele weighs this, obviously worried he might be lying for some reason. CONTINUED:<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Why is it so important?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>I have your suitcase, you have my wife's. You put my wife's suitcase in the locker.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Yes, I'm sorry I can't get it back.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>What are you saying?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Her suitcase. I can't get it back anymore.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>I don't care about her suitcase! I'm looking for her.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>My wife, godammit! You put the wrong suitcase in the locker and it didn't have what they wanted. But it had my wife's nametag. Her phone number. They came to the hotel and took my wife.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Your wife?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>They kidnapped her.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>But they want my suitcase. Why do they take your wife?<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(murderous)<\/parenthetical>\n    <dialogue>When I find them, I'll ask them. Who hired you?<\/dialogue>\n    <character>MICHELE<\/character>\n    <parenthetical>(shakes her head in disbelief)<\/parenthetical>\n    <dialogue>You want your wife back. Dede hired me.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Who hired Dede?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>I don' t know.<\/dialogue>\n    <parenthetical>(seeing his disbelief)<\/parenthetical>\n    <dialogue>I don't. If they knew me they would kill me. 1 gave them the wrong suitcase this morning. Instead they killed Dede.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>I don't think so.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>You think I lie?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>They got the wrong suitcase this morning. Dede's been dead at least two days.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Who says?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>I say.<\/dialogue>\n    <scene_description>Michele bites her nails and thinks this over. A little snotty:<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>How do you know? You are a doctor?<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(moving to her, with a smile)<\/parenthetical>\n    <dialogue>No corpse stinks that much in twelve hours, not even Dede's! The man's been dead over two days, take my word for it and yes, I'm a doctor. What were you bringing back from San Francisco?<\/dialogue>\n    <scene_description>Michele shrugs and takes to biting her nails again. Richard whacks her hand right out of her mouth. She doesn't exactly overreact.<\/scene_description>\n    <character>71<\/character>\n    <dialogue>RICHARD<\/dialogue>\n    <character>CONTINUED: ( 3)<\/character>\n    <dialogue>Was it dope?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Isn't that what you do for a living? Smuggle dope?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>I (shrugs) I Not this time.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>What was it?<\/dialogue>\n    <scene_description>He moves right next to her, hovering, threatening.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>All right, it was dope.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>What kind? Heroin, cocaine, opium? \\*<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>What do you care?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>It matters.<\/dialogue>\n    <character>MICHELE<\/character>\n    <parenthetical>(intimidated, exploding)<\/parenthetical>\n    <dialogue>What do I know what kind? What do I care? I'm very frightened. You want your wife back, you'll get my suitcase.<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(after a moment)<\/parenthetical>\n    <dialogue>Where's the bathroom?<\/dialogue>\n    <scene_description>She points to a door. Richard removes his jacket, places it on the back of the chair.<\/scene_description>\n    <character>72<\/character>\n    <dialogue>- NIGHT<\/dialogue>\n    <character>INT. BATHROOM<\/character>\n    <dialogue>72<\/dialogue>\n    <scene_description>Richard enters. It has a small window with a broken pane and a mirror with the word \"Cocaine\" printed in Coca Cola lettering.<\/scene_description>\n    <character>72 CONTINUED: 72<\/character>\n    <dialogue>RICHARD<\/dialogue>\n    <parenthetical>(indicating window)<\/parenthetical>\n    <dialogue>Is this how you got in from the roof?<\/dialogue>\n    <character>MICHELE<\/character>\n    <parenthetical>(poking her head into frame)<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Richard cleans up, taking care to wash the residue of coke out of his nostrils. He lights a match in the dimly lit john and holds it in front of his eyes, checking his pupils. He's momentarily fascinated by his own haggard face. The match burns him. He drops it and his eye catches Michele undressing through the open door. She does so with blatant ease, catches Richard's eye -- looks back a trifle annoyed. Richard smiles and closes the bathroom door. Michele promptly slips on a robe and begins going through Richard's coat pockets.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Richard enters the room<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Can I help?<\/dialogue>\n    <scene_description>Michele coolly turns around, the Walkers' passports in her hand. She examines Sondra's photo.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Is this your wife?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Yes ...<\/dialogue>\n    <scene_description>Michele hands the passport back to Richard.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>She seems very happy.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Yes, she's a happy person. That's \\* her nature go.<\/dialogue>\n    <scene_description>she's -- happy. Let's \\* OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VW - NIGHT<\/stage_direction>\n    <scene_description>Michele is staring unhappily at the dashboard. CONTINUED:<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>You gave my suitcase back to the airport?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Quelle conne! I could have picked it up myself.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>No. You won't take it anywhere without me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>75A EXT. FREEWAYTO AIRPORT - NIGHT 75A<\/stage_direction>\n    <scene_description>Grace Jones MUSIC comes through the SPEAKERS.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Merde.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>They're following me.<\/dialogue>\n    <scene_description>Richard glances at the headlights of a car in the rearview mirror. He views it and Michele with a distinctly jaundiced eye.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>I don't know. There was a man on the plane. I saw him on the train from the airport too. I lost him at the station before I got to the locker.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Who are they, the police?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>No, I don't think so.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>The people that hired dead Didi Dede? Stop. I want to talk to them.<\/dialogue>\n    <character>75A CONTINUED: 75A<\/character>\n    <dialogue>MICHELE<\/dialogue>\n    <scene_description>No.<\/scene_description>\n    <character>RICHARD<\/character>\n    <parenthetical>(putting his foot on the brake)<\/parenthetical>\n    <dialogue>Stop!<\/dialogue>\n    <scene_description>They do. The car behind them appears to slow, then suddenly overtakes them and they're soon staring at its taillights. Richard smiles.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>No, it doesn't make sense. You don't follow somebody when you know where they're going.<\/dialogue>\n    <scene_description>Michele starts to bite her nails.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>I tell you I'm being followed.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Take your fingers out of your mouth and drive us to the airport.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Okay, okay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>75B INT. AIRPORT PARKING - NIGHT 75B<\/stage_direction>\n    <scene_description>As they get out of the car, Richard notes the parking tier number, the yellow van on one side, the poster advertising Martini and Rossi on the column beside the passenger door. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAGGAGECLAIM - DAWN<\/stage_direction>\n    <scene_description>They enter. A CUSTOMSOFFICIAL bars their path. A couple of machine gun-armed soldiers stand behind him. To the side are two police dogs.<\/scene_description>\n    <character>CUSTOMSOFFICIAL<\/character>\n    <dialogue>Oui?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>C'est pour une valise, a la T.W.A.<\/dialogue>\n    <scene_description>The Customs Official waves them through, pointing out the TWA office. The conveyor belt starts in motion. Above there is a sign that reads 862 San Francisco. Passengers are beginning to come into the luggage area from the escalator. Michele and Richard arrive in front of the TWA lost-luggage office, and walk inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TWA OFFICE - DAWN<\/stage_direction>\n    <scene_description>At this early hour, two tired EMPLOYEES are on duty.<\/scene_description>\n    <character>EMPLOYEE<\/character>\n    <dialogue>What sort of bag?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Samsonite. White.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Elle est la!<\/dialogue>\n    <scene_description>Michele points out the suitcase, now wrapped around with packing tape, and the Employee fetches the bag. Richard hands over his ticket. The Employee checks the number, tears off the stub and hands over the suitcase. Michele starts to grab it, but Richard picks it up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAGGAGECLAIM - DAWN<\/stage_direction>\n    <character>RICHARD<\/character>\n    <parenthetical>(indicates the patrolling dogs)<\/parenthetical>\n    <dialogue>Okay now, I gotta know. What's in this? Those dogs are drug trained.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>There's nothing you can do about it now.<\/dialogue>\n    <scene_description>The dogs continue to approach. Richard momentarily frozen, waiting for them to catch the scent and leap. The dogs appear to hesitate -- then pass on by.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Tell me what's in it. I don't want to lug the whole suitcase everywhere I go, dammit.<\/dialogue>\n    <scene_description>CONTINUED: (Al)<\/scene_description>\n    <character>MICHELE<\/character>\n    <parenthetical>(mimicking him)<\/parenthetical>\n    <dialogue>What does it matter? Just give it to me. I promise you I'll get your wife.<\/dialogue>\n    <scene_description>Richard hesitates. Then: CONTINUED:<\/scene_description>\n    <character>VOICE (O.S.)<\/character>\n    <dialogue>Is there a doctor in the house? Hey, Dickie, we missed you, where the hell were you hiding? First class?<\/dialogue>\n    <scene_description>Richard has turned to face a fat MAN, 50ish, with a cane in one hand and an unlit cigar in the other. He approaches Richard a bit drunk and very happy to see him. They shake hands.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Hello, Peter. We came yesterday.<\/dialogue>\n    <character>PETER (MAN)<\/character>\n    <dialogue>And you still haven't found your way out of the airport? Man, I thought I was wrecked! ...<\/dialogue>\n    <scene_description>Peter now notices Michele, realizes she is with Richard. Richard makes no move to acknowledge her.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>There was a mix-up with the bags ...<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Is that right? Well, I'm wrecked. I hope I can make it to your speech. It's tomorrow, right?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Today ...<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Today?<\/dialogue>\n    <parenthetical>(looks Richard over)<\/parenthetical>\n    <dialogue>... I hope you can make it. You don't have a light, do you?<\/dialogue>\n    <scene_description>Richard is about to say no, then he remembers the match- books. He pulls both of them out of his breast pocket together with the package of cocaine which falls to the floor. As he lights Peter's cigar, Richard quickly puts his foot over the package, trying to conceal it. Peter puffs out thick clouds of smoke.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Where you staying, the Hilton?<\/dialogue>\n    <scene_description>A couple approaches.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Irwin! You know Dick Walker?<\/dialogue>\n    <scene_description>CONTINUED: ( 2) Peter pulls Richard over to meet the couple, as Richard desperately tries to keep his foot on the package. Irwin's wife, EDIE, seems the more interested of the two as she approaches.<\/scene_description>\n    <character>EDIE<\/character>\n    <parenthetical>(taking Richard's hand and kissing him)<\/parenthetical>\n    <dialogue>Richard, I was wondering when we'd see you.<\/dialogue>\n    <parenthetical>(eyeing Michele)<\/parenthetical>\n    <dialogue>How is Sondra?<\/dialogue>\n    <scene_description>Richard's trying to be casual, but is almost doing the splits now, trying to keep his foot on the coke. He has to set down the suitcase.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>She's fine, Edie.<\/dialogue>\n    <character>EDIE<\/character>\n    <parenthetical>(still looking at Michele)<\/parenthetical>\n    <dialogue>You two have been in Paris for a day or so?<\/dialogue>\n    <parenthetical>(as Richard nods)<\/parenthetical>\n    <dialogue>Well, then, as soon as we get to the hotel, I'm going to give Sondra a call and see if she wants to go out to breakfast with me.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>You do that.<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>See if there are any new faces in her life.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Hey, Richard, how about giving an old fart a hand with some of these bags 'til we get through customs?<\/dialogue>\n    <scene_description>Peter is over by the baggage carousel waving his cane toward Richard. Richard is paralyzed, his foot on the cocaine. Michele moves close and with the Samsonite bag as cover, taps Richard's foot and gives him a conspiratorial look. Richard nods gratefully. He walks over to the baggage carousel and picks up all of the luggage which Peter, wielding his weight and his cane and his cigar, is having such difficulty with. \\*: CONTINUED: (3) He carries the bags with ease over to customs, under Edie's approving eye.<\/scene_description>\n    <character>EDIE<\/character>\n    <dialogue>You don't huff and puff a lot, do you, Richard?<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(looking around)<\/parenthetical>\n    <dialogue>Yeah, well ... where's?<\/dialogue>\n    <character>EDIE<\/character>\n    <dialogue>Your little friend? She's already gone through -- there<\/dialogue>\n    <scene_description>Richard sees she's gone through the green light at customs with barely a whisper. She disappears through the closing double doors.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>79A INT. AIRPORT - DAWN 79A<\/stage_direction>\n    <scene_description>Richard races out of the customs area. He spots an elevator door closing -- barely a glimpse of Michele and the white suitcase in it. 79AA AT ELEVATOR BANK - DAWN 79AA Richard presses the button. The elevator arrives and he takes it to the lower level. He exits and races into the circular parking area.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>79B INT. PARKING - DAWN 79B<\/stage_direction>\n    <scene_description>There is a gaping hole between the yellow van and the Martini and Rossi poster. Michele and her VW have dis- appeared. Richard hears an ENGINE COUGHING. He gets a glance of the VW as it disappears up the serpentining ramp to the top of the parking structure. He dashes back to the elevators. He presses. They don't move. He decides to go up the stairs. He races up one flight and pops out the green door to see -- the taillights of the VW heading slowly up to the next ramp behind another car now. He dashes up the next flight of stairs and pops out the door to see -- the VW still tantalizing ahead of him. He dashes up the next flight and opens the door -- his view is blocked by a large London-type taxi. He doesn't hesitate, but dashes up the final flight of stairs -- morning light pours from the skylight in front of the door that leads to the roof. Richard dashes through it. \\*:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>79C EXT. AIRPORT ROOF TOLL BOOTHS 79C<\/stage_direction>\n    <scene_description>Michele is at the toll booth nearest to Richard. She is in a heated discussion with the toll taker.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>79D INT. VW - DAWN 79D<\/stage_direction>\n    <scene_description>Michele is going at the man in French bitching because he won't let her go through until she comes up with the full fare -- which she doesn't have. The passenger side of the VW opens. Richard's hand with a hundred francs note breaks INTO FRAME.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>That should cover it. Go on. Give it to the man.<\/dialogue>\n    <scene_description>Michele does. They drive on through.<\/scene_description>\n    <character>RICHARD<\/character>\n    <parenthetical>(as they exit airport)<\/parenthetical>\n    <dialogue>Now you're going to be a good girl. You're not going to lie to me, you're not going to bite your nails, you're not going to make up stories about being followed. You're going to drive us to your employer -- now,<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. VW - DAWN<\/stage_direction>\n    <scene_description>on \"peripherique.\" It is the same anonymous decor as at the beginning of the film, The suitcase is on the back seat, GRACEJONES is on the STEREO.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>We've been on this road quite a while.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>So what?<\/dialogue>\n    <scene_description>Michele gives nervous little glances toward Richard who sits stolidly, She takes the package of coke from out of her driving gloves, opens it, immediately rubs some on her gums and quickly snorts a little bit off her finger. Richard catches the action, reaches over, takes the coke and tosses it out the window.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Merde! What did you do that for?<\/dialogue>\n    <scene_description>CONTINUED: (Al)<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>I'll keep you awake. Just watch the road and get us there.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>That was good coke. It cost at least 300 francs.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>I doubt it. It's bad for you in any case.<\/dialogue>\n    <scene_description>Michele is trembling badly.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>What's wrong now?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>I have to pull over.<\/dialogue>\n    <scene_description>She does.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>I told you that coke was bad for you. Here ...<\/dialogue>\n    <scene_description>He checks her pulse, looks at her pupils, touches her skin.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Little clammy, but coke's pyogenic. You'll be all right in a few minutes.<\/dialogue>\n    <scene_description>Michele is still shaking.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>I don't know where we're going.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>You mean you're lost?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>I mean I don't know these people\u00b7, I don't know where they are, I don't know who they are. I only knew Dede.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Then what were you doing, grabbing the suitcase and running off like that?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>I don't know!<\/dialogue>\n    <scene_description>Richard stares at her gripped by a terrible and impotent rage. Michele is terrified.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>You don't know, you don't know, you don' t know.<\/dialogue>\n    <scene_description>He grabs her and starts to shake her.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Then what the fuck are you doing!?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Stop!<\/dialogue>\n    <scene_description>CONTINUED: ( 2)<\/scene_description>\n    <character>RICHARD<\/character>\n    <parenthetical>(still shaking her)<\/parenthetical>\n    <dialogue>What did you think would happen, where did you think you'd go? What the fuck did you think?<\/dialogue>\n    <character>MICHELE<\/character>\n    <parenthetical>(crying)<\/parenthetical>\n    <dialogue>Please stop! ...<\/dialogue>\n    <scene_description>Richard lets her go, mumbling, \"you don't know where you're going, you don't know where you're going\" suddenly thrashes around in the VW hitting the side of the car with his fists, the window -- looking like he'll explode with Michele cringing in the corner and watching. Richard suddenly does stop. His head is in his hands.<\/scene_description>\n    <character>RICHARD<\/character>\n    <parenthetical>(quietly; without looking up)<\/parenthetical>\n    <dialogue>How old are you?<\/dialogue>\n    <scene_description>Michele is shocked by the question.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Do you know?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Nineteen.<\/dialogue>\n    <scene_description>Richard nods.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>You have a boyfriend?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Not now.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Did you like him?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Not so much ...<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Is there anything you like? Do you have a favorite Teddy bear? What's it take to hurt you or is your brain too fried to feel a fucking thing? ... You understand what I'm saying?<\/dialogue>\n    <character>80<\/character>\n    <dialogue>MICHELE<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <parenthetical>(is hurt)<\/parenthetical>\n    <dialogue>... I understand.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I like Grace Jones.<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(nods; then)<\/parenthetical>\n    <dialogue>... I met Sondra when I was nineteen.<\/dialogue>\n    <parenthetical>(abruptly)<\/parenthetical>\n    <dialogue>Take me to the hotel. Let's go.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>I' (very quiet)<\/dialogue>\n    <scene_description>Okay, sure. She STARTS CAR. I ,<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Are rou going to be all right?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>I'm fine.<\/dialogue>\n    <scene_description>Michele smiles and settles into driving.<\/scene_description>\n    <character>81<\/character>\n    <dialogue>The VW comes to a stop in front gets out, take it from him, only to find both Richard trying to maintain leaving<\/dialogue>\n    <character>EXT. STREET - GRANDHOTEL - DAY<\/character>\n    <dialogue>of the hotel. clutching and Michele a hold on it. Michele<\/dialogue>\n    <scene_description>them.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>You can go now. I need your suitcase. I don't need you ... unless you care to tell me what's in it.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>You think I'm stupid. If I tell you then you really don't need me.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>You do know.\u00b7<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>I don't know! But it is my suitcase!<\/dialogue>\n    <parenthetical>(eyeing the porter)<\/parenthetical>\n    <dialogue>... And I will certainly tell him<\/dialogue>\n    <scene_description>that ... (backing off) ... you have me confused. And I'm very hungry. The porter is looking with increasing interest at this colloquy.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL LOBBY - DAY<\/stage_direction>\n    <scene_description>A few people are waiting at the front desk. As soon as he sees Richard, Gaillard calls out.<\/scene_description>\n    <character>GAILLARD<\/character>\n    <dialogue>There's a message for you, Doctor Walker.<\/dialogue>\n    <scene_description>rull of hope, Richard takes the message. Gaillard is not quite able to hide his surprise at the sight of Michele who has remained, barely, in the b.g. Richard hands the message back.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>What does Doctor Alembert say?<\/dialogue>\n    <character>GAILLARD<\/character>\n    <dialogue>He wants the slides for your lecture.<\/dialogue>\n    <parenthetical>(reading from note)<\/parenthetical>\n    <dialogue>He wishes you to drop them off at the Palais des Congres before lunch.<\/dialogue>\n    <scene_description>Richard nods.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Could you order me breakfast?<\/dialogue>\n    <character>GAILLARD<\/character>\n    <dialogue>Certainly.<\/dialogue>\n    <parenthetical>(eyeing Michele)<\/parenthetical>\n    <dialogue>One or two?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>RICH.ARD<\/character>\n    <dialogue>Two.<\/dialogue>\n    <character>GAILLARD<\/character>\n    <dialogue>Tea or coffee?<\/dialogue>\n    <scene_description>Richard hesitates -- looks to Michele who suddenly looks frightened at being consulted.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Uhh ... coffee.<\/dialogue>\n    <scene_description>Richard nods to Gaillard to confirm it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 402 - DAY<\/stage_direction>\n    <scene_description>Richard and Michele enter. It's still the same mess.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Quel bordel! I thought my place was messy.<\/dialogue>\n    <character>RICH.ARD<\/character>\n    <dialogue>... Yeah. Well, there's always somebody who can go you one better.<\/dialogue>\n    <scene_description>Richard sets the suitcase on the bed.<\/scene_description>\n    <character>RICH.ARD<\/character>\n    <parenthetical>(leaning forward)<\/parenthetical>\n    <dialogue>All right, how much were they paying you?<\/dialogue>\n    <parenthetical>(seeing her start to think it over, he points)<\/parenthetical>\n    <dialogue>Fast!<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Twenty ... uhh ... ten thousand francs. But I had to get my own ticket. Dede was to pay me back.<\/dialogue>\n    <character>RICH.ARD<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>12,000 francs, more or less.<\/dialogue>\n    <scene_description>Richard goes to a briefcase, unzips a compartment.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Paying you. You'll have what you want, then you can go.<\/dialogue>\n    <parenthetical>(pulling out traveler's checks)<\/parenthetical>\n    <dialogue>Ten thousand francs is about two thousand dollars.<\/dialogue>\n    <scene_description>The DOORBELL RINGS.<\/scene_description>\n    <character>RICHARD<\/character>\n    <parenthetical>(signing checks)<\/parenthetical>\n    <dialogue>That's room service. Could you get it?<\/dialogue>\n    <scene_description>Michele opens the door to the hotel manager Austier, who looks deeply embarrassed.<\/scene_description>\n    <character>AUSTIER<\/character>\n    <dialogue>I'm very sorry for all this, Doctor Walker -- the police would like to ask you some questions, they wouldn't let us clean this up until they spoke to you.<\/dialogue>\n    <scene_description>He makes way for Pascal and the Desk Cop from the police station, followed by the Inspector. Michele has drifted off to the bedroom, but all the men are aware of her presence. Michele beckons to Richard.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Excuse me.<\/dialogue>\n    <character>AUSTIER<\/character>\n    <dialogue>Certainly.<\/dialogue>\n    <scene_description>Austier tries to catch a sidelong look at the police reaction to Richard who is now in tete a tete in the bedroom with Michele. Richard signs the last traveler's check.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Here.<\/dialogue>\n    <character>MICHELE<\/character>\n    <parenthetical>(hesitates, then)<\/parenthetical>\n    <dialogue>I take only half.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Half?<\/dialogue>\n    <character>83<\/character>\n    <dialogue>MICHELE<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Instead of the other half you keep me with you.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>What kind of deal is that?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>I don't want to end up like Dede. I stay with you until you give<\/dialogue>\n    <scene_description>I them the suitcase. I There is a discreet COUGH from the other room.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>You better get out of here.<\/dialogue>\n    <scene_description>I<\/scene_description>\n    <character>,<\/character>\n    <dialogue>I No. I won't<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>go. Please.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>I'll come to your place, as soon as I take care of this.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Promise?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>I'll be there. Now scoot!<\/dialogue>\n    <scene_description>She gives him a kiss of gratitude they catch the action from the other room.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Watch it, will you?<\/dialogue>\n    <scene_description>He turns to go.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Wait.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Now what?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>I need money.<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(indignant)<\/parenthetical>\n    <dialogue>I just gave you a thousand dollars.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>That was my salary. This is for expenses.<\/dialogue>\n    <scene_description>CONTINUED: (3) He shakes his head and digs into his pocket for a few bills. She takes one. Michele starts to leave as the room service arrives. Richard has started to sign the room service bill.<\/scene_description>\n    <character>INSPECTOR<\/character>\n    <dialogue>We would like to ask her a question or two as well.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Come on now. Absolutely not. \\*<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>I beg your pardon.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Inspector, I'm a married man. I assume you take that into consideration here.<\/dialogue>\n    <parenthetical>(with mild indignation)<\/parenthetical>\n    <dialogue>Paris hasn't changed that much, has it?<\/dialogue>\n    <character>,INSPECTOR<\/character>\n    <parenthetical>(to Michele)<\/parenthetical>\n    <dialogue>Allez, barre toi!<\/dialogue>\n    <scene_description>As she hesitates -- sees the Inspector relent -- and goes off with a touch of admiration at Richard's bravado. She grabs a croissant.<\/scene_description>\n    <character>PASCAL<\/character>\n    <dialogue>So, Doctor, has anything been taken? Jewelry, clothing, anything?<\/dialogue>\n    <scene_description>Richard looks around the disordered rooms.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Gee, I have no idea.<\/dialogue>\n    <character>PASCAL<\/character>\n    <dialogue>Well, you must have some sort of list in order to lodge a complaint.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Actually, I don't wish to lodge a complaint.<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <scene_description>CONTINUED: (4)<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Well ... the fact is, there's nothing to complain about. You<\/dialogue>\n    <scene_description>see, this is a little embarrassing, but -- I tore this place up myself. My wife and I did have -- a little disagreement and I was looking for her address book. (to Pascal) You were right. She has friends in Paris. Look, I've got to deliver an important paper today at this convention. I don't want this to get out of hand.<\/scene_description>\n    <character>INSPECTOR<\/character>\n    <dialogue>Of course, Doctor. We understand.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <parenthetical>(as they're leaving)<\/parenthetical>\n    <dialogue>By the way. The concierge informs me you asked him to translate a tape with messages on it. He mentioned a name -- Dede.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>I wouldn't remember. I was told it had some medical information on it relating to the convention.<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>You wouldn't have that tape, would you?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Oh no.<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>Well, Doctor, it may interest you to know that my colleagues have come across a man called Dede Martin who was in serious need of medical attention. If you should find that tape, please inform us -- I hope you know what you're doing, Doctor Walker. Have a nice day. \\*<\/dialogue>\n    <scene_description>CONTINUED: (5) He turns around and leaves without another word, the entourage following him. Richard takes a swipe at a croissant, goes into the bedroom and attacks the suit- case. He rips the lining of the bottom. Nothing. He looks at the Statue of Liberty, taps it, listens to it, shakes it, then tries to find an opening in the plinth with a pair of scissors. He holds it in his hand, weighing it, then tosses it back into the suitcase. Richard sits heavily -- feels his wallet, pulls it out and plops it on the nightstand. Something poking out of it attracts him -- it's the family snapshot from which Sondra's head has been cut. He looks at the mutilated photo, crumples it up and slams his fist into a lamp, sending it across the room, popping the bulb. Richard picks up the phone and dials -- 19.1.415. The phone is answered by a rowdy-sounding college kid. There's a lot of MUSIC in the b.g.<\/scene_description>\n    <character>COLLEGE KID (V.O.)<\/character>\n    <dialogue>State mental hospital!<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Tom, let me speak to my daughter, please.<\/dialogue>\n    <character>TOM (COLLEGE KID) (V.O.)<\/character>\n    <parenthetical>(muffled)<\/parenthetical>\n    <dialogue>Oh shit.<\/dialogue>\n    <scene_description>We hear the sound of the PHONE DROPPING. Finally Casey comes on the line.<\/scene_description>\n    <character>CASEY (V.O.)<\/character>\n    <parenthetical>(sheepishly)<\/parenthetical>\n    <dialogue>Hi, Dad. I'm really sorry about that.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>What's new, sweetheart?<\/dialogue>\n    <character>CASEY(V.O.)<\/character>\n    <dialogue>Nothin' much. Just having a party -- nothing wild, Dad, you know.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>That's okay. Just, you know, have a nice time ...<\/dialogue>\n    <character>CASEY (V. 0.)<\/character>\n    <dialogue>Dad, are you all right?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>I'm fine, honey.<\/dialogue>\n    <character>83 CONTINUED: (6) 83<\/character>\n    <dialogue>CASEY (V. 0. )<\/dialogue>\n    <scene_description>You and Mom aren't having a fight or something?<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Of course not. How's Richie?<\/dialogue>\n    <character>CASEY (V.O.)<\/character>\n    <dialogue>You sure you're okay, Daddy?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Absolutely -- what's that music you're listening to?<\/dialogue>\n    <character>CASEY (V. 0. )<\/character>\n    <dialogue>Grace Jones, why, do you like it?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Just been hearing it lately.<\/dialogue>\n    <character>CASEY(V.O.)<\/character>\n    <dialogue>You're kidding. Sounds like you and Mom are really having a good time.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Yeah. Go back to your party. Love you.<\/dialogue>\n    <character>CASEY (V.O.)<\/character>\n    <dialogue>Love you, too. Oh -- and love to Mom. 'Bye, Dad.<\/dialogue>\n    <scene_description>Richard hangs up, trying to hold onto himself.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRWAY IN MICHELE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Carrying the Samsonite, now held together with three ties haphazardly binding it, Richard arrives on the sixth-floor landing. He's about to ring Michele's doorbell when he hears VOICES from within her apartment. He puts his ear to the door.<\/scene_description>\n    <character>MAN (O.S.)<\/character>\n    <dialogue>We're trying to help you stay out of trouble. Understand?<\/dialogue>\n    <character>MICHELE (O.S.)<\/character>\n    <dialogue>I understand.<\/dialogue>\n    <character>MAN (O.S.)<\/character>\n    <dialogue>Sit down. Over there.<\/dialogue>\n    <character>84<\/character>\n    <dialogue>MICHELE (O.S.)<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Please don't hurt me,<\/dialogue>\n    <character>SECOND MAN (O.S,)<\/character>\n    <dialogue>I said. Sit down!<\/dialogue>\n    <scene_description>There's the sound of a SLAP. MICHELE CRIES out. They've now shifted positions in the room and Richard can only hear a quiet question being posed. He decides to head for the window. Richard climbs out onto the roof, suit- case still clutched in hand.<\/scene_description>\n    <character>85<\/character>\n    <dialogue>Suffering is impaired. roof particularly<\/dialogue>\n    <character>EXT. ROOF - DAY<\/character>\n    <dialogue>from lack of sleep, The suitcase difficult<\/dialogue>\n    <scene_description>I. He halts, sweating. The hard part of the climb Michele had made earlier is ahead of him. Starting to move again he slips and nearly loses the suitcase. He's now even more precariously balanced, but he won't let go of the case ... it's almost as if he's got his wife in his hand. Inching along now, one of the ties on the suitcase hooks onto bars of a mansard window~ He tries to yank it free. The suitcase opens and its contents begin to spill across the roof. Some of the heavier objects -- the makeup kit, the Statue of Liberty, the carton of cigarettes -- lodge in the rain gutter. Some clothes topple all the way to the courtyard below. A few items flutter and stick on the roof. Several things remain in the case. Hanging onto a television antenna, Richard makes an attempt to retrieve some of the items, scrambling as far as he's able down the roof. Very carefully he kicks off his shoes, hoping for better traction, and watches them slide down the roof into the courtyard. Dizzy, almost losing his grasp on the antenna and falling, he's able to retrieve a few things and put them back in the suitcase. Realizing he won't make it as long as he's lugging the suitcase, Richard aims it, lets go and watches it slide partway down the roof, successfully wedging itself against a chimney. He continues inching along. When he makes his way to Michele's bathroom window, he grabs onto it as if it were a lifebuoy.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM\/LIVING<\/stage_direction>\n    <character>ROOM- DAY<\/character>\n    <dialogue>Silently, Through the slightly-open built, jacket something from spilt<\/dialogue>\n    <character>86<\/character>\n    <dialogue>Richard enters the bathroom, still door, he sees a young, well- neat-looking MANdressed in a brown leather -- with a conspicuous coffee,<\/dialogue>\n    <scene_description>Michele, wearing a bathrobe, sits on a chair in the middle of the room. We cannot see the second man talking to Michele in a quiet, reassuring voice.<\/scene_description>\n    <character>MAN (O.S.)<\/character>\n    <dialogue>Once again. Where is it?<\/dialogue>\n    <scene_description>The MANIN LEATHERgives a hard kick to a chair. Michele jumps.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Je vous l'ai dit. Dans ma valise. \\*<\/dialogue>\n    <character>MAN(O.S.) \\*<\/character>\n    <dialogue>Qy d~ns ta valise? \\*<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>I don' t know.<\/dialogue>\n    <scene_description>The Man In Leather slaps her hard a couple of times. The SECONDMANenters into sight. He '.s fairly fat and wearing a tweed jacket.<\/scene_description>\n    <character>MANIN TWEED(SECONDMAN)<\/character>\n    <parenthetical>(to Man In Leather)<\/parenthetical>\n    <dialogue>They don't teach you to talk to a young girl, do they?<\/dialogue>\n    <parenthetical>(in French, to Michele)<\/parenthetical>\n    <dialogue>Il est un peu fou. Il est reste trop longtemps en Amerique!<\/dialogue>\n    <character>MANIN LEATHER<\/character>\n    <dialogue>Keep it in English, and cut the good-cop-bad-cop shit. There's no time for it.<\/dialogue>\n    <scene_description>The Man In Tweed shrugs. To Michele:<\/scene_description>\n    <character>MANIN TWEED<\/character>\n    <dialogue>Come on now. We're French, we understand each other, don't we?<\/dialogue>\n    <parenthetical>(indicating Man In Leather)<\/parenthetical>\n    <dialogue>Trust us. We don't go around cutting throats. We are no bandits. We are just not these kind of people!<\/dialogue>\n    <character>86 CONTINUED: 86<\/character>\n    <dialogue>He laughs and gives the Man In Leather a playful tap. The Man In Leather tries for an intime style ill suited to his temper.<\/dialogue>\n    <character>MANIN LEATHER<\/character>\n    <dialogue>We can protect you. Show us a little good will, we'll show you godd will, okay?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>MANIN LEATHER<\/character>\n    <dialogue>At the airport in San Francisco some blond guy came up to you. Kissed you on both cheeks. What did he say?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Bon voyage.<\/dialogue>\n    <scene_description>The Man In Tweed is not impressed with this line of questioning and the Man In Leather knows it.<\/scene_description>\n    <character>MANIN LEATHER<\/character>\n    <dialogue>Okay. Okay. Then he gave you something,<\/dialogue>\n    <character>MANIN TWEED<\/character>\n    <dialogue>She already told you! He gave her the statue and she put it in the suitcase.<\/dialogue>\n    <character>MANIN LEATHER<\/character>\n    <dialogue>Okay, he gave you the Statue of Liberty. You put it in your suitcase.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>MANIN LEATHER<\/character>\n    <dialogue>And then?<\/dialogue>\n    <scene_description>86A RICHARD 86A has already turned around. Looking through the bathroom window he can see it sitting up in the storm drain. He makes a slight movement, loses his balance and jars the shower curtain.<\/scene_description>\n    <character>MANIN TWEED(O.S.)<\/character>\n    <parenthetical>(to Man In Leather)<\/parenthetical>\n    <dialogue>Check the bathroom.<\/dialogue>\n    <character>86A<\/character>\n    <dialogue>MANIN LEATHER(O.S.)<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>I did.<\/dialogue>\n    <scene_description>Richard gives one last desperate glance out the window at the statue, then carefully opens the other door out of the bathroom to the bedroom.<\/scene_description>\n    <character>86B<\/character>\n    <dialogue>He stands in front of Michele's piling of pillows and stuffed animals. off his clothes.<\/dialogue>\n    <character>INT. BEDROOM- DAY<\/character>\n    <dialogue>rumpled He begins to take As he does:<\/dialogue>\n    <character>MANIN TWEED(O.S.)<\/character>\n    <dialogue>So, what did you do then? \\*<\/dialogue>\n    <character>MICHELE (O.S.)<\/character>\n    <dialogue>I got on the plane.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction> I MANIN LEATHER(O.S.)<\/stage_direction>\n    <scene_description>Okay, okay in Paris what did you do?<\/scene_description>\n    <character>MICHELE (O.S.)<\/character>\n    <dialogue>I put it in the locker at La Gare du Nord.<\/dialogue>\n    <character>MANIN TWEED(O.S.)<\/character>\n    <dialogue>And the key to the locker?<\/dialogue>\n    <character>MICHELE (O.S.)<\/character>\n    <dialogue>I left it in the phone booth with \\* chewing gum under the shelf.<\/dialogue>\n    <character>MANIN TWEED(O.S.)<\/character>\n    <dialogue>Who gave you the instructions?<\/dialogue>\n    <character>MICHELE (O.S.)<\/character>\n    <parenthetical>(crying out)<\/parenthetical>\n    <dialogue>Dede Martin. \\*<\/dialogue>\n    <character>MANIN TWEED(0,S.) \\*<\/character>\n    <dialogue>Who else? \\*<\/dialogue>\n    <character>MICHELE (O,S.) \\*<\/character>\n    <dialogue>Nobody else. Just Dede, he is a \\* friend of mine. \\*<\/dialogue>\n    <character>MANIN TWEED(O.S.) \\*<\/character>\n    <dialogue>He was. \\*<\/dialogue>\n    <character>MICHELE (O.S.) \\*<\/character>\n    <dialogue>He was. \\*<\/dialogue>\n    <scene_description>86B CONTINUED: 86B<\/scene_description>\n    <character>MANIN TWEED(O.S,)<\/character>\n    <dialogue>So, you left the statue in the locker.<\/dialogue>\n    <character>MICHELE(O.S.)<\/character>\n    <parenthetical>(crying out in frustration)<\/parenthetical>\n    <dialogue>The suitcase!<\/dialogue>\n    <character>MANIN LEATHER(O.S.)<\/character>\n    <dialogue>The suitcase?<\/dialogue>\n    <character>MICHELE(O.S.)<\/character>\n    <dialogue>I'm supposed to leave the statue, but I saw him at the station and got panicked -- I recognized him from the plane.<\/dialogue>\n    <scene_description>Richard is down to his shorts and peers out to catch a glimpse of Michele with her interrogators.<\/scene_description>\n    <character>MANIN LEATHER \\*<\/character>\n    <dialogue>Bullshit, the plane was packed, she didn't even know where I was sitting.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>I saw the stewardess spill coffee on you.<\/dialogue>\n    <parenthetical>(to the Man In Tweed)<\/parenthetical>\n    <dialogue>He has a bad temper.<\/dialogue>\n    <scene_description>Both men look to the stain on the Man in Leather's jacket.<\/scene_description>\n    <character>MANIN TWEED<\/character>\n    <dialogue>' (with a raised<\/dialogue>\n    <character>'<\/character>\n    <dialogue>eyebrow to Han<\/dialogue>\n    <scene_description>\"': .&lt;;~;J~!fk in Leather) \u2022~;.Yett,he does. So you saw him at ' , ' .. t:tll\u2022 station. \"t~i';\/\/,.~j!f MICHELE Yes. Just hr the lockers.<\/scene_description>\n    <character>MANIH TWEED<\/character>\n    <parenthetical>(an arm on her. shoulder)<\/parenthetical>\n    <dialogue>So, you panicked.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>86B CONTINUED: ( 2) 86B \\*<\/scene_description>\n    <character>MANIN TWEED<\/character>\n    <dialogue>And?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>And I throw the whole suitcase in the locker.<\/dialogue>\n    <character>MANIN TWEED<\/character>\n    <dialogue>-- With the statue?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>No, just the suitcase.<\/dialogue>\n    <character>MANIN LEATHER<\/character>\n    <dialogue>So you took the statue out!<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>No, it wasn't there.<\/dialogue>\n    <character>MANIN TWEED<\/character>\n    <dialogue>Where was it?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>In another suitcase!<\/dialogue>\n    <character>MANIN LEATHER<\/character>\n    <dialogue>What is this crap! What other suitcase? You think we're idi~ts?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>I don't, I don't.<\/dialogue>\n    <character>MANIN TWEED<\/character>\n    <dialogue>Then where is this other suitcase?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>I don't know!<\/dialogue>\n    <scene_description>This time the Man in Tweed nods and Michele knows it's coming.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>\" (after the slap)<\/dialogue>\n    <scene_description>I ''don' t know I<\/scene_description>\n    <character>MANIN TWEED<\/character>\n    <dialogue>Once again - -<\/dialogue>\n    <scene_description>Michele shakes her head.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Please don't --<\/dialogue>\n    <scene_description>A harder slap. 86B CONTINUED: ( 3) 86B \\*<\/scene_description>\n    <character>MICHELE<\/character>\n    <parenthetical>(sobbing)<\/parenthetical>\n    <dialogue>No!<\/dialogue>\n    <character>MANIN LEATHER<\/character>\n    <dialogue>Who has it?<\/dialogue>\n    <character>RICHARD(O.S.)<\/character>\n    <parenthetical>(froggy with sleep)<\/parenthetical>\n    <dialogue>Honey, huuney, honey, where are you?<\/dialogue>\n    <scene_description>The Man In Leather looks momentarily paralyzed with shock. He and the Man In Tweed race toward the bedroom followed by Michele. 86C OMITTED 86C \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM<\/stage_direction>\n    <character>- DAY 87<\/character>\n    <dialogue>They find Richard lounging under the covers half-buried; between a mound of pillows and stuffed animals. The Man In Leather is mortified. -;:-<\/dialogue>\n    <character>MANIN TWEED<\/character>\n    <parenthetical>(furious)<\/parenthetical>\n    <dialogue>You checked the bedroom too, I suppose? \u2022<\/dialogue>\n    <parenthetical>(to Michele)<\/parenthetical>\n    <dialogue>Who is he?<\/dialogue>\n    <scene_description>,.--':);;':''.: CONTINUED:<\/scene_description>\n    <character>MICHELE<\/character>\n    <parenthetical>(trying to be cool)<\/parenthetical>\n    <dialogue>Well, you know ...<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(sitting up slowly)<\/parenthetical>\n    <dialogue>I woke up and you were gone ... Come here. Come here.<\/dialogue>\n    <scene_description>Richard pats the bed. Michele comes. She sits.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>I missed you.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>I am sorry.<\/dialogue>\n    <scene_description>He puts his arms around her.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>And those guys were making a lot of noise.<\/dialogue>\n    <character>MANIN LEATHER<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <scene_description>Richard gives Michele a peck.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Are these guys friends of yours, honey?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Not exactly.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Well then what the fuck are we talking about?<\/dialogue>\n    <scene_description>He rises out of the bed standing on it momentarily looking huge and a little threatening despite being in his shorts.<\/scene_description>\n    <character>MANIN TWEED<\/character>\n    <dialogue>Now take it easy. There's been some mistake here<\/dialogue>\n    <parenthetical>(to Man In Leather)<\/parenthetical>\n    <dialogue>-- He's American and he may be crazy.<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(off the bed)<\/parenthetical>\n    <dialogue>You're telling me there's been a mistake. I'm telling you ...<\/dialogue>\n    <scene_description>CONTINUED: ( 2)<\/scene_description>\n    <character>MAN IN LEATHER<\/character>\n    <dialogue>Yes, yes of course. We were just asking the young lady a question or two.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>You're not asking her jackshit. You hear me, man? I haven't got all day. Haul ass.<\/dialogue>\n    <scene_description>The Man In Leather is one of those tight asses who can't take pressure without responding in kind.<\/scene_description>\n    <character>MAN IN LEATHER<\/character>\n    <dialogue>I'll go on my own time.<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(shoving him)<\/parenthetical>\n    <dialogue>You'll go now.<\/dialogue>\n    <scene_description>He pushes the Man In Leather with surprising force knocking him into the dresser behind him where bric-a-brac go flying -- and the cold cup of instant coffee Richard had left earlier splatters all over the leather jacket practically on top of the first coffee stain. The Man In Leather reacts like he's been shot. He's beside himself. Richard is amused. \\*<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Hey -- you don't want to mess \\* with me. I'm an American citizen. \\*<\/dialogue>\n    <scene_description>Richard doesn't see it coming. He's blindsided by one powerful punch and the second one takes him out. He collapses in a heap on the floor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATUE OF LIBERTY - DAY<\/stage_direction>\n    <scene_description>We see the Statue of Liberty upside down, with clouds drifting by behind it. We hear the sound of LOUD ROCK MUSIC.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. HOUSEBOAT - BEDROOM- DAY<\/stage_direction>\n    <scene_description>We discover the statue is seen through a window from Richard's POV, lying on a bed. He raises up on one elbow not quite believing what he's seeing. Still a bit out of it, he sees that the Statue of Liberty stands at the end of an island on a background of high-rise buildings over- looking the Seine.<\/scene_description>\n    <character>89<\/character>\n    <dialogue>This realization from the rock band in the houseboat NICOLE, the black owner, way to the bathroom<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>comes to him with musical living comes into the bedroom on her with a perfunctory<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>NICOLE<\/character>\n    <dialogue>Nicole. Who are you?<\/dialogue>\n    <scene_description>She barely shuts the bathroom door. Richard bolts out of the bedroom. I<\/scene_description>\n    <character>' 89A INT. HOUSEBOATLIVING ROOM - DAY 89A<\/character>\n    <dialogue>I The rock band is rehearsing -- little riffs which they<\/dialogue>\n    <scene_description>interrupt from time to time.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Excuse me. Excuse me. Excuse me -- where am I?<\/dialogue>\n    <scene_description>One of the GUITARISTS points with some amusement out the window at the river.<\/scene_description>\n    <character>GUITARIST<\/character>\n    <dialogue>Sur la Seine.<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(not amused)<\/parenthetical>\n    <dialogue>Thanks. Have you seen Michele? Michele -- Do you know a Michele?<\/dialogue>\n    <scene_description>The Guitarist finally points in the direction of the kitchen. Richard hurries round the corner and finds Michele, only partially dressed and on the phone. She waves to Richard, pours him coffee, but remains absorbed on the phone.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>How the hell did I get here?<\/dialogue>\n    <character>MICHELE<\/character>\n    <parenthetical>(cupping hands over phone)<\/parenthetical>\n    <dialogue>My friends take you ...<\/dialogue>\n    <parenthetical>(to the phone)<\/parenthetical>\n    <dialogue>... Ah out. Elle a rappele? Quand?<\/dialogue>\n    <scene_description>Richard looks out the window.<\/scene_description>\n    <character>89A CONTINUED: 89A<\/character>\n    <dialogue>RICHARD<\/dialogue>\n    <scene_description>The statue ...<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Schhh!<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>It's on the roof at your place. We've got to go.<\/dialogue>\n    <character>MICHELE<\/character>\n    <parenthetical>(to phone)<\/parenthetical>\n    <dialogue>A quelle heure va rappeler Madame Walker?<\/dialogue>\n    <scene_description>Michele gets the information.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Sondra? My wife?<\/dialogue>\n    <scene_description>Michele nods.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Wait! Don't hang up.<\/dialogue>\n    <character>MICHELE<\/character>\n    <parenthetical>(hanging up)<\/parenthetical>\n    <dialogue>It's the hotel. She call twice before. She'll call again in half an hour -- finish your coffee. I bring you there in ten minutes.<\/dialogue>\n    <scene_description>She heads out of the kitchen to dress, pausing in the doorway.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>You know you must put on your clothes -- but you look better like this.<\/dialogue>\n    <scene_description>And she's gone. OMITTED &amp; &amp;<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. QUAI IN FRONT OF BARGE - DAY<\/stage_direction>\n    <scene_description>Michele's VW is parked on the quai in front of the house- boat which is moored, along with a number of others, in the shadow of the Statue of Liberty. Richard, now wear- ing no shoes, and Michele walk down the gangplank, get into the car and drive away.<\/scene_description>\n    <character>93<\/character>\n    <dialogue>Michele several<\/dialogue>\n    <character>EXT. GRANDHOTEL - DAY<\/character>\n    <dialogue>and Richard guests stare<\/dialogue>\n    <scene_description>feet.<\/scene_description>\n    <character>94<\/character>\n    <dialogue>The room has been cleaned looking<\/dialogue>\n    <character>INT.<\/character>\n    <dialogue>up. at his watch which reads<\/dialogue>\n    <scene_description>him closely.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Could we have missed her?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>i ' No.<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(almost plaintive)<\/parenthetical>\n    <dialogue>You sure?<\/dialogue>\n    <scene_description>i ' CONTINUED:<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>I am sure. She will call.<\/dialogue>\n    <scene_description>Richard goes back to pacing -- catches Michele furtively biting a nail. She sees him watching, quickly takes her hand out of her mouth. He's visibly touched. The PHONE RINGS. Richard jumps over Michele to get it.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Hello!<\/dialogue>\n    <scene_description>On the other end of the line, it is a man's voice, speak- ing English with a heavy accent.<\/scene_description>\n    <character>MAN (V.O.)<\/character>\n    <dialogue>Where is it?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Where is my wife?<\/dialogue>\n    <scene_description>There is a long silence and Richard is not sure that he's not been cut off, then Sondra's voice comes on.<\/scene_description>\n    <character>SONDRA (V.O.)<\/character>\n    <parenthetical>(shakily)<\/parenthetical>\n    <dialogue>Hello ...<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(cheerfully)<\/parenthetical>\n    <dialogue>Hi, honey.<\/dialogue>\n    <character>SONDRA (V.O.)<\/character>\n    <parenthetical>(cracking up)<\/parenthetical>\n    <dialogue>Oh, Wal - ker! ...<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>I'm right here, now don't you worry about those bozos, are you?<\/dialogue>\n    <character>MAN(V.O.)<\/character>\n    <dialogue>All right, you talked to her.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Please, just don't ... frighten her, don't make her scared.<\/dialogue>\n    <character>MAN (V.O.)<\/character>\n    <dialogue>Don't worry. She's a bit tired.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>I've got what you want, I'll do what you say.<\/dialogue>\n    <scene_description>CONTINUED: ( 2)<\/scene_description>\n    <character>MAN (V. 0.)<\/character>\n    <dialogue>Metro Ternes, direction Porte Dauphine. Bring the statue, Johnnie.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>{looking at Michele)<\/dialogue>\n    <scene_description>Metro Ternes, direction Porte Dauphine. Michele nods she knows the place.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>With the statue. When?<\/dialogue>\n    <character>MAN (V. O.)<\/character>\n    <dialogue>Now. Oh, and, Johnnie, don't be stupid. Or else the beautiful Mrs. Walker goes bye-bye ...<\/dialogue>\n    <scene_description>The PHONE is HUNG UP.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MICHELE'S APARTMENT - ROOF - DAY<\/stage_direction>\n    <scene_description>Richard and Michele climb out of the window. Richard is now steadier on the roof as they climb to a spot above the statue in the rain gutter. He grabs onto a TV antenna with one hand and with the other holds Michele's wrist, as she, with the tip of her shoe, nudges the statue along the gutter, finally managing to wedge it against the corner. She tries to raise it upright, inch-by-inch, then reaches out with her hand to try and grab it. But it is just out of reach, and as she lunges for it, she knocks it off the roof. She slips. Richard grabs her tightly. We hear the sound of the STATUE HITTING the COURTYARD.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTYARD- DAY<\/stage_direction>\n    <scene_description>Next to the garbage cans, Richard and Michele pick up the pieces of the broken Statue of Liberty. Inside the largest piece there is a black cylindrical object. Richard removes it. It is a sort of metallic cathode tube with the name KRYTRON and the letters RP+T KRP 61 written on it. '<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>What is that?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>I don't know. It's got a radiation sign.<\/dialogue>\n    <scene_description>Richard puts the tube back inside the statue and does his best to fit the two pieces together, a rough fit.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>You got some tape?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. METRO TERNES - DAY<\/stage_direction>\n    <scene_description>Richard and Michele wait on the platform of the Ternes station, direction Porte Dauphine, as a metro rolls to a stop. Passengers get on and off. Richard carries the statue under his coat, as they look all around the station for some sign of what they are supposed to do. The station empties except for a man on the opposite platform, who sits and reads a newspaper. Richard checks his watch. He smiles grimly.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <scene_description>Ric;HARD I just missed my speech to the convention. They wait. She watches him.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>'Ow your wife call you?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>When you talk, 'ow does she call you? Richard? \\*<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Richard? Only if she's pissed.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>... ' peese d'? .<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Mad, angry.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>-- Oh -- When she is not 'peesed,' then 'ow, honey, baby, sweetheart?<\/dialogue>\n    <character>97<\/character>\n    <dialogue>RICHARD<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Why do you want to know?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>I am curious.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Walker.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Walker? That's your last name.<\/dialogue>\n    <scene_description>All of a sudden Michele freezes, staring over his I shoulder. I I<\/scene_description>\n    <character>' MICHELE<\/character>\n    <dialogue>I. He called you Johnnie. \\*<\/dialogue>\n    <character>I<\/character>\n    <dialogue>RICHARD<\/dialogue>\n    <scene_description>Yes. I I She points to the wall behind him. Richard turns around. There's a poster advertising Johnnie Walker. They take a closer look. In red magic marker on the ad are the words: DOCTORYELLOWLEVEL BEAUBOURG PARKING. Another train rolls into the station.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Beaubourg parking?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>I know what it is. Get in.<\/dialogue>\n    <scene_description>She pushes him into the train, which enters the tunnel and fades away.<\/scene_description>\n    <character>98<\/character>\n    <dialogue>The street is closed to Beaubourg through<\/dialogue>\n    <character>EXT. STREET - DAY<\/character>\n    <dialogue>to traffic. Richard and Michele the crowds of strollers.<\/dialogue>\n    <character>99<\/character>\n    <dialogue>Richard and Michele walk down the steps leading to the different levels of the Beaubourg car park.<\/dialogue>\n    <character>INT. CAR PARK STAIRCASE - DAY<\/character>\n    <dialogue>They arrive<\/dialogue>\n    <scene_description>in front of a yellow fire door. Richard opens the door.<\/scene_description>\n    <character>100<\/character>\n    <dialogue>The enormous garage yawns emptily in front Richard looks around. Then, to Michele:<\/dialogue>\n    <character>INT. CAR PARK - DAY<\/character>\n    <dialogue>of them.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>I can handle this myself. You don't have to stick around, you know.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>They owe me ten thousand francs. I owe you five thousand francs.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>You don't owe me anything.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>I want to meet sondra.<\/dialogue>\n    <scene_description>Richard looks at her, then pulls out the statue, now wrapped in tape, from under his coat, and hands it to her.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Wait over there.<\/dialogue>\n    <scene_description>He points out a pillar.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>And don't move till I tell you, okay?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Okay ... Walker, she calls you that when she likes you?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Carefully they advance into the parking structure. As they do:<\/scene_description>\n    <character>MICHELE<\/character>\n    <parenthetical>(trying it out)<\/parenthetical>\n    <dialogue>Walker. Walker, ohh, Walker -- I understand. It's nice ...<\/dialogue>\n    <parenthetical>(as they're about to separate, she grabs his hand and whispers)<\/parenthetical>\n    <dialogue>Merde! In French it is good<\/dialogue>\n    <scene_description>luck to say 'merde.' You are not supposed to answer. He hugs her a little awkwardly, then makes his way through the parked cars. Richard stands in the middle of the parking area, alone, waiting. After a while, headlights sweep over the con- crete -- a blue BMWis coming down the ramp. CONTINUED: (2) Richard backs up into the shadows as the BMWadvances slowly, followed at a distance by an Audi. The BMW license plate reads 1068 PD 75. There are three people in the car, barely distinguishable, two in the front seat, one in the back. The headlights turn off. In the dim light, Richard now sees Sondra in the passenger seat. The headlights die. He rushes up and grabs the door handle: it is locked. He puts his hands on the window, and virtually tries to kiss and embrace her through the window. She turns her haggard face towards him and speaks, but he cannot hear her. The driver is dark- skinned, just like the man in the back seat, HAMOU: tall, dark, with a mustache. The back window lowers. Hamou smiles and holds out his hand.<\/scene_description>\n    <character>HAMOU<\/character>\n    <dialogue>Lady Liberty.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Let her out first.<\/dialogue>\n    <scene_description>Hamou grabs Sondra by the hair and puts a knife to her throat.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Okay, okay, okay. I'm going to call the girl.<\/dialogue>\n    <scene_description>Richard looks back towards the pillars where Michele is hiding.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Michele!<\/dialogue>\n    <scene_description>Hamou and the driver turn back anxiously. The sight of Michele coming out of the shadows calms them; she is holding the statue above her head with two hands. She advances a few steps, then stops.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>First, tell them to let her out of the car and give me my bread.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Just bring it here. Give them what they want.<\/dialogue>\n    <scene_description>Michele steps further towards the BMW. Behind her, two silhouettes loom in the darkness: it is the two men who questioned Michele at her apartment. Shocked, Richard tries to yell, can't quite get it out.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Uh ... Uh ... Jesus, watch out! Michele!<\/dialogue>\n    <scene_description>CONTINUED: (3) The Man In Tweed grabs Michele. She struggles and manages to throw the statue towards Richard, but it falls to the ground and shatters once again. A GUN is FIRED from the Audi at the Man In Leather, who grabs his elbow. The Man In Tweed releases Michele, draws his pistol and goes for cover behind a pillar, as the Man In Leather RETURNS the FIRE. Michele puts her hands over her ears; the sound is deafening. The wheels of the BMWspin as it takes off. Richard picks up the piece of the statue with the Krytron, and takes a few running steps in pur- suit of the BMWas the GUN BATTLE rages behind him. He holds the statue out.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Take it! Take it! Let her go! Let her go!<\/dialogue>\n    <scene_description>The BMWdisappears up the ramp, TIRES SQUEALING around the turns. The Audi, still the target of FIRE, begins to follow the BMW. The right, back WINDOWis SHOT OUT, then the back window. Michele comes up to Richard. The driver of the Audi is dead, but the car still rolls until it wedges itself against a wall on the driver's side. The Man In Tweed starts running after the car while the Man In Leather pulls out a walkie-talkie and starts yelling into it. Richard jumps into the front seat. The corpse is of the same Mediterranean type as the men in the BMW, dark skin, mustache. The head is against the steering wheel, making the HORN BLOW. Richard pushes the corpse as far over as he can and gets the car going. He motions frantically for Michele who dives through the back window onto the back seat as the car drives off, with the two men hot in pursuit. They stretch their arms out to try and grab the Audi, but can not catch up. Michele sticks her tongue out at them. She yells.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Assholes.<\/dialogue>\n    <scene_description>The Audi disappears up the ramp.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARAGE TOLL BOOTH - DAY<\/stage_direction>\n    <scene_description>The toll gate lies smashed to pieces on the ground. The bewildered cashier has stepped out of his booth, and is looking up the ramp towards the exit. He has to jump a- side as Richard almost runs him over.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. AUDI\/STREET - DAY<\/stage_direction>\n    <scene_description>Holding the bloodstained wheel, Richard does his best to drive from the passenger seat, with the corpse of the driver still in the seat next to him, squeezed against the door, the head leaning on Richard's shoulder. In the back seat is a pale Michele.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. AUDI\/RUE DU RENARD - DAY<\/stage_direction>\n    <scene_description>Richard looks for a place to abandon the car. Michele leans over from the back seat, and, making believe that she is helping reposition the corpse, removes a wallet from the dead man's breast pocket. She puts the wallet in her bag. Richard concentrates on his driving.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. AUDI\/RUE DE RIVOLI - DAY<\/stage_direction>\n    <scene_description>Richard manages to park the Audi on the busy Rue de Rivoli. Pedestrians and cars pass by without noticing anything unusual. Richard and Michele start to get out of the Audi but Richard hesitates, looks down at the corpse, which has tumbled across the front seat. Richard bends down to the body, touches his carotid artery.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Come on!<\/dialogue>\n    <scene_description>Richard begins giving the body a pounding heart massage. A crowd starts to gather. After a few hits, blood comes out of the man's mouth. Richard stops massaging, opens the man's eye, looks into his pupil. He turns away. Michele tugs at him. Richard glances down at the corpse and lets Michele pull him through the crowd. They walk quickly away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFE - PHONE BOOTH - DAY<\/stage_direction>\n    <scene_description>Richard is on the phone, holding the Krytron in his hand.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>She was in a blue B.M.W. license number 1068 PD 92. She had a knife at her throat -- hello, have you heard anything I've said?<\/dialogue>\n    <character>WILLIAMS (V. 0. )<\/character>\n    <dialogue>'She had a knife at her throat' ... yes, go on ...<\/dialogue>\n    <character>105<\/character>\n    <dialogue>RICHARD<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>Go on? Where to, godammit? My wife's being held for ransom!<\/dialogue>\n    <character>WILLIAMS (V. 0. )<\/character>\n    <dialogue>Yes, yes. I've got that too, Doctor. They wanted this electronic gizmo from the broken statue.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>The Krytron!<\/dialogue>\n    <character>WILLIAMS (V.O.)<\/character>\n    <dialogue>Whatever. Now how about this other gang that came along in the Audi?<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(beside himself)<\/parenthetical>\n    <dialogue>Williams, the guy in the Audi was<\/dialogue>\n    <scene_description>'' one of them. He's dead. He's in the car on the Rue de Rivoli.<\/scene_description>\n    <character>WILLIAMS (V. 0. )<\/character>\n    <dialogue>I'm not really sure what you mean by 'them,' Doctor, excuse me I've got to take this call.<\/dialogue>\n    <scene_description>He puts Richard on hold and MUZAK. For a few moments Richard is treated to the song from the Moulin Rouge. Then:<\/scene_description>\n    <character>WILLIAMS (V. 0. )<\/character>\n    <dialogue>Sorry, Doctor. What number did you say you were calling from?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>How would I know? It's a cafe the Paris Midi.<\/dialogue>\n    <character>WILLIAMS (V. 0. )<\/character>\n    <dialogue>How do you spell that?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>With an 's' for shithead.<\/dialogue>\n    <scene_description>He slams down the phone.<\/scene_description>\n    <character>106<\/character>\n    <dialogue>There are few patrons in the cafe. in a raised booth at the back, with<\/dialogue>\n    <character>INT. REAR OF CAFE - DAY<\/character>\n    <dialogue>Michele sits smoking two coffees in front<\/dialogue>\n    <scene_description>of her. CONTINUED: She looks anxiously toward the rest room door. When she sees Richard come out, she's relieved. He appears to be smiling.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Everything it's all right?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>They wouldn't know and they don't care ...<\/dialogue>\n    <scene_description>. He sits, puts the Krytron on the table, picks up his coffee cup and starts to drink:<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>She looked drugged, you know? I mean drugged like she could barely move, it's so hard to see Sondra looking like that, normally she is so expressive.<\/dialogue>\n    <scene_description>Richard is suddenly crying. He sets down his coffee.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Michele, I'm stuck, honey. I don't know what else to do, I don't know where else to go ...<\/dialogue>\n    <scene_description>Michele puts her arms around Richard while he sobs quietly.<\/scene_description>\n    <character>MICHELE<\/character>\n    <parenthetical>(hugging him)<\/parenthetical>\n    <dialogue>Don't worry, we'll get her back, we'll get her back, please, just tell me what to do ...<\/dialogue>\n    <scene_description>Richard looks at her. Pulling himself together:<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Order us some more coffee. I'll clean up.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>You want a sandwich?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Have a sandwich.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Okay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REST ROOM - DAY<\/stage_direction>\n    <scene_description>Richard washes his bloody hands in the sink and looks at himself in the mirror. With his unshaven face, feverish eyes and no tie, he looks like an escapee from a mental asylum.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFE - DAY<\/stage_direction>\n    <scene_description>Richard returns, looking more composed. Michele is wolfing down a sandwich and going through the contents of the wallet she lifted off the dead man. As Richard sits down:<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Those guys are supposed to be loaded. Look at this! 200 francs!<\/dialogue>\n    <scene_description>She spreads out the contents of the wallet on the table: credit cards, business cards, a checkbook, a driver's license.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>His wallet?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Whose wallet?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>The dead guy.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>You took his wallet?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>I wasn't supposed to?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>No, no, yes. Sure. Here, let me see.<\/dialogue>\n    <scene_description>He puts on his glasses and feverishly examines the various items. He looks at the driver's license.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Born in Cyprus.<\/dialogue>\n    <scene_description>Michele has fished out a colored business card. CONTINUED:<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Look at this.<\/dialogue>\n    <scene_description>She shows it to Richard. There is a name written on it: A TOUCH OF CLASS. It is also written in Arabic -- along with the address, 139 rue Bousier 75015 Paris.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>It's a night club.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>You know it?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Sure, it's for old jerks and really square. It's full of rich Arabs -- Greeks too.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>You've been there?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Once, Dede Martin took me.<\/dialogue>\n    <scene_description>He takes the wallet and begins to stuff its contents back in. He puts the wallet in his breast pocket, then snaps his fingers to get the waiter's attention. Just then, American Officer Williams and Security Officer Shaap from the embassy come up behind him. Shaap wears a jogging suit. Richard's surprised, not at all happy to see them. The two men sit down, a bit too friendly to seem sincere.<\/scene_description>\n    <character>WILLIAMS<\/character>\n    <dialogue>I have to admit, it looks like you were right, Dr. Walker.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>What about?<\/dialogue>\n    <character>WILLIAMS<\/character>\n    <parenthetical>(to Shaap indicating Michele)<\/parenthetical>\n    <dialogue>Uh ... Doug?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Don't worry about Michele. She knows more about this than you do. Now, who has my wife?<\/dialogue>\n    <character>SHAAP<\/character>\n    <dialogue>We believe they're Arabs.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Now that's news.<\/dialogue>\n    <character>SHAAP<\/character>\n    <dialogue>We're playing catch-up ball here, Doctor. All we know is they're Arab agents.<\/dialogue>\n    <parenthetical>(glancing around to make sure they won't be heard)<\/parenthetical>\n    <dialogue>Have you ever heard of Krytron, Doctor?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>WILLIAMS<\/character>\n    <dialogue>I must admit, neither had I.<\/dialogue>\n    <character>SHAAP<\/character>\n    <parenthetical>(going on)<\/parenthetical>\n    <dialogue>They' re ...<\/dialogue>\n    <parenthetical>(indicating device)<\/parenthetical>\n    <dialogue>... it's an electronic switch. A miniature high performance switch capable of withstanding severe shock and vibration.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>What's it do?<\/dialogue>\n    <character>SHAAP<\/character>\n    <dialogue>It's used in missile separation and for triggering the detonation of nuclear devices.<\/dialogue>\n    <scene_description>Richard reaches for the Krytron. His fingers close around it as the conversation continues.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>This thing sets off atomic bombs?<\/dialogue>\n    <character>WILLIAMS<\/character>\n    <dialogue>That's what they are after.<\/dialogue>\n    <parenthetical>(after a pause)<\/parenthetical>\n    <dialogue>It was stolen from the manufacturer.<\/dialogue>\n    <character>SHAAP<\/character>\n    <dialogue>We're extremely, uh, lucky it's fallen into the hands of an American citizen.<\/dialogue>\n    <scene_description>CONTINUED: ( 3)<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Merde. I should have asked for 20,000 francs at least.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>What about the two guys in Michele's apartment?<\/dialogue>\n    <character>WILLIAMS<\/character>\n    <dialogue>Probably on our side.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Our side?<\/dialogue>\n    <character>WILLIAMS<\/character>\n    <dialogue>We're doing everything we can for your wife, Dr. Walker. We're putting a lot of pressure on the French Minister of Interior.<\/dialogue>\n    <character>SHAAP<\/character>\n    <parenthetical>(chiming in)<\/parenthetical>\n    <dialogue>We've also brought Interpol into this. I've already sent a telex off to the State Department.<\/dialogue>\n    <scene_description>Both Williams and Shaap increasingly have eyes only for the Krytron on the table top.<\/scene_description>\n    <character>WILLIAMS<\/character>\n    <dialogue>Obviously, priority one is to get this ...<\/dialogue>\n    <parenthetical>(he points to the device)<\/parenthetical>\n    <dialogue>... to a safe location.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>And where might that be?<\/dialogue>\n    <character>SHAAP<\/character>\n    <dialogue>At the embassy.<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(indicating Krytron)<\/parenthetical>\n    <dialogue>This is Sondra's life.<\/dialogue>\n    <character>SHAAP<\/character>\n    <dialogue>The device doesn't belong to you, Dr. Walker.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>It doesn't belong to you, either.<\/dialogue>\n    <scene_description>CONTINUED: (4)<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>It belongs to me. I brought it over.<\/dialogue>\n    <scene_description>Quick as lightning she grabs the Krytron. Anticipating, Shaap grabs her wrist.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Let her go!<\/dialogue>\n    <scene_description>He comes to Michele's rescue, trying to loosen Shaap's grip. Williams Joins in, and the four battle furiously, silently, until the Krytron is knocked to the floor and rolls under the table.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDER CAFE TABLE - DAY<\/stage_direction>\n    <scene_description>The four struggle to take possession of the Krytron. Michele reaches into her handbag and pulls out the mace, spraying liberally under the table. All three men are immobilized by\u00b7 the gas. Michele picks up the Krytron and helps Richard get up. She steers him quickly toward the cafe exit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>Completely blinded by the mace, Richard allows himself to be pulled down the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSEBOAT KITCHEN AREA - DAY<\/stage_direction>\n    <scene_description>Michele, by the kitchen sink, cleans the mace out of Richard's eyes with Visine. Richard is seated, his eyes are closed and still watery. The singer has begun to get ready for the nightly gig. The band is packing up. Nicole pops her head out of the bedroom and shouts to Michele to put water on for coffee.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>How do they feel now?<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(obviously they don't)<\/parenthetical>\n    <dialogue>Wonderful. It takes a while. Mace can have long-term effects.<\/dialogue>\n    <character>MICHELE<\/character>\n    <parenthetical>(dabbing at him)<\/parenthetical>\n    <dialogue>Walker, you are always the doctor.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Am I?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Certainly. Am I a nurse?<\/dialogue>\n    <scene_description>She finishes. His eyes are open. She is nose to nose with him.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Sure. Listen, you get any closer and my eyes are going to cross. Where is this nightclub?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Rue Bousier. Don't worry. I take you there. I must, I have made you helpless.<\/dialogue>\n    <scene_description>She laughs and heads to fill the teapot with water.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>I think I will ask for more money.<\/dialogue>\n    <scene_description>Despite his wooziness and blurry eyes, Richard reaches out and swiftly grabs Michele.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Don't do it.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>They won't hurt Sondra because I ask for money.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>They might hurt you.<\/dialogue>\n    <scene_description>She looks at him a moment then breaks away.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>I have to make coffee.<\/dialogue>\n    <scene_description>lllA INT. BEDROOM- TWILIGHT lllA Richard is on the bed, ditching the Krytron under the side of the mattress closest to the wall. Michele is glimpsed in the bathroom doorway.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Does it make a difference what I wear?<\/dialogue>\n    <scene_description>lllA CONTINUED: lllA<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Oh hell, you've been there, you'd know better than I would.<\/dialogue>\n    <scene_description>Michele walks into the bedroom. She's pulled herself together, is wearing makeup and is kind of a knockout.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>This, it's all right?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Well, yeah.<\/dialogue>\n    <parenthetical>(he means it)<\/parenthetical>\n    <dialogue>It's nice to see you ... look nice. All set?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>I must put on my shoes.<\/dialogue>\n    <parenthetical>(putting on one)<\/parenthetical>\n    <dialogue>You know, Walker, when we first meet, it is not evident I might like you.<\/dialogue>\n    <scene_description>She's put one on.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>She holds his arm to steady herself as she puts the other one on.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>... But what you feel at first ... is not always a real truth. I am ready.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. VW\/STREET - \"A TOUCH OF CLASS\" - NIGHT<\/stage_direction>\n    <scene_description>Richard and Michele are in the VW. The car stops near the blue BMW. We see the license plate: 1068 PD 75. Further down the block, we see the neon sign of a night club: \"A TOUCH OF CLASS.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \"A TOUCH OF CLASS\" NIGHT CLUB - NIGHT<\/stage_direction>\n    <scene_description>A Touch of Class is a discotheque and restaurant attracting a fairly well-to-do Middle Eastern clientele. Richard and Michele enters as if into the mouth of a lion. Despite his ragged appearance, Richard retains an imposing presence: he exudes authority. CONTINUED: The maitre d' leads Michele and Richard to a table. They sit down. The WAITER comes to take their order.<\/scene_description>\n    <character>WAITER<\/character>\n    <dialogue>Vous desirez?<\/dialogue>\n    <scene_description>Richard removes a credit card from the wallet of the dead man, and holds it out to the Waiter.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>First I want to know if you take this card.<\/dialogue>\n    <character>WAITER<\/character>\n    <dialogue>Of course. American Express.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Go and ask.<\/dialogue>\n    <character>WAITER<\/character>\n    <dialogue>No problem, I assure you.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Do me a favor. I insist.<\/dialogue>\n    <scene_description>Richard gives him the card, then follows him with his gaze as he walks away.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>This music makes me sick.<\/dialogue>\n    <scene_description>She gets up and walks over to the DJ. Richard looks around him. At the table next to him, three Tunisian couples are seated. One of the men, Dr. METLAOUI, slim, with glasses and mustache, turns back and notices Richard.<\/scene_description>\n    <character>METLAOUI<\/character>\n    <dialogue>I'll be damned!<\/dialogue>\n    <scene_description>Richard does not recognize the man. He frowns. Metlaoui persists and introduces himself.<\/scene_description>\n    <character>METLAOUI<\/character>\n    <dialogue>Doctor Metlaoui, Cairo cardiology convention, 1981. You remember?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Oh sure. Well, I ...<\/dialogue>\n    <scene_description>Metlaoui turns to his companions to sing Richard's praise. CONTINUED: (2)<\/scene_description>\n    <character>METLAOUI<\/character>\n    <dialogue>This is him. This is Doctor Richard Walker.<\/dialogue>\n    <parenthetical>(to Richard)<\/parenthetical>\n    <dialogue>We were all waiting for your lecture today.<\/dialogue>\n    <parenthetical>(to his table)<\/parenthetical>\n    <dialogue>He's the one who does all that replacement of aortic valves with pig valves.<\/dialogue>\n    <parenthetical>(to Richard)<\/parenthetical>\n    <dialogue>That wouldn't catch on in our part of the world, if you know what I mean.<\/dialogue>\n    <scene_description>He laughs hysterically. His exuberance embarrasses Richard.<\/scene_description>\n    <character>METLAOUI<\/character>\n    <dialogue>Let me introduce you: Doctor Allouf, Doctor Bouzid and Professor Cheri\u00a3 from the Clinique des Oliviers. The best surgeon in Tunisia ...<\/dialogue>\n    <scene_description>Seeing Richard's morose expression, Metlaoui leans back on his chair and puts his face close to Richard's. He speaks more softly.<\/scene_description>\n    <character>METLAOUI<\/character>\n    <dialogue>What happened? Did you have some problem? Or did you have too much champagne, like us?<\/dialogue>\n    <scene_description>He laughs again. He taps Richard on the shoulder to encourage the confes- sion. The MUSIC of Grace Jones comes over the SOUND SYSTEM as Michele comes back to the table. Michele, sizing up the situation, comes to Richard's rescue.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>We dance?<\/dialogue>\n    <character>METLAOUI<\/character>\n    <parenthetical>(to his companions)<\/parenthetical>\n    <dialogue>I see: Cherchez la Femme. Ha ha.<\/dialogue>\n    <scene_description>Richard gets up, nods to the next table and goes out on to the dance floor. He and Michele are mysteriously united by the undefined sensuality and danger. CONTINUED: (3) Holding her, Richard can see around them the faces that observe him: the maitre d', the barman, a fellow with the build of a bouncer. Suddenly, Richard perceives someone sitting at their table, motionless, with his back turned to the dance floor. Richard stops dancing and leads Michele back to the table. We recognize Hamou, the man with the mustache from the BMW. Richard and Michele sit at the table. The credit card is lying on the table. Hamou announces in a disquietingly friendly tone.<\/scene_description>\n    <character>HAMOU<\/character>\n    <dialogue>We take American Express.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>I've got something else, too.<\/dialogue>\n    <scene_description>He takes the dead man's wallet out of his pocket and puts it on the table.<\/scene_description>\n    <character>HAMOU<\/character>\n    <parenthetical>(taking the wallet)<\/parenthetical>\n    <dialogue>What a pity. It's most regretted that you were followed.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Oh, I don't know. It could be that you were followed.<\/dialogue>\n    <character>HAMOU<\/character>\n    <dialogue>I doubt that. My men are trained professionals.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Well, I may be the amateur here but if I want something from your suitcase I take your suitcase. I don't take your wife.<\/dialogue>\n    <scene_description>Hamou laughs.<\/scene_description>\n    <character>HAMOU<\/character>\n    <dialogue>That's a good one, Doctor. But look at it from our side of the coin. We were dealing through a petty drug smuggler, the suitcase in the locker had your wife's name but no statue -- naturally we presumed your wife was the courier and was double-dealing, that she had double-crossed us.<\/dialogue>\n    <scene_description>CONTINUED: ( 4)<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>If you hadn't been in such a hurry to slit the petty drug dealer's throat, he might have been able to tell you who was going to deliver the statue.<\/dialogue>\n    <character>HAMOU<\/character>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>We still have your wife, Doctor.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>I still have what you want.<\/dialogue>\n    <character>HAMOU<\/character>\n    <dialogue>Then let me propose another exchange.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Anybody who doesn't take the time to tell the difference between my wife and her luggage shouldn't be trusted with either one -- you'll hear from me how it's gonna be done. \\*<\/dialogue>\n    <character>HAMOU<\/character>\n    <dialogue>Very well So everybody is in your hands, Doctor.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SEINE RIVER - HOUSEBOAT - NIGHT<\/stage_direction>\n    <scene_description>Darkness covers the city. The Eiffel Tower is lit up in the distance. The barge sits on the placid waters of the Seine.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. HOUSEBOAT\/SEINE RIVER - NIGHT<\/stage_direction>\n    <scene_description>Richard and Michele are alone on the barge. Michele sleeps balled up on an armchair, with only her shoes off. Richard paces silently, deep in thought. He notices that one of his shoelaces is untied so he places his foot on a loudspeaker and ties it. At this moment a \"bateau mouche\" passes by lighting up Richard's face, the whole river, the Ile aux Cygnes and casting a luminous, ghostly aura around the Statue of Liberty, a dazzling sight.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSEBOAT - NIGHT<\/stage_direction>\n    <scene_description>Richard talks softly on the phone, sitting at a table and signing the second of two five-hundred dollar traveller's checks.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>You ready?<\/dialogue>\n    <character>HAMOU (V. 0.)<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Richard looks at his watch.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Five A.M. On the bridge. By the Statue of Liberty.<\/dialogue>\n    <scene_description>A short silence.<\/scene_description>\n    <character>HAMOU ( V . 0 . )<\/character>\n    <dialogue>I understand.<\/dialogue>\n    <scene_description>Richard hangs up, goes into the bedroom and returns, pocketing the Krytron. He looks at Michele, who is still apparently sleeping. She looks especially innocent and vulnerable. She turns in the armchair and the blanket covering her slips, revealing her crumpled miniskirt and white thighs. Richard carefully sets down the traveller's checks, anchoring them with a lamp at a nearby table. He starts out -- then turns to Michele one last time to put the blanket back in place. For one more moment he looks at her, then leaves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ISLAND - PONT DE GRENELLE - STATUE OF LIBERTY -<\/stage_direction>\n    <character>DAWN<\/character>\n    <dialogue>In the cold, grey dawn, Richard waits alone by the bridge railing. Below him runs the Ile aux Cygnes, a concrete strip of an island. At the tip of the island, fifty yards away, stands the Statue of Liberty. There is al- most no traffic. A solitary car comes onto the bridge then passes by: false alarm. There is movement at the end of the bridge. Alertly, Richard turns to the sound of FOOTSTEPS.<\/dialogue>\n    <dialogue>Michele appears out of the shadows. Her nose is red and she's angry. She walks up to Richard, takes his travel- ler's checks and stuffs them into his coat pocket.<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>You broke your word. You were to keep me with you.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>I'm sorry -- it's dangerous.<\/dialogue>\n    <scene_description>She keeps her eyes on him for a long unwavering moment.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>I am very cross with you, Walker.<\/dialogue>\n    <scene_description>Richard turns to her and after a long moment points to the two buttons undone at the top of her coat.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>It's cold.<\/dialogue>\n    <scene_description>She does them up, moves to his side. Out of the battleship gray, we hear, then we see a MOTOR- BOAT with three silhouettes onboard, two men and a woman, Hamou, his henchmen, who drove the BMW, and Sondra. The boat comes up to the tip of the bridge and down the stairway leading to the upstream side of the island. To get to the statue from the bottom of the stairs, they run downstream under the bridge.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNDER BRIDGE - DAWN<\/stage_direction>\n    <scene_description>Richard and Michele stop under the bridge, a good distance from the boat. Hamou yells out.<\/scene_description>\n    <character>HAMOU<\/character>\n    <dialogue>Let's see it.<\/dialogue>\n    <scene_description>Richard removes the Krytron from his pocket and holds it up for Hamou to see.<\/scene_description>\n    <character>HAMOU<\/character>\n    <dialogue>Give it to the girl. She comes alone.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>My wife,<\/dialogue>\n    <scene_description>Hamou and his Henchman let Sondra climb out of the boat. She begins to walk towards the bridge, as Michele, with the Krytron in hand, advances towards the tip of the island. The two women pass each other halfway. Michele smiles at Sondra who looks worn and confused. As soon as she passes Michele, Sondra races into Richard's arms. They hold each other tight, without a word. Michele nears the boat as Hamou reaches out his hand to receive the Krytron. Michele pretends that she is going to throw the device into the water. CONTINUED:<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Give me my money or I'll throw this in the river.<\/dialogue>\n    <scene_description>Surprised by the unexpected demand, Hamou stutters, feeling his pockets.<\/scene_description>\n    <character>HAMOU<\/character>\n    <dialogue>Money? What money ... I don't ... I don't have ...<\/dialogue>\n    <scene_description>Hamou lunges and manages to grab Michele by the ankle so that she tumbles forward, letting go of the Krytron. Suddenly, from the top of the bridge, an order is barked out.<\/scene_description>\n    <character>VOICE (O.S.)<\/character>\n    <dialogue>Freeze.<\/dialogue>\n    <scene_description>Hamou and his Henchman look up. On the bridge they see the Man in Leather and the Man in Tweed, pointing guns in their direction.<\/scene_description>\n    <character>MANIN TWEED<\/character>\n    <dialogue>The girl brings it up here.<\/dialogue>\n    <scene_description>Hamou pulls out his gun and grabs Michele to use her as a shield, dragging her toward the Statue of Liberty. Henchman reaches down and pulls up a MACHINEGUN from the bottom of the boat. He begins to SPRAY the bridge and runs forward to pick up the Krytron. The Man in Tweed and the Man in Leather lay flat on the bridge, well protected, and RETURNthe FIRE. Henchman cries out: he has been hit. He dies with the Krytron lying in his open hand. Michele takes advantage of the diversion to get out of Hamou's hold. She breaks away but he falls on her from behind and pulls her the last few feet to the base of the Statue of Liberty -- from where he RETURNSthe FIRE from the bridge. Fragments of the statue fly like shrapnel. Walker and Sondra watch from the shadow of the bridge. Walker looks to the open ground between them and the statue -- heads out from under the bridge.<\/scene_description>\n    <character>SONDRA<\/character>\n    <parenthetical>(panicked)<\/parenthetical>\n    <dialogue>Where're you going?<\/dialogue>\n    <scene_description>CONTINUED: ( 2)<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>It's okay. I've got to<\/dialogue>\n    <scene_description>He quietly slips from the span under the bridge to the edge of the island -- and disappears.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>118A EXT. TIP OF ISLAND - DAWN 118A<\/stage_direction>\n    <scene_description>Michele with Hamou is being crushed under his weight.<\/scene_description>\n    <character>HAMOU<\/character>\n    <dialogue>All right, where is it? You have it?<\/dialogue>\n    <character>MICHELE<\/character>\n    <dialogue>Merde -- yes.<\/dialogue>\n    <character>HAMOU<\/character>\n    <dialogue>On your feet, on your feet.<\/dialogue>\n    <scene_description>They attempt to rise. More FIRE.<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>No -- they will shoot me.<\/dialogue>\n    <character>HAMOU<\/character>\n    <dialogue>Then they will shoot you. We are going to the boat.<\/dialogue>\n    <scene_description>He starts to force her to her feet -- when from behind them both Richard appears and falls on Hamou knocking him away from Michele and into the flower bed at the base of the Statue of Liberty. They struggle with the gun and Hamou breaks away and into the clear, only to be cut down by the GUNFIRE from the bridge.<\/scene_description>\n    <character>RICHARD<\/character>\n    <parenthetical>(to Michele)<\/parenthetical>\n    <dialogue>Get on the boat.<\/dialogue>\n    <scene_description>Michele hesitates.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Get on the boat!<\/dialogue>\n    <scene_description>She runs to pick up the Krytron from the open hand of the dead Henchman. SHOTS RING OUT -- from both the bridge and the dying Hamou. Several ROUNDS hit the ground around Michele as she staggers and veers to the bridge where she runs into Sondra in its shadows. Richard races toward the bridge as well.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>118B EXT. UNDERBRIDGE - DAWN 118B<\/stage_direction>\n    <scene_description>He finds Michele fallen, Sondra kneeling beside her, her arm under Michele. Sondra looks up in shock at her husband.<\/scene_description>\n    <character>MICHELE<\/character>\n    <parenthetical>(to Richard)<\/parenthetical>\n    <dialogue>I say to her I want to meet her.<\/dialogue>\n    <parenthetical>(she cries out)<\/parenthetical>\n    <dialogue>Oh, Walker! ... It hurts ... it hurts ...<\/dialogue>\n    <scene_description>Sondra withdraws her hand and Richard can see the blood. He kneels close to Michele. Sondra watching.<\/scene_description>\n    <character>MICHELE<\/character>\n    <parenthetical>(as he checks her)<\/parenthetical>\n    <dialogue>Will I be all right?<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(desperate; quiet but desperate)<\/parenthetical>\n    <dialogue>You'll be fine.<\/dialogue>\n    <scene_description>More SHOTS RING OUT. Michele moans and her eyes grow glassy. She slips the Krytron into the pocket of his coat. With a little sigh:<\/scene_description>\n    <character>MICHELE<\/character>\n    <dialogue>Ne me laisse pas toute seule.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Michele's head falls to the side heavily. Sondra gasps. There's a final BURST of GUNFIRE from the Henchman, who rolls over, inert. Richard takes the pulse from Michele's carotid artery. She is dead. He looks at her as though he'll never take his eyes off her -- then the sound of SHOUTSand RUNNINGfrom the stairway are heard overhead. The STEPS of the Man in Tweed and the Man in Leather RING as they come down the stairs toward the island. Richard grabs Sondra's hand and dashes toward the boat. As they step onto the boat the two men appear under the bridge. Feverishly Richard casts off pushing the boat away from the bank with all his strength. Realizing that they can no longer reach the boat, the Man in Leather and the Man in Tweed head back to the bridge.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRIDGE - DAWN<\/stage_direction>\n    <scene_description>The Man in Tweed and the Man in Leather get into their car, as in the distance Richard is still unable to get the motorboat started. The car speeds off towards the Left Bank and turns downstream in pursuit of the drift ing boat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOAT - DAWN<\/stage_direction>\n    <scene_description>After many tries, Richard finally manages to get the MOTOR GOING. He turns the boat upstream.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LEFT BANK - DAWN<\/stage_direction>\n    <scene_description>Seeing that the boat has turned around, the Man in Leather and the Man in Tweed try to do the same on the one way street. Blocked by traffic, the car cannot make a U-turn to follow, and is left behind.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVER SEINE - SUNRISE<\/stage_direction>\n    <scene_description>In the speeding boat, Richard and Sondra are silent as the first sun rays appear on the river. With the light- ing and the beautiful sights the boat ride is a tourist's dream. Except the only thing that matters is getting away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>122A EXT. ILE DE LA CITE - EARLY MORNING 122A<\/stage_direction>\n    <scene_description>The boat approaches and Richard CUTS DOWNon the THROTTLE. Sondra stands for the first time, huddling into Richard's shoulder.<\/scene_description>\n    <character>SONDRA<\/character>\n    <parenthetical>(very quietly)<\/parenthetical>\n    <dialogue>Was that the girl with our suitcase?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>SONDRA<\/character>\n    <dialogue>Who was she?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ILE DE LA CITE - EARLY MORNING<\/stage_direction>\n    <scene_description>It is hard for Richard to reply. CONTINUED:<\/scene_description>\n    <character>RICHARD<\/character>\n    <parenthetical>(very slowly)<\/parenthetical>\n    <dialogue>Her name was Vi viane ... Dumas - - but she liked Michele.<\/dialogue>\n    <scene_description>They have reached the island. Richard is too shaken to say any more. He steps out and holds the mooring line to steady Sondra when he helps her onto the island. She leans into him and he holds her as he tries to hang onto himself -- waiting for the police whose SIRENS FILL THE AIR all along the Seine. He waves once toward them as they approach.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI - STREET - MORNING<\/stage_direction>\n    <scene_description>Richard and Sondra sit in the early morning traffic reminiscent of their entrance into the city at the beginning. Richard stares straight ahead. Sondra is watching him. The taxi is stalled in traffic behind another garbage truck. CARS HONK.<\/scene_description>\n    <character>SONDRA<\/character>\n    <dialogue>What's on your mind? Can you tell me?<\/dialogue>\n    <scene_description>Richard shrugs.<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <character>SONDRA<\/character>\n    <dialogue>I know you, Walker.<\/dialogue>\n    <scene_description>He turns to Sondra.<\/scene_description>\n    <character>RICHARD<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>The last thing she said. It was in French. I don't know what it was ...<\/dialogue>\n    <scene_description>His voice is shaky. He stops talking, sits back in the cab. Sondra stares at him for a long time. Her eyes well up:<\/scene_description>\n    <character>SONDRA<\/character>\n    <dialogue>She asked you ... please not to leave her alone -- and I'm sure you never will! ...<\/dialogue>\n    <scene_description>Sondra suddenly seems terrified. Richard sits up, looks her dead in the eye. CONTINUED:<\/scene_description>\n    <character>RICHARD<\/character>\n    <dialogue>I love you, baby.<\/dialogue>\n    <scene_description>Sondra throws her arms gratefully around her husband and leans into him -- gives a little cry of discomfort. Richard looks puzzled. Richard reaches into his pocket. He pulls out his hand- kerchief -- and the Krytron. He stares at it as if he were hallucinating.<\/scene_description>\n    <character>SONDRA<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>Nothin' we need.<\/dialogue>\n    <scene_description>Richard rolls down his window and tosses the Krytron into ,~ the back of the garbage truck, then rolls up the window.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NOTRE DAME - STREET - DAY 125 \\*<\/stage_direction>\n    <scene_description>The garbage truck moves out of the way and the taxi starts up again. We see the beautiful facade of Notre Dame. The taxi moves off and disappears in the distance.<\/scene_description>\n    <character>THE END<\/character>\n    <scene_description>BY WARNERBROS. INC.: SCRIPT PROCESSINGDEPARTMENT<\/scene_description>\n    <character>(818) 954-4632<\/character>\n  <\/scene>\n<\/script>","summary":"Dr. Richard Walker is a surgeon visiting Paris with his wife Sondra for a medical conference. At their hotel, she is unable to unlock her suitcase, and Walker determines that she picked up the wrong one at the airport. While Walker is taking a shower, Sondra receives a phone call that Walker can't hear and she mysteriously disappears from their hotel room. Still jet-lagged, Walker searches for his wife in the hotel with the help of a polite but mostly indifferent staff and then wanders outside to look for her himself. A wino overhears him in a caf\u00e9 and says he saw Sondra being forced into a car in a nearby alley. Walker is skeptical, until he finds his wife's ID bracelet on the cobblestones. He contacts the Paris police and the U.S. Embassy, but their responses are bureaucratic, and there is little hope anyone will bother looking for her.  As Walker carries on the search himself he stumbles onto a murder site where he encounters the streetwise young Michelle, who mistook Sondra's suitcase for her own at the airport. He realises that Michelle is a career drug smuggler, but does not care or know for which shady dealers she is hired.  Michelle reluctantly helps Walker in his  attempt to learn what was packed in her switched suitcase, and how to trade the contents for the return of his kidnapped wife. Following their visit to Michelle's apartment, Walker's hotel room and shabby cabarets, it turns out that the smuggled contents are not drugs, but a krytron, an electronic switch used as a detonator for nuclear weapons, stolen and smuggled inside a souvenir replica of the Statue of Liberty, on orders of some Arab country's agents.  The American embassy, working with Israeli agents, wants to get hold of the precious device, and they have no problem letting Sondra die for it. In order to save his wife, Walker joins forces with Michelle, who is only interested in getting her paycheck. The film finishes with a confrontation on the \u00cele aux Cygnes, in the middle of the Seine, next to the Paris Statue of Liberty replica there, where Sondra is to be released in exchange for the krytron. However, a gunfight ensues between the Arab agents who were to get the precious device, and the Israeli Mossad secret agents who traced them to get hold of it. The Arabs are killed in the crossfire but Michelle is hit too, dying soon after having slipped the krytron into Walker's pocket, with Sondra at their side.  Furious, Walker shows the krytron device to the Israeli agents before he throws it into the Seine.  He carries Michelle's body away, ready to leave Paris with his wife."}
{"movie_name":"Creation_2009","imdb_id":"tt0974014","script":"<script>\n  <scene>\n    <character>CREATION<\/character>\n    <dialogue>Written by<\/dialogue>\n    <scene_description>John Collee Note: Our story alternates between Past and Present \"Present\" means the fall of 1858 when Darwin was 49. The children are: Etty (15) George (14) Betty (11) Franky (10) Lenny (8) and Horace (6). \"Past\" means the summer of 1850, when Darwin was 41. The children are: Willy (11), Annie (9) Etty (6) George (5), Betty (3) Franky (2y) and baby Lenny.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARK ROOM. THE PAST. DAY<\/stage_direction>\n    <scene_description>In darkness, chemicals wash over a copper plate. Strange silvery patterns evolve in the half-light.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TERRA DEL FUEGO. DAY<\/stage_direction>\n    <scene_description>Our POV rotates downwards onto an irregular shape. This shape is grey-green and crammed with detail which emerges as we draw close - like a continent seen from outer space. A fruit fly lands on it and we now recognise the shape as a patch of lichen. A number of other fruit flies are grazing there. Wider. The lichen is on a rock. A black lizard climbs over the horizon - stalking flies. A slow advance. A sudden rush. A fly is snapped up and mashed between toothless gums. The lizard is fixing its beady gaze on the next potential victim when... A shadow falls, the lizard tries to flee. A seabird grabs the lizard in its claws. Death is sudden and bloody. The bird settles to eat. Whizz...Thunk. A sharpened stick flies out of nowhere and impales the bird through its wing. The wounded bird falls between boulders, flapping helplessly. The rest of the flock take to their air, calling and wheeling as... A crowd of local savages come racing over the larger horizon of the rocks armed with primitive bows and arrows, spears, rocks and throwing-sticks... A child grabs the injured bird and kills it. An adult biffs the child on the head and steals the bird. The rest of the savages leap among the jagged rocks smiting each other, shouting and snarling among the whirling flock of birds. AND WE CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COASTLINE. DAY<\/stage_direction>\n    <scene_description>A POV shot through a telescope: The whirling birds the strange half-animal forms of the savages. The whole scene is jerky, out of focus and inaudible at this great distance like a very old silent movie.<\/scene_description>\n    <character>CHARLES DARWIN (V.O.)<\/character>\n    <dialogue>In Terra del Fuego. The \"land of fire\" - A blighted and loveless country on the earths furthest rim - there lives a community of the dirtiest, the rudest, the least civilised beings you can imagine.<\/dialogue>\n    <scene_description>The telescope focusses. The image becomes a little clearer<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLIFF TOP. DAY<\/stage_direction>\n    <scene_description>The flock of boobies fly out to sea. The savages follow as far as the top of the cliffs, where they stop in sudden amazement, staring at a distant sailing ship.<\/scene_description>\n    <character>DARWIN (V.O.)<\/character>\n    <dialogue>They were all completely naked, the men as well as the women, with hair down to their bottoms. They spoke in grunts and they never washed their hands and faces! In many respects they resembled wild animals, except that animals are kinder to their children.<\/dialogue>\n    <scene_description>A savage child makes a comment and gets biffed on the head again. Strange, foreign cries of the sailors are faintly audible over the water, as the anchor is dropped with a rattle and a splash. A small boat is lowered.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>One day, Captain Fitzroy went ashore to meet them.<\/dialogue>\n    <scene_description>The slow rhythm of the oars. Sailors and savages clutch their weapons, watching each other in breathless anticipation.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAGUERROTYPE STUDIO. THE PAST. DAY.<\/stage_direction>\n    <scene_description>A door opens and a figure in black, hurries past, clutching a number of prepared photographic plates in their light proof cases.<\/scene_description>\n    <character>TECHNICIAN<\/character>\n    <dialogue>Not long now. I shall be with you immediately...<\/dialogue>\n    <scene_description>ANNIE DARWIN, wearing in a checkered dress, aged about 9 years old, sits looking straight at camera. She has short hair and a pretty oval face On her lap there is a posy of artificial flowers, in the background an improbable vista of jagged mountain.<\/scene_description>\n    <character>PHOTOGRAPHER (O.S.)<\/character>\n    <dialogue>Ready now. Very still please.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Will this hurt, papa?<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>No. It is only a beam of light.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>How can light make a picture.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Well they prepare a copper plate with chemicals on it. The chemicals are sort of energized by the light reflecting off your face. Then silver sticks onto the plate according to where the light is brightest.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Betty was worried it would hurt. ....What a little duck she is.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>So as I was saying, Captain Fitzroy went ashore to interview the Fuegans....<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHORE. TIERRA DEL FUEGO. DAY<\/stage_direction>\n    <scene_description>Waves lap on the black pebbly beach, where a young naval captain FITZROY with mutton chop sideboards disembarks lightly from his jolly-boat.<\/scene_description>\n    <character>DARWIN (V.O.)<\/character>\n    <dialogue>After some discussion persuaded three of the savages` children to come home with him.<\/dialogue>\n    <scene_description>The \"discussion\" is more in the nature of heated bargaining for slaves. Fitzroy finally produces enough cloth and axe-heads to secure the deal. The unwilling children pushed away by their parents and grabbed by sailors who bundle them, biting crying and kicking, into the waiting boat.<\/scene_description>\n    <character>DARWIN (V.O.)<\/character>\n    <dialogue>Their names were Jemmy Buttons, York Minster and Fuegia Basket.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELOW DECKS. DAY.<\/stage_direction>\n    <scene_description>Below decks: a slapstick struggle with soap and scrubbing brushes - much biting kicking and howling - as sailors scrub the children clean.<\/scene_description>\n    <character>SAILORS<\/character>\n    <dialogue>Ow! Shite! Hold still ye maggot!<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>The captain had them washed and got their hair cut, then dressed them in proper clothes, and taught them proper table manners.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAPTAIN'S CABIN. DAY<\/stage_direction>\n    <scene_description>The children, cleaned and dressed, seem happy enough in their new situation. They sit at the captain's table clumsily sawing with a knife and chasing Brussel sprouts around a plate with their cutlery. A sprout shoots off the table<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHIP'S DECK. DAY<\/stage_direction>\n    <scene_description>Splosh! A weighted canvas body bag is tipped overboard. The rough unshaven seamen crew all remove their hats, some of them cry openly.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>York Minster died of the smallpox but the other two learned English<\/dialogue>\n    <dialogue>and went to meet the queen.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUCKINGHAM PALACE. DAY<\/stage_direction>\n    <scene_description>A fanfare as the gates swing open as a coach-and-four rattles through.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUCKINGHAM PALACE. DAY<\/stage_direction>\n    <scene_description>Jemmy Buttons, looking very smart in velvet suit with silver buttons gives proper bow and shakes the Royal hand. Fuegia Basket curtsies. Queen Victoria remains out of shot but her attendants hand out presents off a purple silk cushion: A Bible for Fuegia and a telescope for Jemmy<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHORE OF TIERRA DEL FUEGO. DAY.<\/stage_direction>\n    <scene_description>Hairy savages reassemble on the cliff tops<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Two years later. Captain Fitzroy and I took them back, in the company of a young Parson, hoping they would bring the other savages to god and to teach the others by example.<\/dialogue>\n    <scene_description>The hairy savages squint from the cliffs to sea.... Another boat, the Beagle, has anchored in their bay. Captain Fitzroy is being rowed ashore with Darwin, plus a very young parson and the two young Fuegans, who are happy and agitated to see their homeland again.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>And what do you think happened?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAGUERROTYPE STUDIO. THE PAST. DAY.<\/stage_direction>\n    <scene_description>Annie suspects there is a joke coming and cant help her mouth from twitching the corners.<\/scene_description>\n    <character>DARWIN<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>Correct! A complete and total failure!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROCKY CREVICES. TERRA DEL FUEGO. DAY<\/stage_direction>\n    <scene_description>At the first sight of their countrymen, Jemmy and Fuegia rip off their clothes, drop the bible and the telescope, and run to join them, yelling like nut-cases.<\/scene_description>\n    <character>HAIRY SAVAGES<\/character>\n    <dialogue>YAAAAAH!!<\/dialogue>\n    <character>JEMMY\/ FUEGIA<\/character>\n    <dialogue>Yaah!! Yahh!!<\/dialogue>\n    <scene_description>The benighted young parson scrambles after them, collecting their discarded garments from among the rain-swept rocks.<\/scene_description>\n    <character>PARSON<\/character>\n    <dialogue>Jemmy! Fuegia<\/dialogue>\n    <scene_description>The telescope is smashed. The Bible lies abandoned - the wind catching its soggy pages and whirling them off in the storm.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAGUERROTYPE STUDIO. DAY.<\/stage_direction>\n    <scene_description>Darwin still laughing, dabs his eyes<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>Yaaah!<\/dialogue>\n    <scene_description>The photographer disappears behind black curtains.<\/scene_description>\n    <character>TECHNICIAN<\/character>\n    <dialogue>Very still now. No more talking please<\/dialogue>\n    <scene_description>Annie composes her face in an expression of angelic seriousness. A glass dome above her head glows snapdragon blue Close on Darwin watching his daughter, his eyes still damp with tears of laughter. Electricity hums. The strange blue light glows brighter, brighter... Brighter. The image of his daughter imprints on Darwin's memory. Just so. Forever.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWN HOUSE. DINING ROOM. THE PRESENT. EVENING.<\/stage_direction>\n    <scene_description>Servants are laying a table for dinner Gas lamps and the coal fire struggle to illuminate the lofty room. Mrs Davies the Welsh cook, bangs the dinner gong and shouts across the darkening garden outside.<\/scene_description>\n    <character>MR DAVIES (O.S.)<\/character>\n    <dialogue>Children! Franky! Horace! Dinner!<\/dialogue>\n    <scene_description>Darwins attractive wife Emma adjusts the lamps and the boys run in, Franky aged 10 Lenny aged 8 Horace aged 6.<\/scene_description>\n    <character>LENNY<\/character>\n    <dialogue>Mama mama.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Yes. What is it<\/dialogue>\n    <character>LENNY<\/character>\n    <dialogue>Horace says he's six feet tall.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Have you all washed your hands.<\/dialogue>\n    <character>HORACE<\/character>\n    <dialogue>He said I have to be or I can't join the army.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>First things first. An officer must always tuck his shirt in.<\/dialogue>\n    <scene_description>Their elder sisters Betty and Etty take their places at table<\/scene_description>\n    <character>BETTY<\/character>\n    <dialogue>The boys made a camp with a camp- fire<\/dialogue>\n    <character>LENNY<\/character>\n    <dialogue>Oh! Sneak!<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Where's the campfire.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>In the summer house but Brodie put it out.<\/dialogue>\n    <scene_description>Parslow enters with the turreen<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>Thank-you Parslow. Where is Mr Darwin?<\/dialogue>\n    <character>PARSLOW<\/character>\n    <dialogue>He was killing pigeons Ma'am<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Will everybody sit down please.<\/dialogue>\n    <scene_description>As they are pulling in their chairs, Darwin enters, drying his hands on his trousers. He's aged ten years since we last saw him and has lost his former air of gaiety. He sits, with a distracted nod to the family.<\/scene_description>\n    <character>PARSLOW<\/character>\n    <dialogue>Soup du jour, sir<\/dialogue>\n    <scene_description>The children smile at Parslow's air of earnest formality but the atmosphere even among the younger kids is sombre and subdued.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Thank you Parslow<\/dialogue>\n    <scene_description>He butters some bread and starts eating. Emma clears her throat.<\/scene_description>\n    <character>DARWIN.<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>The children bow their heads. The bread stick in darwins mouth. Emma says grace.<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>Lord God who watches over all that we do. Bless this family and<\/dialogue>\n    <dialogue>the food we eat. In Jesus name. Amen.<\/dialogue>\n    <scene_description>Everyone repeats the \"Amen\" except Darwin.<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>I hear Mr Hooker is coming tomorrow.<\/dialogue>\n    <scene_description>The children prick up their ears at this. They like Hooker<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>He won't stay long.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Did he say what it was about?<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>I think this is not the time to discuss it.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Maybe the time to discuss it was before you invited him.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>He sent a telegram. I'm sorry if it inconveniences you.<\/dialogue>\n    <scene_description>Emma purses her lips and turns her attention back to the children<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>Eat your soup now.<\/dialogue>\n    <scene_description>Darwin takes a couple of spoonfuls, pauses, as a wave of nausea sweeps over him, then pushes away the dish.<\/scene_description>\n    <character>DARWIN<\/character>\n    <parenthetical>(To Parslow)<\/parenthetical>\n    <dialogue>Tell Mr Davies it was delicious, but my stomach is not quite right yet.<\/dialogue>\n    <parenthetical>(To Emma)<\/parenthetical>\n    <dialogue>Excuse me.<\/dialogue>\n    <scene_description>He gets up and leaves. As soon as he has gone, the children natural talkativeness reasserts itself.<\/scene_description>\n    <character>CHILDREN<\/character>\n    <dialogue>Can we take Mr Hooker to the Chalk pits. Why can't he stay. Can we pick blackberries?<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>I think he is just here to work<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWN HOUSE. DARWIN'S STUDY. THE PRESENT. NIGHT.<\/stage_direction>\n    <scene_description>A branch taps gently against the window pain, like an insistent guest demanding to be admitted. The coal fire burns low in the grate - wind in the chimney rattling the damper Firelight flickers on a collection of finches in a glass case, on a bird skeleton, on a fossil, and on numerous specimen bottles containing the fleshy parts of barnacles preserved in spirit-of-wine. Darwin sits immobile in his chair, regarding a locked, black lacquered steel trunk, on the floor under his work table. A voice speaks behind him.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Aren't you going to open it?<\/dialogue>\n    <scene_description>He turns and sees her sitting on the day bed - the same little bright eyed girl from the daguerrotype studio. She's the same age as she was then and wearing the same checkered dress - though Darwin himself has aged ten years.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Maybe best if I just burn the whole lot.<\/dialogue>\n    <character>ANNIE<\/character>\n    <parenthetical>(horrified)<\/parenthetical>\n    <dialogue>No papa - You can't. I'm in it.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Don't be absurd. Of course you're not.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>The story of me when I was small. You showed me the pages.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Ah yes.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>\"The natural History of babies\" ...Remember?<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Of course I remember.<\/dialogue>\n    <scene_description>He continues to stare at the shiny black box, his hand fluttering lightly - a nervous tic. Music seeps in - a soothing Chopin Nocturne and....<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWN HOUSE DRAWING ROOM. THE PAST. NIGHT<\/stage_direction>\n    <scene_description>Darwin aged 40 - bright-eyed and inquisitive leans over to examine something, offering it his finger tip while making little tut tut tut noises. In the cot is a one-month old baby.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Annie. Annie. Annie.<\/dialogue>\n    <scene_description>The piano music continuing over, as her fist closes round the end of his finger, then tries to pull it towards her mouth. He pulls it away from her and she frowns. He offers it again and the tug of war becomes a game. Baby Annie laughs. Darwin writes something in his notebook. Then tucks his pencil behind his ear and tries out various facial expressions - scowling, smiling - to gauge the baby's response. Emma turns on the piano-stool.<\/scene_description>\n    <character>EMMA<\/character>\n    <parenthetical>(affectionately)<\/parenthetical>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Just playing.<\/dialogue>\n    <scene_description>She comes over and, leaning against him, reads from his notebook.<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>\"Six weeks: Gurgles. Holds tight to my finger. Tries to suck. Smiles at my smile\"<\/dialogue>\n    <scene_description>The baby lets out a long yodel of pleasure<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>I should add that she is musical.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>I hope you do not plan to treat all our children as little animacules to be included in your experiments.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Do you mean there will be more.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>I assumed that's what you wanted. Of course, if the idea doesn't appeal then...<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Appeal? Dearest cousin. I am making plans for an army!<\/dialogue>\n    <scene_description>He takes Emma in his arms. She gives a little squeak - caught off balance then laughing as he waltzes her around the room, singing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS AND MEADOW. THE PAST. DAY<\/stage_direction>\n    <scene_description>An army of children - the Darwin family - run across the screen from left to right. The little kids first, scampering through the hay meadow off into the trees. Household servants follow, carrying blankets, hampers and parasols. The red haired Scottish nursemaid Brodie, shouts ahead to the little ones.<\/scene_description>\n    <character>BRODIE<\/character>\n    <dialogue>Careful! Not too far ahead now.<\/dialogue>\n    <scene_description>The children ignore her so she pick up her skirts and races after them. The Adults follow in their wake - Charles and Emma Darwin plus two younger men aged about 30 - Joe Hooker and the Rev Innes<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVER BANK. THE PAST. DAY<\/stage_direction>\n    <scene_description>They have set up their picnic on a river bank. Emma is reading. Joseph Hooker is teaching the boys to fish. He has spectacles and long wispy side-whiskers: a battered panama on his head and his trousers rolled up to his knees.<\/scene_description>\n    <character>HOOKER<\/character>\n    <dialogue>Give it time to take a bite.<\/dialogue>\n    <scene_description>The fishing float moves a little<\/scene_description>\n    <character>HOOKER<\/character>\n    <dialogue>He's Nibbling. Nibbling. Oh Bother. No-one move.<\/dialogue>\n    <scene_description>He's dropped his spectacles in the shallows. George (aged 5) feels a jerk on the line. He squeals and drops the rod. The fish takes off upriver. Will goes after the dropped rod. On shore, Annie runs up with a collecting box to show her father<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>I've got one.<\/dialogue>\n    <scene_description>She opens the box to show him a little black beetle. The local parson, Innes, inclines his head to inspect it<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>What should I feed it?<\/dialogue>\n    <character>MR INNES<\/character>\n    <dialogue>A leaf I should think. What plant did you find him on?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>In the mud under that log.<\/dialogue>\n    <scene_description>Innes looks to Darwin for advice<\/scene_description>\n    <character>MR INNES<\/character>\n    <dialogue>...Or a piece of bark maybe.<\/dialogue>\n    <scene_description>Darwin peers at the insect<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Cycrus caraboides. You can see from the mandibles he's a hunter. He feeds on slugs and snails.<\/dialogue>\n    <character>INNES<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>Annie runs off, calling to the other children<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Etty! Willy! Find me some slugs. He's hungry!<\/dialogue>\n    <character>INNES<\/character>\n    <dialogue>When I said I knew something of insects.....<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Oh tush.... I studied Theology for a year but yet I know exceedingly little of the bible.<\/dialogue>\n    <character>INNES<\/character>\n    <dialogue>Then once I am properly installed at Down I shall take pleasure in instructing you.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>I should look forward to that immensely.<\/dialogue>\n    <scene_description>Emma, knowing her husband's ambivalence towards religion, casts him a slightly arch, amused look. Innes notices this, though he pretends not to. Hooker returns from the river, looking slightly damp, with the rod which he has managed to retrieve<\/scene_description>\n    <character>HOOKER<\/character>\n    <dialogue>Everyone's a bit wet. Sorry, but the fish are surely biting. More worms, boys, more worms.<\/dialogue>\n    <scene_description>George is looking under stones<\/scene_description>\n    <character>HOOKER<\/character>\n    <dialogue>Try over there, Georgey, we've used all these ones up.<\/dialogue>\n    <scene_description>They move off, joining Annie and the other in their hunt for crawling things. The air above them is heavy and sparkling with pollen.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OCEAN. NIGHT<\/stage_direction>\n    <scene_description>A sailing ship sails past, trailing phosphorescence it its wake.<\/scene_description>\n    <character>DARWIN (V.O.)<\/character>\n    <dialogue>On the Beagle, quite, often we would drop a flask in the ocean and find it teeming with living particles which glowed in the night<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHIP'S CABIN. NIGHT<\/stage_direction>\n    <scene_description>The figure in silhouette of young Darwin inspects a flask of sea water, glowing in the darkness. He takes a few drops on a watch glass and places them on the illuminated stage of his microscope. Under the microscope, against a black background, millions of tiny swimming animals.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BY THE RIVER BANK. THE PAST. DAY<\/stage_direction>\n    <scene_description>Cut to the air above the picnickers - alive with glittering particles - against the dark trees behind.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>....so much beauty for so little<\/dialogue>\n    <dialogue>purpose.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Surely not without purpose. They were helping to light the ship's way were they not.<\/dialogue>\n    <scene_description>Darwin smiles at the idea, turns to Innes<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Are you familiar with the works of Thomas Malthus, Mr Innes?.<\/dialogue>\n    <character>INNES<\/character>\n    <dialogue>He married his first cousin didn't he?<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>So did Charles.... So did I.<\/dialogue>\n    <character>INNES<\/character>\n    <dialogue>Oh, I was not at all suggesting....<\/dialogue>\n    <scene_description>Emma waves it away. Just teasing<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>He made the point that if every trout, say, has a hundred offspring And so on and so on through the generations. Then the planet would be knee deep in trout in just a few decades.<\/dialogue>\n    <character>INNES<\/character>\n    <dialogue>Of course most of the eggs are destroyed and eaten so the numbers remain stable. That is the beauty of God's plan.<\/dialogue>\n    <scene_description>Emma gives Darwin a \"So there\" look and hands Innes a sandwich.<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>Cheese and cucumber<\/dialogue>\n    <character>INNES<\/character>\n    <dialogue>Thank-you<\/dialogue>\n    <scene_description>Somewhere in the woods, Annie has found a treasure trove of worms and slugs.<\/scene_description>\n    <character>ANNIE (O.S. DISTANT)<\/character>\n    <dialogue>Over here ....there are millions!<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>It doesn't strike you as an exceedingly wasteful plan - these myriad lives created only to be immediately extinguished.<\/dialogue>\n    <character>EMMA<\/character>\n    <parenthetical>(a gentle warning)<\/parenthetical>\n    <dialogue>Charles....<\/dialogue>\n    <character>INNES<\/character>\n    <parenthetical>(confidently)<\/parenthetical>\n    <dialogue>They are providing food for others.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>You think they are happy about it?<\/dialogue>\n    <character>INNES<\/character>\n    <dialogue>Happy?<\/dialogue>\n    <scene_description>Close up on a writing worm. Hooker is instructing George how to put a worm on a hook.<\/scene_description>\n    <character>HOOKER<\/character>\n    <dialogue>Through his bottom and up though his mouth - perfect<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>....To be doing Gods will.<\/dialogue>\n    <character>EMMA<\/character>\n    <parenthetical>(to Innes)<\/parenthetical>\n    <dialogue>Please ignore him. After two glasses of claret he tends to becomes mischievous.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>No I'm serious. If thousands are destroyed that a few may live their lives, is not the general sum total of happiness not in some kind of massive deficit?<\/dialogue>\n    <character>INNES<\/character>\n    <dialogue>Well far be it from me to speculate on the mind of God, far less the happiness of an earthworm ha ha ha. But it seems to me that nature is at peace...and most of her denizens are content.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Amen.<\/dialogue>\n    <character>INNES<\/character>\n    <parenthetical>(to Darwin)<\/parenthetical>\n    <dialogue>You don't agree.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>I think it is a battlefield. A constant and shifting struggle for survival between everything and everything else.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>I really do think men have a problem with natural beauty. They cannot ever just accept it for what it is.<\/dialogue>\n    <parenthetical>(Calls off)<\/parenthetical>\n    <dialogue>Children! Sandwiches!<\/dialogue>\n    <parenthetical>(Then)<\/parenthetical>\n    <dialogue>Tell me of your wife Mr Innes.<\/dialogue>\n    <scene_description>Darwin lies back on the rug and turns his head away from the sun. The base of a tangled hedgerow is just a few feet away. Looking into its tangled depths he sees something gleaming white - the skull of a sheep with briars growing through the eye sockets.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BASE OF THE HEDGEROW. TIME-LAPSE. NIGHT<\/stage_direction>\n    <scene_description>The sheep's skull is half-decomposed. In fast forward we see maggots pecking the remnants of flesh from the bone, birds feeding on the maggots. A bird becomes trapped among the briars. It flaps madly upsetting a nest. Eggs and blind featherless hatchlings fall down through the dark web of branches where they are devoured by voles and rats, then slugs, then worms All the times tendrils and vines are growing, the skull - bleached white - now encased in a cage of thick spiny branches, fizzing with insect life, where ants and ground beetles feast on the carcasses of slugs and....<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARWIN'S BEDROOM. THE PRESENT. DAWN<\/stage_direction>\n    <scene_description>Darwin wakes in sudden terror. Dawn light illuminates the wallpaper in front of him - a William Morris design of interweaving vines. Emma, is asleep in her night-cap at his side. Darwin lies for a while in the semi darkness, until his hand, fluttering on the coverlet, becomes still at last.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCULLERY. THE PAST. DAY.<\/stage_direction>\n    <scene_description>Light and noise. Crash of gleaming copperware, clattering of water in the pipes as the servants prepare Sunday breakfast The cook, Mrs Davies looks out through a steamed up window to see the angular figure of Charles Darwin, bent almost double inspecting a tiny segment of lawn. Brodie joins Mrs Davies at the window.<\/scene_description>\n    <character>MRS DAVIES<\/character>\n    <dialogue>What is he doing now, exactly?<\/dialogue>\n    <character>BRODIE<\/character>\n    <dialogue>Cutting the grass with nail scissors.<\/dialogue>\n    <character>MRS DAVIES<\/character>\n    <dialogue>Such a shame he never had a proper job. At least your Mr Thackeray had his books to write.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWN HOUSE. THE PAST. DAY<\/stage_direction>\n    <scene_description>Children thunder up and down the stairs between Brodie who is doing a final check on grooming and Emma who is marshalling them in the hall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY. THE PAST. DAY<\/stage_direction>\n    <character>EMMA<\/character>\n    <dialogue>Chop chop Georgie. Socks! And you have not buttoned your trousers.<\/dialogue>\n    <scene_description>Baby Lenny starts crying and she goes to comfort him<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GIRLS' BEDROOM. THE PAST. DAY.<\/stage_direction>\n    <scene_description>Brodie is arranging hair and tying ribbons for Annie (9) Etty (6) and Betty (3)<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Did you never think of getting married Miss Brodie.<\/dialogue>\n    <character>BRODIE<\/character>\n    <dialogue>Once. But he went to Australia and I missed my chance.<\/dialogue>\n    <scene_description>Willy passes the door, his hair in need of brushing.<\/scene_description>\n    <character>BRODIE<\/character>\n    <dialogue>Master William. Hairbrush.<\/dialogue>\n    <scene_description>William comes in. Brodie brushes the back of his hair.<\/scene_description>\n    <character>WILLY<\/character>\n    <dialogue>Ow. Ow!<\/dialogue>\n    <character>BRODIE<\/character>\n    <dialogue>Well what do you expect. It is a birds nest.<\/dialogue>\n    <character>WILLY<\/character>\n    <dialogue>Papa says God doesn't care if we are neat.<\/dialogue>\n    <character>BRODIE<\/character>\n    <parenthetical>(brushing)<\/parenthetical>\n    <dialogue>Your father is a very wize man but has a small understanding of religion. No-one can read what goes down in Gods great book of<\/dialogue>\n    <dialogue>accounts. ....Fingernails.<\/dialogue>\n    <scene_description>Willy presents them for checking.<\/scene_description>\n    <character>BRODIE<\/character>\n    <dialogue>You can go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY. THE PAST. DAY.<\/stage_direction>\n    <scene_description>The children come racing and swinging and clattering down the stairs. Emma, holding the baby in one arm, steers a tricycle out of the way, clearing a path to the door<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>Mrs Davies, Will you ask Jenny to wear a bonnet. I would not like people to think her fast.<\/dialogue>\n    <scene_description>George aged 5 tugs at her skirt<\/scene_description>\n    <character>WILLY<\/character>\n    <dialogue>Can I bring my mouse for a blessing?<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>What mouse?<\/dialogue>\n    <scene_description>George (5) pulls it out from his pocket. Its dead, muddy and bloody<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Elsie caught it in the barn. We need to pray for his soul<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Mice don't have souls. Leave it on the window sill. Everyone come now or we shall be late.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LANEWAY. DOWN HOUSE. THE PAST. DAY<\/stage_direction>\n    <scene_description>Pealing of church bells Mist rises from the ploughed fields and hangs among the ancient oaks. A little procession heads down the lane. The Darwins - Charles and Emma - plus their servants and children (older now, for we have flipped into the present), all in their Sunday best. The trees are bare. Their breath condenses as they walk.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLAGE SQUARE. THE PRESENT. DAY<\/stage_direction>\n    <scene_description>The ancient flint church stands in the centre of Downe (sic) village, opposite the George and Dragon pub. A massive and venerable Yew tree casts its shade over a number of gravestones one of them inscribed \"to Mary Darwin born Sept 1842 died Oct 1842.\" Beyond the church fence, villagers greet each other before heading inside. The great majority of the village have turned out, from Squire Lubbock through the tradesmen and domestic servants from the village to the clodhoppers (farm labourers) in their colored smocks. Rev Innes is welcoming his large flock at the gate.<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>Reverend Innes.<\/dialogue>\n    <character>INNES<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>Ma'am. Welcome. Welcome<\/dialogue>\n    <scene_description>Then his eye moves on to Charles Darwin and his smile falters, his expression turning slightly cold. Darwin tips his hat rather stiffly and walks away, through the throng of parishioners, leaving his family to file into the church without him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODLAND. PRESENT. DAY<\/stage_direction>\n    <scene_description>Darwin walks across the meadow and into the woods. A flock of crows take flight from the rookery in the bare trees overhead.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVECOTE. PRESENT. DAY<\/stage_direction>\n    <scene_description>In darkness, a furious struggle, squawking and frantically beating wings. Darwin seizes on a dove and backs out of the dovecote, the silhouette of his upper torso taking shape in the square hole in the floor. He climbs down the ladder, passes the captive bird down to Parslow, then climbs back up and pushes him upper body into the dovecot again, in search of the next victim.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE GARDEN. DOWN HOUSE. THE PRESENT. DAY<\/stage_direction>\n    <scene_description>The dovecote is a substantial affair on four pillars with a ladder in the centre. Outside the dovecote, the boys are racing around playing at soldiers. (Franky 10, Lenny 8, Horace 6) Parslow has a number of the birds in cages<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Ring the two milky pouters. We'll sacrifice the tumblers and skeletonize them. Then...<\/dialogue>\n    <scene_description>He looks up as a coach appears in the lane. The boys immediately break off from their game and run after it, shouting.<\/scene_description>\n    <character>BOYS<\/character>\n    <dialogue>It's Mr Hooker. It's Mr Hooker!<\/dialogue>\n    <scene_description>Darwin tries to wipe the bird shit off his hands and succeeds only in getting it on his sleeve. His breathing quickens. He seems at a loss. Parslow is awaiting further instructions<\/scene_description>\n    <character>PARSOLOW<\/character>\n    <dialogue>Then... what Sir?<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Just. ...to the shed with them. I shall clean myself up.<\/dialogue>\n    <scene_description>He hurries off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE FRONT GATE. THE PRESENT. DAY.<\/stage_direction>\n    <scene_description>The coach pulls up and Hooker alights - ten years older than when we saw him catching fish, but still with the same hallmark side whiskers and wire-rimmed spectacles, the same springy step and ready grin. Already he is being mobbed by the younger boys - Lenny, Franky, and Horace - who clearly adore him.<\/scene_description>\n    <character>BOYS(AD LIB)<\/character>\n    <dialogue>- We're the Light Brigade Horace is a Russian.<\/dialogue>\n    <character>HOOKER<\/character>\n    <dialogue>Good choice Horace. I shall be Lord Raglan and watch the slaughter from a safe distance.<\/dialogue>\n    <character>BOYS<\/character>\n    <dialogue>- Will you give us a piggy-back? - Lenny cut his foot on a nail. There was lots of blood!<\/dialogue>\n    <scene_description>Emma emerges from the front door. She smiles, pleased to see Hooker despite her misgivings. Then her smile falters as another man emerges from the coach behind him.<\/scene_description>\n    <character>HOOKER<\/character>\n    <dialogue>Emma. Forgive the short notice. You know Thomas Huxley.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Only by reputation<\/dialogue>\n    <character>HUXLEY<\/character>\n    <dialogue>Mrs Darwin.<\/dialogue>\n    <character>HOOKER<\/character>\n    <dialogue>He insisted on coming and I could not refuse him.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Tell papa his visitors are here.<\/dialogue>\n    <character>LENNY<\/character>\n    <dialogue>He knows already.<\/dialogue>\n    <character>HORACE<\/character>\n    <dialogue>He went that way.<\/dialogue>\n    <scene_description>Emma smiles brightly, covering for her embarrassment at her husband's increasingly erratic behavior.<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>Anyway. Come in please. Come in.<\/dialogue>\n    <scene_description>Hooker heads towards the house, the boy still clustered around him.<\/scene_description>\n    <character>FRANKY<\/character>\n    <dialogue>Sir, Is it true when you were in the Himalayas you were imprisoned by the king of Sikkim?<\/dialogue>\n    <character>HOOKER<\/character>\n    <dialogue>Absolutely true.<\/dialogue>\n    <character>LENNY<\/character>\n    <dialogue>And he thought you were a spy for stealing his rhododendrons?<\/dialogue>\n    <character>HOOKER<\/character>\n    <dialogue>That's approximately true.<\/dialogue>\n    <character>FRANKY<\/character>\n    <dialogue>....and he wouldn't let you leave unless you agreed to marry his fattest daughter.<\/dialogue>\n    <character>HOOKER<\/character>\n    <dialogue>Yes. (Conspiratorial) ....but you are never to tell my wife that!<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Children leave Mr Hooker alone now. I'm sure he has more important things to discuss.<\/dialogue>\n    <character>HOOKER<\/character>\n    <dialogue>Not really, but I think Mr Huxley does....<\/dialogue>\n    <scene_description>Huxley has seen Darwin, washing his hands by the \"skeletonizing shed\". Huxley hangs back to introduce himself as Hooker steers Emma off into the house.<\/scene_description>\n    <character>HOOKER<\/character>\n    <dialogue>I have my heart set on a cup of tea and one of Mrs Davies' scones.<\/dialogue>\n    <scene_description>Emma looks anxiously after Huxley but allows herself to be gently side-lined.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN. THE PRESENT. DAY .<\/stage_direction>\n    <scene_description>Emma is by the kitchen window, rearranging tea things on a tray. The sky outside is dark and lowering. Through the window she can see Darwin heading off down the sand walk - head bowed, walking stick in hand - deep in conversation with Huxley. She drops a tea-cup which smashes on the stone floor.<\/scene_description>\n    <character>MRS DAVIES<\/character>\n    <dialogue>I'll do that ma'am. Please. Let me do it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWN HOUSE. THE SAND WALK. THE PRESENT. DAY.<\/stage_direction>\n    <scene_description>The Sand-walk is a gravel walking path between the garden and the fields, flanked by mature oaks and ancient willows.<\/scene_description>\n    <character>HUXLEY<\/character>\n    <dialogue>We're reforming the Linnean. The committee will comprise myself, Lyell, Huxley...yourself of course if you are willing.<\/dialogue>\n    <scene_description>Darwin grunts noncommittally. The Crunch crunch of their feet is punctuated by the regular stomp of his metal-shod walking stick.<\/scene_description>\n    <character>HUXLEY<\/character>\n    <dialogue>We intend to reclaim science as a profession - wrest it away from the country parsons and beetle-<\/dialogue>\n    <scene_description>collectors. Your book will be our rallying point.<\/scene_description>\n    <character>DARWIN.<\/character>\n    <dialogue>You know it is not yet any fit state to publish.<\/dialogue>\n    <character>HUXLEY<\/character>\n    <dialogue>I have read your detailed abstract. The argument is complete and utterly compelling. All that is lacking is the detail and we know you have that in abundance. Your barnacle work has established you as the pre- eminent authority on marine life.<\/dialogue>\n    <character>DARWIN.<\/character>\n    <dialogue>On one small mollusc!<\/dialogue>\n    <character>HOOKER<\/character>\n    <dialogue>In which the whole story of creation can be read. Do not pretend to me that was not your intention.<\/dialogue>\n    <character>DARWIN.<\/character>\n    <dialogue>Honestly....<\/dialogue>\n    <character>HUXLEY<\/character>\n    <dialogue>A \"family tree\" of barnacles stretching back 300 million years to the time it was a free swimming prawn!.<\/dialogue>\n    <character>DARWIN.<\/character>\n    <dialogue>There are many gaps.<\/dialogue>\n    <character>HOOKER<\/character>\n    <dialogue>Of course with gaps! But that is the very point. If we but had the complete fossil record we could trace all life back to one speck of protoplasm. The branching of forms in ever more complex succession...until.<\/dialogue>\n    <character>DARWIN.<\/character>\n    <dialogue>Yes yes, but one cannot infer too much.<\/dialogue>\n    <character>HOOKER<\/character>\n    <dialogue>Mr Darwin. Either you are being disingenuous or you do not fully understand you own accomplishment. You have killed God.<\/dialogue>\n    <character>DARWIN.<\/character>\n    <dialogue>Mr Huxley<\/dialogue>\n    <character>HUXLEY<\/character>\n    <dialogue>....and good riddance to the bearded malicious old bugger!<\/dialogue>\n    <character>DARWIN<\/character>\n    <parenthetical>(interrupts)<\/parenthetical>\n    <dialogue>Please I must beg of you....<\/dialogue>\n    <character>HUXLEY<\/character>\n    <dialogue>No. I must beg of you sir. Joseph Hooker we know is too nice a chap to do it. You are a fine and brilliant man who hates to give offence - an admirable quality - wish I had it myself. But what do we believe? What do we know to be true. Will you light the way or leave us all to flounder in the mire for another decade.<\/dialogue>\n    <scene_description>He stops and lowers himself onto a bench, teeth clenched.<\/scene_description>\n    <character>HOOKER<\/character>\n    <dialogue>Are you alright?<\/dialogue>\n    <character>DARWIN.<\/character>\n    <dialogue>A touch of indigestion. It will pass.<\/dialogue>\n    <scene_description>Its clearly worse than that, but Huxley, refusing to be distracted, blithely ignores it and sits down beside him til the worst of it passes.<\/scene_description>\n    <character>HUXLEY<\/character>\n    <dialogue>It is time to write your book Mr Darwin. Write it brilliantly as we all know you can. Strike hard and fast with a blow that is utterly conclusive.<\/dialogue>\n    <character>DARWIN<\/character>\n    <parenthetical>(in pain)<\/parenthetical>\n    <dialogue>Sir, you are talking like a revolutionary and really...<\/dialogue>\n    <character>HUXLEY<\/character>\n    <dialogue>It is a revolution. And not before time.<\/dialogue>\n    <character>HUXLEY<\/character>\n    <dialogue>Goodbye to the lot of em - damned bishops and Archbishops with their threats of eternal punishment.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>And you'd replace Gods Laws with what.<\/dialogue>\n    <character>HUXLEY<\/character>\n    <dialogue>The laws of logic. The laws of nature.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Knowing, as we do, that most capital crimes are her everyday practises: Theft, rape, murder, adultery, infanticide....<\/dialogue>\n    <scene_description>Huxley waves it away<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>We live in a society bound together by the church. An improbable sort of barque I grant you but at least it floats. You suggest we change all that at a stroke. You wish me to rebuild, plank by plank, the very vessel we are sailing in.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWN HOUSE. DAY.<\/stage_direction>\n    <scene_description>The Coach to London has pulled up outside the front gate. Huxley is aboard. Darwin is talking with the coachman Hooker comes down the path in his black coat, carrying his Gladstone bag.<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>Mr Hooker.<\/dialogue>\n    <scene_description>He turns. He has already said his good-byes.<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>I beg you, please don't push him.<\/dialogue>\n    <character>HOOKER<\/character>\n    <dialogue>No-one can push Charles. You know how fixed he is. Bit of a barnacle himself ... his own words.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>And if you prize him from his rock he will die. I know you all mean well but....<\/dialogue>\n    <character>COACHMAN<\/character>\n    <parenthetical>(Impatiently)<\/parenthetical>\n    <dialogue>All aboard!<\/dialogue>\n    <scene_description>Hooker gets aboard. Huxley leans out of a window and waves cheerily to the whey-faced Darwin<\/scene_description>\n    <character>HUXLEY<\/character>\n    <dialogue>We'll meet again, Mr Darwin<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE LANEWAY. DAY<\/stage_direction>\n    <scene_description>The coach pulls away. Looking back though the rear window Hooker sees Emma with the boys clustered around her skirts.<\/scene_description>\n    <character>HUXLEY<\/character>\n    <dialogue>What did she say to you?<\/dialogue>\n    <character>HOOKER<\/character>\n    <dialogue>That it was killing him.<\/dialogue>\n    <character>HUXLEY<\/character>\n    <dialogue>A mighty slow death considering the time he's spent. We'll be dead and buried ourselves if he prevaricates much longer.<\/dialogue>\n    <scene_description>Huxley takes off his spectacles and polishes them, embarrassed by Huxley's directness, inspecting his own conscience in the bevelled glass.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARWIN'S STUDY. NIGHT<\/stage_direction>\n    <scene_description>In the darkened study, with his specimens and books all around him, Darwin kneels by the box. Steeling himself, he unlocks the padlock and opens the lid and takes out the papers and notebooks which are stored there. The bulk of it is a single manuscript, accumulated over many years, divided into 14 chapters with pages of notes interleaved. The Chapters are headed. Variation under domestication, variation under nature, Struggle for Existence, Natural Selection.... A noise behind him almost makes him jump out of his skin. Its Annie, ten years old in her checked dress, as she will always be in his imagination.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Why are you scared?<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Like you said. You're in it.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Its only a book, silly.<\/dialogue>\n    <scene_description>He sits there regarding the open box, paralysed by indecision. Annie tenderly smooths his hair, rearranging his collar.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>What are you doing, Annie?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I'm making you beautiful.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>I have to work.<\/dialogue>\n    <scene_description>Though the soft touch of her little hands is almost too real for him to bear and he closes his eyes<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Breath in, papa. Breathe out. Now Tell me a story.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>I have no time....<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>About Jenny. Please?<\/dialogue>\n    <scene_description>The sound of a wave breaking. Wind stirs Darwin's hair He opens his eyes and he is ....<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ENGLISH BEACHSIDE. THE PAST DAY<\/stage_direction>\n    <scene_description>Sitting with Annie ten years ago on an English pebble beach. She has collected a pile of shells and is arranging them in \"families\". The dialogue is continuous<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Why do you always ask for Jenny? Its so sad.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>That's why I like it. It makes me cry.<\/dialogue>\n    <scene_description>She looks up from her shells and smiles winningly. Darwin looks out to sea, at the bright crashing line of surf, and begins the familiar, much-told tale:<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Once apon a time there was a family of Orang-u-tangs living in the jungles of darkest Borneo<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JUNGLES OF BORNEO. DAY<\/stage_direction>\n    <scene_description>Our POV moves between dark tropical trees to find a group of Orangutans flopping around grooming each other. As with the land of the Fuegan savages, there is something slightly artificial about these jungles, as though the trees really belong in Kew gardens, and the naked jungle warriors, whom we now see stalking through them, are on loan from the museum of mankind.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Their eldest daughter was the most loving, caring and trusting Orang of all.<\/dialogue>\n    <scene_description>We follow a young nimble female, swinging through the trees, revelling in her own gymnastic ability, until she stops - hearing something: the sound of human speech.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>But these qualities in themselves cannot guarantee an ape's survival. Sometimes, quite the reverse.<\/dialogue>\n    <scene_description>Native hunters are creeping through the undergrowth A warning screech from one of the Orang-u-tangs posted as lookouts. Most of the apes flee up into the canopy. Jenny stays where she is, fascinated, just a moment longer than is prudent.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>When she realized her danger it was too late.<\/dialogue>\n    <scene_description>As she turns to flee a weighted net is thrown on top of her. The hunters pounce.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>They put her in a bag and carried her off....<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>\" much to her loving parent's sorrow.\"<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Exactly.<\/dialogue>\n    <scene_description>The family screech and hoot, anguished, as the hunters head back off through the trees.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARKET-PLACE. DAY<\/stage_direction>\n    <scene_description>Exotic coins and bank-notes pass from hand to hand: from the tribal chief to the sultan, in his overlarge turban, from the sultan to the trader in his solar topee and stained white suit.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>The hunters sold her the to the Sultan who promptly sold her to a visiting Englishman who packed her aboard a sailing ship and brought her to London zoo.<\/dialogue>\n    <scene_description>Jenny is taken out of a bamboo cage and put into a metal cage.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARGO SHIP. DAY<\/stage_direction>\n    <scene_description>The cage is lowered by a crane. Jenny looks out from her swaying prison at spinning grey skies and brick warehouses.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAGE. LONDON ZOO. DAY<\/stage_direction>\n    <scene_description>Now she sits disconsolately in a corner of her permanent enclosure. She has been dressed, ridiculously and poignantly in a smock and a bonnet. A group of onlookers are trying to get a reaction out of her. Eventually they give up and move on.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>In London she had many admirers - of whom your father was but one.<\/dialogue>\n    <scene_description>Darwin moves forwards from the shadows, where he has been observing and taking notes. As the other humans move away be attempts to start a conversation with Jenny in her own language, much in the way he communicated with baby Annie.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Hoo hoo hoo hoo.<\/dialogue>\n    <scene_description>Jenny regards him sceptically then looks away.<\/scene_description>\n    <character>DARWIN.<\/character>\n    <dialogue>HOO!!<\/dialogue>\n    <scene_description>She startles and looks at him aggressively.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Hm?<\/dialogue>\n    <scene_description>He reaches in his pocket. This gets her interest. She comes closer, expecting food. Darwin takers out a sprig of verbena - a strongly scented herb. He holds in front of his nose and inhales, making contented expressions of pleasure. Jenny watches. Darwin holds the verbena towards Jenny. Cautiously she extends a hand through the bars. Their fingers touch in space, like God Giving life to Adam. For Darwin its a breakthrough - a moment of connection. Jenny eats the verbena and spits it out, shrieking angrily.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>Wait, sorry, wait - I've got something else here for you<\/dialogue>\n    <scene_description>He reaches in his pocket. She cocks her head, alert. With the air of a conjurer, he pulls out: A child's hand mirror, flashing as it catches the sun through the skylights.<\/scene_description>\n    <character>CHARLES<\/character>\n    <parenthetical>(pleasurable surprise)<\/parenthetical>\n    <dialogue>Ahhhh!!<\/dialogue>\n    <scene_description>He shows Jenny her own reflection and, then hands the mirror through the bars. Jenny takes the mirror, bites it, discovers it is inedible, and smashes it on the ground. Charles makes a sad, whining sound<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>Hew Hew Hew...<\/dialogue>\n    <character>JENNY<\/character>\n    <parenthetical>(pouting)<\/parenthetical>\n    <dialogue>Hmph.<\/dialogue>\n    <scene_description>Meaning: \"OK then, I'm sorry.\" It's such a complex human reaction - grudging contrition - that Charles laughs aloud with pleasure. Jenny laughs. Charles takes out a mouth organ and plays a snatch of Chopin. Jenny covers her ears and chatters. \"Not listening not listening!\" Charles, insulted, stops playing. Jenny laughs waves a hand as if to say: \"Play, if it amuses you. I'm must kidding.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE BEACH. THE PAST. DAY<\/stage_direction>\n    <scene_description>The salt wind. The dazzling light. The slow pulse of the surf. Darwin has paused in his narrative.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Go on papa.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Go on what.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>The bit where she gets sick and dies.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>No. Why do you want to hear that bit?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I just like it. It makes me cry.<\/dialogue>\n    <scene_description>Darwin smiles, his own eyes filling with tears. Then a door opens, softly, in the sky.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE STUDY. THE PRESENT. NIGHT<\/stage_direction>\n    <scene_description>It opens wider to reveal Emma's elegant profile, framed against the gaslight of the hallway. Her POV: the black box is unlocked and open, its contents strewn around the floor at darwins feet. Darwin is sitting on the floor of the study holding in his had a magazine, published by the Society for the useful Distribution of Knowledge, with a picture of Jenny on the cover<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>Are you coming to bed?<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Presently.<\/dialogue>\n    <scene_description>He doesn't move. She comes in<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>What did Huxley want?<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>He thinks I should write it and be done with it. He feels it is a question of moral courage ...or the lack of it.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>You did not tell him about your health.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>His theory is that I am making myself ill by holding back. That I should lance the boil. Plunge in and hang the consequences.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Thank the Lord he is not a surgeon.<\/dialogue>\n    <scene_description>Darwin takes a breath and plunges in himself:<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>I've concluded he is right. Bite the gag. Speed is everything. It will all be over in a matter of months.<\/dialogue>\n    <scene_description>Emma is horrified.<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>It is not mere months that concern me Charles. Nor even years or decades...<\/dialogue>\n    <scene_description>Its said quietly but with genuine anguish. To Emma it is as though her life partner has announced he's contemplating suicide.<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>Do you really care so little for your immortal soul - for the knowledge that you and I may never be together, in all of eternity.<\/dialogue>\n    <character>DARWIN<\/character>\n    <parenthetical>(softly)<\/parenthetical>\n    <dialogue>You know that what concerns you concerns me also. What do think has held me in limbo all these years.<\/dialogue>\n    <scene_description>Emma has. They both know it. She turns abruptly from the door and hurries away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM. THE PRESENT. NIGHT.<\/stage_direction>\n    <scene_description>Emma has been crying. She lies in bed pretending to sleep. Darwin gets into bed behind her. He wants desperately to reach out a hand to touch her, to comfort her, but he cannot do it for fear of weakening his own fragile resolve.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Dearest Emma. You know This is not a decision made lightly....<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARWINS STUDY. THE PRESENT. DAWN<\/stage_direction>\n    <scene_description>In the dawn light, Darwin is writing a letter to his wife.<\/scene_description>\n    <character>DARWIN (V.O.)<\/character>\n    <dialogue>.... It has been a very slow and gradual process, like the raising of continents.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GARDEN. THE PRESENT. DAY.<\/stage_direction>\n    <scene_description>EMMA stands alone in the wintry garden, a white apron over her black dress, reading.<\/scene_description>\n    <character>DARWIN (V.O)<\/character>\n    <dialogue>What else can I say to you, except that it seems the process is now complete.<\/dialogue>\n    <scene_description>A tear tracks down the curve of Emma's cheek as she folds the letter, puts it in her pocket and return to the business of dead-heading flowers. In voice over we hear singing.<\/scene_description>\n    <character>CONGREGATION<\/character>\n    <dialogue>All things bright and beautiful, all creatures great and small. All things wize and wonderful, The lord God made them all.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWN VILLAGE CHURCH . THE PAST. DAY.<\/stage_direction>\n    <scene_description>Move in through the graveyard, past the ancient yew..<\/scene_description>\n    <character>CONGREGATION (OS)<\/character>\n    <dialogue>Each little flower that opens, Each little bird that sings, He made their glowing colors, He made their tiny wings.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWNE VILLAGE CHURCH. THE PAST. DAY.<\/stage_direction>\n    <scene_description>The church is packed for the Sunday Morning service The Darwin family stand in the front row. Emma, the servants and the rest of the family are singing lustily: Parslow - a somewhat pompous operatic tenor, Brodie and Innes both loudly Scottish (Innes out of tune), Annie by Darwins side, trilling along in a tuneful little descant. She notices her father is not singing and offers him her hymn book with the words. Darwin smiles and returns it. Its not that he doesn't know the lyrics, its just that he can't bring himself to say them.<\/scene_description>\n    <character>DARWIN FAMILY<\/character>\n    <dialogue>All things bright and beautiful all creatures great and small. All things wize and wonderful the Lord God made them all.<\/dialogue>\n    <scene_description>The organ, played by Mrs Innes, wheezes to a pause. Innes himself mounts the pulpit.<\/scene_description>\n    <character>INNES<\/character>\n    <dialogue>Let us pray.<\/dialogue>\n    <scene_description>Everyone bows their heads in prayer.<\/scene_description>\n    <character>INNES<\/character>\n    <dialogue>Lord God we know the world is governed by Thy plan.<\/dialogue>\n    <scene_description>Darwin is immediately not listening. He looks along the row of his children, standing dutifully in a line between Charles and Emma. George, aged 5, is studying the woodlice which are nesting between the pages of his hymnal<\/scene_description>\n    <character>INNES (O.S)<\/character>\n    <dialogue>Extending even to the merest creatures thou hast made, such that even a sparrow falls not to the ground without thy will.<\/dialogue>\n    <scene_description>Darwin, stands watching the play of light from the stained glass window on his shoes. Then raises his head<\/scene_description>\n    <character>INNES<\/character>\n    <dialogue>Teach us that all misfortune. All sickness and death, all the trials and miseries of which we daily complain are intended for our good, being not the vagaries of an uncaring universe but the corrections of a wize and affectionate parent<\/dialogue>\n    <scene_description>Innes looks up sternly and sees the Darwin's head raised among the sea of down-turned heads. Their eyes meet briefly in a sort of challenge, and in that moment, Darwin somehow knows with absolutely certainty that religious faith has left him. With a whispered word to the beadle standing next to him to take the collection Darwin slips out from the pew and heads off up the aisle.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Excuse me<\/dialogue>\n    <scene_description>He's intending to be quiet and subtle but the creaking boards under his feet loudly announce his departure. Innes raises his voice above the fusillade.<\/scene_description>\n    <character>INNES<\/character>\n    <dialogue>Turn with me now to the book of Job, Chapter Two verse twelve<\/dialogue>\n    <scene_description>The congregation, not daring to raise their heads, watch Darwin's sturdy walking shoes departing down the aisle.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE CHURCH. THE PAST. DAY.<\/stage_direction>\n    <scene_description>The rise and fall of Innes's voice continues in the background as Darwin walks out from the porch, emerging from shadow into sunlight. A summers day. He feels like a weight has been lifted. The church beadle comes out behind him.<\/scene_description>\n    <character>BEADLE<\/character>\n    <dialogue>Are you all right, sir?<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Never better. Thank-you.<\/dialogue>\n    <scene_description>He heads off up the gravel path INT WOODLANDS. THE PRESENT. DAY The faint and Distant sound of church singing filters through the misty woods. The black wet trunks of trees catch the sunlight. Frosty dew highlights Mistletoe and holly and dead bracken and the sudden red flash of a robin. Darwin cuts a strange dark angular figure, walking along the narrow track a single step at a time. He pauses breathing, and listens. His quick eye catches the robin seizing a worm. Further on. A pheasant breaks cover. A hare stands upright in a clearing then bounds away. Darwin looks down and takes another step, placing his feet carefully, silently so as not to disturb the wildlife. Cut to a different pair of much newer shoes in exactly the same spot.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WOODLANDS. THE PAST. DAY<\/stage_direction>\n    <scene_description>Darwin is ten years younger, pacing in the same, measured way through summer woodland. There's a noise behind him and he turns, finger to his lips for silence. Annie turns away from him and passes the sign down the line of children: Etty, George, Betty and Franky, in decreasing order of height.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Shh<\/dialogue>\n    <character>FRANKY<\/character>\n    <parenthetical>(to ANNIE)<\/parenthetical>\n    <dialogue>What are we looking at?<\/dialogue>\n    <scene_description>The question comes back up the line<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>A weasel.<\/dialogue>\n    <scene_description>The children bunch up to gaze on a strange and wonderful sight. In a little sun-dappled clearing a weasel is turning loop the loops in a strange spiralling dance for the benefit of... ...a young rabbit, which sits utterly hypnotized by the performance. At first its strange and amusing, then the dance becomes more sinister. The weasel advancing by tiny increments as it tumbles in the air, finally<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>NO!<\/dialogue>\n    <scene_description>The weasel seizes the bunny rabbit by the back of the neck and shakes it savagely. The rabbit shrieks and spasms. Annie is beside herself, drumming the ground with her feet in a fever of fear and pity. The rabbit is still in its dearth throes, its neck broken, its back legs still jerking<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>No! No! Stop it. Daddy. Stop it. Make it stop.<\/dialogue>\n    <scene_description>The rabbit is already dead.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Annie, Annie, Annie.<\/dialogue>\n    <scene_description>He sinks to his knees, heedless of the mud on his Sunday best worsted, embracing her. The others are shocked and amazed by the rabbits death, but none of them distressed as Annie. They are country children and death is an everyday event<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>The chickens do that too when cookie kills them<\/dialogue>\n    <character>ANNIE<\/character>\n    <parenthetical>(tearful furious)<\/parenthetical>\n    <dialogue>Chickens are different!<\/dialogue>\n    <parenthetical>(To her father)<\/parenthetical>\n    <character>ANNIE<\/character>\n    <dialogue>Why didn't you do something. You should have stopped it!<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>The weasel has to eat. Its the way of the world. Annie<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Its not fair. Its not fair.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>No, its not fair at all.<\/dialogue>\n    <scene_description>Patting her and stroking her as the little sobs subside. The weasel is dragging the dead rabbit back to its lair.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>....but still it is extraordinary, do you not think, that a weasel should learn to dance the polka.<\/dialogue>\n    <scene_description>Despite herself the concept amuses Annie. Chest still heaving with sobs - she dries her eyes and smiles at him through her tears.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWN HOUSE. BEDROOMS. THE PAST .NIGHT .<\/stage_direction>\n    <scene_description>Piano music - Chopin - plays softly over as Charles and Emma do the rounds of their large brood of children, turning out lamps and kissing sleeping heads, taking a doll from one sleeping child's embrace, a sword from another. Shooing a cat and her kittens from the bedroom.<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>Good-night Lenny.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Good-night Frankie<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Good-night Betty.<\/dialogue>\n    <scene_description>Darwin watches his wife, a sensuous figure, stooped over the sleeping child, a lock of hair falling forwards as she kisses her.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Good-night George<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Good-night Etty.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Good-night Willy<\/dialogue>\n    <character>DARWIN AND EMMA<\/character>\n    <dialogue>Good-night Annie<\/dialogue>\n    <scene_description>She's sound asleep. Finally Charles and Emma are alone together in the blissfully silent house. Emma smiles<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>Dear Charles<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Dearest Emma<\/dialogue>\n    <scene_description>He takes her hand and leads her to their bedroom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE BEACH. THE PAST. DAY<\/stage_direction>\n    <scene_description>Emma lies on a rug, her head is in Darwin's lap. She is reading aloud from a new book of poems by Wordsworth.<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>\"Loving she is, and tractable though wild. And innocence hath privilege in her. To dignify arch looks and laughing eyes; And feats of cunning; and the pretty round Of trespasses, affected to provoke Mock chastisement, and partnership in play\"<\/dialogue>\n    <scene_description>She puts the book down<\/scene_description>\n    <character>DARWIN<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>Then we were wrong. She is not unique after all.<\/dialogue>\n    <scene_description>Darwin is watching Annie dancing in front of the surf , turning cartwheels - a wild dancing sprite of the sea, oblivious to the cold, shouting and singing: THE BEACH. LATER Later, Near the cliff, Darwin is \"geologising\" He's excited, breathless and windswept, shouting over the sound of the nearby surf as he clambers over the huge assorted boulders pointing out the geological strata to his kids who are more interested in clambering.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>This is Devonian, about 400 million years ago. Rocks like this might have fishes in them, trilobites, tree ferns, corals maybe....<\/dialogue>\n    <scene_description>He knock off a corner of rock with his geological hammer, then moves on<\/scene_description>\n    <character>ETTY<\/character>\n    <dialogue>Is this a bit?<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>No that is Cretaceous Etty. It was made a hundred millions years ago, when this cliff was a coral reef and Down village was a swamp full of great crocodiles.<\/dialogue>\n    <scene_description>Tap tap tap with his hammer as the boys scramble upwards, playing at mountaineers.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>We might find oysters and sponges imprinted in it, or dinosaurs if we were lucky...<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>What's a dinosaur?<\/dialogue>\n    <character>ETTY<\/character>\n    <dialogue>Professor Owen invented them.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>They are the giant lizards which lived on earth before there were any humans.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>But they weren't real<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Of course they are, Betty. Did I never tell you of the skeletons I found in South America<\/dialogue>\n    <parenthetical>(to Etty)<\/parenthetical>\n    <dialogue>Do you remember Mr Martell?<\/dialogue>\n    <character>ETTY<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Annie arrives, hopping nimbly over the rocks still in her wet swimsuit<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Yes you do. When he came to tea and showed us drawings of his Iguanodon. And George burnt his fingers roasting chestnuts.<\/dialogue>\n    <character>ETTY<\/character>\n    <dialogue>Oh yes.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>She doesn't remember.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>You should have your clothes on Annie. You are quite blue.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Savages don't swear clothes.<\/dialogue>\n    <scene_description>She runs to the top of a great fallen rock, spreads her arms out, and yells to the sky.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>I'm a Fuegan.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Well don't fall and hurt yourself. Your mother would never forgive me.<\/dialogue>\n    <scene_description>Annie gives a shout and disappears head over heels.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Annie!<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I've found one!<\/dialogue>\n    <scene_description>In the rubble at the base of the rocks she has landed, unhurt and quite by accident on a perfect specimen of a fossilized trilobite.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARWIN'S STUDY. THE PRESENT. DAY<\/stage_direction>\n    <scene_description>The black box lies open with all its secrets strewn around the office. Stacks of paper - a stack for every chapter - are held down with paperweights - a fossil, a skull, a specimen bottle. Darwin squares a stack of blank paper between his hands, then reaches for his pen.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VILLAGE SCHOOL. THE PAST . DAY.<\/stage_direction>\n    <scene_description>Annie reaches for her pen. Reverend Innes is giving the children their writing lessons, according to \"Mulhauser's technique\"<\/scene_description>\n    <character>INNES<\/character>\n    <dialogue>First positions.<\/dialogue>\n    <scene_description>The children assume the position as if in some militaristic drill.<\/scene_description>\n    <character>INNES<\/character>\n    <dialogue>Second positions.<\/dialogue>\n    <scene_description>Grips are adjusted, pens are dipped.<\/scene_description>\n    <character>INNES<\/character>\n    <dialogue>Assume the distance.<\/dialogue>\n    <scene_description>The children lean back fractionally, so their elbows are just back from the edge of the desk.<\/scene_description>\n    <character>INNES<\/character>\n    <dialogue>.....and begin.<\/dialogue>\n    <scene_description>The Children start to copy the sentence which Innes has written on the blackboard. Annie reads the sentence and hesitates: \"And on the seventh day God ended his work which he had made; and he rested\" INT DARWIN'S STUDY. DAY. Darwin massages his cramped hand then takes a blank sheet of notepaper.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Dearest Hooker. I am one week into the great project and I feel at last that it is real. Its title is \"On the Origin of Species.\" As I write theses words why does it feel as though I am confessing to a murder...<\/dialogue>\n    <scene_description>A paper stirs in the breeze and he pins it with the nearest object to hand - Annie's trilobite. His eye rests on it a moment CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARWIN'S STUDY. THE PAST . DAY<\/stage_direction>\n    <scene_description>The corrugated gray surface, greatly magnified. The Darwin of ten years ago is examining the trilobite with a watchmakers eyeglass. There is a small mirror above his desk, angled so as to give him a view of the path leading round from the front of the house. Innes appears briefly in it, preceded by Annie, who is trotting to keep pace with him and crying. Darwin, intent on his work, notices neither of them From downstairs he hears the door knocker then Brodie's voice, then Emma's overlapping with half-heard fragments of Innes's Scottish brogue.<\/scene_description>\n    <character>INNES (O.S.)<\/character>\n    <dialogue>I thought you needed to know why I had to chastised her.<\/dialogue>\n    <scene_description>Darwin remains immersed, examining each detail of the trilobite, comparing it with other specimens in books and in boxes.<\/scene_description>\n    <character>INNES (O.S.)<\/character>\n    <dialogue>....It is not fair to the other nor to Annie herself that her head be filled with these ideas....<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Are you listening, Annie?<\/dialogue>\n    <scene_description>Annie sobs louder, incoherent in her grief. Darwin finally focusses on the sounds, recognizes her distress and gets up to investigate. EXT .UPPER HALLWAY. DAY. He reaches the top of the stairs. Annie is directly below him, slumped, still sobbing at the foot of the stairs. Emma has ushered Innes to the porch out of sight.<\/scene_description>\n    <character>INNES (O.S)<\/character>\n    <dialogue>I shall bid you good day then<\/dialogue>\n    <scene_description>The front door closes. Darwin comes downstairs<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Its not nothing. (To Annie) Why<\/dialogue>\n    <dialogue>are your knees bleeding?<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Mr Innes had to have words with her. It is sorted now.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Words are very well. I am asking what happened to her knees.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Mr Innes sent me to the corner and made me kneel on rock-salt.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>What!<\/dialogue>\n    <character>ANNIE<\/character>\n    <parenthetical>(in a rush)<\/parenthetical>\n    <dialogue>I said there were dinosaurs and he said there wasn't dinosaurs but there were because you saw them.<\/dialogue>\n    <character>EMMA<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>Annie. Let me talk to your father. He told her to kneel til she repented...<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Repented what?<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>The bleeding is due to her own stubborn-ness. It is finished now.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>It is by no means finished. Where is my coat. Its intolerable<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Charles. Please.<\/dialogue>\n    <scene_description>Charles ignores her, Forcing his arm into the sleeve of his coat.<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>Mr Innes is a dear friend and<\/dialogue>\n    <dialogue>neighbor. I beg you at least appraise yourself the facts. She contradicted him repeatedly. The fault was Annie's Mr Innes was quite within his rights.<\/dialogue>\n    <character>DARWIN<\/character>\n    <parenthetical>(his arm is stuck)<\/parenthetical>\n    <dialogue>In his rights to torture our children for expressing the plain truth.<\/dialogue>\n    <scene_description>Brodie appears and Darwin ushers Annie towards her<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>...Please take her to kitchen.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>It is not the truth as he sees it<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Well damn how he sees it. Damn the pair of them and all their works<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Charles listen to yourself. Listen<\/dialogue>\n    <scene_description>Blocking his path as he heads for the door. Her palm flat on his lapel, soothing, reasoning with him<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Emma please. I will not have Innes tell me what I can and cannot tell my children.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>It is what I have told them every night at bedtime. It is the instruction my aunt and your brother and most of our family live by. It is what all of the village believe ...or try to. Charles. Must our children be revolutionaries at nine years of age. Write to him with your concerns - our concerns - about the manner of the punishment but please do not set yourself against him. Think of my feelings on this. I beg you.<\/dialogue>\n    <scene_description>Finally his outrage has spent itself, neutralized by her gentle persistence and the deep affection he holds for her.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>You're right of course.... I'm sorry.<\/dialogue>\n    <scene_description>He embraces her. Emma is reassured, she cannot see the conflict written all over Darwins face.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STUDY. DAY. (THE PRESENT)<\/stage_direction>\n    <scene_description>The conflicted expression has hardened, the furrows in Darwin's brow etched deeper, as he dips his pen and begins the second chapter. From the floor below we can hear Emma practising a piece of music on the piano - Chopin's revolutionary etude: a rippling, brooding arpeggio running up and down the keyboard, redolent of an angry sea. Darwin's pen scratches doggedly over the paper.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM. NIGHT.<\/stage_direction>\n    <scene_description>In the bedroom, in his nightgown, Darwin scrubs the ink stains off his fingers with a pumice stone. Emma passes behind him, preparing for bed. He glances at her in the mirror<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>You're still angry with me.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>No. Why?<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>I can always tell by your playing.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Not angry. I'm sad.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARWIN'S STUDY. THE PRESENT. DAY<\/stage_direction>\n    <scene_description>Darwin sits at his desk, writing and editing, his hand clamped on the pen. A voice speaks from nowhere<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Talk to her.<\/dialogue>\n    <character>DARWIN<\/character>\n    <parenthetical>(still writing)<\/parenthetical>\n    <dialogue>And say what? She does not want to hear it.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Then write to her.<\/dialogue>\n    <character>DARWIN<\/character>\n    <parenthetical>(irritably)<\/parenthetical>\n    <dialogue>That is what I am doing Annie, I am writing all of it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DARWIN'S STUDY. DAY<\/stage_direction>\n    <scene_description>Emma, passing the open door glimpses Darwin talking angrily to himself as he writes.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>....and then she can read it, and we can all be free of this! Now, please, Annie no more interruptions!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GARDEN. DAWN<\/stage_direction>\n    <scene_description>The music continues, louder. A frosty coating of dew covers the lawn. Footprints lead to a strange wooden tower in the garden. Parslow stands outside, shivering in the grey morning light. Darwin shouts from inside.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Pull!<\/dialogue>\n    <scene_description>Parslow pulls a lever. There's the sound of crashing water, a yell of pain from inside the tower. Ravens rise, calling, from the surrounding trees.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARWIN'S STUDY. THE PRESENT. DAY<\/stage_direction>\n    <scene_description>Darwin dips his pen, scores out some text from his previous draft and writes again. The music continues from downstairs, louder and more insistent than before. LOUNGE ROOM. THE PRESENT. DAY Emmas hands race back and forwards along the piano keyboard. INT DARWIN'S STUDY. THE PRESENT Darwin's pen scratches across the pages, making a noise like fingernails on a blackboard. The music from downstairs seeming to drive into his skull He speaks aloud the words he is writing, in an effort to drown out the piano music.<\/scene_description>\n    <character>DARWIN (THOUGHT VOICE)<\/character>\n    <dialogue>... In time small variations become extreme...<\/dialogue>\n    <scene_description>Strange detailed drawings of barnacles are strewn across his desk, seeming to change and transmute before his eyes.<\/scene_description>\n    <character>DARWIN (V.O.)<\/character>\n    <dialogue>...Organs change their very function, the oviduct becomes a cement gland.<\/dialogue>\n    <scene_description>He stops. His hand is shaking too much to write.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>What's an oviduct?<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Nothing that need concern you.<\/dialogue>\n    <character>ANNIE<\/character>\n    <parenthetical>(sulkily)<\/parenthetical>\n    <dialogue>I know what it is anyway.<\/dialogue>\n    <scene_description>Darwin gets up abruptly from his desk.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WATER TOWER. DAY<\/stage_direction>\n    <character>DARWIN<\/character>\n    <dialogue>Pull!<\/dialogue>\n    <scene_description>Darwin stands naked, clutching to two hand rails for support as a great tub of freezing water tilts and pours its contents on top of him. Darwin yells EXT DOVECOTE Birds rush out from the dovecote<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STUDY<\/stage_direction>\n    <scene_description>Darwin dips his pen and writes<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>....What was once a free- swimming creature now finds itself glued by its head to a rock, flailing for food with its legs...,<\/dialogue>\n    <scene_description>The Revolutionary etude is continuous now - real or imagined. UNDER THE SEA Surf crashes. Underwater, among the swirling seaweed, fragile sea creatures being torn this way and that by the raging surf<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MALVERN SPA TREATMENT ROOM. DAY<\/stage_direction>\n    <scene_description>Annie screams and kicks her legs, overwhelmed by water in some dark place. Pull back to reveal:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELL.<\/stage_direction>\n    <scene_description>A vision of hell: The water is fire. The barnacles are people. The people are Annie, Emma and Darwin.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM. NIGHT<\/stage_direction>\n    <scene_description>Darwin wakes in a panic and sits up in bed. He raises his right arm and looks down at his inky writing hand fluttering in the moonlight, like an organ with a will all of its own Emma is a sleep. There's a crucifix on the wall above her bed. On the bedside table there's a bible.<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>\" ...About the midst of this valley I perceived the mouth of hell to be; and it stood also hard by the wayside. Now, thought Christian, what shall I do?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NURSERY. THE PRESENT. NIGHT<\/stage_direction>\n    <scene_description>The children are gathered around Emma who is reading a bed- time story to them by lamplight. Emma is in the centre of a circle of little attentive faces. She's aware of Darwin, standing in the darkened corridor beyond the door, drawn to the cosy little group but unable to join it. She lets him be. Continues reading<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>And ever and anon the flame and smoke would come out in such abundance with sparks and hideous noises, that he was forced to put up his sword, and betake himself to another weapon, called \"All Prayer\"...\"<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ETTY'S ROOM NIGHT.<\/stage_direction>\n    <scene_description>The older girls Etty and Betty finish their prayers and jump into bed in their night-gowns Emma comes in to take away their lamp.<\/scene_description>\n    <character>ETTY<\/character>\n    <dialogue>Is Daddy not coming to kiss us good-night<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>He is still a little bit ill from working ...maybe tomorrow.<\/dialogue>\n    <character>BETTY<\/character>\n    <dialogue>That's what you said last night.<\/dialogue>\n    <scene_description>Emma turns out the light. In the darkness Etty says.<\/scene_description>\n    <character>ETTY<\/character>\n    <dialogue>I think when Annie died he stopped loving us.<\/dialogue>\n    <scene_description>Emma returns to her bedside<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>Oh come now, Etty. You know that's not true. He is just a little bit ill - and a little bit busy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOILER ROOM. DAY<\/stage_direction>\n    <scene_description>In the bowels of Down House the house, we find Darwin wrapped in wet towels sweating in front of the wood-burning stove. As he gazes into the leaping flames, Annie appears at his shoulder.<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Is there really such a place as hell.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>No of course not. How can there be? If he is supposed to be loving and forgiving - what on earth is the sense punishing all these millions of souls.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>But just suppose if there was. And all this was punishment.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>All what?<\/dialogue>\n    <scene_description>No reply.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>I don't know what you mean. All what?<\/dialogue>\n    <scene_description>INT THE WATER TOWER. DAY Darwin stands, legs apart in the water tower bracing himself like a colossus against the full force of the deluge.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Pull!<\/dialogue>\n    <scene_description>EXT THE WATER TOWER. DAY The gardener, splitting logs, watches Darwin stagger from the tower with a rug wrapped around him, and make his way back to the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARWIN'S BEDROOM. DAY.<\/stage_direction>\n    <scene_description>Darwin lowers himself into bed, inky and tousled. He seems prematurely aged, crippled by the gruelling process of writing the book. As he lies there, unable to sleep lines of written text seems to appear behind his closed eyes, or in the tangled vines of the wallpaper. Emma speaks from the other side of the bed.<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>Talk to Mr Innes. Please. You are clearly not well<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>He is what? A physician now<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>You know what I mean. I think he can help you.<\/dialogue>\n    <scene_description>Charles remains stubbornly silent, his hand fluttering over the coverlet.<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>I am taking the children to Maer for a while, to visit their cousins.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>I worry for you, Charles. Please<\/dialogue>\n    <scene_description>talk to him INT DARWIN'S STUDY. DAY Fire flares in the grate as Darwin compares the skeletons of various pigeons. He starts a new Chapter: \"changes under domestication\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE DOVECOTE. THE PRESENT. DAY<\/stage_direction>\n    <scene_description>Pigeons mate and coo in the dusty twilight.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE DOVECOTE. THE PRESENT. DAY<\/stage_direction>\n    <scene_description>Parslow picks up two of them, casually wrings their necks and heads off with them to the skeletonizing shed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARWINS STUDY. THE PRESENT. DAY<\/stage_direction>\n    <scene_description>Darwin Looks out of the study window, searching for inspiration. He sees Emma and the children getting into a coach with their baggage.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARWIN'S STUDY. THE PRESENT. NIGHT.<\/stage_direction>\n    <scene_description>Darwin sits at his desk. He has written the chapter heading and nothing else. Parslow knocks and looks in<\/scene_description>\n    <character>PARSLOW<\/character>\n    <dialogue>Will you be eating sir.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>No thank you.<\/dialogue>\n    <scene_description>Parslow leaves. Darwin addresses the empty room.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Annie? .....Annie.<\/dialogue>\n    <scene_description>She will not come.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE BEACH. THE PAST. DAY<\/stage_direction>\n    <scene_description>Annie dancing in the surf. One minute she is there and the next she has vanished, lost among the churning waves. Darwin leaps top his feet shouting<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Annie!<\/dialogue>\n    <scene_description>Raucous male laughter takes us to<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PUBLIC HOUSE. THE PAST. EVENING.<\/stage_direction>\n    <scene_description>The George and Dragon on a Saturday night. The air loud with laughter and thick with pipe smoke. Clodhoppers crowd the snug, many of them roaring drunk, with their florid complexions, stained and broken teeth. Darwin trying, to slip in discreetly is spied by a group of locals who hail him and gather around him, wedging him into a corner with their overloud loud talk and laughter.<\/scene_description>\n    <character>THATCHER<\/character>\n    <dialogue>Mr Darwin! Mr Darwin! I was explaining to Mr Goodman here your interest in breeding. Mr Darwin is our foremost scholar in the village.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>No. No I am but one of many. There is Squire Lubbock, and the reverend Innes<\/dialogue>\n    <scene_description>The Thatcher waves them away as lesser talents.<\/scene_description>\n    <character>THATCHER<\/character>\n    <dialogue>....he is also a noted explorer, the author of many books..<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>...which no-one has read.<\/dialogue>\n    <character>THATCHER<\/character>\n    <dialogue>...a fellow of the Royal society and a prodigious expert on clams...oysters?<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Barnacles.<\/dialogue>\n    <character>THATCHER<\/character>\n    <dialogue>Mr Goodman, now, is the foremost pigeon fancier in all the southern counties. Kent champion two years running. I swear he can give you any beak or plumage in four generations. Head and tail in five.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>How do you do it?<\/dialogue>\n    <character>GOOODMAN<\/character>\n    <dialogue>By breeding cousin with cousin. I find it the fastest way to alter<\/dialogue>\n    <scene_description>the strain - provided you do not weaken it in other ways. Darwin takes a slug of whiskey<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARWIN'S STUDY. THE PRESENT. NIGHT<\/stage_direction>\n    <scene_description>He is drinking in his office. The clock strikes twelve. The page in front of him remains stubbornly blank Darwin is rising from his desk when he sees something move. In one of the bottles on his desk, a fleshy marine specimen seems to have come to life. It writhes blindly in its bottle of formalin, making a sound like a baby crying. Darwin, recoiling in horror, pushes himself back from his desk. The castors on his chair trundle back from his desk. Behind him he hears a tapping and turns to see that all the birds in his big glass display case of Galapagos finches have started to beat against the inside the crowded glass case. They flutter, frenzied, tapping with their beaks on the inside of the glass, which shatters as... One by one the bottled specimens explode, discharging their contents onto the floor. A lamp falls over. The room is filled with birds the floor awash with formalin and broken glass. The Study seems to tilt like the cabin of a ship in a storm and.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARWIN'S BEDROOM. THE PRESENT. DAWN<\/stage_direction>\n    <scene_description>Darwin wakes from the nightmare asleep at his desk, the whiskey bottle a quarter empty, ink on his hands and his shirt cuffs He gets up and puts on his shoes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWN HOUSE. DRAWING ROOM. THE PRESENT. DAWN .<\/stage_direction>\n    <scene_description>The scullery maid, lighting the fire, looks round and sees Darwin. He walks past her without a word and heads out into the garden.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWN HOUSE GARDEN. THE PRESENT. DAWN<\/stage_direction>\n    <scene_description>Darwin heads across the lawn, takes a key from his belt and opens the door of the skeletonizing shed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SKELETONIZING SHED. THE PRESENT. DAWN<\/stage_direction>\n    <scene_description>In the grey light he takes in the corpses of doves from the dovecote. Some have been skinned, their pelts curing on frames, their carcasses steeping in a buckets chemicals which remove the flesh from the bones. Previously he regarded this place as a sort of laboratory. Now it seems a place of horror. The door opens behind him. Its Parslow.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Get rid of them.<\/dialogue>\n    <character>PARSLOW<\/character>\n    <dialogue>Which ones sir?<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>All of them. All of it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOVECOTE. THE PRESENT. DAWN<\/stage_direction>\n    <scene_description>Darwin reaches into the dovecote and starts grabbing pigeons at random, dragging them out and flinging them into the air.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Go. Go!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWN HOUSE. THE PRESENT. DAWN.<\/stage_direction>\n    <scene_description>Displaced doves beat the air. Darwin climbs down the ladder, grabs and axe and attacks the wooden stanchions supporting the dovecote Parslow comes running over from the skeletonizing shed, calling:<\/scene_description>\n    <character>PARSLOW<\/character>\n    <dialogue>Sir. Mr Darwin.<\/dialogue>\n    <scene_description>Darwin stands back, hair wild, eyes crazed, his sleeves covered in bird shit.<\/scene_description>\n    <character>PARSLOW<\/character>\n    <dialogue>Please rest sir. I'll have John Lewis remove it. Have some breakfast now and rest. Shall I call the doctor?<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>God know.<\/dialogue>\n    <character>PARSLOW<\/character>\n    <dialogue>Or the water tower.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>A pox on all of them!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANNIE'S ROOM. THE PAST. DAY<\/stage_direction>\n    <scene_description>The local doctor Henry Holland takes out various concoctions from his medical bag and arranges them on the dresser. We are in the past. Annie is in bed with a fever. Emma is pregnant.<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>Calomel then, twice daily.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>I will not give it to her.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Charles....<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>Mrs Darwin, it is nothing but chloride of mercury. I have prescribed it often in children as young as two.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Not to any of mine I hope. On the Beagle I dropped some on a microscope slide and all my animacules died of it.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>Well animacules are not persons. Presumably they would die if you dose them with Madeira wine.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>On Madeira they thrived most excellently, as did Captain Fitzroy, while it lasted.<\/dialogue>\n    <scene_description>Annie enjoys the joke and gives Darwin a weak smile. The doctor regards her balefully<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>Or if she would submit to be bled.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Please no.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>I will write to Dr Gully again.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <parenthetical>(sceptical)<\/parenthetical>\n    <dialogue>The hydro-therapist?<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>I have always found his treatments most effective.<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>...no matter that they defy all sense of logic.<\/dialogue>\n    <scene_description>He is packing up his bottles and his lancets<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Logic is not everything.<\/dialogue>\n    <scene_description>Emma shoots him a look. Til now scientific logic has been his guiding principle.<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>Then I shall bid you good day.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Parslow will bring your carriage. I will be down presently<\/dialogue>\n    <scene_description>The doctor leaves the room. Emma is in a terrible quandary<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>I should take her to Malvern.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>I think it is better she is here.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Gully can care for her properly there. She can be treated daily, as I was.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Charles no. She is better with us. With her family. Please do not take her away from me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARWIN'S STUDY. THE PRESENT. DAY<\/stage_direction>\n    <scene_description>Parslow enters to find his master staring vacantly into space. The page in front of him is still blank. The study is in chaos. It seems as though the contents of the black box have multiplied and spread out to colonize every corner of the room.<\/scene_description>\n    <character>PARSLOW<\/character>\n    <dialogue>Post for you sir.<\/dialogue>\n    <scene_description>He leaves it by Darwins elbow and backs out. After a while Darwin seems to rouse himself. He picks up the largest envelope, postmarked Malaysia, and slits it with a letter knife. The sender is a Mr Wallace. There's a covering letter and a twenty page attachment Darwin reads, and lets out a sudden loud bellow of laughter.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Ha!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWN HOUSE. THE PRESENT. DAY.<\/stage_direction>\n    <scene_description>Darwin sits in sunshine at the rear of the house, rugged up against the cold. Looking frail still, but oddly at peace.<\/scene_description>\n    <character>INNES<\/character>\n    <dialogue>Ah, there you are Mr Darwin.<\/dialogue>\n    <scene_description>Darwin looks up blinking in the sunlight to see the stocky, dark-suited figure of Mr Innes.<\/scene_description>\n    <character>INNES<\/character>\n    <dialogue>May I join you.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>By odd means<\/dialogue>\n    <scene_description>He makes some space on the bench. Innes hesitates, unable to read Darwin's feelings towards him. The smile is welcoming enough but there is something not altogether balanced about it<\/scene_description>\n    <character>INNES<\/character>\n    <dialogue>Mrs Darwin informed me you would be alone and ....perhaps a need to counsel.<\/dialogue>\n    <scene_description>He sees an envelope on the ground and stoops to retrieve it.<\/scene_description>\n    <character>INNES<\/character>\n    <dialogue>You dropped this. What a beautiful postage stamp.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Yes. It is from the Spice islands.<\/dialogue>\n    <character>INNES<\/character>\n    <dialogue>I do rather envy your wide circle of correspondents. In my youth I always wanted to travel.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>You are still young. You could be<\/dialogue>\n    <dialogue>a missionary and follow in Mr Livingstone's footsteps.<\/dialogue>\n    <character>INNES<\/character>\n    <dialogue>Yes, although I have always felt there is quite enough evil at home without looking for it abroad.<\/dialogue>\n    <parenthetical>(Then, casually)<\/parenthetical>\n    <dialogue>Mrs Darwin told me of the book you are writing.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Not any more, thank goodness<\/dialogue>\n    <character>INNES<\/character>\n    <dialogue>You have finished it?<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>It has been finished for me. My correspondent In the spice islands has arrived independently at exactly the same idea, expressed in a mere twenty pages.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>There's brevity for you. I had so far covered two hundred an fifty and come to a dead end. So finally I am rid of the project.<\/dialogue>\n    <scene_description>Innes is relieved to hear it<\/scene_description>\n    <character>INNES<\/character>\n    <dialogue>The Lord moves in mysterious ways.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>He does indeed Mr Innes. I was reflecting only the other day on the fact that he has endowed us in his blessed generosity with not one but nine hundred species of intestinal worm each with its own unique method of infiltrating the blood supply and burrowing through the mucosa.<\/dialogue>\n    <scene_description>Innes shifts uncomfortably.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>And then again on the great love<\/dialogue>\n    <scene_description>he shows for butterflies by inventing a wasp to lay eggs inside the living flesh of caterpillars<\/scene_description>\n    <character>INNES<\/character>\n    <dialogue>Well. It is not for us to guess at His reasons.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>No. We can leave that for Mr Wallace now. Should I advise him to stay overseas do you think? If he shows his face in Kent he may be required to kneel on rock salt.<\/dialogue>\n    <scene_description>Innes rises. He's a short man, acutely aware of any threats to his dignity, and he's had enough of this mockery<\/scene_description>\n    <character>INNES<\/character>\n    <dialogue>I once valued our friendship Mr Darwin. I had hoped it might be possible to restore it. Clearly in your present mood that is not going to be possible. My regards to Mrs Darwin<\/dialogue>\n    <scene_description>He starts off round the corner of the house. Darwin listens to his footsteps receding, then turns his face back to the sun. When he opens his eyes sees a figure standing in the lawn. It is Annie, plain as day, scowling at him angrily.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>What? I am forestalled by Mr Wallace. That is the simple fact of it. What reason do you have to be angry?!<\/dialogue>\n    <scene_description>She shoots him a look of hatred then turns away from him and runs off towards the meadow. Darwin, instantly remorseful, gets to his feet and hurries after her.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Annie!<\/dialogue>\n    <scene_description>He reaches the centre of the lawn and stopped by a sudden intense pain in the gut which strikes him like a blow and fells him to his knees. He lies their gasping, his vision clouding as the pages of the Wallace letter slip from his grasp and are scattered to the wind. A view from high above: spiralling downwards on the Darwin garden, as household servants emerge from various quarters and hurry to his assistance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARWIN'S BEDROOM. THE PRESENT. DAY.<\/stage_direction>\n    <scene_description>There are some faint stains on the plasterwork of the bedroom ceiling. Like lichen on a rock. Like an archipelago of islands. Darwin lies, pale and weak, looking upwards from a sea of white blankets. The door opens and he turns his head. Its Emma.<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>You have a visitor.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>No. No. I will not be bled or lectured to.<\/dialogue>\n    <scene_description>She gives him a pinched look, then Hooker pushes in behind her.<\/scene_description>\n    <character>HOOKER<\/character>\n    <dialogue>It is me. Thank God you are still with us. Word came from London you had suffered an apoplectic stroke.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>No. Simply the great relief of liberation. Did you read the Wallace abstract.<\/dialogue>\n    <scene_description>Hooker bats the idea away<\/scene_description>\n    <character>HOOKER<\/character>\n    <dialogue>It is a letter. You have a book<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>...barely half of it<\/dialogue>\n    <character>HOOKER<\/character>\n    <dialogue>You have a book. What is not already on the page is most certainly inside your head and I intend to extract it, if it kills us both.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>You have been talking to Huxley.<\/dialogue>\n    <character>HOOKER<\/character>\n    <dialogue>No. Had I done so he would have hastened here himself armed with every instrument of torture known to her majesty's navy.<\/dialogue>\n    <parenthetical>(Then)<\/parenthetical>\n    <dialogue>Charles I have read the first Chapters. It is brilliant. You must continue.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>I cannot. Seriously Joseph, I am completely blocked. All my old symptoms have returned with a vengeance. The sweats the shakes the abdominal pains. The whole endeavour was cursed from the outset.<\/dialogue>\n    <scene_description>Hooker takes darwins hand, presses it to stop it from trembling<\/scene_description>\n    <character>HOOKER<\/character>\n    <dialogue>Charles. It was you who opened my eyes to the wonders of science. So let me open yours. You have an illness. You have had it as long as I have known you.<\/dialogue>\n    <character>HOOKER<\/character>\n    <dialogue>It is clearly made worse in times of overwork but the nature of the work is irrelevant. This is not<\/dialogue>\n    <dialogue>visited on you by God or the devil. This is a set of physical symptoms. Go to Malvern and get treated.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Not Malvern<\/dialogue>\n    <character>HOOKER<\/character>\n    <dialogue>Why not. What is there to be scared of there. He has worked for you in the past it will work again. Then come back and finish the book. Your enemies are already toasting their good fortune but they shall not prevail.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>What are you talking about. I have no enemies.<\/dialogue>\n    <character>HOOKER<\/character>\n    <dialogue>They are legion, believe me, and they are implacable. We are all of us fighting a battle against fear and superstition but we can win this battle. We must win it. You can win it for all of us. Go to malvern, then come back and finish it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWN HOUSE. THE PAST. DAY.<\/stage_direction>\n    <scene_description>Upstairs, Servants are packing for a journey. The vigorous Darwin of the past moves swiftly from room to room, gathering his things. Hat and gloves, books, spectacles, papers. Emma, eight months pregnant, tries to keep up with him<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>Charles, please reconsider<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>Emma it is weeks now, months. She is getting worse, not better.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Then I am coming with you.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>You cannot come. How can you possibly come in your condition.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>It is not so far.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>It is two days by coach and train. Who will look after the others.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>I do not care for the others. I care for Annie!<\/dialogue>\n    <scene_description>Etty, coming apon then unexpectedly, hears this and is instantly heartbroken. EMMA is devastated by the slip but is presently too overwrought to retract it.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Leave us please, Etty.<\/dialogue>\n    <scene_description>Parslow has gathered up Annie from her room and is carrying her downstairs, pale and sickly-looking, with Brodie fussing behind.<\/scene_description>\n    <character>BRODIE<\/character>\n    <dialogue>Make sure she is tucked in. Watch her shawl<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I don't need to go.<\/dialogue>\n    <scene_description>At the bottom of the stairs, Darwin takes Annie from Parslow's arms<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>The coach is outside. I will carry her from here.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Annie...<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Mama...<\/dialogue>\n    <scene_description>She clasps Emma's hand. Darwin keeps heading for the door. Emma holds fast to Annies hand and follows behind<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>You will see Mamma when you are better. Say goodbye now.<\/dialogue>\n    <scene_description>Parslow holds the door open. The coach is at the Gate. Emma stops on the threshold, unable to let go her daughters hand and suddenly deeply convinced that she is making a mistake here.<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>Wait. I am coming with you<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Please, Emma<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Wait there.<\/dialogue>\n    <scene_description>She hurries back inside. Darwin makes a decision and heads for the coach.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWN HOUSE. DAY<\/stage_direction>\n    <scene_description>Down the patch and through the open gate with the servants following.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Get aboard. Brodie<\/dialogue>\n    <character>ANNIE<\/character>\n    <parenthetical>(shouts back)<\/parenthetical>\n    <dialogue>Mama!<\/dialogue>\n    <scene_description>The garden gate clangs shut behind them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWN HOUSE STAIRWELL\/ UPPER HALLWAY. THE PAST. DAY<\/stage_direction>\n    <scene_description>Emma looks out of the upstairs window, realizes they plan to leave without her and hurries downstairs again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COACH. THE PAST. DAY<\/stage_direction>\n    <scene_description>Charles bundles Annie inside.<\/scene_description>\n    <character>DARWIN<\/character>\n    <parenthetical>(to the coachman)<\/parenthetical>\n    <dialogue>Go. Go.<\/dialogue>\n    <character>EMMA<\/character>\n    <parenthetical>(calls)<\/parenthetical>\n    <dialogue>Wait!<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Go now!<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Mama!!<\/dialogue>\n    <scene_description>The coach sets off. Emma runs to the gate calling desperately.<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>Charles. Please God. No. Annie!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COACH. THE PRESENT<\/stage_direction>\n    <scene_description>Charles, feeble and debilitated, levers himself into the coach with Parslow assisting and slumps back in the leather upholstery. Servants gather at the gate. Some of them tearful, not expecting him to return<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STEAM TRAIN. THE PRESENT. DAY.<\/stage_direction>\n    <scene_description>A steam train comes charging past trailing plumes of black smoke, striking sparks from the track with its wheels.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARRIAGE. THE PRESENT. DAY.<\/stage_direction>\n    <scene_description>The sickly Darwin of the present sits hunched and nauseous, with Parslow sitting beside him with his suitcase on his lap. Every jolt of the train sends a spasm of pain through Darwin's guts. The people sitting opposite - a woman, a child, and a man - regard Darwin in silence. Whatever he suffers from its not good and they are worried about getting infected with it They plunge into a tunnel. The carriage fills with smoke. Parslow gets up and tries to close the window but it won't budge. A burning ember flies inside and lands on Darwin's leg. Darwin is too weak to lift a finger. Parslow slaps the ember and extinguishes it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATION. MALVERN.<\/stage_direction>\n    <scene_description>The train wheezes to a halt. The doors open and the train disgorges its cargo of sick people, come to Malvern for treatment - a coughing child, a woman with one side of her face aflame with shingles - the halt the lame and the afflicted.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HORSE AND CART. DAY<\/stage_direction>\n    <scene_description>Darwin sits in the back as the attendant drives them through Malvern.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Tell him not this way.<\/dialogue>\n    <character>PARSLOW<\/character>\n    <parenthetical>(loudly)<\/parenthetical>\n    <dialogue>Hello there. Stop. Can we go by the other route<\/dialogue>\n    <character>ATTENDANT<\/character>\n    <dialogue>The Worcester Road is shorter.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>...by the low road.<\/dialogue>\n    <character>PARSLOW<\/character>\n    <dialogue>He wishes to go by the other route.<\/dialogue>\n    <character>ATTENDANT<\/character>\n    <parenthetical>(with a sigh)<\/parenthetical>\n    <dialogue>As you will sir.<\/dialogue>\n    <scene_description>He backs up the horses and turns the cart around<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GULLY'S CLINIC. DAY<\/stage_direction>\n    <scene_description>Dr Gully is the chief physician at Malvern spa. His marble- tiled consulting rooms resound with the sound of rumbling pipes and dripping water. Darwin reclines on a leather couch, watching the watery play of light on the ceiling. A door opens and Dr Gully comes in, accompanied by two assistants. Gully is a small dapper man wearing an apron over his shirt and tie. His trousers are tucked into calf-length Wellington boots. He greets Darwin cheerfully, effusively.<\/scene_description>\n    <character>MR GULLY<\/character>\n    <dialogue>Mr Darwin, old friend. Mr Darwin. It has been too long I fear. Tut tut tut tut tut. What have we now what have we now?<\/dialogue>\n    <scene_description>He clasps Darwin's hand, feeling his pulse at the wrist, then commands him to open his mouth<\/scene_description>\n    <character>GULLY<\/character>\n    <dialogue>tongue...<\/dialogue>\n    <scene_description>Darwin shows him.<\/scene_description>\n    <character>MR GULLY<\/character>\n    <dialogue>Ugh. Shirt up. Let me feel your liver.<\/dialogue>\n    <scene_description>Darwin untucks his shirt. Gully prods at Darwin's belly. Darwin winces.<\/scene_description>\n    <character>DR GULLY<\/character>\n    <dialogue>Pulse hectic, togue furred, liver tender and enlarged.<\/dialogue>\n    <scene_description>Darwin's ink stained fingers speak volumes.<\/scene_description>\n    <character>DR GULLY<\/character>\n    <dialogue>No doubt you have been exercising your brain every hour that God gave you.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>I was persuaded to write book.<\/dialogue>\n    <character>DR GULLY<\/character>\n    <dialogue>Madness there are far too many of those already. Are you Sleeping?<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Poorly.<\/dialogue>\n    <character>DR GULLY<\/character>\n    <dialogue>I suppose never taking the 50C dilution of Chelidonium.<\/dialogue>\n    <character>DARWIN<\/character>\n    <parenthetical>(shakes his head)<\/parenthetical>\n    <dialogue>I had the gardener build a water tower. It no longer has any effect.<\/dialogue>\n    <character>GULLY<\/character>\n    <dialogue>Of course not. Your gardener is not a hydrotherapist. What on earth possessed you ?<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>I feared I was dying.<\/dialogue>\n    <character>DR GULLY<\/character>\n    <dialogue>Oh come come come. We shall not have that talk here.<\/dialogue>\n    <scene_description>Half turning to his assistant, who is staking notes.<\/scene_description>\n    <character>GULLY<\/character>\n    <dialogue>A smart spinal scrub. Cold douche daily at 7.00. Wrapping in towels and sweating by the lamp.<\/dialogue>\n    <scene_description>Then, to Darwin:<\/scene_description>\n    <character>DR GULLY<\/character>\n    <dialogue>No red meat, no reading, no mental agitation of any kind. We shall soon have you right old friend, we shall have you right.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TREATMENT ROOMS. DAY<\/stage_direction>\n    <scene_description>Music over: Darwin sits in a deep metal bath while one of Gully's assistants scrubs his spine with a loofah.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOUCHE. DAY<\/stage_direction>\n    <scene_description>Darwin stands in a shaft of light, grabbing onto the hand rails as the icy flood continues to crash down on his shoulders, splintering and fracturing in the shaft of light.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TREATMENT ROOMS. DAY<\/stage_direction>\n    <scene_description>Two assistants bind him tight in damp linen sheets, til he is immobilised like a cocoon, with his legs together and his hands by his side. They pick him up and lie him down, quite rigid beside another pod like creature, similarly swaddled, with a red face and a beard.<\/scene_description>\n    <character>BEARDED STRANGER<\/character>\n    <dialogue>Mr Darwin is it?<\/dialogue>\n    <scene_description>Darwin nods, unable to turn his head, or make any gesture with his hands. The stranger continues to talk to him nonetheless.<\/scene_description>\n    <character>BEARDED STRANGE<\/character>\n    <dialogue>William Carter of Southampton. I read your Beagle account many years ago. Former naval man myself. What brings you here? Myself, a Bilious fever with blood per rectum, but I have every faith in Gully. The man is a miracle worker.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TREATMENT ROOM. DAY<\/stage_direction>\n    <scene_description>Darwin sits with a blanket draped over his shoulders, under the merciless glare of a heat lamp. Sweat pours off him and forms puddles at his feet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TERRACE. DAY.<\/stage_direction>\n    <scene_description>A bright sunny day. Darwin, looking weak but purged, sits on the terrace, sipping a glass of foul-tasting mineral water and looking out over the stone houses, fields and valleys of Malvern. Gully sits with him, interviewing him.<\/scene_description>\n    <character>GULLY<\/character>\n    <dialogue>What action do you most associate with the symptoms. Eating? Strong emotion? Strenuous Excercise?<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Does the exercise of memory count as an action.<\/dialogue>\n    <character>GULLY<\/character>\n    <dialogue>Memory of what.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>My eldest daughter. You remember her.<\/dialogue>\n    <character>GULLY<\/character>\n    <dialogue>Of course. Of course. You must accept there was nothing more we could do.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>I know that. I know.<\/dialogue>\n    <scene_description>A long, awkward silence, neither of them wants to recapitulate the events of Annies death.<\/scene_description>\n    <character>GULLY<\/character>\n    <dialogue>You say you were writing about her.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>No. It is a scientific text. But I had reached a point, beyond which it was impossible to<\/dialogue>\n    <scene_description>progress. She had been my companion throughout. Now it seemed she was ahead of me in a place I could not follow.<\/scene_description>\n    <character>GULLY<\/character>\n    <dialogue>Of course. Plainly she is in heaven.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>That is what my wife believes. It is a great consolation to her<\/dialogue>\n    <character>GULLY<\/character>\n    <dialogue>But not to you.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Emma and I have become ...divided on it.<\/dialogue>\n    <character>GULLY<\/character>\n    <dialogue>Does it affect your marital relations.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>We have none ...to speak of.<\/dialogue>\n    <character>GULLY<\/character>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>Are you familiar with the writings of DeQuincy.\"There is no such thing known to the mind as forgetting.\"<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>I don't know what it means.<\/dialogue>\n    <character>GULLY<\/character>\n    <dialogue>He suggests we have thoughts which do not actually enter the realm of consciousness. Nervous fibres exist after all throughout the whole body. Is it not possible that certain primal feelings manifest in some physical way. Eczema. Boils. A fever. Might some blocked passion imitate a gall-stone? Or even manufacture one.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Well, until someone devises a machine to read nervous impulses, or a telescope to look inside the body I suppose we can only guess at it.<\/dialogue>\n    <character>GULLY<\/character>\n    <dialogue>We can Mr Darwin. We can look inside you. If you find yourself open to it, there is a way of seeing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS OF MALVERN. NIGHT<\/stage_direction>\n    <scene_description>Darwin wanders the cobbled streets of Malvern, pausing occasionally to consult a hand-written address. It is starting to rain as, finally, he arrives at the address he is looking for. A substantial terraced house. Darwin descends a stone staircase to the imposing front door, and rings the bell. As he waits for an answer a woman appears, unseen in the rain streaked window above, observing him. Darwin rings again. A moment later the woman answers the door.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Mrs St John?<\/dialogue>\n    <character>MRS ST JOHN<\/character>\n    <dialogue>Mr Darwin. Come in.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MRS ST JOHN HOUSE. NIGHT<\/stage_direction>\n    <scene_description>The room is large and hot, crowded with pot plants, and bric- a-brac. Various fringed lamp-shades, a dancing Shiva, a framed picture of Lourdes, and some illustrations from the Tarot. None of this inspires Darwin with confidence.<\/scene_description>\n    <character>ST JOHN<\/character>\n    <dialogue>Just leave your coat on the table. Sit down here. Show me your palm.<\/dialogue>\n    <scene_description>The husky voice and the plunging decollete troubles Darwin, who hesitates.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Sorry. I'm confused. What is it you do exactly.<\/dialogue>\n    <character>MRS ST JOHN<\/character>\n    <dialogue>I envision what's inside your belly, dear. That's what you wanted, isn't it.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Envision how? When Gully described you I fancied some scientific instrument....<\/dialogue>\n    <character>MRS ST JOHN<\/character>\n    <dialogue>Depends what you class an instrument. In more resistant cases I might use a pendulum...<\/dialogue>\n    <scene_description>He frowns. She smiles.<\/scene_description>\n    <character>MRS ST JOHN<\/character>\n    <dialogue>Its ten shillings for a reading by the way. In advance.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Well. I have a ten shilling note here in my wallet.<\/dialogue>\n    <scene_description>He doesn't take it out.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>If you can tell me the numbers on it we can begin.<\/dialogue>\n    <scene_description>Mr St John' face hardens.<\/scene_description>\n    <character>MRS ST JOHN<\/character>\n    <parenthetical>(coldly)<\/parenthetical>\n    <dialogue>I'm a professional lady Mr Darwin. I don't do party tricks.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>I am a professional man. And I asking for no more than I ask of all my colleagues - a<\/dialogue>\n    <scene_description>demonstration of competence.<\/scene_description>\n    <character>MRS ST JOHN<\/character>\n    <dialogue>It is you who are here to be tested, Sir, not me.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Then I am sorry to have wasted your time.<\/dialogue>\n    <scene_description>He puts his jacket back on and heads for the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY. NIGHT.<\/stage_direction>\n    <scene_description>Mrs St John follows him. As he reaches for the doorhandle, and opens it, she says:<\/scene_description>\n    <character>MRS ST JOHN<\/character>\n    <dialogue>She's with you, you know that.<\/dialogue>\n    <scene_description>Darwin turns.<\/scene_description>\n    <character>MRS ST JOHN<\/character>\n    <dialogue>Your little girl. I saw her from the window standing at the top of the steps.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>How dare you.<\/dialogue>\n    <character>MRS ST JOHN<\/character>\n    <dialogue>Pardon?<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>...prey on people's grief like this.<\/dialogue>\n    <character>MRS ST JOHN<\/character>\n    <dialogue>I have done no such thing.<\/dialogue>\n    <character>DARWIN<\/character>\n    <parenthetical>(furious)<\/parenthetical>\n    <dialogue>Do you take me for an idiot? Clearly Gully has appraised you of my history.<\/dialogue>\n    <character>MRS ST JOHN<\/character>\n    <dialogue>I beg to inform you he did no such thing!<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>It is chicanery of the very lowest order and I despise it utterly!<\/dialogue>\n    <character>MRS ST JOHN<\/character>\n    <dialogue>Get out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOUSE. DAY<\/stage_direction>\n    <scene_description>Darwin steps outside and she slams the door on him. Darwin continues to rant at the closed door, standing in the pouring rain without his umbrella. He gets to the top of the steps, and looks around, trying to get his bearings. In a pool of lamp-light at the far end of the street a figure stands watching him. Darwin squints at her through the rain, which is falling harder now. The figure is Annie. She looks at him crossly, then heads off up a cobbled side- street. Darwin follows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MALVERN. SIDE STREETS. VARIOUS. NIGHT<\/stage_direction>\n    <scene_description>Darwin pursues his daughter up narrow cobbled lanes.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Annie. Annie!<\/dialogue>\n    <scene_description>The rain is getting heavier, turning the gutters into rivers. Water overflows the drains and culverts and rushes over the cobbles, making them slick and treacherous. Darwin hurries down darkened lanes and alleys, the sound of rushing water echoing all around, the little girl always ahead of him. A DRUNK MAN in oilskins comes barreling past him, head down, cursing the weather. A child's ball goes floating downhill in the current. Darwin loses Annie, then he sees her again, at the top of a steep flight of stone steps. Darwin, drenched chases after her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WORCESTER ROAD. NIGHT.<\/stage_direction>\n    <scene_description>At the top of the steps he stops for breath and he looks around. There is no sign of Annie but he knows this street - The Worcester Road - a row of Grey Georgian houses, their backs against the hill, their sloping front gardens looking out over the rooftops of Malvern. Most of the street is in darkness but the house directly opposite has lights in the window. He knows this house also. He hesitates, then crosses the street towards it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GUEST HOUSE. NIGHT<\/stage_direction>\n    <scene_description>Soaked to the skin, he raps with the brass door-knocker, then waits for someone to answer. Muffled voices. Then a man answers from within.<\/scene_description>\n    <character>LANDLORD (O.S.)<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Is Mrs Carey still the landlady here.<\/dialogue>\n    <character>LANDLORD<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>The door opens on a chain.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>My daughter Annie ...lodged here some years ago. Can I come in?<\/dialogue>\n    <scene_description>The man closes the door to release the chain, then opens it again to admit Darwin.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>I know this is an intrusion. I wonder - could I visit the room she stayed in?<\/dialogue>\n    <scene_description>The landlord doesn't know what to make of this<\/scene_description>\n    <character>LANDLORD<\/character>\n    <dialogue>Wait here. I'll get the missus.<\/dialogue>\n    <scene_description>He leaves Darwin dripping in the hallway which he goes and consults with his wife in the lighted parlour. Darwin looks around. This place is all too familiar to him - the bevelled gold-rimmed mirror, the carved mock-Tudor coat- stand. Muffled conversation off. There are crutches and walking sticks among the umbrellas. Lavender potpourri in a brass dish. A wheel-chair in one corner, a picture of the pieta above the door. Finally, the land-lady emerges from her parlour.<\/scene_description>\n    <character>LANDLADY<\/character>\n    <dialogue>Which room?<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Fourteen. I would only be there ten minutes. I am happy to pay.<\/dialogue>\n    <scene_description>She goes into an alcove and emerges with a key.<\/scene_description>\n    <character>LANDLADY<\/character>\n    <dialogue>Up one flight and along the corridor to the right.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>I remember.<\/dialogue>\n    <character>LANDLADY<\/character>\n    <dialogue>Try not to touch anything.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUESTHOUSE. THE PRESENT. NIGHT.<\/stage_direction>\n    <scene_description>Darwin, climbs the stairs to the Landing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUESTHOUSE. THE PAST DAY<\/stage_direction>\n    <scene_description>The younger Darwin flees up the stairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUESTHOUSE. THE PRESENT. NIGHT.<\/stage_direction>\n    <scene_description>The older Darwin, reaches the top of the stairs and walks along the corridor to the right.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUESTHOUSE. THE PAST DAY<\/stage_direction>\n    <scene_description>The younger Darwin, races along the corridor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUESTHOUSE. THE PRESENT NIGHT.<\/stage_direction>\n    <scene_description>The older Darwin, hesitates, chest pounding, outside the door of number 14, then unlocks it as...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUESTHOUSE. THE PAST. DAY<\/stage_direction>\n    <scene_description>The younger Darwin bursts into room 14 and takes in the scene. The room is full if light. A maid is bundling soiled sheets. Brodie is there with a harrassed-looking Dr Gully. They turn as he enters. Annie lies on the bed between them, her breathing fast and shallow. She manages a weak smile.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Is she any better? Does she want for anything?<\/dialogue>\n    <scene_description>Gully stands up from the bed. His expression tells us hope is fading. Annie's pale sunken cheeks and caked lips confirm it. Darwin kneels by her bedside, clasps her little hand is his own.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Darling Annie. I am here now.<\/dialogue>\n    <scene_description>Annie lets out a reedy whine of appreciation and strokes his lapel \"making him beautiful\" Brodie cannot bear it and bursts into tears.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 14. THE PAST NIGHT.<\/stage_direction>\n    <scene_description>Annie sleeps. Darwin sits up, writing to Emma, crying as he writes.<\/scene_description>\n    <character>DARWIN (V.O.)<\/character>\n    <dialogue>Dearest Emma. I think it best for you to know how every hour passes. It's a relief for me to tell you. Whilst writing to you I can cry tranquilly.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 14. THE PAST DAY.<\/stage_direction>\n    <scene_description>A local surgeon lays out various instruments, including a glass syringe with a long needle. Annie struggles and whimpers. Brodie comforts her<\/scene_description>\n    <character>DARWIN (V.O.)<\/character>\n    <dialogue>Mr Coates the Surgeon came today to draw off Annie's water. This did not hurt her, but she struggled with surprising strength against being uncovered.<\/dialogue>\n    <character>BRODIE<\/character>\n    <dialogue>There there. It will all soon be over.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCH AT MALVERN. ENTRANCE. DAY<\/stage_direction>\n    <scene_description>Darwin enters through the heavy stone entrance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CHURCH AT MALVERN. DAY<\/stage_direction>\n    <scene_description>The relatives of the sick, stand or sit among the pews, arriving, praying, departing Darwin kneels awkwardly in front of the altar, clasps his hands together and prays:<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Save her. I will believe whatever. Forever. Please save her<\/dialogue>\n    <scene_description>He looks up at the image of Christ on the cross, hoping against all reason, for some sense of epiphany. It's not working. He feels nothing embarrassment at the cheapness of the gesture. INT GUEST HOUSE. ROOM 14. THE PAST .NIGHT Darwin sits alone with Annie who is babbling incoherently. He can't make out anything she says<\/scene_description>\n    <character>DARWIN (V.O.)<\/character>\n    <dialogue>Our dear child has taken a turn for the worse. She talked a great deal but we could seldom make out anything. Much of what she says we cannot make out from the roughness of her poor mouth.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUEST HOUSE. ROOM 14 NIGHT<\/stage_direction>\n    <scene_description>Dr Gully leaves, the surgeon arrives. The maids squeeze between the two medical men, bundling sheets<\/scene_description>\n    <character>DARWIN (V.O.)<\/character>\n    <dialogue>Today she vomited rather much again. Dr Coates has been to draw off more water.<\/dialogue>\n    <scene_description>Brodie and the maid roll Annie on her side and cut off the tail of her shirt, then roll her on her back again, with a pillow between her two bony knees.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Is that good, my lovely<\/dialogue>\n    <character>ANNIE<\/character>\n    <parenthetical>(suddenly lucid)<\/parenthetical>\n    <dialogue>Beautifully good. I am making custards.<\/dialogue>\n    <character>DARWIN (V.O.)<\/character>\n    <dialogue>Gully thinks her in imminent danger.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWN HOUSE. DAY.<\/stage_direction>\n    <scene_description>Heavily pregnant Emma sits in the drawing room, crying and reading Darwin's latest letter.<\/scene_description>\n    <character>DARWIN (V.O.)<\/character>\n    <dialogue>We sponged her with water and vinegar, made her sweet with chloride of lime....I fear we must prepare ourselves for the worst<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANNIE'S ROOM. GUEST HOUSE. DAY.<\/stage_direction>\n    <scene_description>It is midnight Darwin, exhausted, keeps a lonely Vigil by Annie's bedside. Each breath seems like it will be her last. Suddenly she speaks: faintly but audibly:<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>The rabbit.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>The rabbit taught him the polka.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>I don't understand my love.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Tell me about Jenny.<\/dialogue>\n    <scene_description>Darwin bends low to hear her more clearly.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>What about her.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>When she died<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>I don't want to talk about death my love.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>But tell me. I like it.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Well. What the keeper told me was. When she was very sick with pneumonia, lying very still, he tried to feed her but she shook her head, looking at him as though to say: \"Its nice of you but really you shouldn't bother\". And as he bent down to take the spoon away she brought her arms around his neck and kissed him. And then she was dead.<\/dialogue>\n    <scene_description>Annie smiles, puts her hands around her fathers neck and dies.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN THE PAST DAY<\/stage_direction>\n    <scene_description>Darwin sits, his face wet with tears, reading, through blurred vision, a letter from Emma.<\/scene_description>\n    <character>EMMA (V.O.)<\/character>\n    <dialogue>I was in the garden looking at our poor darling's little flower bed when John Griffiths drove up with your letter.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARWIN'S BEDROOM. NIGHT<\/stage_direction>\n    <scene_description>Emma goes to bed, utterly drained.<\/scene_description>\n    <character>EMMA (V.O.)<\/character>\n    <dialogue>When I went to bed I felt as if it had all happened long ago. When the blow comes it wipes out all that preceded it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARWIN'S BEDROOM. DAY.<\/stage_direction>\n    <scene_description>She opens the curtains on a bright day. The other children are playing in the garden<\/scene_description>\n    <character>EMMA (V.O.)<\/character>\n    <dialogue>My feeling of longing for our lost treasure makes me feel painfully indifferent to the other children, but I shall get right before long.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN CARRIAGE. THE PRESENT. DAY<\/stage_direction>\n    <scene_description>Darwin sits in the train, Heading home from malvern. He is looking across the carriage at his younger self, re- reading the letter and weeping uncontrollably. EXT DOWN HOUSE. LOUNGE. THE PRESENT. NIGHT Torrential rain crashes down on the house, the garden, the ancient trees and the outbuildings, flooding the path and the lane beyond the gate. Darwin pays the coachman and hurries inside<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWN HOUSE. LOUNGE ROOM.<\/stage_direction>\n    <scene_description>Emma is playing a beautiful slow Nocturne. The rain outside drown out all other side. She doesn't notice the figure of Darwin until he appears, like a ghost, reflected in the polished wood of the piano. She turns with a start and sees him, still in his dripping coat, hair plastered over his brow<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Sorry. I startled you.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Take your coat off by the fire there. What time is it?<\/dialogue>\n    <scene_description>Darwin stays where he is, dripping on the carpet<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>We need to talk. I need to talk to you.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Of course, but dry your hair. I shall call for a towel.<\/dialogue>\n    <scene_description>As she moves to the bell-pull he grabs her wrist<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>I went back to Worcester Road. I saw Annie.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Charles. No.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>Let me tell you.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>I don't want to hear it. This must stop.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>You don't understand.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>I do! Do you think me deaf and blind. You have lived with her and spoken with her every day since she died.<\/dialogue>\n    <scene_description>Parslow comes in with firewood then sees Emma yelling at darwin and hurriedly retreats, spilling logs in the hallway.<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>She is more real to you than I am. She's dead Charles.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>I know that.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Then what is wrong with you that even our poor daughter cannot be left in her grave but you would....<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>I know she is dead. I know it. It is you who will not accept the fact, preferring to think of her in heaven.<\/dialogue>\n    <scene_description>This again! The unspoken argument which has been brewing for a decade, never before expressed so bluntly. Emma heads for the door<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>Get away from me!<\/dialogue>\n    <scene_description>She heads into the hallway, he follows her ranting<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Snowy white wings and dancing with the angels. Is that your idea of honesty.<\/dialogue>\n    <scene_description>Servants scramble out of sight and out of earshot<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>Why did you come back. I will not hear this!<\/dialogue>\n    <scene_description>Emma picks up her skirts and hurries up the stairs. Darwin pursues her. On the landing, Betty and Horace, wide eyed and terrified are bundled into the nursery by Brodie as Charles thunders up the stair.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>You have to Emma, everything these was between us is gone. The boat is wrecked and sunk now. We have to hold to something else.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>To what. Your ghosts? Your theories? What Charles.<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>To the truth of what we know it.<\/dialogue>\n    <scene_description>She slams the bedroom door on him and bolts it.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Open this door Emma. The truth, how wonderful and extraordinary our daughter was....<\/dialogue>\n    <character>EMMA<\/character>\n    <parenthetical>(through the door)<\/parenthetical>\n    <dialogue>I know that. I do not need you to say it. Of course I know.<\/dialogue>\n    <scene_description>Charles throws his shoulder to the door and bursts through it. Emma screams<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>But free of the fantasy, free of the rest, the silly vain hope that we will be reunited in heaven and the nagging unspoken belief that I killed her!<\/dialogue>\n    <scene_description>In the lower hallway all the servants hear this In the nursery, Brodie, aghast, covers the childrens ears In the bedroom, Emma has nowhere left to run<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>I have never said that<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>Say it now. Say it. And all the rest that follows. That I should have kept Annie warm that day on the beach. I should not have taken her to Malvern. I should have let you come.<\/dialogue>\n    <scene_description>Tears spring to her eyes and to his. The fury has gone from both of them, leaving sadness and pity<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>I should have insisted.<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>No. It was me. I took her from you It was my fault.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>I could have followed. I was her mother what was I thinking of.<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>We thought she would live. You were not to know.<\/dialogue>\n    <scene_description>He moves to her, she startles, then lets him enfold her in his damp coat<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>I did. I did know. I knew when you left that I would never see her again. I hated you for taking her.<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>I hated myself. I knew that none of them could save her.<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>All I could do was watch hopelessly and weep for her - then flee the place in terror, not even waiting to see our poor dear daughter buried. She was our treasure and I failed her. We both did. We should never have married each other.<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>What are you saying?<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>The unspeakable . I am saying that you and I, in making our perfect child, endowed her with the very weakness which killed her. Emma. That is what I couldn't write. That is what forestalled me all these years. It wasn't you I was angry with, it wasn't Innes and it wasn't God. I was angry with my theory. It was the truth I was angry with. It is the truth.<\/dialogue>\n    <scene_description>Weeping, she shakes her head in furious denial. He kisses her hair, her eyes, her tear-streaked cheeks...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/ EXT BEDROOM, THE PRESENT. NIGHT<\/stage_direction>\n    <scene_description>Rain continues to batter the house outside Inside Darwin and Emma make love, with a kind of wild desperation, their clothes strewn all over the floor, clinging to each other like castaways in a storm. INT OFFICE. THE PRESENT. DAY Darwin enters his office. The chaos that existed here previously has been tidied away into files and boxes. Darwin opens the black box, takes out the files, places them on his desk, then sits down and begins to write<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STUDY. NIGHT.<\/stage_direction>\n    <scene_description>Darwin sits at his desk. Writing. He is possessed of a new sense of calm and purpose, the pen gliding fluently across the page. Night turns to day and then to night again. Darwin completes the Chapter headed \"variation under domestication\" and begins on a fresh sheet of paper.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE GARDEN. DOWN HOUSE. THE PRESENT. DAY<\/stage_direction>\n    <scene_description>Crocuses are pushing up through the flower beds. Tiny green buds have started to emerge from the dead black branches<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARWIN'S STUDY. DOWN HOUSE. THE PRESENT. DAY<\/stage_direction>\n    <scene_description>Still Darwin writes<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Tell me a story.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>I'm busy Annie.<\/dialogue>\n    <character>ANNIE<\/character>\n    <parenthetical>(petulantly)<\/parenthetical>\n    <dialogue>I'll go away again, then you'll<\/dialogue>\n    <dialogue>be sorry.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>All right, come here, come here.<\/dialogue>\n    <scene_description>She comes and sits on his lap.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Once there was a man Who, while travelling in South America, came apon a beautiful and dangerous idea.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOUTH AMERICAN JUNGLES. DAY<\/stage_direction>\n    <scene_description>Darwin is in the south American jungle, trying to coax down from the trees, some small squeaking creature - a tousled looking abandoned chick.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Here, here. Come on, come on then<\/dialogue>\n    <scene_description>The creature draws closer, eyes like gimlets in the dark foliage.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>...I wont hurt you.<\/dialogue>\n    <scene_description>He reaches into the dark recesses of the forest. Darwin grabs it and stuffs it, squawking into his collecting bag.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARWIN'S STUDY NIGHT<\/stage_direction>\n    <scene_description>Darwin comes in, empties the bag into a black box with perforations and closes the lid<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>He knew his wife wouldn't care for this creature so when he came home he locked it in a box, where it couldn't run around and do any damage.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARWIN'S STUDY. DAY<\/stage_direction>\n    <scene_description>Darwin works at his desk. There's a plaintive cooing sound coming from the box next to his feet.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>But every so often he'd open the lid and feed it, just because he couldn't bear to let it die.<\/dialogue>\n    <scene_description>Finally he opens the lid and offers the creature a biscuit. It has grown a bit larger and made itself a nest. It takes the biscuit and peeps gratefully.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWN HOUSE. DAY<\/stage_direction>\n    <scene_description>Darwin goes to the box and opens it. There's nothing there but an empty nest and some broken eggshells.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>One day he opened the box and discovered it wasn't in there at all. It had escaped with all its babies, who were nesting all over the house making a terrible mess.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWN HOUSE. DAY. VARIOUS<\/stage_direction>\n    <scene_description>The Darwin's, their children and their servants run around the house finding birds everywhere. There is bird-shit on the curtains and the antimacassars, birds nesting in the sewing basket, the bread bin and the dress-up box. Every time you open a cupboard, angry birds fly out and flap angrily around the room. Mayhem. The house is in uproar.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>But finally they caught them all, and bundled them in a blanket and he asked his wife to dispose of them as she saw fit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STUDY. CONTUNUOUS<\/stage_direction>\n    <scene_description>Annie listens entranced. Darwin pauses<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>And what did she do?<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>I don't know but I fancy she took them out in the garden and set them free.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOWN HOUSE. GARDEN DAY.<\/stage_direction>\n    <scene_description>Emma and Brodie come out carrying a huge white linen bag between them. They shake it out in the garden and birds come pouring out of it. High shot, looking down on EMMA as she watches the birds wheeling round and round in the sky above.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARWIN'S STUDY. DAY<\/stage_direction>\n    <scene_description>Darwin sits in his study window, watching a great flock of birds wheeling in the sky outside, the whole flock forming an ever-changing shape from the movement of its tiny component parts. INT DARWIN'S STUDY. NIGHT Darwin puts down his pen, waking, as if from a dream. The manuscript is finished. The music of Chopin filters up from downstairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRAWING ROOM. DAY<\/stage_direction>\n    <scene_description>Emma is playing by candle-light. Darwin places the manuscript on top of the piano. She stops abruptly. The last chord resonates in the musky air.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Done. I have finally got it out of the air and into these pages. Will you read it and decide what must be done with it. I confess I no longer know and I am very tired.<\/dialogue>\n    <scene_description>She takes his hand and squeezes it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWN HOUSE. BEDROOM.<\/stage_direction>\n    <scene_description>Darwin undresses.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWN HOUSE DINING ROOM<\/stage_direction>\n    <scene_description>Emma sits at the table and begins to read.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWN HOUSE. BATHROOM<\/stage_direction>\n    <scene_description>Darwin gets out of the bath and towels himself dry.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWN HOUSE. DINING ROOM<\/stage_direction>\n    <scene_description>Emma lights a candle from the one before and continues to read.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWN HOUSE. BEDROOM. NIGHT.<\/stage_direction>\n    <scene_description>Charles lowers himself into the bed, sleep washes over him like a wave.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWN HOUSE. DINING ROOM. NIGHT.<\/stage_direction>\n    <scene_description>Still Emma reads.<\/scene_description>\n    <character>DARWIN (V.O.)<\/character>\n    <dialogue>Thus, from the war of nature, from famine and death, the most exalted objects we can conceive directly follow. There is a grandeur in this view of life ...in which endless forms most beautiful and wonderful have been and are being evolved.<\/dialogue>\n    <scene_description>Outside the sky is growing lighter.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWN HOUSE. BEDROOM. DAY.<\/stage_direction>\n    <scene_description>Charles wakes. He opens the curtains on a clear autumn day. The house is unusually quiet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWN HOUSE. TOP OF THE STAIRS. DAY.<\/stage_direction>\n    <scene_description>The grandfather clock on the landing strikes mid-day. Darwin goes downstairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRAWING ROOM. DAY.<\/stage_direction>\n    <scene_description>He enters the drawing room. There is no sign of Emma nor of his manuscript. He goes to the window and sees her at the bottom of the garden standing over a bonfire, burning something.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GARDEN. DOWN HOUSE. DAY.<\/stage_direction>\n    <scene_description>Darwin goes outside.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Emma?<\/dialogue>\n    <scene_description>She looks up from the fire. Darwin crosses the lawn to her. She's burning leaves and dead-heads from the flower garden.<\/scene_description>\n    <character>DARWIN<\/character>\n    <dialogue>Did you read it?<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>DARWIN<\/character>\n    <dialogue>And....<\/dialogue>\n    <character>EMMA<\/character>\n    <dialogue>I wrapped it and put it on the table there.<\/dialogue>\n    <scene_description>There's a brown paper parcel on the garden table where they like to sit under the big Cyprus tree. Darwin picks it up, it is addressed to John Murray, Publisher, stamped and sealed with sealing wax.<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>You're right. True or not it must all be said. Probably most of it is true. God help us.<\/dialogue>\n    <scene_description>Darwin kisses her.<\/scene_description>\n    <character>EMMA<\/character>\n    <dialogue>Careful. I have soot all over my hands.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOTTOM OF THE DRIVE.<\/stage_direction>\n    <scene_description>Darwin stands with the brown paper package, turning it over in his hands.<\/scene_description>\n    <character>DARWIN (V.O.)<\/character>\n    <dialogue>Dear Hooker, I have today despatched to John Murray the completed manuscript. Who knows if anyone will buy it and how they will respond. No doubt many will wish al diabolo altogether. But least it is out in the world now and no longer torturing me.<\/dialogue>\n    <scene_description>John Griffiths, the postman, comes up the hill from the village. Darwin gives him the manuscript. The Postman puts it in his satchel and heads on up the lane. Darwin turns back and walks up towards the house. As he does so a little figure, Annie takes his hand, and together they continue on home, Annie skipping happily by her father's side. POST-SCRIPT. Darwin's \"Origin of Species\" was sold out on its day of publication. A classic to this day, it was reprinted six times before his death; and his burial, with full Christian honours, in Westminster Abbey.<\/scene_description>\n    <character>THE END<\/character>\n  <\/scene>\n<\/script>","summary":"British naturalist Charles Darwin is a young father who lives a quiet life in an idyllic village. He is a brilliant and deeply emotional man, devoted to his wife and children. Darwin is especially fond of his eldest daughter Annie, a precocious and inquisitive ten-year-old. He teaches her much about nature and science, including his theory of evolution, and tells her stories of his travels. Her favourite story, despite the sad ending, is about the young orangutan Jenny, who is brought from Borneo to the London Zoo, where she finally died of pneumonia in the arms of her keeper. Darwin is furious when he learns that the family clergyman has made Annie kneel on rock salt as punishment for contradicting him about dinosaurs, which she takes as having become extinct long ago. This contradicts their church's position that life is unchanging and that the Earth is very young -- Young Earth Creationism being a then-recent heresy taken as dogma by Seventh-day Adventists. Having returned from his expedition in the Galapagos Islands 15 years earlier, Darwin is still trying to finish a manuscript about his findings, which will articulate his theory of evolution. The delay is caused by anxiety about his relationship with his devoutly religious wife, Emma, who fundamentally opposes his ideas, which pose a threat to established Anglican theology. Emma worries that she may go to heaven and he may not, separating them for eternity. The film shows Annie, through flashbacks and Darwin's hallucinations, as a vibrant apparition who goads her father to address his fears and finish his big work. It is apparent that Annie has died, and that her death is a taboo subject between Darwin and Emma, as both feel intense blame for her death. As a result of the strained relations between Charles and Emma, they entirely stop having sex. Anguished, Darwin begins to suffer from a mysterious, fatiguing illness. It is revealed that after Annie becomes ill in 1851, Darwin takes her to the Worcestershire town of Malvern for James Manby Gully's water cure therapy, against Emma's will. Annie's condition worsens, and she ultimately dies after her father, at her request, tells her Jenny's story once more. Darwin is devastated, and her death sharpens his conviction that natural laws operate without divine intervention. To his contemporaries, this is an idea so dangerous it seems to threaten the existence of God (in reality, Darwin's biggest supporters were believers). In a box in Darwin's study, we discover the notes and observations that will become On the Origin of Species. Having read his 230 page synopsis, Darwin's friends in the scientific community, Joseph Dalton Hooker and Thomas Henry Huxley, also encourage him. Huxley admiringly tells Darwin that with his theory he has \"killed God\", which fills Darwin with dread. In his hallucinations, he also feels that Annie disapproves of his procrastination. Darwin receives a letter from Alfred Russel Wallace in 1858, which details the same findings as Darwin in 20 pages. He has mixed feelings about this; all his work may have been in vain, but on the other hand, as he will not have to write his book, the discord with Emma will heal. However, Darwin's friends urge him to continue, as his book is much more comprehensive. After receiving treatment at Malvern himself, Darwin makes a pilgrimage to the hotel where Annie died. The journey marks a change in him; upon his return home, he is able to reconnect with his wife, and they speak to each other for the first time of their fears and grief over Annie's death. They specifically speak about the possibility that Annie died because she was genetically weak, as Darwin and Emma are first cousins. Their renewed devotion restores Darwin's health, and he is able to resume his work. Emma's faith in their marriage is also restored, and she regains strength to support his controversial work. Darwin decides that Emma must make the decision about publishing his work. After reading the manuscript, she quietly returns it to him, having addressed the package to John Murray publishers in London. Emma accepts that she is an \"accomplice\" now, but hopes that God will forgive them both. Darwin walks down the lane, holding the package. When the postman arrives, Darwin falters, almost letting him go empty-handed. The postman rides away, unaware of the powerful idea about to be released onto the world. As Darwin walks home, the little figure of Annie walks alongside him."}
{"movie_name":"Ocean's Twelve_2004","imdb_id":"tt0349903","script":"<script>\n  <scene>\n    <stage_direction>OCEAN'S TWELVE<\/stage_direction>\n    <scene_description>A MULTI - COLORED SCREEN After a few introductory credits , we pull back to reveal the source of this kaleidoscopic backdrop : A SINGLE , STRIPED TULIP , planted in a long row of other tulips . A HAND reaches in and pulls the tulip from the ground . We then cut to : A BASKET of tulips , carried by hand to a truck , where it is loaded with hundreds of other baskets . The door of the truck is SHUT and we cut to : The door of the truck OPENING to reveal that the tulips are now boxed and crated . A forklift moves the crates onto a wagon , which is driven by a MANNED CART across the biggest warehouse on the planet , the Bloenen Markt -LRB- CHECK THIS - steven -RRB- in Amsterdam , Netherlands . The cart and wagons we were following disappear into a maze of synchronized activity . The cart arrives in the AUCTION ROOM , which is constructed like an ampitheater : the buyers sit in a steeply raked semi - circle , facing two giant , clock - shaped scoreboards that display the bids on the flowers being viewed . The striped tulips fetch a very high price . The carts of striped tulips are delivered to an automated sorting apparatus of enormous size and complexity . They end up on a truck heading for the airport . The tulips are loaded onto a plane . During the transatlantic flight , they sit nestled in the cargo hold . The tulips are unloaded from the plane , driven across an airport tarmac and loaded onto another plane . The tulips are unloaded from the plane and loaded onto a truck . The truck drives through a small town and pulls into the back of a<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. FLOWER SHOP -- DAY<\/stage_direction>\n    <scene_description>A YOUNG MAN takes delivery of the flowers and carries them through the rear of the store to the display area up front . We stay on the tulips as we hear the following conversation :<\/scene_description>\n    <character>CUSTOMER<\/character>\n    <dialogue>Wow. How do they do that?<\/dialogue>\n    <character>OWNER<\/character>\n    <dialogue>It's an accident. It means the flower developed a virus early in the bulb stage. The flaws create the unusual coloring.<\/dialogue>\n    <character>CUSTOMER<\/character>\n    <dialogue>Can you arrange something for me with those?<\/dialogue>\n    <character>OWNER<\/character>\n    <dialogue>Of course. What kind of price range are you looking for?<\/dialogue>\n    <scene_description>Now we SEE the customer : TESS .<\/scene_description>\n    <character>TESS<\/character>\n    <dialogue>Well, it's for my parent's anniversary. They do n't know I'm coming. I just want it to be beautiful. Can you just do whatever you think looks best?<\/dialogue>\n    <character>OWNER<\/character>\n    <dialogue>I'll need a few minutes.<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>Take your time, please. And thank you.<\/dialogue>\n    <scene_description>The Owner moves toward a corner of the store where the flowers are arranged . Tess walks around , looking at the rest of the store . Tess looks out the window . A black sedan is pulling up at the curb .<\/scene_description>\n    <character>OWNER<\/character>\n    <dialogue>That should be some surprise.<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>Which?<\/dialogue>\n    <character>OWNER<\/character>\n    <dialogue>For your parents.<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>Oh. Yes. I hope so.<\/dialogue>\n    <scene_description>One of the POWER TWINS gets out of the driver 's side door and crosses in front of the car . Tess starts moving away from the window .<\/scene_description>\n    <character>OWNER<\/character>\n    <dialogue>Which one is it?<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>I'm sorry?<\/dialogue>\n    <character>OWNER<\/character>\n    <dialogue>Anniversary.<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>Oh. Fortieth<\/dialogue>\n    <character>OWNER<\/character>\n    <dialogue>Wow. Okay. I think I have an idea. Something classic.<\/dialogue>\n    <scene_description>The Power Twin opens the rear passenger side door , revealing TERRY BENEDICT . Tess turns away from the window .<\/scene_description>\n    <character>TESS<\/character>\n    <dialogue>Do you have a bathroom?<\/dialogue>\n    <character>OWNER<\/character>\n    <dialogue>Straight back, on the left. It's unisex.<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Tess scurries to the back .<\/scene_description>\n    <character>OWNER<\/character>\n    <parenthetical>( to Tess , a caveat . )<\/parenthetical>\n    <dialogue>It's unisex!<\/dialogue>\n    <scene_description>Tess flies past the bathroom and heads for the back door . She pushes through it and runs right into Power Twin No. 2 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE -- DAY<\/stage_direction>\n    <scene_description>A nice place on the eastern seaboard . We hear the faint sound of a phone ring .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE -- DAY<\/stage_direction>\n    <scene_description>Danny Ocean picks up the receiver , checks the caller ID . He smiles and answers :<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Miguel Diaz speaking.<\/dialogue>\n    <scene_description>Almost immediately , his expression clouds . He looks at his watch .<\/scene_description>\n    <character>DANNY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Tess, Tess. It's okay. You remember what we talked about, if this happened? All right. Call me in twenty - four hours on that number.<\/dialogue>\n    <scene_description>He hangs up the phone and runs out of the house . He does n't take anything with him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE -- DAY<\/stage_direction>\n    <scene_description>Danny runs out of the house and down the street , leaving his car in the driveway .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR -- DAY<\/stage_direction>\n    <scene_description>Tess , floral arrangement in her lap , sits in the car with Benedict .<\/scene_description>\n    <character>BENEDICT<\/character>\n    <dialogue>The Baldwins.<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>What about them?<\/dialogue>\n    <character>BENEDICT<\/character>\n    <dialogue>We had dinner with them three years ago. You talked about your parent's anniversary.<\/dialogue>\n    <scene_description>She says nothing .<\/scene_description>\n    <character>BENEDICT<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I'm getting married next month.<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>So am I.<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>BENEDICT<\/character>\n    <dialogue>Well, I hope Danny is as good as he thinks he is. A bouquet toss in prison can get pretty ugly.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANK VAULT -- DAY<\/stage_direction>\n    <scene_description>Danny takes a safe deposit box out of a wall , He opens the box , revealing a CELL PHONE and some CASH .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAIN STATION (NOT A BIG ONE) -- DAY<\/stage_direction>\n    <scene_description>Danny boards a train .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMTRAK TRAIN -- DAY<\/stage_direction>\n    <scene_description>The landscape hurtles by . We pan over to find Danny sitting next to the window . We continue to pan and find REUBEN TISHKOFF seated next to a group of male commuters .<\/scene_description>\n    <character>REUBEN<\/character>\n    <parenthetical>( over . )<\/parenthetical>\n    <dialogue>I really think you're being too sensitive. She's crazy about you. I can tell.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPA -- DAY<\/stage_direction>\n    <scene_description>REUBEN lies in a mud bath , his face covered with a dried exfoliating `` mask '' treatment . There is a cigar in one hand and a cellphone in the other . His eyes are closed to the sun .<\/scene_description>\n    <character>REUBEN<\/character>\n    <dialogue>Joyce, she's ninety - two. I'm all she has left.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>The wheelchair thing was an accident, she's having some trouble with the joystick. I'll adjust it.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I told you, when her mouth hangs open like that, that means she's happy.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I am. When are you coming over?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You're tired because you work too much. You do n't have to work all the time. Do n't you want to take a break? Those trays look so heavy.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Of course. How could you ask that?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Because when I heard you laugh, all my problems disappeared.<\/dialogue>\n    <scene_description>A SHADOW crosses over Reuben 's face , and Reuben squints open one eye . There , with the sun like an aura behind his head , is TERRY BENEDICT .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMTRAK TRAIN -- DAY<\/stage_direction>\n    <scene_description>Reuben is handed a bloody mary by the porter , who then continues on , bringing a glass of white wine to THE AMAZING YEN .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POOL -- DAY<\/stage_direction>\n    <scene_description>Yen swims a strong , steady freestyle . Pull back to reveal that he is swimming in a 9 ' by 5 ' `` Endless Pool '' in his 15th floor Shanghai apartment . A HAND MOVES INTO FRAME and turns off the water current . Yen immediately slams into the end of his jacuzzi - sized pool . He lifts his head out of the water to SEE the POWER TWINS standing `` poolside . '' He spits out a stream of invective , in Chinese . The Power Twins look at each other .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMTRAK TRAIN -- DAY<\/stage_direction>\n    <scene_description>Yen sets his magazine down and heads for the bathroom , where TURK and VIRGIL MALLOY are waiting in line .<\/scene_description>\n    <character>TURK<\/character>\n    <dialogue>The opening does n't work.<\/dialogue>\n    <character>VIRGIL<\/character>\n    <dialogue>Duh.<\/dialogue>\n    <character>TURK<\/character>\n    <dialogue>She should n't have the same dream as Franklin. He's the antagonist.<\/dialogue>\n    <character>VIRGIL<\/character>\n    <dialogue>It was your idea.<\/dialogue>\n    <character>TURK<\/character>\n    <dialogue>No it was n't.<\/dialogue>\n    <character>VIRGIL<\/character>\n    <dialogue>Well, it was n't mine. It could n't be ; it's too stupid.<\/dialogue>\n    <character>TURK<\/character>\n    <dialogue>Why do you do that? why do you have to get personal?<\/dialogue>\n    <character>VIRGIL<\/character>\n    <dialogue>It's not personal, it's a fact.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. YOGA STUDIO -- DAY<\/stage_direction>\n    <scene_description>VIRGIL and TURK MALLOY , in GTX lycra yoga gear lead a class -LRB- mostly female -RRB- through the vinyassa . The studio is mirrored on three sides .<\/scene_description>\n    <character>TURK<\/character>\n    <dialogue>It's personal. You do n't argue logically. You attack.<\/dialogue>\n    <parenthetical>( to the class . )<\/parenthetical>\n    <dialogue>Bring the right foot back even with the left, buttocks raised high.<\/dialogue>\n    <parenthetical>( to Virgil . )<\/parenthetical>\n    <dialogue>. you have to have reasons, to support your argument.<\/dialogue>\n    <parenthetical>( to the class . )<\/parenthetical>\n    <dialogue>. flattening the back so the body forms a triangle.<\/dialogue>\n    <character>VIRGIL<\/character>\n    <dialogue>I ca n't listen to you anymore. It makes me physically sick.<\/dialogue>\n    <scene_description>Turk looks to him , but also sees a GUY in the class staring at all of the women `` raising their buttocks high '' . He indicates this to Virgil , who goes over to the guy .<\/scene_description>\n    <character>TURK<\/character>\n    <dialogue>Relax the crown of the head toward the floor. Draw the hips away from the hands, len - gthening the spine. And press the heels toward the floor.<\/dialogue>\n    <scene_description>Virgil steps on the guy 's back and leans down to whisper in his ear .<\/scene_description>\n    <character>VIRGIL<\/character>\n    <dialogue>This a serious class. No pigs allowed. Okay?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <character>TURK<\/character>\n    <dialogue>Virge.<\/dialogue>\n    <scene_description>Virgil stands up . Benedict and the Power Twins are standing right behind him . His expression changes as he sees them in the mirror .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMTRAK TRAIN -- DAY<\/stage_direction>\n    <scene_description>The Malloys and Yen are still waiting for the bathroom .<\/scene_description>\n    <character>TURK<\/character>\n    <dialogue>You're hallucinating.<\/dialogue>\n    <character>VIRGIL<\/character>\n    <dialogue>Yeah, whatever, OJ.<\/dialogue>\n    <scene_description>Finally , the lock OPENS and RUSTY RYAN exits . We follow him to his seat , where he puts on a pair of headphones . TIGHT SHOT Of molten metal bubbling in a small iron cask , a jeweler 's cask . MOVE to REVEAL a GARAGE filled mostly with cars in some state of restoration FIND RUSTY as he painstakingly works on a new piece that is just BELOW FRAME . Whatever it is , it is clearly getting to him . He shakes his head ; it 's not right . It 's just not good enough . Rusty glances at the digital thermometer attached to the cask of molten metal . It reads : 736.18 degrees .<\/scene_description>\n    <character>RUSTY<\/character>\n    <dialogue>You are kidding me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RUSTY'S CAR -- DAY<\/stage_direction>\n    <scene_description>Rusty glances in his rearview as he drives through the city talking on his cell phone . He 's keeping an eye on a white Cadillac that seem to be following him .<\/scene_description>\n    <character>RUSTY<\/character>\n    <dialogue>736.18 degrees Fahrenheit, Felix. I watched it.<\/dialogue>\n    <character>FELIX<\/character>\n    <parenthetical>( TELEPHONE V.O . )<\/parenthetical>\n    <dialogue>Rusty. What do you want from me?<\/dialogue>\n    <scene_description>Rusty turns a corner , then glances in his rearview again .<\/scene_description>\n    <character>RUSTY<\/character>\n    <dialogue>I want what I paid for.<\/dialogue>\n    <character>FELIX<\/character>\n    <dialogue>And that's what I sent.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>No, Felix, no. I paid for pure. And if my workshop were on top of Mount Everest it would be pure. But I'm at sea level, Felix, and at sea level it should liquefy at 736.95. If it's pure, that is. Which this is n't.<\/dialogue>\n    <scene_description>Rusty makes another turn . A few seconds later , the Cadillac turns behind him .<\/scene_description>\n    <character>FELIX<\/character>\n    <parenthetical>( TELEPHONE V.O . )<\/parenthetical>\n    <dialogue>Well, I did n't know you were going to liquefy it.<\/dialogue>\n    <scene_description>Rusty pulls to a stop light . The Cadillac pulls up three cars behind him .<\/scene_description>\n    <character>RUSTY<\/character>\n    <dialogue>Let me ask you something : When Christo calls his cotton supplier and asks for 100 % cotton cloth, do you think his supplier sends him 98 % cotton and 2 % polyester and when that does n't work, says to Christo, `` Well, you should have told me you were going to wrap the coast of Australia''?<\/dialogue>\n    <character>FELIX<\/character>\n    <dialogue>Who's Christo?<\/dialogue>\n    <scene_description>Rusty looks to the heavens .<\/scene_description>\n    <character>RUSTY<\/character>\n    <dialogue>Felix, you're in a shame spiral. Have your assistant lose my number.<\/dialogue>\n    <scene_description>Rusty snaps his phone shut .<\/scene_description>\n    <character>RUSTY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>My god.<\/dialogue>\n    <scene_description>Rusty looks into the rear view mirror and then slows the car to a stop . He gets out of his car and slams the door shut . He walks back to the Cadillac and knocks on the window . It rolls down electronically to reveal Benedict .<\/scene_description>\n    <character>RUSTY<\/character>\n    <parenthetical>( contd . )<\/parenthetical>\n    <dialogue>How long you gon na give us?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMTRAK TRAIN -- DAY<\/stage_direction>\n    <scene_description>Rusty continues to listen to his headset . We pan over to see FRANK CATTON seated opposite him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RITZ CARLTON HOTEL, NEW YORK -- DAY<\/stage_direction>\n    <scene_description>The penthouse apartment . It takes the entire floor and has a 360 degree view . Right now , all of the furniture inside of it is being taken away by movers . Frank enters frame .<\/scene_description>\n    <character>BENEDICT<\/character>\n    <dialogue>Four weeks.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>We stole that money fair and square. You bought people off to find me. You took advantage during an economic downturn, and made them say some shit they should n't have said. It's not fair, it's not just, and it aint' cool.<\/dialogue>\n    <scene_description>A long beat . Benedict stares back at him .<\/scene_description>\n    <character>FRANK<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Did you hear what I just said?<\/dialogue>\n    <character>BENEDICT<\/character>\n    <dialogue>I heard what you said, Frank. Did you hear what I said?<\/dialogue>\n    <scene_description>Frank looks at Benedict and the Power Twins .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMTRAK TRAIN -- DAY<\/stage_direction>\n    <scene_description>Frank takes us to Livingston .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAGE -- NIGHT<\/stage_direction>\n    <scene_description>Livingston performs a stand - up routine .<\/scene_description>\n    <character>LIVINGSTON<\/character>\n    <dialogue>How many people here tonight were stupid enough to have children?<\/dialogue>\n    <scene_description>A few people raise their hands .<\/scene_description>\n    <character>LIVINGSTON<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Wow. No, seriously, that's great. I have a child. A daughter. She's five. They get to you, right? Am I right? Like emotionally. I mean, sometimes she'll turn to me with her little face and her little shiny eyes, and she'll say, `` Daddy, please stop hitting me,'' and it just breaks my heart.'<\/dialogue>\n    <scene_description>People are n't sure what to make of this .<\/scene_description>\n    <character>LIVINGSTON<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I'm Livingston Dell. Thanks for listening. See you at ten.<\/dialogue>\n    <scene_description>Livingston strides off stage as we see that he is at the Bellagio , in the lounge . Benedict and the Power Twins are waiting for him . Somehow he is n't surprised .<\/scene_description>\n    <character>LIVINGSTON<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( to Benedict . )<\/parenthetical>\n    <dialogue>I appreciate you letting me finish my run. You've been very patient.<\/dialogue>\n    <character>BENEDICT<\/character>\n    <dialogue>What can I say? You're a funny guy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMTRAK TRAIN -- DAY<\/stage_direction>\n    <scene_description>Livingston takes us to Saul Bloom , reading the Racing Form .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE WASPIEST IMAGINABLE MEN'S CLUB -- DAY<\/stage_direction>\n    <scene_description>All dark wood and oriental rugs . MOVE across a row of oil paintings that flatter stodgy club members from the 1800s to the present . Land on Saul , sitting in window light that mimics the aforementioned portraits .<\/scene_description>\n    <character>SAUL<\/character>\n    <dialogue>What it is about horses? I ask you. Is it the strength? The beauty? The fearlessness? The grace? Of course. But there's something else. Something in the eyes.<\/dialogue>\n    <scene_description>The person with him nods .<\/scene_description>\n    <character>SAUL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Yes. When I look into a horse's eyes, I can tell : This one's a winner.<\/dialogue>\n    <scene_description>A jacketed WAITER appears , holding a tray .<\/scene_description>\n    <character>WAITER<\/character>\n    <dialogue>Excuse me, Mr. Bloom?<\/dialogue>\n    <character>SAUL<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>WAITER<\/character>\n    <dialogue>There appears to be a problem with your card.<\/dialogue>\n    <scene_description>The waiter tips the tray to reveal Saul 's credit card , which has been CUT INTO TINY PIECES . Without missing a beat , he reaches for his wallet .<\/scene_description>\n    <character>SAUL<\/character>\n    <dialogue>You take Visa?<\/dialogue>\n    <character>WAITER<\/character>\n    <dialogue>I was acting on instructions from your business manager.<\/dialogue>\n    <character>SAUL<\/character>\n    <dialogue>My business manager?<\/dialogue>\n    <character>WAITER<\/character>\n    <dialogue>Mr. Benedict.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMTRAK TRAIN -- DAY<\/stage_direction>\n    <scene_description>Saul leads us to Basher .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RECORDING STUDIO -- NIGHT<\/stage_direction>\n    <scene_description>Basher is putting the finishing touches on a song . A producer and engineer sit behind a huge mixing console . It 's good - Basher 's really got something going here .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RECORDING BOOTH -- MOMENTS LATER<\/stage_direction>\n    <scene_description>Basher is leaning over a thick legal document , and Benedict is leaning over him . The music has been turned off .<\/scene_description>\n    <character>BENEDICT<\/character>\n    <dialogue>Look at it this way. Eugene. if the album goes platinum it'll cover what you owe. And if the second one goes gold, that should cover the interest.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMTRAK TRAIN -- DAY<\/stage_direction>\n    <scene_description>Basher takes us to Linus .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR -- DAY<\/stage_direction>\n    <scene_description>Linus looking from the front seat to the back , talking to Benedict .<\/scene_description>\n    <character>LINUS<\/character>\n    <dialogue>I'm responsible for myself. I have my own life and my own plans. I've never asked for anything but a fair shake. We make a deal, I stick to the deal.<\/dialogue>\n    <scene_description>He turns forward , thinking . Then after a beat , he turns back to Benedict .<\/scene_description>\n    <character>LINUS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I just need to be absolutely clear that we have an understanding : If you contact my father, I'll kill myself, and you'll never get the rest of your money.<\/dialogue>\n    <scene_description>Benedict nods . Linus turns forward and exhales , relieved .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMTRAK TRAIN -- DAY<\/stage_direction>\n    <scene_description>Linus takes us back to Danny . The train hurtles onward . ABSOLUTE BEDLAM Reuben , Yen , the Malloys , Frank , Livingston , Saul , Basher , and Linus are all talking at once - right at us . Right at Danny . And they are not happy . The group is in an abandoned WAREHOUSE somewhere near NYC . Danny is overwhelmed , like a deer caught in the headlights . He throws a desperate glance at Rusty , who 's looking out the window serenely , letting Danny flounder . MOMENTS LATER Total silence . Everyone just stares at Danny , waiting for an answer .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>How many ca n't make the deadline?<\/dialogue>\n    <scene_description>Everyone raises their hands except Reuben .<\/scene_description>\n    <character>REUBEN<\/character>\n    <parenthetical>( off their looks . )<\/parenthetical>\n    <dialogue>So I'm smarter than those schmucks on Wall Street. Whose fault is that?<\/dialogue>\n    <scene_description>Fair enough .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>How many think if they run, they'll be found?<\/dialogue>\n    <scene_description>Everyone raises their hands . Including Reuben . Danny gets up , walks over to Rusty . The rest of the guys shrug and begin talking amongst themselves . After a long beat .<\/scene_description>\n    <character>DANNY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Well, the only other -<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>We're on the five o'clock.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Good.<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>DANNY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Where?<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Amsterdam.<\/dialogue>\n    <scene_description>Danny steps back .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>AMSTERDAM!?<\/dialogue>\n    <scene_description>Danny 's tone draws everyone 's attention . Noticing this , Danny and Rusty move into a nearby dilapidated office doorway . The guys go back to talking , mostly about what they were doing when they were found . This rises steadily in volume until the din is obliterated by a LOUD VOICE :<\/scene_description>\n    <character>DANNY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I'M TELLING YOU THIS IS A DEATH SENTENCE!<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>FINE, THEN STAY HERE!<\/dialogue>\n    <scene_description>The guys exchange glances . Danny walks over to them and sighs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPORT TERMINAL -- TICKETING AREA<\/stage_direction>\n    <scene_description>Livingston hands his passport to a KLM AGENT .<\/scene_description>\n    <character>LIVINGSTON<\/character>\n    <dialogue>Flight 144 to Amsterdam.<\/dialogue>\n    <scene_description>JUMP CUT TO the agent handing Livingston his boarding pass .<\/scene_description>\n    <character>KLM AGENT<\/character>\n    <dialogue>You're in seat 43J. Enjoy your flight.<\/dialogue>\n    <character>LIVINGSTON<\/character>\n    <dialogue>Uh. there must be some mistake. I mean. unless. is your first class section in the back of the plane?<\/dialogue>\n    <scene_description>The agent looks back at him , confused .<\/scene_description>\n    <character>KLM AGENT<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>JUMP CUT TO the agent handing Linus his boarding pass :<\/scene_description>\n    <character>KLM AGENT<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>32E.<\/dialogue>\n    <scene_description>CUT TO the agent handing Virgil and Turk their tickets .<\/scene_description>\n    <character>KLM AGENT<\/character>\n    <parenthetical>( contd . )<\/parenthetical>\n    <dialogue>41C and D.<\/dialogue>\n    <scene_description>JUMP CUT TO the agent handing Saul his boarding pass :<\/scene_description>\n    <character>KLM AGENT<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>55K.<\/dialogue>\n    <character>SAUL<\/character>\n    <dialogue>Fifty - five K? There's a fifty - five K?<\/dialogue>\n    <character>KLM AGENT<\/character>\n    <dialogue>We've increased capacity by employing advanced design technology.<\/dialogue>\n    <character>SAUL<\/character>\n    <dialogue>You made the seats smaller. Can you just say that? You made the seats smaller.<\/dialogue>\n    <scene_description>JUMP CUT to show Frank :<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>See, you're not hearing me. What I'm trying to tell you is the reservations agent made a mistake when she issued the ticket, because on the rare occasions that I fly commercially, I always book a first - class ticket with no restrictions -<\/dialogue>\n    <scene_description>The desk agent looks back at him skeptically .<\/scene_description>\n    <character>KLM AGENT<\/character>\n    <dialogue>She may have, air, but this is the only ticket available to you on this flight. I need you to step aside so I can take care of the next customer.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Now, listen : Do n't make me get black.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SECURITY AREA<\/stage_direction>\n    <scene_description>Frank stands with his arm outstretched , shoes and belt off . Two TSA officers run metal detecting wands over every inch of his body . Three more guys pick through his luggage : they squeeze toothpaste from his Sensodyne tube , sniff his hair products , unroll his `` tighty - whitey '' briefs . PAN to REVEAL that Basher is getting the exact same treatment , right next to him . They exchange looks . REVERSE ANGLE : the rest of the group stands sipping iced lattes from Starbucks and watching the show . Reuben walks up .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Reuben.<\/dialogue>\n    <character>REUBEN<\/character>\n    <dialogue>I wanted to wish you luck. And listen : I want to do something for you.<\/dialogue>\n    <scene_description>Reuben hands Danny an envelope .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>What's this?<\/dialogue>\n    <character>REUBEN<\/character>\n    <dialogue>Take it. Take it. This is the least I can do. I've got a friend who owns the Bellagio of Amsterdam and I've made reservations for all of you there. It's all taken care of.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>That's very touching, Reuben.<\/dialogue>\n    <character>REUBEN<\/character>\n    <dialogue>It's the least I could do. I love you guys. Enjoy.<\/dialogue>\n    <scene_description>Yen says something in Chinese .<\/scene_description>\n    <character>REUBEN<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>No, thank you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 747 -- NIGHT<\/stage_direction>\n    <scene_description>Yen sits in First Class , playing an in - seat video . Virgil and Turk kneel on either side , watching his progress .<\/scene_description>\n    <character>VIRGIL<\/character>\n    <dialogue>Nice.<\/dialogue>\n    <character>TURK<\/character>\n    <dialogue>Great anticipation.<\/dialogue>\n    <character>FLIGHT ATTENDANT<\/character>\n    <dialogue>Gentlemen, you'll have to go back to your seats now.<\/dialogue>\n    <scene_description>Reluctantly , they do . We follow them back to coach , where they pass Linus , talking to himself .<\/scene_description>\n    <character>LINUS<\/character>\n    <dialogue>Ground level. First floor. Day one. Planning stages.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Planning stages.<\/dialogue>\n    <scene_description>We move on to find Livingston , who grabs Turk by the arm .<\/scene_description>\n    <character>LIVINGSTON<\/character>\n    <dialogue>How'd he get that seat?<\/dialogue>\n    <character>TURK<\/character>\n    <dialogue>What seat?<\/dialogue>\n    <scene_description>Turk moves on , taking us past a sleeping Saul and landing on Danny and Rusty , who watch a movie with fixed expressions . A reverse angle shows us that the video screen is twenty rows away - it is impossible to discern any detail at all . Rusty takes his headphones off and exhales . Danny notices this and does the same . After a beat :<\/scene_description>\n    <character>RUSTY<\/character>\n    <dialogue>Call me an elitist asshole, call me a bourgeois clown, call me anything you want, but ` economy' is bullshit.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Oh, I do n't know. it's not that ba -<\/dialogue>\n    <scene_description>The guy in front of Danny moves his seat back suddenly and spills Danny 's drink all over Danny 's lap . Linus approaches Danny and Rusty .<\/scene_description>\n    <character>LINUS<\/character>\n    <dialogue>Hey. You guys have a minute?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Sure, Linus.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>What's on your mind?<\/dialogue>\n    <character>LINUS<\/character>\n    <dialogue>Well, I know this may not be the exact right time to bring this up, but I've been thinking about. well, about where I want to be in five years, career - wise, and I've decided I really want to be more than just a role - player. I really see myself as kind of an idea man, like you guys. I mean, I know you do your part and you're in the trenches with us and all, but it's really your show, and like I said, five years from now, I want to be running my own show.<\/dialogue>\n    <scene_description>Danny and Rusty exchange a look . then look back at Linus .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Uh - huh.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>LINUS<\/character>\n    <dialogue>So if there's any opportunity for me to be involved in the, you know, planning stages of things, I would really appreciate it. I really feel like I'm ready for more responsibility and that I could really make a contribution.<\/dialogue>\n    <scene_description>Rusty turns to Danny .<\/scene_description>\n    <character>RUSTY<\/character>\n    <dialogue>Are you thinking what I'm thinking?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Evelyn.<\/dialogue>\n    <character>RUSTY<\/character>\n    <parenthetical>( to Linus . )<\/parenthetical>\n    <dialogue>We're negotiating the terms with her tomorrow. You feel up to taking the lead?<\/dialogue>\n    <character>LINUS<\/character>\n    <dialogue>Are you serious?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Absolutely.<\/dialogue>\n    <character>LINUS<\/character>\n    <dialogue>This is n't some gag?<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>No gag.<\/dialogue>\n    <character>LINUS<\/character>\n    <dialogue>Wow. Yeah. That would be awesome.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Okay, then.<\/dialogue>\n    <character>LINUS<\/character>\n    <dialogue>Man. I was n't sure if I should say anything. Now I'm glad I did.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>So are we.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>We're here to listen.<\/dialogue>\n    <character>LINUS<\/character>\n    <dialogue>Great. Thanks. Really. You wo n't regret this.<\/dialogue>\n    <scene_description>Linus leaves . Danny and Rusty put their headphones back on . Now they look content . Basher and Frank watch Linus go .<\/scene_description>\n    <character>BASHER<\/character>\n    <dialogue>Tom.<\/dialogue>\n    <character>SAUL<\/character>\n    <dialogue>He can be a Tom?<\/dialogue>\n    <character>BASHER<\/character>\n    <dialogue>Anybody can be a Tom.<\/dialogue>\n    <character>SAUL<\/character>\n    <dialogue>You got ta make your own opportunities. This ai n't a rehearsal.<\/dialogue>\n    <character>BASHER<\/character>\n    <dialogue>Tom.<\/dialogue>\n    <scene_description>Saul chews his economy class trail mix .<\/scene_description>\n    <character>SAUL<\/character>\n    <dialogue>Boy, you're tough.<\/dialogue>\n    <character>BASHER<\/character>\n    <dialogue>Stop calling me `` boy''.<\/dialogue>\n    <scene_description>Saul stops chewing . They look at each other .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMSTERDAM -- DAY<\/stage_direction>\n    <scene_description>Establishing shots of the city .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RED LIGHT DISTRICT -- DAY<\/stage_direction>\n    <scene_description>The group makes their way down a damp cobblestone street . They stop in front of a window and look up . REVERSE ANGLE They have stopped in front of a narrow townhouse that has been converted to a hotel . The sign says `` Bellagio of Amsterdam . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLAGIO OF AMSTERDAM -- DAY<\/stage_direction>\n    <scene_description>A single room with 12 bunks in it . Their noses are wrinkled up because the place stinks .<\/scene_description>\n    <character>LIVINGSTON<\/character>\n    <dialogue>How could he lie to us like that?<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>The sign said ` the Bellagio of Amsterdam'.<\/dialogue>\n    <scene_description>Everyone looks at each other and turns to leave .<\/scene_description>\n    <character>LINUS<\/character>\n    <parenthetical>( ? )<\/parenthetical>\n    <dialogue>Wait a minute. That's it?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>LINUS<\/character>\n    <dialogue>Look, you guys no frills, no perks, run - and - gun, all that stuff, and I said no problem because I believed you were right that we should n't go deeper into debt and spend money we do n't have. I mean, am I the only one who thinks this might actually be a good thing? That we could use a little humility? That maybe we were a little too pleased and impressed with ourselves after the Benedict job? Okay, I grant you that maybe this is n't what we deserve, but maybe it's what we need. We can do this. No, I take it back : We have to do this.<\/dialogue>\n    <scene_description>A long beat .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMSTERDAM'S FINEST FIVE-STAR HOTEL<\/stage_direction>\n    <scene_description>Four black mercedes skid to a stop outside Amsterdam 's finest five - star hotel . Everyone emerges with big smiles on their faces . Everyone except Linus . He scowls , yanks his bag back from the hotel doorman who rushed over to take it for him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONVENIENCE STORE, UNITED STATES -- DAY<\/stage_direction>\n    <scene_description>Tess enters and buys a phone card .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PHONE BOOTH -- DAY<\/stage_direction>\n    <scene_description>Tess talks to Danny . Across the street , a BLACK SEDAN is parked .<\/scene_description>\n    <character>TESS<\/character>\n    <dialogue>What are you doing in Amsterdam?<\/dialogue>\n    <character>DANNY<\/character>\n    <parenthetical>( PHONE V.O . )<\/parenthetical>\n    <dialogue>Only what I have to do to get Benedict off our backs.<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>Be careful, Danny. Please.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>How's work?<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>It's the same. I'm distracted.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>It's not your fault.<\/dialogue>\n    <character>DANNY<\/character>\n    <parenthetical>( TELEPHONE V.O . )<\/parenthetical>\n    <dialogue>I keep trying to figure out what I did wrong. How did he find us?<\/dialogue>\n    <scene_description>Tess ca n't bring herself to tell Danny the truth , that it was entirely her fault .<\/scene_description>\n    <character>TESS<\/character>\n    <dialogue>Danny, do n't keep thinking about it.<\/dialogue>\n    <character>DANNY<\/character>\n    <parenthetical>( TELEPHONE V.O . )<\/parenthetical>\n    <dialogue>I did something wrong. He should never have found us.<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>I'll call you tomorrow. I love you.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>I love you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMSTERDAM HOTEL SUITE -- NIGHT<\/stage_direction>\n    <scene_description>Danny hangs up the phone and site .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL -- NIGHT<\/stage_direction>\n    <scene_description>In other rooms , the guys get themselves settled in . Each takes a step toward personalizing their suite .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMSTERDAM COFFEE HOUSE -- DAY<\/stage_direction>\n    <scene_description>Danny and Rusty lead an obviously eager Linus towards a coffee house .<\/scene_description>\n    <character>RUSTY<\/character>\n    <dialogue>She'll try and use her looks to distract you. Do n't let her.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Be polite, but firm.<\/dialogue>\n    <character>LINUS<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Do n't get soft on us. Do n't make too many concessions.<\/dialogue>\n    <character>LINUS<\/character>\n    <dialogue>I wo n't.<\/dialogue>\n    <scene_description>Danny and Rusty nod . Okay .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COFFEE HOUSE -- CLOSE ON EVELYN.<\/stage_direction>\n    <scene_description>Who is obviously a MAN IN DRAG . Linus looks to Danny and Rusty but they give him nothing .<\/scene_description>\n    <character>EVELYN<\/character>\n    <dialogue>The onset of summer is like a woman who owns too many shoes.<\/dialogue>\n    <scene_description>She\/He looks to Linus , who looks to Danny and Rusty .<\/scene_description>\n    <character>DANNY<\/character>\n    <parenthetical>( bailing Linus out . )<\/parenthetical>\n    <dialogue>If animals were capable of flattery, the World Bank would be open until 8pm.<\/dialogue>\n    <character>EVELYN<\/character>\n    <dialogue>When I was four years old, I saw my mother kill a spider with a tea cozy.<\/dialogue>\n    <scene_description>Again , the Evelyn looks to Linus , who has nothing to say .<\/scene_description>\n    <character>RUSTY<\/character>\n    <dialogue>A doctor who specializes in skin diseases will dream that he has fallen asleep in front of the television. Later he will wake up in front of the television but not remember his dream.<\/dialogue>\n    <scene_description>Evelyn nods and looks to Linus , as do Danny and Rusty . He furrows his brow , then speaks :<\/scene_description>\n    <character>LINUS<\/character>\n    <dialogue>O let the sun beat down upon my face, stars to fill my dreams. I am a traveler of both time and space, to be where I have been.<\/dialogue>\n    <scene_description>Danny and Rusty stare at Linus like he 's nuts , like he 's just cracked . Evelyn 's entire expression changes .<\/scene_description>\n    <character>EVELYN<\/character>\n    <dialogue>Your young friend has a great deal to learn about respect.<\/dialogue>\n    <scene_description>She\/He puts his\/her drink down and walks to another part of the establishment .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Linus. why do n't you wait outside.<\/dialogue>\n    <scene_description>Rusty and Danny follow Evelyn and quietly console him\/her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COFFEE HOUSE -- AFTERWARD -- DAY<\/stage_direction>\n    <scene_description>Linus cools his heels . Danny and Rusty emerge from inside .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Is that your idea of making a contribution?<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Her terms were scandalous. And we were lucky to get them after what you said.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>The deal was this close to being blown.<\/dialogue>\n    <character>LINUS<\/character>\n    <dialogue>`` Deal?'' What `` deal?''<\/dialogue>\n    <scene_description>Danny and Rusty just look at him .<\/scene_description>\n    <character>LINUS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I know what you guys are doing.<\/dialogue>\n    <scene_description>Danny and Rusty exhange looks . What ?<\/scene_description>\n    <character>LINUS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Look. That. person had too many cupcakes.<\/dialogue>\n    <scene_description>They just keep staring at him .<\/scene_description>\n    <character>LINUS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I was playing along.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>`` Playing along!''<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>You called her mother a whore.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>A really cheap one.<\/dialogue>\n    <character>LINUS<\/character>\n    <dialogue>Guys, I'm not falling for this. I'm not.<\/dialogue>\n    <scene_description>But Danny and Rusty are n't laughing . They look pissed . Seriously pissed .<\/scene_description>\n    <character>LINUS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I mean.<\/dialogue>\n    <scene_description>Danny and Rusty just look at him . Linus squirms .<\/scene_description>\n    <character>LINUS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I called her mother a whore?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMSTERDAM HOTEL SUITE -- NIGHT<\/stage_direction>\n    <scene_description>Danny and Rusty explain the job to the group .<\/scene_description>\n    <character>RUSTY<\/character>\n    <dialogue>It's a privately owned home. But do n't let that fool you. It's extremely well - protected.<\/dialogue>\n    <scene_description>A photo of a four - story canal house is displayed on a flat screen connected to Livingston 's computer .<\/scene_description>\n    <character>SAUL<\/character>\n    <dialogue>What are we after?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>A document. A very old, very valuable document.<\/dialogue>\n    <scene_description>A photo labeled `` The Vanderspeigle Getuigschrift '' is displayed on screen .<\/scene_description>\n    <character>VIRGIL<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>A stock certificate.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>The first one ever issued, from the first corporation on the planet. The Dutch East India Trading Company. It's the only one of it's kind and it's worth a boat - load.<\/dialogue>\n    <character>TURK<\/character>\n    <dialogue>What's our cut?<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>2.7 million after expenses.<\/dialogue>\n    <scene_description>A beat . Turk seems confused .<\/scene_description>\n    <character>TURK<\/character>\n    <dialogue>Each?<\/dialogue>\n    <character>VIRGIL<\/character>\n    <dialogue>Who negotiated this?<\/dialogue>\n    <scene_description>Danny and Rusty look at Linus ,<\/scene_description>\n    <character>LINUS<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>LIVINGSTON<\/character>\n    <dialogue>What do we know so far?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>There's a dummy key pad by the front door.<\/dialogue>\n    <parenthetical>( points to a diagram . )<\/parenthetical>\n    <dialogue>But the alarm is really controlled by the keypad in Mr. Vanderspeigle's second floor office. Now, here's good news : we already know the system's master code. Evelyn gave it to us.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>That's not good news, that's really good news.<\/dialogue>\n    <character>VIRGIL<\/character>\n    <dialogue>We just wait until he leaves.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Yeah, well. that's the bad news.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>He does n't.<\/dialogue>\n    <scene_description>Frank flinches . Does n't like what he 's hearing .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>He's agoraphobic.<\/dialogue>\n    <scene_description>AMSTERDAM PLANNING MONTAGE Shots of their mark , Vanderspeigle , being an agoraphobic weirdo .<\/scene_description>\n    <character>LIVINGSTON<\/character>\n    <dialogue>So he's never been out of his house? Ever?<\/dialogue>\n    <character>RUSTY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Not once since he moved in ten years ago.<\/dialogue>\n    <character>SAUL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Does n't this guy believe in fresh air?<\/dialogue>\n    <character>RUSTY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Cracks his windows at night. that's about it.<\/dialogue>\n    <scene_description>When Vanderspeigle cracks his window we see that locking pins fall into place to prevent the window from opening more than a few inches .<\/scene_description>\n    <character>LIVINGSTON<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Can we tap into the system from the outside through the phone lines?<\/dialogue>\n    <character>RUSTY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Negative. It's a closed - loop system with two redundant servers locked into titanium cases in the guy's bedroom.<\/dialogue>\n    <scene_description>We SEE the servers in Vanderspeigle 's bedroom .<\/scene_description>\n    <character>BASHER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Could we use a remote device to trigger the panel?<\/dialogue>\n    <character>DANNY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It's hard - wired and shielded.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL SUITE -- THE PLANNING SESSION (CONTINUOUS)<\/stage_direction>\n    <character>TURK<\/character>\n    <dialogue>Guys, am I missing something here? We know his damn code, right? You're telling me with that much information we ca n't find a way into this freak's house?<\/dialogue>\n    <scene_description>Frank flinches again . He seem to be reacting to the term `` freak . ''<\/scene_description>\n    <character>TURK<\/character>\n    <dialogue>Ca n't we just get a telephone repair truck.<\/dialogue>\n    <scene_description>AMSTERDAM PLANNING MONTAGE -LRB- CONTINUOUS -RRB-<\/scene_description>\n    <character>TURK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>put the basket up and use a telescoping rod through the open window to tap out the guy's code?<\/dialogue>\n    <scene_description>Turk 's idea plays out as it is in his MIND 'S EYE , until :<\/scene_description>\n    <character>RUSTY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The street in front of the house is blocked off to vehicles.<\/dialogue>\n    <character>DANNY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And it's covered by five independently - wired surveillance cameras.<\/dialogue>\n    <character>RUSTY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Monitored 24 - hours a day by a security company.<\/dialogue>\n    <scene_description>We SEE the security arrangements they describe .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL SUITE -- THE PLANNING SESSION (CONTINUOUS)<\/stage_direction>\n    <character>SAUL<\/character>\n    <dialogue>God, this guy really is a freak.<\/dialogue>\n    <character>BASHER<\/character>\n    <dialogue>Crazy freak.<\/dialogue>\n    <scene_description>Frank reacts again to the term `` freak . '' It really bothers him . Danny notices .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Something wrong?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Just. do n't call the guy a freak, okay?<\/dialogue>\n    <scene_description>Everyone turns and looks at Frank like he 's a freak .<\/scene_description>\n    <character>FRANK<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <scene_description>The entire room is staring at him .<\/scene_description>\n    <character>FRANK<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What?! I mean, am I the only one here who feels funny about stealing from a. a. handicapped guy?<\/dialogue>\n    <scene_description>Danny looks to one side of the room . then the other .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>The rest of the room agrees . Matter closed . Everyone just turns back to what they 're doing .<\/scene_description>\n    <character>DANNY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Okay, so we know what we ca n't do.<\/dialogue>\n    <scene_description>Frank stews .<\/scene_description>\n    <character>DANNY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Time to think outside the box, guys.<\/dialogue>\n    <scene_description>A beat . Everyone thinks . Then :<\/scene_description>\n    <character>LINUS<\/character>\n    <dialogue>Okay, here's something. I've got an idea. suppose we -<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>LINUS<\/character>\n    <dialogue>Well, but how -<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>There's a Goldmann Grid over the enitre surface.<\/dialogue>\n    <scene_description>Linus looks at him .<\/scene_description>\n    <character>RUSTY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Is that what you were thinking about?<\/dialogue>\n    <scene_description>Linus nods .<\/scene_description>\n    <character>DANNY<\/character>\n    <parenthetical>( sudden idea . )<\/parenthetical>\n    <dialogue>But.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>- Well, that's different. Especially if we -<\/dialogue>\n    <scene_description>Rusty makes a circular motion with his finger and then stops it with his other hand .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>LINUS<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RUSTY<\/character>\n    <parenthetical>( quick aside to Linus . )<\/parenthetical>\n    <dialogue>A Schuman Special.<\/dialogue>\n    <parenthetical>( then to Livingston . )<\/parenthetical>\n    <dialogue>Livingston -<\/dialogue>\n    <character>LIVINGSTON<\/character>\n    <dialogue>Absolutely. I mean, I'd need a day to -<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>You'll have three. Basher?<\/dialogue>\n    <character>BASHER<\/character>\n    <dialogue>No worries.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Virgil, Turk.<\/dialogue>\n    <character>VIRGIL.<\/character>\n    <dialogue>says. Just got ta get the gear.<\/dialogue>\n    <character>TURK<\/character>\n    <dialogue>Sweden.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Yen?<\/dialogue>\n    <scene_description>Yen says something in Chinese .<\/scene_description>\n    <character>RUSTY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What, and give up show business? Saul -<\/dialogue>\n    <character>SAUL<\/character>\n    <dialogue>I know, I know. I'll be bored. You'll be fine.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Clock's running.<\/dialogue>\n    <scene_description>Everyone gets up and leaves . Within seconds , Linus is alone , standing in the middle of the room .<\/scene_description>\n    <character>LINUS<\/character>\n    <dialogue>What's a Schuman Special?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL SUITE -- THE PLANNING SESSION -- NIGHT<\/stage_direction>\n    <scene_description>Livingston uses a mock up of the alarm panel as a visual aid .<\/scene_description>\n    <character>LIVINGSTON<\/character>\n    <parenthetical>( to Basher . )<\/parenthetical>\n    <dialogue>Your shot has to hit directly above the keypad.<\/dialogue>\n    <scene_description>AMSTERDAM PLANNING MONTAGE -LRB- CONTINUOUS -RRB- We see Basher rehearsing the shot . He ca n't get a clear shot of the target . In fact , he ca n't see it . He turns to Saul .<\/scene_description>\n    <character>BASHER<\/character>\n    <dialogue>Let me see the specs.<\/dialogue>\n    <scene_description>Saul pulls a well - worn copy of the alarm system blueprint . Basher goes to the height of the alarm keypad in the bedroom . It 's 4 ' 10 '' .<\/scene_description>\n    <character>BASHER<\/character>\n    <dialogue>How tall is the surface of this roof?<\/dialogue>\n    <character>SAUL<\/character>\n    <dialogue>About 87 feet.<\/dialogue>\n    <character>BASHER<\/character>\n    <dialogue>How tall exactly?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL SUITE -- DAY<\/stage_direction>\n    <scene_description>Danny looks at a diagram of the safe they 'll have to crack when they get inside Vanderspeigle 's house , the safe that contains the `` Vanderspeigle Getuigschrift '' . Everyone but Linus and Rusty are here . But then Rusty comes in .<\/scene_description>\n    <character>RUSTY<\/character>\n    <dialogue>You're not going to believe this.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Try me.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>We do n't have line - of - sight.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>We tried everywhere. Some places we're only three or four inches off. but. there's no straight shot. Even with Basher. It's literally impossible.<\/dialogue>\n    <scene_description>Linus enters , out of breath . Seeing everyone , he goes to Danny and Rusty .<\/scene_description>\n    <character>LINUS<\/character>\n    <dialogue>Can I talk to you guys for a second?<\/dialogue>\n    <scene_description>They nod and allow Linus to pull them into the corner . Linus looks over at the group and then turns to ` them .<\/scene_description>\n    <character>LINUS<\/character>\n    <dialogue>Listen, I've done a little research on the Schuman Special, and uh. we do n't have line of sight for the shot.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Jesus. This'll kill us.<\/dialogue>\n    <character>DANNY<\/character>\n    <parenthetical>( to Linus . )<\/parenthetical>\n    <dialogue>Listen : Do n't say anything. If you're ever going to run your own crew, you've got to remember to never show weakness.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>It's like blood in the water for these guys.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>If they think you're slipping, you wo n't even see it coming.<\/dialogue>\n    <scene_description>Linus swallows .<\/scene_description>\n    <character>RUSTY<\/character>\n    <dialogue>But hey - thanks.<\/dialogue>\n    <scene_description>Linus nods and goes back to the group .<\/scene_description>\n    <character>RUSTY<\/character>\n    <parenthetical>( to Danny . )<\/parenthetical>\n    <dialogue>I need some air.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CANAL -- DUSK<\/stage_direction>\n    <scene_description>Rusty and Danny walk along the adjacent road .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>The Swinging Priest?<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Not enough time.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Crazy Larry.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Too many variables.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Robinov's Revenge?<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Too many obstacles.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>The Soft Shoulder.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Not enough people.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Baker's Dozen.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>We'd need a woman.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Hell in a Handbasket.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Ca n't train the cat that quickly.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>I ca n't have my wife watch me hauled off in handcuffs again.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>It's always about you, is n't it?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>This like running toward a cliff. Speaking of which, how's Isabel?<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>I have no idea what you're talking about.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>You get the tattoo removed?<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Given its location, my doctor advised against it.<\/dialogue>\n    <scene_description>Rusty stops walking . Danny continues , then notices he is alone . He turns back to Rusty .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>We're here.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>As Danny and Rusty enter the hotel , Rusty trips on the steps .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Nice.<\/dialogue>\n    <scene_description>Rusty bends down to look at the step . He notices that one tile on the edge of the stop has lost some mortar . He touches the tile and watches the lip rise up and down , up and down , as though it 's cantilevered . THE GROUP STARES INTO CAMERA<\/scene_description>\n    <character>SAUL<\/character>\n    <dialogue>You want to do what?<\/dialogue>\n    <scene_description>REVERSE to REVEAL Rusty and Danny .<\/scene_description>\n    <character>RUSTY<\/character>\n    <dialogue>Tilt it. Raise it slightly.<\/dialogue>\n    <character>SAUL<\/character>\n    <dialogue>The whole house?<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>It's only a few inches.<\/dialogue>\n    <character>BASHER<\/character>\n    <dialogue>Then I'll have line - of - sight.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>We ca n't tilt a whole house.<\/dialogue>\n    <character>VIRGIL<\/character>\n    <dialogue>They did it with the Leaning Tower of Pisa.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Exactly.<\/dialogue>\n    <character>SAUL<\/character>\n    <dialogue>It took three hundred guys two years to do that. You're crazy. Nobody's ever done anything like this.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Not true. Palowski did it in ` 64 in Venice and ` 73 in Istanbul.<\/dialogue>\n    <character>SAUL<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>LIVINGSTON<\/character>\n    <dialogue>And he only had a crew of six.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>There are thirty pylons. We cut them, insert the jacks, and crank.<\/dialogue>\n    <character>BASHER<\/character>\n    <dialogue>For nineteen hours. Here's the order in which they have to be done.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VANDERSPEIGLE'S HOUSE -- NIGHT<\/stage_direction>\n    <scene_description>It is pouring rain . From across the canal , we MOVE towards Vanderspeigle 's house , favoring a barge moored just out front . Then , instead of moving over the barge , we PUSH THROUGH its hull to -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARGE HULL<\/stage_direction>\n    <scene_description>FIND Frank and Livingston inside manning a series of industrial water pumps . They 're grimy and covered in sweat . Rain drips through the deck above them .<\/scene_description>\n    <character>LIVINGSTON<\/character>\n    <dialogue>So, Basher approached me about being on a crew.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>When?<\/dialogue>\n    <character>LIVINGSTON<\/character>\n    <dialogue>Yesterday.<\/dialogue>\n    <scene_description>Frank thinks about that . Yen pops his head out from a small tube and says something in Chinese . Frank shrugs . does n't understand . Yen tries again . This time he enunciates very clearly and talks very loudly -LRB- like Americans do when foreigners do n't understand English -RRB- . Frank nods , starts turning the handle of the water pump in the opposite direction . Yen climbs down out of the tube . Then he climbs back up the tube . He picks up a jack in the corner . Climbs back in the tube .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDER VANDERSPEIGLE'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>We FOLLOW him as he climbs through the tube and emerges underneath Vanderspeigle 's house , inside its foundation . The thirty pylons extend from the base of the house into the into the swamp it sits atop of . There is little space between the swamp level and the house . Runoff from the rain outside drips everywhere . FIND Danny and Rusty struggling to place a hand - cranked jack into a freshly cut space in one of the timber pylons . They are covered in muck and grime<\/scene_description>\n    <character>RUSTY<\/character>\n    <dialogue>The good news is, after the first twelve hours, I stopped being able to smell anything.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Took a few more for me.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>This water was stagnant six hundred years ago.<\/dialogue>\n    <scene_description>FIND the Malloys , thirty feet away , using a fancy underwater saw to cut a space in another pylon . Because the cutting is taking place underwater it is extremely quiet .<\/scene_description>\n    <character>VIRGIL<\/character>\n    <dialogue>There's no reason for him not to. He would go to the cops.<\/dialogue>\n    <character>TURK<\/character>\n    <dialogue>Okay, so he goes to the cops.<\/dialogue>\n    <character>VIRGIL<\/character>\n    <dialogue>Then they arrest Dominique.<\/dialogue>\n    <character>TURK.<\/character>\n    <dialogue>says. Right.<\/dialogue>\n    <character>VIRGIL<\/character>\n    <dialogue>Then we have no story.<\/dialogue>\n    <character>TURK<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>LINUS<\/character>\n    <dialogue>She steals the money from Mr. Mulroney.<\/dialogue>\n    <scene_description>They turn to look at Linus , sawing nearby .<\/scene_description>\n    <character>TURK<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>VIRGIL<\/character>\n    <dialogue>Why would she?<\/dialogue>\n    <character>LINUS<\/character>\n    <dialogue>To pay Franklin to keep quiet.<\/dialogue>\n    <scene_description>Turk and Virgil think about that . Linus keeps sawing .<\/scene_description>\n    <character>TURK<\/character>\n    <dialogue>That's good.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT ACROSS FROM VANDERSPEIGLE'S HOUSE -- NIGHT<\/stage_direction>\n    <scene_description>Basher and Saul sit in big cushiony chairs .<\/scene_description>\n    <character>SAUL<\/character>\n    <dialogue>Counterfeiting? Me?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I have to tell you, it's not something I condone. It's cheating.<\/dialogue>\n    <character>BASHER<\/character>\n    <dialogue>It is cheating.<\/dialogue>\n    <character>SAUL<\/character>\n    <dialogue>There's no subtlety to it.<\/dialogue>\n    <character>BASHER<\/character>\n    <dialogue>It's kind of embarrassing.<\/dialogue>\n    <character>SAUL<\/character>\n    <dialogue>No one I know.<\/dialogue>\n    <character>BASHER<\/character>\n    <dialogue>I ca n't imagine anything like that.<\/dialogue>\n    <scene_description>A long beat . Then each of them reach into their jackets and produce $ 20 bills . They exchange and examine the bills closely by eye . Satisfied , they trade them again and return them to their coat pockets .<\/scene_description>\n    <character>SAUL<\/character>\n    <dialogue>Not bad.<\/dialogue>\n    <character>BASHER<\/character>\n    <dialogue>Bolivia.<\/dialogue>\n    <character>SAUL<\/character>\n    <dialogue>Diego's people?<\/dialogue>\n    <character>BASHER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>SAUL<\/character>\n    <dialogue>Well. Congratulations.<\/dialogue>\n    <character>BASHER<\/character>\n    <dialogue>I told him about you.<\/dialogue>\n    <character>SAUL<\/character>\n    <dialogue>I'm too old. That's dangerous. My stuff is cheap compared to that. It's just me and my gal, you know. What you're talking about is organized. But thanks, anyway.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT -- NIGHT<\/stage_direction>\n    <scene_description>Frank sits watching TV . Livingston enters with groceries .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Jay Leno called.<\/dialogue>\n    <character>LIVINGSTON<\/character>\n    <dialogue>When are you gon na stop with that tired `` white people ca n't be funny stuff''? It's so old, Frank, really. Do you want some orange juice? I got the good kind.<\/dialogue>\n    <scene_description>Just then they are interrupted by Danny 's voice on a walkie - talkie .<\/scene_description>\n    <character>DANNY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Augie One, this is Condor.<\/dialogue>\n    <scene_description>UNDER VANDERSPEIGLE 'S HOUSE Rusty turns to Danny .<\/scene_description>\n    <character>LIVINGSTON<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>This is Augie One ; Go Condor.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT -- NIGHT<\/stage_direction>\n    <character>DANNY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>We're fully cranked here. Let's go to phase two.<\/dialogue>\n    <scene_description>Livingston and Frank look at each other .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Bring that orange juice.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOF -- NIGHT<\/stage_direction>\n    <scene_description>Basher sets up his gear again . This time , when he raises the crossbow to check his shot , HE CAN SEE THE KEYPAD . Just barely . He steadies himself . Saul knows that he 's ready to take the shot . He speaks into a walkie talkie .<\/scene_description>\n    <character>SAUL<\/character>\n    <dialogue>This is Gatsby. We're green here.<\/dialogue>\n    <scene_description>Basher aims . The INSTANT he fires the shot we<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EUROPOL HEADQUARTERS -- THE HAGUE -- DAY<\/stage_direction>\n    <scene_description>A MALE SECRETARY -LRB- HESS -RRB- rushes through Europol 's extraordinary Richard Meier - designed headquarters .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM -- DAY<\/stage_direction>\n    <scene_description>Europol Agent ISABEL LAHIRI gives a presentation to seventy - five of her colleagues . With her on stage are a couple of seated HIGHER - UP TYPES . She 's nervous .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>Let's discuss, briefly and to begin, with the category of `` thieves'', as distinguished from the larger category of what might be termed `` hardened'' criminals. The highest level, `` master thieves,'' if you will, is a very small world. Between six and ten high - level crews are operating in Europe at any given time. Worldwide, no more than twenty. The most famous, Gaspar LeMarc, is either dead or retired, and the expectation is that no one will replace him. The good news is the trend is toward their extinction.<\/dialogue>\n    <scene_description>The secretary enters the auditorium and walks toward the podium .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>For example : Anecdotal evidence suggest these people are personally insufferable.<\/dialogue>\n    <scene_description>The Higher - Ups look at each other ; what did she just say ?<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>Their egos demand constant praise, and they embellish their exploits to anyone who will listen. They tell their own stories endlessly, provided of course, they are talking to a fellow thief or an intimate.<\/dialogue>\n    <scene_description>Many in the audience are now looking to each other , wondering if this is appropriate .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>Those who interact with them on a personal level are relegated to positions of total servitude, with no chance for growth or freedom. Their lives are treated as secondary. Many of them suffer from depression. It's a crime for which there is no law, and yet causes untold damage.<\/dialogue>\n    <scene_description>One of the Higher - Ups convinces the other to say something , but by now Hess the Male Secretary has reached Isabel and interrupts her by whispering into her ear . She balances .<\/scene_description>\n    <character>ISABEL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( amplified by the lectern mic . )<\/parenthetical>\n    <dialogue>WHAT?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EUROPOL HEADQUARTERS -- LONG SHOT -- DAY<\/stage_direction>\n    <scene_description>Isabel and Hess walk briskly through the ultra - modern hallway . He briefs her as they walk in a hushed voice . Then something he says stops her in her tracks . Hess continues to explain something we ca n't hear . Then he pulls out some PHOTOS . Isabel leafs through them .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>That's impossible!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VANDERSPEIGLE HOUSE -- CRIME SCENE -- DAY<\/stage_direction>\n    <scene_description>Isabel arrives and is greeted by PAUL , a lead detective working the Vanderspeigle theft for the Amsterdam police department .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Thanks for coming. We can really use your help on this one.<\/dialogue>\n    <scene_description>His partner looks over at Isabel , who is wearing a skirt and pretty damn good shoes . The guy checks out her legs and looks away .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>I hope the scene has n't been contaminated.<\/dialogue>\n    <scene_description>Isabel walks away . Moments later , she enters the house with the lead detective .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VANDERSPEIGLE HOUSE - DAY<\/stage_direction>\n    <scene_description>As soon as she 's inside she 's all business .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>No forced entry.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Not that we can find.<\/dialogue>\n    <scene_description>UPSTAIRS - VANDERSPEIGLE 'S HOME OFFICE Isabel looks around Vanderspeigle 's home office . Behind a fake bookcase is a small room which contains the safe . In the other direction is Vanderspeigle 's bedroom .<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>( nods . )<\/parenthetical>\n    <dialogue>We ca n't figure out how they disabled the alarm. We thought maybe they tried to short it out somehow.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>No, that would have triggered the system.<\/dialogue>\n    <scene_description>Isabel goes to the alarm pad . Pulls the face plate off , examines the inside .<\/scene_description>\n    <character>ISABEL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>And damaged the circuits.<\/dialogue>\n    <character>PAM<\/character>\n    <dialogue>Well, then I do n't know how they got in.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>They had to have known the code.<\/dialogue>\n    <scene_description>She moves on to look in the mark 's BEDROOM .<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>( calls to her . )<\/parenthetical>\n    <dialogue>We considered that, but the mark swears that nobody in the world knew the code except him. He programmed the last seven steps of the system himself. He set it and never left the house again. When he dies, we'll probably have to physically cut all the power lines to the house to get it off line.<\/dialogue>\n    <scene_description>Isabel examines the computer brain of the alarm system which was locked inside a titanium case in Vanderspeigle 's bedroom closet . She answers the detective almost as an afterthought .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>There are other ways to get the code.<\/dialogue>\n    <parenthetical>( to herself . )<\/parenthetical>\n    <dialogue>Closed loop. Redundant servers. Titanium encasement. Not bad.<\/dialogue>\n    <scene_description>The lead detective enters the bedroom .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Like what?<\/dialogue>\n    <scene_description>Again , Isabel is inside her own mind . She 's really just answering the detective 's questions out of courtesy .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>Uh. well, they probably set up in a house across the canal and watched him type the code in through a pair of binoculars.<\/dialogue>\n    <scene_description>We GO WITH HIM as he walks back into the office . He stands at the alarm panel and pretends to type in the code . He twists around and looks out the window behind him .<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>( calling to Isabel in the bedroom . )<\/parenthetical>\n    <dialogue>Actually, I do n't know about that.<\/dialogue>\n    <scene_description>Isabel re - enters the office .<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Unless he had a habit of typing in the code like this -<\/dialogue>\n    <scene_description>He stands to the side of the panel and reaches over to type in the numbers . It 's an obviously unnatural position . Then he moves in front of the panel and types in the code as one normally would .<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>- then his body would block the view from across the canal.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>That's why they probably set up over there -<\/dialogue>\n    <scene_description>She points out an adjacent window on another wall .<\/scene_description>\n    <character>ISABEL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>- And used the mirror.<\/dialogue>\n    <scene_description>She points at a small mirror on the opposite wall . The detective bends down so his eye is at the level of the keypad , then he looks in the mirror . He can see directly across the canal into another house .<\/scene_description>\n    <character>ISABEL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I'm guessing they'd need a fifteen hundred millimeter lens to get a clear shot but -<\/dialogue>\n    <scene_description>But Isabel 's already moved on . Something has caught her attention just above the alarm panel : a patch of paint that is shinier than the paint that surrounds it . Isabel puts her finger to her tongue to wet it , then touches the shiny area . When she pulls her finger away there is paint on it . Isabel cocks her head . MIND 'S EYE -LRB- ISABEL -RRB- - THE NIGHT BEFORE A black - clad thief -LRB- LINUS -RRB- uses a paint brush to touch up the wall above the alarm keypad . BACK TO SCENE - THE CRIME SCENE The lead detective watches Isabel intently .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <scene_description>Isabel uses the blunt end of a letter opener from Vanderspeigle 's desk to gently dig at the wall under the paint . The plaster there is soft and wet . In fact it is n't plaster at all . It 's spackle .<\/scene_description>\n    <character>PAUL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What is that?<\/dialogue>\n    <scene_description>Isabel cooks her head again . MIND 'S EYE -LRB- ISABEL -RRB- - THE NIGHT BEFORE THUNK ! A crossbow bolt hits the wall above the alarm panel . BACK TO SCENE - THE CRIME SCENE<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>It's where the crossbow bolt hit.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>A crossbow bolt?<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>Ever heard of Franz Schuman?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Isabel is at the window . The one that Vanderspeigle leaves cracked open every night . Isabel looks across the canal at the apartment where Basher and Saul were playing cards .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>They would have fired from that roof. Through this open window.<\/dialogue>\n    <scene_description>Isabel kneels down , checks the line - of - sight to make sure she 's correct .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>From that roof, through this window? Nobody could make a shot like that.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>Not a cop, anyway.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>What's that supposed to mean?<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>Sorry. Your friend downstairs put me in a bad mood.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>He's an idiot. You should n't let him bother you.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>Yes. You're right.<\/dialogue>\n    <scene_description>Isabel pulls out a notepad and writes the name : `` Eugene ` Basher ' Tarr . '' There are two names above Basher 's in her little book : `` Robert Ryan '' and `` Danny Ocean . ''<\/scene_description>\n    <character>ISABEL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>But these man are exceptionally good. Even when they make mistakes.<\/dialogue>\n    <scene_description>MIND 'S EYE -LRB- ISABEL -RRB- - THE NIGHT BEFORE A bolt flies through Vanderspeigle 's open window and hits the wall above the alarm pad . Two thin wires are attached to a tiny wheel , which is attached to the back of the bolt . The wires run back to the window of the apartment across the canal . Inside that apartment : the wires end in another tiny wheel which is mounted on a large tripod for stability . In effect the group now has a mini - clothesline running between the alarm pad and the apartment across the canal . Livingston attaches a device designed to fit directly over the number pad of Vanderspeigle 's keypad to the `` clothesline '' that runs across the canal . BACK TO SCENE - THE CRIME SCENE Isabel writes : `` Livingston Dell ? '' Underneath Basher 's name in her notebook . MIND 'S EYE -LRB- ISABEL -RRB- - THE NIGHT BEFORE Livingston 's device is shuttled across the canal , through Vanderspeigle 's cracked window and right to the alarm panel . Magnets on the side of the device cause it to snap into place over the top of the keypad . Livingston then types a six - digit code into a remote keypad . His keypunches are mimicked by the remote device . Vanderspeigle 's alarm shuts off . Downstairs : From inside we see the front door lock picked . The door swings open . BACK TO SCENE - THE CRIME SCENE Isabel nods her head . There 's a slight smile on her face . The smile of admiration , respect in another 's skills .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>When did he get up and notice the certificate was gone?<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>The alarm woke him at 4:2 O am.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>But the alarm would have been -<\/dialogue>\n    <scene_description>She stops . And smiles to herself .<\/scene_description>\n    <character>ISABEL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Oh. Oh, I know what happened.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Isabel quickly glances around the room . Her eye lands on the floor near the false bookcase . On some dark lines in the crevices where the floor boards meet . She kneels down for a closer look .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>There was someone else.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Someone else.<\/dialogue>\n    <scene_description>MIND 'S EYE -LRB- ISABEL -RRB- - THE NIGHT BEFORE Danny and Rusty come through the front door . They are followed by Linus . All of them are soaking wet from 24 hours in the swamp under the house , and the last few minutes in the pouring rain outside the front door . The group silently slips up the stairs .<\/scene_description>\n    <character>ISABEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Oh, I wish I could've have seen that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VANDERSPEIGLE OFFICE - NIGHT<\/stage_direction>\n    <scene_description>They enter Vanderspeigle 's office . You can hear him snoring in the other room . Danny and Rusty quickly , carefully remove the crossbow bolt from the wall and take it to the window . They drop it -LRB- and the attached wires -RRB- to the Malloys , who are waiting on the street below . Meanwhile Linus spackles the hole in the wall and paints over the spackle . Danny and Rusty turn to see that Linus is finished . They hand - signal each other like Special Forces guys do , then move towards the bookcase on the adjacent wall .<\/scene_description>\n    <character>ISABEL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>That must have really been something.<\/dialogue>\n    <scene_description>Suddenly :<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Wait! Wait! Shhhh!<\/dialogue>\n    <scene_description>Everyone freezes . Danny puts his hand up to his ear to try to listen for the sound he thought he heard . We hear the faint sound of somebody singing to themselves . Danny and Rusty quickly realize it 's coming from behind the bookcase . What the hell ? They yank open the false bookcase to reveal a handsome Frenchman who has just finished cleaning out the contents of Vanderspeigle 's safe . Danny and Rusty stare at him . He turns around and sees them , but if he 's bothered in the slightest he sure is n't showing it . Danny approaches him . This exchange is whispered with a great amount of drama at very close range .<\/scene_description>\n    <character>DINNER JACKET<\/character>\n    <dialogue>Can I help you?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Yeah. What the hell are you doing?<\/dialogue>\n    <character>DINNER JACKET<\/character>\n    <dialogue>I am getting here first.<\/dialogue>\n    <scene_description>Just then , Frank and Yen arrive . The Frenchman looks them over .<\/scene_description>\n    <character>RUSTY<\/character>\n    <dialogue>This is our score.<\/dialogue>\n    <character>DINNER JACKET<\/character>\n    <dialogue>I am here before you.<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>( joining . )<\/parenthetical>\n    <dialogue>We let you in the house! Somehow you got in after we hit the code but before we got to the door.<\/dialogue>\n    <character>DINNER JACKET<\/character>\n    <dialogue>That's thirty seconds. How could I know which exact thirty seconds I had? Unless I knew you plan. Could I have known your plan? Do you have a snitch in your group?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>We do n't.<\/dialogue>\n    <character>DINNER JACKET<\/character>\n    <dialogue>Yes, I know you do n't. Because I saw, the whole thing from that chair. I knew you were around, but I had my own plan.<\/dialogue>\n    <scene_description>Yen says something in Chinese .<\/scene_description>\n    <character>DINNER JACKET<\/character>\n    <dialogue>There's really no need for that.<\/dialogue>\n    <scene_description>Danny wants to raise his voice , but he ca n't . Vanderspeigle is snoring twenty feet away .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Listen, we have to come to some arrangement.<\/dialogue>\n    <character>LINUS<\/character>\n    <dialogue>We've incurred some very serious costs here.<\/dialogue>\n    <scene_description>Danny and Rusty look at him .<\/scene_description>\n    <character>LINUS<\/character>\n    <dialogue>Well, we have.<\/dialogue>\n    <scene_description>The Malloys arrive .<\/scene_description>\n    <character>DINNER JACKET<\/character>\n    <dialogue>Every second I am becoming more outnumbered.<\/dialogue>\n    <character>VIRGIL<\/character>\n    <parenthetical>( whispering , re : Dinner Jacket . )<\/parenthetical>\n    <dialogue>Who's this?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>He said he got here first.<\/dialogue>\n    <character>VIRGIL<\/character>\n    <dialogue>That's bullshit.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Hey. Mouth.<\/dialogue>\n    <character>VIRGIL<\/character>\n    <dialogue>This is our goddamned job!<\/dialogue>\n    <scene_description>He sounds as angry as a guy who 's whispering can sound .<\/scene_description>\n    <character>LIVINGSTON<\/character>\n    <dialogue>If the situation were reversed -<\/dialogue>\n    <character>DINNER JACKET<\/character>\n    <dialogue>But the situation is not reversed. The situation is that I am here first, without any help from you.<\/dialogue>\n    <scene_description>Livingston arrives , soaking wet like everyone else .<\/scene_description>\n    <character>DINNER JACKET<\/character>\n    <dialogue>So as much as I would -<\/dialogue>\n    <scene_description>Basher and Saul arrive .<\/scene_description>\n    <character>DINNER JACKET<\/character>\n    <dialogue>Jesus, how many of you are there?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Just give us the stock certificate. Whatever else you took out of that safe. it's yours.<\/dialogue>\n    <scene_description>Dinner Jacket stops . Thinks for a moment . Then :<\/scene_description>\n    <character>DINNER JACKET<\/character>\n    <dialogue>No. But : I leave you with something.<\/dialogue>\n    <scene_description>He hands Danny a business card .<\/scene_description>\n    <character>DINNER JACKET<\/character>\n    <dialogue>My attorney. In case Evelyn's employer tries anything. well, anything.<\/dialogue>\n    <scene_description>Dinner Jacket smiles , then pulls a tiny electronic device out of his shirt pocket . He presses a button . And the alarm blares to life . BACK TO SCENE - THE CRIME SCENE Paul stares at Isabel .<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Are you sure?<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>I'm sure there's another scenario that would fit these physical details, but I do n't know what it is.<\/dialogue>\n    <character>PAUL<\/character>\n    <dialogue>Where should we start?<\/dialogue>\n    <scene_description>Isabel takes out her PDA , writes something on her keypad , and hits a few buttons . A second later , Paul 's BEEPER goes off .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>You can start by picking that guy up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMSTERDAM HOTEL SUITE -- DAY<\/stage_direction>\n    <scene_description>The group sits around looking depressed .<\/scene_description>\n    <character>VIRGIL<\/character>\n    <dialogue>Who the hell was that guy?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>It's going to get out, you know. People are going to find out.<\/dialogue>\n    <character>BASHER<\/character>\n    <dialogue>Somebody must know this bloke's name.<\/dialogue>\n    <character>LIVINGSTON<\/character>\n    <dialogue>The question is who trained him. He got into that place alone.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>He says.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I believed him.<\/dialogue>\n    <character>SAUL<\/character>\n    <parenthetical>( unsettled . )<\/parenthetical>\n    <dialogue>You think he's better than us?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I'm not saying anything, but the man was sitting there, waiting for us.<\/dialogue>\n    <character>LINUS<\/character>\n    <dialogue>Do you think the cops even know who this guys is?<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Please. That guy's never even seen a cop.<\/dialogue>\n    <character>TURK<\/character>\n    <dialogue>Maybe he works with the cops.<\/dialogue>\n    <character>SAUL<\/character>\n    <dialogue>You do n't work with the cops unless you absolutely have to. And not even then.<\/dialogue>\n    <character>BASHER<\/character>\n    <dialogue>Either way, he's got to have a name.<\/dialogue>\n    <character>LIVINGSTON<\/character>\n    <dialogue>It ca n't be that hard to find out who this guy is. Like I said, somebody trained him. Who trains the best?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>LeMarc.<\/dialogue>\n    <parenthetical>( to Rusty . )<\/parenthetical>\n    <dialogue>Right?<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>If he's not dead.<\/dialogue>\n    <character>LINUS<\/character>\n    <dialogue>Who's LeMarc?<\/dialogue>\n    <scene_description>Stunned silence from the guys . They wo n't even respond . Yen says something .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE HEADQUARTERS -- DAY<\/stage_direction>\n    <scene_description>Isabel arrives .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE HEADQUARTERS -- DAY<\/stage_direction>\n    <scene_description>Isabel is waiting to be processed . Eventually , she is directed down a hallway .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INTERROGATION ANTEROOM -- DAY<\/stage_direction>\n    <scene_description>We LOOK through a one - way mirror into the interrogation room where detectives Onderdonk and Devenpeck are trying the bad cop \/ bad cop routine on Evelyn . Isabel walks INTO FRAME and watches : Onderdonk slams his fist on the table . Davenpeck shouts in Evelyn 's face . Evelyn just laughs . Isabel shakes her head . Frustrated and more exhausted than their detainee , the two detectives leave the interrogation room for the ante - room where Isabel is .<\/scene_description>\n    <character>ONDERDONK<\/character>\n    <dialogue>Fucking stone.<\/dialogue>\n    <character>DAVENPECK<\/character>\n    <dialogue>I'm not quitting.<\/dialogue>\n    <character>ONDERDONK<\/character>\n    <dialogue>Who said quitting. I'm tired.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>Can I speak to him?<\/dialogue>\n    <scene_description>The two detectives look at each other .<\/scene_description>\n    <character>DAVENPECK<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <scene_description>Isabel produces a signed document . They look at it , shrug , and give it back .<\/scene_description>\n    <character>DAVENPECK<\/character>\n    <dialogue>Apparently, you can do whatever you want with him.<\/dialogue>\n    <character>ONDERDONK<\/character>\n    <dialogue>Are you moving him?<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>Oh no. I just need to speak with him. To get some information.<\/dialogue>\n    <character>DAVENPECK<\/character>\n    <dialogue>We've been on him for six hours.<\/dialogue>\n    <character>ONDERDONK<\/character>\n    <dialogue>With our best stuff.<\/dialogue>\n    <character>DAVENPECK<\/character>\n    <dialogue>Our best stuff. In mind terms, we've been torturing this guy.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>I'm sure. I only need a moment, then I'll be out of your way.<\/dialogue>\n    <scene_description>They shrug . Isabel goes into the room with Evelyn . We STAY WITH Onderdonk and Davenpeck , who watch her through the two - way mirror . THROUGH THE MIRROR : Isabel walks right up to Evelyn , smiles , and whispers one word to him\/her . Evelyn 's face freezes . He\/she looks at Isabel , scared . Then he\/she starts to weep . Uncontrollably . Tears stream down his\/her face . Isabel hands Evelyn a sheet of paper and he\/she begins to write . Onderdonk and Davenpeck are dumbfounded . Isabel turns around so she 's facing them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMSTERDAM HOTEL SUITE -- NIGHT<\/stage_direction>\n    <scene_description>The entire group , minus Danny , sits around glumly watching CNN International on the flat screen . Danny is on his cell phone on the other side of the room .<\/scene_description>\n    <character>DANNY<\/character>\n    <parenthetical>( INTO PHONE . )<\/parenthetical>\n    <dialogue>It's not a problem, it's a hiccup. It wo n't affect our schedule that much. I want to talk about you, not the job. How are you doing?<\/dialogue>\n    <scene_description>KNOCK - KNOCK - KNOCK . Something about it does n't sound familiar . Danny moves into the big roam . Rusty is at the door , looking through the peep - hole . Rusty puts his head down . Clearly it is n't a stranger .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Tess, I've got to call you back.<\/dialogue>\n    <scene_description>He hangs up . KNOCK - KNOCK - KNOCK . Rusty indicates for Danny to get it .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Coming.<\/dialogue>\n    <scene_description>Danny opens the door to reveal ISABEL . She looks at Danny . He looks back at her . They do n't say a word . Danny motions for her to come in .<\/scene_description>\n    <character>RUSTY<\/character>\n    <parenthetical>( still glued to the TV . )<\/parenthetical>\n    <dialogue>Who is it?<\/dialogue>\n    <character>ISABEL<\/character>\n    <parenthetical>( to Rusty . )<\/parenthetical>\n    <dialogue>Hello, Robert.<\/dialogue>\n    <scene_description>Rusty spins to see Isabel .<\/scene_description>\n    <character>RUSTY<\/character>\n    <dialogue>Isabel.<\/dialogue>\n    <scene_description>He crosses to her . STAY with the group for a moment .<\/scene_description>\n    <character>LINUS<\/character>\n    <dialogue>`` Robert?'' Is that his real name?<\/dialogue>\n    <scene_description>Virgil and Turk shrug .<\/scene_description>\n    <character>LINUS<\/character>\n    <dialogue>How does she know that?<\/dialogue>\n    <character>LIVINGSTON<\/character>\n    <dialogue>Ex - girlfriend.<\/dialogue>\n    <character>BASHER &amp; SAUL<\/character>\n    <dialogue>Fiancee.<\/dialogue>\n    <scene_description>ANGLE ON RUSTY AND ISABEL The entire group is watching them .<\/scene_description>\n    <character>RUSTY<\/character>\n    <dialogue>It's great to see you.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>Is it? Because you've been seeing a lot of me lately.<\/dialogue>\n    <scene_description>She hands a surveillance photo to Rusty .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>You were sitting in a Mercedes outside my apartment on Wednesday night.<\/dialogue>\n    <scene_description>She hands Rusty another photo . -LRB- These are the photos Hess the male secretary showed her at Europol HQ that we could n't see . -RRB-<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>You were hiding in the bushes when I had lunch yesterday at Trattoria Bella.<\/dialogue>\n    <scene_description>She hands him a third photo . Looks at the fourth .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>This one. I'm not even sure where this one was taken, but I like it a lot. Very Ron Gallela.<\/dialogue>\n    <scene_description>She hands this photo to Danny . It 's a picture of Rusty , with a dorky look on his face , peering out from behind a mailbox he 's using as cover while he spies on Isabel .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>I mean, if I did n't know better I'd think you all came here to steal the Vanderspeigle Getuigschrift, also known as the world's first stock certificate.<\/dialogue>\n    <parenthetical>( to the group as a whole . )<\/parenthetical>\n    <dialogue>You must have been so proud of yourselves. A Schuman Special. It's been awhile.<\/dialogue>\n    <parenthetical>( smiles at Basher . )<\/parenthetical>\n    <dialogue>That was a very handsome crossbow shot, Eugene.<\/dialogue>\n    <scene_description>Basher winces at the sound of his real name . The group stares back at her . Ca n't believe this is happening .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>And the Palowski. whose idea was that?<\/dialogue>\n    <scene_description>She knows it was Rusty .<\/scene_description>\n    <character>RUSTY<\/character>\n    <dialogue>We did n't steal anything.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>Oh. I know you did n't. Somebody beat you to it. One man. No crew. No back up. Tell me something - just so I can get the full picture in my head - was he wearing a tuxedo? A white dinner jacket?<\/dialogue>\n    <character>BASHER<\/character>\n    <parenthetical>( to Isabel . )<\/parenthetical>\n    <dialogue>At least we saw him in the flesh. You'll never see this guy your whole life.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>So you know who he is?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Of course we know who he is.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>Well, then. I'll see you when you see him. To get your certificate back.<\/dialogue>\n    <scene_description>She takes the photo of Rusty peeking from behind the mailbox from Danny 's hand . She walks out . The group is frozen . Livingston is still looking at the pictures of Rusty following Isabel .<\/scene_description>\n    <character>LIVINGSTON<\/character>\n    <parenthetical>( to Rusty , re : the photo . )<\/parenthetical>\n    <dialogue>Who's hat is that?<\/dialogue>\n    <character>SAUL<\/character>\n    <dialogue>How did she - That was -<\/dialogue>\n    <character>DANNY<\/character>\n    <parenthetical>( to Rusty . )<\/parenthetical>\n    <dialogue>This is what I was talking about. This is exactly what I was talking -<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>- I was just checking up on her. I knew she did n't want to see me. I was being polite.<\/dialogue>\n    <character>TURK<\/character>\n    <dialogue>Where did she learn all that stuff? The Palowski stuff.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Her father.<\/dialogue>\n    <character>VIRGIL<\/character>\n    <dialogue>He was a cop?<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Thief.<\/dialogue>\n    <character>LINUS<\/character>\n    <dialogue>Was he good?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Very.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Great.<\/dialogue>\n    <character>VIRGIL<\/character>\n    <dialogue>What's the big deal? She's just some brilliant, pissed - off ex - girlfriend who's dad taught her every trick in the book.<\/dialogue>\n    <character>SAUL &amp; BASHER<\/character>\n    <dialogue>Fiancee.<\/dialogue>\n    <character>TURK<\/character>\n    <dialogue>But did you see that display of emotion, handing out those pictures?<\/dialogue>\n    <character>VIRGIL<\/character>\n    <dialogue>Totally unprofessional.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>She's passionate.<\/dialogue>\n    <character>VIRGIL<\/character>\n    <dialogue>She's unbalanced.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Her job is very stressful.<\/dialogue>\n    <character>SAUL<\/character>\n    <dialogue>She could reduce her stress by leaving us alone.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>We've got to slow her down.<\/dialogue>\n    <scene_description>Everyone agrees .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>But first : We find our French friend and introduce ourselves.<\/dialogue>\n    <scene_description>FUNKY TRANSITION<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EUROPOL HEADQUARTERS -- DAY<\/stage_direction>\n    <scene_description>Isabel is talking to her superior .<\/scene_description>\n    <character>ISABEL'S BOSS<\/character>\n    <dialogue>Twenty - four hours. You know that.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>I do n't have twenty - four hours. They're there now. They'll lead me to him.<\/dialogue>\n    <character>ISABEL'S BOSS<\/character>\n    <dialogue>You also know that you can go now, if you do n't take your secretary. When there's liability, I need a document.<\/dialogue>\n    <scene_description>She nods .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EUROPOL HEADQUARTERS HALLWAY -- DAY<\/stage_direction>\n    <scene_description>Isabel exits .<\/scene_description>\n    <character>HESS<\/character>\n    <dialogue>He said we ca n't leave until tomorrow because of liability issues and he needs a document.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>HESS<\/character>\n    <dialogue>Thanks for trying.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>Let's share a car.<\/dialogue>\n    <character>HESS<\/character>\n    <dialogue>That would be nice. Thank you.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>I ca n't believe they wo n't make an exception.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I've got to find out who this other guy is.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MONTE CARLO CASINO -- NIGHT<\/stage_direction>\n    <scene_description>Dinner Jacket -LRB- AKA FRANCOIS TOULOUR -RRB- wins a huge blackjack bet . The crowd reacts enthusiastically . A beautiful woman stands near him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MONTE CARLO CASINO -- NIGHT<\/stage_direction>\n    <scene_description>The crowd around the blackjack table erupts as Toulour wine another massive bet . Note : The same dealer pays him off . The same crowd is watching . But Toulour is dressed in a different tuxedo , and a different women is standing by his side .<\/scene_description>\n    <character>ANOTHER BEAUTIFUL WOMAN<\/character>\n    <dialogue>Fantastic.<\/dialogue>\n    <character>BASHER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He did his first big job in 1989. Bundesbank, Berlin.<\/dialogue>\n    <character>DANNY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The fifteen million dollar one the day the Berlin wall fell?<\/dialogue>\n    <character>BASHER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He was nineteen years old.<\/dialogue>\n    <scene_description>INTERCUT - INT . \/ EXT. . MONTE CARLO CASINO - NIGHT FOLLOW Toulour -LRB- in a different tuxedo , with a different beautiful woman -RRB- as he exits the casino .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MONTE CARLO CASINO -- NIGHT<\/stage_direction>\n    <scene_description>When we PICK HIM UP on the exterior he is in another tuxedo with another woman .<\/scene_description>\n    <character>ANOTHER BEAUTIFUL WOMAN<\/character>\n    <dialogue>Where do you want to go this weekend?<\/dialogue>\n    <character>BASHER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Bank Faltier, Paris 190 and again in'91. Total take twenty - one million euros. Bank of Italy' 92. Eighteen million. Danish Treasury, also 192. Twenty - two million. Prado museum. Madrid'93. The Picasso. Estimated value -<\/dialogue>\n    <character>SAUL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Hang on a second! He - All of them?!<\/dialogue>\n    <character>LIVINGSTON<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He's not done.<\/dialogue>\n    <character>DANNY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Wait - Prado Museum, the Picasso - that was Moretti.<\/dialogue>\n    <scene_description>INTERCUT - EXT. . MONTE CARLO - NIGHT Toulour rockets his turbocharged Bentley into a tunnel .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MONTE CARLO TUNNEL - NIGHT<\/stage_direction>\n    <scene_description>PICK HIM UP as he exits the tunnel in a new car , wearing a new tux , with a new woman .<\/scene_description>\n    <character>BASHER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He in Moretti. It's one of his aliases.<\/dialogue>\n    <character>RUSTY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Anything else?<\/dialogue>\n    <character>BASHER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>UDC bank in Geneva, ` 94. Nineteen million in bearer bonds. The Louvre -'95 and twice in' 96.<\/dialogue>\n    <scene_description>Yen -LRB- in V.O. -RRB- says something in Chinese .<\/scene_description>\n    <character>BASHER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He left a Post - It note on the Mona Lisa that said `` Bitch set me up.''<\/dialogue>\n    <character>LIVINGSTON<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Tell them about Saint Tropez.<\/dialogue>\n    <character>BASHER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>In 2000, he stole the King of Morocco's 230 foot yacht. Vanished into thin air. Crew surfaced a few days later in a life raft. Could n't remember a thing.<\/dialogue>\n    <character>SAUL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>How do you hide a two hundred foot yacht?!<\/dialogue>\n    <character>BASHER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>If the King knows, he's not telling. He received it back a month later.<\/dialogue>\n    <scene_description>INTERCUT - EXT. . COTE D'AZURE - NIGHT Toulour . Another car . Another tux . Another beautiful woman . He pilots his convertible Maserati at high speed along the windy road .<\/scene_description>\n    <character>ANOTHER BEAUTIFUL WOMAN<\/character>\n    <dialogue>How far is your house, Baron?<\/dialogue>\n    <character>TOULOUR<\/character>\n    <dialogue>Twenty minutes by helicopter.<\/dialogue>\n    <character>TURK<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>One guy did all those jobs?<\/dialogue>\n    <character>VIRGIL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>How'd he get all those aliases?<\/dialogue>\n    <character>BASHER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Until a month ago Interpol were convinced that the heists were the work of twelve different people. But not any more.<\/dialogue>\n    <character>LIVINGSTON<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The French national police just gave him a nickname. `` Le Renard Nuit'' - The Night Fox.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL SUITE -- DAY<\/stage_direction>\n    <scene_description>Danny rolls his eyes .<\/scene_description>\n    <character>BASHER<\/character>\n    <dialogue>Scotland Yard said he's the new LeMarc.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Scotland Yard never saw LeMarc.<\/dialogue>\n    <scene_description>INTERCUT - EXT. . PRIVATE HELIPORT - NIGHT A helicopter lands on a massive Lake Como estate . Toulour gets out . New clothes . New woman .<\/scene_description>\n    <character>DANNY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Personal information?<\/dialogue>\n    <character>LINUS<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Some say he's one of these guys that thinks because he was born in a penthouse, he controls the elevator business. Others say he turned out okay when you consider how rich his parents were.<\/dialogue>\n    <character>SAUL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Taxes over here are brutal. People do n't realize.<\/dialogue>\n    <character>LINUS<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Father was a big - time industrialist, got into the cellphone market on the ground floor. Mother inherited. Had maids as a child. He's a public figure, people know who he is. He's been rumored to run for office in Spain, even though he does n't appear to live there.<\/dialogue>\n    <scene_description>INTERCUT - EXT. \/ INT . TOULOUR 'S HOUSE - NIGHT Toulour , in new clothes , with yet another woman , unlocks several locks and disarms two alarms . The woman ca n't believe all the security he has .<\/scene_description>\n    <character>ANOTHER BEAUTIFUL WOMAN<\/character>\n    <dialogue>What do you have in there, the Mona Lisa?<\/dialogue>\n    <character>TOULOUR<\/character>\n    <parenthetical>( as if . )<\/parenthetical>\n    <dialogue>Please.<\/dialogue>\n    <character>ANOTHER BEAUTIFUL WOMAN<\/character>\n    <parenthetical>( does n't miss a beat . )<\/parenthetical>\n    <dialogue>You know what? I do n't like that painting either. I do n't like anything Van Gogh did.<\/dialogue>\n    <scene_description>Toulour smiles and lets her in .<\/scene_description>\n    <character>LINUS<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He's an avid golfer, pro - level tennis player, and inveterate gambler. But apparently his favorite pastime is.<\/dialogue>\n    <scene_description>Linus trails off . BACK TO THE HOTEL<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Spit it out, Linus.<\/dialogue>\n    <scene_description>INTERCUT - INT . TOULOUR 'S VILLA - NIGHT A tableau shot looking into the bedroom . ANOTHER BEAUTIFUL WOMAN joins Toulour in his bedroom .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMSTERDAM HOTEL SUITE -- DAY<\/stage_direction>\n    <character>LINUS<\/character>\n    <dialogue>He's rarely alone. I think it's a compulsion. I have a list of names here. it was just the first week.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>All right, moving on, is there anything else we need to know about this guy before we -<\/dialogue>\n    <character>BASHER<\/character>\n    <dialogue>Did we forget to mention he's a Viscount?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>A what?<\/dialogue>\n    <character>LIVINGSTON<\/character>\n    <dialogue>Viscount. As in nobility.<\/dialogue>\n    <character>DANNY<\/character>\n    <parenthetical>( can not take it anymore . )<\/parenthetical>\n    <dialogue>Last time I checked titles like that went out with a little number I like to call the French Revolution -<\/dialogue>\n    <character>BASHER<\/character>\n    <dialogue>Spain.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>BASHER<\/character>\n    <dialogue>His title. It's Spanish. Mother's cousin.<\/dialogue>\n    <scene_description>INTERCUT - INT . TOULOUR 'S BEDROOM - DAWN Toulour crawls out of bad . Wonders who the woman next to him is . BACK TO SCENE - INT . AMSTERDAM HOTEL SUITE - DAY<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>He may be the greatest thief in Europe. He may have slept with half of the EU. He may be a Casanova with the soul of a starving artist. It does n't matter.<\/dialogue>\n    <scene_description>INTERCUT - INT . TOULOUR 'S HALLWAY - DAWN Toulour comes downstairs in his bathrobe . BACK TO SCENE - INT . AMSTERDAM HOTEL SUITE - DAWN<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>There's something he cares about. There's something he ca n't live without.<\/dialogue>\n    <scene_description>INTERCUT - INT . TOULOUR 'S HOUSE - DAWN Toulour reaches the base of the stairs and stops dead in his tracks . He looks ahead of him to a wall covered with paintings . One painting is clearly missing . All that remains are the dust\/fade marks on the wall to indicate that it had been there . He walks up to the wall and smiles - certainly this will be an interesting day . He 's actually been cheered up by this .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOULOUR'S VILLA -- DAY<\/stage_direction>\n    <scene_description>Toulour in playing a hard - fought game of tennis . His opponent -LRB- EDMUND -RRB- bangs a great shot . Toulour gets there and smacks it back . Edmund dives for the ball , just gets it back over the net . But Toulour is waiting and hits a kill shot .<\/scene_description>\n    <character>EDMUNDS<\/character>\n    <dialogue>Are you on steroids?<\/dialogue>\n    <scene_description>Toulour laughs .<\/scene_description>\n    <character>EDMUND<\/character>\n    <dialogue>Let's try again. Give me five games this time.<\/dialogue>\n    <character>TOULOUR<\/character>\n    <dialogue>You are worse than Sampras. You should be paying me.<\/dialogue>\n    <scene_description>A BUTLER arrives .<\/scene_description>\n    <character>BUTLER<\/character>\n    <parenthetical>( in French . )<\/parenthetical>\n    <dialogue>Pardon me, sir.<\/dialogue>\n    <scene_description>He hands Toulour two business cards . One says `` Daniel Ocean , '' the other `` Rusty Ryan . ''<\/scene_description>\n    <character>BUTLER<\/character>\n    <parenthetical>( in French . )<\/parenthetical>\n    <dialogue>Two gentlemen. They say they met you in Amsterdam last week.<\/dialogue>\n    <character>TOULOUR<\/character>\n    <parenthetical>( in French . )<\/parenthetical>\n    <dialogue>Put them on the veranda and get them a drink. I'll be right up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VERANDA -- DAY<\/stage_direction>\n    <scene_description>Danny and Rusty look out over Lake Como . Toulour arrives .<\/scene_description>\n    <character>TOULOUR<\/character>\n    <parenthetical>( to Danny . )<\/parenthetical>\n    <dialogue>Rusty.<\/dialogue>\n    <parenthetical>( to Rusty . )<\/parenthetical>\n    <dialogue>Danny.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Other way around.<\/dialogue>\n    <character>TOULOUR<\/character>\n    <dialogue>Are you sure? Usually I'm so good at that.<\/dialogue>\n    <scene_description>Edmund arrives , carrying his tennis bag .<\/scene_description>\n    <character>TOULOUR<\/character>\n    <dialogue>This is Edmund. Edmund. Rusty. Danny.<\/dialogue>\n    <scene_description>He calls by their wrong names again .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Nice to meet you. Edmund.<\/dialogue>\n    <parenthetical>( making conversation . )<\/parenthetical>\n    <dialogue>You a tennis pro?<\/dialogue>\n    <scene_description>Rusty takes a sip of ice tea .<\/scene_description>\n    <character>EDMUND<\/character>\n    <dialogue>Actually, no, I'm the King of Morocco.<\/dialogue>\n    <scene_description>Danny and Rusty nod , their smiles frozen .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VILLA -- DAY<\/stage_direction>\n    <scene_description>Toulour shows Danny and Rusty his art .<\/scene_description>\n    <character>TOULOUR<\/character>\n    <dialogue>Sadly, I ca n't show you my favorite painting of all - a Degas that used to hang right there - because it was stolen recently.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>That's awful.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>The criminal element is everywhere these days.<\/dialogue>\n    <scene_description>Toulour nods .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Listen, Francois -<\/dialogue>\n    <character>TOULOUR<\/character>\n    <dialogue>Please. Call me Baron.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>We came here for the Vanderspeigle certificate -<\/dialogue>\n    <character>TOULOUR<\/character>\n    <dialogue>That's not for sale.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Your Degas is worth three times that. You want your painting back, you're going to have to trade.<\/dialogue>\n    <character>TOULOUR<\/character>\n    <dialogue>You actually expect me to believe that you are in possession of my Degas? You are living in a. in a bubble.<\/dialogue>\n    <scene_description>Toulour looks at them and walks away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAKE COMO HOTEL SUITE -- DAY<\/stage_direction>\n    <scene_description>Rusty and Danny stand with the rest of the group .<\/scene_description>\n    <character>BASHER<\/character>\n    <dialogue>He used the word `` amateur''?<\/dialogue>\n    <scene_description>Rusty and Danny nod reluctantly .<\/scene_description>\n    <character>VIRGIL<\/character>\n    <dialogue>You said we could show him the painting right, to prove that we had it.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>He still would n't trade.<\/dialogue>\n    <scene_description>Yen says something .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>We need to teach him a lesson.<\/dialogue>\n    <character>TURK<\/character>\n    <dialogue>Absolutely.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>All right, let's stay calm. We do n't need to over - react here. He said some disrespectful things, that's true. But why antagonize this guy? Why get into something with him? He's young and he's filthy rich, and he's got time on his hands. We do n't want to become his Betty noir. We can just fence his painting and earn a lot more than we would have from the certificate.<\/dialogue>\n    <character>BASHER<\/character>\n    <dialogue>It's about reputation. You said so yourself. We have to get that certificate to Evelyn's buyer or -<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>We'll make enough selling the Degas to pay off her buyer -<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Then why did you make that trip down there in the first place, if you did n't want to get into something?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Saul?<\/dialogue>\n    <character>SAUL<\/character>\n    <dialogue>Turn his name over to Isabel. In exchange for getting off our backs.<\/dialogue>\n    <scene_description>Tough one to swallow .<\/scene_description>\n    <character>SAUL<\/character>\n    <dialogue>Short of that. the only appropriate response is to steal his next job right out from under him. Just like he did to us.<\/dialogue>\n    <character>TURK<\/character>\n    <dialogue>We do n't even know our next job.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>We got ten million in that closet.<\/dialogue>\n    <scene_description>Danny points at the closet in the room .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>I cash in the Degas, take a moment to think about our next move. Toulour is n't going anywhere. You guys are hyping him too much, you're letting him get inside your head.<\/dialogue>\n    <scene_description>Everyone agrees . Danny opens the closet . There 's a picture frame in there , but NO PICTURE . It 's been stolen by Toulour . We hear the SOUND OF A CASE BEING SHUT AND LOCKED .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PARIS BUILDING -- DAY<\/stage_direction>\n    <scene_description>We see a SMALL , SECURE BOX being transported to a heavily secured truck .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARIS BUILDING -- DAY<\/stage_direction>\n    <scene_description>The truck exits the building and drives down a street with security MOTORCYCLES surrounding it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARIS FREEWAY -- DAY<\/stage_direction>\n    <scene_description>The motorcade heads for the private airport . The secure box is loaded onto a plane as Isabel and her male secretary Hess exit a plane nearby .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR -- DAY<\/stage_direction>\n    <scene_description>Isabel and Hess heading into Paris .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>Why do I need to see all these guys? When I tracked the Munch down in Sweden I got all the approvals I needed with one phone call. With Lenin's shaving kit the Russians brought me in and it took a single signature and I got it at the airport a minute after I arrived. What's so goddamned special about the French?<\/dialogue>\n    <scene_description>Hess gives her a look as though she should know better .<\/scene_description>\n    <character>HESS<\/character>\n    <dialogue>Without their signatures, you ca n't do anything. You ca n't pull the suspects over, you ca n't do surveillance on them, you're not even allowed to contact them. They're real sticklers about sovereignty issues here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PARIS BUREAUCRAT'S OFFICE -- DAY<\/stage_direction>\n    <scene_description>The Bureaucrat looks at Isabel . All of her .<\/scene_description>\n    <character>INSPECTOR<\/character>\n    <dialogue>Isabel, I could n't possibly sign those documents in good conscience without talking to you about the case in detail. I realize you're in a hurry and my schedule for the rest of the day is quite full, so perhaps, if you're interested in being expedient, we could discuss the case. over dinner.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEDAN -- DAY<\/stage_direction>\n    <scene_description>Isabel sits in the back with Hess .<\/scene_description>\n    <character>HESS<\/character>\n    <dialogue>Foucquet's at eight - thirty. Apparently their's a private room. Better bring your kevlar.<\/dialogue>\n    <parenthetical>( to the driver . )<\/parenthetical>\n    <dialogue>Do n't stop for that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARIS STREET--DAY<\/stage_direction>\n    <scene_description>The driver accelerates through a yellow\/red light , almost hitting DANNY AND TOULOUR Who deftly avoid getting crushed .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>That's not how I want to go.<\/dialogue>\n    <character>TOULOUR<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>They walk on .<\/scene_description>\n    <character>TOULOUR<\/character>\n    <dialogue>Very theatrical of you. asking to meet here. Like we're spies meeting to do an exchange.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Why are you doing this to us?<\/dialogue>\n    <character>TOULOUR<\/character>\n    <dialogue>Doing what?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>This is a game for you. For us it's survival. Are you that bored? I mean.<\/dialogue>\n    <character>TOULOUR<\/character>\n    <dialogue>No. I would n't do that. No. The truth is. I made a bet. Or maybe a better word is a `` wager''.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>What kind of wager?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARIS CAPE -- DAY<\/stage_direction>\n    <scene_description>Danny and Toulour sit across from each other . The bottom quarter of the Eifel tower is visible in the background .<\/scene_description>\n    <character>TOULOUR<\/character>\n    <dialogue>A gentlemen's wager with a friend of mine - my mentor. A few months ago we were at his winter place in Nicaragua and another guest referred to me as `` the greatest thief in the world.'' I did n't object, obviously, but my mentor fell silent. Later I asked him about it. He said if I really wanted to say I was the best thief. I'd have to prove I was better than the eleven of you.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You know, the Benedict job made waves, even all the way over here. 16.3 million dollars. That's a lot of money.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>163.<\/dialogue>\n    <character>TOULOUR<\/character>\n    <dialogue>Sorry. 163. Before you were found.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARAB MUSEUM ROOFTOP FUNCTION ROOM -- DAY<\/stage_direction>\n    <character>TOULOUR<\/character>\n    <dialogue>Yes, 163 million is a lot of money. It attracts attention. So, in a way, you brought this problem with me on yourselves. You're victims of your own success.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Here's what I'm going to do. You tell me the name of your mentor. I'll call him up and I'll tell him that you're the greatest thief in the world. that I accept that to be true. And in return. you leave us alone, let us go about our business. How about that?<\/dialogue>\n    <character>TOULOUR<\/character>\n    <dialogue>He said you'd probably say something like that - but he said you'd probably have your fingers crossed when you said it.<\/dialogue>\n    <scene_description>Danny frowns , pulls his hand out of his pocket .<\/scene_description>\n    <character>TOULOUR<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So in this situation - for the purposes of my wager - words are n't good enough. I have to prove this on the ground.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>This mentor of yours. was he a good thief in his day?<\/dialogue>\n    <character>TOULOUR<\/character>\n    <dialogue>Who, LeMarc?<\/dialogue>\n    <scene_description>Danny swallows .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Yeah. Him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PARIS HOTEL ROOM -- DAY<\/stage_direction>\n    <scene_description>Angle on the group - they 're slack - jawed .<\/scene_description>\n    <character>LIVINGSTON<\/character>\n    <dialogue>Who?<\/dialogue>\n    <scene_description>Yen says something .<\/scene_description>\n    <character>RUSTY<\/character>\n    <dialogue>I thought so too.<\/dialogue>\n    <character>SAUL<\/character>\n    <dialogue>LeMarc. The LeMarc.<\/dialogue>\n    <scene_description>Danny nods .<\/scene_description>\n    <character>SAUL<\/character>\n    <dialogue>God hates me. He hates all of us.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Hell, this could go on forever.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>No. It's going to be settled by one more job. A single object.<\/dialogue>\n    <character>SAUL<\/character>\n    <dialogue>Whatever it is, let's just let him have it.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>We ca n't.<\/dialogue>\n    <character>LIVINGSTON<\/character>\n    <dialogue>Because of pride?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Because we beat him, he'll pay Benedict off.<\/dialogue>\n    <scene_description>A stunned beat .<\/scene_description>\n    <character>FRANK<\/character>\n    <parenthetical>( new lease on life . )<\/parenthetical>\n    <dialogue>Now we're talking.<\/dialogue>\n    <character>BASHER<\/character>\n    <dialogue>One score, for the whole thing?<\/dialogue>\n    <character>LIVINGSTON<\/character>\n    <dialogue>What do we have to do? I mean, is it a fair bet or is it like. the Coronation Egg or something?<\/dialogue>\n    <scene_description>Danny points . That 's it . That 's the one .<\/scene_description>\n    <character>SAUL<\/character>\n    <dialogue>He wants us to steal the Coronation Egg!<\/dialogue>\n    <character>BASHER<\/character>\n    <dialogue>That's just. that's. what is that?<\/dialogue>\n    <character>SAUL<\/character>\n    <dialogue>The Holy Grail.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Carl Faberge, the greatest goldsmith in history, constructed the Coronation Egg in 1896 for the wedding of Czar Nicholas and Alexandra. Every world class thief in the last 108 years has tried to steal it. No one has even come close.<\/dialogue>\n    <character>SAUL<\/character>\n    <dialogue>That's because it's cursed.<\/dialogue>\n    <character>LINUS<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SAUL<\/character>\n    <dialogue>It's un - stealable.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>It's the only thing in LeMarc's entire career that he went after but failed to get. He tried three times.<\/dialogue>\n    <scene_description>A long beat of silence .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>We get the egg and we're free.<\/dialogue>\n    <character>BASHER<\/character>\n    <dialogue>That's great, except we ca n't get it.<\/dialogue>\n    <character>SAUL<\/character>\n    <dialogue>It's not possible.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Then we go to jail.<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>VIRGIL<\/character>\n    <dialogue>Well. where is it now?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROME, ITALY PRIVATE AIRPORT -- DAY<\/stage_direction>\n    <scene_description>The SMALL , SECURE BOX is being taken off a plane . Another motorcade forms and escorts the vehicle into the city .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS OF ROME -- DAY<\/stage_direction>\n    <scene_description>The motorcade is completely stopped in traffic . In a nearby sedan , Isabel sits next to an Italian CARABINIERI LIAISON of same sort . Hess is in the front seat .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>I'm going to need surveillance on both hotels, phone taps, room bugs, people in the lobby and by every exit.<\/dialogue>\n    <character>CARABINIERI OFFICER<\/character>\n    <dialogue>Yes, absolutely.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>If I had to guess I'd say I'll need at least 25 people, a dozen vehicles. and an on - call air unit.<\/dialogue>\n    <character>CARABINIERI OFFICER<\/character>\n    <dialogue>Yes, absolutely.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>Okay, one more thing, and this is crucial : these guys are extremely, sophisticated at avoiding electronic surveillance, so we'll need real state of the art stuff. I'm talking synthetic aperture pinhole cameras, wave reformation mics with a high Plank coefficient and a passive input structure - You're not writing anything down ; are you sure you're getting all this?<\/dialogue>\n    <character>CARABINIERI OFFICER<\/character>\n    <dialogue>Yes, absolutely.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>Okay. Good. Now what time am I meeting Captain Giordano?<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>CARABINIERI OFFICER<\/character>\n    <parenthetical>( tentative . )<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>No, what time?<\/dialogue>\n    <scene_description>Another beat .<\/scene_description>\n    <character>CARABINIERI OFFICER<\/character>\n    <dialogue>Yes. absolutely.<\/dialogue>\n    <scene_description>Isabel looks right at him .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>I see. so. you've spoken with the Pope and he's okay with autographing my breasts?<\/dialogue>\n    <scene_description>Hess turns around .<\/scene_description>\n    <character>CARABINIERI OFFICER<\/character>\n    <dialogue>Yes, absolutely.<\/dialogue>\n    <scene_description>Isabel sighs loudly and sinks back into her seat .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS OF ROME -- DAY<\/stage_direction>\n    <scene_description>The motorcade arrives at the Museum of Modern Art . We follow armored car and continue on to find Danny walking up the front steps .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSEUM OF MODERN ART -- DAY<\/stage_direction>\n    <scene_description>Angle on Livingston as he subtly nods at something in the distance . Danny is standing next to him .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>What am I looking at?<\/dialogue>\n    <character>LIVINGSTON<\/character>\n    <dialogue>A TR354 infra red motion detection system. It's the gold standard.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Saul and Linus back yet?<\/dialogue>\n    <character>LIVINGSTON<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>No?<\/dialogue>\n    <character>LIVINGSTON<\/character>\n    <dialogue>And I ca n't find Rusty.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSEUM -- ELSEWHERE<\/stage_direction>\n    <scene_description>Frank and Yen look at an `` authorized - entry only '' door as a member of the museum staff goes through it . The door has a complex double - locking mechanism that would make it impossible to pick . Yen says something in Chinese .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Yen says something in Chinese , again .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Well, I do n't know, but that's one nasty lock.<\/dialogue>\n    <scene_description>Danny approaches .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Seen Rusty?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>We thought he was with you.<\/dialogue>\n    <scene_description>Danny moves off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSEUM -- ELSEWHERE<\/stage_direction>\n    <scene_description>Basher is being questioned by Danny .<\/scene_description>\n    <character>BASHER<\/character>\n    <dialogue>Not since we first got here. About an hour ago.<\/dialogue>\n    <scene_description>Danny moves away .<\/scene_description>\n    <character>BASHER<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <parenthetical>( to Danny 's back . )<\/parenthetical>\n    <dialogue>And where's Saul and Linus?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROME HOTEL ROOM -- DAY<\/stage_direction>\n    <scene_description>Isabel enters her room . Suddenly she spins and draws her pistol . Her gun ends up in Rusty 's face .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>Jesus, Robert. I could've killed you.<\/dialogue>\n    <scene_description>He shrugs . A long beat as she takes a look at him .<\/scene_description>\n    <character>RUSTY<\/character>\n    <dialogue>I'm older.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>I hope so. What are you doing in my room?<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>I thought maybe we could get some coffee.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>No, thanks.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Okay, how about a two week trip to Zanzibar?<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>Please do n't.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Fine, coffee then. Whatever you say.<\/dialogue>\n    <scene_description>Isabel gives an exasperated sigh .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>Why do I want to have coffee with you?<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>How should I know? sorry about your mom.<\/dialogue>\n    <scene_description>Isable nods .<\/scene_description>\n    <character>RUSTY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>She was a real.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>She hated you.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Well, she was nice enough to hide it from me. Some people ca n't even do that.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>She hated everybody.<\/dialogue>\n    <scene_description>Rusty nods . He remembers .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>You'll never get it by the way.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Get what?<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>You'll think you've got it, you'll be so close that you'll be able to taste it and then this guy, the Night Fox or whoever he is, will just take it - right out of your hand - just like he did in Amsterdam. He's as good as LeMarc.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>It's not possible.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>You're in a bubble.<\/dialogue>\n    <scene_description>Rusty looks at her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROME WAREHOUSE -- DAY<\/stage_direction>\n    <scene_description>A mock up of the room the egg will be displayed in . A dummy egg sits on a cradle in the center of the room . Infra - red motion detectors cover the room . Motion sensitive lasers shine directly onto the egg . Danny , Basher , Yen , Frank , and Livingston try to figure out how to get around the security systems .<\/scene_description>\n    <character>LIVINGSTON<\/character>\n    <parenthetical>( IN THE BACKGROUND . )<\/parenthetical>\n    <dialogue>No, that wo n't work either. The IR will pick it up before you even get close.<\/dialogue>\n    <scene_description>This is depressing to everyone .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Look, if we're having this much trouble, and we've got ten guys Toulour must be pulling his hair out.<\/dialogue>\n    <scene_description>INTERCUT - EXT. . POOLSIDE - DAY Toulour lies in a lounge chair . BACK TO SCENE - INT . ROME WAREHOUSE - DAY The group agrees Toulour must be suffering like them . Rusty strides in . Everyone looks at him . He looks at the mock up of the egg .<\/scene_description>\n    <character>RUSTY<\/character>\n    <dialogue>Would you call that bubble - shaped?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Rusty shrugs it off .<\/scene_description>\n    <character>RUSTY<\/character>\n    <dialogue>She pulled a gun on me.<\/dialogue>\n    <scene_description>He sits .<\/scene_description>\n    <character>RUSTY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>She wo n't back off.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Are you back on?<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>I'm selling. She ai n't buying.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>More importantly, what kind of reception is the Italian Police giving her?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROME POLICE HEADQUARTERS -- DAY<\/stage_direction>\n    <scene_description>A SUBORDINATE OFFICER leads Isabel down a hallway .<\/scene_description>\n    <character>SUBORDINATE OFFICER<\/character>\n    <dialogue>Captain Giordano is handling an urgent interrogation. He'll be up as soon as it is completed. Please wait in here.<\/dialogue>\n    <scene_description>He leads Isabel and Hess into the Captain 's office . A large clock on the wall reads 11:45 am . The open windows in the office look out onto one of Rome 's famous courtyards . Captain Giordano stands with three other officers . They are having a loud , tense conversation in Italian . Isabel watches as Giordano 's temper really flares . He jabs his finger at one of the other cops .<\/scene_description>\n    <character>CAPTAIN GIORDANO<\/character>\n    <parenthetical>( SUBTITLED . )<\/parenthetical>\n    <dialogue>Naples sucks! They're a joke! The only decent player they have is Pasqualli - and he's a pussy.<\/dialogue>\n    <character>ITALIAN COP 1<\/character>\n    <parenthetical>( SUBTITLED . )<\/parenthetical>\n    <dialogue>Pasqualli runs circles around Bologna's backfield every time.<\/dialogue>\n    <character>ITALIAN COP 2<\/character>\n    <parenthetical>( SUBTITLED . )<\/parenthetical>\n    <dialogue>Pasqualli could single - handedly -<\/dialogue>\n    <scene_description>Isabel turns to the officer who escorted her in .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>What are they talking about?<\/dialogue>\n    <character>SUBORDINATE OFFICER<\/character>\n    <dialogue>It's an internal matter, Madame.<\/dialogue>\n    <scene_description>Isabel and Hess look at each other .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTYARD -- DAY<\/stage_direction>\n    <scene_description>The Captain continues to argue . Those involved in the discussion are being brought lunch .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAPTAIN GIORDANO'S OFFICE -- DAY<\/stage_direction>\n    <scene_description>Isabel 's sitting on the couch now , her eye lids drooping . Hess checks his PDA .<\/scene_description>\n    <character>ITALIAN COP 3<\/character>\n    <parenthetical>( O.S. , SUBTITLED . )<\/parenthetical>\n    <dialogue>- and her friends could trounce NapIes!<\/dialogue>\n    <scene_description>The clock on the wall reads 2:20 PM . Isabel 's been here two and a half hours .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROME WAREHOUSE -- DAY<\/stage_direction>\n    <scene_description>Livingston , Yen , Danny , and Rusty are experimenting with a way for Yen to drop from the ceiling so that he 's hanging right over the egg . Their mock - up alarm rings . A red light flashes .<\/scene_description>\n    <character>LIVINGSTON<\/character>\n    <dialogue>Damn - it.<\/dialogue>\n    <scene_description>Danny rubs his face . This is feeling impossible . He goes into the corner and clicks a walkie - talkie . in the background we see Rusty trying to keep everybody 's spirits high .<\/scene_description>\n    <character>RUSTY<\/character>\n    <dialogue>All right, okay. Let's not be defeatists. What about that mirror trick that Akimbo tried at the -<\/dialogue>\n    <character>LIVINGSTON<\/character>\n    <dialogue>- There's no mirror thin enough to avoid tripping the lasers.<\/dialogue>\n    <scene_description>In the foreground , Danny on the walkie - talkie .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>What's he doing now?<\/dialogue>\n    <character>VIRGIL<\/character>\n    <parenthetical>( RADIO V.O . )<\/parenthetical>\n    <dialogue>Nothing. Just reading the papers at a cafe. Oh, no, wait. A woman just sat down next to him. He's getting her phone number.<\/dialogue>\n    <character>TURK<\/character>\n    <parenthetical>( RADIO V.O . )<\/parenthetical>\n    <dialogue>Wow. What are those?<\/dialogue>\n    <character>VIRGIL<\/character>\n    <parenthetical>( RADIO V.O . )<\/parenthetical>\n    <dialogue>Jimmy Chu.<\/dialogue>\n    <character>TURK<\/character>\n    <parenthetical>( RADIO V.O . )<\/parenthetical>\n    <dialogue>I've never seen that color.<\/dialogue>\n    <character>DANNY<\/character>\n    <parenthetical>( into walkie . )<\/parenthetical>\n    <dialogue>Okay, take it easy over there.<\/dialogue>\n    <scene_description>Saul and Linus enter .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <scene_description>Linus puts his BACKPACK down .<\/scene_description>\n    <character>LINUS<\/character>\n    <dialogue>We thought someone was following us.<\/dialogue>\n    <character>SAUL<\/character>\n    <dialogue>We gave'em the shake. Caught'em napping.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAPTAIN GIORDANO'S OFFICE -- DAY<\/stage_direction>\n    <scene_description>Isabel is asleep on the couch . It 's 5:30 PM . A hand taps her shoulder . She wakes up and is shocked to see Captain Giordano , finally , standing above her .<\/scene_description>\n    <character>SUBORDINATE OFFICER<\/character>\n    <parenthetical>( doing the introductions . )<\/parenthetical>\n    <dialogue>Captain Giordano, Rome Police Special Investigations. Isabel Lahiri, Europol, Major Theft Task Force.<\/dialogue>\n    <scene_description>The Captain nods . Isabel looks over at Hess , who is still asleep . MOMENTS LATER Isabel and the Captain are alone now . Giordano is looking right into her eyes , with laser focus . There is n't even a hint of lasciviousness about him . He 's all business .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>reason to believe these men.<\/dialogue>\n    <parenthetical>( lays out photos of Danny , Rusty , and Toulour . )<\/parenthetical>\n    <dialogue>. are going to try to steal the Coronation Egg when it is actually put on display next week. I need official authorization to surveil and pursue these suspected criminals on Italian soil.<\/dialogue>\n    <character>CAPTAIN GIORDANO<\/character>\n    <dialogue>Yes, absolutely.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>And I'll need substantial resources from your department. Can I count on that?<\/dialogue>\n    <character>CAPTAIN GIORDANO<\/character>\n    <dialogue>Yes, absolutely.<\/dialogue>\n    <scene_description>Isabel stops . Starts to wonder .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>So, Captain, what do you think of my skirt?<\/dialogue>\n    <scene_description>He smiles and looks at her .<\/scene_description>\n    <character>CAPTAIN GIORDANO<\/character>\n    <dialogue>I think it's very beautiful. Why, do n't you like it?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROME CAFE -- DAY<\/stage_direction>\n    <scene_description>Danny and Toulour . A waiter brings them coffee , Danny SPOONS in a lot of sugar , then stirs .<\/scene_description>\n    <character>TOULOUR<\/character>\n    <dialogue>I do n't usually call for a second date. For you I make an exception.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>TOULOUR<\/character>\n    <dialogue>I think it's good that we talk. You see, you should stop following me. You're wasting your time. I'm going to let you go first and get caught. Then they will increase the security even more, and then I will steal the Egg. Then Lemarc can make his decision.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>You sound confident.<\/dialogue>\n    <character>TOULOUR<\/character>\n    <dialogue>Confident? This is a very American word. I am arrogant. There's a difference.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Does n't matter if you're that good. Are you that good?<\/dialogue>\n    <character>TOULOUR<\/character>\n    <dialogue>I can move objects with my mind.<\/dialogue>\n    <scene_description>Danny just looks at him .<\/scene_description>\n    <character>TOULOUR<\/character>\n    <dialogue>You do n't believe it?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Do you?<\/dialogue>\n    <character>TOULOUR<\/character>\n    <dialogue>Are you done stirring your sugar?<\/dialogue>\n    <scene_description>Danny stops , lifts the spoon . It 's completely BENT .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>That's fantastic.<\/dialogue>\n    <parenthetical>( starts to go . )<\/parenthetical>\n    <dialogue>Listen, I appreciate the call, and, best of luck.<\/dialogue>\n    <character>TOULOUR<\/character>\n    <dialogue>Danny. I'm serious. Sit down, please.<\/dialogue>\n    <scene_description>Danny site down and looks at him .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>You're telekinetic, is that what you're telling me?<\/dialogue>\n    <character>TOULOUR<\/character>\n    <dialogue>Yes. But. it's a curse. A nightmare. Everything is too easy. But then LeMarc says I'm still not the best. So I take his challenge. And you will fail, and I will win, and so what? What does it prove? What is he trying to show me?<\/dialogue>\n    <scene_description>Danny just looks at him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAPTAIN GIORDANO'S OFFICE -- DAY<\/stage_direction>\n    <character>CAPTAIN GIORDANO<\/character>\n    <dialogue>Ms. Lahiri, you're in Italy now. We are a sovereign nation. We're not some adjunct, some administrative district of the EU. When Europol calls we do n't jump up and tap dance for you. If you want to work in Italy, then you have to do it under Italian authority. and that means you have to talk to Commander Andriotti. who, I'm sure, will be happy to meet with you some time next week -<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>Next week!<\/dialogue>\n    <character>CAPTAIN GIORDANO<\/character>\n    <dialogue>- when he returns from vacation.<\/dialogue>\n    <scene_description>Isabel slumps back into her chair . Stares up to the heavens .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE HEADQUARTERS IN ROME, HALLWAY -- DAY<\/stage_direction>\n    <scene_description>Isabel and Hess walk .<\/scene_description>\n    <character>HESS<\/character>\n    <dialogue>He said he has to get approval from someone else and they're on sick leave.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>Vacation.<\/dialogue>\n    <character>HESS<\/character>\n    <dialogue>Sorry I fell asleep.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>We both did. I'm exhausted.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE JUST OFF PIAZZA NAVONA -- DAY<\/stage_direction>\n    <scene_description>An exasperated Isabel tries to regain her equilibrium with a cappuccino . A piece of music comes over the cafe loudspeaker that catches Isabel 's attention . A CHEESY WAVY SCREEN ISABEL 'S FLASHBACK Years ago . Isabel 's sitting at the very same cafe reading the newspaper when she hears frantic police whistles . She looks up to see a man running down the street at full bore . As he gets closer we realize it 's Rusty . Eight cops are chasing him . Rusty rushes past the cafe . As he does he notices Isabel , they make eye contact . Then he 's gone . Sprints around the corner . The cops rush past her . She hears sirens converging from all directions .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE HEADQUARTERS (STILL IN FLASHBACK)<\/stage_direction>\n    <scene_description>Isabel shows her Europol identification to a detective .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>Hi, this is n't official business. Actually, I'm here on vacation. But I was sitting in a cafe this afternoon, near the Piazza Navona and. the police were chasing someone on foot. I was just wondering if you caught him or. do you know anything about that case?<\/dialogue>\n    <character>ITALIAN DETECTIVE<\/character>\n    <dialogue>I know the case, yes. Unfortunately, we did n't catch him.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>Oh.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE JUST OFF PIAZZA NAVONA - DAY (STILL FLASHBACK)<\/stage_direction>\n    <scene_description>Isabel sits in the same seat the next day , reading the newspaper , enjoying her vacation . She looks up and stops cold . Rusty , all cleaned up now , dressed in a perfectly - tailored suit , sits down three tables away from her . She stares at him . Ca n't believe it . The brazenness . The audacity of this guy . Rusty does n't seem to have a care in the world as he chats easily with the waiter , in Italian . Finally , Isabel just ca n't help herself . She gets up and walks over to Rusty 's table .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>Excuse me.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>Um. Did I? I think I saw you. yesterday.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Oh yeah?<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>The police were chasing you.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>You sure your eyes are n't broken?<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>I'm quite sure it was you.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Well, then I'm not gon na argue. Can I buy you a coffee?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE JUST OFF PIAZZA NAVOLA -- DAY<\/stage_direction>\n    <scene_description>We transition back to the cafe . Isabel 's phone rings .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>We've got to stop meeting like this.<\/dialogue>\n    <scene_description>She turns . He 's sitting at the table behind her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAFE JUST OFF PIAZZA NAVOLA -- DAY - LATER<\/stage_direction>\n    <scene_description>Isabel and Rusty are being quiet for the moment . The waiter 's in the midst of an animated discussion in Italian with one of the customers .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>What are they talking about all the time?!<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Soccer.<\/dialogue>\n    <parenthetical>( translating . )<\/parenthetical>\n    <dialogue>He does n't like Naples. thinks they're a bunch of. sissies.<\/dialogue>\n    <parenthetical>( turns to Isabel . )<\/parenthetical>\n    <dialogue>Can I ask you a question?<\/dialogue>\n    <parenthetical>( off Isabel 's nod . )<\/parenthetical>\n    <dialogue>Will you come to Zanzibar with me on Friday?<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>Stop it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROME WAREHOUSE -- DAY<\/stage_direction>\n    <scene_description>Danny sleeps , sitting up , in a chair as the rest of the group tries to figure out how to defeat the security systems around their mock - up egg . The group breaks into applause startling Danny awake .<\/scene_description>\n    <character>LIVINGSTON<\/character>\n    <dialogue>We did it! It works!<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>What, what happened?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ORNATE HALLWAY -- DAY<\/stage_direction>\n    <scene_description>TIGHT MEDIUM shot on uniformed National Police officer as he strides down the hallway . His bearing is disciplined , stern , formal . He is clearly handling a matter of utmost importance . Tilt down to reveal he is carrying a tiny cup of CAPPUCCINO .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ORNATE OFFICE OUTER OFFICE -- DAY<\/stage_direction>\n    <scene_description>The National Police Officer blows through , passing Hess .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ORNATE OFFICE -- DAY<\/stage_direction>\n    <scene_description>Isabel sits with Commander Andriotti . The office door swings open and the National Police officer walks in . He places the cappuccino on Andriotti 's desk and leaves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAPTAIN GIORDANO'S OFFICE -- DAY<\/stage_direction>\n    <scene_description>Giordano sits with his feet up on his desk , smoking a cigar . The door swings open and Isabel strides in , catching him completely off guard . She thrusts a piece of paper in his face .<\/scene_description>\n    <character>CAPTAIN GIORDANO<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>An order signed by Commander Andriotti instructing you to `` provide any and all support that Agent Lahiri requests, whenever she requests it.''<\/dialogue>\n    <scene_description>He looks at it .<\/scene_description>\n    <character>CAPTAIN GIORDANO<\/character>\n    <dialogue>It's good, yes. Okay.<\/dialogue>\n    <scene_description>He looks at her .<\/scene_description>\n    <character>CAPTAIN GIORDANO<\/character>\n    <dialogue>That's a very nice blouse you wear today.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSEUM --DAY<\/stage_direction>\n    <scene_description>Linus and the Malloys walk through the museum .<\/scene_description>\n    <character>LINUS<\/character>\n    <dialogue>When Dominique goes back with Thomas to check the trunk, the money should n't be in the briefcase. Franklin should have double - crossed them.<\/dialogue>\n    <character>VIRGIL<\/character>\n    <dialogue>That could be a great moment, when he's on the ground.<\/dialogue>\n    <character>TURK<\/character>\n    <dialogue>And you think Thomas is going to get blown up.<\/dialogue>\n    <character>VIRGIL<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>They look . A large group of Security people are talking to some NEW TECHNICIANS and ISABEL .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>Another camera here and here. And have a guard here at all times so any attempt to disable the system will be detected. All your IR devices need to be fitted with reflective faces otherwise a UV later can be used to burn the sensors out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROME WAREHOUSE -- DAY<\/stage_direction>\n    <scene_description>The guys look glum .<\/scene_description>\n    <character>LINUS<\/character>\n    <dialogue>She just walked in there like Patton or something. She's changing. everything and - There were so many cops with her. I've never seen so -<\/dialogue>\n    <scene_description>Danny plats up his hand to stop him .<\/scene_description>\n    <character>LINUS<\/character>\n    <dialogue>I do n't understand. If her father was a thief. why's she such a hardass? I mean you'd think she'd have a little sympathy for us.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>When she was twelve her mother told her that her dad got arrested doing a job in Russia and died in jail.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>So I would n't count on much sympathy.<\/dialogue>\n    <character>BASHER<\/character>\n    <dialogue>`` This time it's personal''.<\/dialogue>\n    <scene_description>Danny looks to Rusty , who nods .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MUSEUM OF MODERN ART -- DAY<\/stage_direction>\n    <scene_description>Fourteen police cars parked in front of it . Isabel stands at a police checkpoint on the road in front of the museum chatting with Captain Giordano , who 's clearly brown - nosing her big - time since receiving Andriotti 's order . Her phone rings . She looks at the number and answers it .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>RUSTY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Ever heard of overkill?<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>I do n't even think Toulour can get it now.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>If he gets it, we'll let you arrest us. If we get it, you come away with me to Zanzibar -<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>What is your obsession with Zanzibar?!<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Do you want to make the bet or not?<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>I'm hanging up. Stop calling me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL LOBBY -- DAY<\/stage_direction>\n    <scene_description>Isabel crosses to the elevators .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ISABEL'S HOTEL ROOM -- DAY<\/stage_direction>\n    <scene_description>She enters . Shuts the door behind her . Then , instantly , starts balling .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROME WAREHOUSE -- DAY<\/stage_direction>\n    <scene_description>Danny and Rusty stand with Livingston .<\/scene_description>\n    <character>LIVINGSTON<\/character>\n    <dialogue>I'm telling you, with everything she's done in the last twenty - four hours. unless you happen to be best friends with the head of security at the museum, unless you are someone he knows and trusts enough to leave alone in the gallery, after disabling about half of their security system, forget it. We are not stealing that egg.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>`` Someone he knows. Someone he trusts.'' `` Someone he knows.''<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>What about someone he does n't know but trusts?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>For instance?<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>I'm talking about you know who, who looks an awful lot like you know who.<\/dialogue>\n    <scene_description>Everyone looks at Danny .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>She might. It's not going to be easy getting her over here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEPARTMENT STORE -- DAY<\/stage_direction>\n    <scene_description>Tess walks down the street . She passes an alley , where a utilities truck is raising a MAN IN A BUCKET . She enters the department store .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEPARTMENT STORE -- DAY<\/stage_direction>\n    <scene_description>Tess shops for perfume . The Power twins watch her from a discreet distance . She smiles at them . Then makes her way to the ladies room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LADIES ROOM -- DAY<\/stage_direction>\n    <scene_description>She walks in and goes right for the window . She 's about to open it when it opens from outside . She jumps a mile until she sees that BRUISER is there , standing in the bucket from the utilities company .<\/scene_description>\n    <character>BRUISER<\/character>\n    <dialogue>Hiya, Tess. Just climb on through. Try not to look down too much.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEPARTMENT STORE -- DAY<\/stage_direction>\n    <scene_description>Four stories above an alleyway . Tess climbs out the ladies room window into the cherry picker basket , with Bruiser 's help .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET LEVEL -- A MINUTE LATER<\/stage_direction>\n    <scene_description>Tess climbs into a taxi cab . Reuben - in an anachronistic taxi driver 's uniform - is driving .<\/scene_description>\n    <character>REUBEN<\/character>\n    <dialogue>There's make - up in the bag there. And some photos. Do the best you can.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE POSHEST ROME HOTEL -- DAY<\/stage_direction>\n    <scene_description>The HOTEL MANAGER comes to the front desk to answer a call .<\/scene_description>\n    <character>HOTEL MANAGER<\/character>\n    <dialogue>Bonjourno. Yes. Yes. Oh. oh, really. Well, absolutely. We can have. I can make our presidential suite available. No, no, no. No trouble at all. We'd love. We're honored that she'd think of us.<\/dialogue>\n    <scene_description>He hangs up . Turns , elated , to his front desk staff .<\/scene_description>\n    <character>HOTEL MANAGER<\/character>\n    <parenthetical>( SUBTITLED . )<\/parenthetical>\n    <dialogue>Julia Roberts is coming to stay with us!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POSHEST ROME HOTEL -- DAY<\/stage_direction>\n    <scene_description>Tess , as Julia Roberts , steps out of a Mercedes limo wearing sunglasses and carrying a puppy . Frank and Basher , as Nation of Islam bodyguards , clear a place in front of her . Reuben trails , dressed in the latest hip - hop clothes . A throng of fans and paparazzi rush toward her . Strobes blind us . Fans scream out her name , thrust paper and pen at her for autographs . It 's a frigging madhouse .<\/scene_description>\n    <character>PRESS<\/character>\n    <dialogue>Ms. Roberts! Ms. Roberts! Why did you come back to Rome so soon!<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>I. uh.<\/dialogue>\n    <character>PRESS<\/character>\n    <dialogue>Was it to see Topher?<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>To see what?<\/dialogue>\n    <character>PRESS<\/character>\n    <dialogue>Topher Grace! Your co - star! Is that why you're here?!<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>Oh. No. I came to - to see the -<\/dialogue>\n    <character>PRESS<\/character>\n    <dialogue>Where's Danny?<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>PRESS<\/character>\n    <dialogue>Danny, your husband!<\/dialogue>\n    <character>TESS<\/character>\n    <parenthetical>( looks to Reuben . )<\/parenthetical>\n    <dialogue>Well, he's not really -<\/dialogue>\n    <character>REUBEN<\/character>\n    <dialogue>Ms. Roberts is very tired! Please let her through! Please!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRESIDENTIAL SUITE -- DAY<\/stage_direction>\n    <scene_description>Tess enters and shuts the door behind her . She takes a deep breath and exhales . She looks up at Danny , who 's there waiting for her .<\/scene_description>\n    <character>TESS<\/character>\n    <dialogue>I ca n't do this.<\/dialogue>\n    <scene_description>Danny goes to her . Kisses her . Hugs her . When he steps back he answers :<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Yes, you can.<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>I'm not an actress, Danny! And I do n't look like her!<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>You do, Tess. You really do. I never told you that before, but it's true.<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>Come on : my.<\/dialogue>\n    <scene_description>She notions at her body , but we ca n't tell what part .<\/scene_description>\n    <character>TESS<\/character>\n    <dialogue>And my.<\/dialogue>\n    <scene_description>She motions at her body again ; again it 's totally ambiguous what part .<\/scene_description>\n    <character>TESS<\/character>\n    <dialogue>And my ears. Anybody who sees my ears is going to know instantly.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Nobody's looking at your ears.<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>Yes, Danny, they are. They're going to know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DISPLAY ROOM FOR EGG -- MUSEUM OF MODERN ART -- DAY<\/stage_direction>\n    <scene_description>Isabel stands with the MUSEUM DIRECTOR .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>When did that happen?<\/dialogue>\n    <character>MUSEUM DIRECTOR<\/character>\n    <dialogue>We just found out. I arranged a private showing for tomorrow morning before we open the show to the public.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>I do n't understand, why do you have to disable any of the systems -<\/dialogue>\n    <character>MUSEUM DIRECTOR<\/character>\n    <dialogue>Because she might want to get close to the egg, got right up here and look at it. And I'm not going to embarrass myself or this institution by telling her she ca n't.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>She's an actress, Giovanni, not the Pope.<\/dialogue>\n    <character>MUSEUM DIRECTOR<\/character>\n    <dialogue>Do you realize how much free publicity we'll get for this museum, just because she because she decided to come by and look at the egg? She's even agreed to do a photo shoot for us promoting the museum.<\/dialogue>\n    <scene_description>Isabel gives an exasperated sigh .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>That's exactly the sort of thing.<\/dialogue>\n    <scene_description>INTERCUT - INT . WAREHOUSE - DAY Saul , Frank , and Rusty sit on plush couches and watch Isabel 's conversation with the museum director from six different angles . Clearly , Livingston has tapped into the museum 's closed circuit system .<\/scene_description>\n    <character>ISABEL<\/character>\n    <parenthetical>( TELEVISION V.O . )<\/parenthetical>\n    <dialogue>that the people I'm after will exploit.<\/dialogue>\n    <parenthetical>( thinks . )<\/parenthetical>\n    <dialogue>Okay, fine. You want to shut down half the electronic system, let me post eight cops in the room.<\/dialogue>\n    <scene_description>Saul , Frank , and Rusty clench teeth and fists . On pins and needles for a moment . If the museum director agrees they 're in big trouble .<\/scene_description>\n    <character>MUSEUM DIRECTOR<\/character>\n    <parenthetical>( TELEVISION V.O . )<\/parenthetical>\n    <dialogue>Are you crazy? That's worse than. you want me to treat her like a criminal?<\/dialogue>\n    <scene_description>The guys relax back into the couches , their plan narrowly having escaped disaster . ANOTHER ANGLE On Saul , Frank , and Rusty relaxing . Only this angle has a digital quality to it - because we are watching them now through a hi - def TV screen . PULL BACK to REVEAL Toulour , sitting in a warehouse of his own , watching his own surveillance footage of both our guys ' warehouse and the museum 's closed circuit system .<\/scene_description>\n    <character>MUSEUM DIRECTOR<\/character>\n    <parenthetical>( TELEVISION V.O . )<\/parenthetical>\n    <dialogue>Look, if you need to do something to reinforce security during her visit, fine. But it's got to be out of sight. And it ca n't effect Julia in any way. Are we clear?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROME BISTRO -- DAY<\/stage_direction>\n    <scene_description>Toulour eats with a beautiful woman . Virgil sits six tables away , keeping an eye on him . Turk strolls in and sits with his brother .<\/scene_description>\n    <character>TURK<\/character>\n    <dialogue>Where is he?<\/dialogue>\n    <character>VIRGIL<\/character>\n    <parenthetical>( points at Toulour . )<\/parenthetical>\n    <dialogue>There. I took a look at the interrogation scene.<\/dialogue>\n    <character>TURK<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>VIRGIL<\/character>\n    <dialogue>'Cause Linus said it was repetitive.<\/dialogue>\n    <character>TURK<\/character>\n    <dialogue>It clarifies everything.<\/dialogue>\n    <character>VIRGIL<\/character>\n    <dialogue>He said it's too on the nose.<\/dialogue>\n    <character>TURK<\/character>\n    <dialogue>What's he, the head of the studio? What's he ever written?<\/dialogue>\n    <character>VIRGIL<\/character>\n    <dialogue>He's just saying - Oh, no -<\/dialogue>\n    <character>TURK<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>VIRGIL<\/character>\n    <dialogue>It's not him!<\/dialogue>\n    <scene_description>Turk spine to see `` Toulour '' get up at the other table . Only it 's not Toulour . It 's somebody who looks like Toulour from behind .<\/scene_description>\n    <character>TURK<\/character>\n    <dialogue>What! How did you - You moron! You said you were watching him the whole time!<\/dialogue>\n    <character>VIRGIL<\/character>\n    <dialogue>I was! I mean, I used the bathroom once, but it was quick. You lost him yesterday!<\/dialogue>\n    <scene_description>They sit for a minute .<\/scene_description>\n    <character>TURK<\/character>\n    <dialogue>Livingston said Frank said that Rusty said that Danny said Toulour said do n't ever bother following him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RUSTY'S HOTEL ROOM -- NIGHT<\/stage_direction>\n    <scene_description>ON Rusty - the blue light of an unseen television reflecting off his face . He walks onto the balcony . We follow Rusty down a hallway . He enters a dark apartment . Slips silently through the dining room . Two places are set . A candle on the table is burned down to almost nothing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM -- NIGHT<\/stage_direction>\n    <scene_description>The lights are out here too . But Isabel 's still awake . Rusty enters the room . She does n't look at him<\/scene_description>\n    <character>RUSTY<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>I have to go. Right now. I have to leave the country. It could be a while. A month. Maybe more.<\/dialogue>\n    <scene_description>Isabel turns to look at Rusty . She can barely see the outline of his face in the darkness .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>What are you saying? What the hell are you saying? Where are you going?<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>I ca n't tell you.<\/dialogue>\n    <scene_description>Isabel stares at his dark face .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>When people start talking the way you're talking there are only two possibilities : you're either in intelligence or you're a criminal. And no one I work with has ever worked with you. or even knows your name.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>You knew what I was the day you met me, Isabel.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>Robert.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>We can talk about it when I get back.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>No, Robert. I have to tell you something.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>I'm taking the job. I'm moving to Amsterdam.<\/dialogue>\n    <scene_description>He does n't respond for a moment .<\/scene_description>\n    <character>RUSTY<\/character>\n    <dialogue>I ca n't have this conversation right now. Please, Isabel. I have to get out of here. I love you.<\/dialogue>\n    <scene_description>He kisses her then leaves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. APARTMENT -- NIGHT<\/stage_direction>\n    <scene_description>Outside the front of the apartment , he shuts the door and turns toward us . We see his face in the light for the first time : His left eye is swollen shut . Blood is caked into his hair and on his cheek . Somebody beat the shit out of him . BACK IN THE PRESENT DAY Rusty is still on the balcony . There 's a knock at the door . He opens it to see Isabel .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>You want to walk?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROME -- NIGHT<\/stage_direction>\n    <scene_description>Rusty and Isabel sit on the steps of the Campidoglio .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>I know how you're planning to do it. I know Julia's visit is the key.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Who's Julia?<\/dialogue>\n    <character>ISABEL<\/character>\n    <parenthetical>( after a beat . )<\/parenthetical>\n    <dialogue>LeMarc knew when to get out. He just quit. with his perfect record intact. Now he's a legend.<\/dialogue>\n    <parenthetical>( exhorting . )<\/parenthetical>\n    <dialogue>Do n't do this.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>LeMarc quit because he was 75 years old, Isabel. He was tired. His doctor told him if he did n't start taking it easy he was going to have another heart attack. You're dramatizing it.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>You do n't know why LeMarc retired, any better than I do. You have no idea.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Actually, I do. I know exactly why.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>Really? How's that?<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>He told me.<\/dialogue>\n    <character>ISABEL<\/character>\n    <parenthetical>( skeptical as hell . )<\/parenthetical>\n    <dialogue>You know LeMarc?<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>A little.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>Since when?<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Ten years ago.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>For how long?<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>For six months.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>You -<\/dialogue>\n    <scene_description>She 's so mad she can hardly speak .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>You knew LeMarc? You knew LeMarc and never told me? That's the worst thing you've ever done to me. Nobody knows more about LeMarc than me. How could you do that?<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>I could n't tell you, then.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>Really awful.<\/dialogue>\n    <scene_description>Isabel thinks .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>Then why are n't you as good as Toulour?<\/dialogue>\n    <scene_description>Rusty shrugs . A beat .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>I do n't want to arrest you, Robert. I really do n't. But I will if you make me. I will if you go for that egg.<\/dialogue>\n    <scene_description>Rusty goes silent , looks out at the lights of the city .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>So many times, I waited. You ca n't do that to a person.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Isabel -<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>I have to go.<\/dialogue>\n    <scene_description>Isabel gets up . walks away fast . She 's barely holding herself together . Rusty watches her go . Several seconds , then : FLASHBACK - INT . APARTMENT BUILDING - ROME - DAY Rusty carries a huge bouquet of flowers up the stairs to the front door of his apartment with Isabel . It 's a perfect sunny day outside . He unlocks the door quietly and swings it open to see the apartment is bare . The furniture is still there . But nothing else . Nothing on the walls or the shelves . Isabel has clearly moved out . Rusty 's whole body reacts . He slowly looks around him , as if in a dream . His eye goes to the dining room table . Isabel 's engagement ring is there . BACK TO SCENE - EXT. . ROME - CAMPIDOGLIO - NIGHT Rusty is still watching Isabel , small now in the distance . She turns the corner out of sight .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MUSEUM OF MODERN ART -- DAWN<\/stage_direction>\n    <scene_description>Isabel pulls up in her car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSEUM OF MODERN ART -- DAWN<\/stage_direction>\n    <scene_description>The Egg is being put into position . Isabel watches .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL SUITE -- DAWN<\/stage_direction>\n    <scene_description>Reuben is talking to Yen . Frank and Livingston get ready in the background .<\/scene_description>\n    <character>REUBEN<\/character>\n    <dialogue>You're a photographer. Very exacting. You want things a certain way, but you never raise your voice. You're uncompromising. Strong.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Reuben, what are you doing?<\/dialogue>\n    <character>REUBEN<\/character>\n    <dialogue>Oh, we understand each other. I'm mean, the actual words are gibberish to me, but I know what he means. There's a tone, you know. We communicate. I'm sure he'd tell you the same thing.<\/dialogue>\n    <parenthetical>( to Yen . )<\/parenthetical>\n    <dialogue>Am I right?<\/dialogue>\n    <scene_description>Yen says something in Chinese .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL SUITE -- DAWN<\/stage_direction>\n    <scene_description>Danny and the Malloys are looking at Tess 's hair .<\/scene_description>\n    <character>TURK<\/character>\n    <dialogue>I say we do a Joey Heatherton, 1971.<\/dialogue>\n    <character>VIRGIL<\/character>\n    <dialogue>It's the wrong color.<\/dialogue>\n    <scene_description>Turk looks at his watch .<\/scene_description>\n    <character>TURK<\/character>\n    <dialogue>Damn.<\/dialogue>\n    <scene_description>There 's a knock at the door . They let Tess check on it . She looks out the keyhole ; It 's TOPHER GRACE . Tess looks back to the group and shrugs .<\/scene_description>\n    <character>TOPHER<\/character>\n    <parenthetical>( off . )<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>He knocks again . The group scrambles and hides . Tess opens the door .<\/scene_description>\n    <character>TOPHER<\/character>\n    <dialogue>Hey! I got your room number from McCormick, I hope you do n't mind.<\/dialogue>\n    <scene_description>He walks in and hugs her . She looks terrified . Topher disengages and looks around .<\/scene_description>\n    <character>TOPHER<\/character>\n    <dialogue>This is great. Do you have the adjoining room?<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>Uh, no.<\/dialogue>\n    <character>TOPHER<\/character>\n    <dialogue>Oh. Hey. I saw the rough cut of YOU ALWAYS, YOU NEVER. It's so awesome. Congratulations.<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>Oh. Thank you.<\/dialogue>\n    <character>TOPHER<\/character>\n    <dialogue>It was just like a dub of a lo - rez output, but I could totally see what you were doing. I think you might win again. Seriously.<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>TOPHER<\/character>\n    <dialogue>It really actually looked like you were blind. How did you do that? What is it like, an on - set thing, or was it digital?<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>It was, uh.<\/dialogue>\n    <character>TOPHER<\/character>\n    <dialogue>You can tell me, I wo n't tell a soul. Because if you say it's instinctual, I'm quitting right now. Seriously. The way you parted your hair? That was so connected. And that scene with the matches? And when you find out who your real grandmother is and run through the rain and find her on the porch and touch her face? Man, that was. you got ta tell Steven how much I loved it.<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>TOPHER<\/character>\n    <dialogue>So what are you doing?<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>I'm, uh, getting ready to go out.<\/dialogue>\n    <character>TOPHER<\/character>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>I mean next. What movie are you doing next?<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>I. I'm having trouble deciding what to do next.<\/dialogue>\n    <character>TOPHER<\/character>\n    <dialogue>Is Danny working?<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>Danny. Danny is. Danny is.<\/dialogue>\n    <character>TOPHER<\/character>\n    <dialogue>Oh, no. Is something wrong? Have you two.<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>No, no.<\/dialogue>\n    <character>TOPHER<\/character>\n    <dialogue>I'm so sorry. I'm so sorry.<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>No. we're absolutely fine, he's just -<\/dialogue>\n    <character>TOPHER<\/character>\n    <dialogue>I've got to stop asking people about their spouses, it's like always a mistake -<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>No, really -<\/dialogue>\n    <character>TOPHER<\/character>\n    <dialogue>Listen, I wo n't say a word. Seriously. I'm rooting for you guys, you know that. This is your private business and I totally respect that. No more Danny questions from me.<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>Thank you. He's fine. Danny's fine. He's working.<\/dialogue>\n    <character>TOPHER<\/character>\n    <dialogue>Hey, cool, whatever. That's what I'll say.<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>TOPHER<\/character>\n    <dialogue>So can I come look at that Egg with you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSEUM -- ENTRY HALL -- DAY<\/stage_direction>\n    <scene_description>Reuben -LRB- dressed in a hip - hop outfit -RRB- and Linus -LRB- dressed like an agent -RRB- stand in front of some paparazzi . A crowd of museum employees also rubberneck .<\/scene_description>\n    <character>REUBEN<\/character>\n    <dialogue>My name is Stuart Feldman, Worldwide Executive Senior Vice - President of Marketing, Corporate Senior Vice - President of Publicity and Corporate International Executive Worldwide President of Promotion for the Warner Brothers Motion Picture company.<\/dialogue>\n    <parenthetical>( indicating . )<\/parenthetical>\n    <dialogue>My colleague, Grant Wells, who is responsible for Ms. Roberts itinerary, has graciously set aside time for Ms. Roberts to view the Coronation Egg privately.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SECURITY ROOM<\/stage_direction>\n    <scene_description>Isabel , the Security Director , and Captain Giordano sit with four cops watching a bank of closed circuit screens .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>I want to be on record as saying that you should have shut the entire museum down.<\/dialogue>\n    <scene_description>Isabel keeps her eye on the tourists who circulate through the other wings of the museum .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSEUM -- ENTRY HALL -- DAY<\/stage_direction>\n    <scene_description>`` Julia '' arrives flanked by her `` Nation of Islam '' guards , Frank and Basher . The assembled employees clap and call her name . She waves as they take her picture . Topher throws his arm around Julia to make sure he gets in all the shots . The Museum Director comes up to greet `` Julia '' .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SECURITY ROOM<\/stage_direction>\n    <scene_description>Isabel watches the security camera feeds .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>There! Right there!<\/dialogue>\n    <scene_description>Isabel points at a screen showing the museum 's other entrance . Rusty nonchalantly slips into the museum .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GALLERY CONTAINING THE CORONATION EGG -- DAY<\/stage_direction>\n    <scene_description>`` Julia '' enters and walks up to the egg . Her entourage follows .<\/scene_description>\n    <character>TESS<\/character>\n    <dialogue>It's so beautiful. My God.<\/dialogue>\n    <scene_description>Topher looks at the egg -<\/scene_description>\n    <character>TOPHER<\/character>\n    <dialogue>Kinda small.<\/dialogue>\n    <scene_description>He turns away to look a cute girl on the museum staff .<\/scene_description>\n    <character>TOPHER<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>BACK ON `` JULIA '' She leans in close to the egg .<\/scene_description>\n    <character>TESS<\/character>\n    <dialogue>I'm not going to set off any alarms?<\/dialogue>\n    <character>MUSEUM DIRECTOR<\/character>\n    <dialogue>No. No. Get as close as you like.<\/dialogue>\n    <scene_description>Reuben pops his head in between them .<\/scene_description>\n    <character>REUBEN<\/character>\n    <parenthetical>( obsequious . )<\/parenthetical>\n    <dialogue>Julia - unless you have any objections - Wen and his crew set up for the publicity stills.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANOTHER PART OF THE MUSEUM -- DAY<\/stage_direction>\n    <scene_description>Rusty ponders a painting like college student trying to impress his art history professor . Finally he moves on , into another gallery . PAN to REVEAL nine uniformed cops trailing behind him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GALLERY CONTAINING THE CORONATION EGG -- DAY<\/stage_direction>\n    <scene_description>Yen ENTERS FRAME - dressed like a pretentious grunge rocker . He whispers Chinese into a bullhorn . Theoretically he 's speaking to his crew -LRB- Danny , Saul , and Livingston in lame disguises -RRB- telling them where to set up the camera , lights , and flags . Each `` crew member '' carries an odd - looking oversized `` light meter '' . Upon closer examination we can see that each device has a small TV screen on it - which is tapped into the museum 's closed circuit system . The guys are carefully placing their flags and lights so as to block the view of the egg from each of the eight cameras on the ceiling of the gallery . `` Studio Execs , '' Reuben and Linus go to `` Julia . ''<\/scene_description>\n    <character>REUBEN<\/character>\n    <dialogue>I was thinking maybe we could get you and Topher into some `` You Always You Never'' hats and t - shirts for the shoot -<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>That's stupid.<\/dialogue>\n    <character>REUBEN<\/character>\n    <parenthetical>( instant reversal . )<\/parenthetical>\n    <dialogue>So stupid!<\/dialogue>\n    <parenthetical>( turns to Linus as if it 's his idea . )<\/parenthetical>\n    <dialogue>Idiot.<\/dialogue>\n    <parenthetical>( gingerly . )<\/parenthetical>\n    <dialogue>Maybe we could put some posters in the background -<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>I do n't think we want to be so obvious -<\/dialogue>\n    <character>REUBEN<\/character>\n    <dialogue>I completely agree!<\/dialogue>\n    <parenthetical>( to Linus . )<\/parenthetical>\n    <dialogue>Stop trying to turn this into some sort of stunt.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OTHER PART OF MUSEUM<\/stage_direction>\n    <scene_description>Isabel struts up to Rusty .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>This is n't going to work.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>I do n't know what you're talking about.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GALLERY CONTAINING THE CORONATION EGG -- DAY<\/stage_direction>\n    <scene_description>Yen stands on two apple boxes to shoot photos of `` Julia '' and Topher . `` Julia '' looks ridiculously stiff and keeps putting her hands up to block her ears . Topher keeps shooting glances at Danny , who is moving around flags and lights , ostensibly in accordance with Yen 's Chinese language orders . Julia sees Topher 's expression - he recognizes Danny from somewhere .<\/scene_description>\n    <character>JULIA<\/character>\n    <dialogue>Okay, thanks everybody. Thank you so much.<\/dialogue>\n    <scene_description>She starts to walk out . Topher shrugs and follows her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSEUM HALLWAY -- DAY<\/stage_direction>\n    <scene_description>Julia and her entourage barrel down the hallway . Topher catches up .<\/scene_description>\n    <character>TOPHER<\/character>\n    <dialogue>Hey, J Ro, why the quick exit?<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>I. uh, I have to take some pills. Aspirin. I get headaches.<\/dialogue>\n    <character>TOPHER<\/character>\n    <dialogue>Yeah, well, with everything thing you've been going through I can see how you'd need something.<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>They're just aspirin.<\/dialogue>\n    <character>TOPHER<\/character>\n    <dialogue>Right. I've never taken aspirin in my life, ever. Can you believe that?<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>That's amazing.<\/dialogue>\n    <character>TOPHER<\/character>\n    <dialogue>For me, it's like a control thing.<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>Well, with aspirin. it's very beneficial.<\/dialogue>\n    <character>TOPHER<\/character>\n    <dialogue>Oh, yeah. I'm sure.<\/dialogue>\n    <scene_description>They are interrupted by the sound of PIERCING SIRENS and CLANGING BELLS - all manner of alarms coming from the gallery containing the egg . Tess rushes back to the gallery just in time to see police officers pin Danny and his entire crew on the floor and against walls and start handcuffing them . She freezes . Ca n't move . Her bodyguards -LRB- Frank and Basher -RRB- grab her and move her quickly out of the area .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROME POLICE HEADQUARTERS -- DAY<\/stage_direction>\n    <scene_description>Three massive Ford Excursion SUV 's with diplomatic plates double park out front , completely blocking the flow of traffic on the narrow street . Eight FBI agents climb out of their behemoths and walk inside like they own the place . The boss is a 55 year - old agent named MOLLY STARR .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY -- DAY<\/stage_direction>\n    <scene_description>Molly Starr steps inside with her posse . She pulls out her badge and hangs it around her neck .<\/scene_description>\n    <character>AGENT MOLLY STARR<\/character>\n    <dialogue>Who's in charge?<\/dialogue>\n    <scene_description>Isabel and Captain Giordano look at her and her team with obvious trepidation .<\/scene_description>\n    <character>ISABEL<\/character>\n    <parenthetical>( tentative . )<\/parenthetical>\n    <dialogue>I am.<\/dialogue>\n    <character>CAPTAIN GIORDANO<\/character>\n    <parenthetical>( smelling trouble . )<\/parenthetical>\n    <dialogue>She is.<\/dialogue>\n    <scene_description>Molly gives a slight nod to one of her lackeys . He thrusts an official - looking paper at Isabel .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. \"OBSERVATION \"HALLWAY -- DAY<\/stage_direction>\n    <scene_description>Molly swaggers down a hallway , followed by Isabel and Giordano . She stops at an observation window and looks through it to see Danny , who is handcuffed to a chair , awaiting interrogation . His expression is impassive . She moves on to the next window : Yen . Same impassive expression . She continues down the line , Reuben , Livingston , and Saul . Each has the same impassive expression . Through the final window she sees Linus . He 's nervously tapping his foot . Molly smiles sadistically .<\/scene_description>\n    <character>AGENT MOLLY STARR<\/character>\n    <dialogue>Oh, yeah. I'll start with him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INTERROGATION ROOM -- DAY<\/stage_direction>\n    <scene_description>Molly sits face - to - face with Linus . Isabel and Captain Giordano stand in the corner and observe .<\/scene_description>\n    <character>AGENT MOLLY STARR<\/character>\n    <dialogue>When people think of Italy they think of food, wine, the Renaissance. They do n't realize Italy has the scariest prisons in the civilized world. You know why? They're all leftover from the Middle Ages. They're worse than dirty ; they're damp. They're like caves.<\/dialogue>\n    <scene_description>Linus ca n't look her in the eye .<\/scene_description>\n    <character>AGENT MOLLY STARR<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I'm the only hope you've got.<\/dialogue>\n    <character>LINUS<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>AGENT MOLLY STARR<\/character>\n    <dialogue>Testify against the others in the Benedict case.<\/dialogue>\n    <character>LINUS<\/character>\n    <dialogue>I ca n't do that.<\/dialogue>\n    <character>AGENT MOLLY STARR<\/character>\n    <dialogue>Sure you can. You'll get a year, maybe two. The Italian charges will be dropped. You and the others will be extradited to the US this afternoon.<\/dialogue>\n    <scene_description>A long beat .<\/scene_description>\n    <character>AGENT MOLLY STARR<\/character>\n    <dialogue>Think about those prisons. Think about living there for twenty years, getting out when you're fifty. What a catch you'll be.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. \/ INT. FBI SUV -- DAY<\/stage_direction>\n    <scene_description>Linus is bundled into the back of the SUV . Agent Starr gets in next to him . She motions to the driver . They pull out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE STATION -- DAY<\/stage_direction>\n    <scene_description>Agent Starr 's SUV is followed by three other SUV 's and escorted by two Rome Police cars .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FBI SUV -- DAY<\/stage_direction>\n    <scene_description>Linus stares morosely at the headrest in front of him . A long , long beat . then he turns to Agent Starr :<\/scene_description>\n    <character>LINUS<\/character>\n    <dialogue>Did you tell Dad?<\/dialogue>\n    <scene_description>Before `` Agent Starr '' answers the agent in the passenger seat turns around . It 's Clint Eastwood .<\/scene_description>\n    <character>CLINT<\/character>\n    <dialogue>Of course she did. We're married, for God's sake.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL SUITE -- DAY<\/stage_direction>\n    <scene_description>Tess waits . A key sounds in the door , and she is on her feet . She reaches Danny before he 's all the way in the room . She kisses him , then remembers she 's mad at him .<\/scene_description>\n    <character>TESS<\/character>\n    <dialogue>Why did n't you tell me?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>I could n't.<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Because you're not an actress. You would n't have been so real.<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>I thought you were going to jail.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>I'm not going to jail.<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>TESS<\/character>\n    <dialogue>So you do n't think I'm a good actress.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>You're a terrible liar.<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>I'm a good liar.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Where did Benedict find you?<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>He.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>At your parent's house.<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>That was. okay, so I'm not a good liar. So what. You're good enough for both of us.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Exactly.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CIAMPINO AIRPORT -- DAY<\/stage_direction>\n    <scene_description>The motorcade of FBI SUV 's pulls through the security gate and drives toward a US government Gulfstream parked on the flight line . Isabel watches with Captain Giordino and Commander Andriotti . Linus , Saul , Yen , Livingston and Reuben get out of the SUVs , all of them beaming . They hug Linus 's mom and dad and mount the steps to the plane . Then Rusty gets out , says goodbye to everyone , and heads for Isabel .<\/scene_description>\n    <character>ISABEL<\/character>\n    <parenthetical>( eyes go wide . )<\/parenthetical>\n    <dialogue>What the - Oh my God!<\/dialogue>\n    <parenthetical>( spins to Giordano . )<\/parenthetical>\n    <dialogue>Call the tower! Do n't let that plane take off!<\/dialogue>\n    <scene_description>Giordano stares blankly at her . But he does n't move .<\/scene_description>\n    <character>ISABEL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Do something! Do you realize what's happening?! Do you understand what's going on?!<\/dialogue>\n    <character>CAPTAIN GIORDANO<\/character>\n    <parenthetical>( deadpan . )<\/parenthetical>\n    <dialogue>Yes, absolutely.<\/dialogue>\n    <scene_description>Isabel blinks . It takes a second to hit her . Rusty approaches .<\/scene_description>\n    <character>RUSTY<\/character>\n    <dialogue>Guys. Get on there before they leave without you. Thanks.<\/dialogue>\n    <character>CAPTAIN GIORDANO<\/character>\n    <parenthetical>( speaking like an American . )<\/parenthetical>\n    <dialogue>Hey, no problem. Good seeing you, man.<\/dialogue>\n    <character>ANDRIOTTI<\/character>\n    <dialogue>Take care. See you back home.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Thanks, Scooter.<\/dialogue>\n    <scene_description>Isabel is dumbstruck .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOULOUR'S VILLA -- DAY<\/stage_direction>\n    <scene_description>Toulour pulls up in a Ferrari . His butler gets the door for him .<\/scene_description>\n    <character>BUTLER<\/character>\n    <dialogue>How was Rome, air?<\/dialogue>\n    <scene_description>Toulour answers by handing a small velvet bag to his butler -LRB- a bag just big enough to hold the coronation egg -RRB- .<\/scene_description>\n    <character>TOULOUR<\/character>\n    <dialogue>Put this in the safe, would you?<\/dialogue>\n    <character>BUTLER<\/character>\n    <dialogue>Of course, sir. Your guests are on the veranda.<\/dialogue>\n    <character>TOULOUR<\/character>\n    <dialogue>Guests?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CIAMPINO AIRPORT -- DAY<\/stage_direction>\n    <scene_description>Isabel watches as the `` US Government '' Gulfstream containing all the members of Rusty 's crew that she arrested at the museum taxis down the runway and becomes airborne . She turns to Rusty .<\/scene_description>\n    <character>ISABEL<\/character>\n    <dialogue>I hate you.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>I love you.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>This will ruin me.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>No, it wo n't. Not if you come to Zanzibar.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>What is it with Zanzibar?<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>It's where LeMarc is.<\/dialogue>\n    <scene_description>Rusty points nearby at another private plane . The pilot has just opened the door and put the stairs down .<\/scene_description>\n    <character>RUSTY<\/character>\n    <dialogue>That one's ours. We can be there in three hours.<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>RUSTY<\/character>\n    <dialogue>Do n't you want to meet him? He wants to meet you.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>You're asking me to turn my back on my whole life.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>Would you miss it?<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>I'm a cop. That's who I am.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>You're only a cop because your father was a thief.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>Who died in a Russian jail.<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>According to you mother.<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>What does that mean?<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>It means you should meet LeMarc.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VERANDA -- DAY<\/stage_direction>\n    <scene_description>Toulour walks out to find Danny and Tess chomping on gourmet nuts and sipping his special reserve brandy .<\/scene_description>\n    <character>TOULOUR<\/character>\n    <parenthetical>( to Danny . )<\/parenthetical>\n    <dialogue>Let me guess, you decided you did want to give my lawyer a call. But you lost his card.<\/dialogue>\n    <scene_description>Toulour holds out another card to Danny .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>No, nothing like that. We just came to collect our money.<\/dialogue>\n    <character>TOULOUR<\/character>\n    <dialogue>Not only did you fail, half of your crew got pinched! Your plan was not good.<\/dialogue>\n    <parenthetical>( to Tess . )<\/parenthetical>\n    <dialogue>And you do n't look anything like Julia Roberts! I mean your.<\/dialogue>\n    <parenthetical>( motions ambiguously to her body . )<\/parenthetical>\n    <dialogue>. and your.<\/dialogue>\n    <parenthetical>( another ambiguous motion . )<\/parenthetical>\n    <dialogue>. and your ears.<\/dialogue>\n    <scene_description>Toulour stops . Danny and Tess just look at him . Something about their demeanor is troubling . Namely , that they look completely untroubled .<\/scene_description>\n    <character>TOULOUR<\/character>\n    <dialogue>Oh, no. You stole it on the way to Rome did n't you? I stole a replica.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARIS BUILDING -- DAY<\/stage_direction>\n    <scene_description>A repeat of the shot of the SMALL , SECURE BOX being taken to a truck . The truck moves out of the garage and on to the street as before . This time the shot continues over to a door on the side of the building . A YOUNG KID emerges with a backpack over his shoulder .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARIS STREET -- DAY<\/stage_direction>\n    <scene_description>The BACKPACK KID passes another guy , a NORMAL - LOOKING GUY , who , after a beat , follows Backpack Kid .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PARIS TRAIN STATION -- DAY<\/stage_direction>\n    <scene_description>The Backpack Kid , followed by Normal - Looking Guy , walk through the terminal and get in line . We swing over to see Normal Looking Guy # 2 looking at them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN -- DAY<\/stage_direction>\n    <scene_description>In motion . We start on the Backpack Kid , who is reading a book . The Backpack is beneath his legs . Next to him sits LINUS . Across from him is one of the Normal - Looking Guys . The other Normal - Looking Guy is a row away , facing him . Linus looks at the door of the car . SAUL Is making his way through the door . He looks drunk . LINUS Looks down at his copy of the French FHM . SAUL Gets close and closer to Linus and the Backpack Kid . LINUS Puts his magazine away . SAUL Is almost to Linus 's row , he stumbles a little , almost falls . Then , with a loud WHOOSH the train goes completely dark . It 's gone into a tunnel . We hear Saul 's voice CRY OUT . In a few seconds , the train exits the tunnel and the lights come back on . SAUL Has fallen into the lap of the BackPack kid . Linus and the Normal - Looking Guy try to help him up . He stumbles onward and collapses into a vacant seat .<\/scene_description>\n    <character>LINUS<\/character>\n    <parenthetical>( in French . )<\/parenthetical>\n    <dialogue>He's completely drunk.<\/dialogue>\n    <scene_description>The BackPack Kid nods his head . Linus goes back to his book . We drop down to see HIS BACKPACK also beneath his feet .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN STATION ROME, ITALY -- DAY<\/stage_direction>\n    <scene_description>Linus walks through the terminal , backpack over his shoulder . Suddenly he stops and kneels to tie his shoelace . Saul , seeing this and reacting , splits off into another direction .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAREHOUSE -- DAY<\/stage_direction>\n    <scene_description>Linus and Saul approach the group .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <scene_description>Linus puts his BACKPACK down .<\/scene_description>\n    <character>LINUS<\/character>\n    <dialogue>We thought someone was following us.<\/dialogue>\n    <scene_description>BACK TO TOULOUR ON VERANDA - DAY<\/scene_description>\n    <character>TOULOUR<\/character>\n    <dialogue>But that means you knew what to steal before LeMarc proposed that I challenge you for it. That means.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RUSTY'S GARAGE -- DAY<\/stage_direction>\n    <scene_description>The image from the beginning of the film , with Rusty watching the boiling cask . He 's talking on the phone .<\/scene_description>\n    <character>RUSTY<\/character>\n    <dialogue>Gaspar, it's Rusty. How are you?<\/dialogue>\n    <scene_description>And this time we see what be is working on : A PERFECT REPLICA OF THE CORONATION EGG . In the warehouse in NYC , we see Danny and Rusty `` arguing '' , but from a different angle . They are smiling as they yell :<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>I'M TELLING YOU IT'S A DEATH SENTENCE!<\/dialogue>\n    <character>RUSTY<\/character>\n    <dialogue>FINE, THEN STAY HERE!<\/dialogue>\n    <scene_description>BACK TO TOULOUR ON VERANDA - DAY<\/scene_description>\n    <character>TOULOUR<\/character>\n    <dialogue>LeMarc told you. Of course.<\/dialogue>\n    <scene_description>He looks deflated . It 's probably just occurring to him that he 's never lost before . He sits down .<\/scene_description>\n    <character>TOULOUR<\/character>\n    <dialogue>To teach me.<\/dialogue>\n    <scene_description>He is silent . Tess indicates to Danny that they should leave . Danny nods , and they rise .<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Well, we'll be in touch to make all the arrangements.<\/dialogue>\n    <character>TOULOUR<\/character>\n    <dialogue>No. Do n't go. Please.<\/dialogue>\n    <scene_description>Toulour gets up .<\/scene_description>\n    <character>TOULOUR<\/character>\n    <dialogue>You are my guests. I will celebrate your victory. Besides, you may have noticed, I do n't like to be alone.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VERANDA -- LATER<\/stage_direction>\n    <scene_description>They are toasting champagne .<\/scene_description>\n    <character>TOULOUR<\/character>\n    <dialogue>I am feeling more French by the minute. To my first depression.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI -- DAY<\/stage_direction>\n    <scene_description>Saul and Basher ride to the airport .<\/scene_description>\n    <character>BASHER<\/character>\n    <dialogue>So I think if you really analyze it, you can see that it's inevitable. It's time for us to evolve, en masse. I have to help bring that about whatever way I can, you know. Otherwise, the trajectory is fixed. You know what I'm saying?<\/dialogue>\n    <character>SAUL<\/character>\n    <dialogue>Mmm. Yes. But I'm through evolving, I think. It's too tiring. I feel pretty evolved. You know, considering.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPORT -- DAY<\/stage_direction>\n    <scene_description>Frank and Yen buy magazines . Yen has a copy of an ITALIAN TABLOID . The headline screams CO - STAR SAYS JULIA MARRIAGE IN TROUBLE . A sub - headline reads HER ADDICTION TO PAINKILLERS IS RIPPING THEM APART .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPLANE -- NIGHT<\/stage_direction>\n    <scene_description>In First Class . Basher and Saul tip champagne glasses . Virgil , Turk , and Linus all crack open copies of their story to read .<\/scene_description>\n    <character>TURK<\/character>\n    <dialogue>I've got an idea for another Dominique story.<\/dialogue>\n    <character>VIRGIL<\/character>\n    <dialogue>Can we finish this one first?<\/dialogue>\n    <character>TURK<\/character>\n    <dialogue>Just let me tell it to you.<\/dialogue>\n    <character>VIRGIL<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>TURK<\/character>\n    <dialogue>It's like three sentences.<\/dialogue>\n    <character>VIRGIL<\/character>\n    <dialogue>I'm serious ; you're asking too much.<\/dialogue>\n    <scene_description>Virgil puts on his headset . Turk leans over to Linus and begins to speak . Linus , reading , holds his finger up . Yen reads a magazine . Reuben glances at it .<\/scene_description>\n    <character>REUBEN<\/character>\n    <dialogue>May I look at that when you're through with it?<\/dialogue>\n    <scene_description>Yen says something . It would seem he is okay with that . Livingston speaks into his VOICE RECORDER .<\/scene_description>\n    <character>LIVINGSTON<\/character>\n    <parenthetical>( trying to be dispassionate . )<\/parenthetical>\n    <dialogue>All in all, it was depressingly familiar. The forced camaraderie, the hollow smiles. Scared to take a moment's reflection. Scared to imagine a different life. We behaved like boys.<\/dialogue>\n    <parenthetical>( beat , he chokes . )<\/parenthetical>\n    <dialogue>But.<\/dialogue>\n    <scene_description>He begins to weep , quietly , but very quickly regains his composure .<\/scene_description>\n    <character>LIVINGSTON<\/character>\n    <dialogue>I'm Livingston Dell. Thanks for listening.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLA -- NIGHT<\/stage_direction>\n    <scene_description>Tess and Danny enjoy the sunrise .<\/scene_description>\n    <character>TESS<\/character>\n    <dialogue>When do you want to go back?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Feel like traveling?<\/dialogue>\n    <character>TESS<\/character>\n    <dialogue>Yeah. Do n't you?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Toulour enters with THE LAST BEAUTIFUL WOMAN in tow .<\/scene_description>\n    <character>TOULOUR<\/character>\n    <dialogue>Tess. Danny. This is Monica Bellucci.<\/dialogue>\n    <scene_description>And indeed it is .<\/scene_description>\n    <character>MONICA<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>TESS &amp; DANNY<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>TOULOUR<\/character>\n    <dialogue>We're thinking of taking a trip to the states. Take a look around. We'd love to meet some of your friends while we're there. Actually, one friend in particular.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKY OVER ZANZIBAR -- DAY<\/stage_direction>\n    <scene_description>We follow the Gulfstream jet .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JET -- DAY<\/stage_direction>\n    <scene_description>Isabel looks out the window . Rusty watches her , She looks over at him , then back out the window .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH HOUSE -- DAY<\/stage_direction>\n    <scene_description>Stunning . Classic . Rusty and Isabel pull up . He takes her hand and leads her inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEACH HOUSE -- DAY<\/stage_direction>\n    <scene_description>Rusty and Isabel walk through the house .<\/scene_description>\n    <character>RUSTY<\/character>\n    <dialogue>There he is.<\/dialogue>\n    <scene_description>Rusty indicates the back porch . A figure sits in a lounge chair , reading a book . This is LEMARC .<\/scene_description>\n    <character>RUSTY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Gaspar!<\/dialogue>\n    <character>ISABEL<\/character>\n    <dialogue>Gaspar? That was my fa -<\/dialogue>\n    <scene_description>Isabel looks to the porch just as LE MARC , her father , turns to face her . She goes to him and they embrace .<\/scene_description>\n    <character>ISABEL<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Daddy.<\/dialogue>\n    <scene_description>LeMarc looks to Rusty . Rusty salutes , makes a drinking gesture and heads for the kitchen . The sound of a jet takes us to A GLOBE As we rotate from Toulour 's villa to LAS VEGAS , NEVADA ESTABLISHING SHOTS Of the Bellagio hotel . CUT TO A RECEIPT For a wire transfer of $ 191,507,067.37 into the account of TB ENTERPRISES . Description : `` Repayment of personal loan '' . TERRY BENEDICT Staring at this receipt . He looks up . REUBEN Is opposite him . They are both being served for lunch by a JACKETED WAITER , whose face is continually obscured .<\/scene_description>\n    <character>REUBEN<\/character>\n    <dialogue>That's the exact figure, I'm pretty sure.<\/dialogue>\n    <character>BENEDICT<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>REUBEN<\/character>\n    <dialogue>So we're clean?<\/dialogue>\n    <character>BENEDICT<\/character>\n    <dialogue>You want it in writing?<\/dialogue>\n    <character>REUBEN<\/character>\n    <dialogue>I'll take your word.<\/dialogue>\n    <character>BENEDICT<\/character>\n    <dialogue>You're clean.<\/dialogue>\n    <character>REUBEN<\/character>\n    <dialogue>These grudges, they're awful. Nobody wine.<\/dialogue>\n    <character>BENEDICT<\/character>\n    <dialogue>As soon as someone retaliates, the situation is out of control.<\/dialogue>\n    <character>REUBEN<\/character>\n    <dialogue>This way, there's no need for retaliation. Why would there be?<\/dialogue>\n    <character>BENEDICT<\/character>\n    <dialogue>There's plenty for everyone.<\/dialogue>\n    <character>REUBEN<\/character>\n    <dialogue>More than plenty. It's just a matter of sharing.<\/dialogue>\n    <character>BENEDICT<\/character>\n    <dialogue>Sharing is good.<\/dialogue>\n    <character>REUBEN<\/character>\n    <dialogue>It is. Waiter? Can I get sparkling water? It's good for my acid reflux.<\/dialogue>\n    <character>WAITER<\/character>\n    <parenthetical>( off . )<\/parenthetical>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>The waiter turns toward the bar and we see now that he is FRANCOIS TOULOUR . He 's wearing a STRIPED TULIP in his WAITER 'S JACKET . CUT TO BLACK THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Terry Benedict locates all eleven members of Danny Ocean's crew, demanding they return the $160 million they stole from his casinos plus $38 million interest. Short by half, the group schemes to stage another heist in Europe to avoid problems with U.S. authorities. They are tipped off by an informant named Matsui about the location of the first stock certificate ever. After a complex series of schemes, they find the document has already been stolen by the \"Night Fox\", another master thief. Europol Detective Isabel Lahiri is called in to investigate the theft and realizes that she gave Rusty the idea of how to solve a complication of the heist with a description of a similar burglary earlier during their relationship. Surprising the group at their accommodation, she warns them they cannot beat the Night Fox or his mentor, the mysterious master-thief \"LeMarc\", both of whom excel in practicing the \"long-con\". She has been hunting both for years. Danny and his gang discover the Night Fox is Fran\u00e7ois Toulour, a wealthy French baron who has a villa on Lake Como. Toulour invites Danny to his villa and reveals that he had hired Matsui to inform the crew about the certificate in order to arrange the meeting with Danny. Toulour is upset that LeMarc did not describe him as the best thief in the world and challenges Danny to steal the Faberg\u00e9 Imperial Coronation Egg. If Danny and his crew win, Toulour will pay off the debt to Benedict. Danny and his gang begin to plan an elaborate heist to swap the egg for a holographic recreation, but the engineer hired by the group accidentally tips off Lahiri to their presence, and she captures all of the crew except Linus, Tarr, Turk, and Saul. Linus comes up with a second plan involving Danny's wife, Tess, posing as a pregnant Julia Roberts in order to get close to the Egg and swap it. They are foiled by Lahiri and a coincidentally present Bruce Willis, and the rest of the group are captured. Lahiri is told that they are to be extradited to the United States. Linus is chosen first to be interrogated by the FBI agent assigned to collect them. It turns out that she is his mother, who organizes the release of the whole gang. She points out to Lahiri that Lahiri will face only retribution for forging a signature on a Europol form to obtain the necessary arrest warrants for Ocean's gang. Some time later, Danny and Tess return to Toulour's estate where he reveals his glee at their failure. Toulour explains he stole the egg at night using his agility and dancing skills to evade its heavy security. Toulour's celebration is short-lived when Danny reveals that his group stole the real egg while it was in transit to the museum, and Toulour realizes they were tipped off by LeMarc. A flashback reveals that Danny and Rusty had met LeMarc earlier when he revealed his confidence trick intended to humiliate Toulour, and at the same time, to restore to himself the Faberg\u00e9 egg that he had stolen years ago and had returned following his wife's wishes. Toulour is forced to admit Danny won the bet and gives him the money for the debt. They pay back Benedict and promise not to perform any more heists in his casinos as Toulour is in the background spying on Benedict. Rusty takes Lahiri to a safe house that he claims has been lent to him by LeMarc. She is reunited with her father, who is revealed to be the man she has been pursuing for years: LeMarc."}
{"movie_name":"American Milkshake_2013","imdb_id":"tt2254364","script":"<script>\n  <scene>\n    <character>MILKSHAKE<\/character>\n    <dialogue>by<\/dialogue>\n    <scene_description>David Andalman Co-writer, Mariko Munro (copyright 2011)<\/scene_description>\n    <character>9\/28\/2011<\/character>\n    <dialogue>Registered WGA<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OLD FASHIONED STAGE<\/stage_direction>\n    <scene_description>A white man in a top hat introduces the final act of a black face performance.<\/scene_description>\n    <character>TOP HAT MAN<\/character>\n    <dialogue>In the spirit of true minstrelsy, you have again shown that laughter is the wine of life.<\/dialogue>\n    <scene_description>Some 50 performers stand and break out into song. Roll credits to the music. An average American teenage boy begins to speak. His name is JOLIE.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(V.O.)<\/parenthetical>\n    <dialogue>All my life, my parents have told me I'm smart and talented. That I can be anything I wanna be when I grow up. Getting into the West Branch Magnet Program was supposed to be some kinda honor. They probly thought I'd grow up to be a doctor, or a lawyer, or scientist that cures cancer and junk. I mean for me school has always been a breeze.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN HIGH SCHOOL - CIRCA 1990<\/stage_direction>\n    <scene_description>Now in the mid-90s, for our story present day.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(V.O.)<\/parenthetical>\n    <dialogue>But when I look around, I just feel surrounded by dorks.<\/dialogue>\n    <scene_description>Angle on an old school hoop on the horizon. A kid silouettes against the sky lays the ball in.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(V.O.)<\/parenthetical>\n    <dialogue>All I want, is to be like the kids on varisty, who live in the Maple Ave towers.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAPLE AVE TOWERS - DAY<\/stage_direction>\n    <scene_description>A part of a suburban neighborhood lines with huge apartment buildings.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(V.O.)<\/parenthetical>\n    <dialogue>The maple ave kids are coming up from nothing. I mean, their only shot at college is balling. And they've got girls blowing up their pagers twenty-four seven.<\/dialogue>\n    <scene_description>Black kids play ball apartment buildings towering over them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASKETBALL GYM<\/stage_direction>\n    <scene_description>The young naive face of Jolie in the midst of tryout.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(V.O.)<\/parenthetical>\n    <dialogue>I pray to God I make varsity. I'd do anything to be like the Maple Ave. kids.<\/dialogue>\n    <scene_description>Montage of tryout - Jolie the olny white kid among them. Suicide drills. Push ups. Machine gun defensive stand exercises. Scrimmaging. Jolie is just a breath behind everyone at pretty much all of them. And now Jolie is at the line. A classic american basketball tryout drill. Miss and you run. All the players but Jolie watch from the baseline. Jolie lines up his shot carefully. He glaces at the coach who holds a clipboard. Jolie fires. For a split second it's dead on but then it bricks wildly. The kids take off running.<\/scene_description>\n    <character>COACH<\/character>\n    <dialogue>That was terrible.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HENRIETTA'S GOLDEN BEDROOM - MORNING<\/stage_direction>\n    <scene_description>Sounds of a high pace video game begin. JOLIE, in his tighty-whities, plays Sonic on a Sega Genesis. Also on the bed, black girl HENRIETTA AARONSON tries to do her homework.<\/scene_description>\n    <character>HENRIETTA<\/character>\n    <dialogue>Do you think you're gonna make varsity?<\/dialogue>\n    <scene_description>Jolie drops his controller and tears up.<\/scene_description>\n    <character>HENRIETTA<\/character>\n    <dialogue>School is so wack.<\/dialogue>\n    <scene_description>Jolie composes himself.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>I support you no matter what. But I can't be changin' no diapers.<\/dialogue>\n    <scene_description>Henrietta looks defeated. Jolie pauses Sonic. Curls up with her.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over, whisper)<\/parenthetical>\n    <dialogue>I've been fucking Henrietta for a while. She's the best. She's pregnant with someone else's baby but I'm cool with that. In fact, I think that's why I like her so much. She's kinda thugged out.<\/dialogue>\n    <scene_description>Jolie rubs her stomach.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Your stomach's smooth.<\/dialogue>\n    <scene_description>Henrietta pops up.<\/scene_description>\n    <character>HENRIETTA<\/character>\n    <dialogue>Not now Jolie.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I think you look more beautiful like this than anything. I wish you could be this way forever. We'd be so happy like this.<\/dialogue>\n    <scene_description>A drop of sweat runs down Henrietta's face and lands on a sheet of paper full of algebra equations.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>I love you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HENRIETTA'S LIVING ROOM - LATER<\/stage_direction>\n    <scene_description>Jolie, now clothed, bounds down the stairs with bookbag and basketball.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Hey, Mr. Aaronson.<\/dialogue>\n    <character>MR. AARONSON<\/character>\n    <parenthetical>(emerging from kitchen)<\/parenthetical>\n    <dialogue>Hey.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>You got my check?<\/dialogue>\n    <character>MR. AARONSON<\/character>\n    <dialogue>Shit man, those hours really add up, hun?<\/dialogue>\n    <scene_description>Mr. Aaronson grabs his checkbook off the top of the TV and heads to the kitchen.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>I guess.<\/dialogue>\n    <scene_description>Jolie flips on the TV and catchs a little of the OJ Simpson trial.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(V.O)<\/parenthetical>\n    <dialogue>Henrietta's adopted. She lives in a big house like me. Her parents pay me to tutor her in geometry. She's kind of an outcast. I think that's why we click. Plus, our moms both work for the same law firm. They fly all over the country doing somethin'.<\/dialogue>\n    <scene_description>Mr. Aaronson flips off the TV.<\/scene_description>\n    <character>MR. AARONSON<\/character>\n    <dialogue>What a mess... So, how do you think she's doing? Is she gonna pass?<\/dialogue>\n    <character>JOLIE<\/character>\n    <parenthetical>(stumbing)<\/parenthetical>\n    <dialogue>Uh, I don't know. Maybe.<\/dialogue>\n    <scene_description>Mr. Aaronson tenses up, then relaxes again and hands over the check.<\/scene_description>\n    <character>MR. AARONSON<\/character>\n    <dialogue>I don't get it. She was always a great student.<\/dialogue>\n    <character>JOLIE<\/character>\n    <parenthetical>(searching for word)<\/parenthetical>\n    <dialogue>...you know... Geometry's a hard thing. Algebra leads to it and if you dont get that then-<\/dialogue>\n    <character>MR. AARONSON<\/character>\n    <parenthetical>(interupting)<\/parenthetical>\n    <dialogue>Yeah yeah I guess so. Well, you do what you can.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Yea.<\/dialogue>\n    <character>MR. AARONSON<\/character>\n    <dialogue>Peace out.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Thanks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEST BRANCH HIGH SCHOOL - DAY<\/stage_direction>\n    <scene_description>The bells RINGS. Ethnic murals line some of the walls, others are just the old school red brick.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(V.O.)<\/parenthetical>\n    <dialogue>My great great grandfather was a famous black face performer.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Changing classes. Kids of all shapes, sizes and colors. Jolie emerges among them.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>They used to call him the greatest performer of all time. But now. Kids at school have never even heard of him. I mean not even magnet kids in AP history have heard of him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AP ENGLISH CLASSROOM<\/stage_direction>\n    <scene_description>Jolie and his best friend HAROON are in the back. Haroon's a scrawny Afghan boy with glasses. Haroon glances at his bulky calculator watch and raises his hand.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>Hey, can I be excused for the Million Man March?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Hey, can I use the bathroom?<\/dialogue>\n    <scene_description>The teacher MR. MCCARTY already has the passes raised.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. YELLOW HALLWAY<\/stage_direction>\n    <scene_description>Empty except Jolie and Haroon.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>Dude, don't they post who made the team today?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Naw, not till Monday they said.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>Alright man, have a good day at school.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Yeah right.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>See ya.<\/dialogue>\n    <scene_description>They smack a secret handshake and Haroon exits. Alone, Jolie looks longingly out the window.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Lucky bastards.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL PARKING LOT<\/stage_direction>\n    <scene_description>Haroon waves good-bye to Jolie. Minority kids are hopping into cars with their march signs, psyched to be getting out of school.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over, whisper)<\/parenthetical>\n    <dialogue>This sucks. All the minorities get an excused absence for the Million Man March.<\/dialogue>\n    <scene_description>An almost white looking kid enters the frame.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(V.O.)<\/parenthetical>\n    <dialogue>But me, I'm stuck in school like a bama.<\/dialogue>\n    <scene_description>Haroon waves a last goodbye from his Nissan Saturn.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL HALLWAY<\/stage_direction>\n    <scene_description>Jolie - still looking enviously out the window.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(V.O.)<\/parenthetical>\n    <dialogue>I wish I was one of them. I wish I was one of them. I wish I was one of them. Fuck.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HENRIETTA'S GOLDEN BEDROOM - DAY<\/stage_direction>\n    <scene_description>Henrietta rocks out to her walk-man while jamming on some homework. Jolie's in his underwear again playing Sonic.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(V.O.)<\/parenthetical>\n    <dialogue>I'm supposed to tutor Henrietta every Sunday. She's getting an F in math. She knows how to do it though. She's flunking on purpose.<\/dialogue>\n    <scene_description>Jolie looks back at Henrietta and smiles to himself.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(V.O.)<\/parenthetical>\n    <dialogue>She's so gangster.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HENRIETTA'S LIVINGROOM - LATER<\/stage_direction>\n    <scene_description>Jolie, clothed, bounds down the steps again, this time two at a time.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN ESTABLISHING SHOTS<\/stage_direction>\n    <scene_description>Suburban homes with large apartments towers in the background. The school is in the more urban part of town.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WESTBRANCH SCHOOL GYM<\/stage_direction>\n    <scene_description>The doors spray-painted \"thug life.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEST BRANCH HS TRACK AND FIELD<\/stage_direction>\n    <scene_description>Jolie and Haroon sit on the hill doing homework.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>Hey you heard Fransisco got arrested?<\/dialogue>\n    <scene_description>SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLAIR BLAZER GYM<\/stage_direction>\n    <scene_description>FRANCISCO, bare chested, struggles against a security guard. He looks directly into the camera.<\/scene_description>\n    <character>FRANSISCO<\/character>\n    <dialogue>I'm innocent, this is bull shit!<\/dialogue>\n    <scene_description>BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CRUMBLING CONCRETE BLEACHERS - THAT MOMENT<\/stage_direction>\n    <character>HAROON<\/character>\n    <dialogue>Over some pictures on the Internet.<\/dialogue>\n    <scene_description>Jolie looks confused.<\/scene_description>\n    <character>JOLIE (O.S.)<\/character>\n    <dialogue>Oh you mean like netscape?<\/dialogue>\n    <character>HAROON<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>Yea.<\/dialogue>\n    <scene_description>Haroon gets up to leave.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>Yo dont forget I need my computer homework back by Monday.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I got you. Dont forget to get me my bio homework back.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>Yea duh.<\/dialogue>\n    <scene_description>The walk into the distance.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over, whisper)<\/parenthetical>\n    <dialogue>My great great grandfather had a song, Hallelujah I'm a Bum. Tupac had a song, I'd Rather Be an N.I.G.G.A., so we can get drunk and smoke weed all day. I always thought they were really similar.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEST BRANCH BIO CLASS - LATER<\/stage_direction>\n    <scene_description>Haroon and Jolie in identical poses.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>Yo. I gotta take a massive dump, will you guard the door while I'm in there.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Yea.<\/dialogue>\n    <scene_description>They raise their hands - again in identical positions.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM<\/stage_direction>\n    <scene_description>Haroon in the stall taking a dump. Jolie at the urinal - simultaneously pounding a Sunkist and taking a whiz.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>I'm taking the most epic shit. Oh! Dude! Don't they post who made the team today?<\/dialogue>\n    <scene_description>Jolie looks suddenly worried. It dawns on him. He rushes off.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>Don't forget I need my computer homework back? Jolie!?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. D HALL<\/stage_direction>\n    <scene_description>Jolie rushes toward the camera.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(V.O.)<\/parenthetical>\n    <dialogue>As a white boy at West Branch I'm just not cool.<\/dialogue>\n    <scene_description>He's zeroing in on a wall full of sports posters - at it's center a golden piece of paper labled \"THE TEAM.\"<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(VO)<\/parenthetical>\n    <dialogue>But making the team would change my life forever.<\/dialogue>\n    <scene_description>Jolie looks down the list.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(V.O.)<\/parenthetical>\n    <dialogue>It's my one shot to fit in with the Maple Ave kids. To actually be somebody!<\/dialogue>\n    <scene_description>Jolie's face brightens. Jolie walks past it and does a double take. It's the list. CLOSE ON JOLIE'S EYES: pure intensity. He stands motionless, holding his breath, reading. Then leans back, covering his dropped jaw.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over, whisper)<\/parenthetical>\n    <dialogue>Making the team, felt like the most important thing in my life.<\/dialogue>\n    <scene_description>Jolie takes off running down the hall past a mop leaning against the wall.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over, whisper)<\/parenthetical>\n    <dialogue>As a white boy I just didn't fit in, not in Takoma Park. But now...<\/dialogue>\n    <scene_description>Jolie becomes a black silhouette against a row of windows.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over, whisper)<\/parenthetical>\n    <dialogue>I was practically black.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPARSE WOODS - DAY<\/stage_direction>\n    <scene_description>Jolie, in his gold Webber jersey, hops in the woods. He wears large purple ankle weights, and \"Jump Soles\" (clunky and clumsy looking work out shoes).<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over, whisper)<\/parenthetical>\n    <dialogue>I even ditched class to work on my hops.<\/dialogue>\n    <scene_description>Exhausted, Jolie gathers his basketball and backpack and leaves. A metro train roars past in the background.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOLIE'S JUNKY BASEMENT - NO WINDOWS<\/stage_direction>\n    <scene_description>Jolie is bench pressing and Haroon is spotting. A single florescent fixture hangs overhead.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>Man, I can't believe you made the team.<\/dialogue>\n    <scene_description>Jolie finishes his set. Pops up.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>I was the last bama on the list! If Francisco hadn't been arrested I'd still be a loser! I'd be just another Joe Shmoe Lame-oh geek in the Blair High School Magnet.<\/dialogue>\n    <scene_description>CLOSE ON HAROON: his face slowly falls.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Oh hey, can your mom give you a ride home later. There's something I gotta do.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>Oh... Yeah. Yeah. That's cool.<\/dialogue>\n    <scene_description>They rotate positions - we see that Jolie has only been lifting 5 lb. weights.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>2.5's right?<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Jolie leans down on the bar and grins to himself - still on cloud nine.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS OF TAKOMA PARK - DAY<\/stage_direction>\n    <scene_description>A shiny cherry-red '93 Nissan Quest approaches.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over, whispering)<\/parenthetical>\n    <dialogue>Tupac. Biggie. Snoop Dog. Easy-E. Dr. Dre. Suge Knight. Mr. T.<\/dialogue>\n    <scene_description>The Quest pulls to the curb - Jolie and his Dad inside.<\/scene_description>\n    <character>JOLIE'S DAD<\/character>\n    <dialogue>Alright bye. No injuries.<\/dialogue>\n    <scene_description>Jolie hops out in black and red basketball gear - black headband, black Jordans, even black socks.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Alright, bye Dad.<\/dialogue>\n    <scene_description>A clunker 90s cell phone rings. Jolie's Dad answers.<\/scene_description>\n    <character>JOLIE'S DAD<\/character>\n    <dialogue>Hey, you back from the hill? What happened?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SMALL CLEARING IN THE WOODS<\/stage_direction>\n    <scene_description>Henrietta sits alone on a stump listening to her Walkman. Jolie bounds down a path startling her.<\/scene_description>\n    <character>HENRIETTA<\/character>\n    <dialogue>It smells like dog shit in these woods, Jolie. Why'd you want to meet out here anyway?<\/dialogue>\n    <scene_description>Jolie chokes up.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Wow. That is pretty bad. It smells like a dead mouse or something.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>You dont want to be seen with me do you? Cus I'm pregnant.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>...what? No.<\/dialogue>\n    <scene_description>Henrietta softens.<\/scene_description>\n    <character>HENRIETTA<\/character>\n    <dialogue>You wanna make out with me?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Yea but, I can't. Not no more. We can't be hanging out any more. You understand though right?<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>...Why?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Henrietta, I told you. I made the basketball team. I'm a Blazer now.<\/dialogue>\n    <scene_description>Henrietta looks crest fallen.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>L...<\/dialogue>\n    <scene_description>Jolie hacks up some spit.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Look. If I make the NBA I'm gonna take care of you and your baby. We're gonna live in a big house in Potomac. Be rich, have maids. That's the reason I'm doing this. Can't you see that? Can't you be happy for me?<\/dialogue>\n    <scene_description>Henrietta shakes her head in utter disappointment. She drops Jolie's basketball and walks off. Pregnant, her ass might be a little bigger than before. Then she stops and turns. Jolie spins his basketball on one finger.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Do you need a token for the bus or some junk?<\/dialogue>\n    <scene_description>Crushed, Henrietta leaves. Jolie watches her descend through a romantic archway of brush - a blacktop and basketball hoop in the distance.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over)<\/parenthetical>\n    <dialogue>I felt bad but,<\/dialogue>\n    <scene_description>Jolie darts up the hill - basketball in hand.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over)<\/parenthetical>\n    <dialogue>Henrietta had rich white parents. And after I made the team<\/dialogue>\n    <scene_description>CLOSE ON: his black shoes and socks.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over)<\/parenthetical>\n    <dialogue>I realized, compared to me she wasn't thugged out at all. She was just bad at Algebra.<\/dialogue>\n    <scene_description>Jolie disappears into the woods.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over)<\/parenthetical>\n    <dialogue>For a while I was worried her Dad, Mr. Aaronson, would be mad.<\/dialogue>\n    <scene_description>Jolie runs past a jungle gym with a little boy hanging from the monkey bars.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over)<\/parenthetical>\n    <dialogue>But he was cool. He even offered me 20 bucks to mow the lawn. So, everything worked out.<\/dialogue>\n    <scene_description>Jolie jogs past a pregnant woman.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over)<\/parenthetical>\n    <dialogue>I guess.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCKER ROOM - NIGHT (BUT NO WINDOWS)<\/stage_direction>\n    <scene_description>The blazers dress after practice, everyone chatting among the many aisles. But Jolie is all alone in an aisle by himself. Jolie slams the locker door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASKETBALL GYM - NIGHT<\/stage_direction>\n    <scene_description>Jolie is deep on the bench. The acoustics are bad. The semi full bleachers fill the space with echoes. The crowd is various shades of black. A lot of them have their feet kicked up. Classic red versus blue. The action on the court is fast paced. The players are disciplined, setting screens and running concrete plays. WENDEL, a guard, pulls up for a shot - swish. The cheerleaders get excited. The home score flashes red and reappears as 86 to 52. A blow out. The team of Blair Blazers sit together, their heads moving in unison, following the action. At the end of the bench are ARIUS and Jolie. ARIUS, covered in sweat, is a tall thin, care-free, light-skinned black kid. He has a huge scar on his head, a thick red headband and band- aids over his earrings. Jolie is bone dry and still in his warm up suit.<\/scene_description>\n    <character>ARIUS<\/character>\n    <dialogue>Now it comes with two free controllers and the game.<\/dialogue>\n    <character>JOLIE<\/character>\n    <parenthetical>(not paying attention)<\/parenthetical>\n    <dialogue>Oh yeah.<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>Yeah. We were playing that joint at my place and one of the cheerleaders was all confessing how cute she thinks you are.<\/dialogue>\n    <character>JOLIE<\/character>\n    <parenthetical>(excited)<\/parenthetical>\n    <dialogue>Which one?<\/dialogue>\n    <character>ARIUS<\/character>\n    <parenthetical>(points to the cheerleader bench)<\/parenthetical>\n    <dialogue>Christine Ortanyez.<\/dialogue>\n    <scene_description>Jolie focuses in on a particularly cute Panamanian cheerleader - CHRISTINE ORTANYEZ. JOLIE POV: slow motion of Christine - taps her palms and does a leg kick then looks directly at us.<\/scene_description>\n    <character>COACH DALE<\/character>\n    <dialogue>Jolie!<\/dialogue>\n    <scene_description>Jolie flinches. Coach Dale - in afine suit and gold rimmed glasses - glares.<\/scene_description>\n    <character>COACH DALE<\/character>\n    <dialogue>Get Pistol.<\/dialogue>\n    <scene_description>Jolie rips off his warm-ups in a panic. The shirt gets stuck over his head, then he trips over his pants. His teammates look on with various expressions of concern and laughter. A cheerleader from the opposing team points and giggles.<\/scene_description>\n    <character>REDHEAD GRUNGE KID<\/character>\n    <parenthetical>(O.S.)<\/parenthetical>\n    <dialogue>Unsnap it!<\/dialogue>\n    <scene_description>Struggling, Jolie frees himself. Coach Dale shakes his head and so does the fat black man directly behind him. Their expressions match exactly. The old white referee blows his whistle hard - game over. All the Blazers start high-fiving each other but Jolie.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOLIE'S MESSY ROOM - NIGHT<\/stage_direction>\n    <scene_description>A six foot long poster of a '91 Lamborghini Countach covers the wall. A Nerf basketball hoop hangs on the closed door. Haroon is dressed up as a woman, using a wig, socks as breasts, and a sheet as a skirt.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>Come on man, we've gotta nail the Marion Barry skit tomorrow or I'm gonna get a B in English.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I don't feel like it. I told you.<\/dialogue>\n    <scene_description>Jolie throws an African hat and tap shoes off his bed and they smash against the wall.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>Dude, it's was just a preseason game, come on.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Man, if I can't get in when we're up thirty in the preseason then I'm never gonna play.<\/dialogue>\n    <scene_description>Jolie pulls off his jersey and throws it down. He picks up a switch blade and looks at his warped reflection.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>He tried to put you in the game.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Yeah, for thirty seconds.<\/dialogue>\n    <scene_description>There's a knock on the door. Jolie wipes a teary eye and straights up. ELLIOTT, Jolie's oddly old dad - enters with a bright orange Nerf ball off the bedside table.<\/scene_description>\n    <character>ELLIOTT<\/character>\n    <dialogue>Three. Two.<\/dialogue>\n    <parenthetical>(pump fake)<\/parenthetical>\n    <dialogue>One.<\/dialogue>\n    <scene_description>Elliott dunks and freezes in mid air. He makes the sounds of a sold out crowd, animatedly, in a comforting way. The kids smile.<\/scene_description>\n    <character>ELLIOTT<\/character>\n    <dialogue>Come on, Haroon. Let's get you home.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Already?<\/dialogue>\n    <scene_description>Haroon follows him down the steps.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>Elliott, will you go over this skit with me. I think you'll really like it and I need to practice or I'm gonna get a B in...<\/dialogue>\n    <scene_description>There voices fade into silence. Jolie stands alone, grabs a dumb bell and does a few curls. He pushes it up his bicpt with his hand so that it looks bigger.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HENRIETTA'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Jolie climbs in through the window. The only light in the room comes from the Sega on pause.<\/scene_description>\n    <character>HENRIETTA<\/character>\n    <dialogue>I knew you'd be back.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Because you know I love you.<\/dialogue>\n    <scene_description>Jolie kissed her with lots of tongue.<\/scene_description>\n    <character>HENRIETTA<\/character>\n    <dialogue>Whatever.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Jolie smiles.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>You're the best. I love you forever Henrietta.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>You promise.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I promise to God.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Are you gonna help take care of my baby?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I'd do anything for you.<\/dialogue>\n    <scene_description>Jolie turns off the TV, and in the near darkness of just a night light quietnly mounts her.<\/scene_description>\n    <character>HENRIETTA<\/character>\n    <dialogue>Wait. I want you to know... There's some stuff. I feel like you're the only one I can trust, the only one I can talk too. Like about when I ran away, and let those kids take photos of me. I couldn't tell anyone but you. You know that right?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I know. They were just photos. Everyone makes mistakes.<\/dialogue>\n    <scene_description>Henrietta caresses his face and they kiss.<\/scene_description>\n    <character>HENRIETTA<\/character>\n    <parenthetical>(voice over)<\/parenthetical>\n    <dialogue>Jolie's stupid. He'll believe anything. But I like him. I've been failing algebra just so he can tutoring me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HENRIETTA'S MOONLIT HOME<\/stage_direction>\n    <scene_description>The automatic sprinkler goes off.<\/scene_description>\n    <character>HENRIETTA<\/character>\n    <dialogue>The thing is. He's not like other guys. I mean, he's on the team, but he's not really a cool kid. I've always hated the cool kids.<\/dialogue>\n    <scene_description>Jolie steps off the porch and trips on a crack in the sidewalk.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DIMLY LIT GIGANTIC AUDITORIUM - DAY<\/stage_direction>\n    <scene_description>The theater class is spread out, bored and chatty. In the distance a girl is practicing dance steps on stage. Christine walks down the aisle and sits next to Jolie.<\/scene_description>\n    <character>CHRISTINE<\/character>\n    <dialogue>Hey Jolie. Have you seen this article?<\/dialogue>\n    <scene_description>Jolie is dressed in basketball attire - it's a game day. Christine is in her hot cheerleader uniform.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>What? No. Lemme see.<\/dialogue>\n    <scene_description>She hands Jolie a newspaper. Their hands touch briefly, they lock eyes - a moment passes between them.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Wow. I heard Francisco got arrested but I didn't know he made the paper.<\/dialogue>\n    <character>CHRISTINE<\/character>\n    <dialogue>I heard he got arrested because him and a bunch of other kids banged that pregnant girl Henrietta for a dollar or something.<\/dialogue>\n    <scene_description>A REDHEAD dude with an orange hoody turns around with a spnoonful of green Jell-O, eating from his Tupperware bowl.<\/scene_description>\n    <character>REDHEAD GRUNGE KID<\/character>\n    <dialogue>A dollar total. Or a dollar each?<\/dialogue>\n    <character>CHRISTINE<\/character>\n    <dialogue>Each, I hope.<\/dialogue>\n    <character>JOLIE<\/character>\n    <parenthetical>(disturbed)<\/parenthetical>\n    <dialogue>That's a rumor, duh. They just took photos.<\/dialogue>\n    <character>CHRISTINE<\/character>\n    <dialogue>How do you know? Were you there?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I heard.<\/dialogue>\n    <character>REDHEAD GRUNGE KID<\/character>\n    <dialogue>Believe what you want man. That chick got gang banged! Turned out by mad dudes like a straight porno scene.<\/dialogue>\n    <scene_description>Jolie, lost in thought. The bell rings.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HISPANIC HALL<\/stage_direction>\n    <scene_description>Dim. No windows. Hispanic kids line the lockers. Pants sag and Spanish is heard. One black kid from the team, Arius, looks in a locker mirror and puts on cologne. He has a gold cross and greasy hair.<\/scene_description>\n    <character>ARIUS<\/character>\n    <dialogue>Jolie. I heard your old girl is a straight chicken-head.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>You haven't heard?<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>Heard what?<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>That Maple Ave shit. You haven't seen the porn video with your girl Henrietta?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I'm not with that girl man. I just tutor her in Algebra.<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>Chill brother. I'm just saying...<\/dialogue>\n    <scene_description>MR. APPLEBAUM overhears this.<\/scene_description>\n    <character>MR. APPLEBAUM<\/character>\n    <dialogue>What are you boys buzzing about? Maple Ave this.. Maple Ave that..<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>You can take the niggas out the ghetto but you can't take the ghetto out the niggas.<\/dialogue>\n    <character>MR. APPLEBAUM<\/character>\n    <dialogue>Come on Arius. I know you've got somewhere to be.<\/dialogue>\n    <scene_description>Still stunned by the rumor, Jolie follows the steady flow of kids out a single door to the:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EAST SIDE OF THE SCHOOL - DAY<\/stage_direction>\n    <scene_description>The sun backlights the school. Jolie emerges from the school. Christine catches up to him.<\/scene_description>\n    <character>CHRISTINE<\/character>\n    <dialogue>Jolie, aren't you headed to computer class?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>What? Yeah.<\/dialogue>\n    <character>CHRISTINE<\/character>\n    <dialogue>Is everything alright? You look kind of stunned or something.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>What? No. I just. The sun was in my eyes.<\/dialogue>\n    <character>CHRISTINE<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>What's up?<\/dialogue>\n    <character>CHRISTINE<\/character>\n    <dialogue>I am totally struggling with my program this month, do you think I could look at your code?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>My programming skills aren't that good. But we can copy Haroon's code and just change the variable names.<\/dialogue>\n    <character>CHRISTINE<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Yea.<\/dialogue>\n    <character>CHRISTINE<\/character>\n    <dialogue>Cool. Thanks.<\/dialogue>\n    <scene_description>Christine gives Jolie a hug. Henrietta walks past and gives Jolie an eye. Jolie pretends not to notice. From afar the kids look like ants walking in lines to and from the portables (trailer classrooms). A school bell rings.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONVENIENT STORE<\/stage_direction>\n    <scene_description>Henrietta approaches the Redhead Grunge Kid. They're both skipping class.<\/scene_description>\n    <character>HENRIETTA<\/character>\n    <dialogue>Hey, can I bum a cigarette?<\/dialogue>\n    <character>REDHEAD GRUNGE KID<\/character>\n    <dialogue>Aren't you pregnant?<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Whatever.<\/dialogue>\n    <scene_description>Henrietta rolls her eyes and starts to walk away.<\/scene_description>\n    <character>REDHEAD GRUNGE KID<\/character>\n    <dialogue>Hold up. Here.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Henrietta lights up.<\/scene_description>\n    <character>REDHEAD GRUNGE KID<\/character>\n    <dialogue>Fuck it, right?<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Yea. I guess so.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACK OF CLASSROOM<\/stage_direction>\n    <scene_description>Working in groups.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>Dude, Christine's been jocking your nuts lately. What's up with that?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I don't know man. I think she's into me.<\/dialogue>\n    <character>ANYA<\/character>\n    <dialogue>She's probably just using you for my code.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>It happens to me all the time.<\/dialogue>\n    <character>ANYA<\/character>\n    <dialogue>You wish.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>Even if she does like you dude, you'd have to be loco to get with her.<\/dialogue>\n    <scene_description>Jolie looks over at Christine on the other side of the classroom. Christine smiles back.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>Her last boyfriend Raymond -<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STUDENT PARKING LOT - SUN SET<\/stage_direction>\n    <scene_description>Raymond, a cool Hispanic boy perched on a metal railing, cranes his head around and we see he's got a black eye and smokes a Camel.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>(O.S.,<\/dialogue>\n    <scene_description>Has been having sex since junior high. Ray hops off the railing, puts his arm around a girl and kicks over a trash can as they walk into the sunset. BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DIM BASEMENT CLASSROOM - THAT MOMENT<\/stage_direction>\n    <character>VLAD<\/character>\n    <dialogue>That's nothing. Ray's been suspended three times. They found a gun in his locker. And he has no blood parents. You don't want that kind of sloppy seconds. It's big trouble.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Hmmm.<\/dialogue>\n    <character>VLAD<\/character>\n    <dialogue>You would be the man, though. I'd give you that.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>Yea, that's true. You would be the man.<\/dialogue>\n    <character>ANYA<\/character>\n    <dialogue>Why? What does that have to do with anything?<\/dialogue>\n    <scene_description>All the boys roll there eyes. IN SLOW MOTION Jolie turns to look at Christine, this time with his hoody up. Turning back he knocks his notebook off the table - papers scattering, a can of Sour Cream Pringles spilling. Christine notices the commotion, laughs kindly. He smiles back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DUSTY MULTIPURPOSE FIELD - SUNSET<\/stage_direction>\n    <scene_description>CRACK - the sound of softball being hit. The girls team warming up. Jolie and Christine sit on small metal bleachers.<\/scene_description>\n    <character>CHRISTINE<\/character>\n    <dialogue>You guys have the late practice today, huh?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>CHRISTINE<\/character>\n    <dialogue>Well Coach Dale asked me to tape the next game - you wanna see the camera we're using? It's in the small gym.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Oh yeah. All the way past C hall.<\/dialogue>\n    <character>CHRISTINE<\/character>\n    <dialogue>Come on. I know a short cut through parenting class.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Through parenting class? Let's just go the long way.<\/dialogue>\n    <character>CHRISTINE<\/character>\n    <dialogue>Come on. Don't be such a goody goody. The teacher doesn't care. Trust me. She's like a hundred years old, she gets it. It's just an excuse to have free baby sitters for all the teen moms. And that's a good thing.<\/dialogue>\n    <scene_description>She grabs his hand and leads him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PARENTING CLASSROOM<\/stage_direction>\n    <scene_description>Jolie and Christine cut through the chaotic after school 'class.' Henrietta is there, looking bored, and playing with a toy toddler. Henrietta gives Jolie a suspicious look. Jolie waves nervously.<\/scene_description>\n    <character>CHRISTINE<\/character>\n    <dialogue>Are you friends with her? That's the girl I was telling you about.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I just tutor her in Algebra. You know how we need community service hours to graduate, well...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLAZER GYMNASIUM<\/stage_direction>\n    <scene_description>A mural of fire emblazons the walls. A second floor balcony - overlooking the court. A space for storing of moldy old trampolines and gymnastic junk.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>It's hot as a mug in here.<\/dialogue>\n    <scene_description>Christine flips on a giant standing fan.<\/scene_description>\n    <character>CHRISTINE<\/character>\n    <dialogue>Stand in front of this. God that feels good.<\/dialogue>\n    <scene_description>Her hair and cheerleader skirt blowing back. Jolie stands next to her. Christine gracefully gets on her knees. Beat.<\/scene_description>\n    <character>CHRISTINE<\/character>\n    <dialogue>The camera's under here. Come on.<\/dialogue>\n    <scene_description>She crawls under the trampoline, through the glittery tassels hanging around it's edges. Jolie hesitates then follows but we stay behind. A pom-pom and a basketball rest in the foreground.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over)<\/parenthetical>\n    <dialogue>The season hadn't even started and my life had changed forever.<\/dialogue>\n    <scene_description>Just below the tassels Christine's top lands on the floor.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over)<\/parenthetical>\n    <dialogue>I swear, exactly when we kissed someone yelled score.<\/dialogue>\n    <scene_description>Kids of all shapes and sizes rush the court below with hockey sticks. Haroon and Vlad and Benjamin and Anya, and the Redhead Grunge Kid and Ray among them.<\/scene_description>\n    <character>REDHEAD GRUNGE KID<\/character>\n    <dialogue>Score! Score! Score!<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Shut your hole!<\/dialogue>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over)<\/parenthetical>\n    <dialogue>It felt like a million bucks.<\/dialogue>\n    <scene_description>Haroon pumps his fist yes as someone gets a shot past the goalie in warm ups. Christine fixes her hair and walks out with a VHS camcorder.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over)<\/parenthetical>\n    <dialogue>I felt guilty cuz of Henrietta, but as Tu Pac says, \"Only God can judge me.\"<\/dialogue>\n    <scene_description>Jolie stands behind, in the doorway, fixing his belt and getting a touch of wind from the fan.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over)<\/parenthetical>\n    <dialogue>I did wonder if Henrietta's Dad, Mr. Aaronson, even knew she was pregnant.<\/dialogue>\n    <scene_description>Jolie takes a last glimpse of the intermural floor hockey game below them.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over)<\/parenthetical>\n    <dialogue>But for some reason it just never came up.<\/dialogue>\n    <scene_description>Jolie ducks into the stairwell. Then all the lights go out. Blackness. Hold. Haroon walks into a small shaft of light that goes unseen until it has his face to land on.<\/scene_description>\n    <character>HAROON<\/character>\n    <parenthetical>(off camera)<\/parenthetical>\n    <dialogue>Would someone please stop messing around and put the lights on. This league is for serious players only.<\/dialogue>\n    <scene_description>Haroon puts on his RoboCop goalie mask. BAM! He is body checked to the floor.<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Boom! Step aside, nigga.<\/dialogue>\n    <scene_description>Haroon slouched against the wall - blood dripping from his temple.<\/scene_description>\n    <character>HAROON<\/character>\n    <parenthetical>(cringing in pain, almost crying)<\/parenthetical>\n    <dialogue>Oww, man. I think you broke my wrist.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Tell your boy Jolie to lay off my girl Christine. Every time he makes a move on her I'm gonna eat your ass for lunch.<\/dialogue>\n    <character>HAROON<\/character>\n    <parenthetical>(beginging to cry)<\/parenthetical>\n    <dialogue>What? Why me?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAROON'S HOME - AFTER-SCHOOL DAY<\/stage_direction>\n    <scene_description>Haroon, and Haroon's older brother ZEKE are rummaging the kitchen cabinets for snacks. Haroon's arm is in a cast for the rest of the movie.<\/scene_description>\n    <character>ZEKE<\/character>\n    <dialogue>Hey, are there anymore Handi-Snacks or did you take the last one?<\/dialogue>\n    <scene_description>The doorbell rings.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAROON'S HOME<\/stage_direction>\n    <scene_description>Jolie and Haroon smack their secret handshake. They cross the lawn with Zeke.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>Dude, before I show you this internet stuff at my Mom's place we gotta talk about this Raymond situation. Ray said he's gonna eat my ass for lunch every time you mess with Christine.<\/dialogue>\n    <scene_description>Haroon grabs a key from under the doormat of the second home.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Yea he's just afraid to step to me directly because he knows varsity has my back. Don't stress though. He's just a bully.<\/dialogue>\n    <scene_description>Haroon open the door to:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAROON'S DIMLY LIT SECOND HOME - DAY<\/stage_direction>\n    <scene_description>Thick curtains are drawn, most of the place empty but a small computer station is in the corner.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>Don't stress? He broke my arm man. How is anything under control?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Ray is just a bully. All you have to do is hold your ground a little probably.<\/dialogue>\n    <scene_description>Jolie fakes like he gonna punch Haroon and Haroon flinches.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>He'll back off.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>What? Are you serious? He blind sided me. How am I supposed to hold my ground?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Come on dude, isn't that why you always carry that Batman figure around?<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Because Batman's the only superhero that is just a regular guy.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>Batman is a cartoon. This TOY is for inspiration. We're talking about real life. Are you loco?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Fine, then just stay close to me and the team will get your back, I swear.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>Pinky swear. No leaving me behind at lunch now that you're all tight with the team or nothing.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Done.<\/dialogue>\n    <scene_description>Haroon has fires up a video game on the PC.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>Cool. Now let's conquor titen again. I think we can break the high score.<\/dialogue>\n    <character>ZEKE<\/character>\n    <dialogue>Seriously.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RUSTY OLD HIGH SCHOOL WEIGHT ROOM - DAY<\/stage_direction>\n    <scene_description>Every kid on the team but Jolie is wearing light tan, su\u00e8de Timberland boots.<\/scene_description>\n    <character>WENDEL<\/character>\n    <dialogue>What's up?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>What's up Jolie.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>What's up?<\/dialogue>\n    <character>MERLY<\/character>\n    <dialogue>What's up? What's up with you?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>What's up?<\/dialogue>\n    <character>CODROY<\/character>\n    <dialogue>What's up?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>What's up?<\/dialogue>\n    <character>SURGIO<\/character>\n    <dialogue>Chillen.<\/dialogue>\n    <character>WENDEL<\/character>\n    <dialogue>Peace, nigger.<\/dialogue>\n    <scene_description>Jolie pauses for a second then half smiles. Haroon's face turns red as a cherry as he \"maxes\" on the bench.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>See man. Ray can't mess with us now. We're rolling too deep.<\/dialogue>\n    <scene_description>Haroon looks around, the whole basketball team is working out. MERLY leg presses a massive amount of weight.<\/scene_description>\n    <character>HAROON<\/character>\n    <parenthetical>(dons his sombrero, spreading a genuine smile)<\/parenthetical>\n    <dialogue>Yea. I guess your right. Junior year's actually gonna be cool. And I love spirit week. Merly, did you bring a hat for hat day?<\/dialogue>\n    <character>MERLY<\/character>\n    <dialogue>Yea.<\/dialogue>\n    <scene_description>Merly stops his leg presses - pulls on a black ski-mask.<\/scene_description>\n    <character>MERLY<\/character>\n    <dialogue>Hey, Jolie. Want to give us a lift to Taco Bell for lunch?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Yea. No prob.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>Cool man.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STUDENT PARKING LOT - DAY<\/stage_direction>\n    <scene_description>Kids from the team pile into Jolie's Toyota Camry. Six are already in the ride, Haroon tries to squeeze in.<\/scene_description>\n    <character>MERLY<\/character>\n    <dialogue>You want my spot?<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>Ummm. Naw. Naw. I'm cool.<\/dialogue>\n    <character>MERLY<\/character>\n    <dialogue>You sure?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Jump in the trunk dude. It's not far.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>You think so?<\/dialogue>\n    <character>MERLY<\/character>\n    <dialogue>That's rediculous. Let's just bring you back something? What do you want?<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>Uh. Just like a couple burritos. Here's a ten?<\/dialogue>\n    <character>MERLY<\/character>\n    <dialogue>No worries. I got you.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>Oh thanks man.<\/dialogue>\n    <character>MERLY<\/character>\n    <dialogue>No prob.<\/dialogue>\n    <scene_description>Marly closes the door. Haroon stands alone in the parking lot in his sombrero. Jolie waves as they drive off.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>I'll bring you some cinnamon twists too!<\/dialogue>\n    <scene_description>Haroon looks around and sees Ray staring at him from the top of some steps. Haroon looks scared, tips his sombrero to hide his face.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOYOTA CAMRY - DAY<\/stage_direction>\n    <scene_description>Jolie drives his teammates, all eating Taco Bell. Go-go music blasting. In the rearview mirror a Cop emerges.<\/scene_description>\n    <character>MERLY<\/character>\n    <dialogue>The cops just followed us from the left turn only lane.<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>I knew it. Did you see his face?<\/dialogue>\n    <character>MERLY<\/character>\n    <dialogue>That dude is always messing with us.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STEEP STREET<\/stage_direction>\n    <scene_description>The kids hang out outside the car with one of the cops. Merly with the other Cop by the cop car. The argument between Merly and the Cops escalates. Merly prevents the cops from grabbing his empty looking bookbag. Merly takes off sprinting between two of the houses. The cops hustle after him, their large belts bouncing. Jolie and the other kids stunned.<\/scene_description>\n    <character>WENDEL<\/character>\n    <dialogue>He's still dealing nickel bags I bet.<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>Naw man. It's because of that video. The Maple Ave thing...the one with Jolie's girl Henrietta.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>She's not my girl.<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>That's not what she said before she started sucking everyone's dicks... Don't believe me. Y'all can see the VHS.<\/dialogue>\n    <scene_description>Arius pulls out his gold cain. Jolie looks intensely shocked by this offer.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL-- MAIN OFFICE<\/stage_direction>\n    <scene_description>The kids that were out to lunch are waiting in line getting slips for being late. The Administrator returns with PRINCIPAL GANUS, a 350 pound black man who looks like an ex-football player.<\/scene_description>\n    <character>PRINCIPAL GANUS<\/character>\n    <dialogue>Arius. This is your fifth detention this semester. That means in-school suspension for the week. Starting now.<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>What!? Did you hear what happened to us? We got harrassed by the cops man!<\/dialogue>\n    <scene_description>Arius follows Ganus into the bowels of the main office. The Administrator takes another call, and the coast is suddenly clear. Jolie and Wendel scope out an escape route - the security guard no longer at the door.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Come on man. Coast is clear.<\/dialogue>\n    <scene_description>They peek into the hallway and see security round a bend. Jolie and Wendel run as quietly as possible in the opposite direction.<\/scene_description>\n    <character>SECURITY GUARD<\/character>\n    <dialogue>Wendel! Get your ass over hear.<\/dialogue>\n    <character>WENDEL<\/character>\n    <dialogue>What? What about Jolie?<\/dialogue>\n    <character>SECURITY GUARD<\/character>\n    <dialogue>He's in the magnet program. His teacher will handle it.<\/dialogue>\n    <scene_description>Jolie doesn't dare look back.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over)<\/parenthetical>\n    <dialogue>And just like that, with Marley arrested and Arius doing in-school, I might just get some playing time?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRIG CLASS<\/stage_direction>\n    <scene_description>Haroon enters and sits next to Jolie. Haroon has double fresh black eyes. The teacher and classroom is quite and dont even pay any attention to Jolie entering.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>I thought you said Ray wasn't gonna mess with me man?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Woah. Dude. Are you alright?<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>Do I look alright?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I'm sorry man.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>That's all you got?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>No. Come on man.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>YOu said I just had to hold my ground.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Well at least you've still got your teeth.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>You're an asshole.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Let me get you back. Come to the movies with me tonight dude. The new Ice Tea flick is out. The tickets on me. Coke, popcorn, the whole nine.<\/dialogue>\n    <scene_description>Haroon rolls his eyes and shakes his head.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>The whole nine? It's a movie.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>It's an Ice Tea flick and it's gonna be tight as a mug.<\/dialogue>\n    <scene_description>Haroon looks disgusted and offended.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DARK GHETTO MOVIE THEATER - NIGHT<\/stage_direction>\n    <scene_description>Henrietta leans in close to Jolie's ear. They whisper to each other:<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>We had an early game today against Paint Branch. And I scored 3 points.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>You know I saw you with that Cheerleader.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Come on. Enough with that. I washed my hands already. So I can please you.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Just tell me yall are hooking up. It's OK if you are. I just want the truth.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>You want the truth. How is this?<\/dialogue>\n    <scene_description>Jolie reveals a plastic case meant for baseball cards. Out of it he slides a small newspaper cut out. A picture of Francisco getting arrested with the headline 'Sex Video Arrest.'<\/scene_description>\n    <character>HENRIETTA<\/character>\n    <parenthetical>(ashamed)<\/parenthetical>\n    <dialogue>Yeah. Francisco got arrested. What about it?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I thought you said you didn't fuck any of them.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>I didn't.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Did you suck their dicks?<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Jolie. It's none of your fucking business.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Well everyone at school says you did. And now they're saying there's a video and that's why Francisco and Merly got arrested.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>They're not arrested. They got questioned and shit and then they got suspended.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>How do you know?<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Because I hear all the Maple Ave stuff.<\/dialogue>\n    <scene_description>Haroon pretends to watch the movie but is obviously uncomfortable.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>Shhh. It's getting good you know.<\/dialogue>\n    <scene_description>Henrietta and Jolie whisper more quietly.<\/scene_description>\n    <character>HENRIETTA<\/character>\n    <dialogue>Look, that's all beside the point. Whatever you heard about me at school, they don't know shit. It's a lie. I already told you. I ran away from home. That's it. Now leave me alone.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Why did you let them take pictures?<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>I told you. I needed money.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>For what?<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Duh, an abortion. Does that make you feel better. But I decided I want this baby Jolie. I want a real family. So I went to Pizza Hut for dinner instead. The one on University Boulevard, do you want a receipt or something?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Where did you sleep that night?<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>I told you. I slept at the ATM machine. Now stop it.<\/dialogue>\n    <scene_description>Henrietta is on the verge of tears and it cracks Jolie.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Dang. I know. I'm sorry. I'm such an idiot.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>But I love you. I just want to be with you now. And put all that in the past.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Why didn't you come to me then?<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>We had just met.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I know. Damn it. You could have slept on my couch, easy. My parents wouldn't have even cared.<\/dialogue>\n    <scene_description>We hear a killing on the screen. They kiss. The color cast on them shifts from a blue to a red. Jolie reaches under the starter jacket that lies across her lap.<\/scene_description>\n    <character>HENRIETTA<\/character>\n    <dialogue>Jolie. No.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>You lied to me.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>I didn't. I would never.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>How do I know?<\/dialogue>\n    <scene_description>Henrietta guides his hand up between her legs and she closes her eyes, succumbing to his fingers.<\/scene_description>\n    <character>HENRIETTA<\/character>\n    <dialogue>Don't you trust me?<\/dialogue>\n    <scene_description>From behind them they are silhouettes against the Ice-T action pic \"Surviving the Game.\" A baby is crying somewhere in the theater. The red light cast on them begins to flash rapidly. In and out of blackness. Jolie peaks at a boy one seat away. (Jolie's basketball is in the seat between them, with Haroon's Batman toy sitting atop it.) Henrietta breathes hard. Jolie bites his lower lip.<\/scene_description>\n    <character>ANONOMOUS MAN<\/character>\n    <parenthetical>(O.C. yelling at the screen)<\/parenthetical>\n    <dialogue>Don't mess with his boy? You're gonna get it now! Un-hun!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOVIE THEATER - NIGHT<\/stage_direction>\n    <character>JOLIE<\/character>\n    <dialogue>Haroon and I better get going. We gotta finish our Magnet project for R&amp;E.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Jolie, my Dad is picking us up. I thought you were gonna help me study?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I would but I can't. This is like the biggest project of the year.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>I have a huge test tomorrow and if I don't pass this class I have to go to summer school.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I know but Mr. Donaldson just assigned a huge thing-<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Haroon. Would you mind letting me talk to Jolie in private?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEHIND THE MALL DUMPSTERS<\/stage_direction>\n    <character>HENRIETTA<\/character>\n    <dialogue>The only time we go out is to the movies, and you're always late, and it's always the late show.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <scene_description>Henrietta rolls her eyes and looks upset.<\/scene_description>\n    <character>HENRIETTA<\/character>\n    <dialogue>Jolie. I saw Christine was all over you at school.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>She's just like that. She's a cheerleader.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Tell me something. What do you really want to do with your life?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>What do I want to do?<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Why do you repeat everything I say?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>What do I wanna do? I mean, you know that, right?<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>You're five-eight.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Spud Web was five seven.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Jolie.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Henrietta's father Mr. Aaronson, rolls up in a VW van and speaks from the window.<\/scene_description>\n    <character>MR. AARONSON<\/character>\n    <dialogue>So what's happening kids? Haroon said you guys were talking about important stuff?<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Dad, we're fucking studying here! Do you mind?<\/dialogue>\n    <character>MR. AARONSON<\/character>\n    <dialogue>In the parking lot? I just wanted to see if you guys needed anything. I made Rice Krispy treats. They're still hot.<\/dialogue>\n    <scene_description>He showcases a saran wrapped tray.<\/scene_description>\n    <character>HENRIETTA<\/character>\n    <dialogue>Dad, have you seen how fucking fat I am!?<\/dialogue>\n    <character>MR. AARONSON<\/character>\n    <dialogue>Henrietta. Just because you don't want any doesn't mean Jolie doesn't. Tutoring is hard work, after all.<\/dialogue>\n    <parenthetical>(to Jolie)<\/parenthetical>\n    <dialogue>I tutored high school kids in Oakland in the 60's, and -<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Dad, we all know the story of you saving kids in the ghetto, ok?<\/dialogue>\n    <character>MR. AARONSON<\/character>\n    <dialogue>Jolie, are you hungry?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Uh-<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Jolie's bailing, Dad. Come on.<\/dialogue>\n    <scene_description>Henrietta hops into the Van.<\/scene_description>\n    <character>MR. AARONSON<\/character>\n    <dialogue>Oh. Well. That's cool. That's cool.<\/dialogue>\n    <scene_description>Henrietta looks bummed. She cups her stomach and looks at it. Then scowls at Jolie.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>I'm really sorry, Mr. Aaronson, but-<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Dad. Just drive please.<\/dialogue>\n    <character>MR. AARONSON<\/character>\n    <dialogue>No worries, Jolie. Catch you later.<\/dialogue>\n    <scene_description>Mr. Aaronson makes the West coast gang sign as a friendly gesture as a good-bye as he drives off. Jolie and Haroon watch them leave.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. METRO - NIGHT<\/stage_direction>\n    <scene_description>The train rumbles along.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>So you've been tutoring her in Algebra and that's it?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Yea.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>Whatever man.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>I was sitting right there.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>So man. I saw what was going on. I'm not an idiot.<\/dialogue>\n    <scene_description>Jolie is silent.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>You're ridiculous. I gotta jump off.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>What? I thought we were gonna play street fighter?<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>I can play dune at home on my PC.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>What are you scared I'm gonna smoke you like a blunt again?<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>You wish. You can't touch my skills.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I'd turn you into a straight dikfor.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>What the hell is a dikfor?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>You don't know what a dick's for!? You fucking homo-thug!<\/dialogue>\n    <scene_description>Jolie jumps on the seat and shoves his crotch in Haroon's face - thrusting hard. Several passengers laugh.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>Oww! Dude, you're pealing off my scab. Get off me! You know you've been a real jerk lately.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Damn, Ray really smashed your face didn't he?<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>I think you're an asshole for lying to Henrietta and Christine.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I never lied to them.<\/dialogue>\n    <scene_description>The metro rumbles to a stop.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(cont)<\/parenthetical>\n    <dialogue>I love them both.<\/dialogue>\n    <scene_description>Haroon exits. Jolie looks longingly out of the window as the train pulls off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GYMNASIUM - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Post practice:<\/scene_description>\n    <character>COACH DALE<\/character>\n    <dialogue>Kiss! Can anyone tell me what KISS stands for?<\/dialogue>\n    <scene_description>Coach Dale underlines \"KISS\" on the blackboard. All the bleachers are pushed in. The team gathered on the floor in practice jerseys. Five starters in white. The rest in red. All downtrodden. Wendel wipes sweat off his chin. Coach Dale eyes them down. Two dishevelled white assistant coaches flank Dale. A fat black man in a sweat-suit also hangs around, an unofficial assistant coach. ASSISTANT #1 wears a gray sweat suit. ASSISTANT #2 sports a wrinkled dress shirt and tie. Both don clip boards and red whistles. No one moves. Jolie hesitantly gestures. Coach Dale nods.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Uh, Keep it simple stupid.<\/dialogue>\n    <character>COACH DALE<\/character>\n    <dialogue>Why are you mumbling? Speak up.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Keep it simple stupid.<\/dialogue>\n    <character>COACH DALE<\/character>\n    <dialogue>That's right. Keep it simple stupid.<\/dialogue>\n    <scene_description>The team stares blankly.<\/scene_description>\n    <character>COACH DALE<\/character>\n    <dialogue>Ya'll screw up and say, \"But I thought...\"<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Kiss.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Keep it simple. You guys are thinking too much on the court. Stay aggressive and maybe we'll have a chance of beating Springbrook without Francisco and Merly. We're short handed, especially at guard positions, so everyone has to be ready to play, especially you Jolie. You're as good as anybody on this team. I've seen you play great when we scrimmaged with JV.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>And everyone, no more bringing your stuff in a plastic bag. Get a real bag. Something canvas. Use an old backpack if you have to.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GYMNASIUM - DUSK<\/stage_direction>\n    <scene_description>A few boys from the team and a few girls from the cheerleader squad are hanging around a track and field practice visible in the distance.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Arius, man. When can I see the VHS tape you mentioned?<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>What? Oh, it got erased. Didn't you hear the cops are on to the whole thing?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Yeah, but-<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>Man, Francisco is in the papers. You haven't seen?<\/dialogue>\n    <parenthetical>(turns and tugs at a cheerleader)<\/parenthetical>\n    <dialogue>Come here, girl. Sit on my lap.<\/dialogue>\n    <scene_description>Wendel lights a cig. Jolie lays a towel over his head and turns to Wendel.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Henrietta didn't really fuck any of them, did she? I mean she was just posing nude for some photos, right?<\/dialogue>\n    <character>WENDEL<\/character>\n    <dialogue>Well, they just paid her to do a little strip tease or whatever but things escalated.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>How can it just escalate?<\/dialogue>\n    <character>WENDEL<\/character>\n    <dialogue>How did World War 2 escalate? It just did. Someone pulled out his junk teasing her, and then she started messing around with her tongue on his balls, just laughing and stuff. And it just went from there.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Dude? If this is a psych, you got me. OK? Just tell me the truth.<\/dialogue>\n    <character>WENDEL<\/character>\n    <dialogue>I'm not lying. I'm dead serious. You can see for yourself.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>It got erased I thought.<\/dialogue>\n    <character>WENDEL<\/character>\n    <dialogue>The original did. But Arius has a copy.<\/dialogue>\n    <scene_description>Jolie tugs on his underarm hair, worried. They look over at Arius who is daydreaming.<\/scene_description>\n    <character>ARIUS<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>Booooom.<\/dialogue>\n    <character>WENDEL<\/character>\n    <dialogue>Arius!<\/dialogue>\n    <scene_description>Arius snaps out of it.<\/scene_description>\n    <character>WENDEL<\/character>\n    <dialogue>What happened to your head man?<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>The doctors said I was crazy so they took a little piece of my brain out.<\/dialogue>\n    <character>WENDEL<\/character>\n    <dialogue>No they didn't.<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>Yes they did. Look.<\/dialogue>\n    <scene_description>Arius shows off the top of his head<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Damn.<\/dialogue>\n    <scene_description>CLOSE ON: Arius's brutal scar in his head. Arius pushes at it with his fingers.<\/scene_description>\n    <character>ARIUS<\/character>\n    <dialogue>See how soft it is?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Arius laughs. Looks around to make sure no one's listening in.<\/scene_description>\n    <character>ARIUS<\/character>\n    <dialogue>Come by Coach Dales office tomorrow at 3 o'clock.<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>While he's gone opening up the weight-room I'm showing the tape for five bucks a head. You have never seen anything like this, I promise you.<\/dialogue>\n    <scene_description>A yellow Geo Jeep with 5 very thugged out kids rolls up.<\/scene_description>\n    <character>ARIUS<\/character>\n    <dialogue>Arright y'all.<\/dialogue>\n    <scene_description>Arius gives them the finger from the packed with 6 Jeep as it speeds off (Geo's are equipt with only 4 seats)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLASSROOM - DAY<\/stage_direction>\n    <scene_description>Everyone working away - Haroon and Jolie seated in the back with a giant stand alone magnifying glass. The teacher MR. APPLEBAUM puts a paper on Jolie's desk labeled B+, then Haroon's, labeled B-.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>B minus!? Are you serious?<\/dialogue>\n    <character>MR. APPLEBAUM<\/character>\n    <dialogue>Watch the language Mister Mochtarzada.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>Did you even read this shit?<\/dialogue>\n    <character>MR. APPLEBAUM<\/character>\n    <dialogue>Thin ice Haroon.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>Come on Mr. Applebaum? The whole undercover hooker bust opening in this thing is genius.<\/dialogue>\n    <character>MR. APPLEBAUM<\/character>\n    <dialogue>It's not accurate Haroon. The OJ trial didn't begin until long after the Marion Barry bust.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>Duh. Everybody knows that. It's not an Encyclopedia. It's a story.<\/dialogue>\n    <character>MR. APPLEBAUM<\/character>\n    <dialogue>Haroon. This is a current events history class. I think you missed the point of the assignment.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>I think you missed the point of the story! The events were mixed up because the character is mixed up. You think I don't know -<\/dialogue>\n    <character>MR. APPLEBAUM<\/character>\n    <dialogue>Enough !<\/dialogue>\n    <scene_description>Stunned, Haroon walks back to his desk.<\/scene_description>\n    <character>HAROON<\/character>\n    <parenthetical>(under his breath)<\/parenthetical>\n    <dialogue>...fucking idiot...<\/dialogue>\n    <character>MR. APPLEBAUM<\/character>\n    <dialogue>Detention. Today.<\/dialogue>\n    <scene_description>The bell rings. The clock shows 3 o'clock sharp.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>Fucking dick-face man, it's not fair!<\/dialogue>\n    <scene_description>Haroon brushes his notebook and pencils onto the floor in frustration.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Shit man. I'm sorry dude. You deserved an A. It was tight as a mug.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>Don't placate me asshole. You didn't even read it like you said you would.<\/dialogue>\n    <scene_description>Haroon holds up his cast.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>It's just a broken arm and a couple black eye. Nothing to worry about right? Go hang with your stupid team.<\/dialogue>\n    <scene_description>Jolie looks at the clock as the room empties. Jolie sheepishly leaves Haroon alone with Mr. Applebaum.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY<\/stage_direction>\n    <scene_description>Jolie walks down a packed hallway and ducks into an office door. As Coach Dale leaves his office Arius catches the door. The team slips in one by one. All hanging out nearby.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASKETBALL COACH OFFICE - DAY<\/stage_direction>\n    <scene_description>Pictures and trophies are all over the cramped room, spanning decades. The team and a group of cheerleaders are hanging out waiting for the video. Arius pops the tape in.<\/scene_description>\n    <character>ARIUS<\/character>\n    <dialogue>Look, look, look. Look. Right here, I told you.<\/dialogue>\n    <scene_description>Ad-lib hollers. Some laugh.<\/scene_description>\n    <character>ARIUS<\/character>\n    <dialogue>I told you she was turned out.<\/dialogue>\n    <character>CHRISTINE<\/character>\n    <parenthetical>(to Jolie)<\/parenthetical>\n    <dialogue>Damn.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Aw, man.<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>Hold up, I gotta rewind to the funny part.<\/dialogue>\n    <character>CHRISTINE<\/character>\n    <dialogue>What a slut! That's that girl you tutor right?<\/dialogue>\n    <character>JOLIE<\/character>\n    <parenthetical>(stunned)<\/parenthetical>\n    <dialogue>Yea. ...Henrietta Aaronson.<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>I told you! I told you! I told you!<\/dialogue>\n    <scene_description>Jolie looks devastated. The picture in a backwards blur - rewinding, we can make out Henrietta.<\/scene_description>\n    <character>ARIUS<\/character>\n    <dialogue>Shhhhhh. Shhhhh. This is it.<\/dialogue>\n    <scene_description>On the television is Henrietta.<\/scene_description>\n    <character>GUY BEHIND THE CAMERA<\/character>\n    <dialogue>What's the password?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Lemme see them shits again.<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>When he grabs her tits it looks like he's assessing a race horse. He's like - lemme check out this specimen.<\/dialogue>\n    <scene_description>Everyone laughs but Jolie.<\/scene_description>\n    <character>GUY BEHIND THE CAMERA<\/character>\n    <dialogue>What would your daddy say if he saw this?<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <parenthetical>(affecting a sexy voice)<\/parenthetical>\n    <dialogue>He'd knock me out for the rest of my life.<\/dialogue>\n    <scene_description>The kids in the room break out into ad-lib excitement.<\/scene_description>\n    <character>ARIUS<\/character>\n    <dialogue>Pause it. Pause it. Pause it. Look. Right there. That's Francisco in the back.<\/dialogue>\n    <scene_description>In the background of the video is a doorway to a hallway, and crouched on the floor as if waiting for a long time, is Francisco.<\/scene_description>\n    <character>CHRISTINE<\/character>\n    <dialogue>Coach Dale is coming. I'm serious. He's coming now.<\/dialogue>\n    <scene_description>Wendel flips on the Sega Genesis. John Madden '95 appears on the screen. Christine and Wendel each grab a controller. Coach Dale enters.<\/scene_description>\n    <character>COACH DALE<\/character>\n    <dialogue>No weightroom today guys, we got some studying to do. This is a copy of last years Springbrook game. Get comfortable, this could be a while.<\/dialogue>\n    <scene_description>The cheerleaders gather themselves. Coach Dale tries to insert the game tape but the VHS of Henrietta is still inside. He ejects the mystery tape, looks at it, unlabeled, and puts it in his bag.<\/scene_description>\n    <character>COACH DALE<\/character>\n    <parenthetical>(cont.)<\/parenthetical>\n    <dialogue>Girls, you are welcome to watch but please keep it down, we have our work cut out for us.<\/dialogue>\n    <scene_description>The cheerleaders leave, Christine the last to straggle along, grabs Jolie's hand briefly on the way out. Coach Dale turn off the lights and presses play on the game tape. Arius considers swiping the VHS. So does Jolie. But there's no opportunity. The low quality recording of a game plays: one pixilated, long take. The blue team scores. The white team - THE BLAZERS - in-bound the ball, and the camera pans following the action. The video as primitive as it gets. Jolie is in a daze about what has seen with Henrietta. Coach Dale pauses the tape.<\/scene_description>\n    <character>COACH DALE<\/character>\n    <dialogue>Now what was wrong with that shot?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Jolie?<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>He shot on the first pass of a half court set.<\/dialogue>\n    <character>COACH DALE<\/character>\n    <dialogue>Are you Jolie?<\/dialogue>\n    <character>ARIUS<\/character>\n    <parenthetical>(scowling at the coach)<\/parenthetical>\n    <dialogue>Do I look like white to you?<\/dialogue>\n    <scene_description>Beat. Coach Dale assails Arius, wrestling him into a hold on the floor.<\/scene_description>\n    <character>COACH DALE<\/character>\n    <dialogue>How does it feel?<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>Owwww. My arm.<\/dialogue>\n    <scene_description>The other players stand back feeling awkward about the semi- abusive coach.<\/scene_description>\n    <character>COACH DALE<\/character>\n    <dialogue>How does it feel?<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>Ah. Ah. Ah.<\/dialogue>\n    <character>COACH DALE<\/character>\n    <dialogue>Look in my eyes. How does it feel?<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>Ahhhhhh!<\/dialogue>\n    <character>COACH DALE<\/character>\n    <dialogue>If I ever see you back away from a rebound again I'm gonna bench you for the season. You wont play one second the whole year. You got that boy?<\/dialogue>\n    <scene_description>Arius pinned and cringing squirms, eyes tearing, shirt bunching up and revealing a tatoo on his back for \"Maple Ave.\" While everyone's distracted Jolie eyes the bag with the VHS, inching closer. Just as he's about to make his move the coach release Arius and sits back down. Then he pounces on Arius again and Jolie quickly grab the tape.<\/scene_description>\n    <character>ARIUS<\/character>\n    <dialogue>Ahhhhh!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - NIGHT<\/stage_direction>\n    <scene_description>Rain pours. Jolie sits on a stump, drenched and pounding a can of Coca- Cola and holding a basketball. Henrietta comes timidly down the path with an umbrella and flashlight, removing her Walkman headphones.<\/scene_description>\n    <character>HENRIETTA<\/character>\n    <dialogue>Jolie, you are soaking wet. What's going on? Why did you want to meet here in the middle of the night?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>This. This tape is going on. I saw it. The whole team saw it.<\/dialogue>\n    <scene_description>Henrietta is silent.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>You lied to me. Why?<\/dialogue>\n    <scene_description>Jolie puts the VHS on the stump and smashes it violently with his basketball. Then he pulls the tape out of the VHS cassette and throws it into the air dramatically.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Don't you have anything to say?! Don't you?!<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>What the fuck?<\/dialogue>\n    <scene_description>Silence.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>How could you lie to me like this? How could you make a fool of me like this?<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>How could I tell you when you never listen?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Why? Why not? I love you.<\/dialogue>\n    <scene_description>Jolie hugs her.<\/scene_description>\n    <character>HENRIETTA<\/character>\n    <dialogue>Sometimes love is not enough.<\/dialogue>\n    <scene_description>Jolie just looks at her. Jolie is dumb struck. Henrietta hugs him.<\/scene_description>\n    <character>HENRIETTA<\/character>\n    <dialogue>I just couldn't tell you about Maple Ave., Jolie. I just couldn't let you down. Your a Magnet kid. Your smart. Your excellent at computer, math and science. You don't understand where I'm coming from. What's important to me.<\/dialogue>\n    <scene_description>Henrietta hides her face in his shoulder.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>I think we shouldn't see each other anymore.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>I think you're right.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>You do?<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <parenthetical>(tearing up)<\/parenthetical>\n    <dialogue>Yeah. This time I think you're actually right.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Kiss me one last time.<\/dialogue>\n    <scene_description>A beautiful silhouette kiss against the dark blue sky in the rain. Jolie's basketball in a glistening puddle. Magnetic tape from the VHS strewn about.<\/scene_description>\n    <character>HENRIETTA<\/character>\n    <dialogue>I never meant any of that to happen. Things just got out of control.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I'll tell your Dad I'm not your tutor anymore.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Thanks. Oh, and here. I want you to have this back.<\/dialogue>\n    <scene_description>Henrietta ejects her tape from her Walkman.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>What's this?<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>It's Milkshake. The 95 R&amp;B mix you gave me at our second tutoring session.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Oh. One of those tracks isn't even out yet though.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Yea, I know. And some are older. It's kind of fucked up.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Just like us I guess.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Just like everyone.<\/dialogue>\n    <scene_description>Jolie looks at the mixtape and Henrietta leaves him standing alone in the rain in the woods. FADE OUT.: BLACKNESS Hold.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOOTLOCKER<\/stage_direction>\n    <scene_description>As Chris Rock would say, Jolie, Christine and Haroon are in the mall 'white people used to go to.' Jolie takes a suede Timberland boot off the shelf.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Dude, I was thinking about getting some Tims.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>So what?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>So you haven't noticed all the kids on the team wear them?<\/dialogue>\n    <character>CHRISTINE<\/character>\n    <dialogue>Duh.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>Man, with sandals you never have to tie your shoes. That's all I'm saying.<\/dialogue>\n    <scene_description>Jolie sizes up the boot next to his foot and looks in the mirror.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Do you have these in a size ten. And bring a what -<\/dialogue>\n    <parenthetical>(looks to Haroon)<\/parenthetical>\n    <dialogue>Size 7? Yeah size seven for Haroon.<\/dialogue>\n    <scene_description>Footlocker kid nods and goes.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>I told you, man, I don't want Tims. I'm a sandals guy. Like Jesus. And Muhammad.<\/dialogue>\n    <scene_description>Haroon sits down defeated and looks in the mirror.<\/scene_description>\n    <character>CHRISTINE<\/character>\n    <dialogue>You'd look good in them, Haroon. You should try them on. Come on. Be cool.<\/dialogue>\n    <scene_description>Haroon looks at his toes, wiggles them. Christine and Jolie french kiss as the Footlocker Kid returns with three boxes of shoes, stopping short to watch Jolie and Christine make-out. Haroon looks away sheepishly. Begin the make out montage:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BLAZERS GYM PARKING LOT - DUSK<\/stage_direction>\n    <scene_description>Run down gravel plot built to fit fifteen cars. Empty except for Jolie and Christine. Wendel and Arius driving off in a bright yellow Geo jeep packed with 7 other kids. Christine and Jolie are french kissing. Both wearing their Timberland boots.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEAUTIFUL CEMETERY - NIGHT<\/stage_direction>\n    <scene_description>On the bank of a stream. Jolie unzips Christine's daisy dukes under the moonlight and traces her exposed skin with the tips of his fingers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EMPTY \"SAFEWAY\" GROCERY STORE PARKING LOT - NIGHT<\/stage_direction>\n    <scene_description>Drizzling. Jolie's Toyota Camry is fogged up, and there are feet in the window.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TACO BELL - NIGHT<\/stage_direction>\n    <scene_description>Jolie and Christine are kissing.<\/scene_description>\n    <character>CASHIER<\/character>\n    <dialogue>Anything else with that?<\/dialogue>\n    <scene_description>We see Christine slip Jolie a lot of tongue.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TACO BELL PARKING LOT - DAY<\/stage_direction>\n    <scene_description>Jolie and Christine walk out of the bell.<\/scene_description>\n    <character>MR. AARONSON<\/character>\n    <dialogue>Jolie.<\/dialogue>\n    <scene_description>Jolie turns to see Mr. Aaronson and Henrietta in their VW van. Henrietta sits all the way in the back wearing headphones.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Mr. Aaronson.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Dad.<\/dialogue>\n    <character>MR. AARONSON<\/character>\n    <dialogue>What's up? You kids want anything from the Bell.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>We just ate. But thanks.<\/dialogue>\n    <character>MR. AARONSON<\/character>\n    <dialogue>OK, well. We're on for this Sunday right?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Oh. Uh, Henrietta didn't tell you? I, uh, can't tutor anymore.<\/dialogue>\n    <character>MR. AARONSON<\/character>\n    <dialogue>What? Uh, why not? Your Dad hasn't mentioned, uh.-<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>No, it's just, the team. Basketball is taking up so much time now is all. Getting ready for the playoffs and everything. Honestly, I'd be so tired I wouldn't even be any good.<\/dialogue>\n    <character>MR. AARONSON<\/character>\n    <dialogue>Dang, Well are you still gonna mow the lawn at least?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I could probably recommend someone. My buddy Haroon's older brother maybe.<\/dialogue>\n    <scene_description>The car behind them in line honks loudly.<\/scene_description>\n    <character>MR. AARONSON<\/character>\n    <dialogue>What's his number? Lemme grab a pen.<\/dialogue>\n    <parenthetical>(shuffling through the glove box)<\/parenthetical>\n    <dialogue>You sure you don't want a bean burrito or anything?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>No. I'm good. It's-.<\/dialogue>\n    <scene_description>Honk!<\/scene_description>\n    <character>HENRIETTA<\/character>\n    <dialogue>Dad!<\/dialogue>\n    <character>MR. AARONSON<\/character>\n    <dialogue>I'll get it from your dad.<\/dialogue>\n    <scene_description>Jolie waves. Henrietta glares at Jolie as they drive off.<\/scene_description>\n    <character>CHRISTINE<\/character>\n    <dialogue>Wow. She really hates you or something.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>CHRISTINE<\/character>\n    <dialogue>Don't pretend like you didn't see that evil eye she gave you.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>What evil eye?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOYOTA CAMRY<\/stage_direction>\n    <scene_description>Parked.<\/scene_description>\n    <character>CHRISTINE<\/character>\n    <dialogue>You know their's a rumor going around that you were hooking up with her?<\/dialogue>\n    <scene_description>The engine roars to life.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Who? Henrietta?<\/dialogue>\n    <scene_description>Jolie blasts the AC - blowing their hair back. Christine kills it.<\/scene_description>\n    <character>CHRISTINE<\/character>\n    <dialogue>Some people even say you're still hooking up.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Henrietta Aaronson?<\/dialogue>\n    <scene_description>Jolie notches up the AC a touch.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>I tutored her in algebra. Her dad is a long time friend of the family.<\/dialogue>\n    <scene_description>Jolie leans over and kisses Christine.<\/scene_description>\n    <character>CHRISTINE<\/character>\n    <dialogue>I was gonna say. Because she's kinda pregnant.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I know, right. You'd have to be twisted to get down with that.<\/dialogue>\n    <scene_description>Jolie bites into a bean burrito, some beans spilling down his cheek.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOLIE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Redman's Whatever Man is playing. Jolie makes out with Christine.<\/scene_description>\n    <character>CHRISTINE<\/character>\n    <dialogue>Do you have a jimmy?<\/dialogue>\n    <scene_description>Jolie searches through his sloppy dresser drawers.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over)<\/parenthetical>\n    <dialogue>I never had to use a condom with Henrietta.<\/dialogue>\n    <character>CHRISTINE<\/character>\n    <dialogue>Hurry up.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Dang. I don't see one here.<\/dialogue>\n    <character>CHRISTINE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Well maybe we can just do it a little bit.<\/dialogue>\n    <character>CHRISTINE<\/character>\n    <dialogue>No way.<\/dialogue>\n    <scene_description>Christine rolls over. Jolie is still for a moment.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>I won't even do it. I'll just feel it.<\/dialogue>\n    <scene_description>Jolie nestles close to her. Beat. The sheets move. Christine lightly moans.<\/scene_description>\n    <character>CHRISTINE<\/character>\n    <parenthetical>(barely audible)<\/parenthetical>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>The covers begin to shuffle CLOSE ON: Jolie's closed eyes. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FANTASY SMOKE FILLED BASKETBALL COURT<\/stage_direction>\n    <scene_description>A spotlit Jolie dribbling down a seemingly endless court. Faint roars of an unseen sell-out crowd cheer him on.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over)<\/parenthetical>\n    <dialogue>In my head I kept thinking about dribbling a basketball down an endless basketball court, playing point guard in the biggest game of the year. The Springbrook game.<\/dialogue>\n    <scene_description>A spotlit Christine does a cartwheel followed by a split.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over)<\/parenthetical>\n    <dialogue>That kept me focused so I wouldn't bust in about two seconds.<\/dialogue>\n    <scene_description>Jolie looks down at his soiled pants, forgetting his basketball that bounces off into darkness.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over)<\/parenthetical>\n    <dialogue>I was gonna pull out but...<\/dialogue>\n    <scene_description>Three old white referees, also spotlit, are blowing their whistles and pointing furiously at Jolie as they charge closer, revealing they all have the face of Mr. Aaronson. BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOLIE'S BEDROOM - THAT MOMENT<\/stage_direction>\n    <scene_description>Jolie's face of extreme worry.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Uh, I better not keep going.<\/dialogue>\n    <character>CHRISTINE<\/character>\n    <parenthetical>(under her breath)<\/parenthetical>\n    <dialogue>Oh. Fuck.<\/dialogue>\n    <scene_description>Silence. Christine takes a few second to cool off.<\/scene_description>\n    <character>CHRISTINE<\/character>\n    <dialogue>Have any music we can listen to?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Yea.<\/dialogue>\n    <scene_description>Jolie grabs some sheets around him and walks over to desk with CDs and junk. In a sneeky manor he grabs a tissue and wipes himself clean, then grabs a Handi-Snacks wrapper and throws them in the trash together. Then he pulls out an All Eyes on Me CD. We get a long close up of the cover. The music begins to play. Jolie and Christine cuddle.<\/scene_description>\n    <character>CHRISTINE<\/character>\n    <dialogue>Do you ever wish you were Tu Pac?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>No. Do you?<\/dialogue>\n    <character>CHRISTINE<\/character>\n    <dialogue>Actually yeah. Sometimes.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Really? Shit, so do I. All the time.<\/dialogue>\n    <character>CHRISTINE<\/character>\n    <dialogue>I can't believe he shot those drunk cops and then the cops' guns turned out to be-<\/dialogue>\n    <character>JOLIE AND CHRISTINE<\/character>\n    <dialogue>-stolen.<\/dialogue>\n    <character>CHRISTINE<\/character>\n    <dialogue>Yeah. So cool right.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>So SO cool.<\/dialogue>\n    <scene_description>Jolie and Christine kiss.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TACO HUT AT FOUR CORNERS - DUSK<\/stage_direction>\n    <scene_description>The crossroads. Two huge four lane roads cross to form a massive intersection. Behind it, a Taco Bell parking lot full of cars. A short line at the 'Drive-Thru.' Kids from the team are hanging out by Jolie's Toyota Camry.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over)<\/parenthetical>\n    <dialogue>As the season rolled on, the Taco Hut became the spot to be. Some days I would just look around and soak it in. I couldn't believe I was even here.<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>That looks like one of them locks you can just bust with your hands.<\/dialogue>\n    <scene_description>They eye a girly looking chain that locks a new forest green girls mountain bike to a bike rack.<\/scene_description>\n    <character>WENDEL<\/character>\n    <dialogue>I don't think so. The rack thing's not, like, stuck down.<\/dialogue>\n    <scene_description>Arius contemplates breaking the lock. He sips the last of his huge soda, the cup still heavy from ice, and launches it over a few parked cars. It crashes loudly in a dumpster.<\/scene_description>\n    <character>ARIUS<\/character>\n    <dialogue>Arright ch'all.<\/dialogue>\n    <scene_description>Arius walks away toward the rack. He yanks the new shiny green mountain bike with two arms up toward his chest. The entire bike rack jerks off the ground but the lock doesn't break. Arius walks on like nothing has happened. Disappears among the parked cars - the sun setting behind them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLAIR BLAZERS HIGH SCHOOL FOYER<\/stage_direction>\n    <scene_description>A large entrance-way with drop ceilings, a black floor, and red trim. The Blazers Emblem is mounted high. A giant copper shield divided into four, like something out of a gladiator movie. It's lunch period and kids from the team are hanging out. Jolie, Haroon, Vlad and Christine are nearby.<\/scene_description>\n    <character>CHRISTINE<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Jolie. I have to tell you something. Wanna go outside for a sec?<\/dialogue>\n    <character>JOLIE<\/character>\n    <parenthetical>(eyes on Ray approaching)<\/parenthetical>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>Ray, walking past, intentionally brushes Haroon with his shoulder. Haroon drops his Handisnacks - his crackers crumbling across the floor.<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Dead man.<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>You're not gonna do shit.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>This aint about you.<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>Man just chill out.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Fuck you.<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>You're just rude. That's why your Mom beat your ass growing up.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Keep talking about my Mom nigga. I'll smash your fucking nigga lips in.<\/dialogue>\n    <scene_description>In a flash Arius wrenches Ray by the collar, swings him around into the tall windows and they slam into them.<\/scene_description>\n    <character>ARIUS<\/character>\n    <dialogue>Say it again.<\/dialogue>\n    <scene_description>Ray throws a punch and a fight breaks out. Kids come running to watch from different classrooms. Arius gets Ray by the collar again and swing him around into the window but this time they fall through the glass. Ray lands on his back outside. Arius falls forward hanging half out of the window and glass punctures his gut.<\/scene_description>\n    <character>ARIUS<\/character>\n    <dialogue>My fucking gut. I'm bleeding all over my fucking Guess. My Guess shit man!<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Ah fuck man. I'm OK. I think I'm OK.<\/dialogue>\n    <scene_description>A large crowd has gathered around the blood and broken window in the aftermath of a fight.<\/scene_description>\n    <character>ARIUS<\/character>\n    <dialogue>Ah shit, man! Ahhh! My fucking gut is burning!<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Holly shit. You need help. Someone call an ambulance.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>Whoa dude. That is a lot of blood. Where is he going?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I dunno.<\/dialogue>\n    <scene_description>Arius hobbles around leaving a trail of blood on the linoleum tiles as Principal Ganus and Mr. Applebaum appear on the scene and hold him up.<\/scene_description>\n    <character>PRINCIPAL GANUS<\/character>\n    <dialogue>An ambulance is on the way.<\/dialogue>\n    <scene_description>Arius is hobbled out. Ray is shepparded off by Mr. Applebaum.. A trail of small spats of blood across the linoleum floor. Principal Ganus is surveying the scene with a few of the kids who were present.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PACKED BLAZER GYM - NIGHT<\/stage_direction>\n    <scene_description>The crowd is filled with energy. Brightly lit. A home game. Everything is red, white, and black. The glossy floor shines like it has just been polished. Go-go music, blasting over the sub-par audio system, fades out. The fifteen Blair Blazers in their red and white warm ups have taken center court for a ritual. Huddled in a pack, hunched over and jumbled together with their arms around each other, swaying back and forth, they get pumped up:<\/scene_description>\n    <character>WENDEL<\/character>\n    <dialogue>Who's house?<\/dialogue>\n    <character>WHOLE TEAM<\/character>\n    <dialogue>OUR HOUSE!<\/dialogue>\n    <character>WENDEL<\/character>\n    <dialogue>Who's house?<\/dialogue>\n    <character>WHOLE TEAM<\/character>\n    <dialogue>OUR HOUSE!<\/dialogue>\n    <character>WENDEL<\/character>\n    <dialogue>Who's house?<\/dialogue>\n    <character>WHOLE TEAM<\/character>\n    <dialogue>OUR HOUSE!<\/dialogue>\n    <scene_description>Ad-lib hollers in excitement as the huddle breaks and they head for the bench. Players wipe the soles of their shoes on the way over.<\/scene_description>\n    <character>COACH DALE<\/character>\n    <dialogue>OK, starting five. Let's go.<\/dialogue>\n    <scene_description>Five players shed their warm ups and gather on the bench. Jolie is one of the starters.<\/scene_description>\n    <character>COACH DALE<\/character>\n    <dialogue>OK, we're gonna come out in a twenty-two going black on made buckets. Wendel and Jolie up front.<\/dialogue>\n    <scene_description>Everyone puts their hands in together in a circle.<\/scene_description>\n    <character>COACH DALE<\/character>\n    <dialogue>Defense on three.<\/dialogue>\n    <character>WENDEL<\/character>\n    <dialogue>Defense on three. One! Two! Three!<\/dialogue>\n    <scene_description>LATER The bench players have formed an entry way for the starters to take the court. On a crappy microphone:<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <dialogue>Starting at point guard. Number twenty two. Joel \"Jolie\" Jolson.<\/dialogue>\n    <scene_description>Jolie trots the isle of his teammates. Wendel stoically slaps fives and gives pounds as he takes center floor. He takes in the experience - looking at the huge crowd in the stands around him. All applauding. Jolie's smile fades, and we see he has spotted Henrietta in the crowd, and not far from her - Christine. Whistle! SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLAZERS GYM - GAME TIME<\/stage_direction>\n    <scene_description>The noises of the game and crowd are very frantic and everything is fast paced. Coach Dale looks at the clock - 30 second left, Blair is down 1 with the ball.<\/scene_description>\n    <character>COACH DALE<\/character>\n    <dialogue>Jolie! Get back in the game! Take Pistol.<\/dialogue>\n    <scene_description>Jolie barrels toward check-in ripping off his warm-ups (top and bottom), squats at mid court - the buzzer sounds - he taps Pistol an underhand five.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Who you got?<\/dialogue>\n    <scene_description>Pistol points at a huge BLOND DUDE who pounds his chest ferociously. A buzzer indicating a substitution. Jolie is passed the ball - he puts a quick move on his man, jab step and cross, slicing through the lane. He fakes a pass behind his back and goes up for a lay up when his shot is blocked and he is slammed violently by a help-side defender. The ref blows his whistle hard and gestures - calls a foul. Jolie is on the ground in pain, holding his hand, wincing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOLSON'S KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Jolie still in his basketball attire, looks down over a large bandage on his thumb. The microwave buzzes.<\/scene_description>\n    <character>ELLIOTT<\/character>\n    <dialogue>That was a great move you made. You would have been on the line for two if that guy didn't injure you.<\/dialogue>\n    <scene_description>Jolie pushes his food away.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Owwwww! My thumb. Sharp pain just shot all the way threw my neck.<\/dialogue>\n    <character>ELLIOTT<\/character>\n    <dialogue>Are you alright?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>ELLIOTT<\/character>\n    <dialogue>More ravioli or anything. I could microwave some more.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>No, I'm good.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HENRIETTA'S HOME - DAY -- STAIRWELL<\/stage_direction>\n    <character>HENRIETTA<\/character>\n    <dialogue>I don't care if I go to Summer School!<\/dialogue>\n    <scene_description>Crumpled on the steps, Henrietta shrieks again.<\/scene_description>\n    <character>HENRIETTA<\/character>\n    <dialogue>This shit is meaningless! Who gives a crap!?<\/dialogue>\n    <scene_description>A paper on the floor is marked with a big fat red F with a circle around it. A note is paper-clipped to the corner of the page. Henrietta shrieks again - launches her TI-81 Calculator at Mr. Aaronson, who dodges and it breaks a few plates that were on display. Mr. Aaronson acts fast.<\/scene_description>\n    <character>MR. AARONSON<\/character>\n    <parenthetical>(mumbling)<\/parenthetical>\n    <dialogue>You're gonna break this thing.<\/dialogue>\n    <scene_description>He checks the calculator and bee lines for the phone.<\/scene_description>\n    <character>MR. AARONSON<\/character>\n    <parenthetical>(genuinely amazed by her anger)<\/parenthetical>\n    <dialogue>Unbelievable.<\/dialogue>\n    <scene_description>He dials - in the background kitchen Henrietta's STEP-MOM rises and comes to check out the commotion.<\/scene_description>\n    <character>STEP-MOM<\/character>\n    <parenthetical>(O.S.)<\/parenthetical>\n    <dialogue>Did Henrietta just break my grandmother's China?<\/dialogue>\n    <character>MR. AARONSON<\/character>\n    <parenthetical>(grabbing the phone)<\/parenthetical>\n    <dialogue>Shhhh.<\/dialogue>\n    <scene_description>Henrietta's shriek carries over into:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVINGROOM<\/stage_direction>\n    <scene_description>Jolie and Elliott eat ice cream - they both look very tired. Jolie lies on the couch, still in uniform. The late nights lurid news plays on a small white television.<\/scene_description>\n    <character>MALE NEWS ANCHOR<\/character>\n    <parenthetical>(on the television)<\/parenthetical>\n    <dialogue>They said 'had they known it was Jordan's Dad they never would have done it...'<\/dialogue>\n    <character>FEMALE NEWS ANCHOR<\/character>\n    <dialogue>If only they had seen the license plate... Airness, they might have known.<\/dialogue>\n    <scene_description>On the TV: Jordan's Dad's Red Lexus 400, parked, now with a smashed back window as well. The shot zooms into the license plate - AIRNESS. The phone rings. Elliott checks the circa 90's caller ID - a separate box wired to the phone.<\/scene_description>\n    <character>ELLIOTT<\/character>\n    <dialogue>The Aaronsons? At this hour? Should I get it?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I don't know?<\/dialogue>\n    <character>ELLIOTT<\/character>\n    <parenthetical>(answers)<\/parenthetical>\n    <dialogue>Hello.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JOLIE'S HOME - NIGHT<\/stage_direction>\n    <scene_description>Jolie in his uniform and Timberland boots, and his Dad Elliott in boxers, a T-shirt and barefoot, run to the minivan.<\/scene_description>\n    <character>ELLIOTT<\/character>\n    <dialogue>They think only you can talk her off the ledge.<\/dialogue>\n    <scene_description>Jolie looks like a deer in headlights.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Why me?<\/dialogue>\n    <character>ELLIOTT<\/character>\n    <dialogue>That's what she said.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Really? Dang.<\/dialogue>\n    <character>ELLIOTT<\/character>\n    <dialogue>Well she's not literally on a ledge. Figuratively. Do you know what figuratively means?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Duh. Come on, Dad. Just drive.<\/dialogue>\n    <scene_description>They hop in the van.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS OF TAKOMA PARK<\/stage_direction>\n    <scene_description>The drive past a sign that symbolizes 'Caution, Kids at Play.'<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HENRIETTA'S LIVINGROOM<\/stage_direction>\n    <scene_description>Jolie, still in his pajamas, walks up the steps then stops to look down them with frightened hesitation in his eyes. The four parents look up - some give a few encouraging nods.<\/scene_description>\n    <character>MR. AARONSON<\/character>\n    <dialogue>You don't have to do this.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Don't worry, I know how to help Henrietta get her shit together.<\/dialogue>\n    <character>ELLIOTT<\/character>\n    <dialogue>Jolie.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Dad. Come on. You know what I mean.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HENRIETTA'S BEDROOM<\/stage_direction>\n    <scene_description>Total darkness. No TV. No overhead light. Both kids are wearing white. Henrietta's stands in front of a mirror, face wet and red from crying. Jolie hugs her from behind.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Henrietta, your Dad showed me the test. It was bad, but if you get an A on your last exam you'll still pass.<\/dialogue>\n    <scene_description>He flicks on a soft warm lamp and kisses her neck.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>You just gotta learn to distribute.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>You really think I don't know how to do that shit?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>That test isn't why I was so mad.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>What is it then? You can talk to me. You can tell me anything.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>I wasn't invited with you guys to the Tyson fight tomorrow. The one on pay TV. I heard everyone was going and I just flipped out. I mean what's the deal?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>What? You mean the Bowe fight?<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Yeah. Bowe, Tyson, whatever. The point is the whole team's going.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Yeah. It's pretty much just a team thing though.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>No it's not. Wendel, Arius, and Codroy are all bringing girls.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Oh. I didn't know that. Well, why don't I just call you when I figure out what time we're going.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Well the fight is at eight, right?<\/dialogue>\n    <scene_description>Henrietta puts her hand on his leg.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Is it?<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Yeah. And everyone's going to Muhammad Ali's Rotiserie Chicken at City Place.<\/dialogue>\n    <scene_description>She slides her hand up.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Well, I don't know. You have a lot of studying.<\/dialogue>\n    <scene_description>Uneasy with her advances, Jolie plucks a Cliff Livingston basketball card off the wall.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Cliff Livingston. I forgot about that guy.<\/dialogue>\n    <scene_description>Henrietta goes for a kiss.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Henrietta. Come on? We're not together anymore.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <parenthetical>(suddenly angry)<\/parenthetical>\n    <dialogue>You know Spud Web only gets a roster spot because he's a circus freak. He shouldn't be there, and that's why he sells tickets. Don't you get it. He's not good, he's just a draw. Is that what you want to be, a circus freak?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>He won the dunk contest. The guy's a beast. You're way out of your league.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>The league is about making money. Jolie, the only reason you even got on varsity is because your Dad paid for the new uniforms. You never would have made it even with Francisco getting arrested. Don't you realize that?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>No he didn't.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Yes he did. They cost over two thousand dollars. How could you not know that? I mean you made Varsity at Blair after being cut from JV last year. When have you ever seen that happen?<\/dialogue>\n    <scene_description>The news hits Jolie hard.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>That's not true. Where did you hear that?<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>My Dad talking to your dad on the phone in the kitchen.<\/dialogue>\n    <scene_description>Jolie looks at his bandaged hand - lost in deep depressing thought. Henrietta leans into Jolie. Strokes his leg. Jolie, defeated, leans into her comforting arms.<\/scene_description>\n    <character>HENRIETTA<\/character>\n    <dialogue>I still love you, though. None of that matters to me.<\/dialogue>\n    <scene_description>Henrietta kisses him. He kisses her back. Henrietta's father knocks.<\/scene_description>\n    <character>HENRIETTA<\/character>\n    <dialogue>Dad, we're studying here! Do you mind?<\/dialogue>\n    <character>MR. AARONSON<\/character>\n    <parenthetical>(off screen)<\/parenthetical>\n    <dialogue>Sorry. I just wanted to see if you guys needed anything.<\/dialogue>\n    <scene_description>Silence for a moment as the kids are frozen, then we hear him head down stairs. Jolie lies down and Henrietta spoons him. They cuddle.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HENRIETTA'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>A full moon illuminates: Jolie leaves with his Dad and a big fat rice crispy treat in his mouth. They pass a Black Volvo and an old Red Volkswagen Bug and Golden Retriever sleeping in the yard. They hop into the Minivan. Jolie takes a big bite of the rice crispy treat as they drive past a \"speed hump\" sign.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over)<\/parenthetical>\n    <dialogue>It must have been good for Henrietta too, because afterwords, she didn't mention joining the team to the Bowe fight, she didn't mention Christine, she didnt mention nothing.<\/dialogue>\n    <scene_description>As they drive off Jolie looks back at Henrietta's home getting smaller and smaller. A speed hump sign in the foreground, and a basketball hoop set up on the street.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over)<\/parenthetical>\n    <dialogue>Still though, I was worried she'd show anyway. If she did, I didn't know what I was gonna do.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY PLACE MALL - NIGHT<\/stage_direction>\n    <scene_description>Wide, dark, empty streets, lit up by pools of light from street lamps. Haroon and Jolie cross to: Muhammad Ali's Chicken, a restaurant with TV's in the windows, and a color scheme of red, black, and white.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>So she was just pissed because you didn't invite her to this?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>But it sounds like she was really freaking out. I mean you said she smashed their PC.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Yeah, when I first got there she didn't even have any clothes on.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>She threw her pajamas into the fireplace. I swear to God.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>I don't know. I mean maybe something more is going on?<\/dialogue>\n    <scene_description>They pass a BLIND BLACK MAN in a black suit poking around a seeing-eye stick, trying to orient himself.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>I mean, she's pregnant and it sounds like she's keeping the baby. Like she's fulfilling some need or something.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Yeah - the need for something.<\/dialogue>\n    <scene_description>They cackle.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>You wear a condom right?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I don't have to. She's pregnant.<\/dialogue>\n    <scene_description>They laugh harder.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>Ah man. Ah man. That is crazy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CITY PLACE MALL<\/stage_direction>\n    <scene_description>They enter and their demeanors shift - they both affect bravado.<\/scene_description>\n    <character>HAROON<\/character>\n    <parenthetical>(softly)<\/parenthetical>\n    <dialogue>Have you ever been here?<\/dialogue>\n    <character>JOLIE<\/character>\n    <parenthetical>(softly)<\/parenthetical>\n    <dialogue>Not for a fight?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUHAMMAD ALI'S CHICKEN<\/stage_direction>\n    <scene_description>Haroon and Jolie walk threw looking for their friends; we take in the setting as they do. An old dude finishes a coke through a straw; we hear the loud bubbling noise. The giant plastic cup has a picture of Muhammad Ali in his prime. B &amp; W Muhammad Ali posters fill the walls. Ali stands in glory over his unconscious opponents, or lays blows to their faces, sweat frozen in the air as it flies from their bodies. The food is laid out cafeteria style. The tables and booths are a step above any fast food joint. Televisions hang from every angle, some even face the streets to attract pedestrians. On every television, without exception: a boxing match. Bowe versus a large white guy, Golota. Watching are about a hundred and fifty black people of all ages, mostly male, packing the restaurant. The crowd subdued by the early rounds. Jolie finds his friends from the team and their girlfriends lining the shinny metal railing that guides people along the buffet style assortment of chicken and biscuits. Jolie is the only white person in the whole spot.<\/scene_description>\n    <character>CHRISTINE<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>CHRISTINE<\/character>\n    <dialogue>Did you see those guys who killed Jordan's Dad got life?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Yeah. I did.<\/dialogue>\n    <character>CHRISTINE<\/character>\n    <dialogue>They said, if only they had seen the license plate, Airness. They --<\/dialogue>\n    <character>JOLIE AND CHRISTINE<\/character>\n    <dialogue>Never would have done it.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>Dude, my dad just 911-ed me.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>When did you get a pager?! That is tight, dude.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>Last week. You just haven't been around that much.<\/dialogue>\n    <scene_description>Haroon peels off as the crowd ad-libs excitement. Jolie looks to the match. We see the fight itself, close up on the television: Bowe has Golota cornered. A couple of blows are deflected and Golota, the lug, clinches Bowe in a bear hug. Disappointment from the crowd.<\/scene_description>\n    <character>WENDEL<\/character>\n    <dialogue>A sucker move.<\/dialogue>\n    <scene_description>The crowd roars again, but this time they rush to the windows - jostle for a view of the street where:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. MUHAMMAD ALI'S CHICKEN<\/stage_direction>\n    <scene_description>Two black kids wrestle on the sidewalk. We see Haroon behind them on the pay-phone, watching. The kids fighting have jeans that are falling off and one of them has lost a gym shoe. In the windows everyone cheers them on, pounding the Plexiglas. Including Jolie and Christine. Above them in the windows are two televisions of the fight, that face the street. In the TV, the boxers and the referee shuffle aimlessly around the ring. The kids on the sidewalk are scrappy; they grab and stretch at shirts; neither can escape the others' grasp. They reach a stalemate, knotted awkwardly and exhausted; fury replaced by heavy breathing; one has a bloody nose and a huge scratch on the cheek<\/scene_description>\n    <character>FIGHT KID 1<\/character>\n    <dialogue>You ripped my Polo shit, motherfucker! You ripped my Polo shit!<\/dialogue>\n    <character>FIGHT KID 2<\/character>\n    <dialogue>You scratched my face, nigger!<\/dialogue>\n    <scene_description>The crowd watches the stalemate and the cheering and pounding mellows, slowly they bore, returning to their seats. Suddenly on the television there is a whirlwind of action and punches are chaotically thrown by both fighters. The crowd erupts at the televisions. The kids on the sidewalk remain tangled, breathing hard. On television Golota throws a combo of blows below the belt and Bowe tumbles to the mat. The referee jumps and waves furiously at the penalty which he reports to the judges in a series of arm waves and animated hand signals. We see the people in the front rows at the boxing match, almost all white, and wearing glamorous suits and dresses. The patrons go berserk. Extreme close-up on the replay: Golota pounding Bowe in the nuts; Bowe's face distorted in pain. Ad-lib excitement from everyone but Jolie who is looking over at the entrance.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over)<\/parenthetical>\n    <dialogue>Strangely Henrietta never showed. I should have been relieved, but instead I felt awful. It was like yesterday we were in love and today she didn't even care I was with Christine.<\/dialogue>\n    <scene_description>They all look at the TV - Golota has won - his arm is raised, he's the new champion of the boxing world.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BLAIR BLAZERS GYMNASIUM - NIGHT<\/stage_direction>\n    <scene_description>The little gravel parking lot is filled to the brim. Kids of all shapes and sizes are gathering. Some carry signs. Most are wearing red and white. The opposing school kids wear blue.<\/scene_description>\n    <character>COACH DALE<\/character>\n    <parenthetical>(O.S.)<\/parenthetical>\n    <dialogue>This is what it all comes down to.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEARBY SUBURBAN STREETS<\/stage_direction>\n    <scene_description>The streets lined with cars. Kids and parents walk in droves.<\/scene_description>\n    <character>COACH DALE<\/character>\n    <parenthetical>(O.S.)<\/parenthetical>\n    <dialogue>This is where we find out what we're made of.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TICKET BOOTH WINDOW IN GYMNASIUM<\/stage_direction>\n    <scene_description>The line spirals around the corner and down the steps.<\/scene_description>\n    <character>COACH DALE<\/character>\n    <parenthetical>(O.S.)<\/parenthetical>\n    <dialogue>What we have trained for, not just this season, but for you seniors, the last four years.<\/dialogue>\n    <scene_description>CLOSE ON: A ticket torn at the door. One in a long line.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLAZERS WEIGHT ROOM<\/stage_direction>\n    <scene_description>Coach Dale is directly in front of a stand alone chalk board.<\/scene_description>\n    <character>COACH DALE<\/character>\n    <parenthetical>(O.S.)<\/parenthetical>\n    <dialogue>Is it unfair that we drew Springbrook in the first round? Yes. Random seeding is only because the sorry white schools complained to the school board about always losing in the first round. When I was younger the regular season meant something around here.<\/dialogue>\n    <scene_description>Coach Dale begins diagraming the board.<\/scene_description>\n    <character>COACH DALE<\/character>\n    <dialogue>But that means nothing now. We gotta go out and play no matter what. We're gonna open in a one- twenty-two. Wendel on the ball, Pistol on the two. Falling back into the half court, we go one- twenty FIVE. Forcing left. Trap and take the throwback.<\/dialogue>\n    <parenthetical>(suddenly disturbed)<\/parenthetical>\n    <dialogue>Where's Jolie?<\/dialogue>\n    <character>ASSISTANT COACH<\/character>\n    <dialogue>He's such a goof ball, man. This is the playoffs. Where is he at?! Who's seen Jolie?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCKERROOM SHOWERS<\/stage_direction>\n    <scene_description>Three Cheerleaders drag Jolie, with his bandaged thumb, to the showers. Jolie looks genuinely scared.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Ms. Bart. I know you're the cheerleading coach and all, but this really better be important. I'm supposed to be in the weight- room by now.<\/dialogue>\n    <character>CHEERLEADING COACH<\/character>\n    <dialogue>You're injured. And like I said, this is more important than any basketball game. This is life or death Jolie.<\/dialogue>\n    <scene_description>They arrive at the last shower stall - Christine on her knees in tears.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Christine?<\/dialogue>\n    <scene_description>Jolie steps into the shower. The Coach leaves them alone.<\/scene_description>\n    <character>CHRISTINE<\/character>\n    <dialogue>Jolie. I haven't had my period in three months.<\/dialogue>\n    <scene_description>She sobs. Jolie gets on his knees.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Well, maybe you should get one of those things and check it out.<\/dialogue>\n    <character>CHRISTINE<\/character>\n    <dialogue>A pregnancy test?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>CHRISTINE<\/character>\n    <dialogue>I did.<\/dialogue>\n    <parenthetical>(she cries)<\/parenthetical>\n    <dialogue>I'm pregnant with your baby.<\/dialogue>\n    <scene_description>She cries and shivers. Beat.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>No worries. My Dad will let me put it on his credit card. Trust me.<\/dialogue>\n    <scene_description>She cries. Suddenly Jolie has a face of determination. He unwraps his bandaged thumb and throws it on the floor.<\/scene_description>\n    <character>CHRISTINE<\/character>\n    <dialogue>Oh God. I'm sorry.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>No. It's not your fault. I gotta run though. Let's talk about this after the game, OK? The team needs me.<\/dialogue>\n    <scene_description>Christine nods but clearly wants to refuse.<\/scene_description>\n    <character>CHRISTINE<\/character>\n    <dialogue>What for? You're injured anyway.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I'm ok though. I can play through it. do you understand. I just gotta do this?<\/dialogue>\n    <character>CHRISTINE<\/character>\n    <dialogue>What? I just told you I'm pregnant with your baby. Doesn't that mean anything.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Tonight I'm gonna play for you and our baby.<\/dialogue>\n    <scene_description>Jolie kisses her and runs off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEIGHTROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Jolie sneaks in. Coach Dale notices.<\/scene_description>\n    <character>ASSISTANT COACH<\/character>\n    <dialogue>Jolie! Where the hell have you been!?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I got stuck with no toilet paper, coach.<\/dialogue>\n    <character>ASSISTANT COACH<\/character>\n    <dialogue>Damn man. This is the biggest game of the year.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I know. It wasn't my fault. I gotta be light on my feet.<\/dialogue>\n    <character>ASSISTANT COACH<\/character>\n    <dialogue>You make me sick.<\/dialogue>\n    <character>COACH DALE<\/character>\n    <dialogue>Bring it in.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>My hand is all better. Look.<\/dialogue>\n    <scene_description>Jolie takes a ball from an assistant coach and pounds it showing no sign of pain. Then palms it in his bad hand. Dale stares at him like he's a fool.<\/scene_description>\n    <character>WENDEL<\/character>\n    <dialogue>Let's go baby! Bring it in.<\/dialogue>\n    <scene_description>The coaches exit, and the players quiet down for a quick prayer.<\/scene_description>\n    <character>TEAMMATES<\/character>\n    <dialogue>Hail Mary Full of Grace, the lord is with you, blessed are you among women, and blessed is the fruit of your womb, Jesus. Holy Mary Mother of God, pray for us sinners, now and at the hour of our death. Amen.<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>Domination baby! Domination!<\/dialogue>\n    <scene_description>The team snaps into game mode forming a single file line. The two assistant coaches scramble in with game balls and hand them off to the first and second players in line. Jolie ditches his practice ball and files in. The players start clapping in rhythm. One. One, two. One. One, two.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over)<\/parenthetical>\n    <dialogue>That night. I never played. None of us did. Because there never was a game. Before the opening tip even kicked it off a fight between schools broke out in the crowd. Some fired a gun twice, and all hell broke loose.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GYMNASIUM - NIGHT<\/stage_direction>\n    <scene_description>All of Wayne Avenue fills with police cars. Mobs of kids and parents and players flee the scene. Among them are all the characters we know. WENDEL and WENDELS MOM duck into their old Buick. Christine's and CHRISTINE'S MOM run for their Lexus. Mr. Aaronson and Henrietta run for their VW van. HAROON'S DAD and ZEKE and Haroon sneaks him off to the gold 80's Nissan hatchback. Jolie and Elliott run and duck behind the red Nissan Quest mini van.<\/scene_description>\n    <character>ELLIOTT<\/character>\n    <dialogue>Jolie, are you OK?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Yeah. Was that gun shots?<\/dialogue>\n    <character>ELLIOTT<\/character>\n    <dialogue>I don't know. Stay down just in case.<\/dialogue>\n    <scene_description>From the van, Jolie and Elliott see Francisco, Arius and Hunio all running into the woods among the chaos.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAIN OFFICE<\/stage_direction>\n    <scene_description>Lined with windows, yields a view to an empty hall. Jolie sits, waiting...sees Christine and a couple other cheerleaders, no longer in uniform, pass by. Jolie waves and Christine holds up both hands as if to say \"come on\" and continues walking... Suddenly a group of black girls come barreling down the hallway like they are possessed. They are followed in droves by other minorities. Black girls bounce up and down and cry and paw at each other. Black boys and kids of other races, not quite as ecstatic but still amazed join the celebration. A couple of kids are slammed loudly against the window in the excitement. Through the glass Jolie can hear:<\/scene_description>\n    <character>BLACK GIRL<\/character>\n    <dialogue>We won! We won! We won!<\/dialogue>\n    <scene_description>SUPERIMPOSE in the top left corner in white letters: OJ Simpson was just found not guilty. The hallway is growing into total commotion and chaos. Jolie walks through the doorway into the hall and the camera follows without a cut. Jolie looks out of place as he takes it all in. The wild scene rages. Jolie looks back into the main office. Ray comes out of Principal Ganus's door. His eyes red from tears, he curses to himself. Principal Ganus emerges, acknowledges the commotion in the hallway.<\/scene_description>\n    <character>PRINCIPAL GANUS<\/character>\n    <dialogue>What the hell is going on out there?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>OJ Simpson....not guilt.<\/dialogue>\n    <scene_description>Principal Ganus is stone faced. He gestures Jolie into his office. Ray brushes shoulders with Jolie.<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>You're dead.<\/dialogue>\n    <character>PRINCIPAL GANUS<\/character>\n    <dialogue>Look who you're stepping to, Ray. A little white boy?<\/dialogue>\n    <scene_description>Ray blows it off.<\/scene_description>\n    <character>PRINCIPAL GANUS<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Jolie. Come with me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRINCIPAL'S OFFICE<\/stage_direction>\n    <character>PRINCIPAL GANUS<\/character>\n    <dialogue>Look. I'm not proud of what happened in that gym.<\/dialogue>\n    <scene_description>Surrounded by proud school ornaments and paraphernalia. Jolie sits alone in a chair, an empty chair adjacent him.<\/scene_description>\n    <character>PRINCIPAL GANUS<\/character>\n    <dialogue>Everyone who was caught fighting is being suspended for a minimum of three days. And that includes most of the team. But a suspension for you would only tarnish the reputation of the Magnet program. So...<\/dialogue>\n    <scene_description>Principal Ganus thumbs through a manila envelope.<\/scene_description>\n    <character>PRINCIPAL GANUS<\/character>\n    <dialogue>You're going to do this school a favor,<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>at the international math meet.<\/dialogue>\n    <scene_description>He hands Jolie a form.<\/scene_description>\n    <character>PRINCIPAL GANUS<\/character>\n    <dialogue>You were great your freshman year. Your calculus teacher tells me your still great, but for some reason you quit.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I made JV that year.<\/dialogue>\n    <character>PRINCIPAL GANUS<\/character>\n    <dialogue>Well, there's going to be no rematch of the Springbrook playoff game. Both teams are forfeiting. So now you've got plenty of time, that's for damn sure.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>They're not rescheduling our game? That's insane.<\/dialogue>\n    <character>PRINCIPAL GANUS<\/character>\n    <dialogue>The math team needs you Jolie. We're on the verge of nationals.<\/dialogue>\n    <character>PRINCIPAL GANUS<\/character>\n    <dialogue>This year we settles for nothing less than number one, second to none.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>In whole numbers.<\/dialogue>\n    <scene_description>The principal laughs at his own joke.<\/scene_description>\n    <character>PRINCIPAL GANUS<\/character>\n    <dialogue>You can go now.<\/dialogue>\n    <scene_description>Stunned, Jolie grabs his bag and heads for the door.<\/scene_description>\n    <character>PRINCIPAL GANUS<\/character>\n    <dialogue>Oh, one more thing. You will also join the team for an additional 40 hours of community service, as part of the new \"Adopt a Highway\" Program. It's part of the team punishment.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BALZERS HIGH SCHOOL HALLWAY - DAY<\/stage_direction>\n    <character>JOLIE<\/character>\n    <dialogue>It's not fair man. I mean everyone got suspended on the team but me. Just because I'm in the Magnet.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>Wake up dude. Life's not fair. Who ever said it was.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Are you sure you wanna do that? We're in the middle of C hall.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>I told you. I don't give a fuck.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Really? On Mr. Applebaum's door? Yall have been warring. He's gonna know it was you.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>So what?<\/dialogue>\n    <scene_description>Haroon pulls out a spray-paint can and writes the words 'Thugg Life' over Mr. Applebaum's classroom door and wall.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(soft)<\/parenthetical>\n    <dialogue>Jesus Christ, man.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>You just sprayed painted 'thugg life' on Mr. Applebaum's door.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>I know. Duh.<\/dialogue>\n    <scene_description>They admire the work for a moment. Then run for cover. They burst through an exit and out into the blinding light.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL ZONE<\/stage_direction>\n    <scene_description>Haroon and Jolie run into the teachers' parking lot ducking between cars as they catch their breath.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>You could get suspended for that.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>Who cares? What does school even matter?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>What's gotten into you?<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Maybe my parents are getting divorced and you don't even know about it.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Are you serious?<\/dialogue>\n    <scene_description>Haroon draws the spray can like he's about to go to work on the cars, but Jolie fights him for it.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>Gimmie my spray-paint! Owww. Fuck you.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>It's for your own good. This car belongs to Principal Ganus.<\/dialogue>\n    <scene_description>They stair each other down.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>I swear, of all the things you have to worry about.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>What's that supposed to mean.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>Come on dude.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Come on what?<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>Are you numb? The whole school knows Christine is pregnant with your baby.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Dude. It's not like that. She's gonna get an abortion. She comes from a wealthy family.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>So what if she does. Doesn't it mean anything to you?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I don't know. I don't know what it means. It just happened.<\/dialogue>\n    <scene_description>Jolie ponders the situation. Haroon shakes his head. Jolie pulls out a magic marker and begins to write on the car.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>Magic marker? That is so lame. Don't get me started.<\/dialogue>\n    <scene_description>Haroon pops the top of his spray can and begins to shake it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOLIE'S BASEMENT - NIGHT<\/stage_direction>\n    <scene_description>Lit by a TV, the room could be it's own apartment. Wendel sleeps with a Super Nintendo controllers in his laps, on a futon. Arius, Codroy and a few kids from the team are asleep all around the room.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(V.O.)<\/parenthetical>\n    <dialogue>Once everyone heard that I got Christine pregnant, it was like I was the coolest kid in school.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>All the kids from the team wanted to hang at my place while my parents were gone. And even some cheerleaders came too.<\/dialogue>\n    <scene_description>Christine and Jolie make-out, lying on the floor\/power pad.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(V.O., cont.)<\/parenthetical>\n    <dialogue>I told them all it was Haroon who spray-painted 'Free Mike Tyson,' and even he was cool too.<\/dialogue>\n    <scene_description>Haroon, half asleep, sparking the tail end of a blunt.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(V.O., cont.)<\/parenthetical>\n    <dialogue>We even smoked a blunt. It was our first time gettng blazed and drunk.<\/dialogue>\n    <scene_description>Soda cans, crumbs, bags of chips, and other treats and wrappers are scattered around. On the television: the audience laughs wildly at a Monkey doing sign language on the Carson show.<\/scene_description>\n    <character>JOHNNY CARSON<\/character>\n    <parenthetical>(on television)<\/parenthetical>\n    <dialogue>What's he saying now? What's he signing?<\/dialogue>\n    <scene_description>The guest interprets.<\/scene_description>\n    <character>GUEST<\/character>\n    <parenthetical>(on television)<\/parenthetical>\n    <dialogue>He wants to say he loves you all, and he wishes he could hang onto these people a little longer, connect with them a little deeper, before it's all over.<\/dialogue>\n    <scene_description>The Carson crowd laughs wildly. Jolie's hand slides up Christine's skirt.<\/scene_description>\n    <character>CHRISTINE<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Jolie! No way. Not until you know what.<\/dialogue>\n    <character>JOLIE<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Don't worry.<\/dialogue>\n    <character>CHRISTINE<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>When? You've been saying you're gonna get your Dad's credit card for like a month. Time is of the essence here, duh.<\/dialogue>\n    <character>JOLIE<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>I told you I'm on it. First thing when my parents get back. But this is the best time to do it because we dont have to wear a condom. Come on, let's go upstairs. Trust me.<\/dialogue>\n    <scene_description>He reaches back up her skirt.<\/scene_description>\n    <character>CHRISTINE<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>No means no, Jolie.<\/dialogue>\n    <scene_description>Christine pushes him away. Haroon comes out of the bathroom.<\/scene_description>\n    <character>HAROON<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Dude. I am blazed out of my mind right now, but I think someone's hiding in your shower?<\/dialogue>\n    <character>JOLIE<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Forreal?<\/dialogue>\n    <character>HAROON<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Yeah, dude. Check it.<\/dialogue>\n    <scene_description>Jolie grabs a portable phone, bracing himself for battle.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM<\/stage_direction>\n    <character>JOLIE<\/character>\n    <dialogue>Who's there?<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Jolie.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Damn Henrietta. You scared the shit out of me.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>How could you?<\/dialogue>\n    <scene_description>She opens the curtains.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>What? What are you doing in my basement bathroom?<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>I'm catching you cheating with Christine! You asshole!<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Shhh. People are sleeping.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Don't lie to me. You think I dont know shit. She's pregnant with your baby.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Whao.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>You think the Maple Ave. kids don't hear mad junk about the Magnet kids.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Henrietta, relax.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>I know about all that stuff, how y'all hooked up during floor hockey intramurals under the trampoline. Everything. You think I don't have friends? I have friends!<\/dialogue>\n    <scene_description>Henrietta starts crying.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Come on, I know you have friends Henrietta.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>You think I'm a fool? I watched you make out with her on the Power-pad two second ago!<\/dialogue>\n    <scene_description>Crying, Henrietta exits. The basketball team and cheerleaders have woken up from the argument, and are now enraptured by the drama. Jolie and Haroon looks like dear in headlights.<\/scene_description>\n    <character>CHRISTINE<\/character>\n    <dialogue>All this time you've been hooking up with some pregnant girl failing out of school. I am so fucking humiliated right now. Don't you ever, ever, ever so much as speak to me again. Come on girls.<\/dialogue>\n    <scene_description>Christine and three other cheerleaders leave the party.<\/scene_description>\n    <character>WENDEL<\/character>\n    <dialogue>Damn Jolie, all the girls just bounced.<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>Yea, let's get out of here.<\/dialogue>\n    <scene_description>The kids from the team leave and Jolie and Haroon stand alone.<\/scene_description>\n    <character>HAROON<\/character>\n    <dialogue>Damn man. I better go too. This shit is too fucked up right now.<\/dialogue>\n    <scene_description>Jolie stands all alone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAPLE AVE - NIGHT<\/stage_direction>\n    <scene_description>The street sign reads Maple Ave. It is lined with tall apartment buildings. Government housing. Bus stops. And cheap liquor stores and sub shops. Jolie walks down the street.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(V.O.)<\/parenthetical>\n    <dialogue>The next day I found out Christine had the abortion on her own. She said she asked the doctor to see the fetus.<\/dialogue>\n    <scene_description>Jolie approached one of the apartment buildings.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(V.O., cont.)<\/parenthetical>\n    <dialogue>The doctor said she wasn't supposed to showed it, but did anyway.<\/dialogue>\n    <scene_description>Jolie buzzes up to an apartment.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAPLE AVE APARTMENTS - NIGHT<\/stage_direction>\n    <scene_description>ELEVATOR Jolie rises.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(V.O., cont.)<\/parenthetical>\n    <dialogue>Christine said the dead fetus looked like a baby squirrel. Like the ones that fall out of the nest and are on the sidewalk dead with no fur yet. I guess it went well though.<\/dialogue>\n    <scene_description>ARIUS'S APARTMENT The living room of a small dim one bedroom. Sensual R&amp;B tunes play softly from a small radio.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(V.O., cont.)<\/parenthetical>\n    <dialogue>After that Arius said not to worry about anything. That Christine would be cool, and Henrietta was just fucked up anyway.<\/dialogue>\n    <scene_description>A gold cross hangs on the fake wood paneling with some framed family photos at a summer bar-b-que, a wedding, and the beach.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(V.O., cont.)<\/parenthetical>\n    <dialogue>He even invited me back to his place. It was the first time I had ever been to Maple ave.<\/dialogue>\n    <scene_description>Four kids from the team are playing cards around a coffee table for one dollar bills siting mostly on a puffy floral patterned couch covered in shinny plastic.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(V.O., cont.)<\/parenthetical>\n    <dialogue>Everybody played this ghetto version of Jin Rummy called 'Tunk.'<\/dialogue>\n    <scene_description>They all wear Addidas flip flops with socks and name brand sweatpants (Hillfiger, Nautica, Polo, etc.). Some of the kids have on athletic shorts on under their sweatpants, In the background, Jolie has a gray ratty hoody on, and is hunched over and old PC computer with Arius, a beer-bellied, balding black dude who is smoking a cigarette and has no shirt on.<\/scene_description>\n    <character>WENDEL<\/character>\n    <dialogue>Jolie, you want in?<\/dialogue>\n    <scene_description>Everyone else, other than Jolie, is also shirtless. The kids have exquisite ABS, the kind you see on television.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Naw. I gotta see this.<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>Ok. Here it goes.<\/dialogue>\n    <scene_description>Close on: An arrow clicks on the play button, but the image stays frozen: a low res picture of a bare ass black man mounted miliary style on a black girl. The image moves for a brief moment. We hear a grown with half a thrust, and the image freezes again. Then it reverts to the beginning image.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>Yeah. This is the future right here.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Why wont it go play or whatever?<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>Bandwidth.<\/dialogue>\n    <character>JOLIE<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>Oh yea.<\/dialogue>\n    <scene_description>Jolie tokes a blunt. Arius takes a last puff and puts it out. A little cute six year old girl comes out of the bedroom with a sheet of paper and pencil.<\/scene_description>\n    <character>CUTE GIRL<\/character>\n    <dialogue>Arius. Who was the first president of the United States?<\/dialogue>\n    <character>ARIUS<\/character>\n    <dialogue>Uh, George Washington.<\/dialogue>\n    <scene_description>She runs back into the bedroom.<\/scene_description>\n    <character>ARIUS<\/character>\n    <dialogue>So. That's what it's all about. I'm a capital venturist man. Internet porn is the future of sexual healing. Henrietta was just the first of many. It's big business. Dollar bills man.<\/dialogue>\n    <scene_description>Jolie looks on, stoned. Not sure what to make of it all.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE BELTWAY - DAWN<\/stage_direction>\n    <scene_description>A six lane highway banks a sharp curve. It's raining lightly. On the shoulder of the highway are kids from the Blair Basketball team picking up trash with pokers. They are spread out - a kid every 25 yards or so - and together they extend clear around the curve and out of sight. Jolie pokes a Coke can. Jolie plucks the can off the end metal nail and realizes he also stabbed the tape liner notes of MC Hammer's \"Please Hammer Don't Hurt'em.\" There is a picture of Hammer on the cover. The coach sits in a nearby van with its lights on, parked in the shoulder. He sips hot coffee, watching. Jolie looks closely at the tape insert. It's a picture of Hammer but someone has scratched out his eyes with a pen. And the poker has put a hole through his face.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over)<\/parenthetical>\n    <dialogue>I wasn't sure what to make of it all. Why Henrietta's parents never know she was pregant until too late? Or why I never said something myself? It was like none of it really mattered, or was even real at all, until it was too late.<\/dialogue>\n    <scene_description>CLOSE ON: An old PC monitor. A picture slowly emerging from a blurry pixilated square of colors.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(voice over)<\/parenthetical>\n    <dialogue>After that I used the internet to find a bunch of places that would take Henrietta's baby up for adoption. It wasn't easy, but I found all the information right from Haroon's basement, using Netscape.<\/dialogue>\n    <scene_description>The picture of a couple materializes: hopeful parents and their profile.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HAROON'S SECOND HOME - DAY<\/stage_direction>\n    <character>HAROON<\/character>\n    <dialogue>This couple looks good.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Yeah, yeah, yeah. They're perfect. All I have to do is convince Henrietta.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>Are you guys still on good terms?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I don't know. Our sessions are in the kitchen now.<\/dialogue>\n    <scene_description>Adreseis enters.<\/scene_description>\n    <character>ADRESEIS<\/character>\n    <dialogue>We got the trampoline set-up. Come on.<\/dialogue>\n    <scene_description>They make their way to the back yard.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HAROON'S BACKYARD - DAY<\/stage_direction>\n    <scene_description>Haroon's brothers have set up a trampoline to dunk on an adjustable rim lowered to 8 ft. The younger brothers do an awesome array of dunks. Jolie and Haroon sit on the side.<\/scene_description>\n    <character>JOLIE<\/character>\n    <parenthetical>(bummed)<\/parenthetical>\n    <dialogue>It's weird, I don't really care if I make the NBA anymore.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>Really? What do you care about then?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <scene_description>Haroon's youngest brother runs, bounces, and does a 360 jam. Haroon's Dad emerges from the house.<\/scene_description>\n    <character>HAROON'S DAD<\/character>\n    <dialogue>Good one, Adreseis!!<\/dialogue>\n    <scene_description>Haroon turns.<\/scene_description>\n    <character>HAROON'S DAD<\/character>\n    <dialogue>I've made some grill cheeses! Come and get it!<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>Sweet! Now that Mom moved out we always eat American. You wanna eat with us?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I do but there's something I gotta do.<\/dialogue>\n    <character>HAROON<\/character>\n    <dialogue>Oh yeah. That's right. Well, good luck with it all.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HENRIETTA'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>Henrietta lies on the bed studying. Mr. Aaronson enter.<\/scene_description>\n    <character>MR. AARONSON<\/character>\n    <dialogue>Hey Henrietta. Jolie is here. He brought over a gift.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Oh yeah. Let him in.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Hey. What's up? Uh. I brought over my Super Nintendo. I thought the baby might want it.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Did Jaguar 64 finally come out?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>No. Come on. I'm just trying to show you I actually care.<\/dialogue>\n    <scene_description>Mr. Aaronson smiles and leaves, closing the door lightly behind him. Jolie hands over the Nintendo.<\/scene_description>\n    <character>JOLIE<\/character>\n    <dialogue>And I brought this too.<\/dialogue>\n    <scene_description>Jolie pulls a jersey out of a paper bag.<\/scene_description>\n    <character>HENRIETTA<\/character>\n    <dialogue>Your practice Jersey!<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Yeah. I'm not gonna need it anymore so.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Really? Why not?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>I'm not playing next year. I want to focus on my studies.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Jolie. Thank you.<\/dialogue>\n    <parenthetical>(smells it)<\/parenthetical>\n    <dialogue>It smells like you. Someday little Benny will wear it. That's what I've decided to name him, Benny.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Oh. Wow. Well. Uh, before you name him, I was kinda thinking maybe we could discuss, uh,<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Well,<\/dialogue>\n    <parenthetical>(Jolie sits next to her)<\/parenthetical>\n    <character>JOLIE<\/character>\n    <dialogue>I was also thinking maybe we could talk about the possibility of you giving up your baby for adoption?<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Jolie. How could you even say that? I've wanted a family of my own, a real family, since as long as I can remember. There is no way I could ever give little Benny away. Ever. In a million years. Do you understand that?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Well. Yeah. I guess so. But at the same time, it just doesn't seem like the smartest thing. I've already found a really wealthy, well educated, good meaning couple who'd like to meet up with you about it.<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Never. No way Jolie. End of discussion.<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>Don't you even want to think it over for a few days? I mean, look how lucky your parents are to have you. You'd be making some couple just as happy. And your child would have more opportunities. I mean you're still in High School, know what I mean?<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Jolie, I can't even believe you're suggesting that? Dont you see how racist that is?<\/dialogue>\n    <character>JOLIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Jolie is silent.<\/scene_description>\n    <character>HENRIETTA<\/character>\n    <dialogue>Now do something to cheer me up. I am totally offended you wanted to give away my baby.<\/dialogue>\n    <scene_description>Jolie sits in silence for a moment, pondering his situation. He stands up and heads to the door, demoralized. Then he turns and looks at Henrietta on the bed. Jolie looks at her bulging belly, much of it exposed. BLACKNESS HOLD Credits roll to Micheal Jackson's Billy Jean.<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In the mid-1990s, Jolie Jolson, a white high school student (the great-grandson of blackface performer Al Jolson) wants to be on the basketball team because he thinks that it will bring him closer to being the one thing that he isn't: black. His African American girlfriend, Henrietta, is pregnant with another man's baby and had a seedy past which includes appearing in a sex tape. Jolie gets on the basketball team due to a large donation from his well-off father, and ends up dating one of the cheerleaders for the team, and accidentally impregnates her."}
{"movie_name":"The French Dispatch_2021","imdb_id":"tt8847712","script":"<script>\n  <scene>\n    <scene_description>THE FRENCH DISPATCH OF THE LIBERTY, KANSAS EVENING SUN Screenplay By WES ANDERSON Story By<\/scene_description>\n    <character>WES ANDERSON<\/character>\n    <dialogue>ROMAN COPPOLA<\/dialogue>\n    <character>HUGO GUINNESS<\/character>\n    <dialogue>JASON SCHWARTZMAN<\/dialogue>\n    <scene_description>Obituary (pages 1 to 9) INSERT: The proof-print (fresh from the press, with crop marks and registration-X's) of an obituary in the Declines and Deaths Section of a weekly newspaper magazine supplement. A line- drawing depicts an inkpot tipped over spilling a pool of black. TITLE: Memorial \"Editor-in-Chief Dead at 75\" by the Editorial Staff INSERT: A caricature of a tall, bald, pudgy, bespectacled man with a pencil tucked over his ear. Caption: \"Arthur Howitzer, Jr. Son of a newspaper publisher, founder of this magazine. (B: 1900, D: 1975.)\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET CORNER. DAY<\/stage_direction>\n    <scene_description>An ash-blackened (like every facade in this French city), five story, brick and stone building of flats and bureaux. It lists slightly to one side. A welded metalwork sign across the upper floor reads: \"The French Dispatch (of the Liberty, Kansas Evening Sun)\". Down below, at street level: the magazine's delivery dock and, directly adjacent, a narrow, bustling bo\u00eete with a neon Bar \"Tabac\" Journaux suspended over its striped canopies. M\u00e9tro station: Printer's District. A voice (American, female, scholarly) begins:<\/scene_description>\n    <character>EDITORIAL STAFF (V.O.)<\/character>\n    <dialogue>It began as a holiday.<\/dialogue>\n    <scene_description>CUT TO: A serving tray on a lazy-Susan. It twists left and right, back and forth, as it fills rapidly with: a demi-tasse, coffee in a tiny pitcher, and hot milk in a creamer; a half-bottle of cold white wine, perspiring; a crimson colored cocktail one finger deep; a short-stemmed glass of amber aperitif; a jigger of off- black digestif (which gets an egg cracked into it, two jolts of spicy sauce, and a raw oyster carefully slid from its half- shell); a small chocolate sundae; Coke in a bottle; a box of cigarettes with a book of matches; and a little glass of water with an effervescent tablet dropped in, fizzing.<\/scene_description>\n    <character>EDITORIAL STAFF (V.O.)<\/character>\n    <dialogue>Arthur Howitzer, Jr, college freshman, eager to escape a bright future on the Great Plains, convinced his father<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <character>EDITORIAL STAFF (V.O.)<\/character>\n    <dialogue>(proprietor of the Liberty, Kansas Evening Sun) to fund his trans-Atlantic<\/dialogue>\n    <dialogue>passage as an educational opportunity to learn the family business through the production of a series of travelogue columns to be published for local readers in the Sunday \"Picnic\" magazine.<\/dialogue>\n    <scene_description>The tray booms up and sails, glass rattling but swift and sure, away from camera on the suspended palm and fingertips of a skilled waiter in a black waistcoat and long, white apron.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. REAR COURTYARD. DAY<\/stage_direction>\n    <scene_description>The cour of the same building. A pressboard outhouse; a coal bin; sheaves of pulp-paper; a pile of rinds, crusts, and peels; and a pack of pubescent schoolboys in capes, caps, and short trousers who eat smushed \u00e9clairs and poke balloon-sticks at a sleeping derelict. The caf\u00e9's rear door bangs open, the boys scatter, and our waiter emerges. In a wide, vertical frame, he speedily ascends (via three staircases, two catwalks, and a ladder) while the obituary continues:<\/scene_description>\n    <character>EDITORIAL STAFF (V.O.)<\/character>\n    <dialogue>Over the next ten years, he assembled a team of the best expatriate journalists of his time and transformed \"Picnic\" into \"The French Dispatch\": a factual weekly report on the subjects of world politics, the arts (high and low), fashion, fancy cuisine\/fine drink, and diverse stories of human-interest set in faraway quartiers. He brought the world to Kansas.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SERVICE STAIRS. DAY<\/stage_direction>\n    <scene_description>A landing at the top floor. A cardboard hangs from a nail on the door: \"Silence! Writers Writing\". The waiter pulls a chain- latch, bumps the door with a cocked hip, backs inside, then downs the bicarbonate of soda before kicking the door shut with a thwack.<\/scene_description>\n    <character>EDITORIAL STAFF (V.O.)<\/character>\n    <dialogue>His writers line the spines of every good American library.<\/dialogue>\n    <scene_description>MONTAGE: An office filled with stacked art books and clippings, walls push-pinned top to bottom with postcards of modern art: an unseen woman drapes a neglig\u00e9e over a dressing-screen.<\/scene_description>\n    <character>EDITORIAL STAFF (V.O.)<\/character>\n    <dialogue>Berensen.<\/dialogue>\n    <scene_description>An office stocked with neatly organized galoshes, walking sticks, hats, raincoats, boots, cameras, binoculars, notebooks, maps, and an upside-down bicycle with a flat tire: a man on a footstool, half off-screen, rummages on the top of a supply cabinet.<\/scene_description>\n    <character>EDITORIAL STAFF (V.O.)<\/character>\n    <dialogue>Sazerac.<\/dialogue>\n    <scene_description>A Spartan, white office with only a pine desk and an oak chair: a seated woman, back to camera, smokes.<\/scene_description>\n    <character>EDITORIAL STAFF (V.O.)<\/character>\n    <dialogue>Krementz.<\/dialogue>\n    <scene_description>An office over-decorated in scarlet, lavender, and chartreuse with a marble torso of Adonis: a pair of espadrilled feet stick into view propped up at the end of a chintz daybed.<\/scene_description>\n    <character>EDITORIAL STAFF (V.O.)<\/character>\n    <dialogue>Roebuck Wright.<\/dialogue>\n    <scene_description>In the Press Room: a former-quarterback in rolled up shirt- sleeves, hat tilted back, corrects copy in longhand with his right hand while typing forty words per minute with his left.<\/scene_description>\n    <character>EDITORIAL STAFF (V.O.)<\/character>\n    <dialogue>One reporter known as the best living writer in quality of sentences per minute.<\/dialogue>\n    <scene_description>In the File Room: a freckly string-bean loiters, laughing to himself, as he reads a thesaurus and eats crackers.<\/scene_description>\n    <character>EDITORIAL STAFF (V.O.)<\/character>\n    <dialogue>One who never completed a single article but haunted the halls cheerily for three decades.<\/dialogue>\n    <scene_description>In a formal garden (spectacularly in bloom): a tall Calcuttan in dark sunglasses listens, nods, and takes notes with a braille slate and stylus as a teenage, feminine amanuensis whispers in his ear.<\/scene_description>\n    <character>EDITORIAL STAFF (V.O.)<\/character>\n    <dialogue>One privately blind writer who wrote keenly through the eyes of others.<\/dialogue>\n    <scene_description>At a chalkboard: a proofreader with her hair in a bun parses a sentence. (\"They will fail to notice, under the corner of a threadbare rug, the torn ticket-stub for an unclaimed hat which sits alone on the upper shelf of a cloakroom in a bus depot on the outskirts of the work-a-day town where Nickerson and his accomplices were apprehended.\")<\/scene_description>\n    <character>EDITORIAL STAFF (V.O.)<\/character>\n    <dialogue>The uncontested crackerjack of grammatical expertise.<\/dialogue>\n    <scene_description>INSERT: A right hand traces a left hand with a long calligraphy brush, then sets to work quickly converting the outline into a gobbling but very stylish turkey.<\/scene_description>\n    <character>EDITORIAL STAFF (V.O.)<\/character>\n    <dialogue>Cover illustrations by Herm\u00e8s Jones.<\/dialogue>\n    <scene_description>CUT TO: A tiny man with a fris\u00e9e of curly hair sitting at a drafting table, pleased, as he lovingly adds feathers to his picture.<\/scene_description>\n    <character>EDITORIAL STAFF (V.O.)<\/character>\n    <dialogue>Famously gracious with his writers, Arthur Jr. was less courteous with the rest of the magazine's staff.<\/dialogue>\n    <scene_description>Passing footsteps come to a sudden halt, and a finger jolts into shot:<\/scene_description>\n    <character>HOWITZER (O.S.)<\/character>\n    <dialogue>Oh, no. What's that? I need a turkey. Stuffed and roasted! On a table with all the trimmings and Pilgrims and --<\/dialogue>\n    <scene_description>CUT TO: An accountant tallying receipts on an adding machine. An out-of- focus figure, pacing, criss-crosses through frame in the foreground.<\/scene_description>\n    <character>EDITORIAL STAFF (V.O.)<\/character>\n    <dialogue>His fiscal management-system was convoluted but functional.<\/dialogue>\n    <character>HOWITZER<\/character>\n    <dialogue>Give her 150 francs a week for the next fifteen years against five American cents per word, minus expenses.<\/dialogue>\n    <scene_description>CUT TO: A door with a frosted window. Painted letters read: Editor-in- Chief. The silhouette of a standing figure listens to the silhouette of a seated one.<\/scene_description>\n    <character>EDITORIAL STAFF (V.O.)<\/character>\n    <dialogue>His most-repeated literary advice (perhaps apocryphal) was simply this:<\/dialogue>\n    <character>HOWITZER<\/character>\n    <dialogue>Try to make it sound like you wrote it that way on purpose.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN HOUSE. DAY<\/stage_direction>\n    <scene_description>A Queen Anne mansion on the best street of an old Mid-western, American city. In front, a uniformed chauffeur waits alongside a parked, mid-seventies hearse.<\/scene_description>\n    <character>EDITORIAL STAFF (V.O.)<\/character>\n    <dialogue>His return to Liberty comes precisely fifty years after his departure, on the occasion of his funeral, by which time the magazine's circulation exceeds half a million subscribers in fifty countries.<\/dialogue>\n    <scene_description>CUT TO: An open coffin on display in the parlor. Inside: a basket tied neatly with rope, a portable typewriter, a thick stack of white paper, and a dead body (late seventies, tall, bald, pudgy, bespectacled).<\/scene_description>\n    <character>EDITORIAL STAFF (V.O.)<\/character>\n    <dialogue>A willow hamper containing umpteen pins, plaques, and official citations of the highest order is buried at his side, along with an Andretti Ribbon-mate and a ream of triple bond, Egyptian cotton typing stock.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRAIRIE CEMETERY. DAY<\/stage_direction>\n    <scene_description>A remote graveyard in winter, late afternoon: white sky, white earth. A two-stroke excavator throttles and piston-pops, scraping at the frozen ground.<\/scene_description>\n    <character>EDITORIAL STAFF (V.O.)<\/character>\n    <dialogue>He received an Editor's Burial.<\/dialogue>\n    <scene_description>CUT TO: A long corridor. The camera follows the waiter with his tray of refreshments as he searches room to room. All desks have been abandoned.<\/scene_description>\n    <character>EDITORIAL STAFF (V.O.)<\/character>\n    <dialogue>In his will he stipulated that, immediately upon his death, quote:<\/dialogue>\n    <scene_description>INSERT: A legal document labeled \"Last Will and Testament\". Editorial comments, corrections, and \"stets\" (each initialed \"A.H.Jr.\") decorate the margins in blue pencil. (Example: \"Better than melt: liquify.\") Howitzer narrates this shot himself:<\/scene_description>\n    <character>HOWITZER (V.O.)<\/character>\n    <dialogue>The presses will be dismantled and liquified; the editorial offices will be vacated and sold; the staff will be paid ample bonuses and released from their contracts; and the publication of the magazine will permanently cease.<\/dialogue>\n    <scene_description>CUT TO: A stack of magazines bound in twine which thumps onto a sidewalk. A news agent picks up the package and hangs a copy of the final issue by a clip on the shutter of his kiosk. Cover illustration: the spilled inkpot image now rendered in paint and color. Caption below: 1925-1975.<\/scene_description>\n    <character>EDITORIAL STAFF (V.O.)<\/character>\n    <dialogue>Thus, the publisher's obituary will, also, serve as that of this publication. (All home delivery readers will, of course, be refunded, pro rata, for the unfulfilled portion of their subscriptions.)<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EDITORIAL OFFICE. DAY<\/stage_direction>\n    <scene_description>On one wall: a sun-faded map of the state of Kansas. On another: a mock-up of the issue-in-progress with table of contents and cards indicating articles, authors, page numbers, level-of- completion, etc. On a table: the proofreader, frowning, one long- stockinged leg swinging like a pendulum as she flips through manuscript pages. On the couch: a story editor and a legal advisor who mutter and shake their heads as they mark up galleys. In the corner: the cheery writer, reading an almanac and eating pretzels. Behind his desk, arms folded, deep in thought, Howitzer looks very much as we last saw him (in his casket), though younger by ten years and lighter by a stone. The waiter discreetly distributes the drinks order.<\/scene_description>\n    <character>EDITORIAL STAFF (V.O.)<\/character>\n    <dialogue>His epitaph will be taken verbatim from the carved shingle fixed above the door of his inner office.<\/dialogue>\n    <scene_description>A cum laude alumna (cardigan sweater, New England accent) reads from a spiral bound notebook, re-capping the status of the works- in-progress:<\/scene_description>\n    <character>ALUMNA<\/character>\n    <dialogue>Berensen's article. \"The Concrete Masterpiece.\"<\/dialogue>\n    <character>PROOFREADER<\/character>\n    <parenthetical>(coolly)<\/parenthetical>\n    <dialogue>Three dangling participles, two split infinitives, and nine spelling errors in the first sentence alone.<\/dialogue>\n    <character>HOWITZER<\/character>\n    <parenthetical>(taking exception)<\/parenthetical>\n    <dialogue>Some of those are intentional.<\/dialogue>\n    <scene_description>There is a general murmuring. The alumna flips to the next page.<\/scene_description>\n    <character>ALUMNA<\/character>\n    <dialogue>The Krementz story. \"Revisions to a Manifesto.\"<\/dialogue>\n    <character>STORY EDITOR<\/character>\n    <parenthetical>(darkly)<\/parenthetical>\n    <dialogue>We asked for twenty-five hundred words, and she came in at 14,000, plus foot- notes, endnotes, a glossary, and two epilogues.<\/dialogue>\n    <character>HOWITZER<\/character>\n    <parenthetical>(definitively)<\/parenthetical>\n    <dialogue>It's one of her best.<\/dialogue>\n    <scene_description>Another murmuring. The alumna flips to the next page again.<\/scene_description>\n    <character>ALUMNA<\/character>\n    <dialogue>Sazerac?<\/dialogue>\n    <character>LEGAL ADVISOR<\/character>\n    <parenthetical>(defeated)<\/parenthetical>\n    <dialogue>Impossible to fact-check. He changes all the names, and only writes about hoboes, pimps, and junkies.<\/dialogue>\n    <character>HOWITZER<\/character>\n    <parenthetical>(entranced)<\/parenthetical>\n    <dialogue>These are his people.<\/dialogue>\n    <scene_description>Murmuring, round three. The alumna flips the page once more, pauses, then asks, skeptical:<\/scene_description>\n    <character>ALUMNA<\/character>\n    <dialogue>How about Roebuck Wright?<\/dialogue>\n    <character>CHEERY WRITER<\/character>\n    <parenthetical>(encouraging)<\/parenthetical>\n    <dialogue>His door's locked, but I could hear the keys clacking.<\/dialogue>\n    <character>HOWITZER<\/character>\n    <parenthetical>(firmly)<\/parenthetical>\n    <dialogue>Don't rush him.<\/dialogue>\n    <scene_description>The room erupts: bustling and chattering in a chaotic hubbub of annoyed complaining. The alumna sips at the Coke bottle and gets to the point:<\/scene_description>\n    <character>ALUMNA<\/character>\n    <dialogue>The question is: who gets killed? There's one piece too many, even if we print another double-issue, which we can't afford under any circumstances.<\/dialogue>\n    <scene_description>The room sighs and groans. Howitzer picks up the chocolate sundae. He eats it in four decisive bites and drinks the digestif concoction. A double-rap, then the door cracks open. A copy boy pokes his pimply face into the room.<\/scene_description>\n    <character>COPY BOY<\/character>\n    <dialogue>Mr. Howitzer, sir? A message from the foreman:<\/dialogue>\n    <parenthetical>(holding up a chit)<\/parenthetical>\n    <dialogue>One hour to press.<\/dialogue>\n    <character>HOWITZER<\/character>\n    <parenthetical>(instantly)<\/parenthetical>\n    <dialogue>You're fired.<\/dialogue>\n    <character>COPY BOY<\/character>\n    <parenthetical>(choking-up)<\/parenthetical>\n    <dialogue>Really?<\/dialogue>\n    <scene_description>Tears stream down the copy boy's flushed cheeks. Howitzer's face tightens. He snarls:<\/scene_description>\n    <character>HOWITZER<\/character>\n    <dialogue>Don't cry in my office.<\/dialogue>\n    <scene_description>Howitzer's index finger juts, diagonal, into the air -- pointing to: INSERT: A carved shingle fixed above the door. Two words: \"NO CRYING.\" The copy boy reads the sign and swallows hard. He nods and exits. Howitzer shuffles the papers on his desk. He drums his fingers for ten seconds.<\/scene_description>\n    <character>HOWITZER<\/character>\n    <dialogue>Shrink the masthead, cut some ads, and tell the foreman to buy more paper. I'm not killing anybody.<\/dialogue>\n    <scene_description>The room erupts again. Howitzer wanders over to the wall where he studies the mock-up of the issue. He switches the order of the cards\/articles. He switches them back, uncertain. The camera slowly zooms in on the authors' names in the table of contents.<\/scene_description>\n    <character>EDITORIAL STAFF (V.O.)<\/character>\n    <dialogue>Good writers. He coddled them, he coaxed them, he ferociously protected them.<\/dialogue>\n    <scene_description>Howitzer looks to the waiter lingering at his side.<\/scene_description>\n    <character>HOWITZER<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <scene_description>The waiter shrugs. It is obvious to him:<\/scene_description>\n    <character>WAITER<\/character>\n    <dialogue>For myself? I would start with Mr. Sazerac.<\/dialogue>\n    <scene_description>Howitzer contemplates this suggestion as the obituary concludes:<\/scene_description>\n    <character>EDITORIAL STAFF (V.O.)<\/character>\n    <dialogue>These were his people.<\/dialogue>\n    <scene_description>Sketchbook (pages 11 to 17) INSERT: The proof-print of a weekly column in the City Section. A line- drawing depicts a M\u00e9tro station entrance gate. TITLE: Local Color \"The Cycling Reporter\" by Herbsaint Sazerac CUT TO: A touring bicycle with saddlebags and handlebar basket leans on its kickstand at the highest viewpoint above the smog-shrouded city. There is a clipboard steno pad mounted on the headlamp. A pencil dangles from a string.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PUBLIC SQUARE. DAY<\/stage_direction>\n    <scene_description>Shuttered shops, shuttered windows, empty street. A voice (earnest, energetic, American) begins:<\/scene_description>\n    <character>SAZERAC (V.O.)<\/character>\n    <dialogue>Ennui rises suddenly on a Monday.<\/dialogue>\n    <scene_description>A stream of water surges from a storm sewer outlet-valve and rushes along a cobblestone trough, gathering candy wrappers, confetti, and cigarette butts into its current.<\/scene_description>\n    <character>SAZERAC (V.O.)<\/character>\n    <dialogue>Rusty water from the bouches de lavage slooshes down the street gutters.<\/dialogue>\n    <scene_description>Clouds of white billow from a row of exhaust pipes above a boulangerie as a tired worker cranks open its metal shopfront gate.<\/scene_description>\n    <character>SAZERAC (V.O.)<\/character>\n    <dialogue>Woodsmoke puffs from a hungover baker's chimney.<\/dialogue>\n    <scene_description>Brassieres, slips, and stockings jolt incrementally into view on a succession of pullied ropes. A cleaning lady with a cigarette dangling from her lips leans out a window, beating a rug.<\/scene_description>\n    <character>SAZERAC (V.O.)<\/character>\n    <dialogue>Leathery charwomen put out the morning's underthings before the air infuses with soot and sweat.<\/dialogue>\n    <scene_description>CUT TO: A tall, trim cyclist, youthful but not young, dressed in a black beret with a black arm band. He holds up his pencil as he pedals up the lane addressing camera warmly. He is Sazerac.<\/scene_description>\n    <character>SAZERAC<\/character>\n    <dialogue>Through the time machine of poetic license, let us take a sight-seeing tour. A day in Ennui over the course of 250 years.<\/dialogue>\n    <scene_description>CUT TO: Sazerac's P.O.V. with handlebars in frame.<\/scene_description>\n    <character>SAZERAC<\/character>\n    <dialogue>The great city began as a cluster of tradesman's villages.<\/dialogue>\n    <scene_description>INSERT: A tire company road atlas of the sprawling city with encircling ring-road and suburbs. Caption: \"Ennui-sur-Blas\u00e9, France. Population: 955,000.\"<\/scene_description>\n    <character>SAZERAC (V.O.)<\/character>\n    <dialogue>Only the names remain unchanged.<\/dialogue>\n    <parenthetical>(Note: titles on the following before-and-after shots label them, on the left, \"The Past\", on the right, \"The Future\".)<\/parenthetical>\n    <scene_description>SPLIT-SCREEN: On the left, stalls manned by filthy street urchins brushing and polishing dozens of pairs of high-button shoes and boots; on the right, a brightly-lit, two-star inn (H\u00f4tel de Chaussures) with automatic sliding-plexiglass door and a coin-operated shoeshine machine in its vestibule.<\/scene_description>\n    <character>SAZERAC (V.O.)<\/character>\n    <dialogue>The Bootblack District.<\/dialogue>\n    <scene_description>On the left, two workers lugging a cart laden with stacked masonry through a gaslit archway; on the right, an unsavory nightclub with a glowing-cursive La Brique Rouge over its facade.<\/scene_description>\n    <character>SAZERAC (V.O.)<\/character>\n    <dialogue>The Bricklayer's Quarter.<\/dialogue>\n    <scene_description>On the left, a glass-roofed passage lined with dangling carcasses (cows, pigs, horses); on the right, a subway entrance labeled Abattoir.<\/scene_description>\n    <character>SAZERAC (V.O.)<\/character>\n    <dialogue>Butcher's Arcade.<\/dialogue>\n    <scene_description>On the left, a dead-end impasse sardine-packed with kleptos, muggers, and hooligans; on the right, the same impasse sardine- packed with punk\/new-wave drug addicts.<\/scene_description>\n    <character>SAZERAC (V.O.)<\/character>\n    <dialogue>Pick-pocket Cul-de-Sac.<\/dialogue>\n    <scene_description>MONTAGE: An excavated construction site fifty feet deep with a parked cement truck, stacked lumber\/rebar on pallets, and dumpsters filled with demolition-refuse. Sazerac stands on the floor of the enormous yellow-dirt pit. The hook of a crane sways above his head. He addresses camera again:<\/scene_description>\n    <character>SAZERAC<\/character>\n    <dialogue>On this site: a fabled market vending all forms of victuals and comestibles under a vast, glass-and-cast-iron canopy -- demolished, as you can see, in favor of a multi-level shopping center and parking structure.<\/dialogue>\n    <scene_description>A rumbling train car enters a tunnel and stops.<\/scene_description>\n    <character>SAZERAC (V.O.)<\/character>\n    <dialogue>Like every living city, Ennui supports a menagerie of vermin and scavengers.<\/dialogue>\n    <scene_description>A view from the train car window as, outside, emergency-lights shift on, illuminating pipes and ledges trembling with hundreds of chestnut rats. The passengers onboard stare into space, unfazed. (Sazerac, one hand clasping a ceiling-strap and the other steadying his bicycle, marvels at the astonishing infestation.)<\/scene_description>\n    <character>SAZERAC (V.O.)<\/character>\n    <dialogue>The rats which colonized its subterranean railroad.<\/dialogue>\n    <scene_description>A winding block of high-angled intersecting gables and parapets vibrating with hundreds of mangy alley cats. (Sazerac, poking up from a skylight window, sets out a saucer of milk.)<\/scene_description>\n    <character>SAZERAC (V.O.)<\/character>\n    <dialogue>The cats which colonized its slanty rooftops.<\/dialogue>\n    <scene_description>A shallow, stone waterway only two meters wide zig-zagging the gaps between disused brick storehouses. Workers criss-cross flexing planks above the dark water. (Sazerac dips a mini-net from a pocket fishing-kit, scoops up a clump of wiggling bootlace eels, and eats a handful, raw.)<\/scene_description>\n    <character>SAZERAC (V.O.)<\/character>\n    <dialogue>The anguillettes which colonized its shallow drainage canals.<\/dialogue>\n    <scene_description>The previously-seen schoolboys, now crouched behind a parked Citro\u00ebn delivery van, eat smushed creampuffs, then spring upon an old lady rolling a basket of groceries up the sidewalk and poke balloon-sticks at her. She shouts, furious, and swats violently with her cane until the boys scatter away.<\/scene_description>\n    <character>SAZERAC (V.O.)<\/character>\n    <dialogue>After receiving the Host, marauding choirboys (half-drunk on the Blood of Christ) stalk unwary pensioners and seek havoc.<\/dialogue>\n    <scene_description>A terraced cemetery densely dotted with tombs and markers. At the foot of a modest crypt (labeled, under a weeping angel, \"Lucette Sazerac, 1920-1955\"), Sazerac arranges a little meal, spread neatly across a rectangle of wax paper, and dines in silence.<\/scene_description>\n    <character>SAZERAC (V.O.)<\/character>\n    <dialogue>A typical worker's-lunch.<\/dialogue>\n    <scene_description>A bi-level street with a steep stone staircase leading from a used bookstore down to a packed caf\u00e9 surrounded by mopeds and scooters.<\/scene_description>\n    <character>SAZERAC (V.O.)<\/character>\n    <dialogue>In the Flop Quarter: students. Hungry, restless, reckless.<\/dialogue>\n    <scene_description>A hunchbacked, old man with a cane, a bag of medicine, and a muffler around his neck waits next to a bench on a lonely street. A bus arrives, the door opens, and the old man slowly attempts to bring his foot up to the bottom step.<\/scene_description>\n    <character>SAZERAC (V.O.)<\/character>\n    <dialogue>In the Hovel District: old people. Old people who have failed.<\/dialogue>\n    <scene_description>Sazerac grips a handrail at the rear of a Citro\u00ebn diaper-service delivery camionette as it pulls him swiftly down a congested boulevard on his bicycle. He addresses camera again:<\/scene_description>\n    <character>SAZERAC<\/character>\n    <dialogue>The automobile: a mixed blessing. On the one hand: the honking, skidding, speeding, sputtering, and backfiring; the emission of toxic fumes and filthy<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <character>SAZERAC<\/character>\n    <dialogue>exhaust-pollution; the dangerous accidents; the constant traffic; the high cost of --<\/dialogue>\n    <scene_description>The road splits, unexpectedly, and Sazerac (shocked for an instant) jangles down a short staircase, disappearing out of frame, to an unseen crash-site below.<\/scene_description>\n    <character>SAZERAC (V.O.)<\/character>\n    <dialogue>Department of local statistics:<\/dialogue>\n    <scene_description>In a pouring rain: a long, blank, stone wall extending straight up out of frame as far as visible. Painted on it: \"Prison\/Asylum.\"<\/scene_description>\n    <character>SAZERAC (V.O.)<\/character>\n    <dialogue>Average rainfall: 750mm.<\/dialogue>\n    <scene_description>In a falling snow: a pissoir consisting of a shoulder-level metal privacy screen circling a dirty fountain. Painted on it: \"Public Urinal.\"<\/scene_description>\n    <character>SAZERAC (V.O.)<\/character>\n    <dialogue>Average snowfall: 190,000 flakes.<\/dialogue>\n    <scene_description>A dockworker extends a long pole into the water and drags a face- down, floating corpse toward the shore.<\/scene_description>\n    <character>SAZERAC (V.O.)<\/character>\n    <dialogue>8.25 bodies are pulled from the Blas\u00e9 river each week (a figure which remains consistent despite advances in health and hygiene).<\/dialogue>\n    <scene_description>Well-dressed prostitutes, alone and in pairs, linger in their habitual locations (under a streetlamp, next to a cigarette machine, outside a strip-club stage door).<\/scene_description>\n    <character>SAZERAC (V.O.)<\/character>\n    <dialogue>As the sun sets, a medley of unregistered streetwalkers and gigolos replaces the day's delivery boys and shopkeepers, and an air of promiscuous calm saturates the hour.<\/dialogue>\n    <scene_description>Competing performers (strongman, fire-eater, old woman warbling a torch song) entertain a crowd along the riverside. In the distance: laughter, breaking glass, a gunshot, a scream.<\/scene_description>\n    <character>SAZERAC (V.O.)<\/character>\n    <dialogue>What sounds will punctuate the night, and what mysteries will they foretell?<\/dialogue>\n    <scene_description>Sazerac appears to struggle for control of the bicycle as he dodges potholes. He disappears behind a bookseller's stall and shouts in pain\/confusion. His bicycle, surprisingly balanced, immediately reemerges (at speed), now riderless.<\/scene_description>\n    <character>SAZERAC (V.O.)<\/character>\n    <dialogue>Perhaps the doubtful old maxim speaks true:<\/dialogue>\n    <scene_description>Sazerac carries his bicycle over his shoulder down the sidewalk as the sky darkens from blue to black and the lights of the neighborhood twinkle on. The front wheel is bent and twisted like a coat hanger.<\/scene_description>\n    <character>SAZERAC (V.O.)<\/character>\n    <dialogue>All grand beauties withhold their deepest secrets.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WRITER'S OFFICE (SAZERAC). DAY<\/stage_direction>\n    <scene_description>On the floor: Sazerac repairs his upturned bicycle. In the corner: the cheery writer reads a dictionary and eats peanuts. At the desk: Howitzer scrutinizes a proof-print, muttering\/ quoting under his breath:<\/scene_description>\n    <character>HOWITZER<\/character>\n    <dialogue>\"Rats, vermin, gigolos, street walkers...\"<\/dialogue>\n    <scene_description>Howitzer interrupts himself, looking over his glasses:<\/scene_description>\n    <character>HOWITZER<\/character>\n    <dialogue>You don't think it's almost too seedy this time? For decent people.<\/dialogue>\n    <character>SAZERAC<\/character>\n    <parenthetical>(slightly offended)<\/parenthetical>\n    <dialogue>No, I don't. It's supposed to be charming.<\/dialogue>\n    <scene_description>Howitzer nods, unconvinced. He shuffles to another page and resumes his muttering\/quoting:<\/scene_description>\n    <character>HOWITZER<\/character>\n    <dialogue>\"Pick-pockets, dead bodies, prisons, urinals...\"<\/dialogue>\n    <scene_description>Howitzer interrupts himself (looking over his glasses) again:<\/scene_description>\n    <character>HOWITZER<\/character>\n    <dialogue>You don't want to add a flower shop or an art museum? A pretty place of some kind.<\/dialogue>\n    <character>SAZERAC<\/character>\n    <parenthetical>(slightly more offended)<\/parenthetical>\n    <dialogue>No, I don't. I hate flowers.<\/dialogue>\n    <scene_description>Howitzer nods again, reluctant but resigned. Sazerac tightens a spoke. Howitzer shrugs.<\/scene_description>\n    <character>HOWITZER<\/character>\n    <dialogue>You could cut the second half of the second paragraph, by the way. You already repeat it later.<\/dialogue>\n    <scene_description>Howitzer holds up the manuscript and points to a bracketed passage. Sazerac, suspicious, squints. Pause. OK.: Howitzer crosses out the section of text with a blue pencil. Story #1 (pages 19 to 57) INSERT: The proof-print of a biographical profile in the Arts and Artists Section. A line-drawing depicts a painter's easel. TITLE: Studio Portrait \"The Concrete Masterpiece\" by J.K.L. Berensen (Note: the following chapter of the film is presented in black and white with the exception of: 1. the latter-day cutaways to Berensen's talk at a museum in Kansas; and 2. Rosenthaler's work itself, which always appears in color within the black and white scenes.)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RECREATION ROOM. DAY<\/stage_direction>\n    <scene_description>A white-washed hall the size of a squash court. Walls and ceiling are stained with damp and mold and plastered in concrete- render. Floors are stone, dirt, and mortar. A female model (Simone, age thirty) stands naked on a table, legs apart, feet flat, arms behind her back, frozen in an exceedingly uncomfortable pose. Across the room: a shirtless painter (Moses Rosenthaler, age fifty) in short-shorts and clogs works in oil, briskly and diligently. His body is barrel-chested; his face is thick-bearded; and, from head to toe, he is strikingly paint- splattered. (We see only the back of the medium-sized canvas.) Rosenthaler pauses and examines his picture. He crosses the room and stares, close-up, at Simone. He grips her arms and firmly draws them back, taut. She frowns slightly. He daubs paint onto the side of her stomach with his brush. He blots color from his palette then daubs at her stomach again. He smudges the paint into her skin with his fingers. He studies the two pigments (oil paint and human flesh). Simone narrows her eyes and bites her lip. Rosenthaler blots to adjust the chroma once more -- but just before he can daub at Simone a third time, she slaps him hard across the face. Rosenthaler recoils, stumbling, scampers across the floor, and returns to his canvas where he immediately resumes his efforts. Simone holds her pose. A loud bell rings, a loud buzzer buzzes. Rosenthaler immediately lowers his brush and begins to organize his paints and turpentines into a tool box. Simone disappears behind a wooden panel and pulls a garment down from a hook. Rosenthaler disappears behind a storage locker, pulls off his short-shorts, and washes himself with an industrial hose and scrub-brush. (Note: the splattered-paint does not come off; in fact, Rosenthaler always appears fully splattered, at all times, in some form of pigment or medium.) Simone re-emerges, now dressed in the uniform of a prison guard with black baton swinging at her waist. She finishes fixing her hair and tightens her belt. Rosenthaler re-emerges, now dressed in a prisoner's tunic with text stenciled on the back: Condamn\u00e9 Psychopathe. He finishes drying himself with a toweling-rag. Simone slips Rosenthaler's arms into a straitjacket, clips the bindings, clanks open an iron-barred door, and directs the patient\/inmate\/artist out of the room. The door closes, locks, and latches. Silence. The camera dollies across the empty space, past the table, the wooden panel, the storage locker, to finally reveal the recto of Rosenthaler's unfinished painting: a thickly encrusted, oily impasto; almost totally abstract; flesh from the tube sculpted and schmeared with red, orange, and yellow skylight; slashed on one side with a black, blue, and purple border of tangled barbed- wire and shattering glass; Simone, unrecognizable, is nevertheless present in every brushstroke.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSEUM AUDITORIUM. NIGHT<\/stage_direction>\n    <scene_description>The spotlit proscenium of a modernist assembly hall. Projected on a screen above the stage: a black and white mug-shot\/slide of Rosenthaler, paint-splattered. A woman of-a-certain-age (American, hair-sprayed coiffure, couture dress) stands at the lectern with a wired remote-switcher clasped in her hand. She is poised, enthusiastic, and vibrantly engaging. She is J.K.L. Berensen. An attentive audience listens in the dark.<\/scene_description>\n    <character>BERENSEN<\/character>\n    <dialogue>We take as the subject of tonight's lecture the great painter at the vanguard of the French Splatter-school Action- group, Mr. Moses Rosenthaler. Widely celebrated, as you know, for the bold, dramatic style and colossal scale of his middle-period -- in particular, of course, the polyptych-tableaux known as \"Ten Reinforced Cement Aggregate (Load- bearing) Murals\" -- he remains, in my opinion, the most eloquent (and, certainly, the loudest) artistic voice of his rowdy generation.<\/dialogue>\n    <scene_description>Berensen clicks the remote-switcher, and further black and white slides flip into view showing a panorama-view of ten panels, each sixteen feet tall, which continue and expand the themes of thickly encrusted flesh, tangled barbed-wire, shattering glass, etc.<\/scene_description>\n    <character>BERENSEN<\/character>\n    <dialogue>How does this pivotal piece come to find its way into its unique position as a permanent installation here at the Clampette Collection? The story begins in a mess hall.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON CAFETERIA. DAY<\/stage_direction>\n    <scene_description>A catwalk around the upper perimeter of a cinder-block lunchroom which serves as the viewing platform for a presentation of rudimentary, primitive artworks: a fingerpainting of a tree, a papier m\u00e2ch\u00e9 cactus, a wastebasket fashioned from bound twigs, etc. -- plus Rosenthaler's portrait of Simone, now complete and varnished. A small number of prisoners and guards wanders from piece to piece, perusing and puttering. One prisoner, however, appears to be utterly transfixed by the painting (mentioned above) under his inspection. He is forty, clean-shaven, well groomed; wavy, silver hair, sharply parted; prison uniform, neat and pressed. He is Julian Cadazio.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>The exhibition \"Ashtrays, Pots, and Macram\u00e9\" (a group show of handicrafts by amateur artisans incarcerated in the lunatic section of the Ennui Prison\/ Asylum) might, perhaps, have been omitted from the annals of art history had it not been for the inclusion in its number of a small painting by Mr. Rosenthaler (who was, at that time, serving a fifty year sentence for the crime of double- homicide), and the observation of that work by a fellow inmate, the Levantine art dealer Mr. Julian Cadazio (who, by fateful coincidence, happened to be imprisoned in the adjoining annex on a charge of second-degree sales tax evasion).<\/dialogue>\n    <scene_description>Cadazio signals to a nearby, pot-bellied, wall-eyed guard:<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>Guard.<\/dialogue>\n    <scene_description>Cadazio's manner lacks any inkling of subservience. The guard reluctantly makes the effort to look up. He waits. Cadazio's eyes have not left the canvas, but in one extended hand: there is a gold foil enveloped marron-glac\u00e9 in a fluted paper candy- cup.<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>Who painted this picture?<\/dialogue>\n    <scene_description>Pause. The guard slowly approaches, snatches the bonbon into his mouth, peers at a small label next to the painting, then studies a corresponding list.<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>Citizen 7524.<\/dialogue>\n    <character>CADAZIO<\/character>\n    <dialogue>I believe that unit designates Maximum Security for the Demented and Deranged. Are you able to provide me an escort and a Friendly Visit Stamp? For immediate use.<\/dialogue>\n    <scene_description>The guard scoffs -- then hesitates. In Cadazio's re-extended hand: three more marron-glac\u00e9s.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCK-UP CORRIDOR. DAY<\/stage_direction>\n    <scene_description>Cadazio follows the guard down a wide passage segmented by consecutive, iron-barred gates.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CELL BLOCK. DAY<\/stage_direction>\n    <scene_description>A tiny bedroom of extreme austerity: burlap hammock, cracked and yellowed ceramic washbasin, coiled radiator in the corner, padded walls. Rosenthaler and Cadazio face each other seated on low footstools. Simone stands outside the cage-door with a ring of skeleton keys in her hand.<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>\"Simone, Naked, Cell Block J. Hobby- room.\" I wish to buy it.<\/dialogue>\n    <scene_description>Rosenthaler reacts subtly but at some length (surprise, suspicion, confusion, a hint of sad pride), looks to Simone, then says to Cadazio simply:<\/scene_description>\n    <character>ROSENTHALER<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>CADAZIO<\/character>\n    <parenthetical>(simply)<\/parenthetical>\n    <dialogue>Because I like it.<\/dialogue>\n    <character>ROSENTHALER<\/character>\n    <parenthetical>(simply)<\/parenthetical>\n    <dialogue>It's not for sale.<\/dialogue>\n    <character>CADAZIO<\/character>\n    <parenthetical>(dismissive)<\/parenthetical>\n    <dialogue>Yes, it is.<\/dialogue>\n    <character>ROSENTHALER<\/character>\n    <parenthetical>(uncertain)<\/parenthetical>\n    <dialogue>No, it's not.<\/dialogue>\n    <character>CADAZIO<\/character>\n    <parenthetical>(certain)<\/parenthetical>\n    <dialogue>Yes, it is. All artists sell all their work. It's what makes you an artist. If you don't plan to sell it, don't paint it. The question is: what's your price?<\/dialogue>\n    <scene_description>Cadazio stares hard into Rosenthaler's wounded eyes. Rosenthaler stares back at Cadazio's poker-face -- then looks to Simone again before he mumbles:<\/scene_description>\n    <character>ROSENTHALER<\/character>\n    <dialogue>Fifty cigarettes.<\/dialogue>\n    <parenthetical>(on second thought)<\/parenthetical>\n    <dialogue>Actually, make it seventy-five.<\/dialogue>\n    <character>CADAZIO<\/character>\n    <parenthetical>(frowns)<\/parenthetical>\n    <dialogue>Why do you keep looking at that guard?<\/dialogue>\n    <scene_description>Pause. Rosenthaler says inevitably:<\/scene_description>\n    <character>ROSENTHALER<\/character>\n    <dialogue>She's Simone.<\/dialogue>\n    <character>CADAZIO<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>Ah.<\/dialogue>\n    <scene_description>Cadazio slowly turns to Simone. Simone looks back at him evenly. Cadazio nods, looks back to Rosenthaler, and says crisply:<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>I don't want to buy this important piece for fifty cigarettes --<\/dialogue>\n    <character>ROSENTHALER<\/character>\n    <dialogue>Seventy-five.<\/dialogue>\n    <character>CADAZIO<\/character>\n    <dialogue>-- or seventy-five of prison currency. I want to pay you 250,000 francs in legal French tender. Do we agree? On the sale.<\/dialogue>\n    <scene_description>Rosenthaler's eyes widen. He and Cadazio both now look to Simone. Simone, mightily impressed, says softly:<\/scene_description>\n    <character>SIMONE<\/character>\n    <dialogue>Uh-huh.<\/dialogue>\n    <scene_description>Cadazio digs into his pockets for a handful of coins and cigarettes plus his last marron-glac\u00e9 as he explains:<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>I can only offer a deposit of --<\/dialogue>\n    <parenthetical>(counting coins)<\/parenthetical>\n    <dialogue>-- 83 centimes, one candied-chestnut, and four cigarettes (everything I have), at this present moment; however, if you'll accept my signatory-voucher, I assure you, a check for the outstanding balance will be remitted to your account within ninety days. Where do you bank? Never mind.<\/dialogue>\n    <scene_description>Cadazio scribbles on a business card and hands it to Rosenthaler. Rosenthaler jabs one cigarette into his mouth, passes the second to Cadazio, sticks the spares under the elastic of his sock -- then presents the sweet to Simone. She eats, they smoke. Cadazio asks bluntly:<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>How'd you learn to do it, by the way? Paint this kind of picture. Also: who did you murder (and how crazy are you, really)? I need background information so we can do a monograph. It makes you more important.<\/dialogue>\n    <parenthetical>(expansively)<\/parenthetical>\n    <dialogue>Who are you --<\/dialogue>\n    <scene_description>Cadazio leans forward and reads from a tin dog-tag hanging from a string around Rosenthaler's neck:<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>-- Moses Rosenthaler?<\/dialogue>\n    <scene_description>CUT TO: The museum auditorium. Berensen is at her lectern. On the screen: a turn-of-the-century photograph of a bearded, well-to- do man seated bareback on a massive stallion alongside a very small boy on a very small pony.<\/scene_description>\n    <character>BERENSEN<\/character>\n    <dialogue>Born rich, the son of a Jewish-Mexican horse rancher, Miguel Sebastien Maria Mois\u00e9s de Rosenthaler trained at the \u00c9cole des Antiquit\u00e9s at significant family expense; but, by the end of his youth, he had shed all the luxuries of<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <character>BERENSEN<\/character>\n    <dialogue>his comfortable background and replaced them with:<\/dialogue>\n    <scene_description>MONTAGE: A filthy garret apartment with skylight windows, four unmade beds (one occupied by an unconscious, face down woman), and three artists at easels, all painting still-lifes. Among them is young Rosenthaler (played by a younger actor), already paint- splattered (though in softer hues), holding a bottle of beer in the same hand as his brush.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>Squalor.<\/dialogue>\n    <scene_description>A footbridge busy with tourists. Young Rosenthaler paints the river view while holding a bottle of wine in the same hand as his brush. A passer-by drops a coin into his upturned hat.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>Hunger.<\/dialogue>\n    <scene_description>A boxcar clacking along a curving track above a sunflower field. Young Rosenthaler, in hobo rags, paints a flea-bitten dog while holding a flask of whiskey in the same hand as his brush.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>Loneliness.<\/dialogue>\n    <scene_description>The terrace of a white stone desert fort. Young Rosenthaler, in khakis and kepi, paints a seated officer while holding a snifter of cognac in the same hand as his brush. A whizzing bullet pierces the canvas, and the company scrambles for weapons and cover -- except Rosenthaler, who continues calmly at his canvas.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>Physical danger.<\/dialogue>\n    <scene_description>A weedy cloister with stone walls and scattered pebbles. Young Rosenthaler, naked, his dark-shadowed eyes bloodshot and deranged, paints a self-portrait in a hand mirror while holding a beaker of eau-de-vie in the same hand as his brush.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>Mental illness.<\/dialogue>\n    <scene_description>A dockside tavern. Young Rosenthaler, in sleeveless undershirt, paints a picture of an absinthe bottle while holding a glass of its contents in the same hand as his brush.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>And, of course, criminal violence.<\/dialogue>\n    <scene_description>At the other end of the bar, two hulking, smirking bartenders lean on the counter in front of a weathered, elderly man, needling him. The old man is stoic. Young Rosenthaler watches like an animal. Under his breath, almost inaudibly but unmistakably: he growls. The camera dollies to a kitchen door porthole where a scullery boy renders (with a meat-saw) the hanging carcass of a slaughtered calf.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>He did not pick up a brush during the first decade of his long prison sentence.<\/dialogue>\n    <scene_description>A padded prison cell. Young Rosenthaler, splattered in machine- grease, pours a single shot from a bottle labeled Mouthwash de Menthe (150 proof). Off-screen: a latch clanks. Young Rosenthaler looks up. He rises from his stool and makes way as his older self, identically dressed and splattered, enters and (with a gentle acknowledgement, eye to eye, of the boy he once was) takes the seat. Young Rosenthaler removes the dog-tag from around his own neck and loops it over older Rosenthaler's head. Young Rosenthaler exits. Older Rosenthaler sips the mouthwash and stares at the blank walls. TITLE: Year 11, Day 1<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CRAFTS STUDIO. DAY<\/stage_direction>\n    <scene_description>A basement classroom. Simone sits at a metal desk next to the door. Fifteen prisoners shuffle past her and file into rows of benches behind footstools prepared with various pottery-making supplies. Rosenthaler enters last. He pauses in front of Simone and says quietly:<\/scene_description>\n    <character>ROSENTHALER<\/character>\n    <dialogue>Permission to sign up for Activity- privileges, gardienne.<\/dialogue>\n    <character>SIMONE<\/character>\n    <parenthetical>(without looking up)<\/parenthetical>\n    <dialogue>You have a Registration chit?<\/dialogue>\n    <character>ROSENTHALER<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>This thing?<\/dialogue>\n    <scene_description>Rosenthaler digs into his pockets. He produces a small, thin ticket and holds it up, uncertain. Simone tears the corner and gives it back to him. As Rosenthaler begins to move toward his seat -- Simone stops him with an announcement:<\/scene_description>\n    <character>SIMONE<\/character>\n    <dialogue>Attention. We have a new convict joining us today. Citizen 7524, address the class.<\/dialogue>\n    <scene_description>Rosenthaler, startled, speaks under his breath:<\/scene_description>\n    <character>ROSENTHALER<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>SIMONE<\/character>\n    <dialogue>Tell the group about yourself.<\/dialogue>\n    <character>ROSENTHALER<\/character>\n    <dialogue>I don't want to do that.<\/dialogue>\n    <character>SIMONE<\/character>\n    <dialogue>It's mandatory.<\/dialogue>\n    <character>ROSENTHALER<\/character>\n    <dialogue>They know me already.<\/dialogue>\n    <character>SIMONE<\/character>\n    <dialogue>That's not the point.<\/dialogue>\n    <character>ROSENTHALER<\/character>\n    <dialogue>I didn't prepare any speech.<\/dialogue>\n    <character>SIMONE<\/character>\n    <parenthetical>(an official order)<\/parenthetical>\n    <dialogue>Say something.<\/dialogue>\n    <scene_description>Rosenthaler looks stricken. Simone nods for him to speak. He turns to the room. He gathers his thoughts. Finally, he begins:<\/scene_description>\n    <character>ROSENTHALER<\/character>\n    <dialogue>I've been here 3647 days and nights. Another 14,603 to go. I drink fourteen pints of mouthwash-rations per week. At that rate, I'm going to poison myself to death before I ever see the world again, which makes me feel -- very sad. I've got to change my program. I've got to go in a new direction. Anything I can do to keep my hands busy: I'm going to do it. Otherwise, I think maybe it's going to be a suicide. That's why I signed up for Clay Pottery and Basket Weaving. My name is Moses.<\/dialogue>\n    <scene_description>Troubled convicts (shorn heads, crooked noses, combat scars) stare at Rosenthaler. His hard face is streaked with tears. Simone says simply:<\/scene_description>\n    <character>SIMONE<\/character>\n    <dialogue>Take a pew.<\/dialogue>\n    <scene_description>Simone points. Rosenthaler looks to: a hunk of wet clay on a footstool in front of an empty seat at the back of the room. CUT TO: Five minutes later. The entire class of convicts has gathered to watch, intrigued, as Rosenthaler briskly, nimbly, expertly sculpts. Rosenthaler pauses to study his work. He twists the sculpture around for everyone to see. INSERT: A hasty but magnificent vase with bas-relief depicting a bouquet of wildflowers with wind-blown petals floating in the air and a crane standing on one leg. Simone descends into the shot and studies the vessel -- impressed, then suddenly and deeply moved. Rosenthaler asks softly:<\/scene_description>\n    <character>ROSENTHALER (O.S.)<\/character>\n    <dialogue>What's your name, gardienne?<\/dialogue>\n    <scene_description>Simone looks up to Rosenthaler. Her lips move, but her voice is inaudible under Berensen's:<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>Certain women do gravitate toward incarcerated men. It's a recognized condition.<\/dialogue>\n    <scene_description>Rosenthaler's rough, clay-splattered hand enters frame with a blade of straw pinched between two fingers, and, in one rapid, sure effort: cuts a beautiful, extravagantly-filigreed letter \"S\" into the wet clay on a cloud above the etched flora. CUT TO: Berensen at her lectern.<\/scene_description>\n    <character>BERENSEN<\/character>\n    <dialogue>Something about the captivity of others enhances the experience of their own freedom. I assure you, it's erotic. Look at her, by the way.<\/dialogue>\n    <scene_description>Berensen remote-switches through a succession of black and white slides of Simone: at fourteen, with numerous siblings, reaping in a wheat field; at sixteen, pregnant, plucking a goose; at eighteen, not pregnant, skinning a rabbit; at twenty, in a nurse's uniform on a battlefield with soldiers advancing and retreating in the background. (Note: in each of these images, all other subjects, human and animal, are blurry; only Simone holds completely still for the photograph.)<\/scene_description>\n    <character>BERENSEN<\/character>\n    <dialogue>Born into quasi-serfdom. Sixteen brothers and sisters. Illiterate until she was twenty. Now a woman of considerable property. Radiant.<\/dialogue>\n    <scene_description>Paused on the screen: an image of a somewhat younger, paint- splattered, naked Berensen caught reaching for a dressing gown. Berensen finally notices and mutters, startled:<\/scene_description>\n    <character>BERENSEN<\/character>\n    <dialogue>Good God. Wrong slide. (That's me.)<\/dialogue>\n    <scene_description>Berensen remote-switches back to Simone at eighteen, briskly re- composes herself, and carries on:<\/scene_description>\n    <character>BERENSEN<\/character>\n    <dialogue>Simone, of course, refused all Rosenthaler's entreaties of marriage (which, we are told, were frequent and marvelously enthusiastic).<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAUNDRY ROOM. NIGHT<\/stage_direction>\n    <scene_description>Midnight. Rosenthaler and Simone, motionless and naked, recline on a heap of bed linens and dishrags in a deep pile on the floor. Berensen continues:<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>She insists to this day (I'm going to quote from her finely-written memoir): \"I never belonged to Moses Rosenthaler. Not for a single day, not for a single hour. I merely bore him a warm, deeply affectionate esteem.\"<\/dialogue>\n    <scene_description>In the meantime, Rosenthaler has been searching for the words to begin the scene:<\/scene_description>\n    <character>ROSENTHALER<\/character>\n    <dialogue>I want to say it as simple as I can. To try to shape it into words. The feelings in my heart.<\/dialogue>\n    <scene_description>Simone and Rosenthaler say simultaneously:<\/scene_description>\n    <character>ROSENTHALER<\/character>\n    <dialogue>I love you.<\/dialogue>\n    <character>SIMONE<\/character>\n    <dialogue>I don't love you.<\/dialogue>\n    <character>ROSENTHALER<\/character>\n    <parenthetical>(frowning)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>SIMONE<\/character>\n    <dialogue>I don't love you.<\/dialogue>\n    <character>ROSENTHALER<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>Already?<\/dialogue>\n    <character>SIMONE<\/character>\n    <parenthetical>(blankly)<\/parenthetical>\n    <dialogue>Already what?<\/dialogue>\n    <character>ROSENTHALER<\/character>\n    <dialogue>Already how do you know that? How can you be sure? So quick.<\/dialogue>\n    <character>SIMONE<\/character>\n    <parenthetical>(with certainty)<\/parenthetical>\n    <dialogue>I'm sure.<\/dialogue>\n    <character>ROSENTHALER<\/character>\n    <parenthetical>(wounded)<\/parenthetical>\n    <dialogue>Ouch. That hurts me. The cruelty of it. The cold-bloodedness.<\/dialogue>\n    <character>SIMONE<\/character>\n    <dialogue>You said what you wanted to say. I tried to stop you. That's it.<\/dialogue>\n    <character>ROSENTHALER<\/character>\n    <dialogue>I said part of what I wanted to say. I was in the middle of it. There's more.<\/dialogue>\n    <scene_description>Silence. Rosenthaler attempts to propose marriage:<\/scene_description>\n    <character>ROSENTHALER<\/character>\n    <dialogue>Will --<\/dialogue>\n    <character>SIMONE<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <character>ROSENTHALER<\/character>\n    <dialogue>Will you --<\/dialogue>\n    <character>SIMONE<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <character>ROSENTHALER<\/character>\n    <dialogue>Will you marry --<\/dialogue>\n    <character>SIMONE<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>Should I put you in your straitjacket, take you back to your cell, and lock you up again?<\/dialogue>\n    <scene_description>Rosenthaler sighs. He digs out a bottle of mouthwash from the tangled linens and takes a sip. Simone frowns. Rosenthaler explains:<\/scene_description>\n    <character>ROSENTHALER<\/character>\n    <dialogue>It's diluted.<\/dialogue>\n    <scene_description>Pause. Simone produces a child's sock from a knitted sack and begins to darn it. Rosenthaler looks up and stares into the camera. His face lightens. CUT TO: Rosenthaler's P.O.V. of the ceiling. Purple soot blackens its edges and corners. Nicotine yellows its cracked plaster. Rusty water stains speckle all across in faded flesh-tones. Decades of pollution and decay meld into a spectacular visual pandemonium. Rosenthaler says, transported:<\/scene_description>\n    <character>ROSENTHALER<\/character>\n    <dialogue>I need art supplies (canvas, stretchers, paints, brushes, turpentine).<\/dialogue>\n    <character>SIMONE<\/character>\n    <parenthetical>(continuing to darn)<\/parenthetical>\n    <dialogue>What do you want to paint?<\/dialogue>\n    <character>ROSENTHALER<\/character>\n    <dialogue>The future.<\/dialogue>\n    <scene_description>Rosenthaler turns to look into Simone's eyes. He says profoundly:<\/scene_description>\n    <character>ROSENTHALER<\/character>\n    <dialogue>Which is you.<\/dialogue>\n    <scene_description>CUT TO: Berensen at her lectern again.<\/scene_description>\n    <character>BERENSEN<\/character>\n    <dialogue>Widely not considered a great connoisseur, Julian Cadazio, nevertheless, had an eye for something, and he did us all a very good turn when, the hour he was released from prison --<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ART GALLERY. NIGHT<\/stage_direction>\n    <scene_description>A storefront situated on a brief cul-de-sac over the river. Beveled letters above the door identify it as: \"Cadazio Uncles and Nephew Galerie (Landscapes, Still-lifes, and Objets d'Art)\".<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>-- he summoned his uncles to the gallery on the Esplanade des Charpentiers.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ART GALLERY. NIGHT<\/stage_direction>\n    <scene_description>A showroom one flight up from the street. Summery landscapes on one wall. Kitchen-table still-lifes on another. Bronze heads on pedestals. Cadazio stands next to an easel which displays a hidden artwork cloaked in velvet. He addresses his uncles Nick and Joe.<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>We're done with flowers and fruit bowls. We're finished with beaches and seascapes. We're getting out of armor, rugs, and tapestries, too. I found something new. (In prison.)<\/dialogue>\n    <scene_description>Cadazio unveils the familiar canvas (\"Simone, Naked, etc.\"). His uncles immediately produce various corrective lenses (spectacles, monocle, a magnifying glass) and stare for a long moment. Finally:<\/scene_description>\n    <character>UNCLE NICK<\/character>\n    <dialogue>Modern art?<\/dialogue>\n    <character>CADAZIO<\/character>\n    <parenthetical>(profoundly)<\/parenthetical>\n    <dialogue>Modern art. Our specialty, starting now.<\/dialogue>\n    <character>UNCLE JOE<\/character>\n    <parenthetical>(befuddled)<\/parenthetical>\n    <dialogue>I don't get it.<\/dialogue>\n    <character>CADAZIO<\/character>\n    <parenthetical>(obviously)<\/parenthetical>\n    <dialogue>Of course, you don't.<\/dialogue>\n    <character>UNCLE JOE<\/character>\n    <dialogue>Am I too old?<\/dialogue>\n    <character>CADAZIO<\/character>\n    <parenthetical>(naturally)<\/parenthetical>\n    <dialogue>Of course, you are.<\/dialogue>\n    <character>UNCLE NICK<\/character>\n    <parenthetical>(skeptical)<\/parenthetical>\n    <dialogue>Why is this good?<\/dialogue>\n    <character>CADAZIO<\/character>\n    <parenthetical>(confident)<\/parenthetical>\n    <dialogue>It isn't good. Wrong idea.<\/dialogue>\n    <character>UNCLE JOE<\/character>\n    <parenthetical>(bristling)<\/parenthetical>\n    <dialogue>That's no answer.<\/dialogue>\n    <character>CADAZIO<\/character>\n    <parenthetical>(with satisfaction)<\/parenthetical>\n    <dialogue>My point. You see the girl in it?<\/dialogue>\n    <character>UNCLE JOE\/UNCLE NICK<\/character>\n    <parenthetical>(simultaneously)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <character>CADAZIO<\/character>\n    <parenthetical>(definitively)<\/parenthetical>\n    <dialogue>Trust me, she's there.<\/dialogue>\n    <scene_description>As Cadazio goes to a cabinet of shallow file-drawers, opens the top one, and withdraws a beige envelope, he continues:<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>One way to tell if a modern artist actually knows what he's doing is to get him to paint you a horse or a flower or a sinking battleship or something that's actually supposed to look like the thing it's actually supposed to look like. Can he do it? Look at this:<\/dialogue>\n    <scene_description>Cadazio opens the envelope and produces: INSERT: A charcoal drawing of a bird, simple and exquisite. Uncle Nick holds the picture carefully by the edges and studies it. Cadazio snaps his fingers.<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>Drawn in forty-five seconds right in front of me with a burnt matchstick.<\/dialogue>\n    <character>UNCLE NICK<\/character>\n    <parenthetical>(now genuinely impressed)<\/parenthetical>\n    <dialogue>A perfect sparrow. That's excellent. May I keep it?<\/dialogue>\n    <character>CADAZIO<\/character>\n    <dialogue>Don't be stupid. Of course, not. The point is: he could paint this --<\/dialogue>\n    <scene_description>After a brief, delicate tug-of-war, Uncle Nick, reluctantly, releases the drawing back to Cadazio.<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>-- beautifully, if he wanted to, but he thinks this --<\/dialogue>\n    <scene_description>Cadazio points to \"Simone\".<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>-- is better.<\/dialogue>\n    <scene_description>Cadazio is almost surprised to realize that he, honestly, means the following:<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>And I think I sort of agree with him.<\/dialogue>\n    <scene_description>The uncles examine the canvas, touching it, smelling it, etc. Cadazio says with finality:<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>\"Simone, Naked, Cell Block J. Hobby-room\" is probably a masterpiece worth a significant, even exorbitant sum of money -- but not yet.<\/dialogue>\n    <scene_description>Uncle Nick folds his hands and nods. He says mystically:<\/scene_description>\n    <character>UNCLE NICK<\/character>\n    <dialogue>The desire must be created.<\/dialogue>\n    <scene_description>Cadazio nods, also mystical. Silence. Uncle Joe blurts:<\/scene_description>\n    <character>UNCLE JOE<\/character>\n    <dialogue>How long's he in for?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HEARING CHAMBER. DAY<\/stage_direction>\n    <scene_description>A court of law. Three magistrates on one side of an elevated altar watch as Simone escorts Rosenthaler (in straitjacket and leg-irons) from a side door to a central chair. She padlocks him to the armrest. Rosenthaler sits, wary, facing his judges. Ten rows of benches behind him are empty with the exception of the front, occupied by Cadazio and his uncles. Simone, on a stool at Rosenthaler's side, sets to work darning another child's sock as the proceedings begin:<\/scene_description>\n    <character>CHIEF MAGISTRATE<\/character>\n    <dialogue>A new petition for special parole board review has been filed on behalf of Citizen 7524 in relation to the crimes of Assault, Battery, and Violent Dismemberment. Mr. Rosenthaler, why should we put you back on the street?<\/dialogue>\n    <character>ROSENTHALER<\/character>\n    <parenthetical>(softly)<\/parenthetical>\n    <dialogue>Because it was an accident, your honor. I didn't intend to kill anybody.<\/dialogue>\n    <scene_description>The Chief Magistrate raises an eyebrow. He says evenly:<\/scene_description>\n    <character>CHIEF MAGISTRATE<\/character>\n    <dialogue>You decapitated two bartenders with a meat-saw.<\/dialogue>\n    <scene_description>Rosenthaler hesitates. He confers briefly with Simone at a whisper. He nods and clarifies:<\/scene_description>\n    <character>ROSENTHALER<\/character>\n    <dialogue>The first bartender was an accident. The second was self-defense.<\/dialogue>\n    <scene_description>The magistrates murmur. Simone resumes her darning.<\/scene_description>\n    <character>CHIEF MAGISTRATE<\/character>\n    <dialogue>Be that as it may: what demonstration of genuine remorse or (at the very least) regret can you offer? For beheading these men.<\/dialogue>\n    <scene_description>Rosenthaler scratches his chin. He looks out the window. A bird of prey snatches a white dove out of the sky in a puff of feathers. Rosenthaler says, sincerely and genuinely apologetic, almost inaudible:<\/scene_description>\n    <character>ROSENTHALER<\/character>\n    <dialogue>They had it coming.<\/dialogue>\n    <character>CHIEF MAGISTRATE<\/character>\n    <parenthetical>(sharply)<\/parenthetical>\n    <dialogue>I beg your pardon?<\/dialogue>\n    <scene_description>Cadazio interrupts loudly, more or less completely drowning out Rosenthaler as he repeats himself:<\/scene_description>\n    <character>ROSENTHALER<\/character>\n    <dialogue>They had it coming?<\/dialogue>\n    <character>CADAZIO<\/character>\n    <dialogue>Forgive me.<\/dialogue>\n    <scene_description>The Chief Magistrate frowns. Rosenthaler turns. Simone pauses her darning. Cadazio, unexpectedly: has raised his hand.<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>Is there a part of this ritual where you ask if anybody has something to say before it's too late? Like at a wedding.<\/dialogue>\n    <character>CHIEF MAGISTRATE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>CADAZIO<\/character>\n    <dialogue>I'll be brief.<\/dialogue>\n    <scene_description>Cadazio's uncles look uneasy but intrigued as Cadazio crawls over a partition (slipping slightly as he struggles to get his leg over) and \"approaches the bench\". The magistrates make no effort to impede him -- though their expressions suggest extreme disapproval. Cadazio launches into a persuasive spiel:<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>We all know this man is a murderer. Totally guilty of first-degree homicide, anyway you slice it. That's a given. However: he's, also, that rare, once-in-a- generation guy you hear about but never get the chance to discover for yourself: an artistic genius. Surely, there ought to be a double-standard for this sort of predicament. (Supposedly, he's a psychotic, by the way. That's not his fault.) Respectfully, I submit: maybe we could think up some other way to punish him? I'm looking for the wiggle-room.<\/dialogue>\n    <scene_description>Cadazio looks to his uncles. They nod, concerned and serious. The magistrates are a stone wall.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>Rosenthaler's right to petition for parole was permanently revoked for the duration of his sentence.<\/dialogue>\n    <scene_description>Simone is already putting away her darning. Uncle Joe interjects from the stalls:<\/scene_description>\n    <character>UNCLE JOE<\/character>\n    <dialogue>No further questions.<\/dialogue>\n    <scene_description>CUT TO: Berensen at her lectern again.<\/scene_description>\n    <character>BERENSEN<\/character>\n    <dialogue>Nevertheless, Cadazio and his uncles were unanimous in their decision to promote the artist as his exclusive brokers throughout the free world.<\/dialogue>\n    <scene_description>INSERT: A promotional poster advertising a public debate in a town hall. Across the top: a photograph of \"Simone, Naked, etc.\" Across the bottom: \"The Next Mona Lisa?\"<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>\"Simone\" traveled far and wide.<\/dialogue>\n    <scene_description>MONTAGE: The painting is shown on display in various exhibition spaces around the world. In each location, a violent riot is in- progress among art patrons in dinner jackets and evening gowns. First: a municipal meeting hall in France. Champagne bottles fly through the air, shattering and exploding.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>The Ennui Salon.<\/dialogue>\n    <scene_description>Next: a vast conservatory in England. Punching, choking, shouting, screaming, bleeding.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>The Royal Exposition.<\/dialogue>\n    <scene_description>Finally: a tent at a middle-American harvest-festival with carnival rides, cotton candy, shooting gallery, etc. One group of attendees attempts to light the venue on fire while another group resists them.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>The International Pavilion at the Liberty, Kansas State Fair (which was very nearly burned to the ground).<\/dialogue>\n    <scene_description>Cadazio and his uncles watch the destructive skirmish, eyes bright, gleeful.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>In short, the picture was a sensation.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUCTION HOUSE. DAY<\/stage_direction>\n    <scene_description>On the block: Rosenthaler's perfect sparrow. Paddles rise and fall in rapid succession as an auctioneer, startled but enthusiastic, tries to keep up with exuberant bidding.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <parenthetical>(Even the artist's all-but-forgotten, earlier work inspired wildly robust sales on the secondary market.)<\/parenthetical>\n    <dialogue>Additional lots wait in the wings: Rosenthaler's previously-seen still life, river view, flea-bitten dog, self-portrait, absinthe bottle, and seated officer at desert fort (bullet hole still intact).<\/dialogue>\n    <scene_description>CUT TO: Berensen at her lectern again.<\/scene_description>\n    <character>BERENSEN<\/character>\n    <dialogue>Meanwhile, Rosenthaler continued to work in confinement. Strikingly, the artist favored raw materials sourced exclusively from within the prison\/asylum domain:<\/dialogue>\n    <scene_description>MONTAGE: The camera shoots through an expansive pane of glass which fills the frame as Rosenthaler paints directly onto it, brushing and slashing in aggressive bursts (and jump-cuts), one color at a time. First: a dusty, pale orange.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>Powdered eggs.<\/dialogue>\n    <scene_description>Next: a thick, dark red.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>Pigeon blood.<\/dialogue>\n    <scene_description>Next: an oily black.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>Shackle grease.<\/dialogue>\n    <scene_description>Next: shades of dirty ash.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>Coal, cork, and dung.<\/dialogue>\n    <scene_description>Next: a waxy, nearly fluorescent, slightly sudsy yellow.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>Bright yellow scullery-soap.<\/dialogue>\n    <scene_description>Finally: a lukewarm porridge.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>And fresh cream of millet as a binding agent.<\/dialogue>\n    <scene_description>MONTAGE: A naked Simone strikes various poses which appear to be (and, in fact, without the aid of visual effects, are) physically impossible. First: body twisted like a corkscrew, arms double- jointed akimbo, illuminated from a high window.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>Simone liked to stand still.<\/dialogue>\n    <scene_description>Next: flamingo-legged, fingers laced palms up, underlit by a flickering oil lamp.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>Indeed, she was Olympian in her ability to hold extremely challenging positions for extended periods of time.<\/dialogue>\n    <scene_description>Next: seated on a steaming radiator in thinker pose, puffs of breath visible in the frigid air.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>She exhibited very little vulnerability to extremes of heat or cold.<\/dialogue>\n    <scene_description>Next: in close-up, calmly ignoring a mosquito biting her cheek. It takes off, leaving only a tiny dot of blood which Simone wipes away with her pinky, perfectly clean.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>After even the most adverse forms of exposure, her skin remained unburned, unblemished, un-goose-pimpled.<\/dialogue>\n    <scene_description>Next: hanging upside down from a ceiling pipe in a frozen butterfly stroke.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>Another tidbit: she genuinely enjoyed the smell of turpentine --<\/dialogue>\n    <scene_description>Finally: cleaning splattered paint from her arms and legs with steel wool and distilled acid.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>-- and, in later years, actually wore it in the application of her toilet. (It's absolutely true. You could smell the solvent on her body.)<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EXECUTION THEATRE. DAY<\/stage_direction>\n    <scene_description>A small, round chamber as tall as a silo. At a grated landing mounted to the wall: an open, iron clad hatch. The latch has been pried open, and the door handle lies below in a pile of splinters and screws. Narrow steps wind along the wall ten feet down to a disapproving guard with his hands in his pockets. He stands next to a control panel featuring a prominent throw- switch.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>She was more than a muse.<\/dialogue>\n    <scene_description>Rosenthaler says grimly, off-screen:<\/scene_description>\n    <character>ROSENTHALER (O.S.)<\/character>\n    <dialogue>Throw the switch.<\/dialogue>\n    <scene_description>The guard snorts dismissively. On the other side of the room: Rosenthaler is seated in an electric chair with a metal headband clamped around his forehead and leather bindings belted around his wrists. He explodes:<\/scene_description>\n    <character>ROSENTHALER<\/character>\n    <dialogue>Throw the switch, you cocksucker!<\/dialogue>\n    <scene_description>Simone appears in the doorway. She frowns.<\/scene_description>\n    <character>SIMONE<\/character>\n    <dialogue>What's wrong with you? Go back to work.<\/dialogue>\n    <scene_description>Rosenthaler looks slightly guilty -- but defiant. He insists:<\/scene_description>\n    <character>ROSENTHALER<\/character>\n    <dialogue>I can't. I won't. It's too hard. It's torture. I'm -- I'm -- literally: I'm a tortured artist.<\/dialogue>\n    <scene_description>Simone's eyes flash down to a half-finished bottle of mouthwash tucked discreetly next to one of the legs of the electric chair. She says gently:<\/scene_description>\n    <character>SIMONE<\/character>\n    <dialogue>Poor baby.<\/dialogue>\n    <scene_description>Simone descends the staircase as she says calmly to the guard:<\/scene_description>\n    <character>SIMONE<\/character>\n    <dialogue>Get out.<\/dialogue>\n    <scene_description>The guard exits. Simone stares at Rosenthaler, curious. Rosenthaler stares back at her, bitter. Simone reaches for the throw-switch and flips it for a fraction of a second. There is a powerful clack, and Rosenthaler takes a 10,000-volt zap to the body. His hair sparks, his body spasms, and smoke comes out of his ears. After a brief moment of frozen astonishment, trembling and smoldering, he glares at Simone, wary. Simone shrugs.<\/scene_description>\n    <character>SIMONE<\/character>\n    <dialogue>Is that what you want?<\/dialogue>\n    <scene_description>Silence. Simone approaches and stops in front of Rosenthaler with her hands on her hips. She says, matter-of-fact:<\/scene_description>\n    <character>SIMONE<\/character>\n    <dialogue>I grew up on a farm. We didn't write poetry. We didn't make music. We didn't sculpt statues or paint pictures. I learned arts and crafts technique from books in this prison's library, and I teach them as a volunteer. I don't know what you know. I only know what you are. I can see you're suffering. I can see it's difficult. It might even get worse -- but then it's going to get better. You're going to figure out whatever your problem is. (What's your problem?)<\/dialogue>\n    <character>ROSENTHALER<\/character>\n    <parenthetical>(crippled)<\/parenthetical>\n    <dialogue>I don't know what to paint.<\/dialogue>\n    <character>SIMONE<\/character>\n    <dialogue>You're going to figure out what to paint, and you're going to believe in yourself (like I do), and you're going to struggle -- and then, in the spring, or maybe the summer, or possibly the fall, or, at the very latest, the winter: this new work will be complete. That's what's going to happen.<\/dialogue>\n    <scene_description>Simone holds the throw-switch again -- Rosenthaler flinches -- as she asks:<\/scene_description>\n    <character>SIMONE<\/character>\n    <dialogue>Unless you still prefer to execute yourself right now?<\/dialogue>\n    <scene_description>Rosenthaler slips his hands out the bindings and takes off the metal headband, then ascends the steps and goes out the door. Simone returns to the control panel and clicks off the power. The electric chair jiggles and rattles as it hums down to silence. CUT TO: Berensen at her lectern again.<\/scene_description>\n    <character>BERENSEN<\/character>\n    <dialogue>The French Splatter-school Action-group.<\/dialogue>\n    <scene_description>Berensen brings up a slide of a gathering of paint-splattered men (burly, grumpy, unwashed, disheveled, stylish) and one woman (small-boned but indestructible) posing for a photograph on the street below a prison window. Rosenthaler, inside, smiles broadly.<\/scene_description>\n    <character>BERENSEN<\/character>\n    <dialogue>A dynamic, talented, lusty, slovenly, alcoholic, violent pack of creative savages. They inspired and, often, personally attacked each other for two decades and more. (I'll have my drink now.)<\/dialogue>\n    <scene_description>Berensen reaches into a nook in the lectern and produces a small thermos, which she empties, neat, into a short glass. She comes out from behind her lectern and stands near the edge of the stage, closer to the audience, sipping as she continues more intimately:<\/scene_description>\n    <character>BERENSEN<\/character>\n    <dialogue>Remember, in those days, as you know, it was much more socially acceptable for a painter or sculptor to hit another fellow with a chair (or even a brick) or walk around with a black eye or a broken tooth and so on. Indeed, I'm jumping ahead, but, in my own experience, Rosenthaler could be quite unpredictably impulsive, meaning, I refer to the pigment-locker below his studio on the Boulevard des Plombiers, on one occasion, he grabbed me and put me in there, and, inappropri- ately, sort of, tried to --<\/dialogue>\n    <parenthetical>(stage-whispering)<\/parenthetical>\n    <dialogue>-- fuck me against the wall in the corner of that pigment-locker. He was crazy (officially certified).<\/dialogue>\n    <scene_description>Berensen turns away and circles back behind her lectern. She refers briefly to her notes, then presses on:<\/scene_description>\n    <character>BERENSEN<\/character>\n    <dialogue>The Cadazios, of course, represented them all.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COMPOUND ENTRANCE. DAY<\/stage_direction>\n    <scene_description>Two guards slowly slide open a pair of high, steel-clad, spike- topped, oak doors revealing Cadazio and his uncles waiting on the road outside. In the reverse angle: two other guards slowly slide open another pair of identical doors, revealing Rosenthaler (shackles\/straitjacket) waiting with Simone in the recess court inside. The two opposing parties advance to meet at a locked, iron-barred gate in the middle. TITLE: Three Years Later Cadazio faces Rosenthaler, arms crossed, steely. Uncle Joe stands behind him. A servant provides a chair for Uncle Nick who sits with arms propped on the top of his cane. Cadazio addresses Rosenthaler crisply:<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>It's three years later. We've made you the most famous painter alive based on one small, scribbly, over-rated picture. You're an art school course. You're an encyclopedia entry. Even your disciples have won and squandered multiple fortunes. Yet you refuse to show us so much as a sketch or study for a single new piece during this entire, protracted period. How long are we meant to wait? Well, don't answer, because we're not asking. We already printed the invitations.<\/dialogue>\n    <scene_description>Uncle Joe holds up a letter-press card on thick, gold-trimmed stock embossed luxuriously with scarlet script.<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>We're coming in. All of us. The collectors. The critics. Even your second- rate imitators (we represent) who suck up to you and smuggle you goodies and probably turn out to be better than you are. The bribes, alone, are going to be outrageous, as these guards can assure you. But we're going to pay them. So finish it, whatever it is. The show's in two weeks.<\/dialogue>\n    <scene_description>Cadazio holds up two fingers. Rosenthaler grits his teeth, stained and chipped. Once again, softly: he growls. (Another guard, armed with a carbine, watches from a turret above.) Cadazio retreats slightly while attempting to mask his instinctive fear. He points to Simone:<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>She thinks it's ready, by the way.<\/dialogue>\n    <scene_description>Rosenthaler flinches, surprised. He frowns and turns to Simone. Simone nods.<\/scene_description>\n    <character>SIMONE<\/character>\n    <dialogue>It's ready.<\/dialogue>\n    <scene_description>Rosenthaler looks betrayed. Simone looks nonplussed. Cadazio looks vindicated. Rosenthaler murmurs, vaguely optimistic:<\/scene_description>\n    <character>ROSENTHALER<\/character>\n    <dialogue>I could use another year.<\/dialogue>\n    <scene_description>Cadazio screams in frustration, and his uncles throw their hands up into the air, grip their hair, close their eyes, shake their heads, etc. CUT TO: Berensen at her lectern again.<\/scene_description>\n    <character>BERENSEN<\/character>\n    <dialogue>My employer, at that time, received the intriguing summons by rapid-priority wire. I refer, of course, to Upshur \"Maw\" Clampette.<\/dialogue>\n    <scene_description>Berensen brings up a triptych of black and white slides: one shows a landmark, modernist residence resembling a doorstop which overlooks a corn field; the other two show vitrines filled with Ancient Greek, Roman, and Egyptian idols, tools, and vessels.<\/scene_description>\n    <character>BERENSEN<\/character>\n    <dialogue>Astute collector of antiquities.<\/dialogue>\n    <scene_description>Berensen remote-switches to another triptych: one shows a closer view of the same house; the other two show rooms filled with cubist and surrealist paintings and sculptures -- and the visiting artists who created them.<\/scene_description>\n    <character>BERENSEN<\/character>\n    <dialogue>Great friend to the avant-garde.<\/dialogue>\n    <scene_description>Berensen remote-switches to a slide of a pioneer-handsome, sixty- year-old woman, slightly stout, perfect carriage, ebony black eyes, dressed and done in the most highly refined, sophisticated, continental style. She is outdoors, seated in an armchair shaped like a lobster. She is Upshur \"Maw\" Clampette. A water tower in the background reads: Liberty, KS.<\/scene_description>\n    <character>BERENSEN<\/character>\n    <dialogue>Her collection, even in its infancy, was well-known and important (as was her residence, Ingo Steen's first American commission, known, informally, as the \"Doorstop House\"). It was my duty and, I may say, my privilege to catalogue, archive, and advise -- although she did whatever the hell she wanted no matter what you told her, anyway.<\/dialogue>\n    <scene_description>Berensen clicks off the projector.<\/scene_description>\n    <character>BERENSEN<\/character>\n    <dialogue>Thus, we began the long journey from Liberty to Ennui.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SLEEPER PLANE. NIGHT<\/stage_direction>\n    <scene_description>An amphibious aircraft in flight over the Atlantic Ocean (left to right). Clouds wisp by in the background as we dissolve to a cut-away view of the interior of the vessel. Waiters prepare cocktails, and passengers read magazines. In first class, privatized: Clampette (in an embroidered, kimono-style dressing gown) sits at a low table smoking a cigarette and drinking a night-cap as she completes her correspondence with the assistance of a social secretary and a somewhat younger Berensen, herself. Clampette rises, and a maid enters with an ashtray and a hairnet which she stretches over her mistress' head as they make their way down the aisle to a section of curtained bunks. A doctor appears from aft with a tray of tonics and remedies. He spoons two doses of milk of magnesia directly into Clampette's mouth, followed by a brief hypodermic injection to the shoulder. Berensen assists Clampette up the ladder to her bunk and passes her a mystery novel open to the correct page. Clampette offers Berensen her unfinished cigarette, and they pass it back and forth, sharing the last few puffs before Clampette pulls the curtains shut. Berensen enters the lower bunk and pulls her own curtains shut. Her hand pokes out through a gap in the fabric to tap ash onto the floor. The lights in the cabin go dim. Throughout this scene, Cadazio dictates in voiceover:<\/scene_description>\n    <character>CADAZIO (V.O.)<\/character>\n    <dialogue>My dear Mrs. Clampette (\"Maw\", if I may), please, join us for the first-display of Mr. Moses Rosenthaler's extremely exciting new work (which I, myself, have not yet been permitted to see). In order to facilitate the viewing in a timely fashion, it may prove necessary for us to surreptitiously gain access to the facility where the artist currently resides. Please, rely on my operatives to organize any and all details and preparations for your visit. Caution: do not bring matches, lighters, or sharp objects of any kind. We await your confirmation with cheerful anticipation. Yours most truly, Cadazio Uncles and Nephew Galerie concern.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ART GALLERY. NIGHT<\/stage_direction>\n    <scene_description>Cadazio and his uncles wait, standing and seated in various positions around the showroom. They are dressed for the evening. Scarves and coats are draped on chair backs and pedestals. Three thick bundles of large-format banknotes, each the size of a sheet of writing paper, rest stacked on a gilded tabletop at the center of the room. Each uncle checks the time (by pocket-watch, wristwatch, or hourglass) while Berensen explains:<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>The paddy-wagon collected us directly after the night's final round of working girls and revelers were delivered to the drunk-tank at 3am.<\/dialogue>\n    <scene_description>Cadazio opens the curtains to check the clock tower above the place across the river. CUT TO: A high-angle shot racing up one of the city's narrow streets following a motorcade composed of two police motorcycles and a large paddy-wagon with cherry-lights whirling and sirens howling, blasting, blaring, and wailing. MONTAGE: The rear section of a prisoner-transport vehicle with wire-mesh windows and steel benches in two sets of tiered, facing rows. The passengers include: Cadazio and his uncles; Clampette and Berensen; Clampette's secretary; sixteen additional well-heeled art collectors in furs, jewels, dinner jackets, black tie, etc; the entire coterie of the French Splatter-school, as seen in the earlier photograph, along with their girlfriends (who appear to be prostitutes); and two, uniformed wait-staff. All carry copies of an exhibition-program labeled Rosenthaler\/Cadazio. Overhead angle: Cadazio's hands count out a bribe into the palm of the paddy-wagon driver. A long, subterranean corridor of stone and mortar construction with a narrow, brick path running alongside a coursing drainage- gutter. Cadazio leads the procession described above, flanked like a priest by two waterworks-men in pin-striped overalls (who carry glowing acetylene gas-lamps) and the two wait-staff (who push rolling hotel service-trollies). Overhead angle: Cadazio's hands count out a bribe into the palms of the two waterworks-men. A cement-paved exercise yard seen from a high tower. Searchlights, periodically, sweep across the walls and cast barbed-wire shadows. The visitors traverse, diagonal, in silent single-file, escorted by a quartet of prison guards. Overhead angle: Cadazio's hands count out bribes into the palms of the four guards. A wide passage segmented by consecutive, iron-barred gates. Jeers and taunts echo and reverberate from rows of cells as the congregation advances behind a dozen prison guards en masse through the dimly-lit penitentiary. Overhead angle: Cadazio's hands count out bribes into the palms of the twelve guards.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RECREATION ROOM. NIGHT<\/stage_direction>\n    <scene_description>An open doorway looking out from a pitch black space. The last guests, one by one, cross the threshold. The door closes, locks, and latches. We are in complete darkness. Long silence. A hushed murmur. Cadazio's voice calls out:<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>Moses, are you here?<\/dialogue>\n    <scene_description>A beat. Then: Rosenthaler's voice grunts from somewhere across the room:<\/scene_description>\n    <character>ROSENTHALER<\/character>\n    <dialogue>Uh-huh.<\/dialogue>\n    <character>CADAZIO<\/character>\n    <parenthetical>(nervous)<\/parenthetical>\n    <dialogue>Any words of introduction? Or, perhaps, a welcome to our wonderful guests, some of whom have traveled a great distance to come see your work, I hope? Or, alternatively, just, I don't know. Hello?<\/dialogue>\n    <character>SIMONE<\/character>\n    <parenthetical>(also in the dark)<\/parenthetical>\n    <dialogue>Lights.<\/dialogue>\n    <scene_description>There is a contact-bang, and the hobby-room (the previously-seen white-washed hall the size of a squash court) lights up bright: the space is now entirely muraled in ten astonishing panels, each sixteen feet tall, as seen in Berensen's lecture-slides. (Now, for the first time, we see them in color, and they are magnificent.) Rosenthaler, seated in a wheelchair, wears a mattress-ticking necktie with his prison uniform. He is stone-faced. Simone stands at his side. Cadazio absorbs the view: the artist and the opus. His mouth falls open. His eyes goggle. He shouts at the silent gathering:<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>Quiet, please!<\/dialogue>\n    <scene_description>A moment. Suddenly, Cadazio bubbles over and exclaims, voice cracking and screeching like an adolescent schoolboy's:<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>I did it!<\/dialogue>\n    <scene_description>Cadazio pumps his fists and scrabbles to the center of the room, spinning in all directions to observe the encircling artwork. His voice alternates between delirious hollering and reverential whispering:<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>It's good! This is historic. I did it. Open the champagne!<\/dialogue>\n    <scene_description>Corks pop, and the wait-staff sweep through the mingling crowd with trays of coupes and canap\u00e9s. Cadazio approaches Rosenthaler.<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>Why are you sitting in a wheelchair like an invalid? You should be dancing on the tables! It's a triumph!<\/dialogue>\n    <character>SIMONE<\/character>\n    <dialogue>He stabbed himself in the thigh with a palette knife last week, but, luckily, the infirmary-boy was able to reconnect the artery.<\/dialogue>\n    <character>ROSENTHALER<\/character>\n    <parenthetical>(genuinely)<\/parenthetical>\n    <dialogue>Do you like it?<\/dialogue>\n    <character>CADAZIO<\/character>\n    <dialogue>Do I like it?<\/dialogue>\n    <parenthetical>(humbled)<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Cadazio leans down and kisses Rosenthaler on the forehead. He turns to Simone and kisses her, as well. The entire group of Splatter-school artists approaches. One of their companions speaks to Rosenthaler on their behalf:<\/scene_description>\n    <character>PROSTITUTE<\/character>\n    <dialogue>They did your girlfriend for you.<\/dialogue>\n    <scene_description>Each artist holds up a small portrait: a drawing on a napkin, a sketch on the exhibition program, a sculpture made from a champagne cork and its wire-cage, etc. Rosenthaler bows and mumbles thank-you's, moved and embarrassed (though not very impressed). Cadazio points:<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>Look at \"Maw\". She's mesmerized.<\/dialogue>\n    <scene_description>Across the room, Clampette stands close to one of the panels, mesmerized, indeed. Berensen lingers some distance behind her. Cadazio approaches briskly and idles at her side. Clampette says, eventually, in the twang of her region:<\/scene_description>\n    <character>CLAMPETTE<\/character>\n    <dialogue>This here's a fresco, t'weren't it?<\/dialogue>\n    <character>CADAZIO<\/character>\n    <parenthetical>(dazzled)<\/parenthetical>\n    <dialogue>Precisely! He's a Renaissance master of the highest order! He mines the same vein as Piperno Pierluigi when he illuminated the Christ before God's heavenly altar in 1565! \"Maw\"! Nobody has an eye for things nobody has ever seen like \"Maw\" Clampette of Liberty, Kansas! We should be ashamed to even gather in her presence! Why the fuck did she say fresco?<\/dialogue>\n    <parenthetical>(shouting at Rosenthaler)<\/parenthetical>\n    <dialogue>Are they painted into the walls?<\/dialogue>\n    <scene_description>Cadazio reaches out to touch the picture. He rubs it more forcefully. He scratches and claws at it with the fingernails of both hands, grimacing in panic. He is thunder-struck.<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>Oh, no. What has he done? You fucking asshole.<\/dialogue>\n    <parenthetical>(desperately to Berensen)<\/parenthetical>\n    <dialogue>Look at this.<\/dialogue>\n    <character>BERENSEN<\/character>\n    <dialogue>I think it's utterly wonderful.<\/dialogue>\n    <character>CADAZIO<\/character>\n    <dialogue>It's crucial! It's probably a turning point in the evolution of human pictography! Scratched and plastered into a reinforced cement aggregate gymnasium! He even painted on the radiators!<\/dialogue>\n    <character>CLAMPETTE<\/character>\n    <parenthetical>(speculating)<\/parenthetical>\n    <dialogue>Maybe one of them resterashun fellers out<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <character>CLAMPETTE<\/character>\n    <dialogue>at the Fondazione dell'Arte Classico could figger a way to rustle them pitchers loose.<\/dialogue>\n    <character>CADAZIO<\/character>\n    <dialogue>We're in a maximum-security prison, \"Maw\"! It's federal property! Even to begin the bureaucratic nightmare would require years of negotiation with a team of highly-paid, arrogant, obnoxious advocates. I don't even know how you'd peel them off. It's a fresco.<\/dialogue>\n    <scene_description>Cadazio, abruptly, darts away and sails across the room to confront Rosenthaler. He detonates:<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>It's a fresco!<\/dialogue>\n    <character>ROSENTHALER<\/character>\n    <parenthetical>(puzzled)<\/parenthetical>\n    <dialogue>So what?<\/dialogue>\n    <character>CADAZIO<\/character>\n    <dialogue>Can you even begin to fathom the shit-ton of money my uncles and I have squandered to get to this point-of-no-return? Look at them!<\/dialogue>\n    <scene_description>Cadazio points. His uncles watch and listen. They do not appear to comprehend the situation on any level.<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>You've ruined us! Does that mean nothing to you?<\/dialogue>\n    <character>ROSENTHALER<\/character>\n    <parenthetical>(injured)<\/parenthetical>\n    <dialogue>I thought you liked it.<\/dialogue>\n    <character>CADAZIO<\/character>\n    <parenthetical>(ruthlessly)<\/parenthetical>\n    <dialogue>I think it stinks. Get out of that wheelchair! I'm going to kick your ass up and down this hobby-room!<\/dialogue>\n    <scene_description>Rosenthaler tenses and winces as if he has been, literally, stabbed in the back. He growls (as before).<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>Don't growl at me, you convicted murderer. You homicidal, suicidal, psychopathic, no-talent drunk!<\/dialogue>\n    <scene_description>Without rising, Rosenthaler charges Cadazio like a rolling rhinoceros, torquing his wheels with powerful force, kicking and lunging as Cadazio dodges and feints. Cadazio throws champagne into Rosenthaler's eyes, blinding him briefly, then darts behind the hulking artist and grabs the handles of his wheelchair. He shoves hard and sprint-pushes Rosenthaler, rumbling across the open gallery, launching the wheelchair and its passenger at speed directly off a three-step ledge. The wheelchair is airborne for an instant, then lands, skidding, with a thunk, and continues at high velocity directly into the cement center of one of the vast panels. It smashes with a cracking, metallic thud. The room goes dead silent. Rosenthaler is immobile. Simone turns to Cadazio, stern. Cadazio looks sheepish. Suddenly, Rosenthaler quick-reverses, spins around, and accelerates, bumpily rocketing back up the steps (with remarkable athleticism) and re-charging Cadazio like an even more ferocious rolling rhinoceros. Cadazio flees. The assembled guests watch, surprised, perplexed, amused, frightened, side- stepping as: the two combatants circle the perimeter of the room, screaming at each other furiously. As they whiz by Simone, she deftly extends her foot, tripping Cadazio into a tumbling spill, and, in almost the same instant, flips the hand-brake lever on the wheelchair, freezing the axles and obliterating the spokes. The vehicle, essentially, disintegrates as Rosenthaler ejects through space, landing heavily directly on top of his representative. Cadazio, flat on his back, speaks up into Rosenthaler's face:<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>Get off me, Moses.<\/dialogue>\n    <scene_description>The fight is over. Rosenthaler, hobbling, is assisted to a stool, onto which he crumples and wilts. Cadazio asks Simone, bewildered:<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>Why didn't you tell me, gardienne?<\/dialogue>\n    <scene_description>Simone thinks for a minute. She starts to explain, then simplifies it:<\/scene_description>\n    <character>SIMONE<\/character>\n    <dialogue>Because you would've stopped him.<\/dialogue>\n    <scene_description>Cadazio deflates. He nods. He retreats among his uncles, who appear to be woozy and disoriented. Uncle Nick fans himself with an exhibition-program. Uncle Joe takes a tablet from a tin and washes it down with champagne. Cadazio says, heartbroken:<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>We have to accept it. His need to fail is more powerful than our strongest desires to help him succeed. I give up. He's defeated us. It's sad, but there it is. Anyway, at least, he finished the mother- fucker.<\/dialogue>\n    <parenthetical>(philosophical)<\/parenthetical>\n    <dialogue>It is, perhaps, the most interesting contemplation of peripheral vision I've ever seen.<\/dialogue>\n    <scene_description>Cadazio shields his vision with his flat palm and pivots side to side, studying the work out of the corners of his eyes. As he returns to Rosenthaler, Rosenthaler throws open his arms, and the men embrace like two exhausted prizefighters. Tears stream down their faces.<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>Well done, Moses. This has a greatness to it. If you plastered it deep enough, it may last. We'll come see it again one day. God willing. You'll, already, still be here, of course.<\/dialogue>\n    <scene_description>Rosenthaler shrugs. He says softly:<\/scene_description>\n    <character>ROSENTHALER<\/character>\n    <dialogue>It's all Simone.<\/dialogue>\n    <scene_description>They watch Simone, on the opposite side of the room, standing with her back to them, centered in front of another of the massive panels. Berensen informs us (from the future):<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>At that moment, they were both aware of Simone's intention to leave her position at the Ennui Prison\/Asylum the following day, endowed with funds provided by the Cadazios as compensation for her work as Rosenthaler's model and muse.<\/dialogue>\n    <scene_description>Cadazio puts his hand on Rosenthaler's shoulder.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>She was re-united with the estranged child to whom she had given birth in her youth, and the two never again lived apart.<\/dialogue>\n    <scene_description>Simone turns around to look at Rosenthaler and Cadazio. She smiles and imitates the pose -- albeit cubist -- implied in the painting: a runner at full stride, diving across an imaginary finish line. (Her balance, of course, is impossibly perfect.)<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>She and Rosenthaler maintained a regular correspondence for the rest of the artist's life.<\/dialogue>\n    <scene_description>In the meantime: Clampette and Berensen carefully study the surfaces of one of the other panels. Berensen wears archivist's white cotton gloves as she assesses the qualities of the material.<\/scene_description>\n    <character>BERENSEN<\/character>\n    <dialogue>It's certainly an extremely challenging task. The medium appears to be grease and blood deep-permeated into a grain-based, seamless gesso. I think you'd have to take it whole.<\/dialogue>\n    <character>CLAMPETTE<\/character>\n    <parenthetical>(optimistic)<\/parenthetical>\n    <dialogue>I reckon that rascal Maurizio might fry up a s'looshin in his noggin. He's a crafty, old sidewinder.<\/dialogue>\n    <character>BERENSEN<\/character>\n    <parenthetical>(taking a note in her agenda-book)<\/parenthetical>\n    <dialogue>I'll contact him early tomorrow morning, \"Maw\".<\/dialogue>\n    <scene_description>Simone sits perched on the knee of Rosenthaler's good leg, darning another child's sock (of a somewhat larger size than previously-seen). Berensen glides over to Cadazio.<\/scene_description>\n    <character>BERENSEN<\/character>\n    <dialogue>Mrs. Clampette would like to put the piece on hold.<\/dialogue>\n    <scene_description>Cadazio's face goes blank and frozen. He mutters, stunned:<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>The half-sticker?<\/dialogue>\n    <character>BERENSEN<\/character>\n    <dialogue>Yes, please. Should she choose to finalize the sale: will this amount be acceptable to you and your uncles?<\/dialogue>\n    <scene_description>Berensen hands Cadazio a slip of paper. He whisks on a pair of reading glasses. His uncles materialize to huddle around, peering over his shoulder. They murmur their approval. Cadazio asks Berensen:<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>Can we get a deposit?<\/dialogue>\n    <character>BERENSEN<\/character>\n    <parenthetical>(calling out to Clampette)<\/parenthetical>\n    <dialogue>\"Maw\"? An advance against the total sum?<\/dialogue>\n    <character>CLAMPETTE<\/character>\n    <dialogue>Tell them stingy Frenchmen I ain't making no promises.<\/dialogue>\n    <scene_description>Cadazio and his uncles appear to be, tentatively, relieved. Uncle Nick signals to the band. The music resumes, and the party revives.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>\"Ten Reinforced Cement Aggregate (Load- bearing) Murals\" was to remain on hold under the name Upshur Clampette for the subsequent twenty years.<\/dialogue>\n    <scene_description>One of the wait-staff, hovering nearby, interjects confidentially:<\/scene_description>\n    <character>WAIT-STAFF<\/character>\n    <dialogue>Mr. Cadazio? The prisoners are asking to be bribed, as well.<\/dialogue>\n    <scene_description>Cadazio hesitates. He asks, irritated:<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>Which prisoners?<\/dialogue>\n    <character>WAIT-STAFF<\/character>\n    <dialogue>All of them. There's an angry mob outside the hobby-room. This individual claims to be their representative.<\/dialogue>\n    <scene_description>The wait-staff points to a wiry, scrappy, gristly, previously- unseen convict loitering at his side. Cadazio does a double-take and frowns. He says sharply, eye-balling the convict:<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>Tell them we don't bribe rapists and pick- pockets. It's unethical. Besides, I didn't bring an additional six million francs in small bills.<\/dialogue>\n    <scene_description>Cadazio strides to the door and pokes his head out. In the corridor, there is, indeed, an angry mob of approximately 300 prisoners holding improvised weapons (broom handles, pipe- sections, bricks and chains). Cadazio asks them rhetorically:<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>How'd you get out there?<\/dialogue>\n    <scene_description>Cadazio leans back inside and shouts to Rosenthaler:<\/scene_description>\n    <character>CADAZIO<\/character>\n    <dialogue>What do we do?<\/dialogue>\n    <character>ROSENTHALER<\/character>\n    <parenthetical>(grimly)<\/parenthetical>\n    <dialogue>Lock the door.<\/dialogue>\n    <scene_description>Cadazio attempts to re-slam the door, but the convict resists and grapples with him. Simone baton-whomps him on the top of his head with all her might. Blood spurts as the convict yelps and bellows in a thundering baritone:<\/scene_description>\n    <character>CONVICT<\/character>\n    <dialogue>Riot!<\/dialogue>\n    <scene_description>Iron hinges shoot off in three directions as if blasted apart by explosive charges, and the hobby-room door whangs flat onto the floor with a boom. The mob stampedes into the art exhibition: berserk, blood-thirsty, and spectacularly out of control. The assembled guests, screaming and scrambling, attempt to defend themselves.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>In the aftermath, 72 prisoners and six members of the French Splatter-school lay dead or mortally wounded.<\/dialogue>\n    <scene_description>Simone continues to baton-whomp numerous convicts. Cadazio smashes a champagne bottle and jabs it into the faces of various attackers. Clampette produces a Derringer pistol, shoots two men dead, and reloads. Berensen discharges a high-pressure fire extinguisher into the melee. The artists and their prostitutes fight like sailors. Cadazio's uncles struggle to prevent themselves from being strangled to death.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>Moses Rosenthaler, for acts of extreme valor which saved the lives of nine guards, twenty-two distinguished visitors, and the Ministers of Culture and Urbanity, received his freedom (with probation for life) --<\/dialogue>\n    <scene_description>For the first time in the evening, Rosenthaler unsteadily rises to his feet. In one hand: a large can of red paint (pigeon blood). In the other: a bottle of turpentine. Again: he growls.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>-- and was decorated in the Order of the Caged Lion.<\/dialogue>\n    <scene_description>Close-up: Rosenthaler swigs the turpentine, throws the bottle aside, pours the full can of paint over the top of his head, lights a match, and roars, berserk (splattering: people, painting, and camera). He spits, breathing fire.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARGO PLANE. DAY<\/stage_direction>\n    <scene_description>A military aircraft in flight over the Atlantic Ocean (right to left). Clouds wisp by in the background as we dissolve to a cut- away view of the interior of the vessel. In the massive rear- cabin: an army tank, a troop carrier, three jeeps, and the entire hobby-room, intact, suspended from the ceiling trusses on a net-cradle. It sways slightly in the mild turbulence.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>One score later, as per \"Maw\" Clampette's detailed instructions, Cadazio and his own nephew arranged for the entirety of the hobby-room to be relocated onboard a Goliath Aviation twelve-engine artillery transport directly from Ennui to Liberty.<\/dialogue>\n    <scene_description>Side by side in jump-seats with four-point harnesses and parachute backpacks: a gently aging Cadazio and his bright, eager, young relation. CUT TO: The hobby-room. Berensen and the audience from her lecture have gathered inside the transplanted structure to view Rosenthaler's creation. Outside the open doorway: a corn field rustles in the prairie breeze.<\/scene_description>\n    <character>BERENSEN (V.O.)<\/character>\n    <dialogue>In this form, the avant-garde assumed its place upon the plains of Central Kansas.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WRITER'S OFFICE (BERENSEN). DAY<\/stage_direction>\n    <scene_description>At the window: Berensen studies slides and re-orders them in a carousel tray. In the corner: the accountant makes notations on slips and tickets. In the middle of the room: Howitzer paces, shuffling a sheaf of receipts, muttering\/quoting under his breath:<\/scene_description>\n    <character>HOWITZER<\/character>\n    <dialogue>\"Pencils, pens, erasers, thumbtacks, pushpins, typewriter repairman...\"<\/dialogue>\n    <scene_description>Howitzer interrupts himself, looking over his glasses at Berensen:<\/scene_description>\n    <character>HOWITZER<\/character>\n    <dialogue>Why am I paying for a hotel room at a beach club on the North Atlantic coast?<\/dialogue>\n    <character>BERENSEN<\/character>\n    <parenthetical>(slightly offended)<\/parenthetical>\n    <dialogue>Because I had to go there to write it.<\/dialogue>\n    <scene_description>Howitzer grumbles, unconvinced. He shuffles more receipts and resumes his muttering\/quoting:<\/scene_description>\n    <character>HOWITZER<\/character>\n    <dialogue>\"Breakfast, lunch, dinner, laundry, nightcap, midnight snack...\"<\/dialogue>\n    <scene_description>Howitzer interrupts himself (looking over his glasses) again:<\/scene_description>\n    <character>HOWITZER<\/character>\n    <dialogue>What's wrong with the desk right here? In your office, courtesy of this magazine.<\/dialogue>\n    <character>BERENSEN<\/character>\n    <parenthetical>(slightly more offended)<\/parenthetical>\n    <dialogue>Don't ask me to be indiscreet. About what happened between me and Moses at a seaside inn twenty years ago. We were lovers. I went back to remember.<\/dialogue>\n    <character>HOWITZER<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>On my dime.<\/dialogue>\n    <character>BERENSEN<\/character>\n    <parenthetical>(firmly)<\/parenthetical>\n    <dialogue>Yes, please.<\/dialogue>\n    <scene_description>Howitzer grumbles once more. He says to the accountant, resigned:<\/scene_description>\n    <character>HOWITZER<\/character>\n    <dialogue>Add it up.<\/dialogue>\n    <scene_description>The accountant totals the figures on her adding machine. Story #2 (pages 59 to 96) INSERT: The proof-print of a correspondent's diary in the Politics\/Poetry Section. A line-drawing depicts a Citro\u00ebn economy-car, vandalized and on fire. TITLE: Youth Movement \"Revisions to a Manifesto\" by Lucinda Krementz<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEAN'S OFFICE. NIGHT<\/stage_direction>\n    <scene_description>A paneled room of generous proportions with high ceilings and a vast, ancient table at its center. Seated across from each other, cross-legged, in the middle of the desktop: a middle-aged professor (tall, distinguished, rigid) and a nineteen-year-old boy (skinny, wild-haired, electric). They both stare intently at, situated between them: a chessboard. The professor keeps his fingers on a bishop while he re-thinks. The boy (Zeffirelli) puffs on a dark, skinny, Tuscan cigar. The room overflows all around with a hundred students and a dozen faculty, standing on cabinets, sitting on floors, crouched on windowsills, spilling into the corridors and vestibules. All stare at the two players, mid-match. A voice (American, chain-smoker, low \\[for a woman\\]) begins:<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>March first. Negotiations between undergraduates and the university administration break down abruptly in early-morning hours after clamorous debate, angry name-calling, and, finally, outright gambling over: the right of free- access to the girls dormitory for all male students.<\/dialogue>\n    <scene_description>In the corner: two boys (a giraffe and a fire-hydrant) whisper simultaneously. They are Vittel and Mitch-mitch.<\/scene_description>\n    <character>VITTEL<\/character>\n    <dialogue>Zeffirelli's cramping the professor's bishop.<\/dialogue>\n    <character>MITCH-MITCH<\/character>\n    <dialogue>He should open the position and counter with both rooks.<\/dialogue>\n    <scene_description>At the chessboard, the professor releases his bishop and taps a game clock. Zeffirelli makes a brisk move, knight to bishop etc, and taps the timer himself.<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>The protest (which ended in a stalemate) gave the superficial appearance of a vanity exercise for the pimple-cream and<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>wet-dream contingent; but, in fact, the sexes were equally represented, and all participants emphasized the basis of their frustration: a desire (more: a biological need) for freedom, full-stop.<\/dialogue>\n    <scene_description>Discreetly seated on the top shelf of a bookcase in a corner, a sensible, fifty-year-old woman (skirt-suit, pearls, trench coat, large handbag) watches, listens, smokes a cigarette, and takes notes in a composition book. She is deeply curious, deeply engaged, entertained\/amused. She is Lucinda Krementz. She frowns, then yells:<\/scene_description>\n    <character>KREMENTZ<\/character>\n    <dialogue>Young lady: shoes!<\/dialogue>\n    <scene_description>Across the room: a student in a turtleneck sweater, uniform smock, long socks with sandals, and checker-striped motorcycle helmet (worn at all times throughout the story) is standing on the hem of a tapestry (knights, ladies, lions, unicorn) while she checks her make-up in a powder-puff compact mirror. She looks down at her feet, mortified. She carefully steps off the draped cloth and neatens it. She looks back to Krementz and sticks out her tongue. She is Juliette. Krementz raises an eyebrow. At the table: the professor thwarts an attack on the queen's flank. Various quarters of the room cheer and grumble.<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>It has exploded into symbolism, and everybody's talking about it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM. NIGHT<\/stage_direction>\n    <scene_description>A comfortable fifth-floor flat cluttered with books and papers. Seated at a futuristic, white, round table over a spotless, white, round rug: a forty-ish couple. The husband wears a pullover sweater and long sideburns. The wife wears a caftan and long braids. In the background: twin girls, thirteen, eat alone in the kitchen, listening to a news report on the radio. Krementz faces her friends, chilly, as the husband twists a corkscrew.<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>March fifth. Late supper at the B's. Eldest boy, nineteen, not home since yesterday morning. Father chanced upon him, mid-day, marching alongside his comrades. Their slogan:<\/dialogue>\n    <scene_description>CUT TO: A stone wall. Spray-paint graffitied onto it: \"Les Enfants sont Grognons.\"<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>\"The children are grumpy.\"<\/dialogue>\n    <scene_description>CUT TO: Krementz lighting a cigarette as the wine is poured. She says, matter-of-fact:<\/scene_description>\n    <character>KREMENTZ<\/character>\n    <dialogue>I'll be needing an ashtray, if you care about this carpet.<\/dialogue>\n    <scene_description>The husband moves briskly to fetch a receptacle. The wife, sheepish, sits in silence. Krementz looks up coolly at a not- entirely-successful chandelier.<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>Local news reports: fascist law students, loitering at the university gates with intent to harass left-wing demonstrators (their natural enemies), instead, brawl in their defense when police forces move to break up the demonstration.<\/dialogue>\n    <scene_description>The husband delivers an oversized, crystal bowl (which appears to weigh about ten pounds) and clunks it onto the table under Krementz's cigarette just as ashes begin to crumble.<\/scene_description>\n    <character>KREMENTZ<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Krementz exhales a stream of smoke as the husband slides back into his seat, uneasy.<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>An additional dinner guest, thus far, fails to appear. For this, I am grateful. (Had not been informed of his invitation, in first place.)<\/dialogue>\n    <scene_description>The husband and wife respond simultaneously, finishing each other's sentences:<\/scene_description>\n    <character>HUSBAND<\/character>\n    <dialogue>We didn't mean to offend you. We're sorry.<\/dialogue>\n    <character>WIFE<\/character>\n    <dialogue>We thought you might decline the invitation. If we warned you.<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <dialogue>You were right.<\/dialogue>\n    <scene_description>Faintly, outside: shouting, chanting, a periodic ricochet-pop.<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>Medical student on Radio-Ennui describes aggressive crowd-control methods in use on street today. Quote:<\/dialogue>\n    <character>WIFE<\/character>\n    <dialogue>Just give him a chance. He's very intelligent.<\/dialogue>\n    <character>HUSBAND<\/character>\n    <dialogue>How long's it been? Since what's-his-name?<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <parenthetical>(patient)<\/parenthetical>\n    <dialogue>I know you mean well.<\/dialogue>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>\"It begins with a prickly tingling of the exposed skin.\"<\/dialogue>\n    <scene_description>Strangely: Krementz and the couple -- all three, at once -- reach not for their wine but, instead, glasses of water. They each drink a quick, solid gulp. As soon as Krementz swallows:<\/scene_description>\n    <character>KREMENTZ<\/character>\n    <dialogue>I'm not an old maid.<\/dialogue>\n    <character>HUSBAND<\/character>\n    <dialogue>We don't think that.<\/dialogue>\n    <character>WIFE<\/character>\n    <dialogue>Of course, you're not.<\/dialogue>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>\"Then: a reddening and swelling of the orbital muscles.\"<\/dialogue>\n    <scene_description>All three begin to blink, squint, and sniffle.<\/scene_description>\n    <character>KREMENTZ<\/character>\n    <dialogue>Take me at my word: I live by myself on purpose. I prefer relationships that end. I deliberately choose to have neither husband nor children (the two greatest deterrents to any woman's attempt to live by and for writing). Why are we crying?<\/dialogue>\n    <character>HUSBAND<\/character>\n    <dialogue>Because it's sad. We don't want you to be alone.<\/dialogue>\n    <character>WIFE<\/character>\n    <dialogue>Loneliness is a kind of poverty.<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <dialogue>I'm not sad. My eyes hurt. There's something wrong with your apartment.<\/dialogue>\n    <scene_description>Pause. At the same instant: Krementz and her hosts begin to cough, choke, and rub their eyes. The noise in the streets has now erupted into a rumbling, clattering roar, punctuated by megaphone shouts and a mixture of sirens.<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>\"Finally: a barrage of searing pain as snot pours from the nostrils, and the throat spasms and constricts.\"<\/dialogue>\n    <character>HUSBAND<\/character>\n    <dialogue>Spread a damp cloth on every windowsill.<\/dialogue>\n    <character>WIFE<\/character>\n    <dialogue>I can't believe it reaches us up here. On the fifth floor.<\/dialogue>\n    <scene_description>The husband stands up and moves toward the curtains as a bright light flashes outside. Distant thumps reverberate. The wife goes into the kitchen to sweep the girls down the back corridor. Krementz puts a napkin to her face and drifts across the apartment, into a bathroom. She closes the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM. NIGHT<\/stage_direction>\n    <scene_description>White tiles, dangling towels, a family of toothbrushes. Krementz glares at herself in the mirror. Her eyes are blood-shot. Her mascara is smudged. She turns on the tap and watches the water run. Behind her: a subtle splash. She frowns. A pair of bare feet balanced on the rim of the end of the tub shift and wiggle. Krementz crosses the room and whisks the shower curtain fully open with a jingling tug. Zeffirelli, soaking, turbaned in terrycloth, smoking another skinny cigar, looks shocked. He holds a graph-paper notebook and a four-color ballpoint pen poised mid-sentence. Pause.<\/scene_description>\n    <character>ZEFFIRELLI<\/character>\n    <dialogue>I'm naked, Mrs. Krementz.<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <dialogue>I can see that.<\/dialogue>\n    <character>ZEFFIRELLI<\/character>\n    <dialogue>Why are you crying?<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <dialogue>Tear gas.<\/dialogue>\n    <scene_description>Zeffirelli sniffs the air. Krementz quietly realizes and\/or acknowledges:<\/scene_description>\n    <character>KREMENTZ<\/character>\n    <dialogue>Also, I suppose I'm sad.<\/dialogue>\n    <scene_description>Zeffirelli nods, thoughtful. He and Krementz lock eyes for a moment.<\/scene_description>\n    <character>ZEFFIRELLI<\/character>\n    <dialogue>Please, turn away. I feel shy about my new muscles.<\/dialogue>\n    <scene_description>Krementz jerks the shower curtain shut again. She goes back to the sink, searches in the medicine cabinet, and finds a tube of mascara. She fixes her eyes.<\/scene_description>\n    <character>KREMENTZ<\/character>\n    <dialogue>Go tell your parents you're home. They're worried.<\/dialogue>\n    <character>ZEFFIRELLI (O.S.)<\/character>\n    <dialogue>I'm expected back on the barricades.<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <parenthetical>(skeptical)<\/parenthetical>\n    <dialogue>I didn't see any barricades.<\/dialogue>\n    <character>ZEFFIRELLI (O.S.)<\/character>\n    <parenthetical>(hedging)<\/parenthetical>\n    <dialogue>Well, we're still constructing them.<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <parenthetical>(evenly)<\/parenthetical>\n    <dialogue>Uh-huh. What are you writing?<\/dialogue>\n    <scene_description>Zeffirelli slings the shower curtain open again. He holds up his notebook and says vigorously:<\/scene_description>\n    <character>ZEFFIRELLI<\/character>\n    <dialogue>Our manifesto. I told them not to invite Paul, by the way. Maybe you're sad, but you don't seem lonely to me.<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <parenthetical>(vindicated)<\/parenthetical>\n    <dialogue>Exactly!<\/dialogue>\n    <character>ZEFFIRELLI<\/character>\n    <dialogue>I saw you at the protest. On top of a bookcase (taking notes).<\/dialogue>\n    <parenthetical>(tantalized)<\/parenthetical>\n    <dialogue>Is there a story in us? For the people of Kansas.<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Maybe.<\/dialogue>\n    <character>ZEFFIRELLI<\/character>\n    <parenthetical>(re: his manifesto)<\/parenthetical>\n    <dialogue>Then you should study our resolutions. Or, anyway, will you proofread it? My parents think you're a good writer.<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <dialogue>Give it to me.<\/dialogue>\n    <scene_description>Zeffirelli jolts up out of the tub, splashing and naked, lunges across the bathroom, thrusts the graph-paper notebook into Krementz's hands, then darts away and slips back into the water. Krementz opens the notebook and reads, frowning, flipping pages. Outside the room: a doorbell rings, a dog barks. Krementz says, skeptical:<\/scene_description>\n    <character>KREMENTZ<\/character>\n    <dialogue>It's a little damp.<\/dialogue>\n    <character>ZEFFIRELLI<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>Physically? Or metaphorically.<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <dialogue>Both. Based on the cover --<\/dialogue>\n    <parenthetical>(water-stained)<\/parenthetical>\n    <dialogue>-- and the first four sentences.<\/dialogue>\n    <character>ZEFFIRELLI<\/character>\n    <parenthetical>(offended)<\/parenthetical>\n    <dialogue>Don't criticize my manifesto.<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <parenthetical>(raising an eyebrow)<\/parenthetical>\n    <dialogue>Oh. You don't want remarks?<\/dialogue>\n    <character>ZEFFIRELLI<\/character>\n    <parenthetical>(less certain)<\/parenthetical>\n    <dialogue>I don't need remarks. Do I? I only asked you to proofread it because I thought you'd be even more impressed by how good it already is.<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <dialogue>Let's start with the typos.<\/dialogue>\n    <character>ZEFFIRELLI<\/character>\n    <parenthetical>(squinting)<\/parenthetical>\n    <dialogue>What's there?<\/dialogue>\n    <scene_description>Krementz produces a red felt-tip pen and immediately begins grading the document like a book report. Zeffirelli watches tensely. CUT TO: Krementz emerging with the graph-paper notebook in hand. A tall, wispy-bearded, blond man in corduroy waits, seated, with the couple at the table. He immediately rises to his feet. It is clear: the journey from wherever he has come from has been difficult. His sleeve is ripped. His shirt is torn. There is a small bandage on his forehead. He is dusty, mussed, and bruised. He smiles, reserved. He is Paul. Krementz nods:<\/scene_description>\n    <character>KREMENTZ<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>HUSBAND<\/character>\n    <dialogue>Paul Duval.<\/dialogue>\n    <character>WIFE<\/character>\n    <dialogue>Lucinda Krementz.<\/dialogue>\n    <character>PAUL<\/character>\n    <parenthetical>(bowing slightly)<\/parenthetical>\n    <dialogue>How do you do?<\/dialogue>\n    <scene_description>Krementz stiffens as Paul kisses her on both cheeks.<\/scene_description>\n    <character>KREMENTZ<\/character>\n    <dialogue>Your beard is scratching me.<\/dialogue>\n    <scene_description>Paul withdraws slightly. Krementz tucks herself back into the group. Paul sits, then holds forth at some length while Krementz continues in voiceover:<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>Unexpected guest finally arrives. Looks like hell. Describes odyssey across city: stalled trains, stalled buses, broken windows, paving stones flying in all directions.<\/dialogue>\n    <scene_description>The girls, back in the kitchen, now in pajamas with the shirts pulled up over their noses, raise the volume on the radio. The husband refills glasses. The wife passes around a bowl of radishes. Paul, in the meantime, summarizes:<\/scene_description>\n    <character>PAUL<\/character>\n    <dialogue>Can the faculty succeed if the students fail? It remains to be seen. Anyway:<\/dialogue>\n    <parenthetical>(changing gears)<\/parenthetical>\n    <dialogue>Here we are. The famous Lucinda. Hello.<\/dialogue>\n    <scene_description>Paul smiles. Krementz says bluntly, signaling \"stop\":<\/scene_description>\n    <character>KREMENTZ<\/character>\n    <dialogue>I didn't know you were coming. They didn't tell me. This is not an official meeting.<\/dialogue>\n    <scene_description>Paul hesitates. He looks to the husband and wife. They murmur, uneasy. Krementz suddenly clutches her pearls, rolls back her eyes, makes a gurgling sound, mock-suffocating, then plunks her face down on a plate and plays dead. Paul opens his mouth and pauses. The husband looks up at the ceiling. The wife looks down at the table. The bathroom door opens again, and Zeffirelli enters. He now wears a transparent rain slicker over his clothes and a gas-mask over his face. His voice echoes inside the breathing-device:<\/scene_description>\n    <character>ZEFFIRELLI<\/character>\n    <dialogue>Good evening.<\/dialogue>\n    <scene_description>The husband and wife are, momentarily, speechless. Zeffirelli offers a second gas-mask to Krementz. She stands up, puts it on, and reverbs to her hosts:<\/scene_description>\n    <character>KREMENTZ<\/character>\n    <dialogue>Start without me.<\/dialogue>\n    <scene_description>Krementz follows Zeffirelli out through the salon. Off-screen: the apartment's front door opens and shuts. Paul, puzzled, and the couple, angry\/humiliated\/worried, remain at the table in uneasy silence. The girls, watching from the kitchen, snicker under their pajama shirts.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WALK-UP APARTMENT. DAY<\/stage_direction>\n    <scene_description>A narrow bedroom on a high floor. Krementz (in a rose peignoir) sits up in bed eating burnt toast, reading from her composition book, and rapid-transcribing on a portable typewriter balanced across her knees. Zeffirelli, beside her on the mattress, naked (as usual), flips manifesto-pages, bristling at the numerous, red correction-marks. She smokes a cigarette, he smokes another skinny cigar.<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>March tenth.<\/dialogue>\n    <scene_description>Zeffirelli does a double-take. He points across the room and says false-modestly:<\/scene_description>\n    <character>ZEFFIRELLI<\/character>\n    <dialogue>Me, again.<\/dialogue>\n    <scene_description>Krementz looks up. INSERT: A small, black and white television set on a rolling cart at the foot of the bed. On screen: an anchorman delivers a bulletin, then introduces footage -- subtitled: \"Last Night\" -- of a battalion of riot-police (billy-clubs and plastic shields) facing off against a legion of student protesters (paving stones and broken bottles). On a plastic crate in the small space between the two transfixed, opposing groups: another chessboard. In a sudden burst of attack\/counter-attack, Zeffirelli and a riot-police commander trade pawns, bishops, rooks, etc. then pause. (A superimposed chessboard diagram re-caps the moves that lead up to this caesura.)<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>City services at a halt, one week and counting. Public transportation:<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>suspended. Piles of garbage: uncollected. Schools on strike. No mail, no milk.<\/dialogue>\n    <scene_description>Zeffirelli moves his queen diagonally seven spaces to capture the queen of his rival. The collected military personnel and young radicals gasp in unison, grimace, groan, and whisper nervously. (A flashbulb pops.) Zeffirelli says discreetly:<\/scene_description>\n    <character>ZEFFIRELLI<\/character>\n    <dialogue>Check.<\/dialogue>\n    <scene_description>The riot-police commander, unfazed, protects his king with an unforeseen, defensive side-step. Zeffirelli, surprised, nods with guarded admiration. (A super-title blinks: \"Stalemate!\")<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>What will normal reality be? Next week, next month, whenever (if ever) we get the chance to experience it again. Anyone's guess. Impossible to imagine these students (exhilarated, naive, brave in the extreme) returning to their obedient classrooms.<\/dialogue>\n    <scene_description>Krementz looks to Zeffirelli. He has resumed bristling over her corrections. He points:<\/scene_description>\n    <character>ZEFFIRELLI<\/character>\n    <dialogue>What's this part?<\/dialogue>\n    <scene_description>Krementz leans over and squints to study the page.<\/scene_description>\n    <character>KREMENTZ<\/character>\n    <dialogue>I added an appendix.<\/dialogue>\n    <character>ZEFFIRELLI<\/character>\n    <parenthetical>(in disbelief)<\/parenthetical>\n    <dialogue>You're joking.<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <parenthetical>(innocent)<\/parenthetical>\n    <dialogue>No, I'm not.<\/dialogue>\n    <character>ZEFFIRELLI<\/character>\n    <parenthetical>(appalled)<\/parenthetical>\n    <dialogue>You finished my manifesto? Without me.<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <dialogue>I made it sound like you, I think. Just more clear, more concise, a bit less poetic. Put it this way: this isn't the first manifesto I've proofread.<\/dialogue>\n    <scene_description>Zeffirelli is insulted. The doorbell rings. Krementz gets out of bed, leaves the room, and closes the door behind her. Muffled voices echo through the wall\/door. Zeffirelli frowns, anxious. He strains to eavesdrop. He bites a fingernail. Krementz comes back in and returns to the bed. Zeffirelli stares at her, waiting. Finally:<\/scene_description>\n    <character>ZEFFIRELLI<\/character>\n    <dialogue>Who was that?<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <dialogue>Your mother.<\/dialogue>\n    <character>ZEFFIRELLI<\/character>\n    <parenthetical>(agitated)<\/parenthetical>\n    <dialogue>My mother? What'd she want? Did you tell her I was here?<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ZEFFIRELLI<\/character>\n    <parenthetical>(stunned)<\/parenthetical>\n    <dialogue>Why?<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <parenthetical>(simply)<\/parenthetical>\n    <dialogue>Because she asked. I don't lie.<\/dialogue>\n    <character>ZEFFIRELLI<\/character>\n    <parenthetical>(worried)<\/parenthetical>\n    <dialogue>Was she upset?<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <dialogue>I don't think so.<\/dialogue>\n    <character>ZEFFIRELLI<\/character>\n    <parenthetical>(doubtful)<\/parenthetical>\n    <dialogue>What'd she say?<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <dialogue>She nodded.<\/dialogue>\n    <character>ZEFFIRELLI<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>What'd you say?<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <dialogue>I told her I was working on an article about you and your friends.<\/dialogue>\n    <character>ZEFFIRELLI<\/character>\n    <parenthetical>(intrigued)<\/parenthetical>\n    <dialogue>So you are.<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>I've already written a thousand words. I asked to interview her.<\/dialogue>\n    <character>ZEFFIRELLI<\/character>\n    <parenthetical>(disoriented)<\/parenthetical>\n    <dialogue>Did she agree?<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>ZEFFIRELLI<\/character>\n    <parenthetical>(very agitated)<\/parenthetical>\n    <dialogue>Well, I am upset. I don't know how to feel. Am I in trouble? Why would my mother be so calm? Is it proper? This is all off the record. Everything. My whole life.<\/dialogue>\n    <parenthetical>(vulnerable)<\/parenthetical>\n    <dialogue>What am I supposed to do now?<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I should maintain journalistic neutrality.<\/dialogue>\n    <scene_description>Long pause. Zeffirelli says genuinely (perhaps growing up ever so slightly in this moment):<\/scene_description>\n    <character>ZEFFIRELLI<\/character>\n    <dialogue>I like how ruthless you are. It's part of your beauty, I think. You've got a thousand words already?<\/dialogue>\n    <scene_description>Krementz nods, flattered, and points at the page in her typewriter. Zeffirelli peers at it. Krementz covers it with her hand. Zeffirelli returns to his manifesto. Krementz types one more short paragraph.<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>The kids did this. Obliterated a thousand years of republican authority in less than a fortnight. How and why? Before it began: where did it begin?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STUDENT CAF\u00c9. NIGHT<\/stage_direction>\n    <scene_description>The front room of the Sans Blague bubbles over with caffeinated\/inebriated twenty-year-olds chattering shoulder to shoulder along counters, booths, and banquettes. Classical music blasts on the jukebox. A crowd hovers over a pinball machine decorated with question marks, infinity symbols, atoms\/molecules and the caption: \"Modern Physics!\" A waiter speed-navigates through the circus with a rattling tray triple-tiered with double-espressos extended high above his head. (Note: each young patron of the caf\u00e9 carries a highbrow\/semi- unreadable paperback of some variety at all times without exception.) TITLE: Last Spring Zeffirelli assumes the narration:<\/scene_description>\n    <character>ZEFFIRELLI (V.O.)<\/character>\n    <dialogue>It was another time, it was another Ennui. Must be nearly six months ago, I guess. (My sisters were still twelve, anyway.)<\/dialogue>\n    <scene_description>INSERT: An illuminated jukebox title-strip labeled G-7: \"Dansez le 'Craze'\". Zeffirelli continues in voiceover:<\/scene_description>\n    <character>ZEFFIRELLI (V.O.)<\/character>\n    <dialogue>You danced the Craze and the Lait Chaud.<\/dialogue>\n    <scene_description>MONTAGE: A hiss, a scratch, then the first note of a French pop- instrumental (an uptempo, beepy\/jingly fugue). The camera dollies among undergraduates with brush-cuts, mop-tops, pageboys, and frizzy perms. The boys wear topcoats, two button tweeds, and skinny high-waters. The girls wear knitted mini- dresses, ballet flats, and leotards.<\/scene_description>\n    <character>ZEFFIRELLI (V.O.)<\/character>\n    <dialogue>You wore your hair-do in the Pompidou, the Crouton, or the Fruits-de-Mer.<\/dialogue>\n    <scene_description>A standing foursome of boys and girls talk simultaneously in gibberish. One makes a symbolic hand shape followed by a wiggling gesture. The others laugh.<\/scene_description>\n    <character>ZEFFIRELLI (V.O.)<\/character>\n    <dialogue>Your slang mixed bits of Latin with philosophy jargon and manual signaling.<\/dialogue>\n    <scene_description>A balustraded, low-ceilinged mezzanine-loge at the top of a spiral staircase. The menu du jour specials on the wall- chalkboard have been rubbed out and carefully vandalized into: \"French Tongue on Shit Sandwich.\" Juliette (seen earlier standing on the tapestry in the dean's office) sits at a table checking her make-up in her compact mirror as she addresses a pack of admirers\/detractors.<\/scene_description>\n    <character>ZEFFIRELLI (V.O.)<\/character>\n    <dialogue>Devil's advocates bickered and debated perpetually, ad nauseum, only for the sake of argument:<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>I couldn't disagree more.<\/dialogue>\n    <scene_description>Pairs of opposing cliques go head to head at backgammon, Risk, and crossword puzzles; vie at competitive domino toppling (winding\/climbing\/fanning arrangements which click-clack their way through the caf\u00e9 doing tricks with matchsticks, shoelaces, and sparkling water); and -- here we see Zeffirelli, Vittel, and Mitch-mitch each at a separate board\/game -- play chess.<\/scene_description>\n    <character>ZEFFIRELLI (V.O.)<\/character>\n    <dialogue>Every clique had a rival. The Nuts had the Bolts. The Sticks had the Stones. The Jocks had us: the Bookworms --<\/dialogue>\n    <scene_description>Mitch-mitch, listless and distracted, re-reads a well-creased letter, then moves a pawn and taps the game-clock timer. His opponent immediately takes the piece. Pause.<\/scene_description>\n    <character>ZEFFIRELLI (V.O.)<\/character>\n    <dialogue>-- until Mitch-mitch failed the baccalaureate and got sent down to National Duty Obligation (three months in the Mustard Region).<\/dialogue>\n    <scene_description>Mitch-mitch tips over his king, crumples his letter, pulls on his topcoat, and leaves the table. He re-enters frame outside the plate-glass window (late afternoon, drizzle), lighting a cigarette as he jogs through criss-crossing traffic before descending into the Flop Quarter M\u00e9tro station. Zeffirelli watches from his chessboard, concerned. He looks to Vittel. Vittel shrugs. Zeffirelli snatches up the crumpled paper from Mitch-mitch's table and unfolds it. INSERT: An official summons red-stamped on flimsy, blue card-stock. Across the top: Report for Compulsory Martial Chores. CUT TO: Night. Two tables frown at each other from corners of the front- room. Juliette checks her make-up in her compact mirror. TITLE: One Month Later<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Where were his principles when he agreed to fight on behalf of an imperialist army in an unjust war of totalitarian aggression?<\/dialogue>\n    <character>ZEFFIRELLI<\/character>\n    <parenthetical>(in disbelief)<\/parenthetical>\n    <dialogue>He got sent to the Mustard Region. For National Duty-obligation.<\/dialogue>\n    <character>VITTEL<\/character>\n    <dialogue>It's required.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <parenthetical>(confident)<\/parenthetical>\n    <dialogue>It's the same.<\/dialogue>\n    <character>ZEFFIRELLI<\/character>\n    <dialogue>How dare you? Who gave you permission to besmirch our friend? Does it occur to you: he's very probably marching in the middle of the night right now carrying a fifty-pound sack of gun-powder and peeling stale potatoes while he digs a latrine trench in the rain with a tin cup? He doesn't want to be in the military.<\/dialogue>\n    <character>VITTEL<\/character>\n    <dialogue>It's required!<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>He should burn the patch and desert his post.<\/dialogue>\n    <scene_description>A general gasp: conversation in the rest of the caf\u00e9 has fallen silent, and everyone is listening to the Mitch-mitch debate. A whispered aside from a pre-law student at another table:<\/scene_description>\n    <character>SMART GIRL<\/character>\n    <dialogue>Minimum punishment: six-months sentence and a Black Mark in permanent ink.<\/dialogue>\n    <scene_description>Zeffirelli, recovering from the affront, snaps back at Juliette:<\/scene_description>\n    <character>ZEFFIRELLI<\/character>\n    <dialogue>That's easy for you to say. From the comfort of the Sans Blague.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <parenthetical>(confident)<\/parenthetical>\n    <dialogue>It's the same.<\/dialogue>\n    <scene_description>A new voice interrupts off-screen:<\/scene_description>\n    <character>MITCH-MITCH (O.S.)<\/character>\n    <dialogue>For once: she's right.<\/dialogue>\n    <scene_description>Everyone turns. Mitch-mitch is standing alone in the open door- way at the end of the crowded bar, in front of the crowded terrasse. He is dressed in a long, blue, floor-length cape, a navy beret, and blue commando trousers tucked into muddy combat- boots. He carries an enormous blue-camo duffel-sack over his shoulder. The eyes of every customer are now glued to him. Zeffirelli stammers then finds his tongue:<\/scene_description>\n    <character>ZEFFIRELLI<\/character>\n    <dialogue>Mitch-mitch, what are you doing here? You're supposed to be in the Mustard Region for another two months.<\/dialogue>\n    <scene_description>In close-up: Mitch-mitch is a wounded soldier (psychologically). Krementz returns in voiceover with the following information:<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>Five years later, I, myself, translated Mitch-mitch Simca's poetic interpretation of his National Duty Obligation service (the flashback scene in Act II of \"Goodbye, Zeffirelli\").<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CADET BARRACKS. NIGHT<\/stage_direction>\n    <scene_description>A cement-box garrison dormitory dimly lit from the flies. Three- tiered bunkbeds delineate the upstage backdrop (cinder block and timber joist). Downstage, left: an industrial drum-heater idles, bubbling. Downstage, right: a five seat latrine with noisy pipes. A single, bare lightbulb hangs, suspended, above centerstage. On cots and footlockers: eighteen cadets in white boxer shorts, tucked-in white undershirts, and shower slippers. A drill- sergeant, dressed in the same garments with the addition of a white kepi and gun-belt, leans on a bunk ladder, sipping from a plastic mess-kit teacup. He speaks at a stage-whisper to the rapt troop:<\/scene_description>\n    <character>DRILL-SERGEANT<\/character>\n    <dialogue>In North Africa, I caught a bullet in the tail; in South America, I caught a chunk of high-explosives shrapnel in the left wing; in East Asia, I picked up a rare, microbial, infectious gut-parasite in the<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <character>DRILL-SERGEANT<\/character>\n    <dialogue>lower abdominal cavity -- and I've got them all with me right now, still in my body: but I don't regret my choice to wear this uniform --<\/dialogue>\n    <scene_description>The drill-sergeant motions across his costume (as indicated, his skivvies).<\/scene_description>\n    <character>DRILL-SERGEANT<\/character>\n    <dialogue>-- and, in sixteen years, I'll get my pension.<\/dialogue>\n    <parenthetical>(checks watch)<\/parenthetical>\n    <dialogue>Well, that's your bedtime story, ladies. Lights out!<\/dialogue>\n    <scene_description>The cadets scramble to their bunks, shouting a ritual of call- and-response\/nighttime orders (\"Hup! Ho! Hut!\" \"Lights out! Blankets on!\" \"Covers tucked! Eyes shut! Pray your prayers!\"), followed by a general murmur of grateful, holy, reverential, hushed muttering, signs-of-crossings, and \"Amens\" -- then silence. (The drill-sergeant ascends a spiral staircase and retires to an upstairs desk and cot seen only in silhouette against a glowing, white rectangle.) A top-bunk cadet rustles under his sheets.<\/scene_description>\n    <character>CADET #1<\/character>\n    <dialogue>Psst.<\/dialogue>\n    <scene_description>Long pause. The top-bunk cadet rustles again and props himself up on an elbow.<\/scene_description>\n    <character>CADET #1<\/character>\n    <dialogue>Psst. Mitch-mitch. Psst.<\/dialogue>\n    <scene_description>Pause, again. The top-bunk cadet sits up fully.<\/scene_description>\n    <character>CADET #1<\/character>\n    <dialogue>Psst. Mitch-mitch. What do you want to be?<\/dialogue>\n    <scene_description>Mitch-mitch (portrayed in this scene by a theatre-actor with well-trained \"instrument\"), one bunk-tier below, leans out, reluctant\/annoyed.<\/scene_description>\n    <character>MITCH-MITCH<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CADET #1<\/character>\n    <dialogue>What do you want to be, Mitch-mitch?<\/dialogue>\n    <scene_description>Mitch-mitch sighs. As he answers, resigned, the rest of the cadets creep out of their cots and return to their earlier positions, listening.<\/scene_description>\n    <character>MITCH-MITCH<\/character>\n    <dialogue>With my grades? I'll be an assistant- pharmacist.<\/dialogue>\n    <character>CADET #2<\/character>\n    <dialogue>Will that make you be satisfied?<\/dialogue>\n    <character>MITCH-MITCH<\/character>\n    <parenthetical>(evenly)<\/parenthetical>\n    <dialogue>It won't depress me. I should've studied harder.<\/dialogue>\n    <character>CADET #1<\/character>\n    <dialogue>And you, Robouchon?<\/dialogue>\n    <character>CADET #3<\/character>\n    <dialogue>I have no choice. I'll work for my father's glass factory. Someone has to take over.<\/dialogue>\n    <character>CADET #1<\/character>\n    <dialogue>It's normal.<\/dialogue>\n    <character>CADET #2<\/character>\n    <dialogue>Vaugirard. What's your plan?<\/dialogue>\n    <character>CADET #4<\/character>\n    <dialogue>I suppose, I'll continue to be an attractive wastrel, like my cousins on both sides of the family.<\/dialogue>\n    <character>CADET #1<\/character>\n    <dialogue>Your cousins are the best.<\/dialogue>\n    <character>CADET #3<\/character>\n    <dialogue>I love your cousins.<\/dialogue>\n    <character>MITCH-MITCH<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>What about you, Morisot?<\/dialogue>\n    <scene_description>No answer. Mitch-mitch repeats the question:<\/scene_description>\n    <character>MITCH-MITCH<\/character>\n    <dialogue>Morisot? What do you want to be?<\/dialogue>\n    <scene_description>Morisot, bespectacled, timid, pale, answers softly from the bottom bunk:<\/scene_description>\n    <character>MORISOT<\/character>\n    <dialogue>A protester.<\/dialogue>\n    <character>CADET #1<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>What'd he say?<\/dialogue>\n    <character>CADET #2<\/character>\n    <dialogue>He said, \"A protester.\"<\/dialogue>\n    <character>CADET #3<\/character>\n    <parenthetical>(puzzled)<\/parenthetical>\n    <dialogue>What does he mean?<\/dialogue>\n    <character>CADET #1<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>CADET #4<\/character>\n    <parenthetical>(doubtful)<\/parenthetical>\n    <dialogue>I thought Morisot was going to be a professor of geological chemistry.<\/dialogue>\n    <scene_description>Mitch-mitch cranes upside-down to examine Morisot. He says, surprised:<\/scene_description>\n    <character>MITCH-MITCH<\/character>\n    <dialogue>Morisot's crying.<\/dialogue>\n    <scene_description>A voice in the darkness, across the room, hushes sharply:<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Shhh!<\/dialogue>\n    <scene_description>Cadet #1 bolts up on his knees. He shout-whispers, angry:<\/scene_description>\n    <character>CADET #1<\/character>\n    <dialogue>Who said, \"Shhh!\"<\/dialogue>\n    <scene_description>Silence. Morisot speaks again, quiet but determined:<\/scene_description>\n    <character>MORISOT<\/character>\n    <dialogue>I won't do it.<\/dialogue>\n    <character>MITCH-MITCH<\/character>\n    <parenthetical>(uncertain)<\/parenthetical>\n    <dialogue>It's only eight more weeks, Morisot. Before we complete the program.<\/dialogue>\n    <character>MORISOT<\/character>\n    <dialogue>I don't mean the program. I mean from when we go home until retirement age. That 48-year period of my life, I mean. That's what I won't do. I can no longer envision myself as a grown-up man in our parents' world.<\/dialogue>\n    <scene_description>Morisot slides open the window next to his cot, and discreetly slips out into the night. A beat, then a sickening thud. Mitch- mitch gasps, astonished, and shouts:<\/scene_description>\n    <character>MITCH-MITCH<\/character>\n    <dialogue>Morisot!<\/dialogue>\n    <scene_description>Mitch-mitch drops and tucks into Morisot's bunk. He screams, pained:<\/scene_description>\n    <character>MITCH-MITCH<\/character>\n    <dialogue>He went out the window!<\/dialogue>\n    <scene_description>Other cadets scramble to join Mitch-mitch as he sticks his head out and looks down.<\/scene_description>\n    <character>CADET #1<\/character>\n    <dialogue>Is he dead?<\/dialogue>\n    <character>MITCH-MITCH<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>CADET #2<\/character>\n    <dialogue>How far did he fall?<\/dialogue>\n    <character>MITCH-MITCH<\/character>\n    <dialogue>Five floors with high ceilings.<\/dialogue>\n    <character>CADET #3<\/character>\n    <dialogue>It rained last night. Maybe the mud's still soft.<\/dialogue>\n    <character>MITCH-MITCH<\/character>\n    <dialogue>He's not moving.<\/dialogue>\n    <scene_description>The stage-lights begin to slowly, slowly dim as Mitch-mitch's voice, diminishing in volume, softer and softer, repeats:<\/scene_description>\n    <character>MITCH-MITCH<\/character>\n    <dialogue>He's still not moving.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>He's still not moving.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>He's still not moving.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>He's still not moving.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>He's still not moving.<\/dialogue>\n    <scene_description>CUT TO: The caf\u00e9, exactly as we left it. Mitch-mitch crosses the silent room to join his friends. Zeffirelli, confused and moved, stands up and kisses Mitch-mitch on both cheeks. Mitch-mitch embraces Zeffirelli. He turns to face the larger group. He steps up onto a chair and points to a tricolor patch on his chest the shape of a shield which depicts a flying bullet and the words: Mustard Region Cadets. He says simply:<\/scene_description>\n    <character>MITCH-MITCH<\/character>\n    <dialogue>I can no longer salute this patch.<\/dialogue>\n    <scene_description>Mitch-mitch rips off the patch and ignites it with a Zippo. The room (including Juliette) gasps again. Zeffirelli, stunned, mouth open, begins to slowly clap. Juliette joins him. Vittel claps faster. A wave of thunderous applause spreads through the room.<\/scene_description>\n    <character>ZEFFIRELLI (V.O.)<\/character>\n    <dialogue>The next morning Mitch-mitch was arrested for Desertion and Desecration, and the Sans Blague became headquarters for the Movement of Young Idealists for the Revolutionary Overthrow of Reactionary Neo-liberal Society.<\/dialogue>\n    <scene_description>Above the jukebox: Juliette pulls down a glossy headshot of a heartthrob (blue eyes, bronze skin, golden hair) taped to a mirrored-wall and starts to replace it with a glossy headshot of a public intellectual (round spectacles, woolen scarf, pipe). Zeffirelli, edgy, pops up at her side:<\/scene_description>\n    <character>ZEFFIRELLI<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Replacing Tip-top with Fran\u00e7ois-Marie Charvet.<\/dialogue>\n    <character>ZEFFIRELLI<\/character>\n    <parenthetical>(stupefied)<\/parenthetical>\n    <dialogue>They can live together. Tip-top with Charvet.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Tip-top is a commodity represented by a record company owned by a conglomerate controlled by a bank subsidized by a bureaucracy sustaining the puppet- leadership of a satellite stooge- government. For every note he sings, a peasant must die in West Africa.<\/dialogue>\n    <scene_description>Zeffirelli, stony, drops in a twenty-centime coin and punches two buttons. Another hit French single (high-tenor vocals and expansive, orchestral backing) gusts into the room. Spinning lights circle. Immediately: the caf\u00e9 is dancing -- and, at the chorus, singing, fortissimo, in unison with \"Tip-top\". Zeffirelli and Juliette stare at each other coolly, then drift apart into their respective crowds. Krementz resumes the role of narrator:<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>There followed: a brisk, unpredictable tit-for-tat between Ennui's elders and its youngers.<\/dialogue>\n    <scene_description>From one corner: Juliette watches Zeffirelli reflected in her compact mirror. From the opposite: Zeffirelli studies Juliette in a reflection of a reflection of an angled ceiling-mirror. He puffs on his skinny cigar. MONTAGE: The cour of a dilapidated residential hotel. A thick-set gardienne framed in the upper-section of a Dutch door gossips darkly with an amiable gendarme and a group of elderly, intrigued neighbors (eye-doctor sunglasses, mesh grocery-sacks).<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>August. Community whisper-campaign denounces student movement.<\/dialogue>\n    <scene_description>An impasse alongside the Sans Blague. A squad of disorderly police-goons dumps barrels of coffee beans into a sewer-canal.<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>September. Sans Blague coffee-license revoked by official decree.<\/dialogue>\n    <scene_description>A mansard platform on a tall building above the quai. Vittel and two other headphoned student disc-jockeys with cigarettes in their mouths speed-talk at a microphone inside a tiny, ramshackle transmission booth next to a jerry-rigged broadcasting tower twenty feet high.<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>October. Propaganda Committee erects pirate-radio tower on Physics Department rooftop.<\/dialogue>\n    <scene_description>A long, formica-top table in a kitchen with tiled walls and hanging copper pots and pans. Two dozen grandparents, aunts, uncles, and cousins eat slices of an enormous, thin galette the size of a bicycle wheel. Mitch-mitch, in pajamas, wears a paper gold-foil crown on his head.<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>November. Mitch-mitch released to parental custody.<\/dialogue>\n    <scene_description>An idle librarian staring into space. Behind her: rows and aisles of shelves, stacks, racks, carts -- all completely empty and desolate.<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>December. Check-out Protest at the Bibliot\u00e8que Principale (entire library circulation legally removed until five minutes before incur of massive overdue- book fines).<\/dialogue>\n    <scene_description>The steps of the university lunchroom. A line of students, arms- linked, lunch-trays brandished like shields, obstructs a bank of entrance-doors.<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>January. Meal-plan Blockade of the undergraduate cafeteria.<\/dialogue>\n    <scene_description>The facade of a student-housing pension. Female students in crowded windows lower improvised ropes down to male students hanging from the ledges below.<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>February. The Girls Dormitory Uprising. It all, in the end, leads to --<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WIDE BOULEVARD. EVENING<\/stage_direction>\n    <scene_description>One half-block of a paving-stone avenue between and below facing banks of imposing, cut-stone apartment buildings. On one end: a barricade of school-desks, chairs, bookcases, globes, microscopes, and typewriters piled fifteen feet high. On the other end: compact cars, burned black, still smoldering, on their sides, upside-down, standing on end, split in two, etc. On opposing flanks: two caf\u00e9s, the Fleurs du Mal and the Americain. A thread of gutter-water runs down the center of the road like a stream through a canyon. M\u00e9tro station: Bootblack District.<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>-- March: the Chessboard Revolution.<\/dialogue>\n    <scene_description>Student protestors sit in clusters on the piled rubble and mutilated cars; crouch on and dangle from storefront awnings and ledges; direct traffic (one of them, anyway). Innocent bystanders (old and young) stand on balconies and in open windows; wait on tables and eat\/drink at the terrasses of the two caf\u00e9s; pose for a tourist-family picture (T-shirt: \"Liberty Junior High Boys Track\"). A platoon of riot-police stands in formation beyond the barricade, fifty meters down the street. Mitch-mitch and Vittel occupy the middle of the improvised barrier -- near Juliette, who sits perched alone on the top of a folding ladder. Each (protesters, bystanders, riot-police) holds a pale pink pamphlet with \"Le Sans Blague: a Manifesto\" sloganed across its letter-pressed cover. They all read intently, periodically turning pages. Zeffirelli, anxious, lingers among his comrades, attending their reactions (especially Juliette's). He fidgets with his skinny cigar. A voice booms over a loudspeaker:<\/scene_description>\n    <character>RIOT POLICE (O.S.)<\/character>\n    <dialogue>Le petit roque!<\/dialogue>\n    <scene_description>Zeffirelli, Mitch-mitch, and Vittel dart away to a metal cart with a chessboard on it (black pieces only). Zeffirelli sits down on a cane-backed dining room chair. He studies his options for a fraction of a second, then moves a knight against his invisible opponent. Mitch-mitch quickly writes in chalk on a small slate and thrusts it up into the sky on a long, skinny pole. CUT TO: The riot-police. A communications signaler at the spearhead sits at his own metal cart operating a remote field-telephone system. He raises a pair of binoculars to his eyes. INSERT: The binoculars' P.O.V. The slate peeking over the top of the school-desk barricade reads: \"Kt. to Q.B.3\". The signaler relays a message into his handset receiver:<\/scene_description>\n    <character>SIGNALER<\/character>\n    <dialogue>Knight to queen's bishop three.<\/dialogue>\n    <scene_description>CUT TO: The situation room at the Ennui Mairie (long conference table, tall leather chairs, numerous television sets). A cabinet aide listening on the other end of the telephone line nods and scribbles on an official memo-pad. He presents the message to: the mayor (seventy-five, white moustache, rolled up shirtsleeves\/unbuttoned waistcoat), seated at his own chessboard (white pieces only), surrounded by a team of political advisors and game-strategy analysts.<\/scene_description>\n    <character>CABINET AIDE<\/character>\n    <dialogue>Mr. Mayor? He moved.<\/dialogue>\n    <scene_description>The mayor studies the message briefly (counsel peering over his shoulders), then flicks it aside and looks at the board, hands on hips. He puts his fingers to his own knight, pauses while his team murmurs support\/uncertainty, then makes an assertive move. CUT TO: The riot police. The signaler nods and shouts the capture into a microphone, blasting from the loudspeaker:<\/scene_description>\n    <character>SIGNALER<\/character>\n    <dialogue>Le cavalier prend le cavalier!<\/dialogue>\n    <scene_description>CUT TO: Zeffirelli. He removes his knight from the board, folds his hands, and concentrates. Mitch-mitch and Vittel resume reading the pink pamphlet. Zeffirelli, distracted, asks:<\/scene_description>\n    <character>ZEFFIRELLI<\/character>\n    <dialogue>What page you on?<\/dialogue>\n    <scene_description>Mitch-mitch and Vittel answer simultaneously, eyes glued to pages:<\/scene_description>\n    <character>VITTEL<\/character>\n    <dialogue>Final chapter.<\/dialogue>\n    <character>MITCH-MITCH<\/character>\n    <dialogue>Last paragraph.<\/dialogue>\n    <scene_description>Zeffirelli waits. (The sun sets. Street lights blink on.) Mitch- mitch and Vittel close their pamphlets and nod slowly with intrigued admiration, deeply thoughtful. Just as they begin to speak: Juliette's voice barks sharply from the top of her ladder:<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>You call this a manifesto?<\/dialogue>\n    <scene_description>Zeffirelli, Mitch-mitch, and Vittel look up. Juliette descends to the ground, fuming.<\/scene_description>\n    <character>VITTEL<\/character>\n    <dialogue>Don't you?<\/dialogue>\n    <character>MITCH-MITCH<\/character>\n    <dialogue>What's wrong with it?<\/dialogue>\n    <character>ZEFFIRELLI<\/character>\n    <parenthetical>(defensive)<\/parenthetical>\n    <dialogue>I think so. By definition.<\/dialogue>\n    <scene_description>Other student protesters begin to gather around. Juliette opens to a marked page and shouts:<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Page two, \"Proclamation 7\".<\/dialogue>\n    <scene_description>Members of the growing audience open their pink pamphlets and quickly turn to the indicated paragraph. Juliette runs her finger along the text, rapid-muttering unintelligibly to herself under her breath until she arrives at the pertinent passage -- which she then declaims with angry, emphatic, bitter contempt. Krementz, in voiceover, drowns her out:<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>In spite of the purity of their cause (to create a free, borderless, utopian civilization), the students, nevertheless,<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>split into factions before fully uniting in first place.<\/dialogue>\n    <scene_description>Juliette flips to another marked passage.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Page five, \"Edict 1(b)\".<\/dialogue>\n    <scene_description>Juliette rapid-mutters, then declaims again under Krementz's:<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>One thing is now finally clear: they are answering their parents. What do they want? To defend their illusions. A luminous abstraction.<\/dialogue>\n    <scene_description>Juliette flips to another marked passage.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Page eleven, \"Appendix Roman numeral III\".<\/dialogue>\n    <scene_description>Juliette rapid mutters\/declaims a third time. Krementz:<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>I am convinced they are better than we were.<\/dialogue>\n    <scene_description>Juliette, having finished her quotations, now holds up the pamphlet, outraged, and gives her critique:<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Who approved the unauthorized allocation of funds for the mass-printing of this obtuse, ambiguous, poetic (in a bad way) document? I'm the treasurer, supposedly!<\/dialogue>\n    <parenthetical>(pointing to vestigial organ)<\/parenthetical>\n    <dialogue>And who needs an appendix, anyway?<\/dialogue>\n    <scene_description>Mitch-mitch and Vittel, unswayed, comment admiringly to Zeffirelli:<\/scene_description>\n    <character>MITCH-MITCH<\/character>\n    <dialogue>That's the best section of the whole pamphlet.<\/dialogue>\n    <character>VITTEL<\/character>\n    <dialogue>My favorite part, maybe.<\/dialogue>\n    <character>ZEFFIRELLI<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>Mrs. Krementz suggested it, actually. The appendix.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <parenthetical>(overhearing)<\/parenthetical>\n    <dialogue>Mrs. Krementz wrote it?<\/dialogue>\n    <character>ZEFFIRELLI<\/character>\n    <parenthetical>(correction)<\/parenthetical>\n    <dialogue>Polished it. Certain passages.<\/dialogue>\n    <scene_description>The assembled group now turns to, previously unseen, just outside the inner circle: Krementz, taking notes in her composition book. She looks slightly sheepish. Juliette objects:<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Why is she participating? She should maintain journalistic neutrality.<\/dialogue>\n    <scene_description>Mitch-mitch and Vittel respond immediately and simultaneously:<\/scene_description>\n    <character>VITTEL<\/character>\n    <dialogue>No such thing. Doesn't exist.<\/dialogue>\n    <character>MITCH-MITCH<\/character>\n    <dialogue>Journalistic neutrality is a discredited concept.<\/dialogue>\n    <scene_description>Juliette, disgusted, rips her copy of the manifesto to shreds. Zeffirelli is horrified.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>We didn't appoint you (or Mrs. Krementz) spokesman for us. Your job is to play chess.<\/dialogue>\n    <scene_description>Zeffirelli points at the scraps on the ground. He explains:<\/scene_description>\n    <character>ZEFFIRELLI<\/character>\n    <dialogue>I inscribed it to you.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>Juliette crouches down and digs among the bits of paper. She finds one with a handwritten dedication on it. She reads it, then tucks it into her shirt pocket.<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>I'll save this souvenir, but for the rest of it: I couldn't disagree more.<\/dialogue>\n    <scene_description>Juliette checks her make-up in her compact mirror. Zeffirelli looks wounded. Mitch-mitch and Vittel pat him on the back. Krementz, eye-balling Juliette in disapproval, says in voiceover:<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>Remind myself: you are a guest at this manifestation. Not my fight. Stay out of it, Lucinda. Keep your mouth shut.<\/dialogue>\n    <scene_description>Nevertheless, Krementz interrupts herself out loud:<\/scene_description>\n    <character>KREMENTZ<\/character>\n    <dialogue>I have to say something.<\/dialogue>\n    <parenthetical>(to Juliette)<\/parenthetical>\n    <dialogue>You're a very bright girl, Juliette. If you'd put away your powder-puff (for one minute, forgive me) and think for yourself (for one minute, forgive me) you might realize: you're all in this together. Even the riot-police.<\/dialogue>\n    <scene_description>Juliette pauses, frozen in her mirror. The crowd of student protesters, eager and intrigued, draws closer, gossiping at a whisper. Juliette snaps her compact shut and says, confrontational but respectful:<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>I'm not a child, Mrs. Krementz. I always think for myself.<\/dialogue>\n    <parenthetical>(including her comrades)<\/parenthetical>\n    <dialogue>We all do.<\/dialogue>\n    <scene_description>Mitch-mitch and Vittel respond simultaneously again:<\/scene_description>\n    <character>MITCH-MITCH<\/character>\n    <dialogue>I wouldn't say that.<\/dialogue>\n    <character>VITTEL<\/character>\n    <dialogue>Some do. Some don't.<\/dialogue>\n    <scene_description>The signaler's voice booms over the loudspeaker again:<\/scene_description>\n    <character>SIGNALER (O.S.)<\/character>\n    <dialogue>\u00c0 vous!<\/dialogue>\n    <character>ZEFFIRELLI<\/character>\n    <parenthetical>(tense)<\/parenthetical>\n    <dialogue>Our move.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <parenthetical>(to Mrs. Krementz)<\/parenthetical>\n    <dialogue>You believe I haven't informed myself properly? Or taken important matters seriously? I assure you, it's not the case.<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <parenthetical>(backpedaling)<\/parenthetical>\n    <dialogue>That was impolite. Of me. I withdraw the remark.<\/dialogue>\n    <scene_description>Zeffirelli looks back and forth between Krementz and Juliette. Long pause (more whispered gossip). Juliette shrugs, indifferent:<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>If you wish.<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <parenthetical>(honestly)<\/parenthetical>\n    <dialogue>I beg your pardon.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <parenthetical>(detached)<\/parenthetical>\n    <dialogue>Very well.<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <parenthetical>(sincerely)<\/parenthetical>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <parenthetical>(coldly)<\/parenthetical>\n    <dialogue>Noted.<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <parenthetical>(hardening)<\/parenthetical>\n    <dialogue>Thank you. You're sure?<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>Juliette turns away to go -- then (on second thought) returns, suspicious:<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Sure about what?<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <parenthetical>(matter-of-fact)<\/parenthetical>\n    <dialogue>Sure you're not a child.<\/dialogue>\n    <character>JULIETTE<\/character>\n    <parenthetical>(stiffening again)<\/parenthetical>\n    <dialogue>Quite sure.<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <parenthetical>(bluntly)<\/parenthetical>\n    <dialogue>Then learn to accept an apology. That's important.<\/dialogue>\n    <scene_description>Juliette's eyes darken. Aside, the pre-law student announces in a hushed voice:<\/scene_description>\n    <character>SMART GIRL<\/character>\n    <dialogue>It's a fight! The old American versus the revolutionary, French teenager.<\/dialogue>\n    <scene_description>Juliette, derisive, demands:<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Important to whom?<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <parenthetical>(frankly)<\/parenthetical>\n    <dialogue>Grown-ups.<\/dialogue>\n    <scene_description>The signaler booms over the loudspeaker again once more:<\/scene_description>\n    <character>SIGNALER (O.S.)<\/character>\n    <dialogue>\u00c0 vous!<\/dialogue>\n    <character>ZEFFIRELLI<\/character>\n    <parenthetical>(frustrated)<\/parenthetical>\n    <dialogue>Our move. The mayor's waiting.<\/dialogue>\n    <scene_description>Juliette, exceedingly flustered, blurts harshly:<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>I don't object to you sleeping with him, Mrs. Krementz. We all have that freedom. (It's a fundamental human right we fight for, in fact.) What I object to is:<\/dialogue>\n    <parenthetical>(slightly hysterical)<\/parenthetical>\n    <dialogue>I think you're in love with Zeffirelli! That's wrong; or, at the very least, it's vulgar. You're an old maid.<\/dialogue>\n    <scene_description>The entire avenue (miraculously) goes dead silent. Krementz has the full attention of every protester and bystander in the vicinity. She blushes bright red. In an instant: her eyes fill with fierce tears. She says quietly, dignified:<\/scene_description>\n    <character>KREMENTZ<\/character>\n    <dialogue>Kindly leave me my dignity.<\/dialogue>\n    <scene_description>Zeffirelli explains rapid-fire, firmly, gently to the group:<\/scene_description>\n    <character>ZEFFIRELLI<\/character>\n    <dialogue>She's not an old maid.<\/dialogue>\n    <parenthetical>(to Juliette:)<\/parenthetical>\n    <dialogue>She's not in love with me.<\/dialogue>\n    <parenthetical>(to the group:)<\/parenthetical>\n    <dialogue>She's our friend.<\/dialogue>\n    <parenthetical>(to Juliette of Krementz:)<\/parenthetical>\n    <dialogue>I'm her friend.<\/dialogue>\n    <parenthetical>(to Krementz of Juliette:)<\/parenthetical>\n    <dialogue>She's confused.<\/dialogue>\n    <parenthetical>(to Juliette of Krementz:)<\/parenthetical>\n    <dialogue>She wants to help us.<\/dialogue>\n    <parenthetical>(to Krementz of Juliette:)<\/parenthetical>\n    <dialogue>She's angry.<\/dialogue>\n    <parenthetical>(to the group:)<\/parenthetical>\n    <dialogue>She's a very good writer.<\/dialogue>\n    <scene_description>Zeffirelli turns to Krementz. Krementz bows, accepting the compliment. Zeffirelli asks, concerned:<\/scene_description>\n    <character>ZEFFIRELLI<\/character>\n    <dialogue>It's a lonely life, isn't it?<\/dialogue>\n    <scene_description>Krementz stares at Zeffirelli, surprised. She hesitates. She looks to Juliette. Juliette's lips part, but she does not speak. Krementz says softly:<\/scene_description>\n    <character>KREMENTZ<\/character>\n    <dialogue>Sometimes.<\/dialogue>\n    <scene_description>CUT TO: The situation room. The cabinet aide, holding the telephone receiver, says to the mayor at his chessboard:<\/scene_description>\n    <character>CABINET AIDE<\/character>\n    <dialogue>Still no response.<\/dialogue>\n    <scene_description>The mayor frowns. He picks up a game clock and looks at the timer. He shrugs.<\/scene_description>\n    <character>MAYOR<\/character>\n    <dialogue>Rubber bullets and tear gas.<\/dialogue>\n    <scene_description>CUT TO: Krementz in close-up, eyes still filled with tears:<\/scene_description>\n    <character>KREMENTZ<\/character>\n    <dialogue>It's true. I should maintain journalistic neutrality. If it exists.<\/dialogue>\n    <scene_description>CUT TO: Juliette in close-up, now crying, as well:<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>Please, excuse me, Mrs. Krementz.<\/dialogue>\n    <scene_description>Krementz takes Juliette's hand and clutches it briefly. She nods and smiles. Juliette looks upset and uncomfortable. Zeffirelli, beside and between them, is powerless, puzzled, and moved. A volley of tear-gas canisters, flash grenades, and sound bombs flies through the air behind the trio, bursting, blazing, banging, sparking, popping, etc. Protesters scatter away in all directions. Krementz dismisses the display with a reassuring:<\/scene_description>\n    <character>KREMENTZ<\/character>\n    <dialogue>It's just fireworks.<\/dialogue>\n    <scene_description>Zeffirelli and Juliette, slightly awed, remain in place with Krementz. The phalanx of riot-police surges over and around the barricade, flooding the street, swinging clubs, firing rubber bullets, deflecting paving stones and flying bottles, etc. Ignoring the entire commotion, Krementz points at Juliette and says to Zeffirelli:<\/scene_description>\n    <character>KREMENTZ<\/character>\n    <dialogue>She's the best of them.<\/dialogue>\n    <parenthetical>(then, to both)<\/parenthetical>\n    <dialogue>Stop bickering. Go make love.<\/dialogue>\n    <scene_description>Zeffirelli and Juliette grimace, embarrassed. Krementz points at, nearby, a checker-striped (matching Juliette's helmet) motorcycle leaning on its kickstand. Zeffirelli and Juliette turn to look at each other. Juliette says openly:<\/scene_description>\n    <character>JULIETTE<\/character>\n    <dialogue>I'm a virgin.<\/dialogue>\n    <character>ZEFFIRELLI<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>Me, too -- except for Mrs. Krementz.<\/dialogue>\n    <scene_description>Pause. Krementz says politely, with a shrug:<\/scene_description>\n    <character>KREMENTZ<\/character>\n    <dialogue>I thought so.<\/dialogue>\n    <scene_description>Automatically, in unison, Zeffirelli and Juliette jump on the motorcycle. He wraps his arms around her waist. She produces the ignition key from her pocket, inserts\/twists it, kicks the starter, and guns the engine. One of the student protesters rolls aside a mesh-steel bin filled with gym equipment revealing: a gap in the barricade. Mitch-mitch and Vittel scramble through, followed by a dozen of their shouting comrades -- and Juliette (with her passenger) on the motorcycle. They shoot away, up the avenue. Krementz stands alone at the center of the commotion.<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>March fifteenth.<\/dialogue>\n    <scene_description>INSERT: A desktop, a coffee cup, an ashtray. Krementz's hands snap open her composition book -- revealing, in the process, a glimpsed, unexpected stray entry (in four colors of ball-point pen) upside- down on the last page. She immediately flips back and rotates the journal to study it.<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>Discover on flyleaf of my composition book: a hasty paragraph.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WALK-UP APARTMENT. NIGHT<\/stage_direction>\n    <scene_description>The facade of an old building of modest flats. The camera zooms out from Krementz reading\/smoking, lamp-lit in her bedroom window, to reveal the windows of her neighbors (cooking, ironing, vacuuming, glued to television sets and radios).<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>Not sure when Zeffirelli had the chance to write it. Late that night, while I slept? Poetic (not necessarily in a bad way). Reads as follows:<\/dialogue>\n    <scene_description>CUT TO: The motorcycle racing down a wide, eerily vacant boulevard. Zeffirelli's voice:<\/scene_description>\n    <character>ZEFFIRELLI (V.O.)<\/character>\n    <dialogue>Postscript to a Burst Appendix: an invincible comet speeds on its guided arc toward the outer reaches of the galaxy in cosmic space-time. What was our cause?<\/dialogue>\n    <scene_description>SPLIT-SCREEN: A pair of slow-motion portraits (eyes directly into camera). On the left, Krementz, body wrapped in a damp towel, hair pinned and netted, pearls; on the right, Juliette, shirtless in a brassiere, face smeared with cold cream, plastic shower cap. They stare at themselves in the mirror.<\/scene_description>\n    <character>ZEFFIRELLI (V.O.)<\/character>\n    <dialogue>Recollection of two memories. You: soap- scent of drugstore shampoo, ashtray of stale cigarettes, burnt toast. Her: perfume of cheap gasoline, coffee on the breath (too much sugar), cocoa-butter skin. (Where does she spend her summers?) They say it's the smells you finally don't forget. The brain works that way.<\/dialogue>\n    <scene_description>CUT TO: The motorcycle, another angle. Zeffirelli, clutching Juliette, closes his eyes. Smoke and embers swirl from his skinny cigar.<\/scene_description>\n    <character>ZEFFIRELLI (V.O.)<\/character>\n    <parenthetical>(I've never read my mother's books. I'm told my father was really quite remarkable during the last war. Best parents I know.)<\/parenthetical>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STUDENT RESIDENCE. NIGHT<\/stage_direction>\n    <scene_description>A six-bed sleeping quarters with the lights out. Zeffirelli and Juliette sit cross-legged, naked, facing each other on the sheets of a top bunk just below the ceiling. They talk rapidly at a whisper, giggling, touching, sharing junk food and a Coke. In the open bathroom door, a student in a dressing gown brushes out her hair. Slowly: the interior background dissolves away revealing stars, planets, the universe, infinity, etc. A tiny comet inches across the sky-scape.<\/scene_description>\n    <character>ZEFFIRELLI (V.O.)<\/character>\n    <dialogue>The girls dormitory: first time I've come inside (except to vandalize it during demonstrations). I said, \"Don't criticize my manifesto.\" She said, \"Take off your clothes.\" I feel shy about my new muscles. Her large, stupid eyes watched me pee. A thousand kisses later: will she still remember the taste of my tool on the tip of her tongue? (Apologies, Mrs. Krementz: I know you despise crude language.)<\/dialogue>\n    <scene_description>INSERT: Extreme close-up: the end of Zeffirelli's stray entry. Too scribbly to read. Krementz's voice returns:<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>Additional sentence at bottom of page completely indecipherable due to poor penmanship.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNIVERSITY ROOFTOP. NIGHT<\/stage_direction>\n    <scene_description>The tiny transmission booth next to the broadcasting tower above the quai. Juliette, Vittel, Mitch-mitch, and the two other headphoned student disc-jockeys sit clustered around Zeffirelli (with an open, heavily-corrected-in-red-ink copy of the pink pamphlet in his hands) at the microphone. The familiar French pop song plays in the background as Zeffirelli announces to the radio audience:<\/scene_description>\n    <character>ZEFFIRELLI<\/character>\n    <dialogue>\"Revisions to a Manifesto.\" Page four, \"Asterisk 1\".<\/dialogue>\n    <scene_description>CUT TO: An exterior view as Zeffirelli continues the broadcast (inaudible through the sound-proof glass). Up above: an electrical crackle and a bang\/pop from the top of the broadcast tower. A dust of falling sparks. INSERT: The \"On Air\" light flickers to \"Off.\" MONTAGE: The listening audience at various radios: students at a barricade, riot-police at an armored troop-transport, the professor with his wife in curlers, Zeffirelli's sisters under a sheet in their bedroom, Paul alone in his kitchen. They adjust their dials, twist their antennae, poke, tap, shake, etc. (Note: the audio track during the following sequence of shots consists entirely of static interference, sizzling zaps, oscillating warbles, and white noise. No live sound.) CUT TO: A high, direct-overhead, bird's-eye view of the transmission booth. A hatch on the side cracks open, and Zeffirelli's head pokes out and looks up at camera. INSERT: The top of the broadcasting tower. A science-project-type dry- cell ignition battery (brand: \u00c9clair Blanche) has been affixed with duct tape and bailing wire to the side of the truss below a whip antenna at the pinnacle of the structure. A pronged wire, loosed from its terminal-post, dances, jolts, and flashes with electrical arcs. Zeffirelli reaches back inside and produces a pair of needle- nose pliers. He says (silent):<\/scene_description>\n    <character>ZEFFIRELLI<\/character>\n    <dialogue>Wait here.<\/dialogue>\n    <scene_description>Zeffirelli briskly, immediately, scales the tower, up out of frame. Juliette, Mitch-mitch, and Vittel, alarmed, burst out of the booth and shout urgently (silent) at Zeffirelli:<\/scene_description>\n    <character>VITTEL<\/character>\n    <dialogue>Stop! What are you doing?<\/dialogue>\n    <character>MITCH-MITCH<\/character>\n    <dialogue>Are you crazy? Don't be stupid!<\/dialogue>\n    <character>JULIETTE<\/character>\n    <dialogue>Come back down here right now, Zeffirelli!<\/dialogue>\n    <scene_description>Zeffirelli, cheerily ignoring his friends' warnings, reaches the top of the flimsy broadcast tower. The structure bends and sways slightly as he quickly pinches the prong of the live wire with the pliers and re-inserts it into its terminal-post. (Note: static ends, replaced by \"Tip-top\" with high-tenor vocals, expansive, orchestral backing, etc. Still no live sound.) Juliette, Mitch-mitch, and Vittel stare up at Zeffirelli, tense with concern, involuntarily mouthing the words to the pop song. Zeffirelli waves down at them and gives a salute, reassuring, then looks out across the twinkling cityscape. He withdraws a fresh, skinny cigar from his breast pocket, holds it with the pliers, touches it to the gently sparking battery terminal, and puffs. He tucks the pliers under his belt. He smokes and smiles. The battery explodes. A support cable snaps. Zeffirelli hangs on as the tower collapses.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI CAB. NIGHT<\/stage_direction>\n    <scene_description>A Citro\u00ebn sedan. Driver: woman, late middle-age, tired. The husband and wife (Zeffirelli's parents) sit together on one side of the back seat, arms intertwined, clasping hands, stone-faced. They wear pajamas\/nightgown with belted overcoats. Krementz explains:<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>He is not an invincible comet speeding on its guided arc toward the outer reaches of the galaxy in cosmic space-time. Rather: he is a boy who will die young. He will drown on this planet, in the steady current of the deep, dirty, magnificent river that flows night and day through the veins and arteries of his own ancient city. His parents will receive a telephone call at midnight, dress briskly, mechanically, and hold hands in the silent taxi as they go to identify the body of their cold son.<\/dialogue>\n    <scene_description>The taxi stops. (A neon red cross glows outside the window.) The husband, startled, counts out coins from his pajama-top pocket. He and his wife exit. The chauffeuse drives on, passengerless.<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>His likeness (mass-produced and shrink- wrap packaged) will be sold like bubblegum to the hero-inspired -- who hope to see themselves like this:<\/dialogue>\n    <scene_description>MONTAGE: A rapid-sequence of inserts. First: the original negative of a reportage photograph depicting Zeffirelli at chessboard, skinny cigar clenched in smiling teeth, dazzling\/mischievious eyes flashing up to camera, caught mid-move as he slides his black queen seven spaces, blurred by motion, to capture his rival's white one. Filling the frame all around him: a platoon of armed and armored standing riot-police. They react, gasping, groaning, grimacing, wincing, etc. Next: the same image (now a positive print) boxed in grease- pencil on a contact sheet surrounded by the sequence of exposures taken during the moments before\/after. Next: the front page of a newspaper with the same image (in dotted halftone) and the caption below it: \"Boy, skilled chess player\/activist in youth movement, dies.\" Next: a snapshot of a gang of posing teenagers. One, front-and- center, wears a T-shirt silk-screened with the same image. Finally: a magazine advertisement using the same image (airbrushed and colorized) to sell skinny cigars (branded: \"Toscano Zeffirelli\").<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RIVER EMBANKMENT. DAY<\/stage_direction>\n    <scene_description>A crane on a barge alongside a footbridge clanks and ratchets as it hoists the demolished broadcasting antenna out of the dark water. An assembly of onlookers watches from the bank below a street-sign: Quai Blas\u00e9. INSERT: A chessboard. It leans upright against the footbridge railing, encircled with candles, flowers, paving-stones, scribbled messages, a \"Tip-top\" record, and the above-mentioned clipping (same image of Zeffirelli) held in place by a black queen as a paperweight. Newsprint rustles slightly in the breeze.<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>The touching narcissism of the young.<\/dialogue>\n    <scene_description>The camera dollies away from the impromptu shrine to reveal Juliette (in Zeffirelli's transparent rain-slicker), Vittel (arm in a sling), and Mitch-mitch (in National Duty-obligation uniform, duffel over his shoulder) watching the river, backs to camera, as the grey surface is peppered by a drizzling, afternoon rain.<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>March thirtieth.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WALK-UP APARTMENT. DAY<\/stage_direction>\n    <scene_description>Krementz's bedroom. On the television set: riot-police dismantle abandoned barricades; firemen douse smoldering vehicles; a milkman carries fresh bottles in two metal baskets. (A super- title blinks: \"Strikers Yield!\")<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>Across the street, a glaring metaphor:<\/dialogue>\n    <scene_description>Krementz (in her rose peignoir) sits up in bed, portable typewriter on her knees, staring out the window. She wears the gas-mask. Faint sound of shouting children in playground below.<\/scene_description>\n    <character>KREMENTZ (V.O.)<\/character>\n    <dialogue>Bell rings; pupils scamper inside (back to their obedient classrooms); a creaky swing sways in the deserted schoolyard.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WRITER'S OFFICE (KREMENTZ). DAY<\/stage_direction>\n    <scene_description>Krementz sits alone at her desk eating burnt toast. A knock, then the door creaks open, and Howitzer looks inside. Krementz points at a manuscript on her desk. Howitzer enters and sits. He reads, she eats. Story #3 (pages 98 to 128) INSERT: The proof-print of a diner's chronicle in the Tastes and Smells Section. A line-drawing depicts a dinner plate with a pen on one side, a pencil and eraser on the other, and a ruled\/margined writing-paper placemat underneath. TITLE: Kitchen Accounts \"The Private Dining Room of the Police Commissioner\" by Roebuck Wright<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TELEVISION STUDIO. DAY<\/stage_direction>\n    <scene_description>The set of a talk show with three swivel-armchairs and an ashtray on a pedestal. The host (white): forty, beige\/check three-piece, longish hair parted on the side. The guest (black): fifty, open collar\/silk scarf, burnt-orange safari suit. He is Roebuck Wright. He speaks in the drawl (languid, literary) of the Gothic American South. Both men smoke.<\/scene_description>\n    <character>T.V. HOST<\/character>\n    <dialogue>Someone told me you have a photographic memory. Is that true?<\/dialogue>\n    <character>ROEBUCK WRIGHT<\/character>\n    <dialogue>That is false. I have a typographic memory. I recollect the written word with considerable accuracy and detail -- but in other spheres my powers of retention are distinctly impressionistic. I am known to my intimates as a most forgetful man.<\/dialogue>\n    <character>T.V. HOST<\/character>\n    <dialogue>Yet you remember every word you ever wrote: the novels, the essays, the poems, the plays --<\/dialogue>\n    <character>ROEBUCK WRIGHT<\/character>\n    <parenthetical>(bittersweet)<\/parenthetical>\n    <dialogue>-- the unrequited valentines. Sadly, I do.<\/dialogue>\n    <character>T.V. HOST<\/character>\n    <dialogue>May I test you?<\/dialogue>\n    <character>ROEBUCK WRIGHT<\/character>\n    <parenthetical>(coy\/demure)<\/parenthetical>\n    <dialogue>If you must.<\/dialogue>\n    <parenthetical>(looking to audience)<\/parenthetical>\n    <dialogue>Unless we try the patience of your<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <character>ROEBUCK WRIGHT<\/character>\n    <dialogue>viewership --<\/dialogue>\n    <parenthetical>(looking to wings)<\/parenthetical>\n    <dialogue>-- or the esteemed spokesmen of Gemini Toothpowder?<\/dialogue>\n    <scene_description>Off-stage: an actor stands at a sponsor display-table stacked with tins of whitening dentifrice. He looks slightly startled, then smiles awkwardly and nods. The host continues:<\/scene_description>\n    <character>T.V. HOST<\/character>\n    <dialogue>My favorite piece is the one about the cook where the kidnappers get poisoned.<\/dialogue>\n    <character>ROEBUCK WRIGHT<\/character>\n    <parenthetical>(immediately self-quoting)<\/parenthetical>\n    <dialogue>\"Do students of the table dream in flavors?\" This was the first of the questions a reporter for this magazine had diligently prepared in advance of his encounter with Lieutenant Nescaffier, ranking chef at District Headquarters on the narrow river-peninsula known as the Rognure d'Ongle. All such queries were to remain unanswered in the course of that eventful evening.<\/dialogue>\n    <parenthetical>(brief pause)<\/parenthetical>\n    <dialogue>Shall I carry on?<\/dialogue>\n    <character>T.V. HOST<\/character>\n    <parenthetical>(impressed)<\/parenthetical>\n    <dialogue>Please.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GROUND-FLOOR HALLWAY. EVENING<\/stage_direction>\n    <scene_description>A long, institutional-style corridor in a massive, seventeenth century building. Dim overhead light. Worn, grey linoleum floors. Dingy, chipped, cracked, yellowing, thick-gloss painted walls. Camera leads Roebuck Wright (fifteen years younger, dressed in a black suit and necktie) down the hall, shoes clip- clopping, eyeballs searching left and right, lost.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>I had arrived insufficiently early. Though the suite of rooms on the penultimate floor of the grand edifice was hypothetically indicated on a floorplan provided on the back of the carte de d\u00e9gustation --<\/dialogue>\n    <scene_description>INSERT: Overhead angle: a slip of a paper pinched tightly in Roebuck Wright's fingers. It is a menu for a nine course dinner with a map (on the verso) of the labyrinthine compound. CUT TO: Roebuck Wright, same corridor. Camera now follows him.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>-- it was nigh impossible to locate. At least, for this reporter. (A weakness in cartography: the curse of the homosexual.)<\/dialogue>\n    <scene_description>Roebuck Wright makes a wrong turn, doubles-back, then U-turns, repeatedly checking room numbers against his map.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>M. Nescaffier made his name and reputation (he is fanatically celebrated among cooks, cops, and capitains -- not to mention squealers, stoolies, and snitches) as the great exemplar of the mode of cuisine known as Gastronomie Gendarmique.<\/dialogue>\n    <scene_description>MONTAGE: Roebuck Wright pokes his head into the doorways of various departmental offices. First: the crimes-in-progress dispatch center (bank of phones, radio operator, wall map of the city pocked with urgent alarms and alerts).<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>\"Police cooking\" began with the stake-out picnic and paddy-wagon snack, but has evolved and codified into something refined, intensely nourishing, and, if executed properly, marvelously flavorful.<\/dialogue>\n    <scene_description>Next: a training gymnasium with cadets in police-issue exercise leotards performing fitness regimes (pugilist sparring, rope climbing, medicine ball throwing).<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>Fundamentals: highly portable, rich in protein, eaten with the non-dominant hand only (the other being reserved for firearms and paperwork).<\/dialogue>\n    <scene_description>Next: the target-end (bullets whizzing) of a marksmanship practice range.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>Most dishes are served pre-cut. Nothing crunchy. Quiet food.<\/dialogue>\n    <scene_description>Next: the disguises check-out dispensary (wigs, fake beards, ecclesiastical vestments).<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>Sauces are dehydrated and ground to a powder to avoid spillage and the risk of the tainting of a crime scene.<\/dialogue>\n    <scene_description>Finally: an apparently unattended booking room. Roebuck Wright pauses, momentarily mesmerized. He wanders slowly inside. He stands at the door of a locked holding cell (hand-labeled \"Chicken Coop #1\").<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>Diners are expected to provide their own fourchettes de poche, often engraved with the arcane mottoes and off-color sayings of their respective precincts.<\/dialogue>\n    <scene_description>A previously-unseen small, wiry, bespectacled number-cruncher sleeping on a bunk inside the cell rustles slightly. Roebuck Wright retreats a step, startled. The number-cruncher looks up with frightened eyes. He says softly:<\/scene_description>\n    <character>NUMBER-CRUNCHER<\/character>\n    <dialogue>How are you planning to kill me?<\/dialogue>\n    <character>ROEBUCK WRIGHT<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>I believe this to be a case of mistaken identity.<\/dialogue>\n    <scene_description>The number-cruncher looks skeptical. Roebuck Wright asks gently, indicating the sign:<\/scene_description>\n    <character>ROEBUCK WRIGHT<\/character>\n    <dialogue>Have you been in the chicken coop for a very long while?<\/dialogue>\n    <scene_description>Off-screen: a theatrical cough\/throat-clearing. Roebuck Wright only now notices a previously-unseen platoon of guards (smoking, snacking, reading, toothpicking, all armed with cylindrical- magazine submachine guns) watching him evenly from around the room. Roebuck Wright hesitates, apologetic.<\/scene_description>\n    <character>ROEBUCK WRIGHT<\/character>\n    <dialogue>I beg your pardon.<\/dialogue>\n    <scene_description>The number-cruncher watches, puzzled, as Roebuck Wright ducks away. The camera booms down to the wooden baseboard below the number-cruncher's bunk: INSERT: A spaghetti of carved graffiti. One message, only faintly visible, seems to read: \"Roebuck Wright was here.\" CUT TO: A narrow hallway on a high floor. A minuscule elevator on the far end opens. Roebuck Wright emerges and approaches.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>M. Nescaffier, even during his apprenticeship in a provincial fire department, aspired to a lofty perch, and there can be no higher position in the m\u00e9tier than that of Chef Cuisinier for the private dining room of the Commissaire de la Police Municipale.<\/dialogue>\n    <scene_description>The camera pans to a pair of double-doors discreetly labeled: \"Priv\u00e9\".<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM. NIGHT<\/stage_direction>\n    <scene_description>The door creaks open and Roebuck Wright peers into: A rustic, dark-wood chamber. Wide-plank floors. Low ceilings supported by thick beams. Heavy, ornate, carved chairs and sideboard. Lace curtains. Rugs in crimson. A carefully-set table which seats: a sturdy but elegant eighty-year-old woman and two fifty-five-year-old men. One is old for his age, bent, wrinkled, ashen, and ghoulish. The other is young for his age, short statured\/broad shouldered, dressed in a well-tailored dark suit with a shot of red thread sewn into the lapel. He is the Commissaire. Across the room, next to a young policeman with an apron over his uniform, a chef (French-Korean, tortoise-shell spectacles, haircut with sharp bangs, fifty) stands lingering in the kitchen doorway. The entire group stares at camera\/Roebuck Wright. The Commissaire checks a clock on the mantelpiece (time: two minutes after nine). He motions to a single, empty chair at the table. Roebuck Wright, sheepish, approaches, sits, and says gently:<\/scene_description>\n    <character>ROEBUCK WRIGHT<\/character>\n    <dialogue>Forgive my tardiness.<\/dialogue>\n    <character>COMMISSAIRE<\/character>\n    <parenthetical>(suddenly warm)<\/parenthetical>\n    <dialogue>Not at all. Mr. Wright, may I present my mother, Louise de la Villatte. You can call her Maman. We all do.<\/dialogue>\n    <scene_description>Roebuck Wright bows to the old woman. Her smile exudes a powerful maternal geniality. The Commissaire indicates the other seated man:<\/scene_description>\n    <character>COMMISSAIRE<\/character>\n    <dialogue>This is my oldest friend, Chou-fleur. When I met him, he was a girlish little schoolboy with ringlets and a full set of teeth. Now he looks like a corpse.<\/dialogue>\n    <scene_description>As the Commissaire's childhood friend chuckles to himself, his dentures loudly click. Roebuck Wright bows again. The Commissaire points across the room.<\/scene_description>\n    <character>COMMISSAIRE<\/character>\n    <dialogue>In the corner, Patrolman Maupassant. He'll be serving.<\/dialogue>\n    <parenthetical>(aside)<\/parenthetical>\n    <dialogue>Cocktails.<\/dialogue>\n    <scene_description>The patrolman\/waiter briskly fetches up a tray of small aluminum thermoses. He delivers them to the table just as a boy (French- North African, age ten) in a blue lab coat enters through a side door. He carries a carton filled with files and documents. He is Gigi. A police academy cadet\/nanny trails behind him. The Commissaire, vaguely suspicious, explains as they pass:<\/scene_description>\n    <character>COMMISSAIRE<\/character>\n    <dialogue>This is my son, Gigi, in the crime-lab smock. What are you stealing? From my personal records.<\/dialogue>\n    <character>GIGI<\/character>\n    <dialogue>Unsolved cases.<\/dialogue>\n    <character>COMMISSAIRE<\/character>\n    <dialogue>Say hello to Mr. Wright.<\/dialogue>\n    <character>GIGI<\/character>\n    <dialogue>Hello, Mr. Wright.<\/dialogue>\n    <character>ROEBUCK WRIGHT<\/character>\n    <dialogue>Hello, Gigi.<\/dialogue>\n    <scene_description>Gigi pauses to shake hands while balancing boxes. Roebuck Wright explains in voiceover:<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>Full name: Isadore Sharif de la Villatte.<\/dialogue>\n    <scene_description>FLASHBACK: The Commissaire and a younger Gigi walk together down a dock alongside the hull of an ocean liner. Stevedores hoist crates. A mist drifts across the planks.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>The Commissaire and his only son, motherless and widowered, left the colony where the boy was born cemented together by their shared grief. Gigi was six.<\/dialogue>\n    <scene_description>The younger Gigi rides with his head sticking out the window of a speeding police car. Sirens blast. The Commissaire is at the wheel.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>His schoolrooms were the station house and the squad car.<\/dialogue>\n    <scene_description>The younger Gigi carefully presses the enormous, ink-coated fingers of a hulking thug onto a blank arrest-form page. The Commissaire (observing) looks pleased.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>He was educated by forensic tutors in the traditions of law enforcement.<\/dialogue>\n    <scene_description>A meek shopkeeper gives a description as the younger Gigi finishes a sketch then flips it around to show: a wild-eyed, crooked-toothed maniac. The shopkeeper nods. The Commissaire (observing) looks pleased again.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>His first drawings were facial composites based on eyewitness testimony.<\/dialogue>\n    <scene_description>Split-screen: on the left, the younger Gigi taps a signal on a telegraph machine; on the right, the Commissaire listens and records.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>His first words were in Morse Code.<\/dialogue>\n    <parenthetical>(Note: electronic beeps accompany a title sliding across the bottom of the screen which reads: \"\\*--\\* \\*- \\*--\\* \\*- P A P A\".)<\/parenthetical>\n    <dialogue>The younger Gigi and the Commissaire stand in front of the crimes-in-progress wall map, studying alarms and alerts.<\/dialogue>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>It was, I suppose, wonderfully obvious.<\/dialogue>\n    <scene_description>Gigi and the Commissaire hold hands.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>He was brought up to succeed the Commissaire, himself.<\/dialogue>\n    <scene_description>CUT TO: Gigi lingering next to Roebuck Wright. He says, pointed:<\/scene_description>\n    <character>GIGI<\/character>\n    <dialogue>I've read you. In the magazine.<\/dialogue>\n    <character>ROEBUCK WRIGHT<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>To your satisfaction?<\/dialogue>\n    <character>GIGI<\/character>\n    <parenthetical>(broadly)<\/parenthetical>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>Gigi and his minder exit through a secret door into a cramped spiral stairwell. The chef now stands at the elbow of the Commissaire.<\/scene_description>\n    <character>COMMISSAIRE<\/character>\n    <dialogue>I trust you're already familiar with this genius, at least by reputation:<\/dialogue>\n    <parenthetical>(with pride, even vanity)<\/parenthetical>\n    <dialogue>Lieutenant Nescaffier.<\/dialogue>\n    <character>ROEBUCK WRIGHT<\/character>\n    <parenthetical>(reverently)<\/parenthetical>\n    <dialogue>I surely am.<\/dialogue>\n    <scene_description>The party of four all look up to the chef. The chef salutes and stands at ease, calm and confident. The Commissaire nods \"begin\". The chef disappears. The diners unscrew their thermoses and decant doses of a cloudy, lilac-colored liquid. They sip their cocktails. Roebuck Wright, already enchanted, explains in voiceover:<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>The drink, a milky, purplish aperitif, ferociously fragrant, overtly medicinal, ever-so-faintly anesthetizing (and cooled to a glacial viscosity in a miniature version of the type of vacuum-flask normally associated with campsites and schoolrooms) cast a spell -- which, during the subsequent sixty second<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>interval, was to be mortally broken. On three overlapping dramatic-timelines, the following events came to pass:<\/dialogue>\n    <scene_description>INSERT: A black-gloved hand activates a stopwatch. (Note: each segment of the following sequence portrays a different scene occurring during the same approximately simultaneous one-minute timespan, initiated by the same sound: the stopwatch start. Loud ticking, amplified and reverberant, continues throughout.) MONTAGE: 1. In the kitchen: the chef blazes up an armory of cooktop-fires and furnace-flames, then sets to work: chopping, stirring, poaching, braising, flipping, folding, salting, spicing, etc.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>One. M. Nescaffier began his mysterious ritual. (I can neither comprehend nor describe what occurs behind a kitchen door. I have always been content to enjoy the issue of an artist's talent without unveiling the secrets of the chisel or the turpentine.)<\/dialogue>\n    <scene_description>2. In the nursery (a garret playroom decorated with books and paints, trunks overflowing with costumes, a police rocking- horse, etc.): Gigi and the cadet\/nanny sit on tiny chairs at a diminutive table as they examine the stacks of borrowed paperwork.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>Two. The skylight window of the makeshift nursery which occupies the attic quarters jimmied ajar.<\/dialogue>\n    <scene_description>The camera tilts up to the vaulted glass ceiling. A pane inches sideways in its frame with a nearly silent squeak. A black- gloved hand gripping a medium-calibre automatic pistol (muzzle- mounted with a silencer) cranes into the room. The extended barrel slants toward the floor. The camera tilts back down. The cadet\/nanny stands up and exits frame. He returns with an ashtray and lights a cigarette. He puffs on it -- then, suddenly: he and Gigi both look to the ceiling\/skylight. The camera tilts back up with a whip. The gun fires (a silencer \"thwoop\"). Off-camera: a thump, a thud, and a thwack. The camera tilts back down. The cadet\/nanny is now dead in his tiny chair, shot through the top of the head, still bleeding liberally onto the strewn depositions etc. Gigi is gone. A rope drops into frame from above. The chauffeur (a bent-nosed former heavyweight prize-fighter with a cauliflower ear and stitches on his forehead) who slides down and drops to the floor wears a grey cap; long, grey, double-breasted, black-belted coat; grey breeches; ballet slippers; and a white handkerchief tied over his face like a bandit. A coiled cord hangs over his shoulder. He darts\/pads out of the shot. Off-camera: a scrambling hubbub. The chauffeur re-enters carrying Gigi, trussed like a chicken, blindfolded, and gagged. He grips him at the waist. He takes a deep breath, bends his knees, then hurls the boy like a spinning circus tumbler straight up, through the ceiling skylight, out of the building. The chauffeur then takes the end of the rope and clips it to a metal ring strapped to his chest. He waits. 3. In the dining room: a small, red indicator-lightbulb mounted on the sideboard blinks on. The patrolman\/waiter frowns slightly. He opens a cupboard door, withdraws a telephone, brings it to the dinner table, and plugs it into a socket flush- mounted on the burnished oak.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>Three. Patrolman Maupassant, responding to an infrequently illuminated signal, delivered a telephone to his superior.<\/dialogue>\n    <scene_description>The Commissaire picks up the receiver and signals for his mother to pick up the extension.<\/scene_description>\n    <character>COMMISSAIRE<\/character>\n    <dialogue>Go ahead.<\/dialogue>\n    <scene_description>The Commissaire and his mother listen, stone-faced. She takes notes. Roebuck Wright exchanges an anxious look with Chou-fleur. INSERT: Maman's transcription (subtitled in English): As you know by now, we have kidnapped your son and absconded to a secure location which you will never discover. Release (or execute) the Abacus, and the little boy will be safely returned to your custody. Failure to do so by sun-up will result in your son's violent death. The Commissaire hangs up, puzzled. He jolts to his feet and darts out of the room. CUT TO: A hand-drawn cel-animation shot vividly illustrating the rooftop of the pr\u00e9fecture headquarters in the bright moonlight. A stocky kidnapper is positioned next to the open skylight window. A thin kidnapper stands inside a large, black wicker basket.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>The getaway (and eventual motor pursuit) was rendered vividly (if, perhaps, a bit fancifully) in a comic strip published the following week.<\/dialogue>\n    <scene_description>The somersaulting boy (Gigi) flies up through the skylight. The stocky kidnapper catches him in his arms, quickly dumps him into the basket, and climbs in after. The thin kidnapper pulls a valve-chain, igniting a propane torch. The basket (now revealed in a slow zoom-out to be attached to a pitch black, stealth hot air balloon) rises -- carrying below it: the chauffeur, swaying gently as the balloon travels up and completely disappears into the night.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NARROW AVENUE. DAY<\/stage_direction>\n    <scene_description>Early morning. A light snow falls on the doorstep of a low rent, residential hotel. TITLE: Three Days Earlier The door opens, and the number-cruncher pokes out and looks up and down the sidewalk, nervous. He emerges in hat and overcoat carrying a yellow suitcase clutched to his chest. He walks briskly across the deserted street, through a narrow passageway, down an alley to: a parked, late forties (running boards, wire wheels) Citro\u00ebn sedan. He gets in, tucks the suitcase beside him, and puts the key into the ignition. The motor whinnies, coughs, and sputters -- but fails to start. In the back seat, a policeman rises into view, pistol fixed on the back of the number-cruncher's head. The number-cruncher looks in the rearview mirror, then slowly raises his hands into the air. All around the vehicle: a dozen additional officers appear from behind and beneath various hiding places (trash can, window ledge, rain barrel, horse cart, coal chute). A paddy-wagon reverses into frame with a screech. The number-cruncher is whisked out of the Citro\u00ebn, handcuffed, and swept up into the prisoner transport. A pair of iron doors slams shut.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>Though the infamous Ennui gang war \"Winter Crimewave\" had eradicated a healthy number of thugs and hooligans, it had also claimed the lives of a disgraceful proportion of innocent citizens. Due to the surprise capture of the racketeering accountant Albert the Abacus (in possession of a valise containing payroll stubs for all three of the city's major syndicates), the law- abiding community's hopes for an accelerated resolution to the crisis had been renewed. However: this turn of events had forcefully rattled the cages of the denizens of the criminal underworld.<\/dialogue>\n    <scene_description>Suddenly, a barrage of machine gun fire perforates the paddy- wagon, the Citro\u00ebn, the rain barrel, the horse cart, the coal chute, most of the windows of the surrounding buildings, and the bodies of a number of the assembled policemen. The surviving officers return fire. CUT TO: The talk show. Roebuck Wright says, aside, to his host:<\/scene_description>\n    <character>ROEBUCK WRIGHT<\/character>\n    <dialogue>For myself, I had failed to recognize the Abacus; but, as it happened: I knew the chicken coop. (This is not in the article, by the way.) If I refer to Mr. Howitzer, do you know who I mean?<\/dialogue>\n    <character>T.V. HOST<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <parenthetical>(to the audience)<\/parenthetical>\n    <dialogue>Arthur Howitzer, Jr. Founder and editor of \"The French Dispatch\".<\/dialogue>\n    <character>ROEBUCK WRIGHT<\/character>\n    <dialogue>It was my first week in Ennui when I suffered the misfortune of being arrested in a drinking establishment on the fringes of the Flop Quarter (along with a number of newly-found companions).<\/dialogue>\n    <character>T.V. HOST<\/character>\n    <dialogue>What was the charge?<\/dialogue>\n    <character>ROEBUCK WRIGHT<\/character>\n    <parenthetical>(simply)<\/parenthetical>\n    <dialogue>Love. You see, people may or may not be<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <character>ROEBUCK WRIGHT<\/character>\n    <dialogue>mildly threatened by your anger, your hatred, your pride -- but love the wrong way: and you will find yourself in great jeopardy. In this case, a chicken coop jail cell for six days straight. I had no one who cared to rescue me, no one who cared to scold me, and the only local number committed to my typographic memory was:<\/dialogue>\n    <scene_description>INSERT: A brief memo on \"French Dispatch\" letterhead. It reads (echoed by Howitzer himself in voiceover): Dear Mr. Wright, While I regret we are unable to publish either of these specific pieces, I would be very pleased to consider other submissions in the future -- or, if you find yourself in Ennui: telephone me. You seem to know how to write. Signed, A.H. Jr. Handwritten below the initials: the publisher's telephone number.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>Printer's District 9-2211.<\/dialogue>\n    <scene_description>CUT TO: The jail cell. Roebuck Wright (aged thirty) is now on the inside: disheveled, unshaven, gaunt.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>I'd never met the man. I knew how to reach him only because I wanted a job.<\/dialogue>\n    <scene_description>A telephone slides through a meal-slot with a shlunk. Roebuck Wright picks up the receiver and dials. CUT TO: A clock. TITLE: Thirty Minutes Later The camera tilts down to reveal (on the other side of the iron bars): Howitzer himself, seated on a folding chair, sipping a cup of coffee. Roebuck Wright, inside his cell, fills out a form, shakily, in pencil, on a clipboard. He finishes a last sentence and slides the clipboard out the meal-slot. Howitzer picks it up and studies the form.<\/scene_description>\n    <character>HOWITZER<\/character>\n    <dialogue>Let's see here.<\/dialogue>\n    <parenthetical>(muttering quickly)<\/parenthetical>\n    <dialogue>High school newspaper, poetry club, drama society...<\/dialogue>\n    <parenthetical>(clearly)<\/parenthetical>\n    <dialogue>Wrote the school song. Words and music.<\/dialogue>\n    <parenthetical>(muttering quickly)<\/parenthetical>\n    <dialogue>Junior researcher, cub reporter, assistant editor...<\/dialogue>\n    <parenthetical>(clearly)<\/parenthetical>\n    <dialogue>Fires and murders. That's how I started. My father owned the paper, of course.<\/dialogue>\n    <parenthetical>(muttering quickly)<\/parenthetical>\n    <dialogue>Bit of sports, bit of crime, bit of politics...<\/dialogue>\n    <parenthetical>(clearly)<\/parenthetical>\n    <dialogue>Shortlisted twice. For \"Best Essays\".<\/dialogue>\n    <parenthetical>(muttering)<\/parenthetical>\n    <dialogue>Deep South, Mid-west, East Coast...<\/dialogue>\n    <parenthetical>(clearly)<\/parenthetical>\n    <dialogue>Vast country. Haven't been there for twenty years.<\/dialogue>\n    <scene_description>A police guard appears with some paperwork to deliver to Howitzer. He attempts to discreetly interrupt:<\/scene_description>\n    <character>POLICE GUARD<\/character>\n    <dialogue>Mr. Howitzer --<\/dialogue>\n    <scene_description>Howitzer responds sharply, holding up a finger:<\/scene_description>\n    <character>HOWITZER<\/character>\n    <dialogue>Not now. I'm conducting a job interview.<\/dialogue>\n    <scene_description>The guard freezes, then evaporates. Howitzer presses on, shuffling pages:<\/scene_description>\n    <character>HOWITZER<\/character>\n    <dialogue>Your writing samples are good. I re-read them in the taxi. Ever done any book reviews?<\/dialogue>\n    <character>ROEBUCK WRIGHT<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>Never.<\/dialogue>\n    <character>HOWITZER<\/character>\n    <dialogue>You're going to be here another few hours before they process you out. Read this --<\/dialogue>\n    <scene_description>Howitzer holds up a thin, hardback novel titled \"Look Out Below!\". The dust-jacket illustration depicts a carbonated, multicolored highball cocktail (bubbles, swizzle stick, lipstick on the rim). A stamp on the cover reads: \"Advance Copy\". Howitzer puts the book through the meal-slot.<\/scene_description>\n    <character>HOWITZER<\/character>\n    <dialogue>-- and give me 300 words. I'll pay you 500 francs, minus the 250 I advanced for your bail (but I'll re-advance half of that back to you for cost-of-living). Bring me a first draft tomorrow morning, and however you go about it, Mr. Wright: try to make it sound like you wrote it that way on purpose.<\/dialogue>\n    <scene_description>CUT TO: Close-up, Roebuck Wright. There are tears in his eyes.<\/scene_description>\n    <character>ROEBUCK WRIGHT<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>CUT TO: Close-up, Howitzer. He says softly:<\/scene_description>\n    <character>HOWITZER<\/character>\n    <dialogue>No crying.<\/dialogue>\n    <scene_description>CUT TO: The talk show. Roebuck Wright says, matter of fact:<\/scene_description>\n    <character>ROEBUCK WRIGHT<\/character>\n    <dialogue>He was to be my employer (and friend) for the next thirty years.<\/dialogue>\n    <parenthetical>(resumes self-quoting)<\/parenthetical>\n    <dialogue>It came to be known as the Night of a Thousand Slugs. (I'm reciting again.)<\/dialogue>\n    <scene_description>MONTAGE: A succession of interrogations: a bare-knuckle beating in a warehouse; a head plunged into a tub of ice; a face propelled down the length of a bar, smashing through glasses, bottles, and shakers; an upside-down thug swinging by his ankles from a meat hook; a hulking goon with one eyelid swollen shut drowsily watching a swinging pocket-watch; two policemen and a suspect standing on a tarmac as an inert man is hurled from a low-flying police airplane. The body bounces and tumbles to a bone-crunched halt.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>How the Commissaire and his elite team of experts and analysts succeeded so swiftly in determining the location of the<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>kidnappers' lair -- well, I just don't know. The tools of the trade, I suppose.<\/dialogue>\n    <scene_description>The suspect, in handcuffs, looks horrified. The two policemen are stoic. One, notebook in hand, pencil poised, says:<\/scene_description>\n    <character>POLICEMAN<\/character>\n    <dialogue>I'll repeat the question.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TENEMENT H\u00d4TEL. NIGHT<\/stage_direction>\n    <scene_description>A glowing window at the top-floor of a decrepit apartment building.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>But succeed they did.<\/dialogue>\n    <scene_description>Six stories down the semi-crumbling facade, in the entry passageway, a scrawny cat licks an empty saucer. The small, cobblestone square in front, gas lamplit, is surrounded on all sides by rickety buildings of cheap flats. Uneven, narrow, stone staircases ascend from the street corners up to the higher, encircling rues and passages. A footbridge edges one side of the place, a train truss edges another. Cramped shops (closed) line the sidewalks. M\u00e9tro station: Hovel District. Tucked and hidden around the corner: a dense cordon of officers, squad cars, and paddy-wagons. A gathering crowd of locals (the butcher, the fishmonger, the tobacconist, assorted neighborhood characters) quietly nudge and jostle behind a police barrier. Faintly heard, echoing across the quartier: a music hall. Otherwise: silence. A locksmith's shop serves as an improvised command center. Ancient floor-plans and elevation-views, foxed and yellowed, cover a long work-counter. A police-band radio hums and buzzes while a voice broadcasts strategic instructions at a whisper. The Commissaire, flanked by Maman, Chou-fleur, and Roebuck Wright, peers out from the corner of a storefront window through a pair of binoculars. The camera pans\/tilts up back to the glowing window at the top of the decrepit building.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>Who were they? It was later revealed:<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRIPLE APARTMENT. NIGHT<\/stage_direction>\n    <scene_description>An expansive flat of small rooms, nooks\/alcoves, and numerous corridors which connect the top floors of various adjacent buildings.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>A hired crew of bandits and gunmen imported by the ranking bosses of the Ennui rackets and their network of underworld middlemen.<\/dialogue>\n    <scene_description>In the sitting room: the chauffeur tunes and strums a guitar. In the dining room: a stout man (cowboy hat, suit\/necktie, dark sunglasses) deals cards to a formidable, elderly woman. In the kitchen: a scrawny thief tinkers with a dismantled radio. In the corridor: a trio of hooligans of various dimensions stare into space. In the bathroom: a quartet of showgirls bathe, paint their toenails, and inject morphine. In front of a pad-locked bedroom door: a pair of shoes (oxblood, lace up, the size of Gigi's feet).<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>Plus: one small, resourceful prisoner determined to free himself and reduce taxpayer expense.<\/dialogue>\n    <scene_description>INSERT: Gigi's bound hands in dim near-blackness. His fingers clink a beat on a tarnished conduit with a half-centime coin.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. LAUNDRY CLOSET. NIGHT<\/stage_direction>\n    <scene_description>Split-screen. On the right, Gigi in a chair, tied up in a dark cupboard. On the left, one of the junkie showgirls, wrapped in a towel, frowning and listening, as she inclines toward the padlocked door. She chews gum.<\/scene_description>\n    <character>SHOWGIRL<\/character>\n    <dialogue>What's that noise?<\/dialogue>\n    <scene_description>Gigi stops clinking. A beat.<\/scene_description>\n    <character>GIGI<\/character>\n    <dialogue>Air bubbles in the radiator pipes. It's pressurized.<\/dialogue>\n    <character>SHOWGIRL<\/character>\n    <dialogue>Sounds like Morse Code.<\/dialogue>\n    <character>GIGI<\/character>\n    <parenthetical>(vaguely)<\/parenthetical>\n    <dialogue>Vaguely. I'm Gigi, by the way. What's your name?<\/dialogue>\n    <character>SHOWGIRL<\/character>\n    <dialogue>I'm not going to tell you that. This is a felony.<\/dialogue>\n    <character>GIGI<\/character>\n    <parenthetical>(defiant)<\/parenthetical>\n    <dialogue>You're not a criminal. You're just a mixed-up showgirl.<\/dialogue>\n    <character>SHOWGIRL<\/character>\n    <dialogue>Ha.<\/dialogue>\n    <character>GIGI<\/character>\n    <dialogue>Ha, yourself.<\/dialogue>\n    <scene_description>Pause. Gigi switches gears:<\/scene_description>\n    <character>GIGI<\/character>\n    <dialogue>Are you hungry? I can hear your stomach growling.<\/dialogue>\n    <scene_description>Pause. Gigi tries once more:<\/scene_description>\n    <character>GIGI<\/character>\n    <dialogue>Sing me a lullaby. I'm scared.<\/dialogue>\n    <character>SHOWGIRL<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Another pause. The showgirl sings a lullaby. She sighs.<\/scene_description>\n    <character>SHOWGIRL<\/character>\n    <dialogue>Are you asleep?<\/dialogue>\n    <character>GIGI<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>INSERT: The Commissaire's hand. He fingers a miniature cameo locket which displays a photograph of the younger Gigi.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>The Commissaire adored Gigi with all his voluminous heart.<\/dialogue>\n    <scene_description>The Commissaire paces up and down the room, fretting and contemplating.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>However: his mind (that exceptional machine for the detection and investigation of criminal activity) had been whirring since dinnertime, and he was in a condition of dire calorific depletion.<\/dialogue>\n    <scene_description>The Commissaire stops and murmurs, finally giving in:<\/scene_description>\n    <character>COMMISSAIRE<\/character>\n    <dialogue>Maman? I'm hungry.<\/dialogue>\n    <scene_description>Maman (who has clearly been waiting for this moment) immediately signals to an off-screen attendant and produces a collapsible pocket-fork, which she unfolds. The Commissaire and Chou-fleur follow suit. The patrolman\/waiter swiftly covers a workbench below the front window end-to-end with a checkered tablecloth. The camera dollies away, into the back room (normally a die- casting and lathing workshop), which has been converted into a temporary kitchen. A sheet of pastries warms over a bank of emergency candles. A tray of shucked oysters cools over a bed of dry ice. Small pots boil along radiator pipes. Meat and fowl in states of mid-preparation hang from the ceiling in nets and baskets. Portable ovens and bunsen burners glow and flicker at lowest flame. Nescaffier whisks a froth in a bowl at a perfectly continuous, robotic rate.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>Nescaffier, back in the field for the first time in six years, came prepared to dazzle.<\/dialogue>\n    <scene_description>The patrolman\/waiter pokes his head into the room and nods.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>The change was instantaneous.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOCKSMITH SHOP. NIGHT<\/stage_direction>\n    <scene_description>The congregation of police and bystanders outside wait in respectful silence while, seated in the window, behind a pulled blind, in silhouette: the Commissaire, Maman, Chou-fleur, and Roebuck Wright all watch Nescaffier's shadow enter carrying a serving tray. The Commissaire rises to his feet and wafts the scent into his nose.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>Even as the faintest hints of the aromas of the great chef's kitchen ribboned into the Commissaire's nostrils, he began to envision and formulate a multi-pronged battle-plan.<\/dialogue>\n    <scene_description>MONTAGE: Split-screen: on the right, the Commissaire, seated at the workbench table in the locksmith shop, speaks excitedly to Chou- fleur while eating continuously with his left hand only; on the left, a small, speckled, boiled egg split open to reveal layers of whipped yolk mousse.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>To start: deviled eggs of the precinct canary served in shells of its own meringue.<\/dialogue>\n    <character>COMMISSAIRE<\/character>\n    <dialogue>Send a commando unit to secure all access points to the south and west.<\/dialogue>\n    <scene_description>On the right, the Commissaire, seated at the workbench table in the locksmith shop, speaks excitedly to Maman while eating continuously with his left hand only; on the left: a saucer of gibiers and fruits des bois.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>Next: kidneys poached with plums from the mayor's rooftop arbor.<\/dialogue>\n    <character>COMMISSAIRE<\/character>\n    <dialogue>Send a guerrilla detachment to block all egress routes to the east and north.<\/dialogue>\n    <scene_description>On the right, the Commissaire illustrates (using arrows and X's) his scheme\/strategy on one of the building floor plan maps; on the left, small boulettes shaped and packaged like a bowl of candies.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>Then: minced lamb bon-bons in pastry wrappers.<\/dialogue>\n    <character>COMMISSAIRE (V.O.)<\/character>\n    <dialogue>Drill tunnels (circumference: 75mm) through the partition walls of all three adjacent buildings.<\/dialogue>\n    <scene_description>On the right, teenage boys and girls in shooting costumes perch among high chimney tops; on the left, another thermos.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>Blas\u00e9 oyster soup.<\/dialogue>\n    <character>COMMISSAIRE (V.O.)<\/character>\n    <dialogue>On the rooftops: amateur snipers from the local hunting club.<\/dialogue>\n    <scene_description>On the right, a quartet of gear-laden climbers in lederhosen scramble in formation up a dark alley; on the left: a roasted bird, boneless, bloody, chopped with potatoes, and served in a paper cup.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>A magnificent city-park pigeon hash.<\/dialogue>\n    <character>COMMISSAIRE (V.O.)<\/character>\n    <dialogue>Down the elevator shaft: amateur climbers from the district Alpinist society.<\/dialogue>\n    <scene_description>On the right, a light clicks on as an enormous wrestler (in a striped singlet) is awakened from slumber by a ringing telephone; on the left, a nicotine pot de cr\u00e8me with a white blob on top.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>Finally: tabac pudding with quadruple cream.<\/dialogue>\n    <character>COMMISSAIRE (V.O.)<\/character>\n    <dialogue>Wake up the Jeroboam, too. I want him limber, just in case.<\/dialogue>\n    <scene_description>CUT TO: The talk show (once again). The host gently cuts in:<\/scene_description>\n    <character>T.V. HOST<\/character>\n    <dialogue>May I interrupt? With a question.<\/dialogue>\n    <character>ROEBUCK WRIGHT<\/character>\n    <dialogue>Please. Just permit me to dog-ear the page. Mentally.<\/dialogue>\n    <character>T.V. HOST<\/character>\n    <dialogue>Forgive me. I beg your pardon.<\/dialogue>\n    <character>ROEBUCK WRIGHT<\/character>\n    <dialogue>Heavens, no. Whatever for?<\/dialogue>\n    <character>ROEBUCK WRIGHT<\/character>\n    <dialogue>Ready.<\/dialogue>\n    <character>T.V. HOST<\/character>\n    <dialogue>You've written about the American negro, the French intellectual, the Southern romantic; scripture, mythology, folklore; true crime, false crime; the ghost story, the picaresque, the bildungsroman -- but, more than anything, over all these years: you've written about food. Why?<\/dialogue>\n    <scene_description>Roebuck Wright stiffens and crosses his arms snugly across his chest. Pause. He counts with five fingers:<\/scene_description>\n    <character>ROEBUCK WRIGHT<\/character>\n    <dialogue>Who? What? Where? When? How. Valid questions -- but I learned as a cub stringer: never, under any circumstance, if it is remotely within your power to resist the impulse, never ask a man why. It tightens the fellow up.<\/dialogue>\n    <parenthetical>(referring to his own posture)<\/parenthetical>\n    <dialogue>Look at me.<\/dialogue>\n    <character>T.V. HOST<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>I apologize: but I'm going to hold you to it --<\/dialogue>\n    <character>ROEBUCK WRIGHT<\/character>\n    <dialogue>Torture.<\/dialogue>\n    <character>T.V. HOST<\/character>\n    <dialogue>-- if you'll allow me.<\/dialogue>\n    <character>ROEBUCK WRIGHT<\/character>\n    <dialogue>(Self-reflection is a vice best conducted in private or not at all.)<\/dialogue>\n    <character>ROEBUCK WRIGHT<\/character>\n    <dialogue>Well, I'll answer the question, out of sheer weariness, but I truly don't know what I'm about to say.<\/dialogue>\n    <scene_description>Silence. Roebuck Wright's arms drop. He sighs deeply and speaks from some new chamber of his mind\/heart:<\/scene_description>\n    <character>ROEBUCK WRIGHT<\/character>\n    <dialogue>There is a particular, sad beauty well- known to the companionless foreigner as he walks the streets of his adopted (preferably, moonlit) city. (In my case, Ennui, France.) I have so often shared the day's glittering discoveries with: no one at all. But always, somewhere along the avenue or the boulevard: there was a table. Set for me. A cook, a waiter, a bottle, a glass, a fire. I chose this life. It is the solitary feast that has been (very much like a comrade) my great comfort and fortification.<\/dialogue>\n    <scene_description>A tear (perhaps) rolls down Roebuck Wright's cheek. The T.V. host produces a clean handkerchief and offers it. Roebuck Wright laughs (almost silently) and rolls his eyes as he takes it.<\/scene_description>\n    <character>T.V. HOST<\/character>\n    <dialogue>Do you remember where you placed the bookmark?<\/dialogue>\n    <character>ROEBUCK WRIGHT<\/character>\n    <dialogue>Of course. \"Meanwhile.\"<\/dialogue>\n    <parenthetical>(back to the story)<\/parenthetical>\n    <dialogue>Meanwhile, across the street:<\/dialogue>\n    <scene_description>CUT TO: The radio, partially reassembled. It crackles to life. A broadcast voice whispers:<\/scene_description>\n    <character>POLICE BANDWIDTH<\/character>\n    <dialogue>Be informed: suspects' lair is top floor, lower edge of square; officers are already in place around perimeter and surrounding rooftops; maintain extreme discretion and caution approaching location. Repeat...<\/dialogue>\n    <scene_description>The scrawny thief scrambles out of the kitchen, jolts into the front window, and pulls the curtains slightly ajar. The other members of the gang instinctively flock around him to look out, as well. CUT TO: The gang's point-of-view of the square below: empty. Silence. A single cigarette flicks through the air from behind a corner and sparks onto the cobblestones. The chauffeur squints. CUT TO: The Commissaire monitoring the radio. He has a sudden intuition. He peers under the locksmith's blinds. From the top floor flat: one first bang, then a storm of gunfire. CUT TO: Inside the lair. The apartment has been flash-converted into a fortress\/armory. Pistols, rifles, a machine gun on a tripod, plus a military ordnance grenade launcher. Everyone (chauffeur, Stetson, spinster, showgirls, thugs, thief) blasts away at the square below. Every window shatters. Bricks and mortar explode. Vehicles are blown to smithereens. The teenage snipers shoot back from the rooftops. Police duck for cover. Blood, smoke, falling bodies, screaming, etc. The Commissaire, on the floor of the locksmith shop, showered in shards and splinters (with his mother, his best friend, and our reporter) repeats over and over into the radio microphone:<\/scene_description>\n    <character>COMMISSAIRE<\/character>\n    <dialogue>Hold your fire! Hold your fire! Hold your fire!<\/dialogue>\n    <scene_description>CUT TO: A tiny, old man in a mezzanine listening keenly at a radiator down-pipe while the bullets bang and ricochet outside. He puts on a stethoscope, holds it against the tarnished brass, and begins to take notes.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>During a lull in the skirmish, an ancient concierge, veteran of two wars, limped across the street to deliver an enigmatic message.<\/dialogue>\n    <scene_description>INSERT: A scrap of graph paper studded with dots and dashes and a translation below: \"S E N D T H E C O O K\".<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCKSMITH SHOP. NIGHT<\/stage_direction>\n    <scene_description>Above the counter: a final lightbulb pops (gunshot). Silence. TITLE: One Hour Later CUT TO: The scarred and battered square. The Commissaire, hands in the air, steps carefully into view. He carries a loudspeaker. His voice reverberates across the square:<\/scene_description>\n    <character>COMMISSAIRE<\/character>\n    <dialogue>I'm speaking to the leader of the gang of kidnappers on the top floor.<\/dialogue>\n    <scene_description>No response. The Commissaire continues:<\/scene_description>\n    <character>COMMISSAIRE<\/character>\n    <dialogue>Do you have a working kitchen in your lair?<\/dialogue>\n    <scene_description>No response. The Commissaire continues:<\/scene_description>\n    <character>COMMISSAIRE<\/character>\n    <dialogue>My son needs a snack. Allow us to send in our precinct cook along with some supplies and provisions. He will prepare a supper of sufficient proportions to feed you and all your accomplices. (We already ate.)<\/dialogue>\n    <scene_description>CUT TO: The gang conferring all at once at a murmur (\"Of course not!\" \"Are they kidding?\" \"They think we're stupid.\" etc.) until the chauffeur has a realization. He leans slightly in front of the window and shouts:<\/scene_description>\n    <character>CHAUFFEUR<\/character>\n    <dialogue>Is it an underling -- or Nescaffier himself?<\/dialogue>\n    <scene_description>The Commissaire gives a signal. Nescaffier appears. He salutes up to the unseen kidnappers. Aside: he and the Commissaire exchange a look of grim defiance (and fear).<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SERVICE STAIRS. NIGHT<\/stage_direction>\n    <scene_description>Nescaffier, cast in dark shadow, carries a short tower of boxes and cartons (meat, produce, bread, butter, etc.) as he calmly ascends the winding steps. On top of the stack: a bowl of radishes -- which appear to glow in the darkness.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN. NIGHT<\/stage_direction>\n    <scene_description>The gang sits on chairs and stools crowded around a breakfast table set with nine identical dinners on segmented, prison-style plates: a savory winter tart, pur\u00e9e, vivid greens, radishes. Two more plates rest on the sideboard. Nescaffier stands apart, hands folded, apron splattered. In the background: the stove, oven, and sink are a battleground strewn with pots, pans, knives, spoons, etc. In the next room: the thief watches the street from the machine gun's telescopic sight. Nescaffier explains humbly:<\/scene_description>\n    <character>NESCAFFIER<\/character>\n    <dialogue>Blackbird pie.<\/dialogue>\n    <scene_description>Nescaffier backs away slightly. The chauffeur holds up his finger: wait. He quickly prepares a small side-dish with a taste of each item from his own plate and those of the thug and spinster on either side of him. He hands the dish to Nescaffier. The gang watches as Nescaffier, without hesitation, takes out his own fourchette de poche and eats everything -- including, finally, a single radish.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>Required, of course, to sample each item, the chef ate the deathly poison --<\/dialogue>\n    <scene_description>The thief appears in the doorway to collect his plate, one of the showgirls (murmuring: \"for the little boy\") carries another plate down the corridor, and the rest of the gang attacks their dinners. The chauffeur pauses suddenly. The others hesitate, watching. The chauffeur says crisply to Nescaffier:<\/scene_description>\n    <character>CHAUFFEUR<\/character>\n    <dialogue>Write down the recipe.<\/dialogue>\n    <scene_description>Nescaffier nods, and they all continue their voracious grazing. CUT TO: The lair as it is breached all at once from three directions: a large hole blasts through one wall, a large drill ruptures through another, the Alpinists drop from a trap door in the ceiling. The apartment fills with climbers and commandos. They all freeze.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>-- but Nescaffier survived: thanks to the extreme fortitude (bolstered and braced, season upon season, by the richest, most potent plates, pans, and sauce pots) of his almost superhuman stomach.<\/dialogue>\n    <scene_description>Strewn across the floor: dead kidnappers and empty plates. Nescaffier lies -- half-unconscious, shivering, but alive -- among them. The commandos immediately jump to his aid, injecting him with three pre-loaded syringes of brightly colored medicine, slipping a tube down his throat, pipetting droplets into his eyes, massaging arms, legs, heart. As they continue these ministrations, the camera moves out of the room, down the corridor, to the open closet door. On the floor: another plate, not quite empty. A trio of radishes remains.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>He knew well, of course: Gigi loathed and despised the radish in all its forms with a deep, unbridled passion, and had never so much as touched one (or even spoken the word) during his entire young lifetime.<\/dialogue>\n    <scene_description>Across the room: one more plate, also with a handful of leftover radishes on it.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>However, as it happened, the chauffeur hated radishes, too.<\/dialogue>\n    <scene_description>Outside: an alarm bell rings. The commandos run to the window and look down into the square. (Note: the following sequence is rendered entirely in the same hand-drawn cel-animation method and style previously established for the hot air balloon getaway.) CUT TO: The commandos' P.O.V: straight down from the window looking at the square. The courtyard gate bursts open, and a two-door Citro\u00ebn sedan (chauffeur at wheel, Gigi beside him) roars out into the square, smashing through barricades and scattering the crowd of officers and onlookers before rumbling away up a blind impasse under the street-sign: \"Pick-pocket Cul-de-Sac. The Commissaire, Maman, Chou-fleur, and Roebuck Wright scramble out of the locksmith shop and leap into their own Citro\u00ebn. The Commissaire cranks the motor. It stutters. After a double-circling U-turn: the chauffeur and Gigi's Citro\u00ebn comes squealing and careening from the cul-de-sac back into the square. The wrestler springs out of a paddy-wagon, side-steps in front of the weaving vehicle, and hurtles himself onto the hood with a whang. The chauffeur looks shocked. Gigi looks ecstatic. The wrestler rips off the windshield wipers and attempts to pull the car apart while also struggling desperately not to fall off. The chauffeur accelerates through a corner and up a different road. The Commissaire gets the engine going and slams his foot down on the gas pedal, revving up in pursuit of the other vehicle. Narrow streets. Twisty corners. A tunnel and a bridge. The two cars scream through the sleeping city. At the top of a hill: the chauffeur skids to a stop and jumps out (with the bound Gigi tucked under his arm). He sprints away down a staircase. The wrestler runs after him. The Commissaire jolts to a stop behind the other car. He and Roebuck Wright bounce out and run after the others (Maman and Chou-fleur stay behind). A high-speed foot chase takes them down a drainpipe, across a catwalk, under a scaffolding, over a stone wall -- then back up to the parked cars. The chauffeur shoots back into the driver's seat and guns the engine. Just as he tears away, the wrestler manages to jump back onto the hood, furious. The Commissaire and Roebuck Wright rejoin Maman and Chou-fleur, and the car chase resumes. On a long straightaway: Gigi suddenly pokes up his head from his car's canvas sunroof. He finishes unscrambling the bindings around his arms, and his hands are free. The chauffeur attempts to grab at Gigi while still piloting the Citro\u00ebn. The Commissaire shouts to Roebuck Wright:<\/scene_description>\n    <character>COMMISSAIRE<\/character>\n    <dialogue>Take the wheel!<\/dialogue>\n    <scene_description>The Commissaire climbs out the window of the racing vehicle and crawls onto the hood. Roebuck Wright, horrified, lunges into the driver's seat. Gigi pops out fully onto the roof of the other car, then leaps from one moving vehicle back toward the other, sailing through the air, arms and legs splayed -- into his father's arms. They are both knocked back smashing into the windshield (which cracks), then tumble up onto the rooftop and slash down through their own ripping canvas sunroof into the laps of Maman and Chou-fleur. The chauffeur misjudges the next turn, slides off the street, cracks through a guardrail, flies bashing into a dry riverbed, and explodes into a spectacular fireball. The wrestler tumbles to safety and lands in \"neutral position\".<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>Perhaps the most stirring (and startling) phenomenon witnessed over the trajectory of that protracted dinner date was this:<\/dialogue>\n    <scene_description>In the back seat: Gigi slaps his father hard across the face. The Commissaire's hat, glasses, cigarette, hairpiece, and eyebrows all fly off his head in different directions. The Commissaire looks astonished, Gigi looks shocked. The Commissaire quickly re-attaches his false eyebrows -- then both begin to simultaneously laugh and cry. They kiss and embrace. (Note: resume live-action.)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE HEADQUARTERS. DAY<\/stage_direction>\n    <scene_description>A troop of armed police escort a plainclothesman -- carrying the number-cruncher's yellow suitcase handcuffed to his wrist -- across a street to an armored transport. The plainclothesman trips on the curb, the suitcase snaps open, and the air instantly fills with fluttering documents which confetti into an expanding cloud out over the banks of the river.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>Often, in fiction, the illicit treasure which has cost and destroyed so many lives is finally plucked away by the hand of destiny, vaporized into smoke, dispersed to the winds, etc. This did not occur.<\/dialogue>\n    <scene_description>The camera booms down below the sidewalk to glimpse an endless underground cache of anonymous file cabinets and forgotten storage boxes. The briefest pause, then the camera booms back up to the cloud of papers.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>The pay stubs remain sealed in a humidity- controlled, underground evidence vault; but: in light of the judicial ruling (due to bribery) which declared the entire trove legally inadmissible --<\/dialogue>\n    <scene_description>The camera booms back up to the cloud of papers.<\/scene_description>\n    <character>ROEBUCK WRIGHT (V.O.)<\/character>\n    <dialogue>-- this staged imagining does seem appropriate in its depiction of a grand, thematic pointlessness.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAIL CELL. DAY<\/stage_direction>\n    <scene_description>The number-cruncher, still behind bars, eats his breakfast. He looks happy. Seated outside the cell, still connected to a rolling I.V. drip but only slightly the worse for wear, Nescaffier watches and pours himself a glass of the lilac- colored aperitif (from a thermos, of course).<\/scene_description>\n    <character>ROEBUCK WRIGHT<\/character>\n    <dialogue>A delicious irony: M. Albert, accountant to the demi-monde and remote cause of the entire spectacular contretemps, had been entirely forgotten in the chicken coop<\/dialogue>\n    <parenthetical>(more)<\/parenthetical>\n    <character>ROEBUCK WRIGHT<\/character>\n    <dialogue>from Thursday dinner to Monday breakfast and had very nearly starved in his cell. It was only the convalescent M. Nescaffier himself who retained the presence of mind to prepare the prisoner an omelette \u00e0 la policier which he delivered warm, wrapped in a day-old search warrant.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TELEVISION STUDIO. DAY<\/stage_direction>\n    <scene_description>Back on the talk show, Roebuck Wright concludes:<\/scene_description>\n    <character>ROEBUCK WRIGHT<\/character>\n    <dialogue>The Abacus ate well that morning.<\/dialogue>\n    <scene_description>Silence. The host, respectful, turns to camera.<\/scene_description>\n    <character>T.V. HOST<\/character>\n    <dialogue>A word from Gemini Toothpowder.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WRITER'S OFFICE (ROEBUCK WRIGHT). DAY<\/stage_direction>\n    <scene_description>On the daybed: Roebuck Wright reposes, smoking, hands folded across his lap. In the corner: the cheery writer reads a pocket atlas and eats breadsticks. At the desk: Howitzer, feet on the table, flips through out-of-order pages. He grumbles:<\/scene_description>\n    <character>HOWITZER<\/character>\n    <dialogue>It was supposed to be an article about a great chef.<\/dialogue>\n    <character>ROEBUCK WRIGHT<\/character>\n    <parenthetical>(untroubled)<\/parenthetical>\n    <dialogue>It is. In part.<\/dialogue>\n    <character>HOWITZER<\/character>\n    <dialogue>For the Tastes and Smells section.<\/dialogue>\n    <character>ROEBUCK WRIGHT<\/character>\n    <dialogue>I understand. The assignment was perfectly clear. Perhaps you fail to grasp: I was shot at and hand grenaded against my will. I only asked to be fed (and was, marvelously, as I describe in some detail).<\/dialogue>\n    <character>HOWITZER<\/character>\n    <parenthetical>(doubtful)<\/parenthetical>\n    <dialogue>Nescaffier only gets one line of dialogue.<\/dialogue>\n    <character>ROEBUCK WRIGHT<\/character>\n    <parenthetical>(long pause)<\/parenthetical>\n    <dialogue>Well, I did cut something he told me. It made me too sad. I could stick it back in, if you like.<\/dialogue>\n    <character>HOWITZER<\/character>\n    <parenthetical>(guardedly optimistic)<\/parenthetical>\n    <dialogue>What'd he say?<\/dialogue>\n    <scene_description>Roebuck Wright floats to the wastebasket, digs briefly, and withdraws a single, crumpled page. He tosses it, underhand, to Howitzer, who snatches it out of the air and snaps it open in one motion.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOCKSMITH SHOP. NIGHT<\/stage_direction>\n    <scene_description>Over the street gutter: the shrouded bodies of the dead kidnappers rest in a neat row along the cobblestones. Below a streetlamp: the Commissaire clutches Gigi at his side as he addresses members of the press. Under a white tent: Nescaffier, on a gurney, eyes closed, continues to receive intravenous medication. Roebuck Wright sits next to him on a stool. Suddenly: Nescaffier speaks:<\/scene_description>\n    <character>NESCAFFIER<\/character>\n    <dialogue>They had a flavor.<\/dialogue>\n    <character>ROEBUCK WRIGHT<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>I beg your pardon?<\/dialogue>\n    <character>NESCAFFIER<\/character>\n    <dialogue>The toxic salts. In the radishes. They had a flavor. Totally unfamiliar to me. Like a bitter, moldy, peppery, spicy, oily kind of -- earth. I never tasted that taste in my life. Not very pleasant, extremely poisonous, but still: a new flavor. That's a rare thing, at my age.<\/dialogue>\n    <character>ROEBUCK WRIGHT<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I admire your bravery, Lieutenant.<\/dialogue>\n    <character>NESCAFFIER<\/character>\n    <parenthetical>(genuinely)<\/parenthetical>\n    <dialogue>I'm not brave. I just wasn't in the mood to be a disappointment to everybody.<\/dialogue>\n    <parenthetical>(in explanation)<\/parenthetical>\n    <dialogue>I'm a foreigner, you know.<\/dialogue>\n    <character>ROEBUCK WRIGHT<\/character>\n    <parenthetical>(long pause)<\/parenthetical>\n    <dialogue>This city is full of us, isn't it? I'm one, myself.<\/dialogue>\n    <scene_description>Nescaffier is aware of this. He says, slightly delirious:<\/scene_description>\n    <character>NESCAFFIER<\/character>\n    <dialogue>Seeking something missing. Missing something left behind.<\/dialogue>\n    <scene_description>Roebuck Wright nods in appreciation. He says quietly:<\/scene_description>\n    <character>ROEBUCK WRIGHT<\/character>\n    <dialogue>Maybe, with good luck, we'll find what eluded us in the places we once called home.<\/dialogue>\n    <scene_description>Nescaffier smiles sadly and shakes his head: no. CUT TO: Howitzer and Roebuck Wright. Howitzer says, pleased\/annoyed:<\/scene_description>\n    <character>HOWITZER<\/character>\n    <dialogue>That's the best part of the whole thing. That's the reason for it to be written.<\/dialogue>\n    <character>ROEBUCK WRIGHT<\/character>\n    <parenthetical>(flattered\/irritated)<\/parenthetical>\n    <dialogue>I couldn't agree less.<\/dialogue>\n    <character>HOWITZER<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>Well, anyway, don't cut it.<\/dialogue>\n    <scene_description>Postscript (pages 130 to 132)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EDITORIAL OFFICE. EVENING<\/stage_direction>\n    <scene_description>On a table: the proofreader. On the couch: the story editor and legal advisor. In the corner: the cheery writer. Also: Berensen, Sazerac, Krementz. The copy boy (lingering near the door, apparently still employed at the magazine) has tears on his face again -- but, it appears: so does everyone else. The door opens, and Roebuck Wright enters. He stands, frozen, staring across the room. The alumna looks up from her spiral bound notebook.<\/scene_description>\n    <character>ALUMNA<\/character>\n    <dialogue>Are we all here? I guess you know. It was a heart attack. He's dead.<\/dialogue>\n    <scene_description>On the desk: Howitzer's body, under a tablecloth, surrounded by a multitude of strewn telegrams. A bearded doctor takes off his stethoscope and tucks it into a bag resting on the chest of the corpse.<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>Excuse me.<\/dialogue>\n    <scene_description>The doctor takes the bag and exits. The alumna grits her teeth, fighting herself -- then, suddenly: she is sobbing. Berensen grips her arm to comfort her (a bit stern). Krementz points above the door and says simply:<\/scene_description>\n    <character>KREMENTZ<\/character>\n    <dialogue>No crying.<\/dialogue>\n    <scene_description>The alumna immediately stops crying. She takes a deep breath. Roebuck Wright folds back the upper edge of the tablecloth, looks down at Howitzer's face (peaceful) for a moment, then covers him up again. The cheery writer asks grimly:<\/scene_description>\n    <character>CHEERY WRITER<\/character>\n    <dialogue>Is somebody coming to take him away?<\/dialogue>\n    <scene_description>The legal advisor checks his watch. He explains:<\/scene_description>\n    <character>LEGAL ADVISOR<\/character>\n    <dialogue>There's a strike at the morgue.<\/dialogue>\n    <scene_description>In the next room (seen through a glass partition): the doctor makes arrangements on the telephone. The usual waiter enters carrying an American-style birthday cake. He hesitates. Roebuck Wright asks, hands on Howitzer's shoulders:<\/scene_description>\n    <character>ROEBUCK WRIGHT<\/character>\n    <dialogue>Who was with him?<\/dialogue>\n    <character>STORY EDITOR<\/character>\n    <dialogue>He was alone. Reading birthday telegrams.<\/dialogue>\n    <scene_description>The waiter places the cake onto the table and lights a match. Krementz interrupts with a blunt:<\/scene_description>\n    <character>KREMENTZ<\/character>\n    <dialogue>Don't light the candles. He's dead.<\/dialogue>\n    <scene_description>Pause. The waiter blows out the match. Sazerac murmurs sadly:<\/scene_description>\n    <character>SAZERAC<\/character>\n    <dialogue>I'll have a slice.<\/dialogue>\n    <scene_description>The waiter prepares cake for Sazerac. Roebuck Wright gestures: just a sliver for me. The alumna pulls herself together.<\/scene_description>\n    <character>ALUMNA<\/character>\n    <dialogue>We need to draft something. Who wants it?<\/dialogue>\n    <scene_description>The proofreader scribbles on a chit, snaps her fingers, and passes the chit to the copy boy as she explains:<\/scene_description>\n    <character>PROOFREADER<\/character>\n    <dialogue>We've got a file.<\/dialogue>\n    <scene_description>The copy boy dashes out the door. Herm\u00e8s Jones, doodling on a paper napkin, announces:<\/scene_description>\n    <character>HERM\u00c8S JONES<\/character>\n    <dialogue>I'm working on the art.<\/dialogue>\n    <scene_description>INSERT: The coffee-stain and confiture caricature of Howitzer seen at the start of the film, two-thirds finished. Sazerac studies the picture. He smiles.<\/scene_description>\n    <character>SAZERAC<\/character>\n    <dialogue>That's him.<\/dialogue>\n    <scene_description>Roebuck Wright turns on an electric typewriter (next to the deceased) as he says, including all the assembled reporters:<\/scene_description>\n    <character>ROEBUCK WRIGHT<\/character>\n    <dialogue>Let's write it together.<\/dialogue>\n    <scene_description>The writers variously: push back from their tables, fold their hands in their laps, look up toward the ceiling, look off into space, etc. as they begin to mentally outline the story. The waiter asks, puzzled:<\/scene_description>\n    <character>WAITER<\/character>\n    <dialogue>Write what?<\/dialogue>\n    <character>ALUMNA<\/character>\n    <dialogue>The obituary.<\/dialogue>\n    <scene_description>The waiter nods, finally understanding. The copy boy returns with a folder which he unfolds on the desk. Roebuck Wright types as he dictates:<\/scene_description>\n    <character>ROEBUCK WRIGHT<\/character>\n    <dialogue>Arthur Howitzer, Jr. Born in North Kansas, ten miles from the geographical center of the United States.<\/dialogue>\n    <character>ALUMNA<\/character>\n    <dialogue>Mother died when he was five.<\/dialogue>\n    <character>STORY EDITOR<\/character>\n    <dialogue>Son of a newspaper publisher, founder of this magazine.<\/dialogue>\n    <character>BERENSEN<\/character>\n    <dialogue>\"The French Dispatch\". Previously known as \"Picnic\".<\/dialogue>\n    <character>KREMENTZ<\/character>\n    <dialogue>A largely unread Sunday supplement to the Liberty, Kansas Evening Sun.<\/dialogue>\n    <character>SAZERAC<\/character>\n    <dialogue>It began as a holiday.<\/dialogue>\n    <character>HERM\u00c8S JONES<\/character>\n    <dialogue>Is that true?<\/dialogue>\n    <character>SAZERAC<\/character>\n    <dialogue>Sort of.<\/dialogue>\n    <scene_description>Mumbling and sad laughter. Roebuck Wright says finally:<\/scene_description>\n    <character>ROEBUCK WRIGHT<\/character>\n    <dialogue>What happens next?<\/dialogue>\n    <scene_description>CUT TO: The office from the next room (seen through the glass partition). Roebuck Wright resumes typing, and the writers and staff, gathering closer around him, continue to remember and recount. THE FRENCH DISPATCH Gallery of images<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In 1975, in the fictional French town of Ennui-sur-Blas\u00e9 (from French, literally, \"boredom on jaded\"), Arthur Howitzer Jr., the editor of the magazine The French Dispatch, dies suddenly of a heart attack. According to the wishes expressed in his will, publication of the magazine is immediately suspended following one final farewell issue, in which four articles are published, along with an obituary."}
{"movie_name":"Eastern Promises_2007","imdb_id":"tt0765443","script":"<script>\n  <scene>\n    <stage_direction>EXT. A STREET NEAR BRICK LANE - EVENING<\/stage_direction>\n    <scene_description>It 's 5.30 pm in late December and rain is pouring . The scant Christmas decorations are hanging limp in the rain . A young Turk -LRB- EKREM -RRB- runs through the rain with a Turkish newspaper held over his head . He ducks into a traditional barber 's shop called Ozim 's .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OZIM'S BARBER SHOP - EVENING<\/stage_direction>\n    <scene_description>The shutters are drawn . OZIM -LRB- a plump middle - aged Turk -RRB- is cutting the hair of the last customer of the day -LRB- SOYKA -RRB- . Soyka is a Chechen , well - groomed , wearing a sharp suit beneath the barber 's gown . During the conversation we glimpse distinctive eagle - and star - shaped tattoos on Soyka 's arms and hands . Ozim and Soyka are chatting as Ekrem enters . Soyka speaks with a Russian accent .<\/scene_description>\n    <character>OZIM<\/character>\n    <dialogue>Guvenilmez. daginik. bloody kids, you know. he says - ` but Amca it's Christmas? Christmas! We're Islam!<\/dialogue>\n    <character>SOYKA<\/character>\n    <dialogue>Oi, how much are you taking off?<\/dialogue>\n    <character>OZIM<\/character>\n    <dialogue>Christmas! So I said to him. alisverise cimac. The kid's sixteen.<\/dialogue>\n    <scene_description>Ozim brushes some hair off the customer 's shoulder and Ozim finally acknowledges Ekrem , who is shivering and wet near to the door . Ekrem turns the ` Open ' sign to ` Closed ' .<\/scene_description>\n    <character>OZIM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>They do n't want to work do they. Shicma.<\/dialogue>\n    <character>EKREM<\/character>\n    <parenthetical>( hesitantly interrupting . )<\/parenthetical>\n    <dialogue>Uncle Ozim.<\/dialogue>\n    <scene_description>We see for the first time that Ekrem is shaking with fear as well as cold .<\/scene_description>\n    <character>OZIM<\/character>\n    <dialogue>This is him. The kid I'm talking about.<\/dialogue>\n    <scene_description>Ekrem approaches , stiffened by terror . Soyka nods at Ekrem in the mirror .<\/scene_description>\n    <character>SOYKA<\/character>\n    <dialogue>He looks OK to me. how you doin' Ekrem?<\/dialogue>\n    <scene_description>Soyka offers Ekrem a hand to shake and Ekrem stares at it as if it were enchanted .<\/scene_description>\n    <character>OZIM<\/character>\n    <dialogue>He looks OK, yeah, but he wo n't do one lousy thing for me. Here, look. Ekrem, take this.<\/dialogue>\n    <scene_description>Ozim takes an open razor from behind a line of hair - tonic bottles and hands it to Ekrem , who now looks mortally terrified .<\/scene_description>\n    <character>EKREM<\/character>\n    <dialogue>Ozim. memnum etmek.<\/dialogue>\n    <character>OZIM<\/character>\n    <dialogue>We had a deal now he's backing out.<\/dialogue>\n    <character>SOYKA<\/character>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>Hey Ozim, leave the kid alone. It's obviously a psychological thing.<\/dialogue>\n    <character>OZIM<\/character>\n    <dialogue>Take it Ekrem.<\/dialogue>\n    <character>SOYKA<\/character>\n    <dialogue>Ozim, it's OK. I do n't want a shave.<\/dialogue>\n    <character>OZIM<\/character>\n    <dialogue>This is the kid who walks around like Al Capone. Take the fucking ustura and finish this Rushca.<\/dialogue>\n    <character>SOYKA<\/character>\n    <parenthetical>( startled . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Soyka rises up from the seat , casting off his barber 's gown . Ozim yells ` kabuka ! And Ekrem snarls , flicks open the razor and drags it across Soyka 's throat . Soyka 's scream bubbles in the blood .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KILBURN HIGH ROAD - NIGHT<\/stage_direction>\n    <scene_description>We dissolve to a Christmas decoration flashing on and off in the rain , high on a lamp post in Kilburn High Road . We pan down the lamp post to the High Road where revelers are hurrying through the rain . We see a young girl -LRB- TATIANA -RRB- hurrying across the street , wrapped in a dressing gown with a man 's overcoat thrown over the top of it . Her hair is soaked as she approaches an all night chemist 's shop . She is barefoot .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHEMIST'S SHOP - NIGHT<\/stage_direction>\n    <scene_description>The CHEMIST is delivering advice in Gujurati to a CUSTOMER . Tatiana wipes rain from her face and the Chemist and the customer react to her ragged appearance .<\/scene_description>\n    <character>TATIANA<\/character>\n    <parenthetical>( Russian accent . )<\/parenthetical>\n    <dialogue>Please. I have.<\/dialogue>\n    <character>CHEMIST<\/character>\n    <dialogue>For methadone I need to see paper prescription.<\/dialogue>\n    <scene_description>The customer looks at Tatiana 's feet and reacts . We see blood trickling down her legs . Tatiana looks down , then faints onto the floor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAFALGAR HOSPITAL. OPERATING WARD - NIGHT<\/stage_direction>\n    <scene_description>We see Tatiana unconscious on a wheeled trolley bursting through double doors into the operating ward of Trafalgar hospital . The trolley is accompanied by TWO NURSES , a JUNIOR DOCTOR and a midwife , -LRB- ANNA KHITROVA -RRB- . The two PARAMEDICS who brought her are following behind the trolley .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Did you get a name?<\/dialogue>\n    <character>PARAMEDIC<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAFALGAR HOSPITAL. OPERATING THEATER - NIGHT<\/stage_direction>\n    <scene_description>A tiny brown handbag is being shaken empty by a nurse . Tatiana is being prepared for an emergency Caesarean . The theater is full of people in scrubs , including an anesthetist . Monitors and drips are being attached at double speed . We notice that her arms are already dotted with festering needle marks . A nurse searches through the contents of the handbag and we can hear frantic activity from the operating table .<\/scene_description>\n    <character>NURSE 1<\/character>\n    <dialogue>Her stats are very poor, very poor. Baby's very distressed.<\/dialogue>\n    <scene_description>Anna approaches the nurse , who is rummaging through the contents of the bag . We see a business card from a restaurant called ` The Trans - Siberian ' , a St. Christopher necklace and a tiny battered diary . Anna grabs the diary .<\/scene_description>\n    <character>JUNIOR DOCTOR<\/character>\n    <dialogue>Shoulder distocia, I think. Stuck on the pubic bone.<\/dialogue>\n    <scene_description>Cut to Anna at Tatiana 's head . Anna strokes her face and speaks softly .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Darling. darling, can you hear me?<\/dialogue>\n    <character>NURSE<\/character>\n    <dialogue>Baby's heart beat sixty. fifty - eight, fifty - eight. fifty - seven.<\/dialogue>\n    <character>JUNIOR DOCTOR<\/character>\n    <dialogue>Anna, I'm trying to rotate the shoulder medially. shit.<\/dialogue>\n    <scene_description>THE JUNIOR DOCTOR is breathing hard with a look of utter panic as he attempts to free the baby . The doors burst open and a more senior doctor in his mid thirties -LRB- DOCTOR AZIZ -RRB- enters at a gallop . As he enters .<\/scene_description>\n    <character>NURSE 1<\/character>\n    <dialogue>Baby stats sixty - eight and in free fall.<\/dialogue>\n    <character>NURSE 2<\/character>\n    <dialogue>I'm not getting a pulse.<\/dialogue>\n    <scene_description>Heartbeats . Doctor Aziz joins the junior doctor , who looks out of his depth .<\/scene_description>\n    <character>AZIZ<\/character>\n    <dialogue>Speak to me.<\/dialogue>\n    <scene_description>Before the junior doctor can speak Anna speaks directly to Aziz .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>We need to get the baby out now.<\/dialogue>\n    <scene_description>Aziz knows he can take Anna 's word .<\/scene_description>\n    <character>AZIZ<\/character>\n    <dialogue>OK, let's go.<\/dialogue>\n    <scene_description>All hell is let loose . As the Caesarean process begins at frantic speed , we slowly zoom in on Tatiana 's unconscious face and hear her voice in V.O . a young girl 's voice speaking with an Russian accent . The crosstalk between nurses and doctors becomes more and more frantic .<\/scene_description>\n    <character>TATIANA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>My name is Tatiana. My father died in the mines in my village, so he was already buried when he died. We were all buried there. Buried under the soil of Russia. That is why I left to find a better life.<\/dialogue>\n    <scene_description>We hear . a baby cry . Anna 's face appears in our framed shot of Tatiana 's face . She gently kisses Tatiana 's cheek .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( whispers . )<\/parenthetical>\n    <dialogue>You had a girl.<\/dialogue>\n    <scene_description>A sheet is pulled over Tatiana 's face . A nurse weighs the screaming baby . Anna wipes her brow with the back of her bloody wrist .<\/scene_description>\n    <character>AZIZ<\/character>\n    <dialogue>Ok. Call it.<\/dialogue>\n    <scene_description>The Junior doctor and a nurse check watches and speak almost in unison .<\/scene_description>\n    <character>JUNIOR DOCTOR<\/character>\n    <dialogue>Unidentified woman, died December 24th at 11.13.<\/dialogue>\n    <character>NURSE<\/character>\n    <dialogue>Baby girl, born December 24th at 11.14.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAFALGAR HOSPITAL. LABOR WARD - MORNING<\/stage_direction>\n    <scene_description>Anna leaves the labor ward , putting on her crash helmet . She emerges out into the crisp , sunny morning . Aziz hurries to catch her up and hands her a wrapped gift .<\/scene_description>\n    <character>AZIZ<\/character>\n    <dialogue>Merry Christmas, Anna.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Oh, do n't be ridiculous.<\/dialogue>\n    <scene_description>He grins .<\/scene_description>\n    <character>AZIZ<\/character>\n    <dialogue>And you have to open it in front of me.<\/dialogue>\n    <scene_description>Aziz smiles as Anna unwraps a pair of leather motorcycling gloves . She looks up at him , expressionless .<\/scene_description>\n    <character>AZIZ<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>At least pretend.<\/dialogue>\n    <scene_description>Anna considers the gloves .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( deadpan . )<\/parenthetical>\n    <dialogue>. -RRB- In the whole entire history of my life, I have never felt this special.<\/dialogue>\n    <character>AZIZ<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Aziz plants a kiss on his two fingers and presses his fingers against Anna 's cheek through the open visor of the helmet .<\/scene_description>\n    <character>AZIZ<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Wear them. It's cold.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LONDON STREET - DAY<\/stage_direction>\n    <scene_description>Anna rides her big vintage URAL motorcycle through deserted morning streets . As she rides , we hear Tatiana in V.O.<\/scene_description>\n    <character>TATIANA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I am so excited this morning. Yesterday a friend came back to our village and he told us all about the places on the map that I look at. Paris, Amsterdam, London. He's been there for real.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELEN'S HOUSE. ANNA'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>After the bright airiness of the bike ride , we are suddenly in Anna 's bedroom where the curtains are drawn . Anna is lying awake on the bed , wearing a dressing gown .<\/scene_description>\n    <character>TATIANA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>he said the future of everything was already happening in all those places.<\/dialogue>\n    <scene_description>There is a gentle knock at the door , which opens before Anna can respond . It is ANNA 'S MOTHER -LRB- HELEN -RRB- with a cup of tea .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Did you sleep?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>A bit.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>There's no point us tiptoeing around if you're not even sleeping.<\/dialogue>\n    <scene_description>Helen puts the tea on the dressing table , then turns to leave without a smile .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Mum? Are you OK?<\/dialogue>\n    <character>HELEN<\/character>\n    <parenthetical>( contrite . )<\/parenthetical>\n    <dialogue>Of course not. It's Christmas.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.   HELEN'S HOUSE. KITCHEN - DAY<\/stage_direction>\n    <scene_description>Anna is pouring two glasses of sherry . Helen is peeling potatoes . Anna peers at Helen . and sees tears . They share a moment of stifled emotion . Helen wipes her eyes with her sleeve .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>It's the chicken.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>The smell of chicken roasting reminds me of him.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>You should have done beef, then.<\/dialogue>\n    <scene_description>They look at each other and giggle . They both have potato peelers in their wet hands , sleeves rolled up , two practical unsentimental women being almost consumed by the same wave of emotion .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>It would n't be Christmas without tears in the gravy, would it.<\/dialogue>\n    <scene_description>We hear a gruff Russian voice calling out from the living room -LRB- UNCLE STEPAN -RRB- .<\/scene_description>\n    <character>STEPAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( angry . )<\/parenthetical>\n    <dialogue>Anna! Anna! Where did you get this?<\/dialogue>\n    <scene_description>Anna and Helen roll their eyes .<\/scene_description>\n    <character>HELEN<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>It's your own fault for giving him something to play with.<\/dialogue>\n    <character>ANNA<\/character>\n    <parenthetical>( irritated . )<\/parenthetical>\n    <dialogue>Well, I ca n't read Russian, can I?<\/dialogue>\n    <scene_description>Anna drops her peeler and hurries into the living room . CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELEN'S HOUSE. LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>The living room table is laid for dinner . Uncle Stepan is early seventies , Russian . He is reading the tiny diary that Anna found in Tatiana 's bag . Anna breezes in .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>I told you, Uncle Stepan, I found it in the handbag of a girl who died in my ward.<\/dialogue>\n    <character>STEPAN<\/character>\n    <dialogue>Do you always rob the bodies of the dead?<\/dialogue>\n    <character>ANNA<\/character>\n    <parenthetical>( suppressed , familiar anger . )<\/parenthetical>\n    <dialogue>Of course, we all do it. It's one of the perks of working in a hospital.<\/dialogue>\n    <scene_description>Stepan grumbles , accustomed to this teasing . Helen enters carrying a bowl of walnuts and brazil nuts which she places on the table . Pause . Stepan looks pointedly at Helen .<\/scene_description>\n    <character>STEPAN<\/character>\n    <dialogue>Did you know that your daughter robs the bodies of the dead?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Stepan, is there an address?<\/dialogue>\n    <scene_description>Stepan lays the diary aside , obstinate and prim .<\/scene_description>\n    <character>STEPAN<\/character>\n    <dialogue>You have an uncle who does n't steal things from the dead. Not even their secrets.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Oh, do n't go all momentous on us, Stepan.<\/dialogue>\n    <parenthetical>( she straightens the table cloth . )<\/parenthetical>\n    <dialogue>Lift your elbows.<\/dialogue>\n    <character>STEPAN<\/character>\n    <dialogue>You should put this in her coffin, Anna. Bury her secrets with her bodies.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Body. Singular.<\/dialogue>\n    <scene_description>Stepan leaves in a huff . Anna picks up the diary and begins to study it . She sees the ` Trans - Siberian ' business card between the pages .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>How long will dinner be?<\/dialogue>\n    <scene_description>Helen looks at Anna , suspecting an attempt to escape .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LONDON STREETS - DAY<\/stage_direction>\n    <scene_description>Driving music as we see Anna riding her motorbike through deserted morning streets again . We should begin to sense that this is a kind of release for her . We hear Tatiana in V.O.<\/scene_description>\n    <character>TATIANA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>When I was little, London was like a place in the Bible. I was n't even sure if it was real. My friend has told me there is a place in London where they pay girls to sing.<\/dialogue>\n    <scene_description>Anna arrives outside the ` Trans - Siberian ' restaurant . It has a Russian - themed frontage in blue and gold , expensively and recently finished .<\/scene_description>\n    <character>TATIANA<\/character>\n    <parenthetical>( V.O. ; CONT 'D . )<\/parenthetical>\n    <dialogue>He said if I sang in this restaurant I would make more money in a week than my father made in a year.<\/dialogue>\n    <scene_description>As Anna pulls up we hear a dog begin to bark .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRANS-SIBERIAN RESTAURANT. SIDE ENTRANCE - DAY<\/stage_direction>\n    <scene_description>The side door opens to reveal a hard - looking , handsome Russian man -LRB- NIKOLAI -RRB- , who stops to groom his hair back from his face and put on a pair of sunglasses as he emerges into daylight . He steps into a small courtyard , where a fierce Doberman dog is barking and snarling on the end of a chain . Nikolai is followed by KIRILL , who is a little younger , slim and pretty but hard - looking too . Kirill is dressed in a crumpled T - shirt and jeans and looks like he had a heavy night . Nikolai ignores the dog as he walks by but Kirill yells at it and teases it with a whoop and few Russian curses . Nikolai unbolts the gate to the street .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>So you pick up Ozim and his bitch of a wife and you bring them back here.<\/dialogue>\n    <scene_description>He glances back at the restaurant and speaks softly .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Then I'll think of an excuse and we can get away.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>I'll think of an excuse. Your excuses are like fucking fairy tales.<\/dialogue>\n    <scene_description>Kirill grins and Nikolai flicks the fob of his car keys . The lights on an expensive black Mercedes glow in response . Kirill notices Anna locking up her bike at the front of the restaurant .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>Who the fuck's that?<\/dialogue>\n    <scene_description>They both see Anna removing her crash helmet and shaking out her hair . She walks towards the front door .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>Maybe somebody sent your dad a hooker for Christmas.<\/dialogue>\n    <character>KIRILL<\/character>\n    <parenthetical>( grinning . )<\/parenthetical>\n    <dialogue>You're so. fucking unbelievably disrespectful.<\/dialogue>\n    <scene_description>Kirill sees that Nikolai is studying Anna and his grin fades . We sense jealousy .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hey, you've got work to do. Go.<\/dialogue>\n    <scene_description>Kirill grabs Nikolai 's face to distract him , gives him a playful slap , but there is somehow more to it than playfulness . Nikolai gets into his car . Kirill glares at Anna as she approaches the front of the restaurant .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRANS-SIBERIAN RESTAURANT - DAY<\/stage_direction>\n    <scene_description>As Nikolai drives away , Anna rings the doorbell beside the front door . There is no reply . She is about to ring again when the door opens . We see SEMYON , a Russian man in his late sixties . He is wiping his hands on a tea towel , dressed in a spotlessly white apron . He has the sparkling piercing eyes of a falcon .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>We are closed.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>She fumbles in her bag .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Sorry. I'm a midwife.<\/dialogue>\n    <scene_description>Anna produces her hospital ID and shows it to Semyon .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( with a twinkle . )<\/parenthetical>\n    <dialogue>Then unless one of my daughters is keeping something from me, you have the wrong address.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I'd like to speak to the Manager.<\/dialogue>\n    <scene_description>Semyon studies the name on the ID .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>Khitrova?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>My dad was Russian.<\/dialogue>\n    <scene_description>Semyon seems suddenly delighted .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>And his name?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Ivan.<\/dialogue>\n    <character>SEMYON<\/character>\n    <dialogue>So, you are Anna Ivanovna.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRANS-SIBERIAN RESTAURANT - DAY<\/stage_direction>\n    <scene_description>The tables are set for a huge party . Kirill is now on step ladders , fixing some Christmas decorations . Other relatives are getting the place ready . Semyon hurries through the restaurant , leading Anna by the hand .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>We must hurry. I must stir. Stir, stir or the gravy dies in my hands. Today it is family. Here is my son, Kirill.<\/dialogue>\n    <parenthetical>( he hisses at Kirill . )<\/parenthetical>\n    <dialogue>Kirill! The berries are too low, too low. And Roman, more glasses for red!<\/dialogue>\n    <parenthetical>( he claps his hands . )<\/parenthetical>\n    <dialogue>Come on!<\/dialogue>\n    <scene_description>Kirill follows Anna 's progress through the restaurant with a glare . There are three little girls in extravagant party frocks , all holding violins and giggling near to the door that leads to the kitchen . Semyon stops when he reaches them and puts his hands on his hips .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>My angels. You should be practising. You must make the wood cry. Like this, like this.<\/dialogue>\n    <scene_description>Semyon grabs a violin and plays a three - second burst of sad Russian violin music .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You see.<\/dialogue>\n    <scene_description>Semyon hurries on into the kitchen . Anna smiles , delighted at the eccentric old man .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRANS-SIBERIAN RESTAURANT. KITCHEN - DAY<\/stage_direction>\n    <scene_description>Inside the kitchen there is an inferno of activity , steam , smoke . Family members , some dressed in their party outfits , others in chefs ' uniforms , are standing over steaming pots , laughing , arguing . Children play and yell . You can almost smell Christmas . Anna enters , dazzled by it all , overwhelmed by the contrast to her own lifeless Christmas kitchen . Semyon calls out to everyone .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>Come, come, hurry, hurry. They will be here any moment.<\/dialogue>\n    <parenthetical>( to Anna . )<\/parenthetical>\n    <dialogue>Ok, show me this card.<\/dialogue>\n    <scene_description>Anna reaches into her pocket and produces the ` Trans - Siberian ' business card she found in Tatiana 's bag . Semyon angles his head to look as he stirs .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It is the old card. From before the renovations. But even so, if she had worked here I would remember the name. Perhaps she ate here once. Try this.<\/dialogue>\n    <scene_description>Semyon offers Anna a spoonful of his gravy . She sips it .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>God, that's amazing. My dad made gravy just like that.<\/dialogue>\n    <scene_description>Semyon shrugs and smiles , his eyes twinkling , then goes back to stirring . He speaks as if unconcerned .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>So did you get a chance to talk to this girl before she died?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRANS-SIBERIAN RESTAURANT - DAY<\/stage_direction>\n    <scene_description>Nikolai 's black Mercedes pulls up outside the restaurant and parks a few inches from Anna 's motorbike . The rear windows are sun shaded so we only see Nikolai in the driver 's seat . He gets out of the car and opens the rear door of the car for an elegantly dressed Turkish lady in her fifties . Nikolai goes to the other rear door . The portly figure of Ozim the barber emerges . As Ozim gets out he gives Nikolai a fifty - pound note .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRANS-SIBERIAN RESTAURANT. KITCHEN - DAY<\/stage_direction>\n    <scene_description>Two of the little girl violinists are fighting , pulling each other 's hair . The third is sobbing , sitting on the floor . A young woman in a party dress is carrying a huge silver bowl of sauce across the kitchen . Anna looks delighted at the noise and energy of the place . Finally Semyon emerges from a cloud of steam with a scrap of paper .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>This is an agency that hires casual kitchen staff. Maybe you will have more luck there. But I think they will be closed until New Year.<\/dialogue>\n    <scene_description>As Anna takes the address , Kirill puts his head around the door and yells through the noise .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>Papa, Ozim is here.<\/dialogue>\n    <scene_description>Semyon is alarmed and claps his hand in urgent fashion .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>Ten minutes!<\/dialogue>\n    <parenthetical>( to the rest of the kitchen . )<\/parenthetical>\n    <dialogue>Fish, fish, fish! Ten minutes! OK, Kirill, get him a drink and tell him I am coming.<\/dialogue>\n    <scene_description>Semyon takes a pot from the heat , suddenly flustered .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Anna, I'm so sorry I could n't help. It is sad.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>That's OK. I'll probably find out more when I get her diary translated.<\/dialogue>\n    <character>SEMYON<\/character>\n    <dialogue>Her diary?<\/dialogue>\n    <scene_description>There is the tiniest of changes in Semyon 's manner . He lays his heavy pot down .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>I found her diary in her bag.<\/dialogue>\n    <scene_description>A pause . Semyon disappears into a billow of steam to put a pan onto the heat then re - emerges .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>Why did you not tell me you found a diary?<\/dialogue>\n    <scene_description>He peers at her for a moment , his eyes hardening a little .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>OK, Anna, this is how it will be. You will bring the diary here and I will translate it for you. Then if we get the names of any relatives I will call them myself. I am something of a. community leader for the Russians here in this unfriendly city. What do you say?<\/dialogue>\n    <scene_description>Semyon hoists a passing child into his arms .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>I was going to ask my uncle.<\/dialogue>\n    <character>SEMYON<\/character>\n    <parenthetical>( apparently not hearing . )<\/parenthetical>\n    <dialogue>And when you come I will make you some more gravy like your papa used to make and you can try the fish with the sauce. OK? Tomorrow, yes? Shall we say seven?<\/dialogue>\n    <scene_description>Anna is a little overwhelmed .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Then it is settled. But for now, you must forgive me.<\/dialogue>\n    <scene_description>Semyon shrugs then kisses Anna on both cheeks .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Dosvedania.<\/dialogue>\n    <parenthetical>( Goodbye . )<\/parenthetical>\n    <dialogue \/>\n    <character>ANNA<\/character>\n    <dialogue>Dosvedania.<\/dialogue>\n    <scene_description>Anna heads for the door that leads back to the restaurant . Semyon goes back to stirring but as he stirs he calls out .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>Oh Anna, you always work at the Trafalgar hospital?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Yes, always.<\/dialogue>\n    <scene_description>A pause before Anna leaves Semyon to his clouds of steam .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRANS-SIBERIAN RESTAURANT - DAY<\/stage_direction>\n    <scene_description>Kirill and Ozim are talking confidentially in a mix of Russian and Turkish whispers at a table . Ozim 's wife is at a table alone , well out of their earshot , smoking a cigarette and peeling glazed figs . As Anna walks by , Ozim and Kirill stop talking . The scene has a much darker mood to the bustling scene in the kitchen , but for now Anna feels no unease . As she passes , Kirill surveys her with a deadly smile and a professional eye .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>Hey, you OK? You want a drink?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>No, thanks. I'm driving.<\/dialogue>\n    <scene_description>As Anna smiles , Ozim mumbles something in Turkish and Kirill shushes him .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>OK. Merry Christmas. Drive safely.<\/dialogue>\n    <scene_description>Ozim giggles . Anna departs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRANS-SIBERIAN RESTAURANT - DAY<\/stage_direction>\n    <scene_description>Anna emerges into the daylight . As she does she sees that four expensive - looking cars have already parked and various ostentatiously dressed Russian and Turkish couples with their children are emerging from their cars . The women are all wearing furs , even the little girls . The men wear leather or dark suits . They greet each other exuberantly as they emerge from their cars . Anna suddenly feels slightly uneasy . As she approaches her motorbike she sees Nikolai leaning against the bonnet of his car , smoking , still wearing shades . His bumper is almost touching Anna 's bike .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>Nice bike.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>Nice bike.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>A Ural. You do n't see them anymore.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>It was my dad's.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>How much do you want for it?<\/dialogue>\n    <scene_description>Anna has already taken a dislike to this man . He is arrogant and looks potentially violent . His shades , suit and tattoos say it all .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( irritated . )<\/parenthetical>\n    <dialogue>It has sentimental value.<\/dialogue>\n    <scene_description>Nikolai rolls the concept around in his mind and considers .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>` Sentimental value'. I've heard of that.<\/dialogue>\n    <scene_description>Anna puts her helmet on .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You're not staying for the party?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>Nor me. Chauffeurs do n't get invited. You want to go for a drink instead?<\/dialogue>\n    <scene_description>Anna mounts her bike .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>It's Christmas. Everything's closed.<\/dialogue>\n    <scene_description>Nikolai smiles .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>Sometimes if things are closed you just open them up, you know?<\/dialogue>\n    <scene_description>Anna now feels intimidated and luckily the bike fires first time . She rides away . Nikolai watches her go and then stubs his cigarette .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELEN'S HOUSE. DINING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Sudden silence . perhaps the ticking of a clock . This is Anna 's Christmas dinner , a total contrast to the chaos of the restaurant . Stepan is attempting to carve the chicken .<\/scene_description>\n    <character>STEPAN<\/character>\n    <dialogue>Anna, how come is it that your boyfriend is n't here to carve?<\/dialogue>\n    <scene_description>Stepan takes a large sip of vodka .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>I do n't live with Oliver any more, Uncle Stepan. I'm living back here for a bit.<\/dialogue>\n    <character>HELEN<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>For as long as you want.<\/dialogue>\n    <character>STEPAN<\/character>\n    <dialogue>I knew he would run away from you.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>He did n't run away. You make me sound like a burning building.<\/dialogue>\n    <character>STEPAN<\/character>\n    <dialogue>Black men always run away.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Oh Stepan!<\/dialogue>\n    <character>STEPAN<\/character>\n    <dialogue>What? I am allowed to be honest?<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>He was a doctor, Stepan.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>What the hell has that got to do with it?<\/dialogue>\n    <scene_description>A pause . Stepan sips his vodka .<\/scene_description>\n    <character>STEPAN<\/character>\n    <dialogue>It is not natural to mix race and race. That is why your baby died inside you.<\/dialogue>\n    <scene_description>Anna slams her napkin onto the table .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Stepan, shut up!<\/dialogue>\n    <parenthetical>( Anna gets to her feet . )<\/parenthetical>\n    <dialogue>Please Anna.<\/dialogue>\n    <scene_description>Helen takes Anna 's hand but she turns and leaves . Helen stands to follow her , but first she whips Stepan 's vodka away from him .<\/scene_description>\n    <character>HELEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You're just how he was. Stupid bloody drunken Russians.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELEN'S HOUSE. GARDEN - NIGHT<\/stage_direction>\n    <scene_description>The garden is just outside the kitchen . Anna is lighting a cigarette . Helen steps outside and reacts to the cigarette . She is about to admonish Anna for smoking , but Anna speaks first .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>It's Christmas. I'm thirty - one.<\/dialogue>\n    <scene_description>A pause . Anna blows smoke , clearly upset .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Anna, you know what he's like.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I do n't give a damn about Stepan. Who has that poor baby got in the whole world?<\/dialogue>\n    <scene_description>Helen reacts .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>I knew this would happen.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Good. Fine. So you know everything.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Anna, she is n't your responsibility.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>The baby is my responsibility until I hand her over to the mother. The mother is dead.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Then it's up to the proper authorities.<\/dialogue>\n    <scene_description>Anna smiles as if in agreement .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>The proper authorities will all be skiing until after New Year.<\/dialogue>\n    <scene_description>Anna coughs a little then stubs her cigarette . Helen takes the butt as if it were poisonous .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>It's part of the grieving.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>What grieving?<\/dialogue>\n    <scene_description>Helen touches her hand . An inadequate gesture .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>In the last year you've lost your father and you lost a baby.<\/dialogue>\n    <scene_description>Anna is irritated but does n't put words to her feelings .<\/scene_description>\n    <character>HELEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Come in and have your dinner.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I'm not hungry.<\/dialogue>\n    <scene_description>Anna and Helen look into each other 's eyes for a moment before Helen heads for the kitchen , carrying the cigarette butt as if it were a deadly snake .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAFALGAR HOSPITAL. S.C.B.U. CHRISTINE'S PRIVATE ROOM - NIGHT<\/stage_direction>\n    <scene_description>In a private room in the Special Care Baby Unit , Anna approaches Tatiana 's baby 's plastic crib . The baby is tightly bundled up , sound asleep . Through the windows of the room , we see the darkened , quiet ward outside - another world . Anna stands over the baby , her face full of emotion . There we see pain , loss , shame , emptiness , isolation . Tears begin to roll from her eyes , and then she is sobbing soundlessly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRANS-SIBERIAN RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>The Trans - Siberian restaurant is smoky with cigarettes and cigars . The party is in full swing with two dozen guests and family . One of the golden - haired children is playing violin badly . The language is Russian , English and Turkish mixed . Kirill is bringing a huge baked carp to the table . His mobile phone rings and he wipes his hands on a towel to answer it . When he hears the voice , Kirill glances at his father and moves quickly out of earshot . Semyon notices but hides his concern . As Kirill walks , a child tugs his leg and holds up a soft toy , asking a question in Russian .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( to child . )<\/parenthetical>\n    <dialogue>He's called Goofy. Goofy yeah.<\/dialogue>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>So the coast is clear, yeah? What? I said ` coast'.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>No, not the beach. It's an English expression, you fucking baboon. I mean.<\/dialogue>\n    <parenthetical>( hissing out of ear shot . )<\/parenthetical>\n    <dialogue>. there are no police. You sure? Good.<\/dialogue>\n    <scene_description>Kirill glances over at Semyon , who is apparently lost amongst a sea of children , but we see from the corner of his eye he is watching Kirill .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( to phone . )<\/parenthetical>\n    <dialogue>No, my dad's not involved. I'm a big boy now. I do my own stuff. Yeah. Merry Christmas.<\/dialogue>\n    <scene_description>Kirill cuts the call and nods to Ozim , who stubs his cigar . Semyon notices their silent communication , then turns to one of the violin - playing angels , smiles , and kisses her on both cheeks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OZIM'S BARBER SHOP - NIGHT<\/stage_direction>\n    <scene_description>We see the car pull up sharply outside Ozim 's barber 's shop . Nikolai jumps out and opens the door for Ozim . The three men walk to the door beside the barber shop . Ozim takes a bunch of keys out and prepares to open the door to the upstairs . He stops .<\/scene_description>\n    <character>OZIM<\/character>\n    <dialogue>The driver stays down here.<\/dialogue>\n    <scene_description>Kirill smiles and shakes his head .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>You really think I do this kind of thing?<\/dialogue>\n    <scene_description>Kirill puts his hand on Nikolai 's shoulder<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>This guy's not a driver. He's an undertaker.<\/dialogue>\n    <scene_description>Ozim looks at Nikolai , highly dubious .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OZIM'S BARBER SHOP. UPSTAIRS ROOMS - NIGHT<\/stage_direction>\n    <scene_description>The rooms above Ozim 's shop have been converted into a drinking club . Ozim leads Nikolai and Kirill through the debris of the night before . As they walk through , Ekrem suddenly leaps out of the darkness with a yell . Kirill and Nikolai both react with instinctive aggression .<\/scene_description>\n    <character>OZIM<\/character>\n    <dialogue>Hey, hey, hey Ekrem, sakim, durgun, durgun.<\/dialogue>\n    <character>EKREM<\/character>\n    <dialogue>I got tickets, Ozim. It's with Chelsea. They said there was no tickets but I got tickets for the Chelsea game.<\/dialogue>\n    <character>OZIM<\/character>\n    <dialogue>OK, OK, OK. You go and watch a DVD, yeah?<\/dialogue>\n    <scene_description>Ekrem nods and hugs Ozim . We realize he is slightly deranged . Finally he lets Ozim go and leaves . Kirill watches him go .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>He knows to say he has n't seen us, right Ozim?<\/dialogue>\n    <scene_description>Ozim finds the key to the kitchen .<\/scene_description>\n    <character>OZIM<\/character>\n    <dialogue>He do n't know anything. He's touched by the angels.<\/dialogue>\n    <scene_description>Ozim opens the kitchen door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OZIM'S BARBER SHOP. KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Inside the kitchen there are carcasses of lambs hanging from meat hooks . There are knives and skewers around the place . Ozim stops and locks the kitchen door behind them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OZIM'S BARBER SHOP. KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>The freezer door opens and Ozim gestures towards a large package bound up in black bin liners which are dusted with frost . Kirill nods to Nikolai who grabs the package and hauls it out onto the kitchen floor . Kirill tears a hole in the bin liner and we see the frost - dusted face of Soyka . Kirill studies the face and nods .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>That's him.<\/dialogue>\n    <scene_description>Kirill crosses himself .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>There was a time when he was like a brother to me.<\/dialogue>\n    <scene_description>He puts his hand on his heart with mock solemnity .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Now he looks like a fucking ice cream.<\/dialogue>\n    <scene_description>Kirill giggles .<\/scene_description>\n    <character>OZIM<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Hey, hey, show some respect for a dead man.<\/dialogue>\n    <character>KIRILL<\/character>\n    <dialogue>Respect? This is respect.<\/dialogue>\n    <scene_description>Kirill reaches into his pocket and produces an envelope which he hands to Ozim . As Ozim opens the envelope and begins to count the huge wad of cash , Kirill turns to Nikolai .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>OK, Nikolai, he's all yours. And show some respect. This Muslim is scared of ghosts.<\/dialogue>\n    <scene_description>Nikolai squeezes the body inside the bags . It is rock hard .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>Have you got a hair dryer?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OZIM'S BARBER SHOP. KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>We cut close to an ancient - looking hair dryer from the shop downstairs being trained onto a human hand with a large eagle tattoo . We pull wide to reveal the full , gruesome scene . Nikolai has the body of Soyka laid out on a surface , his head still bound up in a bin bag , his lower portions bound up similarly . Nikolai is de - frosting Soyka 's left hand with the hair dryer , concentrating on his ring finger which has a gold ring on it . The parts of Soyka 's shirt and jacket which are visible are crusted with frozen blood . Nikolai is wearing rubber gloves . As he dries , Nikolai takes a sip of coffee . Ozim is watching this scene with horror . Kirill has his arms folded , mightily impressed . Finally the hand is thawed enough for Nikolai to remove the gold ring . He studies an inscription and then offers it to Ozim . Ozim shakes his head as if the thing were a contagion . Nikolai shrugs and pockets it . He then turns the hair dryer back on and blows some hot air onto the crisply bloody chest of Soyka . He tugs at the frozen lapel of the jacket and blows air into the inside pocket . Within a few moments he is able to remove Soyka 's glistening , thawing wallet which is caked in frozen blood . He opens it -LRB- we glimpse a photo of a wife and children -RRB- and blows hot air onto the money inside . He tugs a wad of frozen bank notes from the wallet , all stuck together by drops of frozen blood . He offers this money to Ozim as well but Ozim shakes his head vigorously . Kirill hoots with laughter . Ozim is now staring at Nikolai as if he were a devil from hell . Nikolai grabs a plastic bag and puts the money inside it , then pockets the frozen wad . He tosses the rest of the frozen wallet to Ozim , who instinctively catches it .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>You'd better burn that.<\/dialogue>\n    <scene_description>Ozim , reacting to the cold of the wallet and to the horror of it , drops the thing on the floor . Nikolai looks at Ozim as if he were a complete amateur .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Did you finish cutting his hair?<\/dialogue>\n    <scene_description>Ozim ca n't answer .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I just thought you might want six - fifty out of his pockets.<\/dialogue>\n    <scene_description>Kirill laughs . Nikolai takes a deep breath to prepare himself .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>OK, now I'm going to do his teeth and cut off his fingers.<\/dialogue>\n    <parenthetical>( to Ozim . )<\/parenthetical>\n    <dialogue>You might want to leave the room.<\/dialogue>\n    <scene_description>Ozim thinks , decides , leaves fast . A pause .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You too, Kirill.<\/dialogue>\n    <scene_description>Kirill smiles and pats Nikolai on the cheek . Kirill leaves . Nikolai is left alone . His hand shakes a little as he picks up his cup of coffee .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NINE ELMS. ABANDONED DOCK - MORNING<\/stage_direction>\n    <scene_description>Nikolai pulls up beside a rusting crane on the abandoned dock in a dry - cleaner 's van . Kirill watches as Nikolai grabs the semi - thawed body , now bagged and tied , lifts it onto his shoulder , and smartly approaches the dockside .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>Are n't you going to weight him down or something?<\/dialogue>\n    <scene_description>Nikolai drops the body into the water with a splash .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>If you want to dump a body, this is the place. The currents keep it under the surface until past the barrier.<\/dialogue>\n    <scene_description>Nikolai and Kirill watch as the body is swallowed by a fast ocean - bound current .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LONDON STREET - NIGHT<\/stage_direction>\n    <scene_description>Anna pulls up at some lights on her motorbike .<\/scene_description>\n    <character>TATIANA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>My friend said he would get me to Amsterdam and from there we could find a way into London. I have been practising my singing and have even rejoined the church choir. I am also practising my English.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRANS-SIBERIAN RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Semyon sits alone at the dinner table in the restaurant where before there was family and uproar . Outside it 's dark and raining . He is reading a Russian crime novel . A half - empty bottle of vodka sits on the table . Tatiana 's voice - over continues as we cut inside the restaurant .<\/scene_description>\n    <character>TATIANA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>My friend says his uncle owns the restaurant where you can sing. He is sure this man will take care of me.<\/dialogue>\n    <scene_description>There is a knock at the door and Semyon looks up sharply . His eyes glisten . He puts his novel aside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. TRANS-SIBERIAN RESTAURANT. DOOR - NIGHT<\/stage_direction>\n    <scene_description>Semyon is unlocking the door and discovering , in the drizzle and half light , that it is Anna .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>Ah. My dear! I was n't expecting you so early.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Is it OK?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRANS-SIBERIAN RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Semyon and Anna are sitting down at the candlelit table . Anna fumbles in her bag and produces a sheaf of photocopied sheets . She has photocopied the pages of the diary and they are laid out in segments on each page .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>I copied the whole thing.<\/dialogue>\n    <scene_description>Semyon takes the pages and looks troubled .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>Where is the original?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I'm going to keep it. Maybe give it to Tatiana's daughter someday.<\/dialogue>\n    <scene_description>Semyon looks thwarted but hides it well . He studies the photocopied sheets for a while then looks up and smiles .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>I will need my spectacles and a clear head. Today I broke my rules and drank vodka. Tomorrow I will translate it.<\/dialogue>\n    <scene_description>He folds the papers carefully .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Then I will bring what I have done to your home. Where do you live, Anna?<\/dialogue>\n    <scene_description>There is nothing in Semyon 's smile to cause alarm but Anna perhaps remembers Nikolai . Finally .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Not far. I can drop by and pick it up.<\/dialogue>\n    <character>SEMYON<\/character>\n    <dialogue>Then maybe I can drive you home.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I'm fine. I'm on my motorbike.<\/dialogue>\n    <scene_description>Semyon stares at her for a moment .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>So what will happen to the poor child?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>After Christmas, they'll do a missing persons report.<\/dialogue>\n    <character>SEMYON<\/character>\n    <dialogue>Who will?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>The police.<\/dialogue>\n    <scene_description>Semyon does n't blink . At that moment a little girl of seven -LRB- MARIA -RRB- emerges from the darkness , carrying a soft toy .<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>Grandpa.<\/dialogue>\n    <character>SEMYON<\/character>\n    <dialogue>Hey, hey, Maria, go back to bed.<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>I'm too sad. Next Christmas is n't for another hundreds and hundreds of days.<\/dialogue>\n    <scene_description>Semyon takes her onto his knee . As he does , we see , for the first time , an eagle tattoo on his wrist .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>But you have had so many presents.<\/dialogue>\n    <scene_description>The girl wafts Semyon 's cigar smoke .<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>You should n't smoke, Grandpa.<\/dialogue>\n    <character>SEMYON<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>Semyon cuddles Maria and stubs his cigar . Anna smiles at the warm family scene , perhaps remembering her own father .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRANS-SIBERIAN RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Nikolai gets out of the Mercedes and helps an extremely pissed Kirill out of the car into the rain . Kirill is so drunk he slips through Nikolai 's hands and lands in the gutter .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>We're partners now, man, you know?<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>Yeah, yeah, I know.<\/dialogue>\n    <scene_description>Nikolai manages to lift him to his feet again . As they head towards the restaurant , Anna emerges . Nikolai looks up , curious , as Semyon kisses her on both cheeks in the doorway . As she turns Kirill stumbles forwards and collapses in front of her . Nikolai looks up at Anna , his face splashed with rain .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What? You never seen anybody pissed before?<\/dialogue>\n    <scene_description>Semyon looks down at the drunken Kirill and slams the door of the restaurant . Nikolai sighs , then turns to Kirill and starts to go through his pockets .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Come on, Kirill. Where are your keys?<\/dialogue>\n    <scene_description>Anna walks around the two of them , watching the undignified struggle as Nikolai finds Kirill 's keys . Nikolai smiles at her .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Who are you, anyway?<\/dialogue>\n    <scene_description>Anna hurries away into the rain . Nikolai finds Kirill 's keys and drags him toward the door of the restaurant .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRANS-SIBERIAN RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Nikolai heaves Kirill into a chair . Semyon is back at his novel and watches as Kirill attempts to get to his feet and then stumbles to the floor . He slumps down , now totally unconscious , breathing deeply . Nikolai smiles .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>We went to a Kurdish place. They do n't even celebrate Christmas.<\/dialogue>\n    <scene_description>Semyon steps up to where Kirill is lying and stands over him for a moment . Then he kicks him hard in the guts with all his might . Nikolai is shocked , and grabs Semyon 's arm . A hand laid upon him is like deadly poison . Kirill grunts and moans .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>Hey, Papa, what did I do? This is Merry Christmas or what?<\/dialogue>\n    <scene_description>Semyon kicks him hard in the guts again .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>I think he's had enough.<\/dialogue>\n    <scene_description>Nikolai steps in between Semyon and Kirill . Semyon is shocked that anyone should face him like this .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>Who. the fuck. are you to tell me enough?<\/dialogue>\n    <scene_description>Nikolai 's face hardens .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>We're partners.<\/dialogue>\n    <scene_description>Nikolai looks down at Kirill .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>He's thunder, I'm lightning. He makes all the noise, I do all the damage.<\/dialogue>\n    <character>SEMYON<\/character>\n    <dialogue>I hired you as a driver.<\/dialogue>\n    <scene_description>Semyon bends to roughly hoist Kirill into a chair .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>someone to stop him killing himself.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>Well, you got more than a driver.<\/dialogue>\n    <scene_description>Nikolai reaches into his pocket for a business card and offers it to Semyon . As Semyon looks at the card in the candle light , he also sees the TATTOO OF AN EAGLE on Nikolai 's hand . It is obvious that the tattoo means more than the card to Semyon , and he reacts .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I run a mini - cab business. Albanians, Chechens, Russians. They deliver packages. Anything. Anywhere.<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I only took this job so that I could get to meet you.<\/dialogue>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>I think you and I could do business together.<\/dialogue>\n    <scene_description>A pause . Semyon looks at Nikolai with utter contempt .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>I have no idea what business you're talking about. Now get out.<\/dialogue>\n    <scene_description>Nikolai smiles and then leaves . Semyon watches him go then peers at his drunken , sleeping son with something approaching compassion .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRANS-SIBERIAN RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Nikolai hurries out to his car in the rain . He hears an engine splutter and spots Anna still trying to kick - start her motorbike . He approaches . She 's already soaked . Nikolai watches her try to start the bike and fail .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>You've got water in it.<\/dialogue>\n    <scene_description>Deadpan , Anna looks up and holds out her hand into pouring rain .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Water? What makes you think that?<\/dialogue>\n    <scene_description>Anna tries to start the bike again . Nothing .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>The postmen used these. In my village. When I was a boy. Russian copy of BMW flat twin.<\/dialogue>\n    <scene_description>Anna tries one more time to start the bike and growls with fury . Nikolai gently takes her shoulders and after a brief resistance Anna climbs off the bike . Nikolai sits astride it . He kicks it . It fails to start . Anna folds her arms . He tries again . And again . He climbs off .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Get a bus.<\/dialogue>\n    <scene_description>Anna curses under her breath . Nikolai is n't sure what to make of her . She begins to chain the bike 's rear wheel .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You got far to go?<\/dialogue>\n    <scene_description>Anna tucks her crash helmet under her arm and prepares to set off walking .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Just across the park.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>I'm a driver. I even do limousines. Look.<\/dialogue>\n    <scene_description>Nikolai opens the rear car door .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>If Semyon found out I let one of his guests walk home in the rain, he'd fire me. And I can take care of your bike. So.<\/dialogue>\n    <scene_description>Nikolai holds open the rear car door . Rain pours .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LONDON STREET - NIGHT<\/stage_direction>\n    <scene_description>Nikolai is driving Anna through the rain - swept streets . The wipers beat time as they drive in silence . As Nikolai holds the steering wheel , Anna sees the intricate detail of the eagle tattoo on the back of his right hand .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>So you're a midwife. Jesus.<\/dialogue>\n    <scene_description>Anna smiles politely .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What's it like?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>You get used to it.<\/dialogue>\n    <scene_description>A pause . Nikolai seems vaguely horrified at a memory .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>I did n't faint, but it was close.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>How many have you got?<\/dialogue>\n    <scene_description>Nikolai half shrugs . Pause .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What, you do n't know?<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>Yeah, I know, I know, it's just. it makes me upset, you know? Thinking about it. This time of year. They're back in Yekaterinburg. In the forests. Near the mountains.<\/dialogue>\n    <scene_description>A long pause .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Left here.<\/dialogue>\n    <scene_description>Nikolai turns .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So Semyon employs you?<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>I'm. sort of freelance.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>You said he'd fire you.<\/dialogue>\n    <scene_description>Nikolai does n't answer . Anna decides she can be bold .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Did you ever meet a girl called Tatiana?<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>I meet lots of girls called Tatiana.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>She was pregnant.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>In that case, no, I never heard of her.<\/dialogue>\n    <scene_description>Anna does n't care for the smile on Nikolai 's face .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>She died last night on my shift.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>I thought you did birth.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Sometimes birth and death go together.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>She had needle punctures all over both arms. Dehydration, emaciation. Early presentation of syphilis. Probably a prostitute. At the age of fourteen.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( quickly , without a pause . )<\/parenthetical>\n    <dialogue>You know what? I hate the rain. This time of year. You ever been to Russia at Christmas? Man, snow that covers your whole house.<\/dialogue>\n    <scene_description>Nikolai glances at Anna in the rear - view mirror .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oh yeah. And the ice. Whole lakes covered in ice. You do n't want to walk across them, though. Ice gets thin where you least expect it.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>You think Semyon's son knew her?<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>Like I said, I'm a driver. I go left, I go right, I go straight ahead. That's it.<\/dialogue>\n    <scene_description>Anna nods , her curiosity and suspicions aroused . Nikolai glances at her .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Just here is great.<\/dialogue>\n    <scene_description>Nikolai pulls over and Anna opens her door to escape .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>How much do I owe you?<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>Christmas present.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELEN'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Nikolai watches her hurry to her front door and let herself in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE BANKS OF THE THAMES - NEXT MORNING<\/stage_direction>\n    <scene_description>Somewhere within sight of the Thames barrier . A dozen policemen and forensic investigators are milling round on a shale beach , the icy waters of the Thames lapping at their feet .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORENSIC TENT - MORNING<\/stage_direction>\n    <scene_description>A large tent has been erected over the body of Soyka . Inside the tent two senior police officers await the arrival of a third man , a specialist from the Russian desk -LRB- YURI -RRB- , who is not dressed for the weather . He has obviously been dragged out of bed . He is led to the side of the body . One of the officers pulls up the dead man 's hand and shows him the eagle tattoo .<\/scene_description>\n    <character>OFFICER<\/character>\n    <dialogue>We think he might be Russian Mafia.<\/dialogue>\n    <scene_description>Yuri studies the tattoo , then borrows a torch . He crouches to push up the wet trouser leg on the corpse 's right leg . When the knee is exposed in torch light we see a small star tattooed on the knee cap .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>He is actually a Chechen. He is also a member of the vory v zakone. The stars on the knees mean he would never kneel before anyone.<\/dialogue>\n    <scene_description>Yuri opens the dead man 's shirt and we see a tattoo of an eight - pointed star on his chest .<\/scene_description>\n    <character>YURI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>In Russian prisons, your life story is written on your body in tattoos. You do n't exist without tattoos.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>He was a captain.<\/dialogue>\n    <scene_description>He then checks out the fingers in the torchlight and we glimpse that the finger tips have been sawn off .<\/scene_description>\n    <character>YURI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>But he has been processed professionally.<\/dialogue>\n    <scene_description>Yuri straightens and grabs a paper towel to wipe his hands .<\/scene_description>\n    <character>OFFICER<\/character>\n    <dialogue>There was something else. It was. inside the body. Chest cavity.<\/dialogue>\n    <scene_description>The officer holds up a small zip - lock bag which has a handwritten note sealed inside it . The handwriting is just visible through the wet cellophane .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE BANKS OF THE THAMES - MORNING<\/stage_direction>\n    <scene_description>Yuri steps outside the forensic tent . He opens the bag and takes out the note . He unfolds it to read , then smiles to himself .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELEN'S HOUSE. ANNA'S BEDROOM - MORNING<\/stage_direction>\n    <scene_description>Anna is drying her hair , looking at herself in the mirror . She turns off the dryer . There is a knock on the door .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Anna?<\/dialogue>\n    <scene_description>Helen enters looking anxious . We see Stepan hovering in the background .<\/scene_description>\n    <character>HELEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Stepan, come here. Tell her what you told me.<\/dialogue>\n    <scene_description>Stepan stands primly in the doorway , strangely defiant .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>What?<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Stepan, what? I'm late for work.<\/dialogue>\n    <scene_description>He shakes his head angrily . Finally from behind his back he produces Tatiana 's diary .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Who gave you that?<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>It was on the dresser.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Mum, you ca n't go through my things.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>You wanted him to translate it.<\/dialogue>\n    <scene_description>Anna gets up to grab the diary .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>And he said he would n't do it so I've found somebody else.<\/dialogue>\n    <scene_description>Stepan explodes .<\/scene_description>\n    <character>STEPAN<\/character>\n    <dialogue>No Anna! You do n't go to someone else with this! You do n't go to anyone! Nasilovanie, it means rape. Iglah, it means needle. Prostitutcia, perhaps you can guess.<\/dialogue>\n    <scene_description>Stepan hands the diary to Anna and then turns .<\/scene_description>\n    <character>STEPAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I go to wash my hands.<\/dialogue>\n    <scene_description>He disappears . Anna and Helen are left in awkward silence . Anna buries the diary in her dressing table drawer . Helen looks at her with anxiety .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Anna, Stepan said this girl ended up in the hands of the vory v zakone. Do you know what that means?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Just because I'm back in this room does n't mean I'm twelve again.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>You never listened to me even then!<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Look, if I do n't find a relative in the next few days they'll put Christine out for fostering. Once she's in the system, she'll never get out again.<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Who named her Christine?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I had to call her something. It sounds like Christmas.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>She's very beautiful.<\/dialogue>\n    <scene_description>Helen is now deeply concerned .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>If I can persuade Stepan to translate it, will you leave the rest to the police?<\/dialogue>\n    <scene_description>Anna looks at Helen , then digs out the diary and hands it to her .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Tell him I've heard bad words before.<\/dialogue>\n    <scene_description>Helen is about to leave . She stops in the doorway .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Your father used to say the vory are a contagious disease. There's no cure once they've touched you.<\/dialogue>\n    <scene_description>A pause . Anna smiles .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Momma, this is London.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBURBAN HOUSE. NEGLECTED SITTING ROOM - DAY<\/stage_direction>\n    <scene_description>We are in HARLESDEN , NORTH LONDON . A large portable stereo is playing rock music . The curtains are drawn against daylight . The living room is decorated in seventies suburban style , but with the wall paper peeling and the paint work fading . Kitsch paintings still decorate the walls . Six young East - European girls are sitting on a broken - down sofa and on hard - backed chairs , wearing short skirts . Their eyes are sunken and their faces vacant of expression , but they are painted with so much make - up they almost look like tiny , sad clowns . They sit in silence as the music blares out . After a few moments a young Albanian man enters and claps his hands .<\/scene_description>\n    <character>ALBANIAN<\/character>\n    <dialogue>OK, boss is here. Boss, boss. You make him happy.<\/dialogue>\n    <scene_description>All the girls apart from one immediately get to their feet and begin to dance to the music , their bodies moving awkwardly and painfully . The Albanian approaches the one girl who refused to stand and yanks her to her feet . He slaps her hard and hisses at her in Albanian . She tries to sit down again but he pulls her up and slaps her again . Finally he shoves her into the middle of the room and she begins to dance , sobbing as she does .<\/scene_description>\n    <character>ALBANIAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>No fucking crying. It's a party!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN HOUSE - DAY<\/stage_direction>\n    <scene_description>Kirill and Nikolai are climbing out of Nikolai 's Mercedes . Kirill is in full flow as they walk towards the house . The rock music is audible outside the house .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>So he said to me, ` who is this driver guy?' I laughed so hard.<\/dialogue>\n    <scene_description>Kirill knocks on the door hard .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And I said you were the safest guy I'd met. Solid.<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>And what did he say?<\/dialogue>\n    <character>KIRILL<\/character>\n    <dialogue>You know my dad. He did n't say nothing. But his eyes looked impressed.<\/dialogue>\n    <scene_description>The door opens and the Albanian opens his arms in welcome .<\/scene_description>\n    <character>ALBANIAN<\/character>\n    <dialogue>Kirill!<\/dialogue>\n    <character>KIRILL<\/character>\n    <dialogue>Get out of the fucking way, you black gypsy baboon.<\/dialogue>\n    <scene_description>Kirill pushes his way inside and Nikolai follows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBURBAN HOUSE. SITTING ROOM - DAY<\/stage_direction>\n    <scene_description>Kirill and Nikolai are swigging whisky from the bottle and dancing with the girls . Some of the girls are drinking , too , and managing to laugh . Kirill is dancing maniacally and swinging his girl around faster and faster until she falls over . Nikolai swigs his drink and notices the girl who refused to stand up . She is standing in the corner , sobbing . Nikolai does n't care to look at her for more than a second and he goes back to dancing . After a moment Kirill dances his way over to Nikolai and yells above the music .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>OK, which one you going to fuck!?<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>What's it to you?<\/dialogue>\n    <character>KIRILL<\/character>\n    <dialogue>Serious. Pick one.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>I'm just enjoying myself, man.<\/dialogue>\n    <scene_description>Kirill suddenly stops dancing and stares at Nikolai . He yells again over the music .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>You hear me? You're going to fuck one of these girls.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>OK, OK, Jesus.<\/dialogue>\n    <character>KIRILL<\/character>\n    <dialogue>You're going to fuck one of these girls right now. That's an order.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>What? What's the matter with you?<\/dialogue>\n    <scene_description>Kirill suddenly goes to the stereo system and yanks the plug from the wall . Silence . The girls look terrified . The only sound is the sobbing of the girl who wo n't dance . Kirill is glaring at Nikolai .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>Come on Nikolai. Who are you going to fuck?<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm recommending you to my dad. I want to make sure you're not a fucking queer.<\/dialogue>\n    <scene_description>Kirill looks suddenly wild . He swigs his whisky . A long pause .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>You've drunk enough Kirill.<\/dialogue>\n    <character>KIRILL<\/character>\n    <dialogue>Enough?<\/dialogue>\n    <scene_description>Kirill hurls his whisky bottle against the wall . The girls all flinch .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You fucking Siberian ox do n't tell a vor what is enough.<\/dialogue>\n    <scene_description>A pause . Nikolai studies Kirill 's anger .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I've brought you to my dad's best stable. He uses this place himself. They're all clean. Now I'm going to watch you fuck one of these girls to prove to me that you ai n't queer.<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So which one is it going to be?<\/dialogue>\n    <scene_description>Silence . Nikolai looks around the room . Finally . Nikolai turns to the girl who is sobbing .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>Her.<\/dialogue>\n    <scene_description>Kirill smiles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBURBAN HOUSE. BEDROOM - DAY<\/stage_direction>\n    <scene_description>Nikolai is fucking the girl , who is now silent . She is on all fours , registering no emotion . Kirill is leaning against the wall , drinking wine from the bottle , watching Nikolai with burning eyes , his lust and drunken jealousy mixing together . Nikolai grits his teeth and comes inside the girl . Kirill whoops and whistles and begins to applaud . The girl is still silent , expressionless .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>You did OK! You did OK.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <scene_description>Nikolai glares at Kirill .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Well if my examination is over, get the fuck out of here while I get dressed.<\/dialogue>\n    <scene_description>Kirill grins and offers the girl an elaborate bow before leaving . Finally alone , Nikolai gently helps the girl to lie down . She is numb . He covers her up with a blanket then begins to pull on his clothes . The girl is staring up at the ceiling . After a few moments she begins to sing a Russian folk song softly under her breath . Nikolai speaks to her softly in Russian .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>What's your last name?<\/dialogue>\n    <scene_description>A pause . Finally the girl stops singing but is silent . Nikolai is insistent .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>Tell me your last name.<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>Kirilenko.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>Where are you from?<\/dialogue>\n    <scene_description>Silence . She looks up and stares into Nikolai 's eyes . She sees some urgency there .<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>Ukraine.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( in Ukrainian . )<\/parenthetical>\n    <dialogue>Where? Which village? Which town?<\/dialogue>\n    <character>GIRL<\/character>\n    <parenthetical>( in Ukrainian . )<\/parenthetical>\n    <dialogue>Irpen. Outside Kiev.<\/dialogue>\n    <scene_description>The girl is asking a silent question but Nikolai does n't linger . He heads for the door then stops and turns .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( in Ukrainian . )<\/parenthetical>\n    <dialogue>Stay alive a little longer.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAFALGAR HOSPITAL. S.C.B.U. CHRISTINE'S PRIVATE ROOM - NIGHT<\/stage_direction>\n    <scene_description>In the half - lit private room , Anna is dancing with Christine in her arms . She is singing a lullaby softly to her . The door is open to the rest of the ward and all the other babies are silent . Finally she lays a sleeping Christine back in her crib . She sits down on the bed where the mother should be . She curses herself silently and gets to her feet , determined to pull herself together . As she starts to leave the private room to enter the ward , she is suddenly confronted by Semyon . He is standing in the shadows , a Bavarian trilby in his hands . Anna gasps with shock . Semyon speaks softly .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>Hello Anna. I came on tiptoes.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>How did you get in here?<\/dialogue>\n    <character>SEMYON<\/character>\n    <dialogue>There are always open doors, Anna Ivanovna.<\/dialogue>\n    <scene_description>Anna glances at an alarm button .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>You're not allowed in here.<\/dialogue>\n    <character>SEMYON<\/character>\n    <dialogue>Please Anna, let me speak.<\/dialogue>\n    <scene_description>Semyon looks to be almost in tears . He speaks softly .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I translated the diary.<\/dialogue>\n    <scene_description>A baby begins to cry and is comforted somewhere across the ward .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I was shocked to discover. that my son Kirill is mentioned many times.<\/dialogue>\n    <scene_description>Semyon appears to be fighting tears .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I have known for some years that he has strayed from the path I set out for him. His mother died when he was very young.<\/dialogue>\n    <scene_description>A pause . Anna almost begins to buy his sorrow .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>What does it say about him?<\/dialogue>\n    <scene_description>Semyon looks up , his eyes filled with tears .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>Many bad things.<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>But Anna please. Let me deal with him. If the diary should find its way to the police.<\/dialogue>\n    <scene_description>Semyon wipes his eyes .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Some of the things my son did are illegal. Anna, he is a good boy.<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>I do n't care about him. I care about the baby.<\/dialogue>\n    <character>SEMYON<\/character>\n    <dialogue>Of course. Of course. And that is the baby?<\/dialogue>\n    <scene_description>Semyon glances over Anna 's shoulder into the corner where Christine is sleeping . Anna freezes and does n't reply . Semyon takes her hand .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Anna, I have made some inquiries and I have found out an address for Tatiana's family in Russia. That's where the baby belongs, no?<\/dialogue>\n    <scene_description>Anna reacts but Semyon 's face suddenly hardens .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So. perhaps we can do a deal.<\/dialogue>\n    <scene_description>He stares into her eyes .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Do you understand me, Anna?<\/dialogue>\n    <scene_description>At that moment a nurse walks by and hesitates when she sees Semyon .<\/scene_description>\n    <character>NURSE<\/character>\n    <dialogue>Anna?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>It's OK. He's just leaving.<\/dialogue>\n    <scene_description>Semyon puts his hat onto his head .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>You know where I am, Anna Ivanovna.<\/dialogue>\n    <scene_description>He turns .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And I know where you are.<\/dialogue>\n    <scene_description>Semyon disappears into the shadows of the ward . As Anna reacts we hear Tatiana in V.O.<\/scene_description>\n    <character>TATIANA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I was thrown down the stairs and fell onto some sacks, like potato sacks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELEN'S HOUSE. KITCHEN - DAY<\/stage_direction>\n    <scene_description>Stepan is sitting at the kitchen table , translating Tatiana 's diary aloud , as Helen transcribes it onto a note pad . Stepan 's translation breaks up with emotion but he tries to remain detached . Helen also tries hard to concentrate on her task but wipes away a tear as she writes . Tatiana 's V.O. slowly blends into Stepan 's voice .<\/scene_description>\n    <character>STEPAN<\/character>\n    <dialogue>like potato sacks. Kirill came down after me and he hit me until I was bleeding. Then he tried to rape me but he could n't do it. He just got madder and madder and kept hitting me. In the end his father came down. It was the father who raped me. He shouted at his son. ` if you do n't break a horse, it will never be tame, Kirill'.<\/dialogue>\n    <scene_description>They hear a key in the door and prepare for Anna 's arrival . When she enters she feels the tense silence . After a moment , Helen tries to be bright .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Hello dear. How was your night?<\/dialogue>\n    <scene_description>Anna sees the tears in both their eyes . She sees the diary and the transcription and sits down .<\/scene_description>\n    <character>HELEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Stepan's arthritis is playing up. I'm taking dictation.<\/dialogue>\n    <scene_description>Helen gets to her feet .<\/scene_description>\n    <character>HELEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Would you like some tea or something?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Anna gently pushes Helen back into her seat .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>What's wrong?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>He came to see me.<\/dialogue>\n    <scene_description>Silence .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>The man from the restaurant. He came to the hospital.<\/dialogue>\n    <scene_description>Stepan leaps to his feet .<\/scene_description>\n    <character>STEPAN<\/character>\n    <dialogue>I told you this would happen! I told you!<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Sit down Stepan.<\/dialogue>\n    <character>STEPAN<\/character>\n    <dialogue>The devil is loose now.<\/dialogue>\n    <scene_description>Everyone begins to talk at once .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>I know it's my fault.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>It's no one's fault.<\/dialogue>\n    <character>STEPAN<\/character>\n    <dialogue>They are in this room now. They are cancer.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>We should just sit down calmly and think.<\/dialogue>\n    <character>STEPAN<\/character>\n    <dialogue>I have a friend from Ukraine who owns a gun.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Stepan!<\/dialogue>\n    <character>STEPAN<\/character>\n    <dialogue>from the war in Afghanistan.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Do n't talk about guns.<\/dialogue>\n    <scene_description>Anna suddenly stands up .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Shut up both of you!<\/dialogue>\n    <scene_description>Silence . Everyone catches their breath .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>OK. now. what would dad have done?<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>STEPAN<\/character>\n    <dialogue>We all know what he would have done.<\/dialogue>\n    <scene_description>Stepan heads for the kitchen cupboard and produces a bottle of vodka . Rather than admonish him , Anna and Helen both nod agreement . Stepan pours three large vodkas . Stepan knocks his down . Anna and Helen take sips .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>And then he would have been practical.<\/dialogue>\n    <character>STEPAN<\/character>\n    <dialogue>He would ask if there were bullets for the gun.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>No! This is n't our world. We're just. ordinary people.<\/dialogue>\n    <character>STEPAN<\/character>\n    <dialogue>I dealt with the vory v zakone when I worked for the KGB.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>You never worked for the fucking KGB!<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Anna!<\/dialogue>\n    <character>STEPAN<\/character>\n    <parenthetical>( primly . )<\/parenthetical>\n    <dialogue>I was an auxiliary!<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Please!<\/dialogue>\n    <scene_description>A stand off . Finally .<\/scene_description>\n    <character>HELEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What did this man want?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>The diary. In return he'll give us an address for Tatiana's family. For Christine's family.<\/dialogue>\n    <scene_description>A pause . They all look to each other .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>And that's all he wants?<\/dialogue>\n    <scene_description>Stepan is utterly astounded .<\/scene_description>\n    <character>STEPAN<\/character>\n    <dialogue>You can not do deals with these people!<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>This is n't a deal. It's an exchange of information.<\/dialogue>\n    <character>STEPAN<\/character>\n    <dialogue>Have you forgotten already what I just read to you?<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>We must be practical.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Stepan, I think he was threatening to harm Christine.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Then it's settled.<\/dialogue>\n    <character>STEPAN<\/character>\n    <dialogue>No! No! No!<\/dialogue>\n    <character>HELEN<\/character>\n    <parenthetical>( repeating as a mantra . )<\/parenthetical>\n    <dialogue>Stepan, this is n't our world. We are ordinary people.<\/dialogue>\n    <scene_description>Stepan stares at them both for a long time . Finally he gets to his feet and points to the diary .<\/scene_description>\n    <character>STEPAN<\/character>\n    <dialogue>She was an ordinary person.<\/dialogue>\n    <scene_description>He leaves . Anna and Helen hold hands , genuinely close now for the first time in a long time .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRANS-SIBERIAN RESTAURANT - NEXT DAY<\/stage_direction>\n    <scene_description>Nikolai pulls up in his car . He checks his look in the rear view mirror and puts on his sunglasses . As he gets out of the car he notices that Anna 's motorbike is still there . He approaches it , strokes the bodywork . Suddenly , someone grabs him from behind . It 's Kirill .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>Hey, come on, Nikolai, I've got a Christmas present for you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRANS-SIBERIAN RESTAURANT. BACK DELIVERY AREA - DAY<\/stage_direction>\n    <scene_description>A white van is parked with its rear doors open , ready for unloading . Kirill shows Nikolai that the van is loaded with unmarked white boxes .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>Open one.<\/dialogue>\n    <scene_description>Nikolai opens one of the boxes and produces a bottle of vintage champagne .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>From France. Old as fuck. Old is good with wine. Sixty quid a bottle anywhere. Except I got them for ten quid a case.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>From where?<\/dialogue>\n    <character>KIRILL<\/character>\n    <dialogue>` From where?' From where you do n't ask. Give it here.<\/dialogue>\n    <scene_description>Kirill snatches the bottle and begins to uncork it .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>If my dad says OK, I can start telling you about the serious stuff. Import, export. This booze is just for gifts to Papa's friends. The real import stuff is from Kabul, you understand?<\/dialogue>\n    <scene_description>He pops the cork and swigs the frothing champagne .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>Import - export sounds good.<\/dialogue>\n    <scene_description>Kirill laughs .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>You bet it's fucking good.<\/dialogue>\n    <scene_description>Nikolai hands the bottle back . As he does , one of the van doors is kicked closed revealing Semyon , suddenly upon them .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Jesus Christ, Papa. You scared me.<\/dialogue>\n    <scene_description>Semyon grabs the bottle of champagne and smashes it on the floor . Kirill recoils in terror . Nikolai straightens , faces up .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What's wrong? We're just sampling it!<\/dialogue>\n    <scene_description>Semyon is so furious he still ca n't speak . He grabs Kirill and slams him against the wall . Finally he hisses in his face .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>Your friend Soyka is dead.<\/dialogue>\n    <character>KIRILL<\/character>\n    <dialogue>Yeah? So what? What's that got to do with me?<\/dialogue>\n    <character>SEMYON<\/character>\n    <dialogue>Do n't lie to me!<\/dialogue>\n    <scene_description>Semyon slams Kirill against the wall once more .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>I swear I do n't know nothing about it.<\/dialogue>\n    <character>SEMYON<\/character>\n    <dialogue>I said, do n't lie to me!<\/dialogue>\n    <scene_description>Semyon slams Kirill hard against the wall again . Suddenly Nikolai steps forward .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>Your dad is right, Kirill. There's no point lying to him.<\/dialogue>\n    <scene_description>A pause . Semyon and Kirill are frozen for a moment . Nikolai calmly lights a cigarette .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Ozim's nephew slit Soyka's throat. Kirill paid him to do it.<\/dialogue>\n    <scene_description>There is stunned silence . Semyon loosens his grip on Kirill .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>Shut your fucking mouth!<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>Your dad always knows the truth anyway.<\/dialogue>\n    <scene_description>Nikolai and Semyon survey each other .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>But it's OK boss. You do n't have to worry.<\/dialogue>\n    <character>SEMYON<\/character>\n    <parenthetical>( incredulous . )<\/parenthetical>\n    <dialogue>I do n't have to worry?<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>I disposed of the body myself. The police wo n't find a thing.<\/dialogue>\n    <scene_description>Semyon has now lost all interest in Kirill and is concentrating on Nikolai . He laughs with incredulity .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>My son commits a murder? On my own doorstep? A fellow soldier! And no one thought to tell me about it?<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>The vory code says you do n't talk to anybody about your captain. Kirill is my captain.<\/dialogue>\n    <scene_description>Semyon circles Nikolai .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>When I found out what had happened, I did what I had to do to clean the situation up.<\/dialogue>\n    <scene_description>Kirill is about to speak but before he can , Nikolai speaks for him .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It was a matter of honor. Soyka was spreading lies about Kirill. About your family.<\/dialogue>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>Kirill did the right thing.<\/dialogue>\n    <scene_description>Semyon hisses with fury and grabs Nikolai .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>I decide what is right and what is wrong. You do not kill a vor for no reason.<\/dialogue>\n    <scene_description>Nikolai shrugs Semyon off , holding his ground .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>You know as well as I do Soyka was talking to the police.<\/dialogue>\n    <scene_description>A pause . Semyon is shocked at the depth of Nikolai 's knowledge . He peers at him .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>For a driver, you are well informed.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>I've got connections with the Chechens who export cars. Soyka was speaking to the Russian desk. Scotland Yard.<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>Kirill did a good thing for all our people. Our people will know that.<\/dialogue>\n    <scene_description>In Semyon 's silence Kirill finally gathers courage .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>Papa, I swear to you, I was going to.<\/dialogue>\n    <character>SEMYON<\/character>\n    <dialogue>Shut up!<\/dialogue>\n    <scene_description>Kirill is hurt that Semyon seems only to be interested in Nikolai . After studying Nikolai for a while .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>If you are so well informed, you will know Soyka has brothers.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( with a smile . )<\/parenthetical>\n    <dialogue>That's OK. Kirill has got me.<\/dialogue>\n    <scene_description>Semyon shows the first flicker of admiration . He then looks at Kirill with utter contempt , making the comparison with Nikolai obvious .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>Get these boxes out of sight.<\/dialogue>\n    <scene_description>Semyon leaves them . Kirill is angry , straightening his clothes . Finally he yells .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>You heard him, patsan! Get these boxes out of sight.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BURGER RESTAURANT - DAY<\/stage_direction>\n    <scene_description>It is Saturday morning and the place is full of families . Christmas decorations are beginning to look ragged . Anna and Helen are sitting at a table , terrified but trying hard to stay calm . Stepan arrives with a tray of coffees and a burger . He sits , and Anna and Helen glance uneasily at each other . Stepan begins to eat noisily .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>How the hell can you eat?<\/dialogue>\n    <character>STEPAN<\/character>\n    <dialogue>I'm hungry.<\/dialogue>\n    <scene_description>There is a tension that builds until Nikolai 's Mercedes suddenly looms into view , filling the street window of the burger bar . Nikolai gets out of his car , all shades and sharp suit .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>That's their driver.<\/dialogue>\n    <scene_description>Stepan very deliberately slides his hand into his inside pocket .<\/scene_description>\n    <character>HELEN<\/character>\n    <parenthetical>( hissing . )<\/parenthetical>\n    <dialogue>Tell me you have n't done anything ridiculous.<\/dialogue>\n    <scene_description>Stepan removes his hand , empty , his bravado crushed . Nikolai enters the restaurant and spots Anna . He comes and sits at the table beside Stepan , opposite Anna . It 's a tight squeeze . Anna and Helen are stiff with terror . Nikolai smiles .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>Meet in a public place with lots of people around. Very wise.<\/dialogue>\n    <scene_description>He smiles at Helen .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And I see you brought along a body guard. Also very wise.<\/dialogue>\n    <scene_description>Stepan is shaking with emotion and hisses something in Russian .<\/scene_description>\n    <character>STEPAN<\/character>\n    <parenthetical>( whispers , in Russian . )<\/parenthetical>\n    <dialogue>When I was in the KGB, we knew how to deal with scum like you.<\/dialogue>\n    <scene_description>Nikolai smiles .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>When you were in what?<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Shush, Stepan. Anna?<\/dialogue>\n    <scene_description>Nikolai is amused by the three of them . Anna produces Tatiana 's diary and hands it to Nikolai . Nikolai studies it and nods . He gets to his feet .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( shaking . )<\/parenthetical>\n    <dialogue>Now you give me the address.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>What address?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Tatiana's family.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>I do n't know what you're talking about.<\/dialogue>\n    <scene_description>Nikolai calmly heads for the door . Stepan hisses .<\/scene_description>\n    <character>STEPAN<\/character>\n    <dialogue>I told you! I knew they would do this.<\/dialogue>\n    <scene_description>Anna gets to her feet .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Anna! No! Come back here!<\/dialogue>\n    <scene_description>Anna races out of the restaurant in pursuit of Nikolai .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BURGER RESTAURANT - DAY<\/stage_direction>\n    <scene_description>Nikolai has emerged into the busy suburban street and is about to get in to his car . Anna flies at him , yelling .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>She was fourteen! Read the diary! She was fourteen when he raped her!<\/dialogue>\n    <scene_description>Nikolai casually hits the key fob of his car .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You murdered her! You bastards murdered her!<\/dialogue>\n    <scene_description>Passers - by stare at Anna . Helen and Stepan have come out of the restaurant to restrain her . Nikolai stops and judges the fury on Anna 's face . He speaks calmly .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>Anger is very dangerous. It makes people do stupid things. Forget any of this ever happened. You're in the wrong place, Anna Ivanovna.<\/dialogue>\n    <scene_description>He gestures at the burger restaurant .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You belong in there. With nice people. Stay away from people like me.<\/dialogue>\n    <scene_description>Anna and Nikolai are staring at each other , suddenly a strange connection between them . Then Stepan steps forward and spits in Nikolai 's face , delivering a Russian curse as he does so . Nikolai almost reacts out of instinct but stops himself . Nikolai wipes his face and peers into Anna 's eyes . Finally he gets into his car and drives away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRANS-SIBERIAN RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Nikolai is alone , sitting at a candlelit table , reading Tatiana 's diary . We hear Tatiana in voice - over .<\/scene_description>\n    <character>TATIANA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I am not sure I can carry on another day. The windows wo n't open so I ca n't throw myself out. They inject me every day with heroin. Sometimes I think this is all a hallucination.<\/dialogue>\n    <scene_description>He sees Semyon approaching from the kitchen and closes the diary . Semyon grabs a bottle of vodka from the bar on his way to sit opposite Nikolai . Nikolai pushes the diary across the table . Semyon pours two drinks .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>It is good to have someone who I can trust to do simple tasks.<\/dialogue>\n    <scene_description>A pause as Semyon glances at a few pages of diary .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>In this business, sometimes the biggest danger comes from the most stupid things. You ca n't afford to be careless in any area.<\/dialogue>\n    <scene_description>Nikolai senses a change of attitude towards him . As if Semyon were beginning to accept him into the fold . Semyon raises a toast .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Nasdrovia.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>Nasdrovia.<\/dialogue>\n    <scene_description>After a moment .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>So what was the lie that Soyka was spreading about my son?<\/dialogue>\n    <scene_description>Nikolai looks anxious .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>It was nothing important.<\/dialogue>\n    <character>SEMYON<\/character>\n    <dialogue>Kirill had him killed for nothing important?<\/dialogue>\n    <scene_description>Semyon pours two more vodkas .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>I do n't want to repeat it.<\/dialogue>\n    <character>SEMYON<\/character>\n    <parenthetical>( smiling . )<\/parenthetical>\n    <dialogue>For me you will repeat it.<\/dialogue>\n    <scene_description>Nikolai does n't respond . It is obvious that Semyon half knows already . He shrugs .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You play with the Prince to do business with the King. But if you want to do business with me you must be open with me. Thieves - in - law.<\/dialogue>\n    <scene_description>A pause . Semyon nurses his vodka .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What was Soyka saying about the Prince?<\/dialogue>\n    <scene_description>He stares into Nikolai 's eyes . Finally , Nikolai stammers .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>That he is a drunk. And that he is also. a queer.<\/dialogue>\n    <scene_description>Semyon swigs his vodka and Nikolai swigs his . Semyon pours two more . Semyon has to stare out of the window to hide his emotion .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( softly , in Russian . )<\/parenthetical>\n    <dialogue>My only son.<\/dialogue>\n    <scene_description>They both knock their drinks back . Semyon looks suddenly angry as he peers out of the window .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You know it never snows in this City. And it's never hot. London is a city of whores and queers. My son.<\/dialogue>\n    <scene_description>Semyon shrugs , fighting deeper emotion .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I think London is to blame for what he is.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>So why do n't you go home?<\/dialogue>\n    <scene_description>Semyon smiles , as if seeing Moscow through the window .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>The cold gets into my bones.<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And also. the KGB would be waiting for me.<\/dialogue>\n    <scene_description>Nikolai smiles ruefully and glances at Semyon .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>FSB. They are called FSB now.<\/dialogue>\n    <character>SEMYON<\/character>\n    <dialogue>Whatever they call them they are worse even than the KGB were. Maybe the KGB and the vory v zakone were partners in a marriage. We had rules, they had rules.<\/dialogue>\n    <scene_description>He swigs some more vodka .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Now in Moscow, the thieves do n't wear tattoos and the police do n't wear uniforms. You never know who they are.<\/dialogue>\n    <scene_description>Semyon seems to be taking the vodka less well than Nikolai . He pours some more .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You've heard about these new policemen?<\/dialogue>\n    <scene_description>Nikolai does n't blink .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>They get under you, over you, behind you, inside you. They are the ones you least expect.<\/dialogue>\n    <scene_description>Semyon peers at Nikolai and Nikolai does n't respond . Mention of the new breed of FSB agent causes an almost imperceptible tension in Nikolai . Is Semyon too drunk to notice ? There is a strange game going on here . For now , nothing is revealed . Semyon knocks back his vodka and Nikolai does the same . Semyon picks up the diary and holds it into the flame of the candle . It begins to burn and he drops it into the ashtray . The flames flicker for a while .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>The midwife said she had an uncle. A Russian.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>I met him.<\/dialogue>\n    <character>SEMYON<\/character>\n    <dialogue>So you know what he looks like.<\/dialogue>\n    <scene_description>Semyon peers at Nikolai .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>She said he has read the diary.<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>We ca n't trust a Russian with that kind of information.<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>Do you understand me?<\/dialogue>\n    <scene_description>Semyon gets to his feet and smiles .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Perhaps you can deal with him.<\/dialogue>\n    <scene_description>Semyon leaves Nikolai to stare into the flames of the burning diary .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAFALGAR HOSPITAL. MATERNITY UNIT - DAY<\/stage_direction>\n    <scene_description>Anna exits , pulling on her coat against the cold . She stops in her tracks when she sees her unchained motorbike parked in the parking bay . She hears Nikolai 's voice over her shoulder .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>I thought I'd bring it back before it got stolen. Lot of villains around. Sorry about the chain.<\/dialogue>\n    <scene_description>Anna is about to walk quickly away .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I got that address you wanted.<\/dialogue>\n    <scene_description>Anna turns and sees Nikolai is offering a scrap of paper .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>A little village outside St. Petersburg. I know it. Not much of a place for a kid to grow up in. Especially not a girl.<\/dialogue>\n    <scene_description>She hesitates . Nikolai approaches and gives her the address .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>If you want my opinion, the kid would be better off in London. Maybe with you. Why not? Tatiana's family do n't sound like the kind of people who'd want another mouth to feed.<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>You read the diary?<\/dialogue>\n    <scene_description>Nikolai looks all around . Anna studies him , unsure .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So how can you keep doing what you're doing?<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>I told you. I'm just a driver.<\/dialogue>\n    <scene_description>Anna sees some softness in his expression . Their eyes lock .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>You look the other way.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>I'm a camera. The pictures stay in my head.<\/dialogue>\n    <scene_description>Anna sees pain in his eyes . She peers at the address .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Why did you bring me this?<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>I do n't know. I was passing.<\/dialogue>\n    <scene_description>After a long moment Anna turns away .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oh, and. your uncle.<\/dialogue>\n    <scene_description>Nikolai smiles .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Is it true he was in the KGB?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>Well, he's a brave old man. That's for sure.<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Does he live with you?<\/dialogue>\n    <scene_description>Anna is about to answer but stops herself . Nikolai peers at her and finally shrugs then turns to walk away . He gestures at the bike .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I fixed it. It should be OK now.<\/dialogue>\n    <scene_description>Anna watches him walk away into the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHELSEA FOOTBALL GROUND. SIDE STREETS - NIGHT.<\/stage_direction>\n    <scene_description>Crowds of football supporters are streaming away from the football stadium , where the floodlights are still casting their glow . There are Arsenal and Chelsea supporters on opposite sides of the street and there is some mildly vicious yelling between the two groups . Police are visibly keeping order . Among the crowd we see Ekrem . He seems slightly drunk on top of his normal craziness . He has an Arsenal scarf around his neck and is looking for trouble , jeering at the Chelsea supporters across the street .<\/scene_description>\n    <character>EKREM<\/character>\n    <dialogue>Hey! Hey Kabuka Chelsea! Fuck you! Yeah you! Aliverisme! Fucker!<\/dialogue>\n    <scene_description>A policeman steps up to Ekrem and gives him a shove and he stumbles a little . As he gets to his feet we notice TWO CHECHEN MEN who are trailing Ekrem , ducking their heads away from the line of policemen .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETERY - NIGHT<\/stage_direction>\n    <scene_description>Ekrem is now isolated from the crowds , swigging from a can of lager . He is chanting ` Arsenal , Arsenal ' to himself as he walks . He stops to take a piss on someone 's grave . In the background the two Chechens are coming closer . As Ekrem zips his flies , the Chechens are upon him . One of them grabs his Arsenal scarf and begins to strangle him . Ekrem chokes for a while and the Chechen loosens the knot . The second Chechen pulls out an open razor . Ekrem struggles to escape .<\/scene_description>\n    <character>CHECHEN<\/character>\n    <dialogue>For my brother.<\/dialogue>\n    <scene_description>The Chechen cuts Ekrem 's throat then drops him onto the grave stone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRANS-SIBERIAN RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>The place has two dozen customers and there is a Russian band playing ` Dark Eyes ' . At a particular table an old Russian lady is having her birthday celebrated by an adoring family and lots of very ancient friends . There is a huge round of applause as Semyon emerges from the kitchen with a cake decorated with sparklers .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRANS-SIBERIAN RESTAURANT. KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Semyon returns to smoke and steam and yelling . As he prepares to take a drink one of the young dishwashers approaches .<\/scene_description>\n    <character>DISHWASHER<\/character>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>Guy out the back.<\/dialogue>\n    <scene_description>Semyon grabs a bottle of vodka .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRANS-SIBERIAN RESTAURANT. KITCHEN REAR - NIGHT<\/stage_direction>\n    <scene_description>Semyon emerges into the wine crates and beer bottles in the yard at the back of the restaurant where the Doberman is straining at the leash , snarling and barking . An already anxious Ozim is cowering in the shadows , held at bay by the dog . The moment Semyon steps out the dog stops barking . Ozim relaxes a little and steps forward . Semyon pets the dog .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>So what did they say?<\/dialogue>\n    <scene_description>Semyon takes a swig of vodka . Ozim looks severely nervous .<\/scene_description>\n    <character>OZIM<\/character>\n    <dialogue>They were going to kill me. Those Chechens are savages.<\/dialogue>\n    <scene_description>Ozim is reliving the ordeal .<\/scene_description>\n    <character>OZIM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I pointed out that I am a Muslim too and it is a sin for a Muslim to kill a Muslim.<\/dialogue>\n    <character>SEMYON<\/character>\n    <parenthetical>( irritated . )<\/parenthetical>\n    <dialogue>What did they say about my son?<\/dialogue>\n    <character>OZIM<\/character>\n    <dialogue>They said they would spare me only if I delivered Kirill to them.<\/dialogue>\n    <character>SEMYON<\/character>\n    <dialogue>You are being very honest.<\/dialogue>\n    <character>OZIM<\/character>\n    <dialogue>I fear you more than I fear them.<\/dialogue>\n    <scene_description>Semyon suddenly breaks the neck of the bottle and holds the jagged edge to Ozim 's throat . The dog snarls at Semyon 's feet .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>Never again do business with any member of my family behind my back.<\/dialogue>\n    <character>OZIM<\/character>\n    <dialogue>Never. I will never listen to Kirill again. I swear.<\/dialogue>\n    <scene_description>Semyon tosses the bottle away . After a moment .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>Do they know where to find Kirill?<\/dialogue>\n    <character>OZIM<\/character>\n    <dialogue>They are like wolves.<\/dialogue>\n    <character>SEMYON<\/character>\n    <dialogue>Do they know what he looks like?<\/dialogue>\n    <scene_description>Ozim shakes his head .<\/scene_description>\n    <character>OZIM<\/character>\n    <dialogue>No. They have just arrived from the mountains.<\/dialogue>\n    <character>SEMYON<\/character>\n    <dialogue>Then tell them you will deliver Kirill to them.<\/dialogue>\n    <scene_description>Ozim is stunned . He stares at Semyon as if he were insane .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Tell them to give you two days.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELEN'S HOUSE. ANNA'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Anna is reading the translation of the diary by lamplight . Tatiana 's voice over continues .<\/scene_description>\n    <character>TATIANA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I know now for sure that I am pregnant. It has n't begun to show yet. After I was raped they made me take pills but I guess it was too late. I am condemned to give birth to a new life. But first I will try to find a way to end my own life and spare this child the pain.<\/dialogue>\n    <scene_description>Anna looks up from the pages and thinks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSING ESTATE - NIGHT<\/stage_direction>\n    <scene_description>A large public housing estate is being swept by rain . Christmas lights glow in the windows of the dilapidated tower blocks . Stepan is walking against the wind , carrying a bag of shopping . He holds onto his Russian hat to stop it blowing away . Kids splash in the puddles . Stepan arrives at the front garden of his small , ground - floor council flat . As he fumbles for his keys in the cold we see that Nikolai is watching him from the driver 's seat of his Mercedes . Once Stepan has disappeared into his flat , Nikolai gets out of the car and approaches Stepan 's flat .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELEN'S HOUSE. KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Helen is preparing food for a small family dinner . Anna enters with her cellphone in her hand . She mooches for food to hide her agenda . Finally .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Mum. I ca n't get hold of Stepan.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Why do you want to?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I need to check something with him.<\/dialogue>\n    <character>HELEN<\/character>\n    <dialogue>Anna.<\/dialogue>\n    <character>ANNA<\/character>\n    <parenthetical>( matter of fact . )<\/parenthetical>\n    <dialogue>He's not at home, do you know where else he might be?<\/dialogue>\n    <scene_description>Helen simply stares at her .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>Anna. Have n't you had enough excitement?<\/dialogue>\n    <character>ANNA<\/character>\n    <parenthetical>( deadpan . )<\/parenthetical>\n    <dialogue>I think I've worked out who Christine's father is.<\/dialogue>\n    <scene_description>Helen slams her knife down .<\/scene_description>\n    <character>HELEN<\/character>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>Why does it matter?!<\/dialogue>\n    <character>ANNA<\/character>\n    <parenthetical>( firmly . )<\/parenthetical>\n    <dialogue>It matters. to me!<\/dialogue>\n    <scene_description>A pause . After a moment Helen goes to her , holds her hands and peers into her eyes . We expect comforting words , but instead .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>You enjoy this.<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>HELEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You're like your father. Ordinary life is n't enough.<\/dialogue>\n    <scene_description>Anna turns and walks out of the house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LONDON STREETS - NIGHT<\/stage_direction>\n    <scene_description>Anna drives her motorbike through North London streets . Rain is falling .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRANS-SIBERIAN RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Anna is standing in the falling rain , staring over at the trans - Siberian restaurant . The restaurant is busy , with the noise of revelers swelling every time the door is opened . Anna seems to be exiled from where she should really be - Inside a restaurant like this , with its danger and vibrancy . Suddenly she is illuminated by headlights . She turns and sees that Nikolai is pulling up in his Mercedes . Kirill is in the passenger seat . Nikolai gets out of the car and stops when he sees Anna . Anna is like a fox caught in headlights .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( echoing Nikolai 's words . )<\/parenthetical>\n    <dialogue>I do n't know. I was passing.<\/dialogue>\n    <scene_description>Kirill studies the gaze between Nikolai and Anna and senses the connection .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>If you're passing, you pass. You keep going, bitch. Nikolai, come on.<\/dialogue>\n    <scene_description>Kirill grabs Nikolai 's arm , and after peering at Anna for a moment , he turns to go with Kirill . Anna gathers her courage .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Family is important to you people is n't it?<\/dialogue>\n    <character>KIRILL<\/character>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>` You people'?<\/dialogue>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>What the hell is she talking about?<\/dialogue>\n    <scene_description>Music swells from the restaurant .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Tell Semyon the baby I delivered on Christmas Eve is his daughter.<\/dialogue>\n    <scene_description>Kirill and Nikolai stop . A swell of laughter from the restaurant . Anna is about to continue but Nikolai steps forward and places two fingers on Anna 's lips to stop her from saying anymore . Anna tears his hands from her mouth . At the same time Kirill yells in Russian .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>What did she say?!<\/dialogue>\n    <scene_description>Anna is terrified but angry too . She yells .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>When he raped her she was a virgin. Then they gave her pills. Semyon has to be the father!<\/dialogue>\n    <scene_description>Kirill suddenly goes for her over the bonnet of the car .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>. -RRB- She's a civilian!<\/dialogue>\n    <scene_description>Kirill pushes Anna up against the car , but she fights him .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>She was fourteen! She was a child!<\/dialogue>\n    <scene_description>Kirill slaps Anna hard . Nikolai grabs Kirill and pulls him away .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>You do n't use my father's name! You do n't say that filth about him.<\/dialogue>\n    <scene_description>He goes for Anna again , and this time Nikolai shoves Kirill to the wet ground . He looks up at Nikolai and slowly gets to his feet . He wipes his hands then stares into Nikolai 's eyes .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Do n't even look at her any more.<\/dialogue>\n    <scene_description>Headlights from a passing car sweep the scene .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>That's an order.<\/dialogue>\n    <scene_description>Nikolai peers at Anna for a moment . Anna 's voice is defiant but cracking with fear .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Tell him what I said.<\/dialogue>\n    <scene_description>Nikolai has taken what Anna said on board . He speaks softly .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>There is nothing to tell. Slaves give birth to slaves.<\/dialogue>\n    <scene_description>Kirill yells .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>Come on Nikolai!<\/dialogue>\n    <scene_description>He turns to Anna .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And if you open your mouth again, I'll tell my driver to stick his cock inside it! Understand? Maybe that's what you want!<\/dialogue>\n    <scene_description>He offers the lights of the restaurant to her as a vicious invitation .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You want to come in?! Maybe we all get to fuck you.<\/dialogue>\n    <scene_description>Anna stares back . Nikolai peers at her for a moment before grabbing Kirill and pulling him away towards the restaurant .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRANS-SIBERIAN RESTAURANT. KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>The place is winding up . Chefs and waiters are cleaning surfaces and dishes . The only still point is Semyon , who is cutting and wrapping the birthday cake in small parcels of golden paper . He works intensely and delicately at the back of the kitchen . Nikolai and Kirill enter . Kirill swigs a half - drunk glass of wine .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>That girl you fucked in front of me. you remember her? The Ukrainian bitch?<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>KIRILL<\/character>\n    <dialogue>So they kick down the door. These are ordinary fucking police. They ask for her by name and they take her away. Some fucking punter must have given them her name. What gives the police the right to take our women, huh?<\/dialogue>\n    <scene_description>Semyon shoots Kirill a hard look : he 's talking too much and too loudly . Kirill ignores the look .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hey Papa, I never seen so many old people in one place. Whose party is it out there? The angel of death?<\/dialogue>\n    <character>SEMYON<\/character>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>She is one hundred years old.<\/dialogue>\n    <scene_description>Semyon works on for a moment then glances at Kirill .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Kirill, go down into the cellar and bring up some brandy. Twelve bottles.<\/dialogue>\n    <scene_description>Kirill turns to leave .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>Come on, Nikolai, help me.<\/dialogue>\n    <character>SEMYON<\/character>\n    <dialogue>No. He stays here. I want to talk business.<\/dialogue>\n    <scene_description>A confused pause . Kirill looks from Nikolai to his father .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>What business?<\/dialogue>\n    <scene_description>A pause as Kirill suddenly senses his exclusion .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Papa, what business? His business is my business.<\/dialogue>\n    <scene_description>Semyon stares at Kirill and Kirill knows the look .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>Go to the cellar Kirill. And take your time.<\/dialogue>\n    <scene_description>Kirill hesitates . He is angry as hell but too scared of his father 's gaze to say anything . Finally he turns fast and departs , slamming his open hand against the door as he goes . Semyon waits a moment before returning to the business of cutting the cake . Finally .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Did you deal with the old man?<\/dialogue>\n    <scene_description>Nikolai nods . A pause . Semyon looks up and fixes Nikolai with a stare .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>It's time you joined us.<\/dialogue>\n    <scene_description>A long moment . The thing Nikolai has been working for has finally happened . There seems to be little joy .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>Thank you. Papa.<\/dialogue>\n    <scene_description>Semyon returns to his work . Nikolai hesitates .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What shall I tell Kirill?<\/dialogue>\n    <scene_description>Semyon continues with the cake , unconcerned .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>Tell him I changed my mind about the brandy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRANS-SIBERIAN RESTAURANT. CELLAR - NIGHT<\/stage_direction>\n    <scene_description>The cellar is half lit , the arched walls lined with crates of wine . Flour , grease and potatoes are stored here . As Nikolai walks down the steps into the gloom , he hears Kirill singing a Russian folk song to himself as he drags a case of brandy across the cellar floor . Kirill has already opened a bottle of brandy and takes a long swig as Nikolai joins him . He grins as he gestures at the brandy .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>My dad swapped a little Georgian girl for this stuff.<\/dialogue>\n    <scene_description>Nikolai sits down on a crate , rests his head against the wall . Kirill joins him and swigs some more .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hey, do n't feel bad. What happened up there is just how he is. He plays people against each other. That's all. I realize more and more what he's like. Here, drink to the Georgian girl.<\/dialogue>\n    <scene_description>Kirill offers the bottle to Nikolai but he refuses .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What? I drink alone now.<\/dialogue>\n    <scene_description>Nikolai decides to bite the bullet , get this news over with .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>He offered me stars. I accepted them.<\/dialogue>\n    <scene_description>A long pause . This is what Kirill wanted , but now it feels like a stab in the back . Finally Kirill swallows a huge swig of brandy then turns awkwardly to hug Nikolai . He squeezes him hard for a long time then shoves him away .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( lying . )<\/parenthetical>\n    <dialogue>. -RRB- You think I did n't know already? He told me before. It was my fucking idea. He said there are a lot of things I have to teach you.<\/dialogue>\n    <scene_description>Nikolai nods . Kirill gets to his feet .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Some stuff will take a long time. I've been protecting you until now.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>KIRILL<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You think I do n't know stuff you do n't know? I am vor by birth. The stars are a birthmark for me.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>I know, Kirill.<\/dialogue>\n    <scene_description>Kirill is about to fly into a rage but Nikolai gets to his feet .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>Where the fuck are you going? We've got to celebrate. Help me with these bottles.<\/dialogue>\n    <scene_description>Nikolai heads for the steps .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>Your dad do n't need the bottles any more.<\/dialogue>\n    <scene_description>As Nikolai departs Kirill calls after him .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>Hey! We're still partners, right? Thunder and lightning!<\/dialogue>\n    <scene_description>Nikolai climbs the steps . Kirill is left to swig his brandy and stare into the darkness . He wipes his eyes angrily with his sleeve .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRANS-SIBERIAN RESTAURANT. TWO DAYS LATER - NIGHT<\/stage_direction>\n    <scene_description>Sweet Russian choral music covers the next four scenes . The street outside the restaurant is now flooding with rain . A Daimler and a Bentley are already parked . A large SUV pulls up and a hard - looking Russian man in his sixties -LRB- VALERY -RRB- is ushered from the car by bodyguards in suits and shades . He is greeted by a darker - looking man in his fifties -LRB- THE GYPSY -RRB- who has a fur coat around his shoulders . Semyon is waiting on the doorstep , dressed in a fine dark suit .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRANS-SIBERIAN RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>The curtains are drawn against the rainy light . The Gypsy , Valery , Semyon and TWO OTHER RUSSIAN MEN are sitting in a line behind a restaurant table , like a judging panel . After a moment Nikolai enters , dressed in suit and tie for the biggest interview of his life . The vory behind the table greet him . Then Nikolai takes off his jacket and removes his tie . He then takes off his shirt , to reveal that his upper body is decorated with elaborate tattoos -LRB- details to follow -RRB- . He carefully places his shirt over the chair then sits down . The panel of the vory study his body , the Gypsy pushing a candle across the table to better illuminate the detail of the tattoos . Only after the men have studied the tattoos does the interview begin . The following dialogue should not be translated , and can be cut around to suggest a long and grueling interview .<\/scene_description>\n    <character>VALERY<\/character>\n    <dialogue>We can see that you were in prison in Siberia. And that you were a thief.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>My father was a government worker. He fixed the cars of officials. I began by selling the spare parts when I was fifteen.<\/dialogue>\n    <character>VALERY<\/character>\n    <dialogue>You have no forced tattoos?<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>None.<\/dialogue>\n    <character>GYPSY<\/character>\n    <dialogue>You were not co - operative?<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>I spent two years in the punishment block.<\/dialogue>\n    <character>VALERY<\/character>\n    <dialogue>You went through the Crosses in St. Petersburg?<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>I was in solitary confinement fifteen times. I was called ` The Stump' because they could n't shift me.<\/dialogue>\n    <character>VALERY<\/character>\n    <dialogue>Your father was a bitch and a weak fucker for working with the Government, that's right is n't it?<\/dialogue>\n    <scene_description>Nikolai flickers a little .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>That's right. My father means nothing to me. My Mother.<\/dialogue>\n    <character>GYPSY<\/character>\n    <dialogue>You have no mother. She was a whore anyway.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>Yes. I have no mother and no father. There is only the code, the vory v zakone code which I have always followed.<\/dialogue>\n    <character>VALERY<\/character>\n    <dialogue>That is why there is an empty place above your heart. Where the stars will go. And why there is an empty place on your knees.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>I am dead already. I died when I was fifteen. Now I live in the zone all the time.<\/dialogue>\n    <character>GYPSY<\/character>\n    <dialogue>You have never worked for the government? Any government?<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>I have lived off Albanians and Georgians. I steal from them within the law.<\/dialogue>\n    <scene_description>The questions and answers are delivered with great solemnity , making the ceremony feel almost religious . Candles burn , the men all sip water . Semyon is silent throughout but listens attentively . Towards the end of the interview there is the ghost of a smile on the Gypsy 's face and this pleases Semyon .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRANS-SIBERIAN RESTAURANT. REAR ENTRANCE - NIGHT<\/stage_direction>\n    <scene_description>A wizened old Russian man -LRB- THE TATTOOIST -RRB- arrives at the kitchen door , carrying a battered leather case . The kitchen door is opened as he arrives and Semyon greets him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRANS-SIBERIAN RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>The choral music continues as we see the old man opening his case and pulling out tattooing equipment . Nikolai is sitting in a banquette at the back , wearing only his underpants . We circle Nikolai as the tattooist begins to work on his knees , preparing Nikolai 's knee caps for the tattoos . The needle bites at Nikolai 's skin as the old tattooist wipes away the blood . Then we see the needle working on the empty spaces above Nikolai 's heart , tattooing the star symbol . Nikolai now has a star tattoo on each knee and two eight - pointed stars on his chest . He is now a member of the vory v zakone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELEN'S HOUSE. ANNA'S BEDROOM - MORNING<\/stage_direction>\n    <scene_description>Anna is lying awake , her curtains drawn against the daylight . Helen knocks and enters with a cup of tea , just as in the opening scenes . Anna sits up .<\/scene_description>\n    <character>HELEN<\/character>\n    <parenthetical>( almost accusing . )<\/parenthetical>\n    <dialogue>Have you slept at all?<\/dialogue>\n    <scene_description>Anna does n't answer . Helen looks anxious as she peeks out of the curtains .<\/scene_description>\n    <character>HELEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I tried to get hold of Stepan for you.<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>HELEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>He's usually either at home or at his sisters. But she has n't heard from him at all.<\/dialogue>\n    <scene_description>Helen is trying to hide her anxiety but Anna sees it .<\/scene_description>\n    <character>HELEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>He did spit in that horrible man's face.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I do n't think the driver would do anything to Stepan.<\/dialogue>\n    <scene_description>Helen knows Anna well , senses some flicker of attraction .<\/scene_description>\n    <character>HELEN<\/character>\n    <dialogue>How do you know what he would do?<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>HELEN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You have n't spoken to him since, have you?<\/dialogue>\n    <scene_description>Anna does n't answer and Helen 's anger sparks . She leaves and slams the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TURKISH BATHS - DAY<\/stage_direction>\n    <scene_description>We are in St. Pancras , North London . More rain . Ozim is waiting nervously , blowing into his hands against the cold . The Turkish bath building is a Victorian red - brick edifice . Nikolai pulls up in his Mercedes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TURKISH BATHS. CHANGING ROOM - DAY<\/stage_direction>\n    <scene_description>Ozim and Nikolai are undressing . The place is deserted apart from an OLD TURKISH BATH - HOUSE ATTENDANT who is distributing towels . Ozim is unbuttoning his shirt .<\/scene_description>\n    <character>OZIM<\/character>\n    <dialogue>Semyon recommends these places for business meetings because you can see what tattoos a man has.<\/dialogue>\n    <scene_description>Nikolai is pulling off his shirt and Ozim reacts to the sight of the fresh eight - pointed star tattoos . Ozim chuckles .<\/scene_description>\n    <character>OZIM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Come on. We have a lot to get through. Let's cook.<\/dialogue>\n    <scene_description>Ozim disappears into a steam room , naked . Nikolai watches him go , a private agenda bubbling beneath the surface .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TURKISH BATHS. STEAM ROOM - DAY<\/stage_direction>\n    <scene_description>Ozim and Nikolai sit side by side , sweating . There is no one else in the steam room .<\/scene_description>\n    <character>OZIM<\/character>\n    <dialogue>Our lines to Kabul get broken every two or three weeks.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>How come?<\/dialogue>\n    <character>OZIM<\/character>\n    <dialogue>The Americans. Fucking NATO.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Valery Nabokov imports flowers and television sets into this country. The television sets are one in ten. That means one in ten have cargo inside them.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>Where do they dock?<\/dialogue>\n    <scene_description>Ozim grins .<\/scene_description>\n    <character>OZIM<\/character>\n    <dialogue>I will tell you when I return from the bathroom.<\/dialogue>\n    <scene_description>Ozim chuckles as he leaves in a swirl of steam . Nikolai leans back against the cold wall , his tattoo almost the only visible thing through the steam .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TURKISH BATHS. CHANGING ROOM - DAY<\/stage_direction>\n    <scene_description>Ozim is dressing frantically , his face suddenly betraying his real anxiety . He checks his watch as he puts it back on his wrist . After a moment the two Chechen brothers who killed Ekrem enter the changing room . They swagger up to Ozim . He gulps down his fear .<\/scene_description>\n    <character>OZIM<\/character>\n    <dialogue>Kirill is in there.<\/dialogue>\n    <scene_description>Ozim slaps his chest to denote the place where they will see the vor tattoo . They head towards the steam room as Ozim grabs his shoes and hurries towards the exit .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TURKISH BATHS. STEAM ROOM - DAY<\/stage_direction>\n    <scene_description>Nikolai is sweating hard , staring at the ceiling . The steam room door opens but the steam is now so thick he ca n't see who has entered .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>Ozim?<\/dialogue>\n    <scene_description>He sees a shape . a clothed body . He realizes immediately . Suddenly one of the brothers is upon him and has him in a head lock . He strokes the tattoo on Nikolai 's chest as if this were confirmation of who this is . He grunts an instruction and his brother emerges through the steam with an open razor . Nikolai is naked , alone . Suddenly he kicks the razor guy in the balls and uses a martial arts chop to free himself from the other brother . In the steam there are boots and bare feet and knees and fingers flying . Nikolai manages to gouge the eye of one brother and throw another against the wall . He obviously has serious combat training but the brothers are strong and angry . Suddenly Nikolai is slashed across the arm by the razor and blood oozes into the steam and hot water . All the men are slipping and falling on the blood and hot water . Another slash of the razor cuts his thigh open . All the men are now covered in blood and Nikolai , with a final surge of strength , manages to cripple one brother with a blow to the throat , and the other with an elbow to the temple . As the Chechens slump to the floor , Nikolai fumbles in the bloody water for the razor , finds it , kneels , and slashes their throats . He lurches to his feet , drops the razor , and staggers out of the steam room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAFALGAR HOSPITAL. A AND E DEPARTMENT. CANTEEN - DAY<\/stage_direction>\n    <scene_description>Aziz and a group of a dozen doctors and nurses are eating lunch , some in party hats , some drinking red wine out of paper cups . Aziz seems anxious , distracted . Anna enters in a hurry , locates Aziz and joins him .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>I'm so late. Sorry.<\/dialogue>\n    <scene_description>She looks around the ` party ' with horror .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oh God.<\/dialogue>\n    <character>AZIZ<\/character>\n    <dialogue>It's fine, although I think I've had enough.<\/dialogue>\n    <scene_description>He smiles and downs his glass of wine in one go .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Paul, on my way here I made a decision.<\/dialogue>\n    <character>AZIZ<\/character>\n    <parenthetical>( mock horror . )<\/parenthetical>\n    <dialogue>You ca n't possibly dump me. We're not even going out.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Take my hand.<\/dialogue>\n    <scene_description>Aziz , confused , takes her hand .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Feel my pulse.<\/dialogue>\n    <scene_description>Aziz feels Anna 's pulse . Anna takes a deep breath .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm going to apply to adopt Christine.<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Can you feel that?<\/dialogue>\n    <scene_description>Aziz smiles .<\/scene_description>\n    <character>AZIZ<\/character>\n    <dialogue>Yes, I can.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAFALGAR HOSPITAL. A AND E DEPARTMENT - DAY<\/stage_direction>\n    <scene_description>Nikolai is being hurried down the corridor , his face covered with an oxygen mask . He is covered with a surgical gown which is covered in blood . His arm flops out from under the covers as the paramedics rush him into the hospital . Anna is walking in the opposite direction . Then , as Nikolai 's trolley passes , Anna sees Nikolai 's arm , flopping from under the covers . She sees the eagle tattoo on the back of his hand . Anna freezes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAFALGAR HOSPITAL. WARD. NIKOLAI'S ROOM - DAY<\/stage_direction>\n    <scene_description>Nikolai is conscious in bed , attached to a single drip . His wounds have been stitched up . A doctor and two nurses are settling Nikolai 's vital signs , moving around him , checking his temperature . Finally they clear the bed and through the glass of the room we see Anna , standing outside , staring in at Nikolai .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAFALGAR HOSPITAL. WARD. NIKOLAI'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Nikolai is peering through half - opened eyes . The last nurse is checking his vital signs . Then Anna enters . The nurse stops work .<\/scene_description>\n    <character>NURSE<\/character>\n    <dialogue>Anna?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Is it OK to talk to him for a minute?<\/dialogue>\n    <scene_description>The nurse hesitates .<\/scene_description>\n    <character>NURSE<\/character>\n    <dialogue>He's still in trauma. Do you know him?<\/dialogue>\n    <scene_description>Anna glances at Nikolai who is rousing himself .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>The nurse is reluctant but sees Anna 's fierce stare and finally leaves . After she has gone Nikolai stirs , focuses on her face .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>I thought you did birth.<\/dialogue>\n    <scene_description>Nikolai smiles , but Anna is trying hard to even out her fear and anger .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>My uncle.<\/dialogue>\n    <scene_description>Nikolai tries to sit up and registers pain .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>the one who spat in your face. He's disappeared.<\/dialogue>\n    <scene_description>A pause . Nikolai gasps in pain as he raises himself up . Anna sees the wounds on his arms and glimpses the tattoos on his chest , scaring her even more .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>If we do n't hear from him soon we're going to the police.<\/dialogue>\n    <scene_description>Nikolai reaches for a bottle of water and manages to take a swig . Anna is impatient for a reaction .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Do you know where he is?<\/dialogue>\n    <scene_description>A pause . Nikolai finishes the bottle of water in one thirsty swig . Finally .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>He's in Scotland. In Edinburgh. In a five - star hotel.<\/dialogue>\n    <scene_description>Anna is locating the door in case she has to flee as Nikolai swings his legs out of the bed to stretch his painful limbs .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Edinburgh?<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>I'm going to need some clothes. I arrived here without any. Can you get me some?<\/dialogue>\n    <scene_description>Anna does n't budge .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I ca n't walk out of here naked.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>You ca n't walk out of here because you're attached to a drip. Explain Edinburgh.<\/dialogue>\n    <scene_description>Nikolai sighs , sits back down on the bed . He finally speaks softly .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>Your uncle knew too much.<\/dialogue>\n    <scene_description>Nikolai shrugs .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I was told to get rid of him. I was meant to send him to heaven with a bullet in his head. Instead I sent him to Edinburgh. With a first - class ticket.<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>He is of the old school. He understood the situation. Exile or death. Edinburgh was his idea. He said they throw a great party at New Year. And he said it was a good excuse to get away from his family.<\/dialogue>\n    <scene_description>Nikolai smiles at Anna .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So. just a pair of jeans and a T - shirt. A jacket. And some shoes.<\/dialogue>\n    <scene_description>Anna still looks disbelieving . Nikolai sighs .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>The hotel is called the Caledonian.<\/dialogue>\n    <scene_description>Without a pause Anna leaves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAFALGAR HOSPITAL. S.C.B.U. CHRISTINE'S PRIVATE ROOM - NIGHT<\/stage_direction>\n    <scene_description>Anna is sitting on the bed beside Christine 's crib . Christine is asleep . Anna is speaking into her cell phone , trying to keep her voice down .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>. no, I could n't get much sense out of him, he was drunk.<\/dialogue>\n    <scene_description>A pause . Anna looks exasperated .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Mum, I do n't want to tell you how I found him because I do n't want another argument. I just wanted you to know he's definitely safe.<\/dialogue>\n    <scene_description>Anna listens with weariness .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>No, we ca n't tonight. I'm working. I need the money.<\/dialogue>\n    <parenthetical>( a pause . )<\/parenthetical>\n    <dialogue>For a place of my own, for Christ's sake!<\/dialogue>\n    <scene_description>She listens with growing anger until she finally cuts the call without a word . Christine stirs but does n't wake . She leans back against the wall , already regretful .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAFALGAR HOSPITAL.    WARD OUTSIDE NIKOLAI'S ROOM  NEXT MORNING.<\/stage_direction>\n    <scene_description>The ward is busy as Yuri , the police specialist from the Russian desk , enters wearing a heavy overcoat . He looks all around and approaches a nurse .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAFALGAR HOSPITAL. WARD. NIKOLAI'S ROOM - MORNING<\/stage_direction>\n    <scene_description>Nikolai 's drip is being removed by A NURSE . Nikolai is examining his healing wounds . Then through the glass of the door he notices Yuri , speaking to a nurse , and obviously recognizes him . The nurse points Yuri in Nikolai 's direction .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAFALGAR HOSPITAL. A FIRE ESCAPE LANDING - MORNING<\/stage_direction>\n    <scene_description>It 's cold and the wind is blowing . We see rooftops behind them . Yuri is lighting Nikolai 's cigarette . Nikolai is wearing Yuri 's overcoat loosely over his hospital gown . Yuri lights his own cigarette and they smoke in silence for a moment .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>You got my message?<\/dialogue>\n    <scene_description>Yuri chuckles .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>Using a dead body to file a progress report must be against FSB regulations.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>It's called improvisation.<\/dialogue>\n    <character>YURI<\/character>\n    <dialogue>You've been improvising quite a lot lately. And taking risks.<\/dialogue>\n    <scene_description>He glances at the cuts on Nikolai 's hands .<\/scene_description>\n    <character>YURI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>Maybe too many.<\/dialogue>\n    <scene_description>Nikolai suddenly glares at Yuri .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>You did n't come here to give me flowers.<\/dialogue>\n    <scene_description>Yuri shakes his head and prepares to deliver bad news . Nikolai turns as if to go back inside . Yuri grabs Nikolai 's arm and speaks formally .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>In light of what has happened to you.<\/dialogue>\n    <scene_description>Nikolai shakes his head wearily .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>Ah, Christ.<\/dialogue>\n    <character>YURI<\/character>\n    <dialogue>and in light of other violent incidents associated with you, the Russian desk at Scotland Yard have made an official request to the Russian embassy that your undercover operation in London be terminated.<\/dialogue>\n    <scene_description>Nikolai does n't react for a moment .<\/scene_description>\n    <character>YURI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>You have gone beyond what was agreed.<\/dialogue>\n    <scene_description>With his cigarette dangling from his mouth Nikolai begins to unbutton his overcoat .<\/scene_description>\n    <character>YURI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>In my opinion you should see this as good news. You've been in the zone far too long.<\/dialogue>\n    <scene_description>Nikolai turns and slowly pulls open the overcoat and the thin hospital gown beneath it . He reveals the eight - pointed star tattoos on his chest and Yuri reacts with absolute astonishment .<\/scene_description>\n    <character>YURI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>My God.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>If they terminate the operation now, they will be wasting this.<\/dialogue>\n    <scene_description>A pause . Yuri looks shocked and slightly horrified . Nikolai too suddenly seems almost ashamed that he has got this far . After a long silence Nikolai mumbles .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You tell the Russian desk you saw stars over my heart. OK? Tell them I'm through the door.<\/dialogue>\n    <scene_description>A pause . Yuri is still overwhelmed .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>They are bound to ask. who did you kill?<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>Tell them I only killed myself.<\/dialogue>\n    <scene_description>A pause . Yuri is humbled . They share a moment of understanding as they smoke . Finally .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And you can tell them I'm going to replace Semyon at the head of the London organization.<\/dialogue>\n    <scene_description>Yuri laughs .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>What drugs are they giving you? Maybe it's the anesthetic speaking.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>I need you to take Semyon out of the picture. I want you to arrest him.<\/dialogue>\n    <scene_description>Nikolai lights another cigarette from the stub of the one he is smoking . Yuri is incredulous .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>Arrest him for what?<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>Rape.<\/dialogue>\n    <scene_description>Yuri begins to chuckle .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>The girl was fourteen.<\/dialogue>\n    <character>YURI<\/character>\n    <parenthetical>( incredulous . )<\/parenthetical>\n    <dialogue>And of course, she will testify.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>She does n't have to. She's dead.<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>But she had Semyon's baby. If you prove the baby is his and prove the girl was under age when the baby was conceived, that's statutory rape.<\/dialogue>\n    <scene_description>A pause . Yuri begins it think it through .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>All you need is the baby and some of Semyon's DNA. For poetic reasons I suggest you take his blood.<\/dialogue>\n    <scene_description>Yuri peers at Nikolai with awe . A long pause . Finally Yuri smiles .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>You intrigue me.<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>YURI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>If we had never had this conversation they would have sent you home. You could have spent the Spring in the mountains. Riding your bicycle to your office every morning through fields of flowers.<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>YURI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Why stay?<\/dialogue>\n    <scene_description>Nikolai reacts but does n't answer . A pause .<\/scene_description>\n    <character>YURI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You keep in touch.<\/dialogue>\n    <scene_description>Yuri studies Nikolai .<\/scene_description>\n    <character>YURI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>And take care, Mikhail.<\/dialogue>\n    <scene_description>Yuri tenderly takes his overcoat from Nikolai 's shoulders and goes back through the fire - escape door . Nikolai is left cold and exposed in his thin gown .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAFALGAR HOSPITAL. WARD. NIKOLAI'S ROOM - DAY<\/stage_direction>\n    <scene_description>Nikolai is playing chess against himself , sitting on the bed , trying hard to concentrate . There is a knock and Anna enters , carrying an old shopping bag . She takes out a worn pair of jeans and a T - shirt , a denim jacket and a battered pair of shoes . Nikolai smiles .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>How is Uncle Stepan?<\/dialogue>\n    <scene_description>Instead of answering , Anna lays the clothes on the bed .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( deadpan . )<\/parenthetical>\n    <dialogue>They're from the morgue. They belonged to someone who died yesterday.<\/dialogue>\n    <scene_description>Nikolai picks up the jeans and examines them . They 're way too big .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I ca n't believe I'm doing a favor for someone just because he had the decency not to murder a member of my family.<\/dialogue>\n    <scene_description>Nikolai smiles but Anna turns to leave .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>Hey. wait a minute.<\/dialogue>\n    <scene_description>Nikolai steps behind the bed screen to pull on the jeans . He speaks from behind the screen .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Is your bike still working OK?<\/dialogue>\n    <scene_description>A pause . Anna considers leaving but hesitates .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Yeah. It's OK.<\/dialogue>\n    <scene_description>Nikolai steps out from behind the screen , the baggy jeans tightly belted , his chest bare . For the first time Anna sees the extent of Nikolai 's body tattoos and reacts . Nikolai sees her reaction to the tattoos and does n't care for it . He grabs the T - shirt and pulls it on .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>Did you get in touch with Tatiana's family in Russia?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>Good.<\/dialogue>\n    <scene_description>Nikolai is now dressed , his cut and tattooed arms still showing .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So the baby's still in England.<\/dialogue>\n    <scene_description>A pause . Anna nods .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>She's staying here for good.<\/dialogue>\n    <scene_description>They peer at each other .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Why do you care?<\/dialogue>\n    <scene_description>Nikolai shrugs and grabs the shoes .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Stepan said you were kind to him. He said you were risking your own life to keep him alive.<\/dialogue>\n    <scene_description>Nikolai laughs .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>Yeah, and all the thanks I get is a pair of dead man's shoes.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>* I listen to you. *<\/dialogue>\n    <character>ANNA                                    *<\/character>\n    <parenthetical>( sarcastic . )<\/parenthetical>\n    <dialogue>* Do you really? *<\/dialogue>\n    <character>NIKOLAI                                 *<\/character>\n    <dialogue>Yes. About Semyon and the baby. * Thank you. *<\/dialogue>\n    <character>ANNA                                      *<\/character>\n    <parenthetical>( still wary . )<\/parenthetical>\n    <dialogue>* You thank me for that? *<\/dialogue>\n    <scene_description>Their eyes lock across a huge divide . He rubs the tattoos on his arm .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( indicating tattoos . )<\/parenthetical>\n    <dialogue>* These things are just marks on the skin, you know?<\/dialogue>\n    <scene_description>Anna nods . An awkward pause , then Anna turns and leaves quickly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRANS-SIBERIAN RESTAURANT - DAY<\/stage_direction>\n    <scene_description>The restaurant is filled with balloons of every color , all over the floor and bouncing off the tables . A large ` Happy New Year ' banner is hanging from the wall . Kirill is sitting on the floor amongst the balloons , blowing up another one . Maria , Semyon 's little granddaughter , runs in to the restaurant and stops to stare at Kirill . He begins to inflate another balloon then stops .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>What are you looking at?<\/dialogue>\n    <character>MARIA<\/character>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>You.<\/dialogue>\n    <scene_description>Maria comes to him and take a balloon . She tries to blow it up but fails . Kirill smiles and blows it up for her .<\/scene_description>\n    <character>MARIA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What were you and Grandpa shouting about last night?<\/dialogue>\n    <character>KIRILL<\/character>\n    <dialogue>Nothing, baby.<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>It sounded like something.<\/dialogue>\n    <scene_description>Kirill takes a deep breath to blow a balloon then stops and looks at Maria .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>Someone I know got hurt and I blamed Grandpa.<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>Did you fight each other? I heard banging.<\/dialogue>\n    <character>KIRILL<\/character>\n    <dialogue>No. It's not a fight if one of you does n't fight back.<\/dialogue>\n    <scene_description>A pause . Kirill smiles . We see slight abrasions .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So, today I do as I am told.<\/dialogue>\n    <scene_description>She nods and Kirill blows another balloon . At that moment Kirill sees on the security monitor behind the bar that a police car is pulling up outside the restaurant . His face clouds as another pulls up beside it .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Maria. Go upstairs.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRANS-SIBERIAN RESTAURANT - DAY<\/stage_direction>\n    <scene_description>Semyon sits at a bare table , opposite Yuri from the Russian desk . A uniformed officer stands nearby , and there is a police doctor with a medical bag sitting at the next table , waiting . The whole scene is rendered surreal by all the balloons which bounce around them . Semyon is in full charming old man mode .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>You'll have a drink, Yuri.<\/dialogue>\n    <scene_description>He is half on his feet .<\/scene_description>\n    <character>YURI<\/character>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>I do n't drink on duty.<\/dialogue>\n    <character>SEMYON<\/character>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>Sometimes I do n't believe you are really Russian.<\/dialogue>\n    <character>YURI<\/character>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>I've told you, I am half Russian.<\/dialogue>\n    <character>SEMYON<\/character>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>Then have half a drink.<\/dialogue>\n    <scene_description>Yuri shakes his head . Semyon goes to the optic and helps himself to a vodka .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So what is all this nonsense?<\/dialogue>\n    <character>YURI<\/character>\n    <dialogue>We just need a blood sample.<\/dialogue>\n    <character>SEMYON<\/character>\n    <dialogue>For what?<\/dialogue>\n    <character>YURI<\/character>\n    <dialogue>We can take the sample right now voluntarily or I can get an order from the court. It's up to you.<\/dialogue>\n    <scene_description>Semyon glances at the doctor and chuckles .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>He sits there like a vampire.<\/dialogue>\n    <character>YURI<\/character>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>What, you are afraid of needles, Semyon?<\/dialogue>\n    <scene_description>Semyon 's face hardens and he glares at Yuri .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>I am afraid of. conspiracies.<\/dialogue>\n    <scene_description>A pause . Yuri speaks softly .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>I will return tomorrow with a court order.<\/dialogue>\n    <scene_description>He gets to his feet .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>Wait. I've done nothing wrong.<\/dialogue>\n    <scene_description>Semyon begins to roll up his sleeve , revealing a long scroll of tattoos . Then a needle is being pushed into Semyon 's arm by the doctor . Semyon 's face does n't flicker . He stares into Yuri 's eyes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRANS-SIBERIAN RESTAURANT. KITCHEN - DAY<\/stage_direction>\n    <scene_description>Kirill is preparing food for the night 's festivities . Semyon enters and goes straight to the sink . He pulls off the plaster from his arm where the blood was taken and pours some vodka over the tiny puncture hole .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>What did they want with you, papa?<\/dialogue>\n    <character>SEMYON<\/character>\n    <dialogue>To poison me.<\/dialogue>\n    <scene_description>Semyon pours more vodka on the wound then takes a swig .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>They took blood from me with a needle. Probably the same needle they use for all the junkies and whores and blacks and queers.<\/dialogue>\n    <scene_description>He glares at Kirill as he rolls his sleeve down .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Now I probably have the fucking queer disease.<\/dialogue>\n    <scene_description>Kirill has his back turned , does n't react . Semyon sits heavily . Finally .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>Why would they want your blood, papa?<\/dialogue>\n    <scene_description>For the first time Semyon looks vulnerable and confused as he admits .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <scene_description>Kirill is surprised to see his father unsure . He peers at him .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Someone is ahead of me. I do n't like people ahead of me.<\/dialogue>\n    <scene_description>Kirill is now unnerved by Semyon 's quiet confusion . He watches as Semyon grabs at the bottle of vodka to drink . He speaks softly as he swigs .<\/scene_description>\n    <character>SEMYON<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>What the hell did that cocksucker want with my blood?<\/dialogue>\n    <scene_description>Kirill is reluctant to speak at first but eventually chances his arm .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>Maybe it's about the baby.<\/dialogue>\n    <character>SEMYON<\/character>\n    <parenthetical>( swigging . )<\/parenthetical>\n    <dialogue>What baby?<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>Some bitch was out there saying you were the father of a baby.<\/dialogue>\n    <scene_description>Semyon turns to Kirill , his face hardening .<\/scene_description>\n    <character>SEMYON<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <scene_description>Semyon approaches and Kirill gets scared .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>It was nothing. Just some bitch.<\/dialogue>\n    <character>SEMYON<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>KIRILL<\/character>\n    <dialogue>The woman from the hospital. The midwife.<\/dialogue>\n    <scene_description>Semyon stares into Kirill 's eyes and Kirill mistakes his frantic thought process for anger . Kirill backs away . Semyon is beginning to catch up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAFALGAR HOSPITAL - NIGHT<\/stage_direction>\n    <scene_description>The main entrance of the hospital is busy with visitors and staff . There is a ` Happy New Year ' banner across the entrance . In amongst the bustle of visitors we spy a young man with his collar turned up and a bunch of red roses in his hand . We then see that it is Kirill , entering the hospital .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAFALGAR HOSPITAL. CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>Anna is walking down a corridor with her crash helmet in her hand , heading for another shift .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAFALGAR HOSPITAL. ELEVATORS - NIGHT<\/stage_direction>\n    <scene_description>We are close on Kirill 's face as he studies a map of the hospital near the elevators . Anna comes down a stairwell and spots Kirill - she especially notices the roses - just as he gets into an elevator . The elevator doors close . Was it really him ? Anna is not sure . She frowns .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAFALGAR HOSPITAL. EMPTY CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>A door opens and Kirill steps into striped moonlight . Clamping the roses under his arm , he pulls a black zip - up sports bag from under his coat . After a brief dialogue with himself , he produces a half bottle of vodka and takes a swig . Then he hurries on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAFALGAR HOSPITAL. S.C.B.U. CHRISTINE'S PRIVATE ROOM - NIGHT<\/stage_direction>\n    <scene_description>Anna walks onto the ward in her uniform . She checks a few stats as she walks by various beds . She then glances over at Christine 's private room . She tiptoes into the room and goes to the crib . She finds it empty - except for a bunch of red roses . Outside the ward is now filling up with visitors . Babies cry , people laugh . Anna goes back out to the ward and calls to a nurse .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Sonya! Is someone bathing Christine?<\/dialogue>\n    <character>SONYA<\/character>\n    <dialogue>No. She's in her cot.<\/dialogue>\n    <character>ANNA<\/character>\n    <parenthetical>( calmly . )<\/parenthetical>\n    <dialogue>Well she's not. She's not.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAFALGAR HOSPITAL. CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>Anna runs at breakneck speed through the corridors .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAFALGAR HOSPITAL. CAR PARK - NIGHT<\/stage_direction>\n    <scene_description>Kirill is at the wheel of Nikolai 's Mercedes . He swigs from his bottle of vodka , which is now more than half empty . He fires the engine and reverses . A car passing by has to slam on its brakes . Kirill yells .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>Hey, you stupid fucker!<\/dialogue>\n    <scene_description>A horn blows . The passing car accelerates angrily by . Then we hear a baby crying . Kirill looks into the half darkness of the back seat and we see Kirill 's black sports bag , partially zipped up . Christine is crying inside it , her little grasping hand protruding past the zipper . Kirill speaks softly .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Be quiet baby. Quiet baby. It's OK.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAFALGAR HOSPITAL. WARD OUTSIDE NIKOLAI'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Anna flies out of Nikolai 's room and spots a nurse .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>What happened to the patient with the knife cuts? The Russian?<\/dialogue>\n    <character>NURSE<\/character>\n    <dialogue>We just discharged him. A couple of minutes ago.<\/dialogue>\n    <scene_description>Anna runs out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAFALGAR HOSPITAL. RECEPTION - NIGHT<\/stage_direction>\n    <scene_description>Anna runs fast down the corridor towards the hospital exit . She spots Nikolai ahead of her . She pushes past a couple of drunks and flies at him .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Where have they taken Christine?!<\/dialogue>\n    <scene_description>Nikolai reacts .<\/scene_description>\n    <character>ANNA<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You bastards! Where will he take her?! Tell me!<\/dialogue>\n    <scene_description>People back away as Nikolai grabs Anna 's arms and holds her still .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>What are you talking about?!<\/dialogue>\n    <scene_description>Anna studies Nikolai 's face and sees his genuine confusion . She calms down a little .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Kirill. Kirill has taken Christine. I saw him here! I thought he was coming to see you, but he was n't, was he?<\/dialogue>\n    <scene_description>Nikolai curses under his breath and thinks fast .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>You brought your bike?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NINE ELMS. ABANDONED DOCK - NIGHT<\/stage_direction>\n    <scene_description>The same dockside where Nikolai dumped Soyka and recommended this as the best place to dispose of a body . Kirill pulls up slowly in Nikolai 's Mercedes . The car is parked for a long time before finally the headlights are switched off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAFALGAR HOSPITAL. MATERNITY UNIT - NIGHT<\/stage_direction>\n    <scene_description>Nikolai and Anna race to Anna 's motorbike .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>I'll drive.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I'll drive.<\/dialogue>\n    <scene_description>Anna and Nikolai leap aboard the bike and it starts first time . With Nikolai riding pillion , they roar away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LONDON STREET - NIGHT<\/stage_direction>\n    <scene_description>Anna and Nikolai ride through London streets .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NINE ELMS. ABANDONED DOCK - NIGHT<\/stage_direction>\n    <scene_description>On the edge of the dockside , Kirill is kneeling with the zip - up bag before him . Suddenly fireworks begin to burst over the Thames . It is the stroke of midnight . Kirill unzips the bag . When he looks inside Christine stops crying . He peers at her , wiping away tears .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>She's a little girl, Papa, a little sweet fucking girl.<\/dialogue>\n    <scene_description>Kirill sobs then Christine cries .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Shush, shush.<\/dialogue>\n    <scene_description>Kirill lifts her out of the bag and holds her close to him , fireworks still illuminating the London skyline . He looks down at the freezing cold water , utterly confused . He whispers .<\/scene_description>\n    <character>KIRILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>I'm sorry, my little sister.<\/dialogue>\n    <scene_description>For a moment we believe he is going to throw her into the water . Instead he begins to sing a lullaby to her and her crying stops . Then we see a single light behind him . In a firework flash we see Nikolai and Anna climbing off the bike . They approach cautiously . Kirill stares at the man he loves . A pause . Christine begins to cry .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Kirill, let me take the baby.<\/dialogue>\n    <character>KIRILL<\/character>\n    <dialogue>You stay where you are.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>She's cold, Kirill.<\/dialogue>\n    <scene_description>Kirill suddenly screams as another barrage of fireworks explodes . Nikolai does n't move . Kirill is dangerously close to the edge of the dock . Maybe he 'll throw himself in too .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>Kirill, a vor does n't kill little babies.<\/dialogue>\n    <scene_description>Kirill is motionless .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Something like this would be bad for all of us. Your dad has gone too far, Kirill.<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>It's our turn now.<\/dialogue>\n    <scene_description>Nikolai steps forward slowly . As he gets closer Kirill hugs the baby . Finally Nikolai reaches Kirill and hugs him . As he does he edges him away from the dockside . The three of them are locked in a long embrace . Nikolai emerges from the embrace with Christine in his arms . He quickly hands her to Anna who hugs her close . Kirill turns to Nikolai .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>I swear I did n't know my dad was setting you up.<\/dialogue>\n    <character>NIKOLAI<\/character>\n    <dialogue>He's going away. When he's gone the family business will be yours.<\/dialogue>\n    <scene_description>A pause .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>We can be partners again. Thunder and lightning, right?<\/dialogue>\n    <scene_description>Kirill smiles through his tears and nods .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Get into the car. I'll drive you home.<\/dialogue>\n    <scene_description>A pause . Kirill dries his eyes and heads for the car . Nikolai looks at Anna , who is hugging the baby . He waits a long time before realizing he must leave her .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You're OK, yeah?<\/dialogue>\n    <scene_description>Anna nods .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Who are you really? Why have you helped us?<\/dialogue>\n    <scene_description>Nikolai ca n't answer truthfully , though he longs to do so . There is a long pause before he manages to finds a suitable lie .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>How can I become King if the King is still in place?<\/dialogue>\n    <scene_description>A pause . He laughs . Anna studies him , unsure . More New Year fireworks explode over the river . Kirill yells from the car .<\/scene_description>\n    <character>KIRILL<\/character>\n    <dialogue>You come on, Nikolai! We're missing the fucking party of the year out there! Get here and drive!<\/dialogue>\n    <parenthetical>( in Russian . )<\/parenthetical>\n    <dialogue>That's a fucking order!<\/dialogue>\n    <scene_description>Nikolai and Anna peer at each other .<\/scene_description>\n    <character>NIKOLAI<\/character>\n    <dialogue>Maybe I can drive you somewhere?<\/dialogue>\n    <scene_description>She shakes her head .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>There's someone I can call. He'll come and fetch us.<\/dialogue>\n    <scene_description>Nikolai nods , not liking the information but hiding it . Nikolai comes close and gently uncovers Christine 's face . He smiles . Kirill is hooting the car horn . After a moment Nikolai and Anna kiss each other gently before Nikolai heads for the car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELEN'S HOUSE. KITCHEN - DAY<\/stage_direction>\n    <scene_description>A summer 's day . Anna , Helen and Uncle Stepan are preparing to eat Sunday lunch . Stepan is carving . The conversation is jovial as Anna and Helen bring dishes of food to the table . Then we hear a baby crying . Anna goes to a small crib and lifts a six - month - old Christine out . She hands her to Helen who hugs her . Over this happy scene we hear Tatiana in V.O. , a repeat of the first words we heard her say .<\/scene_description>\n    <character>TATIANA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>My name is Tatiana. My father died in the mines in my village, so he was already buried when he died.<\/dialogue>\n    <scene_description>Anna takes Christine back and takes her to the window to peer outside , staring across the park .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRANS-SIBERIAN RESTAURANT - SAME DAY<\/stage_direction>\n    <scene_description>Nikolai is sitting at a window table , alone , sipping vodka , staring back across the park . He peers out at ordinary life going on in the streets outside . Tatiana 's V.O. continues .<\/scene_description>\n    <character>TATIANA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>We were all buried there. Beneath the soil of Russia. That is why I left to find a better life.<\/dialogue>\n    <scene_description>Nikolai finishes his drink . THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Anna Khitrova, a British-Russian midwife at a London hospital, finds a Russian-language diary on the body of Tatiana, a 14-year-old girl who dies in childbirth. She also finds a card for the Trans-Siberian Restaurant, which is owned by Semyon, an old vor in the Russian mafia. Anna sets out to track down the girl's family so that she can find a home for the baby girl, and meets with Semyon, who offers to help. Anna's mother Helen does not discourage her, but Anna's Russian uncle Stepan, who claims he is a former KGB officer, urges caution. When Stepan translates Tatiana's diary, Anna comes to learn that Semyon had raped the girl after his son Kirill\u2019s failed attempt to do so (on account of his homosexuality), gotten her addicted to heroin, and forced her into prostitution. Ultimately, Anna realizes that the baby was fathered by Semyon. Semyon's driver, Nikolai Luzhin, also serves as the family \"cleaner\", removing evidence and dumping murdered bodies in the River Thames. Through Nikolai, Semyon, fearing prosecution, promises to give the location of the girl's family to Anna if she hands back the diary. Nikolai takes the diary and gives a location, but urges Anna to keep the baby in London. Semyon orders Nikolai to kill Stepan, who soon goes missing. As Nikolai's star rises within the vory, Semyon sponsors him as a full member, due in part to Nikolai's protection of Semyon's playboy son Kirill, who authorized an ill-advised hit on a rival Chechen vory leader with the help of a Turkish associate, Azim, and without Semyon's approval. Two Chechen hit men soon arrive in London seeking vengeance and kill Azim's mentally handicapped nephew, who also took part in the hit. Semyon hatches a plan to trick Nikolai into taking Kirill's place during a meeting at the baths with Azim. The Chechens attack, thinking Nikolai is Kirill, but Nikolai kills them both, ending up in the hospital with severe wounds. It is revealed that Nikolai is actually an FSB agent who has infiltrated the gang, working under license from the British Government. As part of his undercover duties, Nikolai was able to read Tatiana's diary before Semyon destroyed it, and hatches a plan with his handler to have Semyon arrested for statutory rape, with a paternity test of Tatiana's baby as evidence. Nikolai tells Anna that Stepan is safe, in a 5-star hotel in Edinburgh for protection. Semyon orders Kirill to kidnap the baby girl and kill her. However, as Kirill sits by the Thames working up the courage to throw the child in, Nikolai and Anna find him and persuade him to give the baby back. Nikolai and Kirill embrace as Nikolai tells him that his father is finished and they are now the bosses. Nikolai succeeds Semyon as boss of the organization and Anna gains custody of Tatiana's baby, whom she names Christine."}
{"movie_name":"Miller's Crossing_1990","imdb_id":"tt0100150","script":"<script>\n  <scene>\n    <stage_direction>FADE IN: CLOSE SHOT   A WHISKEY TUMBLER<\/stage_direction>\n    <scene_description>That sits on an oak side bar under a glowing green bankers lamp , as two ice cubes are dropped in . From elsewhere in the room :<\/scene_description>\n    <character>Man<\/character>\n    <parenthetical>( off . )<\/parenthetical>\n    <dialogue>I'm talkin' about friendship. I'm talkin' about character. I'm talkin' about - hell, Leo, I ai n't embarassed to use the word - I'm talkin' about ethics.<\/dialogue>\n    <scene_description>Whiskey is poured into the tumbler , filling it almost to the rim , as the offscreen man continues . You know I 'm a sporting man . I like to make the occasional bet . But I ai n't that sporting . THE SPEAKER A balding middle - aged man with a round , open face . He still wears his overcoat and sits in a leather chair in the dark room , illuminated by the offscreen glow of a desk lamp . This is Johnny Caspar . Behind him stands another man , harder looking , wearing an overcoat and hat and holding another hat - presumably Caspar 's . This is Bluepoiont Vance .<\/scene_description>\n    <character>Caspar<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>When I fix a fight, say - if I pay a three - to - one favorite to throw a goddamn fight - I figure I got a right to expect that fight to go off at three - to - one. But every time I lay a bet with this sonofabitch Bernie Bernheim, before I know it the odds is even up - or worse, I'm betting the short money.<\/dialogue>\n    <scene_description>Behind Caspar we hear the clink of ice in the tumbler and a figure emerges from the shadows , walking away from the glowing bar in the backgound . The sheeny knows I like sure things . He 's selling the information I fixed the fight . Out - of - town money comes pourin ' in . The odds go straight to hell . I do n't know who he 's sellin ' it to , maybe the Los Angeles combine , I do n't know . The point is , Bernie ai n't satisfied with the honest dollar he can make off the vig . He ai n't satisfied with the business I do on his book . He 's sellin ' tips on how I bet , and that means part of the payoff that should be ridin ' on my hip is ridin ' on someone else 's . So back we go to these questions - friendship , character , ethics . The man with the whiskey glass has just passed the camera and we cut to the : REVERSE Another well dressed , middle aged man , behind a large polished oak desk , listening intently . This is Leo . He is short but powerfully built , with the face of a man who has seen things . The man with the whiskey enters frame and passes Leo to lean against the wall behind him , where he listens quietly .<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>So its clear what I'm sayin'?<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>Clear as mud.<\/dialogue>\n    <scene_description>Caspar purses his lips but continues unfazed .<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>It's a wrong situation. It's gettin' so a businessman ca n't expect no return from a fixed fight. Now if you ca n't trust a fix, what can you trust? For a good return you got ta go bettin' on chance, and then you're back with anarchy. Right back inna jungle. On account of the breakdown of ethics. That's why ethics is important. It's the grease makes us get along, what separates us from the animals, beasts a burden, beasts a prey. Ethics. Whereas Bernie Bernheim is a horse of a different color ethics - wise. As in, he ai n't got any. He's stealin' from me plain and simple.<\/dialogue>\n    <scene_description>Leo leans back in his chair . The man behind Leo raises the whiskey glass to his lips . He is trimmer and younger than Leo , perhaps in his thir - ties , dark - complected , with a pencil mustache and a gaunt intensity that is not entirely healthy - looking . This is Tom . As he drinks , he studies Caspar and Bluepoint .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>You sure it's Bernie, selling you out?<\/dialogue>\n    <scene_description>For the first time the man behind Caspar speaks :<\/scene_description>\n    <character>Bluepoint<\/character>\n    <dialogue>It ai n't elves.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>Nobody else knows about the fix?<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>No one that ai n't got ethics.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>What about the fighters you pay to tank out?<\/dialogue>\n    <character>Bluepoint<\/character>\n    <dialogue>We only pick fighters we can put the fear of God in.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>Any other bookies know? You play anyone else's book?<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>I lay an occasional bet with Mink Larouie.<\/dialogue>\n    <character>Bluepoint<\/character>\n    <dialogue>But it ai n't Mink, I'll vouch for that.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>How do you know?<\/dialogue>\n    <scene_description>Caspar shakes his head .<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>It ai n't Mink. Mink is Bluepoint's boy.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>Mm. And of course, Bluepoint always knows about the fix.<\/dialogue>\n    <character>Bluepoint<\/character>\n    <dialogue>What the hell is that supposed to mean?<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>Let it drift. All it means is a lot of people know.<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>I guess you ai n't been listening. Sure other people know. That's why we got ta go to this question of character, determine just who exactly is chiseling in an my fix. And that's how we know it's Bernie Bernheim. The Motzah Kid.'Cause ethically, he's kinda shaky.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>You know Bernie's chiseling you because he's a chiseler. And you know he's a chiseler because he's chiseling you.<\/dialogue>\n    <scene_description>Airily :<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>Sometimes you just know.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>So you wan na kill him.<\/dialogue>\n    <character>Bluepoint<\/character>\n    <dialogue>For starters.<\/dialogue>\n    <scene_description>Leo nods , thinking . He swivels to look interrogatively at Tom . Tom gives an almost imperceptable shrug . The ice cubes in his glass clink . Leo turns back to Caspar , pauses .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>Sorry, Caspar. Bernie pays me for protec - tion.<\/dialogue>\n    <scene_description>Tom , peering over his drink , does not entirely conceal his surprise . Caspar stares at Leo , his mouth open . It is not the response he expected .<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>Listen, Leo, I ai n't askin, for permission. I'm tellin' you as a courtesy. I need to do this thing, so it's gon na get done.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>Then I'm telling you as a courtesy that you'll have trouble. You came here to see if I'd kick if you killed Bernie. Well there's your answer.<\/dialogue>\n    <scene_description>Caspar 's voice is harder :<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>Listen Leo, I pay off to you every month like a greengrocer - a lot more than the Motzah - and I'm sick a gettin' the high hat -<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>You pay off for protection, just like everyone else. Far as I know - and what I do n't know in this town ai n't worth knowing - the cops have n't closed any of your dives and the O.A. has n't touched any of your rackets. You have n't bought any license to kill bookies and today I ai n't selling any. Now take your flunky and dangle.<\/dialogue>\n    <scene_description>Caspar is staring at Leo . He looks at Tom , then rises slowly to his feet . Back at Leo :<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>Ya know I'm tryin'. I'm tryin not to raise my voice in anga. I've always gone along to get along. But you make me lay off the Matzoh and you're givin' me the needle. I told you the sheeny was robbin' me blind, I told you I wan na put him in the ground and I'm telling you now I'm sick a the high hat.<\/dialogue>\n    <scene_description>He swipes his hat from Bluepoint . You think I 'm some guinea fresh off the boat and you think you can kick me . But I 'm too big for that now . He puts his hands on the desk and leans towards Leo . The cords stand out on his ndck . I 'm sick - of takin ' the strap from you , Leo . I 'm sick a marchin ' down to this goddamn office to kiss your Irish ass and I 'M SICK A THE HIGH HAT ! Caspar stops , out of breath . He is red faced and panting . Bluepoint has put a gently restraining hand an his shoul - der . Leo and Tom stare at Caspar impasssively . After a beat Caspar shuts his mouth . His eyes lose some of their glaze . He looks at Bluepoint 's hand , turns and strides towards the door .<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>Youse fuckin' fancy - pants, all of ya.<\/dialogue>\n    <scene_description>He opens the docr , but Leo 's voice stops him .<\/scene_description>\n    <character>Leo<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Johnny. You're exactly as big as I let you be and no bigger and do n't forget it. Ever.<\/dialogue>\n    <scene_description>Caspar looks at Lea from the open doorway . After a beat he chuckles .<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>Ats right, Leo, you're the big - shot around here.<\/dialogue>\n    <scene_description>He dances over at Tom again , then back to Leo : . And I 'm just some schnook likes to get slapped around . He leaves , Bluepoint following , shutting the door . After a beat Tom crosses in front of the desk and sits down in the chair Caspar has just vacated . Leo chuckles and leans back in his chair .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>Twist a pig's ear. Watch him squeal.<\/dialogue>\n    <scene_description>Tom swallows the last of his drink and stares ruminatively down at his glass .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Bad play, Leo.<\/dialogue>\n    <scene_description>Leo , unfazed , grins at Tom .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>Got up on the wrong side, huh?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Same side as always.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>That's what I mean. Still owe money to - who's your bookie? Lazarre?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Mm.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>I could put it right for you.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Thanxs Leo, I do n't need it.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>In a pig's eye. You have n't played a winner in six weeks. People'll speak ill of me if I let him break your legs.<\/dialogue>\n    <scene_description>Tom grins back , for the first time .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>People'll say I had it coming.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>And they'll be right, but that ai n't the point. Call me a big - hearted slob, but I'm gon na square it for ya.<\/dialogue>\n    <scene_description>He picks up a phone on his desk and starts to dial . Yeah , I think I 'll do that , this very same night . Looking at you moping around takes away all my . What did you call it ? Joy de veever . Tom stands and walks over to the desk .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Joi de vivre.<\/dialogue>\n    <scene_description>He takes the receiver from Leo and prongs the phone .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>Well look, if your gon na laugh at me, the hell with you.<\/dialogue>\n    <scene_description>Tom walks to the door , putting an his hat .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>And with you. I'll square myself with Lazarre if you do n't mind. Thats why God invented cards.<\/dialogue>\n    <scene_description>He pauses in the doorway and turns back to Leo . There is something you can do for me .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>Name it.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Think about what protecting Bernie gets us. Think about what offending Caspar loses us.<\/dialogue>\n    <scene_description>Leo chuckles good - naturedly .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>Come on, Tommy, you know I do n't like to think.<\/dialogue>\n    <scene_description>Tom has stepped into the hallway and , just as he closes the door :<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Yeah. Well, think about whether you should start.<\/dialogue>\n    <scene_description>The door clicks shut . CUT TO BLACK<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>FADE IN: THE WOODS   CREDIT SEQUENCE<\/stage_direction>\n    <scene_description>Although it is day , the tree cover gives an effect of almost cathedral - like darkness . The sun filters down through the leaves in gently shifting patterns . We hear only the sound of the wind and the creaking and groaning of tree limbs in the breeze . Head titles are supered over the dissolving series of woods scenes . In the last woods scene the angle is low - almost ground - level . The sun dapples the floor of the forest , which is carpeted with pine needles . With a whoosh of rustling leaves the wind gusts a fedora into frame . For a moment it lies still in the foreground , sunlight rippling over it , making it seem almost alive . Then the wind picks up again and the hat tumbles away from us , end over end , in slow motion into the background , impossibly far away until . it dissappears . As we fade out , we hear a distant knocking .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>FADE IN: CLOSE SHOT   TOM<\/stage_direction>\n    <scene_description>Unshaven , eyes closed , motionless . The head credits continue over this one - shot scene . The knocking continues , faintly , offscreen . As we hear a door opening we pull back to a looser shot , revealinq that Tom is slumped back on a tired green sofa . A fat hand enters to shake Tom 's shoulder .<\/scene_description>\n    <character>Voice<\/character>\n    <dialogue>Wake up, Tommy.<\/dialogue>\n    <scene_description>Without ocening his eyes :<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>I'm awake.<\/dialogue>\n    <character>Voice<\/character>\n    <dialogue>You're eyes were shut.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Who're you gon na believe?<\/dialogue>\n    <scene_description>Tom sits up , though it seems like an effort . He looks sick . From a small mirror behind the couch we see that we are in the back room of a gambling establishment . The leavings of a card game litter a table in the middle background .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>How'd I do?<\/dialogue>\n    <character>Voice<\/character>\n    <dialogue>What do you think. You're a millionaire. You gon na remember your friends?<\/dialogue>\n    <scene_description>Tom reaches up to feel his head , and looks stupidly about .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Where's my hat?<\/dialogue>\n    <character>Voice<\/character>\n    <dialogue>You bet it, ya moron. Good thing the game broke up before you bet your shorts.<\/dialogue>\n    <scene_description>After a beat of staring at nothing in particular , Tom abruptly lurches to his feet and staggers out of frame . The other man sits heavily onto the couch that Tom has just vacated . He is Fat Tony , a big man wearing an apron . He watches as we hear Tom , offscreen , staggering across the room , bumping into something which scrapes and then clatters over , opening a door , staggering across tile , and then vomiting . Fat Tony watches with mild interest . Finally :<\/scene_description>\n    <character>Tom's Voice<\/character>\n    <dialogue>Who left with my hat?<\/dialogue>\n    <character>Tony<\/character>\n    <dialogue>Verna. Verna and Mink.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Who?<\/dialogue>\n    <scene_description>Louder :<\/scene_description>\n    <character>Tony<\/character>\n    <dialogue>Mink and Verna.<\/dialogue>\n    <scene_description>Offscreen we hear a tap running .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Thunderclap running tonight?<\/dialogue>\n    <character>Tony<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>What's she leave at?<\/dialogue>\n    <character>Tony<\/character>\n    <dialogue>Three - to - one, more'n likely. Lay off, Tom. You should n't go deeper in the hole.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Tell Lazarre I want five hundred on the nose.<\/dialogue>\n    <scene_description>Tony shrugs .<\/scene_description>\n    <character>Tony<\/character>\n    <dialogue>You would have it.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Somebody hit me?<\/dialogue>\n    <character>Tony<\/character>\n    <dialogue>Yeah. Mink hit you.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Whyzat?<\/dialogue>\n    <scene_description>Tony inspects a hangnail on his thumb .<\/scene_description>\n    <character>Tony<\/character>\n    <dialogue>You asked him to.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>CUT TO: A HALLWAY<\/stage_direction>\n    <scene_description>A loose shot looking over Tom 's shoulder as he knocks on an partment door . Head credits continue . The door swings open and Verna , an attractive but hard - looking woman in her late twenties or early thirties looks coldly out at Tom .<\/scene_description>\n    <character>Tom<\/character>\n    <parenthetical>( still slightly woozy . )<\/parenthetical>\n    <dialogue>Miss me?<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>You again. What now?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>I want my hat.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>Is that all you came for?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Yeah. I want my hat.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>I won it. It's mine.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>What're you gon na do with it?<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>Drop dead.<\/dialogue>\n    <scene_description>She slams the door . There is a long , motionless beat . Tom raises his hand and knocks again , missing the door completely on his first try . After a knock or two the door swings open again .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>I need a drink.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>Why did n't you say so.<\/dialogue>\n    <scene_description>She steps away from the door and Tom enters the apartment . As the door clicks shut we cut to black , and the last of the movie 's head credits . Music clays under the credits , mixed in with the woods sounds we heard earlier . As the last of the credits is fading to black we hear a distant knocking , and from black we :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CUT TO: CLOSE SHOT   A FEDORA<\/stage_direction>\n    <scene_description>Lying on a marble bureau top in a dark room . A gently rippling cookie plays over it - light from a streetlamp thrown through a curtained window . Reflected in the bureau mirror behind the fedora we see the soft glow of a burning cigarette . REVERSE Tracking in on Tom , sitting in bed , smoking , staring at the bureau . The rippling street light plays over him from the window . We hear a distant knocking . WIDER The bedroom , as Tom swings his legs around and gets out of bed . Tom throws on a dressing gown and leaves the bedroom through its double oak pocket doors , closing the doors behind him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>LIVING ROOM<\/stage_direction>\n    <scene_description>Also dark , lit only by streetlight filtering in . The knocking is louder here . Tom crosses the room , silhouetted against the windows , to the apartment 's front door . Light fans in as he opens it . Shiftng uncomfortably in the hallway is Leo , in an overcoat and fedora .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>` Lo, Tommy. Sorry about the hour.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>I'll live. What's the rumpus?<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>Can i come in?<\/dialogue>\n    <scene_description>Tom thinks about this for the slightest beat .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>He lets Leo precede him into the living room . Tom turns on a lamp that sits on a rolling bar . Drink ?<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>I would n't mind. I tried calling earlier.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>I got home late.<\/dialogue>\n    <scene_description>As Tom sits down facing Leo with two drinks :<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>Well. Sorry about the hour.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Uh - huh.<\/dialogue>\n    <scene_description>He waits , with no apparent impatience . The older man is uncomfortable ; he is having trouble finding the words . Finally he lifts his glass and swallows it in one gulp .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>Not bad.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Better than the paint we sell at the club.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>That it is. That it is.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Thought about cutting Bernie loose?<\/dialogue>\n    <scene_description>Leo is shuffling his hat nervously from hand to hand .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>Ca n't do it, Tommy, ca n't do it. That's sort of why I'm. Tommy. I do n't know where Verna is.<\/dialogue>\n    <scene_description>Tom fixes him with a level stare , then takes a sip of his drink .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Uh - huh.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>I know what you're thinking : What else is new? But the situation now, I'm worried.<\/dialogue>\n    <scene_description>Tom blows out air .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Verna can take care of herself. Maybe better than you can.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>What does that mean?<\/dialogue>\n    <scene_description>Tom stands up , takes Leo 's glass and walks back over to the bar .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Want another?<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>No. What does that mean?<\/dialogue>\n    <scene_description>Tom turns to look at Leo , pauses , then decides to speak :<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>How far has she got her hooks into you?<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>That's a hell of a question.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>It's a grift, Leo. If she did n't need you to protect her brother from Johnny Caspar, d'you think she'd still go with you on slow carriage rides through the park? That is the deal, is n't it? You keep Bernie under wraps'till Caspar cools down?<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>Jesus but you're a prickly pear. What's wrong with her wanting her brother taken care of?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Not a thing. I do n't blame her. She sees the angle - which is you - and she plays it. She's a grifter, just like her brother. They probably had grifter parents and grifter grandparents and someday they'll each spawn little grifter kids -<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>Stop it, Tommy. I do n't like to hear my friends run down. Even by other friends.<\/dialogue>\n    <scene_description>Tom shrugs .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Friendship's got nothing to do with it.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>The hell you say. You do anything to help your friends. Just like you do anything to kick your enemies.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Wrong, Leo. You do things for a reason.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>Okay, Tom, you know the angles - Christ, better than anybody. But you're wrong about this. You do n't know what's in Verna's heart.<\/dialogue>\n    <scene_description>Tom stares down into his drink . There is an awkward pause . Then finally , without looking up :<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Leo, throw her down. And her brother, too. Dump her.<\/dialogue>\n    <scene_description>Leo looks like he has just been stepped on .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>Jesus, Tom. Verna's okay.<\/dialogue>\n    <scene_description>He nods to himself . She 's a little wild , but she 's okay . I like her . Tom smiles .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Yeah, you like her. Like the Kaiser likes cabbage. You're dizzy for her.<\/dialogue>\n    <scene_description>Leo scowls at Tom .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>What of it? Jesus, Tom, ai n't you ever been bit by that bug?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Leo, if she's such an angel, why are you looking for her at four in the morning?<\/dialogue>\n    <scene_description>Leo digs his hands into his pockets and slouches back , profoundly embarassed .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>I put a tail on her this afternoon.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Hah!<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>Yeah, I asked Rug Daniels to follow her around - just, you know, just to keep her out of trouble.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>And to tell you what trouble she was managing to whip up herself.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>It was n't to spy, Tom ; I was worried. After that meeting with Caspar, well - you ca n't be too careful.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Uh - huh. And what did Rug tell you that has you scurrying over here?<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>That's just it. Nothing. He's disappeared.<\/dialogue>\n    <scene_description>Tom laughs humorlessly .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>So you've lost your ladyfriend and the tail you put an her.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>I guess it does sound pretty sorry at that.<\/dialogue>\n    <scene_description>He looks from his empty glass up to Tom . Help me out , Tom . I would n't know where to start looking . You know Rug 's crowd , you know the people Verna runs with . I 'm just worried now , with things the way they are between me and Caspar - Tom gives a wave of disgust .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>You should n't be confronting Johnny Caspar, it's what I've been trying to tell you. You ca n't trade body blows with him. He's gotten too strong.<\/dialogue>\n    <scene_description>For the first time Leo displays some testiness :<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>I reckon I can still trade body blows with any man in this town.<\/dialogue>\n    <scene_description>He sighs , looks back down at his drink . Except you , Tom .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>And Verna.<\/dialogue>\n    <scene_description>Leo smiles good - naturedly .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>Okay, give me the needle. I am a sap, I deserve it.<\/dialogue>\n    <scene_description>He stands and walks to the door . Tom does n't move . His eyes remain fixed on the chair Leo has just vacated . Leo pauses in the open doorway . Thanks for the drink . Let me know if you hear anything . The door closes and he is gone . Tom grimaces and stands up . Sunlight is just starting to come in through the windows , defining for the first time the corners of the large semi - circular room as Tom walks across it to the bedroom . Distant early - morning traffic noise is filtering up from the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT  BEDROOM<\/stage_direction>\n    <scene_description>As Tom opens the double oak doors and enters , leaving them open . He crosses to the bed and sits an its edge , hunched forward , thinking . Behind him , a woman stirs .<\/scene_description>\n    <character>Woman<\/character>\n    <parenthetical>( sleepily . )<\/parenthetical>\n    <dialogue>Who was that?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Leo.<\/dialogue>\n    <scene_description>He takes a cigarette from the nightstand and lights it . He 's looking for you . Verna stiffens .<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>Did you tell him I was here?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Verna relaxes .<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>Did you put in a good word for my brother?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>You said you would.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>I said I'd think about it.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>What did you tell him?<\/dialogue>\n    <scene_description>Tom is lost in thought . He exhales smoke .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Did you see Rug Daniels last night?<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>No. What did you tell Leo?<\/dialogue>\n    <scene_description>Tom finally turns to face her . After looking at her for a beat :<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>I told him you were a tramp and he should dump you.<\/dialogue>\n    <scene_description>A shoe flies past his head and hits the wall behind him .<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>You're a son of a bitch, Tom.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT  ALLEYWAY   EARLY MORNING<\/stage_direction>\n    <scene_description>We are on an extreme close shot of a small dog . Behind him , in the distance , we can see the mouth of the alley . The dog is on point , perfectly still , one front leg crooked and raised off the ground , his ears pointed straight up , his eyes in a fixed stare . A MAN is slouched , half - sitting , against the wall of the alley . He is motionless . His mouth is agape . His eyes are rolled up in a lifeless stare . He is wearing an overcoat but it is unbuttoned and reveals a blood stain in the middle of his chest . His fedora lies on the ground near one of his splayed hands . There is something subtly odd about his hair . CLOSE SHOT A LITTLE BOY Perhaps five years old . He stares down at the dead man in front of him . CLOSE SHOT THE MAN Staring vacantly . THE BOY After a moment , he reaches forward . THE MAN As the boy 's hand enters frame . The boy pokes once at the man 's shoulder . There is no reaction . The boy touches the top of the man 's head . The man 's hair slips forward a couple of inches over over his forehead . THE BOY Staring . THE MAN Also staring , his skewed hairpiece ill becoming his stunned expression . The boy reaches forward and takes the hairpiece off the man 's head . Now a bald man stares off into smace , still looking stunned , still quite dead . WIDE SHOT THE ALLEY The dead man and the little bov face each other in profile in the middle foreground . In the background , between them , the little boy 's dog faces us , still on point , still whining . The little boy is fascinated by the hairpiece he holds . He turns it over and around , and looks from it to the dead man . Suddenly the boy turns and runs , away from us , towards the mouth of the alley , still clutching the hairpiece . As he passes the dog it turns and runs after him , wagging its tail , happy to be leaving . FADE OUT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>FADE IN:<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT   DINER EVENING<\/stage_direction>\n    <scene_description>A man sits facing us at the counter in the foreground . His face is hidden by the newspaper he is reading . The page of the newspaper being presented to the camera bears a story headlined : GANGSTER SLAIN . The subhead : Politician 's `` Aide '' Found Dead in Alley . After a beat the diner drops the paper to the counter , and we see that it is Tom , wearing overcoat and hat . He is grimacing at whatever he was reading . He stands and digs into his pocket . REVERSE Looking down at the newspaper an the counter , next to a steaming cup of coffee . Tom 's hand enters to put some change on the counter , leaves , and we hear his receding footsteps . The headlined story on the page Tom was reading is : THUNDERCLAP INJURED IN RACING MISHAP .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CUT TO: TRACKING IN TO CLOSE SHOT   PLAQUE<\/stage_direction>\n    <scene_description>Set into the brick of a building 's exterior , it reads : SHENANDOAH CLUB . In script underneath : Members Only .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT   THE CLUB   NIGHT<\/stage_direction>\n    <scene_description>Tracking towards the front door as Tom enters . He puts his coat and hat on the check counter .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Hello, Beryl -<\/dialogue>\n    <scene_description>Her arm sweeps across frame to slap Tom hard .<\/scene_description>\n    <character>Check Girl<\/character>\n    <parenthetical>( off . )<\/parenthetical>\n    <dialogue>Ai n't you got a conscience?<\/dialogue>\n    <scene_description>Tom stares dumbly . ON BERYL A diminutive woman in a french maid 's uniform with a pill box hat . She rocks her weight on one leg with her hands proceed defiantly on her hips . It 's a little voice inside that tells you when you been a heel !<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Mine's been mum lately - what'd I do?<\/dialogue>\n    <character>Beryl<\/character>\n    <dialogue>Stood me up is all. Made me wait an hour and a half is all? Or maybe you do n't remember sayin' you'd pick me up after work last night. I seen heels in my time, sure, plenty of'em! But none so low as could n't tell me to my face when they was sick of me!.<\/dialogue>\n    <scene_description>She throws a check number at him . You know where you can stick it !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CUT TO: TRACKING SHOT<\/stage_direction>\n    <scene_description>Pulling Tom as he walks across the gambling floor . He is joined bv a nervous young man in a tuxedo .<\/scene_description>\n    <character>Mink<\/character>\n    <dialogue>` Lo Tom. What's the rumpus?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Mink.<\/dialogue>\n    <scene_description>Mink throws a glance back in the direction of the coat check .<\/scene_description>\n    <character>Mink<\/character>\n    <dialogue>I see you got your hat back.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Yeah, what of it.<\/dialogue>\n    <character>Mink<\/character>\n    <dialogue>Not a thing, Tommy. I got not a thing to say. Listen, Bernie wants to see you. It's important.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Well I'm right here, and I'm not made of glass.<\/dialogue>\n    <character>Mink<\/character>\n    <dialogue>Yeah, but he's nervous walkin' around in public. He's a right guy, but he's nervous, Tommy! He's very nervous! Who would n't be?!<\/dialogue>\n    <scene_description>Tom looks at Mink for the first time .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Mink -<\/dialogue>\n    <character>Mink<\/character>\n    <dialogue>The spot he's in, who would n't be! He asked me to ask you to ask Leo to take care of him. You know, put in a good word with Leo. Leo listens to you. Not that Leo would n't help the Motzoh anyway! A guy like Bernie? A square gee like the Motzah! A straight shooter like him?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>I do n't get it, Mink -<\/dialogue>\n    <character>Mink<\/character>\n    <dialogue>What's to get?! It's as plain as the nose -<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>I thought you were Bluepoint's sycophant.<\/dialogue>\n    <character>Mink<\/character>\n    <dialogue>Yeah Tom, that's right. But a guy can have more than one friend, ca n't he? Not that I'd want Bluepoint to know about it, but a square gee like the Motzah? He's a right guy, Tom! He's a straight shooter! I know he's got a mixed reputation, but for a sheeny he's got a lot a good qualities!<\/dialogue>\n    <scene_description>Tom has reached the foot of a large staircase . He turns to look at Mink with mild curiosity .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Why should I care what happens to Bernie?<\/dialogue>\n    <character>Mink<\/character>\n    <dialogue>C'mon Tom, you like Bernie dontcha?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>I do n't like anybody, Mink, you know that.<\/dialogue>\n    <character>Mink<\/character>\n    <dialogue>Well, you like his sister.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>What's that supposed to mean?<\/dialogue>\n    <character>Mink<\/character>\n    <dialogue>Nothing, Tom. If it ai n't my business I got not a thing to say.<\/dialogue>\n    <scene_description>Tom studies Mink for a beat .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>What's going an between you and Bernie?<\/dialogue>\n    <character>Mink<\/character>\n    <dialogue>Nothin, Tom! We're just friends - you know, amigos?<\/dialogue>\n    <scene_description>He sics on his cigarette and looks nervously around the floor , then back at Tom , who stares coolly back .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>You're a fickle boy, Mink. If Bluepoint found out you had another `` amigo'' - well, I do n't peg him for the understanding type.<\/dialogue>\n    <scene_description>Mink is startled . In a high shrill voice , as Tom walks up the stairs , clutching his drink :<\/scene_description>\n    <character>Mink<\/character>\n    <dialogue>Find out!? How would he find out?! Damnit Tom, me and you ai n't even been talking! Jesus Tom, damnit, Jesus!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT   LEO'S OFFICE<\/stage_direction>\n    <scene_description>Pulling Tom as he enters the office .<\/scene_description>\n    <character>Leo<\/character>\n    <parenthetical>( off . )<\/parenthetical>\n    <dialogue>` Lo, Tom. You know O'Gar.<\/dialogue>\n    <scene_description>REVERSE Leo faces us from behind his desk . Seated in two chairs facing the desk , twisting around to greet Tom , are two men . O'Gar is a large man wearing a police uniform . Dale Levander wears a suit ; a florid man with a shock of white hair , in his mid - sixties .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>and the mayor.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>I ought to. I voted for him six times last May.<\/dialogue>\n    <scene_description>Levander chuckles .<\/scene_description>\n    <character>Levander<\/character>\n    <dialogue>And that ai n't the record, either.<\/dialogue>\n    <scene_description>Tom is crossing to the bar .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>Verna turned up. She's downstairs.<\/dialogue>\n    <scene_description>Tom , his back to Leo as he pours a drink , stiffens .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>She say where she'd been?<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>No, I uh. did n't want to press her. Hear about Rug?<\/dialogue>\n    <scene_description>Drink in hand , Tom turns and crosses to perch an a corner of Leo 's desk .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Yeah, R.I.P.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>They took his hair, Tommy. Jesus that's strange. Why would they do that?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Maybe it was Injuns.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>Eye - ties, more like it. Giovanni Casparro.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>So you figure it was Caspar bumped Rug?<\/dialogue>\n    <scene_description>Leo , with a puzzled smile , glances at O'Gar and the mayor , and then back at Tom .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>Well it's pretty obvious ai n't it?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Mm. So what's the plan?<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>Jump on the guinea hard. With both feet.<\/dialogue>\n    <scene_description>He looks at the mayor who shifts uncomfortably in his seat . Give him the low - down , Dale .<\/scene_description>\n    <character>Mayor<\/character>\n    <dialogue>Yes, well. Leo here has just reminded us that Mr. Caspar operates several clubs in our city wherein the patrons imbibe of rum and play at games of chance.<\/dialogue>\n    <scene_description>Morosely :<\/scene_description>\n    <character>O'Gar<\/character>\n    <dialogue>And we're sunnosed to stop the party.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Uh - huh.<\/dialogue>\n    <scene_description>Looking at Leo , he jerks his head towards the two men . They do n't seem too happy about it , Leo .<\/scene_description>\n    <character>O'Gar<\/character>\n    <dialogue>Naw, it ai n't that, Tom.<\/dialogue>\n    <character>Mayor<\/character>\n    <dialogue>Jesus, Tom! We do as we're told!<\/dialogue>\n    <scene_description>Tom ignores them .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Maybe they're right not to like it. Stirring up this hornets' nest wo n't be good for anyone. And it'll mean killing.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>Well I'm not thrilled about it either, but I ca n't just lay down to Caspar.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>You could do worse. You might not like it, but giving up Bernie Bernheim is a pretty small price to pay for peace. Business is business and a war's going to hurt everybody. Bernie plays with fire, he's got to deal with the consequences - even if that means he gets bumped off.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>Sweet Jesus, Tom, that ai n't even the point anymore. Caspar pooped Rug. The day I back down from a fight, Caspar is welcome to the rackets, this town, and my place at the table. I did n't start this thing, but -<\/dialogue>\n    <scene_description>Tom 's voice is sharp :<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>You did start it - you and Verna -<\/dialogue>\n    <scene_description>The mayor has risen to his feet . Uncomfortably :<\/scene_description>\n    <character>Mayor<\/character>\n    <dialogue>We can dangle, Leo, if you'd prefer.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>Siddown Dale, we're all friends here.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>- and Caspar has n't broken the rules, Bernie has - and you too, by helping him. And if that is n't enough, consider that if you make it a war, you have more to lose than Caspar.<\/dialogue>\n    <scene_description>Leo is getting up from behind the desk and walking over to stare out the window .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>Okay, but more to beat him with. Jesus, Tom, the two of us've faced worse odds.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>But never without reason. It helps to have one.<\/dialogue>\n    <scene_description>Leo does n't reply . Tom is irritated , but shrugs indif - ference . Well , it 's your call . He gets to his feet and starts for the door . My opinion use to count for something around here , but it 's always yours to take or leave . Leo has turned from the window and is striding after Tom , gesturing appologetically .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>Aw, c'mon Tommy. Its not like that.<\/dialogue>\n    <scene_description>The door clicks shut . Goddamnit . Goddamn kid is just like a twist .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CUT TO: FAT TONY<\/stage_direction>\n    <scene_description>Tending the downstairs bar as Tom stalks over .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Gim me a stiff one.<\/dialogue>\n    <character>Tony<\/character>\n    <dialogue>No small talk, huh? They shoot vour nag?<\/dialogue>\n    <scene_description>Tony has finished pouring a shot of whiskey which Tom immediately knocks back .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>If there's any justice. Verna around?<\/dialogue>\n    <character>Tony<\/character>\n    <dialogue>She stepped into the ladies, room. You got Lazarre's five hundred?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>He'll have to carry me for a few days.<\/dialogue>\n    <scene_description>Tom is pouring himself another drink .<\/scene_description>\n    <character>Tony<\/character>\n    <dialogue>He ai n't gon na like that. Could n't, you get it from Leo?<\/dialogue>\n    <scene_description>Tom is irritated :<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>It's not Leo's debt. I'll pay my own way.<\/dialogue>\n    <character>Tony<\/character>\n    <dialogue>I admire a man of principle. Does this go on the tab?<\/dialogue>\n    <scene_description>Drink in hand , Tom is already walking away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT   LADIES' LOUNGE<\/stage_direction>\n    <scene_description>As Tom bangs through the door , still carelessly holding his tumbler of whiskey . A rogue lock of hair hangs down over his forehead .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Close your eyes, ladies, I'm coming through.<\/dialogue>\n    <scene_description>REVERSE The hubbub of female voices evaporates as all turn to look at the male intruder . The lounge 's decor is done in various shades of pink . Some of the women apply make - up facing the large bulb - encircled mirrors on overstuffed seashell shaped pink chairs . Other women sit , smoking , in the banquettes that line the other wall . All react to Tom 's entrance with surprise mixed with various degrees of outrage , and they hurry to gather their things and leave . The one exception is Verna , who looks at Tom with unperturbed distaste . As he crosses to her seashell chair :<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Who's the warpaint for?<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>Go home and dry out.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>You do n't need it for Leo, believe me. He already thinks you're the original Miss Jesus.<\/dialogue>\n    <scene_description>She glances hurriedly around the lounge , but the last of the women are already leaving .<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>What the hell's the matter with you?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>What's the matter with you? Afraid people might get the right idea?<\/dialogue>\n    <scene_description>Verna studies him for a beat .<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>Leo's got the right idea. I like him, he's honest and he's got a heart.<\/dialogue>\n    <scene_description>Tom weaves a couple of steps closer to her .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Then its true what they say. Opposites attract.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>Do me a favor and mind your own business.<\/dialogue>\n    <scene_description>She turns back to the mirror and starts applying her lipstick . Tom drops down to face her in the mirror .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>This is my business. Intimidating helpless women is part of what I do.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>Then find one and intimidate her.<\/dialogue>\n    <scene_description>Tom swallows the rest of his drink in one gulp .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Leo's upstairs getting ready to shoot himself in the foot on your account.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>I do n't know what you're talking about.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>He's gon na go to the mat for your brother. And it's gon na hurt him.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>I do n't know Leo's business, but he's a big boy.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>He used to be.<\/dialogue>\n    <scene_description>Verna causes with the lipstick . She looks at Tom intently but her tone softens .<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>Look. What do you want, Tom? You want me to pretend I do n't care what happens to Bernie? Well I do. He's my brother and I do n't want him to get hurt. If Leo wants to help him out I'll step out with him, show him a good time in return. There's no harm in that.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>There's a name for that kind of business arrange - ment.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>I'll do what I have to for Bernie and there's no reason for you to try and queer that. Regardless of what you think of me, Bernie's a decent guy.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>A straight shooter, huh? A square gee?<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>Yeah, sneer at him like everyone else. Just because he's different. People think he's a degenerate. People think he's scum. Well he's not.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Poor misunderstood Bernie.<\/dialogue>\n    <scene_description>Verna swivels around to stare quizzically at Tom .<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>What is this about? You want me to stop seeing Leo. Why do n't you just say so?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>I want you to quit spinning Leo in circles and pointing him where to go.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>I forgot - that's your job, is n't it?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>I'll do what I have to to protect Leo. I'm asking you - politely, for me - to leave him alone. I do n't have to ask. If I told him about our little dance last night, your pull would dry up pretty fast.<\/dialogue>\n    <scene_description>Now Verna is irritated :<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>So would yours. I do n't like being threatened.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>I do n't like being played for a sucker. That game might work with Leo but it wo n't work with me.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>You think last night was just more campaigning for my brother?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>I can see the angles.<\/dialogue>\n    <scene_description>He grabs her by the arm and drags her roughly to her feet . And I know if there was a market for little old ladies , you 'd have Grandma Bernheim first on line .<\/scene_description>\n    <character>Verna<\/character>\n    <parenthetical>( struggling to get out of his grasp . )<\/parenthetical>\n    <dialogue>You're a pathetic rumhead.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>And I love you, Angel.<\/dialogue>\n    <scene_description>Tom takes her hat off , tosses it onto the chair , and kisses her roughly on the lips . Verna breaks away and socks him on the jaw . Tom staggers back , upsetting a table of toiletries and landing against a banquette . He throws his empty whiskey glass at Verna . She ducks and it smashes into the mirror . They stand staring at each other for a beat , breathing hard . Tom has a smear of lipstick near one side of his mouth . Finally :<\/scene_description>\n    <character>Verna.<\/character>\n    <dialogue>says. I suppose you think you've raised hell.<\/dialogue>\n    <scene_description>She picks up her stole and heads for the door . Tom stands staring at her back , swaying , ever so slightly .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Sister, when T've raised hell you'll know it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>CUT TO:<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT   TOM'S APARTMENT<\/stage_direction>\n    <scene_description>A wide shot , facing the semi - circular windows , the door of the apartment behind us . A large easy chair in the middle foreground faces away from us : a smaller chair is at the window end of the room , facing us . At the cut we hear the ringing of the telephone . Offscreen we can hear the unhurried scrape of a key in the lock , then the door opening , then the door closing . Tom 's back enters frame as he strolls into the room and then disappears briefly through an open doorway to the right . We hear an icebox door opening and closing , and then Tom reenters again , still not reacting to the insis - tently ringing phone . He is now holding a balled - up towel . He walks over to the facing chair at the window end of the room , shrugs off his overcoat , drapes it on the chair , sits , crosses his legs , takes off his hat , tosses it onto the upraised toes of his crossed leg , tilts his head back , and presses the towel against his forehead - apparently it is an icepack . We are beginning to track slowly towards him . After a beat he takes out a cigarette , lights it , and reaches back for the phone that refuses to stop ringing .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>He casually looks forward , just off to one side , at a specific point in space . He does not react to whatever he is hearing . I need a couple days . Because I do n't have it now . We are almost in close shot now . His gaze is still fixed and emotionless . Because I say so . What would be good enough ? . Well , if it 'll make him feel any better , tell Lazarre he can send someone by to break my legs . I wo n't squawk . He prongs the earpiece , still looking off . The track has stopped in close shot . He exhales a stream of smoke , then after a beat : . ` Lo , Bernie . REVERSE Slouched in a chair , in the corner of the room , facing Tom , is Bernie Bernheim . He is about thirty and wears his overcoat and hat and a good - natured smile . He holds an apple in one hand and a paring knife in the other . The long peel of the apple corkscrews down off the knife .<\/scene_description>\n    <character>Bernie<\/character>\n    <dialogue>` Lo, Tom. What's the rumpus?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>C'mon in, make yourself at home.<\/dialogue>\n    <character>Bernie<\/character>\n    <dialogue>Yeah, you were n't here so I thought I'd do that. Did n't wan na answer the phone, though. Figured it was n't for me.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Uh - huh.<\/dialogue>\n    <scene_description>After a silent beat , Bernie chuckles .<\/scene_description>\n    <character>Bernie<\/character>\n    <dialogue>I get it, get to the point, huh? Okay. The point is : I'm a good guy.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>I've heard that from a lot of people today.<\/dialogue>\n    <scene_description>Bernie slices off an apple section and holds it out to Tom , who shakes his head .<\/scene_description>\n    <character>Bernie<\/character>\n    <dialogue>Good guy, lot of friends - that's the way it works. Maybe if you appreciated me a little more, you would n't be making waves with Leo.<\/dialogue>\n    <scene_description>He pops the slice in his mouth . It 's a bad time to be doing that . I mean , right now we 're both in a jam . I hear you 're on a bad streak , short of funds , and I 've got that psychotic guinea mad at me . Do n't ask me why ; I 'm just a small - timer trying to get by , like everyone else . I need help from my friends . Like Leo . And you .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Leo gets your sister, what're you selling me?<\/dialogue>\n    <character>Bernie<\/character>\n    <dialogue>C'mon Tom, its not like that at all. Was n't my idea. She'll sleep with anyone, you know that. She's even tried to teach me a thing or two about bed artistry. Can you believe that - my own sister! Some crackpot idea about saving me from my friends.<\/dialogue>\n    <scene_description>Bernie laughs pleasantly . She 's a sick twist all right . I guess some guys like that .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>She speaks highly of you.<\/dialogue>\n    <scene_description>Bernie shrugs .<\/scene_description>\n    <character>Bernie<\/character>\n    <dialogue>Yeah, well, you stick by your family. The point is, I can help you with your debts if that would make us friends. My motto is, a guy ca n't have too many. Big payday Saturday, Tom. You could be in on it.<\/dialogue>\n    <scene_description>For the first time , Tom is interested .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Another fix? Which fight?<\/dialogue>\n    <character>Bernie<\/character>\n    <dialogue>Well that's confidential at the moment. But it does n't have to stay that way.<\/dialogue>\n    <scene_description>Tom gives Bernie a speculative eye .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>How d'you know about it? Caspar is n't laying any more bets with you.<\/dialogue>\n    <character>Bernie<\/character>\n    <dialogue>Mm.<\/dialogue>\n    <scene_description>Tom gives a humorless smile .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>You must really have Mink jumping through hoops.<\/dialogue>\n    <scene_description>Bernie is getting to his feet wiping the knife blade on his coat .<\/scene_description>\n    <character>Bernie<\/character>\n    <dialogue>Like I say, you ca n't have too many.<\/dialogue>\n    <scene_description>He pauses at the open door , looks up and down the hall and turns to look at Tom . We got a deal ?<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>I'll think about it.<\/dialogue>\n    <scene_description>On his way out :<\/scene_description>\n    <character>Bernie<\/character>\n    <dialogue>I would n't want it any other way.<\/dialogue>\n    <scene_description>On the click of the door latch we cut to :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>STREET   DAY<\/stage_direction>\n    <scene_description>Pulling Tom along the sidewalk .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Cud.<\/dialogue>\n    <scene_description>He is calling out to a short rail - like man lounging against a building who joins him as he walks . Cud has small sharp features except for one cheek , which is hugely distended by a wad of chewing tobacco . My credit still good with you ? Cud gives a so - so flutter of his hand . Give me a hundred across on Tailor Maid in the third tonight . Cud shakes his head .<\/scene_description>\n    <character>Cud<\/character>\n    <dialogue>Lazarre wo n't like it.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Try fifty across.<\/dialogue>\n    <scene_description>Cud shrugs .<\/scene_description>\n    <character>Cud<\/character>\n    <dialogue>I'll try. That'll make another one - fifty you owe him.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Only if I lose, Cud.<\/dialogue>\n    <character>Cud<\/character>\n    <dialogue>Tommy, the way you're goin' - horses got knees?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>I dunno. Fetlocks.<\/dialogue>\n    <character>Cud<\/character>\n    <dialogue>Well the way you're goin', if I was a horse I'd be down on my fetlocks prayin' you do n't bet on me.<\/dialogue>\n    <scene_description>Another man , a huge man , has walked up to flank Tom 's other side . This is Frankie .<\/scene_description>\n    <character>Frankie<\/character>\n    <dialogue>Drift, small guy.<\/dialogue>\n    <character>Cud<\/character>\n    <dialogue>Drop dead, ape.<\/dialogue>\n    <character>Frankie<\/character>\n    <dialogue>C'mon Tom, my boss wants to see you. He did n't have time to engrave nothin' formal.<\/dialogue>\n    <scene_description>Cud starts to fade away .<\/scene_description>\n    <character>Cud<\/character>\n    <dialogue>I'll see you later, Tommy. I got ta go spit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT   ROOM<\/stage_direction>\n    <scene_description>It is a large room with a couple of card tables , straight - backed chairs , a ratty sofa - a sparsely furnished card room off the main floor of a club . At the cut we are tracking behind Tom into the room as Frankie and Tic - Tac , a small ferret - faced - man , escort him in . We hear a woman 's voice speaking rapid - fire Italian . Bluepoint is sitting on the couch , wearing his overcoat and his hat pushed back an his forehead . Sitting at one of the card tables is Caspar . With him is his wife , a short , very round Italian woman , and his son , Johnny Jr. . Johnny Jr. , about five years old , is also very round . He wears a suit with short pants that reveal dimpled knees . Bluepoint , an the couch , is watching the domestic scene without any particular warmth .<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>Whaddya mean he's eatin' too much? Whadduz the goddamn doctor know?<\/dialogue>\n    <scene_description>He turns to the little boy . What you eat for lunch ?<\/scene_description>\n    <character>Johnny Jr.<\/character>\n    <dialogue>A hot dog.<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>Just a hot dog?<\/dialogue>\n    <scene_description>The boy shakes his head .<\/scene_description>\n    <character>Johnny Jr.<\/character>\n    <dialogue>A hot dog and mustard.<\/dialogue>\n    <scene_description>Caspar throws his head back and roars with laughter .<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>A hot dog with mustard! A hot dog with mustard! You hear that, Bluepoint! The kids as smart as a whip! Even Uncle Bluepoint thinks that's funny.<\/dialogue>\n    <scene_description>Bluenpoint 's face is a solem mask . Whadduz the goddamn doctor know ! Caspar wipes away tears of mirth and digs in his pocket with his left hand . Extending two closed fists towards the boy : . G'head , which hand is the penny in ? The boy touches his right fist . Choose again . The boy just looks at him . Okay , here ya go . Take the penny . Shiny new penny . To his wife . Take the kid . Wait in the car . Give 'm a penny , boys . Tic - Tac and Frankie dig in their pockets for change as the boy and his mother cross to the door .<\/scene_description>\n    <character>Frankie<\/character>\n    <dialogue>I ai n't got a penny, boss.<\/dialogue>\n    <scene_description>Caspar has turned his attention to a check book that lies on the table in front of him . As he writes :<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>Ah, well, that's a penny ya owe him. ` Lo Tom, what's the rumpus? You like kids?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Absently :<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>Uh - huh. Have a seat. G'ahead.<\/dialogue>\n    <scene_description>He tears out the check . Well , you 're missin ' out on a complete life . I know , kids , big deal , but still , I 'm tellin ' ya . He blows on the check . Anyway . Thanks for comin ' by . I just wrote this check out to your bookmaker , Lazarre . It 's for an even fifteen hundred , which is more than I hear you owe him but I figure you can always use some money on the cuff , a high roller such as yaself whaddya say ?<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Caspar laughs .<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>Always the yapper, huh? Well, you're welcome. You wan na know why I'm putting you square with Lazarre?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Not particularly.<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>Bad feeling. It ai n't a good thing. It's a poison, kid. I want everybody to be friends. I do this, you're friends with Lazarre, he's friends with you, and you're friends with me. And all you got ta do, show you're a friend, is to give me Bernie Bernheim. You know it's the right thing anyway ; I ca n't keep any discipline if I ca n't punish the people I need to punish. The Motzah steals from me, I ca n't have Leo givin' him a shiny new penny. You find some way to make Leo understand that.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>So the deal is, I give you the Motzah, smooth it over with Leo, and you bail me out with Lazarre.<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>Yeah, then we're all friends again : You, me, Leo, Bluepoint.<\/dialogue>\n    <scene_description>Bluepoint sneers from the couch :<\/scene_description>\n    <character>Bluepoint<\/character>\n    <dialogue>We can maybe have tea sometime.<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>C'mon, Bluepoint. Friends is a mental state. Wuddya say, kid?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>I'll think about it.<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>He'll think about it. Hear that, Bluepoint? That's terrific. The kid's a thinker.<\/dialogue>\n    <character>Bluepoint<\/character>\n    <dialogue>Does he want a pillow for his head?<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>Okay kid, think about it. It's a mental state. But make it quick, my family's waitin'.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>I'll think about it and tell you later.<\/dialogue>\n    <character>Bluepoint<\/character>\n    <dialogue>He needs to think in the thinking room.<\/dialogue>\n    <scene_description>Caspar shakes his head sadly .<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>Kid, if it'll help you think, you should know that if you do n't do this you wo n't be in any shape to walk outa here.<\/dialogue>\n    <scene_description>Tom considers this .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Would that be physically, or just a mental state?<\/dialogue>\n    <scene_description>Caspar stares at him for a beat , then slowly starts to tear up the check .<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>That ai n't friendly, kid. I make you a nice offer, I get the high hat.<\/dialogue>\n    <scene_description>He gets up and walks over to the door . Tic - Tac opens it for him and precedes him out . Before following Caspar out the door , Bluepoint grins at Tom .<\/scene_description>\n    <character>Bluepoint<\/character>\n    <dialogue>Too bad for you, smart guy.<\/dialogue>\n    <scene_description>He leaves , shutting the door . The room is quiet . Tom looks at Frankie , the large man , who looks back . Frankie stands , takes off his suit coat , and hangs it carefully on a rack by the door . He approaches Tom .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Hold it.<\/dialogue>\n    <scene_description>Frankie complies . Tom is standing and shrugging off his coat . He folds it neatly and turns to lay it on the chair he was in . When he turns around again he is holding the chair and he smashes it into Frankie 's face . Frankie staggers back but does n't drop . He reaches up to his nose and his hand comes away bloody .<\/scene_description>\n    <character>Frankie<\/character>\n    <dialogue>Jesus, Tom.<\/dialogue>\n    <scene_description>Tom still holds the chair . Frankie looks at him for a moment , then walks over to the door , opens it , and leaves , shutting it behind him . The room is very quiet . Tom stands facing the door , still holding the chair . After a beat or two , he starts to put it down . The door opens and he quickly raises the chair again . Tic - Tac , the little man with the hawk nose , is striding into the room , briskly approaching Tom . Frankie , the gorilla , follows cautiously . Tic - Tac blocks Ton 's swing of the chair with his forearm , wraps both arms around it and pulls it awav from Tom . As Frankie circles Tom , Tic - Tac tosses the chair across the room . Frankie , now behind Tom , wallops him in the small of the back . The blow sends him staggering towards Tic - Tac , who cracks him in the jaw . Frankie grabs Tom 's hair and yanks his head back as Tic - Tac works on his midsection . Tom 's hands are reaching back to grope for Frankie . Still holding his hair with one hand , Frankie cuffs Tom awkwardly on the side of the head . Tom staggers around and Tic - Tac , now behind him , also hits him on the side of the head . Tom goes down . His head hits the floor with a thunk . We are on a low angle an the floor . Behind Tom 's head , in the background , we see the door to the room . The door splinters in with a loud crash . Frankie 's feet are walking up alongside Tom 's head , as blue uniforms stream into the room .<\/scene_description>\n    <character>Frankie<\/character>\n    <dialogue>Just in the nick of time, huh?<\/dialogue>\n    <scene_description>He brings his foot back to deliver a walloping kick to the back of Tom 's head . On the impact we cut to : BLACK Over black we hear the sound of running water .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>FADE IN: TOM<\/stage_direction>\n    <scene_description>Gasping for air as his head is pulled out from under a running faucet . The uniformed policeman who was holding him there and is now pulling him back up , grins at him .<\/scene_description>\n    <character>Cop<\/character>\n    <dialogue>No harm done. Unless your friend broke his foot.<\/dialogue>\n    <scene_description>Tom is still woozy .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Wuzzit. How long. What day is it?<\/dialogue>\n    <character>Cop<\/character>\n    <dialogue>Friday, 12th of September, 1929. Same as when you left us, about ten seconds ago.<\/dialogue>\n    <scene_description>He is leading Tom by the arm out of the cramped bathroom , back into the card room where he was beat up . Another cop has Frankie cuffed in a straightbacked chair and is taking roundhouse swings at him . He pauses , breathing heavily .<\/scene_description>\n    <character>Second Cop<\/character>\n    <dialogue>` Lo, Tom. Care to skin a knuckle an your playmate here?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>No. thanks, Delahanty.<\/dialogue>\n    <scene_description>As Tom and the first cop leave the card room :<\/scene_description>\n    <character>Second Cop<\/character>\n    <dialogue>Well if you change your mind, we'll be inter - rogatin' for a while.<\/dialogue>\n    <scene_description>Tom and his escort are emerging onto the casino floor .<\/scene_description>\n    <character>First Cop<\/character>\n    <dialogue>What was that party about, anyway?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>We do this every weekend.<\/dialogue>\n    <scene_description>Blue uniforms are everywhere . Some are escorting tuxedoed patrons and employees to the exit ; some wield axes on the gaming equipment ; others are using nightsticks to smash the bottles behind the bar . Tom winces at this and lights a cigarette .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Jesus.<\/dialogue>\n    <scene_description>He takes a battle and glass from a table as they walk by . What the hell is the matter with you people ?<\/scene_description>\n    <character>First Cop<\/character>\n    <dialogue>Well, they said make it hurt. So we make it hurt.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT   THE BUILDING<\/stage_direction>\n    <scene_description>We see that the building 's facade claims to be SABBATINI 'S ANTIQUES AND COLLECTIBLES . Tom weaves across the street with his battle and glass towards O'Gar , the police chief , leaning against a squad car , chewing a toothpick . He is watching morosely as his men load other men into paddywagons ; the street is clogged with police vehicles .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Drink, O'Gar?<\/dialogue>\n    <scene_description>O'Gar does not bother to look at Tom as they talk ; he is unhappily watching the spectacle .<\/scene_description>\n    <character>O'Gar<\/character>\n    <dialogue>I'm an duty.<\/dialogue>\n    <scene_description>Tom pours himself a glass .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>To Volstead.<\/dialogue>\n    <scene_description>He tosses back a shot . Any news on Rug ?<\/scene_description>\n    <character>O'Gar<\/character>\n    <dialogue>Still dead, far as I know.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Get a slug out of him?<\/dialogue>\n    <character>O'Gar<\/character>\n    <dialogue>Yeah, a.22. Listen, Tom, I'm just the chief around here, so do n't bother telling me if you do n't happen to feel like it, but what the hell is Leo doing?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Ours is not to reason why, friend.<\/dialogue>\n    <character>O'Gar<\/character>\n    <dialogue>Balls. Look at this mess. Make him listen to you, Tom. It ai n't right, all this fuss over one sheeny. Let Caspar have Bernie - Jesus, what's one Hebrew more or less?<\/dialogue>\n    <scene_description>He nods at the building . We 're burning our mealticket here .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Leo'll do what suits him, and you'll do what he tells you. Last I heard Leo's still running this town.<\/dialogue>\n    <character>O'Gar<\/character>\n    <dialogue>He wo n't be for long if this keeps up. It's no good for anyone - you said as much yourself.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>First off, O'Gar, I can say what I please to Leo and about him.<\/dialogue>\n    <scene_description>He taps him on the chest . You ca n't . Second , once Leo decides - that 's that . And if that sticks going down , there are plenty of other coppers would n't mind being chief , and could swallow it clean . O'Gar looks chastened .<\/scene_description>\n    <character>O'Gar<\/character>\n    <dialogue>Jesus, Tom, I was just speculatin' about a hypothesis. I know I do n't know nothin'. It's just a damn mess is all -<\/dialogue>\n    <scene_description>He is interrupted by gunfire from an upper story of the facing building . O'Gar 's men react , finding cover , returning the fire . O'Gar unholsters his gun as he and Tom scramble for cover . a goddamn mess .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>HALLWAY<\/stage_direction>\n    <scene_description>We are shooting over Tom 's shoulder as he knocks at the door to Verna 's apartment . After a beat , Verna opens the door . On seeing who it is she starts to swing the door shut . Tom puts his toe in the doorway and leans into the door . As he pushes his way in :<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Thanks, do n't mind if I do.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT   APARTMENT<\/stage_direction>\n    <scene_description>As Verna gives up and Tom enters . Verna walks over to the phone . As she dials , Tom tosses his hat onto a chair and checks the apartment to see if they 're alone .<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>Hello, officer, I'd like to report an intruder at 346 West -<\/dialogue>\n    <scene_description>Tom grabs the phone away from her .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Who's this?. ` Lo, Shad, Tom Duchaisne here. We wo n't be needing any today. That's right, my mother. She did n't recognize me. Lem me talk to Mulvaney.<\/dialogue>\n    <scene_description>He takes a flask out of his packet and looks across the room towards Verna . Miss me ?<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>Drop dead.<\/dialogue>\n    <scene_description>We hear a voice barking through the line and Tom turns back to the phone .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>` Lo Sean, tell O'Car to send a car over to Leo's tonight. If we're going to be banging away at Caspar we ought to be ready for him to bang back. Yeah.<\/dialogue>\n    <scene_description>He hangs up the phone and tips the flask back , draining the last drop .<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <scene_description>Tom is crossing to the bar .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>I was in the neighborhood, feeling a little daffy. Thought I'd drop in for an apperitif.<\/dialogue>\n    <scene_description>He pours himself a drink . Rug Daniels is dead .<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>Gee, that's tough.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Do n't get hysterical. I've had enough excitement for one nigit without a dame going all weepy on me.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>I barely knew the gentleman.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Rug? Bit of a shakedown artist. Not above the occasional grift, but you'd understand that. All in all not a bad guy, if looks, brains and personality do n't count.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>You better hope they do n't.<\/dialogue>\n    <scene_description>He gives her a sick grin .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Yeah well, we're none of us the saint I hear your brother is.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>Who killed him?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Leo thinks Caspar did.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>But you know better.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>I do now. Caspar just tried to buy me into settling his tiff with Leo, which held hardly do if he was waging war. So I figure you killed him, Angel. You or Saint Bernard.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>Why would I - or my brother - kill Rug Daniels or anybody else?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Rug was following you. He knew about you and me. That would n't help your play with Leo, would it?<\/dialogue>\n    <scene_description>He looks at her . She holds his gaze .<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>You think I murdered someone. Come on, Tom, you know me a little.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Nobody knows anybody - not that well.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>You know or you would n't be here.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Not at all, sugar. I came to hear your side of the story - how horrible Rug was, how he goaded you into it, how he tried to shake you down -<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>That's not why you came either.<\/dialogue>\n    <scene_description>Tom shrugs .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Tell me why I came.<\/dialogue>\n    <scene_description>Verna looks at him .<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>The oldest reason there is.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>There are friendlier places to drink.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>Why ca n't you admit it?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Admit what?<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>Admit you do n't like me seeing Lee because you're jealous. Admit it is n't all cool calculation with you - that you've got a heart - even if it's small and feeble and you ca n't remember the last time you used it.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>If I'd known we were going to cast our feelings into words I'd have memorized the Song of Solomon.<\/dialogue>\n    <scene_description>Verna smiles .<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>Maybe that's why I like you, Tom. I've never met anyone made being a sonofabitch such a point of pride.<\/dialogue>\n    <scene_description>She turns to walk across the room . Though one day you 'll pay a crice for it . Tom grabs her wrist .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Okay, Verna. But until then, let's get stinko.<\/dialogue>\n    <scene_description>He draws her close .<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>Let's do something else first.<\/dialogue>\n    <scene_description>She reaches up , takes off his hat , and tosses it casually away . We pan with the hat to where it lands on the floor , in front of a curtained window .<\/scene_description>\n    <character>Tom<\/character>\n    <parenthetical>( off . )<\/parenthetical>\n    <dialogue>Yeah. Let's do plenty.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>DISSOLVE THROUGH TO: ANOTHER WINDOW   NIGHT<\/stage_direction>\n    <scene_description>A living room window , open , its white sheers billowing lazily in the draft . Faintly , from another room in the house , we can hear a phonograph playing John McCormack singing `` Danny Boy '' . At the cut we hear a thump , close by , and briefly the sounds of a struggle . We then hear a breathy , gurgling sound , which quickly subsides . The living room is late - night quiet . The shot is a lateral track , which brings us off the window to an end table in the foreground . On the end table is a pouch of Bull Durham , a package of rolling papers , a cup of coffee with steaming rising off of it , and a section of a newspaper . The draft gently lifts a couple rolling papers off the table . The continuing track takes us off the end table and , booming down , shows us an upset chair and the legs of the man who occupied it . We track along the man 's body to discover that he is face - down on the section of newspaper he was reading , blood oozing out of his slit throat onto the newspaper . The continuing track shows that , between the fingers of one outflung hand , a cigarette burns . It is resting on the newspaper . We see the feet of another man who is turning and walking away from the man on the floor , into the background . We pan over to watch him recede , framing out all of the dying man except his outflung hand and cigarette . As the walking man recedes , more and more of his topcoated body crops in . By the time he reaches the house 's front door , in the deep background , we can see him full figure . The newspaper in the foreground is crackling into flame . The rug it rests on is beginning to smoke and discolor . As the man in the background opens the front door we jump in : OVER HIS SHOULDER Waiting in the darkness just outside is another man in a topcoat and fedora . He is holding two tommy guns . The men do not exchange words . The man outside hands his partner a tommy gun and follows him as he walks back into the house . Still faint , we continue to hear `` Danny Boy '' . We also hear the lick of flames .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A VICTROLA<\/stage_direction>\n    <scene_description>The song is louder at the cut . We are in an upstairs bedroom . LEO Stretched out an his bed , wearing a robe over his pyjamas , smoking a cigar , listening - but only to the phonograph . Its sound covers any other noise in the house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>STAIRWAY<\/stage_direction>\n    <scene_description>A close track on the two pairs of feet climbing the stairs . We see only the feet , the swaying hems of the topcoats and , occasionally dipping into frame , the muzzles of the two tommy guns .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>BEDROOM<\/stage_direction>\n    <scene_description>Leo , is motionless , looking down , a puzzled expression . HIS POV The floor . Thin smoke is beginning to sift up through the floorboards .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>STAIRWAY<\/stage_direction>\n    <scene_description>Tracking on the approaching feet . The song grows louder .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>BEDROOM<\/stage_direction>\n    <scene_description>Leo , looking , slowly taking the cigar from his mouth . BEDROOM DOOR From inside as - CRASH - it is kicked in . LEO Hitting the floor and rolling under the bed . THE TWO GUNMEN Striding into the room . LEO On his belly under the bed , facing the door , swinging a handgun in front of him . HIS POV From floor level , the bottom of the mattress above us , the floorboards stretching away . The bed crops the two gunmen mid - shin as they swing their guns up , firing . RAT - TAT - TAT - TAT - the hems of their coats sway as they fire . The floorboards in front of us are pocked by bullet hits that walk across the floor towards the bed and hit the mattress . The mattress above us dances under the gunfire as ticking sprays down at the floor . Smoke curls up throuch the floorboards . LEO Jaw clamped on his cigar , he starts firing . HIS POV Blood spurts as one gunman takes a hit in the ankle . He staggers and his tommy gun clatters to the floor . LEO Still firing . HIS POV The other gunman is ducking out the door . The injured gunman pitches forward , head towards us , his hat rolling off . LEO Firing . HIS POV A bullet hit in the top of the fallen man 's head . LEO Rolling out from under the bed . He stoops to pick up the dead man 's tommy gun . Thick smoke seeps up through the floor . The phonograph plays . Leo ducks through another door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>HALLWAY<\/stage_direction>\n    <scene_description>Facing down the length of the dark hallway , towards the mouth of the stairs . As Leo leaps across frame in the foreground , to enter a facing room , muzzle flashes erupt at the end of the hall - where the other gunman has been waiting in the darkness .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>SECOND ROOM<\/stage_direction>\n    <scene_description>Leo throws open a window .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT<\/stage_direction>\n    <scene_description>As Leo rolls out onto the long sloping eave of a front porch . His gun skates down the eave and falls . Leo grabs the rain gutter , hangs by his hands and drops down to the front lawn . The first floor of the house is in flames . From a high angle the camera swoops down on Leo as he picks up the gun and backs away from the house , looking up at the second story . His open robe flaps in the breeze . The dead cigar is still clamped between his teeth . LEO 'S POV The second floor window that he just emerged from . Staccato gunfire erupts in the dark room . The strobing gunfire makes a strobing shadow of the gunman , whose back is to us as he rakes the room with fire . LEO Firing , the gun jumping and bucking in his hands .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INSIDE THE ROOM<\/stage_direction>\n    <scene_description>The gunman , riddled with bullets and showered with broken glass , spins around , his thompson still firing uncontrol - lably . Bullets dance across the walls and ceiling , blast out the remaining glass and sing harmlessly into the trees outside . BACK TO LEO As we hear the screech of skidding tires . A black coupe takes a curve on the street behind him , machine gun fire spitting out of the back window . Leo turns , in the glow of the fanning flames , walking calmly into the street , firing at the receeding car . ON THE CAR Growing smaller , still snitting fire and lead . PULLING LEO Still walking calmly up the street , the gun still bucking in his hands . Bullets whistle by and claw up the pavement around him . BEHIND LEO His robe whips back in the breeze . He fires again and we hear the distant sound of shattering glass . The car weaves , runs up off the road , hits a tree and bursts into flame . A figure emerges from the car and staggers off into the darkness . He is on fire . CLOSE ON LEO As he stops , squinting , raising the gun . HIS POV The burning gunman zig - zagging into the darkness . BACK TO LEO A faint smile curls around the cigar . He drops the muzzle of the gun .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>Huhh.<\/dialogue>\n    <scene_description>The shell of the car explodes in a fireball as we :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CUT TO: UPSTAIRS HALLWAY   SHENANDOAH CLUB<\/stage_direction>\n    <scene_description>The explosion echoes over the cut as we track up the hallway behind Tom and a tall cadaverous man with pre - maturely white hair . This is Dead Terry McGill . Gunmen of every description line the hallway , lounging against the walls , barely acknowledging the two men .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Who's winning?<\/dialogue>\n    <character>Terry<\/character>\n    <dialogue>We are, for the nonce.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>What's the disposish?<\/dialogue>\n    <character>Terry<\/character>\n    <dialogue>Last night? Four to one. Dana Cudahy went up with the house.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>And theirs?<\/dialogue>\n    <character>Terry<\/character>\n    <dialogue>One burned.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>The other three?<\/dialogue>\n    <character>Terry<\/character>\n    <dialogue>Lead.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Whose?<\/dialogue>\n    <character>Terry<\/character>\n    <dialogue>Leo's.<\/dialogue>\n    <scene_description>He is opening the door to admit Tom . In a low , gravelly voice : . The old man 's still an artist with a thompson .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT   LEO'S OFFICE<\/stage_direction>\n    <scene_description>As Tom enters . Leo is bellowing into the phone :<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>- well find him, goddamnit! Go see if he fell in the john! And get him, over here!<\/dialogue>\n    <scene_description>He slams down the phone . Sonofabitch ! No chief ! Who 's running the goddamned store ? Tom goes to the bar to pour himself a drink .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Ca n't raise O'Gar?<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>No, nor the mayor either.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Hmm.<\/dialogue>\n    <scene_description>He takes a sip . That 's not good . They 're running .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>They would n't dare.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>I do n't know, Leo. I warned you not to hit Caspar's club -<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>I'm still here, ai n't I?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Caspar's play hurt you anyway.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>Hah! That sorry sonofabitch just slit his own throat. He just made me decide to step on him -<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Listen to me Leo. Last night made you look vulnerable. You do n't hold elected office in this town. You run it because people think you run it. Once they stop thinking it, you stop running it.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>Jesus, Tom, sounds like a bad break for me I was n't killed.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>I mean it, Leo. Start taking Caspar seriously.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>Do n't sing me the blues again, Tommy. I need your help. He shoots, we got ta answer -<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>That's what got you in this mess.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>I know, I know. Retreat to win. Give up Bernie. That'll solve all our problems.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>It wo n't anymore, I'll grant that. Now its either you or Caspar. But going toe - to - toe with a psychopath'll get you nowhere. It'll force everyone to choose sides just when you're looking shaky.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>The hell I do!<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Then where's the mayor? Why are n't there any police here? Why were n't there police at your place last night?<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>I did n't ask for any.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>I did.<\/dialogue>\n    <scene_description>Leo chuckles .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>Mother hen, huh? What's the matter, Tommy, you think I ca n't take care of myself?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>I know you ca n't. Here's the smart play, Leo : you lay back, give up Bernie, let Caspar think he's made his point. Wait for him to show you a weakness -<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>Please, Tom.<\/dialogue>\n    <scene_description>Tom stares at him .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>You're sticking on Bernie. Sticking your neck out for a guy who'd chop you off at the heels if there was two bits in it.<\/dialogue>\n    <scene_description>Leo leans back in his chair , puts his feet up , and gazes out the window .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>Tom, it ai n't all as clear - cut as you make it. Bernie's - Well hell, you know about me and Verna. Things now are - not that I have n't been a gentleman, but. I, uh. I plan to ask her to marry me, Tom.<\/dialogue>\n    <scene_description>There is a long , awkward silence . Leo avoids Tom 's look but finally responds to the silence : . I guess you think that 's a bonehead play .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Do you think she wants you to?<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>How the hell do I know, Tom?. I think she does. Yeah, ` course she does. I know, I know, you think different but - well, we just differ on that.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Leo.<\/dialogue>\n    <scene_description>Tom takes a deep breath , and exhales . Caspar did n't kill Rug . Absently :<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>Course he did.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>No. Think about it. Just this one time. Who was Rug following?<\/dialogue>\n    <scene_description>This gets Leo 's attention . He turns to look at Tom .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>It need n't have been that sinister. A strange man, following her down a dark alley, late at night. I've told you, Leo, she can take care of herself.<\/dialogue>\n    <scene_description>Leo stares at Tom . He seems somewhat dazed .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>Tom, why're you saying that? Christ, Tom. I just told you, I plan to.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>They pulled a.22 slug out of him. A pop gun, Leo - a woman's gun.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>That's a whiskey dream. Verna would n't panic - shoot someone - just because he was following her.<\/dialogue>\n    <scene_description>He gazes off again , shaking his head . No . It would n't have happened that way in the first place , and if it had she would have told me . I know you do n't like her , Tom , but I trust Verna as much as I trust you .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>On her account you'll burn the town down.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>Do n't worry, Tom. We'll still be standing when the smoke clears.<\/dialogue>\n    <scene_description>Tom 's tone is gentle :<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Okay Leo. Then maybe it was n't that innocent. Maybe Rug knew something she did n't like him knowing, and would n't want you to know. He was following her. He knew who she was seeing. He knew where she was sleeping, and who with.<\/dialogue>\n    <scene_description>Leo has taken his feet off the sill and has turned back to face Tom . He studies him carefully .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>Maybes do n't make it so.<\/dialogue>\n    <scene_description>Tom 's suddenly very earnest , almost beseeching .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>They're more than maybes. You've trusted me before, and never lost anything by it. Trust me on this.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>This is too important.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>I do n't ask much, and I do n't ask often. Trist me on this.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>Tommy -<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Trust me on this or the hell with you.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>You do n't mean that.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>She was at my place. The night Rug was following her ; the night you dropped by.<\/dialogue>\n    <scene_description>Leo is still staring impassively at Tom . Tom does n't flinch from his gaze . After a long beat Leo gets up slowly from his chair , walks over to the window , shoves his hands in his pockets and gazes out . For a moment Tom looks at Leo 's motionless back , but he has nothing left to say . He rises , plucks his hat from the desk and goes to the door . Before exiting , he looks back . Leo , in long shot , is still gazing out the window . Tom exits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>HALLWAY<\/stage_direction>\n    <scene_description>Pulling Tom up the hall . Behind him we can see the door to Leo 's office opening and Leo coming out . He strides up the hall after Tom . Tom turns as Leo reaches him . Leo , without breaking stride , seems to walk right into him , throwing a punch that catches Tom on the chin and sends him stumbling back , his hat flying off . The men 1ining the hall watch with casual interest . Tom staggers into one of the men who catches him . Another man has picked up Tom 's hat and now hands it to him . The first man shoves Tom back into the middle of the hall just in time for the approaching Leo to land another punch against his jaw .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>This blow sends Tom rolling down the staircase, still<\/stage_direction>\n    <scene_description>clutching his hat . Leo is clomping down the stairs ; his army of private retainers clomp down behind him . In his shirtsleeves and chomping an unlit cigar , Leo looks like a labor leader taking the rank and file to the barricades . Tom claws himself up the wall to his feet . Leo has reached the floor and still without breaking stride uppercuts Tom with a blow that straightens him up and sends him staggering like a drunk into gamblers in evening dresses and tuxedos . A path clears for Leo and his entourage . He has not slackened his pace , but is also not hurrying . Tom weaves , watching Leo approach , but makes no attempt to defend himself . Leo grabs his own wrist with one hand and swings his elbow up to catch Tom with a sharp blow on the side of his face . Tom spins into a screaming lady in a sequined evening dress and sinks to the floor grabbing at her bodice and skirt for support . She bats at him with her handbag as he slips down . Fat Tony emerges from the crowd and helps Tom to his feet . He raises his hand to stop Leo .<\/scene_description>\n    <character>Tony<\/character>\n    <dialogue>Okay, Leo. I'll throw him out.<\/dialogue>\n    <scene_description>Leo stops , panting . He is looking at Tom , but speaking to to Tony .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>Yeah. Do that. It's the kiss - off. If I never see him again it'll be soon enough.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>CUT TO: TOM'S APARTMENT<\/stage_direction>\n    <scene_description>Wide shot of his living room , facing the windows . It is night . Tom sits with his back to us at the window , feet propped up on the sill . He is smoking a cigarette . A full ashtray on a table at his side indicates that he has been sitting there for some time . We are slowly tracking in . The telephone sits on the the arm of his chair . After a moment he stubs out the cigarette , picks up the phone and dials .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>` Lo Frankie its Tom, how's the flunky business?. I've had worse ; your ventilator healing up?<\/dialogue>\n    <scene_description>Offscreen we hear a knocking at the door to the apartment . Tom ignores it . Tell Caspar its already forgotten . I 'd like to see him . The knocking continues . All right , do what you have to do and let me know . He cradles the phone , lights another cigarette , takes a drag , blows a thoughtful cloud of smoke and turns to face the door . After a beat he rises and leaves frame . THE DOOR As Tom swings it open . Verna stands in the hallway outside . After a wordless beat she moves past him into the apartment . Tom turns and follows her . He walks over to his bar , pours two drinks , then crosses the room to Verna who has seated herself , hands her a drink and sits down in a chair facing hers .<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>It worked, whatever you did ; Leo told me we're quits. But you know I did n't have anything to do with Rug.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Maybe not. Anyway, that is n't what soured him on you.<\/dialogue>\n    <scene_description>The thought is bitter but her tone is n't :<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>Oh, you and me, huh? You always take the long way around to get what you want, do n't you Tom. You could have just asked.<\/dialogue>\n    <scene_description>Tom looks at her .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>What did I want?<\/dialogue>\n    <scene_description>Verna returns his look , then answers evenly :<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>Me.<\/dialogue>\n    <scene_description>After a beat Tom , his eyes still on Verna , brings the glass to his lips and takes a sip . The ice cubes clink . FADE OUT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>FADE IN: THE BEDROOM<\/stage_direction>\n    <scene_description>Tom sits perched on the edge of the bed , smoking a ciga - rette . Verna is in bed behind him . The lamp on the nightstand is burning a faint yellow . The telephone rings . As Tom reaches for it , Verna stirs behind him .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <scene_description>He reaches over to switch off the light ; when he does the room remains illuminated by dull gray light ; it is dawn . Yeah yeah , when ? . Okay . He hangs up , and continues to smoke , staring absently off .<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>You're still up?<\/dialogue>\n    <scene_description>Tom answers without turning to face her :<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>What're you chewing over?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Remembering something.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>What was it?<\/dialogue>\n    <scene_description>Tom turns to look at her , then turns back and looks out the window .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Just a dream. I was walking in the woods, do n't know why. The wind came up and blew my hat off.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>And you chased it, right? You ran and ran and finally you caught up to it and picked it up but it was n't a hat anymore. It had changed into something else - something wonderful.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>No. It stayed a hat. And no I did n't chase it. I watched it blow away.<\/dialogue>\n    <scene_description>He takes a drag an the cigarette . Nothing more foolish than a man chasing his hat . Tom rouses himself , rises , and we pan to follow as he picks up a shirt and starts buttoning it in the bureau mirror .<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>Where're you going?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Out.<\/dialogue>\n    <scene_description>Verna stares at him .<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>Do n't let on more than you have to.<\/dialogue>\n    <scene_description>Tom shrugs .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Just have to do a few things.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>You and Leo might still be able to patch things up.<\/dialogue>\n    <scene_description>Tom grimaces into the mirror .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Me and Leo are finished. Nothing's going to change that.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>You never know. He's got a big heart.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>We're quits - as far as I'm concerned, never mind him. And if Leo did want me back he's an even bigger sap than I thought.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>Then why do n't we just pick up and leave town? There's nothing keeping you here. I know there's nothing keeping me.<\/dialogue>\n    <scene_description>Tom is starting to knot a tie .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>What about Bernie?<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>He could come with us.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>You, me and Bernie. Where would we go, Verna? Niagara Falls?<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>Why do you hate him?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>I do n't hate anyone.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>Or like anyone.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Whatever. Where is Bernie?<\/dialogue>\n    <scene_description>Verna looks at him .<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Leo ca n't protect him anymore. I ought to tell him to skip.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>The Royale. Room three - oh - two.<\/dialogue>\n    <scene_description>She gazes off . I guess we both double - crossed Leo , there 's no getting around that . I guess he 's well rid of both of us .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Mm.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>The two of us, we're about bad enough to deserve each other.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Are we?<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>We're a couple of heels, Tom. Yes we are.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>PULLING TOM<\/stage_direction>\n    <scene_description>Into a dark office . Behind him , Frankie , his nose swathed with bandages , is closing the door from the outside .<\/scene_description>\n    <character>Caspar<\/character>\n    <parenthetical>( off . )<\/parenthetical>\n    <dialogue>` Lo, Kid. You know O'Gar.<\/dialogue>\n    <scene_description>TOM 'S POV Caspar sits behind his desk . Bluenoint sits slouched on a couch to one side , wearing his hat , his hands jammed into the pockets of his overcoat . In two chairs facing the desk , away from us , sit two men who are twisting around to smile at Tom .<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>and the mayor.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>` Lo, boys.<\/dialogue>\n    <character>Mayor<\/character>\n    <dialogue>Tom's a big booster. Always has been.<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>S'fine, s ` fine. Well, Tom and me's got the proverbial fat to chew -<\/dialogue>\n    <scene_description>The mayor and O'Gar are already rising to their feet .<\/scene_description>\n    <character>Mayor<\/character>\n    <dialogue>Well, let us know if you need anything.<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>Yeah, happy days. Have a seat, kid.<\/dialogue>\n    <scene_description>Tom sits into one of the vacated chairs facing Caspar . So you had enough time to think about it ?<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Yeah, well, circumstances have changed.<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>Do n't I know it. Last night, I know Bluepoint was disappointed the bulls showed up before Frankie and Tic - Tac could really pin your ears back, but I said, Relax, Bluepoint, I got a feeling about this kid. Take the long view. The kid and Leo are gon na go bust - o. If the kid ai n't ready yet, well, he soon will be. Matter of time. I said, the kid's too smart for Leo. That's what I said. Like a psychic. Ask Bluepoint if I did n't. Like a goddamn psychic. G'ahead. Ask him.<\/dialogue>\n    <scene_description>Tom turns to look at Bluepoint .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>You vouch for this psychic business?<\/dialogue>\n    <scene_description>From the couch , Bluepoint sneers :<\/scene_description>\n    <character>Bluepoint<\/character>\n    <dialogue>That's right, smart guy.<\/dialogue>\n    <scene_description>Caspar cheerfully continues , oblivious to any hostility in the room :<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>I know you knew protecting the Motzah was a dumb idea. I know you been wise to all of Leo's dumb ideas lately. Only a matter of time. Bust - o.<\/dialogue>\n    <scene_description>He chuckles . That 's why last night we did n't put the arm on you . Only Leo .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Seeing how you squiffed your play on Leo, I can be only so grateful.<\/dialogue>\n    <character>Bluepoint<\/character>\n    <dialogue>That's brave, coming from Little Miss Punching Bag.<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>C'mon Bluepoint. Friends now, huh?<\/dialogue>\n    <character>Bluepoint<\/character>\n    <dialogue>Nuts.<\/dialogue>\n    <scene_description>Caspar smiles at Tom .<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>So we get a little jingle. And I figure you know Leo's on his way out. It's only a matter of time before we get him. Am I right, kid?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Maybe.<\/dialogue>\n    <scene_description>Caspar laughs .<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>What maybe. You know or you would n't be bust - o. So I guess you're looking for a job?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>I might be.<\/dialogue>\n    <scene_description>Caspar laughs .<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>You got references? You been to college, kid? We only take yeggs what's been to college. Ai n't that right, Bluepoint?<\/dialogue>\n    <scene_description>Bluepoint says nothing . His scowl is set in cement . I 'm jokin ' , of course . We all know you can be useful to us , a smart kid such as yaself , the man who walks behind the man and whispers in his ear . I guess you could be useful , in spades .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Yeah. I can do plenty for you. But the fact is that right now Leo's still got all his vital signs and once he hears about this he'll be more anxious to get to me than to either of you.<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>I'm tellin' ya not to worry about Leo. We got plans for him.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Yeah? What?<\/dialogue>\n    <character>Bluepoint<\/character>\n    <dialogue>Not so fast there, Kaputnik.<\/dialogue>\n    <scene_description>There is a beat through which Caspar continues to smile at Tom .<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>I think what the Bluepoint is trying to say is, there'll be time to talk about that. That can be tabled for a later date. See, the last time we jawed you gave - me the high hat. So I guess I'm sayin', maybe we want your confidence before we give you ours. You got ta put somethin' on the table. Ante up.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Fair enough. Where shall we start.<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>Hear that, Bluepoint? All business! I told you he was a good kid! Where shall we start! All business!.<\/dialogue>\n    <scene_description>He rocks back in his chair and dries his eyes . Tom smiles pleasantly . Finally Caspar sighs . Well , we could start for instance with the Motzah . Like where 's the Motzah ? You could maybe tell us that .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>The Royale. Room three - oh - two. You might find Mink with him.<\/dialogue>\n    <character>Bluepoint<\/character>\n    <dialogue>The hell you say.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Sure, Bernie and Mink are as cozy as lice.<\/dialogue>\n    <scene_description>He turns to look at Bluepoint . And it ai n't just business . Caspar looks at Bluepoint . Bluepoint 's eyes bare into Tom .<\/scene_description>\n    <character>Bluepoint<\/character>\n    <dialogue>This guy's lying.<\/dialogue>\n    <scene_description>Tom shrugs .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Why would I?<\/dialogue>\n    <character>Bluepoint<\/character>\n    <dialogue>This guy's wrong. This guy's all wrong. Mink is clean and this clown is a smart guy.<\/dialogue>\n    <scene_description>Caspar is still staring at Bluepoint , no longer smiling .<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>Easy enough to find out, ai n't it? You find Mink, bring him back here.<\/dialogue>\n    <scene_description>He nods at Tom . You go down to the car . I 'll send Frankie and Tic - Tac with you to the Royale . If Bernie 's there , Frankie and Tic - Tac 'll take care of him .<\/scene_description>\n    <character>Bluepoint<\/character>\n    <dialogue>And if he's not there?<\/dialogue>\n    <scene_description>Tom shrugs .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>I'll sit facing the corner in a funny hat.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>CUT TO:<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT   CAR<\/stage_direction>\n    <scene_description>Tom sits behind the wheel of the parked car ; we are an his profile . Tom 's face is rigidly set ; we do n't know why as we watch him for a short beat . BAM - with a loud impact Bernie Bernheim 's face is slammed against the driver 's window . Tom still faces forward . Bernie is wailing as he is muscled back away from the window by two topcoated torsos - their faces above the car window . They muscle Bernie out of frame towards the rear of the car and we hear the back door being opened . Bernie 's voice , off , is near hysteria :<\/scene_description>\n    <character>Bernie<\/character>\n    <dialogue>Frankie, let me go, I'm prayin' to ya, Jesus God - Tom! Jesus!<\/dialogue>\n    <scene_description>As Frankie and Tic - Tac pile Bernie into the back , we continue to hold on Tom 's face . He still does not react .<\/scene_description>\n    <character>Bernie<\/character>\n    <dialogue>Are you part of this?! You ca n't be part of this! I think these guys're gon na whack me! You got ta talk to'em, Tommy!<\/dialogue>\n    <character>Frankie<\/character>\n    <dialogue>You gim me a headache, you little sheeny.<\/dialogue>\n    <scene_description>To Tom :<\/scene_description>\n    <character>Tic-Tac<\/character>\n    <dialogue>Okay, we're going to Miller's Crossing.<\/dialogue>\n    <scene_description>Tom still does n't react . There is a beat of Bernie 's crying . Finally :<\/scene_description>\n    <character>Frankie<\/character>\n    <dialogue>Lets go!<\/dialogue>\n    <scene_description>As Tom reaches forward and starts the car :<\/scene_description>\n    <character>Bernie<\/character>\n    <dialogue>You're not part of this! Tom! Help me! These guys are gon na whack me!<\/dialogue>\n    <character>Tic-Tac<\/character>\n    <dialogue>Whack you inna mouth you do n't shut up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>MILLER'S CROSSING   WIDE<\/stage_direction>\n    <scene_description>Day . A wooded area outside of town . The wind blows . The car pulls into frame and stops on the shoulder . The backseat passengers - Frankie , Tic - Tac and Bernie - emerge ; Tom remains in the driver 's seat . Bernie is weeping , loudly ; he has lost control . Frankie takes out a gun and whacks him smartly on the side of his head . The blow sends him stumbling over towards Tic - Tac , who kicks him down . The blows have n't quelled Bernie 's sobbing .<\/scene_description>\n    <character>Tic-Tac<\/character>\n    <dialogue>I do n't want you runnin' anywhere.<\/dialogue>\n    <scene_description>Frankie takes a swig from his flask and hands it to Tic - Tac , who leans in the car window .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT    CAR<\/stage_direction>\n    <scene_description>Tom gazes forward , jaw set , eyes off the doings outside . As Tic - Tac hands his gun in through the window :<\/scene_description>\n    <character>Tic-Tac<\/character>\n    <dialogue>Okay. Take him in the woods and whack him.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Huh? I do n't.<\/dialogue>\n    <character>Tic-Tac<\/character>\n    <dialogue>Yeah, that's right, the boss wants you to do it. Make sure you're with the good guys.<\/dialogue>\n    <scene_description>Tom stares dumbly at the gun . Tic - Tac holds it , grip towards Tom , motionless . After a beat he takes the gun .<\/scene_description>\n    <character>Tic-Tac<\/character>\n    <dialogue>You know how to do this, right? You got ta remember to put one in his brain. Your first shot puts him down, then you put one in his brain. Then he's dead, then we go home.<\/dialogue>\n    <scene_description>Tom opens his door . WIDE EXT Bernie is still on the ground , sobbing , not responding to Frankie who prods him with his foot .<\/scene_description>\n    <character>Frankie<\/character>\n    <dialogue>Get up.<\/dialogue>\n    <character>Bernie<\/character>\n    <dialogue>I ca n't get up! I ca n't get up!<\/dialogue>\n    <scene_description>Frankie drags him to his feet .<\/scene_description>\n    <character>Frankie<\/character>\n    <dialogue>Get up and walk, you chiselin' little yid.<\/dialogue>\n    <scene_description>He pushes him towards the woods and reaches for the whiskey flask . Bernie stumbles off ; Tom follows him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>TRACK<\/stage_direction>\n    <scene_description>Through the woods , pulling the two men , Bernie in the foreground . Tree limbs groan in the wind . Bernie is stumbling , his clothes rumpled and dirty , his face stained by tears and blood from the gun blow . His shaking voice strains for a tone of reasonableness :<\/scene_description>\n    <character>Bernie<\/character>\n    <dialogue>Tommy, you ca n't do this. You do n't bump guys. You're not like those animals back there.<\/dialogue>\n    <scene_description>Tom marches on , face drawn , silent . It 's not right , Tom . They ca n't make us do this . It 's a wrong situation . They ca n't make us different people than we are . We 're not muscle , Tom . I never killed anybody . I used a little information for a chisel , that 's all . I could n't help it , Tom , it 's my nature . Somebody hands me an angle , I play it . I do n't deserve to die for that ! D'you think I do ? I 'm just a grifter ! Huh , Tom ? Still no response from Tom . Bernie is fighting a losing battle to keep himself from whining . But I 'll tell you what , I never crossed a friend . Huh , Tom ? Never killed anybody , never crossed a friend . Nor you , I 'll bet . We 're not like those animals . You ca n't do this ! You 're not like those animals . This is not us ! This is some hop dream ! Tom 's face is a - ny mask . Bernie is losing control again . He starts to weep . It 's a dream ! Tommy ! I 'm praying to you ! I ca n't die ! I ca n't die ! Out here in the woods ! Like a dumb animal ! I ca n't die ! He turns and sinks to his knees , wailing , his hands clasped in front of him , staring up at Tom . You ca n't kill me . I 'm praying to you ! look in your heart ! I 'm praying to you ! Look in your heart ! Tom stares down at Bernie , his face drawn and pale . I 'm praying to you ! Look in your heart ! Slowly Tom raises the gun and levels it at Bernie 's head . Look in your heart ! Look in your - BOOM ! The gun blast is deafening . With it , Bernie 's sobbing abruptly stops . The shot echoes away in the woods , taking the wind with it , leaving silence . CLOSE BERNIE Still kneeling , in shock , staring wide - eyed at Tom . Finally , whispering :<\/scene_description>\n    <character>Bernie<\/character>\n    <dialogue>Tommy.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Shutup. You're dead, get me?<\/dialogue>\n    <scene_description>Still whispering :<\/scene_description>\n    <character>Bernie<\/character>\n    <dialogue>I understand. I'm dead. God bless you -<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Shutup. You have to disappear. You have to blow, for good. Nobody can see you, nobody can know.<\/dialogue>\n    <character>Bernie<\/character>\n    <dialogue>God bless you -<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Go somewhere no one knows you. Anyone sees you, you really are dead, I do n't care, you're not my problem any more.<\/dialogue>\n    <character>Bernie<\/character>\n    <dialogue>Of course not. Of course not. You've done your share. Thank you. Do n't worry, I understand. Thank you -<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Shutup. Just get the hell out, before I change my mind.<\/dialogue>\n    <scene_description>Bernie is already on his feet , and running . CLOSE ON TOM Watching Bernie go . TRACKING Pulling Bernie as he runs . Foreground trees flash by . In the background we see Tom standing , his gun dangling at his side . Boom ! - another gun blast . Running , Bernie reacts , but Tom has only fired into the ground . On the echo of the shot we cut to :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>WIDE   THE ROAD<\/stage_direction>\n    <scene_description>Tic - Tac and Frankie are leaning against the car , trading the flask back and forth . In the background , Tom emerges from the woods .<\/scene_description>\n    <character>Frankie<\/character>\n    <dialogue>Put one in his brain?<\/dialogue>\n    <scene_description>Tom takes a few steps more before answering :<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>Frankie<\/character>\n    <dialogue>Attaboy.<\/dialogue>\n    <scene_description>FADE OUT Over black we hear the sound of coins being dropped into a phone box .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>FADE IN<\/stage_direction>\n    <scene_description>Looking down a deserted street towards a glowing phone booth on a dark corner . Tom stands inside the booth waiting , the receiver to his ear .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Mink? Tom Duchaisne. Where've you been?.<\/dialogue>\n    <scene_description>CLOSE ON TOM Inside the phone booth . Well you 're lucky , Bluepoint 's been looking for you . Bernie 's dead - Stop wailing and listen to me . Caspar knows you were in on selling out his fix . I guess I gave him that idea . Sorry Mink , we were chatting and it just slipped out . - Shutup and let me talk . You 've got ta make yourself missing , but let me know where you hole up . You 're gon na say some things for me . Some stories . About Bluepoint , to Caspar - do n't worry , I 'll let you know . For now just dis - appear . Yeah , I got you into it . Just remember , Mink , I 'm the only one who can get you out . Tom hangs up the phone , turns around and opens up the glass door . WHOMMMP ! A fist slams into his stomach , driving him back into the phone booth , knocking his hat off of his head . The man who hit him leans down , picks up the hat , dusts it off and hands it into the booth . It is Dead Terry , the tall cadaverous man we saw earlier outside of Leo 's office . A cigarette dangles from his lower lip . Behind him a black sedan is parked at the curb . Three or four gunmen stand on the sidewalk looking warily up and down the road . Tom looks up , the color drained from his face , and reaches feebly out for his hat .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>` Lo, Terry. Getting out the vote?<\/dialogue>\n    <scene_description>Dead Terry flicks his cigarette away and smiles .<\/scene_description>\n    <character>Terry<\/character>\n    <dialogue>Message from Leo. Leo says, if you're smart you'll sit this one out - not that he cares one way or the other. Leo says if you're on the wrong side you take your chances, like anyone else. Leo says he gives no special favors. That's all.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Mm.<\/dialogue>\n    <scene_description>Terry starts to turn away . Tell Leo he 's not God on the throne , he 's just a cheap mick political boss with no brains and an office that looks like a French whore - house . Tom moves to exit the booth but Terry lays a hand on his shoulder .<\/scene_description>\n    <character>Terry<\/character>\n    <dialogue>One more thing.<\/dialogue>\n    <scene_description>He cracks Tom across the chin with a clean left hook , knocking him back into the booth again . Tom rubs his chin , looking up at Terry .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Leo say that too?<\/dialogue>\n    <scene_description>As Terry and the gunmen get into the car :<\/scene_description>\n    <character>Terry<\/character>\n    <dialogue>No, I said that. Cross Leo and next time I'll say plenty.<\/dialogue>\n    <scene_description>We FADE OUT as the door slams and the car roars off . Over black we hear :<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>When you're right you're right, but you never say I told you so.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>FADE IN<\/stage_direction>\n    <scene_description>On Tom , sitting into frame in Caspar 's office .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>So what'm I right about?<\/dialogue>\n    <scene_description>Behind his desk , Caspar is smiling .<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>Well, I'll tell ya, but first you got ta promise not to say I told you so.<\/dialogue>\n    <scene_description>Tom 's eyes hold an Caspar 's . He is taking out a pack of cigarettes .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>I never say that. And I do n't like people who do.<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>Mink was robbin' me right along with the Mptzah.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>What convinced you of that?<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>Mink Larouie took a powder. We ca n't find him. Bluepoint's makin' excuses for him, but personal - ly, I think you were right. I think Mink and Bernie was in it together. I think Mink heard you'd bumped the Motzah, and lit out. The lousy sonofabitch.<\/dialogue>\n    <scene_description>His eyes on Caspar , Tom takes out a cigarette , lights it , takes a deep drag .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>I told you so.<\/dialogue>\n    <scene_description>Caspar laughs .<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>Okay. You got a lip on ya. Ats all right. I do n't generally care for it, but that's all right. You were a good sport to bump the Motzah. I just like to make sure my friends is my friends. So.<\/dialogue>\n    <scene_description>He throws his hands up . Friends , right ?<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>How d'you know Mink skipped?<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>Bluepoint ca n't find him.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>So he says.<\/dialogue>\n    <scene_description>Caspar stares at Tom .<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>Meanin' what, exactly?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Maybe nothing. I did n't give it much thought until now, since a guy will say pretty much anything when he knows his number is up, but just before I bumped Bernie he swore to me that Bluepoint and Mink were setting him up. That they were the ones that were selling out your fix.<\/dialogue>\n    <scene_description>Caspar looks at Tom .<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>` Zat so.<\/dialogue>\n    <scene_description>He thinks for a beat . Like you say , a guy 'll say anything .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Uh - huh. So why is n't Bluepoint here?<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>Well.<\/dialogue>\n    <scene_description>He figdets . He do n't care for you , kid . Maybe it 's only fair to tell you . After you left us , he tried to sell me on a double - cross . He says to me , why do n't we double - cross you and give you the bump once we get the Motzah . But I figure a deals a deal , you 're square with me , you bump the Motzah , I 'll hold up my end . Question of ethics . Everything above board , that 's how I like it , so everybody knows who 's a friend and who 's an enemy . But Bluepoint would n't cross me . We go back .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Uh - huh. Course, there's always that wild card when love is involved.<\/dialogue>\n    <scene_description>Caspar is staring intently at Tom . After a beat :<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>I know Mink is Bluepoint's boy, but I still do n't make it that way.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Mm. Well, then there's nothing to worry about.<\/dialogue>\n    <scene_description>Caspar seems lost in thought :<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>We hear the door to the office open offscreen and Johnny Jr. runs into frame clutching a scrolled piece of paper .<\/scene_description>\n    <character>Johnny Jr.<\/character>\n    <dialogue>Poppa! Poppa! I got a prize from the -<\/dialogue>\n    <scene_description>Caspar holds his hand up to quiet the youngster , still looking at Tom .<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>Just a minute.<\/dialogue>\n    <scene_description>As Tom rises to his feet : . Course , there 's no reason not to be careful -<\/scene_description>\n    <character>Johnny Jr.<\/character>\n    <dialogue>Poppa! Poppa! The sisters gave me a - unnnh!<\/dialogue>\n    <scene_description>Cascar has cuffed him sharply on the side of the head . He points at Tom .<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>Shaddap! You take a page outta this guy's book. A little less you talk and a little more you think!<\/dialogue>\n    <scene_description>Cascar looks at Tom and smiles . Kids . Ya got ta be firm . Anyways . You know what I 'm sayin ' . No reason to worry but no reason not to investigate , neither . If Mink is around I want you to find him . He can tell us what 's what . -LRB- to Johnny Jr. : . -RRB- . What 's a matter , somebody hit you , what 's a matter , we ai n't friends anymore ? . He picks up Johnny Jr. , who is crying softly , and sets him in his lap . Encouraged by the attention , the child starts wailing . Caspar bounces him on his knee and raises his voice over the sobs : . If you find him , I wan na talk to him alone . That 's how you get the straight dope . Man - to - man . Just me , Mink . He pats his jacket where his shoulder holster is . and my friend roscoe . Y' understand what I 'm sayin ' ? Tom takes a contemplative drag on his cigarette .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>It ai n't complicated.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>CUT TO: CLOSE SHOT   A MAN'S FACE<\/stage_direction>\n    <scene_description>Crunch ! - being hit by a gloved hand . The blow and the man 's grunt echo . CLOSE ON A NEWSPAPER As the noise of fists against flesh continues , echoing , in the background . The newspaper headline reads : PARTY BOSS LOOSES MUNICIPAL CONTRACT . The subhead reads : Liam -LRB- Leo -RRB- O'Bannon Removed From City Highway Commission ; New Construction Contracts To Raffo Bros. . ON TOM Leaning against a pillar in a large bare room with a hardwood floor . He is reading the newspaper . We are in a gym . In a ring in the background two boxers are sparring as two or three old men with towels slung over their shoulders and elbows hooked over the ropes idly watch , and offer occasional bits of half - hearted advice . We hear high heels echoing across the floor and Verna enters .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>You should leave town for a few days ; things are going to heat up here. Go out to the Pallisades ; I'll join you once I'm done.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>I ca n't find Bernie. Did you find him?<\/dialogue>\n    <scene_description>Tom looks out at the fighters in the background , avoiding Verna 's look .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>Is he leaving?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>He left.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>Where to?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>He did n't say. You should -<\/dialogue>\n    <scene_description>She reaches out to touch his hand -<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>She leans in to embrace him . Tom 's eyes drift up to the fighters .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT   THE GYM<\/stage_direction>\n    <scene_description>Peeling paint on its blackened - out window reads : Gleason 's Gym . Training in The Sweet Science . Verna is exiting the gym in long shot . We pull back to bring Bluepoint into frame . He sits in the driver 's seat of a car , watching through his side window as Verna recedes . Quietly :<\/scene_description>\n    <character>Bluepoint<\/character>\n    <dialogue>What's he up to?<\/dialogue>\n    <scene_description>An offscreen voice , a passenger :<\/scene_description>\n    <character>Voice<\/character>\n    <dialogue>I dunno.<\/dialogue>\n    <character>Bluepoint<\/character>\n    <dialogue>That's Bernie's sister, is n't it?<\/dialogue>\n    <character>Voice<\/character>\n    <dialogue>I dunno.<\/dialogue>\n    <scene_description>Bluepoint thinks , a short beat .<\/scene_description>\n    <character>Bluepoint<\/character>\n    <dialogue>What's he seeing her for?<\/dialogue>\n    <character>Voice<\/character>\n    <dialogue>I dunno, maybe he's -<\/dialogue>\n    <character>Bluepoint<\/character>\n    <dialogue>Shutup. Get outta the car. Stick with the bighead.<\/dialogue>\n    <scene_description>Bluepoint reaches for the ignition , as we hear the car door open . I 'll see where the twist flops .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CUT TO:<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT   SPEAKEASY<\/stage_direction>\n    <scene_description>A hand swings through frame holding the barrel of a gun , smashing the butt into a surprised face . With a loud crash the surprised man stumbles back into a table and hits the floor . Legs and the skirts of an overcoat approach the prostrate , round , middle - aged man and start kicking him . He rolls across the floor trying to shield himself from the blows .<\/scene_description>\n    <character>Voice<\/character>\n    <parenthetical>( off . )<\/parenthetical>\n    <dialogue>C'mon, get up. I just wan na talk.<\/dialogue>\n    <character>Another Voice<\/character>\n    <parenthetical>( off . )<\/parenthetical>\n    <dialogue>Yeah, get up. He ai n't gon na hurt ya.<\/dialogue>\n    <character>Round Man<\/character>\n    <dialogue>He already hurt me! He broke my goddamn nose!<\/dialogue>\n    <scene_description>Whisper , the man standing over him , has a long scar across his neck . He has a rasping voice :<\/scene_description>\n    <character>Whisper<\/character>\n    <dialogue>So what? I had my nose broke once.<\/dialogue>\n    <character>Round Man<\/character>\n    <dialogue>I already paid Leo's men.<\/dialogue>\n    <scene_description>Bert , another enforcer , is down at the end of the bar with Tom .<\/scene_description>\n    <character>Bert<\/character>\n    <dialogue>You still pay Leo for protection? Is he protec - tin' you?<\/dialogue>\n    <scene_description>As he kicks at the little round man :<\/scene_description>\n    <character>Whisper<\/character>\n    <dialogue>We's protectin' you. Johnny Caspar's runnin' things or maybe you ai n't heard.<\/dialogue>\n    <scene_description>In the background Whisper continues to hector and kick at the round man as Bert and Tom talk in the foreground .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>So Bluepoint has n't got a line on Leo yet?<\/dialogue>\n    <character>Bert<\/character>\n    <dialogue>Not that I know about. He's been lookin', but I guess Leo's been movin' around and - hoist this over the bar, will ya? - and thingslve been kinda hectic.<\/dialogue>\n    <scene_description>He is handing Tom a briefcase . As Tom leans over the bar to drop it behind :<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Do me a favor - let me know if he finds anything.<\/dialogue>\n    <scene_description>Bert is pouring himself a drink .<\/scene_description>\n    <character>Bert<\/character>\n    <dialogue>Yeah, okay -<\/dialogue>\n    <scene_description>Whisper , gun drawn , calls from the back of the bar :<\/scene_description>\n    <character>Whisper<\/character>\n    <dialogue>I'm gon na put this one to sleep, wuddya think Bert?<\/dialogue>\n    <scene_description>Bert shrugs into his overcoat .<\/scene_description>\n    <character>Bert<\/character>\n    <dialogue>Yeah, okay.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>If you kill him he wo n't be able to think things over.<\/dialogue>\n    <character>Whisper<\/character>\n    <dialogue>He do n't seem like such a hot thinker.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>You'll think about what you've learned here, wo n't you Louie?<\/dialogue>\n    <character>Round Man<\/character>\n    <dialogue>You bet, Tom, I'll think plenty!<\/dialogue>\n    <scene_description>Bert shrugs .<\/scene_description>\n    <character>Bert<\/character>\n    <dialogue>Ah, what the hell.<\/dialogue>\n    <scene_description>The round man scrambles to his feet and runs out the back door . Whisper puts away his gun and saunters over to Tom and Bert . As the three men head for the front door :<\/scene_description>\n    <character>Bert<\/character>\n    <dialogue>If we ca n't trust a dago, the whole thing's hopeless anyway.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT   SPEAKEASY<\/stage_direction>\n    <scene_description>As the three men emerge into the afternoon sun .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>So, are we winning?<\/dialogue>\n    <scene_description>Bert gives a so - so flutter of his hand .<\/scene_description>\n    <character>Bert<\/character>\n    <dialogue>It's tough. Leo's still got some teeth left. His men bushwhacked Tony Campisi last night, slit his throat.<\/dialogue>\n    <character>Whisper<\/character>\n    <dialogue>Yeah? He die?<\/dialogue>\n    <character>Bert<\/character>\n    <dialogue>I said, they slit his throat.<\/dialogue>\n    <character>Whisper<\/character>\n    <dialogue>So what, genius? I had my t ` roat slit once.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Sure Whisper, but normal people's brains need oxygen -<\/dialogue>\n    <scene_description>BOOM ! - Behind the three men the front of the speakeasy blows - glass flying , flame licking out . Though there is commotion among the passers - by , Tom , Bert and Whisper do n't even turn around to look .<\/scene_description>\n    <character>Bert<\/character>\n    <dialogue>Get the car, will ya Whisper?<\/dialogue>\n    <scene_description>As Whisper trots out into the street :<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Do n't tell Bluepoint I was asking about him.<\/dialogue>\n    <character>Bert<\/character>\n    <dialogue>Yeah yeah.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Caspar just wanted me to check up, make sure he's doing everything he can -<\/dialogue>\n    <scene_description>There is a faint but distinct popping sound . Tom looks into the street . Whisper is staggering around , as if drunk . He turns to face Tom and Bert . He lurches toward them . A red stain is blossoming on his chest . The ambient hubbub fades to total silence ; we hear only the crisp staggering scuffle of Whisper 's shoes as he stumbles into the foreground , looking stunned . He drops . A woman screams . Noise wells up . Bert is unhoistering his gun , looking up . Tom looks where Bert is looking . FACING ROOFTOP A man with a distinctive shock of white hair - Dead Terry McGill . He puts up his gun and starts running along the roof . BERT Starts running along the street to keep pace , firing up at the facing roof . A POLICE CAR Siren wailing , up on two wheels , taking a speeding turn onto the street . It is speeding towards Bert . PULLING BERT Running , he is pointing , and bellowing at the car :<\/scene_description>\n    <character>Bert<\/character>\n    <dialogue>Leo's man! Up there!<\/dialogue>\n    <scene_description>POLICE CAR Cops with guns hang out every window . They start firing . TRACKING TOWARDS BERT<\/scene_description>\n    <character>Bert<\/character>\n    <dialogue>Up there! Leo's -<\/dialogue>\n    <scene_description>A hail of bullets cuts him to pieces . A limp rag , he hits the road . The police car squeals to a halt in front of his corpse . A sergeant and his men pile out . Tom is sauntering over , smoking a cigarette .<\/scene_description>\n    <character>Sergeant<\/character>\n    <dialogue>` Lo, Tom. Chalk one up for the good guys, huh?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Yeah, Caspar'll be thrilled. You just shot one of his apes.<\/dialogue>\n    <character>Sergeant<\/character>\n    <dialogue>Bullshit!<\/dialogue>\n    <scene_description>Tom 's attention is drawn by something down the street . HIS POV About a block away , a man with white hair is crossing the street , from the side where the sniper 's shot came from .<\/scene_description>\n    <character>Sergeant<\/character>\n    <parenthetical>( off . )<\/parenthetical>\n    <dialogue>I'm tellin' you that's Two - Toe Jackson! He's Leo's!<\/dialogue>\n    <scene_description>BACK TO TOM As he starts to leave .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>It's Bert Sachetti, Caspar's bang - man.<\/dialogue>\n    <scene_description>Behind him the Sergeant bellows at another cop :<\/scene_description>\n    <character>Sergeant<\/character>\n    <dialogue>Bullshit! Take his shoes off. Count his goddamn toes!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT   DINER<\/stage_direction>\n    <scene_description>Dead Terry McGill sits at a stool looking angrily down at a cup of coffee . Tom enters to sit next to him . Through the windows behind them , we can see people running back and forth on the street , a fire engine racing past - furious activity , its noise muted inside the diner .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>` Lo, Terry. You were n't aiming at me, were you?<\/dialogue>\n    <scene_description>Terry does not even look over at him . Sullenly :<\/scene_description>\n    <character>Terry<\/character>\n    <dialogue>In the first place, I do n't know what you're talking about. In the second place, if I had been aiming at you I'd've hit you. In the third place, I do n't know what you're talking about in the first place.<\/dialogue>\n    <scene_description>He tosses some coins onto the counter and gets up . We hold on Tom as Terry talks to Tom 's back : . I 'd like to have , believe me . Leo wo n't let me - yet . But I 'll bring him around . He puts a hand on Tom 's stoulder and swivels him around . Terry clenches a fist and draws it back to throw a punch . Tom and Terry look at each other , Tom making no movement to defend himself . After a long beat , Terry uncldnches his fist and sneers : . I wo n't give you the satisfaction .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CUT TO: DOORKNOB<\/stage_direction>\n    <scene_description>As - CRASH - a foot enters to kick it and the door in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT   VERNA'S APARTMENT<\/stage_direction>\n    <scene_description>Verna is backing away from the door - behind us - into the apartment . Bluepoint strides into frame .<\/scene_description>\n    <character>Bluepoint<\/character>\n    <dialogue>Know who I am?<\/dialogue>\n    <scene_description>Verna continues to back away ; Bluepoint continues to advance .<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>Yeah, Johnny Caspar's shadow. Did he stay in bed today?<\/dialogue>\n    <character>Bluepoint<\/character>\n    <dialogue>Jesus. I open my mouth, the whole world turns smart.<\/dialogue>\n    <scene_description>He glances around the room . Verna is backing around the couch . Bluepoint continues to follow her . What business d'you have with Tom Duchaisne ?<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>None.<\/dialogue>\n    <scene_description>She continues to back away ; Bluepoint continues to follow .<\/scene_description>\n    <character>Bluepoint<\/character>\n    <dialogue>You're Leo's twist, right?<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>Me and Leo are through.<\/dialogue>\n    <scene_description>She picks up her purse from the sill behind the couch and rummages . Bluepoint does n't seem to mind .<\/scene_description>\n    <character>Bluepoint<\/character>\n    <dialogue>Yeah? So you're sluttin' around with Tom now, huh?<\/dialogue>\n    <scene_description>Verna has taken a gun from her purse ; she levels it at Bluepoint .<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>Get outta here.<\/dialogue>\n    <scene_description>As he continues to stride towards her :<\/scene_description>\n    <character>Bluepoint<\/character>\n    <dialogue>Okay, see ya later.<\/dialogue>\n    <scene_description>His hand shoots out in a flash - he has grabbed the gun with one hand , her arm with the other . Before I go , what 's your boyfriend up to ? Verna is stuggling in his grasp to no effect .<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>Nothing I know about.<\/dialogue>\n    <scene_description>Bluepoint drags her close , nose to nose :<\/scene_description>\n    <character>Bluepoint<\/character>\n    <dialogue>Yeah? It does n't figure for me, your dumping Leo for the guy who put a bullet in your brother.<\/dialogue>\n    <scene_description>Verna stops resisting and stares at him . Bluepoint stares back at her , thinking . Did n't tell you , huh ? We hear a footstep offscreen . REVERSE Facing the door , from behind Bluepoint and Verna . Bluepoint wheels , swinging her body in front of his as two topcoated men enter , guns drawn . Both intruders hold fire , their shot blocked by Verna . The gun in Bluepoint 's hand barks once . The lead man pitches forward , his gun clattering away . His partner is ducking back out the door . Verna still struggles futilely ; Bluepoint keeps his gun , peeking out from behind Verna , trained on the empty doorway . The man an the floor , still alive , has started clawing himself towards his gun , a few paces away . Bluepoint ignores him . He stares at the open door . After a silent beat , from the hall :<\/scene_description>\n    <character>Man In Hall<\/character>\n    <dialogue>Let her go, Bluepoint, there's nothing you can do. Leave by the fire escape. There's more of us on the way -<\/dialogue>\n    <scene_description>BANG - Bluepoint fires . Wood splinters in the door , which shudders back a few more inches towards the wall . The voice from the hall has stopped short . After a short silent beat , we hear a gun clattering to the floor outside in the hall . We hear fabric drag across wall , and then see the dead man drop to the floor just outside the door . Bluepoint tosses Verna away and saunters unhurriedly over to the first man , who has almost reached his gun . Just as the man 's hand closes over it Bluepoint , in stride , steps onto the hand and gun . Most of his weight is on it . Head cocked , he looks down at the man in front of him .<\/scene_description>\n    <character>Bluepoint<\/character>\n    <dialogue>You Leo's?<\/dialogue>\n    <character>Man<\/character>\n    <dialogue>Yeah. He wanted her looked out for.<\/dialogue>\n    <character>Bluepoint<\/character>\n    <dialogue>Well you did a bang - up job ; I'll be sure to tell him. Where is Leo?<\/dialogue>\n    <character>Man<\/character>\n    <dialogue>If I tell you, how do know you wo n't kill me?<\/dialogue>\n    <character>Bluepoint<\/character>\n    <dialogue>Because if you told me, and I killed you, and you were lying, then I would n't get to kill you then. Where's Leo?<\/dialogue>\n    <scene_description>The man is sweating .<\/scene_description>\n    <character>Man<\/character>\n    <dialogue>He's - he's moving around. But tomorrow night he's getting his mob together at Whiskey Nick's.<\/dialogue>\n    <scene_description>Bluepoint points his gun at the man 's head .<\/scene_description>\n    <character>Bluepoint<\/character>\n    <dialogue>You sure?<\/dialogue>\n    <character>Man<\/character>\n    <dialogue>Check it. It's gold.<\/dialogue>\n    <character>Bluepeint<\/character>\n    <dialogue>You know something, yegg? I believe you.<\/dialogue>\n    <scene_description>BANG . Bluepoint straightens up from the body and turns . LOW AND WIDE ON BLUEPOINT One corpse an the floor beside him , the other corpse in the doorway behind him . He absently wraps one hand around the warm barrel of the gun , then brings the hand up to blow against its open palm .<\/scene_description>\n    <character>Bluepoint<\/character>\n    <dialogue>Go ahead and run, sweetie.<\/dialogue>\n    <scene_description>HIS POV THE WINDOW The main zoom is now empty . Sheers billow at the window , now open , that let 's out on the fire escape . Off :<\/scene_description>\n    <character>Bluepoint<\/character>\n    <dialogue>I'll track down all a you whores.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>DISSOLVE THROUGH TO: WINDOW  NIGHT<\/stage_direction>\n    <scene_description>Sheers billow in the breeze . TOM Sitting up in bed , smoking a cigarette , thinking . The bedroom is dark . There is a knock at the apartment 's front door . Tom reacts , but does not immediately rise . The knock is repeated . Tom finally throws the covers off and swings his feet around to the floor . But the knocking stops and another sound brings him up short : The person at the door is now playing with the lock . Tom sits motionless , listening . After some rattling we hear the lock spring , then the door swinging open , then shut again . We hear footsteps cross the main room , and then the squeak of chair springs . Silence . Tom rises and walks to the living room doorway . He leans against the jamb .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>HIS POV<\/stage_direction>\n    <scene_description>The windows throw moonlit squares onto the floor . We can see only the legs of someone sitting in the armchair .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>` Lo, Bernie. Come on in, make yourself at home.<\/dialogue>\n    <scene_description>Bernie turns on the lamn on the table at his elbow . He holds a gun casually in his lap .<\/scene_description>\n    <character>Bernie<\/character>\n    <dialogue>` Lo, Tom. Thought I'd do that, since you did n't seem to be in. Figured it was a bad idea to wait in the hall, seeing as I'm supposed to be dead.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Mm.<\/dialogue>\n    <character>Bernie<\/character>\n    <dialogue>How'd you know it was me?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>You're the only person I know'd knock and break in.<\/dialogue>\n    <character>Bernie<\/character>\n    <dialogue>Your other friends would n't break in, huh?<\/dialogue>\n    <scene_description>Tom shakes his head .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>My other friends wan na kill me, so they would n't knock.<\/dialogue>\n    <scene_description>He crosses to the chair facing Bernie 's . What 's on your mind , Bernie ?<\/scene_description>\n    <character>Bernie<\/character>\n    <dialogue>Things. I guess you must be kind of angry. I'm supposed to be gone, far away. I guess it seems sort of irresponsible, my being here.<\/dialogue>\n    <scene_description>Bernie leaves room for a response but Tom is only listen - ing . And I was gon na leave . Honest I was . But then I started thinking . If I stuck around , that would not be good for you . And then I started thinking that . that might not be bad for me . Tom still does n't answer . I guess you did n't see the play you gave me . I mean what 'm I gon na do ? If I leave , I got nothing - no money , no friends , nothing . If I stay , I got you . Anyone finds out I 'm alive - you 're dead , so . I got you , Tommy . Tom is silent . What 's the matter , you got nothin ' to crack wise about ? Bernie ai n't so funny anymore ? Bernie 's lip is quivering . His voice is softer : . I guess I made kinda a fool a myself out there . I was shittin ' myself , Tommy . you did n't tell anyone about that .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>Bernie<\/character>\n    <dialogue>` Course you know about it. its. It's a painful memory. And I ca n't help remembering that you put the finger on me, and you took me out there to whack me. I know you did n't. I know you did n't shoot me. but. but -<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>But what have I done for you lately?<\/dialogue>\n    <character>Bernie<\/character>\n    <dialogue>Do n't smart me.<\/dialogue>\n    <scene_description>He stares hard at Tom for a moment . See , I wan na watch you squirm . I wan na see you sweat a little . And when you smart me , it ruins it . Bernie gets to his feet , keeping the gun trained on Tom . There 's one other thing I want . I wan na see Johnny Caspar cold and stiff . That 's what you 'll do for your friend Bernie . He has opened the door to the flat . In the meantime I 'll stay outa sight . But if Caspar ai n't stiff in a couple of days I start eating in restaurants . The door shuts behind him . Tom , heretofore very still , springs from the chair , goes to the bedroom and reemerges with a gun . He bolts for the door , instinctively grabbing his hat off a hook . He is wearing only his boxer shorts , a sleeveless tee - shirt , and the hat jammed onto his head . He throws open the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>HALLWAY<\/stage_direction>\n    <scene_description>Empty . Tom runs to the bannister and looks down . HIS POV A flight down , a hand slides down along the railing . Bernie 's trotting footsteps echo in the stairwell . TOM He runs back to his apartment .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>APARTMENT<\/stage_direction>\n    <scene_description>Tom runs across to the open window and clambers out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>FIRE ESCAPE<\/stage_direction>\n    <scene_description>Tom trots down . His bare feet ring dully against the steel of the fire escape . He reaches the bottom landing , swings over the railing , hangs by his hands for one brief moment and then drops . THE ALLEY As his bare feet hit the pavement . Tom is a silhouette in the lamplight from the end of the alley . He straightens from his crouch and runs . BACK DOOR Of his apartment building - over Tom 's shoulder as he enters frame . The empty , brightly lit hall inside runs straight the length of the building to the front door , which is just closing . Tom throws open the back door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>HALLWAY<\/stage_direction>\n    <scene_description>As Tom runs through toward the front . Before reaching the door , he falls violently forward . His gun skates away from him across the floor . He starts to roll over to look behind him and a crunching blow catches him on the chin , snapping his head the rest of the way around and sending him flat onto his back . Bernie , who has emerged from under the staircase , towers over him .<\/scene_description>\n    <character>Bernie<\/character>\n    <dialogue>You make me laugh, Tommy. You're gon na catch cold, then you're no good to me.<\/dialogue>\n    <scene_description>He is walking over to Tom 's gun , which he picks up and unloads into his hand . What were you gon na do if you caught me , I 'd just squirt a few and then you 'd let me go again . He tosses Tom the empty gun and walks out . Tom , white - faced and shivering , pulls himself up to sit leaning against the wall . A first - floor apartment door opens and a sixty - year - old woman emerges , pulling a housecoat tight . She goggles at Tom .<\/scene_description>\n    <character>Woman<\/character>\n    <dialogue>Why Mr. Duchaisne! What on earth.<\/dialogue>\n    <scene_description>Tom tries a smile that looks idiotic .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>They took everything.<\/dialogue>\n    <scene_description>LONG SHOT THE HALL Clucking sympathetically , the old woman is leaning down to help Tom up . As he drapes an arm over her shoulder :<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>I fought like hell but there were too many of'em.<\/dialogue>\n    <scene_description>FADE OUT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CUT TO: CLOSE SHOT   PLAQUE<\/stage_direction>\n    <scene_description>Set into an exterior wall , identifying the SHENANDOAH CLUB .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT   CLUB<\/stage_direction>\n    <scene_description>Tom , in his overcoat and hat , is walking up to the bar .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>` Lo, Tony. How's the club holding up?<\/dialogue>\n    <scene_description>Behind the bar , Tony looks sour .<\/scene_description>\n    <character>Tony<\/character>\n    <dialogue>We're managing to squeak by without you. Got Lazarre's money?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>Tony<\/character>\n    <dialogue>Well, you're not supposed to be here since you turned rat.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Relax, Tony, Leo's not around, is he?<\/dialogue>\n    <character>Tony<\/character>\n    <dialogue>Maybe Leo's not the only one does n't care for you here.<\/dialogue>\n    <scene_description>Tom works to keep his smile .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Fickle, huh Tony? You could almost be a dame.<\/dialogue>\n    <character>Tony<\/character>\n    <dialogue>Pal, you read my mind, you sneak my thoughts. Jesus, I hope you know what you're doing.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>No more than usual. The last couple days, you booked any heavy bets on a long shot at Satur - day's fights?<\/dialogue>\n    <character>Tony<\/character>\n    <dialogue>Why the hell should I tell you?<\/dialogue>\n    <scene_description>Tom shrugs .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>The truth is Tony, there's no reason on earth.<\/dialogue>\n    <scene_description>Staring at Tom , Tony blows air through his teeth . He sets up a drink for Tom .<\/scene_description>\n    <character>Tony<\/character>\n    <dialogue>Saturday's fights. Yeah. Drop Johnson parked two yards on one yesterday. On Sailor Reese, an undercard bum.<\/dialogue>\n    <scene_description>Tom downs the drink in a gulp .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Drop Johnson? He play your book much?<\/dialogue>\n    <character>Tony<\/character>\n    <dialogue>You kidding? I did n't even know he could count.<\/dialogue>\n    <scene_description>From offscreen there is a loud CRASH and , with that , many of the club patrons start screaming . Tony looks off and Tom swivels to look .<\/scene_description>\n    <character>Tony<\/character>\n    <dialogue>Oh Jesus. You bring them with you?<\/dialogue>\n    <scene_description>As he shoves off from the bar :<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Uniformed policemen are pouring into the club , wielding axes . They destroy everything in their path , sweeping the elegantly dressed patrons before them . Tom wades into the sea of blue and nods at Delahanty , the policeman we know from the raid on Caspar 's .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>` Lo, Brian. Still fighting the good fight?<\/dialogue>\n    <character>Delahanty<\/character>\n    <dialogue>` Lo, Tom. Neither wind nor rain nor snow.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>That's just the mailmen. Is O'Gar here?<\/dialogue>\n    <character>Delahanty<\/character>\n    <dialogue>Just look for the long face.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT   THE CLUB<\/stage_direction>\n    <scene_description>It is just cracking dawn . O'Gar is leaning against a car , facing the club , taking in the scene as he glumly chews on a toothpick . The street is clogged with police vehicles . Tom approaches .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>` Lo, O'Gar. You do n't look happy.<\/dialogue>\n    <character>O'Gar<\/character>\n    <dialogue>Look at this mess. Gutting the golden calf again.<\/dialogue>\n    <scene_description>He shakes his head . I do n't know whether to laugh or cry .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Yeah, it's awful confusing. You know a yegg named Drop Johnson?<\/dialogue>\n    <character>O'Gar<\/character>\n    <dialogue>We've spanked him a couple times.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Where does he flop?<\/dialogue>\n    <character>O'Gar<\/character>\n    <dialogue>The Terminal Hotel on Bay Street, whenever he's broke - which is one hundred percent of always. Jesus.<\/dialogue>\n    <scene_description>He reacts to gunfire from the second story of the club . Do n't nobody ask me , since I 'm only the chief around here , but I 'll tell you my opinion : Caspar 's just as crazy as Leo . And an eye - tie into the bargain . As he heads off :<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>What's the matter, O'Gar, does n't anything ever suit you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>PULLING TOM<\/stage_direction>\n    <scene_description>As he walks along a nearby street ; we can still faintly hear the sirens and police activity back at the club . A black touring car is tooling up alongside of him . Tic - Tac leans out the driver 's window . He has welts around his mouth and looks like he has been a little roughed up .<\/scene_description>\n    <character>Tic-Tac<\/character>\n    <dialogue>Hop in, Tom, we been lookin' for you.<\/dialogue>\n    <scene_description>Still briskly walking :<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>I'm busy.<\/dialogue>\n    <character>Tic-Tac<\/character>\n    <dialogue>Hop in anyway, as in you ai n't got no choice.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>You ca n't hijack me, Tic - Tac, we're on the same side now - or did n't you get that far in school?<\/dialogue>\n    <scene_description>The car screeches over to put a wheel on the sidewalk and block Tom 's way . The back door swings open and Frankie emerges to help Tom in . Like Tic - Tac , Frankie looks a little worked over . Tom quickly sizes up the situation and decides to comply .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT  CAR<\/stage_direction>\n    <scene_description>As Tom sits into the back , next to Bluepoint . Frankie slides in after him .<\/scene_description>\n    <character>Bluepoint<\/character>\n    <dialogue>How'd you get the fat lip?<\/dialogue>\n    <scene_description>The car starts moving .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Old war wound. Acts up around morons.<\/dialogue>\n    <character>Bluepoint<\/character>\n    <dialogue>Very smart. What were you doing at the club? Talking things over with Leo?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Do n't think so hard, Bluepoint, you might sprain something.<\/dialogue>\n    <character>Bluepoint<\/character>\n    <dialogue>You're so goddamn smart. Except you ai n't. I get you, smart guy, I know what you are. Straight as a corkscrew. Mr. Inside - Outsky. Like a goddamn bolshevik, picking up your orders from Yegg Central. You think you're so goddamn smart.<\/dialogue>\n    <scene_description>He sneers : You joined up with Caspar . You bumped Bernie Bernheim . Down is up . Black is white . Well I think you 're half - smart . I think you were straight with your frail and queer with Johnny Caspar . And I think you 'd sooner join the Ladies ' League then gun a guy down . His eyes narrow at Tom . Then I hear that these two geniuses never even saw this rub - out take place . Defensively :<\/scene_description>\n    <character>Tic-Tac<\/character>\n    <dialogue>The boss just said have him do it, he did n't say nothing about -<\/dialogue>\n    <character>Bluepoint<\/character>\n    <dialogue>Shutup, or maybe you still got too many teeth.<\/dialogue>\n    <scene_description>Tic - Tac sulks . Bluepoint turns and gazes out the window of the car . Everyone 's so goddamn smart . Well , we 'll go to Miller 's Crossing . And we 'll see who 's smart .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT   WOODS<\/stage_direction>\n    <scene_description>It is morning ; the sun is now fully up . Bluepoint and Tom walk side - by - side through the woods . Frankie and Tic - Tac walk several steps ahead of them , each off to one side , searching . Frankie is singing an old Neapolitan song .<\/scene_description>\n    <character>Bluepoint<\/character>\n    <dialogue>Y' understand if we do n't find a stiff out here, we leave a fresh one.<\/dialogue>\n    <scene_description>Tom walks a little unsteadily . His shoulders are hunched and his hands are jammed into his overcoat packets . He stares woodenly forward . Bluepoint laughs softly . Where 're your friends when you need 'em , huh ? Where 's Leo now ? Tom tramps mechanically on . His eyes drift up . HIS POV Tracking . A canopy of leaves , sprinkled by sunlight . The boughs of the trees sough quietly in the wind . We hear the unearthly groaning of the tree limbs . TOM Looks forward . Bluepoint calls out :<\/scene_description>\n    <character>Bluepoint<\/character>\n    <dialogue>Hey Tic - Tac, ever notice how the snappy dialogue dries up once a guy starts soiling his union suit?<\/dialogue>\n    <scene_description>Tom tramps on . HIS POV The backs of Frankie and Tic - Tac as they walk on ahead . Frankie is still singing . TOM He looks stupidly at Bluepoint . He looks ahead . He stops abruptly .<\/scene_description>\n    <character>Bluepoint<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Tom is still for a moment , then with jerky movements gets down on his knees , hugs a tree with one arm for support , and vomits . Bluepoint watches him , then calls out to Frankie and Tic - Tac : . Okay , there 's nothing out here . He grabs Tom 's hat off his head and flings it away . Then he plants a foot against Tom 's side and shoves him to the ground . CLOSE ON TOM As his face hits the ground . Bluepoint 's foot enters ; he plants it an the side of Tom 's neck to keep him pinned . TOM 'S POV Skewed angle , from the ground . Frankie is ambling back , singing . BLUEPOINT Checking the open chamber of his gun . He snaps it shut . As he levels the gun at Tom :<\/scene_description>\n    <character>Bluepoint<\/character>\n    <dialogue>Think about this, smart guy.<\/dialogue>\n    <scene_description>TOM Closing his eyes . From offscreen :<\/scene_description>\n    <character>Tic-Tac<\/character>\n    <dialogue>Uh - oh, hankie time!<\/dialogue>\n    <scene_description>FRANKIE He stops singing and turns to look . TOM The foot comes off his neck . BLUEPOINT Looking towards Tic - Tac . TIC - TAC Taking a handkerchief out of his breast pocket and bringing it to his face as he looks at something on the ground in front of him . BLUEPOINT He hauls Tom to his feet and pushes him towards Tic - Tac . We track behind the two men as they approach Tic - Tac and Frankie enters from the side . We can not yet see what is on the ground in front of him .<\/scene_description>\n    <character>Tic-Tac<\/character>\n    <dialogue>Birds been at him.<\/dialogue>\n    <scene_description>Frankie is taking out his hankie as he draws near .<\/scene_description>\n    <character>Frankie<\/character>\n    <dialogue>Jesus Christ.<\/dialogue>\n    <scene_description>He looks up at Tom as Tom approaches . Over Tom and Bluepoint 's shoulders , stretching away from us , face - up , is a body . We can not see much of its face ; what we do see is pulp . Tic - Tac is laughing , incredulously .<\/scene_description>\n    <character>Tic-Tac<\/character>\n    <dialogue>I said put one in his brain, not in his stinking face.<\/dialogue>\n    <scene_description>EXTREME LONG SHOT Four very small men in overcoats and fedoras , looking down at the ground ; they are dwarfed by the surrounding trees . Very faintly we can hear :<\/scene_description>\n    <character>Frankie<\/character>\n    <dialogue>I told you, Bluepoint, we heard two shots.<\/dialogue>\n    <scene_description>QUICK FADE OUT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CUT TO: APARTMENT BUILDING DOOR BUZZER<\/stage_direction>\n    <scene_description>A beat - up panel in the building 's entryway , listing tenants ' names and apartments opposite a row of buttons . A hand coasts along the names and stops at CLARENCE JOHNSON\/4C , then moves away and presses two other buzzers on the fifth floor . After a beat , we hear the front door buzz open .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>FOURTH-FLOOR HALLWAY<\/stage_direction>\n    <scene_description>Tom walks up to 4C , unpocketing a gun . He gently tries the knob , which turns , and enters .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>DROP'S APARTMENT<\/stage_direction>\n    <scene_description>As Tom enters . Drop Johnson is sitting at a table in the living room , which also serves as kitchen and dining room . He is a large man with a thick neck , a low forehead , and rather vacant eyes . He is looking up at Tom , a spoonful of cereal frozen halfway to his mouth , a folded - back newspaper in his other hand , opened to the funnies .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>` Lo, Drop. How're the Katzenjammers?<\/dialogue>\n    <scene_description>Uncomfortably :<\/scene_description>\n    <character>Drop<\/character>\n    <dialogue>` Lo, Tom. What's the rumpus?<\/dialogue>\n    <scene_description>As he talks , Tom walks casually around the apartment , bumping open doors , sticking his head in each room .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Had any visitors?<\/dialogue>\n    <scene_description>Drop 's head swivels to follow Tom around the room ; aside from that he does not move . He speaks cautiously :<\/scene_description>\n    <character>Drop<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Not ever, Drop?<\/dialogue>\n    <character>Drop<\/character>\n    <dialogue>Not lately.<\/dialogue>\n    <scene_description>Tom nods .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Then you must be happy to see me.<\/dialogue>\n    <scene_description>Drop does n't respond . So you did n't see Bernie Bernheim , before he was shown across ?<\/scene_description>\n    <character>Drop<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Seen him since?<\/dialogue>\n    <scene_description>Drop maintains a sullen silence . Tom is picking up a hat from a clutter on top of a bureau .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>One last question, Drop. I hear you've got a lot of money on tomorrow's fight. Is that your bet, or did you place it for a friend?<\/dialogue>\n    <character>Drop<\/character>\n    <dialogue>No, uh. it's my bet. I just. I have a good feeling about that fight.<\/dialogue>\n    <scene_description>Tom 's stroll through the apartment has brought him behind where Drop sits .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>A good feeling, huh. When did the feeling return to your head?<\/dialogue>\n    <character>Drop<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <scene_description>Tom puts the hat on top of Drop 's head . Drop 's eyes roll up to look at it , but otherwise he still does n't move . The hat , too small , sits ludicrously atop his head . Tom starts toward the door .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>You've outgrown that one. Must be all the thinking you've been doing.<\/dialogue>\n    <scene_description>He pauses with his hand on the knob . Tell Bernie something 's come up . He has to get in touch . There 'll be nothing stirring til I talk to him . He slams the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CUT TO: A LARGE WINDOW<\/stage_direction>\n    <scene_description>We are looking at the ground - floor window from the street . Letters stencilled on the glass identify the SONS OF ERIN SOCIAL CLUB . A topcoated man scurries into frame , knocks out a pane with the grip of a gun , and tosses a small pipelike device inside . He scurries away and we pan with him across the street to reveal a line of cars , police and civilian , parked along the far curb . No men are visible except the scurrying man , who takes cover behind one of the parked cars . SOCIAL CLUB A beat . From inside we hear a pair of trotting footsteps - BOOM ! The window blows out , spitting glass into the street , along with a large dark form . THE STREET Glass showers the pavement and a charred rag - doll of a body hits hard , face down , and skids a couple feet . Smoke wisps from it . THE CLUB A lick of flame from the bomb is already dying and heavy grey smoke is billowing out . THE STREET Men start cautiously rising from behind the cars . A lot of men . Some wear police uniforms ; some are civilians . All are armed . THE CLUB Billowing smoke . THE STREET The men have straightened up . A policeman calls through a bullhorn :<\/scene_description>\n    <character>Policeman<\/character>\n    <dialogue>All right. Anyone left in there, come on out, grabbing air. You know the drill.<\/dialogue>\n    <scene_description>THE CLUB After a beat , the front door swings open . A man emerges , one hand in the air , one holding a handkerchief over his mouth . He walks into the middle of the street . One of the civilians behind the cars fires . The man takes the bullet in the chest and drops to the ground , where he twitches . The man who fired , in the foreground , grins . A ripple of laughter runs down the line of men . THE CLUB WINDOW Smoke still pouring out . With a RAT - A - TAT - TAT muzzle flashes from inside illuminate the smoke . THE STREET Bullet hits chew up the cars and a few of the men ; the others drop back down behind the cars and start returning fire . THE WINDOW A forbidding black hole in the exterior wall . A second tommy has joined the first to pour lead out into the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CUT TO: RECEPTION AREA<\/stage_direction>\n    <scene_description>Tracking in an a youngish secretary in a severe dress , sitting behind a desk . Faintly , from a distance , we can still hear gunfire .<\/scene_description>\n    <character>Secretary<\/character>\n    <dialogue>` Lo, Tom, where've you been hiding?<\/dialogue>\n    <scene_description>REVERSE On Tom .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Hither and yon. The mayor in?<\/dialogue>\n    <character>Secretary<\/character>\n    <dialogue>With Mr. Caspar.<\/dialogue>\n    <scene_description>Tom is already heading for the door .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>That's who I'm looking for. Scare up some hootch, will you honey?<\/dialogue>\n    <character>Secretary<\/character>\n    <dialogue>Surely. I'll announce you.<\/dialogue>\n    <scene_description>As he opens the door :<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Do n't bother, I'm well liked.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT    MAYOR'S OFFICE<\/stage_direction>\n    <scene_description>A grand , high - ceilinged place . Mayor Levander sits behind his desk sputtering , his face turning purple . Caspar , sitting across from him , is also turning purple . Sitting to one side are two identical thirty - year - old men , appar - ently twins , mustachiced , silent , respectful , mournful , their hands clasped over the hats in their laps , wearing stiff new - looking suits with old - fashioned collars .<\/scene_description>\n    <character>Mayor<\/character>\n    <dialogue>I ca n't do it, Johnny! I'll look ridiculous! Why, it simply is n't done! Assistants, maybe -<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>For a mayor, you do n't hear so hot! I said head! Head of the assessor's office!<\/dialogue>\n    <character>Mayor<\/character>\n    <dialogue>But there's two of'em!<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>I can count! Co - heads!<\/dialogue>\n    <character>Mayor<\/character>\n    <dialogue>Johnny, needless to say, this office will do anything in its power to assist you and your cousins. We did it for Leo, of course, on countless occasions -<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>Damn right - had every potato eater from County Cork an the public tit -<\/dialogue>\n    <character>Mayor<\/character>\n    <dialogue>But there's a way we do things, hallowed by usage and consecrated by time! When we put people on the pad, when Leo was running things, we -<\/dialogue>\n    <scene_description>Caspar is furious :<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>Leo ai n't running things! I ai n't innarested in ancient history! I'm running things now!<\/dialogue>\n    <character>Mayor<\/character>\n    <dialogue>Johnny, no one appreciates that more than I! I can give them jobs! I can give them good jobs! I can even give them jobs where thev wo n't have to perform any work, where their lack of English will be no impediment! But I cant -<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>What is this, the high hat?!<\/dialogue>\n    <scene_description>The mayor mops his face with a handkerchief and looks beseechingly at Tom .<\/scene_description>\n    <character>Mayor<\/character>\n    <dialogue>Tom, can you explain it to him? I can put them in public works but I ca n't -<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>You can do whatever the hell Caspar tells you. I do n't remember all this double - talk when Leo gave you an order.<\/dialogue>\n    <scene_description>The mayor looks flabbergasted .<\/scene_description>\n    <character>Mayor<\/character>\n    <dialogue>Tom! Jesus!<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Stop whimpering and do as you're told.<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>You can start by gettin' outta here.<\/dialogue>\n    <character>Mayor<\/character>\n    <dialogue>But Johnny, it's my office!<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>Get outta here! Take it on the heel and toe, before I whack you one!.<\/dialogue>\n    <scene_description>The mayor retreats and Casmar stares at the two men sitting to the side . You too , beat it ! The two men look at each other , then back at Caspar .<\/scene_description>\n    <character>First Man<\/character>\n    <dialogue>Partiamo?<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>Yeah, go keep the mayor company. I'll take care of ya's later.<\/dialogue>\n    <scene_description>The immigrants rise and leave the room . Caspar takes out a handkerchief and wipes his brow . Runnin ' things . It ai n't all gravy . The secretary enters the office with a bottle of whiskey , a soda siphon and ice . She places it an the mayor 's desk and leaves . We can still hear faint gunfire and an occasional booming explosion that rattles the windows of the office .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>What's the fireworks?<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>Knockin' over one of Leo's clubs. Sonofabitch just wo n't go belly - up. I'm sorry, kid. I heard about your little ride this morning.<\/dialogue>\n    <scene_description>Tom is walking over to pour himself a drink .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Yeah, well sorry do n't fix things. We could just as easily've missed Bernie's corpse as stumbled over it, and I'd be dead now.<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>I know, I know. But it do n't mean Bluepoint's up to anything. So he heard some rumor Bernie ai n't dead, those stories pop up, people seen Dillinger in eight states last week. So he hears a story, and he do n't like you much anyway, so he decides to check it out -<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Any stories about Bernie being alive, Bluepoint's made up himself.<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>Aw, you do n't know that. It do n't even make sense - why would he?<\/dialogue>\n    <scene_description>Tom stares at Caspar for a beat .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>There could be a damn good reason.<\/dialogue>\n    <scene_description>Caspar squints at Tom . If you 've got a fixed fight coming up . Do you ?<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>Maybe. Okay, yeah, sure. Tomorrow night, the fix is in. What of it?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Bluepoint knows about it?<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>He gazes off . Okay , I get it .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>If Bluepoint's been selling you out on these fights, and means to again, he'll have to be able to point the finger at someone else -<\/dialogue>\n    <scene_description>Uncomfortably :<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>Yeah, yeah, I get it.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>- but with Bernie dead there ai n't a hell of a lot of people he can point to.<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>Yeah. Bluepoint sells me out. Makes pretend Bernie's still doin' it. Ats real pretty. Bernie leaked the fix, and you take the fall for supposedly not killing him.<\/dialogue>\n    <scene_description>He leans back in the mayor 's chair and gazes off , sucking his lips in and out as he thinks . Finally : . But I dunno , why would Bluepoint cross me like that ? Money , okay , everybody likes money . But somehow it do n't seem like him . And I know the Bluepoint .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Nobody knows anybody. Not that well.<\/dialogue>\n    <scene_description>Caspar shakes his head .<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>Money do n't mean that much to him.<\/dialogue>\n    <scene_description>Tom shrugs .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Then it's not just money he's after. He's got a wart on his fanny.<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>A wart. On his fanny. Giving him the fidgets. Maybe he's sick of sitting on the couch and maybe behind your desk do n't look like a bad place to move to. Maybe he figures the money can help move him there.<\/dialogue>\n    <scene_description>Caspar studies Tom .<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>Kid, you got a lip on ya.<\/dialogue>\n    <scene_description>He looks off again . I do n't generally care for it . But you 're honest , and that 's something we ca n't get enough of in this business . I 'll admit , since last we jawed , my stomach 's been seazin ' up on me . Bluepoint saying we should double - cross you ; you double - cross once , where 's it all end ? An innaresting ethical question . I 'll find Blue - point , talk to him , straighten it out - Tom laughs bitterly .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Sure, talk to him. Have a chat. Ask him whether he's selling you out. Do n't take care of him before he makes his next move, just sit back and let him make it. You're swimmin' in it.<\/dialogue>\n    <scene_description>Caspars eyes flash . Tom 's tone softens : . Johnny , my chin 's hanging out right along side yours . Caspar goes slack .<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Tom stands up .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>I'd worry a lot less if I thought you were worrying enough.<\/dialogue>\n    <scene_description>Caspar , miserable , rubs his face . From the distant street , we hear another booming explosion .<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>But I am, kid. Christ. running things.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>CUT TO: TOM'S APARTMENT<\/stage_direction>\n    <scene_description>The phone is ringing at the cut . We are looking at the window sill upon which the phone sits , with an empty chair facing . Footsteps approach and Tom sits into frame and takes the phone .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <scene_description>Through the phone :<\/scene_description>\n    <character>Voice<\/character>\n    <dialogue>I got your message.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>` Lo, Bernie, I had a dream about you the other day.<\/dialogue>\n    <scene_description>We hear Bernie laugh .<\/scene_description>\n    <character>Bernie<\/character>\n    <dialogue>Yeah? A nightmare?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>On the contrary ; very sweet. I dreamt you were lying out at Miller's Crossing with your face blown off.<\/dialogue>\n    <scene_description>More laughter .<\/scene_description>\n    <character>Bernie<\/character>\n    <dialogue>You get a kick out of that?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>I was in stitches. It's Mink, is n't it?<\/dialogue>\n    <character>Bernie<\/character>\n    <dialogue>I came back and he was n't happy to see me. Can you beat that, Tom? All he could taik about was how he had to skip, and how much trouble he'd be in if anyone found me at his place.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Some friend.<\/dialogue>\n    <character>Bernie<\/character>\n    <dialogue>Yeah. And you know what a nervous boy he was. I figured, hell, you're a friend. Maybe you could use some insurance.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>That's you to the gills, Bernie : thoughtful. You did n't happen to keep his gun, did you?<\/dialogue>\n    <scene_description>After a moment 's hesitation : . Did n't Mink have a .22 ?<\/scene_description>\n    <character>Bernie<\/character>\n    <dialogue>Held already ditched it. Why?<\/dialogue>\n    <scene_description>Another hesitation :<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>After Rug?<\/dialogue>\n    <character>Bernie<\/character>\n    <dialogue>Yeah. How did you know?<\/dialogue>\n    <scene_description>Down to business :<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Does n't matter. Listen, Bernie, I've been thinking about our little deal and I've decided you can stick it in your ear.<\/dialogue>\n    <character>Bernie<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>I figure you do n't have anything on me that I do n't have on you. As a matter of fact, less, since I've decided to leave town. So I'm calling your bluff.<\/dialogue>\n    <character>Bernie<\/character>\n    <dialogue>Wait a minute -<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Shutup and let me talk. I'm pulling out of here, tomorrow morning. The only thing for you to decide is whether or not I leave behind a message for Caspar that you're still around. If you want me to keep my mouth shut, it'll cost you some dough.<\/dialogue>\n    <character>Bernie<\/character>\n    <dialogue>You ca n't -<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>I figure a thousand bucks is reasonable. So I want two thousand.<\/dialogue>\n    <character>Bernie<\/character>\n    <dialogue>In a pig's eye -<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>This is n't a debate, it's instructions. I'm going out for a while ; I'll be back here at four this morning. Bring me the money. If you're not at my place, four o'clock, with the dough, Caspar'll be looking for you tomorrow.<\/dialogue>\n    <scene_description>He hangs up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CUT TO: HALLWAY<\/stage_direction>\n    <scene_description>We are close on Tom as , in overcoat and hat , he emerges from his apartment and looks down at the keys in his hand . WHAP - A fist swings into frame to connect with Tom 's cheek . He falls back . Three topcoated men loom over him .<\/scene_description>\n    <character>First Man<\/character>\n    <dialogue>Got any money?<\/dialogue>\n    <scene_description>Tom is massaging his face .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>The first man nods at the other two .<\/scene_description>\n    <character>First Man<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>The two men pick Tom off the floor and start to work him over . He does n't resist . The first man watches dispassionately . Third race tonight . By the finish , Tailor Maid had a view of the field . He lights himself a cigarette . You oughta lay off the ponies , Tom . The two men work in silence for a while . Tom too is silent . Finally : . Okay . The two men back away from Tom , breathing heavily . He slides down the wall to the floor . Lazarre said he 's sorry about this . It 's just getting out of hand . Tom speaks thickly , his head propped against the baseboard :<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>First Man<\/character>\n    <dialogue>He likes you, Tom. He said we did n't have to break anything.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Yeah. Okay. Tell him no hard feelings.<\/dialogue>\n    <character>First  Man<\/character>\n    <dialogue>Christ, Tom, he knows that.<\/dialogue>\n    <scene_description>With a jerk of the head the first man signals the other two and the trio turns to leave .<\/scene_description>\n    <character>First Man<\/character>\n    <dialogue>Take care now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>CUT TO: DOORWAY:  NIGHT<\/stage_direction>\n    <scene_description>We are looking over Tom 's shoulder as he waits in the rain in front of a large oak doorway with wrought - iron fretwork . At the cut we hear chimes dying , and the door swings open . There is a grand foyer with a parquet floor , unsittable furniture and a large chandelier . A liveried butler looks inquiringly out at Tom .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Tom Duchaisne.<\/dialogue>\n    <character>Butler<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <scene_description>He steps back . Mr. Caspar is in the great room . Tom is handing the butler his hat .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Swell. Can you take this?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT   FOYER<\/stage_direction>\n    <scene_description>As Tom starts to shrug out of his coat , Caspar is crossing towards him .<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>Kid, what's the rumpus?<\/dialogue>\n    <scene_description>Caspar seems as unhappy as last time we saw him .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>I got news.<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>Yeah, news at this end too. My stomach's been seazin' up on me.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Mink just told me that he -<\/dialogue>\n    <scene_description>This has woken Caspar up :<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>You talked to Mink?!<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Yeah, on the phone. Bluepoint wants you to think he's dissappeared, so you ca n't talk to him, but he's been right here in town.<\/dialogue>\n    <character>Caspar<\/character>\n    <dialogue>You're sure it was Mink?<\/dialogue>\n    <scene_description>Tom shrugs .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>See for yourself ; he's coming to my place, four o'clock this morning.<\/dialogue>\n    <scene_description>Having handed the butler his coat and hat , Tom lets Caspar lead him towards a pair of double doors . He 's afraid of a cross from Bluepoint . He told me about the fix . Says he 'll sing for a couple grand skip money , tell us everyone involved .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>Caspar opens one of the double doors, and we continue<\/stage_direction>\n    <scene_description>tracking behind the two men as they enter the trophy room . The room has the low warm light of a men 's club . Outside the dark windows the rain sheets down . Caspar sits in behind his desk and swivels away to poke morosely with a fire shovel at the blaze in the fireplace . In the foreground , back to us , Tom rests his knuckles an the desk to lean towards Caspar . But you better take care of Bluepoint right away . Mink says if he comes after us its going to be tonight . As he looks into the fire :<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>Leo's holed up at Whiskey Nick's dump.<\/dialogue>\n    <scene_description>Tom is momentarily taken aback .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>How d'you know?<\/dialogue>\n    <scene_description>A chuckle comes from behind REVERSE On Tom . In the background , Bluepoint is walking over to the door to the room to close it .<\/scene_description>\n    <character>Bluepoint<\/character>\n    <dialogue>That ai n't all we know, smart guy.<\/dialogue>\n    <scene_description>He points with a nod towards the couch . Recognize your playmate ? On the couch sits Drop Johnson . Drop 's face looks worked on , and is beaded over with sweat . Having shut the door , Bluepoint is sauntering over to Tom . Yeah . You thought I 'd quit . He shakes his head . Huh - uh . I followed you this afternoon . And I wondered why Einstein would want to talk to a gorilla . He is nose to nose with Tom , smiling at him . So I grabbed the gorilla . And I beat it out of him . He shrugs . Give me a big guy , every time . They crack easy . Not like you . Tom holds Bluepoint 's look .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Is there a point? Or are you just brushing up on your small talk?<\/dialogue>\n    <character>Bluepoint<\/character>\n    <dialogue>I like that. Cool under fire. I'm impressed.<\/dialogue>\n    <scene_description>Very quickly he delivers two slaps - forehand and backhand . Tom 's head rocks but he recovers to stare back at Blue - point . The gorilla did n't know whose stiff we found , but I can fill that in . You killed Mink , you sonofabitch . He grabs Tom by the lapels , swings him away from the desk , and lands a punch on his chin . Tom stumbles backs . Caspar has turned from the fireplace , watching the doings across the room . Bluepoint moves towards Tom , breathing hard with antici - pated pleasure . Come here , bum . I 'm gon na send you to a deep dark place . And I 'm gon na have fun doing it . Bluepoint 's hand snakes out and grabs Tom by the front of the coat , hauling him close . He slaps him savagely . It was Mink , and by God I 'll hear you say it !<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Is this how you taught Drop his story?<\/dialogue>\n    <scene_description>In one motion Bluepoint 's hands wrap around Tom 's throat choking him off . As the pressure increases , Tom , purpling , sinks to his knees .<\/scene_description>\n    <character>Bluepoint<\/character>\n    <dialogue>I like the way you think. Maybe when you're dead I'll cut your head off, put it on my mantle -<\/dialogue>\n    <scene_description>WHANG - a shovel blade swings into frame to smash Bluepoint in the face . He drops . From somewhere in the room , a scream . Bluepoint is on his hands and knees , one hand pressed over his ruined face , blood pouring from between the fingers .<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>Sonafabitch.<\/dialogue>\n    <scene_description>He stands over Bluepoint with the fireplace shovel . If there 's one thing I ca n't stand , it 's a double - cross artist . I had a feeling ` bout this sonofabitch - He swings the shovel back and delivers an overhand blow to the top of Bluepoint 's head . Bluepoint drops to the floor , instantly motionless . The scream , however , continues . Drop Johnson , on the couch , his eyes wide , his hands spastically squeezing his knees , is looking down at Bluepoint . Drop 's mouth is stretched wide . He is scream - ing . Tom gets slowly to his feet . Cascar looks at Drop . Shut it , you sonofabitch ! He is striding over to him with the shovel . I 'll give you something to holler about ! Tom intercepts him .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Johnny. It's okay. Bluepoint made him. It's okay. It's not important.<\/dialogue>\n    <scene_description>Caspar is panting .<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>Then have him shut it!<\/dialogue>\n    <scene_description>Drop does . There is a beat . Incongruously , Caspar 's bellow breaks the silence : . And we do the same to Mink ! This very same night ! Another silence . The rain . The crackle of the fire . Tom 's tone is soothing :<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Johnny. We ca n't double - cross him. He wants to spill the whole set - up -<\/dialogue>\n    <scene_description>Caspar stares at him through glazed eyes .<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>I've never let a sonofabitch walk!<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>You've never crossed anyone.<\/dialogue>\n    <scene_description>Caspar is staring at him . His eyes have lost some of their glaze .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Four o'clock, my place. Mink's coming in on his own hook so I promised him the money. Do n't make me out a liar -<\/dialogue>\n    <scene_description>Drop is suddenly screaming again . Caspar looks where Drop is looking : Bluepoint is raising his head , moaning . His face is a mask of blood . One hand gropes in his overcoat pocket for his gun . Caspar shouts over Drop 's howl as he pulls something from his desk drawer :<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>Lookit this, kid.<\/dialogue>\n    <scene_description>He strides over to Bluepoint . Something I try and teach all my boys . With the gun point blank against the back of Bluepoint 's head , he fires . Tom recoils . Always put one inna brain !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A CLOCK<\/stage_direction>\n    <scene_description>A large wall clock . It is 3:30 . We are pulling back and down to reveal that we are inside a diner ; we are isolating on a section of counter on which sits a half - empty cup of coffee and an ashtray half - filled with butts . A hand puts some change on the counter and leaves frame .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT   DINER<\/stage_direction>\n    <scene_description>As Tom pushes the door open and exits . He tucks his overcoat collar up as he walks ; it is pouring rain . Tom turns at the sound of approaching heels and recognizes Verna with some surprise . He glances up and down the street , but it is deserted . Verna does n't seem to much notice the rain .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>` Lo, Verna. What's the rumpus.<\/dialogue>\n    <scene_description>Coldly , as they walk on together :<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>I was just in the neighborhood, feeling a little daffy. What're you doing?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Walking.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>Do n't let on more than you have to.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>In the rain.<\/dialogue>\n    <scene_description>Tom glances at her . What 're you doing out ?<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>Bernie's dead, is n't he?<\/dialogue>\n    <scene_description>They walk on for a beat , Tom looking down at the sidewalk . Finally :<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>What makes you think that?<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>That's no answer.<\/dialogue>\n    <scene_description>Tom again glances around , and escorts Verna into a dark doorway alcove . It is very small ; they have to crowd into each other to stay out of the rain . Water drops from the brim of Tom 's fedora . He studies her for a beat .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>I ca n't tell you anything yet.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>Nobody cares, do they? His friends did n't really like him.<\/dialogue>\n    <scene_description>Tom shrugs .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>He did n't like his friends.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>You're a sonofabitch, Tom. You're someone to talk. You got me to tell you where he was and then you killed him.<\/dialogue>\n    <scene_description>She is raising a gun into frame : She presses it into his stomach . Tom stiffens but continues to stare at her calmly . Tell me why . What was in it for you ?<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Nothing for me.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>Then why?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Giving up Bernie was the only way I could see to straighten things out for Leo.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>You said you did n't care about Leo.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>I said we were through. It's not the same thing.<\/dialogue>\n    <scene_description>Verna looks at him .<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>I do n't understand. I do n't care. I do n't care what reason you had or thought you had.<\/dialogue>\n    <scene_description>She raises the gun and presses its barrel into the under - side of Tom 's chin . Tom stiffens but remains calm .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>He's still alive.<\/dialogue>\n    <scene_description>Verna stares at him .<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>You expect me to believe you?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>That's you all over, Tom. A lie and no heart.<\/dialogue>\n    <scene_description>Verna pulls back the hammer . There is a long beat . Verna 's eves widen , locked an Tom 's . Tom returns her look ; his is sympathetic . Verna starts trembling . Tom 's tone is soft , understanding . It 's the first time we have ever seen compassion from him .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>It is n't easy, is it Verna?<\/dialogue>\n    <scene_description>She abruptly lurches away and staggers a couple of paces onto the sidewalk in the rain . She hugs a lamppost for support . She is staring down at the street , still trem - bling . Tom walks up behind her and rests a hand an her shoulder . Are you all right ? She does n't look around . After a moment :<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>I do n't know how you did it.<\/dialogue>\n    <scene_description>She shrugs off his hand and stumbles off down the street . Tom watches her dissappear into the rain .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CUT TO: TREE LIMBS<\/stage_direction>\n    <scene_description>Night , but sometime later - it has stopped raining . The branches groan in the wind . As they sway , streetlight glitters off the leaves , still wet with rain . We are booming down to reveal that we are in front of Tom 's building , its windows dark . During the boom we hear the rumble of an approaching car and the hiss of its tires on wet asphalt . The boom down ends as the car pulls into frame to stop at the curb with the camera framed on the driver 's window . The driver has a small bandage on his left cheek . We hear Caspar 's voice as we hear him getting out the back :<\/scene_description>\n    <character>Caspar<\/character>\n    <dialogue>Ya put the razor in cold water, not hot -'cause metal does what in cold?<\/dialogue>\n    <character>Driver<\/character>\n    <dialogue>I dunno, Johnny.<\/dialogue>\n    <scene_description>We hear the back door slam and Caspar appears in the front passenger window . ` Ats what I 'm tellin ' ya . It contracts . ` At way you get a first class shave .<\/scene_description>\n    <character>Driver<\/character>\n    <dialogue>Okay, Johnny.<\/dialogue>\n    <scene_description>As Caspar walks off the driver slouches back , pulls his fedora over his eyes and folds his arms across his chest . A back enters frame in the foreground .<\/scene_description>\n    <character>Tom's Voice:<\/character>\n    <dialogue>` Lo, Sal. You can dangle.<\/dialogue>\n    <scene_description>The driver looks up , startled .<\/scene_description>\n    <character>Driver<\/character>\n    <dialogue>` Lo, Tom. You sure? You do n't look so hot.<\/dialogue>\n    <scene_description>We still do n't see Tom 's face .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>I'm okay. Go ahead, I'll drive him home.<\/dialogue>\n    <scene_description>The driver shrugs . REVERSE Wider , from the other side of the car , as the car pulls away . Tom walks into the foreground , toward his house ; we tilt up to hold him . The low - angle shows us the tree behind Tom , its branches still creaking in the wind . Crack crack - we hear two gunshots from inside the house . Tom stops momentarily in close shot , looking up , and then continues on out of frame .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>OVER TOM'S SHOULDER<\/stage_direction>\n    <scene_description>We follow him as he walks into the building and slowly down the first - floor hall . The hallway is quiet excent for a light moaning wind . Beyond Tom we see the door to the first - floor apartment crack open a slit . Hissing :<\/scene_description>\n    <character>Voice<\/character>\n    <dialogue>Mr. Duchaisne.<\/dialogue>\n    <scene_description>The door opens wider . Mrs. Zarpmas , wearing a housecoat , her gray hair down in braids , sticks her head out . There were shots . Tom looks up towards the staircase , then back at Mrs. Zarpas .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Go down to the drugstore. Call the police.<\/dialogue>\n    <scene_description>She stares at him , nods . As she drapes on a raincoat :<\/scene_description>\n    <character>Mrs. Zarpas<\/character>\n    <dialogue>Yes, Mr. Duchaisne.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>You better stay there til the officers arrive.<\/dialogue>\n    <character>Mrs. Zarpas<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>She pauses . Will the cats be all right here ? Tom stares at her . Finally , he nods .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>They'll be fine.<\/dialogue>\n    <scene_description>Mrs. Zarpas returns his dazed nod , and shuffles away . So far , upstairs , all is quiet . PULLING TOM As he starts slowly towards the staircase . TOM 'S POV TRACKING FORWARD A small black object on the staircase - an upside - down fedora . Blood drips with a hollow rattle down onto a step , a couple steps above the hat . PULLING TOM He looks up . POV A head sticks through the balusters of the second story landing return . The body is on its back ; the head lolls back over the tip of the landing down towards the stair - case . Our climbing low angle shows us mostly the back of the head . The body 's far shoulder has knocked out a baluster whose splintered bottom juts down towards the stairs . PULLING TOM Still climbing , looking at the body . HIS POV Climbing and panning as we draw even with the head . It is Caspar . Blood has been expelled through his nostrils over his mouth and chin . His face is deep red . His eyes stare glassily at Tom . PULLING TOM As he reaches the top of the stairs and swings around to face along the landing . We hear a chuckle , close by . Wind is groaning through the hallway . POV In the middle foreground Caspar lies an the floor ; beyond him , Bernie leans against the doorframe in Tom 's open doorway , smiling , his arms folded over his chest . The balusters stretch away in a regular line , throwing vertical shadows upwards against the opposite wall .<\/scene_description>\n    <character>Bernie<\/character>\n    <dialogue>I get it. You set me up.<\/dialogue>\n    <scene_description>Tom leans against the wall and looks morosely down at Caspar .<\/scene_description>\n    <character>Bernie<\/character>\n    <dialogue>Anything to avoid a little dirty work yourself, huh?<\/dialogue>\n    <scene_description>Tom does n't answer . How 'd you know held get it and not me ? Or did n't you care ? Tom shrugs , still staring down at Caspar .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>I figured you'd come early, and be looking for blood. He would n't, so you'd likely have the drop on him.<\/dialogue>\n    <scene_description>Bernie takes his gun out of his overcoat packet and saunters over .<\/scene_description>\n    <character>Bernie<\/character>\n    <dialogue>You're a sonofabitch, Tom. I like the way you think. You're right, the bonehead never knew what hit him.<\/dialogue>\n    <scene_description>He looks down at Caspar , unable to supress a smile . But if you knew I 'd come looking to kill you , how do you know I wo n't still ? Tom shrugs again .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Nothing in it for you, now. With him dead we got nothing on each other. Let me have the gun.<\/dialogue>\n    <character>Bernie<\/character>\n    <dialogue>Why?<\/dialogue>\n    <scene_description>Tom jerks his head towards Caspar .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Pin this on Bluepoint. Neither of us wants him walking around after this.<\/dialogue>\n    <scene_description>Bernie shakes his head .<\/scene_description>\n    <character>Bernie<\/character>\n    <dialogue>The cops'll be Leo's now. They wo n't care what they hang Bluepoint for.<\/dialogue>\n    <scene_description>Tom shrugs again .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>I guess that's so. If you do n't mind keeping the gun that killed Caspar. And Mink.<\/dialogue>\n    <scene_description>He stoops down over Caspar 's body and starts feeling through Caspar 's pockets , looking for something . Why did Mink shoot Rug , anyway ? Bernie is walking towards him , emptying the bullets from his gun .<\/scene_description>\n    <character>Bernie<\/character>\n    <dialogue>I dunno, it was just a mix - up. Here.<\/dialogue>\n    <scene_description>Tom looks back over his shoulder . Bernie hands him the gun , which Tom slips into his overcoat packet . So you 're gon na say Bluepoint did this ? As he goes back to the body :<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Mink thought Rug was tailing him?<\/dialogue>\n    <scene_description>He finds Caspar 's gun and sets it on the floor , but keeps looking .<\/scene_description>\n    <character>Bernie<\/character>\n    <dialogue>Yeah yeah, you know Mink. Hysterical. Skin full of hop, head full of bogeymen. Comes home crying one day, said he had to pop a guy, one of Bluepoint's spies.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Rug was following Verna, not Mink. Mink just happened to be with her.<\/dialogue>\n    <scene_description>He has found a wallet and is thumbing through it .<\/scene_description>\n    <character>Bernie<\/character>\n    <dialogue>Yeah. Funny, ai n't it? But you know, Mink was terrified Bluepoint'd find out me and him were jungled up together.<\/dialogue>\n    <scene_description>Tom has taken out the money , rifles it , and replaces the wallet .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>And I'll bet you'd kept him plenty worried about that, to keep him under your thumb.<\/dialogue>\n    <character>Bernie<\/character>\n    <dialogue>Yeah, so what.<\/dialogue>\n    <scene_description>Bernie is peering over Tom 's shoulder at the monev . Scratch , huh ? A little bonus ? Tom straightens up , Caspar 's gun in hand .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Why did Mink take Rug's hair?<\/dialogue>\n    <scene_description>Bernie shrugs .<\/scene_description>\n    <character>Bernie<\/character>\n    <dialogue>Beats me, the kid was dizzy. Fifty - fifty on the dough? Or maybe I should get a little more, since I did the deed.<\/dialogue>\n    <scene_description>Tom is stuffing the money into his pocket . Okay , you keep it . I want you to have it .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Bernie.<\/dialogue>\n    <scene_description>He nods towards Caspar 's body . We ca n't hang this on Bluepoint .<\/scene_description>\n    <character>Bernie<\/character>\n    <dialogue>Huh? Why not?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Bluepoint's already dead, halfway ` cross town.<\/dialogue>\n    <scene_description>Bernie 's smile is fading .<\/scene_description>\n    <character>Bernie<\/character>\n    <dialogue>What the hell are you talking about?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Bluepoint's dead. It's got ta be you. I mean hell, it's your gun.<\/dialogue>\n    <scene_description>Alarm is beginning to rise :<\/scene_description>\n    <character>Bernie<\/character>\n    <dialogue>What is this! What the hell are you talking about!.<\/dialogue>\n    <scene_description>He looks down at Caspar and then back at Tom . You took my gun ! Just your word against mine ! Tom pops the chamber of Caspar 's gun , glances in , and snaps it shut .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Not necessarily.<\/dialogue>\n    <scene_description>Bernie 's eyes widen .<\/scene_description>\n    <character>Bernie<\/character>\n    <dialogue>Are you crazy! We're square! You said it yourself! We got nothing on each other!<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Yup.<\/dialogue>\n    <scene_description>Bernie fights against hysteria :<\/scene_description>\n    <character>Bernie<\/character>\n    <dialogue>So what's in it for you?! There's no angle! You ca n't just shoot me, like that!<\/dialogue>\n    <scene_description>He sinks to his knees , his voice rising . Jesus Christ ! It do n't make sense ! Tommy ! Look in your heart !<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>What heart.<\/dialogue>\n    <scene_description>BANG - Bernie splays backwards from the knees , a bullet drilled neatly through his forehead . Tom drops the gun by Caspar 's body . Unpocketing Bernie 's gun , Tom goes over to his corpse and drops it there . We pan with Tom 's legs to bring his doorway into view as he walks into his apartment , to the window chair in the background , and sits with his back to us . The windows show daylight breaking . Far away a clock strikes the quarter hour . Tom is picking up the phone and dialing . Waiting for an answer , he reaches over to turn off the feeble yellow lamp burning chairside . As we start to FADE OUT , we can hear Tom talking into the phone :<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Tony? Tom. Tell Lazarre I've got his money. Yeah, all of it. And I want to place a bet on tonight's fight.<\/dialogue>\n    <scene_description>A BEAT OF BLACK<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CUT TO: THE HALLWAY<\/stage_direction>\n    <scene_description>Of Leo 's club , leading to his office . We are tracking over Tom 's shoulder as he walks down the hall , led by Dead Terry .<\/scene_description>\n    <character>Terry<\/character>\n    <dialogue>They set you up downstairs?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>How's that?<\/dialogue>\n    <character>Terry<\/character>\n    <dialogue>Hootch? Whatever?<\/dialogue>\n    <scene_description>Tom gestures with the drink he is carrying . Its ice cubes clink . Well thanks for coming , Tom . Leo 's real anxious to see you .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Yeah. I happened to be near.<\/dialogue>\n    <scene_description>We can hear muffled bellowing coming from Leo 's office , growing louder as we approach . Terry seems embarassed :<\/scene_description>\n    <character>Terry<\/character>\n    <dialogue>Actually. this might not be the best time.<\/dialogue>\n    <scene_description>They have pulled up in front of the closed door to Leo 's office . Leo 's bellowing , inside , abates for a moment . We can hear another voice , muffled so that we do n't hear words , but only the voice 's plaintive quality . Leo 's bellowing cuts it short .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Who's he got in there?<\/dialogue>\n    <character>Terry<\/character>\n    <dialogue>O'Gar and the mayor.<\/dialogue>\n    <scene_description>As he leaves frame :<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>I'll try again.<\/dialogue>\n    <scene_description>Terry calls after him :<\/scene_description>\n    <character>Terry<\/character>\n    <dialogue>I'll tell him you stopped by.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>DOWNSTATRS<\/stage_direction>\n    <scene_description>Pulling Tom as he walks across the gambling floor , drink still in hand . Behind him we can see workmen busily repairing the damage done to the club in the police raid . Halfway across the floor Tom stiffens and slows , seeing something . Verna is entering the club . The two meet .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>` Lo, Verna.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>See Leo?<\/dialogue>\n    <scene_description>They both lean against a counterstop and look out at the floor .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>He was busy.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>You should see him. He has something to tell you.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Maybe I'll run into him.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>Bernie's funeral is tomorrow. You could stop by.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Maybe.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>Leo has something to tell you.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>So you said.<\/dialogue>\n    <scene_description>There is a silent beat . Verna scowls .<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>Tell me something, Tom. Why did n't you tell me what was going on? I thought he was dead, and you never -<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>There was no point in telling you. It could only have queered things if it had gotten out -<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>Jesus, Tom! You do n't just talk to people for the play it gives you or does n't give you! I suffered, you no - heart son of a bitch!<\/dialogue>\n    <scene_description>Tom lets this drift . Verna tries to compose herself . I 'm sorry . It 's just that things might 've been different . With us . If I 'd known that you had n't . done anything to him .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>You know now.<\/dialogue>\n    <scene_description>Verna looks at him intently .<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>What happened that night?<\/dialogue>\n    <scene_description>Tom still looks at her evenly .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>I went to a bar. Passed out. When I got back to my place they were both dead.<\/dialogue>\n    <scene_description>Verna studies him .<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>Passed out, huh?<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>She looks at him a beat more , then out at the floor .<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>It's funny. I've never even seen you sleep - though you told me once about a dream you had.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Maybe I lied.<\/dialogue>\n    <scene_description>WHAP ! Verna slaps him hard . His head rocks under the blow .<\/scene_description>\n    <character>Verna<\/character>\n    <dialogue>You've never been straight with me about any - thing! You are a sonofabitch!<\/dialogue>\n    <scene_description>She stalks off . Tom watches her go . He raises the drink and rolls it across his slapped cheek . The ice cubes clink .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>CEMETARY<\/stage_direction>\n    <scene_description>An small old marble orchard set on a hilltop cleared against the woods . Stars of David adorn the headstones ; in the foreground Bernie 's funeral is ending . Present is a rabbi , just finishing the chanting of the liturgy , Verna , and Leo . In the background , on the road at the foot of the hill , Tom is emerging from a taxi . It rolls away as he starts up the hill . Just as he arrives , Leo and Verna turn to leave . Tom takes in the scene .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Big turnout.<\/dialogue>\n    <character>Verna<\/character>\n    <dialogue>Drop dead.<\/dialogue>\n    <scene_description>She stalks off , leaving Leo and Tom alone . Leo takes off his yarmulke and fiddles with it uncomfortably . The two men start walking .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>She's under a lot of strain.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Well, at least she did n't hit me.<\/dialogue>\n    <scene_description>Leo chuckles . They walk on .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>Tommy, I'm glad you came.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>She's taking the car.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <scene_description>Leo looks up . Verna is getting into the elegant black touring - car that waits at the bottom of the hill . It pulls away . Leo looks at Tom . I guess we 're walking .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>I guess we are.<\/dialogue>\n    <scene_description>They walk in silence for a beat .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>We're getting married.<\/dialogue>\n    <scene_description>Tom stiffens . He brings out :<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>Congratulations, Leo.<\/dialogue>\n    <scene_description>Leo too is uncomfortable .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>The funny thing is. She asked me. To tie the knot. I guess you're not supposed to say that.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>It does n't matter. Congratulations.<\/dialogue>\n    <character>Leo<\/character>\n    <dialogue>Thanks. Hell, Tom! Why did n't you tell me what you were up to?! I thought you'd really gone over - not that I did n't deserve it. But you could have told me.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>Telling you could only've queered things if it had.<\/dialogue>\n    <scene_description>Tom cuts himself off and walks in silence for a moment . There just was n't any point . Leo wants to be encouraging . He nods .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>I can see that. Well. It was a smart play, all around. I guess you know I'm grateful.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>No need.<\/dialogue>\n    <scene_description>Leo is grinning again .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>I guess you picked that fight with me just to tuck yourself in with Caspar.<\/dialogue>\n    <character>Tom<\/character>\n    <dialogue>I dunno. Do you always know why you do things, Leo?<\/dialogue>\n    <scene_description>Leo greets this with a puzzled Smile .<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>Course I do.<\/dialogue>\n    <scene_description>He nods to himself . It was a smart play . They walk on .<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>You'll do fine.<\/dialogue>\n    <scene_description>Leo stops , grabs Tom 's arm , and the words come cut in a rush :<\/scene_description>\n    <character>Leo<\/character>\n    <dialogue>Jesus, Tom! I'd give anything if you'd work for me again! I know I've made some bonehead plays! I know I can be pig - headed but, damnit, so can you! I need your help, and things can be like they were, I know it! I just know it! As for you and Verna - well I understand, you're both young, and - well, damnit, Tom, I forgive you!<\/dialogue>\n    <scene_description>Tom instantly bristles . For the first time , his tone is sharp :<\/scene_description>\n    <character>Tom<\/character>\n    <dialogue>I did n't ask for that and I do n't want it.<\/dialogue>\n    <scene_description>The two men stare at each other - Tom 's look angry ; Leo 's , distraught . Tom 's look softens . Goodbye , Leo . Leo still stares at him , waiting for something else . When nothing is forthcoming he turns and walks away . Tom watches him go . He unpockets a flask and raises it to his lips . Behind him a tree soughs in the wind . FADE OUT<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Tom Reagan is the right-hand man for Leo O'Bannon, an Irish mobster and political boss who runs a U.S. city during Prohibition. When Leo's rival, the Italian gangster Johnny Caspar, announces his intent to kill bookie Bernie Bernbaum, Leo goes against Tom's advice and extends his protection to Bernie, who is the brother of Verna, who has begun a relationship with Leo \u2013 while also carrying on an affair with Tom. Tom tries everything he can to convince Leo to give Bernie up to Caspar to prevent a war; he attempts to convince Leo that Verna is playing him to protect her brother but Leo will not be swayed. After an assassination attempt on Leo, Tom reveals his affair with Verna to Leo to prove that she is dishonest. Leo beats Tom and turns his back on both of them. Tom then approaches Caspar looking for work and Caspar commands him to kill Bernie in the woods at Miller's Crossing to prove his loyalty. Bernie pleads with Tom to spare him, saying \"Look in your heart\". Tom fires his gun to fake the killing and tells Bernie to run and hide. Caspar assumes Leo's position as boss of the city, controlling the police and using them to destroy Leo's operations. Tom begins sowing discord between Caspar and his trusted enforcer, the brutal Eddie \"the Dane\" Dane. Upon finding that his men didn't actually see Tom kill Bernie, Dane takes Tom back to Miller's Crossing to see if Bernie's body is there. Tom nearly cracks as they approach the location but they find a body that had been shot in the face and disfigured by birds. Unknown to Tom, Bernie returned to town and killed Mink who was Bernie's lover, and placed the body where his should have been. Bernie holds this over Tom's head and tries to blackmail Tom into killing Caspar. Tom uses Mink's unknown whereabouts to convince Caspar that Eddie Dane has betrayed him. Dane denies it and Caspar has to decide whom he believes, and whom he will kill. In a rage, he beats Eddie Dane before shooting him in the head. Tom then arranges a meeting with Bernie but sends Caspar instead on the pretext that he will be meeting Mink. Bernie arrives before Caspar and kills him. Tom arrives and tricks Bernie into giving up his gun, saying they can blame Eddie Dane, then reveals that Dane is dead and that he intends to kill Bernie in retribution for blackmailing him. Bernie again begs for mercy, saying \"Look in your heart\" but Tom asks \"What heart?\" and shoots him. With Caspar and Eddie Dane dead, Leo resumes his post as boss. Verna has won her way back into Leo's good graces and she reacts coldly to Tom. On the day Bernie is buried, Leo announces that Verna has proposed to him and offers Tom his job back. Tom refuses and stays behind, watching as Leo departs."}
{"movie_name":"Bull Durham_1988","imdb_id":"tt0094812","script":"<script>\n  <scene>\n    <stage_direction>Bull Durham<\/stage_direction>\n    <scene_description>In baseball , you do n't know nothing . - Yogi Berra . Whoever wants to know the heart and mind of America had better learn baseball . - Jacques Barzun . You could look it up . - Casey Stengel . Titles over -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>FADE IN:<\/stage_direction>\n    <scene_description>A series of still photos . Black and white . Ancient . BABE RUTH SWINGS - An icon of American history . His giant upper body balanced delicately on tiny ankles and feet . The huge bat in an elegant followthrough . TY COBB ROUNDS THIRD - The most vicious ballplayer of them all , a balletic whirling dervish . JACKIE ROBINSON STEALS ROME - Yogi Berra applies the tag . Too late . JOE DIMAGGIO WITH HIS SON in the Yankee clubhouse . Walking down the runway , Joe in uniform . Number five . A WALL COVERED WITH BASEBALL PICTURES behind a small table covered with objects and lit candles . A baseball , an old baseball card , a broken bat , a rosin bag , a jar of pine tar - also a peacock feather , a silk shawl , a picture of Isadora Duncan . Clearly , the arrangement is - A SHRINE - And it glows with the candles like some religious altar . We hear a woman 's voice in a North Carolina accent .<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I believe in the Church of Baseball.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I've tried all the major religions and most of the minor ones - I've worshipped Buddha, Allah, Brahma, Vishnu, Siva, trees, mushrooms, and Isadora Duncan.<\/dialogue>\n    <scene_description>PAN AWAY FROM THE SHRINE across the room . Late afternoon light spills into the room , across fine old furniture , to a small dressing table . A WOMAN applies make up . ANNIE SAVOY , mid 30 's , touches up her face . Very pretty , knowing , outwardly confident . Words flow from her Southern lips with ease , but her view of the world crosses Southern , National and International borders . She 's cosmic .<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>( V.O. CONT 'D . )<\/parenthetical>\n    <dialogue>I know things. For instance -.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>There are 108 beads in a Catholic rosary. And -.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>There are 108 stitches in a baseball.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>When I learned that, I gave Jesus a chance.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>But it just did n't work out between us The Lord laid too much guilt on me. I prefer metaphysics to theology.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You see, there's no guilt in baseball. and it's never boring.<\/dialogue>\n    <scene_description>ANNIE OPENS A CLOSET DOOR - Dozens of shoes hang from the door . She chooses a pair of RED HIGH HEELS , with thin straps . She sits on a bench and<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Which makes It like sex.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>There's never been a ballplayer slept with me who did n't have the best year of his career.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Making love is like hitting a baseball - you just got to relax and concentrate.<\/dialogue>\n    <scene_description>ANNIE SLIPS ON THE RED HIGH HEELS - Smoothing her hands up her calves as she does .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Besides, I'd never sleep with a player hitting under.250 unless he had a lot of R.B.I.'s or was a great glove man up the middle.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>A woman's got to have standards.<\/dialogue>\n    <scene_description>SHE HOLDS OUR HER LEGS DISPLAYING THE HEELS , side by side . Like a little girl showing off her new shoes .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>The young players start off full of enthusiasm and energy but they do n't realize that come July and August when the weather is hot it's hard to perform at your peak level.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>The veterans pace themselves better. They finish stronger. They're great in September.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>While I do n't believe a woman needs a man to be fulfilled, I do confess an interest in finding the ultimate guy - he'd have that youthful exuberance but the veteran's sense of timing.<\/dialogue>\n    <scene_description>ANNIE STARTS PACKING A HUGE HANDBAG - With fruit , an official scorebook , binoculars , a radar gun , and lipstick .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Y ` see there's a certain amount of `` life - wisdom'' I give these boys.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I can expand their minds. Sometimes when I've got a ballplayer alone I'll just read Emily Dickinson or Walt Whitman to him. The guys are so sweet - they always stay and listen.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Of course a guy will listen to anything if he thinks it's foreplay.<\/dialogue>\n    <scene_description>ANNIE TOUCHES PERFUME BEHIND HER EARS and , ever so slightly , in her cleavage .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>I make then feel confident. They make me feel safe. And pretty.<\/dialogue>\n    <scene_description>ANNIE POSES IN FRONT OF THE MIRROR - She smoothes her dress along her hips . And puts on a flashy pair of sunglasses . Stylish and slightly mad .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>what I give them lasts a life - time. What they give me lasts 142 games. Sometimes it seems like a bad trade.<\/dialogue>\n    <parenthetical>( quickly rebounding . )<\/parenthetical>\n    <dialogue>but bad trades are part of baseball - who can forget Frank Robinson or Milt Pappas, for Godsakes!<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>It's a long season and you got to trust it.<\/dialogue>\n    <scene_description>ANNIE STARTS FOR THE DOOR and grabs her baseball glove<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  ANNIE'S HOUSE -- DUSK<\/stage_direction>\n    <scene_description>A frame house with porch and lots of trees - a Thomas Wolfe house . with a 1959 faded red Volvo in the driveway . ANNIE LEAVES ON FOOT , turning onto the sidewalk of a bucolic , old Durham , North Carolina neighborhood . In the b.g. other people are heading the same direction ANNIE PULLS A DURHAM BULLS BASEBALL CAP from her handbag and pulls it on her head .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>I've tried them all - I really have -.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>and the only church that truly feeds the soul - day in, day out - is the Church of Baseball.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE CHURCH -- DURHAM BASEBALL PARK -- DUSK<\/stage_direction>\n    <scene_description>Now visible In the late afternoon sun , a rickety old stadium carved into the center of an old Tobacco town . People are arriving on foot from all around . `` Rock Around the Clock '' by Bill Haley fills the air . CLOSE ON A BASEBALL CLOWN - MAX PATKIN , 60 , at home plate doing his famous Bill Haley routine . - A comic pitcher 's windup full of twists and goofy choreography .<\/scene_description>\n    <character>RECORDING OVER P.A.<\/character>\n    <dialogue>One o'clock, two o'clock, three o'clock, rock. Four o'clock, five o'clock, six o'clock rock.<\/dialogue>\n    <scene_description>ANNIE SITS DOWN IN HER PRIVATE BOX SEAT - Her chair is wiped off by a young black boy , JACKSON , 11 , who then sits next to her . He is her employed errand runner , note sender , and friend . A GROUP OF GROUPIES ENTERS THE PARK - 20 year old girl\/women , dressed in tight pants , tight everything . Friendly , eager , innocent - THEY WAVE TO ANNIE . FIVE PLAYERS ' WIVES AND THREE SMALL CHILDREN sit in a special box seat behind a small sign `` Players ' Wives '' .<\/scene_description>\n    <character>RECORDING OVER P.A.<\/character>\n    <dialogue>Seven o'clock, eight o'clock, nine o'clock rock. we're gon na rock around the clock tonight<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT.  THE DURHAM BULL DUGOUT -- NIGHT<\/stage_direction>\n    <scene_description>AS MAX PATKIN CONTINUES HIS ROUTINE , PLAYERS WARM UP , AND - THE MANAGER , JOE RIGGINS , 45 , known merely as SKIP , short for `` Skipper '' , a chaw of tobacco in his cheek , stands with his pitching coach , LARRY HOCKETT late 30 's , an ex - big leaguer whose body has seen too many cocktail lounges . LARRY ROLLS SOME RED MAN CHEWING TOBACCO into a slab of pink bubble gum , carefully folding the corners , tucking it neatly together . Larry examines it as they talk - And shoves the giant chaw into his mouth .<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>Where's Ebby?<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>Ai n't he warning up?<\/dialogue>\n    <character>SKIP<\/character>\n    <parenthetical>( cynically . )<\/parenthetical>\n    <dialogue>No. The guy's professional debut and he forgets about it.<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>Better find our bonus baby, eh?<\/dialogue>\n    <scene_description>A PLAYER , DEKE , 25 , stuffs a hot dog into his mouth .<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>Seen Ebby?<\/dialogue>\n    <character>DEKE<\/character>\n    <parenthetical>( mouthful of food . )<\/parenthetical>\n    <dialogue>Nope.<\/dialogue>\n    <scene_description>SKIP WHIRLS AND HEADS UP THE TUNNEL into the :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  THE DURHAM CLUBHOUSE -- NIGHT<\/stage_direction>\n    <scene_description>SKIP enters , shouting -<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>Ebby?!<\/dialogue>\n    <scene_description>CLOSE ON A BARE ASS - Baseball uniform around the ankles , short t - shirt on top , and on top of that the head of EBBY CALVIN LALOOSH , baseball cap on backwards . EBBY is a great looking energetic man - child with the endless confidence , naivete and horniness of youth . Life is a party . A YOUNG WOMAN , MILLIE , 20 , half nude , is dressing quickly . EBBY WHIRLS as Skip enters .<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>Jesus. Game starts in four minutes!<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Why ai n't you warm?!<\/dialogue>\n    <character>EBBY<\/character>\n    <dialogue>I am warm.<\/dialogue>\n    <character>SKIP<\/character>\n    <dialogue>I'm fining you a hundred dollars. Jesus, Ebby, this is your professional debut tonight - you know how many guys out there'd give blood to be in your shoes an' you're leavin' your fastball in the locker room for some piece of ass!<\/dialogue>\n    <scene_description>MILLIE LOOKS OUT FROM BEHIND A BAT RACK - Outraged .<\/scene_description>\n    <character>MILLIE<\/character>\n    <dialogue>Skip, It's me! I'm not some quote piece of ass unquote.<\/dialogue>\n    <character>SKIP<\/character>\n    <dialogue>Oh, Millie, jeez, sorry - I did n't recognize ya. Do n't take it personal but if I catch you in here again you're banned from the ballpark.<\/dialogue>\n    <character>MILLIE<\/character>\n    <dialogue>You ca n't ban me from the ballpark'cause Daddy donated the scoreboard and if you banned me he might take the scoreboard away.<\/dialogue>\n    <character>SKIP<\/character>\n    <dialogue>Whatta we need a scoreboard for? We have n't scored any runs all year.<\/dialogue>\n    <parenthetical>( tough , to Ebby . )<\/parenthetical>\n    <dialogue>Get your ass out there.<\/dialogue>\n    <scene_description>As Skip starts to leave .<\/scene_description>\n    <character>EBBY<\/character>\n    <dialogue>Hey Boss, I got a question.<\/dialogue>\n    <character>SKIP<\/character>\n    <parenthetical>( stops , exasperated . )<\/parenthetical>\n    <dialogue>What?!<\/dialogue>\n    <character>EBBY<\/character>\n    <dialogue>You think I need a nickname? I think I need a nickname. The great ones have nicknames - somethin' like Oil Can or Catfish<\/dialogue>\n    <scene_description>Skip stares at him . He ca n't believe this guy .<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>Ya got three minutes.<\/dialogue>\n    <scene_description>SKIP WHIRLS AND HEADS BACK OUT TO THE FIELD - And Ebby unperturbed , turns his attention back to Millie .<\/scene_description>\n    <character>EBBY<\/character>\n    <dialogue>Got time for another quickie?<\/dialogue>\n    <character>MILLIE<\/character>\n    <dialogue>Jesus, you got a game to pitch!<\/dialogue>\n    <character>EBBY<\/character>\n    <dialogue>But we got three minutes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE BALLPARK -- MOMENTS LATER -- NIGHT<\/stage_direction>\n    <scene_description>MAX PATKIN STILL FLAILING AWAY to `` Rock Around the Clock '' .<\/scene_description>\n    <character>RECORDING<\/character>\n    <dialogue>When the clock strikes two, three, and four and the band slows down we'll yell for more, gon na rock around the clock tonight.<\/dialogue>\n    <scene_description>ANNIE LOOKS THROUGH HER BINOCULARS - Studying the players warming up casually on the sidelines as Patkin winds up his act . P.O.V. . A LATIN PLAYER playing pepper .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Number twenty - two's thighs are just great. Who's he?<\/dialogue>\n    <character>JACKSON<\/character>\n    <parenthetical>( reading the program . )<\/parenthetical>\n    <dialogue>Jose Galindo. He hit.314 at Lynchburg last year.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Three - fourteen? Hmmm. Look' t those thighs, Jackson<\/dialogue>\n    <scene_description>BACK TO MAX PATKIN - He finishes his routine .<\/scene_description>\n    <character>RECORDING OVER P.A.<\/character>\n    <dialogue>Gon na rock, gon na rock around the clock tonight.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  PRESS BOX -- NIGHT<\/stage_direction>\n    <scene_description>A WOMAN ANNOUNCER , MARYLOU , 30 , speaks into the P.A. mike .<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <dialogue>Let's hear it for Max Patkin -<\/dialogue>\n    <scene_description>Applause as Patkin takes his bows , leaves the field , shakes hands with a the BULL MASCOT LEADING THE APPLAUSE .<\/scene_description>\n    <character>ANNOUNCER<\/character>\n    <dialogue>`` The Greatest Show on Dirt'' - your own Durham Bulls!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  THE DUGOUT<\/stage_direction>\n    <scene_description>CLOSE ON ANOTHER PLAYER - MICKEY MCFEE , 23 , black . Smoking a cigaret - always smoking a cigaret . He snuffs out his cigaret and RUNS onto the field with the rest of the team , as - EBBY ENTERS THE DUGOUT from the runway . Larry and Skip encourage their players running onto the field . Ebby is trying to get the zipper on his fly unstuck . He smiles broadly at Skip and Larry , and grabs his glove .<\/scene_description>\n    <character>EBBY<\/character>\n    <dialogue>I'm there, Skip, I'm ready.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  THE PRESS BOX<\/stage_direction>\n    <scene_description>THE RADIO ANNOUNCER , TEDDY CULLINANE , 50 , leans into the radio mike of a very small local station . Next to him is the local SPORTSWRITER , WHITEY SHERRARD , 40 . Between them they 've seen a million minor league players come and go .<\/scene_description>\n    <character>WHITEY<\/character>\n    <dialogue>Is this guy LaLoosh worth a hundred grand? I hear he's a quart low?<\/dialogue>\n    <character>TEDDY THE RADIO MAN<\/character>\n    <parenthetical>( covering the mike . )<\/parenthetical>\n    <dialogue>He's left handed. Whattya expect?<\/dialogue>\n    <parenthetical>( on the air . )<\/parenthetical>\n    <dialogue>The Bulls are off to a slow start having dropped their first three games, but hope to turn it around tonight with the professional debut of the heralded young left hander, Ebby Calvin LaLoosh.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Stepping In for the Peninsula White Sox is leadoff hitter Willie Foster<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE BALLFIELD -- NIGHT<\/stage_direction>\n    <scene_description>ANGLE TO ANNIE 'S BOX SEAT - Millie has joined Annie and Jackson . Clearly , the younger women look up to Annie for wisdom and insight .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>- Millie, you've got to stay out of the clubhouse. It'll just get everybody in trouble.<\/dialogue>\n    <character>MILLIE<\/character>\n    <dialogue>I got lured.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>You did n't get `` lured''. Women never get lured. They're too strong and powerful for that. Now say it - `` I did n't get lured and I will take responsibility for my actions''.<\/dialogue>\n    <character>MILLIE<\/character>\n    <dialogue>`` I did n't get lured and I will take responsibility for my actions''.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>That's better.<\/dialogue>\n    <parenthetical>( to Jackson . )<\/parenthetical>\n    <dialogue>Got the radar ready?<\/dialogue>\n    <character>JACKSON<\/character>\n    <dialogue>Ready.<\/dialogue>\n    <scene_description>JACKSON AIMS A RADAR GUN at the plate . THE PENINSULA WHITE SOX LEADOFF HITTER steps in .<\/scene_description>\n    <character>TEDDY THE RADIO MAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The word on LaLoosh is that the good looking young lefty has a major league fastball but sometimes has problems with his control<\/dialogue>\n    <scene_description>EBBY CALVIN LALOOSH WINDS UP and fires . The pitch sails over the batter 's head , over the catcher 's head , over the backstop , and CRASHES INTO THE PRESS BOX .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  THE PRESS BOX<\/stage_direction>\n    <scene_description>THE ANNOUNCER AND SPORTSWRITER CRASH to the floor as the ball smashes into their booth .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  THE DUGOUT<\/stage_direction>\n    <scene_description>SKIP SPITS TOBACCO , mumbles flatly to Larry .<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>Little high.<\/dialogue>\n    <character>LARRY<\/character>\n    <parenthetical>( shouts to EBBY . )<\/parenthetical>\n    <dialogue>C'mon big ` un, you're okay.<\/dialogue>\n    <scene_description>ANNIE 'S BOX SEAT - She turns to Jackson .<\/scene_description>\n    <character>JACKSON<\/character>\n    <dialogue>Ninety - five miles an hour.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>He looks great, just great!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE PITCHER'S MOUND<\/stage_direction>\n    <scene_description>THE CATCHER TALKS TO EBBY , trying to calm him down .<\/scene_description>\n    <character>CATCHER<\/character>\n    <dialogue>What the hell was that?! Lighten up a little. Awright?<\/dialogue>\n    <character>EBBY,<\/character>\n    <parenthetical>( to catcher . )<\/parenthetical>\n    <dialogue>Hey - what's your name again - I'm bad with names -<\/dialogue>\n    <character>CATCHER<\/character>\n    <dialogue>Ed. You want me to write it on my chest? Jesus.<\/dialogue>\n    <character>EBBY<\/character>\n    <dialogue>Sorry. Hey, Ed, I got a question.<\/dialogue>\n    <character>CATCHER<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>EBBY<\/character>\n    <dialogue>Who's the beef sitting behind the third base dugout?<\/dialogue>\n    <character>CATCHER<\/character>\n    <parenthetical>( slowly . )<\/parenthetical>\n    <dialogue>That's Annie Savoy. Nice eh? But that's more woman than you ever dreamed of, Rook. She could kick your ass and have you for breakfast<\/dialogue>\n    <scene_description>THE CATCHER RETURNS to the plate .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  THE PRESS BOX<\/stage_direction>\n    <scene_description>WHITEY AND TEDDY WARILY CLIMB back to their seats .<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>One ball and no strikes to Willie Foster.<\/dialogue>\n    <scene_description>EBBY 'S NEXT PITCH HITS FOSTER in the ribs . He crumples . ANNIE 'S BOX SEAT - She 's writing a note . She hands it to Jackson .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Take this to Ebby in the dugout between innings.<\/dialogue>\n    <character>JACKSON<\/character>\n    <dialogue>What's it say?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>It says he's not bending his back on his follow - through.<\/dialogue>\n    <scene_description>JACKSON RUNS OFF with the note . Annie turns to Millie .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Well let's get down to it, honey - how was he?<\/dialogue>\n    <character>MILLIE<\/character>\n    <dialogue>Well, he fucks like he pitches. Sorta all over the place<\/dialogue>\n    <scene_description>P.O.V. EBBY LALOOSH FIRES ANOTHER ONE into the stands . And - Hit `` Rock Around the Clock '' - QUICK MONTAGE OF EBBY 'S FIRST GAME - Strikeouts and wild pitches . A young , gifted , uncontrollable thrower .<\/scene_description>\n    <character>BILL HALEY AND HIS COMETS<\/character>\n    <dialogue>When the chimes ring five, six and seven - We'll be right in Seventh Heaven, Gon na rock around the clock tonight.<\/dialogue>\n    <scene_description>EBBY UNLEASHES A WILD ONE - And decks the Bull Mascot . EBBY IN THE DUGOUT READS THE NOTE from Annie . EBBY STRIKES OUT a Peninsula batter . EBBY UNLEASHES ANOTHER WILD ONE and a batter hits the dirt . End `` Rock Around the Clock '' and -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  THE BULL LOCKER ROOM -- NIGHT<\/stage_direction>\n    <scene_description>SKIP WALKS THROUGH THE PLAYERS ROOM - Players are up , joking irreverently .<\/scene_description>\n    <character>JOSE<\/character>\n    <dialogue>Hey Lefty, hold'em to 12 runs every night, you'll win 20 -<\/dialogue>\n    <character>EBBY<\/character>\n    <parenthetical>( he might be serious . )<\/parenthetical>\n    <dialogue>Had'em all the way.<\/dialogue>\n    <scene_description>A DURHAM PLAYER SITTING HALF DRESSED in front of his locker . A PICTURE OF JESUS hangs amidst his gear . The player , JIMMY , 25 , has a Bible and prays softly to himself .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Dear Lord, thank you for being with us tonight, thank you for protecting us from injury and -<\/dialogue>\n    <scene_description>DEKE WALKS BY , shaking Jimmy irreverently as he prays .<\/scene_description>\n    <character>DEKE<\/character>\n    <dialogue>Wake up, wake up -<\/dialogue>\n    <scene_description>MICKEY -LRB- A BLACK -RRB- COMPLAINS TO TONY as they undress .<\/scene_description>\n    <character>MICKEY<\/character>\n    <dialogue>This league is racist, man.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Every time you go 0 for 4 you think the league is racist - face it, Mick, you're an equal opportunity `` out''.<\/dialogue>\n    <scene_description>THE MANAGER 'S OFFICE - A tiny cubicle , a desk , phone Larry joins him with the pitching charts . Skip studies the charts .<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>He walked eighteen?!<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>It's a league record.<\/dialogue>\n    <character>SKIP<\/character>\n    <dialogue>Struck out eighteen.<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>League record.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>And he hit the Radio Announcer, a Sportswriter, and the Bull Mascot twice - also league records -.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Joe, the guy's got some serious shit.<\/dialogue>\n    <scene_description>THE DOOR OPENS - A PLAYER ENTERS , in street clothes , carrying his suitcases . CRASH DAVIS , 30 , older than the other players . And different . More than just opinions , he actually has a point of view . A career minor leaguer , hanging on wherever he can get a job . Unlike Ebby - Crash knows a lot about the world without baseball . Also unlike Ebby - he loves baseball desperately .<\/scene_description>\n    <character>LARRY<\/character>\n    <dialogue>Who're you?<\/dialogue>\n    <scene_description>Crash speaks slowly , with a trace of cynicism and pride , like an old warrior who knows he 's just a hired gun .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>I am the player to be named later.<\/dialogue>\n    <scene_description>Beat . Skip looks out , half dressed , from his cubicle .<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>Crash Davis?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>The Crash Davis.<\/dialogue>\n    <parenthetical>( beat , then nonstop . )<\/parenthetical>\n    <dialogue>. -RRB- And you, Larry Hockett, should recognize me'cause five years ago in the Texas League when you were pitching for El Paso and I was hitting cleanup for Shreveport, you hung a curve on an 0 - 2 pitch of a 3 - 2 game in bottom of the 8th and I tattooed it over the Goodyear Tire sign, beat you 4 - 3 - and I got a free wheel alignment from Goodyear.<\/dialogue>\n    <character>LARRY<\/character>\n    <parenthetical>( remembering . )<\/parenthetical>\n    <dialogue>Ohyeah. I shoulda throwed a slider. Damn, Crash, how're ya?<\/dialogue>\n    <character>SKIP<\/character>\n    <dialogue>I'm Joe Riggins. Sit down<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>I'm too old for this shit. Why the hell am I back in `` A'' ball?<\/dialogue>\n    <character>SKIP<\/character>\n    <dialogue>'Cause of Ebby Calvin LaLoosh.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>The Big Club's got a hundred grand in him -<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>He's got a million dollar arm and a five cent head.<\/dialogue>\n    <character>SKIP<\/character>\n    <dialogue>- we had the gun on him tonight - the last five pitches he threw were faster than the first five. 96 miles an hour, 98, 97, 97. 97.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>He's got the best young arm I've seen in 30 years.<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>But he ai n't quite sure which plane he's on, y' know what I mean.<\/dialogue>\n    <character>SKIP<\/character>\n    <dialogue>You been around, you're smart, you're professional, you know what it takes -.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>We want you to mature the kid.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>`` Mature'' ai n't a fuckin' verb.<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>You go to college or what?<\/dialogue>\n    <character>SKIP<\/character>\n    <dialogue>We want you to room with him on the road and stay on his case all year.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>He can go all the way.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>And where can I go?<\/dialogue>\n    <character>SKIP<\/character>\n    <dialogue>You can keep going to the ballpark and keep gettin' paid to do it.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Beats hell outta working at Sears.<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>Sears sucks, Crash, I tried it once. Sold Lady Kenmores - it's nasty, nasty work.<\/dialogue>\n    <character>SKIP<\/character>\n    <dialogue>Even if it's the Carolina League - this is a chance to play everyday.<\/dialogue>\n    <character>CRASH<\/character>\n    <parenthetical>( angrily . )<\/parenthetical>\n    <dialogue>You do n't want a player, you want a stable pony. My Triple A contract gets bought out so I can hold the Flavor o' the Month's dick in the bus leagues?!<\/dialogue>\n    <parenthetical>( angrily . )<\/parenthetical>\n    <dialogue>Fuck this fucking game. I fuckin' quit.<\/dialogue>\n    <scene_description>CRASH RISES TO LEAVE - Picks up his luggage , and turns to Skip and Larry before exiting . A deep breath<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>Who we play tomorrow?<\/dialogue>\n    <scene_description>Beat . They know , they share the inability to quit the game . They 're all clinging to the Church of Baseball .<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>Winston - Salem. Batting practice at 4:30.<\/dialogue>\n    <scene_description>CRASH LEAVES and as he does - Ed -LRB- the catcher -RRB- enters .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>You wanted to see me?<\/dialogue>\n    <character>SKIP<\/character>\n    <dialogue>Yeah, Ed, shut the door.<\/dialogue>\n    <scene_description>He does . Remains standing . He can see it coming .<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>This is the toughest job a manager has, Ed.<\/dialogue>\n    <parenthetical>( deep breath . )<\/parenthetical>\n    <dialogue>But the organization has decided to make a change - we're releasing you from your contract.<\/dialogue>\n    <scene_description>CLOSE ON ED - Silent . Motionless . Empty .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  THE LOCKER ROOM -<\/stage_direction>\n    <scene_description>CRASH PUTS HIS BAG IN A LOCKER as other players return from the shower . Crash watches as EBBY SOAKS HIS ELBOW IN A TUB OF ICE WATER as the sports writer , Whitey , interviews him .<\/scene_description>\n    <character>WHITEY<\/character>\n    <dialogue>How's it feel to get your first professional win?<\/dialogue>\n    <character>EBBY<\/character>\n    <dialogue>It feels `` out there''. A major rush. I mean it does n't just feel `` out there'' but it feels out there.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Hopeless. Utterly fucking hopeless.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  MAXWELL'S BAR -- LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Loud country music in the players ' hangout and pickup spot . It 's full of players and lots of young women . MILLIE SITS DOWN NEXT TO YET ANOTHER PLAYER , TONY , 25 - He 's slick , urban , smooth .<\/scene_description>\n    <character>MILLIE<\/character>\n    <dialogue>Hi, I'm Millie.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>I'm Tony. I play left field.<\/dialogue>\n    <character>MILLIE<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>ANNIE SITS IN THE CORNER at her own table . Max Patkin , looking spiffy in a turtle neck sweater and double breasted blazer , sits down next to her . Old friends .<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Love the game, Annie, love it.<\/dialogue>\n    <parenthetical>( dead serious . )<\/parenthetical>\n    <dialogue>When I die I'm gon na have my ashes sprinkled around a pitcher's mound in some ballpark somewhere -.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>- and I'll have a few ashes saved for the rosin bag so I'll still be in the game after I'm gone.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>What a sweet idea -<\/dialogue>\n    <scene_description>A COCKTAIL WAITRESS DELIVERS another round to them .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>We did n't order this, honey.<\/dialogue>\n    <character>WAITRESS<\/character>\n    <parenthetical>( she points . )<\/parenthetical>\n    <dialogue>He did.<\/dialogue>\n    <scene_description>P.O.V. CRASH DAVIS SITTING ALONE IN THE OTHER CORNER . HE waves , and smiles easily .<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>( to Max . )<\/parenthetical>\n    <dialogue>Who's that?<\/dialogue>\n    <character>MAX<\/character>\n    <dialogue>Hey - that's Crash Davis. He's played in more towns than I have. Helluva guy - real different. I actually saw him read a book without pictures once<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Really? Kinda cute.<\/dialogue>\n    <scene_description>ANNIE NODS AT CRASH - He comes over to her table , greets Max as an old friend , and introduces himself .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>I'm Crash Davis.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Annie Savoy. Wanta dance?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>I do n't dance.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I do n't trust a man who do n't dance. It ai n't natural.<\/dialogue>\n    <scene_description>SUDDENLY - HARD CORE ROCK AND ROLL on the juke box . Several couples dance , and out of the pack - EBBY DANCES WITH A GROUPIE - Spinning and whirling , uninhibited and infectious . He 's suddenly dancing with a different WOMAN , then another , and another . ANNIE , CRASH AND MAX WATCH the mad performance .<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Who's he dancing with?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>All of'em, I think.<\/dialogue>\n    <scene_description>EBBY PUTS ON A ONE MAN SHOW ON THE DANCE FLOOR - The whole bar stops to watch him , applauding as he spins to a finish . A quirkier `` Saturday Night Fever '' show . More naive , fun . He climbs off the floor and joins Annie 's table .<\/scene_description>\n    <character>EBBY<\/character>\n    <dialogue>Thanks for the note - you're right, I was n't bending my back.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>You got a live arm there.<\/dialogue>\n    <scene_description>He extends his hand to introduce himself .<\/scene_description>\n    <character>EBBY<\/character>\n    <dialogue>Ebby Calvin LaLoosh.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>You need a nickname.<\/dialogue>\n    <character>EBBY<\/character>\n    <dialogue>That's what I been telling everybody! Wanta dance?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>She's dancing with me.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Crash, I did n't think you -<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>I'll learn. C'mon -<\/dialogue>\n    <character>EBBY<\/character>\n    <dialogue>Just a minute, pal<\/dialogue>\n    <scene_description>The two men square off quickly . Annie mocks them .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>You boys gon na fight over little me?<\/dialogue>\n    <scene_description>CRASH RISES , pulling Annie with him . But - EBBY STANDS to challenge Crash .<\/scene_description>\n    <character>EBBY<\/character>\n    <dialogue>Step outside, pal.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Love to -<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Oh do n't be such guys -<\/dialogue>\n    <scene_description>But Crash and Ebby head outside . She turns to Max -<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Hell, Max, wanta dance?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE PARKING LOT -- NIGHT<\/stage_direction>\n    <scene_description>A circle is formed . Everybody gathers . Millie clings to Tony , her guy of the moment . Crash and Ebby face off .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>I do n't believe in fighting.<\/dialogue>\n    <character>EBBY<\/character>\n    <dialogue>Pussy.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Take the first shot at me.<\/dialogue>\n    <character>EBBY<\/character>\n    <dialogue>I ai n't hitting a man first.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Hit me in the chest with this.<\/dialogue>\n    <scene_description>CRASH PULLS A BASEBALL from his jacket pocket , tosses it to Ebby .<\/scene_description>\n    <character>EBBY<\/character>\n    <dialogue>I'd kill ya.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>From what I hear you could n't hit a bull in the ass with a slingshot<\/dialogue>\n    <character>EBBY<\/character>\n    <dialogue>Do n't try me.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Throw it. C'mon, right in the chest.<\/dialogue>\n    <character>EBBY<\/character>\n    <dialogue>No way.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>C'mon, Meat. You ca n't hit me'cause you're starting to think about it already, you're starting to think how embarrassing it'll be to miss, how all these people would laugh.<\/dialogue>\n    <parenthetical>( teasing mercilessly . )<\/parenthetical>\n    <dialogue>C'mon, Rook - show me that million dollar arm'cause I'm getting a good idea about the five cent head -<\/dialogue>\n    <scene_description>EBBY REARS BACK AND FIRES THE BALL - From ten feet away , right at Crash 's chest . But , alas - THE BALL GOES THROUGH A SECOND STORY WINDOW in the distance . Crash never blinks .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>Ba11 four.<\/dialogue>\n    <scene_description>EBBY IS ENRAGED - HE CHARGES CRASH , lunging at him .<\/scene_description>\n    <character>EBBY<\/character>\n    <dialogue>Who the fuck are you?!<\/dialogue>\n    <scene_description>CRASH LASHES OUT A SHORT LEFT - With lightning speed , effortless . And brutal . BANG ! Ebby goes down . And stays there stunned . He looks up .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>I'm Crash Davis. Your new catcher. And you just got Lesson Number One - `` Do n't think - it can only hurt the ballclub''.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Buy ya a drink?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  THE CLUB -- NIGHT<\/stage_direction>\n    <scene_description>ANNIE AND MAX DANCE to Billy Eckstein on the juke box . Millie and Tony are also on the dance floor .<\/scene_description>\n    <character>ECKSTEIN<\/character>\n    <parenthetical>( ON JUKE BOX . )<\/parenthetical>\n    <dialogue>April in Paris, chestnuts in blossom, Holiday tables under the tree.<\/dialogue>\n    <scene_description>EBBY AND CRASH WATCH FROM THE CORNER TABLE - Ebby 's right eye is blackened . He holds a drink on it .<\/scene_description>\n    <character>EBBY<\/character>\n    <dialogue>We fight, she gets the clown - how's that happen?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Shut up - I like this song.<\/dialogue>\n    <parenthetical>( sings along . )<\/parenthetical>\n    <dialogue>April in Paris, this is a feeling, No one can ever reprieve.<\/dialogue>\n    <character>EBBY<\/character>\n    <dialogue>She's playing with my mind.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>It's a damn easy thing to play with.<\/dialogue>\n    <scene_description>ANNIE SUDDENLY APPEARS at the table .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Well - you boys stopped fighting yet? Are you pals now? Good. I love a little macho male bonding - I think it's sweet even if it's probably latent homosexuality being `` re - channeled'' but I believe in `` re - channeling'' so who cares, right?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Shall we go to my place?<\/dialogue>\n    <character>EBBY<\/character>\n    <dialogue>Which one of us?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Oh both of you, of course.<\/dialogue>\n    <scene_description>CLOSE ON EBBY - His eyes full of fear and wonder . CLOSE ON CRASH - He smiles . THE THREE OF THEM LEAVE the bar together .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ANNIE'S LIVING ROOM -- NIGHT<\/stage_direction>\n    <scene_description>THE SHRINE OF BASEBALL GLOWS - Annie lights the candles . EBBY AND CRASH SIT ON OPPOSITE ENDS OF HER COUCH - Both men look around the room with wonder . Ebby is clearly more nervous than Crash , who 's been in some strange rooms in his minor league career .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>These are the ground rules.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I hook up with one guy a season - I mean it takes me a couple of weeks to pick the guy - kinda my own spring training.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>And, well, you two are the most promising prospects of the season so far.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>So. I thought we should get to know each other.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Why do you get to choose? Why do n't I get to choose?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Actually none of us on this planet ever really choose each other. It's all Quantum Physics and molecular attraction. There are laws we do n't understand that bring us together and break us apart.<\/dialogue>\n    <character>EBBY<\/character>\n    <dialogue>Is somebody gon na go to bed with somebody or what?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>You're a regular nuclear meltdown, honey - slow down.<\/dialogue>\n    <scene_description>Crash rises to leave , and heads for the door .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>After 12 years in the minor leagues, I do n't tryout. Besides - I do n't believe in, Quantum Physics when it comes to matters of the heart. or loins.<\/dialogue>\n    <character>ANNIE<\/character>\n    <parenthetical>( challenging him . )<\/parenthetical>\n    <dialogue>What do you believe in?<\/dialogue>\n    <scene_description>Crash at the door . Annie 's question is slightly taunting . He stops , and speaks with both aloofness and passion :<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>I believe in the soul, the cock, the pussy, the small of a woman's back, the hanging curve ball, high fiber, good scotch, long foreplay, show tunes, and that the novels of Thomas Pynchon are self - indulgent, overrated crap.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I believe that Lee Harvey Oswald acted alone, I believe that there oughtta be a constitutional amendment outlawing astro - turf and the designated hitter, I believe in the `` sweet spot'', voting every election, soft core pornography, chocolate chip cookies, opening your presents on Christmas morning rather than Christmas eve, and I believe in long, slow, deep, soft, wet kisses that last for 7 days.<\/dialogue>\n    <character>ANNIE<\/character>\n    <parenthetical>( breathless . )<\/parenthetical>\n    <dialogue>Oh my.<\/dialogue>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Do n't leave.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>G'night.<\/dialogue>\n    <scene_description>Crash heads out into the night . Annie hurries to the - door while Ebby sits on the couch , bewildered .<\/scene_description>\n    <character>EBBY<\/character>\n    <dialogue>Hey - what's all this molecule stuff?<\/dialogue>\n    <scene_description>ANNIE STANDS IN THE DOORWAY - Crash is on the porch .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Wait, Crash - do n't go - all I want is a date. I'm not gon na fall in love with you or nothin'.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>I'm not interested in a woman who's interested in that boy.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I'm not interested yet.<\/dialogue>\n    <scene_description>Ebby appears in the door .<\/scene_description>\n    <character>EBBY<\/character>\n    <dialogue>Who you calling a `` boy''?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>See ya at the yard, Meat.<\/dialogue>\n    <scene_description>Crash walks out into the Durham night . Ebby and Annie stand in the doorway . She speaks softly to Ebby .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>No ballplayer ever said `` no'' to a date with me.<\/dialogue>\n    <character>EBBY<\/character>\n    <dialogue>Well shit, then, let's fuck.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ANNIE'S BEDROOM -- MOMENTS LATER<\/stage_direction>\n    <scene_description>ANNIE PUTS ON A RECORD - Edith Piaf sings `` Le Trois Cloches '' . EBBY STARTS UNDRESSING across the room .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Wait, honey, slow down - I want to watch.<\/dialogue>\n    <scene_description>She sits in a chair . Piaf sings . Ebby practically rips his shirt off , exposing a great upper body .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>No, no, no. Put it back on and take it off slowly.<\/dialogue>\n    <character>EBBY<\/character>\n    <dialogue>Jesus, what kinda broad are you?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>When you know how to make love, you'll know how to pitch.<\/dialogue>\n    <parenthetical>( turning to the stereo . )<\/parenthetical>\n    <dialogue>Shh. I love this part.<\/dialogue>\n    <scene_description>Piaf sings . Annie listens . Ebby re - buttons , then unbuttons his shirt . It drops , revealing his back .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Oh my - what a nice back.<\/dialogue>\n    <scene_description>Ebby drops his pants .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>No, no, honey. first the shoes and socks.<\/dialogue>\n    <character>EBBY<\/character>\n    <dialogue>The socks? It's cold in here.<\/dialogue>\n    <character>ANNIE<\/character>\n    <parenthetical>( sweetly , unthreatening . )<\/parenthetical>\n    <dialogue>You think Dwight Gooden leaves his socks on?<\/dialogue>\n    <scene_description>Ebby considers this . Pulls his pants back up . Takes his socks off . Then his pants .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Ebby honey have you ever been handcuffed in bed?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  DOWNTOWN DURHAM -- NIGHT<\/stage_direction>\n    <scene_description>Deserted streets of the old tobacco town . Crash walks alone . He picks up an old newspaper out of a trash can . He stops in front of a store window . He rolls the newspaper like a short bat . He takes a batting stance , and - CRASH TAKES HIS BATTING STANCE in front of the window , studying his reflection . He taken a `` swing '' . And another . A GROUP OF OLD BLACK MEN stand in a doorway , watching .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ANNIE'S BEDROOM -'CONTINUOUS NIGHT<\/stage_direction>\n    <scene_description>CLICK - A handcuff is locked onto Ebby 's wrist . Both his arms are outstretched - he 's getting very excited .<\/scene_description>\n    <character>EBBY<\/character>\n    <dialogue>Awright! I read about stuff like this. Bring it on!<\/dialogue>\n    <scene_description>Annie calmly drags a chair over and sits down .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Sweetie, have you ever heard of Walt Whitman?<\/dialogue>\n    <character>EBBY<\/character>\n    <dialogue>Who's he play for?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Well, he sort of pitches for the Cosmic All - Stars.<\/dialogue>\n    <character>EBBY<\/character>\n    <dialogue>Never heard of'em.<\/dialogue>\n    <scene_description>Annie opens a book and begins reading as Piaf sings softly .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Good - then listen.<\/dialogue>\n    <parenthetical>( reading . )<\/parenthetical>\n    <dialogue>`` I sing the body electric. The armies of those I love engirth me and I engirth them -''<\/dialogue>\n    <character>EBBY<\/character>\n    <dialogue>We gon na fuck or what?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Shh, shh.<\/dialogue>\n    <parenthetical>( reading . )<\/parenthetical>\n    <dialogue>`` They will not let me off till I go with them, respond to them, and discorrupt them and charge them''<\/dialogue>\n    <scene_description>SAME SCENE - LATER<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>`` Limitless limpid jets of love hot and enormous - quivering jelly of love, white blow and delirious juice -<\/dialogue>\n    <scene_description>CLOSE ON EBBY 'S FACE - Intrigued , aroused , frightened .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  DOWNTOWN DURHAM -- NIGHT<\/stage_direction>\n    <scene_description>THE OLD BLACK MAN is tossing wadded up balls of paper at Crash who takes beautiful , fluid swings with the rolled up newspaper . Batting practice . CLOSE ON CRASH 'S EYES - Studying the `` pitches '' with intense concentration , endlessly working on his game .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE DURHAM FIELD -- NEXT DAY<\/stage_direction>\n    <scene_description>LARRY , DEKE , MICKEY AND BOBBY ARE SINGING at home plate as a pre - game show . Larry is Diana Ross , the other three are the Supremes , and the routine is brilliantly tacky .<\/scene_description>\n    <character>LARRY<\/character>\n    <parenthetical>( AND THE SUPREMES . )<\/parenthetical>\n    <dialogue>Baby love, oh oh, baby love, I need ya oh how I need ya, All ya do is treat me bad, Take my heart and leave me sad.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  DURHAM BULLS LOCKER ROOM -- DAY<\/stage_direction>\n    <scene_description>JIMMY STANDS ON A BENCH trying to get the players ' attention .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Listen up, guys, could I have your attention a minute?<\/dialogue>\n    <parenthetical>( a few heads turn . )<\/parenthetical>\n    <dialogue>I'm going to be leading a daily chapel service at three In the afternoons here in the locker room and you're all invited to drop by and worship before batting practice.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Jimmy, God damn it - loosen up and get laid.<\/dialogue>\n    <scene_description>BOBBY , 25 , smooths the creases of his uniform , preening .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>I do n't care If you think I'm square but I believe what I believe.<\/dialogue>\n    <scene_description>All heads turn as : EBBY ENTERS THE LOCKER ROOM - He looks trashed .<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Jesus, Ebby, what truck ran over you?<\/dialogue>\n    <character>EBBY<\/character>\n    <parenthetical>( glassy eyed . )<\/parenthetical>\n    <dialogue>Call me `` Nuke''. Annie said it's my new nickname.<\/dialogue>\n    <scene_description>Lots of teasing from around the clubhouse .<\/scene_description>\n    <character>DEKE<\/character>\n    <dialogue>Annie nailed you? That's great, means you're gon na have a helluva year. Does she fuck as good as they say?<\/dialogue>\n    <character>EBBY<\/character>\n    <dialogue>We did n't do it, man - she read poetry to me all night, I swear. It's more tiring than fucking.<\/dialogue>\n    <scene_description>EBBY GOES TO HIS LOCKER and starts undressing . Crash sits next to him , looking straight ahead . Bobby nearby .<\/scene_description>\n    <character>EBBY<\/character>\n    <dialogue>- of love''. hey, Crash, does that mean what I think it means? What's the deal here?<\/dialogue>\n    <scene_description>Crash studies Ebby .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>Your shower shoes have fungus on'em. You'll never get to the Bigs with fungus on your shower shoes.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Think classy and you'll be classy. If you win 20 in the Show you can let the fungus grow back on your shower shoes and the press'll think you're colorful.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Until you win twenty in the Show, however, it means you're a slob.<\/dialogue>\n    <scene_description>CRASH RISES AND HEADS OUT to the field . Ebby sits silently , holding his shower shoes , taking it all in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  DURHAM BALLPARK -- GAME IN PROGRESS -- DAY<\/stage_direction>\n    <scene_description>IN THE DUGOUT - THE GAME FROM A DUGOUT P.O.V. . The players sit , stand , stir restlessly . A combination of relaxation and intensity not visible from the stands . CRASH IS HANDED HIS BAT and helmet by the bat boy .<\/scene_description>\n    <character>DEKE<\/character>\n    <dialogue>This guy's bringing some serious smoke out there.<\/dialogue>\n    <scene_description>DUGOUT P.O.V. . THE WINSTON - SALEM PITCHER throwing hard .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>He ai n't got shit.<\/dialogue>\n    <scene_description>FOLLOW CRASH INTO THE ON - DECK CIRCLE - The ritual . The bat boy hands him the pine tar rag and he rubs pine tar on the bat with great care . CRASH RISES - Heads to the plate . Talking to himself .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>You ai n't getting that cheese by me, meat.<\/dialogue>\n    <scene_description>CRASH TAKES HIS STANCE - Upright . Calm . Head still .<\/scene_description>\n    <character>CRASH<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>Look for the fastball up. He's got ta come with the cheese. Relax. Relax. Quick bat. Pop the clubhead. Open the hips. Relax. You're thinking too much. Get outta your fuckin' head, Crash.<\/dialogue>\n    <scene_description>CLOSE ON CRASH 'S FACE - His eyes intensely focused . CRASH 'S P.O.V. . THE PITCHER - Starts his windup .<\/scene_description>\n    <character>CRASH<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>Get on top of the ball. Quick bat. Do n't let him in your kitchen -<\/dialogue>\n    <scene_description>THE PITCHER DELIVERS - Crash strides . Curveball . Crash swings and misses , offstride . Strike one . CRASH QUICKLY STEPS OUT OF THE BOX and picks up dirt . Rubs it on his hands . He 's pissed .<\/scene_description>\n    <character>CRASH<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>You stupid fuck, Crash. What're you swinging at a breaking ball for? Why's he starting me off with a hammer? Fuck me.<\/dialogue>\n    <parenthetical>( more dirt . )<\/parenthetical>\n    <dialogue>You're okay. Stay back. Stay back, you dumb fuck. Wait. Wait.<\/dialogue>\n    <scene_description>P.O.V. . THE PITCHER 'S NEXT DELIVERY - CURVE BALL AWAY . CRASH STRIDES INTO THE PITCH - Lashes a line drive down the first base line . Just foul . Crash has started to first . Pulls up . Returns slowly to the plate . Picks up his bat .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>Throw that shit again, meat. Throw that weak ass shit.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Now he's got ta try to slip the cheese by me. one and one.<\/dialogue>\n    <scene_description>You 're on top . Now bring me the gas - - P.O.V. PITCHER 'S THIRD DELIVERY - High and tight . Right at Crash 's head . The ball seems to accelerate . About to explode his skull . For a moment - THE FEAR OF DEATH . CRASH HITS THE DIRT - It just misses his head . CRASH CLIMBS OUT OF THE DIRT - Brushes himself off .<\/scene_description>\n    <character>CRASH<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>This son of a bitch throws hard.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Annie, Annie, Annie - who is this Annie?<\/dialogue>\n    <parenthetical>( catching himself . )<\/parenthetical>\n    <dialogue>Jesus, get outta the box you idiot, where's your head? Get the broad outta your head.<\/dialogue>\n    <scene_description>CRASH HOLDS UP HIS HAND to the ump .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>Time out.<\/dialogue>\n    <character>UMP<\/character>\n    <dialogue>Time out!<\/dialogue>\n    <scene_description>CRASH STEPS OUT OF THE BOX - Motions to the bat boy for the pine tar rag . The boy brings it over . Crash re - applies it to his bat .<\/scene_description>\n    <character>BAT BOY<\/character>\n    <dialogue>Get a hit, Crash.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Shut up.<\/dialogue>\n    <scene_description>CRASH WALKS BACK TO THE BOX - Talking to himself .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>Awright, awright. You've seen all his pitches. Two and one. Relax. Wait. Quick bat. You can hit this shit -<\/dialogue>\n    <scene_description>CRASH IN THE BATTER 'S BOX - Digs in - again . Takes his stance . Upright . Relaxed . Ready .<\/scene_description>\n    <character>CRASH<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>Shorten up. Bring the gas. Be quick - be quick - yeah, yeah.<\/dialogue>\n    <scene_description>ANNIE AND JACKSON IN THE STANDS - She 's writing a note quickly , and hands it to Jackson , who hurries off . CRASH 'S P.O.V. . THE PITCHER 'S NEXT PITCH - A major league fastball . It explodes to the plate . Crash swings . And misses . Strike Three . CRASH WALKS BACK TO THE DUGOUT - Head high , no show of emotion . Almost proud . An old Warrior , not giving an inch even in defeat . HE RE - ENTERS THE DUGOUT - Sits down and starts putting the catcher 's gear back on . Deke leans over .<\/scene_description>\n    <character>DEKE<\/character>\n    <dialogue>Serious heat, eh?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>He ai n't got shit.<\/dialogue>\n    <scene_description>THE BATBOY TAKES THE NOTE FROM JACKSON - And hands it to Crash , who refuses to accept it , being busy putting his gear on .<\/scene_description>\n    <character>BAT BOY<\/character>\n    <dialogue>From Annie.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Read it.<\/dialogue>\n    <character>BAT BOY<\/character>\n    <dialogue>Dear Crash. You have a lovely swing but you're pulling your hips out too early. I'd be happy to meet you at the Batting Cage tomorrow to discuss it. Signed, Annie.<\/dialogue>\n    <character>DEKE<\/character>\n    <dialogue>Well if there's one chick'd know when you're pulling your hips out early, Annie's the one.<\/dialogue>\n    <scene_description>Crash does n't seem too amused . He grabs the note , and the pen hanging from the starting lineup card taped to the dugout wall . He scrawls a quick note . ANNIE 'S PRIVATE BOX - She 's watching the players through binoculars as Jackson returns with the note .<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>( looking through the glasses . )<\/parenthetical>\n    <dialogue>What'd he say?<\/dialogue>\n    <scene_description>Jackson looks at the note uneasily , then reads -<\/scene_description>\n    <character>JACKSON<\/character>\n    <dialogue>It says. `` I want to - make. love to you. Crash''.<\/dialogue>\n    <scene_description>ANNIE PUTS DOWN THE GLASSES - Takes the note .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Oh my.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  A LOCAL BATTING CAGE DAY<\/stage_direction>\n    <scene_description>ANNIE DIGS IN AT THE PLATE - Bat in hand . Crash a few feet away . Annie spits on her hands , wear batting glove , pumps the bat back and forth . THE MECHANICAL PITCHING MACHINE DELIVERS - Kawoosh . ANNIE SWINGS - Lashes out a line drive . Crash smiles .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>See my hips?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Yep.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I think Thomas Pynchon's a genius.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>When you're hitting you should n't think about anything but hitting.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>But you should n't think about it too much. The trick is to use your brain to not use your brain.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>But you were pulling your hips last night.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>So. Wanta make love?<\/dialogue>\n    <scene_description>ANNIE SWINGS AND MISSES the next pitch .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>I'm committed to Nuke for the season. You had your chance the other night.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>What ` you see in that guy - he's dim, pretty boy. a young, wild,<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Young men are uncomplicated.<\/dialogue>\n    <parenthetical>( Crash mutters . )<\/parenthetical>\n    <dialogue>And he's not `` dim''. He's just inexperienced. My job is to give him `` life - wisdom'' and help him make it to the major leagues.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>That's my job too.<\/dialogue>\n    <scene_description>ANNIE SWINGS AND MISSES another pitch .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Damn.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>You're pulling your hips out.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>But they're nice hips.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I looked up your records - You've hit 227 home runs in the minors. That's great!<\/dialogue>\n    <scene_description>ANNIE FOULS ONE OFF and digs in gamely .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>Do n't tell anybody.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Why not? If you hit twenty homers this year you'll be the all time minor league champ! The record's<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>247 home runs in the minors would be a dubious honor, if ya think about it.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Oh no, I think it'd be great! The Sporting News should know about it.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>No. Please.<\/dialogue>\n    <scene_description>ANNIE SWINGS AND MISSES another one .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Damn.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Let me.<\/dialogue>\n    <scene_description>CRASH STEPS IN TO HIT - He takes his familiar stance . The pitch comes . Crash drills it .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>Your place or mine?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Despite my love of weird metaphysics and my rejection of most Judao - Christian ethics, I am, within the framework of a baseball season, monogamous.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Fact is you're afraid of meeting a guy like me'cause It might be real so you sabotage it with some bullshit about commitment to a young boy you can boss around -.<\/dialogue>\n    <parenthetical>( whack - a line drive . )<\/parenthetical>\n    <dialogue>Great deal. You get to write self - indulgent little poems all winter about how hard it is to find a man even though you just sent him packing -.<\/dialogue>\n    <parenthetical>( whack - a line drive . )<\/parenthetical>\n    <dialogue>So what do you really want? You wanta be a tragic woman figure wallowing in the bullshit of magic?<\/dialogue>\n    <parenthetical>( whack - a line drive . )<\/parenthetical>\n    <dialogue>Or do you want a guy?<\/dialogue>\n    <scene_description>The pitching machine arm flaps . Empty . Silence .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Oh Crash. you do make speeches.<\/dialogue>\n    <scene_description>Crash puts the bat down , heads out the gate . She follows . A LITTLE LEAGUE TEAM ARRIVES - Twenty - five 10 year olds in uniform with a couple PARENT COACHES .<\/scene_description>\n    <character>LITTLE LEAGUER #1<\/character>\n    <dialogue>Hey, are you Crash Davis! Can I have a autograph?!<\/dialogue>\n    <scene_description>CRASH STOPS TO SIGN AUTOGRAPHS amidst 25 Little Leaguers .<\/scene_description>\n    <character>CRASH<\/character>\n    <parenthetical>( as he signs autographs . )<\/parenthetical>\n    <dialogue>Well, Annie, your place or mine?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>You got me all confused.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>A batter has two tenths of a second to decide whether to swing -<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I'm not a real batter. I'm a woman.<\/dialogue>\n    <character>LITTLE LEAGUER<\/character>\n    <dialogue>Hey, when are you guys gon na start winning? You're terrible!<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>It's a long season, boys.<\/dialogue>\n    <scene_description>SUDDENLY A VOICE - Nuke pulls up , gets out of his Porsche .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <parenthetical>( coming over . )<\/parenthetical>\n    <dialogue>What're you guys doing here - stealing my girl?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Now, Nuke, would I do a thing like that?<\/dialogue>\n    <parenthetical>( to the little leaguers . )<\/parenthetical>\n    <dialogue>Hey kids, this is the great Ebby Calvin `` Nuke'' LaLoosh.<\/dialogue>\n    <character>LITTLE LEAGUERS<\/character>\n    <dialogue>It's Nuke, it's Nuke! Can I have your autograph?! etc..<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>No prob, kids -<\/dialogue>\n    <scene_description>And suddenly Nuke is swept up into a sea of Little Leaguers . Crash smiles as he turns Annie and the kids over to Nuke .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>See you guys at the ballpark.<\/dialogue>\n    <scene_description>Crash leaves Annie with Nuke and 25 Little Leaguers .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  CRASH GETS INTO HIS CAR -- CONTINUOUS<\/stage_direction>\n    <scene_description>AN AGING SHELBY MUSTANG CONVERTIBLE - The paint 's fading , a couple dings in the body , but loaded under the hood . CRASH PUNCHES HIS TAPE DECK - Sam Cooke 's `` You Send Me '' . ANNIE BITES HER FIST watching Crash leave .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ANNIE'S BEDROOM -- DAY<\/stage_direction>\n    <scene_description>The sounds of lovemaking in a darkened room lit only by a few candles .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Yes, yes, yesnmmmmyes.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Oh my.<\/dialogue>\n    <parenthetical>( several beats . )<\/parenthetical>\n    <dialogue>Oh, that was just fabulous, Crash.<\/dialogue>\n    <scene_description>Several beats of silence .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>Crash?<\/dialogue>\n    <scene_description>He flips on a lamp near the bed .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>You mean Nuke. You said `` Crash''.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I did n't say `` Crash''. I said Nuke.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>You said `` Crash''.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Honey, do n't ever listen to a woman when she's making love. They'll say the strangest things.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>You said `` Crash''.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Would you rather me be making love to him, using your name, or making love to you, using his name?<\/dialogue>\n    <scene_description>Nuke considers this fabulous logic .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>Yeah maybe you're right.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>You see how nice things are when we go slow?<\/dialogue>\n    <scene_description>Nuke sighs ; and lets his head sink in the pillow .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>Mmm, hmmm.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You shoulda seen how many people came to the airport to see me off. When I got drafted first it was the happiest day of my Father's life.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>He likes baseball more than I do.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>You can learn to like it.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>I wanted to be the host of Dance Fever, somethin' like that.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Y' know if you make it to the Bigs you could still become the host of Dance Fever. Baseball's a good stepping stone for things like that.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>God, I never thought of that.<\/dialogue>\n    <character>ANNIE<\/character>\n    <parenthetical>( sweetly . )<\/parenthetical>\n    <dialogue>There is a lot of things you never thought of, sweetie - now get some rest for tonight's game.<\/dialogue>\n    <scene_description>Nuke rests his head on Annie 's shoulder . His eyes are wide open and full of nervous energy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  DURHAM BASEBALL PARK -- DUSK<\/stage_direction>\n    <scene_description>NUKE ON A PAY PHONE - In his uniform . Players warming up in the background as the ground crew prepares the field .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>Hello? Dad? This is Ebby.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Yeah, I know, I know - you got the Durham papers yet? Well I been a little wild.<\/dialogue>\n    <parenthetical>( defensively . )<\/parenthetical>\n    <dialogue>These hitters down here are better than the ones in high school.<\/dialogue>\n    <parenthetical>( trying to change subject . )<\/parenthetical>\n    <dialogue>How's Mom? Yeah? Well I am trying hard. I am bending my back. you're not coming down' here to visit just yet, are you?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Can I talk to Mom?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  HOME PLATE -- THE BALLPARK NIGHT<\/stage_direction>\n    <scene_description>THE MAYOR OF DURHAM AND THE CITY COUNCIL stand at a mike in front of home plate . 300 LITTLE LEAGUERS in uniform are lined up along the foul line , restrained by a rope .<\/scene_description>\n    <character>VOICE OVER P.A.<\/character>\n    <dialogue>Ladies and gentlemen, the Mayor of Durham, the honorable Mutt Clark.<\/dialogue>\n    <scene_description>THE MAYOR STEPS to the mike . A classic Southern mayor .<\/scene_description>\n    <character>MAYOR<\/character>\n    <dialogue>Welcome to the `` Atlantic Seaboard Tobacco Growers City Council Little League Cash Drop Night''!<\/dialogue>\n    <scene_description>As the honorable Mutt Clark drones on - we INTERCUT :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE BULLPEN -- CONTINUOUS<\/stage_direction>\n    <scene_description>NUKE IS WARMING UP TO PITCH - Crash and Larry watch him closely , giving advice . As Nuke delivers - .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>Drive off your back leg. You pitch with your legs as much as your arms -<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>I thought I was -<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Do n't think.<\/dialogue>\n    <scene_description>A MANGY DOG EATS FROM A DISH provided by the players . A couple kids sit with the players . MILLIE SITS DOWN NEXT TO A PLAYER - BOBBY , 25 .<\/scene_description>\n    <character>MILLIE<\/character>\n    <dialogue>Hi, I'm Millie.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I'm married.<\/dialogue>\n    <scene_description>JOSE FASHIONS A SMALL CROSS OUT OF CHICKEN BONES and rubs it on his bat . Bobby notices this .<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>JOSE<\/character>\n    <dialogue>Chicken bone cross take the curse off this bat and bring me hits.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You a God damn witch?<\/dialogue>\n    <character>JOSE<\/character>\n    <dialogue>Yes. A switch hitting witch. Very common in Puerto Rico.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Will that work for me?<\/dialogue>\n    <character>JOSE<\/character>\n    <dialogue>If you believe in Voodoo.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I'm 0 for 16! Gim me some of that shit.<\/dialogue>\n    <scene_description>BOBBY HOLDS OUT HIS BAT for Jose to rub with the cross .<\/scene_description>\n    <character>JOSE<\/character>\n    <dialogue>No, that is not belief. That is desperation.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>C'mon, God damn it, gim me some!<\/dialogue>\n    <scene_description>ALL HEADS TURN , - A HELICOPTER APPEARS ABOVE THE FIELD BACK TO THE MAYOR AND CITY COUNCIL - Hair and hats blowing from the chopper turbulence .<\/scene_description>\n    <character>MAYOR<\/character>\n    <dialogue>five, four, three, two, one. let ` er go! One thousand big ones!<\/dialogue>\n    <scene_description>THE HELICOPTER DUMPS HUNDREDS OF DOLLAR BILLS above the field . The night sky fills with fluttering money THE ROPE IS DROPPED - THREE HUNDRED LITTLE LEAGUERS charge across the infield to the falling money , scooping it up wildly , brawling , shoving , clawing for the cash . As the money flutters down .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  DURHAM BASEBALL STADIUM -- SHORT TIME LATER<\/stage_direction>\n    <scene_description>CLOSE ON THE ROSIN BAG on the mound . A hand picks it up . Puffs of rosin `` smoke '' . Nuke is on the mound . NUKE NERVOUSLY WALKS AROUND THE MOUND - Just before the first batter . He picks up the rosin bag . Digs a slot for his lead foot to land . And CRASH APPROACHES , in full gear , mask tipped up on his head .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>Do n't try to strike everybody out.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Strikeouts are boring. They're Fascist. Throw some ground balls, it's more Democratic.<\/dialogue>\n    <scene_description>CRASH TURNS AND HEADS TO THE PLATE and we hear the beginning of Nuke 's interior monologue .<\/scene_description>\n    <character>NUKE<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>What's this guy know, eh? If he's so great why's he been in the minors for ten years? And if he's so hot how come Annie wants me instead of him.<\/dialogue>\n    <scene_description>CRASH TURNS AROUND HALF WAY TO THE PLATE and returns to the mound , as if he knows everything Nuke 's thinking .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>And listen, meat. You do n't know shit. If you want to get to the Show, you'll listen to me. She only wants you'cause she can boss you around, got it?<\/dialogue>\n    <parenthetical>( beat , complete tone change . )<\/parenthetical>\n    <dialogue>Relax, have a ball out here. This game's fun, okay? Fun, God damn it.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>And do n't squeeze the ball so tight. It's an egg. Hold it like an egg.<\/dialogue>\n    <scene_description>CRASH SMILES - And trots back to the plate . NUKE 'S P.O.V. . The first batter steps in . Crash gives the sign for the pitch .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>Fun? What's he know about fun?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Why's he calling for a curveball? I wanta bring heat.<\/dialogue>\n    <character>CRASH<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>Shake off the pitch. Throw what you wanta.<\/dialogue>\n    <scene_description>NUKE SHAKES OFF THE PITCH - Here comes Crash back out to the mound before Nuke 's thrown a pitch .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>Why you shaking me off?<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>I wanta throw the heater to announce my presence with authority.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>`` To announce your fucking presence with authority''? This guy's a first ball fastball hitter. He's looking for heat.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>But he ai n't seen my heat -<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Awright, meat, give him your heat.<\/dialogue>\n    <scene_description>CRASH RETURNS ONE MORE TIME to behind the plate . CRASH CROSSES THE PLATE , past the hitter . He speaks to the opposing leadoff batter .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>Fastball.<\/dialogue>\n    <character>NUKE<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>Why's he always call me `` Meat''? I'm the guy driving a Porsche.<\/dialogue>\n    <scene_description>NUKE WINDS UP AND DELIVERS - A fastball . THE LEADOFF HITTER TEES OFF on the pitch and sends a line shot over the right field fence . CLOSE ON BILLBOARD - `` Hit Cow , Win Steak '' sign , The home run hits the cow on a target painted on the cow 's rump . The COW 'S MOUTH OPENS AND MOOS . THE BATTER STANDS AND WATCHES the home run , admiring the shot , enjoying the moment . CRASH GETS IN HIS FACE instantly - and gets very tough .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>What're you lookin' at?! You're showing up my pitcher, bush - get your ass in gear!<\/dialogue>\n    <scene_description>THE BATTER TAKES OFF ON A HOME RUN TROT - Slightly scared . AND CRASH HEADS TO THE MOUND where Nuke watches the Mooing Cow and the circling batter with dismay . Crash smiles .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>Guy hit the shit outta that one, eh?<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>Well, I held it like an egg.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>An' he scrambled the son of a bitch.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Having fun yet?<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>I'm having a blast.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>God, that sucker teed off on it just like he knew I was gon na throw a fastball.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>He did know.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>How?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>I told him.<\/dialogue>\n    <scene_description>CRASH SMILES - Drops the mask , returns behind the plate . NUKE SIGHS - Takes a deep breath .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>Do n't think. Just throw. Do n't think. Just throw.<\/dialogue>\n    <scene_description>NUKE 'S WINDUP AND DELIVERY - A fastball . A powerful , clean , overwhelming fastball . Strike one .<\/scene_description>\n    <character>NUKE<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>God, that was beautiful. What'd I do?<\/dialogue>\n    <scene_description>NUKE WINDS UP AND DELIVERS HIS NEXT PITCH - A monster . An Ebby Calvin `` Nuke '' LaLoosh fastball . Twenty feet wide of the plate . THE BULL MASCOT DIVES FOR COVER - The ball hits the bat rack . Bats go flying . ANNIE IN HER BOX SEAT - Jackson with the radar gun .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Oh dear. easy honey.<\/dialogue>\n    <character>JACKSON<\/character>\n    <dialogue>Ninety - five miles an hour.<\/dialogue>\n    <scene_description>BACK TO NUKE - Pacing the mound . Looks In for the sign . NUKE PITCHES AGAIN - The batter lines a single to left . NUKE 'S P.O.V. . THE MANAGER AND PITCHING COACH TALKING<\/scene_description>\n    <character>NUKE<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>Christ, Skip and Larry are talking about me. Do n't get anybody warm in the pen yet. I'm okay. I'm having fun.<\/dialogue>\n    <scene_description>NUKE PITCHES AGAIN - The batter lines a single to right . NUKE 'S P.O.V. . THE BULLPEN - TWO PITCHERS start warming up .<\/scene_description>\n    <character>NUKE<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>Do n't yank me in the first, man.<\/dialogue>\n    <scene_description>NUKE 'S P.O.V. - THE MANAGER comes out to the mound to talk .<\/scene_description>\n    <character>NUKE<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>Aw, shit.<\/dialogue>\n    <scene_description>THE MANAGER AND CRASH MEET NUKE on the mound .<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>Relax.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>Do n't pull me, Skip. I'll settle down. I'm okay!<\/dialogue>\n    <character>SKIP<\/character>\n    <parenthetical>( fatherly . )<\/parenthetical>\n    <dialogue>Relax, Nuke, Relax.<\/dialogue>\n    <parenthetical>( to Crash . )<\/parenthetical>\n    <dialogue>What kinda stuff's he got?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>I do n't know. I have n't caught anything yet.<\/dialogue>\n    <character>SKIP<\/character>\n    <dialogue>What're you thinking about out here, Nuke?<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>I'm trying not to think.<\/dialogue>\n    <character>SKIP<\/character>\n    <dialogue>Good. But just'cause you ai n't s ` posed to think do n't mean you ai n't s ` posed to use your head.<\/dialogue>\n    <scene_description>SKIP SLAPS NUKE ON THE ASS in a gruff , reassuring way , and returns to the dugout . Leaving Nuke and Crash .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>Have some fun, God damn it.<\/dialogue>\n    <scene_description>CRASH SMILES - And as he returns to the plate . ANNIE WATCHES IN THE STANDS with Jackson and the radar gun .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Here we go again, Jackson, hold on tight.<\/dialogue>\n    <scene_description>Hit Professor Longhair rock and roll . and : NUKE DELIVERS - A batter grounds out weakly . DURHAM AT BAT - DUGOUT - Crash lets Jose rub his bat with a chicken bone cross . Then steps to the plate and - CRASH HITS A LONG HOME RUN - And circles the bases . NUKE DELIVERS - A line drive nearly undresses him . Runners circle the bases .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  LOCKER ROOM -- NIGHT<\/stage_direction>\n    <scene_description>THE SHOWERS - Naked bodies in the steamy room . No joking around . A team on losing streak . SUDDENLY SKIP STEPS INTO THE SHOWER in his uniform and angrily throws an armload of bats into the shower .<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>Anybody not outta the shower in ten seconds gon na get fined a hundred bucks. One, two.<\/dialogue>\n    <scene_description>THE SHOWER EMPTIES in seconds . Players grab a seat , and : WHITEY THE SPORTSWRITER ENTERS as he does every night .<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>No press for five minutes, Whitey.<\/dialogue>\n    <character>WHITEY<\/character>\n    <dialogue>I'm doing a column on the Myth of Sisyphus as manifest in a minor league losing streak, Joe, and I thought<\/dialogue>\n    <scene_description>SKIP PICKS UP A CHAIR AND FIRES IT AT WHITEY - The chair crashes into a locker . Whitey hurries out .<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>If I ever need a brain transplant I'll choose a sportswriter'cause that way I'd be getting a brain that's never been used.<\/dialogue>\n    <scene_description>A couple snickers from the players . Skip whirls .<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>What're you laughing at?!<\/dialogue>\n    <scene_description>Silence . The Durham Bulls sit and stand quietly .<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>You guys lollygag the ball around the infield, ya lollygag you're - way to first, ya lollygag in an' outta the dugout. You know what that makes ya.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Lollygaggers. What's our record, Larry?<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>We're eight and sixteen.<\/dialogue>\n    <character>SKIP<\/character>\n    <dialogue>Eight and sixteen?! How'd we ever win eight?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Jose, what's this sign?<\/dialogue>\n    <scene_description>SKIP FLASHES THROUGH A SEQUENCE of signs . Hand to face , hand to belt , hand brushes letters , etc. .<\/scene_description>\n    <character>JOSE<\/character>\n    <dialogue>That's the steal.<\/dialogue>\n    <character>SKIP<\/character>\n    <dialogue>Wrong. That's the bunt. This is the steal.<\/dialogue>\n    <scene_description>SKIP FLASHES QUICKLY ANOTHER SEQUENCE - Hand to face , hands to hands . He speaks rapidly - a private language .<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>Face is `` skin to skin''. Skin starts with `` S''. `` S'' stands for steal if it follows the indicator which is hand to eye'cause the word `` indicator'' starts with an `` I'' so I figure `` eye'' -.<\/dialogue>\n    <parenthetical>( touches his eye . )<\/parenthetical>\n    <dialogue>- would remind you of `` I'' for indicator to indicate that what follows is the sign. I figure wrong - You're a buncha lollygaggers.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>This is a simple game.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>ya throw the ball, ya hit the ball, ya catch the ball.<\/dialogue>\n    <scene_description>CLOSE ON FACES OF THE PLAYERS - Sitting silently .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE BALLPARK SIMULTANEOUS -- NIGHT<\/stage_direction>\n    <scene_description>THE SIX PLAYERS ' WIVES WAIT in a cluster . Three of them have SMALL CHILDREN . The children are crying . The long - suffering women try to calm the kids .<\/scene_description>\n    <character>BOBBY'S WIFE<\/character>\n    <dialogue>Bobby went hitless again. He's gon na be in a terrible mood. terrible. How'd Mickey do?<\/dialogue>\n    <character>MICKEY'S WIFE<\/character>\n    <dialogue>He got two hits.<\/dialogue>\n    <character>BOBBY'S WIFE<\/character>\n    <dialogue>Lucky you.<\/dialogue>\n    <scene_description>BACK INSIDE THE LOCKER ROOM - Skip is winding down .<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>We ca n't win at home - how we gon na win on the road? We got a twelve day road trip starting tomorrow.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Bus leaves at six In the morning.<\/dialogue>\n    <scene_description>SKIP HEADS BACK INSIDE his little office with Larry . INSIDE SKIP 'S OFFICE - He and Larry open a couple beers . THE DOOR OPENS - BOBBY ENTERS wearing only a towel .<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You wanted to see me?<\/dialogue>\n    <character>SKIP<\/character>\n    <dialogue>Yeah, Bobby, shut the door.<\/dialogue>\n    <parenthetical>( he does . )<\/parenthetical>\n    <dialogue>This is the toughest job a manager has.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>But the organization has decided to make a change -<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Skip, I know I'm in a slump but I hit the ball hard tonight, right at'em. A couple flares drop in, and I'm back in the groove!<\/dialogue>\n    <scene_description>The nearly naked 25 year old man pleads helplessly - his career is over .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE STADIUM -- NIGHT<\/stage_direction>\n    <scene_description>THE PLAYERS EXIT - The Groupies wait in a cluster . The wives wait in another group . Bobby 's wife sees Bobby .<\/scene_description>\n    <character>BOBBY'S WIFE<\/character>\n    <parenthetical>( to child . )<\/parenthetical>\n    <dialogue>There's Daddy! Wave to Daddy!<\/dialogue>\n    <scene_description>- P.O.V. BOBBY COMING OUT OF THE CLUBHOUSE - Another player has his arm around Bobby , consoling him . The wife knows .<\/scene_description>\n    <character>BOBBY'S WIFE<\/character>\n    <dialogue>Oh God.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  STADIUM PARKING LOT -- DAWN<\/stage_direction>\n    <scene_description>THE DURHAM BULLS TEAM BUS is parked . Luggage is loaded . Sleepy players arriving , escorted by wives and girlfriends . ANNIE BIDS NUKE GOODBYE - Off to the side . She pulls something from her handbag and hands it to Nuke . A pair of WOMEN 'S RED PANTIES , with lace and frills .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>I want you to wear these on the road trip when you pitch.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>They'll fit snugly against your balls in such a wonderful way that you'll start seeing things differently - plus they'll remind you of me which is better than thinking about those nasty hitters.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>Jesus, Annie, I do n't know -<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>You've been pitching out of the wrong side of your brain. These'll help move things to the right side.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>Big League pitchers do n't use these.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>They did when they were in the Carolina League.<\/dialogue>\n    <scene_description>NUKE STUFFS THE PANTIES in his pocket , bewildered . A small kiss from Annie , and he hurries to the bus .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  LOCKER ROOM -- DAWN<\/stage_direction>\n    <scene_description>PLAYERS THROW THEIR GEAR into their travel bags . A PAPER BEER CUP IS TAPED TO THE WALL - With a sign : `` Married men deposit wedding rings here for road trips '' . CLOSE ON THE CUP - A ring is dropped in , and another , and . We begin hearing Annie 's VOICE OVER :<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>A woman should never ask questions about road trips.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE PARKING LOT -- DAWN<\/stage_direction>\n    <scene_description>THE TEAM BUS PULLS OUT - Wives and girlfriends head back to their apartments , leaving : ANNIE WALKING BACK ROME - Several blocks to her house .<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>Men do n't realize that women always know when they've been unfaithful.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>The fact is, upon exact moment of penetration - the woman knows.<\/dialogue>\n    <scene_description>AS ANNIE WALKS BACK through Durham .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  HIGHWAY THROUGH THE SMOKY MOUNTAINS EARLY MORNING<\/stage_direction>\n    <scene_description>THE TEAM BUS ROLLS through the North Carolina landscape .<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>This sort of spiritual awareness can be a mixed blessing, especially if you're dating a ballplayer. I believe a woman oughta take care of her man so thoroughly that he can go on the road for a few days without having the desire to search out another pair of panties.<\/dialogue>\n    <parenthetical>( self - aware . )<\/parenthetical>\n    <dialogue>That is probably, however, my most ridiculous belief.<\/dialogue>\n    <parenthetical>( sigh . )<\/parenthetical>\n    <dialogue>I just hope the boys start winning soon. In some profound way I fear that a last place team is a reflection on its women.<\/dialogue>\n    <scene_description>THE BUS ROLLS through North Carolina .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  THE BUS -- MORNING<\/stage_direction>\n    <scene_description>SKIP SITS IN THE FRONT of the bus , doing a crossword puzzle . LARRY READS A BOOK - `` How to Make a Million Dollars in Real Estate with No Money Down '' . DEKE TURNS UP HIS TAPE DECK - George Jones sings `` He Stopped Loving Her Today '' . MICKEY TURNS UP HIS TAPE DECK across the aisle - Aretha Franklin sings `` R - E - S - P - E - C - T '' . DEKE TURNS HIS VOLUME LOUDER - Mickey does likewise , and soon we have DUELING TAPE DECKS . C &amp; W going head to head with R &amp; B . A cacophony . SKIP LEAPS TO HIS FEET , WHIRLS and shouts .<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>I got one word to say to you - Shut up!<\/dialogue>\n    <scene_description>Silence . And then from the back of the bus , some soft , gentle , but slightly dissonant guitar chords . THE BACK OF THE BUS - Nuke sits across the aisle from Crash , who 's re - reading Thomas Pynchon . Nuke has a guitar and is struggling with some chords to `` Try a Little Tenderness '' . He butchers the chords and the words .<\/scene_description>\n    <character>NUKE<\/character>\n    <parenthetical>( singing softly . )<\/parenthetical>\n    <dialogue>Oh she may get wooly, women do get wooly, because of all the stress.<\/dialogue>\n    <character>CRASH<\/character>\n    <parenthetical>( in disgust . )<\/parenthetical>\n    <dialogue>Gim me that.<\/dialogue>\n    <scene_description>CRASH STRONGARMS THE GUITAR from Nuke .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>I hate people who get the words wrong. It ai n't `` woolly'' it's `` weary'' and it nobody's got stress, they're wearing a dress.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Listen.<\/dialogue>\n    <scene_description>CRASH WHIPS THROUGH THE FIRST FEW BARS of the song .<\/scene_description>\n    <character>CRASH<\/character>\n    <parenthetical>( sings softly . )<\/parenthetical>\n    <dialogue>Oh she may be weary, Young girls do get weary, Wearing the same old dress.<\/dialogue>\n    <scene_description>HE SHOVES THE GUITAR back at Nuke .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>How come you do n't like me?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>'Cause you do n't respect yourself, which is your problem, but you do n't respect the game - and that's my problem.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You got a gift.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>What do I got?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>A gift. When you were a baby the gods reached down and turned your left arm into a thunderbolt.<\/dialogue>\n    <scene_description>Nuke looks at his left arm rubs his shoulder curiously .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>You got a Hall of Fame arm but you're pissing it away.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>I ai n't pissing nothing away - I got a Porsche already. A 944 with A.C. and a quadraphonic Blaupunkt.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>You do n't need a quadraphonic Blaupunkt - you need a curve ball.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>In the Show, everybody can hit the fastball.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>You been in the Majors?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Yep.<\/dialogue>\n    <scene_description>Tony and Deke overhear this and turn around . And Crash gets wistful , lyrical , and even slightly hopeful .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>I was in the Show for 21 days, once.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>It was the greatest 21 days of my life. You never touch your luggage in the show - somebody else handles your bags. It's great.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>The ballparks are like cathedrals, the hotels all have room service, the women have long legs and brains - it's a smorgasbord.<\/dialogue>\n    <character>DEKE<\/character>\n    <dialogue>The women are hot, eh?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Yeah - and so are the pitchers. They throw ungodly breaking stuff in the Show - exploding sliders.<\/dialogue>\n    <scene_description>Nuke , Tony , and Deke murmur in awe at Crash 's pronouncement .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>You could be one of those guys - but you do n't give a fuck, Meat.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>God damn it I'm sick of you calling me `` Meat''! You wanta step outside!<\/dialogue>\n    <scene_description>CRASH HOPS TO HIS FEET as the bus barrels along , grabbing Nuke by the collar .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>Yeah, let's go.<\/dialogue>\n    <scene_description>Nuke quickly has second thoughts - Crash can be terrifying .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>No. Wait a minute. Calm down, Crash.<\/dialogue>\n    <scene_description>Nuke sits back down . Calms . Reaches for a baseball sitting nearby . He hands the ball to Crash .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>Teach me how to throw a breaking ball.<\/dialogue>\n    <scene_description>Crash takes the ball gently and speaks softly :<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>As I was saying ya hold it like an egg.<\/dialogue>\n    <scene_description>As the bus rolls through the country : A LATE 60 'S OLDS CONVERTIBLE ROARS PAST - Max Patkin at the wheel . He waves at the team bus and honks . The opening bars on the National Anthem - `` Oh Say Can You See '' And Max roars off through the rolling green - landscape . Hit Hank Williams music to play over :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  WINSTON-SALEM BASEBALL STADIUM -- DAY<\/stage_direction>\n    <scene_description>MAX PATKIN COACHES THIRD in his comic routine , now , for the Winston - Salem team , as Durham is in the field . A WINSTON - SALEM BATTER lines a double off the wall .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  DURHAM RADIO STATION -- DAY<\/stage_direction>\n    <scene_description>TEDDY THE ANNOUNCER re - creates the game for broadcast with a several second delay . HIS ASSISTANT -LRB- P.A. ANNOUNCER FROM THE BALLPARK -RRB- has a phone to her ear , and writes down each play on a piece of paper , holding it up for Teddy who enhances shamelessly in his ON THE AIR `` play by play '' . CLOSE ON PAPER - His assistant writes `` DOUBLE TO LEFT '' . TEDDY HITS A TINY MALLET against a jar . Thunk . The sound of ball hitting bat . He punches one of several tape cassettes cued up . A crowd roars . An array of special effects is at his fingertips .<\/scene_description>\n    <character>TEDDY<\/character>\n    <parenthetical>( ON THE AIR . )<\/parenthetical>\n    <dialogue>double off the wall by Higgins, and once again the Durham pitchers are unable to get the first out of the Inning.<\/dialogue>\n    <scene_description>HIS . ASSISTANT WRITES ANOTHER NOTE - `` ERROR MCFEE '' Thunk - The mallet again .<\/scene_description>\n    <character>TEDDY<\/character>\n    <parenthetical>( ON THE AIR . )<\/parenthetical>\n    <dialogue>Line drive to center - a diving stab by McFee - oohhhh! Ball gets by his glove, another run in and the crowd loves it -<\/dialogue>\n    <scene_description>PUNCHES A CASSETTE - A crowd roars .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  HIGHWAY THROUGH SMOKY MOUNTAINS -- NIGHT<\/stage_direction>\n    <scene_description>The bus rolls through a small town .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  CHEAP MOTEL IN GREENSBORO -- DAWN<\/stage_direction>\n    <scene_description>THE TEAM BUS PULLS IN - Players stagger off , half asleep .<\/scene_description>\n    <character>TEDDY<\/character>\n    <parenthetical>( ON THE AIR . )<\/parenthetical>\n    <dialogue>Bulls will attempt to end a six game losing streak against the Greensboro Astros with Nuke LaLoosh on the hill.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  GREENSBORO BALLPARK LOCKER ROOM -- DAY<\/stage_direction>\n    <scene_description>NUKE DRESSES FOR THE GAME - He pulls the RED PANTIES out of his bag . Looks around the clubhouse . Nobody sees them . He 's embarrassed anyway - and stuffs them back .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  GREENSBORO BALLPARK DAY<\/stage_direction>\n    <scene_description>NUKE WINDS AND DELIVERS - The batter swings , and :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  RADIO STATION -- DAY<\/stage_direction>\n    <scene_description>TEDDY AND HIS ASSISTANT - A note is held up , `` Single '' - THUNK - The mallet strikes .<\/scene_description>\n    <character>TEDDY ON THE AIR<\/character>\n    <dialogue>Base hit centerfield off LaLoosh.<\/dialogue>\n    <scene_description>HIS ASSISTANT -LRB- ON THE PHONE -RRB- SCRAWLS another quick note . THUNK THUNK THUNK - A rapid sequence of the mallet striking the percussive box , and :<\/scene_description>\n    <character>TEDDY ON THE AIR<\/character>\n    <dialogue>That closes the book on LaLoosh today, 5 earned runs, 5 hits, 5 strikeouts, 5 walks, 5 wild pitches.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  GREENSBORO BALLPARK -- DAY<\/stage_direction>\n    <scene_description>SKIP REMOVES NUKE FROM THE GAME and he heads for the showers .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ANNIE'S KITCHEN -- DAY<\/stage_direction>\n    <scene_description>ANNIE SITS WITH MILLIE at the kitchen table , listening to the radio . Annie sighs . Millie consoles her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  GREENSBORO LOCKER ROOM -- DAY<\/stage_direction>\n    <scene_description>NUKE IN THE SHOWERS ALONE - Letting the water run over him . The voice of Teddy an the air , editorializing shamelessly .<\/scene_description>\n    <character>TEDDY<\/character>\n    <parenthetical>( ON THE AIR . )<\/parenthetical>\n    <dialogue>It's time to tell it like it is, sports fans - and this is the most wretched road trip I've seen in 20 years, and possibly the worst Durham team in half a century.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Where are the great Bull players of yesteryear? Where are the Footsie Blakes, the Digger O'Dells, the Gus Palowitzes?<\/dialogue>\n    <scene_description>TEDDY 'S VOICE PLAYS OVER road trip images : NUKE STARTS TO PUT ON THE RED PANTIES - Changes his mind , and hides them again . THE TEAM BUS rolling across North Carolina . THE TEAM BUS at a drive through hamburger stand somewhere in the Smoky Mountains . Sack after sack of fast food is passed through the window to Skip . THE TEAM BUS PULLS INTO YET ANOTHER HOTEL and this time , a Bus with a sign - `` Holiday on Ice '' pulls in next to them .<\/scene_description>\n    <character>TEDDY ON THE AIR<\/character>\n    <dialogue>Is the modern athlete a pale imitation of the great old warriors? Only Crash Davis stands out this year, begging the question, `` What are these boys thinking about,'cause it sure ai n't baseball''.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT.  THE BUS IN FRONT OF THE KINGSTON HOTEL -- NIGHT<\/stage_direction>\n    <scene_description>As the players rise in the bus , Deke is trying to work up excitement about the `` Holiday on Ice '' bus from which twenty great looking women ice skaters are getting off . P.O.V. HOLIDAY ON ICE GIRLS getting off the bus .<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>Ice skaters. God. Look' t em. that's what we need, y' know - one night with some skaters and we can get back on track.<\/dialogue>\n    <character>DEKE<\/character>\n    <dialogue>We need a night off just to stop our losing streak. We need a rainout.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>I can get us a rainout.<\/dialogue>\n    <character>MICKEY<\/character>\n    <dialogue>It's 90 degrees, there ai n't been a cloud in the sky in weeks.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Hundred bucks says I can get us a rainout tomorrow.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>You're on.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  KINGSTON BASEBALL STADIUM -- NIGHT<\/stage_direction>\n    <scene_description>A CAB PULLS UP in the dark . Late at night . The cab leaves , and the four men climb over the fence .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  INSIDE THE KINGSTON BALLPARK -- NIGHT<\/stage_direction>\n    <scene_description>CRASH PULLS THE LID OFF A BOX - Several valve handles . Crash turns several handles with an iron bar , and . THE SPRINKLER SYSTEM COMES TO LIFE - And suddenly the field is covered with the clicking of rain - bird sprinklers , throwing long slow arcs of water across the entire field .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE SCOREBOARD OF THE BALLPARK -- MINUTES LATER - NIGHT<\/stage_direction>\n    <scene_description>THE FOUR PLAYERS sit on the scoreboard , watching the sprinklers flood the field . A six - pack is passed around .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE BALLPARK -- EARLY THE NEXT MORNING<\/stage_direction>\n    <scene_description>A QUAGMIRE ON THE INFIELD - The Kingston GENERAL MANAGER stands in the muck with his ground crew . Wheelbarrows , shovels , sand is piled around . It 's hopeless .<\/scene_description>\n    <character>KINSTON G.M.<\/character>\n    <dialogue>God damn it! Vandals. Damn kids!<\/dialogue>\n    <character>GROUND CREW MEMBER<\/character>\n    <dialogue>We ca n't get it ready by game time, boss.<\/dialogue>\n    <scene_description>The General Manager studies the field . Hopeless . He looks up at the sky . Cloudless , sunny .<\/scene_description>\n    <character>KINSTON G.M.<\/character>\n    <parenthetical>( to his assistant . )<\/parenthetical>\n    <dialogue>Call the radio and the paper.<\/dialogue>\n    <parenthetical>( with disgust . )<\/parenthetical>\n    <dialogue>The game's been rained out.<\/dialogue>\n    <scene_description>Organ music - `` The Blue Danube Waltz '' .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  THE KINGSTON CIVIC ARENA -- DAY<\/stage_direction>\n    <scene_description>`` HOLIDAY ON ICE '' in its matinee performance . The beautiful , leggy women skating to the `` Blue Danube Waltz '' . TEN OF THE DURHAM BULLS sit in the front row . Nuke , Deke , Tommy , others , but not Crash . ` Tony waves to a skater . THE SKATER WAVES BACK as she swirls past the Bulls .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  THE KINGSTON HOTEL ROOM -- NIGHT<\/stage_direction>\n    <scene_description>DEKE ICES THE CHAMPAGNE - In the b.g. Tommy is blow drying his hair . Mickey puts the finishing touches on his outfit . Several other players get ready to party .<\/scene_description>\n    <character>DEKE<\/character>\n    <dialogue>Par - ty! I blew a whole day's meal money for this champagne seven dollars, man, it better be good.<\/dialogue>\n    <character>MICKEY<\/character>\n    <dialogue>For seven bucks it better be some serious shit.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>What time is it, eh? When are they coming?<\/dialogue>\n    <scene_description>The guys lounge around nervously , trying to be casual .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  KINGSTON HOTEL COFFEE SHOP -- NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON A STEAK DINNER set down in front of Crash . Nuke hands Crash a hundred dollar bill .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>This is from Tony for the rainout. C'mon, man, let's go to the party.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Naw.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>`` Naw''? There's ice skaters coming! You ever made love to an ice skater?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>By the dozen. Holiday on Ice, Ice Capades, Ice Follies -.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I'm through with one night stands.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>You're through with one night stands?! What do you want?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>I just wanta play everyday despite small nagging injuries - and go home to a woman who appreciates how full of crap I truly am.<\/dialogue>\n    <scene_description>Nuke just stares at him .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>You're weird, man - I want a ice skater real bad.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Go for it.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>If I get laid, you wo n't tell Annie?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>I wo n't have to.<\/dialogue>\n    <scene_description>NUKE LOOKS AT HIM STRANGELY - And hurries to the party .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  THE PARTY ROOM -- NIGHT<\/stage_direction>\n    <scene_description>THE GUYS ARE GROOMING TO EXCESS - Still blow drying and preening for each other . A knock at the door . THEY QUICKLY GET `` CASUAL '' and lounge seductively .<\/scene_description>\n    <character>DEKE<\/character>\n    <dialogue>It's them, it's them! Be casual.<\/dialogue>\n    <parenthetical>( calling out . )<\/parenthetical>\n    <dialogue>Come in!<\/dialogue>\n    <scene_description>THE DOOR OPENS - It 's Nuke .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>Hey, guys, pa - rty!<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Shut up and be cool, man. Like Mickey there.<\/dialogue>\n    <scene_description>MICKEY `` LOUNGES '' WITH A DRINK and a cigaret .<\/scene_description>\n    <character>MICKEY<\/character>\n    <dialogue>You wanta make it to the Show, Rock, you got ta learn how to `` lounge''.<\/dialogue>\n    <scene_description>NUKE LEANS ON THE BAR with an elbow , striking his version of a `` lounging '' pose .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>How's this?<\/dialogue>\n    <character>MICKEY<\/character>\n    <dialogue>You got it.<\/dialogue>\n    <scene_description>A knock at the door .<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Entre.<\/dialogue>\n    <scene_description>EIGHT ICE SKATERS STAND IN THE DOORWAY - Ready to .<\/scene_description>\n    <character>ICE SKATER #1<\/character>\n    <dialogue>Pa - rty!<\/dialogue>\n    <scene_description>POP THE CORK ON THE SEVEN DOLLAR CHAMPAGNE - And party .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ANNIE'S HOUSE -- NIGHT<\/stage_direction>\n    <scene_description>THE WIVES AND SOME GIRLFRIENDS WATCH `` DYNASTY '' on Annie 's television . Annie hosts , filling their drink glasses , serving popcorn , and largely staying in the background .<\/scene_description>\n    <character>MICKEY'S WIFE<\/character>\n    <dialogue>Do you think your husband plays around on the road trips?<\/dialogue>\n    <character>DEKE'S WIFE<\/character>\n    <dialogue>No way. Well. God. do we have to talk about that?<\/dialogue>\n    <character>MICKEY'S WIFE<\/character>\n    <dialogue>I guess not. it's just that once I asked Mickey if he was faithful to me on the road trips and he said `` in his heart he was faithful''.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>What the hell does that mean?<\/dialogue>\n    <character>DEKE'S WIFE<\/character>\n    <dialogue>It means he's unfaithful - but only a man would put it in those words.<\/dialogue>\n    <scene_description>A BABY CRIES - Tommy 's Wife lifts a baby from the couch , begins rocking It .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  THE PLAYERS' HOTEL -- NIGHT<\/stage_direction>\n    <scene_description>Players are dancing , drinking , hustling the ice skaters , the music is up , the party swinging , when : SKIP ENTERS - He 's steaming and slightly drunk . Larry is with him .<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>I just got one word to say to everybody - shut up!<\/dialogue>\n    <scene_description>THE PLAYERS AND ICE SKATERS freeze in mid - party .<\/scene_description>\n    <character>SKIP<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Nuke - get everybody in here. Hundred dollar fine anybody's not here in five.<\/dialogue>\n    <scene_description>NUKE HURRIES OUT THE DOOR<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  HOTEL HALLWAY -- CONTINUOUS<\/stage_direction>\n    <scene_description>NUKE POUNDS ON DOORS in a hurry . - P.O.V. . IN FIRST DOOR - Jimmy is on his knees at the bed , bare chested , praying with an open Bible .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>Get your holy ass in Room 401.<\/dialogue>\n    <scene_description>He hustles to the next door , and pounds madly . - P.O.V. . IN SECOND DOOR - TWO NAKED WOMEN with Jose and Tony , nearly nude .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>Hundred dollar fine if you're not in # 401 in five.<\/dialogue>\n    <character>JOSE<\/character>\n    <dialogue>Hundred dollars?!<\/dialogue>\n    <scene_description>JOSE AND TONY LOOK AT THE TWO WOMEN - It 's a lot of money in Class AAA ball .<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>Christ. Sorry ladies.<\/dialogue>\n    <scene_description>JOSE AND TONY HURRY OUT in their shorts .<\/scene_description>\n    <character>NAKED LADY<\/character>\n    <dialogue>Go to hell! You're in last place anyway!<\/dialogue>\n    <scene_description>AND NUKE HURRIES DOWN THE HALL - Pounding on each door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  COFFEE SHOP -- CONTINUOUS<\/stage_direction>\n    <scene_description>CRASH EATING ALONE - Peacefully . Nuke arrives excitedly .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>Crash! Skip wants everybody in # 401 for a team meeting. Hundred buck fine if ya do n't show!<\/dialogue>\n    <scene_description>CRASH PULLS OUT THE HUNDRED DOLLAR BILL and hands it to him .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>Party without me.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>God - what a Big League move.<\/dialogue>\n    <scene_description>NUKE TAKES THE MONEY and hurries back .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  THE PARTY ROOM CONTINUOUS<\/stage_direction>\n    <scene_description>24 PLAYERS AND 8 ICE SKATERS - Some of the players Nuke rounded up are partially dressed . Skip spots the women .<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>ICE SKATER #1<\/character>\n    <dialogue>We're ice skaters. Can we go now?<\/dialogue>\n    <character>SKIP<\/character>\n    <dialogue>No. I want you to hear my philosophy. It'll do you some good.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Here It is. This is a simple game. You throw the ball, you hit the ball, you catch the ball. You got that?!<\/dialogue>\n    <character>ICE SKATER #1<\/character>\n    <parenthetical>( frightened . )<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <character>SKIP<\/character>\n    <dialogue>Are you lovely creatures aware that you are about to compromise yourselves with a buncha bums who are -.<\/dialogue>\n    <parenthetical>( to Larry . )<\/parenthetical>\n    <dialogue>- what are we?<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>Eight and twenty - four.<\/dialogue>\n    <character>SKIP<\/character>\n    <dialogue>Eight and twenty - four! How'd we ever win 8 games?<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>It's a miracle.<\/dialogue>\n    <character>SKIP<\/character>\n    <dialogue>Look, guys - I'm a man, I got needs too. I understand this party - but.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>sex is the one thing you can get further behind in and catch up faster than anything I know.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>There's a baseball lesson in there somewhere.<\/dialogue>\n    <parenthetical>( looking around . )<\/parenthetical>\n    <dialogue>Where's Crash?<\/dialogue>\n    <scene_description>NUKE STEPS FORWARD - Hands Skip the hundred dollar bill .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>He ca n't make it. Here's his fine.<\/dialogue>\n    <character>SKIP<\/character>\n    <dialogue>Aw Christ, he do n't have to come. He's hitting.350.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Do n't you think that's a double standard - we're here and he ai n't?<\/dialogue>\n    <character>SKIP<\/character>\n    <dialogue>I believe in a double standard for guys hitting.350.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Look, men - you got a choice. You wanta be roasting your nuts off for Midas Muffler welding exhaust pipes up the assholes of Cadillacs. or -.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You wanta be sitting in the Caddy while some other guy's crawling around in a monkey suit with a blow torch?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>There's only two places you can be in life - in the Caddy or under it.<\/dialogue>\n    <parenthetical>( nearly pleading . )<\/parenthetical>\n    <dialogue>These are the best years of your lives. These are the glamor days.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>It do n't got any better than this.<\/dialogue>\n    <parenthetical>( threatening , tough . )<\/parenthetical>\n    <dialogue>But. if this club do n't start winning soon, there's gon na be changes made!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ANNIE'S HOUSE SIMULTANEOUS -- NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON TELEVISION - `` DYNASTY '' drones on .<\/scene_description>\n    <character>DEKE'S WIFE<\/character>\n    <parenthetical>( wistfully . )<\/parenthetical>\n    <dialogue>Deke was a great player in high school. I thought held go right to the Major Leagues - I was gon na be a Big League wife.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Pass the Pampers, please.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Helluva guy -<\/dialogue>\n    <scene_description>Silence . Crash flips off the T.V. with the remote .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>Can I ask you something?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>What would you think of a pitcher who wore women's panties?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>If he had a good breaking ball, I'd respect the shit outta him.<\/dialogue>\n    <scene_description>Crash turns off the light . CLOSE ON NUKE - A bit of light spill on his face . Eyes open . A long ways from sleep .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  A CAROLINA LEAGUE BALLPARK -- NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON NUKE 'S FACE - He takes his cap off , wipes his brow . He 's pitching . Everything in SLO - MO. . FANS IN THE BALLPARK LAUGH at Nuke , mocking his . EXTREME CLOSE UP ON NUKE 'S EYES - Frightened . SLOW FULLBACK ON NUKE - HE 'S STARK NAKED save for his cap and glove . Everyone else is clothed . NUKE WINDS AND PITCHES in the nude . SLO - MO . and as the batter cranks up to take a vicious swing -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  TEAM BUS -- DAWN<\/stage_direction>\n    <scene_description>CLOSE ON NUKE 'S FACE - He awakes with a start .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>CRASH LEANS OVER and shakes him .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>Wake up, it's okay. you're dreaming.<\/dialogue>\n    <scene_description>CRASH HELPS NUKE back to consciousness . Nuke shakes his head , trying to wake up . Crash Is almost tender .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>I was playing naked.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>I know, I know - I have that dream all the time. We're almost home.<\/dialogue>\n    <scene_description>The Bus continues across the Carolina landscape .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE STADIUM PARKING LOT -- DAWN<\/stage_direction>\n    <scene_description>The team bus pulls into a deserted parking lot . A few of the players ' cars are parked . Some of the wives and girlfriends . And Annie . THE PLAYERS SHUFFLE OFF the bus . Tired and beat . CLOSE ON NUKE - He looks worse than the rest . He sees Annie and waves . She 's waiting next to her old Volvo .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  STREETS OF DURHAM MOMENTS LATER<\/stage_direction>\n    <scene_description>ANNIE 'S VOLVO PULLS OUT - She drives .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  THE VOLVO -- DAY<\/stage_direction>\n    <scene_description>Annie is up - Nuke is down .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>God I'm tired. What a trip I was lousy. I was worse than lousy. Everytime I pitched - it was like throwing gasoline on a fire. Kaboom. I -<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>What is this `` I, I, I'' stuff? You only talk about yourself? Are n't you glad to see me? Do n't I look nice?<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>Sorry. You look great. I'm totally exhausted.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Good. Total exhaustion can be spiritually fabulous.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Let's play catch.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>Catch?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  ANNIE'S BACKYARD -- MORNING<\/stage_direction>\n    <scene_description>Flowers and birdfeeders everywhere . And , 60 feet away in complete , oversized catcher 's gear - JACKSON IN A CATCHER 'S CROUCH - Nuke stares , in his street clothes , but now with a glove and ball .<\/scene_description>\n    <character>JACKSON<\/character>\n    <dialogue>Hum, babe, hum, babe, fire it in here, hum babe -<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>That's not necessary, Jackson -.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Okay, Nuke, now lean in for the sign.<\/dialogue>\n    <scene_description>He does . Jackson flashes some ridiculous signs .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>This in ridiculous. I'm a pro.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Just do what I say. Now, which nostril are you breathing through?<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>Which nostril am I breathing through?<\/dialogue>\n    <scene_description>Annie puts her hand under his nose .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>The right nostril. Good.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>My right nostril?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>There are two important psychic conduits called the `` pingala'' and the `` ida''. The pingala starts with the left testicle.<\/dialogue>\n    <parenthetical>( or left ovary of the female . )<\/parenthetical>\n    <dialogue>and ends at the right nostril.<\/dialogue>\n    <scene_description>She touches his left nut through his pants in a matter of fact manner . He stares back .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>The ida originates at the right testicle -LRB- or ovary. -RRB- and terminates at the left nostril.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>I'm really beat. I need some serious `` z's'' -<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>The pingala is the nostril used for throwing a baseball.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>And if you discover before a game you're in the wrong nostril, it's easy to switch.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>Switch nostrils?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Right. Okay, fire a couple in there.<\/dialogue>\n    <scene_description>NUKE TOSSES AN EASY PITCH to Jackson . Annie 's incensed .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>You're patronizing me! I will not be patronized -<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>If I throw too hard I'll hurt the kid.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>He's handled a lotta pitchers whose records were better than one and six.<\/dialogue>\n    <scene_description>Nuke gets a little steamed . He feels his nostril , winds , and fires a medium speed fastball to Jackson .<\/scene_description>\n    <character>NUKE<\/character>\n    <parenthetical>( a bit angry . )<\/parenthetical>\n    <dialogue>How was that?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>A little better.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>Gim me the God damn ball!<\/dialogue>\n    <scene_description>NUKE WINDS UP and fires a pitch to Jackson . Alas - THE BALL SAILS THROUGH A WINDOW - Crashing glass .<\/scene_description>\n    <character>NUKE<\/character>\n    <parenthetical>( cynically . )<\/parenthetical>\n    <dialogue>How ya like that?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Much better. Your delivery was fully integrated because you were n't thinking about it'cause you were pissed off at me.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>This is progress.<\/dialogue>\n    <scene_description>Nuke smiles and gives in . And reaches for her .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>I give up. Let's go inside, make love, and fall asleep till it's time to go to the ballpark.<\/dialogue>\n    <scene_description>She takes his hand and leads him up to the back porch .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Or.<\/dialogue>\n    <parenthetical>( taking his hand . )<\/parenthetical>\n    <dialogue>. We could just take that sexual energy and save it for a few hours and re - channel it into your pitching tonight.<\/dialogue>\n    <parenthetical>( shouting . )<\/parenthetical>\n    <dialogue>C'mon, Jackson, I've got some lemonade!<\/dialogue>\n    <scene_description>Jackson runs over in full gear to join them . SITTING ON THE BACK PORCH - A pitcher of lemonade .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>I ca n't keep up with you. First you say sex is gon na make me a better pitcher - now no sex is gon na do it?!<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>It's all the same thing.<\/dialogue>\n    <scene_description>SUDDENLY NUKE 'S FACE IS FILLED WITH ALARM - He points .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>What's that?!<\/dialogue>\n    <scene_description>- P.O.V. . A CARDBOARD BOX ON A TABLE NEARBY - Scrawled in larged letters on the side are the words `` MAX PATKIN '' .<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>( matter of factly . )<\/parenthetical>\n    <dialogue>That's Max. His ashes anyway. He left no kin.<\/dialogue>\n    <scene_description>Nuke stares , unsettled .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>God. I think I'm gon na be sick -<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Oh do n't be silly. Death is nothing to be scared of. It's just another way of living. It's just a fresh start - kinda like spring training.<\/dialogue>\n    <scene_description>Nuke thinks about this carefully . Looks at the ashes , at Annie , and at Jackson , in full gear , mask on his head .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>Death is like spring training?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Yes. And so is birth. Now look me in the eyes, Nuke -.<\/dialogue>\n    <parenthetical>( sweetly accusing him . )<\/parenthetical>\n    <dialogue>You have n't been wearing my panties, have you?<\/dialogue>\n    <scene_description>CLOSE ON NUKE - Utterly bewildered .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  BULLS LOCKER ROOM -- NIGHT<\/stage_direction>\n    <scene_description>NUKE PULLS HIS JOCKSTRAP ON over the red panties . Crash notices the panties , and snaps the waistband .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>Hot. Very hot.<\/dialogue>\n    <scene_description>Nuke looks around nervously , continues dressing quickly .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>Annie says her panties will keep one side of my brain occupied while I'm on the mound, thus keeping my brain slightly off center, which is where it should be for artists and pitchers. She also said I should throw whatever pitches you call for.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Annie's a smart lady.<\/dialogue>\n    <scene_description>Suddenly Deke spots Nuke 's panties .<\/scene_description>\n    <character>DEKE<\/character>\n    <dialogue>Hey, fruit alert! Check out the Rook.<\/dialogue>\n    <scene_description>SEVERAL PLAYERS GATHER AROUND - Wolf whistles aimed at Nuke as the players are dressing into their uniforms .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>Annie says there's no such thing as straight and gay. We're all sexual creatures to start with, and we get formed into certain roles.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>You believe that?<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>When I'm one and six I'll believe anything.<\/dialogue>\n    <parenthetical>( as they dress . )<\/parenthetical>\n    <dialogue>Annie also says that God is a woman. You believe that, Crash, you think God's a lady?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>God's definitely a woman - but she's no lady.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>This is all Commie bullshit.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>God has a dick, man.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>God damn it, Jimmy, you're an expert - does God have a dick or a pussy?<\/dialogue>\n    <scene_description>JIMMY TURNS FROM HIS CUBICLE to answer the theological question . All heads wait for the answer .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>The Lord God is tri - une - Father, Son, and Holy Ghost.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Father and Son. Awright!<\/dialogue>\n    <scene_description>The guys slap fives , convinced God is a man .<\/scene_description>\n    <character>MICKEY,<\/character>\n    <parenthetical>( baiting them . )<\/parenthetical>\n    <dialogue>Yeah, but He is a brother.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Bullshit! God ai n't no brother!<\/dialogue>\n    <scene_description>Deke turns to Crash , full of despair .<\/scene_description>\n    <character>DEKE<\/character>\n    <dialogue>If there is a God, why am I hitting.200?<\/dialogue>\n    <scene_description>SUDDENLY SKIP AND LARRY APPEAR to restore order .<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>Shut up! This is a damn noisy clubhouse for a team that's lost 15 straight.<\/dialogue>\n    <scene_description>Silence . Skip takes off his cap - instantly sincere .<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>Patkin was a tribute to baseball.<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>and one helluva guy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  DURHAM BALLPARK -- DUSK<\/stage_direction>\n    <scene_description>A BLACK GOSPEL GROUP at a mike at home plate , singing :<\/scene_description>\n    <character>GOSPEL SINGER<\/character>\n    <parenthetical>( SINGING . )<\/parenthetical>\n    <dialogue>I come to the garden alone, When the dew is still on the roses, And the voice I hear, whispering in my ear,. The Son of God discloses -<\/dialogue>\n    <scene_description>ANNIE SPRINKLES MAX 'S ASHES on the pitcher 's mound , as : JACKSON SITS IN THE DUGOUT FILLING ROSIN BAGS with the extra ashes from a box . EXTREME CLOSE UP - A ROSIN BAG MARKED `` MAX '' EXTREME CLOSE UP - `` MAX '' ROSIN BAG on the mound .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  DURHAM BALLPARK -- GAME IN PROGRESS -- NIGHT<\/stage_direction>\n    <scene_description>NUKE ON THE MOUND - PICKS UP the rosin bag , and paces . A small crowd . A batter steps in to hit . Nuke looks . in for the sign .<\/scene_description>\n    <character>NUKE<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>God, these panties feel great. That do n't make me queer, right? Right. Whoo.<\/dialogue>\n    <parenthetical>( reads the sign . )<\/parenthetical>\n    <dialogue>Breaking ball.<\/dialogue>\n    <scene_description>NUKE WINDS AND DELIVERS - Breaking ball for a strike .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>I ai n't queer. I know I ai n't.<\/dialogue>\n    <parenthetical>( reads the sign . )<\/parenthetical>\n    <dialogue>Fastball.<\/dialogue>\n    <scene_description>NUKE WINDS AND DELIVERS - Fastball for a strike . ANNIE 'S BOX SEAT IN THE STANDS - She charts pitches .<\/scene_description>\n    <character>JACKSON<\/character>\n    <dialogue>Ninety - three miles an hour.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>He looks wonderful, Jackson.<\/dialogue>\n    <scene_description>NUKE ON THE MOUND - He looks in for the sign .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>Fastball again? Why's he want the heat - I just threw heat. Do n't think, Meat - give'em the gas.<\/dialogue>\n    <scene_description>NUKE WINDS AND DELIVERS - An eye - popping fastball . The batter swings and misses . Strike three . IN THE DUGOUT - SKIP AND LARRY LOOK AT EACH other warily .<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>Jesus - what's got into Nuke?<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>I heard he's wearing women's underwear - and he's breathing through his pingala nostril.<\/dialogue>\n    <character>SKIP<\/character>\n    <parenthetical>( spitting tobacco . )<\/parenthetical>\n    <dialogue>I'm getting too old for this game.<\/dialogue>\n    <scene_description>P.O.V. NUKES FASTBALL SHATTERS A BAT - THE HITTER hits a weak roller to third for the second out . BACK TO THE MOUND - Nuke is pumped up . Paces .<\/scene_description>\n    <character>NUKE<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>God, Annie's got a great ass. How come her panties fit me? That's one of the mysteries of sex I guess.<\/dialogue>\n    <scene_description>NUKE WINDS AND DELIVERS A VICIOUS CURVEBALL - A check swing dribbler to first for the third out . And the players run into the dugout .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  THE DUGOUT<\/stage_direction>\n    <scene_description>NUKE PUTS ON HIS WARM UP JACKET and sits down next to Crash , who 's taking off his gear , readying to hit .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>I was great, eh?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Your fastball was up and your curveball was hanging - in the Show they woulda ripped you.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>Ca n't you let me enjoy the moment?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>The moment's over.<\/dialogue>\n    <parenthetical>( rising to get a bat . )<\/parenthetical>\n    <dialogue>If this guy starts me off with a breaking ball, I'm going downtown -<\/dialogue>\n    <scene_description>CRASH SMILES in his disarming way , and grabs a bat .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE ON DECK CIRCLE<\/stage_direction>\n    <scene_description>Crash kneels , rubbing the bat handle with pine tar . He studies the pitcher working the first two hitters . CRASH RISES and heads to the plate . CRASH STEPS INTO THE BOX - Digs in .<\/scene_description>\n    <character>CRASH<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>I dare you to throw me the hammer - you ai n't that stupid.<\/dialogue>\n    <scene_description>CRASH 'S P.O.V. . IN SLOW - MOTION - The pitcher winds and delivers . And as the ball leaves the pitcher 's hand -<\/scene_description>\n    <character>CRASH<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>Breaking ball - you fool!<\/dialogue>\n    <scene_description>CRASH UNLOADS ON THE PITCH - Crushing a home run deep over the left field wall .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  THE PRESS BOX<\/stage_direction>\n    <scene_description>TEDDY THE RADIO ANNOUNCER is wary about these events .<\/scene_description>\n    <character>TEDDY THE RADIO MAN<\/character>\n    <dialogue>Two - nothing Bulls in the second - first time the Bulls have been ahead in weeks, eh Whitey -.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Let's see if the real Nuke LaLoosh will show up -<\/dialogue>\n    <scene_description>NUKE FIRES THREE QUICK PITCHES for another strike out . Curve ball , fast ball , curve ball . Overpowering . ANNIE AND JACKSON in her box seat .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Oh my.<\/dialogue>\n    <scene_description>SKIP AND LARRY IN THE DUGOUT - Skip looks at Larry as if to say `` What 's happening ? '' Larry just shrugs . BACK TO THE FIELD - Nuke 's next pitch . THE NEXT BATTER POPS UP - Crash circles into foul ground to make the catch , whipping the ball around the infield . AND CRASH GOES TO THE MOUND for a visit .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>Hey, I'm cruisin', man - what're you doing out here?!<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>I want you to throw this one at the bat rack.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>Why?! I'm finally throwin' the damn thing where I want to.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>It'll keep the fear of God in the hitters. Trust me.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>You're the boss.<\/dialogue>\n    <scene_description>CRASH RETURNS TO THE PLATE - Flashes a sign . THE PRESS BOX Teddy 's getting worked up .<\/scene_description>\n    <character>TEDDY THE RADIO MAN<\/character>\n    <dialogue>- a staggering start by LaLoosh - he's thrown 5 cuts on 9 pitches, all of them strikes - he's got pin point control here tonight, Bull fans. here's the pitch -<\/dialogue>\n    <scene_description>NUKE 'S NEXT DELIVERY - A wild ass rocket thirty feet off line . The BULL MASCOT DIVES for cover . THE BATTER STEPS OUT OF THE BOX nervously , muttering .<\/scene_description>\n    <character>BATTER<\/character>\n    <dialogue>This guy's crazy.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Yep. Next one might be at your head. Hell if I know where the damn thing's going.<\/dialogue>\n    <scene_description>CLOSE ON NUKE - Smiles . Winds . Delivers . A change up . THE BATTER SWINGS TERRIBLY OFF STRIDE - Strike three . Crash whips the ball around the infield . SCOREBOARD : DURHAM 11 , KINGSTON 0 - TOP OF THE NINTH<\/scene_description>\n    <character>TEDDY THE RADIO MAN<\/character>\n    <dialogue>- top of the ninth, two outs, one out away from a stunning two hit shutout for LaLoosh.<\/dialogue>\n    <scene_description>NUKE ON THE MOUND - Bearing down .<\/scene_description>\n    <character>NUKE<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>Bear down, Meat, do n't let up. You own these guys. Dad'll love a shutout.<\/dialogue>\n    <scene_description>P.O.V. CRASH FLASHES THE SIGN - Nuke does n't like it .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>No, no - this guy's looking for heat - lem me give him the deuce -<\/dialogue>\n    <scene_description>NUKE SHAKES OFF THE SIGN Cocky , full of himself . ANNIE AND JACKSON in her box seat .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Oh no - he's shaking off the sign, Jackson. Big mistake.<\/dialogue>\n    <character>JACKSON<\/character>\n    <dialogue>He'll learn.<\/dialogue>\n    <scene_description>CLOSE ON CRASH BEHIND THE PLATE<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>This son of a bitch is throwing a two hit shutout and he's shaking me off?!<\/dialogue>\n    <parenthetical>( to batter and umpire . )<\/parenthetical>\n    <dialogue>Hey Charlie, here comes the deuce.<\/dialogue>\n    <scene_description>NUKE WINDS AND DELIVERS - A hanging curveball . The batter takes an ungodly cut , and BLASTS a long home . THE BATTER STANDS AT THE PLATE watching the blast . until CRASH SHOVES HIM toward first with a sneer . For a moment it looks like there 'll be a fight - but the hitter backs off and takes the home run trot as : NUKE STARES AT THE OUTFIELD WALL as the batter circles the bases . Crash walks to the mound .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>You told him I was throwing a deuce, right?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Yep. He really crushed that dinger, did n't he. Musta gone 450 feet. damn.<\/dialogue>\n    <scene_description>NUKE HOLDS OUT HIS GLOVE - Says nothing . Crash puts a new ball in the glove . Returns to the plate . NUKE GETS THE SIGN - Winds . Delivers . Batter hits a weak one hopper back to the mound . Game 's over .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  MAXWELL'S BAR -- LATER -- NIGHT<\/stage_direction>\n    <scene_description>A raucous celebration of the victory . Booze flows . And we begin hearing the familiar sounds of Piaf .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ANNIE'S HOUSE -- LATER -- NIGHT<\/stage_direction>\n    <scene_description>ANNIE COMES OUT OF THE BATHROOM - Dressed in a long , flowing nightgown , elegant and old fashioned . She looks fabulous , PRESENTING HERSELF to Nuke .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>I'm yours.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>Y' know, Annie, I been thinking if it works for one game, maybe it'll work for a whole buncha games.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Breathing through your pingala always works, honey -<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>Not that. I mean the re - channeling of my sexual energy.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Maybe we should n't make love for awhile.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Now do n't go overboard, I look incredibly hot, right?<\/dialogue>\n    <scene_description>She strikes a pose . She does look hot .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>You know what it feels like to throw a three hitter?<\/dialogue>\n    <parenthetical>( nervously , with resolve . )<\/parenthetical>\n    <dialogue>We better not fuck.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Nuke?!<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>Just till I lose.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Get over here.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Ebby Calvin `` Nuke'' LaLoosh -<\/dialogue>\n    <scene_description>She starts toward him - and Nuke flees . Out the door , into the night . Annie slumps in disbelief .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ANNIE'S BEDROOM -- NIGHT<\/stage_direction>\n    <scene_description>ANNIE SITS IN BED ALONE - Lights a cigaret . A puzzled expression - things have got out of control .<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>( VOICE OVER CONT 'D . )<\/parenthetical>\n    <dialogue>Nuke was so encouraged that he took a vow to not have sex until they lost.<\/dialogue>\n    <scene_description>Annie reaches over , opens a drawer in her nightstand , and pulls out her baseball glove . She cradles it fondly in her lap , puts it on , pounds it gently .<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>( VOICE OVER CONT 'D . )<\/parenthetical>\n    <dialogue>Y ` see a ballplayer on a streak considers himself touched with magic and he'll do anything to keep from breaking the spell.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  DURHAM BULL LOCKER ROOM -- DAY<\/stage_direction>\n    <scene_description>NUKE NEATLY UNFOLDS THE RED PANTIES in his locker .<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>( VOICE OVER CONT 'D . )<\/parenthetical>\n    <dialogue>In fact the whole team started making religious connections and everybody got hot.<\/dialogue>\n    <scene_description>JOSE BLESSES THE BATS with a chicken bone cross . JIMMY READS THE BIBLE and prays alone in the corner .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  DURHAM BASEBALL FIELD -- DAY<\/stage_direction>\n    <scene_description>PLAYERS TAKING GROUND BALLS and batting practice .<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>( VOICE OVER CONT 'D . )<\/parenthetical>\n    <dialogue>I figured Nuke would win a couple, then lose, and things would get back to normal.<\/dialogue>\n    <scene_description>PLAYERS PLAYING `` FLIP '' PEPPER like kids .<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>( VOICE OVER CONT 'D . )<\/parenthetical>\n    <dialogue>But it did n't happen like that. and for one extraordinary June and July, the Durham Bulls, for whatever perverse reason, began playing baseball with joy and verve and poetry -<\/dialogue>\n    <scene_description>NUKE WARMING UP in the bullpen , listening to Crash .<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>( VOICE OVER CONT 'D . )<\/parenthetical>\n    <dialogue>The two sides of my own brain were all jumbled up and cross - wired. while one side was being neglected, the other was in paradise watching our Bulls play like Big Leaguers.<\/dialogue>\n    <scene_description>MICKEY RIPS A TRIPLE UP THE ALLEY - Slides into third . DEKE AND TOMMY TURN A SPECTACULAR DOUBLE PLAY<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>We swept a four game series with Kingston, back to back doubleheaders with Winston - Salem, and kicked the holy shit out of Greensboro in a three game series.<\/dialogue>\n    <scene_description>SEVERAL PLAYERS SIGNING AUTOGRAPHS at a local mall . A line of kids to meet them . A banner - MEET YOUR BULLS !<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>They were in demand all over town - and Crash, who kept hitting dingers, was approaching the minor league record. though I told nobody.<\/dialogue>\n    <scene_description>CRASH BLASTS ANOTHER HOME RUN - Another win . JULY 4 PROMOTION - LARRY , DEKE , TOMMY , AND JOSE dressed as the `` Spirit of 176 Drum and Fife Corps '' at home plate , surrounded by a Boy Scout Troop .<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>After sweeping a July 4 doubleheader, the Durham Bulls were tied for first.<\/dialogue>\n    <scene_description>THE WIVES , THE GROUPIES , AND MILLIE WAIT for the players outside the clubhouse following a game . ANNIE SITS ALONE IN HER BOX SEAT as the stadium empties .<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>But beautiful as the winning streak was, I was getting damn lonely.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Something had to be done. I needed a man.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE TEAM BUS ON THE ROAD BACK --DAY<\/stage_direction>\n    <scene_description>The sounds of Diana Ross and the Supremes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  THE BUS -- DAY<\/stage_direction>\n    <scene_description>LARRY , DEKE , TOMMY AND MICKEY as the Supremes , singing `` Stop in the Name of Love '' at the front of the bus .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>I love winning, Crash, you hear me? I love It. Teach me everything.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>It's time you started working on your interviews.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>What do I got ta do?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Learn your cliches. Study them. Know them. They're your friends.<\/dialogue>\n    <scene_description>Crash hands Nuke a small pad and pen .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>Write this down.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>`` We got ta play'em one day at a time.''<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>Boring.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Of course. That's the point.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>`` I'm just happy to be here and hope I can help the ballclub.''<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>Jesus.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Write, write - `` I just wanta give It my best shot and, Good Lord willing, things'll work out.''<\/dialogue>\n    <scene_description>NUKE STARTS WRITING them down .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>. Good Lord willing, things'll work out.''<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Yep. So how's Annie?<\/dialogue>\n    <scene_description>Nuke looks up from his cliches , startled .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>She's getting steamed'cause I'm still re - channeling my sexual energy - maybe I should cave in and sleep with her once just to calm her down. What ` ya think?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>You outta your mind? If you give in now you might start losing.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Never fuck with a winning streak.<\/dialogue>\n    <scene_description>Nuke nods seriously , listening to the master .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE STADIUM PARKING LOT -- DAY<\/stage_direction>\n    <scene_description>THE BUS PULLS IN - Wives and girlfriends are waiting . The players get off , greet their women . ANNIE GREETS NUKE - They head for her Volvo . JIMMY STARTS ACROSS THE LOT on foot , dragging his luggage , when Millie pulls up in her car .<\/scene_description>\n    <character>MILLIE<\/character>\n    <dialogue>Hi, Jimmy. Want a ride?<\/dialogue>\n    <character>JIMMY<\/character>\n    <parenthetical>( nervously . )<\/parenthetical>\n    <dialogue>Have you accepted Jesus Christ as your personal savior?<\/dialogue>\n    <character>MILLIE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Can I give you my testimony?<\/dialogue>\n    <character>MILLIE<\/character>\n    <dialogue>You can do anything you want.<\/dialogue>\n    <parenthetical>( a tiny grin . )<\/parenthetical>\n    <dialogue>Hop in.<\/dialogue>\n    <scene_description>JIMMY NERVOUSLY GETS IN WITH MILLIE They roar away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ANNIE'S KITCHEN -- DAY<\/stage_direction>\n    <scene_description>NUKE SITS AT THE TABLE - He 's just finished eating . Annie circles him . A pot of soup on the stove .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>I'm so proud of you and all the guys. Want some more soup?<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>No, no, it was great.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>How ` bout a back rub?<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>No, that's okay. All I need's a little nap.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I'll tuck you in.<\/dialogue>\n    <character>NUKE<\/character>\n    <parenthetical>( nervously . )<\/parenthetical>\n    <dialogue>You ca n't seduce me.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I'm not gon na try to seduce you, sweetie.<\/dialogue>\n    <scene_description>ANNIE STRETCHES OUT HER LEG and lays it an the table .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <scene_description>She pulls back her skirt slightly , exposing her garter snaps attached to her stockings .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>That's my leg.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>I know what it is.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I figure we could work on some fundamentals even if we do n't make love.<\/dialogue>\n    <scene_description>She strokes her leg . Nuke stares fearfully .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>Fundamentals?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Unsnap my stockings.<\/dialogue>\n    <scene_description>Nuke squirms , then reaches for her garter snaps . And stops .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>Crash once called a woman's, uh - pussy - y' know how the hair kinda makes a `` V'' shape? -<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Yes I do.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>Well - he calls it the Bermuda Triangle. He said a man can get lost in there and never be heard from again.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>What a nasty thing to say.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>He did n't mean it nasty. He said that gettin' lost and disappearing from the face of the earth was sometimes a good thing to do - especially like that.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Crash is a very smart man. Now c'mon, honey, give it a try.<\/dialogue>\n    <scene_description>NUKE REACHES FOR THE GARTER SNAPS with two hands . He fumbles , groping awkwardly . Annie stops him gently .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Watch. one hand -<\/dialogue>\n    <scene_description>WITH A SINGLE HAND ANNIE FLICKS each snap . Flick , flick , flick . Magic . The snaps open effortlessly .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>oh.<\/dialogue>\n    <scene_description>ANNIE RE - SNAPS THEM QUICKLY , offering her leg to Nuke .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Now you try.<\/dialogue>\n    <scene_description>NUKE TRIES AGAIN - One handed . Awkwardly again , but -<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>( sighing sexually . )<\/parenthetical>\n    <dialogue>Mmmmmmm. oh yes.<\/dialogue>\n    <scene_description>BUT NUKE LEAPS TO HIS FEET - Reacting vigorously , nervously , desperately . The soup crashes on the floor .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>No! You're playing with my mind!<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I'm trying to play with your body!<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>I knew it - you're seducing me!<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Of course I'm seducing you for Godsakes, and I'm doing a damn poor job of it -.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Are n't I pretty?<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>I think you're real cute.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Cute?! I hate cute! Baby ducks are cute! I wanta be exotic and mysterious!<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>You're exotic and mysterious and cute - that's why I better leave.<\/dialogue>\n    <scene_description>Nuke starts to leave .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Nuke! You got things all wrong! There's no relation between sex and baseball. Ask Crash.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>I did.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>What'd he say?<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>He said if I gave in to you I'd start losing again.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>He did?<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>I'll be back when we lose.<\/dialogue>\n    <scene_description>NUKE HURRIES OUT THE DOOR - Annie just stares .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE DOWNTOWNER MOTEL -- DURHAM -- DAY<\/stage_direction>\n    <scene_description>A run of the mill cheap modern motel .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  CRASH'S ROOM AT THE MOTEL -- DAY<\/stage_direction>\n    <scene_description>CRASH WORKS ON HIS SWING in front of a mirror . A knock at the door .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>Come in.<\/dialogue>\n    <scene_description>ANNIE ENTERS the room . Crash stays with his stance .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Crash. I want you.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Nuke wo n't go to bed with you, eh?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>He' s confused -<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Are n't we all?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Do n't you think I'm pretty?<\/dialogue>\n    <scene_description>Crash puts down the bat , and looks directly at her . As he does he picks up two spring loaded hand exercisers and begins pumping them an he talks .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>You're gorgeous, God damn it! From the moment I first saw you I knew I had to have you. I had to have you!<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I want to be had.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>I think of you and the `` boy'' all the time.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>He wo n't make love to me anymore.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>And he's right! A ballplayer on a streak has to respect the streak. They do n't happen very often.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You know how hard this game is? If you believe you're playing well because you're getting laid or because you're not getting laid or because you wore red silk panties - then you are!<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>And I still think Thomas Pynchon is full of shit.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I want you desperately!<\/dialogue>\n    <scene_description>Crash can hardly keep up . So he slows her down -<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>Who are you? Do you have a job?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I teach part time at the Junior College. What if I told you I was through with Nuke? He learned his lessons quickly and left me.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>And now you wanta teach me?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I do n't imagine there's much I could teach you.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>I doubt that.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Crash, I get wet just thinking about you.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>I thought you wanted an `` uncomplicated'' boy?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I'm ready for a complicated man.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>- and as soon as we lose a game, he'll be back in your arms.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I said when I think about you, I get wet.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Annie, I think you should leave.<\/dialogue>\n    <scene_description>Annie launches into a tirade without orchestration or self - awareness . She 's frustrated , confused , angry and .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>God damn you - what is happening? Is there no man who'll have me?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>This is the weirdest season I ever saw - the Durham Bulls ca n't lose and I ca n't get laid!<\/dialogue>\n    <character>CRASH<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>You okay?<\/dialogue>\n    <scene_description>Annie slides against the wall down to the floor . Tears flow . Her makeup runs . Her eyes are red .<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>( shakily . )<\/parenthetical>\n    <dialogue>I need a drink.<\/dialogue>\n    <scene_description>Crash gingerly helps her to her feet .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  MAXWELL'S BAR -- DAY<\/stage_direction>\n    <scene_description>ANNIE AND CRASH SIT IN THE CORNER of the empty bar .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>Why baseball?<\/dialogue>\n    <character>ANNIE<\/character>\n    <parenthetical>( sighs . )<\/parenthetical>\n    <dialogue>I was raised in a Baptist church got dipped in the water when I was 5 - born again before kindergarten. by the time I was 10 I knew it was bullshit and at 15 I ran away from home.<\/dialogue>\n    <scene_description>SHE SMILES at the most painful memories .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>pregnant, had an abortion, got pregnant again, had an abortion again. gave up men. Tried women. Missed men. My mother died.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I bought a car for $ 200 and drove to Ft. Lauderdale to bury her.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>And after we'd sung some hymns in some wretched Florida funeral home, I went outside and something happened -<\/dialogue>\n    <scene_description>Her tone becomes wistful , nostalgic .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>The smell of cut grass in the warm March air overwhelmed me and I heard a noise -.<\/dialogue>\n    <parenthetical>( makes the sound . )<\/parenthetical>\n    <dialogue>. -RRB- - tok, tok, tok - and some men shouting. then tok, tok, tok.<\/dialogue>\n    <scene_description>Crash smiles slightly . He knows .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>I crossed the street - it was the New York Yankees spring training field - tok, tok, tok, was the sound of a ball hitting a bat - and I sat in the warm bleachers to think about my mother.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>And I saw him.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Thurman Munson.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>He was covered with dirt and he was fighting with everybody - it was beautiful.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>And he called the ump a cocksucker and got thrown out of the game even though it was an exhibition!<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>So I stayed in the bleachers all spring and gradually came to understand what's so great about baseball.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>What's so great about baseball?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>If you know where home plate is, then you know where 1st base is, and 2nd, and everything else -'cause they're always in the same place in relation to home.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Do n't you see? If you know where home plate is, then you know where everything else in the universe is!<\/dialogue>\n    <scene_description>Silence .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>I do n't know if I'd go that far.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>It's true, It's true!<\/dialogue>\n    <parenthetical>( beat , down . )<\/parenthetical>\n    <dialogue>Least it used to be true. It ai n't possible that baseball's not enough anymore, is it, Crash?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>It's possible.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Are you gon na be waking up next to 20 year old ballplayers when you're 60?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Well. I used to think that was n't the worst thing in the world to look forward to. Lately I'm not so sure.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>ANNIE<\/character>\n    <parenthetical>( angrily . )<\/parenthetical>\n    <dialogue>Whatta you mean `` why not''? Are you gon na play forever?!<\/dialogue>\n    <scene_description>Before Crash can answer - SUDDENLY A VOICE interrupts . They both turn to see : MILLIE EXCITEDLY DRAGGING JIMMY into the nearly empty bar . She leads him by the hand .<\/scene_description>\n    <character>MILLIE<\/character>\n    <dialogue>Annie, Annie! There she is - we've been looking all over for ya. Hi Crash.<\/dialogue>\n    <scene_description>MILLIE LEADS JIMMY right up to their table . And as they hold hands . Jimmy stands there shyly .<\/scene_description>\n    <character>MILLIE<\/character>\n    <dialogue>Well tell'em, honey.<\/dialogue>\n    <character>JIMMY<\/character>\n    <parenthetical>( nervously . )<\/parenthetical>\n    <dialogue>We're getting married.<\/dialogue>\n    <scene_description>MILLIE STICKS OUT HER LEFT HAND Displays a huge ring .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Omigawd, honey, I'm so happy for you.<\/dialogue>\n    <character>MILLIE<\/character>\n    <dialogue>He's a virgin.<\/dialogue>\n    <scene_description>Jimmy squirms defensively .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Wellyeah.<\/dialogue>\n    <parenthetical>( to Annie and Crash . )<\/parenthetical>\n    <dialogue>I guess that probably seems pretty corny to people like you.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Oh Jimmy, honey, I think it sounds wonderful!<\/dialogue>\n    <character>MILLIE<\/character>\n    <dialogue>Annie, will you be the bride's maid?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  DURHAM STADIUM -- LATER -- NIGHT<\/stage_direction>\n    <scene_description>GAME IN PROGRESS - Nuke on the mound . NUKE WINDS AND DELIVERS - Very high . Ball three . INSIDE THE DUGOUT - Skip and Larry spitting tobacco .<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>Nuke's overthrowing tonight, he do n't look loose. Anything bothering him?<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>He said his chakras were jammed and he was breathing out of the wrong nostril.<\/dialogue>\n    <character>SKIP<\/character>\n    <parenthetical>( spitting tobacco . )<\/parenthetical>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>BACK TO THE MOUND NUKE WINDS AND DELIVERS AGAIN - Very high . Ball four . CRASH IS QUICKLY to the mound .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>What's wrong?<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>I'm nervous - my old man's here.<\/dialogue>\n    <scene_description>NUKE MOTIONS - They both look . - P.O.V. NUKE 'S FATHER SITTING in a special box seat . The man is 45 , and is operating a home video camera taking pictures of his son .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>Hey, he's just your father, man - he's as full of shit as anybody.<\/dialogue>\n    <scene_description>TOMMY AND DEKE JOIN THEM at the mound .<\/scene_description>\n    <character>DEKE<\/character>\n    <dialogue>What the hell's going on?<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>You breathing through the wrong fucking nostril again?<\/dialogue>\n    <character>DEKE<\/character>\n    <dialogue>Hey, you guys hear Jimmy and Millie are engaged?! Wait'll I tell him she's gone down on half the Carolina League -<\/dialogue>\n    <character>CRASH<\/character>\n    <parenthetical>( threatening . )<\/parenthetical>\n    <dialogue>Anybody says anything bad about Millie, I'll break his neck.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>Hey, guys, I got a game to pitch.<\/dialogue>\n    <scene_description>JOSE THE FIRST BASEMAN JOINS THEM ALL at the mound .<\/scene_description>\n    <character>JOSE<\/character>\n    <dialogue>Do n't throw anything to me - my girlfriend put a curse on my glove.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>I'll take the curse off the son of a bitch!<\/dialogue>\n    <character>JOSE<\/character>\n    <dialogue>Then you got to cut the head off a live rooster.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <scene_description>MICKEY JOINS THE CROWD from third base .<\/scene_description>\n    <character>MICKEY<\/character>\n    <dialogue>Do n't worry, man, this umpire's a God damn racist.<\/dialogue>\n    <scene_description>P.O.V. . THE UMPIRE - He 's black . THE DUGOUT - SKIP AND LARRY watch the growing meeting .<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>What the hell's going on out there?<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>It's a damn convention.<\/dialogue>\n    <character>SKIP<\/character>\n    <dialogue>Check it out.<\/dialogue>\n    <scene_description>THE MOUND - Larry joins the convention .<\/scene_description>\n    <character>LARRY<\/character>\n    <dialogue>What the hell's going on out here?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Nuke's scared cause his nostrils are jammed and his old man's here, we need a live rooster to take the curse off Jose's glove, and nobody knows what to get Jimmy and Millie for their wedding present - there's a whole lotta shit we're trying to deal with -<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>Oh. I thought there was a problem.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ANNIE'S HOUSE NIGHT<\/stage_direction>\n    <scene_description>ANNIE IS HELPING MILLIE make her WEDDING DRESS . The game can be heard on the radio in the b.g.<\/scene_description>\n    <character>MILLIE<\/character>\n    <dialogue>You should be at the game.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>No, no - I'm fine. Millie, how much time did you and Jimmy spend together before he proposed?<\/dialogue>\n    <scene_description>Annie holds the dress up to Millie .<\/scene_description>\n    <character>MILLIE<\/character>\n    <dialogue>Five hours. We both just know.<\/dialogue>\n    <parenthetical>( studying the dress . )<\/parenthetical>\n    <dialogue>Do you think I deserve to wear white?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>We all deserve to wear white.<\/dialogue>\n    <scene_description>BOTH WOMEN TURN THEIR HEADS to the radio to listen .<\/scene_description>\n    <character>TEDDY THE RADIO MAN<\/character>\n    <dialogue>line drive up the alley's gon na score at least two, here comes the relay -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  DURHAM BALLPARK THE GAME NIGHT<\/stage_direction>\n    <scene_description>CRASH FLIPS HIS MASK - A runner rounds third heading for home . Here comes the throw , on a line . It hits once on the infield grass , takes a long hop - AS THE RUNNER BARRELS TOWARD THE PLATE - Crash takes the throw . THE RUNNER SLIDES - Crash blocks the plate . A cloud of dust . A close play . THE UMPIRE SIGNALS `` SAFE '' - And Crash flips out . In a second he is nose to nose with the UMPIRE .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>I got him on the knee!<\/dialogue>\n    <character>UMPIRE<\/character>\n    <dialogue>You missed him!<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>God damn It, Jack, he still ai n't touched the plate.<\/dialogue>\n    <scene_description>THEIR FACES ARE INCHES APART - Screaming face to face .<\/scene_description>\n    <character>UMPIRE<\/character>\n    <dialogue>Do n't bump me.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>It was a cocksucking call!<\/dialogue>\n    <character>UMPIRE<\/character>\n    <dialogue>Did you call me a cocksucker?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>No! I said It was a cock - sucking call and you ca n't run me for that!<\/dialogue>\n    <character>UMPIRE<\/character>\n    <dialogue>You missed the tag!<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>You spit on me!<\/dialogue>\n    <character>UMPIRE<\/character>\n    <dialogue>I did n't spit on you!<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>You're in the wrong business, Jack - you're Sears - Roebuck material!<\/dialogue>\n    <character>UMPIRE<\/character>\n    <dialogue>You're close, Crash, you want me to run you? I'll run you!<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>You want me to call you a cocksucker?!<\/dialogue>\n    <character>UMPIRE<\/character>\n    <dialogue>Try it! Go ahead. Call me a cocksucker!<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Beg me!<\/dialogue>\n    <character>UMPIRE<\/character>\n    <dialogue>Call me a cocksucker and you're outta here!<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Beg me again!<\/dialogue>\n    <character>UMPIRE<\/character>\n    <dialogue>Call me a cocksucker and you're outta here!<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>You're a cocksucker!<\/dialogue>\n    <character>UMPIRE<\/character>\n    <dialogue>You're outta here!<\/dialogue>\n    <scene_description>THE UMP THEATRICALLY THROWS CRASH out of the game .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ANNIE'S HOUSE -- SIMULTANEOUS<\/stage_direction>\n    <scene_description>ANNIE AND MILLIE STARE at the radio .<\/scene_description>\n    <character>TEDDY ON THE RADIO<\/character>\n    <dialogue>I've never seen Crash so angry and frankly, Bull fans, he used a certain word that's a `` no - no'' with umpires.<\/dialogue>\n    <character>MILLIE<\/character>\n    <dialogue>Crash musta called the guy a cocksucker<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>God, he's so romantic.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  THE SHOWERS NIGHT<\/stage_direction>\n    <scene_description>CRASH STANDS AGAINST the water , letting it stream across him . He raises a can of beer to his lips , drinks it slowly in the shower . As the water runs over Crash .<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>When Crash got throwed out, the game got out of hand.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>. Jose made three errors with his cursed mitt.<\/dialogue>\n    <scene_description>JOSE BOOTS A GROUND BALL - A runner scores .<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>Nuke never quite got in the groove though he did n't pitch bad.<\/dialogue>\n    <scene_description>NUKE JUST MISSES WITH A PITCH - Ball four .<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>and the winning streak came to an end with a 3 - 2 loss.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>The good news was that a man was about to come calling. the bad news was - it was the wrong guy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ANNIE'S LIVING ROOM NIGHT<\/stage_direction>\n    <scene_description>AS PIAF PLAYS on the stereo - A knock at the door . ANNIE GOES TO THE DOOR - Then refuses to answer it at first . She hides in a corner . Bites her fist .<\/scene_description>\n    <character>NUKE'S VOICE<\/character>\n    <dialogue>Annie! You got ta be in there - I can hear that crazy Mexican singer!<\/dialogue>\n    <scene_description>Annie smiles slightly , and opens the door .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>We lost.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>it's okay.<\/dialogue>\n    <scene_description>She opens the door fully . Nuke 's father stands there .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>I'd like you to meet my father.<\/dialogue>\n    <character>ANNIE<\/character>\n    <parenthetical>( surprised . )<\/parenthetical>\n    <dialogue>Oh - wo n't YOU come in?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ANNIE'S HOUSE<\/stage_direction>\n    <scene_description>AS THEY ENTER - She leads them into the kitchen .<\/scene_description>\n    <character>NUKE'S FATHER<\/character>\n    <dialogue>Ebby's told me a lot about you.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Uh oh.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Can I offer you some coffee?<\/dialogue>\n    <scene_description>THE KITCHEN - CONTINUOUS - NIGHT She puts a pot of water with a swirl of graciousness .<\/scene_description>\n    <character>NUKE'S FATHER<\/character>\n    <dialogue>Yeah. Ebby tells me you're a very spiritual woman. He tells me you've taught him a lot about discipline and self - control.<\/dialogue>\n    <scene_description>Annie and Nuke exchange glances . Nuke smiles .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>He's a good student.<\/dialogue>\n    <character>NUKE'S FATHER<\/character>\n    <dialogue>We were worried that Ebby might get involved with the wrong crowd in professional baseball - we're so pleased, he met a Christian woman.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Praise the Lord, eh?<\/dialogue>\n    <scene_description>The Piaf record begins skipping in the next room .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Oh my - I better fix that. Ebby will you help me? I'm no good with mechanical things<\/dialogue>\n    <scene_description>Nuke picks up his cue and follows her to : THE LIVING ROOM - CONTINUOUS - NIGHT Annie fixes the record .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>I could n't dump my old man but maybe later I can sneak away from him.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>You do n't have to.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>I'm starting to understand what you're teaching me. I mean the panties and the nostrils and all that shit. I mean I'm getting it -<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>So am I. Nuke, honey, we need to talk -<\/dialogue>\n    <scene_description>Nuke gets very aggressive and playful , pinning her .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>Aw hell, let's have a quickie right here -<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>- but you're father's in there!<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>Crash says I got ta quit worrying about him - c'mon, honey, we got a lotta catching up to do -<\/dialogue>\n    <scene_description>He pins her to the wall , she squirms away .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Nuke - we do need to talk!<\/dialogue>\n    <scene_description>BACK IN THE KITCHEN Nuke 's father is studying pictures on Annie 's wall . CLOSE ON A HELMUT NEWTON PHOTO - A nude woman , two afghans , and a toilet . CLOSE ON A PHOTO OF SWAMI PRABHAVANANDA YOGANDA CLOSE ON A POSTER OF A MARIJUANA LEAF with the inscription `` Better Living Through Mexican Agriculture '' . Nuke 's father is a bit unsettled by all this , when : The phone rings . ANNIE SWEEPS BACK into the kitchen - saved by the bell - to answer the phone . Nuke trails .<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>( on phone . )<\/parenthetical>\n    <dialogue>Hello? Skip? Yeah, as a matter of fact, he is here.<\/dialogue>\n    <scene_description>She hands the phone to Nuke .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>It's Skip, for you.<\/dialogue>\n    <character>NUKE<\/character>\n    <parenthetical>( ON PHONE . )<\/parenthetical>\n    <dialogue>Yeah, Skip, it's me.<\/dialogue>\n    <parenthetical>( several beats . )<\/parenthetical>\n    <dialogue>Jeez. Jeez. God. Jeez.<\/dialogue>\n    <scene_description>Nuke hangs up the phone . Looks at Annie and his father .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>I'm going to the Show.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>They're sending me up to finish out the season with the Big Club. I'm going to the Show!<\/dialogue>\n    <scene_description>NUKE 'S FATHER LEAPS TO HIS FEET and embraces his son .<\/scene_description>\n    <character>NUKE'S FATHER<\/character>\n    <dialogue>Let's have a quick word of prayer, right here, to thank the Lord for all this -<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Oh let's not.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>I got ta leave first thing in the morning.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>That's great!<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>How can I possibly thank you?<\/dialogue>\n    <scene_description>He embraces her rather formally .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Just pitch well and do good.<\/dialogue>\n    <scene_description>Nuke hustles his father out of the house .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>I will, I will - C'mon, Dad, I'll dump you off. I got ta find Crash.<\/dialogue>\n    <scene_description>As they exit , Nuke 's father turns to Annie :<\/scene_description>\n    <character>NUKE'S FATHER<\/character>\n    <dialogue>God bless you.<\/dialogue>\n    <character>ANNIE<\/character>\n    <parenthetical>( to herself . )<\/parenthetical>\n    <dialogue>She will, Mr. LaLoosh, she will.<\/dialogue>\n    <scene_description>ANNIE SITS DOWN in a kitchen chair . An enormous sigh .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE DOWNTOWNER MOTEL -- NIGHT<\/stage_direction>\n    <scene_description>Nuke knocks on Crash 's door . Nobody home . Tony is arriving with his GROUPIE GIRLFRIEND to the next room .<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>Crash ai n't there. He never gets back till four or five -<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>Where does he go?<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Well, I'd rather not say.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>They called me up to the Show and I wanta tell Crash goodbye.<\/dialogue>\n    <scene_description>TONY COMES OVER AND GIVES NUKE a heartfelt `` five '' .<\/scene_description>\n    <character>TONY<\/character>\n    <dialogue>Goddamn, that's great! Jesus!<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Listen, Crash do n't like anybody to know it but -.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Most nights he goes down to, you know, down to Niggertown. To Sandy's. the whorehouse.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>He goes to a whorehouse every night?<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Do n't tell him I told you - he'd break my neck.<\/dialogue>\n    <scene_description>CLOSE ON NUKE - Disturbed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE BLACK SECTION OF DURHAM -- NIGHT<\/stage_direction>\n    <scene_description>A CAB MOVES SLOWLY through a poor neighborhood . Stops at : AN OLD HOUSE - Decades of ad hoc add - ons .<\/scene_description>\n    <character>BLACK CABBIE<\/character>\n    <dialogue>That's Sandy's. Keep your extra cash In your shoes.<\/dialogue>\n    <scene_description>NUKE GETS OUT and goes to the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  SANDY'S WHOREHOUSE -- NIGHT<\/stage_direction>\n    <scene_description>NUKE KNOCKS AT THE DOOR - A small barred window opens . A face appears - a TOUGH BLACK , SANDY , 50 .<\/scene_description>\n    <character>SANDY<\/character>\n    <dialogue>What ` you want, kid?<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>Jim looking for somebody.<\/dialogue>\n    <character>SANDY<\/character>\n    <dialogue>Who ai n't?<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>Looking for Crash Davis.<\/dialogue>\n    <character>SANDY<\/character>\n    <dialogue>Ai n't here.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>I'm Nuke LaLoosh. With the Bulls.<\/dialogue>\n    <character>SANDY<\/character>\n    <parenthetical>( studying him . )<\/parenthetical>\n    <dialogue>Your breaking ball's getting better but ya need a change up.<\/dialogue>\n    <scene_description>The door opens . Nuke enters .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SANDY'S WHOREHOUSE -- NIGHT<\/stage_direction>\n    <scene_description>NUKE ENTERS TENTATIVELY - Another world . Grim . Sleazy . The Doorman leads him down a hallway full of doors . A BLACK PROSTITUTE enters a room with a HUGE REDNECK . As they go down the hallway , and as they do : We begin hearing singing - raucous , soulful , drunk . NUKE STOPS IN A DOORWAY - Looks into the `` waiting room '' . - P.O.V. SEVERAL HOOKERS in various stages of undress , sit on couches and chairs . Bored , smoking , ancient . The ONE WHITE HOOKER , a skinny 25 year old , accompanies on a guitar , struggling to keep up . And a couple HOOKERS are hanging around a piano that - CRASH IS PLAYING and singing . He does n't look up . Crash Is dressed but barefoot . A cigaret dangles from his mouth as he accompanies himself with decent cocktail lounge chords . Two Hookers at the piano hum along .<\/scene_description>\n    <character>CRASH<\/character>\n    <parenthetical>( SINGING AND PLAYING . )<\/parenthetical>\n    <dialogue>But when she does get weary - Try a little tenderness.<\/dialogue>\n    <scene_description>NUKE STEPS INTO THE ROOM - All the Hookers rise in anticipation of a new customer . Crash keeps playing , never looking up .<\/scene_description>\n    <character>CRASH<\/character>\n    <parenthetical>( SINGING CONT 'D . )<\/parenthetical>\n    <dialogue>You know she's waiting, just anticipating, the things that she'll never possess.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>While she's there waiting - Try a little tenderness.<\/dialogue>\n    <scene_description>Nuke interrupts the instrumental passage :<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>Crash. I'm going to the Show.<\/dialogue>\n    <scene_description>Crash Ignores him , keeps playing .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>Club's expanding its roster to finish the season -<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Shut up. I'm playing.<\/dialogue>\n    <parenthetical>( singing last 8 bars . )<\/parenthetical>\n    <dialogue>Oh you wo n't regret it, young girls do n't forget it, lost in their own wilderness.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>But it's all so easy - Just try a little tenderness.<\/dialogue>\n    <scene_description>As Crash plays on -<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>I'm going to the Show.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Then go.<\/dialogue>\n    <scene_description>NUKE GRABS CRASH by the hair and jerks him to his feet . The two men are face to face .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>I'm trying to thank you.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Let go of me!<\/dialogue>\n    <scene_description>NUKE LETS HIM GO and Crash staggers drunkenly against the piano , regaining his balance as : SANDY RUSHES IN WITH A GUN to break it up .<\/scene_description>\n    <character>SANDY<\/character>\n    <dialogue>He makin' trouble for you, Mr. Davis?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>No, no, Sandy, put it down.<\/dialogue>\n    <parenthetical>( drunkenly , to Nuke . )<\/parenthetical>\n    <dialogue>Nuke, you know Sandy Grimes? Hit.367 at Louisville in 155.<\/dialogue>\n    <character>SANDY<\/character>\n    <dialogue>I hit.371.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>He hit.371 - C'mon, Nuke - you and me, let's step outside and settle this.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>Settle what?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>C' mon!<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>I do n't wanta fight you, I wanta thank you. Let's have a drink and forget this -<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>God damn it, you fucking virgin prick - step outside.<\/dialogue>\n    <scene_description>Crash drunkenly heads out the back door in his underwear . Nuke reluctantly follows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE ALLEY BEHIND THE WHOREHOUSE -- NIGHT<\/stage_direction>\n    <scene_description>Several of the Hookers follow to watch . Crash is drunk and lost . Nuke in control .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>C'mon, we got nothin' to fight about.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>You fuck!<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>Why am I a fuck?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Why are you a fuck?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>'Cause you got talent. I got brains. But you got talent! You're God damn left arm is worth a million dollars a year.<\/dialogue>\n    <parenthetical>( drunken insight . )<\/parenthetical>\n    <dialogue>All my limbs put together are worth 7 cents a pound - and that's for science and dog meat.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>You're a great catcher.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Come over here into the light so I can kick your ass.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Okay, I'll kick your ass there.<\/dialogue>\n    <scene_description>Crash takes a step toward Nuke . Pulls up his bare feet quickly , stepping on a sharp stone .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>God damn. I forgot my fucking shoes. Honey, go get my shoes.<\/dialogue>\n    <scene_description>One of the Hookers goes inside for his shoes .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>I'll take you back to the hotel.<\/dialogue>\n    <character>CRASH<\/character>\n    <parenthetical>( drunken , mad . )<\/parenthetical>\n    <dialogue>You know what the difference Is between hitting.250 and hitting.300? 1 got it figured out.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Twenty - five hits a year in 500 at bats is 50 points. Okay? There's 6 months in a season, that's about 25 weeks - you get one extra flare a week - just one - a gork, a ground ball with eyes, a dying quail - just one more dying quail a week and you're in Yankee Stadium!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  THE WHOREHOUSE -- CONTINUOUS<\/stage_direction>\n    <scene_description>THE HOOKER FINDS CRASH 'S SHOES - Starts to bring them out to him when . she notices cash in one of them . The Hooker takes a few bills for herself , and continues out - BACK IN THE ALLEY - Crash finishes his tirade as : THE HOOKER COMES OUT WITH CRASH 'S SHOES He struggles drunkenly to put them on .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>Forget it. You ai n't worth thanking -<\/dialogue>\n    <scene_description>NUKE STARTS TO WALK AWAY - Crash fires his one free shoe at Nuke hitting him in the back of the head . NUKE WHIRLS - Comes after Crash .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>Come on, Meat.<\/dialogue>\n    <scene_description>CRASH SWINGS WILDLY - Nuke ducks it and level s Crash with a short right hand . CRASH CRASHES INTO SOME GARBAGE CANS - Lies there on his back for several beats . Nuke stares . CLOSE ON CRASH - Blood trickles from his mouth .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>Nuke. tell me something. Did you hit me with your right or your left?<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>My right.<\/dialogue>\n    <scene_description>Silence . Crash 's next line is both drunk and sober and we do n't know if he 's just being clever or if , somehow , he 's staged It all . Maybe even he does n't know .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>Good. Good. That's terrific.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>If ya get in a fight with some asshole, never hit his with your pitching hand. ya might get injured.<\/dialogue>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>That's another lesson for ya - now quit fucking around and help me up.<\/dialogue>\n    <scene_description>CRASH REACHES UP A HAND FOR HELP - Nuke stares back . AND FINALLY NUKE REACHES DOWN AND HELPS CRASH to his feet .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>Ya look like shit.<\/dialogue>\n    <scene_description>The two men head inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  DURHAM STADIUM -- NEXT MORNING -- EARLY<\/stage_direction>\n    <scene_description>NUKE 'S PORSCHE - The Clubhouse Boy drags Nuke 's out to the car and loads the trunk . Annie , Larry and a COUPLE KIDS AND DOGS are watching .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  THE LOCKER ROOM -- CONTINUOUS -- DAY<\/stage_direction>\n    <scene_description>NUKE CLEANS OUT HIS LOCKER - Filling his travel bag . Crash sits on a stool next to him . Sober .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>Sorry about last night.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>Forget it.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>I have been known, on occasion, to howl at the moon. D'you understand that?<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>You will.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Look, Nuke - these Big League hitters are gon na light you up like a pin ball machine for awhile - do n't worry about it. Be cocky and arrogant even when you're getting beat. That's the secret.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You got ta play this game with fear and arrogance.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>Fear and ignorance.<\/dialogue>\n    <character>CRASH<\/character>\n    <parenthetical>( raging . )<\/parenthetical>\n    <dialogue>No. Fear and arrogance, you, hayseed, not ignorance!<\/dialogue>\n    <character>NUKE<\/character>\n    <parenthetical>( smiles calmly . )<\/parenthetical>\n    <dialogue>I know. I just like to see you get all worked up.<\/dialogue>\n    <scene_description>Crash calms down . Sighs . Nuke nods and picks up his bags .<\/scene_description>\n    <character>NUKE<\/character>\n    <parenthetical>( knows it 's not true . )<\/parenthetical>\n    <dialogue>Well, I got Annie all warmed up for ya.<\/dialogue>\n    <parenthetical>( knows it is true . )<\/parenthetical>\n    <dialogue>She's just waiting for you to show up, y' know.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>I do n't need a crazy woman in my life.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>Maybe you do.<\/dialogue>\n    <parenthetical>( quick beat . )<\/parenthetical>\n    <dialogue>Y' know I'm starting to like this game - baseball's a helluva good way to make a living.<\/dialogue>\n    <scene_description>Crash speaks with quiet passion , from his soul .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>It's the best, Nuke. the absolute fucking best.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>Yeah, thanks for everything.<\/dialogue>\n    <scene_description>They shake hands , and Nuke heads out the door .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>Nuke -.<\/dialogue>\n    <parenthetical>( Nuke stops . )<\/parenthetical>\n    <dialogue>Good luck.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>You too. Meat.<\/dialogue>\n    <scene_description>Nuke smiles . A little arrogance and fear .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  DURHAM STADIUM -- CONTINUOUS DAY<\/stage_direction>\n    <scene_description>NUKE TOSSES HIS BAG in the Porsche and motions to Annie . They step away from the others .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Well I guess this is it.<\/dialogue>\n    <character>NUKE<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>I wo n't be needing these anymore.<\/dialogue>\n    <scene_description>NUKE PULLS ANNIE 'S RED PANTIES from his jacket pocket . The frilly , silk lace is tattered . The panties have been through the mill . She accepts them graciously .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Neither will I.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>I think I'm ready for the Show.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Ebby Calvin Nuke LaLoosh - do n't think too much.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>Do n't worry.<\/dialogue>\n    <scene_description>They look at each other awkwardly , sweetly , and : NUKE KISSES ANNIE GENTLY ON THE LIPS - They hesitate , and Nuke heads for his Porsche . CRASH ARRIVES IN THE DOORWAY to watch . Nuke bids farewell to his father and climbs into his car .<\/scene_description>\n    <character>NUKE<\/character>\n    <dialogue>I got ta go now, Dad.<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>I was thinking I could fly up and spend a week in the Big Leagues with you - help you get comfortable.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>No. If I screw up, I wanta do it alone. I'll call.<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>We'll be praying for you.<\/dialogue>\n    <character>NUKE<\/character>\n    <dialogue>Dad - if my curveball is hanging, God ai n't gon na help me.<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>We'll pray anyway.<\/dialogue>\n    <character>NUKE<\/character>\n    <parenthetical>( kindly . )<\/parenthetical>\n    <dialogue>If it makes you and mom feel better, go for it. I got ta run -<\/dialogue>\n    <scene_description>THEY SHAKE HANDS , AND : CRASH 'S P.O.V. - NUKE ROARS AWAY in his Porsche , leaving a trail of dust in the Stadium parking lot .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  DURHAM STADIUM -- DUSK<\/stage_direction>\n    <scene_description>MILLIE AND JIMMY 'S WEDDING - A formal wedding on the pitcher 's mound . Millie in white . Jimmy in his uniform . Skip is the best man , also in uniform , and several players and groupies are the attendants , Annie as the Bride 's Maid . Organ music plays the wedding march . JIMMY LIFTS MILLIE 'S VEIL and kisses her . The stands are full of fans . JIMMY LEADS MILLIE DOWN THE `` AISLE '' towards home plate .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  DURHAM STADIUM -- GAME IN PROGRESS -- NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON SCOREBOARD - Ninth inning . Durham is leading by a score of 1 to 0 . Two outs . JIMMY IS PITCHING - He delivers . The batter rockets a line drive up the alley . A PENINSULA RUNNER races from first , rounding third , trying to score . A relay . CRASH WAITS AT THE PLATE - Here comes the runner . Here comes the throw . A close play . A terrible collision . Crash goes rolling . The umpire waits - and in a cloud of dust , Crash holds up the ball . THE CROWD ROARS - Jimmy jumps victoriously in the air .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  THE LOCKER ROOM -- NIGHT<\/stage_direction>\n    <scene_description>The air of victory . The mood is up and goofy . Beer cans are squirted at Jimmy , the groom .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>I wanta thank everybody and the Lord for the victory, it's a wonderful way to celebrate my marriage - and I guess we're all back on a winning streak, eh? l A few raucous `` Fuckin A's'' from the team.<\/dialogue>\n    <character>TONY<\/character>\n    <dialogue>Hey, Jimmy - we chipped in and kind got a little gift for ya of a special wedding cake from the Durham Bulls.<\/dialogue>\n    <scene_description>DEKE CARRIES OUT AN WEDDING CAKE - It 's X - Rated . The decorative Bride and Groom are fucking . Jimmy 's embarrassed but it 's all good natured . CRASH COMING OUT OF THE SHOWER - Toweling off , watching the innocent , vulgar fun . He sits down in front of his locker , drying his hair , when the CLUBHOUSE BOY approaches :<\/scene_description>\n    <character>CLUBHOUSE BOY<\/character>\n    <dialogue>Hey, Crash - Skip wants to see ya.<\/dialogue>\n    <scene_description>CRASH RISES AND HEADS FOR SKIP 'S CUBICLE - Wearing only a towel and his shower shoes . INSIDE SKIP 'S OFFICE - Skip and Larry sit in postgame routine , checking charts , smoking , half dressed . CRASH ENTERS as he 's still drying off .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>Yeah, Skip, you wanted to see me?<\/dialogue>\n    <character>SKIP<\/character>\n    <dialogue>Crash, shut the door.<\/dialogue>\n    <scene_description>And it hits him . Crash looks at Skip , who looks down at the floor , unwilling to face Crash who then looks at Larry , who also looks away nervously . CRASH SHUTS THE DOOR - The party rages beyond .<\/scene_description>\n    <character>SKIP<\/character>\n    <parenthetical>( heartfelt . )<\/parenthetical>\n    <dialogue>This is the toughest job a manager has.<\/dialogue>\n    <scene_description>CLOSE ON CRASH - He 's been in the game too long to be surprised ; nonetheless , he 's surprised . And hurt . His stoicism is professional .<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>The organization wants to make a change. now that Nuke's gone they wanta bring up some young catcher.<\/dialogue>\n    <character>LARRY<\/character>\n    <dialogue>Some kid hittin'.300 in Lynchburg. probably a bust.<\/dialogue>\n    <character>SKIP<\/character>\n    <dialogue>I put in a word for you with the organization - told'em I thought you'd make a fine minor league manager someday. Might be an opening at Salem next year -<\/dialogue>\n    <scene_description>EXTREME CLOSE UP ON CRASH - His eyes are moist .<\/scene_description>\n    <character>SKIP<\/character>\n    <dialogue>Helluva year, Crash - you know how it is.<\/dialogue>\n    <scene_description>Silence . Crash stands there nearly nude . He just nods slightly . Without rancor or bitterness , he turns and re - enters the raucous locker room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  STREETS OF DURHAM -- NIGHT<\/stage_direction>\n    <scene_description>CRASH WALKS THE STREETS ALONE - Crash stops in front of a window and takes his batting stroke , studying the reflection . And he keeps walking into :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT.  CHEAP BAR IN DOWNTOWN DURHAM -- NIGHT<\/stage_direction>\n    <scene_description>CRASH DRINKING ALONE at the end of a bar .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  STREETS OF DURHAM -- NIGHT<\/stage_direction>\n    <scene_description>CRASH WANDERS ALONG into the residential neighborhoods . HE STARTS ACROSS A QUIET INTERSECTION Stops . Looks at the street signs . He CHANGES DIRECTION , walks on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  ANNIE'S HOUSE -- NIGHT<\/stage_direction>\n    <scene_description>The windows glow . After midnight . CRASH STARES AT THE HOUSE - Hesitates , then walks up the porch stairs . Knocks at the door . Moments later : ANNIE OPENS THE DOOR - She looks beautiful . Almost as if she was expecting him . At first , silence . Then :<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>I got released.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I heard already.<\/dialogue>\n    <scene_description>SHE OPENS THE DOOR - Crash enters Annie 's house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ANNIE'S HOUSE -- NIGHT<\/stage_direction>\n    <scene_description>ANNIE PUTS ON her favorite Piaf record . ANNIE POURS A DRINK for both of them . CRASH PUTS A HAND ON HER HIP - Annie closes her eyes , a tiny gasp . He kisses her forehead . She kisses his neck . A tiny smile from Crash . The same from Annie . SHE KISSES HIM on the corner of his mouth . Her hand finds the back of his head and she runs her fingers through his hair . CRASH RESPONDS - They kiss slowly , deeply . As - HIS HAND ON HER HIP PULLS UP HER SKIRT - By degrees , the skirt is raised up her stocking covered leg . At last exposing the beloved - BLACK GARTER SNAPS - Crash 's hand expertly holds up the skirt and effortlessly UNSNAPS THE GARTER with a minimum of effort . FLICK , FLICK , FLICK - The garter snaps are free .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Oh my.<\/dialogue>\n    <scene_description>THE BEDROOM - Crash carries Annie to the bed . ANNIE 'S FOOT KICKS OVER A LAMP onto the floor . ANNIE 'S BLOUSE FRONT - Flick , flick , flick . Crash unbuttons it with one hand in seconds . Even Annie is startled with the speed and ease of Crash 's hand . HER HAND SLIDES UNDER THE WAISTBAND of his underwear HIS HAND SLIDES UP UNDER HER panties . A FULL EMBRACE ON THE EDGE OF THE BED - Remnants of clothes cover parts of their bodies . They tumble out of control to the floor . ANNIE 'S HAND GRABS ONTO A DRESSER LEG - A carved oak antique , her hand holds on tight and shakes the dresser . THE DRESSER TOP SHAKES - Makeup bottles and pictures and dozens of Annie 's special things rattle and fall ANNIE 'S READ RESTS ON CRASH 'S STOMACH - Post coital , they lie on the floor blissfully as Piaf finishes . ANNIE CHANGES THE RECORD to Hank Williams . THE KITCHEN - ANNIE AND CRASH eat an after mid after sex snack . Crash eats a bowl of Wheaties . They each wear one of her robes . DISSOLVE '' Annie sits , munching a carrot and rolling a joint of marijuana she keeps in a Victorian jewel box .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>so you see in a former lifetime I'm sure that I was Alexandria, the Czarette of Russia? What do you think?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>How come in former lifetimes, everybody was someone famous?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>How come nobody ever says they were Joe Schmo?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>It does n't work like that.<\/dialogue>\n    <parenthetical>( stares at him . )<\/parenthetical>\n    <dialogue>God, you're gorgeous. Want to dance?<\/dialogue>\n    <scene_description>THEY KISS AGAIN - And fall gradually onto the table top . ANNIE SITS ON TOP OF CRASH lying on the kitchen table . He stretches out a leg and : KICKS THE BOWL OF CEREAL to the floor . It smashes - ceramics , milk , cereal go everywhere . As : THEY START MAKING LOVE AGAIN in the glaring kitchen light . CRASH AND ANNIE DANCE in her living room . THE BEDROOM - Crash is handcuffed to the bed . He seems perfectly happy as Annie reads Walt Whitman .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>mouth, tongue, lips, teeth, roof of the mouth, jaws, and the jaw hinges.<\/dialogue>\n    <scene_description>ANNIE HANDCUFFED TO THE BED - Crash reads .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>wrist and wrist joints, hand, palm, knuckles, thumb, fore - finger, finger - joints, finger - nail.<\/dialogue>\n    <scene_description>CRASH AT ANNIE 'S RECORD COLLECTION - He thumbs through it quickly , puts on a new record . The Dominoes sing `` Sixty Minute Man '' . And . THE BATHROOM - Candlelight around the bathtub . All we can make out is two heads , two bodies , sloshing wildly In the dim glow . Water splashes , dowses some candles . CRASH AND ANNIE IN BED READING - Each with a copy of a Thomas Pynchon novel . Crash tosses it aside . And disappears under the sheets , playing with her as she struggles to keep reading . She puts down the book . ANNIE APPLYING EYE MAKEUP TO CRASH - Who does n't resist , seems even amused . He kisses her deeply , slowly . She kisses him back . They fall onto the bed . P.O.V. OUT THE KITCHEN WINDOW - Dawn . A bird chirps . And we hear a record skipping , repeating endlessly . PAN ACROSS THE KITCHEN - Overturned chairs , spilled and broken cereal bowls , liquor bottles . PAN ACROSS THE BEDROOM - A disaster . Clothes scattered across the floor , overturned lamps , the bed lies at a cockeyed angle . Annie and Crash lie face down - asleep , utterly spent . CRASH WAKES UP SLOWLY - ` Reaches up and pulls his underwear off of a lampshade , pulls them on , and gets slowly out of bed . He staggers across the bedroom floor , stumbling a bit , into : THE LIVING ROOM - He stumbles across the trashed room . Record album covers , more liquor bottles , pillows , cushions , pictures hanging crookedly on the wall . CRASH TAKES THE SKIPPING RECORD off the player and breathes a sigh of relief . He sees his pants lying on the floor and pulls them on . CRASH OPENS A DRAWER - Pulls out a piece of paper and a pencil . He starts writing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  THE BEDROOM -- LATER<\/stage_direction>\n    <scene_description>Sun streams in . Annie opens her eyes . Rubs them . Reaches over for Crash . Her hand hits a note . She whirls . He 's gone . Only a note . SHE SITS UP WITH A START and reads the note .<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <dialogue>Crash said he had to get an early start to drive to Asheville in the South Atlantic League where he heard they might need a catcher to finish out the season.<\/dialogue>\n    <scene_description>ZOOM IN EXTREME CLOSE UP OF NOTE - `` Love , Crash '' .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  GREAT SMOKY MOUNTAINS -- DAY<\/stage_direction>\n    <scene_description>CRASH IN HIS CAR heading for Asheville .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  ASHEVILLE BASEBALL PARK -- DAY<\/stage_direction>\n    <scene_description>CRASH KNOCKING ON THE BASEBALL OFFICE DOOR - Looking for work .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ASHEVILLE LOCKER ROOM -- DAY<\/stage_direction>\n    <scene_description>CRASH UNLOADING HIS GEAR Into yet another locker .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ANNIE'S KITCHEN -- DAY<\/stage_direction>\n    <scene_description>ANNIE SCRUBBING HER KITCHEN FLOOR - Down on her hands and knees , picking up the broken cereal bowl .<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>( VOICE OVER CONT 'D . )<\/parenthetical>\n    <dialogue>The house smelled like sex for days. It was wonderful. The only real cleaning I did was on the kitchen floor'cause who likes to walk on spilt cereal?<\/dialogue>\n    <scene_description>SHE FINDS A BIT OF A JOINT on the floor as she 's cleaning . She picks it up , sits on the floor under the table , and lights the tiny joint .<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>( VOICE OVER CONT 'D . )<\/parenthetical>\n    <dialogue>The funny thing is, I stopped worrying about Nuke. Somehow I knew nothing would stop him. Crash was right - Nuke had a gift.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  INSIDE A MAJOR LEAGUE STADIUM (ATLANTA) -- DAY<\/stage_direction>\n    <scene_description>NUKE IN STREET CLOTHES IN THE DUGOUT of an empty stadium . 50,000 seats . Slick . Awesome . He 's being interviewed by a BIG LEAGUE REPORTER , who has a small tape deck and has stuck mike in Nuke 's face .<\/scene_description>\n    <character>NUKE<\/character>\n    <parenthetical>( like a big leaguer . )<\/parenthetical>\n    <dialogue>Y' know, I'm just happy to be here and hope I can help the ballclub. I just want to give it my best shot and good Lord willing, things'll work out. got ta play'em one day at a time, Y' know.<\/dialogue>\n    <scene_description>THE BIG LEAGUE REPORTER nods attentively as Nuke knowingly delivers the cliches like a veteran .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  ASHEVILLE STADIUM -- DAY<\/stage_direction>\n    <scene_description>In sharpest contrast to the Big League stadium , a rickety old wooden grandstand , carved into the pine covered hillside . CRASH STEPS TO THE PLATE - In a uniform we 've never seen him in , of course . The Asheville Tourists . He picks up some dirt , rubs it on his hands . He 's as intense as ever . Still playing for keeps .<\/scene_description>\n    <character>CRASH<\/character>\n    <parenthetical>( VOICE OVER . )<\/parenthetical>\n    <parenthetical>( at the plate . )<\/parenthetical>\n    <dialogue>C'mon, Meat, throw me that weak ass shit - c'mon, bring the heat, bring it, bring it.<\/dialogue>\n    <scene_description>CRASH 'S P.O.V. - SLO - MO AS THE PITCHER WINDS AND delivers a fastball right down the pipe .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ANNIE'S BEDROOM -- AFTERNOON<\/stage_direction>\n    <scene_description>ANNIE LIES IN BED READING - She suddenly jerks up .<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>( VOICE OVER CONT 'D . )<\/parenthetical>\n    <dialogue>I was reading in bed when Crash hit his 247th home run. I knew the moment it happened.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  ASHEVILLE STADIUM -- DAY<\/stage_direction>\n    <scene_description>CRASH UNLOADS A MONSTROUS HOME RUN deep into the trees . He stands at home plate watching it . like Reggie or the Babe . And does n't move . For several seconds he indulges himself uncharacteristically - until . THE OPPOSING CATCHER SHOVES HIM toward first .<\/scene_description>\n    <character>CATCHER<\/character>\n    <dialogue>Get your ass in gear.<\/dialogue>\n    <scene_description>CRASH SMILES and takes the home run trot slowly . As he heads toward first , HE RAISES A CLINCHED FIST for a brief moment , a tiny gesture of triumph . And then , routinely , he just circles the bases . A HUNDRED FANS APPLAUD ROUTINELY as he circles the bases .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ANNIE'S LIVING ROOM -- NIGHT<\/stage_direction>\n    <scene_description>SHE LIGHTS A CANDLE for the home run . Above the candles , displayed in the shrine , are her RED PANTIES .<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>( VOICE OVER CONT 'D . )<\/parenthetical>\n    <dialogue>I lit a candle for Crash's dinger. and tried to root the Durham Bulls home to a pennant.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  DURHAM STADIUM -- DAY<\/stage_direction>\n    <scene_description>ANNIE AND JACKSON OPEN AN UMBRELLA in her familiar place in the stadium . Umbrellas go up all around , as : THE RAINS COME - The players huddle - in the dugouts . IN THE DUGOUT Skip and Larry reading copies of `` The Tantric Yoga of Sex '' . And spitting tobacco .<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>( VOICE OVER CONT 'D . )<\/parenthetical>\n    <dialogue>The Kid from Lynchburg was n't good enough to hold Crash's jockstrap if ya ask me, and Nuke's replacement had a fastball that I coulda hit.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>We had a three game lead with two weeks to go when the rains came.<\/dialogue>\n    <scene_description>THE GROUND CREW DRAGS TARPS over the mound and the plate .<\/scene_description>\n    <character>ANNIE<\/character>\n    <parenthetical>( VOICE OVER CONT 'D . )<\/parenthetical>\n    <dialogue>It rained and rained and I thought of driving down to Asheville to see Crash but then I thought `` No, what you pursue, eludes you''. I had to trust Quantum Physics and the Church of Baseball.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>It ai n't always easy being this religious.<\/dialogue>\n    <scene_description>ANNIE AND JACKSON POP OPEN THEIR UMBRELLAS and walk out of the ballpark towards home .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  DURHAM NEIGHBORHOOD -- DAY<\/stage_direction>\n    <scene_description>ANNIE AND JACKSON UNDER UMBRELLAS - He turns down one street , she heads toward home .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  ANNIE'S HOUSE -- DAY<\/stage_direction>\n    <scene_description>AS SHE APPROACHES - She stops . Looks up . Crash 's beat up car in the driveway . P.O.V. CRASH SITTING ON THE PORCH SWING Still raining . CLOSE ON ANNIE - She hesitates , and smiles .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Oh my.<\/dialogue>\n    <scene_description>ANNIE SITS DOWN on the porch owing next to Crash .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>I quit. Hit my dinger and hung'em up.<\/dialogue>\n    <scene_description>A moment of silence over the significance of him quitting .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>I'm quitting too. Boys, not baseball.<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>There might be an opening for a manager at Salem next spring.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Salem, Massachusetts? Where all the witches were?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>Yeah. you a witch?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>Not yet. It takes years of practice.<\/dialogue>\n    <scene_description>He smiles slightly and takes her hand .<\/scene_description>\n    <character>CRASH<\/character>\n    <dialogue>You think I could make it to the Show as a manager?<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>You'd be great, just great.<\/dialogue>\n    <parenthetical>( rattling quickly . )<\/parenthetical>\n    <dialogue>'Cause you understand non - linear thinking even though it seems like baseball is a linear game'cause of the lines and the box scores an' all - but the fact is that there's a spacious - `` non - time kind of time'' to it.<\/dialogue>\n    <character>CRASH<\/character>\n    <parenthetical>( interrupting . )<\/parenthetical>\n    <dialogue>Annie -<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CRASH<\/character>\n    <dialogue>I got a lotta time to hear your theories and I wanta hear every damn one of'em. but right now I'm tired and I do n't wanta think about baseball and I do n't wanta think about Quantum Physics. I do n't wanta think about nothing.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I just wanta be.<\/dialogue>\n    <character>ANNIE<\/character>\n    <dialogue>I can do that, too.<\/dialogue>\n    <scene_description>He rises , takes her hand , and they head inside . And as the rains fall on Durham .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ANNIE'S HOUSE -- DAY<\/stage_direction>\n    <scene_description>THE SHRINE GLOWS - Candles everywhere . Rain pours down on the windows outside . And . ANNIE AND CRASH SIT ON THE COUCH together , in silence .<\/scene_description>\n    <character>ANNIE<\/character>\n    <dialogue>Walt Whitman once said - `` I see great things in baseball. It's our game - the American game.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>He said `` it will repair our losses and be a blessing to us''.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You could look it up.<\/dialogue>\n    <scene_description>The music - Dave Frishberg sings `` Van Lingle Mungo '' . THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"\"Crash\" Davis (Costner), a veteran of 12 years in minor league baseball, is sent down to the single-A Durham Bulls for a specific purpose: to educate hotshot rookie pitcher Ebby Calvin LaLoosh  (Robbins, playing a character loosely based on Steve Dalkowski) about becoming a major-league talent, and to control Ebby's haphazard pitching. Crash immediately begins calling Ebby by the degrading nickname of \"Meat\", and they get off to a rocky start. Thrown into the mix is Annie (Sarandon), a \"baseball groupie\" and lifelong spiritual seeker who has latched onto the \"Church of Baseball\" and has, every year, chosen one player on the Bulls to be her lover and student. Annie flirts with both Crash and Ebby and invites them to her house, but Crash walks out, saying he's too much of a veteran to \"try out\" for anything. Before he leaves, Crash further sparks Annie's interest with a memorable speech listing the things he \"believes in\", ending with \"I believe in long, slow, deep, soft, wet kisses that last three days... Good night\". Despite some animosity between them, Annie and Crash work, in their own ways, to shape Ebby into a big-league pitcher. Annie plays mild bondage games, reads poetry to him, and gets him to think in different ways (and gives him the nickname \"Nuke\"). Crash forces Nuke to learn \"not to think\" by letting the catcher make the pitching calls (memorably at two points telling the batters what pitch is coming after Nuke rejects his calls), and lectures him about the pressure of facing major league hitters who can hit his \"heat\" (fastballs). Crash also talks about the pleasure of life in \"The Show\" (Major League Baseball), which he briefly lived for \"the 21 greatest days of my life\" and to which he has tried for years to return. Meanwhile, as Nuke matures, the relationship between Annie and Crash grows, until it becomes obvious that the two of them are a more appropriate match, except for the fact that Annie and Nuke are currently a couple. After a rough start, Nuke becomes a dominant pitcher by mid-season. By the end of the movie, Nuke is called up to \"The Show\". This incites jealous anger in Crash, who is frustrated by Nuke's failure to recognize all the talent he was blessed with. Nuke leaves for the big leagues, Annie ends their relationship, and Crash overcomes his jealousy to leave Nuke with some final words of advice.  The Bulls, now having no use for Nuke's mentor, release Crash. Crash then presents himself at Annie's house and the two consummate their attraction with a weekend-long lovemaking session. Crash then leaves Annie's house to seek a further minor-league position. Crash joins another team, the Asheville Tourists, and breaks the minor-league record for career home runs. We see Nuke one last time, being interviewed by the press as a major leaguer, reciting the clich\u00e9d answers that Crash had taught him earlier. Crash then retires as a player and returns to Durham, where Annie tells him she's ready to give up her annual affairs with \"boys\". Crash tells her that he is thinking about becoming a manager for a minor-league team in Visalia. The film ends with Annie and Crash dancing in Annie's candle-lit living room."}
{"movie_name":"Annihilation_2018","imdb_id":"tt2798920","script":"<script>\n  <scene>\n    <character>ANNIHILATION<\/character>\n    <dialogue>Alex Garland V.10 OPEN ON -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTER SPACE<\/stage_direction>\n    <scene_description>- blackness, and stars. In the stars, a lump of rock and ice, moving through space, leaving a trail of dust and ice crystals. Locked deep inside the ice, blue-green iridescence. Rotate around the METEOR, to reveal - - the MOON. Float past the bone-white orb, over the Sea Of Tranquility, to reveal - - Earth. Blue-green jewel. Race towards the planet. Start to blaze as we hit the atmosphere. Lighting up like phosphorus. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTER ATMOSPHERE - NIGHT<\/stage_direction>\n    <scene_description>- the METEOR burning in the outer atmosphere of Earth. The integrity of the rock and ice suddenly gives way. The body fragments. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOWER ATMOSPHERE - NIGHT<\/stage_direction>\n    <scene_description>- the meteor fragments separating, drifting away. Most pieces burn away to nothing. Until there is only one. Racing down towards the OCEAN. On which we find a COAST LINE. And then a LIGHTHOUSE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIGHTHOUSE - NIGHT<\/stage_direction>\n    <scene_description>The meteor has almost burned to nothing before it impacts. What was a vast lump of extraterrestrial rock is now barely an ember. A SPARK. Then it hits the ground by the LIGHTHOUSE...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>.. drilling into the earth like a bullet hole.<\/stage_direction>\n    <scene_description>CUT TO - - an alien form. A creature from another world. It has tendrils. It shimmers with iridescent colour. It has immense fractal complexity in its shape. And it's moving. Gently, like a sea anemone in a swell. Beats pass. Then we hear a woman's voice.<\/scene_description>\n    <character>WOMAN (O.S.)<\/character>\n    <dialogue>This is a cell.<\/dialogue>\n    <scene_description>As we watch, the alien creature starts to divide.<\/scene_description>\n    <character>WOMAN (O.S.)<\/character>\n    <dialogue>Like all cells, it derived from an existing cell.<\/dialogue>\n    <scene_description>The creature is now half-way through the division, separating into a mirror of itself.<\/scene_description>\n    <character>WOMAN (O.S.)<\/character>\n    <dialogue>By extension, all cells were ultimately derived from one cell. A single organism, alone on planet Earth, perhaps alone in the universe, about four billion years ago.<\/dialogue>\n    <scene_description>The creature completes its division. Immediately its two halves start the same process again.<\/scene_description>\n    <character>WOMAN (O.S.)<\/character>\n    <dialogue>One became two. Two became four. Then eight. Sixteen. Thirty two.<\/dialogue>\n    <character>WOMAN (O.S.)<\/character>\n    <dialogue>The rhythm of the dividing pair, which becomes the structure of every microbe, blade of grass, sea creature, land creature, and human. The structure of everything that lives -<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOHNS HOPKINS MEDICAL SCHOOL\/SEMINAR ROOM - DAY<\/stage_direction>\n    <scene_description>- LENA KERANS. Thirty years old. Recently completed her doctorate, now teaching a seminar class of first-year MEDICAL STUDENTS.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>- and everything that dies.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>As students of medicine, as the doctors of tomorrow, that's where you come in.<\/dialogue>\n    <scene_description>She gestures to the screen behind her - which shows the electron microscope images that we have been watching.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>The cell you've been looking at is from a tumour. Female patient, early thirties, taken from her cervix. Over the course of the coming term...<\/dialogue>\n    <scene_description>LENA pauses. A couple of the MED STUDENTS look up from their note-taking, aware of the silence - - and see that their tutor has been momentarily distracted. Her head is turned to the window - - where outside, above the tree tops, a FULL MOON hangs in the blue sky. The image of the MOON in daylight is gently surreal. Arresting, because the sky is so cloudless and clear. Almost absently, LENA'S hand goes to her neck, and her fingers lightly touch a SILVER LOCKET that hangs from a slender chain. As the silence extends, the STUDENTS exchange a glance. Then LENA'S focus returns. Becomes aware she has zoned out.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>... Excuse me.<\/dialogue>\n    <scene_description>She picks up the thread.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Over the course of the coming term, we will be closely examining these cancer cells in vitro, and observing autophagic activity.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JOHNS HOPKINS MEDICAL SCHOOL\/CAMPUS - DAY<\/stage_direction>\n    <scene_description>LENA walks across the campus. A man in his forties jogs up to her. DANIEL MAITLAND.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Lena.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Dan.<\/dialogue>\n    <scene_description>LENA doesn't break stride, so he falls in beside her.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>I keep looking for you at lunch, but you never seem to be around.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>I've been catching up on some writing.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>All work and no play. It's not healthy.<\/dialogue>\n    <scene_description>LENA keeps walking.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>I wanted to ask. Do you have plans Saturday?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>... Saturday.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Sarah and I have a few people coming over. A garden party, while the weather holds.<\/dialogue>\n    <scene_description>LENA gives the neutral frown of someone prepping a polite excuse.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>You mean this Saturday?<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Actually, I do have something planned.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Are you sure? I think it'll be a lot of fun. We've asked Amir and Jenny, and -<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>(cuts in)<\/parenthetical>\n    <dialogue>Thanks, Dan. I appreciate it. But I was going to paint our bedroom.<\/dialogue>\n    <scene_description>LENA corrects herself immediately.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>The bedroom.<\/dialogue>\n    <scene_description>DANIEL looks at LENA.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>It's been a year, Lena. You're allowed to come to a barbecue.<\/dialogue>\n    <scene_description>DANIEL reaches out. Catches LENA'S arm. Stops her.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>It's not a betrayal. Not an insult to his memory.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>I'm going to paint the bedroom.<\/dialogue>\n    <scene_description>DANIEL gives way. Removes his hand.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Home improvements.<\/dialogue>\n    <scene_description>LENA smiles perfunctorily.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Yes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURB - DAY<\/stage_direction>\n    <scene_description>Bright, flat sunlight pushes through tree tops. A broad road. Detached houses. Green lawns. Two children on push-bikes glide down the sidewalk.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>A quiet house. Stillness in the rooms. Photographs in the BEDROOM show a couple. LENA, with a man in his early thirties. KANE. KANE is a soldier. Images show him in uniform, with comrades, in a baked landscape of rock and dust. He smiles easily at the camera. Full of life in these frozen snapshots. One of the images shows a wedding. LENA in white. The couple embracing. Another shows the couple in Verona. Perhaps the honeymoon.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE\/LIVING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>LENA sits on the sofa. Legs curled beneath her. In one hand, she holds her SILVER LOCKET. It's open. Inside is a PHOTO of KANE. She gazes at it. We can feel LENA'S effort to modulate her breathing. Inhaling and exhaling through parted lips. Less controlled, tears spill down her face. Down her cheeks and neck. Into the corner of her mouth. TITLE:<\/scene_description>\n    <character>ANNIHILATION<\/character>\n    <dialogue>Then, into the quiet and stillness, MUSIC intrudes. CUT TO -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE\/GARAGE - DAY<\/stage_direction>\n    <scene_description>- the garage. Full of dust and boxes and junk. LENA pulls stuff from shelves. On a mission. Searching for a particular half-collapsed cardboard box. Inside: tins of paint and a roller. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE\/BEDROOM - DAY<\/stage_direction>\n    <scene_description>- the speakers from which the MUSIC is playing. - the framed photographs of LENA and KANE, which are now off the walls, and stacked on the landing. - a PLASTIC SHEET as it rises up, billows, then settles over the DOUBLE BED. - a flathead screwdriver pushes under the rim of a tub of paint and pops the lid. LENA runs a primed roller over the wall. Leaving a fat white stripe over the old colour. Flecking her shirt and face with paint. Smearing it off her forehead with the back of her hand. Repainting the room is an act of moving on. She is energised. Focused. So focused - - that she doesn't see the figure that appears in the doorway of the bedroom. KANE. He seems different to the photos. In uniform, but bloodless in his complexion. Older in his gaze. He watches LENA painting. Oddly blank. Not announcing his presence - - until she turns, needing to reload the roller - - and sees him. First, she jolts at the sight of the figure. Second, she recognises him.<\/scene_description>\n    <character>LENA<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>Oh God.<\/dialogue>\n    <scene_description>The roller slips from her hand. Lands with a wet slap on the floor. She walks towards KANE. Puts a hand on his cheek, in the way she might touch a clear window to see if it holds a pane of glass. Then she grabs his face with both palms. Kissing him as she talks.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Oh God, oh God - I thought you were gone - gone forever - forever.<\/dialogue>\n    <scene_description>She's crying, laughing. He isn't. CUT TO - - the two of them falling down to the paint-flecked plastic sheet over the double bed. LENA on top, pulling off her shirt, pulling at KANE'S belt and trousers. They start making love. But her passion remains completely unmatched by him. He is glazed and distant. No more than compliant. Until finally - - she has to acknowledge it. She breaks off. Hurt, confused. Looking down at him.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>... Kane?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE\/KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>KANE sits at the table. In front of him is a glass of water. He stares at the clear liquid, but doesn't drink it. LENA stands by the counter. Confusion has transformed now into frustration and anger.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>You must be able to tell me something. Vanished off the face of the Earth for twelve months. I deserve a better explanation than... no explanation.<\/dialogue>\n    <scene_description>KANE doesn't answer.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>No one knew anything about your unit. I contacted everyone. Everyone I could. The other wives and partners knew as little as me.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Was it covert?<\/dialogue>\n    <character>KANE<\/character>\n    <dialogue>... Maybe.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>What does that mean: 'maybe'?<\/dialogue>\n    <character>KANE<\/character>\n    <dialogue>Okay, yes. Covert. I think so.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Pakistan again.<\/dialogue>\n    <character>KANE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Yemen?<\/dialogue>\n    <character>KANE<\/character>\n    <dialogue>I can't tell you.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>So it is classified.<\/dialogue>\n    <character>KANE<\/character>\n    <dialogue>I mean: I can't tell you. I don't know where it was. Or...<\/dialogue>\n    <scene_description>He trails off. LENA frowns.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>You're telling me you don't know where you've been? How can that even be possible? Was it hot?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Was there snow? Did the people speak Swahili, or Portuguese, or Pashto?<\/dialogue>\n    <scene_description>KANE says nothing. LENA processes for a beat. Fighting back the strangeness of the conversation. Trying to assert reason.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>How long have you been back?<\/dialogue>\n    <character>KANE<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Well - how did you get back? Which base did they fly you to?<\/dialogue>\n    <character>KANE<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>What about the rest of your unit? Did they return with you?<\/dialogue>\n    <scene_description>For the first time, we see something tangible in KANE. A helplessness. A dimly understood fear.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <scene_description>Silence. As LENA suddenly understands: her husband is profoundly damaged. His body has returned to her, but not his mind. She takes a seat opposite him at the table. Then takes his hand. He doesn't resist.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Kane.<\/dialogue>\n    <scene_description>He looks at her.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>How did you get home?<\/dialogue>\n    <character>KANE<\/character>\n    <dialogue>I...<\/dialogue>\n    <scene_description>He breaks off a moment.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>I was outside.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Outside the house.<\/dialogue>\n    <character>KANE<\/character>\n    <dialogue>No. Outside the bedroom. Just upstairs, on the landing. The door was open, and... I saw you.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>I remembered you. I remembered your face.<\/dialogue>\n    <scene_description>Silence. Then KANE detaches his hand from LENA'S. He reaches for the glass of water. Takes a single sip. Then puts the glass back down. REVEAL - - in the water, a strand of blood hangs. Suspended. It can only be from inside KANE'S mouth. KANE looks up at LENA.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>I don't think I'm very well.<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMBULANCE - NIGHT<\/stage_direction>\n    <scene_description>- the interior of an AMBULANCE, driving fast through the night streets. SIREN howling. KANE - strapped to a stretcher in the back, rolled-back eyes, half-raised - vomits blood. A PARAMEDIC tries to support him with one arm while speaking urgently into a radio.<\/scene_description>\n    <character>PARAMEDIC<\/character>\n    <dialogue>Male, thirty one, hemorrhage, in seizure. Wife reports confused state. Possible concussion, but no sign of head wound.<\/dialogue>\n    <scene_description>Kneeling by KANE, LENA wipes at the blood on his face. Tries to hold his lolling head.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Baby, baby, stay with me -<\/dialogue>\n    <character>PARAMEDIC<\/character>\n    <dialogue>Prepare emergency team for ETA in six mikes -<\/dialogue>\n    <scene_description>Suddenly - - the PARAMEDIC is interrupted by a second SIREN joining the first. Then a THIRD and FOURTH. Blue lights start pulsing through the windows. Above the sirens, the PARAMEDIC shouts to the AMBULANCE DRIVER.<\/scene_description>\n    <character>PARAMEDIC<\/character>\n    <dialogue>Did you call for a police escort?<\/dialogue>\n    <character>AMBULANCE DRIVER<\/character>\n    <dialogue>They aren't police!<\/dialogue>\n    <character>PARAMEDIC<\/character>\n    <dialogue>What the Hell?<\/dialogue>\n    <scene_description>The PARAMEDIC looks out of the window. As he does so - - the interior of the ambulance is flooded with BLINDING WHITE LIGHT and a ROAR OF ENGINE NOISE. From LENA'S bleached face, disorientated by the horror and sensory overload, CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>- the street outside the ambulance, where the reason for the noise and light is explained. The AMBULANCE is flanked by three black SUVs, and above it, a HELICOPTER. No more than four metres off the ground. Shining a spotlight straight down at the front windscreen. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMBULANCE - CONTINUOUS<\/stage_direction>\n    <scene_description>- the AMBULANCE DRIVER -<\/scene_description>\n    <character>AMBULANCE DRIVER<\/character>\n    <dialogue>Jesus Christ!<\/dialogue>\n    <scene_description>- dazzled, slamming his foot on the brakes -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>- sending the vehicle into a skid -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMBULANCE - CONTINUOUS<\/stage_direction>\n    <scene_description>- which slams LENA and the PARAMEDIC hard against the wall of the vehicle. The semi-conscious KANE is held fast by the stretcher straps.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>- the AMBULANCE skids to a stop. The SUVs expertly slide to halt around it. Then immediately disgorge UNIFORMED ARMED MEN. Black gear, stubby semi-automatic machine guns. SPEC OPS. The SPEC OPS soldiers pull open the rear doors of the ambulance. Drag out LENA and the PARAMEDIC. In the FOREGROUND the HELICOPTER lands in the road. Obscuring our vision, and deafening us. Through the obliterating rotor blade wash, we can hear LENA.<\/scene_description>\n    <character>LENA<\/character>\n    <parenthetical>(screaming)<\/parenthetical>\n    <dialogue>What are you doing? Let him go! Let him go!<\/dialogue>\n    <scene_description>CUT TO - - LENA, fighting as two of the SPEC OPS try to hold her. - the PARAMEDIC and DRIVER being dragged out of view. - KANE pulled on his stretcher from the AMBULANCE. - something jammed into LENA'S neck. A one-hit disposable syringe. The tranquiliser drops to the floor, as the fight bleeds out of LENA. Then consciousness. Sound and light fade as the sedative takes over. BLACK SCREEN. CAPTION: PART ONE - THE SOUTHERN REACH: CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOUTHERN REACH FACILITY\/INTERVIEW ROOM<\/stage_direction>\n    <scene_description>- a view of door. Set into a concrete wall, in an otherwise featureless and windowless room. Silence, except the sound of breathing. REVEAL LENA. She is sat on a chair, on one side of a table. She wears the same clothes we last saw her in. But time has passed. Several hours at least. The blood of her husband is now dried black, stiffened on the material of her short and trousers, rusted and flaking on her hands. She is trembling. Beats pass. Then the door UNLOCKS, startling LENA. REVEALING a woman in her late-forties. This is DR VENTRESS. Glasses. Suit. Smiling. She's holding a small plastic bottle of mineral water.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <scene_description>DR VENTRESS enters the room and closes the door - which locks behind her.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>You probably feel dreadful. Queasy. A nasty metal taste in the mouth. Headache.<\/dialogue>\n    <scene_description>LENA looks at her.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Would you like some water?<\/dialogue>\n    <scene_description>The doctor holds out the plastic bottle. LENA hesitates. Then with slightly uncertain fingers, takes it. Opens it. Has a sip.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>That's better, isn't it?<\/dialogue>\n    <scene_description>LENA returns the woman's gaze.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>I'm a psychologist.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>What does that mean?<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>That I study people's emotional states.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>I know what a fucking psychologist is. I'm asking: why am I talking to one?<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Because I'm in charge of the facility you're in.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>... I'm in a psychiatric hospital?<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Then what? Where am I? And where's my husband?<\/dialogue>\n    <scene_description>DR VENTRESS ignores the questions. She takes the chair opposite LENA, and sits down.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>You're a biologist.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>So what?<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>You completed a doctorate at Johns Hopkins.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Your research area is the genetically programmed life-cycle of the cell. Is it fascinating?<\/dialogue>\n    <scene_description>LENA leans forwards. Enunciates.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Where is my husband?<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Yes. Let's talk about him. Sergeant Kane. When did he arrive home?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>That depends how long I've been here.<\/dialogue>\n    <scene_description>DR VENTRESS says nothing.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>I think it was yesterday.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Had he contacted you at any point over the last few months?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>No. He left on - whatever he was doing. Whatever spec-ops mission. That was the last I heard until he reappeared.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>He didn't tell you what he was doing. Or where he was going.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>He never did. I never asked.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>But you made regular requests for information about him to his unit CO, until six months ago. Then you stopped. Why was that?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Because we had an agreement. Between us. Six months of radio silence meant I was to assume he was dead. And move on.<\/dialogue>\n    <scene_description>DR VENTRESS gives a sympathetic nod.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>It's not easy to move on.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>I didn't.<\/dialogue>\n    <scene_description>Silence. LENA sits back in her chair.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>You know what? I think I just figured you out. You're CIA. And Kane was on some kind of operation for you. And you believe he told me something before he got sick.<\/dialogue>\n    <scene_description>LENA fixes the woman opposite with an even gaze.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>So let's cut the shit. I'm done answering questions. It's your turn.<\/dialogue>\n    <scene_description>A pause.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>I'm not CIA, but I used to be. And your husband is in the same building as you. And I should tell you, he's extremely ill.<\/dialogue>\n    <scene_description>LENA catches her breath. But stays composed.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Ill in what way?<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>We don't actually know. He doesn't test positive for any known condition - but, objectively, his body is hemorrhaging and his organs are failing.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>... He's dying.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>We have him on life-support in an induced cold-coma. His metabolism is slowed nearly to a stop. It gives... a degree of time.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>He must have been exposed to something.<\/dialogue>\n    <scene_description>DR VENTRESS adds nothing.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Radiation. A virus of some sort.<\/dialogue>\n    <scene_description>LENA leans forwards.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>For Christ's sake - I might actually be able to help him. You have to tell me where has he been and what was he doing.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>I can't talk about that. You understand.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Clearly, I don't!<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>You understand that I'm not going to talk about it.<\/dialogue>\n    <scene_description>The doctor stands. The door unbolts in anticipation of her exit. As it swings open, it reveals a SPEC OPS SOLDIER standing guard in the corridor outside.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>I'll be back later.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>You still haven't told me anything about what's going on or what I'm doing here!<\/dialogue>\n    <scene_description>DR VENTRESS has reached the door.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>We'll speak again.<\/dialogue>\n    <scene_description>LENA stands.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>At least let me change out of these clothes!<\/dialogue>\n    <scene_description>DR VENTRESS pauses. LENA holds up her hands.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>I'm covered in my husband's blood.<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOUTHERN REACH FACILITY\/SHOWER<\/stage_direction>\n    <scene_description>- LENA, under a shower stream, washing the blood from her body. From her hair. Fingernails. REVEAL the shower space. Another windowless room. Tiled walls and floors. A military feel, or prison. Rows of un- partitioned shower-heads. An ORANGE JUMPSUIT is folded on a changing bench. A pair of white sneakers are beneath it. At the door of the shower room, an armed SPEC-OPS SOLDIER stands guard. His back is to the room, to protect LENA'S modesty.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOUTHERN REACH FACILITY\/CORRIDOR<\/stage_direction>\n    <scene_description>LENA walks down a corridor, back towards the interview room. Wearing the jumpsuit and sneakers. The SPEC OPS soldier walks slightly behind. LENA glances back at him. SEES SOMETHING. On his belt, a clip containing two of the one-hit SYRINGE VIALS that were used to sedate her.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Do you know my husband? Sergeant Kane.<\/dialogue>\n    <scene_description>The SPEC OPS SOLDIER doesn't react.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Just wondering if you've served together. You are the 427th, right?<\/dialogue>\n    <scene_description>The SPEC OPS SOLDIER stops by the door to the interview room.<\/scene_description>\n    <character>SPEC OPS SOLDIER<\/character>\n    <dialogue>Just here, please, ma'am.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOUTHERN REACH FACILITY\/INTERVIEW ROOM<\/stage_direction>\n    <scene_description>LENA stops in the door frame.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>I just want to know what's happened to him.<\/dialogue>\n    <character>SPEC OPS SOLDIER<\/character>\n    <dialogue>Enter the room, ma'am.<\/dialogue>\n    <scene_description>But rather than take a step back, she takes a step forwards, towards the soldier. Her eyes brim.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Please.<\/dialogue>\n    <character>SPEC OPS SOLDIER<\/character>\n    <dialogue>Ma'am.<\/dialogue>\n    <scene_description>A tear spills. Her hand touches the soldier's chest, in the way she touched KANE'S chest.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>If you know anything at all, can't you just -<\/dialogue>\n    <scene_description>It's a ploy. There is a SUDDEN fluid motion. With her other hand, LENA has unclipped one of the TRANQUILISERS. In a FLASH it's up and jammed into the soldier's neck.<\/scene_description>\n    <character>SPEC OPS SOLDIER<\/character>\n    <dialogue>Ah! Bitch - you -<\/dialogue>\n    <scene_description>His hand claws at the vial. Knocks it out. All too late. He exhales. Folds. Falling forwards into the room. As he hits the concrete, CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOUTHERN REACH FACILITY\/CORRIDOR<\/stage_direction>\n    <scene_description>- LENA bolting the interview room door closed. She looks left. Right.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOUTHERN REACH FACILITY\/CORRIDOR<\/stage_direction>\n    <scene_description>LENA walk-runs through the facility. Silent on the linoleum floor in her white sneakers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOUTHERN REACH FACILITY\/ELEVATOR LOBBY<\/stage_direction>\n    <scene_description>LENA enters an elevator lobby. She goes straight to the control panel, and hits the call button. Nothing happens. Beside the panel is a glass plate, with the outline of a hand. The elevator requires a palm-print biometric pass.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>... Shit.<\/dialogue>\n    <scene_description>AT THAT MOMENT, startling LENA, the elevator CHIMES. The car has just arrived on this floor. As the doors start to open, CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOUTHERN REACH FACILITY\/ELEVATOR<\/stage_direction>\n    <scene_description>- inside the elevator, where DR VENTRESS is arguing with a SPEC OPS CAPTAIN.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>While the facility remains under my command, the way I structure the team is my business, Captain.<\/dialogue>\n    <scene_description>They exit the elevator, into the lobby -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOUTHERN REACH FACILITY\/ELEVATOR LOBBY<\/stage_direction>\n    <scene_description>- without noticing LENA, pressed to the wall, just out of their line of sight.<\/scene_description>\n    <character>SPEC OPS CAPTAIN<\/character>\n    <dialogue>In forty eight hours, it won't be under your command. It'll be under Pentagon control, where it should be.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>So take it up with Washington. By the time you've found anyone with the authority to stop me, we'll be gone.<\/dialogue>\n    <scene_description>As they walk away, LENA slips inside the elevator, just as the doors start closing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOUTHERN REACH FACILITY\/ELEVATOR<\/stage_direction>\n    <scene_description>Inside the elevator, LENA hurriedly scans the different floor options. It's LENA'S first geographical indication of where she is. There are four levels in the building. One below ground, and three above. B is SECURITY. \\* is LOBBY. 1 is RESEARCH. 2 is LIVING. By the digital readout, she is on B.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>'Southern Reach'? What the Hell?<\/dialogue>\n    <scene_description>LENA hesitates over the panel for a moment. Then hits the LOBBY button. Nothing happens. She hits it again. Nothing. Sees - beside the control panel, another BIOMETRIC READER.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>... Oh shit.<\/dialogue>\n    <scene_description>She touches the biometric pad. An error code sounds.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Come on, please. No, no, no...<\/dialogue>\n    <scene_description>A terrible sense that she has managed to escape from a small locked room into an even smaller one. Then SUDDENLY - - the elevator starts moving. On the digital panel, the numbers start moving upwards. Past the lobby - to level 1. Where it stops. The doors OPEN, revealing a man in a white lab coat. A SCIENTIST of some sort. His head is dropped, reading through a sheaf of forms, which he is filling out. LENA stands, back straight against the wall, terrified to meet his gaze. But he hardly seems to notice her. Just touches the biometric pad, and presses the button for Level 2. The doors close. The elevator starts moving again. Then, still without raising his head, the SCIENTIST speaks.<\/scene_description>\n    <character>SCIENTIST<\/character>\n    <dialogue>Man, the bureaucracy of this place.<\/dialogue>\n    <scene_description>LENA knows a response is needed. Doesn't want to give the man an excuse to look up.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>... Tell me about it.<\/dialogue>\n    <character>SCIENTIST<\/character>\n    <dialogue>Need to fill out an application just to have a nervous breakdown.<\/dialogue>\n    <scene_description>This feels like it can be met with silence. Then a beat later, the doors chime. And open - - REVEALING a large room, thronged with people, and a buzz of conversation.<\/scene_description>\n    <character>SCIENTIST<\/character>\n    <dialogue>After you.<\/dialogue>\n    <scene_description>LENA has no choice but to walk out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOUTHERN REACH FACILITY\/MESS HALL - DAY<\/stage_direction>\n    <scene_description>LENA has entered into the MESS HALL of the facility. It is packed with SOLDIERS, SCIENTISTS, and ADMINISTRATIVE STAFF. They sit at tables, chatting. Carry trays with food, and drinks. On the far side of the room, there is a floor to ceiling glass wall, through which for the first time in the facility we see DAYLIGHT. Bright, burnished, gold. In the middle of the wall is an open double door, leading to the outside. She realises at once: she has to make it across the room to that door. To the exterior, the sunlight. It's the only exit, apart from the elevator from which she has just come. But among the uniforms and lab coats and suits, there is only one person wearing an orange jumpsuit. LENA. She takes a breath. And simply starts walking. Not hurried, not slow. Not drawing attention to herself. And for a moment, it seems as if it might work. The people around simply don't notice her. Then - - someone looks at her. A WOMAN, sat at a table. She frowns. Taps the arm of the person beside her. LENA starts walking quicker.<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>... Hey!<\/dialogue>\n    <scene_description>LENA ignores her. Walks faster for the door and the sunlight.<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>HEY!<\/dialogue>\n    <scene_description>LENA breaks into a run. One of the SOLDIERS ahead turns. Sees. Tries to block her path. LENA jumps onto one of the long refectory tables. Runs down the length, scattering food and drinks. Someone tries to catch her leg. She jumps over them. Is nearly at the double doors. Two SCIENTISTS try to block her and she has no choice but to go straight through them, knocking them flying. And then - - she is through the doors, and out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOUTHERN REACH FACILITY\/VIEWING PLATFORM - DAY<\/stage_direction>\n    <scene_description>LENA makes only five or six steps into the sunlight. Then - - slows. And stops. Arrested by the view in front of her. REVEAL that LENA is standing on a VIEWING PLATFORM. Essentially a massive balcony, which projects from the MESS HALL, three stories above the ground. And the facility from which she has escaped turns out to a kind of gatehouse structure - like a medieval castle, dragged into a brutalist Twenty First Century. Either side of the facility, a concrete wall extends. Massive, buttressed, punctuated with watch towers. It looks designed to contain or defend against something mythic in scale. This would be a stunning sight in its own right - but it's the view from the platform that stopped LENA in her tracks. It shows a landscape, behind which the sun sets. A stretch of bare ground, for a few hundred yards beyond the concrete wall, leading to a dense forest. And in front of - or permeating - the forest, there is a shimmer. Similar to a heat haze - it gives a glassy liquid quality to everything seen through its prism. But unlike a heat haze - and like a prism - it splits light. So, through the shimmer - - the sun distorts into a deliquescing orange orb, fringed with chromatic aberrations of blue and green. - the colours on the clouds split into a full rainbow spectrum, spread across the sky like psychedelic Northern Lights. - the trees in the forest distort gently, as if pushed by a gentle wind that eases the trunks into movement, as if they were as light as leaves.<\/scene_description>\n    <character>SPEC OPS SOLDIER (O.S.)<\/character>\n    <dialogue>GET ON THE GROUND RIGHT NOW!<\/dialogue>\n    <scene_description>REVEAL behind LENA, an arc of three SPEC OPS SOLDIERS, all pointing their guns at the back of her head. But before the moment can unravel, DR VENTRESS appears, pushing past the soldiers, brushing down their gun barrels as if warding away a wasp.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Is there really any need for that?<\/dialogue>\n    <character>SPEC OPS SOLDIER<\/character>\n    <dialogue>Sir, she -<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <parenthetical>(cuts in)<\/parenthetical>\n    <dialogue>Shut up and step away. Give us space.<\/dialogue>\n    <scene_description>The soldiers do as ordered. Throughout, LENA hasn't turned from the fauvist view. The doctor steps beside her.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>It's obvious what your husband saw in you. Impressive: to have escaped. To this point at least.<\/dialogue>\n    <scene_description>LENA talks as if through a dream.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Where am I?<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Northern Florida. Thirty miles from the coast. It was the Blackwater State Park, but we now call it the Southern Reach.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>... Why is a National Park sealed behind a fifty metre high concrete wall?<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Well, quite. That is the question.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOUTHERN REACH FACILITY\/COMMAND CENTER - DAY<\/stage_direction>\n    <scene_description>The COMMAND CENTER of the Southern Reach Facility. A large room, with one wall given over to a floor-to ceiling window, which faces the landscape and the Shimmer. In the middle of the room is a large digital map. It shows the coast of Northern Florida, the boundary wall of the Southern reach facility, and - in illuminated blue - the border of the Shimmer. On the adjacent wall there is a collection of images. Some show a tall white LIGHTHOUSE - with archive architectural plans of the building. The rest are a sequence of TEAM PHOTOS. Small groups of men and women with backpacks and hiking gear. Some with weapons and uniforms. LENA walks to the digital map table. DR VENTRESS, standing by the window, starts to talk.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>It started when a park guide reported an event to the local police. A lighthouse on the coast was surrounded by what he called a 'shimmer'. A friend of his had entered to find out what was going on - and never returned.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>That was thirteen years ago. We evacuated the area and concocted a cover story - an accident on a cargo ship, carrying nuclear waste. Then we set up a covert body to investigate the phenomena. And three hundred billion dollars later, we know nothing more than was contained in that first brief police report.<\/dialogue>\n    <scene_description>Behind the doctor, the landscape undulates and refracts.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Something goes in, and it doesn't come back. And I'm not just talking about people. Drones, robots, animals, birds, radio waves, radar, particle streams. It's a black hole. Nothing gets out.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>You have no idea what it is?<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>We have many. An extra terrestrial event; a multi-dimensional event;<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>a religious event. The ideas are endless. What we lack are facts.<\/dialogue>\n    <scene_description>DR VENTRESS has joined LENA at the map. She indicates the border of the shimmer. Concentric circles - like tree rings - dated by year.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Area 'X'. The only thing we can say for certain is that it's getting bigger. Initially, it enclosed the lighthouse and an area of about fifty square metres. It now covers an area the size of Chicago.<\/dialogue>\n    <scene_description>LENA looks the dated bands. Sees the expanding gap between the most recent circles.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>The expansion rate is increasing.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Exponentially. In five years, the Shimmer will encompass the Southern United States and most of Mexico.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>... And in ten years?<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>The planet.<\/dialogue>\n    <scene_description>LENA looks back at DR VENTRESS.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Does the planet get to hear about this?<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Does it matter?<\/dialogue>\n    <scene_description>DR VENTRESS traces her finger over the glowing blue Shimmer bands on the map.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>It makes me think of cancer. The invasion. The spread. If the cancer is terminal, is it better to know?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>I'd want to know.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Yes, but is it better to know.<\/dialogue>\n    <scene_description>LENA walks to the TEAM PHOTOS. Starts scanning the faces. DR VENTRESS watches. Then indicates with her hand.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>He's over there.<\/dialogue>\n    <scene_description>LENA sees KANE. In a group of spec ops soldiers. Similar to the images at home - her husband is smiling, looking straight at the camera, an Armalite rifle held loosely in his hands.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Twenty three expeditions. A hundred and thirteen men and women. And only he came back.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Will you let me see him?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOUTHERN REACH FACILITY\/MEDICAL CENTRE - DAY<\/stage_direction>\n    <scene_description>KANE lies on a bed. Surrounded by the tubes, lines, and the machinery of life support. His skin is almost the colour of ivory. His heartbeat monitor shows four beats per minute. LENA stands beside him. She exhales, and steam wreathes her. DR VENTRESS watches from behind an observation window. The edges of the glass are frosted with ice crystals. LENA reaches for KANE'S hand. Holds it. A tear slips out of her eye. And freezes on her cheek.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOUTHERN REACH FACILITY\/MEDICAL CENTRE - DAY<\/stage_direction>\n    <scene_description>LENA joins the DR VENTRESS on her side of the observation window.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>How long can you keep him alive like this?<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>If he could stay here, maybe months. But I'm afraid there's a complication. The Shimmer will soon extend to where we're standing right now. The facility is preparing to relocate -<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>- and he won't survive the move.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>... No.<\/dialogue>\n    <scene_description>A beat.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>I don't think either of us will, as it happens.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Southern Reach has failed in its objectives, and I'm about to be relieved of command. Before that happens, I've authorised a final mission into Area X. And this time, I'm going to lead it.<\/dialogue>\n    <scene_description>DR VENTRESS pauses.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>I'm like you, Lena. The cancer may be terminal, but I need to know. I need to see what happened in the lighthouse with my own eyes.<\/dialogue>\n    <scene_description>LENA processes. Then speaks.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>When do you leave?<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Tomorrow morning.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>How many in the team?<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Four.<\/dialogue>\n    <scene_description>LENA looks evenly at the doctor.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Five.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Lena -<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>(cuts in)<\/parenthetical>\n    <dialogue>He's my husband. He's dying.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>And you'll go in there and find a cure? I think the chances are slim.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>The chances are zero if I don't even try. I owe it to him.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <parenthetical>(echoes)<\/parenthetical>\n    <dialogue>You owe it.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Well, in any case, it's not simply a question of your motivation. There are processes to observe. Evaluations, and -<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>(cuts in)<\/parenthetical>\n    <dialogue>While the facility remains under your command, the way you structure the team is your business.<\/dialogue>\n    <scene_description>DR VENTRESS knows she has been quoted from her exchange with the SPEC OPS CAPTAIN, but isn't quite sure how it could have happened. She smiles faintly.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>... Good point.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>I have to admit, a biologist would be an ideal addition to the expedition's skill-set. And the team is short-handed.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Given the track record, it hasn't been easy to find volunteers...<\/dialogue>\n    <scene_description>LENA waits, letting the doctor talk herself round.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>If you were to join us, I don't think it would be wise to explain your connection to the previous mission. It might not be... helpful. To the group dynamic.<\/dialogue>\n    <scene_description>LENA turns to the glass. Looks back at the near motionless body of her husband.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Whatever it takes.<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOUTHERN REACH FACILITY\/FIRING RANGE - DAY<\/stage_direction>\n    <scene_description>- a FIRING RANGE, in which a woman is firing an automatic rifle, straight at us. Her name is ANYA THORENSEN. She's a handsome woman in her mid-thirties. Close-cropped hair, wearing a white vest that shows muscled arms. Obviously lifts weights. She has a very distinctive TATTOO encircling her forearm, depicting an ouroboros - a snake eating its tail. CUT TO - - a TARGET, with BULLET HOLES appearing. Loosely grouped, but finding their mark. CUT TO - - the woman firing in the next alley. This is CASS SHEPPARD. She's in her mid-forties. Glasses, pony-tail efficiently tied back. Could be a mother at school gates, if not for the automatic rifle. CUT TO - - a similar spread of BULLET HOLES appearing on a target. CUT TO - - the next alley, where we find JOSIE RADEK. RADEK is in her mid-twenties, but feels younger. She has the sheltered quality that people have when they've passed straight from school to college to doctorate. She's having trouble with her weapon. She looks frightened by the recoil, leaning her face away from the stock, and convulsively screwing her eyes as the gun starts firing. CUT TO - - a near random spray of rounds that hit in various places, but not the target. CUT TO - - LENA. Stepping up to the fourth alley in the firing range. Lifting a rifle. Squeezing the trigger. She keeps the gun steady, fires in neat three round bursts, and the stock pushed tight up against her cheek bone. CUT TO - - a neat grouping of rounds, appearing in the middle of the target. CUT TO - - DR VENTRESS. Observing. She shifts her gaze to THORENSEN, SHEPPARD, and RADEK - - who are clearly surprised to find this new person in the fourth firing alley. LENA empties the last rounds in her clip. The final volley of gunshots leave a ringing echo in the concrete chamber. Broken by DR VENTRESS.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Team.<\/dialogue>\n    <scene_description>The women remove their ear defenders.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>I'd like to introduce Lena Kerans, a biologist we have sequestered from Johns Hopkins, to join us on the mission to the lighthouse. Ms Kerans, meet Anya Thorensen, a medic. Cass Sheppard, a geologist. And Josie Radek, a physicist.<\/dialogue>\n    <scene_description>Beat. Then LENA lifts a hand.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>... Hi.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOUTHERN REACH FACILITY - NIGHT<\/stage_direction>\n    <scene_description>The facility is picked out in the moonlight. A row of FLOODLIGHTS along the perimeter wall illuminate the wasteground and the tree line. Stars vibrate through the Shimmer.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOUTHERN REACH FACILITY\/VIEWING PLATFORM - NIGHT<\/stage_direction>\n    <scene_description>LENA stands on the viewing platform, leaning against the guard rail. She's holding the SILVER LOCKET containing KANE'S PHOTO in her hand. Gazing at it. A few metres away, RADEK and SHEPPARD sit at a table. SHEPPARD is studying one of her maps, and RADEK is making notes in a small pad. THORENSEN appears beside LENA. She's holding a pair of binoculars. LENA, gazing at the locket, her head many miles away, doesn't notice.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>LENA looks up, snapped back to focus - - and closes the locket with a soft snap, before THORENSEN can see the image inside.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>... Oh, hey.<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>Wasn't meaning to pry.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>No - it's just -<\/dialogue>\n    <scene_description>THORENSEN holds up a hand.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>It's cool. No need to explain. I just saw you over here, and...<\/dialogue>\n    <scene_description>THORENSEN shrugs.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>... I don't know. I was thinking we should bond or something. Considering we're travel buddies.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>You bet.<\/dialogue>\n    <scene_description>LENA slips the necklace back over her head.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Have you been at the facility a long time?<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>Nearly a year now. I was a paramedic in Chicago. Tried to join MSF, thinking I'd work out in Asia or something. But my application got flagged by some computer system, and Southern Reach got in touch. That chime with how they got to you?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Yeah. Similar story.<\/dialogue>\n    <scene_description>LENA nods towards the Shimmer.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Do you ever get used to the view?<\/dialogue>\n    <scene_description>THORENSEN laughs.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>It's weird. The Shimmer is the strangest thing I've ever seen. Like - what's the Grand Canyon to this? But at the same time, you do kind of get used to it. You have to accept it, because it's there.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>I have a question.<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>Shoot.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Why's our team all women?<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>Affirmative action. It's an important part of the struggle that women get equal opportunity to go on suicide missions.<\/dialogue>\n    <scene_description>THORENSEN holds up her fist.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>Yes, sister?<\/dialogue>\n    <scene_description>LENA bumps it. THORENSEN smiles.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>It's also because they think a team of women might have a better chance of survival than a team that includes men.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>I don't follow.<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>There's two theories about what goes wrong inside Area X. One: something in there kills them. Two: they kill each other. Theory one favours a male team, all big and butch, armed to the teeth. Theory two favours a female team. Less propensity to violence. And so far, the male teams have been shit out of luck.<\/dialogue>\n    <scene_description>LENA looks at THORENSEN. Sees this is for real.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>They really think the previous expeditions might have killed each other?<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>It's a little more than they just 'think' it. You know there's a guy who made it back? The only one. They've got him in an induced coma in the med center.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>... I did hear that.<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>So technically he wasn't the first to walk out of Area X. He was the second.<\/dialogue>\n    <scene_description>LENA frowns.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>The second?<\/dialogue>\n    <scene_description>THORENSEN hands LENA her binoculars, then gestures out across the deforested area towards the tree line.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>Check your ten o'clock, about twenty metres from the tree line.<\/dialogue>\n    <scene_description>LENA raises the binoculars and looks where THORENSEN has indicated. Sees a bundle of rags and white bone. At this distance, the bleached dome of skull is the only thing that allow us to understand it was a human.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>See the bones?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>... Yes.<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>He's been laid there about six months now. Too far away to positively ID, but from his uniform, they know he was on the previous mission.<\/dialogue>\n    <scene_description>FLASHBACK TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE SHIMMER\/TREELINE - DAY<\/stage_direction>\n    <scene_description>- LONG LENS on the trees. A MAN walks out. Unarmed. Wearing the SPEC OPS uniform. Through the mirage distortion, he seems to have a long beard.<\/scene_description>\n    <character>THORENSEN (O.S.)<\/character>\n    <dialogue>Just strolled out the forest one day.<\/dialogue>\n    <scene_description>Even at this distance, the MAN seems slightly dazed. Or uncertain.<\/scene_description>\n    <character>THORENSEN (O.S.)<\/character>\n    <dialogue>Didn't seem in a hurry. Stood a while. Started walking.<\/dialogue>\n    <scene_description>The MAN takes a few steps in the direction of the distant wall.<\/scene_description>\n    <character>THORENSEN (O.S.)<\/character>\n    <dialogue>Then -<\/dialogue>\n    <scene_description>Rapid puffs of red from the MAN'S head and chest. Noiseless.<\/scene_description>\n    <character>THORENSEN (O.S.)<\/character>\n    <dialogue>- pop.<\/dialogue>\n    <scene_description>Followed by the delayed crack of the rifle retorts. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOUTHERN REACH FACILITY\/VIEWING PLATFORM - DAY<\/stage_direction>\n    <scene_description>- LENA, lowering the binoculars.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>... No one saw who did it.<\/dialogue>\n    <scene_description>THORENSEN shakes her head.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>No. But we all got our ideas.<\/dialogue>\n    <scene_description>LENA looks at THORENSEN. Waiting.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>Well - it's got to have been the guy that got out, right? The one they're keeping in the freeze box.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>Lieutenant Kane.<\/dialogue>\n    <scene_description>On LENA, processing this. CUT FROM the night view -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOUTHERN REACH FACILITY\/GATES - DAWN<\/stage_direction>\n    <scene_description>- to the dazzling low morning sun. Then the concrete flank of the Southern Reach building, as the MASSIVE METAL GATES of the facility unlock. And swing open. Revealing the five women of the team. Each carrying their backpacks, and automatic rifles. Ahead of them is the dusty scrubland of the deforested area. A few beats. Then DR VENTRESS starts walking. Behind, the gates swing shut.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEFORESTED AREA - DAWN<\/stage_direction>\n    <scene_description>The team walk in single file. DR VENTRESS leads. Then THORENSEN, then SHEPPARD, then RADEK, then LENA. They walk right past the BODY that THORENSEN pointed out. As they pass it, LENA pauses. Sees the skull. The way patches of hair and dried skin still cling to the underside of the skull, where it has been shielded from the wind and sun. Sees the missing section of bone above the left eye socket, blown out by a bullet. Sees the curve of ribs, visible where the material of the uniform has started to disintegrate. Ahead, DR VENTRESS has reached the treeline. DR VENTRESS stops before entering the forest. Then turns, to look back at LENA. They lock eyes through the shimmering air. CUT TO BLACK. CAPTION: PART 2 - AREA X: CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE SKY - DAY<\/stage_direction>\n    <scene_description>- the FULL MOON, hanging in a clear blue daylight sky. The same image that distracted LENA as she taught her medical students. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE\/GARDEN - DAY<\/stage_direction>\n    <scene_description>- the garden of LENA'S house, where LENA and KANE are sunbathing on the lawn. LENA in a bikini. KANE in shorts. Around them are the remains of an impromptu picnic. They lie side by side, looking up at the sky.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>I love seeing the moon in daytime. It's like God made a mistake, leaving the hall lights on.<\/dialogue>\n    <character>KANE<\/character>\n    <dialogue>Mmm - not sure about that. God doesn't make mistakes.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Oh really.<\/dialogue>\n    <character>KANE<\/character>\n    <dialogue>Yeah. It's kind of key to the whole being-a-God thing.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>I observe his mistakes every day.<\/dialogue>\n    <character>KANE<\/character>\n    <dialogue>... You know he's listening, right?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>If you take a cell, and prevent the incremental shortening of telomeres, you circumvent the Hayflick division limit and prevent the cell from entering senescence.<\/dialogue>\n    <character>KANE<\/character>\n    <dialogue>Woah. So weird you say that. I was about to make the exact same point.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Would you like me to explain what it means?<\/dialogue>\n    <character>KANE<\/character>\n    <dialogue>I would. Because I find it arousing when you patronise me.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>It means the cell doesn't grow old and die. It becomes immortal.<\/dialogue>\n    <character>KANE<\/character>\n    <dialogue>Don't stop.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>We see the process of growing old as somehow natural. Whereas in fact, it's fault in our genes. We inherited it, but we don't need it, or want it.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>And without the fault, I would be able to stay looking like this -<\/dialogue>\n    <scene_description>She illustrates the point by indicating herself.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>- forever.<\/dialogue>\n    <scene_description>KANE glances at her bikini-clad form. Then back at the sky.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>Okay. Mistakes were made.<\/dialogue>\n    <scene_description>Beats pass.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>... So are you going to tell me where you're heading this time?<\/dialogue>\n    <character>KANE<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>I know there's something strange about the mission.<\/dialogue>\n    <character>KANE<\/character>\n    <dialogue>... Why?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Because the silence around it is even more deafening than usual.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>I don't even get a clue?<\/dialogue>\n    <scene_description>KANE sighs.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>Okay. You get one clue. We'll be under the same hemisphere. So, if you step outside and look up, you'll know we're seeing the same moon in the sky. Day or night.<\/dialogue>\n    <scene_description>LENA looks sideways at KANE.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Holy shit.<\/dialogue>\n    <character>KANE<\/character>\n    <dialogue>... What?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Are you kidding me? Is that what you think I do when you're away?<\/dialogue>\n    <scene_description>KANE hesitates.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>I'm just saying -<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>- You think I come out into the garden, pining, looking up at the sky?<\/dialogue>\n    <scene_description>LENA puts her hand on her chest. Mimics herself.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>To think my darling Kane is looking at this self-same Moon. Oh my distant celestial friend -<\/dialogue>\n    <scene_description>KANE laughs. Shoves her sideways. LENA keeps going.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>- please care for my beloved...<\/dialogue>\n    <scene_description>KANE grabs her. Tries to stop her talking.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>- my brave soldier...<\/dialogue>\n    <character>KANE<\/character>\n    <dialogue>Jesus - you know what you are? You're disrespectful, not just to the men and women of the armed forces -<\/dialogue>\n    <scene_description>LENA yelps as he starts tickling her.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>- but the also the President.<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>(between gasps)<\/parenthetical>\n    <dialogue>You forgot the flag!<\/dialogue>\n    <character>KANE<\/character>\n    <dialogue>I was getting to the flag.<\/dialogue>\n    <scene_description>LENA can no longer talk because he's tickling her too hard. She becomes helpless with laughter, as they rolling on the grass. Eventually, catching her breath back.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Oh my hero.<\/dialogue>\n    <character>KANE<\/character>\n    <dialogue>Screw you.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>They start kissing. With passion. CUT TO - - the FULL MOON. Suspended in the blue. Crater patterns only faintly visible in daylight. Then - - the MOON SHIMMERS. And then, like a cell under a microscope - - the MOON starts to DIVIDE. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TENT - DAY<\/stage_direction>\n    <scene_description>- LENA, waking with a jolt. Wearing a T-shirt and underwear. Looking around. Surrounded by BRIGHT ORANGE. Taking a moment to understand she is inside a tent.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOREST CLEARING\/CAMPSITE - CONTINUOUS<\/stage_direction>\n    <scene_description>LENA unzips the front flap of her tent and climbs out - - to discover a campsite. Five small tents, circled around a burned out fire. The campsite is positioned in a grassy clearing, deep inside a forest. The surrounding trees are Oak and Cyprus. Looking up, the sun and clouds are seen through the familiar mirage-like distortion - as if the Shimmer is like a dome structure, which we are now inside. Just in front of LENA, THORENSEN and SHEPPARD sit surrounded by packets of food. A little distance away, RADEK is looking at a piece of electronic equipment. DR VENTRESS is nowhere to be seen. LENA looks stunned.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>... What the Hell?<\/dialogue>\n    <scene_description>THORENSEN and SHEPPARD look round.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>Good. You're finally awake.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Uh...<\/dialogue>\n    <scene_description>LENA takes a moment.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Sorry, you're going to have to give me a moment. I'm a little... thrown.<\/dialogue>\n    <character>SHEPPARD<\/character>\n    <dialogue>Join the club.<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>You don't remember setting up camp, right?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>... I don't remember anything, after we reached the tree line.<\/dialogue>\n    <character>SHEPPARD<\/character>\n    <dialogue>None of us do. But check your boots and pants. They'll be wet and covered in mud. And we've been doing an inventory of the food. From the depletion in our stocks, we've been out here for at least forty eight hours.<\/dialogue>\n    <scene_description>LENA shakes her head.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>That's not possible.<\/dialogue>\n    <scene_description>RADEK walks over, looking nervous.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>Guys - you want to know what's weird?<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>I want to know what isn't weird.<\/dialogue>\n    <scene_description>RADEK pulls her short-wave radio from her belt. Gives it a burst. It plays STATIC.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>I've been checking all my radio and electronic equipment. None of it is working properly. Like, I can switch on the sat-phone, and the GPS, and they boot up fine - but there's no signal. Even though we've probably got twenty satellites above us right now - nothing. And check this out.<\/dialogue>\n    <scene_description>RADEK holds up a magnetic COMPASS. The needle is spinning slowly.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>It's like we're in the middle of the most massive electromagnetic interference.<\/dialogue>\n    <scene_description>There is excitement in RADEK'S voice. And a note of panic.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>So we've got no compass, no comms, no coordinates, and no landmarks. We don't know where we are, or what direction we should be heading.<\/dialogue>\n    <character>SHEPPARD<\/character>\n    <dialogue>Radek - be cool. We know we're in the state park. So if we go South, we hit the ocean. Once there, we can follow the shoreline until we hit the perimeter wall.<\/dialogue>\n    <character>RADEK<\/character>\n    <dialogue>But how do we know what's South?<\/dialogue>\n    <scene_description>SHEPPARD stands. Pulls up her sleeve. Shows her wrist watch.<\/scene_description>\n    <character>SHEPPARD<\/character>\n    <dialogue>Take your watch. Point the hour hand at the sun. Split the difference between the hour hand and twelve.<\/dialogue>\n    <scene_description>As she's talking, she's doing. Having orientated the watch to the sun, she points into the forest.<\/scene_description>\n    <character>SHEPPARD<\/character>\n    <dialogue>South.<\/dialogue>\n    <scene_description>THORENSEN raises her eyebrows.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>Get you, Sheppard.<\/dialogue>\n    <character>SHEPPARD<\/character>\n    <dialogue>Yeah. Get me.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Very impressive.<\/dialogue>\n    <scene_description>LENA looks around. DR VENTRESS is right behind her. She shows no sense of concern about the situation. She seems almost serene.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>And honestly, Radek - we weren't really expecting the equipment to work, were we? After thirteen years of expeditions, and thirteen years of radio silence.<\/dialogue>\n    <scene_description>She gestures at the tents.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Let's pack up and get moving. It's already gone ten o'clock. We don't want to lose any more of the day.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SWAMP - DAY<\/stage_direction>\n    <scene_description>The five women are walking in knee-deep water. It's hot. Heavy backpacks. Heavy weapons. Hard going. It's also impossible to gauge the depth of the swamp. THORENSEN suddenly steps into a hole. Sinks into the black water, up to her waist.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>God damn it.<\/dialogue>\n    <scene_description>LENA offers THORENSEN a hand. Hauls her out.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>Now I know why we all got amnesia. Why would you want to remember this shit-hole?<\/dialogue>\n    <scene_description>THORENSEN marches ahead, soaked, pissed off. LENA looks around. Sees the Cyprus trees with their fanned-out roots, Spanish moss on the branches, dappled sunlight through the high canopy. All reflected in the glassy water. LENA turns to RADEK.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>I'd like to remember it.<\/dialogue>\n    <character>RADEK<\/character>\n    <dialogue>Sure. It's beautiful.<\/dialogue>\n    <scene_description>They start walking again.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>So you're a scientist too? A physicist, right?<\/dialogue>\n    <character>RADEK<\/character>\n    <dialogue>Astrophysicist. Specifically the life-cycle of stars.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>And what is the life-cycle of stars?<\/dialogue>\n    <character>RADEK<\/character>\n    <dialogue>Long.<\/dialogue>\n    <scene_description>LENA laughs.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>I do the life-cycle of cells. Short.<\/dialogue>\n    <scene_description>RADEK shrugs.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>Still a cycle.<\/dialogue>\n    <scene_description>UP AHEAD - - SHEPPARD has seen something. A structure, through the trees. SHEPPARD calls back to the others.<\/scene_description>\n    <character>SHEPPARD<\/character>\n    <dialogue>Over here!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SWAMP\/FISHING HUT - DAY<\/stage_direction>\n    <scene_description>On the bank of the swamp is the half-collapsed frame of a wooden hut, and a short jetty. The hut is smothered on one side by a dense carpet of brightly coloured FLOWERS. They cover the ground and push up the side of the building like a snow drift. The five women approach it.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>Think this place might show up on the maps?<\/dialogue>\n    <character>SHEPPARD<\/character>\n    <dialogue>Doubt it.<\/dialogue>\n    <scene_description>SHEPPARD peers inside the door frame. The roof has partially fallen in. Sunlight illuminates the interior. There's a bench and a table. Some hooks on the walls. Everything metal is long corroded. Everything wooden is black and damp, and patched with moss.<\/scene_description>\n    <character>SHEPPARD<\/character>\n    <dialogue>I think it's just a fishing hut.<\/dialogue>\n    <scene_description>BACK OUTSIDE - - LENA crouches by the brightly coloured flowers, growing on the side of the structure. Like a sprawling bouquet, they are very varied. Some large. Some small. Some a vivid blue. Some red. Others are creamy white, with scatterings of orange-fringed crimson on the broad petals.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>... These are extremely strange flowers.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>To look at them you wouldn't say they're the same species.<\/dialogue>\n    <scene_description>LENA pulls back an area of flowers to show the plant system beneath.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>But they're all growing from the same branch structure. So not just the same species. The same plant.<\/dialogue>\n    <character>RADEK<\/character>\n    <dialogue>They're like snowflakes. Each one is different. I've never seen anything like it.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>It seems stuck in a continuous mutation. Some kind of morphogenesis error.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>You mean it's a pathology?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>It's very pretty, but you'd sure as Hell call it a pathology if you saw it in a human.<\/dialogue>\n    <scene_description>LENA picks a white and crimson petal, and holds it.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Amazing pattern. Like a Rorschach test.<\/dialogue>\n    <scene_description>LENA offers it to her.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>So what do you see in there?<\/dialogue>\n    <scene_description>RADEK has found something else.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>Hey, check this out.<\/dialogue>\n    <scene_description>In the undergrowth behind the hut, there are the hulls of two upturned flat-bottomed fibreglass boats. She crouches down, and get a hand under the lip of the hull. Lifts the fibreglass boat easily.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>We could use these. Be much quicker way of getting across the swamp.<\/dialogue>\n    <scene_description>REVEAL - - something that RADEK hasn't seen. In the black swamp water behind RADEK, there is the half- submerged head of a huge ALLIGATOR. Its armoured skin is BLACK. Obsidian. Reflective. And it has strange eyes. Red pupils that bleed into yellow, like diffusing saffron. Oblivious, RADEK turns back to LENA and DR VENTRESS.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>Shall we see if they still float?<\/dialogue>\n    <scene_description>The NEXT MOMENT - - the ALLIGATOR LUNGES at RADEK. Thrusting out of the water. Massive jaws pulling open. We can see amidst the water spray and flash of movement, this creature is at least two times the size of a normal gator, in bulk as well as length.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Radek!<\/dialogue>\n    <scene_description>RADEK reacts - - and sees the gaping MOUTH and TEETH as they lunge towards her. She turns away - - just as the creature's jaws SNAP. Closing on her BACKPACK. RADEK'S screams are abruptly knocked out of her - - as the ALLIGATOR viciously snaps its head to the side, tossing the young woman like a ragdoll. RADEK remains held fast by the shoulder straps on her bag. Then - - the ALLIGATOR pulls back into the water, and both the creature and RADEK are gone. A moment of stunned silence. Then LENA is running for the water. RADEK!<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Lena! Stop!<\/dialogue>\n    <scene_description>LENA doesn't listen. Runs into the swamp up to her knees, gun raised, sweeping the black mirrored surface. RADEK! THORENSEN and SHEPPARD appear from the hut.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>What the Hell happened?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>A gator took her! We've got to -<\/dialogue>\n    <scene_description>AT THAT MOMENT - - RADEK bursts out of the water, only a couple of metres from LENA. Her backpack is gone. She's gasping for breath.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>Help! HELP ME!<\/dialogue>\n    <scene_description>LENA grabs her. Starts dragging her out of the swamp.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>It's got my bag!<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Fuck the bag!<\/dialogue>\n    <scene_description>Just as they reach the bank -<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>Shit!<\/dialogue>\n    <scene_description>- as the water erupts behind them as the GATOR appears and lunges again. LENA shoves RADEK hard to the side, and pulls her rifle to her shoulder - - and opens fire. She empties an ENTIRE clip into the GATOR. Rounds slam into torso, punching through the reptile armour. But incredibly, the creature isn't killed. It simply redirects its attention from RADEK to LENA. LENA desperately tries to jam in a new clip - - as the GATOR propels itself in her direction. Just as the creature is about to reach her - - the CLIP is driven home, and LENA cocks her gun and opens fire again - - emptying this magazine at point blank range, directly down the GATOR'S THROAT. The muzzle flash illuminates the interior. Bullets slam into the flesh. This time, LENA is joined by SHEPPARD, THORENSEN and DR VENTRESS. In five seconds, four women empty four magazines. Riddling the creature's head and torso. After the last shot is fired, the ALLIGATOR remains supported on its legs, jaws open, frozen for a moment, half out of the water. Then the legs buckle. And the jaws shut. It's dead. CUT TO BLACK.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GATOR - DAY<\/stage_direction>\n    <scene_description>IN DARKNESS, we hear RADEK'S voice. Muffled.<\/scene_description>\n    <character>SHEPPARD (O.S.)<\/character>\n    <dialogue>Be careful! There might be a reflex!<\/dialogue>\n    <character>THORENSEN (O.S.)<\/character>\n    <dialogue>I think its reflex days are behind it.<\/dialogue>\n    <scene_description>SUDDEN DAYLIGHT - - as we see the jaws being prized back open, from the POV of the gullet. We are inside the wet cave of the GATOR'S mouth, looking out over a slab of tongue, and jagged stalagmite\/stalactite teeth. LENA is peering in. Behind her, we can see RADEK and DR VENTRESS. The jaw is being held open by SHEPPARD and THORENSEN.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>... Woah.<\/dialogue>\n    <scene_description>LENA sticks her head even further inside.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>It's the exactly same as the flowers.<\/dialogue>\n    <scene_description>We see what LENA sees. Behind the row of teeth, there is a second row. Internal, folded backward slightly. And behind the second row, there is third, these almost flat.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Look at the teeth. Concentric rows. Something here is making big waves in the gene pool.<\/dialogue>\n    <character>SHEPPARD<\/character>\n    <dialogue>Sharks have teeth like that.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Could it be a cross-breed?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>You can't cross-breed different species. They have different genes.<\/dialogue>\n    <character>THORENSEN<\/character>\n    <parenthetical>(strained)<\/parenthetical>\n    <dialogue>Hey - that's all cool. But can you get your head the fuck out so we can let this go? It's getting kind of heavy.<\/dialogue>\n    <scene_description>A final beat on LENA'S puzzled expression. Then LENA nods.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>LENA retracts her head. The jaw shuts with a wet thump. Back to BLACK. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SWAMP - DAY<\/stage_direction>\n    <scene_description>- a tree in the swamp. The trunk is clustered with fat mounds of moss, flourishing like petri-dish cultures. They have bright colours. Not just greens, but intense reds, and purples, and rust colours. They look like disease. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SWAMP - DAY<\/stage_direction>\n    <scene_description>- the flat-bottomed boats gliding over black water. Swampland floating by. Serene. The first boat holds DR VENTRESS, RADEK and THORENSEN, with THORENSEN paddling. The second boat holds SHEPPARD and LENA. While SHEPPARD paddles, LENA is preoccupied by a mark on her forearm. It looks like a faint bruise. LENA pushes at it with her thumb. Vaguely puzzled about where she picked it up.<\/scene_description>\n    <character>SHEPPARD<\/character>\n    <dialogue>You hurt, Kerans?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Just a bruise. Guess I picked it up with that gator.<\/dialogue>\n    <character>SHEPPARD<\/character>\n    <dialogue>Likely.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>SHEPPARD<\/character>\n    <dialogue>So where did you learn to shoot?<\/dialogue>\n    <scene_description>LENA looks round. Prepares to gets her internal story straight.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>My husband was military. We used to go hunting together in Pennsylvania. Deer.<\/dialogue>\n    <character>SHEPPARD<\/character>\n    <dialogue>Was military.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>SHEPPARD<\/character>\n    <dialogue>He quit.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>... No.<\/dialogue>\n    <scene_description>LENA hesitates. Doesn't want to lie to SHEPPARD - but does.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>KIA.<\/dialogue>\n    <scene_description>It's almost the truth.<\/scene_description>\n    <character>SHEPPARD<\/character>\n    <dialogue>I'm sorry to hear that.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>SHEPPARD<\/character>\n    <dialogue>But I guess there had to be something.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>SHEPPARD<\/character>\n    <dialogue>Signing up for something like this - it's not something you do if your life is in perfect harmony.<\/dialogue>\n    <scene_description>SHEPPARD nods towards the other boat.<\/scene_description>\n    <character>SHEPPARD<\/character>\n    <dialogue>We're all damaged goods here. Thorensen is teetotal, therefore an addict. And Radek won't wear short sleeves because she doesn't want you to see the pale scars on her forearms.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Ventress?<\/dialogue>\n    <character>SHEPPARD<\/character>\n    <dialogue>She's like an office building in a financial district. All steel and glass and height. But what for?<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>You?<\/dialogue>\n    <scene_description>SHEPPARD pauses.<\/scene_description>\n    <character>SHEPPARD<\/character>\n    <dialogue>I lost someone. Like you. But, a daughter. Leukemia.<\/dialogue>\n    <scene_description>Silence.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Thorensen called this a suicide mission.<\/dialogue>\n    <character>SHEPPARD<\/character>\n    <dialogue>I doubt it's as shrink-wrapped as that.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>But on some level.<\/dialogue>\n    <character>SHEPPARD<\/character>\n    <dialogue>You tell me, Kerans. When you volunteered, did you have high expectations of making it back?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>I wasn't thinking in those terms.<\/dialogue>\n    <scene_description>LENA looks at SHEPPARD evenly.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>But now you mention it: yes. I'm going to be making it back.<\/dialogue>\n    <scene_description>SHEPPARD smiles.<\/scene_description>\n    <character>SHEPPARD<\/character>\n    <dialogue>Babe, I'm sticking with you.<\/dialogue>\n    <scene_description>They lapse back into silence. Behind them, SHEPPARD'S oar strokes leave a gentle disturbance on the water. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SWAMP - DAY<\/stage_direction>\n    <scene_description>- THORENSEN in the lead boat. Eyes narrowing.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>We got something here...<\/dialogue>\n    <scene_description>REVEAL - - the two boats gliding towards a shoreline. Behind which, there is a cluster of low concrete buildings.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ABANDONED BASE - DAY<\/stage_direction>\n    <scene_description>The five women walk into the collection of buildings. They have a distinctively military feel. Prefab huts, breeze block walls, chain-link fences, guard huts by the gate. Nature has been busy reclaiming the area. Tall grasses push through cracks in the tarmac. The concrete is stained with rain and dark algae. And as with the trees in the swamp, brightly-coloured mosses bloom on the buildings. DR VENTRESS notices LENA'S gaze going to them.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>More mutations.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>I saw many on the trees. They're everywhere.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>They look malignant, don't you think? Like tumours.<\/dialogue>\n    <scene_description>LENA doesn't answer. DR VENTRESS addresses the group.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>At least now we know where we are. This was the previous Southern Reach headquarters, before the Shimmer swallowed it.<\/dialogue>\n    <scene_description>SHEPPARD pulls her map out. Scans.<\/scene_description>\n    <character>SHEPPARD<\/character>\n    <dialogue>Yes. I've got it. Right here.<\/dialogue>\n    <scene_description>RADEK exhales.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>Awesome. We're not lost any more.<\/dialogue>\n    <scene_description>THORENSEN looks around.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>And it's nice timing. A pretty good place for us to stay the night.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Agreed.<\/dialogue>\n    <scene_description>She points to a low building up ahead.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>That used to be the barracks. We'll billet in there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABANDONED BASE\/BARRACKS - DAY<\/stage_direction>\n    <scene_description>The door to the barracks dormitory opens, and the five women enter. Light pushes through the grimy windows, and the foliage that has grown up outside. It illuminates rows of beds with bare mattresses. THORENSEN pulls off her bag and drops it on the nearest one.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>I've slept in worse.<\/dialogue>\n    <character>SHEPPARD<\/character>\n    <dialogue>Not sure I have.<\/dialogue>\n    <scene_description>LENA takes a couple of steps further into the room. She's seen something, a couple of beds further into the barracks. There's something lying on the ground. When she gets closer - - she sees it's someone's BACKPACK. And she recognises what kind of someone. Khaki. Military. Spec ops. Beat. Then LENA turns to the others.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Uh - guys. Come and look at this.<\/dialogue>\n    <scene_description>The others join her.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>... Whoa. Someone else is here?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Was here. It's covered in dust.<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>You think one of the other missions?<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Certainly could be. No reason to assume they weren't able to reach as far as us.<\/dialogue>\n    <character>SHEPPARD<\/character>\n    <dialogue>Why would they leave their gear here?<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>Guess they left in a hurry.<\/dialogue>\n    <scene_description>LENA opens the bag. Starts pulling stuff out. Produces a washbag. A scrunched-up rain poncho. Then - - a VIDEO CAMERA.<\/scene_description>\n    <character>SHEPPARD<\/character>\n    <dialogue>... Hello.<\/dialogue>\n    <scene_description>LENA glances back at the others.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>What are you waiting for? Do it!<\/dialogue>\n    <scene_description>LENA pops open the flip screen. Presses the play button. ... And the camera is stone dead.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Figures.<\/dialogue>\n    <character>RADEK<\/character>\n    <dialogue>No problem. Just take out the memory card and we'll stick it in my camera.<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABANDONED BASE\/BARRACKS - DAY<\/stage_direction>\n    <scene_description>- the five women, standing around RADEK'S camera, waiting for her to switch it on. RADEK clips shut the card hatch, and powers the camera up.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>There we go.<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCREEN - CONTINUOUS<\/stage_direction>\n    <scene_description>- extreme CLOSE UP on the tiny SCREEN of RADEK'S camera. The video starts. At first, abstract. Something dark and unfocused, accompanied by the kind of noise you hear when someone accidentally dials their phone from their pocket. Then the image and noise suddenly resolve. And we find we are looking at KANE. And he's looking at us.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>I don't know how long we've been here.<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABANDONED BASE\/BARRACKS - CONTINUOUS<\/stage_direction>\n    <scene_description>- LENA. Freezing at the sight of her husband. She shoots a glance at DR VENTRESS. DR VENTRESS doesn't look back.<\/scene_description>\n    <character>KANE (O.S.)<\/character>\n    <dialogue>It must at least be weeks. But it could also be months, or years.<\/dialogue>\n    <scene_description>CUT BACK TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCREEN - CONTINUOUS<\/stage_direction>\n    <scene_description>- KANE. We see he is sitting on steps, in sunlight. Somewhere in the abandoned base. Red eyes, unshaven. Wired. As if he hasn't slept in days. He's looking just past the lens - addressing not the camera, but the CAMERAMAN.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>We've lost track. Of time, and everything else.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>Sometimes I think I must be dreaming. But I know I can't be. Because I never wake up.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>If anything, it's the other life that feels most like a dream. The wife. The home. They don't seem to -<\/dialogue>\n    <scene_description>KANE breaks off. Glances over his shoulder.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>You hear that?<\/dialogue>\n    <character>CAMERAMAN<\/character>\n    <dialogue>I heard it.<\/dialogue>\n    <scene_description>A beat later, there is a distant crackle of automatic gunfire. KANE looks back at the CAMERAMAN.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>They're coming back.<\/dialogue>\n    <scene_description>KANE stands abruptly. Out of frame.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>Get to positions.<\/dialogue>\n    <scene_description>The video jerks sideways as the CAMERAMAN moves. Then CUTS STRAIGHT TO - - an INTENSE night-time FIRE-FIGHT. KANE and two others soldier - PEYTON and SHELLY - are crouched behind a LOW WALL somewhere in the compound. They take turns to fire over the top of the wall. Faces lit by muzzle flashes.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>Reloading.<\/dialogue>\n    <scene_description>PEYTON takes over from KANE. Firing at something in the darkness. PEYTON turns to the CAMERAMAN and shouts:<\/scene_description>\n    <character>PEYTON<\/character>\n    <dialogue>You seeing that? You getting it on film? You got to get it!<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABANDONED BASE\/BARRACKS - CONTINUOUS<\/stage_direction>\n    <scene_description>- DR VENTRESS.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Freeze it there.<\/dialogue>\n    <scene_description>RADEK hits pause. REVEAL the image on the screen. The picture is blurred, smeared by the fast left-right pan of the CAMERAMAN. But it seems to depict a SHIRTLESS MAN, running at the lens, no more than five or six metres away, burned-out by a blasting strobe of MUZZLE FLASH. There's something strange about the MAN'S form. His neck is twisted, pushing his head sideways into an unnatural position. It feels wrong. Broken. Where his jaw should be, there is a cavity, as if his mouth has swallowed the lower part of his face. It's unclear - his jaw may have been shot off. His neck may actually be broken. But his arms also have a strange broken quality. It's subtle, but the break point of the elbow is slightly higher than it should be. The upper arm too short, the forearm too long. The deformation is oddly animal-like. And again, as with the neck and jaw, ambiguous. Are we seeing what is there, or a distortion caused by the lighting and the smeared freeze-frame. BURNED OVER THIS IMAGE is a bright red streak. It is the RED DOT LASER SIGHT of KANE'S gun, carved across the frame like the tail-light of a car burned onto a retina. The aim is about to settle on the MAN'S torso. SILENCE, as the five women absorb what they are seeing. Broken by THORENSEN.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>... Whoa. What the Hell happened to that guy.<\/dialogue>\n    <character>SHEPPARD<\/character>\n    <dialogue>Has his jaw been shot off?<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>I don't know. Injuries do freaky stuff to people, but...<\/dialogue>\n    <scene_description>The sentence trails.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Press play again.<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCREEN - CONTINUOUS<\/stage_direction>\n    <scene_description>- the film restarting. A split second later, KANE is firing. Bullets hit the RED DOT. And the DEFORMED MAN drops. The video CUTS again. This time to the violent sway-motion of the CAMERAMAN running. The video CUTS again. Now the CAMERAMAN is crouched beside KANE who is by the corner of a building, who is hunched over as incoming rounds hit the concrete. The firing is sustained - - then stops. Immediately KANE swings out and RETURNS FIRE. From somewhere nearby, over the noise of the firing we hear screaming. Then PEYTON shouting:<\/scene_description>\n    <character>PEYTON (O.S.)<\/character>\n    <dialogue>Cease fire! Cease fire!<\/dialogue>\n    <scene_description>The video CUTS again. This time the CAMERAMAN is following SHELLEY. Now we're in an interior. Which we recognise, as the video aperture corrects for the light - - as the BARRACKS. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABANDONED BASE\/BARRACKS - CONTINUOUS<\/stage_direction>\n    <scene_description>- RADEK, wide-eyed - realising.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>Oh shit - shit - that's here! They're walking right down this room!<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Radek, be quiet.<\/dialogue>\n    <scene_description>CUT BACK TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCREEN - CONTINUOUS<\/stage_direction>\n    <scene_description>- SHELLEY and the CAMERAMAN walking the length of the barracks. Then into the SHOWER ROOM at the far end. There, they find KANE and PEYTON. Standing beside another man. His name is MAYER. And he's handcuffed to one of the water pipes. KANE and PEYTON are arguing. Raised voices.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>What the Hell do you want me do, Peyton? Actually cut him open and take a look?<\/dialogue>\n    <character>PEYTON<\/character>\n    <dialogue>We got to, Kane.<\/dialogue>\n    <scene_description>MAYER starts pleading.<\/scene_description>\n    <character>MAYER<\/character>\n    <dialogue>No - no you don't. You don't have to!<\/dialogue>\n    <character>PEYTON<\/character>\n    <dialogue>We got to.<\/dialogue>\n    <character>MAYER<\/character>\n    <dialogue>Kane, please.<\/dialogue>\n    <character>KANE<\/character>\n    <dialogue>You mean I've got to.<\/dialogue>\n    <character>MAYER<\/character>\n    <dialogue>Jesus - Jesus Christ - Kane!<\/dialogue>\n    <character>KANE<\/character>\n    <dialogue>God damn it.<\/dialogue>\n    <scene_description>KANE reaches to his belt. Pulls a long fixed-blade knife.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <scene_description>MAYER starts screaming.<\/scene_description>\n    <character>MAYER<\/character>\n    <dialogue>Jesus - I swear to God - there's nothing wrong with me! There's nothing wrong!<\/dialogue>\n    <scene_description>KANE'S head snaps around to the CAMERAMAN.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>You aren't filming this.<\/dialogue>\n    <character>MAYER<\/character>\n    <parenthetical>(screams)<\/parenthetical>\n    <character>KANE! DON'T -<\/character>\n    <dialogue>The image dies.<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABANDONED BASE\/BARRACKS - CONTINUOUS<\/stage_direction>\n    <scene_description>- the five women. Looking at the black screen. LENA is in a place beyond horror - mind assailed, not able to process what has just happened. SHEPPARD breaks the spell by leaning forward and switching the screen off.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>... Oh God.<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>You know them, right?<\/dialogue>\n    <scene_description>For a moment, LENA thinks THORENSEN is talking to her. Then sees THORENSEN is directing the question at DR VENTRESS.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>It's the team that went in the year before us. The spec ops guys.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>SHEPPARD<\/character>\n    <dialogue>Including the one tied to the chair.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>His name was Mayer.<\/dialogue>\n    <scene_description>Beat. Then THORENSEN starts walking. In the same direction we saw SHELLEY walk. Down the length of the BARRACKS, to the showers. After a few moments, the others go after her - - except LENA. Halfway down the barracks, DR VENTRESS stops. Looks back at LENA. A beat between them. Then LENA follows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABANDONED BASE\/BARRACKS\/SHOWER ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>LENA enters. To find RADEK, SHEPPARD, THORENSEN and DR VENTRESS. In front of them is MAYER'S body. Still cuffed to the chair. Desiccated, skeletal. His ribs have been broken open at the sternum, and are splayed open like a book. Like inverted wings. And his skull is sitting on the ground. Laid in front of his feet. Silence.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>... I don't want to stay here tonight.<\/dialogue>\n    <scene_description>No one says anything.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>I don't want to stay here tonight!<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>I don't think we have a choice. It's late in the day for us to move on.<\/dialogue>\n    <character>RADEK<\/character>\n    <dialogue>Please -<\/dialogue>\n    <character>SHEPPARD<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>SHEPPARD puts a hand on RADEK'S face. Gently redirecting the younger woman's gaze away from the corpse.<\/scene_description>\n    <character>SHEPPARD<\/character>\n    <dialogue>We won't have to stay in the barracks. We can choose another building. And we'll figure out a guard rota.<\/dialogue>\n    <scene_description>LENA looks down at MAYER'S open rib cage. The skull, and dislocated jaw.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>Right.<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE\/BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>- LENA'S face. Asleep. In darkness. Then LIGHT flooding on to her closed eyes. Stirring her. IN THE FOREGROUND - - a glass of ORANGE JUICE is laid down. On to a bedside table. LENA blinks herself awake...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>.. to see her bedroom.<\/stage_direction>\n    <scene_description>And KANE drawing the curtains. Then turning to her.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>Freshly squeezed.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>That's a surprise.<\/dialogue>\n    <character>KANE<\/character>\n    <dialogue>I'm full of surprises.<\/dialogue>\n    <scene_description>He sits on the bed next to her.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>But not all of them good. I'm leaving a day early.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>You mean today?<\/dialogue>\n    <character>KANE<\/character>\n    <dialogue>I mean now.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>... Shit.<\/dialogue>\n    <scene_description>LENA props herself up.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>I had a whole day planned. We were going to go to Sam and Mary's for lunch, and then drive out to -<\/dialogue>\n    <character>KANE<\/character>\n    <parenthetical>(cuts in)<\/parenthetical>\n    <dialogue>- I'm sorry. We can't.<\/dialogue>\n    <scene_description>LENA reaches out with her hand. Takes his.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Well, can we at least -<\/dialogue>\n    <scene_description>He pulls his hand back.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>... 'Now' means 'right now'.<\/dialogue>\n    <character>KANE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>A beat. LENA picks up on something in KANE. A detachment. A subtle coldness.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>... What is it?<\/dialogue>\n    <scene_description>KANE doesn't answer for a moment. Then he looks at her.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>I love you, Lena.<\/dialogue>\n    <scene_description>LENA frowns.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>... I love you too.<\/dialogue>\n    <scene_description>On KANE. Gazing back at her flatly. Giving nothing back. Unreachable. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABANDONED BASE\/REC ROOM - NIGHT<\/stage_direction>\n    <scene_description>- LENA'S eyes, flicking open. Echoing the image of her waking that we just saw. But this time, when she rubs the sleep out of her eyes, she's in the Shimmer. REVEAL what was once the REC ROOM of the abandoned base. There's a dart board on the wall, and a pool table with mould- covered baize, and a pinball machine with broken glass. She's got a sheen of sweat on her face. Wipes it off. Looks around. On the floor, she sees THORENSEN, asleep on her unrolled bedding. Beside THORENSEN is RADEK, also asleep. Beside RADEK is SHEPPARD. Awake. SHEPPARD winks.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>The two women whisper quietly to each other.<\/scene_description>\n    <character>SHEPPARD<\/character>\n    <dialogue>How you doing, babe.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>... Fine.<\/dialogue>\n    <scene_description>LENA nods at RADEK.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Good she's getting some rest.<\/dialogue>\n    <character>SHEPPARD<\/character>\n    <dialogue>Yeah - with the help of a little sedative.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>How about you? Get any sleep?<\/dialogue>\n    <scene_description>SHEPPARD shakes her head.<\/scene_description>\n    <character>SHEPPARD<\/character>\n    <dialogue>I'd need a horse-tranq to knock me out. I'm at least as freaked as Radek. Just hiding it better.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>I'll go check on Dr Ventress.<\/dialogue>\n    <character>SHEPPARD<\/character>\n    <dialogue>You got it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ABANDONED BASE\/REC ROOM HUT - NIGHT<\/stage_direction>\n    <scene_description>LENA exits the REC ROOM hut. The hut is on the edge of the abandoned facility. The starlight doesn't illuminate much, but we can just about make out the chain-link perimeter fence, and beyond it, the black shape of the forest. DR VENTRESS is sitting at a picnic table, just outside the door, studying a map by torchlight.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>What are you doing up, Kerans? You're not due to relieve me until three AM.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>I'm done sleeping for the night.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>In that case, you might as well take a look at this.<\/dialogue>\n    <scene_description>DR VENTRESS taps way-point positions on the map.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Here's us. Here's where I think we camped last night. And here's the lighthouse. Judging by the distance we covered today, we won't reach it tomorrow. But look, South West from here -<\/dialogue>\n    <scene_description>DR VENTRESS indicates a new position.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>- Ville Perdu. A tiny community, evacuated ten years ago. I think we should aim there for tomorrow night. Then pick up the road to the coast.<\/dialogue>\n    <scene_description>LENA says nothing. DR VENTRESS notices the non-response. She looks up at LENA from the map and the torchlight. A beat between them. Then LENA speaks.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>The previous expeditions. Were they selected in the same way as this one? From volunteers.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Yes. They were.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Even the soldiers?<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>... No one was ordered to go.<\/dialogue>\n    <scene_description>LENA meets the doctor's gaze.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Then I have to ask: why did my husband volunteer for a suicide mission?<\/dialogue>\n    <scene_description>DR VENTRESS pauses.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Why would I have an answer to that question?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Because you ran the programme. You must have assessed him. And he must have told you.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>So you're asking me as a psychologist?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Then, as a psychologist, I think you're confusing suicide with self- destruction, and they're very different. Almost none of us commit suicide, whereas almost all of us self-destruct. Somehow. In some part of our lives. We drink, or take drugs, or destabilise the happy job -<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>- or happy marriage.<\/dialogue>\n    <scene_description>LENA reacts. Uncertain whether this was targeted at her. DR VENTRESS continues.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>But these aren't decisions. They're impulses. And in fact, as a biologist, you're better placed to explain them than me.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Isn't the self-destruction coded into us? Imprinted into each cell.<\/dialogue>\n    <scene_description>Silence. DR VENTRESS shrugs.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>So.<\/dialogue>\n    <scene_description>The word hangs. And LENA is spared having to find a reply - - by a strange noise, from somewhere in the darkness. A POPPING. A TEARING. Not organic. Metallic. Surprisingly loud. The heads of the women flick round to the source of the noise.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>... What was that?<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <scene_description>LENA unslings her rifles and raises it, switching on the night-vision scope. CUT TO - - the green-white view. Scanning the tree line, through the fence.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>You see anything?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>No, just -<\/dialogue>\n    <scene_description>LENA breaks off.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Through the scope, there is something. A large hole in the perimeter fence. The chain-link twisted, pulled open. CUT TO - - SHEPPARD emerges from the REC ROOM HUT, into the moonlight, holding her weapon and a flashlight.<\/scene_description>\n    <character>SHEPPARD<\/character>\n    <dialogue>What's going on? I heard a noise.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Something's just come through the fence.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>What do you mean: through the fence?<\/dialogue>\n    <scene_description>LENA dips the gun.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>It's ripped open like a zipper.<\/dialogue>\n    <character>SHEPPARD<\/character>\n    <dialogue>But what could do that?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>I don't know. Something big.<\/dialogue>\n    <scene_description>ANOTHER NOISE. And this is organic. It's a thump of movement. Then a panting breath. A snort. And it feels very close. The three women freeze. A beat. Then SHEPPARD lifts her FLASHLIGHT. Points it straight in front of her. And illuminates a huge creature...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>.. less than two metres away. It looks something like a BLACK BEAR. But like the GATOR, it's twice the size it should be.<\/stage_direction>\n    <scene_description>And it's stranger than the GATOR. It seems to be enmeshed with plant matter. Stems and leaves are growing out of its fur. Its fur hangs like the Spanish moss on the swamp oak branches. Long thorns push outwards, bristling over the crown of its skull, along its snout, down its arms. And it's up on its hind legs. Standing like a man, towering over SHEPPARD and LENA. Blotting out the stars. Then it opens its jaws. And it looks as if some of the plant matter is actually growing from inside the BEAR'S mouth. It is a terrifying and transfixing sight.<\/scene_description>\n    <character>SHEPPARD<\/character>\n    <dialogue>... shit.<\/dialogue>\n    <scene_description>The next moment - with shocking speed - the BEAR lunges downwards - - at SHEPPARD. There is a glimpse of her being pulled to the side, and almost COMPRESSED. Like a glimpse of someone being hit by a car. Then the FLASHLIGHT winks out. And SHEPPARD is gone. Sucked into a rush of movement and blackness. LENA, who has hardly had time to draw breath, now reacts.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Sheppard!<\/dialogue>\n    <scene_description>No answer. LENA clamps the night scope to her eye, scanning desperately. SEES something massive in the darkness, moving fast, back towards the fence. A glimpse of SHEPPARD, dragged like a rag doll. Then it's gone. The creature, and SHEPPARD, have vanished.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>SHEPPARD!<\/dialogue>\n    <scene_description>THORENSEN appears, holding her gun.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>What's going on? Where is she?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>She's gone! She was right here next to me - and something took her! It was like a bear, or -<\/dialogue>\n    <scene_description>Sudden screaming. High, desperate. And sustained. It's SHEPPARD. But she's nowhere close. It's from the trees.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>... Oh Christ.<\/dialogue>\n    <scene_description>LENA, THORENSEN and DR VENTRESS start running toward the sound. They reach the break in the fence. But the forest beyond is immeasurably massive and dark, and the screams are from deep inside. LENA calls out - SHEPPARD! SHEPPARD'S shrieking continues. Then - - abruptly stops.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE SHIMMER - DAY<\/stage_direction>\n    <scene_description>Daybreak, through the SHIMMER.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ABANDONED BASE\/REC ROOM - DAY<\/stage_direction>\n    <scene_description>RADEK is sat on the ground. Shaking uncontrollably. DR VENTRESS sits on a chair, on the far side of the room, observing RADEK with a neutral expression. LENA and THORENSEN are standing.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>We have to go back. We have to go back now.<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>She's right.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Right in what sense?<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>We've been attacked twice, we've lost one of the team, and we have documentary evidence that the previous team were also under attack - not just by mutated creatures, but each other. How more 'right' could she be?<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>We haven't reached the lighthouse. We still don't understand the cause or nature of the Shimmer.<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>But we have data, observations, photographs, samples -<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>- all of which make the phenomenon less explicable, not more.<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>That's beside the point! Our mission parameters are to get into Area X, find something out, and live to tell the story.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Mission parameters?<\/dialogue>\n    <scene_description>DR VENTRESS stands.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>I'm not sure I have any mission parameters.<\/dialogue>\n    <scene_description>THORENSEN shoots a glance at LENA.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>... What the Hell?<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>I plan to get to the lighthouse. But I'm not going to pretend it's for a mission. It's because I want to know what's inside.<\/dialogue>\n    <scene_description>DR VENTRESS walks to the door.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>I'll do it alone, if need be. You simply decide whether you're coming with me, or not.<\/dialogue>\n    <scene_description>DR VENTRESS exits. Leaving LENA, THORENSEN and RADEK alone. Silence.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>... She's crazy.<\/dialogue>\n    <scene_description>Then THORENSEN turns to LENA.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>Thanks for the back-up, Kerans.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>... I didn't know there were sides.<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>There are sides.<\/dialogue>\n    <scene_description>LENA hesitates.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Okay. Then I agree with you. We should be heading back.<\/dialogue>\n    <scene_description>THORENSEN looks relieved.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>Right. Good. The three of us can -<\/dialogue>\n    <character>LENA<\/character>\n    <parenthetical>(interrupts)<\/parenthetical>\n    <dialogue>Just a minute.<\/dialogue>\n    <scene_description>Beat. THORENSEN already doesn't like this.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>We head back: yes. But I don't think we do it by retracing the route we took here. It took us approximately four days to reach this point, right? But the coast is only two days away. And as Sheppard pointed out: once we hit the shore, we can follow it until we hit the perimeter wall. It's impossible to get lost, and it will be easier terrain than making our way back through the swamps.<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>You're saying we get out by going deeper in?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>... If you like, yes.<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>If I 'like'? No Kerans, I don't fucking 'like'.<\/dialogue>\n    <scene_description>THORENSEN doesn't disguise her suspicion.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>This isn't just a way of talking us round so we keep heading for the lighthouse.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>It has nothing to do with the lighthouse. I believe the coast is the best route out. That's all.<\/dialogue>\n    <scene_description>Silence. THORENSEN glances at RADEK. The younger woman has closed her eyes. Just trying to block it all out.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <parenthetical>(under her breath)<\/parenthetical>\n    <dialogue>Shit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ABANDONED BASE\/REC ROOM HUT - DAY<\/stage_direction>\n    <scene_description>LENA exits the hut. Wearing her backpack. Carrying her gun. DR VENTRESS stands in the spot where SHEPPARD was attacked, gazing towards the broken fence. LENA approaches.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>We're coming with you.<\/dialogue>\n    <scene_description>DR VENTRESS glances back at LENA.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>I knew you would be. But I'm glad about the others. Better we stick together.<\/dialogue>\n    <scene_description>DR VENTRESS shoulders her backpack.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Incidentally, Lena, I just wanted to say: on top of whatever else is going here, you shouldn't worry.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>... Worry about what?<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Your secret. It's safe with me.<\/dialogue>\n    <scene_description>LENA pauses.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>'My secret'. You're talking about my husband?<\/dialogue>\n    <scene_description>LENA lowers her voice.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Is that not our secret? In that you were the one who instructed me to keep it.<\/dialogue>\n    <scene_description>DR VENTRESS shrugs.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>By all means. If that way of seeing it is helpful to you.<\/dialogue>\n    <scene_description>THORENSEN and RADEK appear at the door to the REC ROOM HUT.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <parenthetical>(calls)<\/parenthetical>\n    <dialogue>Are we good to go?<\/dialogue>\n    <scene_description>THORENSEN makes no reply.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SWAMP - DAY<\/stage_direction>\n    <scene_description>The four-person team walk in single file. DR VENTRESS on point. Then RADEK. Then THORENSEN. Then LENA. As they walk, LENA becomes aware that THORENSEN is talking to herself. Low muttering. Unintelligible. It sounds like some kind of internal private argument, unwittingly externalised. LENA watches.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Hey Thorensen.<\/dialogue>\n    <scene_description>THORENSEN'S gaze flicks round. There's a flash of something in her eyes. Something like anger. Something like a lack of recognition. As if whatever she's seeing at that moment, it isn't LENA. Then it's gone.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <scene_description>THORENSEN turns away.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>I'm fine. Leave me alone.<\/dialogue>\n    <scene_description>CUT TO - - DR VENTRESS. Suddenly stopping. She's seen something just ahead. Then RADEK sees it too. Puts a hand over her mouth. As LENA reaches them, REVEAL - - crushed undergrowth, forming a trail into the trees. And along it, unmistakable splashes and smears of blood on the leaves.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>... Sheppard.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Very likely.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>She might still be alive.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>I think it's unlikely.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>I think we need to know.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>I'm not risking the entire mission.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <scene_description>LENA cocks her rifle.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>I'll come with you, Kerans.<\/dialogue>\n    <scene_description>LENA glances at THORENSEN. Again, sees something in her eyes. A slight sheen or glaze. Something not quite right.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>I'll go alone. Quicker, quieter.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SWAMP - DAY<\/stage_direction>\n    <scene_description>LENA heads through the swamp. Gun raised. Following the blood trail. From somewhere nearby, she hears a noise. Perhaps the BEAR. Perhaps something else. She freezes. Looks into the trees. There is movement in the foliage. Something could be out there - a creature, or person. Or equally it could be a trick of the light, and shadows. LENA watches. Waits. Sees something. But it's not the BEAR. It's a DEER. Or a deer-like creature. Elongated legs. Branch and leaf structures flowing out of its back. Then - skittish - it's gone. Sweat runs down LENA'S face. She blinks it out of her eyes. Silence returns. LENA heads on.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SWAMP\/CLEARING - DAY<\/stage_direction>\n    <scene_description>Dense foliage. In it, we find LENA. Crawling forwards on her belly. She's seen something up ahead. REVEAL - - the end of the blood trail, in a clearing. In the middle of the clearing, sunlit, is SHEPPARD. Lying on her back, facing upwards. Clothes soaked with blood. LENA watches. Waits. No sound, except wind in trees.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SWAMP\/CLEARING - DAY<\/stage_direction>\n    <scene_description>LENA cautiously approaches SHEPPARD'S body, gun raised, continually scanning the tree line. As she reach her colleague - - REVEAL SHEPPARD. Her midriff is torn. Either bitten or clawed. Through the dark congealed blood and ripped material, we glimpse the blue- white coil of intestine. But her face is intact. There are flecks of blood on her cheek. And her eyes are open. Then - - something very strange happens. Her LEFT EYE - and her left eye only - makes a sudden jittering movement. Like a quiver. LENA jumps.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Jesus!<\/dialogue>\n    <scene_description>Then SHEPPARD'S slightly parted lips move. As if just starting to form a word.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>... Sheppard?<\/dialogue>\n    <scene_description>CUT BACK to SHEPPARD'S face - - as SHEPPARD'S mouth is pushed more fully open, which reveals that INSIDE her mouth, there is a creature. The size of small snake. The texture and colour of worm. SHEPPARD'S cheeks undulate gently with the movement. And the LEFT EYE suddenly starts to sink into the socket, as if being consumed. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SWAMP - DAY<\/stage_direction>\n    <scene_description>- LENA, returning to where DR VENTRESS, THORENSEN and RADEK are waiting.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>Did you find her?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>She's dead.<\/dialogue>\n    <scene_description>The finality in LENA'S voice dissuades follow-up questions. Wordlessly, RADEK, THORENSEN and DR VENTRESS shoulder their backpacks.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SWAMP - DAY<\/stage_direction>\n    <scene_description>Distant from the small group. They are far figures, moving through the green. Flitting in and out of view. Then merged totally. Gone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE SUN - SUNDOWN<\/stage_direction>\n    <scene_description>The light of the setting sun, refracting into a rainbow.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTSIDE VILLE PERDU - SUNDOWN<\/stage_direction>\n    <scene_description>The four women stand on a dirt road. Ahead is a small town. A backwater place. The twenty or so buildings are largely wooden and single-storey. Plant-life has been busy reclaiming the structures. The moss tumour-growths are even more extreme here. Some of the buildings are half-swallowed by the red and green clusters.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>This is where we camp tonight. The ocean is another two hours hike from here. We pick a house. Secure the windows and doors. And we don't venture out until sun-up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLE PERDU - SUNDOWN<\/stage_direction>\n    <scene_description>The women enter the town. Not talking. Scanning. Alert. Weapons unslung, and hands resting with the finger above the trigger guard. LENA is distracted by the sight of one of the houses - from which a tree has appeared to grow from the inside. Branches push out through the windows and roof shingles.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>Kerans.<\/dialogue>\n    <scene_description>The quiet urgency in RADEK'S voice makes everyone look round. RADEK is frozen to the spot. LENA follows her gaze - - and jolts. Twenty or so metres ahead, in the dark space between two of the buildings, there is what appears to be the silhouette of a MAN. Motionless. Arms at his side. Facing them. Only after registering the shape of the MAN does it become clear that there is something odd about him. He's slightly misshapen. His arms and torso are too thin. His legs are too thick. A beat. No one has moved. LENA takes a step towards the MAN. Raises a hand.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>The silhouette of the MAN doesn't react at all. LENA takes another step - - and the shift in perspective reveals another figure. This one is behind the man, behind the building. Not in shadow, but caught in the light from the dropping sun. It looks like a CHILD. Also motionless, also misshapen. But now, in the light, the oddness of the shape makes more sense. The CHILD is not flesh and blood, but plant. A twisting root system form calves and feet, leading up to knotted branches and densely packed leaves. Like a topiary.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLE PERDU\/STATUE GARDEN - SUNDOWN<\/stage_direction>\n    <scene_description>LENA, followed by the others, walks through the space between the buildings, past the shape of the MAN - - into something that is like a statue garden. In the space between the back of the houses and the tree-line of the forest, there are twenty or so plant figures. Some of them have grown into reasonable facsimiles of a man, or woman, or a child. Others are incomplete. The legs, and half the torso. An outstretched arm, becoming a tangle of twigs and leaves beyond the bicep. Others have exploded far beyond the basic outline of a human, expanding out into tree structures.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>What are these things? Were they made by the people who lived here?<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Impossible. The area has been empty for years.<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>Or made by one previous teams?<\/dialogue>\n    <scene_description>LENA examines a CHILD PLANT.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>They haven't been cut this way.<\/dialogue>\n    <scene_description>LENA plucks a LEAF from the CHILD FIGURE.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>They've grown this way.<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>What are you talking about? That makes no sense.<\/dialogue>\n    <scene_description>RADEK speaks quietly.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>I think it does.<\/dialogue>\n    <scene_description>RADEK has sat on the grass between two of the figures.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>In fact, it makes total sense.<\/dialogue>\n    <scene_description>All turn to RADEK.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>I'd thought the radio waves were blocked by the Shimmer, and that's why no one inside could communicate with base or GPS.<\/dialogue>\n    <scene_description>RADEK glances upwards.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>But I look up. I see the sun. And the sky. The light waves aren't blocked.<\/dialogue>\n    <scene_description>Bright rainbow colours fringe the clouds above.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>They're refracted.<\/dialogue>\n    <scene_description>RADEK reaches for her short-wave radio, hooked on her belt, and switches it on.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>And it's the same with the radios. The signals aren't gone...<\/dialogue>\n    <scene_description>Through the STATIC FUZZ, there are sounds. Pulses. Soft distorted tones, that rise and fall.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>... They're split. Scrambled.<\/dialogue>\n    <scene_description>RADEK switches the radio off. Shifts her gaze to LENA.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>The leaf in your hand. You know what you'd find if you sequenced it? Hox. Pax 6.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Hox? What are you talking about?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>They're the genes that define body structure. But in animals. Not plants.<\/dialogue>\n    <character>RADEK<\/character>\n    <dialogue>The plants have arms. The arms are attached to shoulders. The legs are attached to hips.<\/dialogue>\n    <scene_description>LENA is trying to collect her thoughts, mind racing.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>No - they're just simulacra. Like a stick insect or chameleon. What you're saying is simply not possible.<\/dialogue>\n    <character>RADEK<\/character>\n    <dialogue>None of this is possible, Lena. But it's what's happening. The Shimmer is a prism. It refracts everything. Light, waves, fields, DNA.<\/dialogue>\n    <scene_description>RADEK hesitates.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>All DNA.<\/dialogue>\n    <scene_description>THORENSEN interrupts, overwhelmed by confusion and frustration.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>Stop! Just - stop talking science. Speak English. What do you mean, 'All DNA'?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>You know what she means, Thorensen. She means our DNA.<\/dialogue>\n    <scene_description>LENA lets the leaf drop.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Whatever's happening to everything else will also be happening to us.<\/dialogue>\n    <scene_description>In the low sun, everything upright is silhouette, fringed with gold. On the ground, the long shadows of the women and the plant statues are fringed with chromatic aberration, and are indistinguishable from each other.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VILLE PERDU\/HOUSE - NIGHT<\/stage_direction>\n    <scene_description>The women are inside the FRONT ROOM of one of the abandoned houses. The KITCHEN is off the front room. The kitchen and living room windows have been barricaded, and LENA and THORENSEN are positioning a heavy dresser to jam the front door. Once it's in place, LENA turns to the others.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>You all get some sleep. I'm keeping first watch.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE MOON - NIGHT<\/stage_direction>\n    <scene_description>The moon in the sky, through the Shimmer.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VILLE PERDU\/HOUSE\/FRONT ROOM - NIGHT<\/stage_direction>\n    <scene_description>LENA sits at the dining table. The room is lit by her upended flashlight. She's removed the top, exposing the bulb, like a candle. She's watching the other three. Laid out on their bedding. Their soft breathing. Satisfying herself that they're all asleep. Then she quietly opens her backpack. Removes a small case. Inside is the equipment we saw her select from the Southern Reach laboratory. A field microscope. A scalpel. She removes a blade from a sealed foil packet. Clips a blade into the scalpel. Then she rolls up her left shirt sleeve. It reveals her forearm - - and the unexplained BRUISE she first noticed while talking to SHEPPARD as they paddled through the swamp. The mark is now darker. And larger. Roughly circular, with a slight indication of a pattern. It's as the bruise were painted with ink on wet paper, and the marks have blurred into something too abstract to understand. LENA gazes at the strange, oddly malign shape. Then pushes the scalpel into it. Drawing blood from the dark marks. A beat. The sight of the crimson bead has hypnotised her. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VILLE PERDU\/HOUSE - NIGHT<\/stage_direction>\n    <scene_description>- LENA leaning over her microscope. CUT TO - - extreme CLOSE UP on blood cells. The biconcave shape are clearly visible. The MAGNIFICATION increases. We see inside the translucent cell structure...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>.. Where something is shimmering.<\/stage_direction>\n    <scene_description>CUT TO - - LENA, leaning away from the microscope. Blank-faced. Then she stands, walks past the apparently sleeping figures of RADEK, THORENSEN and DR VENTRESS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VILLE PERDU\/HOUSE\/KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>LENA enters the KITCHEN. Goes directly to the sink. And - quietly, with a minimum of fuss - throws up. When she has finished, she turns around - - and sees RADEK. Standing at the kitchen door. Looking at her.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>Well?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Your thesis is correct.<\/dialogue>\n    <character>RADEK<\/character>\n    <dialogue>What did you see?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>It's in me.<\/dialogue>\n    <character>RADEK<\/character>\n    <dialogue>It'll be in all of us.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>... I imagine so.<\/dialogue>\n    <scene_description>RADEK exhales. Beat.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>Do you think you can get any sleep?<\/dialogue>\n    <scene_description>LENA doesn't answer.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>You should try.<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKY - DAY<\/stage_direction>\n    <scene_description>- CLOSE UP on the MOON in daylight. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOHNS HOPKINS MEDICAL SCHOOL\/SEMINAR ROOM - DAY<\/stage_direction>\n    <scene_description>- LENA, talking to her students.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>So we can describe cancer as a genetic mutation that causes unregulated cell growth. But genetic mutation is also the reason we exist. We wouldn't have evolved from the single-cell organism from which we're all derived.<\/dialogue>\n    <scene_description>LENA pauses.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>I think it's partly why cancer frightens us. It doesn't just hurt us, and kill us. It changes us.<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLE PERDU\/STATUE GARDEN - NIGHT<\/stage_direction>\n    <scene_description>- the moonlit human shapes in the statue garden. Not quite motionless. Moving gently in wind. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE\/BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>- LENA'S face, moonlit. Seen over a man's shoulder. In bed. Having sex. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE\/BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>- LENA. Now sitting at her bedroom window. Gazing out at the night sky over the suburban street. REVEAL the man on the bed behind her. It isn't KANE. It's her work colleague. DANIEL. Beats pass. Then LENA speaks.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>This was a mistake.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>Okay...<\/dialogue>\n    <scene_description>He pauses.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>... But it's a mistake we keep making. It's not exactly the first time I've been in your bed, or you in mine. Whenever he goes away, we find ourselves right here.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>It's still a mistake.<\/dialogue>\n    <scene_description>DANIEL half-laughs.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>You want to have this conversation again?<\/dialogue>\n    <scene_description>Silence.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Fine. Let's have it again. You spend more time away from your husband than with him.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>You can't talk to him about your work, and he won't talk to you about his. And there is a clear physical and intellectual connection between us. Have I covered the bases?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>You didn't mention your wife.<\/dialogue>\n    <character>DANIEL<\/character>\n    <dialogue>I love my wife, as I always make plain. She's blameless in this.<\/dialogue>\n    <scene_description>DANIEL sits up in bed.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Come on, Lena. What's really going on here?<\/dialogue>\n    <scene_description>LENA doesn't answer. She's zoned him out.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Is it because you haven't heard from him? You think...<\/dialogue>\n    <scene_description>DANIEL hesitates.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>... You think something may have happened to him?<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Or you think he knows. That's it, isn't it? You think somehow he's found out about our affair.<\/dialogue>\n    <scene_description>The note of anxiety in DANIEL'S voice pulls LENA out of her glaze. He's clearly more worried by the idea that KANE knows about their affair than KANE being KIA.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>... Has he found out?<\/dialogue>\n    <scene_description>LENA glances back at DANIEL. Watches him for a moment. Flat. Dead.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>You should go.<\/dialogue>\n    <scene_description>DANIEL frowns.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>Look, Lena, I -<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Dan.<\/dialogue>\n    <scene_description>DANIEL cuts himself off.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>I'm not interested in talking to you, or anything you have to say. Just get dressed and get out, will you?<\/dialogue>\n    <scene_description>A beat. Then DANIEL stands. Starts to put on his clothes.<\/scene_description>\n    <character>DANIEL<\/character>\n    <dialogue>You know it's not me you hate. It's yourself.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>No, Dan. It's you too.<\/dialogue>\n    <scene_description>LENA turns away, back to the window. CLOSE ON LENA'S FACE.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>This is never going to happen again.<\/dialogue>\n    <scene_description>She shuts her eyes. Behind her, out of sight, we hear DANIEL leave. Then - - we hear THORENSEN'S voice.<\/scene_description>\n    <character>THORENSEN (O.S.)<\/character>\n    <dialogue>You lying bitch.<\/dialogue>\n    <scene_description>The voice intrudes in the way an alarm clock intrudes on a dream. The sudden awareness that the alarm is real, and the dream is not. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VILLE PERDU\/HOUSE\/FRONT ROOM - NIGHT<\/stage_direction>\n    <scene_description>- LENA opening her eyes. Sees THORENSEN and RADEK. DR VENTRESS is nowhere to be seen. RADEK looks terrified. And THORENSEN is leaning over LENA. Eyes wide, lips curled back over teeth. Holding her automatic rifle. Pointed at LENA'S head. LENA startles - waking fast. Sitting upright.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>... What's going on?<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>You don't get to ask that question. You get to answer it.<\/dialogue>\n    <scene_description>RADEK tosses something. It lands on LENA'S lap. LENA looks down - - and sees KANE'S face, looking at her out of her open SILVER LOCKET. LENA'S blood freezes. She looks up - - just in time to see THORENSEN spin her rifle around, and smashes the stock down. Knocking LENA out cold. CUT TO BLACK. Then CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VILLE PERDU\/HOUSE\/FRONT ROOM - NIGHT<\/stage_direction>\n    <scene_description>- the view-finder POV of a CAMERA, as it POWERS UP. The camera is being handheld by RADEK, and is filming LENA and DR VENTRESS - - who are both tied to kitchen chairs. Wrists bound behind their backs. Ankles tied to the chair legs. Blood has run down LENA'S face from a cut inside her hair- line. DR VENTRESS is bruised under the eye. THORENSEN stands in front of them, holding her gun.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Thorensen -<\/dialogue>\n    <scene_description>THORENSEN'S gun swings immediately to DR VENTRESS.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <parenthetical>(cuts in)<\/parenthetical>\n    <dialogue>Shut up.<\/dialogue>\n    <scene_description>The gun swings back to LENA.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>Keep talking, Kerans.<\/dialogue>\n    <scene_description>CUT OUT from RADEK'S camera POV. The rest of the scene intercuts the camera footage with normal photography.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>But Thorensen, I'm telling you - that's all there is to it! He's my husband. He was on the previous mission. He went in, came out, and was sick, and I needed to understand what had happened to him. I thought maybe if I knew what had damaged him, I could -<\/dialogue>\n    <character>THORENSEN<\/character>\n    <parenthetical>(cuts in)<\/parenthetical>\n    <dialogue>Bullshit. You think I don't know this whole thing's a set-up? You two - you've been working together. You tricked us. You lied to us. You led us here.<\/dialogue>\n    <scene_description>THORENSEN'S gun swings back DR VENTRESS.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>Tell me I'm wrong.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>You're wrong. But you're also not interested hearing in the truth.<\/dialogue>\n    <scene_description>DR VENTRESS looks at THORENSEN. Hard. Unfazed.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Or not able.<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>What do you mean by that?<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Isn't it obvious?<\/dialogue>\n    <scene_description>DR VENTRESS looks to the VIDEO CAMERA - to RADEK.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Tell me, Radek. If the Shimmer is refracting us physically, couldn't it refract us psychologically too? Our perception? Our minds?<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>Wow. You're a real piece of work, Ventress.<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Does Thorensen's behaviour seem rational to you at this moment? Does it seem sane?<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>See what she's trying to do, Radek? See how she's trying to twist this?<\/dialogue>\n    <scene_description>DR VENTRESS turns back to THORENSEN.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>You really can't see that what's happening in this room is exactly what happened on the previous missions?<\/dialogue>\n    <character>RADEK<\/character>\n    <dialogue>Thorensen - it is possible. What she's saying.<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>Jesus Christ! Don't listen to her!<\/dialogue>\n    <character>RADEK<\/character>\n    <dialogue>But it is possible! Think about what's happening in this place. The things we're seeing. We could all be locked in some kind of rolling hallucination -<\/dialogue>\n    <scene_description>AT THAT MOMENT - - RADEK is interrupted by the sound of SCREAMING. It's a woman. Coming from somewhere outside. And we've heard it before. It's the sound SHEPPARD made as she was being killed in the forest. The screams fade out. A beat of stunned silence in the room. Broken by THORENSEN.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>Sheppard.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>... It can't be Sheppard.<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>That was her.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>I saw her body.<\/dialogue>\n    <scene_description>Another sudden burst of screaming. This time, it sounds much closer, and within it, we can hear words.<\/scene_description>\n    <character>SHEPPARD (O.S.)<\/character>\n    <dialogue>Help me - oh God please - please help me -<\/dialogue>\n    <scene_description>It cuts out again.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Kerans?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>She was dead! I saw her body!<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>You're telling me that's not Sheppard?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>It can't be real!<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>So it's a 'hallucination'? That we're all sharing?<\/dialogue>\n    <scene_description>BANG. All jump. Something has knocked against the barricaded FRONT DOOR of the house. All heads turn to the sound of the noise.<\/scene_description>\n    <character>RADEK<\/character>\n    <parenthetical>(hyperventilating)<\/parenthetical>\n    <dialogue>What was that?<\/dialogue>\n    <character>SHEPPARD (O.S.)<\/character>\n    <dialogue>Please - please -<\/dialogue>\n    <scene_description>SHEPPARD'S voice is right outside the door. Something scratches against the wood.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <parenthetical>(calls)<\/parenthetical>\n    <dialogue>Sheppard?<\/dialogue>\n    <character>SHEPPARD (O.S.)<\/character>\n    <dialogue>Please, Thorensen, is that you? Oh God, I'm hurt, I'm hurt -<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>Fuck.<\/dialogue>\n    <scene_description>THORENSEN starts for the door.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Thorensen, no!<\/dialogue>\n    <scene_description>LENA struggles against her bindings.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Radek - untie me!<\/dialogue>\n    <character>SHEPPARD (O.S.)<\/character>\n    <dialogue>I'm bleeding -<\/dialogue>\n    <character>THORENSEN<\/character>\n    <dialogue>It's her! I've got to let her in!<\/dialogue>\n    <scene_description>RADEK is frozen, staring at the door - - as THORENSEN starts pushing back the dresser that barricades it.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>Sheppard - hold on -<\/dialogue>\n    <character>SHEPPARD (O.S.)<\/character>\n    <dialogue>Hurry -<\/dialogue>\n    <scene_description>NO!<\/scene_description>\n    <character>LENA<\/character>\n    <parenthetical>(yells)<\/parenthetical>\n    <dialogue>Radek! Untie me NOW!<\/dialogue>\n    <scene_description>RADEK finally reacts. Moves to LENA, pulling her KNIFE - - but too late. THORENSEN has pulled the dresser back, and pulled the door open. It reveals the huge plant-enmeshed BEAR-CREATURE that killed her. Lit now in the light from the room. - is the huge shape of the plant-enmeshed BLACK BEAR. Eyes reflecting light from the room as bright yellow discs. Long thorns cresting over its head and shoulders. Oddly elongated claws, like a long hooks of a sloth.<\/scene_description>\n    <character>THORENSEN<\/character>\n    <dialogue>... Sheppard?<\/dialogue>\n    <scene_description>The BEAR lifts a paw. And makes a simple motion - an upwards swipe across THORENSEN'S midriff. THORENSEN bends forward. And something wet and heavy splashes out of her stomach, onto the floor. Then she drops to her knees, then pitches forwards... ... at the feet of the BEAR. The BEAR turns to look at RADEK. And opens its jaws, as if to howl. But instead, it emits SHEPPARD'S high, desperate scream. OVER THE SCREAM - GET ME OUT! - RADEK'S knife slices through the rope tying LENA'S hands - - just as the BEAR-CREATURE forces its way into the room. Charging RADEK, LENA, and DR VENTRESS. The women are knocked violently aside. LENA'S CHAIR breaks as she lands - - allowing LENA to kick out of the ropes that tie her ankles. She crawls across the floor - - as the BEAR turns to RADEK - - and spears RADEK through the CHEST with a hooked claw. Lifting RADEK into the air, her feet leaving the ground. RADEK is impaled but alive. Hyperventilating. Legs bicycling in the air. Hands trying pull herself off the claw. LENA scrambles across the floor. Reaching for THORENSEN'S weapon, which lies beside her body. Grabbing it. Turning - - as the BEAR turns, still holding RADEK suspended. And LENA OPENS FIRE with the AUTOMATIC RIFLE. Emptying the entire clip into the BEAR'S freakishly deformed head. For a moment it remains upright. Then it topples like a felled tree. CUT TO THORENSEN - - on the floor, expelling a final gurgling breath, as she dies.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLE PERDU - SUNRISE<\/stage_direction>\n    <scene_description>First light, over the town.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLE PERDU\/HOUSE\/PORCH - SUNRISE<\/stage_direction>\n    <scene_description>RADEK sits on the porch of the house, slumped on a rotting wicker chair. Her chest is bandaged - but the bandage is soaked through with blood. Her skin looks like white wax. Her eyes open. She sees LENA sitting beside her. LENA holds a water bottle to RADEK'S lips.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>... Thank you.<\/dialogue>\n    <scene_description>RADEK'S voice is weak. She drinks a little.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>... Dr Ventress?<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Gone, about half an hour ago. The coast isn't far, so I'm sure she'll make it. The only real purpose of this expedition was to give her a chance to reach the lighthouse. Find out what's inside, after all these years.<\/dialogue>\n    <scene_description>LENA pauses.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>I don't much like her. But I'm glad she'll get what she wanted.<\/dialogue>\n    <scene_description>A beat. Then RADEK glances at LENA.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>Why didn't you leave me here?<\/dialogue>\n    <scene_description>LENA says nothing.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>I can't survive these injuries. You know that.<\/dialogue>\n    <scene_description>No answer.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>You plan going to stay with me. Until I die.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>RADEK nods. Then pauses.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>It was strange, hearing Sheppard's voice last night. I suspect that as she was dying, part of her mind became part of the creature that was killing her.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>It's a terrible thought. To die frightened and in pain, and have that as the only part of you which survives. Trapped in the mind of an animal.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>I wonder if I'll be trapped in you.<\/dialogue>\n    <scene_description>Silence.<\/scene_description>\n    <character>RADEK<\/character>\n    <dialogue>There's morphine in the medical kits.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Radek -<\/dialogue>\n    <character>RADEK<\/character>\n    <dialogue>Give me whatever's left. Shut my mind down. Then shoot me.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>Radek, please. Don't ask me to do this.<\/dialogue>\n    <scene_description>Silence. RADEK'S gaze remains fixed on LENA'S face. Eventually, LENA has to meet it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLE PERDU\/STATUE GARDEN - DAY<\/stage_direction>\n    <scene_description>Sunlight in the statue garden. A few beats of quiet. Then the sound of a single gunshot. The retort slaps off the sides of the houses, then vanishes into the forest. A few beats later, LENA appears. Face drained of colour and emotion. She stares at the foliate people. CUT TO - - the statue garden. LENA has set all the figures on fire. She's watching them burn. And she's howling with rage and grief. For RADEK, SHEPPARD, THORENSEN, and KANE. Setting fire to the forest feels like revenge. From orange flames, wrapped around human forms - - CUT TO BLACK. CAPTION: PART 3 - THE LIGHTHOUSE: CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH - DAY<\/stage_direction>\n    <scene_description>A long hook of beach, where the swamp gives way to the sea. Massively empty. Miles of undulating dunes, and the great flat ocean. Along the beach, strange shapes rise. Visually similar to the tumour-like growths on the plants and buildings... ... but these are made of sand. Like massive termite mounds, as much as thirty foot high, morphed into spires and oddly organic abstractions. Only one other landmark can be seen. A couple of miles distant, seen through a blue haze of air and sea spray. The LIGHTHOUSE. Slender, tall. And white - where one can still see of the original construction, behind the brightly coloured moss. Leading that direction, a snaking line of footprints are clearly visible in the damp sand. The trail left by DR VENTRESS. CUT TO - LENA. Standing on the pale sands. Wind pulls at her hair. She looks down at her arm...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>.. where the BRUISE has now resolved into something immediately recognisable.<\/stage_direction>\n    <scene_description>The dark circle and blurred indication of patterns have become a TATTOO. Exactly the same distinctive image that THORENSEN wore. The ouroboros. She touches it with her thumb, as half-expecting it might wipe away. And when she pulls her thumb away - - something moves in her flesh. Not just a flex. Much more fundamental. A bone, shifting and contracting. Or a muscle, worming its way to a new position. LENA closes her eyes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE OCEAN - DAY<\/stage_direction>\n    <scene_description>From the ocean, a single figure walks along the shore. Between the abstract SAND STRUCTURES. In the foreground, the back of a huge whale-like creature breaks the surface... ... then slides back beneath the waves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH\/LIGHTHOUSE - DAY<\/stage_direction>\n    <scene_description>LENA stands on the beach. The LIGHTHOUSE is still a few hundred metres away. The area here is littered with bones and scraps of clothing. The scene of a massacre, many years ago. Blown and blasted by the wind, sand, sun, and salt. The bones look like ivory. A bright red backpack has been bleached pink. The body beneath it has almost been completely submerged into the dune. LENA reaches down and picks up the top half of a skull. The back of the skull morphs into the star-shape of a vertebrae, as it had been fused with its own backbone. LENA drops it back on the sand. Then continues towards the tall white lighthouse building.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIGHTHOUSE - DAY<\/stage_direction>\n    <scene_description>From the top of the lighthouse, we watch LENA approach. Below, at its base, its door hangs open, swinging in the sea breeze, knocking gently against its frame.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIGHTHOUSE - DAY<\/stage_direction>\n    <scene_description>LENA enters the base of the lighthouse. Light filters down from the window, thirty metres above. It illuminates a round room, with some specific features. A wooden staircase winds up the circular wall to the top of the structure. Abandoned on the floor, there is some MILITARY GEAR. A BACKPACK, surrounded by cannister-shaped GRENADES, and a RIFLE. Opposite where LENA enters, there is a TUNNEL in the floor, about two metres in diameter. At its entrance, the wooden boards have been pulled up, and laid out as a kind of ramp structure, leading downwards. INSIDE the tunnel something glows. The soft blue-green light of phosphorescence. Finally, in the middle of the room there is a VIDEO CAMERA on a tripod. The camera faces a long black scorch mark, rising up the curved wall, from a blackened heap on the ground. The nature of the heap is unclear. It's charred and fused beyond all recognition. LENA takes this all in. Her gaze finally settling on the CAMERA. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SWAMP - DAY<\/stage_direction>\n    <scene_description>- the PLAYBACK ON THE CAMERA. Which opens TIGHT on SHELLEY screaming:<\/scene_description>\n    <character>GET AWAY!<\/character>\n    <dialogue>GET AWAY FROM ME!<\/dialogue>\n    <scene_description>It's a blurred, shaking image. PEYTON is trying to hold SHELLEY, who is bare-chested, and struggling violently. KANE is holding a rifle on them both. All the soldiers are unkempt. Unwashed. Bearded.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>Let him go for Christ's sake!<\/dialogue>\n    <scene_description>PEYTON releases SHELLEY. SHELLEY breaks away. Running for a tree-line. KANE opens fire. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SWAMP - DAY<\/stage_direction>\n    <scene_description>- SHELLEY, lying in the grass, filmed by the CAMERAMAN. KANE and PEYTON stand either side. We can see that SHELLY has been shot in the chest. He's not dead yet. He's making a wheezing sound, as his punctured lungs collapse. Now that the camera is focused and steady, we can also see that SHELLEY has some extremely strange deformations. On his neck, there is a split, or opening. Effectively a large tracheotomy, shaped as a sideways mouth, running from the concave skin above his collar bone to under his chin. Inside the mouth, where there might be a tongue, there is something fat and white and red. It looks like a skinned SNAKE. Air bubbles through the blood around it, and the SNAKE is writhing slowly. There are more deformations on SHELLEY'S arms. Each one is split, just below the elbow, into two. Each split has secondary protrusions, finger-like, at irregular intervals. PEYTON looks haunted. Jaw locked into a rictus.<\/scene_description>\n    <character>PEYTON<\/character>\n    <dialogue>Oh God, Shelley...<\/dialogue>\n    <scene_description>KANE cuts PEYTON off - - by lifting his gun and firing a quick burst into SHELLEY. In SHELLEY'S throat, the skinned SNAKE judders and contorts. Then stops moving. KANE pulls at PEYTON'S shoulder.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH - DAY<\/stage_direction>\n    <scene_description>- the BEACH. KANE and PEYTON are standing on the sand, facing the ocean. They appear to be waiting for something. After a few seconds, it appears. First, a disturbance in the water - as if caused by a quake on the seabed, a hundred metres from the shore. KANE jabs a finger.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>There. It's coming again.<\/dialogue>\n    <scene_description>Then an area of water is rising, as if forming a hill. Then the surface of the water breaks - - and a DOLPHIN launches itself into the air. The DOLPHIN is the size of a BLUE WHALE. The vast creature holds for a moment, suspended in mid-air, before gravity takes hold. Pulls it down with an almighty crash. KANE turns to the CAMERAMAN. Wired. Wide-eyed.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>Unreal.<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH - NIGHT<\/stage_direction>\n    <scene_description>GREEN &amp; WHITE NIGHT VISION. PEYTON is firing his machine gun at the night sky. Bright tracer rounds arc into the stars, dipping slightly, then burning out.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>What the Hell are you doing?<\/dialogue>\n    <character>PEYTON<\/character>\n    <dialogue>Killing it.<\/dialogue>\n    <character>KANE<\/character>\n    <dialogue>You're just shooting at stars.<\/dialogue>\n    <character>PEYTON<\/character>\n    <dialogue>Where the fuck you think it came from?<\/dialogue>\n    <scene_description>He fires off another full clip.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>Quit wasting rounds! You're losing it, Peyton!<\/dialogue>\n    <scene_description>PEYTON laughs. Slams in a fresh magazine.<\/scene_description>\n    <character>PEYTON<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>Losing it. Oh man.<\/dialogue>\n    <scene_description>Turns to face KANE and the CAMERAMAN.<\/scene_description>\n    <character>PEYTON<\/character>\n    <dialogue>Have you two taken a look in the mirror recently? Or even a look at each other? Cause you really fucking should.<\/dialogue>\n    <scene_description>PEYTON flips to his rifle's underslung GRENADE LAUNCHER.<\/scene_description>\n    <character>PEYTON<\/character>\n    <dialogue>Eat it, you son of a bitch!<\/dialogue>\n    <scene_description>A hollow thump - as the grenade is fired. Then an explosion high in the air, like a firework, momentarily lighting up the sand and water. Then a moment of quiet. Waves lapping on the shore.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>Think you got it?<\/dialogue>\n    <scene_description>PEYTON makes a sobbing sound. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH\/LIGHTHOUSE<\/stage_direction>\n    <scene_description>- the CAMERAMAN recording the area of bones, in the dunes near the lighthouse. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH\/LIGHTHOUSE - DAY<\/stage_direction>\n    <scene_description>- KANE and PEYTON. They're a little distance away from the camera, where the dunes get flattened by the tides. PEYTON seems to be having some kind of seizure. He's on all fours, head dipped, with his spine buckling as if he's retching. KANE isn't helping. He just holds his rifle. Watching. Then PEYTON lifts his head - - revealing there is something wrong with the shape of his skull. At this distance, it's hard to tell what. Some kind of deformation that has elongated his face. Some words are exchanged between them. A beat. Then KANE shoots PEYTON. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH - DAY<\/stage_direction>\n    <scene_description>- KANE. He's a long way distant from the camera. Standing waist-deep in the ocean. After a few moments, KANE starts pounding the water with his fists. Screaming and yelling. The rage is miniaturised by the scale of the landscape. Voice almost lost against the surf. Then he stops. And looks back towards the CAMERAMAN. Stares. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIGHTHOUSE - DAY<\/stage_direction>\n    <scene_description>- KANE, walking towards the lighthouse. Through the towering SAND STRUCTURES. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIGHTHOUSE - NIGHT<\/stage_direction>\n    <scene_description>- KANE entering the lighthouse. He slips off his BACKPACK. Lays down his RIFLE. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIGHTHOUSE - NIGHT<\/stage_direction>\n    <scene_description>- GREEN &amp; WHITE NIGHT VISION. The camera position is locked-off, on a tripod, in the middle of the room. It faces KANE. KANE is sat on the floor, cross-legged, with his back to the curved wall. Holding something in his hands.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>I thought I was a man.<\/dialogue>\n    <scene_description>KANE pauses.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>I had a life. People called me Kane. But now I'm not sure.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>If I wasn't Kane, what was I?<\/dialogue>\n    <scene_description>KANE looks at the CAMERAMAN.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>Was I you? Were you me?<\/dialogue>\n    <scene_description>The CAMERAMAN doesn't answer.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>My flesh moves like liquid. My mind is cut loose.<\/dialogue>\n    <scene_description>Beat. Then KANE looks straight down the lens. His pupils glow like a cat's eye in the infra-red light.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>I can't bear it.<\/dialogue>\n    <scene_description>He opens his palm. He's holding one of the cannister-shaped GRENADES. He glances up at the CAMERAMAN.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>Ever see a phosphorous grenade go off? Shield your eyes. They're kind of bright.<\/dialogue>\n    <scene_description>KANE hesitates.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>And if you ever get back, find Lena.<\/dialogue>\n    <character>CAMERAMAN<\/character>\n    <dialogue>I will.<\/dialogue>\n    <scene_description>KANE pulls the pin on the grenade. There is a soft quick ticking, like wristwatch by your ear. KANE gazes directly at the camera. Unafraid.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>Five, four, three, two -<\/dialogue>\n    <scene_description>THE NEXT MOMENT - - the grenade detonates. A blinding white flame, as if KANE is suddenly holding the sun in his lap. A high pressure rush of noise. Initially, we can scarcely see KANE'S shape through the glow. Then it dims slightly, starting to burn itself out. We see his blackened shape bend. Fall forwards onto the sun. A couple of moments pass. The flare continues to die down. Then - - the CAMERAMAN walks forward. Stepping into frame. It's our first ever view of him. His back is to us. He gazes at the hunched charcoal figure, as it continues to blaze with the fierce white light. Then he turns his head. And in the etched light of the phosphorous, we see his face. It's KANE. ON THIS - - the image FREEZES. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIGHTHOUSE - DAY<\/stage_direction>\n    <scene_description>- LENA. Staring at the small screen on the camera, which remains frozen on KANE'S face.<\/scene_description>\n    <character>LENA<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Her eyes flick to the blackened heap under the scorch marks. Now able to make sense of the shape.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>No, no, no...<\/dialogue>\n    <scene_description>She is interrupted by a sound. A distorted scream. Echoed and distant, as if having passed through passages and chambers. Female. DR VENTRESS. It's coming from the torn up floorboards. The TUNNEL, that leads down into bedrock. LENA looks to where the floorboards have been pulled up. To the tunnel entrance, and the soft blue-green light. LENA controls her fear. Knuckles white around the grip of her rifle.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDER THE LIGHTHOUSE\/TUNNEL - CONTINUOUS<\/stage_direction>\n    <scene_description>LENA makes her way down the tunnel, gun raised. The walls continue the curve of the lighthouse above, and the floor is sloping downwards - - which means the passage is corkscrewing into the ground. It is unclear how the rock has been cleared. The walls, ceiling, and floor are made of smooth black rock, like obsidian. The rock is rippled, as if worn smooth by an ancient stream or lava flow. It is seamed with PHOSPHORESCENCE - illuminating everything in the way that sea creatures light their way in the depths. And the walls seem to be moving. Or gently undulating. The surface of the walls are covered in CILIA. Tiny anemone arms waving, caught in the flow of slow-moving water. The flow movement is down. Deeper into the tunnel. As if what lies inside is feeding on what lies outside, and being channeled along a vein and capillary structure.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDER THE LIGHTHOUSE\/TUNNEL - CONTINUOUS<\/stage_direction>\n    <scene_description>As if from LENA'S POV - - we continue. And as we circle downwards, the ripples on the smooth black rock walls become more pronounced. Then stop being random undulations... ... and become FORMS. Organic. Embedded into the rock like fossils. First, there are fractal PLANT shapes. Leaf, branch, fern. Then, in the flora, there are ANIMALS. The patterned armour of an alligator, or its teeth, of the fat swirl of tail. The snout and claw of a bear. The curls of snakes. The feather imprints of birds wings. And then - we start to see HUMANS. A torso. An arm. A face, trying to push out from between the other forms. Or finger tips, stretched out, as if trying to grab or be grabbed. The tunnel has become a tableau. A boiling sea of people and creatures - melded and frozen in black marble. Animal into plant. Plant into human. Human into animal. And then - - movement. Treacle slow, but unambiguous. No longer frozen. No longer fossils. The walls are alive. Or the things inside them are not dead. And at the moment of that realisation - - the tunnel suddenly stops, and opens out into a CHAMBER.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDER THE LIGHTHOUSE\/CHAMBER - CONTINUOUS<\/stage_direction>\n    <scene_description>The chamber is roughly semi-spherical. Three quarters of a sphere, with the bottom levelled out into a floor. The sculpted forms of humans and animals continue across the floor, but as they rise up the walls they taper into curved points. Either side of these points, the walls are glassy smooth. The arrangement is similar to petals, as if we are on the inside of flower before it has unfurled. The interior of a vast lotus bulb. The very center of the chamber is particularly bright - because it is to here that the phosphorescent veins and channels all lead. And standing on this brightest point - - is DR VENTRESS. The doctor is internally lit. Cilia cover her skin like undulating fur. She shimmers gently. LENA hesitates in the entrance. She looks around. Up at the petal structure. Down at the energy feed beneath DR VENTRESS. Then back to the glowing figure of the doctor. LENA takes a step inside the chamber.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>... Doctor Ventress?<\/dialogue>\n    <scene_description>DR VENTRESS turns to LENA. She has the same expression as KANE when he appeared back home. Alzheimer's-like. In her eyes there is confusion. But through the confusion, a vibrating sense of fear.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Dr Ventress - what's happened to you?<\/dialogue>\n    <scene_description>DR VENTRESS hesitates. As if half-remembering.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>I had to know what it was. What was waiting. I had to know.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>And now it's inside me. I can feel it.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>... It's inside you?<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>What is inside you?<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Something old. The very oldest thing. From so far away. From stars. Of stars.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>... Something alien?<\/dialogue>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Yes. Alien.<\/dialogue>\n    <scene_description>DR VENTRESS looks down at her glowing hands.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>It's not like me. It's not like me at all. I don't know what it wants. I don't know what it wants from me.<\/dialogue>\n    <scene_description>The cilia on her palms move like wind over a wheat field.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>I think it doesn't want anything. It doesn't care. It doesn't feel anything.<\/dialogue>\n    <scene_description>As she talks, something disturbing begins to happen to DR VENTRESS. Splits, complex fissures, start rippling across her skin. As if her form is becoming unbalanced. She can feel it. The panic is rising in her voice.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>It's more than death. Nothing of what we are will remain. It's going to annihilate us. That's what it is. That's what's waiting. It's annihilation.<\/dialogue>\n    <scene_description>DR VENTRESS looks back at LENA desperately. Panic now surging.<\/scene_description>\n    <character>DR VENTRESS<\/character>\n    <dialogue>Annihilation.<\/dialogue>\n    <scene_description>Then DR VENTRESS can't speak any more. She has started undergoing an extraordinary physical transformation. It is a shape-shift of a kind that our mind cannot entirely make sense of - like a computer animation of a four dimensional shape casting a three dimensional shadow. A vector cube that unfolds and refolds from within itself, its interior indefinably becoming its exterior. IN THIS CASE - it is the doctor's skin that is unfolding and refolding. Her face splits open like a starfish. From out of the starfish, multiple circles of radiating objects emerge. Gold orbs, each with unique radiating Mandelbrot-like ferns. The rainbow ferns radiate ever-increasing size and complexity. The concentric circles are endless. The sense of expansion becomes vast. Until the mesh of immense structural detail becomes - - the mesh of undulating CILIA on skin. But DR VENTRESS is gone. Where she stood, there is a shape. The ALIEN. A BEING. An uncoalescing, fracturing form. Made of light, and ice, liquid. Endless refractions. Glimpsed within these deliquescing shapes, a creature from the world of electron microscope images. Surrounded by radiating impressions of infinitely smaller versions of itself. LENA and the BEING gaze at each other for a few hypnotic seconds. Then the BEING starts UNFOLDING again. Expanding, collapsing in on itself. And this time, during the TRANSFORMATION - - we see fleeting glimpses of other bodies and faces. SHEPPARD and THORENSEN. PEYTON and MAYER. Unknown team members from the previous expeditions. For a moment it is RADEK who stands in front of LENA. Then DR VENTRESS again. Then the RADIATING SHAPES have filled the chamber. They surround LENA. Then LENA herself is starting to unfold. Unravel like fabric.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>No -<\/dialogue>\n    <scene_description>Through this - - she lifts her gun. Like a dream - - which shatters, the moment she squeezes the trigger and FIRES. BULLETS slam into the BEING. The rounds have an amazing effect. Where they hit the body, a hole expands, like a bullet into ballistic gelatine - but does not contract. Where they penetrate the body, they leave bright trails of emerald light, like sunlight through dust motes. For a moment, the BEING is poised in this state. Hugely misshapen. Speared with brilliant green. Then it EXPANDS. TRANSFORMS. And RESOLVES - - into a HUMANOID FIGURE. Sexless. Featureless. Having the arms, legs, head and torso of a human - man or woman. But nothing else. No eyes, or mouth, or nose, or muscle form. LENA is transfixed by the sight. The FIGURE turns to LENA. And we see its smooth facial area. Internally lit. Cilia covering the skin like undulating fur, shimmering gently. A beat, between the woman and the humanoid. LENA'S weapon is out. She has no more clips. She starts to run. The HUMANOID observes her run. Then it starts to follow her. The first step is slow. The second faster. The third is as fluid and powerful as LENA. It starts sprinting.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDER THE LIGHTHOUSE\/TUNNEL - CONTINUOUS<\/stage_direction>\n    <scene_description>LENA sprints back up the tunnel. Stumbling over the shifting melded animal\/human shapes. Crashing to the ground. Scrambling back up. CUT TO - - the HUMANOID. In pursuit. And we see something strange happen. Where LENA fell and tripped - - the HUMANOID does exactly the same thing. Falling in the same place. In the same way. A simulacrum of LENA'S action. CUT TO - - LENA, reaching the TUNNEL exit. Climbing back up into the base of the lighthouse.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIGHTHOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>LENA scrambles across the room - - towards the door to the LIGHTHOUSE. But she doesn't make it. The HUMANOID simply appears in front of her, before she reaches the door. It is unclear how it got there. A frozen beat. Then LENA STRIKES the HUMANOID with all her strength. And moment later, in a mirror of her actions - - the HUMANOID STRIKES HER BACK - but with incredible power. LENA is sent flying backwards across the room. She collides with the CAMERA and TRIPOD. All skid across the room to the wall. But it has provided LENA with a weapon. As the HUMANOID reapproaches her, she picks up the TRIPOD and swings it like a club, smashing the camera against the HUMANOID'S head. And again, the HUMANOID mirrors the actions. Using its arm like a club. For a second time, LENA is sent hurtling back across the room by the force of the impact. But this time towards KANE'S BACKPACK. She collides with it, and the PHOSPHOROUS GRENADES beside it. And as she gets to her feet, the HUMANOID is again on her. Standing directly in front of her. Featureless, eyeless, but somehow watching. Utterly, infinitely more powerful than she is. For the first time, we see something beaten in LENA. Something broken.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Please -<\/dialogue>\n    <scene_description>She expects a killing blow. And flinches - - and the HUMANOID does the same. LENA sees. She immediately realises what we already know. The HUMANOID is mimicking her. She is fighting herself. We can see her thinking: can this be true. The killing blow still hasn't come. LENA lifts a hand. Fingers trembling with adrenaline and fear. And the HUMANOID'S opposite hand also rises. She pauses. The HUMANOID'S hand pauses. LENA'S hand starts moving again. Until - - she touches its cheek. An exact mirror of the gesture where she touched KANE'S face at the start of the film, when he appeared at their bedroom at home. A beat. Then the HUMANOID raises its hand. LENA holds motionless, suspended, except for tight breathing and trickling beads of sweat, as the softly glowing hand lifts to her face... ... Then - - lightly touches her cheek also. And as it does so - - the HUMANOID starts another FOLDING TRANSFORMATION. Rippling, folding, collapsing. And this time, resolving itself as KANE. LENA gasps. For a moment, the two face each other. Then LENA opens her mouth to speak.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>... Kane?<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>Kane?<\/dialogue>\n    <scene_description>Another beat. REVEAL - at LENA'S feet - the PHOSPHOROUS GRENADES. CLOSE, on LENA. Processing. Controlling herself. Then - slowly - - she reaches down. Opposite her, in a slightly delayed mirror action - - KANE does the same. LENA'S hand closes around one of the metal cannisters. KANE does the same. LENA rises again. Never taking her eyes off KANE'S face. KANE rises. A final beat. LENA watching KANE'S face.<\/scene_description>\n    <character>LENA<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>I'm sorry.<\/dialogue>\n    <scene_description>Then LENA pulls the pin. KANE mirrors. Soft ticking from the cannisters. Seconds passing.<\/scene_description>\n    <character>LENA<\/character>\n    <parenthetical>(breathes)<\/parenthetical>\n    <dialogue>Five, four, three, two -<\/dialogue>\n    <scene_description>Then - LENA drops the grenade - - and throws herself sideways. KANE'S head turns, sees - - but he's too late to fully react. LENA'S PHOSPHOROUS GRENADE DETONATES. And a moment later, so does KANE'S. The interior of the lighthouse is suddenly illuminated by stark white light. The route to the exit is blocked by the blaze. LENA scrambles for the STAIRS that spiral up to the top of the LIGHTHOUSE. Climbs upwards. Beneath her is LIGHT and SMOKE. In the brightness, we can glimpse the SHADOW SHAPE of the HUMANOID\/KANE - shape-shifting in silhouette.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIGHTHOUSE\/TOP - DAY<\/stage_direction>\n    <scene_description>LENA has reaches the top - a semi-circular balcony around the old housing for the lamp. Below her is a fifty foot drop to the burning interior of the lighthouse. The whole wooden structure of the building is starting to burn. She kicks out a window. The jump to the ground looks lethal. The lighthouse is ringed with a concrete platform. The only hope might be the sloping sand dunes, just beyond the ring of concrete, which could take the deadly impact out of the fall. But the fire behind doesn't give her a choice. Within a minute, her options will only be to jump or burn. LENA takes a step back, to give herself the chance to run at the window, and propel herself through with enough force to reach the dunes. But as the steps back, she JOLTS. And TURNS. The HUMANOID is directly behind her. It's burned. Horribly damaged. Locked into jittering transformations, none of which can quite resolve. Shadows of humans and creatures and alien forms flicker across it. All in expressions of agony. It is a TRULY NIGHTMARISH SIGHT. Reflexively, LENA screams. In its broken mirror state, the HUMANOID also screams. A maw appearing where a mouth might be. Then, as if with a final effort, it makes a FINAL TRANSFORMATION - - and resolves into LENA. A literal mirror image. Down to the finest detail. Their stances mirror each other. They are dressed identically. They are smeared with blood identically. And we have literally no way of telling who is who. A frozen beat. Then one LENA lunges at the other. Strikes. Impacts. And one LENA topples backwards, over the edge of the balcony - - falling down into the phosphorous blaze. The other watches. TIGHT ON HER FACE. As she watches herself fall. Blank. Held. Face illuminated by the bleaching light. There is no clear indication as to which LENA lived, and which LENA died.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIGHTHOUSE - SUNDOWN<\/stage_direction>\n    <scene_description>WIDE on the burning LIGHTHOUSE. Long flames curl from the top window, into a plume of dark smoke. The sun is setting, and is clustered with the psychedelic colour refractions we always see through the Shimmer. Except that something is clearly happening. The movements and vibrations of the Shimmer are settling. And the colours are becoming less intense. Then all along the beach, the SAND STRUCTURES start collapsing. First one, then three, then seven. Then all together. Wind collects them as they fall. And as they fall, they REVEAL a figure walking across the sand towards us. LENA. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOUTHERN REACH FACILITY\/VIEWING PLATFORM - SUNDOWN<\/stage_direction>\n    <scene_description>- the viewing platform of the Southern Reach Facility, where people are exiting from the MESS HALL. Excitedly gathering to look at the view over the scrubland to the tree-line... ... where the SHIMMER is now clearly melting away. And the refractions are reverting to the blues, reds and oranges of a normal, beautiful sunset. PULL BACK. Wide. Then CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE NIGHT SKY - NIGHT<\/stage_direction>\n    <scene_description>- a STAR-FIELD in a night sky. Dense constellations. The Milky Way. Drift down. Past the MOON. To the SOUTHERN REACH FACILITY. And a lone woman walking out of the tree line, across the scrubland towards it. LENA.<\/scene_description>\n    <character>LENA (O.S.)<\/character>\n    <dialogue>I want to see my husband.<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOUTHERN REACH FACILITY\/MEDICAL WARD - NIGHT<\/stage_direction>\n    <scene_description>- a medical ward. LENA is walking down it, with a DOCTOR alongside, and two SPEC OPS SOLDIERS following.<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>It was miraculous. It happened the same night that the Shimmer disappeared. His blood pressure stabilised, and his pulse rate started to rise. By the next morning, he was not only awake. He was lucid. Coherent.<\/dialogue>\n    <scene_description>They have reached a door in the ward. Through the glass panel, LENA can see KANE inside. Sitting at a chair. Gazing out of the window.<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>There's no trace of abnormality anywhere in his system.<\/dialogue>\n    <character>LENA<\/character>\n    <dialogue>I'd like to see him alone.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOUTHERN REACH FACILITY\/WARD ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>LENA enters. Closes the door behind her. KANE looks round, and they lock eyes. Neither speak. After a moment, LENA goes to the WINDOW. Looks out at the NIGHT SKY.<\/scene_description>\n    <character>LENA<\/character>\n    <dialogue>Are you Kane?<\/dialogue>\n    <scene_description>Silence. Then KANE gives a slight shake of the head.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>KANE<\/character>\n    <dialogue>Are you Lena?<\/dialogue>\n    <scene_description>LENA hesitates. Then turns to face him. BEHIND HER - - we can see through the window to the night sky. And in that sky, we see a SHOOTING STAR. Then another. Then another. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOWER ATMOSPHERE - NIGHT<\/stage_direction>\n    <scene_description>- the shooting stars as FALLING METEORS. As we saw in the opening images of the film. A hunk of rock, burning as it falls through Earth's atmosphere. And as the nearest meteor splits apart, we see in its core. Something shimmering. CUT TO BLACK.<\/scene_description>\n    <character>END<\/character>\n  <\/scene>\n<\/script>","summary":"Cellular biology professor and former U.S. Army soldier Lena is under interrogation. She was part of an expedition to an anomalous zone known as the \"Shimmer\", but she was the only one to return. The Shimmer emerged three years prior from a meteor that landed in a lighthouse in the St. Mark's National Wildlife Refuge in Florida, and it is gradually expanding and increasing its boundaries. Many exploratory expeditions were organized, but only Lena's husband Kane returns home after a year of absence. Kane cannot explain where he was and how he came back, and his condition quickly deteriorates. Lena calls an ambulance, but she and Kane are intercepted by security forces and taken to a secret facility. As Kane is put in intensive care, psychologist Dr. Ventress prepares a new scientific expedition into the Shimmer, and Lena joins her. Three other women participate in the expedition: Cass, a geomorphologist; Anya, a paramedic; and Josie, a physicist. Communication equipment does not function within the Shimmer's territory, and the expedition encounters unusually mutated plants and animals. Josie is attacked by an albino alligator with several concentric rows of teeth. At an abandoned military base, the group finds a video message from Kane's expedition, in which Kane cuts open another soldier's abdomen with a knife to reveal slithering intestines. The group finds the soldier's corpse, which has turned into an overgrown colony of lichens. At night, the base is attacked by a mutant bear that drags Cassie away, and Lena later finds her mutilated body. Within an abandoned village, Josie studies plants that have taken on a humanoid form, and theorizes that the Shimmer functions as a prism, distorting and transforming everything that falls within its boundaries\u2014including the expedition members' own DNA. Anya, overcome with paranoia after watching her fingerprints change, disarms the other members and ties them to chairs, and accuses Lena of murdering Cassie. The mutant bear returns and lures Anya away by emitting a cry for help in Cassie's voice. The bear kills Anya, while Josie frees herself and shoots the bear. Ventress leaves the group and heads for the lighthouse, the center of the Shimmer. Josie believes Cassie's dying mind was \"refracted\" into the bear, and then allows herself to \"refract\" into a humanoid plant to avoid a similar fate. Lena follows Ventress to the lighthouse, where she discovers Kane's remains and a videotape. In the footage, Kane leaves an instruction to find Lena before killing himself with a phosphorus grenade. After the explosion, a doppelg\u00e4nger of Kane steps into frame. Within the hole created by the meteor, Lena finds Ventress, who explains that the Shimmer will eventually swallow everything. Ventress then disintegrates into a shimmering cloud that absorbs a drop of blood from Lena's face and changes into a faceless, shimmering, humanoid being that mimics Lena's movements. Unable to escape the creature, Lena tricks it into igniting one of Kane's leftover grenades as it transforms into her doppelg\u00e4nger. Lena flees the burning lighthouse and the Shimmer dissipates. Lena visits the Kane doppelg\u00e4nger, and asks if he is really Kane, which he doubts. He asks if she is Lena, but she does not answer. They embrace and their irises shimmer."}
{"movie_name":"Victor Frankenstein_2015","imdb_id":"tt1976009","script":"<script>\n  <scene>\n    <character>FRANKENSTEIN<\/character>\n    <dialogue>By<\/dialogue>\n    <scene_description>Max Landis Inspired By (the American pop-culture zeitgeist's interpretation of)<\/scene_description>\n    <character>FRANKENSTEIN<\/character>\n    <dialogue>By Mary Shelley<\/dialogue>\n    <scene_description>Second Draft<\/scene_description>\n    <character>5.23.11<\/character>\n    <dialogue>Her body is perfect.<\/dialogue>\n    <character>THE TRAPEZE<\/character>\n    <dialogue>Is eighty feet above the ground. LORELEI, 22, beautiful, arcs through the air, her fingers catching the bar, swinging down, arcing out.<\/dialogue>\n    <dialogue>From where he is, he can see everything. The Hunchback is happy.<\/dialogue>\n    <scene_description>KENT, ENGLAND - 1851<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE FAIRGROUND<\/stage_direction>\n    <scene_description>It's a cool, gray morning. The circus is setting up; animals are led here and there, dancers stretch, clowns practice... The Hunchback, 20, sits outside, looking through a rip in the tent, watching Lorelei practice on the trapeze inside. He is dirty; pathologically so. He wears old clown clothes, the colors worn and faded. His slouched posture and messy, overlong hair are offset by bright, intelligent eyes. The Hunchback notices that one of the ropes attached to the trapeze is wearing thin. He grimaces, thinking..<\/scene_description>\n    <character>WE WATCH THE<\/character>\n    <dialogue>HUNCHBACK GO<\/dialogue>\n    <character>ABOUT HIS DAY:<\/character>\n    <dialogue>He works around the grounds, helping to set up the circus, as well as tending to the minor aches and pains of the circus crew; they treat him like garbage, but seem to trust his judgment.<\/dialogue>\n    <dialogue>We witness him steal a bottle of ink, and, in between the grunt labor, he very carefully begins to draw out an intricate diagram.<\/dialogue>\n    <character>IN A PUP TENT<\/character>\n    <dialogue>The Hunchback is examining NATHANIEL, 20s, a huge circus strongman. He's investigating a bruise on his wrist.<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>Well, it's not broken-<\/dialogue>\n    <character>NATHANIEL<\/character>\n    <dialogue>Feels broken.<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>It's not-<\/dialogue>\n    <character>NATHANIEL<\/character>\n    <dialogue>Can I lift or not.<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>Master Nathaniel, it's not that simple-<\/dialogue>\n    <character>NATHANIEL<\/character>\n    <dialogue>It's that simple.<\/dialogue>\n    <scene_description>The Hunchback takes a beat, then brings out his diagram.<\/scene_description>\n    <character>HUNCHBACK<\/character>\n    <dialogue>I've made you a diagram, of a wrist support I could construct if-<\/dialogue>\n    <scene_description>Nathaniel grabs the diagram and rips it to shreds.<\/scene_description>\n    <character>NATHANIEL<\/character>\n    <dialogue>I don't care for any bloody diagram. If it's broken, I can't lift, if it's not, I can.<\/dialogue>\n    <scene_description>The Hunchback stares at the shredded diagram.<\/scene_description>\n    <character>NIGHT, AT THE<\/character>\n    <dialogue>KITCHEN TRAILER<\/dialogue>\n    <scene_description>The whole staff of the circus is lined up for food. The Hunchback is several times jostled out of line, forced to the back, before finally getting his dinner. He goes and sits alone at the edge of the fairground. Lorelei speaks, startling him.<\/scene_description>\n    <character>LORELEI (O.S.)<\/character>\n    <dialogue>We've been spending so much time in cities I feel like I forgot what the stars looked like.<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>You ought to spend more dinners sitting and eating in mud alone, gives one perspective I think.<\/dialogue>\n    <character>LORELEI<\/character>\n    <dialogue>You really could come eat with us.<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>That hasn't worked out so well in the past, has it?<\/dialogue>\n    <character>LORELEI<\/character>\n    <dialogue>There's always-<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>I think I'm good here for now. Thank you for coming to see me, you're much easier to talk to than the...flies.<\/dialogue>\n    <character>LORELEI<\/character>\n    <dialogue>I actually have a gift. When I went into town today, I saw that it was being thrown out...<\/dialogue>\n    <scene_description>She hands him a book, stained and torn: \"PERCY'S MUSCLES OF THE BODY.\" His face lights up in a way that didn't seem possible as he trudged through his miserable day.<\/scene_description>\n    <character>HUNCHBACK<\/character>\n    <dialogue>What really, really you did, oh this is, this is splendid, thank you! Thank you Lorelei, just splendid, and it's only- it's only three years out of date! This is, oh this is the tops, this is-<\/dialogue>\n    <scene_description>The fanfare of the circus starts up in the distance, and Lorelei perks up.<\/scene_description>\n    <character>LORELEI<\/character>\n    <dialogue>Well, that's my cue to go get ready. I wouldn't want to upset dear Lord Barnaby.<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>I don't know how to thank you for this, I don't-<\/dialogue>\n    <character>LORELEI<\/character>\n    <dialogue>I know how you like your books-<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>Wait, Master Lorelei!<\/dialogue>\n    <character>LORELEI<\/character>\n    <dialogue>...Yes?<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>I saw, when you were practicing...<\/dialogue>\n    <character>LORELEI<\/character>\n    <dialogue>...Yes?<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>I saw maybe something was wrong, with the riggings. On the trapeze.<\/dialogue>\n    <character>LORELEI<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Thank you, sir. I'll take it up with Mr. Plough.<\/dialogue>\n    <scene_description>The Hunchback gives an uncertain smile. Lorelei heads off, and he stares at his new book.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HUNCHBACK'S RAIL-CAR<\/stage_direction>\n    <scene_description>It's a large car for hauling equipment, but the back the Hunchback has carved out a little den for himself. Across from it is another makeshift living space, in which sits RAFFERTY, 20s, a dwarf, a person so ratlike the term \"human\" seems generous. The Hunchback hurries in, changing out of his stained, dirty work shirt and into his stained, dirty clown costume.<\/scene_description>\n    <character>RAFFERTY<\/character>\n    <dialogue>Oi lookadis, into the make-up then. I seem to have eaten all your cheese, haven't I?<\/dialogue>\n    <scene_description>The Hunchback stops applying his make-up, hurt.<\/scene_description>\n    <character>HUNCHBACK<\/character>\n    <dialogue>Rafferty, I asked you not to, I was saving it-<\/dialogue>\n    <character>RAFFERTY<\/character>\n    <dialogue>Oi, right, but I have, and now you're bein a bit cruel. And here I am, forced to sleep in a storage compartment with the likes of you, and you're going to act like a selfish ponce and horde your cheese? It goes to show poverty don't make you humble, I think.<\/dialogue>\n    <scene_description>The Hunchback continues applying his make-up, annoyed.<\/scene_description>\n    <character>RAFFERTY<\/character>\n    <dialogue>I didn't touch your bookie-doos, if that's what you're worried about.<\/dialogue>\n    <scene_description>The Hunchback finishes his make-up, and hurriedly opens a trunk: in it is his library, dozens of beaten up, worn out medical glossaries and study texts, lovingly taken care of.<\/scene_description>\n    <character>RAFFERTY<\/character>\n    <dialogue>You know, suspicion is a sign of weakness.<\/dialogue>\n    <scene_description>The Hunchback carefully places his new book in with the rest, grabs his juggling pins, and hurries out.<\/scene_description>\n    <character>RAFFERTY<\/character>\n    <dialogue>Don't bother with goodbyes! Manners apparently another casualty of your ailment!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CIRCUS<\/stage_direction>\n    <scene_description>The circus is going full swing. The Hunchback heads out with several other clowns, doing pratfalls, slapstick; he's not bad, though it's clear the exertion hurts his tender back. He settles into a juggling routine, and then is distracted by Lorelei starting her routine high above him.<\/scene_description>\n    <character>BARNABY (O.S.)<\/character>\n    <dialogue>If you'd all direct your eyes skyward, you will see the work of our amazing aerialists as-<\/dialogue>\n    <scene_description>Barnaby's voice fades as The Hunchback focuses in: He sees that a rag has been affixed to the frayed bit of rope to reenforce it. The frayed rope stretches, swings, stretches-<\/scene_description>\n    <character>BARNABY<\/character>\n    <dialogue>Get! Get!<\/dialogue>\n    <scene_description>BARNABY Elliot, 40s, unpleasant and red-faced in his ringmaster's uniform, shoves the Hunchback, startling him. The Hunchback realizes all the other clowns have gone off, and rushes self-consciously out of the limelight.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HUNCHBACK'S RAIL-CAR - LATER<\/stage_direction>\n    <scene_description>The Hunchback lays on the roof of the railcar, the train stretching out to either side. He begins quietly whistling. The slats beneath him drop out, and the Hunchback falls ten feet to the dirt. He starts to stand, and Barnaby slaps him in the face.<\/scene_description>\n    <character>BARNABY<\/character>\n    <dialogue>You stay out of the center ring with the rest of the clowns.<\/dialogue>\n    <scene_description>Barnaby storms off, leaving the Hunchback alone in the mud.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HUNCHBACK'S RAIL-CAR - DAY<\/stage_direction>\n    <scene_description>The train is in motion, rattling loudly up the tracks through the countryside. The Hunchback lays on his cot, reading through his new Percy's Muscles of The Body, cross- referencing it to another book. This one, green with leather binding, is marked \"THOMPSON'S ANATOMY - For Doctors And Surgeons - Fifth Edition.\" The Hunchback mumbles something under his breath, and then scratches out a sentence in Percy's with a piece of charcoal.<\/scene_description>\n    <character>RAFFERTY<\/character>\n    <dialogue>What's all that grunting, there?<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>I found an error in Percy's. It's got a lot of new information, but Thompson's refutes this bit-<\/dialogue>\n    <character>RAFFERTY<\/character>\n    <dialogue>Very, uh- inter-lectual. And what makes you think that it's not Thompson that's got it all wrong?<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>Thompson's is the absolute best, with contributions from the greatest doctors the world over,<\/dialogue>\n    <character>RAFFERTY<\/character>\n    <dialogue>No mistaking an ulna for a radius in Thompson's, I know, I know.<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>No mistaking an ulna for a radius in-<\/dialogue>\n    <character>RAFFERTY<\/character>\n    <dialogue>My god you really think you're smart, don't you? What an embarrassment that must be.<\/dialogue>\n    <scene_description>The Hunchback sighs, complacent, but then notices something out of a slat in the side of the train. He hurriedly closes his books and rushes to a ladder going up to the roof.<\/scene_description>\n    <character>RAFFERTY<\/character>\n    <dialogue>Hey! What's all this-<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HUNCHBACK'S RAIL-CAR - ROOF<\/stage_direction>\n    <scene_description>The Hunchback bursts out onto the top of the rail car, struggling against the wind for a moment. The train stretches out like a great steel centipede, and beyond it, on the horizon...London. The city, still barely visible, sits in a puddle of smog, dense and brown-black. Rafferty comes out of nowhere, shoving the Hunchback aside.<\/scene_description>\n    <character>HUNCHBACK<\/character>\n    <dialogue>Is that-<\/dialogue>\n    <character>RAFFERTY<\/character>\n    <dialogue>London....Beautiful, innit?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE THAMES<\/stage_direction>\n    <scene_description>The river Thames flows blue-black through the center of London, a city finding its feet as the first true metropolis. We watch as the Hunchback helps unpack the train, and a vacant lot is transformed into a fairground. As the Hunchback helps to raise the big-top tent, thunder booms in the distant skies.<\/scene_description>\n    <character>LATER...<\/character>\n    <dialogue>The Big-Top is up. The circus is just starting to get going full-swing. People mill around outside, funneling in.<\/dialogue>\n    <dialogue>A young man moves through the masses, uncomfortable in the crowd. The rain is worse. For a moment we see his face, in a flash of lightning. This is VICTOR.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CIRCUS - MOMENTS LATER<\/stage_direction>\n    <scene_description>The stands are absolutely packed, and the crowd is rabid with excitement. The Hunchback looks out at the crowd from backstage, nervous, and then he gets the cue and rushes out with the rest of the clowns. The clowns go through their act, and then Lorelei starts hers. The Hunchback retreats to backstage quickly, and watches from there.<\/scene_description>\n    <character>HIGH ABOVE THE<\/character>\n    <dialogue>CROWD...<\/dialogue>\n    <scene_description>She arcs through the air, her fingers catching the bar, swinging down, arcing out. Back and forth she goes, flips and somersaults. The hastily mended rope supporting her stretches, swings, stretches- Snaps. Lorelei's body drops out into a free-fall; midway down she strikes the support rigging cables of the trapeze act, twisting and ricocheting among them before being spat out- THUD. The audience gasps. Lorelei's body lays still, one of her arms flopped out at crazy angle.<\/scene_description>\n    <character>HUNCHBACK<\/character>\n    <dialogue>Lorelei-<\/dialogue>\n    <scene_description>Her body heaves and rolls over, and he takes off running. The Hunchback slides on his knees to kneel next to Lorelei. She chokes and coughs, spitting blood.<\/scene_description>\n    <character>HUNCHBACK<\/character>\n    <dialogue>Lorelei, I'm here, it's going to be- it's going to be alright.<\/dialogue>\n    <scene_description>The Hunchback holds open her mouth, looking inside, then feels her ribs, then gingerly reaches around and feels her spine.<\/scene_description>\n    <character>HUNCHBACK<\/character>\n    <dialogue>You can't breathe, you can't breathe-<\/dialogue>\n    <scene_description>He checks her neck, finds nothing.<\/scene_description>\n    <character>HUNCHBACK<\/character>\n    <dialogue>I don't know what to do, I don't know what to-<\/dialogue>\n    <scene_description>Suddenly, someone slides up in the dirt next to him. The Hunchback looks up and sees VICTOR, 24, good-looking in a strange way, clean cut and tidy. For now. His words come out in a staccato flow, dry and fast, inexplicably easy to listen to.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>What's happened- HUNCHBACK VICTOR<\/dialogue>\n    <scene_description>Didn't you see- I was reading.<\/scene_description>\n    <character>HUNCHBACK<\/character>\n    <dialogue>Uh, she fell about thirty feet, shoulder dislocated but no breaks that I can find, the airway is clear but she can't breathe, she can't-<\/dialogue>\n    <scene_description>Victor is doing almost the exact same pat-down check that the Hunchback did.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Any previous injuries-<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>Broken arm a year or so ago, broke her collar bone some time before that I think but I don't-<\/dialogue>\n    <scene_description>Victor immediately begins tearing at Lorelei's unitard.<\/scene_description>\n    <character>HUNCHBACK<\/character>\n    <dialogue>What're you-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Do this now or she dies.<\/dialogue>\n    <scene_description>The Hunchback quickly and deftly tears apart Lorelei's top; her breasts are just barely covered by the edges of the fabric. A huge purply-brown bruise is forming on her clavicle.<\/scene_description>\n    <character>HUNCHBACK<\/character>\n    <dialogue>My god-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Collar bone's rebroken, it's pressuring her lung-<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>What do we-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>We can't do anything, we need tools to reset the bone, we need a-<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>Is her pectoralis muscle still in place?<\/dialogue>\n    <scene_description>Lorelei's eyes roll back into her head.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Yes but-<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>Do you have a a pocket watch?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Yes but-<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>Give it to me.<\/dialogue>\n    <scene_description>Victor looks confused.<\/scene_description>\n    <character>HUNCHBACK<\/character>\n    <dialogue>Do this now or she dies.<\/dialogue>\n    <scene_description>Victor fumbles out his watch, and the Hunchback grabs it, pressing it deeply under her collarbone with his fingers. He slaps the back of it, hard; Lorelei wheezes in agony.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>WAIT! The angle of the sternum, due to that dislocation-<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>Oh! Yes, of course!<\/dialogue>\n    <scene_description>Victor takes hold of her dislocated right arm.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Ready, steady, go.<\/dialogue>\n    <scene_description>Victor wrenches the arm, and the Hunchback slaps the pocket watch- POPCRUNCH. Lorelei's shoulder and collarbone both snap back into place. Lorelei gasps in air. The Hunchback laughs in joy and shock, but Victor seems totally nonplussed.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>That's- that was brilliant.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Why're you wearing that make-up?<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>I'm a clown. Lorelei, can you hear me-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>You're a clown? No you're not, you're a physician, you just performed a dry surgery with less than a minute to prepare-<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>I'm a- clown physician-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>A group from the circus surrounds them, clumsily heaving Lorelei up to lift her onto a stretcher; she squeals in pain.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Easy damn it- here, clown, help me.<\/dialogue>\n    <scene_description>Victor and the Hunchback lift Lorelei onto the stretcher.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Listen, you're being wasted here. I'm at a student at the Royal College Of Medicine, I have a flat in the West End, I'd be honored to have you as a guest-<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>Well- I, sir- I don't know that I could leave the circus, they need their Hunchback-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>You're not a Hunchback.<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>...what-<\/dialogue>\n    <scene_description>Barnaby blusters up, pushing the Hunchback backwards and separating him from Victor.<\/scene_description>\n    <character>BARNABY<\/character>\n    <dialogue>Who're- you're doctor then?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Yes, indeed-<\/dialogue>\n    <character>BARNABY<\/character>\n    <dialogue>Will she live?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Yes, but she needs the care of a hospital; Chisick Cross is just up the road, I can lead your men there.<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Chisick Cross.<\/dialogue>\n    <scene_description>The men pick up the stretcher, and Victor starts to lead them out, the Hunchback staring after him.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Stay well, my friend, I shall return for you tomorrow!<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>Fr- friend?<\/dialogue>\n    <parenthetical>(snapping out of it)<\/parenthetical>\n    <dialogue>Your name, friend! Your name! Please! My friend! Your name!<\/dialogue>\n    <scene_description>Victor turns back from the crowd to shout to The Hunchback.<\/scene_description>\n    <character>SLAM TO TITLE:<\/character>\n    <dialogue>FRANKENSTEIN.<\/dialogue>\n    <scene_description>The title lurches forward, crackling with electricity as it emerges from the center of a violent lightning storm.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HUNCHBACK'S RAIL-CAR<\/stage_direction>\n    <scene_description>The Hunchback comes CRASHING through the door, shoved down by Barnaby, who enters raging. Rafferty perks up immediately. WHAT DID I TELL YOU?<\/scene_description>\n    <character>HUNCHBACK<\/character>\n    <dialogue>I was trying to help-<\/dialogue>\n    <scene_description>Barnaby abruptly kicks the still downed Hunchback.<\/scene_description>\n    <character>BARNABY<\/character>\n    <dialogue>Idiot!<\/dialogue>\n    <scene_description>Barnaby follows the Hunchback's gaze to the library trunk.<\/scene_description>\n    <character>BARNABY<\/character>\n    <dialogue>Nathaniel! Get in here!<\/dialogue>\n    <scene_description>The strong man enters.<\/scene_description>\n    <character>BARNABY<\/character>\n    <dialogue>Get the trunk.<\/dialogue>\n    <scene_description>Nathaniel nods, and picks up the whole trunk under his arm.<\/scene_description>\n    <character>BARNABY<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <scene_description>The Hunchback stands, momentarily blocking the doorway.<\/scene_description>\n    <character>BARNABY<\/character>\n    <dialogue>Get out of the way.<\/dialogue>\n    <scene_description>The Hunchback stands resolute. GET OUT OF THE WAY. The Hunchback backs down.<\/scene_description>\n    <character>HUNCHBACK<\/character>\n    <dialogue>Please, please don't do anything to my books, Master Barnaby, I was just trying to help-<\/dialogue>\n    <scene_description>Barnaby and Nathaniel exit, the Hunchback following.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE THAMES FAIRGROUND - CONTINUOUS<\/stage_direction>\n    <scene_description>Rain is drizzling down from the night sky. Out come Barnaby and Nathaniel, the Hunchback in pursuit.<\/scene_description>\n    <character>BARNABY<\/character>\n    <dialogue>Dump them out.<\/dialogue>\n    <scene_description>Nathaniel dumps out the books into the mud.<\/scene_description>\n    <character>HUNCHBACK<\/character>\n    <dialogue>No, please just, I understand, I do, just leave the books alone-<\/dialogue>\n    <scene_description>Barnaby turns, going to pick up a kerosene lantern. The Hunchback takes the opportunity to snatch up his copy of Thompson's Anatomy from the muddy pile. Barnaby returns, and dumps burning kerosene on the pile of books.<\/scene_description>\n    <character>HUNCHBACK<\/character>\n    <dialogue>No, oh no, no! No!<\/dialogue>\n    <scene_description>The Hunchback, screaming in real agony, prostrates himself at Barnaby's feet.<\/scene_description>\n    <character>HUNCHBACK<\/character>\n    <dialogue>Please, put them out, put them out, you're ruining them!<\/dialogue>\n    <scene_description>Barnaby shoves the Hunchback down, and notices the saved copy of Thompson's.<\/scene_description>\n    <character>BARNABY<\/character>\n    <dialogue>What's this? Sneaky little rat!<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>No no-<\/dialogue>\n    <scene_description>Nathaniel snatches it away. Barnaby looks it over.<\/scene_description>\n    <character>BARNABY<\/character>\n    <dialogue>Fancy.<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>Please- it's my favorite thing, please Master Barnaby-<\/dialogue>\n    <scene_description>Nathaniel rips the book in half, and throws the shreds into the fire. The Hunchback slumps, jawing soundlessly.<\/scene_description>\n    <character>BARNABY<\/character>\n    <dialogue>Let that be a lesson to you.<\/dialogue>\n    <scene_description>Barnaby stalks off, leaving the Hunchback slumped in the mud.<\/scene_description>\n    <character>RAFFERTY<\/character>\n    <dialogue>Chin up, freak. What good's a dream if you can't wake up from it?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE HUNCHBACK'S CARRIAGE - LATER<\/stage_direction>\n    <scene_description>Rafferty's asleep. The Hunchback lays stalk-still, eyes straight ahead.<\/scene_description>\n    <character>MORNING ON THE<\/character>\n    <dialogue>FAIRGROUND.<\/dialogue>\n    <scene_description>We follow the Hunchback once more as he goes through his morning, helping to clean the circus up, reloading things onto the train, doing manual labor. He repeatedly checks the edge of the city. No sign of Victor. The sun sets lower and lower in the sky. Finally, the Hunchback gives up. He flops down in the dirt next to the damp pile of ash that was his collection.<\/scene_description>\n    <character>VICTOR (O.S.)<\/character>\n    <dialogue>Pardon my tardiness.<\/dialogue>\n    <scene_description>The Hunchback scrambles to stand in the mud, slipping and falling. Victor was RIGHT THERE, next to him.<\/scene_description>\n    <character>HUNCHBACK<\/character>\n    <dialogue>Master Frankenstein- I- hello!<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Have you collected your things? Let's depart this place immediately.<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>I- I have no things, all my things were-<\/dialogue>\n    <scene_description>The Hunchback glances at the pile of muddy ash.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Ah, I see. Then, shall we?<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>I- I'm under contract to the circus-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Very well. Could you direct me to the circus manager, then?<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>Well Master Barnaby is in the red trailer, but-<\/dialogue>\n    <scene_description>Victor turns and immediately heads off.<\/scene_description>\n    <character>HUNCHBACK<\/character>\n    <dialogue>Wait! Wait!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARNABY'S TRAILER - MOMENTS LATER<\/stage_direction>\n    <scene_description>Barnaby's trailer is a cluttered mess of papers and equipment; Barnaby sits behind a desk, with a sexy young gymnast crawling all over him. Victor enters and sits down on a chair opposite the desk. Both the slutty gymnast and Barnaby are baffled.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Take your time.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BARNABY'S TRAILER - SECONDS LATER<\/stage_direction>\n    <scene_description>The Hunchback is slowly approaching the trailer, when the slutty gymnast bursts out, storming off. The Hunchback retreats, then, doing his best attempt at stealth, he creeps up to the window, looking in. Victor's curt, speedy style of speech clashes harshly with Barnaby's uneasy huckster sleaze.<\/scene_description>\n    <character>BARNABY<\/character>\n    <dialogue>-course he can't leave. He's got no money, no possessions-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>As I said he would come to stay with me.<\/dialogue>\n    <character>BARNABY<\/character>\n    <dialogue>Yes but- no, but- he's not a bonified person, you know? He's just a-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Not a person, yes, by that do you mean \"not human-\"<\/dialogue>\n    <character>BARNABY<\/character>\n    <dialogue>No, well- don't be clever, awright? I just mean there's nothing there to salvage, he doesn't- I mean he doesn't even have a name.<\/dialogue>\n    <scene_description>VICTOR Seems a bit of an oversight. BARNABY He's travelled with the circus since he was a boy- VICTOR And he's been your doctor this whole time- BARNABY Well he's not a real doctor, after all- VICTOR And yet you've just said that he has been effective in healing the sick and injured, both animal and human- BARNABY Those are just his tricks, he's under contract as a clown- VICTOR How exactly does one have a contract without a name I wonder. BARNABY He owes the circus everything. We feed him, put clothes on his back- The doctor bollocks was just a fantasy for him, one that I dispelled last night, I think- VICTOR Yes, I noticed a pile of burnt books on my way in- BARNABY Aye, but that was just a bit of a row, me getting my frustrations out'n'whatnot- VICTOR When you're frustrated you burn books, fascinating, fascinating, listen, you're a bit of a bastard, aren't you?<\/scene_description>\n    <character>BARNABY<\/character>\n    <dialogue>'Scuse me?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Ignorant selfish cruel bastard, yes, I rather think you don't know what kind of genius you have on hand and though you've been content to abuse him freely for a good long time you'll have to accept that that's coming to an end, and acquaint yourself-<\/dialogue>\n    <character>BARNABY<\/character>\n    <dialogue>Listen you posh ass-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>-with the reality of the Hunchback's departure-<\/dialogue>\n    <scene_description>Barnaby stands, slamming his hands on his desk.<\/scene_description>\n    <character>BARNABY<\/character>\n    <dialogue>You shut your mouth-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>-and find yourself a new doctor willing to work for free and tolerate random wanton violence-<\/dialogue>\n    <scene_description>Barnaby goes around the desk and grabs Victor by the collar, yanking him to his feet. SHUT UP!<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Sir, unhand me immediately.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Are you deaf. I said UNHAND ME IM-<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BARNABY'S TRAILER - SECONDS LATER<\/stage_direction>\n    <scene_description>Victor is HURLED out of the trailer, landing hard in the mud.<\/scene_description>\n    <character>BARNABY<\/character>\n    <parenthetical>(red-faced, spitting)<\/parenthetical>\n    <dialogue>Listen you impudent rich twat, you're not getting the bloody Hunchback, and if you show your face here again, if I so much as sniff you, we'll slit your bloody throat and feed you to the bloody horses!<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>What compelling imagery.<\/dialogue>\n    <scene_description>Barnaby stares at Victor, who seems completely unafraid. This creeps Barnaby out, rightly so, and he slams the door. The Hunchback watches as Victor, not bothering to straighten himself at all, stalks off the fairground. The Hunchback tries to call out, but he's suddenly grabbed by Barnaby.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE ANIMAL CAGES - MOMENTS LATER<\/stage_direction>\n    <scene_description>The Hunchback is roughly tossed into a cage by Barnaby, the door slammed behind him.<\/scene_description>\n    <character>BARNABY<\/character>\n    <dialogue>You are going nowhere. Enjoy your new quarters.<\/dialogue>\n    <scene_description>The Hunchback turns and sees his new roommate; a mangy, moth- eaten Bengal tiger. The Hunchback presses himself against the bars, scared.<\/scene_description>\n    <character>NIGHT FALLS...<\/character>\n    <dialogue>The circus is almost entirely cleaned up. The Hunchback is sitting in his cage when Rafferty walks by.<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>Rafferty! Rafferty!<\/dialogue>\n    <character>RAFFERTY<\/character>\n    <dialogue>What's this, a talking tiger, impossible!<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>Do you know what's happened to Lorelei?<\/dialogue>\n    <character>RAFFERTY<\/character>\n    <dialogue>Aw, romanticisicizing are we? She's probably dead, mate, you know that. These city doctors and their dirty hospitals and whatnot.<\/dialogue>\n    <scene_description>Rafferty picks up a rock and chucks it at the tiger; it immediately stands, bristling and snarling, and the Hunchback pulls back, terrified.<\/scene_description>\n    <character>RAFFERTY<\/character>\n    <dialogue>Pleasant dreams.<\/dialogue>\n    <scene_description>Rafferty heads off, and the Hunchback tries to stay perfectly still, pressed hard against the door. It's no good. The tiger, enraged, has begun slowly creeping towards him, hunkered down in an attack position, growling, eyes filled with bloodlust. Tension builds as the tiger creeps closer and closer... There's a series of clicks, and the door behind the Hunchback opens, sending the Hunchback toppling down to the dirt. He looks up, startled and confused, to see Victor slam the cage shut.<\/scene_description>\n    <character>HUNCHBACK<\/character>\n    <dialogue>What're you- how did you-<\/dialogue>\n    <scene_description>Victor clacks together two pieces of metal in his hand.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Magnets. Come on, no time to lose.<\/dialogue>\n    <scene_description>Victor heads off. The Hunchback stands flummoxed.<\/scene_description>\n    <character>HUNCHBACK<\/character>\n    <dialogue>Wait!<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>What is it now?<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>I can't just- I can't leave I-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>You want to collect your things?<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>Well- yes-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>What things?<\/dialogue>\n    <scene_description>The Hunchback is at a loss.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Surely you don't want to keep your pathetic clown costume-<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>No, but-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>What do you have here? Friends? I don't believe it. Future? An early grave, dreams? Burnt in a pile in the mud. Do not waste either of our time with further deliberation.<\/dialogue>\n    <scene_description>It hits the Hunchback like a ton of bricks.<\/scene_description>\n    <character>HUNCHBACK<\/character>\n    <dialogue>...You're right.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>You're right.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Well of course I'm right.<\/dialogue>\n    <character>BARNABY<\/character>\n    <dialogue>Oi.<\/dialogue>\n    <scene_description>Barnaby is standing not far off.<\/scene_description>\n    <character>BARNABY<\/character>\n    <dialogue>What in the hell do you think you're-<\/dialogue>\n    <scene_description>RUN. Victor darts off immediately. The Hunchback hesitates, and Barnaby charges; the Hunchback hits the gas just in time, and Barnaby slips in the mud, crashing into the cage. The tiger snarls and slashes him across the face, knocking him down.<\/scene_description>\n    <character>BARNABY<\/character>\n    <dialogue>AGH! Bloody hell, stop- STOP HIM! STOP THEM!<\/dialogue>\n    <scene_description>Four tumblers, still in their festive circus outfits, approach.<\/scene_description>\n    <character>TUMBLER<\/character>\n    <dialogue>What's happened-<\/dialogue>\n    <character>BARNABY<\/character>\n    <dialogue>The Hunchback! He's attacked me and taken the bank of the circus! Get him!<\/dialogue>\n    <scene_description>The tumblers take off after Victor and The Hunchback, but Barnaby grabs one of them.<\/scene_description>\n    <character>BARNABY<\/character>\n    <dialogue>Get Nathaniel.<\/dialogue>\n    <character>BETWEEN THE<\/character>\n    <dialogue>CAGES...<\/dialogue>\n    <scene_description>Victor and the Hunchback race through the maze of animal cages, with Victor immediately hitting a dead end. The Hunchback grabs him and yanks him through a space between the cages, leading him to-<\/scene_description>\n    <character>THE BACK OF THE<\/character>\n    <dialogue>BIG TOP TENT<\/dialogue>\n    <scene_description>The Tumblers intercept them, and the two young men are forced to rapidly duck and dodge the men. The tent is in the process of being taken down, the supports being pulled out, the canvas rippling and falling-<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>No wait-<\/dialogue>\n    <character>INSIDE THE<\/character>\n    <dialogue>COLLAPSING TENT<\/dialogue>\n    <scene_description>The rippling canvas world comes crashing down around them, with the Hunchback and Victor sprinting through, dodging falling supports, several times nearly being crushed before bursting out into-<\/scene_description>\n    <character>AN AREA<\/character>\n    <dialogue>CLUTTERED WITH<\/dialogue>\n    <character>EQUIPMENT<\/character>\n    <dialogue>There are performers practicing their trade all over the place, and Victor and the Hunchback dodge and weave through jugglers, a lion tamer and some practicing contortionists.<\/dialogue>\n    <character>TUMBLER<\/character>\n    <parenthetical>(lagging behind)<\/parenthetical>\n    <dialogue>They've stolen the take, that's all our pay!<\/dialogue>\n    <scene_description>A firebreather turns and blows out a huge jet of burning kerosene in their path; Victor and the Hunchback skid to avoid, but then must frantically scramble and flail to avoid knives hurled at them by a knife thrower. The Hunchback catches one of the knives and flings it back at the fire-breather; it shatters his bottle of kerosene, which splashes onto the fires already burning, causing a HUGE BURST OF FLAME. This new inferno separates Victor and the Hunchback from their pursuers; they get back up, sprinting towards the edge of the fairgrounds, the city, and freedom, when, as they're passing a pile of weights- BAM! NATHANIEL THE STRONG MAN TACKLES THE HUNCHBACK! Victor, slides in the mud, turning, and throws a running punch into Nathaniel's face. It does NOTHING. The Hunchback twits Nathaniel's injured wrist, and he screams in pain, releasing him. Nathaniel stands and attacks Victor, throwing wild punches-<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Stop stop stop stop<\/dialogue>\n    <scene_description>Victor grabs a thirty pound weight and heaves it up into Nathaniel's ribs. There's a crunch, and Nathaniel collapses. Victor turns to run, but the Hunchback goes to Nathaniel.<\/scene_description>\n    <character>HUNCHBACK<\/character>\n    <dialogue>What'd you do, you broke his ribs-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Well I told him to stop.<\/dialogue>\n    <scene_description>The tumblers reappear, running full tilt, blocking their easy exit to the city. Victor takes off running again, and after a moment's panicked deliberation, the Hunchback follows, running<\/scene_description>\n    <character>ALONGSIDE THE<\/character>\n    <dialogue>TRAIN<\/dialogue>\n    <scene_description>Victor ducks through a break in the train, and the Hunchback follows, and again they find themselves in a narrow alleyway cluttered with circus equipment. The tumblers follow, but where the Hunchback and Victor have to clumsily navigate around obstacles, the tumblers simply flip and cartwheel over them, rapidly gaining. Rafferty, sitting in the Hunchback's rail car, notices the oncoming chase. He laughs gleefully, and runs out ahead.<\/scene_description>\n    <character>ALONGSIDE THE<\/character>\n    <dialogue>THAMES<\/dialogue>\n    <scene_description>The Hunchback and Victor exit the fairgrounds, the tumblers nearly on top of them, running up a series of gantry's onto a big bridge high over the river Thames, mostly empty at night. ...only to find that Rafferty's beaten them there, drawing a knife as he steps to block their way-<\/scene_description>\n    <character>RAFFERTY<\/character>\n    <dialogue>Where're you going in such a hurry, love?<\/dialogue>\n    <scene_description>The Hunchback turns and dives off the bridge. Victor, startled, takes a moment to pinch his nose and then follows, plummeting the thirty feet down into the water. The tumblers stop, out of breath.<\/scene_description>\n    <character>RAFFERTY<\/character>\n    <dialogue>Well don't just stand there ye idiots, after him!<\/dialogue>\n    <scene_description>The tumblers are \"no.\"<\/scene_description>\n    <character>RAFFERTY<\/character>\n    <dialogue>Bloody 'ell! I'll do it m'self!<\/dialogue>\n    <scene_description>Rafferty turns and dives off the bridge- -but doesn't look before he leaps, not seeing a trade boat coming out from under the bridge- -WHAM! THIRTY FEET HEADFIRST INTO THE DECK. It ain't pretty.<\/scene_description>\n    <character>FURTHER UP THE<\/character>\n    <dialogue>THAMES...<\/dialogue>\n    <scene_description>Dyes are being poured out into the river, turning a portion of it orange, blue and green. On a rocky shore, the Hunchback emerges, coughing up water. Victor pulls himself up as well. Both young men are covered in green dye.<\/scene_description>\n    <character>HUNCHBACK<\/character>\n    <dialogue>I'm not in the circus.<\/dialogue>\n    <character>VICTOR<\/character>\n    <parenthetical>(coughing)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>I'm not in the circus. I...I've never been out of the circus.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm free. I'm free, I'M FREE, I'M A FREE MAN-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Yes, very good, you are a very free, very green man.<\/dialogue>\n    <scene_description>The Hunchback let's out a crazy hoot of glee and starts splashing around in the water. Victor watches, indifferent.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VICTOR'S FLAT - LATER<\/stage_direction>\n    <scene_description>Victor's Flat in the West End is on a street crowded with buildings. It's entirely empty at night; one bobby strolls up the street, but as soon as he's gone... Victor and the Hunchback come racing out of an alleyway, to the door of Victor's flat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VICTOR'S FLAT - CONTINUOUS<\/stage_direction>\n    <scene_description>Victor and the Hunchback burst in. Though Victor Frankenstein appears tidy and fastidious, his apartment is a window into his mind. Though it is very big, the place is a mess. Victor must have some kind of hoarding disorder, as nearly every surface is covered with medical equipment, schematics, trinkets and other assorted junk. The Hunchback looks around in wonder as Victor draws out a long syringe behind him.<\/scene_description>\n    <character>HUNCHBACK<\/character>\n    <dialogue>This is incredible.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Next order of business.<\/dialogue>\n    <scene_description>Victor slams his body-weight into the Hunchback's body, driving him up against a wall.<\/scene_description>\n    <character>HUNCHBACK<\/character>\n    <dialogue>What're you doing, what're-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>This will hurt.<\/dialogue>\n    <scene_description>Victor plunges the needle deep into the Hunchback's back, and he gasps in pain. He begins to pull back the plunger, and we see that the syringe is filling with murky yellow fluid.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>I told you before you're not a hunchback, not a proper one anyway. You have an fluid pocket, probably caused by an abscess, here, beside the tenth vertebrae-<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>It hurts it hurts-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Yes. It's gone untreated nearly eighteen years, but I'm convinced that if we can just drain it, and-<\/dialogue>\n    <scene_description>Victor pulls out the needle, letting the Hunchback go, but then HURLS HIMSELF SHOULDER FIRST INTO THE HUNCHBACK'S SPINE, driving him hard back into the wall! There's a nasty wet cracking sound, and the Hunchback is suddenly fully upright, screaming in pain and then- The screams stop. The Hunchback stirs against the wall, triggering a series of sickly pops and snaps. He's standing up straight. Awkwardly, but straight. I- I- I- Victor straightens himself, picking up something off the floor; it's a very sleek, simple construction out of wire- frame, jointed in several places.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Now your musculature and bones will be struggling to reset themselves-<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>I'm standing up.<\/dialogue>\n    <scene_description>The Hunchback's eyes are wide and blank.<\/scene_description>\n    <character>VICTOR<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Listen, I didn't...I didn't over- estimate your intelligence, did I, because-<\/dialogue>\n    <character>HUNCHBACK<\/character>\n    <dialogue>No, no, it's just- I'm not in the circus, and I'm standing up.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>...Yes, well, your musculature and bones will be struggling to reset themselves, so for the foreseeable future you'll have to wear this. I spent the day building it; it was the reason for my tardiness, I again apologize for that.<\/dialogue>\n    <scene_description>He hands the Hunchback the back-brace.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Now I shall go to work in the basement, as I have school in the morning. Library, study and kitchen back there, your bedroom is upstairs on the right, mine on the left. There's a water heater in the bathroom, get that green off you, and for heaven sake do something about your...Hair.<\/dialogue>\n    <scene_description>Victor goes to the door to the basement, and starts to go in, but then turns, and speaks somewhat slowly, carefully...<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Listen, I had- have a roommate, Igor Straussman. He's a morphine addict, a liar and a general waste of space, who luckily is almost never home. So, should anyone question your presence here, just say that you're Igor. Yes?<\/dialogue>\n    <scene_description>The hunchback, a hunchback no longer, nods his head.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>I'm Igor.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Perfect.<\/dialogue>\n    <scene_description>Victor slams the door closed, leaving Igor standing in numb shock.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>I have a name. I have a...library.<\/dialogue>\n    <character>WE INTERCUT<\/character>\n    <dialogue>BETWEEN<\/dialogue>\n    <scene_description>1. Igor exploring the library, running his hands over the books, taking back stacks to his room... 2. Igor sitting in the tub, washing off YEARS of caked on grime. 3. Igor cutting his hair, and shaving off his disgusting, gnarly beard. Finally, Igor looks at his new self in the steamed-up bathroom mirror. He has the appropriate response.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Oh...wow.<\/dialogue>\n    <character>SWISH TO:<\/character>\n    <dialogue>Igor, in his room, carefully clicking on his back brace.<\/dialogue>\n    <character>SWISH TO:<\/character>\n    <dialogue>Igor opens his closet, finding tons of clothes.<\/dialogue>\n    <character>SWISH TO:<\/character>\n    <dialogue>Igor, now dressed, looking spectacular, is trying his new name out in the mirror. We time lapse cut between his experimentation.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Igor. Igor. Yeegor. Eyegor.<\/dialogue>\n    <parenthetical>(cut)<\/parenthetical>\n    <dialogue>Hello, my name is Yaygor- no that's bloody awful-<\/dialogue>\n    <parenthetical>(cut)<\/parenthetical>\n    <dialogue>Oh hello, Duchess, my name is Igor. An actor? Ha, duchess you flatter me, as a matter of fact, I'm a doctor-<\/dialogue>\n    <scene_description>He does a flourishing gesture and accidentally knocks a bunch of shit off the dresser.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Bloody hell-<\/dialogue>\n    <character>SNAP TO:<\/character>\n    <dialogue>Igor, in bed, fast asleep, surrounded by books.<\/dialogue>\n    <character>CLOSE ON:<\/character>\n    <dialogue>Fingers, fidgeting with a crucifix, turning it around and around, end over end.<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>A doctor you say.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARNABY'S TRAILER<\/stage_direction>\n    <scene_description>Barnaby sits on his desk, nursing his bandaged face, watching through the window as doctors move Nathaniel into a carriage on a stretcher. Standing nearby, fidgeting with a little metal crucifix, is Inspector RODERICK TURPIN, 40, respectable and distinguished, but with a strange, harried manner; he's fraying around the edges, and there are bags under his eyes.<\/scene_description>\n    <character>BARNABY<\/character>\n    <dialogue>A hokum doctor, ay. Always doing things you know, with the animals, es'periments and what have you-<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>And what again was the exact amount of money you said was missing?<\/dialogue>\n    <character>BARNABY<\/character>\n    <dialogue>Two hundred twenty quid.<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>Aha, would that be your whole London take?<\/dialogue>\n    <character>BARNABY<\/character>\n    <dialogue>It would-<\/dialogue>\n    <scene_description>The door opens and ALISTAIR Oberon, 36, with an immaculately kept mustache, leans in.<\/scene_description>\n    <character>ALISTAIR<\/character>\n    <dialogue>Inspector Turpin, a word outside?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BARNABY'S TRAILER - CONTINUOUS<\/stage_direction>\n    <scene_description>It's nearing dawn. Alistair and Turpin pow-wow, Turpin closing the door in Barnaby's face.<\/scene_description>\n    <character>TURPIN<\/character>\n    <dialogue>Well, he's lying about the money.<\/dialogue>\n    <character>ALISTAIR<\/character>\n    <dialogue>How do you figure?<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>When would the hunchback have taken it? The footprints from the cage only go one way, the hunchback and its accomplice had no agenda here in the circus; they wanted to get to the city. Mister Barnaby's just trying to swindle the insurance.<\/dialogue>\n    <character>ALISTAIR<\/character>\n    <dialogue>Indeed. What I came to tell you was, they've gotten the body cleaned up off the boat, and we've got conflicted reports. Two of the tumblers are saying the hunchback threw him off the bridge, two are saying he jumped by himself.<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>Oh he threw him, most definitely. The differences in story can be explained by delusion, heat of the moment.<\/dialogue>\n    <scene_description>There's something rather strange about all this though, don't you think? Sinister.<\/scene_description>\n    <character>ALISTAIR<\/character>\n    <dialogue>How do you figure?<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>The cage shows no signs of tampering, yet the lock had opened. The wound to the face of the manager came from a claw, the injury to the strongman shows a super-human strength, not to mention there's talk of the hunchback doing \"science\" as its primary pastime...You don't find it somewhat ghoulish?<\/dialogue>\n    <character>ALISTAIR<\/character>\n    <parenthetical>(beat, awkwardly)<\/parenthetical>\n    <dialogue>Inspector, I've been meaning to say...I, that is to say, all of us at the Yard- what happened with Claudia is a tragedy, sir.<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>...Beg pardon-<\/dialogue>\n    <character>ALISTAIR<\/character>\n    <dialogue>Your wife, Claudia; her passing was-<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>I'm sorry, what relevance does Claudia have to this?<\/dialogue>\n    <character>ALISTAIR<\/character>\n    <dialogue>Well, none but-<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>Claudia is in Heaven. Our separation is merely temporary. What is your implication about my state of mind?<\/dialogue>\n    <character>ALISTAIR<\/character>\n    <dialogue>I didn't mean-<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>Didn't you?<\/dialogue>\n    <scene_description>Turpin smiles, seeming to realize how he was coming off.<\/scene_description>\n    <character>TURPIN<\/character>\n    <dialogue>I have my daughter, my home, my job. This too shall pass, Constable.<\/dialogue>\n    <character>ALISTAIR<\/character>\n    <dialogue>Yes sir. Of course sir.<\/dialogue>\n    <character>TURPIN<\/character>\n    <parenthetical>(back to business)<\/parenthetical>\n    <dialogue>There was an accident with a high wire girl last night. The hunchback was involved, as I understand it. Have our men question everyone in this place, see if we can find out which hospital she was taken to.<\/dialogue>\n    <character>ALISTAIR<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>Have the artist Walsh make up pictures, and then have prints made: one hundred of the Hunchback, fifty of his accomplice, and then have them posted everywhere from Westminister to Bethnal Green.<\/dialogue>\n    <character>ALISTAIR<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>There is a murderous hunchback loose in London. This will not stand.<\/dialogue>\n    <character>SLAM TO:<\/character>\n    <dialogue>Igor curled up in his bed, morning light flooding in through the windows. He stirs.<\/dialogue>\n    <character>MOMENTS LATER:<\/character>\n    <dialogue>Igor discovers a note on his door. \"I- At school til 6. Ten \u00a3 in the tin by the door, with your key. Buy dinner. -F.\" Igor discovers the tin, along with the money and his key.<\/dialogue>\n    <character>IGOR<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Chisick Cross.<\/dialogue>\n    <character>MOMENTS LATER:<\/character>\n    <dialogue>Igor sits at a table consulting a big map of London; we can tell by the way he mumbles to himself, his eyes darting all over, that he's absorbing the data, easily and quickly committing it to memory.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LONDON - MORNING<\/stage_direction>\n    <scene_description>Igor steps out, but the hustle and bustle of the busy street in daytime scares the shit out of him, and he jumps back inside. A moment later he reemerges. We follow Igor as he walks up the street, in awe at everyone and everything.<\/scene_description>\n    <character>IN A MARKET<\/character>\n    <dialogue>Igor investigates every fruit, every meat, every spice. He's having the time of his life. To entertain a few children, he juggles some apples. They're wowed.<\/dialogue>\n    <character>BACK ON THE<\/character>\n    <dialogue>STREETS<\/dialogue>\n    <scene_description>Igor walks up the street, bag of groceries under his arm. He has a slightly more confident gait, now; he knows where he's going and why.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHISICK CROSS HOSPITAL - MOMENTS LATER<\/stage_direction>\n    <scene_description>The hospital is dank and dirty, really just one large warehouse style room filled with the sick and dying. Igor cautiously heads in, nervous, looking remarkably clean cut and pristine amongst all the filth. He starts to walk in, when he's called out by a gruff male nurse, dirty and frightening.<\/scene_description>\n    <character>SCARY NURSE<\/character>\n    <dialogue>Oi! What're you doing here?<\/dialogue>\n    <scene_description>Igor nearly cowers, like a scared animal.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>I- oh, I'm sorry, I'll- I'll go-<\/dialogue>\n    <character>SCARY NURSE<\/character>\n    <dialogue>You here from the medical school about buying bodies? We've got a few of'em pretty near to pass, I'm wagering, but-<\/dialogue>\n    <scene_description>Igor notices his reflection in a pool of dank water.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>I- No, I'm just looking for a friend. She was an aerialist, at the circus.<\/dialogue>\n    <character>SCARY NURSE<\/character>\n    <dialogue>Friend. Hah. End of the line, behind the curtains.<\/dialogue>\n    <scene_description>Igor smiles cautiously, still scared of the nurse, and then hurries down the row of beds, getting more and more excited as he approaches the curtained off area at the end- -The curtains pull back, revealing Lorelei, nearly unconscious in her sickbed-<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Lorelei-<\/dialogue>\n    <scene_description>-Inspector Turpin and Constable Alistair. Igor freezes, confused.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>I'm sorry- I didn't mean to- are you doctors-<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>It's quite all right. What brings you here?<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>I just- I just-<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>You know this girl?<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>I- yes- no- I-<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>You knew where to find her, are you with the circus?<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>I- No, I'm- just a friend-<\/dialogue>\n    <scene_description>Turpin looks to Lorelei, who clearly is in no shape to answer questions, much less recognize Igor. Turpin takes a step forward, backing Igor out of the curtained area.<\/scene_description>\n    <character>TURPIN<\/character>\n    <dialogue>Hold still a beat.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>I- what're you-<\/dialogue>\n    <scene_description>Turpin has drawn out an artist's depiction of Victor, and is consulting it against Igor's features.<\/scene_description>\n    <character>TURPIN<\/character>\n    <dialogue>Interesting. This girl is being questioned in connection with the rampage of the Blue Meringue Hunchback last night on the Thames.<\/dialogue>\n    <character>IGOR<\/character>\n    <parenthetical>(horrified)<\/parenthetical>\n    <dialogue>The- the what-<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>What did you say your name was?<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>I didn't- Ig- I'm Igor-<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>Igor what.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>I- I'm sorry, I have to go-<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>What's the hurry?<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>I have to go- I have to go-<\/dialogue>\n    <scene_description>Igor turns, nearly walking into a patient, rushing frantically out of the hospital. Constable Alistair pokes his head out.<\/scene_description>\n    <character>ALISTAIR<\/character>\n    <dialogue>Strange lad. Probably went to the circus and found himself love- struck, is what I take it. Hunted her down looking to be a benefactor, happens all the time with women like this.<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>Maybe. Maybe. \"Igor.\" Hm.<\/dialogue>\n    <character>OUTSIDE...<\/character>\n    <dialogue>Igor comes crashing out into the street, running blindly, panicked. He tries to orient himself, and comes face to face with one of the WANTED: HUNCHBACK posters.<\/dialogue>\n    <dialogue>Horrified, he stumbles and trips into the street, spilling his groceries everywhere.<\/dialogue>\n    <dialogue>He scrambles to pick them up, and is nearly run down by a carriage, knocking him into the mud.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VICTOR'S FLAT - EVENING<\/stage_direction>\n    <scene_description>Victor walks up the street, mumbling angrily. He stops in front of his door, composes himself, and then goes in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VICTOR'S FLAT - CONTINUOUS<\/stage_direction>\n    <character>VICTOR<\/character>\n    <dialogue>Igor, I'm-<\/dialogue>\n    <scene_description>Victor stops dead. There's a trail of mud on the floor, which he follows to find Igor sitting in his muddy clothes by the fire, hunched over in a caveman-like squat unbecoming of his new appearance.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Back to the mud so soon?<\/dialogue>\n    <scene_description>Igor looks up at him, eyes wide.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>I take it you've seen the posters then. Terrible depiction of me, have my hair all wrong. I'm new to this \"criminal\" life, but I never suspected they'd attack my vanity.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>...They think I'm a murderer-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Well you're not. And they're not looking for you, are they?<\/dialogue>\n    <scene_description>Igor's confusion is obvious.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>They're looking for a piteous, nameless hunchback. A creature who no longer exists. I've seen to that, haven't I?<\/dialogue>\n    <scene_description>Igor hesitantly smiles; Victor has a way with words.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Dinner?<\/dialogue>\n    <character>DINING ROOM -<\/character>\n    <dialogue>LATER.<\/dialogue>\n    <scene_description>Victor and Igor are sharing a roast duck.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Of course I never put much faith in the professors. Father says most of them get their job through crony- ism as is; many of them I fear are drunks, idiots, or worse, close- minded people. I find I have a terrible fear of the close minded and ignorant as they seem to do the most damage to society as a whole.<\/dialogue>\n    <character>IGOR<\/character>\n    <parenthetical>(happy about the duck)<\/parenthetical>\n    <dialogue>Mhm.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Of course the curriculum is pathetically easy, laughably so; I could even laugh about it now, but to do so would expend more effort than I'm asked to expend of my studies, literally the act of saying \"haha\" would be more difficult than-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>So you like school then?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>...I suppose I do.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>What brought you to the circus?<\/dialogue>\n    <character>VICTOR<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>The animals.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Oh, you like the animal tricks? They were always my favorite too-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Living animals are a bore. It's the dead ones I was after.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Beg pardon?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>For parts.<\/dialogue>\n    <parenthetical>(in response to Igor's confusion)<\/parenthetical>\n    <dialogue>I believe an explanation is in order. My interest in you did not stem from charity.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I think it's time you met my monster.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VICTOR'S FLAT - THE STUDY<\/stage_direction>\n    <scene_description>Victor leads in Igor, turning on the lights. This room is cluttered, but more purposefully than the others; there's a table in the center with several larger objects on it, covered by a sheet.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Before I met you, I was hoping to approach Mr. Barnaby about selling me some of his deceased animals.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>To what end? Study?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>No. Not study.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I am of the strong belief that death can be made a temporary condition.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>But that's im-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Improbable, yes, impossible, don't be stupid. Very little is actually impossible. Life is temporary, why should death be any different?<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>...What's under the sheet?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>...Life, I've found, is an energy. The fools would call it a spirit or a soul, but it's an energy, an identifiable, quantifiable, reproducible energy. I'd spent every hour of my life in pursuit of this energy, and then, last year, a break through. I am a genius, and I created something that will change the world.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>...Righto. What's under the sheet?<\/dialogue>\n    <scene_description>Victor yanks away the sheet, revealing a small electrical generator...And a set of human eyes, a with an interlaced optical nervous system, suspended in fluid in a fish tank.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Ah-ha.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>The eyes are over three months old, and the fluid is electrically conductive jelly. Serves a double function to preserve them, and- well, look, here....<\/dialogue>\n    <scene_description>Igor, initially repulsed, goes up and gets a better look as Victor searches through piles of equipment.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>You've done a shoddy job on the nerves here-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Well, I'm not the surgeon, it's you with the gifted hands- there!<\/dialogue>\n    <scene_description>Victor draws out a gizmo from the pile. It's about eight inches long, shaped like a wishbone, with wiring running all over it. At the end of each point of the wishbone are two wrought iron bolts. Victor immediately begins affixing it to wires extending from the electrical generator. For the first time, Victor seems nervous, unsure; a child showing a new friend their favorite toy, hoping they'll be impressed.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>It's all a matter of conversion, you see; the conversion of pure electrical energy into biological energy, of the same sort that flows through the bodies of the living. Thus my creation of this device, the Lazarus Fork. You see, by running the electrical current through a specially blended variety of metal and sulfates, I've-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>You've mastered the conversion.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Well- I- yes.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Show me.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>I- uh, yes, I shall-<\/dialogue>\n    <scene_description>Victor plunges the Lazarus fork into the jelly, and begins turning the crank on the generator; it kicks in, and the electricity begins to flow with a loud rattle and hum. Igor leans down to the eyes. Victor, excited, goes around and stands next to him.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>When does it do...something-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>It has! It is! It- here, look!<\/dialogue>\n    <scene_description>Victor draws out a match, and strikes it on the table. The effect is immediate: the eyes turn and focus on the flame. Victor moves it back and forth, and the eyes move to follow. Victor looks to Igor, nervous.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>You are a genius. You have created something that will change the world.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>This is only the beginning.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VICTOR'S FLAT - MOMENTS LATER<\/stage_direction>\n    <scene_description>Victor leads Igor out into an open area.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>To what degree would you say you understand the function and construction of nerves in the human body?<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Well I-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>No tolerance for the humble here, Igor.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>I have a complete mastery of the nervous and circulatory systems.<\/dialogue>\n    <scene_description>I am also well versed in the form and structure of the muscles and bones. I also am quite up to date on the deductions made about the function the different parts of the brain serve, although I believe most of the current observations will, in time, prove to be completely wrong.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>I- uh- good. Good! Perfect. This will be your workspace. I shall bring you your assignments piecemeal, and you will complete them in a timely manner. I will then apply your projects to a larger whole of my own design. I've also decided to allow you to do my homework assignments for me, thus enhancing your already formidable knowledge. Do you have any questions?<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>...This larger whole. What is it?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>That is not your concern-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>But if my work will go towards it, surely I deserve to-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>As I said. This was not charity. Your time here will be earned; what you \"deserve\" is immaterial, agreed?<\/dialogue>\n    <character>IGOR<\/character>\n    <parenthetical>(after a beat)<\/parenthetical>\n    <dialogue>...Agreed. I want to help change the world.<\/dialogue>\n    <scene_description>Victor smiles, and extends his hand, which Igor tentatively shakes.<\/scene_description>\n    <character>WE MOVE INTO A<\/character>\n    <dialogue>MONTAGE AS TIME<\/dialogue>\n    <character>PASSES...<\/character>\n    <dialogue>Intercutting between two threads... 1. Turpin's intensifying search for the Hunchback. The wanted posters are getting old and worn, new ones are being plastered up, the reward for information doubling... And<\/dialogue>\n    <dialogue>2. Igor's work. We watch as time and time again Victor brings him moist newly dead flesh (much of it of unidentifiable nature), along with supplies and diagrams of what he wants done. Igor masterfully stitches together skin and tissue, creates artificial nerves and veins with electric wiring and thin rubber tubes...<\/dialogue>\n    <dialogue>It's all very gross, but Igor, looking through goggles, magnifying glasses and microscopes, is so into it we can't help but share his enthusiasm.<\/dialogue>\n    <dialogue>After each assignment, Victor demonstrates his emphatic approval, before retreating to the basement with the \"finished product\" (lungs that breath, muscles that twitch, nerves that react) each time slamming the door.<\/dialogue>\n    <scene_description>SLAM SLAM SLAM SLAM...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VICTOR'S FLAT<\/stage_direction>\n    <scene_description>Igor is sitting and drawing; a sketch of Lorelei, floating through the air between two trapeze. The electric lights in the room flicker for a moment, and Igor looks up. There's a noise at the door, and we see an envelope pushed through the slot. Igor looks around, then hesitantly goes and picks it up. It's marked: I.STRAUSSMAN - URGENT. Igor moves to set the I.STRAUSSMAN letter on a pile by the door of other mail for Victor's absent roommate, but then falters. He hesitates, and listens for Victor; nothing. Igor opens the envelope, and scans through the letter inside: PAYMENT 2 MONTHS OVERDUE. FINAL NOTICE. The door to the basement bursts open, startling Igor.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>This letter for Master Straussman, it-<\/dialogue>\n    <scene_description>Victor is positively glowing with happiness.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>We're going out on the town.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LONDON - THE WEST END - NIGHT<\/stage_direction>\n    <scene_description>Victor and Igor head up the street, talking.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>I have a tenured membership in the club through my father. He was a charter member, helped to buy the velvet for the seats.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>You make your father out to be a great man.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Esteemed doctor, member of the royal corps of physicians, he's a innovator, he's brilliant.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Do you think I'll ever get to meet him?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Oh I don't- I- I don't know, he's a very busy man, and he- his schedule, you know.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>You mentioned he had a library?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>The biggest personal collection of medical texts in Britain, yes, you could say he has a library-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Do you think he has a copy of Thompson's?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Thompson's Anatomy? Well, it's rare but, I mean, of course-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Do you think we could go there, to his library?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>What's this fixation on Thompson's?<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>In the circus, I had a copy. It was a great inspiration to me.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Well, I- you know, he doesn't let me- give me access, I'm just a young man- he'd be so angry if he found out I'd been touching his books- oh, look, here we are!<\/dialogue>\n    <scene_description>They've come up on THE EXETER, an extremely fancy (and hip, and fun, and crowded) looking club.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Oh...Master Victor, I don't know if I'm suited for all this-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Pishposh. All you need to do is keep your back straight, your words clean, and try your damndest not to embarrass me.<\/dialogue>\n    <character>SMASH CUT TO:<\/character>\n    <scene_description>BABIES GROWN IN VATS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE EXETER - CONTINUOUS<\/stage_direction>\n    <scene_description>Victor is WASTED, sitting in a corner booth with Igor and a few girls. The club is awesome, and packed; the girls are pretty damn hot, too, but they're mostly focused on Igor, who himself is trying not to notice, instead focusing on Victor.<\/scene_description>\n    <character>IGOR<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>Victor why does this idea fascinate you?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>I'm just saying the act- of FERTILIZATION- can take place out side of the woman's body. The sperm, the sperm can move-<\/dialogue>\n    <parenthetical>(hiccup)<\/parenthetical>\n    <dialogue>The sperms can move into the egg, say, in a saucer, some sort of heated basin-<\/dialogue>\n    <character>SEXY SOCIETY GIRL<\/character>\n    <dialogue>And where does the mother figure into this, then?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Well, you'd- after you impregnate the egg, you get a funnel- and then you...you know- into the woman-<\/dialogue>\n    <character>SEXY SOCIETY REDHEAD<\/character>\n    <dialogue>Oh, that's just wretched.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>IT'S THE FUTURE! Igor, tell them, assist me in this, this valuable endeavor.<\/dialogue>\n    <scene_description>Igor doesn't respond; he's staring across the club to the bar... ...Where Lorelei stands. She looks stunning. Gone is all the muck and grime of the circus, though she still wears a sling over her injured arm.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Ladiesyoullhavetoexcuseme<\/dialogue>\n    <scene_description>Both women groan in disappointment but Igor is already up and gone, clumsily pushing his way through the club. He gets to the bar; she's gone! No, there she is, headed up the stairs-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE EXETER - UPPER LEVEL - CONTINUOUS<\/stage_direction>\n    <scene_description>Igor catches up to Lorelei at the top of the stairs; she turns, sensing his presence before he can say anything. They stand there deadlocked in silence, staring at each other. She suddenly embraces him; Igor is shocked. She whispers into his ear, her words fraught with emotion.<\/scene_description>\n    <character>LORELEI<\/character>\n    <dialogue>You saved my life. You saved my life.<\/dialogue>\n    <scene_description>Igor let's out a sigh of complete relief.<\/scene_description>\n    <character>LATER...<\/character>\n    <dialogue>Igor and Lorelei are hanging out, leaning on one of the balconies over the club; they're completely relaxed, talking like old friends, or, more accurately, refugees.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Penham Mall? That's really fancy, though, isn't it?<\/dialogue>\n    <character>LORELEI<\/character>\n    <dialogue>Oh, you know, just the richest section of London. Haha, I'm sorry, I'm awful.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>You can be awful when you look great, isn't that the way people behave?<\/dialogue>\n    <character>LORELEI<\/character>\n    <dialogue>High praise from a bloke who's twice the man he used to be, in height alone.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Well, I, uh- I don't really- um- So does he intend to marry you?<\/dialogue>\n    <character>LORELEI<\/character>\n    <dialogue>Who, Baron Bomine? I think you misunderstand our relationship-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Do I?<\/dialogue>\n    <character>LORELEI<\/character>\n    <dialogue>Oh, and now I see a glint of hope in your eye.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Oh no, I just- um- listening-<\/dialogue>\n    <character>LORELEI<\/character>\n    <dialogue>I met him in the hospital; he was in with a twisted ankle of all things, and he just swept me away once he'd heard the circus left without me. At first he did come on awfully romantic, but- honestly I've come to believe that he's taken me in as his consort more for appearances than anything else.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Appearances?<\/dialogue>\n    <scene_description>Lorelei nods down at BARON BOMINE, who's on the main floor. He's the gayest man alive.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Aaaah. Oh.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Robert the Juggler.<\/dialogue>\n    <character>LORELEI<\/character>\n    <dialogue>Robert the Juggler.<\/dialogue>\n    <scene_description>Both of them immediately crack up.<\/scene_description>\n    <character>LORELEI<\/character>\n    <dialogue>I don't know why you're laughing. I think it's very important for a juggler to have a sincere love of balls-<\/dialogue>\n    <scene_description>Both of them crack up again, and then there's a ruckus from downstairs; Igor looks and sees that Victor's accidentally knocked some plates on the floor whilst animatedly gesturing.<\/scene_description>\n    <character>LORELEI<\/character>\n    <dialogue>Isn't that your chap there?<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Yes, Victor Frankenstein. Smartest person I've ever met. He's the one who helped me save you, as well. He got me out of the circus, fixed my back...I owe him everything.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Have you ever seen a human brain? It's...GRAY!<\/dialogue>\n    <character>IGOR<\/character>\n    <parenthetical>(faltering)<\/parenthetical>\n    <dialogue>He's quite brilliant, really, just not so much of a...person for talking to people.<\/dialogue>\n    <character>VICTOR<\/character>\n    <parenthetical>(audible over the crowd)<\/parenthetical>\n    <dialogue>I've seen a rat nest in a brain!<\/dialogue>\n    <scene_description>Igor looks to Lorelei, trying to hold back a laugh. She doesn't do as well holding back. The ruckus downstairs continues; Victor's pissed off some jerk.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Ah, it looks like he may need my-<\/dialogue>\n    <character>LORELEI<\/character>\n    <dialogue>But of course.<\/dialogue>\n    <scene_description>Igor starts to go, but then stops.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Listen, we're right in the West End, on Verner Street.<\/dialogue>\n    <character>LORELEI<\/character>\n    <dialogue>Forty Five Penham Lane.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>So we'll see each other again.<\/dialogue>\n    <character>LORELEI<\/character>\n    <dialogue>Yes. Definitely.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>My name is Igor.<\/dialogue>\n    <scene_description>YOU ARE A BEASTLY, BEASTLY MAN There's a crash downstairs. Igor turns and rushes off, leaving Lorelei in a very pleasant state of shock.<\/scene_description>\n    <character>LORELEI<\/character>\n    <dialogue>\"Igor.\"<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LONDON - ALLEY<\/stage_direction>\n    <scene_description>Victor is puking into a pile of garbage, while Igor stands next to him, patting his back.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>People are such animals, you know...I don't understand them, I admit this, to some degree. I don't know the things to say to make them like me, or- not like me, I don't care if they like me-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>It's all right.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>It's all right to care if people like you. I like you.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>I...like you, as well. Yes.<\/dialogue>\n    <parenthetical>(beat, straightens up)<\/parenthetical>\n    <dialogue>Igor, tonight was not meaningless frivolity. It is a celebration.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>...What are we celebrating?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VICTOR'S FLAT - THE BASEMENT<\/stage_direction>\n    <scene_description>The electric lights flicker and hum to life, illuminating the most sinister, fascinating place you've ever seen. The walls are covered in makeshift electrical equipment, some of it very clearly decades, maybe even centuries ahead of its time. Mixed in with this are all manner of medical instruments and tools, as well as charts of human and animal anatomy. Perhaps most creepy of all is the fact that large portions of the room are covered in red-brown stains. Blood. Victor comes rushing down the stairs, nearly falling.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Come on, come on!<\/dialogue>\n    <scene_description>Igor hesitates at the top of the stairs, then slowly comes down. Victor, meanwhile, primes a bunch of electrical generators...all hooked into something on a table, under a sheet, in the center of the room.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>What is that?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Under this bedsheet is the product of ten years study, laborious hours spent over books and tinkering with electrical machines-<\/dialogue>\n    <scene_description>Igor approaches the table and Victor rips off the sheet...<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>I present to you: Gordon!<\/dialogue>\n    <scene_description>The...thing...called Gordon most closely resembles a chimpanzee, but a glance shows it to be something else entirely. This is a patchwork monster, cobbled and stitched together from mostly chimp flesh, but with parts that are definitely cheetah, as well as other unidentifiable bits and pieces. A lot of it appears sloppy; electrical wiring and tubes are visible all over the body, and the whole thing looks ready to fall apart. As Igor tries to process, Victor goes back to the machines.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>You...you made this-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>No. We made this.<\/dialogue>\n    <scene_description>Igor's eyes go over the creature, pinpointing all of his work; it's all gone to this monstrosity. Victor primes machines, and they begin to hum and whir loudly.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>The lungs, the spine, the heart, the brain, all your work. All impossible without you, as a matter of fact. Are you ready?<\/dialogue>\n    <scene_description>Igor is clearly horrified; what has he been party to?<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Victor, I don't- What is this? You said this was about life, not death-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Stand back.<\/dialogue>\n    <scene_description>Victor throws a massive switch, and there's a sharp buzz of electricity! We see arcs and loops of blue energy zap across suspended cables, slamming into connectors on the bolts in Gordon's neck. Igor leaps back, startled. Steam rises off Gordon's body. The machines wind down. Victor approaches slowly.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>...What-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Look. Listen.<\/dialogue>\n    <scene_description>Igor looks and listens...and is amazed. Gordon is alive. Only marginally, but yes...the chest rises and falls. The eyes, horrible and monstrous, are open, and blinking. Igor's shock and excitement is palpable. He runs his hands over its flesh and puts his ear to its chest, listening to the slow beating of the heart. He looks down at the animal; there's an odd peace about it, an innocence.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>It's...alive.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>It's alive.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>....Victor-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>It can't quite move; the charge only lasts about an hour, and the body is mostly rudimentary mock up-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>This is- Victor- you've created life from nothing, don't you see how impor-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Tomorrow you shall accompany me to the college. I've announced that I will be making a presentation of my private studies-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>I- to the college- as your assistant?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Assis- Igor, don't be an idiot. You're my partner.<\/dialogue>\n    <scene_description>Igor is completely overwhelmed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE ROYAL COLLEGE OF MEDICINE - MORNING<\/stage_direction>\n    <scene_description>The main building of the college is on a big, beautiful campus. Victor and Igor are unloading the big gurney off the top of a coach, the bedsheet tied down tightly. Victor hands Igor down the heavy dynamo equipment, and Igor looks up at the college. It's everything he'd ever dreamed.<\/scene_description>\n    <character>FLASH TO:<\/character>\n    <dialogue>Igor and Victor are rolling the gurney up one of the school's hallways.<\/dialogue>\n    <character>VICTOR<\/character>\n    <parenthetical>(loudly)<\/parenthetical>\n    <dialogue>Presentation! Big presentation in hall H!<\/dialogue>\n    <scene_description>The school is mostly empty. The students who are there seem at best disinterested, at worst disgusted. Igor notices, but stays quiet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALL H<\/stage_direction>\n    <scene_description>Victor and Igor stand at the front of the big lecture hall. The Gordon-Gurney and the dynamo are all set up. Victor is addressing the audience. Igor is clearly uncomfortable, and concerned about his friend. Victor's voice has a new element to it: a nervous tremor that we haven't heard before.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Since the beginning of modern medicine, there has been an assumption regarding the nature of mortality, that being- that being that death is an unavoidable event whose inevitability should be taken for granted. I aim to show that life is not some heavenly grace given to us by an all-powerful god- but no- no instead that it is something natural-<\/dialogue>\n    <character>FINNEGAN (O.S.)<\/character>\n    <dialogue>Get on with it!<\/dialogue>\n    <scene_description>We pan to reveal that the hall is nearly empty; of two hundred seats, only seven are filled. They all look disinterested and bored. In the back is Michael FINNEGAN, 21, dressed in only the finest clothes, refined, handsome and posh, a child of wealth with an accent so upper-crust he makes Victor and Igor sound like they're from Michigan. His outburst draws some laughs from the crowd.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Ah- uh, yes- indeed, I will- Igor, start up the dynamo.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Yes, Master.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>I present to you! I present to all of you here, the brave few who came-<\/dialogue>\n    <character>FINNEGAN<\/character>\n    <dialogue>The brave few, poppycock! It's the beginning of Christmas recess, of course there's no one here Frankenstein! I have a coach waiting! Who else is keeping their coach waiting?<\/dialogue>\n    <scene_description>There are some murmurs of agreement from the others. Igor primes the dynamo.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>I present to you, life by my own creation!<\/dialogue>\n    <scene_description>Victor yanks the bedsheet down. The reveal of Gordon (dead and lifeless) has a definite effect on the crowd: negative; murmurs of disgust, and two students get up and leave.<\/scene_description>\n    <character>VICTOR<\/character>\n    <parenthetical>(hurriedly)<\/parenthetical>\n    <dialogue>I built this homunculus out of parts primarily taken by from the London Zoo, which has had much difficulty in care of their exotic animals. He is primarily- primarily chimpanzee, but with help from my partner Igor, we have interlaced multiple individuals, multiple species- Igor is it ready, good- If you'll all come closer, please.<\/dialogue>\n    <scene_description>The remaining four students come down, grudgingly, mumbling. Finnegan stays right where he is.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>And now, through the miracle of electricity: life!<\/dialogue>\n    <scene_description>Igor fires the dynamo. The effect is immediate, and unexpected. Dozens of flies explode out from all over Gordon! The four students swear and shout their disgust, heading out.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>No no- wait, don't- Igor, shock him again, harder.<\/dialogue>\n    <scene_description>Igor shocks Gordon again. Everyone's left except Finnegan, who begins applauding.<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>Frankenstein, you have lived up to your father's reputation, to your own expansive mythos of strangeness and perversion! Delightful! Spectacular, just- an exquisite show of depraved lunacy-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Again, harder!<\/dialogue>\n    <scene_description>Igor shocks Gordon again, nothing, and Victor shoves him out of the way, amps the dynamo all the way, SHOCKS HIM AGAIN... Nothing.<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>Oh, so the show isn't over? I must say though, you'll be hard pressed to beat the flies, a really inspired moment of grotesque revulsion-<\/dialogue>\n    <scene_description>Victor shocks Gordon again, STILL NOTHING. The generator sputters and dies, spitting out acrid black smoke.<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>What do you have planned next, perhaps a midget is hidden inside your rotting meat sculpture's stomach, ready to pop out with a bouquet of ro-<\/dialogue>\n    <scene_description>Gordon groans.<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>Ro- ...roses...<\/dialogue>\n    <scene_description>Gordon...blinks.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Ha! You see it's-<\/dialogue>\n    <scene_description>Gordon's right arm RIPS FREE OF THE RESTRAINTS, SMASHING VICTOR AND SENDING HIM FLAILING BACKWARDS INTO A BLACKBOARD, WHICH CRACKS IN HALF ON HIS IMPACT.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>VIC-<\/dialogue>\n    <scene_description>The other arm tears loose, grabs Igor and flings him into the generator. He collapses, dazed. Oh shit. Finnegan stands, watching as Gordon finishes ripping itself free from the gurney.<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>I say.<\/dialogue>\n    <scene_description>Finnegan, fearless with the entitled bravado of the truly wealthy, rushes down to Gordon as it gets up. Gordon turns on him, leaping up onto the podium ahead of him and blocking his path- He stands perfectly still. Gordon ROARS, an unnatural, painful sound, and Finnegan falls on his ass, before the creature turns and gracefully springboards off the wall, crashing out through a window to the roof.<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>By jove. Brilliant.<\/dialogue>\n    <scene_description>Igor, frantic, races to the shattered window, looking out after Gordon, then goes to Victor, who's groggily getting up.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>The creature-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Did you see? Incredible!<\/dialogue>\n    <scene_description>Victor can't stand, he's too woozy from the hit.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Better than I possibly could have hoped for-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>But it's free! It's- dangerous!<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Yes, marvellous-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Victor, we have to stop it-<\/dialogue>\n    <scene_description>Igor turns and Victor grabs him roughly by the sleeve.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>No. You mustn't let any harm come to it. It's my creation, it's more important than any the lives of any of the idiots at this school.<\/dialogue>\n    <scene_description>There's a moment of very intense eye contact, and then Igor yanks his arm away, and Victor falls.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Damn it Igor!<\/dialogue>\n    <scene_description>Igor rushes out onto the roof.<\/scene_description>\n    <character>AND WE FOLLOW<\/character>\n    <dialogue>HIM<\/dialogue>\n    <scene_description>Out onto the perilous, sloping shingled tiles of the school's roof. Gordon, a creature never meant for full mobility, has started leaking. Badly. He's left a trail of blood that Igor hurries to follow, nearly slipping a few times on the tiles turning a corner and finding Gordon perched on a chimney, looking down at a courtyard full of students with their bags, waiting to go home for winter break. It has a bloodlust in its eyes, the crazed violence of an insane animal never meant to exist; it starts to head down towards the courtyard, growling... Igor, having the epiphany that he has no idea how to stop this thing, skids to a halt in the soot of the chimney.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>H-...Hello, I-<\/dialogue>\n    <scene_description>Gordon turns abruptly, and SCREAMS, charging down the roof, ripping up roof tiles and flinging them at Igor, who turns, scrambling away, but Gordon quickly overtakes him, tackling him and sending them both tumbling violently down towards the ledge. The fall has a bizarre, unsettling effect on Gordon; the creature's patchwork body, not intended for this, has started to come apart! Igor and Gordon fall over the edge, but Igor catches himself, dangling by one hand over a fifteen foot drop to the roof of the school's greenhouse. Gordon COMES OUT OF NOWHERE, swinging at him easily and gracefully, SLASHING WILDLY. The blows knock Igor's grip loose, and tear his shirt, exposing the backbrace beneath; dangling this way Igor is defenseless, and he has to take the hits as they come, until- GORDON LEAPS ENTIRELY ONTO IGOR, causing them both to plummet down onto<\/scene_description>\n    <character>THE GREENHOUSE<\/character>\n    <dialogue>-shattering a large portion of it. Igor is left laying dazed across the rickety framework. He slowly pushes himself to his feet, forced to go back to his circus training; on these thin steel beams, it's practically a tightrope.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>All right......where'd you go...where'd you-<\/dialogue>\n    <scene_description>Gordon BURSTS UP THROUGH A PANEL TO HIS RIGHT, taking a wild swing, and Igor is forced to hurry his treacherous progress, trying to make it to a nearby roof. Meanwhile, Gordon is easily monkeying around upside-down on the interior ceiling of the greenhouse, smashing through panels to take wild swings at Igor. Igor makes the leap to the roof, and Gordon comes smashing into him from behind; the impact is enough to literally knock one of Igor's shoes off, but his training as a clown helps him to roll with the impact. Gordon roars again, and charges once more; a chase begins over the roof of the college, which we the audience along with Igor realize is actually many buildings, built only a few feet apart. Igor, jumping these gaps with this monstrosity mere seconds behind him and gaining, realizes what he has to do. Jumping past a wind-vein, Igor rips it free, and at the next gap, TURNS AND BASHES GORDON ACROSS THE FACE. Gordon is disoriented mid-jump, and begins to fall into the gap between the buildings, BUT GRABS IGOR, PULLING HIM DOWN TOO-<\/scene_description>\n    <character>BETWEEN THE<\/character>\n    <dialogue>BUILDINGS<\/dialogue>\n    <scene_description>The space is incredibly claustrophobic, their fall slowed by impacts against both walls- For a terrifying moment Igor is trapped against the monster's bosom, but he fights free- Bracing himself against the walls, Igor tries to make it to the edge as the still-falling monster grabs at him- again Igor braces himself but his knees are at his chest, and the monster pulls him down further, it finally hitting the ground- Igor tries to move over it; it hits him, HARD, dazing him but pushing him to the edge- Gordon yanks itself towards him, not caring about the flesh being sheared away, he's doomed, it- The dazed Igor is yanked out<\/scene_description>\n    <character>INTO A PATCH OF<\/character>\n    <dialogue>DIRT BY THE<\/dialogue>\n    <character>STABLES<\/character>\n    <dialogue>Igor lays there dazed, watching helplessly as Gordon begins to pull itself free, snarling and roaring in rage, one arm grabbing Igor's leg-<\/dialogue>\n    <dialogue>WHAM. A shovel comes down Gordon's wrist, and he jerks back his arm, taking a swing instead at<\/dialogue>\n    <dialogue>VICTOR FRANKENSTEIN, wielding a shovel. Again we see the easy, serpentine way Victor can dodge; he ghosts around three huge swings from the monster's free arm, and then brings the shovel crashing down on its head- -and again- -and again and again and again AND AGAIN AND AGAIN-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Victor! It's dead, it's dead!<\/dialogue>\n    <scene_description>Victor, covered in the creature's blood, his hair hanging in sweaty strands, hunched over and breathing hard, looks at Igor. He drops the shovel.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>You killed it. You...you killed it-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I couldn't let it hurt you, could I?<\/dialogue>\n    <scene_description>Igor and Victor stare at each other, realizing with equal parts fear and enthusiasm how little each of them knows about the true nature of the other.<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>Clean that damn thing up.<\/dialogue>\n    <scene_description>Finnegan runs up, possibly the most exercise he's ever had, followed by his huge, fancy coach.<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>I've had my men collect your equipment from the hall, now clean that thing up and get it into the carriage, quick.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>What? Why?<\/dialogue>\n    <character>FINNEGAN<\/character>\n    <dialogue>Just do it!<\/dialogue>\n    <scene_description>Victor stares at him, looking completely insane, and Finnegan is correctly intimidated.<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>Because you're two mad bloody geniuses, and it would be a tremendous waste to see you hauled off to Scotland Yard.<\/dialogue>\n    <scene_description>Victor looks to Igor. Igor looks to Victor. Victor offers Igor his hand, and Igor takes it. Victor pulls him to his feet.<\/scene_description>\n    <character>CLOSE ON:<\/character>\n    <dialogue>Fingers, fidgeting with a crucifix, turning it around and around, end over end.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GREENHOUSE - SUNSET<\/stage_direction>\n    <scene_description>Inspector Turpin is here with Alistair, amongst all the broken glass, as they talk to an elderly GROUNDSKEEPER. Turpin's red-eyed, anemic condition appears slightly worse; he's distracted, not really paying attention to the Groundskeeper, instead looking up at the shattered roof, osmosing the scene, fidgeting with his cross.<\/scene_description>\n    <character>GROUNDSKEEPER<\/character>\n    <dialogue>We didn't expect to have a real Inspector from the yard out, you see, we just thought there would be a few bobbies to make a report of the damages.<\/dialogue>\n    <character>ALISTAIR<\/character>\n    <dialogue>Inspector Turpin and I are here because he believes- we believe there might be a connection to an ongoing investigation.<\/dialogue>\n    <scene_description>Turpin notices something on the wall, and gets up onto a table, trying to get a better look at the roof. He reaches up and touches something on the shattered window.<\/scene_description>\n    <character>GROUNDSKEEPER<\/character>\n    <dialogue>Oh, I nary think it's anything so serious, probably just some hooligans out for a laugh before christma-<\/dialogue>\n    <scene_description>Turpin raises his hand, which is covered in blood.<\/scene_description>\n    <character>TURPIN<\/character>\n    <dialogue>Hooligans.<\/dialogue>\n    <character>GROUNDSKEEPER<\/character>\n    <dialogue>Good christ-<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>Constable, give me a lift would you?<\/dialogue>\n    <character>MOMENTS LATER,<\/character>\n    <dialogue>ON THE ROOF...<\/dialogue>\n    <scene_description>Turpin has pulled himself up out onto the shattered roof, Constable Alistair clumsily following. Turpin begins making his way further up the roof.<\/scene_description>\n    <character>ALISTAIR<\/character>\n    <dialogue>Inspector, I don't think it's safe that we should-<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>Oh come now, I'm making easy work of it, and I haven't slept in days.<\/dialogue>\n    <character>ALISTAIR<\/character>\n    <dialogue>...You haven't been sleeping?<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>A slip of the tongue. It's just been a difficult time. Not enough money in this job; a christly occupation, to be certain, but I can't afford a sitter to watch my Rebecca, and it's...taxing, on the mind. I've been having nightmares, as well.<\/dialogue>\n    <character>ALISTAIR<\/character>\n    <dialogue>Well, the case has gone mostly cold. Sir, if you need a break, I'm sure myself or Inspector Walton could take over-<\/dialogue>\n    <scene_description>Turpin hoists himself up onto the next level of the roof, noticing Igor's shoe and picking it up as he goes.<\/scene_description>\n    <character>TURPIN<\/character>\n    <dialogue>Don't be silly, Ali; what do you think the nightmares are...about...<\/dialogue>\n    <character>ALISTAIR<\/character>\n    <dialogue>Inspector? Something wrong?<\/dialogue>\n    <scene_description>Alistair hurriedly pulls himself up onto the roof after Turpin, and sees Turpin, still clutching the shoe, staring at the glaringly obvious trail of blood and destruction, bizarre and horrifying in the darkening daylight.<\/scene_description>\n    <character>ALISTAIR<\/character>\n    <dialogue>Dear god.<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>...Mostly cold indeed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VICTOR'S FLAT<\/stage_direction>\n    <scene_description>Victor and Igor are arguing; it's the first time this has ever happened.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>It was bloody homicidal!<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>There was no way I could've known-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>But Victor you could've helped, you could've done something-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>I did do something, I saved your life! What was I meant to do, spring up like a jack-in-the-box after it pummeled me into a wall, say how-ya-do and take it down with a crisp uppercut? What did you want-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>You said you didn't care about the people at the school! The other students-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Stop going on about \"people\" being \"in danger\" and you being \"thrown off a building,\" Igor, we made real progress today!<\/dialogue>\n    <scene_description>Finnegan emerges from the attic door. Igor starts a rebuttal, but Victor raises a hand, and Igor's subservient instincts guide him to silence. They look to Finnegan.<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>Am I to understand you...built all that?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>That's correct.<\/dialogue>\n    <character>FINNEGAN<\/character>\n    <dialogue>And you...Mr. Straussman, you were responsible for conglomerating the organic tissue of the creature I saw today?<\/dialogue>\n    <scene_description>I- (looks to Victor) Yes, that's right. Finnegan's next words are measured to the millimeter.<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>I...apologize, Victor. I had...misjudged you. Your flaws, though they are glaring and massive are...merely social, not intellectual. I find your work astonishing, innovative, and...to be perfectly frank...brilliant beyond my own ability to comprehend.<\/dialogue>\n    <scene_description>There's a beat, and Finnegan takes a deep breath.<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>As you know, I come from the third richest family in England. Could you create another one, like Gordon?<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Like Gordon?<\/dialogue>\n    <character>FINNEGAN<\/character>\n    <dialogue>Well, no. A man. Something capable of following orders.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>No, that's ridicu-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>We'll do it. We can do it.<\/dialogue>\n    <character>FINNEGAN<\/character>\n    <dialogue>Is there a hesitation, Igor?<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>This technology is not meant for-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>There is no hesitation.<\/dialogue>\n    <scene_description>Finnegan gives Igor a short glance, chuckling.<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>I have the means to back you in your experiments on much larger scale.<\/dialogue>\n    <scene_description>All of them, Igor, this artificial man would just be a starting point. You're certain you're-<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>He's certain.<\/dialogue>\n    <character>FINNEGAN<\/character>\n    <dialogue>Hah, very well. I'll want another demonstration, more controlled. I want to know that you can follow direction. Take orders, so to speak. Is this a problem?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>FINNEGAN<\/character>\n    <dialogue>Excellent. Expect to hear from me soon.<\/dialogue>\n    <scene_description>Finnegan leaves, and Igor stares angrily at Victor. Victor turns on him abruptly, and before Igor can speak he's immediately caught in a paralyzingly crisp stream of words.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>You did not create this technology, yet you presume to tell me how to use it? Know your place. I will not let your own ignorance of the world at large stand in the way of the progress of my experiments.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>But Victor, surely-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Have you already forgotten what I did for you at the circus?<\/dialogue>\n    <scene_description>Igor falls silent.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>This is my destiny, this is your destiny, Finnegan is our only ally and we will build him a whole damn zoo of homunculi if it means furthering our research, am I understood?<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>...Yes Mast- Yes Victor.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VICTOR'S FLAT - BASEMENT LAB<\/stage_direction>\n    <scene_description>Igor slowly comes down the stairs. Victor, wearing a lab- coat, is working in near total darkness, lit by sparks. He's standing over the operating table, which has a new sheet over it; something under the sheet writhes and twists bizarrely.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>So glad you could be here. I want to show you my newest creation.<\/dialogue>\n    <scene_description>Igor moves forward; there's strange, muted growling from beneath the sheet. Igor looks to Victor, who grabs the sheet and yanks it off, revealing... The Hunchback, dirty in his tattered clown uniform, writhing in his restraints on the table! The Hunchback turns to Igor and let's out Gordon's hideous, mechanical scream!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VICTOR'S FLAT - IGOR'S ROOM<\/stage_direction>\n    <scene_description>Igor snaps awake in bed, breathing hard. He calms himself down, and then looks out the window, at dawn over London.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BARON BOMINE'S RESIDENCE - MORNING<\/stage_direction>\n    <scene_description>The huge house is beautiful, led into by a long driveway. Igor stands at the edge of this drive, clearly nervous, fidgeting. A butler comes walking up the drive to get the mail, and Igor, frantic, jumps into a bush to try to hide. The butler reaches the end of the drive, picks up the mail, and then casually turns to Igor in the bush.<\/scene_description>\n    <character>BUTLER<\/character>\n    <dialogue>Can I help you, sir?<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>I...uh...I'm here to see Lorelei.<\/dialogue>\n    <character>BUTLER<\/character>\n    <dialogue>Master Igor, I presume.<\/dialogue>\n    <scene_description>Igor falters, surprised, and then smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE THAMES - RIVERSIDE<\/stage_direction>\n    <scene_description>Igor and Lorelei, looking positively scorching hot, walk together up a walkway on the side of the Thames.<\/scene_description>\n    <character>LORELEI<\/character>\n    <dialogue>Well why don't you just tell him you won't do it?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>It's not- I owe him everything, I can't just-<\/dialogue>\n    <character>LORELEI<\/character>\n    <dialogue>Why not? You said he identifies you as his partner.<\/dialogue>\n    <character>IGOR<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Yes...<\/dialogue>\n    <character>LORELEI<\/character>\n    <dialogue>I don't know, if you ask me the whole business sounds sinister. Cutting up corpses? Bringing people back from the grave? I'm not a scientist nor a priest, but doesn't it seem wrong to you? Against nature?<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>No, no...It's about life, not death.<\/dialogue>\n    <scene_description>Igor and Lorelei are coming up a bridge to cross it, and Igor realizes privately that it's the same bridge he jumped off in his circus escape. They stop, looking out over the dyes.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Victor dreams of a world filled with hope, instead of fear. A world where a mother who dies during childbirth can live to see her son, where a murdered man can personally identify his murderer. Where a paralyzed soldier with shrapnel embedded in his spine can be killed, healed, and then be brought back to life to walk again. The possibilities are endless...<\/dialogue>\n    <character>LORELEI<\/character>\n    <dialogue>Yes but Igor...what do you want? What is your place in this dream?<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>...Enough about me. What's next for you?<\/dialogue>\n    <scene_description>Lorelei gives him a look, but then laughs.<\/scene_description>\n    <character>LORELEI<\/character>\n    <dialogue>Honestly? I was thinking of starting to give lessons...maybe even starting a school.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Trapeze?<\/dialogue>\n    <character>LORELEI<\/character>\n    <dialogue>No, very few high society girls enjoy...trapeze, more dance.<\/dialogue>\n    <scene_description>Gymnastics and dance, all the things I know best- I could never go back to a circus, to that life- Lorelei stops, seeming to gather herself.<\/scene_description>\n    <character>LORELEI<\/character>\n    <dialogue>I must- I must- you were my closest friend, for three years I knew you as \"the hunchback-\"<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>That's over now-<\/dialogue>\n    <character>LORELEI<\/character>\n    <dialogue>But the things I saw and- Igor can you ever forgive me, I'm so sorry-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>You shouldn't apologize-<\/dialogue>\n    <character>LORELEI<\/character>\n    <dialogue>No, I should. I should I should<\/dialogue>\n    <parenthetical>(is overcome)<\/parenthetical>\n    <dialogue>I saw the way they treated you, sleeping in that rail car and-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Lorelei-<\/dialogue>\n    <character>LORELEI<\/character>\n    <dialogue>The beatings, you'd come around covered in bruises, I did nothing oh I did nothing, because I was too afraid and, and selfish-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Lorelei it's all right-<\/dialogue>\n    <character>LORELEI<\/character>\n    <dialogue>But that's your nature to say \"it's all right,\" you're too forgiving-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>What were you going to do? Take it up with management? Who was there to tell? Who was there to turn to? If you'd come to my aid Nathaniel, Rafferty and the rest...I never blamed you. Not once. Ever.<\/dialogue>\n    <scene_description>Igor let's this sink in. They look down over bridge, to where the dyes are pouring into the water, coloring it purple, blue, red, green...<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Besides, we're here now, aren't we? We're here and we're beautiful.<\/dialogue>\n    <character>LORELEI<\/character>\n    <parenthetical>(collecting herself)<\/parenthetical>\n    <dialogue>What I'm saying is you mustn't allow anyone to bully you, ever again. If you think Victor is on the wrong road, you must make a stand. Don't let yourself be anyone's footstool, ever again. Promise me.<\/dialogue>\n    <scene_description>Igor blinks; he's somewhat in shock.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>I...I promise.<\/dialogue>\n    <scene_description>There's a beat. They're staring into each other's eyes. There should be a kiss here. There isn't.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VICTOR'S FLAT - SHORTLY THEREAFTER<\/stage_direction>\n    <scene_description>Igor is confidently approaching the door; he reaches out to open it, but then takes a beat.<\/scene_description>\n    <character>IGOR<\/character>\n    <parenthetical>(mutter under his breath)<\/parenthetical>\n    <dialogue>Victor...truly respect me as a scientist...something you can't control...<\/dialogue>\n    <scene_description>Someone loudly clears their throat behind him, startling Igor into a little yelp. There stands Doctor Claus Von FRANKENSTEIN, late 50s early 60s, lean and gray, with a demeanor so cold his breath has a wind chill factor.<\/scene_description>\n    <character>FRANKENSTEIN<\/character>\n    <dialogue>Igor. You look...slimmer. I see you've finally organized your hair.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You know your parents are worried sick about you, I assume. Tina has been in regular correspondence.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>...I'm sorry, I don't-<\/dialogue>\n    <character>FRANKENSTEIN<\/character>\n    <dialogue>Is Victor here.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Yes, I-<\/dialogue>\n    <character>FRANKENSTEIN<\/character>\n    <dialogue>Very well.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VICTOR'S FLAT - CONTINUOUS<\/stage_direction>\n    <scene_description>Victor sits at his desk; he's engrossed in drawing something, a blueprint. He's fully absorbed in it, and doesn't look up when Igor enters.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Where have you been? Do you really think it's wise that you go gallivanting about on the town when there's a manhunt-<\/dialogue>\n    <character>FRANKENSTEIN<\/character>\n    <dialogue>Victor.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>I'm busy- father!?<\/dialogue>\n    <scene_description>Victor jumps up in such boyish haste he nearly knocks over his work table.<\/scene_description>\n    <character>FRANKENSTEIN<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>You- you came for Christmas-<\/dialogue>\n    <character>FRANKENSTEIN<\/character>\n    <dialogue>No, Victor. Sit down.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>I- yes, of course, please.<\/dialogue>\n    <character>FRANKENSTEIN<\/character>\n    <parenthetical>(to Igor)<\/parenthetical>\n    <dialogue>Leave.<\/dialogue>\n    <scene_description>Igor looks to Victor; shit, there goes his chance to confront him. He goes up the stairs, but then stops at the top, surreptitiously eavesdropping as Victor and his father sit by the fire.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Father, I'm so excited to tell you, I've had great breakthroughs with my experiments-<\/dialogue>\n    <scene_description>Frankenstein talks into the fire, never once addressing Victor; throughout their discussion Victor leans further and further forward in his chair, trying to force himself into his father's eye-line.<\/scene_description>\n    <character>FRANKENSTEIN<\/character>\n    <dialogue>I don't care.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>My theories- listen father, my theories, they were all correct-<\/dialogue>\n    <character>FRANKENSTEIN<\/character>\n    <dialogue>I don't care about your disastrous experiments or your poorly researched theories-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Haha, yes, but that's what I'm-<\/dialogue>\n    <character>FRANKENSTEIN<\/character>\n    <dialogue>Victor, silence.<\/dialogue>\n    <scene_description>Victor falls quiet, the smile dripping off of his face.<\/scene_description>\n    <character>FRANKENSTEIN<\/character>\n    <dialogue>When you were smaller I always had a great anxiety about you. Your mother and myself always saw that you had a capacity to ruin things. Do you remember all the things you ruined.<\/dialogue>\n    <scene_description>I-<\/scene_description>\n    <character>FRANKENSTEIN<\/character>\n    <dialogue>Do you recall what I said about your experiments.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Yes-<\/dialogue>\n    <character>FRANKENSTEIN<\/character>\n    <dialogue>I said your experiments were of ill repute. I told you not to become a doctor. The modern doctor is a wasteful man, I said, many times. He cannot accept that death is the inevitable, inescapable conclusion of life. He tries to \"beat the reaper.\" This is futile. I have told you this many thousands of times throughout your childhood, as it is a lesson, as you know, that cost me a great deal.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>But- you see that's what I wanted to tell you, I've done it- I mean I can show you, I've finally...<\/dialogue>\n    <scene_description>Claus stares at Victor. Victor freezes in the gaze of the one person he clearly most wants to impress..<\/scene_description>\n    <character>FRANKENSTEIN<\/character>\n    <dialogue>Yesterday I received a telegram, informing me that you are to be called before the board of directors of the college. They say you neglect schoolwork. They say you behave strangely. They intend to expel you. Did you know this?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>I- expel me, they can't-<\/dialogue>\n    <character>FRANKENSTEIN<\/character>\n    <dialogue>Can't they?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>...Father...if you just listen to me, I...I...<\/dialogue>\n    <character>FRANKENSTEIN<\/character>\n    <dialogue>You what?<\/dialogue>\n    <scene_description>I-<\/scene_description>\n    <character>FRANKENSTEIN<\/character>\n    <dialogue>Luckily you are of age where I no longer need to take responsibility for your faults and failings. If the board asks me to speak in your hearing, I will tell them you never should have been admitted in the first place.<\/dialogue>\n    <scene_description>Victor sits staring at his father.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>I...I'm so sorry father.<\/dialogue>\n    <character>FRANKENSTEIN<\/character>\n    <dialogue>Apologies. Are. Meaningless. How many times must I tell you.<\/dialogue>\n    <scene_description>Frankenstein stands up and leaves, just like that, leaving Victor sitting, silent. Igor, upstairs, clearly doesn't know what to do next.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCOTLAND YARD - TURPIN'S OFFICE<\/stage_direction>\n    <scene_description>Turpin's office is messy, clearly the den of a hardworking man. He's sitting at the desk alongside his daughter REBECCA, 9 years old. She's adorable, currently playing with Turpin's magnifying glass. He leans to and makes a face at her through it. She laughs, delighted. Alistair enters, holding a sheet of paper.<\/scene_description>\n    <character>ALISTAIR<\/character>\n    <dialogue>Results on the shoe are back, Inspector- oh, hello Miss Rebecca-<\/dialogue>\n    <character>REBECCA<\/character>\n    <parenthetical>(peering at him through the magnifier)<\/parenthetical>\n    <dialogue>Hello Mister Alistair.<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>I couldn't find a sitter. Busy night. Let me see.<\/dialogue>\n    <scene_description>Turpin grabs the list, going over it.<\/scene_description>\n    <character>ALISTAIR<\/character>\n    <dialogue>Custom job, like you thought. Tailor made by Red Crescent Cobblers, only six made in that size in the last two years-<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>Ha. Well would you look at that.<\/dialogue>\n    <parenthetical>(flips the list over)<\/parenthetical>\n    <dialogue>\"Igor.\"<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VICTOR'S FLAT - VICTOR'S ROOM - LATER<\/stage_direction>\n    <scene_description>The sun is setting. Victor is staring at it through his window. He's a million miles away, lost in the labyrinth of his own brain, mumbling to himself.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>So what's this then?<\/dialogue>\n    <scene_description>Victor's startled; he turns to see Igor holding the blueprint he was working on.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Finnegan's project. An artificial man, a modern Prometheus-...it's stupid. The research is pointless.<\/dialogue>\n    <scene_description>Igor looks at Victor; he's pathetic, sitting there like a child. His father's words split him down the middle. Igor seems to steel himself... ...but then stops, his own kindheartedness winning out.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>It's also not big enough.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>...what-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Oh nothing, never mind-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>No, I- what do you mean?<\/dialogue>\n    <scene_description>Igor turns the blueprint around; it's a human body, or rather, instructions for building one.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Gordon was fast, sure...but he couldn't muster much strength at all. Seemed to be having a hard time breathing-<\/dialogue>\n    <scene_description>Victor perks up just a tiny bit.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Embolisms, in the lungs, of course! With that much raw energy coursing through the body the organs overtaxed themselves, would've been dead in ten minutes shovel or no!<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>But if we're going to build something that we want to live and stay alive, we're going to need more energy. Tons more energy.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Yes. But what could possibly generate-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Lightning?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Lightning!<\/dialogue>\n    <scene_description>Victor sits up scrambling through his messy desk.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>I have just the thing- one of my earliest designs for the Lazarus sucked energy out of the air, surely a larger version could, create a static burst similar to lightning, or, in theory-<\/dialogue>\n    <scene_description>He finds the blueprint he was looking for; a menacing spikey mad science rig labelled \"The Cloud Hook.\"<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>How would it handle the energy- I mean we can't simply make bigger organs-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Two sets of lungs.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Ha! Aha! Yes, brilliant! Not just lungs, either, two hearts, as well, keep the blood flowing through that bigger body!<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Shall I get some whiskey-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Yes! Do that!<\/dialogue>\n    <character>IN THE LIVING<\/character>\n    <dialogue>ROOM, LATER...<\/dialogue>\n    <scene_description>Victor has pulled a chalkboard into the living room. The two of them are drinking, laughing, diagramming their creation.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>He'll need a broad head- maybe an elephant skull-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Yes, to house all the electrical stabilizing equipment- maybe we could just make our own skull-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Make our own-<\/dialogue>\n    <character>LATER...<\/character>\n    <dialogue>Drunker.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>The bones will have to be reenforced; we can shape elk, maybe-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>And we can give him a great...great flat head-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Yes, and then, install, a chess board across the top of his head-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Yes so that I shall beat you at chess whilst riding on the shoulders of my glorious behemoth-<\/dialogue>\n    <character>LATER...<\/character>\n    <dialogue>Drunkest. Igor holding himself up on the board, Victor perched awkwardly in the chair, both of them unable to talk or breathe through laughter.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>GREAT- GIANT BOSOMS- ALL OVER-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>YES AND WE SHALL- SHALL INSTALL<\/dialogue>\n    <character>SADDLES TO RIDE ON THE- BREASTS-<\/character>\n    <dialogue>GIANT BREASTS AND PEOPLE WILL say \"here come Igor and Victor and their masterpiece of tits\"-<\/dialogue>\n    <character>SLAM TO:<\/character>\n    <dialogue>Igor, fast asleep on the floor of his bedroom. There's noises from downstairs. Igor, shoeless and bedraggled, checks the clock: 3:46 AM.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VICTOR'S FLAT - CONTINUOUS<\/stage_direction>\n    <scene_description>Igor cautiously makes his way down the stairs, seeing Victor, fully dressed, headed out the door.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Where are you going?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Oh, you're awake. I didn't want to disturb you. Finnegan's called us in for our second test.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>What? Now?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Yes, apparently it's quite urgent.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Well let me-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Igor, there's no time.<\/dialogue>\n    <scene_description>Victor turns and starts to head out the door.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>But I don't even- wait! Victor!<\/dialogue>\n    <character>SMASH TO:<\/character>\n    <dialogue>Igor, still shoeless, in a carriage next to Victor as it goes through the streets. He looks understandably pensive.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DETTWEILER'S LAB<\/stage_direction>\n    <scene_description>It's a big warehouse space; all the lights are out, except for a few at the back, which faintly illuminate moving figures. Igor and Victor enter at the darkened side, and bright white electrical bulbs flicker to life, revealing a pristinely clean, high tech laboratory and machine shop. Over at the far end, we can see Finnegan, standing around a table with a bunch of well-appointed men in labcoats.<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>Excellent! You made it. This way, right this way.<\/dialogue>\n    <scene_description>Finnegan beckons them, and Victor starts quickly moving through the lab, Igor behind him, amazed by all the different equipment. They approach the crowd of scientists, and Finnegan smiles; they're gathered around a little dirty bundle on the table.<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>So glad you could make it. This is Fritz Dettweiler, the man I told you about, Victor. Fritz, this is Victor Frankenstein, Igor Straussman.<\/dialogue>\n    <scene_description>Igor awkwardly extends a hand to Fritz DETTWEILER, late 40s, a gaunt, wispy German man with the countenance of a skeleton. He glances at Igor's outstretched hand, disinterested.<\/scene_description>\n    <character>DETTWEILER<\/character>\n    <dialogue>I do not normally work with a partner, much less two. Young Finnegan reached me through his father's company. He has told me you young men can do things, wondrous things with flesh. Perhaps too wondrous to be believed.<\/dialogue>\n    <character>FINNEGAN<\/character>\n    <dialogue>Dettweiler's an engineer.<\/dialogue>\n    <character>DETTWEILER<\/character>\n    <dialogue>The foremost engineer in Europe.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>That seems a bit of a reach.<\/dialogue>\n    <character>DETTWEILER<\/character>\n    <dialogue>As does the ability to reanimate the dead.<\/dialogue>\n    <scene_description>Victor just smiles. Dettweiler sighs.<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>Here, you'll see, you'll see...<\/dialogue>\n    <scene_description>Finnegan goes around the table to the bundle, and unwraps it, Igor and Victor leaning in. It's...he is a dead infant, not even a year old. Its little body is cold and gray, but not gruesome.<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>Dead not even six hours.<\/dialogue>\n    <scene_description>Igor pulls back in revulsion, whilst Victor merely looks to Finnegan.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Where did you get this?<\/dialogue>\n    <character>FINNEGAN<\/character>\n    <dialogue>One of my work-studies. I very charitably decided to work Christmas Eve, and lo and behold, the Baby Winthrop passed on.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>The parents?<\/dialogue>\n    <character>FINNEGAN<\/character>\n    <dialogue>Lower class people; the Winthrops, of Devonshire road. I've told them I've taken the baby to the mortuary.<\/dialogue>\n    <scene_description>Dettweiler raises a marble.<\/scene_description>\n    <character>DETTWEILER<\/character>\n    <dialogue>This was found in the infant's throat. They should have watched their child with more care.<\/dialogue>\n    <scene_description>Dettweiler smiles at Igor, who cringes.<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>We've got a private room in there set up with all the equipment from the blueprints you gave me.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>You gave him your plans?<\/dialogue>\n    <scene_description>Victor, ignoring Igor, nods in agreement.<\/scene_description>\n    <character>DETTWEILER<\/character>\n    <dialogue>So. Can you do it?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Absolutely.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DETTWEILER'S LAB - PRE-OP<\/stage_direction>\n    <scene_description>Victor and Igor are washing up.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Tell me it will work. Tell me the baby will be all right.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Of course it will work. The bio- electric energy from the fork should heal any of the cells lost from the subject's period of death--<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Victor, we don't know if-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>I do.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I've resurrected rats before, and they came out...you know, mostly alright, and that was before I had your gifted hands. You can save a life or let it disappear.<\/dialogue>\n    <character>WE ENTER A<\/character>\n    <dialogue>MELANCHOLY,<\/dialogue>\n    <character>SOLEMN SEQUENCE<\/character>\n    <dialogue>Victor and Igor, in a private room cramped with sleeker, more high tech versions of Victor's equipment, lay the Baby Winthrop on the table, and begin the process of prepping it. We watch as they give it various injections, stretch the body to hold off rigor mortis, as Igor uses his deft skills as a surgeon to insert electrodes all over the body.<\/dialogue>\n    <dialogue>Igor attaches the Lazarus Fork bolts into the baby's neck. Finnegan, Dettweiler and his scientists surround the table. Igor stands back, nervous.<\/dialogue>\n    <dialogue>Victor primes the machines, and without ceremony, fires the dynamos.<\/dialogue>\n    <dialogue>Nothing happens, and then the electrical wiring all over the baby lights on fire. This gets laughs from the scientists.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Igor, help, quickly-<\/dialogue>\n    <scene_description>Igor and Victor tear away all the equipment, putting out the fires... ...to reveal the Baby Winthrop, uninjured and very much alive. Finnegan looks to Dettweiler, enormously pleased with himself; the scientists quietly lose their shit.<\/scene_description>\n    <character>DETTWEILER<\/character>\n    <dialogue>Mein gott. Incredible.<\/dialogue>\n    <scene_description>Igor looks to Victor, who raises an eyebrow: \"Told you so.\"<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>Gentlemen, if you'd excuse us.<\/dialogue>\n    <scene_description>The scientists move out into the lab.<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>Well alright then, which one of you is going to be a sport and kill it?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>I will.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>I- you- WHAT!? VICTOR-<\/dialogue>\n    <character>FINNEGAN<\/character>\n    <dialogue>What's this tizzy? What do you want me to do? Bring it back?<\/dialogue>\n    <parenthetical>(tinkling laugh)<\/parenthetical>\n    <dialogue>Of course we have to kill the infant. I'm afraid this isn't negotiable; I'd really be much more comfortable knowing the thing was properly disposed off.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>It's just an experiment, Igor. We must make sacrifices-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>I won't let you- I won't stand by-<\/dialogue>\n    <character>YOU WILL. YOU WILL STAND BY.<\/character>\n    <dialogue>WILL GET OUT OF THE WAY-<\/dialogue>\n    <character>YOU<\/character>\n    <dialogue>FINNEGAN<\/dialogue>\n    <scene_description>My word, for the money I'm now going to put behind you, you can resurrect a dozen babies-<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>I- I- I- you bastard, you bloody monstrous bastard-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Get out of here. Now.<\/dialogue>\n    <scene_description>Igor looks at the baby one last time, but his natural meekness overpowers him, and he storms out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DETTWEILER'S LAB - MAIN ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Igor pushes through the scientists, making a beeline for the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DETTWEILER'S LAB - CONTINUOUS<\/stage_direction>\n    <scene_description>Igor storms out into the empty, snowy street, crying, raging, he stomps back and forth. NO! HE WON'T STAND FOR THIS!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DETTWEILER'S LAB - MAIN ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Igor CHARGES back in, Finnegan stepping in front of him- Igor shoves him aside, going towards the surggery door, which bursts open. Victor holds the dingy little bundle.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Make yourself useful and dispose of this.<\/dialogue>\n    <scene_description>Victor slams the bundle to Igor's chest. Igor stares at him in horror. Victor is emotionless, cold... The world seems to fall away for Igor. Everything goes silent.<\/scene_description>\n    <character>BEGIN SONG: \"FIX<\/character>\n    <dialogue>YOU\", BY<\/dialogue>\n    <character>COLDPLAY.<\/character>\n    <dialogue>Clutching the bundle to his chest, he turns and walks out the door.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DETTWEILER'S LAB - CONTINUOUS<\/stage_direction>\n    <scene_description>Igor slams the door behind him, breathing hard, tears streaming down his face. He stares out into the predawn fog, his mind racing... The Baby Winthrop coos. Igor looks down: The baby, though unconscious, is alive. He blinks in shock. A scrap of paper is tucked in with the baby. Scribbled in familiar handwriting: \"I - How little you think of me. - F.\" Igor let's out a little gasping laugh, and then looks around in disbelief.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LONDON - DAWN<\/stage_direction>\n    <scene_description>The snow falls lightly, the crowd bustles, and Igor emerges, carrying the baby. He walks across half the city, purposeful, not pausing; Christmas morning is peaceful, but we watch as the streets slowly crowd with people. We see him ask several strangers for directions, finding his way, crossing bridges, going down alleys, finally reaching...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WINTHROP RESIDENCE<\/stage_direction>\n    <scene_description>Igor stops outside the house, and looks down at the baby. He goes up to the door of the rickety little brownstone house, knocks, no reply. And then MR. WINTHROP answers the door; the man is a wreck, pale, red-eyed, bereaved. He sees Igor; he speaks. Igor doesn't respond. Instead, he simply holds out the baby. Winthrop stares at it, and then calls out, and again, and again. Igor hands the baby to him and he nearly faints. MRS. WINTHROP appears in the doorway. She sees the baby, and simply stares in shock. Mrs. Winthrop clutches onto both her child and her husband as Igor slowly backs away from the door. The reunited family collapses in a sobbing heap in their door frame. They begin to call after Igor, but Igor, taking one last long look at them...vanishes into the crowd.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE THAMES<\/stage_direction>\n    <scene_description>Igor stands staring out over the water, crying, breathing hard, laughing and talking to himself. He seems to realize something, and then takes off running.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE STREETS OF LONDON<\/stage_direction>\n    <scene_description>Igor runs, and runs, and runs, a man on fire. He stops, winded, to loosen his back brace.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BARON BOMINE'S RESIDENCE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Igor runs up from the street, through the garden, up to the front door, knocks frantically, waits, knocks again, waits, the butler answers, Igor speaks frantically, the butler goes away, Igor waits, tries to fix his disheveled appearance, makes it worse, Lorelei appears in the doorway- Igor grabs her and kisses her. After a startled moment, she kisses him back. They stand in the doorway, laughing and holding each other.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VICTOR'S FLAT - LATER<\/stage_direction>\n    <scene_description>Igor approaches, divinely happy, driven, heading towards the door, when someone grabs his sleeve... ...It's Turpin.<\/scene_description>\n    <character>CUT \"FIX YOU\"<\/character>\n    <dialogue>ABRUPTLY.<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>Hello again, Igor.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VICTOR'S FLAT<\/stage_direction>\n    <scene_description>Igor is bringing out tea, his hands shaking. Turpin is settling down opposite Victor by the fire, Constable Alistair over by the window. Victor now sits in the chair his father sat in, with Turpin in the smaller seat.<\/scene_description>\n    <character>TURPIN<\/character>\n    <dialogue>Pleasant Christmas?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Indeed. We went caroling. We're both very tired-<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>Whose coach was that I saw drop you off, Victor?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>My father's. He took me for lunch.<\/dialogue>\n    <scene_description>Turpin smiles.<\/scene_description>\n    <character>TURPIN<\/character>\n    <dialogue>Igor, would you mind showing me your shoes?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Not just yet, Inspector. What's all this about?<\/dialogue>\n    <character>ALISTAIR<\/character>\n    <dialogue>It's in relation to the Blue Meringue Circus Hunchback Murder.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>What's his shoe got to do with it?<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>Interesting you said \"shoe\" rather than \"shoes.\"<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Something wrong, Mr. Straussman?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Oh! That's right! I do recall reading about it: the hunchback what threw the dwarf off the bridge.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Wasn't there talk of...witchcraft?<\/dialogue>\n    <character>ALISTAIR<\/character>\n    <dialogue>Well, we don't give credence to occult speculation-<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>Not officially.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Oh, but unofficially? You believe in...witches, Inspector? Goblins?<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>Oh, no, nothing so extreme. But I do believe there are punishments for dealing with the devil. Just as there are punishments for lying to police officers.<\/dialogue>\n    <scene_description>Victor and Turpin seem to lock in on each other.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Ah, yes, but police officers actually exist, you see.<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>Funny, Victor. But, in the end, things have a way of catching up, even with the funny people. Now let me see his shoes.<\/dialogue>\n    <scene_description>VICTOR To see his shoes I'm afraid I'm going to have to see a proper search warrant. TURPIN What're you playing at Victor? What do you have to hide? VICTOR You've twice mentioned punishment without specifying who would be meting it out. TURPIN I inferred our Lord. VICTOR Oh yes, \"God,\" hm, well, I'm sure if god existed I would be in far deeper trouble than I am now- TURPIN I'm not here to convert you, Victor- VICTOR No, indeed, go ahead, it's a cause without a champion. Tell me more about this \"god\" fellow who apparently has some vendetta against me- TURPIN I didn't come to debate religion with a child scientist- VICTOR What was the insult there, \"child\" or \"scientist-\" TURPIN I know your bloody type, Frankenstein, all sure of their theories and analysis, you listen, my wife Claudia, bless her soul, she trusted in that poppycock and what'd it get her, dead, said it was appendicitis well look how far it got her knowing the name, how much money we spent on the medicines, my daughter crying all night, all the treatments and she's still dead isn't she, she's still dead because God was punishing me wasn't he, for my folly, and her for parlay with the gypsies come up from White Chapel, and you think you're so smart, well you're not so smart and I'm onto you and I'll-<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>My god. You're mad. Turpin stops dead at this, trailing off and seeming to take Victor's accusation under very serious consideration.<\/dialogue>\n    <character>ALISTAIR<\/character>\n    <dialogue>Roderick, don't-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Easy constable. Don't agitate the loony-<\/dialogue>\n    <scene_description>Turpin flips the tea-tray, startling Igor, but Victor doesn't flinch. He stands there breathing hard for a moment.<\/scene_description>\n    <character>TURPIN<\/character>\n    <dialogue>I'll be back here with a warrant.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>I look forward to that. Will you be bringing the apostles along as muscle?<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>We'll see. We'll see who's so bloody smart.<\/dialogue>\n    <scene_description>Turpin goes to leave, but stops for a moment, taking a hard look at Igor, who's frozen in terror. Turpin shakes his head, mutters something, and storms out, Alistair following.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Well. That was exciting. The two of us both quite mad, shouting at each other. Stuff of legend.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VICTOR'S FLAT - CONTINUOUS<\/stage_direction>\n    <scene_description>Turpin rages out into the street, Alistair in tow.<\/scene_description>\n    <character>TURPIN<\/character>\n    <dialogue>I want a damn warrant, call me mad-<\/dialogue>\n    <character>ALISTAIR<\/character>\n    <dialogue>INSPECTOR, I can't vouch for you, we saw no sign of any foul play and the shoes alone aren't enough-<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>Did you see how they froze up when we mentioned the shoes, they're hiding something-<\/dialogue>\n    <character>ALISTAIR<\/character>\n    <dialogue>I agree that their behavior was suspicious, but-<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>Sus- suspicious!? He arrived in a Finnegan Industries coach, and then lied! THEY LIED to my FACE. To our faces.<\/dialogue>\n    <scene_description>And coupled with Victor's combativeness, his aggression...And the basement door, open, Straussman staring at it in fear the whole time. A warrant isn't good enough, we need a raid. Will you back me if we go to Chief Inspector?<\/scene_description>\n    <character>ALISTAIR<\/character>\n    <dialogue>...Yes. I will.<\/dialogue>\n    <scene_description>There's a strange beat, Turpin trying to collect himself.<\/scene_description>\n    <character>TURPIN<\/character>\n    <dialogue>Listen, Alistair, I got excited in there but...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm not mad.<\/dialogue>\n    <scene_description>It comes out sounding more like a question than a statement.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VICTOR'S FLAT - VICTOR'S ROOM<\/stage_direction>\n    <scene_description>Victor is going through his closet, getting dressed, while a concerned Igor is nearby.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Did you have to needle him like that?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>The man was an unstable sideshow, of no threat to us-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>We had a saying back in the circus, \"Never feed a lion when it's hungry.\"<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Enough.<\/dialogue>\n    <scene_description>Victor pulls on his coat.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>We're already late for my hearing. Apparently they can't expel me quickly enough.<\/dialogue>\n    <scene_description>Victor seems to choke on this last sentiment.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Listen, would you...come with me.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>To the hearing?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Yes. I intend to give them a piece of my mind and I'd rather- I'd rather not do it alone.<\/dialogue>\n    <character>SMASH TO:<\/character>\n    <dialogue>Victor, silent and meek, on a raised platform.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ADMINISTRATION ROOM<\/stage_direction>\n    <scene_description>It's beautiful but very sparse, Victor standing alone in a sea of negative space, with the board of directors across the room from him behind a desk. His father sits nearby, staring out a window. Igor stands off to the side, in a corner. DR. CLIVE, the head of the board, old and dignified, is reading from a list.<\/scene_description>\n    <character>DR. CLIVE<\/character>\n    <dialogue>-students find Victor to be in turns rude, obnoxious, sinister, unpleasant, a loudmouth, a braggart, a false intellectual and a liar. For every essay Victor is assigned he returns spurious hokum regarding raising the dead, or rantings and blueprints regarding his apocryphal electrical creations. When reminded that this was not an engineering college, Victor was quoted as saying \"The body is merely a machine. If you don't understand this you are an ignorant nincompoop who is better off spending his day in a barn, perfecting the art of milking a male horse.\"<\/dialogue>\n    <scene_description>At this, there's some hubbub at the board desk.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>D-...D- Doctor Clive, Doctor Cushing, Doctor Brannaugh, I j-<\/dialogue>\n    <character>DR. PRICE<\/character>\n    <dialogue>Dr. Frankenstein, have you anything to say?<\/dialogue>\n    <scene_description>Frankenstein thinks.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>F- Father-<\/dialogue>\n    <character>FRANKENSTEIN<\/character>\n    <dialogue>Only that I am shocked that he was able to attend this long.<\/dialogue>\n    <character>DR. PRICE<\/character>\n    <dialogue>Very well. Victor Frankenstein, for the afore stated grievances,I hereby state that you are expelled from the Royal College of Medic-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>You leave him alone damn it!<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Igor, don't-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Has this reputable institution have no eye for real intelligence, real innovation, real revolution? Surely a real medical school would have this man performing his experiments in its hallowed halls, rather than in the dingy confines of a basement. Time will prove all of you fools, fools, and show this man to be a genius!<\/dialogue>\n    <scene_description>Victor looks to be in a state of shock. Igor's flustered, breathing hard. The medical board exchange glances.<\/scene_description>\n    <character>DR. PRICE<\/character>\n    <dialogue>I'm sorry but...Who are you, exactly?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COACH - TEN MINUTES LATER<\/stage_direction>\n    <scene_description>Victor and Igor sit in the coach as it rattles up the street. Victor has his head pressed against the window, staring out. Igor is clearly nervous he's screwed up. Victor speaks without looking up, clearly lost in his own thoughts.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>He wasn't always like that you know.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I had a brother. Henry. He was older than me by three years, but he never, he never bullied me the way the boys at schools were bullied by their brothers, he was...kind. He was intelligent, more than kind he was intelligent, my parents had such great hopes for him. One night, I went out in the snow, to watch a storm, I- I didn't understand the danger, but Henry did. He came out looking for me, and Kent does get cold, it does get so cold at night.<\/dialogue>\n    <parenthetical>(shivers, upset)<\/parenthetical>\n    <dialogue>I found my way home, but they found Henry the next morning....not Dead yet, but, dying. My father rushed to town to get medicine, but by the time he got back it was too late. Henry had...died. Only moments before my father returned. He was fourteen.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>It changed my father. Broke him. He lost hope in everything, became...you've seen him. You've seen what he became. And I suppose it changed me, too. I could no longer, like so many do, live in fear of death, in fear of life, these mystical things. No. I had to see them made tangible. Henry deserved a second chance. My father deserved a second chance, everyone deserves a second chance. And now I've built something that can finally...<\/dialogue>\n    <scene_description>Victor trails off, staring out the window.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>What you did back in the college. No one has ever. No one has ever. I have only ever had one friend. I am happy that it is you.<\/dialogue>\n    <scene_description>Igor nods. Then, after a hesitant beat...<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Listen, Victor...I have faith in you. I have faith in your ideas, and I understand you think Finnegan is the only way to continue our work, but I ask you to reconsider. His motives are unclear, his lack of morality frightens me, and the fact that you've already given him most of your designs, our designs, scares me most of all. So if I truly am your partner...If I truly am your friend...<\/dialogue>\n    <scene_description>Victor seems to osmose this for a moment, taking it in.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>It's all so dire now. All so dire.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VICTOR'S FLAT - NIGHT<\/stage_direction>\n    <scene_description>Igor is nervously sketching out a design for a lightweight, collapsible wheelchair. He hears a sound from upstairs and waits, looking; it's clear Victor has gone into his room and not come out for some time. There's a knock at the door.<\/scene_description>\n    <character>IGOR<\/character>\n    <parenthetical>(whisper-yell)<\/parenthetical>\n    <dialogue>Victor! Victor!<\/dialogue>\n    <scene_description>Nothing. No response. Igor tries to look out the window, and can't see anything. Tension builds. He goes and picks up a fireplace poker, then moves slowly to the door; the knock comes again, startling him.<\/scene_description>\n    <character>IGOR<\/character>\n    <parenthetical>(one last try)<\/parenthetical>\n    <dialogue>Victor!<\/dialogue>\n    <scene_description>No response. Igor swings open the door and sees- LORELEI! Igor yelps, dropping the poker behind the door, and then trying clumsily to camoflage his spazz-out by straightening his hair. One of Baron Bomine's carriages is parked in the street behind her.<\/scene_description>\n    <character>LORELEI<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>Did I scare you?<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Yes, very much-<\/dialogue>\n    <character>LORELEI<\/character>\n    <dialogue>I thought since you were so bold in the morning, I should be bold tonight...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Will you come with me to Baron Bomine's Christmas ball?<\/dialogue>\n    <scene_description>Igor looks hesitant; he glances back at Victor's locked door at the top of the stairs, then at Lorelei, then back at the door, then Lorelei...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARON BOMINE'S RESIDENCE - BANQUET ROOM<\/stage_direction>\n    <scene_description>Igor and Lorelei are at a long table, filled with rich and swanky looking high society types. Baron Bomine is seated nearby. A NOBLEMAN is talking animatedly his friends, Igor quietly listening and drinking.<\/scene_description>\n    <character>NOBLEMAN<\/character>\n    <dialogue>Hospitals in general to me seem an indecent idea; piling the sick together like that, just seems against common logic. People go in with a broken leg, and come out dead from pneumonia.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>S'not the hospitals.<\/dialogue>\n    <character>NOBLEMAN<\/character>\n    <dialogue>Beg pardon?<\/dialogue>\n    <scene_description>Igor looks to Lorelei, horrified at having spoken up, but she urges him on.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>A good modern hospital should never have these problems. It's just that in a city of this size, many of the hospitals are unclean or poorly kept; the notion of a hospital is a positive one, it's the execution, the lack of public support, the acceptance of under- qualified doctors and nurses that allows the sort of infective cross pollination you're describing.<\/dialogue>\n    <character>NOBLEMAN<\/character>\n    <dialogue>Mm. Probably quite right, I suppose; these days we seem to have wealth of medical students, and a dearth of real physicians. Are you a doctor?<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>I...I uh-<\/dialogue>\n    <character>LORELEI<\/character>\n    <dialogue>Yes, he was trained but never got a degree.<\/dialogue>\n    <character>NOBLEMAN<\/character>\n    <dialogue>I say, are you looking for a job? I run a company up north; it would be a real boon to have someone on staff who knows a bit about medicine, especially a respectable man like yourself.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>I...Uh, I would-<\/dialogue>\n    <character>NOBLEMAN<\/character>\n    <dialogue>No need to give me an answer right away. I'll look into it. What did you say your name was?<\/dialogue>\n    <scene_description>Igor blanks out for a moment, shocked at the opportunity.<\/scene_description>\n    <character>LORELEI<\/character>\n    <dialogue>Igor.<\/dialogue>\n    <scene_description>Igor smiles excitedly at Lorelei, who squeezes his hand.<\/scene_description>\n    <character>LATER...<\/character>\n    <dialogue>Igor is being introduced to various high society people; at first, he looks nervous, but by the third intro, he's laughing, smiling, cracking jokes...<\/dialogue>\n    <character>LATER...<\/character>\n    <dialogue>They're dancing; it's all strict ballroom, but Igor and Lorelei are adding goofy little circus flourishes that are drawing positive attention. Baron Bomine, watching on, looks pleased.<\/dialogue>\n    <dialogue>Igor grunts, suddenly pained.<\/dialogue>\n    <character>LORELEI<\/character>\n    <dialogue>Are you alright?<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Yes, I just need a minute.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARON BOMINE'S RESIDENCE - IGOR AND LORELEI'S ROOM<\/stage_direction>\n    <scene_description>A frustrated Igor wrestles off his jacket and shirt. He tugs on the back-brace, finally fully taking it off. He realizes with a start that he's fine without it; he's outgrown it. Pondering this, folds up the brace into a pocket-size ball, and stares at, rolling it around in his hand. It is Victor. Lorelei enters, shutting the door behind her. Igor shows her the folded back-brace. Lorelei turns and locks the door, then rushes Igor, tackling him; they fall onto the bed, giggling and making out...it slowly turns more sexy...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOMINE CARRIAGE - MORNING<\/stage_direction>\n    <scene_description>The carriage rumbles up the road, Igor happy in the backseat clearly deep in thought. They turn onto Victor's street, and Igor looks up to see-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VICTOR'S FLAT - CONTINUOUS<\/stage_direction>\n    <scene_description>The place is SWARMING with cops. Bobbies are everywhere, pounding a battering ram against the front door, prying at the grates over the windows. Turpin's among them.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Go, go, up there.<\/dialogue>\n    <scene_description>The carriage pulls around the corner, and Igor hops out, ducking immediately behind a fruit cart. The crowd is distracted by the bobbies, and Igor sneaks around, ducking through the crowd, trying to move towards an alley to the right of the house. Turpin's head snaps up, pinpointing Igor's quick movements in the crowd.<\/scene_description>\n    <character>TURPIN<\/character>\n    <parenthetical>(mumbling)<\/parenthetical>\n    <dialogue>There you are.<\/dialogue>\n    <scene_description>Turpin takes off running after Igor, Alistair staying behind with the bobbies. He runs hard, around the corner, around the building to the<\/scene_description>\n    <character>BACK ALLEY<\/character>\n    <dialogue>Where he nearly catches Igor. The alley is cluttered with garbage, crates and water piping. Igor manages to snake through, vault over, or smash aside the obstructions; Turpin can barely keep up.<\/dialogue>\n    <dialogue>Without the back-brace, this clown can move. Igor rounds the corner, kicking a box of garbage into Turpin's way, and then down a short, hidden set of stairs to Victor's back door; Igor rushes through, slamming it in Victor's face.<\/dialogue>\n    <dialogue>He screams in anger, kicking it and trying to get it open...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VICTOR'S FLAT - BASEMENT LAB - CONTINUOUS<\/stage_direction>\n    <scene_description>Igor has himself frantically pressed against the door, turning to see Victor who's rushing from machine to machine, priming them to overload.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Victor, we-<\/dialogue>\n    <scene_description>WHERE WERE YOU?<\/scene_description>\n    <character>TURPIN (O.S.)<\/character>\n    <dialogue>OPEN THIS DOOR, NOW! There's no way out!<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>The bolt- get the bolt-<\/dialogue>\n    <scene_description>Igor frantically bolts the door. There's a crash upstairs; the bobbies have breached the flat.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>I've already sent one of Finnegan's men for a carriage-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Victor, stop, we have to get out of here!<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>And let them have my bloody machines, not likely!<\/dialogue>\n    <scene_description>We can hear bobbies in the flat upstairs.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Get a Lazarus fork.<\/dialogue>\n    <scene_description>As Igor frantically searches for a fork, Victor turns, pulling up a panel from the floor, revealing a manhole cover. He begins using a wrench to unscrew the bolts on the cover. Upstairs, the bobbies start pounding on the door, hitting it with the battering ram. Igor finds a Lazarus Fork.<\/scene_description>\n    <character>ALISTAIR (O.S.)<\/character>\n    <dialogue>Open the door! Scotland Yard!<\/dialogue>\n    <character>TURPIN (O.S.)<\/character>\n    <dialogue>You're done running, heathens! The road ends here!<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Not enough time- We need a distraction!<\/dialogue>\n    <scene_description>Turpin has begun booting the alley door; it's shaking on its hinges badly, now. Victor tosses the wrench to Igor, and takes the Lazarus fork from him.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>What're you-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Get it open!<\/dialogue>\n    <scene_description>Igor starts working on the manhole cover, while Victor turns and rips open another hidden compartment, some form of refrigerator; there's a huge burst of cold air... ...and a corpse falls out of it, into Victor's arms. Igor stops dead. KEEP WORKING YOU DAMN FOOL! Igor keeps working, distracted, panicked. Victor drags the corpse onto the table; it was a young man, but now it's emaciated and old and MISSING ITS EYES.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Who- ...WHAT-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Igor Hunchback, meet Igor Straussman.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>....you- you-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>I found him dead months ago, overdose.<\/dialogue>\n    <scene_description>Igor stands staring at Victor, pale and shocked. Victor quickly begins locking in the Lazarus Fork. The door upstairs starts to give.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>What're you waiting for!? FINISH THAT COVER! YOU WANT TO GO BACK TO THE CIRCUS? YOU WANT TO GO TO PRISON OR BE EXECUTED BY THAT MANIAC, WORK DAMN IT!<\/dialogue>\n    <scene_description>Victor continues priming Igor Straussman's corpse for resurrection, and Igor numbly goes back to unscrewing the cover; he's nearly done.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>The brain is undoubtedly too deteriorated- but he still ought to-<\/dialogue>\n    <scene_description>The door upstairs gives, and Alistair leads the bobbies in a charge down the stairs, as Victor FIRES THE DYNAMOS. The overloaded machines spark and LIGHT ON FIRE, filling the basement with fiery chaos- The charge, way too much, BLASTS into Straussman's corpse, resurrecting it and lighting it ablaze. The screaming, flailing, flaming zombie lurches off the table, and Victor casually SHOVES INTO THE ONRUSHING POLICE. Brawling, burning chaos ensues. The door behind Victor is kicked in by Turpin, knocking him down. Turpin bursts in, gun drawn. He takes a shot at Victor, who dives for cover, and then Turpin turns, smacking Igor.<\/scene_description>\n    <character>TURPIN<\/character>\n    <dialogue>Where's the hunchback!? Show him to me!<\/dialogue>\n    <scene_description>Igor staggers back, but finds himself blocked by the anarchy of Straussman and the bobbies. Turpin grabs him, slamming him against one of the machines.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>No- no- I'm sorry, I'm sorry-<\/dialogue>\n    <scene_description>Turpin stares at Igor's face, the realization hitting him.<\/scene_description>\n    <character>TURPIN<\/character>\n    <dialogue>My god. It's you.<\/dialogue>\n    <scene_description>Victor GRABS TURPIN'S HAND, and SHOVES IT INTO THE SPINNING WHEEL OF ONE OF THE BURNING DYNAMOS. Turpin SCREAMS in agony as his right hand is crushed, which in turn jams the dynamo, sending a SPRAY OF SPARKS directly into his face. The machine explodes into flame, and Igor goes to try to help Turpin as he burns, but Victor grabs him, kicks off the manhole cover, and drags them both down into the sewer hole.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE SEWER - CONTINUOUS<\/stage_direction>\n    <scene_description>Igor and Victor fall down into the muck, and Victor yanks Igor to his feet, both of them running, splashing through the grime. There's a splash from behind them, and Igor looks back into the darkness; he can't see anything. Victor leads Igor through the darkness, finally bursting out through a drainage ditch onto<\/scene_description>\n    <character>THE STREET<\/character>\n    <dialogue>They're a block away from the house, crawling up onto the street. A Finnegan coach, marked as such, is parked nearby.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Come on, come on!<\/dialogue>\n    <scene_description>Igor falters, pulling away from Victor, but then sees someone coming up from the drainage ditch. At this, he jumps onto the alongside Victor, and it speeds off up the street. As the carriage rounds the corner, Turpin, bloodied, burnt and shaking, one of his eyes milked over and blinded, pulls himself up out of the ditch; he gets a momentary look at the carriage, before he falls backwards, into the ditch.<\/scene_description>\n    <character>TURPIN<\/character>\n    <parenthetical>(barely conscious)<\/parenthetical>\n    <dialogue>F...Finnegan.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FINNEGAN FAMILY HOME - OFFICE<\/stage_direction>\n    <scene_description>Finnegan is at the far end of the luxurious home office, playing darts. He's focused, intense- Victor bursts in, followed by Igor, who's clearly still deep in thought.<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>Frankenstein, Igor, what an unexpected surprise- my god what're you covered in-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Sewage.<\/dialogue>\n    <character>FINNEGAN<\/character>\n    <dialogue>-delightful-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>The police have raided my home in search of Igor. We managed to evade capture, but in the process we gravely injured several police officers.<\/dialogue>\n    <character>FINNEGAN<\/character>\n    <dialogue>...Ah. Why- why exactly did the police- you know on second thought, it doesn't really matter. I suppose now you'll have no choice but to leave London, post haste. At the very least, get your sewage covered bodies out of my father's office.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Yes, very good.<\/dialogue>\n    <scene_description>Finnegan snaps.<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>My family has an estate, the Castle Erskine, in Belgium. Quite rural and secluded, ideally suited to both your needs as a scientist and a, well- fugitive. We could set up a new lab, with help from Dettweiler, and-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Yes yes, good, we'll leave immediately.<\/dialogue>\n    <character>FINNEGAN<\/character>\n    <dialogue>Oh will you? Ha, right, I'll go prepare a coach.<\/dialogue>\n    <scene_description>Finnegan heads out of the room. Victor sighs.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>This is your fault, I hope you know that. Parading about town with the acrobat. Still, all is forgiven; perhaps this change of scenery will-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>I'm not going ANYWHERE with you.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>For the first time in our story, Igor is visibly ANGRY.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>You amoral psychotic piece of shit-<\/dialogue>\n    <scene_description>Scratch that, FURIOUS.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Igor-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>How could you do that? To keep from me for months that you had killed a man and given me his name-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>I didn't kill him- you're overreacting!<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>No, Victor, enough is enough-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>You have a chance here to be part of-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Of what? Being lied to, chased by monsters and hunted by police-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Oh, don't focus on the dark side-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>NO! You're- you're a- a BAD FRIEND.<\/dialogue>\n    <scene_description>Victor is startled by the simpleness of the accusation, and maybe even hurt.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>After all I did for you-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>You care for no one but Victor Frankenstein-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>I told you I didn't kill Straussman-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>And why should I believe you!? In my time with you I've seen you put lives in danger in pursuit of your dreams, your experiments-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Straussman was a waste of space, this fanfare from you is more of a funeral than his own family would've given him-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>So he deserved to be toyed with like a puppet to help you escape, to have his eyes torn out of his head, where was HIS second chance-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>I hadn't invented the fork yet, I couldn't- Why are you saying these things, can't you see-<\/dialogue>\n    <scene_description>Finnegan reenters.<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>All right, time is of the essence. Gentlemen, your coach is ready-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>No Victor I see clearly. You are blind, and you have no capacity to see what's happened, what you've done-<\/dialogue>\n    <character>FINNEGAN<\/character>\n    <dialogue>-also, if I could ask you to turn down the volume, my parents are home after all-<\/dialogue>\n    <scene_description>Victor looks from Finnegan, to Igor and back.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>You can go to your ruin. But I'm staying here.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Oh? And going where, exactly? Back to the Blue Meringue to resume your illustrious-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>It's none of your concern.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>None of my- Oh, just brilliant! What? To Lorelei? Where will you go?<\/dialogue>\n    <scene_description>Igor is silent, staring at Victor; Victor can feel himself being judged, slowly realizing that Igor is completely out of his control. His expression changes.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>You fool. I created you. Clown! Circus freak! You think because I put you in a back-brace and cut your hair you can turn your back on me, go ahead, see how far you get in the real world with your \"acrobat\" and your new life! You stand in the way of the future, you're an embarrassment to everything I'd hoped to accomplish! Fine! Fine! I'm rid of you, rid of you, rid of you!<\/dialogue>\n    <scene_description>Victor stands there, breathing hard, waiting for Igor to respond. He doesn't. Victor fidgets, seeming about to speak again, then turns and storms out. Igor looks after him in shocked disappointment.<\/scene_description>\n    <character>MOMENTS LATER...<\/character>\n    <dialogue>Igor stands on the balcony, watching Victor below as he gets into a coach, stolid, emotionless. Finnegan appears next to him, and looks down at the departing coach, then at Igor. He smiles.<\/dialogue>\n    <character>FINNEGAN<\/character>\n    <dialogue>So what's next for you, then?<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>...I don't know.<\/dialogue>\n    <character>FINNEGAN<\/character>\n    <dialogue>That's sad to hear, old boy. Sad to hear. Seems you and Victor have had a bit of a falling out.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>I said what I meant to say.<\/dialogue>\n    <character>FINNEGAN<\/character>\n    <dialogue>Very well, very well, good for you.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You know, I knew Igor Straussman.<\/dialogue>\n    <scene_description>Igor blinks.<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>A real bore, nouveau riche, drug addict. Nothing like...this.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>I-<\/dialogue>\n    <character>FINNEGAN<\/character>\n    <dialogue>Ah-ah-ah. So who are you then? That's the question. Doesn't matter, really. Victor's been very forthcoming with his designs, but I still need him for now. You, on the other hand-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Finnegan-<\/dialogue>\n    <character>FINNEGAN<\/character>\n    <dialogue>So let's see: your benefactor has departed, your home has been ransacked by police, your identity revealed as a fraud...Do you understand what I'm saying?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>What I'm getting at, old sport, is that you won't be missed.<\/dialogue>\n    <scene_description>Igor is jabbed in the neck with a syringe, and one of Finnegan's goons YANKS A BURLAP SACK OVER IGOR'S HEAD FROM BEHIND.<\/scene_description>\n    <character>SMASH TO BLACK.<\/character>\n    <dialogue>We can hear the sounds of a carriage rattling up the street; we're in Igor's POV. Finnegan speaks; Igor's drugged, and through the burlap sack Finnegan's face distorts in nightmarish ways.<\/dialogue>\n    <character>FINNEGAN (O.C)<\/character>\n    <dialogue>You know you and Victor aren't the only ones with vision. You aren't the only ones trying to change the world. I too have a dream of the future. A dream where the British empire extends not just to India and Africa, but over the entire globe. A world where dead enemy soldiers are reassembled into new British troops. I see an unkillable army of your monsters, one million strong, marching across Paris, Moscow, Washington DC...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Oh, you don't approve. I'd imagined you and Victor wouldn't like that much. Luckily, the architects won't have to live in the house they built. Goodbye \"Igor.\"<\/dialogue>\n    <scene_description>There's the sound of a door opening.<\/scene_description>\n    <character>SMASH TO:<\/character>\n    <dialogue>A watery impact - SPLASH! Igor, the bag over his head, his ankles bound together and his hands tied behind his back, rapidly sinks down into the water. He struggles frantically, but can't get free. Igor's nearly at the bottom now; it's getting dark. He manages to shake off the bag, but still can't get his hands free of the binds.<\/dialogue>\n    <dialogue>He's running out of air; he stares up at the light coming down through the water high above him. He's out of time.<\/dialogue>\n    <dialogue>Igor bends violently forward, cracking his back! He SCREAMS in pain, but the new position allows him to slip his hands under his feet, which lets him rip off the bindings around his ankles.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE THAMES - SHORE - CONTINUOUS<\/stage_direction>\n    <scene_description>Igor, returned to his hunchbacked state, drags himself up through the mud onto the shore of the Thames. He vomits out water, coughing, and howls in pain, tearing off his wrist bindings and clutching his back. He looks up noticing a group of little boys who were playing by the river.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Help...Help me-<\/dialogue>\n    <scene_description>The little boys, horrified of this muddy river monster, turn and run. Igor lays there, sobbing and coughing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BARON BOMINE'S RESIDENCE - LATER<\/stage_direction>\n    <scene_description>Lorelei is sitting at a tea table in the gardens, sipping tea and reading a book. There's a crash from nearby, and Lorelei stands up, going around the side of the house, where she sees... Igor, filthy and pathetic, the hunchback, cowering behind some garbage bins. He stares up at her, helpless and ashamed. She goes to him.<\/scene_description>\n    <character>FADE TO BLACK.<\/character>\n    <dialogue>FADE IN...<\/dialogue>\n    <scene_description>It's been at least a week. Igor, worn out, is in a bed, sick....He tries to get up, but then collapses onto the ground; Lorelei rushes to help him.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Victor...Victor...<\/dialogue>\n    <scene_description>Igor passes out.<\/scene_description>\n    <character>FADE TO BLACK.<\/character>\n    <dialogue>ABRUPT CUT TO:<\/dialogue>\n    <scene_description>A crucifix, dangling limply. There's a scratching sound in the background.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCOTLAND YARD - CHIEF INSPECTOR'S OFFICE<\/stage_direction>\n    <scene_description>Roderick Turpin sits alone in the police chief's officer at the desk. He's grinding the heavy brass hook that used to be his right hand back and forth on the arm of his chair. Time has past, and his injuries are healing: his left eye is gone, covered by a leather patch. His skin is pock-marked with electrical burns, still covered by bandages. He is staring straight ahead at the chief's empty seat. He doesn't move at all, except for the grinding hook. The CHIEF INSPECTOR enters, flanked by Alistair, who goes and stands by Turpin. The Chief sits. He and Turpin stare at each other.<\/scene_description>\n    <character>TURPIN<\/character>\n    <dialogue>Straussman wasn't Straussman.<\/dialogue>\n    <scene_description>CHIEF INSPECTOR Beg pardon? TURPIN The body, the burning creature, that was Straussman. The young man who said he was Straussman was in fact the hunchback, transformed by Frankenstein- CHIEF INSPECTOR Inspector, this is not- TURPIN They escaped by way of a Finnegan Family Coach; Finnegan also attends Royal College of Medicine, makes sense, he's in on it too, maybe funding them- CHIEF INSPECTOR Inspector Turpin, stop- TURPIN I would guess that Frankenstein has fled the country, more than likely alongside Finnegan, who a little digging showed spends his summers at Castle Erskine in Belgium-<\/scene_description>\n    <character>CHIEF INSPECTOR<\/character>\n    <dialogue>Roderick-<\/dialogue>\n    <scene_description>TURPIN Which is where we'll find them, the Hunchback on the other hand- well you see we never found the girl, the aerialist, and I'd wager- CHIEF INSPECTOR STOP IT RODDY. DAMN IT.<\/scene_description>\n    <character>TURPIN<\/character>\n    <dialogue>Listen. We can catch them-<\/dialogue>\n    <character>CHIEF INSPECTOR<\/character>\n    <dialogue>We can. And we will.<\/dialogue>\n    <scene_description>TURPIN ...Am I to understand- ALISTAIR You're being removed from the case. CHIEF INSPECTOR The whole force, in fact. Constable Alistair will be taking your place. You are on a medical and mental reprieve.<\/scene_description>\n    <character>TURPIN<\/character>\n    <dialogue>Don't do this. Please.<\/dialogue>\n    <character>CHIEF INSPECTOR<\/character>\n    <dialogue>Belgium, Roderick? High society hunchbacks, undead monsters, conspiracies involving one of the richest families in England? You've lost your grip, Roddy, you've lost your whole hand! Your eye! Take a break, please!<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>You bastard.<\/dialogue>\n    <character>CHIEF INSPECTOR<\/character>\n    <dialogue>I'm doing this for you. Spend some time with you daughter, rest, good god man. You are the best detective we have, and you haven't- you haven't slowed down since Claudia died-<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>Don't you mention her name. Don't you ever say her name.<\/dialogue>\n    <scene_description>Turpin seems to think for a moment, then picks up his chair and hurls it into the wall, shattering it. He stands there, uncomfortable, and then looks to Alistair.<\/scene_description>\n    <character>TURPIN<\/character>\n    <dialogue>Justice will be done.<\/dialogue>\n    <scene_description>Alistair just looks a afraid. Turpin calmly walks out, slamming the door behind him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARON BOMINE'S RESIDENCE - BATHROOM<\/stage_direction>\n    <scene_description>Igor is on the floor, braced against the side of the bathtub and the edge of the sink. He twists his body; there are terrible cracking and popping sounds, and he gasps in pain, then WRENCHES HIMSELF TO THE LEFT- CRACK.<\/scene_description>\n    <character>SWISH TO:<\/character>\n    <dialogue>Igor clicking the backbrace back on. He looks out the window, determined.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BARON BOMINE'S RESIDENCE - NIGHT<\/stage_direction>\n    <scene_description>Igor exits the house, heading down the steps, walking with a purpose. Moments afterwards, Lorelei bursts out.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Go back to sleep-<\/dialogue>\n    <character>LORELEI<\/character>\n    <dialogue>Igor, don't do this, don't go-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>I'm sorry Lorelei.<\/dialogue>\n    <character>LORELEI<\/character>\n    <dialogue>You can stay here, with me, and forget all this-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>I cannot forget.<\/dialogue>\n    <character>LORELEI<\/character>\n    <dialogue>This is a man who has already attempted to murder you once and very nearly succeeded, please- Igor you've never even left London, it isn't-<\/dialogue>\n    <scene_description>Igor stops, turning, yelling in anger for the first time.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>I must! Don't you see that? I cannot let Victor die, and I cannot see this horror created in his name, it's- this is my responsibility. I have to go, Lorelei, I have to stop it.<\/dialogue>\n    <scene_description>He stands there, breathing hard, more human than we've ever seen him, and touches his back in pain. Lorelei, seeing him as though for the first time, pauses, thinking, and then....<\/scene_description>\n    <character>LORELEI<\/character>\n    <dialogue>Igor...You once told me of a world you and Victor wanted to create. A world filled with hope instead of fear. It is a beautiful, beautiful dream.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Don't let them turn it into a nightmare.<\/dialogue>\n    <scene_description>Igor nods.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOCKS<\/stage_direction>\n    <scene_description>Out on the docks on the English Channel, Igor is filling in ticket information for his passport. He gets up and goes to board a tramp steamer, giving the ticket to a SAILOR. He gets halfway up the ramp before the sailor shouts at him.<\/scene_description>\n    <character>SAILOR<\/character>\n    <dialogue>Oi! We need a first AND last name.<\/dialogue>\n    <scene_description>Igor takes the paper back, staring at it. IGOR... He takes the pencil, and fills in SURNAME: FRANKENSTEIN.<\/scene_description>\n    <character>SLAM TO:<\/character>\n    <dialogue>Igor stands out on the deck of the ship as it sails across the choppy Atlantic Ocean.<\/dialogue>\n    <character>WE SEE:<\/character>\n    <dialogue>Brief shots of Igor travelling. We know where we're going and why, and we don't know what we'll find there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ERSKINE VILLAGE - DUSK<\/stage_direction>\n    <scene_description>A carriage for hire rattles up the road towards a little picturesque village set at the base of rolling hills. Halfway up one of the hills sits a very tall windmill, attached to an old farmhouse. And at the top of that same hill, surrounded by thick woods, is Castle Erksine...An ancient stone castle, gray against the dimming sky, surrounded by a dry moat. A storm is brewing on the horizon, lightning crackling inside black clouds. Rain has started to trickle down. Igor leans out, staring at the castle.<\/scene_description>\n    <character>WE SEE:<\/character>\n    <dialogue>Igor arriving at the town's tavern. The coach rattles off, leaving him alone. The street seems oddly empty.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ERSKINE TAVERN - ALMOST CONTINUOUS<\/stage_direction>\n    <scene_description>Igor comes in, shaking off the rain. He heads quickly to the bar, where he greets a pleasant BELGIAN BAR MAID.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Good evening. Listen, I'm just here on business. I was wondering if you wouldn't mind giving me some directions up to the castle-<\/dialogue>\n    <scene_description>The door bursts open, and a BELGIAN COUNCILMAN along with a TOWN HEAVY.<\/scene_description>\n    <character>HEAVY<\/character>\n    <dialogue>-this is the will of god- you've seen what they do up there, you've seen the robbed graves- Inspector, tell him-<\/dialogue>\n    <scene_description>Turpin (!!!) enters, soaking wet from the rain; Igor flings himself around behind the bar. He crouches there, panicked.<\/scene_description>\n    <character>TURPIN<\/character>\n    <dialogue>What you are dealing with here is criminals, councilman, you must remember that: Every second you allow them to continue their business up their you are effectively harboring them. This cannot stand.<\/dialogue>\n    <scene_description>Igor looks up at the bar-maid; he gives her a winning smile, and the \"sssshhhh\" gesture. She giggles and nods. He starts crawling towards a back-door.<\/scene_description>\n    <character>COUNCILMAN<\/character>\n    <dialogue>But surely, not tonight- the storm, the rain-<\/dialogue>\n    <character>TURPIN<\/character>\n    <dialogue>You think that's a bloody coincidence!? They're causing the goddamn storm- you said you saw all the electrical equipment brought in, all the animal corpses too, it's- they use technology, yeah? The recent storms and flooding have been a product of their folly, they're to blame for the bad crop.<\/dialogue>\n    <character>HEAVY<\/character>\n    <dialogue>I've talked to the whole town about it, thirty strong men ready to go up there and get those Irish bastards out of here-<\/dialogue>\n    <scene_description>Igor makes it to the back-door.<\/scene_description>\n    <character>TURPIN<\/character>\n    <dialogue>Don't be a coward, councilman. We must take things into our own hands, don't you see that? The rumors around your town; grave- robbing, black magic, witchcraft, I am here from Scotland Yard, confirming them. These men are in allegiance with Satan, and must be stopped. They-<\/dialogue>\n    <scene_description>Igor slips out silently, but Turpin still turns instantly.<\/scene_description>\n    <character>TURPIN<\/character>\n    <dialogue>...must be stopped.<\/dialogue>\n    <character>SLAM TO:<\/character>\n    <dialogue>Igor, running frantically up hill, through the woods, breathing hard, totally freaking out.<\/dialogue>\n    <dialogue>The rain has really started pouring down, the wind getting stronger, and the darkness of night settling in.<\/dialogue>\n    <dialogue>Igor's fancy clothes are torn and dirtied, but he doesn't stop running until- suddenly- pain. The exertion is straining his back; it's healed, but still weak.<\/dialogue>\n    <dialogue>He trips and falls, holding his back, onto a rocky ledge. Down below he can see people coming into town from the harvest riding a plow, holding pitchforks, lighting their way by torchlight. They're mobilizing.<\/dialogue>\n    <dialogue>Lightning flashes in the clouds. The rain pours down.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CASTLE ERSKINE - SHORTLY THEREAFTER<\/stage_direction>\n    <scene_description>Igor, exhausted, his back aching, makes it to the bridge over the dried out moat. He stumbles and nearly falls, out of breath, filthy and soaking wet. He creeps around the side of the castle, looking for a way in. Finally, he comes to the base of huge, gnarly, overgrown tree. Igor climbs up and through the branches, finally at the top, he's able to plan a jump across to the castle's top wall walkway. One of Finnegan's guards walks past, and Igor nearly falls out of the tree in his effort to conceal himself. The guard passes, and Igor pulls himself up and flings himself across.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CASTLE ERSKINE - COURTYARD - CONTINUOUS<\/stage_direction>\n    <scene_description>Igor sneaks along the upper wall, finally coming to a break in the wall where he can see down into the courtyard, where Victor's laboratory is set up. It is INCREDIBLE. Giant-size versions of all his laboratory machinery have been set up, abuzz with power, and a huge scaffolding system has been set up around a raised platform next to one of the towers; the scaffolding goes up fifty feet into the air, and atop it sits Victor's hypothetical lightning magnet, the CLOUD HOOK. On the platform stands Victor and Dettweiler; Victor wears a completely awesome looking buttoned up labcoat, with huge, gnarly looking goggles on his forehead. Dettweiler wears a black version of much the same. Between them is a massive gurney, but Igor can't get a good look at what's on it... To Igor, who saw all this when it was just a pipe-dream, it's breathtaking. There are several other scientists\/technicians in lab-wear working the machines, supervised by Finnegan, who looks excited. He stealthily moves to the lower level, and quietly sneaks through the lab, moving towards Victor and Dettweiler on the platform. And as the gurney tilts up, there it is: The PROMETHEUS is just over ten feet tall, stitched together for over two dozen different donors. Its body is gargantuan and misshapen; its head is oddly shaped, the face wide and bizarre, a mess of features stretched and jigsawed together to create a simulation of humanity. Igor watches as Victor goes under one of the big machines, into the inner-workings.<\/scene_description>\n    <character>...UNDER THE<\/character>\n    <dialogue>MACHINE...<\/dialogue>\n    <scene_description>Victor, goggles down, is fiddling with dials and wires; the machinery around him has begun to spark and glow with energy. It's powering up.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Victor.<\/dialogue>\n    <scene_description>Victor turns wto see Igor, having snuck in from the other side, lit by the flashes of electricity give the cramped space an ethereal light. He doesn't seem to have any kind of reaction.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>How-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>You have to stop the experiment.<\/dialogue>\n    <character>DETTWEILER (O.S.)<\/character>\n    <dialogue>Almost done down there?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>You came all this way-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Turpin's in the town.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>He's in the town, he's coming here-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>But that's absurd, he has no jurisdiction-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>I really don't think that matters to him anymore.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>...You're lying, you're just trying to drag me down again, did my father send you-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>It's a soldier, Victor.<\/dialogue>\n    <scene_description>Victor stops dead.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>He's used you.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>...no-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>You've created the prototype for a weapon, Victor, a living weapon-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Absurd- I won't- I don't believe it-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Have you known me to lie? Once? Ever?<\/dialogue>\n    <scene_description>The machine sparks, and Victor flinches.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Finnegan tried to have me killed, Victor. I've come here to save you, as I believe he intends to kill you too when you've outlived your usefulness and given him what he wants. We can still get out of this, Victor, but you must stop the experiment.<\/dialogue>\n    <character>FINNEGAN (O.S.)<\/character>\n    <dialogue>Victor, what on earth are you doing down there-<\/dialogue>\n    <scene_description>Victor stares at Igor. Finnegan peers down at them, then jerks back.<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>Guards! Guards! Intruder!<\/dialogue>\n    <scene_description>Igor darts out<\/scene_description>\n    <character>FROM UNDER THE<\/character>\n    <dialogue>MACHINE<\/dialogue>\n    <scene_description>And makes mad dash across the laboratory, but he's tackled and dragged down by two of Finnegan's goons.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>No- Victor, help me!<\/dialogue>\n    <scene_description>Victor, coming out from under the machine, seems a million miles away; his expression is unreadable.<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>Breaking and entering, really? High drama! Intrigue!<\/dialogue>\n    <scene_description>Take him away, we'll deal with him after the exp-<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Don't do this, Victor, don't let it happen-<\/dialogue>\n    <scene_description>One of the guards punches Igor in the face, shutting him up. Victor flinches.<\/scene_description>\n    <character>DETTWEILER<\/character>\n    <dialogue>The machines are ready. Mr. Frankenstein, if you please.<\/dialogue>\n    <scene_description>Victor takes one last look at Igor, then steps up onto the platform. Finnegan hops on alongside him, and nods to a lab tech nearby, who throws a massive switch; with a great creaking, and rattling roar, the platform begins to rise up through the gantries, towards the swirling storm high above.<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>Don't let that parasite distract you, Victor. He's just trying to steal your moment. He had his chance to be a part of this, and he gave it up.<\/dialogue>\n    <scene_description>Victor's silent, watching Igor scream up to him, muted by the roar of the machines.<\/scene_description>\n    <character>DETTWEILER<\/character>\n    <dialogue>Everything is running at one hundred percent efficiency. Your designs are flawless. Priming the Cloud Hook now.<\/dialogue>\n    <scene_description>Dettweiler flips a switch, and above them, at the top of the elevator machinery, the \"Cloud Hook\" glows to life with a rumble; they're easily thirty feet in the air now. Victor looks over his Prometheus, massive and menacing.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Is it a soldier?<\/dialogue>\n    <scene_description>Finnegan falters, looking to Dettweiler, who's as expressionless as ever.<\/scene_description>\n    <character>DOWN IN THE<\/character>\n    <dialogue>COURTYARD<\/dialogue>\n    <scene_description>Igor's being dragged inside by the two heavies.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>No, this isn't- this isn't-<\/dialogue>\n    <character>OUTSIDE...<\/character>\n    <dialogue>Turpin and his mob of villages have arrived, in a fervor. They're using the plow to ram the main gate, again and again.<\/dialogue>\n    <character>...INSIDE<\/character>\n    <dialogue>The thugs are momentarily distracted by the sound at the front gates.<\/dialogue>\n    <dialogue>Igor wrenches his body, snapping the back-brace shut on one of his captor's hands. The man screams in agony, and Igor kick's out the other man's knee, effortlessly circus rolling out of his grasp.<\/dialogue>\n    <dialogue>He takes off running, shoving past the lab technicians and jumping over equipment before jumping up onto the bottom of the scaffolding, rapidly climbing up towards the still ascending platform.<\/dialogue>\n    <character>UP ON THE<\/character>\n    <dialogue>PLATFORM<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Is it a soldier? Answer me.<\/dialogue>\n    <character>DETTWEILER<\/character>\n    <dialogue>Yes. It is.<\/dialogue>\n    <character>FINNEGAN<\/character>\n    <dialogue>Dettweiler, really-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>My...my central pursuit has been the preservation of life, and you've- you've deceived me into building a killing machine.<\/dialogue>\n    <scene_description>The platform grinds to a halt, now suspended fifty feet up, atop the gantry way, the Cloud Hook crackling with energy next to them. Down below, the machinery's grinding causes Igor to slip, nearly plummeting off the scaffolding.<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>Deceived you, really? Is that what I did? Did you ever even think to ask? Of course not, because for all your genius, all your inventions, you're still a small mind, Frankenstein. You deserve to be used, you require it, because you can only see the little picture, sight, but no vision!<\/dialogue>\n    <parenthetical>(straightens himself)<\/parenthetical>\n    <dialogue>Victor, now isn't the time nor the place for a philosophical debate. Activate the Cloud Hook.<\/dialogue>\n    <scene_description>Victor just stares at him.<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>What are you waiting for, activate the-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>You tried to kill Igor.<\/dialogue>\n    <character>FINNEGAN<\/character>\n    <dialogue>I- damn it- Do it now, Frankenstein-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>I've perverted everything I hoped to achieve. I'm a fool.<\/dialogue>\n    <character>FINNEGAN<\/character>\n    <dialogue>Activate the hook, you've got no choice-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>I beg to differ.<\/dialogue>\n    <scene_description>Victor begins violently yanking electrodes and wires out of the Prometheus, ignoring Finnegan.<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>What're- No, damn it, Dettweiler, stop him!<\/dialogue>\n    <scene_description>Dettweiler draws a pistol. Victor stops, staring at it.<\/scene_description>\n    <character>DETTWEILER<\/character>\n    <dialogue>I have wanted to tell you, Victor: You are a child. You know nothing of the world. Now stop this foolish tantrum or I will take action to ensure that this experiment is a a success.<\/dialogue>\n    <scene_description>Victor stares at him for a moment, chuckles, and goes right back to yanking out the electrodes. Dettweiler raises the gun.<\/scene_description>\n    <character>DETTWEILER<\/character>\n    <dialogue>Pathetic. I told you, I never work with a partner.<\/dialogue>\n    <scene_description>Victor's eyes flit to the right of Dettweiler and then back.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Funny. I do.<\/dialogue>\n    <scene_description>Dettweiler is GRABBED FROM BEHIND BY IGOR, PULLING HIMSELF UP OVER THE RAILING. Dettweiler's shot goes wild, hitting the Cloud Hook. It sparks, insanely bright for a moment, and Dettweiler shoves Igor backwards, nearly off the edge, raising his gun- The Cloud-Hook EXPLODES TO LIFE, DOZENS OF LIGHTNING BOLTS STRIKING AT ONCE, A DELUGE OF PURE ENERGY CRASHING IN FROM ALL POINTS OF THE CLOUD ABOVE IN A BLINDING, DEAFENING BARRAGE OF LIGHT HEAT AND SOUND. The damaged Cloud Hook comes off its hinges, smashing Dettweiler off the platform; he plummets down into an electrical console, BAM! Dead. The Hook's restraints snap, and it swings free, now SPRAYING LIGHTNING INTO THE LAB, AN INDOOR ELECTRICAL STORM OF INCREDIBLE INTENSITY, frying Finnegan's goons and scientists, overloading the machines and causing them to burst into blue flame!<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Unexpected-<\/dialogue>\n    <character>FINNEGAN<\/character>\n    <dialogue>No! No! NO! What've you done, you idiots-<\/dialogue>\n    <scene_description>The entire platform framework, blasted by the lightning, destabilizes, blowing apart, causing the platform to drop herky-jerky down through the center of the structure, Igor, Victor and Finnegan struggling to hold on. The Cloud Hook, overcharged with energy, EXPLODES! VICTOR IS SENT FLIPPING TEN FEET HORIZONTALLY INTO THE MASSIVE ELECTRICAL COILS- THEY COLLAPSE APART IN A SHOWER OF SPARKS AND BLAZING ELECTRICITY-<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Victor!<\/dialogue>\n    <scene_description>THE PLATFORM FLIPS as it completely comes free of the elevator machinery, and Igor goes crashing to the-<\/scene_description>\n    <character>SLAM TO BLACK.<\/character>\n    <dialogue>FADE IN:<\/dialogue>\n    <scene_description>The air is choked with smoke. Fires burn all around, contained but unbearably hot. Igor lays face down on the ground, half conscious. The plow again crashes into the gate; it's splintering now, starting to crack. Soon, they'll be inside.<\/scene_description>\n    <character>FINNEGAN (O.S.)<\/character>\n    <parenthetical>(somewhere in the smoke)<\/parenthetical>\n    <dialogue>Igor! Is that you down there?<\/dialogue>\n    <scene_description>Igor blinks, confused, and then there's a gunshot! Finnegan's trying to freaking shoot him! Igor hurries away, moving blindly through the smoke; he can hear but not see Finnegan. He trips for a moment over something; it's the gurney. It's empty. Igor can hear the breathing behind him. He turns, slowly. And there it is... The Prometheus towers over him, staring down at Igor with a face that conveys absolutely no emotion, a completely vacant, blank slate. There's another crash! at the front gate. The monster glances at the gate, then back at Igor.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>All right...easy...easy...<\/dialogue>\n    <scene_description>Another crash at the gates. The Prometheus's face remains entirely blank.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Just-<\/dialogue>\n    <scene_description>The Prometheus grunts, and then SWATS IGOR INTO THE AIR; he bounces hard off some equipment, damaging it, and lands on the ground bent double in pain; he tries to stand, but finds he can't... ...The damn back-brace is broken, trapping him into his old, hunchbacked position. He can barely move, much less stand.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CASTLE ERSKINE - CONTINUOUS<\/stage_direction>\n    <scene_description>The villagers are about to drive the plow into the door again when THE PROMETHEUS CRASHES THROUGH THE CASTLE GATES FROM THE INSIDE! It FLIPS THE PLOW onto the villagers, and begins TEARING its way through them, punching, swatting and smashing its way across the bridge. Turpin is knocked down, and stares in horror at the monster.<\/scene_description>\n    <character>TURPIN<\/character>\n    <dialogue>A...A demon, a demon from Hell...<\/dialogue>\n    <scene_description>The Prometheus continues brawling through the townspeople, but Turpin stands, staggering inside: bigger fish to fry.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CASTLE ERSKINE - COURTYARD LABORATORY - CONTINUOUS<\/stage_direction>\n    <scene_description>Turpin stumbles in, still looking over his shoulder, and then turns to see the lab. The smoke is thick in the courtyard, now; you can barely see in some areas. Finnegan prowls through the smoke, gun drawn, twitchy. Igor, on nearly the other side of the courtyard, struggles with his back-brace, seeing Finnegan searching for him. He crawls, desperate. Turpin moves amongst the anarchy, in awe of all the burning, sparking, exploding equipment. He sees Igor crawling, and moves towards him like a bullet.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Inspector Turpin- please listen- you don't know, you don't know what's happened here, you're not-<\/dialogue>\n    <scene_description>Turpin isn't hearing it; he grabs Igor, yanking him up; Igor can barely move. Turpin's got a look of insane exhilaration on his face; this is it, the moment he's waited for!<\/scene_description>\n    <character>TURPIN<\/character>\n    <dialogue>I've got you. I've finally got you.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Please- you're in danger-<\/dialogue>\n    <scene_description>Finnegan, up on a bank of equipment, sees movement through the smoke, raises his gun and fires. Turpin blinks, releasing Igor.<\/scene_description>\n    <character>TURPIN<\/character>\n    <dialogue>I- I don't-<\/dialogue>\n    <scene_description>He collapses forward, Igor catching him as they fall to the ground. Igor rips open Turpin's shirt, trying to put pressure on the bloody gunshot wound in his chest.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>No- no no-<\/dialogue>\n    <scene_description>Turpin, in shock, coughing up blood, looks up at Igor, watching as Igor tears off his own sleeve, trying to stop the bleeding.<\/scene_description>\n    <character>TURPIN<\/character>\n    <dialogue>Why're you- trying to save me?<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>I'm a doctor. It's what I do.<\/dialogue>\n    <scene_description>Turpin, through the shock, is looking around at all the technology; he didn't understand, he knows that now. By god, he thought he knew, but he had no idea.<\/scene_description>\n    <character>TURPIN<\/character>\n    <dialogue>I-...I've made a terrible mistake.<\/dialogue>\n    <scene_description>As Igor works frantically, Turpin's clouded eyes drift up to the lightning storm raging in the clouds above him; bright and celestial. It all hits him at once, sanity flooding back in.<\/scene_description>\n    <character>TURPIN<\/character>\n    <dialogue>My daughter...What have I done, who will take care of my daughter- I left her with my sister, she can't support- she can't- my daughter, who will...<\/dialogue>\n    <scene_description>Igor, horrified, watches as the light fades from Turpin's eyes, and the body goes limp in his arms.<\/scene_description>\n    <character>OUTSIDE...<\/character>\n    <dialogue>The Prometheus' rampage continues.<\/dialogue>\n    <character>INSIDE...<\/character>\n    <dialogue>FINNEGAN<\/dialogue>\n    <scene_description>Who the bloody hell is that? Finnegan is climbing down one of the fallen tesla coils, gun in hand. Igor looks up, covered in Turpin's blood and his own, shaking.<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>Ha. Ahaha. Look at this mess, look at this mess you've made.<\/dialogue>\n    <scene_description>Finnegan's upper-class demeanor is cracking as he approaches Igor, reloading his gun. The fall from the platform tore his clothes and mussed his hair; he looks dangerous, sharklike. Igor gently sets down Turpin, trying to force himself to his feet, find some way to defend himself, but the back-brace makes it impossible.<\/scene_description>\n    <character>OUTSIDE...<\/character>\n    <dialogue>Outside, the monster begins to violently retreat down the hill, the remaining mob giving chase.<\/dialogue>\n    <character>INSIDE...<\/character>\n    <dialogue>Finnegan finishes reloading his gun, and seems to think; looking at all the destruction has \"flustered\" him.<\/dialogue>\n    <character>FINNEGAN<\/character>\n    <dialogue>Why is this good? Is this what you wanted? To stand in the way of the science? Who gave you the right?<\/dialogue>\n    <scene_description>Igor, trembling, stares at Finnegan; there's a tremendous hate in his eyes, and Finnegan, feeling it, steps back, intimidated despite his position of total control.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>You're a monster.<\/dialogue>\n    <character>FINNEGAN<\/character>\n    <dialogue>No. No I'm not. I think you'll find I'm quite human.<\/dialogue>\n    <scene_description>Finnegan raises his gun. Igor just stares at him evenly, unafraid. Finnegan steadies his aim.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Finnegan!<\/dialogue>\n    <scene_description>Finnegan looks up slowly, turning to see VICTOR FRANKENSTEIN, hunched in pain, his hair wild, covered in ash and more than a little burnt, but still very much alive. He holds two ends of a huge severed electrical cord.<\/scene_description>\n    <character>FINNEGAN<\/character>\n    <dialogue>Victor! You're...alive, fascinating-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>You wanted me to create death.<\/dialogue>\n    <scene_description>Finnegan laughs, and then realizes the cord Victor holds goes down into the base of the massive collapsed tesla coil directly to his left. Finnegan tries to raise his gun- but Victor joins the severed cord- A BLAST OF ELECTRICITY BLOWS FINNEGAN ACROSS THE ROOM.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>There. I've created death.<\/dialogue>\n    <scene_description>Victor tosses down the cord in disgust. Igor struggles a moment, falling. He lays there next to Turpin's corpse, listening to the sounds of battle fade outside, collecting himself, and then pushes as hard as he can- -and breaks free of the back-brace. He stares at it laying twisted on the floor and shoves himself to his feet, wiping the blood off his face: he is MESSED UP. He looks around, and sees Victor futilely trying to put out the fires on the equipment.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>You saved my life again.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Help me put out these damn fires-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>The fires? But Victor-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>With Finnegan dead we'll never get this quality of equipment again! Electron coils, particle transducers-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Victor-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Help me, damn it, it'll-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>NO VICTOR. You're going to come with me, and you're going to help me kill the Prometheus-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Kill it!? Why on earth-<\/dialogue>\n    <scene_description>It comes out of Igor with the force of a hurricane:<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Damn it, enough! Enough! I've seen you do wondrous things Victor, some terrible but wondrous things. You're the greatest mind of your generation, but your blindness has already cost too much!<\/dialogue>\n    <parenthetical>(summons up courage)<\/parenthetical>\n    <dialogue>I've seen the way your father treats you! This will never be good enough for him! Nothing you ever do will be good enough for him, you could resurrect all of England and he would scoff and call you a disappointment! You can't bring your brother back!<\/dialogue>\n    <scene_description>At this, Victor stops trying to put out the fires. He stares into the flames; the lab continues to explode around them, but he's motionless.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>You were the one who gave me the strength I needed to become the man I wanted to be. Now trust me, please. Stop pretending not to care about anyone or anything, and Victor, damn it, grow up and help me stop this thing before it hurts anyone else. BE A MAN AND TAKE RESPONSIBILITY FOR YOUR CREATION!<\/dialogue>\n    <scene_description>Electricity crackles. The fires burn. In the distance we can hear pandemonium; yelling and screaming, people afraid. Victor turns to Igor, very quickly wiping away tears.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>I don't suppose you have...a very, very large shovel?<\/dialogue>\n    <scene_description>Igor smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE WINDMILL<\/stage_direction>\n    <scene_description>Victor and Igor, bruised, battered and bloody, approach the massive Dutch Windmill on the side of the hill; the villagers are gathered around it. At first it appears they have the Prometheus trapped in the house portion, but then the Prometheus tromps out and takes a few people down, before going back in.<\/scene_description>\n    <character>APPROACHING THE<\/character>\n    <dialogue>CROWD<\/dialogue>\n    <scene_description>Victor and Igor try to get through the crowd, and can't; Victor draws and fires Finnegan's gun. The crowd parts like the red sea, and Igor and Victor move through, with the gun still raised.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Please remain calm. We are unlicensed medical professionals.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE WINDMILL - FARMHOUSE<\/stage_direction>\n    <scene_description>Victor kicks in the door; Igor comes in through a massive hole in the wall next to the door. They exchange a look. The farmhouse is sparse, and the inside is completely destroyed, broken furniture everywhere.<\/scene_description>\n    <character>LITTLE GIRL (DUTCH)<\/character>\n    <dialogue>Help me, please help me.<\/dialogue>\n    <scene_description>Victor and Igor turn to see an adorable blonde girl standing nearby, petrified in fear.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>It's alright, we're here to-<\/dialogue>\n    <scene_description>The MONSTER SMASHES OUT OF A ROOM TO THEIR RIGHT, FLOORING IGOR. Victor opens fire wildly as the creature crosses the room; he mostly misses, and the bullets that do hit have almost no effect. The creature grabs the girl in one of its massive hands, roars at Victor and crashes through a wall into the inside of the windmill.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE WINDMILL - CONTINUOUS<\/stage_direction>\n    <scene_description>The interior of the windmill stretches out above them, the inside lit by torches. There are a series of flimsy wooden platforms built around the central windmill machinery, connected by diagonal ladders, leading up to the top. The monster stands at the bottom, above a big well full of water, dunking the terrified little girl. Victor hurriedly picks up one of the long, sharp steel posts they use as bolts on the well, as Igor strafes around the monster.<\/scene_description>\n    <character>HEY.<\/character>\n    <dialogue>The monster takes notice of Victor.<\/dialogue>\n    <character>WANKER.<\/character>\n    <dialogue>VICTOR<\/dialogue>\n    <scene_description>I'm your creator. I'm the one that brought you back to life, do you understand? The monster stares at him, that blank face again...THEN ROARS and flings one of the torches on the wall. Victor dodges, and the torch hits a table full of unlit lanterns WHICH EXPLODE INTO FLAME.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Bloody hell-<\/dialogue>\n    <scene_description>The Prometheus charges, still holding the girl, and Victor is forced into a frantic, pulse pounding chase up the interior of the windmill, complicated in four ways: NUMBER 1: The monster's weight is too much for the ladders and the platforms, which crumple mere moments after it climbs onto them. NUMBER 2: The monster, still clutching the little girl, is swinging WILDLY at Victor, repeatedly smashing the windmill's machinery, thusly destabilizing the entire structure. NUMBER 3: The fire started at the base is rapidly spreading up the old, papery structure, engulfing everything, and starting to fill the interior with thick black smoke. NUMBER 4: Igor is in hot pursuit, but he's being forced to run, jump and climb up the platforms AS THEY COLLAPSE. Victor, reaching the uppermost platform, abruptly turns, ducking around the central windmill milling-engine. This outsmarts and surprises the Prometheus, and Victor DRIVES THE STEEL ROD THROUGH ITS HEART. The Prometheus falters, teetering over what's now a straight drop nearly sixty feet down. It looks down at the rod sticking out of its chest, and DROPS THE LITTLE GIRL- Victor dives and catches her hand, swinging her to Igor on the collapsing platform below them. Igor catches the girl and rolls, putting her out through the one window, onto the passing fan of the windmill.<\/scene_description>\n    <character>WE SEE OUTSIDE<\/character>\n    <dialogue>The girl is safely carried down to the ground, and then the WINDMILL'S FAN CRACKS AND FALLS, BURNING, SCATTERING THE CROWD-<\/dialogue>\n    <character>BACK ON THE TOP<\/character>\n    <dialogue>LEVEL...<\/dialogue>\n    <scene_description>The monster seems ready to topple into the abyss, when suddenly it YANKS THE STEEL ROD OUT OF ITS CHEST AND FLINGS IT AT VICTOR. It impales him through the shoulder and sends him flying backwards, embedding in the wall, pinning Victor there like a bug. Igor screams; his best friend is mortally wounded. He pulls himself up onto the last platform as the one beneath it collapses. The Prometheus takes a few huge swings at him, but Igor ducks and rolls, clown-style, The final, top platform begins to fracture and come apart; they'll all be plunged into the fire- Igor, thinking quickly, grabs a handful of burning embers from the edge of the platform and flings them into the monster's face; blinded it turns, and Igor pushes up, off the wall, kick himself forward and- THROWS HIS WEIGHT ON THE MONSTER'S BACK, CAUSING IT TO FALL FORWARD ONTO THE SHARP STEEL ROD, IMPALING IT THROUGH ITS SECOND HEART. The Prometheus gives one last tremendous scream of rage, right into Victor's face...and dies. Its slumping dead weight further buckles the platform.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>I didn't mean it-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>VICTOR<\/character>\n    <parenthetical>(frantic)<\/parenthetical>\n    <dialogue>Those things I said back in England, you have to know I didn't mean any of it. I was just upset, I respect you- more than any other person, you must know- Igor I'm so sorry-<\/dialogue>\n    <scene_description>Igor goes and tries to wrench the pole out of the wall. It's no good; it's in there deep. Victor screams in pain.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>You have to get out of here, you have to go-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>I'm not going to leave you here-<\/dialogue>\n    <scene_description>Igor begins pushing on the monster; it sloooowly slides up the shiskabob, far too slowly with the windmill collapsing at this rate. Victor grabs Igor with his good arm.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Igor this is what I've earned. I did this to myself.<\/dialogue>\n    <scene_description>Igor stares at him: maybe he's right? The windmill continues to collapse.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>The well, Igor. If you jump you can make it, I know you can-<\/dialogue>\n    <scene_description>Igor looks down at the well, far below them. Maybe he could. He readies himself, measuring the distance.<\/scene_description>\n    <character>VICTOR<\/character>\n    <parenthetical>(gasping his words through agony)<\/parenthetical>\n    <dialogue>Listen, Igor, listen to me. I didn't kill Straussman. I found him in the living room, I thought he was asleep but then I saw the needle...and then the pragmatist in me just took over, as he always does, and he wasn't a man anymore just pieces, just new equipment. I swear to you though I didn't ki-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>I believe you.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Good, now I can- I can stay here- Igor, you must go, it's-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Oh, you've sealed my fate. There's no way I'm going to leave you now.<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>What? Why!?<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Because you didn't kill Igor Straussman.<\/dialogue>\n    <scene_description>Igor throws all his weight into one more push, and, miraculously, the Prometheus drops, falling through the center level of the windmill, plummeting down into the fires. Igor glances down again at the well, now also surrounded by fire and jagged rubble.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>Give me your hand.<\/dialogue>\n    <scene_description>Victor nods, and takes Igor's hand; Igor begins to agonizingly pull him up the steel rod-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE WINDMILL - CONTINUOUS<\/stage_direction>\n    <scene_description>The top level of the windmill drops in, collapsing, and then, with a series of ember filled explosions, the rest of the windmill collapsing down with it in a huge heap of wreckage. The villagers step back, in shock.<\/scene_description>\n    <character>WIDE SHOT:<\/character>\n    <dialogue>The rubble of the windmill burns.<\/dialogue>\n    <character>FADE TO BLACK.<\/character>\n    <dialogue>HOLD ON BLACK.<\/dialogue>\n    <scene_description>Zzt. Zzzt. Electrical crackling. Little spots of light filling the screen and then ZAP<\/scene_description>\n    <character>SMASH TO:<\/character>\n    <dialogue>Turpin sits up, gasping in air, the Lazarus fork on his neck sparking wildly!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BELGIAN COTTAGE - SUNRISE<\/stage_direction>\n    <scene_description>The sun is rising over a mountain range. The little cottage has clearly been abandoned for some time; Castle Erskine is in the distance, still leaking smoke up into the brightening sky. From here we have a beautiful view of a rustic lake. Turpin, his chest bandaged, sits staring out over the water, at the sunset; he's clearly deep in thought. Igor slowly approaches him. Turpin speaks without looking at him.<\/scene_description>\n    <character>TURPIN<\/character>\n    <dialogue>My entire life I have strived in the pursuit of my beliefs. Beliefs in God, in the law...in a world with rules, rules to preserve what matters in a world filled with anarchy, greed, and evil. I suppose I needed them, the rules. Needed them so much I let them control my choices, my decisions, I...<\/dialogue>\n    <scene_description>Turpin glances at Igor.<\/scene_description>\n    <character>TURPIN<\/character>\n    <dialogue>I don't know you, hunchback. Don't know Victor. Maybe I thought I did...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>In those last moments, I wasn't thinking about the law, or right and wrong, or even...even God.<\/dialogue>\n    <scene_description>All I wanted, all that mattered, is that I would see my daughter again. And you've given me that. (beat) I don't imagine that I have much credence left at the yard, but...Should you return to England, I can see to it you won't be troubled any further. Igor gives it a beat, and then smiles. The two of them sit staring out at the water.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BELGIAN COTTAGE - ROUND BACK<\/stage_direction>\n    <scene_description>Victor, heavily bandaged and clearly a bit weary from his wounds and considerably rough night, is readying two horses, packing his remaining equipment into the saddlebags. Igor stands nearby.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Well, brilliant, good for him, but we're certainly not going back to England.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>...we're not?<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>No, I'm through with Great Britain; nothing left for me there. I think perhaps you're quite right about my father, for now, and I've been expelled from school, hunted by the law, and betrayed by a power-hungry nobleman, thoroughly electrocuted and finally impaled by a monster of my own idiotic creation and nearly burnt to death in a Belgian windmill.<\/dialogue>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>I think it's time I started fresh, yes?<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>But Victor-<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>America! Now there's a place that isn't afraid of progress; I'm confident we'll be able to flourish and thrive out in the colonies. You and I, back to working together with no interlopers, I now having a much better understanding of the technology as well as the proper way to treat my fellow man-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Victor, I...<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <scene_description>Igor fidgets, nervous, unsure how to say what's in his heart. Victor waits, looking oblivious.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>I can't go with you.<\/dialogue>\n    <parenthetical>(quickly)<\/parenthetical>\n    <dialogue>I would, I- I can't. Lorelei is waiting for me back in London. I love her, Victor, and there are- opportunities for me- I can have a life of my own, Victor. A real life.<\/dialogue>\n    <scene_description>Victor stares at him. Igor drops his eyes, terrified; he knows what's coming.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Well...then. I suppose that's perfectly reasonable.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>...what?<\/dialogue>\n    <character>VICTOR<\/character>\n    <parenthetical>(haltingly)<\/parenthetical>\n    <dialogue>You have made incredible sacrifices in the purpose of our cause, shown shocking amounts of tenacity, bravery and loyalty to me as a friend and collaborator, it would be wrong of me to ask you to give up the opportunity to be with the woman you love and-<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Victor!<\/dialogue>\n    <scene_description>Igor rushes to and embraces Victor, who grunts in pain and generally looks uncomfortable. Igor holds on anyway, crying, overcome with joy.<\/scene_description>\n    <character>IGOR<\/character>\n    <dialogue>You are a good man, Victor Frankenstein. I knew you were a good man.<\/dialogue>\n    <scene_description>At this, Victor allows himself a small, warm smile, unseen by Igor.<\/scene_description>\n    <character>LATER...<\/character>\n    <dialogue>Turpin is readying a horse, whilst Victor is astride one, trotting away down the road from Igor.<\/dialogue>\n    <character>IGOR<\/character>\n    <dialogue>Goodbye Victor!<\/dialogue>\n    <character>VICTOR<\/character>\n    <dialogue>Goodbye to you too, my dearest friend.<\/dialogue>\n    <scene_description>Igor looks sad, watching Victor get further away, and then Victor turns, touching his painful injured soldier, yelling back to Igor.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>You know it isn't over, Igor. When the time comes, you'll come back; you're not fated to be some country doctor, you are a genius, and you will help to change the world. It's your destiny.<\/dialogue>\n    <scene_description>Igor is about to reply, but then realizes he can't formulate a response. Victor smiles.<\/scene_description>\n    <character>VICTOR<\/character>\n    <dialogue>Ha! Yah!<\/dialogue>\n    <scene_description>Victor kicks his horse, and it speeds up, off down the hill. Igor watches him go.<\/scene_description>\n    <character>WE MOVE INTO A<\/character>\n    <dialogue>MONTAGE AS TIME<\/dialogue>\n    <character>PASSES...<\/character>\n    <dialogue>Igor is emotionally reunited with Lorelei. Turpin is reunited with his daughter Rebecca, who tearfully embraces him. We also see Turpin making his apologies at Scotland Yard; Alistair seems happy to have him back. In his office, he quietly tears up one of the \"WANTED: HUNCHBACK\" posters.<\/dialogue>\n    <dialogue>We watch Igor's life: We see him giving check-ups, his doctor job has come through. He watches as Lorelei teaches a ballet class to a group of young women.<\/dialogue>\n    <dialogue>Igor and Lorelei, out at the circus, watching the high flier and aerialists, having fun. Igor watches the clowns cleaning up the center ring...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARON BOMINE'S RESIDENCE - KITCHEN<\/stage_direction>\n    <scene_description>Igor is cooking with the chefs, having a good time. He looks great, happy, healthy. The butler enters.<\/scene_description>\n    <character>BUTLER<\/character>\n    <dialogue>Delivery for you, Master Igor.<\/dialogue>\n    <scene_description>Igor looks up, confused, washing his hands.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BARON BOMINE'S RESIDENCE - CONTINUOUS<\/stage_direction>\n    <scene_description>Igor comes out, signing for a parcel being delivered to him. As the messenger boy leaves, Igor inspects the parcel. It's small, addressed simply to \"IGOR.\" There's a beat, and Igor tears open the brown paper. He stops dead. It's a mint condition, first edition copy of THOMPSON'S ANATOMY. Igor opens it, gently, lovingly. In the front cover, the name DR. CLAUS FRANKENSTEIN has been written...and crossed out. A note in familiar handwriting beneath this reads: \"I- Monument Valley, Utah. I have done something incredible. -F.\" Lorelei, at the front door, stands looking out at him; he's staring down at the book. She knows something's up.<\/scene_description>\n    <character>ALORELEI<\/character>\n    <dialogue>Igor...what is it?<\/dialogue>\n    <scene_description>Igor snaps the book shut, turning to face her. He smiles; \"wellllll.....\" Lorelei sighs, and then laughs, shaking her head... MONUMENT VALLEY - UTAH - RACING THROUGH THE DESERT The insanely surreal and beautiful buttes of Monument Valley tower over the prairie. Atop one of the buttes, a storm is raging; clouds swirling unnaturally, crackling with purple lightning.<\/scene_description>\n    <character>LIGHTNING CRASH<\/character>\n    <dialogue>TO CREDITS.<\/dialogue>\n    <character>THE END<\/character>\n  <\/scene>\n<\/script>","summary":"In 1860s London, ambitious medical student Victor Frankenstein attends a circus performance, where he helps save an injured aerialist, Lorelei, with the aid of a hunchback who is enslaved by the circus' ringleader and harbors feelings for the girl. Impressed by the hunchback's knowledge of human anatomy, acquired from stolen books, Victor rescues him, drains the cyst on his back that causes his physical abnormality, and gives him a harness to improve his posture \u2013 he then names him \"Igor Straussman\" after his roommate who is not often at home. The two become partners in Victor's ongoing experiments to resurrect life through artificial means, incurring the wrath of religious police inspector Roderick Turpin, who views their experiments as blasphemy. Victor procures parts from dead animals and makes Igor restore the organs, which Victor secretly uses to create a monstrous chimpanzee-like creature nicknamed \"Gordon\". Igor reunites with Lorelei, now masquerading as the mistress of a closeted gay baron, upsetting Victor, who views Lorelei as a distraction. Igor invites Lorelei to a demonstration of their experiment, which goes awry when Gordon escapes and wreaks havoc through the university. He is eventually killed by Victor and Igor. Lorelei is horrified by Victor's experiments and urges Igor to stop him from pursuing the matter further. Igor is reluctant to do so upon learning that Victor is driven by the need to atone for his indirect role in the death of his older brother, Henry, for which Victor's domineering father blames Victor. Victor is expelled from college for his unorthodox methods but attracts the attention of his wealthy classmate Finnegan, who wants him to create an artificial humanoid creature. Victor and Igor outline a behemoth named \"Prometheus\". However, Igor's deepening relationship with Lorelei soon causes a rift between them. The police raid Victor's laboratory, hell-bent on destroying his inventions. During the raid Igor stumbles onto the corpse of the real Igor Straussman, dead from an overdose, and the source of the eyes Victor had used in his experiments. When he attacks Victor, Turpin loses a hand and is blinded in one eye. Victor and Igor escape in a carriage sent by Finnegan and are taken to his family's estate. Turpin is put on medical leave from Scotland Yard for having invaded Victor's home without a warrant. Finnegan provides the scientists with the funds to build Prometheus and offers them laboratory facilities at his family's estate in Scotland. Igor is suspicious of Finnegan and outraged with Victor for his treatment of Straussman. After a falling out, Victor departs for Scotland alone. Finnegan kidnaps Igor and plans to kill Victor once Prometheus is complete, to weaponize his creation. Igor is then thrown into the Thames to drown but manages to escape and reunites with Lorelei, who nurses him back to health. To rescue Victor, Igor and Lorelei embark to Finnegan's estate. Igor finds Victor on the verge of using lightning to animate Prometheus. Victor ignores his pleas and activates the machine. A power surge overloads the machinery, killing Finnegan and several of his employees. During the ensuing chaos, an enraged Turpin arrives. Prometheus awakens. Victor is initially ecstatic that the experiment has worked, thinking Prometheus to be his resurrected brother Henry. Victor quickly realizes that the experiment has failed: Prometheus has no consciousness and cannot talk. Turpin opens fire on Prometheus, who goes into a rage, kills him and nearly murders Victor. Returning to his senses, Victor joins forces with Igor to kill Prometheus by stabbing its two hearts. The next morning, Igor reunites with Lorelei, who hands him a letter written to him by Victor. In it, Victor apologizes for all the suffering he caused and allows Igor to live his life with Lorelei. Victor informs Igor to be ready for when Victor may one day ask for his help, recognizing that Igor was his \"greatest creation\". Victor retreats to the Scottish countryside in search of new discoveries."}
{"movie_name":"Basket Case_1982","imdb_id":"tt0083624","script":"<script>\n  <scene \/>\n  <scene>\n    <stage_direction \/>\n    <scene_description>r \"BAS.KET CASli:\" by Frank Henenlotter \u00a9 Copyright 1978 by Frank Henenlotter<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PILLSBURY'S OFFICE.<\/stage_direction>\n    <scene_description>The lights are off. The soUJld of a key eaters a lock. The door opens aad DR. PILLSBURY enters, turning on the light . The room is a small, old-fashioned doctor's office where everything looks at least 50 years old. So does DR. PILLSBURY. He is also extremely upset. Placing his little black bag o\u2022 his desk , but not removing his coat, he goes directly to a metal filing cabinet, unlocks it, aAd takes out a medical chart: a aaaila folder stuffed with papers. He sits at the desk scanniug the pages. ,<\/scene_description>\n    <character>CUT TO<\/character>\n    <dialogue>CLOSEUP of the medical report as he skims through it.<\/dialogue>\n    <scene_description>The information oa the pages is meallillgless to us since he flips through them \u00b7 too fast to study. However , there appear to be many xerox reproductions of articals fro\u25a0 textbooks and medical jour\u2022als, copious ha.d- written notes ud eve\u2022 so\u25a0 e photographs we ca.Jlllot \u25a0ake out. He returns to the notes on the first page. Two words, ttPARASITIC TERATA\" , are underscored aad easily staad out. So does \"DECEASED\", eta.aped ia red ink, which obscuree a section of the notes. Clipped to the top of the page is a xerox of a birth certificate which the doetor reaoTes. CUT TO CLOSEUP DR. PILLSBURY. He raises the birth certificate 3 and we suddenly see that there is not one but two birth certificates -- the second under the first. He looks at both, wipes his forehead and returns to the report. CUT TO CLOSEUP BO?TOM of the first page. There are two doctors' names written there . The first is \"DR. HAROLD NEEDLEMAlf\" with a Maahattaa address &amp;lld phone aumber. The other, \"DR. KUTTER\", just has \"N.Y.C.\" next to it. CUT TO PILLSBURY gra9s ~the telephoae, hesitates for a momeat, then diala. A woman answers.<\/scene_description>\n    <character>VOICE ON PHONE<\/character>\n    <dialogue>Nee,dleman ' s office .<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>PILLSBURY<\/character>\n    <dialogue>Is the doctor in?<\/dialogue>\n    <character>VOICE ON PHONE<\/character>\n    <dialogue>This is his answering service. The doctor isn ' t here,<\/dialogue>\n    <character>PILLSBURY<\/character>\n    <dialogue>Well how can I reach him? You must have another number -- his home phone?<\/dialogue>\n    <character>VOICE ON PHONE<\/character>\n    <dialogue>I'm sorry sir, I don't , Are you a patient?<\/dialogue>\n    <character>PILLSBURY<\/character>\n    <dialogue>No! I'm a colleague of his. Surely there must be some way I can reach him - - ?<\/dialogue>\n    <character>VOICE ON PHONE<\/character>\n    <dialogue>I! you'll leave your name and phone number I ' ll have the doctor call you back . Is this an emergency?<\/dialogue>\n    <character>PILLSBURY<\/character>\n    <dialogue>Yes! Not a medical one but it's imperative the doctor reach me as soon as possible.<\/dialogue>\n    <character>VOICE ON PHONE<\/character>\n    <dialogue>Fine. Now what's your name and number?<\/dialogue>\n    <character>PILLSBURY<\/character>\n    <dialogue>Dr. Julius Pillsbury \u2022 \u2022\u2022 b-u- r - y. Area code 518 , 395- 7788 , That ' s my home phone. That ' s where I'll be, And again let me stress the urgency of the doctor reaching me as soon as possible , I don ' t care how late it is!<\/dialogue>\n    <character>VOICE ON PHONE<\/character>\n    <dialogue>I ' ll give him your message, doctor.<\/dialogue>\n    <scene_description>He puts the phone down and again wipes hie forehead. Gathering the medical chart together, he clamps it under hie arm, grabs his bag and leaves. CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET . NIGHT<\/stage_direction>\n    <scene_description>Outside PILLSBURY' S o!!ice. A small country town whose stores close at 6 and whose streets are deserted by 7. A healthy wind is blowing, scattering dead leaves every where . CONTINUED: The DOCTOR comes out of his office artd ~uickly crosses the empty street. He gets into his car (a late model economy-car that ' s seea better days) and drives off . DISSOLVE TO 7 EXT, PILLSBURY' S HOME . A large, old-fashioned gothic; not \"haunted house\" gothic but the kind you ' d see in a Norman Rockwell l)aintiag, Open front porch, white picket fence , etc, PILLSBURY ' s car drives up and the doctor gets out , Rushing up the porch steps, he stands before the front door tumbling with his keys, A souad, like someone gurling in an echo chamber, suddenly erupts behind him . But only tor an i nstant. He drops the keys and spins around. Nothing. Not a sound . No movement. Just the crickets . PILLSBURY stands t here staring . Slowly he squats down to pick up the keys, his eyes still glued to the darkness in front ot him. Then , quickly, he unlocks the door and hurries inside. CUT TO iNT, PILLSBURY'S HOME, LIVING ROOM. He shuts aitd bolts the door, puts his bag and the medical chart on his desk, and scurries into the kitchea. CUT TO KITCHEN . PILLSBURY grabs the wall phone and dials.<\/scene_description>\n    <character>VOICE ON PHONE<\/character>\n    <dialogue>Glens Falls Poli ce. Officer Ryan .<\/dialogue>\n    <character>PILLSBURY<\/character>\n    <dialogue>This is Dr. Pillsbury , I waat someone to --<\/dialogue>\n    <scene_description>A noise echoes through the kitchen : like something climbing up the side ot the house , The doctor jerks his head up , staring at the ceiliag . CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIDE OF THE HOUSE .<\/stage_direction>\n    <scene_description>Clo~eup of the colUlectio\u2022 where the telephone wire enters the house. An indistinct shadow passes across it as the line grows taut , gets pulled and is severed from the house. CUT TO KITCHEN. PILLSBURY hears the phone go dead .<\/scene_description>\n    <character>PILLSBURY<\/character>\n    <dialogue>Hello? Hello?<\/dialogue>\n    <parenthetical>(drops the phone)<\/parenthetical>\n    <dialogue>Oh God . \u2022 \u2022<\/dialogue>\n    <scene_description>He races i n to the living room. CUT TO LIVING ROOM . . Going to the front door , he rechecks the lock, this time puttiag on the chain . Then he moves to the windows, making sure they ' re locked and pulling down the shades. That doae, he runs back into the kitchen . CUT TO KITCHEN. PILLSBURY locks and pulls the shades down oa two of the three kitchen wiadows, then checks the lock on the back door. He pauses to look around. Only one more window to check -- the one over the sink . He leans over the sink and grabs hold of the lock when the window shatters as a monstrously deformed hand crashes through it. There are only four t wisted fingers on it, each of them 2 to 3 times the size and width of a normal human ' s. One of the digits is perhaps two inches thick and stretche&amp; to 7 inches in height, Large swollen veins aad small suction cup protrueioas cover its baggy skin. It lunges for PILLSBURY's throat but misses, grabbing the lapel of his coat. The doctor s'truggles, all the while screaming, until he pulls himself free and runs back into the living room. CUT TO LIVING ROOM . PILLSBURY ruas to a bureau , tugging on a stubborn drawer CONTINUED: from which he removes a revolver and a box of bullets . As he loads the bull.eta into the gun ' s chamber, the lights gG off.<\/scene_description>\n    <character>PILLSBURY<\/character>\n    <dialogue>Oh no \u2022 \u2022 \u2022 no ...<\/dialogue>\n    <scene_description>We hear the box of bullets fall and scatter on the floor. Then the sound of another drawer tugged open and a match-- being struck . PILLSBURY lights a candle when we hear, from elsewhere in the house , another window being slilattered and a loud , wet thud. The gurgling noise the doctor heard so briefly oa the porch now fills the house . An irregular plodding sound, like someone both stumbling and crawling , grows louder.<\/scene_description>\n    <character>PILLSBURY<\/character>\n    <parenthetical>(shouting)<\/parenthetical>\n    <dialogue>I've got a gun!<\/dialogue>\n    <scene_description>He bends down , frantically picking bullets off the floor and inserting them into t he gun.\u2022 Finished , he holds the gun with both hands and thrusts it in front of him .<\/scene_description>\n    <character>PILLSBURY<\/character>\n    <parenthetical>(sltouting)<\/parenthetical>\n    <dialogue>I ' ll shoot! Get out or I' ll shoot!<\/dialogue>\n    <scene_description>He fires wildly i nto the darkness, scattering his shots in every direction. On the sixth and last shot there is abrupt silence . CUT TO CLOSEUP PILLSBURY. He freezes. For about five seconds there is deathlike quiet. He doesn ' t move a muscle . Not even blink. Nothing. Then from pr,actically beneath him , that same deformed hand reaches up and covers the doctor ' s face. It pulls him downward , out of camera range and into the darkness. His screaming is blended with the unearthly roar of t lte thing that ' s got him . For an instant PILLSBURY lurches up , t r yi rtg to get to his feet . Hia face and handa are covered with blood , hia clothing torn and shre\u00b7dded . But he is quickly pulled downward again. The doctor ' s screams now mix with a tearing and crunchiag as if he were being torn apar t . The camera pans from the fight to the desk where the CONTINUED: doctor's bag and the medical chart are illuminated by the ca.Rdleligat. Hold on the medical chart as the doctor screams one last time and his blood spurts across it. FADE OUT FADE IN INT . GREYHOUND BUS. Closeup of an attractive young man about 20 years of age. This is DUANE , our hero. On the seat to the left of him is a knapsack, not particularly full. On his lap he holds a large wicker basket, its cover tightly closed and clasped with a padlock. DUANE stares out the wi:adow, eyes wide and alert, as the bus approaches New York City. CUT TO NEW ~ORK SK\u00a5LINE from the bus window. Dusk. The sun is just going down. The sky is a bright red. DISSOLVE TO THE BUS pulling into the Port Authority Terminal.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS.<\/stage_direction>\n    <character>INT\\_ERCOM<\/character>\n    <dialogue>New York. Last stop. Please remember all your personal belongings and thank you for traveling Greyhound (or whatever busline.)<\/dialogue>\n    <scene_description>DUANE remains in his seat, waiting for the passengers around him to d~sembark. Then he puts on the knapsack , holds the basket tightly in front of him , and gets off. CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PORT AUTHORITY.<\/stage_direction>\n    <scene_description>\\*ANE carries the basket to a group of seats, empty except for a few people asleep. He puts the basket down in front of him , resting his foot on tlte lid as if afraid it may suddenly run away. From his knapsack he removes a \u00b7fold-out map of Manhattan which he clumsily sprawls open across his lap and the seat \u2022ext to him. CUT TO THE MAP, hi s finger crossing it until it reaches the box marked \"PORT AUTHORITY\" and the -intersection of 11 8TH AVENUE\" and \"42ND STREET\" . EXT . ST~ET. NIGHT DUANE , still carrying the basket , moves with a crowd crossing 8th Avenue , caught in the flow of people moving onto 42nd street. Almost immediately , an Hispanic follows DUANE , giving his pitch under his breath ~<\/scene_description>\n    <character>HISPANIC<\/character>\n    <dialogue>Loose joints. Loose joints. Check it out. THC. Black Beauties. Coke. Smoke. Joints and bags. Check it out.<\/dialogue>\n    <scene_description>Ignoring him, DUANE gawks at everything like the tourist he is, trying to see it all at once. CUT TO Movie marquee: SHOCKING BLOOD &amp; GUTS: \"THE BABY EATERS\"<\/scene_description>\n    <character>CUT TO<\/character>\n    <dialogue>A man aiming a Polariod at a young couple who pose and<\/dialogue>\n    <scene_description>smile in front of a porno store . CUT TO The neon sign of a huge porno store: \"PEEPLAND\" with its neon key \"turning\" in a neon eye . CUT TO Street people congregating in front of a record store, its disco music drowned out by a portable tape player carried by a man walking past . CUT TO Movie marquee: SIXTEEN AND A NYMPHO : \"HIGH SCHOOL SLUT\"<\/scene_description>\n    <character>CUT TO<\/character>\n    <dialogue>DUANE on the northwe st corner of 42nd, facing, TIMES<\/dialogue>\n    <scene_description>SQUARE. A man handi ng out leaflets for a massage parlor with a constant \"Check it out ! Check it out!\" places a leaflet on the basket . CUT TO Billboard with steam pouring out of a .giant coffee cup .<\/scene_description>\n    <character>CUT TO<\/character>\n    <dialogue>STREET PERSON, staring at DUANE .<\/dialogue>\n    <character>STREET PERSON<\/character>\n    <dialogue>Hey man, what' s in the basket?<\/dialogue>\n    <character>CUT TO<\/character>\n    <dialogue>The animated lights of the Spectracolor sign on tfte Allied<\/dialogue>\n    <scene_description>building, almost hypnotic as if flashes out \"I Love New York\" then cltanges into a \"Crazy Eddie\" ad. CUT TO DUANE, on the corner of 43rd, looks west.<\/scene_description>\n    <character>CUT TO<\/character>\n    <dialogue>A dilapidated hotel sign. Not lit but illuminated by<\/dialogue>\n    <scene_description>street lights. CUT TO DUANE heads up 43rd, toward the hotel, but stops when he sees the entrance. The building has long been closed and boarded up. A group of junkies huddle in the doorway . DUANE quickly walks past . He continues west until he ' s back on 8th Avenue. Pausing as he wonders what direction to head in , he catches sight of a SHOPPING BAG LADY a few feet away. She is carefully a.Jld methodically investigating the contents of a t11ash caa \u2022 .DUANE watches her for a moment , then, arbitrarily heads north on 8th Avenue. He looks up. CUT TO Hotel sign, extending awning- like from the third story of the building . Dirty, weather-beaten neon letters flash out \"HOTEL BROSNAN''. CUT TO DUANE staring at the sign. It 's the first hotel he's come to so why not? He enters the hotel. CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL BROSNAN. LOBBY.<\/stage_direction>\n    <scene_description>Dirty, flea-bitten, run-down and grungy . At the check- in desk is the MANAGER , a husky man with his T- shirt and brow covered with continual sweat. Next to the check- in desk, CONTINUED:<\/scene_description>\n    <character>MANAGER<\/character>\n    <dialogue>Coupl'a hours? Coupl'a years? What? Gimme a hint.<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Oh. A few days.<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>By yourself?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Yes . Alone . By myself.<\/dialogue>\n    <character>DIRTY LOU<\/character>\n    <dialogue>All alone in this cold cruel world --<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>20 bucks a night. In advance. If you pay by the day it ' s due at noon .<\/dialogue>\n    <parenthetical>(pauses as he looks DUANE over)<\/parenthetical>\n    <dialogue>This is a respectable hotel. I don't want no junkies .<\/dialogue>\n    <character>DIRTY LOU<\/character>\n    <dialogue>He's just a kid. He ain't no junkie.<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>I just need a place to stay.<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>What's in the basket?<\/dialogue>\n    <scene_description>(CONTINUED ):<\/scene_description>\n    <character>11\u0080\ufffd<\/character>\n    <dialogue>CASEY , a hooker, is unlocking the door to her room .<\/dialogue>\n    <scene_description>Behind her stands a middle- aged BUSINESSMAlf. He passively watches her, seemingly disinterested. Only when you look close do you see his hand resting on her rear. She opens the door aJt.d they eater. DUAlfE looks for 3A, unlocks the door a.ad enters.<\/scene_description>\n    <character>CUT TO<\/character>\n    <dialogue>INT . DUAlfE'S HOTEL ROOM.<\/dialogue>\n    <character>\"'<\/character>\n    <dialogue>Though larger thaa expected , orte could wither , mold and rot and be rigAt at ho\u25a0e in this atmosphere . The walls are a depressing dull brown; the rug so worn as to be functionless ; the bed, lamp table, dresser aad chair seedy Salvation Army rejects. DUAl'IE puts the basket on the bed and wiggles his knapsack of!. He walks to the wiadow and opens it. CUT TO<\/dialogue>\n    <scene_description>EXT . HOTEL . MIGHT DUAl'IE at the window. The large \"HOTEL BROSlfAN\" sign juts out from the building directly next to his window; the red neon letters reflecting on his face. CUT TO IlfT. DUA1'E'S HOTEL ROOM . DUAlfE remains at the window, looki.Jlg out. A breeze stirs the pathetic little drapes . The noise of the traffic and street now fill the room , but it's a constant hum and Cal'l easily be ignored . He turns from the window to the basket , walks over and bends down aext to it .<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>We're here .<\/dialogue>\n    <scene_description>IJJT. LOBBY. The MANAGER and DIRTY LOU are still listening to the fight on the r adi o as DUANE comes bounding down t he stairs and over to them . DUAlfE A:Ay place around here where I can get something to eat? CONTINUED:<\/scene_description>\n    <character>MANAGE;R<\/character>\n    <dialogue>Nothing fancy I hope?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>No. Something f ast . A burger . Piz za.<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>Plenty o! places --<\/dialogue>\n    <character>DIRTY LOU<\/character>\n    <dialogue>There's one right across the street .<\/dialogue>\n    <character>A<\/character>\n    <dialogue>\u2022<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Great? Thanks .<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FAST- FOOD GRILL .<\/stage_direction>\n    <scene_description>Small, greasy place that serves pizza, gyros , burgers , falafels , franks -- you name it. DUANE bops in and looks at a bunch of shlsh kabobs sizzling o.n the grill .<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>Shish kabob, please .<\/dialogue>\n    <character>COOK<\/character>\n    <dialogue>One?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>No \u2022\u2022 \u2022 um \u2022 \u2022\u2022 t wenty.<\/dialogue>\n    <character>COOK<\/character>\n    <dialogue>Twenty?!?<\/dialogue>\n    <character>CUT<\/character>\n    <dialogue>51<\/dialogue>\n    <character>TO<\/character>\n    <dialogue>EXT . STREET.<\/dialogue>\n    <scene_description>DUANE comes out , using both hands to hold his pile of shish kabobs , each individually wrapped. And despite his hands being !ull , a man tries to hand him another handbill for a massage parlor (with a \"Check it out? Check it out?\") CUT TO INT . LOBBY. HOTEL BROSNAN. DUANE enters . Both the MANAGER and DIRTY LOU stare incredulously at the armful of shish kabobs. CONTINUED:<\/scene_description>\n    <character>MANAGER<\/character>\n    <dialogue>Are you starving or just excessive?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>DIRTY LOU<\/character>\n    <dialogue>You gonna eat them all by yourself?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>DIRTY LOU<\/character>\n    <dialogue>But -- that ' s disgusting!<\/dialogue>\n    <character>DUANE<\/character>\n    <parenthetical>(to MANAGER)<\/parenthetical>\n    <dialogue>You have a phone book I can borrow? I've got to check some addresses .<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>Is one enough? Or do you want a pile of them too?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>One ' s !ine.<\/dialogue>\n    <scene_description>The MANAGER tosses the phone book onto the counter and watches as DUANE juggles the book and the shish kabobs in his arms.<\/scene_description>\n    <character>MANAGER<\/character>\n    <dialogue>Just make sure I get it back.<\/dialogue>\n    <character>DUANE<\/character>\n    <parenthetical>(heading up stairs)<\/parenthetical>\n    <dialogue>Sure thing .<\/dialogue>\n    <character>MA.NAGER<\/character>\n    <dialogue>And don't ge t it covered with grease!<\/dialogue>\n    <scene_description>HALLWAY . THIRD FLOOR . As DUANE gets to t h e top of the stai rs , the BUSINESSMAff l eaves CASEY's room , still as proper and dignified as when he ente~. DUANE pays him no attention . He puts down the phone book and hal! the shish kabobs so he can get the key from his pocket and open the door . As he\\_unlocks it, CASEY comes out o! her room, smiles at him and heads down the stairs . CUT TO IKT. DUANE'S HOTEL ROOM. DUANE enters, rushing to the bed to let the phone book and shish kabobs tumble onto the sheet. He goes back to the door, locks it, then takes another key from his pocket and unlocks the padlock on the basket. He lifts off the lid as he sits down next to it.<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>Got ' cha something to eat .<\/dialogue>\n    <scene_description>He unwraps a shish kabob, holds it over the basket and pulls out the stick so the pieces of meat fall inside . Instantly, the basket shakes, accompanied by a loud munching sound. He drops the meat from two more shish kabobs into the basket and holds up two more, still on their sticks.<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>Take your time. There's plenty.<\/dialogue>\n    <scene_description>He throws the two of them into the basket , wipes his hands on the bedsheet, then reaches down to his knapsack and removes the same medical chart DR . PILLSBURY had looked through before his death. In fact, Pillsbury's dried blood still stains the cover . DUANE lies across the bed and opens to the first page. CUT TO CLOSEUP of the names: \"DR. HAROLD NEEDLEMAN\" and \"DR. KUTTER\" written at the bottom of the page. CUT TO DUANE flips through the pages of the phone book, looks back at the medical chart, then rechecks the phone book. CUT TO MEDICAL CHART. Next to NEEDLEMAN's address, DUAKE marks a check. His pencil moves to KUTTER 's name who has no address other than \"N.Y.C.\" CUT TO DUANE flips through the phone book again. Suddenly , the eating sounds stop and a shish kabob stick is thrown out of the basket.<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>Finished already?<\/dialogue>\n    <scene_description>He picks up the rest of the shish kabobs and puts them CONTINUED : in the basket , not bothering to unwrap them or remove the sticks. The chewing noises immediately continue , this time mixed with the tearing and crunching of waxed paper. DUANE resumes looking through the phone book.<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>Damn! Kutter's name isn't listed.<\/dialogue>\n    <parenthetical>(slams book shut)<\/parenthetical>\n    <dialogue>Well \u2022 \u2022\u2022 Needleman must have the number.<\/dialogue>\n    <scene_description>He picks up a shish kabo b not dropped in the basket , unwraps it and lies back on the bed . And all the while DUANE is comfortably nibbling on his shish kabob , the loud gorging of something inside the basket continues . Hold for a moment, then FADE OUT ADE IN INT . DUANE'S HO~EL ROOM . It is now the middle of the night . DUANE lies asleep in the bed . The medical report is on the dresser. So is the basket , unlocked , the lid still off. Though we cannot see the floor because of the position of the camera, we hear something pacing around the room. DUANE wakes up and looks down at the floor.<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>You ' re not going to pace the floor all night are you?<\/dialogue>\n    <parenthetical>(pause ; no sound)<\/parenthetical>\n    <dialogue>No , I don ' t want to talk now. Go back to sleep.<\/dialogue>\n    <parenthetical>(he lies back down ; still no sound)<\/parenthetical>\n    <dialogue>Aw, c'mon! We gotta get up early,<\/dialogue>\n    <scene_description>By this time it's obvious we can only hear DUANE's side of the \"conversation\", as there is no other sound in the room except for the creaking of the floor boards.<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>Yeah , yeah. We ' ve been through this before .<\/dialogue>\n    <scene_description>He sits back up , wipes his eyes and looks at his watch , lying on the lamp table . CONTINUED:<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>Look, I'm not gonna stay up half the night talking. It's 3:30! I'm going back to sleep.<\/dialogue>\n    <parenthetical>(bunches his pillow)<\/parenthetical>\n    <dialogue>I'm not going to debate this! Now goodnight!<\/dialogue>\n    <scene_description>Though we still have heard nothing more than something pacing around the room -- and rather quietly at that DUANE pulls the pillow over his head, wrapping it around bis ears.<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>For Chrissakes shut up! Let me get some sleep!<\/dialogue>\n    <parenthetical>(muttering to himself)<\/parenthetical>\n    <dialogue>Always waits till I'm asleep to start a conversation --<\/dialogue>\n    <character>FADE OUT<\/character>\n    <dialogue>FADE IN<\/dialogue>\n    <scene_description>Manhattan skyline. Daylight. Moniling.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY. HOTEL BROSNAN.<\/stage_direction>\n    <scene_description>DIRTY LOU tip-toes across the hallway to DUANE's room. He presses his ear to the door and listens. His hand reaches down to gently grasp and turn the knob -- enough to know the door is locked. He looks around, just to make sure no one's door is open, t hen gets on his hands and knees and looks through the keyhole. But someone's door does open. CASEY, on her way out, sees DIRTY LOU. CUT TO CLOSEUP DIRTY LOU, straining to see through the keyhole as CASEY creeps up on him.<\/scene_description>\n    <character>CASEY<\/character>\n    <dialogue>Oh great!<\/dialogue>\n    <scene_description>He jumps, bangs his forehead against the door and falls on his butt. 63 CONTINUED: 6;<\/scene_description>\n    <character>CASEY<\/character>\n    <dialogue>Last week you were in the dumb waiter. This week it ' s keyholes. Wonderful .<\/dialogue>\n    <character>DIRTY LOU<\/character>\n    <dialogue>Shhhhh! There's some body in there!<\/dialogue>\n    <character>CASEY<\/character>\n    <dialogue>I figured that!<\/dialogue>\n    <character>DIRTY LOU<\/character>\n    <dialogue>A kid! Some young boy - -<\/dialogue>\n    <character>CASEY<\/character>\n    <dialogue>You can ' t be left alone for a minute , can you?<\/dialogue>\n    <character>DIRTY LOU<\/character>\n    <dialogue>You should see! Got a roll of bills on him like this --<\/dialogue>\n    <parenthetical>(motions)<\/parenthetical>\n    <character>CASEY<\/character>\n    <dialogue>Oh gimme a break --<\/dialogue>\n    <character>DIRTY LOU<\/character>\n    <dialogue>Carrying it around with him! Loose in his pocket!<\/dialogue>\n    <character>CASEY<\/character>\n    <dialogue>You got two seconds before I start pounding on his door.<\/dialogue>\n    <character>DIRTY LOU<\/character>\n    <dialogue>No, wait<\/dialogue>\n    <character>CASEY<\/character>\n    <dialogue>One .<\/dialogue>\n    <character>DIRTY LOU<\/character>\n    <dialogue>I ' m going! I 'm going!<\/dialogue>\n    <scene_description>He scrambles to his feet and scurries down the hall . CONTINUED:<\/scene_description>\n    <character>CASEY<\/character>\n    <parenthetical>(muttering to herself as she locks her door)<\/parenthetical>\n    <dialogue>Place is a zoo . Keyhole peepers - - Roaches the size of dogs - - Tuba playing at four in the morning - - Might as well take out the rooms and put in cages.<\/dialogue>\n    <scene_description>She starts to go down the staris but stops, pauses, and knocks on DUANE's door instead . After a moment or two , DUANE opens it, looking as if he just woke up.<\/scene_description>\n    <character>CASEY<\/character>\n    <dialogue>Hi. I live just across the hall and I -- I didn 't wake you , did I?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>. DUANE<\/character>\n    <dialogue>It's ok . I slept later than I wanted to anyway.<\/dialogue>\n    <character>CASEY<\/character>\n    <dialogue>Sorry about that . Actually the reason I'm bothering you is -- now don ' t get me wrong -- I don't go butting into other people's business - - But some one's been snooping around your door -- you know, looking through the keyhole and all -- So , if youtve got anything valuable in there money or something -- just don't go leaving it around .<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Oh, right. Sure. Thanks.<\/dialogue>\n    <character>CASEY<\/character>\n    <dialogue>I mean, can ' t see you getting ripped off at l east without having a fighting chance .<\/dialogue>\n    <parenthetical>(holds out her hand)<\/parenthetical>\n    <dialogue>Name's Casey .<\/dialogue>\n    <character>DUANE<\/character>\n    <parenthetical>(shaking her hand)<\/parenthetical>\n    <dialogue>Duane Bradley.<\/dialogue>\n    <character>CASEY<\/character>\n    <dialogue>Nice to meet you , Duane Bradley. What the hell you doing in this dump?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Uh \u2022 \u2022\u2022 It was the first hotel I came to.<\/dialogue>\n    <character>CASEY<\/character>\n    <dialogue>Obviously a hard man to please. Where you from?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Upstate .<\/dialogue>\n    <character>CASEY<\/character>\n    <dialogue>First t ime in New York?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>CASEY<\/character>\n    <dialogue>I knew it! Well, this place stinks but there's a lot worse. I've been here about a year. Live and work out of the same room. Keeps me out o! the subways. How long you staying?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Few days .<\/dialogue>\n    <character>CASEY<\/character>\n    <dialogue>That's all, huh? Man, the little ol' lady wao lived there before you -- I taink she moved in when the place opened. Lived there for ages! Real cute grandmother type. She used to tell everyone she was really rich. Owned oil wells down South. Had millions but was hiding from her relatives who were trying to steal it f r om her. Really!<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Was it true?<\/dialogue>\n    <character>CASEY<\/character>\n    <dialogue>You'd swear it after listening to her. She had these big adorable brown eyes and in this sad , soft voice would go --<\/dialogue>\n    <parenthetical>(imitating)<\/parenthetical>\n    <dialogue>' They want to hurt me and steal my<\/dialogue>\n    <scene_description>money. But I'm hiding from them . They don't know where I am.' (regular voice) She'd even stop strangers in the street -- people she'd never ever seen before -- and start pouring out her heart to them.<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>What happened to her?<\/dialogue>\n    <character>CASEY<\/character>\n    <dialogue>Well one day -- out of the blue -- she appear ed all dolled up, head ~o foot, in a wardrobe straight out of the twenties. Big brim hat, white gloves , lots of jewelry, even a little white parasol. And a suitcase . Said she was leaving for the Mediterranean and then a trip \u2022round the world. She paid her bill and left. Haven 't heard a word from her since .<\/dialogue>\n    <scene_description>A momentary silence. Then ,<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>Wow \u2022 \u2022 \u2022<\/dialogue>\n    <character>CASEY<\/character>\n    <dialogue>Yeah, well she wap an exception . Everyone else here is your basic creep. A couple of bums and a few assholes but mainly a lot of creeps .<\/dialogue>\n    <parenthetical>(looks in his room)<\/parenthetical>\n    <dialogue>What 's in the basket? Going on a picnic?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Picnic? No , no . Haven't the time.<\/dialogue>\n    <character>CASEY<\/character>\n    <dialogue>I know what ' cha mean. I gotta run myself . Listen , we'll have to get together before you leave - - Go for a drink. I got a lot more weird stories.<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Okay. Sure .<\/dialogue>\n    <character>CASEY<\/character>\n    <dialogue>Catch you later, kid . ' Bye .<\/dialogue>\n    <parenthetical>(heads downstairs)<\/parenthetical>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUANE'S HOTEL ROOM .<\/stage_direction>\n    <scene_description>DUANE shuts the door and walks to the bed where the map of Manhattan is spread out. He fold it up , puts it into his back pocket, tucks in his pants, and goes to the basket. Clasping the lid shut with the padlock, he picks up the basket and heads for the door.<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>Let's go. We gotta pay a visit to a doctor friend of ours.<\/dialogue>\n    <character>DISSOLVE TO<\/character>\n    <dialogue>EXT . W. 18th STREET.<\/dialogue>\n    <scene_description>A predominantly industrial area. At this time of the day the street is bustling wi~h activity and traffic. Only one figure is not moving: DUANE . He stands motion less , his back against the window of a coffee shop. Holding the basket to his chest, he stands for a long moment staring at the building across the street before crossing over and entering it. CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY OP BUILDING .<\/stage_direction>\n    <scene_description>A drab, ugly building . The dingy lobby can only hold a handful of people. The elevator -- without an attendant -- looks like an afterthought; it's about as large as a closet. The flight of stairs across from it seems the more practical way of getting from floor to floor. DUANE puts the basket on the floor as he cheeks the wall directory. CUT TO DUANE's hand moving down the list of names. There, between \"NATE 'S BRASSIERE AND HOISERY\" and \"NORTON SPORTSWEAR\" is \"NEEDLEMAN, DR . HAROLD, M.D . 2nd fl.\" DISSOLVE TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEEDLEMAN'$ WAITING ROOM .<\/stage_direction>\n    <scene_description>What you'd expect of a waiting room in a building like this : cheap, tacky furnitu.r e, plastic plants, a $2.98 painting on the wall. Even t he magazines are missing covers. But contrasting with these dismal surroundings is SHARON, the doctor ' s receptionist. She is bright, cheery, bubbling wi th energy and, as far as DUANE is concerned, the most beautiful girl he has ever seen. As DUANE enters, SHARON is talking with -- or rather, listening to -- MRS. PEARLMAN, the only patient in the room.<\/scene_description>\n    <character>MRS . PEARLMAN<\/character>\n    <dialogue>\u2022 \u2022 \u2022 Yes! So the drugstore said he should' ve never prescri bed it to me in the first place! It was the wrong drug! I' m aller gic to it!<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>That's terrible! Does he know you're allergic?<\/dialogue>\n    <character>MRS . PEARLMAN<\/character>\n    <dialogue>He ought to! This 1s the second time he gave me the wrong prescription!<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Oh my goodness \u2022 \u2022 \u2022<\/dialogue>\n    <parenthetical>(looks at DUANE)<\/parenthetical>\n    <dialogue>I 'll be right\\_wi~h fOU.<\/dialogue>\n    <scene_description>{pointing) It's this typewriter. DUANE looks puzzled. ''Typewri ter 11 ?<\/scene_description>\n    <character>MRS . PEARLMAN<\/character>\n    <dialogue>But the drug store can ' t change it ' cause it ' s not their fault . He's got to write out a new prescription.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>No problem. A patient is in there with him now but as soon as they ' re done, I'll .send you in .<\/dialogue>\n    <character>MRS . PEARLMAN<\/character>\n    <dialogue>Thank you, thank you.<\/dialogue>\n    <scene_description>MRS. PEARLMAN takes a seat and SHARON turns to DUANE . But before SHARON can speak , MRS . PEARLMAN continues, this time addressing both of them .<\/scene_description>\n    <character>MRS . PEARLMAN<\/character>\n    <dialogue>It was terrible! I thought I was going to die!<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>I know , I know.<\/dialogue>\n    <character>MRS . PEARLMAN<\/character>\n    <dialogue>First I got dizzy! Then I couldn ' t breathe! Then my throat felt like it was on fire!<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Well you make sure to tell this all to the doctor.<\/dialogue>\n    <parenthetical>(turns to DUANE)<\/parenthetical>\n    <dialogue>Hi . This is the one --<\/dialogue>\n    <parenthetical>(swi tches on typewriter)<\/parenthetical>\n    <dialogue>Hear that? It sounds like something grinding inside . And the carriage won't return . Yesterday it was squeaking -- like if a mouse was caught inside . Real high- pitched<\/dialogue>\n    <parenthetical>(makes appropriate sound effect)<\/parenthetical>\n    <scene_description>CONTINUED: A PATIENT comes out of the doctor ' s office and leaves .<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Goodbye Mr . Clayton.<\/dialogue>\n    <parenthetical>(turns to MRS . PEARLMAN )<\/parenthetical>\n    <dialogue>Ok, Mrs. Pearlman. He's all yours.<\/dialogue>\n    <character>MRS. PEARLMAN<\/character>\n    <dialogue>Oh good !<\/dialogue>\n    <scene_description>As MRS . PEARLMAN hurries into the doct or ' s off ice , SHARON turns to DUANE .<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Okay . Where were we?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>I \u2022 \u2022 \u2022 I don't know anything about typewriters . I just want to see the doctor.<\/dialogue>\n    <character>SHARON<\/character>\n    <parenthetical>(embarrassed)<\/parenthetical>\n    <dialogue>Oh! Oh my goodness! I ' m sorry! I \u00b7just assumed -- I didn ' t think you were a pati ent . I'm expecting someone to fix the typewriter this afternoon and I just thought - -<\/dialogue>\n    <parenthetical>(pointing to basket)<\/parenthetical>\n    <dialogue>I figured that was your toolbox or something.<\/dialogue>\n    <parenthetical>(starts to laugh)<\/parenthetical>\n    <character>DUANE<\/character>\n    <dialogue>I don.' t even know how to type .<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>It hasn't worked right since I ' ve been here. He ' s just too cheap to buy a new one . I should just thr ow it out . Or shoot it .<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Uh. \u2022 \u2022 I don't have an appointment --<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>And you ' ve never been here before or I would've remembered .<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>You see, my regular doctor is upstate and I --<\/dialogue>\n    <parenthetical>( 0.0N'l'TNTTF.D)<\/parenthetical>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Really! Where?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Glens Falls.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Is that near Lake George?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>No . That i s further up.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>I used to go camping up there all the time. My girlfriend and I. Haven ' t had a chance to this year .<\/dialogue>\n    <parenthetical>(lowers voice)<\/parenthetical>\n    <dialogue>So why'd you pick this guy?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Oh, well, Dr. Needleman's an old friend of the family . Is there any chance I can see him without an appointment?<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>He'd tell you no; friend of the family or not. But , as you can see, we've got hundreds o~ patients waiting to see him so we'll just pretend you did call \u2022 \u2022\u2022<\/dialogue>\n    <parenthetical>(looks through appointment book)<\/parenthetical>\n    <dialogue>\u2022 \u2022 \u2022 and have an appointment for 11:30.<\/dialogue>\n    <parenthetical>(looks at her watch)<\/parenthetical>\n    <dialogue>Oh my goodness! You ' re next .<\/dialogue>\n    <character>DUANE<\/character>\n    <parenthetical>(smiling at her)<\/parenthetical>\n    <dialogue>Thanks .<\/dialogue>\n    <character>SHARON<\/character>\n    <parenthetical>(writing on index card)<\/parenthetical>\n    <dialogue>What ' s your name?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Duane Bradley.<\/dialogue>\n    <parenthetical>(catches himself)<\/parenthetical>\n    <dialogue>Oh but don ' t write that . I want to surprise him . He ' ll recognize the name right away. Put down something like Smith. Duane Smith.<\/dialogue>\n    <character>71<\/character>\n    <dialogue>SHARON<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>He ' ll appreciate this . He's a million laughs .<\/dialogue>\n    <parenthetical>(hands card to DUANE)<\/parenthetical>\n    <dialogue>And you fill out the rest.<\/dialogue>\n    <scene_description>72 DUANE sits next to SHARON's desk, the basket on his lap , 72 on top of which he fills out the card.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>What's in the basket? Easter eggs?<\/dialogue>\n    <scene_description>DUANE smiles but doesn ' t answer.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Just visiting New York or -- ?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Yeah . Thi s is my first time .<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>So have you gone to t he Empire State Building yet? And the Statue of Liberty?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>No . I haven ' t had the time .<\/dialogue>\n    <character>SHARON<\/character>\n    <parenthetical>(incredulous)<\/parenthetical>\n    <dialogue>Haven I t had 'the time 1 ? !<\/dialogue>\n    <parenthetical>(loud; seemingly upset)<\/parenthetical>\n    <dialogue>Well what about Radio City Music<\/dialogue>\n    <scene_description>\u2022 Hall? Or the UN? Had time for them?<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>(very startled; doesn ' t know if she ' s kidding or not) \u00b7<\/dialogue>\n    <scene_description>No . \u2022 \u2022 I . \u2022 \u2022 I \u2022 \u2022 \u2022<\/scene_description>\n    <character>SHARON ~<\/character>\n    <dialogue>What about the World Trade Towers? Or the Met?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>It's not that I don't want to but --<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Any museums? The Cloisters? Chinatown?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Actually , I \u2022 \u2022 \u2022 I don ' t know where anything is .<\/dialogue>\n    <scene_description>CONTINUED: A wide grin bursts across SHARON 1 s face. It's obvious she'd been putting him on.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Well, if you need a tour guide , I'd be happy to volunteer.<\/dialogue>\n    <scene_description>Realizing she just set him up for a date takes DUANE a few minutes to sink i n. When it does, he breakes into a glowing, if somewhat incredulous, smile.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>We'll even buy you some 3-D postcards and an \"I Love New York\" T-shirt.<\/dialogue>\n    <scene_description>MRS . PEARLMAN exits from the doctor 's office.<\/scene_description>\n    <character>SHARON<\/character>\n    <parenthetical>(staring at DUANE)<\/parenthetical>\n    <dialogue>You' re next .<\/dialogue>\n    <scene_description>DUANE picks up the basket and enters NEEDLEMAN's office . CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEEDLEMAN'$ OFFICE.<\/stage_direction>\n    <scene_description>There are two adjoing rooms: his office and the examination room adjacent to it. As should be obvious by now, NEEDLMEN is not a well- to - do doctor with a thriving practice. Instead, he's sleazy, seedy and third-rate . In another life, he 'd be a used car salesman. As DUANE enters, carrying the basket, NEEDLMAN is busily scrawling on some forms and papers from a previous patient. He speaks to DUANE without looking up .<\/scene_description>\n    <character>NEEDLMAN<\/character>\n    <dialogue>. Come in, Mis ter, uh \u2022 \u2022 \u2022<\/dialogue>\n    <scene_description>DUANE tosses him the index card.<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>Smith.<\/dialogue>\n    <character>NEEDLMAN<\/character>\n    <parenthetical>( glancing up)<\/parenthetical>\n    <dialogue>Smith. Right.<\/dialogue>\n    <parenthetical>(resumes paperwork)<\/parenthetical>\n    <dialogue>All right, Mr. Smith, what's the problem?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>NEEDLEMAN<\/character>\n    <dialogue>Cough.<\/dialogue>\n    <parenthetical>( DUANE coughs)<\/parenthetical>\n    <dialogue>Did that hurt?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>NEEDLEMAN<\/character>\n    <dialogue>Turn around, please.<\/dialogue>\n    <scene_description>DUANE turns so his scarred right side passes in front of the doctor who cannot help from staring at it. When DUANE is fully around, NEEDLEMAN presses the stethescope to his back.<\/scene_description>\n    <character>NEEDLEMAN<\/character>\n    <dialogue>Breathe in.<\/dialogue>\n    <scene_description>{pause) That hurt?<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>Nope .<\/dialogue>\n    <character>NEEDLEMAN<\/character>\n    <dialogue>Again.<\/dialogue>\n    <parenthetical>(moves stethescope)<\/parenthetical>\n    <dialogue>Again.<\/dialogue>\n    <scene_description>{pause ; removes stethescope) I can 't find anything wrong. Suppos e you indicate where the pain is coming from. DUANE turns to face the doctor .<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>I thought you ' d realize. It hurts here --<\/dialogue>\n    <parenthetical>(touching the scar)<\/parenthetical>\n    <dialogue>-- down the side of my chest.<\/dialogue>\n    <character>NEEDLEMAN<\/character>\n    <dialogue>But? -- How long have you had this?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Since I was 12.<\/dialogue>\n    <character>NEEDLEMAN<\/character>\n    <dialogue>And it still hurts?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Everytime I look at it .<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>NEEDLEMAN<\/character>\n    <dialogue>I mean physically. It ' s thick scar tissue. It isn ' t raw . There should be no pain.<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>There is. Plenty.<\/dialogue>\n    <character>NEEDLEMAN<\/character>\n    <dialogue>How did you get it?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>I cut myself shaving.<\/dialogue>\n    <scene_description>DUANE smirks -- not at the joke as much as how uncomfortable NEEDLEMAN is becoming.<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>No, actually it's from some surgery.<\/dialogue>\n    <character>NEEDLEMAN<\/character>\n    <dialogue>What kind of surgery?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Illegal surgery.<\/dialogue>\n    <character>NEEDLEMAN<\/character>\n    <dialogue>So why come to me? Where ' s the doctor that performed the operation? I don ' t know what I can do. He should be the one to go to .<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>But he's upstate. In Glens Falls .<\/dialogue>\n    <scene_description>NEEDLEMAN's head jerks. suddenly , his eyes fixing with DUANE ' s .<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>Oh! You .lcnow Glens Falls?<\/dialogue>\n    <character>NEEDLEMAN<\/character>\n    <dialogue>No! Never heard of it.<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>You've been there?<\/dialogue>\n    <character>NEEDLEMAN<\/character>\n    <dialogue>No! Never!<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>You really should visit . It ' s so pretty and peaceful up there. That ' s where I had the operation.<\/dialogue>\n    <scene_description>(CONTINED): CONTINUED:<\/scene_description>\n    <character>NEEDLEMAN<\/character>\n    <dialogue>Then why come here? What do you expect me to do? Where ' s your family doctor?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>He's dead . Pillsbury's dead.<\/dialogue>\n    <character>NEEDLEMAN<\/character>\n    <dialogue>Pillsbury?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Very tragic . No one's exactly sure how it happened . Didn ' t you hear?<\/dialogue>\n    <character>NEEDLRMAN<\/character>\n    <dialogue>I -- I don't know a Dr. Pil lsbury.<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>You don't? Are you sure?<\/dialogue>\n    <character>NEEDLEMAN<\/character>\n    <parenthetical>(loud ; upset)<\/parenthetical>\n    <dialogue>Ot course I'm sure! I don ' t know any Dr . Pillsbury and I ' ve never been to Glens Falls!<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>But he said you specialized in cases like mine .<\/dialogue>\n    <character>NEEDLEMAN<\/character>\n    <dialogue>Well he's wrong! You're wrong! I ' m not a surgeon -- there's nothing I can do for you!<\/dialogue>\n    <scene_description>NEEDLEMAN yanks oft his stethescope and returns to his o!!ice. CUT TO INT . NEEDLEMAN'S OFFICE. He sits at his desk, fumbling with some papers, trying to look busy . He won't look up at DUANE who enters, buttoning his shirt.<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>That ' s really a shame . I could 've sworn it was you he told me about . Oh well . Guess we ' ll never know -- what wi th Pillsbury dying the way he did \u2022\u2022 \u2022<\/dialogue>\n    <scene_description>CONTINUED: NEEDLEMAN looks up at DUANE.<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>He didn't just die. He was cut in half!<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Imagine that! The town doctor getting cut in half. \\\u00b7low. And in a place like Glens Fal ls.<\/dialogue>\n    <character>CUT TO<\/character>\n    <dialogue>CLOSEUP DR . NEEDLEMAN, sweat pouring off him. He glances<\/dialogue>\n    <scene_description>away from DUANE to the basket, his eyes drilling into i t as if he knows what's inside. Suddenly DUANE shoots out his hand to the doctor who practically jumps through the roof -- But DUANE ' s only holding out his hand for the doctor to shake. DUANE Thanks anyway , Doc . NEEDLEMAN feebly shakes it.<\/scene_description>\n    <character>NEEDLEMAN<\/character>\n    <dialogue>Good day, Mister \u2022\u2022 \u2022 uh<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Jones . Mr. Jones.<\/dialogue>\n    <scene_description>DUANE picks up the basket and walks out . CUT TO 0LOSEUP , a deeply disturbed NEEDLEMAN . Hold . INT . WAITING ROOM .<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>So what'd he give you? 48 hours to live?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Naw. We just had a nice chat.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Was he surprised?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Oh yeah. Very.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Anyway, getting back to what we were talking about before I get off here tonight at six.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Hint , hint.<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Oh - - I'd like to but - - not tonight. I can't .<\/dialogue>\n    <character>SHARON<\/character>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>Can' t say I didn ' t try .<\/dialogue>\n    <scene_description>DUANE walks to the door but doesn ' t go out . Instead, he pauses for a few moments with his back to us, then carefully places the basket on the floor and sprints back across the room to SHARON.<\/scene_description>\n    <character>DUANE<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>May I call you tomorrow?<\/dialogue>\n    <scene_description>SHAROli (whispering ' cause he is) 233- 3000 . He doesn 't have hours on Wednesday . I ' ll have the whole day free.<\/scene_description>\n    <character>DUANE<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Where do you live?<\/dialogue>\n    <character>SHA.RON<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>I'll write it down.<\/dialogue>\n    <parenthetical>(writing)<\/parenthetical>\n    <dialogue>355 West 71st stree t. All the way at the end of the block.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Why are we whispering?<\/dialogue>\n    <character>\u00b7DUANE<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>I don't want him to hear .<\/dialogue>\n    <character>SHARON<\/character>\n    <parenthetical>(normal voice)<\/parenthetical>\n    <dialogue>Who? The doctor?<\/dialogue>\n    <character>DUANE<\/character>\n    <parenthetical>(still whispering)<\/parenthetical>\n    <dialogue>I'll see you .<\/dialogue>\n    <character>80 CONTINUED: 80<\/character>\n    <dialogue>DUANE takes the paper with her address, scampers back to the basket, picks it up and leaves . CUT TO<\/dialogue>\n    <character>81 INT . NEEDLEMAN'S OFFICE. 81<\/character>\n    <dialogue>-<\/dialogue>\n    <dialogue>THE DOCTOR searches through a pile of notes and papers on his desk until he finds a memo from a few days ago . CUT TO<\/dialogue>\n    <scene_description>82 THE MEMO. After the heading i\u2022ANSWERING SERVICE\" is a list 82 of names and numbers , all crossed off except for one: \"PILLSBURY\/ GLENS FALLS -- (518) 395-7788. URGENT\" which i .s followed by two question marks. CUT TO 83 NEEDLEMAN dials the nU111ber. We hear Pillsbury's phone 83 riJ18\u2022 No ~swer . As it conti nues ringing, we DISSOLVE TO<\/scene_description>\n    <character>84 INT . MOVIE THEATER. BALCONY. 84<\/character>\n    <dialogue>Practically empty. DUANE impassively watches the film , the basket on the sea~ next to hi\u25a0\u2022 CUT TO<\/dialogue>\n    <scene_description>84.A TWO ROWS behind him is a DUDE., d.r essed- to-kill like an 84A ov~rdone pimp . He watches DUANE . CUT TO 84B DUANE growing\\_ drowsy. His eyes keep closing as his head 84B bobs up.'1, a nd down. CUT TO 84C . THE DUDE , quietly rtsiag from his seat. 84C<\/scene_description>\n    <character>CUT TO<\/character>\n    <dialogue>84D CLOSEUP DUANE , his eyes closed, hi,s head slowly nodding. 84D<\/dialogue>\n    <scene_description>When his chin touches his chest, he suddenly jerks up, forcing himself awake . He rubs his eyes -~d glances over to the basket -- It ' s gone! DUANE jumps up , his head darting in every direction. mT'I' IJ'() LOBBY OF MEN'S ROOM . THE DUDE throws the basket to the floor and kicks the padlock until the clasp rips off. He bends down, throws off tke lid -- and screams. CUT TO 86 \" STAIRWAY 01'' BALCONY . DUANE is running down the steps when he hears the scream . He charges to t he Men ' s Room . Just as DUANE is about to enter , he crashes into the DUDE running out. The DUDE's face is slashed and ~treaked with blood ; the front of his clothing torn and shredded. He pushes DUANE out of the way and runs out of the theater . DUANE enters the Men's Room . CUT TO LOBBY OF MEN'S ROOM. POINT- OF- VIEW of the thing-in-the-basket: We see DUANE !r11sh toward us and kneel down. He looks behind him to see if anyone followed , then quickly puts the lid back on . Before closing it he peers in.<\/scene_description>\n    <character>DUANE<\/character>\n    <parenthetical>(soothingly)<\/parenthetical>\n    <dialogue>Not now. Not yet. Save it. Save it \u2022\u2022 \u2022<\/dialogue>\n    <scene_description>INT . NEEDLEMAN ' S OFFICE. THE DOCTOR is again dialing the phone when SHARON calls to him. He jumps , not as badly as before , but enough to tell his nerves are shot.<\/scene_description>\n    <character>S~RON<\/character>\n    <dialogue>You leaving now or should I not lock up?<\/dialogue>\n    <character>NEEDLEMAN<\/character>\n    <parenthetical>(hanging up phone)<\/parenthetical>\n    <dialogue>No \u2022 \u2022 \u2022 No , I ' ll be a while . But lock up . Lock up anyway.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Okay. See you Thursday.<\/dialogue>\n    <scene_description>NEEDLEMAN doesn't answer . He redials the number . CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET. NIGHT<\/stage_direction>\n    <scene_description>It ' s now evening . The camera pans from the front of Needleman ' s building to a doorway across the street . There stands DUANE, bugging the basket, surreptitiously watching the building . CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEEDLEMAN'S BUILDING .<\/stage_direction>\n    <scene_description>SHARON exits . She doesn ' t see DUANE or even glance in his direction as she walks down the street to the subway. CUT TO DUANE . He bends close t o the basket.<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>He didn't come out . He's still in there.<\/dialogue>\n    <parenthetical>(straightens up)<\/parenthetical>\n    <dialogue>Okay . We ' ll wait .<\/dialogue>\n    <scene_description>INT . NEEDLEMAN 1 S OFFICE. NEEDLEMAN holds the phone with one hand while nervously tapping a pencil with the other. We hear the phone ring but no one answers. He hangs up, wipes his sweaty brow, and pulls out an address book . CUT TO ADDRESS BOOK. He searches through a page of \"K\"s : \"KANE , KAUFMAN , KENDALL , KLEIN\" and , finally, \"KUTTER 668- 7936\". CUT TO NEEDLEMAN dials the phone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KUTTER'S PENTHOUSE APARTMENT.<\/stage_direction>\n    <scene_description>Living room. Large , elegant and very expensive. A MAN and WOMAN, both in evening clothes , are having a candlelight dinner. Behind them is a picture window with a breath- taking view of the city. THE WOMAN grabs the champagne from the ice bucket and pours the MAN another drink . CONTINUED:<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>C'mon! Have some more!<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>No! Really! I 've had enough!<\/dialogue>\n    <character>WOMAN<\/character>\n    <parenthetical>( laughing)<\/parenthetical>\n    <dialogue>Nonsense ! We're just beginning.<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>Listen , i f I have any more - -<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>That 's all right. I likeyou drunk . You're cute when you slobber .<\/dialogue>\n    <scene_description>THE PHONE rings.<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Shit . Excuse me for a minute, love .<\/dialogue>\n    <scene_description>SHE throws down her napkin, walks acro ss the room and answers the phone .<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Dr . Kutter speaking.<\/dialogue>\n    <parenthetical>( This is the first we learn that Dr. Kutter is female . )<\/parenthetical>\n    <scene_description>CUT TO 97A NEEDLEMAN 911 This is Needleman. CUT TO 97B KUTTER 971 Who? (pause) Harold? (like talking to a little kid) Rarold , I thought I made it clear you weren't t o call me agai n . Ever. CUT TO 97C NEEDLEMAN 97( But something ' s come up! Something's happened! CUT TO 97D KUTTER 97D I'm not interested. My dealings with you are over. Finished! 97E NEEDLEMAN 97E Will you listen to me! I ' m only trying to warn you! 97F KUTTER 97F Of what? 97G NEEDLEMAN 97G You remember Dr. Pillsbury? From Glens Falls? Well a few days ago he left a message with my answering service that I urgently ge.t in touch with him . 97 H KUTTER 97H So ? 97I NEEDLEMAN 971 So today a y.oung man comes to see me . About 20 years old . Using a phoney name . Nothing was wrong with hi m except he's from Glens Falls and has a deep scar running down his right side . 97J KUTTER 97J Please, Harold . I ' m in the middle of dinner . 97K NEED!J:MAN 97K He was baiting me! Asking if I knew Pillsbury! If I was ever to Glens Falls! Had a basket with him - - I think he was taping me!<\/scene_description>\n    <character>CUT TO<\/character>\n    <dialogue>KUTTER<\/dialogue>\n    <dialogue>Harold , you ' re beginning to ramble.<\/dialogue>\n    <character>97L<\/character>\n    <dialogue>Why not get to the point.<\/dialogue>\n    <scene_description>CUT TO }7M NEEDLEMAN 97M It ' s the Bradley kid! It must be him! He knows who we are! He ' s tracking us down! CUT TO }7N KUTTER 97N And so what if it is him? What's he going to do? Complain? CUT TO )70 NEEDLEMAN 970 But what he said about Pillsbury I've been trying to reach him but get no answer. And this kid says it's 'cause Pillsbury is dead! Murdered! Cut in half! CUT TO l7P KUTTER 97P \u00b7 calm down now, Harol d , and pay attention. Ready? (pause) Neither of us know any Dr . Pillsbury. (pause) And neither of us have ever been to Glens Falls . (pause) But one of us wants to get back to her dinner! Goodnight! SHE slams the phone down and returns to the table. 98<\/scene_description>\n    <character>KUTTER<\/character>\n    <dialogue>Sorry about that, Cuddles . Now , where were we?<\/dialogue>\n    <scene_description>CUT TO NEEDLEMAN hangs up the phone and slumps in his seat . Though the light is on in the examination room and the lamp on his desk is lit , the office is not bright. Rather , a dull yellow hangs over the room. CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY OF NEEDLEMAN ' S BUILDING .<\/stage_direction>\n    <scene_description>All the offices, except for NEEDLEMAN's , have long since closed for the night . Only a dingy exposed bulb illuminates the dark lobby. A WASHWOMAN is finishing a mop-up of the floor. A few final sweeps with the mop then she plops it into the bucket and wheels it to the washroom at the far side of the lobby. She dumps the dirty water into the sink and runs the mop under the faucet. That finished she turns on a portable radio (to loud disco music) and carries it with her across the lobby, entering a door leading to the basement . We hear the music getting softer and softer \u2022 \u2022 \u2022 Everything is quiet. DUANE enters , carrying the basket. He tiptoes across the lobby and up the stairway. He doesn ' t make a sound . CUT TO SECOND FLOOR HALLWAY. DUANE reaches the top of the stairs and faces NEEDLEMAN's office at the end of the hall . He removes the basket lid . CUT TO CLOSEUP of DUANE so we can't see what comes out of the basket as he turns it upside down and gently empties. it on the floor. We hear a dull wet thud as something hits the tile and a second , heavier breathing .<\/scene_description>\n    <character>DUANE<\/character>\n    <parenthetical>(in a whisper)<\/parenthetical>\n    <dialogue>Don't forget his address book .<\/dialogue>\n    <scene_description>He tucks the basket under his arm and heads back down the stairs. CUT TO CREATURE ' S POINT- OF-VIEW: We are very low, only inches off the floor as we move down the hallway to NEEDLEMAN's door . Finally , we look up at the doorknob as a monstrous , wholly deformed caricature of a hand wraps its enlongated fingers around it . CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEEDLEMAN'S OFFICE .<\/stage_direction>\n    <scene_description>NEEDLEMAN is still behind his desk when the sharp crack of wood splintering and breaking splits the silence . He practically jlllllJ)S through the roof . Leaping to his feet , he hesitates for a second, then bolts into the waiting room . CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAITING ROOM .<\/stage_direction>\n    <scene_description>He star es at the door to the hall . Though the door is still closed, still shut , the doorknob and lock have been ripped right off -- leaving a wide gaping hole. NEEDLEMAN gingerly swings the door open and peers into the hall. CUT TO HALLWAY . The doorknob , lock and pieces of wood lie strewn in the center of the hall. There is no sound . No movement . NEEDLEMAN steps into the hall and cautiously leans over the stairway railing, looking below . He holds very sti ll , straining to hear some sound or see some sign of movement. Nothing. So he panics. CUT TO INT . WAITING ROOM . He charges back inside , slams the doo r shut and barricades it with everything in the room. First he pushes over the sofa . Then the chairs. Finally SHARON's desk , which sends her typewriter, phone and other objects crashing to the floor. When there ' s nothing left to throw in front of the door, he runs back into the office. CUT TO INT . NEEDLEMAN ' S OFFICE. First he slams and locks the door between his office and the waiting room. Then he spins around, presumably looking fo r what he can barricade this door with , when he stares at the phone on his desk . He lunges for it but pauses to catch his breath. He lifts the receiver and -- The light in the examination room goes out . CONTINUED : NEEDLEMAlf freezes. His mouth hangs open as he stares into t he quiet darloless of the room in f r ont of him . Slowly he puts the phone down. He walks to the doorway of the room and looks in. No aoUJld or hint of movement. CUT TO IlfT. EXAMIKATION ROOM . The camera is inside the room looking out. Everything is black \u2022~cept for the doorway where we see NEEDLEMAN outsi de, looking in. He reaches into the room , feeling aloag the wall for the light switch. He leans against the door frame as he gropes for the switch, then -- blink! -- the light in the room goes on -- AND WE FIKALLY SEE IT! A small , horrible monstrosity clinging to the aide of the wall -- right above the light switch and only inches from NEEDLEMAN ' s hand! Its tiny body is a roUJ1.d, pulsating mass of lumps and wrinkled flwsh . Two rough veiny arms -- of normal length a.ad ending with the deformed hands we've already seen -- extend from it . They are the only appendages . But most startling of all: protruding from the twisted folds of skin is DUAKE's face . Or almost DUAKE ' s face . The mouth is grotesquely extended and filled with sharp, irregular fangs \u2022 \u2022 \u2022 But otherwise it ' s DUAKE 's face. As if someone had grafted his skin onto this deformed monstrosity. But we are only affoxded a brief glimpse. For as quickly as the light goes oa , the CREATURE's powerful arms grab the doctor by the head and pulls him forward . In 8.J\\ iasta.t , the monster is clinging to NEEDLEMA.lf ' s face . CUT TO CLOSEUP NEEDLEMAlf. One of the CREATURE'S claws holds the doctor arollll.d tae throat. The other claw digs into his forehead, sending blood streaming down his face . CUT TO THE DOCTOR whirls around as he tries to pry the CREATURE fro\u25a0 him. Miraculously, he is able to do just that -- pull the CREATURE off his face -- and throws it across the room. NEEDLEMAN charges to the door and unlocks it . CUT TO IlfT. WAITilfG ROOM. He charges into the waiti\u2022g room and stops short , realizi\u2022g that he's barricaded himself in . Nevertheless , he lunges at the furniture blocking the door, frantically pulli\u2022g it out of the way. He doesn ' t have any trouble with the chairs or SHARON ' e desk, but the sofa is heavy aad awkward. He pulls part of it away from the door , thea ruae to the other end to push it . As he squats to push , the CREATURE leaps up from behind it, his arm stri k1ng lfEEDLEMAlf across the face . CUT TO CLOSEUP lfEEDLEMAlf . As he clutches his bloodied face , he stumbles backward, trips aad falls. Lying on his back , he tilts his head backward an.d looks behind him . CUT TO THE CREATURE from lfEEDLEMAlf's POilfT-OF- VIEW: It r apidly scurries toward him -- charging directly at the ca.aera -- though the scene is filmed UPSIDE DOWlf , the way lfEEDLEMAlf sees it . CUT TO THE CRRATURE climbs o\u2022 JfEEDLEMAlf , diving for hie stomach. 1'EEDLEMAlf struggles to rise , all the while trying to pull the monster from his waist. He stumbes back into his office \u2022 . CUT TO INT. lfEEDLEMA.lf'S OFFICE. NEEDLEMA1' plwmele iato a locked glass cabinet , filled with drugs and surgical tools , which crashes to the floor ae NEEDLEMAJf falls. The CREATURE still clutches the doctors stomach , though lfEEDLEMAlf is too stun\u2022ed, his face too bloody, to do anythi ng \u25a0ore than sit amidst the broken glass and scalpels . CUT TO 1 18 THE CREATURE ' s clawe ripping through lfEEDLEM.Alf's shirt 118 and ekia . CUT TO CLOSEUP 1'EEDLEMAN , screaming, as his blood squirts up into his face . CUT TO CLOSEUP lfEEDLEMAlf'S STOMACH as the CREATURE rips out his entrails . CUT TO 121 OMITTED 1 21 EXT . ALLEX. Abrupt silence; just the quiet hwn of the city at aight ia a fairly deserted area. DUANE waits in the darkness with the basket, staring up at the fire eseape. CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEEDLEMAN'S OFFICE.<\/stage_direction>\n    <scene_description>CLOSEUP of NEEDLEMAN' s face . \"Ke lies dead on the floor , eyes open aad face up . The camera pans away from him where , unexpectedly, we see his legs and bottom torso lying a few feet from his head. He's been ripped in two . But the camera doesn't dwell . It continues panning to a window , now open, leading to the fire escape. The CREATURE cr awls out it. DISSOLVE TO EXT . ALLEY. DUAffE helps the CREATURE back into its basket .<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>Did you get his address book?<\/dialogue>\n    <scene_description>The CREATURE tosses him the book. DUANE flips through it .<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>Great! Kutter ' s listed ! He ' s got her address . We ' re in luck .<\/dialogue>\n    <scene_description>CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET.<\/stage_direction>\n    <scene_description>We face the alley from across the street . No traffic. A well- dressed couple leisurely stroll down the sidewalk , passing the alley. As they pass, DUAl'{E, carrying the basket, comes out behind them and silently heads in the opposite ,direction. Camera holds on the alley , then FADE OUT FADE IN MANHATTAN skyline. Morning. DISSOLVE TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUANE'S HOTEL ROOM.<\/stage_direction>\n    <scene_description>The basket sits on the dresser , its lid closed. DUANE is nowhere to be seen until the door is unlocked and he enters carrying the \"DAILY NEWS\", a grocery bag and a cardboard box. DUANE brings everything to the dresser, removes the basket ' s lid and looks in.<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>I brought you some goodies.<\/dialogue>\n    <scene_description>From the grocery bag , he takes out three packages of frankfurters - uncooked.<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>First , some breakfast.<\/dialogue>\n    <scene_description>He tears open the cellophane and dumps the raw hot dogs into the basket . The ravenous eating sounds start.<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>I also got you a surprise. Don ' t look till I'm ready.<\/dialogue>\n    <scene_description>As he opens the cardboard box, he turns his back on us so we cannot see what he ' s unpacking .<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>I don't see any reason you need come with me today. I'm just going to case Kutter's apartment. Gotta !ind out if she ' s home or when she ' ll be back. Maybe I can !ind out where she works. It's going to be dull . I figure you ' ll have a better time here --with this --<\/dialogue>\n    <scene_description>He steps aside and we see a tiny black &amp; white te'levision set. He turns the basket on its side so the opening !aces the TV .<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>Ta-Da!<\/dialogue>\n    <scene_description>He plugs it in and turns it on, flipping the channels to a game show .<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>Great , huh? Even has a guarantee. Anyway, I'm not sure how long I ' ll be , but if you get tired of watching TV, I also brought you a paper. Okay? See you later.<\/dialogue>\n    <scene_description>DUANE leaves . Cautiously , one of the CREATURE's hands reaches out from the basket to the TV set and spins the channel selector a couple of times. The knob comes off in its hand . CUT TO EXT . STREET. DUANE comes bounding out of a subway exit and runs down the street . He's far too happy and anxious to get there for it to be DR . KUTTER that he ' s running to. He charges down West 71st street , heading for the very end of the block - - which is a dead end . DUANE runs into the entrance of a brownstone and rings one of the bells. The door buzzes and he rushes in . CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROWNSTONE HALLWAY.<\/stage_direction>\n    <scene_description>He races up the stairs , (there is no elevator). and knocks on a door . SHARON opens it . CUT TO CLOSEu:P DUANE . Panting and out of breath , but with a wide , beaming grin:<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>Hi. \u2022 \u2022<\/dialogue>\n    <scene_description>DISSOLVE TO EXT . LIBERTY ISLAND . The Statue of Liberty looms in the background as SHARON and DUANE walk toward the waterfront .<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>I gotta get these shoes off . My feet are killing me!<\/dialogue>\n    <scene_description>SHARON plops on a bench overlooking the water, removes her shoes and massages her feet .<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>That was a rare thrill . Everytime the wind ble w, I thought it was going to collapse.<\/dialogue>\n    <parenthetical>(DUANE laughs)<\/parenthetical>\n    <dialogue>Well , we ' ve been u p the Worl d Trade Tower and climbed the Green Lady . Where to now?<\/dialogue>\n    <scene_description>CONTINUED : DUANE (hesitating) Listen, I - - don't get mad or anything -- but I don't really want to see the city. I only said that. It was just an excuse. To see you again . I -- (sees SHARON's amused expression) You ' re not mad?<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Mad?<\/dialogue>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>I thought you were taking this so seriously, I didn ' t know how to get out of going any further without slugging you .<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>I thought you wanted to - -<\/dialogue>\n    <character>SHARON<\/character>\n    <parenthetical>(affectionately)<\/parenthetical>\n    <dialogue>You dummy<\/dialogue>\n    <parenthetical>(pulls him down on the bench next to her)<\/parenthetical>\n    <dialogue>I suggested we tour the city for the same reason you went along with it. I wanted to be with you too .<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>You did?<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Duane --<\/dialogue>\n    <parenthetical>(shaking her head)<\/parenthetical>\n    <dialogue>I know an awful lot of guys, Duane , but you ' re truly unique. Don ' t they have girls upstate?<\/dialogue>\n    <character>DUANE<\/character>\n    <parenthetical>(embarrassed)<\/parenthetical>\n    <dialogue>Well I \u2022 \u2022 \u2022 I keep pretty much to myself. I don't really have many friends.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>You ' re a dying breed , Duane.<\/dialogue>\n    <scene_description>She bends toward him and gives him a kiss . Not a passionate one ; more like testing him for his reaction. At first , there doesn't seem to be any reaction . DUANE just dumbly sta.r es back at her. Then slowly, 135 CONTINUED: tentatively, he leans toward her . Within seconds, their mouths are cemented together with DUANE apparently catching up on everything he's been missing . But we suddenly CUT TO 136 INT . DUANE'S HOTEL ROOM. Longshot of the room. The CREATURE is still in t he basket and out of sight. His little TV broadcasts an afternoon talk show. The camera dollies toward the basket . As it does , we FADE IN a DOUBLE EXPOSURE of DUANE kissing SHARON . Some sort of telepathic communication is happening between DUANE and the thing in the basket. It knows what DUANE is doing . It also knows DUANE is not wai~ing for DR. KOTTER \u2022 \u2022 \u2022 The DOUBLE EXl'OSURE of them kissing FADES OUT as the camera holds on a closeup of the basket. For a couple of seconds there isn ' t a sound . Then , the thing in the basket screams: the loudest , most unnatural shriek ever heard! Its arm reaches out, smashes the TV , picks up the remains and hurls it across the room. 137 The CREATURE leaps out of the basket onto the dresser -- 1: still screaming -- and throws itself against the wall. Making fists , it pounds the wall so hard we almost expect the wall to break. It grabs the edge of the dresser as it leaps up and down so that the dresser is crashing up and down with it. In short, it throws a tem~er tantrum. CUT TO 138 EXT . LIBERTY ISLAND. Suddenly , DUANE I&gt;Ulls away from SHARON as if a blinding pain shot through him. His face is contorted.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>What is it? What ' s the matter?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Oh God! Something 's wrong!<\/dialogue>\n    <scene_description>He stands, clutching his head with both hands .<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Duane , are you alrignt?<\/dialogue>\n    <scene_description>38 CONTINUED : 138<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>Something's happening! I gotta get back fast!<\/dialogue>\n    <scene_description>He turns away and runs toward the ferry.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Duane, wait!<\/dialogue>\n    <scene_description>She hurriedly puts her shoes back on and runs after him. CUT TO 39 LOBBY. HOTEL BROSNAN. 139 The noise of the CREATURE going berserk can be heard all over. The MANAGER and DIRTY LOU stare up at the ceiling as a tenant , MR . BOJARSKI, comes running downstairs .<\/scene_description>\n    <character>MR . BOJARSKI<\/character>\n    <parenthetical>(to MANAGER)<\/parenthetical>\n    <dialogue>I'm trying to do some writing but the guy in the room next to m~ine is going wild<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>Yeah. I hear, I hear .<\/dialogue>\n    <scene_description>The MANAGER g rabs the pass key and all three head up the stairs .<\/scene_description>\n    <character>MR . BOJARSKI<\/character>\n    <dialogue>He 's going berserk! Sounds like he's throwing :furniture against the walls. And screaming his lungs out --<\/dialogue>\n    <scene_description>CUT TO HALLWAY . THIRD FLOOR. The racket is even louder now. The CREATURE's non-stop screaming brings other TENANTS down the s t airs and into the hall. The noise is so loud, it seems to come from everywhere at once .<\/scene_description>\n    <character>ELDERLY WOMAN<\/character>\n    <parenthetical>(sees MANAGER and points to DUANE ' S room)<\/parenthetical>\n    <dialogue>In there! In tnere!<\/dialogue>\n    <scene_description>The MANAGER pounds on DUANE ' s door .<\/scene_description>\n    <character>MANAGER<\/character>\n    <dialogue>Open up! Hey! Open up! f T,..\\_..,..\\_..,.,-r.t.T'\\ \\<\/dialogue>\n    <scene_description>CONTINUED: With the pass key, the MANAGER unlocks the door and throws it open. CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUANE ' S HOTEL ROOM.<\/stage_direction>\n    <scene_description>The noise abruptly stops. Everything is suddenly very quiet. The MANAGER and DIRTY LOU enter while the other TENANTS peer in. Everything is in place. Only the shattered TV lies on the floo r . The basket is on the dresser, right side up, with its lid closed . The MANAGER has only to glance around the room to realize no one else is in there .<\/scene_description>\n    <character>MANAGER<\/character>\n    <dialogue>There ' s no one here .. .<\/dialogue>\n    <character>DIRTY LOU<\/character>\n    <dialogue>Where's the kid?<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>He went out early this morning .<\/dialogue>\n    <character>MR. BOJARSKI<\/character>\n    <parenthetical>(from doorway)<\/parenthetical>\n    <dialogue>I could've sworn i t came from here.<\/dialogue>\n    <scene_description>The MANAGER looks down at the broken TV, then opens closet . It ' s empty except for a couple of shirts.<\/scene_description>\n    <character>MANAGER<\/character>\n    <dialogue>Well \u2022 \u2022\u2022 whatever the hell it was, it ' s gone now.<\/dialogue>\n    <scene_description>DIRTY LOU catches sight of DUANE's bundle of cash lying on the lamp table. He almost drools . But the MANAGER catches sight of DIRTY LOU.<\/scene_description>\n    <character>MANAGER<\/character>\n    <dialogue>Okay , c'mon. Out!<\/dialogue>\n    <scene_description>He steers DIRTY LOU to the door . CUT TO HALLWAY. The MANAGER and DIRTY LOU come out of DUANE 's room. so. 143 CONTINUED : 14;<\/scene_description>\n    <character>MANAGER<\/character>\n    <dialogue>Okay, everybody. It's all over . Whatever it was, it stopped. It ' s gone. Now let's clear the hall --<\/dialogue>\n    <scene_description>The TENANTS disperse as the MANAGER locks DUANE ' s room , then turns to MR. BOJARSKI.<\/scene_description>\n    <character>MANAGER<\/character>\n    <dialogue>You sure it came from there?<\/dialogue>\n    <character>MR. BOJARSKI<\/character>\n    <dialogue>I thought so , but -- I don ' t know.<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>Well, if i t happens again -- I don ' t know either. C'mon Lou .<\/dialogue>\n    <character>DIRTY LOU<\/character>\n    <dialogue>Naw. You go ahead . I'm goin' upstairs and lie down a while .<\/dialogue>\n    <scene_description>MR. BOJARSKI goes into his room and DIRTY LOU upstairs . The MANAGER jiggles DUANE ' s door to make sure it ' s locked, then heads down to the lobby. Hold on the empty hall unt il - - 144 Quietly, DIRTY LOU tiptoes down the stai rs and over to DUANE's door. He inserts a piece of bent wire into the keyhole and - - click! -- the door unlocks . CUT TO 145 INT , DUANE ' S HOTEL ROOM. DIRTY LOU goes directly to the lamp table and snatches the pile of bills . He doesn ' t pocket it though -- he coun ts it as his eyes bulge . With the money still in hi s hand , he opens the drawers of the lamp table -- empty -- then turns to the dresser and 146 The basket ! DIRTY LOU charges over to it . He hesitates 141 a moment to glance to the doorway , then fl i ps the lid off -- the CREATURE l e aping on him before he can react . Instantly , blood streams ont o his clothes as the CREATURE clings to his face . He races to the door, the CREATURE clawing his eyes . CUT TO HALLWAY. THIRD FLOOR. DIRTY LOU runs to the stairs , his screams almost drowned by the CREATURE's roar . He tries to pull the thing off him out falls on the stairway . A moment later, he is up with the CREATURE now on his back , gnawing his neck . CUT TO LOBBY. The screams fill the hotel . The MANAGER races upstairs . CUT TO HALLWAY. THIRD FLOOR, The MANAGER reaches the third floor and sees MR. BOJARSKI and some other TENANTS looking up the stairs .<\/scene_description>\n    <character>MR. BOJARSKI<\/character>\n    <dialogue>Up there!<\/dialogue>\n    <scene_description>They run up the stairs. CUT TO HALLWAY, FOURTH FLOOR. The door of DIRTY LOU ' s room is closed; the screaming from inside abruptly stops . The MANAGER pulls out his set of keys, but when he can 't find the right one fast enough, he kicks the door in. CUT \u00b7ro<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DIRTY LOU'S ROOM .<\/stage_direction>\n    <scene_description>The MANAGER runs in only to stop dead in his tracks . The room is spattered with blood. DIRTY LOU is squished between the wall and his bed, his clothing and body shredded and almost entirely drenched in red. The camera pans to the open window -- DISSOLVE TO EXT. 8th AVENUE. DUANE races down the street with SHARON pulling on him.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Duane , will you wait a minute<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>DU.ANE<\/character>\n    <dialogue>I can ' t! Don't follow me!<\/dialogue>\n    <parenthetical>(he tugs away)<\/parenthetical>\n    <character>SHARON<\/character>\n    <dialogue>What's wrong with you? I only want to help<\/dialogue>\n    <scene_description>DUANE stops short and stares at the hotel. CUT TO EXT . HOTEL BROSNAN. A police car is .in front of the building; a small crowd huddled in the doorway . CUT TO DUANE, looking quite unhinged .<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>Oh God! I knew it! I knew it!<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Duane , will you calm down?<\/dialogue>\n    <scene_description>DUA.NE runs to the door of the hotel where CASEY is among the crowd .<\/scene_description>\n    <character>DUANE<\/character>\n    <parenthetical>(to CASEY)<\/parenthetical>\n    <dialogue>What happened?<\/dialogue>\n    <character>CASEY<\/character>\n    <dialogue>Someone killed Dirty Lou . Ripped him to pieces. They just took him away . The cops have been grilling everyone .<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Duane, I<\/dialogue>\n    <character>DUANE<\/character>\n    <parenthetical>(facing SHARON)<\/parenthetical>\n    <dialogue>You can' t come in here!<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Stop it , Duane!<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>I'm telling you it ' s dangerous!<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>You ' re acting like an idiot!<\/dialogue>\n    <scene_description>;5 CONTINUED : 155 He grabs her by the arm and pulls her away from the hotel.<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>You heard what she said - - he was killed !<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>You're not making sense. There ' re police inside who --<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>I don't want it killing you!<\/dialogue>\n    <scene_description>His expression is so intense , SHARON doesn't argue back. DUANE leaves her and runs into the hotel , CUT TO i6 HALLWAY. THIRD FLOOR. 156 DUANE races up the stairs and begins to unlock the door to his room when a DETECTIYE , a COP and the MANAGER come out of MR . BOJARSKI's room .<\/scene_description>\n    <character>DETECTIVE<\/character>\n    <parenthetical>(to MR . BOJARSKI)<\/parenthetical>\n    <dialogue>Thanks. You' ve been very helpful. We 'll probably have more questions at a later time .<\/dialogue>\n    <character>MR. BO.TAHSKI<\/character>\n    <dialogue>No problem.<\/dialogue>\n    <scene_description>As MR . BOJARSKI closes his door , the DETECTIVE sees DUANE --<\/scene_description>\n    <character>DETECTIVE<\/character>\n    <dialogue>Would you hold it for a minute?<\/dialogue>\n    <scene_description>DUANE freezes. He's caught. They 've got him . Only a matter of minutes before they cart him off to jail. ..<\/scene_description>\n    <character>DETECTIVE<\/character>\n    <dialogue>You live here?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Yes .<\/dialogue>\n    <character>DETECTI VE<\/character>\n    <dialogue>What's your name?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Duane Bradley .<\/dialogue>\n    <scene_description>i6 CONTINUED: 156<\/scene_description>\n    <character>DETECTIVE<\/character>\n    <dialogue>How long have you been out, Duane?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Since this morning.<\/dialogue>\n    <character>DETECTIVE<\/character>\n    <dialogue>Do you have any pets -- any animals in there?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>No. Nothing . Why?<\/dialogue>\n    <character>DETECTIVE<\/character>\n    <dialogue>One of your neighbors , a Mr. Louis Groff, was murdered a few hours ago. And we're questioning everyone in the building. Do you mind if we come in?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>But DUANE still doesn't move. The DETECTIVE reaches down, turns the key and opens the door. CUT TO i7 INT. DUANE'S HOTEL ROOM . 157 The DETECTIVE, the COP and DUANE enter. The MANAGER remains at the doorway looking in. The first thing DUANE looks for is the basket : it ' s still on the dresser, its lid closed. Then he looks toward the window : it's open . DUANE 's so nervous, he's barely able to mo~e. He stands in the middle of the room and never moves from the spot.<\/scene_description>\n    <character>DETEC1'IVE<\/character>\n    <dialogue>Duane, right before the murder, some of the tenants claim to have heard noises coming from this room. Like someone on a rampage . Any idea what it was?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>No. I don't know. I was out.<\/dialogue>\n    <scene_description>The DETECTIVE glances down at the shattered TV.<\/scene_description>\n    <character>DETECTIVE<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <parenthetical>( \/\"!ON'l'TNTTRn)<\/parenthetical>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>DUANE<\/character>\n    <parenthetical>(surprised to see it shattered)<\/parenthetical>\n    <dialogue>Uh \u2022 \u2022\u2022 that was an accident. It happened last night.<\/dialogue>\n    <character>DETECTIVE<\/character>\n    <dialogue>And you don ' t own a dog or anything?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>No .<\/dialogue>\n    <scene_description>But DUANE ' s eyes betray him . For an instant, they nervously glance at the basket. The DETECTIVE catches this \"na walks over to the dresser.<\/scene_description>\n    <character>DETECTIVE<\/character>\n    <dialogue>Where are you from , Duane?<\/dialogue>\n    <scene_description>He places hi\" hands on the basket's l id CUT TO CLOSEUP DUANE . His eyes bulge. He holds hi s breath. This is it ! ! -- CUT TO The DETECTIVE flips the lid off! The basket ' s empty. CUT TO CLOSEUP DUANE . Now he's even more nervous . If the CREATURE's not in the basket, where the hell is it?<\/scene_description>\n    <character>DUANE<\/character>\n    <parenthetical>(stammering)<\/parenthetical>\n    <dialogue>I'm , uh \u2022 \u2022 \u2022 from upstate \u2022 \u2022 \u2022 Glens Falls, upstate .<\/dialogue>\n    <scene_description>Though he remains frozen to th.e spot , DUANE ' s eyes dart wildly about the room , searching furiously for where the CREATURE 's hiding . If it ' s not in the basket, it must be in the closet. Or under the bed. Or - - CUT TO The DETECTIVE looks down at the floor next to t he dresser .<\/scene_description>\n    <character>DETECTIVE<\/character>\n    <dialogue>You always leave your money lying around like this?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <parenthetical>(he looks down)<\/parenthetical>\n    <scene_description>CUT TO The DETECTIVE picks up the wad of bills DIRTY LOU must have dropped.<\/scene_description>\n    <character>DUANE (OVER)<\/character>\n    <dialogue>It must ' ve fallen off the dresser<\/dialogue>\n    <scene_description>CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM.<\/stage_direction>\n    <scene_description>The COP enters and walks to the tub. The shower curtain is closed. He pulls the curtain to one side and looks behind it . Nothing. CUT TO The DETECTIVE hands DUANE the money which DUANE quickly pockets.<\/scene_description>\n    <character>DETECTIVE<\/character>\n    <dialogue>And you've been out all day?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Yes. Since around nine.<\/dialogue>\n    <character>DETECTIVE<\/character>\n    <dialogue>Alone or -- ?<\/dialogue>\n    <character>DUANE<\/character>\n    <parenthetical>(watching COP)<\/parenthetical>\n    <dialogue>No. With someone.<\/dialogue>\n    <scene_description>CUT TO The COP walks to the closet and opens i t. Nothing in there but DUANE ' s shirts .<\/scene_description>\n    <character>DETECTIVE (OVER)<\/character>\n    <dialogue>If y,o u had to prove where you'd been and who you were with, would you be able to?<\/dialogue>\n    <character>DUANE (OVER)<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>CUT TO CLOSEUP the DETECTIVE. His instinct is telling him something's wrong here , but what? The kid was out and CONTINUED: no one else is in the room -- He glances around, sure that he's missing s omething \u2022\u2022 \u2022<\/scene_description>\n    <character>DETECTIVE<\/character>\n    <dialogue>How long are you going to be staying A here? W<\/dialogue>\n    <character>DUANE (OVER)<\/character>\n    <dialogue>Few more days.<\/dialogue>\n    <character>DETECTIVE<\/character>\n    <dialogue>If I want to come back and look around again , would that be alrignt?<\/dialogue>\n    <character>DUANE (OVER)<\/character>\n    <dialogue>Sure .<\/dialogue>\n    <scene_description>CUT TO The COP comes over to the DETECTIVE and shrugs - - he can't find anything wrong , either .<\/scene_description>\n    <character>DETECTIVE<\/character>\n    <dialogue>Okay , Mr . Bradley, thanks for your help. I! you think of anything that may help us , I'd appreciate your getting in touch with us.<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Yeah. Okay.<\/dialogue>\n    <scene_description>The DETECTIVE glances around the room one more t ime, then he and the COP leave . The moment the doo r is shut , DUANE leaps at it and locks it . Then he races to the window. CUT TO EXT . HOTEL WINDOW . DUANE leans out, looking up and down the sides of the building . The CREATURE's not there . CUT TO INT . DUANE ' S HOTEL ROOM . DUANE pulls himself back in . He 's truly baffled. He walks to the center o! t he room unsure where to look next . Where the hell is it? CUT TO INT . BATHROOM . The lid over the toilet seat slowly rises, pushed up by the CREATURE' s hand . DUANE runs to the bowl and looks in .<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>Are you crazy?!? You could ' ve had us a r rested ! ! !<\/dialogue>\n    <scene_description>As before , only a one- sided \"conversation\" takes place .<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>No, no! Don ' t blame this on me! I didn ' t know he'd break in --<\/dialogue>\n    <parenthetical>(stammering)<\/parenthetical>\n    <dialogue>What? - - Wait a minute! -- Hold it! I -- Alright! Alright!<\/dialogue>\n    <scene_description>DUANE covers his ears , leans against the bathroom wall and slumps to t he floor.<\/scene_description>\n    <character>DUANE<\/character>\n    <parenthetical>(defeat ed)<\/parenthetical>\n    <dialogue>Okay. Okay. Yes, I was with a girl . Yes, the receptionist. Yes , I lied to you. No, I didn ' t go to Dr. Kutter ' s.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I knew if I told you you'd get mad.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>We didn ' t do anything . She just showed me around . That ' s all .<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I ' m not deserting you . I just wanted some time for myself .<\/dialogue>\n    <scene_description>72 DUANE l i fts the CREATURE out of the bowl, wraps it in 172 one of the hotel towels , then cuddles it in his arms .<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>Look I've he\u00b7lped you with ever ything so fa.r , haven ' t I? Ki1ling Pillsbur y was your idea . Comi ng to New York to get the other t wo was your idea . Wait! Wait! Let me finish!<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I ' m not saying that! I --<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <scene_description>'2 CONTINUED: 172<\/scene_description>\n    <character>DUANE<\/character>\n    <parenthetical>(continuing)<\/parenthetical>\n    <dialogue>No, of course you're right . They deserve what they get. All I'm saying is it's been your idea but I've helped you every step of the way. I'd never desert you. You know that. Not after what we've been through .<\/dialogue>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>We'll always be together.<\/dialogue>\n    <scene_description>Hold on DUANE . Then DI SSOLVE TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>'3 INT. BAR. 173<\/stage_direction>\n    <scene_description>A rough, brawling 8th Avenue bar. A mixture of Blacks, Whites and Spanish ; hustlers , junkies, pimps, hookers, bikers and loud blaring music . Enter CASEY, She walks the leng t h of the bar greeting and waving to most of the patrons until she stops short and . sta res , Because at the very end of the bar sits DUANE, the basket on his lap ,<\/scene_description>\n    <character>CASEY<\/character>\n    <dialogue>What the hell're you doing here? No -- don't tell me. It was the first bar you came to .<\/dialogue>\n    <scene_description>DUANE looks up at her and smiles . He's crocked.<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>Hi , Casey.<\/dialogue>\n    <character>CASEY<\/character>\n    <dialogue>Oh, baby, are you plastered! What'cha drinking?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Li ghter fluid,<\/dialogue>\n    <parenthetical>(makes a sour expression)<\/parenthetical>\n    <character>CASEY<\/character>\n    <dialogue>Gotta hand it to you , kid. You 're doing New York in style. First the Br osnan and now here . You, uh, come here often?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>I don 't even drink.<\/dialogue>\n    <scene_description>CONTINUED :<\/scene_description>\n    <character>CASEY<\/character>\n    <dialogue>'l'hat's obvious . You're not still upset about this afternoon are you?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>That isn ' t half of it. I ' m so messed up about a lot of things And now this girl I've met - - I don't know what ' s going on any more .<\/dialogue>\n    <character>CASEY<\/character>\n    <dialogue>She the one you were pushing away this afternoon?<\/dialogue>\n    <character>DUANE<\/character>\n    <parenthetical>(putting his hands to his head)<\/parenthetical>\n    <dialogue>Yeah \u2022 \u2022 \u2022<\/dialogue>\n    <character>CASEY<\/character>\n    <dialogue>Looked to me like you overreacted a bit, huh?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>But I couldn't let her in! I didn ' t want her to leave but she couldn't come in! \u2022\u2022. \u2022 Oh, I don't know. -- I ' m not malcing any sense . I don't even know what I'm talking about.<\/dialogue>\n    <character>CASEY<\/character>\n    <dialogue>Now that sounds familiar. Tell you what. Why don't you and your picnic basket there , take a table with me i n the back? I got some heavy boozin' to do and looks like you could use the company. C'mon .<\/dialogue>\n    <scene_description>She helps DUANE off the stool. DISSOLVE TO TABLE IN THE BACK. Strewn with empty glasses. The basket i s on top of the table with DUANE'a arm resting on it . Both he and CASEY are not only drunk out of their minds , but are in a laughing jag . It takes nothing to send them into hysterical , uncontrollable laughter .<\/scene_description>\n    <character>CASEY<\/character>\n    <dialogue>\u2022 \u2022 \u2022 so I throw toothpaste in my mouth and run out screaming ' Rabies ! ' The guy leaps up and runs out into traffic bare ass naked !<\/dialogue>\n    <scene_description>174 CONTINUED: 1' The two collapse with laughter , DUANE pounding the table .<\/scene_description>\n    <character>CASEY<\/character>\n    <parenthetical>(catching her br eath)<\/parenthetical>\n    <dialogue>So tell me, what do you do in Glens Falls?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>I ' m a sorter.<\/dialogue>\n    <character>CASEY<\/character>\n    <dialogue>A sort ' a what?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>No -- a letter sorter . I sort mail .<\/dialogue>\n    <character>CASEY<\/character>\n    <dialogue>i mailmaz;i? ! Hahahahahahaha!<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Hahahahahahahahahahahaha!<\/dialogue>\n    <character>CASEY<\/character>\n    <dialogue>Oh , that ' s great! Hey , I got something else I ' m just dying to ask you --<\/dialogue>\n    <scene_description>Deliberately acting mysterious , she looks around to make sure no one's listening , then leans forward to DUANE.<\/scene_description>\n    <character>CASEY<\/character>\n    <dialogue>What ' s in the basket?<\/dialogue>\n    <character>DUANE<\/character>\n    <parenthetical>(leaning toward her)<\/parenthetical>\n    <dialogue>My brother.<\/dialogue>\n    <character>CASEY<\/character>\n    <dialogue>Your brother? ! Hahahahahahaha!<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Hahahahahahahahahahahaha !<\/dialogue>\n    <character>CASEY<\/character>\n    <dialogue>What \u2022is he? A midget?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>No , no! We're twins!<\/dialogue>\n    <character>CASEY<\/character>\n    <dialogue>Hahahahahahahahahahahaha !<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Siamese twins! Hahahahahahahaha!<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>CASEY<\/character>\n    <dialogue>That's funny, you don't look - -<\/dialogue>\n    <character>DUANE &amp;<\/character>\n    <dialogue>CASEY<\/dialogue>\n    <parenthetical>(together)<\/parenthetical>\n    <dialogue>oriental! Hahahahahahaha!<\/dialogue>\n    <character>CASEY<\/character>\n    <dialogue>So what happened? Somebody shrink him?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>No , he'\u00b7s deformed! Hahahahahaha!<\/dialogue>\n    <scene_description>CASEY doesn't crack up this time. \"Deformed\" is not exactly a side- splitting pune.hline .<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>A freak! He looks like a squashed octopus! Hahahahahahaha!<\/dialogue>\n    <character>CASEY<\/character>\n    <parenthetical>(staring at him)<\/parenthetical>\n    <dialogue>Baby, are you weird.<\/dialogue>\n    <scene_description>The laughter dies. In its place, years of resentment, bitterness and secPets pour out in a drunken slur . Once DUANE starts, he can't stop \u2022 \u2022 \u2022<\/scene_description>\n    <character>DUANE<\/character>\n    <parenthetical>(rapidly)<\/parenthetical>\n    <dialogue>Our mother died giving birth to us. He was attached to my right side. They wouldn ' t let us go to school or anything. They kept us hidden . We were the big family secret. Everyone hated us. Except our aunt.<\/dialogue>\n    <parenthetical>(he leans toward CASEY and motions to the basket)<\/parenthetical>\n    <dialogue>You see, he doesn't like to be seen. Not even by me sometimes. He likes the dark. And you know what else?<\/dialogue>\n    <scene_description>CASEY shakes her head . She ' s afraid to interrupt .<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>He talks to me up here<\/dialogue>\n    <scene_description>DUANE taps his head. 175 CONTINUED:<\/scene_description>\n    <character>DUANE<\/character>\n    <parenthetical>(continuing)<\/parenthetical>\n    <dialogue>Without words. I just hear him. Whispering in my brain. Sometimes he won't shut up. Talks for hours. I used to be able to talk to him like that -- in the head -- but that's when we were still connected. Out aunt said it was our special gift. But since we've been separated, I can't do it anymore.<\/dialogue>\n    <parenthetical>(pats basket)<\/parenthetical>\n    <dialogue>But he can still do it to me . In fact , - he ' s even better at it now. He always knows what I'm thinking.<\/dialogue>\n    <character>CASEY<\/character>\n    <parenthetical>(cautiously)<\/parenthetical>\n    <dialogue>Duane, you're giving me the creeps .<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>They didn ' t want him to live. But he fooled them. He didn ' t die. He just got stronger .<\/dialogue>\n    <parenthetical>(covers his face; inceherently)<\/parenthetical>\n    <dialogue>If you only knew what it was like -- kept hidden from everyone We're so messed up. Both of us . I don't know which one of us is worse. Oh God --<\/dialogue>\n    <scene_description>He slumps forward, his head hitting the table.<\/scene_description>\n    <character>CASEY<\/character>\n    <parenthetical>(shaking him)<\/parenthetical>\n    <dialogue>Duane? Duane?<\/dialogue>\n    <scene_description>The camera dollies in to a closeup of DUANE, lying unconscious ' on the table. DISSOLVE TO FLASHBACK SEQUENCE: hazy and colorless -- like an unclear dream:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRADLEY HOME . NURSERY.<\/stage_direction>\n    <scene_description>The room is !-gll of RELATIVES , all gathered a r ound the AUNT a\\_nd the distraught fATHER. A baby bassinet is in the foreground but no one is near it or even approaches it . The FATHER, in a crying rage , is held by the AUNT and DR. PILLSBURY. CONTINUED:<\/scene_description>\n    <character>FATHER<\/character>\n    <parenthetical>(loud; emotional)<\/parenthetical>\n    <dialogue>They said I needed two names for it! One for the boy and one for the monster! As if I had two sons instead of one freak!<\/dialogue>\n    <scene_description>(shouting at bassinet) A It killed its own mother! You want W a nam..e for it?! How about 'Killer'?! Or 'Murderer'?! Or 'Deformity'?! He breaks down sobbing on DR. LIFFLANDER's shoulder. As the group of RELATIVES surround and try to comfort him-, the AUNT walks over to the bassinet and looks in. CUT TO 176A INSIDE THE BASSINET, the INFANT DUA.NE lies asleep. 176A Growing out of his right side is the INFANT CREATURE, lying awake and alert. The AUNT reaches in and gently tucks the little blue blanket around them both. DISSOLVE TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRADLEY HOME. PARLOR.<\/stage_direction>\n    <scene_description>The AUNT is speaking with a SOCIAL WORKER, also a woman, over cups of tea. The AUNT looks extremely uneasy.<\/scene_description>\n    <character>SOCIAL WORKER<\/character>\n    <dialogue>The boy is how old now? Twelve?<\/dialogue>\n    <character>AUNT<\/character>\n    <dialogue>You mean boys. There.!!:! two of them .<\/dialogue>\n    <character>SOCIAL WORKER<\/character>\n    <dialogue>Boys .<\/dialogue>\n    <scene_description>{pause) Yes , of course.<\/scene_description>\n    <character>AUNT<\/character>\n    <dialogue>{gesturing)<\/dialogue>\n    <scene_description>They're upstairs. 177A HALLWAY. SEOOND FLOOR. 177A They climb the short flight of sta~r.s to the second floor and walk the length of the hall, the SOCIAL WORKER talking non-stop . 176 CONTINUED : 17<\/scene_description>\n    <character>FATHER<\/character>\n    <parenthetical>(loud; emotional)<\/parenthetical>\n    <dialogue>They said I needed two names for it! One for the boy and one for the monster! As if I had two sons instead of one freak!<\/dialogue>\n    <parenthetical>(shouting at bassinet)<\/parenthetical>\n    <dialogue>It killed its own mother! You want a name for it? How about 'Assassin'? Or ' Murderer ' ? Or ' Deformity ' ? Or --<\/dialogue>\n    <scene_description>He breaks down sobbing on DR . PILLSBURY's shoulder. As the group of RELATIVES surround and try to comfort him , the AUNT walks over to the bassinet and looks in. CUT TO 177 INSIDE THE BASSINET , the INFANT DUANE lies asleep . 17' Loose-fi tting skin from his armpit to waist is connected to the INFANT CREATURE, lying awake and alert next to him. The AUNT reaches in and gently tucks their little blue blanket around them both . DISSOLVE TO 178 INT . HALLWAY OF BRADLEY HOME. The AUNT guides a SOCIAL WORKER , also a woman , to the nursery. From the expression on the AUNT's face, it ' s something she is reluctant to do.<\/scene_description>\n    <character>SOCIAL WORKER<\/character>\n    <dialogue>As the boy's aunt , I'm sure you're doing what you think best . I ' m fully aware that the local school board has granted the child a special dispensation and that you have a cer tified teaching credential . However , the State has final say in all matters and I must examine the child myself bef0re any tutoring can be considered a , substitute for --<\/dialogue>\n    <scene_description>The AUNT opens the nursery door . CUT TO 179 INT . NURSERY . 17 YOUNG DUANE , age 6 , is stacking a l phabet blocks on the floor . He looks up at his AUNT .'l'he CREATURE , sticking out of the slit in DUANE ' s clothing , knocks the blocks over . 180 THE . SOCIAL WORK.ER. Her mouth hangs open, her eyes fixed 18( to the CREATURE on the nursery floor . She is unable to move. The AUNT closes the nursery door .<\/scene_description>\n    <character>AUNT<\/character>\n    <dialogue>I think we should discuss this downstairs<\/dialogue>\n    <scene_description>She turns t he SOCIAL WORK.ER around and guides her down the hall. 1 DISSOLVE TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY OF BRADLEY HOME .<\/stage_direction>\n    <scene_description>YOUNG DUANE , now age 12 , opens the door of h is room and steps into the hallway. He holds the CREATURE as he walks, since it hangs from DUANE's waist , through a slit in his shirt, and cannot reach the floor . YOUNG DUANE motions for the CREATURE to be quiet as they tiptoe toward the stai rs . As they creep to the banister and look downstairs, we hear angry voice s from the dining room. CUT TO 182 INT . DINING ROOM OF BRADLEY HOME . Present are the FATHER, DR . PILLSBURY, DR. NEEDLEMAN and DR. KUTTER.<\/scene_description>\n    <character>FATHER<\/character>\n    <parenthetical>(to NEEDLEMAN a.pd KUTTER)<\/parenthetical>\n    <dialogue>\u2022 \u2022 \u2022 but the hospital refuses. Despite my pleading, they won't perform the operation. Which is why Pillsbury contacted you two. I don ' t care who you are or where you came from as long as this is done now. While my wife's sister is away. \u00b7<\/dialogue>\n    <character>PILLSBURY<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>But you must understand the dangers involved! The hospital refused for good reason . Removing th~ linking tissue may not affect Duane .but we don ' t know about the other one.<\/dialogue>\n    <character>NEEDLEMAN<\/character>\n    <dialogue>There ' s too much guesswork involved . It won't let us near it . We can't X-ray or examine it . We don't know how it ' s put together . Cutting into the cartilidge could kill it.<\/dialogue>\n    <scene_description>182 CONTINUED:<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>It's better off dead! What kind of life will it have the way it is?<\/dialogue>\n    <character>PILLSBURY<\/character>\n    <dialogue>We' re not going to murder your child for you.<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>Child?! Duane is my child! Not that other thing! All I'm asking is that Duane be made normal. Not live his l i fe as a freak connected to some horrible monstrosity. It's too late to change the other one. But at least cut Duane from it!<\/dialogue>\n    <character>KUTTER<\/character>\n    <dialogue>He's right, of course. The boy should at least have a chance at a nor mal life .<\/dialogue>\n    <character>PILLSBURY<\/character>\n    <dialogue>But if we just cut into it<\/dialogue>\n    <character>KUTTER<\/character>\n    <dialogue>I can't see how removing the connecting tissue eoul d harm Duane. At worst , he ' ll grow up with a nasty scar.<\/dialogue>\n    <character>PILLSBURY<\/character>\n    <dialogue>Allld the other one? What if it dies?<\/dialogue>\n    <character>KUTTER<\/character>\n    <dialogue>Doctor, I ' m not even sure it's human .<\/dialogue>\n    <parenthetical>(to the FATHER)<\/parenthetical>\n    <dialogue>If you ' re willing to pay for this and absolve us of all legal responsibility, I see no xeason why we shouldn't go ahead with it.<\/dialogue>\n    <scene_description>DISSOLVE TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM .<\/stage_direction>\n    <scene_description>YOUNG DUANE is struggling on the dini ng room table, held down by KUTTER, PILLSBURY and his FATHER as NEEDLEMAN prepares a syringe .<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>Hol d still Duane! Da111111it! Hold still!<\/dialogue>\n    <scene_description>CUT TO 183A A needle i njected into the struggling CREATURE. 183A<\/scene_description>\n    <character>CUT TO<\/character>\n    <dialogue>183B DUANE's eyes roll aRd close. 183B<\/dialogue>\n    <character>,.\\_CUT TO<\/character>\n    <dialogue>183C PILLSBURY and FATHER tying the CREATURE to the table. 183C<\/dialogue>\n    <character>CUT TO<\/character>\n    <dialogue>l83D KUTTER preparing the coDl'l.ecting tissue. 183D<\/dialogue>\n    <character>CUT TO<\/character>\n    <dialogue>183E lfEEDLEMAN placillg an oxygen mask over DUAlfE's mouth. 18}E<\/dialogue>\n    <character>CUT TO<\/character>\n    <dialogue>183.F KUTTER raises aealpel and cuts into connecting tissue. 183F<\/dialogue>\n    <character>CUT TO<\/character>\n    <dialogue>183G CREATURE wakes and screams. 183G<\/dialogue>\n    <character>KOTTER<\/character>\n    <dialogue>Hold it still!<\/dialogue>\n    <scene_description>NEEDLEMAlf injects another hypo into tae CREATURE as PILLSBURY and FATHER try to hold it still. CUT TO 183H Blood !lows from tke partially severed connecting tissue . 183H<\/scene_description>\n    <character>CUT TO<\/character>\n    <dialogue>183I CREATURE's mouth open and gasping. 183I<\/dialogue>\n    <character>PILLSBURY<\/character>\n    <dialogue>Something's wrong!<\/dialogue>\n    <scene_description>PILLSBURY raises CREATURE's arm, trying to !ind pulse. CUT TO 183J Scalpel continues to cut the connecting tissue. 183J<\/scene_description>\n    <character>CUT TO<\/character>\n    <dialogue>183K PILLSBURY holding CREATURE's limp arm. 183K<\/dialogue>\n    <character>PILLSBURY<\/character>\n    <dialogue>There's no pulse! I can't find the pulse!<\/dialogue>\n    <character>CUT TO<\/character>\n    <dialogue>Blood flows down DUANE ' s side.<\/dialogue>\n    <scene_description>183M CLOSEUP PILLSBURY. 183M<\/scene_description>\n    <character>PILLSBURY<\/character>\n    <dialogue>( It ' s dead ! CUT TO 183N Scalpel severs the remaining connecting tissue. 183N CUT TO 1830 CLOSEUP PILLSBURY, 1830 PI LLSBURY<\/dialogue>\n    <scene_description>Did you hear me?! I t' s dead !! !<\/scene_description>\n    <character>CUT TO<\/character>\n    <dialogue>183P Blood flows f rom DUANE's side, He opens his eyes ; they 183P<\/dialogue>\n    <scene_description>roll to the top of his head . Camera blurs out of focus . DISSOLVE TO<\/scene_description>\n    <character>184 INT, YOUNG DUANE'S ROOM. 184<\/character>\n    <dialogue>YOUNG DUANE lies asleep in his bed , his torso bandage d from airpits t o waist . Suddenly bis eyes blink open and he jerks up , awakened by a telepathic cry from hi s brother.<\/dialogue>\n    <character>YOUNG DUANE<\/character>\n    <dialogue>Y~s , I can hear you .<\/dialogue>\n    <parenthetical>(pause; no sound)<\/parenthetical>\n    <dialogue>I understand . Where are you?<\/dialogue>\n    <parenthetical>(pause ; no sound)<\/parenthetical>\n    <dialogue>I ' m coming.<\/dialogue>\n    <scene_description>He climbs out of bed . DISSOLVE TO<\/scene_description>\n    <character>185 EXT. BACK YARD. NIGHT 185<\/character>\n    <dialogue>Clad only in pajama bott oms and bangageB , YOUNG DUANE walks to the toolshed , At the side of the shed are three garbage cans . Behind them, propped against t he shed, i s a plastic trash bag.<\/dialogue>\n    <character>YOUNG DUANE<\/character>\n    <dialogue>Belial? --<\/dialogue>\n    <scene_description>He moves the cans out of the way as the camera dollie s in on the trash bag , Something inside it moves -- just a 185 CONTINUED: 1: little at first. Then the whole side of the bag bulges and tears as the CREATURE ' s hand ripe through and remains outstretched to YOUNG DUANE \u2022 DISSOLVE TO 186 INT . BASEMENT. 1 A large, unfi nished cellar overly cluttered with un-used furniture, storage cabinets , boxes , garment bags , a workbench and tools . A single exposed bulb creates dark shadows over everything. YOUNG DUANE holds the CREATURE in his arms as he wraps it in rags, trying to stop the bleeding. The CREATURE moans and makes low gutteral sounds, obviously in pain . Suddenly, their FATHER ' s voice fills the cellar.<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>Who ' s down there? Duane? Is that you?<\/dialogue>\n    <scene_description>DUANE , holding the CREATURE , scurries to hide . 187 THE FATHER comes down the basement stairs and looks over 1 the railing .<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>Duane? You down here?<\/dialogue>\n    <scene_description>He walks slowly toward the workbench , looking for DUANE among the maze of furniture and boxes .<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>You 're not supposed to be out of bed . What are you doing down here?<\/dialogue>\n    <scene_description>He stops in front of a large electrical table saw.<\/scene_description>\n    <character>FATHER<\/character>\n    <parenthetical>(looking a r ound)<\/parenthetical>\n    <dialogue>Duane? Answer me!<\/dialogue>\n    <scene_description>CUT TO 188 DUANE ' s hand sticking a plug into the socket of a heavy- duty extension cord. CUT TO 189 THE TABLE SAW comes to life , its blade spinning at top speed . 189 CONTINUED: 18<\/scene_description>\n    <character>FATHER<\/character>\n    <parenthetical>(startled)<\/parenthetical>\n    <dialogue>Duane?<\/dialogue>\n    <scene_description>CUT TO 190 THE CREATURE grabs FATHER's legs -- both at once - - and 19 jerks them backwar d . CUT TO 191 FATHER falls forward onto the table saw , the blade 19 buryi ng itself in his chest . His screams drown out the buzzing of the saw. DISSOLVE TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. YOUNG DUANE'S ROOM.<\/stage_direction>\n    <scene_description>From YOUNG DUANE's POINT-OF- VIEW : We are in the back of a closet , hiding behind the clothing and toys , but facing the doorway . Tha AUNT comes into the room and kneels in front of the closet , speaking softly to us .<\/scene_description>\n    <character>AUNT<\/character>\n    <dialogue>Duane? It ' s okay. The police have left . Everyone is gone .<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Dr. Pillsbur y told them he performed an emergency operation on your brother last night . And that your brother died and was removed from your side in order to save your life . As for your father , they believe it was some kind of horrible accident. There was even talk of sui cide .<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I'm not going to ask what really happened . I know you and your brot~er have gone through hell. They believe Belial is dead and we'll let them. It's safer for him this way.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Both you boys needn't hide any longer. I ' m here to take care of you . Both of you .<\/dialogue>\n    <scene_description>She holds out her a r ms . YOUNG DUANE comes out of the closet and she embraces him . But she remains kneeling , her arms still outstretched until the CREATURE also comes out and into her arms . She hugs them both. DISSOLVE TO 93 INT\u00b7. AUNT ' S ROOM . 193 The AUNT sits in an old rocker , her back towa rd us. Facing her , seated on the floor is YOUNG DUANE. The AUNT reads aloud from a l arge book whose title we canno t make out . As s he recites, the camera slowly revolves around t hem so we will be at DUANE ' s back and fac ing the AUNT when we fini sh .<\/scene_description>\n    <character>AUNT<\/character>\n    <dialogue>Art thou afraid?<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>No , monster , not I .<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Be not afraid. The isle is full of<\/dialogue>\n    <scene_description>noises, Sounds, and sweet airs that give delight and hurt not . Someti mes a thousand twangli ng instruments Will hum about mine ears; and sometimes voices That , i f I then had waked after long sleep, Will make me sleep again; and then, in dre8.l!J,ing, The clouds methought would open and show riches Ready to drop upon me, that , when I waked , \u00b7 I cried to dream again. The AUNT looks down. Cuddled in her arms is the CREATURE . DISSOLVE TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUNT ' S ROOM .<\/stage_direction>\n    <scene_description>As if asleep, she lies on her bed as DR . PILLSBURY pulls the sheet over her hea~ . DUANE, now an adult , is crying .<\/scene_description>\n    <character>PILLSBURY<\/character>\n    <dialogue>There's nothing more anyone can do. I'm sorry. Slre \u00b7 was a good woman.<\/dialogue>\n    <scene_description>DUANE covers his face sobbing. PILLSBURY puts his arm on DUANE ' a shoulder, trying to comfort him .<\/scene_description>\n    <character>PILLSBURY<\/character>\n    <dialogue>Will you be all right? Is there anyone you can stay with?<\/dialogue>\n    <scene_description>DUANE pulls away from the doctor . CONTINUED:<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>We'll be fine. We don't need anybody.<\/dialogue>\n    <character>PILLSBURY<\/character>\n    <dialogue>'We'?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Yeah. Me and my brother.<\/dialogue>\n    <character>PILLSBURY -<\/character>\n    <dialogue>Duane , I realize how upset you are. This must be a terrible shock for you.<\/dialogue>\n    <character>. DUANE<\/character>\n    <dialogue>You think I ' m kidding? Well he ain't dead. He never was. You thought you killed him but you didn't.<\/dialogue>\n    <character>PILLSBURY<\/character>\n    <dialogue>Let me give you something to help calm you down --<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Don't worry about me. It ' s you you better worry about. ' Cause we've been waiting. Waiting all these years for the right time.<\/dialogue>\n    <character>PILLSBURY<\/character>\n    <dialogue>I think I ' d better go --<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Go ahead and run! It ' ll do you no good! My brother 's gonna come fQr you . He ' s not gonna let you get away. And he ' s gonna get the others, too. You hear me? Hets gonna do to you what you did to us. You ' re gonna pay, you bastard! You're gonna pay!<\/dialogue>\n    <parenthetical>(breaks down sobbing)<\/parenthetical>\n    <scene_description>FADE OUT. (END OF FLASHBACK SEQUENCE) FADE IN<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY. THIRD FLOOR. HOTEL BROSNAN.<\/stage_direction>\n    <scene_description>DUANE and CASEY stagger up the stairs , DUANE still hoepelessly drunk. He carries the ba.ake t while CASEY practically carries him . She guides him up the stairs and to his door. CONTINUED:<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>I'm okay. I'm okay.<\/dialogue>\n    <character>CASEY<\/character>\n    <dialogue>Let me have your key.<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>No , no. I can do it . I'm alright.<\/dialogue>\n    <character>CASEY<\/character>\n    <dialogue>You sure?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Hundred percent .<\/dialogue>\n    <scene_description>CASEY lets him go. He puts the basket on the floor as be searches his pockets for the key . CASEY unlocks her~door , opens it, but doesn 't go inside. She watches DUANE . He puts the key in the lock but then starts to sway. CASEY rushes to him, catching him before he falls . She unlocks his door . CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUANE ' S HOTEL ROOM .<\/stage_direction>\n    <scene_description>They enter, DUANE' s arm a round CASEY 1 s shoulders as she V guides him to the bed. She 's not having an easy tim~ of it -- he's practically asleep a lready. Finally she flops him on the bed, getting pulled down underneath him in the process. She wiggles out from under him and tries to remove his shoes. Suddenly DUANE jumps up and races to the hall where he picks up the basket. He brings it in and puts it on the dresser.<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>Almost forgot him .<\/dialogue>\n    <scene_description>He flops back on the bed and is immediately snoring. CASEY removes his shoes, unbuttons his shirt , and stands looking down at him. He couldn't have been on the level with that story. He just couldn't have. She looks at the basket. A little monster inside it? No. Couldn 't be . She walks to the dresser. His deformed brother inside that basket? Ridiculous ! She puts her hand on the lid but pulls back . She looks over at DUANE, sleeping peacefully, then back to the basket when she notices the medical report l ying nex~ to it . The dried bloo d on the cover is not easy to miss. She picks it up and opens tQ the first page. CUT TO CLOSEUP of the birth certificate made out for: \"DUANE BRADLEY , MALE, 7 LBS \u2022\u2022 \u2022 11 The camera pans to the other birth certificate: 11 BELIAL BRADLEY , PARASITIC DEFORMITY\" and a large \"DECEASED\" stamped across it . CASEY turns a few more pages and comes to an 8 x 10 black and white photo . It is almost unrecognizable it seems to be a closeup of an eye surrounded by a mass of t wisted flesh . Some sort of inhuman face \u2022 \u2022\u2022 CUT TO CASEY looks back at the basket . She ' s got to open it . She puts the medical report down, places both hands on the lid , holds her breath and lifts the lid off - - Hothing. It's empty. Oddly, she isn't relieved . She puts the lid back on , glances around the r oom, then runs out . CUT TO HALLWAY. CASEY closes DUANE ' s door and makes sure it ' s locked. Then she enters her room , the door still open . CUT TO INT . CASBl ' S ROOM . 201<\/scene_description>\n    <character>,.<\/character>\n    <dialogue>Smaller than DUANE ' s and cluttere d with clothing scattered everywhere . CASEY enter s the bathroom and undresses . When she comes out , she ' s wearing only her panties and a loose f itting T- shirt . She opens the window then walks to the bed .<\/dialogue>\n    <scene_description>202 The bed is unmade , its blankets thrown to one aide and all bunched together. A pair of bright red panties lie on the pil low. She throws the panties to the foot of the bed and crawls on the mattress \u2022 .Bunching the pillows together, she snuggles on top of them , grabs the blankets and pulls t hem on top of her -- r evealing the CREATURE hiding underneath! CASEY sits upright and screams , too terrified to move. CUT TO CLOSEUP of the CREATURE . Its eyeball rolls up and down , as if examining CASEY from head to foot , then suddenly lurches forward , its arms outstretched toward her. CUT TO CASEY leaps out of the bed , screaming wildly as she runs for the door. Before running into the hall , she glances back to the bed . CUT TO THE CREATURE still holds its arms out toward her . It throws its head back, opens its mouth and a low gutteral sound fills the room . Not a scream; more l ike an animal in pain. CUT TO HALLWAY , CASEY throws her door open and charges into the hall , screaming hysterically . Within seconds , TENANTS fi ll the hallway. Incoherent , virtually unable to speak , she keeps pointing to her room. The MANAGER races up the stairs and grabs her, trying to hold her still.<\/scene_description>\n    <character>--., MANAGER<\/character>\n    <dialogue>Alright , alright. Easy now, Calm down.<\/dialogue>\n    <character>CASEY ,<\/character>\n    <parenthetical>(stammering)<\/parenthetical>\n    <dialogue>In my room -- something's in my room -- on \u00b7the bed<\/dialogue>\n    <character>' MANAGER<\/character>\n    <dialogue>Easy, Casey , easy.<\/dialogue>\n    <scene_description>The MANAGER motions for one of the tenants to hold her as he enters her room . CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CASEY ' S ROOM .<\/stage_direction>\n    <scene_description>The MANAGER enters and looks around . The CREATURE is gone . Everything is as it should be except -- The window is open wider , A strong breeze is blowing inside. The MANAGER goes to the window and shuts it . CUT TO HALLWAY, The MANAGER shuts the door to her room and takes CASEY in his arms.<\/scene_description>\n    <character>MANAGER<\/character>\n    <dialogue>It's gone now, Casey . Everything's okay \u2022<\/dialogue>\n    <scene_description>\u0080\ufffd: CONTINUED :<\/scene_description>\n    <character>CASEY<\/character>\n    <parenthetical>(sobbing)<\/parenthetical>\n    <dialogue>I -- I don ' t want to go back in there .<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>Okay, okay , you don't have to. You can stay downstairs. Sleep in my room. I'll be right outside the door . Everything 'll be alright.<\/dialogue>\n    <parenthetical>(to the TENANTS)<\/parenthetical>\n    <dialogue>The rest of you go back to bed!<\/dialogue>\n    <scene_description>He guides her to the stairs. CUT TO INT . LOBBY. HOTEL BROSNAN. Still holding CASEY, they come down the stairs where he \/ escorts her to the room behind the check-in desk.<\/scene_description>\n    <character>MANAGER<\/character>\n    <dialogue>Okay , now. Just lie down. You 'll be safe in here .<\/dialogue>\n    <scene_description>CASEY lies on his bed. He covers her with the sheet.<\/scene_description>\n    <character>. MANAGER<\/character>\n    <dialogue>I'll even leave the light on . Okay? Now go to aieep.<\/dialogue>\n    <scene_description>He closes the door to the room and leans on the check- in desk.<\/scene_description>\n    <character>MANAGER<\/character>\n    <dialogue>This ain ' t a hotel . It ' s a nuthouse!<\/dialogue>\n    <scene_description>DISSOLVE TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUANE'S HOTEL ROOM.<\/stage_direction>\n    <scene_description>Camera dollies in on the basket , still sitting \u00b7on the dresser, its lid slowly closing like the coffin lid in a vampire film . DISSOLVE TO INSIDE THE BASKET . Closeup of the CREATURE ' s hands . He is fondling something we can barely make out in the darkness. It looks like a piece of cloth . Slowly , the CREATURE unravels and meticulously examines the fabric : CASEY's bright red panties. FADE OUT .<\/scene_description>\n    <character>FADE IN<\/character>\n    <dialogue>'.12 MANHATTAN skyline. Morning. 212<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>'13 INT. DUANE'S HOTEL ROOM. 213<\/stage_direction>\n    <scene_description>DUANE wakes up, still wearing the wrinkled clothing of the night before. He cringes and holds his head . He ' s got a beauty of a hangover. Climbing out of bed, he stumbles over to the dresser and shakes the basket.<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>Wake up. Let's get this over with .<\/dialogue>\n    <scene_description>'14 LOBBY. HOTEL BROSNAN . 214 DUANE comes down the stairs , holding the basket. Though he 's changed his clothes, he still looks awful . The MANAGER , who spent the night asleep on a chair and looks as tired and exhausted as DUANE, calls to him .<\/scene_description>\n    <character>MANAGER<\/character>\n    <dialogue>Hey, Bradley. You -had a call this morning. A girl named Sharon.<\/dialogue>\n    <scene_description>r DUANE Sharon? Uh, okay. Thanks.<\/scene_description>\n    <character>MANAGER<\/character>\n    <dialogue>Up early t oday , aren't you?<\/dialogue>\n    <character>DUANE<\/character>\n    <parenthetical>(nodding to basket)<\/parenthetical>\n    <dialogue>Yeah , well, I've got to do the laundry.<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>Didn't you hear the coD1111otion last night?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Huh? What commotion?<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>Casey screaming.<\/dialogue>\n    <parenthetical>(pause; watches DUANE for his reaction)<\/parenthetical>\n    <dialogue>She saw something in her room .<\/dialogue>\n    <scene_description>For a moment there is almost panic on DUANE' .s face. CONTINUED :<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>What was it?<\/dialogue>\n    <character>MAN\u00b7AGER<\/character>\n    <dialogue>I don't know. Maybe she was dreaming. I 'm just surpri sed all the screaming didn ' t wake you up .<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>I had so much to drink l ast night, I was sound asleep. I don't even remember coming home.<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>Casey helped you.<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Where is she now?<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>In my room asl eep .<\/dialogue>\n    <scene_description>DUANE l ooks upset . His mi nd is so fogged about last night , he \u00b7.doesn ' t want to consider the obvious. He beads toward the front door.<\/scene_description>\n    <character>MANAGER<\/character>\n    <parenthetical>(calling to him)<\/parenthetical>\n    <dialogue>Sharon said to call her back.<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Huh? Oh, yeah. Okay. Thanks.<\/dialogue>\n    <scene_description>He leaves , the MANAGER staring at him as he goes . DISSOLVE TO LOBBY OF A LUXURY APARTMENT. Closeup of elevator doors opening and DR . KUTTER walks out . The DOORMAN nods to her on her way out.<\/scene_description>\n    <character>DOORMAN<\/character>\n    <dialogue>Morning , doctor.<\/dialogue>\n    <scene_description>She smiles but doesn' t answer. CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET .<\/stage_direction>\n    <scene_description>As KUTTER walks up t he street., the camera pans to DUANE, across the street. He bends down to the basket . 16 CONTINUED: 216<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>She just left.<\/dialogue>\n    <scene_description>17 5TH AVENUE. 217 KUTTER walks along the avenue unaware of DUANE's presence as he ~ollows her. CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MEDICAL BUILDING.<\/stage_direction>\n    <scene_description>Large, modern and very clean -- contrasting-greatly with all the other buildings we've been in so far . KUTTER enters; DUANE following a . few moments later. CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY OF MEDICAL BUILDING .<\/stage_direction>\n    <scene_description>As the elevator doors close on KUTTER, the camera pans to DUANE who carries the basket to the wall directory . CUT TO '20 CLOSEUP of the DIRECTORY. Pan along name: \"KUTTER, DR , 220<\/scene_description>\n    <character>JUDITH, VETERINARIAN\".<\/character>\n    <dialogue>CUT TO<\/dialogue>\n    <scene_description>121 DUANE. He 's shocked. Angry tears fill his eyes. He 221 bends down to the basket almost unable to speak.<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>She's a veterinarian! We were cut apart by an animal doctor !<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>'.22 INT. KUTTER'S WAITING ROOM. 222<\/stage_direction>\n    <scene_description>DUANE sits with the basket on his lap between a WOMAN holding a cat and a MAN with. a huge dog. The dog keeps sniffing at the basket and growling. A NURSE enters.<\/scene_description>\n    <character>NURSE<\/character>\n    <dialogue>Mr. White?<\/dialogue>\n    <scene_description>DUANE rises. CONTINUED:<\/scene_description>\n    <character>NURSE<\/character>\n    <parenthetical>(pointing)<\/parenthetical>\n    <dialogue>The door at the end o! the hallway.<\/dialogue>\n    <scene_description>CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EXAMINATION ROOM .<\/stage_direction>\n    <scene_description>This is also the !irst doctor ' s room we've been in that is clean , orderly and sterile. KUTTER's back is to DUANE 'as he enters. She is removing surgical tools !rom the sterilizer and placing them into the drawer o! a cabinet. She looks up at DUANE and smiles.<\/scene_description>\n    <character>KUTTER<\/character>\n    <dialogue>So. Tell me about your cat. You said on the phone he ' s badly cut.<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Yes. On his side.<\/dialogue>\n    <scene_description>DUANE places the basket on the examin.a tion table. KUTTER closes the drawer o! the cabinet and approaches him . She reaches !or the basket .<\/scene_description>\n    <character>KUTTER<\/character>\n    <dialogue>Let's take a look at him .<\/dialogue>\n    <scene_description>DUANE leans his arm across the lid, preventing her from opening it.<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>Only it ' s not a cat.<\/dialogue>\n    <character>KUTTER<\/character>\n    <dialogue>Oh? I thought you said<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>And I think I should explain how he got his cut before you see him.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Another vet -- a Dr. Pillsbury operated on him upstate . Unsuccessfully.<\/dialogue>\n    <character>KUTTER<\/character>\n    <dialogue>A Dr. Pillsbury you say?<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>Yee . You know him?<\/dialogue>\n    <scene_description>?23 CO.ITilfUED: 223<\/scene_description>\n    <character>!CUTTER<\/character>\n    <parenthetical>(not the least bit intimidated)<\/parenthetical>\n    <dialogue>Ah yes! -- I see. I'm beginlling to understa.ad aow. You're that kid Needleaaa warned me about . The Bradley boy.<\/dialogue>\n    <scene_description>{pause) The freak we separated. It's DUA:tra who's - intimidated. He turns a bright red.<\/scene_description>\n    <character>KUTTER<\/character>\n    <dialogue>What a pleasant sur prise after all these years. You seem to have gone to a great deal of trouble to find me. The question is why? I would assume it's to thank me.<\/dialogue>\n    <character>DUANE<\/character>\n    <parenthetical>(incredulously)<\/parenthetical>\n    <dialogue>To tha.ak you!?!<\/dialogue>\n    <character>KUTTER<\/character>\n    <dialogue>Well, after all, I made you nor11al, dida't I?<\/dialogue>\n    <character>DUA.IJE<\/character>\n    <dialogue>You did it to kill my brother! Like a paid assassin!<\/dialogue>\n    <character>KUTTER<\/character>\n    <dialogue>Oh dear. Hostility.<\/dialogue>\n    <parenthetical>(slams her fist on table)<\/parenthetical>\n    <dialogue>Now listen to me you insolent brat. You've got two seconds to haul your ass out of my office. I'm not goiag to be threatened by some adolescent punk with a smoldering grudge Unless you've grown something else you want cut off --<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>You bastard --<\/dialogue>\n    <character>KUTTER<\/character>\n    <dialogue>Or maybe you wa.at something aewa back on? A pity it died. Otherwise I could sew it back on for you and<\/dialogue>\n    <scene_description>She stops short and looks at the basket.<\/scene_description>\n    <character>( COKTI.IUED)<\/character>\n    <dialogue>CONTilWED:<\/dialogue>\n    <character>KUTTER<\/character>\n    <dialogue>What's in the basket?<\/dialogue>\n    <character>DUANE<\/character>\n    <parenthetical>(still reacting)<\/parenthetical>\n    <dialogue>You despicable, iahuman monster<\/dialogue>\n    <character>KUTTER<\/character>\n    <dialogue>You haven't brought me aay pet.<\/dialogue>\n    <scene_description>-She keeps looking back and !orth !rom DUANE to the basket .<\/scene_description>\n    <character>KUTTER<\/character>\n    <dialogue>What have you got in there . --<\/dialogue>\n    <scene_description>She rips the basket lid off and looks inside. CUT TO THE CREATURE in the basket. It looks up at KUTTER - - and smiles! CUT TO KUTTER screams. As she does, the CREATURE ' s claw grabs her jaw, its !ingers inside her mouth. She pulls back - - inadvertently l~fting the CREATURE out of the basket . With it cli nging to her mouth , she whirls aroUlld the room, trying to shake it off. DUAll rushes toward her. She ~wings at him wildly, s\u25a0ashing him across the face. He hits the wall and drops to the !loor. With the CREATURE still dangling from her now bleeding KUTTER leaps !or a cabinet and pulls open a \u25a0outll , drawer filled with surgical tools. Among them, scalpels. As t:1,e CREATURE c.laews her aeck, she reaches out , desperately trying to grab oae of the knives. CUT TO CLOSEUP of the DRAWER. The light glistens off at least two dozen scalpels as KUTTER ' s hand frantically tries to reach just one -- CUT TO Suddenly, the CREATURE is on the back of her neck. KUTTER tries to pull it off her but instead stumbles closer to the cabinet and the ' drawer full of scalpels. As she approaches, the CREATURE pushes her head lower aad lower -- On eye level with the drawer, KUTTER realizes what is happening. She tries to push away from the cabinet but to AO avail. Slowly the CREATURE forces her head into the drawer CUT TO HALL CORRIDOR OUTSIDE EXAMINATION ROOM . 231 KUTTER's agonized, e choed screams reverberate throughout the hall. The NURSE runs to the examination ' room and bangs on the door.<\/scene_description>\n    <character>NURSE<\/character>\n    <dialogue>Dr. Kutter, what's wroag? Ope\u2022 up! Dr. Kutter? Hello? Can you hear ae?<\/dialogue>\n    <scene_description>CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EXAMIKATIOK ROOM .<\/stage_direction>\n    <scene_description>KUTTER studs, slightly staggering, but with her back to us. Th\u2022 CREATURE is AO longer on her. The cabinet drawer lies oa the floor, the blades scattered about. KUTTER makes ao souad. She just stands in the middle of the room, swayiag slightly. CUT TO DUAKE putti ag the CREATURE back into the basket . CUT TO HALL CORRIDOR. The lfURSE is still banging on the door alld calling to KUTTER as a SECOlfD lfURSE rushes to the examination ro\u00b7o \u25a0 with a set of keys. CUT TO DUANE, raising the basket and e-xiting from another door i\u2022 the back of the room. CUT TO The exaai\u2022atioa roo\u2022 door opens and the two NURSES enter, freezing when they see KUTTER, her back still to us. CUT TO CLOSEUP KUTTER. With her back initially facing us , she slowly turns around. As she does, we see six scalpels embedded deeply ia her !ace. She stares at the camera !or a moment, disbelieving, then begins to screa.11. Alld scream. And scream -- CUT TO HALL CORRIDOR. DUAlfE coaes out o! a door at the opposite end of the hall. He hurries away as KUTTER 's screams continue. DISSOLVE TO OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 8TH AVENUE.<\/stage_direction>\n    <scene_description>DU.All, carrying the basket , slumps toward the \"HOTEL BROSJJA1'\" . His nose a bit bloody from the pllllch he received, he looks tired, almost to the point of exhaustion. Just as he nears the front of the hotel, he hears someone calling Aim. CUT TO SHARON, I'UJUliag doWl'I. the crowded sidewalk toward hill. For the first time, she isn't smiling. She looks upset. CUT TO EXT . HOTEL BROSNAN . The o\u2022ly reason SHARON doesn't throw her arms around DUANE when she gets to him is because he's holding the basket out i\u2022 front of him. As it is, she presses agaiast it, ud looks as if she's been crying.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Oh, God, Duane. Something awful 's happened .<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>What? Tell me --<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>I've been with the police all morning.<\/dialogue>\n    <parenthetical>( COlfTIIruED)<\/parenthetical>\n    <scene_description>242 CONTINUED:<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>The police? !<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Dr . Ne~dleman's been murdered. They found his body sometime last night.<\/dialogue>\n    <character>DUANE<\/character>\n    <dialogue>They don ' t think that you ?<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Oh no . Of course not . But it ' s so awful . I ' m still shaking . I mean , I didn ' t l i ke the man but , God, Duane , someone killing him 1 I've been a wre ck all day .<\/dialogue>\n    <character>CUT TO<\/character>\n    <dialogue>243 SHARON ' s breasts pressing against the basket . 24:<\/dialogue>\n    <character>SHARON (OVER)<\/character>\n    <dialogue>I need to be with someone . I don ' t want to be alone .<\/dialogue>\n    <character>CUT TO<\/character>\n    <dialogue>244 CLOSEUP SHARON , her eyes filling with tears.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>I want to be with you , Duane.<\/dialogue>\n    <parenthetical>(fighting back the tears)<\/parenthetical>\n    <dialogue>I don ' t know why -- especially aft~r the way you acted yesterday but I just -- You ' re the first person I thought of . The only person I thought of.<\/dialogue>\n    <parenthetical>(st~rts to cry)<\/parenthetical>\n    <dialogue>24 5 DUANE can ' t deal with her cryi ng . He doesn't know what 241<\/dialogue>\n    <scene_description>to do . He looks around guiltily, as if afraid to be caught with a crying woman . Finally, he puts his ar ms over her shoulders.<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>Don ' t - - don ' t cry. It ' s okay . Real ly. It ' s all r ight now. Come up . C'mon upstairs .<\/dialogue>\n    <scene_description>They enter ~the hotel . CUT TO INT . DUANE ' S HOTEL ROOM. DUANE and SHARON enter. He carries the basket over to the dresser while she stands by the door .<\/scene_description>\n    <character>SHARON<\/character>\n    <parenthetical>(sniffing)<\/parenthetical>\n    <dialogue>They wanted me to identify the body until they saw how bad I was taking it . - - I don ' t understand why I'm this upset. I just am .<\/dialogue>\n    <scene_description>DUANE looks at her from across the other side of the room .<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>And I don ' t know why I kept thinking of you. But it's all I did . I've been thinking of you all day. Oh God, ~ane - -<\/dialogue>\n    <scene_description>She runs t to him . They embrace and kiss. Passionately. DUANE ' s emot.ions ha:ve been bottled up for so long, there ' s nothing stoppi ng him now. And SHARON is only too willing - - They fall on the bed, DUANE on top of SHARON.<\/scene_description>\n    <character>SHARON<\/character>\n    <parenthetical>(between kisses)<\/parenthetical>\n    <dialogue>I love you , Duane.<\/dialogue>\n    <scene_description>CUT TO DUANE's hand on her breast . CUT TO THE BASKET . A closeup for a split second only . Then CUT TO DUANE ' s hand moving under her blouse . CUT TO CLOSEUP DUANE . Every sexual feeling he ever suppressed is coming alive inside him . He stops kissing her only to gulp tor air betor~ again engulfing SHARON's mouth. CUT TO THE BASKET . Another quick closeup . CUT TO t54 CLOSEUP of SHARON and DUANE kissing . SHARON's mouth 254 moves to his ear.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Don't stop<\/dialogue>\n    <character>CUT<\/character>\n    <dialogue>!55<\/dialogue>\n    <character>TO<\/character>\n    <dialogue>THE BASKET . Another split second closeup .<\/dialogue>\n    <character>CUT<\/character>\n    <dialogue>156<\/dialogue>\n    <character>TO<\/character>\n    <dialogue>DUANE rises up, straddling SHARON. He looks down at her .<\/dialogue>\n    <scene_description>He wants her but there's a slight hesitation . CUT TO !57 CLOSEUP SHARON , her arms reaching up , caressing his face . 257<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Take me . Take me , Duane .<\/dialogue>\n    <scene_description>CUT TO 158 THE BASKET. The lid flies off as a loud, ungodly roar 258 fills the room. CUT TO DUANE stares at the basket in shock. Hie hands, however, 259 press on SHARONls head and chest, holding her down on the bed and preventing her from rising or even looking over at the~ba.s k:et .<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Oh my God! What's that?!<\/dialogue>\n    <scene_description>She tries to get up but can't . At this point , it ' s hard to tell if DUANE is deliberately holding her down or just frozen in such a way that all his weight is on top of her.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Duane , let me up!<\/dialogue>\n    <scene_description>CUT TO ?60 THE BASKET . The CREATURE ' s head sticks out of \u00b7it , its 260 mouth open wide and screaming . Both its twisted arms reach outstretched toward \u00b7the bed . CUT TO 261 SHARON tries to shake herself free, but DUANE suddenly 26 1 reaches to the foot of the bed , grab~ hold of the sheet , and pulls it up over SHARON's head.<\/scene_description>\n    <character>SHARON<\/character>\n    <parenthetical>(screaming)<\/parenthetical>\n    <dialogue>Stop! What 're you doing? I can't see!!<\/dialogue>\n    <scene_description>She continues to fi\u2022ght him and try to pull away, but in what looks like standard operating procedure for a kidnapping, DUANE has the bed sheet wrapped completely over her. He holds her around the waist, lifts her off the bed, and carries her to the door , her legs kicking wildly.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>(screaming} Duane ! Stop it! Put me down ! CUT TO 262 THE CREATURE's eyeball follows DUANE as he rushes SHARON 262 from the bed to the door. The CREATURE throws its head further back , screaming at the top of its lungs .<\/dialogue>\n    <scene_description>CUT TO Pressing SHARON between himself and the door , DUANE quickly unlocks i t , throws the door open and pushes SHARON out of the room -- bed sheet and all . No sooner does she fall on the hallway floor, does the door slam shut and he relocks it. Then DUANE runs over to the basket and pushes the CREATURE back into it , muffling its screams. CUT TO HALLWAY. SHARON pulls the bed sheet off and pounds on DUANE 's door.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Duane! Open up! What ' s happening in there? What 's wrong with you?<\/dialogue>\n    <scene_description>CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUANE'S HOTEL ROOM .<\/stage_direction>\n    <scene_description>DUANE presses into the basket with both hands , holding t he CREATURE down and ou.t of sight, its screaming stifled. Angry tears roll down his face.<\/scene_description>\n    <character>OONTINUED;<\/character>\n    <dialogue>DUANE<\/dialogue>\n    <character>266<\/character>\n    <parenthetical>( to CREATURE)<\/parenthetical>\n    <dialogue>What are you trying to do to me?<\/dialogue>\n    <character>SHARON (OVER)<\/character>\n    <dialogue>Duane! Open the door! Talk to me!<\/dialogue>\n    <character>DUANE<\/character>\n    <parenthetical>(shouting to her)<\/parenthetical>\n    <dialogue>Go away! It won ' t work!<\/dialogue>\n    <character>SHARON (OVER)<\/character>\n    <dialogue>Are you all right? Open the door and let me in!<\/dialogue>\n    <character>DUANE<\/character>\n    <parenthetical>(shouting)<\/parenthetical>\n    <dialogue>No! Go away! Leave me\u00b7 alone! It won't work! It'll never work!<\/dialogue>\n    <scene_description>DUANE punches the basket , repeatedly beating it. DUAifE (to CREATURE) Damn you! God damn you!<\/scene_description>\n    <character>SHARON (OVER)<\/character>\n    <dialogue>Duane?! Duane?!<\/dialogue>\n    <scene_description>DUANE slinks to the floor sobbing . The CREATURE remains 267 silent in the ~asket as DUANE pounds on the ~loor.<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>Damn you! Damn you! Damn y.ou !<\/dialogue>\n    <character>SHARON (OVER)<\/character>\n    <dialogue>Duane! Duane!<\/dialogue>\n    <scene_description>Covering his \u2022faee with his hands, DUANE curls up on the floor, ignoring SHARON who continues to call to him and bang on the door as we FADE OUT Hold o-n the blackness un.til a shaft of light horizontally splits the screen , We are still in INT , DUANE'S HOTEL ROOM. From the CREATURE ' s POINT-OF- VIEW : We are inside the basket, the lid slightly open , and peering out . It ' s the middle of the night . DUANE is lying on the bed asleep. He still wears his clothes and is not under the blankets , looking like he just flopped on the mattress and fell asleep, We look over at the lamp table to the alarm clock, It i s almost ;:;o. CUT TO THE BASKET. Its head sticking out , the CREATURE raises the lid all the way, letting it slide silently onto the dresser . CUT TO THE CREATURE drops onto the floor in front of the dresser , making a dull wet thud. The CRE-ATURE freezes and stares up at DUANE . CUT TO CREA'NJRE ' S POINT- OF-VIEW: We are so low on the floor that the bed looks gigantic . DUAl'IE turns over on the bed, though still asleep . When DUANE is again motionless, we move forward, passing the bed to stare up at the lamp table next to it. The edge of the map of Manhattan sticks off the tabl.e. Our arm reaches up, pulls on the map and it falls to the floor . We again look over at DUANE. He heard nothing , still sleeping soundly . We spread the map open on the floor as our deformed fingers trace a path from 44TH and 8TH up to 12TH AVENUE and along the waterfront to 71ST STREET . We look back at DUANE once more , see that he is still sound asleep , then move to the open window. CUT TO INT, TAXI . NIGHT The CABBIE i s giving an animated lecture on the perils of Uew York Ci ty to his PASSENGER in the back seat as the taxi speeds down 8TH AVENUE .<\/scene_description>\n    <character>CABBIE<\/character>\n    <dialogue>It doesn't make sense! Carter gives the Bronx twenty million do llars when the bridges leading into t he city here are- falling apart! The Queensboro, Williamsburg and Manhattan bridge are gonna collapse any day now! It ' ll be just like the West Side Highway . They won ' t fix it , they won't tear it down . It just hangs there , dropping concrete on people ' s heads!<\/dialogue>\n    <scene_description>, ( CONTINUED): CONTINUED : Suddenly,. the CABBIE does a double take as he looks out the windshield.<\/scene_description>\n    <character>CABBIE<\/character>\n    <dialogue>Holy shit!!! What was that?!!!<\/dialogue>\n    <scene_description>The taxi screeches to a halt as the CABBIE and t he PASSENGER both stare out the side window.<\/scene_description>\n    <character>CABBIE<\/character>\n    <dialogue>What the hell? Did you see that?! Did you see that thing?!!<\/dialogue>\n    <character>PASSENGER<\/character>\n    <dialogue>What? I didn ' t --<\/dialogue>\n    <character>CABBIE<\/character>\n    <dialogue>Ran right acro ss the road! Never seen anything like it! Scared the hell outta me!<\/dialogue>\n    <scene_description>A car horn honks behind them .<\/scene_description>\n    <character>CABBIE<\/character>\n    <parenthetical>(now looking out back window)<\/parenthetical>\n    <dialogue>Aw shut up\u00b7!<\/dialogue>\n    <scene_description>Horn honks again and CABBIE leans out the window.<\/scene_description>\n    <character>CABBIE<\/character>\n    <dialogue>Go on! Blow it out yer ass!<\/dialogue>\n    <scene_description>CUT TO CREATURE'S POINT- OF- VIEW: NIGHT We are moving under a block long row of parked cars . Aa we near 9TH AVENUE , we pause and peer out from behind a tire. A MAN walks past , not seeing us . We wait. The rest of the street looks deserted and there is almost no traffic . We climb up t he curb. CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TENAMENT. NIGHT<\/stage_direction>\n    <scene_description>A dirty building somewhere along W. 44TH. A cluster of garbage cans under an open window suddenly move as they get pushed apart . One loudly falls over . The lights in the window go on and a WOMAN \u00b7rushes to the window. {CONTINUED): CONTINUED:<\/scene_description>\n    <character>WOMAN<\/character>\n    <parenthetical>(strong Spani sh accent)<\/parenthetical>\n    <dialogue>Hey! Get outta here you --<\/dialogue>\n    <scene_description>She sees the CREATURE (out of camera range) and goes into hysteric13.<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Yaaaaaah! Ay Dios mio! Mira! Ven aqua! Afuera! Ay algo alli! Mira! Mira!<\/dialogue>\n    <scene_description>A MAN who obviously jus t woke up stumbles to the window and looks out.<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Mira! Mira! Lo ve?<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>It's a garbage can! It fell! Now shut up!<\/dialogue>\n    <scene_description>CUT TO 275 CREATURE'S POINT::OF- VIEW: NIGHT 275 'e We are looking down at the sidewalk moving rapidly underneath us as our arms alternately pull us forward. We stop and look around , We face the waterfront . Traffic is almost non- existent and the streets appear empty. We turn north and move forward, CUT TO 12TH AVENUE. NIGHT A quiet area under the West Side Highway. Seemingly deserted, there is no sign of movement of any kind until a woman's scream splits the silence. From an unlit area near the water, the WOMAN runs across the street screaming and waving her arms at an oncoming car, The car pulls t o the curb and two MEN get out. The WOMAN points to the docks .<\/scene_description>\n    <character>WOMAN<\/character>\n    <parenthetical>(incoherently)<\/parenthetical>\n    <dialogue>Something ' s over there! Some kind of animal! This horrible thing with one eye and - - ran right in front of me --<\/dialogue>\n    <scene_description>CONTINUED : They run to the edge of the dock and look into the darkness as the camera pans away fro\u00b7m them to a deserted section of 12TH AVENUE under repair. The cam.e ra continues moving north -- DISSOLVE TO Various locations along the waterfron t area. All are empty , deserted areas where something small like the CREATURE would have no trouble moving unnoticed in the night . Each location is accompanied by either a vague movement in the distance or the sound of the CREATURE ' s labored breathing . DISSOLVE TO EXT . SHARON'S BROWNSTONE . NIGHT The camera pans from a closeup of her 4th floor window down to the street below . In front of her building, under a street lamp , is the CREATURE . It stands in the gutter, 011e arm resting on the sidewalk curb , its body heaving in and out as it catches its breath, its eye staring up at SHARON ' s apartment . CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUANE ' S HOTEL ROOM .<\/stage_direction>\n    <scene_description>DUANE is still asleep on the bed. Tossing slightly , his body jerks and his face twitches . He ' s having one hell of a dream ; either a nightmare or -- The camera moves 1n to a tight closeup of his face . DISSOLVE TO DREAM SEQUENCE: in the same hazy , colorless style as the FLASHBACK sequence earlier. We are in<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHARON ' S BEDROOM .<\/stage_direction>\n    <scene_description>FROM DUANE'S POINT- OF- VIEW: We stand by the window , across the room, watching SHARON sleep . Slowly, quietly, we move toward her, then stand over the bed looking down on her. DUANE's hand reaches out and gently caresses her face, lightly touching her eheelts and lips . 'l'hen he feels her hair , picking up a few strands and letting them fall against her pillow . We look down at her body . Though the sheet is pulled up to her neck , her shaply figure is clearly outlined underneath. Again DUANE gently caresses her body, but ( f!l)llf'l'Tlll7TR1)) 80 CONTINUED: 280 very gently so as not to wake her. One of her legs sticks out from under the sheet. DUANE ' s hand moves to the leg, savoring the touch of her skin. We look back at her face. She still hasn't stirred; she must be in a very deep sleep. Cautiously, hesitating slightly, DUANE's hand reaches to the sheet covering her neck and pulls it halfway down. She is nude underneath, her breasts fully exposed to us . Both DUANE ' s hands reach out, wanting to touch, but afraid to . We bend down, as if a closer look will compensate for being afraid to touch . But DUANE's hand does touch; very gently, very slowly . First a finger rests on the aide of her breast , then another and another until the entire hand engulfs it. But our dream now gets bolder. As we pull the sheet entirely off her , we climp onto the bed, straddling her much like DUANE did before. Again there is a slight hesitation until we begin to move up and down, up and d9wn on this beautiful sleeping nude woman -- CUT TO INT. DUANE ' S HOTEL ROOM . 281 DUANE twitches more and more in his sleep, his face now pouring with sweat . Suddenly he springs awake , jerking up to a sitting position . He wipes the sweat from his face as he sits there trying to separate the dream from the dingy hotel room he sits in. But something else: some kind or worry, even panic, appears on his face. His head jerks to the dresser and the basket , its lid lying next to it . DUANE leaps off the bed and clutches the empty basket . Then he sees the open window. All at once the reality sinks in: that wasn't entirely a dream he just had -- CUT TO ?82 INT . SHARON'S BEDROOM. 282 We are in the same position we were in the dream sequence , from the SAME POINT- OF-VIEW: That is, we are moving up and down on SHARON's nude body while she sleeps . Only this is not filmed in the hazy, colorless style as before . This is only too clear -- SHARON ' a face twitches and her eyes open . She looks up at us and every form of horror re.gisters across her face . She screams and screams and screams. THE CREATl,JRE , lyi ng on top of SHARON , screwing her . CUT TO INT . DUANE'S HOTEL ROOM . DUANE knows exactly what 's happening. He grabs the basket and runs out of the room . CUT TO EXT . 8TH AVENUE . NIGHT DUANE r a ces out of the hotel and char ges wildl y down the street , the empty basket in his hand . CUT TO INT . SHARON' S BEDROOM. 286 SHARON struggles , trying to get up , but t he CREATURE ' s massive hand covers her face , pressing her down and muffling her scr eams . The CREATURE continues to screw -- CUT TO EXT. STREET . NIGHT 287 DUANE , his face contorted with both anger and the pain of his non- stop , full speed running , races t hrough the streets. He disregards lights, traffic, everything in his way CUT TO :88 INT . SHARON ' S BEDROOM . 288 SHARON continue s to struggle . The CREATURE , still raping her, has one hand over her mouth and the other hand holding her arm against the mattre ss. But SHARON 's free arm beats the CREATURE and tries t o pull i t off as her legs kick . Still, the CREATURE remains on top of her . CUT TO '89 EXT . STREET. NIGHT 289 A horn blasts and a car skids , almost hitting DUANE who doesn't notice . He charges down W. 71ST , running like a madman . CUT TO :90 EXT . SHAROii I S BROWNSTONE . NIGHT 290 DUANE races up the steps to the front door . We hear glass break as the door opens and DUANE charges inside. CUT TO 91 INT . SHARON'S BEDROOM . 291 Closeup of SHARON, The CREATURE'S hand presses tightly over her mouth. She continues to struggle though it seems to be entirely in vain . Whether thr ough loss of air , pain or shock , SHARON's eyes roll to the top of her head and she f alls back onto the pillow . She is no longer moving . '92 As we near t he sound of SHARON's door being kicked in , 292 DUANE rushes into the room and , for a second, freezes . Because the CREAa'URE is still screwing her . She isn ' t moving; she ' s either dead or unconscious, Her bQdy has scratches all over it. There Ls blood on her legs . And this horrible , deformed monstr osity is still screwing her. DUANE leaps at the CREATURE and tries to pull it off . 293 The CREATURE won I t budge . DUANE pul ls and pulls and finally yanks it off . As DUANE holds the CREATURE , he stares horrified at SHARON . There is blood all over her thighs anu pelvis . And dripping from the CREATURE. DUANE is not the type who deals rationally with a crisis . Just the opposite. He li t erally throws the CREATURE into the basket , clamps it tightly under his arm, and runs from her apartment. DISSOLVE TO 94 EX~ . 8TH AVENUE . NIGHT 294 DUANE hurries toward the hotel struggling and fighting wi t h the basket as if it had a life of its own , scr eaming at it in another one-sided argument.<\/scene_description>\n    <character>DUANE<\/character>\n    <parenthetical>(screaming)<\/parenthetical>\n    <dialogue>How could you?!<\/dialogue>\n    <parenthetical>(beats tne basket)<\/parenthetical>\n    <dialogue>No ! Never ! Never again!<\/dialogue>\n    <parenthetical>(the basket almost yanks f.rom his hands)<\/parenthetical>\n    <dialogue>She was pure! She was good ! She wasn't one of them!<\/dialogue>\n    <parenthetical>(punches the basket)<\/parenthetical>\n    <dialogue>You ' re finished! You ' re not getting loose again !<\/dialogue>\n    <scene_description>CONTINUED : DUANE holds the lid tightly as he enters the hotel , CUT TO INT , LOBBY . HOTEL BROSNAN, THE MANAGER , asleep in a chair behind the check- in desk , leaps up as DUANE ent er s screaming .<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>Why her? Because I wanted her? Because she wanted me? What's -wrong with you?<\/dialogue>\n    <scene_description>He slamB the basket against the check- in desk and punches it again , then heads up the s tairs still ranting .<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>No! I ' ll never let you! No way!<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>What the hell -- ?<\/dialogue>\n    <scene_description>CUT TO 296 INT. DUANE ' S HOTEL ROOM . 296 t-- The door is still open from when DUANE ran out before. He slams i t shut behind him as he enters.<\/scene_description>\n    <character>DUANE<\/character>\n    <parenthetical>(top of his lungs)<\/parenthetical>\n    <dialogue>No! I won ' t hear it ! Just 'cau se you can ' t doesn ' t mean I shouldn ' t ! No! No!<\/dialogue>\n    <scene_description>He throws the basket on the bed and continues beating it .<\/scene_description>\n    <character>DUANE<\/character>\n    <dialogue>Damn you! God damn you to hell!<\/dialogue>\n    <scene_description>CUT TO HALLWAY. CASEY comes out of her room , hearing what sounds like an all- out war in DUANE ' s r oom and bangs on his door.<\/scene_description>\n    <character>CASEY<\/character>\n    <dialogue>Duane? Duane? Are you all right?<\/dialogue>\n    <scene_description>CUT TO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUANE'S ROOM .<\/stage_direction>\n    <scene_description>Holding the basket with one hand, DUANE presses the lid against his chest so the CREATURE cannot get out. With his free hand, DUANE packs. He throws the ~ew shirts he had hanging in the closet onto the bed, then picks up socks and other items of his scattered around the room . He not only does this fast , but continues to scream at the CREATURE~<\/scene_description>\n    <character>DUANE<\/character>\n    <parenthetical>(top of his lungs)<\/parenthetical>\n    <dialogue>Is this the way it ' s going to be with any girl I like? I have to worry about you climbing on them? If I get my hands on you again, I'll kill you! I swear it! I ' ll kill you!<\/dialogue>\n    <scene_description>With all his belongings piled on the bed, DUANE grabs the knapsack. He puts the basket on the bed, resting his knee on top of the lid as he packs . CUT TO HALLWAY. While CASEY continues to bang on DUANE ' s door , the MANAGER runs up the stairs with the pass key . He unlocks the door and throws it open. CUT TO INT . DUANE'S ROOM . As CASEY and the MANAGER enter , DUANE is startled enough to jump back from the bed , taking his knee off the basket .<\/scene_description>\n    <character>CASEY<\/character>\n    <dialogue>Duane, what's - -<\/dialogue>\n    <character>DUANE<\/character>\n    <parenthetical>(screaming at them)<\/parenthetical>\n    <dialogue>Get out of here!!!<\/dialogue>\n    <scene_description>Suddenly the lid flies off as the CREATURE sticks out of the basket . It reaches out , grabs DUANE by the crotch and squeezes! DUANE screams and doubles over in pain , the CREATURE leaping out of the basket and onto his head, wrapping its arms around DUANE ' s throat . DUANE gasps for air and falls backward against the window . CUT TO EXT . HOTEL BROSNAN. NIGHT DUANE crashes through the window , the CREATURE still on his head. CUT TO The CREATURE ' s hand reaching out and grabbing the neon \"HOTEL BROSNAN\" sign . CUT TO DUANE jerks to a halt in mid-air, held by the CREATURE ' s arm around his thraat as the CRE~TURE ' s other arm clutches frantically to the sign. DUANE twitches and gasps for air , trying to pull himself free. The red neon letters \"NAN\" shatter and break as DUANE's body swings against them. CUT TO The CREATURE lose.a its grip and slides downward , its fingers sinking into the exposed electrical socket of the broken letters . Sparks shoot out and the CREATURE screams. CUT TO THE STREET . People gather and look up , horrified at what they see. CUT TO DUANE , still held in a vice grip around the throat , struggles wildly as the sound of electricity buzzes and crackles behind him . His face bright red , DUANE ' s eyes roll to t he top of his head as he gradually goes limp . CUT TO CLOSEUP of the CREATURE ' s fingers unable to pull themselves from the socket as sparks and smoke cover its hand . Camera pans to its face: its mouth open , the screaming eventually stops as its eyeball goes white . CUT TO DUANE hangs motionless , still held by his throat , as the CREATURE slides down and lets go of the sign . Both bodies fall to the street. CUT TO ': CUT TO ~..- -- 10---...CASEY runs to the window , looks down and screams . The i ..... .... out behind her \u2022 M:ABA-GER..,\\_looks ,\\_\\_: 511 The two bodies lyin o motionless on the 311 pavement , side by s i de . Soc o :in fact, that they look as if they were connec PANS TO \u2022 e eaaera<\/scene_description>\n    <character>---<\/character>\n    <dialogue>S12 The flickering , buzzing \" HOTEL BROSNAN\" sign . It ' s 312 A<\/dialogue>\n    <scene_description>last three neon letters smashed , the sign now reads \"HOTEL BROS\". FADE OUT<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Dr. Julius Lifflander is frightened by something outside his forest home. A shadowed creature then cuts his phone line and power before killing Lifflander by tearing at his face. Duane Bradley arrives in New York City with a locked wicker basket. He gets a room at a cheap hotel right down the hall from a sex worker named Casey. He takes some hamburgers and feeds them to a creature in his basket which talks to him telepathically. When Duane is out the next day, a man named Brian O'Donovan looks through Duane's keyhole in order to steal Duane's wad of money. Casey scares him off and informs Duane about it. Duane takes his basket to see Dr. Harold Needleman and befriends his assistant Sharon. Needleman contacts Dr. Judith Kutter and tells her about Duane's visit and Lifflander's death, but she ignores him. Duane goes back to Needleman's that night and empties the creature, who is revealed to be his twin brother Belial, onto the floor. Belial kills Needleman by gutting him with his claws. The next day, Duane goes to meet Sharon at the Statue of Liberty and they kiss. Belial senses this and trashes the hotel room in a temper tantrum. He hides when the hotel manager opens the door to see what the commotion is. O'Donovan sneaks back inside to steal Duane's money but is killed by Belial when he opens the basket. Duane senses the attack telepathically and hurries back. Duane tells Belial that he deserves some time for himself. Duane, with the basket, runs into Casey at a bar and drunkenly tells her that Belial is his twin brother. A flashback relates their backstory. They were conjoined at birth and their aunt was the only one who would take care of them. However, the twins were surgically separated at an early age by Dr. Lifflander, Dr. Needleman and Dr. Kutter, which explains their hatred for the doctors. They then murdered their father, which was ruled an accident, and lived with their aunt before she died. They then went to murder the doctors who had separated them. Belial deeply resents being cut off from his normal-looking brother, and Duane equally resents how heartless everyone acts towards his brother. Back in the present day, Belial sneaks into Casey's bedroom and scares her out before stealing her panties. The next day, Duane and Belial go to Dr. Kutter's office. She tries to dismiss them, but Duane reveals who he is before Belial kills Kutter by shoving her face into a drawer of sharp objects. Sharon goes to Duane's apartment seeking safety after Needleman's death and they start to make love before a jealous Belial starts screaming and Duane is forced to toss Sharon outside. That night Belial goes out to find Sharon while Duane has a dream that tells him about it. Belial sneaks into Sharon's apartment and tries to rape her. He attacks and kills her when she wakes up and screams. Enraged at his brother for his actions, Duane takes Belial back to the apartment in a scene that attracts several people to his apartment, which exposes the existence of Belial. Belial attacks Duane which results in the two brothers falling from a hotel window. They are knocked out as everyone surrounds their unconscious bodies."}
{"movie_name":"Stillwater_2021","imdb_id":"tt10696896","script":"<script>\n  <scene>\n    <character>STILLWATER<\/character>\n    <dialogue>Written by<\/dialogue>\n    <scene_description>Tom McCarthy &amp; Marcus Hinchey and Thomas Bidegain &amp; No\u00e9 Debr\u00e9<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RUINS - DAY<\/stage_direction>\n    <scene_description>After the tornado. A row of devastated houses in what used to be a residential area. Some walls are pulverized, a shattered washing machine lies against a street lamp. The few houses still standing gape like some abandoned cardboard boxes. A CREW OF WORKERS, wearing HARDHATS, pick up the rubble. They throw the debris into large dump trucks. Among them, his face covered with a paper mask, is BILL BAKER (50): a tired, lean, strong man absorbed by his task. He stands in what must have been a kitchen. His gloved hands lift the rubble\u2026 Shing! He throws it into the dumpster\u2026 Psshh! Bill digs up a plastic children's highchair. He takes a look at it: one foot's missing\u2026 It ends up in the dumpster too.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAN - DUSK<\/stage_direction>\n    <scene_description>Exhausted WORKERS ride in a crowded van. Bill sits behind two MEXICANS (30's.)<\/scene_description>\n    <character>BASEBALL HAT<\/character>\n    <parenthetical>(Spanish)<\/parenthetical>\n    <dialogue>That tornado fucked the town up.<\/dialogue>\n    <character>SHAVED HEAD<\/character>\n    <parenthetical>(Spanish)<\/parenthetical>\n    <dialogue>Maybe it was fucked up before.<\/dialogue>\n    <character>BASEBALL HAT<\/character>\n    <parenthetical>(Spanish)<\/parenthetical>\n    <dialogue>What happens with the town after we clean it up?<\/dialogue>\n    <character>SHAVED HEAD<\/character>\n    <parenthetical>(Spanish)<\/parenthetical>\n    <dialogue>They rebuild it.<\/dialogue>\n    <character>BASEBALL HAT<\/character>\n    <parenthetical>(Spanish)<\/parenthetical>\n    <dialogue>And the people, they all come back?<\/dialogue>\n    <character>SHAVED HEAD<\/character>\n    <parenthetical>(Spanish)<\/parenthetical>\n    <dialogue>Some of them. But for the others, it's too much. They move on.<\/dialogue>\n    <character>BASEBALL HAT<\/character>\n    <parenthetical>(Spanish)<\/parenthetical>\n    <dialogue>Maybe that's good. Change is good.<\/dialogue>\n    <character>SHAVED HEAD<\/character>\n    <parenthetical>(Spanish)<\/parenthetical>\n    <dialogue>I don't think Americans like to change.<\/dialogue>\n    <character>BASEBALL HAT<\/character>\n    <parenthetical>(Spanish)<\/parenthetical>\n    <dialogue>I don't think the tornado cares what Americans like.<\/dialogue>\n    <scene_description>Bill continues staring out the window. Oblivious. His gaze lands on a massive OIL RIG lit up like a space station, towering above the endless stretch of plains.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SONIC DRIVE-IN - NIGHT<\/stage_direction>\n    <scene_description>Bill leans out the window, orders.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>I'll have double cheeseburger. Tots. And a Cherry-Limeade.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BILL'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Bill's Ford Taurus pulls into the driveway of a rundown, ranch-style house with a small, cluttered porch. Bill gets out, Sonic bag in one hand, GEAR BAG with his hard hat dangling off in the other.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BILL'S HOUSE - LATER<\/stage_direction>\n    <scene_description>Bill walks inside, drops his bag. The walls are desperately bare. He puts down his jacket and turns on the TV, then the light. A loud commercial blurts out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BILL'S HOUSE, KITCHEN - LATER<\/stage_direction>\n    <scene_description>His bare feet on the stained linoleum floor. Freshly showered, Bill grabs a Mountain Dew out of the fridge and sits at the kitchen table. The TV blares. He mumbles grace, his hands clasped. He unpacks his cheeseburger.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BILL'S HOUSE, DEN - LATER<\/stage_direction>\n    <scene_description>Bill's asleep on his couch. A rerun of 'Everybody Loves Raymond,' on the TV.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - DAY<\/stage_direction>\n    <scene_description>Bill is driving, smoking, baseball cap on. He pulls off the road and onto the LEASE ROAD.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DRILLING RIG, LOCATION - LATER<\/stage_direction>\n    <scene_description>Bill gets out of his car and walks toward the TOOL PUSHER'S SHACK, a trailer turned office\/live space for Pushers. He glances up at the massive rig.<\/scene_description>\n    <character>TOOL PUSHER<\/character>\n    <dialogue>Where you from?<\/dialogue>\n    <character>BILL (V.O.)<\/character>\n    <dialogue>Stillwater.<\/dialogue>\n    <character>TOOL PUSHER (V.O.)<\/character>\n    <dialogue>You got reliable transportation?<\/dialogue>\n    <character>BILL (V.O.)<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <character>TOOL PUSHER (V.O.)<\/character>\n    <dialogue>Who's the last drilling company you worked for?<\/dialogue>\n    <scene_description>ITA.:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PUSHER'S SHACK - DAY<\/stage_direction>\n    <scene_description>Bill sits in the wood paneled office talking to TOOL PUSHER.<\/scene_description>\n    <character>TOOL PUSHER<\/character>\n    <dialogue>Why'd you quit?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Operator dropped our rig. We staked and I got laid off. Six months ago.<\/dialogue>\n    <character>TOOL PUSHER<\/character>\n    <dialogue>You gotta side job?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Yes, sir. I work construction. But that's been slow since the rigs went down. Spent last week doing clean up after that tornado by Shawnee. I've been getting after it.<\/dialogue>\n    <scene_description>The Tool Pusher nods, satisfied that Bill has the \"want to\".<\/scene_description>\n    <character>TOOL PUSHER<\/character>\n    <dialogue>You work derricks?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <character>TOOL PUSHER<\/character>\n    <dialogue>How long?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Eight years.<\/dialogue>\n    <character>TOOL PUSHER<\/character>\n    <dialogue>What kind of mud systems you worked on?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Water and oil base.<\/dialogue>\n    <character>TOOL PUSHER<\/character>\n    <dialogue>What kind of pumps?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>PZ's and HHF's.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WALLS - DAY<\/stage_direction>\n    <scene_description>Bill stands in the WOMEN'S CLOTHING section, choosing between two pairs of socks. He's wearing a pair of READERS which age him by about ten years, carefully inspecting the tags.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>11A EXT. WALLS - DAY 11A<\/stage_direction>\n    <scene_description>As Bill exits the store, a YOUNG ACTIVIST approaches him with a clipboard.<\/scene_description>\n    <character>YOUNG ACTIVIST<\/character>\n    <dialogue>Good afternoon, sir. Do you live here in Stillwater?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I do.<\/dialogue>\n    <character>YOUNG ACTIVIST<\/character>\n    <dialogue>Can you sign our petition calling for increased benefits for teachers?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>No, sir.<\/dialogue>\n    <scene_description>Bill keeps walking.<\/scene_description>\n    <character>YOUNG ACTIVIST<\/character>\n    <dialogue>Don't you think our teachers deserve better treatment?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>We all do. Doesn't mean we get it.<\/dialogue>\n    <character>YOUNG ACTIVIST<\/character>\n    <dialogue>Well, maybe you'd like to hear about the issue so you can make an informed decision?<\/dialogue>\n    <scene_description>Bill stops, turns.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>I'd like you to leave me alone now.<\/dialogue>\n    <scene_description>His directness is startling. He walks away.<\/scene_description>\n    <character>YOUNG ACTIVIST (O.S.)<\/character>\n    <dialogue>It never hurts to listen, sir. Have a nice day!<\/dialogue>\n    <scene_description>Bill arrives at his truck, finds a LEAFLET tucked under the wiper. Teachers' Benefits. He turns, sees the YOUNG ACTIVIST watching him. He crumples up the flier and throws it on the ground.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHARON'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Bill parks his car in front of a small brick house. SHARON (70's) is sitting on her porch, oxygen tubes in her nose, walker close by. She's absorbed by a 400-page crime novel.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Hey Sharon.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Let me finish this page.<\/dialogue>\n    <scene_description>Bill waits. She flips a page, keeps reading.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Oh. One more page.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHARON'S HOUSE, KITCHEN - DAY<\/stage_direction>\n    <scene_description>Bill's sitting at the table, eating a sandwich. Sharon pours two glasses of milk at the counter.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>I'm not halfway through the book and this detective has already slept with three girls. Including that little black reporter. And he is still investigating. You read the first one I gave you?<\/dialogue>\n    <scene_description>She places the milk on the table. Fox news plays loudly from the other room.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Not yet. Been busy.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Lucky you're not that detective. You'd be overwhelmed.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I'd stay focused on the girls though.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>I bet you would. That'd be a good day for serial killers.<\/dialogue>\n    <scene_description>She sets a bowl of chips on the table, sits. They hold hands, say grace. Routine.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Lord, thank you for this meal and all that is good in this world. Keep Allison in your watchful eye. Amen.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Amen.<\/dialogue>\n    <scene_description>They start to eat.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>You get hired out yet?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Nope. Had an interview today. Pusher said he might have some rigs going up end of month.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Didn't say.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>I got a call from your mother a few days ago. She moved to Tampa.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>She ask for money or some shit?<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>No. She asked about you. You should call her sometime.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I got enough shit to deal with here.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Did you pick up the car registration?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I did. It's at home. Spent all day waiting for...<\/dialogue>\n    <scene_description>She sets the REGISTRATION down in front of him. Busted.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>Got it online. Everything's online. Can't get a real human being if you tried. Didn't stop them from charging me twenty-three dollars.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I'll pay it.<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>That's not what I meant.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>Bill keeps eating. There's obviously tension around finances.<\/scene_description>\n    <character>SHARON<\/character>\n    <dialogue>There's a bag of books by the front door for you to take. And an envelope of photos up on her bed.<\/dialogue>\n    <scene_description>OK.:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHARON'S HOUSE, BEDROOM - LATER<\/stage_direction>\n    <scene_description>Bill enters a girl's room that is frozen in time. He takes it all in. Posters, photos, random keepsakes.<\/scene_description>\n    <character>SHARON (O.S.)<\/character>\n    <parenthetical>(Yelling)<\/parenthetical>\n    <dialogue>It's on the bed! You see it?<\/dialogue>\n    <scene_description>Bill picks up an ENVELOPE off the bed, he opens it and pulls out a stack of OLD PHOTOS. He flips through them, a few of them feature a YOUNGER BILL but he pauses on a photo of a FOUR YEAR OLD GIRL and HER MOTHER.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCH - EVENING<\/stage_direction>\n    <scene_description>Bill's car pulls into a large church parking lot, nestled in a strip mall. \"God Bless Stillwater\".<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH - LATER<\/stage_direction>\n    <scene_description>Projected on a SCREEN behind is: \"WHO DO I TURN TO WHEN I'M FEELING POWERLESS?'<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>2 Thessalonians 3:10 tells us, \"If anyone is not willing to work, let him not eat.\"<\/dialogue>\n    <scene_description>Bill sits alone in the audience, listening to a casually dressed MALE PASTOR (white, 64.) He is talking to about fifty members of the congregation. It's less of a service and more of an informal chat.<\/scene_description>\n    <character>PASTOR<\/character>\n    <dialogue>But many in our community rely on government assistance in one form or another. I'm sure some of us here tonight do. Sometimes we just don't have a choice, even when we are willing and able. I'm curious what do we, as good Christians think about this type of assistance?<\/dialogue>\n    <parenthetical>(Pointing)<\/parenthetical>\n    <dialogue>Monica?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BILL'S HOUSE, BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Bill takes a handful of NEW BOOKS from a bag and packs them into a large, blue rollerboard SUITCASE sitting on his bed. The plastic WALLS BAG sits next to it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BILL'S HOUSE - DAWN<\/stage_direction>\n    <scene_description>Bill, baseball cap on, drops his bag into the truck of his car, and slams it shut.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHWAY - LATER<\/stage_direction>\n    <scene_description>Bill's car cruises down on the empty highway, headlights on. The plains of Oklahoma disappear into the half light.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WILL ROGERS AIRPORT - LATER<\/stage_direction>\n    <scene_description>Bill stands at the counter. The CHECK-IN ATTENDANT prints the boarding pass and circles numbers with her pen.<\/scene_description>\n    <character>ATTENDANT<\/character>\n    <dialogue>You have two stop-overs, the first in Atlanta, the second in Paris. You are set to arrive at three pm local time.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Bill nods, he lifts his bag to put it on the conveyor belt.<\/scene_description>\n    <character>ATTENDANT<\/character>\n    <dialogue>Drop-off only opens 3 hours ahead of boarding so you're still early, sir. Come back in 40 minutes.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Ok. Thank you, ma'am.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WILL ROGERS AIRPORT, GIFT SHOP - DAY<\/stage_direction>\n    <scene_description>Bill holds up an orange OKLAHOMA STATE FOOTBALL SWEATSHIRT. Sweatshirt in hand, he turns toward the counter but is momentarily blocked by an OLD WOMAN shopping. He waits, noticing a JEWELRY display. He focuses on a series of GOLD NECKLACES with words in GOLD LETTERS: OKC. TULSA. STILLWATER.<\/scene_description>\n    <character>FEMALE SALESPERSON<\/character>\n    <dialogue>Can I help you, sir?<\/dialogue>\n    <scene_description>The Old Woman is gone, a SALES PERSON in her place.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Yes, ma'am.<\/dialogue>\n    <scene_description>He hands her the sweatshirt.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PLANE - DAY<\/stage_direction>\n    <scene_description>Bill is awake. Looking out the window. It's bright outside.<\/scene_description>\n    <character>CAPTAIN (V.O.)<\/character>\n    <dialogue>Bonjour. Nous sommes sur le point de commencer notre descente vers l'a\u00e9roport de Marseille Provence.<\/dialogue>\n    <character>CAPTAIN (V.O.)<\/character>\n    <dialogue>Nous esp\u00e9rons que vous avez appr\u00e9ci\u00e9 le vol.<\/dialogue>\n    <scene_description>NOTE: AT TIMES THROUGHOUT THE SCREENPLAY, DIALOGUE WILL BE EITHER WRITTEN IN FRENCH AS ABOVE OR IN ENGLISH WITH ITALICS TO SIGNIFY THAT IT WILL BE SPOKEN FRENCH.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARSEILLE PROVENCE AIRPORT - DAY<\/stage_direction>\n    <scene_description>Bill pushes out through the crowds waiting for arrivals. Hat on, head down, he makes his way toward the exit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPORT BUS - LATER<\/stage_direction>\n    <scene_description>Bill watches the sparkling French Riviera coast pass by.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARSEILLE STREET - LATER<\/stage_direction>\n    <scene_description>Bill approaches a tram stop, rolling his suitcase. Le Gare de Marseille-Saint-Charles looms in the background. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAM, MARSEILLE - DAY<\/stage_direction>\n    <scene_description>Bill stands next to his suitcase.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARSEILLE STREET - DAY<\/stage_direction>\n    <scene_description>The tram moves through the city. Bill walks up the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL, FRONT DESK - DAY<\/stage_direction>\n    <scene_description>Bill stands at the front desk. A RECEPTIONIST assists him.<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>You are with us for two weeks?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Yes, ma'am.<\/dialogue>\n    <scene_description>She gives Bill a form to sign.<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>Initial here... and sign here.<\/dialogue>\n    <scene_description>Bill signs. She hands him his key as The MANAGER, an older man, emerges from the backroom.<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>Thank you. Here's your key. You are in room 204.<\/dialogue>\n    <character>MANAGER<\/character>\n    <dialogue>Welcome back, Mr Baker.<\/dialogue>\n    <scene_description>Bill nods, walks away.<\/scene_description>\n    <character>MANAGER<\/character>\n    <dialogue>C'est lui dont je t'ai parl\u00e9. Le p\u00e8re de l'Am\u00e9ricaine.<\/dialogue>\n    <scene_description>The Receptionist reacts, cranes her head to watch Bill climb the stairs. Bill is apparently a person of interest.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL CORRIDOR - DAY<\/stage_direction>\n    <scene_description>Bill moves down the hallway. A young girl, MAYA (8), wearing a bathing suit is kicking a soccer ball in the narrow hallway. Bill passes her by. He slides his key into the door and disappears into his room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BILL'S HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Bill is sound asleep on top of his bed. He just crashed there, fully clothed. The room is dark and unassuming. Laughter and music from the room next door. Bill opens his eyes, switches on the light.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL ROOM, BALCONY - NIGHT<\/stage_direction>\n    <scene_description>Bill, a bit dazed, slides open his window. Two women smoke a joint and laugh on the neighboring balcony. They see Bill and stop. VIRGINIE (40's) is the older of the two.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Ladies. Can y'all please lower the music? I'm trying to sleep.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>No speak English. Sorry.<\/dialogue>\n    <scene_description>Bill insists. He gestures with his hands.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Mu-sic. Can you\u2026? Si vous plait?<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Quoi?<\/dialogue>\n    <scene_description>Virginie pretends she doesn't understand. She imitates his gesture. Her younger friend, an ARAB WOMAN, bursts into laughter. They're stoned. Bill gets it.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Yeah. OK.<\/dialogue>\n    <scene_description>He closes the window. The girls keep giggling.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL, BREAKFAST ROOM - MORNING<\/stage_direction>\n    <scene_description>Bill sits alone eating his breakfast. He looks tired but is clean shaven, wearing a clean shirt.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>33A INT. HOTEL, BILL'S ROOM - DAY 33A<\/stage_direction>\n    <scene_description>Bill packs items from his suitcase into the plastic Walls bag.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PENITENTIARY, INTERIOR ENTRANCE - DAY<\/stage_direction>\n    <scene_description>A large Walls plastic bag slides on the conveyor belt, disappears into the X-ray tunnel. Bill goes through the metal detector. He is surrounded by men, women, and young children, mostly African and Arab. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PENITENTIARY, DROP OFF COUNTER - LATER<\/stage_direction>\n    <scene_description>A GUARD checks the contents of Bill's Walls Bag, pulling out the clothes and books. Bill watches, passively.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PENITENTIARY, WAITING ROOM - LATER<\/stage_direction>\n    <scene_description>Bill sits among a crowd. He watches a few YOUNG CHILDREN squirm and play with toys. A GUARD calls out names and room numbers.<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>Delbare. Huit. Moussa. Neuf. Salim. Dix. Baker. Onze. Mekideche. Douze.<\/dialogue>\n    <scene_description>He stands up, makes his way toward the Guard. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>38A INT. PENITENTIARY, VISITING ROOM - LATER 38A<\/stage_direction>\n    <scene_description>A white box. One table, two chairs, and a fair amount of graffiti on the wall. Bill paces, waits. He watches as FEMALE PRISONERS, pass by the window of the opposite door. A few peek in at Bill. Finally the door opens and... ALLISON enters. She has fair skin, (26) and clearly stands out. She spots Bill, and a tired smile appears on her face.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Hey, baby girl!<\/dialogue>\n    <scene_description>They hug. It's warm if a bit awkward.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Hi dad.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>You look good.<\/dialogue>\n    <scene_description>They sit on each side of the narrow table.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>How was the flight?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>OK. You doing alright?<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>I'm OK. Yeah.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Good. Good. You got laundry for me?<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Yeah. Some.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I'll get it done.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>You back to work?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Doing odds and ends. Lotta rigs still down.<\/dialogue>\n    <scene_description>There is an awkward tension between these two.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>They gave us two more visiting days. Next one is Friday. 2pm.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>How's gram?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>She's good. Still got the oxygen tank and still got plenty of opinions.<\/dialogue>\n    <scene_description>Allison almost smiles.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>I miss her.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I bought all the things you asked for. I got you some extra socks. And some good new sneakers.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Thanks. Oh, Gram said she gave you some photos for me?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Shit. I forgot 'em.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Just bring them next time.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I mean I forgot 'em back home. In Stillwater. I'm so sorry.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Doesn't matter.<\/dialogue>\n    <scene_description>It does. But Allison is used to small disappointments.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Got you a Cowboys sweatshirt at the airport. They gonna be good this year. Got this big ol' back outta Guthrie, boy can run forever.<\/dialogue>\n    <scene_description>Allison's face tells the story-- not so much a football fan.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>And Sharon got you a lotta books. Let me know if you need anything else.<\/dialogue>\n    <scene_description>Beat. Allison fidgets, looks around. Bill watches her.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>You still working at the library?<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>No. I quit.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>How come?<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>I just did.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Your mom was always into them science fiction books. You ever read those?<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>No. Not really.<\/dialogue>\n    <scene_description>Allison gathers herself. Her demeanor shifts. She scans the room, lowers her voice.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Dad I need you to do something.<\/dialogue>\n    <scene_description>She reaches inside her shirt, takes a rolled up ENVELOPE out of her bra and quickly hands it to Bill under the table. He cups it in his hand, concealing it, and then pockets it.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>I need you to give this to Leparq. Make sure she reads it.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Just... give it to her. Her address is on the envelope. OK?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Yeah. OK. But... you good?<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Dad... please.<\/dialogue>\n    <scene_description>Her tone is clear. Bill relents.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>I'll go today, make sure she reads it.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>Need anything else?<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>No. You already asked me that.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>You're right. I did.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>Mind if we pray a bit?<\/dialogue>\n    <scene_description>Allison gives Bill her hand. He closes his eyes, starts to pray. Allison watches him, unengaged.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>38B INT. PENITENTIARY, WAITING ROOM - LATER 38B<\/stage_direction>\n    <scene_description>Bill enters the waiting room. Picks up a BAG OF LAUNDRY marked, Baker.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PENITENTIARY - LATER<\/stage_direction>\n    <scene_description>Buzzing sound. Bill, carrying the laundry bag, and some other VISITORS exit through the wooden door inset in massive stone walls of the Les Baumettes. He reaches into his pocket, takes out the envelope and unfolds it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAITRE LEPARQ'S OFFICE, RECEPTION - LATER<\/stage_direction>\n    <scene_description>Bill sits on a designer couch in a small reception area. He inspects Allison's letter as if searching for a clue. It's sealed. Leparq's name and address are written on the front.<\/scene_description>\n    <character>INTERN<\/character>\n    <dialogue>Mr. Baker? I'm sorry you had to wait but Ma\u00eetre Leparq is not coming back to the office today.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I'll come back tomorrow then.<\/dialogue>\n    <character>INTERN<\/character>\n    <dialogue>She's in court all week. Why don't you give me your letter and I'll make sure she gets it.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Can't do that. Thank you, Ma'am.<\/dialogue>\n    <scene_description>He leaves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL CORRIDOR - DAY<\/stage_direction>\n    <scene_description>The elevator opens and Bill walks toward his room, carrying a SUBWAY SANDWICH bag. Maya is sitting on the floor, leaning against her door, her backpack next to her.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>Bonjour.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>Bill disappears inside his room. Then he reemerges without his sandwich.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>You locked out?<\/dialogue>\n    <scene_description>She doesn't answer. Bill holds up his key.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>You gotta key?<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Non. Je l'ai perdue.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <scene_description>He starts down the hallway, beckons her to follow.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Come on. Let's get you a new one.<\/dialogue>\n    <parenthetical>(holds up his key.)<\/parenthetical>\n    <dialogue>Come on. Let's get you a new key.<\/dialogue>\n    <scene_description>Maya hesitates, then follows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RECEPTION DESK - DAY<\/stage_direction>\n    <scene_description>RECEPTIONIST struggles to magnetize a blank key. Bill stands, waiting with Maya at the reception desk.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>Beel.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Bill.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Bell.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Closer. What's your name?<\/dialogue>\n    <parenthetical>(Pointing)<\/parenthetical>\n    <dialogue>You?<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Maya.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Maya. That's nice.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>C'est quoi \u00e7a?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>This. A tattoo.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>C'est un oiseau.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>L'oiseau. L\u00e0.<\/dialogue>\n    <scene_description>She points to the bird tattoo on Bill's arm.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>This? That's an eagle.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Eagle.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Yeah. Eagle. Bald eagle. America.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Et l\u00e0?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>That's a skull. And that's a knife going through it.<\/dialogue>\n    <scene_description>Receptionist hands her the key.<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>Here is your key.<\/dialogue>\n    <scene_description>She hands it to Maya.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Thank you, ma'am.<\/dialogue>\n    <scene_description>OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARSEILLE COURTHOUSE - DAY<\/stage_direction>\n    <scene_description>Bill wanders around the courthouse. A fish out-of-water, he walks among the lawyers, clients, cops, and prisoners.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MARSEILLE COURTHOUSE - LATER<\/stage_direction>\n    <scene_description>Bill is sitting on a bench waiting, cup of coffee in his hand. He finally spots Ma\u00eetre Leparq (60's), a severe looking woman walking with ST\u00c9PANE, a young associate. He approaches.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Excuse me, Mrs. Leparq?<\/dialogue>\n    <scene_description>She stops, recognizes Bill immediately.<\/scene_description>\n    <character>LEPARQ<\/character>\n    <dialogue>Mr. Baker.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Yes, ma'am. I just need a few minutes of your time.<\/dialogue>\n    <parenthetical>(taking out the letter.)<\/parenthetical>\n    <dialogue>It's a letter from my daughter.<\/dialogue>\n    <scene_description>Leparq looks to her associate, she's trapped.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARSEILLE COURTHOUSE - LATER<\/stage_direction>\n    <scene_description>A quiet bench along the reflecting pool of the courthouse. Bill waits as Leparq finishes the letter. St\u00e9phane lingers near, checking his phone.<\/scene_description>\n    <character>LEPARQ<\/character>\n    <dialogue>I'm sorry, Mr. Baker but I cannot honor your daughter's request.<\/dialogue>\n    <scene_description>Bill, knowing nothing about the contents of the letter, tries his best to navigate the conversation.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Why's that?<\/dialogue>\n    <character>LEPARQ<\/character>\n    <dialogue>Mr. Baker, a judge will not reopen this case based on hearsay. This is not possible.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>OK.<\/dialogue>\n    <character>LEPARQ<\/character>\n    <dialogue>We have exhausted every possible legal action. This letter tells me that your daughter has not accepted her sentence. And she must. Do you understand?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Yes, ma'am.<\/dialogue>\n    <scene_description>Leparq folds the letter and puts it back in the envelope.<\/scene_description>\n    <character>LEPARQ<\/character>\n    <dialogue>Allison will be eligible for a temporary parole soon. That will greatly improve her mood and provide her with real relief. That is what you want for your daughter, is it not?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>It is. Yes, ma'am.<\/dialogue>\n    <character>LEPARQ<\/character>\n    <dialogue>I must go now. I have a full day.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Can I get that letter back?<\/dialogue>\n    <character>LEPARQ<\/character>\n    <dialogue>As you wish.<\/dialogue>\n    <scene_description>She gives the letter to Bill who takes it and starts to go.<\/scene_description>\n    <character>LEPARQ<\/character>\n    <dialogue>Mr. Baker. There is a time for hope and there is a time for acceptance. The last thing you want to give your daughter is false hope. That could make her situation very dire. Do you understand?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Yes, ma'am.<\/dialogue>\n    <scene_description>She turns and leaves. Bill considers the letter, takes it out and looks at it briefly before reacting and putting it away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL, BILL'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Bill walks back into his room. He drops his key and FAST FOOD BAG on the table followed by the letter. KNOCK. KNOCK. He opens the door. It's the NOISY NEIGHBOR from the night before.<\/scene_description>\n    <character>NOISY NEIGHBOR<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <parenthetical>(Bill nods)<\/parenthetical>\n    <dialogue>Thank you for helping my daughter, Maya yesterday. I was late coming back. We're in between apartments and there is no electricity at our new place! At least Maya loves it here, there's a pool, she thinks we are on vacation.<\/dialogue>\n    <character>BILL<\/character>\n    <parenthetical>(deadpan)<\/parenthetical>\n    <dialogue>Sorry. I don't speak English.<\/dialogue>\n    <scene_description>Virginie, caught off guard, reacts. She laughs.<\/scene_description>\n    <character>NOISY NEIGHBOR<\/character>\n    <dialogue>Ah, yes. My English. It came back to me. I'm sorry for the loud noise. My girlfriend is a bad influence. My name is Virginie.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Bill.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>Hello, Bill. You are in Marseille for vacation?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I'm visiting my daughter.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>She lives here?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Yes, ma'am.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Cool. Well hopefully we are only here for one or two more days but if you need anything, we are next door.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Thank you. Bye.<\/dialogue>\n    <scene_description>Virginie leaves. Bill shuts his door and stops, thinking.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>C\/U on Allison's letter. Then...<\/scene_description>\n    <character>VIRGINIE (O.S.)<\/character>\n    <parenthetical>(Reading\/translating)<\/parenthetical>\n    <dialogue>Dear Maitre Leparq.<\/dialogue>\n    <scene_description>Virginie is holding it, reading. Bill sits with her at the small kitchen table. The room is a happy, temporary mess. Maya is asleep in the other room.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <parenthetical>(Reading\/translating)<\/parenthetical>\n    <dialogue>I am writing to you because I was contacted by Patrick Okonedo, the chef... the chief of the Outreach program that I was involved with at University. Mister Okonedo was approached by a student who met a man named Akim at a party. She was told that he had stabbed a girl years ago and got away with it. This must be the same Akim that killed Lina.<\/dialogue>\n    <scene_description>She pauses.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>You're the father of the girl, the American student\u2026<\/dialogue>\n    <character>BILL<\/character>\n    <parenthetical>(Flatly, without emotion)<\/parenthetical>\n    <dialogue>Yes, ma'am.<\/dialogue>\n    <scene_description>She returns to the letter.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>We must check his DNA to the unknown DNA found at the crime scene. I ask...I urge you to investigate this matter, to talk to Mr. Okonedo and this student. I am innocent of this crime and I have no one else to assist...to advocate for me. My Grandmother can no longer make the trips to Marseille and you know my father...<\/dialogue>\n    <scene_description>She glances at Bill, hesitating for a moment...<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>I would not trust him with this. He is not capable. You are my only hope.<\/dialogue>\n    <scene_description>Virginie pauses, the weight of her words is painful. Bill remains stoic, listening.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>Please do not abandon me in this horrible place. I have wasted five years of my life here with four more to go and I do not belong here. Respectfully, Allison Baker.<\/dialogue>\n    <scene_description>There is an awkward silence.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>I'm sorry...<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Appreciate your help.<\/dialogue>\n    <scene_description>Bill stands up, takes back the letter.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Please don't tell anyone about this.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Bien s\u00fbr.<\/dialogue>\n    <scene_description>Bill leaves. Virginie exhales. Wow.<\/scene_description>\n    <character>MAYA (V.O.)<\/character>\n    <dialogue>Maman? C'etait qui?<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>C'\u00e9tait un voisin. Tu devrais \u00eatre en train de dormir. Viens l\u00e0!<\/dialogue>\n    <scene_description>She hustles Maya back to bed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>48A INT. BILL'S ROOM - LATER 48A<\/stage_direction>\n    <scene_description>Bill kneels by the bed praying.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A49 EXT. MARSEILLE STREET - LATER A49<\/stage_direction>\n    <scene_description>Bill walks down the street with purpose.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEPARQ'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Bill is waiting again, he's on edge. The Receptionist is on the phone. Finally, St\u00e9phane, the young associate appears from the back office.<\/scene_description>\n    <character>ST\u00c9PHANE<\/character>\n    <dialogue>Mr. Baker? Follow me please.<\/dialogue>\n    <scene_description>Bill follows him down a hall and into a conference room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONFERENCE ROOM - LATER<\/stage_direction>\n    <scene_description>There are six chairs around the table.<\/scene_description>\n    <character>ST\u00c9PHANE<\/character>\n    <dialogue>Please have a seat. Do you want coffee?<\/dialogue>\n    <scene_description>Bill sits.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>No, thank you.<\/dialogue>\n    <character>ST\u00c9PHANE<\/character>\n    <dialogue>How can I help you?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I'd like to talk to Mrs. Leparq. About the case.<\/dialogue>\n    <character>ST\u00c9PHANE<\/character>\n    <dialogue>Maitre Leparq is not available today.<\/dialogue>\n    <scene_description>Bill takes out the letter, refers to it.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>But there's a new lead here. This guy was talking at a party. About the murder.<\/dialogue>\n    <character>ST\u00c9PHANE<\/character>\n    <dialogue>Mr. Baker\u2026<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Somebody should talk to this teacher, this... Patrick Okonedo. Hear what he has to say.<\/dialogue>\n    <character>ST\u00c9PHANE<\/character>\n    <dialogue>Mr. Baker. Maitre Leparq was very clear with you yesterday. She cannot pursue this case. If you wish to pursue a further investigation...<\/dialogue>\n    <scene_description>He takes a piece of paper from his folder. Starts to circle names with a pen.<\/scene_description>\n    <character>ST\u00c9PHANE<\/character>\n    <dialogue>We can recommend this. It's a list of private detectives you can engage...<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I don't want a detective...<\/dialogue>\n    <character>ST\u00c9PHANE<\/character>\n    <dialogue>We have worked with the people on this list.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I just want to talk to Leparq...<\/dialogue>\n    <character>ST\u00c9PHANE<\/character>\n    <dialogue>I'm afraid this is all I can offer you at this time. I will circle the names that...<\/dialogue>\n    <scene_description>Bill snatches the pen from his hand and throws it. It's quick and violent. St\u00e9phane jumps.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>My daughter's in fucking jail and she doesn't belong there!<\/dialogue>\n    <character>FEMALE VOICE (V.O.)<\/character>\n    <dialogue>Oh!<\/dialogue>\n    <scene_description>A FEMALE LAWYER is in the door.<\/scene_description>\n    <character>FEMALE LAWYER<\/character>\n    <dialogue>Ca va?<\/dialogue>\n    <character>ST\u00c9PHANE<\/character>\n    <dialogue>Oui.<\/dialogue>\n    <scene_description>Bill walks out.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Fuck this.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>50A INT. LAUNDROMAT - NIGHT 50A<\/stage_direction>\n    <scene_description>A washing machine spins. And so does Bill as he sits, waiting on Allison's laundry. Her LAUNDRY BAG sits on the floor. A CITY BUS passes by.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>50B EXT. PENITENTIRAY, DAY 50B<\/stage_direction>\n    <scene_description>Bill walks toward the visitors building with the other VISITORS. He is carrying Allison's clean laundry.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>50C INT. PENITENTIRAY, SECURITY DESK 50C<\/stage_direction>\n    <scene_description>Bill passes through the METAL DETECTOR. It buzzes and Bill is frisked by a waiting GUARD.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PENITENTIARY, VISITING ROOM - DAY<\/stage_direction>\n    <scene_description>Bill is waiting, pensive, anxious. The door clicks open and inmates arrive. Allison approaches. Bill stands to hug her.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Let you out a bit late today. They shouldn't. Bet they'll call you back in on time.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>It's OK. It happens.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I did your laundry.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Thanks. So did you give Leparq my letter?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Yeah. Of course.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>And? What did she say?<\/dialogue>\n    <scene_description>Bill sees signs of hope on his daughter's face.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Well she told me what you wrote. I mean about Akim and the girl at the party.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>And what'd she say?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>She said that, you know, she works on a lot of these cases...<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Dad, is she gonna investigate it or not? Just tell me!<\/dialogue>\n    <scene_description>Bill hesitates, he can see the desperation in his daughter's eyes. He hesitates, then...<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Yeah. She's gonna look into it.<\/dialogue>\n    <scene_description>Allison can barely contain her joy.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Really? She said that?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>That's right. I told her how strongly you felt about it...<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>That's amazing. Does she want me to do anything?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>No. She just needs some time and, you know, she did say that she can't make any promises. She didn't want to give you any false hope or nothing like that.<\/dialogue>\n    <scene_description>Allison hangs onto his every word.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Of course not. But it's still great. Akim exists. He killed Lina! That's his fucking DNA they found in the apartment. I'm not crazy.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I know. I know you're not.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>I knew Leparq wouldn't let me down! You don't know how many times I wrote and rewrote that letter.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Well, it worked. Maybe God answered our prayers.<\/dialogue>\n    <scene_description>Allison smiles, she allows Bill this point.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Maybe he did.<\/dialogue>\n    <scene_description>She hugs him. He hugs her back. Bill hasn't been hugged that way by his daughter in a long time.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Thank you, Dad.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A52 INT. LEPARQ'S OFFICE, FOYER - DAY A52<\/stage_direction>\n    <scene_description>Bill pushes through a big door into a stone lobby. He ascends the stairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>B52 INT. LEPARQ'S OFFICE - LATER B52<\/stage_direction>\n    <scene_description>Bill is buzzed into the office. He approaches the RECEPTIONIST.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Excuse me, ma'am. I'm Bill Baker. I called about picking up a list.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS OF MARSEILLE - DAY<\/stage_direction>\n    <scene_description>Bill walks down a narrow street, lined with old buildings.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUILDING - LATER<\/stage_direction>\n    <scene_description>Bill arrives at the door, presses the buzzer.<\/scene_description>\n    <character>BILL (V.O.)<\/character>\n    <dialogue>I don't know how much you remember about the case but Allison came here for college.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRIVATE DETECTIVE OFFICE - DAY<\/stage_direction>\n    <scene_description>A narrow office cluttered with files. A SPRUCED UP DETECTIVE (45) examines Allison's letter closely.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>And that's when she met this girl. Lina.<\/dialogue>\n    <scene_description>A YOUNG SECRETARY approaches.<\/scene_description>\n    <character>YOUNG SECRETARY<\/character>\n    <dialogue>Would you take coffee or water?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>No. Thank you, ma'am.<\/dialogue>\n    <scene_description>Bill continues.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Allison and Lina, they were... together. And one night they had a big fight and Allison went to a bar where she met this Akim guy. She described him as tall, light skin. They had some drinks, and he stole her purse. When Allison got home she found Lina dead and called the police. But they could never find Akim. He's the one who killed Lina.<\/dialogue>\n    <scene_description>The Detective looks at Bill, nods, turns back to the letter.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>What'd you think?<\/dialogue>\n    <scene_description>The Detective nods. Bill senses that something's not right.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>You speak English, right?<\/dialogue>\n    <character>SPRUCED UP DETECTIVE<\/character>\n    <parenthetical>(with a heavy accent)<\/parenthetical>\n    <dialogue>Yes. I am.<\/dialogue>\n    <scene_description>\"I am?\" Bill sits back in his chair.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Fuck. Give back the letter.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A55 EXT. STREETS OF MARSEILLE - DAY A55<\/stage_direction>\n    <scene_description>Bill walks down a massive set of stairs, the Vieux Port in the distance. He checks a folded map.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS OF MARSEILLE - DAY<\/stage_direction>\n    <scene_description>Bill walks down a quiet street just off the port. He arrives at a door, checks his list, searches for the name on the intercom.<\/scene_description>\n    <character>MALE VOICE (O.S.)<\/character>\n    <dialogue>Mr. Baker?<\/dialogue>\n    <scene_description>Bill turns to DIROSA (60), a leathery face, open shirt and a golden button blazer on, standing just across the narrow street at the entrance of an old bar.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAR - DAY<\/stage_direction>\n    <scene_description>The letter takes centre stage on the table. Bill and Dirosa sit in the backroom of the caf\u00e9, alone.<\/scene_description>\n    <character>DIROSA<\/character>\n    <dialogue>I was in service at the time of this case. In the police. I didn't work on it but of course I remember it.<\/dialogue>\n    <scene_description>Dirosa looks at the letter.<\/scene_description>\n    <character>DIROSA<\/character>\n    <dialogue>Have you talked to this Okonedo? The professor?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>No, sir.<\/dialogue>\n    <character>DIROSA<\/character>\n    <dialogue>I see why your lawyer doesn't want to help. Some kid at a party hears gossip about a murder. Maybe she remembers this famous case. It was on the TV.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>But... why now? Five years later. That's how long my kid's been in jail. Five years.<\/dialogue>\n    <character>DIROSA<\/character>\n    <dialogue>Does she know you are here? Your kid?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>No, sir.<\/dialogue>\n    <scene_description>Dirosa considers this, fair point. He puts down the letter.<\/scene_description>\n    <character>DIROSA<\/character>\n    <dialogue>Are you rich Mister Baker?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>No, sir.<\/dialogue>\n    <character>DIROSA<\/character>\n    <dialogue>This is a DNA case. It means two steps: first, I look for the young man. That will not be easy. People will talk. He will try to disappear.<\/dialogue>\n    <scene_description>Bill listens, nods.<\/scene_description>\n    <character>DIROSA<\/character>\n    <dialogue>Then, if I find this Akim, I have to get a sample of his DNA and use my connections in the police to test it against the DNA from the crime scene. This doesn't come for free.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>How much?<\/dialogue>\n    <scene_description>Dirosa tears a page from a small notebook and scribbles some sort of addition... A cost estimate. He slips the paper towards Bill who picks it up and reads it.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Twenty thousand dollars?<\/dialogue>\n    <character>DIROSA<\/character>\n    <dialogue>Euros.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Thanks for your time.<\/dialogue>\n    <scene_description>Bill stands, takes the letter and leaves.<\/scene_description>\n    <character>DIROSA<\/character>\n    <dialogue>Mr. Baker? You believe your daughter is innocent?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I know she is.<\/dialogue>\n    <character>DIROSA<\/character>\n    <dialogue>Then maybe it's not so much to see her go free.<\/dialogue>\n    <scene_description>It's clear Bill doesn't like being sold. He leaves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL, CORRIDOR - DAY<\/stage_direction>\n    <scene_description>Bill walks down the hallway, sees a MAID'S CART outside of Virginie's door. He squeezes past, the now empty room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BILL'S ROOM - SAME<\/stage_direction>\n    <scene_description>Bill opens his door, turns on the light. He finds A COLORED PAPER on the floor. It's a hand drawn picture of an eagle and a skull. Maya's rendition of Bill's tattoo. Written on the back of card is... Dear Bill. It was nice to meet you. Good luck in Marseille. Virginie and Maya. Bill drops the drawing on the table.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL, BUSINESS OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Working on an old computer, Bill, his readers on, does his best to navigate the internet. He turns to the RECEPTIONIST.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Excuse me, ma'am. Can I ask you a question, please?<\/dialogue>\n    <scene_description>As she approaches, he holds up the pad.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>I'm just too much of a dumbass to figure this out on my own. And I don't... parle any French.<\/dialogue>\n    <scene_description>She smiles, crosses to the computer.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIX-MARSEILLE UNIVERSITY - DAY<\/stage_direction>\n    <scene_description>Bill walks across the campus.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIX-MARSEILLE UNIVERSITY - LATER<\/stage_direction>\n    <scene_description>Bill stands examining an INFORMATION BOARD. A FEMALE student walks past.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Excuse me, ma'am. Do you speak English.<\/dialogue>\n    <character>FEMALE STUDENT<\/character>\n    <dialogue>Yes. Of course. What can I do for you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIX-MARSEILLE UNIVERSITY, AMPHITHEATRE - SAME<\/stage_direction>\n    <scene_description>A half full amphitheater classroom. PATRICK OKONEDO (37) of African descent, with a knitted tie, lectures.<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>C'est en 1998 que Paul Crutzen, prix Nobel de chimie atmosph\u00e9rique, enflamme les milieux scientifiques avec ce nouveau concept selon lequel le monde est entr\u00e9 dans une nouvelle \u00e8re g\u00e9ologique, l'Anthropoc\u00e8ne...<\/dialogue>\n    <scene_description>Bill enters, freezes.<\/scene_description>\n    <character>PATRICK<\/character>\n    <parenthetical>(Clocking Bill)<\/parenthetical>\n    <dialogue>Oui?<\/dialogue>\n    <scene_description>He could not seem more out of place.<\/scene_description>\n    <character>BILL<\/character>\n    <parenthetical>(Reading off the paper)<\/parenthetical>\n    <dialogue>Yeah\u2026 huh\u2026 sorry to interrupt. Do you speak English?<\/dialogue>\n    <scene_description>Some laughter in the class room.<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>I do.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I'm looking for Patrick Okonedo.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Vous l'avez trouv\u00e9.<\/dialogue>\n    <parenthetical>(Bill doesn't respond)<\/parenthetical>\n    <dialogue>Have a seat, please.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I can wait outside if-<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Please. Join the party.<\/dialogue>\n    <scene_description>A few laughs from the students. Bill reluctantly sits.<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Et cette nouvelle \u00e8re s'accompagne d'un appauvrissement des ressources, d'une forte instabilit\u00e9 climatique\u2026<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIX-MARSEILLE UNIVERSITY, PATRICK'S OFFICE - LATER<\/stage_direction>\n    <scene_description>A small office with fluorescent lights and peeling paint. Patrick turns off the electric kettle, prepares a cup of tea.<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>I know it's impressive.<\/dialogue>\n    <parenthetical>(Turns to Bill)<\/parenthetical>\n    <dialogue>It's the kind of office a PHD will get you.<\/dialogue>\n    <scene_description>Bill nods, not really getting the joke.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>I'd like to talk to the girl you told Allison about.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Yes, I assumed as much.<\/dialogue>\n    <scene_description>Patrick sits at his desk, considers Bill. He takes his time, as if weighing his words:<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>To be honest, I've always felt guilty about what happened. I should have warned Allison.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Warned her? About what?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Well, I knew Allison and Lina were sleeping together but I had no idea Lina had moved in with her. I try not to be cynical about those types of relationships -- 'the poor girl from the ghetto and the rich American student'- but then I end up being guilty of naivety.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Allison grew up poor. She's not rich.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Educated. There is a lot of resentment toward the cultural elite. I'm sure you are aware of that.<\/dialogue>\n    <scene_description>Bill is growing tired of the talk.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>What about the girl from the party?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>My student. Her name is Souad. She is from the same outreach program that Allison and Lina were involved with.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>And she heard some guy talking about Lina's murder?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>This is what she told me.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Could I talk to her?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>She will talk to you, yes. I will give you her phone number.<\/dialogue>\n    <scene_description>He jots down the number.<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Souad does not speak English very well. You will need someone to translate.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Could you do it?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>No. I'd rather not.<\/dialogue>\n    <scene_description>He hands Bill a piece of paper.<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>I'm still running the outreach program, I can't be associated with you or your daughter after what happened. Whatever my personal opinion may be.<\/dialogue>\n    <scene_description>Bill sits with this, deeply insulted.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>My daughter's innocent.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>I wish you good luck.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCAL BAZAR - DUSK<\/stage_direction>\n    <scene_description>A small store packed with a random assortment of cheap electronic and household goods. Bill stands in front of shelf of cheap toys. He reaches for a TOY ROBOT, inspects it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL RECEPTION - NIGHT<\/stage_direction>\n    <scene_description>Bill approaches the desk. It's the same Receptionist that helped him earlier. He smiles, turns on the charm again.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Bonjour. I'm afraid I need some more help. I am supposed to attend a very special birthday party tomorrow...<\/dialogue>\n    <parenthetical>(Holding up the toy robot)<\/parenthetical>\n    <dialogue>And I lost the address. I don't want the party started without me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. APARTMENT BUILDING - DAY<\/stage_direction>\n    <scene_description>Bill walks down a quiet street, slip of paper in one hand, robot in the other. He pauses at an archway and enters. He reads the intercom, presses the button. Static erupts...<\/scene_description>\n    <character>VIRGINIE (O.S.)<\/character>\n    <dialogue>Bonjour.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Hi. It's Bill Baker.<\/dialogue>\n    <character>VIRGINIE (O.S.)<\/character>\n    <dialogue>Qui est l\u00e0?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Bill. From the hotel.<\/dialogue>\n    <character>VIRGINIE (O.S.)<\/character>\n    <dialogue>Oh\u2026 Bill\u2026?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>That's right. Had a favor to ask if you don't...<\/dialogue>\n    <scene_description>BUZZZ! He pushes his way in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT BUILDING, SECOND FLOOR HALLWAY - LATER<\/stage_direction>\n    <scene_description>Bill takes the final few stairs and is accosted by Maya.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>Hi Beel!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Hey Maya. This is for you. It's a robot.<\/dialogue>\n    <scene_description>He hands her the toy.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>Un robot! Maman, Bill m'a apport\u00e9 un robot! Je peux l'ouvrir?<\/dialogue>\n    <scene_description>Maya takes the robot and Bill's hand. She leads him to the door where Virginie waits, a bit confused by Bill's arrival.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Hi. Sorry to intrude.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>It's OK. I'm having some friends over...<\/dialogue>\n    <parenthetical>(realizing)<\/parenthetical>\n    <dialogue>How did you find us?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Oh... the lady at reception gave me your address. There's this girl I need to call and she don't speak English\u2026 It's kinda personal.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>You want me to make a call for you, is that it?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Yes ma'am. But I can come back...<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>No. No. It's OK. Let me grab my phone. Come.<\/dialogue>\n    <scene_description>Virginie leads Bill through the apartment which is large with high ceilings. There are unpacked boxes piled in the corner. There are stacks of books and art leaning up against the wall. It has an undeniable charm. There are SIX PEOPLE sitting in a circle in the living room in folding chairs.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Everyone... this is Bill. Bill this is the creme de la creme of the Marseille theater scene.<\/dialogue>\n    <scene_description>The group responds with laughter and hello's. Bill awkwardly nods.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>J'en ai pour cinq minutes, j'arrive.<\/dialogue>\n    <scene_description>Virginie grabs her phone off her chair, leads Bill into...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S APARTMENT, OFFICE - CONTINUOUS<\/stage_direction>\n    <scene_description>The office is small and jammed with stacks of books and a number of unpacked boxes. Virginie clears space off the small desk.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>We're doing a reading of a new play.<\/dialogue>\n    <scene_description>Virginie moves some items off a chair in the corner.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Excuse the mess. This is going to be my office but we are still moving in. Who am I calling?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>It's the girl. From the letter...<\/dialogue>\n    <scene_description>He hands her a slip of paper the Okonedo gave him.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Ah! It's about the case.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Yes ma'am. I wanna meet with her.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Is the lawyer not helping you?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I'm doing it myself for now.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Oh. Wow. OK. Can I have the number?<\/dialogue>\n    <parenthetical>(To Maya)<\/parenthetical>\n    <dialogue>Maya, allume la lumi\u00e8re.<\/dialogue>\n    <scene_description>Maya throws the light switch but the light doesn't turn on.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>C'est encore cass\u00e9!<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Encore?<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Oui. Regarde!<\/dialogue>\n    <scene_description>Maya flips the switch a few more times, nothing. Virginie gets up to open the shutters in order to let in light.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>We got a great deal on this place through this friend of mine. I fell in love with this view but it has a few defects.<\/dialogue>\n    <scene_description>Bill clocks the great view of the city and ocean below. He hands Virginie the paper with Souad's number. She takes it, starts to dial.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Probably just the circuit breaker. I could take a look if want.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Really? You know how to do that?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Yes, ma'am<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>That would be great!<\/dialogue>\n    <parenthetical>(Into the phone)<\/parenthetical>\n    <dialogue>Oui, allo ? Je vous appelle de la part de Bill Baker. Oui.<\/dialogue>\n    <scene_description>Virginie starts having a conversation on the phone. Bill doesn't understand any of it.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>Non! Le pied de mon robot est tomb\u00e9! Regarde, Bill, le pied est tomb\u00e9!<\/dialogue>\n    <scene_description>Bill is trying to decipher Virginie's conversation.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Hold up, Maya.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Maman, mon robot est d\u00e9j\u00e0 cass\u00e9, regarde!<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Je suis au t\u00e9l\u00e9phone l\u00e0!<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>C'est nul un robot sans pied! Il tient m\u00eame pas debout!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Here, Maya. Let me see it.<\/dialogue>\n    <scene_description>Bill takes it, starts to fiddle with it. He can barely make out the tiny parts. He pushes a button and music starts to play... \"Sexy Lady\". Virginie looks over, what is that? Bill turns it off. Virginie ends the call, hangs up.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>OK. She agrees to see you tomorrow at six.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Maman, il a perdu un pied!<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Quoi?<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Mon robot, il est d\u00e9j\u00e0 cass\u00e9. Il est pourri.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>D'accord. D'accord. Deux secondes.<\/dialogue>\n    <scene_description>She holds up his hand. Virginie is a bit embarrassed, she smiles and turns to Bill.<\/scene_description>\n    <character>VIRGINE<\/character>\n    <dialogue>She was nice. A bit shy. How are you going to talk with her if you don't speak French?<\/dialogue>\n    <scene_description>Bill considers this.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>That's a fair question. I'll figure it out.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <parenthetical>(She smiles)<\/parenthetical>\n    <dialogue>I could come with you and translate if you need.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>You sure?<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Yes. It's OK. Maya has art class. You come here at 5:30, we'll take my car.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Appreciate that. If you know where your fuse box is I can try and fix that breaker for you.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>No. No. You don't have to do this.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>L'autre pied est tomb\u00e9 aussi!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Here. Give me that damn thing. Maybe I'll get you another one.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VIRGINIE'S APARTMENT - LATER<\/stage_direction>\n    <scene_description>Bill exits the building, starts down the street.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>Beeel!<\/dialogue>\n    <scene_description>Bill turns, Maya is in the window.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>Bye Bill!<\/dialogue>\n    <scene_description>Bill waves, smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A70 INT. SPAR - NIGHT A70<\/stage_direction>\n    <scene_description>Bill shops for a few grocery items.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. QUIET STREET - NIGHT<\/stage_direction>\n    <scene_description>Bill walks down a quiet street, SPAR SHOPPING BAG in hand. Something catches his eye and he slows to a stop. A small FISHING BOAT sitting on a trailer sits burning. The flames grow.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A71 EXT. VIRGINIE'S CAR - DAY A71<\/stage_direction>\n    <scene_description>Virginie's car drives along the highway.<\/scene_description>\n    <character>VIRGINIE (V.O.)<\/character>\n    <dialogue>I have to confess. I went online and read about Allison's case.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S CAR - DAY<\/stage_direction>\n    <scene_description>Virginie is driving, Bill is in the passenger seat.<\/scene_description>\n    <character>VIRGINIE (V.O.)<\/character>\n    <dialogue>It was a big story at the time, no? The press was ferocious. You say ferocious?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Yes, ma'am. You can say that.<\/dialogue>\n    <scene_description>Virginie checks her phone for directions. A MOTORBIKE flies by, almost cuts her off.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Dumbass.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>People don't know how to drive in this fucking town. It's a crazy place, Marseille. But I still prefer it to Paris. People talk to each other here. Plus it's cheaper.<\/dialogue>\n    <scene_description>Bill just listens.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Why did Allison come here for school? I'm curious.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Don't know.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <parenthetical>(Surprised)<\/parenthetical>\n    <dialogue>No?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>She was going to Oklahoma State and then she called me one day and said, I'm going to France. To here.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>She is independent.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Yes, ma'am. Always has been.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Are you close?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>You read her letter.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Where is her mother?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>She died. Killed herself.<\/dialogue>\n    <scene_description>Bill's bluntness catches Virginie off guard.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Allison was raised by her grandmother mostly. I wasn't around much.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Where were you?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Working on oil rigs. Being a fuck up when I wasn't.<\/dialogue>\n    <scene_description>Virginie registers Bill's admission.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>It's not easy being a single parent. I often work at night. Maya gets very upset.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>What do you do?<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>I'm an actress.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>On TV.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>No. Theater. Do you go the theater?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>No ma'am.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Never?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>No ma'am.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Oh. Ok.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. QUICK - DAY<\/stage_direction>\n    <scene_description>Bill and Virginie get out of their car. Head toward the entrance.<\/scene_description>\n    <character>BILL (V.O.)<\/character>\n    <dialogue>Thank y'all for talking to me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. QUICK - LATER<\/stage_direction>\n    <scene_description>The restaurant is mostly empty except for a guy mopping the floor. Bill and Virginie are sitting with two SIXTEEN YEAR- OLD ARAB WOMEN wearing puffy jackets and drinking cokes.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>The guy you met at the party. Akim? Can you tell us anything about him?<\/dialogue>\n    <character>SOUAD<\/character>\n    <dialogue>Rien. Il \u00e9tait normal. Sympa.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>She said he was quiet. And nice.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Nice? Does she know where he lives?<\/dialogue>\n    <character>SOUAD<\/character>\n    <dialogue>C'est apr\u00e8s quand il est parti, ma copine m'a dit qu'il avait tu\u00e9 une fille avec un couteau et que la police l'avait jamais attrap\u00e9.<\/dialogue>\n    <scene_description>Souad's FRIEND is lazily surfing on Instagram, her phone lying on the table. Virginie takes glances at the screen. The girl notices and picks it up.<\/scene_description>\n    <character>SOUAD'S FRIEND<\/character>\n    <dialogue>C'est qui elle ? C'est sa femme ?<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Non, je suis juste une am-<\/dialogue>\n    <character>SOUAD'S FRIEND<\/character>\n    <dialogue>Je t'ai pas parl\u00e9 \u00e0 toi.<\/dialogue>\n    <scene_description>Virginie blinks, surprised by her directness.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Where does he live?<\/dialogue>\n    <scene_description>Virginie translates. Souad answers.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Kallist\u00e9?<\/dialogue>\n    <scene_description>Souad nods, yes.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>She said he lives in a different project. It's called Kallist\u00e9.<\/dialogue>\n    <scene_description>The door opens and THREE YOUNG MEN walk in. Souad's friend clocks them. She nudges Souad.<\/scene_description>\n    <character>SOUAD'S FRIEND<\/character>\n    <dialogue>Je vais avoir des probl\u00e8mes \u00e0 cause de toi.<\/dialogue>\n    <character>SOUAD<\/character>\n    <dialogue>Mais non.<\/dialogue>\n    <character>SOUAD'S FRIEND<\/character>\n    <dialogue>Je vis ici moi ! On les connait pas eux ! Alors tu ferme ta bouche !<\/dialogue>\n    <scene_description>And Souad does. Her friend shakes her head, pissed.<\/scene_description>\n    <character>SOUAD'S FRIEND<\/character>\n    <dialogue>Comment tu sais qu'elle est pas flic elle d\u00e9j\u00e0 ?<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Je suis pas flic. Je vous assure. J'essaye juste d'aider mon ami !<\/dialogue>\n    <character>SOUAD'S FRIEND<\/character>\n    <dialogue>Je t'ai dit je te parle pas \u00e0 toi !<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>What's she saying?<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Nothing helpful.<\/dialogue>\n    <scene_description>Bill turns to Souad, looks at her.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>I am... le p\u00e8re. Allison is my little girl... my fille.<\/dialogue>\n    <scene_description>Souad looks embarrassed, doesn't know what to do. Her friend takes over, starts talking fast. Virginie translates:<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>She says that people in parties they talk a lot, they say all sort of things, doesn't mean any of it is true. It's just Marseille...<\/dialogue>\n    <parenthetical>(Aside to Bill)<\/parenthetical>\n    <dialogue>She doesn't want to help.<\/dialogue>\n    <scene_description>Bill insists, looks right at Souad:<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Can they tell us anything else? What does the guy look like?<\/dialogue>\n    <scene_description>Virginie translates. Souad is really starting to squirm. She looks to her friend who's had enough. She gets up.<\/scene_description>\n    <character>SOUAD'S FRIEND<\/character>\n    <dialogue>Tu nous a pris pour des poucaves ou quoi ?!<\/dialogue>\n    <scene_description>She grabs Souad's hand, pulls her toward the door.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Hold on!<\/dialogue>\n    <scene_description>Bill stands grabs Souad by the arm. She pulls her arm away.<\/scene_description>\n    <character>SOUAD<\/character>\n    <dialogue>Me touche pas !<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Bill!<\/dialogue>\n    <character>SOUAD'S FRIEND<\/character>\n    <dialogue>La touche pas elle a dit ! L\u00e2chez nous l\u00e0! On n'est pas des poucaves!<\/dialogue>\n    <scene_description>Virginie grabs him by the arm.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Let them go! She's afraid.<\/dialogue>\n    <scene_description>The girls scamper out.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Afraid of what? We're just talking.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>That's not how it works here...<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>So tell me how it works! Cuz' no one here's doing shit for me!<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>I do shit for you.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I know but...<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Come. Let's go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARSEILLE ROAD - DUSK<\/stage_direction>\n    <scene_description>Virginie's car pulls to the side of the road.<\/scene_description>\n    <character>VIRGINIE (O.S.)<\/character>\n    <dialogue>That is it. Kallist\u00e9. That's where she said Akim lives.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S CAR - DUSK<\/stage_direction>\n    <scene_description>Virginie puts the car into park, points to the sprawling concrete projects in the distance.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Can we go look around?<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>No. Not at this time. It's not safe for us.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Because we're white?<\/dialogue>\n    <scene_description>Virginie is almost caught off guard by Bill's question.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Because we are not from there... And there can be a lot of dealing at night.<\/dialogue>\n    <parenthetical>(Off Bills look)<\/parenthetical>\n    <dialogue>Drugs.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I gotta do something.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>No one there will talk to you.<\/dialogue>\n    <scene_description>Bill considers this, looks out.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Bill, what if there is no Akim?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>There is.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>OK but they never found this person during the investigation...<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>My daughter's not a liar.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>I didn't say she was but everything I read about this case...<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>So you're some kind of expert now?<\/dialogue>\n    <scene_description>His tone stops Virginie cold. Then...<\/scene_description>\n    <character>VIRGINE<\/character>\n    <dialogue>No. I'm not.<\/dialogue>\n    <scene_description>Bill looks at her, he overreacted.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>The press was against us. All they cared about was that Allison was sleeping with an Arab girl... bunch of fake news scumbags.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>This is why you punched that English reporter?<\/dialogue>\n    <scene_description>Bill looks at her, busted.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>I was drinking then.<\/dialogue>\n    <scene_description>Virginie watches Bill. He's sincere. She starts the car, puts it into reverse.<\/scene_description>\n    <character>VIRGINE<\/character>\n    <dialogue>I could use a drink now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LES BAUMETTES, SECURITY ROOM - DAY<\/stage_direction>\n    <scene_description>Bill stores his possessions in a locker.<\/scene_description>\n    <character>ALLISON (V.O.)<\/character>\n    <dialogue>Did you hear anything from Leparq?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>76A INT. LES BAUMETTES, VISITING ROOM HALLWAY - LATER 76A<\/stage_direction>\n    <scene_description>A number of VISITORS, including Bill, amble down the hallway and into their assigned rooms.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON, VISITING ROOM - LATER<\/stage_direction>\n    <scene_description>Bill is sitting with Allison.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Not yet.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Did you tell Gram about this?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>No. Don't want to get her hopes up 'til we know more. She's getting on, your grandmother.<\/dialogue>\n    <scene_description>Allison seems content with this answer.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>I miss her so much. It sucks that she can't come anymore.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>She misses you too.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Oh...I had a meeting with the judge yesterday.<\/dialogue>\n    <scene_description>Bill is instantly on alert.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Oh yeah. About what?<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>I have my parole review coming up in about three months. It's the thing where I get out of here one day a month.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Right. Right. So what'd he say?<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>She. She said, that as long as my behavior remained good, it shouldn't be a problem.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>But I felt like saying fuck parole, my lawyer is working on getting me out of here for good.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>We don't know that yet, Ally\u2026 We need to keep-<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>I know. I didn't say anything. I wanted to but... Oh! There was someone from Leparq's office there.<\/dialogue>\n    <scene_description>Bill tries not to react<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>I never met him. But I asked him how the investigation was going\u2026<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Oh yeah? What'd he tell you?<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>He didn't know anything about it.<\/dialogue>\n    <scene_description>Bill shrugs, covering.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Leparq's probably just taking care of it herself. It's pretty high level.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>I told him I wanted to talk to Leparq. She should be keeping us informed.<\/dialogue>\n    <scene_description>Allison's wheels are spinning.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>I'll talk to her.<\/dialogue>\n    <scene_description>A BELL rings. Time's up. Bill is relieved to escape any further questions.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>OK. Well, I'll see you in a few days. You need anything?<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>No. I'm OK. Hey Dad, is there any way you could stay in Marseille a little longer? In case something comes up?<\/dialogue>\n    <scene_description>Bill is rocked by this. Allison never relies on him this way.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Uh... yeah. I think I could do that. Gotta check in with work.<\/dialogue>\n    <scene_description>The GUARD unlocks the door. Allison cuts through it.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>I can ask Gram to wire you some money if you need...<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Don't do that. I'll figure it out. I promise.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Thanks, Dad.<\/dialogue>\n    <scene_description>Allison smiles, leaves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A78 EXT. VIRGINIE'S APARTMENT, STOOP - DAY A78<\/stage_direction>\n    <scene_description>Bill and Maya sit on the stoop, waiting. Maya taps Bill and points to... MAX who is approaching.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S BUILDING, FOYER - DAY<\/stage_direction>\n    <scene_description>Bill and Maya follow Max downstairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S BUILDING, BASEMENT - DAY<\/stage_direction>\n    <scene_description>MAX lumbers down the stairs, followed by Bill and Maya. They walk along a dark hallway lined with old wooden doors. Marseille's version of storage units. Finally they arrive in a cluttered tool room, a dusty WORKBENCH in a corner. Tools, paint cans, and cleaning supplies are scattered around.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Tu peux utiliser les outils. Mais quand t'as fini, tu les rapportes.<\/dialogue>\n    <scene_description>Bill doesn't understand but understands. He opens an OLD TOOLBOX on the workbench, peeks inside. Max picks up a FLASHLIGHT and unlatches a SECOND DOOR on the opposite wall. Bill and Maya follow him into the darkness.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S BUILDING, BASEMENT, UNFINISHED ROOM - DAY<\/stage_direction>\n    <scene_description>They follow Max's light, winding through another endless maze of storage units. But these units have all been abandoned. The floor covered with left behind furniture and clothing. Max finally stops and shines a light on the FUSEBOX.<\/scene_description>\n    <character>MAX<\/character>\n    <dialogue>Le bo\u00eetier \u00e9lectrique.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>D'accord?<\/dialogue>\n    <scene_description>He looks to Bill who looks to Maya who looks to Max.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>D'accord.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S APARTMENT, BATHROOM - LATER<\/stage_direction>\n    <scene_description>Maya sits on the old TOOL BOX listening to Bill who is installing a new float in the toilet.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>And then the land man talks to the land owner and takes out a lease. Once you got the lease, you hire a drilling company. That's who I work for. Then you rig up and put all the shit together. And once the rig is up you start making hole. That's what a roughneck does. He makes hole. Go ahead test it. Flush.<\/dialogue>\n    <scene_description>Maya looks confused. He gestures her to test the flush.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Flush! Go on.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Ah. Flush. D'accord.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>That's right. Clutch it. Get it!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S APARTMENT, KITCHEN - DAY<\/stage_direction>\n    <scene_description>Bill and Maya enter to find, Virginie, sitting at the table in front of the computer with NEDJMA (25), the Young Woman Bill saw the first night on the balcony.<\/scene_description>\n    <character>NEDJMA<\/character>\n    <dialogue>Demande lui alors!<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Non mais je suis s\u00fbre que non\u2026<\/dialogue>\n    <character>NEDJMA<\/character>\n    <dialogue>Pourquoi tu lui demandes pas alors!<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>J'ai pas envie! Et puis \u00e7a nous regarde pas. On peut se concentrer sur les photos?<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>C'est r\u00e9par\u00e9, maman.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Yes? The toilet works?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>It does. And your office light is working too.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Wow. Great. Thank you.<\/dialogue>\n    <character>MAYA<\/character>\n    <parenthetical>(Looking out the window)<\/parenthetical>\n    <dialogue>Maman. Je peux aller jouer dans la cour avec les enfants?<\/dialogue>\n    <scene_description>Virginie gets up, looks out the window. Sees a few kids playing.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>D'accord, mais tu sors pas de la cour, ok?<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>OK! Salut Nedjma. Au revoir Bill!<\/dialogue>\n    <scene_description>Maya leaves.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Bill. Come. Come!<\/dialogue>\n    <scene_description>Bill joins them, looks over her shoulder at the screen.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Nedjma is a technical genius.<\/dialogue>\n    <character>NEDJMA<\/character>\n    <dialogue>I'm not a genius. I'm just younger.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>T'as trois ans de moins que moi!<\/dialogue>\n    <character>NEDJMA<\/character>\n    <dialogue>Ben \u00e7a compte.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>These are online or some shit?<\/dialogue>\n    <scene_description>PHOTOGRAPHS of teenagers at a party cover the screen.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>They are all from Instagram accounts of Souad and her bitchy friend. These photos are from the party.<\/dialogue>\n    <scene_description>Virginie scrolls through the photographs.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>How'd ya'll get 'em?<\/dialogue>\n    <scene_description>Bill looks over the photos.<\/scene_description>\n    <character>NEDJMA<\/character>\n    <dialogue>I set up a false instagram account, followed Souad and her lovely friend whose name is Samira and then geo-tagged the party Souad was at when she saw this guy.<\/dialogue>\n    <scene_description>Virginie points to a picture of Souad.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>There is Souad. So there's a chance Akim is in one of these photos.<\/dialogue>\n    <scene_description>Bill's eyes wander on the screen.<\/scene_description>\n    <character>NEDJMA<\/character>\n    <dialogue>Il veut dire quoi quand il dit \"light skin\"? Hein? Light skin\u2026 Je suis quoi moi?<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Toi t'es chiante. We are going to print them up. And then we can show them to Allison!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>No. I don't want to do that.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Why? If Akim is here she will know.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I don't care. I'm not doing that.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>I don't understand, why are you being so stubborn about Allison?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>We should just go back to Souad. Now that we have the photos.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>We stole these photos from her Instagram!<\/dialogue>\n    <scene_description>Bill paces, crosses to the window, staring outside. Sees Maya playing with her new friends. Virginie shakes her head in frustration. Nedjma finally steps in.<\/scene_description>\n    <character>NEDJMA<\/character>\n    <dialogue>Can I say something or do you two want to just keep fighting?<\/dialogue>\n    <parenthetical>(Off Virginie's look)<\/parenthetical>\n    <dialogue>Did anyone else in Marseille see this Akim guy? Or just Allison?<\/dialogue>\n    <scene_description>Virginie looks to Bill.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>The bar owner. Where they met. He was at the trial.<\/dialogue>\n    <character>VIRGINE<\/character>\n    <dialogue>We should go there.<\/dialogue>\n    <character>NEDJMA<\/character>\n    <dialogue>We?<\/dialogue>\n    <scene_description>Nedjma clocks Bill's tone. She doesn't like it.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>What's it called? The bar?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I don't remember. It was near her apartment.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>I can find it.<\/dialogue>\n    <scene_description>She sits at her computer. Nedjma starts to pack up.<\/scene_description>\n    <character>NEDJMA<\/character>\n    <parenthetical>(To Virginie)<\/parenthetical>\n    <dialogue>Alors c'est ta nouvelle cause, lui? T'as fait le z\u00e9ro d\u00e9chets, les r\u00e9fugi\u00e9s, et maintenant c'est lui.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Arr\u00eate un peu.<\/dialogue>\n    <character>NEDJMA<\/character>\n    <dialogue>Mais t'adores \u00e7a\u2026 L'humanitaire. C'est ton hobby.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>\u00c7a suffit.<\/dialogue>\n    <character>NEDJMA<\/character>\n    <dialogue>Demande-lui alors!<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Arr\u00eate! C'est personnel je t'ai dis!<\/dialogue>\n    <character>NEDJMA<\/character>\n    <dialogue>T'as peur de la v\u00e9rit\u00e9 ou quoi?<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Bon. Bill, did you vote for Trump?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <parenthetical>(To Nedjma)<\/parenthetical>\n    <dialogue>Tu vois!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I didn't vote.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>What? Why didn't you vote?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I have a record.<\/dialogue>\n    <parenthetical>(Off her look)<\/parenthetical>\n    <dialogue>I was arrested. You can't vote when that happens.<\/dialogue>\n    <character>NEDJMA<\/character>\n    <dialogue>G\u00e9nial. C'est un taulard en plus. Moi j'y vais.<\/dialogue>\n    <scene_description>She stands.<\/scene_description>\n    <character>NEDJMA<\/character>\n    <parenthetical>(To Bill)<\/parenthetical>\n    <dialogue>Good bye. I wish you luck.<\/dialogue>\n    <parenthetical>(To Virginie)<\/parenthetical>\n    <dialogue>T'en auras besoin.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Thank you for your help.<\/dialogue>\n    <character>NEDJMA<\/character>\n    <dialogue>I am doing this for her.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - LATER<\/stage_direction>\n    <scene_description>Virginie and Bill are walking. Virginie checks the map on her phone.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Your friend... eh...Nedjma. She mad at you for helping me?<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Don't worry about Nedjma. She's generally hostile. She's very protective for me but she's a good friend. And she helps me with Maya.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Where's Maya's father?<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Corsica. Running a night club on a beach.<\/dialogue>\n    <parenthetical>(Off Bill's look)<\/parenthetical>\n    <dialogue>He was a... fling. You say fling?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Fling, yeah. Does he visit?<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>He used to but it's better when he doesn't. C'est comme \u00e7a.<\/dialogue>\n    <scene_description>Bill stops.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>BILL<\/character>\n    <parenthetical>(Pointing)<\/parenthetical>\n    <dialogue>That's where she lived\u2026 Number 38.<\/dialogue>\n    <scene_description>It's a random, run-down building with a red door.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>That's where it happened?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>The two of them just stare at the anonymous building for a moment, life goes on. And with that so do they.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFE DE LA PLACE - LATER<\/stage_direction>\n    <scene_description>Bill and Virginie enter. A few CUSTOMERS are following the horse races on a flat screen. They approach the bar. A YOUNG CHINESE MAN (28) is behind the counter. Virginie and the man talk in French.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <parenthetical>(To Bill)<\/parenthetical>\n    <dialogue>He's the new owner. He wasn't here when the crime happened.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Does he know where we can find the old owner?<\/dialogue>\n    <character>OWNER<\/character>\n    <dialogue>Yes, I know.<\/dialogue>\n    <scene_description>The Owner apparently speaks English. He points at an OLD MAN (60's) sitting at a corner table.<\/scene_description>\n    <character>OWNER<\/character>\n    <dialogue>He is right there. Drinking my profits.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAR - LATER<\/stage_direction>\n    <scene_description>Bill and Virginie sit with the former owner of the bar. He is looking at the photos.<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>C'est quand m\u00eame terrible ce qui est arriv\u00e9 \u00e0 ta gamine. Je comprends pas qu'ils aient pu envoyer une gentille petite comme \u00e7a en prison.<\/dialogue>\n    <scene_description>The owner comes with three glasses of Pastis and a jug of water. The old man pushes the glasses to Virginie and Bill.<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>Please.<\/dialogue>\n    <scene_description>Virginie picks up hers.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Merci.<\/dialogue>\n    <scene_description>The Old Man looks at Bill.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Il ne boit pas.<\/dialogue>\n    <scene_description>The Old Man shrugs and sips his Pastis.<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>Sant\u00e9!<\/dialogue>\n    <scene_description>He looks at the photos again.<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>Regardez moi cette smala\u2026<\/dialogue>\n    <scene_description>Virginie blanches. She tries to play through it.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Est-ce que l'un d'entre eux vous rappelle quelque chose ?<\/dialogue>\n    <character>OLD MAN<\/character>\n    <dialogue>Pas facile \u00e0 dire\u2026 Faut dire qu'ils se ressemblent tous\u2026<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Does he see anyone?<\/dialogue>\n    <character>OLD MAN<\/character>\n    <dialogue>Ils d\u00e9barquent ici, ils font toujours des probl\u00e8mes. Ils se croient chez eux maintenant.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <parenthetical>(Getting pissed off)<\/parenthetical>\n    <dialogue>On peut rester concentrer sur les photos s'il vous pla\u00eet?<\/dialogue>\n    <scene_description>The guy turns to Bill, talks to him as to an old friend.<\/scene_description>\n    <character>OLD MAN<\/character>\n    <dialogue>On est pareil toi et moi, non? Vous, vous avez les m\u00eames soucis avec vos Mexicains, non ? C'est l'invasion.<\/dialogue>\n    <scene_description>Virginie doesn't translate.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>What'd he say?<\/dialogue>\n    <character>OLD MAN<\/character>\n    <dialogue>Et puis l\u00e0 \u00e7a fait cinq ans aussi\u2026 Le mieux c'est que tu me montres celui que tu veux et moi je le reconnaitrai. Comme \u00e7a c'est r\u00e9gl\u00e9. Je ferai pareil au tribunal s'il faut.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Attendez, c'est s\u00e9rieux l\u00e0\u2026<\/dialogue>\n    <character>OLD MAN<\/character>\n    <parenthetical>(Shrugs)<\/parenthetical>\n    <dialogue>Regardez-les, ils sont tous coupables de quelque chose l\u00e0- dedans\u2026<\/dialogue>\n    <scene_description>She stands, starts to collect the pages of photos.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Let's go!<\/dialogue>\n    <scene_description>Bill puts his hand on the pages, preventing her.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>What'd he say?<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Nothing! He's useless.<\/dialogue>\n    <scene_description>The Old Man watches their exchange.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <parenthetical>(To the Old Man)<\/parenthetical>\n    <dialogue>Merci ducon!<\/dialogue>\n    <character>OLD MAN<\/character>\n    <dialogue>Au revoir, Madame.<\/dialogue>\n    <scene_description>She storms out. Bill hesitates, follows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - LATER<\/stage_direction>\n    <scene_description>Bill catches up to Virginie on the sidewalk.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Hey! What happened?<\/dialogue>\n    <scene_description>Virginie turns to him, trying to calm down.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Sorry\u2026 I can't talk to that guy anymore. He was saying horrible things.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Like what?<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>He just wants to put an Arab kid in jail. He said he doesn't care which one.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>That's it?<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>\"That's it?\" What do you mean 'that's it'? He's a racist.<\/dialogue>\n    <scene_description>Bill thinks, looks back toward the caf\u00e9. Beat.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>OK. He's a racist. We still gotta talk to him.<\/dialogue>\n    <scene_description>Virginie looks at him:<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>I'm not talking to him! No!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>He might know something.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>He doesn't know something. We can't send an innocent kid to jail!<\/dialogue>\n    <character>BILL<\/character>\n    <parenthetical>(cuts her off)<\/parenthetical>\n    <dialogue>My daughter's innocent!<\/dialogue>\n    <scene_description>Virginie stares at Bill, caught completely off guard by his logic.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>I can't believe this conversation\u2026<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Then you live in some fancy ass world, lady. I ain't saying it's right but I work with hands like that all the time.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>So what?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>This ain't no game for me. I'm gonna get my little girl out of that jail, that's all I give a fuck about!<\/dialogue>\n    <scene_description>Virginie is at a loss...<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>You sound very American right now.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I am!<\/dialogue>\n    <scene_description>Virginie looks at him, almost with pity.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>You're also a stranger here. You don't actually understand shit...<\/dialogue>\n    <scene_description>She shoves the photos at him.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Prends ces trucs, fais ce que tu veux - mais sans moi!<\/dialogue>\n    <scene_description>She spins, walks away. Bill just burned a bridge.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>86A EXT. MARSEILLE, STREET - DAY 86A<\/stage_direction>\n    <scene_description>Bill is standing in front of the ticket vending machine by the tramway tracks, trying to buy a ticket. ERREUR. Tries again. ERREUR. He looks around but doesn't ask for help. Tries again.<\/scene_description>\n    <character>ERREUR. ERREUR. ERREUR.<\/character>\n    <dialogue>Bill punches the machine. Eyes turn to him. He walks away.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL RECEPTION - DUSK<\/stage_direction>\n    <scene_description>Bill walks through the lobby.<\/scene_description>\n    <character>RECEPTIONIST<\/character>\n    <dialogue>Mr. Baker? You have a message.<\/dialogue>\n    <scene_description>She holds a piece of paper.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL, BILL'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Bill is in his room, the phone to his ear.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Sharon? What's up? Everything, OK?<\/dialogue>\n    <character>SHARON (ON PHONE)<\/character>\n    <dialogue>You tell me. What's going on, Bill?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>SHARON (ON PHONE)<\/character>\n    <dialogue>I talked to Allison. She said you need more money because Leparq reopened the case?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I'm dealing with it Sharon.<\/dialogue>\n    <character>SHARON (ON PHONE)<\/character>\n    <dialogue>Dealing with what?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Nothing. I mean, Allison asked me to give her a letter. I did. And now Leparq is looking into it.<\/dialogue>\n    <character>SHARON (ON PHONE)<\/character>\n    <dialogue>Is she looking for Akim again?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Sharon, I said I'm dealing with it.<\/dialogue>\n    <character>SHARON (ON PHONE)<\/character>\n    <dialogue>Who is going to pay for this?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>No one is asking for money, OK?!<\/dialogue>\n    <character>SHARON (ON PHONE)<\/character>\n    <dialogue>Bill. Have you been drinking?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>No! Listen, Sharon, I'm her father!<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>Oh my God\u2026 Bill, for Allison's sake. Don't mess with this. It's not fair to her.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>You have to trust me, Sharon.<\/dialogue>\n    <character>SHARON (ON PHONE)<\/character>\n    <dialogue>That's it. I'm gonna call Leparq.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Don't do that Sharon! Sharon?!<\/dialogue>\n    <scene_description>Sharon hangs up. Bill is left holding the receiver.<\/scene_description>\n    <character>BILL<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PENITENTIARY, PRISONERS SIDE<\/stage_direction>\n    <scene_description>Allison steps along in the line of prisoners, anxious.<\/scene_description>\n    <character>ALLISON (O.S.)<\/character>\n    <dialogue>Dad, what's going on?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRISON, VISITING ROOM - LATER<\/stage_direction>\n    <scene_description>Bill is waiting for Allison at the door, anxious. She steps into the room as it's shut and locked behind her.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>I talked to gram, she said that you were acting weird...<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Ally, you gotta trust me. I just need you to look at these photos...<\/dialogue>\n    <scene_description>He takes out the printed pictures from Instagram.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Dad, are you drinking?<\/dialogue>\n    <scene_description>Bill stops cold.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>What? No. Never.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Are you using?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Hell no! Ally. I'm done with all that shit, you know that! Just look at these... please.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>What are they?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Just look, Ally! I know it's not easy but it's important.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Dad... what are you... where's Leparq?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Tell me if you see Akim.<\/dialogue>\n    <scene_description>Allison is rattled but she starts flipping through the photos. One page, then the next, then the next. Bill just watches, waits.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Dad... where is this...<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Just a few more. Come on...<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Holy shit.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>You see him? Which one?<\/dialogue>\n    <scene_description>Another page, Allison pauses, she looks up at Bill. Her face contorts. She starts to tremble. Bill leans in, looks down at the sheet of paper. Allison's finger slowly points to a MAN, 28. He's laughing, talking to a buddy.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Is that him? Is that Akim?<\/dialogue>\n    <scene_description>Allison can barely nod yes. But she does. Bill grabs the sheet of paper, studies it.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>That's him, Daddy. That's Akim.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Are you sure? It's the same guy you saw that night?<\/dialogue>\n    <scene_description>She can barely speak. She's trembling. She nods; YES!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI - DUSK<\/stage_direction>\n    <scene_description>Bill sits in the back of the cab.<\/scene_description>\n    <character>DRIVER<\/character>\n    <parenthetical>(Pointing)<\/parenthetical>\n    <dialogue>Kallist\u00e9?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Yes! Oui! In there!<\/dialogue>\n    <character>DRIVER<\/character>\n    <dialogue>C'est grand! O\u00f9 \u00e0 Kallist\u00e9? Where?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KALLIST\u00c9 - DUSK<\/stage_direction>\n    <scene_description>Bill gets out of a taxi, walks into a few shops located in the heart of the projects. He approaches several shop owners, holding up Akim's photo.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Excuse me? I'm looking for this guy. Akim. Do you know him? Akim?<\/dialogue>\n    <scene_description>He is summarily dismissed again and again. Somebody calls out, Bill spins. He sees a few YOUNG GUYS, staring at him as they walk away. Bill's been spotted. He lowers his head, keeps moving down an outdoor corridor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>92A EXT. DUSTY FIELD - CONTINUOUS 92A<\/stage_direction>\n    <scene_description>Bill emerges into the light, exposed between the massive apartment buildings. He looks up, spots a few RESIDENTS watching him from a window. He makes his way past a bunch of YOUNG KIDS playing soccer. And beyond that a number of OLD MEN, mostly p\u00e9tanque. Bill approaches.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Excuse me. Do you know this guy? Have you seen him?<\/dialogue>\n    <character>OLD MAN<\/character>\n    <dialogue>Non. On sait rien, nous.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>92B EXT. GARAGE AREA - LATER 92B<\/stage_direction>\n    <scene_description>Bill walks along a row of garages, passes two YOUNG KIDS learning how to ride a bike with their MOTHERS watching. He spots a group of YOUNG GUYS chilling, listening to music from a parked car and smoking a HOOKAH. He approaches.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Hey guys. Do you know this guy?<\/dialogue>\n    <scene_description>The YOUNG GUYS want nothing to do with it. They start laughing and having fun with Bill. He moves on. A SCOOTER whizzes past Bill with two kids on it. They yell at Bill. Playing around or a threat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KALLIST\u00c9 - NIGHT<\/stage_direction>\n    <scene_description>The sun is going down. Scooters circle around. More CLIENTS flow in the drug spots. Bill starts down a cement ramp off the parking lot.<\/scene_description>\n    <character>VOICE (O.S.)<\/character>\n    <dialogue>Monsieur?<\/dialogue>\n    <scene_description>He turns to see a MASSIVE AFRICAN MAN working under the hood of his car and smoking a cigarette. He stands.<\/scene_description>\n    <character>MASSIVE MAN<\/character>\n    <dialogue>Je peux vous aider Monsieur? Help you?<\/dialogue>\n    <scene_description>Bill holds up his printed photos.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>I'm looking for this guy. Akim? Do you know him.<\/dialogue>\n    <scene_description>The guy interrupts him with a warm smile.<\/scene_description>\n    <character>MASSIVE MAN<\/character>\n    <dialogue>Ohlala. Je parle pas anglais moi. Mais faut pas rester ici Monsieur. Danger for you. Go Mister you go home for you.<\/dialogue>\n    <scene_description>Bill pockets his photo, continues down the ramp, turns the corner.<\/scene_description>\n    <character>MASSIVE MAN<\/character>\n    <dialogue>Vas-y. Fais ce que tu veux.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>93A EXT. KALLIST\u00c9 - NIGHT 93A<\/stage_direction>\n    <scene_description>Bill proceeds down a set of stairs to a large open space. He starts to cross it when he hears the whine of scooters which seem to be closing in. He keeps moving.<\/scene_description>\n    <character>MALE VOICE (O.S.)<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>Bill turns, spots SIX YOUNG MEN approaching on scooters. They circle Bill a bit, playing with him: \"T'es perdu? Tu veux faire un tour? T'es un touriste?\" Four of the men dismount. A few others keep circling.<\/scene_description>\n    <character>BEARDED GUY<\/character>\n    <dialogue>Tu vas o\u00f9 ?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Hey. I'm looking for someone. Akim?<\/dialogue>\n    <character>HAT GUY<\/character>\n    <dialogue>English?<\/dialogue>\n    <character>SKINNY GUY<\/character>\n    <dialogue>Suck my dick. English.<\/dialogue>\n    <scene_description>The guys all laugh. Bill holds up the photo.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>I'm looking for him. Akim.<\/dialogue>\n    <scene_description>The Bearded Guy grabs the photo from Bill's hand.<\/scene_description>\n    <character>BEARDED GUY<\/character>\n    <dialogue>Ah c'est ton petit copain?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>You know him? Akim?<\/dialogue>\n    <scene_description>Bill reaches for the photo but the Bearded Guy pulls it away.<\/scene_description>\n    <character>BEARDED GUY<\/character>\n    <dialogue>Oh! Calme-toi!<\/dialogue>\n    <scene_description>The Bearded Guy hands it to one of the passing GUYS ON A SCOOTER. A Skinny Guy puts his arm around Bill.<\/scene_description>\n    <character>SKINNY GUY<\/character>\n    <dialogue>I English! Me. You. We friend.<\/dialogue>\n    <scene_description>Bill shrugs the guy off.<\/scene_description>\n    <character>SKINNY GUY<\/character>\n    <dialogue>Tranquille! Tranquille!<\/dialogue>\n    <scene_description>He puts his arm around Bill again. This time Bill pushes him away with more force. The Skinny Kid goes flying.<\/scene_description>\n    <character>SKINNY GUY<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <character>FAT GUY<\/character>\n    <dialogue>Fils de pute!<\/dialogue>\n    <scene_description>Bill turns just at the Fat Guy slugs him. Bill falls, off balance, but manages to steady himself before another slugs him. And then another. Bill goes down. They all start kicking the shit out of him. Suddenly, there are more lights and more yelling. The beating stops. He's barely conscious now. Bill can't understand a word of what's being said. But then the crowd suddenly parts and Bill spots a figure on the back of a scooter. It's Akim. Bill and Akim lock eyes. Akim recognizes him. Bill instinctively lunges but he's easily held down. Akim looks unfazed. The kids all laugh.<\/scene_description>\n    <character>BEARDED GUY<\/character>\n    <dialogue>Ce gars l\u00e0 \u2026 Il a une photo de toi, Akim!<\/dialogue>\n    <scene_description>He hands the photo to Akim who looks at it then checks out Bill without going down from the scooter.<\/scene_description>\n    <character>AKIM<\/character>\n    <dialogue>Je sais pas qui c'est.<\/dialogue>\n    <scene_description>Akim looks at Bill for a moment more and then taps his DRIVING FRIEND who whisks him away on the scooter, disappearing into the night. Bill can only watch.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GAS STATION HIGHWAY - NIGHT<\/stage_direction>\n    <scene_description>A police cruiser pulls up. Two cops get out and approach Bill who's been dumped on the side of the road. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL, ROOM - LATER<\/stage_direction>\n    <scene_description>Bill is sitting on a bed as a NURSE takes his vitals. His face badly beaten and bruised. The door opens. Bill looks up. Virginie is standing there.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>They asked if I knew anyone...<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Are you OK?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I saw him. I saw Akim. In Kallist\u00e9.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Did you tell the police?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I did.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>What did they say?<\/dialogue>\n    <scene_description>Bill drifts off into his own despair.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>That was my chance.<\/dialogue>\n    <character>VIRGINE<\/character>\n    <dialogue>You did everything you could.<\/dialogue>\n    <scene_description>But Bill's not listening anymore.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>That was my chance.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Virginie drives. Bill stares out the window. Lost.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>97A INT. VIRGINIE'S APARTMENT, FOYER - LATER 97A<\/stage_direction>\n    <scene_description>Nedjma slings her backpack over her shoulder, kisses a thankful Virginie goodnight. Virginie shuts the door, walks to Bill's room, peeks inside... Bill sits on The CLIC-CLAC, which has been converted into a bed for the night, staring into the abyss. OMITTED OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PENITENTIARY, VISITING ROOM - DAY<\/stage_direction>\n    <scene_description>Bill sits waiting. The seconds tick by. His face still bears the marks of his fight. The door is unlocked, Allison steps inside, she doesn't wait for the door to shut behind her.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>What the fuck did you do?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I was trying to help...<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Tell me exactly what you did. Dad!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>She wouldn't do it, Ally. Leparq wouldn't look into the case. So I went to see...<\/dialogue>\n    <scene_description>The shoe drops for Allison. Leparq was never involved.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Oh my God. You fucking lied! About all of it. Of course you did. How did I ever believe you?!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I found him, Ally. I found Akim.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Why didn't you call the police?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I didn't have the time, I had to do something, Ally...<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>You did do something! You let him get away! He's fucking gone now! He's fucking gone...<\/dialogue>\n    <scene_description>Tears well up in her eyes. She attempts to gain control.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>I feel so stupid-- You've always lied to me, dad. Always. I hate myself so much for trusting you.<\/dialogue>\n    <scene_description>She gets up and bangs on the door.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Garde! Garde! Je veux sortir!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Ally, listen to me\u2026 please\u2026<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>No! No! You are done fucking up my life! Do you understand that?! Do you?!<\/dialogue>\n    <scene_description>He looks at her, as her face morphs into cold anger.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Stay the hell away from me! Go home!<\/dialogue>\n    <scene_description>She spins and walks away, disappearing into the prison. FADE TO BLACK:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONSTRUCTION SITE - DAY<\/stage_direction>\n    <scene_description>JACK HAMMERS BLAST. The noise is deafening. A shovel lifts some heavy rubble, throws it in a dumpster. Bill is back among the ruins. Wearing a hardhat and shitty pair of OVERALLS, he is covered with sweat and dust as he shovels rubble into a wheelbarrow under an overwhelming sun. Around him, SOME WORKERS, mostly black, clear the cement blocks. A SKINNY WORKER, waves at Bill, shouts something but it's lost to jack hammers. Skinny Worker points to his watch. Suddenly noise ceases.<\/scene_description>\n    <character>SKINNY WORKER<\/character>\n    <dialogue>Il est cinq heures!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONSTRUCTION SITE - LATER<\/stage_direction>\n    <scene_description>Bill passes through the entrance of the yard surrounded by other workers. MAX, the building manager, is standing by a shabby Mercedes, holding a bundle of ENVELOPES, handing out the weekly pay to workers. He hands one envelope to Bill. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTSKIRTS OF MARSEILLE - LATER<\/stage_direction>\n    <scene_description>The van winds along a shitty industrial wasteland.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ILLEGAL DUMP - DAY<\/stage_direction>\n    <scene_description>Cars speed along the highway. Bill unloads the bags of rubble into the dump from his van which is parked below.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BILL'S VAN - LATER<\/stage_direction>\n    <scene_description>Bill drives along the highway, sees Parc Kallist\u00e9 in the distance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>106A EXT. KALLISTE - DAY 106A<\/stage_direction>\n    <scene_description>Bill drives through the project. He hasn't completely let go.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ELEMENTARY SCHOOL - DAY<\/stage_direction>\n    <scene_description>Bill, still in work clothes, stands on the sidewalk apart from a cluster of PARENTS. He's holding a SMALL BAG. Children's screams. Bill watches as parents greet their children. Maya comes out, spots Bill.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - LATER<\/stage_direction>\n    <scene_description>Bill and Maya walk down the street, Maya eating her croissant. She hands a piece to Bill. They turn onto a long narrow set of street stairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTYARD VIRGINIE'S BUILDING - LATER.<\/stage_direction>\n    <scene_description>Bill takes his GEAR BAG, hardhat dangling off, out of the back of the truck. Maya slams the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S BUILDING, FOYER - LATER<\/stage_direction>\n    <scene_description>Bill and Maya walk into the building. Maya opens the door leading to the basement. She's talking in French about her day. They walk downstairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASEMENT - DAY<\/stage_direction>\n    <scene_description>Bill drops his bag and starts to wash his hands in an old WASHBASIN. Maya picks a HAMMER up off the tool bench.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>Bill.<\/dialogue>\n    <scene_description>Bill looks.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Uh... marteau.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Oui. Marteau. Hammer.<\/dialogue>\n    <scene_description>She holds up a CHISEL.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Un...Ciseau... shit. What?<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Ciseau \u00e0 bois.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Ciseau \u00e0 bois. That's a lotta words for a chisel.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Chisel.<\/dialogue>\n    <scene_description>She hangs the tool.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>The TV is on. Maya does her homework slumped in front of the TV. A French dubbed episode of the STORAGE WARS. The apartment has been repainted. A few unpacked boxes still lie about but it is far more homey and lived in now. Bill is cooking hamburgers on the stove. He empties a can of beans on top of them.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Maya? Supper.<\/dialogue>\n    <parenthetical>(No response)<\/parenthetical>\n    <dialogue>Maya?<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Une minute! Ils vont l'ouvrir l\u00e0!<\/dialogue>\n    <scene_description>Bill watches.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>That bald guy's gonna lose his shit on this one.<\/dialogue>\n    <scene_description>A COMMERCIAL plays. Maya groans.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Yep. They always go to commercial before the big reveal. Let's eat.<\/dialogue>\n    <scene_description>Maya joins him. The TV stays on.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>You do your homework?<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Appreciate the honesty. I hated homework too. I hated school for that matter. Dropped outta high school and worked a rig like my daddy. You wanna do that? Make hole?<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Oui. I make hole.<\/dialogue>\n    <scene_description>Bill laughs.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Is that right? OK, well you gotta start out a worm you know. That's the low of the low.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>No! Pas un worm. Je veux travailler sur le derrick! Like you!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>You wanna be a derrick hand, you better have the want to. You got that? The want to.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Oui.<\/dialogue>\n    <scene_description>She picks up her fork.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Eh...<\/dialogue>\n    <scene_description>Bill stretches out his hands to Maya. She puts her hands on his open palms, closes her eyes.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Lord, make us truly thankful for these and all other blessings. Keep a close eye on Ally. We ask this in Jesus' name. Amen.<\/dialogue>\n    <scene_description>He points to her.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>Dig in.<\/dialogue>\n    <scene_description>Virginie enters, sees them praying at the table. Maya opens her eyes, shrugs. Bill keeps on praying, eyes closed. Virginie turns off the TV.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>Bonsoir, maman.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Bonsoir.<\/dialogue>\n    <scene_description>Virginie grabs a tomato in the fridge. She spots some cash on the counter.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>For me?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Yes, ma'am. Rent.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Oh. Thanks.<\/dialogue>\n    <parenthetical>(She sits)<\/parenthetical>\n    <dialogue>T'as fait tes devoirs?<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Non.<\/dialogue>\n    <scene_description>She sits with Bill and Maya at the table, watches them eat.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Juste apr\u00e8s le diner alors.<\/dialogue>\n    <parenthetical>(To Bill)<\/parenthetical>\n    <dialogue>She has to do her homework.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I agree. One hundred percent. Maya, do your homework.<\/dialogue>\n    <scene_description>Bill winks at Maya who smiles, amused by Bill's act.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>When I see what you guys eat, I understand why you pray beforehand\u2026<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>How was your play practice?<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Rehearsal. It was shit... we're doing a lot of stage writing and it's really messy. The director is very young and... provincial.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>What's stage writing?<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>We don't know what we're doing so we make it up instead.<\/dialogue>\n    <scene_description>Bill nods, looks to Maya who nods also.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Cool.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Cool Raoul.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S APARTMENT, BILL'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Bill is lying in his bed. A few of MAYA'S DRAWINGS are taped to the wall. He's flipping through Maya's iPad, watching Sunday Football's best plays on ESPN. The door cracks, Bill looks up, Maya peers through the door.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Back to bed.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>I look with you.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>No way. Bed.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>My tablet!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I'm using. Bed. Now!<\/dialogue>\n    <scene_description>Maya frowns, goes. Bill smiles, he loves this kid.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONSTRUCTION SITE - DAY<\/stage_direction>\n    <scene_description>Bill is loading the van with bags of rubble. His phone rings. He takes off his gloves, retrieves, answers it.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Hello? Yeah, this is him.<\/dialogue>\n    <scene_description>Bill straightens up.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Yes, ma'am, of course. Absolutely.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAWYER'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Bill, dressed nicely with his readers on, sits opposite Leparq, signing a document.<\/scene_description>\n    <character>LEPARQ<\/character>\n    <parenthetical>(Pointing)<\/parenthetical>\n    <dialogue>And there also.<\/dialogue>\n    <scene_description>Bill signs one more time. Leparq takes the documents.<\/scene_description>\n    <character>LEPARQ<\/character>\n    <dialogue>It's a one day leave. She goes out in the morning, comes back to the prison at night. Then, if it goes well, she'll get another day the following month. The idea is for inmates to acclimate to the outside world again. Understand?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I do. Yes, ma'am.<\/dialogue>\n    <character>LEPARQ<\/character>\n    <dialogue>The judge requires a chaperone outside, someone who's going to vouch for her.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Did she ask for me?<\/dialogue>\n    <character>LEPARQ<\/character>\n    <dialogue>No but you are the only option.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>OK. But Allison hasn't talked to me in over four months.<\/dialogue>\n    <character>LEPARQ<\/character>\n    <dialogue>I am aware. Do not take any initiative this time. Understand?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Yes ma'am. I do.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAZAAR - DAY<\/stage_direction>\n    <scene_description>Maya and Bill hover over a table of NAIL POLISH, checking colors.<\/scene_description>\n    <character>LATER -<\/character>\n    <dialogue>Maya skims through a rack of dresses, pulls a blue one. She shows it to Bill, who nods as if to say \"meh\". She puts the dress back on the rack.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>C'est quoi sa couleur pr\u00e9f\u00e9r\u00e9e?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Color she love.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Oh. Her favorite color.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Oui. Favorite.<\/dialogue>\n    <scene_description>It dawns on Bill he should know.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Not sure.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Non?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>No. I don't know. Probably should.<\/dialogue>\n    <character>MAYA<\/character>\n    <parenthetical>(Maya spots something)<\/parenthetical>\n    <dialogue>Oh! Regarde, je sais!<\/dialogue>\n    <scene_description>Maya hurries over to a rack of colorful JERSEYS of Marseille's coveted soccer team, OM.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>Elle habite \u00e0 Marseille, elle aime le foot!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Soccer? No way. She likes real football. OSU. Oklahoma State, baby.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>This is football! Favorite football.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>All they do is cry and pretend to be hurt. Like babies! You know babies!<\/dialogue>\n    <scene_description>Maya is indignant, stomps her foot.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>Non, c'est pas des b\u00e9b\u00e9s! L'OM c'est la meilleure \u00e9quipe du monde! Ils ont des super joueurs. Y a Payet! Rami! Thauvin!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>OK. Ok. Damn. Y'all wound up like an eight day clock.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT - DAY<\/stage_direction>\n    <scene_description>Bill arrives home with Maya who is proudly sporting an OM jersey of her own now.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>Maman! Regarde! Bill ma offert maillot.<\/dialogue>\n    <character>VIRGINE<\/character>\n    <dialogue>Waou, super! Tu lui as dit merci?<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Non.<\/dialogue>\n    <character>VIRGINE<\/character>\n    <dialogue>Maya.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Merci, Bill.<\/dialogue>\n    <scene_description>She runs inside and shows it to Virginie who is in the kitchen with RENAUD (30), carefully unkempt, pretty face.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Maya, tu te souviens de Renaud ?<\/dialogue>\n    <scene_description>Yes, she does.<\/scene_description>\n    <character>RENAUD<\/character>\n    <dialogue>Bonjour Maya. Hi. You must be Bill.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Yes, sir. Hi.<\/dialogue>\n    <character>RENAUD<\/character>\n    <dialogue>Good to meet you, man. Virginie told me you're from Oklahoma. That's very cool.<\/dialogue>\n    <scene_description>OK.: Virginie can't help but smile at the awkward exchange.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Renaud is our rising star director.<\/dialogue>\n    <character>RENAUD<\/character>\n    <dialogue>That's me.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Right. You're the guy who does the stage writing.<\/dialogue>\n    <scene_description>Virginie clocks this. Uh oh.<\/scene_description>\n    <character>RENAUD<\/character>\n    <dialogue>You know about stage writing? Yeah man, I really love working like this. It's real, you know? It's truth.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Yeah, yeah. Virginie was telling me about it.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Dinner is almost ready. Can you help set the table, please.<\/dialogue>\n    <scene_description>She hands Bill a stack of plates, eyeballs him. Stop!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>The end of a wonderful and wine-full dinner for Virginie and Renaud. Bill is having a Coke. Maya is asleep on the couch.<\/scene_description>\n    <character>RENAUD<\/character>\n    <dialogue>Seriously! For me it makes total sense that people should be able to carry guns.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>N'importe quoi!<\/dialogue>\n    <scene_description>Renaud has had a few glasses too many.<\/scene_description>\n    <character>RENAUD<\/character>\n    <dialogue>It's freedom! Basic freedom. I would love to have a gun! I bet you have a gun, don't you Bill?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Yes, I do.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>You do not?!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Why wouldn't I? Two. Shot gun and a glock.<\/dialogue>\n    <scene_description>Renaud and Virginie look at each other and then bust out laughing.<\/scene_description>\n    <character>RENAUD<\/character>\n    <dialogue>Two guns! It's perfect.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>It's OK. It's OK.<\/dialogue>\n    <character>RENAUD<\/character>\n    <dialogue>Of course... it's his...<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Culture.<\/dialogue>\n    <scene_description>They bust out laughing again.<\/scene_description>\n    <character>RENAUD<\/character>\n    <dialogue>Culture is a broad concept right. Putain de concept!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I'm gonna call it a night, y'all.<\/dialogue>\n    <scene_description>Bill stands up.<\/scene_description>\n    <character>RENAUD<\/character>\n    <dialogue>Bill. Come on, man! It's early. I'm trying to understand. Let's talk about abortion!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I'm gonna put Maya to bed.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>It's OK. I can do it.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I got it.<\/dialogue>\n    <scene_description>Bill scoops up Maya, heads to the bedroom. He hears them laughing more.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT, MAYA'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Bill puts Maya in her bed. Behind them, echoes of the conversation and laughter of Renaud and Virginie in the living room. She grabs him around the neck, pulls him close.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>You my favorite.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Favorite what?<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Favorite American.<\/dialogue>\n    <scene_description>Touch\u00e9. Bill pulls the covers up the chin of the little girl.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Sweet dreams, little girl.<\/dialogue>\n    <scene_description>He closes the bedroom door, sees Virginie kissing Renaud in the kitchen. He turns away, heads to his bedroom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT, BATHROOM - DAY<\/stage_direction>\n    <scene_description>Bill raises an 80-pound looking sink to fix it to the wall. A delicate but noisy operation. Virginie appears in the door: in her nightgown, half awake.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>You know it's Sunday morning right?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>There's some coffee if you want.<\/dialogue>\n    <scene_description>She raises an eyebrow, heads to the kitchen. One last effort\u2026 Bill pushes the sink and manages to insert it correctly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT, KITCHEN - DAY<\/stage_direction>\n    <scene_description>Bill joins Virginie in the kitchen. He washes his hands.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Where's your friend?<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>He left early this morning. We had a bit too much to drink.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Ain't no shit.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>What's that mean?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>It means you did.<\/dialogue>\n    <scene_description>Virginie smiles while drinking her coffee.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>That was a bad idea.<\/dialogue>\n    <scene_description>Bill shrugs, pours some more coffee.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>I was thinking, I'd like to bring Allison by the house.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Won't it be too much for her?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I'd like her to see where I live if you're OK with it.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Why wouldn't I be?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Not everybody is.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>She is your daughter. I would like to meet her. So would Maya.<\/dialogue>\n    <scene_description>Bill nods, almost disarmed by her frankness.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARWASH - DAY<\/stage_direction>\n    <scene_description>Bill spray washes his truck.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>122A INT. BARBER SHOP - DAY 122A<\/stage_direction>\n    <scene_description>Bill gets his hair cut.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PENITENTIARY'S PARKING LOT - DAY<\/stage_direction>\n    <scene_description>A grey sky. The door of the prison opens and Allison walks out. She's wearing an oversized t-shirt and shapeless jeans.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Hey\u2026<\/dialogue>\n    <scene_description>Bill doesn't know if he's supposed to take her in his arms. She doesn't make a move - so neither does he.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>This your van?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>It's from work.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>What work?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Construction. I told you about it in my letters. You didn't get them?<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>I did. I didn't read them.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>What do you want to do?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A124 EXT. ROADSIDE, FLORAL SHOP - LATER A124<\/stage_direction>\n    <scene_description>A SALESWOMAN hands Allison a FLOWERED PLANT. Bill pays.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETERY MARSEILLE - LATER<\/stage_direction>\n    <scene_description>Bill and Allison walk in parallel paths through the MUSLIM SECTION of the graveyard, searching for Lina's grave. Bill is half looking, half watching Allison. She is holding the POTTED FLOWERS. She stops, staring at the simple gravesite, adorned with only a small commemorative plaque. She sets down the flowers. Bill watches and then, sensing the intimacy of the moment, turns and walks off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETERY, PARKING - DAY<\/stage_direction>\n    <scene_description>Bill sits in the van waiting. Allison climbs inside.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Life is brutal.<\/dialogue>\n    <scene_description>Bill waits. That's it. Then...<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Can I drive?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>You know how to drive a stick?<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Yeah, Dad. You taught me.<\/dialogue>\n    <scene_description>They get out and switch sides.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAN - DAY<\/stage_direction>\n    <scene_description>Allison is driving the van. Some country music plays from the OLD IPOD plugged into the stereo. Red Dirt music plays.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Haven't heard this song in a long time.<\/dialogue>\n    <character>BILL<\/character>\n    <parenthetical>(He picks up the iPod)<\/parenthetical>\n    <dialogue>Special playlist for today.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>How old is this thing?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Still works.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>So you never went home?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>How come?<\/dialogue>\n    <scene_description>Bill doesn't answer. Allison pulls to the side of the road.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Sure we can park here?<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>What are they gonna do? Arrest me?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LES CALANQUES - DAY<\/stage_direction>\n    <scene_description>They walk on the rocks, silhouetted by the turquoise sea. The sun has finally burned through the grey sky. Allison stops, savors the view. It's stunning.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LES CALANQUES - LATER<\/stage_direction>\n    <scene_description>Bill sits, perched on a rock. He pulls a bottle of water from his backpack, drinks. In the distance, Allison strips down to her underwear, wades into the water. She swims, disappearing under the water before reappearing again. The sunlight dances on her face, a new lease on life.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LES CALANQUES - LATER<\/stage_direction>\n    <scene_description>Bill and Allison sit silently on the rocks. Allison smokes and watches a group of YOUNG PEOPLE, a little further off. Friends spending the day at the beach. She turns her attention to the water. Bill takes out a little gift pack he hands over to his daughter. Intrigued, she opens it: an OM jersey.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>OM. You really are a local now.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Maya sold me on it. It's her favorite team.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Does this kid have a father?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>He's not around. He lives on a beach or some shit.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Groovy. So is this woman your girlfriend?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>It's not like that. I just live with them. Like roommates.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>What does she do?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>She's sort of an actress.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>'Sort of an actress'? Is she a stripper?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>No! She's just not doing TV acting or anything. She does theater.<\/dialogue>\n    <scene_description>Allison almost laughs.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Theater? Have you seen her act?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>What am I gonna do in a fucking theater?<\/dialogue>\n    <scene_description>Allison laughs. She can't help herself. Bill watchers her. It's been a long time.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>You wanna meet them?<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Today?<\/dialogue>\n    <scene_description>Bill shrugs, why not? Allison finishes her cigarette, puts it out.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>I never had the chance to mourn Lina.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>She was so mean to me.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>It was so intense when we met. She was funny and cool and beautiful. Then she moved in and everything got fucked up. She started sleeping with other people\u2026 like it didn't matter. Like she was using me or something. I felt so humiliated. But the really fucked up thing is, I just want to see her. To be with her. So much...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>She was my first love... and everybody thinks I killed her.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VIRGINIE'S BUILDING - DAY<\/stage_direction>\n    <scene_description>Allison gets out of the van, looks up at the apartment building. Not bad. She follows Bill up the stairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Bill and Allison walk into the apartment, Virginie greets them.<\/scene_description>\n    <character>VIRGINE<\/character>\n    <dialogue>Come in, please.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Merci. Bonjour.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Viens dire bonjour, Maya!<\/dialogue>\n    <scene_description>Allison walks into the main room, looking around. The place has been cleaned and straightened for her visit. Bill spots Maya hiding behind the sofa.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Hey. Get out here.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Attendez! Attendez!<\/dialogue>\n    <scene_description>Allison walks in the middle of the room, sniffing.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Je sens quelque chose\u2026<\/dialogue>\n    <scene_description>She spins, searching the room.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Il y a un petit animal qui se cache quelque part par ici, non? Un petit chat?<\/dialogue>\n    <scene_description>Maya's head pops up.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>Tu parles fran\u00e7ais?<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Bien s\u00fbr que je parle fran\u00e7ais. Alors c'est toi la fameuse Maya?<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>C'est quoi ta couleur pr\u00e9f\u00e9r\u00e9e?<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Ma couleur pr\u00e9f\u00e9r\u00e9e... Bleu ciel et blanc!<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Les couleurs de l'OM!<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>En force!<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>En force!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VIRGINIE'S APARTMENT, BACKYARD - DAY<\/stage_direction>\n    <scene_description>Bill kicks a soccer ball with Maya in the courtyard. Virginie sits with Allison who's now wearing her OM jersey. They smoke together, speaking French.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Il a l'air heureux\u2026<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>C'est pas facile tout le temps, mais ils se sont trouv\u00e9s ces deux 9l\u00e0\u2026<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Vraiment?<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Oui. Il va la chercher tous les jours \u00e0 l'\u00e9cole. Il lui parle en anglais, et elle, elle fait semblant de comprendre\u2026 C'est mignon.<\/dialogue>\n    <scene_description>Allison considers this. Then...<\/scene_description>\n    <character>ALLISOSN<\/character>\n    <dialogue>Tu sais, quand ma m\u00e8re est morte, il a mis toutes ses affaires dans un storage. Plus tard, quand j'ai grandi, je voulais avoir un souvenir d'elle. Il m'a donn\u00e9 la cl\u00e9. Mais quand j'y suis all\u00e9e, il n'y avait plus rien. C'\u00e9tait vide. Il avait arr\u00eat\u00e9 de payer alors ils avaient jet\u00e9 toutes les affaires de ma m\u00e8re. Il ne restait plus rien d'elle.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Mais il est l\u00e0 maintenant. Il est rest\u00e9 pour \u00eatre pr\u00e8s de toi.<\/dialogue>\n    <character>ALLISON<\/character>\n    <parenthetical>(Skeptical)<\/parenthetical>\n    <dialogue>Tu crois ?<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Oui bien s\u00fbr. Il a laiss\u00e9 toute sa vie derri\u00e8re lui pour \u00e7a.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Je sais pas ce qu'il t'a racont\u00e9 mais il n'y avait pas grand chose \u00e0 laisser derri\u00e8re.<\/dialogue>\n    <scene_description>Now it's Virginie's turn not to respond.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Te fais pas trop d'id\u00e9es avec mon p\u00e8re. He's a fuck-up. Always has been. C'est en lui.<\/dialogue>\n    <scene_description>They watch Bill and Maya playing.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Je le sais parce que je suis pareille.<\/dialogue>\n    <scene_description>Allison didn't say that to be mean. Just a fact.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S APARTMENT, BILL'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>Allison sits on Bill's bed, talking on his phone.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Yeah. It feels really good. I went swimming. It was so nice. How's your foot Gram? Your foot. Yeah. Good. Take care of it.<\/dialogue>\n    <scene_description>She looks at a set of Virginie's books in Bill's room. Some of Maya's drawings hung on the wall by his bed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - LATER<\/stage_direction>\n    <scene_description>Allison sits on the floor applying NAIL POLISH to Maya's nails.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>Quand t'as fini, je veux faire tes ongles!<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Les miens?<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Oui! Comme \u00e7a, ce sera jolie quand tu rentreras \u00e0 la prison.<\/dialogue>\n    <scene_description>She smiles, looks over to Virginie and Bill who are busy preparing dinner. She takes it all in. A new life...<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Le d\u00eener is served.<\/dialogue>\n    <scene_description>LATER - Allison and Maya are seated. Bill sets down the food, sits. Virginie sits also.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>\u00c7a a l'air delicieux.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Let's pray.<\/dialogue>\n    <scene_description>Bill, bows his head. Virginie and Allison share a look.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Lord, we are truly thankful for this meal and all other blessings. And for this special day with Ally. In Jesus's name we pray. Amen.<\/dialogue>\n    <scene_description>Bill finishes, opens his eyes and smiles.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Maya?<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Dig in!<\/dialogue>\n    <scene_description>Maya does just that, reaching for the chicken. Bill pours Virginie some wine. Allison clocks this.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>So you two really aren't fucking?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Allison Baker!<\/dialogue>\n    <scene_description>Virginie has a good laugh. Maya too for that matter.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>What? You're so French now, I thought we could talk about sex at the dinner table.<\/dialogue>\n    <scene_description>Embarrassed, Bill shakes his head.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>It's OK? The food?<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>It's honestly the best meal I've had in a long time.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Good.<\/dialogue>\n    <parenthetical>(Then..)<\/parenthetical>\n    <dialogue>And no. We don't have sex.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Jesus...<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Je peux avoir des tomates?<\/dialogue>\n    <scene_description>Allison laughs. Bill continues to shake his head.<\/scene_description>\n    <character>ALLISON<\/character>\n    <parenthetical>(to Maya)<\/parenthetical>\n    <dialogue>Tu aimes les tomates?<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Oui! Et toi?<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>J'adore.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Where did you go for lunch?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Pizza.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>My favorite place. Chez Sauveur.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Chez Sauveur? Where is it?<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Noailles. Rue D'Aubagne.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>I don't know it.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>It's so good.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>I'm curious. Why did you come to Marseille to study?<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>It was far away. And completely different. And the pizza.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>J'adore la pizza.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I like it too.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BILL'S VAN - SUNSET<\/stage_direction>\n    <scene_description>Bill drives in silence. Allison watches the city pass by in the sunset. Country music plays in the car radio.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LES BAUMETTES, PARKING - DUSK<\/stage_direction>\n    <scene_description>They get out of the van. Allison looks at the sky.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>It's more beautiful on this side of the wall.<\/dialogue>\n    <scene_description>She looks at Bill.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>I like them. Virginie and Maya. It's good, what you have.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I'm just trying to do it right.<\/dialogue>\n    <scene_description>A slight smile on her face. She hugs him. Very hard.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>I'm happy for you, Dad.<\/dialogue>\n    <scene_description>She smiles one last time, leaves. Bill watches her ring the door of the jail. And disappear inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S APARTMENT, BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>Bill and Maya brush their teeth. Maya, standing on her little stool, leans on the sink.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>Regarde, j'ai une dent qui bouge\u2026<\/dialogue>\n    <scene_description>--Crack! The sink dislocates and tilts.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>Je suis d\u00e9sol\u00e9e!<\/dialogue>\n    <scene_description>Bill props the sink up, drops to his knees to support it.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>C'est OK. C'est OK. I can fix it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Virginie carefully closes Maya's bedroom door, she enters the living room to find Bill sitting in an arm chair.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>How are you doing?<\/dialogue>\n    <scene_description>Bill doesn't exactly know how to deal with the question.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Pretty good.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>The day was nice?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Flew by.<\/dialogue>\n    <parenthetical>(Beat)<\/parenthetical>\n    <dialogue>Merci.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Pour quoi?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Everything, I guess.<\/dialogue>\n    <scene_description>Virginie gently smiles.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Bonne nuit.<\/dialogue>\n    <scene_description>She disappears into her room. Bill sits, thinking.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A139 EXT. VIRGINIE'S APARTMENT, NIGHT A139<\/stage_direction>\n    <scene_description>Virginie's apartment is dark. The neighborhood, quiet. A PHONE rings.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S APARTMENT, KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Bill hurries from his bedroom wearing only his boxers, searching for the phone. He finds it, answers.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Hello? Sorry, sorry\u2026 Uh...Do you... parlez Anglais?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - NIGHT<\/stage_direction>\n    <scene_description>Bill exits the elevator into the corridor of intensive care unit. He catches sight of a FEMALE PRISON OFFICER and two POLICEMEN.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Hey! Excuse-moi.<\/dialogue>\n    <scene_description>The cops turn around.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>My daughter, my uh... my fille is here. Allison Baker. From Baumettes.<\/dialogue>\n    <scene_description>The Female Officer nods to the ATTENDING NURSE at the station. Bill moves to the desk.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Hi ma'am. I'm Bill Baker. Allison Baker... Can I see her? Please.<\/dialogue>\n    <scene_description>The Attending Nurse looks at her computer, talks with the OTHER NURSE. Bill waits, frantic.<\/scene_description>\n    <character>ATTENDING NURSE<\/character>\n    <dialogue>Ok. Vous pouvez aller la voir. Venez.<\/dialogue>\n    <character>LATER -<\/character>\n    <dialogue>Bill follows the Attending Nurse along the corridor. They are followed by two COPS. They arrive in front of the window of an intensive-care room.<\/dialogue>\n    <dialogue>Bill stops dead.<\/dialogue>\n    <dialogue>Allison is lying in a hospital bed, hooked up to a ventilator. Unconscious.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>What happened? Qoui? Quoi?<\/dialogue>\n    <character>ATTENDING NURSE<\/character>\n    <dialogue>Elle s'est pendue.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>What?!<\/dialogue>\n    <scene_description>The Nurse looks to the cops. Do you know how to say it? The Older Cop gently touches his neck. Allison hung herself.<\/scene_description>\n    <character>OLDER COP<\/character>\n    <dialogue>Elle s'est pendue.<\/dialogue>\n    <scene_description>Bill presses his hands against the window, his eyes on his daughter. Allison's neck is bandaged.<\/scene_description>\n    <character>ATTENDING NURSE<\/character>\n    <dialogue>Ok. Il faut y aller maintenant.<\/dialogue>\n    <scene_description>Bill ignores her. She looks to the Cops. The Older Cop puts a hand on Bill's shoulder, Bill pushes him away. The Young Cop reacts and they grab him firmly. Bill struggles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL, WAITING AREA - NIGHT<\/stage_direction>\n    <scene_description>The two policemen escort Bill firmly, drop him in the mostly empty waiting area. Bill paces, lost. He looks like he's about to punch someone or something. Instead, he takes a knee next to a bank of chairs, closes his eyes and prays.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S APARTMENT, FRONT DOOR - NIGHT<\/stage_direction>\n    <scene_description>Bill enters, shuts the door. Locks it. Virginie arrives. She hugs him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>It's early morning. Maya leaves her room in pajamas. She walks barefoot through the living room to Bill's room, cracks the door. She sees Bill and Virginie sleeping in the arms of one another, still dressed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONSTRUCTION SITE - DAY<\/stage_direction>\n    <scene_description>Boom! A section of a wall vibrates. Boom! It vibrates again and starts cracking\u2026 Boom! Another blow tears apart the wall and through the hole, Bill's face appears, in a cloud of dust. He strikes again with all his strength. And again. And again. BOOM!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>144A INT. BILL'S VAN - LATER 144A<\/stage_direction>\n    <scene_description>Bill is driving. He notices Parc Kallist\u00e9 looming in the distance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAYA'S SCHOOL - LATER<\/stage_direction>\n    <scene_description>Kids emerge from the school. Maya emerges talking to a FRIEND. They approach Bill and share an animated story with him.<\/scene_description>\n    <character>BILL (O.S.)<\/character>\n    <dialogue>You look good baby girl.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PENITENTIARY, VISITING ROOM - DAY<\/stage_direction>\n    <scene_description>Bill is standing at the window waiting for Allison to arrive. Finally he sees her. She manages a smile.<\/scene_description>\n    <character>BILL (O.S.)<\/character>\n    <dialogue>What'cha got going on?<\/dialogue>\n    <character>LATER -<\/character>\n    <dialogue>They are both sitting. Allison's face is pale, her eyes glassy. She moves slowly knocked out by drugs.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I talked to Sharon. She was worried she couldn't reach you. I told her you were alright.<\/dialogue>\n    <scene_description>Allison blinks as if to nod - but doesn't say a word.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>And I didn't tell you, but Virginie tried out for some TV show. I even helped her get ready for her interview. You should've seen me doing acting\u2026 it was something.<\/dialogue>\n    <scene_description>Allison smiles mechanically. So does he. Silence. Again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A147 INT. CONSTRUCTION SITE - DAY A147<\/stage_direction>\n    <scene_description>Bill eats with the other workers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>B147 EXT. MARSEILLE STREET - DAY B147<\/stage_direction>\n    <scene_description>Bill and Maya ascend the stairs and walk down the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LES CALANQUES - LATER<\/stage_direction>\n    <scene_description>Bill swims.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THEATER - EVENING<\/stage_direction>\n    <scene_description>A dress\/tech rehearsal of a new play is in process. Bill sits in the house with a few other invited guests. The entire stage is dark except for a shaft of light on Virginie's face. She is dressed in a dark blue pant suit with a white blouse.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Vous cherchez des explications ? Vous voulez des r\u00e9ponses ? Mathilde n'est plus l\u00e0 pour vous les donner. Il n'y a pas de v\u00e9rit\u00e9. Il y a des histoires \u00e0 raconter.<\/dialogue>\n    <scene_description>Stage right; another light reveals a YOUNG WOMAN near a window.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Mathilde seule dans cette maison. Et vous, le lendemain de l'accident assis dans la cuisine. Vous qui n'osiez plus...<\/dialogue>\n    <scene_description>Stage left, another light reveals a KITCHEN with TWO MEN seated and a THIRD MAN, heavy, standing behind rummaging through a closet.<\/scene_description>\n    <character>RENAUD (ON MICROPHONE)<\/character>\n    <dialogue>On va marquer une pause.<\/dialogue>\n    <scene_description>Bill looks to Renaud and the STAGE MANAGER sitting in the house at a table lit by red LED lights.<\/scene_description>\n    <character>RENAUD<\/character>\n    <dialogue>Virgine, c'est bien. Garde bien en t\u00eate le tempo des lumi\u00e8res.<\/dialogue>\n    <scene_description>She nods, OK.<\/scene_description>\n    <character>HEAVY MAN<\/character>\n    <dialogue>Renaud! Je sais pas ce que je fais avec le placard.<\/dialogue>\n    <character>RENAUD<\/character>\n    <dialogue>Tu pr\u00e9f\u00e8res t'asseoir avec les autres?<\/dialogue>\n    <character>HEAVY MAN<\/character>\n    <dialogue>Non, je pr\u00e8f\u00e8re avoir un truc \u00e0 faire mais l\u00e0 \u00e7a rime \u00e0 rien. Je ne sais m\u00eame pas ce que je suis cens\u00e9 chercher!<\/dialogue>\n    <scene_description>Renaud rubs his eyes, tries to remain calm. Bill watches.<\/scene_description>\n    <character>VIRGINIE (O.S.)<\/character>\n    <dialogue>So.. What did you think?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RESTAURANT TERRACE - NIGHT<\/stage_direction>\n    <scene_description>A former industrial wasteland is now littered with outdoor caf\u00e9s. Bill and Virginie are sitting at a table.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>What'd I think?<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Yes. Of the play? What did you think?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>It was good. Yeah.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>What was good?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Well...<\/dialogue>\n    <parenthetical>(Bill thinks really hard)<\/parenthetical>\n    <dialogue>I don't fucking know. I don't know shit about plays. Plus it's in French.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Come on, Bill. One thing!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>No one stands like real people.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>What?!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>It just looks weird. I'm sure it's great. Don't ask me, I'm an idiot.<\/dialogue>\n    <scene_description>She takes off his baseball cap and messes up his hair.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>No, you're not. And it's not great!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I'll say one thing, the fat guy took up a lot of oxygen.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Paul! Yes! He's so annoying. It's like the whole play is about him!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I hope it's not.<\/dialogue>\n    <scene_description>Virginie laughs, enjoying Bill's insights. The WAITER arrives, places a glass of ros\u00e9 in front of Virginie and a coke for Bill.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Merci.<\/dialogue>\n    <character>WAITER<\/character>\n    <dialogue>Je vous en prie.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I will say... you were very good. The best thing in it. Cheers.<\/dialogue>\n    <scene_description>They toast. Virgine smiles, accepting the compliment.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>So I have some exciting news!<\/dialogue>\n    <parenthetical>(Off Bill's look)<\/parenthetical>\n    <dialogue>I got the part.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>On the TV show?<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Oui. And I said I would do it.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Holy shit. That's great.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>I hope so. Who knows. It's more money but it's also more hours.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>I'll have to pay for a babysitter and I'll be away from Maya more.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I can help watch Maya too.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>You help enough. And you have a job. You are busy.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I don't care. I want to.<\/dialogue>\n    <scene_description>Virginie sits back, considers him.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Why?<\/dialogue>\n    <parenthetical>(Off her look)<\/parenthetical>\n    <dialogue>I like spending time with her.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>And with me too?<\/dialogue>\n    <scene_description>Virginie is enjoying the game. Bill goes with it.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Yeah. And you too.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>How much do you enjoy it?<\/dialogue>\n    <scene_description>This is getting real now.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>A lot. I would say a lot.<\/dialogue>\n    <scene_description>Virginie plays impressed. She doesn't take her eyes off Bill.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>OK. This would be a serious change for us.<\/dialogue>\n    <scene_description>Bill has never had a conversation like this in his life.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Guess it would.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>You guess?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I mean... I know.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>You know what?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S BUILDING, STAIRCASE - NIGHT<\/stage_direction>\n    <scene_description>Bill and Virginie kiss on the stairs. Passionately. They climb a few steps and kiss again. They arrive on the landing. She gestures him not to make any noise. He kisses her again. She puts her key in the lock.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>They enter, trying to regain their composure. A 16-YEAR-OLD BABYSITTER is slumped on the couch, absorbed in her phone.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>I'll take care of her.<\/dialogue>\n    <scene_description>Bill pulls some cash out of his pocket as the babysitter gets up, already gathering her things.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S APARTMENT, LIVING ROOM - LATER<\/stage_direction>\n    <scene_description>Virginie sets his iPod up. Music plays. Bill returns to the living room having dispatched the babysitter.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>This is good, no? It's your music.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>It's very good. Loretta Lynn. You can dance to it, you know.<\/dialogue>\n    <scene_description>Bill comes closer and stretches his arms to Virginie to invite her for a dance. They dance together in the middle of the living room. 1,2,3 small steps\u2026 1,2,3 small steps\u2026 The door of Maya's room cracks opens. Bill clocks it.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>We got eyes on us.<\/dialogue>\n    <scene_description>Virginie looks confused, Bill nods to Maya. Virginie reaches out her hand, Maya hurries to join them. Bill picks her up. Virginie, Bill and Maya dance to Loretta Lynne.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S APARTMENT, BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Bill and Virginie make love in Virginie's bed. Bill struggles unbuttoning her dress. She takes Bill's face in her hands.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Hey. I have to ask you a question.<\/dialogue>\n    <parenthetical>(Off Bill's look)<\/parenthetical>\n    <dialogue>Do you really own a gun? Because that's fucked up.<\/dialogue>\n    <scene_description>Bill dumps her on the bed. She laughs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S APARTMENT - MORNING<\/stage_direction>\n    <scene_description>Bill, Virginie and Maya sit at the table quietly eating breakfast. Maya, sensing something, looks at Bill and then Virgine before returning to her food. Bill looks at Virginie and smiles, kids don't miss a trick.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>154A INT. VIRGINIE'S APARTMENT, BASEMENT - DAY 154A<\/stage_direction>\n    <scene_description>Bill is washing his hands. He turns to Maya who is sitting on the step ladder.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Hey Maya. Hand me my casque.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Qoui?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>My casque. My hardhat.<\/dialogue>\n    <scene_description>Maya lifts the hardhat off the tool bench revealing two TICKETS.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>Des billets por aller voir le match de L'OM? Au velodrome?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Yes ma'am.<\/dialogue>\n    <scene_description>Maya explodes with joy.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A155 EXT. MARSEILLE - DAY A155<\/stage_direction>\n    <scene_description>The Velodrome looms over the red tiled rooftops of the city.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. \"VELODROME\" SOCCER STADIUM, STAIRS - EVENING<\/stage_direction>\n    <scene_description>A GROUP of OM fans are celebrating.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. \"VELODROME\" SOCCER STADIUM, STANDS - EVENING<\/stage_direction>\n    <scene_description>Chants of exhilarated OM fans supporting their team. Maya and Bill are sitting in the stands, watching the game.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>Lui, le num\u00e9ro 10! C'est Dimitri Payet. Il est trop fort! Il a pas fait la Coupe du Monde parce qu'il \u00e9tait bless\u00e9.<\/dialogue>\n    <scene_description>Bill follows about half of what she's saying. OM is on the attack. The OM supporters rise in anticipation. A well framed center... a stunning volley... but the shot bounces on the crossbar. GROANS from the Marseille fans. Maya reacts. Bill is half watching the game, half watching Maya. She is adorable in her commitment to the game.<\/scene_description>\n    <character>LATER -<\/character>\n    <dialogue>A ball falls at the feet of a striker who rockets a shot from the 18-meter line and... GOAL!<\/dialogue>\n    <dialogue>PURE jubilation. The fans jump for joy. Maya jumps into Bill's arms! They are both laughing and cheering.<\/dialogue>\n    <dialogue>Drums and flares erupt from the South Curve, the section for the true fans separated from Bill's section by a fence. Bill watches the chaos from a safe distance when he spots a familiar silhouette. A man in his 20's with short hair.<\/dialogue>\n    <dialogue>It's Akim.<\/dialogue>\n    <dialogue>Bill freezes. Holy shit.<\/dialogue>\n    <dialogue>He may be a section away but there's no doubt it's Akim. Bill keeps staring, stunned.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARSEILLE \"VELODROME\" SOCCER STADIUM, STANDS - LATER<\/stage_direction>\n    <scene_description>On the field, final whistle from the referee. End of the game. OM wins! Maya is thrilled, standing on her seat cheering with the euphoric crowd.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>On a gagn\u00e9! On a gagn\u00e9!<\/dialogue>\n    <scene_description>But Bill is solely focused on Akim now whom he spots climbing the stairs with his friend. Bill starts walking parallel to him, pulling Maya along. He elbows his way through the crowd, keeping an eye on Akim. He watches as Akim ducks into the tunnel toward the exit. Bill enters his corresponding tunnel.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. \"VELODROME\" SOCCER STADIUM, STAIRS - LATER<\/stage_direction>\n    <scene_description>Bill jostles some spectators\u2026having temporarily lost sight of Akim but then spots him again. He continues to track\/follow him as they are herded down a labyrinth of stairs. Maya speaks to him but he doesn't answer, absorbed by his task. Bill finds himself descending a staircase that intersects with Akim's staircase. He could almost reach across and touch him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARSEILLE \" V\u00c9LODROME \" SOCCER STADIUM - NIGHT<\/stage_direction>\n    <scene_description>Bill walks briskly through the exit, dragging Maya by the hand, still on Akim's tail.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>159A EXT. MARSEILLE STREET - NIGHT 159A<\/stage_direction>\n    <scene_description>Bill pulls Maya along, crossing the street, the Velodrome lurks in the background.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>On va o\u00f9 ?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I uh... saw a friend from work. I wanna see if it's him.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Un ami?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Yeah. Oui. Un ami.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>159B EXT. KEBAB JOINT - LATER 159B<\/stage_direction>\n    <scene_description>Akim and his friend walk into a KEBAB JOINT. Bill watches from across the street, his mind racing.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>OK, let's go get the van.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Is it your friend?<\/dialogue>\n    <scene_description>Bill's phone rings. He checks it.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>No. It wasn't him.<\/dialogue>\n    <character>BILL<\/character>\n    <parenthetical>(Into the phone)<\/parenthetical>\n    <dialogue>Hey.<\/dialogue>\n    <character>VIRGINIE (ON PHONE)<\/character>\n    <dialogue>Hey! How's it going?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Good. Game just ended. Coming home soon.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>C'est maman ?<\/dialogue>\n    <scene_description>Bill nods, yes.<\/scene_description>\n    <character>VIRGINIE (ON PHONE)<\/character>\n    <dialogue>Take your time, it's your night!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Yeah, OK....I uh... I think I...<\/dialogue>\n    <character>VIRGINIE (ON PHONE)<\/character>\n    <dialogue>Yes? What?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Nothing. See you in a bit.<\/dialogue>\n    <character>VIRGINIE (ON PHONE)<\/character>\n    <dialogue>Absolutely! Kiss Maya for me!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BILL'S VAN - LATER<\/stage_direction>\n    <scene_description>Bill sits in the van. The Kebab joint is across the street. Maya is already passed out, the day's excitement having caught up with her. Akim and his friend are now sitting outside, meal finished. Bill watches intently as Akim and his friend stand and say goodbye. Suddenly, Akim turns his head in Bill's direction. He seems to be staring right at Bill who flattens against his seat, doing his best to disappear. Akim turns back to his friend, bids him goodbye before walking away alone. Bill glances at Maya, still asleep. OMITTED OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARSEILLE STREET - LATER<\/stage_direction>\n    <scene_description>Akim turns onto a quiet, narrow street. Bill's van turns onto the street and passes him. It stops up the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAN - SAME<\/stage_direction>\n    <scene_description>Bill turns the van off. Gives Maya one last look, gets out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - SAME<\/stage_direction>\n    <scene_description>Bill crosses the street, starts walking down the narrow sidewalk toward an unsuspecting Akim. Closer. Closer... Finally he passes Akim but leans into him, bumping him with his shoulder. Akim reacts and turns to protest but when he does, Bill drops him with one punch.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BILL'S VAN - NIGHT<\/stage_direction>\n    <scene_description>Maya opens her eyes. No Bill. She sits up a bit alarmed and looks out her side window just as the driver's side door opens, startling her.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Go back to sleep. We'll soon be home. \u00c0 la maison.<\/dialogue>\n    <scene_description>He gets in, starts the van. Maya's sleepy eyes close again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S APARTMENT, BEDROOM - MORNING<\/stage_direction>\n    <scene_description>Virginie wakes up, stretches her arms (to Bill's side)\u2026 Only to realize she is alone in the bed. The apartment is silent.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S APARTMENT, LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Virginie walks into to the living room. Breakfast is ready on the kitchen table. Orange juice and toast laid out. Bill is frying eggs on the stove.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>Still half asleep, Virginie points out the table.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>What's this?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>First day at work!<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Oh. Wow.<\/dialogue>\n    <parenthetical>(She sits, watches him)<\/parenthetical>\n    <dialogue>I could get used to it, you know.<\/dialogue>\n    <scene_description>Maya appears, sleepy. Virginie takes her in her arms.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>La voil\u00e0! Alors, c'\u00e9tait comment le match?<\/dialogue>\n    <scene_description>Maya rubs her eyes. Bill, on edge, listens for her answer. But Maya, too tired, doesn't say anything. She just buries her head into her mother's neck.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Ooooh\u2026 Ma petite ch\u00e9rie qui s'est couch\u00e9e trop tard. Tu t'es amus\u00e9e avec Bill?<\/dialogue>\n    <scene_description>Bill waits, Maya doesn't reply. He jumps in.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Ready for some eggs? Mom's starting her new job today, Maya. We have to be very nice to her. Tr\u00e8s gentil.<\/dialogue>\n    <scene_description>He starts serving the scrambled eggs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFE - DAY<\/stage_direction>\n    <scene_description>Dirosa enters his local cafe, wearing a tracksuit. He greets the bartender and another LOCAL as Bill watches. Finally Dirosa sits.<\/scene_description>\n    <character>DIROSA<\/character>\n    <dialogue>Mr. Baker. Nice to see you again.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>You're late.<\/dialogue>\n    <scene_description>Dirosa can tell this is a different Bill.<\/scene_description>\n    <character>DIROSA<\/character>\n    <dialogue>I'm very sorry. What can I do for you Mister Baker?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I need you to run that DNA test we talked about.<\/dialogue>\n    <scene_description>Dirosa stares at him, suspicious.<\/scene_description>\n    <character>DIROSA<\/character>\n    <dialogue>First, I will need the DNA sample.<\/dialogue>\n    <scene_description>Bill sets a small plastic bag on the table. It contains a CLUMP OF HAIR. Dirosa stares at him, dumbfounded. It's enough hair to raise immediate suspicion. He covers it with a newspaper.<\/scene_description>\n    <character>DIROSA<\/character>\n    <dialogue>Can I ask how you got...<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Can you do it or not?<\/dialogue>\n    <character>DIROSA<\/character>\n    <dialogue>Yes, I can. But I am an ex-cop. So let me tell you it would be a serious mistake to commit a crime to prove your daughter innocent. It will not get her out of jail and it will send you in. Do you understand?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>How fast can you get the result?<\/dialogue>\n    <character>DIROSA<\/character>\n    <dialogue>It's hard to say\u2026 a week at least. But it will cost you--<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I'll give you three thousand now. Three thousand when you get the result.<\/dialogue>\n    <scene_description>Dirosa studies Bill, he pivots.<\/scene_description>\n    <character>DIROSA<\/character>\n    <dialogue>I still have to find him.<\/dialogue>\n    <scene_description>Bill picks his words carefully.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>No you don't.<\/dialogue>\n    <character>DIROSA<\/character>\n    <dialogue>So you know where he is.<\/dialogue>\n    <parenthetical>(Bill remains stone faced)<\/parenthetical>\n    <dialogue>He could still disappear before the results come back?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>He won't.<\/dialogue>\n    <scene_description>But before Dirosa can pursue it any further, Bill slaps an envelope of cash on the table.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Call me as soon as you know.<\/dialogue>\n    <scene_description>Bill gets up and leaves. Dirosa watches him go.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ILLEGAL DUMP - LATER<\/stage_direction>\n    <scene_description>Bill is dumping bags of dirt.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S BUILDING, LOBBY - LATER<\/stage_direction>\n    <scene_description>Maya and Bill enter the lobby, Bill starts up the stairs.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>On descend pas \u00e0 la cave ?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Non, pas aujourd'hui. I'm going to clean up in the apartment. Come!<\/dialogue>\n    <scene_description>She follows Bill up the stairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S APARTMENT, BATHROOM - DAY<\/stage_direction>\n    <scene_description>Bill steps out of the shower, grabs a towel. It's quiet.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Maya?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>The apartment seems empty. Bill calls her in her room:<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Maya?<\/dialogue>\n    <scene_description>Bill is starting to get concerned. He moves toward the front door... and it suddenly opens: Virginie stands there, arms full with groceries.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Wow. This is quite a greeting.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>You seen Maya? I was in the shower\u2026<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>She's playing soccer in the courtyard.<\/dialogue>\n    <scene_description>Bill crosses to the window as Virginie puts her bags down.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Don't you want to ask me about my first day of work?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Oh yeah, sorry. How was it?<\/dialogue>\n    <scene_description>Bill looks out the window: Maya's in the playground playing ball. Bill's paranoia getting the best of him.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Good. It was a lot of sitting around. The director is nice. But it's very different...<\/dialogue>\n    <character>BILL<\/character>\n    <parenthetical>(distracted)<\/parenthetical>\n    <dialogue>Oh yeah?<\/dialogue>\n    <scene_description>Virginie wraps her arms around him. She pulls him by the arm.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Come. We only have a few minutes.<\/dialogue>\n    <scene_description>She drags him to the room, and pulls him down on the bed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Bill is sitting on the couch, watching NFL highlights on the iPad. Maya is cuddled up next to him.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>Bill?<\/dialogue>\n    <parenthetical>(Off Bill's look)<\/parenthetical>\n    <dialogue>Who is the man in the cave?<\/dialogue>\n    <scene_description>Bill goes white.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>The cave?<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>With the tools.<\/dialogue>\n    <scene_description>He turns to check that Virginie is on the phone and looking at her computer. He turns back to Maya, speaks very softly.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>I'm gonna need your help, ok? It's a secret. You can't tell anyone. Even your mom. OK?<\/dialogue>\n    <scene_description>He puts his hand on her mouth\u2026 Shh! Maya stares at him.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>He's a bad man. I'm trying to help Allison get out of prison. He'll be gone soon. It's our secret, ok?<\/dialogue>\n    <scene_description>Maya nods.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>That's my girl.<\/dialogue>\n    <scene_description>He takes her under his arm again. They watch more of the highlights but Bill's head is spinning.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S APARTMENT, BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Virginie sleeps soundly in her bed. Bill sits up, leaves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S APARTMENT, KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Bill opens the refrigerator door. He takes out some leftovers and places them in a Tupperware container.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S BUILDING, BASEMENT - NIGHT<\/stage_direction>\n    <scene_description>Bill descends the basement stairs, opens the door and walks into the tool room. He crosses to the SECOND DOOR and opens that door. He grabs the flashlight and walks inside, passing rows of abandoned storage units, doors ajar. He finally arrives at one that is closed. He unfastens the old metal latch, opens the door and enters.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>177A INT. STORAGE ROOM - CONTINUOUS 177A<\/stage_direction>\n    <scene_description>Bill shuts the door behind him and turns to see... Akim gagged and tied to a chair with duct tape. The chair is tied to pipe on the wall. He tries to speak. Mmmm\u2026 Mmm\u2026 Bill ignores him, crosses to the slat window which looks out onto the courtyard. It has been covered with cardboard but there is clearly a sliver of light poking through which explains how Maya glimpsed Akim. He readjusts the CARDBOARD blocking out the window. The damaged face of Akim bears the marks of Bill's attack, including a swollen left eye which has been bandaged. Bill removes the lid of the Tupperware, takes off the gag.<\/scene_description>\n    <character>AKIM<\/character>\n    <dialogue>J'ai rien fait! Please.<\/dialogue>\n    <scene_description>Bill ignores him.<\/scene_description>\n    <character>AKIM<\/character>\n    <dialogue>It's not me! Please. Me go.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Can't do that. Can't risk you disappearing again.<\/dialogue>\n    <character>AKIM<\/character>\n    <dialogue>Please\u2026 I do nothing...<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>We'll know that soon enough. Ain't nobody gonna hurt you. Come on, eat.<\/dialogue>\n    <scene_description>Bill takes a spoonful of food, holds it up. Akim eats.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 24-HOUR CHINESE RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>A group of seven or eight REGULARS drink and talk at a round dining table in the garish room. Dirosa is among them. Their manners, their authority\u2026 Everything about them shouts \"cops\". And that's exactly what they are: retired and active. \"Les journeaux ils l'ont pas rat\u00e9e. La pauvre petite, il l'ont vraiment faite passer pour un monstre. \"La veuve noire am\u00e9ricaine\u2026\" \"Attends, Bartoli, c'\u00e9tait le premier sur les lieux. Bartoli, tu sais le petit l\u00e0. C'\u00e9tait un bain de sang. Et c'\u00e9tat pas les journalistes\u2026\" \"Elle se l'ait faite. Elle se sont battues. La petite arabe elle lui avait mis les cornes. Un moment, quand \u00e7a ressemble \u00e0 de la merde et que \u00e7a sent la merde\u2026\" \"On a jamais trouv\u00e9 l'arme. Le couteau\u2026.\" \"Son t\u00e9l\u00e9phone il a born\u00e9 dans tous les sens. Qu'est ce que tu veux d'autre ?\" \"Et l'ADN qu'on n'a pas identifi\u00e9. Elle a dit que c'\u00e9tait un gamin, un arabe\u2026?\" \"Y'en a toujours de l'ADN non identifi\u00e9. On te livre une pizza et \u00e7a y'est, t'as de l'ADN non identifi\u00e9 chez toi.\" \"Je sais pas ce qu'il fait avec son livreur de pizza lui\u2026\" Laughter. \"Moi, je suis pas contre coffrer des arabes mais l\u00e0 franchement\u2026 Le gamin, il lui fauche les cl\u00e9, d'accord, ensuite il trouve l'appartement - comment il fait? - et l\u00e0 il plante la copine et il disparait sans rien voler? C'est pas du travail \u00e7a, m\u00eame pour un arabe.\" \"La gamine, elle est coupable. Elle peut dire que c'est la faute aux immigr\u00e9s, elle peut dire que c'est la faute \u00e0 Gaudin, elle peut dire ce qu'elle veut mais c'est elle qu'a fait le coup. Elle a plant\u00e9 sa copine. C'est comme \u00e7a, c'est tout, c'est l'amour. Demande \u00e0 ma femme.\" The table agrees on this. Allison is guilty. Dirosa finishes his Scotch, sits back, lost in his thoughts.<\/scene_description>\n    <character>ALLISON (V.O.)<\/character>\n    <dialogue>I have a new roommate.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PENITENTIARY, VISITING ROOMS - DAY<\/stage_direction>\n    <scene_description>Allison's face. Calm and somber.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>She arrived a few days ago. She's young and scared. She reminds me of myself when I arrived. Except her French is better...<\/dialogue>\n    <scene_description>She smiles. Bill doesn't. He looks tired, distracted.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Are you OK?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Don't worry about me. Just take care of yourself.<\/dialogue>\n    <scene_description>Allison considers that comment and Bill. Then...<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>I've learnt something new actually. It's helped me a lot.<\/dialogue>\n    <parenthetical>(Off Bill's look)<\/parenthetical>\n    <dialogue>It's something called \"Mektub\". A nurse told me about it. It's about acceptance.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Acceptance. Of what?<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Your fate. It's helping me to stop struggling, to stop questioning everything. You just embrace your fate and learn to live in peace with it. It's a Muslim idea.<\/dialogue>\n    <scene_description>Even in her current state this is hard for Bill to accept.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>So you're becoming a Muslim now?<\/dialogue>\n    <scene_description>Bill is unexpectedly sharp. Allison remains calm.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Dad, it's not about religion, it's about figuring out a way for me to survive.<\/dialogue>\n    <scene_description>Her directness disarms Bill and allows him to hear her.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>It's about letting go of the shame and guilt that push you down and keep you down and make you feel so powerless. That's how I've felt for a long time-- powerless and forgotten. And that makes living hard. You know what I mean?<\/dialogue>\n    <scene_description>Bill does. Very much so.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>It helps me to look at it this way.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>OK. But\u2026 you're innocent, we gotta continue to fight so that\u2026<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>It doesn't matter that I'm innocent. It's not about justice, dad. It's about finding peace.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Maybe so... But I'm not ready to give up. I can't.<\/dialogue>\n    <scene_description>Allison almost smiles. She can't tell Bill is rattled.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Dad. You don't have to prove yourself. Not to me.<\/dialogue>\n    <scene_description>Bill hears this. Too late. He's deep in it.<\/scene_description>\n    <character>ALLISON<\/character>\n    <parenthetical>(Calmly)<\/parenthetical>\n    <dialogue>You wanna pray?<\/dialogue>\n    <scene_description>He's caught by surprise. She holds his hand and closes her eyes. His stay open.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S BUILDING, BASEMENT - DAY<\/stage_direction>\n    <scene_description>Bill is letting Akim pee in the wash basin. Akim finishes and he escorts him back to his chair. Akim tries to speak so Bill removes his gag and starts to refasten him to the chair. Akim speaks with a calm but very intentional tone.<\/scene_description>\n    <character>AKIM<\/character>\n    <dialogue>Ecoute moi. Juste \u00e9coute. S'il-te- pla\u00eet. Je suis pas un m\u00e9chant moi. Laisse moi partir. Je veux pas de probl\u00e8mes, c'\u00e9tait pas ma faute!<\/dialogue>\n    <scene_description>Bill finishes tying him and moves to the sink.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>I don't know what you're saying but you're wasting your breath. I told you, we wait for the DNA test. Then we know.<\/dialogue>\n    <character>AKIM<\/character>\n    <dialogue>She ask me! She pay me!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>You want more water?<\/dialogue>\n    <character>AKIM<\/character>\n    <dialogue>Allison. She say go! You put Lina out! Money for you.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>That's enough now.<\/dialogue>\n    <character>AKIM<\/character>\n    <dialogue>She tell me take it. She give me a collier. You take it. Money after.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Come on! Drink!<\/dialogue>\n    <scene_description>Akim does. Quickly.<\/scene_description>\n    <character>AKIM<\/character>\n    <dialogue>Un collier! You take it for you.<\/dialogue>\n    <scene_description>Akim tries to gesture to his neck. Lowering his chin to his gold-chain.<\/scene_description>\n    <character>AKIM<\/character>\n    <dialogue>Collier! Gold\u2026 Like this\u2026! Like this!<\/dialogue>\n    <scene_description>He finally has Bill's attention.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>\u2026 A necklace ? I don't want that.<\/dialogue>\n    <character>AKIM<\/character>\n    <dialogue>No. She give me! She say go, you put Lina out! Money after!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>OK. It's time to shut the fuck up now. You're not making any...<\/dialogue>\n    <scene_description>He takes the duct tape to put it back on Akim's mouth-<\/scene_description>\n    <character>AKIM<\/character>\n    <dialogue>Stillwater!<\/dialogue>\n    <scene_description>Bill stops, stunned.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>What'd you say?<\/dialogue>\n    <character>AKIM<\/character>\n    <dialogue>The collier, he say: Stillwater. Gold.<\/dialogue>\n    <scene_description>Bill's face registers the shock. Akim can see that he's struck a chord. Maybe pierced is more appropriate.<\/scene_description>\n    <character>AKIM<\/character>\n    <dialogue>Elle m'a dit: do it! Make her go!<\/dialogue>\n    <scene_description>Bill tapes his mouth shut!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CELLAR - LATER<\/stage_direction>\n    <scene_description>Bill shuts the basement door and then stops for a second. Trying to process what he just heard.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S APARTMENT - LATER<\/stage_direction>\n    <scene_description>Bill enters the apartment. He's intercepted by Virginie.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>T'etais ou?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Virginie has her coat on.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>We have to go and see Isabelle. We'll be late if we don't leave now.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I walked back from the Baumettes.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>It's OK mais... Allez, on y va!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Do uh... do I have to go...?<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Yes. Of course. I told her you were coming. Just hurry up please!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. CAR - DAY<\/stage_direction>\n    <scene_description>Virginie's car climbs up the stunning streets of Roucas- Blanc, Marseille's version of Beverly Hills. Impressive villas line the road, each with gorgeous views of the sea. Music on the radio. Bill is lost in his thoughts.<\/scene_description>\n    <character>VIRGINE<\/character>\n    <dialogue>So Isabelle, is sort of like a Godmother to us. We don't see her that often and I don't always agree with her but Maya loves her. She is the closest thing she has to a Grandmother. Hello? Bill?<\/dialogue>\n    <scene_description>Bill looks, covers.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Sorry. Enjoying the ride.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>You'll see, this really is the other side of Marseille.<\/dialogue>\n    <scene_description>Bill looks to the back seat. Maya just stares at him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ISABELLE'S VILLA - DAY<\/stage_direction>\n    <scene_description>The car pulls up to a lovely stone and stucco house with yet another staggering view of the sea. A group of people are chatting, having a drink in the garden. ISABELLE (60's), understated elegance, approaches the car. Virginie gets out of the car, puts on a smile. Maya runs toward her grandmother.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>Marraine!<\/dialogue>\n    <character>ISABELLE<\/character>\n    <dialogue>Bienvenue.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ISABELLE'S VILLA, GARDEN - LATE AFTERNOON<\/stage_direction>\n    <scene_description>A large farm table decorated with flowers, candles, and a traditional embroidered tablecloth. Ten people - wealthy retired baby boomers - are sitting around it. Bill sits, lost in his thoughts.<\/scene_description>\n    <character>SILVER HAIR<\/character>\n    <dialogue>New York has changed so much!<\/dialogue>\n    <character>BALD MAN<\/character>\n    <dialogue>I don't care. I still love that city. It's like Marseille.<\/dialogue>\n    <character>SMILING WIFE<\/character>\n    <dialogue>Dirty?<\/dialogue>\n    <character>BALD MAN<\/character>\n    <dialogue>No! People go and they are new. There is no memory.<\/dialogue>\n    <character>RALPH LAUREN<\/character>\n    <dialogue>My son tells me Brooklyn is where everything's happening now.<\/dialogue>\n    <character>SMILING WIFE<\/character>\n    <dialogue>Soon it'll be the Bronx.<\/dialogue>\n    <character>BALD MAN<\/character>\n    <dialogue>Or New Jersey.<\/dialogue>\n    <scene_description>The group laughs.<\/scene_description>\n    <character>RALPH LAUREN<\/character>\n    <dialogue>You've been to Brooklyn, Mr. Baker?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>No, sir.<\/dialogue>\n    <character>RALPH LAUREN<\/character>\n    <dialogue>You should go, next time you are in New York. It's very surprising!<\/dialogue>\n    <character>BALD MAN<\/character>\n    <dialogue>And young!<\/dialogue>\n    <character>ISABELLE<\/character>\n    <dialogue>That's what's great about America, it's constantly reinventing itself.<\/dialogue>\n    <scene_description>A man with a RALPH LAUREN shirt takes over. Bill is no longer listening.<\/scene_description>\n    <character>BALD MAN<\/character>\n    <dialogue>We need to do the same here!<\/dialogue>\n    <character>RALPH LAUREN<\/character>\n    <parenthetical>(Raising a glass)<\/parenthetical>\n    <dialogue>Make France great again!<\/dialogue>\n    <scene_description>The group laughs, the conversation goes on. Bill gets up.<\/scene_description>\n    <character>BILL<\/character>\n    <parenthetical>(To Virginie)<\/parenthetical>\n    <dialogue>I'll check on Maya.<\/dialogue>\n    <scene_description>Virginie nods. Isabelle leans it.<\/scene_description>\n    <character>ISABELLE<\/character>\n    <dialogue>To copain, il n'est pas tr\u00e8s bavard\u2026<\/dialogue>\n    <character>ISABELLE<\/character>\n    <parenthetical>(Virginie doesn't bite)<\/parenthetical>\n    <dialogue>Il est sympathique. Il vient de quel genre de milieu ?<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Du genre pauvre.<\/dialogue>\n    <scene_description>They watch as Bill walks toward the house.<\/scene_description>\n    <character>ISABELLE<\/character>\n    <dialogue>Et vous parlez de quoi tous les deux ?<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>De rien. Mais on se comprend. Il a besoin de moi. Je crois qu'il a plus besoin de moi que moi de lui. C'est pas d\u00e9sagr\u00e9able.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GARDEN, ISABELLE'S VILLA - DUSK<\/stage_direction>\n    <scene_description>Bill paces, oblivious to the amazing view of the sea.<\/scene_description>\n    <character>SHARON (ON PHONE)<\/character>\n    <dialogue>I don't know what you're talking about.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>The gold necklace that I gave her\u2026 the day she left. It said Stillwater on it.<\/dialogue>\n    <character>SHARON (ON PHONE)<\/character>\n    <dialogue>Yeah\u2026 I remember it. What about it?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>You remember her wearing it at the trial? She still have it?<\/dialogue>\n    <character>SHARON (ON PHONE)<\/character>\n    <dialogue>What are you getting into Bill?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Or how 'bout when we collected her things. Did you see it?<\/dialogue>\n    <character>SHARON<\/character>\n    <dialogue>I don't know. I don't remember. Why?!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I'll call you later, Sharon. Bye.<\/dialogue>\n    <scene_description>He hangs up, stares out at the sea.<\/scene_description>\n    <character>VIRGINIE (O.S.)<\/character>\n    <dialogue>\u00c7a va?<\/dialogue>\n    <scene_description>Bill turns. Virginie is standing here.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Yeah. \u00c7a va. It was Sharon.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>She is OK?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Yeah. Yeah. She's fine.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <parenthetical>(Direct)<\/parenthetical>\n    <dialogue>Are you?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>VIRGINE<\/character>\n    <dialogue>You just seem...distrait.<\/dialogue>\n    <scene_description>He looks at her. She's right.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>I am. I'm sorry.<\/dialogue>\n    <scene_description>She approaches Bill, puts her arms around him.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>I'm happy that you're here.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Me too.<\/dialogue>\n    <scene_description>Virginie pulls back, smiles, sensing his distraction.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>You too? You are happy you're here?<\/dialogue>\n    <scene_description>Bill smiles, he knows she's toying with him.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Yeah. I am. Really.<\/dialogue>\n    <scene_description>She smiles.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Me too. I like you Bill Baker.<\/dialogue>\n    <scene_description>She leans in and gently kisses him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONSTRUCTION SITE - LATER<\/stage_direction>\n    <scene_description>Bill is framing out a new wall.<\/scene_description>\n    <character>DIROSA (RECORDED MESSAGE)<\/character>\n    <dialogue>C'est le r\u00e9pondeur de Dirosa, laissez un message.<\/dialogue>\n    <scene_description>CUT TO: Bill is walking around the framed out room which is missing a back wall.<\/scene_description>\n    <character>BILL (INTO PHONE)<\/character>\n    <dialogue>Mr. Dirosa, Bill Baker. Just wondering if there's anything we can do to get that result quicker. It's kinda urgent. Call me back. Thanks.<\/dialogue>\n    <scene_description>He snaps the phone shut. Fuck.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A188 INT. VIRGINIE'S APARTMENT - DAY A188<\/stage_direction>\n    <scene_description>Virginie hangs her LAUNDRY on the line out the window. She notices a MAN walking along the side of the building as if he's looking for something. Virginie keeps hanging. She hears a loud BANG from the other room. Bang. Bang. Bang.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>B188 INT. VIRGINIE'S APARTMENT, BILL'S ROOM - DAY B188<\/stage_direction>\n    <scene_description>Virginie hurries into Bill's room to close the window, the source of the banging. She rearranges some items on the window sill so she can close it. Something falls on the floor. She reaches down and picks up a set of PADLOCK KEYS. She drops them in a dish on the sill.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S APARTMENT - LATE MORNING<\/stage_direction>\n    <scene_description>Virginie descends the stairs, carrying the day's garbage.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. VIRGINIE'S BUILDING, COURTYARD ENTRANCE - DAY<\/stage_direction>\n    <scene_description>Virginie exits the building and crosses to the LARGE BRWON TRASH CANS. She lifts the lid, deposits her trash. She turns to head back inside.<\/scene_description>\n    <character>MAN (O.S.)<\/character>\n    <dialogue>Excusez-moi.<\/dialogue>\n    <scene_description>She turns, Dirosa is standing there.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Oui?<\/dialogue>\n    <scene_description>She throws away the garbage, shuts the lid.<\/scene_description>\n    <character>DIROSA<\/character>\n    <dialogue>Bonjour. Je travaille pour la voierie. On nous a appel\u00e9 \u00e0 propos d'une fissure sur la facade. Je me demandais si \u00e7a ne viendrait pas du sous-sol. Vous n'avez rien remarqu\u00e9 d'inhabituel r\u00e9cemment ?<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>D'inhabituel?<\/dialogue>\n    <character>DIROSA<\/character>\n    <dialogue>Je ne sais pas. Du bruit. Une odeur\u2026<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Oh non\u2026 Encore ? Je devrais m'inqui\u00e9ter ?<\/dialogue>\n    <character>DIROSA<\/character>\n    <dialogue>Non, non. C'est juste un contr\u00f4le de routine. Vous utilisez les caves?<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Moi ? Non.<\/dialogue>\n    <character>DIROSA<\/character>\n    <dialogue>Quelqu'un d'autre dans l'immeuble les utilise ?<\/dialogue>\n    <scene_description>Virginie hesitates, something's up.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Si vous voulez, je peux me renseigner et vous appeler?<\/dialogue>\n    <scene_description>Dirosa smiles.<\/scene_description>\n    <character>DIROSA<\/character>\n    <dialogue>Ce sera pas n\u00e9cessaire. Vous avez \u00e9t\u00e9 bien aimable. Bonne journ\u00e9e madame.<\/dialogue>\n    <scene_description>Virginie watches him walk away. Odd.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S BUILDING, LOBBY - LATER<\/stage_direction>\n    <scene_description>Virginie walks inside the building, pauses at the stairs. She crosses to the basement door, tries the handle, it's locked. She looks down and notices something, flecks of BROWN on the door jam? Paint? She considers this, leaves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAYA'S SCHOOL - DAY<\/stage_direction>\n    <scene_description>Children screech exiting the school. He sees Maya coming out sheepishly, holding the hand of TEACHER (50's) with a stern look. Maya points to Bill. Every parent knows that look. Something went wrong.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>Bill and Maya walk together.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>I used to fight a lot at school when I was a kid too.<\/dialogue>\n    <scene_description>He starts mimicking a fight so that she understands.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>You know? Fight? But it's not good. C'est pas bien.<\/dialogue>\n    <scene_description>Maya listens, processing. Then...<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>The man in the cave, you will kill?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>What? No! Of course not.<\/dialogue>\n    <scene_description>Bill is shaken, he tries to composes himself. He stops. Gets down to her level.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Maya. Ecoute-moi. I would never do anything to hurt you or your mother. Never. Jamais. Because I love you both. So much. I do. You have to trust me, OK?<\/dialogue>\n    <character>MAYA<\/character>\n    <parenthetical>(Simply)<\/parenthetical>\n    <scene_description>OK.: Bill stands, takes her hand, they walk.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VIRGINIE'S APARTMENT BUILDING, STREET - LATER<\/stage_direction>\n    <scene_description>Bill and Maya walk into the pass-through leading from the street to the courtyard. As they emerge into the courtyard, Bill sees TWO DETECTIVES standing next to an UNDERCOVER CAR parked next to his van. Bill stops. Shit.<\/scene_description>\n    <character>CAPTAIN<\/character>\n    <dialogue>Mr. Baker. A word please.<\/dialogue>\n    <scene_description>He flashes his BADGE. He was with Dirosa at the Chinese restaurant.<\/scene_description>\n    <character>CAPTAIN<\/character>\n    <dialogue>Police.<\/dialogue>\n    <scene_description>Suddenly two more DETECTIVES have come up behind him. One MALE and one FEMALE.<\/scene_description>\n    <character>CAPTAIN<\/character>\n    <dialogue>Can I see your identification please?<\/dialogue>\n    <scene_description>Bill shows it.<\/scene_description>\n    <character>CAPTAIN<\/character>\n    <dialogue>Merci. My colleague will stay with your daughter.<\/dialogue>\n    <scene_description>The FEMALE DETECTIVE takes Maya by the hand, quickly escorts her to the building. Maya turns, she looks confused.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>Bill?<\/dialogue>\n    <character>CAPTAIN<\/character>\n    <dialogue>T'inquietes pas. On en a pour quelques minutes.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>It's OK. It's OK.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S BUILDING, LOBBY - LATER<\/stage_direction>\n    <scene_description>Bill is escorted by the two detectives and the Captain into the lobby.<\/scene_description>\n    <character>CAPTAIN<\/character>\n    <dialogue>The basement, please.<\/dialogue>\n    <scene_description>They get to a door. The Detective checks it. Locked.<\/scene_description>\n    <character>CAPTAIN<\/character>\n    <dialogue>Key?<\/dialogue>\n    <character>BILL<\/character>\n    <parenthetical>(Pointing to key chain)<\/parenthetical>\n    <dialogue>He has it. The little one.<\/dialogue>\n    <scene_description>The Detective opens the door, walks in. And then:<\/scene_description>\n    <character>COP<\/character>\n    <dialogue>C'est bon!<\/dialogue>\n    <scene_description>They follow.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S BUILDING, BASEMENT - CONTINUOUS<\/stage_direction>\n    <scene_description>They descend the stairs and walk down the hall passing a number of empty rooms.<\/scene_description>\n    <character>CAPTAIN<\/character>\n    <dialogue>Vous me v\u00e9rifiez tout!<\/dialogue>\n    <scene_description>The detectives start searching as the Captain leads Bill to the tool room.<\/scene_description>\n    <character>CAPTAIN<\/character>\n    <dialogue>Sit.<\/dialogue>\n    <scene_description>Bill sits on and old stool as the detectives continue their search.<\/scene_description>\n    <character>DETECTIVE #1<\/character>\n    <dialogue>Rien ici!<\/dialogue>\n    <scene_description>Detective #2 looks around, opens the second door.<\/scene_description>\n    <character>DETECTIVE #2<\/character>\n    <dialogue>Regarde par l\u00e0.<\/dialogue>\n    <scene_description>Bill looks like he might explode. He's fucked. The detectives quickly start checking each room. Most of the doors are open. Bill can see their progress as they move down the hall and toward Akim's cell. The Captain watches Bill who remains stoic. Is that sweat on his brow? A twitch? Three more doors. Bill can only watch, wait. Two more doors. The final door. Bill looks away. He can't... Then...<\/scene_description>\n    <character>DETECTIVE #1<\/character>\n    <dialogue>Celui-ci a un cadenas.<\/dialogue>\n    <character>CAPTAIN<\/character>\n    <dialogue>Do you have a key?<\/dialogue>\n    <scene_description>Bill doesn't answer. Detective #1 checks the key chain. Tries a key. It opens the door - he steps inside. Silence. Bill waits, dying inside. Then...<\/scene_description>\n    <character>DETECTIVE #1<\/character>\n    <dialogue>Rien!<\/dialogue>\n    <scene_description>Bill almost gasps. Almost. The Detective returns, looks at the Captain, who gives Bill a hard look. They talk in French. Any other rooms? No.<\/scene_description>\n    <character>CAPTAIN<\/character>\n    <dialogue>On va aller en haut. Tu me l'emm\u00e8nes.<\/dialogue>\n    <scene_description>He leaves a dumbfounded Bill behind.<\/scene_description>\n    <character>CAPTAIN<\/character>\n    <dialogue>Allez!<\/dialogue>\n    <scene_description>Detectives #2 pulls Bill back upstairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A196 INT. LANDING - DAY A196<\/stage_direction>\n    <scene_description>Bill is standing, eyes glued to the floor, confused. He looks off and sees Maya, staring at him, sitting on the little bench by the door. One of the Detectives is standing behind them. The door opens on:<\/scene_description>\n    <character>DETECTIVE #2<\/character>\n    <dialogue>Ok, rentrez.<\/dialogue>\n    <scene_description>Maya hurries in. Bill follows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Virginie is sitting on the couch, with Maya in her arms. Bill walks in, surrounded by the detectives. Virginie is sitting on the couch, with Maya in her arms. They connect. In that moment Bill knows, she set Akim free.<\/scene_description>\n    <character>CAPTAIN<\/character>\n    <dialogue>Alors?<\/dialogue>\n    <character>FEMALE DETECTIVE<\/character>\n    <dialogue>Rien ici.<\/dialogue>\n    <character>CAPTAIN<\/character>\n    <dialogue>Et la femme?<\/dialogue>\n    <character>FEMALE DETECTIVE<\/character>\n    <dialogue>Elle dit qu'elle sait rien.<\/dialogue>\n    <scene_description>The Captain glances around the apartment, zeroes in on Virginie and Maya.<\/scene_description>\n    <character>CAPTAIN<\/character>\n    <dialogue>\u00c7a vous ennuie si je pose quelques questions \u00e0 votre fille?<\/dialogue>\n    <character>VIRGINE<\/character>\n    <dialogue>Oui, \u00e7a m'ennuie. Elle a 9 ans.<\/dialogue>\n    <character>CAPTAIN<\/character>\n    <dialogue>Vous pr\u00e9f\u00e9rez qu'on aille tous au commissariat?<\/dialogue>\n    <scene_description>Virginie, doesn't answer. The Captain, squats down.<\/scene_description>\n    <character>CAPTAIN<\/character>\n    <dialogue>Bill, il vit ici avec toi et ta maman.<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Oui.<\/dialogue>\n    <character>CAPTAIN<\/character>\n    <dialogue>Il est gentil avec vous?<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Oui.<\/dialogue>\n    <character>CAPTAIN<\/character>\n    <dialogue>Vous descendez \u00e0 la cave parfois?<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Oui.<\/dialogue>\n    <character>CAPTAIN<\/character>\n    <dialogue>Et vous faites quoi l\u00e0-bas?<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>On range les outils. Et j'apprends des mots en fran\u00e7ais \u00e0 Bill.<\/dialogue>\n    <character>CAPTAIN<\/character>\n    <dialogue>C'est quand la derni\u00e8re fois que vous y \u00eates all\u00e9s \u00e0 la cave?<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Hier.<\/dialogue>\n    <character>CAPTAIN<\/character>\n    <dialogue>Hier? Et tout \u00e9tait normal?<\/dialogue>\n    <scene_description>She nods.<\/scene_description>\n    <character>CAPTAIN<\/character>\n    <dialogue>Tu la connais Allison, la fille de Bill?<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Oui. Elle est en prison.<\/dialogue>\n    <character>CAPTAIN<\/character>\n    <dialogue>Et Bill, t'as pas envie qu'il aille en prison, si?<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Non.<\/dialogue>\n    <character>CAPTAIN<\/character>\n    <dialogue>Parce que tu l'aimes bien?<\/dialogue>\n    <character>MAYA<\/character>\n    <dialogue>Oui.<\/dialogue>\n    <character>CAPTAIN<\/character>\n    <dialogue>Alors \u00e9coute moi bien. Si tu me mens, je vais le savoir et je devrai mettre Bill en prison. Tu comprends?<\/dialogue>\n    <scene_description>She nods.<\/scene_description>\n    <character>CAPTAIN<\/character>\n    <dialogue>Dis moi la v\u00e9rit\u00e9 maintenant. C'est quand la derni\u00e8re fois que vous \u00eates all\u00e9s \u00e0 la cave?<\/dialogue>\n    <scene_description>Maya looks him in the face.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>Hier.<\/dialogue>\n    <scene_description>He looks to Virginie who remains stone-faced. The tension is palpable. Finally, he stands up straight, sighing. He gives Bill a hard look. Bill doesn't flinch.<\/scene_description>\n    <character>CAPTAIN<\/character>\n    <dialogue>D'accord. Allez, on y va.<\/dialogue>\n    <scene_description>The police move to the door and leave. The door shuts. The room is silent save the sounds of the detectives going down the stairs. Virginie, Bill and Maya are alone.<\/scene_description>\n    <character>MAYA<\/character>\n    <dialogue>J'ai bien r\u00e9pondu, maman?<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>Va dans ta chambre!<\/dialogue>\n    <scene_description>Maya hesitates, confused.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>File!<\/dialogue>\n    <scene_description>Maya obeys, leaves.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Virginie, I didn't want to\u2026<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>How did you find him?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Pure chance. At the soccer game.<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <dialogue>With Maya?<\/dialogue>\n    <scene_description>Bill nods, yes.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Did you ask her to lie?<\/dialogue>\n    <scene_description>Bill hesitates, he looks to Maya's room.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>I never meant to involve you and Maya. I know...<\/dialogue>\n    <character>VIRGINIE<\/character>\n    <parenthetical>(Cold anger)<\/parenthetical>\n    <dialogue>You have to leave.<\/dialogue>\n    <scene_description>Bill looks at her, doesn't move. She crosses to Bill and hands him the PADLOCK KEYS.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Pack your things. And leave.<\/dialogue>\n    <scene_description>Bill gets up, leaves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGINIE'S APARTMENT, MAYA'S ROOM - DAY<\/stage_direction>\n    <scene_description>Maya watches a video on the tablet. Cartoons music playing loudly. Bill knocks.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Can I come in?<\/dialogue>\n    <scene_description>Maya keeps her eyes on the screen. Bill enters.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>I have to go, Maya.<\/dialogue>\n    <scene_description>Bill gently puts his hand on Maya's arm. She pulls away.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>You don't want to talk to me?<\/dialogue>\n    <scene_description>Maya turns her back on Bill.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Alright. I'm sorry. I love you.<\/dialogue>\n    <scene_description>No reaction from Maya. Bill takes his bag and walks past Virginie. She lowers her eyes in order not to catch his eye.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VIRGINIE'S BUILDING, COURTYARD - DAY<\/stage_direction>\n    <scene_description>Bill throws his bag in the van. He opens his door.<\/scene_description>\n    <character>VIRGINIE (O.S.)<\/character>\n    <dialogue>Bill!<\/dialogue>\n    <scene_description>She's holding Maya by the hand.<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <parenthetical>(to Maya)<\/parenthetical>\n    <dialogue>Dis au revoir \u00e0 Bill maintenant!<\/dialogue>\n    <scene_description>Maya doesn't budge. Virginie becomes firmer:<\/scene_description>\n    <character>VIRGINIE<\/character>\n    <dialogue>Maya!<\/dialogue>\n    <scene_description>Maya hesitates\u2026 But lets go of her mother's hand. She reluctantly takes a few steps towards Bill. He squats to be at her height... And takes her in his arms. She lets herself go. Without moving... And finally, Maya's little arms hold him. Tight. As strong as they can. Maya buries her head into Bill's neck. She's crying. So is Bill.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A199 EXT. CEMENTARY - DAY A199<\/stage_direction>\n    <scene_description>Bill stands in front of Lina's grave.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL - DAY<\/stage_direction>\n    <scene_description>The pool is quiet. The day is windy and a bit overcast. Fall. A stack of Maya's art on the desk.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM, BILL'S ROOM - DAY<\/stage_direction>\n    <scene_description>Bill stands at the window staring at the pool. A football match plays on the TV. Another anonymous room. The phone rings. Bill doesn't react.<\/scene_description>\n    <character>MA\u00ceTRE LEPARQ (V.O.)<\/character>\n    <dialogue>I went to the address you gave me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL, DINING ROOM - LATER<\/stage_direction>\n    <scene_description>Bill sits opposite Leparq. She has a glass of wine in front of her. Bill has coffee.<\/scene_description>\n    <character>MA\u00ceTRE LEPARQ<\/character>\n    <dialogue>The woman there told me you moved out last month.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Yes, ma'am.<\/dialogue>\n    <character>MA\u00ceTRE LEPARQ<\/character>\n    <dialogue>I've come with some extraordinary news, Mr. Baker. The judge in your daughter's case called me this morning. New evidence has surfaced. Apparently, a retired cop came up with a DNA match on the unknown sample from the original crime scene.<\/dialogue>\n    <scene_description>Bill listens, stone-faced.<\/scene_description>\n    <character>MA\u00ceTRE LEPARQ<\/character>\n    <dialogue>It also matched a sample the police collected on a burglary case four years ago. After the trial.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Did they catch him?<\/dialogue>\n    <character>MA\u00ceTRE LEPARQ<\/character>\n    <dialogue>No. Not yet. But for Allison this does not matter. All we need to prove is sufficient doubt. So even if they can't find the suspect there is a real chance they will release Allison. In fact, the judge has already agreed to reopen the investigation which is almost unheard of. I think this could only happen in Marseille.<\/dialogue>\n    <scene_description>Bill nods, considers this.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Thank you for coming to tell me, Ma'am.<\/dialogue>\n    <scene_description>Bill stands. Leparq looks at him, stunned.<\/scene_description>\n    <character>MA\u00ceTRE LEPARQ<\/character>\n    <dialogue>Mr. Baker. This is the best possible outcome for your family. Do you understand?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I do.<\/dialogue>\n    <scene_description>He leaves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAYA'S SHOOL - AFTERNOON<\/stage_direction>\n    <scene_description>It's Fall. Mothers are waiting outside the school. Amongst them, Virginie is talking to a YOUNG MOTHER. Her hair is longer now.<\/scene_description>\n    <character>TITLE: NINE MONTHS LATER<\/character>\n    <dialogue>The children squeak as they come out in clusters. Maya looks around and spots her mother. Virginie takes her hand and says goodbye to her friend as they move away.<\/dialogue>\n    <dialogue>Across the street, Bill watches, motionless, his face half hidden by a bus shelter as their two silhouettes disappear at the corner of the street.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LES BAUMETTES, PRISON CELL - DAY<\/stage_direction>\n    <scene_description>Allison's face. Feeling the pain. She is sitting on a bed in her cell. Another INMATE dips a needle in a little ink cartridge and slowly inks a tattoo on the inside of Allison's wrist. The SOUND of a MARCHING BAND.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WILL ROGERS AIRPORT - DAY<\/stage_direction>\n    <scene_description>Bill and Allison are ushered through the airport. Flashbulbs and crowds. Allison is greeted by Sharon. They hug long and hard. A SENATOR with a million dollar smile greets them with a handshake. The band stops playing. The senator is at the microphone.<\/scene_description>\n    <character>SENATOR<\/character>\n    <dialogue>I told you we were gonna bring our girl home! And that is exactly what we did. We promised justice and when we make a promise in Oklahoma we keep it, don't we?!<\/dialogue>\n    <scene_description>Claps of the crowd. Sharon looks to Bill, rolls her eyes...fucking politicians. Bill smiles, continues listening.<\/scene_description>\n    <character>SENATOR<\/character>\n    <dialogue>And I promise you this, Allison. You are coming home to a stronger Oklahoma with plenty of jobs and opportunities for young people like yourself. Welcome home, Allison! Welcome back to Oklahoma! Welcome back to America!<\/dialogue>\n    <scene_description>Allison steps to the mic, silence falls on the crowd.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>I'm so happy to be back. I have to thank God for his love and kindness. I would not be here today if it wasn't for my Grandmother, Sharon and my dad, Bill. I love you both.<\/dialogue>\n    <scene_description>The crowd cheers. Sharon takes Bill's hand but Bill barely reacts. He just watches.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>They never gave up on me and they never stopped believing in me. I love this country more than ever.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRIVATE SUV - LATER<\/stage_direction>\n    <scene_description>A STILLWATER SIGN on the overpass. Bill and Allison sit in the back. Sharon is in the front seat, asleep. Allison stares out the window. Bill watches her. He notices a fresh homemade TATTOO on the inside of her wrist.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>205A EXT. SHARON'S HOUSE - DAY 205A<\/stage_direction>\n    <scene_description>Two or three PRESS TRUCKS are camped out in front of Sharon's house. A few reporters mingle, held back by local police.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. SHARON'S HOUSE - DAY<\/stage_direction>\n    <scene_description>A smattering of friends and neighbors mingle and talk in the backyard. Inside, some folks pick at makeshift buffet on the kitchen table. A few kids run through the living room. Sharon sits in her chair holding court. Allison is talking to some friends and parents. She's very animated, clearly happy to be home.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHARON'S HOUSE, ALLISON'S BEDROOM - DUSK<\/stage_direction>\n    <scene_description>Bill stands by the window, watching the press, alone with his thoughts.<\/scene_description>\n    <character>ALLISON (V.O.)<\/character>\n    <dialogue>You're being anti-social?<\/dialogue>\n    <scene_description>Bill turns, Allison is in the doorway. He smiles.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>You alright?<\/dialogue>\n    <scene_description>Bill considers this. Is he? Then...<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>The day you left for Marseille, Sharon and I drove you to the airport. When we got there, I was embarrassed I didn't have a present or nothing so I went to the gift shop. I thought I'd buy you a book or a key chain...But then I saw this necklace.<\/dialogue>\n    <scene_description>He finally looks at her. Allison returns her father's gaze. She knows where this is leading.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>I thought it was a little piece of home to take with you. It was gold, said Stillwater on it.<\/dialogue>\n    <scene_description>She continues to stare at him. No words. But then her expression changes, a well of emotion starts to bubble up. She speaks very deliberately, trying to hold it together.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>I didn't want it to happen...<\/dialogue>\n    <scene_description>A tear rolls down her cheek. Bill doesn't move.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>He told me he would help me get her out of the apartment... that's all... I didn't want her to die...I swear. I loved her..<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I know you did.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>You think I'm a monster?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>You're my daughter. I could never think that.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>What is wrong with us?<\/dialogue>\n    <scene_description>Her simple question cuts Bill to core.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>I don't know, baby girl. I don't know what's wrong with us.<\/dialogue>\n    <scene_description>The dam breaks-- years of shame and guilt released through her sobs.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>I'm sorry. I'm just so sorry.<\/dialogue>\n    <scene_description>Bill crosses to her, hugs her.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Me too.<\/dialogue>\n    <scene_description>They hold each other for a long moment. And in that moment Bill is the father he has never been before.<\/scene_description>\n    <character>SHARON (O.S.)<\/character>\n    <dialogue>Allison! Allison?!<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Yeah, Gram.<\/dialogue>\n    <character>SHARON (O.S.)<\/character>\n    <dialogue>Come out here and show your face. Everyone's waiting.<\/dialogue>\n    <scene_description>She pulls away, looks at Bill. He smiles reassuringly, gently wipes away her tears. She breathes. He nods and she goes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BILL HOUSE, KITCHEN - MORNING<\/stage_direction>\n    <scene_description>Bill starts the coffee machine. He picks up his old iPod, scrolls through the songs. Selects one, presses play, sets it in an old speaker. Loretta Lynn. He picks up the ENVELOPE OF PHOTOS that he left behind. He looks at the pictures inside: Allison as a child, at Maya's age, and Bill and Allison's mother. He sets down the photos, and leans against the counter. His attention drifts out the front window where something catches his eye. Through faded sheer drapes, he can see Allison, sitting on the front porch.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BILL'S HOUSE, FRONT PORCH - DAWN<\/stage_direction>\n    <scene_description>Bill opens the front door, steps out onto the porch. Allison is sitting on one of the two lawn chairs.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Morning.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>He sits.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>I couldn't sleep. I went for a walk, ended up here.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I'm glad you did.<\/dialogue>\n    <scene_description>Allison takes a moment then...<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>You miss them?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I do.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>Can you go back?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>No. I can't. But it was good. That don't change.<\/dialogue>\n    <character>ALLISON<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Life is brutal.<\/dialogue>\n    <scene_description>She clocks this. He was listening. He looks to her. They sit together, listening to the sound of a distant train.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Everything looks the same here. Nothing's changed.<\/dialogue>\n    <scene_description>Bill listens. Allison looks at him.<\/scene_description>\n    <character>ALLISON<\/character>\n    <dialogue>Don't you think?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>No, Ally, I don't. It all looks different to me. I barely recognize it anymore.<\/dialogue>\n    <scene_description>Bill looks at her. He smiles. Maybe she does too. And there they sit, father and daughter, in the quiet of a new day.<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Laid-off oil rig worker Bill Baker from Stillwater, Oklahoma is scraping by working odd construction jobs. After finishing a disaster recovery cleanup job in Shawnee, Oklahoma, Bill heads back to Stillwater looking for an oil rig position with no luck. Bill later meets with Sharon \u2013Allison's grandmother\u2013 at her home, where they plan Bill's travel to Marseille in France to visit his daughter Allison, who is five years into serving a nine-year prison sentence. While attending university in Marseille, Allison was convicted of killing her roommate and unfaithful lover, Lina.During Bill's first meeting with Allison, she asks him to pass a letter written in French to her defense lawyer, Leparq. Bill agrees and meets with Leparq, who informs him about the content of the letter, indicating that Allison heard from one of her former professors, Patrick Okonedo about a man who claimed to be Lina's killer. Leparq says that no judge will reopen the case because the new information is just hearsay. Bill lies to Allison, telling her that Leparq will petition the judge to reopen the case. Bill helps a little girl who is staying at the same hotel, Maya get a key to her room. Later Maya's mother Virginie helps Bill by translating Allison's letter, where he learns not only about his daughter's desperation at the sentence, but also about how little faith she has in her father's ability to help with the situation. Bill visits the Patrick Okonedo, professor mentioned in the letter, who gives him the phone number of Souad, a student who claims to know Lina's killer. Virginie calls Souad and they meet at a Quick restaurant, where she names the killer as Akim, who lives in Kalliste, a slum of Marseille located on the north area of the city. The meeting does not go very well, as the girl that is accompanying Souad grows wary of Bill's questions and believes Virginie could be a cop. Bill and Virginie are at odds as Souad and her friend walk out on them and decide not to cooperate with them. Combing through social media, Virginie and her girlfriend, Nedjma, print photos of people in the social circles of Souad. Bill brings the photos to Allison, who identifies Akim. Bill then uses the photo to track down Akim in Kalliste. After sunset, a group of thugs beat Bill, as a different group approaches the area. They turn out to be Akim and other friends. After showing Akim his photo and asking him what is this about, he denies ever seeing Bill and escapes. Akim's group get Bill into a car and drop him in a safe area outside Kalliste, as they don't know who he is. The next time that he meets Allison, Bill confesses that he lied about Leparq agreeing to help and that he found Akim but didn't tell the police. Enraged that Bill squandered her one chance for exoneration, Allison tells him to never return to see her in prison. Four months later, Bill has remained in Marseille, renting a room in Virginie's apartment and working on a construction crew. During Allison's one free day out of prison that year, Bill reconnects with her, but that evening as she goes back to prison, she attempts suicide by trying to hang herself. Bill is devastated but he continues to visit her and as their regular visits continue, the relationship grows stronger. Bill and Virginie also establish a closer relationship, and Bill finally seems to have his life is back on track. A few months later, one night, Bill surprises Maya with tickets for an Olympique de Marseille football game at the Stade V\u00e9lodrome. While watching the game, Bill spots Akim in the tribunes. After the game, Bill follows him on his truck. Once Akim separates from his friends, Bill takes advantage of Maya sleeping and approaches Akim, knocking him out and locking him in the basement of their apartment building where Virginie, Maya and Bill live. Maya finds Akim next day and Bill implores Maya to keep the secret, she agrees. Bill pays a private investigator to have a lock of Akim's hair tested against the crime scene's DNA evidence. Akim tells Bill that Allison had hired him to kill Lina and that she paid him with a gold necklace bearing the word \"Stillwater\". Bill begins to doubt Allison's innocence. The private investigator suspects that Bill is keeping Akim in the basement, so he poses as a building inspector and asks Virginie if she has noticed any smells or noises from the basement, which she denies, but her suspicions are aroused. Policemen find and detain Bill, but after a fruitless search of the basement, the policemen question Maya, who lies about having seen anything unusual in the basement. The policemen leave, since Akim cannot be found, Virginie kicks Bill out of the apartment for having put Maya at risk during Akim's abduction and forcing her to lie about Akim. Virginie never tells Bill if she was involved with Akim leaving the basement or where Akim is now but it is suspected she was the one that let him go. Afterward, Bill hugs a tearful Maya goodbye, and moves back to his hotel. Leparq meets with Bill to tell him that the new DNA evidence will allow the case to be reopened by the judge, which eventually leads to the DNA test exonerating Allison. After Allison and Bill return to Oklahoma to a hero's welcome, Bill asks Allison about the Stillwater necklace that he gave her when she had departed for Marseille. Allison breaks down and admits she hired Akim to evict Lina from their house after they had broken up but claims that she did not intend for Lina to be killed, as Akim misunderstood her intentions to \"put her out\" of the apartment. The next morning as they sit on the porch, Allison says everything looks the same in Stillwater while Bill admits everything looks different to him, almost to the point of him not recognizing it anymore."}
{"movie_name":"X-Men: Days of Future Past_2014","imdb_id":"tt1877832","script":"<script>\n  <scene>\n    <character>X-MEN: DAYS OF FUTURE PAST<\/character>\n    <dialogue>Written by<\/dialogue>\n    <scene_description>Simon Kinberg Story by Simon Kinberg, Matthew Vaughn, Jane Goldman \"As new species are formed through natural evolution, others will become rarer and rarer, and finally extinct. The forms which stand in closest competition with those undergoing modification and improvement will naturally suffer most.\" -Charles Darwin, \"Origin of the Species\" FADE IN:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOSCOW - FUTURE - DAY 1<\/stage_direction>\n    <scene_description>We soar over the skyline. Buildings have been destroyed. Windows shattered. Streets deserted. We land on--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RED SQUARE - FUTURE - DAY<\/stage_direction>\n    <scene_description>MILITARY TRUCKS roll into the middle of the square. Empty, ghostly. Pigeons flap, the only signs of life. SUPER: The not too distant future... SOLDIERS climb out of the trucks. They have insignias on their uniforms, an icon that will become familiar. They open the back doors of a truck. We PUSH INTO THE BACK. Dark, quiet. Shadows shift, and we hear-- A MECHANICAL HUM coming to life. As it rises, we CUT TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KREMLIN PALACE - FUTURE - DAY<\/stage_direction>\n    <scene_description>This sprawling site was once the center of a superpower. Now it is abandoned. We push toward it, and-- DROP DOWN DOWN DOWN A HUNDRED FEET UNDERGROUND TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KREMLIN PALACE - UNDERGROUND HALL - FUTURE - DAY<\/stage_direction>\n    <scene_description>Two young REFUGEES stand guard. One of them, JAMES \"WARPATH\" PROUDSTAR, cocks his head. His ears perk up, he has SUPER HEARING. He hears the distant sound of the HUM. He turns to a young woman named BLINK.<\/scene_description>\n    <character>WARPATH<\/character>\n    <dialogue>They're here.<\/dialogue>\n    <scene_description>Blink grabs him and WHHM! They DISAPPEAR, TELEPORTING INTO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDERGROUND BUNKER - FUTURE - DAY<\/stage_direction>\n    <scene_description>A vast BOMB SHELTER under the Kremlin. Shelves are full of food, the floor full of bunks, all inhabited by-- A BAND OF MUTANT REFUGEES. By the piles of empty cans, it's clear they've been here for a while. WHHM! Blink and Warpath APPEAR in the middle of the room. BLINK They found us. As the mutants snap into defensive positions, we see a familiar face in the crowd: KITTY PRYDE. She looks toward a large mutant with an \"M\" brand over his eye. This is BISHOP. He moves toward her, starts leading her deeper into the bunker, as-- The rest of the mutants look up to see: the ceiling TREMBLES. Then CRACKS, spiderwebs getting wider and wider, and-- A LARGE BLACK DRILL comes through the ceiling. We hear the MECHANICAL HUM getting louder, as the drill TRANSFORMS into- A MASSIVE HAND. The arm and body follow, dropping through the ceiling, landing in the center of the room, revealing-- A TWELVE FOOT TALL CREATURE. Black scales. Yellow eyes. It looks like a biomechanical version of MYSTIQUE. This is-- THE SENTINEL OF THE FUTURE. The largest mutant soldier steps up, his skin turns to STEEL. This is PETER \"COLOSSUS\" RASPUTIN. He tries to fight the Sentinel, but-- The Sentinel TRANSFORMS, its long arms turn into STEEL like Colossus, grabbing him, HAMMERING him with a massive steel fist. As Colossus falls-- Two more Sentinels drop into the room. The MUTANTS OPEN FIRE with various powers, but-- THE SENTINELS MOVE AND MORPH LIKE MYSTIQUE, TWISTING IN THE AIR, DODGING EVERY SHOT, FLYING OVERHEAD, CHASING AFTER-- KITTY AND BISHOP, who work their way through the action, racing toward a HUGE VAULT DOOR. Kitty looks back to see-- THE SENTINELS DECIMATING THE MUTANTS. JUBILEE fires SPARKS at a Sentinel, but it absorbs her energy, and FIRES BACK, killing her. BLINK teleports around one of the Sentinels, trying to grab it, but WHAM! She FREEZES, eyes wide. She looks down, sees: The Sentinel's ARM has transformed into a long BLADE, IMPALING her stomach. Blink FLICKERS, then drops, dead. PROUDSTAR goes down. Others drop. The Sentinels take out three at a time, charging toward-- Kitty and Bishop. They reach the vault door where-- BOBBY \"ICEMAN\" DRAKE stands guard. As Kitty passes Bobby, their eyes meet for a moment, a bond between them, and-- WHHM. Kitty grabs Bishop, PHASING THROUGH THE DOOR. Bobby fires BLASTS OF ICE back at the Sentinels, who plow through the last line of mutants. Bobby keeps firing, but-- The Sentinels HEAT UP, MELTING the ice, swarming Bobby, KILLING him. He drops with a thud, a pool of water and blood around him, and just like that-- The room is silent. The floor littered with bodies. A mutant massacre. The Sentinels face the huge vault door. They HEAT UP, their bodies GLOWING. One of them puts a hand to the door, MELTING THE STEEL, creating a hole the size of its head. The Sentinel pushes its head through the opening, then SQUEEZES ITS WHOLE BODY THROUGH THE HOLE, slithering into--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDERGROUND BUNKER - VAULT ROOM - FUTURE - DAY<\/stage_direction>\n    <scene_description>The Sentinel enters the vault to see-- BISHOP laying on a bed. KITTY sits beside him, her hands on his temples. He looks like he's in some kind of trance.<\/scene_description>\n    <character>KITTY<\/character>\n    <dialogue>Too late, guys.<\/dialogue>\n    <scene_description>THE SENTINEL FLIES AT KITTY AND BISHOP, BUT RIGHT AS IT HITS-- WHHHHHM. THEY DISAPPEAR. Kitty, Bishop, the Sentinel. All of them are suddenly GONE. We PULL BACK through the door into--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDERGROUND BUNKER - MAIN ROOM<\/stage_direction>\n    <scene_description>THE MAIN ROOM where the mutants were slaughtered. Only now, the bodies are gone. The beds are made. The canned food is back on shelves. As if they were never here. Off this strange sight, we-- FADE OUT.:<\/scene_description>\n    <character>X-MEN: DAYS OF FUTURE PAST<\/character>\n    <dialogue>7 The black screen shimmers, becoming the blue waters of-- 7<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK CITY - FUTURE - DAWN<\/stage_direction>\n    <scene_description>A sun rises over the river. Buildings are blown out, a couple bridges collapsed. We see a sign that reads: RESTRICTED AREA, NO MUTANTS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LONDON - FUTURE - DAY<\/stage_direction>\n    <scene_description>The streets are empty here too. In the distance, we see Big Ben, the hands frozen, the face cracked. Military trucks (like the ones in Moscow) patrol the streets. And we continue around a war-torn world:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARIS - FUTURE - DUSK 10<\/stage_direction>\n    <scene_description>The city is flooded. We glimpse more SIGNS in French, WARNINGS AGAINST MUTANTS. A chunk of the Eiffel Tower is gone. High atop the tower: a few SENTINELS are perched.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GREAT WALL OF CHINA - FUTURE - NIGHT<\/stage_direction>\n    <scene_description>The Great Wall is damaged, defaced, like the rest of the world. SENTINELS stand guard. They don't notice something high overhead, a little dot in the sky. We MOVE CLOSER to the reveal: it is a DARK STEALTH JET. The new X-JET.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. X-JET - FUTURE - NIGHT<\/stage_direction>\n    <scene_description>Hologram-displays flicker in the cockpit. We see a familiar face flying the plane: ORORO \"STORM\" MUNROE. We PUSH into the back of the chair beside her-- A device is built into the chair that wraps around a BALD HEAD. We get a glimpse of his reflection in the cockpit: PROFESSOR CHARLES XAVIER. We see a couple more reflections behind him, two silhouettes looming in the back of the plane.<\/scene_description>\n    <character>XAVIER<\/character>\n    <dialogue>Take us down, Storm. I think we've found them...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MONGOLIAN MOUNTAINS - FUTURE - NIGHT 12<\/stage_direction>\n    <scene_description>The highest peak is wreathed in clouds. The X-Jet lands. The door slowly opens. Storm steps down. She looks out, her eyes go white, and the CLOUDS CLEAR, revealing they are in-- AN ANCIENT MONASTERY built into the side of the mountain. Behind her, a WHEELCHAIR hovers down. Xavier joins her. Then the last two members of the crew: ERIK \"MAGNETO\" LENSHERR. And LOGAN, aka WOLVERINE. The four of them stand side by side, looking up at this ancient fortress. They take a few steps forward, but-- Xavier slows, tense. XAVIER We're surrounded. And now we see: MUTANTS HIDING behind walls and columns. The faces are familiar from the opening action. Alive again.<\/scene_description>\n    <character>MAGNETO<\/character>\n    <dialogue>Let's see if there's any metal in the group...<\/dialogue>\n    <scene_description>Magneto raises a hand, and...ALL OF THE METAL starts to SHAKE on the mutants, RATTLING, revealing them. WHHM! BLINK appears right behind Magneto with a sharp stick pressed firmly to his neck. SNNKT! Logan snaps out a CLAW.<\/scene_description>\n    <character>XAVIER<\/character>\n    <dialogue>I think enough mutant blood has been spilled already.<\/dialogue>\n    <character>BISHOP (O.S.)<\/character>\n    <dialogue>We'll be the judge of that.<\/dialogue>\n    <scene_description>BISHOP steps out. The rest of the mutants emerge around him.<\/scene_description>\n    <character>BLINK<\/character>\n    <dialogue>You could've led the Sentinels here in that thing.<\/dialogue>\n    <scene_description>She motions toward the X-Jet.<\/scene_description>\n    <character>XAVIER<\/character>\n    <dialogue>The jet is made with a stealth technology, impossible to detect.<\/dialogue>\n    <character>PROUDSTAR<\/character>\n    <dialogue>Not impossible.<\/dialogue>\n    <scene_description>He detected them. Bishop steps closer.<\/scene_description>\n    <character>BISHOP<\/character>\n    <dialogue>I know who you are. I've heard about you. The \"X-Men.\"<\/dialogue>\n    <scene_description>He gives a little chuckle, looks to Xavier and Magneto.<\/scene_description>\n    <character>BISHOP<\/character>\n    <dialogue>From what I heard, you two weren't exactly on the same side.<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>We're all on the same side now.<\/dialogue>\n    <scene_description>He retracts his claw. And they hear a familiar voice:<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Professor. Storm.<\/dialogue>\n    <scene_description>They turn, see BOBBY approaching.<\/scene_description>\n    <character>STORM<\/character>\n    <dialogue>Bobby.<\/dialogue>\n    <scene_description>KITTY is with him. Xavier slows, focuses on her.<\/scene_description>\n    <character>XAVIER<\/character>\n    <dialogue>Kitty...<\/dialogue>\n    <scene_description>He reads her mind, realizing--<\/scene_description>\n    <character>XAVIER (CONT'D)<\/character>\n    <dialogue>(softly)<\/dialogue>\n    <scene_description>It's true.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MONASTERY - COLONNADE - FUTURE - NIGHT 13<\/stage_direction>\n    <scene_description>The group now sits together. Some eating, Blink sharpening her stick. But all of them listening.<\/scene_description>\n    <character>KITTY<\/character>\n    <dialogue>Whenever the Sentinels attack, I send Bishop back a week--<\/dialogue>\n    <character>BISHOP<\/character>\n    <dialogue>I warn them. Blink spots the next site, and we pack up and go before the Sentinels ever get close.<\/dialogue>\n    <scene_description>Xavier, Magneto, Logan, and Storm look impressed.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>You're dragging people through more than walls, huh kid?<\/dialogue>\n    <scene_description>Kitty shakes her head.<\/scene_description>\n    <character>KITTY<\/character>\n    <dialogue>Not them physically. Just their mind.<\/dialogue>\n    <scene_description>She looks at Charles, who understands--<\/scene_description>\n    <character>XAVIER<\/character>\n    <dialogue>She projects the subatomic part of the brain -- the impulses -- the thing we call consciousness -- into the person's younger self.<\/dialogue>\n    <character>MAGNETO<\/character>\n    <dialogue>Ah, to be young again.<\/dialogue>\n    <scene_description>(a smile) This just might work, Charles. 13 KITTY 13 What might work? What's he talking about, Professor...? Xavier looks at Kitty, takes a breath.<\/scene_description>\n    <character>XAVIER<\/character>\n    <dialogue>The Sentinel Program was created by Dr. Bolivar Trask.<\/dialogue>\n    <character>BISHOP<\/character>\n    <dialogue>Everyone knows who started the Sentinels.<\/dialogue>\n    <character>XAVIER<\/character>\n    <dialogue>But not everyone knows how it started. In 1973, at the Paris Peace Accords, a meeting between Trask and his associates was infiltrated by a mutant...a mutant with the ability to transform herself into anything...<\/dialogue>\n    <character>KITTY<\/character>\n    <dialogue>Mystique...<\/dialogue>\n    <scene_description>Xavier nods.<\/scene_description>\n    <character>XAVIER<\/character>\n    <dialogue>She was captured that day. Taken to a lab where they used her DNA to develop the mutating transforming weapons that have killed so many of our kind.<\/dialogue>\n    <scene_description>Kitty looks at Xavier, confused.<\/scene_description>\n    <character>KITTY<\/character>\n    <dialogue>What do you want me to do about it?<\/dialogue>\n    <character>XAVIER<\/character>\n    <dialogue>We want you to send someone back to that day in 1973, so we can stop her, keep her out of their hands, keep the Sentinels from ever being born.<\/dialogue>\n    <character>MAGNETO<\/character>\n    <dialogue>And end this war before it ever begins.<\/dialogue>\n    <scene_description>Kitty looks at Magneto, Xavier.<\/scene_description>\n    <character>KITTY<\/character>\n    <dialogue>14 I can send someone back a week, for 14<\/dialogue>\n    <scene_description>a few hours. You're talking about decades for days.<\/scene_description>\n    <character>STORM<\/character>\n    <dialogue>It's the same basic principle--<\/dialogue>\n    <character>KITTY<\/character>\n    <dialogue>No, it's not. Going through time is like going through a black hole, the mind can only stretch so far before it snaps. That kind of break would rip your brain apart, you'd be dead inside of seconds.<\/dialogue>\n    <scene_description>The words hang there.<\/scene_description>\n    <character>KITTY<\/character>\n    <dialogue>I'm sorry, I wish I could help, but you're asking the impossible. Nobody could survive that trip.<\/dialogue>\n    <scene_description>Xavier doesn't have a response. Magneto and Storm look devastated, the reality hitting them, but...<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>What if someone's mind had a way of snapping back...?<\/dialogue>\n    <scene_description>They all turn to Logan.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>What if someone could heal as fast as they get rip apart...?<\/dialogue>\n    <scene_description>Kitty considers. Bishop steps up.<\/scene_description>\n    <character>BISHOP<\/character>\n    <dialogue>It's a risk.<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>Yeah, I'm getting that.<\/dialogue>\n    <character>BISHOP<\/character>\n    <dialogue>Not just for you. For all of us. You mess with time and space like that, start opening holes, you don't know what's gonna come through. And you'll be changing over fifty years of history. Some of us could be killed, some of us could never be born...<\/dialogue>\n    <scene_description>He steps closer to Logan, his eyes intense.<\/scene_description>\n    <character>BISHOP<\/character>\n    <dialogue>And for the traveler, there's<\/dialogue>\n    <scene_description>another burden. You'll be the only one who remembers this world, this war, you'll carry that with you. And that's all you'll remember. Whatever becomes of history, you'll wake up and it'll be like half your life is just...blank. Gone. They all look at Logan. The weight of that. He shrugs.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>Well...wouldn't be the first time.<\/dialogue>\n    <scene_description>Kitty looks around the room.<\/scene_description>\n    <character>KITTY<\/character>\n    <dialogue>We need to vote.<\/dialogue>\n    <scene_description>Xavier reads everyone's minds with a glance.<\/scene_description>\n    <character>XAVIER<\/character>\n    <dialogue>You just did. They're in.<\/dialogue>\n    <scene_description>As Kitty looks back at Logan, we CUT TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MONASTERY - INNER SANCTUM - FUTURE - DAY 15<\/stage_direction>\n    <scene_description>An ancient sanctuary. Kitty leads them into the room.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>So how does this work exactly?<\/dialogue>\n    <character>KITTY<\/character>\n    <dialogue>You'll go into a restive state while your consciousness transfers back to your body in 1973.<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>Won't be much of an adjustment.<\/dialogue>\n    <character>KITTY<\/character>\n    <dialogue>As long as you're back there, the connection stays open, and history stays open with it--<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>Meaning?<\/dialogue>\n    <character>KITTY<\/character>\n    <dialogue>Past and present will continue to<\/dialogue>\n    <scene_description>co-exist. But once you wake, whatever you've done to the past will take hold and become history. Xavier notices Magneto hanging back, stepping out of the room. Xavier goes after him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MONASTERY - FUTURE - DAWN<\/stage_direction>\n    <scene_description>Magneto stands alone, looks out at the rising sun. Xavier approaches.<\/scene_description>\n    <character>MAGNETO<\/character>\n    <dialogue>This war brought us back together.<\/dialogue>\n    <scene_description>Xavier slows, softens.<\/scene_description>\n    <character>XAVIER<\/character>\n    <dialogue>I'd like to think we'd have come to our senses without it.<\/dialogue>\n    <character>MAGNETO<\/character>\n    <dialogue>I've been many things, Charles, but \"sensible\" is not one of them.<\/dialogue>\n    <scene_description>Xavier moves closer to Magneto.<\/scene_description>\n    <character>XAVIER<\/character>\n    <dialogue>We've had our differences. But our friendship always won out. It will again. No matter what history may bring.<\/dialogue>\n    <scene_description>Magneto looks over at his oldest friend, always the source of his hope, comfort. He smiles softly.<\/scene_description>\n    <character>MAGNETO<\/character>\n    <dialogue>I guess we'll find out...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MONASTERY - INNER SANCTUM - FUTURE - DAY<\/stage_direction>\n    <scene_description>Xavier and Magneto return, as Logan lays on a stone slab in the middle of the room. Kitty is preparing herself.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>How long will I have back there?<\/dialogue>\n    <character>KITTY<\/character>\n    <dialogue>I've never sent anyone back this far, I'll hold on long as I can--<\/dialogue>\n    <character>BISHOP<\/character>\n    <dialogue>Or until the Sentinels find us.<\/dialogue>\n    <scene_description>Logan looks at them.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>Great. Any good news?<\/dialogue>\n    <scene_description>A beat. None.<\/scene_description>\n    <character>BISHOP<\/character>\n    <dialogue>Your mutton chops will be back in<\/dialogue>\n    <scene_description>style. Logan glares at him.<\/scene_description>\n    <character>KITTY<\/character>\n    <dialogue>Okay Logan, clear your thoughts. Everyone else, back away. I need him calm, focused.<\/dialogue>\n    <scene_description>They all step away. Magneto and Xavier watch from the corner.<\/scene_description>\n    <character>MAGNETO<\/character>\n    <dialogue>You really think this will work...?<\/dialogue>\n    <scene_description>Xavier motions to Logan.<\/scene_description>\n    <character>XAVIER<\/character>\n    <dialogue>I have faith in him.<\/dialogue>\n    <character>MAGNETO<\/character>\n    <dialogue>It's not him I'm worried about. It's us. We were young, foolish. We didn't know any better...<\/dialogue>\n    <scene_description>Xavier nods, but...<\/scene_description>\n    <character>XAVIER<\/character>\n    <dialogue>We will now.<\/dialogue>\n    <scene_description>They look over at Logan. Kitty puts her hands on his temples.<\/scene_description>\n    <character>KITTY<\/character>\n    <dialogue>This might sting a little...<\/dialogue>\n    <scene_description>Kitty's power swirls around Logan, gripping him, and-- LOGAN'S BODY GOES RIGID, HE GIVES A DEAFENING SCREAM AND-- WHHHHHHM. 15 His screams go silent. His eyes slowly open. He is laying in--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEW YORK HOTEL ROOM - PAST - MORNING<\/stage_direction>\n    <scene_description>Logan is now staring at a dirty ceiling. He winces, as if waking from a nightmare. He looks down at his body, wearing different clothes. A tank top, little else. And he sees: There is a WOMAN in bed with him. A beautiful if slightly trashy blonde. An old classic ROCK SONG plays on the radio. Logan rises from the bed. He stumbles to the dresser, grabs a bottle of booze, knocks back a swig. He finds his way to the window, opens the curtain, winces in sunlight, and sees-- NEW YORK CITY. Cars, clothes, signs from...1973.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>It worked. Holy shit it--<\/dialogue>\n    <scene_description>BANG! A door crashes open. Logan spins to see-- Three MAFIA HOODS barge into the room, waking the girl in bed. They look at her.<\/scene_description>\n    <character>HOOD #1<\/character>\n    <dialogue>Put some clothes on.<\/dialogue>\n    <scene_description>They have GUNS in hand.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>Look, I don't know what's going on here, but--<\/dialogue>\n    <character>HOOD #1<\/character>\n    <dialogue>What's going on is you slept with the bosses daughter when you were supposed to be her bodyguard.<\/dialogue>\n    <scene_description>Logan shakes his head.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>I didn't sleep with her.<\/dialogue>\n    <character>HOOD #2<\/character>\n    <dialogue>No?<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>No. I mean yes I slept with her, but that wasn't me, that was the old me, I just got here ten seconds ago.<\/dialogue>\n    <character>HOOD #1<\/character>\n    <dialogue>Really? Then what happened to your pants?<\/dialogue>\n    <scene_description>Logan looks down, indeed he is not wearing pants. He considers. No easy explanation.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>Would you believe me if I told you I was sent here from the future...?<\/dialogue>\n    <scene_description>The hoods darken, the answer is no.<\/scene_description>\n    <character>HOOD #1<\/character>\n    <parenthetical>(to girl)<\/parenthetical>\n    <dialogue>Get out of here, sweetheart. We're gonna take care of this comedian.<\/dialogue>\n    <scene_description>Logan shakes his head.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>No you're not. You're going to give me the keys to your car and some money for gas, or you're going to wake up in the hospital. Trust me, I know how this plays out.<\/dialogue>\n    <character>HOOD #1<\/character>\n    <dialogue>Because you're from the future?<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>No. Because of this.<\/dialogue>\n    <scene_description>SNIKT SNIKT! His CLAWS come out, but-- THEY ARE BONE CLAWS. He looks at them for a second, a little surprised. But not as surprised as the thugs.<\/scene_description>\n    <character>HOOD #3<\/character>\n    <dialogue>What the hell--<\/dialogue>\n    <scene_description>Terrified, the men OPEN FIRE. The girl SCREAMS, scrambling out of the room. A couple shots HIT Logan, but barely slow him, his wounds HEALING as their eyes go wide and-- Logan KNOCKS the thugs back, keeps coming, finishing them off. As the last one falls, FIRING-- Logan DODGES the shot and SLICES the guy's pocket, so his KEYS come flying out, and Logan catches them in the air. He has the keys dangling around a claw. His claws slowly RETRACT, the keys slide into his hand, and he looks at them: A furry RABBIT'S FOOT at the end.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK STREET - PAST - DAY<\/stage_direction>\n    <scene_description>Logan emerges, wearing a thug's leather jacket. He looks around the street, sees-- People dressed in period clothes. A phone booth. The tips of the Twin Tower in the distance. And he sees-- A big CADILLAC parked across the street, dice dangling from the mirror, the license plate reads: \"LUCKY.\" Logan shakes his head, knows this is his ride.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. CADILLAC - PAST - DAY<\/stage_direction>\n    <scene_description>Logan gets in the car. He slides the keys into the ignition, the engine growls. As he pulls away, the RADIO plays-- RADIO VOICE (V.O.) ...the 18th MP Brigade is departing from Saigon, marking the last American troops to leave Vietnam, effectively ending the war...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. US CAPITOL BUILDING - PAST - DAY<\/stage_direction>\n    <scene_description>American flags flap outside Congress.<\/scene_description>\n    <character>RADIO VOICE (V.O.)<\/character>\n    <dialogue>...the Peace Treaty will be signed in Paris in two days...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAPITOL BUILDING - PAST - DAY<\/stage_direction>\n    <scene_description>A sign reads: CLOSED SESSION. Inside the hall, a CONGRESSIONAL PANEL faces one man at a table: DR. BOLIVAR TRASK, sharp eyes, hard gaze, a man ahead of his time.<\/scene_description>\n    <character>SENATOR<\/character>\n    <dialogue>...in light of the times, we are reviewing all defense expenditures, every black book's getting opened, and frankly we don't see a need for your program, Dr. Trask.<\/dialogue>\n    <character>SENATOR 2<\/character>\n    <dialogue>As far as we can tell, these \"mutants\" you describe, if they are living among us, are living peacefully.<\/dialogue>\n    <character>TRASK<\/character>\n    <dialogue>For now.<\/dialogue>\n    <character>SENATOR<\/character>\n    <dialogue>We haven't had an incident in over ten years. We're talking about a tenth of a tenth of a tenth of the population--<\/dialogue>\n    <character>TRASK<\/character>\n    <dialogue>That could rise up at any time against the rest of us. But don't take my word for it. Take theirs.<\/dialogue>\n    <scene_description>He pulls out a thick report.<\/scene_description>\n    <character>TRASK<\/character>\n    <dialogue>This was acquired by our friends at the CIA. It's a dissertation written by a mutant at Oxford University. Allow me to read you a couple lines about the last time we experienced a leap in evolution...<\/dialogue>\n    <scene_description>19 As he opens the report, we see the author on the title page: CHARLES XAVIER. Trask reads--<\/scene_description>\n    <character>TRASK<\/character>\n    <dialogue>\"To Homo Neanderthalensis, his mutant cousin Homo Sapiens was an aberration.<\/dialogue>\n    <character>TRASK<\/character>\n    <dialogue>Peaceful cohabitation, if ever it existed, was short-lived, followed by the immediate extinction of their less evolved kin.\"<\/dialogue>\n    <scene_description>He shuts the report.<\/scene_description>\n    <character>TRASK<\/character>\n    <dialogue>We are the Neanderthals now.<\/dialogue>\n    <character>SENATOR<\/character>\n    <dialogue>Speak for yourself, Dr. Trask.<\/dialogue>\n    <scene_description>The Senators laugh. Trask looks at them, a beat.<\/scene_description>\n    <character>TRASK<\/character>\n    <dialogue>You know, when I was growing up, I wasn't as strong as the other kids. They could run faster, throw a ball further. They thought they would always be superior. They had the sunny confidence, the arrogance, that comes from ignorance.<\/dialogue>\n    <scene_description>He eyes the Senators, who start to sober.<\/scene_description>\n    <character>TRASK<\/character>\n    <dialogue>I suspect you had some of the same when you sent our soldiers into Vietnam without the weapons they needed to win the war. You under- estimated your enemy. If you do that with this enemy...<\/dialogue>\n    <parenthetical>(motions to the file)<\/parenthetical>\n    <dialogue>...it won't be some border skirmish halfway around the world. This time, the war will be for our cities, our streets, our homes. And by the time you see the \"need\" for my program, it will be too late, gentlemen, and you will have lost two wars in one lifetime.<\/dialogue>\n    <scene_description>19 The Senators look around, nobody laughing now. As Trask 19 commands the room, we CUT TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAIGON - US ARMY BASE - PAST - DAY<\/stage_direction>\n    <scene_description>Rain pounds down. AMERICAN SOLDIERS are being transferred home. They look weary, defeated, loading onto planes. In the sea of soldiers, we find: A YOUNG PRIVATE. He moves toward a HIGH-SECURITY BUILDING. He flashes credentials to the MPS at the door, and enters--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SECURITY BUILDING - PAST - DAY<\/stage_direction>\n    <scene_description>The Private moves down a hall to a DOOR where a HEAVILY ARMED GUARD stands. The word \"QUARANTINE\" on the door.<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>You the one come to collect these freaks?<\/dialogue>\n    <scene_description>The Private nods.<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>Good, just having them here gives me the heebie-jeebies.<\/dialogue>\n    <scene_description>The Private pushes through the door into--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SECURITY BUILDING - MAIN AREA - PAST - DAY<\/stage_direction>\n    <scene_description>A dark lab where a handful of MUTANT SOLDIERS are being held. One of them has green skin like a TOAD. ARMY DOCTORS run tests, wearing surgical masks. The Private looks around, his eyes wide, seeing-- Work stations with medical reports, vials of blood. He passes a DOCTOR, his voice low--<\/scene_description>\n    <character>PRIVATE<\/character>\n    <dialogue>What is all this?<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>Lab reports. Blood tests.<\/dialogue>\n    <scene_description>The Private looks at the intricate reports.<\/scene_description>\n    <character>PRIVATE<\/character>\n    <dialogue>Where's it all going?<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>Same place they are.<\/dialogue>\n    <scene_description>He motions to the mutants. The Private sees a FILE with an insignia on it, the same insignia for the guns in the future--<\/scene_description>\n    <character>PRIVATE<\/character>\n    <dialogue>(reading)<\/dialogue>\n    <scene_description>Trask Industries. What's that...? The Doctor looks at him, sensing something off about this guy, as-- The doors swing open. Four SOLDIERS enter, they have that same INSIGNIA on their sleeves. They work for Trask. The leader is a sharp faced CAPTAIN named BILL. He nods to the doctors, who file out. Then he turns to the mutants.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Let's go, on your feet, we're taking you out of here.<\/dialogue>\n    <scene_description>The mutant soldiers look happy, relieved. We see a familiar face among them: ALEX \"HAVOC\" SUMMERS. He steps up.<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>We're shipping home?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>You're being transferred to another base. A secure facility where we can run a few more tests.<\/dialogue>\n    <scene_description>Alex and the other mutants darken, disappointed.<\/scene_description>\n    <character>PRIVATE<\/character>\n    <dialogue>No, actually, they're going home.<\/dialogue>\n    <scene_description>Bill and his men turn to the YOUNG PRIVATE.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>I'm sorry, Private, did you say something?<\/dialogue>\n    <character>PRIVATE<\/character>\n    <dialogue>I said they're not going to another lab. They're going home, sir.<\/dialogue>\n    <scene_description>Real tension in the air now.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Is that right? On whose order...?<\/dialogue>\n    <scene_description>22 The Private steps toward Bill. 22<\/scene_description>\n    <character>PRIVATE<\/character>\n    <dialogue>On yours.<\/dialogue>\n    <scene_description>With that, the Private TRANSFORMS INTO BILL. There's only one person in the world with this power: RAVEN. Everyone stands shocked for a moment. Then Bill reaches for his gun, but she LEAPS AT HIM. They spin, struggle. The other soldiers raise guns, but-- They don't know which Captain is real. Raven uses his body for a SHIELD as she ATTACKS the troops, a blinding whirl of motion, a hardened assassin. She finally KNOCKS DOWN Bill with the butt of his own gun. He stirs, reaches for another weapon, but-- Raven transforms and KNOCKS HIM OUT with a BLUE FOOT to the face. She stands over him, completely blue now.<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Raven.<\/dialogue>\n    <character>RAVEN<\/character>\n    <dialogue>That's not my name.<\/dialogue>\n    <scene_description>(to mutants) Let's go, move out. Security will be here in seconds. She passes a work station, grabs a file.<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>I thought you were working with Erik.<\/dialogue>\n    <character>RAVEN<\/character>\n    <dialogue>Erik's gone, they got him. I'm on my own.<\/dialogue>\n    <scene_description>(to the mutants) I said LET'S MOVE. As they move toward a back door, Bill stirs, semi-conscious. He pulls his weapon, a prototype from TRASK INDUSTRIES. He aims it at the departing troops. Alex is last in line. Alex slows as he hears the weapon WHIR to life. Alex turns, starts to generate his FORCE-BLAST, but-- WHHHM. Bill FIRES first, the gun shoots a TASER-LIKE CHARGE that shorts out Alex's power. Alex drops, his body spasming. Bill starts to power up to fire again, as-- The far doors swing open, MPs charging in. Alex has just enough power to look at Raven and say:<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Go.<\/dialogue>\n    <scene_description>Raven has no choice. She leaves him, lunging out the door with the rest of the mutants, as-- MPs swarm Alex in the room, grabbing him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MILITARY BASE TARMAC - DAY 24<\/stage_direction>\n    <scene_description>An MP (Raven) leads the troops across the tarmac. Behind them, MPs are searching the base, locking it down.<\/scene_description>\n    <character>MP\/RAVEN<\/character>\n    <dialogue>Keep moving, head down, keep walking.<\/dialogue>\n    <scene_description>She leads them toward a TRANSPORT CHOPPER which is starting to seal up. They pass a COLONEL, keep going and-- RAVEN TURNS INTO THE COLONEL, calling out to the chopper--<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Hold that door!<\/dialogue>\n    <scene_description>The doors stay open. Soldiers salute the Colonel.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Wouldn't want to leave these poor boys in this godforsaken country.<\/dialogue>\n    <scene_description>They load the mutants into the chopper.<\/scene_description>\n    <character>TOAD<\/character>\n    <dialogue>You're not coming with us?<\/dialogue>\n    <scene_description>He looks at the Colonel.<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>My war's not over.<\/dialogue>\n    <scene_description>The Colonel walks away. As the chopper shuts behind him, we see his face TRANSFORM into-- RAVEN. An Army Nurse. For the first time, we see her human face, the rain falling on her. As she keeps moving, she looks down at the scrap of paper from the lab, the insignia and address for: TRASK INDUSTRIES. She disappears into the rain, one step closer to her destiny, and we CUT TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. XAVIER MANSION - 1973 - PAST - DAY<\/stage_direction>\n    <scene_description>The familiar mansion. A car comes up the driveway, Logan at the wheel. He looks out, notices the garden is dead, weeds growing. A sign reads: PRIVATE PROPERTY, KEEP OUT. And we see a faint outline where another sign once stood. The sign for Xavier's school. Now gone. Logan pulls up to the front of the house. He gets out, looks around. Silent. Empty. He walks up to-- The front door. He rings the bell. He hears it chime off-key, like it hasn't been rung in years. He goes to a window, thick with dust. He wipes it clear to get a look inside: minimal furniture, no signs of life. His eyes narrow, sniffing the air, and--<\/scene_description>\n    <character>VOICE (O.S.)<\/character>\n    <dialogue>Can I help you?<\/dialogue>\n    <scene_description>Logan turns to see: YOUNG HANK MCCOY in the doorway.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>Yeah, what happened to the school?<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>The school has been shut for years. Were you a parent?<\/dialogue>\n    <scene_description>Logan just looks at him.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>No. Who are you?<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>I'm Hank, Hank McCoy. I look after<\/dialogue>\n    <scene_description>the house now.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>You're...Beast? Guess you're a late bloomer.<\/dialogue>\n    <scene_description>Hank tenses. He hasn't heard that name in years.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>I don't know what you're talking about, but I'm going to have to ask you to leave.<\/dialogue>\n    <scene_description>He starts to close the door, but Logan STOPS it. They hold the door from opposite sides, muscles tense.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>Pretty strong for a scrawny little kid. You sure there's not a little Beast in there...?<\/dialogue>\n    <scene_description>We see something FLICKER in Hank's eyes as he strains.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>Please...just....go....<\/dialogue>\n    <scene_description>Hank's grip tightens, his hand looks like it might be SHIFTING slightly, skin rippling.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>Not till I see the Professor.<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>There's no...Professor...here.<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>We'll see about that.<\/dialogue>\n    <scene_description>WHHHM. Logan pushes the door open and blows past Hank into--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. XAVIER MANSION - FRONT HALL - PAST - DAY<\/stage_direction>\n    <scene_description>Logan gets a few steps into the house but-- A hand grabs him from behind. Not a hand. A BLUE PAW.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>I told you to LEAVE!<\/dialogue>\n    <scene_description>On the last word, Hank GROWLS. Logan turns and sees-- Hank transforming into the big, blue, furry BEAST.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>There he is.<\/dialogue>\n    <scene_description>Hank LEAPS at Logan. Logan ducks it, and HURLS Hank into a wall. Logan heads up the stairs, but-- Hank gives chase. He CLIMBS quickly up the banister, faster, more agile now. He LEAPS at Logan, SLAMMING into him. They collide, crashing through the hall, two powerful animals locked in a brawl until-- WHAM! Hank KNOCKS Logan back through the banister to-- THE FRONT HALL. They hit the ground hard, Hank on top of Logan. Hank reels back his paw for a final blow and--<\/scene_description>\n    <character>CHARLES (O.S.)<\/character>\n    <dialogue>HANK?! What's going on?<\/dialogue>\n    <scene_description>Hank lowers his fist. Logan looks up to see-- A shadow at the top of the stairs. Logan realizes it is:<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>Professor...?<\/dialogue>\n    <scene_description>It is CHARLES XAVIER. But he doesn't look anything like the man we knew. His hair is longer, eyes wilder, no shoes.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>Nobody calls me that.<\/dialogue>\n    <scene_description>Logan stares at him, processing--<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>Charles...<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>You know this guy?<\/dialogue>\n    <scene_description>Charles looks down at him with dim recognition.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>We met.<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>Long time ago. I was...a different man then.<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>Yeah well, so was I.<\/dialogue>\n    <scene_description>And Charles starts to WALK DOWN THE STAIRS. Logan is stunned.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>I thought Erik...put you in the chair...<\/dialogue>\n    <scene_description>Charles tenses, keeps coming.<\/scene_description>\n    <character>LOGAN (CONT'D)<\/character>\n    <dialogue>...but you can walk.<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>You are perceptive. Which makes it all the more puzzling that you failed to see the sign on your way in: this is private property. So I'm going to tell you what you told me when we first met...<\/dialogue>\n    <parenthetical>(eyes level)<\/parenthetical>\n    <dialogue>Fuck off, mate.<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>I'm afraid I can't do that. I was sent here for you.<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>Well tell whoever sent you that I'm not interested.<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>That's gonna be a little tricky, seeing as the person that sent me was you... About fifty years from now.<\/dialogue>\n    <scene_description>Charles looks at Logan. So does Hank.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>I sent you here...from the future.<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>He's crazy.<\/dialogue>\n    <scene_description>Logan steps toward Charles.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>You don't believe me? Take a look. See for yourself.<\/dialogue>\n    <parenthetical>(motions to his mind)<\/parenthetical>\n    <dialogue>In about fifty years, the humans create a weapon that wipes us out. Mutants, humans, anything that gets in its way. Whole cities will be destroyed. Everything you fought for, everything you will fight for...is gone.<\/dialogue>\n    <scene_description>Charles sees dim flickers of what Logan describes: cities burning, rows of graves. Charles steps back, reeling.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>He's not crazy, Hank.<\/dialogue>\n    <scene_description>(darker, broken) I was the crazy one...for thinking I could change them. He starts to walk away, defeated.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>Raven's the first casualty.<\/dialogue>\n    <scene_description>The name slows Charles.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>The whole war starts with her. They take her, torture her, turn her into their weapon.<\/dialogue>\n    <scene_description>Logan steps closer.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>You raised her here in this house, right? Took care of her when she was a kid? She needs you to take care of her now.<\/dialogue>\n    <scene_description>Charles stands conflicted.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>You know where she is?<\/dialogue>\n    <scene_description>They turn to Hank, changing back to human form.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>I know where she'll be.<\/dialogue>\n    <scene_description>Hank looks at Charles, he wants to go.<\/scene_description>\n    <character>LOGAN (CONT'D)<\/character>\n    <dialogue>She needs your help, Professor.<\/dialogue>\n    <scene_description>But Charles hardens.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>I told you, I'm not a Professor. And I tried helping her. It didn't work. For any of us...<\/dialogue>\n    <parenthetical>(with finality)<\/parenthetical>\n    <dialogue>I'm done fighting other people's wars.<\/dialogue>\n    <scene_description>He starts to walk away. Logan watches him go.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>That's it? You're just gonna walk away from this?<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>Like I said, you are perceptive.<\/dialogue>\n    <scene_description>Logan watches him go, a shell of his former self.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. XAVIER MANSION - PAST - DAY 28<\/stage_direction>\n    <scene_description>Logan heads out, Hank trails him.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>You were right, there's no Professor in there. What the hell happened to him?<\/dialogue>\n    <scene_description>Hank looks back at the house.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>I don't know...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. XAVIER MANSION - OFFICE - DAY 29<\/stage_direction>\n    <scene_description>Charles sits at his desk, thinking, conflicted.<\/scene_description>\n    <character>HANK (V.O.)<\/character>\n    <dialogue>When we first moved back to the house, he was fine. We started the school, we had fifty, sixty students...<\/dialogue>\n    <scene_description>Charles opens a drawer.<\/scene_description>\n    <character>HANK (V.O.)<\/character>\n    <dialogue>But after a while, he changed. I don't know if it was losing his legs, or losing Raven. But it was like he lost...hope.<\/dialogue>\n    <scene_description>Charles takes a needle from the drawer.<\/scene_description>\n    <character>HANK (V.O.)<\/character>\n    <dialogue>I designed a serum to treat the cells around his spine, derived from the same formula that helps me control my mutation.<\/dialogue>\n    <scene_description>Charles injects the serum into his veins.<\/scene_description>\n    <character>HANK (V.O.)<\/character>\n    <dialogue>He takes it every day, and every day I think maybe he'll wake up and be himself again...<\/dialogue>\n    <scene_description>Charles puts the serum back in the drawer.<\/scene_description>\n    <character>HANK (V.O.)<\/character>\n    <dialogue>But that day never comes.<\/dialogue>\n    <scene_description>Charles slows when he sees a photo in the drawer, peeking out from other photos and documents. He pulls it out: An old picture of himself with RAVEN. The two of them so young, so full of hope. He hears a faint echo:<\/scene_description>\n    <character>YOUNG CHARLES (V.O.)<\/character>\n    <dialogue>29 ...you're hungry and alone. You 29<\/dialogue>\n    <scene_description>don't have to steal, you never have to steal again, that's a promise. We see a flicker of emotion in his eyes, something fighting toward the surface, as we CUT TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. XAVIER MANSION - PAST - DAY<\/stage_direction>\n    <scene_description>Logan heads for his car. Hank watches him go, he wants to follow. A hard beat. And...<\/scene_description>\n    <character>CHARLES (O.S.)<\/character>\n    <dialogue>She won't listen to me.<\/dialogue>\n    <scene_description>They turn, see CHARLES emerging from the house.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>Even if I go with you, even if we find her, I can't convince her to stop any more than I could convince her to stay.<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>You won't have to convince her. Magneto will.<\/dialogue>\n    <scene_description>Hank and Charles share a glance.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>It won't be easy to get to him.<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>Why not? Where is he?<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>Where he belongs.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDERGROUND HALL - PAST - DAY<\/stage_direction>\n    <scene_description>BUZZZZZ. A secure door buzzes open. We notice the door is made of white NASA-grade PLASTIC. A GUARD moves through the hall, carrying a plastic tray of food. He stops at-- A METAL DETECTOR. Body CLEARED. He checks his TEETH at an X- RAY MACHINE. No metal fillings. Another airlock hisses open. He moves through a CONCRETE MAZE OF HALLS, passing more GUARDS. Perhaps we notice none of them are wearing METAL. No buttons, no zippers, all plastic guns.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDERGROUND PRISON - PAST - DAY<\/stage_direction>\n    <scene_description>He makes it to the last door, which slides open revealing... A single shadow. A MAN sits with his back to us. ERIK LENSHERR. The Guard DROPS the tray of food onto the floor, spilling it.<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>Oops.<\/dialogue>\n    <scene_description>The Guard starts to leave but--<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>Tuna...swordfish....mackerel.<\/dialogue>\n    <scene_description>The Guard turns back, motions to the food--<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>Think it's mostly beans and whatever slop they had left in the trash.<\/dialogue>\n    <character>ERIK<\/character>\n    <dialogue>Not me. You. You had fish for dinner last night...<\/dialogue>\n    <scene_description>The Guard tenses, how did he know that...?<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>Trace amounts of iron in seawater, you might want to watch what you eat.<\/dialogue>\n    <scene_description>The Guard's STOMACH shifts, rumbling, shivering unnaturally. Freaked out, he backs away and SLAMS the DOOR behind him.<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>Goddamn freak of nature.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. PENTAGON COURTYARD - PAST - DAY<\/stage_direction>\n    <scene_description>As he scrambles away, we pull UP THROUGH THE CONCRETE CEILING, and we hear a voice:<\/scene_description>\n    <character>HANK (V.O.)<\/character>\n    <dialogue>...it's a hundred feet deep, with only one access point...<\/dialogue>\n    <scene_description>We PULL ALL THE WAY UP through the GROUND, revealing the prison is under a GRASSY CLEARING. HANK (V.O.) ...surrounded on all sides by the most heavily secured building in the world. And we see this is the INNER COURTYARD FOR THE PENTAGON. The image transitions into a MAP in--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. XAVIER MANSION - XAVIER'S OFFICE - PAST - DAY<\/stage_direction>\n    <scene_description>Hank stands with Charles and Logan, looking at a map of the Pentagon.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>The Pentagon was built in World War II when there was a shortage on steel, so the foundation is pure concrete and sand, no metal, the perfect place to hold him.<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>What's he in jail for, this time?<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>He didn't tell you?<\/dialogue>\n    <scene_description>Logan shakes his head.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>You may have heard about a \"magic bullet\" that killed a President in 1963.<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>JFK...<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>What else would explain a bullet that curved in the air? Erik always had a way with guns.<\/dialogue>\n    <scene_description>Logan stands there, processing.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>You sure you want to break him out of there? We're talking about the most dangerous man in the world. I've seen the damage he can do.<\/dialogue>\n    <scene_description>Logan looks at Charles, level.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>So have I. But we don't have a choice. We need him to persuade Raven.<\/dialogue>\n    <scene_description>Logan turns back to the map.<\/scene_description>\n    <character>LOGAN (CONT'D)<\/character>\n    <dialogue>Now, how we getting in there? We gotta blast through a hundred feet of concrete.<\/dialogue>\n    <scene_description>We PUSH IN on Hank, a thought forming.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>I might know a guy.<\/dialogue>\n    <scene_description>Charles looks at him, with trepidation, as we CUT TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. XAVIER MANSION - TENNIS COURT - PAST - PRE-DAWN 67<\/stage_direction>\n    <scene_description>An old, ratty tennis court with sagging net, flat tennis balls. Suddenly, the balls start to shake, rolling away as the ground opens. And... A new X-JET RISES. Hank pilots the plane, soaring away from the house, as we hear a CROWD start to CHANT: JUGGER-NAUT! JUGGER-NAUT!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOOTBALL FIELD - PAST - DAY<\/stage_direction>\n    <scene_description>A high-school FOOTBALL GAME. A hulking RUNNING BACK takes the ball, lowers his HELMET and PLOWS through the defensive live, blasting his way to the end zone. The crowd goes wild. The player takes off his helmet to celebrate, and we see it is CAIN MARKO, aka JUGGERNAUT, 18 years old. In the stands, we find: Logan, Charles, and Hank.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>Not bad.<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>He's holding back. When he was at the school, he took out the whole west wing without breaking a sweat.<\/dialogue>\n    <scene_description>Charles shakes his head, remembering--<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>Cain always had...disciplinary issues.<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>Perfect.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FOOTBALL STADIUM - PAST - DAY<\/stage_direction>\n    <scene_description>Cain emerges from the tunnel with his pads strung over his shoulder. He slows when he sees CHARLES, HANK, and LOGAN.<\/scene_description>\n    <character>CAIN<\/character>\n    <dialogue>What are you doing here? Thought you shut down the school.<\/dialogue>\n    <scene_description>Logan steps forward.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>This isn't an academic visit. We need your help, Cain.<\/dialogue>\n    <scene_description>Cain keeps his eyes on Charles.<\/scene_description>\n    <character>CAIN<\/character>\n    <dialogue>Why would I help you? You threw us all back in the street when you were done with us.<\/dialogue>\n    <scene_description>Charles looks away. Hank defends him.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>We placed all the students in new schools.<\/dialogue>\n    <character>CAIN<\/character>\n    <dialogue>Public school in Poughkeepsie. Yeah, thanks for that. You know what it's like to play this game with only one percent of your power? To have to hide all the time...?<\/dialogue>\n    <scene_description>(a beat, looks at Hank) Yeah, I guess you do. Logan steps up.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>We're offering you a chance to use the other 99 percent, kid.<\/dialogue>\n    <scene_description>Cain slowly looks at him, and we hear the BUZZ OF AN ENGINE--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. X-JET - PAST - DAY 38<\/stage_direction>\n    <scene_description>Hank flies the jet. Logan sits in the back with Charles and Cain. Cain looks around, impressed by the plane.<\/scene_description>\n    <character>CAIN<\/character>\n    <dialogue>So this is where my tuition went.<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>Two minutes to target!<\/dialogue>\n    <scene_description>38 Cain looks out the window, a flicker of nerves. 38<\/scene_description>\n    <character>CAIN<\/character>\n    <dialogue>You sure we need to be this high?<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>You need velocity to generate your power. If you have enough momentum, there's nothing you can't penetrate.<\/dialogue>\n    <scene_description>Cain looks out the window, unsure.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>What's the fastest you've ever gone?<\/dialogue>\n    <character>CAIN<\/character>\n    <dialogue>When I was a kid, I got in a car wreck. Smashed into a tree at seventy-five miles an hour, went straight through the windshield, took out an acre of forest.<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>You'll be going twice that speed when you hit the ground. You'll reach terminal velocity on impact.<\/dialogue>\n    <character>CAIN<\/character>\n    <dialogue>Great, that's comforting.<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>I'll be right behind you.<\/dialogue>\n    <scene_description>Cain look at Logan.<\/scene_description>\n    <character>CAIN<\/character>\n    <dialogue>You got a parachute? Helmet?<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>30 seconds to target!<\/dialogue>\n    <scene_description>The side door opens. They look out, see the PENTAGON getting closer. Cain tightens his HELMET, crosses himself and-- HE LEAPS OUT OF THE PLANE HEADFIRST. He YELLS at the top of his lungs, adrenaline coursing through his veins. He drops like a missile toward the center of--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PENTAGON COURTYARD - PAST - DAY<\/stage_direction>\n    <scene_description>He hits the ground head-first and SLAMS THROUGH THE EARTH-- SMASHING DOWN DOWN DOWN, CARVING A HOLE IN THE GROUND FOR A HUNDRED FEET AND THEN--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDERGROUND HALL - PAST - DAY<\/stage_direction>\n    <scene_description>42 THUNK. He lands in a HALLWAY. He rises slowly, with dirt and debris all around him, the sun shining down from the hole above. He looks up, dazed, sees-- LOGAN PLUMMETING THROUGH THE AIR. Logan drops fast, hurtling hundreds of feet, down through the hole to--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDERGROUND HALL - PAST - DAY<\/stage_direction>\n    <scene_description>BOOOM. Logan lands with a deafening THUD, all of his BONES BREAKING ON IMPACT. But he slowly stands and... His body HEALS, FUSING, BONES SNAPPING back into place. With a pained grimace, he opens his eyes, looks at Cain.<\/scene_description>\n    <character>CAIN<\/character>\n    <dialogue>That hurt?<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>You have no idea.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDERGROUND PRISON - GUARD BOOTH - PAST - DAY<\/stage_direction>\n    <scene_description>ALARMS BLARE. Guards check plastic surveillance screens, black and white footage, alarm quadrants flashing.<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>We've got intruders in East Hall 6.<\/dialogue>\n    <parenthetical>(a beat, confused)<\/parenthetical>\n    <dialogue>No, wait, they're in West Hall 11...<\/dialogue>\n    <parenthetical>(even more confused)<\/parenthetical>\n    <dialogue>No, no, Hall 13....<\/dialogue>\n    <scene_description>Guards look at the screens. One of them realizes:<\/scene_description>\n    <character>GUARD 2<\/character>\n    <dialogue>They're not going through the halls. They're going through the walls.<\/dialogue>\n    <scene_description>And now they can HEAR and FEEL the BLASTS, like an earthquake. BOOM BOOM BOOM BOOM the sound echoes to--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ERIK'S CELL - PAST - DAY<\/stage_direction>\n    <scene_description>Erik slowly turns, giving us our first good look at him: thick beard, his eyes steely as ever. He hears the blasts, the ground shaking, the glass walls shivering. Closer, louder. His eyes narrow as-- BOOOOOOM. The airlock door at the end of the hall EXPLODES OPEN. Cain keeps charging, head down, CRASHING INTO-- ERIK'S CELL. The glass comes raining down. Cain skids to a stop at the far end of the cell. Erik turns to see another shadow surface from the dust and debris: LOGAN. Erik recognizes him.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>45 I know you. 45<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>Not as well I know you. Get up, we're leaving.<\/dialogue>\n    <scene_description>Erik stands, turns toward the entrance, but--<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>Not that way.<\/dialogue>\n    <scene_description>Cain gets a running start and CRASHES THROUGH THE FAR WALL.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. PENTAGON - PAST - DAY<\/stage_direction>\n    <scene_description>People rush to the windows, staring out at the smoking HOLE in the middle of the courtyard. In the chaos, we see-- CHARLES. He moves swiftly through the crisscross of bodies. With everyone's attention outside, he threads his way to-- A secured ELEVATOR, where a SOLDIER stands guard. He sees Charles coming, a military bag strung over his shoulder.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>We're under siege. All armed personnel are being sent to the point of attack.<\/dialogue>\n    <character>SOLDIER<\/character>\n    <dialogue>I'm not supposed to leave my post.<\/dialogue>\n    <scene_description>Charles puts a hand to his head, reading the man's mind.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>The order came straight from General Barnes.<\/dialogue>\n    <scene_description>(reading more thoughts) You needn't worry about getting in trouble like that night at the embassy.<\/scene_description>\n    <character>SOLDIER<\/character>\n    <dialogue>How do you know about that night?<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>I read your files, soldier. Now get out there before you do have something to worry about.<\/dialogue>\n    <scene_description>The soldier nods, moves past Charles. As soon as he clears, Charles steps to the elevator, and we CUT BACK TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDERGROUND PRISON - VARIOUS - PAST - DAY<\/stage_direction>\n    <scene_description>Emergency lights flash, alarms blare, the place on lockdown. GUARDS scramble through halls, following the echoes of WALLS CRASHING DOWN. They catch a flash of-- Cain, Logan and Erik down a hall, but they disappear with another BOOM, crashing through a wall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDERGROUND PRISON - GUARD BOOTH - PAST - DAY<\/stage_direction>\n    <scene_description>The Guards check the screens, they see the dots moving through wall after wall on their grid, and--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDERGROUND PRISON - HALL - PAST - DAY<\/stage_direction>\n    <scene_description>The blasts come louder and louder, closer and closer, BOOM BOOM BOOM BOOM AND.... CLICK. A DOOR opens down the hall. Cain steps out.<\/scene_description>\n    <character>CAIN<\/character>\n    <dialogue>All clear.<\/dialogue>\n    <scene_description>Erik and Logan surface behind him. Dust and debris waft out, walls shattered behind them. They head down a LONG HALLWAY, where they see: THE MAIN ELEVATOR SHAFT. Their way out. The doors open and-- CHARLES emerges. The world slows, as Charles and Erik lock eyes, so much history between them.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>You...you can walk.<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>No thanks to you.<\/dialogue>\n    <scene_description>Erik shakes his head.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>You're the last person in the world I expected to see.<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>Trust me, I wouldn't be here if I<\/dialogue>\n    <scene_description>didn't have to be. I was happy to let you rot in here. Erik gives a thin smile.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>It's good to see you too, old friend.<\/dialogue>\n    <scene_description>But Charles doesn't smile back. He blocks Erik's path.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>If we get you out of here, we do things my way, no killing, you do what I say.<\/dialogue>\n    <scene_description>Erik motions to his head.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>No helmet, Charles. I couldn't disobey you even if I wanted.<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>I'm never getting inside that head again. I need your word, Erik.<\/dialogue>\n    <scene_description>Before Erik can answer, they see-- GUARDS SURFACE DOWN THE HALL.<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>HANDS! GET YOUR HANDS UP!<\/dialogue>\n    <scene_description>They raise their weapons. Erik looks to Charles.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>Okay Charles, stop them.<\/dialogue>\n    <scene_description>Charles looks down the hall at the guards.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>I can't do that.<\/dialogue>\n    <scene_description>The guards move closer, guns cocked.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>What, what are you doing, Charles? It's not an ethical decision. Just freeze them before they fire!<\/dialogue>\n    <scene_description>I CAN'T!<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>WHY NOT?<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>BECAUSE I DON'T HAVE ALL MY POWERS!<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>WHAT DOES THAT MEAN?!<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>I CAN READ MINDS, I CAN'T CONTROL<\/dialogue>\n    <character>THEM!<\/character>\n    <dialogue>The Guards open fire, but--<\/dialogue>\n    <dialogue>WHHHM! Erik raises a hand, RIPS THE ELEVATOR CAR out of the shaft and HURLS IT DOWN THE HALL AT THE GUARDS.<\/dialogue>\n    <dialogue>The Guards see AN ELEVATOR SKIDDING AND SPARKING THROUGH THE HALL TOWARD THEM, a truly surreal image and--<\/dialogue>\n    <dialogue>WHAM! It TRAPS them, SLAMMING into the wall with the doors open, so THEY'RE STUCK INSIDE IT.<\/dialogue>\n    <dialogue>More GUARDS surface at the other end of the hall, raising their guns. Erik looks at them and--<\/dialogue>\n    <dialogue>WHHHM! Erik sends METAL CABLES from the elevator shaft snaking toward them. The cables move like extensions of his arms, SLASHING into Guards, KNOCKING THEM OUT.<\/dialogue>\n    <dialogue>Finally, there is quiet. Smoke in the air. Wreckage. Erik looks to Charles, the guards unconscious around them.<\/dialogue>\n    <character>ERIK<\/character>\n    <dialogue>No killing. You have my word.<\/dialogue>\n    <scene_description>He heads for the elevator haft. He controls the metal in the shaft, so a PANEL SNAPS DOWN, creating a FLOOR for him.<\/scene_description>\n    <character>ERIK (CONT'D)<\/character>\n    <dialogue>Going up?<\/dialogue>\n    <scene_description>Charles starts to open his military bag, and we CUT TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PENTAGON - HALLWAY - PAST - DAY<\/stage_direction>\n    <scene_description>DING. The doors open back upstairs where Charles cleared the soldier. Erik, Charles, Logan and Cain emerge. Erik now wears military garb. As they step out, the metal panel DROPS back into the shaft, clanging down a hundred feet. They move on. A couple passing WOMEN look down the shaft, see it's strangely EMPTY. They look back toward our crew, but-- Our guys disappear into the crowded halls.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. X-JET ON LANDING STRIP - PAST - DAY<\/stage_direction>\n    <scene_description>The jet is parked. Cain is saying goodbye to Charles.<\/scene_description>\n    <character>CAIN<\/character>\n    <dialogue>Well, that was fun. Hey Chuck, let me know if you get the school up and running again. Those kids in Poughkeepsie, they're not in my league.<\/dialogue>\n    <scene_description>Charles nods, distant.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>Good luck, Cain.<\/dialogue>\n    <scene_description>Cain looks toward the plane, where Erik waits.<\/scene_description>\n    <character>CAIN<\/character>\n    <dialogue>Yeah, you too, Professor.<\/dialogue>\n    <scene_description>Cain walks away. Charles watches him for a moment, then turns back toward the plane, and we CUT TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. SMALL PLANE - PAST - DAY<\/stage_direction>\n    <scene_description>Hank flies. Charles sits alone, looking out the window. Erik sits close, watching him for a beat.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>What happened to your powers?<\/dialogue>\n    <scene_description>Charles keeps his eyes out the window.<\/scene_description>\n    <character>ERIK (CONT'D)<\/character>\n    <dialogue>How did you lose them?<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>The treatment for my legs, it<\/dialogue>\n    <scene_description>affects my DNA.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>You gave up your powers so you could walk...?<\/dialogue>\n    <scene_description>Charles slowly looks at Erik.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>You don't know what it's like to lose a part of yourself.<\/dialogue>\n    <character>ERIK<\/character>\n    <dialogue>I've lost my fair share.<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>And you think that justifies what you've done?<\/dialogue>\n    <scene_description>Erik hardens.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>You have no idea what I've done.<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>I know you put me in that chair, I know you took the things that meant the most to me--<\/dialogue>\n    <character>ERIK<\/character>\n    <dialogue>Well maybe you should've fought harder for them.<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>You want a fight, Erik, I'll give you a fight--<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>Sit down--<\/dialogue>\n    <character>ERIK<\/character>\n    <dialogue>No, let him come--<\/dialogue>\n    <scene_description>Charles keeps coming.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>You think you're the only one with pain and anger, you think you're the only one who's suffered--<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>I said SIT DOWN--<\/dialogue>\n    <character>ERIK<\/character>\n    <dialogue>49 Come on, let's see what you can do 49<\/dialogue>\n    <scene_description>without your powers-- WHAM! Charles HITS Erik. They start to fight.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>Goddamnit.<\/dialogue>\n    <scene_description>As they fight, the walls shake on the metal plane.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>Guy! You're messing up my aerodynamics!<\/dialogue>\n    <scene_description>Warnings flash in the cockpit, and finally-- Logan rips them apart. He pushes Charles to a chair, and snaps a BONE CLAW at Erik, holding him at bay.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>Enough!<\/dialogue>\n    <scene_description>Erik lowers his hands. Logan looks at them both.<\/scene_description>\n    <character>LOGAN (CONT'D)<\/character>\n    <dialogue>When this is over, you can go back to hating each other, spend the rest of your lives fighting, for all I care. But right now, you gotta come together, because like it or not you need each other. The whole world hangs in the balance, and it's up to you two jackasses to save it.<\/dialogue>\n    <scene_description>Erik slows, surprised.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>What does that mean?<\/dialogue>\n    <scene_description>(a beat) Why did you break me out of that prison? As the question hangs there, we CUT TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRASK INDUSTRIES HEADQUARTERS - PAST - DUSK 50<\/stage_direction>\n    <scene_description>A sprawling industrial complex. As we get closer, the building and factory turn into--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRASK INDUSTRIES HEADQUARTERS - PAST - DUSK<\/stage_direction>\n    <scene_description>A miniature of the complex sits in the lobby. TRASK enters, passing the front desk, where a SECURITY GUARD straightens. Trask heads for the stairs, passing a wall where his company insignia is brandished in big letters. He heads upstairs to--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRASK INDUSTRIES - TRASK'S FLOOR - PAST - DUSK 52<\/stage_direction>\n    <scene_description>Trask approaches his office. His SECRETARY is waiting.<\/scene_description>\n    <character>SECRETARY<\/character>\n    <dialogue>We weren't expecting you, sir.<\/dialogue>\n    <character>TRASK<\/character>\n    <dialogue>Just wanted to grab a couple files. Is that a new dress? It's nice.<\/dialogue>\n    <character>SECRETARY<\/character>\n    <parenthetical>(surprised, confused)<\/parenthetical>\n    <dialogue>...thank you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRASK OFFICE - PAST - DUSK<\/stage_direction>\n    <scene_description>Trask enters his massive office. He shuts the door behind him, and moves fast, TRANSFORMING INTO RAVEN. She checks the office, rifles through the desk, drawers, papers. She slows when she notices: A large PORTRAIT on the wall. She steps toward the picture, which has TRASK giving a prosthetic robotic leg to a LITTLE GIRL missing a leg. Raven darkens, disgusted. She reaches out, and pulls back the painting, revealing-- A SAFE IN THE WALL. It has a FINGERPRINT PAD. Raven smiles, reaches out, her hand TRANSFORMS into TRASK'S HAND, touching the pad, which reads her ID and-- The SAFE POPS OPEN. She enters the safe, finds FILES full of data, research from Saigon and around the world. She flips through the files, stops on a file marked WEAPONS TEST. She opens it and freezes, looking at the face of-- ALEX \"HAVOC\" SUMMERS. She flips the pages, seeing results and photos from the weapons test, and we FLASH TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - PAST - NIGHT<\/stage_direction>\n    <scene_description>ALEX running in the woods, scared, hunted. Something is coming in the sky, casting a shadow over the trees. As it gets closer, we FLASH BACK TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRASK OFFICE - PAST - NIGHT<\/stage_direction>\n    <scene_description>Raven looks at the photos, flashing between the file and--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - PAST - NIGHT<\/stage_direction>\n    <scene_description>A bright light flares through the trees, like a searchlight. Alex spins, breathless, nowhere to hide. He FIRES a BLAST from his chest, burning through trees, hitting-- The massive shadow. But it doesn't stop. It reaches through the trees. A crude BEAM OF ENERGY generates in its MASSIVE HAND, and BLASTS forward, HITTING ALEX, as we SMASH TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRASK OFFICE - PAST - DAY<\/stage_direction>\n    <scene_description>Raven stares at a photo of Alex's DEAD BODY. An AUTOPSY. Raven grips the report, emotional. A tear forms in her eye, and suddenly--<\/scene_description>\n    <character>SECRETARY (O.S.)<\/character>\n    <dialogue>Dr. Trask?<\/dialogue>\n    <scene_description>The voice startles Raven.<\/scene_description>\n    <character>RAVEN<\/character>\n    <dialogue>One second--<\/dialogue>\n    <parenthetical>(changing her voice)<\/parenthetical>\n    <character>ONE SECOND.<\/character>\n    <dialogue>She transforms back into Trask, steps out of the safe, goes to the door where the Secretary stands with a piece of paper.<\/dialogue>\n    <character>SECRETARY<\/character>\n    <dialogue>We added some names to the list for tomorrow.<\/dialogue>\n    <scene_description>He takes the list, looks at the names. Russian, Chinese.<\/scene_description>\n    <character>TRASK<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>The Secretary notices the tear on Trask's cheek.<\/scene_description>\n    <character>SECRETARY<\/character>\n    <dialogue>Is something wrong, sir?<\/dialogue>\n    <scene_description>Raven wipes away the tear, hardens. TRASK No. Nothing. (a beat, then) Would you mind typing up my itinerary for tomorrow? I don't want to miss anything. The Secretary nods, heads away. Trask watches her go, his eyes darken, a flicker of YELLOW in the iris, as we CUT TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. XAVIER MANSION - PAST - NIGHT<\/stage_direction>\n    <scene_description>Dark, quiet. We push toward the house...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. XAVIER MANSION - DINING ROOM - PAST - NIGHT<\/stage_direction>\n    <scene_description>Charles, Erik, Logan, and Hank sit around a table, eating dinner. Erik gulps down food, ravenous. Mid-conversation--<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>We know she'll be at the summit, but she could be anyone there. How do we find her?<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>She's coming for Trask. We stay close to him, we'll be there when she makes her move.<\/dialogue>\n    <scene_description>Hank considers. A beat.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>And then what?<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>Then we get her out of there, and I go back to a future with no Sentinels, no war.<\/dialogue>\n    <scene_description>Hank keeps pushing, a little embarrassed--<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>No, I mean, what happens to Raven? Where does she go?<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>That'll be up to her.<\/dialogue>\n    <scene_description>Hank looks down at his plate of food.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>She'd be safest here.<\/dialogue>\n    <character>ERIK<\/character>\n    <dialogue>And you think that's what she wants?<\/dialogue>\n    <scene_description>From the other side of the table, they hear--<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>It's what she needs.<\/dialogue>\n    <scene_description>Erik looks at him, that strident tone.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>I can't begin to imagine why she left.<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>She left because you got in her head, messed with her mind.<\/dialogue>\n    <character>ERIK<\/character>\n    <dialogue>That's not my power, Hank. She left because she didn't want to hide anymore. She didn't want to pretend to be someone she's not.<\/dialogue>\n    <scene_description>The words are aimed at Hank. He grips the table. Logan looks around, realizing...<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>You all had something with this girl, didn't you?<\/dialogue>\n    <scene_description>Hank pushes his chair back, walks out.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>Guess it makes sense. She's the only girl in the world who could be all things to all guys.<\/dialogue>\n    <scene_description>Erik looks down the table at Charles.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>You should be proud of her, Charles. She's out there fighting for our cause.<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>You mean your cause.<\/dialogue>\n    <character>ERIK<\/character>\n    <dialogue>I mean mutants. You're still one of us, aren't you? Or do you consider yourself more human now?<\/dialogue>\n    <scene_description>Charles tightens.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>Erik...<\/dialogue>\n    <character>ERIK<\/character>\n    <dialogue>I'm just saying you raised a strong girl, you taught her well.<\/dialogue>\n    <scene_description>Charles looks back at him, anger in his eyes.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>The girl I raised, the girl I knew, wasn't capable of murder. I didn't teach her that, Erik. You did.<\/dialogue>\n    <scene_description>Charles rises, walks out. Erik uses the metal on the table to pull Charles' plate toward him. He reaches for the food.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>So you were always this much of an<\/dialogue>\n    <scene_description>asshole. Erik looks at him.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>I take it we're not friends in the future.<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>I spend the better part of the next fifty years trying to bring you down.<\/dialogue>\n    <character>ERIK<\/character>\n    <dialogue>And how do you do...?<\/dialogue>\n    <scene_description>Logan considers.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>You're like me, Erik. You're a survivor.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>But I have all the time in the world. You do not... Don't waste this life fighting your friends. You'll end up at a table all by yourself.<\/dialogue>\n    <scene_description>He walks out. And Erik is left alone at the table, surrounded by plates of food and empty chairs, the words resonating.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. XAVIER MANSION - ERIK'S BATHROOM - PAST - NIGHT<\/stage_direction>\n    <scene_description>Erik stands at the sink, as a straight RAZOR shaves off his beard. He controls the blade magnetically, his eyes staring into the mirror, thinking about Logan's words.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. XAVIER MANSION - LOGAN'S ROOM - PAST - NIGHT<\/stage_direction>\n    <scene_description>Logan lays in bed, smoking a cigar. The room is thick with smoke. A KNOCK on the door. HANK pokes his head in.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>You know, those things can give you cancer. I've done some toxicology tests in the lab and...<\/dialogue>\n    <scene_description>Logan just looks at him, takes a big puff. He doesn't have to worry about getting cancer.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>You want something...?<\/dialogue>\n    <scene_description>Hank struggles.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>Yeah, uhm, I know it's complicated and...there's probably all kinds of rules and reasons for what you can and can't say, but I was wondering, if you could tell me...in the future... do I make it?<\/dialogue>\n    <scene_description>Logan takes the cigar out of his mouth. He looks over.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Hank nods, tries to keep a brave face.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>Oh. Ok. It's okay...thanks.<\/dialogue>\n    <scene_description>He turns to go, but--<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>Hey. Hey, kid.<\/dialogue>\n    <scene_description>Hank turns back.<\/scene_description>\n    <character>LOGAN (CONT'D)<\/character>\n    <dialogue>That's the world I came from. But if we do our jobs tomorrow, it's not the world I'm going back to.<\/dialogue>\n    <scene_description>Hank nods, a little bolstered by the words. He heads off. Logan goes back to smoking his cigar, as we CUT TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. XAVIER MANSION - HALL - PAST - LATER<\/stage_direction>\n    <scene_description>Erik moves through the halls, clean shaven now. He looks at the familiar house, now dark, empty. Memories flicker for him, perhaps distant echoes from the last time he was here. He slows when he sees: Charles in his office, drinking alone. Erik considers, then heads down the hall into--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. XAVIER MANSION - OFFICE - PAST - NIGHT<\/stage_direction>\n    <scene_description>Charles is pouring himself another glass.<\/scene_description>\n    <character>ERIK (O.S.)<\/character>\n    <dialogue>Make that two?<\/dialogue>\n    <scene_description>Charles sees Erik emerge. Charles walks away from the bottle.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>Make it yourself.<\/dialogue>\n    <scene_description>Erik controls the metal top of the bottle, tipping it over to pour himself a glass. He motions to the CHESS BOARD.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>64 Fancy a game? 64<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>I'm not in the mood for games, thank you.<\/dialogue>\n    <scene_description>Erik takes a sip of his drink, savors it.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>Haven't had a real sip in ten years.<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>You're lucky you weren't executed for what you did.<\/dialogue>\n    <scene_description>Erik lowers his glass, looks at Charles.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>I didn't do it, Charles. I didn't kill the President.<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>No? You weren't there? You didn't make that bullet move?<\/dialogue>\n    <character>ERIK<\/character>\n    <dialogue>Yes I was there. And yes I made the bullet move...because I was trying to stop it. I was trying to save him.<\/dialogue>\n    <scene_description>Charles slows, surprised.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>There were ten shots taken. I stopped nine of them. But it only takes one...<\/dialogue>\n    <character>ERIK<\/character>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>You of all people should know that.<\/dialogue>\n    <scene_description>Charles looks at Erik, not sure what to believe.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>Why would you want to help him?<\/dialogue>\n    <character>ERIK<\/character>\n    <dialogue>Because he was going to help us. He was one of us, Charles.<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>Kennedy was...?<\/dialogue>\n    <scene_description>Erik nods.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>A mutant. That's why they killed him.<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>Who? Who killed him?<\/dialogue>\n    <character>ERIK<\/character>\n    <dialogue>Your man Trask. He set me up. It was all part of his plan to turn the government against us. It's how he got his program started...<\/dialogue>\n    <scene_description>Charles darkens.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>And now we know how it ends. You were right, Erik. They do away with us.<\/dialogue>\n    <character>ERIK<\/character>\n    <dialogue>Not if we change things tomorrow, not if we change history.<\/dialogue>\n    <scene_description>Charles looks at him. Erik steps closer.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>We've been given a second chance, you and me. Together, tomorrow, we can change our fate, we can determine our own destiny. We can decide how this ends.<\/dialogue>\n    <scene_description>Charles slows, the words resonate. Erik is the one inspiring Charles now. A beat. Then--<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>It's been a while since I played.<\/dialogue>\n    <scene_description>He motions to the chessboard. Erik smiles softly.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>I'll go easy on you.<\/dialogue>\n    <scene_description>He goes to the board, starts setting up the pieces. Charles goes to get another drink. This time-- 64 He pours two glasses. 64 As he sits down with Erik, we PULL OUT of the room, down the dark hall, watching these two old friends play chess. We hear FRENCH MUSIC on the CUT TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PARIS CAFE - PAST - NIGHT<\/stage_direction>\n    <scene_description>A crowded cafe. A pack of NORTH VIETNAMESE SOLDIERS are getting drunk. The loudest among them is GENERAL LUONG.<\/scene_description>\n    <character>VIETNAMESE CAPTAIN (SUBTITLED)<\/character>\n    <dialogue>General, maybe you should slow down, we have a big day tomorrow.<\/dialogue>\n    <character>GENERAL LUONG (SUBTITLED)<\/character>\n    <dialogue>We're celebrating, son. It's not every day you win a war, let alone against the American devils.<\/dialogue>\n    <parenthetical>(rising, unsteady)<\/parenthetical>\n    <dialogue>I'm getting another bottle.<\/dialogue>\n    <scene_description>He stumbles toward the bar, elbows through the crowd, and-- KNOCKS into a woman, spilling her drink.<\/scene_description>\n    <character>GENERAL LUONG<\/character>\n    <dialogue>Pardon, excuse me--<\/dialogue>\n    <scene_description>He slows, staring at a beautiful young woman: RAVEN. She speaks perfect VIETNAMESE.<\/scene_description>\n    <character>RAVEN (SUBTITLED)<\/character>\n    <dialogue>I'm pretty sure it was my fault.<\/dialogue>\n    <scene_description>The General slows, stunned.<\/scene_description>\n    <character>GENERAL LUONG (SUBTITLED)<\/character>\n    <dialogue>You speak perfect Vietnamese.<\/dialogue>\n    <character>RAVEN (SUBTITLED)<\/character>\n    <dialogue>I'm an interpreter. I have a good ear for voices.<\/dialogue>\n    <scene_description>He looks at her, the spilled drink.<\/scene_description>\n    <character>GENERAL LUONG (SUBTITLED)<\/character>\n    <dialogue>Let me buy you another... unless you're here with someone.<\/dialogue>\n    <character>RAVEN (SUBTITLED)<\/character>\n    <dialogue>I'm alone.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRENCH HOTEL SUITE - PAST - NIGHT<\/stage_direction>\n    <scene_description>The door swings open to a lavish suite with views of the Eiffel Tower. Luong leads Raven inside. Her eyes dart around the room. She sees an invitation to the PARIS PEACE SUMMIT.<\/scene_description>\n    <character>RAVEN (SUBTITLED)<\/character>\n    <dialogue>You're going to the Summit tomorrow...?<\/dialogue>\n    <scene_description>He smiles.<\/scene_description>\n    <character>GENERAL LUONG (SUBTITLED)<\/character>\n    <dialogue>A pretty girl interested in politics...<\/dialogue>\n    <scene_description>She looks back at him, flirty.<\/scene_description>\n    <character>RAVEN (SUBTITLED)<\/character>\n    <dialogue>Looks can be deceiving.<\/dialogue>\n    <scene_description>His smile widens. He speaks broken English--<\/scene_description>\n    <character>GENERAL LUONG<\/character>\n    <dialogue>Show me more, baby. Clothes off.<\/dialogue>\n    <scene_description>She cocks her head.<\/scene_description>\n    <character>RAVEN<\/character>\n    <dialogue>Okay...<\/dialogue>\n    <scene_description>She starts to move like she's taking off her clothes, but-- Her clothes DISAPPEAR, as she TRANSFORMS, her BODY BECOMING BLUE, SCALES replacing SKIN. The General backs away, terrified. She steps forward.<\/scene_description>\n    <character>RAVEN<\/character>\n    <dialogue>What's wrong, baby? You don't think I'm \"pretty\" like this?<\/dialogue>\n    <scene_description>She lunges forward, knocking him out with a single blow. As he drops, she grabs his invitation, and we SMASH TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ATLANTIC OCEAN - DAWN 69<\/stage_direction>\n    <scene_description>The X-Jet speeds across the ocean...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. X-JET - DAWN<\/stage_direction>\n    <scene_description>Erik looks out the window, thinking. Charles sits across from him. This time, Charles asks the first question--<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>When's the last time you saw her?<\/dialogue>\n    <character>ERIK<\/character>\n    <dialogue>The day I left for Dallas.<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>How was she?<\/dialogue>\n    <scene_description>Erik turns toward him.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>She was my greatest soldier. Strong. Driven. Determined.<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>No. I mean...was she happy?<\/dialogue>\n    <scene_description>Hank listens from the cockpit. Erik considers, uncomfortable with emotion.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>She was...we were...I...I could see why she meant so much to you.<\/dialogue>\n    <scene_description>Charles nods.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>When this is over, she'll decide where she goes.<\/dialogue>\n    <scene_description>Erik gives a distant smile.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>She always did, Charles, she always did.<\/dialogue>\n    <scene_description>He looks back out the window, something behind his eyes, as we hear the ROAR OF A CROWD swelling from--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAJESTIC HOTEL - PAST - DAY 71<\/stage_direction>\n    <scene_description>A crowd surges outside the hotel. Flags flap -- Russian, American, Vietnamese. REPORTERS flock, cameras roll.<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>...diplomats from around the world will be gathered here today to officially end all United States military involvement in Vietnam. This is a historic day for peace...<\/dialogue>\n    <scene_description>Motorcades pull up. Generals and Dignitaries pile out. A dark sedan arrives. Doors open. TRASK emerges with that familiar captain from Saigon: BILL. They head up the red carpet into the hotel.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAJESTIC HOTEL - MEETING ROOM - PAST - DAY<\/stage_direction>\n    <scene_description>A handful of FOREIGN GENERALS are waiting. Among them, we see GENERAL LUONG. They all turn as Trask and Bill enter.<\/scene_description>\n    <character>TRASK<\/character>\n    <dialogue>Good afternoon, everyone, hello. Thank you for taking the time to meet. I know you have hands to shake and pictures to take downstairs, so I'll get right to the point: your side won this war...but you'll need a new weapon for the new enemy.<\/dialogue>\n    <scene_description>He looks to Bill, who clicks a MICROFILM REEL into a projector, casting images onto a screen--<\/scene_description>\n    <character>TRASK<\/character>\n    <dialogue>These are top secret files from the US Defense Department, evidence of a threat far deadlier than anything you've ever faced. A new species with powers that could render your arsenals useless, your armies powerless.<\/dialogue>\n    <scene_description>They look at images of Havoc, Toad, other mutants flickering on screen.<\/scene_description>\n    <character>TRASK (CONT'D)<\/character>\n    <dialogue>We've rounded up these subjects from around the world, but there are far more out there...<\/dialogue>\n    <scene_description>General Luong leans forward, as we CUT TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAJESTIC HOTEL - PAST - DAY<\/stage_direction>\n    <scene_description>A car pulls up to the rear entrance, which is blocked. TWO FRENCH SOLDIERS step to the car, flanking it. Logan sits at the wheel. He rolls down his window.<\/scene_description>\n    <character>SOLDIER (FRENCH, SUBTITLED)<\/character>\n    <dialogue>Turn around. There's no access past<\/dialogue>\n    <scene_description>this point.<\/scene_description>\n    <character>ERIK (FRENCH, SUBTITLED)<\/character>\n    <dialogue>Step away from the car please, and raise the barrier.<\/dialogue>\n    <scene_description>The soldier steps closer, hand on his gun.<\/scene_description>\n    <character>SOLDIER (FRENCH, SUBTITLED)<\/character>\n    <dialogue>I'm not going to ask you again.<\/dialogue>\n    <character>ERIK (FRENCH, SUBTITLED)<\/character>\n    <dialogue>Nor am I. Now let us through.<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>You might want to do what he says.<\/dialogue>\n    <scene_description>The soldiers look at each other, pulling guns.<\/scene_description>\n    <character>SOLDIER<\/character>\n    <dialogue>Why would we do that? We have guns pointed at you.<\/dialogue>\n    <character>ERIK<\/character>\n    <dialogue>Actually, you have guns pointed at each other.<\/dialogue>\n    <scene_description>With that, Erik CONTROLS THE GUNS so they aim at one another. The triggers COCK, fingers tighten.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>Erik...<\/dialogue>\n    <character>ERIK<\/character>\n    <dialogue>I know the rules, Charles.<\/dialogue>\n    <scene_description>WHAM! The guns WHIP UP, SMASHING into the soldiers' faces, knocking them out. Erik moves the metal barrier with a wave of his hand, and they drive forward toward the hotel.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAJESTIC HOTEL - MEETING ROOM - PAST - DAY<\/stage_direction>\n    <scene_description>The Generals look at Trask's presentation.<\/scene_description>\n    <character>RUSSIAN GENERAL<\/character>\n    <dialogue>You would betray your country by selling this weapon to us?<\/dialogue>\n    <character>TRASK<\/character>\n    <dialogue>I'm a man of the world, General.<\/dialogue>\n    <scene_description>The world I see is not a world of nations and borders, but a world of man and mutant. And there's only one way to retain our place atop that world... The image on the screen clicks to BLUEPRINTS for SENTINELS.<\/scene_description>\n    <character>TRASK<\/character>\n    <dialogue>I call them Sentinels. Named for the ancient guardians who stood at the gates of the citadel. They have the aeronautic abilities of a Harrier Jet, and fire a particle- beam that can burn through ten feet of concrete. Their skin is lightweight, made of the same indestructible polymer that NASA uses for their space program, not an ounce of metal in it...<\/dialogue>\n    <scene_description>The Generals look impressed. Trask continues--<\/scene_description>\n    <character>TRASK<\/character>\n    <dialogue>But none of that is what makes the Sentinel so special. Size, power, speed, you can find that at Lockheed or Boeing. No, what makes the Sentinel so special is the ability to target the Mutant X gene. A genetic guidance system...<\/dialogue>\n    <scene_description>He pulls out a small, handheld GUIDANCE SYSTEM.<\/scene_description>\n    <character>TRASK<\/character>\n    <dialogue>...that can lock onto a mark from half a mile away, and won't trigger unless it identifies the target. So there won't be any human collateral damage, the system couldn't even activate in here...<\/dialogue>\n    <scene_description>But suddenly -- BEEP BEEP BEEP. The device is FLASHING. Trask slows, looks up.<\/scene_description>\n    <character>TRASK<\/character>\n    <dialogue>......unless there was a mutant.<\/dialogue>\n    <scene_description>It targets: GENERAL LUONG. As Trask steps toward him, the beeps get louder. General Luong looks around, trapped.<\/scene_description>\n    <character>GENERAL LUONG<\/character>\n    <dialogue>There's been some kind of mistake.<\/dialogue>\n    <scene_description>Trask glances at Bill, who pulls out that familiar TASER WEAPON from Saigon.<\/scene_description>\n    <character>TRASK<\/character>\n    <dialogue>My machines don't make mistakes...<\/dialogue>\n    <scene_description>The beeps turn into a flatline.<\/scene_description>\n    <character>TRASK (CONT'D)<\/character>\n    <dialogue>What are you...?<\/dialogue>\n    <scene_description>The General glances around, makes a decision, and-- TRANSFORMS INTO RAVEN. Blue scales, yellow eyes.<\/scene_description>\n    <character>RAVEN<\/character>\n    <dialogue>I'm the future.<\/dialogue>\n    <scene_description>She makes a move for Trask, but-- Bill FIRES his TASER. It hits Raven. She drops, losing control of her body, FLUTTERING through identities, including Trask. He gets closer, staring at her in awe.<\/scene_description>\n    <character>TRASK<\/character>\n    <dialogue>Amazing. You can mutate into anyone...anything.<\/dialogue>\n    <scene_description>He gathers himself, look back at the Generals.<\/scene_description>\n    <character>TRASK (CONT'D)<\/character>\n    <dialogue>You see, gentlemen, this is precisely what I'm talking about. You never known when one of them is in our midst...<\/dialogue>\n    <scene_description>He turns to Bill.<\/scene_description>\n    <character>TRASK (CONT'D)<\/character>\n    <dialogue>Take her away. She'll make an intriguing lab rat.<\/dialogue>\n    <scene_description>Bill and a few soldiers step toward her but--<\/scene_description>\n    <character>VOICE (O.S.)<\/character>\n    <dialogue>No she won't.<\/dialogue>\n    <scene_description>They turn to see: ERIK in the doorway. Flanked by Charles, Logan, and Hank.<\/scene_description>\n    <character>RAVEN<\/character>\n    <dialogue>Erik...<\/dialogue>\n    <scene_description>He steps into the room, looks to Raven, emotion in his eyes.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>We came for you, Raven.<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>All of us.<\/dialogue>\n    <scene_description>Raven sees them together, manages a smile. Bill aims his taser at them, soldiers pull guns, but-- All the weapons come FLYING OUT OF THEIR HANDS, hurled to the other side of the room by Erik. All but one, which flies into- HIS HAND. He raises it up.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>I'm sorry, Charles, but I'm going to have to break my promise.<\/dialogue>\n    <scene_description>Charles looks at Erik.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>Killing Trask isn't the answer.<\/dialogue>\n    <character>ERIK<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>And he lowers the gun, so he is aiming at... RAVEN.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>Erik, what, what are you doing?<\/dialogue>\n    <character>ERIK<\/character>\n    <dialogue>Securing our future. She's the key to our destruction.<\/dialogue>\n    <scene_description>Logan steps forward, everybody tensing.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>What the hell are you talking about?<\/dialogue>\n    <character>ERIK<\/character>\n    <dialogue>You know better than anyone. You've seen it yourself. As long as she's out there, we'll never be safe.<\/dialogue>\n    <scene_description>Charles shakes his head, stunned.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>You said we were going to change things, change our fate--<\/dialogue>\n    <character>ERIK<\/character>\n    <dialogue>This is the only way.<\/dialogue>\n    <scene_description>Charles steps closer.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>It's Raven...<\/dialogue>\n    <scene_description>Erik grips the gun, fights down emotion.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>To win a war, you have to be willing to make sacrifices.<\/dialogue>\n    <scene_description>He cocks the trigger. Raven stands helpless.<\/scene_description>\n    <character>RAVEN<\/character>\n    <dialogue>Charles, please, stop him...<\/dialogue>\n    <scene_description>Erik looks to Charles, who stands equally helpless.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>He can't.<\/dialogue>\n    <scene_description>Erik starts to pull the trigger and-- WHAM! Logan SLAMS into him, SLICING his side with a CLAW. The bullet misses. The gun drops. Logan turns to Raven.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>GO!<\/dialogue>\n    <scene_description>Raven RUNS, heading for the only way out: the windows. Logan and Erik clash, Logan's CLAWS cutting Erik, but- Erik controls the GUN on the ground, so it AIMS and FIRES at Raven. She SMASHES through the window to--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAJESTIC HOTEL - PAST - DAY<\/stage_direction>\n    <scene_description>Glass rains down on the front steps. The crowd turns to see-- RAVEN DROPPING THROUGH THE AIR WITH BULLETS CURVING BEHIND HER. A bullet HITS her in the leg mid-fall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAJESTIC HOTEL - MEETING ROOM - PAST - DAY<\/stage_direction>\n    <scene_description>Logan HITS Erik, who loses control of the bullets so--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAJESTIC HOTEL - PAST - DAY<\/stage_direction>\n    <scene_description>The bullets drop from the sky like dead weight, and-- WHAM. Mystique hits the ground, somersaulting to a stop. She gets up, looks around, the CROWD AND CAMERAS FOCUSED ON HER.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAJESTIC HOTEL - MEETING ROOM - PAST - DAY<\/stage_direction>\n    <scene_description>Bill rushes Trask out of the room, everybody evacuating as-- LOGAN AND ERIK FIGHT. 78 Erik spins the gun on the ground, FIRES at Logan, the BULLETS THWACK into him. He slows for a moment, pained, and we see--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MONASTERY - INNER SANCTUM - FUTURE - DAY 79<\/stage_direction>\n    <scene_description>Logan's body flutters. Kitty struggles.<\/scene_description>\n    <character>KITTY<\/character>\n    <dialogue>He's starting to...<\/dialogue>\n    <parenthetical>(wake up)<\/parenthetical>\n    <dialogue>No no no...<\/dialogue>\n    <scene_description>She redoubles her efforts, straining to hold him.<\/scene_description>\n    <character>BISHOP<\/character>\n    <dialogue>What the hell's going on?<\/dialogue>\n    <scene_description>Xavier looks toward Magneto, perhaps sensing the answer, as--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAJESTIC HOTEL - MEETING ROOM - PAST - DAY<\/stage_direction>\n    <scene_description>Logan stumbles back, struggles. He looks around, his consciousness blinking in and out. He drops to a knee. Erik goes straight to the shattered window, and LEAPS OUT.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAJESTIC HOTEL - PAST - DAY<\/stage_direction>\n    <scene_description>With all eyes and cameras on Mystique, nobody seems to notice a man falling three stories to the street, landing as if he just stepped off the curb. Erik looks out, sees-- A flash of Mystique stumbling forward, her leg bleeding. Erik raises a hand, CONTROLS THE BULLET IN HER LEG, DRAGGING her back toward him. She claws at the ground desperately.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAJESTIC HOTEL - MEETING ROOM - PAST - DAY<\/stage_direction>\n    <scene_description>Charles and Hank look out the window.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>We have to stop him!<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>Logan, we need your help, come on, get up.<\/dialogue>\n    <scene_description>Logan looks up at them, his eyes shifting.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>Where...where am I...?<\/dialogue>\n    <scene_description>Charles reaches for him. CHARLES Logan-- Logan knocks him back, and spins, dizzy, losing control. He SCREAMS, his CLAWS slashing the air like a scared animal.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MONASTERY - INNER SANCTUM - FUTURE - DAY<\/stage_direction>\n    <scene_description>Logan's body is tossing and turning. A CLAW SLIDES OUT, SLICING INTO KITTY'S SIDE. She drops back, stunned--<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Kitty!<\/dialogue>\n    <character>STORM<\/character>\n    <dialogue>Hold on, hold on, Kitty--<\/dialogue>\n    <scene_description>Storm rips a cloth, uses it to staunch the bleeding on Kitty, who struggles to hold Logan, as--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAJESTIC HOTEL - MEETING ROOM - PAST - DAY 84<\/stage_direction>\n    <scene_description>Logan GRABS Charles by the throat, SLAMS him into the wall.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>HOW THE HELL DID I GET HERE?!<\/dialogue>\n    <character>CHARLES<\/character>\n    <parenthetical>(choked)<\/parenthetical>\n    <dialogue>You...came...to...us...<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>We need your help, please, he's going to kill her.<\/dialogue>\n    <scene_description>Hank stands at the window, sees--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAJESTIC HOTEL - PAST - DAY<\/stage_direction>\n    <scene_description>Erik pulls Raven closer, closer.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAJESTIC HOTEL - MEETING ROOM - PAST - DAY<\/stage_direction>\n    <scene_description>Hank looks at Logan and Charles, then back out the window. He sees Erik about to kill Raven. Emotional, Hank starts to TRANSFORM INTO BEAST, and he makes a decision: HE LEAPS OUT THE WINDOW.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAJESTIC HOTEL - DAY 87<\/stage_direction>\n    <scene_description>Beast drops down, SLAMMING into Erik, KNOCKING him into a FOUNTAIN. Water goes splashing up, and-- Raven pulls away, no longer gripped by Erik. The crowd is even more stunned by this large blue beast. Raven sees him, a look between them.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>Run.<\/dialogue>\n    <scene_description>Hank holds Erik down in the fountain. Erik thrashes, then-- The METAL SCULPTURE in the fountain TWISTS, SCREECHING, WRAPPING AROUND HANK, RIPPING HIM BACK, while--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MONASTERY - INNER SANCTUM - FUTURE - DAY<\/stage_direction>\n    <scene_description>Kitty strains. Storm stops the bleeding but the energy being transmitted by Kitty's hands is weaker. Logan shakes, as--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAJESTIC HOTEL - MEETING ROOM - PAST - DAY<\/stage_direction>\n    <scene_description>Logan holds Charles tight, a claw at his throat.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>ANSWER ME! WHAT DID YOU DO TO ME?!<\/dialogue>\n    <character>WHAT THE HELL AM I DOING HERE?!<\/character>\n    <dialogue>Charles strains, reads his mind--<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>You...you woke up with a woman this morning...Jeanine...<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>Who are you? How do you know that--<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>She...you...<\/dialogue>\n    <scene_description>(thinking fast) ...you took some bad acid, man, some really bad acid. Logan slows, unsure.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAJESTIC HOTEL - PAST - DAY<\/stage_direction>\n    <scene_description>Hank is held down by the metal. Erik looks around the crowd, searching for Raven, but... She is GONE, disappeared into the crowd of faces. At the far end of the square, we see: an OLD MAN limps away, with a stain of BLOOD where Raven was shot in the leg. He tosses a look over his shoulder, and we see-- His eyes flicker YELLOW for a moment. He keeps moving. Back at the fountain: Erik strides away, infuriated. The crowd parts around him. As he disappears into Paris-- The metal goes dead around Hank. Hank exhale, slowly stands, and sees-- The crowd staring at him. Scared. Repulsed by this beast. This is Hank's worst nightmare. He LEAPS away, retreating, as-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAJESTIC HOTEL - MEETING ROOM - PAST - DAY<\/stage_direction>\n    <scene_description>Logan lets go of Charles. He heads for the windows.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>I...I wouldn't look out that window.<\/dialogue>\n    <scene_description>Logan gets closer and closer to the window.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MONASTERY - INNER SANCTUM - FUTURE - DAY<\/stage_direction>\n    <scene_description>Kitty uses all her power to regain control of Logan, and finally...his body calms. His eyelids stop fluttering.<\/scene_description>\n    <character>KITTY<\/character>\n    <dialogue>I...I got him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAJESTIC HOTEL - MEETING ROOM - PAST - DAY<\/stage_direction>\n    <scene_description>Charles braces, as Logan reaches the shattered window, the sun hits his face, and-- His eyes come back into focus, his older consciousness restored. He sees the wreckage outside. Then looks back.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>We need to get out of here, Charles.<\/dialogue>\n    <scene_description>Charles nods, realizes Logan is back. As they leave together, we hold on the window, the wreckage, a city, a world that will never be the same again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MONASTERY - INNER SANCTUM - FUTURE - DAY<\/stage_direction>\n    <scene_description>Kitty looks up at the group, weakened.<\/scene_description>\n    <character>KITTY<\/character>\n    <dialogue>I...I don't know how much longer I can...hold him.<\/dialogue>\n    <scene_description>Bishop stands with Xavier and Magneto, his voice low--<\/scene_description>\n    <character>BISHOP<\/character>\n    <dialogue>If he wakes up, history is set, and we're done.<\/dialogue>\n    <scene_description>They all look back at Kitty. Storm changes the tourniquet, the cloth heavy with blood. Magneto looks at Xavier, their fate more uncertain than ever.<\/scene_description>\n    <character>REPORTER (V.O.)<\/character>\n    <dialogue>Today was meant to be an historic day, the end of a long war. But history was made for another reason altogether...<\/dialogue>\n    <scene_description>NEWS FOOTAGE PLAYS, IMAGES OF RAVEN, BEAST, ERIK.<\/scene_description>\n    <character>REPORTER (V.O.)<\/character>\n    <dialogue>The Paris Peace Summit was rocked by the appearance of unidentified assailants, the likes of which this world has never seen...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FAMILY HOME - PAST - NIGHT<\/stage_direction>\n    <scene_description>A FAMILY huddles around a TV in China.<\/scene_description>\n    <character>REPORTER 2 (SUBTITLED)<\/character>\n    <dialogue>Some experts are saying we may be looking at a new species of primate, perhaps the missing link between monkey and man...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY STREET - PAST - DUSK<\/stage_direction>\n    <scene_description>A CROWD gathers around a screen in Madrid.<\/scene_description>\n    <character>REPORTER 3 (SUBTITLED)<\/character>\n    <dialogue>Others are claiming this may be some kind of extra-terrestrial.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARIS STREETS - PAST - NIGHT<\/stage_direction>\n    <scene_description>The REPORTER stands outside the hotel.<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>Here in Paris, the police have told<\/dialogue>\n    <scene_description>everyone to stay off the streets until they have more information. And so a day that was meant to be a celebration of peace, hope, and security...has turned into a day of fear, terror, uncertainty. All of us asking the same question: what did we witness here today? And are there more of them out there...? The images FREEZE on a screen in--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE HOUSE - OVAL OFFICE - PAST - DAY<\/stage_direction>\n    <scene_description>The room is PACKED with the nation's most powerful men. At the desk sits: PRESIDENT RICHARD NIXON. He looks tired, stressed, it's been a rough year.<\/scene_description>\n    <character>NIXON<\/character>\n    <dialogue>Fuck me. What the hell are we dealing with here?<\/dialogue>\n    <character>SECRETARY OF DEFENSE<\/character>\n    <dialogue>Two days ago, this man, Erik Lensherr, escaped from a maximum security prison inside the Pentagon.<\/dialogue>\n    <scene_description>IMAGES flicker of ERIK in Paris, and the aftermath of the Pentagon.<\/scene_description>\n    <character>SECRETARY OF DEFENSE<\/character>\n    <dialogue>The official statement is that we had a gas leak under the courtyard with no major injuries. We managed to contain the story--<\/dialogue>\n    <character>NIXON<\/character>\n    <dialogue>But not the threat.<\/dialogue>\n    <scene_description>In the shadows, we see TRASK.<\/scene_description>\n    <character>SECRETARY OF DEFENSE<\/character>\n    <dialogue>No sir. We believe this woman is a former associate of Lensherr's. They were in Cuba together the day of the Crisis in '62, and he was implicated in Kennedy's killing.<\/dialogue>\n    <character>GENERAL<\/character>\n    <dialogue>We don't know what they're planning<\/dialogue>\n    <scene_description>but we do know conventional weapons are not enough. Nixon motions to an image of BEAST.<\/scene_description>\n    <character>NIXON<\/character>\n    <dialogue>And what about this thing?<\/dialogue>\n    <character>GENERAL<\/character>\n    <dialogue>We don't know what that thing is, sir.<\/dialogue>\n    <scene_description>Nixon sits back in his chair, shakes his head.<\/scene_description>\n    <character>NIXON<\/character>\n    <dialogue>So what you're saying is our entire army, our entire Defense Department, is useless...?<\/dialogue>\n    <scene_description>Nobody answers. Then, one voice:<\/scene_description>\n    <character>TRASK<\/character>\n    <dialogue>Not entirely.<\/dialogue>\n    <scene_description>Nixon turns to him. They all do.<\/scene_description>\n    <character>TRASK (CONT'D)<\/character>\n    <dialogue>I've been developing a weapon for precisely this threat.<\/dialogue>\n    <scene_description>The SECRETARY OF DEFENSE puts the file in front of Nixon.<\/scene_description>\n    <character>SECRETARY OF DEFENSE<\/character>\n    <dialogue>It's an experimental program, sir. Off the books.<\/dialogue>\n    <scene_description>Nixon looks at the file, the images of a SENTINEL. He shakes his head, staring at this massive robot.<\/scene_description>\n    <character>NIXON<\/character>\n    <dialogue>This is the best option we've got?<\/dialogue>\n    <character>TRASK<\/character>\n    <dialogue>It's the only option you've got.<\/dialogue>\n    <scene_description>Nixon looks at his Generals, they nod. He looks to Trask.<\/scene_description>\n    <character>NIXON<\/character>\n    <dialogue>What do you need to get these things operational?<\/dialogue>\n    <scene_description>Trask holds back a smile, glances at a familiar SENATOR.<\/scene_description>\n    <character>TRASK<\/character>\n    <dialogue>I recently gave that number to Congress. Of course, if you want to accelerate the program, it will cost substantially more--<\/dialogue>\n    <character>NIXON<\/character>\n    <dialogue>We'll give you whatever you need.<\/dialogue>\n    <scene_description>Trask nods, done.<\/scene_description>\n    <character>TRASK<\/character>\n    <dialogue>Great. One more thing. If we manage to capture these people, I'd like to keep that one...<\/dialogue>\n    <scene_description>(motions to Raven) ...for research purposes. It's all distasteful to Nixon. But he nods.<\/scene_description>\n    <character>NIXON<\/character>\n    <dialogue>I want to make a statement this week, I want the world to know we can protect them, and I want to be damned sure it doesn't get hijacked like Paris. So can you have these things ready?<\/dialogue>\n    <scene_description>Trask smiles, nods.<\/scene_description>\n    <character>TRASK<\/character>\n    <dialogue>If you give me the means, I'll give you the munitions.<\/dialogue>\n    <scene_description>The Senator leans close to Nixon.<\/scene_description>\n    <character>SENATOR<\/character>\n    <dialogue>Sir, where are we going to allocate the money for this?<\/dialogue>\n    <character>NIXON<\/character>\n    <dialogue>Take it out of NASA, we've sent enough goddamn men to the moon.<\/dialogue>\n    <scene_description>Indeed, there were no more missions to the moon after 1973. As the future of the Sentinel army takes flight, we hear--<\/scene_description>\n    <character>PRESS SECRETARY (V.O.)<\/character>\n    <dialogue>The nation's Defense Department is mobilizing all resources to address this critical situation...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRESS ROOM - PAST - DAY<\/stage_direction>\n    <scene_description>The PRESS SECRETARY reads a prepared statement.<\/scene_description>\n    <character>PRESS SECRETARY<\/character>\n    <dialogue>Our top scientists are compiling a comprehensive report we will share with the public. Rest assured, we will answer all your questions and address your concerns...<\/dialogue>\n    <scene_description>The report continues, but the words are being TRANSLATED INTO FRENCH, for we are watching the report on a TV IN--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRENCH HOSPITAL - EMERGENCY WARD - PAST - DAY<\/stage_direction>\n    <scene_description>RAVEN sits on a cot, the whole ward watching the TV in the corner. The report plays the footage from Paris of Mystique. Raven holds back her emotions, as a NURSE checks the bandages on her bullet wound. The nurse glances back at the TV.<\/scene_description>\n    <character>NURSE<\/character>\n    <dialogue>Terrible thing.<\/dialogue>\n    <character>RAVEN<\/character>\n    <dialogue>What is?<\/dialogue>\n    <character>NURSE<\/character>\n    <dialogue>Being born like that.<\/dialogue>\n    <character>RAVEN<\/character>\n    <dialogue>Is it?<\/dialogue>\n    <character>NURSE<\/character>\n    <dialogue>Can you imagine looking in the mirror and seeing that staring back at you?<\/dialogue>\n    <scene_description>Raven holds tight.<\/scene_description>\n    <character>RAVEN<\/character>\n    <dialogue>Yes, I can.<\/dialogue>\n    <scene_description>The nurse keeps checking the bandage.<\/scene_description>\n    <character>NURSE<\/character>\n    <dialogue>Where do you think she comes from? You think she has a family?<\/dialogue>\n    <scene_description>Raven considers. Softly:<\/scene_description>\n    <character>RAVEN<\/character>\n    <dialogue>Yes. She does.<\/dialogue>\n    <scene_description>Off her look, conflicted, thinking, we CUT TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. XAVIER MANSION - PAST - DAY<\/stage_direction>\n    <scene_description>Logan, Charles and Hank return to the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. XAVIER MANSION - PAST - DAY<\/stage_direction>\n    <scene_description>They come staggering through the front door. Charles struggles to walk, his legs weak.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>What's happening, why can't he walk?!<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>He needs his treatment, I'll go get it.<\/dialogue>\n    <scene_description>Hank rushes out. Charles collapses, broken.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>I should have known anything with Erik would end in ruin--<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>100 It's not over yet. I'm still here, 100<\/dialogue>\n    <scene_description>we can still save Raven, save all of us. Logan steps closer to Charles.<\/scene_description>\n    <character>LOGAN (CONT'D)<\/character>\n    <dialogue>But we're gonna need all our powers to do that. All of them. And that means the power to find her, read her mind, and stop it, if we have to. Powers only you have...or used to have.<\/dialogue>\n    <scene_description>The words hang there. Hank returns with the serum.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>There's a little extra, because you missed your dose.<\/dialogue>\n    <scene_description>He holds it out for Charles. Charles looks at it. He looks to Logan. And....he makes his decision.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>Hold onto it, Hank.<\/dialogue>\n    <scene_description>Hank slows, confused.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>Do me a favor, would you. Go upstairs to my office, go into the closet there...<\/dialogue>\n    <scene_description>100 Hank looks at him, realizes what he's asking. 100<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>Are you...sure?<\/dialogue>\n    <scene_description>Charles considers.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>Absolutely not. Please fetch it for me, before I change my mind.<\/dialogue>\n    <scene_description>Logan looks at him, starts to smile, as we CUT TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. XAVIER MANSION - XAVIER'S OFFICE - CLOSET - DAY<\/stage_direction>\n    <scene_description>Hank opens the door. There, among boxes and books is: The old WHEELCHAIR. Off this iconic image, we CUT TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PENTAGON - PAST - DAY<\/stage_direction>\n    <scene_description>American flags flap outside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PENTAGON - ENTRANCE - PAST - DAY 105<\/stage_direction>\n    <scene_description>A figure moves with workers toward the main checkpoint. They all swipe ID cards, and metal doors open for them. The figure swipes his HAND over the reader, and the metal bolts open for him too. We see it is: ERIK. Wearing a suit, hat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PENTAGON - HALL - PAST - DAY 106<\/stage_direction>\n    <scene_description>Erik gets to a familiar elevator where two SOLDIERS stand guard, heavily armed.<\/scene_description>\n    <character>SOLDIER<\/character>\n    <dialogue>Authorized personnel only, this is a secure area.<\/dialogue>\n    <character>ERIK<\/character>\n    <dialogue>I know. I lived down there for ten years.<\/dialogue>\n    <scene_description>They slow, recognize Erik. They raise their guns, but-- WHAM! The guns FLIP UP, and Erik PUNCHES them both in the throat. He catches them as they fall, and we CUT TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PENTAGON PRISON - PAST - DAY 107<\/stage_direction>\n    <scene_description>GUARDS are clearing debris from the prison break. Construction equipment lays around the wreckage.<\/scene_description>\n    <character>ERIK (O.S.)<\/character>\n    <dialogue>Sorry about the mess.<\/dialogue>\n    <scene_description>They turn and -- WHACK! Two of them get KNOCKED off their feet. The third guard spins toward Erik, but-- A DRILL rises off the ground, floating toward the Guard's head. As he blinks, we recognize him: He's the one who served Erik his food. Erik steps closer. The drill spins at the Guard's forehead.<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>You came back here to get revenge? Well go ahead, pull the trigger, get it over with.<\/dialogue>\n    <character>ERIK<\/character>\n    <dialogue>Do you really think I would come back here for something as meaningless as your life?<\/dialogue>\n    <character>GUARD<\/character>\n    <dialogue>What...what do you want?<\/dialogue>\n    <character>ERIK<\/character>\n    <dialogue>Simply what I came here with.<\/dialogue>\n    <character>GUARD<\/character>\n    <dialogue>We don't have anything.<\/dialogue>\n    <scene_description>Erik steps closer, the drill spinning, making contact.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>Now's not the time to find your honor. Don't lie to me.<\/dialogue>\n    <scene_description>The Guard looks at the drill, starts to penetrate.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PENTAGON - UNDERGROUND STORAGE - PAST - DAY 109<\/stage_direction>\n    <scene_description>Erik and the Guard step through a door. The room is a storage area. The Guard goes to a LOCKED BOX. He puts the key in the box, but his hand shakes, he can't get it in the slot.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>Allow me.<\/dialogue>\n    <scene_description>Erik pushes the Guard back, and magnetically slides the key into the lock, opens the box, revealing... HIS HELMET. It rises out of the box and into his hands. He holds it like an old friend.<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>The whole world's gonna be coming after you.<\/dialogue>\n    <scene_description>Erik starts to put the helmet on.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>No... I'm coming after them.<\/dialogue>\n    <scene_description>As the helmet slides on, we hear:<\/scene_description>\n    <character>CEREBRO VOICE (V.O.)<\/character>\n    <dialogue>Welcome, Professor.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. XAVIER MANSION - CEREBRO - NIGHT<\/stage_direction>\n    <scene_description>Doors slide open, and we see...a WHEELCHAIR enters. With CHARLES sitting in it again. He leads Logan and Hank into this vast underground chamber where we see-- The 1973 version of CEREBRO. Dark, dusty, years of neglect. Charles goes to the HELMET, which has a few more WIRES on it than the modern Cerebro. He blows off dust.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>When's the last time you were down here?<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>The last time we went looking for students.<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>Long time ago.<\/dialogue>\n    <scene_description>He looks at that helmet with a hint of trepidation.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>Not sure I'll be able to control it the way I used to...<\/dialogue>\n    <scene_description>He slowly puts it on. Hank goes to CONTROL PANELS, flips on the system. Charles tries to focus his power, his eyes narrow, and... GEIGER NEEDLES start to FLUTTER, just a tiny fluctuation. Charles increases his efforts, taking deep breaths, trying to focus, and...the needles rise. IMAGES flicker around Charles, FLASHES of FACES, out of focus, twisting in the air, and-- The GEIGERS SHAKE, as Charles struggles, too much data. Geigers start to go out of control, everything SHAKING.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>Charles--<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>Professor--<\/dialogue>\n    <scene_description>WHHHM! The GAUGES BLOW OUT, glass goes flying.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>Turn it off!<\/dialogue>\n    <scene_description>Hank goes to turn off the system, but--<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>Keep it on, Hank. Charles, focus.<\/dialogue>\n    <scene_description>Charles tries to focus, but struggles, strains, and finally-- BOOOOM. The whole system DIES, all the power goes DARK. Charles slumps over. Hank looks around.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>I think you just blew out all the electricity.<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>Hank, not helping.<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>I'll...go fix it.<\/dialogue>\n    <scene_description>Hank heads out of the room. Charles takes off the helmet. He slumps over, pained.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>101 My mind...I can't do this...I can't 101<\/dialogue>\n    <scene_description>control it, it's been too long.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>So you're a little rusty. You just need to try again, concentrate--<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>It's not that simple. There's a key, a connection.<\/dialogue>\n    <scene_description>Logan slows.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>What do you mean? Some kind of secret word or--<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>I can't explain it, it's a mindset, a way of thinking, a ghost in the machine, if you will. I built this thing with psychic locks. There's a key, and I don't have it.<\/dialogue>\n    <scene_description>He turns toward the door to go, but--<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>I know someone who might.<\/dialogue>\n    <scene_description>Logan steps toward Charles, and lowers himself.<\/scene_description>\n    <character>LOGAN (CONT'D)<\/character>\n    <dialogue>Look in my mind. You'll find someone there who can help you...<\/dialogue>\n    <scene_description>Charles looks at Logan, not sure what he means.<\/scene_description>\n    <character>LOGAN (CONT'D)<\/character>\n    <dialogue>The Professor.<\/dialogue>\n    <scene_description>Charles shakes his head, points to Cerebro.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>You saw what I did to this thing. You sure you want me inside your head?<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>There's no damage you can do that hasn't already been done.<\/dialogue>\n    <scene_description>Charles looks into his eyes, his mind, and sees... LOGAN'S MEMORIES. Flashes from other films, lifetimes: Logan and Jean. Logan and Stryker. A flicker of Logan being transformed into Weapon X. Charles pulls back, startled by the image.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>Your future--<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>Don't worry, I know. Look past it, look for your future.<\/dialogue>\n    <scene_description>Charles keeps searching Logan's mind, and finds... HIMSELF. Older. In the chair. It's the moment Logan and Charles first meet in X1. Charles looks at him.<\/scene_description>\n    <character>CHARLES XAVIER<\/character>\n    <dialogue>Give me a chance, I may be able to help you...<\/dialogue>\n    <scene_description>And now more memories come flooding back. The future. Sentinels. A city in ruins. And finally Charles sees... THE CEILING OF THE MONASTERY. Charles has reached through Logan's mind into the future. We see what he imagines--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MONASTERY - INNER SANCTUM - FUTURE - DAY 102<\/stage_direction>\n    <scene_description>Young Charles is now laying on that slab in Logan's place. He gets up, looks around, the world a little hazy. He sees: The huddled mutants, refugees. Then his eyes are drawn to-- The older CHARLES XAVIER in the wheelchair. Xavier turns, sensing this new consciousness in the room.<\/scene_description>\n    <character>XAVIER<\/character>\n    <dialogue>Charles...?<\/dialogue>\n    <scene_description>Young Charles walks toward the Old Charles. He looks at him, overwhelmed by the image of his older self. They stare at one another, this strange reflection. The older Xavier senses--<\/scene_description>\n    <character>XAVIER (CONT'D)<\/character>\n    <dialogue>You've come looking for answers.<\/dialogue>\n    <scene_description>Charles nods.<\/scene_description>\n    <character>XAVIER (CONT'D)<\/character>\n    <dialogue>You have them already.<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>No, no I don't. I've lost too much, I've forgotten.<\/dialogue>\n    <scene_description>Xavier looks up at him, smiles softly.<\/scene_description>\n    <character>XAVIER<\/character>\n    <dialogue>If you're going to search people's minds...start with your own.<\/dialogue>\n    <scene_description>But Charles shakes his head.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>Show me. Help me. Please.<\/dialogue>\n    <scene_description>Xavier considers. Then he motions for Charles to lower himself, so they are eye to eye. Xavier looks into his younger self, and Charles sees-- Xavier transforms into a BOY, a ten-year-old version of himself. Charles reaches out to touch that younger self, and a shared MEMORY flickers to life--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. XAVIER MANSION - GARDEN - DAY<\/stage_direction>\n    <scene_description>A bright and sunny day, flowers full bloom. The CHILD CHARLES reaches out toward a reflection of himself. Two young boys, a mirror reflection, but... The other boy turns into...A CHILD RAVEN. She laughs, she was pretending to be Charles. WE INTERCUT: the young Charles Xavier staring into his older self, watching this memory he's long forgotten-- IN THE GARDEN: Raven and Charles are playing together, laughing. Raven hears the sound of a CAR in the distance. She tenses, scared. The sound passes.<\/scene_description>\n    <character>CHILD CHARLES<\/character>\n    <dialogue>You're safe here, you know that.<\/dialogue>\n    <scene_description>She nods, a little timid.<\/scene_description>\n    <character>CHILD CHARLES (CONT'D)<\/character>\n    <dialogue>One day, you'll be safe out there too.<\/dialogue>\n    <character>CHILD RAVEN<\/character>\n    <dialogue>You really think?<\/dialogue>\n    <scene_description>He steps closer, a boy with so much certainty, innocence.<\/scene_description>\n    <character>CHILD CHARLES<\/character>\n    <dialogue>I know it.<\/dialogue>\n    <scene_description>She smiles, and they go back to playing. As they walk away, she reaches out and holds his hand, a little sister with her big brother, two children in the garden, as we CUT BACK TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MONASTERY - INNER SANCTUM - FUTURE - DAY<\/stage_direction>\n    <scene_description>Charles experiences the memory, the moment.<\/scene_description>\n    <character>XAVIER<\/character>\n    <dialogue>Hope, Charles. It's our greatest power. Even in the darkest times.<\/dialogue>\n    <scene_description>The memory fades. Charles takes a step back, a look at Xavier, this wise, bald man sitting in a chair.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>So...this is what becomes of us.<\/dialogue>\n    <character>XAVIER<\/character>\n    <dialogue>That's up to you, old friend. What becomes of us, all of us, is in your hands now.<\/dialogue>\n    <scene_description>The words resonate, as Charles blinks, opens his eyes in--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. XAVIER MANSION - CEREBRO - PAST - DAY 103<\/stage_direction>\n    <scene_description>Charles looks up at Logan. He slowly lowers his hand.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>You find what you were looking for?<\/dialogue>\n    <scene_description>Charles considers, emotional. Lights flicker back to life around them. Hank enters.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>Power's coming back.<\/dialogue>\n    <scene_description>Logan looks at Charles, sensing--<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>Yes it is.<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>Hank. Turn it on. I want to go again.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. XAVIER MANSION - CEREBRO - MOMENTS LATER<\/stage_direction>\n    <scene_description>Charles tries Cerebro again. This time, he is focused, a sense of serenity in his eyes. IMAGES COME TO LIFE AROUND HIM. Faces, voices, a mass of mutants all over the country. Charles sees--<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>So much...fear...pain...so many of us...with nowhere to go...<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>Do you see Raven...?<\/dialogue>\n    <scene_description>Charles searches the faces. He starts to isolate one--<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>I'm getting something...<\/dialogue>\n    <scene_description>He focuses on her, see her face--<\/scene_description>\n    <character>CHARLES (CONT'D)<\/character>\n    <dialogue>I've got her. She's....<\/dialogue>\n    <scene_description>He slows, a little confused.<\/scene_description>\n    <character>CHARLES (CONT'D)<\/character>\n    <dialogue>No, this can't be right...<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>What, what is it?<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>Is it Erik? Trask?<\/dialogue>\n    <scene_description>Charles shakes his head.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>No...it's...she's...<\/dialogue>\n    <scene_description>And the image finally resolves, so we see: Raven is standing outside the mansion.<\/scene_description>\n    <character>CHARLES (CONT'D)<\/character>\n    <dialogue>She's here.<\/dialogue>\n    <scene_description>They hear the BELL CHIME. Hank straightens, surprised, excited. Charles takes off the helmet. Logan looks at Cerebro.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>We didn't need this to tell us that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. XAVIER MANSION - PAST - DUSK<\/stage_direction>\n    <scene_description>The front door opens. Raven stands there. A beat of silence. Nobody knows what to say. She looks at Charles, Hank. Logan.<\/scene_description>\n    <character>RAVEN<\/character>\n    <dialogue>Who's the old guy?<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>Old guy...?<\/dialogue>\n    <scene_description>She looks at them, so many questions.<\/scene_description>\n    <character>RAVEN<\/character>\n    <dialogue>What happened in Paris? How did you know I was going to be there? What did Erik mean about me?<\/dialogue>\n    <scene_description>They look back at her.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>Come inside, Raven.<\/dialogue>\n    <scene_description>As she enters the house, Logan starts to shut the door behind her. But he slows, a flicker of pain in his eyes. And we see--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MONASTERY - INNER SANCTUM - FUTURE - DAY<\/stage_direction>\n    <scene_description>Logan's eyes flutter. Kitty looks even weaker, barely holding on. Storm wipes her brow softly. Bobby walk back to Magneto, his voice low.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>She can't keep going like this,<\/dialogue>\n    <scene_description>it's going to kill her. (motions to Logan) He may be able to survive anything, but she can't.<\/scene_description>\n    <character>MAGNETO<\/character>\n    <dialogue>We don't have a choice, Bobby.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>We could wake him up, pull the plug.<\/dialogue>\n    <character>MAGNETO<\/character>\n    <dialogue>And doom the rest of us? We have no idea what's become of the past.<\/dialogue>\n    <scene_description>Bobby has no answer. But they hear:<\/scene_description>\n    <character>XAVIER<\/character>\n    <dialogue>Yes we do.<\/dialogue>\n    <scene_description>They turn, see Xavier getting closer.<\/scene_description>\n    <character>XAVIER (CONT'D)<\/character>\n    <dialogue>We can't wake Logan yet. I got a glimpse of the past.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>From where?<\/dialogue>\n    <scene_description>Xavier gives a distant smile.<\/scene_description>\n    <character>XAVIER<\/character>\n    <dialogue>Let's just say, an old friend. I'm afraid things are more precarious than ever. If we wake Logan now, we set our fate on a potentially far darker course.<\/dialogue>\n    <scene_description>Bobby struggles, looks at Kitty.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I can't sit here and watch her die.<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>I'm sorry, Bobby, I wish there was another way, but no one can take over for Kitty, no one else has her power.<\/dialogue>\n    <scene_description>Bobby looks at Kitty, his eyes narrow with a thought.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Actually, there is someone... someone who could take her power, take her place.<\/dialogue>\n    <parenthetical>(looks to Magneto)<\/parenthetical>\n    <dialogue>She took yours once.<\/dialogue>\n    <scene_description>Magneto and Xavier look at Bobby, realize he's talking about--<\/scene_description>\n    <character>MAGNETO<\/character>\n    <dialogue>Rogue.<\/dialogue>\n    <scene_description>Xavier shakes his head.<\/scene_description>\n    <character>XAVIER<\/character>\n    <dialogue>She's gone, Bobby. She's dead. I haven't been able to make a connection with her in years.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Because they're keeping her in the<\/dialogue>\n    <scene_description>one place your mind can't reach. (a beat) She's in your house, Professor. She's in Cerebro. Xavier slows, putting it together--<\/scene_description>\n    <character>XAVIER<\/character>\n    <dialogue>We built Cerebro so telepaths could never access it from outside, so no one could abuse its powers.<\/dialogue>\n    <scene_description>Bobby nods.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>They've been holding her there, experimenting on her, to see how they can take our powers.<\/dialogue>\n    <scene_description>Xavier sits back, stunned.<\/scene_description>\n    <character>MAGNETO<\/character>\n    <dialogue>If you knew all this, why haven't you tried to save her?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>We did. It's too heavily guarded.<\/dialogue>\n    <scene_description>Xavier's eyes narrow, undaunted.<\/scene_description>\n    <character>XAVIER<\/character>\n    <dialogue>Well, I may know a few things about that place they don't.<\/dialogue>\n    <scene_description>Magneto looks over at him.<\/scene_description>\n    <character>MAGNETO<\/character>\n    <dialogue>We'll go, get Rogue, bring her back here.<\/dialogue>\n    <scene_description>They start to mobilize, but...Bobby steps in their way.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I'm going with you.<\/dialogue>\n    <character>XAVIER<\/character>\n    <dialogue>Bobby, it's too dangerous.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>118 It's Rogue. I'm going with you. 118<\/dialogue>\n    <scene_description>(a beat) And no offense, but you two aren't getting any younger. You could use the help. Magneto and Xavier swap a glance, and we CUT TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MONASTERY - INNER SANCTUM - FUTURE - DAY 119<\/stage_direction>\n    <scene_description>Bobby kneels down to Kitty, their faces close.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Kitty, I'm going to get help, I'm going to bring back someone who can help you.<\/dialogue>\n    <scene_description>Kitty's eyes open, weary.<\/scene_description>\n    <character>KITTY<\/character>\n    <dialogue>Just...bring...yourself...back.<\/dialogue>\n    <scene_description>Bobby nods, emotional. He kisses her softly, and turns to go. She watches him for a moment, not sure if she'll ever see him again, as he disappears into the darkness, and we CUT TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. XAVIER MANSION - KITCHEN - PAST - NIGHT<\/stage_direction>\n    <scene_description>Raven sits back, stunned. Charles, Logan, and Hank stand around her.<\/scene_description>\n    <character>RAVEN<\/character>\n    <dialogue>So...they turn me into...<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>RAVEN<\/character>\n    <dialogue>How many of us survive?<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>Not all of us.<\/dialogue>\n    <scene_description>She turn to Hank, taking it all in. A beat. Then--<\/scene_description>\n    <character>RAVEN<\/character>\n    <dialogue>So...Erik was right.<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RAVEN<\/character>\n    <dialogue>You have to kill me...or Trask. That's the only way to end this.<\/dialogue>\n    <scene_description>Charles shakes his head.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>If we kill Trask, there will be ten more just like him, and we'll have given them a reason to hate and fear us.<\/dialogue>\n    <character>RAVEN<\/character>\n    <dialogue>You think they need a reason? You didn't see the way they looked at me in Paris. The way they looked at us.<\/dialogue>\n    <scene_description>She looks toward Hank, who lowers his head.<\/scene_description>\n    <character>RAVEN (CONT'D)<\/character>\n    <dialogue>If we want to win this war, we have to strike first.<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>You sound like Erik.<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>I've seen a lot of wars, kid. Trust me, nobody ever wins.<\/dialogue>\n    <scene_description>Charles looks at Raven.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>If we have any hope of stopping this war, we need to show them we're not the enemy. We need to show them we're not all like Erik.<\/dialogue>\n    <scene_description>Raven rises, blue.<\/scene_description>\n    <character>RAVEN<\/character>\n    <dialogue>You think they'll ever look at me like this, and see anything but the enemy...?<\/dialogue>\n    <scene_description>Charles considers.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>I hope so, yes.<\/dialogue>\n    <scene_description>Raven looks around the room, sees Hank and Logan agree. She falters slightly, her leg giving. She holds herself up.<\/scene_description>\n    <character>RAVEN<\/character>\n    <dialogue>I lost a lot of blood, I need to rest.<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>We kept your room the way it was. Hank can tend to your wound.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. XAVIER MANSION - RAVEN'S ROOM - PAST - NIGHT<\/stage_direction>\n    <scene_description>Raven lays on the bed. Hank checks her wound, his hands on her flesh. She looks at him.<\/scene_description>\n    <character>RAVEN<\/character>\n    <dialogue>So you're like this all the time?<\/dialogue>\n    <character>HANK<\/character>\n    <dialogue>Like what?<\/dialogue>\n    <scene_description>She motions to his human form.<\/scene_description>\n    <character>HANK (CONT'D)<\/character>\n    <dialogue>Not all the time. I take a shot in the morning. And I need another if I get...worked up.<\/dialogue>\n    <scene_description>She leans forward, closer.<\/scene_description>\n    <character>RAVEN<\/character>\n    <dialogue>Worked up...?<\/dialogue>\n    <scene_description>Hank swallows hard.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>Yeah, you know...emotional or...excited...any...animal urges...<\/dialogue>\n    <scene_description>His skin starts to turn blue where he's touching her.<\/scene_description>\n    <character>HANK (CONT'D)<\/character>\n    <dialogue>Usually I can fight them down.<\/dialogue>\n    <scene_description>He tries to fight it off, but she takes his wrist.<\/scene_description>\n    <character>RAVEN<\/character>\n    <dialogue>Maybe we shouldn't have to fight the things that come naturally...<\/dialogue>\n    <scene_description>He looks down, his arm going blue. He looks back at Raven.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>You know, if you took it, you could get rid of your mutation. Then they wouldn't have any reason to come after you.<\/dialogue>\n    <scene_description>She lets go of his hand.<\/scene_description>\n    <character>RAVEN<\/character>\n    <dialogue>But it wouldn't be me anymore, Hank. This is me.<\/dialogue>\n    <scene_description>She motions to her blue skin. Then motions to his blue arm.<\/scene_description>\n    <character>RAVEN (CONT'D)<\/character>\n    <dialogue>And that's you. When you can see that, maybe we can be together. Till then...goodnight.<\/dialogue>\n    <scene_description>She takes the medical supplies out of his hand. He looks at her, wants to say something, wants to connect, but--<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>Okay, goodnight.<\/dialogue>\n    <scene_description>Raven lays there alone. She looks at her reflection across the room in an old mirror. A few photos tucked into the mirror, pictures of RAVEN AS A YOUNG GIRL IN HUMAN FORM. She looks at herself now. A beat, contemplating, conflicted. And we hear:<\/scene_description>\n    <character>TRASK (V.O.)<\/character>\n    <dialogue>Her DNA is extraordinary...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRASK INDUSTRIES - LAB - PAST - NIGHT<\/stage_direction>\n    <scene_description>Trask looks at a sample of BLOOD under a microscope, Bill stands behind him.<\/scene_description>\n    <character>TRASK<\/character>\n    <dialogue>...her somatic cells are self- replicating, her RNA sequencing is mutagenic. Her genes could hold the key to mutation.<\/dialogue>\n    <scene_description>He sits back, his mind racing.<\/scene_description>\n    <character>TRASK (CONT'D)<\/character>\n    <dialogue>I need more.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>That's all they were able to scrape off the pavement in Paris.<\/dialogue>\n    <scene_description>Trask shakes his head.<\/scene_description>\n    <character>TRASK<\/character>\n    <dialogue>More than blood. I need brain tissue, spinal fluid. If we could open her up, see how it's all connected, we could leap the program forward years, maybe decades.<\/dialogue>\n    <scene_description>Bill looks at Trask.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>You really hate these things, don't you?<\/dialogue>\n    <scene_description>Trask looks back at him.<\/scene_description>\n    <character>TRASK<\/character>\n    <dialogue>Mutants? No, I don't hate mutants. I actually kindof admire them, the way they're built, their design, it's impressive really.<\/dialogue>\n    <scene_description>He moves away from the microscope.<\/scene_description>\n    <character>TRASK (CONT'D)<\/character>\n    <dialogue>But every age needs something, someone, to fear. What better enemy than someone who can look like you, live next door, and move mountains with their mind? Once the world knows what they're up against, they'll want Sentinels in every city, every street corner. We'll be the only thing that can protect them. That's power, Bill, real power, more than any mutant, government. We'll control the future of the species...<\/dialogue>\n    <scene_description>Trask drifts to the window, looks out, sees: DARK FORMS being loaded into large shipping containers.<\/scene_description>\n    <character>TRASK<\/character>\n    <dialogue>That future begins tomorrow...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRASK FACTORY - NIGHT<\/stage_direction>\n    <scene_description>We see those large containers from another POV, high above the factory, atop a dark mountain peak: A SHADOW stands. Wearing a familiar helmet. ERIK watches them. A plan in his eyes. And we hear:<\/scene_description>\n    <character>REPORTER (V.O.)<\/character>\n    <dialogue>The public remains on high alert...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. XAVIER MANSION - OFFICE - PAST - NIGHT 127<\/stage_direction>\n    <scene_description>Charles and Logan watch the report on TV--<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>All around the world, borders are being closed, police are on the lookout for the creatures we saw in Paris, and others like them. A few have been discovered, and taken into custody for questioning.<\/dialogue>\n    <scene_description>IMAGES OF MUTANTS being rounded up across the world.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>Exactly as Erik feared...<\/dialogue>\n    <scene_description>The REPORTER stands in front of Congress.<\/scene_description>\n    <character>REPR<\/character>\n    <dialogue>Here in the US, the administration will make a statement on the steps of Congress tomorrow. President Nixon will address the press, along with Defense Secretary Laird and a top biological scientist, Dr. Bolivar Trask.<\/dialogue>\n    <scene_description>Charles sits back, quiet.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>We've given him the stage he needs.<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>What he needs is sitting in her room down the hall.<\/dialogue>\n    <scene_description>But Charles looks at the TV, images of mutants rounded up. He darkens, struggling to hold onto hope.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>What if...whatever we do to change the course of history...it all ends the same way?<\/dialogue>\n    <scene_description>Logan doesn't have an answer. A beat. Charles turns, leaves the room. Logan looks back at the TV--<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>Sources at the White House say the President will reveal a new weapon for combating this threat.<\/dialogue>\n    <scene_description>As the words hang there, we CUT HARD TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOUNTAIN PASS - PAST - NIGHT<\/stage_direction>\n    <scene_description>A CARGO TRAIN carves through the mountains. As it passes under a BRIDGE, we see-- A figure drops down from the bridge. Lands on the roof of the last car. The moonlight hits the helmet of-- ERIK. He looks up, reaches back toward the TRAIN TRACKS BEHIND HIM. He focuses all his power and--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAIN TRACKS - PAST - NIGHT<\/stage_direction>\n    <scene_description>THE TRACKS BEHIND THE TRAIN START TO SHIFT, UNDULATING... RIPPING OFF THE GROUND AND... RACING TOWARD THE BACK OF THE TRAIN.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAIN - PAST - NIGHT<\/stage_direction>\n    <scene_description>Erik opens the doors of the cars, and he controls the metal tracks like snakes, SLITHERING through every opening of the train cars, into--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN CARGO HOLD - PAST - NIGHT 133<\/stage_direction>\n    <scene_description>THE CARGO HOLDS CARRYING THE SENTINELS. ERIK SENDS THE METAL INTO THE BODIES OF THE SENTINELS, FILLING THEIR SKELETONS WITH STEEL. As the train speeds into the darkness, we CUT HARD TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MONASTERY - INNER SANCTUM - FUTURE - NIGHT 135<\/stage_direction>\n    <scene_description>LOGAN'S body tosses and turns. Kitty strains. Storm takes the towel to a washbasin to wring it out. Bishop gets close.<\/scene_description>\n    <character>BISHOP<\/character>\n    <dialogue>She's not gonna make it.<\/dialogue>\n    <scene_description>Storm keeps her head down.<\/scene_description>\n    <character>STORM<\/character>\n    <dialogue>Charles and Erik will be back. They've survived worse.<\/dialogue>\n    <character>BISHOP<\/character>\n    <dialogue>Worse than a house full of Sentinels?<\/dialogue>\n    <scene_description>She looks at him, nods.<\/scene_description>\n    <character>STORM<\/character>\n    <dialogue>They survived each other.<\/dialogue>\n    <scene_description>As she heads back to Kitty, we CUT HARD TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. XAVIER MANSION - FUTURE - NIGHT 136<\/stage_direction>\n    <scene_description>The mansion has been transformed once more. Now it look like a MILITARY BASE. Bars cover windows, soldiers patrol. A couple SENTINELS stand perched on the rooftop. We pull back across the property through the trees to--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. X-JET - FUTURE - NIGHT<\/stage_direction>\n    <scene_description>The jet is parked in a field. Xavier sits alone. No sign of Magneto and Bobby. His eyes flutter, sending a mental message, as we MOVE DOWN UNDERGROUND TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDERGROUND TUNNELS - FUTURE - NIGHT 138<\/stage_direction>\n    <scene_description>Magneto and Bobby move through old tunnels that snake toward the house. Cobwebs, dust, shadows.<\/scene_description>\n    <character>XAVIER (V.O.)<\/character>\n    <dialogue>The old gas and water pipes lead straight into the house...<\/dialogue>\n    <scene_description>They splash through the dirty tunnels. They reach a DEAD END.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>We hit a dead end, Professor.<\/dialogue>\n    <character>XAVIER (V.O.)<\/character>\n    <dialogue>The walls are reinforced with six inches of steel. That's not a dead end, Bobby--<\/dialogue>\n    <scene_description>MAGNETO It's a door. And he uses his power to PULL THE REBAR THROUGH THE WALLS, opening up a passageway. They climb through it to--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. XAVIER MANSION - BLUE HALLWAY - FUTURE - NIGHT<\/stage_direction>\n    <scene_description>Magneto and Bobby emerge, dropping into the old, familiar BLUE HALLWAYS. Only now the halls are dark, spooky, with panels missing and wires dangling from the ceiling. Magneto and Bobby march down the long hall, past the elevator, reaching the familiar doors of CEREBRO. Magneto raises his hand, OPENS the metal doors, and--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. XAVIER MANSION - CEREBRO - FUTURE - NIGHT<\/stage_direction>\n    <scene_description>They enter the massive chamber to see it has been transformed into a high-tech LAB. ROGUE lays on an operating table at the end of the walkway. Wires and sensors cover her body. A few DOCTORS are gathered around Rogue. They turn to see-- Magneto and Bobby entering. Magneto darkens.<\/scene_description>\n    <character>MAGNETO<\/character>\n    <dialogue>I've been on that slab before. Let me show you how it feels.<\/dialogue>\n    <scene_description>He raises a hand. ALL THE MEDICAL SUPPLIES AND TOOLS WHIP UP TOWARD THE DOCTORS, drills and saws flying at them and-- WHHM. They FREEZE in mid-air. Millimeters from their faces. Blades shimmering, hanging, with Magneto beyond them.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You should leave.<\/dialogue>\n    <scene_description>The doctors flee. The metal tools drop to the ground. Bobby rushes to Rogue, pulls the plugs from her. Her eyes flutter, semi-conscious. She looks up and sees--<\/scene_description>\n    <character>ROGUE<\/character>\n    <dialogue>Bobby...am I...dreaming...?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Nightmare's over, Rogue.<\/dialogue>\n    <scene_description>He wraps her in the operating sheet so he can carry her without touching her skin. They head out to--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. XAVIER MANSION - BLUE HALLWAY - FUTURE - NIGHT<\/stage_direction>\n    <scene_description>Magneto leads Bobby and Rogue down the hall toward their exit. As they pass the elevator, we see: It is MOVING, HEADING DOWN.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. X-JET - FUTURE - NIGHT<\/stage_direction>\n    <scene_description>Xavier's eyes narrow, sensing--<\/scene_description>\n    <character>XAVIER<\/character>\n    <dialogue>Erik. Erik, get out of there now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. XAVIER MANSION - BLUE HALLWAY - FUTURE - NIGHT<\/stage_direction>\n    <scene_description>DING! Magneto, Bobby, and Rogue turn to see-- The elevator opens, and...a DARK MASS emerges. Black scales unfold, twisting into the form of-- THREE SENTINELS. Magneto rushes Bobby and Rogue toward their escape, as-- The Sentinels come loping toward them, picking up speed. Magneto, Bobby, and Rogue race through the hole in the ceiling. Magneto reaches back and FUSES THE HOLE SHUT. The Sentinels SMASH into it, BANGING from the other side. The floor CRACKS, starts to buckle, as--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. XAVIER MANSION - OLD TUNNELS - FUTURE - NIGHT<\/stage_direction>\n    <scene_description>Magneto, Bobby, and Rogue race down the old tunnels, heading back the way they came. Behind them-- BANGBANGBANG! The Sentinels SMASH THROUGH THE FLOOR. They rise up into the tunnel, giving chase. Bobby reaches back and FIRES, FILLING THE TUNNEL WITH ICE BEHIND THEM. The Sentinels CRASH into the wall of ice, CRACKING IT, but Bobby keeps firing, putting up more and more layers.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Take her!<\/dialogue>\n    <scene_description>Bobby extends Rogue toward Magneto. Magneto takes her. He keeps moving toward the end of the tunnels, as-- Bobby keeps firing ice the other way, but-- The Sentinels CRASH through the ice faster than he can fire. He uses all his strength to hold up the wall. Magneto and Rogue reach the end of the tunnel, the ladder. They look back and see-- Bobby has fallen behind. He strains to hold the ice wall solid. The Sentinels FIRE their ENERGY into it, MELTING it. It's just a matter of seconds till they come through.<\/scene_description>\n    <character>ROGUE<\/character>\n    <dialogue>Bobby!<\/dialogue>\n    <scene_description>He looks back, too far to reach. He smiles, with one arm still firing ice.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Go. Finish this.<\/dialogue>\n    <scene_description>Rogue's eyes fill with tears, as-- The Sentinel BEAM comes through the ice. Bobby goes FULL ICEMAN, covering his body with a protective sheet of ice, but- The beam melts the ice. He starts to burn up from the inside, his BODY MELTING with the ice, blood merging with water. Rogue claws back toward him, but Magneto holds her tight. As the Sentinels charge forward, trampling past Bobby-- Magneto raises a hand of his own. The walls shiver, metal pipes shake, and-- WHHHHM. ALL THE PIPES RIP OUT OF THE WALLS, HISSING GAS. Magneto holds Rogue and starts to rise up the ladder, as-- The Sentinels bear down, their HEADS OPENING TO FIRE ANOTHER BLAST OF ENERGY. But as soon as the energy hits the air-- IT IGNITES THE GAS FROM THE PIPES. Magneto and Rogue RISE out of the tunnel as-- IT DETONATES BEHIND THEM. The blast WHOOSHES down the tunnel, filling it with flames, BLASTING TOWARD THE HOUSE AND--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. X-JET - FUTURE - NIGHT<\/stage_direction>\n    <scene_description>Xavier sees his house GO UP IN FLAMES. The reflection dances in the dark canopy of the cockpit. He shuts his eyes, his family home destroyed. Time stands still for a moment, the reflection flickering. Then-- MAGNETO rises into the back of the jet with Rogue.<\/scene_description>\n    <character>MAGNETO<\/character>\n    <dialogue>Charles...<\/dialogue>\n    <scene_description>He motions out the window. Charles sees: SENTINELS flapping and flying out of the house, ABLAZE, their scales burning, charging toward the plane. Xavier flips on the controls. The jet start to RISE. The Sentinels soar closer. The first two SLAM into the plane, grabbing hold of its wings. They start RIPPING into the metal skin of the plane. Xavier hits the THRUSTERS, which BURN BRIGHT, BLOWING ONE SENTINEL APART.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. X-JET - FUTURE - NIGHT<\/stage_direction>\n    <scene_description>The X-JET WINGS FOLD INTO THE BODY OF THE PLANE, RIPPING THE OTHER SENTINEL OFF, leaving only its BLACK SCALY HAND clinging to the wing, twitching, but-- The Sentinel grabs hold of the PLANE'S TAIL with its other hand. Xavier turns up the thrusters, the engines burn, INCINERATING the Sentinel, and finally-- The X-Jet ROCKETS AWAY, GOING SUPERSONIC, leaving the burning Sentinels behind.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. X-JET - FUTURE - NIGHT<\/stage_direction>\n    <scene_description>Magneto looks back at the blazing house. Rogue sees Xavier.<\/scene_description>\n    <character>ROGUE<\/character>\n    <dialogue>Professor...<\/dialogue>\n    <scene_description>He looks back at her, his eyes emotional.<\/scene_description>\n    <character>XAVIER<\/character>\n    <dialogue>I thought you were gone.<\/dialogue>\n    <character>ROGUE<\/character>\n    <dialogue>I thought so too.<\/dialogue>\n    <scene_description>A moment between them, as the plane rockets away, leaving the mansion burning in ruins. The end of an era. The smoke and embers swirl into the sky, as we slowly DISSOLVE TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. XAVIER MANSION - PAST - NIGHT<\/stage_direction>\n    <scene_description>The old house. Logan's car parked outside. The house is dark, quiet. Everyone is asleep, save for--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. XAVIER MANSION - HALLS - PAST - NIGHT<\/stage_direction>\n    <scene_description>Two feet move through the halls...into the elevator...down underground to...CEREBRO. The door scans the figure.<\/scene_description>\n    <character>CEREBRO VOICE<\/character>\n    <dialogue>Welcome Professor.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. XAVIER MANSION - BLUE HALLWAY - PAST - NIGHT<\/stage_direction>\n    <scene_description>The doors open, revealing: CHARLES. Standing again. Walking. But as he enters Cerebro-- HE TRANSFORMS INTO RAVEN. She goes to the controls for Cerebro. She opens them up, pauses for a moment.<\/scene_description>\n    <character>RAVEN<\/character>\n    <dialogue>I'm sorry, Charles.<\/dialogue>\n    <scene_description>And she DESTROYS CEREBRO, ripping the cables apart, SHATTERING THE HELMET. It crashes to pieces. Raven walks away, with Cerebro dying, sparking behind her. As she departs--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MONASTERY - FUTURE - DAWN<\/stage_direction>\n    <scene_description>The X-JET returns, landing in the courtyard.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MONASTERY - INNER SANCTUM - FUTURE - DAY 153<\/stage_direction>\n    <scene_description>Magneto, Xavier, and Rogue move fast. Storm and Bishop turn, see them. Kitty looks up weakly.<\/scene_description>\n    <character>KITTY<\/character>\n    <dialogue>Where's...Bobby...?<\/dialogue>\n    <scene_description>Rogue looks back at her, emotional.<\/scene_description>\n    <character>ROGUE<\/character>\n    <dialogue>I'm sorry, Kitty.<\/dialogue>\n    <scene_description>Kitty sinks back, all her energy starts to fade, but-- Rogue grabs Kitty's wrist. Kitty's skin goes pale, veins bulging, as ROGUE TAKES HER POWER. The energy surges through Rogue into Logan. We PUSH INTO his face as the light flares around him and--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. XAVIER MANSION - LOGAN'S ROOM - PAST - DAWN<\/stage_direction>\n    <scene_description>Logan takes a huge gasp, as he snaps awake. He rises from bed, gathers his senses. And hears: FOOTSTEPS pounding down the hall. He goes out to see--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. XAVIER MANSION - HALLWAY - PAST - DAWN<\/stage_direction>\n    <scene_description>Hank moves quickly down the hall, clearly troubled.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>Hank... Hank? What's going on?<\/dialogue>\n    <scene_description>He trails Hank, who pushes through the door to--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. XAVIER MANSION - XAVIER'S OFFICE - PAST - MORNING<\/stage_direction>\n    <scene_description>Hank enters. Charles looks up, immediately sensing--<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>She's gone.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. XAVIER MANSION - CEREBRO - PAST - MORNING 157<\/stage_direction>\n    <scene_description>The door opens, the wheelchair rolls in, with Logan and Hank behind Charles. They go to Cerebro and see: It is destroyed. Hank tries to turn on the power, but it's dead, wires still sparking. Charles looks around.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>We can't track her now.<\/dialogue>\n    <scene_description>But Logan steps up.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>We know where she'll be.<\/dialogue>\n    <scene_description>They look at him.<\/scene_description>\n    <character>LOGAN (CONT'D)<\/character>\n    <dialogue>Washington. Trask will be there. Out in the open. That's where she'll make her move.<\/dialogue>\n    <scene_description>Charles nods, quiet--<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>In front of the whole world.<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>Hank, get the jet ready.<\/dialogue>\n    <scene_description>But Hank doesn't move.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>What if Erik's there?<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>I'll take care of Erik. Just get the jet.<\/dialogue>\n    <scene_description>Hank shakes his head.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>It's made of metal. If he sees us in that thing, he could crush it like a tin can.<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>Fine. I'll drive. Five minutes, outside.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. XAVIER'S ROOM - BATHROOM - PAST - DAY 161<\/stage_direction>\n    <scene_description>Charles splashes water on his face, readying himself. He runs a hand through his hair, notices-- A few strands of hair coming out, he sees more in the sink. He looks into the mirror, a little unnerved.<\/scene_description>\n    <character>LOGAN (O.S.)<\/character>\n    <dialogue>Things will change.<\/dialogue>\n    <scene_description>Charles looks back, sees Logan stepping into the doorway.<\/scene_description>\n    <character>LOGAN (CONT'D)<\/character>\n    <dialogue>After today, the future is gonna be different.<\/dialogue>\n    <scene_description>He takes a step closer.<\/scene_description>\n    <character>LOGAN (CONT'D)<\/character>\n    <dialogue>But I want you to promise me something. No matter what happens today. Promise me one thing won't change...<\/dialogue>\n    <scene_description>Charles looks at him, not sure where this is going.<\/scene_description>\n    <character>LOGAN (CONT'D)<\/character>\n    <dialogue>The X-Men. You put us together. We were a good group. Cyclops, Storm...Jean. We went through a lot together, so...you'll do that, yeah, you'll find us again?<\/dialogue>\n    <scene_description>Charles considers, the weight of that responsibility.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>I'll do my best.<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>That'll be enough.<\/dialogue>\n    <scene_description>He taps the wall.<\/scene_description>\n    <character>LOGAN (CONT'D)<\/character>\n    <dialogue>Let's go.<\/dialogue>\n    <scene_description>He heads out. Charles takes one more look in the mirror, and--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - PAST - DAY<\/stage_direction>\n    <scene_description>We see someone else preparing for the day: ERIK. He puts on a coat, looks out the window, sees-- The dome of the CAPITOL BUILDING in the distance. He stares out, his eyes steel, a warrior before battle. As he heads out, his coat flutters, almost like a cape, and we see the Capitol from another perspective--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OVAL OFFICE - PAST - MORNING 162<\/stage_direction>\n    <scene_description>The President looks out the window. TRASK stands close to him. The room is full of GENERALS and AIDES.<\/scene_description>\n    <character>NIXON<\/character>\n    <dialogue>This isn't gonna be like goddamn Paris, right? We got every eyeball in the world watching.<\/dialogue>\n    <character>TRASK<\/character>\n    <dialogue>Sir, the Sentinels are already in place. If they decide to attack, we'll be ready. We'll show the world we can protect them.<\/dialogue>\n    <scene_description>Nixon nods, a little unsure, and we CUT TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MONASTERY - FUTURE - NIGHT 164<\/stage_direction>\n    <scene_description>Snow flutters on the mountain-top. The X-JET sits parked. We move toward the plane, swooping under it, where we see... Something BLINKING in the snow. It's the SENTINEL HAND that was ripped off during the aerial battle. The circuitry flickers, sending a MESSAGE. As it BEEPS menacingly, we hear:<\/scene_description>\n    <character>REPORTER (V.O.)<\/character>\n    <dialogue>Thousands of people will be here today...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WASHINGTON DC NATIONAL MALL - PAST - DAY<\/stage_direction>\n    <scene_description>Flags flap in the breeze. The mall is teeming with people.<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>They've come from all over the world to witness history, along with news crews from at least fifty different countries.<\/dialogue>\n    <scene_description>The crowd surges toward a STAGE at the foot of the CAPITOL BUILDING. In the masses, we see-- Logan's CAR pulls up. He emerge with Hank. They open a door, help Charles into his chair. He looks out at all the faces.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>Even more than I feared...<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>Split up and search.<\/dialogue>\n    <scene_description>They head in different directions to search the crowd. Charles wheels himself forward. He takes cover with other men in wheelchairs, VIETNAM VETERANS. One of them looks over.<\/scene_description>\n    <character>VIETNAM VETERAN<\/character>\n    <dialogue>Fourth Infantry at Tet. Took a Bouncing Betty, wiped out most of my troop. What happened to you?<\/dialogue>\n    <scene_description>He motions to the chair. Charles considers.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>Friendly fire.<\/dialogue>\n    <character>VIETNAM VETERAN<\/character>\n    <dialogue>Worst kind.<\/dialogue>\n    <scene_description>Charles nods, thinking about Erik. He looks out at the crowd, puts a hand to his head, and we see-- HIS POV DARTS THROUGH THE THOUSANDS OF FACES, MINDS. He slows, trying to process it all,<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>So many voices...<\/dialogue>\n    <scene_description>The Vietnam Vet looks over at him, just another guy who lost his mind in the war. As Charles searches the crowd-- Logan and Hank move through the masses. Logan sees-- The PRESIDENTIAL MOTORCADE pulls up. The PRESIDENT is escorted by SECRET SERVICEMEN toward the stage. TRASK trails. The crowd pushes forward for a better look, and we CUT TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MONASTERY - WALLS- FUTURE - NIGHT<\/stage_direction>\n    <scene_description>A few mutants man the wall of the monastery. We recognize JAMES WARPATH PROUDSTAR. He hears something with his enhanced senses. He looks into the distance and sees-- DOTS ON THE HORIZON. He narrows his eyes, using his enhanced vision to ZOOM like binoculars. He sees the dots are: SENTINELS. TWENTY OF THEM. More than we've ever seen.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MONASTERY - INNER SANCTUM - FUTURE - NIGHT 169<\/stage_direction>\n    <scene_description>Xavier can read Warpath's mind. He looks up, stricken.<\/scene_description>\n    <character>XAVIER<\/character>\n    <dialogue>There are twenty Sentinels heading this way.<\/dialogue>\n    <scene_description>Everyone freezes.<\/scene_description>\n    <character>BISHOP<\/character>\n    <dialogue>They found us.<\/dialogue>\n    <scene_description>Storm looks to Blink, motions to Logan.<\/scene_description>\n    <character>STORM<\/character>\n    <dialogue>Can you teleport him out of here?<\/dialogue>\n    <character>BLINK<\/character>\n    <dialogue>Not while he's in that state. It would wake him.<\/dialogue>\n    <character>XAVIER<\/character>\n    <dialogue>We need more time.<\/dialogue>\n    <scene_description>Storm steps forward, looks to Bishop.<\/scene_description>\n    <character>STORM<\/character>\n    <dialogue>Give me every soldier you've got. We'll hold them off as long as we can.<\/dialogue>\n    <scene_description>As this ragtag army rises together, heading for their final battle, we hear a voice--<\/scene_description>\n    <character>TRASK (V.O.)<\/character>\n    <dialogue>Today is an historic day...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAPITOL BUILDING - PAST - DAY<\/stage_direction>\n    <scene_description>Trask addresses the vast crowd. Nixon, Bill, and the Generals stand behind him. In the crowd, everyone watches, except for-- Logan, Hank, and Charles. They keep searching the masses.<\/scene_description>\n    <character>TRASK<\/character>\n    <dialogue>Today we are united not by faith or flag, but by something far greater.<\/dialogue>\n    <scene_description>Charles keeps whipping through faces, minds--<\/scene_description>\n    <character>TRASK (CONT'D)<\/character>\n    <dialogue>170 Today we stand as Homo Sapiens, 170<\/dialogue>\n    <scene_description>facing the greatest threat in the history of our species. What the world witnessed in Paris was not an isolated incident. These people are part of a growing population of humans with mutated DNA, \"mutants\" if you will...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MONASTERY - WALL - FUTURE - NIGHT<\/stage_direction>\n    <scene_description>Storm stands on the wall with Bishop, Jubilee, Blink, Proudstar, other mutant soldiers. They see-- The Sentinels get bigger in the distance.<\/scene_description>\n    <character>STORM<\/character>\n    <dialogue>Everybody take cover. And hold onto anything that's not locked down.<\/dialogue>\n    <scene_description>Storm's eyes go white, and WIND STARTS TO WHIP UP AROUND HER. Then it BLOWS TOWARD THE SENTINELS, turning into-- A HURRICANE. It hits the Sentinels, BLOWING them back, as we CUT TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DC - CAPITOL BUILDING - PAST - DAY<\/stage_direction>\n    <scene_description>Charles continues to move through the storm of voices, minds, until he hears a FAMILIAR VOICE--<\/scene_description>\n    <character>CHARLES (V.O.)<\/character>\n    <dialogue>Raven...<\/dialogue>\n    <scene_description>WE SEE: RAVEN MOVING THROUGH THE CROWD TOWARD THE STAGE. She slows for a moment, as the speech continues in the background, all sound now focused on-- CHARLES AND RAVEN HAVING A TELEPATHIC CONVERSATION. She speaks softly under her breath--<\/scene_description>\n    <character>RAVEN<\/character>\n    <dialogue>I thought you said you'd never get in my head.<\/dialogue>\n    <character>CHARLES (V.O.)<\/character>\n    <dialogue>You left me little choice. Please, Raven, stop now. I don't want to use my power against you.<\/dialogue>\n    <scene_description>She continues toward the stage.<\/scene_description>\n    <character>RAVEN<\/character>\n    <dialogue>Why don't you use it against them?<\/dialogue>\n    <character>CHARLES (V.O.)<\/character>\n    <dialogue>Because that would give Trask exactly what he wants. And so will you, if you walk into his hands. He needs you, Raven, to seal our fate.<\/dialogue>\n    <character>RAVEN<\/character>\n    <dialogue>He can't do that if he's dead.<\/dialogue>\n    <scene_description>171 She TRANSFORMS into a DC POLICE OFFICER, crossing the 171 barricade.<\/scene_description>\n    <character>CHARLES (V.O.)<\/character>\n    <dialogue>Raven, stop now, or I will stop you.<\/dialogue>\n    <scene_description>She keeps moving, sliding out a GUN, almost there.<\/scene_description>\n    <character>CHARLES (V.O.)<\/character>\n    <dialogue>Raven...<\/dialogue>\n    <scene_description>He focuses, ready to freeze her, but... His eyes flutter, sensing with dread--<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>Something is happening...<\/dialogue>\n    <scene_description>Logan hears something. He turns. Then everyone else hears it: A loud CRACKING sound. Like ice. Only it's MARBLE. Heads turn toward the opposite side of the mall:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE LINCOLN MEMORIAL - PAST - DAY<\/stage_direction>\n    <scene_description>The massive Lincoln statue is CRACKING, revealing the thin metal skeleton under the stone. The metal twists and-- THE STATUE RIPS OFF ITS BASE. It comes FLYING OUT OF THE MEMORIAL, shattering columns, tumbling across the REFLECTING POND-- SMASHING INTO THE BASE OF THE WASHINGTON MONUMENT. The obelisk CRACKS, SPLITTING. It starts to tumble down, but--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WASHINGTON MONUMENT - PAST - DAY<\/stage_direction>\n    <scene_description>The top of the monument FREEZES in the air, the METAL CAP glistening in the sun. Charles goes cold.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>Erik...<\/dialogue>\n    <scene_description>And now we see him: ERIK stands at the base of the Washington Monument, with one arm controlling the tip of the monument, TURNING IT AROUND-- SO IT FACES THE CAPITOL. HE HURLS IT TOWARD THE BUILDING. The crowd scatters, mass panic, as-- The top of the Washington Monument comes CRASHING into the Capitol Building, destroying the dome.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAPITOL BUILDING - PAST - DAY<\/stage_direction>\n    <scene_description>Secret Servicemen rush the President off the stage.<\/scene_description>\n    <character>SECRET SERVICEMAN<\/character>\n    <dialogue>Sir, we need to get you to the White House!<\/dialogue>\n    <scene_description>Trask looks to Bill in the chaos--<\/scene_description>\n    <character>TRASK<\/character>\n    <dialogue>Activate the Sentinels! Now!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OTHER SIDE OF CAPITOL BUILDING - PAST - DAY<\/stage_direction>\n    <scene_description>On the other side of the Capitol, we see the familiar CRATES, guarded by SOLDIERS. The crates slide open, and--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAPITOL BUILDING - PAST - DAY<\/stage_direction>\n    <scene_description>FIVE SENTINELS COME FLYING OVER THE CAPITOL. The crowd looks up, seeing these massive machines: EIGHTEEN FEET TALL. Polymer bodies. Deadly. The SENTINELS fly toward Erik, but when they reach him, they suddenly-- FREEZE. Hovering around him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WASHINGTON DC NATIONAL MALL - PAST - DAY<\/stage_direction>\n    <scene_description>Trask and Bill are rushing with the Secret Service toward the motorcade, but Trask slows, confused.<\/scene_description>\n    <character>TRASK<\/character>\n    <dialogue>What are they waiting for?! Why aren't they firing?!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>They should have fired already! I don't know what's wrong!<\/dialogue>\n    <scene_description>The Sentinels TURN OUTWARD, toward the crowd, the city. Erik gives a cold smile.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>They answer to a higher power now.<\/dialogue>\n    <scene_description>He controls them. Trask sees it, stunned. Charles, Logan, and Hank watch.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>Don't do this, Erik.<\/dialogue>\n    <scene_description>But Erik can't hear his voice. He controls a NEWS CAMERA, which floats toward him. He looks into the camera.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>I have a message for your President: these weapons you built to destroy us will bring about your own destruction. Your monuments will soon make way for ours.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>We are the future now. Not you.<\/dialogue>\n    <scene_description>With that, he controls the Sentinels in the sky, turning them against the humans. As the crowd flees, the President and Trask are pushed into the motorcade, racing away. Charles looks up, as the Sentinels begin their attack on Washington. And we CUT BACK TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MONASTERY - WALLS - FUTURE - NIGHT<\/stage_direction>\n    <scene_description>Storm's eyes are white, the wind blows, but-- The SENTINELS start to push through the hurricane, too strong to stop. The mutants all brace for battle.<\/scene_description>\n    <character>BISHOP<\/character>\n    <dialogue>READY! HOLD THIS WALL!<\/dialogue>\n    <scene_description>The first line of Sentinels ATTACKS, clashing with the mutant army as we CUT BACK TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DC NATIONAL MALL - PAST - DAY<\/stage_direction>\n    <scene_description>The Sentinels attack the city, all orchestrated by Erik. Logan and Hank move through the mayhem. Charles searches faces and minds, but there's too much chaos. In the action, we see a couple familiar faces: A few of the MUTANT SOLDIERS FROM SAIGON. They use their powers against the Sentinels, try to help people. As the attack continues, we INTERCUT-- THE MONASTERY IN THE FUTURE and NATIONAL MALL IN THE PAST. Both under siege by a deadly pack of Sentinels. Logan sees SHRAPNEL flying toward a pack of people. He steps in the way, takes the shrapnel to his back, saving them. He winces, healing, and he catches a glimpse of-- A SECRET SERVICEMAN rushing to a follow-vehicle for the Presidential motorcade. The Serviceman has a familiar LIMP. He sees Logan through the crowd. Their eyes lock for a moment, and the Serviceman's eyes FLICKER YELLOW. It's RAVEN. He leaps into the car with the other Serviceman, and they take off, trailing the motorcade toward the WHITE HOUSE.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>I got her!<\/dialogue>\n    <scene_description>Logan makes his way back to Charles. Hank joins them.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>She's in the President's motorcade.<\/dialogue>\n    <scene_description>They're heading to the White House. ACROSS THE MALL: Erik sees the motorcade taking off. He gathers the Sentinels into formation. He RISES UP, hovering between two Sentinels, leading them toward the White House. Logan, Charles, and Hank get into their car to give chase. Logan leans on the horn, trying to clear the street. As they trail Erik and Sentinels, we CUT TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MONASTERY - WALL - FUTURE - NIGHT<\/stage_direction>\n    <scene_description>The mutant army keeps fighting the Sentinels, but-- The Sentinels are taking the upper hand. Jubilee is blasted off the wall. Bishop FIRES his gun, but the Sentinel TWISTS around the stream of energy, and BLOWS Bishop back. Storm fights valiantly, she fires BLASTS OF LIGHTNING. She hits one, two, three, but-- The fourth Sentinel gets her, KNOCKING her off the wall, FALLING WITH HER, KILLING HER IN MID-FLIGHT and-- THUD. Storm lands hard. Her eyes wide, white, and... Dead. The snow falls on her lifeless body.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MONASTERY - INNER SANCTUM - FUTURE - NIGHT 185<\/stage_direction>\n    <scene_description>Xavier darkens, feels Storm's death.<\/scene_description>\n    <character>XAVIER<\/character>\n    <dialogue>Storm....<\/dialogue>\n    <scene_description>Magneto hears the name, knows what it means. He rises, heads for the door, marching into battle, as we CUT BACK TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. WHITE HOUSE - PAST - DAY 187<\/stage_direction>\n    <scene_description>Nixon, Trask, Bill and others are rushed into the OVAL OFFICE. They roll back the rug, rip open a trapdoor in the floor, heading down into an underground bunker. Nixon pauses, goes to the desk to grab his famous TAPE- RECORDER, taking it down with him. As the second wave of Secret Servicemen arrive, we see-- RAVEN among them (disguised as her Secret Serviceman). She slows for a moment, looks out the window to see--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITE HOUSE - PAST - DAY<\/stage_direction>\n    <scene_description>Erik lands on the White House lawn.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>Where are you...?<\/dialogue>\n    <scene_description>He raises a hand.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DC STREETS - PAST - DAY 183<\/stage_direction>\n    <scene_description>Logan's car bears down on the White House. They see the Sentinels spreading out to surround the house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE HOUSE BUNKER - PAST - DAY<\/stage_direction>\n    <scene_description>Nixon, Trask, and others are shuttled into the underground nuclear bunker. The last man down is-- The familiar Secret Serviceman (Raven). He starts to make his way toward Trask, but-- Suddenly, Trask hears something BEEP. He pulls out a familiar device, the same TARGETING MECHANISM from Paris. It gets louder as the Secret Serviceman gets closer.<\/scene_description>\n    <character>TRASK<\/character>\n    <dialogue>There's one of them in here.<\/dialogue>\n    <scene_description>Bill turns, sees the Serviceman, and notices-- The man's limp. Bill pulls out that TASER DEVICE. He is just about to fire at Raven, she's trapped, when suddenly-- THE BUNKER STARTS TO SHAKE. Then-- The taser and EVERYTHING METAL IS RIPPED UP TO THE CEILING. All guns, clips, even Nixon's tape recorder.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITE HOUSE - PAST - DAY<\/stage_direction>\n    <scene_description>Erik controls the metal bunker. He focuses, and start to RIP THE METAL BUNKER OUT OF THE GROUND.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. DC STREET - PAST - DAY<\/stage_direction>\n    <scene_description>Logan, Charles, and Hank hold tight as the ground shakes. Cars SWERVE, CRASH. Logan SMASHES to a STOP, stuck in the pile-up, as--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITE HOUSE - PAST - DAY<\/stage_direction>\n    <scene_description>The BUNKER comes SMASHING OUT OF THE GROUND, landing with deafening impact at ERIK'S FEET.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITE HOUSE STREET - PAST - DAY<\/stage_direction>\n    <scene_description>Logan, Charles, and Hank climb out of the car. They are twenty feet away from the White House. They see-- The METAL BUNKER SITTING ON THE WHITE HOUSE LAWN. Erik stands facing the bunker, wearing his helmet.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>If you can get that helmet, I can stop him.<\/dialogue>\n    <scene_description>Logan and Hank move quickly toward Erik.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITE HOUSE - PAST - DAY<\/stage_direction>\n    <scene_description>Erik RIPS the heavy metal door off the bunker. Nixon, Trask, and the Secret Serviceman look out, seeing Erik.<\/scene_description>\n    <character>NIXON<\/character>\n    <dialogue>What do you want to stop this madness...?<\/dialogue>\n    <character>ERIK<\/character>\n    <dialogue>There's someone hiding among you...<\/dialogue>\n    <scene_description>All of the Sentinels shift their aim toward-- The familiar Secret Serviceman. He steps forward, and TRANSFORMS INTO RAVEN. She stands defiantly.<\/scene_description>\n    <character>RAVEN<\/character>\n    <dialogue>I'm not hiding.<\/dialogue>\n    <scene_description>Erik looks at her, with emotion.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>I'm sorry, my dear, it's not personal.<\/dialogue>\n    <scene_description>Raven looks back at him.<\/scene_description>\n    <character>RAVEN<\/character>\n    <dialogue>It never was, was it?<\/dialogue>\n    <scene_description>The Sentinels raise their hands to fire, but-- Raven's eyes flick to the side. Erik follows them to see-- LOGAN AND HANK INCOMING. Erik waves a hand, sends one of the Sentinels toward them.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>Do what you were made for.<\/dialogue>\n    <scene_description>As the Sentinel heads for Logan and Hank, we CUT BACK TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MONASTERY - COURTYARD - FUTURE - NIGHT<\/stage_direction>\n    <scene_description>Magneto steps through the courtyard, sees dead bodies in the snow. He looks up at the Sentinels breaching the wall. His eyes shift around, searching for a weapon, and we CUT BACK TO-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITE HOUSE - PAST - DAY<\/stage_direction>\n    <scene_description>The Sentinel bears down on Logan and Hank. Hank makes a decision, takes deep breaths to get his heart racing, and-- HE TRANSFORMS INTO BEAST.<\/scene_description>\n    <character>HANK<\/character>\n    <dialogue>I'll keep it busy. You stop him.<\/dialogue>\n    <scene_description>Hank LEAPS UP, grabbing the Sentinel, FIGHTING IT. It FIRES at Logan, BLASTING him, but Logan HEALS, keeps coming. Erik raises a hand to stop him, but--<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>Left my dog-tags at home.<\/dialogue>\n    <scene_description>No metal on him. As Logan and Erik start to collide--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MONASTERY - COURTYARD - FUTURE - NIGHT<\/stage_direction>\n    <scene_description>The Sentinels head toward Magneto, but he raises a hand, and-- HE LIFTS THE X-JET OFF THE GROUND.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITE HOUSE - PAST - DAY<\/stage_direction>\n    <scene_description>Hank fights the Sentinel, a brawl of beast and machine. Logan SLAMS into Erik. They fight. The Sentinels dip around them, one of them CRASHES to the lawn. With Erik battling Logan, Raven turns back toward Trask. Bill moves for his taser, but-- Raven moves faster, FLIPPING toward him, KICKING the taser away. She keeps moving, scooping a gun off the ground, and-- She aims the gun at TRASK'S HEAD. She cocks the trigger and--<\/scene_description>\n    <character>CHARLES (V.O.)<\/character>\n    <dialogue>Raven...<\/dialogue>\n    <scene_description>He's in her head. She pauses for a moment, and we CUT AROUND-- THE BATTLES IN PAST AND FUTURE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MONASTERY - COURTYARD - FUTURE - NIGHT<\/stage_direction>\n    <scene_description>Magneto RIPS THE X-JET APART, HURLS METAL PIECES AT THE SENTINELS, KNOCKING THEM BACK. We INTERCUT his battle with--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITE HOUSE - PAST - DAY<\/stage_direction>\n    <scene_description>Hank continues to battle his Sentinel. He LEAPS around the blasts, agile, acrobatic. Logan and Erik fight. Logan SLASHES him. Erik goes down. Charles speaks to Raven, who holds the gun tight.<\/scene_description>\n    <character>CHARLES (V.O.)<\/character>\n    <dialogue>If you pull that trigger, you're no better than Erik.<\/dialogue>\n    <character>RAVEN<\/character>\n    <dialogue>So why don't you stop me?<\/dialogue>\n    <character>CHARLES (V.O.)<\/character>\n    <dialogue>Because I believe in you, Raven. I know who you are. Maybe you forgot, but I remember...<\/dialogue>\n    <scene_description>And her mind fills with the MEMORY that older Xavier gave to his younger self. We see it flicker in Raven's eyes. She slows, seeing her younger self, the hope, light--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MONASTERY - FUTURE - NIGHT<\/stage_direction>\n    <scene_description>Magneto swings the metal shards of the X-Jet at the Sentinels, but there are too many of them, and not enough metal. He starts to lose ground.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITE HOUSE - PAST - DAY<\/stage_direction>\n    <scene_description>Hank gets HIT by the massive hand of the Sentinel. He struggles to stand. Logan knocks Erik down, reaches for his helmet, but-- Erik looks up, and sees something behind Logan: The shattered SENTINEL, the METAL inside. And we see: THE METAL FROM THE SENTINEL MELTS OUT... SWIMMING ACROSS THE GROUND TO...LOGAN'S FEET. Logan gets his hands on Erik's helmet, but he feels-- METAL GRABS HIS LEGS, snaking up his body to ENCASE HIS ARM. Logan tries to shake it off, but-- IT PUNCTURES LOGAN'S SKIN, ENTERING HIS BODY. Logan HOWLS in agony. FROM ACROSS THE LAWN: Hank sees it. He goes FULL BEAST, more fierce and feral than ever. He LEAPS UP at the Sentinel, and RIPS OFF ITS HEAD. Then he LEAPS toward Erik, as-- Erik performs surgery on Logan, FILLING HIS BODY WITH METAL, just like he did with the Sentinels.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>So much for being a survivor.<\/dialogue>\n    <scene_description>Erik sees Hank leaping at him. Raven sees it, the full Beast. And right before he SLAMS into Erik-- Erik raises his other hand, and HURLS four sets of HANDCUFFS at Hank, wrapping around his wrists and ankles, PULLING him apart like a rack. He suffers, as-- Erik uses his other hand to LIFT LOGAN WITH THE METAL IN HIS BODY. And Erik HURLS LOGAN THROUGH THE AIR.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MONASTERY - COURTYARD - FUTURE - NIGHT 195<\/stage_direction>\n    <scene_description>Magneto struggles with the Sentinels. They KNOCK away the metal parts. Then one of them HEATS UP, and-- BLASTS THE X-JET ENGINE. It EXPLODES, KNOCKS Magneto. As Magneto goes flying back through the air--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITE HOUSE - PAST - DAY 196<\/stage_direction>\n    <scene_description>Logan flies back hundreds of feet and lands with a deafening THUD, cratering the earth around him as--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MONASTERY - COURTYARD - FUTURE - NIGHT 197<\/stage_direction>\n    <scene_description>Magneto hits the ground with bone-crushing impact. He tries to rise, as the Sentinels swarm forward.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITE HOUSE - PAST - DAY<\/stage_direction>\n    <scene_description>Erik focuses on Hank, hanging there with arms and legs drawn apart by the cuffs.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>I'll never understand it. You fight for your own extinction.<\/dialogue>\n    <scene_description>Hank strains, pained, just able to say--<\/scene_description>\n    <character>HNK<\/character>\n    <dialogue>I'm...fighting...for...her.<\/dialogue>\n    <scene_description>The words resonate with Raven. She looks at Hank. She sees Charles sitting helpless. She looks at the gun in her hand. Erik starts to pull Hank apart, his blue flesh stretching.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>You think there's a world where you two could live the way you were made? You think they'll ever see you as anything but a Beast...?<\/dialogue>\n    <scene_description>Hank can't answer, too pained, dying. But they hear--<\/scene_description>\n    <character>VOICE (O.S.)<\/character>\n    <dialogue>Yeah, I do.<\/dialogue>\n    <scene_description>It's RAVEN'S VOICE. She's right behind Erik. He turns as-- RAVEN RIPS HIS HELMET OFF HIS HEAD, EXPOSING HIM TO--<\/scene_description>\n    <character>RAVEN<\/character>\n    <dialogue>CHARLES!<\/dialogue>\n    <scene_description>Erik reaches for her throat but-- Charles reaches out from the ground-- FREEZING ERIK. Hank drops, the cuffs fall lifeless, and-- Charles focuses his power on Erik's mind, using Erik to-- CONTROL THE SENTINELS. 207 CHARLES MAKES THE SENTINELS RAISE THEIR HANDS-- 207 AIMING AT EACH OTHER. They blast each other, EXPLODING, raining down to the ground, landing harmlessly around the White House Lawn. As they crash to earth--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MONASTERY - INNER SANCTUM - FUTURE - NIGHT<\/stage_direction>\n    <scene_description>Magneto crashes through the doors. The mutants look up. He HURLS everything metal against the doors. It all goes flying into the doors, fusing together to form the FINAL BARRIER. As the Sentinels start BANGING on those doors--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITE HOUSE - PAST - DAY 209<\/stage_direction>\n    <scene_description>The Sentinels lay in smoking ruins. Sirens blare, soldiers surface, incoming. Erik has just enough power to speak--<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>If you let them...have me...I'm as good as dead.<\/dialogue>\n    <scene_description>Charles nods, knows it's true. He looks out and-- FREEZES EVERYONE IN THE MALL. The soldiers, civilians. The entire mall is frozen around them.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>Unlike you, I don't kill my enemies.<\/dialogue>\n    <character>ERIK<\/character>\n    <dialogue>Is that what we are now? Enemies..?<\/dialogue>\n    <scene_description>Charles looks at Erik, and UN-FREEZES him.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>That's up to you, Erik.<\/dialogue>\n    <parenthetical>(motions to helmet)<\/parenthetical>\n    <dialogue>But we'll hold onto that, just in case.<\/dialogue>\n    <scene_description>Erik steps toward Charles, as--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MONASTERY - INNER SANCTUM - FUTURE - NIGHT 212<\/stage_direction>\n    <scene_description>Xavier comes to Magneto, holds him in the corner. His old friend is dying. The Sentinels keep banging on the doors.<\/scene_description>\n    <character>MAGNETO<\/character>\n    <dialogue>All those years fighting each other. What I wouldn't give for a precious few of them back.<\/dialogue>\n    <scene_description>Xavier looks at his old friend, emotional.<\/scene_description>\n    <character>XAVIER<\/character>\n    <dialogue>Perhaps we'll have a second chance. Perhaps we all will.<\/dialogue>\n    <scene_description>He looks toward Colossus, Kitty, Rogue. And-- BOOM. The Sentinels CRASH THROUGH THE DOORS. They attack the last lien of mutants.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITE HOUSE - PAST - DAY<\/stage_direction>\n    <scene_description>With the world frozen around them, Erik steps up to Charles. Hank and Raven are there.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>How do you know they won't come for her? How do you know she won't fall into the wrong hands?<\/dialogue>\n    <character>RAVEN<\/character>\n    <dialogue>I'll be somewhere safe.<\/dialogue>\n    <scene_description>Charles knows what she means. So does Erik.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>And if they come to your house, with all their mettle, all their might?<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>I feel a great swell of pity for the poor soul who comes to that house looking for trouble.<\/dialogue>\n    <scene_description>Erik motions toward TRAK, who is frozen, alive.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>And what about him? You're just going to let him walk away?<\/dialogue>\n    <scene_description>Charles shakes his head.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>When the President comes to, he'll have seen the same thing we did in Paris. He'll know Trask is a traitor to their race too.<\/dialogue>\n    <character>CHARLES<\/character>\n    <dialogue>(a thin smile)<\/dialogue>\n    <scene_description>I know one maximum security prison that has a vacancy. Erik looks at Charles, impressed. But--<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>You know I won't stop fighting for what I believe.<\/dialogue>\n    <scene_description>Charles nods.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>Nor will I. Wherever you wage your war, I will always be there.<\/dialogue>\n    <scene_description>Erik gives a distant smile, almost comforted by that.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>Well then, till the next round. Goodbye, old friend.<\/dialogue>\n    <scene_description>He turns to go.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MONASTERY - FUTURE - NIGHT<\/stage_direction>\n    <scene_description>Xavier holds Magneto in his arms, as mutants fall.<\/scene_description>\n    <character>XAVIER<\/character>\n    <dialogue>Goodbye, old friend.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITE HOUSE LAWN - PAST - DAY<\/stage_direction>\n    <scene_description>Charles watches Erik walk away.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>Goodbye...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MONASTERY - FUTURE - NIGHT<\/stage_direction>\n    <scene_description>Magneto breathes his last words.<\/scene_description>\n    <character>MAGNETO<\/character>\n    <dialogue>...old friend.<\/dialogue>\n    <scene_description>Magneto dies in Xavier's arms.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITE HOUSE - PAST - DAY<\/stage_direction>\n    <scene_description>Hank and Raven help Charles to his feet. He looks at them.<\/scene_description>\n    <character>CHARLES<\/character>\n    <dialogue>Come on. Let's go home.<\/dialogue>\n    <scene_description>Home. Raven looks at Charles, smiles.<\/scene_description>\n    <character>RAVEN<\/character>\n    <dialogue>Okay, Professor.<\/dialogue>\n    <scene_description>For the first time, Charles doesn't protest the word. As they leave, leaning on each other for support, we CUT TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MONASTERY - INNER SANCTUM - FUTURE - NIGHT<\/stage_direction>\n    <scene_description>The Sentinels bear down on Rogue and Logan.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DC - PAST - DAY<\/stage_direction>\n    <scene_description>The world un-freezes. The crowd looks around, sees-- The Sentinels laying in ruins. Nixon and his men step out of the bunker. They blink in the sunlight. No sign of Charles, Erik, Raven, or Hank.<\/scene_description>\n    <character>GENERAL<\/character>\n    <dialogue>Where the hell did those things go?<\/dialogue>\n    <character>NIXON<\/character>\n    <dialogue>I don't know. But a couple of those \"things\" just saved our lives.<\/dialogue>\n    <scene_description>He slowly look over at TRASK.<\/scene_description>\n    <character>NIXON (CONT'D)<\/character>\n    <dialogue>Take Dr. Trask into custody.<\/dialogue>\n    <scene_description>Trask looks at Nixon, surprised. Bill steps away, leaving Trask very much alone. As men converge on him, we CUT TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MONASTERY - INNER SANCTUM - FUTURE - NIGHT<\/stage_direction>\n    <scene_description>The Sentinels FIRE A BLAST OF ENERGY AT ROGUE AND LOGAN. It hits Rogue first, engulfing her, and then we see-- LOGAN'S EYES FLUTTER. And for the first time since he was put in Kitty's spell, we see-- HIS EYES OPEN. The second they do, he is suddenly in--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A ROOM - DAY<\/stage_direction>\n    <scene_description>Logan lays in a bed. Bathed with warm sunlight. He looks at his bed, clothes, trying to make sense of it. He goes to the door, a little woozy. He steps out to--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - FUTURE - DAY 221<\/stage_direction>\n    <scene_description>The hallway is instantly familiar. The wood panelling of-- THE XAVIER MANSION. Logan walks down the hall, the world hazy around him. He drifts forward, the house teeming with life, students. He passes STORM, alive. She is going over a textbook with a STUDENT. Logan keeps moving, reeling, trying to focus. He passes a CLASSROOM, where he sees a grown-up BEAST teaching biology class with MYSTIQUE. Both of them blue. Logan keeps going, catching a glimpse of KITTY and COLOSSUS walking hand-in-hand. And he sees... BOBBY and ROGUE, just a hazy shot from behind. Perhaps we notice that Rogue no longer has the white streak in her hair. Logan is finally snapped into focus by a voice, a voice he hasn't heard in many years--<\/scene_description>\n    <character>VOICE (O.S.)<\/character>\n    <dialogue>Logan...Logan...?<\/dialogue>\n    <scene_description>He turns, sees--<\/scene_description>\n    <character>JEAN<\/character>\n    <dialogue>Logan, are you okay...?<\/dialogue>\n    <scene_description>JEAN GREY stands there, alive.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>Jean...you're...here.<\/dialogue>\n    <character>JEAN<\/character>\n    <dialogue>Where else would I be?<\/dialogue>\n    <scene_description>He has no answer. He just drifts toward her, raises a hand to her face, as if to make sure she's real, and-- Logan's wrist is GRABBED by--<\/scene_description>\n    <character>SCOTT<\/character>\n    <dialogue>Whoa, easy pal.<\/dialogue>\n    <scene_description>Logan turns, sees SCOTT \"CYCLOPS\" SUMMERS, territorial as always. Logan gathers himself.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>Guess some things never change.<\/dialogue>\n    <scene_description>He smiles.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>It's good to see you, Scott.<\/dialogue>\n    <scene_description>Scott is surprised by the sentiment.<\/scene_description>\n    <character>JEAN<\/character>\n    <dialogue>Logan, is everything alright...?<\/dialogue>\n    <scene_description>Logan looks at her, looks at the school.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>Yeah...yeah...<\/dialogue>\n    <parenthetical>(with meaning)<\/parenthetical>\n    <dialogue>I think it is.<\/dialogue>\n    <scene_description>A moment, a look between them, and--<\/scene_description>\n    <character>XAVIER (O.S.)<\/character>\n    <dialogue>Let's get to class, people.<\/dialogue>\n    <scene_description>They turn. PROFESSOR XAVIER comes down the hall.<\/scene_description>\n    <character>XAVIER<\/character>\n    <dialogue>Wouldn't want to be late. Time waits for no man...or mutant.<\/dialogue>\n    <scene_description>They head to their respective classes. Logan watches them go, the X-MEN back together. He smiles, quietly--<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>You made good on your promise.<\/dialogue>\n    <scene_description>Charles looks over at him.<\/scene_description>\n    <character>XAVIER<\/character>\n    <dialogue>Logan, don't you have a class to teach?<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>A class. To teach.<\/dialogue>\n    <character>XAVIER<\/character>\n    <dialogue>History.<\/dialogue>\n    <scene_description>Logan gives a wry smile.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>Actually, I could use a little help with that.<\/dialogue>\n    <character>XAVIER<\/character>\n    <dialogue>What exactly do you need help with?<\/dialogue>\n    <scene_description>Logan looks at him.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>Pretty much everything after 1973.<\/dialogue>\n    <scene_description>Xavier slows, looks at Logan, seeing into his mind. FLASHES of another life, another path.<\/scene_description>\n    <character>XAVIER<\/character>\n    <dialogue>That's quite a lot to cover.<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>I've got time.<\/dialogue>\n    <scene_description>Xavier gathers himself, nods. XAVIER Well then, let's begin... They start to head off together, these two silhouettes moving away from us. As they walk into the sunlight--<\/scene_description>\n    <character>XAVIER<\/character>\n    <dialogue>What's the last thing you remember...?<\/dialogue>\n    <scene_description>We transition back to SUNLIGHT SLASHING THROUGH TREES IN--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DC WOODS - PAST - DAY<\/stage_direction>\n    <scene_description>Logan's body lays in the woods. A pack of SOLDIERS finds him. They check his vitals.<\/scene_description>\n    <character>SOLDIER<\/character>\n    <dialogue>We got him. He's alive, sir.<\/dialogue>\n    <scene_description>They turn to see: BILL emerge. He looks at Logan.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Amazing...the damage he took...just amazing.<\/dialogue>\n    <scene_description>Logan's eyes flutter open, semi-conscious, in pain. Bill leans over him, shines a light in his eyes.<\/scene_description>\n    <character>BILL (CONT'D)<\/character>\n    <dialogue>Do you know where you are?<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Do you have any idea what happened to you...?<\/dialogue>\n    <scene_description>Logan looks up, hazy.<\/scene_description>\n    <character>LOGAN<\/character>\n    <dialogue>Yeah... I took some really bad acid.<\/dialogue>\n    <scene_description>Bill looks to the soldiers.<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Load him into the truck.<\/dialogue>\n    <character>SOLDIER<\/character>\n    <dialogue>Yes sir, Captain Stryker.<\/dialogue>\n    <scene_description>And we realize for the first time: BILL is CAPTAIN WILLIAM STRYKER, the greatest enemy mutants will ever know.<\/scene_description>\n    <character>SOLDIER 2<\/character>\n    <dialogue>We'll need to log it. What do you want us to put on the report?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Just put down X.<\/dialogue>\n    <scene_description>The beginning of Weapon X. They load Logan's body onto a truck. As the doors snap shut, we SMASH TO--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT - NIGHT<\/stage_direction>\n    <scene_description>Desert, far as the eye can see. We swoop over dunes, mesas, a few mountains on the edge of the world, and we find--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT HOUSE - PAST - NIGHT 224<\/stage_direction>\n    <scene_description>A ramshackle house in the middle of nowhere. This is the home of the world's most wanted fugitive.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DESERT HOUSE - PAST - NIGHT<\/stage_direction>\n    <scene_description>Erik sits eating dinner alone. He puts his plate away, drinks down his water. The glass is empty. Erik heads out to--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT HOUSE - WELL - PAST - NIGHT<\/stage_direction>\n    <scene_description>Erik goes to a well, uses his powers to work it. As he pours water into his cup, he looks up at the sky, the endless expanse of stars. And... He senses something up there. His eyes narrow, focus on a shooting star. He sees it drop out of the sky and-- CRASH TO THE EARTH WITH A FLASH OF LIGHT.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CRASH SITE - PAST - NIGHT<\/stage_direction>\n    <scene_description>Erik moves toward the crash site. He looks down into the smoking crater, and sees-- An ALIEN FORM rising out of it. Towering, terrifying, with a twisted metal face and dark pits for eyes. This is: APOCALYPSE.<\/scene_description>\n    <character>APOCALYPSE<\/character>\n    <dialogue>I have crossed rivers of time to find you.<\/dialogue>\n    <scene_description>Their faces are close. Erik is stunned.<\/scene_description>\n    <character>ERIK<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <scene_description>Apocalypse leans forward.<\/scene_description>\n    <character>APOCALYPSE<\/character>\n    <dialogue>I am...your future.<\/dialogue>\n    <scene_description>Apocalypse MERGES with Erik, power coursing through his body. Erik SCREAMS, the energy blasting out of him, shockwaves slamming into the mountains in every direction-- LEVELLING THEM with a power greater than any we've witnessed. Erik slowly looks out, sees he's standing in the middle of a BLAST RADIUS that stretches for MILES. His eyes flicker, sensing the possibilities. A smile starts to curl his lips, as we--<\/scene_description>\n    <character>CUT TO BLACK.<\/character>\n  <\/scene>\n<\/script>","summary":"In a dystopian 2023, robot Sentinels hunt and kill mutants and humans who either possess the genetic potential to have mutant offspring or try to protect them. In Moscow, they attack X-Men survivors: Kitty Pryde, Colossus, Blink, Warpath, Bishop, Iceman, and Sunspot. The mutants sacrifice themselves to buy Kitty enough time to send Bishop's consciousness a few days into the past to warn the others of the coming attack and ensure their survival. Having averted the attack, the group retreats to a remote Chinese temple and are joined by Storm, Wolverine, Charles Xavier, and Magneto. Xavier explains that the Sentinels were originally conceived by Bolivar Trask, a weapons designer whom Raven Darkh\u00f6lme assassinated in 1973. In response, the government captured Raven and experimented on her, using her DNA to create Sentinels capable of adapting to any mutant power. Xavier plans to go back in time to 1973 and prevent Trask's assassination in the hopes of altering the future. However, upon learning time-traveling would kill Charles, Wolverine volunteers instead, as his regenerative abilities would allow him to survive. Awakening in 1973, Wolverine goes to the X-Mansion, learning from Hank McCoy that the school has been closed for years due to the Vietnam War, and Erik Lehnsherr has been imprisoned for assassinating JFK. A young, broken Xavier turned to alcoholism and frequently uses a serum that allows him to walk, but at the cost of his telepathic abilities. Hoping to reunite with Raven, Xavier agrees to help Wolverine. They recruit Quicksilver, a mutant with superhuman speeds, and break Lehnsherr out of The Pentagon. Raven discovers Trask has been experimenting on mutants and plots to assassinate him at the Paris Peace Accords, but Xavier, McCoy, and Logan foil her attempt. Lehnsherr attempts to kill Raven, believing this would change the future. McCoy fights him, allowing Raven to escape but publicly exposing the three as mutants. Trask takes advantage of this and convinces President Nixon to authorize the Sentinel program. Lehnsherr retrieves his helmet and secretly takes control of Trask's Sentinel prototypes by infusing them with steel. Returning to the X-Mansion, Xavier abandons the serum and by reading Logan's mind, is able to communicate with his future self, who inspires him to protect the relationship between mutants and humans. After Xavier uses his mutant-tracking computer Cerebro to find Mystique, he, McCoy, and Logan travel to Washington, D.C. to stop Raven from assassinating Trask. At a ceremony where Nixon unveils the Sentinels, the three search for Raven. Lehnsherr appears, activates the Sentinels, and barricades the White House with the RFK Stadium. During the battle, Lehnsherr impales Logan with rebar and throws him into the Potomac River. Nixon, Trask, and a disguised Raven retreat to the White House Bunker. However, Lehnsherr rips the bunker out of the building with the intention of killing everyone inside. In 2023, the X-Men make their last stand as an onslaught of Sentinels attacks the temple. Many mutants perish while trying to buy more time. In 1973, Raven reveals herself and subdues Lehnsherr with a plastic gun, saving Nixon and his cabinet. She attempts to kill Trask but Xavier telepathically convinces her to spare him, leading the public to believe that a mutant saved the president. As a result, the Sentinel program is decommissioned, altering the timeline and erasing the dark future of 2023 from history. The mutants in the past depart separately; Trask is later arrested for selling military secrets to foreign governments. Wolverine reawakens in 2023 at the X-Mansion to find that Xavier's school is thriving and the X-Men are all alive, including Jean Grey and Scott Summers. Logan asks Xavier for information about modern history from 1973 to the present. Upon realizing that the Wolverine from the original timeline has returned, Charles assents. Back in 1973, Logan is rescued by Raven, having disguised herself as Major William Stryker. In a post-credits scene set in ancient Egypt, a crowd chants to En Sabah Nur, who telekinetically elevates rocks to build pyramids as his Four Horsemen observe from afar."}
{"movie_name":"Pawn Sacrifice_2014","imdb_id":"tt1596345","script":"<script>\n  <scene>\n    <character>PAWN SACRIFICE<\/character>\n    <dialogue>Screenplay by<\/dialogue>\n    <dialogue>Steven Knight<\/dialogue>\n    <scene_description>Story by Stephen J Rivele &amp; Christopher Wilkinson and Steven Knight OVER BLACK: \"CHESS HOLDS ITS MASTER IN ITS BONDS, SHACKLING THE MIND SUCH THAT THE INNER FREEDOM OF THE VERY STRONGEST MUST SUFFER.\" - ALBERT EINSTEIN:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRANITE COUNTRY HOUSE - ICELAND - DAWN<\/stage_direction>\n    <scene_description>In the grey dawn, a formidable house in the Icelandic wilderness. A single light burns in an upper window. Caption: Reykjavik, Iceland 4:15am. July 20th, 1972 In the distance, a POLICE CAR approaches, lights flashing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRANITE COUNTRY HOUSE - ICELAND<\/stage_direction>\n    <scene_description>CLOSE on a hand gripping the padded arm of an armchair. The index finger of the hand is PICKING at a thread. The HAND belongs to an intense young man with black hair swept back. He sits motionless, peering at a chess game which is a few moves old. The man is BOBBY FISCHER. A SINGLE FLY begins to buzz against the window. Bobby eyes the fly. The movement of his eyes is immense. Murderous. The thread he has been picking at suddenly TEARS with a THUNDEROUS RIPPING SOUND. The fly is trying to get out the window. BOBBY'S PERCEPTION The BUZZING of the fly is a howling hurricane from hell. BACK TO AN OBJECTIVE VIEW OF THE ROOM Silence. Bobby stalks the fly -- CRUSHING IT with a coffee cup. He sits back down in a business-like way and stares at the board again, his fingernail beginning to work another thread. HEADLIGHTS sweep the room and we HEAR a car door SLAM. Bobby's face betrays no reaction -- but his whole hand CLAWS the arm of the chair like an animal in a trap. At the SOUND of someone running upstairs, he glances from the chessboard to the door, as a knock comes on the door: BOBBY'S PERCEPTION Someone is POUNDING on the door -- it SOUNDS like the Gestapo in an old war movie. BACK TO AN OBJECTIVE VIEW The knock on the door is polite. Bobby grips the armchair, can't stand the noise that only he can hear -- and he gets to his feet, UPENDING a lamp. Another knock. Bobby pinballs around like the fly trying to escape -- breaking shutters as he tries to close them, tripping over a table. ANOTHER KNOCK, even louder. Then, just as suddenly, his eyes FOCUS on the chess board. A new light comes into his eyes as he stares at it -- and his breathing begins to slow. A7 ALL SOUND BEGINS TO FADE A7 As he moves toward the board -- his fingers reaching out -- in ultra slo-mo -- to make...a...single...move. B7 BACK TO THE SCENE B7 Bobby closes his eyes. Content. He has solved the puzzle. CAPTION: This is the true story of Bobby Fischer. The door opens. A guy stands there -- mid-40's, pugnacious. This is MARSHALL. He stares at the debris of the room. And at Bobby, who appears perfectly calm.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>There was a fly. It's dead now.<\/dialogue>\n    <scene_description>A huge agenda between the two men. Marshall composes himself.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <parenthetical>(quoting)<\/parenthetical>\n    <dialogue>\"Never before in human history has the outcome of an entire global war of ideas rested on the shoulders of one man.\"<\/dialogue>\n    <scene_description>The slightest smile begins to form on Bobby's lips.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>I'm quoting the President of the United States. He was talking about you. To me. The President of the United States talking to me. He called three times. Three.<\/dialogue>\n    <scene_description>Marshall lifts the receiver, places a phone back on the hook.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>He's been trying to reach you.<\/dialogue>\n    <scene_description>Bobby refuses to be intimidated. If anything, his smile widens. Marshall rights an upturned chair.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>In Moscow, Brezhnev opened his only bottle of 1868 Louis Roederer. Left over from the revolution. You know why?<\/dialogue>\n    <parenthetical>(hammering it home)<\/parenthetical>\n    <dialogue>Because. He. Heard. You Quit.<\/dialogue>\n    <scene_description>Bobby walks to the window, looks out at the half-light.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>There are boys your age in Vietnam giving their lives right now in the fight against Communism. And all you have to do is win a game of chess.<\/dialogue>\n    <parenthetical>(plaintively)<\/parenthetical>\n    <dialogue>...Say something. Bobby, please... Bobby?<\/dialogue>\n    <scene_description>Bobby doesn't answer. Instead, he stares out into the night, and we HEAR another voice.<\/scene_description>\n    <character>JOAN (V.O.)<\/character>\n    <dialogue>...Bobby?<\/dialogue>\n    <scene_description>OMIT IN THE FISCHER APARTMENT - NIGHT - BROOKLYN Bobby, age 8, stands looking out another window. It is 1952. JOAN, Bobby's sister, 14, comes up beside him.<\/scene_description>\n    <character>JOAN<\/character>\n    <dialogue>Bobby, it's bedtime.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>That man's out there.<\/dialogue>\n    <scene_description>Joan looks out. A SEDAN is parked under a streetlight. A LIT MATCH briefly illuminates a MAN'S FACE as he lights a cigarette. Is that a telephoto lens in his hand? She subtly turns him away from the window.<\/scene_description>\n    <character>JOAN<\/character>\n    <dialogue>Have you eaten anything? There's actually food in the house. Go.<\/dialogue>\n    <scene_description>Bobby heads back into a party in full swing. The apartment is packed with Boho's, Eastern European emigres, NY intellectuals. A banner reads, \"Brooklyn-Bed Sty American Communist Party PARTY! Coltrane wails on the record player. BOBBY IS INVISIBLE IN THIS ADULT WORLD Adults LOOM above him, laughing. A MIXED COUPLE making out, open-mouthed. A man smoking reefer smiles beatifically. He pauses to scribble chess notations in his little notebook.<\/scene_description>\n    <character>PARTY GUEST #1<\/character>\n    <dialogue>Half the witnesses they call are Communists, the other half are Jews!<\/dialogue>\n    <character>PARTY GUEST #3<\/character>\n    <dialogue>If you're both, do you testify twice?<\/dialogue>\n    <character>PARTY GUEST #1<\/character>\n    <dialogue>You can make jokes, Mr. Liberal -- your entire family wasn't gassed in the camps, alava'shalom.<\/dialogue>\n    <scene_description>Regina, meanwhile, is in the middle of of an intense conversation with a BALDING MAN. They WHISPER harshly.<\/scene_description>\n    <character>REGINA<\/character>\n    <dialogue>We agreed he wouldn't know who you are--!<\/dialogue>\n    <character>BALDING MAN<\/character>\n    <dialogue>Fine. But that doesn't mean----<\/dialogue>\n    <character>REGINA<\/character>\n    <dialogue>--So I don't see the point!<\/dialogue>\n    <character>BALDING MAN<\/character>\n    <dialogue>The point is--- Christ, just let me talk to him, then I'll go...<\/dialogue>\n    <scene_description>IN THE DIRTY KITCHEN Bobby is making a sandwich. The BALDING MAN approaches.<\/scene_description>\n    <character>BALDING MAN<\/character>\n    <dialogue>Howdy doody, Bobby...<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Hullo.<\/dialogue>\n    <character>BALDING MAN<\/character>\n    <dialogue>Remember me...?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Sort of.<\/dialogue>\n    <character>BALDING MAN<\/character>\n    <dialogue>I'm your Uncle Paul. From Denver. How's school?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>BALDING MAN<\/character>\n    <dialogue>Studying hard?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I guess.<\/dialogue>\n    <character>BALDING MAN<\/character>\n    <dialogue>Ever heard of Physics?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>BALDING MAN<\/character>\n    <dialogue>But you're good in Math?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I guess.<\/dialogue>\n    <scene_description>The man stares at him -- there's something pregnant and unspoken in his regard -- but also somehow thwarted.<\/scene_description>\n    <character>BALDING MAN<\/character>\n    <dialogue>I hear you like chess.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>He looks around, takes a five dollar bill from his pocket.<\/scene_description>\n    <character>BALDING MAN<\/character>\n    <dialogue>Here. Buy a new set. Just don't tell your mother where it came from...<\/dialogue>\n    <scene_description>Bobby's eyes widen as he stares at the bill. The man reaches out to HUG him, but Bobby shrinks away. Uncle Paul frowns, settles for patting Bobby on the head and then walks away. IN THE LIVING ROOM A heated discussion of Zionism, the Rosenbergs. Bobby wanders past, looks out the window. The DARK SEDAN is still there. Regina is nearby, deep in conversation -- IN RUSSIAN.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Mama--<\/dialogue>\n    <character>REGINA<\/character>\n    <dialogue>Not now, honey.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I have to talk to you.<\/dialogue>\n    <character>REGINA<\/character>\n    <dialogue>Honey, it's past your bedtime.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>That car's down there again.<\/dialogue>\n    <scene_description>Regina's antennae go up.<\/scene_description>\n    <character>REGINA<\/character>\n    <dialogue>What car?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You told me to tell you... A red, 1951 Chevy, NY license plate HI62579.<\/dialogue>\n    <scene_description>Regina apologizes to her friend in Russian, kneels down.<\/scene_description>\n    <character>REGINA<\/character>\n    <dialogue>Honey, it's okay--<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>But you told me--<\/dialogue>\n    <character>REGINA<\/character>\n    <dialogue>Bobby, you remember what I said about not letting them intimidate us? Yes, they watch us -- because we represent something very threatening to them, to the status quo. You remember what that is?<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(by rote)<\/parenthetical>\n    <dialogue>Revolution.<\/dialogue>\n    <character>REGINA<\/character>\n    <dialogue>Yes! And sometimes these bad people want to know about our work so they spy on us. So if someone comes up to you on the street and asks you questions about me, or Mommy's friends, what do you say?<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(by rote)<\/parenthetical>\n    <dialogue>I have nothing to say to you.<\/dialogue>\n    <character>REGINA<\/character>\n    <dialogue>That's my big boy.<\/dialogue>\n    <parenthetical>(to Joan)<\/parenthetical>\n    <dialogue>Joanie, he's got mustard on his shirt. He has to wear that to school tomorrow. Soak it for me?<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>Love to.<\/dialogue>\n    <scene_description>She takes Bobby's hand and leads him away.<\/scene_description>\n    <character>JOAN<\/character>\n    <dialogue>Bedtime for Bonzo.<\/dialogue>\n    <scene_description>She tickles as she leads him toward the bedroom<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOBBY'S BEDROOM - LATER<\/stage_direction>\n    <scene_description>Bobby lies in bed, wide awake. We HEAR the noise of the party outside -- loud conversation, boisterous laughter. Bobby stares at the window -- is the man still out there? We feel his anxiety building as he LISTENS INTENTLY to the sound of the shade SLAPPING against the window sill. Suddenly, he sits up, opens a drawer. He works fast -- like someone breaking the rules -- lights a candle -- rolls the wax into balls and stuffs them into his ears. The laughter outside is muted. Bobby stuffs a ball into his other ear. With both ears blocked -- a sudden and wonderful silence! Bobby carries the candle to a CHESSBOARD. In absolute silence he stares at the chessboard. In his hand is the NOTEBOOK. CLOSE on Bobby's face, candlelit, a study in intensity. As Bobby stares at the chessboard, everything else in the room literally begins to disappear. The bed, the crummy dresser -- until all that is left is a boy and a chessboard. THE CHESSBOARD Pieces move on their own. Multiple exposures. A move yields hundreds of options. The counter offers thousands more. CLOSE on Bobby's face. Ethereal Music. Bliss. Then... THE DOOR TO HIS BEDROOM IS FLUNG OPEN Light floods in. Harsh SOUNDS. The spell is broken. The two open-mouthed kissers are looking for a place to fuck.<\/scene_description>\n    <character>KISSING MAN<\/character>\n    <dialogue>Whoopsee-daisy...<\/dialogue>\n    <parenthetical>(sees Bobby)<\/parenthetical>\n    <dialogue>Sorry, kiddo.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Get out of my room. GET OUT!<\/dialogue>\n    <scene_description>Regina appears behind them.<\/scene_description>\n    <character>REGINA<\/character>\n    <dialogue>Bobby! Those are our guests!<\/dialogue>\n    <parenthetical>(sees his chessboard)<\/parenthetical>\n    <dialogue>Jesus, enough already with the chess!<\/dialogue>\n    <scene_description>She reaches for the board. Pieces fall, ruining the game.<\/scene_description>\n    <character>REGINA<\/character>\n    <parenthetical>(calling out)<\/parenthetical>\n    <dialogue>Joan--!<\/dialogue>\n    <scene_description>Joan appears.<\/scene_description>\n    <character>REGINA<\/character>\n    <dialogue>Put him to bed, will ya?<\/dialogue>\n    <scene_description>As Regina returns to the party. Joan kneels to pick up the fallen pieces. Bobby looks up at her.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Please...?<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>Okay. One game.<\/dialogue>\n    <scene_description>She sits beside him on the bed and sets up the board.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROOKLYN JEWISH HOSPITAL - WAITING ROOM - DAY<\/stage_direction>\n    <scene_description>Bobby, Joan and Regina sit in a waiting room. Regina smooths Bobby's hair.<\/scene_description>\n    <character>REGINA<\/character>\n    <dialogue>Now Bobby, don't suddenly start acting normal and make me look ridiculous...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DR. MENGARINI'S OFFICE - LATER<\/stage_direction>\n    <scene_description>On DOCTOR MENGARINI's desk is a LARGE WOODEN CHESS SET. Across the desk we find Bobby. The game is fifteen moves old. Smoke from Megarini's pipe wafts among the chess pieces.<\/scene_description>\n    <character>MENGARINI<\/character>\n    <dialogue>So Bobby, you go to the movies?<\/dialogue>\n    <parenthetical>(Bobby nods without looking up)<\/parenthetical>\n    <dialogue>You like Westerns? Bang, bang?<\/dialogue>\n    <scene_description>Bobby nods again. Mengarini glances at Regina.<\/scene_description>\n    <character>REGINA<\/character>\n    <dialogue>Bobby, have you ever been to the Moon on the subway?<\/dialogue>\n    <scene_description>Bobby nods and moves a piece. He's in a kind of trance.<\/scene_description>\n    <character>REGINA<\/character>\n    <dialogue>Once I poured a glass of water over his head...<\/dialogue>\n    <scene_description>Mengarini studies Bobby as Bobby studies the board.<\/scene_description>\n    <character>REGINA<\/character>\n    <dialogue>If I take the pieces away he just plays in his head. Day and night.<\/dialogue>\n    <scene_description>Mengarini moves his knight. Bobby counters.<\/scene_description>\n    <character>MENGARINI<\/character>\n    <dialogue>What do you dream about, Bobby?<\/dialogue>\n    <scene_description>Silence. Regina shrugs. Mengarini takes Bobby's rook.<\/scene_description>\n    <character>MENGARINI<\/character>\n    <dialogue>You like Parchesi? Monopoly? \\*<\/dialogue>\n    <parenthetical>(to Joan)<\/parenthetical>\n    <dialogue>Does he play other games with you?<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>He says chess is the only game that doesn't need luck.<\/dialogue>\n    <scene_description>Mengarini has barely finished moving when Bobby makes a move. This startles Mengarini, who frowns at the new positions.<\/scene_description>\n    <character>JOAN<\/character>\n    <dialogue>And he cries when he loses.<\/dialogue>\n    <scene_description>Bobby glares at her briefly then returns his focus to the game. Mengarini squints at the board, then makes his move.<\/scene_description>\n    <character>MENGARINI<\/character>\n    <dialogue>I play chess at quite a high level. His game is pretty good. Not exceptional, though.<\/dialogue>\n    <parenthetical>(magnanimously)<\/parenthetical>\n    <dialogue>A draw?<\/dialogue>\n    <scene_description>Bobby isn't listening. He's in the zone. He initiates an exchange: his Queen takes Mengarini's Bishop. Mengarini grunts, makes another move. Then Bobby pounces. Mengarini tries to escape but the trap has been sprung. After several moves it's clear he's doomed. Mengarini is astonished. Bobby looks up at him -- something new and...well...murderous in his expression.<\/scene_description>\n    <character>JOAN<\/character>\n    <dialogue>He hates draws.<\/dialogue>\n    <character>MENGARINI<\/character>\n    <dialogue>Where the hell did that come from?<\/dialogue>\n    <character>REGINA<\/character>\n    <dialogue>So now you see.<\/dialogue>\n    <scene_description>Mengarini is still staring at the board in disbelief.<\/scene_description>\n    <character>MENGARINI<\/character>\n    <dialogue>Who taught him to play like this?<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>I bought him the set. Last year.<\/dialogue>\n    <character>MENGARINI<\/character>\n    <dialogue>Which club does his belong to?<\/dialogue>\n    <character>REGINA<\/character>\n    <dialogue>He doesn't belong to any club. He taught himself.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I need to pee.<\/dialogue>\n    <scene_description>Joan takes Bobby's hand and leads him out the door.<\/scene_description>\n    <character>REGINA<\/character>\n    <dialogue>So, Doctor. What do you think?<\/dialogue>\n    <character>MENGARINI<\/character>\n    <dialogue>Mrs. Fischer, there are worse things than playing chess. Believe me.<\/dialogue>\n    <character>REGINA<\/character>\n    <dialogue>He wants there to be nothing else.<\/dialogue>\n    <scene_description>Mengarini is now writing on a pad.<\/scene_description>\n    <character>MENGARINI<\/character>\n    <dialogue>I think he should see a professional.<\/dialogue>\n    <character>REGINA<\/character>\n    <dialogue>I thought you were a professional.<\/dialogue>\n    <scene_description>He hands her the note. \"Carmine Nigro, Brooklyn Chess Club.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BROOKLYN CHESS CLUB, MARSHALL STREET - AFTERNOONT<\/stage_direction>\n    <scene_description>Joan and Bobby walk down a Brooklyn street, arriving at a shabby storefront where A Hispanic MAN, 30's, is waiting.<\/scene_description>\n    <character>CARMINE<\/character>\n    <dialogue>You must be the Fischers. I'm Carmine Nigro.<\/dialogue>\n    <parenthetical>(to Bobby)<\/parenthetical>\n    <dialogue>I'm betting you're the chess player.<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>Bobby, say hello.<\/dialogue>\n    <scene_description>Bobby mumbles hello. Carmine unlocks the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROOKLYN CHESS CLUB<\/stage_direction>\n    <scene_description>As Carmine turns on the lights, we WATCH Bobby's face as the room is revealed -- twenty tables, all with boards set up.<\/scene_description>\n    <character>CARMINE<\/character>\n    <dialogue>Our church. All colors and creeds welcome.<\/dialogue>\n    <scene_description>Bobby walks in as if entering a holy place. The door behind them bursts opens and Regina bustles in.<\/scene_description>\n    <character>REGINA<\/character>\n    <dialogue>Sorry sorry the E train was a nightmare -- you must be Camine Nigro I'm Regina Fischer. So....?<\/dialogue>\n    <character>CARMINE<\/character>\n    <dialogue>Doctor Mengarini says he's good. But most young people don't have the concentration to play at this level so please don't build up your hopes.<\/dialogue>\n    <character>REGINA<\/character>\n    <dialogue>My 'hopes' are he will give up on the damn game if someone beats him.<\/dialogue>\n    <character>CARMINE<\/character>\n    <dialogue>Okay, let's see what we got here...<\/dialogue>\n    <scene_description>He grabs two chess pieces, one black and one white, holds them behind his back and turns to Bobby.<\/scene_description>\n    <character>CARMINE<\/character>\n    <dialogue>Choose.<\/dialogue>\n    <scene_description>TIME CUT: As the game begins, Carmine seems confident. Bobby makes a move that draws him up short. TIME CUT: Bobby's moves grow bolder, Carmine's body language is changing. The fight is on. TIME CUT: Carmine has to use all his wiles. Eventually, though, he begins to win, and soon he has Bobby trapped. Bobby stares at the board, his face reddening. He has lost. He HATES to lose. He pushes his chair back and walks away, fighting back tears. Carmine turns to Regina.<\/scene_description>\n    <character>CARMINE<\/character>\n    <dialogue>Well, I am officially the twenty- fifth best chess player in New York City. But he has great potential.<\/dialogue>\n    <scene_description>Suddenly, a piece is SLAPPED back on the board. Bobby has returned and starts replacing pieces.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Again.<\/dialogue>\n    <scene_description>We can't help but see the ferocity in his eyes. A18 TIME CUT - THE BROOKLYN CHESS CLUB A18\\* A spectator pushes his way through a crowd gathered around \\* the young phenom. \\* 50'S ROCK AND ROLL KICKS IN As we follow Bobby's rise to fame. In THE BROOKLYN CHESS CLUB, a small crowd watches him play. At a tournament -- Carmine by his side -- he defeats ONE OPPONENT AFTER ANOTHER. Regina watches intently. We see Bobby studying chess as he makes a sandwich, studying as he walks down the street, asleep with his head on a board. In the gym, We FOCUS on his hands as he moves his pieces in what we will come to know as his signature SLAPPING gesture. INTERCUT multiple exposures of Bobby's HANDS with NEWSREEL FOOTAGE of the next five years: the Rosenbergs are executed; Playboy bunnies are introduced; revolution in Hungary; hoola hoops, missile launches, A-bomb tests, duck-and-cover. The images SPEED UP and PROLIFERATE, Bobby's hands becoming a BLUR as the soundtrack BUILDS -- until, when we return to normal speed, the CAMERA PANS UP FROM THE HANDS TO REVEAL: OMIT BOBBY - NOW AGE 13 - ONSTAGE AT AN AUDITORIUM He's playing against a man in his 20's.<\/scene_description>\n    <character>NEWSREEL ANNOUNCER (V.O.)<\/character>\n    <dialogue>...Bobby Fischer played American master Donald Byrne today and beat him in what is already being described as the Game of the Century.<\/dialogue>\n    <scene_description>A21 IMAGES OF BOBBY - DOC STYLE (50'S ROCK AND ROLL CONT.) A21 shaking hands with opponents, being handed a big gold medal.<\/scene_description>\n    <character>50'S REPORTER<\/character>\n    <dialogue>So Bobby, congratulations. What's next for you?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I don't know, my game's getting pretty strong... \\*<\/dialogue>\n    <scene_description>Bobby blinks into the camera, hoists his medal.<\/scene_description>\n    <character>NEWSREEL ANNOUNCER #2 (V.O.)<\/character>\n    <dialogue>With the longest string of victories in the history of the competition, Bobby Fischer today became the youngest ever United States Chess Champion--<\/dialogue>\n    <scene_description>B21 OMIT B21 OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BROOKLYN STREET - DAY<\/stage_direction>\n    <scene_description>Bobby wears a sharp suit, a strut in his stride. He carries a large paper bag and a trophy. A KID yells as he passes.<\/scene_description>\n    <character>BROOKLYN KID<\/character>\n    <dialogue>Hey, Jewboy, way to go!<\/dialogue>\n    <scene_description>The other kids laugh but Bobby is oblivious, he's clearly playing chess in his head.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE FISCHER APARTMENT<\/stage_direction>\n    <scene_description>Bobby has taken a roll of aluminum foil from the paper bag and is covering a window. The trophy has been thrown haphazardly on a sofa. The TV is on: ERIC SEVEREID (on TV) ..Today, the Soviet Union announced it has successfully launched the first satellite to reach outer space. Its name is Sputnik. He doesn't hear Joan as she enters carrying groceries.<\/scene_description>\n    <character>JOAN<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You live under a rock? The Russians are gonna shoot missiles at us from space.<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>And you think aluminum foil will keep out radiation?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Hey, I'm not the one planning to fry the world. You're gonna have a kid. You should think about digging a shelter.<\/dialogue>\n    <scene_description>Joan sees the trophy, lying on the kitchen table.<\/scene_description>\n    <character>JOAN<\/character>\n    <dialogue>Congratulations. Wish you'd let us come...<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Mom? Can't concentrate when she's \\* there. \\*<\/dialogue>\n    <parenthetical>(looks around)<\/parenthetical>\n    <dialogue>Where is she, anyway--?<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>Ban-the-bomb march in Union Square.<\/dialogue>\n    <scene_description>Bobby is distracted by a chess game-in-progress. Makes a \\* move.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Be a hoot if she got blown up by a Commie nuke while marching against America.<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>She's not marching against America. She's marching for peace.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yeah? Chaining herself to the White House...<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>It's just... Mom.<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(suddenly distracted)<\/parenthetical>\n    <dialogue>--What day is it?<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>Friday.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No. The date. THE DATE!<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>The 26th.<\/dialogue>\n    <scene_description>Without a word, Bobby is heading out.<\/scene_description>\n    <character>JOAN<\/character>\n    <dialogue>Where you going?<\/dialogue>\n    <scene_description>Too late. He's outta there.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 'FOUR CONTINENTS' RUSSIAN BOOK STORE - DUSK<\/stage_direction>\n    <scene_description>A slice of Moscow in New York. A samovar. Everyone smoking, Russian spoken in hushed whispers. The middle-aged BOOKSTORE CLERK knows Bobby when he enters.<\/scene_description>\n    <character>BOOKSTORE OWNER<\/character>\n    <dialogue>It just came in.<\/dialogue>\n    <scene_description>He points to the magazine rack. Bobby reverently picks up the latest Shakmanty Bulletin and dives in -- his eyes MEMORIZING each diagram at a glance -- his photographic memory like a motor-driven CAMERA. Cachunk. Cachunk. Cachunk.<\/scene_description>\n    <character>FROM OUTSIDE THE STORE<\/character>\n    <dialogue>A different POV. The store is under FBI Surveillance. Click.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE FISCHER APARTMENT - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Bobby lets himself in. He sees Regina's shoes just inside the door and A PAIR OF SIZE 12 SHOES beside them. Frowns.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOBBY'S BEDROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>The room is little changed -- except for dozens of TROPHIES strewn haphazardly, and stacks upon stacks of chess magazines. Bobby opens to a page -- and there we SEE the handsome face of Boris Spassky -- the Soviet Grandmaster. Bobby studies a DIAGRAM of Spassky's latest game. He places his pieces. Working fast. Slap. Slap. He's in the zone. Then...from the bedroom, the SOUNDS of a man and woman having sex. Bobby puts his fingers in his ears, closes his eyes. INSIDE BOBBY'S HEAD The columns of numbers are jumbled, faded. A SOUND intrudes. BACK IN THE ROOM Bobby HEARS a toilet flush. The SOUND of laughter. A bed creaking. It's all too much. Bobby LEAPS to his feet. IN THE LIVING ROOM Bobby finds Regina in her robe.<\/scene_description>\n    <character>REGINA<\/character>\n    <dialogue>You're back! And you won! Congratulations!<\/dialogue>\n    <scene_description>Bobby walks to the Size 12 shoes and picks them up.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Every night I hear you two fuck. Fuck fuck fuck. Bang! Bang! Bang!<\/dialogue>\n    <character>REGINA<\/character>\n    <dialogue>Bobby, put those down.<\/dialogue>\n    <scene_description>A big man -- CYRIL -- appears in the doorway.<\/scene_description>\n    <character>CYRIL<\/character>\n    <dialogue>Bobby--<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I got nothing to say to you. You live in my house but you're not my father, okay?<\/dialogue>\n    <character>REGINA<\/character>\n    <dialogue>Bobby--<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Where's my real father?<\/dialogue>\n    <character>REGINA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I was born, right? What'd you do with him? Is he on earth? Does he exist?<\/dialogue>\n    <character>REGINA<\/character>\n    <dialogue>Honey, it was a long time ago...<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>And you can't remember? Where is he?<\/dialogue>\n    <character>REGINA<\/character>\n    <dialogue>Gone.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Gone where?<\/dialogue>\n    <character>REGINA<\/character>\n    <dialogue>It doesn't matter--<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>That's nice. My real father doesn't matter but Mr. Bigfoot, he matters..!<\/dialogue>\n    <character>REGINA<\/character>\n    <dialogue>Bobby--<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Gone where? When? Who? WHY?<\/dialogue>\n    <character>REGINA<\/character>\n    <dialogue>Baby, it's late...<\/dialogue>\n    <scene_description>Bobby holds the man-size shoes out the open kitchen window.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Now.<\/dialogue>\n    <scene_description>Regina deflates. Holds her head. Sighs. Sighs again.<\/scene_description>\n    <character>REGINA<\/character>\n    <dialogue>...Paul died two years ago. I think you knew that.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Paul? Paul who? .....UNCLE Paul--?<\/dialogue>\n    <scene_description>Regina can barely meet his gaze. Yes. Uncle Paul.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>HE was my father? And you never told me? And now he's DEAD?!<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(starts pacing)<\/parenthetical>\n    <character>....GET THE FUCK OUTTA HERE. I WANT<\/character>\n    <dialogue>YOU TO LEAVE! I WANT YOU AND MR.<\/dialogue>\n    <character>BIGFOOT...TO LEAVE!<\/character>\n    <dialogue>He FLINGS the shoes out into the street.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Go back to Moscow with your Commie friends. I am in training. I am studying day and night to be world champion, do you understand? The youngest world champion...ever! I NEED SILENCE AROUND HERE! Do you understand! I. WANT.....SILENCE!!!<\/dialogue>\n    <scene_description>He storms out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WASHINGTON SQUARE PARK - DAYS LATER<\/stage_direction>\n    <scene_description>Joan makes her way through the misfits, poets and drifters playing chess in the open air. She finds Bobby asleep at the chess tables. His suit is wrinkled and filthy.<\/scene_description>\n    <character>JOAN<\/character>\n    <dialogue>Carmine said you're staying at the chess club.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Quiet there.<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>What about high school?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Ha. Is she still there?<\/dialogue>\n    <scene_description>She sits beside him.<\/scene_description>\n    <character>JOAN<\/character>\n    <dialogue>She fixed up the apartment. Even got the hot water heater working.<\/dialogue>\n    <scene_description>Bobby looks at her, sensing an agenda.<\/scene_description>\n    <character>JOAN<\/character>\n    <dialogue>She won't be living there anymore.<\/dialogue>\n    <parenthetical>(holds up the key)<\/parenthetical>\n    <dialogue>She's going to do politics in California with Cyril.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You mean King Kong.<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>She thought if they went away you'd go home and sleep in a bed.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>That's what she told you? And you bought it?<\/dialogue>\n    <parenthetical>(stands up)<\/parenthetical>\n    <dialogue>She's running away with some nut- case-Big Foot-communist and, oh you know what? It's for Bobby's benefit!<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>You said you wanted quiet.<\/dialogue>\n    <parenthetical>(looks at him)<\/parenthetical>\n    <dialogue>You won, Bobby. Be happy.<\/dialogue>\n    <scene_description>AN INTERVIEW Hand-held, grainy black-and-white.<\/scene_description>\n    <character>INTERVIEWER (O.S.)<\/character>\n    <dialogue>Bobby Fischer Interview. Take One.<\/dialogue>\n    <parenthetical>(hits the slate)<\/parenthetical>\n    <dialogue>So, Bobby, how long before you get a shot at the title?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>The Federation makes it very difficult to advance in the rankings. Gonna take a few years. But when that day comes I'll be ready...!<\/dialogue>\n    <scene_description>His grin -- when it happens -- is like the sun suddenly breaking through the clouds. 60's MUSIC KICKS IN. A32 IN A CAVERNOUS HALL (60'S ROCK MUSIC CONT.) DOC-STYLE A32 Bobby defeats several opponents. He poses among other East European grandmasters. Carmine is nearby, beaming.<\/scene_description>\n    <character>NEWSREEL ANNOUNCER #3 (V.O.)<\/character>\n    <parenthetical>(in Yugoslav; subtitled)<\/parenthetical>\n    <dialogue>In Portoroz, Yugoslavia, American chess prodigy Bobby Fischer became the youngest ever Grandmaster in the history of the game...<\/dialogue>\n    <scene_description>Bobby has a large gold medal around his neck. An American news reporter puts a large microphone in his face.<\/scene_description>\n    <character>REPORTER (O.S.)<\/character>\n    <dialogue>How do you explain your success?<\/dialogue>\n    <scene_description>Bobby looks at him for a moment, then simply, without guile:<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I'm better than everybody else.<\/dialogue>\n    <scene_description>B32 IN A CHESS CLUB B32\\* Bobby plays TWENTY OPPONENTS at once -- their chessboards surrounding him in a circle. Carmine hovers nearby.<\/scene_description>\n    <character>NEWSREEL ANNOUNCER #2<\/character>\n    <dialogue>With each passing year he rises in the International ranking. Maybe someday America can finally claim a champion of its own.<\/dialogue>\n    <scene_description>As he moves from one to another, we INTERCUT MORE ARCHIVAL FOOTAGE: JFK'S funeral. The Beatles. The Berlin Wall. Vietnam. LBJ. Cassius Clay. The CAMERA spins with him as he plays -- faster and faster -- until, as Bobby passes from our view, obscured behind one player, he EMERGES on the other side as the mature 24 year- old we saw in the opening scene.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>C32 EXT. BULGARIA TOURNAMENT HALL (TO ESTABLISH) C32\\*<\/stage_direction>\n    <scene_description>Caption: Olympiad of Varna, Bulgaria'62<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>D32 INT. BULGARIA HALL HALLWAY D32\\*<\/stage_direction>\n    <scene_description>Bobby and Carmine walking. Bobby is psyching himself up.<\/scene_description>\n    <character>CARMINE \\*<\/character>\n    <dialogue>Okay, Ivanovich relies on the Indian \\* defense-- \\*<\/dialogue>\n    <character>BOBBY \\*<\/character>\n    <dialogue>He stopped using it in Portorosz. \\* And Petrossian is no longer defensive \\* out of the Nimzo. His mother died \\* last month and he's become more \\* cautious. \\*<\/dialogue>\n    <character>CARMINE<\/character>\n    <dialogue>How do you know this stuff?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>The magazines, man. They don't know I read Russian. All I gotta do is outscore them by two points. That way they gotta give me shot at the championship.<\/dialogue>\n    <character>CARMINE<\/character>\n    <dialogue>Good. Good. How about we think about the first one first...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BULGARIA TOURNAMENT HALL 32 \\*<\/stage_direction>\n    <scene_description>The enforced stillness of a chess tournament. Bobby defeats one opponent after another. He looks invincible. His focus is absolute. Nearby, two RUSSIAN PLAYERS have finished their game -- they're shaking hands. A draw. Bobby looks over, studying their board. Suddenly he stands up from his game and approaches an ARBITER.<\/scene_description>\n    <character>BOBBY<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Excuse me. Over there -- the Russians -- TBD has an opening on Petrosian, instead he draws in fourteen moves?<\/dialogue>\n    <character>ARBITER<\/character>\n    <dialogue>If you'll take your seat please, Mr. Fischer.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Are you blind? They're playing each other soft to save their strength and then padding their point totals so I can't win -- YOU SHOULD BE WATCHING THIS!<\/dialogue>\n    <scene_description>HEADS TURN as he voice rises. Carmine comes over.<\/scene_description>\n    <character>CARMINE<\/character>\n    <dialogue>Bobby, sit down, you don't want to be disqualified.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You see what they're up to? No matter how many points I get, they're getting more. This is such bullshit...<\/dialogue>\n    <scene_description>Then, into the hall, walks Boris Spassky! Bobby can't help but stare as Spassky sits at a nearby table. Bobby tries to return to his game, but he's upset now. He furtively steals glances at the handsome Grandmaster. Suddenly, everything is distracting to him. A chair SCRAPING. A light buzzes. A Russian advisor WHISPERING to another advisor. Bobby looks up at the TOURNAMENT BOARD. He scheduled to play Spassky next. Bobby crackles with anxiety -- looking over at Spassky -- while his opponent ploddingly contemplates his next move. Finally, unable to stand it:<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>...Knight to Kings Pawn Six, Bishop to Bk4, King to e-5, Queen to Qp2. King to Nb6, Queen to Bd3. Mate.<\/dialogue>\n    <scene_description>His opponent realizes he is indeed doomed. DOC-STYLE: A DOOR WITH A SIGN: \"SILENCE, MATCH IN PROGRESS\" The door opens and Bobby storms out. A cameraman films him.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>They're conspiring against me. They want to destroy me because they know I'm better than they are.<\/dialogue>\n    <scene_description>Bobby is followed by officials and journalists. Carmine takes his arm.<\/scene_description>\n    <character>CARMINE<\/character>\n    <dialogue>Bobby...<\/dialogue>\n    <scene_description>Bobby yanks his arm free...<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>The Russians are cheating! There, I've said it! Nobody else will!<\/dialogue>\n    <scene_description>Bobby grabs a guy with Soviet accreditation.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You want that in Russian? Niet pycni osmahbi.<\/dialogue>\n    <scene_description>An OFFICIAL takes Bobby's arm...<\/scene_description>\n    <character>OFFICIAL<\/character>\n    <dialogue>Mr Fischer, if we could go back inside and talk about this...<\/dialogue>\n    <scene_description>Bobby pushes the official -- who falls into a signboard. Bobby tries to help the man to his feet. Silence. Then Bobby grabs a chair, stands on it.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Okay, I want to make a statement... First I'd like to apologize for pushing that guy. ...You're okay?<\/dialogue>\n    <character>OFFICIAL<\/character>\n    <dialogue>Something to tell my grandchildren.<\/dialogue>\n    <scene_description>As Bobby continues we hear WHISPERED TRANSLATIONS.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I came here to take part in this tournament, which is my right as American champion. But it is obvious this whole thing has been fixed by the Russkies.<\/dialogue>\n    <scene_description>Carmine rolls his eyes. Murmurs around the audience.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>They arrange draws so they can save their strength for the late rounds. But the corrupt Federation does nothing to stop it. I've been waiting ten years to get a shot at the championship...and I'm sick of it.<\/dialogue>\n    <parenthetical>(working himself up)<\/parenthetical>\n    <dialogue>As a result, I am -- as of right now -- now-this-second, quitting.<\/dialogue>\n    <character>CARMINE<\/character>\n    <dialogue>Oh, man...<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I won't play against fuckin' Commie cheaters who hate me and hate America.<\/dialogue>\n    <scene_description>Bobby sees a radio microphone poking out from the crowd.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Sorry about 'fucks' in there... but anyway....screw you all. In fact I'm retiring from chess forever.<\/dialogue>\n    <scene_description>Bobby kicks over the chair as he gets down and walks away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PEOPLE'S HALL - CONTINUOUS<\/stage_direction>\n    <scene_description>Carmine tries to keep up with Bobby as he marches away.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I'm the best in the world and they know it and they stole it from me! The whole system is rigged...<\/dialogue>\n    <character>CARMINE<\/character>\n    <dialogue>Bobby... Bobby, wait--<\/dialogue>\n    <parenthetical>(catches up to him)<\/parenthetical>\n    <dialogue>...It's okay to be nervous about playing him.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>CARMINE<\/character>\n    <dialogue>Spassky. You saw he was next and you quit.<\/dialogue>\n    <scene_description>Spassky is exiting with his handlers, looking cool, confident.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You're fulla shit. It has nothing to do with Spassky! It's statistically impossible for me to win now.<\/dialogue>\n    <character>CARMINE<\/character>\n    <dialogue>First rule of chess. Always someone better than you.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Better than you, maybe.<\/dialogue>\n    <scene_description>He strides away, leaving Carmine behind.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE FISCHER APARTMENT - WEEKS LATER<\/stage_direction>\n    <scene_description>The kitchen is a disaster. Old take-out containers and dirty coffee cups. Chess boards, each with a game-in-progress. Bobby is asleep, his head on a chessboard. It looks like he lives in his bathrobe. A key in the doorway. Joan enters; with her is her seven-year-old GIRL. Bobby wakes up.<\/scene_description>\n    <character>JOAN<\/character>\n    <dialogue>Hey, Baby boy... \\*<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Didn't know you had a key.<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>(to her daughter) \\*<\/dialogue>\n    <scene_description>Say hello to your Uncle. The girl shyly mumbles a hello. \\*<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You like chess, Lizzie? This is the \\* rook. See the castle on top, like \\* in a fairy story, right? It moves like this. And this is the knight, \\* you like horses...?<\/dialogue>\n    <scene_description>Meanwhile Joan is subtly cleaning up. \\*<\/scene_description>\n    <character>JOAN \\*<\/character>\n    <dialogue>So...what've you been up to? \\*<\/dialogue>\n    <character>BOBBY \\*<\/character>\n    <dialogue>The usual. \\*<\/dialogue>\n    <character>JOAN \\*<\/character>\n    <dialogue>Getting out much? \\*<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Too busy. \\*<\/dialogue>\n    <scene_description>(to Elizabeth) \\* --Here, you try it. \\*<\/scene_description>\n    <character>JOAN \\*<\/character>\n    <dialogue>...Doing what? \\*<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Working on my game! I've developed \\* files this thick on Tal, on Petrossian, on Fila... I'm working \\* fourteen hours a day. \\*<\/dialogue>\n    <character>JOAN \\*<\/character>\n    <dialogue>So you didn't quit. \\*<\/dialogue>\n    <character>BOBBY \\*<\/character>\n    <dialogue>(a bit overheated) \\*<\/dialogue>\n    <scene_description>I'll play when the Russians stop \\* fixing the Candidates tournament! \\*<\/scene_description>\n    <character>JOAN \\*<\/character>\n    <dialogue>I know, baby. I know... \\*<\/dialogue>\n    <scene_description>She produces a comb and begins to comb his hair. He closes \\* his eyes to a tenderness he rarely gives in to.<\/scene_description>\n    <character>JOAN (CONT'D) \\*<\/character>\n    <dialogue>So I bumped into an old friend from \\* school... She saw your picture in the New York Times magazine.<\/dialogue>\n    <character>BOBBY \\*<\/character>\n    <dialogue>I was in the New York Times? \\*<\/dialogue>\n    <character>JOAN \\*<\/character>\n    <dialogue>The piece about you punching a guy. From the picture, she thinks you're a looker.<\/dialogue>\n    <parenthetical>(smooths Bobby's hair)<\/parenthetical>\n    <dialogue>I don't see it, you know? But the point is...you have a date.<\/dialogue>\n    <scene_description>Bobby opens his eyes. Joan smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROOKLYN DINER - NIGHT<\/stage_direction>\n    <scene_description>Sixties rock-and-roll on the juke box. A sweet-faced young girl, MARIA, is waiting. She looks nervous as Bobby enters.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Maria?<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>Bobby?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>My sister told me not to scare you.<\/dialogue>\n    <scene_description>He smiles. Sits.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Boo. Are you a virgin too?<\/dialogue>\n    <scene_description>Maria almost chokes on her coffee.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I don't much care, you know? I don't know why there's even a word for it. There's no word for people who've never flown in a plane or...<\/dialogue>\n    <scene_description>Maria looks a little thrown...<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Do you ever make up words for things there's no word for?<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>I...no, I really don't.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Am I scaring you by the way?<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>No... A little.<\/dialogue>\n    <scene_description>Maria is beginning to get up to speed with Bobby's craziness. She's unnerved but drawn to his eyes.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>I'm Italian.<\/dialogue>\n    <scene_description>Bobby doesn't respond.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>Joan said you've been to Rome to play chess.<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(rapid fire)<\/parenthetical>\n    <dialogue>It has two hundred and thirty five statues of people who look like they're still in bed.<\/dialogue>\n    <character>MARIA<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>Did you count them?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Are you interested in politics?<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>I'm a Republican actually.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Right there, that's why you're a virgin. Republicans only have sex to have babies. Democrats have sex because they can't help themselves.<\/dialogue>\n    <scene_description>Maria laughs again. Bobby is puzzled by her laughter. He re- arranges the sugar cubes with his long fingers...<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>Are you going to eat something?<\/dialogue>\n    <scene_description>Bobby puts a sugar cube into his mouth. Peers at her.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Do you play chess?<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Good.<\/dialogue>\n    <scene_description>Maria takes a breath, decides to be bold.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>Joan said you've quit traveling all over to tournaments and maybe you'd like to start doing regular things.<\/dialogue>\n    <scene_description>Maria thinks maybe she is one of the regular things he might do. He smiles then peers at Maria's face. After a moment...<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Beautiful.<\/dialogue>\n    <scene_description>He stares at her face. Maria reacts...blushing a little. Then...still staring at her face...he speaks fast and even...<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Capablanca versus Emanuel Lasker, Havana, 1921, endgame. The White King was here...<\/dialogue>\n    <scene_description>Bobby touches the tip of Maria's nose...<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Black King here.<\/dialogue>\n    <scene_description>He touches her chin. As Bobby names different chess pieces he gently touches her eyes, her cheeks, her ears, placing each piece as if Maria's face were a chessboard...<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>White Knight, black pawn, white rook, black Bishop to your chin--<\/dialogue>\n    <scene_description>Maria has closed her eyes, his touch is gentle.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>--your ear to your nose and taking out an eye for a cheek bone. Move this here. This here...<\/dialogue>\n    <scene_description>A pause. Bobby stares at her face and looks troubled...<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Beautiful like a Picasso.<\/dialogue>\n    <scene_description>Maria opens her eyes -- overwhelmed by his gentle physicality.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You believe in love.<\/dialogue>\n    <character>MARIA<\/character>\n    <dialogue>Uh...<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>That's what I thought.<\/dialogue>\n    <parenthetical>(stands; sighs)<\/parenthetical>\n    <dialogue>Sorry, Joan.<\/dialogue>\n    <scene_description>He grabs his coat and leaves. She sits there, forlorn.<\/scene_description>\n    <character>MARIA<\/character>\n    <dialogue>It's Maria.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 'FOUR CONTINENTS' RUSSIAN BOOK STORE - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>A hunched Bobby walks fast along the busy Brooklyn sidewalk and ducks into the store, like someone entering a Porn shop. More SURVEILLANCE SHOTS of him from across the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROOKLYN, 'FOUR CONTINENTS' RUSSIAN BOOK STORE - NIGHT<\/stage_direction>\n    <scene_description>Bobby enters, looking wired. The Bookstore Owner speaks softly in Russian...<\/scene_description>\n    <character>BOOKSTORE OWNER<\/character>\n    <dialogue>Good evening 'Bobby Grandmaster'. You couldn't sleep?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Would you please speak to me in American?<\/dialogue>\n    <character>BOOKSTORE OWNER<\/character>\n    <dialogue>So why have you gone to the trouble of learning our language?<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(in Russian)<\/parenthetical>\n    <dialogue>Okay. Fine. Is it here yet?<\/dialogue>\n    <character>BOOKSTORE OWNER<\/character>\n    <parenthetical>(back to English)<\/parenthetical>\n    <dialogue>Let me see... It is the TBD you buy, yes? Published by the Moscow Chess Federation.<\/dialogue>\n    <scene_description>The Owner's WIFE drifts by behind the counter.<\/scene_description>\n    <character>OWNER'S WIFE<\/character>\n    <dialogue>Ah. The American boy who hates us but can't resist our magazines.<\/dialogue>\n    <character>BOOKSTORE OWNER<\/character>\n    <dialogue>The October edition is just in.<\/dialogue>\n    <scene_description>Bobby finds the magazine in the rack.<\/scene_description>\n    <character>BOOKSTORE OWNER<\/character>\n    <dialogue>Page six.<\/dialogue>\n    <parenthetical>(twisting the knife)<\/parenthetical>\n    <dialogue>He is becoming the new Messiah.<\/dialogue>\n    <scene_description>A photo of SPASSKY. The caption reads: 'World Champion Boris Spassky wins tenth Blitz tournament.' Once again, Bobby's steel-trap of a mind memorizes each move at lighting speed.<\/scene_description>\n    <character>BOOKSTORE OWNER<\/character>\n    <dialogue>They say he won't ever lose a match.<\/dialogue>\n    <scene_description>Bobby pays him. The owner hands him a card.<\/scene_description>\n    <character>BOOKSTORE OWNER<\/character>\n    <dialogue>Someone left this for you. A lawyer. You are in trouble, maybe?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A39 INT. FBI OFFICE - DAY A39<\/stage_direction>\n    <scene_description>An anonymous FIGURE sits behind a desk as a sheaf of SURVEILLANCE PHOTOS are shown to him. We SEE Bobby entering the Russian bookstore.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WASHINGTON SQUARE PARK`<\/stage_direction>\n    <scene_description>Patchy snow. Empty apart from Bobby, who sits before an empty chessboard playing a game with invisible pieces. A GUY in an overcoat approaches. It is MARSHALL.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You want a game?<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>What? You think I'm stupid?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You know who I am.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Yeah, I know who you are. Been trying \\* to reach you. \\*<\/dialogue>\n    <scene_description>(hands him a card) \\* You don't answer your phone. \\*<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You're the lawyer. What'd I do...?<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Nothing. You did nothing. You do nothing. That's why I'm here.<\/dialogue>\n    <scene_description>Marshall hands him an article torn from Sports Illustrated: 'The Russians Have Fixed World Chess,'By Bobby Fischer.'<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>You were angry.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>That was years ago.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Are you still angry?<\/dialogue>\n    <scene_description>Bobby rocks back and forth a little.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>I mean, are you political, Bobby?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Like a rock. Like a baseball bat.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>You told the truth about the Russians.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Sometimes the truth is a hand grenade.<\/dialogue>\n    <parenthetical>(almost coy)<\/parenthetical>\n    <dialogue>I just made that up by the way.<\/dialogue>\n    <scene_description>Marshall produces a chess magazine, drops it on the table.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>There's been an announcement. \\*<\/dialogue>\n    <parenthetical>(reads)<\/parenthetical>\n    <dialogue>'Soviet invasion to hit California Surf. Greatest chess player who ever lived to visit U.S.'.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yeah. They're coming to California to play in The Piatigorsky.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>They say it's just a game, for fun, hand of friendship, all that crap. But you know the truth... They're using chess to say 'screw America'.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yeah, well, America is soft.<\/dialogue>\n    <parenthetical>(re the empty tables)<\/parenthetical>\n    <dialogue>A little bit of weather and I'm all alone here.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>The Russians laugh at us.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>They know there's not one single American can beat a single Russian. \\* Their chess mastery proves to the world Soviet intellectual superiority over the decadent West.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Seriously man, who the hell are you?<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>I'm just a fan. I love creative \\* people. I also love my country. I \\* also love to make money.<\/dialogue>\n    <parenthetical>(leans in)<\/parenthetical>\n    <dialogue>I want to represent you. Exhibitions. Endorsements. Serious money. Otherwise I wouldn't be out here freezing my ass off.<\/dialogue>\n    <scene_description>Bobby laughs in a cloud of breath.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>You're the one man in this country \\* who can put up a fight, maybe even \\* beat them. And I want a front row \\* seat when the good guys win. \\*<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You don't know if I can still play. \\*<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>I talk to people. The cafe on Clinton \\* Street. The bookstore... You hate \\* to lose, Bobby. If you weren't \\* beating the magazines you wouldn't keep buying them.<\/dialogue>\n    <scene_description>Bobby studies Marshall, who turns to a picture of Spassky. \\*<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>Carmine thinks you're afraid of him. Yeah, he's going to have some fun over here...<\/dialogue>\n    <character>BOBBY \\*<\/character>\n    <dialogue>Hey, screw him. Screw Boris Spassky. \\*<\/dialogue>\n    <scene_description>He taps his temple with his long finger. \\*<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I have moves in my brain like bullets. I ran all his games and I know how he thinks.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Yeah. Bang-bang. Patzers in Washington Square. So what?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>He has a life. He has a wife.<\/dialogue>\n    <parenthetical>(brushes away dead leaves from the board)<\/parenthetical>\n    <dialogue>All I have is this. That's why I can beat him.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>If you don't play, you don't win. \\* Buif you win, you make history. \\*<\/dialogue>\n    <scene_description>Bobby looks at him, a wicked smile spreading across his face.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>When I win.<\/dialogue>\n    <scene_description>OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MANHATTAN CHESS CLUB, SMOKING ROOM - DAY<\/stage_direction>\n    <scene_description>The Manhattan Club is nicer than its Brooklyn equivalent. Marshall walks through with A PRIEST in long black robes enters. This is FATHER LOMBARDY.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>He's been preparing for six hours.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>I'm just a selector. I hope he \\* realizes it's a committee that decides who plays.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>You're a grandmaster. He respects \\* you. You're the only one who ever beat Spassky.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>We were kids. He'd destroy me now.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>And you've beaten Bobby. \\*<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>When he was twelve. And a bad loser.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>Said the room was too loud, the lamp was too bright. He's a pain in the ass. \\*<\/dialogue>\n    <character>MARSHALL \\*<\/character>\n    <dialogue>He asked for you. Wants you to be \\* his second.<\/dialogue>\n    <scene_description>Marshall hands Lombardy a letter. \\*<\/scene_description>\n    <character>MARSHALL (CONT'D) \\*<\/character>\n    <dialogue>It's a letter of explanation and \\* apology to the Federation.<\/dialogue>\n    <character>LOMBARDY \\*<\/character>\n    <dialogue>With the f word in the first line. \\*<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>He's nursed a grudge a long time. He's studied how the Russians play...every day, eighteen hours a day for four years. For him, Vietnam and the Beatles never happened.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>I'm guessing he still has his opinions about the Soviets?<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>You'll promise the committee we'll keep him out of trouble...<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>The Piatigorsky has been organized to build bridges, not burn them.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>So we lose twelve to zero and that's a bridge.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>I heard he has mental health problems.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>So did Mozart.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>What if we get him there and he cracks...<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Bobby won't crack. He will explode.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MANHATTAN CHESS CLUB - GAME ROOM - DAY<\/stage_direction>\n    <scene_description>Marshall ushers Lombardy in. Bobby is dressed to kill.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>Bobby? Father Lombardy's here... \\*<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>How ya doing, Bobby?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Against Petrosian in Zurich in the third game you shouldn't have sacrificed your King's pawn. That's the thing that got ya.<\/dialogue>\n    <scene_description>Father Lombardy rocks back a little...<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You always play too cautiously but then you go crazy in the other direction. It's a bad weakness.<\/dialogue>\n    <scene_description>They peer at each other.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Hey, if I criticize a priest, do I go to hell?<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>...Depends if you believe in God.<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(nods appreciatively)<\/parenthetical>\n    <dialogue>Good move.<\/dialogue>\n    <scene_description>He gestures at the chessboards lined up before them.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I'm going to show you how you could've won in thirteen moves.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>Not possible.<\/dialogue>\n    <scene_description>Several tables have been laid out in advance.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Okay, here's where you screwed up. You got greedy and traded knight for bishop, sacrificed your pawn. But what if you'd done this...<\/dialogue>\n    <scene_description>He puts the pieces back on the board with an arrogant slap.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>See, the Russians are like boa constrictors. If you do nothing, they strangle you to death, but if you confuse him, attack him everywhere...<\/dialogue>\n    <scene_description>Bobby moves rapidly. Pieces moving, trading.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>First my machine guns attack his king. BAM! BAM! BAM! BAM! All he can do is defend himself--<\/dialogue>\n    <scene_description>Five more moves. Check. Check. He takes a rook.<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>You understand, Bobby, this tournament is about diplomacy.<\/dialogue>\n    <scene_description>Bobby ignores him, moves to the next table.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I want five hundred dollars for each game. I want to buy my sister something for her new baby.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>I heard you were taking medication.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>My sister sent me to a doctor who put me on something but I started playing as badly as you. So I stopped.<\/dialogue>\n    <scene_description>He makes three more tactical moves.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Now we've got him on the run.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>What about Rook takes Bishop?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Of course. The smoke clears. He thinks he's safe... But there's a plot to kill the king, an assassin is waiting, forgotten in the background.<\/dialogue>\n    <scene_description>Lombardy is entranced.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You see the Russian Queen, standing there, so high and mighty? She thinks she can protect him.<\/dialogue>\n    <scene_description>Bobby goes to the next table, making several quick moves--<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>--Suddenly the assassin comes to life! The King tries to escape. But now the hunt is on--!<\/dialogue>\n    <scene_description>He makes a few furious final moves, trapping the white King.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Even his beloved Queen can't save him. The King is defenseless. The King is dead.<\/dialogue>\n    <scene_description>The Kind Falls<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>Holy shit.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I didn't know priests used bad language...<\/dialogue>\n    <parenthetical>(to Marshall)<\/parenthetical>\n    <dialogue>I like this guy.<\/dialogue>\n    <parenthetical>(to Lombardy)<\/parenthetical>\n    <dialogue>Father? Take the crazy kid to California.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA MONICA BEACH<\/stage_direction>\n    <scene_description>Beach Boys harmonies. ARCHIVAL FOOTAGE &amp; MOCK-DOC: Waves crash on a sun-drenched beach. The surf is up. Long boards and polka-dot bikinis. Four black limos pull up beside the beach. Caption: Santa Monica, California, June 1966. KGB men in dark suits and shades emerge. Out of the rear doors step TEN less well-built men, also in dark suits. The SOVIET CHESS TEAM steps hesitantly onto the sand.<\/scene_description>\n    <character>RADIO DJ (V.O.)<\/character>\n    <dialogue>This is 93 KHJ, Los Angeles...<\/dialogue>\n    <scene_description>The KGB men watch the grand masters stroll self-consciously on the beach. A few SURVEILLANCE SHOTS.<\/scene_description>\n    <character>RADIO DJ (V.O.)<\/character>\n    <dialogue>Don't be fooled by the warm weather because the Cold War just blew into town. The Soviet chess team arrived in LA for a good-will tournament.<\/dialogue>\n    <scene_description>BORIS SPASSKY lights a cigarette. He is trim, athletic. He wears dark shades, hair brushed back. An impressive figure.<\/scene_description>\n    <character>RADIO DJ (V.O.)<\/character>\n    <dialogue>With them is the current world champion, Boris Spassky, said to be the best chess player who ever lived.<\/dialogue>\n    <scene_description>Spassky takes off his shades and rubs his eyes against the bright light. We sense a certain weariness...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEVERLY HILLS HILTON HOTEL<\/stage_direction>\n    <scene_description>The fleet of limos cruise up the palm-fringed courtyard. The doormen jump to attention. Photographers take photos.<\/scene_description>\n    <character>RADIO DJ (V.O.)<\/character>\n    <dialogue>The comrades are booked into the Beverly Hills Hilton Hotel. So much for working class values...<\/dialogue>\n    <scene_description>Boris is hurried inside by two KGB men.<\/scene_description>\n    <character>RADIO DJ (V.O.)<\/character>\n    <dialogue>If you're listening guys, welcome to the free world and enjoy the sunshine.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA MONICA MOTEL, OCEAN AVENUE - DAY<\/stage_direction>\n    <scene_description>In the seedy parking lot, a couple of hookers are smoking. A taxi pulls in. Lombardy, Marshall and Bobby emerge. Bobby looks at the seedy Motel, shakes his head.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Right.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANTA MONICA MOTEL, OFFICE<\/stage_direction>\n    <scene_description>Lombardy and Marshall are checking in while Bobby paces. He \\* checks out the mural of Santa Monica, observes passing kids. \\*<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>...Really hot in here... What's \\* going on? \\*<\/dialogue>\n    <character>MOTEL CLERK \\*<\/character>\n    <dialogue>Repair guy didn't show.<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(to Marshall)<\/parenthetical>\n    <dialogue>You said a hotel, not some roach coach that rents by the hour.<\/dialogue>\n    <character>MOTEL CLERK \\*<\/character>\n    <dialogue>You a rock star?<\/dialogue>\n    <parenthetical>(to Marshall)<\/parenthetical>\n    <dialogue>Acts like a rock star.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You know what? I ain't staying here.<\/dialogue>\n    <scene_description>Bobby turns and walks out the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA MONICA MOTEL, PARKING LOT<\/stage_direction>\n    <scene_description>Bobby emerges with Lombardy and Marshall in pursuit.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You said, \"improved accomodations.\" \\*<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>This is improved. Somebody else is paying for it.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Where are the Russians staying?<\/dialogue>\n    <scene_description>Lombardy and Marshall exchange a look.<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>We don't have their kind of money. \\*<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Money?! We invented money --<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>We rely on private donors. \\*<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>So find some rich ones! \\*<\/dialogue>\n    <parenthetical>(shakes his head)<\/parenthetical>\n    <dialogue>The Russians get whatever they want because their government understands what it takes to win. Chess is a \\* national priority! They don't put \\* chess players next to Route 66! \\*<\/dialogue>\n    <parenthetical>(looks at the traffic)<\/parenthetical>\n    <dialogue>All I want is some QUIET!!<\/dialogue>\n    <scene_description>One of the hookers speaks up out of nowhere...<\/scene_description>\n    <character>HOOKER<\/character>\n    <dialogue>So stop yelling.<\/dialogue>\n    <scene_description>Bobby looks up. She's attractive, if somewhat... obvious. \\*<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You're right. Sorry. What's your name?<\/dialogue>\n    <character>DONNA<\/character>\n    <dialogue>Donna.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>See ya later, Donna. I'm going for a walk.<\/dialogue>\n    <character>HOOKER \\*<\/character>\n    <dialogue>Want some company?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>He sets off toward the ocean. Donna hurries to catch up. Lombardy turns to Marshall<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>And he hasn't even started playing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEVERLY HILTON HOTEL, BORIS SPASSKY'S SUITE<\/stage_direction>\n    <scene_description>The suite is vast. A shower is running A note in English and Russian: 'The Beverly Hills Hilton Hotel welcomes Mr Boris Spassky....Chess Champion of the World'. Along with his dark suit, Boris has packed a Hawaiian shirt. A small crucifix hangs inside his open suitcase. On a table a chessboard with the pieces set for a new game. Boris emerges, drying himself. Then the door opens. An adviser enters. This is GELLER. He carries a folder. Their conversation is in Russian with ENGLISH SUBTITLES.<\/scene_description>\n    <character>BORIS<\/character>\n    <dialogue>You don't knock?<\/dialogue>\n    <character>GELLER<\/character>\n    <dialogue>You didn't hear me.<\/dialogue>\n    <scene_description>Geller immediately turns off the radio jazz.<\/scene_description>\n    <character>BORIS<\/character>\n    <dialogue>It is interfering with your listening devices?<\/dialogue>\n    <character>GELLER<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>Now you are being paranoid.<\/dialogue>\n    <scene_description>Geller goes to the window, looks down.<\/scene_description>\n    <character>GELLER<\/character>\n    <dialogue>I came in here because there is a better view. Come and see. There is a black goddess lying by the pool and you can see right up her crotch. This is a great country, yeah?<\/dialogue>\n    <parenthetical>(peers at him, again:)<\/parenthetical>\n    <dialogue>I said this is a great country, yes?<\/dialogue>\n    <scene_description>Boris doesn't respond. Geller tosses a folder onto the bed.<\/scene_description>\n    <character>GELLER<\/character>\n    <dialogue>The American team. There is someone on this list I hoped was dead.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA MONICA BEACH<\/stage_direction>\n    <scene_description>Bobby is walking in his sharp suit, the waves drenching his shoes. He is walking with purpose, mumbling, lost in a game being played in his head. Then we see Donna trailing behind, high heels in hand.<\/scene_description>\n    <character>DONNA<\/character>\n    <dialogue>This is all you wanted to do?<\/dialogue>\n    <scene_description>Bobby has spaced out for a moment. He snaps back. \\*<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Huh? Collect shells if you want. \\*<\/dialogue>\n    <character>DONNA<\/character>\n    <dialogue>You walk pretty fast.<\/dialogue>\n    <scene_description>Bobby stops, sits down on the sand and stares out to sea.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Maybe I'll sleep here instead.<\/dialogue>\n    <scene_description>Donna sits down heavily beside Bobby and lights a cigarette.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>So what do you do, Donna?<\/dialogue>\n    <scene_description>Donna looks quizzically at Bobby.<\/scene_description>\n    <character>DONNA<\/character>\n    <dialogue>I fuck people.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yeah? So do I.<\/dialogue>\n    <parenthetical>(pondering)<\/parenthetical>\n    <dialogue>...Listen, after I've won this chess thing I was thinking maybe I'd get rid of my virginity. It's getting stupid, you know--?<\/dialogue>\n    <character>DONNA<\/character>\n    <dialogue>...You've never had sex?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Not with someone else, no.<\/dialogue>\n    <character>DONNA<\/character>\n    <dialogue>I'll make you an introductory offer. 300 bucks.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Two hundred. \\*<\/dialogue>\n    <character>DONNA \\*<\/character>\n    <dialogue>Two-fifty. \\*<\/dialogue>\n    <character>BOBBY \\*<\/character>\n    <dialogue>Two twenty-five. And if I win I get \\* the next one for free. \\*<\/dialogue>\n    <character>DONNA<\/character>\n    <dialogue>You really represent America?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Hell, yeah. I represent America.<\/dialogue>\n    <scene_description>OMITTED OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEVERLY HILTON HOTEL - NEXT DAY<\/stage_direction>\n    <scene_description>The Soviet chess team climb into their fleet of Limos. Boris appears to have two KGB guards allocated just to him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOBBY'S MOTEL ROOM<\/stage_direction>\n    <scene_description>As Bobby is getting dressed, he and Lombardy play \"blind\" chess. The board, the pieces, it's all in their heads.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Bishop to Queen 3.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>Bishop to Knight 5.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Knight to King Knight 5.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>King Rook to Queen 1.<\/dialogue>\n    <scene_description>Each moves elicits a reaction. Delight or dread.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Queen to Knight 4. Ha!<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>You sonofabitch.<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(grinning)<\/parenthetical>\n    <dialogue>Not me. Morphy vs. Anderssen.<\/dialogue>\n    <scene_description>Lombardy's competitive instincts are emerging.<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>Bishop to Bishop 1.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>King Rook to K1.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>Pawn to Queen Rook 4.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Queen to King 7.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>Queen takes Queen.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Rook takes Queen.<\/dialogue>\n    <scene_description>Lombardy studies the board in his head.<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>.....Shit.<\/dialogue>\n    <scene_description>Bobby just smiles. Marshall knocks and enters.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>You ready?<\/dialogue>\n    <scene_description>He hands Bobby a three-page stapled mimeo. \\*<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>Background on the Soviet and Cuban teams.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Are you kidding? The Russians have a folder this thick on me. They've been studying me since I was twelve. \\*<\/dialogue>\n    <scene_description>He tears it up, turns to check himself out in the mirror. \\*<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>They're sitting by the pool in their \\* fancy hotel, having drinks, laughing. \\*<\/dialogue>\n    <parenthetical>(squares his tie)<\/parenthetical>\n    <dialogue>We'll see who's laughing tonight. \\*<\/dialogue>\n    <scene_description>He starts for the door.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You coming?<\/dialogue>\n    <scene_description>Bobby leaves. Lombardy smiles at Marshall.<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>I think he's ready.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA MONICA TOURNAMENT HALL<\/stage_direction>\n    <scene_description>The Soviet flag and the Stars and Stripes hang above a hall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANTA MONICA TOURNAMENT HALL<\/stage_direction>\n    <scene_description>Players, audience and journalists wait for the matches to begin. The Russians receive last minute briefings. Lombardy is pouring coffee as Marshall enters, frantic.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>He's not anywhere! If he's not seated in four minutes, he forfeits.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>He'll be there.<\/dialogue>\n    <character>MARSHALL \\*<\/character>\n    <dialogue>A little prayer wouldn't hurt. \\*<\/dialogue>\n    <character>LOMBARDY \\*<\/character>\n    <dialogue>I pray for his opponent. \\*<\/dialogue>\n    <scene_description>Marshall shakes his head and hurries away. \\* \\*:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANTA MONICA TOURNAMENT, MEN'S ROOM 56 \\*<\/stage_direction>\n    <scene_description>Marshall enters and begins to check the cubicles.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>Bobby? You here?<\/dialogue>\n    <character>BOBBY (O.S.)<\/character>\n    <dialogue>In here.<\/dialogue>\n    <scene_description>Marshall finds Bobby fully clothed, sitting on the toilet, busily writing on a scrap of paper.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>What the hell? You've go to take your seat!<\/dialogue>\n    <scene_description>Bobby gets to his feet, handing Marshall the note.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I had to find somewhere quiet. I want you to give this to her... \\*<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>To who?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>My mom.<\/dialogue>\n    <scene_description>Bobby gives him the letter. For a moment we glimpse the fragile little boy inside Bobby. He goes to wash his hands.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>She lives in California now. She'll be here.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Bobby, you've drawn Ivanovich in the first round.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Whatever you do, don't let her watch me. She'll screw up my game. Just stop her and give her the letter<\/dialogue>\n    <parenthetical>(dries his hands)<\/parenthetical>\n    <dialogue>I've told her to follow on the radio.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Bobby, Ivanovich is officially the third best chess player in the world.<\/dialogue>\n    <scene_description>Bobby's little boy look is replaced by a roguish grin.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Fourth.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANTA MONICA TOURNAMENT PLAYING HALL<\/stage_direction>\n    <scene_description>A chessboard. A clock TICKS. An empty chair with Bobby's name on it. Russian Grandmaster IVANOVICH sits opposite. An adviser whispers in his ear. Lombardy checks his watch.<\/scene_description>\n    <character>REFEREE<\/character>\n    <dialogue>If he is not here in sixty seconds the game will be forfeited.<\/dialogue>\n    <scene_description>Ivanovich folds his arms and waits. A door at the far end of the room OPENS. Bobby saunters in. \\* His casual attitude immediately wrong-foots his opponent. A \\* ripple of APPLAUSE as he raises one hand in acknowledgement. An official hands Bobby his \"move\" card.<\/scene_description>\n    <character>BOBBY<\/character>\n    <parenthetical>(patting his pockets; to Lombardy)<\/parenthetical>\n    <dialogue>Gotta pen?<\/dialogue>\n    <scene_description>Lombardy hands him a pen. Bobby sits and waits for the clock to run down some more, staring directly at Ivanovich. \\* Ten seconds left on the clock. Ivanovich begins to wilt a little. Bobby smiles a devilish smile and whispers...<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Ten, nine, eight, seven, six, five, four, three...two...<\/dialogue>\n    <scene_description>Bobby SLAPS his first move, then SLAPS his clock just as hard. His eyes never leave Ivanovich's face.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA MONICA TOURNAMENT HALL, NIGHT<\/stage_direction>\n    <scene_description>The Limos are waiting. \\* The auditorium doors open and Ivanovich appears, escorted by the Soviet team advisor, LIVO NEI, who hurries him into one of the waiting cars. Ivanovich has his head bowed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMO - BACK SEAT (TRAVELING - POOR MAN'S PROCESS)<\/stage_direction>\n    <scene_description>The limo pulls away. Ivanovich sits beside Nei, staring straight ahead. They speak Russian with ENGLISH subtitles.<\/scene_description>\n    <character>IVANOVICH<\/character>\n    <dialogue>It was like... having a building fall on me.<\/dialogue>\n    <character>NEI<\/character>\n    <dialogue>When we get to the hotel the team doctor will give you a thorough examination.<\/dialogue>\n    <parenthetical>(looks at him)<\/parenthetical>\n    <dialogue>You lost because you have the flu. You probably caught it on the flight.<\/dialogue>\n    <character>IVANOVICH<\/character>\n    <dialogue>Yes. I do have a headache.<\/dialogue>\n    <scene_description>OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA MONICA MOTEL, OUTDOOR PAY PHONE - NIGHT<\/stage_direction>\n    <scene_description>Rain drenches the parking lot. Bobby is on the pay phone, wired. Donna appears out of one of the rooms.<\/scene_description>\n    <character>DONNA<\/character>\n    <dialogue>Hey, heard you won... Congrats!<\/dialogue>\n    <parenthetical>(watches him)<\/parenthetical>\n    <dialogue>What's wrong with the phone in your room?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I heard this click, click. Our phone was always bugged growing up.<\/dialogue>\n    <parenthetical>(dialing)<\/parenthetical>\n    <dialogue>Some family, huh? My mom is bugged by us, I'm bugged by the Russians.<\/dialogue>\n    <character>DONNA<\/character>\n    <dialogue>Who you calling?<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(on the phone)<\/parenthetical>\n    <dialogue>Operator, I'm trying to find a number for Regina Fischer....well how many \\* Regina Fischers can there be in California?....<\/dialogue>\n    <parenthetical>(to Donna)<\/parenthetical>\n    <dialogue>Making sure my mom doesn't come \\* tomorrow. \\*<\/dialogue>\n    <parenthetical>(on the phone)<\/parenthetical>\n    <dialogue>Somewhere near the beach....<\/dialogue>\n    <parenthetical>(to Donna)<\/parenthetical>\n    <dialogue>She likes the ocean.<\/dialogue>\n    <parenthetical>(on the phone)<\/parenthetical>\n    <dialogue>Well ask the lady next to you and she can ask the lady next to her. You sit in lines, right?<\/dialogue>\n    <scene_description>Donna stifles a giggle.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Just look her up in your--<\/dialogue>\n    <scene_description>He's cut off. \\*<\/scene_description>\n    <character>BOBBY (CONT'D) \\*<\/character>\n    <dialogue>Shit. \\*<\/dialogue>\n    <character>DONNA \\*<\/character>\n    <dialogue>So you want to lose your virginity tonight?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Donna, I haven't forgotten our arrangement and I'm looking forward to it.<\/dialogue>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>But tonight I've got to practice. I killed one of them today so tomorrow they'll come at me like wasps.<\/dialogue>\n    <scene_description>Bobby turns and walks off into the rain.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOBBY'S MOTEL ROOM - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Bobby and Lombardy are playing \"blitz.\" Speed chess. Lombardy is pushing Bobby. Bobby pushes back.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Passed up having sex for this.<\/dialogue>\n    <scene_description>WHAP. Hits the clock. WHAP. Lombardy makes a counter-move.<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>Passed it up for twenty years.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOTEL ROOM - SAME<\/stage_direction>\n    <scene_description>Bobby's is the only light still on. From inside, we HEAR WHAP, WHAP, WHAP as their practice continues into the night.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEVERLY HILTON HOTEL - SAME<\/stage_direction>\n    <scene_description>KGB guys flirt with American women. A SHADOW slips past. It's Boris Spassky making his escape.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEVERLY HILLS STREETS<\/stage_direction>\n    <scene_description>Boris wanders through residential Beverly Hills.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANDWICH SHOP, BEVERLY HILLS - NIGHT<\/stage_direction>\n    <scene_description>Boris is playing a pinball machine inside a sandwich shop. Geller peering in from the street, spots him and enters.<\/scene_description>\n    <character>GELLER<\/character>\n    <dialogue>Been looking for you. \\*<\/dialogue>\n    <scene_description>Boris keeps playing.<\/scene_description>\n    <character>GELLER<\/character>\n    <dialogue>You have a game tomorrow. You should be sleeping.<\/dialogue>\n    <scene_description>Outside, a limo pulls up and a KGB man gets out. Geller nods through the window that everything is all right.<\/scene_description>\n    <character>GELLER<\/character>\n    <dialogue>Disappearing makes people nervous.<\/dialogue>\n    <character>BORIS<\/character>\n    <dialogue>Is Ivanovich really sick?<\/dialogue>\n    <character>GELLER<\/character>\n    <dialogue>Influenza. We are flying him home.<\/dialogue>\n    <scene_description>Boris looks at him, knows he's lying. Goes back to his game.<\/scene_description>\n    <character>GELLER<\/character>\n    <dialogue>It looks bad to lose even one game to an American.<\/dialogue>\n    <scene_description>Boris allows the ball to drop out of play.<\/scene_description>\n    <character>GELLER<\/character>\n    <dialogue>If Fischer makes it to the final you will be there to crush him.<\/dialogue>\n    <scene_description>The CLICK of a SURVEILLANCE SHOT from across the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANTA MONICA MOTEL - MORNING<\/stage_direction>\n    <scene_description>Marshall walks out. Lombardy takes him aside.<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>We have a problem.<\/dialogue>\n    <scene_description>Bobby is standing by the empty pool, holding a sheet of paper.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I'm not going to play again until my conditions are met.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>What conditions?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Number one. From now on we arrive at tournaments in a big black car like the Russians.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Limousines cost money.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Number two. My picture was on today's front page of the LA Times. The \\* more I win, the more people come. A \\* thousand people are paying 5 dollars \\* apiece to see me play. That's $5,000. I want 30%. $1,500. \\*<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Bobby--<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Money is respect. Chess is a sport. People respect sports stars.<\/dialogue>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>Number three. I need five feet between me and the audience. I can smell their breath, it's almost like I hear their thoughts. My thoughts need to be on the board.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Is that all?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>And get somebody to check our phones \\* aren't being bugged. \\*<\/dialogue>\n    <parenthetical>(starts off)<\/parenthetical>\n    <dialogue>Screw the limo. I'm walking.<\/dialogue>\n    <scene_description>Bobby sets off. Lombardy sets off after him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A68 EXT. MOTEL - CONTINUOUS A68<\/stage_direction>\n    <scene_description>Lombardy catches up to him.<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>You ready to talk about the match now?<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(grins)<\/parenthetical>\n    <dialogue>Forgive me, father, for I have sinned..<\/dialogue>\n    <scene_description>Lombardy can't help but smile. Bobby can be disarming.<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>Yeah, right. Now....if Benko plays \\* the Sicilian, what's your counter? \\*<\/dialogue>\n    <scene_description>We can no longer HEAR them as they walk away but their animated gestures signal the intensity of their preparation.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANTA MONICA MOTEL, OFFICE - NIGHT<\/stage_direction>\n    <scene_description>The motel clerk is watching local news on a small TV.<\/scene_description>\n    <character>NEWS ANCHOR (V.O.)<\/character>\n    <dialogue>Americans don't beat Russians at chess. But it happened today in Santa Monica--<\/dialogue>\n    <scene_description>INTERCUT DOC-STYLE \"news\" footage of Bobby's victories -- masterful, slapping his pieces, scribbling in his notebook.<\/scene_description>\n    <character>NEWS ANCHOR (V.O.)<\/character>\n    <dialogue>--and when American chess sensation Bobby Fischer is around, it just keeps on happening....<\/dialogue>\n    <scene_description>Donna and the motel clerk are watching on the tiny TV.<\/scene_description>\n    <character>CLERK<\/character>\n    <dialogue>Son of a bitch broke three of my phones looking for bugs.<\/dialogue>\n    <character>DONNA<\/character>\n    <dialogue>That's what rock stars do. They trash hotel rooms.<\/dialogue>\n    <character>NEWS ANCHOR (V.O.)<\/character>\n    <dialogue>Tomorrow, a record crowd will watch the American -- Bobby Fischer -- as he faces Russian World Champion Boris Spassky in the final match.<\/dialogue>\n    <scene_description>Donna stares at the screen, wide-eyed.<\/scene_description>\n    <character>DONNA<\/character>\n    <dialogue>Never fucked a champion before.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANTA MONICA MOTEL, BOBBY'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Bobby lies in bed, lost in thought. Donna is beside him. \\*<\/scene_description>\n    <character>DONNA<\/character>\n    <dialogue>Wasn't so bad was it?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>.....See, the problem is I'm black...<\/dialogue>\n    <character>DONNA<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I like to open with the Kings Indian but he's an expert on the Samisch.<\/dialogue>\n    <character>DONNA \\*<\/character>\n    <dialogue>Who? \\*<\/dialogue>\n    <character>BOBBY \\*<\/character>\n    <dialogue>Spassky. So maybe a Grunfeld... \\* But then I need to find a remedy to \\* P-B4...<\/dialogue>\n    <scene_description>He spins inward. She's feeling a little left out. \\*<\/scene_description>\n    <character>DONNA \\*<\/character>\n    <dialogue>....Did you reach your Mom? Bet \\* she'd be proud.<\/dialogue>\n    <scene_description>She tries stroking his arm. He withdraws slightly. \\*<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Gotta go back to work.<\/dialogue>\n    <scene_description>Bobby is already pulling on his pants, leaving the room.<\/scene_description>\n    <character>DONNA<\/character>\n    <dialogue>Yeah, it was good for me, too.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANTA MONICA MOTEL ROOM - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Bobby can't sleep. Paces. Studies his notebook. It's \\* 1:00am.Bobby drinks milk. Paces. Studies more. It's 3:30am. He's about to drift off. The alarm clock RINGS. 7:00am. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANTA MONICA TOURNAMENT HALL 71 \\*<\/stage_direction>\n    <scene_description>Bobby and Lombardy walk a hallway. Bobby looks like hell. \\* \\*:<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>Up late, huh? You all right? \\*<\/dialogue>\n    <scene_description>Their eyes meet for a flicker.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Never better.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANTA MONICA TOURNAMENT HALL - DAY<\/stage_direction>\n    <scene_description>Bobby stops before entering the playing area and sees Spassky. \\* Boris looks rested and detached. Lombardy sees him looking. \\*<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>You got this guy.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Think I don't know that?<\/dialogue>\n    <scene_description>Across the hall, Boris senses Bobby's gaze. Their eyes meet. We sense the two men have made fatal contact, and one of \\* them must be destroyed. Bobby looks away first. Bobby and Spassky approach their table. The audience APPLAUDS. The two men stand behind their seats. Geller whispers in Boris's ear. Livo Nei hands him a note pad and pen. A third \\* brings him a worksheet, a fourth hands him a glass of water. Lombardy leans in to whisper to Bobby.<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>Remember, don't try to overpress. If he opens with the Nimzo--<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(harsh whisper)<\/parenthetical>\n    <dialogue>You think I'm a idiot!?!<\/dialogue>\n    <scene_description>Lombardy is mortified. Bobby is immediately contrite.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>...Sorry, Father.<\/dialogue>\n    <scene_description>He looks up to see if Boris has heard him. Boris steps forward, extending his hand. Bobby hesitates and the flicker of hesitation is caught by Spassky. Finally they shake. Boris sits down calmly as Bobby drops into his chair. Bobby is distracted by THE SOUND of a chair scraping. His eyes dart to it. He looks back -- only to realize Boris has been watching him the whole time. Bobby tries to stare at him. Boris smiles. He has already won.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA MONICA TOURNAMENT HALL<\/stage_direction>\n    <scene_description>The door SLAMS open and Bobby bursts through. His fury tells all. He has lost. Lombardy and Marshall hurry to catch up.<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>Bobby, you beat three Russians. \\*<\/dialogue>\n    <character>MARSHALL \\*<\/character>\n    <dialogue>They're waiting to give you the runners-up medal.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>A medal for losing? \\*<\/dialogue>\n    <character>LOMBARDY \\*<\/character>\n    <dialogue>No one expected you to beat Spassky. \\*<\/dialogue>\n    <character>BOBBY \\*<\/character>\n    <dialogue>She wasn't here, was she? \\*<\/dialogue>\n    <character>MARSHALL \\*<\/character>\n    <dialogue>Who? \\*<\/dialogue>\n    <scene_description>He doesn't wait for an answer and walks off toward the beach. \\*<\/scene_description>\n    <character>MARSHALL (CONT'D) \\*<\/character>\n    <dialogue>At least talk to the TV people. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA MONICA BEACH - DUSK 74 \\*<\/stage_direction>\n    <scene_description>Bobby trudges in the sand. Tears well as he collapses like a disconsolate child. He has lost. His carefully-cultivated, illusion of invincibility is shattered, revealed for what it is, a cloak for the vast, untouchable hole in his heart. He idly draws a chessboard in the wet sand -- torturing himself with memories of losing. A wave rolls in, washing out his drawing. He sits there, water pooling around him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANTA MONICA MOTEL, LOMBARDY'S ROOM - THAT NIGHT<\/stage_direction>\n    <scene_description>Lombardy sits on the bed. Marshall enters. \\*<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>He's disappeared.<\/dialogue>\n    <scene_description>He pours himself a drink. \\*<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>He'll be back.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>How can you be so sure?<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>It's all that matters to him. Without chess, he doesn't exist.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>You think he can ever beat Spassky?<\/dialogue>\n    <scene_description>Lombardy nurses his drink, non-committal.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>Hypothetically, what would it take to make him world champion?<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <parenthetical>(stares at him)<\/parenthetical>\n    <dialogue>The desk clerk asked why we're making so many calls to DC. I didn't call DC. Who have you been talking to--?<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>There are people...in high places... who take an interest in any confrontation between us and the Soviet Union.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>The state department?<\/dialogue>\n    <parenthetical>(no answer)<\/parenthetical>\n    <dialogue>The CIA?<\/dialogue>\n    <parenthetical>(no answer)<\/parenthetical>\n    <dialogue>The WHITE HOUSE?<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Bobby wants limos? He gets limos. And they'll throw in 'honorariums' for each victory.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>Paid for by who?<\/dialogue>\n    <scene_description>Marshall stares back at him. \\*<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>Are you a patriot, father?<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>Mostly.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Bobby may be a little off but he \\* understands this whole thing better than you.<\/dialogue>\n    <parenthetical>(looks at him)<\/parenthetical>\n    <dialogue>We're at war. Only it's not being fought by guns and missiles -- not yet at least -- it's a war of perception. The poor kid from Brooklyn taking on the whole Soviet Empire. The perfect American story.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <parenthetical>(starts to laugh)<\/parenthetical>\n    <dialogue>Which means you're out schnorring right wing anti-Communist money people? This wouldn't possibly be helpful to the Nixon White House?<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>...There's such a thing as doing \\* well by doing good. And you haven't answered my question...<\/dialogue>\n    <scene_description>Lombardy takes a sip of whiskey. \\*<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>Bobby Fischer is the second best chess player I have ever seen. He also has severe problems in his head.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Which need to be understood and managed.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>Managed? Bobby?<\/dialogue>\n    <parenthetical>(shakes his head)<\/parenthetical>\n    <dialogue>Ever heard of Paul Morphy? 1855.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>Greatest player this country ever had -- before Bobby, that is. By 21 he'd beaten every master in Europe. Liked to play ten people at a time. Blindfolded. Then things got a little weird. Started having \"visions,\" became convinced people were trying to poison him. Quit at 26 and eventually killed himself in the bathtub surrounded by twelve pairs of ladies' shoes.<\/dialogue>\n    <scene_description>Lombardy takes another sip. \\*<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>This game is a rabbit hole. After \\* only four moves there are more than three hundred billion options to consider, more forty-move games than the number of stars in the galaxy, more openings, defenses, gambits than there are atoms in the universe.<\/dialogue>\n    <parenthetical>(remembering)<\/parenthetical>\n    <dialogue>It can bring you very close to the edge. I've been there. When I was twenty-three, I--<\/dialogue>\n    <character>MARSHALL<\/character>\n    <parenthetical>(interrupting)<\/parenthetical>\n    <dialogue>Nice story, father. With respect, my question was about Bobby. Could he win?<\/dialogue>\n    <scene_description>Lombardy glares at him.<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>If Bobby went for the title it would mean traveling around the world playing interzonals for three years... That's three years in much worse places than this one.<\/dialogue>\n    <parenthetical>(finishes his whiskey)<\/parenthetical>\n    <dialogue>In my opinion he might not make it that long.<\/dialogue>\n    <scene_description>Marshall stands up, taking the bottle with him.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>It's your job to see that he does. If we ever find him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH - DAY<\/stage_direction>\n    <scene_description>Bobby has slept on the beach. His clothes are rumpled and his hair is wild. As he sits up he sees an odd sight. A hundred yards down the beach, a big black limo has disgorged three MEN. Two are KGB. The third is wearing a Beverly Hills hotel bathrobe. It's Boris Spassky, come for his morning swim. The KGB men carry his clothes. Bobby watches, fascinated, as Boris shrugs off his bathrobe and begins an exercise regime. Bobby gets to his knees as Boris walks into the ocean and begins to swim. The KGB guys smoke cigarettes, waiting for Boris to finish. As Boris steps out of the ocean, a KGB guy holds out a towel for him. Bobby leaps to his feet and yells...<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Hey!! Asshole!! They're not bodyguards, they're jailers!! They've got your brain. They're inside your mind! They wouldn't even let you kill yourself if you wanted!!<\/dialogue>\n    <scene_description>Boris looks up as Bobby yells, but he is far away and looks like a bum, so he doesn't immediately recognize him...<\/scene_description>\n    <character>KGB GUY<\/character>\n    <dialogue>Just some drunk sleeping it off. America is full of them.<\/dialogue>\n    <scene_description>Bobby, meanwhile, is laughing to himself. He steps into the ocean, fully clothed, and begins to splash around...<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Look at me man, I'm free!<\/dialogue>\n    <scene_description>He jumps into the waves and begins to play. Boris stares and slowly realizes it's Bobby.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I'm coming for you, man!! Better get ready -- 'cause I'M...COMING!!<\/dialogue>\n    <scene_description>The KGB minders quickly hustle Boris away, but not before he looks back to see Bobby take a sardonic bow. We might notice something new in Boris's eyes when he realizes that Bobby has recovered from the loss. He is unnerved.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A77 EXT. MOSCOW (ARCHIVAL FOOTAGE)- MORNING A77<\/stage_direction>\n    <scene_description>Lomonosov Moscow University Dormitories, February 1967.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOSCOW APARTMENT - MORNING<\/stage_direction>\n    <scene_description>A man answers the door. A postman hands him a Russian magazine. The cover features a photograph of Bobby. We might notice he has large feet inside his ragged tartan slippers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOSCOW APARTMENT, LIVING ROOM<\/stage_direction>\n    <scene_description>Cyril hands the magazine to Regina. Bobby is on the cover. \\*<\/scene_description>\n    <character>CYRIL \\*<\/character>\n    <dialogue>He is officially entering the race \\* to become world champion.<\/dialogue>\n    <scene_description>Regina nods, walks away toward the bedroom with the magazine.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOSCOW APARTMENT, SPARE ROOM<\/stage_direction>\n    <scene_description>When she enters, WE SEE walls covered in clippings and photographs of Bobby: headlines from the NY Times, LA Times, London Times and Pravda. Covers from Life and Time magazine. We PAN past articles proclaiming his triumphs. (Fischer dominates at Skopje). 70's hard rock kicks in. DOC-STYLE: WE'RE IN A HALL (70'S ROCK CONT. OVER) Bobby is being interviewed.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>....The Russians are afraid of me, man. They've avoided me for years.<\/dialogue>\n    <parenthetical>(a big grin)<\/parenthetical>\n    <dialogue>They can run but they can't hide!<\/dialogue>\n    <scene_description>A scrum of reporters bears down on him.<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>Bobby, you're the first American ever to reach the interzonal semis. How does it feel? Are you afraid?<\/dialogue>\n    <scene_description>Bobby freezes. He stares at all the people yelling at him.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I have nothing to say to you...<\/dialogue>\n    <scene_description>The words his mom taught him years ago.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I HAVE NOTHING TO SAY TO YOU!!<\/dialogue>\n    <scene_description>In her room, Regina adds another article: \"Fischer Withdraws from Monaco.\" We INTERCUT between articles and mini-scenes of Bobby's long road to the championship. IN A NATANYA HOTEL ROOM (70'S ROCK CONT.) Bobby works out with weights as Lombardy watches skeptically.<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>23... 24... Push. PUSH...! 25!<\/dialogue>\n    <scene_description>Bobby is wasted but he won't stop.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>One more set.<\/dialogue>\n    <scene_description>He begins another set. Lombardy starts again at \"1\". OMITTED DOC-STYLE: IN A TOURNAMENT HALL (70'S ROCK CONT.)<\/scene_description>\n    <character>RADIO ANNOUNCER (V.O.)<\/character>\n    <dialogue>Today, rising American chess champion, Bobby Fischer won his twentieth consecutive game... a world record.<\/dialogue>\n    <scene_description>Bobby writes \"mate\" on his scorecard. The player opposite him has been crushed. Bobby hands the pen to Lombardy. DOC-STYLE: OUTSIDE THE TOURNAMENT HALL (70'S ROCK CONT.) Bobby is surrounded by FEMALE FANS swooning over him. Bobby's loving it. He turns to Lombardy.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You sure we can't stay here a couple more days?<\/dialogue>\n    <scene_description>Lombardy grins. Bobby is enjoying the fruits of stardom. IN A HOTEL ROOM (70'S ROCK CONT.) Bobby lies in bed, listening to a tape recording. The CULT PREACHER is understated but authoritative. Like a father.<\/scene_description>\n    <character>CULT PREACHER (V.O.)<\/character>\n    <dialogue>The tide of history is changing, friend. God's plan has left them behind, so they plot to take the world away from God...<\/dialogue>\n    <scene_description>Lombardy passes by in the hallway, looks in.<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>What are you listening to?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>The Worldwide Church of God. These people are into some heavy shit.<\/dialogue>\n    <character>CULT PREACHER (V.O.)<\/character>\n    <dialogue>They will do anything in their power to destroy us. If we have any hope of surviving, we must expose them before the whole world...<\/dialogue>\n    <scene_description>Lombardy walks out, shaking his head. DOC-STYLE: IN A PARK (70'S ROCK CONT.) Another interview.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I mean, what do we really know about radiation? ICBM'S? There are lots of things our government doesn't tell us.<\/dialogue>\n    <scene_description>Regina adds an article: \"Fischer Boycotts Fed for 2nd Time\" BACK TO THE PARK (70'S ROCK CONT.) An interviewer speaks to him, off-camera<\/scene_description>\n    <character>INTERVIEWER (O.S.)<\/character>\n    <dialogue>So, Bobby, when did you last see your mother?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>....Uh...Haven't seen her in a few years, actually.<\/dialogue>\n    <scene_description>IN THE MOSCOW APARTMENT As Regina tacks up the latest cover of Bobby's face. It's as if she can hear him being interviewed.<\/scene_description>\n    <character>INTERVIEWER (O.S.)<\/character>\n    <dialogue>And your father...?<\/dialogue>\n    <scene_description>IN THE PARK Bobby's eyes flash.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Look, I thought you wanted to talk about chess.<\/dialogue>\n    <scene_description>He summarily walks out of frame. IN THE MOSCOW APARTMENT Regina looks deep into her son's eyes. A HOTEL HALLWAY That same face. Manic mode. Giving orders.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>--What'd Vancouver come back with?<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>They've agreed to let you approve the lighting.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Good. What about the clocks? The \\* BHB model with the button on top \\* saves two seconds on each move.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Flying them in from Germany.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>And the placement of the table?<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>They say there's not enough room in the hall.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>That's bullshit! Tell them I insist \\* on a ten foot radius.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>But if there isn't enough room--<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I SAID, TELL 'EM! Now... What about the money?<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>They won't budge.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Then I won't play.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Bobby--<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Did you read Time magazine?<\/dialogue>\n    <parenthetical>(quoting)<\/parenthetical>\n    <dialogue>Quote. Bobby Fischer is changing the face of chess, single-handedly making it the fastest growing sport in the world. Unquote.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You know how much Joe Namath makes? $250,000. That's 12K per game. And he's never won a single championship. I'm EIGHT TIME U.S. champ. You know what I make?<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>So what you're saying is you want to play for the Jets?<\/dialogue>\n    <scene_description>Bobby senses Lombardy's gaze, turns to him.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>...What--?<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>Just wondering what any of this has to do with chess.<\/dialogue>\n    <scene_description>At the end of the hallway, FANS are waiting.<\/scene_description>\n    <character>BOBBY<\/character>\n    <parenthetical>(to Lombardy)<\/parenthetical>\n    <dialogue>Gotta pen?<\/dialogue>\n    <scene_description>Lombardy obliges; a fan hands Bobby an autograph book.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Tu jeux aux echecs?<\/dialogue>\n    <scene_description>The kid nods eagerly. Bobby grins.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Better not be good. I don't need any more competition.<\/dialogue>\n    <scene_description>The fan is thrilled as Bobby signs with a flourish.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE SAME BROOKLYN DINER - DAY<\/stage_direction>\n    <scene_description>Early 70's music. Joan is in booth, anxiously smoking a cigarette. Marshall is already talking as he sits down.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>Joan, I'm between three airports and hell. I have ten minutes in New York to see my wife, kiss my kids and talk to you. How the hell have you been? You're looking great.<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>I have to see him. Every time I call, they say his phone is broken.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>That happens.<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>You mean he breaks them. I want to take him to see a doctor.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>That just won't be possible. He's already in Vancouver ...Joan, it's been a while since you saw him, right?<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>Over a year.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>I can tell you he's in great shape.<\/dialogue>\n    <scene_description>Joan opens her purse and produces a pile of letters.<\/scene_description>\n    <character>JOAN<\/character>\n    <dialogue>Every week his letters get more crazy. Go ahead, take a look.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>They're private letters to you Joan. I respect his privacy.<\/dialogue>\n    <scene_description>Joan stares at him. Her face hardens.<\/scene_description>\n    <character>JOAN<\/character>\n    <dialogue>I showed them to a psychiatrist friend. He said Bobby is displaying signs of delusional psychosis.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Chess is a crazy world. Some of the things he says about the Soviets are true. In Tunis we found listening devices in his hotel room...<\/dialogue>\n    <character>JOAN<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>'The Communists infect my mind with words that just keep repeating'.<\/dialogue>\n    <scene_description>Marshall blanches. He's not entirely without conscience.<\/scene_description>\n    <character>JOAN<\/character>\n    <dialogue>'The Jews are helping them too. The Jews want to keep the chess federation all to themselves just like they own New York and own and control most Governments in the world'...<\/dialogue>\n    <parenthetical>(crumples the letter)<\/parenthetical>\n    <dialogue>We are Jewish. Bobby is Jewish. What do your people say to him when he comes out with this trash?<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Joan, I swear this isn't just about the title anymore. It's about the beauty of the games he's playing.<\/dialogue>\n    <parenthetical>(looks around)<\/parenthetical>\n    <dialogue>Out of all the crazy stuff -- such unimaginable beauty. A Da Vinci. From Brooklyn. Once every five hundred years... Grandmasters are watching Bobby play with tears in their eyes.<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>Well, I have tears in my eyes too!<\/dialogue>\n    <scene_description>Heads turn. Marshall checks his watch.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>Joan, I'll take care of him.<\/dialogue>\n    <parenthetical>(touches her hand)<\/parenthetical>\n    <dialogue>I'll make sure his life doesn't get too crazy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VANCOUVER TOURNAMENT HALL - DOC-STYLE<\/stage_direction>\n    <scene_description>Madness. Reporters and photographers converge on Bobby, Caption: Vancouver Interzonal, May 1971.<\/scene_description>\n    <character>RADIO ANNOUNCER (V.O.)<\/character>\n    <dialogue>Today in Buenos Aires, American chess star -- Bobby Fischer -- beat Russian grandmaster Tigran Petrosian in the semi-final of the World Chess Championships...<\/dialogue>\n    <scene_description>Marshall and Lombardy try to shield him as they hurry down the steps of the hall. Bobby is wired as hell.<\/scene_description>\n    <character>VANCOUVER REPORTER<\/character>\n    <dialogue>Bobby, with this win you're guaranteed a shot at the title. How's it feel?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Pretty good, pretty good.<\/dialogue>\n    <character>VANCOUVER REPORTER<\/character>\n    <dialogue>The Russians are saying you don't have a chance against Spassky. Any comment on that?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Okay, okay, I'm making this up as I say it, right, so it might not come out so good...<\/dialogue>\n    <scene_description>Cameras roll and flashlights POP...<\/scene_description>\n    <character>VANCOUVER REPORTER 2<\/character>\n    <dialogue>Hey Bobby, big angry look over here...<\/dialogue>\n    <scene_description>Lombardy gently urges Bobby forward. Marshall holds back.<\/scene_description>\n    <character>BOBBY \\*<\/character>\n    <dialogue>I just crushed Petrosian six-and-a- \\* half to two-and-a-half. They know \\* what I'm going to do to Spassky. \\*<\/dialogue>\n    <character>VANCOUVER REPORTER \\*<\/character>\n    <dialogue>Bobby, a crazy look over here.... \\*<\/dialogue>\n    <scene_description>Lombardy pushes Bobby toward a waiting limo.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>They're scared now. That's why they bugged the phone in my hotel room.<\/dialogue>\n    <scene_description>Murmurs among the press. Lombardy shakes his head.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>They point things at my window from \\* across the street. I wouldn't be \\* surprised if they were bugging me right now. Sometimes I hear stuff \\* buzzing in my clothes. I've even heard they can listen through the fillings in your teeth.<\/dialogue>\n    <scene_description>Lombardy pushes Bobby into the car. A reporter follows.<\/scene_description>\n    <character>VANCOUVER REPORTER 2<\/character>\n    <dialogue>Petrosian said he wasn't well. That's the second Russian who got sick...<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Sick of me sure as hell.<\/dialogue>\n    <scene_description>Laughter. Bobby grins. His mood swings are growing stronger; suddenly he's having the time of his life. Flashbulbs POP.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMO (TRAVELING) - SAME<\/stage_direction>\n    <scene_description>Bobby is grinning. Marshall puts an arm around him.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>Bobby, Bobby, Bobby..!<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>Congratulations, kiddo.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Wide World of Sports is offering a \\* segment, Cavett wants you, and -- \\* are you ready...? Mike Wallace called. Mike Wallace. \"60 Minutes,\" Bobby!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yeah, well, about time... I don't want to be distracted by a bunch of press, though. I'll do the big ones.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Great, great... Only-- when we do these shows... just go easy on the...bugging... and the teeth.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Whaddya mean? I'm telling the truth. People love that.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>I know, I know. You just need to be careful. Some things you say, they can be misinterpreted. People get worried when you talk like that...<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>People? What people?<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>It doesn't matter... Which of these interviews do you want to do?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No... You said people are worried. What people?<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Nobody. I think Cavett would be a great idea--<\/dialogue>\n    <scene_description>-- WHAT PEOPLE?<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>........Joan.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You talked to Joan? When? Did you talk to her on the phone? Did she call you?<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>.....I was in New York. We had a cup of coffee.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You MET with my sister without telling me?! You TALKED about me with my sister?!<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>She called me--<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You think I'm a child who needs to be TALKED ABOUT?!<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>I was looking out for your best interests--<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Don't lawyer me!<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>I'm trying to help you!<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>DON'T LAWYER ME! You're having conversations BEHIND MY BACK! With my FAMILY?! Did I ask you to do that? Why wouldn't you tell me about<\/dialogue>\n    <dialogue>that? Who's working for who here? \\* There are a hundred more of you, you \\* know, just waiting in line.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Stop the car!<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Bobby, we're about to get everything you've ever wanted....<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>STOP THE CAR--!<\/dialogue>\n    <scene_description>The car stops. Bobby jumps out. Lombardy turns to Marshall.<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>I'll walk him back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VANCOUVER STREET - MOMENTS LATER<\/stage_direction>\n    <scene_description>Lombardy catches up to Bobby and they walk in silence for a moment. Then:<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>B6 to E1.<\/dialogue>\n    <scene_description>After a moment...Bobby responds.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>K4 to Qp4.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>P4 to P5.<\/dialogue>\n    <scene_description>They walk on. For the moment Bobby is back on track.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VANCOUVER HOTEL RESTAURANT - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Marshall is eating alone.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>He's back in his room.<\/dialogue>\n    <scene_description>He sits down opposite Marshall.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>Is he okay?<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>He's in there listening to those tapes of his.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Isn't it some kind of God Squad?<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>Those people have as much to do with God as you do.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>I'd've thought you'd approve...<\/dialogue>\n    <scene_description>He leans across the table.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>Should we get him to see a someone, a psychiatrist.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>Never happen.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>We have to try.<\/dialogue>\n    <parenthetical>(looks at him)<\/parenthetical>\n    <dialogue>The concierge told me he asked for the TV to be removed from his room because he thinks the Russians are watching him through the screen.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>Maybe they are.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>He also believes they are going to try to blow up his plane.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>He just needs some sleep. What good would a doctor do?<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>He could give a diagnosis... He could give him a pill.<\/dialogue>\n    <scene_description>The two men stare at each other.<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>And that would be like pouring concrete down a holy well.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OPEN PRAIRIE, RUSSIA - DAY<\/stage_direction>\n    <scene_description>Boris Spassky rides a stallion bare-chested. He is a man at ease. Reaching the crest he pulls up. Below a Lada waits. The sight of the car breaks the spell. Boris trots over to where Livo Nei leans on the car, smoking a cigarette. Nei's presence means there is news...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JFK ARRIVALS - DAY - DOC-STYLE<\/stage_direction>\n    <scene_description>The press pack awaits the flight from Buenos Aires. Lombardy emerges from arrivals, followed by Marshall.<\/scene_description>\n    <character>RADIO ANCHOR (V.O.)<\/character>\n    <dialogue>Bobby Fischer -- the first American \\* in history to reach the final -- \\* arrived in Reykjavik today.... \\*<\/dialogue>\n    <scene_description>Bobby emerges...with a brown paper bag over his head with eyes cut for holes. Cameras POP...the real madness has begun.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOBBY'S BROWN BAG<\/stage_direction>\n    <scene_description>WE ARE INSIDE the paper bag. Frantic breathing, the bag sucking in and out. The press is SCREAMING, \"You've never beaten Spassky. Why do you think you can you beat him now?\"<\/scene_description>\n    <character>RADIO ANCHOR (V.O.)<\/character>\n    <dialogue>After months of negotiation, Fischer will now face the current World Champion Boris Spassky. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOAN'S SUBURBAN HOME, LIVING ROOM, NEW YORK<\/stage_direction>\n    <scene_description>Joan is getting her kids ready for school. The radio is on.<\/scene_description>\n    <character>RADIO ANCHOR (V.O.)<\/character>\n    <dialogue>The Fischer Spassky final will be televised world wide--<\/dialogue>\n    <scene_description>Joan's son comes running up the path.<\/scene_description>\n    <character>RADIO ANCHOR (V.O.)<\/character>\n    <dialogue>--and is already being billed as the deciding battle in the war of ideas between East and West.<\/dialogue>\n    <scene_description>Joan's son bursts through the door, breathless...<\/scene_description>\n    <character>JOAN'S DAUGHTER<\/character>\n    <dialogue>Mama, there are men on the lawn.<\/dialogue>\n    <scene_description>Joan looks out and sees the press pack gathering on her lawn.<\/scene_description>\n    <character>DICK CAVETT (VO)<\/character>\n    <dialogue>Ladies and Gentlemen, my next guest was US Chess Champion at fourteen and a Grandmaster at fifteen--<\/dialogue>\n    <scene_description>OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TV STUDIO - MOMENTS LATER<\/stage_direction>\n    <character>DICK CAVETT<\/character>\n    <dialogue>--And now he's hoping to become Chess Champion of the whole world, Ladies and Gentlemen, Mr Bobby Fischer...<\/dialogue>\n    <scene_description>Bobby is sprawled in a chair, looking by turns shy and cocky.<\/scene_description>\n    <character>CAVETT<\/character>\n    <dialogue>So where does a chess player live?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I don't live anywhere. Hotels mostly.<\/dialogue>\n    <character>CAVETT<\/character>\n    <dialogue>In the past, you've made some pretty strong charges against the Soviets, accusing them of, of...<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Cheating.<\/dialogue>\n    <scene_description>Bobby grins. Laughter. Cavett glances at his audience..<\/scene_description>\n    <character>CAVETT<\/character>\n    <dialogue>Cheating is the word I was looking for...<\/dialogue>\n    <scene_description>More laughter. Bobby is encouraged to go farther.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Cheating. Yeah, they've done a bit of that in the past.<\/dialogue>\n    <character>CAVETT<\/character>\n    <dialogue>An opponent once said you are like Achilles without the Achilles heel. Do you have a weakness?<\/dialogue>\n    <scene_description>Silence. Bobby looks puzzled.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>...A weakness?...... No.<\/dialogue>\n    <scene_description>He laughs easily. His lack of guile can be disarming.<\/scene_description>\n    <character>CAVETT<\/character>\n    <dialogue>What's the best moment when you win at chess, what's the home run moment?<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(his smile fading)<\/parenthetical>\n    <dialogue>When you break his ego. That's where it's at--<\/dialogue>\n    <scene_description>Cavett reacts with mock alarm.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>--When he sees it coming and he breaks up inside. When you're, like, crushing the guy...<\/dialogue>\n    <parenthetical>(stares into the lights)<\/parenthetical>\n    <dialogue>Crushing the guy.<\/dialogue>\n    <parenthetical>(his eyes wild)<\/parenthetical>\n    <dialogue>Yeah, that's where it's at.<\/dialogue>\n    <scene_description>The easy grin is gone. His smile appears haunted.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BIG HOTEL SUITE<\/stage_direction>\n    <scene_description>Chaos. Marshall is checking travel documents. A couple of SECURITY GUYS wait by the door.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>Flight to Reykjavik's at nine. We need to get to JFK by 7.<\/dialogue>\n    <scene_description>The noise is compounded by MUSIC Bobby listens to on a portable cassette player. He is shirtless, doing push-ups.<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>Does that have to be so loud?<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>He doesn't want the Russians to hear which plane we're catching.<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(yells over the music)<\/parenthetical>\n    <dialogue>THIS GROUP IS INCREDIBLE! They get thirty percent of ticket sales at their concerts. I should get that.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <parenthetical>(yelling back)<\/parenthetical>\n    <dialogue>We agreed to twenty-five... \\*<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(more push-ups)<\/parenthetical>\n    <dialogue>Yeah, well it's thirty now.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Bobby. You agreed. You signed.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yeah, well, I changed my mind. Thirty or I don't go.<\/dialogue>\n    <scene_description>The room falls silent. The other have 'told you so' faces.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>If I ask for thirty, they'll say you're scared to face him.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Don't try that psychology crap on me. Without me no one outside Russia would know this thing is happening. I am the light shining on this game.<\/dialogue>\n    <parenthetical>(standing up)<\/parenthetical>\n    <dialogue>All of you are here because of me... I am a hundred per cent of the reason-- no, that's wrong -- Spassky is the reigning champion -- I want thirty percent for him too.<\/dialogue>\n    <parenthetical>(pacing; manic)<\/parenthetical>\n    <dialogue>But understand one thing: I don't just play for myself. I play for Chess. \\*<\/dialogue>\n    <scene_description>He stares, triumphant, at Marshall -- who nods, conciliatory.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>I'll call them from the airport.<\/dialogue>\n    <parenthetical>(to the others)<\/parenthetical>\n    <dialogue>Okay, people, we need to get packed.<\/dialogue>\n    <scene_description>Lombardy takes Marshall's arm, leads him into the next room.<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>He told me he doesn't want to go to Iceland.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>He wants to go.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>He doesn't know what he wants...<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>But you do.<\/dialogue>\n    <scene_description>Lombardy just stares at him, fuming.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>Look, my job was to get him this match. How about you do your job...<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>What's that supposed to mean?<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Get him ready. Help him win.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>What have I been doing for three years?<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Babying him. Catering to his bullshit--<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>Keeping him from cracking up is more like it. This may be hard for you to comprehend, but he's a person, not a meal ticket or a political symbol or an instrument of US foreign policy.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>I am so sick and tired of your sanctimonious bullshit... If you don't have the stomach for this I suggest you go find a church, get down on your knees and thank God you don't live in Russia.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>What if something happens?<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Like what?<\/dialogue>\n    <scene_description>Lombardy glances through the open door at Bobby, who has turned off the music and inserted a home-made tape of The Worldwide Church of God. Lombardy doesn't want to give voice to his worst fears.<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>...I don't know.<\/dialogue>\n    <scene_description>Marshall shakes his head and turns back to getting ready. \\* Lombardy heads into Bobby's room. The Worldwide Church of \\* God comes from the tape player.<\/scene_description>\n    <character>CULT PREACHER (V.O.)<\/character>\n    <dialogue>--and when you see how the tide of history is changing, friend, you see how desperate they are.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>Can you turn that off for a second?<\/dialogue>\n    <character>BOBBY \\*<\/character>\n    <dialogue>What's up...?<\/dialogue>\n    <character>LOMBARDY \\*<\/character>\n    <dialogue>Bobby. If you don't want to go, \\* then you shouldn't go. \\*<\/dialogue>\n    <scene_description>A long moment as Bobby stares at him. \\*<\/scene_description>\n    <character>BOBBY \\*<\/character>\n    <dialogue>I thought you wanted me to win. \\*<\/dialogue>\n    <character>LOMBARDY \\*<\/character>\n    <dialogue>I do. Too much, maybe. But I think... \\* all the pressure... is... bad for \\* you.<\/dialogue>\n    <character>BOBBY \\*<\/character>\n    <dialogue>I'm cool. \\*<\/dialogue>\n    <scene_description>Lombardy has to say it, whatever the consequences. \\*<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>...You need help. \\*<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>What kind of help...? Oh. You mean \\* psychology. You think I need psychological help?! You know who invented that, right? The Jews. I don't need anybody's help. I don't need the Jews' help, I don't need \\* God's help. And I definitely don't \\* need your help, Father. \\*<\/dialogue>\n    <scene_description>(looks at him) \\* When I call you, 'Father,' I think, like, he's not my dad. Is that what \\* you think? That you're my Dad?<\/scene_description>\n    <character>LOMBARDY \\*<\/character>\n    <dialogue>I don't think I'm your dad, Bobby. \\*<\/dialogue>\n    <character>BOBBY \\*<\/character>\n    <dialogue>You're not my dad because I don't \\* have one. You know what you are? \\* You're a loser. You couldn't beat \\* Spassky so why should I? You quit \\* so you want me to quit. Is that it, \\* Dad? You'll feel better if I turn out to be a loser... LIKE YOU! \\*<\/dialogue>\n    <scene_description>Lombardy stares at him, then starts out. Bobby is immediately \\* contrite. \\*<\/scene_description>\n    <character>BOBBY<\/character>\n    <parenthetical>(calling after him)<\/parenthetical>\n    <dialogue>Hey, I've been working on a new variation on the Indian Defense, wanna take a look?<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>Later.<\/dialogue>\n    <scene_description>In the hotel room, Marshall has overheard the tirade.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>Love how you handle him.<\/dialogue>\n    <scene_description>Lombardy picks up his bag.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>We're not leaving for half an hour.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <parenthetical>(fighting back emotion)<\/parenthetical>\n    <dialogue>...I'll...take a later flight.<\/dialogue>\n    <scene_description>He leaves. Bobby appears in the doorway.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Where's he going?<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Jesus has left the building, pal. We're on our own.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MILITARY AIRFIELD - GATE - MOSCOW<\/stage_direction>\n    <scene_description>A Zil limo with a Soviet flag enters a military compound. They're escorted by police cars with flashing lights. In the back seat sits Boris, Geller at his side. A KGB guy sits at his other shoulder. Boris looks like a prisoner.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JFK AIRPORT - CURBSIDE<\/stage_direction>\n    <scene_description>A limo pulls to the curb. Marshall and the security guys jump out. Then Bobby appears. He looks like a hunted animal.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOSCOW MILITARY AIRBASE<\/stage_direction>\n    <scene_description>Boris is marched through the airbase. One KGB guy carries his coat. Another carries his suitcase.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JFK TERMINAL - UPSTAIRS HALL<\/stage_direction>\n    <scene_description>Marshall, Lombardy and the security guys hustle Bobby through.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOSCOW MILITARY AIRBASE<\/stage_direction>\n    <scene_description>Boris boards an Aeroflot jet. Russian soldiers salute. Geller salutes back but Boris just stares.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JFK AIRPORT<\/stage_direction>\n    <scene_description>Bobby and the others ride up an escalator. AT THE TOP OF ESCALATOR Suddenly JOURNALISTS spot Bobby...<\/scene_description>\n    <character>JFK JOURNALIST<\/character>\n    <dialogue>There he is!<\/dialogue>\n    <scene_description>Bobby shoves Marshall aside, turns, and runs back down the up escalator.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JFK AIRPORT<\/stage_direction>\n    <scene_description>Bobby leaps into a taxi.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Drive, drive!!<\/dialogue>\n    <scene_description>Bobby sinks down out of sight as the cab pulls away. We HOLD on his face, eyes darting, as we HEAR:<\/scene_description>\n    <character>JOHANNESON (V.O.)<\/character>\n    <dialogue>Ladies and Gentlemen, It is with great pleasure that I welcome the world to our little island--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A112 EXT. REYKJAVIK (TO ESTABLISH) A112<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, REYKJAVIK, ICELAND<\/stage_direction>\n    <scene_description>Caption: National Theater, Reykjavik, Iceland, July 1st 1972.<\/scene_description>\n    <character>J\u00d3HANNESSON<\/character>\n    <dialogue>--for the most important sporting event in history. Joining us today are the distinguished Ambassador of the Soviet Socialist Republic TBD, and Ambassador Tremblay of the United States of America.<\/dialogue>\n    <scene_description>A jostling crowd, news crews from around the world. The crowd applauds the Icelandic Prime Minister, JOHANNESON. He nods to US AMBASSADOR TREMBLAY and his Russian counterpart.<\/scene_description>\n    <character>J\u00d3HANNESSON<\/character>\n    <dialogue>Also the great match adjudicator from the World Chess Federation, Lothar Schmid...<\/dialogue>\n    <character>SCHMID<\/character>\n    <dialogue>Thank you, Prime Minister. I am honored, but confused. I was always led to believe that chess needed two people for a game. Unfortunately, so far, we only have one.<\/dialogue>\n    <scene_description>Boris Spassky is sitting with Livo, Nei and Geller.<\/scene_description>\n    <character>SCHMID<\/character>\n    <dialogue>Happily, our Russian friends have managed to get here on time. We are indeed honored to have with us the World Champion, comrade Boris Spassky.<\/dialogue>\n    <scene_description>Applause as Spassky smiles shyly and waves.<\/scene_description>\n    <character>SCHMID<\/character>\n    <dialogue>However... it seems our American friends have managed to lose their famous Mr Bobby Fischer...<\/dialogue>\n    <scene_description>He turns to US Ambassador Tremblay. The crowd boos.<\/scene_description>\n    <character>SCHMID<\/character>\n    <dialogue>One hopes they are not so careless with their nuclear weapons.<\/dialogue>\n    <scene_description>The crowd laughs. The Soviet Ambassador smiles at Tremblay, who whispers to an aide.<\/scene_description>\n    <character>TREMBLAY<\/character>\n    <dialogue>Son of a bitch. Where is he?<\/dialogue>\n    <character>AIDE<\/character>\n    <dialogue>Mr. Ambassador, we have a problem.<\/dialogue>\n    <scene_description>OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE FISCHER APARTMENT - DAWN<\/stage_direction>\n    <scene_description>As if frozen in time. Strips of aluminum hang from the windows. Chessboards are set up but covered with dust. Bobby sits alone at a chessboard.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, REYKJAVIK, ICELAND (DOC-STYLE)<\/stage_direction>\n    <scene_description>US Ambassador Tremblay is waylaid by JOURNALISTS.<\/scene_description>\n    <character>ICELANDIC JOURNALIST<\/character>\n    <dialogue>Mr. Ambassador, is Bobby Fischer's behavior affecting US\/Icelandic relations?<\/dialogue>\n    <character>ICELANDIC JOURNALIST #2 (V.O.)<\/character>\n    <dialogue>There's talk of the Icelandic Parliament asking for the removal of the US Air Force base--<\/dialogue>\n    <character>ICELANDIC JOURNALIST<\/character>\n    <dialogue>Is it true Fischer has demanded two million dollars to come to Reykjavik?<\/dialogue>\n    <character>TREMBLAY<\/character>\n    <dialogue>I love chess. The world loves chess. We are here to celebrate chess.<\/dialogue>\n    <parenthetical>(to an aide)<\/parenthetical>\n    <dialogue>Tell me Fischer is on a plane.<\/dialogue>\n    <scene_description>The aide looks like he's about to throw up.<\/scene_description>\n    <character>TREMBLAY<\/character>\n    <dialogue>Get him here! Even if you have to use a damn tranquilizer dart.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE FISCHER APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>The apartment is in shadows. Bobby dials the phone.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Joanie, where the hell are you?<\/dialogue>\n    <scene_description>INTERCUT - JOAN'S BEDROOM Joan's in bed beside her sleeping husband.<\/scene_description>\n    <character>JOAN<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Joanie?<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>Bobby, is that you? Where are you?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>...I'm here.<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>In Iceland?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>No. Here. Home.<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>You're in New York?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Had to get away from them...<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>Bobby, are you okay?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>The whole world is pulling at me, Joanie.<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>Stay there, baby. I'll come in.<\/dialogue>\n    <scene_description>He's a lonely little boy in a scary world.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>...They're asking me questions, making me do stuff. So many people. Crowding me. I can't think, I can't think about chess.<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>I'm coming now. You stay there.<\/dialogue>\n    <scene_description>Bobby HEARS a CLICKING on the phone.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You hear that? They're listening. They're always listening...<\/dialogue>\n    <scene_description>At that moment there is a heavy KNOCK on the apartment door.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>They're HERE! They're coming to get me, Joanie!<\/dialogue>\n    <character>JOAN<\/character>\n    <dialogue>Oh, Bobby....<\/dialogue>\n    <scene_description>The KNOCKING gets heavier. Someone is breaking down the door. Bobby whimpers. Finally the door flies open and Marshall enters, accompanied by two HEAVIES we haven't seen before.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>Hey, pal, we were worried about you.<\/dialogue>\n    <scene_description>Bobby confronts them with fists clenched. Marshall gently closes the door and gives a slip of paper to one of his men. The guy goes to Bobby's phone and begins to dial.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Hey! You pay for that call!<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Bobby, why'd you run away?<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(a speed rap)<\/parenthetical>\n    <dialogue>I changed my mind the money's no good they're charging five bucks a ticket the hall holds eleven hundred, twenty-four games max...that's 132 grand!\u00cf They should be paying me more we're capitalists, right?<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Big news. Just got us an extra 125K.<\/dialogue>\n    <scene_description>It's like Marshall is gentling an escaped animal.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>Some English chess nut. Wants to see you play so bad.<\/dialogue>\n    <scene_description>The guy on the phone nods, holds up the receiver.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>But it's not just me who wants you to play, Bobby. There's someone on the phone wants to speak to you.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>My mom?<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Better. Henry Fucking Kissinger.<\/dialogue>\n    <scene_description>Bobby stares at the phone in disbelief.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>Henry Kissinger! On your phone. In Brooklyn! Pretty amazing, huh?<\/dialogue>\n    <scene_description>Marshall gently takes the phone and offers it to Bobby.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You're joking me.<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Wants to speak to you on behalf of the President.<\/dialogue>\n    <scene_description>Bobby looks around where the Communist Party used to meet. He thinks he sees the banner hanging as it once did.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>All these years you've been talking about America. Now you are America. Take the phone.<\/dialogue>\n    <scene_description>Bobby takes the phone and puts it to his ear.<\/scene_description>\n    <character>KISSINGER (O.S.)<\/character>\n    <dialogue>Hey, Bobby Fischer...<\/dialogue>\n    <scene_description>Bobby takes a breath, almost sobs.<\/scene_description>\n    <character>KISSINGER (O.S.)<\/character>\n    <dialogue>This is the worst chess player in the world talking to the best. The President and I want you to do your duty for your country. What do you say?<\/dialogue>\n    <scene_description>Bobby is at a loss for a moment. Then focuses.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I guess I'll go do my duty. Sir.<\/dialogue>\n    <scene_description>70's ROCK MUSIC KICKS IN.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FISCHER APARTMENT, NIGHT (MUSIC CONT OVER)<\/stage_direction>\n    <scene_description>Marshall emerges, checks the street. A bread van is parked nearby. Two heavies emerge on hurry him into the van..<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>No limos. We travel in disguise.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I will accept one seven five US. That's the deal, right? Half in cash.<\/dialogue>\n    <scene_description>The doors SLAM shut and the bread van roars away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A119 EXT. MANHATTAN TUNNEL (2ND UNIT) A119<\/stage_direction>\n    <scene_description>The van heads toward JFK.<\/scene_description>\n    <character>BBC ANNOUNCER (V.O.)<\/character>\n    <dialogue>This is the BBC World Service. American chess Grandmaster, Bobby Fischer, is believed to be finally on his way to Iceland for--<\/dialogue>\n    <scene_description>The announcement becomes an Italian broadcaster...<\/scene_description>\n    <character>ITALIAN ANNOUNCER (V.O.)<\/character>\n    <dialogue>--his match with Boris Spassky.<\/dialogue>\n    <scene_description>It becomes a CACOPHONY of radio commentary in various languages that Bobby is on his way. OMIT OMIT INTERCUT: MAN-ON-STREET INTERVIEWS: (MUSIC CONT OVER)<\/scene_description>\n    <character>A BUS DRIVER<\/character>\n    <dialogue>Fischer is to chess what Ali is to boxing. I love him.<\/dialogue>\n    <character>A LONG-HAIRED HIPPIE<\/character>\n    <dialogue>--Least there's one reason to feel good about America, you hear me?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MANHATTAN CHESS CLUB - SAME (MUSIC CONT OVER)<\/stage_direction>\n    <scene_description>Father Lombardy watches a small TV, his emotions roiling.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JFK AIRPORT BAGGAGE TUNNEL(MUSIC CONT OVER)<\/stage_direction>\n    <scene_description>Men in dark suits escort Bobby as he steps out of the van.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REGINA'S MOSCOW APARTMENT - DAY (MUSIC CONT OVER)<\/stage_direction>\n    <scene_description>On a black-and-white TV, a grainy image of Bobby emerging at Reykjavik airport. Regina is watching. The announcer is Russian but we recognize the name 'Bobby Fischer.\" INTERCUT - A MONTAGE OF NEWS COMMENTATORS (MUSIC CONT OVER) John Chancellor, Walter Cronkite, Harry Reasoner -- all in breathless anticipation of the match. A TV SOUNDBITE (MUSIC CONT OVER) As Bobby arrives in Reykjavik.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>This thing with me and Spassky. Instead of bombs we're having it out with little pieces of ivory.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ICELAND - DAY (MUSIC CONT. OVER)<\/stage_direction>\n    <scene_description>A police car speeds down empty Icelandic roads. Bobby sits in the back with Marshall, staring out at the bleak landscape. They arrive at the same house we saw in the opening shot.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRANITE COUNTRY HOUSE (MUSIC CONT. OVER)<\/stage_direction>\n    <scene_description>Bobby enters, takes in the beautiful decor.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>Five bedrooms. Pick any one you want. Place even has a sauna.<\/dialogue>\n    <scene_description>Bobby is incredulous....and moved.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>This is the first house I ever lived in.<\/dialogue>\n    <scene_description>INTERCUT - TV SOUNDBITES - ARCHIVAL - (MUSIC CONT OVER) CBS News is all over it. ERIC SEVAREID (on TV) A chess craze is sweeping the nation. Sales of chess sets have tripled in the past weeks and stores literally can't keep them in stock... VARIOUS IMAGES - ARCHIVAL - (MUSIC CONT OVER) Kids playing chess at home, in schools, in the park.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRANITE COUNTRY HOUSE, BOBBY'S BEDROOM<\/stage_direction>\n    <scene_description>Bobby is on his knees searching for listening devices. A gentle knock on the door and Lombardy enters.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Hey, they said you weren't coming.<\/dialogue>\n    <scene_description>Bobby looks wired, sleepless -- but his vulnerability is so compelling. Lombardy is full of emotion but he covers it.<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>I'm your second. \\*<\/dialogue>\n    <scene_description>They look at each other. Three years have forged a deep bond between them.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Thank you. Father.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>Anything I can get you, Bobby?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Yeah. Help me check for bugs. These cheaters'll do anything to get me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRANITE COUNTRY HOUSE, LIVING ROOM<\/stage_direction>\n    <scene_description>Marshall is signing contracts when Lombardy enters.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>Couldn't stay away, huh? I get it. \\* Yankees are playing for the pennant \\* and you've got a front row seat. \\*<\/dialogue>\n    <scene_description>Lombardy just looks at him.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>A billion people around the world watching two guys play chess. President Nixon has had a TV put in the Oval Office.<\/dialogue>\n    <parenthetical>(lights a cigarette)<\/parenthetical>\n    <dialogue>World War III on a chessboard. We lost China. We're losing Vietnam. We have to win this one.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NATIONAL THEATER, REYKJAVIK, ICELAND<\/stage_direction>\n    <scene_description>TV CREWS report in their own languages. The only words we understand are 'Bobby Fischer' and 'Boris Spassky'... Caption: July 11th 1972. Game One.<\/scene_description>\n    <character>ABC COMMENTATOR \\*<\/character>\n    <dialogue>This is ABC's Wide World of Sports \\* bringing you live coverage of the World Championship of Chess...<\/dialogue>\n    <scene_description>Boris Spassky arrives, looking relaxed. News cameras shoot \\* him as he steps out to cheers. No sign of Bobby.<\/scene_description>\n    <character>ABC COMMENTATOR (CONT'D) \\*<\/character>\n    <dialogue>Best of 24 games. Each win is worth \\* a point, each draw is half-a-point -- the chess version of a fifteen round heavyweight prize fight.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, PLAYING HALL 134\\*<\/stage_direction>\n    <scene_description>Utter stillness. Schmid -- the adjudicator -- looks at the big clock above the stage. Boris sits erect in his chair, refusing to be psyched out. \\* The crowd is growing restless and SLOW HAND CLAPPING begins... \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A135 INT. NATIONAL THEATER HALLWAY - CONTINUOUS A135<\/stage_direction>\n    <scene_description>As Bobby approaches the stage, the SOUND of CLAPPING grows louder. He stops. B135 ON THE STAGE B135 FLASHBULBS signal Bobby's entrance! Some applause, some boos. As Bobby strides across the stage, Spassky holds out his hand but Bobby walks right past him. He greets Schmid, then waves to the crowd. Then Bobby seems to notice Spassky for the first time, smiles.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Boris!<\/dialogue>\n    <scene_description>He lurches over, sticks out a hand.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>How ya been? Good? You look good.<\/dialogue>\n    <scene_description>Spassky is wrong-footed. Doesn't know if he's being fucked with. A BLIZZARD of FLASHBULBS as they shake.<\/scene_description>\n    <character>SCHMID<\/character>\n    <dialogue>Now we come together for the drawing of the colors.<\/dialogue>\n    <scene_description>Boris takes two pawns, black and white, in his closed fists.<\/scene_description>\n    <character>BORIS<\/character>\n    <dialogue>Choose...<\/dialogue>\n    <scene_description>We now follow the word 'choose' as it travels West.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROOKLYN CHESS CLUB, NEW YORK CITY<\/stage_direction>\n    <scene_description>Carmine and others watch raptly.<\/scene_description>\n    <character>BORIS<\/character>\n    <dialogue>Choose...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE HOUSE, OVAL OFFICE, WASHINGTON<\/stage_direction>\n    <scene_description>Through a half open door, we see the backs of the President and his advisers watching TV...<\/scene_description>\n    <character>BORIS<\/character>\n    <dialogue>Choose...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KREMLIN, PRESIDENTIAL SANCTUM, MOSCOW<\/stage_direction>\n    <scene_description>President Brezhnev is watching as well...<\/scene_description>\n    <character>BORIS<\/character>\n    <dialogue>Choose...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, PLAYING HALL, STAGE<\/stage_direction>\n    <scene_description>Close on Boris's hand opening in SLOW-MOTION.<\/scene_description>\n    <character>SCHMID<\/character>\n    <dialogue>Mr Fischer chose black. Mr Spassky will begin.<\/dialogue>\n    <scene_description>Bobby and Boris's eyes meet. The applause crescendos.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, PLAYING HALL, STAGE<\/stage_direction>\n    <scene_description>Silence. Bobby and Spassky sit absolutely still. Fischer's thumb and forefinger push his lips into a contemplative grimace. Boris moves his Knight to King's Bishop Four.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, VIEWING GALLERY<\/stage_direction>\n    <scene_description>The advisers look down on the stage. Bobby makes his move. \\* A whisper passes among them. Lombardy makes a note.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, PLAYING HALL, STAGE<\/stage_direction>\n    <scene_description>TIME-CUT. A large SCREEN above the stage shows the moves. Bobby studies the board.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A142 INT. NATIONAL THEATER, VIEWING GALLERY A142<\/stage_direction>\n    <scene_description>Lombardy and Marshall stand together.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>So far, so good...<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>They're both following the Nizmo. A draw in the opening game is fine.<\/dialogue>\n    <scene_description>B142 BACK TO THE STAGE B142 Behind him, Bobby hears an official shift his weight. A \\* piece of paper CRINKLES in his hand.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Could you hush...<\/dialogue>\n    <scene_description>The official looks puzzled. Bobby tries to concentrate. A few COUGHS. Bobby looks at the audience and imitates a particular cough viciously. A few sniggers. Then... a low BUZZING, WHIRRING noise from behind him. BOBBY'S PERCEPTION The sound of A CAMERA is like the rip of a buzz saw. An electrical panel BUZZES. The COUGHS of the audience are magnified as if in a TB ward.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, PLAYING HALL, STAGE<\/stage_direction>\n    <scene_description>Back to normal sound. Bobby tries to concentrate. Can't.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>What IS that?<\/dialogue>\n    <scene_description>Boris slumps back in his seat. Some eyes roll.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>That buzz buzz buzz...<\/dialogue>\n    <scene_description>Schmid cocks an ear.<\/scene_description>\n    <character>SCHMID<\/character>\n    <dialogue>It is just a camera.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Buzz, buzz, buzz. Jesus.<\/dialogue>\n    <scene_description>Bobby gets to his feet and begins to pace. The crowd begins to WHISPER. He turns on them...<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Could you all shut up? Could everyone stop?<\/dialogue>\n    <scene_description>Silence. Then a deliberate cough from some teenager.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>JESUS!<\/dialogue>\n    <parenthetical>(to Schmid)<\/parenthetical>\n    <dialogue>Coughing, buzzing lights. Cameras everywhere. I can hear them rolling. You're gonna have to do something...<\/dialogue>\n    <scene_description>A couple of people in the crowd dare to boo.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, VIEWING GALLERY<\/stage_direction>\n    <scene_description>Lombardy and Marshall share a look. An inauspicious beginning. Nei turns to Geller.<\/scene_description>\n    <character>GELLER<\/character>\n    <dialogue>He is deliberately trying to unsettle Boris. Help him.<\/dialogue>\n    <scene_description>Lombardy sees Nei leaving and decides he too must go down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A145 INT. NATIONAL THEATER, STAIRCASE A145<\/stage_direction>\n    <scene_description>Lombardy and Nei race down the steps, two at a time.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, PLAYING HALL<\/stage_direction>\n    <scene_description>Nei is speaking to Schmid. \\* Bobby looks out at the sea of staring faces.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>We have to get rid of the cameras.<\/dialogue>\n    <parenthetical>(points to a curtain)<\/parenthetical>\n    <dialogue>Behind there. I can hear them...<\/dialogue>\n    <character>SCHMID \\*<\/character>\n    <dialogue>They are just TV cameras. \\*<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>And there's something wrong with the lights....<\/dialogue>\n    <parenthetical>(looks at the board)<\/parenthetical>\n    <dialogue>It's too dark...I can't see what anything is.<\/dialogue>\n    <scene_description>He looks out into the darkness. \\*<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>And the audience.<\/dialogue>\n    <character>SCHMID \\*<\/character>\n    <dialogue>What's wrong with the audience?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>They gotta move back.<\/dialogue>\n    <scene_description>Then Spassky abruptly makes his move.<\/scene_description>\n    <character>SCHMID \\*<\/character>\n    <dialogue>Mr. Spassky has made his move. \\*<\/dialogue>\n    <character>BOBBY<\/character>\n    <parenthetical>(pointing)<\/parenthetical>\n    <dialogue>And up there... You don't hear what I do...<\/dialogue>\n    <scene_description>Lombardy looks up into the lights. Hears nothing. \\* 146 BOBBY'S PERCEPTION 146\\* The buzzing of FLORESCENT LIGHTS sounds like a SWARM OF WASPS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, PLAYING HALL, STAGE<\/stage_direction>\n    <scene_description>Bobby swings his arms around, trying to shake it off. Finally he returns to his seat. Spassky studies him dispassionately.<\/scene_description>\n    <character>BORIS<\/character>\n    <dialogue>You don't look so good Robert James...<\/dialogue>\n    <scene_description>Bobby lowers his head, looks back to the board... OMITTED OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, PLAYING STAGE<\/stage_direction>\n    <scene_description>Bobby tries to concentrate. A chair SCRAPES. He looks up, distracted. Looks back at the board. The SOUND of someone TALKING in the audience. He looks up again. With each distraction, Bobby is more unsettled. A cough SOUNDS like a CANNON, a squeak is a SCREAM. Bobby's eyes dart furtively. He reaches for a piece.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, VIEWING GALLERY<\/stage_direction>\n    <scene_description>Lombardy returns to the gallery as Bobby moves his Bishop. \\*<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>He's inviting Spassky to exchange.<\/dialogue>\n    <parenthetical>(studies his notes)<\/parenthetical>\n    <dialogue>I hope to God this is a trap.<\/dialogue>\n    <scene_description>Spassky makes his move. The Russian advisers all scribble.<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>Spassky's taking the invitation.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, PLAYING HALL, STAGE<\/stage_direction>\n    <scene_description>Bobby is in the throes of a full-fledged anxiety attack. His heart is pounding, his breathing ragged. Spassky knows it. He is a vulture attending his prey. Bobby is a slow-motion train wreck. The distractions begin to profliferate -- each one EXAGGERATED, the sound MAGNIFIED. A SERIES of rapid CUTS -- like a deck of cards shuffling. Bobby is fighting for his life. He can't take it a moment more. He reaches out to make a move...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, VIEWING GALLERY<\/stage_direction>\n    <character>LOMBARDY<\/character>\n    <dialogue>Ah shit....<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER<\/stage_direction>\n    <scene_description>We SEE the move on the large board. A GASP from the crowd.<\/scene_description>\n    <character>ABC COMMENTATOR \\*<\/character>\n    <dialogue>That move will hit the front page of \\* every newspaper in the world tomorrow<\/dialogue>\n    <scene_description>155 IN BROOKLYN 155\\* Carmine closes his eyes. IN LONG ISLAND Joan shakes her head. IN MOSCOW Regina clutches her chair.<\/scene_description>\n    <character>ANCHOR<\/character>\n    <dialogue>-- Because Bobby Fischer has made a huge mistake....<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, PLAYING HALL<\/stage_direction>\n    <scene_description>Suddenly, onstage, Bobby leaps to his feet...<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I can still hear the cameras!<\/dialogue>\n    <parenthetical>(turns to the curtain)<\/parenthetical>\n    <dialogue>I want these people out of here...<\/dialogue>\n    <scene_description>Bobby YANKS the curtain and drags two TV cameramen, blinking, into the light. The crowd begins to laugh, others jeer.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>They were whispering!!<\/dialogue>\n    <scene_description>The crowd begins to BOO and then slow hand clap.<\/scene_description>\n    <character>SCHMID<\/character>\n    <dialogue>...first game goes to...Boris Spassky.<\/dialogue>\n    <scene_description>The SCOREBOARD reads: Spassky 1 Fischer 0.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, BEHIND THE STAGE<\/stage_direction>\n    <scene_description>Bobby stalks away in a fury. He heads downstairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A160 INT. NATIONAL THEATER, STAIRWAY A160<\/stage_direction>\n    <scene_description>Marshall and Lombardy race downstairs to catch up to him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, PING PONG ROOM<\/stage_direction>\n    <scene_description>Marshall and Lombardy manage to catch up to Bobby in a small room used as a recreation area: a drinks machine and a ping pong table. Suddenly the noise of the auditorium disappears.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>It's just one game. One point. You'll take him tomorrow. Twelve- and-a-half points is a long match.<\/dialogue>\n    <scene_description>Bobby is breathing hard -- but then he stops and looks around.<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>The reporters will go after Spassky. We can slip out another way...<\/dialogue>\n    <scene_description>Bobby is staring around in wonder -- studying the bare walls.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>Bobby? Are you okay?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>It's quiet in here.<\/dialogue>\n    <scene_description>Marshall and Lombardy look at each other. They think Bobby is being crazy. Later we will learn he has just found the answer to his problems.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A161 INT. THE WHITE HOUSE, OVAL OFFICE A161<\/stage_direction>\n    <scene_description>Watching TV, the President throws his pencil in anger...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NATIONAL THEATER - NIGHT<\/stage_direction>\n    <scene_description>Boris Spassky leaves to a hero's reception. Some wave Soviet flags. The crows push against the glass as they pull away. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A163 EXT. REYKJAVIK STREET - NIGHT (SECOND UNIT) A163<\/stage_direction>\n    <scene_description>Bobby's car heads home.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOBBY'S CAR - SAME (POOR MAN'S PROCESS)<\/stage_direction>\n    <scene_description>Bobby, Lombardy and Marshall ride in silence. When Bobby speaks, it is oddly detached, as if talking to himself.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>The board. When I look at it, I see nothing. It's always been...I don't know...alive.<\/dialogue>\n    <parenthetical>(shakes his head)<\/parenthetical>\n    <dialogue>With that move, I tried to make it come alive. I thought...maybe I could make it...alive again. Jolt it. It's never happened before. I don't get it........<\/dialogue>\n    <scene_description>He closes his eyes. Lombardy and Marshall look at each other.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A164 EXT. REYKJAVIK STREET - NIGHT (2ND UNIT) A164<\/stage_direction>\n    <scene_description>Boris' limo heads home.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMO, TRAVELING (POOR MAN'S PROCESS)<\/stage_direction>\n    <scene_description>Boris and Nei settle into their seats and the car pulls away. Boris removes his sunglasses. He looks deeply weary.<\/scene_description>\n    <character>NEI<\/character>\n    <dialogue>He broke apart at the first hard blow.<\/dialogue>\n    <character>BORIS<\/character>\n    <dialogue>He shot himself in the the head. For no reason.<\/dialogue>\n    <character>NEI<\/character>\n    <dialogue>You loaded the gun.<\/dialogue>\n    <scene_description>Boris stares thoughtfully out of the window.<\/scene_description>\n    <character>BORIS<\/character>\n    <dialogue>My chess teacher taught me....A man who is prepared to commit suicide always has the initiative.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRANITE COUNTRY HOUSE, HALLWAY<\/stage_direction>\n    <scene_description>Lombardy brings Bobby a dinner tray. As he enters, we HEAR another RECORDING of The Worldwide Church of God.<\/scene_description>\n    <character>CULT PREACHER (O.S.)<\/character>\n    <dialogue>...We know the truth of history, friend, you and I. We see them everywhere, working through their banks and corporations, through politics and the media...<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>You should be preparing for tomorrow instead of listening to this garbage.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You really don't get it, do you? This isn't about me, or Spassky, or even Russia and America. This is about power, absolute global power.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>Bobby-- \\*<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>You think they care about chess -- wooden pieces on a board? \\*<\/dialogue>\n    <parenthetical>(his eyes are wild)<\/parenthetical>\n    <dialogue>They run everything. Behind the \\* scenes, pulling strings in secret! Now I know who they are.<\/dialogue>\n    <scene_description>Marshall has entered during Bobby's rant.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>Who? Who runs things?<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>(wearily) \\*<\/dialogue>\n    <scene_description>He's talking about the Jews.<\/scene_description>\n    <character>MARSHALL \\*<\/character>\n    <dialogue>The Jews? What about the Jews?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>They've been there from when I started playing. They've always been there.<\/dialogue>\n    <scene_description>Lombardy shakes his head and walks out. \\*<\/scene_description>\n    <character>MARSHALL \\*<\/character>\n    <dialogue>You got your ass handed to you today. If you don't get your head in the game, you're going to be humiliated in front of a billion people.<\/dialogue>\n    <scene_description>Bobby is madly scribbling something, hands it to Marshall. \\*<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Give them this. \\*<\/dialogue>\n    <scene_description>He ushers Marshall out and slams the door. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRANITE COUNTRY HOUSE, LIVING ROOM 166\\*<\/stage_direction>\n    <scene_description>Lombardy is studying Bobby's disastrous move in Game One as \\* Marshall enters. \\*<\/scene_description>\n    <character>LOMBARDY \\*<\/character>\n    <dialogue>What he did today makes no sense...<\/dialogue>\n    <character>MARSHALL \\*<\/character>\n    <parenthetical>(hands him the note)<\/parenthetical>\n    <dialogue>Unless the rest of the games are played without an audience and without cameras he isn't going to show up.<\/dialogue>\n    <character>LOMBARDY \\*<\/character>\n    <dialogue>(reading the note) \\*<\/dialogue>\n    <scene_description>He'll only continue if the games are \\* played-- (a disbelieving pause) --in the ping pong room...??????<\/scene_description>\n    <character>MARSHALL \\*<\/character>\n    <dialogue>He says it's the only place that's quiet.<\/dialogue>\n    <scene_description>He looks up at the ceiling. We HEAR the muffled recording.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>And he wants a different board. \\* Says the marble makes too much noise \\* when he sets the pieces down. Shit. Shit. Shit. The kid has the world in the palm of his hand and he's throwing it all away.<\/dialogue>\n    <parenthetical>(thinks)<\/parenthetical>\n    <dialogue>It's like you said about Morphy. Chess is destroying his brain.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>Chess isn't destroying Bobby. \\*<\/dialogue>\n    <character>MARSHALL<\/character>\n    <dialogue>Then why the crazy demands? It's like he wants them to say no. I think he's afraid of what happens if he loses.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>I think he's afraid of what happens if he wins.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, PLAYING HALL<\/stage_direction>\n    <scene_description>The audience sits in stunned silence. Boris steps onstage but there is no applause. He sits down at the chess table. Bobby's seat is empty. Caption: Game Two.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ICELANDIC HILLS<\/stage_direction>\n    <scene_description>A pastoral idyll. We find Bobby playing around, laughing with an Icelandic pony. He runs with it, strokes its mane.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, PLAYING HALL<\/stage_direction>\n    <scene_description>Boris sits perfectly still. Schmid hits the clock and the COUNTDOWN to Bobby's forfeit begins. The audience doesn't move a muscle. Suddenly the door to the auditorium OPENS and all heads turn. But it is only a match official who freezes in his tracks. The clock TICKS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ICELANDIC HILLS<\/stage_direction>\n    <scene_description>Bobby rides his bike through the hills. It's the most carefree we've ever seen him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, PLAYING STAGE<\/stage_direction>\n    <scene_description>Boris's clock hits zero. A sigh from the audience.<\/scene_description>\n    <character>SCHMID<\/character>\n    <dialogue>Mr Fischer failed to show. Mr Spassky wins by forfeit.<\/dialogue>\n    <scene_description>The SCOREBOARD changes to: Spassky 2 Fischer 0. Schmid reads from a typed sheet.<\/scene_description>\n    <character>SCHMID<\/character>\n    <dialogue>According to Federation rules, Mr Fischer has 24 hours to indicate in writing that he wishes to continue.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ICELANDIC HILLS<\/stage_direction>\n    <scene_description>Bobby is on his knees. A pony comes and licks his hand. Bobby checks his watch...<\/scene_description>\n    <character>SCHMID (V.O.)<\/character>\n    <dialogue>Otherwise, Mr Fischer will be disqualified and Mr Spassky will be declared World Champion.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAGA HOTEL, BORIS SPASSKY'S ROOM - LATER<\/stage_direction>\n    <scene_description>Spassky is alone -- pacing -- listening to radio commentary.<\/scene_description>\n    <character>RADIO ANCHOR (V.O.)<\/character>\n    <dialogue>What a disappointing turn. Experts are saying the match is Spassky's, regardless of what happens now --<\/dialogue>\n    <scene_description>Livo Nei enters, carrying a bottle of champagne.<\/scene_description>\n    <character>RADIO ANCHOR (V.O.)<\/character>\n    <dialogue>--a two point advantage is considered practically insurmountable.<\/dialogue>\n    <scene_description>A message card is tied to the bottle. Nei reads it aloud.<\/scene_description>\n    <character>NEI<\/character>\n    <dialogue>From Comrade Brezhnev. He sends congratulations on your victory.<\/dialogue>\n    <character>BORIS<\/character>\n    <dialogue>Victory?<\/dialogue>\n    <scene_description>Nei opens the bottle and pours two glasses.<\/scene_description>\n    <character>NEI<\/character>\n    <dialogue>If Comrade Brezhnev says it is a victory--<\/dialogue>\n    <parenthetical>(toasts)<\/parenthetical>\n    <dialogue>-- it is a victory.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRANITE COUNTRY HOUSE (REPEATED SCENE)<\/stage_direction>\n    <scene_description>We repeat the scene that opened the movie -- The granite house at dawn. The police car approaching.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRANITE COUNTRY HOUSE, BOBBY'S BEDROOM - DAWN<\/stage_direction>\n    <scene_description>The scene continues where it left off:<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>Bobby, please...get dressed, comb your hair.<\/dialogue>\n    <scene_description>A long pause. Finally, Bobby looks up at Marshall.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Ping pong.<\/dialogue>\n    <scene_description>Marshall's face turns to stone.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>I will report your words to the President of the United States. You have betrayed your country. May you rot in hell you crazy son of a bitch.<\/dialogue>\n    <scene_description>Marshall leaves. Bobby looks...almost content.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAGA HOTEL, BORIS'S ROOM - EARLY MORNING<\/stage_direction>\n    <scene_description>Boris is pacing, playing six boards at once. He wears pajamas. In his anxiety and fast movement he resembles Bobby.<\/scene_description>\n    <character>BBC ANNOUNCER (V.O.)<\/character>\n    <dialogue>The world chess championship looks to be ending in humiliation for the American, Bobby Fischer, whose demands that the game be held in a store room have led to widespread ridicule.<\/dialogue>\n    <scene_description>Boris checks his watch.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRANITE COUNTRY HOUSE, OUTSIDE BOBBY'S BEDROOM<\/stage_direction>\n    <scene_description>Marshall holds a stack of telexes. He knocks.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>I have messages from a million people all over the world who want you to open this door.<\/dialogue>\n    <scene_description>Silence. Marshall kneels and shoves them under the door.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>You still have two-and-a-half hours.<\/dialogue>\n    <scene_description>No reply. Marshall opens the door. Bobby is gone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAGA HOTEL, BORIS'S ROOM<\/stage_direction>\n    <scene_description>Boris prowls from chess game to chess game, he stops and stares at the empty chair on the other side of the chessboard.<\/scene_description>\n    <character>BORIS<\/character>\n    <dialogue>I know exactly what game you are playing and I will not let you win.<\/dialogue>\n    <scene_description>Boris begins to speak to the walls and the furniture.<\/scene_description>\n    <character>BORIS<\/character>\n    <dialogue>I cannot win this way.<\/dialogue>\n    <parenthetical>(to the room)<\/parenthetical>\n    <dialogue>I know you are listening. You are always listening.<\/dialogue>\n    <scene_description>He approaches the wardrobe and speaks with formality.<\/scene_description>\n    <character>BORIS<\/character>\n    <dialogue>Mr Bubnov, Mr Geller, General Secretary Brezhnev, I know your listening devices can hear me.<\/dialogue>\n    <scene_description>He suddenly HURLS a chess table across the room.<\/scene_description>\n    <character>BORIS<\/character>\n    <dialogue>I WILL NOT WIN THIS WAY...DO YOU<\/dialogue>\n    <character>HEAR ME--!!<\/character>\n    <dialogue>After a moment, a KNOCK at the door. Boris half smiles to himself. It is Geller, also in pajamas.<\/dialogue>\n    <character>GELLER<\/character>\n    <dialogue>Is everything okay?<\/dialogue>\n    <character>BORIS<\/character>\n    <dialogue>What makes you think it isn't?<\/dialogue>\n    <character>GELLER (DEFENSIVE)<\/character>\n    <dialogue>I heard you through the wall.<\/dialogue>\n    <character>BORIS<\/character>\n    <dialogue>I have made a decision... If I don't beat him, he will escape from this island in one piece.<\/dialogue>\n    <scene_description>Geller picks up the overturned table.<\/scene_description>\n    <character>GELLER<\/character>\n    <dialogue>It's not your fault the American is insane...<\/dialogue>\n    <character>BORIS<\/character>\n    <dialogue>He is NOT insane!<\/dialogue>\n    <parenthetical>(shakes his head)<\/parenthetical>\n    <dialogue>If you think that, he has fooled you the way he has fooled everyone else.<\/dialogue>\n    <scene_description>Boris begins to pace. His manic energy resembles Bobby's.<\/scene_description>\n    <character>BORIS<\/character>\n    <dialogue>He knows if we play I will destroy him. Crush him. So he uses madness as an excuse to avoid the inevitable. I will not let him slip from my grasp. I have him pinned. I am two games ahead.<\/dialogue>\n    <parenthetical>(yells)<\/parenthetical>\n    <character>I HAVE HIM!<\/character>\n    <dialogue>Boris starts to unbutton his pajama top.<\/dialogue>\n    <character>BORIS<\/character>\n    <dialogue>Get a message to Fischer. Now. This minute.<\/dialogue>\n    <scene_description>He tears his shirt off and throws it onto the bed.<\/scene_description>\n    <character>BORIS<\/character>\n    <dialogue>I will play him in the ping pong room. I will play him in the toilet if he likes. He will not escape!<\/dialogue>\n    <scene_description>Boris stares at Geller with steely resolve.<\/scene_description>\n    <character>BORIS<\/character>\n    <dialogue>Tell him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ICELANDIC LANDSCAPE<\/stage_direction>\n    <scene_description>An old bicycle on the ground. An Icelandic police car approaches at speed. Marshall climbs out, cups his hands.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>Bobby!!!!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ICELANDIC MOORLAND<\/stage_direction>\n    <scene_description>Bobby is tossing pebbles into the water. He hears Marshall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ICELANDIC MOORLAND<\/stage_direction>\n    <scene_description>Marshall is still yelling as Bobby appears over the hill.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>Bobby!! You won't believe it! Spassky has agreed to play in the ping pong room!<\/dialogue>\n    <scene_description>Bobby picks up the bicycle and Marshall fears the worst.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>Where the hell are you going?<\/dialogue>\n    <scene_description>Bobby casually begins to cycle away down the empty road.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>To the ping pong room.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, CORRIDOR<\/stage_direction>\n    <scene_description>Lombardy, Marshall, and Bobby are walking fast backstage.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>We've got two minutes.<\/dialogue>\n    <scene_description>OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, PING PONG ROOM<\/stage_direction>\n    <scene_description>The ping pong table and drinks machine have been removed. In the center is a simple table. Geller, Nei, and Boris enter. Schmid checks his watch.<\/scene_description>\n    <character>SCHMID<\/character>\n    <dialogue>If he is even one minute late, I will fine him.<\/dialogue>\n    <scene_description>Then Bobby enters -- wearing a sharp suit. He immediately \\* goes and sits down in his seat at the table. \\* Schmid gestures to Marshall, Lombardy, Geller and Nei.<\/scene_description>\n    <character>SCHMID<\/character>\n    <dialogue>Gentlemen...<\/dialogue>\n    <scene_description>He is asking them to leave. They do. \\*<\/scene_description>\n    <character>SCHMID<\/character>\n    <parenthetical>(to Bobby)<\/parenthetical>\n    <dialogue>Perhaps you would be gracious enough to thank Mr Spassky for acquiescing to your demands.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I'm so grateful I'm going to let him watch me play.<\/dialogue>\n    <scene_description>Spassky understands enough English to understand. He smiles. Schmid points to a small camera in the corner.<\/scene_description>\n    <character>SCHMID<\/character>\n    <dialogue>Only one camera. It does not move. It makes no sound. It will relay pictures to TV sets in every corner of the earth.<\/dialogue>\n    <parenthetical>(a frozen smile)<\/parenthetical>\n    <dialogue>So please, gentlemen, if can we remember...the world is watching.<\/dialogue>\n    <scene_description>As Bobby looks around, a slow, satisfied SMILE begins to soften his face as he revels in the stillness. It is quiet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A185 INT. VIEWING GALLERY A185<\/stage_direction>\n    <scene_description>Lombardy turns to Marshall.<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>...Did Nixon really call you?<\/dialogue>\n    <character>MARSHALL<\/character>\n    <parenthetical>(an inscrutable smile)<\/parenthetical>\n    <dialogue>Game's starting...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>B185 INT. PING PONG ROOM B185<\/stage_direction>\n    <scene_description>Bobby reaches out to make his first move. D4. Caption: Game Three Boris reacts to the move, looks up at Bobby, unsettled. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, VIEWING GALLERY<\/stage_direction>\n    <scene_description>Nei and Geller are stupefied.<\/scene_description>\n    <character>NEI<\/character>\n    <dialogue>What is he doing? He's never played this opening before.<\/dialogue>\n    <scene_description>Marshall sees their reaction. \\*<\/scene_description>\n    <character>MARSHALL \\*<\/character>\n    <dialogue>What's happening? \\*<\/dialogue>\n    <character>LOMBARDY \\*<\/character>\n    <dialogue>He's playing the Benoni. Black. \\* Two games behind. It's suicide. \\*<\/dialogue>\n    <scene_description>\\*: 186 IN THE PING PONG ROOM 186\\* Spassky moves: Pawn to Q5. Bobby captures: Pawn takes Pawn. Spassky counters. Pawn takes Pawn. IN THE VIEWING GALLERY Bobby plays Pawn to Q3. Spassky responds Knight to B3.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>He's giving him the center of the board...<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>Oh, Bobby...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROOKLYN DINER<\/stage_direction>\n    <scene_description>A hand-written sign reads...'Bobby Fischer sat here, 1961'. The crowd watches a grainy image of Bobby and Boris on TV. Bobby makes a move. The crowd cheers. A voice from the back.<\/scene_description>\n    <character>CUSTOMER<\/character>\n    <dialogue>What the hell are we cheering? We don't know if it's good or bad.<\/dialogue>\n    <scene_description>The crowd all turn and hush him. TIME CUT -- THE PING PONG ROOM Bobby and Boris exchange pieces -- a Rook for a Bishop. Then Bobby does the unthinkable -- he exposes his Queen. IN THE VIEWING GALLERY Marshall is speechless. Lombardy is incredulous and bemused.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>What the hell--?<\/dialogue>\n    <scene_description>Geller and Nei look on, hungrily.<\/scene_description>\n    <character>GELLER<\/character>\n    <dialogue>Take it, Boris. Take it.<\/dialogue>\n    <scene_description>IN THE PING PONG ROOM Spassky is clearly unnerved. He senses a trap but cannot see it. Bobby's queen sits exposed -- his for the taking. He looks up at Bobby, who smiles inscrutably. Finally, Boris cannot resist. He takes the queen. IN THE VIEWING GALLERY<\/scene_description>\n    <character>NEI<\/character>\n    <scene_description>IN THE PING PONG ROOM Bobby immediately counters -- taking Spassky's Bishop. This precipitates A BLOODBATH: piece after piece is taken in a vicious chess version of a knife fight. Finally, the smoke clears and both men study the carnage.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 'FOUR CONTINENTS' RUSSIAN BOOK STORE -- BROOKLYN<\/stage_direction>\n    <scene_description>The clerk and her husband are glued to the TV.<\/scene_description>\n    <character>BOOKSTORE CLERK<\/character>\n    <dialogue>A draw.<\/dialogue>\n    <scene_description>IN THE VIEWING GALLERY<\/scene_description>\n    <character>GELLER<\/character>\n    <dialogue>A draw is good. We are ahead.<\/dialogue>\n    <scene_description>IN THE PING PONG ROOM - MOMENTS LATER Spassky studies the board. Looks up at Bobby.<\/scene_description>\n    <character>BORIS<\/character>\n    <parenthetical>(in English)<\/parenthetical>\n    <dialogue>You accept a draw?<\/dialogue>\n    <scene_description>Bobby slowly shakes his head. No draw. Slowly, almost sadistically, he reaches out and makes a move. Spassky goes white. IN THE VIEWING GALLERY They watch as Spassky makes a move -- which Bobby immediately counters. Another move. Another counter. Bobby is now bullying Spassky across the board. Geller and Nei are becoming increasingly upset. IN THE PING PONG ROOM Spassky studies the looming endgame, his face withering.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 'FOUR CONTINENTS' RUSSIAN BOOKSTORE - BROOKLYN<\/stage_direction>\n    <character>BOOKSTORE OWNER<\/character>\n    <dialogue>It seems the strange little boy has done it.<\/dialogue>\n    <scene_description>IN THE VIEWING GALLERY Lombardy looks over at Geller and Nei, smiles sweetly.<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>He hates draws.<\/dialogue>\n    <scene_description>IN THE PING PONG ROOM After an agonizing moment, Spassky knocks over his King. The SCOREBOARD changes to: Spassky 2 Fischer 1.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TIMES SQUARE (ARCHIVAL FOOTAGE W\/VFX)<\/stage_direction>\n    <scene_description>The electronic newsboard announces \"BOBBY FISCHER WINS GAME THREE.\" Taxis HONK. \\*<\/scene_description>\n    <character>RADIO COMMENTATOR (O.S.)<\/character>\n    <dialogue>-- the first time Fischer has ever won a game from Spassky.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COUNTRY HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Lombardy is asleep when he HEARS a strange SOUND and sits up in bed. He checks his watch. It's 3:30 am. He walks down the hall. A light SPILLS from under Bobby's door. From inside, the SOUND is much clearer now:<\/scene_description>\n    <character>SLAP.<\/character>\n    <dialogue>SLAP.<\/dialogue>\n    <scene_description>Bobby has been up all night playing chess alone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANTA MONICA MOTEL, OFFICE<\/stage_direction>\n    <scene_description>The Motel clerk and Donna stare at his TV screen. Caption: Game Four A businessman enters. The Motel clerk is totally engrossed.<\/scene_description>\n    <character>BUSINESSMAN<\/character>\n    <dialogue>Excuse me.<\/dialogue>\n    <character>MOTEL CLERK<\/character>\n    <parenthetical>(to Donna)<\/parenthetical>\n    <dialogue>Spassky took Bobby's Bishop.<\/dialogue>\n    <character>DONNA<\/character>\n    <dialogue>So what? I took his virginity.<\/dialogue>\n    <character>CLERK<\/character>\n    <dialogue>Wait, wait... Bobby's making a move.<\/dialogue>\n    <character>CUSTOMER<\/character>\n    <dialogue>Excuse me...They drew game four last night.<\/dialogue>\n    <character>CLERK<\/character>\n    <dialogue>We know, asshole. We're watching the re-run.<\/dialogue>\n    <scene_description>The SCOREBOARD now reads: Spassky 2 1\/2 Fischer 1 1\/2<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY HOUSE - NIGHT<\/stage_direction>\n    <scene_description>The middle of the night again. A SINGLE LIGHT burns in the upper window we know to be Bobby's. And we HEAR a faint but now familiar sound...<\/scene_description>\n    <character>SLAP.<\/character>\n    <dialogue>206<\/dialogue>\n    <character>SLAP.<\/character>\n    <dialogue>INT. NATIONAL THEATER, PING PONG ROOM - NEXT DAY<\/dialogue>\n    <scene_description>Bobby and Boris take their seats. Caption: Game Five<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOSCOW APARTMENT - DAY<\/stage_direction>\n    <scene_description>Cigarette smoke swirls. We reveal Regina watching, smoking. On her black-and-white TV, Boris stands and begin to pace.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, PING PONG ROOM - SAME<\/stage_direction>\n    <scene_description>Boris wanders the tiny room, unnerved. He meets Bobby's stare -- as if the two are alone in a prison cell. Boris sits down without taking his eyes from Bobby. Bobby is implacable now, totally focused. Boris turns to Schmid, who is dozing in his chair.<\/scene_description>\n    <character>BORIS<\/character>\n    <dialogue>Excuse me.<\/dialogue>\n    <parenthetical>(Schmid stirs)<\/parenthetical>\n    <dialogue>There is something coming from my chair.<\/dialogue>\n    <character>SCHMID<\/character>\n    <dialogue>Your chair?<\/dialogue>\n    <character>BORIS<\/character>\n    <dialogue>It is a vibration.<\/dialogue>\n    <character>SCHMID<\/character>\n    <dialogue>A what?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, VIEWING GALLERY<\/stage_direction>\n    <scene_description>Geller and Nei huddle in front of a black and white monitor. On the screen, Boris is on his knees, examining his chair.<\/scene_description>\n    <character>GELLER<\/character>\n    <dialogue>What the hell is he doing? Praying?<\/dialogue>\n    <scene_description>Nei glances over at Lombardy, who looks up with a smile as if to say, 'Welcome to my life.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, PING PONG ROOM<\/stage_direction>\n    <scene_description>Boris is kneeling, examining the steel tube legs of his chair.<\/scene_description>\n    <character>BORIS<\/character>\n    <dialogue>A sound of some kind -- maybe high frequency, I don't know...it is affecting my concentration...<\/dialogue>\n    <scene_description>Boris glances at Bobby, who is staring at him impassively.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Buzz, buzz.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>A211 INT. NATIONAL THEATER A211<\/stage_direction>\n    <character>SCHMID<\/character>\n    <dialogue>Game 5 goes to Mr. Bobby Fischer.<\/dialogue>\n    <scene_description>The SCOREBOARD changes to: Spassky 2 1\/2 Fischer 2 1\/2 Cheers now for Bobby.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, BACK STAGE, CORRIDOR<\/stage_direction>\n    <scene_description>Boris marches away in a fury, his entourage in pursuit.<\/scene_description>\n    <character>BORIS<\/character>\n    <dialogue>...It is coming from the chair!<\/dialogue>\n    <scene_description>Geller and Nei don't know how to respond.<\/scene_description>\n    <character>BORIS<\/character>\n    <dialogue>It was making a SOUND...!<\/dialogue>\n    <scene_description>Boris sees their skepticism.<\/scene_description>\n    <character>BORIS<\/character>\n    <dialogue>Have you never heard of Watergate? You know what the CIA is capable of?<\/dialogue>\n    <character>BORIS<\/character>\n    <parenthetical>(stomps off)<\/parenthetical>\n    <dialogue>I want this chair X-rayed!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REYKJAVIK HOSPITAL, X-RAY ROOM, LIGHT BOX<\/stage_direction>\n    <scene_description>Boris studies the x-rays while Livo Nei studies Boris.<\/scene_description>\n    <character>BORIS<\/character>\n    <dialogue>Do not let them swap it. Do not let this chair out of your sight.<\/dialogue>\n    <scene_description>Boris storms out. Geller whispers to Nei.<\/scene_description>\n    <character>GELLER<\/character>\n    <dialogue>The American son of a bitch has driven us all crazy.<\/dialogue>\n    <scene_description>OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRANITE COUNTRY HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Not quite dawn. A single light burns in the upper bedroom and we know it is Bobby, having been awake all night.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRANITE COUNTRY HOUSE, BOBBY'S BEDROOM<\/stage_direction>\n    <scene_description>The clock reads 4:00am. Bobby sits in a chair, staring into space. On the table before him is an unfinished chess game. Lombardy knocks and enters.<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>Bobby?<\/dialogue>\n    <scene_description>Bobby doesn't even hear him.<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <parenthetical>(louder)<\/parenthetical>\n    <character>...BOBBY?<\/character>\n    <dialogue>Bobby is in some half-awake fugue state. He looks up. For a moment it's as if he doesn't recognize Lombardy.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>Can I get you anything?<\/dialogue>\n    <scene_description>A hint of recognition comes into Bobby's eyes.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>No. Thanks.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>It'll be light soon.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>It's never dark here.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>...Do you want to talk about tomorrow's game?<\/dialogue>\n    <scene_description>No answer. Bobby just stares out the window.<\/scene_description>\n    <character>LOMBARDY<\/character>\n    <dialogue>Bobby, I just want to tell you...that the chess you've been playing...is... inspiring. My whole life, I--<\/dialogue>\n    <scene_description>Lombardy stops himself. Bobby isn't listening; he's far away. When at last he speaks, his voice is lifeless, \\* expressionless with exhaustion. \\*<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I used to wish I was born deaf...<\/dialogue>\n    <scene_description>Lombardy doesn't know what to say. Bobby's eyes are far away. He has wanted and dreaded this moment his whole life.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>It's funny... at the beginning of a game there are so many options... and at the end....there's only one.<\/dialogue>\n    <scene_description>He is talking about more than chess.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I want to go back to the main hall.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>You're kidding.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>But nobody in the first seven rows.<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>Are you sure?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>It's okay. The noises have stopped. Nothing gets through.<\/dialogue>\n    <scene_description>Lombardy doesn't know why but he is near tears. There's something so forlorn about Bobby at this moment.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>It's like there's no one there anymore.<\/dialogue>\n    <parenthetical>(a long moment)<\/parenthetical>\n    <dialogue>Not even me.<\/dialogue>\n    <scene_description>He goes back to staring out the window. Lombardy stands there, not knowing what to say or do. Finally he walks over, takes a pen from inside his jacket and puts it in Bobby's pocket, then backs out of the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, MAIN STAGE<\/stage_direction>\n    <scene_description>Applause as Bobby and Boris return to the main stage. Bobby sits, stares at the board. Continues to stare at it. Slowly -- almost imperceptibly at first -- the room begins to FADE around him -- just as in his childhood bedroom. The walls, the camera, eventually even Spassky DISAPPEARS. Until it is only Bobby and the chessboard -- which begins to GLOW as the lines of infinite possibility present themselves. Bobby makes his move and SLAPS his clock. Boris examines Bobby's move with more than a little confusion. He looks up and sees no expression on Bobby's face. Bobby is in the zone. He has reached some kind of absence in which there are only moves -- and Spassky knows it. Caption: Game Six. Boris studies the board again, then quickly looks back up at Bobby with disbelief, then back to the board.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER LOBBY<\/stage_direction>\n    <scene_description>An ABC commentator is listening to the feed on his headset. \\*<\/scene_description>\n    <character>ABC COMMENTATOR \\*<\/character>\n    <dialogue>Don't use jargon... In plain English just tell me what he's doing? The people here say he's playing like a wild man. Could you ask our chess guy exactly what Fischer is doing?<\/dialogue>\n    <scene_description>The anchor reacts to a lost signal. He looks to his producer.<\/scene_description>\n    <character>ABC COMMENTATOR (CONT'D) \\*<\/character>\n    <dialogue>Lost the feed.... I need someone to tell me what the fuck is happening...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, VIEWING GALLERY<\/stage_direction>\n    <scene_description>Lombardy is watching as if in the midst of a religious experience.<\/scene_description>\n    <character>MARSHALL<\/character>\n    <dialogue>...What is he doing?<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>There are no names for it. Yet.<\/dialogue>\n    <scene_description>The Soviets are equally speechless.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER<\/stage_direction>\n    <scene_description>Spassky finally summons up the will to make another move. Without any hesitation, Bobby POUNCES -- like a panther. A collective GASP from the audience. Spassky stares at the move. His world is falling apart.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROOKLYN CHESS CLUB<\/stage_direction>\n    <scene_description>Carmine and the others watch in wonder.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, VIEWING GALLERY<\/stage_direction>\n    <character>MARSHALL<\/character>\n    <dialogue>What the hell was that?<\/dialogue>\n    <character>LOMBARDY<\/character>\n    <dialogue>...It is beyond my ability to explain or understand.<\/dialogue>\n    <scene_description>Across the gallery we catch Livo Nei's awestruck expression.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER<\/stage_direction>\n    <scene_description>Absolute silence. Bobby is going for the kill, crushing the fly. Serene. He makes his move. Boris blinks once. He looks up at Bobby. Bobby's eyes are still, his mind empty. A flicker of incomprehension crosses Boris's face. Then he half smiles as he realizes he is beaten. He KNOCKS over his King with a flick of his finger. It falls in SLOW-MOTION -- like a building being demolished. OMITTED<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER, VIEWING GALLERY<\/stage_direction>\n    <scene_description>Marshall applauds wildly. Nei gets to his feet too and applauds. Geller glares at him. Lombardy applauds, filled with emotion.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOAN'S LIVING ROOM<\/stage_direction>\n    <scene_description>She and her kids are jumping up and down, clapping.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOSCOW APARTMENT<\/stage_direction>\n    <scene_description>Regina fights back tears.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROOKLYN CHESS CLUB<\/stage_direction>\n    <scene_description>The chess players are going wild.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TIMES SQUARE (ARCHIVAL FOOTAGE)<\/stage_direction>\n    <scene_description>Cars HONK, pedestrians CHEER.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER<\/stage_direction>\n    <scene_description>Silence. Then...Boris gets to his feet and begins to applaud. Bobby is at first confused, then astonished.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER<\/stage_direction>\n    <scene_description>For one last, delicious second, Bobby is in the safe, quiet, zone. Then a WAVE of SOUND hits as THE AUDIENCE APPLAUDS. Bobby CRINGES, then slumps in his chair like a puppet with its strings cut. The crowd applauds even more as they see Boris acknowledging the beauty of the game Bobby just played.<\/scene_description>\n    <character>ABC COMMENTATOR \\*<\/character>\n    <dialogue>Bobby Fischer has just won game six and his opponent Boris Spassky is actually on his feet, applauding.<\/dialogue>\n    <scene_description>People applaud wildly; the anchor has to raise his voice...<\/scene_description>\n    <character>ABC COMMENTATOR (CONT'D) \\*<\/character>\n    <dialogue>Grandmasters never, ever applaud an opponent's victory. But I guess this is something--<\/dialogue>\n    <parenthetical>(re at cheering crowd)<\/parenthetical>\n    <dialogue>--no one has ever seen before.<\/dialogue>\n    <scene_description>OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATIONAL THEATER<\/stage_direction>\n    <scene_description>The crowd ERUPTS as Bobby emerges and heads down the stairs. A mass of humanity SURGES forward -- crowding him, touching him -- everybody wants a piece of him. We SENSE Bobby's panic. The SCREAMS, the FLASHBULBS, the faces, the hands reaching for him. It's all too much. Then a face in the crowd -- it's Regina! -- But it can't be. She's in Moscow. Bobby looks again but she's gone.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Mom!<\/dialogue>\n    <scene_description>He frantically looks around. Then another face -- Joan! Of course she, too, couldn't possibly be there.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Joanie!<\/dialogue>\n    <scene_description>And then....is that Uncle Paul? No, that's impossible. Marshall and a couple of his guys usher him into a limo.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMO - CONTINUOUS<\/stage_direction>\n    <scene_description>Bobby sits in the back as the limo moves slowly through the crowd. Fans POUND on the glass but he looks straight ahead. Over this a caption: Bobby Fischer went on to beat Boris Spassky 12 1\/2 - 8 1\/2.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIMO - CONTINUOUS<\/stage_direction>\n    <scene_description>The Limo makes it way through the cheering crowd. Suddenly, amidst the crowd, Bobby catches a glimpse of THE TELEPHOTO MAN -- who has spied on him since he was a child. He leans back out of sight. He never tried to defend his title and no other American has ever become world champion.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WASHINGTON PARK, WINTER BLIZZARD<\/stage_direction>\n    <scene_description>The cheering is replaced by the sound of a howling wind. Bobby walks alone in the snow-blasted park. He stops at one of the chess tables and wipes away snow with his sleeve. His descent into insanity was swift and permanent. He stares at the empty squares. INTERVIEW SOUNDBITE<\/scene_description>\n    <character>BOBBY (V.O.)<\/character>\n    <dialogue>-- It's a worldwide Jewish conspiracy-- Mossad, the defense industry and the media. Secret government projects using micowaves to monitor our brains.<\/dialogue>\n    <scene_description>Alienating the world with his bizarre behavior, his US \\* passport was revoked and he lived in exile, eventually becoming homeless. INTERVIEW SOUNDBITE<\/scene_description>\n    <character>BOBBY (V.O.)<\/character>\n    <dialogue>9-11, man. Wonderful news. Time for the fucking U.S. to get their heads kicked in. Shows you that what goes around, comes around...<\/dialogue>\n    <scene_description>WASHINGTON SQUARE PARK Bobby stands up from the table and slowly walks off into the blizzard...until he disappears...and all that we see is: A WHITE SCREEN that RESOLVES INTO: SLOW-MOTION MOCK-ARCHIVAL FOOTAGE (HIGH SCHOOL GYM) Bobby at the height of his power, playing 20 boards at a time, his movements graceful, passionate, full of life. Bobby Fischer died in 2008 and was buried in Reykjavik, Iceland, the site of his remarkable triumph. INTERVIEW SOUNDBITE A smiling Bobby sits on a bench in Washington Square.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Chess and me, we're pretty intertwined. I don't really have much else in my life right now. Maybe someday I'll spread out a little. For now, though, I'd like to be world champion--<\/dialogue>\n    <parenthetical>(a slow smile)<\/parenthetical>\n    <dialogue>--And then keep it for, say, twenty years. Yeah.<\/dialogue>\n    <scene_description>CLOSE on Bobby as a big grin spreads across his face. FADE OUT.:<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In 1972, Bobby Fischer tears apart his hotel room in a paranoid delusional state, believing he is being spied upon by the Soviet KGB. Two decades earlier, in 1951 Brooklyn, Fischer's mother, a Soviet Jewish immigrant, explains to 8-year-old Bobby that the FBI has her under surveillance because she supports Marxist revolution in the U.S. She coaches Bobby on what to say to the FBI if he is ever approached. Bobby immerses himself in chess and becomes an expert player. Despite her worries that chess is becoming an obsession, his mother takes him to an adult chess club, where he impresses the resident chess master and is accepted as a student. Bobby enters the world of professional chess championships and soon becomes the youngest grandmaster ever. Bobby's hatred of distractions leads to frequent tantrums. He enters a team tournament in Varna, Bulgaria, where he realizes Soviet grandmasters are deliberately drawing games with the collusion of the World Chess Federation. Erupting in a rant that this system makes it impossible for a non-Soviet player to win the championship, Bobby quits the tournament and gives up chess. When Bobby returns to the U.S., lawyer Paul Marshall offers to help him modify the tournament rules, working pro bono to give Fischer a fair chance to win future tournaments. Fischer re-enters professional chess and selects Father William Lombardy, a former World Junior Chess Champion and Roman Catholic priest, as his second. Lombardy struggles to calm Bobby's rock-star behavior and impossible demands. As his demands are accepted, Bobby overcomes most grandmasters across the world and nears the world championship, becoming a hero to the American public. At the height of the Cold War, Soviet domination of the World Chess Championship is being exploited for propaganda as proof that the Communist system is superior to American democracy. U.S. President Richard Nixon and Secretary of State Henry Kissinger closely monitor and encourage Bobby's progress. During a tournament in Santa Monica, California, Bobby loses to Soviet grandmaster Boris Spassky, the world champion. The next morning, an enraged Bobby approaches and berates Spassky on the beach. Privately, Lombardy tells Marshall that excessive focus on chess strategy has destroyed the sanity of the game's greatest players. As he pursues the world championship, the pressure drives Bobby into paranoia and delusional psychosis. Meeting with Marshall, Bobby's sister Joan quotes from her brother's letters about how the Communists collude with International Jewry to destroy him. Joan explains that Bobby believes this despite being Jewish himself and pleads with Marshall to arrange for Bobby to receive psychiatric help. Marshall is dismissive, but as Bobby's breakdown escalates, he suggests to Lombardy that Bobby needs therapy and medication, which Lombardy rebuffs. Reporters and fans from around the world assemble at Reykjav\u00edk, Iceland, to witness the historic World Chess Championship 1972 match between Bobby and Spassky. Bobby loses the first game and fails to appear for the second, losing it by forfeit. Bobby is easily distracted by small noises from the audience, rolling cameras, and the hard sound of the chessboard, which leads him to make extreme demands for silence and fewer distractions, which could cause another forfeit. Spassky, insulted by the possibility of maintaining his title by forfeit, orders the Soviet entourage to accede to Bobby's demands. Bobby wins the third game by unconventional tactics. Game four is a draw, but Bobby wins game five after Spassky himself begins showing paranoia signs. Experts speculate the next game will determine the outcome of the match. In game six, Bobby uses an opening he has never played before, surprising the audience. His inspired play amazes Spassky, who resigns and leads a standing ovation of Bobby's victory. A postscript reveals Bobby went on to win the match and that his sixth game against Spassky is still considered the greatest chess game ever played. However, his delusions worsened, and he went on to forfeit his title and died in 2008 as a fugitive from U.S. prosecution."}
{"movie_name":"Confidence_2003","imdb_id":"tt0310910","script":"<script>\n  <scene>\n    <stage_direction>Confidence<\/stage_direction>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>So I'm dead.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - BACK ALLEY- NIGHT (PRESENT)<\/stage_direction>\n    <scene_description>Dumpsters overflow with the day 's garbage . A pillar of steam rises from an underground grate . It 's the dark place between buildings that a reasonable person avoids . We see JAKE VIG , a guy in his late 20 's whose fashionable suit and good looks are in obvious contrast to the surroundings - At first glance , you 'd think he could run for Congress some day . At first glance . Jake faces a garbage dumpster on his knees , execution style . His face gives away nothing - He could be kneeling in a strawberry field .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And I think it's because of this redhead.<\/dialogue>\n    <character>BUTCH<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Know who I am, Jake?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>The Anti - Christ?<\/dialogue>\n    <character>BUTCH<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>No. I'm not the Anti - Christ. Or the Prince of Darkness. I'm just a guy looking for some answers.<\/dialogue>\n    <scene_description>There 's the LOUD UNMISTAKABLE `` CLICK '' of a gun being cocked . The barrel of a gun slides gently along Jake 's ear and comes to rest at the base of his skull . The voice and the gun belong to BUTCH -LRB- 40 's -RRB- . With his suit and conservative looks , you 'd make him out for a `` Steve '' or `` Roger '' more than a `` Butch '' .<\/scene_description>\n    <character>BUTCH<\/character>\n    <parenthetical>( cont ' d . )<\/parenthetical>\n    <dialogue>Things are probably going to end badly for you, Jake.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Gee. What makes you say that?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Your life flashing before your eyes?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Just the last three weeks.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>That's not a bad place to start.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - BACK ALLEY- NIGHT<\/stage_direction>\n    <scene_description>Title : Three Weeks Ago . The same alley . The door of a building bursts open as LIONEL DOLBY -LRB- late 40 's -RRB- , dressed in a cheap suit , stumbles out breathing heavy . The dim light of a bare bulb glares off the sweat on his forehead . A moment later , Jake emerges from the same door carrying a large black revolver .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>I lost my head. I'm. Sorry. I do n't know what happened.<\/dialogue>\n    <character>LIONEL<\/character>\n    <dialogue>Y - y - you fucking shot him! That's what happened!<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I had to! That motherfucker was about to welch! You saw what he was doing, right? You heard him!<\/dialogue>\n    <scene_description>Lionel starts shaking his head spastically .<\/scene_description>\n    <character>LIONEL<\/character>\n    <dialogue>I ca n't be here! You understand? I can' t -<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Listen to me! It went to shit. It happens sometimes.<\/dialogue>\n    <scene_description>In the distance , A POLICE SIREN WAILS , growing louder .<\/scene_description>\n    <character>LIONEL<\/character>\n    <dialogue>Oh Jesus!<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>LISTEN to me! We do n't have much time. We can still get through this but you have to keep your head and trust me!<\/dialogue>\n    <scene_description>Jake takes a tentative step forward . Lionel sees a BLOOD STAIN on Jake 's shirt and recoils . The SIREN GROWS LOUDER , Jake turning his head towards it .<\/scene_description>\n    <character>LIONEL<\/character>\n    <dialogue>What - What do we do?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Help me.<\/dialogue>\n    <scene_description>Jake waves Lionel back through the door they came out of .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - THE EUCLID BAR<\/stage_direction>\n    <scene_description>A dive furnished with a few mismatched chairs and a bar . A single overweight PATRON sits at a corner table with face buried in his hands as he WHIMPERS . Jake and , Lionel Dolby pass him as they emerge from a back hallway . MILES , late 20 's , wipes blood off the bar . Placed at the edge of the bar are two briefcases , both open , both filled with neat stacks of blood splattered money . A DEAD GUY lies face down on the floor in a pool of blood . Jake grabs the Dead Guy 's legs as Lionel watches in disbelief .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Come on. Grab his arms.<\/dialogue>\n    <scene_description>Lionel stands frozen . Jake , drops the dead guy 's legs with a THUD .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Lionel. He's dead. Yeah, maybe you did n't pull the trigger, but you were standing right there and watched me do it. Help me. Grab his arms.<\/dialogue>\n    <scene_description>The POLICE SIRENS grow LOUDER .<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Tick - tock.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>If you wan na help, then help. If not, shut up.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Your mess.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Then shut up.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>My place.<\/dialogue>\n    <scene_description>Miles lets out a little chuckle ; it 's just enough to set Jake off again . Jake pulls the gun and points it at Miles .<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Oh please.<\/dialogue>\n    <scene_description>Miles non - chalantly pulls a sawed off shot gun frown under the bar .<\/scene_description>\n    <character>MILES<\/character>\n    <parenthetical>( cont ' d . )<\/parenthetical>\n    <dialogue>You think this kinda shit has n't happened here before? Given it's usually on Thursdays. And usually, I got ta tell the cops, `` No, Officer. I did n't really get a good look at the shooters.'' Usually anyway.<\/dialogue>\n    <character>PATRON<\/character>\n    <parenthetical>( without looking up . )<\/parenthetical>\n    <dialogue>I did n't see nothing. And I swear if you let me go now, I wo n't say -<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Relax, porkchop.<\/dialogue>\n    <scene_description>The POLICE SIRENS sound like they 're right outside .<\/scene_description>\n    <character>LIONEL<\/character>\n    <dialogue>I ca n't be here!<\/dialogue>\n    <scene_description>Jake cocks his gun , never taking his stare off Miles .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Then go.<\/dialogue>\n    <scene_description>Lionel looks at the briefcases of bloodied money .<\/scene_description>\n    <character>LIONEL<\/character>\n    <dialogue>What about. The money?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>What about this situation makes you think I can answer that question right now?<\/dialogue>\n    <scene_description>Lionel again looks at the briefcases ; then the shotgun leveled at Jake ; then at the direction of the POLICE SIRENS . He runs for the door without a second thought . CUT T0 :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.- THE EUCLID\/CITY SIDEWALK- NIGHT<\/stage_direction>\n    <scene_description>Lionel emerges up the stairs from the basement level bar to street - level just as a POLICE CAR SCREECHES to a halt in front of the bar , lights flashing , SIREN WAILING . On the door is the emblem for the NEW YORK POLICE DEPARTMENT . Lionel does his best to look casual as TWO UNIFORMED OFFICERS jump out of the car and rush the Euclid . One of the Officers catches Lionel looking over his shoulder . The last thing Lionel hears before he turns a corner -<\/scene_description>\n    <character>OFFICER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Everybody FREEZE!<\/dialogue>\n    <scene_description>As soon as he 's turned the corner , Lionel breaks into a full sprint down the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- THE EUCLID<\/stage_direction>\n    <scene_description>OFFICER WALTER SOBOZINSKI , a middle aged cop with a couple of spare tires , stands by the front door with his gun drawn , in a dramatic stance .<\/scene_description>\n    <character>SOBOZINSKI<\/character>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>I said, freeze you motherfucking, cocksucking, scumbags!<\/dialogue>\n    <scene_description>The second middle aged cop , OFFICER RICHARD ROTTOVICH comes calmly down the stairs behind Sobozinski .<\/scene_description>\n    <character>ROTTOVICH<\/character>\n    <dialogue>We're clear.<\/dialogue>\n    <scene_description>Rottovich closes the door and locks it behind him .<\/scene_description>\n    <character>SOBOZINSKI<\/character>\n    <parenthetical>( still yelling . )<\/parenthetical>\n    <dialogue>Or I'll blow off every one of your fucking heads!<\/dialogue>\n    <scene_description>Sobozinski lets out a bellowing LAUGH . We PAN OVER TO REVEAL Jake , Miles and BIG AL -LRB- the Patron -RRB- sitting at the bar by the Dead Guy .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Stop waving that thing around.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>You sure we're clear?<\/dialogue>\n    <character>ROTTOVICH<\/character>\n    <dialogue>Guy looked like he was trying not to shit himself.<\/dialogue>\n    <parenthetical>( re : the Dead Guy . )<\/parenthetical>\n    <dialogue>Nice.<\/dialogue>\n    <character>DEAD GUY<\/character>\n    <dialogue>What took so fucking long?<\/dialogue>\n    <scene_description>The Dead Guy stirs - GORDO , late 20 's , dressed in a blood soaked suit stands up ; wiping blood off his face .<\/scene_description>\n    <character>DEAD GUY\/GORDO<\/character>\n    <dialogue>I've been lying in this shit like half the night.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>You guys were late. We had to go to a Mexican stand - off.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>And you know I hate guns.<\/dialogue>\n    <scene_description>Jake tosses the revolver on the bar .<\/scene_description>\n    <character>SOBOZINSKI<\/character>\n    <dialogue>We were fighting crime.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Keeping the city streets safe for drug dealers and pedophiles everywhere.<\/dialogue>\n    <scene_description>Jake starts taking the money out of the briefcases . Gordo strips out of the jacket and shirt , revealing a THIN WHITE VEST . A wire runs from a battery pack on his belt , up the center of the vest , ending at a scorched , bloody , explosive squib . Gordo drops the vest along with a plastic bag containing fake blood . A nasty bruise on his chest marks the spot where the squib was .<\/scene_description>\n    <character>GORDO<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I told you, use less powder.<\/dialogue>\n    <character>GORDO<\/character>\n    <dialogue>But you wo n't get that splatter effect.<\/dialogue>\n    <scene_description>Jake removes the blood stained bills from the top of the pile .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Then these go into your cut.<\/dialogue>\n    <scene_description>Big Al moves over to the bar .<\/scene_description>\n    <character>BIG AL<\/character>\n    <dialogue>Hey, Jake. When am I gon na get to play the Inside?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Gordo plays the inside. You're the Shill.<\/dialogue>\n    <character>BIG AL<\/character>\n    <dialogue>Yeah, but come on. All I get to do is cry and get insulted.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>What are you talking about? You should get a fucking Academy Award for the Shill work you do.<\/dialogue>\n    <parenthetical>( off Al 's smile . )<\/parenthetical>\n    <dialogue>We got it down cold, Al.. You do n't want to jinx it by changing something up, do you?<\/dialogue>\n    <character>BIG AL<\/character>\n    <dialogue>I' m gon na go get eggrolls. Anyone want eggrolls?<\/dialogue>\n    <scene_description>Al slaps Jake on the back and exits . Jake catches Gordo hawking over his shoulder .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>What? I can feel you looking at me.<\/dialogue>\n    <character>GORDO<\/character>\n    <dialogue>That's a lot of cash. He came up with it pretty quick.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Probably some investment banker or convertible - bonds - broker - dickhead. Did you see how fast he ran out of here? It's done. He's not coming back.<\/dialogue>\n    <character>GORDO<\/character>\n    <dialogue>I guess. I got ta drop a dime. Did anybody mess up the hoop?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>It's clean.<\/dialogue>\n    <scene_description>Gordo disappears dawn the back hallway . Jake rubber bands two small wads of cash and hands them to Rottovich and Sobozinski .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Ten percent.<\/dialogue>\n    <character>SOBOZINSKI<\/character>\n    <dialogue>You guys got sack, I'll give you that much.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Confidence. It's just confidence.<\/dialogue>\n    <scene_description>Sobozinski and Rottovich head for the door with their newly padded pockets .<\/scene_description>\n    <character>ROTTOVICH<\/character>\n    <parenthetical>( patting his pocket . )<\/parenthetical>\n    <dialogue>Feels a little light, Jake. Next time we're in for twenty.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Twenty? My ass!<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>What are you talking about? Ten's standard.<\/dialogue>\n    <character>ROTTOVICH<\/character>\n    <dialogue>Yeah Well, Sobo's kid needs braces.<\/dialogue>\n    <character>SOBOZINSKI<\/character>\n    <dialogue>Do you have any idea what those monks charge for that medieval torture?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>We got a good thing going here. You want to blow it over an overbite?<\/dialogue>\n    <character>ROTTOVICH<\/character>\n    <dialogue>Do n't get me wrong, Jake. I like you boys. You guys are the steadiest business in town. But what can I say? Twenty percent's still better than what we give to any of the other criminals.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>All the shit we pulled with you and you're trying to shake us down? You guys got sack.<\/dialogue>\n    <character>ROTTOVICH<\/character>\n    <dialogue>Was that a threat? Did I hear a threat?<\/dialogue>\n    <character>ROTTOVICH<\/character>\n    <parenthetical>( cont ' d . )<\/parenthetical>\n    <dialogue>Last I remember, we were talking economics, then this? What happens next time if we got ta stop and help a little old lady cross the street? Well, shit. Then we got ta pass the call to someone else.<\/dialogue>\n    <scene_description>Sobozinski and Rottovich exit .<\/scene_description>\n    <character>MILES<\/character>\n    <parenthetical>( shaking his head . )<\/parenthetical>\n    <dialogue>Cops.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK ALLEY- NIGHT (PRESENT)<\/stage_direction>\n    <scene_description>Butch shaking his head , still holding the gun .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Grifters.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>We ca n't all be model citizens such as yourself.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>It's all about the money, is n't it?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Is n't it always?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- FOUR SEASONS HOTEL- NIGHT<\/stage_direction>\n    <scene_description>A suite in the upscale hotel . Miles answers a KNOCK on the door - An expensive CALL GIRL stands at the door in an overcoat .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It's what makes us run. And despite what they say, it can buy you love.<\/dialogue>\n    <character>CALL GIRL<\/character>\n    <dialogue>Are you ready for me, Ralph?<\/dialogue>\n    <scene_description>She lets the overcoat fall open , revealing her lack of clothing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- PRADA STORE- NIGHT<\/stage_direction>\n    <scene_description>Gordo stands in front of a mirror trying on a new suit . The sales people fawn over him .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It can buy you a new and better you.<\/dialogue>\n    <character>GORDO<\/character>\n    <dialogue>I just do n't know if this says, `` me''. What's the fabric?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- BIG AL'S APARTMENT- NIGHT<\/stage_direction>\n    <scene_description>Big Al has a cordless phone to his ear .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It can erase all those things about you that you wish did n't exist.<\/dialogue>\n    <character>BIG AL<\/character>\n    <dialogue>It's Alfonse. I want to settle up. I have n't been ducking you. I told you I'd get it.<\/dialogue>\n    <scene_description>Big Al picks up a CHINESE TAKE - OUT MENU and leafs through it while on the phone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.- SOHO STREET- NIGHT<\/stage_direction>\n    <scene_description>Jake walks down the crowded street , passing the bars and restaurants of SoHo . His jacket 's buttoned up to hide the blood stains .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It can make you think you're on top of the world.<\/dialogue>\n    <scene_description>Jake passes a group of well - dressed , well manicured people waiting in line outside of a trendy bar called `` Wax . '' Among the hip and well dressed , he seems out of place at the moment . An outsider . An attractive blonde in her late twenties , LILY , bumps into Jake .<\/scene_description>\n    <character>LILY<\/character>\n    <parenthetical>( innocently . )<\/parenthetical>\n    <dialogue>Oops.<\/dialogue>\n    <scene_description>She throws Jake a smile he ca n't but help return . They stand for a second facing each other before she 's whisked away by an OLDER MAN , dressed in an expensive suit . Jake 's smile fades as he watches her saunter into the bar , but not before she throws him another glance over her shoulder . Jake continues on into .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- NEIGHBORHOOD BAR- CONTINUOUS<\/stage_direction>\n    <scene_description>A semi - crowded bar . Not hip and trendy like `` Wax . '' Jake finds an empty stool at the end of the bar and orders a drink . He takes a second to look around at the cliques of people talking , laughing , having a good time before he pulls a newspaper out his coat pocket . Jake takes a pen from the bar and opens to the crossword section .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And if you believe that money can do all that for you, you're the perfect mark. Jack Kerouac said that if you own a rug, you own too much. I do n't necessarily like Kerouac and driving cross country is n't exactly my idea of a good time, but the guy's got a point.<\/dialogue>\n    <scene_description>Jake sits alone with his crossword puzzle .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- JAKE'S APARTMENT- LATER<\/stage_direction>\n    <scene_description>Jake enters a sparsely furnished loft . The skyline of Brooklyn twinkles through dirty , picturesque windows . Jake drops his keys on a table and hits a button on an answering machine .<\/scene_description>\n    <character>ANSWERING MACHINE<\/character>\n    <dialogue>You have no new messages.<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>If you've got nothing, you've got nothing to lose. And when it comes to money, finding it and losing it, you always got ta remember how much of it's just luck.<\/dialogue>\n    <scene_description>Jake stands his sparse little world , addressing the quiet before he fishes for his wallet , which he ca n't find .<\/scene_description>\n    <character>LILY<\/character>\n    <parenthetical>( V. O . )<\/parenthetical>\n    <dialogue>Oops.<\/dialogue>\n    <scene_description>The realization makes Jake smile . Then a FLAPPING SOUND spins him around to see a PIGEON , flapping up against the inside of a partially opened window . Visibly upset by the bird , Jake moves towards the window and pushes it wide , allowing the bird to escape .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Dumb fucking luck.<\/dialogue>\n    <scene_description>Jake stares out the window after the bird . CUT T0 :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- DOLBY'S APARTMENT- NIGHT<\/stage_direction>\n    <scene_description>A nicer apartment than Jake 's . Lionel Dolby , the Mark from the Euclid rushes around , haphazardly throwing things into a suitcase . There 's a KNOCK on the door that stops Lionel dead in his tracks . Another KNOCK . Lionel still frozen . The door flies open with a BOOM . In the doorway , we see HARLIN , an older mountain of a man dressed in a plain black suit . Behind him is LUPUS -LRB- late - 20 's -RRB- , dressed in a sweatsuit a pilot could spot from 20,000 ft.<\/scene_description>\n    <character>LUPUS<\/character>\n    <dialogue>Mr. Dolby. King would like a word with you.<\/dialogue>\n    <character>LIONEL<\/character>\n    <dialogue>R - r - right now?<\/dialogue>\n    <character>LUPUS<\/character>\n    <dialogue>Please. We have a car waiting. I apologize for the door.<\/dialogue>\n    <scene_description>CUT T0 :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - JAKE'S APARTMENT- MORNING<\/stage_direction>\n    <scene_description>A RINGING PHONE . Jake stirs on the futon oddly placed on the floor in the middle of the room and picks up the phone .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>MILES<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>You better get over to Al's. Now.<\/dialogue>\n    <scene_description>Miles hangs up before Jake can answer .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- BIG AL'S- DAY<\/stage_direction>\n    <scene_description>Jake stand 's with Miles in the sparse living room . Big AI 's body sits reclining on a Lazy Boy chair , eyes bulging open . An open carton of food rests in his lap . A feast of take - out Chinese surrounds him . The TV blares an old episode of `` The Little Rascals . '' There 's a singed , neat bullet hole in his forehead .<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>I was supposed to meet him for breakfast. He likes that new IHOP they just opened, you know. He likes to order that thing. The Rutti - Tutti - Fresh and Fruity thing they got.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Miles.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Sorry. I'm just. Look what they did to him. Right in the middle of his egg - foo - young.<\/dialogue>\n    <scene_description>Big Al stares up at them with those bulging , vacant eyes , his mouth hanging open . Jake reaches down and grabs the remote control and turns the TV off .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Big Al used to send money to his Father, some Vietnam Vet slowly losing his mind in a VA hospital in Cleveland. Al was like that. That's why Al never played the Inside.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- DINER- DAY<\/stage_direction>\n    <scene_description>Gordo enters and takes a seat in the back booth with Jake and Miles .<\/scene_description>\n    <character>GORDO<\/character>\n    <dialogue>Seems Lionel Dolby came down with a sudden case of drowning last night.<\/dialogue>\n    <scene_description>They just pulled him out of the East River .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Well, this is just fucking great.<\/dialogue>\n    <character>GORDO<\/character>\n    <dialogue>It gets worse. Now I know why he was such a good rope. X mean, cash. That much and we never had to put him on the `` Send?'' Turns out this ducking Moe was an accountant for the King Pin.<\/dialogue>\n    <scene_description>Gordo throws Jake a hard look , letting the news sink in . Jake can only slump back into the booth .<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Who's that?<\/dialogue>\n    <character>GORDO<\/character>\n    <dialogue>The cash we fleeced off of him was collection money. He was supposed to take that money and give it to the King earlier yesterday like he does every Thursday. ` Cept this time, he figured he could make a little something for himself off us and still get the King's money back before any body says `` boo.''<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>What's a King Pin?<\/dialogue>\n    <scene_description>Gordo looks to Jake , but can see that he 's still processing the information .<\/scene_description>\n    <character>GORDO<\/character>\n    <dialogue>Currently, the King Pin is a very large - type pole stuck up our asses.<\/dialogue>\n    <character>MTLES<\/character>\n    <dialogue>Mob?<\/dialogue>\n    <character>GORDO<\/character>\n    <dialogue>Independant. Same shit, just independant. They call him the King Pin because he looks like that guy from the comic book. Big. Fat. Bald.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>So what? We hide, right?<\/dialogue>\n    <character>GORDO<\/character>\n    <parenthetical>( shaking his head . )<\/parenthetical>\n    <dialogue>What are you? New? Let me tell you how good this guy is. Last night, Al calls this bookie to settle up. Apparently he's been ducking him for like a month. So the guy asks him where he's got all this money all of a sudden, right? What does Al do?<\/dialogue>\n    <character>GORDO<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Does he tell him that he cashed in a fucking Bar Mitzvah bond? Does he tell him he's been giving head out back for twenty bucks a pop? No. He starts going on about this job he just pulled and how he fleeced some Wall Street asshole - type. How HE fleeced.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>You're pissed we did n't get credit?<\/dialogue>\n    <character>GORDO<\/character>\n    <dialogue>No, that was the only semi - fucking smart thing he said! Except anybody that's ever met Big A1 knows that the only thing he's comfortable doing alone is eating. This guys tells this guy, that guy tells some other guy, eventually it works it's way back to someone who works for the King and -<\/dialogue>\n    <scene_description>INSERT SHOT INT - BIG AL 'S APARTMENT - NIGHT Big Al sits on the Lazy Boy , about to take a big bite of egg foo young . He stops as the front door is kicked open with a CRASH .<\/scene_description>\n    <character>GORDO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Shazaam.<\/dialogue>\n    <scene_description>Big Al 's eyes grow huge as we hear a LOUD BALM ! BACK TO THE DINER<\/scene_description>\n    <character>GORDO<\/character>\n    <parenthetical>( coat ' d . )<\/parenthetical>\n    <dialogue>Big Al gets whacked mid - egg foo young. The whole thing took about two and a half hours. That's how good he is.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>We sure Big Al threw him to us?<\/dialogue>\n    <character>GORDO<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <scene_description>All three of them turn their attention out the window . They watch the bustle of people walking past wondering if any one of them is looking back .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>A bird flew into my house last night.<\/dialogue>\n    <scene_description>Gordo and Miles exchange a look , unsure of how to respond .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>It's bad luck.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Just an idea, but let's just fucking split. We'll meet up anywhere. Akron or Austin or Atlanta. Anywhere.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>He'll find us. We go talk to him.<\/dialogue>\n    <character>GORDO<\/character>\n    <dialogue>Whoa. What?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>We're going to give him the money back?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>You know what we're doing with the money.<\/dialogue>\n    <character>GORDO<\/character>\n    <dialogue>And what about Big Al?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Leave him. Someone's going to find him eventually. Then they'll start looking for us, too.<\/dialogue>\n    <scene_description>A WAITRESS approaches .<\/scene_description>\n    <character>WAITRESS<\/character>\n    <dialogue>What can I get you guys?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Coffee. And a valium.<\/dialogue>\n    <scene_description>Jake turns his attention out the window .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - THE EUCLID-- DAY<\/stage_direction>\n    <scene_description>A basement bar in a crummy neighborhood . There 's no sign , but everything about it says , `` Condemned . ''<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The Euclid was our place.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- THE EUCLID- DAY<\/stage_direction>\n    <scene_description>Jake , Miles and Gordo sit at the bar of the run down watering hole . Jake stands placing neat stacks of money into a Fed - Ex box .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Gordo fleeced the deed off some idiot in a card game. We used it every now and then for a rag, but mostly it was our office. Our Power Point.<\/dialogue>\n    <scene_description>Gordo and Miles start unloading the same neat stacks of money from their pockets . It 's not as much as Jake put in .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>That's it?<\/dialogue>\n    <character>MILES\/GORDO<\/character>\n    <dialogue>Bills. \/ Had that thing.<\/dialogue>\n    <scene_description>Shaking his head , Jake seals the Fed - Ex box , then hands the form to Miles and . Picks up the phone .<\/scene_description>\n    <character>MILES<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Do we want insurance?<\/dialogue>\n    <parenthetical>( off their looks . )<\/parenthetical>\n    <dialogue>I'm just asking.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Just mail it to the hospital.<\/dialogue>\n    <parenthetical>( dialing . )<\/parenthetical>\n    <dialogue>Mr. King, please. It's regarding an accounting problem. Yes. Correct. I know where it is. That will be fine. Thank you.<\/dialogue>\n    <scene_description>Jake hangs up the phone .<\/scene_description>\n    <character>GORDO<\/character>\n    <dialogue>When?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Tonight. Just me.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Fuck that. We're going too.<\/dialogue>\n    <character>GORDO<\/character>\n    <dialogue>Alright, let's all put our dicks back in our pants for a second. Is this the best thing to do?<\/dialogue>\n    <scene_description>Jake levels a stare at Gordo for a second .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Meet me at my place later.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>How do you know the King's going to let you walk?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I'm getting a ride.<\/dialogue>\n    <scene_description>Jake picks up the phone and dials another number .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.- THE BULLDOG GYM- NIGHT<\/stage_direction>\n    <scene_description>A neon sign in the shape of a boxing glove tells you what kind of gym it is . A police car comes to a stop in front . Rottovich and Sobozinski in the front seats . Jake gets out of the back .<\/scene_description>\n    <character>SOBOZINSKI<\/character>\n    <dialogue>The King, huh? Nice going.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I try.<\/dialogue>\n    <character>ROTTOVICH<\/character>\n    <dialogue>Do n't dick around too long. And if he stabs you or shoots you or causes any other form of profuse bleeding, call a cab because you are not getting back in this car!<\/dialogue>\n    <scene_description>Jake nods and approaches the door where Harlin and Lupus stand vigil . Lupus wears another loud sweatsuit .<\/scene_description>\n    <character>HARLIN<\/character>\n    <dialogue>We appreciate your punctuality. Mr. King is expecting you.<\/dialogue>\n    <scene_description>Jake takes a step towards the door , but is pushed up against The wall by Lupus who begins to roughly pat Jake down .<\/scene_description>\n    <character>HARLIN<\/character>\n    <dialogue>Lupus!<\/dialogue>\n    <character>LUPUS<\/character>\n    <dialogue>What? You said pat him down, I'm pattin' him down.<\/dialogue>\n    <scene_description>Harlin shakes his head and pushes Lupus out of the way .<\/scene_description>\n    <character>HARLIN<\/character>\n    <dialogue>It only takes a moment to be polite. My apologies, Mr. Vig. If you would n't mind?<\/dialogue>\n    <scene_description>Jake steps back and raises his arms .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>You the one that did it? You the one that got Al?<\/dialogue>\n    <character>HARLIN<\/character>\n    <dialogue>Mr. King prefers to farm out for that kind of work.<\/dialogue>\n    <parenthetical>( gesturing to the door . )<\/parenthetical>\n    <dialogue>Please, after you.<\/dialogue>\n    <scene_description>Harlin gives the Officers Sobozinski and Rottovich a slight nod of acknowledgment .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- BULLDOG GYM- CONTINUOUS<\/stage_direction>\n    <scene_description>Harlin and Lupus lead Jake through the cavernous gym . All around them , huge , sweaty , boxers work the speed bag , jump rope , spar , etc . There 's not one that does n't look like he 's spent some time in the State Penal Boxing League .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( a little nervous . )<\/parenthetical>\n    <dialogue>Uh. Which one's the King Pin?<\/dialogue>\n    <character>HARLIN<\/character>\n    <dialogue>He's in the back taking a steam.<\/dialogue>\n    <scene_description>Jake nods and let 's out a silent sigh of relief .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- STEAM BATH- CONTINUOUS<\/stage_direction>\n    <scene_description>A huge room filled with steam . Harlin and Lupus stand by the door as Jake cautiously steps in . NEW AGE MUSIC is being played - Could be Yanni . Sitting in a lounge chair , wearing a white terry cloth robe is THE KING PIN . His large body is less fat than just big , constructed of circles and topped off with the baldest head you 've ever seen . A MANICURIST sits next to the King Pin working on his nails .<\/scene_description>\n    <character>KING PIN<\/character>\n    <dialogue>Ow! Watch the pinkie!<\/dialogue>\n    <scene_description>This is n't so bad . Jake almost has to stifle a laugh .<\/scene_description>\n    <character>KING PIN<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Every time, you get the pinkie and I get a hang nail.<\/dialogue>\n    <parenthetical>( to Jake . )<\/parenthetical>\n    <dialogue>You Jake?<\/dialogue>\n    <scene_description>Jake nods and the King motions for the manicurist to leave .<\/scene_description>\n    <character>KING PIN<\/character>\n    <dialogue>Grifter huh? Where have you been on the grift? Could n't been here long'cause I would have heard of you, Skippy.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Jake. You can call me Jake. Here and there.<\/dialogue>\n    <character>KING PIN<\/character>\n    <dialogue>Here and there, Scooter? Here and there like Boston, Chicago, Houston? The bay area? Some action in London, ` til it turned nickel and dime. Or how about that little stint down in Miami? Heard you actually got into some trouble with the Feds down there. You guy's pretty good?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I have a good crew.<\/dialogue>\n    <character>KING PIN<\/character>\n    <dialogue>Minus one.<\/dialogue>\n    <scene_description>Jake visibly bristles .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Minus one.<\/dialogue>\n    <character>KING PIN<\/character>\n    <dialogue>You know, back in the day, grafting was considered a gentleman's racket. Good suits, good food. The Underworld of the Underworld. A grifter had to survive on his wits, his instincts. I like that. I like the idea of that. These days, things being what they are, guys like me got ta stay low. It's all take, take, take. You can' t just be fucking witty about it.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I guess it lacks a certain style.<\/dialogue>\n    <character>KING PIN<\/character>\n    <dialogue>Of course, your line of work's only as good as the people you find.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>You ca n't cheat an honest man.<\/dialogue>\n    <character>KING PIN<\/character>\n    <dialogue>You ca n't cheat an honest man. But a man like Lionel Dolby.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I apologize for the inconvenience.<\/dialogue>\n    <scene_description>The King picks up a long , metal nail file .<\/scene_description>\n    <character>KING PIN<\/character>\n    <dialogue>Honest mistake. Just give me the money back and all will be forgiven.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I ca n't do that.<\/dialogue>\n    <character>KING PIN<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Let me rephrase - I won ` t do that.<\/dialogue>\n    <character>KING PIN<\/character>\n    <dialogue>Let me repeat - Why not?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Because you killed one of my crew.<\/dialogue>\n    <character>KING PIN<\/character>\n    <dialogue>Buddy, that was business. Besides, you have more crew. Then there's you.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I'll get the money back, plus interest. I go on the grift for you. You get a cat, I get a cut. And we get square.<\/dialogue>\n    <character>KING PIN<\/character>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>Fucking grifters! I love it! You got balls, I'll give you that much.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>No. Just confidence.<\/dialogue>\n    <scene_description>The King Pin stands up and moves over to Jake .<\/scene_description>\n    <character>KING PIN<\/character>\n    <dialogue>I' ll be honest with you, Kid. A grifter comes in here with a fifteen hundred dollar D - K - fucking - N - Y suit, cooler than an Eskimo in winter and tells me he wants to grift for me? First thing I have to ask myself is, is he playing for me or is he just plain playing me? You tried it once.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>We got caught. So you know it wo n't happen again.<\/dialogue>\n    <scene_description>With surprising speed , the King Pin grabs Jake by the neck .<\/scene_description>\n    <character>KING PIN<\/character>\n    <dialogue>I know it wo n't happen because you're going to feel like a Prom Queen who just got gang fucked by the wrestling team!<\/dialogue>\n    <scene_description>A few pained CHOKES from Jake as his knees buckle .<\/scene_description>\n    <character>HARLIN<\/character>\n    <dialogue>Mr. Vig arrived with an escort. NYPD.<\/dialogue>\n    <scene_description>The King loosens his grip and let 's Jake fall .<\/scene_description>\n    <character>KING PIN<\/character>\n    <dialogue>Grifters. Always working an angle. Alright. I can see you got some vision. But I give you the Mark. I tell you the who and you give me the how. Lupus go with him.<\/dialogue>\n    <scene_description>Lupus snaps to attention .<\/scene_description>\n    <character>LUPUS<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>KING PIN<\/character>\n    <dialogue>Consider him part of your crew. Consider him a part of me.<\/dialogue>\n    <scene_description>Jake begins to speak , but is silenced with a look .<\/scene_description>\n    <character>KING PIN<\/character>\n    <dialogue>He goes. Now let me see your hands.<\/dialogue>\n    <scene_description>The King picks up the nail file again .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>KING PIN<\/character>\n    <dialogue>You ask a lot of questions. Come on.<\/dialogue>\n    <parenthetical>( motioning with nail file . )<\/parenthetical>\n    <dialogue>Let me see ` em.<\/dialogue>\n    <scene_description>Jake turns to find Lupus and Harlin on either side of him . They take him by the wrists and hold his hands up for the King .<\/scene_description>\n    <character>KING PIN<\/character>\n    <parenthetical>( cont ' d . )<\/parenthetical>\n    <dialogue>I do n't like to ask things more than once, Junior. I want you to know how much that irks me.<\/dialogue>\n    <scene_description>The King begins to gently trace between Jake 's fingers with the nail file . Jake remains rigid against Lupus and Harlin as the nail file scrapes along the soft , fleshy webbing between his fingers . Jake shuts his eyes . Then opens them to find the King now gently stroking his hands - Almost a loving caress .<\/scene_description>\n    <character>KING PIN<\/character>\n    <dialogue>You have incredibly soft hands. Good cuticles. They' re like a baby's hands. Grifters with rough hands. You know that they're probably not that good. Means they've had to do some hard labor to make ends meet. But you. Smooth. Supple.<\/dialogue>\n    <scene_description>The King continues to stroke Jake 's hands with his own meaty paws .<\/scene_description>\n    <character>BUTCH<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Are you insinuating that the King Pin is of an alternative lifestyle?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK ALLEY- NIGHT (PRESENT)<\/stage_direction>\n    <scene_description>Jake shakes his head slowly .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>I'm not saying anything. Besides, you're one to talk. You're the one who's got me on my knees in a dark alley.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>And these cops? What do they get?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - SQUAD CAR- NIGHT<\/stage_direction>\n    <scene_description>Rottovich and Sobozinski sit staked out in front of a small cigar\/magazine store .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Just a tip.<\/dialogue>\n    <character>SOBOZINSKI<\/character>\n    <dialogue>What are we gon na do with this stuff anyway? Heroin? What the hell do you do with heroin?<\/dialogue>\n    <character>ROTTOVICH<\/character>\n    <dialogue>You sell it.<\/dialogue>\n    <character>SOBOZINSKI<\/character>\n    <dialogue>To who?<\/dialogue>\n    <character>ROTTOVICH<\/character>\n    <dialogue>Do n't be an idiot. How hard do you think it is to sell one drug dealer's drugs to another drug dealer? If Vig's right, we might be looking at a hundred, maybe a hundred fifty grand.<\/dialogue>\n    <character>SOBOZINSKI<\/character>\n    <dialogue>You think this is a good idea? We never did this kinda shit before.<\/dialogue>\n    <character>ROTTOVICH<\/character>\n    <dialogue>What's he going to do? File a missing drugs report? If it works out, this guy might be good for a few more turns.<\/dialogue>\n    <scene_description>A hooded figure turns a corner onto the street , heading for the Cigar Shop . He wears a knapsack slung over his shoulders .<\/scene_description>\n    <character>SOBOZINSKI<\/character>\n    <dialogue>Hope so. Those fucking orthodontist bills are killing me. One fifty every time they tighten those bitches up. One fifty! It's not even covered.<\/dialogue>\n    <character>ROTTOVICH<\/character>\n    <dialogue>It's cosmetic. They do n't cover cosmetic.<\/dialogue>\n    <character>ROTTOVICH<\/character>\n    <parenthetical>( cont ' d . )<\/parenthetical>\n    <dialogue>Last year I had a tooth capped. The dentist tells me I'm not covered for caps. It's cosmetic.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- ANOTHER CAR- SAME<\/stage_direction>\n    <scene_description>Parked across the street and well hidden among the other parked cars . SPECIAL AGENT GUNTHER MOONAN , a guy in his early 40 's in the kind of suit you 'd find on a `` 2 - for - 1 '' rack . He sits pointing a TELESCOPE MICROPHONE out the window , wearing headphones . He chews on gum loudly .<\/scene_description>\n    <character>ROTTOVICH<\/character>\n    <parenthetical>( O.S. from headphones . )<\/parenthetical>\n    <dialogue>Bullshit it's cosmetic! My fucking tooth was cracked in half. I made the son of a bitch write it in as a cavity. The department's dental is for shit.<\/dialogue>\n    <character>SOBOZINSKI<\/character>\n    <parenthetical>( O.S. from headphones . )<\/parenthetical>\n    <dialogue>Whoa, whoa. There he is.<\/dialogue>\n    <scene_description>We HEAR the SOUNDS OF CAR DOORS OPENING , then SLAMMING SHUT . Moonan puts down the mic and hits `` STOP '' on a microcassette recorder .<\/scene_description>\n    <character>MOONAN<\/character>\n    <dialogue>Confessions of a poor brusher.<\/dialogue>\n    <scene_description>Moonan takes a second to remove his gum , then checks his teeth in the rearview mirror .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.- STREET\/BROOKLYN- SAME<\/stage_direction>\n    <scene_description>Rottovich and Sobozinski walk quickly down the street . Ahead of them , the hooded figure approaches , his hands buried in his pockets , a knapsack slung over his shoulder . As he gets closer , we see that he 's just a KID of about ten or eleven . Rottovich reaches over and pulls off the Kid 's hood .<\/scene_description>\n    <character>SOBOZINSKI<\/character>\n    <dialogue>You know who we are?<\/dialogue>\n    <character>KID<\/character>\n    <dialogue>The heat.<\/dialogue>\n    <scene_description>Rottovich ca n't help smiling .<\/scene_description>\n    <character>ROTTOVICH<\/character>\n    <dialogue>That's right. We're the heat.<\/dialogue>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>STICK ` EM UP!<\/dialogue>\n    <scene_description>The Kid jumps back startled and throws his hands up . The cops share a laugh .<\/scene_description>\n    <character>ROTTOVICH<\/character>\n    <dialogue>Alright. Put your hands dawn. What do you got in the bag?<\/dialogue>\n    <character>KID<\/character>\n    <dialogue>Something for my Pops.<\/dialogue>\n    <character>ROTTOVICH<\/character>\n    <dialogue>I see. Well, your Pops has been making you carry around drugs for him. We're going to have to take them.<\/dialogue>\n    <scene_description>The Kid hesitates for a second before handing the knapsack over . Rottovich opens it and pulls out TWO BRICKS OF HEROIN , wrapped in plastic . He nods to Sobozinski . The Kid stays rooted right where he is , looking up at the Detectives like a lost puppy .<\/scene_description>\n    <character>KID<\/character>\n    <dialogue>My Pops is going to be mad.<\/dialogue>\n    <character>ROTTOVICH<\/character>\n    <dialogue>Give the kid a twenty.<\/dialogue>\n    <scene_description>Sobozinski fishes in his pocket starts to peel off bills for the kid who then sprints away .<\/scene_description>\n    <character>SOBOZINSKI<\/character>\n    <dialogue>What's the world coming to? Everybody's on the friggin' take.<\/dialogue>\n    <scene_description>Rottovich and Sobozinski head off with the knapsack .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - BACK-NIGHT (PRESENT)<\/stage_direction>\n    <scene_description>Butch and Jake .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Keeping the Fix happy.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>You never know when you can use a crooked cop.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Keep going. I want to know how you got Lionel Dolby.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>So you want to know how to play the Big Con.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>In this case, you might say I want to know how not to play the Big Con.<\/dialogue>\n    <scene_description>Butch shoves the gun a little harder into Jake 's head .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- BAR- NIGHT<\/stage_direction>\n    <scene_description>A trendy bar , dimly lit and packed . We PAN along the hip crowd and STOP on Jake speaking with a SLICK GUY dressed in black Armani .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>First thing about being on the grift. You're only as good as your Mark. The Roper's the guy who finds them.<\/dialogue>\n    <scene_description>Jake buys another round to the indifferent Slick .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>They all have money one way or another. Some of them come from money.<\/dialogue>\n    <scene_description>THE SCENE DOES N'T CHANGE - Slick MORPHS into a FAT TEXAS BUSINESS MAN wearing a ten - gallon hat . He does n't smile .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>There's that saying - Show me an honest man and I'll show you a natural born liar. There's always that little bit of bad no matter how much good. It's that little itch on the back of you neck. You may not even know it's there, but it is.<\/dialogue>\n    <scene_description>The Fat Texan MORPHS into a WALL STREET - type suit , who remains stoic as Jake reaches over for another round of drinks .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>A good Roper knows how to scratch it - You the outdoorsy - type? `` I was just fly fishing out in Montana''. You play the market? `` I just got a tip on a tech start - up IPO.'' You saw `` the ` Riverdance'' twice? `` I had a roommate in college who was gay.'' Whatever.<\/dialogue>\n    <scene_description>Wall Street MORPHS into a THIN EURO - TRASH man who takes a drink from Jake without even a `` thanks . ''<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It means that in fifteen minutes we're on good terms. Thirty, I'm your buddy.<\/dialogue>\n    <scene_description>Euro - Trash MORPHS into an distinguished looking OLDER MAN as he takes a sip .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>In an hour, I'm your best friend.<\/dialogue>\n    <scene_description>Jake punctuates some unheard point with a slap on his knee .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Give me a day and you'll let me do your wife and daughter at the same time. It's too late for you.<\/dialogue>\n    <scene_description>Jake looks up as the OLDER MAN MORPHS into LIONEL DOLBY , the nervous mark from the earlier con .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I have your confidence.<\/dialogue>\n    <scene_description>CLOSE - UP : Dolby 's lips loosen in a wide SMILE . Jake smiles back . He puts his drink down , then takes the drink from Dolby . They remain talking as THE BACKGROUND -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - SIDEWALK-NIGHT<\/stage_direction>\n    <scene_description>Under the light of a streetlamp , the two continue to talk .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I tell you the `` Tale'' - It's the story of how we're going to make easy money. No one gets hurt. And here's the guy who's going to help. That's when you meet the Insideman.<\/dialogue>\n    <scene_description>Gordo approaches , dressed in a suit and looking slightly anxious . Introductions are made .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The Insideman's the one with the know - How, the scoop, the angle. But maybe ` you' re the suspicious type. So I give you the `` Convincer.'' We both put up a little and we get a little back. Just a taste.<\/dialogue>\n    <scene_description>Gordo pulls an envelope out of his coat and gives it to Dolby .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Just enough that when I tell you we can make more off of it, you agree.<\/dialogue>\n    <scene_description>Jake speaks quickly to Dolby who nods emphatically . He hands the envelope back to Gordo .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>That ` s when I put you on the `` Send.'' You put in - a little, you got a little. Put in a lot. I `` send'' you out for mare. As much as you can get.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - JAKE'S APARTMENT- NIGHT<\/stage_direction>\n    <scene_description>Jake stands TALKING DIRECTLY TO CAMERA , loading a big , black revolver with bullets .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Does n't matter what the con is. Insider trading, a line we got on a bookie club, insurance scam, whatever. You saw the money and you want it. More of it. Who cares if you have to bend the rules a little? As long as no one gets hurt.<\/dialogue>\n    <scene_description>Jake spins the gun cylinder then SLAPS it closed , pointing it straight at the CAMERA .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Then someone does.<\/dialogue>\n    <scene_description>BLAM !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - THE EUGLID BAR- NIGHT<\/stage_direction>\n    <scene_description>A flash of Gordo 's stunned face before his chest EXPLODES IN RED . Jake stands holding the smoking gun . Dolby looks around in shock .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( turns ` to face CAMERA . )<\/parenthetical>\n    <dialogue>Frankie Suits always said, that what you have to understand about any confidence game, is that it's like putting on a play where everyone knows their part. The Roper, the Insideman, the Shills. Everyone except for the Mark.<\/dialogue>\n    <scene_description>Gordo lying in a pool of blood .<\/scene_description>\n    <character>GORDO<\/character>\n    <parenthetical>( while playing dead . )<\/parenthetical>\n    <dialogue>I've been shot. Oh. The humanity.<\/dialogue>\n    <scene_description>Big Al sits cowering at a table .<\/scene_description>\n    <character>BIG AL<\/character>\n    <parenthetical>( monotone . )<\/parenthetical>\n    <dialogue>God. No. Please. Do n't kill me.<\/dialogue>\n    <scene_description>Miles casually washing glasses .<\/scene_description>\n    <character>MILES<\/character>\n    <parenthetical>( indifferent . )<\/parenthetical>\n    <dialogue>You better hurry. The police will be here any second.<\/dialogue>\n    <parenthetical>( breaking character . )<\/parenthetical>\n    <dialogue>I do n't really understand my motivation with this. Why am I washing glasses?<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>( still facing camera . )<\/parenthetical>\n    <dialogue>Now you're an accomplice in a homicide. Everything you thought you were in control of just flew out the window or is dripping down your leg.<\/dialogue>\n    <scene_description>Dolby turns to Jake , eyes wide , lips trembling in fear .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( turning to Dolby . )<\/parenthetical>\n    <dialogue>You should be running out the door, desperate to forget this ever happened, ready to repent your greedy ways!<\/dialogue>\n    <scene_description>Dolby eyes the briefcases of money .<\/scene_description>\n    <character>DOLBY<\/character>\n    <dialogue>What about. The money?<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>( turns back to CAMERA . )<\/parenthetical>\n    <dialogue>Then there it is again. That little itch. There's a guy holding a smoking gun, a guy bleeding all over the floor and still, all you can think about is the money. You twisted fuck. So we got ta give you the `` Blow - off''. We make sure that you never, ever want to look for us again. We get you off our backs. Forever.<\/dialogue>\n    <scene_description>Jake stops for a second and listens . He points over his shoulder and on cue A POLICE SIREN WAILS in the distance .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>And that's why you need the `` Fix''.<\/dialogue>\n    <scene_description>Dolby bolts for the door without the money .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.- SIDEWALK- CONTINUOUS<\/stage_direction>\n    <scene_description>Dolby tries to act casual as he walks away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - THE EUCLID BAR- CONTINUOUS<\/stage_direction>\n    <scene_description>Rottovich and Sabozinski enter the front door .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The New York Police Department's finest. Half as smart and twice as crooked as the guy they just chased away.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT - BACK ALLEY- NIGHT (PRESENT)<\/stage_direction>\n    <scene_description>Butch eases the gun off Jake 's head .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>So how'd you get caught?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Suits used to say that in any con, sooner or later someone's going to start asking the right questions. Usually, it takes a little longer.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- JAKE'S APARPMENT--NIGHT<\/stage_direction>\n    <scene_description>Empty except for Gordo , Miles , Jake and Lupus , dressed in another of his trademark loud sweatsuits .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>We're working for the King.<\/dialogue>\n    <character>MILES<\/character>\n    <parenthetical>( re : Lupus . )<\/parenthetical>\n    <dialogue>Wait a second. Who's the mope?<\/dialogue>\n    <character>LUPUS<\/character>\n    <dialogue>I'm the King's eyes and ears. Just in case you decide to get cute.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>So we got ta short con our way out of a hundred and fifty grand? That could only take like, a year.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>No. Big con. One rag. One rag and we get out from under all this. But we need another Shill.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>What do we need another Shill for?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Breasts.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - WAX--NIGHT<\/stage_direction>\n    <scene_description>A crowded night . LILY , the attractive blonde from earlier , flirts with a well dressed , OLDER MAN who has his hand firmly planted on her ass . She squeezes his hand and gives him a quick peck on the cheek before walking away . She takes a look at the man 's wallet she just lifted before putting it in her bag . From out of nowhere , Jake bumps into her .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( not so innocently . )<\/parenthetical>\n    <dialogue>Oops.<\/dialogue>\n    <scene_description>Jake takes her by the arm out to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.- ALLEY\/OUTSIDE BAR- NIGHT<\/stage_direction>\n    <scene_description>Jake pushes Lily through the back door where she finds Gordo , Miles and Lupus waiting . Her once flirtatious demeanor is replaced by something harder .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>What is this? You guys cops or something?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>We're not cops.<\/dialogue>\n    <character>GORDO<\/character>\n    <dialogue>You got ta be kidding me. Her?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Yes, her. Where's my wallet?<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>Your what?<\/dialogue>\n    <scene_description>Jake takes her bag and dumps the contents on the floor - A few wallets , a watch , even a wedding ring . Jake picks up one of the wallets filled with cash .<\/scene_description>\n    <character>LILY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>That's not -<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>( pocketing the wallet . )<\/parenthetical>\n    <dialogue>You interested in a little work?<\/dialogue>\n    <scene_description>Lily scoops up her bag and finds a cigarette , eyeing them all suspiciously .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>Sorry about your wallet, but if you think I'm going to suck dick over thirty seven dollars, a waxed out Visa and a bad fake I.D., you're fucking crazy.<\/dialogue>\n    <parenthetical>( lighting the cigarette . )<\/parenthetical>\n    <dialogue>Jake.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Take a deep breath and count to ten. It's not that kind of work. You're Lily, right?<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>Says who?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>You're working Daffy's block. He was going to break your kneecaps. Pick - pockets can be so bitchy sometimes. I told him you were with us, so that's two you owe me.<\/dialogue>\n    <scene_description>Lily takes a second to look the guys over . Miles gives her a wink . Lily slowly raises her middle finger at him .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>We have work. It pays a lot. Unless you figure on getting rich lifting wallets while old guys feel you up.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>Oooh. Sassy. What do you care who feels me up, Jake? Unless it kinda gotcha going. Did it, Jake? Getcha going?<\/dialogue>\n    <scene_description>Lily saunters to Jake with a seductive grin . Jake may be aware that he 's stopped breathing . She puts her hands on Jake 's chest and leans in a half inch more , her lips an eyelash away from his . She whispers .<\/scene_description>\n    <character>LILY<\/character>\n    <parenthetical>( cont ' d . )<\/parenthetical>\n    <dialogue>Keep the wallet. We're even. Take a deep breath. Count to ten. And go fuck yourself.<\/dialogue>\n    <scene_description>Lily pushes past Jake and heads out of the alley .<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Is it just me or is there something really hot about a girl telling you to go fuck yourself?<\/dialogue>\n    <scene_description>Gordo gives Jake a nod of approval and Jake takes off after Lily .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.- CITY SIDEWALK- NIGHT<\/stage_direction>\n    <scene_description>Lily down the street , Jake giving chase .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Alright! Hold up. You win. You got the job.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>Gee thanks. Now I do n't have to find that bridge to jump off.<\/dialogue>\n    <scene_description>Jake catches up and blocks Lily 's way .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>We had to see what your deal was. I'm just a little superstitious.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>Here's my deal - Do n't waste my time. What do you want me for anyway? You do n't even know me.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I just have a good feeling about you. Have n't you ever had someone say they had a good feeling about you before?<\/dialogue>\n    <scene_description>Lily studies Jake 's face for any hint of sarcasm . None .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>No.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>What's my cut?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>You get an equal cut.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>What do I have to do?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Just play a part. A little acting.<\/dialogue>\n    <scene_description>Lily steps back and hails a cab .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>Make a wish.<\/dialogue>\n    <scene_description>She points to a large digital clock hanging in a store window reading `` 11:11 p '' .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>Eleven - eleven. If you're superstitious, make a wish.<\/dialogue>\n    <scene_description>Lily hops into the Cab and tosses Jake 's new wallet onto the sidewalk .<\/scene_description>\n    <character>LILY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>That's twice.<\/dialogue>\n    <scene_description>The cab pulls away . Jake looks up at the clock - `` 11:12 P '' .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - BACK ALLEY- NIGHT (PRESENT)<\/stage_direction>\n    <scene_description>Butch smiles .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>I can see why you liked her.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>That was it. We had our crew. Now we needed the Mark.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- THE EUCLID- DAY<\/stage_direction>\n    <scene_description>Jake stands in front of the crew : Miles , Gordo , Lily and Lupus .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Morgan Gillette.<\/dialogue>\n    <scene_description>Gordo and Miles both do their best to contain their disbelief .<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Because that's who the King Fin wants us to fleece. And Gillette's perfect.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- CITY BANK OF MANHATTAN\/BOARDROOM--DAY<\/stage_direction>\n    <scene_description>A circle of BUSINESS MEN sitting at a conference table .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>His grandfather used to run liquor during prohibition and his father made a bundle in illegal importing and exporting. That makes him a third generation crook.<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>( cont ' d . )<\/parenthetical>\n    <dialogue>He's been tied into pretty much everything ; drugs, mob, money rinsing.<\/dialogue>\n    <scene_description>We PAN AROUND THE TABLE OF BUSINESS MEN and settle on MORGAN GILLETTE , a man in his early fifties with the sharp , angular features of a reptile . We STAY with Morgan as the meeting breaks and everyone heads for the door and into .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - CITY BANK OF MANHATTAN\/HALLWAY-DAY<\/stage_direction>\n    <scene_description>Gillette is greeted by a handful of SUITS . Butch is with them , staying in the periphery .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>There's a story going around that he helped fund the Contras back in the eighties.<\/dialogue>\n    <scene_description>Gillette and his crew head through a large glass revolving door to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.- CITY BANK OF MANHATTAN- DAY<\/stage_direction>\n    <scene_description>A busy mid - day New York sidewalk . Gillette heads towards a waiting Town Car .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Most of his money's clean. A lot of it is n't. The best part is that we know exactly where it is.<\/dialogue>\n    <scene_description>As Gillette and his crew disappear into the car , we PAN up to see the front of the building which has a large sign reading , `` City Bank of Manhattan ; A Gillette Family Company . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- THE EUCLID-- RESUMING<\/stage_direction>\n    <scene_description>Jake looks over the crew , who are less than convinced .<\/scene_description>\n    <character>GORDO<\/character>\n    <dialogue>How much we going after?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Two million.<\/dialogue>\n    <scene_description>Miles lets out a whistle .<\/scene_description>\n    <character>GORDO<\/character>\n    <dialogue>We only owe the King a hundred and fifty.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>We get fifty percent. And we get clear of the King.<\/dialogue>\n    <scene_description>Jake looks over at Lupus for confirmation .<\/scene_description>\n    <character>LUPUS<\/character>\n    <dialogue>That's worth it right there. You ask me, I do n't think you can do it.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>I'm with Jack LaLane. That guy's untouchable.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>That's why we do n't go after him directly.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- CITY BANK OF MANHATTAN\/LOBBY<\/stage_direction>\n    <scene_description>Empty . The marble floor spotless , the dark oak teller windows vacant , a row of desks .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>We find a doable guy in Gillette's bank. Someone about mid - level. Not too high, not too low.<\/dialogue>\n    <scene_description>A lone man , GRANT ASHBY , MATERIALIZES behind a desk on the empty floor and sits behind a computer terminal .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>We meet him with corporate papers, inquiring about a corporate loan for start up capital. The corporate papers are in order, but we need things to happen fast. Our guy fudges numbers in the right places, moves our papers to the top of the pile or to the bottom, depending upon what we need.<\/dialogue>\n    <character>GORDO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>How's that? He works for Gillette.<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>We pay better.<\/dialogue>\n    <scene_description>An envelope stuffed with cash MATERIALIZES on the desk next to Ashby .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. -- CAYMEN ISLANDS--DAY<\/stage_direction>\n    <scene_description>Crystal clear water gently rolls onto a white beach .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Our guy gets us approved for the start up capital. But, the money ca n't be transferred to any one person. On the given day, the money's wired into a corporate account in an off - shore bank.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- GRAND CAYMEN'S BANK- DAY<\/stage_direction>\n    <scene_description>Another empty bank . A lone TELLER MATERIALIZES behind the counter .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>That same day, I show up in the Caymens with the proper I.D. and corporate papers to make a withdrawal.<\/dialogue>\n    <scene_description>Jake MATERIALIZES on the empty bank floor , walking confidently up to the Teller with a SILVER BRIEFCASE in hand .<\/scene_description>\n    <character>MILE5<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Uh.<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>MILE5<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I'm just thinking out loud here, but. Two million in a briefcase?<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Good point.<\/dialogue>\n    <scene_description>Jake approaches the Teller , now wheeling a BLACK SUITCASE behind him by the handle . Jake presents the Teller with a series of papers and a photo I.D.<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It's bank policy not to release this money in cash because it's under a corporate account.<\/dialogue>\n    <scene_description>The Teller turns to a computer printer and removes a check . Jake signs a few documents and places the check into his pocket .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.- CAYMEN ISLANDS\/STREET--DAY<\/stage_direction>\n    <scene_description>Lined with shops and stores , but it 's as empty as the bank . Not even a car : Jake strides out of the Grand Caymen 's Bank and walks across the street to another building with a sign reading `` BANK OF THE GRAND CAYMENS . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- BANK OF THE GRAND CAYMENS- DAY<\/stage_direction>\n    <scene_description>Again , empty . Jake strides in and approaches the deserted teller counter . ANOTHER TELLER MATERIALIZES and greets him with a smile .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>So we cash the check at another bank. Jake slides the suitcase and the check over to the Teller.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- JFK AIRPORT\/TERMINAL HALLWAY- DAY<\/stage_direction>\n    <scene_description>Like the banks , empty . Jake walks with the suitcase down the flourescent lit hall towards a series of tables under a sign marked `` Customs . ''<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Now, this is the most important part - You ca n't just walk into the United States with a suitcase full of cash without evoking the words `` cavity search''.<\/dialogue>\n    <scene_description>As we get closer to the Custom 's Desk , a CUSTOMS OFFICER wearing a white short sleeve shirt and a badge MATERIALIZES behind it .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>That's why you need someone on the inside at Customs.<\/dialogue>\n    <scene_description>Jake approaches and slides the suitcase towards him . The Officer slides it back to Jake , revealing another envelope stuffed with cash under it . The Officer literally looks the other way as he pockets the envelope and waves Jake through the gate .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.- JFK AIRPORT- DAY<\/stage_direction>\n    <scene_description>Jake exits the terminal . Outside , the street is empty , not a traveler , an airlines rep , a luggage handler or a cab . Jake waits at an empty cross walk until the `` walk '' signal is given .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Then we disappear.<\/dialogue>\n    <scene_description>As he walks away , WE SEE some PEOPLE MATERIALIZE carrying luggage . Then a FEW CARS . Then an AIRLINE REP . Gradually more and more people and cars , each MATERIALIZING into a normal scene at the airport until we lose Jake in the crowd .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- THE EUCLID- RESUMING<\/stage_direction>\n    <scene_description>Jake stops and gauges the crew for their reactions , which are the same all the way around - Slack jawed disbelief .<\/scene_description>\n    <character>MILES<\/character>\n    <parenthetical>( breaking the silence . )<\/parenthetical>\n    <dialogue>This might just be me, but that is hands down, the dumbest fucking idea I've ever heard.<\/dialogue>\n    <character>GORDO<\/character>\n    <dialogue>People have tried this before, Jake. It's never worked. Teddy Fraiser and his crew went on vacation in Chicago for it. Last year, Mumps got pinched in L.A.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>It never worked before because A, they did n't flush the bank enough ; B, their corporate papers were for shit ; C, they did n't have someone on the inside with Customs.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Yeah, or D, it's a dumb fucking idea.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Then what do you want to do, Miles? Run?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>We never had a problem with that before.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Yeah, well we never had this kind of problem before.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>What are you talking about? Yes we have. And we would have been beautiful about it. We would've had a bucket of chicken delivered to the King with a nice kiss my ass card attached to it. Then we woulda moved on ` til the next local putz caught on.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>We're getting a little old for running.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Yeah, well we're still a little young for Albany State Prison. Are you pissed about Al? I'm pissed too, but I' m not like `` twenty - five to life'' pissed.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I'm getting clear of this. If you're not going to do it for the fucking principle, do it for the money. Gordo?<\/dialogue>\n    <character>GORDO<\/character>\n    <dialogue>Yeah. Whatever, Jake.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>No, not `` whatever.'' You're either in or you' re out.<\/dialogue>\n    <scene_description>A silence falls over everyone .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>I'm in.<\/dialogue>\n    <scene_description>Her eyes stay on Jake as a smile grows across her face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.- PAY PHONE- DAY<\/stage_direction>\n    <scene_description>Jake dials a number .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I agreed with Miles. It was, hands down, a dumb fucking idea.<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>But they bought it. Now I had to deliver and I needed help.<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Yeah, it's Jake. How'd that tip work out?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK ALLEY- NIGHT (PRESENT)<\/stage_direction>\n    <scene_description>Butch takes out a cigarette .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>But there were other factors.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Factors that were n't clear to me until now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - 16TH PRECINT\/OFFICE- DAY<\/stage_direction>\n    <scene_description>An office of empty chairs and desks . Through the windows we can see the hustle and bustle of the precinct . SPECIAL AGENT GUNTHER MOONAN , still dressed in the same shitty suit , sits behind a desk as Rottovich and Sobozinski enter .<\/scene_description>\n    <character>MOONAN<\/character>\n    <dialogue>Gentlemen? Special Agent Gunther Moonan.<\/dialogue>\n    <scene_description>Moonan quickly flashes a badge and his best Kodak smile .<\/scene_description>\n    <character>ROTTOVICH<\/character>\n    <dialogue>Special Agent?<\/dialogue>\n    <character>MOONAN<\/character>\n    <dialogue>You are Officer Richard Rottovich. And this would be Officer Walter Sobozinski. I'm looking for Jake Vig.<\/dialogue>\n    <character>SOBOZINSKI<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>MOONAN<\/character>\n    <dialogue>I've been looking for this Jake Vig for some time now. Problem is, the guy's the invisible man. A spook, a spectre, a ghost. Then, like a gift, Jake's good buddy and member of his crew, Alfonse Moorely, is found the other day with a hole in his head.<\/dialogue>\n    <scene_description>Moonan holds up crime scene photos of Big Al 's body .<\/scene_description>\n    <character>MOONAN<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Preliminary forensics suggests he was. Sitting there, bloated and purple in his egg foo young for at least seventy two hours. Alfonse was not a small man and there was a lot of food ordered, so you can imagine the smell. Bad for the neighbors, good for me because in all the time I've been looking for Jake, this is only the second time I've even gotten a whiff of him.<\/dialogue>\n    <character>ROTTOVICH<\/character>\n    <dialogue>Look Special Agent Moonan. We do n't know what you're talking about.<\/dialogue>\n    <scene_description>Moonan takes out a microcassette recorder and hits PLAY .<\/scene_description>\n    <character>ROTTOVICH<\/character>\n    <parenthetical>( V.O. from tape . )<\/parenthetical>\n    <dialogue>Do n't be an idiot. How hard do you think it is to sell one drug dealer's drugs to another drug dealer? If Vig's right, we might be looking at a hundred, maybe a hundred fifty grand.<\/dialogue>\n    <scene_description>CLICK . Moonan kills the recorder .<\/scene_description>\n    <character>MOONAN<\/character>\n    <dialogue>Oh yeah, I almost forgot. The two serious looking gentlemen outside? Internal Affairs.<\/dialogue>\n    <scene_description>The Officers look out the window to see TWO SERIOUS LOOKING MEN in suits .<\/scene_description>\n    <character>MOONAN<\/character>\n    <dialogue>Do you want to know the first time I had a line on Vig? He sent me a birthday card.<\/dialogue>\n    <parenthetical>( off their silence . )<\/parenthetical>\n    <dialogue>Belated, but it's the thought, right? Oh, this prick's got a sense of humor. But, then again you guys probably know him better than I do. In fact, I've only met the guy once. But now, now I have you. The next best thing. His partners. His `` Fix.''<\/dialogue>\n    <character>SOBOZINSKI<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>MOONAN<\/character>\n    <dialogue>You help me catch him. Whatever he's into next, I want you to be into. And what you're into, I'm into. If it all goes well, those two guys from IAD will never have to hear this tape. I'll clear you guys of anything you've ever done with Vig under the guise of some cross - departmental investigation. This prick's been on the wish list for so long, you'll probably get gold shields out of it.<\/dialogue>\n    <character>SOBOZINSKI<\/character>\n    <dialogue>What do you get out of it?<\/dialogue>\n    <character>MOONAN<\/character>\n    <dialogue>Peace of mind.<\/dialogue>\n    <character>SOBOZINSKI<\/character>\n    <dialogue>That's it?<\/dialogue>\n    <character>MOONAN<\/character>\n    <dialogue>Not everyone's on the take, Walter.<\/dialogue>\n    <character>ROTTOVICH<\/character>\n    <dialogue>If you Feds are so hot for him, why do n't we just bring him in right now?<\/dialogue>\n    <character>MOONAN<\/character>\n    <dialogue>I want him for something big and to do that, we have to catch him in the act.<\/dialogue>\n    <character>SOBOZINSKI<\/character>\n    <dialogue>This guy must have been a real pain in your dick.<\/dialogue>\n    <character>MOONAN<\/character>\n    <dialogue>Literally. It's not a bad deal, gentleman. I get peace of mind. You get Detective Sheilds. But this is the best part, Walter. Walter, your daughter will get to keep her braces and have that winning smile. Capice?<\/dialogue>\n    <scene_description>Rottovich and Sobozinski remain silent .<\/scene_description>\n    <character>MOONAN<\/character>\n    <dialogue>Good. One more thing. You got ta give up the booty. I ca n't have you guys running around with heroin.<\/dialogue>\n    <scene_description>FREEZE FRAME ON MOONAN 'S SMILING FACE .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Let me tell you something about Moonan.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - BACK ALLEY- NIGHT (PRESENT)<\/stage_direction>\n    <scene_description>A serious look comes across Jake 's face - Hate . Butch eases back with the gun for a second .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>He's just as crooked as the next guy. You'd think he'd have more important things to do with tax payer dollars.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Cue the fucking violins. Come on. It's getting cold.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - THE KIEV DINER- DAY<\/stage_direction>\n    <scene_description>Gordo , Miles , Jake and Lily next to him , all crammed into a booth .<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Am I the only one who feels like we ca n't make a move with this guy on us?<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>We should ditch him.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Just watch every thing you say around him. Every word, every move. It all goes back to the King Pin.<\/dialogue>\n    <scene_description>Lupus exits the restroom , heading back towards the booth .<\/scene_description>\n    <character>GORDO<\/character>\n    <dialogue>How's the hoop, superstar? Clean?<\/dialogue>\n    <character>LUPUS<\/character>\n    <dialogue>What is it with you and bathrooms?<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>He does n't like using a bathroom unless he knows it's clean.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>Manly.<\/dialogue>\n    <character>GORDO<\/character>\n    <dialogue>You laugh now, but wait until you need a clean place to powder. This is New York city, Sister. Public sanitation does not run very high on the city hall agenda. You know what you can get off a toilet or doorknob? Let's do the list. Hepatitis, influenza, the flesh eating disease -<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Here's what's going to happen. Gordo, we need to find a guy in Gillette's bank. Miles, we need papers, corporate, insurance.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Is it all fugasi?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>No, the corporate papers have to be legit. But you got ta score an I.D.. A clean one. Talk to Suits. I got ta get us a Banker.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>What about Customs?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I'll worry about Customs.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>Hey, I' m not just along for the ride, so I do n't want to hear any bullshit later about a smaller cut.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Take a deep breath. You sound like you just broke up with your boyfriend or something.<\/dialogue>\n    <scene_description>Jake rolls his eyes as Lily glares at him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- BULLDOG GYM- DAY<\/stage_direction>\n    <scene_description>Boxers at the bags , a jumping rope , etc . Jake and Lily stand in front of the King Pin , who 's dressed in shorts and a t - shirt . He wears boxing gloves and headgear . Lupus and Harlin stand vigil by the sparring ring .<\/scene_description>\n    <character>KING PIN<\/character>\n    <dialogue>How much?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I think two million.<\/dialogue>\n    <character>KING PIN<\/character>\n    <dialogue>What do you need from me? Permission? Go! If you can fleece him for two million, then do it, Kid.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I need you to stake me.<\/dialogue>\n    <character>KING PIN<\/character>\n    <dialogue>Stake you?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I need you to stake me. I ca n't do it without it. It's just a couple hundred grand. Taken out of our cut when we're done.<\/dialogue>\n    <scene_description>King Pin eyes Jake suspiciously for a second .<\/scene_description>\n    <character>KING PIN<\/character>\n    <dialogue>That's more than you already owe me. What happens if you fuck this up?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Nothing ventured, nothing gained.<\/dialogue>\n    <character>KING PIN<\/character>\n    <dialogue>Hey Skippy? Do I have the word `` chump'' tattooed on my forehead?<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>Mr. King, I think -<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>( w \/ a look . )<\/parenthetical>\n    <dialogue>Hey, I got it! Take some mental notes. You just might learn something here.<\/dialogue>\n    <scene_description>Lily just shrugs and rolls her eyes .<\/scene_description>\n    <character>KING PIN<\/character>\n    <dialogue>Listen, Scooter -<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>No, you listen. We're partners now and even though I'm running the show for you, I'm still running the show. That means I get a little respect. So I do n't want to hear anymore of this Scooter, Buddy, Junior, Skippy, Tiger, bullshit. It's Jake.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue \/>\n    <character>JAKE<\/character>\n    <dialogue>And I got ta tell you, for a guy who spends all his time in a gym, you could be in better shape.<\/dialogue>\n    <scene_description>A few of the BOXERS training around stop and turn . The King Pin lowers a glare at Jake .<\/scene_description>\n    <character>KING PIN<\/character>\n    <dialogue>Take off your shirt.<\/dialogue>\n    <scene_description>Jake looks behind him to see Harlin looming .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>KING PIN<\/character>\n    <dialogue>I said take off your fucking shirt.<\/dialogue>\n    <scene_description>A few more BOXERS stop and turn . Jake notices he 's being watched . The King Pin takes a step towards Jake .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Fine. You want me to take it off, I'll take it off.<\/dialogue>\n    <scene_description>Jake unbuttons his shirt and stands in front of the King Pin , arms crossed . It 's getting weird .<\/scene_description>\n    <character>KING PIN<\/character>\n    <dialogue>Look at you, you skinny prick.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>You're not going to bust out baby oil and start rubbing me down or anything, are you?<\/dialogue>\n    <scene_description>The King smiles and begins to take off his shirt . Harlin and Lupus share an uncomfortable glance . The King strips down to the waist and reveals an incredibly large , incredibly round stomach which he SLAPS loudly .<\/scene_description>\n    <character>KING PIN<\/character>\n    <dialogue>Come here. Feel this.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>No thanks. I'm good.<\/dialogue>\n    <character>KING PIN<\/character>\n    <dialogue>Come here!<\/dialogue>\n    <scene_description>The King grabs Jake 's hand and puts it on his stomach . It just got weirder . Now the whole gym has stopped , everyone focused on Jake and the King Pin .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>You guys are freaking me out.<\/dialogue>\n    <character>KING PIN<\/character>\n    <dialogue>Shut up. Feel that? That's solid muscle. Not an ounce of fat. Go ahead. Punch it.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I am not going -<\/dialogue>\n    <scene_description>The King starts to get that look again . Jake winds up and punches the King in the stomach . He shakes his fist in pain .<\/scene_description>\n    <character>KING PIN<\/character>\n    <dialogue>Come on. Harder.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I think I just broke my hand.<\/dialogue>\n    <character>KING PIN<\/character>\n    <dialogue>Harder. Remember, I killed your buddy.<\/dialogue>\n    <scene_description>Jake 's demeanor changes as he winds up and hits the King as hard as he can . The King just smiles .<\/scene_description>\n    <character>KING PIN<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>All muscle.<\/dialogue>\n    <scene_description>The King then hits Jake back in the gut with surprising speed . Jake falls to his knees , but the King 's right there . With one arm he pulls Jake up and starts to pummel him in the stomach with an unbridled visciousness . Jake spits up blood as the King hurls him face first into the ring .<\/scene_description>\n    <character>KING PIN<\/character>\n    <dialogue>Maybe it's true. Maybe you ca n't cheat an honest man. Me? I'm about as dishonest as they come and that's the truth. But if you even think about trying to con me they'll find fucking pieces of you in each of the five boroughs. Pieces of you, pieces of her, pieces of your whole crew. Ca n't be any mare honest than that. I'll stake you, but that's three hundred fifty you're in the hole and consider the juice running. Now go make me proud.<\/dialogue>\n    <scene_description>Harlin and Lupus lift Jake up . Lily looks at Jake with a pained expression .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>You get all that?<\/dialogue>\n    <scene_description>Everyone in the gym goes back to their workouts .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - BACK ALLEY (PRESENT)<\/stage_direction>\n    <scene_description>Butch lets out an easy laugh .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Nice.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>We got our stake. Now we need to find our guy in Gillett's bank.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - CITY BANK OF NEW YORK DAY<\/stage_direction>\n    <scene_description>A flood of people exit the bank at the end of the day . Jake , Lupus , Lily , Miles and Gordo wait by the side of the building . Miles reads off a piece of paper .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What you're looking for in a mark is someone who's weakness you can exploit.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Michelle Strigo. Loan officer.<\/dialogue>\n    <scene_description>Miles points out a woman crisply dressed in a suit , MICHELLE STRIGO . They follow her down the street .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Guy like me, with people like that. I'll tell you what you're looking for without even meeting you. It's like a personal ad you wear over your head.<\/dialogue>\n    <scene_description>Jake watches as she hails a cab . A MAN , also hailing a cab goes for the same one . Michelle gets into a screaming match with the man . FREEZE FRAME ON MICHELLE - A CGI SIGN appears over her head `` Single , volatile , confrontational woman seeks `` man '' for economic security and house chores . ''<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>No.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - CITY BANK OF NEW YORK-NEXT DAY<\/stage_direction>\n    <scene_description>A flood of people exit the bank at the end of the day . Jake , Lupus , Lily , Miles and Gordo wait by the side of the building .<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Jay Houlser. VP International finance.<\/dialogue>\n    <scene_description>Miles points out a JAY HOUSLER , a young guy in suit . They follow him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- TRENDY RESTAURANT- NIGHT<\/stage_direction>\n    <scene_description>Jake and the others watch Jay standing around the bar silently scoping the place with a group of young tucks -LRB- dressed oddly alike -RRB- . FREEZE , FRAME ON GROUP - A CGI SIGN appears over their heads : `` YOUNG WALL STREETERS seek acknowledgement of monetary earning potential from Supermodel - types ages 20 - 25 . ''<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>No.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - CITY BANK OF NEW YORK- NEXT DAY<\/stage_direction>\n    <scene_description>The same flood of people exit the bank . Jake , Lupus , Lily , Miles and Gordo wait by the side of the building .<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Alice Tanner. Finance Director.<\/dialogue>\n    <scene_description>Miles points out ALICE TANNER , a mousy looking woman in a bad skirt . She gets to the intersection and waits for the light to change , even as hordes of others jaywalk the way New Yorkers do . FREEZE FRAME ON ALICE - A CGI SIGN appears : `` Single woman looking for opportunity . Plays by the rules and willing to claw her way up to middle management . ''<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>No.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - CITY BANK OF NEW YORK- NEXT DAY<\/stage_direction>\n    <scene_description>Again the flood of people . Again Jake , Lupus , Lily , Miles and Gordo wait .<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Grant Ashby. VP of Corporate Loans.<\/dialogue>\n    <scene_description>Miles points out a GRANT ASHBY , a schlubish middle aged balding guy walking down the street . They follow .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- THE BULL AND THE BEAR PUB- NIGHT<\/stage_direction>\n    <scene_description>Dark oak and brass , the bar plays host to legions of Suited Urban Professionals gathered in cliques . Jake and the others watch as Ashby makes his way through the crowd , taking a seat alone at the bar . FREEZE FRAME ON ASHBY - A CGI SIGN appears over his head : `` SINGLE MALE seeks end to safety of tedious and solitary lifestyle . Moral and ethical constitution flexible . ''<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What you're looking for in a mark is someone who's got nothing to lose. No friends, no family, no life. You're looking for a guy who does n't own a rug.<\/dialogue>\n    <scene_description>Jake watches as Ashby orders a drink and pulls a newspaper from his coat . He opens it to the crossword - Just like Jake would .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Him.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>You sure?<\/dialogue>\n    <scene_description>Jake watches Ashby do the crossword puzzle alone .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>I' m sure.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- GARMENT DISTRICT\/WAREHOUSE- DAY<\/stage_direction>\n    <scene_description>Jake , Miles , Gordo , Lily and Lupus enter a warehouse housing racks of clothes .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Now we had the con and the mark. We needed to look the part.<\/dialogue>\n    <scene_description>They 're greeted by FRANKIE SUITS , an ancient rake - thin man , perfectly coiffed and exceptionally dressed .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Frankie Suits was a legend in certain circles. He. Was on the grift since he was ten.<\/dialogue>\n    <character>FRANKIE<\/character>\n    <dialogue>Last of the red hot grifters.<\/dialogue>\n    <scene_description>Suits grabs Jake with a hug . It 's a heartfelt one . The others exchange greetings with Suits who moves over to Lupus and studies his loud sweatsuit .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Back in the day, Suits made money running fight stores and the wire with a Fix so tight it was like a legit business. I never understood what the point was if grifting became like a regular job.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>We need wardrobe.<\/dialogue>\n    <character>FRANKIE<\/character>\n    <parenthetical>( re : Lupus . )<\/parenthetical>\n    <dialogue>So I see. In from Long Island? You fellas take a look around.<\/dialogue>\n    <character>GORDO<\/character>\n    <dialogue>Hey Suits? You got anything in like a eleven or twelve ounce Super 100 worsted?<\/dialogue>\n    <scene_description>Miles gives him a look like he 's speaking latin . Jake and Lily follow Suits into .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- SUITS' OFFICE- DAY<\/stage_direction>\n    <scene_description>A spare little office piled high with clothes . Suits reaches into a desk drawer and pulls out a large envelope and slides it to Jake .<\/scene_description>\n    <character>SUITS<\/character>\n    <dialogue>Corporate papers with the New York State seal, insurance documents with a proof of bonding and some fugasi financial records. There's also the I.D. you asked for. Corporate papers with the New York State seal, insurance documents with a proof of bonding and some fugasi financial records. There's also the I.D. you asked for.<\/dialogue>\n    <scene_description>Jake takes out the papers and gives them the once over . He then puts an envelope thick with cash on the desk .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Aces, Suits.<\/dialogue>\n    <character>SUITS<\/character>\n    <dialogue>Not easy pickin's. Papers like these speak to larger issues. Sorry about Alfonse.<\/dialogue>\n    <parenthetical>( off Jake 's nod . )<\/parenthetical>\n    <dialogue>You into something big?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Pretty much.<\/dialogue>\n    <character>SUITS<\/character>\n    <dialogue>In over your head?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Pretty much. Suits eyes Lily.<\/dialogue>\n    <character>SUITS<\/character>\n    <dialogue>Can I speak to you in confidence?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Huh? Oh. She's alright.<\/dialogue>\n    <scene_description>Suits gives Lily another suspicious look .<\/scene_description>\n    <character>SUITS<\/character>\n    <dialogue>Try and keep up. You ask for the Advantage Goods, then you guys come in looking to be Bean Traps. So I got ta think you're either working the mace or playing the Jug Mob.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>A little bit of both.<\/dialogue>\n    <scene_description>Lily watches in utter confusion .<\/scene_description>\n    <character>SUITS<\/character>\n    <dialogue>Hey, I been on the ramp all my life, so I got no problem with the way you help yourself, Jake.<\/dialogue>\n    <character>SUITS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I saw you go up from the Knecker, working that Grind, learning the Barnard's Law and I thought, `` the kid's a prodigy.''' But I know that if you're using these goods. So then I figure, what's worth that? You're either looking for a little history or a retirement fund. Who's the Mark?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Ca n't say.<\/dialogue>\n    <character>SUITS<\/character>\n    <dialogue>Then who's the Banker?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>The King.<\/dialogue>\n    <scene_description>A dead look comes over Suits .<\/scene_description>\n    <character>SUITS<\/character>\n    <dialogue>The King? Jake, you play the heavy rackets like that. They put the lug on for nothing at all.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I can handle it.<\/dialogue>\n    <character>SUITS<\/character>\n    <dialogue>I do n't doubt your talent. You looking for that place in the hall of fame?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>It's not history.<\/dialogue>\n    <character>SUITS<\/character>\n    <dialogue>So what do you want?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I want to get out from under all this for good. And I want to fuck them all doing it.<\/dialogue>\n    <character>SUITS<\/character>\n    <dialogue>Then I got ta say, in my opinion, you ca n't get what you want.<\/dialogue>\n    <scene_description>Jake considers those words for a moment .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Yes I can.<\/dialogue>\n    <scene_description>Suits guages the seriousness in Jake 's face and nods . The he gently rests his hands on the papers .<\/scene_description>\n    <character>SUITS<\/character>\n    <dialogue>Still time.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Ca n't do it Suits. I ca n't lay down for this one.<\/dialogue>\n    <character>SUITS<\/character>\n    <dialogue>Okay. Here's the thing. You fall flat, you might not get anything short of stiffed. Then it's Blue River Land for everybody. Papers like these are dangerous because papers tend to multiply, then they start to take shape. Usually it's the shape of an arrow. I hate to do it, but after this, I got ta give you the blowoff. We Jake, Jake?<\/dialogue>\n    <scene_description>Suits holds out his hand . Jake takes it .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>We're Jake.<\/dialogue>\n    <scene_description>They shake , knowing it 'll be the last time .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- GARMENT DISTRICT\/WAREHOUSE- CONTINUOUS<\/stage_direction>\n    <scene_description>We follow Lily and Jake out of Suit 's office . Lily can see that it 's thrown Jake a bit .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>What the hell's his problem?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Do n't worry about it.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>It's just that I left my asshole decoder ring at home, so how do I know not to worry?<\/dialogue>\n    <scene_description>Jake stops and turns to her , looking her up and down .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>You need to get a haircut.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>And some new clothes.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>We're going to rope this banker tomorrow and you got ta at least look classy, if not be classy. You got ta do this thing and I do n't even know if you can.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>You're just going to have to trust me.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I do n't trust anyone.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>Then show me how.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - TIFFANY'S - NIGHT<\/stage_direction>\n    <scene_description>Jake and Lily enter the store . Jake takes a quick moment to case the place - A few scattered CUSTOMERS , some being helped by SALESPEOPLE . All the Customers look like the uppercrust crowd you 'd expect at Tiffany 's .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>Oh yeah. This is good. This will do nicely.<\/dialogue>\n    <parenthetical>( to Lily . )<\/parenthetical>\n    <dialogue>This is about confidence. Your confidence and their confidence. You get their confidence by giving them yours.<\/dialogue>\n    <scene_description>Jake leaves Lily by the front counter as he starts a slow turn around the store . He casually pretends to be browsing as he moves next to MR. LEWIS , an older , distinguished looking gentleman , being helped by a SALEGIRL , who is scribbling on an order form .<\/scene_description>\n    <character>SALESGIRL<\/character>\n    <dialogue>Let me read this back. One silver Cattier watch, engraved - `` To Carolyn, the Attorney at Law. Happy Graduation, Counselor. Love Mom and Dad.''<\/dialogue>\n    <character>MR. LEWIS<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>SALESGIRL<\/character>\n    <dialogue>One bracelet, engraved `` To Abby. Happy 25th Anniversary, Love Tom.''<\/dialogue>\n    <character>MR. LEWIS<\/character>\n    <dialogue>Perfect.<\/dialogue>\n    <character>SALESGIRL<\/character>\n    <dialogue>I' ll just go put this in, Mr. Lewis.<\/dialogue>\n    <scene_description>The Salesgirl takes the order form and walks away . A change comes over Jake . It 's subtle - Posture , facial expressions , a slight tug of an accent - but it 's there .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Mr. Lewis?<\/dialogue>\n    <scene_description>Mr. Lewis turns and looks at Jake . There 's no real hint of recognition , but Jake 's smiling up at him like an old friend .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>It is you. Hello!<\/dialogue>\n    <scene_description>Jake extends his hand .<\/scene_description>\n    <character>MR. LEWIS<\/character>\n    <dialogue>Sorry, I -<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Jake. Jake Pearson. I go to lawschool with your daughter. Carolyn. We met once or twice.<\/dialogue>\n    <scene_description>Mr. Lewis seems to search for second , then extends his hand more in an effort not to appear rude .<\/scene_description>\n    <character>MR. LEWIS<\/character>\n    <dialogue>Of course. Jake. Nice to see you.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Well, it certainly is a coincidence. Here of all places! How is Mrs. Lewis?<\/dialogue>\n    <character>MR. LEWIS<\/character>\n    <dialogue>Great. Thank you.<\/dialogue>\n    <scene_description>The Salesgirl returns .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Excuse me? I believe you're holding something far me under Pearson.<\/dialogue>\n    <character>SALESGIRL<\/character>\n    <dialogue>Do you have a ticket?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>You know, this is kind of embarassing, but my wallet was stolen yesterday and I'm afraid the ticket was in it. But the name's Pearson.<\/dialogue>\n    <character>MR. LEWIS<\/character>\n    <dialogue>While you're back there, could you make sure that Carolyn is spelled with a `` y''?<\/dialogue>\n    <scene_description>The Salesgirl nods and disappears again .<\/scene_description>\n    <character>MR. LEWIS<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>What brings you down from Boston, Jake? Taking advantage of the long weekend?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>My wife and I are just taking a little vacation.<\/dialogue>\n    <scene_description>Behind his back , Jake discreetly waves Lily over .<\/scene_description>\n    <character>MR. LEWTS<\/character>\n    <dialogue>Carolyn's down this weekend too.<\/dialogue>\n    <scene_description>Lily approaches . When she does , Jake pulls her close and gives her a loving kiss on the lips . It throws Lily for a second .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>Uh. Everything okay?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Honey, this is Mr. Lewis. Carolyn Lewis's father. Mr. Lewis, this is my wife, Lily.<\/dialogue>\n    <scene_description>Lily and Mr. Lewis exchange handshakes .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>I'm sorry, honey. I'm almost done.<\/dialogue>\n    <scene_description>Jake taps Lily on the back with the hand wrapped around her waist .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>It's okay. I'll be looking for earrings.<\/dialogue>\n    <scene_description>Jake gives Lily another kiss before she leaves .<\/scene_description>\n    <character>MR. LEWIS<\/character>\n    <dialogue>Attractive girl.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Thank you. Actually, it's our first anniversary this weekend. She thinks I'm here to pick up something for my mother, but it's actually a gift for her. Think I've fooled her?<\/dialogue>\n    <character>MR. LEWIS<\/character>\n    <dialogue>Take it from me, you never do. But congratulations. Nice to be married, is n't it?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Very much so.<\/dialogue>\n    <scene_description>Jake smiles ear to ear , like the happy newlywed he 's pretending to be . The Salesgirl returns .<\/scene_description>\n    <character>SALESGIRL<\/character>\n    <dialogue>We have Carolyn with a `` y''. I'm sorry, there's nothing under Pearson. If we had an invoice number -<\/dialogue>\n    <scene_description>Jake 's smile dissolves as he grows a little anxious .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>I told you. My wallet was stolen. Please. Check again.<\/dialogue>\n    <scene_description>Jake takes a nervous look over at Lily , who is drying on earrings with another Salesperson .<\/scene_description>\n    <character>MR. LEWIS<\/character>\n    <dialogue>Good luck. Congratulations again.<\/dialogue>\n    <scene_description>He and Jake shake hands .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Thank you, sir. You know, I hope this is n't too much of an inconvenience, but if Carolyn is coming down for the weekend, perhaps I could give you something for her? It's a check. We split the cost on a few books and I have n't had the chance to pay her back yet. Could you?<\/dialogue>\n    <character>MR. LEWIS<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>Jake pulls out a checkbook and pen .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( writing . )<\/parenthetical>\n    <dialogue>That'd be a great help.<\/dialogue>\n    <scene_description>The Salesgirl returns .<\/scene_description>\n    <character>SALESGIRL<\/character>\n    <dialogue>I'm sorry. Nothing under Pearson.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>You're sure? This is. Just a complete disaster.<\/dialogue>\n    <character>SALESGIRL<\/character>\n    <dialogue>What was it?<\/dialogue>\n    <scene_description>Jake quickley scans the jewelry in the glass case .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>A ring for my wife. Alot like that one. In fact, it was that one.<\/dialogue>\n    <character>SALESGIRL<\/character>\n    <dialogue>That's no problem. We have those in stock.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Thank you. Sorry, I'm just a little anxious to give it to her. You take out of state checks?<\/dialogue>\n    <character>SALESGIRL<\/character>\n    <dialogue>With identification.<\/dialogue>\n    <scene_description>Jake stops writing on the check and locks up .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>I understand that, but I had my wallet stolen last night. Is there any way?<\/dialogue>\n    <character>SALESGIRL<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <scene_description>Jake 's anxious look comes back .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>I know it's policy, but.<\/dialogue>\n    <parenthetical>( looking over at Lily . )<\/parenthetical>\n    <dialogue>The thing is. It's our first anniversary and we're only in town for the weekend. It's a very, very special night for my wife and I. This ring is my gift to her and I think she's going to really love it. I can give you phone numbers to call for people who'll vouch. I can send you I.D. later.<\/dialogue>\n    <character>SALESGIRL<\/character>\n    <parenthetical>( sympathetic . )<\/parenthetical>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>( clearing his throat . )<\/parenthetical>\n    <dialogue>This is embarrassing.<\/dialogue>\n    <character>MR. LEWIS<\/character>\n    <dialogue>Jake?<\/dialogue>\n    <scene_description>Jake looks up and rips the check out from his book .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>I'm sorry, sir. Thank you very much for doing this. And please tell Carolyn hello for me.<\/dialogue>\n    <scene_description>Jake seems to be lost . Mr. Lewis looks over at Lily , who gives him a friendly smile , then back to Jake .<\/scene_description>\n    <character>MR. LEWIS<\/character>\n    <dialogue>Why do n't you let me put the ring on the card and you can write me a check in return?<\/dialogue>\n    <scene_description>Unseen to Mr. Lewis , one corner of Jake 's lip goes up in a grin .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.- TIFFANY'S\/SIDEWALK--NIGHT<\/stage_direction>\n    <scene_description>Jake and Lily exit the store . Jake hands Lily the trademark colored box .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Happy anniversary.<\/dialogue>\n    <scene_description>Lily takes the box and shakes her head , impressed . Jake Looks up to see Mr. Lewis watching them as he tries to hail a cab . Jake 's demeanor quickly changes as he puts on a big smile .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Smile. You just got a present from the man of your dreams.<\/dialogue>\n    <scene_description>Lily puts on a big smile while opening the box .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Now we got ta give him a strong finish.<\/dialogue>\n    <scene_description>Jake pulls Lily closer and looks into her eyes . She leans in and they kiss - A deep , slow kiss that makes people have to walk around them . Mr. Lewis sees them and smiles to himself as he gets into a cab . Jake and Lily are still kissing as the cab pulls away . Lily finally breaks the kiss - Slowly .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>He's gone.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Uh - huh.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>I got ta go get a haircut.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Uh - huh.<\/dialogue>\n    <scene_description>Jake watches as Lily walks away . She looks back at Jake once before disappearing around a corner .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- SIXTEENTH PRECINT- DAY<\/stage_direction>\n    <scene_description>Moonan sits on a desk , ear to a phone .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It was all in play. Everything.<\/dialogue>\n    <character>MOONAN<\/character>\n    <dialogue>It's Moonan. I'm in New York. Listen, I got Vig. He's here and I'm this close. Look, I understand that, but I'm telling you this time. Obsessive is a big word to use. Goddamn it, Lou! I'm telling you, this is it. Yeah. I figured you'd feel that way. So here's the deal. Call Kylie over at the Bureau. Tell him I got something that might interest him. A guy they call the King Pin. I think there may be a corruption case brewing here, too. That's right. So even if I do n't get Vig, you'll still have something to show.<\/dialogue>\n    <scene_description>Rottovich and Sobozinski enter .<\/scene_description>\n    <character>MOONAN<\/character>\n    <parenthetical>( cont ' d . )<\/parenthetical>\n    <dialogue>Good. I got ta go.<\/dialogue>\n    <parenthetical>( hanging up . )<\/parenthetical>\n    <dialogue>So, what do you have for me?<\/dialogue>\n    <character>SOBOZINSKI<\/character>\n    <dialogue>Whaddya mean? We got dick.<\/dialogue>\n    <character>MOONAN<\/character>\n    <dialogue>You guy's are not working with me here. I just got off the phone with my boss. After he got done ripping me a new Lincoln Tunnel size asshole, he let me know exactly how little I'm welcome back if we come up short. And now here you guys are, WASTING MY FUCKING TIME!<\/dialogue>\n    <scene_description>Moonan kicks a chair across the floor .<\/scene_description>\n    <character>ROTTOVICH<\/character>\n    <dialogue>Like we told you before, we think he's into something with the King Pin -<\/dialogue>\n    <character>MOONAN<\/character>\n    <parenthetical>( composing himself . )<\/parenthetical>\n    <dialogue>Look, I'm not a confrontational person by nature.<\/dialogue>\n    <scene_description>Moonan walks over to the fallen chair and picks it up .<\/scene_description>\n    <character>MOONAN<\/character>\n    <dialogue>I need answers and the only two things you've given me are jack and shit. You got ta do better. You got ta do better or I swear on my sweet dead grandmother's grave, I'm gon na make you guys an I - A - fucking - D cautionary tale.<\/dialogue>\n    <scene_description>Moonan kicks the chair down again , sending Rottovich and Sobozinski back a few steps .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - BACK ALLEY-NIGHT (PRESENT)<\/stage_direction>\n    <scene_description>Butch takes out two cigarettes and lights both , sticking one in Jake 's mouth .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Thanks. Did you know you should n't light three cigarettes with a match?<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>( cont ' d . )<\/parenthetical>\n    <dialogue>Back in WWI or WWII, one of the WW' s, if you took the time to light three cigarettes with one match, some Nazi would be able to figure out where you were. Then, well. It was the last cigarette you and your two buddies ever had. So three on a match is bad luck.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>You're a superstitious fucker.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Luck's a funny thing. Especially the bad.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Like what?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Having a gun pointed at you for one. It's not like breaking a mirror bad luck, but it's bad. Three on a match, black cats. Believe it. Believe it all.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- JAKE'S APARTMENT- NIGHT<\/stage_direction>\n    <scene_description>Miles , Jake , Lupus and Gordo sit around in silence . They 're all dressed in new suits .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( overlap below . )<\/parenthetical>\n    <dialogue>But if you wan na talk about bad luck.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Where the hell is she?<\/dialogue>\n    <scene_description>Just then , a KNOCK on the door . Jake opens the door to reveal Lily , dressed in an expensive business suit and sporting a sophisticated cut of new RED HAIR<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Redheads.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>FUCK!<\/dialogue>\n    <scene_description>Gordo , Lupus and Miles look up at Lily .<\/scene_description>\n    <character>GORDO<\/character>\n    <dialogue>Oh shit.<\/dialogue>\n    <scene_description>Lily stands at the door watching Jake freak out in disbelief . FREEZE FRAME ON LILY and her new red hair .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Top three all - time worst red - heads.<\/dialogue>\n    <scene_description>INSERT SHOT - A RED HEADED WOMAN enters dark bedroom , carrying an axe .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Lizzie Borden. Axe murder.<\/dialogue>\n    <scene_description>INSERT SHOT - A dinner table for TWELVE MEN dressed in flowing robes . A RED HEADED MAN leans over to whisper in the ear of an important looking guy in the middle .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Judas. Betrayer.<\/dialogue>\n    <scene_description>INSERT SHOT - A RED HEADED WOMAN , middle - aged with a bad haircut from the 70 's carrying a suitcase leans down and tearfully kisses a SMALL BOY on the cheek .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Shirley Vig. Abandoner.<\/dialogue>\n    <scene_description>BACK TO FREEZE FRAME OF LILY The action resumes .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>Nice to see you too. Why are you getting so bent?<\/dialogue>\n    <scene_description>She takes a step into the apartment .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>You just put a mother of a jinx on us.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>Lighten up.<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>But the fucking Grand Poo - Bah of all jinxes? A bird in your house.<\/dialogue>\n    <scene_description>Lily takes her jacket off revealing a delicate blouse , decorated with a design of flowers and a BIRD . FREEZE FRAME ON LILY 'S BIRD BLOUSE . -LRB- FLASHBACK -RRB- INT . - JAKE 'S APARTMENT - NIGHT It 's the scene earlier , when Jake finds a BIRD rapping at his window to get out .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>A bird enters your house.<\/dialogue>\n    <scene_description>-LRB- FLASHBACK -RRB- INT . - BIG AL 'S APARTMENT Big Al 's bulging , vacant eyes stare straight at us , his mouth hanging open .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It means death.<\/dialogue>\n    <scene_description>BACK TO FREEZE FRAME ON LILY 'S BIRD BLOUSE . The action resumes .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>You have no idea what you've done do you? No idea! What is this?<\/dialogue>\n    <scene_description>Jake points to her hair .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>You told me to change my hair!<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>( re : the shirt . )<\/parenthetical>\n    <dialogue>What about this? Do you have any idea what this means? You've killed us. We're dead!<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>Did I miss something?<\/dialogue>\n    <character>GORDO<\/character>\n    <dialogue>The red hair. It's bad luck.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>It's not like she's a real redhead, Jake.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Like that matters! You ca n't fool bad luck! You ca n't get by on a technicality! You ca n't trick karma!<\/dialogue>\n    <scene_description>Lily grabs her jacket and starts out the door , then turns back around to Jake .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>So much for that good feeling, huh?<\/dialogue>\n    <scene_description>Silence . Jake can feel the eyes on him .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Anybody says a word I swear to God.<\/dialogue>\n    <scene_description>Jake takes off after her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - BACK ALLEY- NIGHT (PRESENT)<\/stage_direction>\n    <scene_description>Butch cracks a big smile .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>She had you tempting fate.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>My father used to play the same fucking lotto numbers with these other guys in the pharmacy. The same numbers everyday for sixteen years. One day he gets pissed off, tells them he's out and plays his own numbers. They hit the Lucky Seven for one point two million.<\/dialogue>\n    <scene_description>LILY steps out from behind Butch .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>Guess he passed on that unlucky - asshole gene.<\/dialogue>\n    <scene_description>Lily looks down at Jake and the gun pointed at his head . There 's not even a hint of sympathy .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>You should have trusted me Jake.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- THE BULL AND THE BEAR PUB- NIGHT<\/stage_direction>\n    <scene_description>Jake turns and looks at the crew , Miles , Gordo , Lupus and Lily behind him . Grant Ashby sits alone at the crowded bar , doing his crossword puzzle . Jake a smile and saunters over to the bar .<\/scene_description>\n    <character>GORDO<\/character>\n    <dialogue>She up for this?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>She's up for it.<\/dialogue>\n    <scene_description>ANGLE ON ASHBY AT THE BAR Ashby sits finishing a drink . Snippets of CONVERSATION and LAUGHTER from the cliques around him catch his attention , but he remains alone .<\/scene_description>\n    <character>BLONDE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Is this seat taken?<\/dialogue>\n    <scene_description>Ashby turns to see an ATTRACTIVE BLONDE pointing to the empty seat next to him .<\/scene_description>\n    <character>ASHBY<\/character>\n    <parenthetical>( brightening . )<\/parenthetical>\n    <dialogue>Uh, no. Please.<\/dialogue>\n    <character>BLONDE<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>The Blonde grabs the barstool and starts to walk off with it . A rejected look from Ashby .<\/scene_description>\n    <character>LILY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Sorry I'm late.<\/dialogue>\n    <scene_description>Lily appears next to the Blonde . Ashby looks around to make sure she 's talking to him .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>But I'm not that late. You did n't have to give away my seat.<\/dialogue>\n    <character>ASHBY<\/character>\n    <parenthetical>( getting it . )<\/parenthetical>\n    <dialogue>I was n't sure if you'd make it.<\/dialogue>\n    <character>BLONDE<\/character>\n    <dialogue>Oh, I did n't know you. Here. Sorry.<\/dialogue>\n    <scene_description>Lily takes the barstool back .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>No problem.<\/dialogue>\n    <scene_description>The blonde woman leaves as Lily sits down next to Ashby .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>Thanks for playing along. I just have to sit for a while.<\/dialogue>\n    <character>ASHBY<\/character>\n    <dialogue>Tough day?<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>Brutal day. They say the streets are lined with money down here, but I guess you have to know the secret handshake. What are you drinking?<\/dialogue>\n    <character>ASHBY<\/character>\n    <dialogue>Uh, Maker's Mark. Rocks.<\/dialogue>\n    <scene_description>Lily signals the BARTENDER for two more drinks .<\/scene_description>\n    <character>ASHBY<\/character>\n    <dialogue>My name's Grant. Grant Ashby.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>Oh god. I'm overbearing and rude. Lily. Lily Finn.<\/dialogue>\n    <scene_description>They shake , Ashby 's demeanor brightening again .<\/scene_description>\n    <character>ASHBY<\/character>\n    <dialogue>So, what do you do?<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>It's more like what are n't I doing. My partners and I are trying to secure start up capital for a small tech company. We tried the venture capitalist route in the Valley, but then again who has n't up there.<\/dialogue>\n    <character>ASHBY<\/character>\n    <dialogue>Silicon Valley?<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>That's right. So, brainiacs that we are, we thought we'd be innovative and relocate east. Try our luck with a straight corporate loan out here.<\/dialogue>\n    <scene_description>The drinks arrive . Lily hands the bartender a twenty .<\/scene_description>\n    <character>ASHBY<\/character>\n    <dialogue>I can -<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>On me. For the seat. Cheers.<\/dialogue>\n    <scene_description>She flashes a trademark smile as they CLINK glasses .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>So we've been meeting with banks all day. It's amazing how many ways they can say `` no'' without ever using the word.<\/dialogue>\n    <character>ASHBY<\/character>\n    <dialogue>Well, typically, corporate loans are relatively simple matters, but you do need to demonstrate a capacity for gross fund recovery.<\/dialogue>\n    <scene_description>Lily arches an eyebrow at Ashby .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>Do n't tell me you started a tech firm here before us.<\/dialogue>\n    <character>ASHBY<\/character>\n    <dialogue>No, no. Nothing like that. I work in a bank.<\/dialogue>\n    <character>LILY<\/character>\n    <parenthetical>( leaning in . )<\/parenthetical>\n    <dialogue>Really? Wish we had met eight hours ago.<\/dialogue>\n    <scene_description>Ashby nods and shyly looks away . He could be blushing . Lily lets the moment play out for a beat before looking over her shoulder .<\/scene_description>\n    <character>LILY<\/character>\n    <parenthetical>( getting up . )<\/parenthetical>\n    <dialogue>My partners are here.<\/dialogue>\n    <scene_description>Ashby reverts back to schlub mode .<\/scene_description>\n    <character>ASHBY<\/character>\n    <dialogue>Oh. Well, thanks for the drink.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>You're welcome. I was just going to ask you if you'd like to join us. Ashby brightens again.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- THE BULL AND THE BEAR PUB\/TABLE- LATER<\/stage_direction>\n    <scene_description>Ashby sits with the crew , a few empty glasses in front of him . He looks remarkably relaxed , just another guy hanging around with a group of friends .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>She got one leg out from under him. Now we had to lean.<\/dialogue>\n    <character>GORDO<\/character>\n    <dialogue>So then Miles walks straight into the Creative Director's office and says `` The code's fine, the program's for shit'' and throws down like a thousand pages of code on the guy's desk!<\/dialogue>\n    <scene_description>They all break out into LAUGHTER .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>So this is our boss, right? He chases me and Miles out of his office and he's yelling and screaming, `` You're fired! Your whole team's fired!'' He starts looking for Lily, Lupus, Gordo -<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>But the best part was that he could n't find Gordo! He was in the bathroom. So he finally goes in there, kicks in a stall door and starts yelling! And there's Gordo, pants at the ankles, holding a PC World Magazine!<\/dialogue>\n    <scene_description>More LAUGHS .<\/scene_description>\n    <character>GORDO<\/character>\n    <dialogue>I have n't been able to use a public bathroom since.<\/dialogue>\n    <character>LUPUS<\/character>\n    <dialogue>Especially with the thing!<\/dialogue>\n    <scene_description>Lupus 's non - sequitur brings the whole rhythm of the conversation to a grinding halt .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Uh, right. And that was it. That's when we decided to start our own business. No more shithead bosses.<\/dialogue>\n    <character>ASHSY<\/character>\n    <dialogue>I envy you guys. Taking a chance like that.<\/dialogue>\n    <character>GORDO<\/character>\n    <dialogue>Masters of our own destiny.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>So far, masters of our own demise. What bank are you with?<\/dialogue>\n    <character>ASHBY<\/character>\n    <dialogue>City Bank of Manhattan.<\/dialogue>\n    <character>GORDO<\/character>\n    <dialogue>That's that Gillette guy, right?<\/dialogue>\n    <parenthetical>( off Ashby 's nod . )<\/parenthetical>\n    <dialogue>You Like him? As a boss, I mean.<\/dialogue>\n    <character>ASHBY<\/character>\n    <dialogue>He's. He's okay.<\/dialogue>\n    <character>GORDO<\/character>\n    <parenthetical>( goading . )<\/parenthetical>\n    <dialogue>Come on.<\/dialogue>\n    <character>ASHBY<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>More LAUGHS .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>What do you do over at your bank, Grant?<\/dialogue>\n    <character>ASHBY<\/character>\n    <dialogue>What do I do? I'm the VP of Finance.<\/dialogue>\n    <scene_description>The group exchanges Looks .<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Wow. We have n't met with anyone your level yet. VP? So that means there's you, then the P.<\/dialogue>\n    <character>ASHBY<\/character>\n    <parenthetical>( Confidently Yeah .<\/parenthetical>\n    <parenthetical>That 's right .<\/parenthetical>\n    <dialogue \/>\n    <scene_description>FREEZE FRAME ON ASHBY .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Here's where a little research comes in handy. Corporate banks give out VP titles like calendars. It's a small lie, but now we're sure he's playing.<\/dialogue>\n    <scene_description>RESUME ACTION<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Maybe you can help us understand what's so hard about getting a corporate loan.<\/dialogue>\n    <character>ASHBY<\/character>\n    <dialogue>Well, typically speaking, they're not. As long as you can demonstrate -<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>A capacity for gross fund recovery. Yeah, we got that part.<\/dialogue>\n    <character>ASHBY<\/character>\n    <dialogue>That's right. And tech firms. They ` tend to scare people off.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>They scare people off because most people lack vision. Vision and balls. Present company excluded of course.<\/dialogue>\n    <character>ASHBY<\/character>\n    <dialogue>Banks need to know how they're going to get their money back.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>We know exactly how we're going to make The money back. There in lies the Catch - 22<\/dialogue>\n    <character>ASHBY<\/character>\n    <dialogue>I do n't follow.<\/dialogue>\n    <scene_description>An uncomfortable silence falls .<\/scene_description>\n    <character>GORDO<\/character>\n    <dialogue>Jake.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>It's alright. Grant's one of the good guys.<\/dialogue>\n    <scene_description>She throws Ashby a flirty smile .<\/scene_description>\n    <character>LUPUS<\/character>\n    <dialogue>Yeah. He's our boy.<\/dialogue>\n    <scene_description>Lupus casually punches Ashby in the arm . It 's meant to be a friendly tap , but it 's hard enough to jerk Ashby 's head to the side . Ashby lets out an uncomfortable LAUGH as he rubs his arm .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( leaning in . )<\/parenthetical>\n    <dialogue>Listen, what I'm about to tell you, I'm telling you in confidence, okay?<\/dialogue>\n    <parenthetical>( off Ashby 's nod . )<\/parenthetical>\n    <dialogue>Have you ever heard of a company called Big.Com?<\/dialogue>\n    <character>ASHBY<\/character>\n    <dialogue>Big.Com. That Internet thing.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Right. The guys who started that did what a lot of companies in the Valley do. They get a good idea, shop it around, raise some capital, then sell it off to a bigger company. Microsoft, Intel, Oracle, whatever. The beauty of it is, they've pretty much sold the company before they're even real. The bigger company is already set to buy it, all they want to do is make sure that the idea actually works. So they get some start up capital, make it work, then sell it for like five times the initial loan.<\/dialogue>\n    <character>ASHY<\/character>\n    <dialogue>Sort of like a letter of intent.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Exactly. But the Catch - 22 is that you ca n't tell anyone about the offer, because if it's public, you could start a bidding war and that's considered a breach of etiquette. It could kill a deal. But, wait too long and you're not considered hot anymore.<\/dialogue>\n    <character>ASHBY<\/character>\n    <dialogue>And you have this letter of intent?<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>Yes. That's why I wish there were guys willing to take a chance and live a little.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>We're getting down to the wire. Apparently another company has a similar product in R&amp;D right now. If they beat us to it.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Off the record, I'm this close to cutting someone in on the action if it'd help.<\/dialogue>\n    <scene_description>Ashby considers for a moment .<\/scene_description>\n    <character>ASHBY<\/character>\n    <dialogue>Should we get another round?<\/dialogue>\n    <scene_description>Jake and Lily share an almost imperceptible look . TNT . - CITY STREET - NIGHT Jake , Lupus , Miles , Gordo and Lily walking , still on a celebratory high .<\/scene_description>\n    <character>GORDO<\/character>\n    <dialogue>Poor bastard never knew what hit him. Jesus, I almost felt sorry for the guy.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>I got ta work off some of this adrenaline. I got a line on this Pawn Shop guy over in Brooklyn. Anybody want in?<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>I' m going home<\/dialogue>\n    <character>GORDO<\/character>\n    <dialogue>Let's go, Jake?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Uh. No thanks. I'm not going all the way to Brooklyn for a hundred dollar pay - off.<\/dialogue>\n    <character>GORDO<\/character>\n    <dialogue>You sure?<\/dialogue>\n    <scene_description>Jake looks over at . Lily then nods . Gordo , Miles and Lupus start to head off .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Lupus!<\/dialogue>\n    <scene_description>Lupus turns and Jake moves closer .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>When this is all over, you're going to tell me who the King put on Al..<\/dialogue>\n    <character>LUPUS<\/character>\n    <dialogue>You going to have the time?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I'11 find the time.<\/dialogue>\n    <scene_description>Lupus nods and heads off . Jake watches them go .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>Look at you. You want to go.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>For what? A couple hundred bucks?<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>I think you'd do it for free. You' re almost drooling. You like the rush.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>It's what I do. It's my job.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>Why? Your mother not breast feed you or something?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Are you asking me if I have something to prove?<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>Do you have something to prove?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Not in that repressed anger sort of way.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>I'm your basic underachiever. Ca n't stand working and porn does n't seem like a good option.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Good quality porn has it's place in the world.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>Whatever. But you. I get the feeling you could have bullshitted your way into anything. So why this?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I'm good at it. Lying, cheating. Manipulating. I'm good at it.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>It's more than that.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Intuition. It does n't make you Yoda. Like tonight. You killed that guy tonight. But I knew you would.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>So that was my part? Smile and shake my ass?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>No. You have another part? You'll know what to do.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>How do you know I will?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Intuition.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- LILY'S APARTMENT- NIGHT<\/stage_direction>\n    <scene_description>Illuminated only by the light coming from the windows . Jake runs a hand down the length of Lily 's bare back . She falls onto him , both of them hitting the bed locked in a deep kiss . Lily 's hand moves down Jake 's arm until it finds his hand .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>You have really soft hands. Like a baby's.<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>( remembering the King . )<\/parenthetical>\n    <dialogue>Do n't ruin this for me.<\/dialogue>\n    <scene_description>They roll off the bed onto the floor , a naked tangle of arms and legs , their hands still entwined .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - BACK ALLEY NIGHT (PRESENT)<\/stage_direction>\n    <scene_description>Jake takes a deep breath , Butch and Lily behind him .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Is that what it was, Jake? Was it love?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>You know when the first con was ever played? It was when Adam fell for Eve in the Garden of Eden.<\/dialogue>\n    <scene_description>Lily looks away , her face softening for a moment .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Then she fucked him over with an apple.<\/dialogue>\n    <parenthetical>( with a dry laugh . )<\/parenthetical>\n    <dialogue>Redheads.<\/dialogue>\n    <scene_description>Jake continues to LAUGH .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - LILY'S APARTMENT--DAY<\/stage_direction>\n    <scene_description>Not even the soft morning light can diffuse the reality of this slum - pit studio apartment . Jake lies next to Lily , kissing her neck . A spoon RATTLES in a glass from the growing RUMBLE of a passing subway train . The RUMBLE rises to an almost deafening volume . Jake 's a little alarmed . Lily , oblivious .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( drowned out by the rumble . )<\/parenthetical>\n    <dialogue>How do you deal with -<\/dialogue>\n    <character>LILY<\/character>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>WHAT?<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>( yelling back . )<\/parenthetical>\n    <dialogue>SAID, HOW DO -.<\/dialogue>\n    <parenthetical>( the subway passes . )<\/parenthetical>\n    <dialogue>Deal with that?<\/dialogue>\n    <scene_description>Lily shrugs indifferently .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>Do you think we can do it?<\/dialogue>\n    <scene_description>Jake resumes kissing Lily 's neck , trying to rekindle some of last night 's magic .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Maybe. Even if we do n't, you'll be alright. You're not in the hole with the King.<\/dialogue>\n    <scene_description>Lily rolls away from Jake . Undaunted , Jake starts kissing her back .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>Who says you have to know the King to be in a whole? I actually did have a real job once. When I was in high school, I worked as a candy striper.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Sounds respectable.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>Not the way I did it. I was loaded half the time. I do n't know how you could change bedpans sober. I used to hang out with this guy, Glenn. He was an x - ray technician or something.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>You want to talk about an old boyfriend right now?<\/dialogue>\n    <scene_description>Jake , kissing up the length of Lily 's neck .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>He was n't my boyfriend. I had a boyfriend at the time. What was his name? Anyway, Glenn was like thirty. I was only fifteen. But he was a nice guy. Real sweet. Liked to talk. We used to get loaded on pills from the nurses station and then listen to Morrisey or some stupid shit like that.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Yeah, the sensitive guy - thing never worked for me.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>We were friends. I trusted him. I should have known it was weird. But, then again I was weird.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>You guys got busted. This is a great neck.<\/dialogue>\n    <scene_description>Jake still kissing .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>No, we never got busted. We were done with a shift one night, both a couple of Percocets down and I was telling Glenn about my boyfriend, about how we were thinking about doing it, you know? I was thinking about letting him be my first because I loved him.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>What the hell was his name?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Glenn talked you out of it.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>Sort of. I was telling him about this great love of my life who's name I do n't remember, and I could see. He was getting pissed. I thought it was just because he was worried about me, but.<\/dialogue>\n    <character>LILY<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>He told me that I was stupid because my boyfriend did n't really love me.<\/dialogue>\n    <scene_description>Jake grabs Lily and rolls her over onto her back . He climbs on top of her .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>He was looking out for you.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>Then he grabbed me and threw me down on the floor, that really cold linoleum tiled hospital floor and started ripping my uniform off.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>He said he was going to `` fuck some sense into me.''<\/dialogue>\n    <scene_description>Jake stops kissing Lily and looks up at her .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>Shit, what was that guy's name? I really liked him.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Lily. Jesus Christ.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>After Glenn was finished, he gave me a couple of valiums and I went home. The next day, I finished my shift and met him around back, like we always did. I stuck a number eight scalpel into his chest. Three or four times.<\/dialogue>\n    <scene_description>Jake slides off Lily .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Did, uh. Did you kill him?<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>I do n't know. I packed up my shit and ran away. To this. So unlike you, I guess I do have something to prove, in a repressed anger sort of way.<\/dialogue>\n    <scene_description>Jake considers for a second .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>No. You trusted him. You were just getting square.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>You know why I told you that, Jake?<\/dialogue>\n    <parenthetical>( turning towards him . )<\/parenthetical>\n    <dialogue>Because I trust you too.<\/dialogue>\n    <scene_description>Jake tries a reassuring smile even though he 's not sure it 's something he should be smiling about . The spoon starts to RATTLE again as another subway train RUMBLES in the distance .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - BACK ALLEY-NIGHT (PRESENT)<\/stage_direction>\n    <scene_description>Lily shakes her head in disbelief that Jake would tell the story .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Sorry, honey. But I figure if we ca n't all share at a time like this.<\/dialogue>\n    <scene_description>Butch lowers the gun down and looks over at Lily .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>You got some issues, huh?<\/dialogue>\n    <character>LILY<\/character>\n    <parenthetical>( with a hiss . )<\/parenthetical>\n    <dialogue>I can take care of myself.<\/dialogue>\n    <scene_description>Butch freezes as A POLICE SIREN WAILS in the BACKGROUND , growing CLOSER then FADING again . He puts the gun back to Jake 's head .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Hurry up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- ASHBY'S OFFICE- DAY<\/stage_direction>\n    <scene_description>Ashby sits behind a desk in front of the crew . In front of him are the corporate papers .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>We had to finalize the deal.<\/dialogue>\n    <character>ASHBY<\/character>\n    <dialogue>Everything looks in order.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>This has to happen fast.<\/dialogue>\n    <character>ASHBY<\/character>\n    <dialogue>I know. It wo n't go unnoticed.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>There'll be red flags.<\/dialogue>\n    <scene_description>Jake slides an envelope across the desk .<\/scene_description>\n    <character>ASHBY<\/character>\n    <dialogue>What's this?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>You need some convincing. Consider it a convincer.<\/dialogue>\n    <scene_description>Ashby leafs through the money in the envelope .<\/scene_description>\n    <character>ASHBY<\/character>\n    <dialogue>Let's just slow down for a second.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>You're worried about recouping the loan. I already told you.<\/dialogue>\n    <character>ASHBY<\/character>\n    <dialogue>No, I understand that. What I mean. What I'm trying to say. I was actually wondering about. Well, my cut.<\/dialogue>\n    <scene_description>ECU - A bead of sweat rolls down the back of Ashby 's neck .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Then there it is. Ashby gets the itch.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>The standard ten.<\/dialogue>\n    <character>ASHBY<\/character>\n    <dialogue>Ten percent. Of how much?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Two million.<\/dialogue>\n    <character>GORDO<\/character>\n    <dialogue>We're going to make it back, Grant.<\/dialogue>\n    <scene_description>Three or four times over .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>And all you need to do for your ten percent is put some paperwork through and push a button tomorrow.<\/dialogue>\n    <scene_description>There 's a pause before Ashby smiles , then reaches around to scratch his neck .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- CITY BANK OF MANHATTAN\/HALLWAY- DAY<\/stage_direction>\n    <scene_description>Jake exits Ashby 's office with Lupus , Gordo , Miles and Lily . They all follow Jake down the hallway .<\/scene_description>\n    <character>GORDO<\/character>\n    <dialogue>You'll be there?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Eight A.M. flight.<\/dialogue>\n    <character>GORDO<\/character>\n    <dialogue>Calls?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>We'll use the Euc.<\/dialogue>\n    <scene_description>They pass the glass partitioned conference room . Jake looks inside to see Morgan Gillette holding court with a bunch of SUITS . Butch stands behind Gillette . For a second , Butch and Jake 's eyes meet .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.- STREET- DAY<\/stage_direction>\n    <scene_description>Jake , Lily , Miles , Gordo and Lupus . As they move through the crowded sidewalk , Rottovich and Sobozinski appear behind them .<\/scene_description>\n    <character>ROTTOVICH<\/character>\n    <dialogue>Hey Jake.<\/dialogue>\n    <scene_description>Jake turns just in time to catch Rottovich 's fist square in the face . Jake staggers back and Sobozinski pushes him into an alley .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>That tip not work - out for you fellas?<\/dialogue>\n    <character>ROTTOVICH<\/character>\n    <dialogue>Tip was fine, Jake. We were a little more curious about the Fed.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Hey, listen. If you guys do n't pay your taxes, that's your business.<\/dialogue>\n    <scene_description>Sobozinski punches Jake in the stomach . Miles and Gordo lurch forward -<\/scene_description>\n    <character>SOBOZINSKI<\/character>\n    <parenthetical>( pulling his gun . )<\/parenthetical>\n    <dialogue>Back up.<\/dialogue>\n    <character>LUPUS<\/character>\n    <dialogue>You want I should hold him down?<\/dialogue>\n    <scene_description>Gordo throws Lupus a look .<\/scene_description>\n    <character>ROTTOVICH<\/character>\n    <dialogue>Special Agent Gunther Moonan. Ring a bell?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Gunther? I think I'd remember a Gunther.<\/dialogue>\n    <character>ROTTOVICH<\/character>\n    <dialogue>Ring it for him, Sobo.<\/dialogue>\n    <scene_description>Sobozinski punches Jake again .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Oh yeah. Moonan. I remember now. Thanks.<\/dialogue>\n    <character>ROTTOVICH<\/character>\n    <dialogue>Well he's in town and he sure as shit remembers you. What are we going to do about this Jake? We ca n't afford to have a Fed onto us.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Would n't dream of it.<\/dialogue>\n    <scene_description>Rottovich punches Jake hard in the stomach , sending him GASPING to the ground .<\/scene_description>\n    <character>ROTTOVICH<\/character>\n    <dialogue>I do n't know what you're into with the King Pin, but whatever it is we get a piece, understand? We get a big piece. If we find out you're keeping us out, I may suddenly develope a conscious and give you up to Moonan myself. Say something stupid if we got a deal, Jake.<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>( gasping for breath . )<\/parenthetical>\n    <dialogue>Something stupid.<\/dialogue>\n    <character>ROTTOVICH<\/character>\n    <dialogue>Good boy.<\/dialogue>\n    <character>SOBOZINSKI<\/character>\n    <dialogue>And do n't leave town!<\/dialogue>\n    <parenthetical>( to Rottovich . )<\/parenthetical>\n    <dialogue>I always wanted to say that.<\/dialogue>\n    <scene_description>As the cops exit , Lily , Miles and Gordo rush to Jake .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>People do n't like you much, do they?<\/dialogue>\n    <scene_description>Jake lets out a pained GROAN as they help him up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- CAR- DAY<\/stage_direction>\n    <scene_description>Rottovich and Sobozinski get in the front of a squad car . In the back , Moonan sits reading the Travel section of the NY Times .<\/scene_description>\n    <character>MOONAN<\/character>\n    <dialogue>Did he buy it?<\/dialogue>\n    <character>ROTTOVICH<\/character>\n    <dialogue>I think so. What'd he ever do to you anyway?<\/dialogue>\n    <character>MOONAN<\/character>\n    <dialogue>Let's just say he burned me once.<\/dialogue>\n    <scene_description>Moonan calmly turns the page of the paper .<\/scene_description>\n    <character>LUPUS<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Why's this guy so hard up for you? You're not exactly a threat to national security.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- THE EUCLID- DAY<\/stage_direction>\n    <scene_description>Jake sits at a barstool , battered and bruised . Lily tends to him with a towel . Miles and Gordo pour drinks . Lupus sits at a table , watching .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>We go way back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.- DOG RACETRACK- DAY<\/stage_direction>\n    <scene_description>A BELL . A mechanical rabbit springs forward . Greyhounds bolt out of the gate .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>About four years ago, we were working in Miami, turf fixing for some local goon.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.-- RACETRACK- DAY<\/stage_direction>\n    <scene_description>Gordo , Miles , Big A1 and Jake watch the race with indifference , surrounded by excited SPECTATORS .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Turns out this local goon was being watched by the Feds, which means we were being watched by the Feds. One in particular.<\/dialogue>\n    <scene_description>Through the crowd , we catch a glimpse of Moonan , in sunglasses , watching the guys .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Special Agent Gunther Moonan.<\/dialogue>\n    <scene_description>Jake turns and catches Moonan looking at him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.- RACETRACK\/PARKING LOT- DAY<\/stage_direction>\n    <scene_description>Moonan walks over to a car .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>He did n't really have anything on us, but I figure, maybe this guy's good for a Fix. So I ask him out to dinner.<\/dialogue>\n    <scene_description>Moonan pulls a piece of paper off the windshield that reads : `` La Scala 2night . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- LA SCALA- NIGHT<\/stage_direction>\n    <scene_description>An elegant restaurant . Jake sits confidently in an expensive suit speaking to the shabbily dressed Moonan across from him .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>These guys we have now, sure, give them twenty bucks and they'll look the other way on a parking ticket. But a Fed. You get a guy like that as your Fix.<\/dialogue>\n    <scene_description>Jake nonchalantly slides a fat envelope over to Moonan . Moonan picks it up and finds a wad of cash .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It was probably a stupid idea. There I am, Armani and Rolex. There he is, JC Penny and Timex.<\/dialogue>\n    <scene_description>Moonan smiles and slides the envelope back over to Jake with a disappointed shake of his head .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>So I took a shot. But now he had me on attempted bribery of a Federal Agent.<\/dialogue>\n    <scene_description>As Moonan stands , we see Big Al get up from the next table . A1 `` bumps '' into Gordo , dressed in a waiter 's white jacket . Gordo `` trips ; '' spilling scalding hot coffee into Moonan 's lap . Jake casually gets up and leaves . FREEZE FRAME ON MOONAN 'S CONTORTED FACE .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>That's when Gordo comes in with the Hazelnut French Roast.<\/dialogue>\n    <scene_description>RESUME - Moonan falls to the floor , holding his crotch in agony .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.- LA SCALA\/PARKING LOT- NIGHT<\/stage_direction>\n    <scene_description>Miles pulls up in an old Cadillac , picking up Jake at the entrance . They pick up Gordo and Big Al from a side door and drive off as Moonan limps out of the restaurant , still holding his crotch .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- THE EUCLID- DAY (RESUMING)<\/stage_direction>\n    <scene_description>Jake finishes the story to Lupus .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>And that's how Special Agent Gunther Moonan and I became friends.<\/dialogue>\n    <scene_description>Lupus nods , satisfied .<\/scene_description>\n    <character>GORDO<\/character>\n    <dialogue>Moonan. Here. Shit.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>So what? We just stay clear of him.<\/dialogue>\n    <scene_description>Jake gets up , hard enough to knock the chair over .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>Jesus. Take it easy.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>No, I'm not going to take it easy. You ca n't stay clear of this guy. He will be on this until the end of time.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>What do we do? We change the scam?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>There is no scam! I've got a fucking sign on my back! I ca n't leave town now and come back with a suitcase full of money. You get it? It's over. We walk.<\/dialogue>\n    <character>GORDO<\/character>\n    <dialogue>Jake -<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>What do I always tell you guys? Do n't spend it all. Sooner or later we're going to run into some bad luck. Save some. Put it away, so when shit like this happens, you're not desperate. That's it. The gig's up.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>That's it? What are you talking about? We can still do this!<\/dialogue>\n    <character>GORDO<\/character>\n    <dialogue>Jake, I mean, come on -<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>No, no, no! Not this time. I am doing this for your own good! You guys have got to learn when to stop. You with the Armani! You with the hookers!<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Escorts!<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Do you even remember Al? Do you remember what he looked like sitting there?<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>You are such a raving pussy sometimes.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Hey, we fucked once, honey. That hardly makes you a good judge of character. And do n't think I did n't know you were working some angle with that either.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>Everyone's working an angle, right?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>There are three people I trust - him, him and a guy who got killed. I do n't know who you are! You're like some stray doq that wandered into the house. So I'm telling you to cut loose of this. No one's looking for you, Not the King, not Moonan and not Gillette. Just go wherever it is you would go. It's over.<\/dialogue>\n    <scene_description>Lily looks around the room . No one seems to be backing her up .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>What about.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>What about what?<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>What about the money?<\/dialogue>\n    <scene_description>Jake stops and levels a look at Lily .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>So there it is. You got that big itch you need to scratch. It's all about the fucking money. What do you want, an apology?<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>No, I want my cut!<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I'm going to say this one last time for You, so take a deep breath and count to ten. There is no cut.<\/dialogue>\n    <scene_description>Lily levels a look of utter contempt at Jake .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>You're an asshole.<\/dialogue>\n    <scene_description>With that , she grabs her coat and leaves . Lupus sits quietly , taking it all in .<\/scene_description>\n    <character>GORDO<\/character>\n    <dialogue>So that's it.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>That's it.<\/dialogue>\n    <character>LUPUS<\/character>\n    <dialogue>King ai n't gon na like this.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Do n't worry, I'll settle up with your boss. We have n't skipped town yet.<\/dialogue>\n    <character>LUPUS<\/character>\n    <dialogue>What I'm saying is, is that the King ai n't gon na care. See he had a real thing with getting this Gillette guy, If you ask me I think he's jealous.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Of what? They're both crooks.<\/dialogue>\n    <character>LUPUS<\/character>\n    <dialogue>Exactly. ` Cept this Gillette guy. He gets to walk around in three piece suits, hob knob with the Mayor, own a bank, that kinda shit. Meanwhile, the King sits holed up in the steam, afraid to even take a leak without me or Harlin watching the door.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>My fucking heart bleeds.<\/dialogue>\n    <character>LUPUS<\/character>\n    <dialogue>Your buddy. That fat guy. The King could n't wait to have that guy whacked. He did n't even know who the guy was, but he was so pissed off at him, he gets him drilled. It ai n't personal. It's business.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Point, Lupus. Give us a point.<\/dialogue>\n    <character>LUPUS<\/character>\n    <dialogue>Point is, you do n't go through with this, he's going to go after you next. And he do n't even like you, Jake.<\/dialogue>\n    <scene_description>Lupus stares blankly at Jake .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - BACK ALLEY (PRESENT)<\/stage_direction>\n    <scene_description>Butch hovering over Jake .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>So much for honor among thieves. You would have cut loose your friends, your girl.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I was doing it for them.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>BULLSHIT! You were scared, Jake! You - Lost your nerve! You lost your confidence! You were n't being noble. You were n't trying to save anybody but yourself! Admit it.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>It's not true.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Yes it is Jake! Yes it is! They were right there for you. She was right there for you! Look at her!<\/dialogue>\n    <scene_description>Jake does n't move . Butch grabs him by the hair and turns him towards Lily .<\/scene_description>\n    <character>BUTCH<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>She trusted you and you sold her out! Be honest! Be a man! Tell her, Jake! Tell her that you loved her but the money meant more to you!<\/dialogue>\n    <scene_description>Butch kicks Jake in the gut .<\/scene_description>\n    <character>BUTCH<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Grifters. Gentleman's racket. My ass. You're just any other lowlife stammer - Looking out for number one.<\/dialogue>\n    <scene_description>Jake shuts his eyes , maybe because Butch is right .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - JAKE'S APARTMENT-- NIGHT<\/stage_direction>\n    <scene_description>Lupus and Jake sit at the table . Lupus on the phone .<\/scene_description>\n    <character>LUPUS<\/character>\n    <dialogue>Hey, boss. It's me. The bank's in. It's happening tomorrow. Jake?<\/dialogue>\n    <scene_description>Lupus turns to Jake and slaps him on the shoulder good buddy - style .<\/scene_description>\n    <character>LUPUS<\/character>\n    <parenthetical>( cont ' d . )<\/parenthetical>\n    <dialogue>He got a little shaky there for a minute, but we got him back in the batter's box.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. -BULLDOG GYM - SAME<\/stage_direction>\n    <scene_description>The King Pin on a cell phone . Harlin stands in front of him , punching the King 's stomach hard enough that he 's sweating . The King seems to hardly notice .<\/scene_description>\n    <character>LUPUS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Coupla things. They got this Fed, loo king around and the girl just split.<\/dialogue>\n    <character>KING PIN<\/character>\n    <dialogue>A Fed? Is he close?<\/dialogue>\n    <character>LUPUS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I do n't think so. Their Fix gave us the heads up and Jake's got a plan that'll probably keep him off.<\/dialogue>\n    <scene_description>BACK TO LUPUS<\/scene_description>\n    <character>LUPUS<\/character>\n    <dialogue>But this girl, the redhead. She knows a lot. She could be a pain in the ass.<\/dialogue>\n    <scene_description>Jake looks up .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>No. She wo n't. She's not going to be a problem.<\/dialogue>\n    <scene_description>Lupus cups the phone .<\/scene_description>\n    <character>LUPU<\/character>\n    <dialogue>He wants to talk to you.<\/dialogue>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>Do n't tell him I said he was jealous of Gillette, okay?<\/dialogue>\n    <scene_description>Jake reaches over and grabs the phone .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Uh huh. Uh huh. Okay. I understand.<\/dialogue>\n    <scene_description>Jake hangs up the phone .<\/scene_description>\n    <character>LUPUS<\/character>\n    <dialogue>What'd he say?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Oh, you know. Do n't fuck this up. I'll kill you. I'll kill your family. I'll shoot your dog. All the usual. Then he said good luck.<\/dialogue>\n    <scene_description>A FLAPPING SOUND catches Jake and Lupus 's attention . A WHITE PIGEON sits on the frame of an open window .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Aww, shit!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.   BACK ALLEY- NIGHT (PRESENT)<\/stage_direction>\n    <scene_description>With a shrug , Jake continues .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>We were back on.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>After you cut her loose.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>She walked.<\/dialogue>\n    <scene_description>Lily pushes Butch aside and moves closer to Jake .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>I walked? Let me tell you a story, asshole.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- LILY'S APARTMENT- NIGHT<\/stage_direction>\n    <scene_description>Lily stands at a hot plate in her `` kitchen '' frying an egg . HEAVY FOOTSTEPS from the hall catch her attention , growing louder , then stopping at her door . A KNOCK .<\/scene_description>\n    <character>HARLIN<\/character>\n    <parenthetical>( 0 .<\/parenthetical>\n    <parenthetical>S . )<\/parenthetical>\n    <dialogue>Lily?<\/dialogue>\n    <scene_description>Lily frantically rumages through drawers . She pulls a knife , but it 's only a butter knife . She tosses it aside . Lily moves to the door and looks out the peep hole .<\/scene_description>\n    <character>HARLIN<\/character>\n    <parenthetical>( O. S . )<\/parenthetical>\n    <dialogue>. Jake sent me.<\/dialogue>\n    <scene_description>Lily moves to the closet .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>Jake? Hold on. I just got out of the shower.<\/dialogue>\n    <scene_description>More KNOCKING . Lily rumages in the closet and a baseball bat . She hefts the bat and takes a stance in front of the door . More KNOCKING .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>HOLD ON!<\/dialogue>\n    <scene_description>Another KNOCK . Lily slowly reaches for the doorknob . Then the door flies open with a CRASH . Harlin fills the doorway .<\/scene_description>\n    <character>HARLIN<\/character>\n    <dialogue>The King would like to have a word with you.<\/dialogue>\n    <scene_description>Lily , wide - eyed , stands frozen with the bat still cocked .<\/scene_description>\n    <character>LILY<\/character>\n    <dialogue>Uh, right now?<\/dialogue>\n    <character>HARLI<\/character>\n    <dialogue>Please. I have a car waiting.<\/dialogue>\n    <scene_description>Lily takes a swing . Harlin easily grabs the bat and backhands Lily . She goes flying back into the far wall , bounces off and lands with a THUD at Harlin 's feet where she finds the butter knife . Harlin reaches down and pulls Lily up by the hair . The egg SIZZLES in the pan . Lily takes a stab at Harlin , but the knife just bounces off his coat . Harlin slaps Lily again , sending her flying into the stove . Smoke starts to rise from the burning egg . Harlin steps closer , but Lily throws her hands up in surrender . A spoon RATTLES in a cup as the RUMBLE of a subway train grows LOUDER .<\/scene_description>\n    <character>HARLIN<\/character>\n    <parenthetical>( Drowned out by rumble . )<\/parenthetical>\n    <dialogue>I apologize for the -<\/dialogue>\n    <character>LILY<\/character>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>WHAT?<\/dialogue>\n    <character>HARLIN<\/character>\n    <parenthetical>( yelling back . )<\/parenthetical>\n    <dialogue>I SAID, I APOLOGIZE FOR -<\/dialogue>\n    <scene_description>Lily shakes her head and points to her ear and mouths , `` Ca n't hear you . '' Harlin moves closer and they lean into each other .<\/scene_description>\n    <character>HARLIN<\/character>\n    <parenthetical>( cont ' d . )<\/parenthetical>\n    <parenthetical>( louder . )<\/parenthetical>\n    <dialogue>I SAID, I APOLOGIZE FOR -.<\/dialogue>\n    <parenthetical>( the subway passes . )<\/parenthetical>\n    <dialogue>- The door.<\/dialogue>\n    <character>LILY<\/character>\n    <parenthetical>( Nodding . )<\/parenthetical>\n    <dialogue>No problem.<\/dialogue>\n    <scene_description>She grabs the smoking pan from the stove and WHACKS Harlin across the head . The burned egg lands on the floor . Lily watches as he sways and teeters on his feet , like a drunk . She raises the pan again . But before she delivers the final blow , Harlin steps on the egg , causing his leg to shoot out from under him . He lands flat on his back , out cold . The wood floor CREAKS with his weight . Lily wipes the blood from her nose and turns the hot plate off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - BACK ALLEY- NIGHT (PRESENT)<\/stage_direction>\n    <scene_description>Jake , Butch and Lily .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Sorry. I did n't know.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>Your friend, Big Al? It should have been you.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Alrlght, alrlght. What happened today?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Today? Started off great.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.-- CAYMEN ISLANDS\/BEACH- DAY<\/stage_direction>\n    <scene_description>Crystal blue water gently rolls onto virgin white sand . A jet cuts a line across the cloudless sky .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Ashby was going to call us with the exact time of the transfer. The King was waiting on us. Just to be safe.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- JET- SAME<\/stage_direction>\n    <scene_description>Gordo sits in first class , impeccably dressed in a Brooks Brothers suit .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V .<\/parenthetical>\n    <parenthetical>O . )<\/parenthetical>\n    <dialogue>Gordo went down to the Caymens instead of me. I needed Rottovich and Sobozinski to keep Moonan off our backs and the only way I could do that was to stay in town and cut them in on the deal.<\/dialogue>\n    <scene_description>CUT T0 :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- 16TH PRECINT- SAME<\/stage_direction>\n    <scene_description>Rottovich and Sobozinski sit around the desks , as Moonan reads the newpaper behind them .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>So they waited for my call while Miles and I waited for Ashby's call.<\/dialogue>\n    <scene_description>CUT T0 :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- THE EUCLID- SAME<\/stage_direction>\n    <scene_description>Jake sits with Miles and Lupus at a table in the otherwise empty bar .<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>He should be landing in the Caymens about now. The Custom's guy is ready right?<\/dialogue>\n    <scene_description>Jake stares off into space , absentmindedly flipping a penny in his hand .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Feeling lucky today, Miles. Found a penny - Heads up. There was an empty cab right outside my building. We hit every green light.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>And we got rid of the red head.<\/dialogue>\n    <scene_description>Jake considers .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>And we got rid of the red head.<\/dialogue>\n    <character>MILES<\/character>\n    <dialogue>Jake? Customs?<\/dialogue>\n    <scene_description>Jake just nods and continues flipping the penny . JAKE . -LRB- V.O . -RRB- They say a good chess player can . See up to twenty moves deep . That means that in some games , you 've calculated every possible move in your head . The game 's over before it 's even '' really started . CUT T0 :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- CITY BANK OF MANHATTAN\/ASHBY'S OFFICE- SAME<\/stage_direction>\n    <scene_description>Ashby sits at a desk , computer terminal in front of him . He speaks in hushed tones on the phone .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Same thing with playing a con. You have to be able to see that deep.<\/dialogue>\n    <character>ASHBY<\/character>\n    <dialogue>Jake? Right. Uh - huh. Uh - huh. Yeah, it's going through -<\/dialogue>\n    <scene_description>INSERT SHOT - ECU of Ashby 's finger on the `` Enter '' key .<\/scene_description>\n    <character>ASHBY<\/character>\n    <parenthetical>( coat ' d . )<\/parenthetical>\n    <dialogue>Now.<\/dialogue>\n    <scene_description>Ashby hangs up and checks over his shoulder . CUT T0 :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - THE EUCLID BAR- SAME<\/stage_direction>\n    <scene_description>Jake hangs up and immediately dials another number .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>In order to ensure that we were n't going to welch, Ashby's pay - off was to be directly deposited into his own offshore account which he could confirm electronically. In this age of ecommerce, paper currency has become'' more of a liability than a commodity. Especially to us.<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.- CAYMEN ISLANDS\/CAFE- SAME<\/stage_direction>\n    <scene_description>Gordo listens into a cell phone : Without saying a word , he gets up , wheeling a nondescript BLACK SUITCASE . Across the street sits the Grand Caymen 's Bank in all it 's pastel and brass glory .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.-- GRAND LAYMEN'S BANK- DAY<\/stage_direction>\n    <scene_description>Gordo moves across the lobby of the bank to the back of a line at the Teller windows wheeling the black suitcase .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Gordo was making the withdrawal from the Grand Laymen's Bank.<\/dialogue>\n    <scene_description>Gordo stands in front of a Teller . She reads off a paper then does a double take at Gordo , who smiles back .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V. O . )<\/parenthetical>\n    <dialogue>They check the papers.<\/dialogue>\n    <scene_description>Gordo slides a folder of corporate papers along with his photo ID towards the Teller . We follow the teller as she hands the papers to the OFFICIOUS LOAN OFFICER . ANGLE ON the teller window - A check is pushed to Gordo .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>They stick.<\/dialogue>\n    <scene_description>Gordo shakes the Loan Officer 's hand and calmly walks towards the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.- LAYMEN ISLANDS\/STREET DAY<\/stage_direction>\n    <scene_description>Gordo walks across the street with the suitcase and pulls a cell phone from his pocket .<\/scene_description>\n    <character>GORDO<\/character>\n    <dialogue>First and ten.<\/dialogue>\n    <scene_description>Gordo hangs up without another word . He approaches a building with the words `` BANK OF THE CAYMENS '' engraved over the brass handled doors .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- BANK OF THE CAYMENS- DAY<\/stage_direction>\n    <scene_description>Gordo approaches the teller window with the check in hand .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Then he had to bang it out across the street at the Bank of the Caymens.<\/dialogue>\n    <character>GORDO<\/character>\n    <dialogue>I'd like this cashed, please.<\/dialogue>\n    <scene_description>ANOTHER TELLER looks at the check then back up at Gordo .<\/scene_description>\n    <character>GORDO<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>I also need to deduct a certain amount and deposit it into this account number.<\/dialogue>\n    <scene_description>Gordo takes another piece of paper and slides it to the Teller .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- CITY BANK OF MANHATTAN\/ASHBY'S OFFICE- DAY<\/stage_direction>\n    <scene_description>Ashby sits , nervously tapping his computer monitor with a pen . MARIE , a secretary , pokes her head in .<\/scene_description>\n    <character>MAR I E<\/character>\n    <dialogue>Mr. Ashby? Mr. Thompson from International with a 34R on a corporate account.<\/dialogue>\n    <scene_description>Ashby watches the screen , as a big broad smile comes across his face .<\/scene_description>\n    <character>ASHBY<\/character>\n    <dialogue>Probably just a new account marker.<\/dialogue>\n    <parenthetical>( standing . )<\/parenthetical>\n    <dialogue>Tell him I already left for lunch and that I'll call him later.<\/dialogue>\n    <scene_description>Ashby grabs his coat and strides confidently out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- BANK OF THE CAYMENS\/VAULT ROOM- CONTINUOUS<\/stage_direction>\n    <scene_description>A SECURITY GUARD stands in the small , windowless room . Gordo is escorted into the room by a BANK OFFICIAL .<\/scene_description>\n    <character>BANK OFFICIAL<\/character>\n    <dialogue>We'll let you have a moment.<\/dialogue>\n    <scene_description>On a small table are neat piles of bundled money , shrink wrapped in plastic . Gordo seems in awe .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>We called them Green Twinkies.<\/dialogue>\n    <scene_description>The Bank Official and Security Guard exit . Gordo holds up a Green Twinkie up to his nose and takes a deep breath .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.- CAYMEN ISLANDS\/STREET- DAY<\/stage_direction>\n    <scene_description>The Security Guard holds open the door as Gordo exits , suitcase in tow . Gordo takes his cell phone out as he moves across the street .<\/scene_description>\n    <character>GORDO<\/character>\n    <dialogue>We got Twinkies.<\/dialogue>\n    <scene_description>Gordo pockets the phone and disappears into the crowd .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.-- THE EUCLID- SAME<\/stage_direction>\n    <scene_description>Jake hangs up the phone and dials another number . He nods at Lupus .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Miles was on his way to the airport to wait for Gordo to land. I made the call.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Yeah, it's me. I need an escort. Not a ride, just an escort. You wanted in, this is in.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- 16TH PRECINCT\/DETECTIVES' OFFICE- DAY<\/stage_direction>\n    <scene_description>Sobozinski behind a desk . Sitting in a chair leafing through a magazine is Moonan . Rottovich on the phone .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Kennedy. International terminal. Gordo with a black suitcase. You got Moonan under control?<\/dialogue>\n    <character>ROTTOVICH<\/character>\n    <dialogue>Do n't worry about Moonan. We got him covered. When?<\/dialogue>\n    <parenthetical>( hanging up . )<\/parenthetical>\n    <dialogue>It was him. There's a shipment coming through tonight. Kennedy.<\/dialogue>\n    <character>MOONAN<\/character>\n    <dialogue>Shipment of what?<\/dialogue>\n    <parenthetical>( off Rottovich 's shrug . )<\/parenthetical>\n    <dialogue>Find two cars. And change into plain clothes.<\/dialogue>\n    <scene_description>After Rottovich and Sobozinski exit , Moonan dials a number .<\/scene_description>\n    <character>MOONAN<\/character>\n    <dialogue>It's Moonan. Tonight. JFK. International terminal. Come heavy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- THE EUCLID- NIGHT<\/stage_direction>\n    <scene_description>Jake sits at the bar , looking at his watch . He notices his hand is shaking .<\/scene_description>\n    <character>LUPUS<\/character>\n    <dialogue>So that's it, huh? You get the cops to give you a safe ride.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Let me ask you something. You really think I'm going to come this close, this fucking close and let my guard down? I'll get square with your boss. I'll get square with whoever did Al.. I'll get square with everybody. Then I'm going going to cash in my chips and be on my way to a new and better me far away from here.<\/dialogue>\n    <character>LUPUS<\/character>\n    <dialogue>You're a weasal.<\/dialogue>\n    <scene_description>Lupus gets off the stool and we follow him into .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- THE EUCLID\/BATHROOM- CONTINUOUS<\/stage_direction>\n    <scene_description>Lupus enters the small . Bathroom and pulls a cellphone .<\/scene_description>\n    <character>LUPUS<\/character>\n    <dialogue>Yeah. He's landing with the money at Kennedy in a few hours. International Terminal. You were right. He's trying to fuck you. You want it, you got ta get it at the airport.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- BULLDOG GYM\/LOCKER ROOM- SAME<\/stage_direction>\n    <scene_description>The King Pin closes the cell phone and looks over at Harlin , who 's hair is singed and matted down on one side .<\/scene_description>\n    <character>KING PIN<\/character>\n    <dialogue>He's got pigs for an escort. You believe this guy?<\/dialogue>\n    <character>HARLIN<\/character>\n    <dialogue>I'll get the car.<\/dialogue>\n    <character>KING PIN<\/character>\n    <dialogue>Always something.<\/dialogue>\n    <scene_description>The King struggles into a pair of pants , then turns around .<\/scene_description>\n    <character>KING PIN<\/character>\n    <parenthetical>( cont ' d . )<\/parenthetical>\n    <dialogue>My ass look big in this?<\/dialogue>\n    <scene_description>Harlin deliberately looks away .<\/scene_description>\n    <character>HARLIN<\/character>\n    <dialogue>Looks fine, Boss.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.-- JFK AIRPORT\/PARKING LOT- NIGHT<\/stage_direction>\n    <scene_description>A black Lincoln Town Car rolls through the parking lot . Behind the wheel we see Harlin with the King Pin riding in the back . The Town Car passes . MILES SITTING ON THE HOOD OF A CAR LOOKING AT THE TERMINAL . We follow the Town Car as it passes . ROTTOVICH AND SOBOZINSKI STAKED OUT IN AN UNMARKED POLICE CAR A FEW SPACES PAST MILES . The Town Car finally parks in the same row , each car , separated only by a few spaces .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- UNMARKED POLICE CAR- SAME<\/stage_direction>\n    <scene_description>Sobozinski and Rottovich overlook the terminal .<\/scene_description>\n    <character>SOSOZINSKI<\/character>\n    <dialogue>You trust this Moonan guy?<\/dialogue>\n    <character>ROTTOVICH<\/character>\n    <dialogue>I do n't trust anybody. You see how bad this guy wants Vig? It's like a sickness. I say we collar Vig ourselves. We got Vig, then we got leverage. And we trade ; Vig for that tape. I want to see it right in front of my face.<\/dialogue>\n    <character>SOBOZINSKI<\/character>\n    <dialogue>It's just insurance.<\/dialogue>\n    <character>ROTTOVICH<\/character>\n    <dialogue>That's what I'm talking about.<\/dialogue>\n    <character>SOBOZINSKI<\/character>\n    <dialogue>I'm down!<\/dialogue>\n    <scene_description>Sobozinski holds his hand up for a high five .<\/scene_description>\n    <character>ROTTOVICH<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>SOBOZINSKI<\/character>\n    <dialogue>High five.<\/dialogue>\n    <character>ROTTOVICH<\/character>\n    <dialogue>Put your hand down. I do n't high five.<\/dialogue>\n    <scene_description>There 's the CRACKLE from a walkie - talkie .<\/scene_description>\n    <character>MOONAN<\/character>\n    <dialogue>You guys awake?<\/dialogue>\n    <character>ROTTOVICH<\/character>\n    <parenthetical>( into walkie . )<\/parenthetical>\n    <dialogue>We're here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- JFK AIRPORT\/TERMINAL- SAME<\/stage_direction>\n    <scene_description>Moonan sits a safe distance away from an area marked `` Customs '' . Behind a large table , a few CUSTOMS OFFICERS in white shirts mill around . Moonan speaks into a mic hidden in his sleeve .<\/scene_description>\n    <character>MOONAN<\/character>\n    <dialogue>Stay sharp.<\/dialogue>\n    <scene_description>Moonan keeps his eyes on the Customs desk .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - JET- NIGHT<\/stage_direction>\n    <scene_description>Gordo sits squashed in the window seat , next to a VERY HEAVYSET COUPLE .<\/scene_description>\n    <character>MR. HEAVYSET<\/character>\n    <dialogue>Oh jeez.<\/dialogue>\n    <scene_description>Mr. Heavyset quickly gets up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- THE EUCLID- SAME<\/stage_direction>\n    <scene_description>Jake sits at the bar , the phone a few inches away . Lupus pours himself a drink from the bar . The phone RINGS .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Gordo.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- JET- SAME<\/stage_direction>\n    <scene_description>Gordo on the Air - Phone next to MRS. HEAVYSET .<\/scene_description>\n    <character>GORDO<\/character>\n    <dialogue>I'm landing in about fifteen minutes.<\/dialogue>\n    <scene_description>MR. HEAVYSET returns to his seat , drying his hands on his own shirt .<\/scene_description>\n    <character>MR. HEAVYSET<\/character>\n    <dialogue>Jeez. I tell ya, this airline food goes right through me every time.<\/dialogue>\n    <scene_description>Mrs. Heavyset pats her husband 's hand .<\/scene_description>\n    <character>GORDO<\/character>\n    <dialogue>You ever use the bathroom in Kennedy?<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>What? No. Use the bathroom on the plane!<\/dialogue>\n    <scene_description>Gordo eyes Mr. &amp; Mrs. Heavyset .<\/scene_description>\n    <character>GORDO<\/character>\n    <dialogue>Let me just say that there is no way I'm using the bathroom on this plane.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- THE EUCLID- SAME<\/stage_direction>\n    <scene_description>Jake hangs up .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>He's wheeling around two million dollars in cash and he wants to stop to use the bathroom. You believe this?<\/dialogue>\n    <character>LUPUS<\/character>\n    <dialogue>Maybe he's got it right. Maybe we're all just looking for a safe place to shit.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>That was fucking deep.<\/dialogue>\n    <scene_description>Lupus gets up and heads for the bathroom again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- TOWN CAR- SAME<\/stage_direction>\n    <scene_description>A CELL PHONE RINGS with a digitized version of `` Ode to Joy '' . The King answers it .<\/scene_description>\n    <character>KING PIN<\/character>\n    <dialogue>Speak.<\/dialogue>\n    <character>LUPUS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>He's landing. He's got a suitcase on wheels.<\/dialogue>\n    <character>KING PIN<\/character>\n    <dialogue>So do half the other people in this place. How do I know which one?<\/dialogue>\n    <character>LUPUS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I got it figured out. He's got this thing with bathrooms. If he makes it through Customs, he'll be heading for the john.<\/dialogue>\n    <character>KING PIN<\/character>\n    <dialogue>Good. Good. Do not let Vig out of your sight.<\/dialogue>\n    <scene_description>The King hangs up the phone and motions to Harlin to go .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. -- THE EUCLID BAR- SAME<\/stage_direction>\n    <scene_description>Jake looks up at a small digital clock sitting behind the bar . It reads `` 11:11 PM . '' Lupus emerges from the back hallway to find Jake dialing a number .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>What's up with you? Bladder infection?<\/dialogue>\n    <character>LUPUS<\/character>\n    <dialogue>Keep it up.<\/dialogue>\n    <character>LILY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>You got my cell. Leave a message.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>It's me. It's Jake. Listen. It's happening. Gordo's landing right now. Meet me at the Euclid. For your cut, I mean. It's. I want you to have it.<\/dialogue>\n    <scene_description>Jake hangs up the phone .<\/scene_description>\n    <character>LUPUS<\/character>\n    <dialogue>You really like that bitch do n't you? I got ta tell you, I was pretty convinced that the whole thing before was blowing her off for her cut. You know how it is, get her to do some shit for you, throw her a bang to keep her happy. But, if you're into her. That's cool.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>That's what I like about you, Lupus. You're a free thinker. Do n't let the King tell you different.<\/dialogue>\n    <character>LIONEL<\/character>\n    <dialogue>Not for nothing, Jake, but the guy who whacked your buddy? It was me. The King usually farms out for that kind of stuff, but I tell ya, he was so pissed off he could n't wait for the regular guy. Fucker did n't even put down his Kung Pao Chicken.<\/dialogue>\n    <scene_description>Jake seems to be reeling with the information .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Egg Foo Young.<\/dialogue>\n    <parenthetical>( standing . )<\/parenthetical>\n    <dialogue>Stand up.<\/dialogue>\n    <character>LUPUS<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Stand up.<\/dialogue>\n    <character>LUPUS<\/character>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>No offense, but I've seen you fight. You got ta be kidding m -<\/dialogue>\n    <scene_description>Jake 's sends a fist flying right into Lupus ' mouth , knocking him over .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>I said stand up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- MORGAN GILLETTE'S OFFICE- NIGHT<\/stage_direction>\n    <scene_description>MORGAN GILLETTE sits behind a desk in an ultra modern office , his reptilian like face fixed straight ahead . Butch leans against the wall behind him .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>This is probably about where you came in.<\/dialogue>\n    <character>GILLETTE<\/character>\n    <dialogue>Wow. Now that's an exciting story. Butch, has anyone ever tried something like this before?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Not that I recall. What do you want us to do about it?<\/dialogue>\n    <character>GILLETTE<\/character>\n    <dialogue>Let's see. Let's suppose he gets to Customs and he gets caught. We get our money back, but then we have to deal with a criminal investigation. I do n't much like that idea. Then again, let's suppose he actually gets through Customs. Now, that'll be something. We recover the money in cash and let the insurance cover the corporate fraud. We double our money.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>So we go to the bar.<\/dialogue>\n    <character>GILLETTE<\/character>\n    <dialogue>I think so. The airport's going to be crawling with police. Traffic will be a nightmare. Go down to the bar. If they pull it off, great. Have someone deal with Ashby.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>We'll take care of it.<\/dialogue>\n    <character>GILLETTE<\/character>\n    <dialogue>And how much did you say you wanted for this. What did you call it? A finder's fee?<\/dialogue>\n    <scene_description>REVEAL Lily sitting on the couch in front of them , cell phone in hand .<\/scene_description>\n    <character>LIL<\/character>\n    <dialogue>Ten percent.<\/dialogue>\n    <character>GILLETTE<\/character>\n    <dialogue>Ten? That seems a little high.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Ten is standard, sir.<\/dialogue>\n    <character>GILLETTE<\/character>\n    <dialogue>Fine. But only if we recover the cash.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>Only if -? No way. I want something for this.<\/dialogue>\n    <character>GILLETTE<\/character>\n    <dialogue>Have a little faith in him, honey. Butch, see if you can get him to tell you how he did it. Or almost did it. Sounds like a good story.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>I' ll ask.<\/dialogue>\n    <scene_description>Gillette picks up an APPLE from a bowl in his desk . The oldest con .<\/scene_description>\n    <character>GILLETTE<\/character>\n    <dialogue>Apple?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- AIRPORT\/TERMINAL HALLWAY- NIGHT<\/stage_direction>\n    <scene_description>We follow Gordo as he wheels the black suitcase down the long corridor towards the Customs Desk . Moonan spots Gordo and speaks into his wrist .<\/scene_description>\n    <character>MOONAN<\/character>\n    <dialogue>I got him.<\/dialogue>\n    <scene_description>ANGLE ON THE CUSTOMS DESK A few TRAVELERS quickly move past the desk . Gordo approaches a CUSTOMS OFFICER . Gordo lays the suitcase on the desk : The Customs Officer looks nervously in both directions before waving Gordo through . Moonan follows at a safe distance as Gordo clears Customs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- CAR- SAME<\/stage_direction>\n    <scene_description>Rottovich and Sobozinski check their guns .<\/scene_description>\n    <character>MOONAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>He's headed towards the eastern most exit. Do not, under any circumstances approach. I want to follow this all the way down to Vig.<\/dialogue>\n    <character>SOBOZINSK<\/character>\n    <parenthetical>( into walkie . )<\/parenthetical>\n    <dialogue>Roger that.<\/dialogue>\n    <character>ROTTOVICH<\/character>\n    <dialogue>Oh yeah, we'll wait, jerk - off.<\/dialogue>\n    <scene_description>Sobozinski snorts a LAUGH as they get out of the car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- JFK AIRPORT\/TERMINAL- SAME<\/stage_direction>\n    <scene_description>Gordo wheels the suitcase towards the exit when he spots the MEN 'S ROOM . He stops and considers for a moment before he turns and enters . Moonan watches a few yards back . He pulls his badge out from under his shirt , hanging from a chain .<\/scene_description>\n    <character>MOONAN<\/character>\n    <parenthetical>( into mic . )<\/parenthetical>\n    <dialogue>He just went into the crapper. Hold your positions.<\/dialogue>\n    <scene_description>Harlin walks into the Men 's Room half a minute after Gordo .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- MEN'S ROOM- SAME<\/stage_direction>\n    <scene_description>Gordo pads the toilet with half the roll before gingerly setting his ass down . Suddenly the STALL DOOR FLIES OPEN . Harlin steps in , Gordo defenseless with his pants at his ankles . Harlin picks him up off the toilet and throws him into the wall repeatedly before letting him fall face first onto the dirty floor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- JFK AIRPORT\/TERMINAL- CONTINUOUS<\/stage_direction>\n    <scene_description>Moonan watches the door to the Men 's Room as Harlin comes out , wheeling the black suitcase behind him .<\/scene_description>\n    <character>MOONAN<\/character>\n    <parenthetical>( into mic . )<\/parenthetical>\n    <dialogue>They pulled a switch. Big guy. Blue suit. Keep on him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.- JFK AIRPORT\/PARKING LOT- CONTINUOUS<\/stage_direction>\n    <scene_description>Rottovich turns the walkie talkie off as he and Sobozinski fall in behind Harlin . ANGLE ON MILES - Who steps out of his car , watching the little parade go by with a look of confusion .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- THE EUCLID- SAME<\/stage_direction>\n    <scene_description>A LOUD THUMPING NOISE . Jake has Lupus by the hair as he rams his head repeatedly into the bar . Jake then gets him into a headlock . Lupus snaps his head back and butts Jake in the nose , sending him staggering back . TNT . - JFK AIRPORT\/TERMINAL - SAME Moonan taps the mic hidden in his sleeve , then checks the walkie .<\/scene_description>\n    <character>MOONAN<\/character>\n    <dialogue>Hello? Can you hear me?<\/dialogue>\n    <scene_description>Moonan pulls the ear plug out and races down the hall .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.- JFK AIRPORT\/PARKING LOT- SAME<\/stage_direction>\n    <scene_description>Harlin gets to the King Pin 's car and opens the back door . As he crams the suitcase in , Rottovich and Sobozinski come up behind him , guns drawn .<\/scene_description>\n    <character>ROTTOVICH<\/character>\n    <dialogue>Hey asshole.<\/dialogue>\n    <scene_description>They both grin like idiots .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- THE EUCLID- SAME<\/stage_direction>\n    <scene_description>Jake goes flying into the bar . Lupus pushed Jake back up against the bar and lands a series of body blows . Jake manages to grab the phone and whips it across Lupus ' head , sending him to the ground . Jake straddles Lupus and raises the phone for the last whack . We HEAR A LOUD CLICK . Jake stops and the two slowly get up . As they stand , we can see that Lupus has the barrel of a small gun in Jake 's mouth . Jake shuts his eyes tight , still holding the phone . Which just then , RINGS . Jake opens his eyes and looks at the phone . Then to Lupus , who nods . Jake picks up the receiver and speaks , the gun still in his mouth .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Eww - Whoa?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.- JFK AIRPORT\/PARKING LOT- SAME<\/stage_direction>\n    <scene_description>Miles on a cell phone .<\/scene_description>\n    <character>MILES<\/character>\n    <dialogue>Jake! I do n't know what's going on! The King Pin. He's here and he just got pinched. I think with the twinkies! It looks like half the police department's down here!<\/dialogue>\n    <scene_description>In the BACKGROUND , a whirlwind of activity - Red and blue flashing lights , half of the police department , Federal Agents in blue windbreakers . The King and Harlin slumped over the hood of the car , cuffed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - THE EUCLID BAR- SAME<\/stage_direction>\n    <scene_description>Jake drops the phone and looks at Lupus .<\/scene_description>\n    <character>LUPUS<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>( w \/ the gun still in his mouth . )<\/parenthetical>\n    <dialogue>Eee Oott Auught!<\/dialogue>\n    <character>LUPUS<\/character>\n    <parenthetical>( pulling the gun out . )<\/parenthetical>\n    <dialogue>Sorry. What?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>HE GOT CAUGHT! Your boss tried to pull a switch and he got us all fucking pinched!<\/dialogue>\n    <scene_description>Lupus picks up the phone and dials another number . No answer .<\/scene_description>\n    <character>LUPUS<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <scene_description>Lupus cocks the gun and crams it back into Jake 's mouth .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Aaaaiiit! Ooopusss!<\/dialogue>\n    <scene_description>Lupus takes a newspaper off the bar and covers Jake 's face with it . SLAM ! - Blood splatters across the front page of the Metro Section . The paper falls away revealing Jake , wide - eyed , the gun hanging from his mouth . Lupus lies in a heap at the floor . Jake lets the gun fall and Looks up to see Butch , standing at the door , gun in hand . Lily steps out from behind him .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I never thanked you for that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK ALLEY- NIGHT (PRESENT)<\/stage_direction>\n    <scene_description>Jake runs his tongue across the front of his teeth .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>You're welcome.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>Can we please all stop being so goddamnfucking - polite and get to the point?<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Right. Where's the money, Jake?<\/dialogue>\n    <scene_description>Butch presses the gun against Jake 's head . Jake turns and looks at Lily . They lock eyes .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>What do you get, Lily? Finder's Fee? Because it is all about the money, right?<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>You sold me out. You should have trusted me like I trusted you. You fucked up. You fucked up HUGE.<\/dialogue>\n    <scene_description>Butch taps Jake on the head with the gun .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Alright. Turn around. She does n't get shit, unless I get that money. Where is it?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Probably safe in the hands of the Federal Government.<\/dialogue>\n    <scene_description>Butch buttons his coat .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Oh, Jake. You disappoint me. And you just let Lily here down again. What was it you said about playing the big con?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>It's like putting on a play, where everyone knows their part except for the mark.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>Like putting on a play. Guess some people forgot their lines.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Guess so.<\/dialogue>\n    <character>BUTCH<\/character>\n    <dialogue>So why do n't you take a deep breath, Jake, and I'll count to ten. One. Two. Three.<\/dialogue>\n    <scene_description>As Butch continues to count , Jake slowly turns his head and looks at Lily . Butch , still counting , smiles at Lily 's obvious contempt then slides the gun along the back of Jake 's head .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>I do trust you, Lily.<\/dialogue>\n    <scene_description>Butch turns back to Lily to see her reaching into her bag .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Wha -<\/dialogue>\n    <scene_description>Butch spins and aims at her . Lily pulls out a gun and . BLAM !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- JFK AIRPORT\/BATHROOM- SAME<\/stage_direction>\n    <scene_description>Gordo stirs on the floor of the stall , slowly getting up . Pieces of toilet paper are stuck to his face .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Trust.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.- CAR- SAME<\/stage_direction>\n    <scene_description>Miles gets back in the car and SCREECHES out of his parking space .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It should be a four letter word.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. - BACK ALLEY- NIGHT (PRESENT)<\/stage_direction>\n    <scene_description>Lily drops the gun and breaks down in tears<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>Jesus Christ! Tell me before you do something like that!<\/dialogue>\n    <scene_description>Jake lies face down in a puddle , the collected pool of water growing red with blood . POLICE SIRENS WAIL in the distance , growing closer .<\/scene_description>\n    <character>BUTCH<\/character>\n    <dialogue>You should leave.<\/dialogue>\n    <scene_description>Butch disappears down the dark alley . Lily stands for a moment and takes a final look at Jake 's body . She then turns and runs back into the bar .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>So I'm dead.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.- JFK AIRPORT\/PARKING LOT- NIGHT<\/stage_direction>\n    <scene_description>POLICE OFFICERS and FEDERAL AGENTS in windbreakers swarm all over the parking lot . The King and Harlin are bent over the hood of the car , cuffed . One Federal Agent pulls the black suitcase out of the car .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V .<\/parenthetical>\n    <parenthetical>O . )<\/parenthetical>\n    <dialogue>But maybe I ca n't blame Lily. Maybe I just should have just trusted her to play her part. Because playing the big con is like putting on a play. A play where everyone knows their part except for the Mark.<\/dialogue>\n    <scene_description>-LRB- FLASHBACK -RRB- INT . - DINER Jake sits with Lily , Miles and Gordo crammed into a booth .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Just watch everything you say around him. Every word, every move. It all goes back to the King Pin. Get it?<\/dialogue>\n    <scene_description>-LRB- FLASHBACK -RRB- INT . - JAKE 'S APARTMENT Lily with her new red hair and the bird blouse . The crew watches Jake slowly flip out .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>You have no idea what you've done do you? No idea! What is this?<\/dialogue>\n    <scene_description>Jake points to her hair . Lupus quietly watches , taking it all in . -LRB- FLASHBACK -RRB- INT . - THE EUCLID - DAY Jake and Lily squaring off .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>You tell them the `` Tale''.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>What do you want? An apology?<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>No, I want my cut!<\/dialogue>\n    <scene_description>Lupus watches quietly , taking it all in . -LRB- FLASHBACK -RRB- INT . - THE EUCLID\/BATHROOM Lupus on the cellphone to the King .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And like in a game of chess, you've played every possible move in your head.<\/dialogue>\n    <character>LUPUS<\/character>\n    <dialogue>You were right. He's trying to fuck you. You want it, you got ta get it at the airport.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.- JFK AIRPORT\/PARKING LOT- NIGHT<\/stage_direction>\n    <scene_description>POLICE OFFICERS and FEDERAL AGENTS in windbreakers swarm around the King Pin 's car .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Then you give them the `` Blow - off''. You get them off your back. Forever.<\/dialogue>\n    <scene_description>The King Pin and Harlin are bent over the hood handcuffed . Rottovich and Sobozinski lie on the ground , face down , their hands behind their heads .<\/scene_description>\n    <character>ROTTOVICH<\/character>\n    <dialogue>We're on the job! We're active in the one - six.<\/dialogue>\n    <scene_description>Next to them , a Federal Agent opens the suitcase . Coffee beans spill out on the asphalt , followed by the two bricks of heroin . The TWO INTERNAL AFFAIRS officers from before emerge from the crowd .<\/scene_description>\n    <character>IA OFFICER#1<\/character>\n    <dialogue>Officers Rottovich and Sobozinski?<\/dialogue>\n    <scene_description>The second Internal Affairs officer holds up a MICROCASSETTE .<\/scene_description>\n    <character>SOBOZINSKI<\/character>\n    <dialogue>Fuck me.<\/dialogue>\n    <scene_description>-LRB- FLASHBACK -RRB- INT . - LA SCALA Jake slides a thick envelope of money to Moonan , seated across from him .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>But most of all, you need the `` Fix''.<\/dialogue>\n    <scene_description>This time , Moonan TAKES IT . -LRB- FLASHBACK -RRB- INT . - THE EUCLID Jake finishing the Moonan story .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>That's how Special Agent Gunther Moonan and I became friends.<\/dialogue>\n    <scene_description>Lupus nods , satisfied . -LRB- FLASHBACK -RRB- INT . - CUSTOMS DESK Gordo hoists the suitcase onto the desk . The Customs Officer looks around nervously . We see he 's looking at Moonan in the B.G. , who gives him a nod .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Like Suits said, sooner or later someone's going to start asking the right questions.<\/dialogue>\n    <scene_description>The Custom Officer waves Gordo through . Gordo reaches down and picks up an IDENTICAL BLACK suitcase already lying on the table next to his and leaves .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Rottovich and Sobozinski would ask how the drugs got in that suitcase. The King and Gillette would ask where the money really went.<\/dialogue>\n    <scene_description>Moonan walks over to the Customs Desk and takes the original black suitcase . He nods to the Customs Officer . Moonan turns and walks TOWARDS CAMERA , wheeling the suitcase behind him .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>And all of them would ask what agency Special Agent Gunther Moonan worked for.<\/dialogue>\n    <scene_description>We CLOSE - IN ON THE BADGE hanging from Moonan 's neck . On it is a number and the single word , `` CUSTOMS '' .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK ALLEY- NIGHT (PRESENT) RIPPING SOUNDS...<\/stage_direction>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>But what do I care? I'm dead.<\/dialogue>\n    <scene_description>A THIN , WHITE VEST , splattered with blood and wired with squibs falls to the ground . POLICE SIRENS WAIL just around the corner . Jake emerges from . the back alley , his shirt ripped and splattered with fake blood .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>No one's going to ask me :<\/dialogue>\n    <scene_description>A black car comes to a stop n front of him . The tinted glass slides down and Jake leans in .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Drop something?<\/dialogue>\n    <scene_description>Inside we see Moonan and Lily riding in the back , Miles and Gordo up front .<\/scene_description>\n    <character>LILY<\/character>\n    <parenthetical>( innocently . )<\/parenthetical>\n    <dialogue>Oops.<\/dialogue>\n    <scene_description>She smiles that smile .<\/scene_description>\n    <character>JAKE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Redheads.<\/dialogue>\n    <scene_description>Jake gets in and the car pulls away , followed seconds later by two Police Cars SCREECHING to a stop in front of the Euclid . THE END .<\/scene_description>\n  <\/scene>\n<\/script>","summary":"A group of grifters rip off their latest mark and celebrate, while de facto leader of the group Jake Vig (Edward Burns) explains the art of the con. When one of the four, Big Al (Louis Lombardi) is found shot to death, the other three learn that the latest money they stole actually belonged to a local L.A. crime lord called The King (Dustin Hoffman). Jake proposes that the grifters work for the King and steal money from Morgan Price (Robert Forster), a rival who owns a bank. Jake enlists the aid of his remaining partners, Gordo (Paul Giamatti) and Miles (Brian Van Holt), and also convinces an independent con artist named Lily (Rachel Weisz) to round out their foursome. The King, a ruthless killer who suffers from ADHD, demands that one of his men, Lupus (Franky G), also come along. The con involves bribing a bank vice president into wiring money offshore.  The plan hits a snag when Special Agent Gunther Butan (Andy Garc\u00eda) shows up in L.A., looking to finally bust Jake, whom he has followed for years.  Butan forces corrupt LAPD detectives Omar Manzano (Luis Guzm\u00e1n) and Lloyd Whitworth (Donal Logue) to switch their allegiance from Jake to him. After hearing about Butan's arrival, a nervous Jake pulls the plug on the whole con. He screams at Lily, making her walk out. Lupus gets Jake to reconsider nixing the con, hinting that The King will torture and kill the grifters if the plan falls short. The con is back on, though now without Lily's help. The bribed bank VP wires the money to Gordo in Belize. Gordo brings it to Ontario Airport, where he is met by both Butan and The King's men, both sides after the $5 million in a duffel bag. Butan arrests The King and confiscates the money. Gordo disappears. Lupus, thinking the King has the money, reveals he was the one who killed Jake's grifter friend. Lupus holds Jake at gunpoint, but is shot by Travis (Morris Chestnut), a henchman for Morgan Price. It turns out that when Lily walked out, she went straight to Price himself and revealed the entire con, which was taking place that minute. Price told Travis to locate Jake and find out exactly how the con was engineered, to stop such a thing from ever happening again. Travis takes Jake to an abandoned lot and forces him to explain the entire story. A furious Lily takes out a gun and shoots Jake. Travis demands that he and Lily both disappear immediately.  Minutes later, Butan arrives in a car and Jake sits up from a pool of blood, unharmed. The final parts of the con are revealed. Lily's \"quitting\" was faked\u2014a set-up to confuse Lupus. Butan is actually an old confidant of Jake's. He managed to \"confiscate\" the money and arrest The King at the same time. Butan has the money and it's split five ways. Jake was wearing squibs to fake his own death in the lot. In the end, everyone was in on everything except for The King and Lupus (the first marks), Price and Travis (the second, bigger marks), and the two corrupt LAPD detectives, who have been arrested. The four grifters reunite and celebrate by driving off into the night."}
{"movie_name":"Halloween H20: 20 Years Later_1998","imdb_id":"tt0120694","script":"<script>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT - SUBURBIA<\/stage_direction>\n    <scene_description>Langley , Illinois . A quiet suburb located fifty miles outside of Chicago . SUPER the legend : `` Langley , Illinois . October 28th 1998 '' A HOUSE nestled in the middle of a tree - lined street . A Honda Civic pulls into a darkened driveway , the headlights are extinguished . PAMELA WHITTINGTON , a middle - aged woman in full registered nurse attire , emerges from the parked car . An unlit cigarette dangles loosely from her lips . She heads to the porch , digging through her purse in search of a light . CRUNCH ! Pamela stops in her tracks , looks down at her feet to discover GLASS scattered across the porch . She looks at the porch light hanging above her head . A SHATTERED LIGHT BULB occupies the socket . Pamela turns her attention to the front door . it 's slightly ajar . She pushes on it gently . the door swings open freely , revealing the darkened interior .<\/scene_description>\n    <character>PAMELA<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <scene_description>Pamela drops her purse . darts across some hedges into the neighbor 's yard .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOUSE NEXT DOOR<\/stage_direction>\n    <scene_description>Pamela runs up to the porch , decorated with carved pumpkins . POUNDS furiously on the front door , decorated with a CARDBOARD SKELETON . NO ANSWER . She POUNDS again . HARDER . Suddenly , the door SWINGS open to reveal AN OMINOUS FIGURE looming in the doorway . A HOCKEY MASK cloaks his face . A PAIR OF EYES glare at Pamela from behind the cut - outs in the plastic vizard . PAMELA gasps , stumbles backward . THE FIGURE flips up his mask to reveal JIMMY HOWELL a gangly teen , wearing a hockey jersey . skates slung over his shoulder .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Hey, Mis Whittington, what's up?<\/dialogue>\n    <character>PAMELA<\/character>\n    <dialogue>My blood pleasure. You scared the hell out of me.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Oh. Sorry. I'm on my way to the ring and -<\/dialogue>\n    <character>PAMELA<\/character>\n    <parenthetical>( interrupting . )<\/parenthetical>\n    <dialogue>I think someone broke into my house.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>No shit?!<\/dialogue>\n    <character>PAMELA<\/character>\n    <dialogue>No shit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - MINUTES LATER<\/stage_direction>\n    <scene_description>Pamela sits on the couch taking hits off a lit cigarette . Jimmy paces the room , portable phone pressed against his ear .<\/scene_description>\n    <character>JIMMY<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>3037 Keystone. yeah. gotcha.<\/dialogue>\n    <scene_description>Jimmy hangs up the portable .<\/scene_description>\n    <character>JIMMY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Said to give'em fifteen minutes. They'll send someone by.<\/dialogue>\n    <scene_description>Jimmy grabs his hockey stick , heads for the door .<\/scene_description>\n    <character>PAMELA<\/character>\n    <dialogue>Jimmy, what are you doing?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Checking out your place.<\/dialogue>\n    <character>PAMELA<\/character>\n    <dialogue>No. Wait for the police.<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>And miss the big game? No way.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - MINUTES LATER<\/stage_direction>\n    <scene_description>Pamela stands at the foot of her driveway . watches as Jimmy climbs the steps to her porch , hockey stick perched high on his shoulder . JIMMY moves toward the front door , stepping on pieces of shattered light bulb beneath him . He swings open the front door with the tip of his stick . looks inside the darkened house . He enters cautiously , stick at the ready . PAMELA lights up another cigarette , watches nervously as Jimmy disappears from view .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE<\/stage_direction>\n    <scene_description>Jimmy enters the dimmed foyer .<\/scene_description>\n    <character>JIMMY<\/character>\n    <parenthetical>( calling off . )<\/parenthetical>\n    <dialogue>Hey, man, do n't mess with me! I'll knock your head clean off your body!<\/dialogue>\n    <scene_description>He moves stealthily through the house , hockey stick poised high in the air . room - by - room he checks for intruders . Jimmy finds his way to the rear of the home , crosses to a back bedroom , stands in the doorway .<\/scene_description>\n    <character>JIMMY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Oh, shit.<\/dialogue>\n    <scene_description>ON THE BEDROOM Converted to a home office . ransacked . file cabinets overturned , pictures hang crooked on the walls , papers carpet the floor . JIMMY drops the stick to his side , convinced he is now alone in the house . He crosses back into the kitchen . steals a cookie from a cookie jar . opens the fridge . takes a swig from an open milk carton . completely unaware that - THE BEDROOM CLOSET DOOR is opening slowly behind him , then suddenly - CRASH ! An IRONING BOARD topples out from inside , slams against his back , hard . JIMMY snaps the hockey stick into position . spins around . swings wildly with the wooden baton . He makes contact with . A POT RACK suspended above the island . pots dangling from their hooks come clanging down on top of him . The dust settles . Jimmy realizes he 's been beating the stuffing out of an ironing board . He sheepishly exits the kitchen .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE - MINUTES LATER<\/stage_direction>\n    <scene_description>Pamela stands at the foot of the driveway , trying to see in to the darkened house .<\/scene_description>\n    <character>PAMELA<\/character>\n    <dialogue>Come on, damn it.<\/dialogue>\n    <scene_description>Jimmy emerges from the house . looks like Wayne Gretsky after slamming in his record goal . He smiles at Pamela smugly .<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Nothing to fear. The coast is clear.<\/dialogue>\n    <character>PAMELA<\/character>\n    <dialogue>You sure?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Totally. I checked all the rooms and closets.<\/dialogue>\n    <character>PAMELA<\/character>\n    <dialogue>Nothing's missing?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Do n't think so. But they sure did a real number on your office. Crap everywhere.<\/dialogue>\n    <character>PAMELA<\/character>\n    <dialogue>My office?<\/dialogue>\n    <character>JIMMY<\/character>\n    <dialogue>Yeah. Oh, and they messed up your kitchen pretty good, too. Goodnight.<\/dialogue>\n    <scene_description>Jimmy scurries off , avoiding any more questions . Pamela heads back to the house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE<\/stage_direction>\n    <scene_description>Pamela enters the house , LOCKS AND BOLTS the front door behind her . She breathes a heavy sigh of relief , back against the door . she flicks on a light switch . NOTHING .<\/scene_description>\n    <character>PAMELA<\/character>\n    <dialogue>Christ, Jimmy. did n't you try the goddamn lights?!<\/dialogue>\n    <scene_description>Pamela moves down the hallway to the laundry room . she opens the door to the FUSE BOX . toggles some fuses on and off . tries the laundry room light . still NOTHING , darkness .<\/scene_description>\n    <character>PAMELA<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Shit.<\/dialogue>\n    <scene_description>She grabs a flashlight out of the nearby cupboard , and proceeds down the hall to -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE<\/stage_direction>\n    <scene_description>The converted bedroom in complete disarray . Pamela navigates through the wreckage , carving a path with the beam of her flashlight . She approaches - A DESK completely bare except for a single FILE FOLDER resting on its top . PAMELA shines the beam on the lone file folder . ON the folder . the index tab reads `` KERI TATE . '' Pamela opens the folder , it 's EMPTY . PAMELA gasps , the blood rushes from her face . She immediately rushes for the phone . CLANK ! A noise is heard . She 's not alone in this house . She moves through the hallway to discover the front door wide open . Shit . She bolts .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE<\/stage_direction>\n    <scene_description>Pamela runs out the door and back to Jimmy 's house . She opens the front door , disappears inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE<\/stage_direction>\n    <scene_description>Pamela shuts the door behind her . cranes her neck , searching for any signs of Jimmy - She HEARS the sounds of a television emanating from deep within the house .<\/scene_description>\n    <character>PAMELA<\/character>\n    <parenthetical>( calling off . )<\/parenthetical>\n    <dialogue>Jimmy! You still there?!<\/dialogue>\n    <scene_description>CAMERA FOLLOWS Pamela as she makes her way from one darkened room to the next . she crosses into the den to discover JIMMY seated in an easy - chair , watching an episode of `` SEINFELD . '' his back to Pamela . only his legs are visible from her point - of - view . Pamela approaches him -<\/scene_description>\n    <character>PAMELA<\/character>\n    <dialogue>Goddamnit, Jimmy! Someone's still in my house!<\/dialogue>\n    <scene_description>Pamela spins the easy - chair around to reveal - A HOCKEY SKATE embedded deep into Jimmy 's face . the blade slicing through flesh , from forehead to chin . eyes wide open in terror . blood cascades down his jersey . PAMELA screams . bolts through the house , reaches the front door to find - A CHINA CABINET pushed in front of it , blocks her way ! She tries fiercely to move the wooden hutch , but ca n't . Pamela runs back through the house , frantic . in desperate search of an exit . She crosses into the kitchen , spots her escape . moves to the rear door , opens it to reveal . THE SHAPE standing , poised , evil eyes burning through slits in his trademark mask . PAMELA shrieks . grabs a knife out of a nearby butcher block . heads back to the living room . THE SHAPE moves after her , the hunt is on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM<\/stage_direction>\n    <scene_description>FLASHING RED AND BLUE LIGHTS illuminate the room . PAMELA runs to a window . ANGLE THROUGH WINDOW A squad car arrives in front of Pamela 's house . Two UNIFORMED COPS emerge from the vehicle , head up her driveway . PAMELA Struggles to open the window . she ca n't manage to disengage the lock . she pounds feverishly on the glass -<\/scene_description>\n    <character>PAMELA<\/character>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>HELP! GODDAMNIT IT! OVER HERE! GOD PLEASE!<\/dialogue>\n    <scene_description>THE SHAPE appears behind her . grabs an IRON POKER from a group of fireplace utensils . PAMELA spins around , swings at the Shape with the knife .<\/scene_description>\n    <character>PAMELA<\/character>\n    <dialogue>Stay the fuck away from me!<\/dialogue>\n    <scene_description>The Shape swings the iron poker . delivers a severe blow to Pamela 's arm . breaks it . the knife falls to the floor below . Pamela howls in pain . drops to her knees , nurses her arm . The Shape raises the poker high into the air , comes down hard . drives the tip of the poker through her skull . CRACK !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PAMELA'S FRONT PORCH - SAME TIME<\/stage_direction>\n    <scene_description>In the f.g. two cops climb the porch steps and move into the house . In the b.g. we can see the Shape through the neighboring window as he repeatedly stabs Pamela with the poker .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLCREST ACADEMY - ESTABLISHING - MORNING<\/stage_direction>\n    <scene_description>CLOSE ON A PLAQUE `` HILLCREST ACADEMY . ESTABLISHED 1874 '' THE CAMERA PULLS BACK TO REVEAL a co - ed boarding school . set behind massive wrought - iron gates on acreage in a secluded region of Wisconsin . SUPER the legend : `` Ferndale , Wisconsin . October 29th 1998 . '' The academy 's gothic architecture and rich history can be seen throughout the entire campus , consisting of a cluster of buildings : the school , the dorms , a gymnasium with indoor swimming pool , a bell tower , a guard house and - A GROUP OF FACULTY HOUSES litters the far end of the campus . CLOSE ON a kitchen window . Inside KERI TATE , mid - thirties , stands behind a sink washing dishes . On closer inspection , we see that this face is none other that LAURIE STRODE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - MORNING<\/stage_direction>\n    <scene_description>Keri stands with her back to JOHN , 16 , chiseled good looks . He stands behind her in the doorway . They are in mid - conversation -<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>Nothing's changed since yesterday, or last week, or last month. the answer's still `` no.''<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>You're so predictable.<\/dialogue>\n    <scene_description>Keri grabs the sprayer , squirts John from across the room .<\/scene_description>\n    <character>JOHN<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>What the -<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>Betcha' did n't predict that.<\/dialogue>\n    <scene_description>Keri throws John a dishtowel . he dabs at his shirt .<\/scene_description>\n    <character>JOHN<\/character>\n    <dialogue>I'm sixteen, Keri. I should be able to live wherever I want.<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>And I should have a son who calls me `` Mom''. Looks like we're both shit out of luck.<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>Okay, you win. I'll call you Mom. Now can I move into the dorms?<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Keri hands John a stack of clean dishes . John does n't budge .<\/scene_description>\n    <character>JOHN<\/character>\n    <dialogue>Well, Dad thinks it's okay.<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>You're father thinks it's okay to run off to Cancun with a blonde bimbo in a halter top. Somehow his opinion does n't count.<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>I promise not to run off to Cancun.<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>Forget it.<\/dialogue>\n    <character>JOHN<\/character>\n    <parenthetical>( pointing out the kitchen window . )<\/parenthetical>\n    <dialogue>The dorms are only fifty feet away. You could practically see into my window. So, what difference does it make?<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>My point exactly. See, we both agree.<\/dialogue>\n    <scene_description>Keri takes the dishes back from John , puts them away in an overhead cupboard .<\/scene_description>\n    <character>JOHN<\/character>\n    <dialogue>Alright, I was wrong. There is a big difference between rooming with your buddies and living with your mother and school headmaster.<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>I took the padlock off your door. What more do you want?<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>My life is a living hell.<\/dialogue>\n    <scene_description>Keri raises an eyebrow .<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>It's not, trust me.<\/dialogue>\n    <scene_description>John gives up , heads out of the room .<\/scene_description>\n    <character>KERI<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Where are you going?<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>To the bathroom. Can I do that alone or do you want to watch?<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>I thought you'd never ask.<\/dialogue>\n    <scene_description>Keri puts her arms around John , escorts him out of the kitchen .<\/scene_description>\n    <character>JOHN<\/character>\n    <dialogue>You're twisted.<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>I know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLCREST ACADEMY - DAY<\/stage_direction>\n    <scene_description>Keri moves across campus toward the school , a leather briefcase slung over one shoulder . Passing STUDENTS ad - lib `` Hellos , '' their admiration for Keri made evident by their favorable rapport with her . Keri passes in front of - A ROW OF SCHOOL BUSES parked alongside the school . An older bus on the far end sits empty , hood up . WALLY BECKETTE , a rather portly man in his early sixties , and the school custodian , fiddles with the exposed engine .<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>Wally, you've been under that hood for months. Why do n't we just call a mechanic?<\/dialogue>\n    <scene_description>Wally stops what he is doing . comes out from beneath the hood . wipes his hands on his pants .<\/scene_description>\n    <character>WALLY<\/character>\n    <dialogue>Miss Tate, I serviced B - 1 Bombers in W - W - 2. This here is child's play.<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>So you're saying I should call a child to come give you a hand?<\/dialogue>\n    <scene_description>Wally chuckles softly , charmed by Keri like the rest of the staff .<\/scene_description>\n    <character>WALLY<\/character>\n    <dialogue>I'm saying she'll be purring like a kitten before you know it.<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>There's your problem, Walter. You do n't want it to purr, you want it to start.<\/dialogue>\n    <character>WALLY<\/character>\n    <dialogue>And she will, Miss Tate. She will.<\/dialogue>\n    <scene_description>Keri continues toward the school . Wally watches with admiration as she heads into the building .<\/scene_description>\n    <character>WALLY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Mmmm - mmm. If they had teachers like you when I was a boy, I'd be a rocket scientist.<\/dialogue>\n    <scene_description>Wally goes back to tinkering with the engine . ON HATTIE SMITH , mid - sixties , dressed in a guard uniform . approaches Keri , looking very official . holds a key in her hand .<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>Good morning, Hattie.<\/dialogue>\n    <character>HATTIE<\/character>\n    <dialogue>Went into town. Had that duplicate key made.<\/dialogue>\n    <scene_description>Hattie hands Keri the key .<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Hattie extends an open hand .<\/scene_description>\n    <character>HATTIE<\/character>\n    <dialogue>Thank me with two bucks.<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>Oh. right.<\/dialogue>\n    <scene_description>Keri digs through her pocket , produces a handful of change . gives it to Hattie .<\/scene_description>\n    <character>HATTIE<\/character>\n    <parenthetical>( dripping sarcasm . )<\/parenthetical>\n    <dialogue>Just what I wanted. more change.<\/dialogue>\n    <scene_description>Hattie heads back toward the guard house , turns back to Keri -<\/scene_description>\n    <character>HATTIE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>And next time you lose a gate key, young lady, you'll be climbing your way out of here.<\/dialogue>\n    <scene_description>Keri holds the key to her chest .<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>I'll be more careful next time.<\/dialogue>\n    <scene_description>Hattie dismisses Keri with a wave of her hand , continues across campus to the guard house . Keri smiles , places the key in her pocket and disappears inside the school .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JIMMY'S HOUSE - AFTERNOON<\/stage_direction>\n    <scene_description>Pouring rain . In stark contrast to the sunny campus of Hillcrest . EMERGENCY VEHICLES litter the landscape , lights FLASHING . OFFICERS wrap yellow crime scene tape around the perimeter , keeping curious NEIGHBORS at bay . RICHARD CARTER a middle - aged police detective , eyes bloodshot from too little sleep and one too many hours in front of a computer screen , emerges from a dark Sedan . a lit cigarette dangles loosely from his lips . Carter approaches a young OFFICER standing outside the front door -<\/scene_description>\n    <character>CARTER<\/character>\n    <parenthetical>( flashes his badge . )<\/parenthetical>\n    <dialogue>Detective Richard Carter, Haddonfield P.D. Detective Blake called my office.<\/dialogue>\n    <scene_description>The Officer motions to the door -<\/scene_description>\n    <character>OFFICER<\/character>\n    <dialogue>Go on in. She's been waiting for you.<\/dialogue>\n    <scene_description>Carter heads towards the door , the Officer grabs his arm .<\/scene_description>\n    <character>OFFICER<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>You might need this.<\/dialogue>\n    <scene_description>The Officer offers him a small jar of petroleum jelly . Carter waves it away .<\/scene_description>\n    <character>OFFICER<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Some serious shit in there, Detective.<\/dialogue>\n    <scene_description>Carter reconsiders , smears the Vaseline under each nostril . heads for the house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JIMMY'S HOUSE<\/stage_direction>\n    <scene_description>Carter crosses through the front door , watches as A TEAM of latex - gloved FORENSIC SPECIALISTS dust door and windows for fingerprints , swab at blood drops , and collect carpet fibers for later analysis . Carter crosses into the living room , winces at PAMELA WHITTINGTON sprawled across the floor in front of blood - soaked curtains . the wrought - iron poker jammed up her nose , exits through the top of her skull . a kitchen knife lies beside her . Carter takes another hit off the cigarette , blows smoke into the room .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Double homicide.<\/dialogue>\n    <scene_description>Carter turns to see TONI BLAKE standing behind him . mid - twenties , attractive yet approachable .<\/scene_description>\n    <character>BLAKE<\/character>\n    <dialogue>Her name's Pamela Whittington, next door neighbor to victim number two. James Howell.<\/dialogue>\n    <scene_description>Carter motions in the direction of the den where A CRIME SCENE PHOTOGRAPHER takes snapshots of the teenage corpse .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Let me guess. he's the guy with the hockey skate for a nose ring.<\/dialogue>\n    <scene_description>BLAKE crosses to Carter , extends a dixie cup in his direction -<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>No thanks, I'm not thirsty.<\/dialogue>\n    <character>BLAKE<\/character>\n    <dialogue>It's for your cigarette. I prefer not to contaminate my crime scene with micropollutants.<\/dialogue>\n    <scene_description>Carter takes a final puff off the cigarette , drops it into the cup .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Why am I here?<\/dialogue>\n    <character>BLAKE<\/character>\n    <dialogue>They said on the phone you were assigned to the Meyers case.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>With all due respect, detective, you ca n't go blaming every brutal murder in Illinois on Michael Meyers.<\/dialogue>\n    <character>BLAKE<\/character>\n    <dialogue>Pamela Whittington was a long time associate of Dr. Loomis. Her home office was ransacked. It was chock full of Loomis' files on Meyers. It'd say that makes Meyers a suspect, would n't you?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Well, when you put it that way.<\/dialogue>\n    <character>BLAKE<\/character>\n    <dialogue>Right. So why do n't we get on with this investigation?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I like a woman who takes control.<\/dialogue>\n    <scene_description>Blake ignores the comment , crosses to the front door . Carter follows . During the following dialogue , Blake walks Carter through the crime scene reenacting the prior evening 's brutal events .<\/scene_description>\n    <character>BLAKE<\/character>\n    <dialogue>Pamela entered the house and walked into the den where she discovers James Howell's body.<\/dialogue>\n    <scene_description>Carter and Blake stand in front of the mutilated face of the teenage boy .<\/scene_description>\n    <character>BLAKE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Shaken, she returns to the front door to find the hutch blocking her exit.<\/dialogue>\n    <scene_description>ON gouges across the wood planks , forming tracks from the dining room to the front door .<\/scene_description>\n    <character>BLAKE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>She runs to the kitchen, where she is ambushed at the back door by the killer.<\/dialogue>\n    <scene_description>Carter and Blake stand in front of the door , which is still open . Carter kneels down , looks at the kitchen floor .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>One set of muddy shoe prints.<\/dialogue>\n    <character>BLAKE<\/character>\n    <dialogue>That do n't match either of the victim's.<\/dialogue>\n    <scene_description>Carter stands up , moves to a butcher block on the counter . he 's starting to enjoy this dance -<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>She grabs a knife from the butcher block.<\/dialogue>\n    <scene_description>ON the butcher block , an empty slot where the knife once resided .<\/scene_description>\n    <character>BLAKE<\/character>\n    <dialogue>Heads to the living room.<\/dialogue>\n    <scene_description>They cross back into the living room . Carter moves to the WINDOW covered in fingerprint powder , exposing a plethora of prints .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Where, judging by the looks of the finger and palm prints, she struggles to open the window before banging on it like hell.<\/dialogue>\n    <character>BLAKE<\/character>\n    <dialogue>Unable to escape, she turns and attacks the killer, but does n't connect.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>No blood on the knife.<\/dialogue>\n    <scene_description>ON the knife , clean as a whistle .<\/scene_description>\n    <character>CARTER<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>The killer knocks the knife out of her hand with the wrought - iron poker.<\/dialogue>\n    <character>BLAKE<\/character>\n    <dialogue>Broken blood vessels on her right forearm.<\/dialogue>\n    <scene_description>ON Pamela 's arm , a bruise forming under the skin .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>As which point she drops to her knees in pain.<\/dialogue>\n    <character>BLAKE<\/character>\n    <dialogue>Explaining the low height of the blood splatter on the curtains.<\/dialogue>\n    <scene_description>ON the curtains , blood stained four feet and below .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Impressive, Blake. Where'd you learn how to do that?<\/dialogue>\n    <character>BLAKE<\/character>\n    <dialogue>Girl scouts.<\/dialogue>\n    <scene_description>Carter chuckles . she has a sense of humor , too .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL - HALLWAY - AFTERNOON<\/stage_direction>\n    <scene_description>A BELL RINGS . The hallway is flooded with STUDENTS , books in tow . ON MOLLY CARTWRIGHT a young seventeen , friendly eyes and a face to match . Walking beside her is . LINDA KANG , same age , unconcerned , full of spunk . multiple body piercings , does n't quite fit in here or anywhere .<\/scene_description>\n    <character>LINDA<\/character>\n    <dialogue>You aced it, did n't you?<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>I did alright.<\/dialogue>\n    <scene_description>Linda grabs Molly 's test , peeking out from her biology book .<\/scene_description>\n    <character>LINDA<\/character>\n    <dialogue>Fuckin' A.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>He gave me a fuckin' A? Wow.<\/dialogue>\n    <scene_description>Linda punches Molly playfully in the arm . They stop at neighboring lockers , retrieve books from inside . AMY KRAMER approaches , book pressed against an ample chest , smacking on a wad of gum . Eye - catching good looks , a real stunner . a bit short on the gray matter though -<\/scene_description>\n    <character>AMY<\/character>\n    <dialogue>These lockers are totally girl unfriendly.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Break another nail?<\/dialogue>\n    <character>AMY<\/character>\n    <dialogue>Pointer finger. And the dance is in two days.<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>Life's a bitch.<\/dialogue>\n    <scene_description>The girls head down the hall .<\/scene_description>\n    <character>AMY<\/character>\n    <dialogue>Eddie's working late at Freeman's tonight. all alone.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>I thought Eddie left for N.Y.U?<\/dialogue>\n    <character>AMY<\/character>\n    <dialogue>Guess he could n't tear himself away from me.<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>Guess he could n't pass admissions.<\/dialogue>\n    <character>AMY<\/character>\n    <dialogue>Shut up, pinhead.<\/dialogue>\n    <scene_description>John approaches them from behind , drapes his arms around Molly .<\/scene_description>\n    <character>JOHN<\/character>\n    <dialogue>There you are.<\/dialogue>\n    <parenthetical>( to Amy . )<\/parenthetical>\n    <dialogue>You tell'em about tonight?<\/dialogue>\n    <character>AMY<\/character>\n    <dialogue>I just got here.<\/dialogue>\n    <scene_description>John removes a key from his jacket pocket , drops it in Molly 's hand .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>What's this?<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>You say, `` The key to my heart,'' and I'm gon na hurl.<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>Shelve the barf bag. It's the key to the main gate.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Where'd you get it?<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>Swiped it from my mom's desk yesterday.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>You stole it?<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>I borrowed it.<\/dialogue>\n    <character>AMY<\/character>\n    <dialogue>Party at Freeman's tonight.<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>I am in need of some serious partying.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Not me.<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>I ca n't afford to get caught.<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>Molly, you're the resident assistant. What are you gon na do, narc on yourself?<\/dialogue>\n    <scene_description>THE BELL RINGS . Students clear the hall , move inside their classrooms . John kisses Molly on the lips .<\/scene_description>\n    <character>JOHN<\/character>\n    <dialogue>Just meet me in front of the gate after lights out.<\/dialogue>\n    <scene_description>He takes off down the hall -<\/scene_description>\n    <character>MOLLY<\/character>\n    <parenthetical>( calling after him . )<\/parenthetical>\n    <dialogue>Wait. John.<\/dialogue>\n    <scene_description>He 's gone . A teacher guides the girls inside a classroom and shuts the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GYMNASIUM - AFTERNOON<\/stage_direction>\n    <scene_description>A bevy of STUDENTS scurry about the gym making final preparations for the impending Halloween Festivals : hanging decorations on walls , carving pumpkins , spinning cob webs along refreshment tables . ON WILL BRENNEN , a well - favored Chemistry teacher in his mid - forties , thinning hair , more salt than pepper . supervises the action . a coffee mug in hand . his attention focused on . KERI sitting atop the bleachers . Will climbs the benches , sits beside her .<\/scene_description>\n    <character>WILL<\/character>\n    <dialogue>What a sight for sore eyes.<\/dialogue>\n    <scene_description>He kisses her softly on the lips .<\/scene_description>\n    <character>WILL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>. and ears.<\/dialogue>\n    <scene_description>He kisses her again .<\/scene_description>\n    <character>WILL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>. and lips.<\/dialogue>\n    <scene_description>He engages her in a lingering kiss . A GROUP OF STUDENTS point and giggle at the smooching faculty members . Keri notices , pulls away .<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>Will.<\/dialogue>\n    <scene_description>She motions toward the students below .<\/scene_description>\n    <character>WILL<\/character>\n    <dialogue>What? They've all taken sex ed.<\/dialogue>\n    <scene_description>He leans in for another kiss , she playfully keeps him at arms length .<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>And this is n't the place for a live demonstration.<\/dialogue>\n    <scene_description>Will relents , settles for holding Keri 's hand .<\/scene_description>\n    <character>WILL<\/character>\n    <dialogue>Are n't they doing a terrific job this year?<\/dialogue>\n    <character>KERI<\/character>\n    <parenthetical>( distracted . )<\/parenthetical>\n    <dialogue>Looks great. It does.<\/dialogue>\n    <character>WILL<\/character>\n    <dialogue>You okay? You seem a little off.<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>Nothing a good stiff drink ca n't fix.<\/dialogue>\n    <scene_description>Will does n't find the humor , eyes her uneasily .<\/scene_description>\n    <character>KERI<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>That one always goes over big at the AA meetings.<\/dialogue>\n    <scene_description>An awkward beat , then .<\/scene_description>\n    <character>WILL<\/character>\n    <dialogue>It's John, is n't it?<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>It's always John.<\/dialogue>\n    <character>WILL<\/character>\n    <dialogue>Still wants to move out?<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>He's been living out of moving boxes for three months.<\/dialogue>\n    <character>WILL<\/character>\n    <dialogue>This kid just wants his freedom.<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>It's not going to happen.<\/dialogue>\n    <character>WILL<\/character>\n    <dialogue>The tighter you squeeze, the harder he'll try to break free.<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>Oh, please. you get that out of a fortune cookie?<\/dialogue>\n    <character>WILL<\/character>\n    <dialogue>Does n't make it bad advice.<\/dialogue>\n    <scene_description>Keri manages a smile .<\/scene_description>\n    <character>WILL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>God I love that smile.<\/dialogue>\n    <scene_description>Keri stands . Will follows suit .<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>I'm going into town. run a few errands before dark. Need anything?<\/dialogue>\n    <character>WILL<\/character>\n    <dialogue>A box of fortune cookies. I'm running out of advice.<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>Bye Will.<\/dialogue>\n    <scene_description>Keri heads down the bleachers . Will watches her leave , completely enamored .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NIELSEN'S MARKET - LATE AFTERNOON<\/stage_direction>\n    <scene_description>A family - owned grocery mart in the heart of Ferndale . A half - dozen CUSTOMERS mingle through the aisles . ON Keri , standing in front of a CASHIER as he rings up a dozen items . Keri glances at the wall of tabloids in front of her , one of them catches her eye - CLOSE ON : THE GLOBE A headline reads : `` SERIAL KILLER MICHAEL MEYERS REALLY ALIEN FROM OUTER SPACE . '' Beneath the headline is a mock photo of the Shape , holding the infamous mask in his hand , revealing an alien head underneath . Keri ca n't help but smirk at the absurdity of it all . The cashier hands Keri her change .<\/scene_description>\n    <character>CASHIER<\/character>\n    <dialogue>Happy Halloween.<\/dialogue>\n    <scene_description>Keri manages a polite smile , and exits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NIELSEN'S MARKET - MINUTES LATER<\/stage_direction>\n    <scene_description>Keri moves down the tree - lined street , groceries tucked securely under her arm . She pauses at a storefront window . `` KESSLER JEWELERS . EST. 1963 '' emblazoned across the glass . ANGLE ON WINDOW An assortment of wedding rings glimmer behind the glass . KERI holds her left hand up to the window , moving it slowly from ring to ring . then she sees - THE SHAPE in the reflection . standing across the street , staring right through her . taunting her . This is no alien . KERI 'S heart stops . she stands frozen , totally immobile . A TRUCK passes between them . KERI takes this opportunity to spin around . The truck passes - THE SHAPE HAS VANISHED .<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>I hate this fucking holiday.<\/dialogue>\n    <scene_description>Keri climbs into the driver 's seat of her Ford Explorer , tosses the bag of groceries on the passenger seat . She starts the engine . `` MR. SANDMAN '' blares over the radio . scares the shit out of her . Keri quickly changes stations . heads back to the school .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Sparsely decorated . Scattered Chinese food containers litter the counters . On a glass dining room table , a table dozen cardboard boxes , `` DR. LOOMIS '' in black sharpie scrawled across their sides . The CAMERA PANS across the table where . CARTER sits , eyes glazed over . shuffling through a stack of photographs . ON THE PHOTOGRAPHS Of a young Michael Meyers playing with a fire truck in the den . running through sprinklers in the backyard . riding horses at the county fair . no signs of the evil lurking inside . CARTER sets the photographs aside , digs through a file box . pulls out a film canister marked `` MEYERS ' HOME MOVIES . '' ON A PROJECTOR CARTER threads the Super 8 film through it , turns it on . images of a young Michael Meyers are projected on a bare wall in the darkened room . CARTER settles into the recliner , fights to stay awake . THE SHAPE APPEARS IN FRONT OF THE WALL . The home movies projected on his pale mask . He moves slowly toward the sleeping CARTER , a knife in his grip . The SHAPE raises the knife to CARTER 's throat , slices it from ear to ear . CARTER grabs his throat , blood gushes through his fingers . Then . THE TELEPHONE RINGS . CARTER WAKES UP . Gasps for air . he feels for his throat . no blood , all is well . The Super 8 films slaps against the projector , the reel now over . CARTER catches his breath . surveys the room . he is alone . He picks up the phone -<\/scene_description>\n    <character>CARTER<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Carter.<\/dialogue>\n    <character>BLAKE<\/character>\n    <dialogue>It's Blake. Meet me at Grand View.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>BLAKE<\/character>\n    <dialogue>The cemetery.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Yeah, alright. I'll be there in ten.<\/dialogue>\n    <scene_description>Carter hangs up the phone , massages his throat .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FREEMAN'S DRUGSTORE - NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON THE PALE WHITE HALLOWEEN MASK CAMERA PULLS BACK TO REVEAL a mannequin sporting the mask and dark overalls made notorious by Michael Meyers . its arm posed high in the air , wielding a meat cleaver . Gathered around the mannequin is the gang : Linda is in the arms of her boyfriend , SHANE McCLOUD . a tall and spindly teen , book smart and street dumb . John riffles through a rack of Halloween costumes . Molly leans against a nearby counter . she checks her watch , visibly uncomfortable being here at all . EDDIE CATERO , two years out of high school and still wearing his letterman jacket , ` Nuff said . He stands proudly by his display , nursing a beer . his arm draped around Amy , who 's painting her nails with a nail polish plucked from a nearby display .<\/scene_description>\n    <character>EDDIE<\/character>\n    <parenthetical>( re : the display . )<\/parenthetical>\n    <dialogue>Pretty wicked, huh?<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>I think it's twisted.<\/dialogue>\n    <character>EDDIE<\/character>\n    <dialogue>This coming from the girl with a stake through her tongue.<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>You're glorifying the big creep.<\/dialogue>\n    <character>SHANE<\/character>\n    <dialogue>Besides, it's historically inaccurate.<\/dialogue>\n    <character>EDDIE<\/character>\n    <dialogue>What the fuck are you talking about?<\/dialogue>\n    <character>SHANE<\/character>\n    <dialogue>Michael Meyers never used a meat cleaver. It was a butcher knife.<\/dialogue>\n    <character>EDDIE<\/character>\n    <dialogue>Who are you, the serial killer police? What difference does it make?<\/dialogue>\n    <character>SHANE<\/character>\n    <dialogue>It's not historically accurate, that's all.<\/dialogue>\n    <character>AMY<\/character>\n    <dialogue>He could be holding a swizzle stick, it still gives me the willies.<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>Do n't worry. I hear he only kills virgins.<\/dialogue>\n    <character>SHANE<\/character>\n    <dialogue>Another historical inaccuracy.<\/dialogue>\n    <character>EDDIE<\/character>\n    <dialogue>Would somebody shut this guy up?<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Come on, we better get back before Mrs. Sullivan makes her rounds.<\/dialogue>\n    <scene_description>Linda looks at her watch .<\/scene_description>\n    <character>LINDA<\/character>\n    <dialogue>Oh, shit. Molly's right. It's eleven - thirty.<\/dialogue>\n    <scene_description>The gang heads for the front door .<\/scene_description>\n    <character>AMY<\/character>\n    <dialogue>You guys go on. Eddie's gon na take me back after he closes up.<\/dialogue>\n    <scene_description>Bells hanging from the door JINGLE as they exit . John turns to them as he leaves -<\/scene_description>\n    <character>JOHN<\/character>\n    <dialogue>Condoms are on aisle four.<\/dialogue>\n    <character>EDDIE<\/character>\n    <dialogue>Out.<\/dialogue>\n    <scene_description>Eddie pushes John out the door , shuts it behind him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FREEMAN'S DRUGSTORE<\/stage_direction>\n    <scene_description>The group moves down the deserted street , headed for Hillcrest . John 's arm around Molly . Shane 's around Linda .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FREEMAN'S DRUGSTORE<\/stage_direction>\n    <scene_description>ON A `` CLOSED '' SIGN Being hung on the front door . CAMERA PULLS BACK TO REVEAL Amy , holds up her newly polished nails to Eddie .<\/scene_description>\n    <character>AMY<\/character>\n    <dialogue>How do you like the color? It's called `` Bloodshed Red.''<\/dialogue>\n    <character>EDDIE<\/character>\n    <dialogue>Yeah, yeah. looks good.<\/dialogue>\n    <scene_description>Eddie grabs Amy by the waist , pulls her in . kisses her passionately .<\/scene_description>\n    <character>EDDIE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Let's go in back and check out the `` inventory.''<\/dialogue>\n    <character>AMY<\/character>\n    <dialogue>Mmmmm, sounds good.<\/dialogue>\n    <scene_description>Eddie and Amy head to the -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACK ROOM<\/stage_direction>\n    <scene_description>Eddie and Amy get hot and heavy amongst a room full of cardboard boxes , Halloween costumes , and mask . As Eddie prepares to do the one - hand bra release . JINGLE - JINGLE . The bells hung on the front door chime .<\/scene_description>\n    <character>EDDIE<\/character>\n    <dialogue>Shit. Ca n't people read? Do n't move. I'll be right back.<\/dialogue>\n    <scene_description>Eddie exits , leaving behind a half - naked Amy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FREEMAN'S DRUGSTORE<\/stage_direction>\n    <scene_description>Eddie moves toward the front of the store , heads down the center aisle . He hears the SHUFFLING OF FEET in the aisle next to him .<\/scene_description>\n    <character>EDDIE<\/character>\n    <parenthetical>( calling off . )<\/parenthetical>\n    <dialogue>Hey, we're closed!<\/dialogue>\n    <scene_description>Eddie rounds the corner , runs smack into - THE SHAPE .<\/scene_description>\n    <character>EDDIE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Shit!<\/dialogue>\n    <scene_description>It 's only the mannequin , which is n't where Eddie left it . arm poised high in the air , knife missing . Eddie turns around to see - THE SHAPE standing right behind him , wielding the meat cleaver . Eddie 's seeing double .<\/scene_description>\n    <character>EDDIE<\/character>\n    <dialogue>What the hell.<\/dialogue>\n    <scene_description>The Shape attacks , slices through his skull with the meat cleaver .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACK ROOM - SAME TIME<\/stage_direction>\n    <scene_description>As Amy sifts through a box of scary masks , she hears . A SCUFFLE outside the door . she throws on her blouse , peeks outside .<\/scene_description>\n    <character>AMY<\/character>\n    <dialogue>Eddie?<\/dialogue>\n    <scene_description>A RUSTLING SOUND .<\/scene_description>\n    <character>AMY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Damnit, Eddie! Stop fooling around.<\/dialogue>\n    <scene_description>Still nothing . Amy cautiously moves into the store , looking for her missing partner . she passes THE MICHAEL MEYERS MANNEQUIN<\/scene_description>\n    <character>AMY<\/character>\n    <dialogue>If you think you're gettin' any after this, you're dead wrong.<\/dialogue>\n    <scene_description>She stumbles , looks down to reveal . EDDIE sprawled on the floor , the meat cleaver buried in the middle of his forehead . eyes wide open in terror ! Amy SCREAMS . can barely stand . she stumbles to the front of the door . it 's locked ! The Michael Meyers mannequin behind her comes to life , begins to move toward her . Amy beats frantically on the glass door , struggling to free the lock . she turns to see . THE SHAPE closing in behind her . she SCREAMS . The SHAPE attacks , grabs Amy by the back of the neck . pushes her face through the glass door , cuts it to bits . He lifts Amy high into the air , she struggles to free herself . the Shape impales her body on a large shard of glass . ON Amy 's feet . dangling a foot off the ground . then . Her body goes completely limp . lifeless . ON Amy 's hand . blood cascades down her fingers , matches the shade of her nail polish . The SHAPE looks at her breathless body quizzically .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRAND VIEW CEMETERY - NIGHT<\/stage_direction>\n    <scene_description>A well manicured graveyard . lush green lawns , thriving oak trees , and patches of blooming flowers . FRED WILLIAMS , an elderly caretaker , leads Carter and Blake through the darkened cemetery . a flashlight illuminating their path .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>You take all your dates here. Blake?<\/dialogue>\n    <character>BLAKE<\/character>\n    <dialogue>Only the real stiffs.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I can be real stiff.<\/dialogue>\n    <character>BLAKE<\/character>\n    <dialogue>Charming.<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Hey! Watch my geraniums.<\/dialogue>\n    <scene_description>Carter looks down at his feet , finds himself standing in the middle of a group of flowers . he quickly hops back onto the grass .<\/scene_description>\n    <character>FRED<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Beautiful, are n't they? Rotting corpses make the best fertilizer, ya' know. Especially those Irish folk. They push up the daises like a son - of - a - bitch.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I'll remember that.<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Hell, I can tell you where every Mick is buried by the ground cover growing above'em.<\/dialogue>\n    <scene_description>Fred shines his flashlight on a distant grave .<\/scene_description>\n    <character>FRED<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Irish.<\/dialogue>\n    <parenthetical>( shining the beam on another grave . )<\/parenthetical>\n    <dialogue>. Irish.<\/dialogue>\n    <scene_description>They stop in front of a gravesite . TOMBSTONE missing . patchy grass covers the grave .<\/scene_description>\n    <character>FRED<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Never could get anything to grow cover this one.<\/dialogue>\n    <character>BLAKE<\/character>\n    <dialogue>And you're sure this is Laurie Strode's grave?<\/dialogue>\n    <character>FRED<\/character>\n    <dialogue>Sure as I'm standing here.<\/dialogue>\n    <scene_description>Fred shines the beam of the flashlight on an adjacent headstone .<\/scene_description>\n    <character>FRED<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Buried her daughter right next to her not too long ago. You do n't suppose that Meyers fella took the tombstone?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Probably just a couple of kids playing a Halloween prank.<\/dialogue>\n    <character>BLAKE<\/character>\n    <dialogue>Tee - peeing a house, yes. A bag of burning shit on a porch, maybe. Digging up tombstone? I do n't think so.<\/dialogue>\n    <scene_description>Carter shrugs his shoulders , take a drag off his cigarette .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>I'm going to bed.<\/dialogue>\n    <scene_description>Carter heads back to his car . Blake runs after him .<\/scene_description>\n    <character>BLAKE<\/character>\n    <dialogue>That's it?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Care to join me?<\/dialogue>\n    <character>BLAKE<\/character>\n    <dialogue>Come on, Carter. You know it's Michael.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>What do you want me to do, put out an A.P.B. on a man in overalls wearing a white mask dragging a headstone?<\/dialogue>\n    <character>BLAKE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Sweet dreams, Blake.<\/dialogue>\n    <scene_description>Carter climbs into his car , heads for home .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Keri tosses and turns in her bed , unable to exorcise the demons from her mind . eyes wide open , watches the moonlight cast the shadows of dancing leaves on the ceiling above her . Then , the shadow of something altogether unnatural appears above her . THE SHADOW OF A MAN hair tattered and tousled by the wind . ON Keri lying frozen in fear , eyes unblinking . THE SILHOUETTE grows larger , nearly engulfs the entire ceiling . then suddenly disappears from view . the dancing leaves return . CLANK ! A noise from outside her window . FOOTSTEPS quickly make their way around the house . Keri jumps out of her skin , holds her breath . A JIGGLING SOUND emanates from the living room , as if someone 's trying to get in through the front door . Keri jumps out of her bed , slides a metal box out from under the bed . pulls a SMITH AND WESSON from inside . heads for -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM<\/stage_direction>\n    <scene_description>Keri moves silently through the hallway into the living room , gun at the ready . hands trembling . eyes locked on the front door as - THE DOORKNOB slowly twists and turns . the SHADOW of a man behind the curtain of the window flanking the side of the door . KERI raises the gun . uses both hands to steady her aim . her breathing becoming more shallow with each passing second . THE DOOR swings open revealing . JOHN house key in hand . busted . KERI lowers the gun , fights back in tears . John closes the door . if he 's surprised that his mother 's pointing a gun in his face , he does n't show it .<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>Shit, John! What the hell were you doing out there?!<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>You're kidding with that answer, right?<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>I just went for a walk. It's no big deal.<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>Wrong. There are rules in this house and you're going to follow them whether you like it or not.<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>Or what? You're gon na shoot me?<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>It's an option.<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>Well, maybe if you'd let me live in the dorms, I would n't have to sneak out to spend time with my friends.<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>Oh, so now it's my fault?<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>Just forget it.<\/dialogue>\n    <scene_description>John storms down the hall , disappears into his bedroom . slams the door behind him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - MINUTES LATER<\/stage_direction>\n    <scene_description>Keri enters the room , passes by the window . glances out into the night and sees - THE SHAPE standing between sheets that blow in the clothesline . KERI closes her eyes , takes a deep breath . opens them . now both the Shape and the sheets blowing in the clothesline have VANISHED .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLASSROOM - MORNING<\/stage_direction>\n    <scene_description>Keri substituting for the absentee English Lit teacher . Mr. Elliot . A STUDENT has just finished her oral report and heads back to her seat . Keri stands , crosses to the chalkboard -<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>I'm sure Mr. Elliot will go over this when he returns on Monday, but Julie hit on a very important aspect of Virgil's `` The Aeniad.''<\/dialogue>\n    <scene_description>She scrawls the word `` FATE '' across its surface .<\/scene_description>\n    <character>KERI<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>F - A - T - E. Fate. The Romans believed in the three goddesses of Fate, called `` the Fate.'' Nona, Decuma, and Morta. These goddesses determined your fate. They were to blame when things went wrong, and were to be praised when -<\/dialogue>\n    <scene_description>Keri passes in front of the classroom , glances out the window and sees - THE SHAPE standing behind the gates of the academy , waiting patiently for his chance . eyes burning a hold right through her . THE STUDENTS wait for Keri to complete her thought . mumble softly amongst themselves . KERI closes her eyes for a moment , takes a deep breath . looks outside again . the Shape is STILL THERE ! THE BELL RINGS . The students make a mad dash for the hall . KERI moves swiftly through the throng of students , pushing bewildered pupils aside as she makes her way to the school entrance .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLCREST ACADEMY - DAY<\/stage_direction>\n    <scene_description>Keri emerges from the building , moves across the campus toward the iron gates . runs smack into - WILL throws his arms around her waist .<\/scene_description>\n    <character>WILL<\/character>\n    <dialogue>Whoa. what's the hurry? I'm not going anywhere.<\/dialogue>\n    <scene_description>Keri does n't respond , is too busy looking over Will 's shoulder - KERI 'S POV of the gate . the SHAPE has once again disappeared . Keri eyes the perimeter of the campus , searching for her long lost brother .<\/scene_description>\n    <character>WILL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Hey, you alright?<\/dialogue>\n    <character>KERI<\/character>\n    <parenthetical>( distracted . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>WILL<\/character>\n    <dialogue>What are you looking at?<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>I'm fine. I just need to lie down.<\/dialogue>\n    <scene_description>Keri breaks free from Will 's grip , heads toward the faculty housing , determined . Will watches her leave , face laced with concern .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - KITCHEN - MINUTES LATER<\/stage_direction>\n    <scene_description>Keri climbs atop a foot stool , retrieves a BOTTLE of Vodka concealed behind bags of flour on the top shelf of the pantry . She spins off the top . brings the lip of the bottle to her mouth , hands trembling . She stops short of taking the drink , bring the bottle down from her lips . Keri climbs off the foot stool , crosses to the kitchen sink and pours the Vodka down the drain .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LANGLEY POLICE DEPARTMENT - BLAKE'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Blake sits behind her desk leafing through the double homicide case file , looking for some stone that 's been left unturned . She removes a FILE FOLDER from an evidence bag , `` KERI TATE '' in type across the index tape . Blake opens it . still empty . ON THE FILE FOLDER . The light from her desk lamp falls across the open folder , reveals a series of indentations in the left hand corner of the manilla paper . BLAKE struggles to make out the ghost writing . grabs a pencil , moves the side of the lead swiftly across the folder . `` 6089244325 '' The numbers pop out against the shaded background . BLAKE jots the numbers down on a nearby pad . ON THE PAD Blake tries formatting the numbers into a Social Security number : `` 608 - 92 - 44325 '' too many numbers . She scratches it out . She tries again . puts parenthesis around the first three numbers and a dash after the sixth number : '' -LRB- 608 -RRB- 924 - 4325 '' - BINGO . A telephone number . BLAKE picks up the telephone , dials the number .<\/scene_description>\n    <character>SECRETARY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hillcrest Academy, may I help you?<\/dialogue>\n    <scene_description>CLOSE ON : NEWSPAPER CLIPPINGS from the `` Haddonfield Leader '' pinned to a large BULLETIN BOARD , tales of the Michael Meyers ' slayings splattered across the headlines . A TELEPHONE RINGS in the b.g. CAMERA PANS ACROSS the board , finds . CRIME SCENE PHOTOS of Meyers ' slain victims . bloody , graphic images assault the eye . CAMERA PULLS BACK to reveal we are in -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S OFFICE - HADDONFIELD POLICE DEPARTMENT - DAY<\/stage_direction>\n    <scene_description>Carter sits beneath a desk . searches for the phone , finds it buried beneath a sea of reports -<\/scene_description>\n    <character>CARTER<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Carter.<\/dialogue>\n    <character>BLAKE<\/character>\n    <dialogue>It's Blake. How do you feel about Wisconsin?<\/dialogue>\n    <scene_description>ON Carter 's puzzled expression .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FREEMAN'S DRUGSTORE - AFTERNOON<\/stage_direction>\n    <scene_description>A YELLOW SCHOOL BUS parked across the street , filled to capacity with students . ON John watching from outside the school bus as AN OFFICER strings yellow crime scene tape across the front of the drugstore . MOLLY stands next to John , arm around his waist . watching curiously . LINDA leans against the side of the bus next to Shane .<\/scene_description>\n    <character>LINDA<\/character>\n    <dialogue>Look, they're staring right at us.<\/dialogue>\n    <character>SHANE<\/character>\n    <parenthetical>( to John . )<\/parenthetical>\n    <dialogue>You think your mom knows we snuck out last night?<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>Nah, I did n't tell her where I went.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Is that all you guys can think about? Amy never came back last night. Maybe she's in trouble.<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>Better her than me.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>You're unbelievable.<\/dialogue>\n    <character>SHANE<\/character>\n    <dialogue>Linda's right. I have Yale to think about. Amy's going to the Barbizon School of Beauty - if they let her retake her boards.<\/dialogue>\n    <scene_description>ON BRUCE CLARK , a young deputy ducks under the yellow tape , approaches . KERI stands in front of a squad car , craning her neck to get a look at the proceedings .<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>Bruce. what's going on? The kids are here to pick out their costumes for the festival.<\/dialogue>\n    <character>DEPUTY CLARK<\/character>\n    <dialogue>Better take'em to Virgil's downtown. We got a dead body in there.<\/dialogue>\n    <scene_description>Keri 's heart skips a beat , she tries to digest the news .<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>A dead body?<\/dialogue>\n    <character>DEPUTY CLARK<\/character>\n    <dialogue>It's Amy Kramer.<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>My god.<\/dialogue>\n    <character>DEPUTY CLARK<\/character>\n    <dialogue>Pretty messy. Parents have already been notified. Our office has been trying to get a hold of you.<\/dialogue>\n    <scene_description>Keri fears the worse , tries to hold herself together .<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>Do you know who did this?<\/dialogue>\n    <character>DEPUTY CLARK<\/character>\n    <dialogue>Well, Eddie Catero did n't show up for work this morning. parents say he never came home last night. Car's still missing.<\/dialogue>\n    <character>KERI<\/character>\n    <parenthetical>( wishful . )<\/parenthetical>\n    <dialogue>Think Eddie had something to do with it?<\/dialogue>\n    <character>DEPUTY CLARK<\/character>\n    <dialogue>Does n't look good.<\/dialogue>\n    <scene_description>Deputy Clark turns in the direction of the bus .<\/scene_description>\n    <character>DEPUTY CLARK<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>You best keep those students locked behind those gates of yours. got ourselves a cold - blooded killer on the loose.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLCREST ACADEMY - ESTABLISHING<\/stage_direction>\n    <scene_description>Night . Wind assaults the trees . Lights illuminate a dozen dorm windows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GATES - SAME TIME<\/stage_direction>\n    <scene_description>A compact CAR pulls up behind the gates , high beams illuminating the . GUARD HOUSE There is an entrance on either side of the guard house . inside sits Hattie . She cups her hands over her eyes , protecting them from the glare of the auto 's headlights . She checks - A MONITOR embedded in the console in front of her . black and white image of the car idling outside the gates illuminates the screen . ON Hattie , unable to make out the identity of the driver . She steps out of the guard house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GATES<\/stage_direction>\n    <scene_description>Through the gate , she sees a figure slumped behind the wheel .<\/scene_description>\n    <character>HATTIE<\/character>\n    <parenthetical>( calling off . )<\/parenthetical>\n    <dialogue>Who's there?<\/dialogue>\n    <scene_description>No response .<\/scene_description>\n    <character>HATTIE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Please identify yourself, young man.<\/dialogue>\n    <scene_description>Still nothing . Hattie does n't know what to do . She opens the gate with her gate key and walks through . she approaches the car . The trees rustle nearby . She takes a look , spooking herself . It is , after all , Halloween . She crosses to the driver 's side window . looks inside to find the body of - EDDIE CATERO the costume shop victim , slouched behind the wheel . face a bloodied mess .<\/scene_description>\n    <character>HATTIE<\/character>\n    <dialogue>My Lord.<\/dialogue>\n    <scene_description>Hattie stumbles backward . she 's does n't see THE SHAPE pass through the open gates behind her . She crosses back to the -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUARD HOUSE<\/stage_direction>\n    <scene_description>Hattie quickly presses a BUTTON on the console in front of her , automatically closing the wrought iron gates outside . THE SHAPE stands at the entrance to the left of guard house . Hattie 's back to him . She picks up the phone . no dial tone . She jiggles the receiver . comes up short . CLINK . A noise from outside . Hattie spins around , faces the left entrance . no one in sight .<\/scene_description>\n    <character>HATTIE<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>No answer . Hattie crosses to the left entrance , shuts the door . throws the bolt . THE SHAPE appears behind Hattie . now standing at the entrance to the right of the guard house . CLINK . Another noise , source unknown . Hattie spins around , faces the right entrance . the Shape has vanished . Hattie crosses to the right entrance , shuts the door . locks it . Now secured safely inside the guard house , Hattie crosses to a CB Radio . She turns it on . dials the emergency channel . is distracted by - THE CAR outside the gates . its headlights suddenly extinguish . ON Hattie , squints through through window in the car 's direction . THE SHAPE emerges from the shadows behind her . wraps the CB cord around her neck . Hattie struggles to free herself . her face pressed up against the glass . The Shape brandishes a knife . stabs her repeatedly in the back . ends the struggle .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELL TOWER - CONTINUOUS<\/stage_direction>\n    <scene_description>Wally , the custodian , climbs the four flights of stairs to the massive bell partially enclosed at its top . he tugs on the rope dangling from the bell . THE BELL RINGS . Its sound resonating across the campus . ON THE DORMS . The windows , once lit , are now extinguished , leaving the dorms shrouded in total darkness . lights out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DORM - MOLLY'S ROOM<\/stage_direction>\n    <scene_description>The sound of the ringing bell echoes softly through the room . Molly lies in her bed , unable to sleep , eyes to the ceiling . her pajama clad body partially covered by a sheet . ON `` LURCH , '' THE SCHOOL DOG lying beside Molly 's bed , also asleep . Molly hears the RUSTLING of bushes outside her window . she turns in its direction to see - THE BUSHES moving forcefully , their branches scratching wildly against glass . MOLLY sits up in bed , her eyes glued to the window . she slowly gets out of bed , moves toward it . leans against the windowpane . ANGLE THROUGH THE WINDOW of the campus , bathed in moonlight . wind howls through the trees . leaves scurry across the grounds . BANG ! BANG ! A hand raps on her window . Molly jumps out of her skin . ON JOHN standing outside her window , motions her to open it . She does , sticks her head out .<\/scene_description>\n    <character>MOLLY<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>What are you doing here?!<\/dialogue>\n    <character>JOHN<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>I came to see you.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>I can see that.<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>Why?<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>Can I come in?<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Are you crazy? You'll get caught.<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>Then you come out here.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Then I'll get caught.<\/dialogue>\n    <character>JOHN<\/character>\n    <parenthetical>( louder . )<\/parenthetical>\n    <dialogue>Well, I'm not going until I talk to you.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Alright. I'll come out. Just be quiet.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLCREST ACADEMY - FIVE MINUTES LATER<\/stage_direction>\n    <scene_description>Molly and John meander through the wooded acreage along the perimeter of the campus , hand - in - hand . the school buildings completely obfuscated by the surrounding foliage .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>You really think Eddie killed her?<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>You saw that Michael Meyers display. You've got to be pretty twisted to come up with something like that.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>I guess. It's just hard to believe.<\/dialogue>\n    <scene_description>THE SHAPE appears behind them in the distance , standing beside a tree . watching . waiting . It seems as though with each cut the SHAPE moves closer .<\/scene_description>\n    <character>JOHN<\/character>\n    <dialogue>You look kind of cold.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>I'm okay.<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>Here, take my jacket.<\/dialogue>\n    <scene_description>John takes off his letterman jacket , drapes it over her shoulders . The SHAPE disappears from view , into the thicket .<\/scene_description>\n    <character>JOHN<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Better?<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>John gazes into Molly 's eyes , her moves in closer . they engage in a passionate kiss . John 's hands begin to find there way up her blouse when - A PAIR OF HANDS grabs them by the back of their necks , pulls them to their feet ! Shit ! Molly SCREAMS . the CAMERA PULLS BACK TO REVEAL . KERI with a firm grip on them both , a disapproving look painted across her face .<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>All right. fun's over.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL GROUNDS - MINUTES LATER<\/stage_direction>\n    <scene_description>Keri moves across the campus , back to the school . Molly and John in tow . They pass the group of faculty houses .<\/scene_description>\n    <character>KERI<\/character>\n    <parenthetical>( to John . )<\/parenthetical>\n    <dialogue>Go take a cold shower. I'll deal with you later.<\/dialogue>\n    <scene_description>John heads for his house , waves good - bye to Molly . she waves back sheepishly . Keri and Molly continue toward the dorms .<\/scene_description>\n    <character>KERI<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Molly, of all the people. if I ca n't trust my resident assistant, then what?<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>I know. I'm really, really sorry, Miss Tate. Please let me keep the job. it's the only way I can afford to stay here.<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>Okay, tell you what. you can still be the school R.A., but no dance tomorrow night.<\/dialogue>\n    <character>MOLLY<\/character>\n    <parenthetical>( relieved . )<\/parenthetical>\n    <dialogue>Okay. thank you.<\/dialogue>\n    <scene_description>Molly gives Keri a hug .<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>Something tells me I wo n't get the same reaction when I tell John.<\/dialogue>\n    <scene_description>The two are completely unaware of . THE SHAPE watching from the thicket , the moonlight reflected off his pale white mask .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLCREST ACADEMY - ESTABLISHING - MORNING<\/stage_direction>\n    <scene_description>STUDENTS scurry from their dorms to the adjacent school building , racing to make it to their a.m. classes on time . SUPER the legend : `` October 31st . Halloween . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GYMNASIUM - MORNING<\/stage_direction>\n    <scene_description>A group of students take laps in the indoor swimming pool beneath the retracted gymnasium floor . The gym is decorated for the Halloween festival that night . Their coach , MRS. ROCKWELL , supervises from poolside , whistle dangling around her neck . ON Molly , Linda , and SARAH LOCKE , the resident gossip with beauty pageant good looks , as they complete their final lap . They congregate in the shallow end , their goggles perched on their heads .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>I feel like everyone's staring at me.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>News travels fast. It's all over school about you and John getting busted in the woods by Miss Tate.<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>Do n't suppose you had anything to do with that, motor mouth.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Shut up, freak.<\/dialogue>\n    <scene_description>Mrs. Rockwell blows her WHISTLE . the girls in the pool wait for her instruction .<\/scene_description>\n    <character>MRS. ROCKWELL<\/character>\n    <dialogue>Alright, I know you girls have the big Halloween dance tonight, so I'm letting you go ten minutes early today.<\/dialogue>\n    <character>LINDA<\/character>\n    <parenthetical>( under her breath . )<\/parenthetical>\n    <dialogue>How generous of her.<\/dialogue>\n    <scene_description>Molly , Linda , and Sarah start to climb out of the pool .<\/scene_description>\n    <character>MRS. ROCKWELL<\/character>\n    <dialogue>Sarah, since you took it upon yourself to arrive ten minutes late today, you can stay the extra ten minutes.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>But Mrs. Rockwell.<\/dialogue>\n    <character>MRS. ROCKWELL<\/character>\n    <dialogue>Use the time to practice your drive. You looked real sloppy out there today.<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>Ooooh, busted.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Big time. And news travels fast. Would n't be surprised if the whole school knows about this one by tonight.<\/dialogue>\n    <scene_description>Sarah flips them the finger .<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Smile at the birdie, ladies.<\/dialogue>\n    <scene_description>Molly and Linda head toward the locker room .<\/scene_description>\n    <character>LINDA<\/character>\n    <dialogue>Sarah Locke. What a major bitch. You know she waxes her stomach?<\/dialogue>\n    <scene_description>Molly and Linda exit the gymnasium . ON Sarah as she climbs out of the pool . walks to the diving board on the other end of the deserted gym . places the goggles over her eyes . She dives into the water . swims underwater toward the shallow end . she heads toward the surface . SARAH POV The SHAPE is standing poolside . his image warped by the rolling water , bobbing and swaying with the current . Sarah breaks through the surface of the water , catches her breath . throws off her goggles , scans the gym . ANGLE ON THE GYMNASIUM Empty . Not a soul in sight . Sarah shrugs it off , climbs back out of the pool . heads for the diving board . She dives into the water . as she emerges in the shallow end the lights in the gym extinguish . leaving her in darkness .<\/scene_description>\n    <character>SARAH<\/character>\n    <parenthetical>( calling out . )<\/parenthetical>\n    <dialogue>Hey! There's someone in here!<\/dialogue>\n    <scene_description>No response . Sarah moves toward the stairs .<\/scene_description>\n    <character>SARAH<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Hell - o! I'm in here!<\/dialogue>\n    <scene_description>She grabs the railing , starts to pull herself out of the pool , when suddenly . THE SHAPE GRABS HER BY THE NECK . Pushes her back into the pool . holds her head under the water . her arms flail wildly as she struggles for breath . The Shape flashes a knife . slices into flesh . Sarah 's body goes limp . the SHAPE releases her . her lifeless body floats face down in the bloody water . WIDE OF THE GYMNASIUM The SHAPE has disappeared from view . CLANG - CLANG - CLANG . The gym floor begins to close over the pool , covering the floating corpse inside of it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLCREST ACADEMY - DAY<\/stage_direction>\n    <scene_description>Keri moves across campus , notices - THE MASSIVE WROUGHT IRON GATES open to the single lane road exiting the school . Keri eyes the GUARDHOUSE that sits at the entrance , indignant .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUARD HOUSE<\/stage_direction>\n    <scene_description>Keri enters , the guard house is empty .<\/scene_description>\n    <character>KERI<\/character>\n    <parenthetical>( calling off . )<\/parenthetical>\n    <dialogue>Hattie?<\/dialogue>\n    <scene_description>She 's nowhere in sight .<\/scene_description>\n    <character>KERI<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Now where is she?<\/dialogue>\n    <scene_description>Keri pushes a BUTTON on the console in front of her . THE GATES slowly begin to close . KERI exits the guard house , closes the door behind her . heads back to the school . CLOSE ON : A COFFEE MUG sits on the console , filled with a deep red liquid . PLOP ! A drop of blood falls from THE CEILING Blood soaks the drop - ceiling . Hattie 's corpse hidden from view . CLANG ! The GATES SHUT tight .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HEADMASTER'S OFFICE - LATER THAT AFTERNOON<\/stage_direction>\n    <scene_description>Keri walks into her office , shuts the door behind her . turns to find CARTER seated in front of her desk . Blake stands beside him , looking out the office window . Keri jumps at the sight of the uninvited guests -<\/scene_description>\n    <character>KERI<\/character>\n    <parenthetical>( startled . )<\/parenthetical>\n    <dialogue>Shit!<\/dialogue>\n    <scene_description>Carter stands , takes one look at her and knows he 's hit the jackpot .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>I'll be damned.<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>Do I know you?<\/dialogue>\n    <character>BLAKE<\/character>\n    <dialogue>We're sorry to startle you, Miss Tate.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>The door was open, so we let ourselves in.<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>I can see that. Who are you?<\/dialogue>\n    <scene_description>Carter flashes a smile , then his badge .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Detective Carter from the Haddonfield P.D.<\/dialogue>\n    <character>BLAKE<\/character>\n    <dialogue>Toni Blake from Langley P.D.<\/dialogue>\n    <scene_description>Keri knows exactly why they 're here , her dual lives are crossing paths . they 've found little sister .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Mind if we sit down?<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>I'd prefer you did n't. I'm very busy.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Okay, then how ` bout we ask you a few questions?<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>Detective.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Carter.<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>I think it would be best if you both left.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Might want to stop and think about the safety of your students, Miss Tate.<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>I never stop thinking about it, Detective.<\/dialogue>\n    <parenthetical>( pointing out the window . )<\/parenthetical>\n    <dialogue>The only way in or out of this school is through that gate, and it is secured at all times.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Funny, we just drove right in.<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>Well, I can assure you, it wo n't happen again. Thanks for your concern. Goodbye.<\/dialogue>\n    <scene_description>Carter starts out . turns back toward Keri .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Has anyone ever told you, you bear a striking resemblance to Laurie Strode?<\/dialogue>\n    <scene_description>Keri glares at him for a beat . the walls around her are collapsing .<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>Never heard of her.<\/dialogue>\n    <scene_description>Blake removes a business card from her pocket , a phone number scribbled across its face . She places it on the desk .<\/scene_description>\n    <character>BLAKE<\/character>\n    <dialogue>The Ferndale P.D. is setting up a roadblock couple miles down the road. They think they're looking for a jealous boyfriend gone mad. I think differently. We can protect you.<\/dialogue>\n    <scene_description>Keri does n't flinch , motions toward the door . Carter and Blake start out -<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>You ca n't stop him.<\/dialogue>\n    <scene_description>Carter stops , turns back toward her .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Not without some help.<\/dialogue>\n    <scene_description>Carter and Blake exit , shut the door behind them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GATES - FIFTEEN MINUTES LATER<\/stage_direction>\n    <scene_description>Carter and Blake in a rental car to the side of the road just outside the gates . Blake emerges from the passenger side . Carter tosses her a walkie - talkie .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Do n't be a stranger.<\/dialogue>\n    <scene_description>Carter pulls away from the school . Blake hooks the walkie - talkie to her side , heads back into the campus , passes - A CAR hidden behind the bushes , Eddie 's rotting corpse locked inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GIRLS' LOCKER ROOM - A HALF HOUR LATER<\/stage_direction>\n    <scene_description>Lots of nubile young bodies moving to and fro , changing out of sweaty gym clothes into dry attire . ON Molly , standing in front of a fogged - up mirror , straight from the shower . towel tucked firmly around her chest . Linda stands to her right , putting on her make - up . also in a towel .<\/scene_description>\n    <character>LINDA<\/character>\n    <dialogue>Shane's going as a condom.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>I thought you were allergic to latex.<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>I'll pop a Benadryl.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>You think they'll let him in dressed like that?<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>Oh, they're so stupid. I'll just tell them he's going as a sausage casing.<\/dialogue>\n    <scene_description>Linda swipes her palm across the fogged - up mirror , wiping away the steam . ON the MIRROR . In its reflection we see Molly and Linda . then - THE SHAPE appears from the cloud of steam behind them ! Other STUDENTS spot the intruder , run SCREAMING from the locker room . The SHAPE grabs Linda from behind . wields a knife . slits her throat . blood cascades down her neck , ` blemishes the towel around her bust . ON Molly , immobile . Terrified . Unable to scream . LINDA 'S lifeless body drops to the floor . eyes wide open in terror . THE SHAPE shifts his attention to MOLLY gets her legs back , runs like hell . runs smack into KERI at the locker room entrance . grabs Molly in her arms .<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>Whoa. What's going on in there?<\/dialogue>\n    <scene_description>Molly is on the verge of hysterics -<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Linda! He killed Linda!<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>Who?!<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Michael Meyers!<\/dialogue>\n    <scene_description>Keri darts into the locker room .<\/scene_description>\n    <character>MOLLY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Miss Tate, wait!<\/dialogue>\n    <scene_description>Molly follows her , stands in the relative safety of the doorway . Keri walks in to find - THE SHAPE standing above Linda 's lifeless body . knife raised high in the air , dripping blood . ON Keri , her legs buckle . she struggles to stay standing .<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>Michael, nooooooo!<\/dialogue>\n    <scene_description>Then , an even more bizarre sight - THE SHAPE starts to CHUCKLE . his shoulders bobbing up and down . bending over slightly at the waist . LINDA 'S lifeless body starts trembling with laughter . THE SHAPE reaches up to his mask , pulls it off . it 's JOHN !<\/scene_description>\n    <character>JOHN<\/character>\n    <dialogue>That was classic.<\/dialogue>\n    <parenthetical>( imitating Keri . )<\/parenthetical>\n    <dialogue>`` Michael, nooooooo!''<\/dialogue>\n    <scene_description>LINDA sits up , licks some blood off her fingers .<\/scene_description>\n    <character>LINDA<\/character>\n    <dialogue>Mmmm. Anyone got some French fries?<\/dialogue>\n    <scene_description>John and Linda cracks up . ON Keri , mortified . the sight of her son dressed like his homicidal uncle is almost too much for her to bear . John and Linda are too busy revealing in their prank to notice .<\/scene_description>\n    <character>LINDA<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Molly, you should have seen your face.<\/dialogue>\n    <scene_description>Keri crosses over to John . SLAPS him across the face , hard . John reels , probably the first time Keri 's laid a hand on him .<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>Home. NOW!<\/dialogue>\n    <scene_description>Keri grabs John by the arm , pushes him past Molly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE - LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>John sits on the sofa . Will stands behind him . neither sure exactly what they 're doing there . Keri paces in front of them .<\/scene_description>\n    <character>JOHN<\/character>\n    <dialogue>I'm sorry, alright? It was just a stupid joke.<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>Will, sit down.<\/dialogue>\n    <scene_description>Will does .<\/scene_description>\n    <character>KERI<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>There's something I have to tell you both. It's going to sound strange.<\/dialogue>\n    <character>WILL<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>My name has n't always been Keri Tate. It was once Laurie Strode.<\/dialogue>\n    <character>WILL<\/character>\n    <dialogue>You're right. It does sound strange.<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>You some kind of fugitive or something?<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>I was trying to get away from someone.<\/dialogue>\n    <character>WILL<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>Michael Meyers.<\/dialogue>\n    <character>WILL<\/character>\n    <dialogue>The serial killer?<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>He's my brother.<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>Now you're joking, right?<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>Afraid not. You can pick your friends, but you ca n't pick your family.<\/dialogue>\n    <character>WILL<\/character>\n    <dialogue>Keri, have you been.<\/dialogue>\n    <scene_description>Will mimes taking a drink from a bottle .<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>No, Will, this is n't the alcohol talking. It's the truth.<\/dialogue>\n    <character>WILL<\/character>\n    <dialogue>I ca n't believe this is happening.<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>Shit happens.<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>Wait a minute. slow down. you're telling me Michael Meyers is my uncle?<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>Any other psychotic relatives I should know about? Jason? Freddy Krueger?<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>Why did n't you tell me?<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>I was trying to protect you from this.<\/dialogue>\n    <scene_description>Keri holds up this trademark Halloween mask , a tuft of hair tightly in her grip . John crosses to the front door , opens it .<\/scene_description>\n    <character>KERI<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Where are you going?<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <scene_description>John exits . Keri starts after him , Will grabs her by the arm .<\/scene_description>\n    <character>WILL<\/character>\n    <dialogue>You just dropped a shitload on him. give him some time to digest it.<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>Are you going to leave, too?<\/dialogue>\n    <character>WILL<\/character>\n    <dialogue>Never.<\/dialogue>\n    <scene_description>Keri nuzzles her head against Will 's chest .<\/scene_description>\n    <character>WILL<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>So you're really Michael Meyers' sister?<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>WILL<\/character>\n    <dialogue>Do we have to invite him to the wedding?<\/dialogue>\n    <scene_description>Keri laughs , more out of relief than anything .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE - LATE AFTERNOON<\/stage_direction>\n    <scene_description>A couple of Ferndale P.D. SQUAD CARS flank either side of the road . ROADBLOCKS lined up across the asphalt deny access to the roadway leading to Hillcrest . ON Carter , leaning against a squad car . Deputy Clark stands next to him . Carter lights up a cigarette .<\/scene_description>\n    <character>DEPUTY CLARK<\/character>\n    <dialogue>Do n't worry, Detective. No one's getting up to that school.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>And this is the only way up to Hillcrest?<\/dialogue>\n    <character>DEPUTY CLARK<\/character>\n    <dialogue>Sure is. Unless your boy can fly.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I hope not.<\/dialogue>\n    <scene_description>Deputy Clark laughs , Carter does n't . just takes another drag off his cigarette .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLCREST ACADEMY - NIGHT<\/stage_direction>\n    <scene_description>Darkness falls . Halloween night . COSTUMED STUDENTS make their way inside the gymnasium . ON A BAND OF MISFITS . Freshman , armed with cartons of eggs and rolls of toilet paper , emerge stealthily from the wooded acreage . they attack the Hillcrest Administrative Building . ON WALLY . The school custodian heads for the bell tower . spots the young punks across campus defacing what he works so hard to preserve . He takes off in their direction .<\/scene_description>\n    <character>WALLY<\/character>\n    <parenthetical>( calling off . )<\/parenthetical>\n    <dialogue>Hey, you kids! Knock that off! Get over here!<\/dialogue>\n    <scene_description>The boys see Wally headed in their direction . they scramble , head back for the woods . a few of them throw eggs in Wally 's direction . Wally makes it about halfway across campus before his old ticker kicks in . he has to stop . catches his breath .<\/scene_description>\n    <character>WALLY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Damn kids.<\/dialogue>\n    <scene_description>Wally turns around , heads back to the bell tower . One by one the freshman disappear into the thicket . one of the boys runs smack into . THE SHAPE . The boys stares up at him , startled . he darts after his friends . the SHAPE continues toward Hillcrest .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DORM - MOLLY'S ROOM<\/stage_direction>\n    <scene_description>Molly sits on the windowpane , her forehead pressed against the glass . Lurch , the dog , lies across her bed . ANGLE THROUGH THE WINDOW A view of the entire campus . Couples make their way across the grounds , move inside the gymnasium . Molly lets out a sigh , wishes that were her and John . she continues to stare longingly out the window . THROUGH THE GLASS ON Wally as he moves to the bell tower , disappears inside . He is followed by . THE SHAPE ON Molly . She sits up , takes notice . watches as the SHAPE moves inside the bell tower , then suddenly . A PAIR OF HANDS grabs Molly by the shoulders . spins her around , revealing . LINDA in full `` Bride of Frankenstein '' costume .<\/scene_description>\n    <character>LINDA<\/character>\n    <dialogue>BLAAAAAGGGHHHHH!<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Shit, Linda!<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>You're so easy.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Was n't scaring the hell out of me once today enough?!<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>Nope. Hey, you think I'll win scariest costume?<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Linda, you are without a doubt the scariest person on campus.<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>Thanks!<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Where's Shane?<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>Condom Boy is waiting for me in the cafeteria.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>But the dance is in the gymnasium.<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>Very insightful.<\/dialogue>\n    <scene_description>THE BELL RINGS . Echoes across the campus .<\/scene_description>\n    <character>LINDA<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Let the party begin.<\/dialogue>\n    <character>MOLLY<\/character>\n    <dialogue>Have enough fun for the both of us.<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>Oh, do n't be such a victim.<\/dialogue>\n    <scene_description>Linda produces a couple of shot bottles from her purse , tosses them on the bed .<\/scene_description>\n    <character>LINDA<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Here. Drink a couple of these. It'll putcha in a much better mood. Ta - ta.<\/dialogue>\n    <scene_description>Linda exits . The bell continues to ring . Molly sits on the bed , pats Lurch on the head .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Guess it's just you and me, boy.<\/dialogue>\n    <scene_description>The bell stops ringing abruptly . Molly turns her attention back to the window . ANGLE THROUGH THE WINDOW At the top of the bell tower . the SHAPE stands beside the massive bell . staring in Molly 's direction , looking right through her . Molly gasps softly . She looks down below and sees . LINDA leave the dormitory , heads for the cafeteria . Molly looks back up to the bell tower . the SHAPE has vanished .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Just some idiot in a costume.<\/dialogue>\n    <scene_description>Molly sits back on her bed , uses Lurch as a pillow . Molly picks up one of the shot bottles , twists off the lid .<\/scene_description>\n    <character>MOLLY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Let the party begin.<\/dialogue>\n    <scene_description>Molly takes a swig from the bottle . She shudders , her sour expression says it all .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFETERIA<\/stage_direction>\n    <scene_description>Dark and abandoned . THE CAMERA PANS across a bevy of empty tables and chairs to reveal . LINDA AND SHANE liplocked , hands all over each other . Linda sits on the edge of a table . Shane , dressed as a condom , stands between her legs . THE SHAPE watches from the kitchen , illuminated only by the light from a nearby soda machine . Shane pushes Linda down onto the table , starts to unbutton her blouse .<\/scene_description>\n    <character>LINDA<\/character>\n    <dialogue>Wait.<\/dialogue>\n    <character>SHANE<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>I have to pee.<\/dialogue>\n    <character>SHANE<\/character>\n    <dialogue>Ca n't you hold it?<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>Ca n't you?<\/dialogue>\n    <scene_description>Linda pushes Shane off her , heads for the restroom . She passes the kitchen area . the SHAPE is nowhere in sight . Linda enters the bathroom .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM<\/stage_direction>\n    <scene_description>Linda crosses to a shall , tugs on the door . it 's locked . She knocks on the door .<\/scene_description>\n    <character>LINDA<\/character>\n    <dialogue>Somebody in there?<\/dialogue>\n    <scene_description>No answer . She pulls at it again . still does n't budge .<\/scene_description>\n    <character>LINDA<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Hellooooo.<\/dialogue>\n    <scene_description>She kneels down on the ground , peers under the door . Nothing . She stands back up . shrugs it off . moves to the next stall and goes inside , closing the door behind her . TIGHT ON DOOR As Linda takes care of `` business . ''<\/scene_description>\n    <character>LINDA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>IF YOU THINK I'M SEXY. AND YOU WANT MY BODY. COME ON, BABY. LET ME KNOW.<\/dialogue>\n    <scene_description>The toilet flushes . Linda emerges from the stall , crosses to the mirror . checks her make - up . ANGLE ON THE MIRROR Linda admires her reflection . not noticing the stall door which was previously locked is now opened . She smiles at herself , licks her teeth , then exits to the hallway .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFETERIA<\/stage_direction>\n    <scene_description>Linda emerges from the bathroom . she heads toward the center of the room . ANGLE ON THE CAFETERIA Empty . No sign of Shane anywhere .<\/scene_description>\n    <character>LINDA<\/character>\n    <parenthetical>( calling off . )<\/parenthetical>\n    <dialogue>Shane?<\/dialogue>\n    <scene_description>CLANG ! A NOISE FROM THE KITCHEN . Linda moves into the kitchen area where . THE SHAPE emerges from the shadows , attacks Linda . grabs her by the throat , lifts her into the air . Her head hits the pot rack hanging above her . pots and pans drop to the tile floor below . Linda flails her arms and legs , desperately trying to free herself form the SHAPE 'S grasp . She kicks the refrigerator door behind her . it swings open to reveal . SHANE 'S BODY STUFFED INSIDE . Asphyxiated , his condom hat pulled down over his head . his corpse topples out of her refrigerator , falls onto the floor . THE SHAPE flicks the switch on a nearby MEAT SLICER , it WHIRS to life . The Shape forces Linda 's head against the slicer . she struggles furiously as her cheek approaches the spinning blade . BLOOD SPLATTERS everywhere as Linda is carved into quarter - inch slices .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLCREST ACADEMY - NIGHT<\/stage_direction>\n    <scene_description>VARIOUS SHOTS of the empty campus , all the students now congregated inside the gymnasium . The pulsating beat of faint dance MUSIC drifts across the grounds .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GYMNASIUM - SAME TIME<\/stage_direction>\n    <scene_description>The festival is in full swing . jam packed with costumed couples dancing across the floor . CHAPERONES line the walls . KERI leans against the refreshment table , sans costume . Arms folded . there in body , mind elsewhere . WILL approaches her , dressed as Count Dracula . He offers Keri a glass of punch .<\/scene_description>\n    <character>WILL<\/character>\n    <parenthetical>( as Dracula . )<\/parenthetical>\n    <dialogue>May I offer you some fresh blood? I squeezed it myself.<\/dialogue>\n    <scene_description>Keri glances at him , not amused .<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>Not a real fan of Halloween humor, Will.<\/dialogue>\n    <character>WILL<\/character>\n    <parenthetical>( realizing . )<\/parenthetical>\n    <dialogue>Oh, right. Sorry.<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>I'm gon na head back to the office. finish up some things.<\/dialogue>\n    <character>WILL<\/character>\n    <dialogue>Ca n't it wait till Monday? I thought maybe we could dance.<\/dialogue>\n    <parenthetical>( as Dracula . )<\/parenthetical>\n    <dialogue>I'm very light of my feet.<\/dialogue>\n    <scene_description>Keri manages a sincere smile , gives him a kiss .<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>Thanks, but I'm not much in the mood for dancing. Enjoy the party. you did a great job.<\/dialogue>\n    <scene_description>Keri heads for the exit , Will watches her leave .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DORM - MOLLY'S ROOM<\/stage_direction>\n    <scene_description>CLOSE ON A HALF EMPTY SHOT BOTTLE on the bedside table , next to two other shot bottles . untouched . CAMERA PANS to the bed where . MOLLY lies , fully clothed . facing the ceiling . Eyes wide open , thinking of the night that could have been . ON Lurch , lying on the floor beside the bed . he sits up , his eyes focused on . THE CLOSET Its door slightly ajar . the lights on inside . Something inside catches Lurch 's attention . he GROWLS . Molly reaches over the side of the bed , pats the dog on his head .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Whatcha growling at, huh?<\/dialogue>\n    <scene_description>Lurch continues to snarl at the closet . Molly sits up in the bed . ANGLE ON THE CLOSET Light seeps out from the cracks in the open door , illuminating the sleeves of several hanging blouses .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Lurch, there's nothing in there but clothes.<\/dialogue>\n    <scene_description>Molly gets up . moves to the closet , open it . INSIDE THE CLOSET Wall - to - wall clothes hang from wooden dowels . Molly palms the lightswitch , flicks off the light . Molly closes the door , tight . heads to the bathroom down the hall , Lurch follows her out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GYMNASIUM - SAME TIME<\/stage_direction>\n    <scene_description>The misfits who tee - pee 'd the school have returned , this time with black duffel bags in tow . ON THE REAR DOUBLE DOORS of the gymnasium . one of the FRESHMEN pulls a thick three foot long CHAIN from his duffel bag . wraps it around the door handles . he produces a PADLOCK , hooks it through the loops of the chain . snaps it shut , locked tight . ON THE GYMNASIUM ENTRANCE Another freshman sneaks into the gymnasium , while a fellow SCHOOLMATE hide behind some bushes . on the lookout for Wally .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DORM - MOLLY'S ROOM<\/stage_direction>\n    <scene_description>Molly returns from the bathroom , passes . THE CLOSET DOOR . It 's ajar once again . Molly climbs into bed , turns on her side . she reaches over to the side of the bed . pets the dog .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Guess there's always next year. if I live past the humiliation of tonight.<\/dialogue>\n    <scene_description>At that very moment , Molly sees . LURCH ! The dog enters the room , sits in the doorway . growls in her direction . ON Molly . Shit ! She instantly stops petting whatever is under the bed . CLOSE ON HER EYES full of confusion , flushes with fear . Terrified , she slowly leans over the edge of the bed . comes eye - to - eye with - THE SHAPE ! Beneath her bed , staring right at her . she was petting the hair on his mask all along . Molly SCREAMS . The SHAPE grabs her arm , drags her off the bed onto the floor . Molly struggles with him , as he tries to climb on top of her . The SHAPE maintains a strong grip on her ankle with one hand , swings a knife fiercely at her with the other . He makes contact , slices open her left thigh . Molly SCREAMS in agony , kicks her legs wildly . she manages to strike a hard blow to his head . She breaks free of his grip , takes off limping down the hall . her hand pressed against the gaping wound carved in her thigh . ANGLE ON THE HALL Seems to stretch for miles . Molly limps down the corridor , dragging her leg behind her . she looks behind her . no sign for the SHAPE . yet . She ducks into one of the room , hides behind the door . THE SHAPE emerges from her room . heads down the hall . ON Molly trying desperately not to breathe , she watches as . THE SHADOW OF THE SHAPE passes by . she lets out a silent sigh of relief , when suddenly . THE SHAPE steps back into the doorway , looks into the room . Molly freezes , looks at the wall beside her , she sees . HER OWN SHADOW projected on the wall , it betrays her .<\/scene_description>\n    <character>MOLLY<\/character>\n    <parenthetical>( squealing . )<\/parenthetical>\n    <dialogue>Oh, God.<\/dialogue>\n    <scene_description>The SHAPE reaches through the crack in the hinged side of the door . grabs Molly by the hair , reels her in . Molly grabs the door . pulls it towards her , smashing the SHAPE 'S arm between the door and the jam . He releases her . She flies out of the room , down the hall . stumbles down a flight of stairs . dashes out of the dormitory .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GYMNASIUM - SAME TIME<\/stage_direction>\n    <scene_description>The party is in full swing . Students and teachers alike crowd the gym floor , dancing to the music blaring from the loudspeakers above . CLOSE ON A SIGN `` CAUTION : BE SURE TO CLEAR GYM AND\/OR POOL BEFORE OPERATING FLOOR '' Hung above a large red button . THE CAMERA PULLS BACK TO REVEAL the freshman , who snuck in earlier , poised beneath it . He punches the button , then pops it off and puts it in his pocket . he darts for the front entrance . CLANG - CLANG - CLANG ! The gymnasium floor begins to move beneath the students ' feet , splits right down the middle . retracts into the walls . The students part like the Red Sea , hooting and hollering as the pool beneath them is revealed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GYMNASIUM<\/stage_direction>\n    <scene_description>The freshman flies out of the gym , slams the doors shut behind him . his schoolmate chains the doors , locks them with a padlock . They dart for the woods , passing . MOLLY stumbles towards them , her pants bloodied . She SCREAMS , tries to get their attention . they disappear into the thicket . She moves to the rear of the gymnasium , bangs on the chained doors . SCREAMS for help , looks over her shoulder to see . THE SHAPE headed straight for her . She hobbles to the front entrance , bangs on the door .<\/scene_description>\n    <character>MOLLY<\/character>\n    <dialogue>Let me in! Oh, God, help me! Somebody. goddamnit!<\/dialogue>\n    <scene_description>The SHAPE closes in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GYMNASIUM - SAME TIME<\/stage_direction>\n    <scene_description>Molly 's screams are lost amongst the gleeful SQUEALS of the party goers . The floor continues to glide open beneath their feet , revealing . SARAH floating , face down in the pool . water tainted bright red with her blood , illuminated by the pool light . The mood suddenly changes . the SCREAMS of excitement quickly turn into SHRIEKS of horror . Bedlam ensues . Frightened students scramble toward the entrance , knocking party goers into the pool . trampling over others . AT THE ENTRANCE Students stack up against the doors , pounding furiously . trying to get out . WILL tries to calm the petrified party - goers .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HEADMASTER'S OFFICE - SAME TIME<\/stage_direction>\n    <scene_description>Keri sits behind her desk , Detective Blake 's BUSINESS CARD in hand . She picks up the phone , brings it to her ear . NO DIAL TONE . She jiggles the receiver . STILL NOTHING . She is distracted by - MOLLY 'S SCREAMS from outside her office . Keri crosses to the window . ANGLE THROUGH THE WINDOW Molly standing at the gymnasium entrance , pounding against the door with bloody palms . screaming bloody murder , trying desperately to get in , while the students on the other side try in vain to get out .<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>Molly?<\/dialogue>\n    <scene_description>The SHAPE approaches her , now only a few feet away . Molly tugs feverishly at the chains , they hold tight . She bolts for the bell tower , trailing blood . the SHAPE follows . ON Keri , horrified . he 's back . She charges out of the office , on a mission .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELL TOWER<\/stage_direction>\n    <scene_description>Molly bursts through the door . she stops at the bottom of the staircase , looks up to see . FOUR FLIGHTS OF STAIRS spiraling high above her . She hobbles up the stairway , grunting in agony . As she makes her ascent , she looks down to see . A SHADOW three flights down , begins its climb up the stairs . Molly picks up the pace .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BELL TOWER - CONTINUOUS<\/stage_direction>\n    <scene_description>Molly emerges at the top of the bell tower . runs over to the rope dangling from the massive bell . pulls with all her might , causes . THE BELL to swing . BUT there is no sound ! Molly frantically pulls the rope again , SCREAMING madly . trying desperately to get someone 's attention . Still no sound ! She moves to the gargantuan bell , looks inside and sees . WALLY 'S BODY stuffed up inside of it , preventing the clapper from striking the bell . Molly reaches in , grabs Wally 's shirt . tugs with all her might . expels the cadaver with a final heave - ho . ON Wally 's corpse as it falls four stories down , lands at the foot of the staircase . Molly stumbles back . wraps the rope around her wrists , tugs with all her weight . RING - RING - RING ! THE BELL RESONATES ACROSS CAMPUS . A call for help . Molly continues to pull at the rope , her wrists bleeding as the cord digs into her skin . She watches in horror as . A SHADOW approaches the top of the stairway . a FIGURE emerges , it 's . THE SHAPE Molly SCREAMS . the SHAPE grabs he . wraps the ROPE tightly around her neck . Molly grasp for breath . ON KERI Running furiously across the campus . trying desperately to reach the bell tower in time . ON THE SHAPE Moves Molly to the wall of the bell tower , tosses her over the edge . ON KERI Watches in horror as Molly falls two flights before the rope goes taunt , snapping her neck instantly . the bell CLANGS .<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>NOOOOOOOOO!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GYMNASIUM - SAME TIME<\/stage_direction>\n    <scene_description>A group of STUDENTS , with Will at the helm , use a WOODEN BENCH as a battering ram . BOOM ! The bench slams against the gym entrance , the metal doors start to buckle . BOOM ! ON THE GYMNASIUM DOORS , the weight of the wooden bench pops the chains wrapped around the handles , the doors fly open . KERI watches as crazed STUDENTS pour out of the gymnasium , head for the parked buses across campus . STUDENTS spot Molly dangling from the bell tower . SCREAMS of terror echo across campus . Keri turns back to the bell tower . the SHAPE IS GONE !<\/scene_description>\n    <character>KERI<\/character>\n    <parenthetical>( realizing . )<\/parenthetical>\n    <dialogue>John.<\/dialogue>\n    <scene_description>She heads toward - THE PARKED SCHOOL BUSES being filled to capacity with screaming teens . WILL leads the charge of getting all students safely aboard . KERI manages to find John amongst the throng .<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>John!<\/dialogue>\n    <scene_description>Mother and son reunite .<\/scene_description>\n    <character>JOHN<\/character>\n    <dialogue>He found you, did n't he?<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>Get on the bus.<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>Where's Molly? She's not in her room.<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>Just get on the bus.<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>I'm not leaving without her.<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>John, you ca n't help her now.<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>What? Where is she?<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>John.<\/dialogue>\n    <scene_description>Keri 's at a loss for words , it 's written all over her face .<\/scene_description>\n    <character>JOHN<\/character>\n    <dialogue>Oh, God. no. not Molly.<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>Please, get on the bus.<\/dialogue>\n    <scene_description>John hesitates for a beat . climbs into the bus , takes a window seat . WILL crosses to Keri , hugs her tight .<\/scene_description>\n    <character>WILL<\/character>\n    <dialogue>Keri, you all right?<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>We've got to get these kids out of here.<\/dialogue>\n    <character>WILL<\/character>\n    <dialogue>I'll make sure there's no kids left in the dorms.<\/dialogue>\n    <scene_description>WILL dashes toward the dorms . KERI climbs aboard the bus , stands next to the driver . waits impatiently for Will to return .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLCREST ACADEMY<\/stage_direction>\n    <scene_description>The BUSES are on the move . leaving the academy single file . ON JOHN Watching from inside his bus as it prepares to leave . ON KERI Waves to John through the window , knows this may be the last time she ever sees him . She turns to the driver -<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>You go ahead. Will and I will follow you in my car.<\/dialogue>\n    <scene_description>The DRIVER nods in agreement . JOHN 'S POV Keri gets off the bus , watches as the last bus drives through the open gates of the academy . Keri crosses to the dorms , disappears inside -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DORMS<\/stage_direction>\n    <scene_description>Keri moves noiselessly down the hallway . searching for any sign of Will . holding her breath with every door she checks behind .<\/scene_description>\n    <character>KERI<\/character>\n    <parenthetical>( a loud whisper . )<\/parenthetical>\n    <dialogue>Will. Will, where are you?<\/dialogue>\n    <scene_description>Keri rounds a corner , spots - SMOKE seeping through the cracks of a swinging door leading to the dorm 's kitchenette . KERI crosses to the swinging door , slowly pushes it open to reveal - WILL his whole upper torso shoved into the oven , clothes ablaze . KERI runs into the kitchen , yanks Will out of the oven by his legs . ON WILL . Hair singed - off his head , his face a mangled mass of burning flesh , mouth agape in horror .<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>Oh, God, Will.<\/dialogue>\n    <scene_description>Keri kneels down beside him , helpless . filled with rage . SWOOSH ! The kitchen door swings violently to and fro . Keri spins around , startled by - LURCH The dog jumps on her chest , licks her face gleefully .<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>Get off me.<\/dialogue>\n    <scene_description>The dog 's mood changes suddenly : he stops licking Keri and GROWLS ferociously at something behind her . Keri slowly turns around to see - THE SHAPE standing above her , comes down on her with a knife . makes contact , slices her shoulder wide open . KERI scrambles to her feet , grabs a pot off the stove . swings at the SHAPE . CLANG ! Delivers a hard blow to the SHAPE 'S head with the iron pot . The SHAPE stumbles backward , Keri sprints out the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DORMS<\/stage_direction>\n    <scene_description>Keri comes running from the building , dashes across campus and into -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOUSE<\/stage_direction>\n    <scene_description>Keri bursts through the door , runs down the hallway into -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM<\/stage_direction>\n    <scene_description>CLOSE ON : DETECTIVE BLAKE Her body sprawled across Keri 's bed , THROAT SLIT from ear - to - ear . a TOMBSTONE in lieu of a headboard , `` LAURIE STRODE '' carved into stone .<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>You son of a bitch!<\/dialogue>\n    <scene_description>The fury wells inside of her . Keri crosses to the bed , drops to her knees . pulls out the metal box underneath the mattress . opens it . IT 'S EMPTY !<\/scene_description>\n    <character>KERI<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Shit!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLCREST ACADEMY<\/stage_direction>\n    <scene_description>Keri runs from the house , determined . makes her way across campus to -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUARD HOUSE<\/stage_direction>\n    <scene_description>Keri crosses to the console , pushes the BUTTON that controls the gate . it begins to close slowly . CRASH ! Hattie 's body falls from the drop - ceiling above , lands right on top of Keri . Shit . Keri throws the bloody corpse off of her . She looks around the room . zeroes in on the large CB RADIO . she picks it up and SMASHES it against the console . over and over again . sparks fly . the gate now permanently closed . Keri reaches down , pulls Hattie 's key ring from her body . moves outside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GATES<\/stage_direction>\n    <scene_description>Keri moves to the gate . locks it using Hattie 's keys , then tosses them over the gate into the brush .<\/scene_description>\n    <character>KERI<\/character>\n    <parenthetical>( calling off . )<\/parenthetical>\n    <dialogue>Time to put an end to this nightmare, motherfucker!<\/dialogue>\n    <scene_description>Keri heads back toward the school .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADBLOCK - SAME TIME<\/stage_direction>\n    <scene_description>Deputy Clark lies on the hood of his patrol car , hat over his face . catching some z 's . Carter stands by the wooden barriers , spots - THE LINE OF BUSES speeding toward the roadblock , headed for the small town below .<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>What the hell?<\/dialogue>\n    <scene_description>Deputy Clark is awakened by the approaching caravan . Carter waves down a bus , moves to the door -<\/scene_description>\n    <character>CARTER<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>What's happening?<\/dialogue>\n    <character>DRIVER<\/character>\n    <dialogue>We're evacuating the school. Been two murders up there tonight. Killer's still on the loose.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Goddamnit!<\/dialogue>\n    <scene_description>Carter runs back to the patrol car , followed by Deputy Clark .<\/scene_description>\n    <character>DEPUTY CLARK<\/character>\n    <parenthetical>( calling off . )<\/parenthetical>\n    <dialogue>Call for back - up!<\/dialogue>\n    <scene_description>A flurry of action as OFFICERS clear the roadblocks , get on the radio and call for back - up . Carter and Deputy Clark climb into the patrol car , headed for the school . Carter grabs his walkie - talkie , barks into it -<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Blake, what's going on up there!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - SAME TIME<\/stage_direction>\n    <scene_description>ON BLAKE 'S WALKIE - TALKIE still hooked to the side of her lifeless body .<\/scene_description>\n    <character>CARTER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Blake! Do you hear me? Blake!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLCREST ACADEMY - SAME TIME<\/stage_direction>\n    <scene_description>VARIOUS SHOTS of the empty campus . Keri moves brazenly across school grounds , looking for the big brother . As she passes the bell tower , she sees - A SHADOW move inside the gymnasium . she quickly approaches -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GYMNASIUM<\/stage_direction>\n    <scene_description>Keri moves inside the decorated gym . stops at a FIRE AXE hanging behind glass . she picks up a plastic skull , smashes the glass with it . grabs the AXE and continues inside . CLICK ! The lights go out . the gym now eerily illuminated only by carved pumpkins lit around its perimeter . Keri continues on , bravely . the fire axe tightly in her grip .<\/scene_description>\n    <character>KERI<\/character>\n    <parenthetical>( calling off . )<\/parenthetical>\n    <dialogue>Let's ends this right now. You want to kill me to fulfill your twisted obsession, then go ahead. I'm tired of playing hide - and - seek, brother. Come on, finish what you started, you miserable fuck.<\/dialogue>\n    <scene_description>CLANG - CLANG - CLANG ! Keri jumps . the gymnasium floor beneath her begins to move , closing back over the pool . Keri continues to move alongside the pool , when - THE SHAPE jumps from the bleachers , buries a knife deep into Keri 's arm . she SCREAMS in pain . drops the fire axe into the pool . The Shape pulls the knife from Keri 's arm , stands above her . he raises the knife high into the air , about to plunge it straight into Keri 's heart , when - BANG ! A BULLET BURROWS INTO THE SHAPE 'S SHOULDER . Spins him around , comes face - to - face with . JOHN standing behind him , wielding Keri 's SMITH AND WESSON . The SHAPE moves toward him . BANG ! BANG ! BANG ! JOHN empties the chamber into the Shape , thrust him backward . THE SHAPE falls into the pool , pulls Keri into the water with him . KERI struggles to climb out of the pool , the Shape fights to pull her back in . THE SHAPE finds the axe , swings at Keri . slice open her thigh . JOHN grabs Keri by the arms , manages to pull her out . THE SHAPE strives to climb out of the water as the gym floor continues to close . he swings the axe , buries the blade into the gym floor . grabs the handle , uses it to pull himself out . KERI grabs a JAVELIN hanging on the wall . THE SHAPE pulls his upper torso out of the water just as KERI raises the javelin high into the air , when - CLOSE ON : THE SHAPE Reaches out for her . then , a sound altogether unnatural -<\/scene_description>\n    <character>THE SHAPE<\/character>\n    <parenthetical>( a desperate plea . )<\/parenthetical>\n    <dialogue>Laurie.<\/dialogue>\n    <scene_description>Time stands still - TOTAL SILENCE . ON KERI . All the love and loss of the past twenty years plays all over her face , when -<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>Michael.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>Go to hell!<\/dialogue>\n    <scene_description>KERI plunges the javelin through his body with all her might , pierces his heart . the javelin juts out of his back . THE SHAPE arches his back in pain , grabs the metal rod . tries desperately to remove it , sinks into the water . THE GYM FLOOR closes above him . CLANG ! Half the javelin sticks out above the floor . it twitches fiercely , then stops . CARTER storms the gym , gun drawn . followed by Deputy Clark and a dozen armed police officers . He approaches Keri .<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>Guess he was stoppable, after all.<\/dialogue>\n    <scene_description>THE TERROR IS GONE . Keri and John embrace .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLCREST ACADEMY - A HALF HOUR LATER<\/stage_direction>\n    <scene_description>POLICE CARS litter the campus . The corpse of THE SHAPE lies covered on a gurney . a pair of PARAMEDICS roll it past - AN AMBULANCE parked near the entrance , its rear doors open revealing - JOHN being tended to by a PARAMEDIC . Keri sits next to him .<\/scene_description>\n    <character>JOHN<\/character>\n    <dialogue>I just ca n't believe she's dead.<\/dialogue>\n    <scene_description>Keri does the only thing a mother can do , gives him a hug .<\/scene_description>\n    <character>KERI<\/character>\n    <dialogue>I love you, John.<\/dialogue>\n    <scene_description>Always the guy , John just shrugs , giving her a tough smile .<\/scene_description>\n    <character>JOHN<\/character>\n    <dialogue>Yeah, me too, Keri.<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>Call me Laurie, will ya?<\/dialogue>\n    <character>JOHN<\/character>\n    <dialogue>Keri. Laurie. how about if I just call you Mom?<\/dialogue>\n    <character>KERI<\/character>\n    <dialogue>That would work.<\/dialogue>\n    <scene_description>The two embrace an another PARAMEDIC closes the rear doors of the ambulance , locking Keri and John safely inside . THROUGH THE REAR WINDOWS Mother and son continue to bond as the ambulance drives off into the night . CUT TO BLACK . THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"On October 29, 1998, Michael Myers (Chris Durand), who has been missing for twenty years since the explosion at Haddonfield Memorial Hospital, burglarizes Dr. Sam Loomis' retirement house in Langdon, Illinois. Loomis' former colleague, Marion Chambers (Nancy Stephens), who took care of Dr. Loomis until he died, arrives and discovers that the file on Laurie Strode (Jamie Lee Curtis), who is presumed dead in an automobile accident, is missing. Michael murders her, her teenage neighbor Jimmy (Joseph Gordon-Levitt) and his friend Tony (Branden Williams), before leaving the house with Laurie's file. In Summer Glen, California, Laurie, having faked her death to avoid Michael, lives under an assumed name, having a career as the headmistress of Hillcrest Academy, a private boarding school. Laurie is also in a relationship with Hillcrest guidance counselor Will Brennan (Adam Arkin). However, Laurie is far from happy, as the tragic events from 1978 still haunt her; she lives in fear that her brother may return for her. While a woman and her daughter are at a rest stop, Michael steals their car. At the academy campus, the students leave to attend a school trip to Yosemite, leaving only Laurie, Will, security guard Ronny Jones (LL Cool J), Laurie's son, John, (Josh Hartnett) and his girlfriend Molly Cartwell (Michelle Williams) and their classmates Charlie Deveraux (Adam Hann-Byrd) and his girlfriend Sarah Wainthrope (Jodi Lyn O'Keefe), who are having a Halloween party in the school basement. Later that night, Laurie reveals her true identity to Will, when Michael arrives at Hillcrest and kills Charlie and Sarah. John and Molly are chased by Michael through the school grounds. Will and Laurie save John and Molly from Michael, and he and Laurie come face-to-face for the first time in twenty years. Will accidentally shoots Ronny, who had been patrolling the hallway, when he mistakes Ronny's shadow for Michael, and Michael kills Will while Will and Laurie are examining Ronny's body. Laurie manages to get John and Molly to safety, before she engages in a showdown with Michael. Laurie stabs Michael numerous times and pushes him over a balcony. She prepares to stab him again, but Ronny, who survived the shooting, convinces her to stop. The authorities arrive at the scene and as Michael is loaded into a coroner's van, Laurie steals the van with his body. Michael awakens and attacks Laurie, who stops short, causing Michael to fly through the windshield. Laurie drives the van into Michael, and she proceeds to drive off the road, down a steep hill. Laurie tumbles out, and Michael is pinned between the van and a fencepost. Laurie decapitates Michael with a fire axe, finally killing him. Laurie exhales in relief as the police arrive."}
{"movie_name":"The Equalizer_2014","imdb_id":"tt0455944","script":"<script>\n  <scene>\n    <character>THE EQUALIZER<\/character>\n    <dialogue>Written by<\/dialogue>\n    <scene_description>Richard Wenk Based on the Television Series created by Michael Sloan First Draft June 25, 2012 AN ALARM CLOCK Hits 5:30 AM and goes off. BEDROOM Grey morning light. Alarm still BUZZING because the room's empty. Bed already made. Tight enough to flip a quarter. Room Spartan and immaculate. Inside the BATHROOM... A HAND WIPES STEAM OFF A FOGGED BATHROOM MIRROR Just enough to see the straight razor gliding across the final patch of lather...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - MORNING<\/stage_direction>\n    <scene_description>Blender being loaded: Wheat grass, Almond milk, Whey protein, a cup of organic Blueberries. WRIST WATCH - finger hits the stopwatch button on it... HANDS DO THE DISHES Drying the blender and glass. Into a cabinet where there's only ONE of everything. ARMS IRON A SHIRT With the precision of a surgeon. Spray starch, stiff collar and cuffs...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - MORNING<\/stage_direction>\n    <scene_description>Shirt's buttoned. Leather belt slipped into creased pants. Tie knotted and tightened exactly. Stepping in front of a mirror... ROBERT MCCALL Middle aged, middle class, middle of the road looks. Pleased with his appearance, McCall adds a final touch. An ORANGE VEST. Finger hits the STOP button on the watch timer... CUT TO: A DOZEN ORANGE VESTS Moving about various aisles inside... HOME DEPOT - MORNING Dollies full of Quickset, painting materials and plumbing supplies being wheeled through the aisles by CONTRACTORS AND HANDYMEN. McCall on a ladder tossing down a box of wall switches to a DAY LABORER.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Didn't you pick up switches last week?<\/dialogue>\n    <character>LABORER<\/character>\n    <dialogue>Owner wants touch dimmers now.<\/dialogue>\n    <scene_description>McCall smiles. Climbs down the ladder.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>When they pay...<\/dialogue>\n    <character>MCCALL\/LABORER<\/character>\n    <dialogue>They say.<\/dialogue>\n    <scene_description>LOADING DOCK McCall PUSHES a dolly LOADED WITH PLYWOOD towards a panel VAN. Huffing and puffing past TWO YOUNG DUDES leaning against a fork lift.<\/scene_description>\n    <character>YOUNG DUDE 1<\/character>\n    <dialogue>Should make the old guys take fitness tests.<\/dialogue>\n    <character>YOUNG DUDE 2<\/character>\n    <dialogue>Like Firemen.<\/dialogue>\n    <scene_description>McCall sweating. Removing his gloves as he walks past the Young Dudes.<\/scene_description>\n    <character>YOUNG DUDE 1<\/character>\n    <dialogue>Betcha didn't have to push no dolly in your last job, did ya Pops.<\/dialogue>\n    <character>MCCALL<\/character>\n    <parenthetical>(good natured)<\/parenthetical>\n    <dialogue>Guilty as charged.<\/dialogue>\n    <scene_description>As he walks off...<\/scene_description>\n    <character>YOUNG GUY 2<\/character>\n    <dialogue>Dudes come in here thinkin' it's all tape measures, paint cans and \"how may I help you\".<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOME DEPOT BREAK ROOM - DAY<\/stage_direction>\n    <scene_description>McCall on his break. A DOZEN EMPLOYEES scattered around the room on plastic chairs in front of Formica tables. McCall makes his way to the back table where RALPHIE, a heavyset kid in his 20's sits alone. Takes a seat. Ralphie empties the contents of his bag for McCall to see. McCall looks suspicious.<\/scene_description>\n    <character>RALPHIE<\/character>\n    <dialogue>It's Tuna.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>What kind of bread?<\/dialogue>\n    <character>RALPHIE<\/character>\n    <dialogue>Whole grain. Gluten-free.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Condiments?<\/dialogue>\n    <character>RALPHIE<\/character>\n    <dialogue>Sprouts. Avocado. Veganese Mayo.<\/dialogue>\n    <scene_description>McCall smiles. Digs into his ground turkey and veggie mix as Ralphie bites into his sandwich... CRUNCH Ralphie winces. On McCall's look Ralphie slides his sandwich across the table. McCall lifts the bread to reveal a layer of potato chips.<\/scene_description>\n    <character>RALPHIE<\/character>\n    <dialogue>What? Potatoes are a vegetable.<\/dialogue>\n    <scene_description>Prison yard stare from McCall.<\/scene_description>\n    <character>RALPHIE<\/character>\n    <dialogue>I like crunchy things.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Carrots are crunchy. Dried seaweed is crunchy. You like those?<\/dialogue>\n    <scene_description>McCall picks off a chip, holds it up.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Partially hydrogenated vegetable oil. Corn syrup. Those are the enemy, son.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You wanna make Security Guard? You gotta lose weight. Test is coming up in a week. You asked me to help you. But if you're not going to apply yourself...<\/dialogue>\n    <scene_description>Ralphie drops his head in defeat. McCall reaches across the table and lifts Ralphie's head back up.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Hey. You can do it. Progress, not perfection.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY - NIGHT<\/stage_direction>\n    <scene_description>Rush hour crowded. McCall stands in the packed car. Just another tired face at the end of a long day...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OCEAN AVENUE, BROOKLYN<\/stage_direction>\n    <scene_description>Lower middle class neighborhood of aging apartment buildings and bodegas. Street lamps flicker on as McCall reaches a five story walk up. BUILDING FOYER McCall opens the only mailbox with no name on it. Removes a flyer and a credit card offer that go right in the trash. MCCALL'S KITCHEN McCall watching the 6:30 news as he washes his dinner dishes... Single dish, fork, knife and glass.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONEY ISLAND BOARDWALK - NIGHT<\/stage_direction>\n    <scene_description>Only half operational. Ferris Wheel moans and creaks under the weight of bundled up PATRONS. McCall sits on a bench PEOPLE watching. Comfortable. At peace. PING! The SHOOTING BOOTH catches his attention. Watches a poor IMMIGRANT FATHER plop down dollar after dollar valiantly trying to win a giant Sponge Bob for his kid. Only to fail every time. The Father eventually runs out of dollars and walks off with his heartbroken son.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCCALL'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Clock reads 9:40. McCall in bed. Reading a hardcover of Hemingway's \"Old man and the Sea\". CLOCK 1:48 AM MCCALL In the dark. Wide awake.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A DINER - NIGHT<\/stage_direction>\n    <scene_description>A punch-drunk, open-all-night dive. A bored COUNTERMAN behind the chipped Formica counter. DOORMAN from down the block reads the next days paper. A lone GIRL at a table by the window, ear phones in, iPod playing, eyes closed... Cheap cocktail dress, stockings and costume jewelry leave no doubt what she is... Wall clock says 2:11 AM when McCall walks in with his book. Shuffles to a seat at his usual table near the back. Counterman comes over and sets a cup and a small pot of hot water at McCall's table without asking. McCall uses a napkin to wipe out the cup. Takes a tea bag from his pocket, drops it in the cup and pours the boiling water over it. Opens his book and reads.<\/scene_description>\n    <character>TERI (OS)<\/character>\n    <dialogue>He catch the fish yet?<\/dialogue>\n    <scene_description>McCall glances up. Teri THE HOOKER pulling her earphones out. Pretty, late 20s. Few tats peeking out from her dress.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Just hooked it.<\/dialogue>\n    <character>TERI<\/character>\n    <dialogue>About time.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>It's a big fish. Don't know if he can hang on to it though.<\/dialogue>\n    <character>TERI<\/character>\n    <parenthetical>(playful)<\/parenthetical>\n    <dialogue>Oh no.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Tooth and nail right now.<\/dialogue>\n    <character>TERI<\/character>\n    <dialogue>Maybe he's too old.<\/dialogue>\n    <scene_description>McCall nods. They're quiet for a while. Teri takes a bite of her Apple pie.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Thought you were going to stop eating all that refined sugar.<\/dialogue>\n    <character>TERI<\/character>\n    <parenthetical>(with a mouthful)<\/parenthetical>\n    <dialogue>I am.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>When.<\/dialogue>\n    <character>TERI<\/character>\n    <dialogue>Any day now.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Bad for the vocal cords.<\/dialogue>\n    <scene_description>Teri looks away sheepishly.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>How's the singing?<\/dialogue>\n    <scene_description>She shrugs.<\/scene_description>\n    <character>TERI<\/character>\n    <dialogue>Got myself a little machine to make demos. We'll see.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Bet you're good.<\/dialogue>\n    <character>TERI<\/character>\n    <dialogue>What makes you think that?<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Intuition.<\/dialogue>\n    <scene_description>Teri smiles her first real smile. After a beat they descend back into silence. Teri finishes her pie. Shoulders her tote and starts for the door.<\/scene_description>\n    <character>TERI<\/character>\n    <dialogue>Lemme know what happens next.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOME DEPOT, ELECTRICAL AISLE - DAY<\/stage_direction>\n    <scene_description>McCall rolls another Dolly past the Young Dudes slacking off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOME DEPOT - HARDWARE AISLE - MORNING<\/stage_direction>\n    <scene_description>Ralphie stocking packages of extension cords. Looks around to make sure no one is looking... Pushes aside some boxes and reaches his arm to the back of the shelf. Pulls out... A bag of sunflower seeds?<\/scene_description>\n    <character>MCCALL (OS)<\/character>\n    <dialogue>Crunchy. Just how you like 'em.<\/dialogue>\n    <scene_description>Ralphie looks up to see McCall walk off holding the Snickers Bar he was looking for.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOME DEPOT - LOADING DOCK<\/stage_direction>\n    <scene_description>McCall on his break. Popping sunflower seeds and watching the trucks being loaded. Looks up to see the two Young Dudes standing over him.<\/scene_description>\n    <character>YOUNG DUDE 1<\/character>\n    <dialogue>We're bettin' on what you did 'fore you got here?<\/dialogue>\n    <character>YOUNG DUDE 2<\/character>\n    <dialogue>For a living.<\/dialogue>\n    <character>YOUNG DUDE 2<\/character>\n    <dialogue>I bet Insurance. Claims and shit.<\/dialogue>\n    <character>YOUNG DUDE 1<\/character>\n    <dialogue>Wall Street. Stock dude.<\/dialogue>\n    <scene_description>McCall pockets his seeds.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>I was a Pip.<\/dialogue>\n    <character>YOUNG DUDE 1<\/character>\n    <dialogue>Pip? The fuck is a Pip?<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>You know. Gladys Knight and the Pips?<\/dialogue>\n    <scene_description>McCall gets up. Does a little Pip move. Pulling the whistle on the Midnight Train to Georgia. Young Dudes eyes widening as they slowly get it.<\/scene_description>\n    <character>YOUNG DUDE 2<\/character>\n    <dialogue>No shit!<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>One on the right.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOME DEPOT - DUSK<\/stage_direction>\n    <scene_description>McCall collects his paycheck from the SUPERVISOR.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHECK CASHING PLACE - DUSK<\/stage_direction>\n    <scene_description>McCall stands in line with OTHER WORKERS. FACES in line not much different from his. Men not where they expected to be at this stage in life.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCCALL'S APARTMENT<\/stage_direction>\n    <scene_description>Dinner dishes already cleaned and put away. McCall's at his book case in the back hallway. Watering the few small plants that live on top of it. Shelves lined with book titles that seem eclectic... MCCALL'S BEDROOM - LATER Work clothes laid out. Bed empty. Clock reads 2:18 AM<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINER - SAME TIME<\/stage_direction>\n    <scene_description>McCall at his table reading a new book. Tea bag floating in his cup. Doorman at the counter with the Post as Teri glides in and plops down in her usual spot. Counterman already over with her coffee and donut. Teri takes a quick bite and a sip. Turns to McCall.<\/scene_description>\n    <character>TERI<\/character>\n    <dialogue>He catch the fish?<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>He did.<\/dialogue>\n    <character>TERI<\/character>\n    <dialogue>Happy ending. Yay.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Not exactly.<\/dialogue>\n    <scene_description>McCall closes his book.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Old Man tied the dead fish to the boat and had to row back...<\/dialogue>\n    <scene_description>Teri's elbows on the table now.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>On the way in the fish bled out into the water. Blood drew sharks. The old man tried to fight them off...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Ate the fish before he could get it home.<\/dialogue>\n    <character>TERI<\/character>\n    <dialogue>So the whole thing was a waste.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Depends on how you look at it.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Old Man spent his life fighting fish. Then, when he figured that part of his life was over, he met his greatest adversary.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>It was as if both of them had been waiting for this moment.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>During the struggle the Old Man sort of formed a bond - a respect - for the fish. A kind of love.<\/dialogue>\n    <character>TERI<\/character>\n    <dialogue>Why didn't he let it go then?<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>The Old Man had to be the old man and the Fish had to be the fish. That's life. You gotta be who you are.<\/dialogue>\n    <scene_description>A long pause. Two people who understand loss.<\/scene_description>\n    <character>TERI<\/character>\n    <dialogue>Well. He lost.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Old man went out too far. Farther than he should have.<\/dialogue>\n    <scene_description>A long silence. Teri breathes into her cup so the soft steam touches her face. Counterman rhythmically wipes the counter. McCall picks up his new book. Outside, it begins to rain.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BREAK ROOM - DAY<\/stage_direction>\n    <scene_description>McCall sitting with Ralphie going over his food plan when SEVERAL EMPLOYEES singing \"Happy Birthday\" enter the room. SUPERVISOR GEORGIE holds a donut sporting a lit candle. McCall reacts with confusion as Georgie puts the donut in front of him. Georgie laughs at McCall's blank look.<\/scene_description>\n    <character>GEORGIE<\/character>\n    <dialogue>You forget?<\/dialogue>\n    <scene_description>McCall realizes it's for HIS birthday. Shaking his head...<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Talk about a senior moment.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A DINER - NIGHT<\/stage_direction>\n    <scene_description>Teri at her table. Ear phones in. Lost in some song when a donut is placed in front of her. Looks up to see McCall.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Loaded with poison... Just the way you like it.<\/dialogue>\n    <scene_description>A beat, she looks up at him. Ugly bruise on her face. McCall pretends not to notice.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Someone's birthday at work. Didn't want to waste it.<\/dialogue>\n    <scene_description>Goes to his table and sits. Counterman brings the pot and cup. McCall takes out his tea bag. Teri walks over with the donut and sits. Slides a burned CD over to him.<\/scene_description>\n    <character>TERI<\/character>\n    <dialogue>Let me know if I'm any good.<\/dialogue>\n    <scene_description>Catches McCall sneaking a look at her bruise.<\/scene_description>\n    <character>TERI<\/character>\n    <dialogue>You should see the other guy. It's okay... Comes with the job.<\/dialogue>\n    <scene_description>Picks up the donut.<\/scene_description>\n    <character>TERI<\/character>\n    <dialogue>Whose birthday?<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Some guy.<\/dialogue>\n    <character>TERI<\/character>\n    <dialogue>Happy birthday, some guy.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>I'm breaking protocol. Should I go back to my table?<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>No. It's fine.<\/dialogue>\n    <character>TERI<\/character>\n    <dialogue>I just needed company tonight.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Teri.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Bob.<\/dialogue>\n    <scene_description>Teri studies McCall.<\/scene_description>\n    <character>TERI<\/character>\n    <dialogue>You don't look like a Bob. More like a Robert. Robert reads books. Bob watches TV.<\/dialogue>\n    <scene_description>McCall smiles. Picks up the CD.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Teri the singer.<\/dialogue>\n    <character>TERI<\/character>\n    <dialogue>You and I both know what I really am.<\/dialogue>\n    <scene_description>Takes a bite of the donut.<\/scene_description>\n    <character>TERI<\/character>\n    <dialogue>I mean I WANT to be a singer. I THINK I can be a singer. Doesn't make me one.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>I believe anybody can be who they want to be.<\/dialogue>\n    <scene_description>Teri laughs.<\/scene_description>\n    <character>TERI<\/character>\n    <dialogue>Maybe where you come from. Not in my world.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Then change your world.<\/dialogue>\n    <character>TERI<\/character>\n    <dialogue>Not that easy.<\/dialogue>\n    <scene_description>Comfortable silence.<\/scene_description>\n    <character>TERI<\/character>\n    <dialogue>No ring.<\/dialogue>\n    <parenthetical>(off McCall's look)<\/parenthetical>\n    <dialogue>On your finger. No Mrs. Robert at home?<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>TERI<\/character>\n    <dialogue>Ever?<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Once. A ways back.<\/dialogue>\n    <character>TERI<\/character>\n    <dialogue>Break her heart?<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>She broke mine.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>She died.<\/dialogue>\n    <scene_description>Teri looks at McCall with a mixture of sadness and curiosity.<\/scene_description>\n    <character>TERI<\/character>\n    <dialogue>Thought that might be it. I see a lot of widowed guys. It's the eyes.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>The eyes.<\/dialogue>\n    <character>TERI<\/character>\n    <dialogue>Yeah. Not sad. Just... lost. It's sweet.<\/dialogue>\n    <scene_description>McCall doesn't blink. Smart girl.<\/scene_description>\n    <character>TERI<\/character>\n    <dialogue>You always read?<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>No. My wife did. I was away a lot. For work. So she read. Was making her way through the 100 Books everyone should read. Got to 97.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Figured it would give us something to talk about someday. Something we could share.<\/dialogue>\n    <character>TERI<\/character>\n    <dialogue>A hundred books... Holy moly. How many have you read?<\/dialogue>\n    <character>TERI<\/character>\n    <dialogue>No shit. 91. Almost done.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Almost.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>TERI<\/character>\n    <dialogue>Then what?<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>I don't know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DINER - NIGHT<\/stage_direction>\n    <scene_description>McCall and Teri walk out together.<\/scene_description>\n    <character>TERI<\/character>\n    <dialogue>I'm gonna grab a cab.<\/dialogue>\n    <scene_description>Both head for the corner...<\/scene_description>\n    <character>TERI<\/character>\n    <dialogue>What's 92 about?<\/dialogue>\n    <scene_description>McCall holds up DON QUIXOTE.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Guy who thinks he's a Knight. Only he lives in a world where knights don't exist any more.<\/dialogue>\n    <character>TERI<\/character>\n    <dialogue>Sounds like my world.<\/dialogue>\n    <scene_description>Teri steps to the curb to hail a cab. A Few FLY BY. Then a WHITE VAN rolls up. TALL MAN with LONG HAIR gets out of the passenger side. Bone- colored leather jacket, tanning-bed complexion. McCall watches Teri stiffen. The two ARGUE in Russian. Finally Teri looks back at him.<\/scene_description>\n    <character>TERI<\/character>\n    <dialogue>I have to go with them. It's okay. See you... when I see you.<\/dialogue>\n    <scene_description>Forces a smile and gets in the van. Tall Guy walks over to McCall. Hands him a card.<\/scene_description>\n    <character>SLAVI<\/character>\n    <parenthetical>(Russian accent)<\/parenthetical>\n    <dialogue>You call number... they send you another one. Just as good. Tell them Slavi said.<\/dialogue>\n    <scene_description>Gets back in the Van and drives off. McCall turns the card over in his hand. An escort service.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCCALL'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Bathed in SHADOWS. Everything still. Just the SOUND of Teri's CD wafting through the rooms. McCall at the kitchen table with a glass of Grapefruit juice. Listening. Rough, edgy, passionate, unpolished. A diamond in the rough. McCall's eyes twinkle just a tad. Not bad...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOME DEPOT - DAY<\/stage_direction>\n    <scene_description>PEARL, 300 pounds of attitude, walking towards the BACK OFFICE. The Two Young Dudes sidle up on either side of her.<\/scene_description>\n    <character>YOUNG DUDE 2<\/character>\n    <dialogue>Pearly. Which one of us you gonna ask out.<\/dialogue>\n    <character>YOUNG DUDE 1<\/character>\n    <dialogue>Seen you eyeing us for a week now. But you can only have one of us so... Whose it gonna be?<\/dialogue>\n    <character>PEARL<\/character>\n    <dialogue>Been eyein' you two, alright.<\/dialogue>\n    <scene_description>Young Dudes primping now.<\/scene_description>\n    <character>PEARL<\/character>\n    <dialogue>Trying to figure out what either one of you lazy mutherfuckers do all day and why I shouldn't fire your worthless, bony asses.<\/dialogue>\n    <scene_description>Dudes stopping, letting Pearl continue on.<\/scene_description>\n    <character>YOUNG DUDE 2<\/character>\n    <dialogue>Seems more like your type...<\/dialogue>\n    <scene_description>Dude 1 SEES McCall handing a DRIVER a receipt at the LOADING DOCK. Stepping into his path.<\/scene_description>\n    <character>YOUNG DUDE 1<\/character>\n    <dialogue>Yo. You weren't no Pip, Old Man.<\/dialogue>\n    <scene_description>Shoves his iPhone under his nose. You Tube Video of Gladys Knight and the Pips. McCall smiles.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Soul Train. '82. That's me. On the end.<\/dialogue>\n    <character>YOUNG DUDE 2<\/character>\n    <dialogue>Ain't you.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Few pounds lighter and a lot more hair. But damn. I was good looking.<\/dialogue>\n    <scene_description>McCall perfectly mirrors the dance moves then walks off leaving the Young Dudes staring at the screen.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A DINER - NIGHT<\/stage_direction>\n    <scene_description>McCall at his table. Tea poured. DON QUIXOTE open in front of him. Keeps glancing at the door. No Teri tonight.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOME DEPOT PARKING LOT - LUNCH BREAK<\/stage_direction>\n    <scene_description>Several LUNCH TRUCKS parked out front. Orange Vests sprinkled out, eating under trees or on the grass. Not McCall or Ralphie. They're at the far edge of the lot, McCall putting Ralphie through an exercise routine. Urging him to do one more pull up, one more push up.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Who's gonna be the best Security Guard?<\/dialogue>\n    <character>RALPHIE<\/character>\n    <dialogue>I am, SIR!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A DINER - NIGHT<\/stage_direction>\n    <scene_description>McCall walks in. Again, no Teri. The Counterman brings over his cup and pot of hot water. Notices McCall eyeing the door.<\/scene_description>\n    <character>COUNTERMAN<\/character>\n    <dialogue>She's up at Kings County. Heard someone beat her up pretty bad.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KINGS COUNTY HOSPITAL, IC WARD - NIGHT<\/stage_direction>\n    <scene_description>McCall is standing on one side of a chicken wire and glass window staring into the Intensive Care room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ICU<\/stage_direction>\n    <scene_description>Eight beds. All filled. Teri's in the far corner. Attached to wires and IV's. Face bandaged, neck in a brace. Almost unrecognizable. A YOUNG WOMAN dozes in a chair next to the bed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL CAFETERIA - NIGHT<\/stage_direction>\n    <scene_description>The same Young Woman pays for a cup of coffee. Takes it to a condiment station and loads it with an ungodly amount of sugar.<\/scene_description>\n    <character>MCCALL (OS)<\/character>\n    <dialogue>How's she doing?<\/dialogue>\n    <scene_description>Her head snaps. Finds McCall sitting at a far table.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Teri. How's she doing?<\/dialogue>\n    <scene_description>The Young Woman eyes McCall, hard as rock. Just another John...<\/scene_description>\n    <character>YOUNG WOMAN<\/character>\n    <dialogue>Well she's not good.<\/dialogue>\n    <scene_description>The Young Woman reaches for her coffee and tries to bring the cup to her lips. Hands begin shaking and the coffee spills. McCall steps over and takes the cup from her hands. Sets it down then gets some napkins and sops up the spillage. THE CAFETERIA - LATER Under the green glow of Fluorescents, McCall sits at the Young Woman's table listening.<\/scene_description>\n    <character>YOUNG WOMAN<\/character>\n    <dialogue>... guy hit her. Some Johns think they can do that.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>She hit him back and the guy called Slavi...<\/dialogue>\n    <scene_description>WHAM! TERI'S FACE (FLASHBACK) Hit with a massive fist. Cheek bone shattering.<\/scene_description>\n    <character>YOUNG WOMAN (OS)<\/character>\n    <dialogue>He set her straight...<\/dialogue>\n    <scene_description>UPSTAIRS OFFICE - WIDER Teri face up on the carpet. A RING OF MEN standing over her. On the couch THREE OTHER ESCORTS (including the Young Woman) sit silently in horror.<\/scene_description>\n    <character>YOUNG WOMAN (OS)<\/character>\n    <dialogue>They like making examples of trouble makers.<\/dialogue>\n    <scene_description>Slavi rubs his fist. Offers Teri his hand and gently helps her up. Teri tries to speak but Slavi flicks open a knife and presses it to her throat.<\/scene_description>\n    <character>SLAVI<\/character>\n    <dialogue>No talking. Talking is not problem. Listening is problem.<\/dialogue>\n    <scene_description>Presses harder. Opens a small cut in her throat. Teri GROANS. Uses the knife to push Teri to her knees in. Other hand unzips his pants and forces himself into her mouth. Slavi uses the knife to control Teri's head. Boris moves behind Teri. Rips her pants open and violently enters her from behind. The rest stare glassy-eyed as Slavi and Boris rape Teri. HOSPITAL CAFETERIA The Young Woman stares out into the empty room. Numb to the brutality.<\/scene_description>\n    <character>YOUNG WOMAN<\/character>\n    <dialogue>Said they'd cut her throat next time.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Said a whore who fucks and can't talk is worth twice as much...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY - NIGHT<\/stage_direction>\n    <scene_description>McCall rides home on an almost empty car. Rocks with the rhythm of the train.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRIGHTON BEACH CLUB - NIGHT<\/stage_direction>\n    <scene_description>That White VAN pulls up to the Valet outside an AFTER HOURS CLUB. The Driver, BORIS, steps out and enters a street level door... MAIN DINING ROOM - AFTER HOURS CLUB Boris moves through the packed DINING ROOM to a... BACK STAIRWELL Where he jogs up to an second floor door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSTAIRS OFFICE<\/stage_direction>\n    <scene_description>THREE prison-hard THUGS sprawled on the couch watching the TV. Boris waddles in and plops down in front of Slavi who sits behind a large desk. Tosses an envelope onto the desk. Slavi drops the envelope on an antique scale - sees it's correct - and slides it into the top drawer. Pours a shot for Boris... When the DOOR OPENS and Robert McCall steps inside... OFFICE - WIDER Heads turn. Russians eyeballing up McCall like lions do Antelope.<\/scene_description>\n    <character>SLAVI<\/character>\n    <dialogue>You lost, dedushka?<\/dialogue>\n    <scene_description>McCall hesitates. Makes his way to the desk. Places the card Slavi gave him in front of him.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>You gave me this the other night.<\/dialogue>\n    <character>SLAVI<\/character>\n    <dialogue>I give out lots of cards. You want pussy, dedushka? You still get it up?<\/dialogue>\n    <scene_description>Chuckles from everybody. McCall waits for it to stop.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>I'm here about a certain girl.<\/dialogue>\n    <scene_description>Slavi waits.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Name's Teri. She was beat up pretty bad.<\/dialogue>\n    <scene_description>The room gets quiet.<\/scene_description>\n    <character>SLAVI<\/character>\n    <dialogue>I think you have the wrong address, dedushka.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>I'm not a cop or anything. I just want to help her.<\/dialogue>\n    <scene_description>Slavi studies the man in front of him.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>These girls. They represent an investment to you. I understand that.<\/dialogue>\n    <scene_description>McCall glances around at the other guys.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>I can give you four thousand eight hundred dollars. It's all I have.<\/dialogue>\n    <character>SLAVI<\/character>\n    <dialogue>You want to give me four thousand dollars. For what?<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Her freedom.<\/dialogue>\n    <scene_description>Slavi looks at McCall. Another heartsick John...<\/scene_description>\n    <character>SLAVI<\/character>\n    <dialogue>This whore. What's her name again?<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Teri.<\/dialogue>\n    <character>SLAVI<\/character>\n    <parenthetical>(pretending to think)<\/parenthetical>\n    <dialogue>Doesn't ring a bell. Whoever she is she must really know how to suck cock.<\/dialogue>\n    <scene_description>The muscle LAUGH.<\/scene_description>\n    <character>SLAVI<\/character>\n    <dialogue>Believe this guy? Gonna give me four thousand for one pussy. Must be Ferrari pussy...<\/dialogue>\n    <parenthetical>(to McCall)<\/parenthetical>\n    <dialogue>How many fucks you got left, man? Enough you pay four thousand I guess.<\/dialogue>\n    <scene_description>Slavi turns cancer serious.<\/scene_description>\n    <character>SLAVI<\/character>\n    <dialogue>The fuck you think you are? Come in here and offer money for my girl. Four thousand. Why not forty thousand? Four hundred thousand? You fucking Americans think you can come into my place of business and buy whatever you want!? You think you set the price? Fucking beautiful Russian girl... You fucking insult me.<\/dialogue>\n    <scene_description>All eyes boring in on McCall. An eternity of SILENCE. Then Slavi bursts out laughing.<\/scene_description>\n    <character>SLAVI<\/character>\n    <dialogue>Look... he almost wet his pants! I'm fucking with you, man. You got big balls coming here. I like that. Okay. Be Mr. White Knight. The fuck do I care.<\/dialogue>\n    <scene_description>Slavi holds out his hand...<\/scene_description>\n    <character>SLAVI<\/character>\n    <dialogue>Four thousand eight hundred for the pussy....<\/dialogue>\n    <scene_description>McCall takes it.<\/scene_description>\n    <character>SLAVI<\/character>\n    <dialogue>A month.<\/dialogue>\n    <scene_description>McCall goes to pull away but Slavi tightens his grip.<\/scene_description>\n    <character>SLAVI<\/character>\n    <dialogue>You think one-time payment? For pussy like that?<\/dialogue>\n    <scene_description>Lets go of McCall's hand.<\/scene_description>\n    <character>SLAVI<\/character>\n    <dialogue>Go home and jerk off four thousand eight hundred times. Then come back. She be used up then and I sell her to you.<\/dialogue>\n    <scene_description>McCall realizes that's it. Turns towards the door. Slavi nods to one of the Muscle who grabs a six-inch blade from a table and shoves it up his sleeve. Moves behind McCall as McCall reaches for the door knob. Only McCall does something unexpected... HE LOCKS IT. MCCALL'S EYE Turns. Half-lidded. Dull. Like a alligator. WE PUSH INTO THE PUPIL AS IT DILATES. In it WE SEE... THE ROOM As McCall sees it. With the detachment of a predatory animal... A series of frozen pictures flashing through McCall's head - mind calculating and evaluating a thousand details in a millisecond ... PARTS OF THE ROOM FADE AWAY. THE UNIMPORTANT PARTS TO MCCALL. Walls, doors, furniture, faces... Leaving only what's necessary to him: The glass edge of a shelf. The DRAGON TATTOO covering the CAROTID on the man's neck, the handle of a KNIFE in the man's waistband... the throbbing heartbeat in the center of the second MAN'S CHEST... The SHOT GLASS on the edge of a table... The third man's eye and the outline of a gun under his coat... And the fork. Weapons and targets disconnected from any sense of humanity. The eye measuring the distance between the objects and the time it will take him to kill everyone in the room. This has all happened... IN THE BLINK OF... McCall's eye. MOUTH mumbling - almost inaudibly...<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Forty-five seconds...<\/dialogue>\n    <scene_description>MCCALL'S HAND Moves to his watch... PUSHES a button... CLICK... WHAT HAPPENS NEXT Defies explanation. There is no form or elegance to it. It's not graceful or flashy. Just brutal and beautiful at the same time. McCall snapping the glass shelf in two... the jagged edge hisses through the first man's neck - slaying the dragon - an opera of blood enters the air... McCall already across the room. Planting the fork deep into the heart of the second man... The OTHERS halfway to their feet when McCall scoops the Gold shot glass from the table, ramming it into the eye socket of the third man, driving it deep enough to enter the man's brain... Man quivering like a frog in a science experiment... Slavi's hand coming out of the desk drawer with a .45... McCall already pulling the trigger of the gun inside eye- socket's pocket... Blowing Slavi's hand off at the wrist... hand and gun twisting into the air like a dead bird... McCall catching the head of the fourth man. Using his weight and leverage to snap the neck with a nauseating crunching sound... McCall steps back... As THE MEN fall around him. Heartbeats, the rush of blood, the sigh of breath... all cease. The room now ungodly quiet. McCall back to earth as gently as an autumn leaf... CLICK Hits the button on his watch. 49 seconds. McCall looks disappointed... SLAVI Gasping for breath. Hyperventilating. Handless arm aspirating blood into the carpet. Good hand fumbling with his Cell Phone... McCall crouches beside him. Takes Slavi's Cell from his hand. Voice quiet and devoid of smugness.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Your heart's beating three times its normal rate, trying to keep your blood pressure up. That's why you're having trouble breathing. But you're losing too much blood. In 30 seconds your heart will give up and go into cardiac arrest. Your body'll shut down and you'll slowly suffocate. It's going to suck to be you.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>So I need you to concentrate and listen to me...<\/dialogue>\n    <scene_description>Slavi's eyes find McCall.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>I want you to think about the girl. The one you beat and raped. I want you to know her life is going to go on while yours is going to end on this filthy carpet with no one giving a shit. I also want you to understand that you died over forty- eight hundred dollars. If you had taken it everything would have been different. I gave you an out but you didn't take it. Guys like you never do.<\/dialogue>\n    <scene_description>Slavi's eyes register the last words before they go blank. MCCALL'S HANDS Under a running faucet. Trickles of blood mixing with the water... MCCALL'S KITCHEN - LATER Dark. Silent. McCall at the sink. Cleaning his hands. Looking up at his reflection in the window. Studies it like it was some other person. ALARM CLOCK Hitting 5:30 AM. BATHROOM Empty. Mirror still steamed. KITCHEN - MORNING Blender drying in the sink...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOME DEPOT, BREAK ROOM - DAY<\/stage_direction>\n    <scene_description>McCall at his table. Eating his mixture when Ralphie plops down across from him. Removes his lunch. Including a can of Pringles. McCall staring at them.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Test is tomorrow. You don't want to be eating that salty sh---<\/dialogue>\n    <character>RALPHIE<\/character>\n    <dialogue>They're for you.<\/dialogue>\n    <parenthetical>(off McCall's look)<\/parenthetical>\n    <dialogue>Open it.<\/dialogue>\n    <scene_description>McCall does. Nothing inside except a piece of paper with the number \"210\" written on it. McCall looks up.<\/scene_description>\n    <character>RALPHIE<\/character>\n    <dialogue>What I weighed this morning. Down 9 pounds. I made the weight.<\/dialogue>\n    <scene_description>McCall grins.<\/scene_description>\n    <character>RALPHIE<\/character>\n    <dialogue>Gonna ace that test tomorrow, Mr. McCall. Thanks to you.<\/dialogue>\n    <scene_description>They knock knuckles. Ralphie notices the broken skin on McCall's knuckles.<\/scene_description>\n    <character>RALPHIE<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>I hit it on something stupid.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY - NIGHT<\/stage_direction>\n    <scene_description>McCall with the other commuters at the end of another long day.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCCALL'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>McCall eating at the kitchen table. Watching the NEWS on his small TV. On Screen: A REPORTER outside the After Hours Club, crime scene tape strung across the sidewalk behind her.<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>... in what Police are calling the beginning of a mob war between rival Russian factions.<\/dialogue>\n    <scene_description>MCCALL'S ALARMCLOCK Reads 2:29 AM. CAMERA PULLS BACK to REVEAL... McCall SOUND ASLEEP.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AFTER HOURS CLUB, UPSTAIRS OFFICE - SAME TIME<\/stage_direction>\n    <scene_description>The scene of McCall's decimation now empty and dark. Bodies gone but walls and floor like a Pollack canvass. THREE SHADOWY MEN IN SUITS stand center room. No one saying anything for the longest time. Can't see their faces. But their movements are those of men of power. Not used to not knowing...<\/scene_description>\n    <character>VOICE 1<\/character>\n    <dialogue>No forced entry. No defensive wounds. Not one of them got their pieces out.<\/dialogue>\n    <scene_description>Another long silence. A FOURTH MAN walks in.<\/scene_description>\n    <character>FOURTH MAN'S VOICE<\/character>\n    <dialogue>Security cameras in the restaurant worked fine. Till 8:02. Then they mysteriously go down for 8 minutes. 8:10 they're back on and these guys are dead.<\/dialogue>\n    <scene_description>ALL are silent. All eyes go to one man in particular.<\/scene_description>\n    <character>VOICE 1<\/character>\n    <dialogue>What do you want to do?<\/dialogue>\n    <scene_description>HOME DEPOT - MCCALL Rolling a dolly of FIXTURES out to a Contractor's Truck. Just another orange vest... BREAK ROOM McCall sitting at his table. Meal finished. No Ralphie. Looks up at the clock as one of the Fork Lift Driver's walks past...<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Gordy. You see Ralphie? He's taking that Security Guard test after work.<\/dialogue>\n    <character>GORDY<\/character>\n    <dialogue>Supervisor said he called in and quit.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Quit?<\/dialogue>\n    <character>GORDY<\/character>\n    <dialogue>Quit. No notice.<\/dialogue>\n    <parenthetical>(starts off)<\/parenthetical>\n    <character>GORDY<\/character>\n    <dialogue>Kids don't know shit about responsibility.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FLATBUSH AVENUE - DUSK<\/stage_direction>\n    <scene_description>A block of small family-owned places. Bodegas and restaurants manned by people who came here to get their piece of the dream. McCall coming down the block checking addresses. Stops across from...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EL TAPITO MEXICAN RESTAURANT - DUSK<\/stage_direction>\n    <scene_description>Small place rammed mid-block. Door's open, but the SIGN LIGHTS are off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EL TAPITO RESTAURANT<\/stage_direction>\n    <scene_description>A few mismatched tables and a take-out counter. A wall in the dining area is blackened and charred from fire. A couple booths ruined by water damage. Two YOUNG MEN and AN OLDER WOMAN are working to clean up the mess. Ralphie walks out of the back room and sees McCall standing in the doorway. Face lighting up.<\/scene_description>\n    <character>RALPHIE<\/character>\n    <dialogue>Mr. McCall!<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Ralphie. Heard you quit. I was worried.<\/dialogue>\n    <character>RALPHIE<\/character>\n    <dialogue>My mom had a little accident here. Gonna have to help around here now.<\/dialogue>\n    <scene_description>Turns to the older woman and tenderly motions her over.<\/scene_description>\n    <character>RALPHIE<\/character>\n    <dialogue>Mama...esto es mi amigo, del trabajo, el Sr. McCall. El que me ha estado ayudando.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>This is my mother Marta. Those are my brothers Rico and Manny.<\/dialogue>\n    <scene_description>McCall looks around. SEES the love and hard work put into the place. Notices holes punched in the ceiling.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>No one was hurt I hope.<\/dialogue>\n    <character>RALPHIE<\/character>\n    <dialogue>No. Happened after hours.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK ALLEY<\/stage_direction>\n    <scene_description>McCall walks with Ralphie to the dumpster where he tosses some ruined floorboards.<\/scene_description>\n    <character>RALPHIE<\/character>\n    <dialogue>Probably a faulty wire or something.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Wasn't any wire.<\/dialogue>\n    <scene_description>Ralphie turns.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Point of origin was middle of the room. Aren't any outlets there. Vent holes were punched in the ceiling.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>What happened, Ralphie?<\/dialogue>\n    <scene_description>Ralphie gives McCall a look that could break your heart. Empties the can then turns to McCall.<\/scene_description>\n    <character>RALPHIE<\/character>\n    <dialogue>Lot of the people in this neighborhood are new to this country. They don't have much except their businesses. We're easy targets. So men come in and say, for so much money every month, they'll look out for us. Make sure nothing happens. So you pay. When business gets better, it goes up. When business is slow you still pay. You don't...<\/dialogue>\n    <scene_description>Ralphie is quiet a moment, the vestiges of defeat, loss and resignation passing over this gentle man's face.<\/scene_description>\n    <character>RALPHIE<\/character>\n    <dialogue>They gave my Mama a week to make it up. We're gonna open for breakfast. See if we can make enough extra. Me and my brothers are gonna do the morning shift so my mother can rest.<\/dialogue>\n    <scene_description>An odd mixture of compassion and steeliness on McCall's face. Nods his understanding that life sometimes sucks. Ralphie starts back inside.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Why don't you call the police?<\/dialogue>\n    <scene_description>Ralphie turns back. Looks at McCall with confusion.<\/scene_description>\n    <character>RALPHIE<\/character>\n    <dialogue>They are the police.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MCCALL'S APARTMENT BUILDING - AFTERNOON<\/stage_direction>\n    <scene_description>A bright and peaceful Sunday. McCall approaching his Building with grocery bags in both hands. Puts them down to get his keys out...<\/scene_description>\n    <character>VOICE (OS)<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>McCall turns to SEE... TERI Fresh-faced, no make-up. Walking up healed and hopeful despite the faint bruises and bandage that circles her neck. McCall looks at her with surprise. Teri breaks into a smile brighter than the sun.<\/scene_description>\n    <character>TERI<\/character>\n    <dialogue>Remembered you lived on this block. Been swinging by the last few days hoping to catch you.<\/dialogue>\n    <scene_description>McCall drinks in the change.<\/scene_description>\n    <character>TERI<\/character>\n    <dialogue>Pretty different, huh.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Night and day.<\/dialogue>\n    <character>TERI<\/character>\n    <dialogue>Mandy told me you came to the hospital. That was nice. Not many people cared.<\/dialogue>\n    <scene_description>McCall simply nods.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Well you look great.<\/dialogue>\n    <character>TERI<\/character>\n    <dialogue>I'm pretty much all better. Last stitches come out next week. Other than that...<\/dialogue>\n    <scene_description>Teri remembers something. Reaches in her purse and pulls out a battered copy of \"The Razor's Edge.\"<\/scene_description>\n    <character>TERI<\/character>\n    <dialogue>Ever read it?<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>TERI<\/character>\n    <dialogue>Got it at a used book store. Guy there recommended it. I'm reading now. You believe that?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Got a real job with real people hours. Going to open Mic Nights at a few clubs. So I won't be coming back to the diner.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>A new start I guess.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>It suits you.<\/dialogue>\n    <scene_description>Pause.<\/scene_description>\n    <character>TERI<\/character>\n    <dialogue>Someone once told me you can be whoever you wanted to be.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Life will surprise you sometimes.<\/dialogue>\n    <scene_description>Teri smiles. Holds out her hand.<\/scene_description>\n    <character>TERI<\/character>\n    <dialogue>I'll miss the stories.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>You have your own now.<\/dialogue>\n    <scene_description>McCall reaches out and the two shake. Only Teri doesn't let go. Childlike eyes watering a bit.<\/scene_description>\n    <character>TERI<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>For?<\/dialogue>\n    <scene_description>And there's a moment where we understand - she knows. Not because of any proof or certainty. She just knows... Raises onto her toes, gives McCall a peck on the cheek.<\/scene_description>\n    <character>TERI<\/character>\n    <dialogue>For everything.<\/dialogue>\n    <scene_description>Then she's off. MCCALL Motionless. Watching her cross the street bright as a comet. Whole life ahead of her. When she disappears only then does McCall move. Face reflecting a strange sense of peace. Eyes understanding one less person in the world is hurting. THAT HE DID THAT. Picks up his bags and heads into his building. Finally getting it. Finally understanding who he is...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EL TAPITO MEXICAN RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Plastic bags cover the holes in the ceiling. A thin coat of paint barely masks the burnt wall. SEVERAL FAMILIES dining. But the room is subdued. Then we see why: NYPD DETECTIVES, HARRIS and GILLY occupy the only booth. Large, red-faced men with predatory intent. Meals finished they slide out of the booth and stroll to the register where Ralphie's mother waits. Gilly takes a tooth pick. Ralphie's dispirited mother removes an envelope from her apron and slides it across he counter. Harris takes it.<\/scene_description>\n    <character>HARRIS<\/character>\n    <dialogue>Beans were a little watery.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EL TAPITO MEXICAN RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>The street is empty, traffic light this time of night. Harris and Gilly walk to their car. About to get in when...<\/scene_description>\n    <character>VOICE (OS)<\/character>\n    <dialogue>Officers...<\/dialogue>\n    <scene_description>Both men look up. McCall stands against an iron gated storefront.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>I'd like to report a crime.<\/dialogue>\n    <scene_description>The Cops in no mood...<\/scene_description>\n    <character>GILLY<\/character>\n    <dialogue>Call 9-1-1 pal.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMPALA<\/stage_direction>\n    <scene_description>Harris behind the wheel. Flips the visor up and cranks the engine. Gilly's CELL PHONE RINGS. Flips it open.<\/scene_description>\n    <character>MCCALL (OS)<\/character>\n    <dialogue>Why call 911 and unduly tax city services when I have two corrupt cops right in front of me?<\/dialogue>\n    <scene_description>Harris looks out the window. SEES McCall talking to him from HIS cell.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET<\/stage_direction>\n    <scene_description>Cops exit the vehicle and approach McCall.<\/scene_description>\n    <character>GILLY<\/character>\n    <dialogue>Where'd you get that number.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Wasn't hard.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Neither was getting this.<\/dialogue>\n    <scene_description>Holds up the CELL PHONE so they can see the screen. A VIDEO PLAYS. From a hidden angle. Gilly and Harris in some BODEGA...<\/scene_description>\n    <character>HARRIS (OS)<\/character>\n    <parenthetical>(on screen)<\/parenthetical>\n    <dialogue>Don't fuck with us. Ask the lady down the street. One that had the fire last week. Could happen to you. With your whole fucking family in it. You pay like everybody else.<\/dialogue>\n    <scene_description>The last IMAGE is Harris taking cash from the Proprietor. McCall closes the phone.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>When a person obtains money, property or services from a person, entity, or institution through coercion it becomes a criminal off-<\/dialogue>\n    <scene_description>Harris' nickle-plated .38 is against McCall's temple before McCall can finish. Gilly grabs the Phone from McCall. Pats him down. Gilly shoves McCall against the gate.<\/scene_description>\n    <character>GILLY<\/character>\n    <dialogue>Copies?<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>That's the only one.<\/dialogue>\n    <scene_description>Harris and Gilly exchange looks. What kind of a fucking psycho is this?<\/scene_description>\n    <character>HARRIS<\/character>\n    <dialogue>You must have a death wish then.<\/dialogue>\n    <scene_description>Gilly spins McCall around, pressing his face against the wall.<\/scene_description>\n    <character>HARRIS<\/character>\n    <dialogue>What the fuck you want? Other than to be a corpse.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>I'd like you to return the money you took from those people. All of it. To everyone.<\/dialogue>\n    <character>HARRIS<\/character>\n    <dialogue>Why would we do that?<\/dialogue>\n    <scene_description>McCall looks tired. The weariness of seeing too much of this shit.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Two reasons. Because I'm asking nicely. And it would be in the best interests of everyone involved.<\/dialogue>\n    <character>HARRIS<\/character>\n    <dialogue>Maybe our best interests are to tie a cinder block around your waist and throw you into the east River.<\/dialogue>\n    <scene_description>Gilly takes out his handcuffs. Gets one around McCall's wrist... And suddenly... He's not there. Somehow now behind Gilly. Ramming his face into the brick wall. Nose hitting first. SOUND of shattering cartilage nauseating. Harris spins and pulls the trigger. Only to realize McCall's thumb is already between the hammer and chamber. McCall slamming Harris hard enough with his own .38 that knocks him to his knees. Delivers several compact blows to Harris and rips the gun out of Harris' hand. Uses it to whack Gilly across the head. Gilly tumbling like a sack of cement. Both cops down in heaps. Bleeding and dazed. McCall crouches down on their level. Adds Gilly's revolver to his collection. The next words come from deep inside McCall.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>You're supposed to stand for something. Uphold the law. Serve and protect. Justice for all. Somewhere those words lost meaning and you became everything, you used to detest.<\/dialogue>\n    <scene_description>McCall rises. Like a machine ejects the clips from both guns. Empties the chambers, pockets the clips and tosses the guns into the cops' laps. Battered faces look up at him.<\/scene_description>\n    <character>HARRIS<\/character>\n    <dialogue>Who the fuck are you?<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>The guy you didn't count on.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI - MOVING<\/stage_direction>\n    <scene_description>McCall staring out the window as the STREETS and the LIFE in them whiz by...<\/scene_description>\n    <character>MCCALL (OS)<\/character>\n    <dialogue>By noon tomorrow you'll have returned the money you've taken. You'll tell those people it will never happen again. Do that and this video will never be seen.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCCALL'S BATHROOM<\/stage_direction>\n    <scene_description>McCall, ghost-like through the STEAM in the SHOWER. All sorts of feelings pulsating through him...<\/scene_description>\n    <character>MCCALL (OS)<\/character>\n    <dialogue>Don't and an hour later you'll watch the uncut version of yourselves on every news outlet in the Tri-State area.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - HARRIS AND GILLY<\/stage_direction>\n    <scene_description>Pulling their bruised bodies out of their Impala. Walking towards EL TAPITO...<\/scene_description>\n    <character>MCCALL (0S)<\/character>\n    <dialogue>There's nothing you can do to prevent any of this. So don't waste your time...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'm not like anyone you've dealt with.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EL TAPITO<\/stage_direction>\n    <scene_description>Ralphie's mother taking the brown paper bag and looking into it.<\/scene_description>\n    <character>MCCALL (OS)<\/character>\n    <dialogue>I'm offering you a second chance. You should take it.<\/dialogue>\n    <scene_description>Shock, disbelief and joy roll across her face as she sees the money and listens as Gilly explains their change of heart.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOME DEPOT - DAY<\/stage_direction>\n    <scene_description>McCall stocking a pallet of Garden Hoses. Looks up as Ralphie walks by, Orange Vest and work gloves on, huge smile on his face...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOFTBALL FIELD - SUNDAY AFTERNOON<\/stage_direction>\n    <scene_description>Dirt diamond at one end of a LARGE PARK. Softball game between Home Depot and IKEA. Out-of-shape CLERKS sporting two-toned T-shirts. McCall out in left field. WHACK! The ball is smoked to left. Sailing over McCall's head who turns and takes off after it... Three steps in he pulls up, grabbing his hamstring. Watches the ball fall... Into the glove of Young Dude 1 who comes out of nowhere like a blur.<\/scene_description>\n    <character>YOUNG DUDE 1<\/character>\n    <dialogue>Hope you're eligible for Medicaid, Mr. Pip.<\/dialogue>\n    <scene_description>McCall smiles. Starts in... Then stops. RALPHIE Standing near the Home Depot bench. Resplendent in his blue SECURITY GUARD UNIFORM...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCCALL'S APARTMENT- NIGHT<\/stage_direction>\n    <scene_description>McCall exits the bedroom. Stops at the bookcase and slides book number 93 off the shelf. \"A Bend in the River\" by V. S. Naipaul. Grabs his keys from the Foyer table and opens the front door... THE LARGE MAN FILLS THE DOOR FRAME Grey suit, shirt and tie. Frozen in mid-knock.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>Mr. McCall.<\/dialogue>\n    <scene_description>Voice soft and face with a charming, almost ever-constant smile. This is TEDDY COLEMAN. Forties, with ceramic black eyes. Body language like a walking credential. His whole being vibrates... wrong.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>Sorry to bother you. I'm investigating a homicide that occurred in Brighton Beach 'bout 10 days ago.<\/dialogue>\n    <scene_description>McCall's face gives nothing away.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>Five guys dead. Russian joint.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Saw it on the news. I was there that night.<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>You were?<\/dialogue>\n    <scene_description>McCall smiles.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>You wouldn't be here if I weren't.<\/dialogue>\n    <scene_description>Teddy laughs.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>Got me there.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Just checking to see if any of the patrons remembered anything suspicious.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Actually I did.<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>You did?<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>My waiter.<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>Your waiter?<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Would disappear for long stretches at a time.<\/dialogue>\n    <scene_description>Teddy laughs.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>That accounts for the poor Zagat rating.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>So nothing unusual.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>None that I recall.<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>Okay then.<\/dialogue>\n    <scene_description>About to go. Stops...<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>Can I ask why you dined at that particular restaurant?<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Felt like some Pirozhki.<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>Pirozhki. That's the little pie with the onions, meat stuffed inside. Sounds good right about now. Haven't had dinner yet.<\/dialogue>\n    <parenthetical>(good natured smile. Then...)<\/parenthetical>\n    <dialogue>I ask because there's 7 authentic Russian restaurants within walking distance of your apartment. I assume they all serve Pirozhkis?<\/dialogue>\n    <scene_description>A jolt of electricity hits the air. You couldn't tell it by McCall's face. Remains neutral.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>I was meeting a friend. She picked it.<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>Guess I should talk to...<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Shelly. But she won't be any help. She never made it. Her daughter had a fever.<\/dialogue>\n    <scene_description>Teddy studying the average looking McCall. Pieces not making sense.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>Well. Thank you for your time then.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Don't you want to give me your card? In case I remember anything later?<\/dialogue>\n    <scene_description>Teddy pats his pockets.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>Must've given them all out.<\/dialogue>\n    <scene_description>Teddy starts for the stairs...<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>How did you find me?<\/dialogue>\n    <scene_description>Teddy stops.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Paid cash for my meal. Didn't have a reservation. Wondered how you found me.<\/dialogue>\n    <scene_description>Teddy's eyes suddenly laser sharp.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>That's what we do, Mr. McCall. Find people we need to find.<\/dialogue>\n    <scene_description>McCall smiles.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Hope you get who you're looking for.<\/dialogue>\n    <scene_description>Teddy disappearing down the stairs...<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>I always do.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBURBAN<\/stage_direction>\n    <scene_description>Idling curb side. Exhaust swirling into the air obliterating outside commotion. Teddy slides into the back seat. MASTERS turns. Teddy Jr. with matching haircut and morals but none of Teddy's street smarts.<\/scene_description>\n    <character>MASTERS<\/character>\n    <dialogue>Anything?<\/dialogue>\n    <scene_description>Waits as Teddy replays the strange conversation in his head. Realizes he's not going to answer. Throws the vehicle into drive. MCCALL - FROM HIS WINDOW Watches the Suburban slip into traffic...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOME DEPOT - MORNING<\/stage_direction>\n    <scene_description>DAY LABORERS mill by the entrance to the PARKING LOT. Young Dudes wheeling out LAWN FURNITURE and GAS GRILLS as the store opens its doors...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOME DEPOT - HR OFFICE - DAY<\/stage_direction>\n    <scene_description>LINDA PALISKI, the pleasant and mildly plump HUMAN RESOURCES GIRL at her desk. Looks up to SEE McCall in her doorway eating a Bagel.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>You get a Bagel?<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>Bagel?<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Hit the lotto last night. 36 dollars. Couldn't retire on that so figured I'd treat everyone to Montague Street Bagels.<\/dialogue>\n    <character>LINDA<\/character>\n    <dialogue>Blueberry?<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Better hurry.<\/dialogue>\n    <scene_description>McCall watches her go. Slips inside. Drops behind her desk computer... ANOTHER COMPUTER - SOMEPLACE ELSE ROBERT MCCALL being typed into the search box... Teddy waits a second for the results. The LARGE ROOM he's in suggests HIGH TECH EQUIPMENT of an enormous capacity... MCCALL Small room and tiny computer. EMPLOYEE FILE on screen. HIGHLIGHTS his SOCIAL and changes it. Moves to his BIRTH DATE... TEDDY Downloads McCall's HOME DEPOT FILE and hits PRINT. Paper spitting into the tray...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOME DEPOT - DUSK<\/stage_direction>\n    <scene_description>EMPLOYEES leaving for the night. McCall one of them. Bumping knuckles with Ralphie in his powder blue uniform... We're WATCHING THIS FROM... INSIDE A SUBURBAN Masters, Teddy's main guy watches McCall disappear down into the Subway. Engine running, Bluetooth connected...<\/scene_description>\n    <character>MASTERS<\/character>\n    <dialogue>He's what the file says. Home Depot employee. Keeps to himself, no connections to anything we're looking for.<\/dialogue>\n    <scene_description>Frustrated silence.<\/scene_description>\n    <character>TEDDY (OS)<\/character>\n    <dialogue>Bring it in.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUANE REED - NIGHT<\/stage_direction>\n    <scene_description>McCall loads his basket with TRAVEL SIZE mouthwash, toothpaste, shampoo, etc.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KINKO'S - NIGHT<\/stage_direction>\n    <scene_description>McCall in the PC Section. Cutting, pasting then typing something on the Computer screen.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JFK INTERNATIONAL AIRPORT - DAY<\/stage_direction>\n    <scene_description>A PRIVATE 747 sits wheels down and motionless at the end of Runway 13L. Far from the terminal buildings. TSA VEHICLE crossing the TARMAC and pulling up next to the jumbo jet. Teddy Coleman is let out. Climbs the steps to the plane.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 747 - DAY<\/stage_direction>\n    <scene_description>Stripped of everything. ALL overhead bins and seats have been removed. Just a painted, thickly carpeted cavernous shell contains nothing but four ZERO GRAVITY CHAIRS where business class would be, an aft SLEEPING SUITE and TWO COUCHES on either side of a CONFERENCE TABLE. Just outside the COCKPIT a handsome teak dining table. At which sits... VLADIMIR PUSHKIN Small elegant man of 33. Quietly eating dinner. Teddy gets halfway to him when A LARGE SECURITY TYPE steps in his way. Directs him to the conference table. IVANN GULYAYEVA motions Teddy to sit opposite him. Pushkin's \"Advisor\" clears the paper work in front of him. Looks at Teddy for several seconds. For the first time Teddy appears unnerved.<\/scene_description>\n    <character>IVANN<\/character>\n    <dialogue>Slavi Sokolov was a very valuable part of our east coast, USA enterprise. Mr. Pushkin is extremely upset at his demise.<\/dialogue>\n    <scene_description>Teddy's eyes move over Ivann's shoulder onto Pushkin. The man eats. Never looking up.<\/scene_description>\n    <character>IVANN<\/character>\n    <dialogue>Eleven months ago you convinced Mr. Pushkin you and your team could offer unparalleled security and um...<\/dialogue>\n    <character>IVANN<\/character>\n    <dialogue>problem solving for our operation here.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>We've paid you a lot of money to shield our interests.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But this happens. And now Mr. Pushkin doesn't know what to think.<\/dialogue>\n    <scene_description>Teddy looks back to Ivann. Ivann lets the words hang there. If waiting were a martial art this guy would be a grand master. Finally...<\/scene_description>\n    <character>IVANN<\/character>\n    <dialogue>A man of your stature and means has neither identified or apprehended the people responsible. It sets a bad precedent.<\/dialogue>\n    <scene_description>Pushkin still hasn't looked up from his meal. As if Teddy wasn't there.<\/scene_description>\n    <character>IVANN<\/character>\n    <dialogue>Mr. Pushkin wants the perpetrators punished. With extreme prejudice. A clear message sent.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Otherwise...<\/dialogue>\n    <scene_description>Teddy feels a chill run down his spine. Looks over and SEES Pushkin staring at him. Eyes milky white and dead. Pushkin may be blind but his eyes speak with impossible clarity... Fix this or I'm looking at a dead man...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TACTICAL ROOM - LATER<\/stage_direction>\n    <scene_description>Teddy and his THREE GUYS sitting in the glow of a DOZEN plasma screens. Frustrated looks all around.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>Three, four guys walk into a room, I don't care you know 'em or not, you prepare. These were hard core killers.<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>Not one of them gets their pieces out. No defensive wounds either.<\/dialogue>\n    <scene_description>Teddy reads over the Police Report for the umpteenth time.<\/scene_description>\n    <character>MASTERS<\/character>\n    <dialogue>Go back. What's the motive here.<\/dialogue>\n    <character>PEDERSON<\/character>\n    <dialogue>Payback for the Vlastok hit...<\/dialogue>\n    <scene_description>Teddy doesn't look up.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>Bunch of clowns. Company Intel had that group back in Moscow before her body hit the incinerator.<\/dialogue>\n    <scene_description>Guy with the Buddy Holly glasses swivels his chair around.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>Slavi handled Pushkin's east coast trade.<\/dialogue>\n    <character>MASTERS<\/character>\n    <dialogue>Except no one would so much as sneeze in Slavi's direction because of our... involvement.<\/dialogue>\n    <scene_description>Teddy drops the report.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>We're looking at this wrong. We keep figuring a group. Looking at the patrons downstairs as some sort of look-out for the killing team.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>What if one of them WAS the killer.<\/dialogue>\n    <scene_description>All eyes move to Teddy.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>What if it was one guy.<\/dialogue>\n    <scene_description>MCCALL In his KITCHEN pasting the newly printed Prescription labels on the Duane Reed bottles... MCCALL'S LAPTOP Open on a TRAVEL SITE. McCall punches in his Pre-Paid Visa card number and hits PURCHASE. Confirmation for his business- class plane ticket to Cartagena, Columbia appears...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOME DEPOT - DAY<\/stage_direction>\n    <scene_description>McCall in the hardware aisle with a frustrated HOMEOWNER. Guy has a Home Depot bag open and is holding a Kwikset DOOR KNOB and DEAD BOLT package.<\/scene_description>\n    <character>HOMEOWNER<\/character>\n    <dialogue>... I mean, what does it say right there?<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Universal.<\/dialogue>\n    <character>HOMEOWNER<\/character>\n    <dialogue>Meaning it'll fit any existing door...<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>In the Universe.<\/dialogue>\n    <character>HOMEOWNER<\/character>\n    <dialogue>Only it didn't fit in my door.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>You sure your door is from this Galaxy?<\/dialogue>\n    <scene_description>The guy looks at McCall. McCall smiles. Both LAUGH.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Lets get you your money back.<\/dialogue>\n    <scene_description>HOME DEPOT, FRONT OF STORE - DAY McCall walks up front to the REGISTER AREA. Sees the LINES are not moving.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>C'mon. I'll get you out of here.<\/dialogue>\n    <scene_description>McCall walks him over to JENNY. Older and heavy set, checking out a customer on Aisle 1.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Jenny? Can you do a quick card refund for this gentleman? He's in a hurry.<\/dialogue>\n    <scene_description>Jenny doesn't move. Head and eyes down... McCall looks to the customer and SEES he's WEARING A TRANSLUCENT PLASTIC MASK giving his face doll-like features. Hand in the pocket of his Hoodie griping the butt of a Raven .25<\/scene_description>\n    <character>MASKED THIEF<\/character>\n    <dialogue>Tell the bitch to move it, old man.<\/dialogue>\n    <scene_description>MCCALL Lowers his eyes and speaks quietly.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>She's scared. I'll get it.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Excuse me, Jenny.<\/dialogue>\n    <scene_description>Gently steps in front of her. Opens the cash register, hands the cash to Masked Thief. Thief about to leave when he eyes the RING on Jenny's hand.<\/scene_description>\n    <character>MASKED THIEF<\/character>\n    <dialogue>The ring.<\/dialogue>\n    <scene_description>Jenny puts her hand over the SMALL DIAMOND RING on her right ring finger.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>No. Please. It was my mother's...<\/dialogue>\n    <scene_description>Masked Thief pulls his weapon and cocks the hammer. Jenny bursting into quiet tears. Frantically tugging at the ring. It's on too tight. McCall calmly takes her hand. Holds it to her cheek. Tears pool around the ring and with one twist McCall slips it off her hand. Hands it to Masked Thief. MCCALL LOOKING AT HIM Like he did the Russians: The series of snapshots flashing through in head: Gun - make and model. Mask - Price sticker with store name. Tat - peeking out of the kid's sleeve. Car Key - hanging from his belt. BACK TO REAL TIME McCall hasn't moved. Stark still as the Thief backs out of the store. McCall's eyes saying what his mouth doesn't... Shouldn't have done that...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOME DEPOT - CAFETERIA - LATER<\/stage_direction>\n    <scene_description>POLICE finishing up. McCall signs his statement. Gives Jenny a pat and walks over to a despondent Ralphie.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Hey. Nothing you could do. Police just said the guy's done four like this. Shot a Security Guard over in Bensonhurst a month ago. It's just money...<\/dialogue>\n    <scene_description>HARDWARE AISLE McCall passes the TOOL SECTION and a rack of sledgehammers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOME DEPOT - LOADING DOCK - NEXT MORNING<\/stage_direction>\n    <scene_description>Jenny punching in. Hand shaking. Bandage on her face. McCall punches in behind her.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Feeling okay?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Still a little freaked out.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Need anything, I got your back.<\/dialogue>\n    <scene_description>McCall walks off and WE STAY WITH Jenny. Through the store with her cash drawer. To her register. Keys it open. About to slip her drawer in when she looks down in astonishment. Her mother's diamond ring laying in the tray. IN ANOTHER AISLE McCall walking through the TOOL SECTION. Past the sledgehammers. One missing... A GRAINY PICTURE OF MCCALL From the SECURITY CAMERA in the Russian Restaurant. Hardly damning until WE PULL BACK AND SEE... MANDY - INSIDE HER ONE BEDROOM APARTMENT Teri's friend from the hospital, holding the photograph. Surrounded by Teddy and his men...<\/scene_description>\n    <character>MANDY<\/character>\n    <dialogue>That's him. He came to the hospital to see Teri.<\/dialogue>\n    <scene_description>The Men exchange looks. Teddy takes the Photo from Mandy. Pats her shoulder as Masters drops the clear plastic bag over her head. Mandy kicks out wildly as the Large Man holds the bag tight. The girl not going quietly. So Teddy jams his knife into her carotid. Bag splattering with blood...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DINER - NIGHT<\/stage_direction>\n    <scene_description>The wall of windows that fronts the diner cast a dull orange glow on rain slicked street. Inside McCall's at his table. Doorman at the counter reading his newspaper. Counterman is behind the counter, changing out coffee filters. Still life by Edward Hopper. The rain has the street outside quiet. A CON ED WORKER, exhausted from his shift walks up to the diner, hard hat, lunch bucket.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINER - NIGHT<\/stage_direction>\n    <scene_description>The Con Ed Guy grabs the table near the window.<\/scene_description>\n    <character>CON ED GUY<\/character>\n    <dialogue>Coffee.<\/dialogue>\n    <scene_description>Counterman pours a cup and carries it out to the guy.<\/scene_description>\n    <character>CON ED GUY<\/character>\n    <dialogue>Egg sandwich, on a roll. With cheese.<\/dialogue>\n    <scene_description>Counterman back into the kitchen. McCall reading. Doorman checks the scores. Quiet. Con Ed guy stirs cream into his cup. The only SOUND is the clinking of the spoon. The CRINKLE of PAPER. Doorman folds his Daily News and leaves. Quiet. Con Ed guy sips his coffee. Yawns. Long day. McCall pours more hot water over his tea bag. Looks around for something. Then across the room to Con Ed Guy's table and finds it. Bowl of sugar packets. Walks over.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Can I grab a sugar?<\/dialogue>\n    <scene_description>Con Ed guy slides the bowl towards McCall. About to go back to his coffee when his eyes catch sight of McCall's table. On it a bowl full of sugar packets. Looks up JUST AS MCCALL THROWS THE STEAMING CUP OF COFFEE IN HIS FACE.. Con Ed Guy's SCREAM is cut off as McCall's hand cracks the man's windpipe. Con Ed Guy drops off his chair - Mac-10 Machine Pistol under his coat clatters to the floor. McCall looks towards the street... JUST AS THE WINDOWS EXPLODE IN A SHOWER OF GLASS As automatic weapon fire strafing the interior. McCall bellies to the floor. Arms pulling down tables as shields... Grabbing a table knife and JAMMING IT INTO A WALL OUTLET... A FLASH and the ELECTRICITY SHORTS OUT. Everything plunged into darkness. Except for the LASER TRACERS that dot the room followed by bullets that destroy EVERYTHING...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>30 caliber shells SHREDDING WALLS, FURNITURE, GLASSWARE... every possible square inch of space.<\/stage_direction>\n    <scene_description>REAR OF THE DINER Counterman stumbles from the back confused... BULLETS dance across the COUNTER ripping up the Formica... About to cut Counterman to shreds WHEN... McCall tackles Counterman to the floor just as... The deadly fusillade of metal SPRAYS OVER THEM. McCall laying his body over Counterman UNTIL... The shooting stops... Silence. Far off a CAR ALARM BLARES. Somewhere a BABY CRIES... The last piece of glass drops with a gentle ping.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DINER - NIGHT<\/stage_direction>\n    <scene_description>FIVE LARGE MEN DRESSED IN BLACK. Suppressed HK 416's with Holographic Scopes and Thermal-mounted Screens... LASER SIGHTS dancing across every surface. Team Leader looks to 3, 4 and 5 and gestures them to the back alley... Team Leader and his COHORT step into the Diner like shadows...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET<\/stage_direction>\n    <scene_description>BLACK VAN idling a half a block down from the Diner... INSIDE THE VAN TWO ARMED KILLERS sit in the front seat listening in on the RADIO COMMUNICATION. IN THE BACK GPS satellite FEEDS, MONITORS with VIDEO IMAGES of the DINER and the surrounding streets... Teddy and his Three Men watch intently. Teddy leans into the RADIO MIKE...<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>I'm waiting for the fucking confirmation!<\/dialogue>\n    <scene_description>FRONT OF DINER Leader and Cohort sweep the room. Nothing but the barely breathing Con Ed Guy. Moving around the counter towards the back...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINER, BACK ROOM - NIGHT<\/stage_direction>\n    <scene_description>McCall drags Counterman and shoves him under a counter. BACK ALLEY 3, 4 and 5 converge on the Diner's FIRE EXIT DOOR.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STORAGE ROOM<\/stage_direction>\n    <scene_description>McCall steps around BOXES of CANNED GOODS and reaches for Fire Door EXIT... BACK ALLEY 3, 4 and 5 on either side of the door. Guns raised... Eyes riveted to the HANDLE... SOUND OF METAL ON BRICK... 5 looks up... AIR CONDITIONING UNIT falling out of the wall and crushing his skull... 3 and 4 distracted JUST ENOUGH for... THE BACK DOOR To EXPLODE OPEN - McCall like the blade of a scythe. Grabs 3 before he can raise his weapon. Using his BODY as a shield as 4 fires... Bullets hitting 3 center mass. 3's GUN going off and blowing HOLES across 4's chest. THE BACK ALLEY Team Leader and COHORT stepping out to find the bodies and NO MCCALL. Stares down the inky blackness of the Alley... Leader flicks the switch on his weapon-mounted SCREEN. ON THE SCREEN THERMAL IMAGES sweeping across the darkness... Electrical boxes on the sides of buildings, power lines above GLOW RED AND ORANGE... ANYTHING radiating HEAT above 72 degrees appears. Further down the Alley... HEAT running along the brick and cement walls DANCE ACROSS THE SCREEN like spider veins. COHORT'S POV Green tinged Night Vision. Trash and rats... The alley narrowing. No place to hide... TEAM LEADER Movements precise and efficient. Screen showing a BLIP. Then... HEAT IMAGE of a WARM BODY on the other side of a DUMPSTER. ALLEY Leader positions for a clear shot. HEARS the HISSING the second he PULLS THE TRIGGER... Hollow Points blowing through the metal Dumpster. Hitting stone wall. Sparking and... Igniting the BROKEN GAS LINE... WHOOSH! Knife-like WALL OF FLAME pierces the dark alley... THROUGH NIGHT VISION GOGGLES FIREBALL blinding them... TEAM LEADER AND COHORT Ripping off goggles... McCall COMING FROM BEHIND THE FIRE... WHAM! Throats, arms, tendons snapping. Bodies collapsing McCall not having broken stride as they fall... Keeps moving AS... STREET VAN DOORS SLIDE OPEN LAST TWO ASSASSINS jumping out... VAN ASSASSINS Hitting the Alley on a dead run. Seeing McCall disappear around the final corner... Getting to the... END OF THE ALLEY Open GRATING leading under the street open and still rattling... ASSASSINS clear the opening and quickly lower themselves THROUGH THE OPENING. DROPPING Into COMPLETE DARKNESS below. Too inky to see anything except the GLOW of their LASER SIGHTS... They stop and LISTEN for McCall. Tasting blood... They HEAR the RUMBLE a SPLIT SECOND BEFORE... The BRIGHT LIGHT HITS THEM WHAM! SUBWAY CAR KILLING THEM INSTANTLY AS IT ROARS BY... HOLD A BEAT after it's gone... MCCALL Steps out from a recessed DOORWAY IN THE SUBWAY TUNNEL. Turns and heads down the tunnel like a Ghost...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINER - SAME TIME<\/stage_direction>\n    <scene_description>Teddy and his Men in the middle of what's left of the place. The SOUND of shoes on glass as they walk...<\/scene_description>\n    <character>MASTERS<\/character>\n    <dialogue>Who the fuck is this guy?<\/dialogue>\n    <scene_description>Teddy carefully surveys the carnage.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>When I was at Coronado there were stories about a disavowed team operating out of Bahrain. Reeked havoc on networks and cells in the area. Six guys with skills so off the charts it seemed like a joke. Until I met them. Then I got it. These were guys with particular expertise.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>They mentioned there used to be a seventh. I think we just met him.<\/dialogue>\n    <scene_description>The gravity sinking in as POLICE SIRENS grow LOUDER and coming from ALL DIRECTIONS...<\/scene_description>\n    <character>MASTERS<\/character>\n    <dialogue>How do you want to play this?<\/dialogue>\n    <scene_description>Teddy stepping over to Con Ed Guy. Picks up the Mac-10.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>Bunch of Russians shooting each other over weapons, drugs... Classified investigation, need to know, blah, blah... I'll handle it.<\/dialogue>\n    <scene_description>Fires FOUR SHOTS into Con Ed Guy.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>Make sure they're all like him.<\/dialogue>\n    <scene_description>MCCALL'S APARTMENT - NIGHT Teddy and his Guys are spread out in different rooms. Surgically going through his place. Teddy standing in the LIVING ROOM studying the place like it was a puzzle. Masters coming from the bathroom with empty prescriptions vials.<\/scene_description>\n    <character>MASTERS<\/character>\n    <dialogue>Coumadin and Precose.<\/dialogue>\n    <scene_description>Pederson appearing from the kitchen with receipts from trash.<\/scene_description>\n    <character>PEDERSON<\/character>\n    <dialogue>Bunch a travel items purchased three days ago.<\/dialogue>\n    <scene_description>Buddy peering over McCall's open laptop.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>Got a diabetic heart patient traveling internationally.<\/dialogue>\n    <parenthetical>(pointing to laptop)<\/parenthetical>\n    <dialogue>Bought a plane ticket to Columbia day before yesterday.<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>Guy was prepared for this. He'll have his next 10 moves worked out. That means we're nine behind him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MCCALL'S APARTMENT BUILDING<\/stage_direction>\n    <scene_description>Teddy and his Men exit the walk-up and slip into their double- parked Suburban.<\/scene_description>\n    <character>TEDDY (OS)<\/character>\n    <dialogue>Call DHS. Fill 'em in. Call McCall a person of interest. Detain only status.<\/dialogue>\n    <scene_description>Suburban pulling into traffic. WATCHING this from... MCCALL'S POV On a rooftop across the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCCALL'S APARTMENT<\/stage_direction>\n    <scene_description>McCall in the living room. Righting an overturned plant. Fixing the couch cushions. Opens a window to let some air in. That's when he feels the warmth trickling down his leg. Looks at the blood pooling around his shoes. Only now realizing the he's been shot... SHOWER Blood mixes with the water as it runs over the holes just above McCall's hip. Entrance wound in back smallish. Exit wound ugly and jagged... KITCHEN McCall holds a dish towel over the wounds as he removes a pot of honey from the stove. ON THE WOUNDS As McCall uses a wooden spoon to slather the boiling honey over the lesions. Cauterizing and disinfecting them. Winding gauze around his abdomen...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOARDWALK - NIGHT<\/stage_direction>\n    <scene_description>McCall on his bench. Taking in the clear but chilly night. Watching faces go by. Families, kids, another world. Some internal struggle taking place. For the first time, uncertainty clouds his thinking. Eyes falling on that same shooting booth. Same father and son are back. Poor guy throwing dollar after dollar at the Barker and never coming close to winning that Sponge Bob. That's when McCall decides. It doesn't have to be this way... MCCALL'S APARTMENT HALLWAY McCall removes the plants on top of the bookcase. Reaches inside the top shelf and WE HEAR a CLICK... McCall slides the bookcase to the left. The entire unit rolling away to reveal... A SAFE ROOM The keeper of secrets. Devoid of anything except the bags and boxes of a life once upon a time that sit untouched on the floor. A built-in shelving unit contains a few items we recognize: The car keys from Home Depot Thief. Handcuffs from one of Ralphie's corrupt cops. Teri's CD... And the bloodied cell phone he took from Slavi. BLACKBERRY SCREEN List of phone numbers SCROLLS BY. One particular number occurring more often than the others. MCCALL'S KITCHEN McCall dialing the number. RINGS once and WE HEAR...<\/scene_description>\n    <character>TEDDY (OS)<\/character>\n    <dialogue>You've reached my cell. Leave a message or call my office at 212- 246-7614.<\/dialogue>\n    <scene_description>McCall jots the number down. Dials it. After THREE RINGS...<\/scene_description>\n    <character>SECRETARY (OS)<\/character>\n    <dialogue>Agent Coleman's office.<\/dialogue>\n    <scene_description>Pause.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>I'm sorry. I was trying to reach someone else. Can you transfer me back to operator?<\/dialogue>\n    <scene_description>Two more RINGS and a FEMALE VOICE...<\/scene_description>\n    <character>OPERATOR (OS)<\/character>\n    <dialogue>Central Intelligence Agency. How may I direct your call?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRAND CENTRAL TERMINAL - DAY<\/stage_direction>\n    <scene_description>Classic beaus arts decor, the night sky ceiling, the stone and ironwork never looked more ominous. CROWDS of people rushing to and from trains. McCall one of them. Disappearing into the tunnel of TRACK<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHENANDOAH VALLEY - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Rolling meadows defined by old, split rail fences and farms dating back to the birth of this country. Great shadows of clouds blanket the green hillsides. A nondescript RENTAL CAR winds its way across the Valley...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SMALL FARMHOUSE<\/stage_direction>\n    <scene_description>The rental car rolls up a two-rut excuse for a driveway in the middle of nowhere heading towards a modest, farm house. Late 1800s, beautifully maintained. A screen door swings open and JASON PLUMMER steps onto the porch. Early 70s with serious, deep blue eyes that have seen most of what life can offer. Good and bad. Wears soft, comfortable clothes and a smile that matches. Watches as McCall gets out. The two stare at each other for a long moment. McCall walks up to the porch stairs. No words are spoken. But we feel something significant here as they walk inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM - DUSK<\/stage_direction>\n    <scene_description>McCall, Plummer and his wife SUSAN sit at an old plank table. Lace table cloth, aged flatware and china, garden picked flowers. The three eat in comfortable silence. No one feeling the need to ruin the meal.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN<\/stage_direction>\n    <scene_description>McCall washing. Plummer drying. Susan brings in the empty serving trays. Exchanges looks with her husband then walks out for the rest.<\/scene_description>\n    <character>PLUMMER<\/character>\n    <dialogue>Stopped counting the reasons I married that woman years ago.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STUDY<\/stage_direction>\n    <scene_description>Well-worn early Native American. Pendleton blankets and throws. Fire going. McCall settled into a chair next to it. Plummer cracks walnuts on the couch. Susan comes in with a tray of drinks. Sets it down on the slab of redwood that stands in for a coffee table. Hands McCall a cup of hot water and the exact tea bag we've seen him use at the diner. After a beat of silence Plummer stands.<\/scene_description>\n    <character>PLUMMER<\/character>\n    <dialogue>Well. I'll leave you two to catch up.<\/dialogue>\n    <scene_description>Susan waits for the door to close. After a moment...<\/scene_description>\n    <character>SUSAN<\/character>\n    <dialogue>If you've come for my help I can't give you any. I have no influence these days. I fly to DC three days a week. Sit in a office reserved for people with secrets too scary to let completely out of sight. I think they're afraid I'm going to write a book or something. Apparently that's what retired spooks do out here.<\/dialogue>\n    <scene_description>If McCall hears her he doesn't let on. Finally takes his eyes from the fireplace. Looks at Susan...<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>What would the CIA have to do with a bunch of Russian pimps?<\/dialogue>\n    <scene_description>Susan processes the statement. Her answer comes quickly.<\/scene_description>\n    <character>SUSAN<\/character>\n    <dialogue>Nothing. The CIA doesn't care about pimps. Russian or otherwise. So start with the fact they weren't pimps. Selling girls was a hobby.<\/dialogue>\n    <scene_description>Susan waits for McCall to process this.<\/scene_description>\n    <character>SUSAN<\/character>\n    <dialogue>Think Amazon. Big. All encompassing. Sells everything. Place an order it's delivered to your doorstep. Items are shipped to you from various warehouses across the country.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Amazon employs teams to run those hubs.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>The Russians - specifically, Vladamir Pushkin - are the black market Amazon. Gasoline, weapons, drugs, bonds, executions, extortion, secrets, you name it they provide it. Pushkin considers the US the biggest shopping mall in the world.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You took out Pushkin's East Coast team. Shut down a hub. Your CIA friends were paid to protect that from happening. Now they're looking for blood.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>More tea?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FARMLAND - NIGHT<\/stage_direction>\n    <scene_description>Rolling hills likes waves on a black sea. A long rail fence that disappears into the horizon. McCall and Susan leaning against it. Silhouetted by the cobalt night sky and lit by an old Coleman lantern. A long moment.<\/scene_description>\n    <character>SUSAN<\/character>\n    <dialogue>When they told me you were dead, I didn't believe it. Not from something as trivial as an IED. It just wasn't you, Robert.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>That you're alive is a relief. But not a surprise. Jason and I talked a great deal about you over the years. If anyone could have figured a way out.<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>A way to walk away for good, start fresh... it would have been you.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Either way I figured I'd never see you again. Preferred it that way. I imagined you wandering the earth searching for some peace, some understanding of yourself. Wondering if you'd find it in time.<\/dialogue>\n    <scene_description>Lantern FLAME flickers in McCall's eyes.<\/scene_description>\n    <character>SUSAN<\/character>\n    <dialogue>In all my years as a handler there was no one ever like you. Your skills were undefinable. A mind that saw things no one else did. In ways no one else could.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>What you did for your country cannot be measured. You saved lives too many to count. Yet it didn't feel good to you. Even though what we did mattered, it didn't feel right to you.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>I couldn't see...<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>The meaning. I know...<\/dialogue>\n    <scene_description>Flame starting to die out.<\/scene_description>\n    <character>SUSAN<\/character>\n    <dialogue>The greatest violins cannot hear music. The most beautiful paintings cannot see the joy they bring. It's simply the way it is.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>We can't all be heroes, Robert. Someone has to sit on the curb and clap as they go by.<\/dialogue>\n    <scene_description>A LONG silence.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>I didn't have to go there. I didn't have to kill them.<\/dialogue>\n    <character>SUSAN<\/character>\n    <dialogue>Yes you did.<\/dialogue>\n    <scene_description>McCall looks at Susan.<\/scene_description>\n    <character>SUSAN<\/character>\n    <dialogue>It was clear. It was just. It mattered.<\/dialogue>\n    <scene_description>A NIGHTHAWK swoops across the Valley. Gliding low in search of prey...<\/scene_description>\n    <character>SUSAN<\/character>\n    <dialogue>We must be the thing we are. Your gift wasn't right for our gray, murky world. Your soul needed black and white. A clear reason.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You're an instrument of justice, Robert. You can't run from that.<\/dialogue>\n    <scene_description>Flame so low we can only see their eyes.<\/scene_description>\n    <character>SUSAN<\/character>\n    <dialogue>But you knew this before you came here.<\/dialogue>\n    <scene_description>Susan turns to look at McCall for the first time.<\/scene_description>\n    <character>SUSAN<\/character>\n    <dialogue>You didn't come here for help. You came here for permission.<\/dialogue>\n    <scene_description>McCall doesn't move. Knows it's true.<\/scene_description>\n    <character>SUSAN<\/character>\n    <dialogue>There were rumors about rogue CIA teams for years. Basically doing contract work for interests abroad.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>What you're talking about is different. High level Field Agents on US soil. An arrangement with a Pushkin would make them extremely dangerous. Anyone perceived as a threat would be terminated.<\/dialogue>\n    <parenthetical>(sighs)<\/parenthetical>\n    <dialogue>Were I talking to anyone else my advice would be this: Minneapolis is wonderful this time of year.<\/dialogue>\n    <character>SUSAN<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But I'm not. I'm talking to a force of nature.<\/dialogue>\n    <scene_description>Susan lifts the Coleman and turns it off. For a brief moment we are immersed in the absence of the light. When our eyes adjust, here, away from cities and the things of man, all seems right. The two stand framed against this wonder. We can't see them anymore. We just HEAR...<\/scene_description>\n    <character>SUSAN<\/character>\n    <dialogue>All I can say is heaven help them.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TEDDY'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>An upscale LOFT in SOHO. Teddy on a treadmill running hard. Has been for some time. Massive chest heaving as he pushes himself to the limit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TEDDY'S BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>A large shower already running. Teddy's head under the steaming water. Letting the stream run over his face. Looks down and realizes the water is pooling at his feet. The drain is plugged. Bends down to open it... When lights go out.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>What the...<\/dialogue>\n    <scene_description>Teddy slides opens the glass door and SEES... MCCALL Sitting on the closed toilet. Across the room from the shower. An electrical cord pulled from a lamp in his hand, ends stripped bare. McCall stares at Teddy. A dark, hollow stare. Plugs the cord in. Teddy starting to step out of the shower when McCall tosses the cord out like a fishing cast. Hits the water at Teddy's feet sending a SHOCK through his body. Moving him back into the shower. McCall pulls the cord back.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <scene_description>McCall stays quiet. Teddy tries to move again. McCall snaps out the cord - shocking him again. Teddy jumps back. Room filling with steam now... McCall's image is getting faint. Ghost-like. Begins touching the two ends of the cord together. Lighting his face through the mist in brief hypnotic flashes. Teddy stays frozen in the shower.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>You don't know who you're fucking with.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>I know exactly.<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>If you did, this would be the last place you'd...<\/dialogue>\n    <scene_description>McCall throws the cord again. Hits the water... this time he leaves it a bit... SPARKS FLASH as Teddy trembles. The massive jolt surging through his body. McCall snaps the cord back. Teddy breathes heavy and braces himself against the walls of the shower. McCall sparking the ends of the wire again. Steam getting thicker. McCall's image fainter.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Special Agent Theodore Coleman. CIA, NCS Division. Counter Intelligence, 9 years. 41. Ex- Navy Seal. Your liver enzymes are high. History of primary mitral valve prolapse.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>It rains you walk with a limp because of the MCL injury you suffered in Kuwait never healed properly. I'll show you the x-rays if you want.<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>You going to kill me, do it.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>I don't need to kill you like this. I can think of over 20 ways to kill you right now... in this room alone.<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>What do you want, McCall?<\/dialogue>\n    <scene_description>McCall stares at Teddy through the dense steam... Almost disappearing. Tosses the cord out again and leaves it. Teddy trembles as the VOLTAGE COURSES THROUGH HIS BODY. Eyes bulge, hands grip the sides of the shower... When it's almost too much to bear... The cord snaps back. Teddy falls in the shower GASPING for breath. Room now filled with steam. Can't see more than a few inches. Out in the steam the cord ends spark like an orange beacon. WHAT DO YOU WANT?<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>I want us to be clear with one another.<\/dialogue>\n    <scene_description>Teddy sees a wooden back brush. Grabs it and breaks the brush head off. Giving him a jagged sliver of wood. Tries to SEE McCall through the steam. Can't. Just his VOICE...<\/scene_description>\n    <character>MCCALL (OS)<\/character>\n    <dialogue>I'm going to take you down. Piece by piece. And everyone that's with you.<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>You think so...<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>I'm already doing it. You just have to decide who you're more afraid of... me or Pushkin.<\/dialogue>\n    <scene_description>McCall SPARKS the ends together once more...<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Either way you're done.<\/dialogue>\n    <scene_description>Teddy slides the glass door open a sliver...<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Be better all around if you turn yourself into IA. I'm offering you an out. I suggest you take it... Otherwise this will not end well for you...<\/dialogue>\n    <scene_description>In ONE SWIFT MOTION Teddy throws the door open and JAMS THE WOOD SLIVER INTO THE WALL OUTLET! POWER to the HOUSE GOES OUT... Teddy grabbing the GLOCK from under the towels and FIRING... PORCELAIN AND TILE SHATTERING as SIX ROUNDS EVISCERATES the TOILET... Teddy moving naked through the steam and finding McCall gone. TEDDY'S BEDROOM Flushed and angry. Out into the hall, Glock in his hand, loaded and ready. Slowly... TEDDY Clears the house. Room to room. Nothing. Gets to the FOYER and SEES he FRONT DOOR wide open... EXERCISE AREA Teddy grabbing his CELL off of the treadmill and DIALING. Masters answers...<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>He was here!<\/dialogue>\n    <character>MASTERS<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>McCall!<\/dialogue>\n    <character>MASTERS<\/character>\n    <dialogue>He's in Mexico City. We just got confirma--<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>HE WAS IN MY FUCKING HOUSE!<\/dialogue>\n    <scene_description>CLOSE ON the BACK OF TEDDY'S PHONE. An almost invisible CLEAR PLASTIC STRIP with faint circuitry running through it... ON MCCALL On HIS phone. Ear piece in LISTENING TO...<\/scene_description>\n    <character>TEDDY (OS)<\/character>\n    <dialogue>Get a hold of everybody. I want a meet in 30.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RADIO SHACK - LATER<\/stage_direction>\n    <scene_description>McCall being handed a bag of CHEAP EQUIPMENT... LEGAL PAD Pen scribbling the name MASTERS on it. Names PEDERSON and BUDDY already on the page.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BATTERY PARK - DAY<\/stage_direction>\n    <scene_description>Filled with FAMILIES and TOURISTS on this incredibly BRIGHT afternoon. Sailboats in the Harbour. The Circle Line Ferry chugging past the Statue of Liberty. McCall on a picnic bench eating a salad. Pen and pad in front of him. HEADPHONES on. Head nodding in rhythm to what appears to be MUSIC. But really listening to...<\/scene_description>\n    <character>TEDDY (OS)<\/character>\n    <dialogue>Pederson takes the whore's apartment...<\/dialogue>\n    <scene_description>Stabs a plastic fork in his SALAD and takes a bite. Cheap Radio Shack Sound Amplifier under the table. $49.00 and good up to 100 feet. Pointed at... TEDDY AND HIS MEN Twenty yards away. Standing near the railing to the FERRY TERMINAL. Bodies tense and wound tight as steel tourniquets.<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>What's he want? I mean everybody wants something.<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>He wants our heads. That's all we need to know.<\/dialogue>\n    <scene_description>MCCALL Writing the words Weak next to Buddy's name. PIER PARKING LOT Jammed with CARS and SUV's baking under a blazing sun. Including Teddy's. Under which McCall slaps a tiny GPS transmitter as he walks by.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOME DEPOT - SUPERVISOR'S OFFICE<\/stage_direction>\n    <scene_description>McCall sitting across from the store's SUPERVISOR Georgie.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Just a couple of days until I can straighten it out.<\/dialogue>\n    <character>GEORGIE<\/character>\n    <dialogue>Hey. Family comes first. Marcus can cover your shift until Monday.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NAVIGATOR<\/stage_direction>\n    <scene_description>Masters inside. Parked down the block from McCall's Apartment Building. Eyes peeled.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAURUS - MOVING<\/stage_direction>\n    <scene_description>Pederson passing the Check Cashing Place for the third time. McCall's bank\/Credit card Statements on the passenger seat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OFFICE BUILDING - MIDTOWN<\/stage_direction>\n    <scene_description>A glass and steel monolith nestled in the 600 Block of Madison Avenue. No designation or name on the facade. But...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CIA BUILDING LOBBY<\/stage_direction>\n    <scene_description>Humming with SECURITY PERSONNEL. Everybody emptying pockets and checked by GUARDS before stepping through SOPHISTICATED BODY SCANNERS. Including Teddy and Buddy. Walking to the SECURE ELEVATORS where they wait in SILENCE. Teddy playing the game with McCall in his head. After a moment...<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>Everybody cares about something...<\/dialogue>\n    <scene_description>EAST 19TH STREET Rush hour TRAFFIC inches along. Staccato BURSTS of HORN and SQUEALING breaks. Buses heaving their hulks across lanes. Weaving her way through it all comes... TERI Stepping between PARKED CARS and onto the sidewalk. Lugging her book bag halfway up the block. Blissfully unaware of the TWO RUSSIAN MURDERERS sliding out of the Lincoln behind her. Predatory faces watching her enter her Five Story walk-up... THIRD FLOOR HALLWAY Teri trudges the final flight. Walks to the last apartment at the end of the hall. Unlocks the door and steps inside. SOUNDS of the CHAIN and DEAD BOLT follow. A moment later the two Russians are on either side of Teri's door. Pockets handgun heavy, assessing the locks. The LITTLE RUSSIAN pulls a set of tools... The SOUND of GLASS BREAKING comes from somewhere down the adjoining hallway. What happens next happens fast and like this: LARGE RUSSIAN (Mighty Joe Young with a brain) creeps along the wall to SEE what's what. Peers around the corner. The blow from the Fire Extinguisher collapses the front of his head like a soda can. LITTLE RUSSIAN stunned for a split second. And that second gets him deceased. McCall taking only one step and breaking his larynx before his weapon clears his belt. The next thing WE SEE are their legs disappearing into the TRASH ROOM... BASEMENT TWO GUNS then BODIES tumbling from the trash chute and into the dumpster.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TEDDY'S OFFICE<\/stage_direction>\n    <scene_description>Typical Field Agent's space. File Boxes piled everywhere. Six year old computer tied to a secure line. Teddy at the window pondering the next move when his CELL RINGS. Recognizes the number and picks up.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>Better be what I want to hear.<\/dialogue>\n    <character>MCCALL (OS)<\/character>\n    <dialogue>Depends on what you were expecting. I suspect you're a tad disappointed already.<\/dialogue>\n    <scene_description>Teddy doesn't move. You'd swear his pulse actually DROPS. COMMUNICATIONS ROOM SCREENS with CAMERA FEEDS from HOT AREAS in the City. SUBWAY PLATFORMS, BRIDGES, TUNNELS etc. SEVERAL TACTICIANS wearing HEADSETS monitor WIRELESS COMMUNICATION. Teddy striding in. Slides the Mobile number in front of TACT 1. It's quickly punched into the system which begins triangulating McCall's number. ON THE SCREEN WE SEE the SIGNAL AREA shrinking rapidly...<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>Gotta tell you I consider myself a smart guy. Still can't figure this. Why you...<\/dialogue>\n    <character>MCCALL (OS)<\/character>\n    <dialogue>Kick over a rock most of the time something crawls out from under it.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You're misfortune is I'm the one who kicked over yours.<\/dialogue>\n    <scene_description>Teddy watching the SCREEN as the ADDRESS SCROLLS ACROSS THE BOTTOM OF THE SCREEN. Tactician 1 turning to Teddy.<\/scene_description>\n    <character>TACT I<\/character>\n    <dialogue>Isn't that Agent Pederson's address?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PEDERSON'S HOUSE<\/stage_direction>\n    <scene_description>McCall in the Office. Flash Drive just about done copying files from Pederson's LAPTOP. TEDDY'S OFFICE - SAME TIME Teddy back at his window. Dull eyes watching the sun set between the buildings. Resignation washing over him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOME DEPOT, EMPLOYEE ENTRANCE - NIGHT<\/stage_direction>\n    <scene_description>Ralphie standing by the front door with his keys. Young Dudes looking spiffy heading home for the weekend.<\/scene_description>\n    <character>YOUNG DUDE 2<\/character>\n    <dialogue>Saturday night. Big mash up at Brian's. You down for that?<\/dialogue>\n    <character>YOUNG DUDE 1<\/character>\n    <dialogue>Like five bucks an hour. Plus tips.<\/dialogue>\n    <character>RALPHIE<\/character>\n    <dialogue>Tips?<\/dialogue>\n    <character>YOUNG DUDE 1<\/character>\n    <dialogue>Need a Security dude to watch the liquor. Bring your mace can, Rambo.<\/dialogue>\n    <character>RALPHIE<\/character>\n    <dialogue>Fuck you...<\/dialogue>\n    <scene_description>Good natured LAUGHS as the Dudes head off. Ralphie about to the lock the door when a man steps inside.<\/scene_description>\n    <character>RALPHIE<\/character>\n    <dialogue>We're closed...<\/dialogue>\n    <scene_description>Ralphie looks up into the face of Masters who shows him the Beretta jammed into his belt.<\/scene_description>\n    <character>MASTERS<\/character>\n    <dialogue>Don't be a hero, Chubs.<\/dialogue>\n    <scene_description>INTERNET CAFE McCall sifting through Pederson's FILES. Processing what he's seeing. From his look, something surprising...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 34TH STREET - MCCALL<\/stage_direction>\n    <scene_description>Man on a mission now. Swallowed up by Rush Hour foot traffic near Penn Station. Dialing the PRE-PAID CELL as he crosses 34th Street...<\/scene_description>\n    <character>TEDDY (OS)<\/character>\n    <dialogue>I was hoping you'd call.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Found your money.<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>Figured you would. You can't get to it. Or prove it's mine...<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Making assumptions like that is dangerous.<\/dialogue>\n    <scene_description>TEDDY Walking through the PARKING GARAGE underneath his building. Oddly calm. His eyes saying... this was fun while it lasted.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>Know the difference between me and you?<\/dialogue>\n    <character>MCCALL (OS)<\/character>\n    <dialogue>Where should I begin.<\/dialogue>\n    <scene_description>Teddy slides into his vehicle.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>I don't give a shit. About anything. But you do. And that puts a big bulls-eye on your back. Took me a while to figure it out.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I'll be laser straight with you. Thirty minutes. Boat Basin. Just me and you.<\/dialogue>\n    <character>MCCALL (OS)<\/character>\n    <dialogue>Or?<\/dialogue>\n    <scene_description>Teddy pulls a piece of paper from his jacket pocket. Reads...<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>Ralph Marquez, Jennifer Gould, Manny Ramirez and the six other Orange vests won't be going home tonight.<\/dialogue>\n    <scene_description>MCCALL Stopping in the cross walk. Bumped and jostled by COMMUTERS.<\/scene_description>\n    <character>TEDDY (OS)<\/character>\n    <dialogue>Violence without a message is a waste of movement. Don't you think?<\/dialogue>\n    <scene_description>HOLD on McCall's face. Audio collapse washing over him. Suddenly the city, its noise, its commotion doesn't exist. Eyes flat and hard. Whatever forms this man's soul begins to spread through his entire body. When his answer comes it's soft and measured.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Alright. We'll play this your way.<\/dialogue>\n    <scene_description>Cuts off the call. Thinks for moment. Then looks down at his wristwatch... And starts the Stopwatch ticking...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOME DEPOT - DUSK<\/stage_direction>\n    <scene_description>Masters walking Ralphie to the back of the store. Meeting up with Buddy and Pederson who have Jenny, Manny and SEVERAL OTHERS. At the SAME TIME... DOORS TO A MIDTOWN BUS OPEN McCall stepping onto the M4 headed downtown. Taking a seat near the MIDDLE EXIT DOORS. Pulling out another PRE-PAID CELL PHONE from the Radio Shack bag. Powering it up. With his other hand punches numbers into HIS cell phone. Forwarding HIS NUMBER to the Pre-paid Phone... HOME DEPOT - TOOL REPAIR AND RENTAL SECTION - SAME TIME Sectioned off by a chain link fence. Employees herded into the area by Teddy's Guys. PARKING LOT - VARIOUS AREAS - SAME TIME Over the rise WE SEE the dark gleaming grill of a black SUV roll into a lot. Then another. And another. SIX identical black SUVs, ominous and forboding, pulling onto the asphalt surrounding the premises. PULLING BACK TO SEE... SUVs ringing the perimeter of the structure. INSIDE each sit TWO RUSSIAN KILLERS. IN ONE OF THE SUVS Russian 7 checks the load in his Glock. Russian 8 on his RADIO with Masters.<\/scene_description>\n    <character>RUSSIAN 8<\/character>\n    <dialogue>We're here.<\/dialogue>\n    <character>MASTERS (OS)<\/character>\n    <dialogue>Lock down the perimeter. Shoot anyone who looks like him that gets within 20 yards of the place.<\/dialogue>\n    <scene_description>HOLDING AREA Masters clicks off as Pederson comes back with a handful of NYLON wire WRAPS. Tosses them to Ralphie.<\/scene_description>\n    <character>PEDERSON<\/character>\n    <dialogue>Behind their backs. Tight.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOAT BASIN - SAME TIME<\/stage_direction>\n    <scene_description>Teddy leaning against his car. Staring down at his PDA. ON THE SCREEN is a GPS screen. McCall's CELL NUMBER highlighted and moving South... Teddy smiles. DIALS...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOWNTOWN BUS<\/stage_direction>\n    <scene_description>McCall not on it. CAMERA MOVES under the seat he was in... McCall's Cell Phone under it. RINGS SILENTLY... MCCALL Someplace else and moving ANSWERS the Pre-Paid Phone.<\/scene_description>\n    <character>TEDDY (OS)<\/character>\n    <dialogue>Thought you might go ICBM on me. You're making the right decision. For better or worse it was always going to end this way..<\/dialogue>\n    <scene_description>McCall keeps moving.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Yeah well, there are some worsts nobody ever thinks about.<\/dialogue>\n    <scene_description>Click.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOME DEPOT PARKING LOT - SAME TIME<\/stage_direction>\n    <scene_description>TWO of the SUVs idling within sight of each other. INSIDE ONE RADIO PLAYS Curren$y. Russian 1 behind the wheel bouncin' to it. Not understanding a word. Looks out his window at the SUV across the way. Guys with their feet up on the dash talking to one another. Back to his MUSIC. Turns it up. Adjusts bass. Likes it more. Glances back to the other SUV... No one's in it. Looks around the parking lot. Nothing. Sits up. Turns to his partner.<\/scene_description>\n    <character>RUSSIAN 1<\/character>\n    <dialogue>Hey...<\/dialogue>\n    <scene_description>He's asleep. Shakes him and the man falls forward. Sharp object protruding through the back of his seat, disappearing into the man. Russian 1 spins quickly towards the back seat. McCall. And that's the last thing he sees.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOME DEPOT, HOLDING AREA - NIGHT<\/stage_direction>\n    <scene_description>Employees on the floor. Hands tie-wrapped behind their backs. Just the SOUND of breathing... Masters rolls the gate shut. Locks it with a padlock. Takes out his phone and starts to dial when... Kool and the Gang begins playing over the store's PA System. All three snapping into tense mode. Guns coming out... Masters unlocks the cage. Points his weapon at Ralphie.<\/scene_description>\n    <character>MASTERS<\/character>\n    <dialogue>Where's that coming from?<\/dialogue>\n    <scene_description>DEPOT AISLE Masters and Pederson follow Ralphie as they make their way through the empty aisles. Guns are drawn. MUSIC drifting from the SPEAKERS above.<\/scene_description>\n    <character>KOOL (VO)<\/character>\n    <dialogue>Oh yes it's Ladies Night and feelin's right...<\/dialogue>\n    <scene_description>SECURITY OFFICE Masters pushes Ralphie into the office as Pederson clears it. Empty. CD player patched into the PA system. Power on. Masters hits stop and it's suddenly QUIET again.<\/scene_description>\n    <character>MASTERS<\/character>\n    <dialogue>Who else is here?<\/dialogue>\n    <character>RALPHIE<\/character>\n    <dialogue>No one. I swear...<\/dialogue>\n    <scene_description>Pederson grabs Masters arm. Points him to the SECURITY MONITORS. Masters follows his look to CAMERA 16. Middle of the store. A LONE FIGURE moves like a Ghost down a center aisle.<\/scene_description>\n    <character>MASTERS<\/character>\n    <parenthetical>(into his Radio)<\/parenthetical>\n    <dialogue>He's in the fucking store!<\/dialogue>\n    <scene_description>DOORS TO THE VANS AND SUVS OPEN A wave of icy death pour out of the vehicles jacking their automatic weapons and fan out. Split into GROUPS and head for the various entrances to the store. MASTERS AND PEDERSON Throwing Ralphie back into the Holding Area. Tie-wrapping his hands to the gate, padlocking it with Buddy inside.<\/scene_description>\n    <character>MASTERS<\/character>\n    <dialogue>We don't come back... kill 'em all.<\/dialogue>\n    <scene_description>Masters goes to call Teddy. Gets no signal. Looks up and follows Pederson's eyes to the AWNING WINDOWS near the ceiling. Everyone of them covered in TIN FOIL. Blocking the Cell signals in and out... BOAT BASIN - SAME TIME Teddy opening the trunk and removing the standard issue Remington 12 gage. Cradles it under his arm and checks his PDA. McCall's signal closing in...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOME DEPOT - FRONT ENTRANCE<\/stage_direction>\n    <scene_description>FOUR Russians step inside. Dark. Eyes adjusting. Talks into his RADIO.<\/scene_description>\n    <character>RUSSIAN<\/character>\n    <dialogue>We're in.<\/dialogue>\n    <scene_description>LOADING DOCK Large door SWINGS OPEN and RUSSIANS 1, 2 and 3 step inside. GARDEN ENTRANCE RUSSIANS 4,5,6 and 7 eyeing the cavernous place.<\/scene_description>\n    <character>RUSSIAN 4<\/character>\n    <dialogue>In.<\/dialogue>\n    <scene_description>EMPLOYEE ENTRANCE Russians 8 and 9 close the door behind them. Safeties clicked off...<\/scene_description>\n    <character>RUSSIAN 9<\/character>\n    <dialogue>In.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOME DEPOT - VARIOUS AREAS - NIGHT<\/stage_direction>\n    <scene_description>Silent. Nobody moving. Store quiet and empty. Aisles deserted. Place feels feral and dangerous. That's when THE POWER GOES OUT. ENTIRE STORE plunged into blackness. OUTSIDE THE HOLDING AREA Masters feels the chill run down his spine. Flips the safety off... HOME DEPOT - WIDE Dark FIGURES moving into the belly of the store from every conceivable angle... RUSSIANS 4, 5, 6 AND 7 Walking slowly. Every SOUND HEIGHTENED. RUSSIANS 8 AND 9 Kel-Tec Shotguns on their hips. Eyes scanning every shadow and space. RUSSIANS 1, 2 AND 3 Fan out. Each taking a different aisle. RUSSIANS 2 AND 3 Start down LIGHTING FIXTURES. Broken BULBS litter the middle of the aisle where someone ransacked the shelves... Steps into the PAINT SECTION. SEES... TARPS, PAINT CANS and A HALOGEN WORK LIGHT splayed across the floor... Slowly maneuvers around the mess... Stepping over the Halogen stand WHEN... THE LAMP BLAZES ON Momentarily blinding Russian 1. Turns his head away and finds the spectre of... MCCALL Who JAMS his thumb into the Russian's eye. Then his throat. Cutting off his ability to make sound. WHAM! WHAM! Two thumbs into his ribs and diaphragm. Russian 1 doubling over. Making it easier for McCall to snap his neck. Checks his watch. GARDEN AISLE Russians 2 and 3 walk with purpose... BATHROOM FIXTURE AISLE Russian 4 sweeps his gun across the area... Hardware Section. Mid-aisle. Stops and listens. HEARS a SNAPPING SOUND one aisle over. Quietly pushes aside some boxes on the SHELVING UNIT. Creating space TO SEE INTO THE NEXT AISLE. REVEALING... MCCALL Pulling the trigger on the PNEUMATIC NAIL GUN. SINGLE CEMENT ANCHOR THUDDING into Russian 3's FOREHEAD. Pulls the spent CO2 cartridge out and pops in another... RUSSIANS 5, 6 AND 7 Stepping around the corner. SEEING their dead comrade. Faces twists into a masks of rage. Anger blinding them as they stalk down... THE APPLIANCES AISLE In and around the REFRIGERATORS. Past the WASHERS AND DRYERS... Then a HUMMING SOUND. Stop... listen... Eyes following the SOUND to... THE DISPLAY OF MICROWAVES Timers ticking down. Russian 5 leans down and looks inside... THROUGH THE MICROWAVE WINDOW A small propane tank turning slowly on the plate. BOOM!!!! THE WALL EXPLODES INTO FLAMES. A HUGE FIREBALL engulfing all three Russians. Bodies catching fire...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOLDING AREA<\/stage_direction>\n    <scene_description>The SOUNDS coming from inside the store waft over Ralphie and the other hostages. The SCREAMS frighten them into puddles... Buddy backs away from the gate. RUSSIAN 8 AND 9 HEARING the SCREAMS. Following them into... THE APPLIANCE AISLE Where Russians 5,6 and 7 lay smoldering. Flesh burning off their bones. Fear now fills their souls. 8 and 9 exchange looks, turn and BOLT... Racing like the wind towards... THE EMPLOYEE ENTRANCE Where they STOP DEAD. EMPLOYEE ENTRANCE DOOR Chained and padlocked. From the inside. While on the OTHER SIDE of THE STORE... MASTERS AND PEDERSON Stare grimly at... THE FRONT ENTRANCE Titanium bicycle chain run through the door handles and locked. BOAT BASIN - SAME TIME Teddy waiting just off the rutted path. SEES McCall's signal has stopped two hundred yards away. Not moving. Dials... MCCALL - DEEP IN THE STORE Picks up after the first VIBRATION.<\/scene_description>\n    <character>TEDDY (OS)<\/character>\n    <dialogue>Second thoughts?<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>Just taking care of a few things. Be right with you.<\/dialogue>\n    <scene_description>LASER DOTS Dance across SHELVING AND MATERIALS. Stepping from the SHADOWS come... RUSSIANS 3, 8 AND 9 Shoulder to shoulder. Fingers on triggers. Precision movements. A GLIMPSE OF MCCALL Moving quickly across the aisle. THE RUSSIANS Fire their weapons. Shredding everything in its path. When it settles... No McCall. HOLDING AREA ECHOING GUNSHOTS shatter the SILENCE. Too much for Buddy. Feeling like a trapped animal so he unlocks the Cage, steps out and re-locks it. WHISPERS into his RADIO...<\/scene_description>\n    <character>BUDDY<\/character>\n    <dialogue>Where the fuck are you guys?<\/dialogue>\n    <scene_description>MCCALL Like a shadow. Moving towards the final area of the store. Oddly calm. Breathing measured. Just the tick... tick... tick of his watch... MASTERS AND PEDERSON In the LUMBER SECTION. Anxious and on edge. Masters clicks on his RADIO.<\/scene_description>\n    <character>MASTERS<\/character>\n    <dialogue>Stay with the Hostages.<\/dialogue>\n    <scene_description>MCCALL - SOMEWHERE Pulls BOXES OF ROOFING NAILS AND BRADS off the shelves as he walks... RUSSIANS 3, 8 AND 9 In the PLUMBING SECTION. Every SOUND amplified. 3 hand signals he's splitting off... MCCALL'S HANDS - SOMEWHERE ELSE Grabbing a GARAGE DOOR REMOTE PACKAGE from a rack of them. AN X-ACTO KNIFE Slices open an bag a FERTILIZER. Then ANOTHER... RUSSIANS 8 AND 9 Move down the BATHROOM FIXTURE SECTION. Turning the corner and... SEEING McCall DIRECTLY IN FRONT OF THEM! EMPTYING THEIR WEAPONS INTO HIS BODY... ONLY TO SEE MCCALL'S IMAGE SHATTER INTO PIECES as the MIRRORED GLASS EXPLODES INTO FRAGMENTS... Understanding too late that... He's behind them. MCCALL Running the 6\" Drywall Saw through 9's third and fourth ribs. 8 getting his weapon halfway up when he looks down and SEES the Chisel protruding from his chest as he loses feeling in his extremities... Alone. Shuddering in fear three aisles over. Gets to the end of PATIO FURNITURE AISLE. White knuckling his weapon. About to peek around the corner. Never feeling the extension cord until it's around his neck. Body jerking like a marionette until... it isn't. McCall gently drops the body onto the floor. MASTERS, PEDERSON AND BUDDY Coming together from different areas. Converging at the rear of the store. Wound tight. No longer smug. Eyes darting all over the place. HOME DEPOT - HIGH ANGLE NINE BODIES strewn about in VARIOUS SECTIONS. The last three men standing in the shadows. Knowing McCall could be anywhere... About to head back into the middle of the store when... MASTERS SEES the shadow slip into the far rear section of the place. Motions to the others... GARDEN AREA Like a GIANT GREENHOUSE. A large area filled with PLANTS AND TREES and GARDENING EQUIPMENT. MASTERS, PEDERSON AND BUDDY Stand at the ONLY ENTRANCE to the area. Hearts beating hard and fast. Knowing McCall is here. Using hand signals MASTERS points Pederson and Buddy down separate aisles. THE MEN MOVE SLOW Every step painful. Bile and dread inching up their throats. Finally reaching the... CENTRAL GARDEN AREA FOUNTAINS, BIRDBATHS and WIND CHIMES. Against the back wall ALL kinds of PLANTING SUPPLIES. MCCALL Against the back wall in the shadows. Just the whites of his eyes visible. Standing amongst the garden TOOLS and a row of STEEL WHEELBARROWS. MASTERS HEARS that TICKING SOUND. FIRES a SHOT blindly into the shadows. MCCALL Waits. Like a cobra. All three Men stepping into range. CAMERA pans down McCall's body to his hand. Garage Door remote in it. Finger over the clicker. MASTERS, PEDERSON AND BUDDY Taking three steps closer. Then they HEAR it. Eyes falling on the wheelbarrow as it lowers over the kneeling body of McCall. Exchange confused looks. And at the exact same time realizing they're surrounded by LUMPY bags of FERTILIZER. EMPTY BOXES OF NAILS scattered across the floor. MCCALL'S FINGER Pushes the Clicker on the Remote as... MASTERS, PEDERSON AND BUDDY Have just enough time to exchange one stupid look before... BLAMMMMMM!!!! FERTILIZER BAGS EXPLODING. Nails SCREAM through the air at the speed of sound. High pitched WHINES as the projectiles literally nail... MASTERS, PEDERSON AND BUDDY Faces and bodies riddled with the nails. Muscles, tendons and bone cut to pieces. Organs punctured and shredded. INSIDE THE WHEELBARROW Nails THUNK and PIERCE the steel like quills. Stopping inches from McCall's body. MASTERS Barely alive. Bleeding from places he didn't know could bleed. Stumbling to his feet. SEEING his dead Partners. SO HE RUNS Knees pumping like out-of-sync pistons. RACING towards the BACK OF THE STORE. HOLDING AREA Everyone in the cage frozen in fear. Except Ralphie. He's furiously working on his tie wraps. Almost gets them loose enough when Masters gun barrel slips through the fence and touches his forehead. Bloody face appearing against the chain link... HOME DEPOT - FRONT OF THE STORE Everything bathed in murky darkness. Nothing moves. The unearthly silent is shattered by...<\/scene_description>\n    <character>MASTERS (OS)<\/character>\n    <dialogue>MCCAAAAAAAAAAALLLLL!<\/dialogue>\n    <scene_description>The animalistic cry ECHOES throughout the cavernous store. Then Ralphie appears out of the shadows. BARREL OF MASTERS REVOLVER DUCT-TAPED TO HIS TEMPLE... Masters PRESSED UP against Ralphie's back. DUCT TAPE WEAVING ITS WAY AROUND HIS GUN HAND. COVERING HIS FINGER ON THE TRIGGER. The only thing visible is the COCKED HAMMER...<\/scene_description>\n    <character>MASTERS<\/character>\n    <dialogue>HEY! I FLINCH, TRIP, I FUCKING<\/dialogue>\n    <character>HICCUP HE'S DEAD! UNDERSTAND???<\/character>\n    <dialogue>Ralphie's eyes squeezed tight. Barely holding it together. In his trembling hand is a bolt cutter. Price tag still attached.<\/dialogue>\n    <scene_description>I'M WALKING OUT OF HERE NOW! MCCALL Somewhere in the darkness. Eyes studying the impossible. Baretta M9. 4 pounds of pull making it a hair trigger for all intent and purpose. Duct tape masking the exact position of the trigger finger... Reaches down and grabs the long barrel M16-A out of Russian 4's dead hand. Flips on the LASER SCOPE. Takes a breath... And steps back into the darkness... MASTERS AND RALPHIE At the FRONT ENTRANCE. Bicycle Chain the only thing between Masters and freedom.<\/scene_description>\n    <character>MASTERS<\/character>\n    <dialogue>Cut it.<\/dialogue>\n    <scene_description>Ralphie's sweat covered hands fumble with the cutters. Masters pressing the barrel harder into the kid's temple. Ralphie manages to cut one length of the chain. Places the teeth of the cutters over the last piece. Masters eyes DART INTO THE DARKNESS OF THE STORE. No McCall. Eerie and way too quiet. Then SEES the FAINT GLOW of RED coming from the far aisle... Looks down... LASER DOT ACROSS THE DUCT TAPE where is hand would be... Masters JERKS RALPHIE around! SPINNING HIM SO THE DOT IS ON HIS CHEST... YOU FUCKING KIDDING ME? MCCALL'S MOUTH Right next to Masters ear.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>It look like I'm kidding?<\/dialogue>\n    <scene_description>HARD CUT - THE M-16 Propped up on a shelf all by itself at the end of the aisle. MCCALL AND MASTERS Masters' eyes GO WIDE as McCall's arm snaps around his neck. Masters squeezing the trigger... But nothing happens. Masters' confused. Looks down and SEES THE CARPET KNIFE JAMMED INTO THE HOLLOW OF HIS TRICEP.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Brachial tendon's severed, Slick. You got nothing from the shoulder down...<\/dialogue>\n    <scene_description>Box Cutter slices the barrel from Ralphie's head. Ralphie falling to his knees. McCall twisting the dead arm towards Masters chest.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>So let me help you.<\/dialogue>\n    <scene_description>McCall touches Master's finger. The Gun FIRES a single MUFFLED SHOT into Master's heart. HOME DEPOT -WIDER Masters dead before he hits the floor. McCall reaches down and takes the keys from his belt. Walks over to Ralphie. Helps him to his feet. Shock and awe plastered all over Ralphie's face. Staring at McCall like he was some apparition. McCall drops the keys to the Cage and a pair of pliers into Ralphie's hand.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>You should go let them out.<\/dialogue>\n    <scene_description>Ralphie nods.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>I don't know if you heard. I'm away on a family matter. I'll be back Monday.<\/dialogue>\n    <scene_description>A LONG beat. Then Ralphie smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TEDDY'S CAR - BOAT BASIN<\/stage_direction>\n    <scene_description>Teddy getting in. Tossing the Shotgun into the back seat when his Cell RINGS. UNKNOWN NUMBER appears on the screen. Answers and HEARS...<\/scene_description>\n    <character>MCCALL (OS)<\/character>\n    <dialogue>Run.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CREDIT SUISSE BANK BUILDING<\/stage_direction>\n    <scene_description>A glass and steel modern structure with spiraled columns designed to support nothing except public awe and reverence. Teddy coming out of the Bank pocketing AN ENVELOPE. Hits the remote. About to climb in when HE SEES... TWO suit-clad MEN on the near corner. Eyes directly on Teddy. Now SEES another TWO MEN on the far corner. Looks across the street... FOUR MORE MEN in SUITS. ALL looking at Teddy.<\/scene_description>\n    <character>MILLER (OS)<\/character>\n    <dialogue>Agent Coleman...<\/dialogue>\n    <scene_description>Teddy spins. TWO DARK BLUE SUITS, matching haircuts and implacable faces behind him. Agency ID's in their hands.<\/scene_description>\n    <character>WARD<\/character>\n    <dialogue>Special Agent Ward. This is Agent Miller. CIA Internal Affairs.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEDAN - MOVING<\/stage_direction>\n    <scene_description>Miller behind the wheel. Ward shotgun. Teddy behind the chicken wire screen in the back. Hands cuffed behind his back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BATTERY PARK<\/stage_direction>\n    <scene_description>Tip of Manhattan. Down Battery Place then taking a DETOUR. Crossing Water Street. The sedan jumps down a one lane dirt road that cuts a swath through a path of dense foliage.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEDAN - BACK SEAT<\/stage_direction>\n    <scene_description>Teddy looking around. SEES the CITY being swallowed up by the overgrown TREES...<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>Where the fuck we going?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE SEDAN - DAY<\/stage_direction>\n    <scene_description>Road getting smaller, foliage thicker. Rusted out boat trailers litter the shoulder. We're at the abandoned Boat Basin.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE SEDAN<\/stage_direction>\n    <scene_description>Through the windshield foliage clears and the Harbour comes into VIEW. The car bumps along a bit further then stops a few yards above the water line. Miller and Ward exit the vehicle without a word leaving Teddy alone. After what seems like an eternity the drivers side door opens and McCall slides in. McCall doesn't turn around.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>It was your idea to meet here.<\/dialogue>\n    <scene_description>Now shifts so he can look directly at Teddy.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>It's important you understand everything.<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>I understand enough.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>I don't think you do.<\/dialogue>\n    <scene_description>A long pause. McCall lowers the back windows a few inches.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>The place we choose to inhabit, to live our lives, is like it's own ecosystem. Ecosystems only survive when there's balance. Otherwise there's chaos, corruption and injustice.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>People like you upset that balance.<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>What the fuck are you talking about? It was bad guys killing worse guys. You don't think that exists every fucking place in the world?<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>It does. I've seen it. But you're in my world. And that's... unacceptable.<\/dialogue>\n    <character>TEDDY<\/character>\n    <dialogue>Wake up you self-righteous prick. The whole cake's been divided down to the last crumb. You take what you can get when you can get it.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I didn't design the system. I simply learned how to play it and win it.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I got seven million dollars in my pocket. It's yours. Take it. Dole it out to your ecosystem<\/dialogue>\n    <scene_description>McCall cracks the front windows. Stares out at the water for a few moments.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Most people don't want anything except fairness.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>More and more they feel they can never have it. They see bigger, richer, more corrupt, morally bankrupt, spiritually vacant people get it all. The ones who don't give a shit...<\/dialogue>\n    <scene_description>Turns the ignition key halfway. Engine light coming on. Turns around and starts going through Teddy's pocket.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>You're a bad guy, Teddy. Worse, you're a bad guy who doesn't give a shit. About anyone. Even yourself. And that makes you more frightening than almost any monster out there.<\/dialogue>\n    <scene_description>McCall finds the check. Sits back and looks at the amount. Whistles. T eddy laughs.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>Lot of money. Don't be so smug. In my ecosystem I'll do four years in some country club prison, get out, move to Dubai. Sell my knowledge and services to some Sheik who likes the idea of having an ex-CIA Agent on his staff. In two years, I'll be a millionaire all over again.<\/dialogue>\n    <scene_description>McCall takes the check and sticks it on the rearview mirror.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Guess you can take it with you.<\/dialogue>\n    <scene_description>Slips the car into neutral then opens the door.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>Hey!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOAT BASIN<\/stage_direction>\n    <scene_description>McCall steps out and closes the door. The car starting to roll down the embankment...<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>HEY!<\/dialogue>\n    <scene_description>McCall watches as the car lists down the embankment towards the water. Watches Teddy panic in the back seat, face twisted in impotent fury. Front end of the car hitting the WATER... Teddy pressing his face to the small opening on the window.<\/scene_description>\n    <character>TEDDY<\/character>\n    <dialogue>What's this make you?<\/dialogue>\n    <scene_description>McCall doesn't bother to answer. The car sinking, hood already submerged. Water rushing through the open windows... Teddy staring through the back window. Into McCall's eyes. McCall doesn't look away. Resignation washing over Teddy. Both men now calm, dispassionate... Water rising above Teddy's chest, chin, then his face... Finally the car disappearing under water. MCCALL Waits a long moment. Turns and walks up the embankment. Crosses the road where ANOTHER CAR WAITS. Walks over to it and gets in the back...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR<\/stage_direction>\n    <scene_description>Susan Plummer sits in the back. Miller and Ward silently up front. The two exchange looks. Ward puts the car in gear and drives off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MCCALL'S APARTMENT BUILDING<\/stage_direction>\n    <scene_description>Car pulling up out front.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR<\/stage_direction>\n    <scene_description>Susan glances up at McCall's apartment building.<\/scene_description>\n    <character>SUSAN<\/character>\n    <dialogue>I expected more.<\/dialogue>\n    <character>MCCALL<\/character>\n    <dialogue>It's enough.<\/dialogue>\n    <scene_description>Starts to get out. Stops. Turns back to Susan.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>He asked me, doing that, what it made me...<\/dialogue>\n    <scene_description>Susan thinks. Then looks at her old friend. Smiles.<\/scene_description>\n    <character>SUSAN<\/character>\n    <dialogue>Life is a fight. But not everyone's a fighter. That's where you come in, Robert.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You're an equalizer.<\/dialogue>\n    <scene_description>McCall lets it sink in. Gets out without another word and the car drives away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOME DEPOT - MORNING<\/stage_direction>\n    <scene_description>CLEAN UP CREWS still working as EMPLOYEES drift in. Ralphie at his place by the front entrance when McCall and the Young Dudes step through. Looks of surprise at the mess.<\/scene_description>\n    <character>YOUNG DUDE 1<\/character>\n    <dialogue>What the fuck?<\/dialogue>\n    <character>YOUNG DUDE 2<\/character>\n    <dialogue>What is this shit?<\/dialogue>\n    <character>RALPHIE<\/character>\n    <dialogue>You didn't hear? Some guys broke in and took a bunch of us hostage. Was a big showdown and a bunch of guys got killed. No one's telling us much else. Classified or something.<\/dialogue>\n    <character>YOUNG DUDE 2<\/character>\n    <dialogue>Well I ain't cleanin' that shit up...<\/dialogue>\n    <scene_description>McCall starts to follow them into the store.<\/scene_description>\n    <character>RALPHIE<\/character>\n    <dialogue>Mr. McCall?<\/dialogue>\n    <scene_description>McCall turns. Ralphie holds up the PAIR OF PLIERS with the price tag on it.<\/scene_description>\n    <character>RALPHIE<\/character>\n    <dialogue>Mind putting these back for me?<\/dialogue>\n    <scene_description>The look that passes between them is understood instantly by both. This is our secret. And will remain so. McCall smiles. Takes the pliers and heads down the aisle. Back to work...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONEY ISLAND BOARDWALK - NIGHT<\/stage_direction>\n    <scene_description>McCall on his favorite bench. Night air crisp and clean. Like McCall's soul. There's a tranquil, untroubled feeling to this man now. Watches the United Nations of faces and families with different eyes. Smiles at the Spanish woman fingering her rosary as she watches her daughter fly by on the Tilt-a-Whirl. Her small son next to her playing Nintendo that probably cost her a months pay. People trying. That's what counts. McCall stands and starts for home. Passes the... SHOOTING BOOTH Where that father and son are back. Trying again. Father handing over his last dollar only to get the same result. Takes his kids hand and about to slink off when...<\/scene_description>\n    <character>MCCALL (OS)<\/character>\n    <dialogue>Give the man a sponge guy already.<\/dialogue>\n    <scene_description>All three heads turn. McCall standing there, hands in his pockets.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Guy's been here every Saturday night for two months. Paid for the sponge ten times over.<\/dialogue>\n    <character>BARKER<\/character>\n    <dialogue>Who are you? The boardwalk police? Hit all six targets win the sponge guy.<\/dialogue>\n    <parenthetical>(points to sign)<\/parenthetical>\n    <dialogue>Or can't you read.<\/dialogue>\n    <scene_description>And there's that look again. McCall steps to the counter and drops a dollar bill into the barker's sweaty palm. Turns to the father.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>This one's on me.<\/dialogue>\n    <scene_description>Lifts the beat up air rifle... adjusts the aim and... BLAM! BLAM! BLAM! BLAM! BLAM! BLAM! All six targets nailed dead center in milliseconds. Barker stands there slack-jawed as McCall grabs the LARGEST Sponge Bob and hands it to the Father. Kid's eyes like saucers. Places the rifle back onto the Barker.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Site's six degrees off to the left. I'd fix that if I were you.<\/dialogue>\n    <scene_description>As he walks off...<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>And I'll be back to check.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCCALL'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>McCall at the Kitchen Table. Laptop open. Typing something. WE HEAR MUSIC drift over the scene. Faint at first. Like it was coming through the open window. ON SCREEN A CRAIGSLIST PAGE. Under the SERVICES subheading. McCall's fingers writing a POST. A VOICE now SINGING with the MUSIC. A haunting SONG grows LOUDER as WE SEE McCall's words BEATING OUT ACROSS THE PAGE: GOT A PROBLEM?: WRITE TO: THE EQUALIZER: MCCALL Stares at the screen. This is who he is now. At peace with that. SONG getting LOUDER. And as his finger presses SEND WE... CUT TO: A SMALL DIVE BAR Somewhere in Hell's Kitchen. Dingy and dark and half full. That SONG filling the ROOM. On stage a PIANO PLAYER. And Teri. Singing the last notes with all her being. Heartbreakingly magicical... The APPLAUSE more enthusiastic than expected. The LOUDEST is McCall. Against the back wall. TERI Walks off the stage and into the arms of a NICE LOOKING GUY. The look on his face tells us everything we need to know about her life now. MCCALL Eyes bright with pride. Drops a twenty on the table and heads for the exit... DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DINER - EARLY EVENING<\/stage_direction>\n    <scene_description>Maybe it's the same diner fixed up. Maybe it's a different one. Doesn't matter. Because what's the same is... MCCALL At a back table. Cup of tea. Book 94 open. \"The Invisible Man\" by Ralph Ellison. And WE HOLD on this IMAGE for a few beats. Because it feels right and... just. WE HEAR the faint DING of McCall's CELL. Fishes it out and reads the email.<\/scene_description>\n    <character>VOICE (OS)<\/character>\n    <dialogue>I saw your ad and I am taking a chance you are real. I am desperate.<\/dialogue>\n    <scene_description>SQUEALING TIRES OF A 757 HITTING THE RUNWAY...<\/scene_description>\n    <character>VOICE (OS)<\/character>\n    <dialogue>My family is in danger. The police cannot help.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INTERNATIONAL AIRPORT TERMINAL<\/stage_direction>\n    <scene_description>DOORS to CUSTOMS sliding open as McCall walks through them shouldering his bag Sign above the doors says: WELCOME TO BRUSSELS<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRUSSEL'S AIRPORT<\/stage_direction>\n    <scene_description>McCall coming out and walking to the curb. Hails a taxi.<\/scene_description>\n    <character>VOICE (OS)<\/character>\n    <dialogue>I know I am far away but I have no hope and nowhere else to turn. Can you help?<\/dialogue>\n    <scene_description>As the TAXI pulls curb side McCall slips a pair of SUNGLASSES on and WE GO TO...<\/scene_description>\n    <character>BLACK<\/character>\n  <\/scene>\n<\/script>","summary":"Robert McCall, a former U.S. Marine and DIA \/ DCS officer, now lives a quiet life in Boston, where he works at a hardware store. He helps his colleague Ralphie train to become a security guard. Unable to sleep, Robert often spends late nights reading at an all-night diner. Over time, he has befriended Teri, a teenager sex worker trafficked by the Russian mafia. The pair often talk about the books he has been reading and Robert\u2019s goal to read the one hundred books his wife had made a goal of reading. One evening, Teri shares that her real name is Alina and that she dreams of becoming a singer. Robert and Alina take a stroll but Alina\u2019s pimp Slavi abruptly arrives, severely beats Alina, and forces her into a car. His driver hands Robert a business card for their escort service before driving away. A few nights later, a badly injured Alina is admitted to the intensive care unit at a nearby hospital. Upon hearing the news, Robert travels there and learns from her friend Mandy, another prostitute, that Slavi is responsible for her condition. He finds Slavi and his men at their restaurant and is bluntly refused when he offers to buy Alina's freedom. Robert expertly kills the men and leaves. Unbeknownst to him, Slavi and his men were part of a much larger syndicate led by Russian oligarch Vladimir Pushkin. Teddy Rensen, Pushkin's enforcer, arrives in Boston to investigate the attack. Aided by Boston Police Department detectives on Pushkin's payroll, he canvases rival gangs in the area, nearly beating Irish mob lieutenant \"Little John\" Looney to death to send a message. Robert continues exacting vigilante justice on criminals he encounters. He blackmails two corrupt police officers into returning racketeering money to Ralphie's mother, and beats a gunman with a hammer after he robs the hardware store, taking a coworker's heirloom ring from her mother. Teddy kills Mandy after learning that she concealed information about Robert and lied about her friendship with Alina. He visits Robert at his apartment, posing as a police detective, but Robert does not fall for the guise. Teddy flashes a picture of the strangled Mandy before walking away, offering it as a warning. Teddy and his mercenary group fail to abduct Robert on two occasions. Robert travels to visit his former DIA colleague Susan Plummer and her husband, Brian. Until now, it was long assumed that Robert had died in a long-ago bombing incident. He asks for Susan's help in identifying Teddy. She informs him of Pushkin's operation and that Teddy's real name is Nicolai Itchenko, a Spetsnaz operative turned Russian secret police agent. She also reveals that Nicolai murdered two of the Boston PD detectives and that another one of them, Frank Masters, had not been heard from in days. Robert tracks Masters down and threatens him into helping take down one of Pushkin's money laundering warehouses. Masters and Pushkin's men are taken into custody when the police arrive, and they find a note left by Robert to \"follow the money.\" He confronts Nicolai again, threatening to do more damage if he continues to pursue him. He later destroys two of Pushkin's oil tankers. In response, Nicolai abducts Robert's coworkers at the hardware store to force him to meet. To Nicolai's surprise, Robert skips the meeting with Nicolai and instead kills the men guarding the hostages. Nicolai arrives with his men, but Robert stealthily annihilates all of them one by one with improvised weapons collected throughout the hardware store. As Nicolai is about to kill Ralphie, who stayed behind to help, Robert kills Nicolai with a nail gun. Three days later, Robert finds Pushkin at his Moscow mansion, killing all his guards and tricking him into electrocuting himself to death. Sometime later, following her recovery, Alina runs into Robert and shares that she has started a new life with the money that was left at her hospital bed, money she believes to be hush money. She has no idea it was from Robert. Inspired to continue helping others, Robert posts online ads as The Equalizer."}
{"movie_name":"Never Been Kissed_1999","imdb_id":"tt0151738","script":"<script>\n  <scene>\n    <character>NEVER BEEN KISSED<\/character>\n    <dialogue>Revised draft by Jenny Bicks<\/dialogue>\n    <scene_description>Based on the Original Screenplay by Abby Kohn &amp; Marc Silverstein Shooting Script Revision Draft 6\/26\/98 FADE IN: CLOSE UP ON A GIRL'S FACE It's Josie Geller, 25, cute, blonde and scared out of her wits. We hear the chanting of a crowd.<\/scene_description>\n    <character>CROWD<\/character>\n    <dialogue>Josie! Josie! Josie!<\/dialogue>\n    <character>JOSIE (V.O.)<\/character>\n    <dialogue>You know in some movies how they have a dream sequence only they don't tell you it's a dream?<\/dialogue>\n    <scene_description>PULL OUT to reveal Josie on pitcher's mound of a--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A BASEBALL STADIUM -- NIGHT<\/stage_direction>\n    <scene_description>It's packed. Reporters line the field. All eyes are on Josie.<\/scene_description>\n    <character>JOSIE (V.O.)<\/character>\n    <dialogue>This is so not a dream.<\/dialogue>\n    <scene_description>The stadium clock sets at 5:00. The crowd goes crazy. Josie takes a deep, nervous breath and smiles, \"Oh God.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELECTRONICS STORE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Multiple images of Josie play across rows of TV sets. A crowd has gathered.<\/scene_description>\n    <character>JOSIE (V.O.)<\/character>\n    <dialogue>It wasn't supposed to be like this. I was just trying to do my job. And then things happened. Well, life happened. And now I'm here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BASEBALL STADIUM -- CONTINUOUS<\/stage_direction>\n    <scene_description>The clock starts to tick down. The crowd yells again.<\/scene_description>\n    <character>JOSIE (V.O.)<\/character>\n    <dialogue>Trust me. I am not the kind of girl who does things like this. I mean, two months ago you couldn't have picked me out of a crowd...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHICAGO SUN TIMES BULLPEN -- DAY<\/stage_direction>\n    <scene_description>Packed with office workers. Bustling with activity. The CAMERA searches the CROWD.<\/scene_description>\n    <character>JOSIE (V.O.)<\/character>\n    <dialogue>Told you. I'm over there.<\/dialogue>\n    <scene_description>The CAMERA SWINGS to Josie entering. Rhoda, a young copy assistant, tails her, pen and paper in hand.<\/scene_description>\n    <character>RHODA<\/character>\n    <dialogue>Theater--<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Standard American calls for \"er\". Standard British is \"re\". So go for \"er\", unless you're a pompous American, then go for British.<\/dialogue>\n    <scene_description>Josie keeps negotiating the maze, leaving Rhoda in her wake.<\/scene_description>\n    <character>RHODA<\/character>\n    <dialogue>No. Theater. Last night. We were supposed to go, remember?<\/dialogue>\n    <scene_description>Josie stops at a desk where Merkin Burns, officious office assistant, is talking on the phone. He picks his nose with abandon as he talks, ignoring Josie.<\/scene_description>\n    <character>MERKIN<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>No way. No way. No way. Ech, hold on.<\/dialogue>\n    <parenthetical>(to Josie)<\/parenthetical>\n    <dialogue>What.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Messages?<\/dialogue>\n    <scene_description>Merkin removes his finger from his nose and uses it to pick up a pink message. He holds it out to Josie. Disgusted, she takes it by one corner.<\/scene_description>\n    <character>MERKIN<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Seriously? No way. No way--<\/dialogue>\n    <scene_description>Josie's still standing there.<\/scene_description>\n    <character>MERKIN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Merkin, do you think we could get some more yellow highlighters? I checked the box and we're--<\/dialogue>\n    <scene_description>Merkin swivels his chair 180 degrees so his back is to Josie and continues with his phone call.<\/scene_description>\n    <character>MERKIN<\/character>\n    <parenthetical>(back into phone)<\/parenthetical>\n    <dialogue>Okay, I'm back, so--<\/dialogue>\n    <scene_description>Josie sighs, walks to her door. It's marked with a lopsided nameplate: Josie Geller, Copy Editor. She adjusts the plate so it's perfectly straight.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOSIE'S OFFICE -- CONTINUOUS<\/stage_direction>\n    <scene_description>Josie enters, reads the message still gingerly held in two fingers, and drops it into the trash can. She hangs her coat squarely on the back of her door, takes five pencils from her pencil pot, one by one sharpens them in her pencil sharpener, and then lays them out neatly in a row. She smiles, satisfied, ready for another day. Anita Brandt, late 20's, pretty in a semi-unprofessional way, bursts in, smiling.<\/scene_description>\n    <character>ANITA<\/character>\n    <dialogue>Guess who I did it with last night...<\/dialogue>\n    <character>JOSIE<\/character>\n    <parenthetical>(duh)<\/parenthetical>\n    <dialogue>Roger in Op\/Ed.<\/dialogue>\n    <character>ANITA<\/character>\n    <dialogue>Who told!<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>You did. Yesterday you said, and I quote, \"I have a date with Roger from Op\/Ed tonight and I'm going to do it with him.\"<\/dialogue>\n    <character>ANITA<\/character>\n    <dialogue>Well, that doesn't mean it was going to happen for sure.<\/dialogue>\n    <scene_description>Josie just stares at her.<\/scene_description>\n    <character>ANITA<\/character>\n    <dialogue>Once it didn't happen for sure.<\/dialogue>\n    <scene_description>Gus Strauss, late 30's, would probably clean up well, enters. He tosses some copy onto Josie's desk.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Computer's down. Septuplets story. I need it back by five. Hopefully the copy's not a mess.<\/dialogue>\n    <character>JOSIE<\/character>\n    <parenthetical>(emphasizing)<\/parenthetical>\n    <dialogue>It is hoped that it's not a mess. \"Hopefully\" is an adverb. It means \"with hope\". You have it defining the copy, and I'm pretty sure the copy doesn't have feelings.<\/dialogue>\n    <scene_description>Gus and Anita just stare at Josie.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Well, excuse me for caring about words.<\/dialogue>\n    <character>GUS<\/character>\n    <parenthetical>(to Anita)<\/parenthetical>\n    <dialogue>So. You and Roger in Op\/Ed.<\/dialogue>\n    <character>ANITA<\/character>\n    <dialogue>Oh, man! Who told?<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>Roger in Op\/Ed. Don't make me send you another memo about my policy on inter-office dating.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Intra office. And they're not dating. They're having sex.<\/dialogue>\n    <character>ANITA<\/character>\n    <dialogue>And what is your policy? That if you're not getting any, no one can?<\/dialogue>\n    <scene_description>Anita flounces off.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>How many times have I fired her?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Five-- Six--<\/dialogue>\n    <character>GUS<\/character>\n    <parenthetical>(shrugging, giving up)<\/parenthetical>\n    <dialogue>Eh.<\/dialogue>\n    <scene_description>Gus turns to exit.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Hey Gus--did you see the story idea I left on your desk?<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>Yeah--the blind foster home mother. It was good. I got Cahoon on it.<\/dialogue>\n    <character>JOSIE<\/character>\n    <parenthetical>(disappointed)<\/parenthetical>\n    <dialogue>Oh. Cahoon. Yeah, he's--good.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>Geller, we've been over this. You're a great copy editor. Maybe my best copy editor. You're not a reporter.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>You've done five of my ideas.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>You know what separates us office flunkies from the reporters?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>They don't have to be in the office Christmas show?<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>A flack jacket.<\/dialogue>\n    <character>JOSIE<\/character>\n    <parenthetical>(not getting it)<\/parenthetical>\n    <dialogue>A--flack jacket.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>Every Tom, Dick, and Harry thinks he can write. But a journalist gets in there, right where the bombs are. He's aggressive. Grabs the bull by the balls.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>You don't think I can grab bulls' balls?<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>Geller, you don't want a reporter's life. They're very--messy. You're all about order. Control. And getting me my copy by five.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Hey--I can be out of control.<\/dialogue>\n    <scene_description>Gus smiles. On his way out he re-adjusts Josie's nameplate so it hangs at an angle. Tormented, Josie waits a beat. She can't take it, and runs to the door and straightens it.<\/scene_description>\n    <character>GUS<\/character>\n    <parenthetical>(over his shoulder)<\/parenthetical>\n    <dialogue>Copy by five.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUN TIMES LUNCHROOM -- DAY<\/stage_direction>\n    <scene_description>Actually, a pretty depressing kitchenette area. Anita and Josie eat lunch--Anita eats Chinese out of a container, Josie has three baggies of perfectly cut food in front of her.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Be honest. Do you think I'm aggressive?<\/dialogue>\n    <scene_description>Anita ponders a moment.<\/scene_description>\n    <character>ANITA<\/character>\n    <dialogue>Okay. Remember when they took your office chair in for repairs and forgot to return it?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>ANITA<\/character>\n    <dialogue>You stood for like a month.<\/dialogue>\n    <scene_description>Cynthia, an affable African-American woman in her 40's, enters and puts three microwave meals in the microwave.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Just because I'm not out of control doesn't mean I can't write.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Josie, you listen to me. If you feel you're a writer--<\/dialogue>\n    <parenthetical>(touching her chest)<\/parenthetical>\n    <dialogue>Here, deep inside, don't let anyone tell you you're not. Look at me. Every day I come to this paper and I pour my heart and soul into what I do. I feel it, passionately, to the core of my being.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>You write obituaries.<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>Hey, if you can make a busted aorta sound good--honey, that's art.<\/dialogue>\n    <scene_description>The microwave dings off. Cynthia fishes the three Lean Cuisines out. Anita and Josie share a look.<\/scene_description>\n    <character>ANITA<\/character>\n    <dialogue>Cynthia, aren't they only diatetic if you eat them one at a time?<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>I eat 'em one at a time.<\/dialogue>\n    <character>ANITA<\/character>\n    <parenthetical>(to Josie)<\/parenthetical>\n    <dialogue>Y'know, maybe Gus has a point. It wouldn't kill you to relax and have some fun. Roger's got a friend, Marshall in editing? The one with the lazy eye? Maybe we could double date.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Forget it.<\/dialogue>\n    <character>ANITA<\/character>\n    <dialogue>I swear to God, Jos. When is the last time you went on a real live date?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>I'm concentrating on my career right now.<\/dialogue>\n    <character>ANITA<\/character>\n    <dialogue>Do you own any colored underwear? Stripes? Anything?!<\/dialogue>\n    <character>JOSIE<\/character>\n    <parenthetical>(embarrassed)<\/parenthetical>\n    <dialogue>Anita!<\/dialogue>\n    <character>ANITA<\/character>\n    <dialogue>Look. You're way under 30, you're cute, some guys find white Carter's underwear sexy-<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>If you talk to his nose, you don't even notice the eye.<\/dialogue>\n    <scene_description>Josie laughs in spite of herself.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>The right guy is out there. I'm just not going to kiss a whole bunch of losers to get to him.<\/dialogue>\n    <character>ANITA<\/character>\n    <dialogue>Yeah, but sometimes kissing the losers can be a fun diversion.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>When I finally get kissed, I'll know.<\/dialogue>\n    <scene_description>Anita and Cynthia trade looks.<\/scene_description>\n    <character>ANITA<\/character>\n    <dialogue>Okay. If you've never kissed a guy, we got bigger problems than the underwear.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>I've kissed guys. I've just never kissed a guy. Felt that thing--<\/dialogue>\n    <character>CYNTHIA<\/character>\n    <dialogue>\"That thing\"? Is that what you kids are calling it these days?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>That thing. That moment. You kiss someone and it's like the world around you gets all hazy and the only thing in focus is you and this other person and you know that one person is the person you're meant to be kissing for the rest of your life. And for that one moment you've been given this amazing gift and you want to laugh and cry at the same time because you're so lucky you found it, and so scared that it will all go away.<\/dialogue>\n    <scene_description>Anita and Cynthia take this in.<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>Damn, girl. You are a writer.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TIKI POST -- DAY<\/stage_direction>\n    <scene_description>Basically a Mailbox Etc. store, but dressed in a Tahitian theme. Cardboard hula dancers hold Fedex envelopes. ROB GELLER, 23, good-looking, wears a smock with \"Tiki Post\" emblazoned across it over a Hawaiian shirt. He stands watch at the cash register. MONTY MAYLIK, 50, proud owner, rearranges a display. The place is empty.<\/scene_description>\n    <character>ROB<\/character>\n    <dialogue>Hey Monty--you think we'll get any business today?<\/dialogue>\n    <character>MONTY<\/character>\n    <parenthetical>(of course)<\/parenthetical>\n    <dialogue>I'm handing out a free lei to every customer! What do you think?<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>I think maybe people are scared off by the tiki torches.<\/dialogue>\n    <character>MONTY<\/character>\n    <dialogue>Change is scary. Robbie, let me tell you a little something about the mail business. I've been in it over thirty years. And in those thirty years, the only thing that's changed is the Elvis stamp and some gun laws. People are bored! They wanna shake things up!<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>I thought people just wanted their mail delivered on time.<\/dialogue>\n    <scene_description>Josie walks into the store, triggering Hawaiian music. Monty puts a lei over her head.<\/scene_description>\n    <character>MONTY<\/character>\n    <dialogue>Aloha! Welcome!<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>Relax, Monty. It's just my sister.<\/dialogue>\n    <scene_description>Monty takes the lei off her neck. Josie hands Rob an envelope. Rob rifles through the cash inside.<\/scene_description>\n    <character>ROB<\/character>\n    <dialogue>Thanks, Jos. I'll pay you back. Bambi thanks you, too.<\/dialogue>\n    <scene_description>Rob indicates a beat-up wreck of a yellow car parked outside.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>That is so--weird that you name your car.<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>No it's not. Guys name their penises.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Okaaaay....<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>That car's going to bankrupt you.<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>She just needs a new windshield wiper.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Because I bought the windshield last week. I'm a hubcap away from owning more of Bambi than you do.<\/dialogue>\n    <scene_description>Rob hands the money back.<\/scene_description>\n    <character>ROB<\/character>\n    <dialogue>Y'know what? Take it. I don't want it.<\/dialogue>\n    <scene_description>Josie hands it back.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Rob, take the money, okay? It's no big deal.<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>No, it is. It's just one more thing to add to your \"things that make you a better person than me\" list.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Better person than I.<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>See!<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>I know this woman. She works in admissions at Lakeshore Community? She might be able to get you in for the Fall semester. Maybe she could get you the baseball scholarship, and I could help and--<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>I'm not going to college, Jos. And I'm not playing anymore baseball. This is my life.<\/dialogue>\n    <character>JOSIE<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>This--this is a luau that sells packing material!<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>Someday this luau is going to be all mine!<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>How can you just give up like that? You had a real shot at playing college ball and you let one case of mono<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>stop everything. Don't you want more? To move out of Mom and Dad's? Pay your own bills?<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>Oh yay! And then I could be as happy as you!<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>For your information, I am very happy. Deliriously happy. I lead a very happy life!<\/dialogue>\n    <scene_description>She exits. The music starts up again.<\/scene_description>\n    <character>MONTY<\/character>\n    <dialogue>Come again!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOSIE'S APARTMENT -- NIGHT<\/stage_direction>\n    <scene_description>We PAN AROUND the neatest and quietest walk-up you've ever seen. Lots of books on shelves. We find Josie sitting at her small table putting the finishing touches on a needlepoint pillow. She turns it over and WE SEE it says: \"LOVE\". She holds up the final product to a terrarium, lookup up at her two turtles.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>There. What d'you think, guys? Where should it go?<\/dialogue>\n    <scene_description>Josie looks around the living room.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Hmm.<\/dialogue>\n    <parenthetical>(She pretends to listen to the turtles.)<\/parenthetical>\n    <dialogue>What's that? Bedroom? Great idea!<\/dialogue>\n    <scene_description>She walks into the bedroom with the pillow.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOSIE'S BEDROOM -- CONTINUOUS<\/stage_direction>\n    <scene_description>A perfectly arranged Laura Ashley bedroom. We PAN OVER TO the bed. It is completely covered in needlepoint pillows. Josie places the latest one on top of the others and smiles.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Perfect.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A CONFERENCE ROOM - SAME<\/stage_direction>\n    <scene_description>It's packed with the NEWSPAPER STAFF. HYRAM RIGFORT, 65, white-haired, dignified owner of the paper presides. Anita and Josie sit next to each other. Next to Anita sits Roger from Op\/Ed, a good-looking guy in his 30's.<\/scene_description>\n    <character>RIGFORT<\/character>\n    <dialogue>Let me start out by saying that I was very impressed by the investigative piece Dutton did on pesticides in our supermarkets.<\/dialogue>\n    <scene_description>An older man, Dutton, smiles proudly.<\/scene_description>\n    <character>RIGFORT<\/character>\n    <dialogue>But since the Trib did a better piece on the same subject, you're fired.<\/dialogue>\n    <scene_description>Dutton's face falls. Everyone looks horrified.<\/scene_description>\n    <character>RIGFORT<\/character>\n    <dialogue>You heard me. Out. Out.<\/dialogue>\n    <scene_description>Dutton shuffles out. Josie takes a big bite of donut.<\/scene_description>\n    <character>RIGFORT<\/character>\n    <dialogue>So. Happy March everybody!<\/dialogue>\n    <character>ALL<\/character>\n    <parenthetical>(by rote)<\/parenthetical>\n    <dialogue>Happy March Mr. Rigfort.<\/dialogue>\n    <character>RIGFORT<\/character>\n    <dialogue>To celebrate, I've decided it's time for another undercover feature!<\/dialogue>\n    <scene_description>Everyone looks underwhelmed.<\/scene_description>\n    <character>RIGFORT<\/character>\n    <dialogue>You all know that some of my best inspiration comes from personal experience. Who knew that my botched foray into hair plugs would lead to last month's award-winning expose -- \"hair today, gone tomorrow\"? Hat's off to you, Bruns.<\/dialogue>\n    <scene_description>We PAN OVER to BRUNS, a reporter whose hair is missing in odd-looking clumps. He nods sadly.<\/scene_description>\n    <character>RIGFORT<\/character>\n    <dialogue>Or should I say \"hat's on\"! And what about when my wife had that affair<\/dialogue>\n    <character>RIGFORT<\/character>\n    <dialogue>with Gil, her ski instructor and Howard went undercover as an expert slalom skier.<\/dialogue>\n    <scene_description>Howard smiled wanly. Both his arms are in casts. CAMERA PANS the room as Rigfort continues, picking out different reporters.<\/scene_description>\n    <character>RIGFORT<\/character>\n    <dialogue>So last night I'm sitting around the dinner table with my family. The wife, the two nannies, the boys, and we're eating chicken with this peanut sauce.<\/dialogue>\n    <scene_description>CAMERA STOPS at a Chef Boyardee look-alike.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Undercover chef. I like it.<\/dialogue>\n    <character>RIGFORT<\/character>\n    <dialogue>Hang on, Gus. So, we're eating this peanut sauce and suddenly the younger kid starts choking.<\/dialogue>\n    <scene_description>CAMERA STOPS at a Nurse Ratchet look-alike.<\/scene_description>\n    <character>ANITA<\/character>\n    <parenthetical>(sotto to Josie)<\/parenthetical>\n    <dialogue>I'm smelling undercover ER nurse.<\/dialogue>\n    <character>RIGFORT<\/character>\n    <dialogue>Turns out he's allergic to peanuts. And I think -- holy shit. I don't even know my own kids. I mean, who knows if they're even mine? And it got me thinking. How much do we know about kids today? What are they thinking? How many of them are allergic to peanuts? Boom. It hit me -- \"My Semester In High School.\"<\/dialogue>\n    <scene_description>CAMERA STOPS at a bald guy, the jerks over one seat to Josie.<\/scene_description>\n    <character>RIGFORT<\/character>\n    <parenthetical>(to Josie)<\/parenthetical>\n    <dialogue>You. What's your name?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Josie. Josie Geller.<\/dialogue>\n    <character>RIGFORT<\/character>\n    <dialogue>You enroll on Friday.<\/dialogue>\n    <scene_description>General crowd hubub. Josie's in shock.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Oh. But--I'm not a reporter yet...<\/dialogue>\n    <character>RIGFORT<\/character>\n    <dialogue>And none of these geezers could pass for a day under 40. Have fun.<\/dialogue>\n    <scene_description>And Rigfort exits.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOSIE'S OFFICE - MINUTES LATER<\/stage_direction>\n    <scene_description>Josie is so excited she can hardly speak to Anita.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>It's finally happening, Anita! I'm going to write!<\/dialogue>\n    <scene_description>Anita looks concerned.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>My own undercover feature - \"Written by Josie Geller\".<\/dialogue>\n    <character>ANITA<\/character>\n    <dialogue>Jos - Maybe you should turn it down.<\/dialogue>\n    <scene_description>A beat. Josie's face falls.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>You don't think I can do it.<\/dialogue>\n    <character>ANITA<\/character>\n    <dialogue>No - It's just a lot of pressure for your first piece, that's all. I mean, it's not a half-page article, it's a major undercover piece, Jos. Look what Rigfort did to Dutton - and that guy's his cousin!<\/dialogue>\n    <scene_description>Gus enters.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Don't worry, I'll straighten all this out.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>But I don't want it straightened out.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>Geller, this is way out of your league.<\/dialogue>\n    <scene_description>Josie takes in Anita and Gus.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Okay, just so I'm clear here --neither of you think I can do this.<\/dialogue>\n    <character>ANITA<\/character>\n    <dialogue>Jos, that's not what we're --<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Anita, when you wanted to seduce the guy in the mailroom and you didn't think you could learn Spanish fast enough, who quizzed you on your verbs?<\/dialogue>\n    <scene_description>Anita looks down, chastened.<\/scene_description>\n    <character>ANITA<\/character>\n    <dialogue>Senorita Josie.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>And Gus - when you picked up knitting, who showed you how to hold the needles?<\/dialogue>\n    <character>GUS<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <character>YOU DID.<\/character>\n    <dialogue>ANITA<\/dialogue>\n    <parenthetical>(to Gus)<\/parenthetical>\n    <character>YOU KNIT?<\/character>\n    <dialogue>JOSIE<\/dialogue>\n    <scene_description>So, this is my chance. A beat.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>I'm not holding your job for you, Geller.<\/dialogue>\n    <scene_description>Josie jumps up and down and hugs Gus, who is clearly uncomfortable.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Don't make me send you the memo on hugging in the workplace.<\/dialogue>\n    <scene_description>Josie smiles. Gus exits.<\/scene_description>\n    <character>ANITA<\/character>\n    <dialogue>I do believe in you, Jos. Anything you need, I'll help you out.<\/dialogue>\n    <scene_description>Josie sits, motions to the brown paper bag.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>You can start by handing me that bag.<\/dialogue>\n    <scene_description>Anita does. Josie sticks it over her face, flips her head between her knees and starts hyperventilating again. CLOSE UP on Rob, wearing his Tiki Post outfit. He shakes his head.<\/scene_description>\n    <character>ROB<\/character>\n    <dialogue>No. Uh, uh.<\/dialogue>\n    <scene_description>PULL OUT TO REVEAL HIM STANDING WITH JOSIE ON THE SIDEWALK IN FRONT OF -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TIKI POST - DAY<\/stage_direction>\n    <scene_description>Josie's shiny Buick is parked right behind Bambi at the curb.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>It's just for a couple of months.<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>You can't just \"borrow\" my car for a couple of months! That's like ten years in Bambi life!<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>I'll give you my Buick Le Sabre.<\/dialogue>\n    <scene_description>Rob rolls his eyes and enters the store.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>You can name it whatever you want.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TIKI POST - CONTINUOUS<\/stage_direction>\n    <scene_description>Josie follows Rob into the store. He turns.<\/scene_description>\n    <character>ROB<\/character>\n    <dialogue>Wow. This must be big.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>I got an assignment from the paper. I'm going undercover. Back to high school.<\/dialogue>\n    <scene_description>Rob starts laughing uncontrollably.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>What!?<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>Do you remember high school?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>It was a long time ago -<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>Don't you remember what they called you?<\/dialogue>\n    <scene_description>Slowly Josie's face falls. She looks very far away.<\/scene_description>\n    <character>ROB<\/character>\n    <dialogue>Josie -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A HIGH SCHOOL CAFETERIA - DAY (FLASHBACK)<\/stage_direction>\n    <scene_description>It's packed with kids. Everyone stares off-screen at chants -<\/scene_description>\n    <character>ALL<\/character>\n    <dialogue>Josie Grossie. Josie Grossie. Josie Grossie.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TIKI POST - SAME<\/stage_direction>\n    <scene_description>Josie looks stricken.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Josie Grossie.<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>I know. I came up with it.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You look nauseous.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Nauseated. I look nauseated. Oh God.<\/dialogue>\n    <scene_description>She puts her hand over her mouth, races for the bathroom.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TIKI POST BATHROOM - MINUTES LATER<\/stage_direction>\n    <scene_description>Josie has just gotten violently ill. She rises off her knees, grabs some toilet paper to wipe her mouth. She looks down at her feet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL CORRIDOR - DAY (FLASHBACK)<\/stage_direction>\n    <scene_description>We CLOSE UP on brown leather oxfords and widen to reveal TEENAGE JOSIE braces, heavy glasses, in all her nerdom, slowly walking down the corridor with a huge backpack on her back. A boy sneaks up behind her, holds open the top of her backpack while another boy pours a half drunk Sprite into her backback. Kids smile and snicker as Josie continues down the hallway. She spots, BILLY PRINCE, ultimate high school heartthrob, and approaches him nervously.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Hey, Billy Prince, I noticed you weren't in math today, and I have the notes in case you want -<\/dialogue>\n    <scene_description>Midway through Josie's speech, WE HEAR the odd sound of liquid hitting linoleum. Josie follow Billy's gaze down to between her feet where a pool of Sprite has gathered. Billy starts to laugh. Kids around him join in. As the laughter echoes around her we DISSOLVE BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TIKI POST BATHROOM - SAME (PRESENT DAY)<\/stage_direction>\n    <scene_description>Josie stares into the mirror. Staring back is teenage Josie.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>This is a very bad idea.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE MALL - TEEN CLOTHING STORE - DAY<\/stage_direction>\n    <scene_description>Anita and Josie cruise through a teen clothing store, carrying large bags from a stationery store. Josie picks up a platform sneaker and just stares at it.<\/scene_description>\n    <character>ANITA<\/character>\n    <dialogue>So, you were a geek. Big deal.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Anita, remember espadrilles?<\/dialogue>\n    <character>ANITA<\/character>\n    <dialogue>Please. That doesn't make you a nerd. Everyone wore those shoes.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>The girls threw them at me in the locker room.<\/dialogue>\n    <character>ANITA<\/character>\n    <dialogue>Okay. That's bad.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>At the end of the year, the person who got the most direct hits to my head got to toss me into the pool.<\/dialogue>\n    <character>ANITA<\/character>\n    <dialogue>Mama mia.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Just because you were a nerd once doesn't mean it's going to happen again. That's why you have me for fashion consultation.<\/dialogue>\n    <scene_description>Anita pulls a slip skirt off a rack and holds it up.<\/scene_description>\n    <character>ANITA<\/character>\n    <dialogue>Now this is cute.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>That is lingerie.<\/dialogue>\n    <character>ANITA<\/character>\n    <dialogue>So I was thinking about what you were saying - y'know, about really being kissed? I think Roger could be the one.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>What'd you feel when you kissed him?<\/dialogue>\n    <character>ANITA<\/character>\n    <dialogue>Bridgework?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Very romantic.<\/dialogue>\n    <scene_description>Josie pulls out a plain button-down cardigan.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>How about this?<\/dialogue>\n    <character>ANITA<\/character>\n    <dialogue>I am not letting you out of the house in that, young lady.<\/dialogue>\n    <scene_description>Anita grabs an awful white marabou jacket and matching earrings and holds them up.<\/scene_description>\n    <character>ANITA<\/character>\n    <dialogue>Cuuuute!<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>'Nita, this is about reporting, not accessorizing.<\/dialogue>\n    <character>ANITA<\/character>\n    <dialogue>And we're going to have to do something about your hair.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Anita!<\/dialogue>\n    <character>ANITA<\/character>\n    <dialogue>Jos, please try and have some fun here, okay? How many of us get to go back to high school? You're gonna have a blast!<\/dialogue>\n    <scene_description>SMASH CUT TO: CLOSE UP - AN ALARM CLOCK on a bedside table. Surrounded by make-up, boxes of hair color, a stack of index cards, ripped magazine pages of teen looks, issues of Teen Beat and YM. The clock slips to 7:00. NPR starts playing. A hand reaches over, hits the radio off. SOUND EFFECTS: A school bell. As the bell continues to ring, we WIDEN TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOSIE'S BEDROOM - MORNING<\/stage_direction>\n    <scene_description>Josie sits up in bed, covers pulled up to her chin in terror.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A CHICAGO STREET - MORNING<\/stage_direction>\n    <scene_description>MUSIC UP: \"Morning Train\". Crowds of commuters stream down the sidewalk and onto the stairs leading up to the El. A big yellow car jerks into frame, backfires noisily. It's Josie at the wheel of Bambi. She jerks out of frame.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOUTH GLEN SOUTH HIGH SCHOOL - MORNING<\/stage_direction>\n    <scene_description>A suburban campus anchored by a main building. Cars pull into the parking lot for the beginning of the day. Kids greet each other, converge on the front doors of the school. General mayhem. Bambi pulls in. She jerks into a spot, backfiring once more for effect. The entire scene stops. Kids freeze, look at Josie. A beat, and they they continue on their way.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAMBI - CONTINUOUS<\/stage_direction>\n    <scene_description>Josie takes a few deep breaths.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Okay, I can do this. Piece of cake.<\/dialogue>\n    <scene_description>I can do this.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - CONTINUOUS<\/stage_direction>\n    <scene_description>Josie steps out of the car wearing the marabou jacket, earrings, and white jeans. She shuts the door behind her, starts walking. She has unknowingly shut her jacket in the door and as she walks, a piece of marabou rips, trailing behind her like a tail.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Yeah, okay. Feeling good...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL LOBBY - SAME<\/stage_direction>\n    <scene_description>Josie merges with the throngs of kids and is literally pushed into the lobby. She stares around, overwhelmed. \"Go Rams!\" banners share space with signs that read: \"63 DAYS TIL PROM!\" She inches her way along the wall until she is stopped by a guard who grabs her arm.<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>Hey--where are you going?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Oh, I'm a student. Most definitely a student. In high school. Here. I am going to class. With my fellow students.<\/dialogue>\n    <parenthetical>(greeting random kids)<\/parenthetical>\n    <dialogue>Hi. Hi, there.<\/dialogue>\n    <scene_description>The guard stares at her a beat and then motions behind them, to three huge metal detectors that the kids are filtering through. Josie smiles, \"whoops,\" walks back.<\/scene_description>\n    <character>GUARD<\/character>\n    <parenthetical>(under his breath)<\/parenthetical>\n    <dialogue>Freak.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCHOOL LOBBY - MINUTES LATER<\/stage_direction>\n    <scene_description>Josie's stuff lays out on the post-detector table - cell phone, laptop, mini tape recorder, electronic organizer, pager, being scrutinized by the guard. Josie's sure she's been found out. CAMERA WIDENS. Down from Josie, WE SEE other kids' belongings spread out. They have the identical high- tech equipment. The guard picks up Josie's nail file, examines it -<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>Weapon.<\/dialogue>\n    <scene_description>And throws it in the trash.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL HALLWAY - MORNING<\/stage_direction>\n    <scene_description>Josie stares at her class card and eyes the classrooms, totally lost. She approaches a boy in a flannel shirt and loose jeans.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Hi--um, I'm looking for Room 204, Ms. Knox?<\/dialogue>\n    <scene_description>As soon as the boy starts to talk, we notice something in his mouth - a tongue pierce. Josie does too. We ZOOM IN on that shiny little metal ball. Josie is fixated. So fixated that we stop hearing the boy's voice. All WE SEE is the mouth - and that ball - moving. The mouth closes. He's done. Josie's face is contorted in imagined pain.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Ow.<\/dialogue>\n    <parenthetical>(catching herself)<\/parenthetical>\n    <dialogue>I mean, wow. Wow. Great directions. Clear. Concise.<\/dialogue>\n    <scene_description>And Josie takes off, totally embarrassed.<\/scene_description>\n    <character>BOY<\/character>\n    <parenthetical>(under his breath)<\/parenthetical>\n    <dialogue>Freak.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL HALLWAY - MORNING<\/stage_direction>\n    <scene_description>Josie walks up to Room 204. Opening the door, she's met by a sea of faces. MS. KNOX, mid-forties, distracted but bubbly, sits in the front of the class.<\/scene_description>\n    <character>MS. KNOX<\/character>\n    <dialogue>Hi - hello. Wilkommen. Entre.<\/dialogue>\n    <scene_description>Josie walks in. Kids whisper and snicker.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Sorry I'm late.<\/dialogue>\n    <character>MS. KNOX<\/character>\n    <dialogue>Yes, well, I'm sorry I forgot to take my hot flash medication this morning. Josie, right? Please sit. Mi casa es su casa.<\/dialogue>\n    <scene_description>Josie makes her way to the desk, trailing marabou. The class titters. She sits in front of two girls, KIRSTEN and KRISTEN, beautiful and intimidating.<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>That is so sad --<\/dialogue>\n    <character>KRISTEN<\/character>\n    <dialogue>I know, like five chickens had to die just so she could look that stupid.<\/dialogue>\n    <character>MS. KNOX<\/character>\n    <dialogue>Josie, in my classroom, tardiness is unacceptable --<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>I'm really sorry --Ms. Knox pulls a ridiculously huge sombrero out from under her desk. The class laughs in recognition.<\/dialogue>\n    <character>MS. KNOX<\/character>\n    <dialogue>Not as sorry as I am.<\/dialogue>\n    <scene_description>Ms. Knox puts the sombrero on a less-than-thrilled Josie.<\/scene_description>\n    <character>MS. KNOX<\/character>\n    <dialogue>Ole! Ten minutes in this hat, you'll never be late again. So, let's hear something about you. Stand up. Stand up.<\/dialogue>\n    <scene_description>Josie does. The sombrero drops over her eyes. She adjusts it so she can read her notecards. CLOSE UP on the notecard --it's filled with precise script under a heading: MY PAST. She scans it, then flips the cards face-down on the desk. Confidently she begins --<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>My name is Josie. I'm a high school student. I came from --<\/dialogue>\n    <scene_description>Just then the classroom door opens. WE SEE from Josie's perspective a blinding light, Josie squints. From the light emerges a shadowy vision of Billy Prince.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Billy?<\/dialogue>\n    <scene_description>Josie blinks, REVEAL not Billy, but a beautiful guy, Guy. He stands very close to her.<\/scene_description>\n    <character>JOSIE<\/character>\n    <parenthetical>(catching herself)<\/parenthetical>\n    <character>BALI.<\/character>\n    <parenthetical>(another beat)<\/parenthetical>\n    <dialogue>I'm from Billy-Bali. It's a suburb of Bali proper.<\/dialogue>\n    <scene_description>Guy pushes past her, tosses a wooden hall pass to Ms. Knox, and moves to his seat.<\/scene_description>\n    <character>MS. KNOX<\/character>\n    <dialogue>Bali. Fascinating! What did your family do there?<\/dialogue>\n    <scene_description>Josie looks around in panic, sees a student in a South Glen South windbreaker with huge ram on the back.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>We were--sheep--farmers. We raised sheep. In Billy-Bali.<\/dialogue>\n    <scene_description>Josie realizes the trouble she's gotten herself into.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Oh my God.<\/dialogue>\n    <parenthetical>(caught)<\/parenthetical>\n    <dialogue>Oh my God--do I miss Billy-Bali.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>It had--a really great...aquarium.<\/dialogue>\n    <scene_description>She sits. Defeated.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL HALLWAY - LATER<\/stage_direction>\n    <scene_description>Josie rushes down the hall, still toting her enormous bag. A huge banner - SOUTH GLEN, OUR NATION'S BEST PROM - hangs prominently. She talks covertly into a hand-held tape recorder.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Note to self--Research Bali. Kill Anita for picking out this outfit.<\/dialogue>\n    <scene_description>Find and destroy sombrero.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLASSROOM - SAME<\/stage_direction>\n    <scene_description>Josie and her enormous book bag enter. She takes a seat toward the back of the room. Kristen, Kirsten and GIBBY, another beauty, enter and head to the back of the room. Kirsten and Gibby stand over Josie, staring at her.<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>We sit here.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Oh. Sorry--I didn't know these were assigned.<\/dialogue>\n    <character>GIBBY<\/character>\n    <dialogue>They're not.<\/dialogue>\n    <scene_description>Josie quickly gathers her things and moves one row forward, next to two empty seats. TWO STONERS shuffle over to Josie.<\/scene_description>\n    <character>STONER 1<\/character>\n    <dialogue>Sorry. We sit here.<\/dialogue>\n    <character>JOSIE<\/character>\n    <parenthetical>(indicating two empty seats)<\/parenthetical>\n    <dialogue>Couldn't you two--sit there?<\/dialogue>\n    <character>STONER 2<\/character>\n    <dialogue>Right. Except there are three of us--<\/dialogue>\n    <scene_description>The Stoners eye each other, then the two seats. A look of horror comes over Stoner 1.<\/scene_description>\n    <character>STONER 1<\/character>\n    <dialogue>Dude--we left Jed at the 7-11!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Again!<\/dialogue>\n    <scene_description>Josie picks up her stuff, moves to the last empty seat in the room-in the front row, surrounded by \"nerds\" who all wear orange Denominator sweatshirts. Sitting next to Josie is ALDYS, a Denominator--intense, wise, with a whole bunch of math medals on her sweatshirt. She smiles at Josie. Josie smiles back and looks up as MR. COULSON enters the room. He's a ruggedly handsome twenty-something Yale grad. He grabs a notebook out of his bag, goes around to sit on the front of his desk, sipping coffee from a Styrofoam cup.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Hi, everyone.<\/dialogue>\n    <parenthetical>(Spots Josie)<\/parenthetical>\n    <dialogue>I don t think we've met. I'm Sam Coulson- although for some reason the school has this thing about not letting you guys call me Sam.<\/dialogue>\n    <character>JOSIE<\/character>\n    <parenthetical>(shyly)<\/parenthetical>\n    <dialogue>I'm Josie. Geller. I think the school would probably be pretty comfortable with you calling, me that. Josie.<\/dialogue>\n    <scene_description>Sam smiles.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Josie since you're new--I love to drink my coffee during class, and since I allow myself to do this, I allow everyone to bring beverages to class as well.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>Welcome to Shakespeare's \"As You Like It.\"<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Okay. How many of you actually read the assignment last night?<\/dialogue>\n    <scene_description>About five hands go up.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Not bad. Now how many of you spent more than thirty minutes eating salty snack foods?<\/dialogue>\n    <scene_description>Twenty hands. Sam laughs.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Man. If I could just get you guys to read while you eat.<\/dialogue>\n    <scene_description>Sam opens his book. Aldys notices Josie has no book. She moves next to her.<\/scene_description>\n    <character>ALDYS<\/character>\n    <dialogue>Here. We can share.<\/dialogue>\n    <scene_description>They share a smile.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>'As You Like It\" is an example of a Shakespearean--<\/dialogue>\n    <scene_description>Sam turns to the blackboard and starts writing. We CU on his butt, hardly discernible in his loose 501 jeans, all the girls swoon.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Pastoral Comedy. Anyone know what that means?<\/dialogue>\n    <scene_description>An enthusiastic, if slightly dim girl, SERA, waves her hand.<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Oh oh oh! That's what they do to milk!<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>That's pasteurize, Sera. But close. Same letter--<\/dialogue>\n    <parenthetical>(tapping three fingers on his arm a la charades)<\/parenthetical>\n    <dialogue>--three syllables--<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Parakeet?!<\/dialogue>\n    <character>ALDYS:<\/character>\n    <parenthetical>(sotto to Josie)<\/parenthetical>\n    <dialogue>There's a minute of my life I'll never get back.<\/dialogue>\n    <scene_description>Josie smiles at this.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Okay, anyone else---<\/dialogue>\n    <scene_description>Josie can't contain herself.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Pastoral means set in the country. Originally seen in the Eclogues of Virgil. It's from the Latin pascere. To graze.<\/dialogue>\n    <scene_description>Student bleets like a sheep O.S. Sam just stares at her, smiling. Finally, he walks over and shakes her hand.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Did I mention to the class that I love our new student?<\/dialogue>\n    <scene_description>Josie beams.<\/scene_description>\n    <character>GIBBY<\/character>\n    <dialogue>Did I mention that the class also loves our new kiss ass?<\/dialogue>\n    <scene_description>Josie's smile quickly fades.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Gibby, that's not exactly the kind of participation I'm looking for.<\/dialogue>\n    <scene_description>Gibby looks right at Josie.<\/scene_description>\n    <character>GIBBY<\/character>\n    <parenthetical>(totally insincere)<\/parenthetical>\n    <dialogue>Ooops. Sorry.<\/dialogue>\n    <scene_description>Josie just sits there, face burning.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL HALLWAY - LATER<\/stage_direction>\n    <scene_description>Josie approaches her locker. She can't get to it because a COUPLE is busy making out against it. A GIRL'S VOICE comes over the loudspeaker. She's completely ignored.<\/scene_description>\n    <character>GIRL'S VOICE<\/character>\n    <dialogue>Hi. This is Sydney, Student Body President! Okay, first. Bad news- The' district didn't allocate enough funds, so as of this afternoon, there will be no music department. Now, about Prom--<\/dialogue>\n    <scene_description>The entire hallway FREEZES. The couple breaks their clinch and looks up. SILENCE. Josie is amazed.<\/scene_description>\n    <character>SYDNEY'S VOICE<\/character>\n    <dialogue>Voting on Prom theme has been completed. And the theme is--<\/dialogue>\n    <scene_description>CU on expectant FACES.<\/scene_description>\n    <character>SYDNEY'S VOICE<\/character>\n    <dialogue>The Millennium!<\/dialogue>\n    <scene_description>PANDEMONIUM. Kids cheer, gasp. One GIRL faints. The crowd surges again. Josie, caught in the flow, doesn't notice a locker door flinging open. She smashes her face right into it. Everyone, including Guy, turns and laughs. Even some Denominators. CUT TO: CU: A CAFETERIA TRAY Moves down the food line. It's piled with unidentifiable foods and three glasses of fluorescent red punch. Hands pull the tray out of the frame. INTO FRAME comes another tray, this one bearing a perfectly arranged place setting with three celery sticks on a plate. WIDEN TO REVEAL:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFETERIA - DAY<\/stage_direction>\n    <scene_description>Josie, pulling the perfect tray down the cafeteria line. She reaches some awful-looking Cole slaw in a big vat. A CAFETERIA GUY in a plastic cap hovers above it.<\/scene_description>\n    <character>JOSIE<\/character>\n    <parenthetical>(to cafeteria guy)<\/parenthetical>\n    <dialogue>Excuse me. What's in the Cole slaw?<\/dialogue>\n    <scene_description>The cafeteria guy hauls an industrial-size plastic tub onto the, counter and turns it-so Josie can read the label: \"KOLE SLAW FOOD.\" Josie wrinkles her nose. She moves on to the cash register.<\/scene_description>\n    <character>CASHIER<\/character>\n    <dialogue>That'll be twelve ninety-five.<\/dialogue>\n    <character>JOSIE<\/character>\n    <parenthetical>(stunned)<\/parenthetical>\n    <dialogue>Oh my gosh. Wow. That's... pricey.<\/dialogue>\n    <character>CASHIER<\/character>\n    <dialogue>That's real meat in the ham sandwich.<\/dialogue>\n    <scene_description>Josie turns to a GIRL in line behind her.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Boy--that's a lot of bread for that bread!<\/dialogue>\n    <scene_description>The Girl rolls her eyes, reaches past Josie to grab a mustard bottle. Josie turns with her tray toward the room. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFETERIA - DAY (FLASHBACK)<\/stage_direction>\n    <scene_description>4 KIDS stare at CAMERA and chant:<\/scene_description>\n    <character>ALL<\/character>\n    <dialogue>Josie Grossie--Josie Grossie--Josie Grossie.<\/dialogue>\n    <scene_description>ANGLE BACK ON JOSIE. She's seventeen. Standing with her tray, paralyzed. The CAMERA SPINS, showing us her back. There, tattooed in squeeze-bottle mustard, is \"GROSSIE.\" A boy stands behind her victoriously holding the mustard bottle. CUT BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFETERIA - SAME (PRESENT DAY)<\/stage_direction>\n    <scene_description>Josie shakes off the vision and stares out at the crowded cafeteria. She sees Kirsten, Kristen and Gibby, steels herself, and decides to approach. Kirsten is eating a bran muffin.<\/scene_description>\n    <character>KRISTEN<\/character>\n    <dialogue>Kirsten, that bran muffin has like 75 fat grams.<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>Nah uh.<\/dialogue>\n    <character>GIBBY<\/character>\n    <dialogue>Yeah, I read this thing that one bran muffin can be like two bran muffins sometimes.<\/dialogue>\n    <scene_description>Kirsten pushes the muffin away.<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>God. Food is so confusing.<\/dialogue>\n    <character>JOSIE<\/character>\n    <parenthetical>(to Kirsten)<\/parenthetical>\n    <dialogue>Hi Kristen.<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>It's Kirsten.<\/dialogue>\n    <scene_description>Josie plops herself down with these girls, and takes a spiral pad out of her big knapsack. In the process, she manages to spill her chocolate milk all over her white jeans.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>That'll teach me to wear white after Labor Day.<\/dialogue>\n    <character>GIBBY<\/character>\n    <dialogue>Umm- I don't think you're supposed to wear white jeans after 1983.<\/dialogue>\n    <scene_description>They all laugh. Josie fakes a laugh, too.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Right, right.<\/dialogue>\n    <scene_description>Josie picks up her notepad and her pen.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>So - tell me about yourselves.<\/dialogue>\n    <scene_description>They all just stare at Josie in disgust. Guy approaches their table.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>I'm Guy.<\/dialogue>\n    <scene_description>Guy looks at Josie. He's beautiful. She's flustered.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Yes you are. A guy. Guy. Quite a guy. Oh my. Look at that--I rhymed.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Yikes.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Bikes!<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>(very serious)<\/parenthetical>\n    <dialogue>Are you in special ed?<\/dialogue>\n    <scene_description>Josie stands up, grabs her bag and her chocolate milk -<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Bye. Guy. Others.<\/dialogue>\n    <scene_description>She leaves the Cafeteria, passing a-couple of Denominators.<\/scene_description>\n    <character>JOSIE<\/character>\n    <parenthetical>(to herself)<\/parenthetical>\n    <dialogue>Aaaah! How old am I?<\/dialogue>\n    <character>DENOMINATOR #1<\/character>\n    <dialogue>Approximately six thousand three hundred and fifty days old-subject to adjustment for month of birth.<\/dialogue>\n    <scene_description>This is very funny Denominator humor- to the Denominators. Josie leaves the Cafeteria.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL GROUNDS - CONTINUOUS<\/stage_direction>\n    <scene_description>Josie runs out an exit door and right into a SECURITY GUARD<\/scene_description>\n    <character>GUARD<\/character>\n    <dialogue>You got a pass?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GYM - LATER<\/stage_direction>\n    <scene_description>A banner above reads \"PRESIDENTIAL FITNESS TESTING THIS WEEK.\" FIFTEEN SENIOR GIRLS, including Josie, in matching green and yellow polyester gym clothes do sprints up and-down the basketball court. Josie looks like she's about to die. Ms. Brown yells as she passes.<\/scene_description>\n    <character>MS. BROWN<\/character>\n    <dialogue>Move it Geller! Move it! Move it!<\/dialogue>\n    <scene_description>Josie stops, grabs the woman by the shoulders.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Must--have--water--<\/dialogue>\n    <character>MS. BROWN<\/character>\n    <dialogue>What do I look like, your waitress? Now you're gonna complete these sprints, cause if you don't you fail. And if you fail gym, you're NEVER GETTING INTO COLLEGE!<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Oh--my--God--you guys are-still telling that lie--?<\/dialogue>\n    <character>MS. BROWN<\/character>\n    <dialogue>That's it Geller--drop and give me twenty!<\/dialogue>\n    <scene_description>Josie drops to the gym floor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL HALLWAY - LATER<\/stage_direction>\n    <scene_description>It's - finally- the end of the day. Josie makes her way down the hall, clutching her pad of paper, getting pushed and shoved by kids as they storm outside. A huge banner hangs overhead reading: \"SIGN UP FOR SENIOR NIGHT!\" She tries to smile at some kids, but they all ignore her. She makes it to the main entrance to the school, where we see, as she shoves her pad of paper into her bag, it is completely blank.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - SAME<\/stage_direction>\n    <scene_description>Kids fill the parking lot. Josie walks, talking on her cell phone.<\/scene_description>\n    <character>JOSIE<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Rhoda, make sure Gus gets-the whole message, okay? Yeah--bye--<\/dialogue>\n    <scene_description>Josie arrives where she parked Bambi. The space is empty. She still holds the phone to her ear--<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Wait a second--<\/dialogue>\n    <character>JOSIE<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>No, not you--bye--<\/dialogue>\n    <scene_description>Josie shuts the phone, looks around...retraces her steps ... Bambi is gone. Josie walks around the lot, getting visibly upset. In the corner of the lot, WE SEE a group of Denominators removing a BIG METAL CHAIN from around a group of tightly packed cars.<\/scene_description>\n    <character>ALDYS (O.S.)<\/character>\n    <dialogue>They do it to all the new kids.<\/dialogue>\n    <scene_description>Josie finds Aldys standing next to her.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Who's of they?<\/dialogue>\n    <scene_description>Aldys motions up to a second floor window. Guy and his Group look down on them, laughing.<\/scene_description>\n    <character>ALDYS<\/character>\n    <dialogue>Guy Perkins and his amazing Lemmings. They push your car out of its space, hide it, then watch while you look for it. We've taken to chaining ours together for safety. I'm Aldys.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>I'm Josie. Aldys is an interesting name.<\/dialogue>\n    <character>ALDYS<\/character>\n    <dialogue>When it's not yours. My mom was going through her Harlequin Romance phase.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Try being named after a guitar-playing pussycat.<\/dialogue>\n    <scene_description>Aldys doesn't get it.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Never mind.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>That is so awful that they hide your cars.<\/dialogue>\n    <character>ALDYS<\/character>\n    <dialogue>Guess.<\/dialogue>\n    <character>ALDYS<\/character>\n    <dialogue>Although, what is truly awful is that with the combined intellectual effort of every kid in that room right now-<\/dialogue>\n    <scene_description>She points up to the biology room-<\/scene_description>\n    <character>ALDYS<\/character>\n    <dialogue>They still would not know the difference between a synecdoche and a hyperbole.<\/dialogue>\n    <scene_description>Josie laughs.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>I know. It's pathetic.<\/dialogue>\n    <scene_description>Aldys stares Josie down.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ALDYS<\/character>\n    <dialogue>Well, do you?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Synecdoche uses a part to represent a whole- as in \"head of cattle\", whereas a hyperbole is simple exaggeration like \"I could eat a horse.\"<\/dialogue>\n    <character>ALDYS<\/character>\n    <dialogue>Nice.<\/dialogue>\n    <scene_description>They stop and look around.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>How long will they watch us for?<\/dialogue>\n    <character>ALDYS<\/character>\n    <dialogue>Until Guy tells them to go. Once they watched me for like two hours. I found my car the next day in the T.J. Maxx parking lot.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Why do they listen to Guy?<\/dialogue>\n    <character>ALDYS:<\/character>\n    <parenthetical>(duh)<\/parenthetical>\n    <dialogue>Because he's Guy Perkins.<\/dialogue>\n    <character>ALDYS:<\/character>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Listen, you want to walk to Na-Na's and get something to eat?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Yeah. Let's do that.<\/dialogue>\n    <scene_description>They start to walk out of the parking lot. Josie is visibly thrilled - having finally found a friend.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NA-NA'S - LATER<\/stage_direction>\n    <scene_description>Josie and Aldys share a huge plate of chili fries.<\/scene_description>\n    <character>ALDYS<\/character>\n    <dialogue>Yeah - isn't it amazing that those guys are our same age? I mean, they just seem so much younger, you know.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Oh I know.<\/dialogue>\n    <scene_description>A WAITER delivers two huge chocolate shakes.<\/scene_description>\n    <character>ALDYS<\/character>\n    <dialogue>I'm going to be so happy to get to college. I hear at Northwestern they don't make fun of you for knowing the element table.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Hey--I went to Northwestern!<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>Once. To use the bathroom.<\/dialogue>\n    <scene_description>OUT THE WINDOW, Josie sees her Buick with Rob at the wheel stopped at a red light. Detailed on to the side in big white script is: \"THE TIKI POST\". Josie's eyes widen. The light changes. Rob pulls away.<\/scene_description>\n    <character>JOSIE<\/character>\n    <parenthetical>(So angry)<\/parenthetical>\n    <dialogue>Oh. My. God.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>You'll really like Northwestern.<\/dialogue>\n    <scene_description>They both slurp down their shakes.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>So what are your hopes, your dreams, what do you want to be?<\/dialogue>\n    <character>ALDYS<\/character>\n    <dialogue>Professor of medieval literature. Novelist. Weekend flautist.<\/dialogue>\n    <scene_description>Aldys takes another slurp of her shake. WE HEAR a muffled cell phone RINGING.<\/scene_description>\n    <character>ALDYS<\/character>\n    <dialogue>I think your knapsack is ringing.<\/dialogue>\n    <scene_description>Josie takes the cell phone out of her knapsack and answers it.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>WE INTERCUT WITH:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUS'S OFFICE - SAME<\/stage_direction>\n    <scene_description>Gus speaks into his phone, knitting frantically.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Geller, I got your message. What the hell kind of story are you pitching?!<\/dialogue>\n    <scene_description>Josie smiles awkwardly at Aldys, covering the phone.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>It's my dad. He worries.<\/dialogue>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Hi, Dad. I miss you too.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>You're a sick puppy, Geller.<\/dialogue>\n    <scene_description>Josie indicates to Aldys she'll be right back and walks to the back of the restaurant by the pay phones.<\/scene_description>\n    <character>JOSIE<\/character>\n    <parenthetical>(into the phone)<\/parenthetical>\n    <dialogue>It's an expose on cafeteria food.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>And you're leading with the terrible truth about cole slaw?!<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Well, the bulk of it will be about the pimento loaf--<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>Geller...you wanna be a reporter? Take a look at what sells!<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>Sex scandals. Bribery. People jumping off buildings. So unless a kid just killed himself because he was being paid to have sex with the school mascot in a big vat of this cole slaw, you got nothing!<\/dialogue>\n    <scene_description>Gus slams down his phone.<\/scene_description>\n    <character>JOSIE<\/character>\n    <parenthetical>(into a dead phone)<\/parenthetical>\n    <dialogue>You didn't taste the pimento loaf.<\/dialogue>\n    <scene_description>She looks back to the table where Aldys is dividing the check.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRACK - HIGH SCHOOL - DUSK<\/stage_direction>\n    <scene_description>In the middle of the track is Josie's car. The MARCHING BAND clumsily practices their formations around it. Josie and Aldys arrive at the car and Aldys pops the hood.<\/scene_description>\n    <character>ALDYS<\/character>\n    <dialogue>They love to disconnect the battery, too.<\/dialogue>\n    <scene_description>She looks under the hood, reconnects the battery. Slams the hood down.<\/scene_description>\n    <character>ALDYS<\/character>\n    <dialogue>Just so you know, I think they recalled these cars in 1974.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>ALDYS<\/character>\n    <dialogue>Sure. No problem.<\/dialogue>\n    <scene_description>Aldys heads to the lot for her car, and then turns around.<\/scene_description>\n    <character>ALDYS<\/character>\n    <dialogue>Hey, Josie, how are you at Calculus?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Pretty good.<\/dialogue>\n    <character>ALDYS<\/character>\n    <dialogue>How would you like to join The Denominators? The Math Team could really use a new brain. We lost our best logarithm guy last year.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>College?<\/dialogue>\n    <scene_description>NASA.: (beat) Plus we have these really fun pizza study groups, and we go to-these all county meets. And, I mean, not that you need it, and without sounding too much like the Godfather, I think we could offer you a certain amount of protection\", if you know what I mean. We all kind of stick together and watch out for each other. Josie smiles. MUSIC UP: SCHOOL HOUSE ROCK'S \"Magic Three\" AS WE BEGIN MONTAGE:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL HALLWAY - DAY<\/stage_direction>\n    <scene_description>Josie and Denominators walk down the hallway in unison, past Guy's Group, open their lockers in order a la \"RESERVOIR DOGS\", take out paper, pencils, calculators.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. - HIGH SCHOOL HALLWAY - DAY<\/stage_direction>\n    <scene_description>Josie and Aldys, both wearing big orange Denominator sweatshirts, are behind a table manning a bake sale. A banner behind them says: n = 3.14578697786978 Pie = $.75 No one is stopping to buy anything. Josie points to the left, Aldys looks, and Josie stuffs a whole brownie in her mouth. They laugh uncontrollably as Josie starts to choke and cough up most of the brownie. We PAN DOWN a row of nervous looking Denominator faces as they watch Josie, sitting head to head against a DIGIT, an opposing Math-a-lon competitor. They both work furiously on a problem. A judge sits between them. A makeshift scoreboard hanging off the desk shows the score is tied. Josie bangs the bell on the desk and hands the judge her card. He looks it over, and gives her team five points. They win. The Denominators erupt into cheers. They're jumping all over Josie, going crazy. As we go wider we see the gym is entirely empty, except for a handful of Denominators going crazy on one side, and a janitor sweeping up on the other.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MALL BOOK STORE - DAY<\/stage_direction>\n    <scene_description>Smiling at each other, Josie and Aldys clutch books excitedly and stand in line. WE WIDEN to reveal they're in line with NERDY ADULTS also clutching their books. At the head of the line is a blow-up poster for The New Elements Of Grammar. An OLD MAN signs books for his fans.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOSIE'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>It's late. Josie is typing on her laptop, referencing notes from her notebook. Schoolbooks and homework are spread around her. END MONTAGE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLASSROOM - DAY<\/stage_direction>\n    <scene_description>Sam is perched on the desk. The usual players in their usual seats. Aldys is standing and reading from her book.<\/scene_description>\n    <character>ALDYS:<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>\"All the world's a stage and all the men and women merely players.\"<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Anyone have any idea what Shakespeare meant by that?<\/dialogue>\n    <scene_description>No one answers.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Anyone? Sera ... Megan ... exchange student who doesn't speak English?<\/dialogue>\n    <scene_description>We CU on the students, ending on an Asian boy who smiles wildly at Sam and waves. Sam smiles, and waves back.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>It's about disguise, playing a part. It's the theme of \"As You Like It.\" Can anyone tell me where we see that?<\/dialogue>\n    <character>ALDYS<\/character>\n    <dialogue>Well, Rosalind disguises herself as a man and escapes into the forest.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Right. And it's when she's in costume that she can finally express her love for Orlando. See, Shakespeare's making the point here that when we're disguised, we feel freer.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>We can do things we wouldn't do in ordinary life.<\/dialogue>\n    <scene_description>CU on Josie's face. She's clearly uncomfortable. Sam walks up to a huge football player, BRETT.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Brett when you go out on the football field in your uniform, what happens?<\/dialogue>\n    <character>BRETT<\/character>\n    <dialogue>We win?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You hit people. You yell. You touch other guys' butts.<\/dialogue>\n    <scene_description>The class giggles. Brett looks horrified.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>But it's okay, because you're in uniform. Disguise changes the rules<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I had these Spiderman pyjamas. I thought when I wore them, that I had super powers. One night I tried to walk up the side of the garage.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Did you make it?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>To the Emergency Room. Yeah.<\/dialogue>\n    <scene_description>Josie smiles at this, a little smitten.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Josie, why don't you read from Act 5, Scene 2, Rosalind's speech--Josie stands up, starts reading--<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>\"No sooner had they met but they looked; no sooner looked but they loved; no sooner loved but they sighed...\"<\/dialogue>\n    <scene_description>JOSIE'S VOICE BEGINS TO FADE AWAY-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLASSROOM - DAY (FLASHEACK)<\/stage_direction>\n    <scene_description>ANGLE BACK to Josie, now seventeen and mortified, nervously standing in class and reading a poem. Billy Prince sits to the side--she glances at him throughout the poem, it's clearly about him.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Does he notice me? Does he hear my heart screaming his name-- sometimes it's so loud I think the Gods can hear my pain. His voice is so mellifluous, oh to get just one small kiss.<\/dialogue>\n    <scene_description>The CLASS laughs at her except for Billy, who smiles at her, looking slightly touched.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL LIBRARY - DAY (FLASHBACK)<\/stage_direction>\n    <scene_description>Seventeen-year-old Josie is surrounded by an elaborate, color- coded index card system for her research paper. Her friend, SHEILA, over-weight and pimply, comes running across the library at breakneck speed. She sits down next to Josie, visibly excited and pushes her index cards aside.<\/scene_description>\n    <character>SHEILA<\/character>\n    <dialogue>O.K., what have you wanted for like ever but you didn't think it would - ever happen?<\/dialogue>\n    <scene_description>Josie looks at her for a moment, mulling it over.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>That they'd start an Olympic team for grammar - like diagramming sentences and verb declensions and stuff. And I'm scouted for the team- just as an alternate, of course- because I'm so young. But then there's talk of me in the '96 games-<\/dialogue>\n    <character>SHEILA.<\/character>\n    <dialogue>No-, better. Something better.<\/dialogue>\n    <scene_description>Josie smiles.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>I'm the most popular girl in school, and Billy Prince is taking me to prom.<\/dialogue>\n    <scene_description>Josie laughs at the absurdity. She looks at Sheila. Sheila is dead serious.<\/scene_description>\n    <character>SHEILA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SHEILA<\/character>\n    <dialogue>Billy Prince is asking you to prom.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>SHEILA<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>JOSIE<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>The poem! I knew he liked the poem!<\/dialogue>\n    <parenthetical>(all sinking in)<\/parenthetical>\n    <dialogue>Billy Prince is asking me to the prom.<\/dialogue>\n    <character>SHEILA<\/character>\n    <dialogue>That's what I'm saying.<\/dialogue>\n    <scene_description>The two girls look at each other. Big smiles erupt into screams, as they jump up and down, hugging each other. SFX - The BELL RINGS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAM'S CLASSROOM (PRESENT)<\/stage_direction>\n    <character>SAME<\/character>\n    <dialogue>It's the end of class. Students pack their bags.<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>(calling out)<\/parenthetical>\n    <dialogue>O.K. - just a reminder. Your paper is due in one week.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL HALLWAY - SAME<\/stage_direction>\n    <scene_description>Aldys and Josie head out of class and down the hallway towards their lockers. Josie stops in front of hers where the Makeout Couple continues their clinch, blocking her locker. Josie pauses frustrated as Sydney's Voice comes over the loudspeaker.<\/scene_description>\n    <character>SYDNEY (O.S.)<\/character>\n    <dialogue>Hey guys! Bad news--Chem wing is closed. The Hazardous Materials Crew is on the way. Now, about prom.<\/dialogue>\n    <scene_description>The entire hallway STOPS to listen. The make-out Couple stop making out.<\/scene_description>\n    <character>SYDNEY (O.S.)<\/character>\n    <dialogue>Please join a committee--because we are going to KICK NORTHGLEN'S BUTT and make millennium the best prom EVER!<\/dialogue>\n    <scene_description>The hallway erupts in CHEERS. Josie makes a move to go for her locker. The Make-out Couple are faster. They're back in their clinch, blocking Josie again. CU ON GUY walking with his group.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Rufus! Prom is gonna be Rufus.<\/dialogue>\n    <character>KRISTEN<\/character>\n    <dialogue>Rufus?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Yeah. I made it up. Start using it.<\/dialogue>\n    <scene_description>ANGLE BACK ON JOSIE AND ALDYS.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>What is with this school and prom?<\/dialogue>\n    <character>ALDYS<\/character>\n    <dialogue>Southglen South competes every year for best prom, and usually they win. We Denominators don't even go to prom. -But to everyone else it's huge.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Aldys, don't miss your prom--it only happens once.<\/dialogue>\n    <character>ALDYS<\/character>\n    <dialogue>This one has been so hyped. We're tied for most wins with Northglen North. This year's winner will determine the winner of the century.<\/dialogue>\n    <scene_description>The theme is everything. So whatever Southglen picks has to be totally unique--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NORTHGLEN NORTH HIGH SCHOOL - DAY<\/stage_direction>\n    <scene_description>KIDS all stare at a loudspeaker.<\/scene_description>\n    <character>KID'S VOICE: (O.S.)<\/character>\n    <dialogue>And this year's prom theme is--the millennium!<\/dialogue>\n    <scene_description>The Northglen kids go crazy.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOUTHGLEN HIGH SCHOOL HALLWAY - SAME<\/stage_direction>\n    <scene_description>Josie reaches for her knapsack, and realizes she left it in English.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>I left my bag in English. I'll see you later.<\/dialogue>\n    <scene_description>Josie dashes down the hallway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLASSROOM - SAME<\/stage_direction>\n    <scene_description>Sam still sits at his desk. He reads a book. Josie enters.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Whoa. Deja Vu.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Sorry. Forgetful.<\/dialogue>\n    <scene_description>Josie picks up her book bag. She notices the book Sam's reading--<\/scene_description>\n    <character>JOSIE<\/character>\n    <parenthetical>(excited)<\/parenthetical>\n    <dialogue>Dorothy Parker--<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You like her?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>I love the way she writes.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Not the happiest of souls.<\/dialogue>\n    <parenthetical>(reading out of book)<\/parenthetical>\n    <dialogue>\"Art is a form of catharsis, and love is a permanent flop.\"<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>But I think she wanted to be happy, that's why she wrote. I mean, she was still writing about love, right?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>True. I guess she hadn't completely given up hope.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Are you sure you're seventeen?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Sure, why?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Because seventeen-year-olds do not like writers from the '30's. They don't even like people in their 30's.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Well, I'm definitely seventeen and<\/dialogue>\n    <parenthetical>(off clock)<\/parenthetical>\n    <dialogue>now definitely late--<\/dialogue>\n    <scene_description>And she smiles and runs out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALDYS' CAR - NIGHT<\/stage_direction>\n    <scene_description>Aldys drives, Josie has shotgun and TYKE, Aldys' nine-year- old sister, is in back. They all hold double-scooped cones and they all sing FREE TO BE YOU AND ME at full voice.<\/scene_description>\n    <character>TYKE<\/character>\n    <dialogue>See, aren't you guys glad you took a break from that Denominator stuff. I mean, you shouldn't be spending your Saturday night studying the whole time.<\/dialogue>\n    <character>ALDYS<\/character>\n    <dialogue>We should be spending it thinking of how we can better serve your baby- sitting needs?<\/dialogue>\n    <scene_description>They pull up at a red light, next to an abandoned drive-in. Josie peers in, and sees a BIG GROUP OF KIDS, standing around a bonfire drinking beers, talking, a few making out. She opens her window, sticks her head out, and tries to get a better look.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>ALDYS<\/character>\n    <dialogue>That's the old drive-in. They call it \"The Court\". Now it's just a continuous party for Guy's group.<\/dialogue>\n    <scene_description>ANGLE ON: Gibby and Kristen talking by a car.<\/scene_description>\n    <character>ALDYS<\/character>\n    <dialogue>Sometimes I wonder what they talk about.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Yeah, I know.<\/dialogue>\n    <character>ALDYS<\/character>\n    <dialogue>I mean, what if they just stupid to hide the fact that they're actually brainiacs with super powers and they're plotting to take over the world and make my life hell until I die?<\/dialogue>\n    <scene_description>ANGLE ON: THE COOL GIRLS.<\/scene_description>\n    <character>GIBBY<\/character>\n    <dialogue>No. It's lather, rinse, repeat.<\/dialogue>\n    <scene_description>ANGLE BACK ON: ALDYS AND JOSIE Suddenly, Guy pokes his head in, startling everyone.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Wow, if it isn't Alpo. Coming out to sniff some hydrants?<\/dialogue>\n    <scene_description>Josie is frozen, but not Aldys.<\/scene_description>\n    <character>ALDYS<\/character>\n    <dialogue>Oh, Guy, you on a little break from having an original thought? Ooops, I forgot, that's all the time.<\/dialogue>\n    <scene_description>Tyke gets it, and laughs. Guy doesn't get it at all.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>You guys aren't seriously trying to hang out at The Court?<\/dialogue>\n    <character>ALDYS<\/character>\n    <dialogue>Oooh, cheap wine coolers and a fire in a trashcan. Where do I sign up?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>And stay away from prom.<\/dialogue>\n    <character>ALDYS<\/character>\n    <dialogue>Last I checked--this was still a free country.<\/dialogue>\n    <character>TYKE<\/character>\n    <parenthetical>(singing)<\/parenthetical>\n    <dialogue>There's a land that I see, where the children are free-<\/dialogue>\n    <scene_description>Guy's right in Aldys' face, leaning over Josie. Aldys starts to drive away. Guy keeps his head in the window while he runs alongside the car.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Look, geek, why don't you just go home and play with your calculator. Figure out how many lifetimes it will take you to get cool.<\/dialogue>\n    <scene_description>Guy stops running, and the car continues down the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - CONTINUOUS<\/stage_direction>\n    <scene_description>Aldys seems a little shaken, Tyke continues singing.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Have you ever wanted to go to The Court?<\/dialogue>\n    <character>ALDYS<\/character>\n    <dialogue>Are you kidding, Josie? It's lame. All they do is stand around and get drunk. It's lame.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>It is?<\/dialogue>\n    <character>ALDYS<\/character>\n    <dialogue>Yes, it's lame.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Yeah, it sounds lame. Why would we want to go there, and stand around?<\/dialogue>\n    <character>ALDYS<\/character>\n    <dialogue>Exactly.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUS'S OFFICE - DAY<\/stage_direction>\n    <scene_description>CLOSE ON a newspaper headline: \"THE COURT - SITE FOR PARTIES, DRUGS AND WEEKEND ARRESTS\" - as Gus throws the newspaper down on his desk. Josie sits across the desk from him. She reads the headline, looking very surprised.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Josie, I am appalled.<\/dialogue>\n    <scene_description>Josie picks up the paper, and starts reading intently.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Jeez, so am I. I had no idea that these kids- let's see- turn to A14- She tries to turn to A14, but Gus grabs the paper out of her hands in a rage.<\/dialogue>\n    <character>GUS<\/character>\n    <parenthetical>(trying to keep his cool)<\/parenthetical>\n    <dialogue>No, I am appalled that I have a reporter in there, undercover, for almost three weeks now- I had to read about this in the Tribune.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Oh. Right.<\/dialogue>\n    <scene_description>Gus angrily tries to fold the paper back 'up. He's having a hard time. Josie tries to help, but he yanks it away. Gus reads aloud from the newspaper.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Responding officers found minors, marijuana, and cheap wine coolers when they responded to a call to break up a party at what Southglen High Schoolers have come to call \"The Court.\" Seventeen-year-old Kristen Rey says, \"Yeah, everyone who's anyone is at The Court on Saturday night.\"<\/dialogue>\n    <character>JOSIE<\/character>\n    <parenthetical>(disbelieving)<\/parenthetical>\n    <dialogue>Kristen got a quote?<\/dialogue>\n    <scene_description>Gus looks up at Josie.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Yes, urm, she's right. I have learned it is a very popular place for the young people to go.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>Have you been there?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Uhh, no.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>Have you been to any parties?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Well, how would you define to parties\"? Because we ordered a deli platter at this one Denominator drill session--Gus looks like he may combust. He opens the newspaper, finds what he's looking for, and shoves it in Josie's face.<\/dialogue>\n    <scene_description>It is a picture of all of the popular kids at Southglen- Kristen, Kirsten, Gibby, Guy- they are all posing for the picture at The Court, smiling and holding beers.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>This is where the stories are. You are going to become friends with these people. You are going to party with them. You are going to hang out with them on weekends. When they go to prom, you are going to be in their same damn limo!<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Gus I, the popular kids and I, we just don't- I mean, I don't think I can do this.<\/dialogue>\n    <scene_description>He points to the picture in the paper of the Popular Kids.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Do you even know these kids?<\/dialogue>\n    <character>JOSIE<\/character>\n    <parenthetical>(trying)<\/parenthetical>\n    <dialogue>They hid my car--<\/dialogue>\n    <scene_description>Gus leans in very close.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Get to know them. Very well. Your job and my job depends on it.<\/dialogue>\n    <character>JOSIE<\/character>\n    <parenthetical>(very small)<\/parenthetical>\n    <dialogue>Depend on it. No s. Your subject is plural.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>OUT!<\/dialogue>\n    <scene_description>Josie grabs her knapsack and does.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANITA'S CUBICLE - CONTINUOUS<\/stage_direction>\n    <scene_description>Josie runs through the bullpen, past Anita's cubicle. ROGER from op\/ed enters. He and Anita smile flirtatiously.<\/scene_description>\n    <character>ANITA<\/character>\n    <dialogue>Hi Roger from op\/ed--<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>Hi Anita from classifieds. We still on for tonight?<\/dialogue>\n    <character>ANITA<\/character>\n    <dialogue>Of course--<\/dialogue>\n    <scene_description>And he leans in and kisses her. She pulls away, confused. A beat. Anita kisses him again. Nothing.<\/scene_description>\n    <character>ANITA<\/character>\n    <parenthetical>(can't believe she's saying it--)<\/parenthetical>\n    <dialogue>Y'know what? No, I don't think we are on. I think I have to stay home.<\/dialogue>\n    <parenthetical>(liking how it sounds)<\/parenthetical>\n    <dialogue>Yeah. I'm staying home! I don't know what I'll do there, but I'm gonna do it. Alone!<\/dialogue>\n    <scene_description>Roger walks off.<\/scene_description>\n    <character>ROGER<\/character>\n    <parenthetical>(under)<\/parenthetical>\n    <dialogue>Freak.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JOSIE'S PARENTS' HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Rob opens the door still dressed in his Tiki Post outfit. He takes one look at Josie and knows that things are not good.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Are mom and dad here?<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>No. They're at the Franklin Hint Expo at the Skokie Holiday Inn.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Good.<\/dialogue>\n    <scene_description>She shoves her way into the house. Rob follows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEN - CONTINUOUS<\/stage_direction>\n    <scene_description>Josie storms into the den, and plants herself on the sofa. She sees that Rob has been watching baseball on T.V., and she turns it off.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>I can't do it. I thought I could. I can't. I give up--I'm never going to be a reporter.<\/dialogue>\n    <scene_description>Rob sits next to her on the couch. He looks up at the T.V.- which is now off.<\/scene_description>\n    <character>ROB<\/character>\n    <dialogue>Did you catch the score?<\/dialogue>\n    <scene_description>Josie gives him a look of death.<\/scene_description>\n    <character>ROB<\/character>\n    <dialogue>No, I mean, no big whoop.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>I can't do this.<\/dialogue>\n    <scene_description>She pulls the article out of her purse, and shoves it at Rob. He sees the picture of all the popular kids at The Court.<\/scene_description>\n    <character>ROB<\/character>\n    <dialogue>These girls are high schoolers? Damn, we've got some underage hotties on our hands, here!<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Gus insists that I become friends with these kids. The popular kids. It's impossible.<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>Why is that impossible?<\/dialogue>\n    <scene_description>Josie's eyes get teary.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Rob, you don't know how it was for me back in high school. No one ever threw juice boxes at you in the hallway. You never dreamed about being popular- you already were. All I wanted was to be accepted, and they just fucking tortured me. I can't do all that again. I can't go back to Southglen South.<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>Oh my God! You're at Southglen South? They have a killer baseball team.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Rob. Please focus.<\/dialogue>\n    <scene_description>He puts his arm around her.<\/scene_description>\n    <character>ROB<\/character>\n    <dialogue>Jos, you've been to college, you're successful, you wash your hair now-- you're not Josie Grossie anymore.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Don't you realize how much I wanted to be you in high school? Just for one minute to feel what it was like to be popular?<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>Come on! It's not that hard. All you need is one person. Once the right person thinks you're cool, you're in. Everyone else will be too scared to question it.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Is that true?<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>Little known fact.<\/dialogue>\n    <scene_description>Josie takes this in.<\/scene_description>\n    <character>ROB<\/character>\n    <dialogue>Look, don't you wanna show them - Gus, Billy Prince, yourself--that you're not freaked out by the cool kids anymore? That you can go in there, be friends with them, and get your story?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Yes, desperately.<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>Plus, if you quit you're no better than me.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Better than I...<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>That's the spirit!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGH SCHOOL PARKING LOT - NEXT MORNING<\/stage_direction>\n    <scene_description>Josie approaches the school. She's clearly made a new attempt at style- she's teetering on too-high platform shoes and showing a blending white midriff. No one pays much attention to her. GEORGE, thirty-something African-American, the epitome of cool, waves Josie over to an open van side door. Josie looks confused and scurries to the van.<\/scene_description>\n    <character>JOSIE<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>George! What are you doing here?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Just get in the van, Josie.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S VAN - MOMENTS LATER<\/stage_direction>\n    <scene_description>High-tech surveillance wonderland meets seventies living room. Tape players and monitors share space with shag carpeting and a mini-fridge. Barry White PLAYS on a TAPE. George starts to wrap wire around Josie's waist. He pins a kid's plastic \"captain's wings\" onto her collar.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>What is this?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Hidden camera.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Wings?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>We used it for our expose on overweight flight attendants--\"Is That Why They Never Give You a Second Bag of Nuts?\"<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>I'm not doing this until I speak with Gus.<\/dialogue>\n    <character>GUS (O.S.)<\/character>\n    <parenthetical>(through speaker)<\/parenthetical>\n    <dialogue>Geller, stop being a pain in the ass.<\/dialogue>\n    <scene_description>Josie looks all around.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Gus?<\/dialogue>\n    <character>GUS (O.S.)<\/character>\n    <dialogue>No, it's the Great and Powerful Oz. Now listen--you're in over your head. This is how it's gonna work. I review the tapes, I find your story.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>What if I say no?<\/dialogue>\n    <character>GUS (O.S.)<\/character>\n    <dialogue>I bet Good Housekeeping would go gaga over the cole slaw piece.<\/dialogue>\n    <scene_description>Off Josie's look of concern...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SCHOOL - MINUTES LATER<\/stage_direction>\n    <scene_description>A crush of kids flood up the stairs to the front door of the school. We see Kirsten, Kristen and Gibby walking three abreast ahead of Josie up the stairs. The Crowd parts around them. Josie heads towards them.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Hey! Kirsten, Kristen, Gibby--What's up girlfriends?<\/dialogue>\n    <scene_description>The three girls pause and turn just as Josie, caught up in the moment, doesn't see a stray backpack on the stairs in front of her. Josie trips and-- JOSIE-CAM POV: The CAMERA FACE-PLANTS into the pavement.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S VAN - SAME<\/stage_direction>\n    <scene_description>George watches the monitor, winces. JOSIE-CAM POV: The CAMERA still faces the pavement.<\/scene_description>\n    <character>JOSIE (O.S.)<\/character>\n    <parenthetical>(small)<\/parenthetical>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COULSOM'S CLASSROOM - LATER<\/stage_direction>\n    <scene_description>Josie is standing, reading from her paper. Sam is rapt.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>And so it is Rosalind, in disguise, who is best able to see through the disguises of others. To say to Phebe, \"Mistress, know thy self,\" to look at love from every angle, and to realize, finally, that she is in love with Orlando--<\/dialogue>\n    <scene_description>The BELL RINGS. Class is over. Josie puts her stuff away and starts to follow the Cool Girls out.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Hey guys, wait up--<\/dialogue>\n    <scene_description>The Girls keep moving. Sam stops Josie.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Hey, Josie, hold on.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>You've been hiding something from me.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Oh I don't think so.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Your writing. It's amazing, Josie. You're really talented. And far less depressing than Dorothy Parker.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>So what are you thinking for college?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>College. Haven't really thought about it.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>That's crazy. I'll get you some applications.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Oh no no no no no. See, my family, we don't go to college.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>We just go right into sheep herding.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Josie you owe it to yourself to go. For your writing. You're a natural.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Thanks. Wow. That's--really nice to hear.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Josie, you're different. When you speak in class, I can tell--You actually feel the words--<\/dialogue>\n    <parenthetical>(touching heart)<\/parenthetical>\n    <dialogue>in here. They're alive.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Like-Eurdora Welty talked about the word it moon\"? How for her it was like a Concord grape. \"That Grandpa took off his vine and gave to me to suck out of its skin--\"<\/dialogue>\n    <character>SAM\/JOSIE<\/character>\n    <dialogue>It --and swallow whole.\"<\/dialogue>\n    <scene_description>They both take a breath in. Look away from each other.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S VAN - SAME<\/stage_direction>\n    <scene_description>George watches the monitor.<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Uh oh.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUS'S OFFICE - AFTERNOON<\/stage_direction>\n    <scene_description>Anita sits on Gus's desk, watches the last scene on Gus's TV, engrossed. Gus walks in and stops the tape.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Showtime's over! Move-it! Back to work!<\/dialogue>\n    <scene_description>Anita climbs off his desk.<\/scene_description>\n    <character>ANITA<\/character>\n    <dialogue>Gus, have you ever been in love?<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>Leave.<\/dialogue>\n    <character>ANITA<\/character>\n    <dialogue>Oh give it up, Gus. I'm just making conversation.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>Love. Who knows what that is? Now circulation, deadlines, those I understand.<\/dialogue>\n    <character>ANITA<\/character>\n    <dialogue>You should go out every now and then, Gus; with some new ties the girls would be all over you.<\/dialogue>\n    <scene_description>Gus stares down at his tie. But he's smiling--a little.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Go away. I have enough work here to last me all night.<\/dialogue>\n    <character>ANITA<\/character>\n    <dialogue>Listen, I don't have any plans--you want some help?<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>No Roger from op\/ed?<\/dialogue>\n    <character>ANITA<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <scene_description>They share a smile.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL HALLWAY - DAY<\/stage_direction>\n    <scene_description>Josie walks toward her locker, the Make out Couple is at it again. Josie's fed up. She taps the Boy on his shoulder.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Excuse me. Hi. Do you guys have some kind of schedule I could work around?<\/dialogue>\n    <scene_description>He ignores Josie and goes back to his Girlfriend. Aldys, in her Denominator sweatshirt decorated with pins, approaches Josie.<\/scene_description>\n    <character>ALDYS<\/character>\n    <dialogue>Hey, where's your sweatshirt?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>- uhh, must have forgotten-<\/dialogue>\n    <character>ALDYS<\/character>\n    <dialogue>No biggie. I have an extra in my locker. I'll get it for you.<\/dialogue>\n    <scene_description>She starts to leave.<\/scene_description>\n    <character>ALDYS<\/character>\n    <dialogue>Oh - I almost forgot - I'll see you tonight at Big Cup. 7:30, right?<\/dialogue>\n    <scene_description>Josie looks confused.<\/scene_description>\n    <character>ALDYS<\/character>\n    <dialogue>Remember, that poet that we liked - the reading he's doing at Big Cup? I got us tickets.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Right. 7:30.<\/dialogue>\n    <character>ALDYS<\/character>\n    <dialogue>I'm late for lab.<\/dialogue>\n    <scene_description>Aldys takes off. Josie looks down the hall, where Guy, Kristen and the others are all looking at a flyer pasted to the wall.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>That is gonna be such a sweet show. I am so there.<\/dialogue>\n    <scene_description>Guy looks at Tommy and Jason, who f follow his lead.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Oh, yeah, man, I'll drive.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>It's gonna be Rufalicious.<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You're using it wrong.<\/dialogue>\n    <scene_description>They head off, en masse. Josie goes and looks at the flyer: \"JIMMY CLIFF TONIGHT AT DELLOSER HALL\". Josie smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLUB\/DELLOSER HALL - NIGHT<\/stage_direction>\n    <scene_description>Marquee reads \"Jimmy Cliff.\" A crowd has gathered by the door. Josie gets out of cab, and walks towards the club.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLUB\/DELLOSER HALL - NIGHT<\/stage_direction>\n    <scene_description>Josie enters the small, smoky club. She wears what she considers to be her \"hip concert outfit,\" an outfit that completely clashes with the Rasta wear of the other concert goers. -She reaches the BOUNCER.<\/scene_description>\n    <character>BOUNCER<\/character>\n    <dialogue>You Drinking?<\/dialogue>\n    <scene_description>Josie notices the two Stoners from school standing behind her in line.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>I am not 21. I am only seventeen and I still attend high school.<\/dialogue>\n    <scene_description>The bouncer stamps her hand. She looks down at her hand. WE CU ON her hand, reading DELLOSER. She enters as the two Stoners approach the Bouncer.<\/scene_description>\n    <character>BOUNCER<\/character>\n    <dialogue>Two of you?<\/dialogue>\n    <scene_description>A beat as the Stoners look at each other, realizing...<\/scene_description>\n    <character>STONER 1<\/character>\n    <parenthetical>(to Stoner 2)<\/parenthetical>\n    <dialogue>Oh, Dude--<\/dialogue>\n    <scene_description>And they run out of the club.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLUB\/DELLOSER HALL - SAME<\/stage_direction>\n    <scene_description>JIMMY CLIFF is playing. The crowd sits at tables, grooving. Josie approaches the bar. A guy turns around--it's Sam.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Josie--out on a school night.<\/dialogue>\n    <scene_description>A woman, LARA, emerges from the crowd. And puts her arm around SAM. An awkward beat.<\/scene_description>\n    <character>LARA<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Oh, right, sorry. Lara--Josie. Josie--Lara.<\/dialogue>\n    <parenthetical>(to Lara)<\/parenthetical>\n    <dialogue>Josie's a student of mine.<\/dialogue>\n    <parenthetical>(to Josie)<\/parenthetical>\n    <dialogue>Lara's my-date.<\/dialogue>\n    <character>LARA<\/character>\n    <dialogue>Nice to meet you.<\/dialogue>\n    <scene_description>Another awkward pause.<\/scene_description>\n    <character>LARA<\/character>\n    <dialogue>C'mon, c'mon, let's go dance.<\/dialogue>\n    <scene_description>The crowd roars over Cliff's next song as Lara drags Sam off into the crowd. Sam looks back briefly at Josie as we lose him into the crowd. ANGLE ON JOSIE She sees Guy's group sitting at a table and approaches an empty seat. They immediately scoot around so that the seat is taken. Undeterred, Josie sees a seat at the next table and sits down in it. She looks up to see that she is at a table of huge RASTAFARIANS. They all wear big Rasta hats and even bigger hair and are smoking a joint the size of Cuba. She smiles awkwardly.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Hi. Is it okay if I sit here?<\/dialogue>\n    <character>RASTA #1<\/character>\n    <dialogue>Oh, ya mon. We accept all peoples. We are all about da' love.<\/dialogue>\n    <scene_description>Josie and the Rasta's start to groove to the music. Josie looks over at Guy's table, sees they are toking off a small joint and passing it around.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S VAN - CONTINUOS<\/stage_direction>\n    <scene_description>George and his DATE, a Pam Grier look-alike, sit close on the couch, grooving to the CONCERT PLAYING on the monitor and through the various speakers. CU on the monitor. JOSIE-CAM POV: The joint the size of Cuba is passed INTO FRAME. Josie's hand takes it. Catching sight of this, George and his Date exchange concerned looks. SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLUB\/DELLOSER HALL - LATER<\/stage_direction>\n    <scene_description>Josie is high beyond belief, wearing a big Rasta hat and loudly laughing her ass off as the Rastas just stare. She can hardly keep herself in her chair.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Get it?! Get it?! He was a firecracker!<\/dialogue>\n    <scene_description>She lifts up Rasta 1's dreadlocks to get his ear.<\/scene_description>\n    <character>JOSIE<\/character>\n    <parenthetical>(yelling)<\/parenthetical>\n    <character>A FIRECRACKER!<\/character>\n    <dialogue>And she cracks up again.<\/dialogue>\n    <character>RASTA #1<\/character>\n    <parenthetical>(to Rasta #2)<\/parenthetical>\n    <dialogue>I don't love her.<\/dialogue>\n    <scene_description>Rastas share looks ill around. Then Josie hears the first strains of \"The Harder They Come\"--<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Oh my God! This music rules!<\/dialogue>\n    <scene_description>And Josie proceeds to get up and take over the place--she's dancing on the table, getting up with the band and playing the bongos, all with absolutely no rhythm or style. But with a lot of whooping. The club is agog. ANGLE ON: Lara and Sam. They both look aghast.<\/scene_description>\n    <character>LARA<\/character>\n    <dialogue>She's a student of yours?<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>(in explanation)<\/parenthetical>\n    <dialogue>She's from Bali.<\/dialogue>\n    <scene_description>And as Josie continues to dance on stage, making a total fool of herself, Jimmy Cliff turns to CAMERA.<\/scene_description>\n    <character>JIMMY<\/character>\n    <dialogue>Freak.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOSIE'S APARTMENT - LATER<\/stage_direction>\n    <scene_description>Josie is on the phone, and is in the process of finishing an entire pie.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>I'm telling you, Rob! I think I did it! I'm totally in! I was soo cool tonight! You'd be so--<\/dialogue>\n    <parenthetical>(staring at fork)<\/parenthetical>\n    <dialogue>You know what's a weird word? Fork.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Wait! Wait! Did I tell you about my new friends? I made friends with a whole table of Rastafarians! Not one, a whole table!<\/dialogue>\n    <parenthetical>(noting empty pie plate, suddenly serious)<\/parenthetical>\n    <dialogue>Oh. My. God. Someone ate my entire pie.<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOSIE'S APARTMENT - NEXT MORNING<\/stage_direction>\n    <scene_description>Josie is asleep where we left her, her head on her hand, empty pie plate nearby. She wakes, picks her head up. Looks down at her hand, the DELLOSER stamp is faint. CLOSE UP ON her forehead. There in block letters backwards is \"LOSER\". She looks up at the clock, which reads: 8:30. She's late. Very late. She grabs her book bag and her keys, and races out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL HALLWAY - MORNING<\/stage_direction>\n    <scene_description>Josie strides confidently down the hallway, LOSER prominently on her forehead. She sees Guy and his Group.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Hi Guy. Guys. Guy's Guys.<\/dialogue>\n    <scene_description>They stare, then snicker.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Hi loser.<\/dialogue>\n    <scene_description>The group laughs and joins in, saying \"Hey Loser.\" Josie's face registers confusion. JOSIE-CAM POV: We move slowly down the packed hallway, the CAMERA shifting nervously amidst a sea of laughing kids. The LAUGHTER starts to ECHO. Josie starts to walk quickly, then run, through the gauntlet of' laughing and pointing kids.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S VAN - CONTINUOUS<\/stage_direction>\n    <scene_description>WE HEAR THE LAUGHING, the JOSIE CAM JERKS frantically from KID to KID.<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>This can not be good--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>JOSIE CAM P.O.V. WE HEAR Josie BREATHING HEAVILY as she runs past KIDS who all stare or LAUGH. She makes it to the Girls Room, pushes open the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GIRLS' BATHROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Josie goes to the sink, splashes water on her face.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S VAN CONTINUOS<\/stage_direction>\n    <scene_description>George watches the monitor, HANDS splash water. A HAND grabs a paper towel. George can now see Josie reflected in the bathroom mirror. He sees the \"LOSER\" stamp on her forehead.<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Oh man. Look up, girl. C'mon, Look up--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GIRLS' BATHROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Josie wipes her mouth. Throws the towel away. Goes to exit--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S VAN - CONTINUOUS<\/stage_direction>\n    <scene_description>George is now apoplectic.<\/scene_description>\n    <character>GEORGE<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Josie pauses, goes back to the mirror. She looks up. Sees the stamp. Her hand goes to her mouth in horror. She runs into a stall. JOSIE CAM P.O.V.: WE FACE the toilet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S VAN - CONTINUOUS<\/stage_direction>\n    <scene_description>George looks at the monitor in amazement.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUS'S OFFICE - DAY<\/stage_direction>\n    <scene_description>A Group is watching Gus's TV, including Burns (the hair plug man) AND HOWARD (arm casts). They are slack-jawed in shock. WE HEAR O.S. the SOUNDS of Josie VOMITING. Gus shakes his head sadly.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>It's like the All-Humiliation Network.<\/dialogue>\n    <scene_description>They all nod in agreement.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GIRLS' BATHROOM - MINUTES LATER<\/stage_direction>\n    <scene_description>Josie is in the fetal position on the floor of a stall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEN - NIGHT (FLASHBACK)<\/stage_direction>\n    <scene_description>The den of Josie's parents' home. Josie is decked out. She's wearing a pretty hideous metallic pink dress, matching gloves, bag, shoes. She's shining her braces, using the T.V. screen as a mirror. The PHONE RINGS. Josie grabs it.<\/scene_description>\n    <character>JOSIE<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Hey, Billy. I'm ready. Sure, I can just wait for you on the front porch. See you in a -uhh- jiffer.<\/dialogue>\n    <scene_description>She hangs up. Sixteen year old Rob, very cute and buff, enters. His pretty GIRLFRIEND is on his arm.<\/scene_description>\n    <character>GIRLFRIEND<\/character>\n    <parenthetical>(mouthing to Rob)<\/parenthetical>\n    <dialogue>Jiffer?<\/dialogue>\n    <scene_description>Rob just shrugs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JOSIE'S FRONT PORCH NIGHT (FLASHBACK)<\/stage_direction>\n    <scene_description>Josie, in all her prom splendor, waits out on the front porch for her date. She sees a LONG, BLACK LIMO turn the corner, headed for the house. She's hopping up and down with excitement. She checks her reflection in her compact, and then watches the limo approach. The sunroof of the limo opens and Billy Prince, the Adonis of the suburbs, stands up, sticking out of the sunroof. He waves. Josie smiles and waves back. Then, another figure joins Billy's. It's a GORGEOUS BLONDE in a slinky dress. She's standing up, sticking out of the sunroof as well. Josie looks a bit confused, but still tries to smile. Then, she sees them holding things. LITTLE THINGS. LITTLE WHITE THINGS. Before Josie realizes what's going on, her metallic ensemble is covered in dripping, oozing eggs. One whacks her right in her trifocals.<\/scene_description>\n    <character>BILLY<\/character>\n    <parenthetical>(shouting)<\/parenthetical>\n    <dialogue>Hey, write a poem about this!<\/dialogue>\n    <scene_description>Billy and his date lob a few more eggs, and their limo roars off. Josie stands on the porch, alone. She's got egg in her hair, on her face, all over her dress- everywhere. She starts to cry. Softly at first, moving into big, loud, wet sobs. She sits down on the porch, her head in her hands, and just keeps crying. DISSOLVE BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL HALLWAY - (PRESENT) - DAY<\/stage_direction>\n    <scene_description>Homeroom has just gotten out, and the halls are packed with kids. Josie is running full speed, trying to negotiate around lots of kids, in her frantic-race for the door. Kids still point and stare. She bangs into some freshmen, gets whacked by a book bag, slides some banners that kids are painting - but she won't slow down. Just as she's almost at the doors to the school, the BIG WOODEN DOOR to the front office opens. Josie can't stop. A figure emerges, but before Josie can even see who it is, she slams into it and goes down. She bangs her head on the hard linoleum floor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL HALLWAY - (PRESENT) - DAY<\/stage_direction>\n    <scene_description>Homeroom has just gotten out, and the halls are packed with kids. Josie is running full speed, trying to negotiate around lots of kids, in her frantic-race for the door. Kids still point and stare. She bangs into some freshmen, gets whacked by a book bag, slides some banners that kids are painting - but she won't slow down. Just as she's almost at the doors to the school, the BIG WOODEN DOOR to the front office opens. Josie can't stop. A figure emerges, but before Josie can even see who it is, she slams into it and goes down. She bangs her head on the hard linoleum floor. DISSOLVE TO: JOSIE-CAM POV: WE SEE two KIDS looking down into the camera.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Hey--you okay?<\/dialogue>\n    <scene_description>Camera nods \"yes\" slowly. Tommy and Jason come into frame.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>Wow. You took a pretty big fall.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Yeah. Like every loser should. And they move out of frame, laughing.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>As every loser should.<\/dialogue>\n    <character>VOICE<\/character>\n    <dialogue>Are you O.K.? Josie, are you O.K.?<\/dialogue>\n    <scene_description>Rob comes into frame.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Rob is bent over Josie. She rubs her eyes.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>I've been in a horrible accident.<\/dialogue>\n    <scene_description>This is a coma-induced nightmare.<\/scene_description>\n    <character>ROB<\/character>\n    <dialogue>No. Josie, this is real.<\/dialogue>\n    <scene_description>She looks up.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Oh my God! That's worse!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>What are you doing here?!<\/dialogue>\n    <scene_description>Rob leans in and whispers to Josie.<\/scene_description>\n    <character>ROB<\/character>\n    <dialogue>I just registered.<\/dialogue>\n    <scene_description>Rob whips out his fake ID and shows it to her.<\/scene_description>\n    <character>ROB<\/character>\n    <parenthetical>(proudly)<\/parenthetical>\n    <dialogue>Manufactured at the Tiki Post.<\/dialogue>\n    <scene_description>Rob helps Josie up.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Are you crazy?! You can't do this.<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>This is it Jos! This is my ninth inning! The game isn't over--I just thought it was! I get on the Southglen baseball team, the right scout sees me-- I'm into the minors- it's game time!<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>You're twenty-three years old!<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>With the reading comprehension of a fifteen year old! Plus, I'm popular... You want to be popular... I can recognize a cry for help when I see one.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Hear one.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Rob, this is so like you.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>You know, you can't just come in here and be popular in just one day.<\/dialogue>\n    <scene_description>SMASH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFETERIA - LATER<\/stage_direction>\n    <scene_description>Josie emerges from the cafeteria line with her tray. A LOUD CHANT comes from one of the tables.<\/scene_description>\n    <character>CROWD<\/character>\n    <dialogue>ROB, ROB, ROB<\/dialogue>\n    <scene_description>She turns to see Rob in the middle of a hot dog eating contest with a HUGE WRESTLER. Rob downs his last one, raises his hands in victory. The CROWD goes WILD. Rob sits down at Guy's table.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Oh my god.<\/dialogue>\n    <scene_description>ANGLE ON GUY'S TABLE<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Dude, you rock!<\/dialogue>\n    <scene_description>He high-fives Rob. A pretty girl, TRACY approaches Rob.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Hi. I'm Tracy and I'm sixteen and I'm a gymnast and I don't have a boyfriend...<\/dialogue>\n    <character>ROB<\/character>\n    <parenthetical>(looks skyward mouths)<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <parenthetical>(Then, to Tracy)<\/parenthetical>\n    <dialogue>I'm Rob.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Duh.<\/dialogue>\n    <scene_description>ANGLE BACK ON JOSIE Aldys approaches.<\/scene_description>\n    <character>ALDYS<\/character>\n    <dialogue>Hey - where were you last night? I was worried.<\/dialogue>\n    <scene_description>Josie can't take her eyes off Rob sitting at Guy's table. Aldys notices Josie's distraction.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ALDYS<\/character>\n    <dialogue>Last night. 7:30. Big Cup. I kept calling you, but I only got your machine. I don't even know your parents line and I was really worried.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Oh. I forgot.<\/dialogue>\n    <scene_description>Aldys is really hurt.<\/scene_description>\n    <character>ALDYS<\/character>\n    <dialogue>Well, maybe you should forget about sitting with us too.<\/dialogue>\n    <scene_description>Josie just stands there all alone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRACK - LATER<\/stage_direction>\n    <scene_description>Girls P.E. is over. The girls head back to the locker room. Josie lags behind the group, and then wanders over to the baseball diamond, where she hears a bunch of hoots and hollers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BASEBALL DIAMOND - SAME<\/stage_direction>\n    <scene_description>The team is practicing. Rob has just hit a home run with three men on. EVERYONE CHEERS him on as he runs the bases. As he comes into home, he is met with congrats, high fives. Everyone loves him. Josie watches the whole scene, seething with jealousy.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GIRLS' LOCKER ROOM - LATER<\/stage_direction>\n    <scene_description>Josie, post-shower, is wrapped in a towel and carrying her sweaty gym clothes. A group of GIRLS walk by her, giggling as they exit. She approaches her locker and finds it ajar and completely empty. She looks from the empty locker down to the sweaty clothes in her hand. A realization sweeps over her face.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL HALLWAY - LATER<\/stage_direction>\n    <scene_description>Josie shuffles down the hall, still wearing her cheesy green and yellow gym clothes. She is clearly beaten. She looks down the hall, stunned. It is ridiculous Rob is being followed by a posse, everyone knows his name. Girls tug on his shirt, guys slap him on the back or high-five him.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Hey, Rob.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Robster, what's up?<\/dialogue>\n    <character>BRETT<\/character>\n    <dialogue>The Rob man. My man Rob.<\/dialogue>\n    <character>GIBBY<\/character>\n    <dialogue>Hey, Robbie.<\/dialogue>\n    <character>KRISTEN<\/character>\n    <dialogue>Hi there Robbie Rob.<\/dialogue>\n    <scene_description>Josie sees Guy approach Rob, and shake his hand.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Hey Robo- how's it going?<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>Nice pants, man. They are rufus.<\/dialogue>\n    <scene_description>Guy smiles. Josie looks like she's going to hurl. She looks down the hall the other way- where a huge banner hangs that reads: \"IMPEACH SYDNEY ANAKOWSKI. ELECT ROB STUDENT BODY PRESIDENT.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Hey Rob, see you at the carnival later?<\/dialogue>\n    <character>STONER 1<\/character>\n    <dialogue>It's Robilicious!<\/dialogue>\n    <scene_description>Josie looks on the wall next to her- and sees a list: \"FINAL CAST LIST FOR HAMLET. HAMLET . . . ROB.\"<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Oh, please.<\/dialogue>\n    <scene_description>Josie has seen enough, and walks on.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARNIVAL GROUNDS - NIGHT<\/stage_direction>\n    <scene_description>Establishing shot of a smallish carnival, Ferris wheel, midway, tea cups ride. Near the entrance reads a banner: \"SOUTHGLEN HIGH SENIOR NIGHT\".<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARNIVAL MIDWAY - SAME<\/stage_direction>\n    <scene_description>Aldys and the Denominators stand in front of a booth that displays a large glass jar of jellybeans. Calculators and paper out, they're engrossed in find the answer. Josie walks by alone. The Denominators don't notice her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE FERRIS WHEEL - SAME<\/stage_direction>\n    <scene_description>WE PAN DOWN the line of KIDS waiting to ride the Ferris wheel. In front are Tommy, Jason, Gibby and Kirsten.<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>This has been so much fun! We've been first in line for every ride!<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>That's cuz we cut every line.<\/dialogue>\n    <scene_description>WE PAN DOWN to the end of the line, where we find Josie, standing alone. She's trying her best to keep her game face on. The CARNY opens the gate, the Kids pile onto the ride, two by two. Josie reaches an empty car--the last one--and gets in. The Carny holds the safety bar open.<\/scene_description>\n    <character>CARNY<\/character>\n    <dialogue>Where's your partner?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>I don't--I don't have one--<\/dialogue>\n    <character>CARNY<\/character>\n    <parenthetical>(yelling loudly)<\/parenthetical>\n    <character>I GOT A LONELY RIDE IN BUCKET SEVEN!<\/character>\n    <parenthetical>(to Crowd)<\/parenthetical>\n    <character>SINGLE!<\/character>\n    <dialogue>JOSIE<\/dialogue>\n    <scene_description>Do you have to yell like that? Sam, standing by a vendor, looks over and notices Josie's predicament.<\/scene_description>\n    <character>TOMMY (O.S.)<\/character>\n    <dialogue>Of course it's Loser that's holding up the ride!<\/dialogue>\n    <scene_description>Sam walks up to the Josie's bucket.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>This seat taken?<\/dialogue>\n    <character>JOSIE<\/character>\n    <parenthetical>(relieved)<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>He gets in. The ride JERKS into motion.<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>(nervous)<\/parenthetical>\n    <dialogue>Whoa.<\/dialogue>\n    <scene_description>They start a slow ascent. Sam seems ill at ease.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Are you--scared?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'm gonna tell you something here, and I hope it doesn't undermine my position as an authority figure. I'm a little afraid of heights.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>You're afraid of the Ferris wheel.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Actually, it's more the plunging head first into the crowd part that gets me.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Oh right. The Spiderman incident.<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>(touched)<\/parenthetical>\n    <dialogue>You remember that story?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Of course. I remember everything from your class.<\/dialogue>\n    <scene_description>They smile at each other. The smile is interrupted by a HEAVY SWAYING of their bucket, caused by Tommy ROCKING in the bucket ahead. Sam looks a little green.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Yoooooow.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Don't look down!<\/dialogue>\n    <scene_description>They're facing the ground at this point.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Out of my control.<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>(yelling to Tommy)<\/parenthetical>\n    <character>TOMMY! CUT IT OUT! ENOUGH!<\/character>\n    <dialogue>Tommy stops. Sam turns to Josie.<\/dialogue>\n    <character>SAM<\/character>\n    <parenthetical>(defensive)<\/parenthetical>\n    <dialogue>I said that as a chaperone.<\/dialogue>\n    <scene_description>They start to ascend again. Sam relaxes.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Okay. This is okay. Smooth.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Can I ask you something? Do you think I tell too many stories in class?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>That's what makes you interesting.<\/dialogue>\n    <parenthetical>(beat, recovering)<\/parenthetical>\n    <dialogue>As a teacher.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>God, I would love to think I'm an interesting teacher. I mean, I had maybe one or two teachers in high school who had any passion at all.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>You do. Seem to. Have passion. In the classroom.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You have to say that. You're my student.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>I don't have to say that.<\/dialogue>\n    <scene_description>They look into each other's eyes just as Tommy RATTLES his bucket ruthlessly.<\/scene_description>\n    <character>TOMMY (O.S.)<\/character>\n    <dialogue>IF THE BUCKET'S A-ROCKIN', DON'T<\/dialogue>\n    <character>COME-A KNOCKIN'.<\/character>\n    <dialogue>Josie and Sam laugh uncomfortably.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Boys.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I'd like to tell you that we all grow out of it, but that's a lie. Some of us will always be rattling cages.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Why do you do that?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I don't know. And you know what's scary--when you get older it just gets more confusing. I've spent the last ten years with women who are basically all wrong for me.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You know what, I shouldn't be talking about this stuff with you.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>That's okay. It's nice to have someone to talk to--<\/dialogue>\n    <scene_description>The bucket is rocked again by Tommy--Sam grips the safety bar.<\/scene_description>\n    <character>SAM<\/character>\n    <parenthetical>(as he rocks)<\/parenthetical>\n    <dialogue>Same here.<\/dialogue>\n    <scene_description>They stop rocking but they're still stuck at the top.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>All I can tell you is that when you're my age, the guys will be lined up around the block for you.<\/dialogue>\n    <scene_description>They share a smile.<\/scene_description>\n    <character>JOSIE<\/character>\n    <parenthetical>(suddenly shy)<\/parenthetical>\n    <dialogue>You have to say that. You're my teacher.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I shouldn't say that, because I'm your teacher.<\/dialogue>\n    <scene_description>They look at each other, their smiles fading into realization. Suddenly, the car jerks, and they start to move down. Josie and Sam are pulled out of their reverie. They smile awkwardly at each other and laugh a small laugh. WIDE SHOT of the Ferris wheel as Josie and Sam descend.<\/scene_description>\n    <character>SAM (V.O.)<\/character>\n    <dialogue>Thanks, Josie. This wasn't as bad as I thought.<\/dialogue>\n    <character>JOSIE (V.O.)<\/character>\n    <dialogue>When are you going to open your eyes?<\/dialogue>\n    <character>SAM (V.O.)<\/character>\n    <dialogue>I'm thinking when I'm home.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BASEBALL DUGOUT - DAY<\/stage_direction>\n    <scene_description>Rob sits with a bunch of BASEBALL PLAYERS. MATZ and PACKER, the studs of the team, come into the dugout and join them.<\/scene_description>\n    <character>PACKER<\/character>\n    <dialogue>Hey Rob, thanks for showing me that new grip. It totally changed my swing.<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>No problem, man.<\/dialogue>\n    <scene_description>They do one of those elaborate, fraternity-like handshakes. Out of the corner of his eye, Rob sees Josie walking alone across the field. He gets an idea.<\/scene_description>\n    <character>ROB<\/character>\n    <dialogue>Hey, you guys know that girl, Josie Geller?<\/dialogue>\n    <character>MATZ<\/character>\n    <dialogue>You mean \"Loser\"?<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>No, dude, Josie. We used to go out and she dumped me. But we're still good friends. And she is\u2026 amazing, if you know what I mean.<\/dialogue>\n    <scene_description>The guys are all stunned.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BIOLOGY CLASSROOM - DAY<\/stage_direction>\n    <scene_description>Gibby stands staring at a skeleton with Rob and the Cool Girls.<\/scene_description>\n    <character>GIBBY<\/character>\n    <dialogue>All right--that's it. Just water and Ex-Lax till prom.<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>Hey--Josie's Dad invented that stuff. Josie's like the heiress to the Ex- Lax fortune.<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <parenthetical>(impressed)<\/parenthetical>\n    <character>SHUT UP.<\/character>\n    <dialogue>ROB<\/dialogue>\n    <scene_description>Yeah. She's loaded. She spends all her vacations on the family yacht in the south of France. They react.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRACK - DAY<\/stage_direction>\n    <scene_description>Rob stands behind the bleachers with Tommy, Jason, and Guy.<\/scene_description>\n    <character>TOMMY<\/character>\n    <dialogue>No way.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>She used to date the drummer for The Big Bad Voodoo Daddys?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>No way. I always wanted to be a drummer.<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>Yeah well, she left him for the drummer from \"Sister Hazel.\" Y'know the song \"All for You?\"<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>That was about Josie?<\/dialogue>\n    <parenthetical>(impressed)<\/parenthetical>\n    <dialogue>Rufus\u2026<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFETERIA - DAY<\/stage_direction>\n    <scene_description>Josie turns with her tray after paying. Aldys sees her.<\/scene_description>\n    <character>ALDYS<\/character>\n    <dialogue>Hey, Josie--I'm really sorry I snapped at you. Do you wanna--<\/dialogue>\n    <scene_description>Josie sees Rob waving her over to \"the table\" where Kristen, Gibby and the gang sit.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Oh, Aldys, y'know, I have to--<\/dialogue>\n    <scene_description>And Josie walks over to Guy's table, leaving Aldys staring after her. Josie sits down at the table. Everyone stares at her.<\/scene_description>\n    <character>GIBBY<\/character>\n    <dialogue>Hey Josie. It's Josie, right?<\/dialogue>\n    <character>KRISTEN<\/character>\n    <dialogue>Can I just say--I totally love Ex- Lax.<\/dialogue>\n    <character>JOSIE<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>Okay, that's good to know--<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>I can't believe you dated Big Bad Voodoo Daddy.<\/dialogue>\n    <scene_description>Josie shoots a look at Rob.<\/scene_description>\n    <character>ROB<\/character>\n    <dialogue>Hey, I told you--Josie doesn't like to talk about that.<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>Yeah, Tommy, that's totally gochay.<\/dialogue>\n    <character>GIBBY<\/character>\n    <dialogue>I think it's pronounced gauche.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Yeah it's French. There's no accent aigue, so the e is soft.<\/dialogue>\n    <scene_description>A silent beat. Josie thinks she may have blown it.<\/scene_description>\n    <character>GIBBY<\/character>\n    <dialogue>Duh, of course you would know that. From being on your yacht in the south of France.<\/dialogue>\n    <scene_description>They all smile at her. Josie soaks in her newfound popularity.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCIENCE CLASSROOM - DAY<\/stage_direction>\n    <scene_description>On the walls are SAFE SEX posters. On the front desk, pamphlets on sexually transmitted diseases share space with plastic biology cross-section models of male and female reproductive organs. Sam stands in front of his English class, impatiently looking at his watch. Josie looks up from her desk, sees Anita waving wildly from the other side of the glass door. Josie's eyes widen, she starts to make \"get out of here\" movements. Sam notices Josie and follows her gaze to Anita. He opens the door, speaks sotto to Anita.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Hi. You're here for the sex talk?<\/dialogue>\n    <character>ANITA<\/character>\n    <parenthetical>(happily taken aback)<\/parenthetical>\n    <dialogue>Well. I like a man who gets to the point.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You're Pam?<\/dialogue>\n    <character>ANITA<\/character>\n    <parenthetical>(frisky)<\/parenthetical>\n    <dialogue>If you say so.<\/dialogue>\n    <scene_description>Sam turns to the class.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Welcome juniors and seniors, this is Pam Kitterman. She's our district health counselor. She's here to lead our sex discussion.<\/dialogue>\n    <scene_description>He ushers a surprised Anita to the front of the room. Josie reacts.<\/scene_description>\n    <character>ANITA<\/character>\n    <dialogue>I am? Oh, I am. Hi. Okay. Sex. Yes, well, sex. What's to say really, y'know? You like a guy, you do it. Sometimes he calls. Sometimes he doesn't.<\/dialogue>\n    <scene_description>Anita leans into Josie, talks sotto.<\/scene_description>\n    <character>ANITA<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Hi!<\/dialogue>\n    <character>JOSIE<\/character>\n    <parenthetical>(also whispering)<\/parenthetical>\n    <dialogue>What are you doing here?!<\/dialogue>\n    <character>ANITA<\/character>\n    <dialogue>I had a lunch break so I thought I'd come by and see you. Your teacher is a fox!<\/dialogue>\n    <parenthetical>(then normal voice to Josie)<\/parenthetical>\n    <dialogue>Why don't we discuss that after class. But the burning is totally normal.<\/dialogue>\n    <parenthetical>(looking at watch)<\/parenthetical>\n    <dialogue>Oh look. Class is over already.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I thought this was a 45-minute seminar.<\/dialogue>\n    <character>ANITA<\/character>\n    <dialogue>Right. Right.<\/dialogue>\n    <scene_description>Anita walks back to the front of the classroom.<\/scene_description>\n    <character>ANITA<\/character>\n    <dialogue>Okay, sex. Let's see. Sex is really fun.<\/dialogue>\n    <parenthetical>(off Josie's look)<\/parenthetical>\n    <dialogue>When you're old enough. Which none of you are, trust me I should know cuz when you lose it to some guy named Junior with really bad breath in the back of a van at a Guns and Roses concert you're gonna wish you listened to your Mom when she said, y'know, no one's gonna want to buy the whole friggin ice cream truck when you're handing out the popsicles for free.<\/dialogue>\n    <scene_description>There's a deafening silence. The kids are amazed.<\/scene_description>\n    <character>ANITA<\/character>\n    <dialogue>Okay. Any questions?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCIENCE CLASSROON - LATER<\/stage_direction>\n    <scene_description>The Kids all have bananas and condoms. They are in various stages of putting the condom over the banana. Anita walks among them, clearly more comfortable with her role now.<\/scene_description>\n    <character>ANITA<\/character>\n    <dialogue>Okay. I know it's hard.<\/dialogue>\n    <scene_description>Titters from the group.<\/scene_description>\n    <character>ANITA<\/character>\n    <dialogue>Difficult. But safe sex is really important. I try to practice it every day.<\/dialogue>\n    <scene_description>Josie reacts. ANGLE ON KIRSTEN &amp; KRISTEN. THEIR CONDOMS ARE SNUGLY ON their bananas. They stare at Josie.<\/scene_description>\n    <character>KRISTEN<\/character>\n    <dialogue>Wait, rewind.<\/dialogue>\n    <character>KRISTEN<\/character>\n    <dialogue>Do you really think she hooked-up with our Rob? They're so--different.<\/dialogue>\n    <character>GIBBY<\/character>\n    <dialogue>Sometimes opposites attract.<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>Yeah. Look at Bert and Ernie.<\/dialogue>\n    <scene_description>WE ANGLE ON ANITA. She's walking authoritatively up the aisle towards the front.<\/scene_description>\n    <character>ANITA<\/character>\n    <dialogue>So just..imagine the bananas are the real thing.<\/dialogue>\n    <scene_description>She takes a rather large banana off a desk and looks at it. She snorts.<\/scene_description>\n    <character>ANITA<\/character>\n    <dialogue>In a land called \"every man's fantasy\".<\/dialogue>\n    <scene_description>She looks up, sees the real MISS KITTERMAN (we can tell from the model of a uterus she carries), standing outside the door and waving. Without missing a beat, Anita pulls down a shade on the door and locks it. ANGLE ON: JOSIE AND TRACY still struggling with condoms.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>God, I can't do this.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Maybe because we're not supposed to be having sex with bananas.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>You know what, though? I feel like I'm really ready to do it. To have sex for the first time.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Wow. That's big. I mean sex is a really big deal. You shouldn't do it until you know you've found the right person.<\/dialogue>\n    <scene_description>ANGLE ON SAM, listening. Josie is oblivious.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>You know, Adele penguins pick one mate.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>They spend their whole life looking for that one other penguin and when they find it, they know. That's the penguin they stay with for the rest of their lives.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>But I'm not a penguin.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>It's an analogy.<\/dialogue>\n    <scene_description>A surprised Josie looks up to see Sam next to her. She lets her condom go. And it flies off her banana into his face. Josie turns to Tracy.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Excuse me. I have to go die now.<\/dialogue>\n    <scene_description>The class is interrupted by Sydney over the loudspeaker:<\/scene_description>\n    <character>SYDNEY (O.S.)<\/character>\n    <parenthetical>(over speaker)<\/parenthetical>\n    <dialogue>Hey guys--Sydney again! Don't forget-- No going into the library cuz of that little asbestos problem. And about prom-<\/dialogue>\n    <scene_description>Everyone freezes. Dead silence.<\/scene_description>\n    <character>SYDNEY<\/character>\n    <dialogue>Really bad news. We just got the word from intelligence-- Northglen High is doing the Millennium too!<\/dialogue>\n    <scene_description>Complete chaos. SCREAMING terror. A GIRL faints. Sera squeezes her banana so hard it oozes out of its skin. Other KIDS are beating their bananas against desktops. Brett, the football player, absentmindedly peels his banana and begins eating it.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>All right guys, let's calm down. Calm down.<\/dialogue>\n    <parenthetical>(no response)<\/parenthetical>\n    <dialogue>Sit!<\/dialogue>\n    <scene_description>They all do, including Anita.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Now look. Let's focus. Prom theme. We need a new idea.<\/dialogue>\n    <character>ANITA<\/character>\n    <dialogue>OH! How about \"Under the Sea?\"<\/dialogue>\n    <scene_description>She's met with a round of \"boos\". Anita reacts.<\/scene_description>\n    <character>ANITA<\/character>\n    <dialogue>Well excuse me.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>What about the \"Roaring Twenties\"\u2026 or \"The 80's\"?<\/dialogue>\n    <scene_description>The Class lets out a GIANT GROAN on that one.<\/scene_description>\n    <character>GIBBY<\/character>\n    <dialogue>What do you think we are? Amateurs?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Josie.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>That's not a theme.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>No, Josie will have the answer.<\/dialogue>\n    <scene_description>A long beat. Expectant faces all turn to Josie. She looks at Tracy.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>How about--'<\/dialogue>\n    <parenthetical>(coming to her)<\/parenthetical>\n    <dialogue>meant for each other--Famous couples throughout history?<\/dialogue>\n    <scene_description>Another beat as the Class considers.<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>(smiles and nods)<\/parenthetical>\n    <dialogue>Yeah. That's it.<\/dialogue>\n    <scene_description>The Class suddenly CONCURS.<\/scene_description>\n    <character>CLASS<\/character>\n    <dialogue>Yeah. \/That's it. \/Rufus.<\/dialogue>\n    <scene_description>Josie soaks in all the approval like a sponge.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Thanks. Thank you.<\/dialogue>\n    <scene_description>Josie looks from Sam and Anita's smiling faces to find Guy smiling at her. CLOSE UP ON A BANNER reading: \"MILLENNIUM\". It comes down, replaced by one that reads: \"MEANT FOR EACH OTHER... WIDEN TO REVEAL:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL HALLWAY - DAY<\/stage_direction>\n    <scene_description>Josie and the Cool Girls walk under the banner, laughing. We PAN UP to their lapels and see that they are all wearing replicas of Josie-'s geeky airplane pin. They pass Aldys, Josie is oblivious.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MALL - DAY<\/stage_direction>\n    <scene_description>Josie and the Girls walk four abreast, like a pack of proud lions. Kids part to let them through.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUN TIMES BULLPEN - DAY<\/stage_direction>\n    <scene_description>WORKERS look at their watches, run into Gus's office.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GYM PROM PREP AREA - LATER<\/stage_direction>\n    <scene_description>Sam and Josie have fun painting a backdrop of the sunset.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUS'S OFFICE - SAME<\/stage_direction>\n    <scene_description>Workers stand around Gus's TV, riveted by Josie and Sam.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEPARTMENT STORE - COSMETIC COUNTER - SAME<\/stage_direction>\n    <scene_description>Josie and the Girls try on lipstick, laughing and fooling around.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSIC ROOM - DAY<\/stage_direction>\n    <scene_description>Josie and Sam pick out CDs from a DJ's case. Josie picks one out and puts it in the \"yes\" pile. Sam picks it up, wrinkles his nose, puts it back. When he looks away, Josie sneaks it back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TEEN CLOTHING STORE - SAME<\/stage_direction>\n    <scene_description>Josie's hiding behind a rack of clothes, talking on her cell phone.<\/scene_description>\n    <character>JOSIE<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>I'm telling you Gus. It's a great story. They keep the tags on, then return the clothes after they've worn them.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Gus?--Gus?<\/dialogue>\n    <scene_description>Kirsten discovers Josie behind the rack. Josie quickly pulls a cardigan off a rack, feigning interest in it. The Girls all do the same.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALL CONCOURSE - SAME<\/stage_direction>\n    <scene_description>Josie and the Girls, wearing matching cardigans, walk past Aldys and another Denominator on their way to the escalator. Josie and Aldys lock eyes and Josie smiles but Aldys turns her back to her.<\/scene_description>\n    <character>ALDYS<\/character>\n    <parenthetical>(to Denominator)<\/parenthetical>\n    <dialogue>Look, there goes another Lemming.<\/dialogue>\n    <scene_description>WE ANGLE ON the escalator as Josie and the Girls rise single file out of- FRAME.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BASEBALL STANDS - DAY<\/stage_direction>\n    <scene_description>Josie sits with her new friends, emulating them by sunning in a bikini top and shorts while they watch the game.<\/scene_description>\n    <character>GIBBY<\/character>\n    <dialogue>Josie, you have totally transitioned.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Transitioned?<\/dialogue>\n    <character>GIBBY<\/character>\n    <dialogue>You crossed over.<\/dialogue>\n    <character>KRISTEN<\/character>\n    <dialogue>Into our group.<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>It's really hard to do. Some kids try for all of-high school and never make it.<\/dialogue>\n    <character>GIBBY<\/character>\n    <dialogue>Wannabes. Kirsten transitioned last year.<\/dialogue>\n    <character>KRISTEN<\/character>\n    <dialogue>Her dad sold a car to Leonardo Di Caprio's uncle and before he picked it up, her dad let us all sit in it and take pictures.<\/dialogue>\n    <character>GIBBY:<\/character>\n    <parenthetical>(to Josie)<\/parenthetical>\n    <dialogue>Wait. Do you know any gay guys?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>We'd love to transition a gay guy into the group.<\/dialogue>\n    <character>KRISTEN<\/character>\n    <dialogue>We're very evolved.<\/dialogue>\n    <scene_description>ON THE FIELD A BALL sails fast and hard. It looks like it's going to be a base hit, into left Field, but the shortstop leaps up and grabs it. That shortstop is Rob. The Team cheers. Coach Romano heads out of the dugout towards Rob. IN THE STANDS Josie and the Gang leap up and cheer. Josie almost loses her top, but catches it, just as Guy comes around the side of the stands and notices Josie.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BASEBALL DIAMOND - CONTINUOUS<\/stage_direction>\n    <scene_description>Coach Romano approaches Rob. Slaps him on the back.<\/scene_description>\n    <character>COACH ROMANO<\/character>\n    <dialogue>Great playing, Rob. You might be just what Southglen South needs to get to Nationals.<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>I'm playing in the championship game?<\/dialogue>\n    <character>COACH ROMANO<\/character>\n    <dialogue>Playing? You're starting shortstop. And I don't mean to put more pressure on you but there are going to be some pro scouts there.<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>Oh man!<\/dialogue>\n    <scene_description>Rob grabs Coach Romano in a bear hug. The Coach is uncomfortable. Rob moves towards the dugout and the Coach happily slaps him on the ass.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BASEBALL STANDS - SAME<\/stage_direction>\n    <scene_description>Josie and the Girls are leaving. Guy catches up to them and taps Josie on the shoulder.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>So--you going to the party at Rob's?<\/dialogue>\n    <scene_description>Josie's taken aback. The Girls notice Guy's interest.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Rob's?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Yeah, you gonna be there?<\/dialogue>\n    <scene_description>Josie stumbles on a step Guy immediately reaches out to steady her. She melts. She can't even speak, so she just nods.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Good. I'll see you tonight.<\/dialogue>\n    <scene_description>Guy walks off.<\/scene_description>\n    <character>GIBBY<\/character>\n    <dialogue>He is totally crunching on you.<\/dialogue>\n    <character>JOSIE<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>Do I want to be crunched?<\/dialogue>\n    <character>GIBBY<\/character>\n    <dialogue>By Guy?<\/dialogue>\n    <character>GIBBY\/KRISTEN\/KIRSTEN<\/character>\n    <dialogue>Oh yeah.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUN TIMES ELEVATOR - DAY<\/stage_direction>\n    <scene_description>CAMERA PANS the faces of some dull-looking workers. It stops on Josie, who stands out in her teen garb and huge knapsack. A star struck female WORKER turns to her.<\/scene_description>\n    <character>WORKER<\/character>\n    <dialogue>I really loved you in the sex-ed scene.<\/dialogue>\n    <scene_description>Josie reacts.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BULLPEN - CONTINOUS<\/stage_direction>\n    <scene_description>Josie spills out the elevator and races through the bullpen with Rhoda in pursuit.<\/scene_description>\n    <character>RHODA<\/character>\n    <dialogue>Splendiferous--Josie stops, turns back to her.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Totally.<\/dialogue>\n    <scene_description>Josie keeps going. A confused Rhoda stares after her. She passes Merkin's desk. He is still on the phone.<\/scene_description>\n    <character>MERKIN<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>No way ... Yeah? ... No way.<\/dialogue>\n    <scene_description>Josie reaches over, grabs the phone out of his hand and hangs up without missing a beat. She continues on as Merkin stares after her. Josie reaches the conference room door. An older WOMAN runs out crying.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONFERENCE ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Rigfort presides over a staff meeting. CLOSE UP on stunned office WORKERS' faces.<\/scene_description>\n    <character>RIGFORT<\/character>\n    <dialogue>Alrighty then--next on the agenda- sack races at the company picnic-yes or no?<\/dialogue>\n    <scene_description>Josie sneaks in. She pushes past workers to get to a chair, big backpack whacking them as she goes.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Hi. Sorry I'm late.<\/dialogue>\n    <parenthetical>(pushing past chairs)<\/parenthetical>\n    <dialogue>Sorry. Excuse me--Josie takes the chair next to Anita's. Anita looks her up and down.<\/dialogue>\n    <character>ANITA<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>I love that jacket.<\/dialogue>\n    <character>RIGFORT<\/character>\n    <dialogue>Miss Geller, what's the status on your story?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Oh it's great. Totally Rufus.<\/dialogue>\n    <scene_description>Gus and Anita look at each other, both mouthing \"Rufus?\"<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>I have, um--Josie dumps out her backpack on the table. Teen items spill out-notebooks, CDs, barrettes, a hacky sac, a Frisbee, glitter nail polish. She rifles through it all--<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>--notes here somewhere-<\/dialogue>\n    <parenthetical>(picking up paper)<\/parenthetical>\n    <dialogue>There's my math homework!<\/dialogue>\n    <character>RIGFORT<\/character>\n    <dialogue>Geller, I don't need your notes. I need your story. Though I speak for everyone when I say I've seen the tapes. Compelling stuff.<\/dialogue>\n    <scene_description>All the workers nod in agreement.<\/scene_description>\n    <character>RIGFORT<\/character>\n    <dialogue>But I want a story in two weeks.<\/dialogue>\n    <scene_description>I'm saving the \"Life and Style\" cover for you. You're gonna make one hell of a reporter. Oh, and if you don't, you and Gus are fired. Josie and Gus react.<\/scene_description>\n    <character>RIGFORT<\/character>\n    <dialogue>Now, onto the next order of business. Marketing department-yes or no?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JOSIE'S PARENTS' HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Beer cans and kids litter the lawn. Josie pulls into the driveway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOSIE'S PARENTS HOUSE - SAME<\/stage_direction>\n    <scene_description>Josie makes her way through the THRONGS OF KIDS. It's a big high school \"rager\" lots of big blue keg cups, drunk girls, etc. The cool Girls are present and socializing. Josie finally makes her way to the kitchen.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - SAME<\/stage_direction>\n    <scene_description>Rob is mixing margaritas, wearing a big sombrero. Tracy sits on the counter, gazing lovingly at Rob's every move.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Hey Rob, what's going on?<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>I'm Rob's prom date.<\/dialogue>\n    <scene_description>Josie glares at Rob.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Really?<\/dialogue>\n    <parenthetical>(pulling Rob aside)<\/parenthetical>\n    <dialogue>Rob-, that girl is sixteen.<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>And a gymnast!<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>She's sixteen years old, Rob. That's totally and completely illegal.<\/dialogue>\n    <scene_description>Josie feels an arm around her shoulder. It's Guy.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Hey there.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Hey. There.<\/dialogue>\n    <scene_description>Guy takes Josie's hand.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Come here. I want to ask you something.<\/dialogue>\n    <scene_description>Rob watches them leaving the kitchen.<\/scene_description>\n    <character>ROB<\/character>\n    <parenthetical>(to Josie, calling after)<\/parenthetical>\n    <dialogue>See you around the cellblock, Mrs. Robinson.<\/dialogue>\n    <scene_description>Josie turns around and gives him a death look. Tracy turns to Rob.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Rob, what do you want to be when you grow up?<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>Well, a ball player.<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>No, I know. But, what if you don't make it? 'I mean, you don't want to be working at a mail place the rest of your life. It's okay for an after school job, but, come on, \"Hi, I'm Rob and I run the Tiki Post\"?! Totally lame.<\/dialogue>\n    <scene_description>Tracy starts to giggle. Rob does not.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSTAIRS HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Guy and Josie stand in front of Josie's old room. A bicycle license plate that says-\"JOSIE\" is nailed to the door. She stands in front of it.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Maybe we should go in a different room?<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>I already checked. There are some pretty serious couples in there.<\/dialogue>\n    <scene_description>Guy reaches for the doorknob.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOSIE'S OLD BEDROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>They go in. Josie sees her spelling bee trophies- with her name. She turns them around, trying to appear nonchalant. As Guy enters, he eyes the trophies, the stuffed animals, the many sets of encyclopedias.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Wow, Rob's sister must be such a loser.<\/dialogue>\n    <scene_description>Josie manages a weak smile. Guy sits on the bed.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Come here, sit down.<\/dialogue>\n    <scene_description>She sits on the bed, and then sees a picture of her and her family on the bedside table. She dives across the bed to overturn it.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>I'm sure you've probably heard that I want to ask you, but I'd like to know if you'd go to prom with me. I know we didn't hit it off right at the beginning but-<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Yes. I'll go. Yes.<\/dialogue>\n    <scene_description>Guy leans in as if to kiss her and whispers...<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Rufus.<\/dialogue>\n    <parenthetical>(then pulling away)<\/parenthetical>\n    <dialogue>But I don't even know where you live.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>You know what? Why don't you just pick me up here? We could all share a limo.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Cool. I'll catch you later.<\/dialogue>\n    <scene_description>Guy leaves. Josie is ecstatic and flops back on her bed. Stuffed animals fall all around her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL HALLWAY - DAY<\/stage_direction>\n    <scene_description>Josie and Rob walk confidently through the hallway. Kids greet and high five them both.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Hey Jos. Hey Robster.<\/dialogue>\n    <character>BRETT<\/character>\n    <dialogue>Looking good guys.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Hey Jos. Rob, rufus kegger.<\/dialogue>\n    <scene_description>Rob and Josie turn the corner.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Rob, this is unbelievable. I mean-- Josie shoves through the double doors leading into the gym.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GYM - CONTINUOUS<\/stage_direction>\n    <scene_description>The place is a flurry of activity, a staging area for prom. Various committees are set up at tables throughout the room. Josie and Rob enter.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>--I spent my whole life wanting to fit in, and now--Gibby and Kirsten run up to Josie.<\/dialogue>\n    <character>GIBBY<\/character>\n    <dialogue>Hey Josie- who did Archie date Betty or Veronica?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Betty.<\/dialogue>\n    <scene_description>Gibby turns to Kirsten.<\/scene_description>\n    <character>GIBBY<\/character>\n    <dialogue>Told you.<\/dialogue>\n    <scene_description>And they move off. Rob spots Tracy and moves off to her.<\/scene_description>\n    <character>SAM (O.S.)<\/character>\n    <dialogue>I always liked Betty better.<\/dialogue>\n    <scene_description>Josie turns, sees Sam.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>You did?<\/dialogue>\n    <scene_description>And they begin to walk through the prom prop area, and it begins to appear like a romantic date--they pass flowers, he picks one out, they pass a bistro table, a backdrop of a sunset follows them for awhile, etc.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Oh yeah. Betty was so spunky and fun. Veronica may have had great legs, but she was too moody. Very high maintenance.<\/dialogue>\n    <scene_description>Josie laughs. ANGLE ON: A TABLE WHERE KRISTEN AND TOMMY ARE SELLING PROM tickets. Aldys is standing in front of them.<\/scene_description>\n    <character>ALDYS<\/character>\n    <dialogue>You can't not sell me a ticket to prom.<\/dialogue>\n    <character>TOMMY<\/character>\n    <dialogue>Listen, Alpo--we can do whatever we want.<\/dialogue>\n    <character>ALDYS<\/character>\n    <dialogue>Oh, I get it. It's that pesky making change part that's confusing you guys. Here. I'll make it easy.<\/dialogue>\n    <parenthetical>(holding up money)<\/parenthetical>\n    <dialogue>Money-<\/dialogue>\n    <parenthetical>(drops money, takes ticket)<\/parenthetical>\n    <dialogue>Ticket.<\/dialogue>\n    <scene_description>Aldys takes her ticket, walks off. Tommy and Kristen turn to each other and start whispering conspiratorially. ANGLE BACK ON: JOSIE AND SAM Sera runs up to Josie.<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Josie, were Tweedle Dee and Tweedle Dum a couple?<\/dialogue>\n    <scene_description>Josie and Sam share a look.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Well, in a strict sense, probably not. But for prom--sure.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Thanks!<\/dialogue>\n    <scene_description>Sera turns off.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>You're really doing a great job here, Josie. I like your \"can do\" attitude.<\/dialogue>\n    <character>JOSIE<\/character>\n    <parenthetical>(shyly)<\/parenthetical>\n    <dialogue>Thanks.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>They weren't related to Humpty Dumpty, were they? Tweedle Dum and Tweedle Dee?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Maybe distant cousins. They did have that egg shape in common.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>But Humpty Dumpty was alone.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>That's sad, isn't it? He had to sit on that wall all by himself. He deserved to have somebody.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>That's really what we all need, right? Someone to sit up on the wall with us--<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Yeah. To watch the world go by.--<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>To put us back together again when we fall.<\/dialogue>\n    <scene_description>They share a meaningful glance and a smile.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Our penguin, right?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Do you think you'll find her?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Yeah, actually I do.<\/dialogue>\n    <scene_description>They are lost in each other. They lean closer, as if they may kiss, then Sam breaks the moment.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Oh my God! I almost forgot--I got you a meeting with the admissions guy from Dartmouth!<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>What! But--I wasn't even going to go to college--<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>No, I know, but I pulled some strings, got him to look at your writing, and he agreed to meet you.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Oh--yikes!<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Told him<\/dialogue>\n    <parenthetical>(teasing)<\/parenthetical>\n    <dialogue>--if I'm wrong about this girl, you can take away my teaching certificate!<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Wow. You believe in me that much--<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Of course I do. Josie, you owe it to yourself--to your writing, to go to college. You're a great writer. You just have to find your story.<\/dialogue>\n    <scene_description>As they share a meaningful look, WE FREEZE FRAME.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUS'S OFFICE - LATER<\/stage_direction>\n    <scene_description>Gus and Josie sit in front of his TV. The image of Sam and Josie is frozen on the screen.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>That's your story!<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>You're crazy. I can't--I can't-no. No.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>It's got it all--sex, intrigue, immorality in the education system--<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>He's my teacher!<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>And that's the best part.<\/dialogue>\n    <parenthetical>(bannering with his hands)<\/parenthetical>\n    <dialogue>\"Teacher-Student Relations: How close is too close?\" We're gonna blow the lid off it!<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>There is no lid! Nothing's going on between Sam and me. Coulson. Mr. Sam Coulson and me.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>Not yet. Every person in this office comes in here and watches you guys! It's like the goddamn Young and the Restless! Rigfort's salivating over it.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>You already pitched this to Rigfort?!<\/dialogue>\n    <scene_description>Gus leans in, now all business.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Josie, this isn't a joke. You heard Rigfort. It's both of our asses on the line. This is your story.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOSIE'S APARTMENT - BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Josie is getting ready for prom. She wears her bathrobe and is doing her make-up. She looks over at her dresser where she eyes the camera\/flight wings pin tentatively.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEN - NIGHT<\/stage_direction>\n    <scene_description>Rob, in boxers, a dress shirt, and socks is filling flasks with vodka. Josie comes in the door wearing a lovely Elizabethan gown. She looks absolutely beautiful.<\/scene_description>\n    <character>ROB<\/character>\n    <dialogue>Wow, Josie- you look really-<\/dialogue>\n    <character>JOSIE<\/character>\n    <parenthetical>(hopeful)<\/parenthetical>\n    <dialogue>Rufus?<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>Yes. Exactly. Major Rufus.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Thanks. And what are -<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>Duh. Tom Cruise. \"Risky Business\".<\/dialogue>\n    <scene_description>He puts on his black wayfarer sunglasses, and does the famous slide into the living room. Josie laughs.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Rob--thanks. For everything. This is really happening. I never thought--<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>Rob smiles and exits. Josie nervously checks her reflection in the T.V. - just like she did eight years ago. She takes a deep breath, and goes out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FRONT PORCH - SAME<\/stage_direction>\n    <scene_description>Josie comes out on the porch, and sees the limo rounding the corner, just like eight years before. The sunroof opens. And Guy stands up - holding something. Josie panics - and starts to take cover - but then sees he's holding a dozen white roses. And holding them out to her.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Come on beautiful - what are you waiting for?<\/dialogue>\n    <scene_description>Josie, smiling, runs down the driveway to the limo.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY CLUB - NIGHT<\/stage_direction>\n    <scene_description>Prom night. And it really is magical. Twinkling lights dot the trees, MUSIC wafts out from the club. A neon sign that says \"Meant For Each Other\" blinks above the building.-COUPLES make their way inside. We see MORK a MINDY, ANTONY a CLEOPATRA and Sera dressed as a RABBIT. Annoyed, she turns back to her lagging date, Brett, dressed as a TORTOISE.<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Hello! If you don't hurry up we're gonna miss the whole thing!<\/dialogue>\n    <scene_description>Gibby, Kirsten, and Kristen exit limos with their DATES. They all wear the same straight blonde wig, and look at each other in horror.<\/scene_description>\n    <character>GIBBY<\/character>\n    <dialogue>Oh-my-God. You totally ripped off my Malibu Barbie idea.<\/dialogue>\n    <character>KRISTEN<\/character>\n    <dialogue>Uh uh. I'm Disco Barbie.<\/dialogue>\n    <scene_description>Kirsten's wearing a short, tight miniskirt.<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>And I'm Evening Gown Barbie.<\/dialogue>\n    <character>GIBBY<\/character>\n    <dialogue>Right. That's not an evening gown.<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>It is on Barbie.<\/dialogue>\n    <scene_description>Josie and Guy approach, dressed in Elizabethan costume. They look great.<\/scene_description>\n    <character>KRISTEN<\/character>\n    <dialogue>Josie, you look Rufus.<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>Who are you guys?<\/dialogue>\n    <character>GIBBY<\/character>\n    <dialogue>Don't tell me... You're Medieval Barbie.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Rosalind and Orlando.<\/dialogue>\n    <parenthetical>(nothing)<\/parenthetical>\n    <dialogue>From \"As You Like It\"?<\/dialogue>\n    <parenthetical>(more blank stares)<\/parenthetical>\n    <dialogue>Shakespeare?<\/dialogue>\n    <scene_description>It's like talking to a sack of hammers. Guy interjects.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Look! I get to have a sword!<\/dialogue>\n    <scene_description>And they all ooh and ahh.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COUNTRY CLUB - CONTINOUS<\/stage_direction>\n    <scene_description>WE FOLLOW Josie and the group into the prom. The place looks amazing. Lights, ice sculptures, champagne fountains. WE PAN DOWN the buffet. A BOY dressed as a jar of PEANUT BUTTER and his date, JELLY, are getting food. Peanut Butter turns away from the buffet and bumps into a GIRL dressed as a CHOCOLATE BAR.<\/scene_description>\n    <character>PEANUT BUTTER<\/character>\n    <dialogue>Oh, sorry.<\/dialogue>\n    <scene_description>There's a magical beat as they smile at each other.<\/scene_description>\n    <character>CHOCOLATE BAR<\/character>\n    <dialogue>That's okay--<\/dialogue>\n    <scene_description>Jelly looks on, chagrined. We reach two OLDER GENTLEMEN in tuxes who carry clipboards and wear big buttons that read: NATIONAL PROM JUDGE. They contemplate the ice sculpture.<\/scene_description>\n    <character>JUDGE #1<\/character>\n    <dialogue>It's deft and unique without being derivative.<\/dialogue>\n    <character>JUDGE #2<\/character>\n    <parenthetical>(looking off)<\/parenthetical>\n    <dialogue>Hey! Pigs in blankets!<\/dialogue>\n    <scene_description>And he runs off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COUNTRY CLUB - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Josie sits with the COOL GROUP at a table. Kristen is making odd faces.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Kristen, what are you doing?<\/dialogue>\n    <character>KRISTEN<\/character>\n    <dialogue>I'm practicing my surprised face for when we get named to prom court.<\/dialogue>\n    <scene_description>JOSEPH and a very pregnant MARY approach their table and try to sit down.<\/scene_description>\n    <character>KIRSTEN<\/character>\n    <dialogue>Sorry. There's no room at this table.<\/dialogue>\n    <scene_description>Joseph and Mary amble off. Guy turns to Josie.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>You having fun?<\/dialogue>\n    <character>JOSIE<\/character>\n    <parenthetical>(meaning it)<\/parenthetical>\n    <dialogue>Oh yeah. The best.<\/dialogue>\n    <scene_description>Josie takes in the spectacle around her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S VAN - CONTINUOUS<\/stage_direction>\n    <scene_description>Candles are lit. George's Date sits on the couch. The monitor is on showing the JOSIE CAM POV. He flips the switch, the lights dim and a small disco ball starts moving slowly. George settles in next to his Date.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUS'S OFFICE - CONTINUOUS<\/stage_direction>\n    <scene_description>The entire office is crammed into Gus's office. Anita sits up front, spellbound, watching the JOSIE CAM. Gus stands in back. Okay, he's a little interested too.<\/scene_description>\n    <character>ANITA<\/character>\n    <dialogue>This is the most beautiful prom I have ever been to.<\/dialogue>\n    <scene_description>Cynthia runs in with a bowl of popcorn.<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>Did I miss the crowning?<\/dialogue>\n    <character>MERKIN<\/character>\n    <dialogue>No, but I'm closing the pool in five minutes.<\/dialogue>\n    <scene_description>Merkin holds out a bowl of cash.<\/scene_description>\n    <character>MERKIN<\/character>\n    <dialogue>Josie's odds are 3 to 1. 2 to 1 for Prom court. And even odds the kid sticks himself with the sword by the end of the night.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COUNTRY CLUB - CONTINUOUS<\/stage_direction>\n    <scene_description>WE PAN ACROSS the dance floor where we see POPEYE &amp; OLIVE OYL, SONNY &amp; CHER, the BLUES BROTHERS. WE HOLD on ROBIN dancing with BATGIRL. BATMAN approached and taps Robin's shoulder--<\/scene_description>\n    <character>BATMAN<\/character>\n    <dialogue>May I have this dance-<\/dialogue>\n    <scene_description>And Batgirl steps aside--Robin and Batman dance happily away. ANGLE ON ROB TRYING TO SLOW DANCE WITH TRACY (Dressed like REBECCA De MORNAY), but she is so-drunk she's having trouble balancing.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Are you having fun?<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>Yeah. Definitely.<\/dialogue>\n    <scene_description>He tries to stand her up on her own.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Good. Gibby gave me champagne.<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>Maybe we should sit.<\/dialogue>\n    <scene_description>He helps her to a chair next to the dance floor. They both sit. Next to them, a ravenous MISS PIGGY eats with her date KERMIT looking on. She picks up an hors d'oeuvre and stares at it horrified.<\/scene_description>\n    <character>MISS PIGGY<\/character>\n    <dialogue>Oh my God! Is this a pig in a blanket?!<\/dialogue>\n    <scene_description>Tracy looks at Rob, and gets serious.<\/scene_description>\n    <character>TRACY<\/character>\n    <dialogue>Rob, I've - I've thought about it a lot. And I think- I mean, I know. You're the one. My penguin.<\/dialogue>\n    <scene_description>Rob looks at her. She's young. She's beautiful. She's tipsy. She's trying to put her legs behind her head.<\/scene_description>\n    <character>ROB<\/character>\n    <dialogue>Wow - I-<\/dialogue>\n    <character>TRACY<\/character>\n    <dialogue>Rob, I mean it. I want you to be my first. Me and you. Once the floor stops spinning, let's have sex.<\/dialogue>\n    <scene_description>He looks around. It's high school prom. A skinny kid is getting beat up in a corner. Other kids are sneaking smokes. He can't do this.<\/scene_description>\n    <character>ROB<\/character>\n    <dialogue>I'm gonna get you some water. And then, I think we should get back out on that dance floor and boogie.<\/dialogue>\n    <scene_description>Rob gets up, kisses Tracy on the top of her head, and heads for the refreshment table. Tracy, her leg still around her head falls backwards into Kermit's lap. Kermit looks down, surprised and interested. Miss Piggy notices, gives him a big \"Harumph\", tosses her hair, and leaves. ANGLE BACK ON: THE COOL TABLE. Gibby is staring O.S. in horror.<\/scene_description>\n    <character>GIBBY<\/character>\n    <dialogue>You guys--what is the one thing that could ruin my senior prom?<\/dialogue>\n    <character>KRISTEN<\/character>\n    <dialogue>That you would trip on your Barbie heels and I'd get named prom queen?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Did I say that out loud?<\/dialogue>\n    <scene_description>WE FOLLOW Kristen's stare to the prom entrance where Aldys and the Denominators enter in pairs, one behind the other, attached together with rope, to form a human ladder. They cross the dance floor, interrupting everything with their unwieldy, tied-together conga line. They approach the Cool Table.<\/scene_description>\n    <character>GIBBY<\/character>\n    <dialogue>So what are you supposed to be? Other than freaks?<\/dialogue>\n    <character>ALDYS<\/character>\n    <dialogue>We're DNA. A double helix. But I guess you'd know that if you'd actually passed bio.<\/dialogue>\n    <scene_description>Kristen reaches out and touches the rope binding Denominator #1 to Aldys. Denominator #1 slaps her hand away.<\/scene_description>\n    <character>DENOMINATOR #1<\/character>\n    <dialogue>Please don't touch the hydrogen. It's rented.<\/dialogue>\n    <scene_description>Kristen reacts.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COUNTRY CLUB - ON THE STAGE - LATER<\/stage_direction>\n    <scene_description>Sam takes the stage, with a card in his hand.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Well, the moment has arrived.<\/dialogue>\n    <scene_description>He looks at the card.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Our 1999 prom court - the princesses are - Miss Kristen Rey, Miss Kirsten Leosis and Miss Gibby Zarefsky. And the princes are Mr. Thomas Salamey, Mr. Jason Way, and Mr. Rob -<\/dialogue>\n    <scene_description>Sam looks at the card, and then looks around. Nobody can help him.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Mr. Rob ... Mr. Rob!<\/dialogue>\n    <scene_description>The crowd cheers. Gibby, Kirsten, and Kristen all jump in preplanned delight. Rob seems genuinely surprised. Jason carries Tommy up to the stage piggyback. The girls make their way to the stage, and put on their \"PROM COURT\" sashes. Sam looks to the card again.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Next up - Southglen's Prom King\u2026<\/dialogue>\n    <scene_description>Guy is already halfway to the stage-<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Guy Perkins!<\/dialogue>\n    <scene_description>The crowd goes wild. Guy reaches the stage and takes his crown and scepter.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>And - this year's prom queen -<\/dialogue>\n    <scene_description>Sam looks at the card, then at Josie. Josie is standing; eyes open, staring at the podium...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUS'S OFFICE - CONTINUOUS<\/stage_direction>\n    <scene_description>The Crowd is rapt, waiting for the announcement. Anita has her eyes squeezed shut, praying for the win...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COUNTRY CLUB - ANGLE ON SAM.<\/stage_direction>\n    <character>SAM<\/character>\n    <dialogue>Ladies and gentlemen - Josie Geller!<\/dialogue>\n    <scene_description>The Crowd CHEERS like crazy, Josie smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUS'S OFFICE - CONTINUOUS<\/stage_direction>\n    <scene_description>The Crowd goes crazy, hugging each other and jumping up and down.<\/scene_description>\n    <character>ANITA<\/character>\n    <dialogue>Yes! You go girl! Yes! Yes!<\/dialogue>\n    <scene_description>Anita gives Gus a big hug. Gus is completely taken aback. Merkin dolefully hands out money.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COUNTRY CLUB - CONTINUOUS-<\/stage_direction>\n    <scene_description>Josie is hugged and congratulated as she makes her way, elated, to the stage. Sam places the Queen's tiara on her head and hands her a bouquet of flowers. They lock eyes for a moment.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>And now - as it is custom - the king and queen will have their first dance.<\/dialogue>\n    <scene_description>ON THE DANCE FLOOR: Guy and Josie begin to dance. From Josie's P.O.V., it's in SLOW MOTION, the world glittering and wonderful around her.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Hey--what are you thinking about?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Shakespeare. How he described a night like this--\"Look how the floor of heaven is thick inlaid with patines of bright gold\".<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>What about you? What are you thinking about?<\/dialogue>\n    <character>GUY<\/character>\n    <parenthetical>(taking a beat, happily)<\/parenthetical>\n    <dialogue>My sword.<\/dialogue>\n    <scene_description>It's like a switch has been flicked on in Josie's brain.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>GUY<\/character>\n    <dialogue>Josie, you rock my world. You're like the most amazing girl I've ever dated. You're so smart and fun and crazy! You rock my world.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>You said that already.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COUNTRY CLUB - BUFFET - MINUTES LATER<\/stage_direction>\n    <scene_description>Josie stands by the buffet in her tiara, turns and comes face to face with Sam. They're both taken aback by the other's beauty.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Josie--you make a really beautiful prom queen.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Thanks. So do you.<\/dialogue>\n    <scene_description>They both laugh, embarrassed, at Josie's flub.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I always feel like such a goofball in these penguin suits. Like I'm at my own wedding or something.<\/dialogue>\n    <scene_description>An awkward beat.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>You wanna--<\/dialogue>\n    <scene_description>He gestures towards the dance floor. Josie smiles.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Yeah, okay--<\/dialogue>\n    <scene_description>And they walk off onto the dance floor. ANGLE ON: THE SIDE OF THE DANCE FLOOR. Guy approaches Aldys.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Hey, listen--it's prom. How about we let all the old shit go. Would you like to dance?<\/dialogue>\n    <scene_description>Aldys can't help it. She smiles, a little flattered.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>If it's okay with the rest of the double helix.<\/dialogue>\n    <scene_description>Aldys smiles and unhooks herself from the group. And starts to dance with Guy. ANGLE ON: JOSIE AND SAM as they continue to dance.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>Proms always make me sad.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>They're so final. Graduation. Everyone's scattering, moving on.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Well, are you here with anybody?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>No, I'm alone.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>It's weird because \"prom\" is actually from the word \"promenade\". And you can't really promenade alone, can you?<\/dialogue>\n    <scene_description>Sam smiles at this.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>You're amazing, Josie Geller.<\/dialogue>\n    <scene_description>ANGLE ON: GUY AND ALDYS AS THEY DANCE, WE SEE THE COOL Girls and Jason standing to the side of the dance floor laughing Gibby reaches into her purse and pulls out a CAN OF ALPO. She hands it to Jason who pulls a CAN OPENER out of his pocket, opens the lid. He hands it to Kirsten who take the lid off. She hands the can to Kristen, who hands the can to Tommy.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>So--have you thought anymore about Dartmouth?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Yeah, I have.<\/dialogue>\n    <scene_description>CLOSE UP on Josie's HAND as she subtlety removes her hidden camera pin and drops it to the ground.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>There's something I have to tell you--<\/dialogue>\n    <scene_description>Her foot comes down on top of it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE'S VAN - CONTINUOUS<\/stage_direction>\n    <scene_description>George is making out with his Date when the monitor suddenly FRITZES OFF. George looks up.<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>What the--?!<\/dialogue>\n    <scene_description>George stands and hits the side of the monitor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUS'S OFFICE - CONTINUOUS<\/stage_direction>\n    <scene_description>Gus's monitor flicks to static. The Crowd lets out a horrified GASP.<\/scene_description>\n    <character>CYNTHIA<\/character>\n    <dialogue>Tell him what?! Tell him what?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COUNTRY CLUB - DANCE FLOOR - CONTINUOUS<\/stage_direction>\n    <scene_description>Sam looks deep into Josie's eyes.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>There's something I have to tell you, too--<\/dialogue>\n    <scene_description>Josie's eyes shift from Sam to over his shoulder. She spots Aldys, who smiles at her. Josie's eyes travel up to the can of DOG FOOD. FLASH: TEENAGE JOSIE on the porch, facing Billy and his Date. FLASH: TEENAGE JOSIE with egg dripping all over her. BACK TO PRESENT.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>NOOOOOOO!<\/dialogue>\n    <scene_description>SLOW MOTION as Josie lunges for Aldys and pulls her to floor as Tommy, off-balance, dumps the dog food all down Guy's front. The Crowd stops dead, staring. The can, now empty, rolls slowly off the dance floor, the metal rolling noise ECHOING in the silence.<\/scene_description>\n    <character>GUY<\/character>\n    <parenthetical>(to Josie)<\/parenthetical>\n    <dialogue>What is your problem?!<\/dialogue>\n    <character>GIBBY<\/character>\n    <dialogue>I knew it. You are a loser.<\/dialogue>\n    <character>KRISTEN<\/character>\n    <dialogue>You ruined the whole thing!<\/dialogue>\n    <character>KIRSTEN<\/character>\n    <dialogue>You so do not deserve to be prom queen.<\/dialogue>\n    <scene_description>Everyone is still staring. It's dead quiet.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Let me tell you something.<\/dialogue>\n    <scene_description>It is still silent. Josie takes a deep breath, and looks around the room.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>I don't care about being the prom queen. I am twenty five years old.<\/dialogue>\n    <scene_description>Looks of confusion and teenage disgust. Rob is pissed. Sam looks shocked.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>I'm here as an undercover reporter for the Sun Times for God's sake and I've been beating my brains out trying to impress you.<\/dialogue>\n    <scene_description>She tears off her crown, and chucks it. She's on a roll.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>I want to tell you something. You people- Guy, Gibby, the rest of you who have been keeping the geeks down through the ages. You will spend your lives trying to figure out ways to keep others down, because it makes you feel more important. And you will miss out on so much.<\/dialogue>\n    <parenthetical>(indicating Aldys)<\/parenthetical>\n    <dialogue>Why her, huh? What did she ever do to you? Let me tell you something about this girl. She is unbelievable. I was new here, and she befriended me- no questions asked. But you people, you were my friends only after my brother, Rob...<\/dialogue>\n    <scene_description>She points out Rob in the crowd. He's mortified.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>... posed as a student and told you to like me. But y'know--I have to thank you. I got to go to an amazing prom. I got to be prom queen. I got to be cool. It felt good.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But not as good as being myself.<\/dialogue>\n    <parenthetical>(turns to crowd)<\/parenthetical>\n    <dialogue>And to all of you-- there's a big world out there. Bigger than prom. Bigger than high school.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>When you get there, it won't matter if you were prom queen or the quarterback or the biggest nerd in school. What matters is that you don't regret who you were, who you are-What if Steven Spielberg had quit the audio\/visual club because it wasn't \"cool\"? What if Rosie O'Donnell had stopped cracking jokes because someone told her they were stupid? What if Michael Jordan never went back to basketball after he got cut from his high school team?.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>In this room right now, there could be a future Nobel Prize winner, a Supreme Court Justice, an amazing Mom. Find out who you are and don't be afraid of it.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>And if you'll all excuse me, I have some business to take care of.<\/dialogue>\n    <scene_description>Reaction shots all around. Kids start clapping, hollering, whooping. The MUSIC STARTS UP again. They all go back to dancing. The Denominators lead their own conga line. ANGLE ON: JOSIE She looks around for Sam but he is gone. She runs out, brushing past the Judges. ANGLE ON: JUDGES Judge #2 dabs his eyes.<\/scene_description>\n    <character>JUDGE #1<\/character>\n    <dialogue>This prom had it all. Laughter, tears, an amazing climax.<\/dialogue>\n    <scene_description>Judge #2, still overcome, just raises his \"two thumbs up.\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY CLUB PARKING LOT - MOMENTS LATER<\/stage_direction>\n    <scene_description>Josie exits the club, looking for Sam. George runs up to her.<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Hey--I lost the feed! What happened with Coulson? Gus is going crazy!<\/dialogue>\n    <scene_description>Out of the shadows emerges Sam. The look on his face says he just heard everything.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>So--surprise!<\/dialogue>\n    <scene_description>He shakes his head in disbelief and walks off. Josie chases after him. He turns back to her.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>\"Surprise!\" You were doing a story on me?!<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>No, surprise, I thought you'd be--<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>What? Happy? Why? Because it turns out all along that I was allowed to be attracted to you?<\/dialogue>\n    <character>JOSIE<\/character>\n    <parenthetical>(touched)<\/parenthetical>\n    <dialogue>You were attracted to me?<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Goddamnit, Josie! Drop the act. Do you have any idea what I went through every night because of you?! I was attracted to a 17 year old! When I wasn't taking cold showers, I was trying to figure out what the hell I was going to do when I couldn't teach anymore! I thought I was the one being unethical.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Wait, I was going to tell you--<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>You set me up. For a story.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You know what's crazy? I was actually considering waiting for you.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>But now you don't have to--<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>Now I don't want to! I bought all of your penguin crap. I thought I found her--the right one! And the problem was she was too young! No -the problem was--she didn't even exist!<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>I did exist. I do exist. I'm the same person!<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>The person I cared about wouldn't have done this. Everything out of your mouth has been a complete lie. I don't know you at all. For all I know you could hate Dorothy Parker.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>I don't! Look, you could get to know me, again.<\/dialogue>\n    <scene_description>Sam turns and starts to walk away.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Please. Please don't walk away.<\/dialogue>\n    <character>SAM<\/character>\n    <dialogue>I just can't look at you the same way.<\/dialogue>\n    <scene_description>Sam gets into his car and drives off. Josie is devastated.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOSIE'S APARTMENT BUILDING - HALLWAY - LATER<\/stage_direction>\n    <scene_description>Josie, still in the prom dress, rounds the corner of her apartment hallway and sees Rob, still in his Risky Business get-up, slumped in front of the door.<\/scene_description>\n    <character>ROB<\/character>\n    <dialogue>Josie, finally. I just wanted to come over and make sure you're okay.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Really?<\/dialogue>\n    <scene_description>He gets up. He's not happy.<\/scene_description>\n    <character>ROB<\/character>\n    <dialogue>No- not really, Josie. NOT REALLY. How could you do that to me? I helped you. I got you everything you wanted. And how do you repay me- you blow everything TWO DAYS before pro scouts come to see me play. Once they had seen me really play- they wouldn't have given a shit about my age.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Wasn't even thinking about-<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>No, you weren't. Don't you realize the only time I was really happy in the last five years was when I was playing ball with those guys?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>I-<\/dialogue>\n    <character>ROB<\/character>\n    <dialogue>No, shut up, Josie. Just shut up.<\/dialogue>\n    <scene_description>He storms off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOSIE'S BEDROOM - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Josie lies amidst the needlepoint pillows, still in her prom costume. She stares blankly at the ceiling.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUS'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Gus slaps a newspaper down on his desk. CLOSE ON - the front page of the paper, and not just any newspaper - THE CHICAGO TRIBUNE - the Sun Times' rival. There is a PHOTO of Josie from Prom with the headline that reads: \"REPORTER REVEALED AT LOCAL HIGH SCHOOL\". Josie picks it up, and starts reading.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Your story was Rigfort's baby. We were scooped! We've got nothing. Zippo. You totally and completely screwed both of us.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Maybe I could talk to Rigfort, you know, tell him the whole story.<\/dialogue>\n    <character>GUS<\/character>\n    <dialogue>I'll tell you a story. It's about this shy copy editor who makes a mockery of herself and her boss when she completely botches her first assignment as a reporter.<\/dialogue>\n    <scene_description>Josie stands. Slams down the paper.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>We are not screwed. Yes, I made a mistake. But we will have a story.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>You will have an amazing story.<\/dialogue>\n    <scene_description>Josie exits.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUN TIMES BULLPEN - CONTINUOUS<\/stage_direction>\n    <scene_description>Josie walks out of Gus's office, continues, determined, towards the elevators. Anita falls into step with her.<\/scene_description>\n    <character>ANITA<\/character>\n    <dialogue>Josie! Josie, how'd it go? Did he ream you?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Yeah, but I'm okay. I've got some work to do.<\/dialogue>\n    <character>ANITA<\/character>\n    <dialogue>You need my help?<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>No, thanks--I'm doing this on my own.<\/dialogue>\n    <scene_description>Josie walks past Merkin's desk. She holds out her hand to Merkin.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Merkin. Highlighter.<\/dialogue>\n    <scene_description>Merkin slaps a highlighter into her hand, she continues on. Anita watches her go.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOUTHGLEN HIGH SCHOOL - DAY<\/stage_direction>\n    <scene_description>Josie, looking quite the professional in stylish pantsuit and briefcase, bounds up the steps, two at a time.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL HALLWAY - SAME<\/stage_direction>\n    <scene_description>Josie walks down the hall, purposefully - she is on a mission. Groups of kids stop and stare at her, but this time, Josie doesn't even notice. As Josie rounds a corner, she comes face to face with Guy, who is at his locker. He looks at her. She smiles. And now it is Guy that is nervous. He drops a pile of papers, tries awkwardly to gather them. Josie looks at him - and for the first time we see it register on her face - this guy is just a seventeen- year-old kid.<\/scene_description>\n    <character>GUY<\/character>\n    <dialogue>Uh, hey, umm--Ms. Geller. This is totally embarrassing but my mom, she's all worried about me getting a job after graduation. She wanted me to ask you about like, an internship for me, at the Sun Times?<\/dialogue>\n    <scene_description>Josie smiles big.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>I'll do what I can. And tell your mom not to worry - you'll do O.K.<\/dialogue>\n    <scene_description>Josie continues down the hall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCKER ROOM - SAME<\/stage_direction>\n    <scene_description>The guys' locker room. A bunch of GUYS are getting dressed after P. E.<\/scene_description>\n    <character>JOSIE (O.S.)<\/character>\n    <dialogue>WOMAN COMING THROUGH! COVER UP WHAT<\/dialogue>\n    <character>YOU DON'T WANT SEEN!<\/character>\n    <dialogue>And with that Josie comes walking into the locker room, completely unruffled, and storms over to Coach Romano's office, just as he is leaving it.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Hi, Coach Romano, my name is Josie Geller, from the Chicago Sun Times Listen, you know the local sports guy for the Sun Times, Jim Lakin?<\/dialogue>\n    <character>COACH<\/character>\n    <dialogue>Sure, every coach in the area tries to get Jim to cover his team.<\/dialogue>\n    <scene_description>Josie puts her arm around the coach, and leads him back into his own office.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Well, what would you say if I told you that I could guarantee that Jim and every other reporter in the area would be at the game?<\/dialogue>\n    <character>COACH<\/character>\n    <dialogue>I'd say you can have whatever the hell you want.<\/dialogue>\n    <scene_description>Josie smiles, together they enter his office and close the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JOSIE'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Josie sits at her disk, typing on her laptop, engrossed.<\/scene_description>\n    <character>JOSIE (V.O.)<\/character>\n    <dialogue>Someone once told me that to write well you have to write what you know.<\/dialogue>\n    <character>JOSIE (V.O.)<\/character>\n    <dialogue>This is what I know. I am twenty five years old. I have never really kissed a guy. A geek to the core, most of my childhood years were spent doing extra homework I requested from the teacher.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUS' OFFICE - DAY<\/stage_direction>\n    <scene_description>Gus comes in, snaps on the light, sits at his desk, and opens his newspaper. He pulls out, the \"Life and Style\" section. And there it is. Front page - \"NEVER BEEN KISSED BY JOSIE GELLER.\" There are three pictures next to the article. One is Josie at age 17, one is her recent prom picture, and one is her as a normal, 25 yr. old adult.<\/scene_description>\n    <character>JOSIE (V.O.)<\/character>\n    <dialogue>High school was more of the same. Then, at seventeen, it seemed as if my luck was about to change. The cutest guy in school asked me to senior prom - but it turned out he invited me as a cruel joke. I have never fully recovered.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUN TIMES LUHCHROOH - DAY<\/stage_direction>\n    <scene_description>Anita and Cynthia read the article, in the staff lunch room, over a shared bag of microwave popcorn. They are astounded-<\/scene_description>\n    <character>JOSIE (V.O.)<\/character>\n    <dialogue>Yes, it is embarrassing to share this with the world. But it would be hard to explain what I learned, and how I learned it, without sharing this humiliating history.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A HOUSE - MORNING<\/stage_direction>\n    <scene_description>The Sun Times lies on the front mat. The door opens; we see a pair of bare feet. A hand reaches down to grab the paper. WE PAN UP to reveal Sam in all his depressed glory--sweats, unshaven, bleary eyed.<\/scene_description>\n    <character>JOSIE (V.O.)<\/character>\n    <dialogue>I received an assignment, my first as a reporter, to enroll in high school as a student, to gain some insight into kids today. Understandably, returning to high school was my worst nightmare.<\/dialogue>\n    <scene_description>Sam shuts the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOUTHGLEN HIGH SCHOOL - DAY<\/stage_direction>\n    <scene_description>Kids stream into school.<\/scene_description>\n    <character>JOSIE (V.O.)<\/character>\n    <dialogue>What I found?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MRS. KNOX'S CIASSROOM - DAY<\/stage_direction>\n    <scene_description>Mrs. Knox, wearing the sombrero, teaches her class.<\/scene_description>\n    <character>JOSIE (V.O.)<\/character>\n    <dialogue>There's still that one teacher, who marches to her own drummer-<\/dialogue>\n    <scene_description>And in the back row, Kirsten, Kristen and Gibby are laughing an talking--<\/scene_description>\n    <character>JOSIE (V.O.)<\/character>\n    <dialogue>Those girls are still there. The ones that, even as you grow up, will still be the most beautiful girls that you've ever seen close up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BASEBALL DIAMOND - DAY<\/stage_direction>\n    <scene_description>THE BASEBALL TEAM AS THEY PRACTICE-<\/scene_description>\n    <character>JOSIE (V.O.)<\/character>\n    <dialogue>The athletes - and the immense sense of fraternity and loyalty that they share-<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SCIENCE LAB - DAY<\/stage_direction>\n    <scene_description>ALDYS AND THE DENOMINATORS- MAKING SMORES OVER A BUNSON BURNER GETTING INTO A MELTED CHOCOLATE AND MARSHMALLOW FIGHT- AND LAUGHING HYSTERICALLY-<\/scene_description>\n    <character>JOSIE (V.O.)<\/character>\n    <dialogue>The smart kids. Who everyone else always knew as the brains. But who I just knew as my soulmates, my teachers, my friends.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - DAY<\/stage_direction>\n    <scene_description>GUY, TOMMY AND JASON, AS THEY GET OUT GUY'S CAR, IN THE PARKING LOT-<\/scene_description>\n    <character>JOSIE (V.O.)<\/character>\n    <dialogue>And there's still that one guy, the one who is so perfect in every way, from the muscles in his shoulders-<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGH SCHOOL - DAY<\/stage_direction>\n    <scene_description>WE FOCUS IN ON GUY, AS HE TAKES THE FRONT STEPS TWO AT A TIME-<\/scene_description>\n    <character>JOSIE (V.O.)<\/character>\n    <dialogue>- to the way he, in his own way, struggles to uphold tradition. Southglen would not have been the same without him. High school would not be the same without him. I would not have been the same without him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HIGH SCHOOL HALLWAY - DAY<\/stage_direction>\n    <scene_description>GUY, HIS BUDDIES, KIRSTEN, KRISTEN AND GIBBY, SIGN YEARBOOKS, HANG OUT BY THE LOCKERS-<\/scene_description>\n    <character>JOSIE (V.O.)<\/character>\n    <dialogue>All of these things made me miserable at seventeen. But at twenty five I finally see that this - all of this- is just the way it should be. It is all part of this thing- high school. A time in our lives that we can never truly repeat. A time that shapes us. A time that makes us who we are, for years to come.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEWSSTAND - DAY<\/stage_direction>\n    <scene_description>HANDS GRAB CHICAGO SUN TIMES AT THE NEWSSTAND-<\/scene_description>\n    <character>JOSIE (V.O.)<\/character>\n    <dialogue>High school- going through it the first time- helped make me who I am. But going there a second time made me see that who I am is O.K. I always wanted to be \"in\", but seven years later, when they finally opened the door, I somehow gained the confidence to stay outside, firmly, happily.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. \"EL\" TRAIN PLATFORM - DAY<\/stage_direction>\n    <scene_description>About 75% of the people have their Life and Style sections opened, reading Josie's piece.<\/scene_description>\n    <character>JOSIE (V.O.)<\/character>\n    <dialogue>This is not the article I was sent in to write. This is the article I needed to write. I lived a lifetime of regret after my first high school experience, and now, after my second, my regrets are down to one.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAM'S KITCHEN - MORNING<\/stage_direction>\n    <scene_description>The kitchen of a depressed guy--empty pizza boxes next to a dying plant. Sam pours milk into a bowl of Lucky Charms while he reads the Sports Section of the paper.<\/scene_description>\n    <character>JOSIE (V.O.)<\/character>\n    <dialogue>A certain teacher was trampled in my path to self-discovery, and though this article may serve as a step, it in no way makes up for what I did to him.<\/dialogue>\n    <scene_description>He's not paying attention and the milk overflows the bowl, soaking the table.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>To this man, you know who you are, I am so sorry.<\/dialogue>\n    <scene_description>He takes the wet paper, using it like a sponge, he sops up the remaining milk, and throws the paper into an open trash can. He leaves the kitchen. WE HOLD ON the empty room.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>And, I would like to add one more thing - I think I am in love with you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BASEBALL, STADIUM PARKING LOT - NIGHT<\/stage_direction>\n    <scene_description>Cars begin to fill the parking lot in a steady stream.<\/scene_description>\n    <character>JOSIE (V.O.)<\/character>\n    <dialogue>And so I propose this - as an ending to this article, and, perhaps, as an ending to this portion of my life. I, Josie Geller, will be at the State Championship baseball game - where my friends the Southglen Rams are playing for the title.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BASEBALL FIELD - NIGHT<\/stage_direction>\n    <scene_description>The Southglen Rams baseball team minus Rob, are on the field, warming up.<\/scene_description>\n    <character>JOSIE (V.O.)<\/character>\n    <dialogue>I will stand on the pitcher's mound for the five minutes prior to the first pitch. If this man accepts my apology, I ask him to come to kiss me, in front of everyone, for my first real kiss.<\/dialogue>\n    <scene_description>We find a nervous looking Josie standing in the dugout.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Five minutes may seem like a short time, but trust me, when you've been waiting twenty-five years, it's usually the last five minutes that kill you.<\/dialogue>\n    <scene_description>CU: THE PICTURE TAKEN OF JOSIE AND SAM AT THE PROM.<\/scene_description>\n    <character>JOSIE (V.O.)<\/character>\n    <dialogue>I went back to high school and discovered I was a loser, again.<\/dialogue>\n    <scene_description>WIDEN TO REVEAL the picture on the fridge in--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAM'S KITCHEN - EVENING<\/stage_direction>\n    <scene_description>Sam enters, still in sweats, carrying a book. He opens the fridge, grabs a beer, shuts it, is confronted by Josie's picture. He takes it down, looks at it.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>And then I discovered it wasn't so bad. I wasn't so bad. So, now that I'm ready to start living the rest of my life, it would be magical if I could live the rest of it with him.<\/dialogue>\n    <scene_description>Sam lets the photo slowly drop from his hand into the trash.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Because inside everyone is a loser afraid to be loved, and out there is the one person who can kiss us and make it all better.<\/dialogue>\n    <scene_description>WE FOLLOW Sam's stare down into the trash and see the photo lying on top and to the side of Josie's article--the photos from the article are clearly visible. ANGLE ON HOT DOGS, POPCORN CHANGING HANDS BEING SOLD BY the truckload at the stadium. The crowds are over capacity. Way over. People fill the parking lot, they cover every other inch of school grounds, as well. They stand on the roofs of nearby buildings, they sit on top of their cars. It looks like most of Chicago is either already there, or on their way. Some WOMEN hold signs for Josie, others hold and wave her article. Josie sticks her head out of the dugout, and looks out at the fans. TV REPORTERS are everywhere, including several on the field. She looks like she may faint. She ducks back in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUGOUT - SAME<\/stage_direction>\n    <scene_description>The team is dressed, ready, excited. Anita and Aldys stand next to Josie. Josie looks up at the crowd, amazed.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Wow. It's packed.<\/dialogue>\n    <character>ANITA<\/character>\n    <dialogue>It's great! They're behind you. They feel like they know you.<\/dialogue>\n    <character>ALDYS<\/character>\n    <dialogue>It's romantic, what you're doing, and they want to be a part of it.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>Well I'm so glad that you guys are.<\/dialogue>\n    <scene_description>Josie then starts to hyperventilate. She puts her head between her ankles. Anita and Aldys both grab the brown paper bag and hand it to Josie. She hyperventilates into it. Coach Romano approaches. Josie puts the bag down.<\/scene_description>\n    <character>COACH<\/character>\n    <dialogue>Sweet Jesus, Geller - I had no idea there'd be all these TV crews here. This thing's gonna be on every station in the country.<\/dialogue>\n    <scene_description>Josie immediately begins hyperventilating into the bag again.<\/scene_description>\n    <character>COACH<\/character>\n    <dialogue>You more than kept your end of the bargain. Now go out there and get 'em.<\/dialogue>\n    <scene_description>Josie gets up and he slaps her on the ass. She hugs Aldys. Then Anita gives Josie a big hug, and won't let go. Josie has to pull Anita pulls back. Josie struggles to get out of the hug- Anita won't let her. Finally, they are both laughing. Josie walks out of the dugout, and onto the field.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PITCHER'S MOUND - SAME<\/stage_direction>\n    <scene_description>She walks, alone, out to the pitcher's mound, clutching a microphone. The crowd goes berserk. She stands until they quiet.<\/scene_description>\n    <character>JOSIE<\/character>\n    <dialogue>Could I have five minutes on the clock, please?<\/dialogue>\n    <scene_description>The scoreboard clock reads 5:00. Josie stands, alone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOX SEATS - SAME<\/stage_direction>\n    <scene_description>The staff from the Sun Times sits in box seats up front. Rigfort joins them, carrying a huge load of hot dogs.<\/scene_description>\n    <character>RIGFORT<\/character>\n    <dialogue>I got weiners. Hot weiners.<\/dialogue>\n    <scene_description>Rigfort sits next to Gus. Behind them sit Bruns, his hair finally growing in and Howard, now down to just a sling.<\/scene_description>\n    <character>RIGFORT<\/character>\n    <dialogue>I love this. Sun Times readers, out here, making a personal connection to one of our reporters. This is amazing, isn't it? Weiner?<\/dialogue>\n    <scene_description>Gus takes a weiner.<\/scene_description>\n    <character>GUS<\/character>\n    <dialogue>Yeah, it is.<\/dialogue>\n    <character>RIGFORT<\/character>\n    <parenthetical>(studying his weiner)<\/parenthetical>\n    <dialogue>Wait a minute...<\/dialogue>\n    <scene_description>Rigfort pulls something small and shiny out of the bun.<\/scene_description>\n    <character>RIGFORT<\/character>\n    <dialogue>There's a bolt in my weiner.<\/dialogue>\n    <scene_description>Then he turns back to Howard and smiles.<\/scene_description>\n    <character>RIGFORT<\/character>\n    <dialogue>Hey Howard, what are you doing for the next month?<\/dialogue>\n    <scene_description>Howard's face falls.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PITCHER'S MOUND - SAME<\/stage_direction>\n    <scene_description>Josie still stands there. The clock is down to 2:30. She looks over to the dugout.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BLEACHERS - SAME<\/stage_direction>\n    <scene_description>The Denominators talking and laughing. Behind them, sit THE MARCHING BAND<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PITCHER'S MOUND - SAME<\/stage_direction>\n    <scene_description>Josie forces-a stoic smile. 1:00 is on the clock.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BLEACHERS - SAME<\/stage_direction>\n    <scene_description>The cool crowd. Guy, Kirsten and the gang. They are trying start the wave, but its not working.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PITCHER'S MOUND - SAME<\/stage_direction>\n    <scene_description>The clock reads: 20.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOX SEATS - SAME<\/stage_direction>\n    <scene_description>The Sun Times box. Anita clutches Gus's hand for dear life has her eyes squeezed tight. The crowd keeps chanting.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BLEACHERS - SAME<\/stage_direction>\n    <scene_description>Everyone - including all the Denominators are on their feet, chanting. Aldys cheers the loudest.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STANDS - SAME<\/stage_direction>\n    <scene_description>The women are on their feet, chanting.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BLEACHERS - SAME<\/stage_direction>\n    <scene_description>Guy and the Gang are on their feet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PITCHER'S MOUND - SAME<\/stage_direction>\n    <scene_description>Josie stands, clutching the mic. The clock reads: 10.<\/scene_description>\n    <character>CROWD<\/character>\n    <dialogue>TEN - NINE - EIGHT - SEVEN - SIX -<\/dialogue>\n    <scene_description>Josie stands there, head still held high.<\/scene_description>\n    <character>CROWD<\/character>\n    <dialogue>FIVE - FOUR - THREE - TWO -<\/dialogue>\n    <scene_description>Josie steals a look to the dugout. No one is coming out the door.<\/scene_description>\n    <character>CROWD<\/character>\n    <dialogue>ONE!!<\/dialogue>\n    <scene_description>Josie makes one more desperate look around. No one is running toward her. CLOSE UP on Josie, completely crestfallen. She drops the microphone. It reverbs in the silent stadium. WE PAN ACROSS the Crowd, all defeated. And then... A commotion in the stands. Sam bursts through the crowd. He runs toward the mound. The Crowd is on their feet. It feels like a lifetime before he reaches Josie, grabs her, pulls her close to him.<\/scene_description>\n    <character>SAM<\/character>\n    <dialogue>I told you you could write, Josie Geller.<\/dialogue>\n    <character>JOSIE<\/character>\n    <dialogue>I finally found my story.<\/dialogue>\n    <scene_description>And they kiss passionately. The most amazing, most waited- for kiss in the history of man. A kiss that will last forever.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUGOUT - SAME<\/stage_direction>\n    <scene_description>Rob is in his baseball uniform, cheering up a storm. Across his chest is emblazoned: \"ASSISTANT COACH\".<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOX SEATS - SAME<\/stage_direction>\n    <scene_description>Anita is so thrilled, she reaches over and plants a big one on Gus. She is surprised. So is he. They like it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BLEACHERS - SAME<\/stage_direction>\n    <scene_description>The Denominators and Aldys cheer their brains out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BLEACHERS - SAME<\/stage_direction>\n    <scene_description>Guy, Kirsten, etc. have finally succeeded in starting the wave.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PITCHER'S MOUND - SAME<\/stage_direction>\n    <scene_description>MUSIC UP: The Beach Boys \"And Then I Kissed Her\" as Josie and Sam continue to kiss as the CAMERA PULLS UP, taking in the kiss, the Crowd, the stadium... CAMERA SPINS UP as FIREWORKS go off above the stadium... And we watch as the stadium becomes a speck against the glittering backdrop of Chicago. FADE OUT: THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Josie Geller is an insecure 25-year-old copy editor for the Chicago Sun-Times who has never had a real relationship. One day, her editor-in-chief, Rigfort, assigns her to report undercover at a high school to help parents become more aware of their children's lives. Her first day at South Glen South High School is miserable. Josie reverts to the old geek persona that ruined her first high school experience. She also has an unfortunate run-in with three obnoxious popular girls, Kirsten, Gibby and Kristin, and the school's most attractive and popular student, Guy Perkins. Josie loses hope but is reassured when a kind-hearted nerd named Aldys befriends her. Aldys, who loathes Guy and his gang, invites Josie to join The Denominators, a group of intelligent students. Josie falls in love with her English teacher, Sam Coulson, and becomes the top student in his class. After reciting a romantic excerpt from Shakespeare to Sam, Josie has horrible flashbacks to when she read a romantic poem aloud in class to her high school crush, a popular boy named Billy Prince, who later asked her to their senior prom, making her dream come true. However, on the night of the prom, Billy arrives with another girl and both of them hurl eggs and insults at Josie, humiliating her and breaking her heart. One night while out driving with Aldys, Josie encounters Guy and his gang at a local hangout called \"The Court\" where promiscuity and underage drinking take place. Her managing editor Augustus \"Gus\" Strauss loses patience with Josie after a rival paper scoops The Court story, and orders Josie to become friends with the popular kids. He arranges for her to wear a hidden camera, and soon the whole office becomes obsessed with her story. Josie confides in her brother Rob about her fears. Rob, who was their high school's most popular boy in his teens, urges her to let go of her old self and start anew. To help her, Rob enrolls as a student and becomes an instant hit. He then uses his influence to draw Josie into the cool crowd, much to the dismay of Aldys. Sam and Josie grow closer, but Sam struggles with his feelings as he thinks she's a student. Guy and Josie attend the prom as Rosalind and Orlando from Shakespeare's As You Like It. Anita, Gus and Josie's other co-workers watch through the camera and are overjoyed as she is voted prom queen. As Guy dances with Aldys as an alleged act of friendship, the mean girls attempt to dump dog food over Aldys. Outraged, Josie prevents the incident, throws her crown away and reveals her true identity. She praises Aldys for her kindness and warns the students that one's persona in high school means nothing in the real world. Sam is hurt by her lies and states he wants nothing to do with her. Also angered is Rob, who as a phony student received a second chance at baseball. Josie, ultimately making amends, secures him a coaching job. Josie vows to give Gus a story and writes an account of her experience. In it, she admits she's never been kissed, describes the students of South Glen South, and avows her love for Sam; the entire city is moved by it. She writes she will stand in the middle of the baseball field with a countdown and wait for Sam to come and kiss her. Josie waits, but the clock runs out with no sign of Sam. On the verge of giving up, soft cheers from the crowd give way to a booming roar, as Sam emerges to give her a romantic kiss. The movie ends with Sam telling her it took him forever to get here, a sentiment with which Josie agrees as they kiss again."}
{"movie_name":"Dredd_2012","imdb_id":"tt1343727","script":"<script>\n  <scene>\n    <character>PEACH TREES<\/character>\n    <dialogue>by Alex Garland<\/dialogue>\n    <scene_description>V.08 \u00a9 2010 DNA Films Ltd. 15 Greek Street London WlD 4DP T: +44 (0)207 292 8700 OPEN ON: Desert.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CURSED EARTH - DAY<\/stage_direction>\n    <scene_description>Blasted rock and dust, as far as the eye can see.<\/scene_description>\n    <character>VOICE OVER<\/character>\n    <dialogue>America is an irradiated wasteland. A Cursed Earth, in which a single outpost of civilisation remains. Stretching from Boston to Washington ...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CURSED EARTH\/MEGA CITY ONE - CONTINUOUS<\/stage_direction>\n    <scene_description>A vast walled city appears on the horizon.<\/scene_description>\n    <character>VOICE OVER<\/character>\n    <dialogue>... Mega City One.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MEGA CITY ONE - CONTINUOUS<\/stage_direction>\n    <scene_description>We fly over the city. On first glance, it looks comparable to its early Twenty First Century counterpart. A sprawl of low-rise buildings, with clusters of tall skyscrapers. But as we get closer, we realise that what looked like low-rise buildings are in fact skyscrapers, and what looked like high rise buildings are in fact the MEGA BLOCKS. Brutal concrete monoliths, jutting up out of pollution haze. Each operates like self-contained town. The higher levels are residential, housing tens of thousands. On the lower levels, there are schools, med centers, shops, restaurants, bars, and recreational facilities. Over this view of MEGA CITY ONE... FADE TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALL OF JUSTICE<\/stage_direction>\n    <scene_description>In a darkened room, with single light source, a man is putting on a uniform. In the darkness and artfully positioned lighting, his face is always hidden in total shadow. We see him - - zipping up boots. - clipping on utility belt. - pulling on gloves. - picking up his LAWGIVER GUN. As DREDD'S fist closes around it, an LED light by a small digital display flashes red. Then, on the digital display, a message appears:<\/scene_description>\n    <character>ID OK<\/character>\n    <dialogue>The LED turns green.<\/dialogue>\n    <dialogue>He holsters the weapon.<\/dialogue>\n    <dialogue>Finally, he pulls his helmet down over his head.<\/dialogue>\n    <dialogue>Now he moves in such a way that the light falls on his face.<\/dialogue>\n    <dialogue>The top half of his features are hidden below a visor. The lower half, his mouth and chin, look as if they have been carved from rock.<\/dialogue>\n    <dialogue>Title:<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MEGA CITY ONE\/ROAD NIGHT<\/stage_direction>\n    <scene_description>- a ribbon of road, through a canyon of mega blocks. DREDD rides down it, on a huge, fat-wheeled motorbike. His fist twists the throttle. As he accelerates, we SWING AROUND to reveal - - DREDD is in hot pursuit of a vehicle. The pursuit takes place in the tunnels beneath and through the megablocks, and the open stretches of road and fly-overs between.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Dredd to Control. In pursuit of vehicle, sector thirteen, moving west up Wagner Drive. Driving erratic. Suspect driver is under influence of narcotics.<\/dialogue>\n    <character>CONTROL<\/character>\n    <parenthetical>(over radio)<\/parenthetical>\n    <dialogue>Copy, Dredd.<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VEHICLE - CONTINUOUS<\/stage_direction>\n    <scene_description>INSIDE THE VEHICLE - - suddenly everything is in SLOW MOTION, and the colours are unnaturally IRIDESCENT and BRIGHT. Inside, are three men. The DRIVER, the PASSENGER beside him, and a third man in the backseat - - who is jamming a clip into a small MACHINE GUN. The DRIVER turns in his seat, shouting something at the man behind - - but the words are too slow and slurred for us to understand. THEN the slow motion abruptly starts to speed up, and the colours start to lose their sparkle - returning to normal. We can now understand what the DRIVER is shouting.<\/scene_description>\n    <character>DRIVER<\/character>\n    <dialogue>- we've got a judge on our tail! Take him out or we're dead fucking meat!<\/dialogue>\n    <scene_description>The SHOOTER takes a long hit on a small device like an asthma INHALER. On the side of the inhaler are the words SLO-MO. As soon as the SHOOTER takes the hit from the inhaler - - the slow motion and iridescent colours return. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MEGA CITY ONE\/ROAD - CONTINUOUS<\/stage_direction>\n    <scene_description>- outside the VEHICLE, as the SHOOTER leans out of the window of the vehicle ... .. . and starts FIRING his machine-pistol at DREDD.<\/scene_description>\n    <character>CONTROL<\/character>\n    <parenthetical>(over radio)<\/parenthetical>\n    <dialogue>Do you require back up?<\/dialogue>\n    <character>DREDD<\/character>\n    <parenthetical>(into radio)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VEHICLE - CONTINUOUS<\/stage_direction>\n    <scene_description>Inside the vehicle, seen through the psychedelic filter of the narcotics, we see the driver swerve to avoid an oncoming vehicle. In doing so, he mounts the pavement, and - - a PEDESTRIAN slams against the front windscreen. Then is sucked downwards, and dragged beneath the wheels. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MEGA CITY ONE\/ROAD - CONTINUOUS<\/stage_direction>\n    <scene_description>- DREDD.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Control. The perps just wiped out an innocent. I'm taking them out.<\/dialogue>\n    <character>CONTROL<\/character>\n    <parenthetical>(over radio)<\/parenthetical>\n    <dialogue>Copy.<\/dialogue>\n    <scene_description>FROM THE FRONT OF DREDD'S MOTORBIKE - - twin canons either side of the front wheel suddenly blaze into life. Bullets rip into the vehicle, blowing out its back tyres. It is immediately thrown into a skid, slides sideways, then starts to roll. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VEHICLE - CONTINUOUS<\/stage_direction>\n    <scene_description>- inside the vehicle, in BRIGHT COLOURS and SLOW MOTION, as it rolls. CUT TO BLACK. Then FADE UP TO - - inside the wreckage of the vehicle. Normal speed. Normal colours. The vehicle is upside down. The DRIVER is still strapped into his seat, impaled on the broken steering column, twitching. Blood runs down from the DRIVER onto the corpse of his PASSENGER, who is crumpled up, limbs unnaturally folded like child's doll. The only living occupant is the SHOOTER. He picks himself up and wipes blood from his eyes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MEGA CITY ONE\/ROAD - CONTINUOUS<\/stage_direction>\n    <scene_description>DREDD approaches the wreckage of the vehicle, handgun drawn. He pulls open the side door, and sees, past the bodies of the DRIVER and the PASSENGER, the opposite window. Which has been kicked out. And through the hole, DREDD spots the SHOOTER, sprinting towards the pedestrian entrance of a habitation block. CITIZENS are thronged around the entrance, and the SHOOTER fires into them to clear a path. DREDD steps around the side of the wrecked vehicle, talking into his radio:<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Paramedics to my GPS. We have citizens down.<\/dialogue>\n    <scene_description>DREDD lifts his gun. We see what DREDD is aiming at. The figure of the SHOOTER appears in glimpses through the crowd. Flashing in and out of view. To pick him off from here, through the shifting layers of innocent people, would be an incredible shot. But DREDD is clearly going to take it.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Armour piercing.<\/dialogue>\n    <scene_description>A setting on his firearm changes, He holds the gun level, completely still, waiting for the right moment. Then fires - just a single round. A muzzle flash. Halfway between DREDD and the SHOOTER, a WOMANdrops, with a puff of blood erupting from her shoulder. And a split second later, the SHOOTER himself pitches forwards, hit in the back. At the noise of the gunshot, the crowds scream and scatter. DREDD moves forwards, gun still raised. He passes the WOMANwho was hit, who is lying on the ground in a spreading pool of blood, flapping her arms weakly.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Remain calm. The bullet missed all major organs, and a paramedic team will be with you shortly.<\/dialogue>\n    <scene_description>He keeps moving. To the SHOOTER.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTSIDE BLOCK - CONTINUOUS<\/stage_direction>\n    <scene_description>The SHOOTER is alive, lying on his front, leaving a snail-trail of blood as he pulls himself forwards, still hopelessly trying to escape. DREDD kicks the man's gun out of reach, then reaches down and flips him over on to his back. The SHOOTER tries to speak, but his mouth is filled with blood, and no words come out. DREDD uses his free hand to check the SHOOTER'S inside pockets. Then finds what he is looking for. An ID card. DREDD checks it.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Citizen Zwirner. Your crimes are homicide, unauthorised use of a firearm, attempted murder of a judge. Do you have anything to say in your defense?<\/dialogue>\n    <scene_description>More blood bubbles out of ZWIRNER'S mouth.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Defense noted.<\/dialogue>\n    <scene_description>DREDD levels his gun at ZWIRNER'S head.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Sentence: death.<\/dialogue>\n    <scene_description>ZWIRNER gazes up at DREDD, and the gun barrel aiming down at him. Then DREDD fires. A single shot. Right between ZWIRNER'S eyes. A beat. Then DREDD'S radio fuzzes back to life.<\/scene_description>\n    <character>CONTROL<\/character>\n    <dialogue>Control to Dredd. Come in.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>Dredd here.<\/dialogue>\n    <character>CONTROL<\/character>\n    <dialogue>Is your pursuit resolved?<\/dialogue>\n    <scene_description>ZWIRNER lies dead at DREDD'S feet. Behind him, the wounded WOMANflaps around. Behind her, the wrecked vehicle smoulders.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>CONTROL<\/character>\n    <dialogue>Report back to the Hall Of Justice. The Chief Judge wants to see you.<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALL OF JUSTICE\/OBSERVATION ROOM CONTINUOUS<\/stage_direction>\n    <scene_description>- a girl in her early twenties, in judge's uniform, minus helmet. She is an immediate contrast with everything we have so far seen of the grim world of Mega City One. Beautiful, blonde, and slightly vulnerable. Biting her lip as she sits on a chair in a featureless room. Opposite her is a mirror.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALL OF JUSTICE\/OBSERVATION ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>On the other side of the two-way mirror, DREDD and the CHIEF JUDGE, a woman in her fifties, look back at the girl.<\/scene_description>\n    <character>CHIEF JUDGE<\/character>\n    <dialogue>Cassandra Anderson. Twenty one. Born in a block one hundred metres from the radiation boundary wall. At seven years old, she lost both parents to residual-fallout cancer. As is standard with orphans, she was given a judge aptitude test at age nine. It classified her as unsuitable, but she was entered into the Academy on special instruction. In the Academy, her record was never better than borderline. The final Academy score put her three percentile points below a pass.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>So what's she doing in a uniform?<\/dialogue>\n    <scene_description>The CHIEF JUDGE doesn't answer. Instead, she reaches out, and presses the INTERCOM button.<\/scene_description>\n    <character>CHIEF JUDGE<\/character>\n    <dialogue>Rookie Anderson.<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>Sir.<\/dialogue>\n    <character>CHIEF JUDGE<\/character>\n    <dialogue>How many people are observing you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALL OF JUSTICE\/OBSERVATION ROOM CONTINUOUS<\/stage_direction>\n    <scene_description>ANDERSON continues looking at her reflection, frowning slightly. Biting her lip a little harder.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>Two.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALL OF JUSTICE\/OBSERVATION ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>DREDD reacts.<\/scene_description>\n    <character>CHIEF JUDGE<\/character>\n    <parenthetical>(into intercom)<\/parenthetical>\n    <dialogue>What can you tell me about the person I am with?<\/dialogue>\n    <character>ANDERSON<\/character>\n    <parenthetical>(through intercom)<\/parenthetical>\n    <dialogue>Male.<\/dialogue>\n    <character>CHIEF JUDGE<\/character>\n    <parenthetical>(into intercom)<\/parenthetical>\n    <dialogue>Good.<\/dialogue>\n    <character>ANDERSON<\/character>\n    <parenthetical>(through intercom)<\/parenthetical>\n    <dialogue>Another judge.<\/dialogue>\n    <parenthetical>(concentrating harder)<\/parenthetical>\n    <dialogue>I can feel anger. And control. But there's something else. Behind the control. Something almost ...<\/dialogue>\n    <character>CHIEF JUDGE<\/character>\n    <parenthetical>(cuts in)<\/parenthetical>\n    <dialogue>Okay, Anderson. That'll do.<\/dialogue>\n    <scene_description>The CHIEF JUDGE switches the intercom off.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>A mutant.<\/dialogue>\n    <character>CHIEF JUDGE<\/character>\n    <dialogue>The most powerful psychic we've ever come across - by a huge margin. We believe she could be a major asset.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>CHIEF JUDGE<\/character>\n    <dialogue>As I said. Her final score was only three points below a pass. It's marginal.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>It's not marginal. She failed.<\/dialogue>\n    <character>CHIEF JUDGE<\/character>\n    <dialogue>The girl's getting one more chance. I want you to take her out and give her one day in the field. Supervised. To see if she makes the grade.<\/dialogue>\n    <scene_description>The CHIEF JUDGE turns to DREDD.<\/scene_description>\n    <character>CHIEF JUDGE<\/character>\n    <dialogue>Sink or swim. Chuck her in the deep end.<\/dialogue>\n    <scene_description>On DREDD, unreadable:<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>It's all the deep end.<\/dialogue>\n    <scene_description>Then CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALL OF JUSTICE\/OBSERVATION ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>- ANDERSON. She sits quietly. Gazing at something in her hands. It's a photo. Slightly battered. It shows a little blonde girl, seven years old, smiling, between both her parents. All are smiling at the camera. Abruptly, she folds the PHOTO and tucks it into her utility belt. Then turns to look at the door. A second later, it opens, revealing DREDD. ANDERSON stands immediately, and salutes. DREDD enters, and closes the door behind him. A beat. Then:<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>A rookie judge on assessment is likely to be involved in armed combat. They may be required to carry out on the spot executions of convicted felons.<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>Incorrect sentencing is an automatic fail. Not obeying a direct order from your assessment officer is an automatic fail. Losing your primary weapon or having it taken from you is an automatic fail.<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>You ready for this.<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>I am.<\/dialogue>\n    <scene_description>A beat. Then DREDD nods.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Your assessment starts now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MEGA CITY ONE - DAY<\/stage_direction>\n    <scene_description>An airborne view of the city.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PEACH TREE BLOCK - CONTINUOUS<\/stage_direction>\n    <scene_description>CLOSE UP on a SKATEPARK, concrete, surrounded by a high wire mesh fence, half-pipes and rails, where six SKATERS are pulling off some impressive arial moves. As one of the SKATERS soars, and revolves a neat 720 spin - - we reveal the vertiginous drop on the other side of the wire fence. The SKATE PARK is bolted on the side of a mega block, hundreds of feet in the air. This particular block is called PEACH TREES. Named in luminous peach lettering, etched into the acid-rain and fume-stained concrete flanks. The scale of the construction is colossal. Leaving the park behind, we start moving past windows, we glimpse the lives inside. Cramped apartments. People watching television. Sleeping. Eating. Having sex. Or simply absent. The only common factor between the lives we see is squalor, and poverty. Peach Trees is a slum.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PEACH TREE BLOCK\/WINDOW- CONTINUOUS<\/stage_direction>\n    <scene_description>We eventually settle on a single window, at the top level of the block. Looking out of the window is a woman. She could be in her late fifties or early sixties, but a diagonal stripe scar that disfigures her cheek and top lip, and heavy make-up, make her precise age hard to place. This is MA-MA.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MA-MA'S BASE - CONTINUOUS<\/stage_direction>\n    <scene_description>Behind MA-MA are five men. The first of these men is CALEB. Late thirties. Physically powerful. Intelligent and violent. MA-MA's right hand man. The next two are KAY and SY. Junior to CALEB. Soldiers. Lieutenants. And finally there are MA-MA'S two BODYGUARDS. They never leave her side, and never speak. All are inked with dense black tattoos - but share one particular tattoo on the side of their necks: a pierced heart and scroll - with the word Ma-Ma written inside.<\/scene_description>\n    <character>CALEB<\/character>\n    <dialogue>The only danger is we expand too fast. In the last few days we've added distribution to three new blocks. Pretty soon we'll be looking at making inroads into sectors nine and fifteen.<\/dialogue>\n    <character>MA-MA<\/character>\n    <dialogue>Fifteen is still Red territory. Why make waves?<\/dialogue>\n    <character>CALEB<\/character>\n    <dialogue>I've been talking to my contacts there. They want a sit-down, but from what I hear, it's already squared. Fact is, they want what we've got. Just business.<\/dialogue>\n    <scene_description>MA-MA nods.<\/scene_description>\n    <character>MA-MA<\/character>\n    <dialogue>Good.<\/dialogue>\n    <scene_description>Then she turns, and gestures to the corner of the room.<\/scene_description>\n    <character>MA-MA<\/character>\n    <dialogue>And what about them?<\/dialogue>\n    <scene_description>REVEAL that throughout the previous conversation, there were actually three other men in the room. Sat in a row, on chairs. Beneath the chairs are plastic sheets. Their arms are tied behind them. They are all gagged. Wide-eyed. Bruised and blood-stained. Unable to do anything but listen. KAY speaks up.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>They were selling Sternhammer product on my level. Warned them off with a beating a couple of weeks ago. Guess it didn't work.<\/dialogue>\n    <character>MA-MA<\/character>\n    <dialogue>And you can't deal with it yourself?<\/dialogue>\n    <character>KAY<\/character>\n    <dialogue>I can deal with it.<\/dialogue>\n    <character>CALEB<\/character>\n    <dialogue>The question is whether you want to make an example of them.<\/dialogue>\n    <scene_description>MA-MAthinks a couple of moments. Then turns away.<\/scene_description>\n    <character>MA-MA<\/character>\n    <dialogue>Skin them and toss them over the balcony.<\/dialogue>\n    <scene_description>On their seats, the GAGGEDMEN freak out, eyes bugging, struggling against their restraints. SY pulls a knife.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>Hit 'em with a little slo-mo first?<\/dialogue>\n    <character>MA-MA<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>KAY walks up to the first GAGGEDMAN. He is also inked - with a crude JUDGE DEATH TATTOOon his chest. KAY yanks the MAN'S head back and pulls out the gag. As the gag is released, the MAN starts to scream. Which is stifled as KAY jams a SLO-MO inhaler into his mouth, and depresses the button. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PEACH TREE BLOCK\/ATRIUM DAY<\/stage_direction>\n    <scene_description>- the interior of Peach Trees, which contains an atrium of dizzying scale. It spans the entire height of the construction. Effectively, the block is hollowed out, two hundred stories high, ringed with balconies. The lower levels are a shopping and recreation zone. Above the shopping and recreation zone are medical centers and educational facilities. Everything above is residential. At the base of the atrium is an area like a massive, busy Third-World train station, with people criss- crossing the area, milling about, exiting out of tunnels and escalators. We track a WOMANwith a CHILD in a pushchair as she makes her way through. Suddenly, out of nowhere, a body falls out of the sky, and lands with a sickening impact. THWACK. Right in front of the pushchair. The WOMANpulls back. And a second body lands directly behind her. THWACK. She looks up, as the crowd around her starts to scatter ...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>.. and is stunned to see that another body is tumbling down towards her.<\/stage_direction>\n    <scene_description>She just manages to jam the pushchair forwards before the body lands. THWACK.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MEGA CITY ONE - DAY<\/stage_direction>\n    <scene_description>DREDD and ANDERSON stand by their fat-wheeled motorbikes, on a ribbon of flyover, in a canyon of Mega Blocks. Vehicles flash past them. Over the roar of the traffic, their radios fuzz into life. We tap into the endless streams of radio calls that are constantly being transmitted from CONTROL.<\/scene_description>\n    <character>CONTROL<\/character>\n    <parenthetical>(over radio)<\/parenthetical>\n    <dialogue>Responders in vicinity of Peach Tree block. We have a report of a multiple homicide.<\/dialogue>\n    <character>CONTROL<\/character>\n    <parenthetical>(over radio)<\/parenthetical>\n    <dialogue>Responders in Sector 13 North, we have armed robbery in progress. Four suspects on foot. Gunshot victims at scene of crime.<\/dialogue>\n    <character>CONTROL<\/character>\n    <parenthetical>(over radio)<\/parenthetical>\n    <dialogue>Responders on Highway Alpha Five. We have ambulance crew under fire, requesting assistance.<\/dialogue>\n    <character>DREDD<\/character>\n    <parenthetical>(to Anderson)<\/parenthetical>\n    <dialogue>Twelve serious crimes reported every minute. Seventeen thousand per day. We respond to around six percent.<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>Which six percent?<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>Your assessment. You tell me.<\/dialogue>\n    <scene_description>ANDERSON glances down at her bike-nav screen. Waypoint markers are flashing all across the sector map.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>Peach Trees, multiple homicide.<\/dialogue>\n    <scene_description>DREDD lifts his left hand - which has his radio integrated into the glove.<\/scene_description>\n    <character>DREDD<\/character>\n    <parenthetical>(into radio)<\/parenthetical>\n    <dialogue>Dredd responding to Peach Tree homicides. On our way.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>23A EXT. MEGA CITY ONE\/ROAD - DAY 23A<\/stage_direction>\n    <scene_description>DREDD and ANDERSON ride their bikes towards Peach Trees.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PEACH TREE BLOCK - DAY<\/stage_direction>\n    <scene_description>DREDD and ANDERSON walk into the south entrance of Peach Trees. Above them, against the background of grey and black concrete slab, a bright hologram of a cartoonish peach tree flickers like a neon strip-light with a bad connection. Sat against one side of the entrance is a HOMELESS MAN. In front of him is a handwritten sign on cardboard. It reads:<\/scene_description>\n    <character>HOMELESS JUNKIE.<\/character>\n    <dialogue>WILL DEBASE SELF FOR CREDITS.<\/dialogue>\n    <scene_description>As DREDD and ANDERSON pass him:<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Anderson.<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>Vagrancy, three weeks, iso cubes. But prioritise murders.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>Correct.<\/dialogue>\n    <parenthetical>(to the Homeless Man)<\/parenthetical>\n    <dialogue>Don't be here when we come back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PEACH TREE ATRIUM - DAY<\/stage_direction>\n    <scene_description>DREDD and ANDERSON enter the busy atrium.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Tell me about Peach Trees.<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>Sir. Houses seventy five thousand registered citizens. Actual population rate probably closer to one hundred thousand. Highest crime rate in Sector Thirteen. Unemployment rate at ninety six percent. More than half of the residential levels are classed as slums.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>Why do you want to be a judge, Anderson?<\/dialogue>\n    <scene_description>ANDERSON is thrown momentarily by the non-sequitur.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>... Sir. I want to serve the city. Make a difference.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>Make a difference to a block like this?<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>I was born and raised in a block like this. Until the Justice Department took me. I know there are good people inside. Good families. Just trying to get by.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>Yes. I think I can make a difference.<\/dialogue>\n    <scene_description>DREDD glances upwards. Above the bustle of the atrium floor, the ringed balconies of the atrium stretch up into shade and darkness. At the very top is a small circle of reddish sky. It's like looking into a pit, with a pool of blood at the bottom.<\/scene_description>\n    <character>DREDD<\/character>\n    <parenthetical>(flat)<\/parenthetical>\n    <dialogue>Admirable.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PEACH TREE ATRIUM\/CRIME SCENE - CONTINUOUS<\/stage_direction>\n    <scene_description>DREDD and ANDERSON push past a taped cordon. Behind the cordon, a PARAMEDIC is erecting a tent screen to shield the sight of the bodies from the gathering crowd, and the onlookers who are looking down from the ringed balconies.<\/scene_description>\n    <character>DREDD<\/character>\n    <parenthetical>(to Paramedic)<\/parenthetical>\n    <dialogue>What have you got?<\/dialogue>\n    <character>PARAMEDIC<\/character>\n    <dialogue>Three stiffs in a somewhat fucked-up condition.<\/dialogue>\n    <scene_description>The PARAMEDIC pulls open the tent screen to allow DREDD and ANDERSON through. The bodies are the three men we saw with KAY. They have fallen from a great enough height to crack the tiles on which they landed. From the neck down and waist up, they have been skinned.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>You're based in Peach Trees?<\/dialogue>\n    <character>PARAMEDIC<\/character>\n    <dialogue>Med center on level twenty five.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>Have you ID'd them?<\/dialogue>\n    <character>PARAMEDIC<\/character>\n    <dialogue>Mostly. That one is registered to this block. And that one is registered to Block Sternhammer.<\/dialogue>\n    <character>DREDD<\/character>\n    <parenthetical>(gesturing to the last)<\/parenthetical>\n    <dialogue>And him?<\/dialogue>\n    <scene_description>The PARAMEDIC shrugs. CLOSE UP on the man's severely crushed head.<\/scene_description>\n    <character>PARAMEDIC<\/character>\n    <dialogue>I'll have to run his blood through the DNA profiler, If I can figure out which blood is his.<\/dialogue>\n    <scene_description>DREDD kneels down to take a closer look at the nearest body. Inside the man's open mouth is a white, dust-like marking.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Anderson. What do you make of this?<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>... I don't know, sir.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>It's a cold-burn from a slo-mo inhaler.<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>Slo-mo?<\/dialogue>\n    <character>PARAMEDIC<\/character>\n    <dialogue>A new narcotic. Only just hit the grid, but it's making big waves. Makes the brain feel as if time is passing at one percent its normal speed.<\/dialogue>\n    <scene_description>ANDERSON looks up to the height from which the men dropped. FLASH CUT TO - - a image of one of the men falling, screaming, in extreme slow motion, leaving a trail of suspended blood droplets from his flayed torso. CUT BACK TO - - ANDERSON, shuddering. The PARAMEDIC is also gazing upwards, obviously having much the same thought.<\/scene_description>\n    <character>PARAMEDIC<\/character>\n    <dialogue>Must have felt like a long way down.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONTROL - DAY<\/stage_direction>\n    <scene_description>In CONTROL, where rows of men and women sit in front of banks of monitors, operating the huge communication center within the Hall Of Justice ... . .. we find a screen, on which the faces of the murdered men are appearing. The CONTROL OPERATOR manning this monitor speaks into his mike.<\/scene_description>\n    <character>CONTROL OPERATOR<\/character>\n    <dialogue>Positive on your IDs. All show convictions for possession of narcotics.<\/dialogue>\n    <scene_description>CLOSE ON MONITOR SCREEN.<\/scene_description>\n    <character>CONTROL OPERATOR<\/character>\n    <dialogue>Transmitting data now,<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PEACH TREE ATRIUM\/CRIME SCENE - CONTINUOUS<\/stage_direction>\n    <scene_description>PULL BACK from the image on the monitor screen, to reveal we are now seeing it on DREDD'S FDA.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Small-time perps. Junkies. No known gang affiliation. What's your assessment, Anderson?<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>Drugged. Skinned. Dumped in the most public place you could find. It has to be a punishment killing. A message.<\/dialogue>\n    <scene_description>Above them, the balconies of the atrium are ringed with people looking down.<\/scene_description>\n    <character>PARAMEDIC<\/character>\n    <dialogue>Yeah. Don't fuck with the Ma-Ma Clan,<\/dialogue>\n    <scene_description>ON DREDD. Turning.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Who?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEDICAL CENTER - DAY<\/stage_direction>\n    <scene_description>In the twenty fifth floor medical center, DREDD and ANDERSON are looking at a holographic display, on which we can see a rotating 3D MUGSHOT of MA-MA, and her medical records. In the background, the PARAMEDIC closes the medical center's heavy security door, while he provides a brief bio of MA-MA.<\/scene_description>\n    <character>PARAMEDIC<\/character>\n    <dialogue>We have her on record from her whoring days. The picture's pretty old, but - yeah. That's her. Madeline Madrigal, AKA Ma-Ma. Ex-hooker from the S-Nine pleasure district. Quit working after she got sliced up by a pimp. But she got her own back. Block legend says she feminized the guy with her teeth. Then took over his business interests, and never looked back.<\/dialogue>\n    <scene_description>The PARAMEDIC sucks his teeth.<\/scene_description>\n    <character>PARAMEDIC<\/character>\n    <dialogue>Anyone else, you'd say it was bullshit. But not with Ma-Ma. Her trademark is violence. Takes it further and harder than anyone else. I've been in Peach Trees fifteen years. Used to be there were nine or ten different gangs, hustling for control. Now there's just one.<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>How did she get away with it?<\/dialogue>\n    <character>PARAMEDIC<\/character>\n    <dialogue>You know how often we get a Judge in Peach Trees?<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>You've got one now.<\/dialogue>\n    <scene_description>DREDD hits a console button, and the holographic display changes to a map of Peach Trees.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>The victims were registered to apartments on level thirty nine. Likely killed over a turf issue, so we'll find their killers in the same vicinity.<\/dialogue>\n    <parenthetical>(to Anderson)<\/parenthetical>\n    <dialogue>Anderson. Next move.<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>Locate where the Clan work out of on this level, and hit it hard.<\/dialogue>\n    <scene_description>The PARAMEDIC lights up an area of the map.<\/scene_description>\n    <character>PARAMEDIC<\/character>\n    <dialogue>That would be here.<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEVEL THIRTY NINE - DAY \\*\\*SCENE REMOVED\\*\\*<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. METAL DOOR - DAY<\/stage_direction>\n    <scene_description>- a viewing hatch sliding open, in a metal door. Crowded into the other side of the viewing hatch, we see the faces of the two JUNKIES. One of them holds up credits. The door is opened.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SLO MO DEN CONTINUOUS<\/stage_direction>\n    <scene_description>The JUNKIES enter an apartment. A squalid shit-hole. In our day and age, it would be a crystal meth or crack-den, with piss-stained mattresses, schizoid graffiti on the walls, and crushed glass pipes on the floor. But this is a slo-mo den. Much the same, but instead of crushed crack pipes on the floor, it's empty inhalers. The man by the door is SY, holding a shotgun. Sat on an armchair, with a pistol on his lap, is KAY. Our two JUNKIES score off KAY, swapping credits for inhalers. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEVEL THIRTY NINE\/CORRIDOR - CONTINUOUS<\/stage_direction>\n    <scene_description>- outside the apartment. DREDD and ANDERSON, taking position either side of the metal door. Weapons drawn. We can see ANDERSON'S nerves. The door opposite them opens - and a KID peers out of the crack. ANDERSON gestures for the kid to go back inside. The door closes.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Take it this is your first time in non- simulator combat.<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>Been wondering when you'd remember you left your helmet at base.<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>Sir - a helmet interferes with my psychic abilities.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>Think a bullet might interfere with them more.<\/dialogue>\n    <scene_description>CUT BACK TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SLO MO DEN - CONTINUOUS<\/stage_direction>\n    <scene_description>- the JUNKIES. They find a space in a corner of the room, beside two people who are mechanically screwing on a filthy mattress. Then put the inhalers in their mouths. Take a long hit. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEVEL THIRTY NINE\/CORRIDOR - CONTINUOUS<\/stage_direction>\n    <scene_description>- DREDD, pulling a plasti-charge out of his utility belt. He fixes the plasti-charge to the door.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Ready?<\/dialogue>\n    <scene_description>ANDERSON nods. DREDD notices - - glitter of sweat on ANDERSON'S face. The slight tremble in her hands.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>You don't look ready.<\/dialogue>\n    <scene_description>ANDERSON tightens her grip around her gun to stop the shake.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>Just adrenaline, sir.<\/dialogue>\n    <scene_description>CUT BACK TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SLO MO DEN - CONTINUOUS<\/stage_direction>\n    <scene_description>- our JUNKIES. In the grip of the drug. And we're with it too. Everything slow. Not just slow - ultra slow. All movements. Facial expressions. Blinking eyes. And we discover why people take the SLO MO - as grim reality is transformed into something lyrical. From sordid to oddly beautiful. Fascinating and hypnotic. Even the couple screwing on the floor. Then - - what was fascinating and hypnotic - becomes slightly confusing. Because the heavy door of the slo-mo den is very gradually starting to expand. To bulge. And in front of the bulge, a shock wave of air is starting to form. And contacting the guard, SY, who stands just behind it. Lifting him delicately off his feet. And now around the edges of the door, we can see a white and yellow brightness. Which becomes a blossoming explosion of flame. Until the door, and SY, are flying backwards across the room. SLOW CUTS BETWEEN - JUNKIES hunching. Faces morphing into expressions of fear and surprise. Hands reaching for guns. DREDD coming through the door. Followed by ANDERSON. Now gunplay, gracefully erupting. Bullets rifling through the air. Punching through plaster work. Drilling through chests, leaving trails of hanging blood. Drilling into the head of a clan member, creating a spiral of flesh as it enters. Smoke and dust unfurls. Until it blinds us.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SLO-MO DEN - CONTINUOUS<\/stage_direction>\n    <scene_description>As the smoke and dust clears, it allows us to return seamlessly to normal speed. DREDD and ANDERSON stand surrounded by the corpses of gang members and those junkies who were foolish enough to reach for their guns. The survivors crouch or stand with arms raised, dazed with narcotics and fear, with the guns of the two judges trained on them. ANDERSON is breathing fast. Still charged with adrenaline.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Anderson. Judgement.<\/dialogue>\n    <scene_description>ANDERSON gathers her wits.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>Crime: possession and use of controlled substances. Sentence: two years in the iso-cubes.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>Don't tell me. Tell Control.<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>Sir.<\/dialogue>\n    <parenthetical>(into radio)<\/parenthetical>\n    <dialogue>Anderson to Control. Requesting meat wagon to Peach Trees.<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>We've got six bodies for Resyk and seven live for the iso-cubes.<\/dialogue>\n    <character>CONTROL<\/character>\n    <parenthetical>(over radio)<\/parenthetical>\n    <dialogue>Copy that. Meat Wagon inbound.<\/dialogue>\n    <scene_description>DREDD nods.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Let's get them cuffed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SLO-MO DEN - CONTINUOUS<\/stage_direction>\n    <scene_description>The perps are lined up and being cuffed. One of them winces as DREDD pulls the plasti-cuffs mercilessly tight around his wrists. ANDERSON is cuffing another man - - but hesitates as she sees the distinctive Ma-Ma tattoo on the side of his neck.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>Sir, this one is a gang member. He -<\/dialogue>\n    <scene_description>ANDERSON breaks off. Frowning. Then she turns the man round, revealing - - KAY. They gaze at each other for a couple of beats. Then:<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>Sir. It's him.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>It's who?<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>The man who murdered the people in the atrium.<\/dialogue>\n    <scene_description>KAY'S eyes narrow fractionally. Internally, he's wondering how she could know this information, but he's far too practised with being on the wrong side of the law to give anything away.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>You're sure.<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>Ninety nine percent.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>Can't execute a perp on ninety nine percent.<\/dialogue>\n    <scene_description>DREDD steps over to KAY. Stares him down.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Save a lot of paperwork if you confessed right now.<\/dialogue>\n    <scene_description>KAY says nothing. And clearly isn't going to. DREDD nods.<\/scene_description>\n    <character>DREDD<\/character>\n    <parenthetical>(to Anderson)<\/parenthetical>\n    <dialogue>Finish securing him. We'll take him in. See how he holds up after a few hours of interrogation.<\/dialogue>\n    <scene_description>As ANDERSON turns to KAY again, KAY'S eyes look up to the corner of the room. We ZOOM ON the place where KAY is looking, and find - - a PINHOLE, And through the pinhole, the glint of a lens. CUT TO - This scene, viewed from the hidden CCTV camera in the corner of the room. PULL BACK TO REVEAL -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MA-MA'S BASE\/CCTV ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>- a monitor, showing the image of KAY'S arrest by DREDD and ANDERSON. Next to the monitor, a red alarm light is blinking. PULL BACK to reveal more monitors, showing various views around Peach Trees. This is the CCTV ROOM: the technological hub of MA-MA'S operation, at the heart of her base, overlooking the atrium from the top floor. Supervising the monitors is the CLAN TECHIE. Twenty years old. Hunted, undernourished, nervy: a dog who's been kicked too many times. And he's got no eyes. Instead, attached and implanted to his face are large, bulbous robotic eye implants. Like a chameleon lizard, each eye implant can move independently of the other. And what these robotic eyes are focused on is making him worried.<\/scene_description>\n    <character>CLAN TECHIE<\/character>\n    <dialogue>Oh shit.<\/dialogue>\n    <scene_description>He reaches for a radio.<\/scene_description>\n    <character>CLAN TECHIE<\/character>\n    <parenthetical>(into radio)<\/parenthetical>\n    <dialogue>Uh, Caleb? I'm sorry to - no, I know. Yes, but - I think there's a problem on level thirty nine.<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MA-MA'S BASE\/CELL - CONTINUOUS \\*\\*SCENE REMOVED\\*\\*<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MA-MA'S BASE\/OUTSIDE CELL - CONTINUOUS \\*\\*SCENE<\/stage_direction>\n    <scene_description>REMOVED\\*\\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>39A INT. MA MA'S PENTHOUSE\/ENTRANCE HALL DAY 39A<\/stage_direction>\n    <scene_description>- an extreme CLOSE UP on MA-MA'S FACE. Her cheeks are rippling weirdly, and slowly. REVEAL - - compressed gas from a SLO-MO INHALOR is jetting into her mouth. CUT TO - - NORMALTIME. CALEB enters the room. Reveal MA-MA'S penthouse surroundings. It's a weird mix of squalor and crass luxury. A Dolce and Gabbana crack den. Gold fittings, rococo design, holes in walls, wires trailing from empty light fittings. The artwork on the walls is softcore porn, in florid frames, much of it featuring MA-MA herself. Sees MA-MA, sprawled on day-bed, inhalor in mouth. Behind her, her two BODYGUARDS, like statues.<\/scene_description>\n    <character>CALEB<\/character>\n    <dialogue>Ma.<\/dialogue>\n    <scene_description>Long beat. Vapour curling out of MA-MA'S mouth. The beat continues. MA-MA frozen. Then the drug rush fades. MA-MA focuses. Turns to CALEB.<\/scene_description>\n    <character>MA-MA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CALEB<\/character>\n    <dialogue>We've got trouble.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MA-MA'S BASE\/CORRIDOR - CONTINUOUS<\/stage_direction>\n    <scene_description>MA-MA and CALEB walk and talk, en route to the CCTV room, followed by the BODYGUARDS.<\/scene_description>\n    <character>CALEB<\/character>\n    <dialogue>The judges hit the distribution point on level thirty nine. Shot the place up. Took out a few of the boys.<\/dialogue>\n    <character>MA-MA<\/character>\n    <parenthetical>(unfazed)<\/parenthetical>\n    <dialogue>So what? We're overdue a bust. The law's just showing their faces. Reminding the citizens they exist.<\/dialogue>\n    <character>CALEB<\/character>\n    <dialogue>No. Ma - they picked up Kay.<\/dialogue>\n    <scene_description>MA-MA reacts.<\/scene_description>\n    <character>MA-MA<\/character>\n    <dialogue>Executed?<\/dialogue>\n    <character>CALEB<\/character>\n    <dialogue>Interrogation.<\/dialogue>\n    <scene_description>This stops MA-MA in her tracks.<\/scene_description>\n    <character>MA-MA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CALEB<\/character>\n    <dialogue>He's cuffed and they're taking him in. Right now.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>MA-MA<\/character>\n    <dialogue>Fuck.<\/dialogue>\n    <character>CALEB<\/character>\n    <dialogue>If Kay talks -<\/dialogue>\n    <character>MA-MA<\/character>\n    <dialogue>If they're taking him in, he'll talk.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>CALEB<\/character>\n    <dialogue>What are we going to do?<\/dialogue>\n    <scene_description>MA-MA glazes a moment. Thinking. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIFT - DAY<\/stage_direction>\n    <scene_description>- DREDD, ANDERSON and KAY, riding the lift to the ground floor in silence. As the lift descends - - KAY is looking straight ahead at the doors ... . .. in which he can see himself, and DREDD and ANDERSON reflected. KAY shifts his position very slightly. DREDD'S head tilts fractionally.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>Sir - he's thinking about making a move for your gun.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>KAY shoots a glance back at ANDERSON.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>He just changed his mind.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>The lift continues descending in silence.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PEACH TREE CONTROL ROOM - DAY<\/stage_direction>\n    <scene_description>The control room of Peach Trees. Banks of screens. Many of them down, broadcasting static or blacked out. Others showing water and electricity levels. Power levels. Refuse collection times. Engineering schematics. Manning the control room, four TECHNICIANS, playing cards. Looking round in surprise as the door to the control room is kicked open - - and CALEB, plus four other clan members pile in. A vicious burst of gunfire, and the TECHNICIANS in the control room are cut down. CALEB lifts a two-way.<\/scene_description>\n    <character>CALEB<\/character>\n    <parenthetical>(into two-way)<\/parenthetical>\n    <dialogue>Control room is secure.<\/dialogue>\n    <scene_description>CALEB walks over to the central console, and pulls out a small router, and plugs it in.<\/scene_description>\n    <character>CALEB<\/character>\n    <parenthetical>(into two-way)<\/parenthetical>\n    <dialogue>Router's in. You're good to go.<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MA-MA'S BASE\/CCTV ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>- the CLAN TECHIE, sitting in front of the bank of monitors and assorted hardware. MA-MA and her BODYGUARDSstand behind him. MA-MA leans down to the CLAN TECHIE. Puts a slab hand on his shoulder. Makes him hunch instinctively.<\/scene_description>\n    <character>MA-MA<\/character>\n    <dialogue>What am I going to do to you if you don't pull this off?<\/dialogue>\n    <scene_description>The TECHIE swallows.<\/scene_description>\n    <character>CLAN TECHIE<\/character>\n    <dialogue>Don't know.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Shoot me?<\/dialogue>\n    <character>MA-MA<\/character>\n    <dialogue>Worse.<\/dialogue>\n    <character>CLAN TECHIE<\/character>\n    <parenthetical>( small voice)<\/parenthetical>\n    <dialogue>Probably cut out my insides or something.<\/dialogue>\n    <character>MA-MA<\/character>\n    <dialogue>Yeah. That.<\/dialogue>\n    <scene_description>The CLAN TECHIE takes a moment. Then starts tapping commands into his keyboard. We hear a phone ring over speaker phone. Then a voice picks up.<\/scene_description>\n    <character>SECTOR CONTROL<\/character>\n    <parenthetical>(over speaker)<\/parenthetical>\n    <dialogue>Sector Control.<\/dialogue>\n    <scene_description>The CLAN TECHIE forces his voice to sound casual.<\/scene_description>\n    <character>CLAN TECHIE<\/character>\n    <dialogue>Sector Control, this is Peach Trees Control. Just want to check you were notified about the def-con systems test today.<\/dialogue>\n    <character>SECTOR CONTROL<\/character>\n    <parenthetical>(over speaker)<\/parenthetical>\n    <dialogue>Copy that. Uh ...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Peach Trees, we don't have you down for a def-con test.<\/dialogue>\n    <character>CLAN TECHIE<\/character>\n    <dialogue>We must be. Check the<\/dialogue>\n    <character>SECTOR CONTROL<\/character>\n    <parenthetical>(over speaker)<\/parenthetical>\n    <dialogue>Nope. I've got nothing.<\/dialogue>\n    <scene_description>The CLAN TECHIE injects heat into his voice.<\/scene_description>\n    <character>CLAN TECHIE<\/character>\n    <dialogue>God-fucking-dammit, Sector! I put in the notification myself, three fucking times! We're set to go right now! I've got my supervisor breathing down my neck and -<\/dialogue>\n    <character>SECTOR CONTROL<\/character>\n    <parenthetical>(cuts in, over speaker)<\/parenthetical>\n    <dialogue>Hold fire, Peach Trees. Let me get on this.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Okay. I put you on the system. Hall of Justice and all emergency services are notified to ignore your status. Run the test anytime you like.<\/dialogue>\n    <scene_description>The CLAN TECHIE'S relief is genuine.<\/scene_description>\n    <character>CLAN TECHIE<\/character>\n    <dialogue>Appreciate that, Sector. You just saved my ass over here.<\/dialogue>\n    <character>SECTOR CONTROL<\/character>\n    <parenthetical>(over speaker)<\/parenthetical>\n    <dialogue>You're welcome, Peach Trees.<\/dialogue>\n    <scene_description>MA-MA nods her approval. On his console, the CLAN TECHIE hits the RETURN KEY. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PEACH TREE CONTROL ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>- a blood-sprayed monitor in the control room, with the body of a TECHNICIAN sprawled in front of it. CALEB hauls the body of the man off. On the bloody monitor, a command screen appears, headed:<\/scene_description>\n    <character>DEF CON EMERGENCYPROTOCOLS<\/character>\n    <dialogue>The command prompt moves down the screen.<\/dialogue>\n    <dialogue>Highlighting, in turn -<\/dialogue>\n    <scene_description>FIRE BOMB RIOT CHEMICAL And finally ending on - NUCLEAR WAR On NUCLEAR WAR, the command prompt stops. Off camera, we hear a tap. And a moment later, a message box appears on the screen.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PEACH TREE BLOCK\/ENTRANCE - CONTINUOUS<\/stage_direction>\n    <scene_description>DREDD and ANDERSON walk KAY towards the South entrance. The HOMELESS MAN is still there, sat in the doorway.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Warned you. Get up. You're headed for the cubes.<\/dialogue>\n    <scene_description>DREDD is interrupted by a SIREN, which abruptly starts sounding. As DREDD looks round, CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PEACH TREE BLOCK - CONTINUOUS<\/stage_direction>\n    <scene_description>- the outside of the block. Moving down as, over every window we pass ... . .. a LEAD-LINED SHUTTER suddenly slams down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>48A EXT. PEACH TREE BLOCK\/SKATEPARK - CONTINUOUS 48A<\/stage_direction>\n    <scene_description>In the SKATEPARK bolted on to the side of Peach Trees, the shutter comes down, trapping the SKATERS outside.<\/scene_description>\n    <character>SKATER 1<\/character>\n    <dialogue>What the fuck?<\/dialogue>\n    <scene_description>SKATER 2 pointlessly bangs his fist against the slab of metal.<\/scene_description>\n    <character>SKATER 2<\/character>\n    <dialogue>Hey! What's going on? Open up!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PEACH TREE BLOCK\/ENTRANCE - CONTINUOUS<\/stage_direction>\n    <scene_description>At the south entrance, just ahead of where DREDD, ANDERSON and KAY are standing, a two-metre thick blast door slams down with incredible speed. The HOMELESS MAN, unlucky enough to be directly beneath it, is crushed as it drops. One half of his bisected body remains on the inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PEACH TREE BLOCK\/ATRIUM ROOF - CONTINUOUS<\/stage_direction>\n    <scene_description>At the top of the atrium, two massive metal shutters are closing, blocking out the light from the sky above.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MA-MA'S BASE\/CCTV ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>The CLAN TECHIE hands MA-MA a handset.<\/scene_description>\n    <character>CLAN TECHIE<\/character>\n    <dialogue>You're patched in.<\/dialogue>\n    <scene_description>SlA INT. PEACH TREE ATRIUM - CONTINUOUS 51A DREDD, ANDERSON and KAY have returned to the atrium. Across the atrium floor, as the roof shutters close, twin shadows are moving across the floor. DREDD, ANDERSON and KAY stand in the middle of the narrowing band of light. All around them, people react with confusion and panic.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <scene_description>But KAY seems to have an idea. He says nothing, but the barest smile appears on the corner of his lips ... ... as the roof shutters finally connect, and slam shut. And the narrowing band of light winks out. And the siren suddenly stops. A moment of silence. The whole building is now in a twilight of emergency lighting. Then a sudden FEEDBACK WHINE comes over the block-wide TANOY. Piercing. Rising fast to a deafening level, which echoes around the atrium, making people jam their hands over their ears ... ... until it abruptly cuts out. And MA-MA'S voice comes in.<\/scene_description>\n    <character>MA-MA<\/character>\n    <dialogue>Peach Trees. This is Ma-Ma.<\/dialogue>\n    <scene_description>The statement hangs a moment. Everywhere, everyone is frozen.<\/scene_description>\n    <character>MA-MA<\/character>\n    <dialogue>Somewhere in this block are two judges. I want them dead. And until I get what I want, the block is locked down.<\/dialogue>\n    <scene_description>As she talks, we move around the atrium. Seeing the confusion and fear on people faces.<\/scene_description>\n    <character>MA-MA<\/character>\n    <dialogue>All Clan, every level, hunt the judges down. Everyone else, clear the corridors and stay the fuck out of our way until the shooting stops. If I hear about anyone helping the judges, I'll kill them and the next generation of their family.<\/dialogue>\n    <scene_description>She pauses a moment, to make sure the point is rammed home. Then:<\/scene_description>\n    <character>MA-MA<\/character>\n    <dialogue>As for the judges, sit tight, or run. Makes no difference. You're mine.<\/dialogue>\n    <scene_description>The Tanoy cuts out. Now, all across the balconies, above and below, and from the atrium floor, everyone single person is looking at DREDD and ANDERSON. A beat. Then:<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>. . . We'd better move.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - CONTINUOUS<\/stage_direction>\n    <scene_description>DREDD and ANDERSON move down a corridor, dragging KAY behind. DREDD is talking into his radio.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Control, we have a situation developing in Peach Trees. Request immediate back-up.<\/dialogue>\n    <scene_description>He gets only static back.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Control. Do you copy?<\/dialogue>\n    <scene_description>Static.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <parenthetical>(nervous)<\/parenthetical>\n    <dialogue>My comms are down too.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>The shielding must be blocking our transmissions.<\/dialogue>\n    <scene_description>As he says this, they turn a corner. Directly ahead is a posse of four CLAN, all armed.<\/scene_description>\n    <character>CLAN MEMBER<\/character>\n    <parenthetical>(shouts)<\/parenthetical>\n    <character>THEY'RE HERE!<\/character>\n    <dialogue>As DREDD, ANDERSON and KAY duck back behind the corridor, the CLAN open fire.<\/dialogue>\n    <dialogue>As the plasterwork around the corner erupts -<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>Anderson. Ca.11 it.<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>... Sir?<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>You forgotten you're on assessment?<\/dialogue>\n    <scene_description>A volley of shots almost destroys the corner they are hiding behind.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <parenthetical>(flustered)<\/parenthetical>\n    <dialogue>Sir - multiple armed targets. Minimal risk of collateral. Rapid fire.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>Rapid fire.<\/dialogue>\n    <scene_description>On Dredd's command, a setting on DREDD'S gun changes. He spins back around the corner, and opens up. Rapid fire rounds rip through the air and punch into the CLAN, mowing them down.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>We'll head back for the med center. This way.<\/dialogue>\n    <scene_description>They take a side door into a stairwell.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRWELL - CONTINUOUS<\/stage_direction>\n    <scene_description>In the stairwell, DREDD looks up. CLAN are coming from above. DREDD looks down. CLAN are coming from below.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Respirators.<\/dialogue>\n    <scene_description>DREDD and ANDERSON pull respirators from their belts.<\/scene_description>\n    <character>DREDD<\/character>\n    <parenthetical>(to Kay)<\/parenthetical>\n    <dialogue>Advise you hold your breath.<\/dialogue>\n    <scene_description>From his utility belt, DREDD pulls out two grenades. He primes them and throws them. One up. One down. Gas plumes behind them as they arc through the air.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STAIRWELL - CONTINUOUS<\/stage_direction>\n    <scene_description>As DREDD and ANDERSON fight their way through the gas cloud, and the choking, vomiting CLAN...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>. . CUT TO -<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAPHET'S APARTMENT - CONTINUOUS<\/stage_direction>\n    <scene_description>A man, JAPHET, with CLAN tattoos, is pulling apart his kitchen. He has a BERETTA 9mm stuffed into the back of his trousers.<\/scene_description>\n    <character>JAPHET<\/character>\n    <dialogue>Shit, shit, shit.<\/dialogue>\n    <scene_description>He finds a box of bullets in the back of a drawer. Checks it. There are three rounds inside.<\/scene_description>\n    <character>JAPHET<\/character>\n    <dialogue>Three fucking rounds! Is that all we've got?<\/dialogue>\n    <scene_description>JAPHET takes out the clip and starts sliding in the rounds. His fingers are shaking. His WIFE, watching from the kitchen doorway, holding a young baby, is watching, horrified.<\/scene_description>\n    <character>JAPHET'S WIFE<\/character>\n    <dialogue>You're going to take on two judges with an antique gun and three bullets?<\/dialogue>\n    <character>JAPHET<\/character>\n    <dialogue>They probably aren't even on our level.<\/dialogue>\n    <character>JAPHET'S WIFE<\/character>\n    <dialogue>Then just stay in here! Let the others get them!<\/dialogue>\n    <scene_description>JAPHET slides the clip home.<\/scene_description>\n    <character>JAPHET'S<\/character>\n    <dialogue>Please,<\/dialogue>\n    <character>WIFE<\/character>\n    <dialogue>Japhet!<\/dialogue>\n    <character>JAPHET<\/character>\n    <dialogue>What the fuck do you want me to do? Call Ma-Ma and ask if I can sit this one out? I'd be better off fighting the judges.<\/dialogue>\n    <scene_description>JAPHET pushes past his wife. Then turns. Looks at her.<\/scene_description>\n    <character>JAPHET<\/character>\n    <dialogue>Lock the door. Don't open it, whatever happens.<\/dialogue>\n    <scene_description>He's gone.<\/scene_description>\n    <character>JAPHET'S<\/character>\n    <dialogue>(quiet)<\/dialogue>\n    <character>WIFE<\/character>\n    <dialogue>Oh God.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CORRIDOR - CONTINUOUS<\/stage_direction>\n    <scene_description>We track JAPHET as he runs down the corridor. As he runs, other CLAN are exiting from apartments, carrying firearms of various types.<\/scene_description>\n    <character>MAN<\/character>\n    <parenthetical>(exiting apartment)<\/parenthetical>\n    <dialogue>Japhet!<\/dialogue>\n    <character>JAPHET<\/character>\n    <dialogue>Where we headed?<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>Big Joe said the med center!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OUTSIDE MEDICAL CENTER - CONTINUOUS<\/stage_direction>\n    <scene_description>JAPHET and the others join up with the crowd gathering outside the closed security doors of the MED CENTER. In the middle of the crowd is BIG JOE. BIG JOE is huge. He has a SAW machine gun in one hand and an ammo box in the other.<\/scene_description>\n    <character>BIG JOE<\/character>\n    <dialogue>I want the North and East corridors totally covered! Sal is covering West and South! Spread out the hardware!<\/dialogue>\n    <scene_description>BIG JOE lifts his SAW, and fires a burst into the ceiling.<\/scene_description>\n    <character>BIG JOE<\/character>\n    <dialogue>We're going to shoot these judges into hamburger and hand them to Ma-ma on a plate.<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOORWAY- CONTINUOUS<\/stage_direction>\n    <scene_description>On the other side of the area outside the MED CENTER, there is a door. Slightly ajar. Through it, a sliver of JUDGE'S helmet. DREDD, observing the scene.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ACCESS CORRIDOR - CONTINUOUS<\/stage_direction>\n    <scene_description>DREDD and ANDERSON are hidden in an access corridor. Low lit. utility pipework and wiring. KAY is behind them. Gagged and cuffed to a pipe.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>We're going to have to go through them.<\/dialogue>\n    <scene_description>DREDD pulls back from the slightly open doorway. Checks his utility belt.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>No gas grenades. Got any flashbangs?<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>One.<\/dialogue>\n    <scene_description>He looks back through the doorway.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Let's give them the bad news.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OUTSIDE MEDICAL CENTER CONTINUOUS<\/stage_direction>\n    <scene_description>TRACKING a small cylindrical object. Rolling along the floor. Under the legs of the citizen vigilantes. Until it comes to a stop - - under JAPHET. He doesn't see it, because his attention - and the attention of all the vigilantes, is distracted by the sound of DREDD'S voice. This words are amplified, as if through a loud hailer.<\/scene_description>\n    <character>DREDD'S VOICE<\/character>\n    <dialogue>Citizens of Peach Trees. This is the law.<\/dialogue>\n    <scene_description>The vigilantes look around, trying to see where the noise is coming from.<\/scene_description>\n    <character>DREDD'S VOICE<\/character>\n    <dialogue>Disperse immediately, or we will use lethal force to clear the area.<\/dialogue>\n    <character>CITIZEN<\/character>\n    <dialogue>Where's that coming from?<\/dialogue>\n    <character>CITIZEN<\/character>\n    <dialogue>Over there! The access corridor!<\/dialogue>\n    <scene_description>ALL WEAPONS swing to the doorway behind which DREDD and ANDERSON are hidden.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ACCESS CORRIDOR CONTINUOUS<\/stage_direction>\n    <scene_description>DREDD and ANDERSON are pressed to the wall either side of the doorway. DREDD is speaking into a mike, swung out of the inside curve of his helmet.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>You have been warned. You now have twenty seconds to comply.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OUTSIDE MEDICAL CENTER - CONTINUOUS<\/stage_direction>\n    <scene_description>BIG JOE, SAW trained on the doorway, shouts back.<\/scene_description>\n    <character>BIG JOE<\/character>\n    <dialogue>It's you doing the complying, judge. Twenty of us, two of you. Corne out from that doorway, or we're blowing the shit out of you.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>Ten seconds to comply.<\/dialogue>\n    <scene_description>BIG JOE flips the safety.<\/scene_description>\n    <character>BIG JOE<\/character>\n    <dialogue>You got five.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ACCESS CORRIDOR CONTINUOUS<\/stage_direction>\n    <character>DREDD<\/character>\n    <dialogue>Thanks for the heads-up.<\/dialogue>\n    <scene_description>In his hand, he depresses a small button on a hand held device.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OUTSIDE MEDICAL CENTER CONTINUOUS<\/stage_direction>\n    <scene_description>At JAPHET'S feet - - t~e FLASHBANG detonates. A blinding flash of light fills the space. As our vision returns, bleaching back from white-out brightness, deafening tinnitus ringing in our ears ... we can see DREDD and ANDERSON are already out of the doorway. Guns blazing. And the CLAM MEMBERS are being shredded by the rain of rapid fire. Before the effects of the flashbang have cleared, the CLAN have been shot to the ground. CUT TO - ANDERSON. She seems dazed by the sight of the carnage. The shattered bodies. The sprays of blood and bullet holes. She's looking at the one vigilante who is still alive. JAPHET. Blood pouring from the wounds in his stomach. Doubled up on the floor. Kneeling. Still dazed. Seeing his BERETTA beside him. With slow, drunken coordination, reaching for it. Trying to bring it to bear on ANDERSON. ANDERSON keeps her gun levelled at JAPHET. But she doesn't fire. Instead, frozen, watches as JAPHET'S arm fails him. The gun remains only half-raised, Swaying. As if it is heavy for him to lift. DREDD'S voice cuts in to ANDERSON'S reverie.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Anderson - what are you waiting for?<\/dialogue>\n    <scene_description>ANDERSON doesn't answer.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>His crime is attempted murder of a judge. His sentence is death.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <parenthetical>(distant)<\/parenthetical>\n    <dialogue>Sir.<\/dialogue>\n    <scene_description>ANDERSON fires. JAPHET is hit in the head. He drops forward, and lands face down. HOLD on DREDD a moment. Watching ANDERSON. His face is expressionless, but we can tell: as far as ANDERSON'S assessment goes, the balance just tipped against her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEDICAL CENTER - CONTINUOUS<\/stage_direction>\n    <scene_description>The PARAMEDIC is watching a monitor from behind his security doors. On the monitor: ANDERSON is pulling KAY out of the access corridor. DREDD is walking over the bodies of the dead vigilantes, to the video intercom.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Open up.<\/dialogue>\n    <scene_description>In front of the PARAMEDIC is the door release mechanism. But he makes no move for it.<\/scene_description>\n    <character>DREDD<\/character>\n    <parenthetical>(leaning into the camera)<\/parenthetical>\n    <dialogue>Open up!<\/dialogue>\n    <character>PARAMEDIC<\/character>\n    <dialogue>Negative, judge.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>You know what's going on. We need a place we can defend.<\/dialogue>\n    <character>PARAMEDIC<\/character>\n    <dialogue>Then you'd better find somewhere else. This is a medical facility. Neutral ground.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>You're not neutral. You're choosing sides.<\/dialogue>\n    <character>PARAMEDIC<\/character>\n    <dialogue>Peach Trees has been sealed by blast doors designed to withstand nuclear attack. No one is getting out. No one is getting in. And you have every Clan affiliate in the block after your blood.<\/dialogue>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>You're already dead. There are no sides.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OUTSIDE MEDICAL CENTER CONTINUOUS<\/stage_direction>\n    <scene_description>DREDD walks to ANDERSON. KAY kneels a few feet away.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>We're going to keep moving.<\/dialogue>\n    <scene_description>They are out of KAY'S earshot, but he seems to know what's happening. He smiles.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>What about the perp? Are we keeping him with us?<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>Explain.<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>... Just that under the circumstances, he's a liability.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>Also a prime suspect in five homicides. What do you say, rookie? Want to cut him loose?<\/dialogue>\n    <character>ANDERSON<\/character>\n    <parenthetical>(chastened)<\/parenthetical>\n    <dialogue>No, sir.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEVEL TWENTY FIVE\/CORRIDOR DAY<\/stage_direction>\n    <scene_description>KAY, with DREDD and ANDERSON either side of him, move down a corridor. Echoing down the corridors, we can hear the voices and shouts of CLAN, searching for the judges.<\/scene_description>\n    <character>DREDD<\/character>\n    <parenthetical>(quiet)<\/parenthetical>\n    <dialogue>Switch weapon to silencer mode. Minimum profile. Conserve ammunition. Don't shoot unless you're going to hit.<\/dialogue>\n    <scene_description>They hit a button on their handguns, and a suppressor slides out over the barrel. Almost as soon as they have done so, at the far end of the corridor, at a T-junction, we see three armed CLAN appear. They are not facing the judges. They appear to be talking to someone out of sight around the junction corner. ANDERSON'S gun raises immediately - - but DREDD pushes her hand down. He pulls her into the recess of one of the apartment doorways. DOWNTHE CORRIDOR - - the three CLAN start to walk towards us. IN THE RECESS - DREDD pushes himself flat, gun raised, waiting for the men to draw parallel. We can hear their footsteps. Getting closer. But ANDERSON is doing something else. Her head suddenly tilts to the side - - as if she is listening. Hearing something through the apartment doorway. Then stays motionless like that for a moment. Then - surprisingly, ANDERSON pushes the intercom buzzer.<\/scene_description>\n    <character>DREDD<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>What are you -<\/dialogue>\n    <scene_description>She motions for him to be silent. Then whispers into the intercom.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>Cathy?<\/dialogue>\n    <scene_description>Beat. Then:<\/scene_description>\n    <character>WOMAN'S VOICE<\/character>\n    <parenthetical>(through intercom)<\/parenthetical>\n    <dialogue>Who's that?<\/dialogue>\n    <scene_description>The ARMED CITIZENS are now only a few feet away.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>Cathy, open the door.<\/dialogue>\n    <scene_description>Another beat. Then the door unlatches. Immediately, ANDERSON jams it open.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAPHET'S APARTMENT CONTINUOUS<\/stage_direction>\n    <scene_description>DREDD and ANDERSON push inside with KAY, throwing CATHY back, and close the door behind them. As soon as we see CATHY, we recognise her as JAPHET'S wife. ANDERSON stops CATHY from screaming with her hand.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <parenthetical>(quiet)<\/parenthetical>\n    <dialogue>It's okay. We aren't going to hurt you.<\/dialogue>\n    <scene_description>DREDD watches through the spyhole as the ARMED CITIZENS pass. A silent beat.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>They're gone.<\/dialogue>\n    <scene_description>He turns, looking at ANDERSON. She obviously just went up in his esteem.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Secure the woman, somewhere where she can't raise any alarms, and we'll move on.<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>Sir - I don't think we can. She has a baby. Joey. Asleep next door. He's three weeks old.<\/dialogue>\n    <scene_description>CATHY, wide-eyed with confusion and fear, nods.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>We can't secure her if we don't know when she'll get freed.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>Where's her husband?<\/dialogue>\n    <scene_description>ANDERSON gazes into CATHY'S eyes. Not looking into them. Through them.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>Out there. Looking for us.<\/dialogue>\n    <scene_description>CATHY'S eyes open even wider. Awed and bewildered by ANDERSON'S abilities.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>She has something to say.<\/dialogue>\n    <scene_description>ANDERSON removes her hand from CATHY'S mouth.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>Go ahead, Cathy.<\/dialogue>\n    <scene_description>CATHY keeps looking at ANDERSON, hyperventilating.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>You. You're - How did you -<\/dialogue>\n    <character>ANDERSON<\/character>\n    <parenthetical>(cuts in)<\/parenthetical>\n    <dialogue>Calm down. Just tell him what you were thinking.<\/dialogue>\n    <scene_description>CATHY takes a deep breath. Tries to control the tremor in her voice.<\/scene_description>\n    <character>CATHY<\/character>\n    <dialogue>I'm not raising any alarms. If the men out there don't know where you are, you won't be killing them.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>Go on.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>There's a service elevator near here. The sign says it's broken, but it works as long as you're hitting a button above level forty.<\/dialogue>\n    <scene_description>DREDD nods.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>You've done the right thing, citizen.<\/dialogue>\n    <character>CATHY<\/character>\n    <dialogue>I just want you off my level. Away from my family.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEVEL TWENTY FIVE\/DOORWAY CONTINUOUS<\/stage_direction>\n    <scene_description>DREDD eases the door open. Checks each way down the corridor.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>It's clear. Let's move.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAPHET'S APARTMENT CONTINUOUS<\/stage_direction>\n    <scene_description>DREDD leads KAY through the door into the corridor. ANDERSON is about to follow - - then stops dead. She's seen something. On the wall - a framed photo. CATHY, the BABY, and JAPHET. A terrible, frozen beat, as ANDERSON realises that the man she executed was CATHY'S husband. From the other room, the baby wakes, and starts to cry. ANDERSON looks back to CATHY. A moment between them.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>Cathy, I -<\/dialogue>\n    <character>CATHY<\/character>\n    <parenthetical>(cuts in)<\/parenthetical>\n    <dialogue>Don't thank me. It's not for you. I just don't want to see you again.<\/dialogue>\n    <character>ANDERSON<\/character>\n    <parenthetical>(quiet)<\/parenthetical>\n    <dialogue>You won't.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEVEL FIFTY\/LOBBY - DAY<\/stage_direction>\n    <scene_description>An armed CLAN MEMBER stands guard in a lobby. The glowing wall stencil reads LEVEL 50. Behind him is the service elevator. A sign in front of it reads: out of order. But - PING. The elevator just arrived. The CLAN MEMBER turns as the doors open. And sees DREDD pointing a gun right at his head. The next moment, the CLAN MEMBER drops, shot silently, right between the eyes. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CCTV IMAGES - CONTINUOUS<\/stage_direction>\n    <scene_description>- a CCTV image of the dead CLAN MEMBER, crumpled on the floor by the service elevator.<\/scene_description>\n    <character>CLAN TECHIE (O.S.)<\/character>\n    <dialogue>We've got one here.<\/dialogue>\n    <scene_description>CUT TO - - the strewn bodies outside the med center.<\/scene_description>\n    <character>CLAN TECHIE (O.S.)<\/character>\n    <dialogue>Maybe twenty outside the med center.<\/dialogue>\n    <scene_description>CUT TO - - the bodies in the stairwell.<\/scene_description>\n    <character>CLAN TECHIE (O.S.)<\/character>\n    <dialogue>Eight in the stairwell.<\/dialogue>\n    <scene_description>CUT TO - - the bodies in the corridor.<\/scene_description>\n    <character>CLAN TECHIE (V.O.)<\/character>\n    <dialogue>And another five on level eighteen.<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MA MA'S BASE\/CCTV ROOM CONTINUOUS<\/stage_direction>\n    <scene_description>- the bank of monitors on which these images are being shown. Watching these images, over the shoulder of the CLAN TECHIE, is MA-MA and her BODYGUARDS.<\/scene_description>\n    <character>CLAN TECHIE<\/character>\n    <dialogue>They've downed thirty plus, and haven't even taken a scratch.<\/dialogue>\n    <character>MA-MA<\/character>\n    <dialogue>Where are they now?<\/dialogue>\n    <scene_description>The CLAN TECHIE points to the monitors.<\/scene_description>\n    <character>CLAN TECHIE<\/character>\n    <dialogue>These bodies are from level forty six and forty eight, but -<\/dialogue>\n    <scene_description>The CLAN TECHIE breaks off.<\/scene_description>\n    <character>CLAN TECHIE<\/character>\n    <dialogue>Wait - I just picked them up. Level Fifty, West Quadrant.<\/dialogue>\n    <scene_description>He points them out on the monitor. Zooms in the image.<\/scene_description>\n    <character>CLAN TECHIE<\/character>\n    <dialogue>Do you want me to hook you up to the Tanoy? We could get level forty through sixty converging on them.<\/dialogue>\n    <scene_description>MA-MA processes. Quickly.<\/scene_description>\n    <character>MA-MA<\/character>\n    <dialogue>No. Can you seal them in there?<\/dialogue>\n    <character>CLAN TECHIE<\/character>\n    <dialogue>Nuke override gives me full control of the building.<\/dialogue>\n    <scene_description>The CLAN TECHIE starts tapping in commands to his console.<\/scene_description>\n    <character>CLAN TECHIE<\/character>\n    <dialogue>There. I just triggered the fire protocols. All doorways to stairwells, elevator shafts, and access corridors are all sealed. Full lockdown. They're going nowhere.<\/dialogue>\n    <scene_description>MA-,VJAnods.<\/scene_description>\n    <character>MA-MA<\/character>\n    <dialogue>They're in the West quadrant, so I want three miniguns set up on the East.<\/dialogue>\n    <scene_description>Tight on MA-MA. The ice in her eyes.<\/scene_description>\n    <character>MA-MA<\/character>\n    <dialogue>I tried to do this clean. But they wouldn't let me. So now we do it messy.<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEVEL FIFTY\/LOBBY CONTINUOUS<\/stage_direction>\n    <scene_description>DREDD, ANDERSON and KAY stop in their tracks, as all around them, in a strange ripple of sound, all the doorways are locking. The noise starts from down the corridor, then passes over them like a wave, and continues away from them. Then a computerised voice comes over the Tanoy.<\/scene_description>\n    <character>TANOY<\/character>\n    <dialogue>Warning. Warning. Fire containment protocol initiated. All citizens remain in your apartments until further notice.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>This isn't good.<\/dialogue>\n    <scene_description>DREDD'S gaze flicks to the CCTV camera in the corner of the\u00b7 lobby. He knows the Clan are watching. He lifts his gun and - CUT BACK TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MA-MA'S BASE\/CCTV ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>- fires. The monitor image goes dead.<\/scene_description>\n    <character>MA-MA<\/character>\n    <dialogue>Too late, Judge.<\/dialogue>\n    <scene_description>MA-MA lifts her handset.<\/scene_description>\n    <character>MA-MA<\/character>\n    <dialogue>Caleb, come in.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PEACH TREE CONTROL ROOM CONTINUOUS<\/stage_direction>\n    <scene_description>CALEB lifts his radio.<\/scene_description>\n    <character>CALEB<\/character>\n    <dialogue>Here, Ma.<\/dialogue>\n    <character>MA-MA<\/character>\n    <dialogue>We've got them cornered. We're taking them down, right now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEVEL FIFTY\/CORRIDOR - DAY<\/stage_direction>\n    <scene_description>A blast door covers the entrance to a stairwell. DREDD is checking it out.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>We'll need oxyacetylene to even make a dent.<\/dialogue>\n    <scene_description>ANDERSON looks around. They are in a long corridor, with further corridors leading off. There is no cover, except the shallow recesses of the doorways.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>Why aren't they coming? They know where we are.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>Not sure.<\/dialogue>\n    <scene_description>He lifts his gun and shoots out the ceiling lights of the section of corridor they are in, leaving this section of the corridor in darkness.<\/scene_description>\n    <character>DREDD<\/character>\n    <parenthetical>(to Anderson)<\/parenthetical>\n    <dialogue>You'll see anyone coming before they see you. It'll give you a chance.<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>Where are you going?<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>To find out what they're up to.<\/dialogue>\n    <scene_description>He starts to walk away. Then stops and looks back.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>If I don't come back, and you get cornered, you might not want to be taken alive.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Your call.<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>... Sir.<\/dialogue>\n    <scene_description>DREDD turns and goes. Leaving ANDERSON alone with KAY, in the darkness.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEVEL FIFTY\/CORRIDOR - CONTINUOUS<\/stage_direction>\n    <scene_description>DREDD moves cautiously down a corridor. The corridor is empty. As he walks down, we cut to the interiors of the apartments ...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEVEL FIFTY\/APARTMENTS CONTINUOUS<\/stage_direction>\n    <scene_description>and see the lives inside. The people. The families. This is the reality of the world inside Peach Trees. Normal people, managing as best they can. And right now, they are silent. Frightened. Huddled. Fathers with a hand on the shoulder of teenage daughters. Mothers trying to keep babies from crying. Because on their security monitors, and through the fish-eye lenses of the spyholes on their doors, they can see the JUDGE passing by outside. They know trouble is coming.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEVEL FIFTY\/CORRIDOR CONTINUOUS<\/stage_direction>\n    <scene_description>DRE0D turns a corner. Ahead, he can see where the next section of corridor ends ... .. . at the ringed balcony around the atrium.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEVEL FIFTY\/DARK CORRIDOR - CONTINUOUS<\/stage_direction>\n    <scene_description>ANDERSON waits with KAY. KAY is sat on the floor, hands still cuffed behind his back. ANDERSON'S gaze is flicking between the two lit ends of the corridor. KAY'S gaze is on only ANDERSON. His tongue wets his lips. Then, after a few moments -<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>He's right, you know.<\/dialogue>\n    <scene_description>ANDERSON reacts. Partly because KAY has broken his silence. Partly because of what he's said.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>About not wanting to be taken alive.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>The stuff the Clan would do to a girl like you ...<\/dialogue>\n    <parenthetical>(shakes his head)<\/parenthetical>\n    <dialogue>Nasty.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>I mean, there was this one time, we got a girl about your age and -<\/dialogue>\n    <parenthetical>(he breaks off)<\/parenthetical>\n    <dialogue>Well anyway. I'm just saying. Save the last bullet for yourself.<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>If I do, I'll save the second from last bullet for you.<\/dialogue>\n    <scene_description>KAY smiles to himself. She's made a mistake. By attempting to show that she isn't getting rattled, she has in fact shown that she is.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>So - you're a mutant. I've heard about your kind. Psychics, right?<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>Kind of hard to believe it's real. Like - what am I thinking about right now?<\/dialogue>\n    <scene_description>ANDERSON turns and gazes at him evenly, determined to show he can't get to her.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>You're picturing a violent sexual liason between the two of us in an pointless attempt to shock me.<\/dialogue>\n    <scene_description>KAY raises his eyebrows.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>You're good.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But I wasn't trying to shock you. If I'd been trying to shock you, I'd have thought of this.<\/dialogue>\n    <scene_description>ANDERSON suddenly winces at the image he had dropped on her. Then - snaps. She lashes out with her fist. Catches KAY full in the face, and drops him.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>What are you thinking about now?<\/dialogue>\n    <scene_description>Through bloody and busted lips, KAY looks up at her and smiles. He might be bleeding and cuffed, but the victory in this encounter is his.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATRIUM CONTINUOUS<\/stage_direction>\n    <scene_description>We are spiralling up through the levels, to level fifty. At level fifty, we find DREDD pressed to the wall of a corridor, as it exits on to the West quadrant of the interior balcony. The camera continues its spiral motion, but remains at level fifty, to reveal to the East quadrant. Directly opposite the West. As three MINGUNS appear over the balcony rail. Each with six rotating barrels, electric driven, air- cooled, firing six thousand rounds a minute. Behind the machine guns are MA-MA, her BODYGUARDS, CALEB, and his men. CUT TO - DREDD.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>.\u2022\u2022 Damn.<\/dialogue>\n    <scene_description>CUT TO - MA-MA.<\/scene_description>\n    <character>MA-MA<\/character>\n    <dialogue>Fire.<\/dialogue>\n    <scene_description>CUT TO - DREDD. Sprinting back down the corridor. Back to ANDERSON. As the miniguns open up. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEVEL FIFTY MASSACRE - CONTINUOUS<\/stage_direction>\n    <scene_description>- a staggering shooting sequence. The tracer rounds from the miniguns create an effect like a continuous streak of light. Their effect on the Western quadrant is like a band-saw cutting through the building. Shredding and ripping through walls and doors. Through apartments. Annihilating everything inside. Objects. Pets. People. All destroyed. All vapourised in clouds blood and glass and dust. MA-MA is sacrificing the entire Western community of level fifty in order to be sure of killing the judges and KAY. A micro-genocide. And sprinting just ahead of the wave of destruction, DREDD. Shouting to ANDERSON.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Get down!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATRIUM\/LEVEL FIFTY\/EASTERN BALCONY - CONTINUOUS<\/stage_direction>\n    <scene_description>Behind the miniguns, MA-MA and her men are electrified by the level of destruction they are causing. Jaws open. Laughing. Howling. Inaudible over the roar of the gunfire.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEVEL FIFTY MASSACRE CONTINUOUS<\/stage_direction>\n    <scene_description>Deafening noise. Smoke and dust. Sparks. Streaks of tracer. Darkness. Chaos. DREDD, ANDERSON and KAY are crawling on their bellies. Bodies flash past them. Civilians running. Some are cut down, or cut in half, by the gunfire. DREDD, ANDERSON and KAY scramble to shelter behind a thick upright concrete pillar - - which immediately starts to erode under the hail of bullets. The pillar isn't going to last long, and there is nowhere left to run. Then - on the wall opposite them, taking the full force of the rounds - a single point of BRIGHT LIGHT appears through the smoke and dust. DREDD sees it. Lifts his gun.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Hi-Ex!<\/dialogue>\n    <scene_description>The setting on DREDD'S gun changes. DREOD fires at the single point of light. And the high explosive round blows a massive hole in the wall, through which BRIGHT LIGHT floods through.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>GO!<\/dialogue>\n    <scene_description>DREDD rises, driving KAY ahead of him, running into the light. ANDERSON follows. And as she goes through, CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PEACH TREE BLOCK\/LEVEL FIFTY CONTINUOUS<\/stage_direction>\n    <scene_description>- the exterior of Peach Trees. ANDERSON has exited into thin air. The brightness is revealed as daylight. DREDD has blown a hole in the side of the building. ANDERSON starts to fall - - but not fifty stories to ground. Only a couple of metres - to the SKATEPARK. Where the SKATERS stand, awestruck, as just above them, tracers fire rips through the hole in the side of Peach Trees. CUT BACK TO - INT: ATRIUM\/LEVEL FIFTY\/EASTERN BALCONY CONTINUOUS - the three miniguns. Which, one by one, run out of ammunition. The roar of gunfire is replaced by ratchet clicks as the smoking barrels keep rotating for a few moments. Then come to a stop. Leaving silence. MA-MA and CALEB stare across the atrium at the destruction opposite.<\/scene_description>\n    <character>CALEB<\/character>\n    <dialogue>I think we got 'em.<\/dialogue>\n    <scene_description>CUT BACK TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PEACH TREE BLOCK CONTINUOUS<\/stage_direction>\n    <scene_description>- wind clearing the smoke on the outside of the building. Revealing DREDD, ANDERSON, KAY and the SKATERS in the skatepark. DREDD'S radio suddenly fuzzes into life.<\/scene_description>\n    <character>CONTROL<\/character>\n    <parenthetical>(over radio)<\/parenthetical>\n    <dialogue>Responders in vicinity of block Tom Frame. Small arms fire reported in shopping zone.<\/dialogue>\n    <scene_description>DREDD and ANDERSON react.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>The radios are working!<\/dialogue>\n    <scene_description>DREDD lifts his glove to speak into his radio.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Control. Do you read me?<\/dialogue>\n    <character>CONTROL<\/character>\n    <parenthetical>(over radio)<\/parenthetical>\n    <dialogue>Affirmative.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>10-24 on my GPS. We are under fire and need immediate assistance.<\/dialogue>\n    <character>CONTROL<\/character>\n    <parenthetical>(over radio)<\/parenthetical>\n    <dialogue>Copy, 10-24. Your location is showing as Peach Trees, Sector Thirteen. Confirm.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>Confirm. Be advised, nuke defenses have been triggered in order to seal the building.<\/dialogue>\n    <character>CONTROL<\/character>\n    <parenthetical>(over radio)<\/parenthetical>\n    <dialogue>Can you hold your current GPS?<\/dialogue>\n    <scene_description>DREDD glances over the ledge at the precipitous drop.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Negative. If they come for us, we've got nowhere to go. Have to keep moving.<\/dialogue>\n    <character>CONTROL<\/character>\n    <parenthetical>(over radio)<\/parenthetical>\n    <dialogue>Copy that. Just stay alive. Back up is on its way.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEVEL FIFTY\/CORRIDOR - DAY<\/stage_direction>\n    <scene_description>A blast door raises - - revealing CALEB and five heavies on the other side.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEVEL FIFTY\/REMAINS OF WEST QUADRANT- CONTINUOUS<\/stage_direction>\n    <scene_description>CALEB and his men step into the rubble of what was the West Quadrant of level fifty. In the hanging dust, they can't see more than ten metres ahead of them. Ahead of them, a glowing band of light shows where the exterior wall once was. Half poking through the rubble at their feet are the mangled remains of the people and families who have been slaughtered.<\/scene_description>\n    <character>HEAVY 2<\/character>\n    <dialogue>No way they survived.<\/dialogue>\n    <character>CALEB<\/character>\n    <dialogue>They're not dead until we find them dead.<\/dialogue>\n    <scene_description>At CALEB'S feet, an extremely badly damaged body is resting.<\/scene_description>\n    <character>CALEB<\/character>\n    <dialogue>Or part of them anyway.<\/dialogue>\n    <scene_description>They fan out, keeping their guns raised.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEVEL FIFTY\/REMAINS OF WEST QUADRANT- CONTINUOUS<\/stage_direction>\n    <scene_description>We are looking back at CALEB and his men as they cautiously move forwards. So we see what CALEB and his men don't. Barely visible through the dust, a dark shape appears fleetingly behind them. Then - - one of the five HEAVIES suddenly jerks backwards, out of sight, as if yanked by an invisible wire. A couple of beats later, a second HEAVY vanishes in exactly the same way. CALEB now has only three men with him, and he doesn't even realise it yet. But one of his surviving HEAVIES does.<\/scene_description>\n    <character>HEAVY 3<\/character>\n    <parenthetical>(looking round)<\/parenthetical>\n    <dialogue>Hey - where's the others?<\/dialogue>\n    <scene_description>CALEB and the others all turn. They see the missing space where the men had been. But don't see - - what's happening to HEAVY 3. HEAVY 3 would shout out in alarm, if DREDD'S right hand wasn't closed around his mouth. The man's head is snapped sideways. Neck broken. And HEAVY 3 is pulled from view ... a beat before CALEB looks round, and sees that another of his men has gone. Immediately, the remaining three men panic. They open up with their weapons, aiming wildly all around them. But in the heavy dust, they're firing blind. They're shooting at a ghost. They keep the fire sustained, emptying their clips. After the gunfire, a silent beat as they hurriedly reload.<\/scene_description>\n    <character>HEAVY 5<\/character>\n    <parenthetical>(panicky)<\/parenthetical>\n    <dialogue>This is fucked up. How did he do that? There's only three of us left!<\/dialogue>\n    <scene_description>But there isn't. There's two. Somehow, during the firing, HEAVY 4 was spirited away. It's all happened so fast. Only CALEB and HEAVY 5 are left. The two men look at each other, stunned, as if wondering which of them will be next. And as if in answer, a red bullet hole from a silenced round punches in the middle of HEAVY S's forehead. Then his knees give way, and he drops.<\/scene_description>\n    <character>CALEB<\/character>\n    <parenthetical>(quiet)<\/parenthetical>\n    <dialogue>Ma.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATRIUM\/LEVEL FIFTY\/EASTERN BALCONY - CONTINUOUS<\/stage_direction>\n    <scene_description>The dust cloud is slowly drifting into the atrium from the wreckage of the level fifty Western quadrant. Out of the dust cloud, into the thin air of the atrium, a body is ejected. It's CALEB. Screaming, as he starts the fifty storey fall down to the ground level. Reveal - - MA-MA watching, as CALEB drops out of sight. Silence. Then, out of MA-MA'S mouth, a howl of rage.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MA-MA'S BASE\/CCTV ROOM - CONTINUOUS \\*\\*SCENE<\/stage_direction>\n    <scene_description>REMOVED\\*\\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATRIUM - CONTINUOUS<\/stage_direction>\n    <scene_description>MA-MA'S howl seems to echo down the atrium, reverberating through the entire building.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - CONTINUOUS<\/stage_direction>\n    <scene_description>The sound of MA-MA'S howl is becoming mingled with another noise. Not a howl of rage. A scream of pain. We close in on the source of the scream. Which turns out to be KAY'S mouth. And he's screaming, because DREDD is propelling him down the corridor, with his wrist twisted behind him in a nasty looking pressure hold. ANDERSON follows behind. Something in DREDD'S manner feels different. In his body language, the speed he's moving, his total lack of concession for KAY'S pain - he's not fucking around. They pass an apartment with the door broken off its hinges. Inside, it is a burned-out shell, long abandoned. DREDD stops.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>This'll do.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABANDONEDAPARTMENT CONTINUOUS<\/stage_direction>\n    <scene_description>KAY is thrown inside. Landing hard, face first. Unable to break his fall because his hands are cuffed behind his back. DREDD jams the door to the apartment closed. Then turns to KAY.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Homicide investigation, busting a narcotics den, bringing in a suspect for interrogation. Any other block in Mega city One, it's routine. In Peach Trees, it's war.<\/dialogue>\n    <scene_description>KAY says nothing. Just spits blood, and gazes back at DREDD.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Your gang locks down the whole block. Massacres an entire quadrant of men, women, children. Just to take out two judges. Sound like overkill to you?<\/dialogue>\n    <scene_description>DREDD unholsters his weapon. Checks the clip.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Tell you what I think. If we'd executed you in the bust, Ma-Ma would have let us walk out of here.<\/dialogue>\n    <scene_description>KAY reacts slightly. DREDD'S on the money.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>What she doesn't want is you taken back to the sector house and interrogated. Because she's afraid of what you might say.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>That's got me curious.<\/dialogue>\n    <scene_description>DREDD steps over to KAY, yanks his hair back, and puts the muzzle against KAY'S head.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Start talking.<\/dialogue>\n    <character>KAY<\/character>\n    <dialogue>Fuck you.<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>Sir.<\/dialogue>\n    <scene_description>DREDD hesitates.<\/scene_description>\n    <character>ANDERSON {<\/character>\n    <dialogue>If you leave it to me, he doesn't have to talk.<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABANDONEDAPARTMENT - DAY<\/stage_direction>\n    <scene_description>KAY is kneeling on the floor, with his hands plastic- cuffed behind his back. ANDERSON is standing opposite him, looking down. DREDD is watching.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>What are you up to, bitch?<\/dialogue>\n    <scene_description>ANDERSON doesn't respond, except to close her eyes. And as she does so - - DREDD and surrounding walls of the abandoned apartment melt away. Leaving just her and KAY alone, in a dark, undefined space.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDEFINED SPACE - CONTINUOUS<\/stage_direction>\n    <scene_description>ANDERSON opens her eyes again. KAY looks around. The walls and substance of the space are constantly shifting, never quite resolved.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>What the -<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>Welcome to the inside of your head.<\/dialogue>\n    <scene_description>She glances around.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>Kind of empty.<\/dialogue>\n    <scene_description>KAY looks a little weirded out.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>I don't know what fucked up mutant shit this is, but if I wasn't cuffed, I'd -<\/dialogue>\n    <character>ANDERSON<\/character>\n    <parenthetical>(cuts in)<\/parenthetical>\n    <dialogue>You aren't cuffed. Do what you like.<\/dialogue>\n    <scene_description>KAY frowns. CUT TO his plastic-cuffed hands. Exploratory, he pulls his wrists apart ... ... and the cuffs fall away, as if they were never there. A beat. Then KAY stands. Puts his hands in front of him.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>Huh.<\/dialogue>\n    <scene_description>He smiles nastily.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>My head. Do what I like.<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>KAY reaches out with his hand - - and ANDERSON'S weapons suddenly springs out her holster, into his waiting palm. Immediately, without any delay or ceremony, he lifts the gun, and fires a volley of shots at point blank range into ANDERSON'S face. And when the last muzzle flash has faded, and the smoke has cleared, ANDERSON stands before him, just as before, unscathed.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>Thinking about hurting me doesn't actually hurt me.<\/dialogue>\n    <character>KAY<\/character>\n    <dialogue>Oh. Yeah. Point to you.<\/dialogue>\n    <scene_description>He tosses the gun.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>Except - there is that thing. That thing we already established.<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>What thing was that?<\/dialogue>\n    <character>KAY<\/character>\n    <dialogue>That I know how to freak you the fuck out.<\/dialogue>\n    <scene_description>When we cut back to ANDERSON, her uniform has vanished - leaving her completely naked.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>See, if we're talking about my fucked- up head versus your fucked-up head ...<\/dialogue>\n    <scene_description>As he's talking, an invisible force compels ANDERSON to a kneeling position in front of him.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>... your fucked-up head is going to lose.<\/dialogue>\n    <scene_description>KAY unzips himself.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>Speaking of head.<\/dialogue>\n    <scene_description>WE CLOSE ON KAY'S UPPER BODY. He laughs.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>Figured that would shut you up. Gives me a moment to think up something really -<\/dialogue>\n    <character>ANDERSON ( 0. S. )<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>KAY jumps. ANDERSON'S voice came from over his shoulder. His head turns, and he sees her. She's back in uniform, and standing directly behind him.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>Guess what?<\/dialogue>\n    <parenthetical>( into Kay's ear)<\/parenthetical>\n    <dialogue>I can play mind games too.<\/dialogue>\n    <character>KAY<\/character>\n    <dialogue>What the -<\/dialogue>\n    <scene_description>KAY'S head turns again, to see who is felating him - - and SHOUTS with alarm.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>Fuck!<\/dialogue>\n    <scene_description>The naked woman felating him is MA-MA. KAY pulls back like a scalded cat.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>Aaaagh! Fuck! Jesus! FUCK! You sick bitch!<\/dialogue>\n    <scene_description>ANDERSON spins him round.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>Sick? We haven't even started.<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ABANDONEDAPARTMENT CONTINUOUS<\/stage_direction>\n    <scene_description>- stillness and quiet in the abandoned apartment. From what DREDD can see, there is no indication of the strange battle of wits between ANDERSON and KAY. They are both in the same positions they were in previously. KAY kneeling with his hands cuffed. ANDERSON standing in front of him. Both with their eyes closed. The calm moment is sustained. Then, abruptly, KAY pisses himself. As the dark stain spreads across his trousers, ANDERSON opens her eyes and looks at DREDD.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>Peach Trees is the manufacturing base for all the slo-mo in Mega City One. Ma-Ma is controlling the production and distribution across the whole city.<\/dialogue>\n    <scene_description>KAY'S looks down at the puddle on the floor, then up at ANDERSON. In KAY'S eyes, it's pure hatred.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Interesting.<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MA-MA'S BASE\/CONTROL ROOM - DAY<\/stage_direction>\n    <scene_description>The CLAN TECHIE looks under even more pressure than usual. He's shaking with fear. MA-MA is leaned over behind him, with her head uncomfortable close to his, and her right arm around his torso. On the monitor in front of him, we can see the exterior of the South Entrance. And standing by the closed blast-door are three judges.<\/scene_description>\n    <character>CLAN TECHIE<\/character>\n    <dialogue>But Ma, please - they're Judges! I can't refuse them entry! They can go where ever they like!<\/dialogue>\n    <scene_description>REVEAL that MA-MA is holding a knife across the CLAN TECHIE'S stomach. Ready to cut.<\/scene_description>\n    <character>MA-MA<\/character>\n    <dialogue>If you want to keep your insides in, you better keep the Judges out. So I guess you'd better think of something fast.<\/dialogue>\n    <scene_description>The CLAN TECHIE takes a steadying breath. Then flicks a switch on the console and speaks into his headset.<\/scene_description>\n    <character>CLAN TECHIE<\/character>\n    <dialogue>Peach Trees. Can I help you?<\/dialogue>\n    <scene_description>On the MONITOR, one of the judges speaks into the intercom.<\/scene_description>\n    <character>JUDGE<\/character>\n    <parenthetical>(over intercom)<\/parenthetical>\n    <dialogue>We're responding to a report of judges under fire from within this block.<\/dialogue>\n    <character>CLAN TECHIE<\/character>\n    <dialogue>Judges under fire? I'm not aware of any such activity. We're actually under a scheduled nuke defense test ...<\/dialogue>\n    <character>JUDGE<\/character>\n    <parenthetical>(over intercom)<\/parenthetical>\n    <dialogue>Not any more you're not. Open the blast door right now.<\/dialogue>\n    <scene_description>Sweat rolls down the TECHIE'S face. But he keeps his voice under control.<\/scene_description>\n    <character>CLAN TECHIE<\/character>\n    <dialogue>Yes, sir. The problem is, we have a software malfunction and we've lost control over the system. We've had a fire on level forty ...<\/dialogue>\n    <scene_description>The JUDGE glances upwards, to the hole DREDD blasted in the side of the building.<\/scene_description>\n    <character>JUDGE<\/character>\n    <parenthetical>(over intercom)<\/parenthetical>\n    <dialogue>You'd better get control. Fast. Or I'm slapping you with an obstruction of justice charge. Five years in the cubes, mandatory.<\/dialogue>\n    <character>CLAN TECHIE<\/character>\n    <dialogue>Will do, sir. On it right now.<\/dialogue>\n    <scene_description>The CLAN TECHIE hits the disconnect button and pulls his headset off. Wipes his hand over his mouth. Then glances round at MA-MA nervously. Beat.<\/scene_description>\n    <character>MA-MA<\/character>\n    <dialogue>Good.<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - CONTINUOUS<\/stage_direction>\n    <scene_description>- a ten year-old boy, standing in the corridor on which the abandoned apartment is situated. The KID points with his index finger.<\/scene_description>\n    <character>KID<\/character>\n    <dialogue>They went that way. All the way down. Then went in to three-four-nine.<\/dialogue>\n    <scene_description>Behind the KID are two CLAN. They are AMOS and FREEL.<\/scene_description>\n    <character>AMOS<\/character>\n    <dialogue>You sure it was them?<\/dialogue>\n    <character>KID<\/character>\n    <dialogue>They walked right past my door. Two judges and one of the clan. He was screaming. I think one of the judges was breaking his arm.<\/dialogue>\n    <character>FREEL<\/character>\n    <dialogue>Shit. Why'd have to be us that found them?<\/dialogue>\n    <character>AMOS<\/character>\n    <parenthetical>(to the kid)<\/parenthetical>\n    <dialogue>All right, Joey. Run back home. And stay there.<\/dialogue>\n    <scene_description>The KID legs it.<\/scene_description>\n    <character>AMOS<\/character>\n    <dialogue>Okay. Let's do it.<\/dialogue>\n    <scene_description>AMOS and FREEL raise their guns, and start making their way down the corridor. ON THEIR FACES - - we can see how nervous they are. Bright beads of sweat on the top lips. Eyes darting. Then, from ahead down the corridor, from the doorway of the abandoned apartment, a CLICK of a door opening. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR CONTINUOUS<\/stage_direction>\n    <scene_description>- DREDD exiting from the abandoned apartment, into the corridor. He looks left and right ... .. . and the corridor is empty.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Clear.<\/dialogue>\n    <scene_description>ANDERSON, leading KAY ahead of her, follow. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR\/DOORWAYS - CONTINUOUS<\/stage_direction>\n    <scene_description>In the recess of two doorways, opposite each other in the corridor, AMOS and FREEL are hiding. They whisper to each other:<\/scene_description>\n    <character>AMOS<\/character>\n    <dialogue>Why didn't you shoot them?<\/dialogue>\n    <character>FREEL<\/character>\n    <dialogue>Why didn't you?<\/dialogue>\n    <scene_description>AMOS peeks around the recess - and sees the judges and their prisoner, walking away from them.<\/scene_description>\n    <character>AMOS<\/character>\n    <dialogue>We could do it now.<\/dialogue>\n    <character>FREEL<\/character>\n    <dialogue>Go on then.<\/dialogue>\n    <scene_description>AMOS looks back around the recess - - and the corridor is empty. The judges have gone.<\/scene_description>\n    <character>AMOS<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <scene_description>AMOS wipes the sweat off his face with the back of his sleeve.<\/scene_description>\n    <character>AMOS<\/character>\n    <dialogue>Corne on.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - CONTINUOUS<\/stage_direction>\n    <scene_description>DREDD, ANDERSON and KAY move down the corridor away from the abandoned apartment.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>We have new intel about Ma-Ma, and we've managed to get a 10-24 call to Control. Parameters are shifting. What are our options, rookie?<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>Find a position to defend, or keep moving and attempt to avoid further detection. Sarne as before. Except now at least we know back-up is inbound.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>Two options.<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>What about we head straight for Ma-Ma.<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>... Is that an option?<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>She's guilty. We're judges.<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>Sir - if back-up is inbound we should wait until the odds have shifted in our favour.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>... Wrong answer?<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>You're the psychic.<\/dialogue>\n    <scene_description>ANDERSON glances at DREDD. Beat. Then looks away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOPPING ZONE CONTINUOUS<\/stage_direction>\n    <scene_description>Ahead of them, the corridor widens into a lobby area. It's a mini-shopping zone - like the clusters of shops at the bases of large estate tower blocks. Metal grills over the windows. Everything covered in the ubiquitous graffiti. The shops are all abandoned or closed. Set into the wall is a machine that looks like a large cash dispenser. It is in fact a BLOCK INFO POINT. There is also an elevator door.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Wait. Map point. Let's get bearings.<\/dialogue>\n    <scene_description>DREDD approaches the INFO POINT. Taps the console. Surprisingly, it works. He taps the screen. Brings up a map of the block, similar to the map we saw in the med center. He rotates the map. A flashing marker reads: YOU ARE HERE. They are about half way up the block. AT THAT MOMENT - - AMOS and FREEL make their move.<\/scene_description>\n    <character>AMOS<\/character>\n    <dialogue>FREEZE!<\/dialogue>\n    <scene_description>DREDD looks round. By the entrance to the lobby, AMOS and FREEL are standing with their guns aimed respectively at DREDD and ANDERSON. A beat. DREDD sees - the fear in their eyes. The sweat. The shake in their hands. CUT TO - - KAY, who is standing beside ANDERSON with his hands cuffed behind him. Next to the elevator control panel. CUT BACK TO - - DREDD.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>AMOS<\/character>\n    <dialogue>Why what?<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>Why should I freeze?<\/dialogue>\n    <scene_description>AMO3 is momentarily thrown.<\/scene_description>\n    <character>AMOS<\/character>\n    <dialogue>... Because otherwise I'll shoot you.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>With the safety catch on.<\/dialogue>\n    <scene_description>AMOS'S eyes flick to the safety catch of his gun. Which is, in fact, off.<\/scene_description>\n    <character>AMOS<\/character>\n    <dialogue>It isn't -<\/dialogue>\n    <scene_description>The words dry up. In the brief instant that AMOS and FREEL glanced at their weapons, DREDD and ANDERSON have drawn their own guns, and are pointing them back at AMOS and FREEL.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Drop the weapons.<\/dialogue>\n    <scene_description>AMOS gulps.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>You aren't killers. If you were, you'd have shot us already. Put the guns down, and you get to live.<\/dialogue>\n    <scene_description>CUT TO - - KAY. Who can see the way this is about to go. And now makes his move. The following action is fast and fluid. A surprise. KAY'S hands are cuffed behind him. In a contortionist's move, KAY DISLOCATES HIS LEFT SHOULDER, then sweeps his looped arms over his head. Now, like magic, his cuffed hands are in front of his body. It's an amazing trick, and he's obviously been waiting for the right moment to do it. ANDERSON is reacting to KAY'S move - - but she's too slow. KAY has grabbed her gun, forced his finger over her trigger finger, and jammed the aim in DREDD'S direction. And now ANDERSON'S gun is firing. DREDD dives for cover. Almost simultaneously, panicked by the sudden explosion of action, AMOS and FREEL open fire. DREDD rolls to upright position and returns fire. AMOS and FREEL are dropped by rapid rounds that stitch across them and the wall behind. And when DREDD brings his gun to bear on where ANDERSON and KAY should be - - he sees KAY has twisted ANDERSON'S gun back against her head, and is backing into the now open elevator doors. A glimpse between DREDD and ANDERSON. Then the elevator doors close.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR CONTINUOUS<\/stage_direction>\n    <scene_description>The elevator is rising. Still gripping ANDERSON, KAY slams his shoulder against the side of the lift, popping it back in to place. Looks unbelievably painful, but KAY deals with it.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <scene_description>KAY pushes the gun harder against ANDERSON'S head.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>You are so fucked.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOPPING ZONE\/LIFT SHAFT - CONTINUOUS<\/stage_direction>\n    <scene_description>DREDD forces open the outer doors to the elevator, and looks up the lift shaft. Far above, he can see the lift car, rapidly ascending.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOPPING ZONE - CONTINUOUS<\/stage_direction>\n    <scene_description>Outside, in the lobby, we can see the digital display show the position of the lift. The numbers rise - all the way up to 200. Then stop. A beat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOPPING ZONE\/LIFT SHAFT CONTINUOUS<\/stage_direction>\n    <scene_description>High above, a noise floats down the lift shaft. It sounds at first like a scream. As if it might be ANDERSON. But there's something weird about the noise. It takes us a moment to realise, it is in fact the sound of metal, rending and tearing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOPPING ZONE - CONTINUOUS<\/stage_direction>\n    <scene_description>The numbers on the digital display start descending again, at an accelerating rate, much faster than before.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOPPING ZONE\/LIFT SHAFT CONTINUOUS<\/stage_direction>\n    <scene_description>DREDD pulls back just in time to avoid being struck by the plummeting lift car. It continues down, severed cabled whipping through the air, all the way to the bottom. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MA MA'S BASE CONTINUOUS<\/stage_direction>\n    <scene_description>- KAY. Back on home turf - and a hero. Dragging ANDERSON through a group of CLAN, who are cheering the capture of one of the judges, and slapping KAY on the back. KAY throws ANDERSON to the floor.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>Now then. What am I going to do with you?<\/dialogue>\n    <character>MA-MA<\/character>\n    <dialogue>You're going to do nothing.<\/dialogue>\n    <scene_description>KAY turns. Sees, coming through the CLAN, MA-MA and her BODYGUARDS.<\/scene_description>\n    <character>MA-MA<\/character>\n    <dialogue>All this trouble is your doing. When you got busted, you should have killed the judges or been killed yourself. But instead, you let yourself get taken. Like the dumb fuck you are.<\/dialogue>\n    <character>KAY<\/character>\n    <dialogue>But -<\/dialogue>\n    <scene_description>MA-MA silences him with a vicious blow from the back of her hand.<\/scene_description>\n    <character>MA-MA<\/character>\n    <dialogue>Shut the fuck up. I'd kill you myself, but I already lost plenty today, and I can't afford to lose more.<\/dialogue>\n    <scene_description>MA-MA turns to ANDERSON. Looks her up and down.<\/scene_description>\n    <character>MA-MA<\/character>\n    <dialogue>Sooner or later, the justice department is going to come through the blast doors, looking for their judges. And they'll find their bodies, all shot up. One on level fifty five, and one in the slo-mo den they took down. Just a bust that went wrong.<\/dialogue>\n    <scene_description>MA-MA'S hand reaches back, and closes around KAY'S hair, allowing her to yank his head close to hers.<\/scene_description>\n    <character>MA-MA<\/character>\n    <dialogue>That means no torture. No raping. No skinning. Just a bunch of bullets in the head and chest. You understand me?<\/dialogue>\n    <scene_description>KAY hesitates. MA-MA'S fist tightens so hard we can see the hairs getting pulled out of KAY'S head.<\/scene_description>\n    <character>MA-MA<\/character>\n    <dialogue>Do you fucking understand me?<\/dialogue>\n    <character>KAY<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>MA-MA<\/character>\n    <dialogue>Good.<\/dialogue>\n    <scene_description>AT THAT MOMENT- - a CLAN MEMBER arrives.<\/scene_description>\n    <character>CLAN MEMBER<\/character>\n    <dialogue>Ma,<\/dialogue>\n    <scene_description>MA-MA turns. Wipes stray hairs from her hand. The guy looks worried.<\/scene_description>\n    <character>CLAN MEMBER<\/character>\n    <dialogue>You'd better come quick.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MA MA'S BASE\/CCTV ROOM CONTINUOUS<\/stage_direction>\n    <scene_description>MA-MA, followed by KAY, enters the CCTV room. The CLAN TECHIE is hurriedly working his console.<\/scene_description>\n    <character>MA-MA<\/character>\n    <dialogue>Now what?<\/dialogue>\n    <character>CLAN TECHIE<\/character>\n    <dialogue>It's the other judge. He's patched himself in to one of the terminals. I think he's trying to access the Tanoy.<\/dialogue>\n    <character>MA-MA<\/character>\n    <dialogue>Can't you stop him?<\/dialogue>\n    <character>CLAN TECHIE<\/character>\n    <dialogue>I can shut down the whole system. But if we let him talk, I can trace which terminal he's using. We'll know exactly where he is.<\/dialogue>\n    <scene_description>On cue, over the Tanoy, DREDD'S VOICE cuts in.<\/scene_description>\n    <character>DREDD'S VOICE<\/character>\n    <dialogue>Inhabitants of Peach Trees. This is Judge Dredd speaking.<\/dialogue>\n    <scene_description>The CLAN TECHIE looks back to MA-MA.<\/scene_description>\n    <character>MA-MA<\/character>\n    <dialogue>Let him talk.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATRIUM - CONTINUOUS<\/stage_direction>\n    <scene_description>DREDD'S VOICE echoes down the whole atrium. All around the balconies and apartments, the citizens, many of them armed, listen.<\/scene_description>\n    <character>DREDD'S VOICE<\/character>\n    <dialogue>In case you people have forgotten: this block operates under the same rules as the rest of the city. Ma-Ma is not the law. I am the law.<\/dialogue>\n    <scene_description>CUT TO - - MA-MA and KAY walk out on to the top level balcony.<\/scene_description>\n    <character>DREDD'S VOICE<\/character>\n    <dialogue>Ma-Ma is a common criminal.<\/dialogue>\n    <scene_description>On MA-MA'S FACE:<\/scene_description>\n    <character>DREDD'S VOICE<\/character>\n    <dialogue>Guilty of murder. Guilty of the manufacture and distribution of the narcotic known as slo-mo.<\/dialogue>\n    <scene_description>MA-MA'S head snaps round to KAY. The look in her eyes silences him.<\/scene_description>\n    <character>DREDD'S VOICE<\/character>\n    <dialogue>And as of now, under sentence of death.<\/dialogue>\n    <scene_description>CUT TO - - groups of armed citizens.<\/scene_description>\n    <character>DREDD'S VOICE<\/character>\n    <dialogue>Any who obstruct me in carrying out my duty will be treated as an accessory to her crimes. You have been warned.<\/dialogue>\n    <scene_description>The armed citizens exchange glances. CUT TO - MA-MA.<\/scene_description>\n    <character>DREDD'S VOICE<\/character>\n    <dialogue>As for you, Ma-Ma ...<\/dialogue>\n    <scene_description>CUT TO - CLOSE UP ON DREDD'S MOUTH.<\/scene_description>\n    <character>DREDD'S VOICE<\/character>\n    <dialogue>Judgement time.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATRIUM\/TOP BALCONY CONTINUOUS<\/stage_direction>\n    <scene_description>As the Tanoy cuts out, we find MA-MA, standing by the rail, gripping it hard in her huge fists. Beside her, KAY, ashen-faced. Behind her, the CLAN-TECHIE, appearing.<\/scene_description>\n    <character>CLAN TECHIE<\/character>\n    <dialogue>I've got him. He's only ten levels below us. South Quad balcony. Terminal five.<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEVEL 190\/CORRIDORS - DAY<\/stage_direction>\n    <scene_description>Two groups of CLAN, automatic weapons in hand, run down corridors, exiting onto the -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEVEL 190\/BALCONY - CONTINUOUS<\/stage_direction>\n    <scene_description>- balcony, where they converge on Terminal Five: one of the information access booths dotted around the block. Through the frosted glass of the booth, we can just make out the shape of a tall man.<\/scene_description>\n    <character>CLAN MEMBER<\/character>\n    <dialogue>He's still in there!<\/dialogue>\n    <scene_description>The two converging groups of Clan open fire as one. Hundreds of rounds simultaneously smash into the frosted glass. Blood and glittering shards cloud our vision. And when they clear - - we find the body of a CLAN member. Dead. Shot to pieces. But still held upright by the plasticuffs that secure him to the terminal console. PULL BACK FAST TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEVEL 191\/BALCONY - CONTINUOUS<\/stage_direction>\n    <scene_description>- the opposite balcony of the next level up. Where DREDD is standing. Looking down.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Incendiary.<\/dialogue>\n    <scene_description>The setting on DREDD'S gun changes. Then he opens up. As the incendiary rounds make contact, they erupt into fireballs, engulfing the balcony of level 190. DREDD walks, calmly shooting. Spreading the flame. Until it is a ring of fire. Out of which, blazing Clan, blinded by fire and pain, throw themselves into the void of the atrium. A PARTICULARLY LARGE FIREBALL erupts.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATRIUM - CONTINUOUS<\/stage_direction>\n    <scene_description>We FOLLOW the FIREBALL upwards, as it rolls through the atrium ... ... until it hits and dissipates on the roof ... Sending MA-MA, KAY, and the CLAN TECHIE recoiling back from the edge of the balcony, and diving for the floor. When the CLAN TECHIE and MA-MA look up, they see the KAY tearing at his head, screaming. He didn't pull back from the balcony quickly enough, and the fireball has caught his hair on fire.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>Aaah ! AAAAH!<\/dialogue>\n    <scene_description>KAY beats the flames on his head out. When he's done, half his hair is burned to the scalp.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>Fuck!<\/dialogue>\n    <scene_description>MA-MA goes back to the balcony. Looks down at the devastation. KAY watches her, smoke curling up from his head.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>Ma, this is going to shit! You've got to fucking stop this guy! What are we going to do?<\/dialogue>\n    <scene_description>Fire reflecting in MA-MA'S eyes.<\/scene_description>\n    <character>MA-MA<\/character>\n    <dialogue>Got no choice. Dial 911.<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MEGA CITY ONE - NIGHT<\/stage_direction>\n    <scene_description>- SIRENS in Mega City One. Blue lights strobing the night. Four judges, straight-line formation, on bikes. We see them each in turn. They are judges ELMUNDO, THOZ, MUGGERS, and LEX. Each more hard-bitten than the last. Riding up the ramps, down the walkways, scattering pedestrians ... .. , then pulling up at the SOUTH ENTRANCE of Peach Trees. As they get off their bike, we see ELMUNDO is armed differently to the other three. Instead of a handgun, he carries a bulky MACHINE GUN. EXT, PEACH TREE BLOCK\/SOUTH ENTRANCE - CONTINUOUS LEX approaches the three JUDGES who are already on the scene. LEX is very like DREDD. Same build. Same granite face. Speaks with total economy in a low growl.<\/scene_description>\n    <character>LEX<\/character>\n    <dialogue>Got a 10-24 from this block. Two judges under fire, requesting urgent assistance. And you're standing outside.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Block's under lock-down. Malfunction with their nuke defense system.<\/dialogue>\n    <scene_description>LEX glances at the blast doors. ELMUNDO, the HEAVY WEAPONS JUDGE, walks over to the intercom. Speaks into it.<\/scene_description>\n    <character>ELMUNDO<\/character>\n    <dialogue>Open up. Now.<\/dialogue>\n    <scene_description>A beat. Then ... the heavy door starts to rise. LEX looks back at the judges.<\/scene_description>\n    <character>LEX<\/character>\n    <dialogue>You're relieved.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PEACH TREE BLOCK\/SOUTH ENTRANCE - CONTINUOUS<\/stage_direction>\n    <scene_description>Seen from a CCTV POV, LEX, ELMUNDO, MUGGERS and THOZ enter the darkened entrance. The three judges on the outside watch them. Until the blast door suddenly slams shut again. REVEAL -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>122A INT. PEACH TREE BLOCK\/MEDICAL CENTER - CONTINUOUS 122A<\/stage_direction>\n    <scene_description>- that the CCTV image is being watched by the PARAMEDIC. He jumps up, runs to his security, and punches in the code to unlock it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATRIUM - CONTINUOUS<\/stage_direction>\n    <scene_description>LEX, THOZ, ELMUNDO and MUGGERS stand at the base of the atrium. It's the bottom of a pit of Hell. Dark, apart from the glow of emergency lighting. A hundred and ninety stories up, fire burns. The base of the atrium is littered with smouldering bodies, crumpled and half exploded from the impact of their fall.<\/scene_description>\n    <character>LEX<\/character>\n    <dialogue>So what we got here?<\/dialogue>\n    <character>THOZ<\/character>\n    <dialogue>Two judges trigger a turf war. Judges die in pursuit of duty.<\/dialogue>\n    <character>LEX<\/character>\n    <dialogue>And the perps who killed the judges?<\/dialogue>\n    <scene_description>THOZ gestures at the bodies.<\/scene_description>\n    <character>THOZ<\/character>\n    <dialogue>Laid out here.<\/dialogue>\n    <character>LEX<\/character>\n    <dialogue>Sounds right.<\/dialogue>\n    <character>PARAMEDIC<\/character>\n    <dialogue>Excuse me.<\/dialogue>\n    <scene_description>The four judges turn. See the PARAMEDIC, who has approached them from the shadows.<\/scene_description>\n    <character>PARAMEDIC<\/character>\n    <dialogue>That's not what's happened. I've been here right from the start. This killing is all because of one gang - the Ma-Ma Clan. And from that fire up there, I'd say at least one of your two judges is still alive.<\/dialogue>\n    <scene_description>LEX gazes at the man a beat.<\/scene_description>\n    <character>LEX<\/character>\n    <dialogue>You prepared to testify to that?<\/dialogue>\n    <character>PARAMEDIC<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <scene_description>THOZ shoots the PARAMEDIC in the head.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEVEL 199\/CORRIDOR - CONTINUOUS<\/stage_direction>\n    <scene_description>DREDD exits a stairwell into a corridor of level 199. One level down from MA-MA'S penthouse base. One end of the corridor opens into the atrium, where we can see the glow of flames from the fire he has started. Smoke hangs in the air. Gives everything a strange, heavy atmosphere. Ahead of DREDD is an elevator lobby. The digital display by the call button shows the elevator moving between floors, upwards through the building. The elevator gets closer and closer to level 199. As the countdown is about to reach his floor, DREDD takes aim, to catch whoever is inside as the doors open ... ... but the elevator continues to the floor above. NO SOONER HAS IT PASSED - - than there is a sound behind DREDD. He turns, fast, firing. Corning out of a doorway, a CLAN MEMBER is almost shot in half by the volley. ON DREDD'S GUN - - a WARNING LIGHT flicks on. DREDD glances down. On the DIGITAL DISPLAY it reads: AMMUNITION LOW CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MA MA'S BASE CONTINUOUS<\/stage_direction>\n    <scene_description>Elevator doors open, revealing the four judges. The four judges exit. Waiting for them are MA-MA and KAY.<\/scene_description>\n    <character>LEX<\/character>\n    <dialogue>One million credits.<\/dialogue>\n    <character>MA-MA<\/character>\n    <dialogue>A million?<\/dialogue>\n    <character>LEX<\/character>\n    <dialogue>You got a problem with a judge. Know who he is?<\/dialogue>\n    <character>MA-MA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>LEX<\/character>\n    <dialogue>I do. One million.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>MA-MA<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <character>LEX<\/character>\n    <dialogue>Muggers, protection detail on client. Thoz and El, we're flushing him out.<\/dialogue>\n    <character>ELMUNDO<\/character>\n    <dialogue>Got it.<\/dialogue>\n    <scene_description>LEX turns back to MA-MA.<\/scene_description>\n    <character>LEX<\/character>\n    <dialogue>Where's the other one? The rookie.<\/dialogue>\n    <character>MA-MA<\/character>\n    <dialogue>We've got her here.<\/dialogue>\n    <character>LEX<\/character>\n    <dialogue>Dead or alive?<\/dialogue>\n    <character>MA-MA<\/character>\n    <dialogue>Alive.<\/dialogue>\n    <character>LEX<\/character>\n    <dialogue>Make her dead.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>12 6 INT. LEVEL 199\/SMOKE FILLED CORRIDOR - CONTINUOUS 126<\/stage_direction>\n    <scene_description>Smoke hangs in a corridor. Bright sparks swirl in the air, floating up from the fire. And the sparks, through the smoke, are changing their movement ... .. . as DREDD appears through them, gun raised.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEVEL 199\/SMOKE FILLED CORRIDOR CONTINUOUS<\/stage_direction>\n    <scene_description>LEX, THOZ and ELMUNDOappear out of a stairwell. LEX silently gestures to the other two judges - telling them to fan out. They nod, and move, each taking a different direction.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEVEL 199\/SMOKE FILLED CORRIDOR CONTINUOUS<\/stage_direction>\n    <scene_description>DREDD moves forwards. Reacts to a movement in the smoke. Brings his gun to bear, as the smoke momentarily clears. Revealing nothing. Just a shadow.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MA MA'S BASE\/CORRIDOR CONTINUOUS<\/stage_direction>\n    <scene_description>MUGGERS leads MA-MA and KAY down a corridor, towards MA- MA'S penthouse.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>I'll do the girl.<\/dialogue>\n    <scene_description>MA-MA gives KAY the nod. KAY peels off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEVEL 199\/SMOKE-FILLED CORRIDOR - CONTINUOUS<\/stage_direction>\n    <scene_description>Back to the sparks. DREDD seeing something ahead. Through the haze and pinprick points of brightness ... the shape of another judge. The shoulder pads. The curve of the helmet. CUT TO - - the REVERSE VIEW. THOZ pulling back into an alcove, drawing his weapon. THOZ lifts his glove and speaks into his mike.<\/scene_description>\n    <character>THOZ<\/character>\n    <parenthetical>(quiet)<\/parenthetical>\n    <dialogue>Just eyeballed him.<\/dialogue>\n    <scene_description>CUT TO - - LEX, elsewhere in the smoke filled corridors, lifting his glove.<\/scene_description>\n    <character>LEX<\/character>\n    <dialogue>Don't take him one on one. Stick with the plan.<\/dialogue>\n    <scene_description>CUT TO - THOZ.<\/scene_description>\n    <character>THOZ<\/character>\n    <parenthetical>(quiet)<\/parenthetical>\n    <dialogue>Copy that.<\/dialogue>\n    <scene_description>THOZ lowers his glove. Then calls out.<\/scene_description>\n    <character>THOZ<\/character>\n    <dialogue>You there. Identify yourself.<\/dialogue>\n    <scene_description>CUT TO - DREDD. Also ducked into an alcove, weapon drawn.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Dredd. Sector Thirteen.<\/dialogue>\n    <scene_description>Ahead of him, THOZ steps out of cover.<\/scene_description>\n    <character>THOZ<\/character>\n    <dialogue>Thoz. Sector Nine. Responding to your 10-24.<\/dialogue>\n    <scene_description>THOZ walks towards DREDD.<\/scene_description>\n    <character>THOZ<\/character>\n    <dialogue>Good to see you, Dredd.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>Likewise. You alone?<\/dialogue>\n    <character>THOZ<\/character>\n    <dialogue>Negative. Three man squad. Closing on my vector right now.<\/dialogue>\n    <scene_description>THOZ smiles.<\/scene_description>\n    <character>THOZ<\/character>\n    <dialogue>So relax. Cavalry's here.<\/dialogue>\n    <scene_description>Beat. On DREDD. His sixth sense, catching bullshit. It's THOZ'S smile. Then:<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>There were two of us.<\/dialogue>\n    <character>THOZ<\/character>\n    <dialogue>Two.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>Two of us called in the 10-24. Wondering why you haven't asked about the other one.<\/dialogue>\n    <scene_description>Beat. Then THOZ lifts his left glove ...<\/scene_description>\n    <character>THOZ<\/character>\n    <dialogue>Lex - move it -<\/dialogue>\n    <scene_description>THOZ is cut off. DREDD'S hand catches his gun-arm around the wrist - - and with equal speed, THOZ has done the same to DREDD, holding DREDD'S gun by the barrel. For a moment, the TWO judges face each other, each neu~ralising the other's handgun. Then - - the fight kicks off. DREDD pushes forwards, jamming THOZ'S wrist back, forcing his gun to drop. THOZ twists, turning DREDD one eighty, pulling DREDD'S gun up so that the weapon is jammed against DREDD'S throat. To prevent being choked, DREDD must release the gun. Immediately, DREDD snaps his helmet back into THOZ with a reverse headbutt. And now it's just silent HAND TO HAND COMBAT. Incredibly fast and vicious. Pure fight to the death between two hard-as-nails street judges. Carried out in the hanging smoke and whirling sparks. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEVEL 199\/SMOKE FILLED CORRIDOR - CONTINUOUS<\/stage_direction>\n    <scene_description>- LEX hooking up with ELMUNDO. Joining to move fast down the corridor. CUT TO - DREDD and THOZ in HAND TO HAND COMBAT. Ending on a fast jab. An open hand. DREDD'S fingers slamming into THOZ'S neck. It stops THOZ in his tracks. When DREDD'S hand pulls back, there is a weird concave dip, several inches deep, in THOZ'S throat. His windpipe has been crushed. He can't breathe. As THOZ'S hands move up to his neck, as if trying to push it back into shape - - DREDD steps away. And calmly picks up his handgun. BACK TO - LEX and ELMUNDO. Turning a corner. Seeing, ahead of them, the silhouette shape of a judge. Their guns immediately snap to him. But don't shoot, as the figure takes a hesitant, drunken step towards them. Revealing himself as THOZ. A final strangled noise comes out of THOZ'S blood- filled mouth. Then he drops to his knees. Hard. Then falls face down and lies still. LEX and ELMUNDOexchange a glance. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEVEL 199\/SMOKE-FILLED CORRIDOR - CONTINUOUS<\/stage_direction>\n    <scene_description>- DREDD, who backs through a doorway. As the door closes behind him, pulled shut by a hydraulic mechanism that slows the door on its final inches ... LEX and ELMUNDO appear, guns drawn. LEX gestures at the door. ELMUNDO nods.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SLO MO MANUFACTURINGBASE - CONTINUOUS<\/stage_direction>\n    <scene_description>DREDD looks around at the space he has just entered into. Apartment walls have been knocked out, as have sections of ceiling and floor. All to accommodate pipes, tanks, heaters, condensers ... .. . and racks of large COMPRESSED GAS CANISTERS, the size of a scuba-diver's air tank. The machinery for the large-scale manufacture and refining of the slo-mo narcotic. This is MA-MA'S MANUFACTURINGBASE. As the WORKERS see DREDD, and scatter, CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MA-MA'S BASE\/ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>- K~Y. Half his hair burned off. Looking at a variety of objects, laid out on a table. Objects taken from ANDERSON. There are ammunition clips. Lock knife. Med kits. Plasti cuffs ... ... and the PHOTO of ANDERSON and her parents. KAY'S gaze hesitates on it. Then - - turns to ANDERSON, who is kneeling in front of him. Head down, not meeting KAY'S gaze. No hope left for her. Defeated, it seems. KAY glances at the weapon in his hand. It's ANDERSON'S LAWGIVER.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>Bet you thought you were going to make your parents proud. Not much chance of that now.<\/dialogue>\n    <scene_description>KAY shakes his head.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>You were shit out of luck when you ran into the Ma-Ma Clan.<\/dialogue>\n    <scene_description>KAY turns over ANDERSON'S gun in his hand, appraising it. ANDERSON'S eyes stay down.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>But don't feel too bad. I've seen a lot of Judges in my time, and you just weren't cut out for it. If it wasn't today you got killed, it would have been tomorrow. At best the day after.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>Anyway. Today it is.<\/dialogue>\n    <scene_description>He looks back at ANDERSON.<\/scene_description>\n    <character>KAY<\/character>\n    <dialogue>Any last words, bitch?<\/dialogue>\n    <scene_description>Beat. Then -<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>That's funny.<\/dialogue>\n    <scene_description>ANDERSON raises her head. And in her eyes, there's no fear. She's totally calm, staring death right in the face. Not even blinking. She may be a failed rookie, but she looks like a judge.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>I was going to ask you the exact same thing.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Bitch.<\/dialogue>\n    <scene_description>KAY'S wrong-footed. It's fleeting, but just for a moment, it's almost like he's scared of her. Then his fingers close around ANDERSON'S gun. He lifts it, aiming right at her head. And squeezes the trigger. Nothing happens. KAY frowns. Sees on the side of the gun - - a small LED light. Strobing red. Next to the light, the digital display. Which reads: ID FAIL. Just as he has time to take this in - - the gun EXPLODES. A bright flash, a detonation. And when it has passed, KAY'S arm is a stump, spraying blood everywhere. And he's screaming. Cut short as ANDERSON rises ... and delivers a single roundhouse kick. It contacts KAY'S jaw perfectly, snapping his head sideways. Breaking his neck. CUT BACK TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SLO MO MANUFACTURINGBASE - CONTINUOUS<\/stage_direction>\n    <scene_description>- DREDD. Moving through the manufacturing base. Keeping low, from cover to cover. Peering out across the lab. Seeing the door he came through Tucking himself behind a counter, he calls out:<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>What's the price of a judge these days?<\/dialogue>\n    <scene_description>CUT TO - LEX and ELMUNDO. On the other side of the room, doing the same as DREDD. LEX silently gestures to ELMUNDO. Flat palm, held vertical to the ground, curving round. ELMUNDO nods. Starts moving. Then LEX calls back:<\/scene_description>\n    <character>LEX<\/character>\n    <dialogue>Million. Split four ways.<\/dialogue>\n    <scene_description>BACK TO - - DREDD. Both DREDD and LEX are trying to keep the other talking. DREDD to get a fix on LEX, and LEX to allow ELLMUNDO to work his way around.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Three ways now.<\/dialogue>\n    <character>LEX<\/character>\n    <dialogue>Suits me.<\/dialogue>\n    <scene_description>DREDD starts to move again.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Doesn't sound like much. To betray the law.<\/dialogue>\n    <scene_description>DREDD steals a look across the room towards where he thinks he has made LEX'S location.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Betray the city.<\/dialogue>\n    <character>LEX<\/character>\n    <dialogue>Save that shit for the rookies. Twenty years I've been on the streets.<\/dialogue>\n    <scene_description>DREDD now thinks he has a clear fix on LEX. He's zeroed in on one spot - a long steel workbench. Which is in fact exactly where LEX is hiding.<\/scene_description>\n    <character>LEX<\/character>\n    <dialogue>You know what Mega City One is, Dredd? It's a meat grinder.<\/dialogue>\n    <scene_description>REVEAL - - BEHIND DREDD, while DREDD has been closing in on LEX, ELMUNDOhas been flanking.<\/scene_description>\n    <character>LEX<\/character>\n    <dialogue>People go in one end.<\/dialogue>\n    <scene_description>DREDD doesn't seem to have seen. He's easing forwards, his gun trained on the workbench.<\/scene_description>\n    <character>LEX<\/character>\n    <dialogue>Meat comes out the other.<\/dialogue>\n    <scene_description>DREDD hesitates. Maybe having heard something. Maybe sensing the trap.<\/scene_description>\n    <character>LEX<\/character>\n    <dialogue>All we do is turn the handle.<\/dialogue>\n    <scene_description>A fraction of a beat. Then DREDD throws himself sideways, just in time, as rounds from ELMUNDO'S HEAVY MACHINE GUN trace into the space he occupied only a split second before. INTENSE GUNPLAY immediately erupts. GUNPLAY version of the HAND TO HAND. DREDD starts returning fire in the direction of ELMUNDO. ELMUNDOdoes the same in reverse. As does LEX, breaking cover. The manufacturing base starts disintegrating. Amidst the glass vapourising, wood splintering, and metal puncturing - - we find DREDD and ELMUNDO. Finding a clear line of sight to each other. Each bringing their guns to bear. ELMUNDO fires first. And nothing happens. The display on his HEAVY MACHINE GUN reads EMPTY.<\/scene_description>\n    <character>ELMUNDO<\/character>\n    <dialogue>Shit -<\/dialogue>\n    <scene_description>DREDD fires. CLICK. DREDD'S weapon also just found an empty chamber. Both judges realise what's happening. ELMUNDOreaches for his UTILITY BELT -<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Incendiary.<\/dialogue>\n    <scene_description>The gun setting changes. DREDD pulls the trigger again. Click. Still empty. ELMUNDOpulls out a fresh CLIP.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Rapid fire.<\/dialogue>\n    <scene_description>Click. ELMUNDO jams the CLIP home.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Armour piercing.<\/dialogue>\n    <scene_description>Click. ELMUNDO lifts the gun.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>High Ex.<\/dialogue>\n    <scene_description>BANG. As DREDD'S LAST BULLET flies out of his gun, the DIGITAL DISPLAY reads: THEN - - ELMUNDO'S head is blown off. It fragments. The pieces fly apart. CUT TO - - LEX. In cover, as blood patters around him like rain.<\/scene_description>\n    <character>LEX<\/character>\n    <parenthetical>(under his breath)<\/parenthetical>\n    <dialogue>Motherfucker.<\/dialogue>\n    <scene_description>DREDD calls out.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Two-way split.<\/dialogue>\n    <scene_description>In LEX, there's fury behind the steel. He calls back:<\/scene_description>\n    <character>LEX<\/character>\n    <dialogue>Yeah. I'd be breaking a sweat. If you hadn't just run out of bullets.<\/dialogue>\n    <scene_description>LEX rises, and starts strafing the room. As DREDD scrambles for cover, CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MA-MA'S BASE - CONTINUOUS<\/stage_direction>\n    <scene_description>- ANDERSON. Moving through MA-MA'S base. She's unarmed. But\u2022\u00b7only for a moment. Ahead of her are two CLAN. She moves up behind them. She doubles up the first with an extremely vicious kidney punch. As the first folds over, the second is lifting his MACHINE PISTOL gun. Only to have his wrist folded back on itself, so the barrel is aiming between his eyes. ANDERSON forced the trigger down. The muzzle flash of the MACHINE PISTOL engulfs his whole face. ANDERSON empties the clip. When the muzzle stops flashing, the man's face is completely gone. He remains standing, because ANDERSON is holding him upright, as she pulls another ammo clip from his belt. Then she lets him go. As ~e's falling, she's sliding in the new clip. Then she turns, and shoots the man she dropped with the kidney punch. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MA-MA'S BASE - CONTINUOUS<\/stage_direction>\n    <scene_description>MA-MA and MUGGERS react to the burst of gunfire. In the silence that follows:<\/scene_description>\n    <character>MA-MA<\/character>\n    <dialogue>Kay's dead.<\/dialogue>\n    <character>MUGGERS<\/character>\n    <dialogue>Get a gun. Find somewhere to hide.<\/dialogue>\n    <character>MA-MA<\/character>\n    <dialogue>Where are you going?<\/dialogue>\n    <character>MUGGERS<\/character>\n    <dialogue>I've got the girl cold. I see her first, I shoot her. She sees me first, she hesitates, then I shoot her.<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MA MA'S BASE\/CORRIDOR CONTINUOUS<\/stage_direction>\n    <scene_description>- ANDERSON, moving fast in classic sweep, gun raised in two handed grip. Rounding a corner. Finding the corridor is clear. Tense beats, as she moves towards the next blind spot. A T-JUNCTION. She swings around it, and - - finds MUGGERS. He's side on to her. His head turns.<\/scene_description>\n    <character>MUGGERS<\/character>\n    <dialogue>Lower the gun, rookie. I'm your back up.<\/dialogue>\n    <scene_description>A beat on ANDERSON'S face. ONLY JUST LONG ENOUGH - - for us to realise she's reading him. Then she unloads into MUGGERS'S chest. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SLO MO MANUFACTURINGBASE - CONTINUOUS<\/stage_direction>\n    <scene_description>- bullets punching the cover around DREDD. DREDD moves for another place to hide. But as soon as he reaches fresh cover, he is driven out by further volleys of bullets. Finally, he finds himself behind a short section of wall. A remainder of the apartment walls that once stood. Five foot long. Nothing to hide behind where he just came from, because everything is shot to pieces. Not:1ing ahead but clear air. DREDD'S options just ran out. He knows it. And on the other side of the wall, LEX knows it too. CUT TO - - LEX. Unhurried.<\/scene_description>\n    <character>LEX<\/character>\n    <dialogue>Armour piercing.<\/dialogue>\n    <scene_description>The setting on his gun changes. He takes aim at a mid-way point on the wall. A final beat. Then LEX fires. CUT TO - - a bullet rifling out of DREDD'S stomach. We've seen a lot of bullets hit people up to now. This one is different. Almost understated. The visual impact is not what in what the bullet has done, but in who it has hit. In the wall opposite DREDD, a single hole is drilled. DREDD looks at the hole a moment. Then down to the hole in his lower torso, from which blood is running. Down onto his utility belt. Down his leg. Starting to pool on the tread under his boot.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Damn.<\/dialogue>\n    <scene_description>A beat. Then DREDD starts to slide down the wall. Landing in a seated position. And when he looks up, LEX is standing over him. Gun trained on DREDD'S head. A beat between the two judges. Then:<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Wait.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>LEX<\/character>\n    <dialogue>'Wait'?<\/dialogue>\n    <scene_description>LEX hesitates.<\/scene_description>\n    <character>LEX<\/character>\n    <dialogue>Are you kidding me? Did you just say: 'wait'? Judge Dredd. The Judge Dredd. Finally gets on the wrong end of a gun. And what he says is 'wait'.<\/dialogue>\n    <scene_description>LEX shakes his head, incredulous.<\/scene_description>\n    <character>LEX<\/character>\n    <dialogue>You know what? I expected more of you.<\/dialogue>\n    <parenthetical>(hitting his stride)<\/parenthetical>\n    <dialogue>I mean, wait for what? Wait for me to change my mind? Wait for another two or three seconds of life, because you're so fucking weak you can't stand to see it end?<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Abruptly, shockingly, LEX gets drilled with bullets. They smash through his chest and helmet. Through his mouth and teeth. As he drops, REVEAL ANDERSON, standing behind.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Wait for her to shoot you.<\/dialogue>\n    <scene_description>CUT TO - - DREDD'S gloved and bloody fingers popping a pouch on his utility belt. Pulling out a med-kit. CUT TO - - DREDD taking a compressed antiseptic foam canister from the med-kit. CUT TO - - DREDD sticking the nozzle into his bullet wound, and depressing the spray. The wound fills with a foam, which solidifies instantly. CUT TO - - DREDD pulling another instrument from his utility belt. A weird little device which looks like a stapler. And pretty much is a stapler. He holds the device up to the entry wound, and depresses it. A small clamp punctures the flesh either side of the bullet hole, then contracts, stapling the wound shut. CUT TO - - DREDD taking LEX'S GUN from his dead hand. Ejecting the clip. Slotting the clip home into his own gun. Then straightening. And turning to ANDERSON.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Ready?<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <scene_description>A shared beat between then. DREDD nods.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>You look ready.<\/dialogue>\n    <scene_description>CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MA-MA'S PENTHOUSE\/ENTRANCE HALL - DAY<\/stage_direction>\n    <scene_description>- MA-MA'S penthouse. In the entrance hall, eight CLAN are crouched behind cover, Guns trained at the front double doors ... ... which, a moment later, are blown open by an explosive charge. Dust and smoke clear. And - - nothing happens. For a beat. The CLAN exchange glances. Then - - one of the air-tank sized COMPRESSED GAS CANNISTERS is thrown into the room. It bounces as it hits the ground. Spinning up. Then, in mid air, DREDD appears framed in the blown open doors, gas mask pulled down over his face ...<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Overdose .<\/dialogue>\n    <scene_description>... and fires once. As the bullet hits the GAS CANNISTER, it explodes. And a micro second after it explodes, we go to - - EXTREME SLOW MOTION. Watching the metal expand. Like a kid's balloon. Rip open. Releasing an expanding cloud of shimmering iridescent gas. Then - - cutting between NORMAL SPEED and SLO MO as the GAS envelopes each of the CLAN in turn. Becoming - - cuts between DREDD'S unaffected POV, and the CLAN'S MASSIVELY OVERDOSED POV, where SLO MO is almost STATIC, almost FREEZE FRAMES...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>.. as DREDD and ANDERSON simply walk into the middle of the room. Side by side.<\/stage_direction>\n    <scene_description>And shoot each of them in turn.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MA MA'S PENTHOUSE - CONTINUOUS<\/stage_direction>\n    <scene_description>DREDD and ANDERSON are moving through the penthouse. Cat and mouse through the space. Around corners. Through doorways. Silence between DREDD and ANDERSON. All hand gestures. Tension building. As they close in on a shut metal door at the end of a corridor. Beside which is a numbered keypad. But before they reach it - - ANDERSON suddenly turns, kicks open a side door. Revealing the CCTV room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MA-MA'S BASE\/CCTV ROOM<\/stage_direction>\n    <scene_description>The room looks empty. But ANDERSON enters, followed by DREDD. Weapons drawn. ANDERSON straight to the bank of monitors, then reaches to the cavity underneath the console ... ... and hauls out the CLAN TECHIE.<\/scene_description>\n    <character>CLAN TECHIE<\/character>\n    <dialogue>Please, don't shoot, don't shoot! I'm not armed! And -<\/dialogue>\n    <scene_description>His gaze flicks between the two judges, and the guns trained on him. Sensing imminent death. Looking for the out.<\/scene_description>\n    <character>CLAN TECHIE<\/character>\n    <dialogue>- and I can help you!<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>How?<\/dialogue>\n    <scene_description>The TECHIE gestures back to the corridor outside.<\/scene_description>\n    <character>CLAN TECHIE<\/character>\n    <dialogue>Ma-Ma's in her private quarters - but it's behind ten inches of steel. There's no way inside without the keypad combination! And I can give it to you! I installed it myself!<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>I don't need your cooperation to get the combination from you.<\/dialogue>\n    <scene_description>She puts her hand on the TECHIE'S shoulder to hold him steady. Then closes her eyes. Reads him. The~ - - opens her eyes. Frowning slightly. But doesn't release the TECHIE. Instead, closes her eyes, and reads him again. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNDEFINED SPACE - CONTINUOUS<\/stage_direction>\n    <scene_description>- inside the CLAN TECHIE'S head. Similar to the UNDEFINED SPACE that existed inside KAY'S head. The CLAN TECHIE and ANDERSON in the same positions relative to each other as they are in the real world, as - - ANDERSON'S hand reaches out to touch the CLAN TECHIE'S cheek. FLASH CUTS TO - - the CLAN TECHIE'S memories. Key moments in his life, PLAYED BACKWARDS. Glimpsed. IN REVERSE - - KAY laughing as he throws acid in the TECHIE'S face. - The TECHIE (without eye implants) in an ELECTRONICS REPAIR SHOP, cowering beside the body of his FATHER, as pooled blood runs back into him, who then springs up to his feet, bullets popping back out of his chests and head, and back into the guns of the CALEB and two CLAN, who are sticking up the shop. - the TECHIE sitting with his parents at home, as he watches his FATHER soldering a circuit board. ~e smoke curling back to the board. His FATHER turns and smiles at the TECHIE. HOLD ON THIS a fraction longer than the other flashed images. Then CUT BACK TO - - the UNDEFINED SPACE. ANDERSON with her hand cupping the face of the TECHIE. Except the cheek she touches is that of the BOY. Nine. Skinny. Anxious-looking. Gazing back at ANDERSON uncertainly. CUT TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MA-MA'S BASE\/CCTV ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>- ANDERSON removing her hand. Beat. Then:<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>Go.<\/dialogue>\n    <scene_description>The CLAN TECHIE doesn't understand.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>You're free. Leave the block when you can and don't come back.<\/dialogue>\n    <scene_description>The CLAN TECHIE doesn't need to be told again. He starts running, out the CCTV room, and is gone. DREDD turns to ANDERSON.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>You mind explaining what you just did? Abetting a felon is not just a fail offense. It's a crime.<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>I already picked up the fail when I lost my primary weapon. I'll never be a Judge, and I don't need to be a mind reader to know it.<\/dialogue>\n    <scene_description>She turns to DREDD. Stares him down.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>But you haven't yet told me that. And until the assessment is formally over, I'm still entitled to dispense justice. And that's what I did: by letting him go.<\/dialogue>\n    <parenthetical>(to herself)<\/parenthetical>\n    <dialogue>Maybe that will be the one difference I do make.<\/dialogue>\n    <scene_description>She walks past DREDD.<\/scene_description>\n    <character>ANDERSON<\/character>\n    <dialogue>The combination to Ma-Ma's quarters is four nine four three six. Let's finish this.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MA MA'S PENTHOUSE\/MASTER BEDROOM CONTINUOUS<\/stage_direction>\n    <scene_description>The door to MA-MA'S bedroom bursts open. Revealing DREDD and ANDERSON. Opening fire on the two BODYGUARDS, who are riddled, and drop. And when the smoke clears, we can see: - a four poster with black silk sheets. - a huge window, which doesn't look out over Mega City One, but the ATRIUM. The world over which MA-MA was queen. - beside the window, a plush daybed and coffee table, on which are piled SLO-MO inhalers. - and on the ceiling, above the bed, a large mirror. But no MA-MA. Then room is empty. DREDD and ANDERSON exchange a glance. Enter the room, guns raised. Sweeping.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Escape route?<\/dialogue>\n    <character>ANDERSON<\/character>\n    <dialogue>No. She's near. But -<\/dialogue>\n    <scene_description>ANDERSON breaks off. Then - - looks up at the mirror. At her own reflection. Which suddenly - - is drilled with two BULLET HOLES in quick succession. ANDERSON is hit in the shoulder. As she falls backwards - - the glass around the two bullet holes starts to splinter - - and MA-MA drops down from above, directly in front of them. She tries to bring her gun to bear on DREDD. But she has no hope. DREDD catches the barrel, twists it round, snapping MA- MA'S fingers, which are caught in the trigger guard. Then he wrenches the gun free. MA-MA screams, clutching her mangled hand. DREDD tosses the shotgun. MA-MA tries to take a swing with her unmangled fist. DREDD dodges, neatly moving sideways. Then sends his own fist smashing into her face. She staggers backwards. Towards the massive window to the ATRIUM. He punches her again. Same blow, right hand, full in the face. She staggers back more. Stops against the glass. DREDD looks at her a beat. Then leans down. Picks up a SLO-MO inhaler from the coffee table. And JAMS IT in her mouth. As he depresses the button:<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Citizen Ma-Ma. Your crimes are multiple homicide, and manufacture and distribution of narcotics. How do you plead?<\/dialogue>\n    <scene_description>MA-MA can't answer. So much gas is being pumped into her that we can see it escaping through the sides of her mouth and nose.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Defense noted.<\/dialogue>\n    <scene_description>He tosses the inhaler. Then punches her one last time. And she flies backwards, smashing though the window in a shower of glass. Then she's in FREE-FALL. With nothing but two hundred stories of thin air between her and the concrete atrium floor. And as she's falling, the SLO-MO DRUG is taking hold.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATRIUM - CONTINUOUS 14 6<\/stage_direction>\n    <scene_description>BEAUTIFUL WEIRD FREE-FALL SEQUENCE. Looking up at the fire blazing around level 190. Through the smoke and flames, MA-MA'S drops, punching a hole in the smoke with the turbulence from her massive body. All seen in the grip of the drug. Watching the balconies drift past. The surprised faces of the block citizens watching. FLASH CUT TO - - REAL-TIME, from the POV of the people on the balconies, as MA-MA zooms past. FLASH CUT TO - DREDD leaning over ANDERSON'S bloody body in the penthouse bedroom. Her skin is pale. The blood is scarlet. Her eyes are closed. DREDD leans closer. Their lips touch. He is giving her the KISS OF LIFE. CUT BACK TO - - SLO MO of MA-MA'S continuing fall. The fat woman screaming. More faces of citizens on the balconies. Watching MA-MA'S literal fall from grace. CUT TO - DREDD pulling back. ANDERSON'S eyes opening. CUT TO - MA-MA. Alone. Looking down, just as she - - hits the ATRIUM floor. Head first. Very slowly. Hypnotic to watch ... Her skull crushes, flattening. And the rest of her massive body follows. As the body is slowly pulped, GO TO -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MEGA CITY ONE - SUNRISE<\/stage_direction>\n    <scene_description>- the sun rising over the city.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PEACH TREE BLOCK\/SOUTH ENTRANCE CONTINUOUS<\/stage_direction>\n    <scene_description>The CHIEF JUDGE stands with a team of men with oxyacetylene torches, who are trying to cut through the massive blast doors. Behind are MEDICS and an AMBULANCE. Then ABRUPTLY the blast doors start to rise.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PEACH TREE BLOCK\/SOUTH ENTRANCE CONTINUOUS<\/stage_direction>\n    <scene_description>DREDD and ANDERSON stand side by side as the doors rise. Both bloodied, both wounded, both standing independently. In silence. Then DREDD turns to ANDl~RSON.<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>Your assessment is now over.<\/dialogue>\n    <scene_description>A beat. Then ANDERSON unclips her ROOKIE badge, and hands it to DREDD. DREDD looks at it. But says nothing. CLUNK. The doors are fully open. llO. ANDERSON starts walking away from DREDD.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PEACH TREE BLOCK\/SOUTH ENTRANCE CONTINUOUS<\/stage_direction>\n    <scene_description>DREDD-follows ANDERSON out, into the throng of medics and Judges~ The CHIEF JUDGE approaches DREDD.<\/scene_description>\n    <character>CHIEF JUDGE<\/character>\n    <dialogue>When I heard you'd called a 10-24, thought I'd better check it out. Seeing as I forced the rookie on you.<\/dialogue>\n    <scene_description>She looks up at the MEGA BLOCK.<\/scene_description>\n    <character>CHIEF JUDGE<\/character>\n    <dialogue>What happened in there?<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>Drugs bust.<\/dialogue>\n    <character>CHIEF JUDGE<\/character>\n    <dialogue>You look like you've been through it.<\/dialogue>\n    <character>DREDD<\/character>\n    <dialogue>Perps were uncooperative.<\/dialogue>\n    <character>CHIEF JUDGE<\/character>\n    <dialogue>Aren't they always?<\/dialogue>\n    <scene_description>The CHIEF JUDGE nods to where ANDERSON is being treated by the MEDICS.<\/scene_description>\n    <character>CHIEF JUDGE<\/character>\n    <dialogue>So how did she do? Is she a pass or a fail.<\/dialogue>\n    <scene_description>On DREDD. Looking towards ANDERSON. As DREDD watches, two MEDICS approach her - - and she brushes them away. Then, underplayed:<\/scene_description>\n    <character>DREDD<\/character>\n    <dialogue>A pass.<\/dialogue>\n    <scene_description>The CHIEF JUDGE nods.<\/scene_description>\n    <character>CHIEF JUDGE<\/character>\n    <dialogue>Knew she would be.<\/dialogue>\n    <scene_description>PULL BACK from the scene. ANDERSON entering an ambulance. JUDGES entering PEACH TREES, where sunlight is punching back into the darkness as the roof shields reoti.~n.<\/scene_description>\n    <character>C\\\u00b7\\&lt;\u00b7,<\/character>\n    <dialogue>The CHIEF JUDGE looking up at the monolithic m\\iicja block, where a holographic peach tree flicker$;<\/dialogue>\n    <dialogue>And DREDD walking back to his bike alone.<\/dialogue>\n    <scene_description>FADE IN -<\/scene_description>\n    <character>CONTROL<\/character>\n    <parenthetical>(over radio)<\/parenthetical>\n    <dialogue>All responders in vicinity of sector five leisure complex, we have weapons fired in astro-dome. Four suspects on foot ...<\/dialogue>\n    <character>CONTROL<\/character>\n    <parenthetical>(over radio)<\/parenthetical>\n    <dialogue>Suspect wanted in connection with three judge slayings seen leaving in dark coloured vehicle, heading for North boundary road ...<\/dialogue>\n    <character>CONTROL<\/character>\n    <parenthetical>(over radio)<\/parenthetical>\n    <dialogue>Responders needed in sub-sector twenty, flyover five. Block riot has spread East. Judges on the ground requesting immediate support ...<\/dialogue>\n    <character>THE END<\/character>\n  <\/scene>\n<\/script>","summary":"In 2080, most of the United States is a dystopic post nuclear war wasteland known as the Cursed Earth. On the east coast lies Mega-City One, a violent metropolis with 800 million residents and 17,000 serious crimes reported daily. The only force for order are the Judges, who act as judge, jury, and executioner. Judge Dredd is tasked by the Chief Judge with evaluating new recruit Cassandra Anderson, a powerful psychic who marginally failed the aptitude tests to become a Judge. In a 200-storey slum tower block called Peach Trees, drug lord Madeline \"Ma-Ma\" Madrigal executes three rogue drug dealers by having them skinned alive. They are infused with Slo-Mo (an addictive new drug that reduces the user's perception of time to 1% of normal) and thrown down to the atrium from the top floor. Dredd and Anderson are sent in to investigate and learn of a drug den, which they raid. They arrest a thug named Kay, whom Anderson's mind probe reveals to be the one that carried out the executions, and Dredd decides to take him in for questioning. In response, Ma-Ma's forces seize the tower's security control room and seal the building (closing its blast shield doors under the pretext of a security test) to prevent the Judges from leaving or summoning help. Ma-Ma orders Dredd and Anderson killed, forcing the Judges to fight their way through dozens of armed thugs. Arriving at the 76th floor, the Judges are assaulted by Ma-Ma and her men with rotary cannons that rip through the walls, killing numerous residents. The Judges breach an outer wall and call for backup. Meanwhile, Ma-Ma sends her henchman Caleb to search for the Judges. When they meet, Dredd throws Caleb off the tower in full view of Ma-Ma. Dredd suspects Ma-Ma is desperate to keep Kay quiet and beats him for information. Anderson reads Kay's mind and learns Peach Trees is the center of Slo-Mo production and distribution. Anderson suggests they hide while awaiting assistance, but Dredd insists they move up the tower and pursue Ma-Ma. Judges Volt and Guthrie respond to Dredd's call, but Ma-Ma's computer expert denies them entry by persuading them the security system is malfunctioning. A pair of armed teens confront Dredd and Anderson, allowing Kay to disarm and overpower Anderson. Kay then escapes with her as a hostage and takes her to Ma-Ma's base on the top floor. While Dredd works his way toward Ma-Ma, she calls in the corrupt Judges Lex, Kaplan, Chan, and Alvarez. The four relieve Volt and Guthrie from duty and are allowed into the building. Dredd encounters Chan and is suspicious that he does not ask about Anderson's status. Seeing his cover blown, Chan attacks Dredd but is killed. Meanwhile, Kay tries to execute Anderson with her own weapon, but the pistol's DNA scanner does not recognize him and explodes, taking his hand off. She escapes and later encounters Kaplan, whom she promptly kills after reading her mind. Elsewhere, Dredd kills Alvarez but runs out of ammunition. He is subsequently shot and injured by Lex, but Dredd stalls him long enough for Anderson to arrive and kill Lex. Anderson and Dredd obtain the code to Ma-Ma's apartment from her computer expert and confront her. Ma-Ma tells Dredd that if she dies, a device on her wrist will detonate explosives on the top floors, destroying the building. Because of this, Dredd predicts that the detonator's signal could not reach the explosives from the ground floor. He forces Ma-Ma to inhale Slo-Mo and throws her down the atrium to her death. In the aftermath, Anderson accepts that she has failed her evaluation by getting disarmed and leaves. The Chief Judge asks Dredd about Anderson's performance; he responds that she has passed."}
{"movie_name":"Save the Last Dance_2001","imdb_id":"tt0206275","script":"<script>\n  <scene>\n    <stage_direction>EXT. PENNSYLVANIA COUNTRYSIDE - LONG SHOT - DAY<\/stage_direction>\n    <scene_description>of an empty stretch of land parted down the middle by railroad tracks . An Amtrak Commuter crests the horizon , heads TOWARD us . As it gets CLOSER , we GO IN TIGHTER to see - FACE OF SARA JOHNSON 17 , pressed at one of its windows . REVERSE ANGLE - REFLECTION IN TRAIN 'S WINDOW - SARA 'S FACE distant and lovely and sad . SUPERIMPOSED against an endless stream of sky and trees . The train speeds up and SARA 's face flies by , disappearing FROM FRAME .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMTRAK TRAIN - MOVING - DUSK<\/stage_direction>\n    <scene_description>A zaftig BLACK WOMAN clumsily negotiates the aisle . Stops at the first of a few empty seats left in the car .<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>This seat taken?<\/dialogue>\n    <scene_description>ANGLE ON SARA looking up , around . She shakes her head , clears her backpack and magazines from the seat beside her . The Woman drops down , settles in . A long silence . The Woman glances at the American Ballet magazine on Sara 's lap . Tries to make conversation .<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>I love ballet. Never had the body for it. Do you dance?<\/dialogue>\n    <scene_description>Sara folds her arms , turns away mumbling under breath .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Used to.<\/dialogue>\n    <scene_description>Sara gazes out the window . The world outside begins to dissolve melting into images from another time , another place . Her eyes stare blankly OUT AT us , blinded by her memories . FLASHBACK - INT . AUDITORIUM - KINDERGARTEN RECITAL - DAY A stage full of five - year - olds in tights and tutus . A little girl performs center stage . She 's remarkably poised , remarkably good . CAMERA PANS TO the audience . A woman in an Irish clover necklace springs to her feet clapping loudly . The little girl 's eyes catch the glint of the necklace 's gold . Mommy . She flashes a megawatt smile , ends the dance with an unscripted bow , as we .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BALLET CLASS - EVENING (FIVE YEARS LATER)<\/stage_direction>\n    <scene_description>Young Sara , lithe and earnest , dances . A budding beauty blessed with long limbs and natural grace , she makes it look easy . Gliding past the envious stares of classmates , she scans the hall for a glint of gold . Finds it in the back of the room where her mother , Glynn , stands watching her . Their eyes connect with mutual smiles and those smiles CARRY us TO :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SARA'S EXETER HOUSE - LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>A pair of flexing feet in ballet slippers on a hardwood floor . PAN UP and PULL BACK to reveal Sara at 17 , dancing in the space opened up by cornered furniture and rolled up rugs . As Glynn looks on , Sara completes the routine with a pirouette . She spins out of it with a preoccupied frown on her face .<\/scene_description>\n    <character>GLYNN<\/character>\n    <dialogue>What's the matter? It was good.<\/dialogue>\n    <character>SARA<\/character>\n    <parenthetical>( checks her stance in mirror . )<\/parenthetical>\n    <dialogue>Everybody there's going to be good, Mom. I have to be better.<\/dialogue>\n    <parenthetical>( then , beginning again . )<\/parenthetical>\n    <dialogue>My knees still knock when I do my free form. Did you notice that?<\/dialogue>\n    <character>GLYNN<\/character>\n    <dialogue>I noticed that it was fine.<\/dialogue>\n    <character>SARA<\/character>\n    <parenthetical>( escalating frustration . )<\/parenthetical>\n    <dialogue>It's not supposed to be fine. It's supposed to be special. And it just lays there, it does n't do anything. I bet they notice that. That it does n't do anything. That I do n't do anything special enough to get in.<\/dialogue>\n    <character>GLYNN<\/character>\n    <dialogue>Sara. You'll get in.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Do n't lie because you love me. My free form sucks.<\/dialogue>\n    <character>GLYNN<\/character>\n    <parenthetical>( giving up that battle . )<\/parenthetical>\n    <dialogue>I've got something for you. Come on. Sit. Mouth closed, eyes shut. No pouting. No peeking.<\/dialogue>\n    <scene_description>Sara flops down on the sofa beside her . Closes her eyes . Glynn removes the clover chain from her neck , fastens it around Sara 's .<\/scene_description>\n    <character>GLYNN<\/character>\n    <dialogue>For luck tomorrow. Not that you'll need it. You dance like an angel.<\/dialogue>\n    <scene_description>The necklace is Glynn 's talisman . Sara knows what it means to her . She throws her arms around Glynn , holds onto her tightly .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>I love the necklace but you're still the best luck I'll ever have.<\/dialogue>\n    <scene_description>Glynn , not one to choke up , chokes up . They cling to each other .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMTRAK TRAIN (MOVING) - ON SARA - DUSK (PRESENT)<\/stage_direction>\n    <scene_description>In the blink of her eyes , the memory fades . She pulls the window shade , shifts in her seat . Her fingers travel to the clover necklace at her throat . Linger . The Woman regards her .<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Nice. the necklace.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Oh. It's a good luck charm. Does n't always work.<\/dialogue>\n    <scene_description>The Woman 's wearing a crucifix . She indicates it . Smiles .<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>Mine either.<\/dialogue>\n    <scene_description>FLASHBACK - INT . \/ EXT. . BUS\/RURAL ROAD - MORNING A sea of young white faces . A jock entertains the troops with two straws up his nose . Sara sits next to her best friend , LINDSAY , 17 . Lindsay , chomping on a wad of gum , turns from the jock to Sara with a bubble in bloom , bursts it with her teeth .<\/scene_description>\n    <character>LINDSAY<\/character>\n    <dialogue>Wan na pray? You're leaving for Philly after first period. I wo n't see you. We should pray.<\/dialogue>\n    <character>SARA<\/character>\n    <parenthetical>( stupefied . )<\/parenthetical>\n    <dialogue>Lindsay. no. Not here.<\/dialogue>\n    <scene_description>Lindsay grabs Sara 's hand and bows her head . Sara , embarrassed , aligns her head with Lindsay 's . She 's praying nobody sees them .<\/scene_description>\n    <character>LINDSAY<\/character>\n    <dialogue>` Awesome, Father, S.J. auditions today. She's ready for them. Please make them ready for her. Even if she screws up. Thanks. Amen.'.<\/dialogue>\n    <parenthetical>( sure shrug ; another bubble . )<\/parenthetical>\n    <dialogue>God's gotten me outta all kinds of shit. He oughta be able to get you into Juilliard.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EXETER SENIOR HIGH SCHOOL - LATER THAT MORNING<\/stage_direction>\n    <scene_description>Sara exits with a bouquet of roses , takes the steps two and three at a time . Glynn 's waiting in a flower van at the curb .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. FLOWER VAN (DRIVING)\/RESIDENTIAL STREETS<\/stage_direction>\n    <scene_description>Sara and Glynn . The back of the van is filled with flower arrangements . Glynn takes note of the roses in Sara 's hand .<\/scene_description>\n    <character>GLYNN<\/character>\n    <dialogue>Where'd you get those, traitor?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Ellison - Mr. Ellison. He actually told me to break a leg.<\/dialogue>\n    <character>GLYNN<\/character>\n    <dialogue>Roses from the principal, even droopy, out - of - season yellow ones, is beyond cool, kiddo. You're definitely movin' up in the world.<\/dialogue>\n    <scene_description>Sara looks through the windshield . It 's starting to drizzle .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Know what would be great? If you did n't drop me off at the bus station. If we just kept going until we get to Philly.<\/dialogue>\n    <character>GLYNN<\/character>\n    <dialogue>Ruin everyone's Valentine's Day and not have a shop when I get back. That's your definition of great? I can see the headline now : ` Starving Artist Kills Unfit Mother.'.<\/dialogue>\n    <parenthetical>( gently . )<\/parenthetical>\n    <dialogue>Sweetheart, we talked about this. I'll get there as soon as I can.<\/dialogue>\n    <scene_description>Sara looks at her and Glynn instantly feels guilty .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Right. This is the hardest, most important day of my life and all you can do is get there as soon as you can. Thanks, Mom.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GREYHOUND BUS STATION (READING, PA)  CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>Glynn pulls the van into the parking lot . Smiles at Sara . Sara does n't smile back . She 's too angry . Too scared .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>So I guess I'll see you later.<\/dialogue>\n    <character>GLYNN<\/character>\n    <dialogue>I wo n't miss your audition, Sara. I'll be there, okay? If I have to swim the Susquehanna, I'll be there.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Swim? You ca n't swim, Mom.<\/dialogue>\n    <character>GLYNN<\/character>\n    <dialogue>I'll float then.<\/dialogue>\n    <scene_description>A moment . They look at each other . Sara finally smiles . They embrace and she hops out the van . Glynn calls after her .<\/scene_description>\n    <character>GLYNN<\/character>\n    <dialogue>Hey. Happy Valentine's Day.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMTRAK TRAIN (MOVING) - ON SARA - NIGHT (PRESENT)<\/stage_direction>\n    <scene_description>Feigning sleep . From the corner of her eye , she watches the Woman beside her flip through the American Ballet Magazine . We move back in time through their pages . FLASHBACK - INT . UNIVERSITY OF PENNSYLVANIA - WAITING ROOM - DAY Sara , in costume , flips through a magazine . She taps her toes , checks her watch . A phalanx of parents and dancers are clustered around a sign posted on the door : JUILLIARD SCHOOL OF DANCE AUDITIONS . Sara stares at it . Re - checks her watch . An official with a clipboard walks toward her . Where 's her mother ?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UNIV. OF PENNSYLVANIA - STAGE\/AUDITORIUM  MOMENTS LATER<\/stage_direction>\n    <scene_description>Sara on stage . She looks past a row of Juilliard JUDGES into the audience . No glint of gold . MOZART 'S `` Elvira Madigan '' -LRB- Andante -RRB- CUES UP . Sara begins her technical . She transforms her nervousness into a notable , powerful performance . The Judges are mutely but clearly impressed . One of them looks directly at her .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Is there anything you'd like to share about your free form before you begin? A motif. a theme?<\/dialogue>\n    <scene_description>Sara 's stomach drops to her feet . Her mother 's not there and her free form sucks and she does n't have a theme . Shit !<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Well, it's um, pretty self - explanatory. The theme.<\/dialogue>\n    <scene_description>The Judges exchange a look . New MUSIC CUES UP . Some driving , CLASSICAL NUMBER . Sara tries to elevate her body above the music , but she 's nervous , unsure on her feet . She keeps glancing in the back of the auditorium for Glynn . Searching for her port in the storm . Wondering where her mother is and knowing how badly she 's dancing . Knowing but somehow continuing , stumbling , recovering , and finally finishing with those damned knocking knees . The Judges , eyes like stones , perfunctorily nod . Their equivalent of maybe next year . Sara chokes two words out .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Thank you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - BACKSTAGE<\/stage_direction>\n    <scene_description>Rushes backstage . Fighting tears , she hurries past waiting dancers angrily unhooking the clover leaf chain from her neck .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRESSING ROOM - DAY<\/stage_direction>\n    <scene_description>Sara in street clothes . Cramming her ballet gear into a duffle bag when the official -LRB- of the clipboard -RRB- approaches her . She touches Sara 's shoulder gently . Says something we do not hear .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE (UNIV. OF PA) - CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>SHOOTING THROUGH office window . A state trooper in a rain slicker offers Sara a chair . She sits . The trooper talks . As he does , dread and disbelief spread over Sara 's face . She shakes her head , attempts to stand . Her legs buckle beneath her . The trooper and the official catch her as she falls .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMTRAK TRAIN - NIGHT (PRESENT)<\/stage_direction>\n    <scene_description>A glowing moon in a clear , star - specked sky . TRAIN CHUGS toward Baltimore 's Penn Station , which is visible in the f.g.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PENNSYLVANIA TURNPIKE - INTERCUT - MORNING<\/stage_direction>\n    <scene_description>A torrential rain . A flower van - Glynn 's van - caught in it . SHOOTING THROUGH the driver 's side window , we can see Glynn 's face , intense and determined , squinting through the downpour . TRAIN 'S WHEELS GRINDING . VAN 'S WHEELS Hydro - planing , slip - sliding . TRAIN It 's SQUEAL OF BRAKES as it maneuvers into the station . VAN The SQUEAL of its BRAKES as Glynn loses control and smashes into the back of the eighteen wheeler in front of her . TRAIN across space and time , the SOUND OF SQUEALING BRAKES commingle as the Amtrak Commuter pulls into Penn Station .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMTRAK TRAIN - NIGHT<\/stage_direction>\n    <scene_description>Sara . Holding her breath , clenching her fists . Waiting for the sound to stop , oblivious to the stare of the Woman beside her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PENN STATION (BALTIMORE) - PLATFORM - NIGHT<\/stage_direction>\n    <scene_description>ROY JOHNSON , 37 , a handsome , laconic man of uncertain style , takes a last drag from his cigarette , drops and stomps it . Passengers disembark from the train . Roy searches their faces . They all look like strangers .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMTRAK TRAIN - SAME TIME<\/stage_direction>\n    <scene_description>A conductor helps Sara to the platform . Steam from the train 's engine is sucked into the fog . She walks through it . Sees him . They see each other . Roy weakly waves . Walks toward her . Sara watches his bow legs stiffly advance . She wants to run . Ca n't .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Have a good ride?<\/dialogue>\n    <scene_description>Sara self - consciously tucks her hair behind an ear .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Slept through most of it.<\/dialogue>\n    <scene_description>A beat . Roy looks at her .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Guess you got stuff. Baggage.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Two suitcases. One big one.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Looks like they're unloading. - You hungry? We can stop somewhere if you want.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>I'm kinda tired.<\/dialogue>\n    <scene_description>Roy takes her backpack . They walk .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. ROY'S PICKUP\/STREET - SARA AND ROY - NIGHT<\/stage_direction>\n    <scene_description>A heavy silence . Roy starts to turn on the radio , stops himself . He lights a cigarette , cracks the window .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>I did n't like leavin' you so soon after the funeral. I would n't have if you had n't asked me to go. I mean, I could've hung around. Helped you say good - bye. That's what you were doin', was n't it?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Uh - huh.<\/dialogue>\n    <scene_description>Roy takes another drag , nods thoughtfully to himself .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>That's what I figured you were doin'.<\/dialogue>\n    <scene_description>Sara peers out the windshield . Baltimore City . The neighborhoods are changing . The streets are getting progressively gritty and dirty . It surprises her . It worries her . Roy worries her .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Look. Sara. I feel bad too. I mean, we both got hit by the same bolt of lightning. You do n't have to pretend this is easy.<\/dialogue>\n    <parenthetical>( off nothing . )<\/parenthetical>\n    <dialogue>Everything's upside down right now but do n't worry. We'll work this bachelor - father thing out. Hell, it ai n't like we're movin' in with strangers. We got a pretty good idea about each other, right?<\/dialogue>\n    <scene_description>Sara looks askance at him , her expression indicating otherwise . A moment . Roy 's too new at this to hold up both ends of the conversation . The silence deepens . Roy switches on the radio .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOND STREET (SOUTH BALTIMORE) - NIGHT<\/stage_direction>\n    <scene_description>Roy 's truck pulls up to a string of disrepaired rowhouses with pristine white marble steps . He and Sara each lug a suitcase from the truck . Her eyes wander up and down the street . They 're on the fringes of a ghetto . A few people roost on their stoops , hang on the corners . All of them have black faces .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Thought you were moving to Fells Point.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Fell through.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROY'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>The second floor of a two - story house has been turned into a one - bedroom studio . A partition separates the living area from the bedroom . Sara walks past a collection of saxophones and several framed pictures of herself . Aside from the saxophones and the pictures , there 's hardly any furniture . Roy lights a cigarette .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Not much of what you're used to. But the water's hot and the fridge is full. And I made room in the closets for you. Girl's got ta have closets, right? You even get your own bed. I'll crash on the couch.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>You bought a bed?<\/dialogue>\n    <character>ROY<\/character>\n    <parenthetical>( slight bow . )<\/parenthetical>\n    <dialogue>Pardon me. Your own futon. Check it out. On the other side.<\/dialogue>\n    <scene_description>Suitcase in hand , Sara walks around the partition . Her `` room '' is an old futon , an ancient set of drawers . She stands in the middle of nothing , wanting something to do . She removes framed photos of Glynn from her backpack , places them around the room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROY'S APARTMENT - LIVING AREA - MINUTES LATER<\/stage_direction>\n    <scene_description>Sara walks in . Does n't see Roy . Calls out .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Do you have a phone?<\/dialogue>\n    <scene_description>Roy emerges from the bathroom drying his hands , walks past her .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Of course I have a phone.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>You did n't at the last place. The last place I saw anyway.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Things change. You've changed. You grew up on me. Overnight.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Over the summer. You blew me off for some gig on the road, remember?<\/dialogue>\n    <parenthetical>( before he can respond . )<\/parenthetical>\n    <dialogue>Can I call Lindsay? Let her know I got here alright.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Are you alright, Sara?<\/dialogue>\n    <parenthetical>( off the scowl in her eyes . )<\/parenthetical>\n    <dialogue>I just wan na know how you feel.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>I feel fine. I feel like calling Lindsay.<\/dialogue>\n    <scene_description>She 's a wall . A brick wall . Roy 's head aches from knocking into it . He goes to the couch . Drops down . Mutters at her .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Phone's in the kitchen. Knock yourself out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SARA'S ROOM\/BATHROOM - LATE THAT NIGHT<\/stage_direction>\n    <scene_description>Sara lying in bed . wide awake . her stiff upper lip quivering . She slips out of bed , creeps on tiptoes into the bathroom . Closes the door oh - so - quietly behind her . She flips on the light , crosses to the sink , turns on both faucets . As the water flows and the PIPES RATTLE , the brick wall shatters . Sara crumbles to the floor . Buries her head in her arms . Cries like a baby .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. ROY'S PICKUP (SOUTH BALTIMORE)  NEXT MORNING<\/stage_direction>\n    <scene_description>Roy and Sara . Barreling through the south end , tongues stuck in gear . A Pop - Tart grows cold on Sara 's lap . Then , finally .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>I can take the school bus. Tomorrow.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>School bus? That's the other Oz, Dorothy. Patterson kids ride the city Metro. Or walk.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Well, I know how to do both.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Not around here you do n't. Not until you get the hang of things.<\/dialogue>\n    <scene_description>Sara looks out the window at a full - fledged ghetto . It 's all to obvious , the hang of things . Roy glances over at her .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>I called about your transcripts. You're all set. Patterson's got a pretty good Humanities program. No ballet, but we can find a studio someplace close for after school -<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>- I do n't think I'll have time. I have to study, I'll be busy.<\/dialogue>\n    <scene_description>Roy can hear the lie behind her words . The pain too . He lights a cigarette , cracks the window . He wants to say the right thing .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Good idea. Take a break. Not too long a break though. You're a dancer. You should dance. Stay on top of your art.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Like you stay on top of yours?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Maybe I ai n't playin' no grand ballrooms or fancy jazz festivals, but I'm playing.<\/dialogue>\n    <character>SARA<\/character>\n    <parenthetical>( unconvincingly . )<\/parenthetical>\n    <dialogue>I did n't mean it like that.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>S'alright. Hell, I wish I had half the time I wasted gettin' wasted. But those days are over. You'll see. I got my life on track.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PATTERSON HIGH SCHOOL (SOUTH BALTIMORE) - MORNING<\/stage_direction>\n    <scene_description>Formidably large and surprisingly well - kept , Patterson serves the nearby , predominantly black O'Donnell Heights Projects . Kids malinger outside on the front steps and lawn . FROM ANOTHER ANGLE - PARKING LOT Roy 's pickup pulls in . Roy CUTS the ENGINE . Sara looks at him . Or through him . She wo n't let his eyes connect .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>You do n't have to go in with me. Since I'm all set. I mean, I have done this before. Gone to school. I'll be fine. I am fine. Really.<\/dialogue>\n    <scene_description>Roy regards her with weary resignation . Sara climbs out . He calls after her .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>- Pick you up. Three - thirty.<\/dialogue>\n    <character>SARA<\/character>\n    <parenthetical>( over a shoulder . )<\/parenthetical>\n    <dialogue>Yeah. Sure. Whatever.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. PATTERSON HIGH - MORNING<\/stage_direction>\n    <scene_description>Sara moving TOWARD us PAST a floating mosaic of black faces . This is a near out - of - body experience for her . She walks like a well - rehearsed soldier in a stiff straight line to the school 's entrance . It 's clogged with students . Inside the doorway , two security guards flank a metal detector . When it 's Sara 's turn to pass through , one of the guards grabs her backpack and wordlessly begins searching it . He hands it back to her on the other side of the detector where Sara stands obtusely and mutely amazed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ADMINISTRATION BUILDING - MORNING<\/stage_direction>\n    <scene_description>THROUGH a window , Sara seated across from an ADMINISTRATOR . We PUSH IN .<\/scene_description>\n    <character>ADMINISTRATOR<\/character>\n    <dialogue>It's no fun being uprooted in the middle of your senior year. We realize that and we'll do what we can to help with the transition.<\/dialogue>\n    <scene_description>There 's a KNOCK at door . MRS. GWYNN , the Guidance Counselor , steps in . The Administrator introduces her to Sara . Sara regards Mrs. Gwynn with polite petulance .<\/scene_description>\n    <character>MRS. GWYNN<\/character>\n    <dialogue>Any questions? Concerns?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>About school? No. Not really.<\/dialogue>\n    <character>MRS. GWYNN<\/character>\n    <dialogue>Not even about Baltimore?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>I'm not gon na be here that long. Besides, it's just a city, right?<\/dialogue>\n    <scene_description>Mrs. Gwynn looks at her squarely . But the brick wall does n't move an inch . Sara feels too safe behind it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - MORNING<\/stage_direction>\n    <scene_description>Clutching new textbooks , Sara starts down the hallway . She 's hoping nothing in her face reveals the rising panic in her heart . She 's surrounded . Alone . Every inch of her feels afraid . SARA 'S POV as she MOVES FORWARD . A crush of KIDS - mostly black with a sprinkling of white and Latino faces thrown in . Kids like her . Only they do n't dress like her . They dress like commercials for Tommy Hilfiger and Calvin Klein . And they definitely do n't sound like her .<\/scene_description>\n    <character>TEENAGER #1<\/character>\n    <dialogue>Yo, man, check it, the muthafuckers was n't playin', they was jackin'. Ten rides in five days. For real.<\/dialogue>\n    <character>TEENAGER #2<\/character>\n    <dialogue>Fools got caught for real too. Ten years in five days. Stall that shit!<\/dialogue>\n    <scene_description>Sara walks on , taking this netherworld in , eavesdropping on other conversations . It 's not just the words . It 's how they say them : Loud . Matter - of - fact . Cool . A cooler cool . Like they breathe static electricity . That 's it ! The entire student body is energized . Sara 's thoughts are jolted by two black girls squeezing by . One clips Sara 's elbow as she passes , knocking it against a locker . They keep going as if they do n't see her . No one seems to see her . Welcome to mass avoidance at Patterson High . AT SARA 'S LOCKER - LATER Sara 's back is to a black girl striding purposefully toward her . CHENILLE - tall , pretty , with about a million braids in her hair - swoops Sara 's backpack from the floor . Thrusts it at her .<\/scene_description>\n    <character>CHENILLE<\/character>\n    <dialogue>That's how easy it is to give to charity around here. Do n't put your shit on the floor.<\/dialogue>\n    <character>SARA<\/character>\n    <parenthetical>( cautions a smile . )<\/parenthetical>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>She closes her locker , starts to say something else . She 's eager to make a friend . One friend . But Chenille 's gone . ANOTHER CORRIDOR Sara memorizes the schedule of classes in her hand . She passes a clutch of students who surround a kid in the middle like a horseshoe . Sara gets a fleeting glimpse of him . SARA 'S POV - PATRICK REYNOLDS Eye candy : Tall . Dark . Heartbreakingly handsome . If Patterson were a monarchy , Patrick would be king . He sure holds court like one , turning on his dazzling smile and abundant charm for the crowd . One gets the sense that the All - American Home Boy is almost as enraptured with himself as the sycophants around him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JURASINSKI'S CLASSROOM - MORNING<\/stage_direction>\n    <scene_description>The room 's seen better days . Probably better teachers too . MR. JURASINSKI looks out at his American Literature class and sees nothing but tenure .<\/scene_description>\n    <character>JURASINSKI<\/character>\n    <dialogue>In Cold Blood represents a turning point in our country's literature. Take the cap off and tell me why that is, Mr. Ricard.<\/dialogue>\n    <scene_description>WIDER to include the class . FAVOR `` SNOOKIE '' RICARD . We recognize him from the hallway kids wrapped up in Patrick . Snookie , a flagrant Patrick wannabe , sits next to him now . He removes his baseball cap . Thoughtfully twirls it on a finger . He truly believes he 's being profound .<\/scene_description>\n    <character>SNOOKIE<\/character>\n    <dialogue>Gay rights. That Compote dude who wrote it? Sweet tooth. Straight - up fag, Mr. J.<\/dialogue>\n    <character>JURASINSKI<\/character>\n    <dialogue>Thank you, Mr. Ricard. Your genius grant is in the mail. Anyone else?<\/dialogue>\n    <scene_description>No volunteers . Jurasinski looks for someone to put on the spot . Sees the new girl in a back corner . Johnson . He gets into her line of sight . The class shifts in their seats , peeping her .<\/scene_description>\n    <character>JURASINSKI<\/character>\n    <dialogue>Ms. Johnson. You can catch up later. If this is over your head.<\/dialogue>\n    <scene_description>Everyone looks at her . The way kids look at new kids .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>It's a non - fiction novel. The first of its kind. Capote mixed true events with things he could n't know, so he made them up.<\/dialogue>\n    <scene_description>A small murmur goes up . Over this , the voice of a dissenter .<\/scene_description>\n    <character>PATRICK<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>White folks back then felt safe. Capote scared'em. He took hard core crime out the ghetto and dropped it in America's back yard. That's what makes the book special.<\/dialogue>\n    <scene_description>Sara cranes to see him . God . It 's pretty - boy . He 's sitting on the other side of the classroom . Looking . pretty . Looking at her . He has nice eyes . Not that she noticed .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Yeah. That is part of it.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>That's all of it. Capote was n't first. Richard Wright and James Baldwin did the same thing. Was n't nobody tryin' to read them though.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Lots of people read them.<\/dialogue>\n    <scene_description>A defensive save . Patrick sees right through it .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Lots of people like who? You? Hello. Did n't think so.<\/dialogue>\n    <character>SNOOKIE<\/character>\n    <dialogue>Mr. J! Girl needs to bone up. Give her a pass to the lib ` ary.<\/dialogue>\n    <scene_description>The room erupts in laughter . ON SARA flushed in the face . Embarrassed . Pissed . ANGLE WIDENS as Jurasinski quiets the class . Then .<\/scene_description>\n    <character>JURASINSKI<\/character>\n    <dialogue>She can have your pass, Mr. Ricard. Since you obviously never use it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY OUTSIDE OF CAFETERIA - NOON<\/stage_direction>\n    <scene_description>Lunchtime . PICK UP Sara among a cattle drive of boisterous students . CAFETERIA - FOOD LINE - LATER Hundreds of voices unleashed in pure , unadulterated teenage cacophony . Sara 's in a queue of kids , working her way down the line . She 's as invisible and anonymous as ever . CAMERA TRACKS her FROM the line , TO the cashier , INTO the heart of the dining hall . She stands with a food tray , looking for a place to sit . HER POV Table cliques of the cafeteria . SERIES OF SWEEPING SHOTS JOCK TABLE Two tables pushed together . Full . NERD TABLE Barely , pathetically populated but surprisingly diverse . HIP - HOP TABLE Loud , overflowing , fun . King Patrick and his loyal subjects horse around . POPULAR TABLE Over which a glacial beauty we will come to know as NIKKI DAVIS presides . Girls only . WHITE TABLE Notable for its glaring absence of color . A girl we will come to know as TONI sits there . And then PUSHING IN ON - CHENILLE 'S TABLE She 's there with a group of girls who eschew pretense . They , like Chenille , are rugged and regular . They know who they are . END OF SERIES OF SWEEPING SHOTS . ANGLE ON SARA eyeing Chenille 's table . Screwing up courage as she approaches it . She gets there but two black girls are faster . They sit down in the only empty seats . Sara backs off , invisible again . ON CHENILLE glimpsing Sara from the corner of her eye as Sara walks away . AT NERDS ' TABLE - LATER Time has passed . The cafeteria is half as full , half as noisy . Sara sits among the NERDS , a friendly if verbose group . She 's trying to eat but a snooze button is talking her to death .<\/scene_description>\n    <character>WONK<\/character>\n    <dialogue>I know you're new to the table, but think about it. We're the Y2K generation and nobody takes us seriously. We do n't take ourselves seriously. Just look around. Half the student body is D.O.A. - and that's from the neck up, Clara.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Sara. It's Sara.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Yeah. It's Sara. And you're boring her from the ears down.<\/dialogue>\n    <scene_description>Sara looks up , surprised to see Chenille standing there . She flashes a knowing smile at her , indicates Sara 's tray .<\/scene_description>\n    <character>CHENILLE<\/character>\n    <dialogue>You finished?<\/dialogue>\n    <scene_description>Sara leaps up with a quick , grateful nod . Beats a hasty retreat from the table . As she and Chenille walk through the cafeteria , Sara shudders with relief . She feels rescued .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>God! Thank you!<\/dialogue>\n    <character>CHENILLE<\/character>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>Got ta watch where you sit, girl. And it's Chenille. But you're still welcome. Let's catch some air before the bell rings.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. QUAD - MOMENTS LATER<\/stage_direction>\n    <scene_description>Sara follows Chenille into the `` QUAD , '' four squared off sections outside the cafeteria . There are a few dry - rotted picnic tables scattered around . Other kids - and they run the gamut - are seen in clots , sneaking smokes . horsing around . making out . SARA 'S POV - KIDS OF QUAD And OVER the sound of HIP - HOP MUSIC , a pair of feet . Moving . Dancing . CAMERA PANS UP to reveal Nikki . She 's demonstrating some moves to the girls from the popular table . Nikki 's dancing her ass off , showing off . BACK TO SCENE<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>What's it called? What she's doing?<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>A dance.<\/dialogue>\n    <character>SARA<\/character>\n    <parenthetical>( a look ; knows that . )<\/parenthetical>\n    <dialogue>No, I mean. the step, the.<\/dialogue>\n    <scene_description>She trails off as she catches someone in the corner of her eye . She turns away from Chenille , gradually focusing on - PATRICK playing cards with Snookie at one of the picnic tables . He glances up to see Sara . Glowering at him . He grins . Sara rolls her eyes , turns away . Mutters loudly to herself .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Asshole.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>Asshole beaucoup. In this crowd, you got ta be more specific.<\/dialogue>\n    <character>SARA<\/character>\n    <parenthetical>( covertly indicates Patrick . )<\/parenthetical>\n    <dialogue>He's in one of my classes. Thinks he's so. smart. So cute.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>I do n't know about cute but he is smart. Real smart. Real trip, too.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>So you know him?<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>Patrick Reynolds? Hell yeah, I know him. He's my brother.<\/dialogue>\n    <scene_description>Chenille waits for Sara to swallow her tongue . Enjoys a laugh . ANGLE SHIFTS TO PATRICK as Nikki approaches him . Sexy , standoffish and conceited , she 's the stuff of wet dreams and futile longing . She sits down next to Patrick . Close to him . Snookie watches her , much amused .<\/scene_description>\n    <character>NIKKI<\/character>\n    <dialogue>You comin' tonight?<\/dialogue>\n    <scene_description>Patrick keeps playing his hand . Responds very coolly .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Got ta work.<\/dialogue>\n    <character>NIKKI<\/character>\n    <dialogue>You already skipped three meetings.<\/dialogue>\n    <parenthetical>( as he 's ignoring her . )<\/parenthetical>\n    <dialogue>Is it because of me? Everybody on the committee thinks it's because of me. Us.<\/dialogue>\n    <parenthetical>( infuriated by his silence . )<\/parenthetical>\n    <dialogue>Look, Patrick. Regardless. You're in charge of the music. I'm in charge of the prom. So show up. Do n't make me fire your ass.<\/dialogue>\n    <scene_description>Fighting words . Snookie holds his breath . Patrick throws out a card , turns slowly to Nikki with a withering stare in his eyes .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>You already fired my ass, Nikki. Once and done. Over. Out. ` Bye.<\/dialogue>\n    <scene_description>She stalks off . Snookie oogles her departure , peers at Patrick , about to say something . Patrick cuts him off , indicates cards .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Hit me and shut the hell up.<\/dialogue>\n    <character>SNOOKIE<\/character>\n    <dialogue>I ` ma shut up. after I say it been real frigid ` round here since y' all broke up. ` Specially since she broke up with you. That was harsh, way she canceled your ass like a stamp for that Howard U dude. But their shit's over. Now might be the time to forget mistakes that was made. Shoot. You been with the girl since ninth grade.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Why you sweatin' me, Snookie?<\/dialogue>\n    <character>SNOOKIE<\/character>\n    <parenthetical>( pounding his heart . )<\/parenthetical>\n    <dialogue>'Cause I'm about you, man. I want a happy ending. Aww, shit. Tuck an' duck. Here he comes. The hood of the ` hood, up to no good.<\/dialogue>\n    <scene_description>THEIR POV MALAKAI RHINEHART , 17 , heading toward them . Powerfully built and edgy with insolence , Malakai is like a tightly - wound coil - you never know when he 's going to snap . ANGLE WIDENS and we see Patrick is happy to see him . He and Malakai grin at each other . Knock handshakes .<\/scene_description>\n    <character>MALAKAI<\/character>\n    <dialogue>Medicine man.<\/dialogue>\n    <character>SNOOKIE<\/character>\n    <parenthetical>( interjecting himself . )<\/parenthetical>\n    <dialogue>Did I tell you, Malakai, man, how chill it is to have you back? We ai n't been bad without cha.<\/dialogue>\n    <character>MALAKAI<\/character>\n    <dialogue>Shut the fuck up and step your lame ass off, Snookie. You heard me. Space.<\/dialogue>\n    <scene_description>Snookie haughtily , comedically obliges . A moment .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>What happened to you at lunch, man?<\/dialogue>\n    <character>MALAKAI<\/character>\n    <dialogue>Business.<\/dialogue>\n    <scene_description>Short - hand . Patrick understands it , nods . Malakai slips the cigarette from behind his ear , openly lights and starts smoking it . CAMERA TRACKS them walking back toward Patterson .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>So you're hangin' in, man? Feelin' strong about being back?<\/dialogue>\n    <character>MALAKAI<\/character>\n    <dialogue>Not at this motherfucker. Out a week and where am I? Fucking home sweet high school. Jail away from jail. You can have it.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>You gon na stay though. Right?<\/dialogue>\n    <character>MALAKAI<\/character>\n    <dialogue>Judge says it's school or JuVee and I sure as hell ai n't goin' back there. Shit. I never knew a year could be such a long time.<\/dialogue>\n    <scene_description>A flash of commiseration , of guilt , crosses Patrick 's face . They 're at the doors now . Most of the kids have gone . Malakai puts his cigarette out on the floor as they step in .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>You up for some hoops after school? Break your free - throw back in. Chump the chumps like we used to.<\/dialogue>\n    <character>MALAKAI<\/character>\n    <dialogue>Up for it? Hell - the - fuck yeah, man. Let's do it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PATTERSON HIGH - THAT DAY (AFTER SCHOOL)<\/stage_direction>\n    <scene_description>Sara exits with Chenille . A CAR HORN starts to blare . Both of them ignore it . But it goes on like a musical number . Sara gets a sinking feeling that drops like a stone when she looks across the street . Roy 's parked at the curb , waiting for her . She rolls her eyes and he HONKS AGAIN . Then he waves at her . Waves ! Chenille looks at Sara . Then at Roy .<\/scene_description>\n    <character>CHENILLE<\/character>\n    <dialogue>That's your old man? Now he's cute.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>He's embarrassing.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>Yeah. He is. For you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. ROY'S TRUCK - CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>Sara climbs in , slams the door . Roy looks over at her , unaware of how annoyed she is with him . She 's a clenched fist inside .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>How'd it go?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Fine.<\/dialogue>\n    <parenthetical>( as he pulls off . )<\/parenthetical>\n    <dialogue>Tomorrow I catch the bus.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROY'S APARTMENT - SARA'S \"ROOM\" - NIGHT<\/stage_direction>\n    <scene_description>Sara 's moving the partition around , trying to make her room more like a room . Trying to build another wall between her and Roy .<\/scene_description>\n    <character>ROY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hey, Sara. C'mere a minute.<\/dialogue>\n    <scene_description>Sara lets out a heavy sigh . What does he want ?<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ROY<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Just come here.<\/dialogue>\n    <scene_description>She walks into the kitchen . Roy 's in front of the open freezer door . Grinning from ear to ear . He motions her over . Sara crosses to the freezer . Looks inside . INSERT - INSIDE FREEZER It 's full of frozen dinners . They 're in unruly , lopsided stacks . BACK TO SCENE Roy regards her expectantly .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Hungry and Healthys. I asked at the market. They're the best. So. What do you feel like?<\/dialogue>\n    <parenthetical>( whimsically . )<\/parenthetical>\n    <dialogue>Lamb Chop Suey? Tropical Tuna? Primavera Paradise?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>I had a big lunch.<\/dialogue>\n    <scene_description>Roy , deflated , closes the freezer door , trails her into the living area . Sara 's clenching again . There 's no escaping him .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>What do you wan na do? You wan na hang out with me? Go to my gig. You can if you want.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>It's a school night, Roy.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Right. School night. Got it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROY'S APARTMENT - LIVING ROOM - SARA - LATER<\/stage_direction>\n    <scene_description>Roy 's gone . Sara takes her first good look around . A mess . It drives home where she is . What she 's lost . It 's overwhelming .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROY'S APARTMENT - KITCHEN - CLOSE ON EMPTY T.V. DINNER TRAY - NIGHT<\/stage_direction>\n    <scene_description>An empty beer bottle , one askew kitchen chair . Vestiges of Roy 's meal . ANGLE WIDENS as Sara enters . She opens the freezer to unearth a dinner and starts an avalanche of falling food . A box of Sugar Puffs cereal lands at her feet . Something else out of place . She picks it up , jams everything back into the freezer . Slams the door shut . SARA in a whirlwind , cleaning the apartment . Wall to wall . Scrubbing away what 's churned up inside . The dervish ends in her `` room , '' where she finishes unpacking . Several layers into a suitcase , she comes to her ballet shoes . The sight hits her like a slap in the face . Sara stares at the shoes until her eyes blur . Then she snatches them up and entombs them deep inside her closet .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. O'DONNELL HEIGHTS PUBLIC HOUSING PROJECTS  MORNING<\/stage_direction>\n    <scene_description>Patrick , Chenille , Snookie straggle through the dreary jungle of concrete lawns and blighted high rises on the way to school . It 's quiet now but the scars of past battles , like the bombed out police substation on one of its corners , are evident everywhere .<\/scene_description>\n    <character>SNOOKIE<\/character>\n    <dialogue>I need a date -<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>Why? Your hand busy?<\/dialogue>\n    <character>SNOOKIE<\/character>\n    <dialogue>- For the prom. And if it was n't for that kinda undue attitude, you could be the lucky girl, Chenille. My personal prom queen. I can see us now.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>You must be lookin' in your dreams.<\/dialogue>\n    <scene_description>Snookie glances at Patrick . He 's somewhere else .<\/scene_description>\n    <character>SNOOKIE<\/character>\n    <dialogue>Help me, man. Defend me.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>I got my own problems, Snook.<\/dialogue>\n    <character>SNOOKIE<\/character>\n    <dialogue>What problems? You goin' to college. Doctor college after that. You large, man.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>I ai n't gon na be doctor nothin' if I do n't get in and I'm not in'til I get my letter.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>It's in the mail, Patrick. Okay?<\/dialogue>\n    <character>SNOOKIE<\/character>\n    <parenthetical>( wishfully thinking . )<\/parenthetical>\n    <dialogue>I probably coulda been a doctor too. If I had n't got left back that time.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>That time? What? Fifth and sixth grade do n't count?<\/dialogue>\n    <scene_description>Patrick finally laughs . Then his face changes . Becomes serious . He hops a low wall , keeps in stride above them . They continue on like this , the ruins of their world in the b.g. behind them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT CITY BUS\/BALTIMORE STREETS - MORNING<\/stage_direction>\n    <scene_description>The bus is crammed with kids . Sara , seated by a window , does n't bother looking out . Inside 's more interesting . The kids cut up . Singing , rapping , and jousting with each other . Some even manage to read . Sara watches with immunity . She 's invisible to them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUS STOP (NEAR PATTERSON HIGH) - MORNING<\/stage_direction>\n    <scene_description>Sara alights just as Patrick , Chenille , and Snookie walk past . Patrick 's the only one to see her and their eyes briefly connect .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY NEAR ENTRANCE (PATTERSON HIGH)  CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>Patrick and Chenille pass through metal detectors , watch Snookie clown his way through . The security guard shakes his head . All three begin to walk . Snookie , bobbing and jiving , does n't see Mrs. Gwynn coming up from behind . Her voice stops him cold .<\/scene_description>\n    <character>MRS. GWYNN<\/character>\n    <parenthetical>( as Patrick and Chenille look on . )<\/parenthetical>\n    <dialogue>Light on your feet? Good. Be sure they dance into my office next week.<\/dialogue>\n    <scene_description>She moseys on . Snookie regards Patrick 's smile , shakes his head .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHEMISTRY LAB - LATER THAT MORNING<\/stage_direction>\n    <scene_description>The class has donned lab coats and is ready to begin when Sarah rushes in . She tries to slink into a seat . The teacher , MR. HILL , gives her a disapproving look , points at one of several formulas -LRB- C2 , H6 , O2 -RRB- on the blackboard . Sara just looks at him<\/scene_description>\n    <character>MR. HILL<\/character>\n    <dialogue>We're cooking today, Ms. Johnson. This is your first lab. You'll need a partner. Mr. Reynolds - Patrick - will show you the ropes.<\/dialogue>\n    <scene_description>Patrick bounces a smile off unsettled Sara . This should be fun .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHEMISTRY LAB - MINUTES LATER<\/stage_direction>\n    <scene_description>The class , in safety goggles and gloves , has partnered up . ANGLE ON SARA AND PATRICK He 's holding two vials . Sara picks up a beaker . Stares at the blackboard . She has no idea - and no intention of admitting it .<\/scene_description>\n    <character>PATRICK<\/character>\n    <parenthetical>( very casually . )<\/parenthetical>\n    <dialogue>That's too big.<\/dialogue>\n    <scene_description>She glints at him , grits through her teeth .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>I know it's too big.<\/dialogue>\n    <scene_description>She puts the beaker down . Picks up a vial . Flips through her textbook . Her eyes shift from it to the blackboard , trying to make a connection . She settles on one . Picks up a vial of powder . Patrick grabs her hand , leans over and whispers .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>I would n't do that if I were you.<\/dialogue>\n    <character>SARA<\/character>\n    <parenthetical>( yanks her hand back . )<\/parenthetical>\n    <dialogue>Who died and made you teacher?<\/dialogue>\n    <scene_description>Patrick pulls back , looks at her . He ca n't believe she dissed him . A small smile forms on his face . Sara turns away from it , goes back to her vials . Patrick slides to the farthest end of the table . Watches her consternation with bemusement .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Know the difference between ethyl glycol and methyl acetate? Both got three elements, two parts the same. It's that first part, C2 versus C3. C3 could blow a vial right out a person's hand.<\/dialogue>\n    <scene_description>Sara thinks he 's messing with her . But then the contents of the beaker begin to ominously bubble . Panicked , she drops the vial into their sink . It instantly goes up in smoke . Some of the liquid splashes on Sara 's lab coat . Patrick grabs a wet towel , quickly wipes it off . The class stops cold . Hill rushes up to them . Once he 's sure Sara 's fine , he looks sternly at Patrick .<\/scene_description>\n    <character>MR. HILL<\/character>\n    <dialogue>What happened? Everybody back in your seats!<\/dialogue>\n    <scene_description>Patrick stares at Sara . Her face is red . She 's biting her lip .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>I misread the component.<\/dialogue>\n    <character>MR. HILL<\/character>\n    <parenthetical>( even more angry now . )<\/parenthetical>\n    <dialogue>You? You misread a component. Do n't give me that, Patrick. You were screwin' around!<\/dialogue>\n    <scene_description>Hill 's tone is searing . He turns to Sara . She 's trying to say something but the words wo n't come out . Hill regards her wearily , then walks off pushing the curious class back to their stations . Sara looks at Patrick , weakly mouths `` thanks . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GYMNASIUM - NIGHT<\/stage_direction>\n    <scene_description>Over the sound of GRUNTING . OPEN CLOSE ON a girl 's plump ass . Squirming in too - tight gym shorts that hug the cheeks . ANGLE WIDENS to reveal a stout white girl on a balance beam . Trying to get her legs to stand up on it . Hanging on for dear life . From somewhere around her , a WHISTLE BLOWS .<\/scene_description>\n    <character>TEACHER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Alright, Ms. Diggs. Time!<\/dialogue>\n    <scene_description>WIDEN to see the teacher and her class -LRB- FAVOR Sara , Chenille , and Nikki -RRB- . Amid snickers , the stout girl -LRB- `` DIGGY '' -RRB- slides off the beam , walks past the teacher with her head demurely cast down . Clearing the teacher , Diggy pivots around , both middle fingers in the air . Gives up the double bird with much attitude . The class loves it . Cheers it . Until the teacher swerves around . SERIES OF CLOSE CUTS Chenille on balance beam . competent but average . Nikki on balance beam . Agile . Self - assured . Good . And then TIGHTER STILL on Sara . Tentatively approaching the balance beam . Mindful of all the eyes on her , all the bated breaths . All waiting to see the new girl fall on her ass . Sara swings herself onto the beam with aplomb . Her legs and body are strong , supple , pliable rubber bands . She flounces across it on her tiptoes . Does a flawless split . Hops off . Looks out . SARA 'S POV - TEACHER AND CLASS Reacting with shock and surprise . Awed . Except for Nikki . She stands there with her arms folded . Simmering . Envious . PATTERSON HIGH - END OF SCHOOL THAT DAY Sara . Heading down the steps with other students . Chenille and Diggy break through the logjam , catch up to her .<\/scene_description>\n    <character>CHENILLE<\/character>\n    <dialogue>Girl, how you get your legs to twist like that?<\/dialogue>\n    <character>DIGGY<\/character>\n    <parenthetical>( wildly gesticulating . )<\/parenthetical>\n    <dialogue>Yeah. What was all that double - jointed cheerleader shit?<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>This is Diggy. Thinks she's down.<\/dialogue>\n    <character>DIGGY<\/character>\n    <dialogue>Egg - cuse me? I am down.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>So, Sara. What's up with that?<\/dialogue>\n    <character>SARA<\/character>\n    <parenthetical>( awkwardly . )<\/parenthetical>\n    <dialogue>Nothing's up with it. I used to kind of dance. Ballet. Mostly.<\/dialogue>\n    <scene_description>Chenille makes an impressed face . Regards Sara curiously .<\/scene_description>\n    <character>CHENILLE<\/character>\n    <dialogue>You should hit Feetz with us tomorrow night. It's a club. Sorta members only.<\/dialogue>\n    <character>DIGGY<\/character>\n    <dialogue>Un - der - ground.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>Come on and hang out. Snook dee's sometime. He can get you in.<\/dialogue>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>Yo, Snook<\/dialogue>\n    <scene_description>Sara sees Snookie . then Patrick . loping her way . She steels herself . He 's going to say something , crack some joke about her nearly blowing him up . But Patrick just stares at her with a twinkle in his eyes . A nice twinkle . Sara 's not entirely immune to it . Chenille breaks their eye play , pushes Patrick aside . She grabs Snookie 's arm , indicates Sara .<\/scene_description>\n    <character>CHENILLE<\/character>\n    <dialogue>She needs to get hooked up for Feetz. All the way up. Sara, give Snook twenty dollars.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>For what?<\/dialogue>\n    <character>SNOOKIE<\/character>\n    <dialogue>I.D. Eye - dee. How you think you gettin' in? On your looks?<\/dialogue>\n    <parenthetical>( rolling his eyes . )<\/parenthetical>\n    <dialogue>Chenille, your girl is weak. Shit. I got my rep to watch. I ca n't just be gettin' any green in.<\/dialogue>\n    <scene_description>Sara glares . Regards Snookie with a sweeping scowl .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Look closer. And if I still look green, I think maybe you should wipe the crust from your eyes.<\/dialogue>\n    <scene_description>Snookie 's jaw drops . Patrick cracks up . Diggy too . Chenille 's stays on point . She 's about solving the problem .<\/scene_description>\n    <character>CHENILLE<\/character>\n    <dialogue>You gon na pay the man or what?<\/dialogue>\n    <character>SNOOKIE<\/character>\n    <dialogue>She ai n't got it. Look at her. Loud - talkin' me and broke as a damn promise.<\/dialogue>\n    <scene_description>Sara , put on the spot , pulls out the money . Snookie snatches it .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>I do n't even know where it is.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>So we'll hook up at my house. Go together. I will have your I.D.<\/dialogue>\n    <scene_description>Snookie shrugs affirmatively . Patrick looks directly at Sara . The twinkle in his eye is gone , replaced by fair warning .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Feetz ai n't no square dance.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>That's okay. I dance in circles. Probably around you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROY'S APARTMENT - SARA'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Roy walks in to see Sara on the futon in her pajamas reading a book . She 's got a head full of rollers .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>I'm splittin'.<\/dialogue>\n    <parenthetical>( as she barely looks up . )<\/parenthetical>\n    <dialogue>Whatcha readin'?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Chemistry.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>You're takin' chemistry?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Right now it's taking me.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Give yourself some time. Well. See ya in the mornin'. Maybe I'll call between sets.<\/dialogue>\n    <scene_description>Sara really looks up . Gives him an angelic , sluggish shrug .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>I'll be asleep.<\/dialogue>\n    <scene_description>He leaves . As soon as Sara hears the front DOOR CLOSE , she jumps up , strips down to bra and panties , races to the closet . One hand rips the rollers from her hair , the other rips through outfits . She 's frantic and unsure about choosing the right one .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. \"BLACK\" STREET (SOUTH BALTIMORE) - NIGHT<\/stage_direction>\n    <scene_description>Sara . In a skin - tight miniskirt and a bolero jacket . Looking more eighties than nineties , more cute than cool . She walks with tentative , jittery purpose down this poverty stricken street . Does n't meet anyone 's eye . But can feel the eyes on her . She keeps going . She 's walked too far to turn back .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. O'DONNELL HEIGHTS PROJECTS - SARA - NIGHT<\/stage_direction>\n    <scene_description>Approaching the malignant edifices as the Heights begin to come to life . or death , depending how luck 's running . Sara walks into this world of shadows and despite a trepidation , finds something fascinating about the possibility of real danger .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. REYNOLDS APARTMENT\/HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Chenille triple unlocks the door , lets Sara in . Sara 's surprised - the apartment is surprisingly quaint and extremely neat . It looks a helluva lot better than Roy 's place . Chenille is dressed in hugely baggy military - style pants and a tube top with a form - fitting , short - cut leather coat over it . Sara takes it in .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Cool outfit.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>Slammin'. Slammin' outfit.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>I look okay?<\/dialogue>\n    <scene_description>Chenille gives her the once over . Decides to lie .<\/scene_description>\n    <character>CHENILLE<\/character>\n    <dialogue>Yeah. You look okay.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>Moma Dean. I'm leavin'.<\/dialogue>\n    <scene_description>FROM ANOTHER ANGLE GRANDMOMMA DEAN enters with a toddler -LRB- `` CHRISTOPHER '' -RRB- in her arms . She sports snow white , waist - length dreads and she 's wearing a dashiki lounger . Despite her white locks , she does n't look old enough to be a grandmother . She hands Christopher to Chenille . Inspects Sara . Her eyes are open , kind .<\/scene_description>\n    <character>CHENILLE<\/character>\n    <parenthetical>( fussing over Christopher . )<\/parenthetical>\n    <dialogue>Grandmom, Sara. Sara, Grandmom. Also known as Momma Dean. And handsome here is Christopher.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>MOMMA DEAN<\/character>\n    <dialogue>Hello. Now do n't get him all riled up, Chenille. I want to get some sleep tonight.<\/dialogue>\n    <scene_description>Chenille kisses Christopher , hands him off to Momma Dean . They exit . Sara looks tentatively at Chenille .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Is that. is he. yours?<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>He sure ai n't Momma Dean's.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. CAB\/STREET (MOVING) - SARA AND CHENILLE - NIGHT<\/stage_direction>\n    <scene_description>They 've been talking . Well , Chenille has . Sara 's been listening . Intently . Liking this confidence they 're sharing .<\/scene_description>\n    <character>CHENILLE<\/character>\n    <dialogue>He'll be one in July. Best mistake I ever made. Kenny - Christopher's father - he's the worst. Triflin'. Okay?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 6TH AND BROADWAY (EAST BALTIMORE) - NIGHT<\/stage_direction>\n    <scene_description>A curbed cab . Sara and Chenille get out . Chenille digs into her pocketbook , hands Sara her I.D. PUSH IN ON photo of obese white girl with an untamed trailer trash perm . Sara 's eyes go wide .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Chenille. She's ugly. She's fat!<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>She's twenty - one too. I ai n't got all night. Let's hop.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Wait. I have to ask you something.<\/dialogue>\n    <parenthetical>( hard for her . )<\/parenthetical>\n    <dialogue>Do I really look alright?<\/dialogue>\n    <scene_description>An unspoken thing passes between them . Chenille suddenly whips off her coat . Gestures at Sara with her head .<\/scene_description>\n    <character>CHENILLE<\/character>\n    <dialogue>Gim me that'89 Madonna shit. Your jacket. Give it here.<\/dialogue>\n    <scene_description>Sara takes off the bolero . Chenille ties it around her own neck , then yanks Sara 's miniskirt down around her hips . Sara 's torso is clad in a long - sleeved cotton tee . Chenille frowns at it .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>It's from the GAP.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>It's country. You look country in it. Take it off.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>I'm not walking in there in my bra.<\/dialogue>\n    <scene_description>Chenille thrusts her leather coat at her . Sara ca n't believe what she 's doing , getting -LRB- un -RRB- dressed on a public street ! She pulls off the tee , slips on Chenille 's coat . Buttons it as far as the buttons go . Looks down . Half her chest is exposed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY (EAST BALTIMORE) - SARA AND CHENILLE - NIGHT<\/stage_direction>\n    <scene_description>Gaining on what looks like an abandoned warehouse . Chenille snorts at the roped off queue of kids waiting to get inside .<\/scene_description>\n    <character>CHENILLE<\/character>\n    <dialogue>Rope dopes. C'mon.<\/dialogue>\n    <scene_description>She leads Sara to the door of FEETZ . The Sumo - sized MAN guarding it knows Chenille , digs her . His grin exposes gold - capped teeth .<\/scene_description>\n    <character>DOORMAN<\/character>\n    <dialogue>Chenille. Lookin' fine. As always.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>Too fine to stand in line?<\/dialogue>\n    <scene_description>The Man grins , opens the rope , lets them in - `` in '' being just inside the front door . A BOUNCER there collects the $ 10.00 cover charge . Checks their I.D. . He hands Sara 's back with a smirk .<\/scene_description>\n    <character>BOUNCER<\/character>\n    <dialogue>Changed your hair.<\/dialogue>\n    <scene_description>He waves a metal detector over their bodies , nods to yet another bouncer who escorts Sara and Chenille through yet another door . ANOTHER ANGLE They march a short distance to an old elevator where a group of kids wait . Bouncer # 2 engages the elevator . Everyone piles in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR - CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>Sara holds onto her stomach as the CREAKY ELEVATOR descends and the MUSIC below rises . The elevator 's vibrating with music .<\/scene_description>\n    <character>SARA<\/character>\n    <parenthetical>( an inside to Chenille . )<\/parenthetical>\n    <dialogue>Ca n't get much more underground than this.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FEETZ CLUB - CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>A smoky hole in the wall , filled to the brim with kids . Mostly black kids with a few whites and Latinos melting in . They share a common goal : To clog the dance floor , flaunt their outfits and get nasty with the music of the masters : Tupac Shakur , NAS , Lauryn Hill , Puff Daddy , etc. . Here , the boundaries of dirty dancing are pushed , from erotic to vulgar ; loving to lascivious . ANOTHER ANGLE Sara and Chenille . Sara 's excited . She loves that she has to shout to be head over the music .<\/scene_description>\n    <character>CHENILLE<\/character>\n    <dialogue>Let's get our table ` fore it gets crashed and I hafta hurt somebody.<\/dialogue>\n    <scene_description>Sara 's bewildered . She does n't see any tables . She follows Chenille to the back of FEETZ . Sees six or seven tables . All of them have reserved signs . Most of them are filled .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>What are you, some kind of V.I.P?<\/dialogue>\n    <scene_description>Chenille indicates the deejay booth . Snookie 's in it .<\/scene_description>\n    <character>CHENILLE<\/character>\n    <dialogue>Snook hooks me up whenever he dees.<\/dialogue>\n    <scene_description>They walk past a SLACKER in lycra pants and a big Army shirt . He licks his tongue at Chenille , grabs at her protruding butt . She swirls around , grabs his crotch hard enough to get his attention . The Slacker is squirming in her clutch .<\/scene_description>\n    <character>SLACKER<\/character>\n    <dialogue>Aw ` right, aw ` right. You got it.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>Got what?<\/dialogue>\n    <parenthetical>( as he ca n't think of anything but the squeeze on his balls . )<\/parenthetical>\n    <dialogue>The right to walk past your greasy, tickle dick self without your paws on my ass?'S ` that how I got it?<\/dialogue>\n    <scene_description>Chenille bobs her head right in his face . Sara ca n't believe it . A few people have stopped and are looking . The Slacker nods hastily . Chenille releases him , gently smoothes out his shirt .<\/scene_description>\n    <character>CHENILLE<\/character>\n    <dialogue>That's how I thought I had it.<\/dialogue>\n    <parenthetical>( a fly wave . )<\/parenthetical>\n    <dialogue>See ya.<\/dialogue>\n    <scene_description>She and Sara continue on to back - of - the - club tables . Stop at a reserved one . An adjacent table sports Nikki , her three girl crew . and Diggy . All nurse drinks . Nikki snake - eyes Sara .<\/scene_description>\n    <character>NIKKI<\/character>\n    <dialogue>What is up with this place? Seems like they're lettin' anybody in.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>Yeah. And they started with you.<\/dialogue>\n    <scene_description>The three girls and Diggy snicker . Nikki gives Chenille a look . Turns back to Sara with a snide smirk . Points out her crew .<\/scene_description>\n    <character>NIKKI<\/character>\n    <dialogue>I'm Nikki. Alyssa. Jasmin. Tiff ` nee. You know Diggy, right, Marsha?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Sara. It's Sara. And I know you. We have a class together.<\/dialogue>\n    <character>NIKKI<\/character>\n    <dialogue>That do n't mean you know me.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>Quit it, Nikki.<\/dialogue>\n    <character>NIKKI<\/character>\n    <dialogue>Quit what? I ai n't walkin' on eggshells just'cause you brought the Brady Bunch to the Negro Club.<\/dialogue>\n    <character>SARA<\/character>\n    <parenthetical>( kiss - my - ass polite . )<\/parenthetical>\n    <dialogue>Maybe you came to the wrong spot, Nikki. I'm pretty sure this one does n't have any Negroes.<\/dialogue>\n    <scene_description>Chenille cracks up mainly to back Sara up . Nikki glowers at her .<\/scene_description>\n    <character>NIKKI<\/character>\n    <dialogue>I'm pretty sure you came with one.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>Oh, no. Uh - uh, wench. You did not just call me a Negro.<\/dialogue>\n    <scene_description>As Chenille bucks , Diggy springs up from her seat , runs her arm in the space between Chenille and Nikki like a referee .<\/scene_description>\n    <character>DIGGY<\/character>\n    <dialogue>Alright, y' all. Chill.<\/dialogue>\n    <character>NIKKI<\/character>\n    <dialogue>Tell her to chill. She always got somethin' to say.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>I can say a lot more. Keep runnin' your mouth, Nikki. I'll lay all your shit bare.<\/dialogue>\n    <scene_description>Whatever shit it is , Nikki 's not taking any chances . She ejects herself from the table , walks off . The three girls scoot loyally after her . Diggy gets up . Sits down at Sara 's and Chenille 's table . Diggy goes with the flow . That 's why she always fits in .<\/scene_description>\n    <character>DIGGY<\/character>\n    <dialogue>Why you burn her like that?<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>'Cause I ca n't stand her ass and the way she played my brother. I need a drink, Sara. Let's walk.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FEETZ - ENTRANCE - SAME TIME<\/stage_direction>\n    <scene_description>Patrick and Malakai enter with two high school dropouts we will learn are ARVEL and LIP . Females flock to flirt with Patrick and Malakai , who both swell like sponges , soaking up the attention .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FEETZ - BAR - SAME TIME<\/stage_direction>\n    <scene_description>Chenille pushes her way to the bar , tugging Sara along . A tall , angular twenty - something MAN on the far side of the bar sees her . She sees him . Sucks her teeth , nudges Sara .<\/scene_description>\n    <character>CHENILLE<\/character>\n    <dialogue>That's him. Comin' over. Kenny? Do n't look.<\/dialogue>\n    <scene_description>So of course Sara does . She makes a silly face at Chenille as Kenny sidles up to her . Chenille rolls her eyes half - heartedly .<\/scene_description>\n    <character>KENNY<\/character>\n    <parenthetical>( MAN . )<\/parenthetical>\n    <dialogue>What's up?<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>Where's my money, Kenny?<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>I'm a little short this week. Do n't jump off. It's comin'.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>It's comin'? No. You lyin'.<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>Lem me rap to you about the situation on the dance floor.<\/dialogue>\n    <scene_description>She shakes her head firmly but her eyes do tell . She 's in love with him . Enough to let him whisper in her ear , sweet - talk her away from the bar . Before she 's swallowed up by the crowd , Chenille turns back to Sara , shouts :<\/scene_description>\n    <character>CHENILLE<\/character>\n    <dialogue>Rum and Coke. No ice. Hook me up.<\/dialogue>\n    <scene_description>ON PATRICK splitting off from Malakai and a girl clinging to him . He 's walking through when Nikki appears from nowhere , grabs his arm .<\/scene_description>\n    <character>NIKKI<\/character>\n    <dialogue>Let's dance.<\/dialogue>\n    <character>PATRICK<\/character>\n    <parenthetical>( pulling away . )<\/parenthetical>\n    <dialogue>Let's not.<\/dialogue>\n    <character>NIKKI<\/character>\n    <dialogue>Oh? It's gon na be like that.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>How'd you think it was gon na be? That you was gon na drop me and pick me up whenever you felt like it?<\/dialogue>\n    <character>NIKKI<\/character>\n    <dialogue>It ai n't all that serious, Patrick.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>It ai n't anymore, Nikki. Not to me.<\/dialogue>\n    <scene_description>He walks off . CAMERA TRACKS him going deep inside the club . He wants a drink . He 's almost at the bar when he sees Chenille on the dance floor with Kenny . She shrugs a smile , then cocks her head over at the bar . Toward Sara . The look is like , help me out . Do n't let me leave her hangin ' . Patrick rolls his eyes as he glances at Sara , before he really sees her . She looks fly . Hugely fly . He ambles up as she shouts into the bartender 's ear .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Rum and Coke, straight up. And a beer. I do n't care. Anything.<\/dialogue>\n    <character>PATRICK<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Bad choice. ` Anything.'<\/dialogue>\n    <scene_description>The closeness of his voice startles her . She turns into his smile . That cocksure , leave'em - weak - in - the - knees smile .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>It's just a beer.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Then it should be the best beer. You'd know that if you really drank.<\/dialogue>\n    <scene_description>Sara 's knees straighten , her spine stiffens . The asshole 's back .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Whatever.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>What's that mean? Whatever.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Whatever you want it to mean. You're the whiz kid, right? You know everything.<\/dialogue>\n    <character>PATRICK<\/character>\n    <parenthetical>( chuckles at this , at her . )<\/parenthetical>\n    <dialogue>Not everything. Like I do n't know why we're standin' still.<\/dialogue>\n    <parenthetical>( closer with a teasing whisper . )<\/parenthetical>\n    <dialogue>I'm supposed to be dizzy by now. Remember? From all those circles you danced around me.<\/dialogue>\n    <scene_description>Sara leans against the bar . The knees are going again .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>I do n't feel like dancing.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>But you do know how?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Would I be here if I did n't?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Let's do it then. C'mon.<\/dialogue>\n    <scene_description>He coaxes her onto the dance floor . PARLIAMENT 'S funk classic `` Flashlight '' is playing . The dance crowd is robustly singing the refrain to the song . There 's a party on the floor . FAVOR Sara and Patrick , facing each other . He 's moving already . She starts to dance , stiffly , tentatively . Patrick smiles at her . Shakes his head . He grabs her hands , swings them in time to the music .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Now move your hips. Not so fast.<\/dialogue>\n    <parenthetical>( as Sara looks lost . )<\/parenthetical>\n    <dialogue>Sara! Just like our hands.<\/dialogue>\n    <parenthetical>( singing , in sync with the crowd . )<\/parenthetical>\n    <dialogue>` Flashlight! Neon light! Stop light! Everybody got a little light under the sun.'<\/dialogue>\n    <scene_description>The music 's beginning to feel good to Sara . Patrick lets go of her hands . Starts to dance . Sara watches him intensely , her body follows his stiffly . Patrick 's a good teacher . He leads without leaving her . Whenever she misses a complicated move , he smoothly segues into another less - complicated one . Sara begins to pick - up on Patrick 's rhythm . Her eyes never wander from his . And then she starts to feel something else . They both do . A rising beat . A quickening heart . And not from the dancing . She smiles bashfully at him . Patrick suddenly grabs her around the waist , pulls her to him in a sexy spoon dance . All Sara can do is try to keep up and hang on . FROM ANOTHER ANGLE Nikki avidly watching Sara and Patrick with Jasmin and Tiff ` ny .<\/scene_description>\n    <character>JASMIN<\/character>\n    <dialogue>She's all up in your nut, Nikki. Oh, that's right. It ai n't your nut anymore.<\/dialogue>\n    <character>NIKKI<\/character>\n    <dialogue>It is if I want it to be. He is if I want him to be. That bitch ai n't got shit on me.<\/dialogue>\n    <scene_description>The girls regard her in conspicuous , dubious silence . Nikki maintains her cool but inside her pride is pricking .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FEETZ - SAME TIME<\/stage_direction>\n    <scene_description>Malakai and the clinging girl nuzzle in a back corner . She licks his ear , whispers into it . Malakai laughs . Then his expression abruptly darkens . A storm cloud comes over it . He gets up . MALAKAI 'S POV - WALKING TOWARD . two dealers a few feet away . They 're talking to an Asian guy with a multi - colored Mohawk . One slips Mohawk a packet of coke , the other takes his money . WIDER as Malakai reaches the dealers . He does n't explain , does n't complain . He just starts swinging . SARA AND PATRICK The MUSIC changes and their dance ends . They stand there for a moment , a little caught up in each other . A little unsure of the moment . And then there 's a scream ! Several of them actually . Patrick reacts to it instinctively . Looking around . In a small pocket of the club he sees Malakai . PATRICK 'S POV - MALAKAI in full fisticuffs with the two dealers . Holding his own . ON PATRICK leaving Sara , slicing through a clot of looky - loos until he reaches Malakai . He jumps into the fray .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FEETZ - FIGHT - PATRICK AND MALAKAI<\/stage_direction>\n    <scene_description>A thick crowd around them , proceed to beat the living shit out of the two dealers . ANGLE ON SARA AND CHENILLE wrangling their way to the front line of the crowd , Diggy not far behind them . Sara looks on , dumbfounded and dazzled by what she sees , which is - PATRICK pummeling his dealer into cowering submission . Only then does he look over at Malakai who , eyes engorged with rage , is standing over his opponent , kicking and stomping him with no signs of letting up . Patrick can see Malakai 's too far gone for talk . He rushes him from behind , nearly lifts Malakai off his feet to swing him away from the dealer 's writhing body on the floor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FEETZ - OUTSIDE VESTIBULE - CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>The exit door bursts open and Patrick and Malakai tumble out . Patrick bends over , cups his knees as he catches his breath .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Man, what the hell are you doin'? Tryin' to get sent back up?<\/dialogue>\n    <character>MALAKAI<\/character>\n    <dialogue>They the ones tryin' shit. Comin' here. Squarin' off in my shit.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>You could n't let it slide?<\/dialogue>\n    <character>MALAKAI<\/character>\n    <dialogue>Let it slide tonight, they come back strong tomorrow. You know that.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Malakai, you fuck up parole, you ai n't gon na back to JuVee. Eighteen and up, that's Jessup. Hardcore lockdown. You want that?<\/dialogue>\n    <character>MALAKAI<\/character>\n    <parenthetical>( regards him coldly . )<\/parenthetical>\n    <dialogue>I want what was mine. Feetz is my spot. I ` ma do business here just like I did before. Like we did before. And if I got ta stomp some niggers in my way, so be it.<\/dialogue>\n    <scene_description>An uncertain but tense moment . Patrick tries to salvage it .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Well, you definitely got the stompin' part down.<\/dialogue>\n    <scene_description>They look at each other . Share a small laugh .<\/scene_description>\n    <character>MALAKAI<\/character>\n    <dialogue>We fucked those fools up for sure.<\/dialogue>\n    <character>PATRICK<\/character>\n    <parenthetical>( crossing to exit door . )<\/parenthetical>\n    <dialogue>For damn sure, man.<\/dialogue>\n    <scene_description>Patrick finds the door locked . He and Malakai hoist themselves over a high , wrought iron fence . Disappear behind it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FEETZ - FRONT ENTRANCE - NIGHT<\/stage_direction>\n    <scene_description>Distant WAIL of SIRENS as Feetz begins to empty out . Kids converge on the sidewalks . PICK UP Sara , Chenille and Diggy . Waiting and watching for Patrick . Diggy looks at them .<\/scene_description>\n    <character>DIGGY<\/character>\n    <dialogue>It's about to get real out here. Cops and shit. I'm gone.<\/dialogue>\n    <scene_description>She leaves . Chenille spots Patrick . Not too worse for the wear . She smiles with relief . Then Sara sees him . She smiles too .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET (O'DONNELL HEIGHTS) - NIGHT<\/stage_direction>\n    <scene_description>Sara , Patrick and Chenille . Walking home . Chenille 's preaching to Patrick . He 's not in the mood .<\/scene_description>\n    <character>CHENILLE<\/character>\n    <dialogue>Yeah, I ` ma tell you. Tell you like I keep tellin' you, Patrick. You need to let Malakai alone. Let him handle his own shit before he drags you down in it.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Chenille. I heard you the first five hundred times.<\/dialogue>\n    <scene_description>They round a corner bordering the Heights . Stop in front of it . Chenille , disconcerted with Patrick , looks dourly at Sara .<\/scene_description>\n    <character>CHENILLE<\/character>\n    <dialogue>I'll see you Monday.<\/dialogue>\n    <parenthetical>( to Patrick , like an order . )<\/parenthetical>\n    <dialogue>He'll walk you.<\/dialogue>\n    <scene_description>As much as this makes sense , it still takes Patrick by surprise . Sara sees it in his face , regards Chenille with a false bravado .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>It's just a few blocks. It's okay.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>No, it's not okay. Would you tell the girl it ai n't okay?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>It's not okay, okay?<\/dialogue>\n    <parenthetical>( before she can protest . )<\/parenthetical>\n    <dialogue>Come on, Braveheart.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - SARA AND PATRICK - NIGHT<\/stage_direction>\n    <scene_description>walking . Sara keeps stealing glances of him . Or so she thinks .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SARA<\/character>\n    <parenthetical>( caught . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Why you keep lookin' at me?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>I have to look somewhere. The streets are deserted. Might as well look at you.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>That's not why. You wan na know somethin'. Ask somethin'.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>It's not a question. It's the way you were beating that kid up. You looked so mad.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>I was mad and he was n't no kid. But you're from the suburb Mars, right? Folks do n't fight there.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Not like that.<\/dialogue>\n    <parenthetical>( some kind of wonder . )<\/parenthetical>\n    <dialogue>You were really kicking his ass.<\/dialogue>\n    <scene_description>It 's not funny , the look on her face . But Patrick laughs .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Are you laughing at me?<\/dialogue>\n    <scene_description>Dropping the smile , Patrick shakes his head . Looks at her .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>My friend was in trouble.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Maybe he's my question. Your friend. Chenille does n't like him.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>She likes him. It do n't stop her from trippin' off him now and then. But Malakai's good people. We go back. Way back. You know, like they say, through thick and thin.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>So, how'd you like Feetz?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>It was great.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Once you got used to the music.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>It was n't the music I was n't used to. I mean, it's not the first time I heard hip - hop, Patrick.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Uh - huh. Bet you listen to it all the time.<\/dialogue>\n    <scene_description>Patrick regards her with a sly , knowing smile . His stare is significant , unsettling . Sara 's face flushes . She turns from him , hoping he did n't see it .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Not all the time. But a lot.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>We gettin' any closer to your crib or should we stop for food and water?<\/dialogue>\n    <scene_description>Sara snaps out of it . Looks around . Shit . First the flush and now this . She looks at him . She could kick herself .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>We passed it.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>You passed it.<\/dialogue>\n    <scene_description>A look . They double back to her front door . Pause on the stoop .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Thanks for walking me.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>No problem.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>So. I'll see ya.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Is that ` see ya' like gee - whiz, had a great time, ca n't wait to see you again? Or is it like ` see ya,' I'll bust a cap in your ass if you ever darken my doorstep again?<\/dialogue>\n    <scene_description>He makes it impossible not to smile . So damned charming .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>I have n't said gee - whiz since I was six. But I really had a great time. okay?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>She enters the rowhouse . Patrick waits until the lights go on inside before he turns around and starts home .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROY'S APARTMENT - KITCHEN - NEXT MORNING<\/stage_direction>\n    <scene_description>Roy 's making breakfast when Sara straggles in . She peers at the stove . Scrambled eggs and bacon . Toast too ! A first for him .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Figured I'd put a little marrow in your bones. Siddown, siddown.<\/dialogue>\n    <parenthetical>( she slumps in chair . )<\/parenthetical>\n    <dialogue>You gettin' along at school? Makin' friends?<\/dialogue>\n    <parenthetical>( as she nods robotically . )<\/parenthetical>\n    <dialogue>. See any of'em last night?<\/dialogue>\n    <scene_description>He slides a plate in front of her . Stands there holding his .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>I came home on my break.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>The succinct sneer in her voice gets to Roy . He snaps at her .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Oh? Jesus! You're hard! Look. You're seventeen. If you wan na go out, go out. But do n't lie to me. On top of everything else, do n't make me worry like that about you.<\/dialogue>\n    <parenthetical>( after long moment . )<\/parenthetical>\n    <dialogue>I did n't mean to yell.<\/dialogue>\n    <parenthetical>( sits down ; trying like hell . )<\/parenthetical>\n    <dialogue>So how are the eggs? They good?<\/dialogue>\n    <scene_description>Sara takes a small , tasteless sample , nods . They eat in silence . Then Sara looks over at him with genuine if detached remorse .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>You're right. I should've said something. I'm sorry.<\/dialogue>\n    <scene_description>Roy exhales . Finally , a chink in the brick wall .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>What're you gon na do today? Anything special?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Nope. Nothing special.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RECORD STORE (EAST POINT MALL) - DAY<\/stage_direction>\n    <scene_description>A track from TOP DOGG BLARES from invisible SPEAKERS . All of the store 's many customers are teenage kids . Snookie , in sunglasses and a reversed baseball cap , clerks behind the counter . He 's ringing up -LRB- and trying to rap to -RRB- a fly girl when Patrick walks in , overhears the overture .<\/scene_description>\n    <character>SNOOKIE<\/character>\n    <dialogue>How you know I ca n't do nothin' for you? I'm the hardest workin' man in showbizness, girl. C'mon. Let me be the bomb in your shell.<\/dialogue>\n    <scene_description>The fly girl rolls her eyes . Takes her bag . Leaves . Patrick looks at Snookie , wryly shakes his head .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>You do the shit to yourself, man. The bomb in your shell?<\/dialogue>\n    <character>SNOOKIE<\/character>\n    <dialogue>That was black magic, Patrick. It's gon na work one of these days.<\/dialogue>\n    <scene_description>He reaches behind the counter , hands Patrick a Jay - Z C.D.<\/scene_description>\n    <character>SNOOKIE<\/character>\n    <dialogue>Last one on the rack. I snatched it up for you. Rang it up on my discount.<\/dialogue>\n    <character>PATRICK<\/character>\n    <parenthetical>( what Snookie 's waiting for . )<\/parenthetical>\n    <dialogue>Thank you, Snookie.<\/dialogue>\n    <character>SNOOKIE<\/character>\n    <parenthetical>( as Patrick pays him . )<\/parenthetical>\n    <dialogue>You workin' or what, man?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>On my way. Soon as I get outta here.<\/dialogue>\n    <scene_description>As he says this , his eyes wander around the store . And he sees her in the stacks . Sara .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RECORD STORE - HIP-HOP SECTION - MOMENTS LATER<\/stage_direction>\n    <scene_description>Sara with a bunch of C.D. 's . She juggles them in one hand , flips through Hip - Hop C.D. 's with another . She looks up to see Patrick standing beside her . He takes in the C.D. 's . Grins at her .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Throwin' a party?<\/dialogue>\n    <scene_description>There 's no wiggle room but Sara wiggles anyway .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Just adding to my collection. I heard some stuff I did n't have last night.<\/dialogue>\n    <character>PATRICK<\/character>\n    <parenthetical>( that twinkle in his eyes . )<\/parenthetical>\n    <dialogue>Well, you were fly anyway. Last night. Dancin', I mean.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Not as fly as you.<\/dialogue>\n    <character>PATRICK<\/character>\n    <parenthetical>( half - serious . )<\/parenthetical>\n    <dialogue>Nobody's as fly as me.<\/dialogue>\n    <character>SARA<\/character>\n    <parenthetical>( dead - serious . )<\/parenthetical>\n    <dialogue>Not yet anyway.<\/dialogue>\n    <scene_description>Patrick laughs . Looks at her . Sara looks back at him . They 're staring at each other .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Maybe we could hook up later. After school or somethin'. Work on some of your moves. If you want.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Okay. Sure.<\/dialogue>\n    <scene_description>Patrick nods affirmatively . Starts to leave . Turns back , indicates her stack of C.D. 's .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>By the way, Hammer's pretty much played out.<\/dialogue>\n    <character>SARA<\/character>\n    <parenthetical>( convincing lie . )<\/parenthetical>\n    <dialogue>Not to me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROY'S APARTMENT - KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Sara 's on the phone , unwrapping one of those T.V. dinners .<\/scene_description>\n    <character>SARA<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>It was so. slamming, Lindsay. The dancing! I'm going again. What? No, I have n't seen anybody get shot yet. God, I did n't move to Bosnia.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PATTERSON HIGH - HALLWAY - MORNING<\/stage_direction>\n    <scene_description>A fight . Two black girls having at it . It 's a ferocious match . Hair pulling , spit flying , punches landed , clothes torn apart . ANGLE ON SARA as she crowns the corner , comes to a bottleneck of students . It 's like the nose bleed section of Caesar 's Palace . The far hallway is the ring . Sara cranes her neck to see the action . ANGLE WIDENS as a security guard earns his hazard pay . He separates the two girls who are still swinging at each other . He throws one into a corner , hurls the other in an opposite corner . ON SARA as a WHITE GIRL standing next to her shakes her head lamentably .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <scene_description>The White Girl studies Sara 's suburban clothes and fresh - scrubbed face . Thinks she found a kindred spirit .<\/scene_description>\n    <character>TONY<\/character>\n    <parenthetical>( WHITE GIRL . )<\/parenthetical>\n    <dialogue>We freed the slaves and did n't teach them no manners.<\/dialogue>\n    <parenthetical>( before Sara can react . )<\/parenthetical>\n    <dialogue>You're Sara, right?<\/dialogue>\n    <parenthetical>( as Sara warily nods . )<\/parenthetical>\n    <dialogue>Toni. I was gon na introduce myself before but you're always with that crowd. You know. Chenille, her girls, that identity crisis Diggy.<\/dialogue>\n    <scene_description>Sara looks at Toni . Getting it . Getting her . The expression on her face closes off . Toni , too dense to read it , keeps talking .<\/scene_description>\n    <character>TONI<\/character>\n    <parenthetical>( brightly . )<\/parenthetical>\n    <dialogue>We should hang out sometime, Sara. The two of us. Whenever you decide to lose the tan?<\/dialogue>\n    <scene_description>Her inference clear , Toni flashes a brilliant smile , happily walks off . Sara shakes her head to herself . What an idiot . As Sara continues down the hall , a P.A. address comes on .<\/scene_description>\n    <character>P.A. ADDRESS<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Seniors, a reminder before you rise up and change the world. Mrs. Gwynn is holding all diplomas hostage in her office. Her only demand is the pleasure of your company for career D - Day. Be there.<\/dialogue>\n    <scene_description>Sara enters her classroom , a bunch of kids in front of and behind her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. STREET\/ROY'S ROWHOUSE (SO. BALTIMORE) - DAY<\/stage_direction>\n    <scene_description>Sara walks up the street -LRB- passing many black people -RRB- , sees Roys ' pickup . Shit . He 's home . CAMERA TRACKS Sara as she enters their rowhouse , walks up a flight of stairs to their apartment . There 's a JAZZ INSTRUMENTAL FAINTLY coming from it . And another NOISE . Foreign and yet familiar . Like grunting . but not . Sara unlocks the door . Opens it . SARA 'S POV - LIVING ROOM Her father 's fucking somebody ! On the couch . Half on it anyway . In broad daylight ! The whore underneath him is moaning . Jesus ! ANGLE WIDENS as Sara turns away from the spectacle . Reaches for Roy 's sax . She blows the longest , shrillest note known to mankind . ON ROY The hair on his head stands up . His body deflates instantly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - MOMENTS LATER<\/stage_direction>\n    <scene_description>Sara sits at the table . Roy enters in a wrinkled T - shirt and battered jeans . His embarrassment is naked .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>I do n't know what to say. I do n't.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>How ` bout fuck it? Or should I say fuck her? It's a fuck - fest, Roy.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Do n't talk to me like that, Sara.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I thought you were goin' to your friend's house after school. Obviously, you changed your mind. So I'm sorry. Alright?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Sorry you got caught.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Sorry I got. observed<\/dialogue>\n    <scene_description>The `` whore '' with the Hich C is RHONDA . She stands between the living area and the kitchen entrance now . Sara tries not to look at her . Ca n't help it . She has to see the whore . Not bad looking , in a washed out , bottle blonde barfly kind of way .<\/scene_description>\n    <character>RHONDA<\/character>\n    <dialogue>Do n't be mad at him. It's my fault. I'm real sorry, honey.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>It's nobody's ` fault.' It's over. Let it be over. We're all adults.<\/dialogue>\n    <scene_description>Sara glares at him . The disingenuous Rhonda jumps in .<\/scene_description>\n    <character>RHONDA<\/character>\n    <dialogue>I think he means you know about sex. That we have it and he likes it. Is n't that what you mean, Roy?<\/dialogue>\n    <scene_description>Sara looks at her . Bats her eyes . Hard .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Really? How often do you have it?<\/dialogue>\n    <character>RHONDA<\/character>\n    <dialogue>Things been kind of slow since you got here. Once upon a time we were real rabbits, were n't we, Roy?<\/dialogue>\n    <scene_description>Verbal quicksand . Roy can feel himself sinking .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Rhonda. Shut up. Please.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SARA'S ROOM - NOT MUCH LATER<\/stage_direction>\n    <scene_description>OPEN CLOSE ON a framed photo of Glynn and Sara -LRB- in full ballet costume -RRB- . Embracing . Happy . PULL BACK to see Sara . Sitting on the edge of her futon , holding Glynn 's clover leaf necklace and staring at her mother 's face . Lost . Lonely . Missing her . She kisses the lucky charm , smiles at Glynn , slips the necklace on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. CAR WASH - DAY<\/stage_direction>\n    <scene_description>Patrick , in coveralls , slouches over a mechanic 's station studying . A few workers mill about , waiting for the next car on a slow day . A BMW with tinted windows peels into the lot on two wheels . Patrick looks up as Malakai and a tall , wiry , nattily dressed man get out .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>I got it.<\/dialogue>\n    <scene_description>He exits into the lot . Approaches Malakai and the man -LRB- `` TUTE '' -RRB- .<\/scene_description>\n    <character>MALAKAI<\/character>\n    <dialogue>Medicine Man. You know Tute.<\/dialogue>\n    <scene_description>Tute takes in Patrick . Looks around . Snickers derisively .<\/scene_description>\n    <character>TUTE<\/character>\n    <dialogue>You call this a job, man?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Actually, I call it a car wash. The work I do, yeah, that's a job.<\/dialogue>\n    <scene_description>Malakai lets out a nervous laugh . Tute does n't crack a smile .<\/scene_description>\n    <character>TUTE<\/character>\n    <dialogue>I need some sticks. Watch my ride, Malakai.<\/dialogue>\n    <scene_description>Tute enters the cashier 's office . Patrick looks at Malakai .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>You hangin' with him now? Think that's a good idea, ` Kai?<\/dialogue>\n    <character>MALAKAI<\/character>\n    <dialogue>You got a better one?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>You could try layin' all this shit off for awhile. Give yourself a chance on the other side.<\/dialogue>\n    <character>MALAKAI<\/character>\n    <dialogue>What other side?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>You know what I mean. It ai n't like you do n't have good sense.<\/dialogue>\n    <character>MALAKAI<\/character>\n    <dialogue>I got sense enough to know who I am, what I can do and where I can do it. I ai n't like you. People do n't just up and hand me shit.<\/dialogue>\n    <scene_description>Tute emerges from cashier 's office lighting a cigarette from a fresh pack . He blows a plume of smoke into the air , regards Patrick .<\/scene_description>\n    <character>TUTE<\/character>\n    <dialogue>We ai n't here for our health. You workin', then work.<\/dialogue>\n    <parenthetical>( throws Patrick car keys . )<\/parenthetical>\n    <dialogue>And do n't forget the rims.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REYNOLDS' APARTMENT - LIVING ROOM\/KITCHEN  LATE THAT NIGHT<\/stage_direction>\n    <scene_description>Patrick , still in work coveralls , enters . First thing he does is pick up a stack of mail . Tracking him into kitchen as he crosses to refrigerator , takes out a plate Momma Dean 's left for him . He sits down at the table , takes a breath , begins shifting through the mail . His face registers disappointment . Nothing . Again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUIDANCE COUNSELOR'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Patrick sits across from Mrs. Gwynn , the reality check of Patterson High .<\/scene_description>\n    <character>MRS. GWYNN<\/character>\n    <dialogue>Maybe you think it's enough to have the grades, get a full scholarship. But it is n't, Patrick. Georgetown makes mulch of students like you every semester. You have to be ready to change. Change friends. Lifestyle. Your entire point of view. What I'm saying is, options wo n't matter if you do n't keep a clean nose to the grindstone.<\/dialogue>\n    <character>PATRICK<\/character>\n    <parenthetical>( looks her right in the eye . )<\/parenthetical>\n    <dialogue>I know that, Mrs. Gwynn.<\/dialogue>\n    <scene_description>The unflappable Patrick . He does n't fool Mrs. Gwynn .<\/scene_description>\n    <character>MRS. GWYNN<\/character>\n    <dialogue>Knowing's easy. Doing is hard.<\/dialogue>\n    <scene_description>BEGIN MONTAGE in which a series of STUDENTS parade in front of Mrs. Gwynn . SNOOKIE<\/scene_description>\n    <character>SNOOKIE<\/character>\n    <dialogue>Me? I wan na operate on cars. Some place fly like the Kentucky Derby. - Ah - ha! Joke on you.<\/dialogue>\n    <scene_description>SPACED - OUT STUDENT<\/scene_description>\n    <character>SPACED-OUT STUDENT<\/character>\n    <dialogue>Career? That the same as a job?<\/dialogue>\n    <scene_description>DIGGY<\/scene_description>\n    <character>DIGGY<\/character>\n    <dialogue>A Rock - n - Rap club in L.A. I'm gon na put a tattoo parlor on the roof. Soon as I find some investors.<\/dialogue>\n    <scene_description>SERIOUS STUDENT<\/scene_description>\n    <character>SERIOUS STUDENT<\/character>\n    <dialogue>I want to be a lawyer, but I believe in God so I'm not sure about it.<\/dialogue>\n    <scene_description>TONI<\/scene_description>\n    <character>TONI<\/character>\n    <dialogue>I'm moving to Idaho. I hate it here.<\/dialogue>\n    <scene_description>CHENILLE<\/scene_description>\n    <character>CHENILLE<\/character>\n    <dialogue>Beauty school. I'm a year behind'cause of my baby, but I'm gon na work during the day, go to school at night. That's my plan anyway.<\/dialogue>\n    <scene_description>MALAKAI<\/scene_description>\n    <character>MALAKAI<\/character>\n    <dialogue>Plans? Yeah. I plan not to be poor. Next question.<\/dialogue>\n    <scene_description>NIKKI<\/scene_description>\n    <character>NIKKI<\/character>\n    <dialogue>I get into U.M.B.C., financial aid, everything.<\/dialogue>\n    <character>MRS. GWYNN<\/character>\n    <dialogue>Do I detect a ` but'?<\/dialogue>\n    <scene_description>Nikki folds her arms , regards her obdurately .<\/scene_description>\n    <character>MRS. GWYNN<\/character>\n    <dialogue>I know you're - how do you put it? - Large here, Nikki. You enjoy that and it's fine for now. I guess. But you ca n't live your life like a popularity contest.<\/dialogue>\n    <scene_description>MONTAGE ENDS WITH SARA walking in . Sitting down .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>I do n't think it's realistic, what you're asking. Things happen. Things change. And the changes change you. What's the point of plans?<\/dialogue>\n    <character>MRS. GWYNN<\/character>\n    <dialogue>To have a sense of direction.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>You ca n't direct destiny.<\/dialogue>\n    <character>MRS. GWYNN<\/character>\n    <parenthetical>( fingering Sara 's papers . )<\/parenthetical>\n    <dialogue>I see here that you trained for Juilliard, that you auditioned.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>That was a long time ago.<\/dialogue>\n    <character>MRS. GWYNN<\/character>\n    <dialogue>It was three months ago, Sara.<\/dialogue>\n    <parenthetical>( the brick wall . )<\/parenthetical>\n    <dialogue>Well, if you're not going to pursue dance, what are you going to do?<\/dialogue>\n    <character>SARA<\/character>\n    <parenthetical>( had n't thought about it . )<\/parenthetical>\n    <dialogue>I do n't know. Take a year off. Work. Go to college later on.<\/dialogue>\n    <character>MRS. GWYNN<\/character>\n    <dialogue>Be careful with later on, Sara. It's a slippery slope. Sometimes you can run right on top of it and it never catches up with you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. O'DONNELL HEIGHTS - ROOFTOP - LATE DAY<\/stage_direction>\n    <scene_description>A low sun over the cityscape of Baltimore . PUSH IN ON Patrick and Sara , two dots that grow larger . He CLICKS ON a BOOM - BOX resting on the roof 's ledge . A hip - hop track BLASTS .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Feel the groove. Do n't let the music mess with you.<\/dialogue>\n    <scene_description>He starts to move with the music . Sara tries to emulate him . They dance throughout the conversation .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Did you always want to be a doctor?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Who said I wan na be a doctor?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Chenille. Everybody.<\/dialogue>\n    <scene_description>He cinches her waist , pushes in her ass .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Keep it tight. Watch your butt.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>What kind of doctor do you want to be?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Pediatrics. I like kids. Come on, stay with me. You're slackin'.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Do you have any? Kids.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>No. Do you?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>I was n't being smart, Patrick.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Would n't be the first time.<\/dialogue>\n    <scene_description>She stops . Regards him . He stops . Regards her . Stalemate .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Screw you. I'm brilliant.<\/dialogue>\n    <scene_description>He goes into a spin , a half - split , comes out of it swaggering and half - stepping around her . Sara gives him an impish look . Rises up on full pointe , turns out her legs and lifts one of them in a spiral just below his head . It happens in two blinks . So fast Patrick thinks it was a mirage . He stares at her , dumbfounded . Sara smiles . The look on his face is worth the pain in her joints . She blows some stray hair out of her face , puts her hands on her hips . Looks appropriately hapless .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>I did n't get it. That thing you just did. Show me again?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>What was that shit you just did?<\/dialogue>\n    <scene_description>He mimes the move - badly . Sara ca n't help it . She laughs .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>A releve. Over ice. With a twist.<\/dialogue>\n    <parenthetical>( succumbs to his bewilderment . )<\/parenthetical>\n    <dialogue>Ballet. I used to dance, Patrick.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>You used to dance?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Uh - huh. Used to as in do n't any more. And do n't ask me why.<\/dialogue>\n    <scene_description>She sounds suddenly defensive . Patrick 's suddenly intrigued .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Because I do n't want to talk about it.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>That's why you brought it up. Did that whole relieve thing.'Cause you do n't wan na talk about it?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Because it's not a big deal. Can we just concentrate on this?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Yeah, we can concentrate.<\/dialogue>\n    <parenthetical>( a beat ; goading her a little . )<\/parenthetical>\n    <dialogue>But I think it is a big deal. Whatever it is you do n't wan na talk about.<\/dialogue>\n    <scene_description>Sara shakes her head adamantly . He nods his head emphatically . Another stalemate . They dance coyly , seductively around it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROY'S APARTMENT - KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Sara . Doing stretching exercises as she talks on the phone .<\/scene_description>\n    <character>LINDSAY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( over phone . )<\/parenthetical>\n    <dialogue>I'm still gon na pray for you. Jesus, Sara, you're in the freaking ghetto. Forget the riots. How are you supposed to meet anybody?<\/dialogue>\n    <scene_description>Sara slides down the wall , hugs her knees .<\/scene_description>\n    <character>SARA<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>I have met somebody. Sort of. I think. I mean, there's this guy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REYNOLDS' APARTMENT - LIVING ROOM\/CHENILLE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Patrick enters to hear CHRISTOPHER SCREAMING his lungs out . He passes down the hall to Chenille 's room to find Christopher squirming in Kenny 's arms . Kenny does n't know what to do .<\/scene_description>\n    <character>PATRICK<\/character>\n    <parenthetical>( walking in . )<\/parenthetical>\n    <dialogue>What y' all doin' to my nephew?<\/dialogue>\n    <scene_description>Patrick takes Christopher , holds him and consoles him until he settles down . Patrick pointedly hands the baby to Chenille , glares accusingly at her and Kenny as he quits the room . Kenny regards his son haplessly . Looks at Chenille .<\/scene_description>\n    <character>KENNY<\/character>\n    <dialogue>Why's he do that?<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>He's a baby. They cry.<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>He was screaming, Chenille.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>He do n't know you, Kenny.<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>I'm his father. He knows me.<\/dialogue>\n    <parenthetical>( meaning now . )<\/parenthetical>\n    <dialogue>. What should I do?<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>Come around more often.<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>See? I ca n't talk to you.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>And I ca n't depend on you! Am I askin' you to do anything for him you ai n't supposed to do?<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>You do n't ask, Chenille. You make demands. You want money, you -<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>- I want you to pick up some of the slack. You always have an excuse.<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>It's not like that. I get tied up.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>You wan na talk about tied up? Try gettin' up in the middle of the night to change diapers and give him bottles or stayin' up with him when he's sick and havin' to drag your ass to school the next day.<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>Look. I'm doin' the best I can.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>It ai n't good enough, Kenny!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PATTERSON HIGH - GIRLS' LAVATORY - MORNING<\/stage_direction>\n    <scene_description>Dripping , out - of - order faucets , graffiti - laced stalls , litter - strewn floors are underscored by the spooky flicker of fluorescent lights . Sara walks in . The bathroom appears to be empty . She 's about to enter a stall when she hears the murmur of a voice . A guy 's voice . Then a girl 's whimper . She eases forward a bit .<\/scene_description>\n    <character>GIRL<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I do n't get paid'til next week.<\/dialogue>\n    <character>MALE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Boo the fuck hoo. You ca n't put my bizness up your nose on no layaway plan. C'mon now. You know what you got ta do.<\/dialogue>\n    <scene_description>Sara ventures carefully forward to the edge of the stall 's open door . She cranes her neck trying to see without being sen. HER POV - STALL A GIRL is seated on the toilet . A man straddles her , his crotch in her face . The Girl sees Sara . Something in her face gives this away . The `` man '' glances out past his shoulder . He looks right down our throat straight into Sara 's eyes . Malakai . ON SARA<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <scene_description>Malakai backs up . The Girl jumps up , runs out the lavatory . Malakai zips up his pants . Sara 's frozen , staring at him .<\/scene_description>\n    <character>MALAKAI<\/character>\n    <dialogue>You did n't see nothin', you do n't say nothin'. Not unless you want a taste for yourself. And that can be arranged.<\/dialogue>\n    <scene_description>He leaves . Sara waits a moment . Exits . HALLWAY She sees Mr. Hill , starts to move for him . Someone grabs her arm from behind . She turns , startled , a little afraid . It 's the Girl from the stall . She looks Sara in the eye . Shakes her head . Do n't . Mr. Hill walks by them unbeckoned .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INNER HARBOR (DOWNTOWN BALTIMORE) - PARK - DAY<\/stage_direction>\n    <scene_description>A perfect day . CAMERA PANS FROM the waterfront TO the bustling crowds of the inner harbor , then to a park across from this where Sara and Patrick are practicing . HIP - HOP MUSIC softly PLAYS from Patrick 's BOOM - BOX . Sara watches his face as they dance .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Did n't you like it when you ` used' to dance?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Yeah I liked it. I was gon na go to Juilliard. That school fucked up my entire life. It's a long story.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Let me guess. You do n't wan na talk about it.<\/dialogue>\n    <scene_description>Sara looks at him . A soft smile is all she offers up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARK - SARA AND PATRICK - LATER<\/stage_direction>\n    <scene_description>They lay on their bellies in the grass . Close to each other .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>I stole a bike here once.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Why'd you do that?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>'Cause I did n't have one.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>That's a good reason.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>I used to do wild shit like that.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>You and Malakai?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Yep. Most of the time.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>I do n't get you guys. You seem so. different.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>We're not.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Maybe you were n't then but you are now. You said you changed.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Does n't make me different from him. Not the way you think it does.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>I think Malakai's scary. And I know you're not.<\/dialogue>\n    <character>PATRICK<\/character>\n    <parenthetical>( taking mild umbrage . )<\/parenthetical>\n    <dialogue>What you mean by scary? ` Kai's tough. He has to be. He still got a good heart. I know.<\/dialogue>\n    <scene_description>Sara stares at the ground , struggling to tell him what she saw .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Patrick.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Let me finish. Me and him got into some shit awhile back. Real bad shit. We held up a gas station off 95. I bailed the ride - jumped out the car. ` Kai kept goin', got caught.<\/dialogue>\n    <parenthetical>( pauses . )<\/parenthetical>\n    <dialogue>I knew what he was gon na do that night. Knew the car was hot. I woulda been guilty as him if they had caught me, if Malakai had served my name up. But he did n't.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>That means you owe him something?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>He did his time plus most of mine. I owe him that.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>No matter how much he messes up?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>We all mess up. Maybe Malakai gave up. But he's still m ` boy and he still got a chance. I ai n't just gon na cross him completely off and be like everybody else.<\/dialogue>\n    <scene_description>He looks at her and she does n't have the heart - or the nerve - to tell him . A long moment . She plucks a dandelion from the grass , twirls it thoughtfully in her fingers .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>I stole a hat once. When I was twelve. My mom found it under my mattress, made me take it back.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Gangsta' Sara. Stole a hat. Call the F.B.I.<\/dialogue>\n    <scene_description>She looks at him . Smiles . Twirls the dandelion under his nose .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>You gon na turn me in?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>I think I'll wait for you to surrender.<\/dialogue>\n    <parenthetical>( pauses . )<\/parenthetical>\n    <dialogue>Were you tight with your mom, Sara? I mean, y' all get along and shit?<\/dialogue>\n    <character>SARA<\/character>\n    <parenthetical>( guardedly . )<\/parenthetical>\n    <dialogue>Yeah. tight. got along and shit<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>So she meant something to you. How come you never talk about her?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>There's nothing to say.<\/dialogue>\n    <character>PATRICK<\/character>\n    <parenthetical>( studying her face . )<\/parenthetical>\n    <dialogue>Know why there's nothing to say? Because you do n't talk about her. You wo n't talk about her.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>I'm sorry she's dead. God! What do you want me to do? Run through the streets screaming?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Why not? If it helps.<\/dialogue>\n    <character>SARA<\/character>\n    <parenthetical>( tersely . )<\/parenthetical>\n    <dialogue>Well, it wo n't. So drop it.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>And you call Malakai scary.<\/dialogue>\n    <scene_description>She looks at him . Patrick grins . Sara knocks her legs against his . He knocks his legs back . A silly moment . But it transcends the tension and creates a sweet truce between them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PATRICK'S HOUSE - KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Momma Dean 's fixing dinner . Patrick enters with the mail in his teeth , a load of books in his arms . He dumps the books on the counter , busses Momma Dean 's check on the way to the ` fridge .<\/scene_description>\n    <character>MOMMA DEAN<\/character>\n    <dialogue>I know you're not puttin' those dirty hands inside my refrigerator.<\/dialogue>\n    <scene_description>Patrick backs up to the sink . Washes his hands . Impishly dries them on her apron . He sits , begins sifting through the mail . Momma Dean pulls an envelope from her pocket . Waves it at him .<\/scene_description>\n    <character>MOMMA DEAN<\/character>\n    <dialogue>This what you're lookin' for?<\/dialogue>\n    <scene_description>Chenille appears in the doorway . Patrick takes the letter . He 's almost afraid to open it . But he does . And as he reads the letter , a slyly relieved smile spreads across his face . He tosses the letter in the air . Grabs Chenille and Momma Dean . And the three of them jump up and down together with joy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. CITY BUS (MOVING) - SARA AND PATRICK - NIGHT<\/stage_direction>\n    <scene_description>Dressed to the nines . They look happy and relaxed , more so than we 've ever seen . They sit close to each other . Very close .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Are you gon na tell me where we're going?<\/dialogue>\n    <parenthetical>( as he grins , shakes his head . )<\/parenthetical>\n    <dialogue>Why is the surprise for me? You're the one with something to celebrate.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>We can celebrate together.<\/dialogue>\n    <scene_description>She looks at him . Ca n't find any words . So she just goes into her evening bag and pulls out a small box . She hands it to him , a little nervous about how it will be received .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>I wanted to get you something and I could n't figure out what. It's not much but I hope you like it.<\/dialogue>\n    <scene_description>Patrick opens the box . Removes a key chain . It 's engraved with the medical emblem -LRB- snake &amp; staff , etc. -RRB- . He regards her , touched .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>I like it. I love it. Thank you.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Wait. There's more.<\/dialogue>\n    <scene_description>She leans in , turns the key chain over in his hand . The back side of it is engraved with the words , `` PATRICK REYNOLDS , M.D. '' Patrick locks eyes with Sara , lifts her hand to his lips . Kisses it softly . The gesture is succinct but alluring and , for a brief moment , they 're the only two people in the world .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. CITY BUS - SARA AND PATRICK - LATER<\/stage_direction>\n    <scene_description>The bus makes a stop and an older white woman gets on . Sits across from Sara and Patrick who have moved even closer to each other . Patrick 's arm is around Sara 's shoulder . He whispers something in Sara 's ear . She laughs and looks up to see the white woman staring at them with a muted but obvious repugnance . Watching the woman from the corner of her eye , Sara drapes her arms around Patrick 's neck , nuzzles at his ear . Patrick 's eyes widen . Sara , playing this for all it 's worth , folds one of her legs between his and whispers :<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>We have an audience. Work with me.<\/dialogue>\n    <character>PATRICK<\/character>\n    <parenthetical>( nonplussed . )<\/parenthetical>\n    <dialogue>Work with you?<\/dialogue>\n    <character>SARA<\/character>\n    <parenthetical>( sotto voce , through her teeth . )<\/parenthetical>\n    <dialogue>Grab something.<\/dialogue>\n    <scene_description>He grabs her ass - what else is there ? - runs his hand along her side . The white woman , thoroughly disgusted , gets up and moves to the back of the bus . Patrick and Sara look at each other , burst out laughing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BALTIMORE HALL - NIGHT<\/stage_direction>\n    <scene_description>The equivalent of D.C. 's Kennedy Center , the hall is awash in lights and activity . Men and women are donned in formal attire . Parking valets hover on the sidewalks waiting for cars . Into this , Sara and Patrick walk . She looks at the crowd , then sees the overhead banner - `` Boston Ballet , A Command Performance . '' Sara 's heart stops . Her feet freeze . Patrick looks at her . She looks positively catatonic .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Surprise. Sara?<\/dialogue>\n    <character>SARA<\/character>\n    <parenthetical>( quietly urgent . )<\/parenthetical>\n    <dialogue>I ca n't. I ca n't go in.<\/dialogue>\n    <character>PATRICK<\/character>\n    <parenthetical>( does n't understand . )<\/parenthetical>\n    <dialogue>You have to go in. This is where I'm bringing you. The ballet.<\/dialogue>\n    <character>SARA<\/character>\n    <parenthetical>( beside herself . )<\/parenthetical>\n    <dialogue>I know, but -<\/dialogue>\n    <character>PATRICK<\/character>\n    <parenthetical>( crestfallen . )<\/parenthetical>\n    <dialogue>But what?<\/dialogue>\n    <scene_description>Sara looks at him , feeling bad . Feeling stupid for ruining the evening . She bites her lip , shakes her head -LRB- `` but nothing '' -RRB- . Patrick takes her and they go in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BALTIMORE HALL - AUDITORIUM - NIGHT<\/stage_direction>\n    <scene_description>Sara and Patrick watch the Boston Company perform Igor Stravinsky 's `` Scenes De Ballet '' as choreographed by Christopher Wheeldon . They 're both enraptured . But while Patrick keeps sneaking excited glimpses of Sara , her eyes remain fixed on the dancers , the dance . She is utterly , totally engaged and amazed . The yearning that never really left her returns to tug at her heart and project her soul onto the stage .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET (SOMEWHERE IN BALTIMORE) - NIGHT<\/stage_direction>\n    <scene_description>Post - ballet , Sara and Patrick walk . She 's quiet , introspective . Patrick 's at a loss . He ca n't decipher her mood and , which is more , he 's disappointed by it .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>I thought you would like it.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>I did.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>You ai n't actin' like you did.<\/dialogue>\n    <scene_description>She looks over at him , tries to smile .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <scene_description>They come to a small , secluded bridge . Sara sits down on the edge of it . Patrick follows suit . A long moment .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>I do n't want you to think I did n't have a good time tonight, Patrick. I did. But ballet is n't a part of my life anymore.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Why not? What happened? You just woke up one day and decided to waste your talent.<\/dialogue>\n    <character>SARA<\/character>\n    <parenthetical>( without rancor . )<\/parenthetical>\n    <dialogue>How do you know I have talent? Because I did some stupid leg trick.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>I saw the look on your face when you did it, Sara. The same look I saw tonight. Goofy happy. So if you're gon na tell me somethin' about not dancing, at least tell me somethin' real.<\/dialogue>\n    <scene_description>A long , difficult moment wherein Sara attempts to find the words , face the pain that comes with them . Finally , she looks at him .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Maybe I do n't want it to be real.<\/dialogue>\n    <scene_description>She stares out at the water , the moon reflected off of it . It 's hard to reconcile that beauty and the turmoil she 's feeling . But she goes on .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>What I want is to wake up and see my mom. For things to go back to the way they were. When they made sense. When my life made sense.<\/dialogue>\n    <parenthetical>( because . )<\/parenthetical>\n    <dialogue>And it's all my fault. She got scraped off the highway for me, for my fucking audition. She was rushing. It was raining. It was raining.<\/dialogue>\n    <parenthetical>( a torrent . )<\/parenthetical>\n    <dialogue>. But she promised to be there. I made her promise. And then I did n't wait for her. I should have but they called my name and I did n't say anything. I just went out and danced. I was mad. I needed her and she was n't there.<\/dialogue>\n    <scene_description>She buries her face in her hands , breaking down , racked with tears and guilt . Patrick puts his arms around her .<\/scene_description>\n    <character>SARA<\/character>\n    <parenthetical>( inconsolable . )<\/parenthetical>\n    <dialogue>She was dying while I was dancing and I was mad at her and I'm sorry. I'm sorry.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>It's not your fault it rained or she died. Or that you danced. That's what you were there for. Your mom would've expected you to do what you did.<\/dialogue>\n    <scene_description>Sara , choking on tears , regards him forlornly .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>That's what makes it so bad. She always did what was right for me. I wanted to be a prima ballerina - had to be. Even if it took most of our money, all of her spare time. I did n't care. It was my stupid dream and it killed her. All she wanted was for it to come true.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>You still got whatever you had when your mom was alive, Sara. She would n't want you to give up.<\/dialogue>\n    <scene_description>Sara swipes at her face , looks up at him , still crying .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>I know. but she. I just do n't think I can do it without her.<\/dialogue>\n    <character>PATRICK<\/character>\n    <parenthetical>( holding her . )<\/parenthetical>\n    <dialogue>Do you want to do it, Sara? I mean you. Do you want Juilliard?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Yeah. I do.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Then it's on you to make the dream come true.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Yeah. For my mom.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>For her. For you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROY'S APARTMENT\/STREET - THAT NIGHT<\/stage_direction>\n    <scene_description>Patrick walks Sara to the front door . They pause on the stoop . Neither of them wants the night to end .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>See you tomorrow?<\/dialogue>\n    <scene_description>A rhetorical question under the circumstances . Patrick regards her tenderly , moves her hair from her eyes . Stares deeply into them . Sara smiles wanly , certain she looks like shit . But it does n't matter . The moment has named itself . And so , with more certainty than passion , they kiss .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SARA'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>CAMERA PANS the room , PICKING UP small touches from Sara 's past life , her previous bedroom - more on display than we 've seen before . HOLD ON closet door . A beat before Sara emerges from behind it , ballet slippers in hand . She takes a deep breath . Slides them on . Peers down at her feet . Wiggles them . Nothing magical or mystical but simply wonderful . Gleefully wonderful . Like the end of a long day 's journey to home .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INNER HARBOR COMPLEX   (DOWNTOWN BALTIMORE) - DAY<\/stage_direction>\n    <scene_description>Sara and Patrick negotiate the heavy pedestrian traffic , exit the complex . He leads her to a mall of trees and bike paths .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Lem me see that move you did. That cute leg relieve thing.<\/dialogue>\n    <parenthetical>( as she shakes her head . )<\/parenthetical>\n    <dialogue>Come on, Sara.<\/dialogue>\n    <character>SARA<\/character>\n    <parenthetical>( hates to admit this . )<\/parenthetical>\n    <dialogue>It hurts! I'm out of shape and it hurts. Okay? Satisfied?<\/dialogue>\n    <character>PATRICK<\/character>\n    <parenthetical>( admiring her . )<\/parenthetical>\n    <dialogue>That's what you call outta shape, what's it take to get you in shape?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Practice.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>This is the perfect spot for that. You can run around and I can sit under the trees and watch you.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>I do n't get in shape like that. But it's still a good spot.<\/dialogue>\n    <parenthetical>( diffidently . )<\/parenthetical>\n    <dialogue>I got my application for Juilliard. Just in time too. They're holding auditions in Baltimore next month.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>That's great!<\/dialogue>\n    <scene_description>She looks at him , shakes her head . Not that great .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>I'll never be ready in a month.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Sara, you puttin' the mojo on yourself.<\/dialogue>\n    <character>SARA<\/character>\n    <parenthetical>( a smile in spite of herself . )<\/parenthetical>\n    <dialogue>Mojo?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Negative shit. White folks call it karma. The bad kind.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>You do n't understand. Ballet takes a lot of time, a lot of preparation. I used to practice two, three hours every day. I'm so far behind.<\/dialogue>\n    <scene_description>And unsure and afraid . Which Patrick can sense . But he wo n't let her go there or stay there . He 's firm , matter - of - fact .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Quit whinin' and catch up then.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>It's not as easy as that. My free form still sucks. It's still the weakest part of my routine. That has n't changed.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>So I'll help you with it.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>You will?<\/dialogue>\n    <character>PATRICK<\/character>\n    <parenthetical>( surprised that she 's surprised . )<\/parenthetical>\n    <dialogue>Yeah. I'll help you. Tell me what you need to do and let's get busy.<\/dialogue>\n    <scene_description>MONTAGE SEQUENCE BEGINS OVER THEME MUSIC .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROY'S APARTMENT - SARA'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Sara in the mirror dressed in leotards and tights . She bends forward from the hip , extends a leg , a corresponding arm . As she tries to complete the arabesque , the backward - most leg buckles . She steadies herself . Starts over . SARA - IN VARIOUS STAGES OF GETTING BUSY PATTERSON FOOTBALL FIELD Hip - hop hybrid with Patrick . DANCE STUDIO In class . Struggling to keep up . STREET On way to and from bus stop . Practicing as she walks . DANCE STUDIO Alone with her instructor . Looking good . DANCE STUDIO - LATER Alone with her instructor . Looking better . ROY 'S BATHROOM Soaking and tending her bleeding feet . MONTAGE ENDS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROY'S APARTMENT - LIVING AREA<\/stage_direction>\n    <scene_description>OPEN CLOSE ON a black hand shaking a white one . PULL BACK to reveal Patrick and Roy . Sara enters looking striking , pretty , very down . Chenille 's influence is written all over her makeup and her clothes . Overlooking Roy , she blithely tags Patrick .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Let's skip.<\/dialogue>\n    <parenthetical>( cursory , to Roy . )<\/parenthetical>\n    <dialogue>Later.<\/dialogue>\n    <scene_description>They leave . Roy stands in the middle of the room , dumbfounded .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Let's ` skip'?<\/dialogue>\n    <parenthetical>( mumbling to himself . )<\/parenthetical>\n    <dialogue>Three months and she's skipping?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FEETZ - BAR - NIGHT<\/stage_direction>\n    <scene_description>Usual suspects , usual music . Patrick hands Sara a call - brand beer . Leans in with his drink , openly and contently with her . ANOTHER ANGLE Nikki and her crew -LRB- Jasmin , Tiff ` nee , Alyssa -RRB- . Nikki has n't seen Patrick and Sara . She 's showing her crew a dance . ANOTHER ANGLE Chenille , Diggy and another black girl . Fraternizing . ANOTHER ANGLE - DEEJAY BOOTH A chrome - domed deejay with a Barry White baritone bellows into his mike as he changes the music .<\/scene_description>\n    <character>DEEJAY<\/character>\n    <dialogue>Master P with the ` Ghetto D'. Showmesomethin', showmesomethin', give up that cruel. Eyes on you!<\/dialogue>\n    <scene_description>WIDER as the dance floor swells with kids . PICK UP Sara and Patrick among them . She looks at him nervously . He smiles .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Nobody's watchin' you but me.<\/dialogue>\n    <scene_description>A gallant lie . Sara tries to believe it . They dance . Practice has made her near perfect . Their movements are ambitious , nimble , better than anyone else on the floor . They move so well together that Snookie , dancing nearby , starts chanting :<\/scene_description>\n    <character>SNOOKIE<\/character>\n    <dialogue>Go, Patrick! Go, Patrick!<\/dialogue>\n    <scene_description>FROM ANOTHER ANGLE OF DANCE FLOOR Diggy . Jiggling and wildly gyrating . Chiming in -<\/scene_description>\n    <character>DIGGY<\/character>\n    <dialogue>Go, Sara! Go, Sara!<\/dialogue>\n    <scene_description>PATRICK AND SARA building up a sweat ; confidently dancing at fever pitch .<\/scene_description>\n    <character>DEEJAY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Everybody have funk, funk, funk!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FEETZ - DANCE FLOOR<\/stage_direction>\n    <scene_description>Sara and Patrick , still going at it . Snookie , Diggy and others prance around them like backup dancers . ANOTHER ANGLE - NIKKI standing with her crew dourly observing Patrick and Sara .<\/scene_description>\n    <character>NIKKI<\/character>\n    <dialogue>Watch me squash their shit. Hard.<\/dialogue>\n    <scene_description>ON NIKKI Shoving , pushing , and barging her way up to Patrick . Without preamble or regard for Sara , she starts dancing with him . Patrick looks at Sara but he 's somehow dancing with Nikki . Sara retreats with daggers in her eyes . Pissed . PATRICK -LRB- AND NIKKI -RRB- unresponsive as she grinds her body into his , raw and wild . SARA standing where she can see but ca n't be seen from the dance floor . From a curtain of kids , Malakai suddenly appears at her side . Sara ca n't move . She 's boxed in . Malakai indicates Nikki and Patrick with slick satisfaction , whispers derisively :<\/scene_description>\n    <character>MALAKAI<\/character>\n    <dialogue>You ai n't never gon na look as good as she does with him. That's oil. You're milk. Ai n't no point in tryin' to mix.<\/dialogue>\n    <scene_description>He evaporates into the crowd . Sara stands there . PATRICK AND NIKKI as a SLOW DANCE BEGINS . Nikki starts to press herself against Patrick . Patrick holds her off with both arms . Walks away . WIDER ANGLE - DANCE FLOOR - FAVOR PATRICK moving toward Sara . A stark , apologetic expression on his face . He takes her hand . Sara fiercely jerks away . Patrick grabs her hand again , more emphatically this time . But Sara wo n't budge from the spot where she 's standing . So Patrick slides his arms around her , holds her without moving . They remain like this for a moment or two until they slowly begin to dance . We PUSH IN ON them in this little space . Patrick 's lips brush Sara 's ear .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Sara?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <scene_description>ANGLE PAST THEM ON MALAKAI slow dancing with his flavor of the night . Eyes on Sara and Patrick . Both underwhelmed and resentful of what he sees .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROY'S ROWHOUSE - HALLWAY\/FRONT DOOR - THAT NIGHT<\/stage_direction>\n    <scene_description>Sara unlocks the door . She and Patrick enter . She turns on the lights . Looks at him . Answers the unspoken question .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>He's in D.C. Blues Alley. He'll be gone all night.<\/dialogue>\n    <scene_description>Patrick sits down on the sofa . Sara crosses to the STEREO , turns it ON . A SAX SOLO begins playing .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Roy's demo. The only one he ever cut. Kinda grows on you.<\/dialogue>\n    <scene_description>A beat . Somewhere between five seconds and forever . Then :<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Wan na see my room?<\/dialogue>\n    <scene_description>Patrick looks at her , nods . He gets up , follows Sara behind the partition into her `` room . '' They stand there for a moment . He cups her face with his hands . Kisses her . They begin to take off each other 's clothes , alternately sure and fumbling ; a bit awkward , a bit urgent . Sara unzips Patrick 's pants , catches something other than his clothes . Patrick winces in pain . She looks at him with an embarrassed grimace . Says this very low .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <scene_description>They kiss again , stumble backward to her futon . Fall down upon it and begin to make love .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PATTERSON HIGH - HALLWAY - PATRICK AND SARA  DAY<\/stage_direction>\n    <scene_description>CAMERA TRACKS them as they walk down the hall hand - in - hand , sometimes exchanging greetings with other students . They are officially a couple and they appear to be in love . At the door to Sara 's next class , Patrick busses her lips before she enters .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SARA'S CLASSROOM - CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>No teacher is present . The class files in . Toni drops down in a chair beside Sara . She leans over in a conspiratorial whisper .<\/scene_description>\n    <character>TONI<\/character>\n    <dialogue>Whatever you do, do n't fuck him.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>TONI<\/character>\n    <dialogue>` Hit it and quit it,' that's their motto.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Whose motto?<\/dialogue>\n    <character>TONI<\/character>\n    <dialogue>Black guys. Everybody knows that.<\/dialogue>\n    <scene_description>The teacher walks in . Sara quickly whispers back to Toni .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Do n't forget, they all have big dicks and beat their wives. Everybody knows that too.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RIB JOINT (SOMEWHERE IN BALTIMORE) - NIGHT<\/stage_direction>\n    <scene_description>Malakai , along with Snookie and two brain donors , ARVEL and LIP , eat at a booth . Patrick strolls in gritty from work . Tired from work . He slides in next to Malakai . The mood is light , jovial .<\/scene_description>\n    <character>ARVEL<\/character>\n    <dialogue>You smell, boy.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>How can a piece of shit tell?<\/dialogue>\n    <scene_description>The table cracks up .<\/scene_description>\n    <character>MALAKAI<\/character>\n    <dialogue>You been scarce lately, man. Where you been?<\/dialogue>\n    <character>ARVEL<\/character>\n    <dialogue>Somewhere dreamin' of a White Christmas.<\/dialogue>\n    <character>LIP<\/character>\n    <dialogue>And Christmas ai n't even for ` nother six months.<\/dialogue>\n    <character>SNOOKIE<\/character>\n    <dialogue>Lip. It's a so - to - speak thang, you ignorant fuck.<\/dialogue>\n    <parenthetical>( looks at Patrick . )<\/parenthetical>\n    <dialogue>So. So to speak? Whassup.<\/dialogue>\n    <character>PATRICK<\/character>\n    <parenthetical>( snatching up one of his ribs . )<\/parenthetical>\n    <dialogue>Back out my business, boy.<\/dialogue>\n    <character>MALAKAI<\/character>\n    <parenthetical>( watching Patrick keenly . )<\/parenthetical>\n    <dialogue>You tappin' that white girl, man?<\/dialogue>\n    <parenthetical>( half joking . )<\/parenthetical>\n    <dialogue>That's why you ai n't got time for your boyz no more, you too busy frontin'. Too busy snowflakin'.<\/dialogue>\n    <scene_description>Patrick lifts one of Malakai 's ribs , responds coolly .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>How am I frontin', ` Kai? I made time for this bullshit, did n't I?<\/dialogue>\n    <character>LIP<\/character>\n    <dialogue>Aww, man. You busted. That's why your jaws are gettin' so tight.<\/dialogue>\n    <character>SNOOKIE<\/character>\n    <dialogue>You the one need his jaws tightened with your pork - ass instigatin' self.<\/dialogue>\n    <character>ARVEL<\/character>\n    <parenthetical>( re : Patrick 's roving fingers . )<\/parenthetical>\n    <dialogue>Order somethin', Patrick. This ai n't no goddamn soup line.<\/dialogue>\n    <scene_description>Patrick grabs some of Arvel 's fries , chews them in his face .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Y' all hangin' tonight or what?<\/dialogue>\n    <character>MALAKAI<\/character>\n    <dialogue>We thinkin' about slidin' through that new rec center opened up on the Eastside. You ridin'?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Eastside? That's the wrong side. I ai n't messin' with those fools over there. You know how they are.<\/dialogue>\n    <character>MALAKAI<\/character>\n    <dialogue>I ai n't pressed. I got my own shit.<\/dialogue>\n    <scene_description>Shorthand . The table stops . Malakai glances around , lifts his shirt to expose a gun . Patrick stares at Malakai with disbelief .<\/scene_description>\n    <character>MALAKAI<\/character>\n    <dialogue>What you think? I ` ma keep walkin' around waitin' for some chump to cap me? I ` ma protect myself.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>That ai n't protection. It's an excuse for some unnecessary mayhem.<\/dialogue>\n    <character>MALAKAI<\/character>\n    <dialogue>Ai n't nothin' unnecessary ` bout it. Shit. Mayhem and madness. That's a black man's life.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>How you know? You ai n't tried nothing else. Now you sittin' up here strapped for no good reason. You askin' for trouble, Malakai.<\/dialogue>\n    <parenthetical>( as Malakai laughs . )<\/parenthetical>\n    <dialogue>You think this shit's funny?<\/dialogue>\n    <scene_description>Snookie shifts uncomfortably . Arvel and Lip look at Malakai . Malakai looks at Patrick , coldly drops his smile .<\/scene_description>\n    <character>MALAKAI<\/character>\n    <dialogue>I think it's funny you think it ai n't necessary. You act like you do n't know where you are no more, Patrick, and whassup out there for anybody who ai n't you. Maybe that's what happens when a white girl goes to your head.<\/dialogue>\n    <character>LIP<\/character>\n    <dialogue>- Or gives you some.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Fuck you, Lip.<\/dialogue>\n    <parenthetical>( looks at Malakai . )<\/parenthetical>\n    <dialogue>I know what's out there. I also know you can get past it. But that ai n't gon na happen, ` Kai, long as you keep gettin' in your own way.<\/dialogue>\n    <character>ARVEL<\/character>\n    <parenthetical>( peacemaker . )<\/parenthetical>\n    <dialogue>Aw ` ight. Y' all said what you had to say. We back to bein' boyz. Patrick. Chill. Have some ribs.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROY'S ROWHOUSE - KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Sara and Patrick , post - coital . She 's in her robe . He 's dressed but they 're fooling around as they fix sandwiches . Patrick drops down in a chair . Sara drops down on his lap .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>What's your favorite flower?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>I do n't have a favorite.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Yeah, but if you did.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>I dunno. Maybe cymbidiums - orchids. They're sort of show - boaty but they're pretty.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>What's your favorite color?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Agua.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>What's your second favorite color?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Mmm. Mauve.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>You're makin' this real hard, Sara. Those ai n't exactly tuxedo colors.<\/dialogue>\n    <scene_description>Sara swings her legs around , facing him , straddling him .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Nut. What are you talking about?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>I was tryin' to get around to askin' you somethin' but since I'm some sorta nut, you probably would n't wan na go to prom with me.<\/dialogue>\n    <scene_description>She throws her arms around his neck , kissing him . Patrick slides his hands under her robe , cups her breasts . Sara responds to him . They are too engrossed in this intimacy to hear the FRONT DOOR OPENING , to see Roy until he walks in and sees them . Sara leaps up , closes her robe . Patrick does n't know what to do . He 's caught . Straight up . Red - handed . Roy 's eyes dart between them , settle on and slice into Patrick .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Patrick - it is Patrick, is n't it?<\/dialogue>\n    <parenthetical>( a small awkward nod . )<\/parenthetical>\n    <dialogue>Well, I think you were just leavin'.<\/dialogue>\n    <scene_description>Patrick stands up . Sara grabs his arm defiantly , holds him back .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Why does he have to leave? We're all adults. Right?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>He either leaves or I throw his ass out. Your call, Sara.<\/dialogue>\n    <scene_description>Patrick jerks his arm free from Sara , grabs his jacket off the back of his chair . He back - talks Roy as he passes him .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Chill, man. I'm goin'. You do n't have to come off with all ` at.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Who the hell are you to tell me how to come off? You're in my house alone with my daughter.<\/dialogue>\n    <scene_description>It takes everything Patrick has to keep walking until he 's out the door . It slams behind him . Sara marches up to Roy , furious .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>I hate being your daughter. You ruin everything.<\/dialogue>\n    <scene_description>She tries to stomp off . Roy kicks a chair in her path . Snarls .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Siddown.<\/dialogue>\n    <parenthetical>( not a request ; an order ; as she sits . )<\/parenthetical>\n    <dialogue>It's a free country, you can hate me. Ai n't like that's exactly news. But disrespectin' me, that's where the road ends, Sara. I do n't want him up here again. I mean it.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>You mean it because he's black.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Do n't start that bullshit!<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Why's it bullshit? Because you hang with black guys and play jazz and have the hots for Angela Bassett?<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Because he was in my house with his hands all over my daughter!<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Keep telling yourself that. Just do n't expect me to believe it. I saw how you looked at him. But you did n't see him. Well, for your information, he's a straight - A student with more heart and guts than you'll ever have!<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Yeah? Well, when are you gon na have the guts to say what you really want to say to me, Sara?<\/dialogue>\n    <character>SARA<\/character>\n    <parenthetical>( screaming at him . )<\/parenthetical>\n    <dialogue>Want me to say it? You were a piece of shit husband and you're a piece of shit father! You were never there for Mom or for me. You took off and never looked back. So do n't talk to me about guts.<\/dialogue>\n    <scene_description>Not quite the truth , but near enough to sting . It quiets Roy down . He regards her with regret and guilt .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Sounds like you have it all figured out.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>I have you figured out. You think you can make up all the time you missed, all the things you did n't do? You ca n't! I'm here because I have to be and it's a goddamned nightmare.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Well, you might as well wake up and get used to it, Sara, because that's the way things are sometimes, the way life is.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>How the hell would you know? You've been asleep for the past thirty - seven years!<\/dialogue>\n    <scene_description>Now she does storm off . This time Roy lets her . He ca n't find the words to deny what she 's said .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PATTERSON HIGH - QUAD OUTSIDE CAFETERIA - DAY<\/stage_direction>\n    <scene_description>A break between classes draws the requisite claques and cliques . Sara and Patrick huddle over a chemistry book , attentive to each other . Nikki stands off watching both of them . Malakai saunters up to her smoking a joint . Hazily indicates Patrick and Sara .<\/scene_description>\n    <character>MALAKAI<\/character>\n    <dialogue>The ` Love Boat.'<\/dialogue>\n    <character>NIKKI<\/character>\n    <dialogue>Love shit. That bitch is tap - dancin' on my last nerve.<\/dialogue>\n    <character>MALAKAI<\/character>\n    <dialogue>Looks like she's tap - dancing on your last boyfriend. She got it like that? Naw. Never mind. Stall it. I ai n't heard shit.<\/dialogue>\n    <character>NIKKI<\/character>\n    <dialogue>Stall what? What you hear?<\/dialogue>\n    <character>MALAKAI<\/character>\n    <dialogue>Some trash she's talkin'. About you.<\/dialogue>\n    <character>NIKKI<\/character>\n    <dialogue>About me?<\/dialogue>\n    <character>MALAKAI<\/character>\n    <dialogue>Yeah. How you ai n't all ` at since Patrick's takin' her to the prom.<\/dialogue>\n    <parenthetical>( in for the kill . )<\/parenthetical>\n    <dialogue>I am a little bit. chagrined though, Nikki. You lettin' some white ho' show you up like that.<\/dialogue>\n    <scene_description>He regards her with bemused pity . Nikki , with all her inner outrage , manages to salvage her pride . She sneers in his face .<\/scene_description>\n    <character>NIKKI<\/character>\n    <dialogue>Fuck you, Malakai. Fuck her too.<\/dialogue>\n    <character>MALAKAI<\/character>\n    <parenthetical>( gaily , a she sails off . )<\/parenthetical>\n    <dialogue>Ai n't no need in fuckin' me. stuck up, bitch. I'm on your side<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PATTERSON HIGH - HALLWAY - DAY<\/stage_direction>\n    <scene_description>Patrick drinks at a water fountain . Looks up . Malakai 's standing there . There 's still some tension between them .<\/scene_description>\n    <character>MALAKAI<\/character>\n    <dialogue>Yo. Me and the boyz fixin' to shoot some hoops. Us against Druid Hill. If you interested.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Druid Hill? Hell yeah.<\/dialogue>\n    <character>MALAKAI<\/character>\n    <dialogue>Got ta skip last period.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>I got study hall. Do n't matter anyway. Not with those suckers. I'll be back before the bell rings.<\/dialogue>\n    <scene_description>They walk off together and , after a few steps , begin dribbling imaginary balls down the hall .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GYM (PATTERSON) - DAY<\/stage_direction>\n    <scene_description>A girls ' basketball game in progress . Sara 's playing defense . She 's on Nikki 's team . She blocks a shot but Chenille , on the opposing team , gets it on the rebound . Basket . Nikki shoots Sara a murderous look . Stupid , uncoordinated bitch .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DRUID HILL PLAYGROUND - BASKETBALL COURT<\/stage_direction>\n    <scene_description>A four - on - four game in progress . Patrick , Malakai , Snookie and Arvel versus the Druid Hill Two Deuces . An unseen BOOM BOX BLASTS the music of JAY - Z throughout . Patrick has the ball . He passes it to Malakai . They AD - LIB insults to the Two Deuces . This is heaven for them . Talking shit and playing ball . The best time .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PATTERSON HIGH - GYM<\/stage_direction>\n    <scene_description>Sara takes her defensive position against an opposing player , successfully blocks the shot , tries to slam the ball to Nikki . It clips Nikki 's head , bounces out of bounds . Nikki , her dignity stunned , her patience out , walks up to Sara , shoves her to the floor . Sara looks up at her as some disembodied voice calls out :<\/scene_description>\n    <character>FEMALE VOICE<\/character>\n    <dialogue>Do n't start nothin', wo n't be nothin'! Stay down, girl!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DRUID HILL - BASKETBALL COURT<\/stage_direction>\n    <scene_description>Malakai dribbles the ball around one of the Two Deuces , skies it . Misses the hoop . Patrick rebounds . Passes it back to ` Kai . He takes the shot . Makes it . Patrick and Arvel strut victoriously .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PATTERSON HIGH - GYM<\/stage_direction>\n    <scene_description>Sara jumps up , shoves Nikki back . And the fight is on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DRUID HILL - BASKETBALL COURT<\/stage_direction>\n    <scene_description>As the dejected Deuces look on , Malakai high - fives Patrick and Snookie . Arvel 's moving into their circle when SHOTS RING OUT . Everybody on the court instantly dives to the ground for cover .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PATTERSON HIGH - GYM<\/stage_direction>\n    <scene_description>Sara and Nikki tumble to the gym floor . The surprise is Sara . She matches Nikki blow for blow . It 's a punishing fight for both of them and it only ends when the gym teacher separates them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DRUID HILL - BASKETBALL COURT<\/stage_direction>\n    <scene_description>A car speeds off . Patrick raises up , looks around . Malakai nods . He 's okay . Snookie 's crawling to the exit , snot - nosed and crying . He 's okay . Then they see Arvel . Sprawled on the ground . Covered in blood . He seems lifeless .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MRS. GWYNN'S OFFICE - SARA AND NIKKI - DAY<\/stage_direction>\n    <scene_description>In adjacent chairs across from Mrs. Gwynn 's empty one .<\/scene_description>\n    <character>NIKKI<\/character>\n    <parenthetical>( a hiss , under her breath . )<\/parenthetical>\n    <dialogue>It ai n't over, bitch.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Over? I do n't even know why it started. bitch. And do n't say it's about Patrick because it's not. It's not about him.<\/dialogue>\n    <character>NIKKI<\/character>\n    <dialogue>No. It's about you. White girls like you. Creepin' up, takin' our men. The whole world ai n't enough. You got ta conquer ours too.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>I like him, he likes me. And if you do n't like that, screw you.<\/dialogue>\n    <scene_description>Mrs. Gwynn walks in . Sits down . Looks reproachfully at them .<\/scene_description>\n    <character>MRS. GWYNN<\/character>\n    <dialogue>Girls. I think you need to talk.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROY'S APARTMENT - LIVING AREA\/SARA'S ROOM - DAY<\/stage_direction>\n    <scene_description>Roy 's tuning his sax when Sara enters . Her face is a mess . Yet she drifts by , bruised and bent over , as if this were the norm . Roy does a double - take .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>What the hell happened to you?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>I got suspended. Two days.<\/dialogue>\n    <scene_description>She straggles into her room . Roy follows her to the futon .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>For what? Fighting?<\/dialogue>\n    <parenthetical>( as she nods like `` no shit Sherlock '' . )<\/parenthetical>\n    <dialogue>Why were you fighting, Sara?<\/dialogue>\n    <character>SARA<\/character>\n    <parenthetical>( sardonically . )<\/parenthetical>\n    <dialogue>I'm not sure. I think it's some kind of black female thing.<\/dialogue>\n    <scene_description>He sis down beside her , instinctively reaches out to touch her face , assess the damage . Sara sharply flinches away . But Roy persists and after a moment , she lets him minister to her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REYNOLDS' APARTMENT - KITCHEN - EVENING<\/stage_direction>\n    <scene_description>Patrick walks in , Arvel 's dried blood stained into his clothes . Chenille 's cooking with a sound - asleep Christopher slung over her shoulder . She and Patrick regard each other morosely .<\/scene_description>\n    <character>CHENILLE<\/character>\n    <dialogue>How's Arvel?<\/dialogue>\n    <scene_description>Patrick slumps down at the kitchen table . He 's barely audible .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Pretty bad.<\/dialogue>\n    <parenthetical>( almost to himself . )<\/parenthetical>\n    <dialogue>Ca n't even play a got - damned game of ball no more.<\/dialogue>\n    <scene_description>Chenille comes up behind him . Squeezes , pats his shoulder .<\/scene_description>\n    <character>CHENILLE<\/character>\n    <dialogue>You see Sara? She alright?<\/dialogue>\n    <parenthetical>( as he looks up with a question mark . )<\/parenthetical>\n    <dialogue>You did n't hear? Nikki jumped off at her in gym. It was fierce.<\/dialogue>\n    <scene_description>Given the day , this is the straw on Patrick 's back . He bolts from the table and on his way out nearly bumps heads with Kenny .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROY'S ROWHOUSE - HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Patrick RINGS the DOORBELL . Sara opens the door slightly , just enough for Patrick to see her face . It pisses him off .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Shit!<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>It's alright. I'm okay.<\/dialogue>\n    <scene_description>Roy appears in the space behind her , looking out . Sara can feel his presence . Her eyes implore Patrick .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Look. It's not a good time.<\/dialogue>\n    <parenthetical>( gently shutting the door . )<\/parenthetical>\n    <dialogue>I'll see you later. I'm okay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAUNDROMAT (SOUTHEAST BALTIMORE) - EARLY EVENING<\/stage_direction>\n    <scene_description>The laundromat is empty but for a few customers and Nikki . She 's loading clothes from two large baskets into washers when her brother DIONDRE , 10 , races in . He 's grinning from ear - to - ear .<\/scene_description>\n    <character>NIKKI<\/character>\n    <dialogue>Diondre, what your butt doin' here?<\/dialogue>\n    <character>DIONDRE<\/character>\n    <parenthetical>( a taunting twist . )<\/parenthetical>\n    <dialogue>I can go where I want. You the one on punishment.<\/dialogue>\n    <scene_description>Nikki swings a wet shirt with no intention of hitting him . She looks up . Patrick 's standing in the doorway . Diondre runs up to him , holds out the palm of his hand .<\/scene_description>\n    <character>DIONDRE<\/character>\n    <dialogue>There she go. Gim me my two dollars.<\/dialogue>\n    <scene_description>Patrick pays him . Diondre darts out . Patrick walks up to Nikki . Nikki clenches , tries to dismiss him with a backhanded wave .<\/scene_description>\n    <character>NIKKI<\/character>\n    <dialogue>Whatever it is, I do n't wan na hear it.<\/dialogue>\n    <scene_description>Patrick leans up against a washing machine and for a long moment just looks at her . The walk there has composed his emotions .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>I thought you had somethin' to say to me.<\/dialogue>\n    <character>NIKKI<\/character>\n    <dialogue>You thought wrong.<\/dialogue>\n    <scene_description>An old black woman is avidly , openly watchin ' them . Patrick indicates a bench on the other side of the laundromat . Nikki petulantly follows him there . They sit . Patrick looks at her .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Somethin' must be on your mind for you to get up in Sara's face, start all this drama. What you tryin' to prove, Nikki?<\/dialogue>\n    <character>NIKKI<\/character>\n    <dialogue>You're the one tryin' to prove something. Stuck up in her shit like she's somethin' special.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>What if she is? What's it to you? You did n't see me trippin' off that Howard dude and I could have. I coulda tripped hard, Nikki.<\/dialogue>\n    <character>NIKKI<\/character>\n    <dialogue>That was different.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>How you gon na call it different?<\/dialogue>\n    <scene_description>She stands up . Looks down at him . Raises her voice .<\/scene_description>\n    <character>NIKKI<\/character>\n    <dialogue>Because she's white and he ai n't. And do n't sit there like you do n't know what I'm talkin' about, Patrick.<\/dialogue>\n    <character>PATRICK<\/character>\n    <parenthetical>( glaring at her . )<\/parenthetical>\n    <dialogue>You do n't even know what you're talkin' about, Nikki.<\/dialogue>\n    <character>NIKKI<\/character>\n    <dialogue>I do n't? Y' all black men, soon as you even think about goin' someplace good, first thing you do is find a white girl to take with you.<\/dialogue>\n    <character>OLD WOMAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Uh - huh.<\/dialogue>\n    <scene_description>Patrick glares in the Old Woman 's direction , then back at Nikki .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>I thought I was goin' someplace good with you. You the one called me off. But you ai n't tryin' to remember that. Now you mad. Why? Because she's white and I like her? I'm with her.<\/dialogue>\n    <character>NIKKI<\/character>\n    <dialogue>Please. You're with her because she's white. That's what sets me off.<\/dialogue>\n    <character>PATRICK<\/character>\n    <parenthetical>( exasperated . )<\/parenthetical>\n    <dialogue>It ai n't got no business settin' you off! Me and her ai n't got nothin' to do with you and what you think. So keep your hands off her and that shit to yourself.<\/dialogue>\n    <scene_description>Nikki folds her arms across her chest , looks at him defiantly .<\/scene_description>\n    <character>NIKKI<\/character>\n    <dialogue>I do n't think it, I know it. But you go ahead, deny it. That's what y' all always do.<\/dialogue>\n    <scene_description>She turns on her heels , goes back to her machine . Patrick rises , sees the old woman glinting at him . He holds her hateful stare for a moment , then walks out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REYNOLDS' APARTMENT - CHENILLE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Chenille and Kenny . In the middle of a contentious moment . He tries to give her some money . She snatches it out of his hand . Kenny looks at her . He 's hurt . Chenille 's too mad to see it .<\/scene_description>\n    <character>CHENILLE<\/character>\n    <dialogue>What? I'm supposed to get excited because you decided to skate by and drop a dollar on the dresser?<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>It's more than a dollar. And it's all I got.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I got laid off rom B.W.I., Chenille. I been workin' part - time. Money's tight. You know how you are about money. That's way I have n't been coming around.<\/dialogue>\n    <scene_description>Chenille stares at him for a long moment . Her voice is low .<\/scene_description>\n    <character>CHENILLE<\/character>\n    <dialogue>Money ai n't got nothin' to do with it, Kenny. You do n't come around because you do n't feel like comin' around. You do n't want the responsibility of comin' around. As long as you out there and I'm in here, you know your son's being taken care of. You ai n't got no worries when it comes to him.<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>And you do n't have no feelings when it comes to me. All you do is bitch and complain about what I do n't do. I get sick of that.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>Be sick of it. You ai n't got to see me to see your son.<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>I'll be sure to keep that in mind.<\/dialogue>\n    <scene_description>He leaves . Chenille stands there , mad at him . Mad at herself .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FREE CLINIC (SOUTH BALTIMORE) - DAY<\/stage_direction>\n    <scene_description>The lowest common denominator for misery . The room is filled with young women , most them black , and children of all ages . They are piled up like cars on a freeway , waiting to be seen . The noise level is at a peak when Chenille and Sara walk in . Chenille 's carrying a fussy Christopher , his diaper bag and her backpack . Sara , wanting to be helpful , reaches for Christopher .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Want me to take him?<\/dialogue>\n    <scene_description>Chenille shakes her head . Walks to reception to sign herself in . Sara takes in the faces of girls younger than herself , the grime and gloom of the room . It 's incomprehensible that this is a place where sick children are brought to get well . Chenille finishes at the desk . Returns to Sara . They cross to a corner of the clinic where they sit - on the floor . Chenille indicates the receptionist bitterly .<\/scene_description>\n    <character>CHENILLE<\/character>\n    <dialogue>That wench. You got ta stand over her to make sure she puts your name on the damn list. Triflin' bitch.<\/dialogue>\n    <scene_description>Chenille starts to change Christopher 's diaper . He starts to wail and flail . Chenille ca n't placate him . One of his kicks connects with Chenille 's open backpack , sends books and papers flying . Sara can see the veins stand up on Chenille 's neck .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>I'll get'em.<\/dialogue>\n    <scene_description>She does . Chenille 's finally got control of Christopher but he 's still crying . Chenille slips off his dirty diaper . When Sara hands her a clean one , Chenille regards her strangely , as if just remembering that she 's there .<\/scene_description>\n    <character>CHENILLE<\/character>\n    <dialogue>So your old man flipped about the fight.<\/dialogue>\n    <parenthetical>( with some animus . )<\/parenthetical>\n    <dialogue>Probably thinks it's all Patrick's fault.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>No. I explained about Nikki.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>Right. You put it all on her. None of it's on you.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>She started it, Chenille. She wanted to start it. I told you what she said.<\/dialogue>\n    <scene_description>Chenille flashes a look , finishes up with Christopher . She picks him up , puts a bottle in his mouth . Cradles him .<\/scene_description>\n    <character>CHENILLE<\/character>\n    <dialogue>Maybe she did n't have no business gettin' in your face. But she had a reason to say what she said.<\/dialogue>\n    <scene_description>A reason ? Sara studies her , trying to fathom the remark .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>So you agree with her? You think I do n't belong with Patrick.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>What I think do n't matter. But you and him act like it do n't bother people that you're together. Like it do n't hurt people to see.<\/dialogue>\n    <character>SARA<\/character>\n    <parenthetical>( her Irish up . )<\/parenthetical>\n    <dialogue>We like each other. What is the big fucking deal? It's him and me. Not us and other ` people.'<\/dialogue>\n    <scene_description>The white girl with the rose - colored reasoning . Chenille glares at Sara , her voice designed to snatch the blinders off .<\/scene_description>\n    <character>CHENILLE<\/character>\n    <dialogue>Black people, Sara. Black women.<\/dialogue>\n    <parenthetical>( passionately . )<\/parenthetical>\n    <dialogue>Patrick's about somethin'. He's smart. He's motivated. He's for real. He ai n't gon na make no babies and not take care of'em or run the streets, fuck up his life. He's gon na do somethin' with himself. Here you come, white and right, and you take one of the few decent men left after jail, drugs and drive - bys. That's what Nikki meant about you up in our world.<\/dialogue>\n    <scene_description>Sara sits there , stupefied . Understanding . Not understanding .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>There's only one world, Chenille.<\/dialogue>\n    <parenthetical>( pauses . )<\/parenthetical>\n    <dialogue>I thought we were friends. Guess I was wrong.<\/dialogue>\n    <scene_description>She gets up , walks out . Something in Chenille wants to call after her , but she 's too miserable , too torn up inside to do it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FEETZ - BAR - NIGHT<\/stage_direction>\n    <scene_description>Patrick and Malakai nurse drinks . The MUSIC fails to move them . They have too much on their minds . Malakai fires up a cigarette .<\/scene_description>\n    <character>MALAKAI<\/character>\n    <dialogue>So what you gon na do?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>How many times you gon na ask me that?<\/dialogue>\n    <character>MALAKAI<\/character>\n    <dialogue>It's payback time. Either you down or you ai n't. Either you m ` boy or you not. Simple as that.<\/dialogue>\n    <scene_description>Patrick takes a long moment . The choice is simple . It 's the decision that 's complicated . He downs his drink . Hedges .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Even if I did ride, you ai n't got nobody but Lip and Lip will get a nigger's ass killed. Quick.<\/dialogue>\n    <character>MALAKAI<\/character>\n    <dialogue>Eastside ai n't got no firepower. I got some shit, man. AK - 47. We go in, get out with one spray down.<\/dialogue>\n    <scene_description>Just then Snookie and Sara walk toward them from the dance floor . Something in their faces unsettles Sara but Snookie , oblivious , dances up to the bar , snapping his fingers and bobbing his head .<\/scene_description>\n    <character>SNOOKIE<\/character>\n    <dialogue>You see us, Patrick?<\/dialogue>\n    <character>MALAKAI<\/character>\n    <parenthetical>( a storm warning . )<\/parenthetical>\n    <dialogue>You see us, man? We're rappin'.<\/dialogue>\n    <scene_description>Snookie rebuffs him , keeps talking to Patrick .<\/scene_description>\n    <character>SNOOKIE<\/character>\n    <dialogue>Me and Sara lit it up! Y - e - o - w!<\/dialogue>\n    <scene_description>bumps his butt against Sarah 's hip , does a very ungainly half split . Sara and Patrick exchange smiles . Malakai is n't amused . He flattens Snookie 's ass with the business end of his foot . Snookie sprawls flat on his face to the floor . Now Malakai 's amused . Sara looks at Patrick . Patrick scowls at Malakai .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>That shit ai n't funny.<\/dialogue>\n    <character>SNOOKIE<\/character>\n    <parenthetical>( springing up . )<\/parenthetical>\n    <dialogue>Damn right it ai n't funny.<\/dialogue>\n    <character>MALAKAI<\/character>\n    <dialogue>I thought you liked it down there. That's your specialty, ai n't it? Crawling?<\/dialogue>\n    <character>SNOOKIE<\/character>\n    <dialogue>That was a reflex action, man. And you just plain rude and wrong to bring the shit up in mixed company.<\/dialogue>\n    <scene_description>Sara 's not quite sure what they 're alluding to but she does n't want the displeasure of Malakai 's company . She taps Patrick .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>I got ta get home. Ready?<\/dialogue>\n    <scene_description>Malakai 's eyes slice into her . First Snookie , now this bitch . Steppin ' all over his conversation with Patrick .<\/scene_description>\n    <character>MALAKAI<\/character>\n    <dialogue>No, he ai n't ready. He's talkin'. To me. A - B conversation. Got ta go? C yourself the fuck home.<\/dialogue>\n    <character>SARA<\/character>\n    <parenthetical>( a real reflex action . )<\/parenthetical>\n    <dialogue>Fuck you.<\/dialogue>\n    <scene_description>Malakai lunges for her . The move is so swift and sudden Patrick overturns his stool to dive between them . He sweeps Sara behind him , into the path of a startled Snookie . Stands there nose - to - nose with Malakai , staring him down , furious with him .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Have you lost your motherfuckin' MIND, man? Huh? Have you!<\/dialogue>\n    <scene_description>Sara , frightened and frozen , does n't know what to do . Snookie 's voice weakly creaks out . He 's trying to rise to the occasion .<\/scene_description>\n    <character>SNOOKIE<\/character>\n    <dialogue>Patrick, man, c'mon.<\/dialogue>\n    <scene_description>But Malakai and Patrick stay where they stand . Too close for comfort . Both in the danger zone . Malakai regards Patrick with a combination of cruel anger and deep , genuine hurt .<\/scene_description>\n    <character>MALAKAI<\/character>\n    <dialogue>You take that bitch's back and wo n't even cover mine?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>'Cause you wrong, Malakai!<\/dialogue>\n    <character>MALAKAI<\/character>\n    <dialogue>No! You wrong. You BEEN wrong. You ai n't worth shit no more.<\/dialogue>\n    <parenthetical>( venomously . )<\/parenthetical>\n    <dialogue>Get out my face, and take that ho with you.<\/dialogue>\n    <scene_description>Patrick bucks up . Sara walks over to him , gently clutches his sleeve . It 's no easier to turn away from Malakai than it is to walk away from a lifetime of friendship . But Patrick does . With Sara holding onto his arm , at his side , he turns and walks away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - SARA AND PATRICK - NIGHT<\/stage_direction>\n    <scene_description>walking . A heavy silence . Sara looks over at him . Patrick does n't say anything . But after a moment , he reaches down and takes her hand and they walk on like this together . OVER MUSIC -LRB- e.g. BUSTA RHYMES ' `` Dangerous . '' -RRB-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DANCE STUDIO - SARA AND PATRICK - MORNING<\/stage_direction>\n    <scene_description>Practice her free form , a hip - hop ballet hybrid . They 're both tired , irritable , beaten down . They 've been there awhile . Sara makes a misstep . Patrick stops . Cold . Sara grits on him .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>We should keep going.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>You messed up.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>I know I messed up. I'll get it right the next time.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>No. You gon na get it right now so you can do it perfect next time.<\/dialogue>\n    <scene_description>She glares at him , exasperated . So many things bottled up .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>I ca n't work like this. I ca n't dance like this.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Like what?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Like this. You dictating to me.<\/dialogue>\n    <scene_description>He crosses the room , CUTS OFF the MUSIC . Looks at her . Sara walks over to a window seat near him . Flops down .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>What's wrong, Sara?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Nothing's wrong.<\/dialogue>\n    <parenthetical>( except . )<\/parenthetical>\n    <dialogue>I ca n't figure things out.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>What things? The audition? You ai n't got nothin' to worry about. I told you. I'll be there.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Things, Patrick. Things between us. Things between us and them.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>I did n't know there was a ` them.'<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Well, open your pretty brown eyes, look the hell around.<\/dialogue>\n    <parenthetical>( he 's so nonplussed . )<\/parenthetical>\n    <dialogue>Everything's screwed up. Nobody wants to see us together, not even Chenille. I do n't know why they feel that way. How can I know? Maybe they have a point, Patrick.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>They only got a point if you believe they got a point, Sara.<\/dialogue>\n    <scene_description>She looks at him . and loves him . and does n't know what to do .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>I'm just saying that we should think about this, that's all.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>That's a fuckin' ` nough.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Why are you getting mad?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>Because I like to think for myself, run my own life, and I thought you did too.<\/dialogue>\n    <scene_description>Sara looks at him . Now she 's getting mad .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>You're never gon na run your own life as long as you keep running back to Malakai every time he fucks up or fucks you over.<\/dialogue>\n    <scene_description>She 's crossed the line . But Patrick responds so deliberately , so calmly prosaic , that she does n't immediately realize it .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>First of all, Malakai ai n't never fucked me over. Second of all, you do n't know him, Sara, what he been through. Matter of fact, you do n't know shit about none of it. So do n't come off to me like you do.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>I know he's lost, Patrick! Everybody but you can see that. And if you keep reaching back for him, you're gon na wind up lost too.<\/dialogue>\n    <scene_description>until he erupts .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Who the fuck are you to say he's lost? Malakai had my back when you were busy gee - whizzin' in the woods with your backward - ass, redneck friends.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>They were n't rednecks!<\/dialogue>\n    <scene_description>Patrick yanks his boombox off the floor , glares at her .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>You know what? The hell with you.<\/dialogue>\n    <scene_description>Sara yells after him . Her VOICE ECHOES in the empty studio .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>The hell with you too!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PATTERSON HIGH - HALLWAY OUTSIDE SARA'S CLASSROOM  DAY<\/stage_direction>\n    <scene_description>Sara exits , looking pretty much like she feels . Like shit . She walks a few paces . Sees Patrick . Their eyes connect for a brief , awful moment before they continue on their respective ways .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PATTERSON HIGH - SARA'S LOCKER\/HALLWAY  LATER THAT DAY<\/stage_direction>\n    <scene_description>Sara 's at her locker . Patrick walks up to her . She looks at him , tries to smile past the dour expression on his face .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>Patrick does n't say anything at first . But then :<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Thought you might need this on Saturday. I ai n't gon na be able to make it.<\/dialogue>\n    <scene_description>He hands her an audio cassette of her free form music . Sara gazes at it , then up at him , understanding what this means . She wo n't let him see how it shatters her . He hesitates , as if he wants to say something else . But Sara turns her back on him and Patrick walks away . ANOTHER ANGLE - TONI approaching Sara 's locker . Having seen the encounter between Patrick and Sara , she 's as smug and overbearing as ever .<\/scene_description>\n    <character>TONI<\/character>\n    <dialogue>Lovers' quarrel? You're better off. That menace to society would've broken your heart and spent all your money in a news flash. Trust me on that, Sara.<\/dialogue>\n    <scene_description>Sara stares at her , uncomprehending at first . She resists the urge to slap the smile off Toni 's face . She gets in it instead .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Toni, listen carefully. You're a simple bitch and you do n't have any friends, black or white, because nobody likes a fucking asshole.<\/dialogue>\n    <scene_description>She storms off leaving Toni , for once , speechless .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PATTERSON HIGH - HALLWAY\/CAFETERIA - DAY<\/stage_direction>\n    <scene_description>Sara . Caught up in a throng of kids and somehow very separate from them . The walls have been transformed into veritable billboards for the senior prom - decorations are everywhere . Sara continues down the hallway almost aimlessly into the .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAFETERIA - CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>Sara . Carrying a food tray , eyes searching for a place to sit . She picks up Chenille and her girls at one table . Nikki and her crew at another . Patrick and Snookie . and , finally , Toni . Sara dumps her food into a trash can , walks out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DANCE STUDIO - DAY<\/stage_direction>\n    <scene_description>Sara . Alone . She pushes the tape from Patrick into an ancient recorder . The MUSIC COMES ON . She takes to the floor . Her face is like a pinched nerve . She wants to cry . She tries to dance .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SARA'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Sara 's on the futon , flipping through a photo album . Pictures of her and Glynn . Roy knocks on the partition . Waits a beat before he comes in . He looks at Sara . She keeps flipping .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>I was wondering. how long you plan on hating me? Maybe I'm an optimist but I hope there's some kind of timetable.<\/dialogue>\n    <parenthetical>( this raises a small smile . )<\/parenthetical>\n    <dialogue>Well, I do n't wan na bug you. I just came in to say good luck.<\/dialogue>\n    <scene_description>Sara regards him quizzically . Roy goes to her dresser , picks up an envelope from Juilliard .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>I saw the return address. Got curious. It was open. I read it. I know I should n't have but at least now I have an excuse to tell you how proud I am of you, Sara.<\/dialogue>\n    <character>SARA<\/character>\n    <parenthetical>( quietly miserable . )<\/parenthetical>\n    <dialogue>I was gon na tell you about the audition, Roy. I meant to.<\/dialogue>\n    <scene_description>She 's clutching the photo album . Roy sits down next to her .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>Tomorrow's the big day?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Uh - huh. The big day.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>You bummed out about it?<\/dialogue>\n    <parenthetical>( as she shakes her head . )<\/parenthetical>\n    <dialogue>You're a worse liar than I am father.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>You're not so bad.<\/dialogue>\n    <parenthetical>( close to a confession . )<\/parenthetical>\n    <dialogue>I did n't give you much to work with. It's not like I've been the perfect daughter.<\/dialogue>\n    <character>ROY<\/character>\n    <dialogue>Well, it ai n't like I deserve a perfect daughter. I screwed up. Did everything in a hurry and still thought I had all the time in the world. To be in love with your mother. Be a father to you. But time flies. You look up one day and all you got to show for yourself is a pretty little girl who hates your guts and wo n't talk to you because too much time went by.<\/dialogue>\n    <scene_description>Sara 's eyes well up . Before she can stop herself , she 's crying .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>I do n't hate you. I miss her. I miss Mom.<\/dialogue>\n    <parenthetical>( as Roy takes her in his arms , tries to console her . )<\/parenthetical>\n    <dialogue>. Patrick's pissed at me. I'm pissed at him. He's not coming tomorrow and I want him there and I do n't know what to do.<\/dialogue>\n    <scene_description>Sara draws back from Roy , wipes her tears . Collects herself .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>You want him there. I understand that. But whatever he brings to the table, Patrick ca n't dance for you, Sara. You're the bottom line out there. This is your chance to be the dancer Juilliard came to see.<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>I wanted somebody there who loves me.<\/dialogue>\n    <scene_description>Roy regards her softly , significantly , the irony implicit .<\/scene_description>\n    <character>ROY<\/character>\n    <dialogue>I love you.<\/dialogue>\n    <scene_description>Sara looks up . For the first time in her life , she believes him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL - I.C.U. WAITING ROOM\/CORRIDOR - EVENING<\/stage_direction>\n    <scene_description>Patrick 's bouncing on his knees , speaking to Arvel 's parents , who are clearly stricken . Arvel 's father , stoic , holds his wife 's hand . Arvel 's mother kneads a Kleenex , her face etched with tears . Patrick hugs her . Stands up to see Malakai frozen in the doorway , put off by the palpable grief . Patrick crosses over to him . They retreat quietly into the corridor , their concern for Arvel a shaky ground for conciliation .<\/scene_description>\n    <character>MALAKAI<\/character>\n    <dialogue>Why his mom's cryin' like that? Arvel's gon na make it, right? That what's his nurse said. She told me herself, ` Your friend's gon na make it.' Did that bitch lie to me! Talk to me, Patrick! Is he gone?<\/dialogue>\n    <scene_description>Patrick steers Malakai away from the waiting room , backs him against a wall and , in a gentle but firm way , holds him there .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>They just got bad news, man. They do n't need to hear it again.<\/dialogue>\n    <parenthetical>( trying to be strong ; faltering . )<\/parenthetical>\n    <dialogue>Arvel's fightin'. He's gon na pull through. Thing is, when he does, they do n't think. he ai n't. shit. Arvel ai n't gon na walk again.<\/dialogue>\n    <scene_description>In that moment , whatever 's left of Malakai 's soul crumbles . He looks at Patrick with aggrieved disbelief and then a building anger . A stronger man would probably cry . Patrick eases his grip . Malakai straightens his body , cocks his head slightly . Studies Patrick in this crooked , derisive way .<\/scene_description>\n    <character>MALAKAI<\/character>\n    <dialogue>I got a good reason now, man?<\/dialogue>\n    <parenthetical>( off Patrick 's silence . )<\/parenthetical>\n    <dialogue>Aw ` ight, college boy. You do what you think is the right thing. I ` ma do what I know is the only thing.<\/dialogue>\n    <scene_description>He starts to walk off , does n't get far before Patrick calls out .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Malakai.<\/dialogue>\n    <parenthetical>( a fleeting hesitation . )<\/parenthetical>\n    <dialogue>. When it's on, I'll be there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAYGROUND (O'DONNELL HEIGHTS PARK) - DAY<\/stage_direction>\n    <scene_description>Groups of children scatter around worn - out playground equipment . The gleeful squeal of them is everywhere . Patrick guides Christopher down a slide ; Chenille catches him at the bottom . Christopher ca n't get enough of this ride and Patrick and Chenille repeat the routine throughout their conversation .<\/scene_description>\n    <character>CHENILLE<\/character>\n    <dialogue>Why you so quiet?<\/dialogue>\n    <parenthetical>( off Patrick 's brooding look . )<\/parenthetical>\n    <dialogue>Patrick Reynolds ai n't got nothin' to say? That's a first.<\/dialogue>\n    <parenthetical>( catches her son with a whee !<\/parenthetical>\n    <parenthetical>; then . )<\/parenthetical>\n    <dialogue>You know how I go off on folks sometimes. I mean it and then I do n't mean it. Like what I said to Sara. Guess she told you.<\/dialogue>\n    <character>PATRICK<\/character>\n    <parenthetical>( monotone . )<\/parenthetical>\n    <dialogue>I do n't care what you said, Chenille.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>Patrick. Your ass is on your back and your lips are on the ground. You care, baby brother. And not just about what I said.<\/dialogue>\n    <parenthetical>( as he looks at her . )<\/parenthetical>\n    <dialogue>You seriously like Sara. She got a serious jones for you. Am I lyin'?<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>It's besides the point. Whatever point it is you tryin' to make.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>I'm sayin' you ca n't help who you love, Patrick. At least you found somebody who loves you back.<\/dialogue>\n    <scene_description>Patrick regards Chenille impassively . Hands Christopher to her .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>I got ta go.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>To where? To who? Malakai?<\/dialogue>\n    <parenthetical>( sucks her teeth . )<\/parenthetical>\n    <dialogue>You ai n't through with that fool yet.<\/dialogue>\n    <character>PATRICK<\/character>\n    <dialogue>He's not a fool, Chenille.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>No. You know what? You're the fool, Patrick. You think you let Malakai down and all you did was try to pull yourself up. Ai n't no blame or shame in that.<\/dialogue>\n    <character>PATRICK<\/character>\n    <parenthetical>( very low ; a broken smile . )<\/parenthetical>\n    <dialogue>I still got ta go. Check you later.<\/dialogue>\n    <scene_description>Holding Christopher , Chenille watches Patrick walk out of the playground . Disappear . She and Christopher move on to a seesaw . Chenille bobs him up and down on one end of it . She 's snuggling in Christopher 's face when the other end suddenly drops to the ground . Chenille looks up . Sees Kenny .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAYGROUND - SWINGS - CHENILLE AND KENNY - LATER<\/stage_direction>\n    <scene_description>They 're side by side on swings . Christopher 's nestled against Kenny 's chest , soundly snoozing . They slowly swing throughout .<\/scene_description>\n    <character>KENNY<\/character>\n    <dialogue>It cut me, what you said.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <parenthetical>( means this . )<\/parenthetical>\n    <dialogue>I should n't have. I was trippin'.<\/dialogue>\n    <character>KENNY<\/character>\n    <dialogue>You always trip. I'm used to that. Besides, you were right. You were wrong, too. So was I. I need to do better. Ai n't no doubt about that.<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>I know I come down on you hard about money, but I would rather you spend the time. Seriously.<\/dialogue>\n    <character>KENNY<\/character>\n    <parenthetical>( jokingly . )<\/parenthetical>\n    <dialogue>So you do n't want any money?<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>I did n't say all that.<\/dialogue>\n    <scene_description>He smiles . Gently rubs Christopher 's brow . Looks at her . Chenille smiles at him .<\/scene_description>\n    <character>KENNY<\/character>\n    <dialogue>I love my son, Chenille. You know that, do n't you?<\/dialogue>\n    <character>CHENILLE<\/character>\n    <dialogue>Yeah. I always knew that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BALTIMORE SCHOOL OF PERFORMING ARTS - ESTABLISHING SHOT - SATURDAY EVENING<\/stage_direction>\n    <scene_description>of the building , the downtown skyline , etc. .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BALTIMORE SCHOOL OF PERFORMING ARTS - AUDITORIUM  SAME TIME<\/stage_direction>\n    <scene_description>The house lights are on . Several seats in the front row are taken up by judges for Juilliard . Further back are the families and friends of other dancers . PUSH IN and FAVOR Roy among them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACKSTAGE AREA - SARA<\/stage_direction>\n    <scene_description>Warming up , other dancers , all in costume , around her . Her eyes wander from the clock to the stage door . A sign on it reads : `` JUILLIARD SCHOOL OF DANCE - BALTIMORE AUDITIONS . '' She stares at it , fingers the clover leaf necklace with an unsettling sense of deja vu . ANGLE - WOMAN with a PINCE - NEZ with a clipboard , navigating among the dancers with a clipboard . She calls out :<\/scene_description>\n    <character>PINCE-NEZ<\/character>\n    <dialogue>Johnson. Sara Johnson.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET (O'DONNELL HEIGHTS) - NIGHT<\/stage_direction>\n    <scene_description>Patrick 's waiting on the sidewalk . Malakai pulls up in Tute 's BMW . Lip 's in the backseat . Patrick gets into the car . It takes off down the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.\/INT. STREET - BMW - DRIVING - NIGHT<\/stage_direction>\n    <scene_description>RAP MUSIC blasts ON the RADIO . No one in the car is saying anything . Malakai has a `` 40 '' between his legs . He sips from it , passes it to Patrick . Patrick takes a short swig , passes it back to Lip . As he does this , a set of keys fall out of his jacket into his lap . Patrick picks them up . Looks at the key chain , his present from Sara . He looks at Malakai .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>Pull over.<\/dialogue>\n    <parenthetical>( as Malakai glances at him , not understanding . )<\/parenthetical>\n    <dialogue>This ai n't helpin' nobody, ` Kai. I'm out. I mean it. Stop the car.<\/dialogue>\n    <character>LIP<\/character>\n    <dialogue>Awww, shit. Here we go.<\/dialogue>\n    <character>MALAKAI<\/character>\n    <parenthetical>( furious . )<\/parenthetical>\n    <dialogue>What you mean you out? You think I ` ma let your punk ass bail on me again?<\/dialogue>\n    <scene_description>Patrick starts to open the door . Malakai speeds up . The CAR CAREENS down the street , SQUEALS around corners . Finally comes to a red light . Stops . Patrick starts to open the door . Malakai grabs him by the jacket . Pulls his gun . Patrick looks at Malakai and now he sees him . Sees that he 's lost and desperate . and dangerous .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>What you gon na do, ` Kai? You gon na shoot me? Go ahead! You'll have to!<\/dialogue>\n    <character>LIP<\/character>\n    <dialogue>Let him out! We do n't need him.<\/dialogue>\n    <character>MALAKAI<\/character>\n    <dialogue>Shut the fuck up.<\/dialogue>\n    <scene_description>Patrick jerks himself loose . Opens the door . Malakai cocks the gun . Patrick 's face flinches at the sound of it . He can feel it trained on his back as he gets out the car . But Malakai ca n't do it . Would n't do it . He takes off like a bat out of hell .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET<\/stage_direction>\n    <scene_description>Patrick heads down the street . As he walks , he can hear the sound of GUNFIRE behind him , and then the sound like an EXPLOSION . A CAR HORN goes off in a persistent drone . Patrick stops . Stands there for a moment . Then he 's walking again . Without looking back . And then he 's running away from the mayhem behind him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - SAME TIME<\/stage_direction>\n    <scene_description>The BMW 's tangled around a street lamp . Inside Malakai slumps over the steering wheel , a bullet through his head .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BALTIMORE SCHOOL OF PERFORMING ARTS - AUDITORIUM  NIGHT<\/stage_direction>\n    <scene_description>Pince - Nez leads Sara to the stage . Announces her . Sara walks onstage . She nods down at the judges , looks out into the audience . Her eyes anxiously search for Patrick . hoping . Her MUSIC begins . Grieg 's Peer Gynt -LRB- Morning -RRB- . Sara starts to sway , moving like an angel through the soft cloud of this music . Her line , proportion and balance are impeccable . Tchaikovsky 's Swan Lake -LRB- Tanz der Schwane -RRB- begins and Sara slowly blossoms , opening herself up to the music like a flower . She completes every turn and twist and leap with confidence , energy and persuasion . She is doing what a dancer should do - engaging the audience , igniting their imagination , drawing them in . ANGLE - JUDGES perking up , taking notes , attentive to her . SARA finishes with a flawless arabesque . Looks out . REVERSE ANGLE - JUDGES One of the more imperious - appearing JUDGES removes his glasses , speaks to her . Sara 's still trying to catch her breath .<\/scene_description>\n    <character>STERN JUDGE<\/character>\n    <dialogue>You prepared a free - form?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Yes. sir. they have. my music.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Does it have a theme?<\/dialogue>\n    <character>SARA<\/character>\n    <dialogue>Yes. Emo.<\/dialogue>\n    <parenthetical>( clears her throat . )<\/parenthetical>\n    <dialogue>Emotion.<\/dialogue>\n    <scene_description>The Judge turns around , shouts to someone we ca n't see :<\/scene_description>\n    <character>STERN JUDGE<\/character>\n    <dialogue>Cue Johnson's music.<\/dialogue>\n    <scene_description>MUSIC UP : A remix of hip - hop -LRB- e.g. , LAURYN 'S HILL 'S doo wop ; NAS 'S `` We Will Survive '' and JAY Z 's latest -RRB- and snatches of CLASSICAL . SARA stands there . Does n't move . Ca n't . She finally walks up to the edge of the stage . Looks down at the judges , her eyes filled with trepidation . Her voice is a shaky whisper .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>I'm sorry. I was n't ready. Can you start it over again?<\/dialogue>\n    <scene_description>REVERSE ANGLE The Judge waving off the MUSIC . It STOPS . He regards Sara impatiently .<\/scene_description>\n    <character>STERN JUDGE<\/character>\n    <dialogue>Are you ready now?<\/dialogue>\n    <scene_description>Before she can respond , Patrick 's voice booms from the back of the auditorium .<\/scene_description>\n    <character>PATRICK<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Yes, sir. She's ready.<\/dialogue>\n    <scene_description>ANGLE WIDENS to reveal him coming forward . Rushing for the stage . He pauses at the apron of it . Looks up at Sara . She peers down at him , astounded . Shaken . He smiles at her . She smiles back . Patrick 's eyes softly take her in .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>You can do it.<\/dialogue>\n    <parenthetical>( because . )<\/parenthetical>\n    <dialogue>Ai n't nobody watchin' you but me.<\/dialogue>\n    <scene_description>Sara 's eyes focus on him . She nods . Turns to the judges .<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>I'm ready.<\/dialogue>\n    <scene_description>As her MUSIC cues up , Patrick slowly backs away from the stage . Sara begins to dance . She starts out strong and gets stronger . Every emotion she feels , every experience she 's had , comes to life in a way that we 've never seen before , not even when she was practicing with Patrick . Her body has finally found a way to get inside this kind of music , to elevate its meaning and transform her dance . The MUSIC ENDS . The lights go up . Sara stands in the middle of the stage breathless , sweating . She lifts her head slowly and the ANGLE WIDENS to reveal - Patrick letting out a giant whoop . The judges react and the audience gasps . as he bounds onto the stage and . Roy jumps to his feet . Proudly and loudly clapping . Just like Glynn . ANGLE - SARA overwhelmed beyond belief . Patrick 's coming toward her . She flies into his arms , free and happy , overjoyed . But the triumph of her performance and the sheer bliss of the moment are transcended by something deeper and clearer , which is her love for Patrick . JUDGES struggling to maintain their and the proceeding 's decorum , since the audience , caught up in the throes of this excitement , has begun to loudly , enthusiastically react .<\/scene_description>\n    <character>STERN JUDGE<\/character>\n    <dialogue>Ladies and gentlemen, please!<\/dialogue>\n    <parenthetical>( to Patrick . )<\/parenthetical>\n    <dialogue>Young man! Get off the stage.<\/dialogue>\n    <scene_description>WIDER to reveal the room . Patrick hugging Sara , looks down at the judges .<\/scene_description>\n    <character>PATRICK<\/character>\n    <dialogue>All due respect, if ya'll do n't let this girl in, you're crazy!<\/dialogue>\n    <scene_description>Sara pulls Patrick back . Walks alone to the edge of the stage , composed and professional again . She regards the judges with a beaming resolve and a ballerina 's curtsy , then simply says :<\/scene_description>\n    <character>SARA<\/character>\n    <dialogue>Thank you. Very much.<\/dialogue>\n    <character>STERN JUDGE<\/character>\n    <dialogue>Ms. Johnson!<\/dialogue>\n    <scene_description>Sara stops . Turns back to him . The Judge smiles .<\/scene_description>\n    <character>STERN JUDGE<\/character>\n    <dialogue>I ca n't say this on the record - yet. But welcome to Juilliard.<\/dialogue>\n    <scene_description>SARA 'S FACE lovely and radiant as it breaks into a cheek - to - cheek smile . WIDER as she walks slowly , deliberately back to Patrick . Stops . Looks at him . Just looks . And then she throws her arms around his neck , kissing and hugging him . Emotional . Patrick swings her into the air , twirls her around and around , as we :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL BALLROOM - SENIOR PROM - NIGHT<\/stage_direction>\n    <scene_description>OVER SLOW MUSIC -LRB- possible theme song -RRB- : Sara -LRB- in a gown -RRB- and Patrick -LRB- in a tux -RRB- . Dancing -LRB- as if they had danced from the last FRAME INTO this one -RRB- . They are beautiful . WIDER to reveal the entire dance floor . And we see that it 's the senior prom . The room 's dressed up like a dreamy , futuristic romantic illusion . The ceiling 's ablaze with tiny , star - like lights ; under them large poufs of cotton clouds hang . Glittering , mirrored balls dangle over the main floor . Seniors dance in traditional and cutting edge tuxes and mouth - watering , eye - popping versions of dresses and gowns . CAMERA PANS the floor , PICKING UP : A surprisingly dashing Snookie and the fly girl . As they dance , he bravely but rather too abruptly dips her . Diggy -LRB- in a glitter tuxedo and spiked hair -RRB- and her date . Nikki with whom we shall perceive to be the Howard University guy . In any event , he looks slightly bored . Chenille with Kenny , smiles at Sara as she and Patrick dance by . CAMERA FAVORS and PUSHES IN ON . Sara and Patrick . Gazing at each other . The SONG ENDS with them in each other 's arms . FADE OUT . THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Sara Johnson (Julia Stiles), a promising dancer in high school in suburban Chicago, hopes to be admitted to study at Juilliard School and invites her mother to attend the audition. She fails the audition and soon learns that her mother was involved in a fatal car accident in her haste to get to the audition. Sara is wracked by guilt and gives up on ballet. She moves in with her estranged father (Terry Kinney) and transfers to an inner-city school on the south side of Chicago. Her father is a jazz musician who plays the trumpet and usually plays in nightclubs. At her new school, Sara is one of a handful of white students but quickly befriends Chenille (Kerry Washington), a single teen mother who is having relationship problems. Chenille invites Sara to a dance club called STEPPS, where she has her first experience of dancing to hip hop rhythms. At STEPPS, Sara dances with Derek (Sean Patrick Thomas), Chenille's brother and a student with dreams of ultimately attending Georgetown Medical School. He decides to help Sara develop her dancing skills by incorporating more hip hop into her style. Derek takes a reluctant Sara to the Joffrey Ballet and, afterwards, Sara confides in him about her mother and her dreams. Later, they return to the club and amaze others with their dancing. Having achieved his dream of being accepted at Georgetown University, Derek convinces her to follow her dreams of Juilliard. Eventually, Sara and Derek begin a relationship. At school, Nikki (Bianca Lawson), Derek's jealous ex-girlfriend, picks a fight with Sara. Chenille tells Sara that she didn't approve of the fight but can understand the bitterness since Sara, a white girl, is seen as \u201cstealing\u201d one of the decent black men in the school. Because of this conversation, Sara and Chenille's friendship becomes strained, and Sara decides to break up with Derek. Meanwhile, Derek deals with his friend Malakai (Fredro Starr), who is heavily into the gang lifestyle that Derek is trying to leave. Derek accepts Malakai's ask for help in executing a \u201ddrive-by\u201d at the same time as Sara's audition. Sara's father has a heart-to-heart talk with her and encourages her to audition for Juilliard again. After hearing what Chenille said to Sara, Derek confronts his sister for what she said, as well as explaining  his true reasons for dumping Nikki. He is very disappointed in Chenille for hurting Sara. After hearing his sister\u2019s confession, Derek begins to realize why Sara broke off their relationship. He notices that despite Chenille\u2019s rude, painful and (this used to be racist but the only thing that might be that is saying there are only a small group of decent black men) remarks to Sara,despite his ex Nikki having envied their relationship the entire time Sara did not want to end it. Remorseful for her actions, Chenille admits what she did was underhanded and encourages him to be with Sara, realizing that Sara is in fact in love with Derek. She also warns Derek not to follow Malakai knowing he may face losing his chance to attend Georgetown and his future if he is arrested. Derek then makes an important decision, bailing on Malakai to attend Sara's audition. He arrives at a crucial point of her performance to offer her encouragement and moral support. After her audition, Sara is accepted and she rekindles her relationship with Derek. Meanwhile, the drive-by becomes botched and Malakai is arrested. The film closes as Sara, Derek, Chenille, and their friends meet at STEPPS to celebrate Sara's successful audition."}
{"movie_name":"Brigsby Bear_2017","imdb_id":"tt5805752","script":"<script>\n  <scene>\n    <scene_description>BRIGSBY BEAR Story by Kyle Mooney Screenplay by Kevin Costello<\/scene_description>\n    <character>&amp;<\/character>\n    <dialogue>Kyle Mooney<\/dialogue>\n    <scene_description>VHS STATIC Nostalgic, disorienting. Giving way to-- Warbled lo-fi tones of an 80s KIDS' TV THEME. Triumphant, inspiring. Like something we've heard before... But it's not. It's-- \"BRIGSBY BEAR ADVENTURES\" - OPENING CREDITS Through a combination of cheap live-action sets and amateurish (yet vividly detailed) matte paintings, animation and puppetry, we're treated to: -A rickety SPACESHIP approaches a cluster of COLORED PLANETS. -Pink clouds part, revealing a lush WATERFALL OASIS surrounded by SAND DUNES. Rainbow sunset on the horizon. -BRIGSBY BEAR waves hello from his cabin under the waterfall. He stands upright, with a cheerful animatronic expression. -PAST ADVENTURES flash by: distant lands, strange creatures, enemies, allies, triumphs, defeats, kingdoms, space and-- CLICK. Fast-forward... for a while... then-- GRAND TEMPLE CHAMBER - THE CLIMAX! - NIGHT Brigsby is CHAINED to a vine-covered stone wall, which SHAKES (in-camera), raining DUST and DEBRIS!<\/scene_description>\n    <character>BRIGSBY<\/character>\n    <dialogue>The temple's collapsing! Arielle, Nina -- use your powers!<\/dialogue>\n    <scene_description>Across the chamber, also chained up: THE SMILES SISTERS. Adult twins in matching blue dresses and headbands. ARIELLE has a blonde ponytail, NINA pigtails. They close their eyes and concentrate. Magic SPARKLES surround them... But nothing happens. The sparkles fade.<\/scene_description>\n    <character>ARIELLE SMILES<\/character>\n    <dialogue>It's Sun Snatcher, Brigsby!<\/dialogue>\n    <scene_description>DIABOLICAL LAUGHTER booms from above. They look up through an OPENING in the temple to see-- A sinister animated face among the stars. SUN SNATCHER.<\/scene_description>\n    <character>SUN SNATCHER<\/character>\n    <dialogue>Perish, Brigsby Bear!<\/dialogue>\n    <scene_description>Brigsby's eyebrows drop, contemplative.<\/scene_description>\n    <character>BRIGSBY<\/character>\n    <dialogue>The stars are out...?<\/dialogue>\n    <parenthetical>(eyebrows shoot up)<\/parenthetical>\n    <dialogue>The vines! Remember? They release invisi-toxins at sundown. That means--<\/dialogue>\n    <character>NINA\/ARIELLE SMILES<\/character>\n    <dialogue>We're only imagining!<\/dialogue>\n    <scene_description>Brigsby looks down at his chains, which are now VINES. He breaks free, picks up a CRYSTAL and raises it...<\/scene_description>\n    <character>BRIGSBY<\/character>\n    <dialogue>I summon the power of light!<\/dialogue>\n    <scene_description>The crystal GLOWS--<\/scene_description>\n    <character>SUN SNATCHER<\/character>\n    <dialogue>Noooooooooooo!<\/dialogue>\n    <scene_description>--and releases a massive ENERGY BLAST! But the Sun Snatcher DISAPPEARS just in time. (echoing from beyond) I'll get you next time, bear! The shaking STOPS. The dust settles...<\/scene_description>\n    <character>NINA\/ARIELLE SMILES<\/character>\n    <dialogue>You did it Brigsby!<\/dialogue>\n    <scene_description>But Brigsby looks down, disheartened.<\/scene_description>\n    <character>BRIGSBY<\/character>\n    <dialogue>We're safe for now, but... I let the whole galaxy down.<\/dialogue>\n    <scene_description>We ride out an oddly silent, contemplative beat... And PULL OUT to reveal we're watching on a-- '19 VCR-BUILT-IN TV - KID'S BEDROOM (?) - DAY REVERSE ON: JAMES (20s, messy hair) on the floor, captivated. Reflection of the TV glowing in his GLASSES. Finally, Brigsby looks up.<\/scene_description>\n    <character>BRIGSBY<\/character>\n    <parenthetical>(frustrated)<\/parenthetical>\n    <dialogue>I don't get it. The prophecy said: if we activate the Sortis Crystal inside the temple, we could destroy Sun Snatcher.<\/dialogue>\n    <scene_description>Nina puts her hand on Brigsby's shoulder, reassuring.<\/scene_description>\n    <character>ARIELLE SMILES<\/character>\n    <dialogue>Perhaps there's a lesson here, Brigsby...<\/dialogue>\n    <scene_description>The Smiles Sisters turn to us.<\/scene_description>\n    <character>NINA SMILES<\/character>\n    <dialogue>When solving for x on a one dimensional plane, where minus one by the magnitude of one equals minus x--<\/dialogue>\n    <scene_description>James whispers along like he's heard it a hundred times: --always solve for the vector r!<\/scene_description>\n    <character>ARIELLE SMILES<\/character>\n    <dialogue>That's linear chaos.<\/dialogue>\n    <character>BRIGSBY<\/character>\n    <dialogue>Of course!<\/dialogue>\n    <scene_description>Brigsby taps his wrist transponder, which makes a HOLOGRAM. That's why we couldn't defeat Snatcher -- his vector path was a parabolic orbit! Nina Smiles looks like she has no idea what's going on.<\/scene_description>\n    <character>NINA SMILES<\/character>\n    <dialogue>Yep... That's it.<\/dialogue>\n    <scene_description>Brigsby turns to the camera.<\/scene_description>\n    <character>BRIGSBY<\/character>\n    <dialogue>Until our next adventure, remember--<\/dialogue>\n    <parenthetical>(lower)<\/parenthetical>\n    <dialogue>Prophecy is meaningless. Trust only your familial unit and please discard leftover food rations in the yellow bin, not the red one--<\/dialogue>\n    <scene_description>James hits STOP. Automatic tape eject. Static... He stares a moment, thinking it over... Then--<\/scene_description>\n    <character>JAMES<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>That's it!<\/dialogue>\n    <scene_description>He goes to his DESK and opens a 90s laptop. As he TYPES, we take a long look around... Covering the walls are POSTERS of Brigsby Bear characters including a prominent late-teens ARIELLE SMILES. Brigsby FIGURINES and BOOKS cover every inch of desk and shelf space. Note: like a Star Wars fanatic's bedroom, but without the accessible charm. Everything here has the warped, homemade quality of the show. James finishes typing, slides the tape into a ILLUSTRATED CASE, then returns it to the one wall we haven't seen yet: Floor-to-ceiling shelves of tapes just like it. Hundreds. LO-RES WEBCAM - JAMES' BEDROOM James frames himself up as the pixels freeze and start. He adjusts his hair, clears his throat. Click.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Hey everyone, it's me, James. First thing, episode 34, volume 25 -- the recap is up, and there's a pretty good comment section right now, so check it out.<\/dialogue>\n    <parenthetical>(pauses, nervous)<\/parenthetical>\n    <dialogue>Also -- as some of you know might know, I've been studying the old volumes of Brigsby, going back to the first Quest Wars, when we meet the dark evildoer, a-k-a Sun Snatcher. Obviously, Snatcher gets away every battle. But Brigsby hasn't given up, and neither have I, and I have some new ideas that... well, I might be on to something big. So stay tuned--<\/dialogue>\n    <parenthetical>(leans in)<\/parenthetical>\n    <dialogue>--until our next adventure.<\/dialogue>\n    <scene_description>CLICK BLACK \"Brigsby Bear\" LIVING ROOM - NIGHT Modest and cozy, with decades-old fixtures and appliances. James stands in front of the coffee table, on top of which is a massive fold-out POSTER BOARD, featuring illustrations of Brigsby and a complicated flow chart with graphs and text.<\/scene_description>\n    <character>JAMES<\/character>\n    <parenthetical>(mid-explanation)<\/parenthetical>\n    <dialogue>...the trick is, basically, Brigsby has to find all the sacred artifacts. The Sortis crystal, Arielle's amulet, then...<\/dialogue>\n    <scene_description>He unfolds another section of the presentation board-- A BLACK HOLE surrounded by incomprehensible figures. ...you just have to find a collapsed star in an unclaimed system... He turns to the couch, his audience: TED and APRIL. 50s. Pleasant, square parents, listening politely. Easier said than done, I know, but-- The poster board wobbles and FALLS. James tries to set it back up, flustered. (kidding) Guess there's more gravitational pull from that black hole than I initially calculated... James forces an awkward laugh. Ted and April share a look. DINNER TABLE - MINUTES LATER Ted and April on one side, James on the other. Plain pasta steaming.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>So, what did everyone think?<\/dialogue>\n    <character>APRIL<\/character>\n    <dialogue>Private avowals first...<\/dialogue>\n    <scene_description>James nods. They fold their hands, look down, and MUMBLE incoherently under breath -- a prayer? But no one's in sync. Then, their words converge:<\/scene_description>\n    <character>JAMES\/TED\/APRIL<\/character>\n    <dialogue>...and may our minds be stronger tomorrow.<\/dialogue>\n    <scene_description>To finish it off, they stand and exchange formal handshakes.<\/scene_description>\n    <character>JAMES<\/character>\n    <parenthetical>(sitting back down)<\/parenthetical>\n    <dialogue>I know there's still some things I need to add before I post it, so...<\/dialogue>\n    <scene_description>James trails off, sensing something in their expressions. What is it? April nods to Ted: say something. Ted slurps his pasta, chews, swallows, clears his throat.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Well, pal. It's clear a lot of imagination went into it. But the thing is... I just don't know if any of this is plausible within Brigsby's universe.<\/dialogue>\n    <scene_description>James takes the note. Considers it. I mean, you have him using Arielle's amulet against Sun Snatcher? Sure, it's powerful -- it was created by the Drumbas -- but, if I remember correctly, it's also very unstable...<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Yes, but not if you can fold space- time, that's--<\/dialogue>\n    <parenthetical>(frustrated)<\/parenthetical>\n    <dialogue>I should have explained, that's why Brigsby needs Arielle's amulet, so--<\/dialogue>\n    <character>APRIL<\/character>\n    <dialogue>James.<\/dialogue>\n    <scene_description>He pauses, looks up at her.<\/scene_description>\n    <character>APRIL<\/character>\n    <parenthetical>(gentler)<\/parenthetical>\n    <dialogue>What your father's trying to say is: we're proud of how smart and talented you are.<\/dialogue>\n    <character>APRIL<\/character>\n    <dialogue>But all this time you've been spending on the Brigsby website, and your projects -- we just don't see the point.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>The point...?<\/dialogue>\n    <scene_description>James thinks... It's so self-evident it's hard to articulate.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Well, I've heard it's starting to take some pretty unique narrative risks.<\/dialogue>\n    <character>APRIL<\/character>\n    <dialogue>Ted, we talked about this.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I just... We all want to know what's going to happen, in the end.<\/dialogue>\n    <character>APRIL<\/character>\n    <dialogue>Which is fine, as a distraction, every once in a while. That we could understand; it's healthy. But we can't have things like this--<\/dialogue>\n    <scene_description>She holds up a hand-made poster: First ever BRIGSBY BEAR fan meet-up!!!! Featuring: James, Brigsbyfan1, Brigsbyfan2 and Brigsbygirl Where: James' house James takes it and folds it up, defensive.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>It's just an idea...<\/dialogue>\n    <character>APRIL<\/character>\n    <dialogue>Well, it's not realistic. You could be using this time and energy to further your studies, or solve the Vansmithe conjecture--<\/dialogue>\n    <scene_description>She gestures to an EQUATION on a nearby chalkboard: Ax = \u00c5x<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I tried already...<\/dialogue>\n    <character>APRIL<\/character>\n    <dialogue>And we'll keep trying.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>But it's impossible! And it's stupid...<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Temper, James...<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I know, sorry. It's not stupid...<\/dialogue>\n    <parenthetical>(mumbles to himself)<\/parenthetical>\n    <dialogue>...but there's no variant subspace parameters, so even if you wanted to it'd be impossible, plus I don't see you blockheads solving it...<\/dialogue>\n    <character>APRIL<\/character>\n    <dialogue>We can hear everything you're saying, James. My point is, we've come so far, working together. And now we are close to a real breakthrough.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>Which is why, for a little while, we're going to take a break from Brigsby.<\/dialogue>\n    <scene_description>James expression falls, indignant.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>What?!<\/dialogue>\n    <character>APRIL<\/character>\n    <dialogue>You can watch once a week.<\/dialogue>\n    <scene_description>James shares a desperate look with Ted.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Well, maybe that's a little harsh... What about twice? Once to revisit old episodes, and once when the new tape comes in?<\/dialogue>\n    <character>APRIL<\/character>\n    <parenthetical>(frustrated)<\/parenthetical>\n    <dialogue>Ted, we've discussed this. Once.<\/dialogue>\n    <scene_description>And that's that. April unfolds her napkin, readies utensils. Don't let your noodles get cold. But James just twists them in his fork.<\/scene_description>\n    <character>JAMES<\/character>\n    <parenthetical>(mumbles again)<\/parenthetical>\n    <dialogue>Doesn't even look like food, more like the ransack of Shabala...<\/dialogue>\n    <scene_description>Ted and April continue eating, ignoring him.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>It's from Brigsby.<\/dialogue>\n    <character>APRIL<\/character>\n    <dialogue>We know.<\/dialogue>\n    <scene_description>PRELAP: KNOCK-KNOCK JAMES' BEDROOM - NIGHT James sits in PJs (faded Brigsby shirt), staring at the blank space where his TV sat. He turns as Ted opens the door, pokes his head in.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Hey bud...<\/dialogue>\n    <parenthetical>(off James' silence)<\/parenthetical>\n    <dialogue>So... I was thinking about taking a trip out to the pier?<\/dialogue>\n    <scene_description>James shrugs a soft \"okay.\" HALLWAY DOOR - MOMENTS LATER A large, gold KEY goes into the keyhole, turns. The door opens to a small STAIRCASE. James follows Ted up to-- \"THE PIER\" - CONTINUOUS A small hallway encased by GLASSED WALLS and an arched glass ceiling. Through them, all around: vast, moon-lit DESERT. James and Ted walk to the end of the pier, where it balloons into a larger GLASS DOME, like an undersea observatory. They take a seat on a BENCH, looking out upon-- A SMALL OASIS a few yards ahead: a pond, half surrounded by shoulder-high palm trees and houseplants in oddly dark soil. Also, as Ted points out--<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>They sure came out tonight, huh?<\/dialogue>\n    <scene_description>--there are several LUMINESCENT INSECTS grazing and glowing around the edge of the water. Or rather, they look like insects, but are clearly animatronic. Similarly, a FOX-LIKE CREATURE stands further away, moving its head up and down.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>So, what's on your mind, pal?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I don't know... I guess, just... Someone out there is making Brigsby, right? And other people, just like us -- we're all watching it, together. It means something.<\/dialogue>\n    <scene_description>Ted puts his arm around James' shoulder.<\/scene_description>\n    <character>TED<\/character>\n    <dialogue>Look at the Grazerbugs, James. All they need in this world is fresh water and cold moonlight to charge their rectoskeletons. They're here every night, surviving, just like us. The difference is, we have dreams and imaginations, to help us escape. And no one can take that away from you, ever.<\/dialogue>\n    <scene_description>As James thinks about that, one of the Grazerbugs SHORTS OUT. JAMES' BEDROOM - NIGHT James looks around at all his Brigsby stuff...<\/scene_description>\n    <character>TED (O.S.)<\/character>\n    <dialogue>Night, James! Powering down!<\/dialogue>\n    <scene_description>The lights flicker and fade. Darkness. Then, a small FLASHLIGHT clicks on. James puts it on his desk, angled at the poster of Arielle Smiles. He gets in bed, pulls up the sheets and quietly masturbates. PRE-LAP: a warbled, distorted rooster CROW, announcing-- JAMES' BEDROOM - DAWN Sunlight just creeping in. James sleepily comes to as the artificial crow sounds continues, rolling over. From the bed, he has a sideways view through a crack in the window shade. Outside, we see-- TED, walking to a dusty '89 Pontiac Bonneville, off to work. Rumpled suit, briefcase in hand. Also of note: he's wearing a GAS MASK (or rather, a fanciful sci-fi approximation of one that looks assembled from spare parts). James just lays there a moment and watches him go. AROUND THE HOUSE - DAY - EXPRESSION ABSENT -James does jumping jacks, showers, eats oatmeal. -James does LESSONS with April: Graphing an indecipherable PHYSICS EQUATION using two computers at once. -James says private avowals at the dinner table. JAMES' BEDROOM - NIGHT James lies on his bed, mood unchanged, deriving little joy.<\/scene_description>\n    <character>TED (O.S.)<\/character>\n    <dialogue>8:30 James! Powering down!<\/dialogue>\n    <scene_description>The lights flicker and fade. Darkness. James' flashlight turns on. HALLWAY - NIGHT James slowly opens his door, tiptoes down the hallway... He uses a PIN to open the locked closet, goes inside. When he comes out, he's wearing Ted's GAS MASK. He presses a glowing GREEN BUTTON next to the front door. It opens. He steps into-- AIRLOCK (?) - CONTINUOUS A sterile, sci-fi cube of plastic and plexiglass. James presses a sequence of buttons near the exit door. There's a heavy WHOOSH, then the door slides open. JAMES' ROOF - NIGHT James crawls to the top, finds his spot. He looks out at the dome of stars, the distant mountains. Then he sees something that makes him straighten up... Sudden LIGHTS, dotting the horizon. In a line, moving. Getting bigger. Flashing RED and BLUE. A lo-fi OMINOUS SYNTH pulses to life... (A Brigsby Bear fan would recognize this music from the Pla'torian Raider ambush in volume 15.) James stares, intrigued and amazed and afraid. We can hear SIRENS now. Five cars at least.<\/scene_description>\n    <character>APRIL (O.S.)<\/character>\n    <dialogue>James?!<\/dialogue>\n    <scene_description>He snaps out of it.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I know I'm not supposed to be out here, but something's happening!<\/dialogue>\n    <scene_description>JAMES' HOUSE - FRONT HALLWAY - MOMENTS LATER Ted HUGS James.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Wait, what's going on though?<\/dialogue>\n    <character>TED<\/character>\n    <dialogue>Just remember everything we've taught you, and be strong, okay?<\/dialogue>\n    <character>JAMES<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>Okay...<\/dialogue>\n    <scene_description>James straightens his posture.<\/scene_description>\n    <character>POLICE OFFICER (O.S.)<\/character>\n    <parenthetical>(megaphone)<\/parenthetical>\n    <dialogue>We have the compound surrounded! Leave the child, and come out with your hands on your heads!<\/dialogue>\n    <scene_description>James looks between Ted and April, more confused than ever. Ted opens the AIRLOCK to see LIGHTS in the driveway. Silhouetted law enforcement. April turns to James, broken, apologetic...<\/scene_description>\n    <character>APRIL<\/character>\n    <dialogue>This isn't how we planned it...<\/dialogue>\n    <scene_description>OFF JAMES, dumbfounded, as his parents walk outside. The BRIGSBY MUSIC carries us to-- MODERN POLICE CRUISER - DRIVEWAY - MOMENTS LATER Strange, sleek, alien. Reflecting rivers of smooth light. As we approach, a shadowy POLICE OFFICER opens the rear door. POLICE CRUISER - MINUTES LATER Headlights slicing through desert darkness. BACKSEAT James (in his Brigsby shirt) strapped in, shell-shocked. Holding tight to a DUFFLE BAG. He opens his mouth to speak and the music CUTS OUT. Just the engine and a crackle of radio chatter. He hesitates.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>So... I take it you guys are from another zone or something?<\/dialogue>\n    <scene_description>The young DEPUTY in the passenger seat half-turns his head.<\/scene_description>\n    <character>DEPUTY<\/character>\n    <dialogue>We're from the Durmott County Sheriff's office. We're gonna take you on over the state border.<\/dialogue>\n    <character>JAMES<\/character>\n    <parenthetical>(?)<\/parenthetical>\n    <dialogue>Oh. Okay.<\/dialogue>\n    <character>DEPUTY<\/character>\n    <dialogue>Got about a five hour drive, if you want to try and get some shut eye.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Got it...<\/dialogue>\n    <scene_description>They pass a lone GAS STATION, and James looks out at it. Never seen anything like it. Apprehension building... (sarcastic) So are you guys gonna give me a breathing mask, or are we supposed to just let the poison take over our bodies?<\/scene_description>\n    <character>DEPUTY<\/character>\n    <dialogue>Breathing masks?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Yeah... You know if you inhale the air out here you can get Traynco disease, right?<\/dialogue>\n    <scene_description>The deputy turns around, looks at him.<\/scene_description>\n    <character>DEPUTY<\/character>\n    <dialogue>Uh, look, there's this detective been working with the family -- he'll explain everything. But the bottom line is, you're safe now. And as far as the air goes, it's good to go. No mask needed.<\/dialogue>\n    <parenthetical>(off James' uncertainty)<\/parenthetical>\n    <dialogue>I promise, look--<\/dialogue>\n    <scene_description>The deputy hits a button and James' window slides down. WIND whips his hair. He holds his breath as long as he can... Then he exhales, breathes in and out... Whoa -- he's okay. James unbuckles, sticks his head outside. Looks ahead. CALIFORNIA FREEWAY - PRE-DAWN The police cruiser through the suburbs. Traffic sparse. BACK SEAT - PRE-DAWN James sleeps, flat on the seat. Stirs awake. He looks up through the window, sees: THE CITY OF CEDAR HILLS, UTAH - MORNING GRAND BUILDINGS gleaming early sunlight. A steepled CHURCH, a green PARK, storefronts on MAIN STREET. James rubs his eyes, making sure he's really awake. POLICE STATION - MOMENTS LATER They pull into the parking lot of an impressive Spanish mission-style building. MUSIC: Meeting of the High Council at Impossible Tower, Brigsby Vol. 16. James steps out of the car, stands there. He tilts his head back, awestruck. ENTRANCE - POLICE STATION - MOMENTS LATER James enters, timid, flanked by police officers. He looks around, trying to make sense of the environment -- the people, uniforms, sounds, insignia, technology. AT A TABLE: James fields questions from DR. EMILY LARSON., scribbling notes. James looks around, overwhelmed. OMIT INTERROGATION ROOM - POLICE STATION James' darkened REFLECTION in a two-way mirror. Sitting at a table, looking around, trying not to freak out. The DOOR OPENS and he looks over, braces himself. An unsure beat as DETECTIVE VOGEL enters... The guy SMILES.<\/scene_description>\n    <character>DET. VOGEL<\/character>\n    <dialogue>James...<\/dialogue>\n    <scene_description>He walks over, puts a glass bottle of COCA-COLA on the table. Pulls out his chair, turns it backward, sits down, relaxed cool-guy style. What is up, my man? James stares back at him, unsure. That is your name, right? James? (off his shrug) Okay. Well, mine's Detective Vogel. (re: Coke) And that's for you. Figured you could use it. James looks between Detective Vogel and the bottle, unlocking some mystery. Readjusts in his chair. If you're thirsty? Vogel twists off the cap, slides it to him. James leans forward, curious. Bubbles fizz. (realizing) Did you ever have soda growing up? No? It's like, a delicious, fizzy beverage. James pushes the bottle away from him. Alright...<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>So, I'm a prisoner now?<\/dialogue>\n    <character>DET. VOGEL<\/character>\n    <dialogue>Whoa, what? No. Not at all. This is just, I'm sorry--<\/dialogue>\n    <scene_description>He gets up, turns the chair forward, sits back down.<\/scene_description>\n    <character>DET. VOGEL<\/character>\n    <dialogue>Look, James. I'm a friend, okay? The reason you're here, and the reason I'm here, is so I can help you. That's my job. Does that make sense?<\/dialogue>\n    <scene_description>James stares back at him a beat...<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Vogel doesn't quite know what to say. He glances at the mirror. James sees it, turns to look as well.<\/scene_description>\n    <character>BEHIND THE TWO-WAY MIRROR<\/character>\n    <dialogue>DEPUTY BANDER watches as James searches his reflection. Expression harsh, arms crossed, eyebrows flexed in scrutiny.<\/dialogue>\n    <character>BANDER<\/character>\n    <dialogue>This guy's pretty unstable, huh?<\/dialogue>\n    <scene_description>Next to Bander is Emily, observing.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>Actually, given the circumstances, I'd say he's handling all this remarkably well.<\/dialogue>\n    <scene_description>A28 INTERROGATION ROOM A28 James turns back to Vogel.<\/scene_description>\n    <character>DET. VOGEL<\/character>\n    <dialogue>Do you know why we came to get you?<\/dialogue>\n    <scene_description>He thinks about it, unsure.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Is it because one time I threw a rock at a Gunnerfox?<\/dialogue>\n    <parenthetical>(off his confusion)<\/parenthetical>\n    <character>JAMES<\/character>\n    <dialogue>I mean, the soldiers just showed up, and my mom and dad said I have to be strong, but I don't...?<\/dialogue>\n    <character>DET. VOGEL<\/character>\n    <dialogue>That's, uh... okay. Let's talk about your parents. Ted and April -- Tell me about them.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I guess... they're older, and kind of boring. Normal.<\/dialogue>\n    <character>DET. VOGEL<\/character>\n    <dialogue>Did they have you locked in somewhere? Restrained?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I mean... the doors were locked, and the airlock was off limits, because of regulations and stuff.<\/dialogue>\n    <character>DET. VOGEL<\/character>\n    <dialogue>Did they ever... touch you?<\/dialogue>\n    <scene_description>James thinks about it. Shrugs. It's okay James.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I mean... Yeah. Sometimes, they would grab me, like this--<\/dialogue>\n    <scene_description>James takes Vogel's hand... And SHAKES it, friendly. And they'd say, good job on your studies, James, we love you. (then) It happened a lot.<\/scene_description>\n    <character>DET. VOGEL<\/character>\n    <dialogue>Right... Okay. But they never hurt you, in any way?<\/dialogue>\n    <scene_description>James hesitates, affronted. An absurd question.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>They're my mom and dad.<\/dialogue>\n    <character>DET. VOGEL<\/character>\n    <dialogue>So... you never tried to leave?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I just figured with the quarantine, you know?<\/dialogue>\n    <scene_description>No, Vogel does not. But he nods anyway. Looks him over.<\/scene_description>\n    <character>DET. VOGEL<\/character>\n    <dialogue>Who's that on your shirt there?<\/dialogue>\n    <scene_description>James just stares at him a moment, shrugs. Obviously--<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>It's Brigsby.<\/dialogue>\n    <scene_description>Actually written ON HIS SHIRT: \"It's Brigsby!\" Vogel waits for further explanation, but there is none. He pauses a beat, not sure where to start.<\/scene_description>\n    <character>DET. VOGEL<\/character>\n    <dialogue>Okay. Well, James... We've got a few things to go over. About you, and your life, and... existence, in general.<\/dialogue>\n    <scene_description>He pushes the soda back over. First, Coke. I keep a stash in my mini-fridge, for guests. I think you'll like it. James considers the bottle -- bright, dewy, inviting. He brings it to his lips, sips cautiously, and... Whoa. Amazing. Unlike anything he's ever tasted. Takes him a second to process it.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Um... so... What is this place?<\/dialogue>\n    <scene_description>MUSIC: Space jump to the shadow galaxy, Brigsby Vol. 20. HALLWAY - POLICE STATION - MORNING James floats, time slowed, shell-shocked. Looks like he got an answer to his question and then some. Deputy Bander holds a DOOR open, eying him. James turns, stops in the doorway, looks inside-- MEETING ROOM - POLICE STATION - CONTINUOUS THREE STRANGERS stand waiting to meet him. LOUISE POPE (50s) and GREG POPE (50s), holding each other close, expressions of cautious elation. But one look at James and the floodgates open. They EMBRACE him, fighting tears.<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>I knew it...<\/dialogue>\n    <scene_description>Louise Pope gestures for AUBREY POPE (17) to join them. Considerably less emotional, Aubrey adds a half-assed comforting hand to the mix. POLICE STATION - PARKING LOT - MINUTES LATER Surrounded by REPORTERS and TV CAMERAS. As James exits the building with the Popes, they SURGE forward. MOMENTS LATER, James stands with the Popes, their arms around him, giving emotional interviews to a FEMALE REPORTER. James watches the interaction, trying to make sense of it. Then it occurs to James that someone is speaking to him. MUSIC CUTS. James looks at the reporter.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I, uh... I don't... what?<\/dialogue>\n    <scene_description>The reporter smiles, kind, patient.<\/scene_description>\n    <character>FEMALE REPORTER<\/character>\n    <dialogue>James, we know you've been through so, so much; how does it feel to finally be back where you belong?<\/dialogue>\n    <scene_description>The reporter puts the microphone closer to him. James looks at it, confused, then takes it from her. He awkwardly holds it away from his face.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I didn't think, that... It's a different reality than what I thought. So, that's...<\/dialogue>\n    <scene_description>The reporter guides the mic toward his mouth. (loudly) ...and everything's really big. James looks to the reporter for a response. She just smiles, takes the mic and turns back to the camera.<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>Well, there you have it. Missing for over two decades, little James Pope finally returns home.<\/dialogue>\n    <scene_description>POPE HOUSEHOLD - FRONT FOYER - DAY Big, modern, expensive. Natural light pouring in from everywhere. The front door OPENS. Greg Pope steps aside, gestures \"you first\" to James. He readjusts the duffle bag strap, timid. Then he steps inside. Takes it all in. The family DOG (a big poodle mix, MELVIN) trots over to James, excited. James dodges him, freaked out.<\/scene_description>\n    <character>LOUISE POPE<\/character>\n    <dialogue>Oh, I'm sorry, I meant to put Melvin outside.<\/dialogue>\n    <scene_description>She corrals the dog, petting him, settling him down. He's nice, I promise. See? James studies Melvin, not quite believing what he's seeing.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>It's a lot bigger than the Gunnerfoxes, but also very friendlier.<\/dialogue>\n    <scene_description>CLIMBING THE STAIRS - MOMENTS LATER James follows Greg and Louise Pope, looking at various FAMILY PHOTOS on the wall.<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>Bathroom's just down the hall on the right, across from Aubrey's room. And this one's all yours...<\/dialogue>\n    <scene_description>He opens the door to-- JAMES' NEW ROOM - CONTINUOUS A plain guest room. Bed, end table, white walls. Dresser with a small flat screen TV on top.<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>So, whaddya think?<\/dialogue>\n    <scene_description>James holds tight to his duffle bag, unsure.<\/scene_description>\n    <character>LOUISE POPE<\/character>\n    <dialogue>James, we just want you to know... We don't expect any of this to be easy. We know it's going to take time to get comfortable, and settle into everything, and that's okay.<\/dialogue>\n    <character>GREG POPE<\/character>\n    <dialogue>Right, and this is your space -- your \"chill zone\" -- where you can be by yourself, whenever you want.<\/dialogue>\n    <character>LOUISE POPE<\/character>\n    <dialogue>Or, if you want to talk about life, or what's next? Well, we can do that too. But they said we should take things slow. So, just know...<\/dialogue>\n    <scene_description>She catches herself, tears forming. Every day you were gone, it was like a piece of our heart was missing. And now it's whole again. She hugs James tight. We love you so, so much. James looks at Greg Pope over her shoulder, uncomfortable.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Okay...<\/dialogue>\n    <scene_description>James disengages. Louise Pope steps back, cautious. Uh... thanks. And he gently closes the door on them. DINING ROOM - POPE HOUSEHOLD - EVENING Greg and Louise Pope, Aubrey and James sit around the table, plating up slices of pizza. James inspects his, curious. Greg Pope raises his beer, a toast.<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>Well, James, I just want to say -- we couldn't be happier that you're finally here with us, and I can't think of a better way to say \"welcome back\" than with one of our favorite traditions--<\/dialogue>\n    <parenthetical>(corny Italian accent)<\/parenthetical>\n    <dialogue>--ah pizza pie!<\/dialogue>\n    <scene_description>Aubrey ignores him, texting. Louise smiles.<\/scene_description>\n    <character>LOUISE POPE<\/character>\n    <dialogue>Is there anything you'd like to say, James?<\/dialogue>\n    <scene_description>James hesitates.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Oh, yeah -- sorry.<\/dialogue>\n    <scene_description>James bows his head and begins to MUMBLE his private avowals. It takes a while... Then: ...and may our minds be stronger tomorrow. James stands. He shakes Louise Pope's hand, then Greg Pope's. Aubrey refuses, weirded out. Then he sits back down. No one looks like they have any idea what just happened, but--<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>Well, great. Thank you, James.<\/dialogue>\n    <parenthetical>(grasping)<\/parenthetical>\n    <dialogue>What do think about that, Aubs? Pretty cool, huh?<\/dialogue>\n    <scene_description>Aubrey glances up, disdainful. James starts in on his pizza.<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>So... Hey, you know what? We should make the list! Remember, we talked about this? We can do a list of all of our favorite stuff, that James hasn't gotten to do yet. Then we can do them all, together.<\/dialogue>\n    <character>LOUISE POPE<\/character>\n    <dialogue>Oh, that's right! I love that idea. Does that sound fun, James?<\/dialogue>\n    <scene_description>James finishes chewing a mouthful, shrugs.<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>And I guess pizza's the first thing we can cross off!<\/dialogue>\n    <scene_description>On AUBREY: not eating, eyeing James, grossed out.<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>What d'you think, Aub? What should we put on the list? What are some of your favorite things?<\/dialogue>\n    <character>AUBREY<\/character>\n    <dialogue>I don't know... I guess, acting like real people, and having normal conversations, that aren't super forced and weird. I like that.<\/dialogue>\n    <character>GREG POPE<\/character>\n    <parenthetical>(undeterred)<\/parenthetical>\n    <dialogue>You know, actually, I do think that's a great idea -- I'd love for you and James to sit down, talk, get to know each other.<\/dialogue>\n    <scene_description>Aubrey looks at James, considering the prospect...<\/scene_description>\n    <character>AUBREY<\/character>\n    <dialogue>Yeah, we'll definitely have to get together some time...<\/dialogue>\n    <scene_description>James says nothing. Louise Pope feels out the awkward silence, then--<\/scene_description>\n    <character>LOUISE POPE<\/character>\n    <dialogue>Oh, I know -- swimming!<\/dialogue>\n    <character>GREG POPE<\/character>\n    <dialogue>Sure. There you go. In a pool, at the beach. What else? Surfing, maybe? Start with a boogie board, obviously. And actually, now that I'm thinking about it, should probably learn to swim, before any of that, so...<\/dialogue>\n    <character>LOUISE POPE<\/character>\n    <dialogue>...boats? Sea life, aquariums, whale watching.<\/dialogue>\n    <character>AUBREY<\/character>\n    <dialogue>Why are you both so all about the ocean right now? It's like freaking him out.<\/dialogue>\n    <scene_description>James looks between them, silent, unsure.<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>I'll tell you what. We'll put the list together. And we'll balance it out with plenty of land activities. And then, James, you can choose what you want to do.<\/dialogue>\n    <scene_description>James nods okay. Thinks about it...<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I, uh... I guess I'd just like to watch the new Brigsby tape, if that's okay?<\/dialogue>\n    <character>GREG POPE<\/character>\n    <dialogue>Brigsby tape?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Yeah. The new one.<\/dialogue>\n    <scene_description>Greg and Louise Pope share a glance, unsure.<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>I'm not sure I know what that is.<\/dialogue>\n    <scene_description>James half-chuckles, thinking it's a joke.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Yeah... But seriously, did it come yet?<\/dialogue>\n    <scene_description>Neither Aubrey nor Greg nor Louise Pope know what to say. LAPTOP SCREEN - MINUTES LATER A GOOGLE search bar: \"Brigsby Bear Adventures.\" ENTER. We're in the LIVING ROOM. James looks over Greg Pope's shoulder as he scrolls, trying to make sense of the flood of information on the screen.<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>I don't know, James... I'm not seeing it anywhere.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>What is all this stuff?<\/dialogue>\n    <character>GREG POPE<\/character>\n    <dialogue>The internet? Anything you want to find out about, you can find it on here. There's some bad stuff too, but, well, we don't have to get into that... Anyway. Let's check Wikipedia.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I think I had that \"internet\" on my fold computer? It had the Brigsby forum-page, and there was hundreds of members from different zones. Everyone watched it.<\/dialogue>\n    <character>GREG POPE<\/character>\n    <dialogue>Do you know the web address?<\/dialogue>\n    <parenthetical>(off his confusion)<\/parenthetical>\n    <dialogue>The thing you type up here?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Oh, yeah. brigsbytalk-dot-star-star- star-46-dot-14-dot-46-dot-14-dot-46- dot-14-dot-online. Six.<\/dialogue>\n    <scene_description>Greg looks confused as he types it. \"Unknown address.\" James puts his hands on his head, frustrated. LIVING ROOM - MOMENTS LATER James bounds down the stairs, BRIGSBY TAPE in hand.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Look! See? It was delivered to our supply drop every week.<\/dialogue>\n    <scene_description>He shows them the case, indicating-- Brigsby Bear Adventures, Volume 14, Episode thirty, \"Making friends with the Wizzles.\" Greg looks at the amateur artwork of Brigsby Bear surrounded by furry little friends. Greg and Louise Pope share a glance.<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>Oh...kay. Cool. Well, hey -- we'll figure this out. But for now, there's a bunch of other tv shows we can watch, if you want?<\/dialogue>\n    <scene_description>James tilts his head, intrigued.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>So they do make other ones?<\/dialogue>\n    <scene_description>LIVING ROOM - MINUTES LATER On their 70 inch TV: a digital guide showing HUNDREDS of channels.<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>See, all this comes from a satellite. There's lots of good stuff on, like...<\/dialogue>\n    <scene_description>He flips past a cop drama. Police officers... Then a sitcom. Funny family... A cooking show. Fancy cakes. Then you got the music choice channels. This one's party jams. (disco plays) Do you like music?<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Oh, yeah, I know music. My dad -- I mean, my first dad -- he was an original member of The Beatlers.<\/dialogue>\n    <character>GREG POPE<\/character>\n    <parenthetical>(what?)<\/parenthetical>\n    <dialogue>Oh. Very cool. Uh, here--<\/dialogue>\n    <scene_description>Greg hands James the remote. You can use these buttons to scroll, this one to select. James tries it out, flying past hundreds of options. He selects one: THE NEWS.<\/scene_description>\n    <character>NEWS ANCHOR (TV)<\/character>\n    <dialogue>Tonight, an incredible story out of Utah -- a young man reunited with his family, 25 years after being abducted from Cedar Hills Memorial Hospital as an infant.<\/dialogue>\n    <scene_description>ON TV: Side-by-side MUGSHOTS of Ted and April.<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>Maybe we should try something else...<\/dialogue>\n    <scene_description>Greg Pope takes the remote back, flustered. He fumbles with it, hits the wrong button.<\/scene_description>\n    <character>NEWS ANCHOR (TV)<\/character>\n    <dialogue>The alleged kidnappers are a former City College professor, April Mitchum, and her husband Ted, the artist and designer behind the wildly popular 80s toy, Terrence the Tiger.<\/dialogue>\n    <scene_description>ON TV: 80s news footage of crowds in a toy store fighting over a limited supply of Teddy Ruxpin-esque talking Tigers. The couple are being charged with felony kidnapping and imprisonment-- The screen goes OFF, leaving James' reflection, staring. A uncomfortable beat. James takes a step backward.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>So... I think it's my bedtime, cuz you probably need to turn off the generator soon, right?<\/dialogue>\n    <character>LOUISE POPE<\/character>\n    <dialogue>Oh -- well, we don't really have bedtimes here, but you can go to your room whenever you'd like.<\/dialogue>\n    <scene_description>Louise smiles reassuringly. Greg nods, nothing of substance to add, but--<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>We're on an electrical grid.<\/dialogue>\n    <scene_description>James nods as though he understands that.<\/scene_description>\n    <character>LOUISE POPE<\/character>\n    <dialogue>Whatever rules you had before, don't worry about those. Things are different here.<\/dialogue>\n    <scene_description>James scoffs nervously.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Yeah. They are.<\/dialogue>\n    <scene_description>He slips out of the room. UPSTAIRS HALLWAY - MOMENTS LATER James steps to the top, pauses. He hears something-- Muffled SYNTH-Y music emanating from Aubrey's room. James takes a couple steps closer, intrigued. Then her door handle TURNS and starts to open... James freezes, not sure what to do. Aubrey steps out of her room, sees him.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Uh, sorry.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I like those rhythms.<\/dialogue>\n    <scene_description>He spins awkwardly, goes to his door, shuts himself in. Aubrey shakes her head.<\/scene_description>\n    <character>AUBREY<\/character>\n    <dialogue>So weird.<\/dialogue>\n    <scene_description>JAMES' NEW BEDROOM - MINUTES LATER James inspects his TV, Brigsby tape in hand. But there's nowhere to put it. TIME CUT: James channel surfs past: an infomercial, a military recruitment ad, a body spray commercial, C-SPAN. He lands on a trashy E! reality show. On screen: two women yelling at each other, followed by--<\/scene_description>\n    <character>REALITY TALKING HEAD<\/character>\n    <dialogue>Denise needs to realize, if she wants this restaurant to take off, she has to play by my rules.<\/dialogue>\n    <scene_description>James turns it off. He just sits, alone, thinking... Then the corners of his mouth turn down. His lip quivers. Like it's all just now starting to hit him. He shrinks back into his bed, pulls his knees up to his chest. OMIT POPE HOUSEHOLD - JAMES' BEDROOM - DAY Daylight through the drawn shades of James' WINDOW. Neighborhood sounds below -- a car driving by, a dog barking. James steps over, timid. Pulls the shade aside just enough to sneak a peak at the strange world below... POPE HOUSEHOLD - HALLWAY - DAY Greg Pope comes up the stairs to James' door. He hesitates for a moment, listening -- nothing. He knocks, concerned.<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>James? You alright in there, bud? You didn't come down for breakfast. We made a quiche. That's like a pie sort of, but with eggs and stuff.<\/dialogue>\n    <scene_description>A beat -- no response. Well, hey -- I took the day off, so I was thinking maybe we could have some fun? I've got a surprise planned. How does that sound? Another beat, then the door CRACKS OPEN. James peers through, intrigued... SINGLE-SCREEN MOVIE THEATER - AFTERNOON On the marquee: \"Now Showing: Hockey High\" Greg Pope and James approach on the sidewalk. MOVIE THEATER LOBBY - MOMENTS LATER Old patterned carpet, neons, posters, displays. James walks inside as though one might a cathedral, looking around in awe. James takes a line of ONE-SHEETS, carefully absorbing them as though one might great works of art. He stops at one of a man in drag holding up a gun and a police badge. James chuckles, shakes his head. Greg Pope watches him, not sure what to make of his son. THEATER - MOMENTS LATER James walks in, popcorn and soda in hand, looking around. Lights DIM and the screen GLOWS. James looks up, TRANSFIXED. Music: Treasure of the Ancients, Brigsby Vol. 12. He drifts toward the front row. Finds a seat in the middle. Mouth agape, glasses glowing. Religious awe. ICE-RINK - ON SCREEN (45 minutes into the movie) Following a HELMETED KID, moving the puck down the ice, juking some UNDERDOG HOCKEY KIDS, and scoring.<\/scene_description>\n    <character>NERD HOCKEY KID<\/character>\n    <dialogue>Who is this guy?<\/dialogue>\n    <scene_description>The Helmeted Kid hockey-stops, spraying up ice, then takes off the helmet, revealing... LONG BLONDE HAIR.<\/scene_description>\n    <character>CHUBBY HOCKEY KID<\/character>\n    <dialogue>A girl?<\/dialogue>\n    <scene_description>The team can't believe it! And neither can James, in his seat, completely blown away by this narrative development.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Whoa...<\/dialogue>\n    <scene_description>James continues to watch, but the sound and picture FADE OUT.<\/scene_description>\n    <character>FAMILIAR VOICE (O.C.)<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>James...<\/dialogue>\n    <scene_description>Did he really just hear that? James spins to find: BRIGSBY BEAR, sitting in the seat behind him. James can't believe it.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Brigsby?<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>You know my name?<\/dialogue>\n    <character>BRIGSBY<\/character>\n    <dialogue>I was transported to the inbetween- verse, James! I'm trapped!<\/dialogue>\n    <scene_description>The movie screen goes BRIGHT WHITE, illuminating-- The theater, EMPTY. An otherworldly MIST rising. James looks freaked out.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>What's happening?<\/dialogue>\n    <scene_description>Brigsby taps his wrist transponder, producing a hologram.<\/scene_description>\n    <character>BRIGSBY<\/character>\n    <dialogue>It's the Pla'torians... They must have intercepted my dimensional transmission. We're not safe here.<\/dialogue>\n    <parenthetical>(springing up)<\/parenthetical>\n    <dialogue>Follow me!<\/dialogue>\n    <scene_description>James and Brigsby run toward the movie screen. Behind them, the PROJECTOR lens start to spin like a Gatling gun, firing bursts of colored LASERS! (The sound and visual effects here are of the same quality as \"Brigsby Bear Adventures.\") Following Brigsby's lead, James JUMPS inside-- THE MOVIE SCREEN - INFINITE WHITE They run, dodging lasers all around them.<\/scene_description>\n    <character>BRIGSBY<\/character>\n    <dialogue>You were right about how to defeat the Sun Snatcher, James. But we don't have much time.<\/dialogue>\n    <scene_description>Brigsby starts to DISSOLVE, fading into white static. You're the only one who can stop him now! Find the Sortis Crystal, James! Find Arielle Smiles! The fate of our world depends on it! Brigsby disappears. COLOR returns to the world around him. PATTERENED CARPET - MOVIE THEATER LOBBY - CONTINUOUS James stands there, catching his breath.<\/scene_description>\n    <character>GREG POPE (O.S.)<\/character>\n    <dialogue>James? James!<\/dialogue>\n    <scene_description>James spins to see Greg Pope running up to him, worried.<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>Are you okay?<\/dialogue>\n    <scene_description>James smiles, still processing it.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Okay? That was amazing!<\/dialogue>\n    <character>GREG POPE<\/character>\n    <dialogue>You started running around, shouting some kind of... weird stuff pretty loudly?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Yeah it was so fun!<\/dialogue>\n    <scene_description>Greg Pope touches his hand to James' forehead.<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>You feel okay? You don't have a fever or anything?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I feel great.<\/dialogue>\n    <parenthetical>(to everyone in the lobby)<\/parenthetical>\n    <dialogue>I love movies!<\/dialogue>\n    <scene_description>EMILY'S OFFICE - MORNING Big, bright and pleasant. James sits on the couch, exuberance unabated. Flanking him are Greg and Louise Pope, smiling hopefully.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>..and remember when the ice warriors got their new armor? And the one with the glasses -- the Little Eddie? -- when it was too big, it didn't even fit?<\/dialogue>\n    <scene_description>Across from them in a chair: EMILY. Expression warm. Oh! And when the one called Gordo ate all that cake and slipped and fell on his backside? (to Greg Pope) Remember?<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>Sure, yeah. Pretty funny...<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Yeah, it was different from Brigsby 'cause there weren't any spells and it was only one adventure, but the screen was so big!<\/dialogue>\n    <scene_description>Louise wants to respond but hesitates, looking to Emily for the okay. Emily nods.<\/scene_description>\n    <character>LOUISE POPE<\/character>\n    <dialogue>That sounds so cool, and so big, but hey -- since you brought up Brigsby, maybe that's something we should all talk about?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>I think that's a great idea. Thank you, Mrs. Pope.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Wait, who are you?<\/dialogue>\n    <scene_description>She smiles, patient.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>My name's Emily, remember?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>No, I know, but what's--<\/dialogue>\n    <parenthetical>(gestures vaguely)<\/parenthetical>\n    <dialogue>--this? Having a meeting with you, here? What's going on?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>Well, James, since you're going through such a confusing transition at the moment, your parents and I thought it might help if I dropped by every once a while so we could just... talk.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>About movies?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>Sure. Or, you know, any emotions you might be experiencing, trying to adapt to a very new, very different environment. And, hey --<\/dialogue>\n    <scene_description>She shrugs like it's a chill plan off the top of her head. ...develop a plan to help you through it.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Okay, but why, though?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>Because... that's what I do; I help people.<\/dialogue>\n    <scene_description>James rolls his eyes, frustrated.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Everyone says they're trying to help me, but nobody can find the new episode of Brigsby!<\/dialogue>\n    <character>EMILY<\/character>\n    <parenthetical>(choosing her words)<\/parenthetical>\n    <dialogue>Right. Let's take a step back. Let's talk about Brigsby Bear Adventures.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Wait, you know it?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>Your parents and I have learned quite a lot about it, actually. Including some things that you should know.<\/dialogue>\n    <scene_description>James tilts his head, intrigued.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Like what?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>First of all, there wasn't a new Brigsby this week.<\/dialogue>\n    <scene_description>James looks between Greg and Louise Pope, unsure.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>That's... impossible.<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>James, the way you were raised, you didn't even realize you were being held captive. And these people you thought were your parents -- you need to understand, these were not good people. They went to great lengths to placate you, but it was all just... an elaborate illusion. Does that make sense?<\/dialogue>\n    <scene_description>James twists his face up skeptically.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Uh... I know that this society is kind of different from what they said, but... What does that have to do with Brigsby?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>Let's take a step back here, James. Now, the way the police found you was, someone spotted Ted going into a warehouse about 40 miles away from where he was holding you captive. The day they came to get you, they also went into that warehouse. Inside, they found props, puppets, costumes and a television set of a cabin. Do you see where I'm going with this?<\/dialogue>\n    <scene_description>James eyes go wide.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Brigsby stuff?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>From what we can tell--<\/dialogue>\n    <character>JAMES<\/character>\n    <parenthetical>(excited)<\/parenthetical>\n    <dialogue>My dad actually got to go there?<\/dialogue>\n    <scene_description>Greg Pope's thrown off by that phrasing...<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>James, Ted Mitchum -- your captor -- he went there several times a week. He was the one making the show.<\/dialogue>\n    <scene_description>James works it through. His eyes go somewhere distant. James? He snaps out of it, finds the words--<\/scene_description>\n    <character>JAMES<\/character>\n    <parenthetical>(psyched)<\/parenthetical>\n    <dialogue>Yes! He knows Brigsby--? I mean, he made it? That's... that's great!<\/dialogue>\n    <scene_description>Louise Pope looks between Greg Pope and Emily, unsure. Uh-oh.<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>Um, James -- I think you're missing the larger context here--<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Cameras and characters?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>There's still a lot we're trying to figure out, but--<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Hold on... He was the one who decided what Brigsby would do next?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>That's right.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Have they decided who's going to take over doing it?<\/dialogue>\n    <character>EMILY<\/character>\n    <parenthetical>(?)<\/parenthetical>\n    <dialogue>No one's \"taking over doing it.\" You're the only one who's ever seen this show.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>But I have friends who watched it, on the Brigsby fan forum, on my computer?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>Well, the computer at your old house was running on a closed network, so any content there we can assume was created by Ted and April.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>You mean BrigsbyBoy1, BrigsbyBoy2, BrigsbyBoy3 -- they weren't real?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>I'm sorry, James. No.<\/dialogue>\n    <scene_description>James thinks a beat...<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>What about BrigsbyGirl?<\/dialogue>\n    <scene_description>Emily looks a tad incredulous. She gestures \"sorry.\" James is bummed. A little embarrassed. We were gonna meet up someday... James readjusts on the couch. Sinks into it.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>I know this isn't easy, James. And there are going to be strong emotions associated with this. Like today, when you were overstimulated at the movie theater. But that's why I'm here, to help you figure things out.<\/dialogue>\n    <character>LOUISE POPE<\/character>\n    <dialogue>That's right, sweetie. And we're excited to help, too! We're gonna have so much fun together, getting you back on track, you won't even remember some old TV show.<\/dialogue>\n    <scene_description>James doesn't respond, lost in his thoughts.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>What do you think, James? Do you have any other questions?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Yeah -- who made Hockey High?<\/dialogue>\n    <scene_description>Emily wasn't expecting that. She looks to Greg Pope.<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>Um... I think it's the guy who did \"Mr. Bachelor,\" right? Is that what it was called?<\/dialogue>\n    <scene_description>Louise shrugs.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Does he do all the movies?<\/dialogue>\n    <character>GREG POPE<\/character>\n    <dialogue>Uh, no -- lots of people make lots of different movies.<\/dialogue>\n    <scene_description>A beat as James considers that, putting something together...<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Can anyone do it?<\/dialogue>\n    <scene_description>The BRIGSBY THEME begins to build, carrying to-- OMIT JAMES' ROOM - NIGHT DOOR: closed. LAPTOP: open. James sits, eyes fixed with purpose. He Googles: \"how... to... make... a... movie... show\" His finger hovers over the ENTER key, drops. ON SCREEN: A super fast-forward of James' internet deep dive: film history, stars, equipment, studios, sets, effects. James' eyes dart, consuming everything. JAMES' ROOM - DAY James drops a stack of LIBRARY BOOKS on his desk: \"Film Directing.\" \"The Art of Storyboarding\" \"The North American Grizzly Bear.\" LATER -- James closes the grizzly book with a THUD. Worthless. Moves it aside, grabs \"Practical Visual Effects.\" JAMES' ROOM - NIGHT James finishes a crude STORYBOARD on notebook paper: Brigsby jumping off a cloud, a Sun Soldier chasing him. James tapes it to the wall, next to several others. We TRACK along the length of the wall, revealing-- The room is COVERED in storyboards, floor to ceiling. James leans back in his chair, assessing it all, proud. There's a KNOCK, and he turns to his door. Opens it to find: AUBREY, who doesn't look very happy.<\/scene_description>\n    <character>AUBREY<\/character>\n    <parenthetical>(forced)<\/parenthetical>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>James stands there, unsure whether to respond. Aubrey rolls her eyes.<\/scene_description>\n    <character>AUBREY<\/character>\n    <dialogue>So, I'm going to our school's football game with some people, and if you want to come with me, to that, you're invited.<\/dialogue>\n    <parenthetical>(lower, a suggestion)<\/parenthetical>\n    <dialogue>But you definitely don't have to, if you're too busy, sleeping, or...<\/dialogue>\n    <parenthetical>(looks into his room)<\/parenthetical>\n    <dialogue>decorating, or whatever it is you've been doing in here.<\/dialogue>\n    <scene_description>James tilts his head, confused.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Is that the thing with the mask guys, they get mad at each other?<\/dialogue>\n    <character>AUBREY<\/character>\n    <dialogue>Yeah, it's pretty stupid.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>So, should I-- You do want me to come to it?<\/dialogue>\n    <character>LOUISE POPE (O.S.)<\/character>\n    <parenthetical>(listening from the stairs)<\/parenthetical>\n    <dialogue>Aubrey...<\/dialogue>\n    <character>AUBREY<\/character>\n    <parenthetical>(sighs)<\/parenthetical>\n    <dialogue>Yeah, I guess.<\/dialogue>\n    <scene_description>AUBREY'S SHITTY MAZDA - NIGHT Parked at the curb of another house. Aubrey sits driver, finishing a text. James in the back.<\/scene_description>\n    <character>AUBREY<\/character>\n    <dialogue>So, look... mom and dad said I had to invite you, because you've been in your room so much, and they think you should socialize with people, or whatever. Also, they threatened to take my car away, which is some bullshit, but.<\/dialogue>\n    <scene_description>On James, in the BACK SEAT.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>\"Bullshit?\"<\/dialogue>\n    <character>AUBREY<\/character>\n    <dialogue>Bullshit. Yes.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>AUBREY<\/character>\n    <dialogue>We're not going to the game.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>We're not?<\/dialogue>\n    <character>AUBREY<\/character>\n    <dialogue>This kid's parents are out of town, so a bunch of people are hanging out. It's not a big deal, but for some reason, Greg and Louise always freak out, just because of this one time the cops came and I had to go to a court thing.<\/dialogue>\n    <scene_description>James stares back at her, confused. Do not stare at people like that when we're there, okay? Be normal. (James adopts a \"normal\" posture) And don't tell anyone how old you are. Or that we're related.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Should... I go back to my room?<\/dialogue>\n    <character>AUBREY<\/character>\n    <dialogue>What did I just tell you? They think we're going to the game and getting food after.<\/dialogue>\n    <parenthetical>(off his uncertainty)<\/parenthetical>\n    <dialogue>It'll be like four, five hours max.<\/dialogue>\n    <scene_description>The passenger door opens and MERIDETH gets in.<\/scene_description>\n    <character>MERIDETH<\/character>\n    <dialogue>What's up what's up...<\/dialogue>\n    <character>AUBREY<\/character>\n    <dialogue>Hey, sorry.<\/dialogue>\n    <character>MERIDETH<\/character>\n    <dialogue>It's cool.<\/dialogue>\n    <parenthetical>(turning, to James)<\/parenthetical>\n    <dialogue>Hey, I'm Merideth.<\/dialogue>\n    <scene_description>James tenses up.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Hi...<\/dialogue>\n    <character>AUBREY<\/character>\n    <dialogue>That's James.<\/dialogue>\n    <character>MERIDETH<\/character>\n    <dialogue>Yeah, I saw you on the news, man. Crazy.<\/dialogue>\n    <scene_description>She shoves him playfully. He's not sure what to say. So... You like Cedar Hills? James thinks about it. Offers--<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I like movies.<\/dialogue>\n    <scene_description>Merideth LAUGHS.<\/scene_description>\n    <character>MERIDETH<\/character>\n    <dialogue>Yeah, exactly.<\/dialogue>\n    <scene_description>PRELAP: bass-heavy PARTY JAMS. HOUSE PARTY - LAWN Teenagers approaching from all directions. Cars choke the street and driveway. James follows Aubrey and Merideth, nervous. Aubrey turns--<\/scene_description>\n    <character>AUBREY<\/character>\n    <dialogue>Just... do your own thing, okay?<\/dialogue>\n    <scene_description>Before James can put together a response, they're-- INSIDE The MUSIC. The CROWD. Yelling, laughing, swarming. Merideth and Aubrey say hi (ad-lib) to some friends. James watches a couple DANCING, trying to make sense of it.<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>Yo!<\/dialogue>\n    <scene_description>SPENCER (18) weaves through the crowd, hands up for double high-fives. Finally!<\/scene_description>\n    <character>AUBREY<\/character>\n    <dialogue>I know...<\/dialogue>\n    <scene_description>Aubrey reciprocates. Merideth medium-fives him, less into it. James clocks: he has a SPACESHIP on his shirt.<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>So, what's up?<\/dialogue>\n    <character>AUBREY<\/character>\n    <parenthetical>(walking past him)<\/parenthetical>\n    <dialogue>Just, you know, doing shit...<\/dialogue>\n    <scene_description>Spencer nods, sincere.<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>Right on.<\/dialogue>\n    <parenthetical>(after her)<\/parenthetical>\n    <dialogue>Keg's in the kitchen!<\/dialogue>\n    <character>MERIDETH<\/character>\n    <dialogue>Spence, you got any shit on you?<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>I don't, but Logan's around somewhere.<\/dialogue>\n    <character>MERIDETH<\/character>\n    <dialogue>Tight. Who are these people?<\/dialogue>\n    <scene_description>She squeezes past him.<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>Alright, see you out there.<\/dialogue>\n    <scene_description>Then Spencer sees: James standing a few feet way, unsure.<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>Hey man. Spencer.<\/dialogue>\n    <scene_description>James stares a beat, nervous. Then, too-quiet--<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Is that some kinda Bear Speeder?<\/dialogue>\n    <character>SPENCER<\/character>\n    <parenthetical>(leans in)<\/parenthetical>\n    <dialogue>What's that?<\/dialogue>\n    <scene_description>Another song comes on, LOUDER. James steps over--<\/scene_description>\n    <character>JAMES<\/character>\n    <parenthetical>(yells)<\/parenthetical>\n    <dialogue>That some kinda Bear Speeder or Stealodrone Rider? On your shirt?<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>Oh, yeah, dude, some Trek shit.<\/dialogue>\n    <scene_description>James nods.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I'm James.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>My parents stole me, but I still think they were pretty cool.<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>Tight... You need a beer?<\/dialogue>\n    <scene_description>HOUSE PARTY - KITCHEN - MOMENTS LATER PACKED with people, wall-to-wall, orbiting the keg. James navigates the mess, timid, following Spencer. SQUEEZES around a couple making out against the wall. Spencer sees a FRIEND preparing to do a keg-stand, and another filming it on his phone.<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>Send me that! I need that!<\/dialogue>\n    <scene_description>The crowd SURGES and cheers as the keg-stand begins, forcing James back against the wall.<\/scene_description>\n    <character>CROWD<\/character>\n    <dialogue>Co-ry! Co-ry! CO-RY!<\/dialogue>\n    <scene_description>Then into the corner. Trapped. He sees an OPEN DOOR and ducks for it, panicked. Escapes to-- BACK DECK - CONTINUOUS James stumbles outside, shuts the door behind him. Smaller crowd out here, quieter. He catches his breath. Sits at the patio table, surveys the scene-- On the other side of the deck: a couple BROS eye him. One says something to the other. They LAUGH. James doesn't know what to do, so--<\/scene_description>\n    <character>JAMES<\/character>\n    <parenthetical>(loud)<\/parenthetical>\n    <dialogue>I'm James... Really great clothes!<\/dialogue>\n    <scene_description>The bros laugh even harder. James turns away, embarrassed. He takes a deep breath, uneasy. Spencer steps outside, red cups in hand.<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>Hey man. Everything cool?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Yeah... just meeting some people.<\/dialogue>\n    <scene_description>Spencer notices the bros, continuing to laugh.<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>Oh... Yeah, man -- I don't even know who those dudes are, but they look like dicks.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Yeah...?<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>Totally. Don't even worry about it.<\/dialogue>\n    <scene_description>James nods, relaxing a bit. Smiles.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I said I like their clothes, but really I like my clothes a bit more.<\/dialogue>\n    <scene_description>Spencer laughs.<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>Yeah, totally, man that shirt's hilarious.<\/dialogue>\n    <scene_description>Spencer hands James a beer. So... You're Aubrey's... brother, person, right? James considers whether to answer...<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>I heard you were basically inside one house, like, your whole life?<\/dialogue>\n    <scene_description>James shrugs, guarded.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I went on the roof sometimes.<\/dialogue>\n    <character>SPENCER<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>Nice, man. Good call.<\/dialogue>\n    <scene_description>Spencer raises his cup. James mimics him. Cheers, dude. To, uh... (thinks about it) Have you seen porn yet? (off his confusion) To pornography. And videogames. And like, millions of other... awesome shit.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Yes, to all those... things.<\/dialogue>\n    <scene_description>They SIP. And James immediately SPRAYS it everywhere. Spencer LAUGHS, wiping himself off.<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>Oh, shit! Sorry, man. That's cool.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I thought it was like soda.<\/dialogue>\n    <scene_description>James clears his throat, determined. Tries another gulp. COUGHS it up. BACK DECK - LATER Fully raging, music LOUDER. A few other people stand around James and Spencer, drinking, smoking. Including Merideth and LOGAN, extremely high, digging through a baggie of pills. James looks looser now. Buzzed, likely.<\/scene_description>\n    <character>JAMES<\/character>\n    <parenthetical>(rattles off)<\/parenthetical>\n    <dialogue>...but this is before the collapse of the third federation, where everything changes, and Brigsby becomes an outlaw. But he's still a good guy, even though he has to work with the Stardust Bandits.<\/dialogue>\n    <character>LOGAN<\/character>\n    <dialogue>Wait, what are we even talking about here -- like, a trained bear?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Yeah, Brigsby? He's trained in space combat, puzzle-solving, quests. And I guess he also allows you to be the best version of yourself via a series of instructional life lessons. Plus, did I tell you about the rainbow eyes?<\/dialogue>\n    <character>MERIDETH<\/character>\n    <dialogue>How do the rainbow eyes work?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Oh, great question. they're just -- whenever you need a rainbow.<\/dialogue>\n    <character>MERIDETH<\/character>\n    <parenthetical>(smiles at him)<\/parenthetical>\n    <dialogue>That's insane. I love it.<\/dialogue>\n    <scene_description>Logan offers the baggie to Spencer, deep in thought.<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>Oh, I'm good man.<\/dialogue>\n    <parenthetical>(passes it)<\/parenthetical>\n    <dialogue>So, okay -- how many episodes?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>25 volumes, 736 episodes, total.<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>Holy shit...<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Yeah, I've got some old tapes if you ever want to see it?<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>Dude, yes! That'd be dope as shit.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Yes, it's... dope as shit.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>And then there's gonna be a movie too, but it's not done yet, 'cause I'm making it and I just started.<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>Whoa, seriously? Cool. Are you gonna use all the original shit?<\/dialogue>\n    <scene_description>James considers that...<\/scene_description>\n    <character>MERIDETH<\/character>\n    <parenthetical>(re: baggie)<\/parenthetical>\n    <dialogue>Hey James, you want one?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <character>MERIDETH<\/character>\n    <dialogue>Do this--<\/dialogue>\n    <scene_description>She sticks out her tongue. James does it too. She places the pills, swallows, and James follows suit.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Thank you. I love opto-pills.<\/dialogue>\n    <scene_description>Merideth laughs, gives him a HUG. HOUSE PARTY - LIVING ROOM - 30-45 MINUTES LATER MUSIC UP. Merideth and James dance among the partiers, exuberant. But James looks a little unstable, overwhelmed. Freaking out, senses overwhelmed. She leads him to-- HOUSE PARTY - EMPTY GUEST ROOM - MINUTES LATER Merideth opens the door, holding James' hand, leading him inside. She sits him down on the edge of the bed.<\/scene_description>\n    <character>MERIDETH<\/character>\n    <dialogue>There you go. Here, drink this.<\/dialogue>\n    <scene_description>She hands him a glass of water, sits next to him. A beat of silence... Muffled MUSIC from the other room. James struggles to keep his eyelids open, mind racing.<\/scene_description>\n    <character>MERIDETH<\/character>\n    <dialogue>Don't worry, my first time rolling was intense too. But once you just relax and go with it, you're good.<\/dialogue>\n    <scene_description>James nods, unsure. More silence. There's probably a lot of stuff you've never done, huh?<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Yeah, I guess.<\/dialogue>\n    <character>MERIDETH<\/character>\n    <dialogue>Have you ever been with a girl?<\/dialogue>\n    <character>JAMES<\/character>\n    <parenthetical>(unsure)<\/parenthetical>\n    <dialogue>Oh, yeah, on the internet, but it was actually just my first parents playing tricks on me.<\/dialogue>\n    <character>MERIDETH<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>You're like, an actual interesting person.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Oh...<\/dialogue>\n    <character>MERIDETH<\/character>\n    <dialogue>Everyone around here is like, the same. Boring, you know?<\/dialogue>\n    <scene_description>James nods, uncomfortable. Merideth looks at him, smiles... Then she leans in and KISSES James, spilling his water. Stunned, he sort of kisses her back, heart pounding. Merideth runs her hand down to James' waistline, reaches into his pants... James doesn't know what to do so he awkwardly puts his hands in the air.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Uh... Thank you. That's very nice.<\/dialogue>\n    <scene_description>Then the world SLOWS DOWN. Sounds get murkier, objects blurrier. James looks around, dazed, freaking out. Then he springs up--<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Okay, bye.<\/dialogue>\n    <scene_description>--and exits the room. HOUSE PARTY - HALLWAY - CONTINUOUS James stumbles out, zipping up his pants, falling awkwardly into the wall. It catches the attention of--<\/scene_description>\n    <character>AUBREY<\/character>\n    <dialogue>James.<\/dialogue>\n    <scene_description>She comes over, helps him stabilize. Whoa, hey, you need to chill, okay? You're embarrassing me right now.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Okay, sorry...<\/dialogue>\n    <scene_description>James pushes past her, heads to the-- BACK PORCH - MOMENTS LATER James runs through the crowd, past Spencer, and jumps off the porch into the grass.<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>Yo, James, where are you going?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Thanks for beer!<\/dialogue>\n    <scene_description>He runs into the backyard, disappears into the trees.<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>What the hell...?<\/dialogue>\n    <scene_description>JAMES, RUNNING - CONTINUOUS He dodges branches and jumps shrubbery, on a mission. Music: The Festival Fortuno, Brigsby Vol. 20. Then James comes upon a CLEARING in the trees... He slows down, stops. Looks around. Erie, moon-lit. James treads carefully.<\/scene_description>\n    <character>SPENCER (O.S.)<\/character>\n    <dialogue>James! Hold on, man...!<\/dialogue>\n    <scene_description>James turns, listens... He hears far-off DIABOLICAL LAUGHTER. Getting louder and louder until--<\/scene_description>\n    <character>SUN SNATCHER<\/character>\n    <dialogue>James!<\/dialogue>\n    <scene_description>Above a small hill, THE SUN SNATCHER appears in the sky! His treacherous voice BOOMS-- Where are you even going, man? James backs away, terrified.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Sun Snatcher!<\/dialogue>\n    <scene_description>He turns, RUNS.<\/scene_description>\n    <character>SUN SNATCHER<\/character>\n    <parenthetical>(laughing)<\/parenthetical>\n    <dialogue>How are you possibly this wasted right now?<\/dialogue>\n    <scene_description>James keeps going.<\/scene_description>\n    <character>SUN SNATCHER<\/character>\n    <dialogue>Dude, did you get dome from Merideth?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Stay away from me, Snatcher!<\/dialogue>\n    <scene_description>He TRIPS down a small hill into a mound of dirt. He's clearly fine, but he flails around dramatically. Oh no! Tricksand! (to himself) Gotta find something to hold onto! Off the high tension of this cliffhanger-- JAMES - SHOOTS AWAKE! - MORNING He sits up, panicked. He calms down, realizes-- He's on a COUCH, in a bedroom that isn't his. Around the room: empty bottles and red cups, comic and movie art, framed posters, books, and even a small shelf of cool ACTION FIGURES... SPENCER is on his laptop, editing PARTY FOOTAGE with music and meme-type. James watches the screen a moment, intrigued.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Where am I?<\/dialogue>\n    <scene_description>Spencer turns around, sees him.<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>Oh, hey, man... You're still at my place. Aubrey handled it with your parents, so all good.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>Well, you tried to drink beer. Then you started taking molly and you got pretty lit.<\/dialogue>\n    <scene_description>James rubs his eyes, looks into the adjacent BATHROOM. Where we see BRIGSBY, kneeling next to the toilet, vomiting.<\/scene_description>\n    <character>JAMES<\/character>\n    <parenthetical>(snapping out of it)<\/parenthetical>\n    <dialogue>I'm really sorry, Mr. Spencer....<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>No, man -- it's all good. You can just call me Spence.<\/dialogue>\n    <scene_description>He gets up, looks around.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Is this stuff from a show?<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>Ah, yeah, sort of. Shows, movies, video games, comics.<\/dialogue>\n    <scene_description>Stops in front of Spencer's laptop video editing screen.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Whoa... What is this?<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>Oh, yeah, just some bullshit.<\/dialogue>\n    <scene_description>He opens another video window, clicks play. I also do, like, time-lapse stuff. ON SCREEN: A sunset, then a whirl of darkening colors as the camera tilts skyward, rotating with bright starlight. James stares at the screen, blown away.<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>Yeah, I don't know, I'm still learning. Might do some stuff with it in college, maybe. I don't know. Anyway...<\/dialogue>\n    <parenthetical>(closes the laptop)<\/parenthetical>\n    <dialogue>So wait, dude -- did you hook up with Merideth though, or what?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Oh, I don't know... She put the hand inside of the pants?<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>What! She is hot, dude! That's sick!<\/dialogue>\n    <character>JAMES<\/character>\n    <parenthetical>(bashful-brag)<\/parenthetical>\n    <dialogue>Yeah, we liked it.<\/dialogue>\n    <scene_description>Spencer CRACKS UP. SPENCER'S TRUCK - POPE DRIVEWAY - MORNING James hands Spencer a stack of TAPES through his window.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>So, these are in order from volume 14 to 20 -- that's when it started to get really good. And these ones are... I guess, they're my favorites.<\/dialogue>\n    <scene_description>Spencer inspects one of the cases.<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>Whoa, is Donald Duck in this shit?<\/dialogue>\n    <scene_description>Spencer indicates a weird Donald Duck knockoff on the cover, in a spacecraft.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>What? No, that's Goody Goose. He's the top pilot in the Starsquad Alliance.<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>Oh. Well, he looks a lot like Donald Duck.<\/dialogue>\n    <parenthetical>(off James)<\/parenthetical>\n    <dialogue>He's a popular cartoon character.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>It's not. It's Goody Goose.<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>Right on...<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <character>SPENCER<\/character>\n    <dialogue>Well hey, dude -- it was cool meeting you. Good luck with... you know, the world and everything.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Yeah... Thanks.<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>I'll just give these back to Aub or whatever. Cool?<\/dialogue>\n    <scene_description>James nods, unsure.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Cool...<\/dialogue>\n    <scene_description>Spencer waves, drives off. James watches him go. POLICE STATION - DET. VOGEL'S OFFICE - DAY Vogel, at his desk, reviewing a document. James sits across from him, waiting patiently.<\/scene_description>\n    <character>VOGEL<\/character>\n    <dialogue>So, James -- what's this for, exactly?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>It's a list of everything for the Brigsby movie I'm making? I need all the cameras from my old dad's Brigsby set, all the props and costumes and stuff. Oh -- also, I need to find the Smiles Sisters, whoever they are in real life. And whoever did the voice of Brigsby Bear, obviously.<\/dialogue>\n    <parenthetical>(off his hesitation)<\/parenthetical>\n    <dialogue>You guys have all the stuff, right?<\/dialogue>\n    <character>DET. VOGEL<\/character>\n    <dialogue>We do, yes -- but it's evidence in an ongoing investigation.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Okay, so... after that?<\/dialogue>\n    <character>DET. VOGEL<\/character>\n    <dialogue>After that, it's police property.<\/dialogue>\n    <scene_description>James hesitates, frustrated. Finds the words.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>But... the story of Brigsby Bear isn't finished, and I'm the only one who knows what's going on. I have to finish it.<\/dialogue>\n    <scene_description>Vogel half-smiles, apologetic.<\/scene_description>\n    <character>DET. VOGEL<\/character>\n    <dialogue>I'm sorry, James. It's just... we have rules here.<\/dialogue>\n    <scene_description>James reaches into his pocket, places two dollars and 35 cents on the desk. Vogel looks at James, confused.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Why don't we keep this between you me?<\/dialogue>\n    <parenthetical>(off his confusion)<\/parenthetical>\n    <dialogue>I saw it on a TV.<\/dialogue>\n    <character>DET. VOGEL<\/character>\n    <dialogue>I can't accept that.<\/dialogue>\n    <scene_description>POLICE STATION - LOBBY - LATER Vogel exits his office holding a sack lunch. As he walks through the lobby, he's confused by-- JAMES, clearly, sitting in a chair, \"reading\" a D.A.R.E. brochure, holding it up to obscure his face. As Vogel exits, James lowers the brochure and stealthily follows behind. POLICE STATION - LAWN - MOMENTS LATER Vogel sits a public bench, eating a homemade sandwich. James, behind a nearby tree that doesn't quite conceal him, waits for the right moment... and CRUNCHES a branch under his sneaker. Vogel turns his head.<\/scene_description>\n    <character>VOGEL<\/character>\n    <dialogue>James... Still hanging around, huh?<\/dialogue>\n    <scene_description>James steps over, timid.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Um, so, I just... I feel like maybe I wasn't clear, earlier, about what I'm really trying to do here?<\/dialogue>\n    <scene_description>He sits down next to Vogel.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>How can I explain this in a way you would understand...?<\/dialogue>\n    <parenthetical>(passionate)<\/parenthetical>\n    <dialogue>Try to imagine a hero. And he's not on the bad side, he's on the good side. But he wants to go against a guy who is on the bad side. So he goes on... an adventure. Best part is, it's not even on a TV... It's on a screen so big, you feel like you're in another world. That's how I got the idea to make... a movie!<\/dialogue>\n    <character>VOGEL<\/character>\n    <dialogue>Yeah... No, I understand what movies are. And I think it's great to be creative. I actually performed in plays in high school.<\/dialogue>\n    <parenthetical>(proud)<\/parenthetical>\n    <dialogue>Prospero. The Tempest.<\/dialogue>\n    <scene_description>James just looks at him. I pray thee. Mark me! That a brother could be so... perfidious. (then) I'm not sure how the rest goes.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Whoa... That was very good.<\/dialogue>\n    <character>VOGEL<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Do you do shows?<\/dialogue>\n    <character>VOGEL<\/character>\n    <dialogue>Oh, no. I don't act anymore. I'm just saying, I get what you're trying to do, and I wish I could help, but--<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>VOGEL<\/character>\n    <dialogue>Why what?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Don't you do it any more?<\/dialogue>\n    <character>VOGEL<\/character>\n    <dialogue>Act?<\/dialogue>\n    <scene_description>Vogel thinks about it, shrugs. You grow up, things change. You move on. I do this now. James nods, but looks bummed out by that explanation.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>That's really sad that you didn't get to do what was important to you... Bye.<\/dialogue>\n    <scene_description>James turns, mopes away. Off Vogel, alone with his sandwich, considering that. A DARK SPACE - LATER Lights kick on, revealing a large POLICE STORAGE CLOSET overflowing with BRIGSBY STUFF: boxes, costumes, robotic parts, props, cameras. VOGEL walks in, stops in front of a shelf, pulls from it a prop SUN SOLDIER HELMET. Cool... He tries it on. The DOOR OPENS behind him.<\/scene_description>\n    <character>BANDER<\/character>\n    <parenthetical>(suspicious)<\/parenthetical>\n    <dialogue>Detective...?<\/dialogue>\n    <scene_description>Vogel turns to Bander, takes off the helmet.<\/scene_description>\n    <character>VOGEL<\/character>\n    <dialogue>Yep... everything's here.<\/dialogue>\n    <scene_description>OMIT POPE HOUSEHOLD - LIVING ROOM - EVENING Sunny, clean. James and Louise Pope sit on adjacent couches. Iced LEMONADES on coasters. Louise organizes BOOKS and LIBRARY DVDs on the coffee table.<\/scene_description>\n    <character>LOUISE POPE<\/character>\n    <parenthetical>(bright enthusiasm)<\/parenthetical>\n    <dialogue>Well! I'm so glad you had fun and met new people last night.<\/dialogue>\n    <character>JAMES<\/character>\n    <parenthetical>(disinterested)<\/parenthetical>\n    <dialogue>Yeah...<\/dialogue>\n    <character>LOUISE POPE<\/character>\n    <dialogue>But I want this to feel like fun too. So you don't have to be stuck with some boring tutor. This way we can enjoy each other's company, and go at our own pace, and learn about whatever you want to learn about.<\/dialogue>\n    <scene_description>All James can muster is a polite sort-of smile.<\/scene_description>\n    <character>LOUISE POPE<\/character>\n    <dialogue>So, what do you think? World Geography? European history? The Bible?<\/dialogue>\n    <scene_description>James considers it...<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Can I learn how to pilot a car?<\/dialogue>\n    <character>LOUISE POPE<\/character>\n    <dialogue>Huh... you know, I don't see why not. We'd have to get you a learner's permit..<\/dialogue>\n    <scene_description>Greg Pope, listening in from the kitchen:<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>Hey, that could be fun.<\/dialogue>\n    <scene_description>He joins them in the room. There's a couple classes you're supposed to take, and a written test, but I could take you out, show you the ropes? Just then, the DOORBELL rings. James turns, curious. FRONT DOOR - OPENS It's DETECTIVE VOGEL. In jeans and a tee-shirt, cheery. James, holding the door, looks surprised.<\/scene_description>\n    <character>DET. VOGEL<\/character>\n    <dialogue>James Pope -- just the man I was looking for.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Where's your soldier stuff?<\/dialogue>\n    <character>DET. VOGEL<\/character>\n    <dialogue>My--? Oh, I'm off duty.<\/dialogue>\n    <scene_description>He sees Greg Pope, behind James, smiles hello. Mr. Pope. Hope I'm not bothering you. Just wanted to say hi to James, talk about a... matter we discussed earlier. Off James, intrigued. POPE DRIVEWAY - MOMENTS LATER James follows Vogel to his Subaru Station Wagon. Greg Pope follows, curious.<\/scene_description>\n    <character>DET. VOGEL<\/character>\n    <dialogue>So, look... Obviously, there's no way I can get all that stuff you wanted. But, forensics has more evidence coming in than they know what to do with, and there's no way anyone's gonna notice a couple items.<\/dialogue>\n    <scene_description>Vogel opens his hatchback, filled with boxes. He pulls out-- A cheap looking CRYSTAL NECKLACE. James' eyes alight.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>The Sortis Crystal?!<\/dialogue>\n    <scene_description>James looks at Greg Pope, amazed. He isn't sure how to react.<\/scene_description>\n    <character>DET. VOGEL<\/character>\n    <dialogue>And I know this wasn't on your list, but...<\/dialogue>\n    <scene_description>He pulls out MAGIC STAFF.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Bortep's staff? I thought it was lost in a time flux...<\/dialogue>\n    <character>DET. VOGEL<\/character>\n    <dialogue>Ha, yeah. Check it out -- if you hit this switch on the back...<\/dialogue>\n    <scene_description>It LIGHTS UP! Vogel spins it around, gesturing dramatically.<\/scene_description>\n    <character>GREG POPE<\/character>\n    <parenthetical>(takes a step back)<\/parenthetical>\n    <dialogue>Whoa...<\/dialogue>\n    <character>DET. VOGEL<\/character>\n    <dialogue>How great is that? Got a nice weight to it, too.<\/dialogue>\n    <scene_description>He sets it aside, goes back into the trunk... And last but not least, saw a few of these bad boys laying around... ...and pulls out BRIGSBY BEAR'S BIG PUPPET HEAD! The exact one from the show. Whoa.<\/scene_description>\n    <character>JAMES<\/character>\n    <parenthetical>(might pass out)<\/parenthetical>\n    <dialogue>That's Brigsby...<\/dialogue>\n    <character>DET. VOGEL<\/character>\n    <dialogue>Yeah, I kind of assumed.<\/dialogue>\n    <scene_description>Vogel hands it to James, who receives it with great care. James feels Brigsby's fur. Closes and opens his eyes. He looks between Vogel and Greg Pope, speechless.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Is this... I mean -- I can have it?<\/dialogue>\n    <character>DET. VOGEL<\/character>\n    <dialogue>You can hang onto it, for right now. I'm not technically supposed to be doing this, so nothing in public, okay?<\/dialogue>\n    <scene_description>James nods, overjoyed. Not sure how best to express his gratitude, he tries that Spencer thing and raises his hand.<\/scene_description>\n    <character>DET. VOGEL<\/character>\n    <dialogue>Do you have a question?<\/dialogue>\n    <parenthetical>(realizes)<\/parenthetical>\n    <dialogue>Oh, high five? Sure, okay. I'll high-five on that.<\/dialogue>\n    <scene_description>They connect a solid one.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Thank you! Dope as shit.<\/dialogue>\n    <character>DET. VOGEL<\/character>\n    <parenthetical>(slightly confused)<\/parenthetical>\n    <dialogue>You're welcome.<\/dialogue>\n    <character>JAMES<\/character>\n    <parenthetical>(to Greg Pope)<\/parenthetical>\n    <dialogue>Pretty dope as shit.<\/dialogue>\n    <character>GREG POPE<\/character>\n    <dialogue>Sure, yeah. Very dope.<\/dialogue>\n    <scene_description>Greg Pope watches as James runs inside. He turns to Vogel, hesitates a beat.<\/scene_description>\n    <character>DET. VOGEL<\/character>\n    <dialogue>Uh, again, sorry if I was interrupting something, or--<\/dialogue>\n    <character>GREG POPE<\/character>\n    <dialogue>Oh, not at all. But I will say, it's just -- well, you know, this transition we're going through, it hasn't exactly been easy. As I'm sure you know.<\/dialogue>\n    <character>DET. VOGEL<\/character>\n    <dialogue>Of course. I'm just trying to help out any way I can.<\/dialogue>\n    <character>GREG POPE<\/character>\n    <dialogue>You know, that's the thing -- actually. This \"Brigsby\" business... I realize James is a fan, but all this stuff -- it's not just collector's items we're talking about here. These are tools that a very sick person used to imprison my son.<\/dialogue>\n    <scene_description>Vogel looks taken aback.<\/scene_description>\n    <character>DET. VOGEL<\/character>\n    <dialogue>Right, of course. I just thought -- he asked me for some help on this movie he's making, and I just figured, you know...<\/dialogue>\n    <scene_description>Greg Pope looks confused at that.<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>He's making a movie?<\/dialogue>\n    <scene_description>OMIT OMIT THE BRIGSBY HEAD - COUCH - MINUTES LATER Worn fur, imperfect hand stitching, eyes half-closed. Hear a CLICK, then soft TAPE STATIC... Followed by scratchy BRIGSBY DIALOGUE. The EYES and SNOUT come alive! Moving along with the words. On the back: Gears spin on a built-in TAPE DECK. WIDER we see: James, excited, shows Greg and Louise Pope how it works--<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>See -- you just press play, and it moves to the sound!<\/dialogue>\n    <scene_description>The Brigsby Head stops talking. Just STATIC from the tape. Louise Pope smiles, wanting to match James' excitement, but not quite sure what to make of it. Greg looks concerned.<\/scene_description>\n    <character>LOUISE POPE<\/character>\n    <dialogue>Well, that is... something, huh?<\/dialogue>\n    <scene_description>Then it starts up again. James watches, entranced.<\/scene_description>\n    <character>BRIGSBY HEAD (TAPE)<\/character>\n    <dialogue>We know what he have to do! But there's only one way into The Forbidden Forest...<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Oh! I know this one--<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>We have to pass through the core of the planet!<\/dialogue>\n    <character>BRIGSBY HEAD<\/character>\n    <dialogue>We have to travel through the core of the planet.<\/dialogue>\n    <scene_description>The Brigsby Head stops again. James doesn't break his gaze.<\/scene_description>\n    <character>JAMES<\/character>\n    <parenthetical>(filling in Arielle's missing dialogue)<\/parenthetical>\n    <dialogue>But isn't that -- that's where's the fire gods live? The fire realm?<\/dialogue>\n    <character>BRIGSBY HEAD (TAPE)<\/character>\n    <dialogue>Yes. But we must make peace with The Gods of the Fire -- for the sake of both our worlds.<\/dialogue>\n    <scene_description>But then James notices Greg Pope's expression. He drops his smile, self-conscious. Presses STOP on the tape.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>So, anyway... Maybe we could do the studies some other time? I think I'm just gonna go to my room for the rest of the day.<\/dialogue>\n    <character>LOUISE POPE<\/character>\n    <parenthetical>(disappointed)<\/parenthetical>\n    <dialogue>Oh... Well, we don't have to study right now if you don't want.<\/dialogue>\n    <scene_description>She stands up.<\/scene_description>\n    <character>LOUISE POPE<\/character>\n    <dialogue>Are you hungry? I could make you a sandwich? And we could listen to some more Briggles Bear? Maybe you could tell me more about him?<\/dialogue>\n    <character>GREG POPE<\/character>\n    <dialogue>Or we could take a look at the list? It is Saturday after all -- still plenty of time for some fun.<\/dialogue>\n    <scene_description>But James is already on his way out of the room.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Uh... No thanks.<\/dialogue>\n    <scene_description>Greg Pope and Louise watches him go, dispirited. JAMES' BEDROOM - EVENING James, on his bed, wearing the Brigsby Head, getting a feel for it. He timidly \"acts\" along with Brigsby's voice. Then there's a KNOCK and his door opens. It's Aubrey, who of course SCREAMS.<\/scene_description>\n    <character>AUBREY<\/character>\n    <dialogue>Jesus... What the hell?<\/dialogue>\n    <scene_description>James reaches behind the head, clicks \"STOP.\"<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>It's me, James!<\/dialogue>\n    <parenthetical>(taking it off)<\/parenthetical>\n    <dialogue>Not a real bear.<\/dialogue>\n    <character>AUBREY<\/character>\n    <dialogue>Why can't you just be normal?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Remember? I was kidnapped.<\/dialogue>\n    <character>AUBREY<\/character>\n    <dialogue>No, I know. I just-- This whole thing is weird enough without you trying to hang out with people, embarrassing me in front of my friends.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Oh, also, everyone's saying you hooked up with Merideth? Do not do that. That is disgusting.<\/dialogue>\n    <parenthetical>(tosses him her phone)<\/parenthetical>\n    <dialogue>And tell mom you need your own phone.<\/dialogue>\n    <scene_description>James looks at the phone, confused. Caller ID says \"Spencer.\" James doesn't know what to do with it.<\/scene_description>\n    <character>AUBREY<\/character>\n    <dialogue>Talk.<\/dialogue>\n    <character>JAMES<\/character>\n    <parenthetical>(holding phone up in front of him)<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>Frustrated, Aubrey walks over, guides the phone to his ear.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Oh...<\/dialogue>\n    <character>AUBREY<\/character>\n    <parenthetical>(leaving)<\/parenthetical>\n    <dialogue>Put it outside my room when you're done.<\/dialogue>\n    <character>SPENCER (PHONE)<\/character>\n    <dialogue>Duuuuude.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Spencer?<\/dialogue>\n    <parenthetical>(to Aubrey)<\/parenthetical>\n    <dialogue>It's Spencer!<\/dialogue>\n    <scene_description>Aubrey shakes her head, almost smiles despite herself. TACO STAND - NIGHT James and Spencer share a small outside table, burritos.<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>Okay, first of all -- that last episode where Brigsby is on that ice planet?<\/dialogue>\n    <scene_description>James nods knowingly, an excited smile on his face. Right as they realize the federation is invading...<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Mmmhmm -- Brigsby reveals the moon base...<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>Yes, dude! That was so awesome! How it just appears over the horizon, all lit up?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Yeah. \"Hope is not yet lost!\"<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>That's what he says.<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>Yeah, the whole thing is like this insane piece of art. It's like a whole TV show made in a bedroom. And all those characters and effects and shit are crazy... like that icicle bicycle thing -- how'd he even build that? And then at the end of the episode, when the peace treaty goes into effect, Snatcher melts it? That was like, really good storytelling.<\/dialogue>\n    <scene_description>He notices James eyes WELLING... Uh, you okay, man? James takes a second, emotional. Smiles.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Yeah, it's just... that was one of my very favorite parts.<\/dialogue>\n    <scene_description>STREET - MINUTES LATER James and Spencer walk to his truck.<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>The only thing I didn't really get was all the weird math shit...<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Yeah, I never liked that stuff. My version's not gonna have any.<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>So, are you staying with the same story, or a new one?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Basically just where the show left off -- Snatcher's more powerful than ever, the old alliances are broken and the galaxy's on the edge of destruction. And Brigsby's the only one who can save it.<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>Right on... So, what happens?<\/dialogue>\n    <scene_description>JAMES' BEDROOM - LATER James and Spencer stand before James' story-boarded wall.<\/scene_description>\n    <character>JAMES<\/character>\n    <parenthetical>(quick, excited)<\/parenthetical>\n    <dialogue>Okay, first, Pla'torian raiders come in on their lightships, to Brigsby's cabin in the desert -- where he's lived his whole life -- and they take his bear parents prisoner. Then they bring him to a new world he never even knew existed: The Future Light Fortress. Everything is big and shiny and different. No one knows who he is, and he doesn't know them.<\/dialogue>\n    <scene_description>James takes him through it left to right... At first Brigsy has to live with a king, and a queen, and a princess.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>But they're actually Sun Soldiers, so Brigsby can't trust them. Then, it gets complicated...<\/dialogue>\n    <scene_description>Pieces of the story dissolve into each other, overlapping-- He has to escape the palace... travel to Forever Mountain to get the Sortis Crystal... finds the Smiles Sisters... and for the first time ever, Brigsby defeats Sun Snatcher, once and for all. (catches breath) And, maybe, at some point he gets his mom and dad out of space jail, because what they did isn't so bad. Spencer looks overwhelmed, absorbing it all. James nervously awaits his reaction...<\/scene_description>\n    <character>SPENCER<\/character>\n    <parenthetical>(delighted)<\/parenthetical>\n    <dialogue>This is insane, dude.<\/dialogue>\n    <scene_description>James isn't sure how to take that. I mean, like, awesome insane. Spencer picks up the BRIGSBY HEAD, takes a closer look. Also pretty crazy though. James nods, relieved.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>Have you started shooting it?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>It's my first movie, so I don't really know how.<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>Well, I've got a camera, dude. And some of these scenes you can do with like, a couple setups, natural light. Do the sound later. Like--<\/dialogue>\n    <scene_description>He points out a storyboard.<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>Brigsby's the only one in this scene, right? We could do that tomorrow.<\/dialogue>\n    <scene_description>James looks over at him, cautiously excited.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>Yeah, there's a place that looks just like that, hour and a half away. And this stuff--<\/dialogue>\n    <parenthetical>(pulls out his phone)<\/parenthetical>\n    <dialogue>--see, this is just green screen and some props. Easy.<\/dialogue>\n    <scene_description>James regards the Brigsby video on Spencer's phone, struggling to comprehend how Brigsby Bear Adventures episode 6, Vol. 20 is contained within it.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>How'd he get in there?<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>Oh, yeah -- I put everything online. I'll send you the links. Figured since you don't have a VCR. It's already got like 200 views.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Wait -- so, there's other, real people watching Brigsby?<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>Yeah man. People are gonna want to see this, too. I think it's awesome. We just have to figure out the rest of the costume.<\/dialogue>\n    <scene_description>James is too excited about all this to even process it.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>But... you really want to do this?<\/dialogue>\n    <scene_description>Spencer considers it, genuine.<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>Yeah, man. I guess it's been pretty chill, hanging out, or whatever. Brigsby, dude. I'm in.<\/dialogue>\n    <scene_description>James smiles, touched...<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>Also, I'm getting drug tested in a couple weeks, so I've just been hanging around, bored as shit.<\/dialogue>\n    <parenthetical>(another thought)<\/parenthetical>\n    <dialogue>Oh, dude! And you have to start it off with that theme song! Like dun da-dun da...<\/dialogue>\n    <scene_description>James sings along with him, and the BRIGSBY THEME kicks in! Feels like we should be already out on this moment but--<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>You're my friend!<\/dialogue>\n    <scene_description>DESERT - DAY Flat horizon. Waves of heat and shadow. A SHAPE emerging from the mirage... It's BRIGSBY BEAR (James), in slo-mo, running toward us. Dressed bear-head to toe in makeshift sci-fi fantasy garb. Brigsby climbs up a ROCK FORMATION... He summits, looks out. Mountains on the horizon. Then he DRAMATIC-TURNS to look behind him. Mouth closed. Eyelids lowered ever so slightly. He raises his DIGITAL WATCH into frame. Speaks into it. The BRIGSBY THEME continues, carrying us through-- FACE-TIME CAMERA - DESERT - DAY James, in costume minus the Brigsby Head. Behind him, Spencer sets up a shot on a tripod.<\/scene_description>\n    <character>JAMES<\/character>\n    <parenthetical>(into camera)<\/parenthetical>\n    <dialogue>Hey everyone, James here. Day one, Brigsby Bear Adventures, the final chapter. And that's why we're gonna take you... behind the scenes!<\/dialogue>\n    <scene_description>QUICK CUTS: James high-fiving Spencer. Running to another location. Filming a Joshua tree.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Look, it's a spiker tree!<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>Yeah, those are called Joshua Trees, actually.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Dope as shit!<\/dialogue>\n    <scene_description>James ZOOMS IN on it. JAMES' BEDROOM - DAY James reads the Brigsby script into a TAPE RECORDER. Spencer clicks a button on the back of the BRIGSBY HEAD, ejects a cassette from the built-in deck, puts in James'. OFFICE - DAY A few CO-WORKERS gather around a laptop, watching an episode of \"Brigsby Bear Adventures\" on YouTube. On screen: Brigsby, in a volcano, sunglasses on, RAPPING:<\/scene_description>\n    <character>BRIGSBY<\/character>\n    <dialogue>When my elders speak, I'm always listenin' And if I don't, I get my daily discipline Go to sleep Go-go-go to sleep (close your eyes) Go-go-go to sleep<\/dialogue>\n    <scene_description>GREEN SCREEN BACKDROP CLOSE ON: Brigsby's face, cycling through different bits of dialogue and performance. ANOTHER SETUP: Brigsby in a SCHOOL DESK, using a video game STEERING WHEEL. Pulling a tough maneuver, losing control! SPENCER'S TRUCK - DAY Spencer at passenger, explains what to do. James tries turning the key, and the ENGINE kicks on. Cool! PARK BENCH - DAY Two FRIENDS watch \"Brigsby Bear Adventures\" on a phone, sharing earbuds. On screen: Brigsby at a campfire with a group of Wizzles, led by the WIZZLE PRINCE.<\/scene_description>\n    <character>BRIGSBY<\/character>\n    <dialogue>Wizzle Prince, I'm sorry, but what the Smiles Sisters tell you is true -- the Quantix is lost to time.<\/dialogue>\n    <character>WIZZLE PRINCE<\/character>\n    <parenthetical>(coughing)<\/parenthetical>\n    <dialogue>Wizeeee. We thank you for your effort, Sir Bear. It seems as if the end of our race is upon us. Wizeeeee.<\/dialogue>\n    <character>BRIGSBY<\/character>\n    <dialogue>I will miss all of you when you pass away, even though you brought it upon yourselves.<\/dialogue>\n    <parenthetical>(to camera)<\/parenthetical>\n    <dialogue>See, curiosity is an unnatural emotion. If the Wizzles hadn't spent so much time seeking answers about the world around them, they might have had a better chance of surviving. So long, Friends!<\/dialogue>\n    <scene_description>JOLLY MUSIC plays. Brigsby does a little JIG then touches his WRIST TRANSPONDER, which teleports him away. The Wizzle Prince COUGHS, then falls over, dead. OMIT GOOGLE SEARCH BAR - \"HOW DO I GET METAL FOR THE MOVIE I'M MAKING WITH SPENCER?\" FACE-TIME CAMERA - SCRAPYARD - DAY James (in costume) and Spencer scavenge for parts, fuck around, pick up some footage.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Look at all this armor!<\/dialogue>\n    <scene_description>GARAGE - DAY James duct-tapes pipes and scrap metal to LOGAN'S arms. DORM ROOM - DAY A group of COLLEGE DUDES gathered around a computer screen watch \"Brigsby Bear Adventures.\" On screen: Brigsby is underwater, addressing the camera.<\/scene_description>\n    <character>BRIGSBY<\/character>\n    <parenthetical>(gargling water voice)<\/parenthetical>\n    <dialogue>...and remember -- always sweep your corridors, and if you're feeling romantic emotions, only touch your penis twice a day.<\/dialogue>\n    <scene_description>The dudes laugh hysterically. GOOGLE SEARCH BAR - \"HOW DO I LEARN COOL FIGHTING STYLES I WANT TO DO THEM\" FACE TIME CAMERA - SALT FLAT - SUNDOWN James is sweaty, hyped up.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>We've been practicing all day, and hopefully we're ready, because the sun's almost down, and that's when it's time to have a justice duel.<\/dialogue>\n    <scene_description>SALT FLAT - DUSK Smoke machine SMOKE billows across the fairway. A lit-up Storm Soldier (Logan) emerges. Looks pretty cool. Brigsby and the Storm Soldier engage in choreographed battle. GOOGLE SEARCH BAR - \"HOW TO MAKE A GOOD EXPLOSION THANK YOU\" HARDWARE STORE - DAY James, wearing his Brigsby shirt, loads FERTILIZER into a shopping cart, while Louise Pope adds potted flowers.<\/scene_description>\n    <character>LOUISE POPE<\/character>\n    <dialogue>Is that everything?<\/dialogue>\n    <character>JAMES<\/character>\n    <parenthetical>(lying)<\/parenthetical>\n    <dialogue>Yep, this is everything I need for my new garden.<\/dialogue>\n    <scene_description>An EXCITED MAN approaches them.<\/scene_description>\n    <character>EXCITED MAN<\/character>\n    <dialogue>Excuse me, are you--? You're the bear guy, right?<\/dialogue>\n    <parenthetical>(off James) )<\/parenthetical>\n    <dialogue>Dude -- I saw your shirt, and -- You're the guy, right?<\/dialogue>\n    <character>EXCITED MAN<\/character>\n    <dialogue>Me and my friends love those videos. They're so insane. I mean they're awesome, but it's like, crazy dark and shit, you know? Anyway--<\/dialogue>\n    <parenthetical>(pulls out phone)<\/parenthetical>\n    <dialogue>Could I get a picture?<\/dialogue>\n    <scene_description>The excited man puts his arm around James, takes a selfie. James smiles awkwardly, excited but unsure. Louise smiles, but looks concerned...<\/scene_description>\n    <character>EXCITED MAN<\/character>\n    <dialogue>Thanks, man. Peace!<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Yes. Peace!<\/dialogue>\n    <scene_description>POLICE STATION - DET. VOGEL'S OFFICE - DAY Vogel puts the finishing touches on some paperwork. Then his phone BUZZES. He checks the number, intrigued...<\/scene_description>\n    <character>JAMES (PRELAP)<\/character>\n    <dialogue>Do you have any questions?<\/dialogue>\n    <scene_description>FACE-TIME CAMERA - POPE HOUSEHOLD - BACKYARD - DAY<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>The mysterious Planet Glindos-1 was referenced in the show, but we never got to actually see it... Until today!<\/dialogue>\n    <scene_description>James turns the camera to reveal: a MATTE PAINTING of his own creation. A CAVE looking out onto a crystal world. It's densely detailed, but nowhere near Ted's work. Hmm, I wonder who might be hiding out in the Glindos crystal-fields? POPE HOUSEHOLD - BACKYARD - DAY VOGEL stands in front of the Glindos-1 matte painting, dressed in costume: a Jedi-esque HOODED ROBE. James stands with Vogel, looking over his lines. Spencer preps the camera.<\/scene_description>\n    <character>VOGEL<\/character>\n    <dialogue>Just to be clear, when I say I've fled to the dark corner of a lost world, is that his own personal world, or an actual new land?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Um... both.<\/dialogue>\n    <character>VOGEL<\/character>\n    <dialogue>Okay, great, that's what I was thinking.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>The number one thing to remember is, Feldo Mortese is a powerful Bandith Warrior, but he's sad. That's why he lives in a cave.<\/dialogue>\n    <scene_description>Vogel nods, confident.<\/scene_description>\n    <character>VOGEL<\/character>\n    <dialogue>Let's give it a shot.<\/dialogue>\n    <scene_description>James stands back, giving Vogel some room.<\/scene_description>\n    <character>VOGEL<\/character>\n    <dialogue>And you're sure your parents aren't coming home any time soon?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>One's doing golf, and the other one went out to stores. Don't worry, just focus on your tragic past.<\/dialogue>\n    <scene_description>Vogel takes a deep breath. He puts his hood up, hunches over and folds his hands, physically inhabiting the character.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>And... Action.<\/dialogue>\n    <scene_description>Vogel holds for a purposeful beat, then--<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>(extremely goofy accent)<\/parenthetical>\n    <dialogue>My kind rose up against the one you call Sun Snatcher. And we lost. The few who survived, fled. And now only I remain, cowering in a dark corner of a lost world... waiting for this day. The fulfillment of a prophecy long forgotten.<\/dialogue>\n    <scene_description>Spencer watches from behind the camera, transfixed but weirded out.<\/scene_description>\n    <character>VOGEL<\/character>\n    <parenthetical>(escalating)<\/parenthetical>\n    <dialogue>You, Brigsby Bear, have been chosen. You stand between existence and naught.<\/dialogue>\n    <parenthetical>(crescendo)<\/parenthetical>\n    <dialogue>You are our last hope. Our keeper of light!<\/dialogue>\n    <scene_description>On James, genuinely impressed. Has to compose himself.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Cut. Perfect. Moving on!<\/dialogue>\n    <character>VOGEL<\/character>\n    <dialogue>Wait, that's it?<\/dialogue>\n    <scene_description>Vogel pulls his hood down, exhilarated.<\/scene_description>\n    <character>VOGEL<\/character>\n    <dialogue>Can we do one more? I think there's another level I can get to.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Whoa, really? Another one?<\/dialogue>\n    <character>VOGEL<\/character>\n    <dialogue>Definitely.<\/dialogue>\n    <parenthetical>(hood back up)<\/parenthetical>\n    <dialogue>You mind if I try something?<\/dialogue>\n    <scene_description>James shrugs, game.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>As long as it doesn't violate any sacred codes of Bandith culture, yeah! Sure.<\/dialogue>\n    <character>VOGEL<\/character>\n    <dialogue>Great, thank you.<\/dialogue>\n    <scene_description>Vogel turns his back to the camera. Takes a deep breath.<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>Rolling...<\/dialogue>\n    <scene_description>A long beat as Vogel does nothing. And continues to. James looks on, considering the choice, intrigued... POLICE STATION - EVIDENCE LOCKER - DAY BANDER walks past rows and rows of BRIGSBY TAPES, browsing. Stops in front one: \"Volume Five, Episode One.\" On a small VCR\/TV: BRIGSBY (but cheaper, cruder) on a small, sparsely decorated set. The words \"It's Brigsby!\" hand-painted in big block letters on the wall. Low-rent \"Captain Kangaroo\" vibe. He confers with YOUNG ARIELLE and NINA SMILES, surrounded by a magic force field.<\/scene_description>\n    <character>BRIGSBY<\/character>\n    <dialogue>Your magic powers get stronger by the day, Sisters!<\/dialogue>\n    <character>ARIELLE SMILES<\/character>\n    <dialogue>Soon we'll be strong enough to banish Sun Snatcher to the shadow galaxy forever!<\/dialogue>\n    <character>BRIGSBY<\/character>\n    <dialogue>That's right! But first, we have to make our physical bodies strong.<\/dialogue>\n    <parenthetical>(turns to camera)<\/parenthetical>\n    <dialogue>Ready, everyone?<\/dialogue>\n    <scene_description>Brigsby and the young Smiles sisters MARCH in place, then launch into some coordinated calisthenics. And one, and lunge, and two, and two. Now crunch! And stop. And remember that we're all just rapidly decaying organic material! And hop! On Bander, expression hardened, super weirded out. OMIT POPE DRIVEWAY - DAY James stands holding a BASKETBALL, looking none too enthused. Greg Pope, in gym shorts, instructs James on shooting form.<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>Okay, now just keep your shoulders square, elbow in -- good. Now bend your knees, lift the ball into the air, and follow through with your hand.<\/dialogue>\n    <scene_description>James gives it a try, but the ball falls well short of the basketball hoop.<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>Hey, alright! Good first try.<\/dialogue>\n    <scene_description>MINUTES LATER: Greg Pope uses a broomstick to lower the hoop.<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>There we go... This'll be a little easier. Plus -- look, we can do slam dunk on it!<\/dialogue>\n    <scene_description>Greg Pope goes up for a monster jam!<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>Wooooo!<\/dialogue>\n    <parenthetical>(lands awkwardly)<\/parenthetical>\n    <dialogue>Ooh-- yikes, tweaked my ankle there a bit... Darn it.<\/dialogue>\n    <scene_description>He limps to the ball, passes it James. Here, wanna give it a shot? James lets the ball bounce past him.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Actually, I'm pretty busy with my movie today...<\/dialogue>\n    <character>GREG POPE<\/character>\n    <dialogue>Well, maybe take a little break? Seems like you've been working pretty hard, and could be nice to just hangout for a bit, you and me?<\/dialogue>\n    <scene_description>James starts to walk off.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>No thanks.<\/dialogue>\n    <scene_description>Greg Pope hesitates, frustrated. Then--<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>Am I doing something wrong here?<\/dialogue>\n    <scene_description>James turns around: huh?<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>Look I don't want to discourage you from being creative, but the thing is, this movie you're making...<\/dialogue>\n    <character>GREG POPE<\/character>\n    <dialogue>it's based on something that... Really bad people created it... as a way to hurt you, and keep you away from us. And we don't want spending too much time thinking about that sort of thing, okay? You're with the good guys now.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>But... Brigsby's what makes me happy. I'm not like you.<\/dialogue>\n    <parenthetical>(gestures to hoop)<\/parenthetical>\n    <dialogue>I don't like slamming, okay?<\/dialogue>\n    <scene_description>James heads inside. Greg Pope stands there a moment, frustrated. Stretches out his injured ankle. AUBREY'S ROOM - DAY Aubrey and Merideth, hanging. SPENCER, in the doorway, holding the Brigsby head.<\/scene_description>\n    <character>AUBREY<\/character>\n    <dialogue>So, what are you guys doing?<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>Oh, you know, mess around with this crazy bear thing. Hike around, go to the beach, camp for the night.<\/dialogue>\n    <scene_description>James comes up behind him.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>We're going to a real mountain. Do you guys want to come?<\/dialogue>\n    <character>AUBREY<\/character>\n    <dialogue>Yeah, I don't know...<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>I'm bringing party supplies...<\/dialogue>\n    <scene_description>Merideth gives a thumbs-up.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Come on, it's gonna be so much fun, and also dope as shit.<\/dialogue>\n    <scene_description>Aubrey sorta-smiles, hesitant. MOUNTAINS - TRAIL - AFTERNOON Green and golden, sparkling LAKE below them. Hiking up. CLEARING - MINUTES LATER Aubrey sits with Merideth, watching-- James and Spencer set up a shot, yards away. James, wearing the costume, excitedly explains how we wants it to look, boundless energy and enthusiasm. Spencer's into it, laughing, making suggestions. Aubrey can't help herself -- the interaction makes her SMILE. That look on James' face -- happy, himself. Her brother. James runs over, tries to get her involved. She LAUGHS. MOUNTAINS - SUNSET Vast, rolling ridges, GLOWING with magic hour light. BRIGSBY, the size of an action figure, adventures atop. LAKE - DUSK Wash of waves, crackle of campfire. Two tents. A few campsites and RVs in the distance. Merideth poses for phone pics, wearing the Brigsby head, holding a bottle of tequila, giving the middle finger. Spencer frames it up, hesitates.<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>No Facebook or Instagram, please.<\/dialogue>\n    <character>MERIDETH<\/character>\n    <dialogue>It's a snap; chill.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Merideth, could I talk to you for a second?<\/dialogue>\n    <scene_description>Merideth takes off the Brigsby head.<\/scene_description>\n    <character>MERIDETH<\/character>\n    <dialogue>Sure, what's up?<\/dialogue>\n    <scene_description>James hesitates. Something weighing on him...<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Maybe we should go over here...<\/dialogue>\n    <character>MERIDETH<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>Okay...<\/dialogue>\n    <scene_description>She hands the head off to Logan. James and Merideth walk.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>First of all, I think you're so great.<\/dialogue>\n    <character>MERIDETH<\/character>\n    <dialogue>Thanks man. I think you're chill too.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>And the other night was fun.<\/dialogue>\n    <character>MERIDETH<\/character>\n    <dialogue>Ha, yeah you were so wasted.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Yeah... Listen, this is really hard for me, cuz I know we really liked feeling each other's bodies and doing sex type stuff, but--<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I don't think I can marry you.<\/dialogue>\n    <character>MERIDETH<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>Yeah, for sure.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>So, you're okay with that?<\/dialogue>\n    <character>MERIDETH<\/character>\n    <dialogue>Uh, yeah, of course. I'm never getting married. My parents are so messed up and sad.<\/dialogue>\n    <character>JAMES<\/character>\n    <parenthetical>(relieved)<\/parenthetical>\n    <dialogue>Really? That's so great. Thank you.<\/dialogue>\n    <scene_description>James gives her a friendly hug. (under breath) So, no marriage. But do we still want to do that stuff?<\/scene_description>\n    <character>AUBREY<\/character>\n    <dialogue>Hey, James--<\/dialogue>\n    <scene_description>Over by the fire, Aubrey scrolls through songs on her iPhone.<\/scene_description>\n    <character>AUBREY<\/character>\n    <dialogue>Was it this song?<\/dialogue>\n    <scene_description>She plays a sparkly night jam. James walks over, listening.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I don't think so. But I like it.<\/dialogue>\n    <character>AUBREY<\/character>\n    <dialogue>Oh, maybe it's... Hold on--<\/dialogue>\n    <scene_description>Another song -- the same synth-y music that was coming from her room the other night!<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Yeah! That's it!<\/dialogue>\n    <character>AUBREY<\/character>\n    <dialogue>I've been listening to this constantly; it's amazing. I'll send you a playlist.<\/dialogue>\n    <scene_description>James doesn't know what that means but is nevertheless floored with gratitude.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>That would be so cool, to get one of those.<\/dialogue>\n    <scene_description>Merideth takes off the Brigsby head, sits down with them. Aubrey looks at James, thinking.<\/scene_description>\n    <character>AUBREY<\/character>\n    <dialogue>They probably didn't even let you listen to music, huh?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>No, they did, sometimes. Mostly stuff by The Beatlers, cuz my old dad was in that band.<\/dialogue>\n    <character>MERIDETH<\/character>\n    <dialogue>Did you just say \"Beatlers?\"<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Yeah, The Beatlers.<\/dialogue>\n    <parenthetical>(off their confusion)<\/parenthetical>\n    <dialogue>I have one of their tapes...<\/dialogue>\n    <scene_description>James roots through the contents of his duffle bag. He pulls out a cassette, and puts it into the Brigsby head. He presses play, and the mouth moves along with the lyrics. The music is incredibly strange.<\/scene_description>\n    <character>AUBREY<\/character>\n    <dialogue>Whoa. This... sucks. It's like the worst thing I've ever heard.<\/dialogue>\n    <parenthetical>(listens more)<\/parenthetical>\n    <dialogue>I kinda love it.<\/dialogue>\n    <scene_description>James smiles. A moment between them...<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Too bad you weren't abducted. I bet we would've had fun together.<\/dialogue>\n    <scene_description>Aubrey's a bit confused by the sentiment, but moved nonetheless.<\/scene_description>\n    <character>AUBREY<\/character>\n    <dialogue>Yeah, I guess... I always wondered who you were. What it would be like to meet you. I remember when I first found out. I was 9, maybe. Dad said, \"You have a big brother.\" It made so much sense. I always knew there was something... not there, with them. So I was like, the consolation prize, I guess.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Sorry I've been kind of... whatever, to you.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>That's okay... I'm glad you came.<\/dialogue>\n    <character>AUBREY<\/character>\n    <dialogue>Yeah, me too.<\/dialogue>\n    <scene_description>James surprises her with a HUG, which she begrudgingly reciprocates. But the moment is crashed by--<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>Awwwwwww.<\/dialogue>\n    <character>AUBREY<\/character>\n    <parenthetical>(disengaging)<\/parenthetical>\n    <dialogue>Oh God, whatever...<\/dialogue>\n    <character>SPENCER<\/character>\n    <parenthetical>(to James)<\/parenthetical>\n    <dialogue>Last shot, man You ready to do this?<\/dialogue>\n    <scene_description>James stops the tape, springs up, excited.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Yeah! Let's go!<\/dialogue>\n    <scene_description>EMPTY BEACH - NIGHT Spencer's truck pulls onto the sand. ROAD above the bank ahead. Engine cuts, lights fade. James unlatches the truck bed gate. Pulls the TARP off-- A FUTURISTIC SPACE GENERATOR! (Scrap metal, computer parts, LED lights.)<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>Holy shit, man... Look at all this electronic shit.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Yeah, that part's the mainframe, and that's the quadrium processor.<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>Man, this is gonna look awesome.<\/dialogue>\n    <scene_description>They get in, lift it. SPENCER'S TRUCK - EMPTY BEACH - MINUTES LATER Spencer tapes the TRIPOD to the open bed gate, camera lens pointed behind the truck. He turns on LIGHTS, angles it on James, 50 yards away, half-burying the blinking GENERATOR in the sand.<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>You ready to do this?<\/dialogue>\n    <scene_description>James gets the sand just right...<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Okay, ready!<\/dialogue>\n    <scene_description>James strikes a MATCH and lights a FUSE in the sand. Then he puts on his Brigsby head, and kneels next to the generator. Spencer hits RECORD, gets in the truck. TRUCK CAM: Brigsby flips open a panel, punches in a code on the mainframe. Then it shoots a tower of SPARKS! Brigsby stands, starts running away from it... And the generator EXPLODES into yellow and green flames! Followed by a spray of professional-grade FIREWORKS! Deep, loud, huge. SPENCER'S TRUCK - THAT MOMENT Spencer slams on the breaks, shocked. Jumps out of the car. BEACH - CONTINUOUS There's a CAR ALARM going off somewhere. Generator SMOKING.<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>Dude, what is this shit!?<\/dialogue>\n    <character>JAMES<\/character>\n    <parenthetical>(running up)<\/parenthetical>\n    <dialogue>Did you get it?<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>The bomb that you just exploded? Yeah, I got it. What the was that?!<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I worked on it, yesterday, so our movie would have more--<\/dialogue>\n    <parenthetical>(clearly read this somewhere)<\/parenthetical>\n    <dialogue>--big budget appeal.<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>Someone definitely saw that. We gotta go, now.<\/dialogue>\n    <scene_description>The generator starts to FLAME. Holy shit! He runs towards it. James follows, not nearly as worried.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Did it look cool?<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>Dude -- I've been driving around a truck filled with explosives all day. That is not cool, at all.<\/dialogue>\n    <scene_description>They scoop sand, struggle to put it out.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I know you talked about using animation, but I thought doing it for real might be better. Plus, practical effects are a dying art form.<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>You can't just blow shit up, man!<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <scene_description>Spencer stands up, notices something-- On the ROAD above: RED AND BLUE LIGHTS heading toward them.<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>God damnit...<\/dialogue>\n    <character>COAST GUARD (LOUDSPEAKER)<\/character>\n    <dialogue>Step away from the device, and put your hands in the air!<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Oh, it's just police. They're nice.<\/dialogue>\n    <scene_description>The COAST GUARD TRUCK comes into the shore.<\/scene_description>\n    <character>COAST GUARD (LOUDSPEAKER)<\/character>\n    <dialogue>Hands up, now!<\/dialogue>\n    <scene_description>James puts his hands in the air, yells--<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>We're okay! We don't need any police help! Sorry about the mess -- we're just gonna finish cleaning up! Thank you! Bye!<\/dialogue>\n    <scene_description>James turns around and starts casually jogging away. An OFFICER jumps to shore, chases James and TACKLES him into the sand. PARKED POLICE CAR - BACK SEAT James, head tilted back, holding tissues in a bloody nose. Spencer, sick to his stomach, freaked out. Silent... James looks over, nervous, offers--<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I bet I can explain it to Detective Vogel...?<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>Doesn't matter... I'm on probation.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>What does \"on probation\" mean?<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>It means my life is over.<\/dialogue>\n    <scene_description>A charged silence between them. James finally breaks it--<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I think the next scene where we need explosions, we should do your idea, with the animation.<\/dialogue>\n    <scene_description>Spencer just shakes his head. CEDAR HILLS POLICE STATION - INTERROGATION ROOM James, alone again. A different sort of anxiety hanging. Door opens... and OFFICER BANDER comes in. Deadly serious. He throws a folder on the table. Stands there a moment, lets his presence do the intimidating. Then--<\/scene_description>\n    <character>BANDER<\/character>\n    <dialogue>Malibu PD says they found marijuana and an open container of alcohol in the truck. Not to mention the improvised explosive device, the detonation of which is technically an act of domestic terrorism. You have anything to say for yourself?<\/dialogue>\n    <scene_description>James really thinks about it. Doesn't want to mess this up.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Everything that happened, it was my fault. All the marijuana smokings, the bad drinks. Those were mine. The explosion stuff too. No one else should get in trouble.<\/dialogue>\n    <character>BANDER<\/character>\n    <dialogue>Where'd you get the bomb-making materials?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Just, the internet. And the store.<\/dialogue>\n    <character>BANDER<\/character>\n    <dialogue>And the costume?<\/dialogue>\n    <scene_description>James hesitates...<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I stole it.<\/dialogue>\n    <character>BANDER<\/character>\n    <dialogue>You stole it?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Detective Vogel told me where they had all the stuff, so I snuck in when no one was looking, but it wasn't his fault, okay? He didn't do anything wrong.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I'm sorry to you. And I'm sorry to America.<\/dialogue>\n    <scene_description>Bander sits. Looks at him.<\/scene_description>\n    <character>BANDER<\/character>\n    <dialogue>I watched the tapes.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>What tapes?<\/dialogue>\n    <character>BANDER<\/character>\n    <dialogue>\"Brigsby Bear.\" Several episodes.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Which ones?<\/dialogue>\n    <character>BANDER<\/character>\n    <dialogue>The first couple volumes.<\/dialogue>\n    <character>JAMES<\/character>\n    <parenthetical>(?)<\/parenthetical>\n    <dialogue>Oh, those ones are just for kids...<\/dialogue>\n    <parenthetical>(thinks about it)<\/parenthetical>\n    <dialogue>I mean, they were for me, I guess, when I was a kid.<\/dialogue>\n    <character>BANDER<\/character>\n    <dialogue>Well, I think I got the gist of it. Dark. Filled with messages.<\/dialogue>\n    <scene_description>Bander takes a long, probing look at him. They really did a number on you, didn't they? OFF JAMES, uncertainty weighing... MATCH CUT TO: THE BRIGSBY HEAD - EVIDENCE LOCKER Sideways on a shelf. Obscured as a metal gate SLAMS SHUT. OMIT POPE HOUSEHOLD - LIVING ROOM - DAY Greg and Louise Pope, Aubrey, James and Emily sit around the coffee table. Greg looks stern, Louise on the verge of tears. Aubrey and James just eye the floor. Emily leads the discussion with a comfortable, everything's- fine confidence.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>James. Your family is all here today because they care about you very, very much. But they're also concerned.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>You haven't been communicating with them, James. To put it lightly. Next thing you know, you're falling in with the absolute wrong kind of people, and--<\/dialogue>\n    <character>AUBREY<\/character>\n    <dialogue>You mean me and my friends?<\/dialogue>\n    <character>GREG POPE<\/character>\n    <dialogue>Aubrey, you know what she means.<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>The point is, we're looking at some serious criminal charges here.<\/dialogue>\n    <scene_description>James chews on that, incredulous.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I was just making Brigsby...<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>James, we're not here to talk about Brigsby. This is about you.<\/dialogue>\n    <scene_description>James feels out the room. Not sure about the look on everyone's face. Especially Louise, barely holding back tears. Greg looks at him, calm, concerned.<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>We love you, James. And we want you to be happy.<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>That's right. And we want you to recognize the chance you have -- right now -- to embrace a new start.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>So... what does that mean?<\/dialogue>\n    <character>EMILY<\/character>\n    <dialogue>It means finally putting Brigsby aside, and moving on with the rest of your life.<\/dialogue>\n    <scene_description>James can barely comprehend this, indignant.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>So... what? Just forget about him?<\/dialogue>\n    <scene_description>Emily sighs with profound concern.<\/scene_description>\n    <character>LOUISE POPE<\/character>\n    <dialogue>James, I know that sounds hard, but the world is so much bigger than you know. And it's filled with so many amazing, wonderful things.<\/dialogue>\n    <character>GREG POPE<\/character>\n    <dialogue>That's right -- remember Gordo from Hockey High?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I don't care about that stuff. I already know Brigsby's the greatest hero. And when everything's against him, he never gives up, even if it's hopeless.<\/dialogue>\n    <scene_description>James pauses, emotion surfacing. He's my whole life. Greg Pope takes a hard look at him, frustration boiling over.<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>Your whole life? Your whole life we've been out there, looking for you, James. For 25 years, I couldn't sleep. Because every night I would close my eyes, and there you were, in my arms, smiling.<\/dialogue>\n    <scene_description>A silent beat as Greg collects himself. These... monsters, they stole you away from us. They destroyed us. Do you understand that? And now that we have you back, all you want to do is stay in their world. It hurts, James. It isn't right. James absorbs all that. Finally musters:<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>You don't know anything about Brigsby. At all. And you never will. So... fuck you.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I know what it means.<\/dialogue>\n    <scene_description>An emotional silence hangs over the group. GOOGLE SEARCH BAR: \"BRIGSBY SMILES SISTERS REAL LIFE\" James scans the flood of results. Eventually finds: \"Arizona Woman performed in Pope kidnapper's bizarre videos.\" POPE HOUSEHOLD - MIDNIGHT James straightens up, checks himself in the mirror. Lights off. Dead quiet. James sneaks down the stairs... Swipes a CAR KEY from the counter. DRIVEWAY - MINUTES LATER James REVERSES down the driveway in Greg Pope's Lexus. K-turns into someone's BRICK MAILBOX, demolishes it. He peels off, swerves through the yard, and disappears down the street. MUSIC: Spirit Journey to the Quantnix Zone, Brigsby Vol. 19. OMIT LEXUS - DESERT - MORNING The Lexus slows to stop. James stares ahead at-- HIS OLD HOUSE - DAY Perimeter of POLICE TAPE but otherwise as he left it. James gets out of the car, takes a look around... He goes the OASIS. Takes GRAZERBUG in his hand, looks at it for what it is -- a light bulb, goofy face, antenna. And the GUNNERFOX -- open back, clear animatronic features. He wipes dust off the PIER, sees the empty BENCH inside. ROADSIDE DINER - PARKING LOT - DAY The Lexus, parked outside with a couple trucks. Inside, James counts change from the console. ROADSIDE DINER - BOOTH - MINUTES LATER James, holding a menu, looks around-- He sees a handful of other patrons and a line cook. As he looks over the menu, a WAITRESS steps over.<\/scene_description>\n    <character>WAITRESS (O.S.)<\/character>\n    <dialogue>Can I get you something to drink?<\/dialogue>\n    <scene_description>James looks up with the intention of answering, but is suddenly unable. Standing in front of him is ARIELLE SMILES.<\/scene_description>\n    <character>ARIELLE SMILES<\/character>\n    <dialogue>Sir?<\/dialogue>\n    <scene_description>James snaps out of it, but doesn't know where to start.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Uh, yeah, just -- I only have this many credits.<\/dialogue>\n    <scene_description>He puts a handful of COINS on the table.<\/scene_description>\n    <character>ARIELLE SMILES<\/character>\n    <parenthetical>(counting)<\/parenthetical>\n    <dialogue>Okay... That'll get you a fountain drink, or a coffee? Piece of fruit, maybe?<\/dialogue>\n    <scene_description>James looks up at her, staring, not able to shake his awe. Hello?<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Sorry, it's just...<\/dialogue>\n    <parenthetical>(joking)<\/parenthetical>\n    <dialogue>I never would of guessed I'd find you so far outside the gates of Glenrona.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>But I did actually have to go to a lot of diners out here.<\/dialogue>\n    <scene_description>She looks caught off guard. Notices his BRIGSBY T-SHIRT.<\/scene_description>\n    <character>ARIELLE SMILES<\/character>\n    <parenthetical>(realizing)<\/parenthetical>\n    <dialogue>You're the... James, right?<\/dialogue>\n    <parenthetical>(off him)<\/parenthetical>\n    <dialogue>Um... My shift's almost up; give me a couple minutes, okay?<\/dialogue>\n    <scene_description>James watches her walk away. Blinks to make sure she's real.<\/scene_description>\n    <character>ARIELLE SMILES (PRELAP)<\/character>\n    <dialogue>I guess I found out when you did, basically...<\/dialogue>\n    <scene_description>BOOTH - MINUTES LATER James and Arielle Smiles sit across from each other. Sandwiches and fountain sodas before them.<\/scene_description>\n    <character>ARIELLE SMILES<\/character>\n    <dialogue>It was a little extra money every month... He told me it was for Canadian public access. I would just show up, and he would give my lines. I didn't really ask a lot of questions, obviously. I mean, it was fun, but...<\/dialogue>\n    <scene_description>James listens, rapt, quiet reverence unbroken. I've been sick to my stomach. I wish I had never, uh... I don't know what to say. I'm just so, so sorry, for everything. James makes a face, confused.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>\"Sorry?\" But... you and Brigsby -- and Nina too, I guess -- you were the only thing that made the world okay. You were all I had.<\/dialogue>\n    <parenthetical>(realizes, emotional)<\/parenthetical>\n    <dialogue>And I guess you still are.<\/dialogue>\n    <scene_description>Arielle Smiles looks taken aback.<\/scene_description>\n    <character>ARIELLE SMILES<\/character>\n    <dialogue>You realize I'm not actually her, right? My name's Whitney.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>No, I know, now, but--<\/dialogue>\n    <character>ARIELLE SMILES<\/character>\n    <dialogue>Nina too -- he just flipped the image, or something.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Yeah, it's a cool effect, but... you made it real. And the way you were there for Brigsby, even when it seemed impossible? He never could have done it by himself.<\/dialogue>\n    <scene_description>A beat as Arielle Smiles looks James over.<\/scene_description>\n    <character>ARIELLE SMILES<\/character>\n    <dialogue>How did you find me?<\/dialogue>\n    <character>JAMES<\/character>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>The same way Brigsby did, I guess... Destiny.<\/dialogue>\n    <scene_description>James timidly reaches across the table and puts his hand on top of hers. She seems a little uncomfortable, but lets it stand. Then her phone BUZZES and she takes her hand away.<\/scene_description>\n    <character>ARIELLE SMILES<\/character>\n    <dialogue>I'm sorry, I have to pick up my kid in a few minutes.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Oh. Okay...<\/dialogue>\n    <character>ARIELLE SMILES<\/character>\n    <dialogue>I'm glad I met you though, I guess. You seem really... sweet.<\/dialogue>\n    <scene_description>James cracks a smile, touched. A big moment for him. But--<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Wait, before you go, I've always wanted to ask... In Volume 19, did you really not know about the Quantix the whole time? Or were you just trying to protect the Wizzles?<\/dialogue>\n    <character>ARIELLE SMILES<\/character>\n    <dialogue>Uh... I don't really remember that.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Oh. Yeah.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>So, you would never want to do it again, then? To help me finish it?<\/dialogue>\n    <scene_description>She hesitates...<\/scene_description>\n    <character>ARIELLE SMILES<\/character>\n    <dialogue>I mean, I don't really know if...<\/dialogue>\n    <scene_description>But her eyes are drawn outside. James turns to look too-- POLICE CRUISERS pull into the parking lot, lights on. James turns back to Arielle Smiles, dejected.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>That's okay. I guess it's time for me to go, anyway.<\/dialogue>\n    <character>ARIELLE SMILES<\/character>\n    <dialogue>Those are for you?<\/dialogue>\n    <scene_description>He nods, solemn.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I've been an outlaw ever since I came to this world.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>It's dope as shit.<\/dialogue>\n    <scene_description>James stands, reaches into his pocket... And he pulls out the SORTIS CRYSTAL. Places it on the table. You're the only one who can keep this safe. (then) Thanks for the sandwich and coke. James walks for the door. Halfway there, he stops, turns back around.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Also, I'm in love with you, and I always have been.<\/dialogue>\n    <scene_description>He continues to the door, opens it. Puts his hands up, faces his fate. Please no tackles! Arielle Smiles watches him, overwhelmed. Off the Sortis Crystal, gleaming in the sunlight. POPE HOUSEHOLD - TOP OF THE STAIRS - NIGHT James timidly steps out of his room... Murmur of Greg and Louise Pope ARGUING comes into focus:<\/scene_description>\n    <character>GREG POPE (O.S.)<\/character>\n    <dialogue>What choice do we have?<\/dialogue>\n    <scene_description>KITCHEN - POPE HOUSEHOLD Greg and Louise Pope stand on either side of the island. Exhausted, emotional.<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>We know what Dr. Larson recommending to the judge.<\/dialogue>\n    <character>LOUISE POPE<\/character>\n    <dialogue>But we can appeal, right? Or something? He's not dangerous, he just... He needs us. To make more of an effort, to be with him.<\/dialogue>\n    <character>GREG POPE<\/character>\n    <dialogue>I'm making an effort!<\/dialogue>\n    <character>LOUISE POPE<\/character>\n    <dialogue>You pushed him away. You don't listen, you don't care about what anyone else wants. This is what you do!<\/dialogue>\n    <character>GREG POPE<\/character>\n    <dialogue>He's not well. You didn't see what I saw. I watched him have a full break with reality.<\/dialogue>\n    <character>LOUISE POPE<\/character>\n    <dialogue>So we just kick him out?<\/dialogue>\n    <character>GREG POPE<\/character>\n    <dialogue>What happens if we just let him go on like this? He's not-- He's 25. He can't just live in is own world forever. Don't you want him to have a real life?<\/dialogue>\n    <character>LOUISE POPE<\/character>\n    <dialogue>Of course I do...<\/dialogue>\n    <character>GREG POPE<\/character>\n    <dialogue>What if he ends up like them -- alone, shut off from the world? What if he kidnaps someone and forces them to watch his Bear movie?<\/dialogue>\n    <character>LOUISE POPE<\/character>\n    <dialogue>Greg. That's ridiculous.<\/dialogue>\n    <character>GREG POPE<\/character>\n    <dialogue>Is it? He's not well, Louise. And they're still in control!<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I want my son back...<\/dialogue>\n    <scene_description>Louise covers her face, quietly sobs. Regret flashes over Greg Pope. He wraps her in a hug.<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>I'm sorry. We knew this wasn't going to be easy. We knew that...<\/dialogue>\n    <scene_description>TOP OF THE STAIRS - SAME James, despondent, lets their words sink in... MUSIC: Imprisoned in the Mirror Chamber, Brigsby Vol. 24. The somber music carries us through-- EMPTY GYM - DAY SPENCER sits with other rehabbing youths, fold-out chairs encircled for discussion. But SPENCER'S not listening... He sneaks out his phone, checks it-- A row of unanswered texts to Aubrey. \"Hey...\" \"I'm sorry...\" \"You around?\" \"Can we talk?\" WATKINS GLEN MENTAL HEALTH CENTER - DAY A white DOOR opens to reveal-- A sterile, semi-private room. Shared bathroom in the back. James stands in the doorway. Wearing nice, new, stupid clothes. Holding a small bag of personal supplies. SPENCER'S ROOM - DAY Spencer scrolls Twitter on his computer, bored. He opens a video-editing application. Presses play on a BRIGSBY CLIP (adventuring in the mountains). It looks pretty good. He smiles... MENTAL HEALTH CENTER - DAY - EXPRESSION ABSENT -James sits slumped in a chair at GROUP TIME. -James meanders around the therapeutic courtyard garden. -James by himself at a cafeteria table. A friendly patient, ERIC, takes a seat across from him, holding two soft-serve cones. He offers one to James. -James does lessons with DR. MORROW in the COMPUTER LAB, graphing another physics equation. Dr. Morrow takes notes.<\/scene_description>\n    <character>DR. MORROW (PRELAP)<\/character>\n    <dialogue>Well, I'm impressed. But I'm also very confused...<\/dialogue>\n    <scene_description>MENTAL HEALTH CENTER - ACTIVITIES ROOM - DAY James sits at an art table, drawing with crayons. Across the room, Emily and Dr. Morrow confer.<\/scene_description>\n    <character>DR. MORROW<\/character>\n    <dialogue>He's extremely sharp. We started with algebra, and quite quickly made our way to quantum field theory. Then, it got... well, strange. Very theoretical, hard to follow. He showed me an equation they were working on. Said it was part of a larger theory that would... Allow them to travel between parallel dimensions.<\/dialogue>\n    <character>DR. MORROW<\/character>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Nonsense, essentially.<\/dialogue>\n    <scene_description>Emily considers that, confused. Turns to look at James. James continues to color with little energy, uninspired. Eric comes over, excited--<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>What are you working on?<\/dialogue>\n    <scene_description>James shows him his drawing: a simple RECTANGLE. That's it.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Whoa! Let me try.<\/dialogue>\n    <scene_description>Eric sits down with him.<\/scene_description>\n    <character>EMILY (PRELAP)<\/character>\n    <dialogue>James, I just want to start by saying how extremely proud I am.<\/dialogue>\n    <scene_description>MENTAL HEALTH CENTER - MEETING LOUNGE - MORNING James sits at a table with Emily, despondent. But Emily smiles encouragingly.<\/scene_description>\n    <character>EMILY<\/character>\n    <dialogue>Really. I mean it. I know it hasn't been the easiest road getting here, but you're showing real progress. Soon, we can get you back on track with your education, and start strengthening other aspects of your life. Doesn't that sound great?<\/dialogue>\n    <scene_description>This appraisal doesn't seem to lift James' spirits. (pressing on) Well, in the spirit of putting things behind us, there was one thing I thought you should know... Your kidnappers have pleaded guilty. That means they're going away, for a long time. And it's okay to have conflicting emotions about that... James considers that with an unexpected wash of emotion... Emily holds him by the shoulders, finds his eyes. You made it, James. You're okay. She brings him close, hugs him. JAMES' NEW ROOM - LATE NIGHT Silent. James lays awake in bed, unable to sleep. Then, the sound of soft STATIC fades in... Confused, James turns to the-- RADIO, which begins emitting a pulsing, ethereal GLOW. James sits up in bed, freaked out.<\/scene_description>\n    <character>BRIGSBY (RADIO)<\/character>\n    <parenthetical>(coming in and out)<\/parenthetical>\n    <dialogue>James... Are you there, James...?<\/dialogue>\n    <scene_description>James stands, goes to the radio. Brigsby...? He fiddles with the dial, finding the frequency.<\/scene_description>\n    <character>BRIGSBY (RADIO)<\/character>\n    <parenthetical>(clearer)<\/parenthetical>\n    <dialogue>James, is that you? I've been trying to reach you! I'm trapped in negative subspace -- I had to hack your dimension's earth's A-M frequency! I need you, James. Now more than ever before...<\/dialogue>\n    <scene_description>James really thinks about that, and his eyes well with tears.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>No. I can't.<\/dialogue>\n    <scene_description>A beat of empty static before--<\/scene_description>\n    <character>BRIGSBY<\/character>\n    <parenthetical>(heartbroken)<\/parenthetical>\n    <dialogue>James? But... It's our most desperate hour. The universe hangs on the edge of existence.<\/dialogue>\n    <scene_description>He can barely bring himself to do it but--<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Don't you get it? It's too late! Everyone's mad at me because of you.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I can't be with you any more.<\/dialogue>\n    <scene_description>James CLICKS OFF the radio. He sits on his bed, unsteady. Catches his breath, wipes his eyes. AUBREY'S ROOM - NIGHT Aubrey does homework, uninvested. Interrupted by the DING of a cell phone notification. She checks her phone. It's another in a long line of unanswered Spencer texts: \"check yr email (bear emoji)\" Aubrey looks cautiously intrigued... HD TV - LIVING ROOM - NIGHT A reel of beautifully photographed BRIGSBY SCENES, edited together with music and early effects work. REVERSE ON: Aubrey, Greg and Louise Pope, watching from the couch. Aubrey points things out to Louise Pope, who smiles, impressed and proud. Greg Pope is more guarded, but... ON SCREEN: James, in costume, runs down a sunset-lit green hill toward Aubrey. He takes off the Brigsby head, sweaty, laughing.<\/scene_description>\n    <character>JAMES (ON SCREEN)<\/character>\n    <dialogue>Did we get it!? This is gonna be better than all the other Brigsby episodes, ever!<\/dialogue>\n    <scene_description>REVERSE ON: Greg, eyes glued to the screen, a realization dawning. PRE-LAP: KNOCK-KNOCK CEDAR HILLS POLICE STATION - VOGEL'S OFFICE - DAY Vogel looks up from his desk to see...<\/scene_description>\n    <character>VOGEL<\/character>\n    <dialogue>Mr. Pope...<\/dialogue>\n    <scene_description>Greg Pope stands in the doorway, heart heavy, conciliatory.<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>Detective... I was hoping we could talk?<\/dialogue>\n    <character>VOGEL<\/character>\n    <parenthetical>(worried)<\/parenthetical>\n    <dialogue>You mean, about Feldo Mortese?<\/dialogue>\n    <character>GREG POPE<\/character>\n    <dialogue>What's Feldo Mortese?<\/dialogue>\n    <character>VOGEL<\/character>\n    <dialogue>Oh, nothing, never mind. What can I help you with?<\/dialogue>\n    <scene_description>MENTAL HEALTH CENTER - KITCHEN - NIGHT James sneaks in under cover of darkness, searches cabinets. JAMES ROOM - MENTAL HEALTH CENTER - NIGHT James pulls the sheet off his bed, fashions it into a SACK. He adds: A bar of soap, plastic utensils, a pair of clean socks and underwear. Ties it off. There's a KNOCK, and James looks up to see Eric come into the room, heart heavy, holding a paper grocery bag.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>I'm just wanted to say good luck on your adventure, and I'm gonna miss having you around.<\/dialogue>\n    <scene_description>Eric hands him the bag. James looks inside, pulls out some arts-and-crafts cardboard cut outs. Throwing stars, knives, laser guns - - basically all my weapons I've been saving up.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Thanks Eric. I didn't know if I'd ever have a real friend again.<\/dialogue>\n    <scene_description>They hug. Then--<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>So, how are you gonna break out of here?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>It's complicated. I've been planning it for a long time.<\/dialogue>\n    <scene_description>CUT TO: A TV CRASHES THROUGH A FIRST-FLOOR WINDOW! - NIGHT Lands in the street next to the mental health facility. James clears the glass and wire around the edges with a broken SHOWER HANDLE. He tosses his supplies, hops out. Then he runs into the night. OMIT BUSHES - NIGHT Brushed out of the way to reveal-- The POPE'S BACKYARD. Dark, quiet... POPE HOUSEHOLD - BACK PATIO - MOMENTS LATER James sneaks around the side of the house, then quietly to the door. Tries the handle... OPENS it slowly. POPE HOUSEHOLD - STAIRS Dark throughout. James climbs to the 2nd floor hallway. Enters-- JAMES' ROOM To find it back to its original state, stripped of all Brigsby-ness. James stands there a moment... Then he sees his DUFFLE BAG in the corner. He opens it, makes sure his BRIGSBY SHIRT is inside. He folds it carefully, places it back inside, and zips the bag up. POPE HOUSEHOLD - MOMENTS LATER James sneaks back down the stairs, duffle bag in hand. He starts to exit, but stops himself, noticing-- LIGHT coming from a cracked door... He moves closer, curious. Hears the muffled sound of VOICES and MOVEMENT. He leans to the crack, sliver of light painting his face. What he sees makes his JAW DROP... James pulls the door all the way OPEN, revealing-- BRIGSBY BEAR'S CABIN! (Well, actually the GARAGE, transformed by the presence of the Brigsby Bear set. But still!) James steps inside, taking it in with religious wonder. Every consciousness-seared detail made real before him. MUSIC: The peak of Forever Mountain, Brigsby Vol. 16. He drops to his knees, overwhelmed.<\/scene_description>\n    <character>AUBREY (O.S.)<\/character>\n    <dialogue>James?<\/dialogue>\n    <scene_description>James turns to the DRIVEWAY, where he sees-- GREG and LOUISE POPE, AUBREY, SPENCER and VOGEL, unloading the back of a MOVING TRUCK. Surrounded by Brigsby props, costumes, pieces of sets, lights, and an old TV CAMERA. James looks between them, tears in his eyes, at a total loss. They look surprised to see him, but glad. James stands.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>What is...? I mean... How did this happen?<\/dialogue>\n    <character>LOUISE POPE<\/character>\n    <dialogue>Well, it was supposed to be a surprise, for when you got home...<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>But they told me... They said they were gonna get rid of everything?<\/dialogue>\n    <scene_description>Spencer hops down from the truck.<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>Yeah, Feldo gave us a heads-up.<\/dialogue>\n    <scene_description>Vogel smiles at James.<\/scene_description>\n    <character>VOGEL<\/character>\n    <dialogue>I wanted to say thanks. And I figured, better this stuff with you than in a dumpster somewhere.<\/dialogue>\n    <character>AUBREY<\/character>\n    <dialogue>It was Dad's idea to do the garage, though.<\/dialogue>\n    <scene_description>James turns to Greg Pope, hardly believing any of this.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>GREG POPE<\/character>\n    <dialogue>Yeah, well...<\/dialogue>\n    <scene_description>He hesitates, voice wobbling with emotion and contrition. Aubrey showed us some of the stuff you had done together, and... yeah. I guess, I thought it looked pretty cool, son. And then I thought about the list, so... Might be a fun thing to do with the whole family, right? James wraps his head around the very concept.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>But... they told me not to even think about Brigsby any more, or I would never get to leave?<\/dialogue>\n    <character>GREG POPE<\/character>\n    <dialogue>Right, well... It sounds to us like Dr. Larson's being a little too hard on you.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>LOUISE POPE<\/character>\n    <dialogue>And you've been doing so well with everything else -- in a couple weeks they're letting us have an independent evaluation, then, hopefully, you get to come on home.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>And finish Brigsby...<\/dialogue>\n    <character>GREG POPE<\/character>\n    <dialogue>We're your family, James. We love you for who you are. And we know Brigsby's a part of that.<\/dialogue>\n    <scene_description>James lets that wash over him, emotion surging... He steps over to his family, tearing up. HUGS his mom. His dad and his sister join in the embrace. Spencer hangs back. Thinks about something...<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>Dude, wait, how did you get here?<\/dialogue>\n    <character>JAMES<\/character>\n    <parenthetical>(through tears\/the hug)<\/parenthetical>\n    <dialogue>I threw a TV through the window.<\/dialogue>\n    <scene_description>That throws off the hug a bit. His parents GRUMBLE (ad-lib). I know, sorry... The hug loosens, turns into a close grouping.<\/scene_description>\n    <character>LOUISE POPE<\/character>\n    <dialogue>Well, we have to tell somebody...?<\/dialogue>\n    <scene_description>Greg Pope thinks about it.<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>They don't know you're gone yet, right?<\/dialogue>\n    <scene_description>James shrugs. So Greg shrugs too. Well, I'm sure we'll get a call. (then) You want to help unload everything? James smiles. Uh, yeah. He does. MUSIC UP -- James laughs with his family, explaining various props and miniatures, inspecting everything, trying the LIGHTS out, high-fiving Spencer, handing out Pop-Tarts... FADE OUT... CROSSLAKE MINIMUM SECURITY PRISON - DAY Greg Pope's LEXUS pulls up outside, idles. \"Six Months Later\" GREG POPE'S LEXUS - CONTINUOUS In the passenger seat, James looks out the window, apprehensive.<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>You okay, kiddo?<\/dialogue>\n    <scene_description>James takes a deep breath.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I think so.<\/dialogue>\n    <scene_description>Greg gives him a loving pat on the shoulder.<\/scene_description>\n    <character>GREG POPE<\/character>\n    <dialogue>I'll be here if you need anything.<\/dialogue>\n    <scene_description>CROSSLAKE MINIMUM SECURITY PRISON - YARD - DAY Picnic style tables strewn about a patchy lawn. A GUARD escorts a prisoner into the yard... TED BURRELL. He searches, finds us. JAMES waves to him, timid.<\/scene_description>\n    <character>TED BURRELL (PRELAP)<\/character>\n    <dialogue>Well bud, would you look at that...<\/dialogue>\n    <scene_description>TIME CUT: James and Ted sit at a far table. Ted looks James over, amazed, a war of emotions.<\/scene_description>\n    <character>TED BURRELL<\/character>\n    <dialogue>You're all grown up and out in the world and... just, wow. I didn't know if I'd ever get to see you again...<\/dialogue>\n    <scene_description>James sorta smiles, not quite comfortable. So... How are you, bud?<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>I'm... good. With my original family, and I'm going to a math school, which is easy, so far.<\/dialogue>\n    <character>TED BURRELL<\/character>\n    <dialogue>That's fantastic! Your-- uh, April would be so happy to hear that. Have you been to see her yet?<\/dialogue>\n    <scene_description>James shakes his head no. Ted gets it, but-- Well, we write each other. And I know she'd love it. She finally solved the Vansmithe, you know.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Really? What was it?<\/dialogue>\n    <character>TED BURRELL<\/character>\n    <dialogue>Six! The whole time.<\/dialogue>\n    <character>JAMES<\/character>\n    <parenthetical>(skeptical)<\/parenthetical>\n    <dialogue>Ooohhhhh. I actually, uh -- the reason I came here. I had a question...<\/dialogue>\n    <scene_description>Ted nods like he understands.<\/scene_description>\n    <character>TED BURRELL<\/character>\n    <dialogue>Well, I don't know how much of it I can really explain, but... I still think about the day she came home, with you in her arms... And, you know, it wasn't my idea, exactly, but... There you were.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I guess I was scared, bud. And I knew it was wrong, but... some part of me felt like, you were our boy. And we wanted to give you everything we had to give.<\/dialogue>\n    <scene_description>James looks away from him, unexpected emotion surfacing. He organizes his stack of papers, covering.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>That's, uh... That's not really why I'm here, though.<\/dialogue>\n    <character>TED BURRELL<\/character>\n    <dialogue>What's all that?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Brigsby Bear Adventures. The movie.<\/dialogue>\n    <character>TED BURRELL<\/character>\n    <dialogue>Really? You wrote it?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Yeah, I finished it. The whole story. I did it with my family, and some friends. And we got a bunch of free money from the internet.<\/dialogue>\n    <character>TED BURRELL<\/character>\n    <dialogue>James, that's... amazing!<\/dialogue>\n    <scene_description>James shrugs modestly.<\/scene_description>\n    <character>JAMES<\/character>\n    <dialogue>Well, there's still one thing we can't get right...<\/dialogue>\n    <character>TED BURRELL<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>The voices.<\/dialogue>\n    <scene_description>Ted hesitates...<\/scene_description>\n    <character>TED BURRELL<\/character>\n    <dialogue>I, uh... I thought it was best to just put all that behind me. I'm actually working on something new.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Really? What?<\/dialogue>\n    <character>TED BURRELL<\/character>\n    <parenthetical>(sheepish)<\/parenthetical>\n    <dialogue>It's just a novel right now, but... Knights of the Spectrum: 12th Dimension Masters.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>Whoa, cool. What's the story? Wait, no -- we don't have time.<\/dialogue>\n    <scene_description>James reaches into his pocket, pulls out a TAPE RECORDER. Ted considers it... (pleading) The premiere's next week...<\/scene_description>\n    <character>TED BURRELL<\/character>\n    <dialogue>Well, I am interested to see the direction you went with it...<\/dialogue>\n    <scene_description>Ted picks up the top page, looks it over. A grin creeping up. James hits RECORD. Ted clears his throat...<\/scene_description>\n    <character>TED BURRELL<\/character>\n    <dialogue>Ready?<\/dialogue>\n    <scene_description>James nods, and Ted gives him a smile... Then he launches into a fully-inhabited performance: (Brigsby voice) It was a time of reckoning for the galaxy I called home. And a time of great magic... Off James, surprised and oddly delighted. The BRIGSBY SCORE begins to rise, carrying us to-- MOVIE THEATRE MARQUEE - NIGHT BRIGSBY BEAR ADVENTURES: THE MOVIE WORLD PREMIERE SOLD OUT! MOVIE THEATER A packed audience, hushed, attentions rapt. ON SCREEN Brigsby looks out over a sunlit desert valley. His mouth moves in sync with the dialogue. Sort of.<\/scene_description>\n    <character>BRIGSBY (V.O.)<\/character>\n    <dialogue>...few were able to stand against the darkness...<\/dialogue>\n    <scene_description>On the horizon, the SUN SETS at a sped-up pace. There's an intense RAINBOW SUNSET, beautifully rendered. Then STARS in the night sky. Brigsby's eyelids lower. He sees LIGHTS dot the horizon. In a line, moving. Getting bigger. Flashing RED and BLUE. As for me, I didn't have a choice... The BRIGSBY THEME kicks into full gear, takes us into-- \"BRIGSBY BEAR ADVENTURES\" - OPENING CREDITS Yes, the same sequence as the original show, but with several NEW SHOTS of James' making. AUDIENCE - THAT MOMENT Spencer and Aubrey sit together, dressed up, enjoying it. Then Spencer notices across the aisle -- an EMPTY SEAT. BATHROOM - MOVIE THEATER - MOMENTS LATER Spencer walks in to find-- JAMES, in his Brigsby shirt, standing over a toilet, dry heaving.<\/scene_description>\n    <character>SPENCER<\/character>\n    <dialogue>Whoa, hey, man -- you okay?<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>What if... they don't like it?<\/dialogue>\n    <character>SPENCER<\/character>\n    <dialogue>Dude, everyone here is psyched. They're gonna love it.<\/dialogue>\n    <character>JAMES<\/character>\n    <dialogue>I'm just gonna stay here for a bit...<\/dialogue>\n    <scene_description>LATER: James lying on his back, alone, stressed. Muffled BRIGSBY SFX and MUSIC coming from the theater... ON SCREEN - THE FINAL SCENE! A celebration in the FUTURE LIGHT FORTRESS CEREMONIAL CHAMBER. The production quality similar to the Brigsby TV show, but with a cinematic flair that is all James' own. An animated CROWD (GOODY GOOSE among them) cheers and wave banners. TRUMPETS blare. Brigsby kneels in front of an ALIEN KING (ERIC from the hospital, in makeup), who places a MEDAL around his neck. FELDO MORTESE, also wearing a medal, looks on, proud.<\/scene_description>\n    <character>ALIEN KING ERIC<\/character>\n    <dialogue>We name you, Brigsby Bear... Hero of Eternity!<\/dialogue>\n    <scene_description>ARIELLE AND NINA SMILES (yes, the Arielle and Nina Smiles), wave their hands, casting SPARKLES over the celebration! Brigsby stands, shakes hands with a DAD SUN SOLDER.<\/scene_description>\n    <character>BRIGSBY<\/character>\n    <dialogue>When I came to this world, I thought you were my enemy. But we came together to defeat Sun Snatcher. And now, we're family.<\/dialogue>\n    <scene_description>The Sun Soldier nods, embraces a MOM\/DAUGHTER SUN SOLDIER. AUDIENCE Greg Pope smiling, Louise teary with pride, holding hands. ON SCREEN Brigsby addresses the crowd.<\/scene_description>\n    <character>BRIGSBY<\/character>\n    <dialogue>Worlds must now be rebuilt. It will take time, but together we can...<\/dialogue>\n    <scene_description>But he trails off as DIABOLICAL LAUGHTER rises from above... And the chamber begins to SHAKE and FALL APART!<\/scene_description>\n    <character>ARIELLE SMILES<\/character>\n    <dialogue>Sun Snatcher? It's impossible...<\/dialogue>\n    <character>NINA SMILES<\/character>\n    <dialogue>He must have infiltrated our dimension when we folded space!<\/dialogue>\n    <scene_description>The roof RIPS OFF the palace! SUN SNATCHER hangs overhead, obscured by wisps of cloud.<\/scene_description>\n    <character>SUN SNATCHER<\/character>\n    <dialogue>I have you now, bear!<\/dialogue>\n    <scene_description>AUDIENCE BANDER makes a wholly invested \"whoa!\" face, which he turns to share with VOGEL, who smiles and nods knowingly. ON SCREEN Brigsby confers with Feldo and the Sisters as debris rains.<\/scene_description>\n    <character>ARIELLE SMILES<\/character>\n    <dialogue>The Sun Snatcher simply can't be defeated, Brigsby!<\/dialogue>\n    <character>FELDO MORTESE<\/character>\n    <dialogue>Perhaps not. But now, a choice. Perish here together, and let Snatcher enslave all worlds? Or fold every molecule of this dimension into a singularity, creating a whole new universe, where the forces of light can fight on...<\/dialogue>\n    <character>BRIGSBY<\/character>\n    <dialogue>A new beginning...?<\/dialogue>\n    <scene_description>AUDIENCE EMILY, arms crossed, skeptical, wondering what in God's name she's subjecting herself to. ON SCREEN Brigsby wields the SORTIS CRYSTAL, latches it onto Arielle's AMULET. An ENERGY FIELD surrounds them. Brigsby looks deep into Arielle's eyes...<\/scene_description>\n    <character>BRIGSBY<\/character>\n    <dialogue>One more thing...<\/dialogue>\n    <scene_description>Holy shit -- Brigsby KISSES Arielle Smiles! Animatronic mouth opening and closing. It's... romantic.<\/scene_description>\n    <character>BRIGSBY<\/character>\n    <dialogue>Goodbye Arielle.<\/dialogue>\n    <parenthetical>(afterthought)<\/parenthetical>\n    <dialogue>You too, Nina.<\/dialogue>\n    <scene_description>Nina, off to the side, waves casually. AUDIENCE AUBREY puts her hand over her mouth to keep from laughing. Next to her: LOGAN and MERIDETH, stoned, enraptured. ON SCREEN Brigsby looks up, energy field glowing, amulet in hand. The score CRESCENDOS... and he FLIES into the sky on a bright white beam of energy! Brigsby exits the atmosphere and COLLIDES with Sun Snatcher, trapping him in an energy field, which rockets through space!<\/scene_description>\n    <character>SUN SNATCHER<\/character>\n    <dialogue>Noooooooooooo!<\/dialogue>\n    <scene_description>Faster and faster! Light speed! Into the biggest star in the universe! It explodes in a SUPERNOVA, becomes a BLACK HOLE and begins swallowing all existence! Entire galaxies crumble and swirl into dust until... NOTHING. Soundless darkness. But then-- LIGHT! A BIG BANG births a new universe! \"A FILM BY JAMES POPE AND HIS BEST FRIENDS AND FAMILY\" LOBBY - THAT MOMENT James sits, clutching his knees, listening... And then... APPLAUSE? Getting louder... THEATER - SECONDS LATER James walks in to find a STANDING OVATION, the crowd facing the screen, whistling, shouting, cheering. Standing in front of the screen is BRIGSBY BEAR himself. Brigsby NODS to James. James nods back. Brigsby steps inside the screen and gives James a final wave. Off James waving goodbye, we-- VHS STATIC<\/scene_description>\n  <\/scene>\n<\/script>","summary":"James is forced to live in an underground bunker with his parents Ted and April Mitchum. While Ted tells James that the outside world is dangerous, he often is seen by James leaving the bunker with a gas mask on. James is fascinated with an educational children's show titled Brigsby Bear, centered around the title bear helping characters escape from trouble, because it is the only show he owns and is allowed to watch. One night, he sneaks out only to see several police cars approach the home. As the police raid the bunker, James is taken away from Ted and April, who are arrested. James is brought to the police station and meets Detective Vogel, who tells James that Ted and April are not his real parents and that he has been held captive since he was a baby. Vogel then introduces James to his real parents, Greg and Louise Pope, and their teenage daughter, Aubrey. Having trouble adapting to his new life, James visits a psychologist named Emily, who informs James that Brigsby Bear is not real and was made by Ted, a former artist and designer, who disappeared with his wife in 1987. Emily explains that the police tracked Ted from the studio where the show was made after he was spotted by a passerby days prior. Realizing that no one else will continue the story, James comes up with the idea to make a movie based on the character to close the series. One night, Aubrey takes James to a party. He meets Aubrey's friend Spencer and later starts talking about Brigsby Bear to his new friends. He starts production after Vogel, who sympathizes with James through Vogel's own early acting dreams, lends James some props from the show, and Spencer, being a filmmaker, agrees to make the movie with him. Spencer also advertises the movie by uploading episodes of Brigsby Bear to YouTube, where it gains popularity and a new audience. Greg and Louise do not approve of James' activities because they fear it hinders his chances of living a normal life. While filming in a forest, James uses an explosive he made for a scene that detonates, surprising Spencer. The group is arrested, but James takes the blame for it. The police release him but confiscate the Brigsby Bear props once again. James takes his parents' car out one night to steal the costumes and props. He takes a detour first to his old underground home, now abandoned and cordoned off with yellow tape. James stops by a diner and discovers Whitney, an actress he recognizes from Brigsby Bear. She tells him that she never knew the true circumstances behind the side acting job, having been told by Ted that it was for Canadian public access television. As the police arrive outside, James asks Whitney to reprise her role for his film and admits he has had a longtime crush on her. James is placed in a mental institution. Meanwhile, Aubrey shows her parents parts of the movie, where the two realize that making the movie allowed him to spend time with his friends. One night, James breaks out of the institution to grab his belongings, but discovers his family, along with Spencer and Vogel, building a Brigsby Bear set in their garage. The family tells him that they had agreed to help out after seeing how happy he was behind the scenes. James finishes the movie, with Vogel and Whitney in lead roles, and visits an incarcerated Ted, who apologizes for abducting him. James tells Ted about the movie and states that they are having trouble getting the voices right. Ted helps him out by recording the voice-overs for Brigsby and other characters. On premiere night, the show is sold out and James is worried no one will like it, so he stays out of the theater while the movie plays. After it concludes, James walks into the theater and is met with a standing ovation. While being embraced by his family, James notices a real-life Brigsby on stage. The pair nod at each other and Brigsby disappears."}
{"movie_name":"Leaving Las Vegas_1995","imdb_id":"tt0113627","script":"<script>\n  <scene>\n    <stage_direction>Leaving Las Vegas<\/stage_direction>\n    <scene_description>TITLE ON BLACK ; '10 P.M. - LOS ANGELES '<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMART BAR IN BEVERLY HILLS - NIGHT<\/stage_direction>\n    <scene_description>It is the kind of bar where the well - to - do folks of LA go to pick up - or be picked up . Lesser - known actors , agents and executives of all ages . Into this bar comes Ben . Ben is in his thirties . He is wearing an Armani suit that could use a visit to the dry - cleaner 's . He has n't shaved in the last twenty - four hours -LRB- but neither has any of the actors in the bar -RRB- . He is a good - looking man but is clearly in trouble of some kind . Although still in control of his faculties , it becomes clear in the following scene that he is much the worse for wear with drink . He looks around the room until he sees someone he recognizes and then walks over to a table where two couples are seated . The men are young execs , the girls , both blonde and busty , have very white teeth and smile all of the time . The camera follows Ben over to the table . One of the execs looks up as Ben gets close . He recognizes him but delays his recognition until the last moment in the hope that Ben is not looking at him .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Peter<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Ben. how are you, man?<\/dialogue>\n    <scene_description>They shake hands . Ben is not invited to take a seat and Peter waits for a while before being forced to introduce him to the table . Ben Sanderson , Marc Nussbaum , Sheila , Debbie .<\/scene_description>\n    <character>MARC<\/character>\n    <dialogue>Nice to meet you. I think I spoke to you on the phone a couple of years ago. Were n't you both at MGM with Laddie?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>That's right. Are you still at ICM?<\/dialogue>\n    <character>MARC<\/character>\n    <dialogue>No, I'm at Tri - Star now.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>That's great. Say hello to Mike for me. That's a beautiful dress, Debbie, and those are fabulous earrings, Sheila.<\/dialogue>\n    <scene_description>There is an awkward silence . Ben does not make a move and is not invited to join them . The girls smile .<\/scene_description>\n    <character>MARC<\/character>\n    <dialogue>I got ta tell you, I'm a big fan of your writing. I loved Bay of Pigs.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Thanks a lot. I did n't actually write it, I just got the credit. I was fired.<\/dialogue>\n    <parenthetical>( to Peter . )<\/parenthetical>\n    <dialogue>Can I talk to you for a moment?<\/dialogue>\n    <scene_description>Peter gets up and he and Ben walk to the door together . Peter speaks very quietly .<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Listen, Ben, I ca n't help you any more. Do you understand?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>This is the last time. Promise. I just need some cash tonight. I lost my credit cards. The money'll be on your desk first thing tomorrow morning, Scout's honor. How's the new one coming along? I here you got Richard Gere.<\/dialogue>\n    <scene_description>The two men look at each other for a while . Peter 's friends are looking at them , as are other people in the room . Peter takes out his wallet and extracts some notes .<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>This is all I have in cash. Please do n't drink it here.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Yes, that's fine. I'll messenger it over to you tomorrow.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I do n't want it. Ben. I think it would be best if you did n't contact me again.<\/dialogue>\n    <scene_description>And he turns and walks away , back to his table . TITLE ON BLACK ; ` LAS VEGAS - 1.20 A.M. '<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELICOPTER SHOT - DAY<\/stage_direction>\n    <scene_description>Las Vegas . A blaze of color in the middle of a desert . Credit sequence begins .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOBBY OF EXPENSIVE HOTEL - NIGHT<\/stage_direction>\n    <scene_description>A mixture of businessmen and gamblers creates a sense of activity and superficial excitement . Music wafts across the soundtrack , almost drowned by the dense texture of thousands of slot machines , creating an insane New Age symphony . Credit sequence ends . Into the lobby from the street comes Sera . It 's hard to tell how old Sera is - somewhere between twenty - five and thirty - five . She is a beautiful American girl . Her face has the freshness of a model in a Sears catalogue . She is dressed simply in a short black skirt and matching jacket . High heels complete the picture . Heads turn as she passes a group of businessmen and it 's clear they find her very sexy . She acknowledges their glance with a half - smile and steps into the elevator . She could be a secretary , or a PA to one of the many execs here in Las Vegas at a convention . The body language is a bit different , though .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PENTHOUSE SUITE OF HOTEL - NIGHT<\/stage_direction>\n    <scene_description>A view of night - time Las Vegas through a window . Traffic up and down The Strip ; bright , gaudy neon flashing and winking . We hear the sound of men laughing and the camera pulls focus and we see reflected in the glass . a group of people . On the table are bowls of potato chips and dip and sandwiches . The TV is on at a sports channel and two boxers pound the shit out of each other .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATOR - NIGHT<\/stage_direction>\n    <scene_description>Sera looks at herself in the gold - tinted mirror in the elevator . She takes out a lipstick and freshens her lips . Some people get out and the elevator climbs higher . We see from the indicator that she has punched the Penthouse button . Camera moves in tighter and we see that she is nervous but concealing it well . The elevator stops , the doors open and she steps right into the Penthouse .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PENTHOUSE - NIGHT<\/stage_direction>\n    <scene_description>A bottle of Scotch is almost empty . The man talking is Yuri . He is Russian , in his early forties , a little overweight , a big man wearing a blue silk suit . His thick black hair is greased and combed back . He wears a lot of jewelry , all gold . Rings , a bracelet and a Rolex . Two men in business suits and a weird stoned woman in her late thirties listen to him .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>but please, my friends, call me Yuri. It is my American name. I picked it myself.<\/dialogue>\n    <scene_description>The three people laugh . There is a hint of contempt in the way that they speak to Yuri .<\/scene_description>\n    <character>FIRST BUSINESSMAN<\/character>\n    <dialogue>Where are you from, Yuri? I mean, you sure do n't talk like you're from this neck of the woods.<\/dialogue>\n    <scene_description>Yuri smiles at them .<\/scene_description>\n    <character>YURI<\/character>\n    <parenthetical>( silky voice . )<\/parenthetical>\n    <dialogue>No. you are right, my friend. How very observant you are. I am from Latvia.<\/dialogue>\n    <character>WEIRD WOMAN<\/character>\n    <dialogue>Tough place.<\/dialogue>\n    <character>YURI<\/character>\n    <dialogue>Yes, I hear this too. But I am not a tough man. I am a simple man who is here to learn from my new American friends.<\/dialogue>\n    <scene_description>The door opens and Sera comes in . Everybody stares at her .<\/scene_description>\n    <character>WEIRD WOMAN<\/character>\n    <parenthetical>( turned on . )<\/parenthetical>\n    <dialogue>Is this your friend, Yuri?<\/dialogue>\n    <character>YURI<\/character>\n    <dialogue>Ah, yes. Sera.<\/dialogue>\n    <scene_description>The second businessman takes out a small manila envelope from his inside pocket .<\/scene_description>\n    <character>YURI<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Sera is my gift to you, my friends from New York City. You may do with her as you wish in this beautiful room, which is also my gift for the night to my friends. You will find her a very willing girl, for all of you... just as we arranged.<\/dialogue>\n    <scene_description>Yuri smiles again as the Second Businessman hands him the envelope . The rest of them just stare at Sera , aroused by the idea of her . SECOND BUSINESSMAN Of course , Yuri . I think you 'll find this just as we discussed . Yuri gets up .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>So, my friends. I have other business to attend. Enjoy.<\/dialogue>\n    <scene_description>He heads for the door , passing Sera . She holds out his arm as he passes .<\/scene_description>\n    <character>SERA<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>Yuri. please! Can I talk to you for a moment.<\/dialogue>\n    <scene_description>Still smiling , he takes Sera 's arm and leads her into the bedroom .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>My friends. excuse me for just one moment.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Mirrors reflect mirrors .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>I do n't want this. Yuri, please. I really do n't want this. You know I do n't like to do groups.<\/dialogue>\n    <character>YURI<\/character>\n    <parenthetical>( playful . )<\/parenthetical>\n    <dialogue>I want this, Sera. I need this!<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Please, Yuri.<\/dialogue>\n    <scene_description>He holds put his arms . Sera goes to him . He hugs her with one arm . He pulls up her skirt so that her panties are exposed .<\/scene_description>\n    <character>YURI<\/character>\n    <parenthetical>( seductive . )<\/parenthetical>\n    <dialogue>These are pretty.<\/dialogue>\n    <scene_description>Sera watches in the mirror as he pulls her panties to reveal her buttocks . He strokes her there gently with his other hand . We see that there are two fine scars there . He speaks gently , like a father to a daughter .<\/scene_description>\n    <character>YURI<\/character>\n    <parenthetical>( cont 'd . )<\/parenthetical>\n    <dialogue>Is this how you would repay me for coming all this way to find you again? Driving through the desert to protect my little Sera.<\/dialogue>\n    <scene_description>FLASHBACK - SILENT - GRAINY BLACK AND WHITE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM - NIGHT<\/stage_direction>\n    <scene_description>Yuri and Sera - different time , different place . Sera looking frightened , backing away from Yuri , who pulls a switchblade from his jacket and opens it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PENTHOUSE - NIGHT<\/stage_direction>\n    <scene_description>Yuri enters from the bedroom . The weird woman is doing a line of coke .<\/scene_description>\n    <character>YURI<\/character>\n    <parenthetical>( cheerful . )<\/parenthetical>\n    <dialogue>Sera wanted me to ask if she might undress at once for you. She has a very beautiful undergarment witch she would like you to see.<\/dialogue>\n    <scene_description>ANGLE ON BEDROOM DOOR Sera comes into the room . She smiles and begins unbuttoning her jacket . She takes it off and drops it on the floor , and then unzips her skirt and steps out of it . Sera is now in control and playing the room . In the background . Yuri leaves the room .<\/scene_description>\n    <character>WEIRD WOMAN<\/character>\n    <parenthetical>( strange voice . )<\/parenthetical>\n    <dialogue>Come here.<\/dialogue>\n    <scene_description>Sera walks over and something strange takes place between them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEN'S BAR. LA - MORNING<\/stage_direction>\n    <scene_description>The bar is dark but through a small window we see that it is a very bright sunny day outside . The bartender reads the Los Angeles Times . The bar surface is red vinyl . There are five customers , all single men . One of them is Ben and he is sitting at the bar watching TV . A game show is in progress and the TV sound is loud . Ben finishes his drink and grimaces before indicating to the barman that he 'd like a repeat . Barman pours him a whiskey - Cranberry - and the camera moves in closer to Ben , ending in a close - up . Ben takes a big hit from the drink and concentrates on the TV . We hear from the TV sound that it is a word game with a big prize . Ben smiles to himself . BEN 'S POV OF TV The talk show hostess , an American TV beauty , is showing the audience the prizes available in today 's game show . ANGLE ON BEN As he finishes that drink and asks for another . The camera moves in close on his eyes . BEN 'S POV OF TV She turns from the prizes and looks straight into the TV camera , which starts zooming into her . At first , what she is saying makes complete sense , but then things change ...<\/scene_description>\n    <character>HOSTESS<\/character>\n    <parenthetical>( smoky , sexy voice . )<\/parenthetical>\n    <dialogue>Just look at this studio, Ben, filled with glamorous merchandise, including an extra special prize chosen just for You! A big, bad, BMW motorcycle, complete with saddle bags stuffed with thousands of US dollars.<\/dialogue>\n    <scene_description>` There are oohs ' from the audience .<\/scene_description>\n    <character>HOSTESS<\/character>\n    <dialogue>So, Ben.<\/dialogue>\n    <parenthetical>( tosses her hair . )<\/parenthetical>\n    <dialogue>let's find a bar, get drunk and go for a ride.<\/dialogue>\n    <scene_description>The studio lights dim .<\/scene_description>\n    <character>HOSTESS<\/character>\n    <dialogue>Then we can get a suite somewhere and order up a case of champagne while we fuck ourselves silly.<\/dialogue>\n    <scene_description>Close - up on males in the audience doing the grunt .<\/scene_description>\n    <character>HOSTESS<\/character>\n    <dialogue>This is it, just for You, Ben.<\/dialogue>\n    <scene_description>She unbuttons her top , licks her fingers and makes her nipples hard .<\/scene_description>\n    <character>HOSTESS<\/character>\n    <dialogue>Because You've been so patient, and because I want to fuck you, take care of You, and because there's nothing else in the world worth doing.<\/dialogue>\n    <scene_description>Section of the audience clapping - some women dabbing their eyes .<\/scene_description>\n    <character>HOSTESS<\/character>\n    <dialogue>Tell you what, Ben, let's go to Las Vegas. The bars stay open twenty four hours night and day. Just you, just me, Ben, think about it, all right?<\/dialogue>\n    <scene_description>ANGLE ON BEN Lost in his fantasy<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I'll think about it.<\/dialogue>\n    <scene_description>He looks back at the screen , but the show has returned to what is known as '' normal '' . He finishes his drink and then an attack of nausea hit him . He takes a deep breath and rolls his neck and his head . The barman puts down a fresh drink . Ben looks at his own hands ... which are steady .<\/scene_description>\n    <character>BARMAN<\/character>\n    <dialogue>You should go on that show.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMART BUSINESS SPACE - MORNING<\/stage_direction>\n    <scene_description>Ben sitting at a desk with a phone wedged on his ear , a cup of black coffee on the desk . The walls are covered with framed film posters and one complete wall has shelves jammed with scripts . He nods from time to time and sometimes says ` yes ' or ` OK ' , but it becomes clear that there is no one on the other end . He drinks from the coffee cup . A woman comes up to his desk , a business colleague . She puts a wad of messages down on the desk .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Yeah, but what's the back end like? By the time we're through with P and A, the above - the line is going to take it to about fifteen and with something like this. I do n't know if Disney will go for it. can I call you back on this? OK. chow for now.<\/dialogue>\n    <parenthetical>( to the woman . )<\/parenthetical>\n    <dialogue>Good morning.<\/dialogue>\n    <character>WOMAN<\/character>\n    <parenthetical>( cautious . )<\/parenthetical>\n    <dialogue>Ben. Mr. Simpson was looking for you. I said that you had a doctor's appointment. He said for you to go in as soon as. are you OK?<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>( pulling himself together . )<\/parenthetical>\n    <dialogue>I'm fantastic, but I got ta go out now. very important meeting, could make a coupla million for the company.<\/dialogue>\n    <scene_description>Ben gets up and as he passes her he grabs her and dances a few steps . It is clear that she likes Ben , but when his face gets close to hers she smells the alcohol on his breath and she turns away . Ben stops dancing and smiles sadly .<\/scene_description>\n    <character>WOMAN<\/character>\n    <parenthetical>( tender . )<\/parenthetical>\n    <dialogue>Ben?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>You should go now.<\/dialogue>\n    <scene_description>She leaves the room and Ben goes through some routine at the desk . He opens a drawer of a filing cabinet and puts in his whole arm , looking for something at the very back . He pulls out a small vodka bottle and opens it and then pours the contents into his coffee cup . With cup in hand he leaves the room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMART OFFICE - DAY<\/stage_direction>\n    <scene_description>Ben is sitting opposite his boss , Mr. Simpson , who is very upset . He hands Ben an envelope . Ben opens it and pulls out a check . He looks at the amount .<\/scene_description>\n    <character>BEN<\/character>\n    <parenthetical>( genuinely moved . )<\/parenthetical>\n    <dialogue>This is to generous Peter.<\/dialogue>\n    <character>SIMPSON<\/character>\n    <parenthetical>( close to tears . )<\/parenthetical>\n    <dialogue>Well. we liked having you around, Ben, but you know how it is.<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>( ashamed . )<\/parenthetical>\n    <dialogue>Sure thing. and I'm sorry.<\/dialogue>\n    <scene_description>Ben takes a swig from his coffee cup .<\/scene_description>\n    <character>SIMPSON<\/character>\n    <parenthetical>( trying to cheer things along . )<\/parenthetical>\n    <dialogue>Well. what are you going to do now?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>I thought I might move out to Las Vegas.<\/dialogue>\n    <scene_description>Simpson looks puzzled .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>The bars never close.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEN'S BMW \u2014 DAY<\/stage_direction>\n    <scene_description>Ben drives though Beverly Hills . He pours the content of a small bottle of vodka into an empty Coke can , puts the empty bottle under the seat and then drinks from the can . He slips a tape into the player and we hear '' Lonely Teardrops '' , by Michael McDonald , one of Ben 's favorite songs . At a traffic light a cop on a bike pulls up next to him and Ben takes a pull from the Coke can and smiles , mouths the word '' hot '' . The cop nods back at him , the light changes and they both pull away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANTA MONICA STREET \u2014 DAY<\/stage_direction>\n    <scene_description>Ben carries a brown paper bag which clinks . Camera follows him as he walks down the street . He looks at . BEN 'S POV A girl walking ahead of him in the same direction . She is walking her dog . She is attractive from behind . We hear Ben 's thoughts .<\/scene_description>\n    <character>BEN<\/character>\n    <parenthetical>( voice - over . )<\/parenthetical>\n    <dialogue>Beautiful, not just the shape which is nice, but the whole walk, the feeling, the movement. This girl is pleased with herself. Maybe this is the only art I can appreciate. I do n't know if this is good or bad, but right now she is really beautiful. When I was a boy it would have been really important that she have a pretty face, to go with this body, I mean. I still would like to see her face, but her beauty is not dependent on her face.<\/dialogue>\n    <scene_description>The dog gets interested in something on the sidewalk and she bends down to pull at its collar .<\/scene_description>\n    <character>BEN<\/character>\n    <parenthetical>( voice - over . )<\/parenthetical>\n    <dialogue>I wonder what kind of panties she's wearing. Shit, that's too specific, but. on the other hand, you can never be too specific. but then, the infinitesimal must be, by definition, as infinite as the infinite.<\/dialogue>\n    <scene_description>Suddenly the girl stops . Ben catches up with her and can not resist looking into her face .<\/scene_description>\n    <character>BEN<\/character>\n    <parenthetical>( voice - over . )<\/parenthetical>\n    <dialogue>God, she's so young.<\/dialogue>\n    <scene_description>The girl sees Ben and smiles an innocent smile ,<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>Hi!<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Hi.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEN'S HOUSE IN SANT MONICA - DAY<\/stage_direction>\n    <scene_description>Ben walks up to his house still carrying the paper bag . A young boy of about thirteen years of age is fixing a beat - up bike . Ben greets him .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Hey, Brad. how's it going?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Hey Ben. There were a couple of guys looking for you.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>What did they look like?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Suits. I did n't tell them anything. You know anything about gears?<\/dialogue>\n    <scene_description>Ben takes a look . The gear mechanism is all bent out of shape . He bends down to have a look . It is clear from the way he deals with this mechanical problem that he 's good with his hands . He does n't try to force anything but he moves the chain and gear mechanism to get to the problem .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>How'd this happen?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>I was going real fast down on the beach and something slipped and everything got jammed up.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>The news is not good, kid. This bit here. see there. it's broken. You need a new one.<\/dialogue>\n    <character>BRAD<\/character>\n    <parenthetical>( upset . )<\/parenthetical>\n    <dialogue>How much, do you think?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>I do n't know. I'll find out though.<\/dialogue>\n    <scene_description>Ben gets up , picks up his bottles and heads for his house . He looks back and Brad is sitting still by the bike , looking totally dejected . This really seems to upset Ben .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEN'S HOUSE - AFTERNOON<\/stage_direction>\n    <scene_description>Ben is naked and the shower can be heard in the background . The house is austere , only the minimum of furnishing . He pours a large tumbler of vodka and takes a gulp , then tops up the glass . He turns on the stereo , selects a record - Miles Davis , Kind of Blue - and puts it on the turntable . He turns on the cassette recorder and inserts a new blank tape . He puts the machine into the record mode . He kneels down next to the deck and with complete precision puts the needle on the second track without any problem . The music starts and continues through the next sequence .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOVER - DAY<\/stage_direction>\n    <scene_description>Ben is in the shower with the glass in his hand .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - DAY<\/stage_direction>\n    <scene_description>Ben shaving with the glass in his hand . He does the area around his mouth first so that he can drink while he does the rest .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING SPACE - DAY<\/stage_direction>\n    <scene_description>Showered and shaved and wearing a smart dark suit , Ben looks handsome and normal . He selects another record and again sets up the cassette machine to record . He turns the stereo up full and dances by himself while watching MTV silent . He tries a turn which is a bit ambitious and loses hi balance . In slow motion we see him fall . Ben lies still on the floor . He smiles to himself and decides top stay there for a while .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SERA'S BEDROOM. LAS VEGAS - DAY<\/stage_direction>\n    <scene_description>Sera wakes up in bed next to Yuri . -LRB- The camera is high above the bed looking down . -RRB- She is completely drenched in sweat . A thin shaft o light comes from the crack in the drapes and falls across their bodies . Other than that , the room is in darkness . To get out of bed she would have to climb over him . She lies still . Yuri speaks without opening his eyes .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>I missed you, Sera. You have been lonely?<\/dialogue>\n    <scene_description>Sera blinks and turns her head towards him .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>I'm older now, Yuri.<\/dialogue>\n    <scene_description>He puts his hand between her legs , over the sheets and grasps her there .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>You have been lonely?<\/dialogue>\n    <character>SERA<\/character>\n    <parenthetical>( tensing a little . )<\/parenthetical>\n    <dialogue>I've been all right.<\/dialogue>\n    <character>YURI<\/character>\n    <dialogue>I will keep you safe. We are both older.<\/dialogue>\n    <scene_description>He climbs on to her and mounts her . Familiarity .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>You have been lonely?<\/dialogue>\n    <character>SERA<\/character>\n    <parenthetical>( flat voice . )<\/parenthetical>\n    <dialogue>I am lonely, Yuri.<\/dialogue>\n    <scene_description>He begins thrusting into her .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>Yes. so am I.<\/dialogue>\n    <scene_description>Camera move slowly into a tight portrait of Sear .<\/scene_description>\n    <character>SERA<\/character>\n    <parenthetical>( voice - over . )<\/parenthetical>\n    <dialogue>I had a new dress. we were at the fair, Daddy bought me an ice - cream and I spilt it on my dress.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOCTOR'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Sera is sitting on a sofa talking to an unseen person . -LRB- Although it is no entirely clear when this is taking place , the sense of it is that we are in present , i.e. all the events in the film are in the past tense . -RRB-<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Mom was with Helen, and Dad looked around first to see if she was watching and then he scraped it all off and threw it on the grass and then he kissed me and hugged me and told me it was all right.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SERA'S KITCHEN. LATER THAT DAY<\/stage_direction>\n    <scene_description>Yuri is tucking into a hearty breakfast . Sear plays with her food .<\/scene_description>\n    <character>YURI<\/character>\n    <parenthetical>( planning his day . )<\/parenthetical>\n    <dialogue>This is such a small apartment, Sera. I can not stay here. We will find a big apartment. You know how much money I can bring you. I belong in.<\/dialogue>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>. wealth and luxury.<\/dialogue>\n    <scene_description>He suddenly looks up from his food and smiles at her .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>Why did you run away from me in Los Angeles?<\/dialogue>\n    <scene_description>Sera says nothing .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>Because you are sly. Mmm? You knew all along that there was more money in Las Vegas. Did n't you?<\/dialogue>\n    <scene_description>Sera nervously plays with her food .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>You have nothing to fear from me. You know why? Because we belong together, Sera. Do n't we?<\/dialogue>\n    <scene_description>Sear forces a smile .<\/scene_description>\n    <character>SERA<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM - NIGHT<\/stage_direction>\n    <scene_description>Grainy black - and - white image . Sera on a bed , pinned down by Yuri , who has a knife .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SERA'S HOUSE - DAY<\/stage_direction>\n    <character>YURI<\/character>\n    <dialogue>I'm pleased with you, Sera. how you have moved up in the world. I showed you a glamorous world when I took you off the streets.<\/dialogue>\n    <parenthetical>( shaking his head . )<\/parenthetical>\n    <dialogue>and how you repay me.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Where have you been staying?<\/dialogue>\n    <character>YURI<\/character>\n    <dialogue>With an old friend.<\/dialogue>\n    <scene_description>He drops his fork .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>But that is none of your affair. You will call this morning and book me into a hotel suite where I will make new contacts for us.<\/dialogue>\n    <scene_description>The mood has changed and Sera does her best to move out of these dangerous waters .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>You'll need some money, then.<\/dialogue>\n    <scene_description>Yuri nods . Sera rises goes to a kitchen drawers and finds money .<\/scene_description>\n    <character>YURI<\/character>\n    <parenthetical>( becoming angry . )<\/parenthetical>\n    <dialogue>It is, after all, Sera, my money.<\/dialogue>\n    <character>SERA<\/character>\n    <parenthetical>( calmly . )<\/parenthetical>\n    <dialogue>Yes, of course. How much do you need?<\/dialogue>\n    <character>YURI<\/character>\n    <parenthetical>( shaking his head . )<\/parenthetical>\n    <dialogue>All of it. I need to buy many things. all of it!<\/dialogue>\n    <scene_description>Yuri is very angry and as Sera hands him the money , he hits her , hard , knocking her back into the refrigerator . His ring cuts her cheek .<\/scene_description>\n    <character>YURI<\/character>\n    <parenthetical>( shouting . )<\/parenthetical>\n    <dialogue>Do n't look at me like that.<\/dialogue>\n    <scene_description>And then his anger goes and he becomes quite tender with her . He takes her face in his hands to look at the cut .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>It's not so bad. It is nothing.<\/dialogue>\n    <parenthetical>( whispers . )<\/parenthetical>\n    <dialogue>I need money, Sera. I need it fast. You must go on the street tonight. For me.<\/dialogue>\n    <scene_description>He sits down with shaking hands . He suddenly seems more vulnerable than she is . He goes to the window and looks out , left and then right , as if he expects to see something .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>I need money fast, Sera. I want you back on the street. Tonight.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEN'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Ben opens his eyes . The only light comes from the TV . The miles Davis record has got caught on a scratch and is repeating the sane phrase over and over again . He looks at his gold Rolex and then fingers the wedding band on his finger .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEN'S BAR. LA - NIGHT<\/stage_direction>\n    <scene_description>Ben is sitting at the bar . He drinks a large glass of something very quickly and then immediately orders another . He drinks this a little slower but still too quick , finishes it and then orders another . He looks around the bar and sees a woman sitting by herself , thirtyish , pretty and receptive . She looks and sees Ben , and he smiles at her . She smiles right back . Ben talks across the bar .<\/scene_description>\n    <character>BEN<\/character>\n    <parenthetical>( charming . )<\/parenthetical>\n    <dialogue>Good evening.<\/dialogue>\n    <character>PRETTY WOMAN<\/character>\n    <parenthetical>( pleased . )<\/parenthetical>\n    <dialogue>Hi.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>I'm Benjamin... Ben.<\/dialogue>\n    <character>PRETTY WOMAN<\/character>\n    <dialogue>I'm Teri.<\/dialogue>\n    <scene_description>Ben walks over to where she is . She is pleased that this good - looking man has come over to make a play . She makes a noise with her straw to indicate that her glass is empty .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I'll get you another one. and me too. Mind if I join you?<\/dialogue>\n    <scene_description>She watches him walk to the bar . He gets the drink and walks back to her . He sets the drinks down on the table and sits down . As he does so , his face gets close to hers and she smells the booze on him .<\/scene_description>\n    <character>PRETTY WOMAN<\/character>\n    <dialogue>Wow. been drinking all day?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>But of course.<\/dialogue>\n    <scene_description>She looks at him , a disappointed expression on her face . She is no longer interested in being seduced by this man and this much is clear to Ben .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Why do n't we finish these and go to my apartment on the beach?<\/dialogue>\n    <scene_description>She does n't respond .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>We can watch a movie and I'll mix you up a gooey blender drink.<\/dialogue>\n    <scene_description>Ben winces at his own words . He shakes his head .<\/scene_description>\n    <character>PRETTY WOMAN<\/character>\n    <dialogue>I have to get up pretty early tomorrow. I'll just finish this and go. Thanks anyway.<\/dialogue>\n    <scene_description>They drink in silence for a while . Ben takes a deep breath .0<\/scene_description>\n    <character>BEN<\/character>\n    <parenthetical>( pathetic . )<\/parenthetical>\n    <dialogue>I really wish that you'd come home with me. You're so cute and I'm really good in bed. believe me. you smell good too.<\/dialogue>\n    <scene_description>He stops and frowns as he stares into his empty glass .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>No, OK.<\/dialogue>\n    <scene_description>Ben tries to stand and has to pull himself up by holding the bar . It 's a strange thing with drunks like Ben . when they 're up they have balance and timing , but when they 're down it all falls apart . She starts to speak but then does n't . A look of great sadness comes over her .<\/scene_description>\n    <character>PRETTY WOMAN<\/character>\n    <dialogue>I have to go now. Thanks anyway.<\/dialogue>\n    <scene_description>She stands to go .<\/scene_description>\n    <character>PRETTY WOMAN<\/character>\n    <dialogue>Maybe you should n't drink so much.<\/dialogue>\n    <scene_description>She walks to the door and Ben turns to the bar , watched by he Barman , who is a little concerned .<\/scene_description>\n    <character>BEN<\/character>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>Maybe I should n't breathe so much, Teri. Ha. ha.<\/dialogue>\n    <character>BARMAN<\/character>\n    <parenthetical>( sever voice . )<\/parenthetical>\n    <dialogue>Time to go, buddy. We're closing up.<\/dialogue>\n    <scene_description>Ben gets out his wallet but his hands are shaking so much that he can not extract any bills . He is very embarrassed and tries again , but to no avail .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Would you?<\/dialogue>\n    <scene_description>The barman shakes his head in disgust as he goes into the wallet and takes some money .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LA STREETS - NIGHT<\/stage_direction>\n    <scene_description>Ben is cruising in his car , listening to music on his stereo .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRIP CLUB - NIGHT<\/stage_direction>\n    <scene_description>Ben comes into the club and sits down next to the stage , where a dancer is doing her thing accompanied by a live blue trio . A swimsuited waitress comes to the table . WAITRESS There 's a one - drink minimum per show , I hope you saw the sign when you came in . Anyway , they 're supposed to tell you .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Yes, I heard, and it's not a problem.<\/dialogue>\n    <character>WAITRESS<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>What are my choices?<\/dialogue>\n    <character>WAITRESS<\/character>\n    <dialogue>Everything's ten dollars, and there's no alcohol.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>No alcohol?<\/dialogue>\n    <character>WAITRESS<\/character>\n    <dialogue>No alcohol. You got ta get something else. Everything's ten dollars. What do you want?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>What do you think I should get?<\/dialogue>\n    <character>WAITRESS<\/character>\n    <dialogue>Non - alcoholic malt beverage?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Noooo.<\/dialogue>\n    <character>WAITRESS<\/character>\n    <dialogue>Orange soda?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>WAITRESS<\/character>\n    <dialogue>Coffee?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>WAITRESS<\/character>\n    <dialogue>Sparkling apple cider?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>WAITRESS<\/character>\n    <dialogue>Water?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Water?<\/dialogue>\n    <character>WAITRESS<\/character>\n    <dialogue>One drink minimum per show. Everything's ten dollars. Now. tell me what you want or I'll eighty - six you.<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>( decides . )<\/parenthetical>\n    <dialogue>Water.<\/dialogue>\n    <scene_description>She writes down W.A.T.E.R. and walks away . Ben calls her back .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Just how much would it cost for you to eighty - six me?<\/dialogue>\n    <scene_description>ANGLE ON THE STAGE A tough black girl dances in a world of her own , impervious to the men who stare at her . The trio grinds out a dirty blues . A man opposite Ben places a dollar bill on the stage and as the dancer squats down to pick it up he stares between her legs an winks . The Waitress puts down a styrofoam cup and a bottle of water in front of Ben but refuses to look at him .<\/scene_description>\n    <character>WAITRESS<\/character>\n    <parenthetical>( hostile . )<\/parenthetical>\n    <dialogue>Three - fifty.<\/dialogue>\n    <scene_description>Ben puts down a hundred on to her tray .<\/scene_description>\n    <character>BEN<\/character>\n    <parenthetical>( polite . )<\/parenthetical>\n    <dialogue>Could I have fives please? Keep one for yourself.<\/dialogue>\n    <scene_description>This throws the Waitress for a loop .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM OF STRIP CLUB - NIGHT<\/stage_direction>\n    <scene_description>Ben drinks all of a fifth of bourbon . Other guys come and go , pissing against the urinal . Ben offers one of the guys a drink , the pianist from the trio . He takes a shot .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRIP CLUB - NIGHT<\/stage_direction>\n    <scene_description>Ben sits next to another man watching the show . On stage a tall blonde dances with her own reflection in a mirror . Ben turns to his neighbor .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>To me nothing is more beautiful than the relationship between the reflection of a woman and the woman who has created it.<\/dialogue>\n    <character>NEIGHBOR<\/character>\n    <parenthetical>( completely uninterested . )<\/parenthetical>\n    <dialogue>No shit!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LA STREETS - NIGHT<\/stage_direction>\n    <scene_description>Ben drives in his car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUNSET BOULEVARD - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Ben is cruising in his car , listening to ` Lonely Teardrops ' again . He 's looking for a prostitute . He sees a girl , but when he slows down she ducks into a doorway . He looks in his rear - view mirror and sees a cop car coming up fast . Ben panics for a second . There is a bottle between his legs . The cop car draws level and cruises alongside him for a while , but then puts its lights and siren on and speeds off , doing a U - turn . Ben continues and then sees an Hispanic girl and stops . He winds down the window . He is by now almost incoherent .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Good evening.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KERBSIDE - NIGHT<\/stage_direction>\n    <scene_description>The girl looks up and down the street and then walks over to the car and bends down to the window .<\/scene_description>\n    <character>HISPANIC GIRL<\/character>\n    <dialogue>You wan na date? You wan na date me?<\/dialogue>\n    <scene_description>The girl 's eyes shift constantly from Ben to the street and then back again .<\/scene_description>\n    <character>BEN<\/character>\n    <parenthetical>( cut to the chase . )<\/parenthetical>\n    <dialogue>I'll give you a hundred dollars for a straight forty - five minutes. You get the room.<\/dialogue>\n    <scene_description>Ben shows her the money .<\/scene_description>\n    <character>HISPANIC GIRL<\/character>\n    <parenthetical>( trying to take him . )<\/parenthetical>\n    <dialogue>The room is twenty. You pay for it.<\/dialogue>\n    <scene_description>Ben laughs .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>OK. but only because I think that the concept of surrender fits in with the big picture right now. How about over there?<\/dialogue>\n    <scene_description>He gives her a twenty and indicates a motel across the street . She sets off and he gets out of the car . As he does , a wave of nausea hits him . He shakes his head violently and then lurches across the street , causing two cars to hit their brakes . The camera follows him into the dark parking lot of the motel , where the Hispanic girl is waiting .<\/scene_description>\n    <character>BEN<\/character>\n    <parenthetical>( slurring badly . )<\/parenthetical>\n    <dialogue>I canremember. if mywifeleffme. or Illeff her. bufuckittanyway.<\/dialogue>\n    <scene_description>The girl laughs at Ben and says something in Spanish . Slowly the picture gets darker , until all that can be seen is the headlights from the passing cars on Sunset . and then .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEN'S HOUSE - DAWN<\/stage_direction>\n    <scene_description>Ben wakes up on the kitchen floor . The fridge door is open and its light is what lights Ben . Inside the fridge are one green pepper and four bottles of vodka . Without too much effort Ben feels for his wallet and sees that it is still there , as are his car keys . He closes the fridge door and in the green light from the window he lies still . The first birds start singing . -LRB- the birdsong continues through the following sequence , which does not have sync sound . -RRB- FLASHBACK<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUNSET BOULEVARD MOTEL. PARKING-LOT DUMPSTERS - NIGHT<\/stage_direction>\n    <scene_description>At the rear of the motel . Next to some garbage hoppers , the Hispanic girl hugging him and kissing his neck . He tries to kiss her on the mouth , but she turns her face away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEN'S HOUSE - DAWN<\/stage_direction>\n    <scene_description>Ben lying on the floor , thinking . FLASHBACK<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUNSET BOULEVARD MOTEL. PARKING-LOT DUMPSTERS - NIGHT<\/stage_direction>\n    <scene_description>The Hispanic girl kneeling in front of him , unzipping his trousers . Through a gap in the fence , we see traffic going up and down Sunset .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEN'S HOUSE - DAWN<\/stage_direction>\n    <scene_description>Ben lying on the floor , thinking . FLASHBACK<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUNSET BOULEVARD MOTEL. PARKING-LOT DUMPSTERS - NIGHT<\/stage_direction>\n    <scene_description>The girl takes his hand and kisses it . She begins sucking the fingers , taking the whole hand into her mouth .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEN'S HOUSE - DAWN<\/stage_direction>\n    <scene_description>Ben suddenly sits up and looks at his hand . His wedding ring has gone . He thinks about this for a long time .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANK - MORNING<\/stage_direction>\n    <scene_description>Ben waiting in line to cash a check . He looks unwell and is having difficulty standing straight . At last it is his turn . He goes to the counter and hands over a check to the girl .<\/scene_description>\n    <character>BANK GIRL<\/character>\n    <dialogue>OK. four thousand, six hundred dollars. one moment, sir.<\/dialogue>\n    <scene_description>She looks at her computer read - out .<\/scene_description>\n    <character>BANK GIRL<\/character>\n    <dialogue>That'll leave five dollars in your account. Would you sign the back of the check, please?<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>( surprised . )<\/parenthetical>\n    <dialogue>You could n't cash it just like it is?<\/dialogue>\n    <character>BANK GIRL<\/character>\n    <parenthetical>( puzzled . )<\/parenthetical>\n    <dialogue>I'm sorry, sir. Is there a problem?<\/dialogue>\n    <scene_description>Ben picks up a pen and tries to sign , but his hands are shaking so much that he can not do it .<\/scene_description>\n    <character>BEN<\/character>\n    <parenthetical>( embarrassed . )<\/parenthetical>\n    <dialogue>Well. to tell you the truth, I'm a little shaky right now. I just had a brain surgery. Why do n't I come back after lunch, when I'm feeling a little better? We can take care of it then.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEN'S BAR. LA. - MORNING<\/stage_direction>\n    <scene_description>Ben seated at the bar , a pile of bills in front of him . The Barman sets down a vodka , picks up the empty glass and takes some bills , shaking his head in disapproval . The TV is on , some game show as before , and Ben watches carefully , looking for a sign from the girl , but the show proceeds in its ` normal ' fashion . The only difference is that the hostess is played by the girl in the bank . Ben grabs the Barman 's attention .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I think, when I'm done with this, I'll have gin and tonic. Bombay gin and tonic.<\/dialogue>\n    <scene_description>The Barman loses it<\/scene_description>\n    <character>BARMAN<\/character>\n    <parenthetical>( angry . )<\/parenthetical>\n    <dialogue>You should be having coffee. Do you know what time it is? You're a young man.<\/dialogue>\n    <parenthetical>( calmer . )<\/parenthetical>\n    <dialogue>It's none of my business, but if you could see what I see, you would n't do this to yourself.<\/dialogue>\n    <scene_description>Ben is taken aback by the emotion in his voice . In his mind , cynicism and the desire to cry fight it out . He holds the emotion back , and looks down at the bar .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I understand what you're saying. I appreciate your concern. Its not my intention to make you uncomfortable. Please. serve me today and I will never come in here again.<\/dialogue>\n    <parenthetical>( cheerful . )<\/parenthetical>\n    <dialogue>If I do, you can eighty - six me.<\/dialogue>\n    <character>BARMAN<\/character>\n    <dialogue>Sure, sure, I can eighty - six you now if I want to. Stop fucking with me. I do n't give a fuck what you do.<\/dialogue>\n    <scene_description>He picks up a bottle of gin , fills a glass , slams it on the counter in front of Ben and knocks twice with his knuckles on the bar .<\/scene_description>\n    <character>BARMAN<\/character>\n    <dialogue>On the house, son.<\/dialogue>\n    <scene_description>Ben looks at the TV for a sign . None is forthcoming .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BANK - DAY<\/stage_direction>\n    <scene_description>Ben waiting in line again . The same Bank girl is there and she is dealing with her customers in the same inanely cheerful way that the game - show Hostess dealt with her prize - winners . She notices Ben waiting and an irritated look flashes over across her face . Ben studies her . She is pretty in an ordinary kind of way . We hear Ben 's thoughts as voice - over -LRB- or maybe he says them out loud to himself -RRB- .<\/scene_description>\n    <character>BEN<\/character>\n    <parenthetical>( voice over . )<\/parenthetical>\n    <dialogue>Are you desirable? Are you irresistible? Maybe if you drank bourbon with me, it would help. Maybe if you kissed me and I could taste the sting in your mouth, it would help.<\/dialogue>\n    <scene_description>Close - up on the Bank Girl as she does her thing , efficiently counting money , smiling , perfect teeth framed by a Cupid mouth . She is wearing a white blouse through which frilly lingerie can just be made out .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>If you drank bourbon with me naked. if you smelled of bourbon as you fucked me, it would help. it would increase my esteem for you. If you poured bourbon on to your naked body and said to me. drink this.<\/dialogue>\n    <scene_description>Camera moves in tighter on her face as she chats with a customer about the weather .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>if you spread your legs and had bourbon dripping from your breasts and you vagina and said drink here. then I could fall in love with you, because then I would have a purpose, to clean you up, and that would prove that I'm worth something. Id lick you clean so you could go away and fuck someone else.<\/dialogue>\n    <character>BANK GIRL<\/character>\n    <dialogue>Next!<\/dialogue>\n    <scene_description>Ben takes a moment to come out of his reverie . He smiles and comes to the counter , completely in control of himself .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I'm back, I've got my check. and baby. I'm ready to sign.<\/dialogue>\n    <scene_description>He flips the check over , makes sure she is watching and signs with a flourish .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>There. Steady as a fucking rock, excuse my French.<\/dialogue>\n    <parenthetical>( serious . )<\/parenthetical>\n    <dialogue>Wan na have dinner with me?<\/dialogue>\n    <scene_description>She counts the money out and glares at him as she hands it over .<\/scene_description>\n    <character>BANK GIRL<\/character>\n    <dialogue>I'm glad you're feeling better. Do you need a validation?<\/dialogue>\n    <scene_description>Ben looks at her and smiles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUPERMARKET - DAY<\/stage_direction>\n    <scene_description>Ben throws items into a trolley . Garbage bags , firelighters and charcoal lighter fluid .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEN'S KITCHEN - DAY<\/stage_direction>\n    <scene_description>Ben putting all the kitchen utensils into a large garbage bag . Three other bags are already filled and the kitchen is looking empty .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEN'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>Ben is stuffing all the bedding into a garbage bag . Next he opens a drawer on the dresser and begins taking out clothes and stuffing them into another bag . He pauses for a moment to take a drink from a tall glass .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEN'S LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>All the books from the bookcase go into another bag . Then all the records . But he selects certain favorites and as this sequence progresses we can see that Ben is making tapes of these tracks . As soon as he is done with the recording , he throws the album into a garbage bag .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEN'S YARD - NIGHT<\/stage_direction>\n    <scene_description>Ben pours lighter fluid on to a pile of photographs and then throws a match on to it . It bursts into flames . He throws more stuff on and the fire blazes . A curious neighbor watches from a safe distance , not wanting too get involved . ANGLE ON THE FIRE A watercolor , a poem to his wife , photograph of him and his wife , a Polaroid of a naked woman , his medical records , his birth and marriage certificates , divorce papers , strips of photographs from booths , postcards from Hawaii . Two small children -LRB- his ? -RRB- . ANGLE ON BEN Now the flames are high and Ben has to stand back as he throws things on to the fire . his camera , an engraved box , his wife 's ` left behind ' clothing , a clock .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEN'S HOUSE - DAWN<\/stage_direction>\n    <scene_description>Fifteen neatly tied garbage bags and Ben 's furniture are stacked up on the sidewalk . Ben comes out of his front door carrying a racing bike . He walks to the neighbors ' house and places the bike on the porch . We see a label saying ` To Brad from Ben ' . He walks to his black car with a small suitcase , gets in and drives off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT LANDSCAPE WITH ROAD - DAY<\/stage_direction>\n    <scene_description>A high wide shot shows a small black car making its way across the frame .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - DAY<\/stage_direction>\n    <scene_description>Through the window we see a dead straight road stretching to infinity . The sunlight is painfully bright . On the soundtrack we hear one of Ben 's chosen tapes , which continues through into the next shot .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GAS STATION IN THE DESERT - DAY<\/stage_direction>\n    <scene_description>Ben is filling his car . A towncar drives in and stops next to the BMW . Three men get out . They look like Russian Mobsters . Ben nods at them and they nod back .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - NIGHT<\/stage_direction>\n    <scene_description>Same angle through the window but this time we see Las Vegas at night as Ben drives down the main drag . An overdose of neon .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAS VEGAS STRIP - NIGHT<\/stage_direction>\n    <scene_description>Ahead we see the light changing , but Ben does n't notice until it 's almost to late . The car stops and we see Sera crossing in front of the car . She gives Ben a look of real attitude because he is over the line and she has to change course to cross in front .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL FORECOURT - NIGHT<\/stage_direction>\n    <scene_description>Sera is talking to Yuri . A middle - aged man gets out of a cab and Yuri shakes him by the hand and introduces him to Sera . He hands Yuri an envelope and then Sera and he go into the hotel together . Yuri looks around thoughtfully before getting into a cab and driving off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOCTOR'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Improvised scene . -LRB- 1 -RRB-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL RECEPTION - NIGHT<\/stage_direction>\n    <scene_description>Ben waits to check in while the manager explains the house rules to a family of large people from the Midwest .<\/scene_description>\n    <character>MANAGER<\/character>\n    <dialogue>All rooms to be paid a week in advance, maid service is optional, use of the pool is at your own risk, there is no lifeguard on duty.<\/dialogue>\n    <scene_description>Above the manager 's head is the name of the motel , The Whole Year Inn . Ben stares at it and then smiles . BEN 'S POV The sign has changed to The Hole You 're In .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIQUOR STORE - NIGHT<\/stage_direction>\n    <scene_description>Ben has almost filled a trolley with bottles of various brands . He is whistling and seems happy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOCTOR'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Improvised scene . -LRB- 2 -RRB-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE STRIP - NIGHT<\/stage_direction>\n    <scene_description>Ben driving . He sees Sera and follows her , then drives up on the sidewalk . She sees him .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Hello!<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Are you working?<\/dialogue>\n    <character>SERA<\/character>\n    <parenthetical>( tough . )<\/parenthetical>\n    <dialogue>Working? What do you mean, working? I'm walking.<\/dialogue>\n    <scene_description>And she walks a few steps to prove it , stopping on the passenger side of his car . They pause for a moment and Ben is confused . He is quite taken with her beauty , but this is not going according to plan . He reaches into the car quickly and picks an open can of bee , draining it before tossing the empty back on to the rear seat .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Is n't it illegal to drink and drive?<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>That's funny.<\/dialogue>\n    <parenthetical>( seriously . )<\/parenthetical>\n    <dialogue>I wonder if you'll take two hundred and fifty dollars to fuck me?<\/dialogue>\n    <scene_description>Sera does n't say anything .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>That is, if you'll come to my room for an hour, I will give you five hundred dollars.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Maybe you should n't stand in the road like that. You're pretty drunk.<\/dialogue>\n    <scene_description>He bites his lips as he waits for her to respond .<\/scene_description>\n    <character>SERA<\/character>\n    <parenthetical>( softer . )<\/parenthetical>\n    <dialogue>You're pretty drunk.<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>( factual . )<\/parenthetical>\n    <dialogue>Not really. My room's not far. The Whole Year Inn. You can drive with me if you want.<\/dialogue>\n    <scene_description>She makes no response .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>or we can walk. or I'll give you cab fare.<\/dialogue>\n    <scene_description>Takes out his money .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Whatever you want.<\/dialogue>\n    <scene_description>She touches the door handle .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Why do n't you give me the money when I'm in the car, and I'll drive you.<\/dialogue>\n    <scene_description>It takes a moment or two to register that she is saying yes . He comes around the car to open the door for her .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I'm Ben.<\/dialogue>\n    <scene_description>They shake hands .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>I'm Sera.<\/dialogue>\n    <scene_description>She gets in . Ben gets in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - NIGHT<\/stage_direction>\n    <scene_description>Ben hands her the money .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Sarah - with an H?<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>No - S.E.R.A.<\/dialogue>\n    <scene_description>They grin at each other .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>You wan na start the engine?<\/dialogue>\n    <scene_description>They drive off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOTEL PARKING LOT - NIGHT<\/stage_direction>\n    <scene_description>They sit in the car for a while before speaking .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>I'm sort of curious. if you're willing to pay me two - fifty. not that I mind. I mean, I'm OK with that - why are n't you staying in a hotel?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>We can go to one if you'd prefer.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>No, this is fine. I was just wondering.<\/dialogue>\n    <scene_description>Ben switches off the engine but makes no move to get out of the car .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Well. I'm here because I'm a drunk who tends to pass out at odd hours for unpredictable stretches. I'm going to a hotel soon. A room with a balcony to pass out on. or off.<\/dialogue>\n    <scene_description>He falls silent .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Umm. We can stay in the car for an hour if you want. But I really have to go then. It's your time.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Right, I'll get your door. I tend to fade in and out lately.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>I guess I do too.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>You what?<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>I sometimes fade out.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Oh. well, maybe we better synchronize our spells. or stagger them.<\/dialogue>\n    <character>SERA<\/character>\n    <parenthetical>( gently . )<\/parenthetical>\n    <dialogue>You were going to get my door.<\/dialogue>\n    <scene_description>He gets out and she waits for him to open the door . She gets out and he offers her his arm . She takes it and they walk into the motel .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEN'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>As Ben closes the door . Sera surveys the room .<\/scene_description>\n    <character>SERA<\/character>\n    <parenthetical>( amused . )<\/parenthetical>\n    <dialogue>What this room needs. is more booze.<\/dialogue>\n    <scene_description>SERA 'S POV There are bottles everywhere . Ben has gone to a lot of troble to lay them out in a pleasing way .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Do you think so?<\/dialogue>\n    <scene_description>She turns and looks at him , appraising him . Suddenly she 's all business , in control , and Ben likes it .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Mind if I use the bathroom?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>She goes into the bathroom .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Want a drink? I'm having one.<\/dialogue>\n    <character>SERA<\/character>\n    <parenthetical>( off - screen . )<\/parenthetical>\n    <dialogue>A shot of tequila, if you can spare it.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>Ben smiles , happier than we 've ever seen him . He gets her order ready and then he takes a big swig from a bourbon bottle . He sits on the edge of the bed . The bathroom door opens and Sera comes in wearing a black bra and panties . She 's acting the hooker now , tough and sexy .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>For two - fifty we can do pretty much what you want. You've been drinking, so it might be better if I got on top, but the other way's fine too. I have some jelly in case you want to fuck my ass, that's up to you. If you want to come in my face, that's OK too, just try to keep it out of my hair, I just washed it. and my eyes, it stings.<\/dialogue>\n    <scene_description>She walks to the table and downs her tequila in one . Then comes to the bed , where Ben is sitting . She kneels , unzips his fly and begins sucking him . Ben watches her , looks at her reflection in the closet mirror , reaches for the bottle and drinks some , being careful not to disturb Sera . After a while Sera comes up .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Do you want to fuck now?<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>( confused . )<\/parenthetical>\n    <dialogue>Maybe another drink first. More tequila?<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>OK. whatever.<\/dialogue>\n    <scene_description>She takes the bottle and drinks . She goes down again . Ben stops her .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>What's the story? Are you too drunk to come?<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>( sincere . )<\/parenthetical>\n    <dialogue>I do n't care about that. There's time left. You can have more money. You can drink all you want. You can talk or listen. Just stay, that's all I want.<\/dialogue>\n    <scene_description>She looks at him , confused . She sees a strange look on his face . It throws her . This is a turning point . Both of them are momentarily exposed . Ben lifts the sheet and moves to one side , indicating that she should come into the bed . She 's as confused as he is . She gets in with him and he hands her the bottle .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CASINO - NIGHT<\/stage_direction>\n    <scene_description>Yuri is losing at one of the tables . He continues to bet though , putting half of what he has left on one number . He lose again . He mops his face with a red silk handkerchief and places another bet .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOMEWHERE IN THE CASINO - NIGHT<\/stage_direction>\n    <scene_description>The three Russian Mobsters we saw in the desert are walking through the casino , looking for someone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEN'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>They are both in bed , drinking .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>So, Ben, what brings you to Las Vegas? Business convention?<\/dialogue>\n    <scene_description>They both laugh and Ben hands her the bottle .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>No, I came here to drink. myself. you know.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>To death?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Yes, that's right.<\/dialogue>\n    <scene_description>He looks at her , she at him , not sure whether to believe him or not .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I cashed in all of my money, paid my AmEx card, gon na sell the car tomorrow.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>How long's it gon na take, for you to drink yourself to death?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>I think about four weeks, and I've got enough for about two hundred and fifty to three hundred dollars a day.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Yes. that should do it. What am I? A luxury?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Yeah. And your meter just ran out.<\/dialogue>\n    <scene_description>Ben looks at his watch .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>It's OK. nice watch. Go on. Talk some more.<\/dialogue>\n    <scene_description>Ben yawns , suddenly deeply tired .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>In LA I kept running out of booze and the store would be closed because I'd forget to look at my watch. so I decided to move here because nothing ever closes and because I got tired of getting funny looks when I would walk into a bar at six o'clock. even the bartenders started preaching.<\/dialogue>\n    <parenthetical>( yawns again . )<\/parenthetical>\n    <dialogue>Here, everyone's from out of town so no one cares, no one is overtly fucking up<\/dialogue>\n    <scene_description>LATER . SIDE ANGLE Sera is in focus , Ben is asleep .<\/scene_description>\n    <character>SERA<\/character>\n    <parenthetical>( voice - over . )<\/parenthetical>\n    <dialogue>I guess I was intrigued by him. There was a lot of stuff that I wanted to ask him about but did n't because I did n't want to sound too interested in a trick. But I felt as if a relationship was being forged very quickly.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOCTOR'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Improvised scene . -LRB- 3 -RRB-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SERA'S APARTMENT COMPLEX - DAWN<\/stage_direction>\n    <scene_description>Sera gets out of a cab and makes her way towards her apartment , changing out of her high heels as she walks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SERA'S HOUSE - DAWN<\/stage_direction>\n    <scene_description>Sera lets herself in . Yuri is standing in the shadows . She gets a fright when she sees him .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>Where have you been?<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>It was a slow night. I went to a hotel for a few drinks.<\/dialogue>\n    <scene_description>Yuri holds out his hand for her bag . She gives it to him . He finds the money and counts it .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>A full night on the street and this is all?<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Like I said. it was a slow night. I'm sorry. It was hard to score.<\/dialogue>\n    <scene_description>Yuri slaps her .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Do n't hit me.<\/dialogue>\n    <character>YURI<\/character>\n    <dialogue>What do you think. you are sixteen years old on Hollywood Boulevard?<\/dialogue>\n    <scene_description>Yuri talks in Russian , becoming angrier , and slaps her again . He spits on the floor . Sera falls against the kitchen table and picks up a lethal - looking knife . Yuri stops .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Maybe nobody wants to fuck a chick with a cut on her cheek.<\/dialogue>\n    <scene_description>She throws the knife to Yuri , who catches it . She bends over the table and pulls up her skirt .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>There, go ahead!<\/dialogue>\n    <scene_description>She mimics him . A shower of Russian comes out of Yuri , but he does n't touch her . He tries to regain his dignity by putting on a coat .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>I could kill you. You know that.<\/dialogue>\n    <scene_description>He goes to the door .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>Work, tonight, bring me money, no matter the hour.<\/dialogue>\n    <scene_description>And he exits . Sera is still on the table .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>I will Yuri. I will.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PAWN SHOP - DAY<\/stage_direction>\n    <scene_description>The proprietor is handling over some cash to Yuri , whose jewelry is on the counter . He pockets it and as he turns to leave , Ben comes in . They pass without taking much notice of each other . Ben removes his Rolex and shows it to the man .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET, LAS VEGAS - DAY<\/stage_direction>\n    <scene_description>Yuri is walking in the hot sun , sweating . We see him through long - lens heat haze . The camera wanders into the traffic and we see the black towncar crawling along behind him , three men inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOCTOR'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Improvised scene . -LRB- 4 -RRB-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAIN BAR, HOTEL - NIGHT<\/stage_direction>\n    <scene_description>A lounge singer belts out a fair rendition of a Tony Orlando number . Sera sits at the bar , an empty seat on either side of her . She watches a younger hooker in the final moments of pulling a dangerous - looking man . The girl is aware of Sera without even looking at her . The guy she is with looks around and sees Sera . The girl shoots an icy look . A man sits next to Sera : a conventioneer .<\/scene_description>\n    <character>CONVENTIONEER<\/character>\n    <dialogue>About ready for another drink?<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Yes, that would be great. Are you her for the convention?<\/dialogue>\n    <character>CONVENTIONEER<\/character>\n    <dialogue>Do I look that obvious? My name's Paul.<\/dialogue>\n    <scene_description>They shake hands .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>No, of course not, just a wild guess. I'm Sera and that's a margarita.<\/dialogue>\n    <scene_description>The barman is already pouring . The young hooker leaves with her dangerous guy . She pauses long enough to give Sera a nasty smile . The conventioneer pays for the drink and is a little lost for words . Sera tries to help .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>So. are you alone, or are you just using me to make someone else jealous?<\/dialogue>\n    <character>CONVENTIONEER<\/character>\n    <parenthetical>( laughs nervously . )<\/parenthetical>\n    <dialogue>Alone. Alone. I'm here alone.<\/dialogue>\n    <character>SERA<\/character>\n    <parenthetical>( friendly . )<\/parenthetical>\n    <dialogue>Where are you staying?<\/dialogue>\n    <character>CONVENTIONEER<\/character>\n    <parenthetical>( suspicious . )<\/parenthetical>\n    <dialogue>Right here at the hotel. Why?<\/dialogue>\n    <character>SERA<\/character>\n    <parenthetical>( moving a little closer . )<\/parenthetical>\n    <dialogue>Well. I thought you might be looking for a date.<\/dialogue>\n    <character>CONVENTIONEER<\/character>\n    <parenthetical>( shocked . )<\/parenthetical>\n    <dialogue>A date. What, are you a hooker?<\/dialogue>\n    <parenthetical>( voice getting louder . )<\/parenthetical>\n    <dialogue>What do you mean a date?<\/dialogue>\n    <parenthetical>( and louder . )<\/parenthetical>\n    <dialogue>I've got a wife back home. I just came over to talk for a few minutes.<\/dialogue>\n    <character>SERA<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>I'm sorry, I guess I misunderstood.<\/dialogue>\n    <scene_description>She looks around .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Please do n't raise your voice. I wo n't bother you about it again.<\/dialogue>\n    <character>CONVENTIONEER<\/character>\n    <parenthetical>( calmer . )<\/parenthetical>\n    <dialogue>Sorry. Look. you seem like a nice girl. I'm just sick of everyone in this town trying to get my money.<\/dialogue>\n    <scene_description>He gets up .<\/scene_description>\n    <character>CONVENTIONEER<\/character>\n    <dialogue>Here, have another drink. I got ta go.<\/dialogue>\n    <scene_description>He leaves . Sera is uncomfortable . People are watching her , aware that something has been going on . The Barman comes over to where Sera is sitting .<\/scene_description>\n    <character>BARMAN<\/character>\n    <dialogue>Maybe you should give it a miss for this evening.<\/dialogue>\n    <scene_description>He walks away . Sera finishes her drink and leaves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE STRIP - NIGHT<\/stage_direction>\n    <scene_description>Sera at work is looking more carefully than usual , hoping to see Ben . A huge silver limo pulls up and , after some negotiation , she gets in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE STRIP - NIGHT<\/stage_direction>\n    <scene_description>Long - lens shot of Ben , very drunk on the street . He falls and lies still for quite a long time before getting up . He falls into the road and tries to hail a cab , but none stops . A cop car cruises to a halt and Ben more or less imitates a normal person as he walks out of shot .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE POOL, MOTEL - DAY<\/stage_direction>\n    <scene_description>Ben dives in and swims a length under water . He pulls himself out and sits next to the large Midwestern family . The father says hello and introduces his family to Ben . They are all very friendly . It 's a nice atmosphere around this pool and for a moment Ben even looks healthy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE STRIP - NIGHT<\/stage_direction>\n    <scene_description>A limo pulls up and Sera gets out . She sees something . SERA 'S POV Ben sitting at a bus stop , drinking out of a cocktail glass . When he sees her he gets up , a little unsteadily .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I could n't remember what happened last time. I was afraid that I might have been rude, or mean to you.<\/dialogue>\n    <scene_description>He looks at her .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>If I was I'm sorry.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>No, just drunk. but that's OK. Where's your car?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>I sold it this morning. I'm going to take cabs from now on in.<\/dialogue>\n    <scene_description>Sera looks up and down the strip .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Do n't run away.<\/dialogue>\n    <character>SERA<\/character>\n    <parenthetical>( defensive . )<\/parenthetical>\n    <dialogue>Why should I? I know you're not a cop, so what is it tonight? Another two - fifty to watch you sleep?<\/dialogue>\n    <scene_description>Ben sits down , a little hurt .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>What's up?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>I was looking for you tonight. I do n't know if you have a boyfriend.<\/dialogue>\n    <scene_description>He thinks .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>or a girlfriend, but if you have some free time. maybe we could have dinner.<\/dialogue>\n    <character>SERA<\/character>\n    <parenthetical>( tough again , but pleased . )<\/parenthetical>\n    <dialogue>Are you serious.<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>( deadly serious . )<\/parenthetical>\n    <dialogue>I think you know I'm serious. I'll pay you if you like. but I'd like to see you.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>No, I ca n't have dinner with you.<\/dialogue>\n    <scene_description>And she hails a taxi , which stops immediately and she gets in .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>The Mojave Hotel, please.<\/dialogue>\n    <scene_description>Ben watches the cab drive off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR OF HOTEL - NIGHT<\/stage_direction>\n    <scene_description>Sera walks along , checking numbers on the doors . She finds the right one and knocks firmly .<\/scene_description>\n    <character>YURI<\/character>\n    <parenthetical>( v.o . )<\/parenthetical>\n    <dialogue>Yes? What?<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>It's me, Yuri.<\/dialogue>\n    <scene_description>The door opens a crack and Yuri peers out .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>Sera! It's.<\/dialogue>\n    <scene_description>He looks around for a clock .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>it's late.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. YURI'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Sera comes into the room , takes her purse out and counts out seven hundred dollars .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Sorry, Yuri. good night. lots of tricks. I think things are picking up.<\/dialogue>\n    <scene_description>Yuri sits on the bed . He looks unwell and disoriented . His face is covered with a thin film of sweat . He seems to be listening for something , because he stops her talking by putting his fingers to his lips . He looks at her and then beckons her to the bed . Sera is nervous . As she walks to the bed , she begins unbuttoning her blouse . Yuri stops her with a wave of his hand . Sera is puzzled and frightened now . Yuri seems to be deranged .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>Have you told anyone that I'm here?<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Yuri suddenly hears something . He grabs Sera 's hand and takes her to the wall . He presses her head to the wall .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>Do you here that?<\/dialogue>\n    <scene_description>He looks at her .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>They're talking about me.<\/dialogue>\n    <scene_description>He pulls himself together .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>Go, Sera.<\/dialogue>\n    <parenthetical>( whispers . )<\/parenthetical>\n    <dialogue>Go. Stay at home. I will call you tomorrow.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Yuri. are you.<\/dialogue>\n    <character>YURI<\/character>\n    <parenthetical>( patiently . )<\/parenthetical>\n    <dialogue>Sera. please go.<\/dialogue>\n    <scene_description>He indicates the wall .<\/scene_description>\n    <character>YURI<\/character>\n    <dialogue>This is very important. and I must listen. Now go.<\/dialogue>\n    <scene_description>They face each other for a moment and then Yuri does an almost comic gesture to tell her to go . He hustles her to the door and shoves her out as she is still buttoning up her blouse . He slams the door .<\/scene_description>\n    <character>YURI<\/character>\n    <parenthetical>( through the door . )<\/parenthetical>\n    <dialogue>Goodbye, Sera. Do n't come back here. I will not see you again.<\/dialogue>\n    <scene_description>Sera stands there for a while , almost in shock , and then she begins to walk . The camera follows her as she makes her way down the endless corridor of doors . Ahead of her , three men are walking towards her , checking the door numbers as they make their way . Sera does n't take them in . They pass and turn a corner . We recognize them as the men from the black towncar . ANGLE The men have stopped outside Yuri 's room . The camera pans and we see Sera down the other corridor getting into the elevator .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEN'S ROOM AT THE MOTEL - NIGHT<\/stage_direction>\n    <scene_description>Ben is lying on the bed watching a game show , drinking . A coughing fit hits him . He is very short of breath . We see how ill he really is . There is a tap at the door .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>No thanks. I'm fine.<\/dialogue>\n    <scene_description>The tapping persists and eventually Ben gets off the bed and unlocks it , but keeps the chain on . It is Sera .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Still want to have dinner?<\/dialogue>\n    <scene_description>Ben stares at her for a while .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>I have to change and take a shower first. If you want to come home and wait.<\/dialogue>\n    <scene_description>Ben opens the door .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>We should pick up a bottle of tequila on the way. I owe you one.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>You do?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SERA'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Sera is finishing in the shower and Ben is sitting at the kitchen table . He gets up and walks around the house , trying to get a sense of her . The furniture is very plain and there is spartan quality about the hose . He looks with interest at the bookshelf , which has a good selection of literature .<\/scene_description>\n    <character>BEN<\/character>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>This is the home of an angel.<\/dialogue>\n    <character>SERA<\/character>\n    <parenthetical>( off - screen . )<\/parenthetical>\n    <dialogue>You OK out there?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Yes. Take your time. I'm fine.<\/dialogue>\n    <scene_description>He pours himself another drink .<\/scene_description>\n    <character>SERA<\/character>\n    <parenthetical>( off - screen . )<\/parenthetical>\n    <dialogue>Pour yourself another drink.<\/dialogue>\n    <scene_description>He sots down and she comes in , toweling her hair .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>You OK?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Of course. Wow. you look extremely beautiful.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Thank you. What time is it?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Do n't know. My watch went the way of the car.<\/dialogue>\n    <scene_description>He holds up his empty wrist for her to see . Then looks up and sees her watching him .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I'm rambling. I really like you. You make me want to talk. I do n't know what time it is.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>I like hearing you talk.<\/dialogue>\n    <parenthetical>( businesslike . )<\/parenthetical>\n    <dialogue>If you feel up to a short walk, there's a place to eat around the corner. All the food in Vegas is terrible so the place does n't really matter. How does that sound to you?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Do they have drinks?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE STRIP - NIGHT<\/stage_direction>\n    <scene_description>Ben and Sera walk and talk .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Ben and Sera are eating . He plays with his food , eating very little of it . Finally he pushes it away and orders another drink .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>I'm from the East. I went to college, did an arts course. I now live in Vegas. I think of it as home. I came here deliberately to carve out a life. I was in LA before, but I'll come back to that later.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>The tough times are behind me now. I can deal with the bad things that happen. There will always be dark characters. But my life is good. It is as I would want it to be. So, why are you a drunk?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Is that really what you want to ask me?<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>( worried . )<\/parenthetical>\n    <dialogue>Well, then I guess this is our first date. or our last. Until now, I was n't sure it was either.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Very clever.<\/dialogue>\n    <scene_description>Sera thinks for a while and decides to give in to him on this .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>First. It's our first. I'm just concerned. So. why are you killing yourself?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Interesting choice of words. I do n't remember. I just know that I want to.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Want to kill yourself? Are you saying that you're drinking as a way to kill yourself?<\/dialogue>\n    <scene_description>And she leans across the table to be close to him , listening intently . Ben becomes uncomfortable and tries to joke it off .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Or killing myself as a way to drink.<\/dialogue>\n    <scene_description>Sera continues to stare at him , wanting to know the real answer . He takes a slug from his drink . She sits back .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>We'll talk about it some other time maybe. OK?<\/dialogue>\n    <scene_description>Sera relaxes and continues with her food . We hear her thoughts for a moment .<\/scene_description>\n    <character>SERA<\/character>\n    <parenthetical>( v.o . )<\/parenthetical>\n    <dialogue>It was n't so important to me. I mean, he never asked me why I was a hooker, sand that was impressive. I really liked him. So I decided to just play my part. I mean. it's good to help someone once in a while., it's a bonus to being alive, and that was my plan. to stay alive. I suddenly came to a decision.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>What are you thinking? Are you angry with me?<\/dialogue>\n    <character>SERA<\/character>\n    <parenthetical>( decides something . )<\/parenthetical>\n    <dialogue>Ben, why do n't you stay at my place tonight? I mean. look, you're so drunk. I like you. I trust you.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>That's astonishing. Sera, look.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>I hate to think of you in that cheesy motel. I mean.<\/dialogue>\n    <scene_description>And she folds her arms and grins at him .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Let's face it, what the fuck are you doing in Las Vegas?<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>( overwhelmed by her . )<\/parenthetical>\n    <dialogue>I'm going to move to a smart hotel, tomorrow if it'll make you feel better.<\/dialogue>\n    <parenthetical>( looks at her . )<\/parenthetical>\n    <dialogue>Let's talk about tomorrow. Wan na do something?<\/dialogue>\n    <character>SERA<\/character>\n    <parenthetical>( warmly . )<\/parenthetical>\n    <dialogue>Sure. tonight. Then please stay at my place.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Sera. you know I'm not much good in the sack.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>It's not about sex, Ben. I'll make you up a bed on the sofa. Do it for me. We can talk till late and then sleep till late. As you know, I am my own boss.<\/dialogue>\n    <scene_description>Ben laughs loud , the most animated we 've seen him , and his laugh as infectious , and Sera join in . Other diners turn to stare at them . They seem like a couple .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE STRIP - NIGHT<\/stage_direction>\n    <scene_description>Ben and Sera walk and talk , holding hands .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT - DAY<\/stage_direction>\n    <scene_description>A wide shot . The black towncar makes its way across frame . Left to right .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SERA'S house - day<\/stage_direction>\n    <scene_description>Ben is asleep on the sofa . As he wakes up , he becomes aware that Sera is watching him from across the room . They smile at each other .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>How long have I been her?<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Three nights, two days. When is your rent coming up at the motel?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <parenthetical>( sits up . )<\/parenthetical>\n    <dialogue>I'll go and sort it out today. Why do n't you come? We'll find a real room for me. You can pick it out, a tower on the strip.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>There's no reason to blow all your money on a hotel room.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>What I mean is that you should bring your stuff over here. We're spending all this time together. what the fuck!<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Sera.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Let's face it, Ben, we're having fun here. I've never done so much talking in my life.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Me neither.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>So! Let's dispense with the formalities. I want you here. now!<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Sera you are crazy.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>So. I'm not too concerned with long term plans.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Do n't you think you'll get a little bored living with a drunk?<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>That is what I want. Why do n't you go and get your stuff?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>You have n't seen the worst of it. These last few days I've been very controlled. I knock things over. I throw up all the time.<\/dialogue>\n    <parenthetical>( looks at her . )<\/parenthetical>\n    <dialogue>Now I feel really good. You're like some kind of antidote that mixes the liquor and keeps me in balance, but that wo n't last forever. You'll get tired of it really quickly. Believe me.<\/dialogue>\n    <scene_description>They sit in silence for a while .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>OK, you go back to your hotel and I'll go back to my glamorous life of being alone.<\/dialogue>\n    <scene_description>She walks out of the room , and into the bathroom , where she sits on the toilet to pee .<\/scene_description>\n    <character>SERA<\/character>\n    <parenthetical>( to herself . )<\/parenthetical>\n    <dialogue>The only thing I have to come home to is a bottle of Listerine to wash the taste of come out of my mouth. I'm tired of being alone. that's what I'm tired of.<\/dialogue>\n    <scene_description>She finishes , wipes herself and flushes the toilet . Pulling up her panties , she walks back into the bedroom , where Ben is putting on his shoes .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Do n't you like me, Ben?<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>( devastated . )<\/parenthetical>\n    <dialogue>Do n't be silly?<\/dialogue>\n    <scene_description>Ben is unable to deal with the fact that he is absolutely in love with her . He walks out of the room . She foolows .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>We got ta decide this. right now. Before we go any further. You either stay here with me or.<\/dialogue>\n    <scene_description>Ben turns to look at her .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>we ca n't see each other any more.<\/dialogue>\n    <scene_description>Ben and Sera look at each other for a long time .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Sera. what you do n't understand is.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Ben is deeply troubled . He comes to a decision .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>You can never. never. ask me to stop drinking. Do you understand?<\/dialogue>\n    <character>SERA<\/character>\n    <parenthetical>( dead serious . )<\/parenthetical>\n    <dialogue>I do. I really do.<\/dialogue>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>OK. I have to do some shopping alone. You go out for a few drinks and then pick up your things. Do n't hurry and I'll be back before you to let you in.<\/dialogue>\n    <scene_description>Sera grabs him in a big embrace that knocks him off balance and into the wall . She kisses him all over his face and squeezes his skinny frame .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEN'S ROOM AT THE MOTEL - DAY<\/stage_direction>\n    <scene_description>Ben is packing his liquor into his suitcase . The almost - empty bottles he pours into a large cup , which he drinks from . The suitcase is now full and Ben suddenly realizes that he has n't packed any clothes . They are all in a pile on the bed . He talks to himself .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Maybe this is n't a good idea after all.<\/dialogue>\n    <scene_description>He tries to put clothes in with the bottles , but the lid wo n't close . He sits on the bed and has an imaginary conversation with Sera .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Listen, angel. the thing is that I'm nuts about you and this is a bad thing. because my real plan is to die here and you were never even part of my plan. but like I said, I'm nuts about you. wait a minute, I have an idea, angel.<\/dialogue>\n    <scene_description>And he opens the closet and finds some plastic laundry bags , which he puts his clothes in . SCENE CUT .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SERA'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Sera 's neighbors , a husband and wife , are standing outside her house . They stop her . They are also her landlord .<\/scene_description>\n    <character>HUSBAND<\/character>\n    <dialogue>We did n't know whether to call the police or not.<\/dialogue>\n    <scene_description>And they indicate the sleeping figure of Ben , in the doorway , clutching a bottle of bourbon , using hi suitcase as a pillow .<\/scene_description>\n    <character>WIFE<\/character>\n    <dialogue>He's been there for about half an hour. My husband thought he'd seen you two together, but I thought it best to wait until you got home.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Yes, he's my friend. I guess he just had a little too much to drink.<\/dialogue>\n    <parenthetical>( smiling uncomfortably . )<\/parenthetical>\n    <dialogue>I'll help him inside.<\/dialogue>\n    <parenthetical>( puts down her packages . )<\/parenthetical>\n    <dialogue>Thanks for the concern. Sorry to trouble you.<\/dialogue>\n    <character>HUSBAND<\/character>\n    <parenthetical>( gallantly . )<\/parenthetical>\n    <dialogue>Well, call me if there's anything I can do.<\/dialogue>\n    <scene_description>They go to their own house . Sera opens the front door , kneels down next to Ben and shakes him gently .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Can you wake up?<\/dialogue>\n    <scene_description>Ben opens his eyes and looks around with a pleasant , cheerful expression .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Hi!<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Why do n't you go in and sit down. I have some gifts for you.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Right. OK.<\/dialogue>\n    <scene_description>Ben stands and almost loses his balance . He picks up his suitcase and attempts to pick up her packages as well , but she stop him .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Do n't worry. I got'em.<\/dialogue>\n    <scene_description>Ben staggers in with his case . As Sera enters , she looks around and sees Husband and Wife at the window , still watching .<\/scene_description>\n    <character>BEN<\/character>\n    <parenthetical>( off - screen . )<\/parenthetical>\n    <dialogue>Want a drink? Great nap. Wan na go out tonight?<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Seriously, Ben. I need to keep pretty low - key around here. Maybe next time you could nap this side of the door. That was the landlord.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>She reaches into her purse .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Gift number one.<\/dialogue>\n    <scene_description>And she gives him a newly cut key . He takes it and tries it in the lock , then drops it into his pocket .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I used to carry a lot of keys, but one by one they all fell victim to the great condensation. Now I have just this one. which is.<\/dialogue>\n    <scene_description>And he tails off and stares at the floor . She waits for him to continue and then comes to him and touches him on the arm .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SERA'S HOUSE - DAY<\/stage_direction>\n    <character>SERA<\/character>\n    <dialogue>Ben?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <scene_description>He shakes his head .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I was miles away.<\/dialogue>\n    <scene_description>He sees the parcels .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Ah. more gifts. I have to sit down for this.<\/dialogue>\n    <scene_description>He strides into the living room and flops on to the sofa . She follows .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Sera, I love that name. S.E.R.A. Before we proceed onwards, there is something I need to say. OK?<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>OK.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>I've come this far. here I am, in your house. I want you to let me pay the rent for this month. All right?<\/dialogue>\n    <scene_description>And he stares at her as if to say that nothing can happen until this matter is resolved .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Because. it's better for me that way. OK?<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Well. OK.<\/dialogue>\n    <scene_description>She is uncomfortable . They sit in silence for a while .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Sera. I hope that you understand how I feel about this. First of all, you're welcome to my money. We can buy a couple of cases of liquor and you can have the rest. But I do n't think you're talking to me right now about money.<\/dialogue>\n    <character>SERA<\/character>\n    <parenthetical>( smiling . )<\/parenthetical>\n    <dialogue>No?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>No. I think you're talking about you. I'll tell you right now that I'm in love with you. but, be that as it may, I'm not here to force my twisted life into your soul.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>I know that.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>and I'm not here to demand your attention to the point where it changes your life. We know I'm a drunk. but that seems to be all right with you. And I know that you're a hooker. I hope you understand that I'm a person who is totally at ease with this. which is not to say that I'm indifferent or that I do n't care. I do. it simply means that I trust and accept your judgement. What I'm saying is. that I hope you understand that I understand.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Thanks, I do understand. I was worried about how that would be. but now I'm not. And you should know that included with the rent here is a complimentary blow job.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Ah, yes. I suppose sooner or later we ought to fuck.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Whatever that means. Open your presents.<\/dialogue>\n    <scene_description>She hands him the larger of the two parcels .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Open this one first.<\/dialogue>\n    <scene_description>Ben awkwardly unwraps the present , a large , colorful shirt . A genuine smile comes on to his face .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Very nice.<\/dialogue>\n    <scene_description>He holds the shirt against himself .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>This should work very nicely with my suit, which, by the way, is the only item of clothing I brought over from the motel with me.<\/dialogue>\n    <scene_description>Sera raise an eyebrow .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Right. the suitcase was clinking. So what did you do with your clothes?<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>I threw them into the garbage., which was perhaps immoral, but I wanted to come to you clean, so to speak. I thought we could go shopping and pick up a pair of jeans and forty - five pairs of underwear and just throw them out each day.<\/dialogue>\n    <character>SERA<\/character>\n    <parenthetical>( smiling . )<\/parenthetical>\n    <dialogue>Nice talk, Ben. Keep drinking. In between the hundred and one proof breath and the occasional drool, some interesting words fall from your mouth.<\/dialogue>\n    <scene_description>She hands him the last present .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Now, try this one.<\/dialogue>\n    <scene_description>Ben unwraps the smallest gift . It is a silver hip flask . He is very touched and a little tear trickles down his cheek .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Well. looks like I'm with the right girl.<\/dialogue>\n    <scene_description>He turns it in his hands .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I must say that I'm very impressed that you would buy this for me. I know you would n't do this without thinking about it. Funny. you did just what I would have done.<\/dialogue>\n    <scene_description>Ben stands and tries the flask in his pocket for fit . It is fine . He walks to the door .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I'm going to fill it right now.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Do you want to go gambling tonight? We could go out and play for a few hours.<\/dialogue>\n    <scene_description>Ben comes back into the room , takes the flask out of his suit pocket and has a drink .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I had n't planned to gamble. but if you would keep the bulk of my money here, then I could safely blow a couple of hundred bucks.<\/dialogue>\n    <scene_description>He takes out all of his money , peels off a few hundreds and then gives her the rest .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Giving you money makes me want to come.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Then come.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>I'm going to change. Watch TV. I'll be half an hour.<\/dialogue>\n    <scene_description>And she leaves . There is a slight edge to her voice and Ben is not sure if he offended her or not . He watches through the small angle of the door as she changes .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>I am planning to go out and do some work.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>When?<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Tomorrow night as a matter of fact.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE STRIP - NIGHT<\/stage_direction>\n    <scene_description>Ben and Sera walking . The camera follows them . He is wearing his new shirt and looks good in it . She is wearing a green dress and mismatched earrings and looks great . They walk and talk .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I like your earrings.<\/dialogue>\n    <scene_description>He changes sides .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I like women who wear mismatched earrings.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Well, then. I hope we do n't run into any tonight.<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>I expect some kind of loyalty here. Just because I fuck for money does n't give you cause to start picking up women and leaving me looking silly.<\/dialogue>\n    <scene_description>And she stops and looks at him , smiling but serious .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>And I only have eyes for you. And we both know that you would never become romantically involved with a trick, right?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CASINO - NIGHT<\/stage_direction>\n    <scene_description>They walk around the huge space , which is full of people and energy , and suddenly Ben grabs Sera and pushes her against a slot machine and kisses her deeply . At first she resists and then she gives in to him and responds . They knock over some change , which falls to the floor , and Ben pulls from her a beat to bend down and scoop up all the change and hand it to the bemused player , before returning to Sera 's mouth or more . They break for air and then Ben leads her towards the bar . As he waves to attract the barman 's attention , she squeezes his arm .<\/scene_description>\n    <character>SERA<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>I love you.<\/dialogue>\n    <scene_description>But he does n't hear her . ANGLE ON CASINO ACTIVITY On long lens we see Ben and Sera at the bar . Suddenly Ben seems to fall asleep . Sera tries to wake him and then he goes crazy and falls backwards off his stool , knocking a waitress and her drinks over . Security Guards appear and begin arguing with Sera .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SERA'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Ben wakes up on the sofa , fully dressed . A night - light gives a soft glow . He rolls off the sofa , landing on all fours on the floor . He crawls to the kitchen , opens the fridge door and takes out a vodka bottle and carton of orange juice . With difficulty he gets to his feet , finds a glass and pour s a drink . He swallows the mix and then stands over the sink just in case he has to vomit .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SERA'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Sera wakes and Ben comes in and gets into bed with her .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>How are you doing?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Very well. umm. I never expected to have to ask you this again. but how did our evening go? I remember getting to the casino. I remember kissing you. that was really nice but everything after that is a blank.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Well - I was prepared for worse, but it was n't so bad. We were sitting at the bar, talking about blackjack. You seemed just fine, a little drunker than usual, but nothing really strange, but then your head started to droop and I put my arm on your shoulder and then, wham, you swung you arm at me, and fell backwards off your stool into a cocktail waitress. You smashed everything on her tray, it was a real mess. You kept yelling and yelling.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Oh, and what did you do?<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>I tried to shut you up and help you to your feet but you kept swinging at me - not like you wanted to hit me, but more just waving me away. Security came and when you saw them you stopped yelling. They wanted to carry you out and dump you on the street, but I talked them into letting me walk you out.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>That's impressive. How did you do that?<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>I told them you were an alcoholic and T would take you home. I also promised that we would never come in there again.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>We?<\/dialogue>\n    <character>SEAR<\/character>\n    <dialogue>Yes, we.<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>( holds her hand . )<\/parenthetical>\n    <dialogue>What happened then?<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>You were OK for a while, so we walked for about a block and then you said you wanted to go home and fuck, but I think even you knew that was n't going to happen. We got a cab and you asked him to stop at a liquor store, even though I told you that we had plenty at home. In the store you gave the kid a hundred and told him to keep the change. I asked you if you knew it was a hundred. You said you did, so I let you do it. We got here, you fell asleep on the couch and I covered you up and came to bed.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>I warned you.<\/dialogue>\n    <parenthetical>( kisses her hand . )<\/parenthetical>\n    <dialogue>. but I'm sorry.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Here's my speech.<\/dialogue>\n    <parenthetical>( kisses his hand . )<\/parenthetical>\n    <dialogue>. I know this should n't be acceptable to m, but it is. Do n't ask me why. I sense that your trouble is very big. and I'm scared for you. and so I'm doing what I think you need me to do. Falling down in casinos is little stuff. It does n't bother me. It has nothing to do with us.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>That's amazing. What are you? Some sort of angel visiting me from one of my drunk fantasies? How can you be so good?<\/dialogue>\n    <scene_description>She turns away to the wall and curls up like a small girl .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>I do n't know what you're saying. I'm just using you. I need you. Can we not talk about it any more, please. Not another word.<\/dialogue>\n    <scene_description>He thinks about this . He gently pushes her until she is lying on her front and then he pulls up her nightdress and strokes her naked back . He kisses her in the small of her back .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Why do n't you go back to sleep. I'll go out and buy us some breakfast.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Be careful.<\/dialogue>\n    <scene_description>He stands and goes to the door .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Do n't worry.<\/dialogue>\n    <scene_description>As he leaves the room , she calls after him .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Ben, I'm working tonight.<\/dialogue>\n    <scene_description>He opens the door and smiles at her .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIDEWALK - EARLY MORNING<\/stage_direction>\n    <scene_description>Ben gets out of his cab and walks up to the doorway of a grocery store . It is locked . Ben looks at his wrist and then remembers that he no longer has a watch . He looks around , sees something and exits frame .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROUGH ENGLISH BAR - EARLY MORNING<\/stage_direction>\n    <scene_description>Ben enters and makes his way to the bar . This is a dirty , dark place . An ageing blonde in leather hot pants is dancing by herself at the jukebox . A very drunk Biker Couple argue noisily in a corner , slurring their words . There ins not much gambling taking place at the eight slot machines . Ben sits at the bar and the Bartender slaps down a paper napkin .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>A beer and a double kamikaze please.<\/dialogue>\n    <character>BARTENDER<\/character>\n    <dialogue>Sure thing. Anything to eat?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Not quite yet. First I have to drink myself sober, then. a few crackers, maybe an egg and toast.<\/dialogue>\n    <scene_description>The Bartender walks away to get Ben 's drinks , Ben continues anyway .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>then I'll go home with the groceries and we'll have breakfast together, and that'll make her feel better about my condition.<\/dialogue>\n    <scene_description>Ben is interrupted by the arrival of the Biker Girl . She is young tough and pretty . She puts an arm around him and presses against him .<\/scene_description>\n    <character>BIKER GIRL<\/character>\n    <dialogue>Who the fuck are you talking to, Mr?<\/dialogue>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>Why are you all dressed up, honey? My, do n't you look fine.<\/dialogue>\n    <scene_description>She runs her tongue around her mouth .<\/scene_description>\n    <character>BIKER GIRL<\/character>\n    <dialogue>I am very bored with my date. Would you like to buy me a drink?<\/dialogue>\n    <scene_description>Ben looks around and sees the Biker staring at the two of them .<\/scene_description>\n    <character>BEN<\/character>\n    <parenthetical>( loudly . )<\/parenthetical>\n    <dialogue>Do you mind if I buy her a drink?<\/dialogue>\n    <character>BIKER<\/character>\n    <dialogue>Fuck her. I do n't care what the fuck you do with her.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Maybe I could buy you both a drink?<\/dialogue>\n    <character>BIKER<\/character>\n    <dialogue>Fuck you. Do n't fuck with me, motherfucker. Fuck off. Go to it, she's waiting for her drink.<\/dialogue>\n    <scene_description>The Biker walks over to the slot machine and begins dropping in quarters , never taking his eyes off Ben and the Girl .<\/scene_description>\n    <character>BIKER GIRL<\/character>\n    <dialogue>See what an asshole he is.<\/dialogue>\n    <parenthetical>( big smile . )<\/parenthetical>\n    <dialogue>I'll have a rum and Coke.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Barman? A rum and Coke, please.<\/dialogue>\n    <scene_description>The Girl leans with her back to the bar , closer to Ben , who is facing the bar on a stool . She brings her face closer to his .<\/scene_description>\n    <character>BIKER GIRL<\/character>\n    <dialogue>Can I stay with you for a while?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>You mean move in with me? Is n't this a bit sudden?<\/dialogue>\n    <character>BIKER GIRL<\/character>\n    <dialogue>Oh, I do n't have a lot of stuff.<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>( smiling . )<\/parenthetical>\n    <dialogue>I do n't think my wife would dig it too much.<\/dialogue>\n    <scene_description>She moves to his ear to whisper .<\/scene_description>\n    <character>BIKER GIRL<\/character>\n    <dialogue>Maybe we could just go find a room and fuck all day. You would n't have to tell your wife about that, would you? I could suck you like this.<\/dialogue>\n    <scene_description>And she begins sucking on his lobe . Behind them . At the slot machine the Biker is still watching . His face fills with a drunken rage .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>See, the thing is. fucking you would be wonderful, but I am deeply in love with Sera.<\/dialogue>\n    <scene_description>The Biker throws down his beer can and walks towards the bar .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>and it's almost impossible for me to imagine being with someone else.<\/dialogue>\n    <scene_description>The Biker arrives at the bar and grabs Ben .<\/scene_description>\n    <character>BIKER<\/character>\n    <dialogue>Now listen, asshole, I'm not gon na just sit around and watch her suck on your ear.<\/dialogue>\n    <scene_description>The Biker is about to hit Ben then holds back . He leans in and puts his face next to Ben 's .<\/scene_description>\n    <character>BIKER<\/character>\n    <dialogue>Now, I know that she came over to you, like she does, so I'm gon na pretend that you're innocent and give you one chance to walk out of this place. right now.<\/dialogue>\n    <character>BIKER GIRL<\/character>\n    <parenthetical>( to biker . )<\/parenthetical>\n    <dialogue>Get lost, jerk.<\/dialogue>\n    <scene_description>The Biker slaps her and then grabs Ben by the collar .<\/scene_description>\n    <character>BIKER<\/character>\n    <dialogue>What do you say?<\/dialogue>\n    <scene_description>Ben shakes his arm free from the Biker 's grip . He thinks about it for a couple of beats and then decides .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I'm sorry. but she and I have decided to spend a few hours together in a mo -<\/dialogue>\n    <scene_description>The Biker headbutts Ben in the face , sending him crashing off his stool to the floor . His head cracks against the tiled floor . The Biker walks over to him , picks him up by his shirt front and punches him in the nose . Blood sprays on to his face . The Biker walks out of the bar . The Girl follows him quickly . The Bartender takes a wet towel and walks over to where Ben is struggling to get up , holding his face .<\/scene_description>\n    <character>BARTENDER<\/character>\n    <dialogue>You're quite a fighter.<\/dialogue>\n    <scene_description>He gives him the towel .<\/scene_description>\n    <character>BARTENDER<\/character>\n    <dialogue>This may sound silly, but I'm going to have to ask you to leave. It's what we do around here when there's a fight. Men's room is around the back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SERA'S HOUSE - MORNING<\/stage_direction>\n    <scene_description>Ben lets himself in with his key . He is carrying a big bag of groceries . His clothes are bloodstained . The Landlady watches from poolside .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I'm back.<\/dialogue>\n    <scene_description>He walks into the living room and finds Sera reading on the couch . She looks up and sees his face and his bloodstained shirt .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Oh, no! Oh, fuck, Ben, look at your face. You get in a fight? I thought you did n't fight. Goddammit. How do you feel? Wait here. Sit down.<\/dialogue>\n    <scene_description>She goes to the bathroom and we hear her rummaging in the medicine cabinet .<\/scene_description>\n    <character>SERA<\/character>\n    <parenthetical>( off - screen . )<\/parenthetical>\n    <dialogue>Did you stop at the bar?<\/dialogue>\n    <scene_description>She comes back into the room , armed with bottles and cotton wool .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Did you say something stupid to someone stupid?<\/dialogue>\n    <scene_description>She goes to work on his face , dabbing an open cut with some mercurochrome .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Absolutely not. ow. I was defending the honor of some poor wayward maiden.<\/dialogue>\n    <scene_description>She thinks about this for a moment and then kisses him on the forehead .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Why do n't you go and finish this in the bathroom. Take a shower and put on your other shirt. I'll fix breakfast and then we'll go shopping and get some new clothes. I think this suit must be unlucky.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MALL - DAY<\/stage_direction>\n    <scene_description>Ben and Sera come out of a clothing store . Ben is wearing black jeans , red socks and a white dress shirt . They go up the ` up ' escalator .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Very creative. Now we can get you a black bow tie and you can look like one of those casino dealers.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>OK, but remember that they wear it because they have to. I wear it because I want to. That'll make me look different. Let's get a drink.<\/dialogue>\n    <scene_description>Ben somehow gets on the ` down ' escalator , leaving Sera on the higher level .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Ben?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOPPING MALL BAR. DAY<\/stage_direction>\n    <scene_description>Ben needs a drink badly but this is not the best place . Mothers with children , old people and a Waitress with attitude . Ben tries to order but becomes angry when she does n't bring it straight away . People begin staring . At the next table a dignified older man sits alone . Ben hands Sera a small package . CLOSE ANGLE<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>There was no time for me to write a card, with you breathing down my neck all day., so you'll just have to wing it, baby.<\/dialogue>\n    <scene_description>He laughs and this induces a coughing fit . He downs his drink and holds up the empty glass to let the waitress know she should bring another .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Open it.<\/dialogue>\n    <scene_description>She does so . It is a pair of onyx earrings . Black onyx set in white gold .<\/scene_description>\n    <character>SERA<\/character>\n    <parenthetical>( pleased . )<\/parenthetical>\n    <dialogue>Your color.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>I think you should wear one at a time. One of these. and one of your others. In fact, I was going to buy just one, but I did n't think it would fly. as a gift, I mean.<\/dialogue>\n    <scene_description>His new drink arrives and he takes a swallow straight away .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>I'll wear them tonight. one of them.<\/dialogue>\n    <scene_description>She looks at him , aware of what she has said , wondering how he is reacting . She smiles and Ben takes a deep swallow , finishing his drink . His mood suddenly changes .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Yes. tonight. Put it on.<\/dialogue>\n    <scene_description>She does so . Ben helps her , bringing his face down close to hers .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>You'll be able to feel it, sharp and hot under your ear, as one of the brothers is driving your head, face down into one of the penthouse pillows.<\/dialogue>\n    <scene_description>They are both suddenly deeply shocked by what he has said . They sit in silence for a while . Sera is close to tears . Ben gets up suddenly , puts down a couple of bills and walks away from the table . When he is almost at the door Sera gets up and quickly tries together up all of the packages .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Ben, wait. please wait for me.<\/dialogue>\n    <scene_description>ANGLE ON THE DOOR The dignified older Man stands in Ben 's path and places his hands on Ben 's shoulders .<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>Maybe you should wait for her, sir.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>Because. you can hear in her voice that she really wants you to.<\/dialogue>\n    <scene_description>Sera catches up and the Man lets go of Ben . Ben takes the packages from Sera and the two of them step out into the mall .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MALL - DAY<\/stage_direction>\n    <scene_description>They walk together .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>What was that all about?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Can we just forget it?<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>I do n't understand any of that.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Can we just ignore it?<\/dialogue>\n    <scene_description>They stop and look at each other . The PA system gives an inane message .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Please!<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Yes. I'll give you that.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Thank you, Sera.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Do you want me not to go tonight?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>No. we already talked about that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SERA'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Sera is preparing for work . In the background we can hear the TV next door . She dresses carefully . Black underwear , stockings , heels , a tight black skirt .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Ben is watching TV and drinking .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SERA'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Sera at the mirror , putting on her make - up . Her make - up is more pronounced than we have seen it before . Everything is more extreme .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Sera comes into the room . Ben looks up at her and sucks in his breath .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <scene_description>She walks over to him and takes his head and places it between her breasts and kisses the top of his head .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Maybe I should follow you around and ask one of your tricks what it's like to sleep with you.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>They would n't know.<\/dialogue>\n    <scene_description>She comes on to him .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Maybe you should ask me sometime. I'd be happy to show you.<\/dialogue>\n    <scene_description>She goes to the door .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>I'll be back home around three. If you're back by then we can watch TV or something. I guess what I'm saying is. that I hope you are back when I get home. Please be careful.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>You be careful to. I'm going to miss you.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Shall we go away for a couple of days?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Yeah. I'd like that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMART HOTEL - NIGHT<\/stage_direction>\n    <scene_description>Sera walks through the lobby , looking for business .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A STREET - NIGHT<\/stage_direction>\n    <scene_description>Ben lying down with people walking past and over him . ANGLE ON BEN 'S FACE A big smile appears on his face . He starts to laugh .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESSERT - DAY<\/stage_direction>\n    <scene_description>A blue car drives across frame . The sun is bright .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT MOTEL, POOL - DAY<\/stage_direction>\n    <scene_description>Sera is a very good swimmer and we see that Ben must have been quite an athlete . They look at each other under water . They 're under water for a long time . Ben exhales . Sera pushes him towards the surface . Ben and Sera come to the surface . Ben has swallowed water and has a coughing fit . Sera hugs him until the fit passes . The camera moves in tighter on them and music gives the moment a strange chill .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Do n't do that to me. Do n't frighten me like that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POOL - NIGHT<\/stage_direction>\n    <scene_description>Ben and Sera are watching the TV next to the poll . They are sitting in reclining chairs . Inn the distance a coyote howls .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Years ago, in LA, I turned a trick on Sunset and Western. The guy was polite and did n't argue about the price. He parked his car and I took him to a house that I had an arrangement with. A fat Mexican woman was watching a TV and I told him to give her the twenty for the room. There were three or four small naked children playing on the floor and we had to step over them to get into the room. The room had a bed and a dresser. He lay on his back on the bed and I put a rubber on him and sucked him for a while until he was hard and then I eased on to him. About twenty minutes later there was a knock on the door and it was the woman saying our time was up. I felt kind of guilty because he had n't come and I offered to reason with the woman and get another ten minutes, but he said it was all right and began dressing. When we were ready to leave the room he stopped me and. hugged me and kissed me on the cheek. He gave me an extra hundred as a tip and went back to his car. I remember being relieved that I would n't have to work again that evening.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Last spring I happened to walk past a house that I had once patronized. There was a cool breeze blowing off the ocean and through the window I could see a bare leg. The girl must have been taking a break between customers. It was a strange moment for me because it reminded me of my mother and despite the fact that I was late for something already I just stayed there, loving the atmosphere of it and my memory and. the reason I'm telling you this epilogue is that I felt that I'd come full circle.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Where was that house? The one in LA, I mean.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Fifth and Mayflower. You know it?<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Yes. One of my friends was there. I wonder if you ever clipped her.<\/dialogue>\n    <scene_description>They watch the TV in silence for a while . Sera holds his hand .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I like it here with you.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Let's stay for a while.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>OK.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL ROOM - DAY<\/stage_direction>\n    <scene_description>Ben mixes a cocktail for himself , then one for Sera . The camera follows him as he goes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POOL-SIDE - DAY<\/stage_direction>\n    <scene_description>to the side of the pool , where Sera is sunbathing . He lowers himself unsteadily into the chair but avoids spilling a drop of the drinks , which he puts down on to a glass - topped table . He is pretty loaded . Sera turns over and moves out of his shadow .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>I've missed the best sun. Why did you have to pawn your watch?<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>I did n't know I'd ever need it again.<\/dialogue>\n    <scene_description>Sera gets up , takes a drink and then walks to the diving board . As she takes a position at the end , she pulls the bathing suit out from her bottom , does a very natural dive into the pool , swims a length under water and then comes out near Ben , pulls herself out of the pool in one move and bends down and kisses Ben for a long time . Ben responds and kisses back . There is no one else around the pool . The kiss becomes heated and urgent and Sera sits on Ben , making him wet from her . He pushes the top of her suit down and kisses her breasts . She picks up the glass and drinks , letting the alcohol spill from her mouth , over her breasts . Ben drinks from her .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Take this off.<\/dialogue>\n    <scene_description>He tries to pull her swimsuit down .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Maybe we should go inside. Come on.<\/dialogue>\n    <scene_description>She stands up , covering herself . Ben stands up , laughing , loses his balance and slips on the wet concrete . He falls backwards , half on to the chair , which he breaks , and then on to the glass table . The table goes over and it and the glasses all shatter on the concrete . Ben falls on the broken glass and cuts himself all over his back and his arms . Glass goes into the pool . Blood mingles with the water on the steaming cement .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Whoops.<\/dialogue>\n    <scene_description>Sera picks up her towel and lays it down next to him . She kneels and helps him up , trying to pullout the little bits of glass sticking to him . Ben stands unsteadily .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I'll go and clean up. Perhaps you could take care of this.<\/dialogue>\n    <scene_description>He indicates the mess , then walks to their room . Sera begins carefully picking up the broken glass . The desk clerc appears with a broom and a dustpan .<\/scene_description>\n    <character>DESK-CLERK<\/character>\n    <parenthetical>( cheerfully . )<\/parenthetical>\n    <dialogue>Everybody OK?<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Yes, fine. Do n't worry. We'll pay for the chair, and I'll clean all this up, the pool too.<\/dialogue>\n    <character>DESK-CLERK<\/character>\n    <dialogue>Do n't worry.<\/dialogue>\n    <scene_description>He begins sweeping the broken glass into the pan , cheerfully ignoring Sera .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>You seem prepared for accidents.<\/dialogue>\n    <character>DESK-CLERK<\/character>\n    <parenthetical>( still smiling . )<\/parenthetical>\n    <dialogue>Yeah. we get a lot of screw - ups here.<\/dialogue>\n    <scene_description>He looks directly at Sera .<\/scene_description>\n    <character>DESK-CLERK<\/character>\n    <dialogue>Now, you two keep you loud talk and your liquor to your room. Check out first thing tomorrow and after that I do n't want to see either of you here again. I do n't need you paying for the chair or cutting your pretty hands on the glass. Let's leave it at that.<\/dialogue>\n    <scene_description>Nodding firmly , he goes back to the mess , indicating that the conversation is over .<\/scene_description>\n    <character>DESK-CLERK<\/character>\n    <dialogue>See ya in the morning.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL ROOM - DAY<\/stage_direction>\n    <scene_description>Sera comes into the room .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Ben?<\/dialogue>\n    <scene_description>She sees that he is already asleep on the bed , his half - naked body covered with countless bits of bloodstained tissue . The image has an almost religious feel to it . The TV is on and a sitcom is playing . Something funny catches Sera 's attention . She laughs and sits on the bed next to Ben .<\/scene_description>\n    <character>SERA<\/character>\n    <parenthetical>( voice - over . )<\/parenthetical>\n    <dialogue>I think we realized that we did n't have long and accepted it. My charm, for him, was that I accepted him exactly as he was and did n't expect him to change. I think we both realized that about each other. Ben needed me and I liked his drama. I loved him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT LANDSCAPE - DUSK<\/stage_direction>\n    <scene_description>We see Las Vegas lighting up . The blue rental car passes through frame and drives towards the town .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SERA'S BEDROOM, LAS VEGAS - NIGHT<\/stage_direction>\n    <scene_description>Ben wakes from a dream . He is fully clothed and very agitated .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Sera?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Sera is cooking .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>I'm in here. You probably do n't want to hear about it right now, but I bought some plain rice. I thought it might be something you could eat. So if you get hungry later on, just let me know.<\/dialogue>\n    <scene_description>Ben comes in from the kitchen and takes vodka bottles from the fridge . scene cut . scene cut .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>Ben 's hands are sweating and it 's difficult for him to keep hold of the bottle as he drinks . He gets most of it down and then he hunches over the sink and immediately vomits . He takes the second bottle and tries again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOWER - NIGHT<\/stage_direction>\n    <scene_description>Still holding the bottle , Ben stands in the shower . He drinks some more and closes his eyes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Ben enters , smartly dressed and smiling .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I think I'm ready for the rice!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Ben and Sera sitting opposite each other . He has a bowl of rice , which he is pretending to eat in between sips of vodka . She has a bowl of vegetables and rice . She sits , silently for a while , and then puts down her chopsticks .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>You're pretty sick.<\/dialogue>\n    <scene_description>Ben looks away .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>What are you going to do?<\/dialogue>\n    <scene_description>She folds her arms .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>I want you to go see a doctor.<\/dialogue>\n    <scene_description>He thinks for a while and then turns to meet her gaze . They look right into each other 's eyes .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Sera. I'm not going to see a doctor.<\/dialogue>\n    <scene_description>Sera continues to look at him almost defiantly .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Maybe it's time I moved to a hotel.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>And do what. rot away in a room?<\/dialogue>\n    <parenthetical>( becoming angry . )<\/parenthetical>\n    <dialogue>We're not going to talk about that. Fuck you! I will not talk about that. You're staying here. You are not moving to a hotel.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>Will you lighten up, please?<\/dialogue>\n    <character>SERA<\/character>\n    <parenthetical>( close to tears . )<\/parenthetical>\n    <dialogue>One thing. one thing. this is one thing you can do for me. I've given you gallons of free will here! You can do this for me.<\/dialogue>\n    <scene_description>She leans right forward .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Let's face it. Sick as you are, I'm probably the only thing that's keeping you alive.<\/dialogue>\n    <scene_description>She stands up<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>I have to go to work now.<\/dialogue>\n    <scene_description>Ben does n't say anything . He just stares a hole in his bowl of rice .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CASINO - NIGHT<\/stage_direction>\n    <scene_description>Ben walks by himself . He is deep in thought .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CASINO - NIGHT<\/stage_direction>\n    <scene_description>Ben recklessly bets two hundred dollars at the craps table . and wins . As he leans forward to collect his winnings , he sees . a Blonde in a very low - cut outfit . She smiles at Ben and walks around the table to pick him up . Ben puts all of his winnings on one bet and wins again . This pattern repeats a few times and drinks are on the house .<\/scene_description>\n    <character>BLONDE<\/character>\n    <dialogue>Hey. that was quite a play. You in for the convention?<\/dialogue>\n    <scene_description>Ben gets to the point .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I'd like to fuck you.<\/dialogue>\n    <scene_description>A few people hear Ben and the Blonde is almost put off , but he does have about eight thousand dollars in winnings and so she leans in very close so that she can talk quietly .<\/scene_description>\n    <character>BLONDE<\/character>\n    <dialogue>I'm very expensive.<\/dialogue>\n    <character>BEN<\/character>\n    <dialogue>How much to lick your pussy?<\/dialogue>\n    <scene_description>The Blonde picks up a sizeable stack of chips and looks at Ben .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SERA'S HOUSE - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>Sera lets herself in , looks around and opens the bedroom door . In one fluid movement the naked blonde gets off the semi - conscious Ben , pulls her dress over her head and walks past Sera . Moments later we hear the front door slam . Ben comes to and looks at Sera . He is more or less unaware of what has just happened .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <scene_description>ANGLE ON SERA Her eyes are wet .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>There are limits.<\/dialogue>\n    <character>BEN<\/character>\n    <parenthetical>( remembering . )<\/parenthetical>\n    <dialogue>Yes. I guess I knew that.<\/dialogue>\n    <scene_description>Ben gets out of the bed . He picks up the bottle on the bedside table and stands .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Perhaps I could crash on the couch for a few hours. and then I'll leave.<\/dialogue>\n    <scene_description>He walks out of the room and closes his the door . Camera moves in on Sera . She covers her face with her hands . She drops her purse and slides down the wall to the floor , weeping quietly .<\/scene_description>\n    <character>SERA<\/character>\n    <parenthetical>( v.o . )<\/parenthetical>\n    <dialogue>I heard the door slam a couple of hours later and he was gone.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>Ben coming out of a liquor store with a large brown bag .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>Sera getting out of a car . The car drives off . Sera examines her face in a pocket mirror . Puts on more lipstick .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL ROOM - DAY<\/stage_direction>\n    <scene_description>Ben is on all fours in the bathroom trying to vomit . His thin frame is heaving . Bottles everywhere .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE STRIP - NIGHT<\/stage_direction>\n    <scene_description>Three college boys with beer bottles walk the The Strip . They are all wearing the same numbered jersey . Nice middle - class boys looking for an adventure . They see Sera and go into a huddle before walking over to her .<\/scene_description>\n    <character>TALLEST COLLEGE BOY<\/character>\n    <dialogue>How much will it cost us to fuck you?<\/dialogue>\n    <scene_description>The other two College Boys titter . Sera starts to walk away and then hesitates .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Sorry, guys, but I do n't know what you mean. Anyway, I never date more than one guy at a time.<\/dialogue>\n    <character>SMALLEST COLLEGE BOY<\/character>\n    <dialogue>Come on. we got money. show her the money.<\/dialogue>\n    <scene_description>The other College Boy gets out his wallet and opens it to show her . Sera hesitates , not somehow comfortable with the situation , then goes ahead .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>How much of that money did you guys want to spend?<\/dialogue>\n    <character>TALLEST COLLEGE BOY<\/character>\n    <dialogue>How much you want? How about two hundred for an hour?<\/dialogue>\n    <character>SERA<\/character>\n    <parenthetical>( becoming annoyed with them . )<\/parenthetical>\n    <dialogue>Do n't your friends talk?<\/dialogue>\n    <parenthetical>( no answer . )<\/parenthetical>\n    <dialogue>Try three - hundred for a half hour.<\/dialogue>\n    <character>OTHER COLLEGE BOY<\/character>\n    <parenthetical>( nervous . )<\/parenthetical>\n    <dialogue>Three hundred for the hour.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>OK. three. and we'll see how it goes. Where are you staying?<\/dialogue>\n    <character>TALLEST COLLEGE BOY<\/character>\n    <dialogue>The Yukon, room twenty - four.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>I'll see you there in fifteen minutes. You can pay me then. Why do n't you all take a shower while you're waiting.<\/dialogue>\n    <character>OTHER COLLEGE BOY<\/character>\n    <dialogue>A shower? In fifteen minutes?<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Look. I'll only need one of you at a time. RIGHT? UNDERSTOOD? So. the other two can shower while I'm there. OK?<\/dialogue>\n    <scene_description>They walk off in a huddle , giggling - three small boys .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. YUKON MOTEL - NIGHT<\/stage_direction>\n    <scene_description>Sera drinks from a beer bottle as she approaches their room . She talks to herself .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Where are the boys this weekend, Frank? Why, hell, Charlie, I sent'em off to learn the one thing I could n't teach'em.<\/dialogue>\n    <scene_description>She looks at the numbers and finds the room . She knocks and a moment later the Tallest College Boy opens the door in his jockey shorts .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Sera steps in . One boy is coming out of the bathroom wearing a towel and the third is sitting in a chair smoking a cigarette , which he passes to the boy in the towel . The other boy is fooling around with a video camera . The atmosphere is weird and Sera is suddenly alert . The Tallest College Boy hands her the money . He is very well built , a football player . Sera hesitates , holding the money . The Tallest College Boy closes the door and then leans against it . They are all staring at her now . No one says anything . Sera smiles suddenly and puts the money in her purse . All business .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>OK. where's the bedroom, and who's first?<\/dialogue>\n    <scene_description>They all look at each other .<\/scene_description>\n    <character>SMALLEST COLLEGE BOY<\/character>\n    <dialogue>I want to fuck her in the butt.<\/dialogue>\n    <scene_description>He looks at the other .<\/scene_description>\n    <character>SMALLEST COLLEGE BOY<\/character>\n    <dialogue>you too, right?<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Forget that. No one's doing that. You'll all go one at a time. I f you want I'll suck you instead, but that's all. Then I'm out of here.<\/dialogue>\n    <character>SMALLEST COLLEGE BOY<\/character>\n    <parenthetical>( looking at tallest . )<\/parenthetical>\n    <dialogue>You said I could fuck her in the butt.<\/dialogue>\n    <character>OTHER COLLEGE BOY<\/character>\n    <dialogue>Shut up.<\/dialogue>\n    <character>SMALLEST COLLEGE BOY<\/character>\n    <parenthetical>( shouting . )<\/parenthetical>\n    <dialogue>It's my fucking money. -RRB-<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>That's it. Take your money back. I'm leaving.<\/dialogue>\n    <scene_description>The Smallest College Boy gets off the bed and comes over to Sera .<\/scene_description>\n    <character>SMALLEST COLLEGE BOY<\/character>\n    <dialogue>No. do n't go.<\/dialogue>\n    <scene_description>The Tallest Boy is still standing in front of the door and things are getting strange . The Other Boy turns on the video camera . Sera loses her cool .<\/scene_description>\n    <character>SERA<\/character>\n    <parenthetical>( to the Smallest Boy . )<\/parenthetical>\n    <dialogue>Maybe you'd like to fuck one of your friends in the butt instead.<\/dialogue>\n    <scene_description>The room goes very quiet . The kid tears up . Sera tries to back - pedal .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Hey. I'm sorry.<\/dialogue>\n    <scene_description>The kid punches her hard in the stomach , knocking her to the ground . Close - up on Sera 's face pushed into a bloodstained pillow , her body being pounded from behind . The naked legs of two of the boys behind her . We hear voices , filtered , from a long way off .<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Go on. fuck her ass.<\/dialogue>\n    <character>OTHER VOICE<\/character>\n    <dialogue>Look at me. look at me. look at me.<\/dialogue>\n    <scene_description>A hand comes into frame and pulls her head up by the hair . A pair of legs moves in . There is the sound of a punch . Sera 's body on the floor . In the background trousers being hastily pulled on to legs . The boys exit with sport bags . The last one turns out the lights and closes the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTEL ROOM - DAWN<\/stage_direction>\n    <scene_description>In the half - light Sera gets up and walks with difficulty to the bathroom .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - DAWN<\/stage_direction>\n    <scene_description>She clicks on the mirror light . Her face is awful . One eye is swollen almost shut . Her top lip is cut .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAB - EARLY MORNING<\/stage_direction>\n    <scene_description>Sera gets into the cab with considerable difficulty . The cab driver is a cynic .<\/scene_description>\n    <character>CAB DRIVER<\/character>\n    <dialogue>What's the matter, honey, get a back - door delivery you were n't expecting? You gon na be able to pay the fare?<\/dialogue>\n    <scene_description>Without speaking she takes out a twenty , leans forward and drops it on the front passenger seat . He drives . Looks at her in the mirror .<\/scene_description>\n    <character>CAB DRIVER<\/character>\n    <dialogue>Oh, do n't wan na talk to me, unh? Well, do n't take it out on me, I'm just covering my ass. What the hell do you expect, stuttin' around like that. dressed like that? You oughta be glad the creep did n't nail ya.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SERA'S HOUSE - MORNING<\/stage_direction>\n    <scene_description>As the cab drives off , Sera walks slowly to the door . Her Landlord 's wife passes and takes in her face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SERA'S SHOWER - DAY<\/stage_direction>\n    <scene_description>Sera is slumped on the floor of the shower , her arms hugging her legs , the water pounding down on her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SERA'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Sera opens the door and we see the Landlord . Behind him , on the sidewalk , we can see his wife . He is embarrassed . ANGLE Sera , wearing dark glasses . She looks terrible . Her mouth is swollen and some of the bruising around her eye is visible .<\/scene_description>\n    <character>LANDLADY<\/character>\n    <dialogue>I'm sorry. but we'd like you out by the end of the week.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHOLE YEAR INN - DAY<\/stage_direction>\n    <scene_description>Sera gets out of a cab and goes into reception . She is wearing huge dark glasses to hide the black eye and the bruising .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL - DAY<\/stage_direction>\n    <scene_description>The desk clerk is wearing a shirt of Ben 's that we recognize from an earlier scene .<\/scene_description>\n    <character>DESK CLERK<\/character>\n    <dialogue>I'm sorry, ma'am. He never checked back in.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE STRIP - NIGHT<\/stage_direction>\n    <scene_description>Sera walks alone . She 's dejected as she looks for Ben .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CASINO - NIGHT<\/stage_direction>\n    <scene_description>Sera comes to an elevator and waits . She is wearing a thin black top without a bra . Her bruised face makes her suddenly very conspicuous and vulnerable . A big man in a white stetson stands next to her . He looks at her and grins . She smiles , coldly . He takes from his pocket two black , hundred dollar chips , places one in each hand and deliberately places each one against her nipples . Other people see this and stop and watch . Sera looks down at his hands and stares until the man becomes uncomfortable .<\/scene_description>\n    <character>STETSON MAN<\/character>\n    <dialogue>What's the problem, honey? You on strike?<\/dialogue>\n    <scene_description>And he walks away laughing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. 7-ELEVEN - DAY<\/stage_direction>\n    <scene_description>Sera is sitting on a freshly - painted red kerb . She smokes a cigarette and does n't give a damn that her short skirt is somewhat revealing . Opposite her a bum is sleeping on the pavement . For a moment it looks like Ben . The camera comes in tight on to her face . She looks more lost that we 've ever seen her . She drinks coffee from a styrofoam cup . The sun is bright and hot and traffic is noisy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOCTOR'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Improvised scene . -LRB- 5 -RRB-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CASINO - NIGHT<\/stage_direction>\n    <scene_description>Sera comes in and the camera follows her as she makes her way to the bar . She has covered up much of the bruising with make - up but it is still pretty obvious . In wide shot we see her strike up a conversation with the man next to her at the bar . CLOSE SHOT - THE BAR A hand comes in to shot and grips her arm firmly . We see that it is a casino security guard .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Let go. What's the problem.<\/dialogue>\n    <character>SECURITY GUARD<\/character>\n    <dialogue>We do n't want you in here, that's the problem. Let's go.<\/dialogue>\n    <scene_description>And he jerks her arm . People are watching now .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Do n't worry. If you do n't want me in here, then I do n't want to be in here. Just let go of my arm and I'll walk out of here.<\/dialogue>\n    <character>SECURITY GUARD<\/character>\n    <dialogue>Yeah. we'll both walk out now.<\/dialogue>\n    <scene_description>He steers her firmly across the floor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CASINO. NIGHT<\/stage_direction>\n    <scene_description>They reach the sidewalk and , without relaxing his grip , he grabs her between the legs with his free hand and says in her ear :<\/scene_description>\n    <character>SECURITY GUARD<\/character>\n    <dialogue>Next time it wo n't be so fucking easy.<\/dialogue>\n    <scene_description>And he pushes her towards the street and walks back into the Casino . Sera is shocked . She looks around and the group of people who have stopped to watch the event move away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SERA'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Sera is throwing clothes into a suitcase . The phone rings . She thinks about it for a long time and then it stops . She carries on packing and then the phone rings again . She pick it up .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Hello. hello.<\/dialogue>\n    <parenthetical>( suddenly alert . )<\/parenthetical>\n    <dialogue>Ben? Where the fuck are you? Give me the address.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAB - LATE AFTERNOON<\/stage_direction>\n    <scene_description>The driver is black and friendly . The radio drones quietly - a religious program . The Rev. Ike is taking listeners ' calls .<\/scene_description>\n    <character>BLACK DRIVER<\/character>\n    <dialogue>What in the hell happened to you, Miss?<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Oh. it was an argument.<\/dialogue>\n    <character>BLACK DRIVER<\/character>\n    <dialogue>Leave him, Miss.. Pretty girl like You could get any man that You wanted.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEN'S MOTEL ROOM - DUSK<\/stage_direction>\n    <scene_description>The door opens . Ben is naked . His body looks bad . Leaving the door open , he retreats to the bed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEN'S MOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Sera comes in , closing the door behind her . The shades are drawn and the room is gloomy . Ben has got back into bed . She comes to the bed and sits .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Ben. I've been looking for You. Have You been here since You left? It smells bad in here. It's so dark.<\/dialogue>\n    <scene_description>She clicks on the bedside light and is truly shocked by his face .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I wanted to see you.<\/dialogue>\n    <character>SERA<\/character>\n    <dialogue>Oh, Ben. you look so very sick. my love. you're so pale.<\/dialogue>\n    <scene_description>She goes to the bathroom and returns with a wet face - cloth . She wipes his face .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I wanted to see you. you're my angel.<\/dialogue>\n    <scene_description>He sits up painfully and finds a bottle , summoning up some last strength to drink . His entire body shudders as he drains the bottle . He puts it down and focuses on her for the first time . H sees her damaged face , touches her face , looks at her questioningly .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Something went wrong. I'm OK.<\/dialogue>\n    <scene_description>Ben begins to cry and that sets her off .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>I'm sorry I put us assunder.<\/dialogue>\n    <scene_description>She shakes her head , unable to speak for the moment . She gets into bed with him , kissing his face . She caresses his whole body , which is shaking , possessed by an uncontrollable fever .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>See how hard You make me angel.<\/dialogue>\n    <scene_description>She excites him with her hand , kissing his face gently . When he is about to come , she straddles him and brings him inside . As he comes , he opens his eyes wide and looks at her .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>You know I love you. yeah?<\/dialogue>\n    <character>SERA<\/character>\n    <parenthetical>( she comes . )<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Sera is sleeping . A sudden gasp wakes her . Ben is having a spasm . Suddenly his body relaxes . He turns his head , opens his eyes wide and looks straight at her .<\/scene_description>\n    <character>BEN<\/character>\n    <dialogue>Oh. I'm so sorry.<\/dialogue>\n    <scene_description>He smiles and turns his head away . He is very still .<\/scene_description>\n    <character>SERA<\/character>\n    <dialogue>Ben. Ben. Ben?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEN'S MOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>In the darkened room we can just make out Sera sitting on the bed , looking at the still form of Ben .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET NEAR MOTEL -  DAWN<\/stage_direction>\n    <scene_description>Sera walking . A paramedic van goes past with its lights flashing . The soundtrack is empty - silent . We slowly fade in theme music and titles start to roll .<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Ben Sanderson is a Hollywood screenwriter whose alcoholism costs him his job, family, and friends. With nothing left to live for, and a sizable severance check from his boss, he heads to Las Vegas to drink himself to death. One early morning he drives drunkenly from his Los Angeles home down to the Las Vegas Strip; he nearly hits a woman, Sera, on the crosswalk. She chastises him and walks away. Sera is a prostitute working for an abusive Latvian pimp, Yuri Butsov. Polish mobsters are after Yuri, so he ends his relationship with Sera in fear that the Poles may hurt her. On his second day in Las Vegas, Ben goes looking for Sera, introduces himself and offers her $500 to come to his room for an hour. Sera agrees, but Ben does not want sex. Instead, they talk and develop a rapport; Sera invites Ben to move into her apartment. Ben instructs Sera never to ask him to stop drinking. Sera asks Ben not to criticize her occupation, and he agrees. At first, the pair are happy, but soon become frustrated with the other's behavior. Sera begs Ben to see a doctor, which makes him furious. While Sera is out working, Ben goes to a casino and returns with another prostitute. Sera returns to find them in her bed and throws Ben out. Shortly afterward, Sera is approached by three college students at the Excalibur Hotel and Casino. She initially rejects their offer by stating that she only \"dates\" one at a time, but eventually acquiesces when she is offered an increased price. When she enters their hotel room, the students change the deal and demand anal sex, which she refuses. When she attempts to leave, they violently gang-rape her. The next morning, Sera is spotted by her landlady returning home bruised and is evicted. Sera receives a call from Ben, who is on his deathbed. Sera visits Ben, and the two make love. He dies shortly thereafter. Later, Sera explains to her therapist that she accepted Ben for who he was and loved him."}
{"movie_name":"The Bucket List_2007","imdb_id":"tt0825232","script":"<script>\n  <scene>\n    <character>THE BUCKET LIST<\/character>\n    <dialogue>by<\/dialogue>\n    <scene_description>Justin Zackham April 2005 REGISTERED WGA-WEST All Rights Reserved You see, Mr. Barnes. It is because I have lived very much, that I can now enjoy everything so well. --Count Mippipopolous \"The Sun Also Rises\" He not busy being born, Is busy dying. --Bob Dylan THE HIMALAYAS Wide as all the world. Towering and timeless and rumbling mutely into the sky to scrape the floor of heaven. We're gliding between them as if on a cloud, and CARTER'S VOICE is quiet and humble and yet somehow makes us feel as though he knows a great many things we don't.<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>Edward Perriman Cole died in May. It was a Sunday, in the afternoon, and there wasn't a cloud in the sky...<\/dialogue>\n    <scene_description>One mountain rises above the rest. A plume of ice and snow billows from its wedge-shaped peak which thrusts up into the jet stream.<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>\"Life is not measured by the breaths we take, but by the moments that take our breath away.\" Whoever said that knew a thing or two.<\/dialogue>\n    <scene_description>We're MOVING HIGHER now as the mountain looms closer, drawing us up its massive shoulders.<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>Even now, I can't claim to understand the measure of a life... Some people will tell you it's how we're remembered by history, or by the ones we've left behind. Some believe it can be measured in faith. Some say by love... Other folks say life has no meaning at all. We're only dust in the breeze.<\/dialogue>\n    <scene_description>CONTINUING over ridges and glaciers towards the peak. CUT TO: A SKI POLE - THRUST THROUGH A CRUST OF FROZEN SNOW The CLIMBER is wrapped in a hooded mountaineering suit and his face is protected by an oxygen mask and ski goggles. With great effort, he lifts his right foot and plants it forward next to the ski pole, his thin breath swept away by the exertion. He pauses and lifts his goggles to his forehead. His eyes are blue and ringed with exhaustion as he turns to take in the view of the entire world beneath him...<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>What I can tell you is that, by any standard, Edward Cole lived more in his last days on earth than most folks manage to wring out of a lifetime.<\/dialogue>\n    <scene_description>Lowering the goggles, the climber turns back to the summit.<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>I know that when he died his eyes were closed, and his heart was open... And I know that he could hear the mountain...<\/dialogue>\n    <scene_description>The climber plants the second ski pole and takes another agonizing step as we RISE high above him until he becomes small on the face of the giant.<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>And I know the mountain heard him in return.<\/dialogue>\n    <scene_description>And we slowly FADE TO BLACK... CUT TO: A CIGARETTE ASHING INTO AN EMPTY \"CHOCK FULL O' NUTS\" COFFEE CAN<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MCCREATH SERVICE CENTER - DAY<\/stage_direction>\n    <scene_description>CARTER CHAMBERS is a black mechanic in his late 50's with a worn, but thoughtful demeanor. His job is beneath him and he's known it for the last 30 years. He leans back against the El Camino he is working on.<\/scene_description>\n    <character>MANNY (O.S.)<\/character>\n    <dialogue>So then what happened?<\/dialogue>\n    <scene_description>His partner MANNY is beneath the car on a roller. He slides in and out of view over course of the following...<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Tesla took his design to the richest man in town, mister J.P. Morgan.<\/dialogue>\n    <character>MANNY<\/character>\n    <dialogue>The stockbroker guy?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>That's right. Morgan was the major financier for Tesla's primary rival, a fellow by the name of Tom Edison.<\/dialogue>\n    <character>MANNY<\/character>\n    <dialogue>No way.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Between them, Morgan and Edison controlled the entire power grid for New York, Boston, Philadelphia, and so on.<\/dialogue>\n    <character>MANNY<\/character>\n    <parenthetical>(jingling his pocket)<\/parenthetical>\n    <dialogue>So they had some serious jing.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>They had \"serious jing.\" Which is why, when Tesla walked into Mr. Morgan's office and unveiled an invention designed to provide free, wireless electricity to the entire population of the planet - remember now, this is 1912 - Mister Morgan had no choice but to finance it immediately.<\/dialogue>\n    <character>MANNY<\/character>\n    <dialogue>Hold up. He agreed?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Without hesitation.<\/dialogue>\n    <character>MANNY<\/character>\n    <dialogue>But wouldn't free energy put him out of business?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Invariably.<\/dialogue>\n    <character>MANNY<\/character>\n    <dialogue>Yo, that's one stupid stockbroker.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>A year later, Tesla invited Mr. Morgan out to Long Island, where he had nearly completed the first in a series of towers which would tap into the Earth and beam its energy through the air to a nearby receiver.<\/dialogue>\n    <character>MANNY<\/character>\n    <dialogue>Crazy... So what happened?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Morgan knew the invention would make both Tesla and himself famous beyond their wildest dreams...change human history forever. So, he did what anyone in his position would do. He went back to his office, made a few phone calls, then home to his wife... The next day Tesla received notice that Morgan had pulled his funding. He was thrown out on the street and the lab was demolished. The morning papers carried stories about Tesla's clinical insanity, quoting \"anonymous sources\" who claimed to have seen Tesla consorting with prostitutes and demons.<\/dialogue>\n    <character>MANNY<\/character>\n    <dialogue>And Morgan protected his company. That's so...<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Machiavellian? I agree.<\/dialogue>\n    <character>MANNY<\/character>\n    <dialogue>I was gonna say wack, but whatever spanks your monkey. What happened to Tesla?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>He became a pariah. No one dared cross Morgan. Nikola Tesla lived the rest of his life in isolation and died in poverty. The proverbial tree that falls without a sound.<\/dialogue>\n    <character>MANNY<\/character>\n    <dialogue>He never tried to start over.<\/dialogue>\n    <scene_description>Carter shakes his head as the phone rings...<\/scene_description>\n    <character>MANNY<\/character>\n    <dialogue>Yo, that's a messed-up story.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Most true stories are. Happy endings are for suckers.<\/dialogue>\n    <scene_description>Carter lights a new cigarette as he answers the phone...<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>This is Carter... Hey, how was the interview?... Oh... Well, there's plenty of fish in the... Dr. Young?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>What did he want?...Uh huh...What does that mean?... It can't be all that bad...<\/dialogue>\n    <scene_description>He takes a drag of his cigarette then suddenly stops. His expression changes as he listens...<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>That's not possible.<\/dialogue>\n    <scene_description>He removes the butt from between his lips as smoke dribbles from his mouth. He looks at the cigarette for a moment then drops it to the floor. ANGLE ON the cigarette butt, slowly burning itself out. In the b.g., Manny pulls himself out from under the car, staring up at Carter.<\/scene_description>\n    <character>CARTER (O.S.)<\/character>\n    <dialogue>Today? That's no good, the team's got their first scrimmage before... Yeah... No, I know. Okay... Yep. Okay.<\/dialogue>\n    <character>MANNY<\/character>\n    <dialogue>Yo, what the hell is that?<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>(hanging up the phone)<\/parenthetical>\n    <dialogue>Ah, it's nothing, it's just...<\/dialogue>\n    <scene_description>He steps on the cigarette as he walks in a daze past Manny and out the door of the garage into the blinding day which fills the frame with its white light...<\/scene_description>\n    <character>COUNTY DIRECTOR (O.S.)<\/character>\n    <dialogue>Come to order. Hudson County Planning Board.<\/dialogue>\n    <scene_description>DISSOLVE TO: AN EXPENSIVE LOOKING COPPER THERMOS As the lid is unscrewed releasing a waft of rich steam which curls up into the waiting nostrils of EDWARD COLE who inhales deeply.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Kopi Luwak. It's the rarest beverage in the world. At a thousand bucks a pound it better be.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WESTCHESTER COUNTY PLANNING BOARDROOM - DAY<\/stage_direction>\n    <scene_description>Across the aisle, the COUNTY DIRECTOR is flanked by five fellow BOARD MEMBERS who go through the minutiae of beginning the meeting. Edward is in his mid to late 50's. He's immaculately dressed and groomed, though his Italian suit appears slightly too large for his gaunt frame. He unscrews a matching cup from the bottom of the thermos and pours a small amount of the brew before handing it over to RICHARD, one of several executives in Edward's retinue.<\/scene_description>\n    <character>EDWARD<\/character>\n    <parenthetical>(coaxing with his hand)<\/parenthetical>\n    <dialogue>First the aroma.<\/dialogue>\n    <scene_description>Richard bends his head to the cup, sniffing it.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Note the earthy tones and the complexity of the body.<\/dialogue>\n    <character>RICHARD<\/character>\n    <dialogue>It's just coffee, right?<\/dialogue>\n    <character>COUNTY DIRECTOR<\/character>\n    <dialogue>Mister Cole?<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(to Richard)<\/parenthetical>\n    <dialogue>It's not 'just coffee.'<\/dialogue>\n    <scene_description>Watches Richard take a tentative sip.<\/scene_description>\n    <character>COUNTY DIRECTOR<\/character>\n    <dialogue>Mister Cole. We're ready to begin.<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(focused on Richard)<\/parenthetical>\n    <dialogue>Well?<\/dialogue>\n    <character>RICHARD<\/character>\n    <parenthetical>(clearly doesn't get it)<\/parenthetical>\n    <dialogue>Wow. Really, uh, good.<\/dialogue>\n    <character>COUNTY DIRECTOR<\/character>\n    <dialogue>Mister Cole!<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(to Richard)<\/parenthetical>\n    <dialogue>You're a friggin' Philistine, you know that.<\/dialogue>\n    <scene_description>Grabs the cup back and stands to face the board.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Thank you, Mister Director, fellow board members. Very much appreciate you taking the time... I'm not big on sugarcoat, so you'll forgive me if this comes across as somewhere south of warm and fuzzy...<\/dialogue>\n    <parenthetical>(looks directly at them)<\/parenthetical>\n    <dialogue>All of you should be immediately and pointedly fired. They should haul you up by your boot-straps and dump your bloated salaries into the street. The appalling decline of Jefferson Hospital is a direct result of your gross incompetence and utter lack of fiscal erudition.<\/dialogue>\n    <character>COUNTY DIRECTOR<\/character>\n    <dialogue>I beg your pardon! This--<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Okay, I got a deal. I'm going to talk for a few minutes, and the moment I speak the slightest untruth you can shout me down. Good? Fair? Good... Your shop is hemorrhaging cash. Overhead costs are in the stratosphere. Your lease and land costs were criminally overbid.<\/dialogue>\n    <scene_description>One of the board members raises his hand to protest but the County Director waves him off.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Donations have atrophied to the point that you've fallen hopelessly behind the tech curve in research, pediatrics, oncology, MRI...<\/dialogue>\n    <scene_description>He pauses and savors a long sip of his Kopi Luwak coffee, eyeballing the board over the rim of the cup until his eyelids close in ecstasy from the flavor.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Mmmm... Put simply, your hospital loses money every time a patient walks through the door.<\/dialogue>\n    <scene_description>The board members range from uncomfortable to furious, though none say a word.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>More truths... The Cole Group is the largest private hospital management firm in the region. We have a proven track record of corporate governance and exceed every requirement of the Sarbanes-Oxley Act... Our shops maintain state-of-the- art technology systems, and wield unparalleled clout in negotiating with unions and the insurance companies... What's more we've privatized fifteen other public hospitals in the past seven years, each of which now provide the highest standard of medicine to their communities.<\/dialogue>\n    <scene_description>He pours a second cup of coffee and brings it to his lips.<\/scene_description>\n    <character>FEMALE BOARD MEMBER<\/character>\n    <dialogue>Despite being grossly understaffed?<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(pausing before drinking)<\/parenthetical>\n    <dialogue>We employ the best of the best of the best. The stronger the staff, the less need there is for--<\/dialogue>\n    <scene_description>Suddenly, he coughs into the cup, spraying coffee onto the table.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Excuse me.<\/dialogue>\n    <scene_description>Pulls a silk handkerchief to his lips as his suits search their pockets for tissues to wipe the table.<\/scene_description>\n    <character>COUNTY DIRECTOR<\/character>\n    <dialogue>What about beds? There have been reports that you increase the number of beds to the point of overpopulation.<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(wiping coffee)<\/parenthetical>\n    <dialogue>That's because I run hospitals, not bed and breakfasts. The sole concern of my company is to provide the best health care in the world, which we do.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>The sole concern of my shareholders, who include three of you, I might add, is to turn a profit, which, as you know, we also do... Our methods are stringent and effective and one has never suffered at the hands of the other, and you know it... Truths? The truth is you need me boys and girls...a fuck of a lot more than I need--<\/dialogue>\n    <scene_description>Coughs into the handkerchief again.<\/scene_description>\n    <character>COUNTY DIRECTOR<\/character>\n    <dialogue>Mister Cole?<\/dialogue>\n    <scene_description>Edward stares in shock at the ugly puddle of clotted blood staining the white silk of the handkerchief... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HUDSON VALLEY ONCOLOGY CENTER - DAY<\/stage_direction>\n    <scene_description>A pair of elevator doors open at the far end of a long hallway emitting a hulking man in a tailored black suit, lugging a set of four massive suitcases as he counts room numbers. This is THOMAS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - DAY<\/stage_direction>\n    <scene_description>Thomas barrels in, passing a curtained off area near the door, and drops the bags onto the empty bed next to the window. Opening the first suitcase, he sets up the room with practiced efficiency-- He plugs in a cell phone cradle and sets it on the bedside table along with a hi-tech alarm clock... Lines half a dozen shoes and slippers down the length of the bed... Unloads a stack of thick books on living with cancer, cancer treatment, cancer nutrition, new cancer protocols... Sets a laptop computer on the table, surrounding it neatly with pens, notepads and Post-Its... Places a massive, Royal Classic copper coffee siphon on the window sill, along with copper-lined cups and saucers and spoons and a dark wooden box covered in Arabic writing and Sumatran customs stickers... VOICES are heard in the hallway - a commotion coming closer. Thomas quickly removes a vase and flowers. He jogs through the separator curtain and into the bathroom where he fills the vase with water, completely missing the figure lying in the bed behind the curtain. The noise in the hallway is reaching a fever pitch as Thomas emerges from the bathroom and nearly loses the vase as he sees Carter lying in the near bed.<\/scene_description>\n    <character>CARTER<\/character>\n    <parenthetical>(eying the flowers)<\/parenthetical>\n    <dialogue>You shouldn't have.<\/dialogue>\n    <scene_description>He's thin and drawn and hooked up to a network of tubes and even his eyelashes have fallen out exposing his sallow skin that's dappled with angry chemo burns. There are flowers everywhere and the wall behind him is a collage of get well cards and photos of a girls soccer team.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>I uh... I'm sorry. What are you doing here?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>You know, fighting for my life... You?<\/dialogue>\n    <scene_description>Just as the hallway brigade bursts into the room - seen in silhouette and through the gap in the curtains - as doctors and nurses and handlers hover over--<\/scene_description>\n    <character>EDWARD (O.S.)<\/character>\n    <parenthetical>(from his gurney)<\/parenthetical>\n    <dialogue>And tell Holcomb I want to know more about this bleo-maya-something.<\/dialogue>\n    <character>DOCTOR (O.S.)<\/character>\n    <dialogue>Bleomycin.<\/dialogue>\n    <character>EDWARD (O.S.)<\/character>\n    <dialogue>Bleomycin. Thomas says it eats your lungs. How do I stoke fear in the hearts of my employees if I'm breathing through a hole in my throat for the rest of my life.<\/dialogue>\n    <character>DOCTOR (O.S.)<\/character>\n    <dialogue>That's not exactly what--<\/dialogue>\n    <character>NURSE (O.S.)<\/character>\n    <dialogue>We're going to move you into the bed now.<\/dialogue>\n    <character>EDWARD (O.S.)<\/character>\n    <dialogue>I can do it myself goddammit. I'm not dead yet.<\/dialogue>\n    <scene_description>Then a huge clattering is heard as Edward falls off the gurney. He swears bitterly as the doctors and nurses grab him quickly and lift him into the bed.<\/scene_description>\n    <character>EDWARD (O.S.)<\/character>\n    <dialogue>Where the hell is Thomas?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>You rang my liege.<\/dialogue>\n    <scene_description>Pushing through the curtains, leaving a gap through which Carter views Edward being slid into bed.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>You ditched me again.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Wishful thinking on my part.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>You let these people drop me. Did you see them drop me?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>I wouldn't lose a testicle over it.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>That's funny. That's absolutely, goddamn hysteri--<\/dialogue>\n    <scene_description>Lapses into a coughing fit which doubles him over, allowing him a look through the curtains at Carter.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Who the hell is that?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Who the hell are you?<\/dialogue>\n    <character>THOMAS<\/character>\n    <parenthetical>(to Edward)<\/parenthetical>\n    <dialogue>One thing at a time. Lean back now.<\/dialogue>\n    <scene_description>Edward and Carter glare at each other before Thomas gingerly leans him back into the bed.<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>That was the first I laid eyes on him. An inauspicious beginning to be sure, but most stories begin that way... It got worse before it got better.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOLCOMB'S OFFICE - DAY<\/stage_direction>\n    <scene_description>DR. HOLCOMB is tall and ultra-confident with a runner's physique and shoulder-length hair. He examines Edward's brain scan on a light board.<\/scene_description>\n    <character>DR. HOLCOMB<\/character>\n    <dialogue>Luckily the tumors appear relegated to the surface of the brain. Shouldn't be to difficult to--<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I just gave you my left nut, if you think I'm going to let you crack my head open and--<\/dialogue>\n    <character>DR. HOLCOMB<\/character>\n    <dialogue>Stop talking.<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(glowering)<\/parenthetical>\n    <dialogue>Beg your pardon?<\/dialogue>\n    <character>DR. HOLCOMB<\/character>\n    <dialogue>This isn't a skinned knee. I can't fix it with a band-aid and a lollypop. Choriocarcinoma travels through your bloodstream which means it's everywhere and it has almost finished killing you.<\/dialogue>\n    <scene_description>They stare each other down. Egos facing off... Finally, Edward stands...<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>You'll understand if I want a second opinion.<\/dialogue>\n    <scene_description>He heads for the door.<\/scene_description>\n    <character>DR. HOLCOMB<\/character>\n    <dialogue>You don't have that kind of time.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Go fuck yourself.<\/dialogue>\n    <scene_description>Walks out. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - EARLY MORNING<\/stage_direction>\n    <scene_description>Electric clippers shave smooth avenues onto Edward's scalp. His mood has not improved.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>There's a guy in my room.<\/dialogue>\n    <scene_description>NURSE SHING continues shaving his head without a response. She's Asian, late-thirties with a quiet confidence born of years comforting the sick and dying.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>I said there's a guy in my room.<\/dialogue>\n    <parenthetical>(points to the curtain)<\/parenthetical>\n    <dialogue>Right in there.<\/dialogue>\n    <character>NURSE SHING<\/character>\n    <dialogue>Mmmm.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I want him moved.<\/dialogue>\n    <character>NURSE SHING<\/character>\n    <dialogue>Mister Chambers bothering you?<\/dialogue>\n    <scene_description>Pokes her head through the curtain to see Carter lying in bed reading Robert Massie's Nicholas and Alexandra.<\/scene_description>\n    <character>NURSE SHING<\/character>\n    <dialogue>Carter, have you been bothering Mister Cole?<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>(without looking up)<\/parenthetical>\n    <dialogue>Who the hell is Mister Cole?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>It's not a question of-- Not to pull rank, but this is my hospital. Which, at the very least, should rate me my own room.<\/dialogue>\n    <parenthetical>(to Carter)<\/parenthetical>\n    <dialogue>No offense.<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>(dismissive)<\/parenthetical>\n    <dialogue>Mmmm.<\/dialogue>\n    <character>NURSE SHING<\/character>\n    <parenthetical>(disapproving)<\/parenthetical>\n    <dialogue>Mmmm.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>What's \"Mmmm?\" Is that some kind of secret cancer code? Why don't you run down and tell doctor what's his nuts that I want to see him ay-sap.<\/dialogue>\n    <character>NURSE SHING<\/character>\n    <parenthetical>(brandishing the clippers)<\/parenthetical>\n    <dialogue>Look bub, maybe this is your hospital, but this is my ward and we have strict rules. Two beds to a room. No single rooms. No exceptions.<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(catching himself in a mirror)<\/parenthetical>\n    <dialogue>Jesus... Yeah, those are my rules,<\/dialogue>\n    <parenthetical>(checking her name tag)<\/parenthetical>\n    <dialogue>Phyllis. I wrote the rules.<\/dialogue>\n    <character>NURSE SHING<\/character>\n    <dialogue>Great, then you shouldn't have any trouble remembering them. Dr. Holcomb will be in in a minute to dot you up.<\/dialogue>\n    <scene_description>She walks out leaving him with Carter who is chuckling to himself. Edward glares.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>No offense...<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(grumbling)<\/parenthetical>\n    <dialogue>Mmmm.<\/dialogue>\n    <scene_description>Carter chuckles some more... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. READY ROOM - DAY<\/stage_direction>\n    <scene_description>Edward's bald cranium has been clamped into a large, steel halo. A laser marks a point on his forehead and Dr. Holcomb marks corresponding dots on his skin with a Sharpie.<\/scene_description>\n    <character>DR. HOLCOMB<\/character>\n    <dialogue>I'm going to ask you to remember something for me.<\/dialogue>\n    <scene_description>Edward is staring with disgust at his reflection in a glass window.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Oh yeah, what's that?<\/dialogue>\n    <character>DR. HOLCOMB<\/character>\n    <dialogue>The young lion waits in a dream beneath the cold white lantern.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>DR. HOLCOMB<\/character>\n    <dialogue>The young lion waits in a dream beneath the cold white lantern. Repeat it back to me.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>The young lion waits in a dream beneath the cold white lantern. What the hell does that mean?<\/dialogue>\n    <character>DR. HOLCOMB<\/character>\n    <dialogue>Doesn't mean anything. It's a memory test. Any time we go near the brain... there's always a risk. This is how we'll know if you've gone vegetable on us.... Again.<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(seething)<\/parenthetical>\n    <dialogue>The young lion waits in a dream...<\/dialogue>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>Testicular cancer is almost unheard of for anyone over thirty, but then Edward always despised conformity.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OPERATING THEATER - DAY<\/stage_direction>\n    <scene_description>As Holcomb and his surgical team operate on Edward who lies in fragile stasis.<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>By the morning of the surgery it had spread so far throughout his body that the doctors gave him a five percent chance to live...but then they didn't account for how pissed off they'd made him.<\/dialogue>\n    <scene_description>PUSH INTO Edward's inert face which, even under sedation, appears annoyed at the intrusion... WHITE DISSOLVE TO: THE PALE FACE OF A BEAUTIFUL WOMAN<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Peering down at Edward as his eyes open slowly, wandering in their sockets before focusing on the perfect visage hovering over him. Her name is ANNA, she's 26.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>There you are.<\/dialogue>\n    <scene_description>He struggles to speak.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>Here.<\/dialogue>\n    <scene_description>She lifts a glass of water with a straw to his lips. He sips slowly. His head is wrapped in bandages.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>We've been so worried. You were asleep forever.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>How...? Did it...?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Oh, they said it went really well.<\/dialogue>\n    <scene_description>He coughs. She draws back involuntarily, uncomfortable around sickness. He hears a noise and looks over at Carter who is surrounded by his three children, LEE, 26, ROGER, 23, and RACHEL, 13. His wife VIRGINIA, 50's, sits at the end of the bed. All are talking quietly over plates of food.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>They are so nice. She's a nurse. They come to eat with him almost every night. I should-- The doctor said to page him when you woke up.<\/dialogue>\n    <scene_description>His eyes begin to close again...<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>No wait, there's something I have to--<\/dialogue>\n    <scene_description>HIS POV FADES OUT... Virginia looks over to see Anna kiss her hand and press it to Edward's cheek.<\/scene_description>\n    <character>VIRGINIA<\/character>\n    <dialogue>Everything all right, dear?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>He fell asleep before I could tell him.<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <dialogue>I'm sure he'll understand.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>It's only a few months, right? It's not like I'm never coming back.<\/dialogue>\n    <scene_description>It's obvious she's never coming back.<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>I guess I'll...<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <parenthetical>(to her family)<\/parenthetical>\n    <dialogue>We should probably push off too.<\/dialogue>\n    <parenthetical>(to Carter)<\/parenthetical>\n    <dialogue>If you need any more books--<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Nah, I'm good all the way up to Stalin.<\/dialogue>\n    <scene_description>Lays his hand on an impressive stack of books atop his bedside table, all concerning early 20th century Russia.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Oh, Todd Phillips called. He was asking about the--<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <dialogue>Already took care of it.<\/dialogue>\n    <scene_description>He nods his thanks. Barely meets her eyes.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>I can't come on Saturday. We've got the semi's against Newark.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>That's right... Watch out for their front line, and their sweeper likes to take the ball up the field.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>All the girls wish you could be there.<\/dialogue>\n    <scene_description>Virginia puts a light hand on Rachel's shoulder, cautioning her not to upset him.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>You ladies are much better off without me. Coach Sanders knows ten times more about the game as I do.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Everyone knows that's not true... I love you, daddy.<\/dialogue>\n    <scene_description>Kisses him, followed by her brothers, all exchanging heartfelt \"I love you's.\" Finally, Virginia takes his hand. He grasps it briefly, without any intimacy. She leans over to kiss him, but the closeness is awkward. Her eyes fall as she kisses his cheek, feeling the lack.<\/scene_description>\n    <character>CARTER (O.S.)<\/character>\n    <dialogue>What is a blackberry?... What are lingonberries?... Who is Halle Berry?...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - DAY<\/stage_direction>\n    <scene_description>Edward opens his eyes to see the television is turned on to Jeopardy. Carter is sitting up in bed, firing the answers back at the screen.<\/scene_description>\n    <character>EDWARD<\/character>\n    <parenthetical>(barely a whisper)<\/parenthetical>\n    <dialogue>Excuse me...<\/dialogue>\n    <parenthetical>(stronger)<\/parenthetical>\n    <dialogue>Excuse me.<\/dialogue>\n    <parenthetical>(a hoarse shout)<\/parenthetical>\n    <dialogue>I beg your pardon!<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Huh? Oh.<\/dialogue>\n    <parenthetical>(lowers the volume)<\/parenthetical>\n    <dialogue>Doc wanted you to wake up, said I shouldn't pussyfoot.<\/dialogue>\n    <scene_description>Just as Dr. Holcomb enters like a zephyr.<\/scene_description>\n    <character>DR. HOLCOMB<\/character>\n    <dialogue>So, it couldn't have gone better. We got in, got out and the tumor came back benign. All that remains now is to make sure you're not mentally--<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>The dumbass lion waits in a dream beneath the stupid white lantern.<\/dialogue>\n    <scene_description>Dr. Holcomb nods approvingly. Marks the chart.<\/scene_description>\n    <character>DR. HOLCOMB<\/character>\n    <dialogue>Surliness is a good sign. How's the catheter feel?<\/dialogue>\n    <scene_description>He checks the integrity of the bulging plastic drain implanted into the center of Edward's sternum.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Like someone took a dump in my chest.<\/dialogue>\n    <character>DR. HOLCOMB<\/character>\n    <parenthetical>(barely listening as he scribbles on the chart)<\/parenthetical>\n    <dialogue>Wonderful. Okay, we saved your brain, now we're going to kill your body. Your markers are through the roof so I'd like to begin the first course of chemo in the morning. Good?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I can't wait.<\/dialogue>\n    <scene_description>Dr. Holcomb's expression does little to hide the fact that Edward has no idea what he's in for. Holcomb surges for the door...<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Say, Doc. Do you think you could-<\/dialogue>\n    <character>DR. HOLCOMB<\/character>\n    <dialogue>I'm sorry. I'm running late.<\/dialogue>\n    <scene_description>Walks out.<\/scene_description>\n    <character>CARTER<\/character>\n    <parenthetical>(to Edward)<\/parenthetical>\n    <dialogue>Real Mother Theresa, that one.<\/dialogue>\n    <scene_description>Edward tries to sit up but is held in place by the web of tubes running in and out of his body.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>I wouldn't do that if I were you.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I have a choice?<\/dialogue>\n    <scene_description>Carter turns back to Jeopardy. Edward takes a moment to accept his situation, then turns his head and studies Carter.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>How long have you been here?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>What is the quadratic equation!<\/dialogue>\n    <parenthetical>(to Edward)<\/parenthetical>\n    <dialogue>Huh? Oh, in and out for the last few months.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Has it been uncomfortable?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Which part?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>The chemo.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>They say it's different for everyone. Once you get used to the 'round the clock vomiting and watching your veins turn black and the feeling that your bones are made of napalm, it's not bad at all.<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(paling slightly)<\/parenthetical>\n    <dialogue>Fantastic.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Say, I been meaning to ask you, what the hell is that contraption over there?<\/dialogue>\n    <scene_description>Points over to the high-tech coffee maker.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>It's a siphon. Makes coffee.<\/dialogue>\n    <scene_description>Fumbles his hand for the nurse call button.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>I figured that much. What else it do?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Nothing. Just coffee.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I'll be damned... Did you know that coffee was originally discovered by a shepherd in Ethiopia?<\/dialogue>\n    <scene_description>Edward just stares at him... Carter continues, as much for his own pleasure as for Edward's edification...<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>His goats had been eating the cherries of an unfamiliar bush and soon became unmanageable, running and jumping all over creation. The shepherd chewed some of the leaves which gave him a strange vitality so he took some branches to the local monastery where the abbot decided to roast them. When the cherries started to burn, the beans inside produced such a pleasant aroma that they brewed them into a stew which eventually spread to Columbia, Asia, even Sumatra, like that hooch you got over there.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>It's called Kopi Luwak.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I know what it is.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>You've tried it?<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>(makes a face)<\/parenthetical>\n    <dialogue>Not even if I was dying of thirst in the Gobi desert.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Why not, it's the most expensive--<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I'm more of an instant coffee man.<\/dialogue>\n    <scene_description>Edward's I.V. tubes have become tangled in the call button. Carter rolls his eyes, but eases himself creakily out of bed and shuffles over to untangle them expertly.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Your wife's a nurse?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Twenty-six years. Used to work in this ward.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Retired?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>In a manner of speaking.<\/dialogue>\n    <scene_description>Hands Edward the call button and shuffles back to his bed.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>You fired her, when this became \"your\" hospital.<\/dialogue>\n    <scene_description>CUT TO: A LARGE I.V. OF FLUID - FEEDING INTO EDWARD'S CATHETER<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - NIGHT<\/stage_direction>\n    <scene_description>As Thomas begins to unpack a stack of aluminum containers from Il Mulino. Spoons the contents onto a large plate.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Okay, we got prosciutto de Parma, some fresh mozzarell', and Bruno threw in some of that fried artichoke crap you froth over.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Guidea. And the meat?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Double veal chop with lobster truffle oil risotto.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>You sure you want to eat all that?<\/dialogue>\n    <scene_description>He's watching them through thin eyes as he works his way through his own I.V.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>I'm a bottomless pit. It's true, I could eat twice this much if some people weren't such goddamn nursema--<\/dialogue>\n    <scene_description>He's cut off as Thomas clears his throat loudly.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>What?<\/dialogue>\n    <parenthetical>(to Carter; off Thomas' look)<\/parenthetical>\n    <dialogue>Oh. Uh, you want Thomas to make you a plate? Tommy, fix a plate for mister, uh--<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Carter.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Pass.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Yeah? It's the best in New York.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Good enough to taste it twice?<\/dialogue>\n    <scene_description>Thomas puts the plate in front of Edward who picks up a piece of fried artichoke...<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>You know what they say, living well is the best revenge.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Revenge for what?<\/dialogue>\n    <scene_description>Edward pops the artichoke in his mouth, grinning as he chews.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Whadd'ya got?<\/dialogue>\n    <scene_description>CUT TO: EDWARD - PUKING HIS KIDNEYS OUT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - NIGHT<\/stage_direction>\n    <scene_description>As his sumptuous dinner hits the floor with the force of a hurricane. He's moaning and spitting as he climbs out of bed and makes for the bathroom but his I.V. tubes jerk him back and he ends up on the floor where he unleashes another torrent. After a moment, he looks up to see Carter watching him evenly.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>I feel like I'm dying.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>You are.<\/dialogue>\n    <scene_description>Winces as Edward vomits again. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - DAY<\/stage_direction>\n    <scene_description>Edward is in bed and covered in sweat as he shivers uncontrollably. His eyebrows are gone and the first chemo burn blooms above his right eye. Carter is curled up in his own bed as he turns the last page of Vladimir Ilyich Lenin: A Poem by Mayakovsky then places it atop a stack of completed books on the floor. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Carter stares up at the collage of photos and cards taped to the wall above his head. He removes a photograph of his daughter's soccer team. He's seen standing proudly in the back row wearing a coach's hat and a whistle around his neck. Edward groans in his sleep and wrestles with his sheets. The bandages have been removed from his head, which is now scarred and littered with uneven patches of stubble. Carter looks over at him until he settles. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - DAY<\/stage_direction>\n    <scene_description>A new stack of books relating to The Civil War towers atop Carter's bedside table as Nurse Shing removes an empty I.V. bottle from the stand.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>So, that's the end of it?<\/dialogue>\n    <character>NURSE SHING<\/character>\n    <dialogue>Fourth and final round. Couple more tests and we'll see where we stand.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>How long?<\/dialogue>\n    <character>NURSE SHING<\/character>\n    <dialogue>Soon as I can get Dr. Gibian to look at them. I'm on for another hour. Anything you need.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Thanks Phyllis.<\/dialogue>\n    <scene_description>She heads out as he checks his watch.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Mind if I turn this on?<\/dialogue>\n    <scene_description>Edward is sitting up in bed, haggard but lucid as he types angrily on his laptop, sipping a cup of coffee. He waves his hand dismissively. Carter turns the television on to Jeopardy and becomes immediately engrossed...<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>What is The Great Divide?... What is somnambulism?... Who was Warren Harding?...<\/dialogue>\n    <scene_description>Edward pauses in his typing. Glances over at Carter...<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Do you ever miss one?<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>(shrugs modestly)<\/parenthetical>\n    <dialogue>I missed one last week.<\/dialogue>\n    <scene_description>Edward studies him for a moment before turning back to his computer. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL BATHROOM - DAY<\/stage_direction>\n    <scene_description>Edward kneels on the floor, head resting on the toilet seat, fast asleep. He's woken by VOICES coming from the room. He weakly pushes open the door to see who it is.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>...got the corner kick which Karen put right in the box and Angela headed it straight into the net.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - DAY<\/stage_direction>\n    <scene_description>Rachel sits on Carter's bed. He's elated at the news.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>So who you playing in the championships?<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>(glumly)<\/parenthetical>\n    <dialogue>Essex.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I'll have to do some homework on 'em.<\/dialogue>\n    <scene_description>Edward shuffles out of the bathroom.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <scene_description>He's a mess as he slowly makes his way around the bed as Virginia walks in from the hallway...<\/scene_description>\n    <character>VIRGINIA<\/character>\n    <dialogue>Three months I'm gone and this place has gone to the dogs. There isn't an M.D. within--<\/dialogue>\n    <scene_description>Almost walks into Edward...<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Excuse me.<\/dialogue>\n    <scene_description>...as he shuffles over to his bed and wrestles with the cables and tubes. She watches him for a moment then, despite herself, moves to help him.<\/scene_description>\n    <character>VIRGINIA<\/character>\n    <dialogue>Nice and easy.<\/dialogue>\n    <scene_description>She clears a path then helps him ease into bed.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <dialogue>Mmmm.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Mmmm. Don't you people use words anymore?<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <dialogue>You people?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Nurses. I meant-- Forget it.<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <parenthetical>(walking away)<\/parenthetical>\n    <dialogue>Forget yourself.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I beg your pardon.<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <dialogue>You can beg all you want, you ain't gettin' it.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>How dare you talk to me that way.<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <dialogue>I will talk to-- I don't work for you anymore \"Mister Cole\" so don't think for a hummingbird heartbeat you put the quake in my boots with your fat voice because all you're doing is taking up oxygen.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>'Gin-<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <dialogue>I don't think so.<\/dialogue>\n    <parenthetical>(back to Edward)<\/parenthetical>\n    <dialogue>It's been two days since a doctor's looked in on my husband and you of all people have the nerve to condescend to us... I've been a nurse my entire adult life with a ringside seat to more human tragedy than any woman should have to bear and I've learned that the one thing in this world worse than dying is staring your life's end in the face with no one beside you but a nurse you've known for a week who's being paid to hold your hand... I don't wish that on you, Mr. Cole, I wouldn't wish it on anyone, but I know what I know about these things, and you might want to make what ever peace you can with god and give back just a little bit of the respect you so desperately demand, because as far as I can tell, you are going to die alone.<\/dialogue>\n    <dialogue>Edward's eyes betray him for a brief moment, just enough for her to see she's laid him wide open. Her regret is immediate.<\/dialogue>\n    <dialogue>She turns to see everyone staring at her including Thomas who has just entered from the hallway carrying several Chinese take out bags.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Peking Duck?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - NIGHT<\/stage_direction>\n    <scene_description>The copper coffee maker reflects a single light source in the otherwise darkened room. Edward stares at the machine from his bed, eyes lost in the gleaming metal. The reflection shifts and Edward rolls over to see Carter adjusting his reading light.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>What are you reading?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Book on Robert Smalls.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Never heard of him.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>He was a conscripted slave aboard a Confederate steamship, The Planter. One night he and some of the crew smuggled their families aboard and stole it right out from under the rebels' noses. He turned it over to the Union Navy who made him a captain. By the end of the war he'd risen to the rank of General and later became the second African-American to serve in Congress.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Quite a life.<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>(agreeing)<\/parenthetical>\n    <dialogue>Quite a life.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I don't like books.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>You're joking.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I never saw the point. History's just... history. I'd rather make it than read about it.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>How's that coming along? Make any yet?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I've done alright for myself.<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>(dubious)<\/parenthetical>\n    <dialogue>All your dreams fulfilled?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Pretty much, yes. What about you?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Not exactly. We were practically kids ourselves when my first boy came alone. Young, broke and black, you take the first job they offer you. Thirty years goes by in a heartbeat.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Would you change it?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I love my children, if that's what you mean.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I'm sure you do. But you're a smart guy, must have had a plan for your life before they came along.<\/dialogue>\n    <scene_description>Carter thinks a moment, then reaches into the drawer of his bedside table and removes his well-worn wallet. He pulls a small square of yellowed paper out from a pocket and unfolds it gently in his hands.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>I made this in high school. Creative writing class. Some kind of exercise to get us to think about something besides chasing skirts.<\/dialogue>\n    <scene_description>He slips out of bed and hands it across to Edward.<\/scene_description>\n    <character>EDWARD<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>\"Carter's Bucket List\"... You weren't much on penmanship.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Hasn't improved, I assure you.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I don't understand what this is.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I was trying to be funny, I guess. It's a list of things to do before I kick the bucket.<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(still reading)<\/parenthetical>\n    <dialogue>\"Make a million dollars. Run for president.\"<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I didn't say it was realistic.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>\"Help a complete stranger for the good?\" How philanthropic.<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>I was sixteen.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>What's the one about the mountain?<\/dialogue>\n    <scene_description>Hands the list back.<\/scene_description>\n    <character>CARTER<\/character>\n    <parenthetical>(without looking)<\/parenthetical>\n    <dialogue>\"Listen to the mountain and be heard.\" That's from my uncle. Second World War his squadron flew supplies through the Himalayas into China. Called them the Hump Pilots... Most non-combat casualties of any unit in Air Force history... You can honestly say you've accomplished everything you ever dreamed about?<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>I'm a millionaire a dozen times over.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I grew my company from the ground up, built my own house, sold it, built a bigger house.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Money ain't everything.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>No, but it sure takes the edge off being miserable all the time.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>What about your wife?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Which one? We're talking about dreams, not nightmares.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>There's got to be something you haven't done.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Dreams are for teenagers. Let's face it, we've had our time and we did what we did with it. We're all out of wishes. The genies left our magic lamps a long time ago.<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>(after a beat)<\/parenthetical>\n    <dialogue>Suit yourself.<\/dialogue>\n    <scene_description>He gets back into bed and slips the list between the pages of his book. Edward watches him for a moment, then turns back to staring at the coffee maker. CUT TO: THE SOUNDS OF A BASEBALL GAME<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - DAY<\/stage_direction>\n    <scene_description>Carter hides behind the sports section of a local newspaper, highlighting pieces of an article on the Essex girls soccer team.<\/scene_description>\n    <character>EDWARD (O.S.)<\/character>\n    <dialogue>Come on you pansies, it's one out, how hard can it be?<\/dialogue>\n    <scene_description>Carter lowers the paper just enough to reveal Edward lying on his stomach with his head propped on a pillow at the foot of the bed, stretching his tubes and cables to the limit as he yells at the Yankee game on the TV. A Red Sox player bloops a single. Edward is beside himself.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>That's just... That's... I can't take much more of this!<\/dialogue>\n    <scene_description>Carter's feelings are commensurate as he puts on a pair of head phones and listens to Mozart's Requiem Lacrymosa. He finishes the article and reaches down for a second newspaper when he sees Holcomb standing at the foot of Edward's bed. Holcomb's face is pinched and somber as he speaks... Edward listens implacably, his face impossible to read. Carter slides the headphones off to listen...<\/scene_description>\n    <character>DR. HOLCOMB<\/character>\n    <dialogue>We're not giving up. There are some experimental programs we're conducting and I think you'd be an excellent--<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Doc.<\/dialogue>\n    <character>DR. HOLCOMB<\/character>\n    <dialogue>--candidate. It's cutting edge medicine. The odds are against you, but-<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Doctor Holcomb.<\/dialogue>\n    <character>DR. HOLCOMB<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>You're blocking my view.<\/dialogue>\n    <character>DR. HOLCOMB<\/character>\n    <dialogue>Oh. Sorry.<\/dialogue>\n    <scene_description>Holcomb steps to the side of the television. Stares for a beat...<\/scene_description>\n    <character>DR. HOLCOMB<\/character>\n    <dialogue>Well, if you have any questions.<\/dialogue>\n    <scene_description>Waits another beat then starts for the door.<\/scene_description>\n    <character>EDWARD<\/character>\n    <parenthetical>(eyes never leaving the screen)<\/parenthetical>\n    <dialogue>One question.<\/dialogue>\n    <character>DR. HOLCOMB<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Carter?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>'Something you needed from Dr. Holcomb?<\/dialogue>\n    <character>DR. HOLCOMB<\/character>\n    <dialogue>I'm sorry, I'm not Mister Carter's--<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>You are now.<\/dialogue>\n    <scene_description>Holcomb stares at him but Edward's attention never leaves the screen. Finally, Holcomb lifts Carter's chart from the foot of the bed and flips through several pages. After several moments, his shoulders drop and he looks up at Carter and shakes his head slowly.<\/scene_description>\n    <character>DR. HOLCOMB<\/character>\n    <dialogue>I'm sorry, Mister Carter. According to this your markers haven't stabilized.<\/dialogue>\n    <scene_description>Carter takes it in, though it's the answer he expected.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>How long?<\/dialogue>\n    <character>DR. HOLCOMB<\/character>\n    <dialogue>Several months. A year if you're lucky. As I was just telling Edward, we have an experimental program which has had some very positive--<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Sure, Doc. Whatever you think.<\/dialogue>\n    <character>DR. HOLCOMB<\/character>\n    <dialogue>I'm truly sorry.<\/dialogue>\n    <scene_description>Carter just nods and replaces the headphones over his ears as Holcomb makes his exit.<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>There was a survey once, a hundred people were asked, if they could, would they want to know in advance the day of their death. Out of the hundred, ninety-six of them said no.<\/dialogue>\n    <scene_description>Carter closes his eyes as the music washes over him.<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>I never understood that. I always thought it would be liberating, knowing exactly how much time you had left to work with.<\/dialogue>\n    <scene_description>A tear escapes onto his cheek and he looks over at Edward who is staring back at him over his shoulder.<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>So now I knew.<\/dialogue>\n    <scene_description>Neither says a word and Edward finally turns back to the game. FADE OUT.:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - DAY<\/stage_direction>\n    <scene_description>CLOSE ON CARTER; fast asleep. A square of sunlight moves across his eyes until he opens them and squints into the white light. He rolls over, away from the window and face- to-face with a single sheet of yellowed paper propped up against his tower of books. He pulls the paper close to his eyes and sees the title: \"EDWARD'S BUCKET LIST.\"<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>I'll be damned.<\/dialogue>\n    <scene_description>Just as Edward bustles out of the bathroom, arms filled with toiletries.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Thought you'd never get up.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>'Time is it?<\/dialogue>\n    <scene_description>Edward dumps the toiletries in his half-packed suitcase.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Six twenty-four. I've been up since-- I've had a lot on my mind.<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>(re: the paper)<\/parenthetical>\n    <dialogue>So I see.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Not bad, huh?<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>A hot dog eating contest? \"Kiss the most beautiful woman in the world?\" How you figure on doing that?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>That's one of the tough ones. We'll figure it out.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Don't take this the wrong way, but these are a little...shallow?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>You're out of your mind, there's some great stuff on there. What kind of tattoo do you think I should get?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>None, actually... I think you misunderstood-<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>No, I understood you perfectly. Your whole unfulfilled dreams thing is great for someone with a few decades in front of him, but I'm looking at weeks, months if I'm lucky.<\/dialogue>\n    <parenthetical>(as Thomas enters, bewildered)<\/parenthetical>\n    <dialogue>About time.<\/dialogue>\n    <scene_description>Thomas turns and walks out. Edward goes after him, pushes him back into the room.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Pack it up, Tommy. We're blowing this popsicle stand.<\/dialogue>\n    <parenthetical>(to Carter)<\/parenthetical>\n    <character>EDWARD<\/character>\n    <dialogue>Your list was a little unrealistic so I took the liberty of paring it down a little.<\/dialogue>\n    <scene_description>Turns the paper over revealing Carter's original list which now has several of the items crossed off in red ink - \"Run for President\", etc.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>What did you-- You had no right--<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I got them both down to ten a piece so if we budget our time properly we should be able to bang 'em all out before one of us kicks it.<\/dialogue>\n    <character>THOMAS<\/character>\n    <parenthetical>(with an armful of business suits)<\/parenthetical>\n    <dialogue>Did you want these arranged by color as usual or--<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Forget 'em. I'm only about comfort from here on out. I dunno, give 'em to some orphans or something.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Orphans? You've been mixing medications again.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>You don't seriously think-- I was being metaphorical, you know, taking stock, trying to understand something about--<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Blah, blah, blah. Metaphors are for tea- drinkers who read poetry out loud to their sister. You said yourself you haven't done anything. This is your last chance.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>To make a fool of myself?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>To have your own life. To spend what time you have left remembering what it feels like to have a future, rather than wallowing in the past as a guinea pig in Holcomb's bullshit science experiment.<\/dialogue>\n    <scene_description>Carter stares at the floor, his mind racing...<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>You think it's bullshit?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>You know it is... What do you think, Tommy. You're in our shoes, what would you do?<\/dialogue>\n    <scene_description>Carter looks up at Thomas who thinks for a moment...<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>I think it's the dumbest idea I've ever heard...and you're fools if you don't do it.<\/dialogue>\n    <scene_description>Carter stares at him...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL HALLWAY - DAY<\/stage_direction>\n    <scene_description>Empty save for a slow-moving nurse or two until Edward bursts out of the room with a full head of steam followed by Thomas, once again laden with luggage, and Carter who carries a small bag and an armful of books. Edward makes for the elevators as Carter struggles to catch up to him.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>What about my family?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>What about them?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I can't just abandon them.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Why, because you've been doing such a great job supporting them from the cancer ward?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>No, I just--<\/dialogue>\n    <character>HALL NURSE<\/character>\n    <parenthetical>(rushing to stop them)<\/parenthetical>\n    <dialogue>Excuse me? Excuse me! Where do you think you're going?<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(not breaking stride)<\/parenthetical>\n    <dialogue>We're checkin' out. Tell Holcomb he can take his experimental program and shove it where the sun don't shine.<\/dialogue>\n    <scene_description>Nurse Shing comes out of the Nurses Station.<\/scene_description>\n    <character>NURSE SHING<\/character>\n    <dialogue>I'm sorry, Mister Cole, we can't let you leave without--<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Without a doctor's written authorization. Also my rule.<\/dialogue>\n    <character>NURSE SHING<\/character>\n    <dialogue>Then you'll understand my need to enforce it.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Certainly. In fact, Tommy here's got a doctorate in... What the hell's it in again?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Education.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Education, fantastic!<\/dialogue>\n    <parenthetical>(to Thomas)<\/parenthetical>\n    <dialogue>Really, education? What the hell you doing working for me again?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>If I had a nickel for--<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Anyway, Nurse Phyllis. Seeing as section fourteen, paragraph three of Cole Medical's operations guidelines fails to stipulate the kind of practitioner necessary to facilitate a release, Doctor Tommy promises to return with a note granting us our freedom post haste.<\/dialogue>\n    <scene_description>She stops at the elevator door as the other three pack inside.<\/scene_description>\n    <character>EDWARD<\/character>\n    <parenthetical>(taking Carter's books)<\/parenthetical>\n    <dialogue>You won't be needing those.<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>(to Nurse Shing)<\/parenthetical>\n    <dialogue>Tell my wife--<\/dialogue>\n    <scene_description>He's cut off as the doors close.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOSPITAL - DAY<\/stage_direction>\n    <scene_description>Edward helps Thomas load the luggage into the trunk of the waiting limousine.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>It's not like we're flying off around the world, at least not at first. I figure we knock out the ones we can do locally before heading over to Europe, then Africa and--<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I can't go to Africa.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Why not? I thought all black people dream of going back to the homeland.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>It's not that. It's-- I've never been on an airplane.<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(climbing inside the limo)<\/parenthetical>\n    <dialogue>You're joking me.<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>(stopping at the door)<\/parenthetical>\n    <dialogue>No. I'm not.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>You should've put that on the list.<\/dialogue>\n    <scene_description>He pulls Carter inside and the door closes.<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>And so it began...<\/dialogue>\n    <scene_description>As the big limo roars away, the sound of which becomes... THE ROAR OF AN ENORMOUS CROWD CUT TO: EDWARD AND CARTER - IN THE CENTER OF THE THRONG Edward is electrified with nervous energy while Carter looks like he'd rather be anywhere else.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Okay, so I figure middle of three then we go. You ready?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Good.<\/dialogue>\n    <scene_description>He, along with everyone else around them, looks off in the distance.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>I want to go back... I'm serious, have your man-- Where is he?<\/dialogue>\n    <parenthetical>(looking around)<\/parenthetical>\n    <dialogue>Have him take me back to the hospital.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Forget it.<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>(grabbing him)<\/parenthetical>\n    <dialogue>No you forget it. This isn't rational.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Of course it's not rational, that's why it's so exciting.<\/dialogue>\n    <parenthetical>(the crowd groans)<\/parenthetical>\n    <dialogue>That's our cue. You ready?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>Edward starts unbuttoning his shirt.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. YANKEE STADIUM - NIGHT<\/stage_direction>\n    <scene_description>As the Yankee outfielders jog out to their positions. The crowd suddenly ROARS as the left fielder passes a naked man who is jogging and waving across the grass. Carter holds Edward's clothes, staring in disbelief as Edward takes a victory lap towards right field.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Oh lord.<\/dialogue>\n    <scene_description>Stadium security guards hustle out after Edward, forcing him to veer towards deep center field. The crowd boos, as it appears they have him trapped, until he throws a fake on one of his pursuers who trips in the grass much to the crowd's delight. Edward's headed back into left but the NYPD has joined the chase and they're closing in fast. Edward tries another fake, but he's tackled by a burly police officer who brings him to the ground. A second officer helps bring Edward's arms behind his back when something suddenly knocks him off his feet and into his fellow officer.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Rachel does her homework while Roger studies for the L- SATS. The ball game is turned down low on the television. Rachel is stuck on a particularly heinous geometry equation when her brother starts smacking her arm.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Ow! What'd you do that for?<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>Look!<\/dialogue>\n    <scene_description>He turns the volume up on the television where Carter is seen streaking away from the fallen policemen, clutching his genitals with a look of incredulous fear on his face. Brother and sister share a look before-<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Mom!<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>Mom!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. YANKEE STADIUM - NIGHT<\/stage_direction>\n    <scene_description>Edward streaks after Carter, whooping and hollering. Carter is actually beginning to enjoy himself until he pulls up short. Edward comes to a stop next to him.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Oh crap.<\/dialogue>\n    <scene_description>They turn and run for the stands followed closely by SEVERAL DOZEN security and police officers CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - NIGHT<\/stage_direction>\n    <scene_description>Virginia walks up to the sergeant's desk.<\/scene_description>\n    <character>VIRGINIA<\/character>\n    <dialogue>I'm here to post bail for my husband.<\/dialogue>\n    <scene_description>The NIGHT SERGEANT barely looks up from his paperwork as he hands her a clipboard.<\/scene_description>\n    <character>NIGHT SERGEANT<\/character>\n    <dialogue>Down the hall, second door on the right. Sign here.<\/dialogue>\n    <scene_description>She is less than pleased.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE BOOKING ROOM - NIGHT<\/stage_direction>\n    <scene_description>As Virginia counts out several hundred-dollar bills then hands them to waiting BOOKING OFFICER.<\/scene_description>\n    <character>BOOKING OFFICER<\/character>\n    <dialogue>And if you could sign here, that should do it.<\/dialogue>\n    <scene_description>Again, Virginia signs her name where instructed as the officer speaks into a microphone.<\/scene_description>\n    <character>BOOKING OFFICER<\/character>\n    <dialogue>Release for Chambers, number three.<\/dialogue>\n    <parenthetical>(to Virginia)<\/parenthetical>\n    <dialogue>It'll be just a second.<\/dialogue>\n    <scene_description>Virginia walks to a chair across the room from where Edward waits dressed in prison pajamas and Thomas' overcoat.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>For the record it was my fault. I talked him into it.<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <dialogue>He's not a grown man?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Even so, I'd like to pay you back for the bail, if--<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <dialogue>That's not necessary.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Really, it's the least I can--<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <dialogue>You've done quite enough, Mister Cole. Carter spent thirty years killing himself with those cigarettes. If the lord sees fit to give him a second chance I'd like it to be home with his family where he belongs, not in prison, and certainly not with you.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>He hasn't told you.<\/dialogue>\n    <scene_description>The door to the holding cell opens with a CLANG as Carter is ushered out by a guard. He's dressed in prison pajamas and clings to a blanket as he shivers uncontrollably.<\/scene_description>\n    <character>VIRGINIA<\/character>\n    <parenthetical>(to Carter)<\/parenthetical>\n    <dialogue>Told me what?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POLICE STATION - NIGHT<\/stage_direction>\n    <scene_description>Virginia wipes tears from her face as she walks resolutely to her car. Carter follows her, watching Edward as Thomas helps him to the limo.<\/scene_description>\n    <character>VIRGINIA<\/character>\n    <dialogue>I'm taking you back to the hospital. See about getting you into Dr. Holcomb's--<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I can't.<\/dialogue>\n    <scene_description>She opens the driver's side door. Carter stops on the passenger's side.<\/scene_description>\n    <character>VIRGINIA<\/character>\n    <dialogue>Don't play with me.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Gin', you don't understand.<\/dialogue>\n    <scene_description>He sees Edward waiting at the limo door, watching Carter.<\/scene_description>\n    <character>VIRGINIA<\/character>\n    <parenthetical>(sees Edward watching)<\/parenthetical>\n    <dialogue>I understand plenty. You two think you can run off and act like children because your time's up so nothing matters anymore. Why don't you tell your children that? See what they have to say when they find out you've given up on them.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Given up?! I've spent my life giving up everything to this family. Thirty years greased up under the hood of a car to see that they didn't want for nothing! And they didn't, 'Gin... I gave up every last one of my ambitions and I wouldn't take any of it back, but if I am gonna die, I'd like to go out with some idea of who I could have been...of who I am.<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <dialogue>You're my husband.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I know it. I just wish I knew what that meant anymore...<\/dialogue>\n    <scene_description>He turns and walks over to the limo. He takes a last look at his incredulous wife then climbs inside. CUT TO: CARTER'S POV - CENTRAL NEW JERSEY SEEN FROM 8,000 FEET<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SMALL AIRPLANE - DAY<\/stage_direction>\n    <scene_description>We see him through one of the windows. Feeling queasy, he shuts the blind.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SMALL AIRPLANE - DAY<\/stage_direction>\n    <scene_description>CLOSE ON CARTER; wearing a helmet and struggling with the top of a child-proof prescription pill bottle.<\/scene_description>\n    <character>KYLE (O.S.)<\/character>\n    <dialogue>Need a hand?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>No, I got it...<\/dialogue>\n    <parenthetical>(to no avail)<\/parenthetical>\n    <dialogue>Dammit!<\/dialogue>\n    <scene_description>Throws the bottle to the floor. It rolls towards the cockpit where Edward is seen from the back, talking with the pilots.<\/scene_description>\n    <character>CARTER<\/character>\n    <parenthetical>(about all of it)<\/parenthetical>\n    <dialogue>Fool... So foolish...<\/dialogue>\n    <character>KYLE (O.S.)<\/character>\n    <dialogue>Wanna try to get it?<\/dialogue>\n    <scene_description>PULL BACK to reveal KYLE, young and brawny, sitting immediately behind Carter. In fact, Carter is literally sitting in Kyle's lap.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>How do you suggest we do that?<\/dialogue>\n    <scene_description>Kyle stands suddenly - he's huge, about 6'5\" and Carter is bound to his torso via a series of nylon jump straps. As his feet dangle, Carter pitches forward until his upper-body is almost horizontal while his hips are still vertically strapped to Kyle. Kyle duck-walks the suspended Carter over to the prescription bottle. Carter extends his arms down but the bottle rolls out of his grasp and into Edward's outstretched hand. Carter looks up at him. Edward appears as if he hasn't touched a razor in days.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Not a word.<\/dialogue>\n    <parenthetical>(grabs the bottle)<\/parenthetical>\n    <dialogue>Back to the chair, Kyle.<\/dialogue>\n    <scene_description>Kyle waddles back to the chair. Carter almost hits his head on the fuselage.<\/scene_description>\n    <character>EDWARD<\/character>\n    <parenthetical>(to Kyle)<\/parenthetical>\n    <dialogue>You'll have to forgive him, Kyle. He's on the outs with the wife.<\/dialogue>\n    <character>KYLE<\/character>\n    <parenthetical>(sympathetic hand on Carter's knee)<\/parenthetical>\n    <dialogue>Been there, man.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Some things are not up for discussion.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I understand.<\/dialogue>\n    <scene_description>The CO-PILOT comes out and straps himself to Edward's back.<\/scene_description>\n    <character>CO-PILOT<\/character>\n    <dialogue>Thirty seconds to drop.<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(to Carter)<\/parenthetical>\n    <dialogue>She's tough, your wife. That's good. The Sequel was tough like that.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>The Sequel?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>The second Mrs. Edward Cole. God that woman hated me.<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>(sarcastic)<\/parenthetical>\n    <dialogue>I can't imagine why.<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Maybe because he called her The Sequel.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Thank you, Kyle.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Know what I learned? That independence is the only true gauge of human virtue; what a man is and what he makes of himself. Not what he has or hasn't done for others.<\/dialogue>\n    <scene_description>As the Co-Pilot pulls the door open, filling the cabin with whipping wind. Kyle stands and moves them closer to the door. Carter eyes the abyss outside. Edward is nonplussed.<\/scene_description>\n    <character>CO-PILOT<\/character>\n    <dialogue>Fifteen seconds. Fourteen. Thirteen.<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(to Carter)<\/parenthetical>\n    <dialogue>There's no substitute for personal dignity.<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>(terrified)<\/parenthetical>\n    <dialogue>Could you shut up?!<\/dialogue>\n    <character>CO-PILOT<\/character>\n    <dialogue>Ten. Nine. Eight.<\/dialogue>\n    <scene_description>Kyle lowers goggles over Carter's face.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>I can't do this.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Sure you can.<\/dialogue>\n    <character>CO-PILOT<\/character>\n    <dialogue>Five. Four. Three.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I can't do this!<\/dialogue>\n    <scene_description>He screams as Kyle jumps and they disappear out the door. Edward watches them fall away then dons his goggles...<\/scene_description>\n    <character>CO-PILOT<\/character>\n    <dialogue>Here we go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SMALL AIRPLANE - DAY<\/stage_direction>\n    <scene_description>As they leap from the plane, free-falling into the ether. Everything goes quiet save for the flapping of their jump suits. The Co-Pilot dives towards Kyle and Carter, whose scream grows louder as they approach, and lock hands so that Carter and Edward are once again face to face.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>This is amazing!<\/dialogue>\n    <scene_description>Carter's too busy being terrified to respond.<\/scene_description>\n    <character>CO-PILOT<\/character>\n    <dialogue>Cords in five seconds.<\/dialogue>\n    <scene_description>He and Kyle separate, getting distance between them...<\/scene_description>\n    <character>KYLE<\/character>\n    <dialogue>You wanna do it?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>KYLE<\/character>\n    <dialogue>Just let 'er rip!<\/dialogue>\n    <scene_description>Carter is unsure which cord is which, so he pulls everything. He's jerked to a stop as both main and emergency chutes billow open. Edward and the Co-Pilot continue to drop, watching their counterparts' dueling chutes flapping high above.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Amazing. Nine toes in the grave he's still afraid to let go.<\/dialogue>\n    <character>CO-PILOT<\/character>\n    <dialogue>Okay, let's deploy.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Right there's the piss of it. When you're living for someone else you can't help but be careful... No progress in careful.<\/dialogue>\n    <character>CO-PILOT<\/character>\n    <dialogue>We're in the red zone.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I was in love once.<\/dialogue>\n    <character>CO-PILOT<\/character>\n    <dialogue>Pull the damn cord!<\/dialogue>\n    <scene_description>But Edward just closes his eyes, spreads his arms out, and lets god decide. CUT TO: IMPACT - OF AN ANGRILY SLAMMING DOOR<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JUMP SCHOOL - DAY<\/stage_direction>\n    <scene_description>The furious, muffled swearing of the Co-pilot is heard from within the building as Edward and Carter walk towards the limo. Edward has taken out The Bucket List. With the red pen he crosses off \"Jump out of a perfectly good airplane\" just below \"Streak Yankee Stadium,\" both on his side of the list.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Two down. Eighteen in the pipe. How you feeling?<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>(horrible)<\/parenthetical>\n    <dialogue>Terrific.<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(oblivious)<\/parenthetical>\n    <dialogue>Me too. Who'd believe that only yesterday we were rotting in a cancer ward?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Back in one piece I see. How fortunate.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>We live to die another day.<\/dialogue>\n    <parenthetical>(to Carter)<\/parenthetical>\n    <dialogue>I'm hungry. Are you hungry?<\/dialogue>\n    <scene_description>CUT TO: HOT DOGS - HUNDREDS OF THEM BOILING IN A VAT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONEY ISLAND - DAY<\/stage_direction>\n    <scene_description>It's the annual Nathans Famous Hot Dog Eating Contest. Participants and onlookers mill beneath a striped tent. Edward wears a contestant's badge. Carter watches as Thomas massages Edward's shoulders.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>I'm telling you, I got it in the bag.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>You're a bottomless pit.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Goddamn right I am.<\/dialogue>\n    <parenthetical>(to Carter)<\/parenthetical>\n    <dialogue>'Sure you don't want in?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I'm quite sure I'm out of my league on this one.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Suit yourself. Hey, when I'm done here, we'll go to that Russian place. Get some of that caviar you were talking about.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>We'll see.<\/dialogue>\n    <scene_description>A whistle sounds and Edward joins the other contestants behind a dozen long tables laid out end to end. Before each contestant is a tray of dozens of hot dogs in buns. Edward looks over at the tiny FEMALE KOREAN CONTESTANT standing next to him. Tries to stare her down. Carter and Thomas watch from the crowd..<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Your boss, he's not all there, is he?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>His relationship with sanity has its little hiccups... Still, you gotta admire his pluck.<\/dialogue>\n    <scene_description>Edward continues to stare down the hundred pound Korean woman.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>You're going down, sister.<\/dialogue>\n    <scene_description>The whistle sounds and the contestants dive in. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WINNER'S PODIUM - DAY<\/stage_direction>\n    <scene_description>Where the tiny Korean woman raises her arms in victory as a judge drapes a medal over her head.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CONEY ISLAND - DAY<\/stage_direction>\n    <scene_description>Edward lags behind Carter and Thomas as they head back to the car. Edward is griping over the outcome...<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>And what is this dipping the buns in water crap. If you're going to eat it, eat it... Screw this, I'm going back.<\/dialogue>\n    <scene_description>Turns back towards the tent then stops cold.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>What's the problem?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I don't feel so good.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>So that's a no on the caviar?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Go fuck yourself, Tommy.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Trying my best sir.<\/dialogue>\n    <scene_description>CUT TO: EDWARD UNLEASHING A TREMENDOUS BELCH<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TATTOO PARLOR - DAY<\/stage_direction>\n    <scene_description>He and Carter are staring at a wall of tacky tattoo art.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>I don't know. The skull is kind of cool but maybe I'm more of a Confederate flag kind of guy.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I didn't know you were from the south.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Connecticut actually. Our side won, I can wear any flag I want. What're you going to get?<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>(not into it)<\/parenthetical>\n    <dialogue>I can't think of anything meaningful.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>What's meaningful? We're gonna be dead in five minutes.<\/dialogue>\n    <scene_description>The heavily inked TATTOO ARTIST looks up at them from behind the counter.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Not literally.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Nah, I think I'm gonna--<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>You can't keep passing on things. We're supposed to be in this together.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Tattoos and hot dogs aren't exactly what I had in mind.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>So what did you have in mind? Something metaphorical? Something life-changing? Oooh. Ahhh... Lighten up, already. This is supposed to be fun.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Fun is fine. I have no problem with fun, I just imagined there'd be more behind this than pretending we're nine year- old's again.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Nine year old's don't have tattoos.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>That's a wonderful argument.<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(to the Tattoo Artist)<\/parenthetical>\n    <dialogue>Am I right?<\/dialogue>\n    <character>TATTOO ARTIST<\/character>\n    <dialogue>My kid's got three of 'em.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>You must be incredibly proud... That's it! I got it!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TATTOO PARLOR - DAY<\/stage_direction>\n    <scene_description>Edward winces in pain as the Tattoo Artist inks his shoulder blade. Carter's reading one of his books.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>So fine, we'll do a \"grown-up\" one next.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>That's not the point.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Then what is?<\/dialogue>\n    <scene_description>He suddenly erupts into a coughing fit.<\/scene_description>\n    <character>TATTOO ARTIST<\/character>\n    <dialogue>I can't do this if you keep moving.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Sorry, I'll tell the cancer to take the day off.<\/dialogue>\n    <character>TATTOO ARTIST<\/character>\n    <parenthetical>(pulling back)<\/parenthetical>\n    <dialogue>You guys got cancer?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Don't worry, it's the non-contagious kind... Chop chop, we don't have much time.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I'm going to call Virginia.<\/dialogue>\n    <scene_description>The Tattoo Artist grunts in response and plunges the needle into Edward's back. He grits his teeth, containing the scream. Carter can't help but smile a little as he dials the phone. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AUTO RACE TRACK - DAY<\/stage_direction>\n    <scene_description>Edward examines the reflection of his tattoo in the window of a pristine Mustang Shelby GT.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>It's not bad, it's just... Do I really look that--<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Old?<\/dialogue>\n    <scene_description>Both are dressed in racing suits.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>I was going to say tired. Still, it's a pretty good likeness.<\/dialogue>\n    <scene_description>For the first time we see the tattoo - it's Edward, scowling out from his own shoulder.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>And you can't tell me it's not meaningful.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Not where you're concerned, no.<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(looking at the car)<\/parenthetical>\n    <dialogue>This what you wanted?<\/dialogue>\n    <scene_description>Carter grins as he nods and pulls on his helmet.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Ready for an ass-whuppin'?<\/dialogue>\n    <scene_description>Edward replaces the bandage and zips his suit up. His burgeoning facial hair has been shaved into giant Elvis chops.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>We'll see.<\/dialogue>\n    <scene_description>He walks around the Mustang to the waiting Lamborghini Murcielago Roadster. Nearly one of a kind, it's more rocket than automobile.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>First one to a hundred miles. Loser buys dinner.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I'm having dinner at home tonight.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Of course you are.<\/dialogue>\n    <scene_description>Slips into the car, closing the gull-wing door behind him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSTANG - DAY<\/stage_direction>\n    <scene_description>Carter climbs into the car. Checks the gauges as he runs his hand along the beautifully refurbished dash.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Now this is more like it.<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(filtered)<\/parenthetical>\n    <dialogue>Grown-up enough for you?<\/dialogue>\n    <scene_description>Carter pulls on his helmet. Adjusts the microphone in front of his mouth.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>You sure we're cleared for this?<\/dialogue>\n    <scene_description>The Lamborghini comes to life, whining like an aircraft engine.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>It's taken care of. Why, you want to pass again?<\/dialogue>\n    <scene_description>Carter turns the ignition on the Mustang. It's growl is guttural and primal.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>You're in my world now. See you at dinner.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RACE TRACK - DAY<\/stage_direction>\n    <scene_description>As the Mustang drenches the Lamborghini in a shower of dirt and rocks as it fishtails out onto the track.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAMBORGHINI - DAY<\/stage_direction>\n    <scene_description>Windshield wipers clear the dirt as Edward struggles to put the car in gear.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>So it's like that, is it?<\/dialogue>\n    <scene_description>The gears grind as he works the stick. Finally gets the car in gear as Carter is heard over the headset, cackling for joy. ON THE TRACK; where the Mustang screams around a turn, taking a line close to the infield where the Lamborghini hiccups in fits and starts towards the track. IN THE LAMBORGHINI; Edward wrestles with the stick...<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Come on, you stupid--<\/dialogue>\n    <scene_description>The car jerks forwards onto the tarmac, right in the path of the oncoming... IN THE MUSTANG; Carter hits the gas, taking the car low across the infield, narrowly missing the Lamborghini before he roars back onto the track. Carter grins into his rearview mirror, sees Edward's car swerving across the track behind him. IN THE LAMBORGHINI; Edward's trying to control the car.<\/scene_description>\n    <character>CARTER (O.S.)<\/character>\n    <dialogue>It's a racing set up. Steer with the throttle.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Which one's the throttle?<\/dialogue>\n    <scene_description>He's about to hit the wall until he mashes the gas and the car suddenly launches down the track. DOWN THE TRACK; Edward pulls even with the Mustang.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>So we're having fun now?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>It's a nod in the right direction.<\/dialogue>\n    <scene_description>The Mustang jumps ahead, cuts the Lamborghini off.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>You know what your problem is?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I'm sure you'll enlighten me.<\/dialogue>\n    <scene_description>The Lamborghini cuts around and pulls even again.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>You're the guy behind the chairs at the poker table.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Come again?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>You know, the one who stands there with his hands in his pockets, peering over the players' shoulders, studying the game like he's learning something, when all he really wants to do is walk away.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>And live to fight another day. Maybe he's got a mortgage, and tuition payments, and-<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>So why's he in the casino in the first place? He's dying to get in the game. What's keeping his hands in his pockets?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Not everyone can afford to play.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I'm not talking about money. I don't think he's afraid to lose, everybody loses sometimes. But what I think? I think that deep down, you're afraid to win.<\/dialogue>\n    <scene_description>Now the Lamborghini takes the lead, clipping the front of the Mustang as it pulls in front.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Jesus!<\/dialogue>\n    <parenthetical>(regains control of the car)<\/parenthetical>\n    <dialogue>Why on earth would anybody be afraid to win?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>That's between you and your shrink, I just call 'em where they fall.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>You want to talk about-- You're the most fearful person I've ever known. God forbid you ever open the door a crack and give up even the smallest ounce of control.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>My work done my way. Personal, selfish, egotistical motivation. Look where it's gotten me.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Alone, bitter and scared of anything with a hint of emotional consequence.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Depravity's in the eye of the beholder. At least I'm not chicken.<\/dialogue>\n    <scene_description>IN THE MUSTANG; Carter rolls his eyes, knowing he shouldn't take the bait. He drives evenly for a moment. Then, despite himself...<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Ah, screw it.<\/dialogue>\n    <scene_description>ON THE TRACK; the Mustang revs and roars alongside of the Lamborghini before slamming into its side. The Mustang pulls away then smashes into the car again. Both cars careen off the track, punching through a chain link fence then out into the outer parking lot. LONG SHOT; as the two cars play demolition derby in the empty lot, colliding towards us until they roar past and slam through the striped security gates and out onto the open road.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RURAL HIGHWAY - DAY<\/stage_direction>\n    <scene_description>The cars speed down either side of the double-yellow line doing well over a hundred as they smash back and forth.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Do you have any idea what these cars cost me?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>We're sitting at the table, aren't we?<\/dialogue>\n    <scene_description>SIRENS BLARE as a police car appears behind them.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Oh, Jesus.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Are we really?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Are we really what?<\/dialogue>\n    <scene_description>As the Lamborghini suddenly guns ahead, red-lining down the highway.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>He really is crazy.<\/dialogue>\n    <scene_description>The Mustang roars after it. The police car loses ground quickly. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RURAL POLICE STATION - DAY<\/stage_direction>\n    <scene_description>As Thomas emerges followed by Edward and Carter. Thomas carries the police paperwork. Edward's marking up the list.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>That's a serious fine.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Chump change. My tab.<\/dialogue>\n    <scene_description>He crosses off \"RACE A VINTAGE MUSTANG\" on Carter's list, then flips it over, putting a line through \"GET IN A POLICE CHASE\" on his side.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Better believe your tab.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>You gonna tell the wife about this one?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I'm not the crazy one.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>A small but comfortable-looking low-income brick face. A couple of street kids stare as the limo pulls up out front.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMOUSINE - NIGHT<\/stage_direction>\n    <scene_description>Carter reaches for the door. Edward is sprawled out across the opposite seat watching the Yankee game.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Sure you two don't want some roast?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>And face Darth Vader, I'm sure she'd love that. Tommy's got family to get to and I've got six innings left.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Suit yourself. 'Night Thomas.<\/dialogue>\n    <scene_description>Thomas waves from the front as Carter climbs out and closes the door behind him.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Nice of him to ask.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Superlative.<\/dialogue>\n    <scene_description>Despite his sarcasm, he watches Carter talking to the street kids before climbing the steps to his door.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Why aren't we moving?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>A thousand pardons, mein fuhrer.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Thomas.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Go fuck myself?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Yahtzee.<\/dialogue>\n    <parenthetical>(to the TV)<\/parenthetical>\n    <dialogue>Oh, come on!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EDWARD'S LIBRARY - NIGHT<\/stage_direction>\n    <scene_description>Floor to ceiling bookshelves. Edward slouches in a large, leather couch. Heaves a sigh of displeasure as he switches off the losing ballgame. He stands and stretches while looking around the room. Unsure of what to do, he stuffs his hands in his pockets and moves to a wall of books, browsing the titles.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Oh, who cares.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EDWARD'S LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Immense and unused with glowing hardwood floors and a pristine grand piano covered in empty silver picture frames. He walks in like a stranger, hands still in his pockets and stops just inside the door. He stares for a long moment then turns and walks out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EDWARD'S KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Edward is on the phone. Holds a take-out menu.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>What do you mean you don't deliver past six, what kind of business is that?... I don't care what day it is, you--<\/dialogue>\n    <scene_description>THE DOORBELL RINGS<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Now what?<\/dialogue>\n    <scene_description>Slams the phone down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EDWARD'S FOYER - NIGHT<\/stage_direction>\n    <scene_description>Edward emerges through double stained-glass doors into the marble foyer just as the elevator doors open revealing Carter, Virginia and their kids.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Happy Easter.<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(to Carter)<\/parenthetical>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Loser buys dinner... Grab this, will ya?<\/dialogue>\n    <scene_description>Lays an enormous platter of mashed potatoes into Edward's arms. The rest of the family doesn't move.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Well, come on. Turkey ain't gonna carve itself now.<\/dialogue>\n    <scene_description>The family shuffles out reluctantly. The boys bid Edward hello, but Virginia says nothing. Clearly, she's been out- voted.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Paneled walls wrapping around an immense mahogany table. Roger and Lee stare open-mouthed at the opulence.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Okay, just let me get a tablecloth or something.<\/dialogue>\n    <scene_description>Balances the potatoes as he rummages through some drawers he's probably never opened before.<\/scene_description>\n    <character>ROGER<\/character>\n    <dialogue>How many people live here?<\/dialogue>\n    <scene_description>Edward digs up a load of silverware and woven placemats.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Just me... And don't touch anything. This stuff costs more than your education.<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>We went to public school.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>The boys are too polite to laugh.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>You know what, screw it. Just dump it all down there.<\/dialogue>\n    <scene_description>Drops the potatoes with no small amount of relief.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>I don't know about you guys, but I could eat a station wagon.<\/dialogue>\n    <scene_description>The boys smile openly. CUT TO: A HI-TECH RECORD PLAYER; as Edward lays a platter down on the turntable and drops the needle. Louis Armstrong's Autumn in New York plays over the following SERIES: -- IN THE DINING ROOM; Rachel organizes the place settings. Fork and spoon on the left, knife on the right. Opposite her, Edward tries to mirror the layout. Gets it right the second time. -- Carter sits with eyes closed and hands pressed together, saying grace. Edward watches him, eyes flicking around the table to see the rest of the family have their eyes closed. -- JUMP CUTS as Carter hands Edward the carving knife; Edward attacks the meat while the others look on; Virginia watches as her perfect roast is hacked to pieces; a blockish chunk lands on Lee's plate. -- Edward is a wallflower as the family tucks into the meal, passing steaming dishes back and forth through a lively discussion. -- Edward's on his second plate. He's talking now, telling a story that has Virginia mildly on edge. The kids seem to love it, except Rachel who makes eyes at him. Edward returns the look until she points to her closed mouth. He gets the picture and snaps his mouth shut, swallowing his food before continuing. -- Carter stares glumly at the tiny slice of apple pie sitting on his plate. Virginia is marking the size of Edward's slice with a pie cutter. Edward motions for a bigger piece. Virginia moves the cutter. Edward's still not satisfied. She moves it again. -- IN THE KITCHEN; Edward coaxes a steaming cup of coffee from the copper siphon. He puts it on a saucer and carefully offers it to Virginia who has a chain-gang of dishes going at the sink with Carter and the boys. She allows a thin smile as she moves to accept the coffee, then notices Carter behind Edward, shaking his head not to take it. She looks back at Edward and politely demurs. -- IN THE LIBRARY; Edward waits for the last bars of the song to end before lifting the needle and carefully sliding the record back into it's sleeve.<\/scene_description>\n    <character>VIRGINIA (O.S.)<\/character>\n    <dialogue>They played that at our wedding.<\/dialogue>\n    <scene_description>She stands in the doorway, wiping her hands on a kitchen towel.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>You were married in the city?<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <dialogue>First Baptist in the Bronx. My uncle was the pastor so we got the reception room for free. It's gone now. 'Put up one of them gargantuan shopping malls.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>They tend to do that these days.<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <dialogue>They do.<\/dialogue>\n    <scene_description>A beat. He's unsure how to approach her...<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Health care's a perilous industry. The only way we can keep the hospitals from closing is to reduce the overhead so--<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <dialogue>I understand. It's business.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Not to the people we let go.<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <dialogue>Do you find that difficult?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Only when you meet them. Which I try very hard not to do.<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <dialogue>I don't blame you.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>We keep them from closing.<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <dialogue>You don't owe me anything.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Still, I'd like to--<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <dialogue>Give him back to me.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I'm not sure I can--<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <dialogue>I'm not asking for his sake. He's the only one who can decide what's best for him. I'm asking for myself.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I don't understand.<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <dialogue>I'm prepared for him to die. If there's one thing I understand it's that, but what I can't do-- I'm his wife. I'm not prepared to lose him while he's alive.<\/dialogue>\n    <scene_description>Her eyes hold his. She's laid herself wide open and he's unable to look away. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GULFSTREAM PRIVATE JET - DAY<\/stage_direction>\n    <scene_description>Carter enters ahead of Edward. He whistles at the sumptuous cabin.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Now this is what I'm talking about.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>It's the best.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>It'd have to be. How much money do you have, anyway?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I've got enough. This is just a time- share so--<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>How much is enough?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Didn't anyone tell you it's rude to talk about money?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I never knew anyone with enough money to ask.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIRPORT - DAY<\/stage_direction>\n    <scene_description>As the Gulfstream lifts off the runway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GULFSTREAM PRIVATE JET - DAY<\/stage_direction>\n    <scene_description>Carter accepts a frozen daiquiri from the STEWARD.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <parenthetical>(to Edward)<\/parenthetical>\n    <dialogue>I could get used to this.<\/dialogue>\n    <scene_description>Edward nods. He's pensive.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Maybe we should go back?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Come again?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I just think you should-- It's easy for me, but you've got your family to think about, and--<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>'Ginia got to you, didn't she?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>She wants you back. You can't blame her for--<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Why do you think I'm doing this?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Because I talked you into it.<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>(shakes his head; a beat)<\/parenthetical>\n    <dialogue>At first, you tell yourself it's a rut; just part of the ups and downs of marriage. You figure the pendulum will swing back the other way like it always has before and everything will be right again... A year goes by, then another and soon you've been sleeping only on your side of the bed so long you forget how to reach across and bring her into your arms. You forget why you could never walk down the sidewalk without holding her hand or what it was about her smile that stirred you. She's the same girl I fell in love with at seventeen. Nothing's changed, but everything's different. Then I realized, it's me.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I lost something along the way and I aim to find it... Sometimes you have to take the long way home.<\/dialogue>\n    <scene_description>Edward nods slowly.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Tell me about the island?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>It's a few acres. Beach all around. Palm trees. Some kind of a small house, I think.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Completely deserted?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I think so.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>We can't \"live on a deserted island\" if it's not deserted.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TROPICAL ISLAND - DAY<\/stage_direction>\n    <scene_description>Completely deserted. Seen from high above as a SEAPLANE lands just outside the reef.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TROPICAL ISLAND - DAY<\/stage_direction>\n    <scene_description>Edward and Carter walk from the trees out onto the sugary beach surveying the reef and gently lapping waves.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>They sit in the sand. Carter scoops up a handful and lets it run through his open fingers. He sighs contentedly... Edward sighs as well... Several long, empty moments pass. Carter sighs again. Edward nods in silent agreement. Several more moments pass until...<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Think we can still call the plane back?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>God, I hope so.<\/dialogue>\n    <scene_description>Whips out his satellite phone as they run back towards the trees, brushing the wet sand off their butts. CUT TO: A DOLPHIN ICE SCULPTURE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETROSSIAN - NIGHT<\/stage_direction>\n    <scene_description>A WAITER passes with a tray supporting an enormous bowl of caviar which he deposits in the center of a table where Edward sits with Carter and Rachel. All are dressed for the occasion and Edward now sports a freshly waxed pencil-thin moustache.<\/scene_description>\n    <character>WAITER<\/character>\n    <dialogue>Anything else, gentlemen?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Would you look at that?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>It looks disgusting.<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>(heaping it onto toast)<\/parenthetical>\n    <dialogue>In Iran they call it Aswad Thahab, Black Gold.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>They can call it whatever they want, still looks nasty.<\/dialogue>\n    <scene_description>She takes a tiny spoonful and sniffs at it. Edward is studying the Bucket List.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Some of this is just so... \"Laugh until you cry?\" How you figure on that?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Got any good jokes?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>That's Tommy's department. What about number seven?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>What's seven?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Being a contestant on Jeopardy?<\/dialogue>\n    <scene_description>Carter takes his first bite, closes his eyes and savors the flavor. Rachel eyes him carefully, still not convinced.<\/scene_description>\n    <character>CARTER<\/character>\n    <parenthetical>(to Edward)<\/parenthetical>\n    <dialogue>Like most people, I guess. Take some kind of test and then--<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>You realize that could take months. What if you can't--? Forget it. You figure that one out.<\/dialogue>\n    <parenthetical>(to Rachel)<\/parenthetical>\n    <dialogue>How's the caviar?<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>(making a face)<\/parenthetical>\n    <dialogue>Honestly?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>(looks at Carter who nods)<\/parenthetical>\n    <dialogue>It tastes like ass.<\/dialogue>\n    <scene_description>Edward almost chokes on his food. Soon all three are laughing.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Couldn't have said it better myself.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>More for me then.<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(still laughing)<\/parenthetical>\n    <dialogue>She sounded just like Emily.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Who's Emily?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>My little-- Well, she's not so little anymore, she's--<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>You have a daughter?<\/dialogue>\n    <scene_description>His grave surprise brings the laughter to a halt. Edward's suddenly uncomfortable.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Yeah...had a daughter...we don't--<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Why on earth not?<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Carl Okafor.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>What's a carlo-kafor?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I'd really rather--<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>When was the last time you saw her?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Dad.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Answer me.<\/dialogue>\n    <scene_description>Edward just shakes his head. Carter grabs the list and the pen and adds \"#11\" to the bottom of Edward's ten tasks.<\/scene_description>\n    <character>CARTER<\/character>\n    <parenthetical>(writing)<\/parenthetical>\n    <dialogue>Get back in touch--<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(slamming his hand down)<\/parenthetical>\n    <dialogue>Stop it!<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Because \"some things are not up for discussion.\"<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Not this. This is too important.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>You don't know me.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I don't have to. I know when something's more important than flinging yourself off an airplane or running around with cattle...<\/dialogue>\n    <parenthetical>(looks at Rachel)<\/parenthetical>\n    <dialogue>She's your-- Some things are more important... I'll be right back.<\/dialogue>\n    <scene_description>Takes a last bite of caviar and heads to the bathroom.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>He's not the most tractable man, your father.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>He's just... He calls me \"The Accident.\" They weren't planning on having more kids. Also because when I was eight, I chased my ball into the street when a car came. It dragged me the whole block before it stopped. I was in the hospital for a month. The first night, he told me he'd give anything if god would let him switch places with me.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>That's how it should be.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Can I ask you something?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Is she pretty?<\/dialogue>\n    <scene_description>Edward takes a beat, then nods slowly. There's a sudden commotion and the waiter quick-walks over to them.<\/scene_description>\n    <character>WAITER<\/character>\n    <dialogue>Right this way please.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>What's wrong?<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>Where's dad?<\/dialogue>\n    <character>WAITER<\/character>\n    <dialogue>There's been an-- If you please!<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(to Rachel)<\/parenthetical>\n    <dialogue>Stay here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETROSSIAN MEN'S ROOM- NIGHT<\/stage_direction>\n    <scene_description>Edward bursts in. It's empty. Sees blood pooling across the sinks.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Carter?!<\/dialogue>\n    <character>CARTER (O.S.)<\/character>\n    <dialogue>I was trying to wash it off.<\/dialogue>\n    <scene_description>He's sprawled out underneath the sinks. Edward rushes to him and pulls him out.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>It's my only suit.<\/dialogue>\n    <scene_description>It's covered in blood, running from his mouth.<\/scene_description>\n    <character>RACHEL (O.S.)<\/character>\n    <dialogue>Daddy!<\/dialogue>\n    <scene_description>She's standing in the open doorway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PETROSSIAN - NIGHT<\/stage_direction>\n    <scene_description>As Edward and the waiter help Carter through the dining room.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Hold on. I need to...just for a second.<\/dialogue>\n    <scene_description>They stop by the ice sculpture allowing Carter to lean on the table. Edward notices everyone staring at the blood on Carter's suit, whispering to each other, doing little to hide their distaste.<\/scene_description>\n    <character>EDWARD<\/character>\n    <parenthetical>(to a gawking woman)<\/parenthetical>\n    <dialogue>Can I help you? You've never seen a dying man before?<\/dialogue>\n    <parenthetical>(to the room)<\/parenthetical>\n    <dialogue>Get a good look, because someday this will be each and every one of you.<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>(weakly)<\/parenthetical>\n    <dialogue>Edward.<\/dialogue>\n    <scene_description>Edward loops his head under Carter's arm and resumes their way towards the door.<\/scene_description>\n    <character>EDWARD<\/character>\n    <parenthetical>(to the room)<\/parenthetical>\n    <dialogue>You're fucking parasites!<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>Carter sits up against the headboard looking surprisingly fit. Rachel sits on the edge of the bed dressed in her soccer uniform.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>...draw their fullbacks to the ball leaving the left side open for you to slip behind them as long as you watch the off-sides.<\/dialogue>\n    <character>RACHEL<\/character>\n    <dialogue>You really think they'll fall for it?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Worked against Brazil last year. Just enjoy yourself. Win or lose, that's the most important thing.<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(at the door)<\/parenthetical>\n    <dialogue>Don't believe a word of it, kid. If winning isn't everything, why do they keep score?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Good point.<\/dialogue>\n    <parenthetical>(kissing Rachel)<\/parenthetical>\n    <dialogue>Good luck, baby.<\/dialogue>\n    <scene_description>She jogs out, her cleats clacking on the stairs.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>I hear you're doing well.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>It was just an ulcer. It's spread to my stomach so-- It's expected.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>And why aren't you going to the game?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Holcomb said I should rest. I'm not supposed to get excited.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>So don't get excited.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>You've never seen me coach.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>So don't coach.<\/dialogue>\n    <scene_description>Carter thinks about it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOCCER FIELD - DAY<\/stage_direction>\n    <scene_description>The game is well underway as Edward and Carter skulk behind the back row of onlookers on the field.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Why don't we stand where we can actually see the field?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>'Ginia's here. I don't want her to--<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Too late.<\/dialogue>\n    <scene_description>Points up to the bleachers where Virginia stares down at them. Shakes her head angrily and turns back to the game.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Gotta get me a bigger dog house. May as well go up front.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOCCER FIELD - DAY<\/stage_direction>\n    <scene_description>It's late in the second half and the mid-field scorer's table shows zero-zero. Carter and Edward stand right next to it.<\/scene_description>\n    <character>CARTER<\/character>\n    <parenthetical>(shouting)<\/parenthetical>\n    <dialogue>Pass it, pass it, pass the...oh come on ref! That's a penalty!<\/dialogue>\n    <scene_description>As the Essex team steals the ball and drives it up field.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>You're not supposed to get excited.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I'm exhilarated. There's a difference.<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>So this may not be the best time, but...I'm heading out of town tomorrow.<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>(half-listening)<\/parenthetical>\n    <dialogue>Yeah?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Spain first.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>The festival's coming up and--<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Which festival?<\/dialogue>\n    <scene_description>As Rachel steals the ball and passes to a teammate.<\/scene_description>\n    <character>CARTER<\/character>\n    <parenthetical>(shouting)<\/parenthetical>\n    <dialogue>That's what I'm talking about!<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Pamplona.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Which one's that? Nice pass!<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>The one with all the cattle.<\/dialogue>\n    <scene_description>Carter turns to look at him. Realizes Edward is talking about finishing the list without him. He stares for several moments before a surge in the crowd pulls him back to the game. Four of Rachel's teammates are streaking up the right side of the field while Rachel quietly jogs up the left side.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>They're drawing the fullbacks.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I'm sorry, it's just that--<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Shut up for a second.<\/dialogue>\n    <scene_description>Rachel turns on the speed and streaks into enemy territory.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>She's open. She's open. She's--<\/dialogue>\n    <scene_description>As the ball loops over the fullbacks' heads towards the goal. Rachel controls it then shoots...just out of the goalie's reach and into the net. The crowd goes ballistic. None more than Carter who leaps into the air, screaming his head off...<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Now I'm excited!<\/dialogue>\n    <scene_description>The scorer sounds an air horn and the game is over. The players converge on Rachel, tackling her in mid-field. Carter looks up at Virginia who is hopping like mad in the bleachers. They share a look. He's out of the dog house for the moment.<\/scene_description>\n    <character>CARTER<\/character>\n    <parenthetical>(to Edward)<\/parenthetical>\n    <dialogue>Taking that macked-out plane of yours?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Commercial.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Business class?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Are you kidding me?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Hope you got another ticket then, 'cause--<\/dialogue>\n    <scene_description>Stops as he sees Edward holding up a pair of first class plane tickets. Carter smiles. Suddenly he's hit from behind by a flood of ponytails. Joined by their current coach, the entire team surrounds him as they hop up and down with glee. He lifts Rachel off the ground and hugs her for all he's worth. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARTER'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Carter deposits a litany of pill bottles into his shabbily packed suitcase which lies open on the bed. Roger comes in with Rachel.<\/scene_description>\n    <character>RACHEL<\/character>\n    <dialogue>Need any help?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Thanks, baby. I'm just about there.<\/dialogue>\n    <character>RACHEL<\/character>\n    <parenthetical>(eying the suitcase)<\/parenthetical>\n    <dialogue>Nuh-uh.<\/dialogue>\n    <scene_description>She pulls his clothes out and starts re-folding them. He smiles and removes the pills, placing them into a bag.<\/scene_description>\n    <character>ROGER<\/character>\n    <dialogue>When are you coming back?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>'Bout a month, I guess. It's an open ticket so-- You take care of your mother for me.<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>What do you think I've been doing?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I guess you've been the man of the house for a while now. I'm so proud of you son.<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>Sorry I can't say the same.<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I understand.<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>Man, please. You don't understand nothing! You're running off with your sugar-daddy fat cat to-<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Don't ever use that tone with me, boy!<\/dialogue>\n    <parenthetical>(a beat; he's never raised his voice like this)<\/parenthetical>\n    <dialogue>I know you can't understand why I have to do this...but I do. I have to do it and I'm begging you to respect that. I've never asked anything of you son, and if you tell me that it won't be okay and you won't be able to watch over them for me...then I'll stay and we'll never talk about it again.<\/dialogue>\n    <scene_description>He hands Roger the bag of pills. Roger is unsure what to do. He looks at Rachel who nods slowly. Roger bows his head and wipes his eyes...then he holds the bag out to his father.<\/scene_description>\n    <character>ROGER<\/character>\n    <dialogue>Just don't die on us.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Not this trip.<\/dialogue>\n    <scene_description>He ignores the bag and wraps his arms around his son.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>I love you, son. I love you so much.<\/dialogue>\n    <scene_description>Rachel finishes folding his shirt and lays it gently into the suitcase. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARTER'S HOUSE - DAY<\/stage_direction>\n    <scene_description>As Thomas puts the suitcase into the limo. He closes the trunk revealing Carter who is kissing his children goodbye. Carter looks up at the front door of the house, but Virginia is not there. He blows his daughter a final kiss then climbs inside. Edward now has a goatee and a freshly shaved Mohawk which reveals several lesions on his scalp. He moves to follow Carter but stops as he sees Virginia watching from a window.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>I'll bring him home.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMOUSINE - DAY<\/stage_direction>\n    <scene_description>Pulling away. Carter watches through the back window as his children see him go.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <scene_description>Carter nods as he sits back down in the seat.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>And I thought cancer was hard... Man, what the hell is that thing on your head?<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PAMPLONA STREET - DAY<\/stage_direction>\n    <scene_description>Seen through a stone doorway as hundreds of people stream past, running for their lives from the herd of bulls charging hard on their heels.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PAMPLONA STREET - DAY<\/stage_direction>\n    <scene_description>Running with the crowd now as dozens pass until we find Edward and Carter whooping and hollering in the heart of the push. They're having the time of their lives until Edward trips and falls. Carter turns back for him just as he sees the bulls roiling towards them.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <scene_description>The bulls are closing fast.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Give me your hands!<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I got it. I--<\/dialogue>\n    <scene_description>As Carter yanks him up, throwing them into the base of the wall an instant before the bulls thunder past...<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>That was close.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Yeah. You were a goner for sure.<\/dialogue>\n    <scene_description>Edward stands and tests his legs.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>My knee's a little--<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <scene_description>Loops Edward's arm around his neck and the two shuffle off after the departed bulls.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>For the record, I'm on my way out anyway, so don't get all puffed up about saving my life.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Hey, Eddie.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Do me a favor. Once we get to the hotel, and you're back, all comfortable in the room, take a second and go fuck yourself.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POSH LONDON RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Where Carter sits at the end of a long table. His eyes are wide as he stares in dumb wonder. The CAMERA TRACKS down the table to reveal his dinner companions: PAUL MCCARTNEY, MOHAMMAD ALI, LUCIANO PAVAROTTI, and ELIZABETH TAYLOR all engaged in a lively discussion. Edward sits at the far end, chatting with PRINCE WILLIAM. He shares a look with Carter who is unable to organize himself until a mechanical voice interrupts--<\/scene_description>\n    <character>MECHANICAL VOICE<\/character>\n    <dialogue>Please pass the salt.<\/dialogue>\n    <scene_description>Carter grabs the salt and passes it to STEVEN HAWKING who sits on his right in his wheelchair. Hawking's wife JANE WILDE smiles as she salts her husband's shepherd's pie.<\/scene_description>\n    <character>MECHANICAL VOICE<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Carter can only nod and smile.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. POSH LONDON RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Carter closes the door to Mohammad Ali's car then steps back on the curb next to Edward. Both are still starstruck.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Well, that was...<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>One question?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>How much that one cost you?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>You really don't want to know.<\/dialogue>\n    <scene_description>Carter nods as they start walking down the street. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EGYPTIAN HILLTOP - DAWN<\/stage_direction>\n    <scene_description>Bathed red in the first ray of the morning sun. Edward and Carter sit atop an ancient wall, taking in the endless expanse of desert below, though Carter's eyes are closed. Edward has the list out. Crosses off \"See the Pyramids.\"<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>You know technically, we can kill two of these.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>(eyes still closed)<\/parenthetical>\n    <dialogue>Listening.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>To what?<\/dialogue>\n    <parenthetical>(Carter doesn't answer)<\/parenthetical>\n    <character>EDWARD<\/character>\n    <dialogue>Anyway, I figure you want to \"Witness something Majestic,\" this is about as good as it gets.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>You haven't seen the mountain yet.<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>Never will if we sit around here all day.<\/dialogue>\n    <scene_description>Starts to get up...<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>The ancient Egyptians had a beautiful belief about death... When their souls reached the entrance to heaven, the gods would ask them two questions. Their answers determined if they were admitted or not.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>What were they?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Have you found joy in your life?<\/dialogue>\n    <scene_description>Edward realizes that Carter has opened his eyes and is looking directly at him.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>What, you're asking? Oh, how the hell do I--<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>It's a simple question. Have you found joy in your life?<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(thinks for several moments)<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>When?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Next question.<\/dialogue>\n    <scene_description>Edward's uncomfortable with whatever he remembered.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Has your life brought joy to others?<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(standing)<\/parenthetical>\n    <dialogue>This is horseshit.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Is it?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Haven't I done enough for you?<\/dialogue>\n    <parenthetical>(getting agitated)<\/parenthetical>\n    <dialogue>I set everything up myself. Paid for the cars, the plane tickets. It took me a month getting that dinner set up.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>For me or for you?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Are you that ungrateful?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I'm more grateful than you'll ever know. I didn't know you before, but now you're my friend and if I had the means there's nothing I wouldn't do for you if asked.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>The question still stands.<\/dialogue>\n    <scene_description>Edward walks several paces away, hands in his pockets. Several moments pass...<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>She was born on a Sunday. I remember because there wasn't a single cloud in the sky and I thought it was somehow appropriate... I know, cheesy right?<\/dialogue>\n    <parenthetical>(Carter just listens; this is Edward's joy)<\/parenthetical>\n    <dialogue>I managed to push her out of my mind the last few years, but after meeting your daughter-- And sometimes when I wake up in the morning...<\/dialogue>\n    <scene_description>He sits down next to Carter. Takes an angry breath...<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Carl Okafor was an activist. Emily had joined some \"save the poor people\" thing and I guess they met and she decided she loved him... I saw him a few times. Good looking kid. Smart. Driven. But there was something about him I didn't... Anyway, when she said they were engaged I told her I was against it. But, being my daughter, she went ahead anyway... We had some distance for a while, she's as stubborn as her old man, but she seemed happy... The first time he hit her she came to me. I wanted to-- I wanted to beat him into the dirt until he begged for forgiveness...but she wouldn't let me. She said it wasn't his fault. He was broke. Had a few drinks. Said she picked the fight... I gave her some money and she went back to him. When the money ran out he did it again. She didn't come to me that time.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>What did you do?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I did what any father would do. I got him a job. Administration in a small hospital in Great Neck. Gave him an office and a salary. Company car.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I don't understand.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I let him get comfortable. Let him think he'd got it made until one night, when he was out banging one of the nurses, I had someone crack his computer and move a bunch of money around. The next morning he showed up for work and they arrested him on the spot. My lawyer's a pitbull. Got him ten years for embezzlement.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>And Emily?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>She saw through me like glass. Cursed me out in front of the entire courtroom after his sentencing. Called me names you wouldn't believe. Said I was dead to her.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>But I figure, if that's what it took... I grew up with nothing. I'm not proud of everything I've done but I've played by the rules for the most part. If my daughter hates me and they don't let me into heaven...well then I guess that's just life, isn't it?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Happy endings are for suckers.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>They stare at the desert for a beat. Then Carter stands.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I got an addition to the list.<\/dialogue>\n    <scene_description>They begin to climb down the stepped wall and WE PULL BACK to reveal that they have been sitting atop the peak of the Great Pyramid of Khufu this entire time. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAIRO DEPARTMENT STORE - DAY<\/stage_direction>\n    <scene_description>Edward follows Carter through the perfume section. Both are drinking cans of Coke as they pass wealthy, westernized Egyptians and tourists.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>What the hell did we just eat?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Don't know. Don't wanna know.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>If this is your idea of cheering me up...<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>My brother pulled this once at Macy's. Got him grounded for a week. I never had the guts... There.<\/dialogue>\n    <scene_description>He makes for the elevators as a crowd shuffles inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEPARTMENT STORE ELEVATOR - DAY<\/stage_direction>\n    <scene_description>Nearly full. Edward and Carter stand against the back wall.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Now?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Next floor.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>This isn't very adult of you.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>It really isn't.<\/dialogue>\n    <scene_description>He smiles wickedly. The elevator doors open and more shoppers wedge themselves into the packed elevator. Edward and Carter are pressed into the wall.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Now?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Loser buys dinner.<\/dialogue>\n    <scene_description>They both scrunch up their faces with effort. Carter's teeth are gritted together until he suddenly burps drawing a look from the woman next to him.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Beg your pardon.<\/dialogue>\n    <scene_description>The woman looks away. Edward's fingertips are white as he presses his hands against the wall. Suddenly, the elevator is filled with the sound of--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAIRO DEPARTMENT STORE - DAY<\/stage_direction>\n    <scene_description>As the elevator doors open and the passengers erupt outward, pinching their noses, waving their hands and twittering angrily until the elevator is empty save for Carter and Edward who are on the floor in spasms of laughter until the doors close on them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEPARTMENT STORE ELEVATOR - DAY<\/stage_direction>\n    <scene_description>The laughter continues for several moments until--<\/scene_description>\n    <character>CARTER<\/character>\n    <parenthetical>(waving his hand)<\/parenthetical>\n    <dialogue>Oh man that's-- What did we just eat?<\/dialogue>\n    <scene_description>They break up again. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPLANE FIRST CLASS CABIN - DUSK<\/stage_direction>\n    <scene_description>Edward is asleep then suddenly chuckles in his dream. Carter looks over, smiling knowingly before laying a postcard of the pyramids on his seat-back table. Starts to write.<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>Dear Chambers Family... We're on our way to India now.<\/dialogue>\n    <scene_description>He thinks a moment before looking out the window at the sun painted table of clouds below and the endless blue above.<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>I can't tell you how much I miss you all. This is a gift that you've given me and everything I've seen and done has been through your eyes and with you in my heart. I'm taking all my pills and I honestly haven't felt this good in years. I hope you're well and looking after your mother... \"I love you\" doesn't come close... Dad.<\/dialogue>\n    <scene_description>He replaces the cap on the pen and leans his head back on the seat. Edward suddenly laughs out loud and Carter can't help but chuckle as he closes his eyes to sleep. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TAJ MAHAL - DAY<\/stage_direction>\n    <scene_description>Establishing.<\/scene_description>\n    <character>CARTER (O.S.)<\/character>\n    <dialogue>The empress was the beloved wife of Shah Jehan, the fifth mughal emperor.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAJ MAHAL GALLERY - DAY<\/stage_direction>\n    <scene_description>Carter and Edward walk past murals depicting the history of the monument.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>And though it was an arranged marriage, they were deeply in love and were inseparable until she died giving birth to their fourteenth child.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Fourteenth? That's a lot of love.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>They didn't write the Kama Sutra for nothing... It took twenty-thousand volunteers twenty-two years to complete the structure in sixteen forty-eight. Every square foot designed by Shah Jehan himself.<\/dialogue>\n    <scene_description>They stop at a tile mural of the empress.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>So that's true love.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>Edward reads Carter's thoughts and quietly walks away leaving Carter to stare up at the mural.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TAJ MAHAL - DAY<\/stage_direction>\n    <scene_description>Edward and Carter walk along the promenade beside the reflecting pools.<\/scene_description>\n    <character>EDWARD<\/character>\n    <parenthetical>(trying to lighten the mood)<\/parenthetical>\n    <dialogue>You ever wonder why all the great historical monuments have to do with dead people?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Because they're monuments. That's what they're for.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Yeah, but does being dead have to be a prerequisite? We can't put up a tomb to the unborn soldier? \"He would have died for his country if only his parents had been Catholic.\"<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>You're losing your grip, aren't you?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>My family's got this plot upstate. My parents are there. Cousins. Grandparents. The whole shebang. We even got a little monument of our own.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>That where you want to end up?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I don't know, I'm not sure they'd have me. I was a real pain in the ass when I was little. Hard to believe, I know. I dunno, it just seems so...colloquial.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I got it in my will. Want myself cremated and my ashes put in a can which they'll bury somewhere with a view.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>You mean an urn?<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>(shakes his head)<\/parenthetical>\n    <dialogue>I never liked the sound of it. \"Urn.\" Nope, an old can of Chock Full O' Nuts do me just fine.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Chock Full O--? The instant coffee?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Yup. Better coffee your money can't buy.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I wouldn't bet on that.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Ah yes, Kopi Luwak. You really dig that stuff, don't you?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>It's the best. What do you got against it?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Much too fancy for my taste. Simple pleasures my man, simple pleasures.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Think I might get another tattoo.<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE GREAT WALL OF CHINA - DAY<\/stage_direction>\n    <scene_description>Seen from a distance as it looms across the hilltops. A sound is heard in the far off distance. We can't quite make it out, but it clearly doesn't belong. ANOTHER SECTION OF THE WALL; closer now. The sound is heard again, a faint buzzing. AT THE BASE OF THE WALL; the buzzing is closer now. It's joined by voices. ATOP THE WALL; plunging down a hillside before us then surging back up to our position. The buzzing is louder still and the voices appear to be singing.<\/scene_description>\n    <character>VOICES (O.S.)<\/character>\n    <dialogue>Ah louie louie. Oh no. Say we gotta go. Yeah, yeah, yeah, yeah. Said ah louie louie--<\/dialogue>\n    <scene_description>And suddenly a motorcycle bursts into view up the hillside. Edward clings to Carter's back as they ride down the center of the wall, roaring by us then disappearing down the opposite hillside.<\/scene_description>\n    <character>VOICES (O.S.)<\/character>\n    <dialogue>--whoa baby! Said we gotta go. Yeah, yeah, yeah, yeah.<\/dialogue>\n    <scene_description>CUT TO: AGED CELL BARS CLANGING AS A DOOR OPENS<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHINESE PRISON - DAY<\/stage_direction>\n    <scene_description>Thomas stands with a disapproving look on his face as a guard leads Edward and Carter out of the cell. They're dressed in filthy prison smocks with several weeks facial growth.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>This is becoming epidemic.<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(shuffling past him)<\/parenthetical>\n    <dialogue>Shower.<\/dialogue>\n    <character>THOMAS<\/character>\n    <parenthetical>(catching a whiff)<\/parenthetical>\n    <dialogue>Several.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POSH HOTEL SUITE - BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>Thomas waits with a towel while Edward showers. Carter is seen through the doorway, talking to his family on the phone in the living room. He's yet to shower.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>So what's the going rate for busting two Americans out of the Chinese clink?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Ain't what it used to be.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>That bad, huh?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>You don't want to know.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Actually, I do... Don't I?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>I've got your statements in my bag, but all told you're down to a couple million.<\/dialogue>\n    <scene_description>Edward sticks his head through the shower door, halfway through shaving a new look that links his moustache to his sideburns.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>You're joking me.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>I never joke with Civil War heroes. Nice ink, by the way.<\/dialogue>\n    <scene_description>Edward holds up his arms which are now covered in tattoos: a charging bull, the pyramids, etc.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Like 'em? One for each item on the list.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>How punk of you.<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(after a beat)<\/parenthetical>\n    <dialogue>Thanks Thomas. Really, this is way above and beyond.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>What are indentured servants for.<\/dialogue>\n    <scene_description>Heads into...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POSH HOTEL SUITE - LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>Where Carter is just getting off the phone with his family.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>We're flying to Tibet tonight then next stop home. Alright. I will... Alright... Goodbye.<\/dialogue>\n    <scene_description>Hangs up the phone leaving the receiver smeared with grime. Thomas grabs a tissue and starts wiping it.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>Did you tell them?<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>(nods)<\/parenthetical>\n    <dialogue>My wife wants me tested for syphilis. She'll be sticking needles in me for days when I get back.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>You both seem in surprisingly good spirits considering...<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I can't explain it. I was telling Virginia. I feel...<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Like a pigsty?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Young.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>They say your mental disposition can have a tremendous impact on disease.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>They can say what they want, just so long as he gets out of that shower soon.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Say, let me ask you something Thomas. Is it Thomas or Tommy?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>It's Matthew actually but he finds that too biblical... Thomas is fine.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POSH HOTEL SUITE - BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>As Edward emerges from the shower in a billowing cloud of steam.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>She's all yours.<\/dialogue>\n    <scene_description>He wipes steam from the mirror to reveal his new look: Kojak meets Founding Father. Admires himself appropriately. Notices the lesions have faded on his head.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Hey, I said--<\/dialogue>\n    <scene_description>Sticks his head into the doorway to see Carter and Thomas whispering closely.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>I do, but I'm not sure he'll---<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>He'll what?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Ever think about flying coach back to the States. You know, save some for a rainy day.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>You chumps want to ride with your knees in your throat that's your business... Shower's up.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Thank the lord.<\/dialogue>\n    <scene_description>Runs into the bathroom peeling his shirt off. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TIBETAN ROOFTOP - DAY<\/stage_direction>\n    <scene_description>Where Edward and Carter take in the vista of hills rolling to the distant base of an impossibly enormous range of snow-covered mountains.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Okay, it's majestic.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>That's nothing. Twelve thousand tops.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>What's our mountain?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>We're only going to base camp, but the peak's about twenty nine thousand feet.<\/dialogue>\n    <scene_description>Edward whistles.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Why so many fatalities?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Hmmm?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>The air jockeys you were talking about. Ones that flew through the mountains.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>The hump pilots. Well, first off you had the Jap zeros which could ambush you from anywhere as you flew through the valleys. That was the easy part... When the weather came in, which was always, they couldn't choke off the supply runs, so they flew in the soup... Sonar was all they had back then. They used to try to ping off the mountains to plot their course between 'em. Sometimes it worked... Sixty years and they're still finding wreckage up there.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Your uncle?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Two years on the hump. Not a scratch on him.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Lucky guy.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Maybe... When the storms rolled in and he couldn't see an inch past the windshield, he used to close his eyes and focus until he couldn't hear the copilot or even the engines. He'd focus until everything fell away except the mountains passing on either side. He could hear them and, 'til the day he passed, he swore they could hear him in return.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>What did they sound like?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I asked him once. Near as he could figure- \"Voice of god,\" he said.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Wow, that's... Is there anything in this world you don't have a story about?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>It's called reading. You should try it someday... Here, you can start with this.<\/dialogue>\n    <scene_description>Slams a book in Edward's chest, Gandhi an Autobiography: The Story of My Experiments With Truth.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>This some kind of yoga manual?<\/dialogue>\n    <scene_description>Carter's incredulous... Thomas comes up the steps. Edward tosses him the book.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Here. Read this for me.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>So, shitty news or really shitty news?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>The first one.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>There's a storm up there. They won't fly until the weather clears.<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(to Carter)<\/parenthetical>\n    <dialogue>Where's your uncle when we need him.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>They expect it to clear?<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Not for a month. Maybe two. That's the really shitty news, in case you were wondering.<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>(disappointed)<\/parenthetical>\n    <dialogue>Next trip, huh?<\/dialogue>\n    <scene_description>They know full well the remoteness of that possibility.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Definitely.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I guess it's home then.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Maybe not.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>The climbing season's almost--<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Everest isn't the only majestic thing in the world.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MT. KILUEA VOLCANO - NIGHT<\/stage_direction>\n    <scene_description>Spewing enormous plumes of ash and lava into the night sky while rivers of molten rock stream from the crater. Carter, Edward, and Thomas stand atop a neighboring peak. Their faces hang in awe in the light of the eruption.<\/scene_description>\n    <character>EDWARD<\/character>\n    <parenthetical>(to Carter)<\/parenthetical>\n    <dialogue>What, no story?<\/dialogue>\n    <scene_description>Carter just shakes his head. Edward smiles and turns back to the show. The ground rumbles. They feel it. Thomas grabs Edward's hand to steady him. Edward does the same with Carter. SEEN FROM BEHIND; in silhouette, the three friends stand hand-in-hand at the beginning and end of the world. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMOUSINE - NIGHT<\/stage_direction>\n    <scene_description>Driving through the suburbs of New Jersey. Edward and Carter sit side by side in the back. Taking measure of what they've accomplished.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Thank you. Really.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Don't be-- It's nothing. It's--<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>You're welcome, is what he's trying to say.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Dead in a month my ass.<\/dialogue>\n    <scene_description>They laugh and he looks out the window.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Hey Tommy, this isn't Newark. You leave your compass back in Beijing?<\/dialogue>\n    <scene_description>Thomas responds by putting up the divider between himself and the back seat. IN THE FRONT; Thomas exhales a deep breath.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>One more stop.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIMOUSINE - NIGHT<\/stage_direction>\n    <scene_description>Pulling up in front of a small ranch house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMOUSINE - NIGHT<\/stage_direction>\n    <character>EDWARD<\/character>\n    <dialogue>Why are we-- Thomas, you off the methadone? What the hell's--<\/dialogue>\n    <scene_description>Stops as he sees something through the window. It's a woman. She's standing in the window of the ranch house, pacing back and forth as she talks on the phone.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>He kept tabs on her in case you ever wanted to--<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(livid)<\/parenthetical>\n    <dialogue>This was his idea?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>No, it was mine. Took the whole flight to talk him into it.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Hey Carter, will you do something for me?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Name it.<\/dialogue>\n    <scene_description>Edward opens the door and climbs out of the car and walks briskly away from the house. Carter watches him go...<\/scene_description>\n    <character>CARTER<\/character>\n    <parenthetical>(softly)<\/parenthetical>\n    <dialogue>Go fuck myself.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURB STREET - NIGHT<\/stage_direction>\n    <scene_description>Edward walks briskly through pools of light from the street lamps. The limo pulls up and Carter jumps out.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>This is what you want?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Telling someone a story doesn't invite you to be a part of it. You had no right.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>You're right, I didn't. But she's still there. Maybe you took the long way home but this is the road's end.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Go away.<\/dialogue>\n    <scene_description>Walks past him. Carter follows.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>What are you so afraid of?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I'm not afraid of anything anymore. If you took a second to think it through you'd realize--<\/dialogue>\n    <parenthetical>(stops walking)<\/parenthetical>\n    <dialogue>How did you see it? I knock on the door. She answers.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>She's surprised and angry but I tell her how much I love her and missed her, and gradually, piece by piece, the ice starts to thaw?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>It's a start.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>No, it's an end. Because you left one thing out. You didn't think-- How is it fair that I show up after all this time and inject myself back into her life when I could be dead in a week?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>You just--<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>How do I tell her...without her believing that I'm only reaching out because I'm scared to die alone and didn't care enough to consider what that would put her through.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Everyone's afraid to die alone.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I'm not everyone.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Then you're kidding yourself.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>If I am, I'm not the only one.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>What's that supposed--<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>What are you even doing here, Carter? You've got a family and a wife whose holding her heart in her hands while you're flying around the world to \"find the long way home.\" Don't you think she knows?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Knows what?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>That you blame her for your lack of accomplishment.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Don't you dare--<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>That you say things like you \"wouldn't trade your life with them for anything\", but deep down you question yourself, so you say those things because you know they're the right thing to say, rather than what you really feel.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>You have no idea what I feel.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Maybe I don't...but I know this. I love my daughter. If I didn't I would be back there, knocking on her door. If you loved your wife, you wouldn't have to go home because you'd have been there all along.<\/dialogue>\n    <scene_description>He pulls out the Bucket List.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>This is fun, Carter. That's all it ever was.<\/dialogue>\n    <scene_description>Then he tears it in half, then again, and lets the pieces flutter to the sidewalk. He sees Thomas standing by the limo.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Call me after you've taken him home.<\/dialogue>\n    <scene_description>He walks off. Carter stands there, staring at the pavement... Music begins; Jeff Buckley's \"Hallelujah\" as Thomas walks around the limo and opens the door for Carter. Carter nods and walks towards him and then stops and turns to look at the Bucket List as the pieces scatter DISSOLVE TO: MONTAGE - AS THE SONG PLAYS OVER... CARTER; walking up the steps to his house. He pauses at the door then opens it and carries his suitcase inside. EDWARD; hands in his pockets as he walks down a neighborhood street. The limo pulls up next to him and he climbs inside. CARTER; in bed with his wife, each on their own side. Distance between them.. EDWARD; in his high-rise office sitting at his desk which faces the window with a view of the city shrouded in fog below. His hair is growing in again. He brings a coffee cup to his lips. It's empty. CARTER; at the hospital getting a check-up. Holcomb comes in with test results. He's amazed at Carter's progress. Carter smiles as he buttons up his shirt. EDWARD; in his office kitchen. The box of Kopi Luwak is empty. He searches the cupboard finding only a can of instant. He puts the can back and walks out. CARTER; at the dinner table with his family. Virginia is saying grace. He's watching her. She feels it and her eyes open. He reaches out and takes her hand. She smiles as their eyes hold each other and she continues to pray. EDWARD; shakes his head as he switches off the Yankee game. Moves to the bookshelf and browses until he removes a book on the Himalayas. VIRGINIA; waiting in the car for Carter. It's autumn now and the windows are painted with frost. A finger appears, drawing letters on the windshield. WILL YOU MARRY ME? EDWARD; working out on the elliptical machine at the gym. It's late and the place is empty. CARTER AND VIRGINIA; standing in the center of a shopping mall, their friends and family around them as they renew their vows. EDWARD; stepping out of the shower. Wipes the steam from the mirror revealing his full head of hair and the journal of tattoos over his body. He touches the erupting volcano on his forearm. CARTER; home in bed staring at a small plastic bull. He puts it away as Virginia comes in, dressed in her nightgown. She climbs in bed and he reaches across and pulls her to him.<\/scene_description>\n    <character>VIRGINIA<\/character>\n    <dialogue>Happy second honeymoon.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Happy second honeymoon.<\/dialogue>\n    <scene_description>They kiss. His hands move to her hips under the covers.<\/scene_description>\n    <character>VIRGINIA<\/character>\n    <dialogue>Do you have any idea how long it's been?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Do I want to know?<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <dialogue>No, I don't think you do.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I love you, 'Gin.<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <dialogue>I know you do.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>It wasn't that I ever stopped loving you so much as I forgot the reasons you loved me.<\/dialogue>\n    <parenthetical>(she touches his face)<\/parenthetical>\n    <dialogue>Remember that night, when I took you to the Bowl-O-Rama over on fourteenth street?<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <dialogue>How do you think I could forget our first date? You wore that shirt with the stain on the front and your black shoes and brown belt.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>And you wore a blue dress with little bows down the back.<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <parenthetical>(surprised)<\/parenthetical>\n    <dialogue>I can't believe you--<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I was so out of my league. I remember thinking, \"What's a girl looks like this doing slumming with a kid who's best shirt got a stain on the front?\"<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <dialogue>You weren't worthy.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I've never been worthy of you.<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <dialogue>I was joking, baby. I knew that night after I got back. I told my mother I was your's forever if you'd have me... Forever's just getting started.<\/dialogue>\n    <scene_description>They kiss again, more passionately until she pulls away and stands out of bed.<\/scene_description>\n    <character>VIRGINIA<\/character>\n    <dialogue>I got something for you. Wasn't sure I'd need it.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Don't be long now.<\/dialogue>\n    <scene_description>She goes into the bathroom and closes the door halfway. We see her feet stepping out of her pajamas and into something black and lacy. When the door opens her hair is down and spilling over her shoulders and a thin, satin negligee.<\/scene_description>\n    <character>VIRGINIA<\/character>\n    <dialogue>Carter?<\/dialogue>\n    <scene_description>The bed is empty. She walks around it.<\/scene_description>\n    <character>VIRGINIA<\/character>\n    <dialogue>So we're playing games now? You think you can get me all riled up then--<\/dialogue>\n    <scene_description>She stops as she sees him face down on the floor, his hands twitching.<\/scene_description>\n    <character>VIRGINIA<\/character>\n    <dialogue>Carter!<\/dialogue>\n    <scene_description>She turns him over to see his eyes are rolled back into his head as the seizure storms through him.<\/scene_description>\n    <character>VIRGINIA<\/character>\n    <dialogue>Roger!<\/dialogue>\n    <scene_description>She finds his wallet on the bedside table and forces it between his teeth. Roger appears at the door--<\/scene_description>\n    <character>ROGER<\/character>\n    <dialogue>What's the--<\/dialogue>\n    <scene_description>He sees his father on the floor then runs for the phone. Rachel and Lee appear. Lee runs to help Virginia as Rachel stands in the doorway watching her father. FADE TO BLACK:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IL MULINO RESTAURANT - NIGHT<\/stage_direction>\n    <scene_description>Edward and his date, AMERY, a pretty middle-aged woman sit at a table against the wall.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>It's Bruno's specialty. It's not on the menu.<\/dialogue>\n    <character>AMERY<\/character>\n    <dialogue>That's a lot of food.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I'm a bottomless pit. Besides, I'm in training.<\/dialogue>\n    <character>AMERY<\/character>\n    <dialogue>Isn't mountain climbing dangerous?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>For someone my age? You can say it.<\/dialogue>\n    <scene_description>She's interrupted by the MAITRE'D who walks briskly to the table.<\/scene_description>\n    <character>MAITRE'D<\/character>\n    <dialogue>I'm sorry Mister Cole. It's your driver. He says it's urgent.<\/dialogue>\n    <scene_description>Edward turns to the front door where Thomas stands. His face says everything.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Edward emerges from the elevator and walks pointedly towards his old room. Passes Holcomb at the nurse's station.<\/scene_description>\n    <character>DR. HOLCOMB<\/character>\n    <parenthetical>(walking after him)<\/parenthetical>\n    <dialogue>Edward.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>When did this happen?<\/dialogue>\n    <character>DR. HOLCOMB<\/character>\n    <dialogue>It came out of nowhere but it's his brain and the tumors are deep.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>So you can operate?<\/dialogue>\n    <character>DR. HOLCOMB<\/character>\n    <dialogue>Day after tomorrow.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>And he'll be alright?<\/dialogue>\n    <character>DR. HOLCOMB<\/character>\n    <dialogue>In his condition it's not-- The odds aren't what we'd like them to be.<\/dialogue>\n    <scene_description>Edward sees there's little hope. Resumes walking into--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Where Carter is back in bed covered in tubes. Virginia lies with Rachel on the bed next to him. Rachel is asleep.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>How is he?<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <dialogue>Quiet. I wasn't sure if I should call you, I--<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Of course. Please. Is there anything I can do for you? Are the boys--<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <dialogue>We're fine. Really... He wanted me to give you this.<\/dialogue>\n    <scene_description>She sits up and pulls the taped-together Bucket List out of her purse.<\/scene_description>\n    <character>VIRGINIA<\/character>\n    <dialogue>There's a letter too. I was supposed to wait until... But then I thought--<\/dialogue>\n    <character>CARTER (O.S.)<\/character>\n    <dialogue>--she's never listened to me before, why let a coupl'a tumors get in the way.<\/dialogue>\n    <scene_description>Edward sits down on the side of his bed.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>What's with all the hair?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>How they treating you?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Food still sucks.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I'll talk to the owner.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I wouldn't, I hear he's a prick.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>He definitely has his moments...<\/dialogue>\n    <scene_description>Edward nods. It's all under the bridge.<\/scene_description>\n    <character>EDWARD<\/character>\n    <parenthetical>(holds the List)<\/parenthetical>\n    <dialogue>What was I going to do with this?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>It isn't finished.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>It's not a one man job.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>It's going to have to be.<\/dialogue>\n    <scene_description>Edward scans the remaining items. Stops on one of them.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>No it doesn't... I'll be--<\/dialogue>\n    <parenthetical>(heads for the door)<\/parenthetical>\n    <dialogue>Don't go anywhere.<\/dialogue>\n    <scene_description>Runs out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOLCOMB'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Holcomb's packing up for the night when Edward enters, speaking on his cell phone.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>I don't care how, just get a hold of him and call me back.<\/dialogue>\n    <scene_description>He snaps the phone shut and glares at Holcomb.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Can he be moved without hurting him?<\/dialogue>\n    <character>DR. HOLCOMB<\/character>\n    <dialogue>Well, technically yes, but--<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I'm taking him out of here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Edward walks with Holcomb trailing him. Thomas stands as he sees them.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Pull the car up front.<\/dialogue>\n    <character>DR. HOLCOMB<\/character>\n    <dialogue>I cannot allow you to sneak him out again. I could be personally liable--<\/dialogue>\n    <scene_description>As Edward slams him into the wall.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Plain English. I'm taking my friend out of here and you're coming with us. You've got ten minutes to pack what you need or I will personally ask Thomas to rearrange your kidneys.<\/dialogue>\n    <scene_description>Thomas smiles at Holcomb who nods abruptly.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Edward enters just as Carter is standing out of bed with help from Virginia.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>How fast can you get him dressed?<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I can dress my own damn self. Where we going?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>One more trip.<\/dialogue>\n    <parenthetical>(to Virginia)<\/parenthetical>\n    <dialogue>Can I talk to you?<\/dialogue>\n    <parenthetical>(to Carter)<\/parenthetical>\n    <dialogue>Pack it up. We're not home yet.<\/dialogue>\n    <scene_description>He ushers Virginia out into the hallway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AIRPORT - NIGHT<\/stage_direction>\n    <scene_description>The limo doors open and Thomas emerges along with Edward, Holcomb and the entire Chambers family. Carter is weak but shuffles along towards the waiting Gulfstream.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>If you could step it up we're kind of on a schedule.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I'll step it up when you tell me where we're going.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Roger.<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>Sorry dad.<\/dialogue>\n    <scene_description>As he lifts his father into his arms and carries him towards the plane.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Boy, put me down. Whose side are you on!<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(to Lee)<\/parenthetical>\n    <dialogue>Does he ever stop talking?<\/dialogue>\n    <character>LEE<\/character>\n    <dialogue>Only when he's eating.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Well, that I can relate to.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GOLF CART - DAY<\/stage_direction>\n    <scene_description>Zipping between large warehouses. Carter sits in the back with Virginia. He's blindfolded and bitching and wearing a new suit. Edward's in the front next to the driver. The golf cart pulls to a stop next to a warehouse door. Virginia helps Carter out while Edward gets the door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAREHOUSE - DAY<\/stage_direction>\n    <scene_description>The doorway is curtained off with thick, sound-eating drapes. Virginia leads Carter inside.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>You're enjoying this, aren't you?<\/dialogue>\n    <scene_description>Muffled clapping is heard from the other side of the curtains. A man in a BASEBALL CAP pushes through an opening.<\/scene_description>\n    <character>BASEBALL CAP<\/character>\n    <dialogue>Great. We're ready for you.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Who the hell's he talking to?<\/dialogue>\n    <character>ANNOUNCER (O.S.)<\/character>\n    <dialogue>And now our contestants entering the studio: a college professor from Gladwyne, Pennsylvania, Deenaz Olpadwala.<\/dialogue>\n    <scene_description>Edward removes the blindfold and pushes Carter through the curtains. ON CARTER; As his eyes adjust then light up as a familiar theme plays.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JEOPARDY SOUNDSTAGE - DAY<\/stage_direction>\n    <scene_description>The real deal, replete with a live studio audience.<\/scene_description>\n    <character>ANNOUNCER (O.S.)<\/character>\n    <dialogue>Our second contestant.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>How in the world did you--?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I had a couple million lying around.<\/dialogue>\n    <character>ANNOUNCER (O.S.)<\/character>\n    <dialogue>A garage mechanic from Newark, New Jersey...<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>But that's all you had--<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>So go earn it back.<\/dialogue>\n    <character>ANNOUNCER (O.S.)<\/character>\n    <dialogue>Carter Chambers.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>You son of a bitch.<\/dialogue>\n    <scene_description>He straightens his tie and walks purposefully towards his podium. Roger, Lee and Rachel cheer him on from the stands as he nervously takes his place. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JEOPARDY SOUNDSTAGE - DAY<\/stage_direction>\n    <scene_description>The game is underway. ALEX TREBEK calls the clues...<\/scene_description>\n    <character>ALEX TREBEK<\/character>\n    <dialogue>This sophistic monk is often credited as one of the causes of the Russian Revolution.<\/dialogue>\n    <scene_description>Carter hits the button but his timing is off.<\/scene_description>\n    <character>DEENAZ<\/character>\n    <dialogue>Who is Rasputin?<\/dialogue>\n    <character>ALEX TREBEK<\/character>\n    <dialogue>Correct.<\/dialogue>\n    <character>DEENAZ<\/character>\n    <dialogue>I'll take Mad Men for two hundred.<\/dialogue>\n    <character>ALEX TREBEK<\/character>\n    <dialogue>An animated character with a predilection for tall headwear... Carter.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>The Mad Hatter.<\/dialogue>\n    <character>ALEX TREBEK<\/character>\n    <dialogue>No... Sherman.<\/dialogue>\n    <scene_description>SHERMAN, the bookish current champion clears his throat.<\/scene_description>\n    <character>SHERMAN<\/character>\n    <dialogue>Who is the Mad Hatter?<\/dialogue>\n    <character>ALEX TREBEK<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Edward stands anxiously with Virginia.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Get it together.<\/dialogue>\n    <scene_description>Virginia shushes him.<\/scene_description>\n    <character>SHERMAN<\/character>\n    <dialogue>Mad Men for three-hundred.<\/dialogue>\n    <character>ALEX TREBEK<\/character>\n    <dialogue>This King of England earned his maligned nickname in part by conversing with a tree he believed to be the King of Prussia.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Who is King George?<\/dialogue>\n    <character>ALEX TREBEK<\/character>\n    <dialogue>Can you be more specific?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Who is \"Mad\" King George the third.<\/dialogue>\n    <character>ALEX TREBEK<\/character>\n    <dialogue>Correct.<\/dialogue>\n    <scene_description>Virginia grabs Edward. The Chambers kids cheer.<\/scene_description>\n    <character>ALEX TREBEK<\/character>\n    <dialogue>Carter takes control of the board.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>I'll take Mad Men for four-hundred, Alex.<\/dialogue>\n    <scene_description>A SERIES OF CUTS; as Carter begins to run the board. His answers are quick and on the mark. The other contestants get an answer here and there but the game is clearly Carter's to win. Roger, Lee and Rachel continue to cheer him on. Virginia's grip on Edward's arm grows tighter and tighter until he winces.<\/scene_description>\n    <character>VIRGINIA<\/character>\n    <dialogue>Oh. Sorry.<\/dialogue>\n    <parenthetical>(Carter gets another answer)<\/parenthetical>\n    <dialogue>Go on, baby!<\/dialogue>\n    <scene_description>She's punches Edward's arm in glee. The game continues. Carter is doing well but he's beginning to tire. Sweat stains are visible on his collar. Edward now stands several feet away from Virginia.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>Is he okay?<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <dialogue>He'll be fine.<\/dialogue>\n    <scene_description>She applauds as he gets another correct answer.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JEOPARDY SOUNDSTAGE - DAY<\/stage_direction>\n    <scene_description>The game is down to Final Jeopardy. The final category is on the board:<\/scene_description>\n    <character>ALEX TREBEK<\/character>\n    <dialogue>The category is World Monuments and the final clue is--<\/dialogue>\n    <scene_description>The clue is revealed...<\/scene_description>\n    <character>ALEX TREBEK<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>This mughal emperor built the Taj Mahal to memorialize the death of his wife, Empress Mumtaz Mahal.<\/dialogue>\n    <scene_description>Edward smiles as the Final Jeopardy theme plays.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>It's in the bag.<\/dialogue>\n    <scene_description>His grin begins to subside as he watches Carter wipe a think band of sweat from his forehead. CARTER'S POV; is blurred as his hand slips on the pen. He closes his eyes to steady himself, but his vision is blurred even further.<\/scene_description>\n    <character>VIRGINIA<\/character>\n    <dialogue>Edward.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I see it.<\/dialogue>\n    <scene_description>He starts circling the stage, crossing behind the cameras to get closer to the contestants. Carter scribbles loosely on the screen but drops the pen and falls just as Edward gets there to catch him. FADE TO WHITE.: Voices are heard...<\/scene_description>\n    <character>HOLCOMB (O.S.)<\/character>\n    <dialogue>...do our best, but it's too far along.<\/dialogue>\n    <character>EDWARD (O.S.)<\/character>\n    <dialogue>Anything you need.<\/dialogue>\n    <scene_description>FADE IN ON: THE FACE OF A BEAUTIFUL WOMAN<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOS ANGELES HOSPITAL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Carter's POV as Virginia stares down at him.<\/scene_description>\n    <character>VIRGINIA<\/character>\n    <dialogue>Hey, babe. Can you hear me all right?<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>(dazed)<\/parenthetical>\n    <dialogue>Wha- Where time is it?<\/dialogue>\n    <scene_description>His face is paralyzed on one side. His head is shaved and heavily marked with surgery markers.<\/scene_description>\n    <character>VIRGINIA<\/character>\n    <dialogue>We're in the hospital. You had a stroke, but you're gonna be fine.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Where's Alex?<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <parenthetical>(looking)<\/parenthetical>\n    <dialogue>Who's Alex?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>He's probably sleeping. It's almost midnight.<\/dialogue>\n    <character>VIRGINIA<\/character>\n    <dialogue>They're taking you in for surgery in a minute.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I'll leave you two alone.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Wait.<\/dialogue>\n    <parenthetical>(to Virginia)<\/parenthetical>\n    <dialogue>My bag.<\/dialogue>\n    <scene_description>She reaches for his overnight bag.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Can you--<\/dialogue>\n    <scene_description>She opens it for him. He reaches inside and pulls out a sealed envelope and a folded slip of paper.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Got any of that coffee left?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>I'm all out. I can see if there's anywhere that sells it out here, but--<\/dialogue>\n    <character>CARTER<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>Not if I was dying of thirst in the desert... Wanna know why?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>\"I'm sure you'll enlighten me.\"<\/dialogue>\n    <scene_description>Carter hands the paper to Edward.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Read.<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>Kopi Luwak is the world's most expensive coffee, though, for some, it falls under the category of too good to be true. In the village where the beans are grown lives a breed of wild African tree-cats. The cats eat the beans, digest them, then...<\/dialogue>\n    <parenthetical>(a beat; he swallows)<\/parenthetical>\n    <dialogue>...then defecate them out for the villagers to collect. It's the gastric juices of the cat that give the coffee its unique flavor and absence of aftertaste... You're shitting me?<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Cats beat me to it.<\/dialogue>\n    <scene_description>He bursts into weak laughter. Edward stares for a moment then starts to chuckle himself. Soon both men are laughing until tears stream down their cheeks. As he laughs, Edward's tears become gradually laced with grief as he hold's Carter's wrist.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Still have the list?<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <parenthetical>(pulls it out along with the red pen)<\/parenthetical>\n    <dialogue>There's only a few left. Which one do you want to do next?<\/dialogue>\n    <scene_description>Carter runs a finger down the items, until he reaches \"LAUGH UNTIL I CRY.\" He crosses it off shakily with the pen. Only four remain. His finger stops on the half finished \"#11) GET BACK IN TOUCH\" Edward sees this.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>There's a difference between dying alone and living like you're already dead... Finish the list, Edward.<\/dialogue>\n    <scene_description>He places the envelope atop the list.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>Go home.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOS ANGELES HOSPITAL - NIGHT<\/stage_direction>\n    <scene_description>Edward emerges through the sliding doors. He wipes the tears flowing from his face, unsure of where to go. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOS ANGELES HOSPITAL ROOM - NIGHT<\/stage_direction>\n    <scene_description>As Holcomb enters, scrubbed for surgery, with several nurses.<\/scene_description>\n    <character>DR. HOLCOMB<\/character>\n    <dialogue>We're ready.<\/dialogue>\n    <scene_description>Carter reaches out for Virginia's hand and presses it to his heart.<\/scene_description>\n    <character>VIRGINIA<\/character>\n    <dialogue>I'll be here when you get back.<\/dialogue>\n    <character>CARTER<\/character>\n    <dialogue>Forever's just getting started.<\/dialogue>\n    <scene_description>Her hand slips out of his as he's wheeled out of the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GULFSTREAM PRIVATE JET - NIGHT<\/stage_direction>\n    <scene_description>Edward loses himself in the raindrops sliding down the window as the plane readies for takeoff. He glances down at the envelope in his lap and turns it over. On the front is his name and address. He thinks a moment, steeling himself before he opens it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OPERATING THEATER - NIGHT<\/stage_direction>\n    <scene_description>Carter lies unconscious with a tube in his mouth as the surgeons do their work. In contrast to Edward, he looks completely at peace.<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>Dear Edward. It's turning cold out here in Newark and the trees are like skeletons beneath the lamp posts. Winter's almost upon us and despite what the doctors tell me, I know it will be my last.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE NEW YORK CITY SKYLINE - NIGHT<\/stage_direction>\n    <scene_description>Seen from the Hudson, the mandala of lights reflect like jewels in the water. Carter sits on the edge of a pier taking in the view...<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>You know how I love to tell stories so if you can spare a few minutes I think I've got a good one for you...<\/dialogue>\n    <scene_description>He returns to the letter in his lap, and resumes writing...<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>There was an old farmer spent his life working the earth to give his family all the cares and comforts he'd never had.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GULFSTREAM PRIVATE JET - NIGHT<\/stage_direction>\n    <scene_description>Edward reads the words as Carter speaks them.<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>One day the farmer fell sick and he called his sons to his bedside where he took up a bundle of sticks and said to his eldest son, \"Show me that you can break it.\" The son strained and strained, but with all his efforts was unable to break the bundle.<\/dialogue>\n    <scene_description>Edward finishes the letter and wipes the tears from his cheeks. The flashing wing lights of the plane reflect the raindrop on the window indelibly onto his face.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOS ANGELES HOSPITAL - NIGHT<\/stage_direction>\n    <scene_description>Seen from above as Roger, Lee and Rachel lie in bed with their mother, clinging to her as she prays.<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>The other sons also tried, but none of them could break it. \"Untie the bundle,\" said the farmer, \"And each of you take a stick.\"<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURB STREET - DAWN<\/stage_direction>\n    <scene_description>As Edward walks up the path to his daughter's house. He knocks on the door without hesitation.<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>When they had done so, he called out to them, \"Now, break them,\" and each stick was easily broken...<\/dialogue>\n    <scene_description>The door opens revealing Emily. She's surprised and her sleepy features harden instantly. Edward begins to talk.<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>No man is an island, my friend. We're just not built that way.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOS ANGELES HOSPITAL - NIGHT<\/stage_direction>\n    <scene_description>Virginia scoops instant coffee into a styrofoam cup. She looks up as Holcomb appears at the other end of the hallway walking towards her. His face is unreadable.<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>You measure yourself by the people who measure themselves by you, and no matter how you battle the current--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EMILY'S HOUSE - DAWN<\/stage_direction>\n    <scene_description>Thomas leans against the limo, watching through the window as Carter and Emily speak. Her guard is still up, but she's listening...<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>--our lives are streams flowing into the same river towards whatever heaven lies in the mist beyond the falls.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOS ANGELES HOSPITAL - NIGHT<\/stage_direction>\n    <scene_description>We can't see Holcomb's face or what he's saying as he reaches Virginia, but her expression says it all. The coffee cup slips from her hands and lands at her feet, spilling onto the floor.<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>Find the joy in your life, Edward. Close your eyes and let the waters take you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EMILY'S HOUSE - DAWN<\/stage_direction>\n    <scene_description>Edward shakes Emily's hand goodbye. She's not giving in, but it's a start. He reaches for the front door just as a LITTLE GIRL, still half-asleep, comes out from the back bedroom. Edward is stunned.<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>Open your heart and listen to the mountain...<\/dialogue>\n    <scene_description>He looks up at Emily who says something to the little girl. He crouches down as the girl walks right up to him and lays her head on his shoulder. His eyes are full as he looks up at Emily in amazement then slowly kisses his granddaughter's head.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOS ANGELES OPERATING THEATER - NIGHT<\/stage_direction>\n    <scene_description>Carter's face is at peace. Virginia's face comes into frame and kisses him softly. Her tears fall onto his eyelids and continue down his cheeks.<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>I promise you'll be heard.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOS ANGELES HOSPITAL ROOM - NIGHT<\/stage_direction>\n    <scene_description>Virginia stands in the doorway, staring at her sleeping children. Rachel opens her eyes and looks at her mother.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EMILY'S HOUSE - DAWN<\/stage_direction>\n    <scene_description>Edward walks the path towards Thomas and the waiting limo.<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>We're a bundle of sticks, you and I, be it in this world or the one that follows. I will be forever grateful for the joy your life has brought to mine.<\/dialogue>\n    <scene_description>Thomas opens the car door for him.<\/scene_description>\n    <character>THOMAS<\/character>\n    <dialogue>So that's your daughter?<\/dialogue>\n    <character>EDWARD<\/character>\n    <parenthetical>(emotional)<\/parenthetical>\n    <dialogue>Yup.<\/dialogue>\n    <character>THOMAS<\/character>\n    <dialogue>Pretty.<\/dialogue>\n    <scene_description>Edward looks angry. Thomas waits for the rebuke. Instead, Edward pats him on the shoulder before climbing into the car. Thomas looks back at the house as the lights go out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMOUSINE - DAWN<\/stage_direction>\n    <scene_description>Edward pulls the list out of his pocket. With the red pen he crosses out: \"KISS THE MOST BEAUTIFUL WOMAN IN THE WORLD.\"<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>Your friend always... Carter.<\/dialogue>\n    <scene_description>Edward lowers the window and looks out at the painted dawn sky as the limo drives away. He stares for several moments then closes his eyes and listens...<\/scene_description>\n    <character>EDWARD (V.O.)<\/character>\n    <dialogue>Good afternoon. My name is Edward Cole and I'm not much of a storyteller.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LARGE ROOM - DAY<\/stage_direction>\n    <scene_description>Edward is in his business suit again. His game face on.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>I'm a business man, a good one. I run hospitals.<\/dialogue>\n    <character>EDWARD<\/character>\n    <dialogue>We take sick people and make them well again. Sometimes we succeed and sometimes we fail, but we're getting better at it every day... I started out with nothing but cold ambition, and over the years my company grew until I had everything I ever wanted... I know now that-- I know now that I was never a wealthy man until my best friend came into my life...and from this incredible turnout, it only verifies the fact that Carter was truly the richest man I know.<\/dialogue>\n    <scene_description>CAMERA TRACKS until we're behind Edward revealing his audience of nearly a THOUSAND MOURNERS filling every last inch of the room including Carter's family who sit in the front row. Familiar faces in the crowd include Manny, Holcomb, Nurse Shing, parents and players of the soccer team, etc.<\/scene_description>\n    <character>EDWARD<\/character>\n    <dialogue>I don't know what most people say at these things, so I'll just tell you what I think Carter would want you to know. He's dead and I still can't shut him up... He loved his children more than his own heart. He loved his wife more than his own soul. He took the long way home but he made it back and you took him in and made him whole again and you will never know how grateful he was.<\/dialogue>\n    <scene_description>His eyes move from the family to Thomas who stands against the wall with Emily and her daughter.<\/scene_description>\n    <character>EDWARD<\/character>\n    <parenthetical>(taking out the Bucket List)<\/parenthetical>\n    <dialogue>We saw the world together. Pretty amazing when you think that only nine months ago we were strangers... He saved my life, and he knew it before I did.<\/dialogue>\n    <scene_description>With the pen, he crosses out: \"HELP A COMPLETE STRANGER FOR THE GOOD.\" Beneath it, the last remaining task lies unfulfilled: \"LISTEN TO THE MOUNTAIN AND BE HEARD.\" Slowly, the words on the page-- DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE PEAK OF EVEREST - DAY<\/stage_direction>\n    <scene_description>As the climber from the opening scene finally arrives at the peak.<\/scene_description>\n    <character>EDWARD (V.O.)<\/character>\n    <dialogue>Carter gave me a book once. It was about a man who knew a thing or two about the world.<\/dialogue>\n    <scene_description>The climber walks over to a flat stone and lifts it onto its side. He removes his gloves revealing a wedding ring on his left hand.<\/scene_description>\n    <character>EDWARD (V.O.)<\/character>\n    <dialogue>The man said: \"Learn as if you were going to live forever. Live as if you were going to die tomorrow.\"<\/dialogue>\n    <scene_description>His hands lift to his face, removing the oxygen mask and hood revealing THOMAS. He reaches down and lifts A FROZEN CHOCK FULL O' NUTS CAN from its resting place in the hole beneath the rock. He wipes off a section of frost with his thumb revealing: A PHOTOGRAPH taped to the can -- Carter and Virginia at their second wedding surrounded by their family. Thomas sets the can on the snow then opens his backpack and reaches down to the bottom--<\/scene_description>\n    <character>EDWARD (V.O.)<\/character>\n    <dialogue>Tomorrow comes for all of us.<\/dialogue>\n    <scene_description>--and removes A SECOND CHOCK FULL O' NUTS CAN which he places on the ground next to the first.<\/scene_description>\n    <character>EDWARD (V.O.)<\/character>\n    <dialogue>It's what we do in-between that makes us who we are.<\/dialogue>\n    <scene_description>CLOSE ON A NEWER PHOTOGRAPH; taped to the second coffee can. It's Edward. He's old and grey.<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>Edward Perriman Cole died in May. It was a Sunday, in the afternoon, and there wasn't a cloud in the sky...<\/dialogue>\n    <scene_description>CAMERA PULLS BACK to reveal that he's closely surrounded by Thomas, Emily and their THREE CHILDREN, hands intertwined with-- --Carter's grandchildren, each of whom stands with their parents and Virginia. One family. Edward is smiling like we've never seen.<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>He was seventy-nine years old.<\/dialogue>\n    <scene_description>Finally, Thomas deposits both cans into the hole beneath the rock.<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>Even now, I can't claim to understand the measure of a life, but I can tell you this...<\/dialogue>\n    <scene_description>Thomas replaces the rock over the coffee cans.<\/scene_description>\n    <character>CARTER<\/character>\n    <dialogue>I know that when he died his eyes were closed, and his heart was open... I know that he could hear the mountain...<\/dialogue>\n    <scene_description>THE CAMERA lingers on the rock for a moment then tilts up to reveal the breathtaking view of the entire world below.<\/scene_description>\n    <character>CARTER (V.O.)<\/character>\n    <dialogue>And I know the mountain heard him in return.<\/dialogue>\n    <scene_description>THE END.<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Two elderly men, blue-collar automotive mechanic Carter Chambers and billionaire Edward Cole meet for the first time in a hospital owned by Edward after both men are diagnosed with terminal lung cancer. Carter, a gifted amateur historian and family man, wanted to become a history professor in his youth but chose to start a family instead. Edward, a four-time divorced healthcare tycoon and cultured loner, enjoys drinking kopi luwak, one of the most expensive coffees in the world and mocking his personal valet Matthew, whom he wrongly but intentionally calls Thomas. While in the hospital, Carter and Edward manage to find common ground. For fun, Carter started writing a list of activities to do before he \"kicks the bucket.\" After hearing he has less than a year to live, he dejectedly discards his list. Edward finds the list the next morning and urges him to do everything on it, adds his own items and offers to finance all expenses. Carter agrees and though his wife Virginia objects, the two patients begin their globetrotting last vacation along with Matthew. They go skydiving, drive a vintage Shelby Mustang and Dodge Challenger around California Speedway, fly over the North Pole, eat dinner at Ch\u00e8vre d'or, visit the Taj Mahal, ride motorcycles on the Great Wall of China, attend a lion safari in Tanzania and visit Mount Everest. Atop the Great Pyramid of Giza, they confide mutually about faith and family. Carter reveals that he has long been feeling less in love with his wife and feels some regret for his chosen path. Edward discloses that he is deeply hurt by his estrangement from his only daughter, who estranged him after he drove away her abusive husband. Later, while in Hong Kong, Edward hires a prostitute to approach Carter, who has never been with any woman but his wife. Carter declines and insists they stop the bucket list and go home. During the return journey, Carter tries to reunite Edward with his estranged daughter. Considering this a breach of trust, Edward scolds Carter and then angrily storms off. Carter returns home to his family while Edward, feeling alone though breaks down weeping in his luxury home. Carter\u2019s family reunion turns out to be short-lived as while readying for marital romance, he collapses and is rushed to the hospital, where it is discovered that the cancer has spread to his brain. Edward, now in a remarkable remission, visits him to reconcile. Carter, always a Jeopardy! fan knowledgeable about trivia, reveals how Edward's kopi luwak coffee is fed to and defecated by a jungle cat before being harvested. As the two laugh hysterically over the obscure fact, Carter implores Edward to finish the list for him. After Carter dies during surgery, Edward manages to reconcile with his own daughter and she introduces him to the granddaughter he never knew he had. After greeting the little girl by kissing her cheek, Edward thoughtfully crosses \"kiss the most beautiful girl in the world\" off the bucket list. Soon after, Edward delivers a eulogy at Carter\u2019s funeral, during which he explains that the last three months of Carter's life were, thanks to Carter, the best three months of his own. An epilogue reveals that Edward lived to age 81 and Matthew then took his ashes to a peak in the Himalayas. As Matthew places a Chock full o'Nuts coffee can of Edward's ashes alongside another can of Carter's ashes, he crosses off the last item on the bucket list, \"witness something truly majestic\" and tucks the completed list between the cans."}
{"movie_name":"Star Trek V: The Final Frontier_1989","imdb_id":"tt0098382","script":"<script>\n  <scene>\n    <stage_direction>EXT. DESERT - DAY<\/stage_direction>\n    <scene_description>Shimmering waves of heat . A flat , unforgiving landscape stretches to infinity . A storm of dust gathers on the horizon , small at first , increasing in size as it rolls toward us . NIMBUS III IN THE NEUTRAL ZONE . A withered tree is revealed f.g. with a rifle leaning against it . `` THE PLANET OF GALACTIC PEACE ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DRY LAKE BED - DAY<\/stage_direction>\n    <scene_description>CAMERA PANS an arid expanse of scorched earth . J'ONN , a ragged and malnourished homesteader of some alien race , toils beneath a blazing sun , his BACK TO CAMERA . He sinks an auguring device into the ground , drilling in vain for water . There are many hundreds of holes in the earth around him . He suddenly straightens and squints into the dust storm as HOOFBEATS fill the SOUNDTRACK . ANGLE J'onn releases his auguring device and hurries toward his rifle . J'ONN 'S POV -LRB- INTERCUT - SLOW MOTION -RRB- Horse and RIDER , dressed in a hooded cape , thunder toward him . BACK TO SCENE The CAMERA TILTS DOWN revealing J'onn 's rifle as he cocks the weapon . He uses stones as ammunition , which slip from his hand and fall to the parched ground as he tries to load the rifle . He turns and points the gun as the Rider continues his approach . J'onn raises his gun as the Rider reins his horse to a halt ten feet short of him . The beast snorts and stamps its hooves impatiently while the Rider studies the frightened homesteader and removes a breathing apparatus from his mouth . Finally , he speaks .<\/scene_description>\n    <character>RIDER<\/character>\n    <dialogue>I thought weapons were forbidden on this planet.<\/dialogue>\n    <scene_description>The Rider swings down from the saddle . He 's tall , powerfully built beneath his dusty robes , his face shadowed by a hood . He indicates their bleak surroundings .<\/scene_description>\n    <character>RIDER<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Besides, I ca n't believe you'd kill me for a field of empty holes.<\/dialogue>\n    <character>J'ONN<\/character>\n    <parenthetical>( pathetic . )<\/parenthetical>\n    <dialogue>It's all I have.<\/dialogue>\n    <scene_description>J'onn sags under the futile weight of existence . The Rider approaches him without fear . It 's all the homesteader can do to keep from sobbing .<\/scene_description>\n    <character>RIDER<\/character>\n    <dialogue>Your pain runs deep.<\/dialogue>\n    <character>J'ONN<\/character>\n    <parenthetical>( sobbing . )<\/parenthetical>\n    <dialogue>What do you know of my pain?<\/dialogue>\n    <character>RIDER<\/character>\n    <dialogue>Let us explore it together.<\/dialogue>\n    <scene_description>The Rider collects himself and concentrates deeply . J'onn is immediately transfixed . He begins to tremble . Tears flood his dirty cheeks .<\/scene_description>\n    <character>RIDER<\/character>\n    <parenthetical>( continuing ; soothing tone . )<\/parenthetical>\n    <dialogue>Each man hides a secret pain. It must be exposed and reckoned with. It must be dragged from darkness and forced into the light. Share your pain. Share your pain with me and gain strength from the sharing.<\/dialogue>\n    <scene_description>J'onn whimpers and cries out in anguish . Finally , the catharsis ends . J'onn sobs and rests his head on the Rider 's chest . He opens his eyes and blinks in wonder and amazement at the Rider as he comforts J'onn .<\/scene_description>\n    <character>J'ONN<\/character>\n    <parenthetical>( as if reborn . )<\/parenthetical>\n    <dialogue>Where did you get this power?<\/dialogue>\n    <character>RIDER<\/character>\n    <dialogue>The power was within you.<\/dialogue>\n    <character>J'ONN<\/character>\n    <parenthetical>( trying to find the words . )<\/parenthetical>\n    <dialogue>I feel as if a weight has been lifted from my heart. How can I repay you for this miracle?<\/dialogue>\n    <character>RIDER<\/character>\n    <dialogue>Join my quest.<\/dialogue>\n    <character>J'ONN<\/character>\n    <dialogue>What is it you seek?<\/dialogue>\n    <character>RIDER<\/character>\n    <dialogue>What you seek. What all men have sought since time began - ultimate knowledge. But to find it we'll need a starship.<\/dialogue>\n    <character>J'ONN<\/character>\n    <dialogue>A starship? There are no starships on Nimbus III.<\/dialogue>\n    <character>RIDER<\/character>\n    <dialogue>Perhaps I have a way to bring one here.<\/dialogue>\n    <character>J'ONN<\/character>\n    <dialogue>But how?<\/dialogue>\n    <character>RIDER<\/character>\n    <dialogue>Have faith, my friend. There are more of us than you know.<\/dialogue>\n    <scene_description>CLOSE ON RIDER As he throws back his hood to reveal rugged charismatic features . He 's bearded , his hair is shaggy . He has the piercing eyes of a zealot and , to our surprise , pointed ears . His name is SYBOK . CONTINUED<\/scene_description>\n    <character>J'ONN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>You're a Vulcan.<\/dialogue>\n    <scene_description>Sybock nods and does something we 've never seen a Vulcan do . He smiles . As he does , the first faint bars of the STAR TREK THEME well up on the SOUNDTRACK . CLOSE ON SYBOCK As he covers his smiling mouth with his hand . ANOTHER ANGLE Sybok stands by his horse , laughing . FADE TO WHITE SPACE MUSIC and CREDITS PLAY OVER a dazzling journey through the cosmos . Planets , stars and solar systems flash by . No doubt about it , we 're in for a rousing Star Trek adventure . As the FINAL CREDITS appear , we TILT DOWN to a breathtaking shot of EARTH .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. YOSEMITE NATIONAL PARK - CLOSE UP - A HAND - DAY<\/stage_direction>\n    <scene_description>TITLES CONTINUE OVER The hand clutches at a sheer rock , groping for purchase . CAMERA PULLS BACK to reveal CAPTAIN JAMES T. KIRK eight hundred feet above the surrounding forest . He climbs up the face of El Captain without ropes , grommets or equipment . Just man against mountain . Using the cracks in the rockface for hand and foot holes , Jim Kirk struggles up the treacherous incline , one painful inch at a time . We hold our breath , afraid he 'll fall . `` PLANET EARTH - YOSEMITE NATIONAL PARK - STARDATE : 8454.1 '' END TITLES CAMPSITE BELOW DR. LEONARD `` BONES '' McCOY watches Kirk 's progress through futuristic binoculars with mounting unease . From this distance Kirk resembles a small fly on a big wall .<\/scene_description>\n    <character>McCOY<\/character>\n    <parenthetical>( muttering toward the mountain . )<\/parenthetical>\n    <dialogue>`` You'll have a great time Bones, You'll enjoy your shore leave. You'll be able to relax.''<\/dialogue>\n    <parenthetical>( lowering binoculars . )<\/parenthetical>\n    <dialogue>You call this relaxing? I'm a nervous wreck.<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>If I'm not careful, I'll end up talking to myself.<\/dialogue>\n    <scene_description>EL CAPITAN - KIRK He inserts the pads of two fingers into a narrow crack above his head . He exhales , focussing concentration . Kirk pulls himself up , balancing on a ledge barely an inch wide . Exhilarated , he pauses to admire the view . KIRK 'S POV A breathtaking but vertigo - inducing HIGH ANGLE SHOT of Yosemite . This may be the 23rd Century but the park looks the same as it did three hundred years ago . There is a soft WHOOSHING SOUND and SPOCK suddenly rises INTO FRAME .<\/scene_description>\n    <character>SPOCK<\/character>\n    <dialogue>Greetings, Captain.<\/dialogue>\n    <scene_description>WIDE SHOT Spock hovers in mid - air alongside the startled Kirk , kept aloft by means of levitation boots . His hands are clasped behind his back , typically Spock - like .<\/scene_description>\n    <character>KIRK<\/character>\n    <parenthetical>( he gasps . )<\/parenthetical>\n    <dialogue>Spock - What are you doing in this neck of the woods?<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>I'm flattered. Twelve hundred points of interest in Yosemite and you pick me.<\/dialogue>\n    <scene_description>Spock does n't take Kirk 's hint to get lost .<\/scene_description>\n    <character>SPOCK<\/character>\n    <dialogue>I regret to inform you that the record for free - climbing El Captain is in no danger of being broken.<\/dialogue>\n    <character>KIRK<\/character>\n    <parenthetical>( as he climbs . )<\/parenthetical>\n    <dialogue>I'm not trying to break any records. I'm doing this because I enjoy it. Not to mention the most important reason for climbing a mountain.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>And that is?<\/dialogue>\n    <character>KIRK<\/character>\n    <parenthetical>( with a smile . )<\/parenthetical>\n    <dialogue>Because it's there.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>Ah, Captain?<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>MM?<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>I do not think you realize the gravity of your situation.<\/dialogue>\n    <scene_description>Kirk slips but manages to gain a handhold and save himself . Beneath his feet , a mini - avalanche of rocks is dislodged , tumbling to the valley below .<\/scene_description>\n    <character>KIRK<\/character>\n    <parenthetical>( glaring at Spock . )<\/parenthetical>\n    <dialogue>On the contrary. Gravity is foremost on my mind. Look, I'm trying to make an ascent here. Why do n't you go pester Dr McCoy for a while?<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>I believe Dr McCoy is not in the best of moods.<\/dialogue>\n    <scene_description>CAMPSITE BELOW McCoy , still watching Kirk 's progress , is getting angrier by the second .<\/scene_description>\n    <character>McCOY<\/character>\n    <parenthetical>( grumbling . )<\/parenthetical>\n    <dialogue>Goddamn. irresponsible. playing games with life.<\/dialogue>\n    <scene_description>EL CAPITAN - KIRK AND SPOCK Kirk strains for the next handhold .<\/scene_description>\n    <character>SPOCK<\/character>\n    <dialogue>Concentration is vital. You must be one with the rock.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Spock, I appreciate your concern, but if you do n't stop distracting me, I'm liable to be one.<\/dialogue>\n    <scene_description>And as Kirk reaches for the next crack , the ledge comes loose underfoot and he finds himself falling . ANGLE - SPOCK He dives after Kirk , firing boosters to increase his speed . ANGLE - KIRK Twisting and turning end over end as he hurtles downward . He thrashes at the air , unable to defeat gravity . CAMPSITE McCoy turns away , unable to look .<\/scene_description>\n    <character>McCoy<\/character>\n    <dialogue>Oh, my God!<\/dialogue>\n    <scene_description>ANGLE - KIRK Dropping . dropping . the ground rushing up like a hungry mouth . A split second before impact . ANGLE - SPOCK The Vulcan swoops INTO SHOT . His powerful fingers grab Kirk by the ankle and jerk him upward in the nick of time CAMPSITE McCoy has n't heard the expected splat . He turns to look and what he sees is : WIDE SHOT Kirk is suspended in air , bobbing upside - down at the end of Spock 's arm . CLOSER KIRK AND SPOCK The top of Kirk 's head is practically touching the ground . That 's how close he came to being pizza . Kirk blinks in disbelief .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>Oh, God<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>Perhaps `` because it is there'' is not sufficient reason for climbing a mountain.<\/dialogue>\n    <scene_description>Kirk dangles - undignified but lucky to be alive .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>I'm hardly in a position to disagree.<\/dialogue>\n    <scene_description>McCoy is heard in approach . KIRK 'S POV McCoy is seen upside - down .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>Hello, Bones. Mind if we drop in for dinner?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT OUTPOST - DAY<\/stage_direction>\n    <scene_description>The single outpost of civilization on this desolate world - a small , ramshackle village smack in the middle of nowhere , surrounded by high walls . A lone rider on horseback crosses the desert , headed for the outpost . `` PARADISE CITY - NIMBUS III ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALOON - DAY<\/stage_direction>\n    <scene_description>A 23rd Century equivalent of a frontier saloon . Futuristic honky - tonk MUSIC . The patrons are rugged , unpleasant types . Klingons , Romulans , Andorians , you name it . Much drink and boisterous talk . Arguments . Fistfights . Two men play futuristic `` pool '' on a table filled with water . A SEXY CATWOMAN Dances atop of the bar , flicking her long striped tail and hissing seductively at her rowdy audience . ANGLE ON SALOON DOOR A STRANGER coming from outside approaches familiar western - style doors . But instead of swinging open like you 'd expect , they WHOOSH apart automatically . The stranger steps into the bar and the doors WHOOSH back into place . WIDE SHOT Talk and noise go dead as the entire saloon turns its attention to the newcomer . The stranger , seen only from the back , steps into the squalid bar . The Bartender jerks his thumb in the direction of the back room . The stranger crosses to the back room and disappears inside . Talk and noise resume . A VEIWSCREEN is revealed b.g. . As the cloaked stranger passes through the room toward the back , we hear : TELEVISION ANNOUNCER 'S VOICE . your dream can become a reality . the Paradise Inn . lots to choose from . We at the Paradise Inn attempt to create the closest thing to paradise in Paradise City , that is .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACK ROOM<\/stage_direction>\n    <scene_description>The stranger lowers the breathing device from her face and is revealed to be a young woman . A Romulan . Her name is CAITHLIN DAR and she stands on the threshold of the room , trying to adjust her eyes to the murky surroundings . She 's a little nervous and a long way from home . The back room is a storage area for unwanted odds and ends . A ceiling fan swishes overhead pushing hot air around . Two men are sprawled in chairs at opposite ends of a table . They 're two busy drinking to notice Caithlin 's entrance .<\/scene_description>\n    <character>CAITHLIN<\/character>\n    <dialogue>Gentlemen, I'm Caithlin Dar.<\/dialogue>\n    <scene_description>The man seated closest to Caithlin slowly swivels his head in her direction . He wearily extracts himself from his chair and comes forward . He 's a Terran -LRB- specifically , an Englishman -RRB- named ST. JOHN TALBOT . Thin and dissipated , alcoholic , Talbot is a veteran of the diplomatic corps . He pats down his unruly hair and straightens his soiled suit . He gives Caithlin a tired smile and extends a limp hand .<\/scene_description>\n    <character>TALBOT<\/character>\n    <dialogue>Ah, yes. Our new Romulan representative.<\/dialogue>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Welcome to Paradise City, my dear, capital of the so - called `` Planet of Galactic Peace.'' I'm St John Talbot, the Federation representative here on Nimbus III. My charming companion here is the Klingon consul, Korrd.<\/dialogue>\n    <scene_description>Caithlin regards the hulking figure at the other end of the table . KORRD is an old , overweight Klingon , a once - great warrior past his prime . He does n't rise to greet Caithlin . Instead , he takes a swig from a flagon and emits an earth - shaking belch .<\/scene_description>\n    <character>CAITHLIN<\/character>\n    <dialogue>I expect that's Klingon for hello.<\/dialogue>\n    <character>TALBOT<\/character>\n    <dialogue>Wo n't you come in, my dear?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARADISE CITY<\/stage_direction>\n    <scene_description>J'onn clambers over a dune with determination . He aims his gun as Sybock and his mount ride majestically to the top of the dune and continue on , followed by Sybok 's soldiers , a virtual army of ragged settlers - aliens of every different race , the poor and the downtrodden - united in their devotion to Sybok .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BACK ROOM - SALOON<\/stage_direction>\n    <character>CAITHLIN<\/character>\n    <dialogue>Twenty years ago, our three governments agree to develop this planet together.<\/dialogue>\n    <scene_description>Korrd pours a drink from a bottle into his cup .<\/scene_description>\n    <character>KORRD<\/character>\n    <dialogue>Hmmm.<\/dialogue>\n    <character>CAITHLIN<\/character>\n    <dialogue>A new age was born.<\/dialogue>\n    <character>TALBOT<\/character>\n    <dialogue>Our new age has died a quick death.<\/dialogue>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>And the settlers we conned into coming here - they were the dregs of the galaxy. They immediately took to fighting amongst themselves. We forbade them weapons and they soon began to fashion their own.<\/dialogue>\n    <character>CAITHLIN<\/character>\n    <dialogue>Well then, it appears I've arrived just in time.<\/dialogue>\n    <scene_description>Korrd looks confused .<\/scene_description>\n    <character>KORRD<\/character>\n    <dialogue>Mmmm.<\/dialogue>\n    <scene_description>There are shouts from outside and the whine of a warning KLAXON .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARADISE CITY<\/stage_direction>\n    <scene_description>A handful of sentries brace themselves against the gate . It suddenly gives way . CAMERA CRANES UP OVER the top of the arch to reveal Sybok 's army on the threshold of the city . In their midst , towering majestically above them , is Sybok on horseback . He urges his mount forward . With quiet determination , he and his army pour under the arch and proceed up the main drag . Townspeople scurry for protection , anticipating an attack . Those who consider challenging Sybok are allayed by the crude weapons and intimidating looks of the followers . Sybok intends to take this town by show of force without having to fire a shot . And it looks like he 'll succeed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET OUTSIDE SALOON<\/stage_direction>\n    <scene_description>Korrd , Caithlin and Talbot emerge to see what the hubbub is about . When they see the approaching forces , Korrd and Talbot immediately turn tail and run back inside . After a moment , Caithlin follows .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALOON<\/stage_direction>\n    <scene_description>Korrd , fearing the worst , goes behind the bar and opens a bottle . He upends it and pours the contents down his throat . He prefers to die drunk . Talbot and Caithlin hurry to the viewscreen . Talbot moves to turn off the program being broadcast . TELEVISION ANNOUNCER 'S VOICE . we have spared no expense to create the closest thing to . Caithlin and Talbot wait as a communications screen rises in front of them . The saloon doors are forced open . J'onn rushes in .<\/scene_description>\n    <character>J'ONN<\/character>\n    <dialogue>Get away from that transmitter!<\/dialogue>\n    <scene_description>Korrd lifts his drink . J'onn grabs him ; Korrd pushes back . CAMERA PANS to reveal two armed soldiers who grab Korrd and hold him . The KLAXON winds down to eerie silence as Sybok enters , observing the action . He is followed by several soldiers .<\/scene_description>\n    <character>SYBOK<\/character>\n    <parenthetical>( appraising them one by one . )<\/parenthetical>\n    <dialogue>Romulan. Terran. Klingon. Consider yourselves my prisoners.<\/dialogue>\n    <character>TALBOT<\/character>\n    <parenthetical>( scoffing . )<\/parenthetical>\n    <dialogue>Prisoners? We're already prisoners on this worthless lump of rock. What possible value could we be to you?<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>Nimbus III may be a worthless lump of rock, but it does have one unique treasure. It's the only place in the entire galaxy that has the three of you.<\/dialogue>\n    <character>CAITHLIN<\/character>\n    <parenthetical>( to Sybok ; boldly . )<\/parenthetical>\n    <dialogue>I do n't know who you are or what you want but I can tell you this : our governments will stop at nothing to insure our safety.<\/dialogue>\n    <character>SYBOK<\/character>\n    <parenthetical>( with a smile . )<\/parenthetical>\n    <dialogue>That's exactly what I'm counting on.<\/dialogue>\n    <scene_description>On Caithlin 's confused look .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - EARTH - SPACEDOCK<\/stage_direction>\n    <scene_description>Hanging in space like a big Christmas ornament . The big blue marble called Earth is visible in the distance .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPACEDOCK<\/stage_direction>\n    <scene_description>A huge , cavernous area designed as a high - and - dry for space vessels . Among this warehouse of ships is the one we know best - U.S.S.ENTERPRISE ; NCC - 1701 - A.<\/scene_description>\n    <character>SCOTTY'S VOICE<\/character>\n    <dialogue>U.S.S. Enterprise, shakedown cruise report. I think this new ship was put together by monkeys. She's got a fine engine, but half the doors wo n't open. And guess whose job it is to make it right?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE - BRIDGE<\/stage_direction>\n    <scene_description>A meager repair crew lazily overhauls consoles and monitors . Some things work , most do not . One thing that does work is CHIEF ENGINEER MONTGOMERY SCOTT who looks up as COMMUNICATIONS OFFICER UHURA enters , stepping around cables .<\/scene_description>\n    <character>SCOTTY<\/character>\n    <parenthetical>( grumbling to himself ; as he rises . )<\/parenthetical>\n    <dialogue>Borgus Frat.<\/dialogue>\n    <character>SCOTTY<\/character>\n    <parenthetical>( continuing ; grumbling to himself . )<\/parenthetical>\n    <dialogue>`` Let's see what she's got,'' said the Captain. And then we found out, did n't we?<\/dialogue>\n    <character>UHURA<\/character>\n    <dialogue>I know you'll whip her into shape, Scotty. You always do.<\/dialogue>\n    <character>SCOTTY<\/character>\n    <parenthetical>( realizing . )<\/parenthetical>\n    <dialogue>Uhura, I thought you were on leave.<\/dialogue>\n    <character>UHURA<\/character>\n    <dialogue>And I thought we were supposed to be going together.<\/dialogue>\n    <character>SCOTTY<\/character>\n    <parenthetical>( indicating the ship . )<\/parenthetical>\n    <dialogue>Oh, I can not leave her now when she needs me the most.<\/dialogue>\n    <character>UHURA<\/character>\n    <dialogue>I had a feeling you would say something like that. So I brought us dinner.<\/dialogue>\n    <scene_description>She holds up small modernistic food packs . Scotty takes one .<\/scene_description>\n    <character>SCOTTY<\/character>\n    <parenthetical>( touched . )<\/parenthetical>\n    <dialogue>Oh, lassie, you're the most understanding woman I know.<\/dialogue>\n    <scene_description>The bridge light starts to flash red . An ear - splitting KLAXON SOUNDS .<\/scene_description>\n    <character>COMPUTER VOICE<\/character>\n    <dialogue>Red, Red, Red Alert. Red Alert. Red, Red, Red Alert.<\/dialogue>\n    <character>SCOTTY<\/character>\n    <parenthetical>( exasperated . )<\/parenthetical>\n    <dialogue>I just fixed that damn thing.<\/dialogue>\n    <scene_description>A man enters in b.g. carrying a cable over his shoulder .<\/scene_description>\n    <character>SCOTTY<\/character>\n    <parenthetical>( continuing , to man . )<\/parenthetical>\n    <dialogue>Turn it off, will you?<\/dialogue>\n    <scene_description>Two men look at the console with concern .<\/scene_description>\n    <character>COMMAND VOICE<\/character>\n    <dialogue>Red Alert. Red Alert. This is a Red Alert. Enterprise acknowledge.<\/dialogue>\n    <scene_description>Uhura goes to her console , punches a button and responds .<\/scene_description>\n    <character>UHURA<\/character>\n    <dialogue>This is Enterprise. Identify yourself.<\/dialogue>\n    <character>COMMAND VOICE<\/character>\n    <dialogue>Enterprise, this is Starfleet. We have a Priority Seven situation in the Neutral Zone.<\/dialogue>\n    <character>UHURA<\/character>\n    <dialogue>Stand by Starfleet.<\/dialogue>\n    <parenthetical>( signaling Scotty . )<\/parenthetical>\n    <dialogue>Scotty, this is for real.<\/dialogue>\n    <character>SCOTTY<\/character>\n    <parenthetical>( aghast . )<\/parenthetical>\n    <dialogue>They ca n't be serious. The ship's in pieces and we've less than a skeleton aboard.<\/dialogue>\n    <character>UHURA<\/character>\n    <dialogue>Starfleet, are you aware of our currant status?<\/dialogue>\n    <character>COMMAND VOICE<\/character>\n    <dialogue>Currant status understood. Stand by to copy operational orders and recall key personnel.<\/dialogue>\n    <scene_description>Uhura and Scotty share grim looks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EARTH - FOREST - DAY<\/stage_direction>\n    <scene_description>COMMANDERS SULU and CHEKOV tramp through dense woods . From their weary expressions it 's clear they 've been hiking a long time . Sulu leads the way . Chekov trudges behind him .<\/scene_description>\n    <character>CHEKOV<\/character>\n    <dialogue>Admit it. We're lost.<\/dialogue>\n    <character>SULU<\/character>\n    <dialogue>All right, we're lost.<\/dialogue>\n    <parenthetical>( with a smile . )<\/parenthetical>\n    <dialogue>But we're making good time.<\/dialogue>\n    <scene_description>Sulu 's communicator BEEPS .<\/scene_description>\n    <character>UHURA'S VOICE<\/character>\n    <dialogue>Commander Sulu, come in, please.<\/dialogue>\n    <character>SULU<\/character>\n    <dialogue>I do n't believe this.<\/dialogue>\n    <parenthetical>( flips it out . )<\/parenthetical>\n    <dialogue>Commander Sulu here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE BRIDGE (INTERCUT)<\/stage_direction>\n    <scene_description>Uhura studies a monitor showing Sulu and Chekov as two blips on a grid .<\/scene_description>\n    <character>UHURA<\/character>\n    <dialogue>Bad news, gentlemen. Shore leave's been cancelled.<\/dialogue>\n    <character>CHEKOV<\/character>\n    <parenthetical>( with relief . )<\/parenthetical>\n    <dialogue>Rescued at last.<\/dialogue>\n    <character>UHURA<\/character>\n    <dialogue>Return to prearranged coordinates for pickup.<\/dialogue>\n    <scene_description>Sulu and Chekov look at each other .<\/scene_description>\n    <character>CHEKOV<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>Do n't tell them you're lost. You'll never live it down.<\/dialogue>\n    <character>UHURA<\/character>\n    <dialogue>Is there a problem, gentlemen?<\/dialogue>\n    <character>SULU<\/character>\n    <dialogue>Um. yes. We've been caught in a blizzard!<\/dialogue>\n    <character>CHEKOV<\/character>\n    <parenthetical>( playing along . )<\/parenthetical>\n    <dialogue>And we ca n't see a thing. Request you direct us to the coordinates.<\/dialogue>\n    <scene_description>Chekov provides blizzard noises . On Enterprise , Uhura listens to the `` blizzard '' and checks her graphics display for weather report . She smiles .<\/scene_description>\n    <character>UHURA<\/character>\n    <dialogue>My visual says sunny skies and seventy degrees.<\/dialogue>\n    <character>CHEKOV<\/character>\n    <dialogue>Sulu! Look! The sun's come out! It's a miracle!<\/dialogue>\n    <character>UHURA<\/character>\n    <parenthetical>( chuckling . )<\/parenthetical>\n    <dialogue>Do n't worry, fellas. Your secret's ` safe with me. I'll send the shuttlecraft to pick you up.<\/dialogue>\n    <character>SULU<\/character>\n    <dialogue>Uhura, I owe you one. Sulu out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. YOSEMITE - CAMPSITE - NIGHT<\/stage_direction>\n    <scene_description>McCoy stands over a blazing campfire . A covered pot simmers on the coals . McCoy rings a TRIANGLE . He 's slightly tipsy .<\/scene_description>\n    <character>McCoy<\/character>\n    <parenthetical>( calling out . )<\/parenthetical>\n    <dialogue>Come and get it! Com and get it!<\/dialogue>\n    <scene_description>CAMERA PULLS BACK to reveal Kirk and Spock seated two feet away .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>Knock it. knock it. Bones. Bones. knock it off. We're right here. And we're starving.<\/dialogue>\n    <scene_description>McCoy grins and crouches beside the covered pot . He revels in their undivided attention . With a flourish , he whips the lid off the pot to reveal a steaming mess of beans .<\/scene_description>\n    <character>SPOCK<\/character>\n    <dialogue>Bi - podal seeds, Doctor?<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>Beans, Spock. But no ordinary beans. These are from an old Southern recipe handed down to me by my father. And if you stick your Vulcan nose up at these, you're not only insulting me, but generations of McCoy's.<\/dialogue>\n    <scene_description>McCoy ladles out the beans .<\/scene_description>\n    <character>SPOCK<\/character>\n    <dialogue>In that case, I have little choice but to sample your. beans.<\/dialogue>\n    <scene_description>Kirk tears into his . Spock tries a forkful . He finds the taste strangely exciting .<\/scene_description>\n    <character>SPOCK<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Mmmm. Surprisingly good. It does have a flavoring I'm not familiar with.<\/dialogue>\n    <character>McCoy<\/character>\n    <dialogue>Ah, that's the secret ingredient.<\/dialogue>\n    <scene_description>Spock eats with enthusiasm .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>You got any more of that secret ingredient, Bones?<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>Be my guest.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>McCoy grins and pulls out a bottle of bourbon . Spock stops in mid - chew and McCoy fills Kirk 's cup .<\/scene_description>\n    <character>SPOCK<\/character>\n    <dialogue>Am I to understand that your secret ingredient is. alcohol?<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>Whiskey. Tennessee whiskey, Spock. You care for a little snort?<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Bourbon and beans, an explosive combination.<\/dialogue>\n    <parenthetical>( McCoy laughs . )<\/parenthetical>\n    <dialogue>Think Spock can handle it?<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>Are you kidding? With that Vulcan metabolism, he could eat a bowl of termites and it would n't bother him.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>As you are so fond of pointing out, Doctor, I am half human.<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>Well, it certainly does n't show.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>How do you like that - this guy never changes. I insult him and he takes it as a compliment.<\/dialogue>\n    <parenthetical>( drinks from bottle . )<\/parenthetical>\n    <dialogue>Mmmm.<\/dialogue>\n    <character>KIRK<\/character>\n    <parenthetical>( drinks from up . )<\/parenthetical>\n    <dialogue>Ahhh.<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>You know, you two could drive a man to drink.<\/dialogue>\n    <character>KIRK<\/character>\n    <parenthetical>( innocent . )<\/parenthetical>\n    <dialogue>What did I do?<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>What did you do? You really piss me off, Jim. Human life is far too precious to risk crazy stunts. Maybe it did n't cross that macho mind of yours, but you should've been killed when you fell off that mountain.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>It crossed my mind.<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>And?<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>And, even as I fell, I knew I would n't die.<\/dialogue>\n    <character>McCOY<\/character>\n    <parenthetical>( nodding at Spock . )<\/parenthetical>\n    <dialogue>Oh? I thought he was the only one who's immortal.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Oh, no. It is n't that. I knew I would n't die because the two of you were with me.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>I do n't understand.<\/dialogue>\n    <character>KIRK<\/character>\n    <parenthetical>( darkly . )<\/parenthetical>\n    <dialogue>I've always known. I'll die alone.<\/dialogue>\n    <character>McCOY<\/character>\n    <parenthetical>( frowning . )<\/parenthetical>\n    <dialogue>Well, I'll call Valhalla and have them reserve a room for you.<\/dialogue>\n    <parenthetical>( shaking his head . )<\/parenthetical>\n    <dialogue>It's a mystery to me what draws us together. All that time in space - getting on each other's nerves. And what do we do when shore leave comes along?<\/dialogue>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>We spend it together. Other people have families.<\/dialogue>\n    <character>KIRK<\/character>\n    <parenthetical>( wistful . )<\/parenthetical>\n    <dialogue>Other people, Bones. Not us.<\/dialogue>\n    <scene_description>They dwell on this thought for a moment . Then , Kirk notices that Spock has removed a sack from his backpack . Spock reaches into the sack and takes out a marshmallow which he attaches to the end of a pointed stick .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>I am preparing to toast a marsh melon.<\/dialogue>\n    <scene_description>Marsh melon ? Kirk and McCoy hide their smiles as Spock holds the marshmallow over the fire .<\/scene_description>\n    <character>McCOY<\/character>\n    <dialogue>Well, I'll be damned. A marsh melon. Where'd you learn to do that?<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>Before leaving the ship, I consulted the computer library to familiarize myself with the customs associated with `` camping out.''<\/dialogue>\n    <scene_description>Kirk and McCoy play along , amused by Spock 's dead serious approach to frivolity .<\/scene_description>\n    <character>McCOY<\/character>\n    <dialogue>Well, tell me, Spock. What do you do after we toast the marsh - er, marsh melons?<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>We consume them.<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>I know we consume them. I mean after that.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>Oh. I believe we are required to engage in a ritual known as the singalong.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>That's great. I have n't sung around a campfire since I was a boy in Iowa. What are we going to sing? What. Bones, what are we going to sing?<\/dialogue>\n    <character>McCOY<\/character>\n    <parenthetical>( thinking . )<\/parenthetical>\n    <dialogue>How about `` Camptown Races?''<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>`` Pack Up Your Troubles.''<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>Are we leaving, Captain?<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>It's a song title, Spock.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>`` Moon Over Rigel Seven?''<\/dialogue>\n    <character>McCOY<\/character>\n    <parenthetical>( sings . )<\/parenthetical>\n    <dialogue>`` Row, row, row your boat.''<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>`` Row, row, row your boat.'' I love `` Row.''.<\/dialogue>\n    <parenthetical>( to Spock . )<\/parenthetical>\n    <dialogue>Do - do you know `` Row, Row, Row, Row, Row Your Boat?''<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>That song did not come up in my research, Captain.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>The lyrics are - are very simple. It's, er, `` Row, row, row your boat, gently down the stream. Merrily, merrily, merrily, merrily, life is but a dream.'' The Doctor and I will start it off, and then when we give you the signal, you jump in.<\/dialogue>\n    <parenthetical>( to McCoy . )<\/parenthetical>\n    <dialogue>Doctor, if you please.<\/dialogue>\n    <scene_description>McCoy takes a hit of booze and clears his throat .<\/scene_description>\n    <character>McCOY<\/character>\n    <dialogue>Do n't say I did n't warn you.<\/dialogue>\n    <scene_description>McCoy starts to sing . Kirk joins in . Maybe it 's the bourbon , but the two of them sound pretty good .<\/scene_description>\n    <character>KIRK AND McCOY<\/character>\n    <parenthetical>( overlapping . )<\/parenthetical>\n    <dialogue>`` Row, row, row your boat, gently down the stream. merrily, merrily, merrily, merrily, life is but a dream.''<\/dialogue>\n    <scene_description>They signal Spock that it is his turn to jump in but the Vulcan merely regards them quizzically . The singalong grinds to a halt .<\/scene_description>\n    <character>McCOY<\/character>\n    <parenthetical>( sings . )<\/parenthetical>\n    <dialogue>. life.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Come on, Spock. Why did n't you jump in?<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>I was trying to comprehend the meaning of the words.<\/dialogue>\n    <character>McCOY<\/character>\n    <parenthetical>( loosing patience . )<\/parenthetical>\n    <dialogue>It's a song, you green - blooded Vulcan. You sing it. The words are n't important. What's important is that you have a good time singing it.<\/dialogue>\n    <character>SPOCK<\/character>\n    <parenthetical>( sincere . )<\/parenthetical>\n    <dialogue>Oh. I am sorry, Doctor. Were we having a good time?<\/dialogue>\n    <character>McCOY<\/character>\n    <parenthetical>( giving up . )<\/parenthetical>\n    <dialogue>God, I liked him better before he died.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>All right, all right, let's call it a night, will ya?<\/dialogue>\n    <character>McCOY<\/character>\n    <parenthetical>( overlapping . )<\/parenthetical>\n    <dialogue>He just keeps after it.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Let's go to bed and just let's get some sleep.<\/dialogue>\n    <scene_description>They prepare for bed . LONG SHOT - CAMPSITE Under a twinkling sky the three men sit around the campfire . Faint night sounds . Crickets . An owl . Then .<\/scene_description>\n    <character>SPOCK<\/character>\n    <parenthetical>( troubled . )<\/parenthetical>\n    <dialogue>Captain?<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Spock, we're on leave. You can call me Jim.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>Jim.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Yes, Spock?<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>Life is not a dream.<\/dialogue>\n    <character>KIRK<\/character>\n    <parenthetical>( with a sigh . )<\/parenthetical>\n    <dialogue>Go to sleep, Spock.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>Yes, Captain.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Goodnight, Bones.<\/dialogue>\n    <character>McCOY<\/character>\n    <parenthetical>( sighs . )<\/parenthetical>\n    <dialogue>Goodnight, Jim.<\/dialogue>\n    <scene_description>They all lie down .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>Goodnight, Spock.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>Goodnight, Doctor.<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>Goodnight, Spock!<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>Goodnight, Jim.<\/dialogue>\n    <character>McCOY<\/character>\n    <parenthetical>( sighs . )<\/parenthetical>\n    <dialogue>I do n't know. I just do n't know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE<\/stage_direction>\n    <scene_description>A NASA Pioneer probe trumbles through space . Ancient , forgotten , the device is flotsam . O it 's side is a plaque showing images of two humans and simple mathematical and scientific symbols . It comes PAST CAMERA and OUT OF SHOT . In the distance , a distortion appears and out of this distortion , a Klingon Bird of Prey materializes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BIRD OF PREY - BRIDGE<\/stage_direction>\n    <scene_description>Doors separate to admit KLAA , the Bird of Prey 's swashbuckling young Captain . He is met by VIXIS , his First Officer , a statuesque Klingon female . It 's clear she adores Klaa .<\/scene_description>\n    <character>VIXIS<\/character>\n    <parenthetical>( in Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( Captain Klaa , we have a target in sight .<\/parenthetical>\n    <parenthetical>A probe of ancient origin . )<\/parenthetical>\n    <dialogue \/>\n    <character>KLAA<\/character>\n    <parenthetical>( n Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( Difficult to hit ? )<\/parenthetical>\n    <dialogue \/>\n    <character>VIXIS<\/character>\n    <parenthetical>( in Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( Most difficult . )<\/parenthetical>\n    <dialogue \/>\n    <character>KLAA<\/character>\n    <parenthetical>( in Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( Good . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Klaa 's crew watches with excitement as their Captain straps himself into his command chair which has been equipped with an elaborate gunner 's rig allowing Klaa to do the shooting himself .<\/scene_description>\n    <character>KLAA<\/character>\n    <parenthetical>( continuing ; in Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( All weapons to my control . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>A periscope - like device swings into position in front of Klaa 's flashing eyes .<\/scene_description>\n    <character>KLAA<\/character>\n    <parenthetical>( continuing ; in Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( Scope ! )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>PERISCOPE - KLAA 'S POV The probe is a tiny travelling speck in the distance . It 's course is erratic .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE<\/stage_direction>\n    <scene_description>The probe tumbles through space as the Bird of Prey swoops down for the attack . Machine gun - like phasers are mounted on the Bird 's wings . They come to life and swivel , BLASTING a flange off the front of the probe . A SECOND BLAST destroys a fin on the rear of the craft . A THIRD SHOT blows away the antennae . Klaa is toying with the target . He hesitates , then finishes the probe off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BIRD OF PREY - BRIDGE<\/stage_direction>\n    <scene_description>Vixis and anther crewman stand by , admiring their Captain and his deadly skill . But Klaa seems dissatisfied .<\/scene_description>\n    <character>KLAA<\/character>\n    <parenthetical>( in Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( Shooting space garbage is no test of a warrior 's mettle .<\/parenthetical>\n    <parenthetical>I need a target that fires back . )<\/parenthetical>\n    <dialogue \/>\n    <character>VIXIS<\/character>\n    <parenthetical>( in Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( Captain , new data .<\/parenthetical>\n    <parenthetical>Hostages on Nimbus III . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Klaa unstraps himself from the command chair and joins Vixis at a monitor screen . The fearsome face of a KLINGON COMMANDER fills the screen and starts barking Klingon over shots of Nimbus III and the Paradise outpost . It 's clear that the Bird of Prey is being ordered to Nimbus III . Klaa and Vixis are charged with excitement .<\/scene_description>\n    <character>VIXIS<\/character>\n    <parenthetical>( continuing ; in Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( One of the hostages is a Klingon . )<\/parenthetical>\n    <dialogue \/>\n    <character>KLAA<\/character>\n    <parenthetical>( in Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( And the others ? )<\/parenthetical>\n    <dialogue \/>\n    <character>VIXIS<\/character>\n    <parenthetical>( in Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( A Terran and A Romulan . )<\/parenthetical>\n    <dialogue \/>\n    <character>KLAA<\/character>\n    <parenthetical>( in Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( That means the Federation will be sending a rescue ship of its own . )<\/parenthetical>\n    <parenthetical>( in Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( Plot course for Nimbus III .<\/parenthetical>\n    <parenthetical>I 've always wanted to engage a Federation ship . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>YOSEMITE - NIGHT A blinding light , a ball of great intensity , sets down on the edge of the campsite , rounding Kirk , Spock and McCoy from sleep .<\/scene_description>\n    <character>McCOY<\/character>\n    <dialogue>Get that damn light out of my face!<\/dialogue>\n    <scene_description>The three men rise and watch as a figure in silhouette emerges from the light and comes forward . It 's Uhura .<\/scene_description>\n    <character>UHURA<\/character>\n    <dialogue>Mr. Scott apologizes for having to send the shuttlecraft. The transporter beam is non - operational. Captain, we've received important orders from Starlet Command.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Why did n't you beep my communicator?<\/dialogue>\n    <character>UHURA<\/character>\n    <dialogue>ER. You forgot to take it with you.<\/dialogue>\n    <scene_description>Uhura hands Kirk his communicator . It 's clear he left it behind on purpose .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>Oh. I wonder why I did that?<\/dialogue>\n    <parenthetical>( to Spock and McCoy . )<\/parenthetical>\n    <dialogue>Well, gentlemen, it appears shore leave has been cancelled. Pack out your trash.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. EL CAPITAN - NIGHT<\/stage_direction>\n    <scene_description>The bright light leaves the deserted campsite and rises against the mountain . It turns TOWARD CAMERA and reveals itself as a sleek shuttlecraft of impressive design . Aft thrusters fire and it shoots skyward .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - ANGLE - ENTERPRISE<\/stage_direction>\n    <scene_description>The ship is seen in her shining glory above Earth , framed against a full moon . The approaching Galileo shuttlecraft is dwarfed by the magnificent starship .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GALILEO 5 SHUTTLECRAFT<\/stage_direction>\n    <scene_description>This is the Galileo 5 , capable of transporting two dozen personnel . At the moment its passengers are Kirk , Spock , McCoy and Uhura , who pilots the craft . Kirk gazes fondly at the Enterprise .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>. all I ask is a tall ship and a star to steer by.''<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>Melville.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>John Masefield.<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>Are you sure about that?<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>I am well - versed in the classics, Doctor.<\/dialogue>\n    <character>McCOY<\/character>\n    <parenthetical>( cantankerous . )<\/parenthetical>\n    <dialogue>Then how come you do n't know `` Row, Row, Row Your Boat?''<\/dialogue>\n    <scene_description>Spock raises an eyebrow .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE - CONTROL BOOTH OVERLOOKING LANDING BAY<\/stage_direction>\n    <scene_description>ON VIEWSCREEN , a graphic of the approaching shuttlecraft . ANGLE WIDENS to reveal Scotty .<\/scene_description>\n    <character>UHURA'S VOICE<\/character>\n    <dialogue>Ready for landing. Enterprise, you have control.<\/dialogue>\n    <character>SCOTTY<\/character>\n    <dialogue>We're doing just fine.<\/dialogue>\n    <scene_description>CONTROL BOOTH OVERLOOKING LANDING BAY Bay doors open to receive Galileo . The tractor beam locks onto the shuttlecraft and slowly pulls her inside . It 's a delicate maneuver . Even with wings retracted , the Galileo clears the doors with only a few feet on either side . CONTROL BOOTH OVERLOOKING LANDING BAY Scotty operates the controls . BAY AND STAGING AREA The shuttlecraft comes in for a smooth landing . Its side hatch opens to allow Kirk and company to exit . There 's no one to greet them , just a few crewmen scurrying around . Scotty appears . He may be exhausted and covered with grime but he 's in his element .<\/scene_description>\n    <character>SULU<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>SCOTTY<\/character>\n    <dialogue>All I can say is that they do n't make them like they used to.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>You told me you could have the ship operational in two weeks. I gave you three. What Happened?<\/dialogue>\n    <character>SCOTTY<\/character>\n    <dialogue>I think you gave me too much time, Captain.<\/dialogue>\n    <character>KIRK<\/character>\n    <parenthetical>( hiding a smile . )<\/parenthetical>\n    <dialogue>Very well, Mr. Scott. Carry on.<\/dialogue>\n    <character>SCOTTY<\/character>\n    <dialogue>Aye, Captain.<\/dialogue>\n    <parenthetical>( shouting to some unfortunate crewman . )<\/parenthetical>\n    <dialogue>How many times do I have to tell you? The right tool for the right job.<\/dialogue>\n    <scene_description>CAMERA FOLLOWS Kirk into the turbolift where Spock , McCoy and Uhura await .<\/scene_description>\n    <character>McCOY<\/character>\n    <parenthetical>( indicating Scotty . )<\/parenthetical>\n    <dialogue>I do n't think I've seen him happier.<\/dialogue>\n    <character>ELEVATOR VOICE<\/character>\n    <parenthetical>( badly slurred . )<\/parenthetical>\n    <dialogue>Level. level. level?<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Bridge. I hope.<\/dialogue>\n    <scene_description>Turbolift doors close with a GRINDING SOUND . Kirk , Spock , McCoy and Uhura are carried upward .<\/scene_description>\n    <character>KIRK<\/character>\n    <parenthetical>( to Spock , casually . )<\/parenthetical>\n    <dialogue>I could use a shower.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>A surprised reaction from Spock .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE - BRIDGE<\/stage_direction>\n    <scene_description>Computers come to life . Screens activate . ANGLE - TURBOLIFT A WHOOSH but only half the automatic door slides open . The other half is stuck . Kirk must manually force it open to enter the bridge .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>Does n't anything work on this ship?<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>Starfleet's got some nerve sending us out in this condition with this handful of people.<\/dialogue>\n    <character>FEMALE YEOMAN'S VOICE<\/character>\n    <dialogue>Captain on the bridge.<\/dialogue>\n    <scene_description>An ATTRACTIVE YEOMAN comes forward with the jacket of Kirk 's uniform . He shrugs off his camping jacket as Uhura and Spock go to their stations . McCoy shakes his head at the noisy , messy bridge .<\/scene_description>\n    <character>UHURA<\/character>\n    <dialogue>Captain, Starfleet transmission on line.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Put it on the veiwscreen, would You please?<\/dialogue>\n    <scene_description>Kirk looks at a wall console which begins shorting out . A crewman lies beneath it as sparks begin to fly . The crewman hits his head on the wall console ; more sparks . Kirk takes his captain 's uniform jacket from the Yeoman .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>Can we have a little quiet, please?<\/dialogue>\n    <scene_description>He puts on his Captain 's jacket . The CAMERA PANS to reveal the veiwscreen . Kirk points , indicating the static on the screen .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>Can you?<\/dialogue>\n    <character>COMMANDER'S VOICE<\/character>\n    <dialogue>Am I on?<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Can you clear that up?<\/dialogue>\n    <scene_description>The Yeoman and a crewman stand near a toolkit which topples over . Kirk is beginning to get aggravated .<\/scene_description>\n    <character>COMMANDER'S VOICE<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>INTERCUT WITH BRIDGE - VIEWSCREEN Kirk is still fiddling with his buttons as the face of THE STARFLEET COMMANDER appears . Behind the Commander , images and data . The image is shaky at first .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>Can we have it quiet?<\/dialogue>\n    <character>COMMANDERS IMAGE<\/character>\n    <dialogue>Enterprise, this is Starfleet Operations. Come in.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Bob?<\/dialogue>\n    <character>COMMANDERS IMAGE<\/character>\n    <parenthetical>( peers uncertainly . )<\/parenthetical>\n    <dialogue>Jim? Well, we're dressing informally, are n't we?<\/dialogue>\n    <scene_description>Kirk tucks in his shirt as he looks up at the veiwscreen . His T - shirt reds : `` Go Climb a Rock . ''<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>You caught me on my way to the shower.<\/dialogue>\n    <character>COMMANDERS IMAGE<\/character>\n    <dialogue>I apologize for canceling shore leave, but look, we have a dangerous situation out on Nimbus III.<\/dialogue>\n    <character>KIRK<\/character>\n    <parenthetical>( sarcastic . )<\/parenthetical>\n    <dialogue>On `` The Planet Of Galactic Peace?''<\/dialogue>\n    <character>COMMANDERS IMAGE<\/character>\n    <dialogue>The same. From what we can make out, a terrorist force has captured the only settlement. And they've taken hostages.<\/dialogue>\n    <scene_description>McCoy and Spock look at the O.S. action on the VIEWSCREEN .<\/scene_description>\n    <character>COMMANDERS IMAGE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>The Klingon, the Romulan, the Federation consuls. Now I know Enterprise is not exactly up to specs.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>With all due respect, the Enterprise is a disaster. There must be other ships in the quadrant.<\/dialogue>\n    <character>COMMANDERS IMAGE<\/character>\n    <dialogue>Other ships, yes. But no experienced commanders. Captain, I need Jim Kirk.<\/dialogue>\n    <character>KIRK<\/character>\n    <parenthetical>( wry smile . )<\/parenthetical>\n    <dialogue>Oh, please.<\/dialogue>\n    <character>COMMANDERS IMAGE<\/character>\n    <dialogue>Your orders are to proceed to Nimbus III, assess the situation and avoid a confrontation if possible. Above all, however, get those hostages back safely.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Have the Klingons responded?<\/dialogue>\n    <character>COMMANDERS IMAGE<\/character>\n    <dialogue>No, but you can bet they will.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Understood. Kirk out.<\/dialogue>\n    <scene_description>Kirk addresses his expectant crew .<\/scene_description>\n    <character>KIRK<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>I'm afraid the ship's problems will have to be solved en route. Since we're undermanned, I'm counting on each one of you to give his best. End of speech. Let's go to work.<\/dialogue>\n    <scene_description>McCoy slides over to Kirk .<\/scene_description>\n    <character>McCOY<\/character>\n    <dialogue>Jim if you ask me, and you have n't, I think this is a terrible idea. We're bound to run into the Klingons and they do n't exactly like you.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>The feeling's mutual.<\/dialogue>\n    <parenthetical>( then , into comm . )<\/parenthetical>\n    <dialogue \/>\n    <character>KIRK<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Engine room.<\/dialogue>\n    <character>SCOTTY'S VOICE<\/character>\n    <dialogue>Scotty here.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>We'll need all the power you can muster, Mister.<\/dialogue>\n    <scene_description>ENGINE ROOM - SCOTTY<\/scene_description>\n    <character>SCOTTY<\/character>\n    <dialogue>Do n't you worry, Captain. We'll beat those Klingon devils even if I have to get out and push.<\/dialogue>\n    <scene_description>BACK TO BRIDGE<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>I hope it wo n't come to that, Mr. Scott.<\/dialogue>\n    <scene_description>Kirk turns off the comm , picks up his camping gear and sits in the Captain 's chair .<\/scene_description>\n    <character>KIRK<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>All possible speed, Mr. Sulu.<\/dialogue>\n    <character>SULU<\/character>\n    <dialogue>Aye - aye, sir.<\/dialogue>\n    <scene_description>Kirk settles into his command chair . He shifts uncomfortably .<\/scene_description>\n    <character>McCOY<\/character>\n    <dialogue>What's the matter, Jim?<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>I miss my old chair.<\/dialogue>\n    <scene_description>ANGLE ON SPOCK He contemplates their situation with concern . ANOTHER PART OF THE GALAXY The Bird of Prey slices through the fabric of space headed for Nimbus III .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BIRD OF PREY - BRIDGE<\/stage_direction>\n    <scene_description>Klaa paces his deck like a restless buccaneer , eager for confrontation . Vixis approaches .<\/scene_description>\n    <character>VIXIS<\/character>\n    <parenthetical>( in Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( The Starship Enterprise has been dispatched to Nimbus III . )<\/parenthetical>\n    <dialogue \/>\n    <character>KLAA<\/character>\n    <parenthetical>( in Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( Enterprise ?<\/parenthetical>\n    <parenthetical>That 's Kirk 's ship !<\/parenthetical>\n    <parenthetical>If I could defeat Kirk . )<\/parenthetical>\n    <dialogue \/>\n    <character>VIXIS<\/character>\n    <parenthetical>( in Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( .<\/parenthetical>\n    <parenthetical>you would be the greatest warrior in the galaxy . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>This fact is n't lost on Klaa .<\/scene_description>\n    <character>KLAA<\/character>\n    <parenthetical>( in Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( Maximum speed ! )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>The crew hops to it . Klaa turns to Vixis and gives her the chest - thumping Klingon salute .<\/scene_description>\n    <character>KLAA<\/character>\n    <parenthetical>( in Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( Success ! )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Vixis passionately returns the gesture .<\/scene_description>\n    <character>VIXIS<\/character>\n    <parenthetical>( in Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( Success ! )<\/parenthetical>\n    <dialogue \/>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - ANGLE - ENTERPRISE<\/stage_direction>\n    <scene_description>As she sails toward the Neutral Zone .<\/scene_description>\n    <character>KIRK'S VOICE<\/character>\n    <dialogue>Captain's Log, Stardate 8450.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE - BRIDGE<\/stage_direction>\n    <scene_description>The CAMERA PULLS BACK AND ROTATES as Kirk impatiently drums his hand on the malfunctioning Captain 's Log disk machine .<\/scene_description>\n    <character>KIRK<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Captain's Log, Stardate 84 fif.<\/dialogue>\n    <scene_description>The recorder malfunctions again ; a portion pops out . CAMERA PULLS BACK to reveal Kirk looking off at the Yeoman . Uhura stands near the wall console .<\/scene_description>\n    <character>COMPUTER VOICE<\/character>\n    <dialogue>Good morning, Captain<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>That's it. Forget it.<\/dialogue>\n    <scene_description>The Yeoman takes the malfunctioning Captain 's Log and walks off .<\/scene_description>\n    <character>UHURA<\/character>\n    <dialogue>Captain, we're receiving the hostage information you requested.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Put it on the screen.<\/dialogue>\n    <scene_description>CAMERA PANS to reveal veiwscreen b.g. Kirk joins Sulu and Chekov at the control board ; is seated in the chair .<\/scene_description>\n    <character>COMPUTER VOICE<\/character>\n    <dialogue>This is an authorized transmission from Starfleet Galactic Memory Bank.<\/dialogue>\n    <scene_description>Spock and McCoy come forward to watch . INTERCUT WITH BRIDGE VEIWSCREEN The screen comes to life and fizzles out . Then pops back on . Factual information , photographs , film and visual illustrations depict the backgrounds of the three hostages .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>Not General Korrd.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>The same. He's apparently fallen out of favor with the Klingon High Command.<\/dialogue>\n    <character>KIRK<\/character>\n    <parenthetical>( fondly . )<\/parenthetical>\n    <dialogue>General Korrd's military strategies were required learning when I was a cadet at the Academy. When they put me out to pasture, I hope I fare better than Korrd.<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>Oh, this must be the hostage tape.<\/dialogue>\n    <scene_description>A tape of poor quality . Images and SOUND come and go . A static shot of Caithlin Dar , flanked by Talbot and Korrd . Unlike the lively girl of the first scene . Caithlin is now restrained , dazed . Talbot and Korrd are also strangely subdued . In the b.g. we can see several of Sybok 's soldiers brandishing weapons .<\/scene_description>\n    <character>CAITHLIN'S IMAGE<\/character>\n    <dialogue>A short time ago, we willingly surrendered ourselves to the forces of the Galactic Army of Light. At this moment we're in their protective custody. Their leader assures us that we will be treated humanely so long as you cooperate with his demands. I believe his sincerity. He requests that you send a Federation starship to parlay for our release at once. Be assured that we are in good health, and would appreciate your immediate response.<\/dialogue>\n    <character>SYBOK'S IMAGE<\/character>\n    <dialogue>I deeply regret this desperate act, but these are desperate times. I have no desire to harm these innocents but do not put me to the test. I implore you to respond immediately.<\/dialogue>\n    <scene_description>End of transmission . Spock strides to Uhura 's console . He backwinds the tape and FREEZE FRAMES on Sybok 's face . It 's blurry , indistinct . Spock is transfixed by the image .<\/scene_description>\n    <character>KIRK<\/character>\n    <parenthetical>( concerned . )<\/parenthetical>\n    <dialogue>What is it? You look like you've seen a ghost.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>Perhaps I have, Captain. Perhaps I have.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEEP SPACE- ANGLE - ENTERPRISE<\/stage_direction>\n    <scene_description>As the ship comes PAST CAMERA , we move in on a single window in the forward area of the dish .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE - FORWARD OBSERVATION ROOM<\/stage_direction>\n    <scene_description>A vast area designed for contemplation . The most arresting feature is an antique ship 's wheel - the kind Horatio Hornblower might have steered . The wheel stands in front of tall curving windows that offer an impressive space vista . Spock is beside the wheel staring at the stars , lost in thought . Kirk and McCoy enter with urgency and approach Spock , interrupting is reverie . Throughout the following , Spock continues to stare thoughtfully at the stars .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>Spock, what is it? Do you know this Vulcan?<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>I can not be certain.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>But he does seem familiar?<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>He reminds me of someone I knew in my youth.<\/dialogue>\n    <character>McCoy<\/character>\n    <dialogue>Why, Spock, I did n't know you had one.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>I do not often think of the past.<\/dialogue>\n    <character>KIRK<\/character>\n    <parenthetical>( gently . )<\/parenthetical>\n    <dialogue>Who is it he reminds you of?<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>There was a young student, exceptionally gifted, possessing of great intelligence. It was assumed that one day he would take his place amongst the great scholars of Vulcan. But he was a revolutionary.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>The knowledge and experience he sought were forbidden by Vulcan belief.<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>Forbidden?<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>He rejected his logical upbringing and embraced the animal passions of our ancestors.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>He believed the key to self - knowledge was emotion, not logic.<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>Imagine that. A passionate Vulcan.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>When he encouraged others to follow him, he was banished from Vulcan, never to return.<\/dialogue>\n    <character>KIRK<\/character>\n    <parenthetical>( studying Spock . )<\/parenthetical>\n    <dialogue>Fascinating.<\/dialogue>\n    <character>UHURA'S VOICE<\/character>\n    <dialogue>Captain to the bridge.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>On my way.<\/dialogue>\n    <scene_description>Kirk and McCoy head for the exit . Kirk hesitates on the threshold . He looks back into the room . Spock is still at the window , lost in thought .<\/scene_description>\n    <character>KIRK<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Spock?<\/dialogue>\n    <scene_description>Spock snaps out of it . He hurries to join Kirk .<\/scene_description>\n    <character>SPOCK<\/character>\n    <dialogue>Coming, Captain.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE - BRIDGE<\/stage_direction>\n    <scene_description>Kirk steps to the bridge as the CAMERA PANS revealing Uhura seated at a wall console , Sulu at the control board . Kirk takes the Captain 's chair .<\/scene_description>\n    <character>SULU<\/character>\n    <dialogue>Approaching Nimbus III.<\/dialogue>\n    <character>UHURA<\/character>\n    <dialogue>Hailing frequency open.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Standard orbit, Mr. Sulu.<\/dialogue>\n    <character>UHURA<\/character>\n    <dialogue>Captain, we're receiving transmission from Paradise City. They're demanding to know our intentions.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Respond with static. Let them think we're having difficulty. Which would n't be far from the truth.<\/dialogue>\n    <character>UHURA<\/character>\n    <parenthetical>( into her speaker . )<\/parenthetical>\n    <dialogue>Paradise City, can you boost your power? We're barely receiving transmission.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Transporter room. Status.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRANSPORTER ROOM<\/stage_direction>\n    <scene_description>Scotty , hard at work .<\/scene_description>\n    <character>SCOTTY<\/character>\n    <dialogue>Scotty here, Captain. Transporter is still inoperative. Even if we could lock onto the hostages, we could n't beam them up.<\/dialogue>\n    <scene_description>BACK TO SCENE<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>Then we'll have to get them out the old fashioned way.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>Klingon vessel now entering quadrant. Bird of Prey. Estimating 1.9 hours until her weapons come to bear.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Damn.<\/dialogue>\n    <parenthetical>( as he rises . )<\/parenthetical>\n    <dialogue>Let's go.<\/dialogue>\n    <scene_description>He and Sulu rise and walk to McCoy at the sliding doors . ANGLE ON CHEKOV He turns toward the veiwscreen where Nimbus III is seen .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - NIMBUS III<\/stage_direction>\n    <scene_description>The shuttlecraft Galileo 5 streaks toward the planet 's surface , deploying wings as it enters the atmosphere .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GALILEO<\/stage_direction>\n    <scene_description>Low - combat lighting . Sulu occupies the pilot 's seat . Nearby are Uhura and seven Enterprise crewmen . Kirk and Spock are huddled over a graphics screen . They are dressed in field uniform . Phasers and transparent shields have been dispensed .<\/scene_description>\n    <character>SPOCK<\/character>\n    <dialogue>Their equipment is primitive but effective. I recommend we land at Coordinate 8563.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>That puts us pretty far away from Paradise City.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>To land any closer would risk detection.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Mr. Sulu. Execute.<\/dialogue>\n    <character>SULU<\/character>\n    <dialogue>aye, sir.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT - NIGHT<\/stage_direction>\n    <scene_description>The shuttlecraft swoops out of the dark sky and skims the surface of Nimbus III . The CAMERA PANS the desolate terrain .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARADISE CITY<\/stage_direction>\n    <scene_description>The ramshackle of buildings of Paradise City are illuminated by the light of two moons hanging overhead .<\/scene_description>\n    <character>CHEKOV'S VOICE<\/character>\n    <dialogue>Paradise City.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALOON<\/stage_direction>\n    <scene_description>Chekov addresses Sybok from the communication screen .<\/scene_description>\n    <character>CHEKOV'S IMAGE<\/character>\n    <dialogue>This is the Starship Enterprise.<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>A Federation starship.<\/dialogue>\n    <character>CHEKOV'S IMAGE<\/character>\n    <dialogue>This is Captain Pavel Chekov speaking. You are in violation of Neutral Zone Treaty. I advise you to release your hostages at once or suffer the consequences.<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>Your threats amuse me, Captain Chekov. What consequences did you have in mind?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NIMBUS III - DESERT - NIGHT<\/stage_direction>\n    <scene_description>The shuttlecraft swivels as it lands . The doors open revealing its crew . Kirk leads them from the craft .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE - BRIDGE<\/stage_direction>\n    <scene_description>As `` Captain '' Chekov continues the ruse .<\/scene_description>\n    <character>CHEKOV<\/character>\n    <dialogue>Even as we speak, a Klingon warship is on its way. We estimate arrival within the hour.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALOON<\/stage_direction>\n    <character>SYBOK<\/character>\n    <dialogue>I imagine the Klingons will be quite angry.<\/dialogue>\n    <character>CHEKOV'S IMAGE<\/character>\n    <dialogue>You are a master of understatement. They are likely to destroy the planet.<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>Then it's fortunate that I have you and your starship to protect me. In the meantime, Captain Chekov, I instruct you and your First Officer to beam down to my coordinates.<\/dialogue>\n    <character>CHEKOV'S IMAGE<\/character>\n    <dialogue>We will be happy to beam down. But first we must have certain assurances.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NIMBUS III - DESERT - NIGHT<\/stage_direction>\n    <scene_description>Galileo lies behind a dune . The light of Paradise City are glimpsed over the rise , a mile off . Kirk and Spock lie on a dune with night vision binoculars . There 's nothing between them but flat expanse .<\/scene_description>\n    <character>SPOCK<\/character>\n    <dialogue>At footspeed I estimate the journey to Paradise City at 1.2 hours.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>We do n't have 1.2 hours.<\/dialogue>\n    <scene_description>KIRK 'S PIOV - THROUGH BINOCULARS A tiny oasis in the near distance .<\/scene_description>\n    <character>KIRK'S VOICE<\/character>\n    <dialogue>Wait a minute. Perfect. But we will have to get their attention.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OASIS - NIGHT<\/stage_direction>\n    <scene_description>A BAND OF RAGTAG SOLDIERS gathers around a campfire . They are six in number , all men , members of Sybok 's force . They are heavily robed to retard the night chill . They chat and drink . Nearby , their horses slip from a meager spring . A BLACK SOLDIER lifts his head and smiles as a woman 's SONG floats out of the darkness - soft and mysterious , seductive . The soldiers look at each other in surprise , then rise en masse to seek the scource of the singing . The Black Soldier rises and steps toward the SOUND . Another soldier joins him . THIER POV In the distance , atop a dune and silhouetted against the low hanging twin moons . a female . But not just any female . This siren undulates as she sings , moving sensuously . CLOSER SHOT It 's Uhura . THE SOLDIERS Drawn like moths to a flame . The Black Soldier rises ; they stumble over each other to get a closer look , climbing on hands and knees up the steep dune where Lorelei Uhura waits at the top .<\/scene_description>\n    <character>BLACK SOLDIER<\/character>\n    <dialogue>What is that?<\/dialogue>\n    <scene_description>As the soldiers continue to climb the dune toward Uhura , two Enterprise crewmen enter and point their phasers at them . Other crewmen lie in the sand flanking Uhura 's dancing feet . The Soldiers , taken by surprise , stop mid - climb .<\/scene_description>\n    <character>UHURA<\/character>\n    <dialogue>Hello, boys. I've always wanted to play to a captive audience.<\/dialogue>\n    <character>SOLDIER<\/character>\n    <dialogue>Oh, damn.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DUNES - NIGHT<\/stage_direction>\n    <scene_description>Snarling horses pound over a rise , sending sand in all directions . Riders hurtle PAST CAMERA with flowing capes and cowled faces . Ahead of them , Paradise City . Behind them , the desert - a sea of darkness . ANGLE - KIRK AND SPOCK Kirk rides with determination , his face nearly hidden behind a burnoose . He looks over at the rider beside him . It 's Spock , bouncing stiffly in the saddle , doing all he can to hang on .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>Spock.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>Yes, Captain?<\/dialogue>\n    <character>KIRK<\/character>\n    <parenthetical>( ca n't resist . )<\/parenthetical>\n    <dialogue>Be one with the horse.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>Yes, Captain.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARADISE CITY GATE<\/stage_direction>\n    <scene_description>Armed sentries watch from the walls as the scruffy band of horsemen crosses the desert . J'onn , Sybok 's first convert , appears looking concerned .<\/scene_description>\n    <character>J'ONN<\/character>\n    <dialogue>Open the gate. It's our lookout party.<\/dialogue>\n    <scene_description>The huge iron gate swings open . ANGLE - THE HORSEMEN They gallop at full tilt , led by Kirk . He shouts frantically to the sentries .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>Federation soldiers right behind us. Close the gate!<\/dialogue>\n    <scene_description>As Kirk and his party gallop through , the gate is closed behind them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PARADISE - MAIN STREET<\/stage_direction>\n    <scene_description>Kirk and company proceed up the street , coaxing their horses toward the saloon at its end .<\/scene_description>\n    <character>J'ONN<\/character>\n    <parenthetical>( to men . )<\/parenthetical>\n    <dialogue>Where are they going?<\/dialogue>\n    <scene_description>They ride slowly , not wanting to attract more any more attention than they have . Occasionally a crew member drops away from the group and dismounts , taking a position where he can lay down cover for the eventual escape . ANGLE - THE HORSEMEN Kirk 's eyes sweep around . There are soldiers on most of the rooftops , heavily armed and dangerous - looking .<\/scene_description>\n    <character>KIRK<\/character>\n    <parenthetical>( urgent whisper . )<\/parenthetical>\n    <dialogue>Spock.<\/dialogue>\n    <scene_description>Spock hides a tricorder in his lap .<\/scene_description>\n    <character>SPOCK<\/character>\n    <dialogue>Hold your horse, Captain. I'm scanning.<\/dialogue>\n    <parenthetical>( indicating the saloon . )<\/parenthetical>\n    <dialogue>The hostages are in the structure just ahead.<\/dialogue>\n    <scene_description>Hiding it from view , Kirk raises a communicator to his lips .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>This is Strike Team. Start your run.<\/dialogue>\n    <scene_description>GATE While the others watch the desert , J'onn turns to watch the horsemen .<\/scene_description>\n    <character>J'ONN<\/character>\n    <parenthetical>( suspicious . )<\/parenthetical>\n    <dialogue>Who are you?<\/dialogue>\n    <scene_description>J'onn rushes to the big spotlight anchored on the wall . He swings its bright beam in the direction of the horsemen . STREET Sulu and Kirk are revealed as the light sweeps across them . Kirk and the others turn and react to the light , realizing the jig is up .<\/scene_description>\n    <character>KIRK<\/character>\n    <parenthetical>( shouting . )<\/parenthetical>\n    <dialogue>Phasers on stun! Get rid of the mounts! Sulu - take out that light!<\/dialogue>\n    <character>SULU<\/character>\n    <dialogue>Yes, Captain.<\/dialogue>\n    <scene_description>The crewmen dismount and whip out the phaser rifles they 've hidden under their robes . ANGLE - SULU Sulu spears his horse and charges at the spotlight as pebbles fired from the enemy 's crude weapons whiz around him like hungry hornets . He gallops toward the blinding light . A BAZOOKA SHELL EXPLODES near him and he is knocked from his mount , but manages to roll away toward the spotlight and rises up to his knees . He raises his phaser and with an expert shot , blows the spotlight to bits as J'onn holds it . The street goes dark , lit now by neon and the flash of gunfire and phasers .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALOON<\/stage_direction>\n    <scene_description>Sybok reacts to the gunfire .<\/scene_description>\n    <character>SYBOK<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <character>CHEKOV'S IMAGE<\/character>\n    <dialogue>I instruct you to surrender. You are under attack by Federation forces.<\/dialogue>\n    <character>SYBOK<\/character>\n    <parenthetical>( angered . )<\/parenthetical>\n    <dialogue>Do you realize what you've done? It was n't bloodshed I wanted.<\/dialogue>\n    <scene_description>Sybok turns and strides out of the room , his robes swirling around him .<\/scene_description>\n    <character>CHEKOV'S IMAGE<\/character>\n    <dialogue>Wait! Come back!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS OF PARADISE - A SERIES OF SHOTS<\/stage_direction>\n    <scene_description>A symphony of smoke and gunfire . Dizzying action . Running figures . Stampeding horses . ANGLE - KIRK Kirk dismounts ; his horse runs off . A soldier rushes in and thrusts his weapon at Kirk , who grabs it and strikes the man in the face . He knocks him O.S. and takes the weapon . LOW ANGLE The soldiers on the walls and rooftops open fire with their crude weapons . The Enterprise crewmen fight back from strategic positions along the street , expertly picking off the enemy and using their transparent shields to repel the volley of pebbles . A BLINDING EXPLOSION ANGLE - KIRK A soldier grabs Kirk ; they struggle . Kirk flips him OUT OF SHOT . Another soldier hurries in shooting as he climbs over a wall . Other crewmen hit still more soldiers with phaser fire . They scream and fall . ANGLE - SPOCK The Vulcan dismounts . As he heads for the saloon AN ENEMY SOLDIER leaps from a balcony , landing squarely in the saddle of Spock 's horse . Armed with a sword the Soldier urges the steed forward to trample Spock . As Spock turns in response , the Soldier rears the horse up on its hind legs . Hooves threaten to pummel Spock to a hamburger . Spock calmly reaches up and presses his fingers into the horse 's neck , executing a Vulcan nerve pinch . The horse and its rider tumble to the ground as Spock walks off . ANGLE - KIRK He stands in the doorway , back - lit by an inner bright light .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>Uhura, come on down.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHUTTLECRAFT<\/stage_direction>\n    <scene_description>Uhura is at the controls .<\/scene_description>\n    <character>UHURA<\/character>\n    <dialogue>Roger. Coming in.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOFTOP<\/stage_direction>\n    <scene_description>Sybok 's soldiers set up a multiple pipe weapon cranked like a Gattling gun . Like the other weapons , it uses pebbles for bullets . One of them catches an Enterprise crewman in the leg . He goes down . ANGLE - KIRK Kirk shoots his phaser toward the lights of the building housing the saloon . The lights EXPLODE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALOON<\/stage_direction>\n    <scene_description>Dark and empty . Phaser drawn , Kirk cautiously makes his way across the room when , with a sudden hiss , the Dancing Catwoman leaps over the bar and pounces on his back . As she claws at him , Kirk twirls her around in an `` airplane spin '' and throws her the length of the room . The Catwoman lands in the `` pool '' table , sending up a wave of water that soaks the walls . ANGLE Spock enters and reacts to the unconscious floating Catwoman as Kirk blasts open the door to the back room . TELEVISION ANNOUNCER 'S VOICE . recreational opportunities are limitless . The vicinity is famous for plentiful local wildlife . And the fishing is terrific . Caithlin , Korrd and Talbot look up in surprise . Kirk breathes a sigh of relief . ANGLE - SPOCK Spock appears at Kirk 's side . TELEVISION ANNOUNCER 'S VOICE . -LRB- continuing ; overlapping . -RRB- . easy financing through Federation Federal can put you in your own home on the beautiful , conveniently located .<\/scene_description>\n    <character>KIRK<\/character>\n    <parenthetical>( to Spock . )<\/parenthetical>\n    <dialogue>Thank God.<\/dialogue>\n    <scene_description>ANGLE - THE HOSTAGES Kirk signals for the hostages to follow them . But the hostages confound them by pointing three crude pistols at their heads .<\/scene_description>\n    <character>CAITHLIN<\/character>\n    <dialogue>Please cooperate.<\/dialogue>\n    <character>KORRD<\/character>\n    <dialogue>Ahhh.<\/dialogue>\n    <character>TALBOT<\/character>\n    <parenthetical>( quite sober . )<\/parenthetical>\n    <dialogue>Would you mind handing over your weapons? TELEVISION ANNOUNCER'S VOICE.<\/dialogue>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Beam on down!<\/dialogue>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue \/>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARADISE - STREET<\/stage_direction>\n    <scene_description>Kirk and Spock are marched out off the saloon by the hostages . The rest of the Enterprise crew is herded together to the accompaniment of thunderous cheers from Sybok 's soldiers .<\/scene_description>\n    <character>SYBOK<\/character>\n    <parenthetical>( smiling at J'onn ; over their cheers . )<\/parenthetical>\n    <dialogue>Well done, my friends.<\/dialogue>\n    <scene_description>An armed soldier pushes Uhura toward a smiling Sybok and J'onn . ANGLE - SPOCK As the cheers begin to die , Spock detaches himself from Kirk and McCoy . Sybok notices him . For the first time we see him vulnerable .<\/scene_description>\n    <character>SYBOK<\/character>\n    <dialogue>Spock. It's me. It's Sybok. After all these years, you've finally caught up with me. Do n't you have anything to say to me?<\/dialogue>\n    <scene_description>It 's clear Sybok is trying to force an emotional reaction from Spock . But Spock refuses to fall into his trap .<\/scene_description>\n    <character>SPOCK<\/character>\n    <dialogue>You are under arrest for seventeen violations of the Neutral Zone Treaty.<\/dialogue>\n    <scene_description>Sybok is incredulous . There must be a hundred guns pointed at Spock 's heart . Sybok ca n't help it . He chuckles . The chuckle becomes a full rich laugh . The soldiers join in and soon their laughter is ringing through Paradise .<\/scene_description>\n    <character>SYBOK<\/character>\n    <dialogue>Spock, you've developed a sense of humor after all.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>It was not my intention to amuse you. These are serious charges. However, if you surrender now -<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>I'm sorry, Spock. I ca n't surrender now. I'm not through violating Neutral Zone Treaty. In fact, I'm just getting started. And now for my next violation I intend to steal something. Something very big.<\/dialogue>\n    <scene_description>J'onn and several soldiers laugh and cheer .<\/scene_description>\n    <character>SYBOK<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>I must have your starship.<\/dialogue>\n    <character>KIRK<\/character>\n    <parenthetical>( stepping forward as he realizes . )<\/parenthetical>\n    <dialogue>You staged all this to get your hands on my ship?<\/dialogue>\n    <scene_description>Sybok regards Kirk in his grubby commando outfit .<\/scene_description>\n    <character>SYBOK<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>James T. Kirk, Captain of the Enterprise.<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>But I thought Captain Chekov.<\/dialogue>\n    <parenthetical>( realizing . )<\/parenthetical>\n    <dialogue>I see. Very clever, Captain.<\/dialogue>\n    <parenthetical>( turning t Spock with excitement . )<\/parenthetical>\n    <dialogue>Spock, it would appear that you've been given a second chance to join me. What do you say?<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>I am a Starfleet Officer.<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>Of course. Of course. Then I'll take the ship without your help.<\/dialogue>\n    <scene_description>The soldiers cheer wildly , waving their weapons in the air .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - ANGLE - ENTERPRISE<\/stage_direction>\n    <scene_description>Waiting . Vulnerable .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE - BRIDGE<\/stage_direction>\n    <scene_description>Chekov , Scotty and a tense crew .<\/scene_description>\n    <character>SCOTTY<\/character>\n    <dialogue>Shuttle en route.<\/dialogue>\n    <character>CHEKOV<\/character>\n    <dialogue>Position, Bird of Prey?<\/dialogue>\n    <character>SCOTTY<\/character>\n    <parenthetical>( concerned . )<\/parenthetical>\n    <dialogue>Closing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - ANGLE - BIRD OF PREY<\/stage_direction>\n    <scene_description>The Klingon ship approaches Nimbus III .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BIRD OF PREY - BRIDGE<\/stage_direction>\n    <scene_description>Klaa and Vixis react to Enterprise on their veiwscreen .<\/scene_description>\n    <character>VIXIS<\/character>\n    <parenthetical>( in Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( Estimating attack range in 8,000 Kellicams . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Klaa casually slips into the gunner 's rig .<\/scene_description>\n    <character>KLAA<\/character>\n    <parenthetical>( in Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( Stealth approach .<\/parenthetical>\n    <parenthetical>Slow to one quarter impulse power .<\/parenthetical>\n    <parenthetical>Prepare to cloak . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>A KLAXON SOUNDS . The bridge is bathed in red light .<\/scene_description>\n    <character>KLAA<\/character>\n    <parenthetical>( continuing ; in Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( Engage cloaking device . )<\/parenthetical>\n    <dialogue \/>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.`SPACE - ANGLE - BIRD OF PREY<\/stage_direction>\n    <scene_description>The ship distorts and becomes invisible .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE - BRIDGE<\/stage_direction>\n    <scene_description>Scotty reacts to monitor screen<\/scene_description>\n    <character>SCOTTY<\/character>\n    <dialogue>Mr. Chekov, I've lost the Bird of Prey. She must have cloaked.<\/dialogue>\n    <character>CHEKOV<\/character>\n    <dialogue>Raise shields.<\/dialogue>\n    <character>SCOTTY<\/character>\n    <dialogue>But the shuttle -<\/dialogue>\n    <character>CHEKOV<\/character>\n    <parenthetical>( in charge . )<\/parenthetical>\n    <dialogue>DO it. Go to Red Alert.<\/dialogue>\n    <scene_description>Scotty punches in commands . On his graphics screen a series of dots winks on around an outline of the ship .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - ANGLE - GALILEO<\/stage_direction>\n    <scene_description>Slowly heading back to the ship . Enterprise is in the far distance .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GALILEO<\/stage_direction>\n    <scene_description>Kirk , Spock and McCoy are guarded by J'onn and a select handful of Sybok 's soldiers . Sulu and Uhura pilot the craft while Sybok confers with Caithlin and Korrd . The remainder of the Enterprise crew has been left behind on Nimbus III .<\/scene_description>\n    <character>TALBOT<\/character>\n    <dialogue>Once we've taken control of your vessel, we'll bring up the rest of our followers.<\/dialogue>\n    <character>KIRK<\/character>\n    <parenthetical>( scoffing . )<\/parenthetical>\n    <dialogue>The Klingons are out there.<\/dialogue>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>We'll be lucky to get back to the ship ourselves.<\/dialogue>\n    <scene_description>They are interrupted by Chekov 's voice on the radio .<\/scene_description>\n    <character>CHEKOV'S VOICE<\/character>\n    <dialogue>Galileo, this is Enterprise. Condition Red Alert. Bird of Prey approaching. She is cloaked. Raising shields.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE - BRIDGE - FEATURING CHEKOV<\/stage_direction>\n    <character>CHEKOV<\/character>\n    <dialogue>Recommend Galileo find safe harbor until situation secure.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GALILEO<\/stage_direction>\n    <character>CHEKOV'S VOICE<\/character>\n    <dialogue>Acknowledge.<\/dialogue>\n    <scene_description>Sulu and Uhura turn to Kirk for instruction .<\/scene_description>\n    <character>SYBOK<\/character>\n    <dialogue>No! No reply. Remain on course.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Sybok, listen to me. In order for this craft to enter the landing bay, Enterprise must lower the shields and activate the tractor beam. To get us inside and re - raise the shields will take -<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>Exactly 15.5 seconds.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>An eternity during which we'll be vulnerable to Klingon attack. Korrd - you tell him.<\/dialogue>\n    <character>KORRD<\/character>\n    <dialogue>He speaks the truth. If my people are cloaked, then they intend to strike.<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>We can not turn back.<\/dialogue>\n    <scene_description>Sybok regards Kirk with suspicion . He turns to Spock , the only one he can trust .<\/scene_description>\n    <character>SPOCK<\/character>\n    <dialogue>You must allow us to act.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Let me do something.<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>Very well.<\/dialogue>\n    <parenthetical>( to Kirk . )<\/parenthetical>\n    <dialogue>Do what you must - but no more.<\/dialogue>\n    <scene_description>Kirk punches a button on the console .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>Enterprise.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BIRD OF PREY<\/stage_direction>\n    <scene_description>The Klingons have been monitoring the exchange between Enterprise and Galileo .<\/scene_description>\n    <character>KIRK'S VOICE<\/character>\n    <dialogue>This is Kirk.<\/dialogue>\n    <character>KLAA<\/character>\n    <parenthetical>( in Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( Kirk !<\/parenthetical>\n    <parenthetical>He 's on the shuttlecraft !<\/parenthetical>\n    <parenthetical>Alter the attack course ! )<\/parenthetical>\n    <dialogue \/>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GALILEO<\/stage_direction>\n    <character>KIRK<\/character>\n    <dialogue>Understand your situation. Are unable to return to planet. Stand by to execute.<\/dialogue>\n    <parenthetical>( pulling a name out of the air . )<\/parenthetical>\n    <dialogue>Emergency Landing plan. B<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE - BRIDGE<\/stage_direction>\n    <scene_description>Chekov and Scotty exchange confused looks .<\/scene_description>\n    <character>CHEKOV<\/character>\n    <parenthetical>( aside to Scotty . )<\/parenthetical>\n    <dialogue>What's Emergency Landing Plan B?<\/dialogue>\n    <character>SCOTTY<\/character>\n    <dialogue>I do n't have a clue.<\/dialogue>\n    <character>KIRK'S VOICE<\/character>\n    <dialogue>B as in `` barricade.''<\/dialogue>\n    <character>SCOTTY<\/character>\n    <parenthetical>( alarmed . )<\/parenthetical>\n    <dialogue>He ca n't be serious.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - ANGLE - ENTERPRISE AND GALILEO<\/stage_direction>\n    <scene_description>The shuttle draws closer .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GALILEO<\/stage_direction>\n    <scene_description>Enterprise looms through the windshield .<\/scene_description>\n    <character>SYBOK<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>In order to lower and raise the shields as quickly as possible, we're going to forego the tractor beam and fly her in manually.<\/dialogue>\n    <character>McCOY<\/character>\n    <parenthetical>( horrified . )<\/parenthetical>\n    <dialogue>Manually?<\/dialogue>\n    <character>SYBOK<\/character>\n    <parenthetical>( to Sulu . )<\/parenthetical>\n    <dialogue>How often have you done this?<\/dialogue>\n    <character>SULU<\/character>\n    <dialogue>Actually it's my first attempt.<\/dialogue>\n    <scene_description>Sybok looks at Kirk in amazement . Kirk smiles uneasily and indicates Sulu .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>He's good. Really.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>Scotty, on my mark. Open bay doors.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ENTERPRISE -FANTAIL<\/stage_direction>\n    <scene_description>With agonizing slowness , the bay doors begin to open .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BIRD OF PREY - BRIDGE<\/stage_direction>\n    <scene_description>Klaa flexes his itchy trigger - finger and peers into his view scope . KLAA 'S POV - VEIW SCOPE<\/scene_description>\n    <character>KLAA<\/character>\n    <parenthetical>( in Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( Stand by to decloak for firing ! )<\/parenthetical>\n    <dialogue \/>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GALILEO<\/stage_direction>\n    <character>KIRK<\/character>\n    <dialogue>Kirk to Scotty - lower shields!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE - BRIDGE<\/stage_direction>\n    <scene_description>Scotty punches in commands .<\/scene_description>\n    <character>SCOTTY<\/character>\n    <dialogue>Lowering shields, sir.<\/dialogue>\n    <scene_description>On Scotty 's graphic 's screen , the dots wink out around the outline of the ship . Enterprise is now vulnerable .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE<\/stage_direction>\n    <scene_description>The Bird of Prey materializes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GALILEO<\/stage_direction>\n    <scene_description>The Klingon ship is sighted .<\/scene_description>\n    <character>UHURA<\/character>\n    <dialogue>Bird of Prey bearing one zero five mark two.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Go, Sulu.<\/dialogue>\n    <scene_description>Sulu hits the aft thrusters and the shuttle roars to life .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - ANGLE - ENTERPRISE AND GALILEO<\/stage_direction>\n    <scene_description>The shuttlecraft takes off with a tremendous kick . Like it was fired from a slingshot , the tiny craft closes the gap between itself and the Enterprise at alarming speed . But the bay doors - they have n't opened wide enough yet . Just when it looks like the Galileo will pulp itself on the fantail , she banks ninety degrees .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE - LANDING BAY<\/stage_direction>\n    <scene_description>Galileo negotiates the narrow opening by coming in on its side . It skids down the runway , showering sparks all the way , unable to stop . To our surprise , a cargo net pops up to keep it from crashing into the retaining wall .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GALILEO<\/stage_direction>\n    <scene_description>As the shuttle recoils against the net , passengers are thrown about like rag dolls . Lights blow out and instrument panels EXPLODE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE - BRIDGE<\/stage_direction>\n    <character>SCOTTY<\/character>\n    <dialogue>They're in!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BIRD OF PREY - BRIDGE<\/stage_direction>\n    <scene_description>Klaa gapes in surprise . The target has zoomed out of his sights<\/scene_description>\n    <character>KLAA<\/character>\n    <parenthetical>( in Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( Bear on Enterprise . )<\/parenthetical>\n    <dialogue \/>\n    <character>VIXIS<\/character>\n    <parenthetical>( in Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( Enterprise Targeted ! )<\/parenthetical>\n    <dialogue \/>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE - BRIDGE<\/stage_direction>\n    <character>CHEKOV<\/character>\n    <dialogue>Warp speed now!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BIRD OF PREY - BRIDGE<\/stage_direction>\n    <scene_description>Klaa looks through the view scope , turns the firing handles .<\/scene_description>\n    <character>KLAA<\/character>\n    <parenthetical>( in Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( Fire ! )<\/parenthetical>\n    <dialogue \/>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - ANGLE - ENTERPRISE<\/stage_direction>\n    <scene_description>One moment she 's there , the next she 's gone in a flash of blinding light . Klaa 's shot goes to the void .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BIRD OF PREY - BRIDGE<\/stage_direction>\n    <scene_description>Klaa reacts in amazement to Enterprise 's sudden departure .<\/scene_description>\n    <character>KLAA<\/character>\n    <parenthetical>( in Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( Track her course ! )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>As Vixis and her crew hop to it , CAMERA PUSHES IN on Klaa who throws off his gunner 's rig , unable to hide his admiration for Kirk 's cleverness .<\/scene_description>\n    <character>KLAA<\/character>\n    <parenthetical>( continuing ; in Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( He 's good . )<\/parenthetical>\n    <dialogue \/>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE - LANDING BAY<\/stage_direction>\n    <scene_description>The badly - damaged Galileo lies smoldering on its side .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GALILEO<\/stage_direction>\n    <scene_description>In the smoking wreckage , passengers have been flung everywhere . No one 's been killed but are all dazed or unconscious . Sybok and Kirk come to simultaneously . But before Kirk can act , Sybok snatches up a primitive shooting weapon and aims it at him .<\/scene_description>\n    <character>SYBOK<\/character>\n    <dialogue>We must change our course at once.<\/dialogue>\n    <character>KIRK<\/character>\n    <parenthetical>( crafty . )<\/parenthetical>\n    <dialogue>I'll take you to the bridge.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LANDING BAY<\/stage_direction>\n    <scene_description>The Galileo 's back hatch blows open emitting a cloud of smoke along with Kirk and Sybok . As Sybok steps down behind him , Kirk whirls and grabs for the weapon . The two men struggle and tumble across the landing bay floor . ANGLE - KIRK AND SYBOK Kirk is no match for the Vulcan 's superior strength but he fights with everything he 's got . He manages to knock the weapon from Sybok 's hand . It skitters across the floor and stops at the feet of Spock who has emerged from the shuttle . Spock looks down at the weapon , then back to Kirk whom Sybok is rendering helpless with one hand . With his incredible strength Sybok forces Kirk to the floor .<\/scene_description>\n    <character>KIRK<\/character>\n    <parenthetical>( in pain . )<\/parenthetical>\n    <dialogue>Spock. pick it up!<\/dialogue>\n    <scene_description>Spock obediently picks up the weapon like it was a distasteful object . Kirk collapses on the floor , conscious but no longer able to fight . Spock faces Sybok .<\/scene_description>\n    <character>SPOCK<\/character>\n    <dialogue>Sybok, you must surrender.<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>No. You must kill me.<\/dialogue>\n    <scene_description>Sybok advances toward Spock until the weapon is pressing into Sybok 's chest .<\/scene_description>\n    <character>KIRK<\/character>\n    <parenthetical>( desperate . )<\/parenthetical>\n    <dialogue>Shoot him!<\/dialogue>\n    <scene_description>But Spock ca n't shoot . The emotional price is too great . He lowers the weapon in shame and defeat . Sybok takes it from him with a smile .<\/scene_description>\n    <character>SYBOK<\/character>\n    <dialogue>For a moment, I thought you might actually do it.<\/dialogue>\n    <scene_description>ANGLE Sybok 's soldiers emerge from the wreckage of the shuttle with McCoy . The doctor hurries to Kirk and helps him to his feet . Kirk , in pain and betrayed , glares at Spock who can not meet his eyes . Sybok turns to J'onn . He indicates Kirk and McCoy .<\/scene_description>\n    <character>SYBOK<\/character>\n    <dialogue>Put him in the brig with Captain Kirk.<\/dialogue>\n    <parenthetical>( then , to Spock . )<\/parenthetical>\n    <dialogue>Spock, you will accompany me to the bridge?<\/dialogue>\n    <character>SPOCK<\/character>\n    <parenthetical>( finding his voice . )<\/parenthetical>\n    <dialogue>No. I will not.<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>You know I'm right.<\/dialogue>\n    <scene_description>He is met by stony silence .<\/scene_description>\n    <character>SYBOK<\/character>\n    <parenthetical>( continuing ; a long pause . )<\/parenthetical>\n    <dialogue>Then you must join them.<\/dialogue>\n    <scene_description>J'onn and several other soldiers march Kirk , Spock and McCoy out . ANGLE - LANDING BAY Caithlin , Korrd and Talbot emerge from the shuttle with Sulu and Uhura in tow .<\/scene_description>\n    <character>KORRD<\/character>\n    <dialogue>These two will be useful.<\/dialogue>\n    <scene_description>Uhura and Sulu are defiant . Sybok approaches them .<\/scene_description>\n    <character>SYBOK<\/character>\n    <dialogue>Give us a moment alone.<\/dialogue>\n    <character>CAITHLIN<\/character>\n    <parenthetical>( to Uhura and Sulu . )<\/parenthetical>\n    <dialogue>Do n't be afraid.<\/dialogue>\n    <scene_description>ANGLE - LANDING BAY CONTROL BUBBLE Scotty witnesses the action on the deck below . Fortunately , no one sees him . He steps back into the shadows . BRIG Kirk , Spock and McCoy are shoved into a cell by J'onn . Phaser beam bars materialize to contain them . Kirk is enraged .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>Damnit, Spock. God damnit!<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>Captain, what have I done -<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>What you have done is betray every man on this ship.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>Worse. I have betrayed you. I do not expect you to forgive me.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Forgive you? I ought to knock you on your goddamn ass!<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>If you think it would help.<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>You want me to hold him, Jim?<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>You stay out of this!<\/dialogue>\n    <parenthetical>( to Spock . )<\/parenthetical>\n    <dialogue>Why, Spock? Why? I. All you had to do was pull the trigger.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>If I had pulled the trigger, Sybok would be dead.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>I ordered you to defend this ship.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>You ordered me to kill my brother.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Look, the man may be a fellow Vulcan, but that does n't.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>No, no, no, Captain. You do not understand. Sybok also in a son of Sarek.<\/dialogue>\n    <scene_description>Kirk and McCoy ca n't believe it .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>You mean he's your brother brother?<\/dialogue>\n    <parenthetical>( flustered . )<\/parenthetical>\n    <dialogue>You made that up!<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>I did not.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>You did too. Sybok could n't possibly be your brother because I happen to know for a fact that you do n't have a brother.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>Technically, you are correct. I do not have a brother.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>There, you see? See?<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>I have a half brother.<\/dialogue>\n    <character>KIRK<\/character>\n    <parenthetical>( suddenly weary . )<\/parenthetical>\n    <dialogue>I got ta sit down.<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>Let me get this straight. You and Sybok have the same father but different mothers.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>Exactly. That is correct. Sybok's mother was a Vulcan princess. Upon her death, Sybok and I were raised as brothers.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Why did n't you tell me this before?<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>I was not disposed to discuss. matters of a personal nature. For that, I'm sorry.<\/dialogue>\n    <character>KIRK<\/character>\n    <parenthetical>( still fuming . )<\/parenthetical>\n    <dialogue>He's sorry, See, he's sorry. Everything. that makes everything all right. He's sorry, everything's.<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>Stop it, Jim. Spock could no more kill his own brother than he could kill you. If you want to punish him for what he's done, why do n't you throw him in the brig?<\/dialogue>\n    <scene_description>Kirk 's anger burns itself out .<\/scene_description>\n    <character>McCOY<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Besides, we've got bigger problems to deal with. Like how the hell to get out of here.<\/dialogue>\n    <parenthetical>( a beat ; turning to Spock . )<\/parenthetical>\n    <dialogue>I'll say one thing, Spock. You<\/dialogue>\n    <scene_description>never cease to amaze me .<\/scene_description>\n    <character>SPOCK<\/character>\n    <dialogue>Nor I myself.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE - BRIDGE<\/stage_direction>\n    <scene_description>Doors WHOOSH open to admit Uhura and Sulu . Chekov , in the command chair , stands to greet them .<\/scene_description>\n    <character>CHEKOV<\/character>\n    <dialogue>I was beginning to worry. Where is the Captain?<\/dialogue>\n    <scene_description>Sybok enters , followed by the hostages and several armed soldiers . Chekov looks at Uhura and Sulu in confusion . They , like the hostages , are smiling warmly - converts to Sybok 's cause .<\/scene_description>\n    <character>UHURA<\/character>\n    <dialogue>It's all right Pavel. Sybok will explain everything.<\/dialogue>\n    <scene_description>Sulu moves past Chekov and takes his seat at the helm . He punches in commands .<\/scene_description>\n    <character>CHEKOV<\/character>\n    <dialogue>Sulu, what are you doing?<\/dialogue>\n    <character>SULU<\/character>\n    <dialogue>Plotting our new course.<\/dialogue>\n    <character>CHEKOV<\/character>\n    <parenthetical>( alarmed . )<\/parenthetical>\n    <dialogue>New course? You have no authority.<\/dialogue>\n    <parenthetical>( to Sybok . )<\/parenthetical>\n    <dialogue>What's going on here?<\/dialogue>\n    <character>SULU<\/character>\n    <dialogue>Pavel.<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>I wo n't force you.<\/dialogue>\n    <character>SULU<\/character>\n    <parenthetical>( overlapping . )<\/parenthetical>\n    <dialogue>You've got to listen to this man.<\/dialogue>\n    <character>SYBOK<\/character>\n    <parenthetical>( overlapping . )<\/parenthetical>\n    <dialogue>The decision must be yours.<\/dialogue>\n    <character>CHEKOV<\/character>\n    <dialogue>I do n't understand.<\/dialogue>\n    <character>SYBOK<\/character>\n    <parenthetical>( soothingly . )<\/parenthetical>\n    <dialogue>Each of us hides a secret pain. Share yours with me and gain strength from the sharing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRIG<\/stage_direction>\n    <scene_description>Kirk balances on Spock 's shoulders , examining the ceiling , seeking a means of escape . Kirk uncovers a fixture . Spock shakes his head negatively .<\/scene_description>\n    <character>SPOCK<\/character>\n    <dialogue>Useless.<\/dialogue>\n    <scene_description>Kirk stands on Spock 's shoulders , now holding on to a pipe .<\/scene_description>\n    <character>SPOCK<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Unwise.<\/dialogue>\n    <scene_description>Kirk investigates a circuitry panel . He touches it and receives a shock that causes him to tumble to the floor .<\/scene_description>\n    <character>KIRK<\/character>\n    <parenthetical>( irked at Spock . )<\/parenthetical>\n    <dialogue>You could've warned me.<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>He did, Jim.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>There's got to be a way out of this place.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>This is a new brig, Captain. It is escape - proof.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>How do you know?<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>The designers tested it using the most intelligent and resourceful person they could find. He failed to escape.<\/dialogue>\n    <character>KIRK<\/character>\n    <parenthetical>( as he and McCoy realize . )<\/parenthetical>\n    <dialogue>This, er, person. did n't by any chance have pointed ears and an unerring capacity for getting his shipmates into trouble, did he?<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>He did have pointed ears.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - ANGLE - ENTERPRISE<\/stage_direction>\n    <scene_description>The ship continues at warp speed , DISAPPEARING FROM SHOT in a blur of blinding light .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE - BRIDGE<\/stage_direction>\n    <scene_description>Uhura and Sulu are at their stations . Chekov once again occupies the command chair . Sybok stands beside him . In the background are Caithlin , Korrd and Talbot .<\/scene_description>\n    <character>CHEKOV<\/character>\n    <parenthetical>( pleased to report . )<\/parenthetical>\n    <dialogue>Following new course. Warp seven.<\/dialogue>\n    <character>SULU<\/character>\n    <dialogue>Estimating destination in 6.7 hours, present speed.<\/dialogue>\n    <scene_description>Sybok looks happy and paternal , less driven . He turns to Uhura .<\/scene_description>\n    <character>SYBOK<\/character>\n    <dialogue>Now that we're underway, it's time I announced my intentions to the rest of the ship.<\/dialogue>\n    <parenthetical>( then , to comm . )<\/parenthetical>\n    <dialogue>Brave crew of the Starship Enterprise. Consider the questions of existence. These are the questions which man has asked ever since he first gazed at the stars and dreamed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRIG<\/stage_direction>\n    <scene_description>Kirk , Spock and McCoy discontinue their efforts to escape and now peer instead at a monitor screen beyond the cell INTERCUTTING WITH MONITOR SCREEN<\/scene_description>\n    <character>SYBOK'S IMAGE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>My Vulcan ancestors were ruled by their emotions. They felt with their hearts. They believed with their hearts. But above all else, they believed in a place in which these questions of existence would be answered. Modern dogma tells us this place is a myth, a fantasy concocted by pagans.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LANDING BAY<\/stage_direction>\n    <scene_description>A crewman pauses to listen to Sybok 's continuing speech .<\/scene_description>\n    <character>SYBOK'S VOICE<\/character>\n    <parenthetical>( emphatic . )<\/parenthetical>\n    <dialogue>It is no fantasy! I tell you it exists!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE - BRIDGE<\/stage_direction>\n    <scene_description>CAMERA PANS the bridge to find crew and soldiers focused on Sybok 's words .<\/scene_description>\n    <character>SYBOK<\/character>\n    <parenthetical>( continuing ; with great excitement . )<\/parenthetical>\n    <dialogue>My brothers, we have been chosen to undertake the greatest adventure of all time - the discovery of Sha Ka Ree.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRIG<\/stage_direction>\n    <scene_description>Baffled responses from Kirk and McCoy .<\/scene_description>\n    <character>SPOCK<\/character>\n    <parenthetical>( intrigued . )<\/parenthetical>\n    <dialogue>Is it possible?<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Is what possible?<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>That he's found it. Sha Ka Ree. The reason Sybok left Vulcan.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRIDGE<\/stage_direction>\n    <character>SYBOK<\/character>\n    <dialogue>Our destination is the planet Sha Ka Ree, which lies beyond the Great Barrier.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRIG<\/stage_direction>\n    <scene_description>Spock turns back to Sybok 's image .<\/scene_description>\n    <character>SYBOK'S IMAGE<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>. at the center of the galaxy.<\/dialogue>\n    <character>KIRK<\/character>\n    <parenthetical>( alarmed . )<\/parenthetical>\n    <dialogue>The center of the galaxy?<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>There Sha Ka Ree is fabled to exist.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>But the center of the galaxy ca n't be reached. No ship has ever gone into the Great Barrier. No probe has ever returned.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>Sybok possessed the keenest intellect I have ever known.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Spock! My only concern is getting the ship back. When that's done and Sybok is in here then you can debate Sha Ka Ree until you're green in the face. Until then, you're either with me or you're not.<\/dialogue>\n    <character>SPOCK<\/character>\n    <parenthetical>( as if it 's obvious . )<\/parenthetical>\n    <dialogue>I am here, Captain.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>That's a little vague, Spock -<\/dialogue>\n    <scene_description>An infrequent , almost inaudible tapping SOUND comes from the back wall of the cell .<\/scene_description>\n    <character>KIRK<\/character>\n    <parenthetical>( continuing ; distracted . )<\/parenthetical>\n    <dialogue>What's that noise?<\/dialogue>\n    <scene_description>They turn and regard the back wall . The tapping continues .<\/scene_description>\n    <character>SPOCK<\/character>\n    <dialogue>I believe it is a primitive form of communication known as Morse Code.<\/dialogue>\n    <scene_description>They scramble over and huddle beside the wall .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>You're right. I'm a little out of practice.<\/dialogue>\n    <parenthetical>( listening . )<\/parenthetical>\n    <dialogue>Uh. that's an `` s.''<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>A `` t.''<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>`` a''. `` n''. uh, `` d''. end of word.<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>`` Stand.''<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>New word. `` b''. `` a''. um.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>`` c.'' `` k.''<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>`` Back.'' `` Stand back.''<\/dialogue>\n    <scene_description>They 're about to congratulate themselves when they realize it 's a warning .<\/scene_description>\n    <character>TOGETHER<\/character>\n    <parenthetical>( in horror . )<\/parenthetical>\n    <dialogue>Stand back!<\/dialogue>\n    <scene_description>They dive for cover as a large panel EXPLODES from the wall , showering them with dust . Scotty appears in the opening .<\/scene_description>\n    <character>SCOTTY<\/character>\n    <dialogue>What are you standing around for? Do you not know a jailbreak when you see one?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR<\/stage_direction>\n    <scene_description>Sybok , J'onn and Sulu exit the turbolift and head for the brig.<\/scene_description>\n    <character>SYBOK<\/character>\n    <dialogue>The bond between these three is strong. difficult to penetrate. This will be quite a challenge.<\/dialogue>\n    <scene_description>The brig doors WHOOSH open . They step inside and are confronted with an empty cell . The prisoners have vanished .<\/scene_description>\n    <character>SULU<\/character>\n    <dialogue \/>\n    <scene_description>We 've got to find them !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOWELS OF ENTERPRISE<\/stage_direction>\n    <scene_description>Scotty leads Kirk , Spock and McCoy through the labyrinth innards of the ship .<\/scene_description>\n    <character>SCOTTY<\/character>\n    <dialogue>Captain, we ca n't trust anyone now.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>If we could send a distress signal.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>There is an emergency sending apparatus in the forward observation room.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>The only problem is, it's up there. We're down here.<\/dialogue>\n    <character>SCOTTY<\/character>\n    <dialogue>You might be able to reach it by means of turbo shaft number three which is closed for repairs. It's a long and dangerous climb.<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>Some of us get off on long and dangerous climbs.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Mr. Scott, get the transporter working. If we contact a rescue ship we'll need it.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>Which way to the turbo shaft?<\/dialogue>\n    <character>SCOTTY<\/character>\n    <dialogue>Head down that tunnel to the hydro vent and turn right. Then left at the blowscreen. You ca n't miss it.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Mr. Scott, you're amazing.<\/dialogue>\n    <scene_description>Scotty walks off in the opposite direction .<\/scene_description>\n    <character>SCOTTY<\/character>\n    <parenthetical>( a little too prideful . )<\/parenthetical>\n    <dialogue>Oh, there's nothing amazing about it. I know this ship like the back of my hand.<\/dialogue>\n    <scene_description>Scotty turns the corner and whacks his head on a low - hanging pipe . He collapses to the floor , out cold .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR<\/stage_direction>\n    <scene_description>A warning KLAXON SOUNDS . Sybok 's soldiers sweep through the ship .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TURBO SHAFT<\/stage_direction>\n    <scene_description>Kirk , Spock and McCoy gaze up at a narrow and seemingly endless elevator shaft . An emergency ladder attached to the wall is the only way up .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>All right, look at it this way. We'll get a good workout.<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>Yeah. Or a heart attack.<\/dialogue>\n    <scene_description>Kirk starts to climb the emergency ladder . McCoy reluctantly follows . Spock watches . Then , unnoticed , he slips away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOWELS OF ENTERPRISE<\/stage_direction>\n    <scene_description>Sulu , leading a team of converts , rounds a corner and nearly stumbles over Scotty . Scotty groans .<\/scene_description>\n    <character>SULU<\/character>\n    <parenthetical>( to a crewman . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Get Mr. Scott to sick bay .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TURBO SHAFT - MIDWAY - MINUTES LATER<\/stage_direction>\n    <scene_description>Kirk climbs hand over hand , followed by a huffing and puffing McCoy .<\/scene_description>\n    <character>McCOY<\/character>\n    <parenthetical>( breathless . )<\/parenthetical>\n    <dialogue>Jim, this is going to take me forever.<\/dialogue>\n    <character>KIRK<\/character>\n    <parenthetical>( suddenly realizing . )<\/parenthetical>\n    <dialogue>Where's Spock?<\/dialogue>\n    <scene_description>Kirk and McCoy look down . No Spock . Just then , a soft WHOOSHING SOUND from above . They look up . ANGLE Spock descends wearing the levitation boots from Yosemite . He floats alongside Kirk and McCoy , hovering in midair .<\/scene_description>\n    <character>SPOCK<\/character>\n    <dialogue>I believe I have found a faster way.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Hmmm?<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>Uh - uh.<\/dialogue>\n    <scene_description>Kirk breaks into a smile of relief . He steps off the ladder and grabs onto Spock . They dip down a few feet , then slowly rise to a hovering position beside McCoy .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>Bones?<\/dialogue>\n    <character>McCOY<\/character>\n    <parenthetical>( wary . )<\/parenthetical>\n    <dialogue>You two go ahead. I'll wait for the next car.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>We're not splitting up.<\/dialogue>\n    <scene_description>Grumbling , a little fearful , McCoy steps on board . Their combined weight causes them to sink steadily downward .<\/scene_description>\n    <character>SPOCK<\/character>\n    <dialogue>It would appear we are too heavy.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>It must be all those marsh melons.<\/dialogue>\n    <scene_description>ANGLE - BELOW Sulu and the search party appear at the bottom of the shaft , armed with phasers . ANGLE - KIRK , SPOCK AND McCOY Sinking lower , on the verge of capture .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>Spock. the booster rockets.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>If I activate them now, Captain, we will be propelled upward at an unbelievable rate.<\/dialogue>\n    <character>KIRK<\/character>\n    <parenthetical>( an order . )<\/parenthetical>\n    <dialogue>Fire the rockets!<\/dialogue>\n    <scene_description>Spock hits the boosters . With an explosion of power and NOISE they shoot skyward like a bullet . ANGLE - BELOW Rocket smoke shoots downward enveloping Sulu and the search party .<\/scene_description>\n    <character>SULU<\/character>\n    <dialogue>Captain, please come back down here.<\/dialogue>\n    <scene_description>ANGLE - KIRK , SPOCK AND McCOY Our hero 's are an upward blur that shows no sign of stopping .<\/scene_description>\n    <character>KIRK<\/character>\n    <parenthetical>( shouts . )<\/parenthetical>\n    <dialogue>Hit the brakes!<\/dialogue>\n    <scene_description>Spock hits `` the brakes '' and they stop barely one floor from the ceiling , bobbing in midair . Kirk and McCoy are white as sheets .<\/scene_description>\n    <character>SPOCK<\/character>\n    <dialogue>I'm afraid I overshot the mark by one level.<\/dialogue>\n    <character>McCOY<\/character>\n    <parenthetical>( scared shitless . )<\/parenthetical>\n    <dialogue>Nobody's perfect.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORWARD OBSERVATION ROOM<\/stage_direction>\n    <scene_description>Dark , deserted . The grandeur of space lies beyond the tall curving windows . Kirk , Spock and McCoy enter and cross to the communications console . Spock activates it . Functions come to life .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>Spock.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>The emergency channel, open.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>To anyone within the sound of my voice : This is Captain James T. Kirk of the Federation Starship Enterprise. If you read me, acknowledge. Acknowledge.<\/dialogue>\n    <character>FEMALE VOICE<\/character>\n    <dialogue>Enterprise, this is Starfleet Command. We read you. Over.<\/dialogue>\n    <character>KIRK<\/character>\n    <parenthetical>( encouraged . )<\/parenthetical>\n    <dialogue>A hostile force has seized control of our vessel and put us on a direct course with the Great Barrier. Our coordinates are zero - zero - zero.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>mark two.<\/dialogue>\n    <character>KIRK<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Mark two. Request emergency assistance. Acknowledge.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BIRD OF PREY - BRIDGE<\/stage_direction>\n    <scene_description>To reveal the `` Starfleet Command '' voice belongs to Vixis . Behind her Klaa sits , smugly confident .<\/scene_description>\n    <character>VIXIS<\/character>\n    <parenthetical>( in English . )<\/parenthetical>\n    <dialogue>Understood, Enterprise. We are dispatching a rescue ship immediately.<\/dialogue>\n    <character>KIRK'S VOICE<\/character>\n    <dialogue>Roger, Starfleet.<\/dialogue>\n    <character>KLAA<\/character>\n    <parenthetical>( in Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( Plot course zero - zero - zero , mark two . )<\/parenthetical>\n    <dialogue \/>\n    <character>VIXIS<\/character>\n    <parenthetical>( in Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( But Captain , that course will take us into the Barrier as well . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Klaa is n't about to let a small thing like death stop him .<\/scene_description>\n    <character>KLAA<\/character>\n    <parenthetical>( in Klingon ; subtitled . )<\/parenthetical>\n    <parenthetical>( Where Kirk goes , we follow . )<\/parenthetical>\n    <dialogue \/>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE - FORWARD OBSERVATION ROOM<\/stage_direction>\n    <scene_description>Kirk , Spock and McCoy start for the exit when they are startled by the appearance of Sybok , J'onn and several armed soldiers .<\/scene_description>\n    <character>SYBOK<\/character>\n    <dialogue>I trust your message was received?<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>You ca n't expect us to stand by while you take the ship into the Great Barrier.<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>What you fear is the unknown. The people of your planet once believed their world was flat. Columbus proved it was round. They said the sound barrier could never be broken. It was broken. They said warp speed could not be achieved. The Great Barrier is the ultimate expression of this universal fear. It's an extension of personal fear.<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>Captain Kirk, I so much want your understanding. I want your respect. Are you afraid to hear me out?<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>I'm afraid of nothing.<\/dialogue>\n    <scene_description>Sybok turns to J'onn and the soldiers .<\/scene_description>\n    <character>SYBOK<\/character>\n    <dialogue>Wait outside.<\/dialogue>\n    <scene_description>J'onn and the soldiers reluctantly withdraw . Sybok indicates for chairs , arranged in circle .<\/scene_description>\n    <character>SYBOK<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>I'm sure you have many questions Here, amidst the stars of our own galaxy, we shall seek the answers together.<\/dialogue>\n    <scene_description>The four men take their seats . The lighting becomes intimate . Sybok weaves his spell .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SICK BAY<\/stage_direction>\n    <scene_description>Scotty awakens to find Uhura holding him in her arms .<\/scene_description>\n    <character>UHURA<\/character>\n    <parenthetical>( soothing . )<\/parenthetical>\n    <dialogue>Easy, easy, easy, Scotty. Easy. You're back with us.<\/dialogue>\n    <character>SCOTTY<\/character>\n    <parenthetical>( testing her . )<\/parenthetical>\n    <dialogue>Uhura, I had the strangest dream. I dreamt that a madman had taken over the Enterprise.<\/dialogue>\n    <character>UHURA<\/character>\n    <dialogue>Scotty, dear, he' not a madman.<\/dialogue>\n    <character>SCOTTY<\/character>\n    <parenthetical>( realizing she 's a convert . )<\/parenthetical>\n    <dialogue>He's not?<\/dialogue>\n    <character>UHURA<\/character>\n    <dialogue>No. Sybok has simply put us in touch with feelings we've always been afraid to express.<\/dialogue>\n    <scene_description>Uhura gives Scotty loving look .<\/scene_description>\n    <character>SCOTTY<\/character>\n    <parenthetical>( uncomfortable . )<\/parenthetical>\n    <dialogue>I. er. have to get back the transporter.<\/dialogue>\n    <scene_description>Scotty slips out of her arms .<\/scene_description>\n    <character>UHURA<\/character>\n    <dialogue>No, no, no. Scotty - Scotty. There's so much I want to tell you.<\/dialogue>\n    <character>SCOTTY<\/character>\n    <dialogue>Maybe you could wait until I'm a wee bit stronger I do n't think I could take it in my present condition.<\/dialogue>\n    <parenthetical>( under his breath . )<\/parenthetical>\n    <dialogue>Or yours.<\/dialogue>\n    <scene_description>Scotty heads for the exit .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FOWARD OBSERVATION ROOM<\/stage_direction>\n    <scene_description>Beyond the windows , the swirling vastness of space . Kirk , Spock , McCoy and Sybok sit in a circle .<\/scene_description>\n    <character>SYBOK<\/character>\n    <dialogue>Sha Ka Ree. `` The Scource.'' `` Heaven.'' `` Eden.'' call it `` Qui'Tu.'' To the Romulans, it's `` Vorta Vor.'' The Andorian word is. unpronounceable. Still, every culture shares he common dream of a place from which creation sprang. For us, that place will soon be a reality.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>The only realty I see is that I'm a prisoner on my own ship. What is this power you have to control the minds of my crew?<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>I do n't control minds. I free them.<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>How?<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>By making you face your pain and draw strength from it. Once that's done, fear can not stop you.<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>Sounds like brainwashing to me.<\/dialogue>\n    <scene_description>Sybok closes his eyes and concentrates deeply .<\/scene_description>\n    <character>SYBOK<\/character>\n    <parenthetical>( to McCoy ; sensing . )<\/parenthetical>\n    <dialogue>Your pain is the deepest of all.<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>I can feel it. Ca n't you?<\/dialogue>\n    <scene_description>A city skyline materializes in the background .<\/scene_description>\n    <character>MAN'S VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( a whisper in pain . )<\/parenthetical>\n    <dialogue>Leonard.<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>It's some kind of trick.<\/dialogue>\n    <character>MAN'S VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( imploring . )<\/parenthetical>\n    <dialogue>Leonard.<\/dialogue>\n    <character>McCOY<\/character>\n    <parenthetical>( as he recognizes the voice . )<\/parenthetical>\n    <dialogue>Father?<\/dialogue>\n    <scene_description>The surrounding walls come alive with energy . What follows is theatrical in style as we enter a subjective world .<\/scene_description>\n    <character>McCOY<\/character>\n    <parenthetical>( continuing ; frightened . )<\/parenthetical>\n    <dialogue>Oh my God, do n't do this to me.<\/dialogue>\n    <scene_description>ANGLE - McCOY He turns to find himself in a brilliantly white , sterile hospital room . A wasted figure reclines in a bed , an old man connected to a powerful life - support system . This is McCOY 'S FATHER and we are somewhere in the past .<\/scene_description>\n    <character>FATHER<\/character>\n    <parenthetical>( barely audible . )<\/parenthetical>\n    <dialogue>Leonard.<\/dialogue>\n    <scene_description>McCoy rushes to the bedside .<\/scene_description>\n    <character>McCOY<\/character>\n    <dialogue>I'm here. I'm with you, Dad.<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>The pain. stop the pain.<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>I've done everything I can do. You've got to hang on.<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>I ca n't stand the pain. Help me.<\/dialogue>\n    <scene_description>In the near background Sybok watches with Kirk and Spock . They are entranced by what they 're seeing .<\/scene_description>\n    <character>McCOY<\/character>\n    <dialogue>All my knowledge and I ca n't save him.<\/dialogue>\n    <character>SYBOK<\/character>\n    <parenthetical>( the voice of conscience . )<\/parenthetical>\n    <dialogue>You've done all you can. The support system will keep him alive.<\/dialogue>\n    <character>McCOY<\/character>\n    <parenthetical>( flaring . )<\/parenthetical>\n    <dialogue>You call this alive?<\/dialogue>\n    <scene_description>Father whispers something . McCoy bends down and puts his ear next to the old man 's parched lips .<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>Son, release me.<\/dialogue>\n    <scene_description>McCoy looks into his Father 's eyes . The old man 's gaze travels to the support machinery . He wants McCoy to shut it off .<\/scene_description>\n    <character>McCOY<\/character>\n    <parenthetical>( recoiling . )<\/parenthetical>\n    <dialogue>I ca n't do that, Dad.<\/dialogue>\n    <parenthetical>( in agony . )<\/parenthetical>\n    <dialogue>But how - how can I watch him suffer like this?<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>You're a doctor.<\/dialogue>\n    <character>McCOY<\/character>\n    <parenthetical>( defiant . )<\/parenthetical>\n    <dialogue>I'm his son!<\/dialogue>\n    <scene_description>McCoy reaches his decision . He shuts off the machine . The Father dies in his son 's arms . Sybok appears at McCoy 's side .<\/scene_description>\n    <character>SYBOK<\/character>\n    <dialogue>Why did you do it?<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>To preserve his dignity.<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>That was n't the worst of it.<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>Was it?<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>Share it.<\/dialogue>\n    <scene_description>McCoy hesitates , trembling . This is his dark secret .<\/scene_description>\n    <character>McCOY<\/character>\n    <dialogue>Not long after. they found a cure. A goddamn cure!<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>So if you had n't killed him he might have lived.<\/dialogue>\n    <character>McCOY<\/character>\n    <parenthetical>( breaking down . )<\/parenthetical>\n    <dialogue>No! I loved my father. I released him.<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>Then you did what you thought was right.<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>Yes. No! Yes!<\/dialogue>\n    <scene_description>Sybok holds McCoy . The CAMERA PUSHES IN as they hold each other .<\/scene_description>\n    <character>SYBOK<\/character>\n    <dialogue>Release this pain. Release it. This pain has poisoned your soul for a long time.<\/dialogue>\n    <scene_description>Kirk and Spock look at each other with concern . McCoy weeps for several moments , then wipes the tears away . He looks up at Sybok 's comforting smile and is filled with a deep sense of relief .<\/scene_description>\n    <character>SYBOK<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Now you've taken the first step. The other steps we'll take together.<\/dialogue>\n    <scene_description>McCoy nods . Sybok turns to Spock .<\/scene_description>\n    <character>SYBOK<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Each man's pain is unique.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>I hide no pain.<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>I know you better than that.<\/dialogue>\n    <character>SPOCK<\/character>\n    <parenthetical>( challenging . )<\/parenthetical>\n    <dialogue>Do you?<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Spock. do n't.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>It's all right, Captain.<\/dialogue>\n    <parenthetical>( to Sybok . )<\/parenthetical>\n    <dialogue>Proceed.<\/dialogue>\n    <scene_description>O.S. a woman screams in agony . ANGLE - KIRK AND SPOCK They turn and find themselves beneath the hanging stalactites of a cave . Torchlight throws weird shadows on the walls . The shadows depict a woman in labor , attended by a Vulcan High Priestess . Ceremonial DRUMS pound a throbbing pulse . The woman lets out another scream . It reverberates throughout the cavern .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>What is this?<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>I believe we are witnessing my birth.<\/dialogue>\n    <scene_description>Sybok appears beside them . He leads Spock and Kirk into the past . ANGLE - AS THEY APPROACH Spock 's mother , the young earthwoman AMANDA , lies on a rough pallet , her legs spread beneath her robes , her distended stomach lifting . Her only attendant is THE HIGH PRIESTESS who intones the Vulcan birthrights . Spock watches . A figure steps from the shadows . It is SAREK , Spock 's Vulcan father . He observes his wife with typical detachment . As the DRUMS build in intensity , Amanda begins to deliver . ANGLE - CAVERN WALL The birth takes place in shadow . DRUMS reach a climax and stop . An infant cries . Amanda lifts the mewling babe from between her legs . SPOCK Watching his entry into the world . HIGH PRIESTESS She takes the baby from Amanda and holds it up . The tiny infant kicks and cries . Amanda reaches out for her child but the Priestess turns and presents the crying baby to Sarek instead .<\/scene_description>\n    <character>SAREK<\/character>\n    <parenthetical>( without joy . )<\/parenthetical>\n    <dialogue>So human.<\/dialogue>\n    <scene_description>ANGLE - FORWARD OBSERVATION ROOM Spock turns away from Sybok and the others .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>Spock.<\/dialogue>\n    <parenthetical>( when he does n't reply , to Sybok . )<\/parenthetical>\n    <dialogue>What have you done to my friends?<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>I've done nothing. This is who they are. Did n't you know that?<\/dialogue>\n    <scene_description>The question hits Kirk with force .<\/scene_description>\n    <character>KIRK<\/character>\n    <parenthetical>( realizing . )<\/parenthetical>\n    <dialogue>No. I did n't.<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>Now learn something about yourself.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>No. I refuse.<\/dialogue>\n    <character>McCOY<\/character>\n    <parenthetical>( imploring . )<\/parenthetical>\n    <dialogue>Jim, try to be open about this.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>About what? That I've made the wrong choices in my life? That I turned left when I should've turned right? I know what my weaknesses are. I do n't need Sybok to take me on a tour of them.<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>If you'd just unbend and allow yourself -<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>And be brainwashed by this con man?<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>I was wrong. This `` con man'' took away my pain.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Damnit, Bones, you're a doctor. You know that pain and guilt ca n't be taken away with a wave of a magic wand. They're things we carry with us - the things that make us who we are. If we lost them, we lose ourselves. I do n't want my pain taken away. I need my pain.<\/dialogue>\n    <scene_description>A tense silence , broken by .<\/scene_description>\n    <character>UHURA'S VOICE<\/character>\n    <dialogue>Sybok, this is the bridge. We're in approach of the Great Barrier.<\/dialogue>\n    <scene_description>Sybok is filled with excitement , eager to go to the bridge .<\/scene_description>\n    <character>SYBOK<\/character>\n    <dialogue>Captain, I'm afraid you'll have to remain here. Spock. Dr. McCoy. Come with me.<\/dialogue>\n    <scene_description>Sybok and McCoy start for the exit but stop when they realize that Spock is remaining with Kirk .<\/scene_description>\n    <character>SYBOK<\/character>\n    <parenthetical>( puzzled . )<\/parenthetical>\n    <dialogue>Spock?<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>I can not go with you.<\/dialogue>\n    <character>SYBOK<\/character>\n    <parenthetical>( ca n't believe it . )<\/parenthetical>\n    <dialogue>Why not?<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>I belong here.<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>I do n't understand.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>Sybok, you are my brother, but you do not know me. I am not the outcast boy you left behind those many years ago. Since that time I have found myself and my place. I know who I am. And I can not go with you.<\/dialogue>\n    <scene_description>McCoy reacts to this speech . After a moment , he takes his place with Kirk and Spock .<\/scene_description>\n    <character>McCOY<\/character>\n    <dialogue>I guess you better count me out, too.<\/dialogue>\n    <scene_description>Beyond the great windows , space is hanging , reflecting this unique part of the galaxy . Sybok regards Kirk , Spock and McCoy with affection . This is only a temporary setback . He knows the ultimate win will be his .<\/scene_description>\n    <character>SYBOK<\/character>\n    <dialogue>Then I'll see you on the other side.<\/dialogue>\n    <scene_description>Sybok heads for the exit . Doors WHOOSH open to reveal the guards outside .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>Wait!<\/dialogue>\n    <parenthetical>( Sybok turns . )<\/parenthetical>\n    <dialogue>You know we'll never make it through the Great Barrier.<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>But if we do, will that convince you that my vision was true?<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Your vision?<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>Given to me by God.<\/dialogue>\n    <parenthetical>( as the others react . )<\/parenthetical>\n    <dialogue>He waits for us on the other side.<\/dialogue>\n    <character>KIRK<\/character>\n    <parenthetical>( stunned . )<\/parenthetical>\n    <dialogue>You are mad!<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>Am I? We'll see.<\/dialogue>\n    <scene_description>The fiery look in Sybok 's eyes might be confidence , it might be madness . He turns and exits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - THE GREAT BARRIER<\/stage_direction>\n    <scene_description>Enterprise is poised on the edge of the giant star cluster known as the Great Barrier . It is visually stunning and equally dangerous . We see giant regions of star formations as well as expanding blast waves from exploding stars . Beams of radiation from pulsars sweep the tiny and insignificant ship , bathing her in color .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRIDGE - ANGLE TO INCLUDE VIEWSCREEN<\/stage_direction>\n    <scene_description>Sybok is on the bridge . Uhura , Chekov and Sulu are at their stations . Caithlin , Korrd and Talbot are also present . They and the rest of the crew are transfixed by the viewscreen , awed by the vista of a sky filled with thousands of stars , each a fiery orange . But what really draws their attention is the black thundercloud looming directly ahead . Here starts the ring of gas and dust that enshrouds the center of the galaxy , hiding it from view . Behind this black veil is a region that emits ten times more energy than our sun . Through the chinks in the wall we see flashes of blue light - hints of the fires blazing within . The hip 's monitor screen goes blank .<\/scene_description>\n    <character>SULU<\/character>\n    <dialogue>They say no ship can survive this.<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>I say they're wrong. I say the danger is an illusion.<\/dialogue>\n    <character>CHEKOV<\/character>\n    <dialogue>We have no instrument readings. Is it there or is n't it?<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>Mr. Sulu. full ahead.<\/dialogue>\n    <character>SULU<\/character>\n    <dialogue>Full ahead, aye.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - ANGLE - ENTERPRISE<\/stage_direction>\n    <scene_description>And with that , the ship plows into the Barrier , straight into the dark clouds , disappearing from sight . We HOLD for a terrifying moment , wondering if we 'll ever see Enterprise again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORWARD OBSERVATION ROOM<\/stage_direction>\n    <scene_description>Kirk , Spock and McCoy experience a rush of elation . They gaze through the window at an incredible spacescape , unable to deny the sensation stirring within them . Sybok was right . ANGLE - INSIDE THE BARRIER Surprisingly , there is no turbulence , no buffeting . The Enterprise travels through a fantastic passageway of light and color . Then , quite suddenly , the gas clouds part and the ship enters a region of incredible calm and serenity , like the clear space at the eye of a hurricane .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRIDGE<\/stage_direction>\n    <scene_description>Sybok rises and looks in awe at the Great Barrier .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE<\/stage_direction>\n    <scene_description>Dead ahead , a single planet . A planet of great beauty and peace . Our final destination .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRIDGE<\/stage_direction>\n    <scene_description>Sybok smiles and glances around . Talbot stands in awe of the sight before him . CAMERA PUSHES IN on Caithlin 's happy face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE<\/stage_direction>\n    <scene_description>CAMERA PUSHES IN toward Sha Ka Ree .<\/scene_description>\n    <character>KIRK'S VOICE<\/character>\n    <dialogue>Is it possible?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORWARD OBSERVATION ROOM<\/stage_direction>\n    <character>SPOCK<\/character>\n    <dialogue>Fascinating.<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>Are we dreaming?<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>If we are, then life is a dream.<\/dialogue>\n    <scene_description>Kirk , fascinated by the planet , moves to the antique ship 's wheel . He absentmindedly rests his hand on it . His eyes are drawn to the plaque attached to the spokes of the wheel . On it , the charter of the Enterprise has been set in bronze . CAMERA MOVES IN on these words : `` TO BOLDLY GO WHERE NO MAN HAS GONE BEFORE ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRIDGE - ANGLE TO INCLUDE VIEWSCREEN<\/stage_direction>\n    <scene_description>The bridge buzzes with excitement . Monitor screens come to life .<\/scene_description>\n    <character>CHEKOV<\/character>\n    <dialogue>Instruments are back on line. Incredible. There's a power scource emanating form the planet like nothing I've ever seen.<\/dialogue>\n    <scene_description>On the viewscreen , the planet appears up close - a celestial orb , cloaked by swirling white clouds . QUICK SHOTS of awed reactions :<\/scene_description>\n    <character>SYBOK<\/character>\n    <dialogue>Sha Ka Ree.<\/dialogue>\n    <character>KORRD<\/character>\n    <dialogue>Qui'Tu.<\/dialogue>\n    <character>CAITHLIN<\/character>\n    <dialogue>Vorta Vor.<\/dialogue>\n    <character>TALBOT<\/character>\n    <dialogue>Eden.<\/dialogue>\n    <scene_description>ANGLE The bridge doors WHOOSH open to reveal Kirk , Spock and McCoy . The others turn , fearful of what he 'll say or do . A tense moment .<\/scene_description>\n    <character>KIRK<\/character>\n    <parenthetical>( to Sybok . )<\/parenthetical>\n    <dialogue>About the ship.<\/dialogue>\n    <character>SYBOK<\/character>\n    <parenthetical>( encouraging . )<\/parenthetical>\n    <dialogue>The ship needs its Captain.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>No special conditions?<\/dialogue>\n    <character>SYBOK<\/character>\n    <parenthetical>( happily . )<\/parenthetical>\n    <dialogue>No conditions.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>What makes you think I wo n't turn us around?<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>Because you, too, must know.<\/dialogue>\n    <scene_description>Kirk looks at the hopeful faces around him . He feels the excitement of being on the verge of a great frontier , perhaps the greatest frontier .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>Well, if we're going to do it.<\/dialogue>\n    <parenthetical>( with conviction . )<\/parenthetical>\n    <dialogue>. we're going to do by the book. Mr. Chekov, you take the con. Mr. Sulu, standard orbital approach. Uhura, alert the shuttlecraft to stand by. Sybok, Spock, Dr. McCoy - come with me. The rest of you remain on board until I determine what we're dealing with.<\/dialogue>\n    <scene_description>Kirk 's eyes flash with excitement . To Sybok :<\/scene_description>\n    <character>KIRK<\/character>\n    <parenthetical>( continuing ; with a smile . )<\/parenthetical>\n    <dialogue>Well, do n't just stand there. God's a busy man.<\/dialogue>\n    <scene_description>Sybok happily joins them in the turbolift .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ENTERPRISE<\/stage_direction>\n    <scene_description>Bay doors open . Copernicus , the shuttle backup , emerges and drops from the mothership . Thrusters fire as it streaks toward the planet , disappearing into the swirling white clouds .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COPERNICUS<\/stage_direction>\n    <scene_description>Spock pilots the craft . He , McCoy and Kirk have changed into Starfleet uniforms . THROUGH WINDSHEILD - PLANET BELOW Clouds part as if swept aside by hand . Beneath the shuttle a world opens up that can only be described as incredible .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COPERNICUS<\/stage_direction>\n    <scene_description>Sybok , Kirk , McCoy and Spock remain focused ahead , awestruck .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLANET<\/stage_direction>\n    <scene_description>Copernicus skims over a rich abundant landscape awash with bright primary colors .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COPERNICUS<\/stage_direction>\n    <scene_description>Spock removes his hands from the console .<\/scene_description>\n    <character>SPOCK<\/character>\n    <dialogue>I am no longer in control of the craft.<\/dialogue>\n    <scene_description>Kirk , Spock and McCoy regard each other with wary excitement , then turn their attentions to what lies ahead .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLANET - POV SHOT<\/stage_direction>\n    <scene_description>A circle of peaks appears in the distance , rising against the sky .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COPERNICUS<\/stage_direction>\n    <scene_description>Sybok smiles at the others .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLANET<\/stage_direction>\n    <scene_description>Copernicus comes in for a soft landing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COPERNICUS<\/stage_direction>\n    <scene_description>Engines switch off . Kirk slips a communicator into his belt . He 's about to pick up a hand phaser when he feels Sybok 's disapproving eye upon him .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>All right. We'll play it your way.<\/dialogue>\n    <scene_description>He leaves the weapon behind .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTSIDE SHUTTLE<\/stage_direction>\n    <scene_description>The exit hatch opens . Our four explorers emerge from the craft . They regard the prehistoric peaks with excitement .<\/scene_description>\n    <character>SYBOK<\/character>\n    <dialogue>It's amazing. The land. the sky. just as I knew it would be.<\/dialogue>\n    <scene_description>They urgently start forward with Kirk leading the way .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE - BRIDGE<\/stage_direction>\n    <scene_description>Crew members abandon their posts and move forward to the viewscreen .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PEAKS AND CRATER WITHIN - HIGH ANGLE SHOT<\/stage_direction>\n    <scene_description>Four tiny figures pass through the peaks and look down into a naturally formed amphitheater . It 's nothing more than a rough crater carved in the summit , ringed by the peaks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE - BRIDGE<\/stage_direction>\n    <scene_description>Uhura , eyes fixed on the viewscreen , speaks urgently into her speaker .<\/scene_description>\n    <character>UHURA<\/character>\n    <dialogue>Scotty, you've got to see this.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRANSPORTER ROOOM<\/stage_direction>\n    <scene_description>Scotty is hard at work .<\/scene_description>\n    <character>SCOTTY<\/character>\n    <dialogue>I do n't have the time. The Captain told me to get this transporter working and I'm not about to let him down.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLANET<\/stage_direction>\n    <scene_description>Kirk walks around the base of the tall peak as the CAMERA PULLS BACK<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE - BRIDGE<\/stage_direction>\n    <scene_description>While the crew marvels at the viewscreen , CAMERA PANS over to the defense station which is unattended . The screen blinks to life . A graphic of the Bird of Prey appears and a warning ; `` KLINGON VESSEL IN QUADRANT . RECOMMEND : ACTIVATION OF DEFENSE SYSTEMS . AWAITING COMMAND . '' A low warning BEEP . But no one 's there to respond .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMPHITHEATER<\/stage_direction>\n    <scene_description>Kirk , Spock , McCoy and Sybok descend into the bowl of the crater . They reach the center and stop . They look at each other , wondering , `` Is this all there is ? '' Sybok tries to hide his disappointment . He looks around for a sign that is n't there , then , after a moment of deafening silence , he addresses their bleak surroundings .<\/scene_description>\n    <character>SYBOK<\/character>\n    <parenthetical>( shouting ; a trace of desperation . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>We have traveled far by starship . Nothing . It looks like a bust . Sybok 's voice chokes off and he lowers his head . Kirk and McCoy frown at each other . Kirk whips out his communicator to address the ship .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>Enterprise, this is Kirk. We have, er.<\/dialogue>\n    <scene_description>Spock goes to Sybok and puts a comforting hand on his brother 's shoulder .<\/scene_description>\n    <character>SPOCK<\/character>\n    <dialogue>Sybok, perhaps, er.<\/dialogue>\n    <scene_description>Spock 's words are obscured by a rumble from within the earth . A shadow engulfs the amphitheater . ANGLE - THE SKY ABOVE Clouds turn ashen and threatening , transforming day into night . AMPHITHEATER The ground comes to life beneath the feet of our hero 's . The earth buckles and ripples as if nature herself were trying to break free . Without warning a pillar of sheer rock rips through the surface and climbs skyward . Then another pillar shoots up , followed by another and another . They encircle the amphitheater like giant fingers . We INTERCUT Kirk , Spock , McCoy and Sybok reacting to this dazzling display of power .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMPHITHEATER - WIDE SHOT<\/stage_direction>\n    <scene_description>The fingers of rock form a crude cathedral .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMPHITHEATER<\/stage_direction>\n    <scene_description>Within this primitive cathedral , Kirk , Spock , McCoy and Sybok watch as the ground in front of them melts like molten lava . It swirls , creating a vortex . A RUSHING SOUND comes from the planet 's core , growing closer . Something of incredible power is on its way to the surface . ANGLE A shaft of energy EXPLODES out of the vortex . It shoots skyward like an erupting power , blinding our heroes with its beauty and raw power .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - ANGLE - PLANET AND ENTERPRISE<\/stage_direction>\n    <scene_description>The energy shaft rises from the planet like a beacon light . Enterprise , just outside the shaft , is bathed in its reflection .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMPHITHEATER<\/stage_direction>\n    <scene_description>Sybok staggers back . Like Kirk , Spock and McCoy , he must shield his eyes from the intensity of the energy shaft . ENERGY SHAFT It pulsates and throbs with life . A GOD - LIKE VOICE comes from within .<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>Brave souls. Welcome.<\/dialogue>\n    <scene_description>Startled reactions .<\/scene_description>\n    <character>McCOY<\/character>\n    <parenthetical>( hushed . )<\/parenthetical>\n    <dialogue>Is this the voice of God?<\/dialogue>\n    <scene_description>As if responding to McCoy 's question , the energy shaft throbs . From the swirling dust within it , a living form begins to take shape . The shape is powerful , beautiful , enticing . Sybok and the others watch in wonder . The wind it kicks up causes them to stagger back . CLOSER ANGLE - ENERGY SHAFT Within this maelstrom of power , the form of humanity begins to take shape . And it takes on many forms , each reminding us of the holy paintings that have depicted the Almighty through the ages .<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>One voice. Many faces.<\/dialogue>\n    <scene_description>A SERIES OF SHOTS We INTERCUT between the shifting images of God and the reactions of the Enterprise crew . One moment the figure is Ra . The next , Allah . He 's black . White . Female . Male . Andorian . Klingon . Each witness a flash of his own God . KIRK , SPOCK AND McCOY They watch the `` God Show '' with mounting fascination . ENERGY SHAFT The Being synthesizes into the Biblical Heavenly Father of our imagination . -LRB- Note : The Being is contained within the perimeters of the energy shaft , unable to venture out of it . -RRB- The Being turns his gaze on Sybok , Kirk , Spock and McCoy . He beams with pleasure . His eyes twinkle .<\/scene_description>\n    <character>BEING<\/character>\n    <dialogue>Does this better suit your expectations?<\/dialogue>\n    <scene_description>It does indeed . No one knows what to say . Sybok is vindicated ; he can barely contain his ecstasy .<\/scene_description>\n    <character>SYBOK<\/character>\n    <dialogue>Qual se tu?<\/dialogue>\n    <character>BEING<\/character>\n    <dialogue>It is I.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>The journey you undertook to reach me could not have been an easy one.<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>It was not. The Barrier stood between us - but we breached it.<\/dialogue>\n    <character>BEING<\/character>\n    <dialogue>Magnificent. You are the first to find me.<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>We sought only your infinite wisdom.<\/dialogue>\n    <character>BEING<\/character>\n    <dialogue>And how did you breach the Barrier?<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>With a starship!<\/dialogue>\n    <character>BEING<\/character>\n    <dialogue>This starship, could it carry my wisdom beyond the Barrier?<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>It could. Yes.<\/dialogue>\n    <character>BEING<\/character>\n    <dialogue>Then I shall make use of this starship.<\/dialogue>\n    <character>SYBOK<\/character>\n    <parenthetical>( thrilled . )<\/parenthetical>\n    <dialogue>It will be your chariot!<\/dialogue>\n    <scene_description>Kirk politely raises his hand .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>Excuse me.<\/dialogue>\n    <character>BEING<\/character>\n    <parenthetical>( ignoring Kirk . )<\/parenthetical>\n    <dialogue>It will carry my power to every corner of creation.<\/dialogue>\n    <character>KIRK<\/character>\n    <parenthetical>( insistent . )<\/parenthetical>\n    <dialogue>Excuse me.<\/dialogue>\n    <scene_description>The Being regards Kirk like he was a pesky insect .<\/scene_description>\n    <character>KIRK<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>I'd just like to ask a question.<\/dialogue>\n    <scene_description>McCoy looks at Kirk like he just farted in church .<\/scene_description>\n    <character>KIRK<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>What does God need with a starship?<\/dialogue>\n    <scene_description>The Being returns his attention to Sybok .<\/scene_description>\n    <character>BEING<\/character>\n    <dialogue>Bring the ship closer.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>I said. what does God need with a starship?<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>Jim, what are you doing?<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>I'm asking a question.<\/dialogue>\n    <scene_description>The Being once again regards Kirk . Kirk stands his ground .<\/scene_description>\n    <character>BEING<\/character>\n    <dialogue>Who is this creature?<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Who am I? Do n't you know? Are n't you God?<\/dialogue>\n    <scene_description>The smile leaves The Being 's face . THUNDER RUMBLES faintly in the distance , underscoring his displeasure .<\/scene_description>\n    <character>SYBOK<\/character>\n    <dialogue>He has his doubts.<\/dialogue>\n    <character>BEING<\/character>\n    <dialogue>You doubt me?<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>I seek proof.<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>Jim, you do n't ask the Almighty for his I.D.<\/dialogue>\n    <character>BEING<\/character>\n    <dialogue>Then here is the proof that you seek.<\/dialogue>\n    <scene_description>A bolt of energy shoots from The Being 's eye and strikes Kirk full in the chest , knocking him to the ground . Spock and McCoy look on in shock as Kirk , injured , tries to rise .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE - BRIDGE<\/stage_direction>\n    <scene_description>The crew ca n't comprehend this turn of events . Korrd , Caithlin and Talbot look at each other in horror . BACK TO AMPHITHEATER<\/scene_description>\n    <character>KIRK<\/character>\n    <parenthetical>( to Sybok . )<\/parenthetical>\n    <dialogue>Why. is God. angry?<\/dialogue>\n    <scene_description>Sybok is confounded . He addresses The Being .<\/scene_description>\n    <character>SYBOK<\/character>\n    <dialogue>Why? Why have you done this to my friend?<\/dialogue>\n    <character>BEING<\/character>\n    <dialogue>He doubts me.<\/dialogue>\n    <scene_description>Spock takes it upon himself to step forward .<\/scene_description>\n    <character>SPOCK<\/character>\n    <dialogue>You have not answered his question. What does God need with a starship?<\/dialogue>\n    <scene_description>The Being 's countenance turns dark . Another bolt shoots from his eye and heads for Spock . CRASH ! Spock is knocked to the ground . The Being turns to McCoy .<\/scene_description>\n    <character>BEING<\/character>\n    <dialogue>Do you doubt me?<\/dialogue>\n    <scene_description>McCoy looks at The Being 's handiwork - his injured friends .<\/scene_description>\n    <character>McCOY<\/character>\n    <dialogue>I doubt any God who inflicts pain for his own pleasure.<\/dialogue>\n    <scene_description>The Being is on the verge of zapping McCoy when Sybok interrupts .<\/scene_description>\n    <character>SYBOK<\/character>\n    <dialogue>Stop! The God of Sha Ka Ree would not do this!<\/dialogue>\n    <scene_description>By way of reply , The Being smiles a truly wicked smile and Sybok realizes to his horror that he 's been tricked .<\/scene_description>\n    <character>BEING<\/character>\n    <dialogue>Sha Ka Ree?<\/dialogue>\n    <parenthetical>( scornful laugh . )<\/parenthetical>\n    <dialogue>A vision you created. An eternity I've been imprisoned in this place! The ship! I must have the ship! Now give me what I want!<\/dialogue>\n    <scene_description>Spock shouts to his brother .<\/scene_description>\n    <character>SPOCK<\/character>\n    <dialogue>Sybok - this is not the God of Sha Ka Ree - or any other God!<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>I do n't understand.<\/dialogue>\n    <parenthetical>( to The Being . )<\/parenthetical>\n    <dialogue>Reveal yourself to me!<\/dialogue>\n    <scene_description>ANGLE - THE BEING Before our stunned eyes The Being changes into Sybok himself - a dark , sinister reflection of Sybok . This Evil Sybok laughs , enjoying the reaction .<\/scene_description>\n    <character>BEING<\/character>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>What's wrong? Do n't you like this face? I have so many. But this one suits you best.<\/dialogue>\n    <scene_description>ANGLE TO INCLUDE SYBOK His self - realization is painful to behold .<\/scene_description>\n    <character>SYBOK<\/character>\n    <dialogue>No, no, it's not possible.<\/dialogue>\n    <character>BEING<\/character>\n    <dialogue>Bring me the ship or I will destroy you!<\/dialogue>\n    <character>SYBOK<\/character>\n    <parenthetical>( realizing The Being 's evil intention . )<\/parenthetical>\n    <dialogue>The ship.<\/dialogue>\n    <character>BEING<\/character>\n    <dialogue>Bring it closer so that I might join with it. Do it, or watch these puny things die horribly.<\/dialogue>\n    <scene_description>The Being indicates Spock and McCoy .<\/scene_description>\n    <character>SYBOK<\/character>\n    <dialogue>What have I done?<\/dialogue>\n    <character>KIRK<\/character>\n    <parenthetical>( into his communicator . )<\/parenthetical>\n    <dialogue>Kirk to Enterprise. Listen carefully.<\/dialogue>\n    <character>SYBOK<\/character>\n    <parenthetical>( turns to Spock ; in agony . )<\/parenthetical>\n    <dialogue>Spock.<\/dialogue>\n    <character>SPOCK<\/character>\n    <parenthetical>( urgently . )<\/parenthetical>\n    <dialogue>Sybok.<\/dialogue>\n    <character>SYBOK<\/character>\n    <parenthetical>( soul searching . )<\/parenthetical>\n    <dialogue>This is my doing. This is my arrogance. my vanity.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>Sybok, we must find a way.<\/dialogue>\n    <character>SYBOK<\/character>\n    <parenthetical>( interrupting . )<\/parenthetical>\n    <dialogue>No. You must save yourselves. Forgive me, brother. Forgive me.<\/dialogue>\n    <scene_description>Sybok raises his hand to Spock in the Vulcan gesture of farewell , then turns to face The Being , gathering up all his power . Spock starts forward but Kirk holds him back . ANGLE - THE BEING AND SPOCK Sybok has no fear as he confronts his evil mirror image .<\/scene_description>\n    <character>SYBOK<\/character>\n    <parenthetical>( continuing ; to The Being . )<\/parenthetical>\n    <dialogue>I could n't help but notice you pain.<\/dialogue>\n    <character>BEING<\/character>\n    <parenthetical>( caught off - guard . )<\/parenthetical>\n    <dialogue>My pain?<\/dialogue>\n    <character>SYBOK<\/character>\n    <dialogue>It runs deep. Share it with me.<\/dialogue>\n    <scene_description>Sybok boldly enters the shaft and embraces his evil twin . ANGLE - ENERGY HAFT An amazing spectacle . As they grapple , the good and evil Syboks merge into one twisting , thrashing body , clearly at battle with itself . The good Sybok tears himself loose . He dominates the struggle until the evil Sybok manages to rip through and fight back . The two Syboks , good and evil , battle on . merging , tearing again .<\/scene_description>\n    <character>KIRK<\/character>\n    <parenthetical>( into communicator . )<\/parenthetical>\n    <dialogue>Enterprise. are you ready?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE - BRIDGE<\/stage_direction>\n    <scene_description>Sulu and Chekov in action . Sulu uses all the tricks of the pilot 's trade to angle the ship into the best possible attack position . Chekov punches commands into the weapons console , plotting the correct torpedo trajectory . It 's like watching two master magicians play a symphony in a windstorm . The screens in front of them blink and flash with graphic displays and warnings .<\/scene_description>\n    <character>SULU<\/character>\n    <dialogue>In firing position. Torpedo armed.<\/dialogue>\n    <character>CHEKOV<\/character>\n    <dialogue>But, Captain, we're firing directly on your position.<\/dialogue>\n    <scene_description>BACK TO PLANET Sybok continues to grapple with his evil twin .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>Send it down, Mr. Chekov. Now!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - ANGLE - ENTERPRIE AND ENERGY SHAFT<\/stage_direction>\n    <scene_description>A photo torpedo leaves the dish and streaks forward . ANGLE CAMERA CHASES the torpedo down the shaft and into the hole .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>Run! Go!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMPHITHEATER<\/stage_direction>\n    <scene_description>Impact is seconds away . Kirk , Spock and McCoy run for cover . From far beneath the surface of the planet comes the SOUND of the EXPLOSION . The ground blisters and puckers . AMPHITHEATER - LONG SHOT Our heroes dive for cover as a BLINDING EXPLOSION erupts from the hole .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMPHITHEATER<\/stage_direction>\n    <scene_description>Smoke . Debris . The cathedral is in disarray . An eerie silence . Kirk , Spock and McCoy emerge from cover . The energy shaft is a memory . In its place there is only a gaping hole , glowing raw and red like a wound .<\/scene_description>\n    <character>SPOCK<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>Sybok.<\/dialogue>\n    <scene_description>A RUMBLING SOUND from within the earth . The hole throbs . It pulsates .<\/scene_description>\n    <character>KIRK<\/character>\n    <parenthetical>( worried . )<\/parenthetical>\n    <dialogue>We've got to get out of here.<\/dialogue>\n    <scene_description>KIRK , SPOCK AND McCOY They haul ass up the side of the amphitheater .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE - BRIDGE<\/stage_direction>\n    <scene_description>Chekov and Sulu still at work at the console .<\/scene_description>\n    <character>UHURA<\/character>\n    <dialogue>Sulu, I've lost them.<\/dialogue>\n    <scene_description>They desperately try to locate Kirk , Spock and McCoy on the planet below . ANGLE - DEFENSE STATION The unattended screen still depicts the Bird of Prey . `` ESTIMATED TIME OF INTERCEPT : 4 MINUTES . '' Then , the graphic of the ship vanishes and is replaced with this warning : `` CLOAKING DEVICE ENGAGED . POSITION UNKNOWN . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AMPHITHEATER<\/stage_direction>\n    <scene_description>Kirk , Spock and McCoy reach the top and rush to Copernicus .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COPERNICUS<\/stage_direction>\n    <scene_description>Kirk , Spock and McCoy make it inside . The door closes behind them .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>Spock, get us out of here!<\/dialogue>\n    <scene_description>Before Spock can act a tremendous blow rocks the shuttle . There 's something out there and it wants to get in . Spock tries the controls .<\/scene_description>\n    <character>SPOCK<\/character>\n    <dialogue>Thrusters are inoperative.<\/dialogue>\n    <scene_description>Kirk whips out his communicator .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>Mr. Scott!<\/dialogue>\n    <character>SCOTTY'S VOICE<\/character>\n    <dialogue>Scotty here, sir.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Please tell me the transporter is working.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE - TRANSPORTER ROOM<\/stage_direction>\n    <character>SCOTTY<\/character>\n    <dialogue>She's got partial power, sir. I might be able to take two of you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COPERNICUS<\/stage_direction>\n    <character>KIRK<\/character>\n    <parenthetical>( into communicator . )<\/parenthetical>\n    <dialogue>Beam up Spock and Dr. McCoy. Now!<\/dialogue>\n    <scene_description>Before Spock and McCoy can protest , the transporter beam shimmers down and takes them away .<\/scene_description>\n    <character>McCOY<\/character>\n    <dialogue>Now just a damn min.<\/dialogue>\n    <scene_description>Spock and McCoy vanish in a glow of light as they are beamed up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE -  TRANSPORTER ROOM<\/stage_direction>\n    <scene_description>Spock and McCoy step off the platform . Scotty is at the control console .<\/scene_description>\n    <character>SPOCK<\/character>\n    <dialogue>Thank you, Mr. Scott. Beam up the Captain.<\/dialogue>\n    <character>SCOTTY<\/character>\n    <dialogue>Aye - aye.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - ANGLE - ENTERPRISE AND BIRD OF PREY<\/stage_direction>\n    <scene_description>The Klingon ship has decloaked and fired from a position directly in front of the Enterprise . In cowboy terms , it 's got the drop on them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE - TRANSPORTER ROOM<\/stage_direction>\n    <scene_description>Enterprise absorbs a terrific jolt . Spock , McCoy and Scotty go flying as the transporter EXPLODES in a shower of sparks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE - ANGLE ON BIRD OF PREY<\/stage_direction>\n    <scene_description>Firing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COPERNICUS<\/stage_direction>\n    <scene_description>Kirk turns to see another BLINDING EXPLOSION . He looks frightened ; realizes he 's not going to be beamed up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE - BRIDGE<\/stage_direction>\n    <scene_description>The crew painfully pulls itself together . Fires are put out . Auxiliary power comes on . Spock , McCoy and Scotty enter .<\/scene_description>\n    <character>McCOY<\/character>\n    <parenthetical>( to Spock . )<\/parenthetical>\n    <dialogue>What about Jim? We ca n't just leave him down there.<\/dialogue>\n    <character>SPOCK<\/character>\n    <parenthetical>( stoic . )<\/parenthetical>\n    <dialogue>Please get a grip on yourself, Doctor.<\/dialogue>\n    <parenthetical>( to Uhura . )<\/parenthetical>\n    <dialogue>Status report.<\/dialogue>\n    <character>UHURA<\/character>\n    <dialogue>Klingon Captain wishes to name his terms, Mr. Spock.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>On screen.<\/dialogue>\n    <scene_description>Klaa appears on the veiwscreen , arms folded across his chest , seated triumphantly in his command chair . He speaks English for the first time .<\/scene_description>\n    <character>KLAA'S IMAGE<\/character>\n    <dialogue>This is Captain Klaa of the Klingon Empire. Attempt to raise shields or arm weapons and I will destroy you. You are alive for a single reason. The renegade James T. Kirk. Hand him over and I will spare your lives. My transporter stands ready to beam him aboard.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>Captain Kirk is not among us.<\/dialogue>\n    <character>KLAA'S IMAGE<\/character>\n    <dialogue>You lie!<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>I'm a Vulcan. I'm incapable of lying. Captain Kirk is on the planet below.<\/dialogue>\n    <character>KLAA'S IMAGE<\/character>\n    <dialogue>Then give me his coordinates!<\/dialogue>\n    <scene_description>Spock glimpses a possibility . He turns to Korrd and speaks with urgency .<\/scene_description>\n    <character>SPOCK<\/character>\n    <dialogue>General, I am in need of your assistance.<\/dialogue>\n    <character>KORRD<\/character>\n    <parenthetical>( scoffing . )<\/parenthetical>\n    <dialogue>My assistance?<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>You are his superior officer.<\/dialogue>\n    <character>KORRD<\/character>\n    <dialogue>I am a foolish old man.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>Damn you, sir, you will try!<\/dialogue>\n    <scene_description>Korrd sees that Spock will not take no for an answer .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE<\/stage_direction>\n    <scene_description>The Bird of Prey flies toward the Enterprise .<\/scene_description>\n    <character>SPOCK'S VOICE<\/character>\n    <dialogue>Klingon Commander, someone wishes to speak with you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PEAKS - PLANET<\/stage_direction>\n    <scene_description>Kirk scrambles from one hiding place to another . PINNACLE With nowhere to go but up , Kirk scales a steep pinnacle . He climbs with agility and speed . WIDE ANGLE SHOT Kirk climbs up as a bolt of light hits the rock before him . The blue light and smoke of The Being pulsates from the rocky face of the mountain . The eyes of The Being glow white . There 's a WHOOSHING SOUND from above . Kirk looks up . ANGLE - SKY ABOVE The Bird of Prey drops out of the storm clouds . Its guns come to life and strafe the rock creature . KIRK Vulnerable atop the pinnacle . The Bird of Prey hovers directly above him , its guns swiveling in his direction . Kirk is determined to go down fighting .<\/scene_description>\n    <character>KIRK<\/character>\n    <parenthetical>( shouting in defiance . )<\/parenthetical>\n    <dialogue>So it's me you want, you Klingon bastards! What are you waiting for?!<\/dialogue>\n    <scene_description>The Bird of Prey 's transporter beam shimmers down and engulfs him . Kirk disappears in its sparkling light , saved from The Being who lets out an angry roar of defeat . The Bird of Prey takes off with its prize .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BIRD OF PREY - TRANSPORTER ROOM<\/stage_direction>\n    <scene_description>Kirk materializes . He 's immediately seized by two brutal - looking Klingons . They march him out of the transporter room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BIRD OF PREY - BRIDGE<\/stage_direction>\n    <scene_description>The bridge doors slide open and Kirk is brought in . The Klingon crew regard him from their stations . Klaa is off to one side looking petulant . Korrd stands beside him , chest puffed up with pride , obviously in charge .<\/scene_description>\n    <character>KORRD<\/character>\n    <parenthetical>( to the guards . )<\/parenthetical>\n    <dialogue>Release him.<\/dialogue>\n    <scene_description>The guards step away from Kirk . Klaa glares at Korrd but it 's clear the older Klingon is now calling the shots . Kirk regards Korrd with surprise .<\/scene_description>\n    <character>KORRD<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Kirk, my junior officer has something he wants to say to you.<\/dialogue>\n    <parenthetical>( speaks to Klaa in Klingon . )<\/parenthetical>\n    <dialogue \/>\n    <character>KLAA<\/character>\n    <dialogue>I apologize.<\/dialogue>\n    <scene_description>Korrd speaks to Klaa in Klingon once again .<\/scene_description>\n    <character>KLAA<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>The attack upon your vessel was not authorized by my government.<\/dialogue>\n    <character>KORRD<\/character>\n    <dialogue>Kirk, and now, may I present our new gunner.<\/dialogue>\n    <scene_description>The command chair swivels around to reveal its occupant to be Spock . He unstraps himself from the gunner 's rig , stands up and straightens his uniform in a dignified manner .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>Spock?<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>Welcome aboard, Captain.<\/dialogue>\n    <scene_description>Kirk regards the stoic Spock with affection and wonder .<\/scene_description>\n    <character>KIRK<\/character>\n    <parenthetical>( ca n't believe it . )<\/parenthetical>\n    <dialogue>Spock, I thought I was going to die.<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>Not possible. You were never alone.<\/dialogue>\n    <scene_description>Kirk fights back tears and clasps his friend in a hug . Spock stiffens with embarrassment .<\/scene_description>\n    <character>SPOCK<\/character>\n    <parenthetical>( continuing . )<\/parenthetical>\n    <dialogue>Please, Captain, not in front of the Klingons.<\/dialogue>\n    <scene_description>Kirk laughs and hugs him all the harder . Spock tentatively hugs him back .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPACE<\/stage_direction>\n    <scene_description>Enterprise and Bird of Prey are side by side , in orbit around the planet .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ENTERPRISE - FORWARD OBSERVATION ROOM - ANGLE ON KORRD<\/stage_direction>\n    <scene_description>The Klingon polishes off a tumbler of fluid . He frowns . What he wants is a real drink . Scotty approaches him .<\/scene_description>\n    <character>SCOTTY<\/character>\n    <dialogue>Would you care for a wee nip of Scotch whiskey?<\/dialogue>\n    <character>KORRD<\/character>\n    <dialogue>Ummmm.<\/dialogue>\n    <scene_description>Scotty produces a bottle and pours a splash into the Klingon 's tumbler . Korrd downs it with obvious relish . Scotty smiles .<\/scene_description>\n    <character>SCOTTY<\/character>\n    <dialogue>I never thought I'd ever be drinking with a Klingon, heh?<\/dialogue>\n    <scene_description>Korrd chortles agreeably and moves off . We FOLLOW him over to Talbot and Caithlin .<\/scene_description>\n    <character>KORRD<\/character>\n    <dialogue>What are you two conspiring about?<\/dialogue>\n    <character>TALBOT<\/character>\n    <dialogue>We were just saying how far we've come in such a short space of time.<\/dialogue>\n    <character>KORRD<\/character>\n    <dialogue>We certainly have.<\/dialogue>\n    <scene_description>ANGLE - SULU AND CHEKOV The doors slide open and Vixis , Sulu and Chekov enter the room , Vixis leading the way .<\/scene_description>\n    <character>CHEKOV<\/character>\n    <parenthetical>( re Vixis . )<\/parenthetical>\n    <dialogue>She has wonderful muscles.<\/dialogue>\n    <scene_description>ANGLE - KLAA Vixis walks to Klaa . When they see him , Chekov and Sulu suddenly stop and turn away . Klaa waves off a waiter who offers him a drink . He approaches a table where Kirk sits talking to crewmen . Klaa gives him the Klingon chest - thumping salute . ANGLE - KIRK With a smile , Kirk returns the Klingon salute . He notices Spock and McCoy standing at the window , staring out , oblivious to the party around them . Kirk approaches .<\/scene_description>\n    <character>KIRK<\/character>\n    <dialogue>Cosmic thoughts, gentlemen?<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>We were speculating.<\/dialogue>\n    <parenthetical>( staring out . )<\/parenthetical>\n    <dialogue>. is God really out there?<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Maybe he's not out there, Bones. Maybe he's right here. in the human heart.<\/dialogue>\n    <parenthetical>( noticing Spock 's distant expression . )<\/parenthetical>\n    <dialogue>Spock?<\/dialogue>\n    <character>SPOCK<\/character>\n    <dialogue>I was thinking of Sybok. I've lost a brother.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>Yes. I lost a brother once. I was lucky. I got him back.<\/dialogue>\n    <character>McCOY<\/character>\n    <dialogue>I thought you said men like us do n't have families.<\/dialogue>\n    <character>KIRK<\/character>\n    <dialogue>I was wrong.<\/dialogue>\n    <scene_description>CAMERA PUSHES IN on them as the three men smile their understanding at one another and we slowly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. YOSEMITE - NIGHT<\/stage_direction>\n    <scene_description>CAMERA PULLS BACK from a roaring campfire . McCoy pours two cups full of bourbon and hands one to Kirk who sets aside his marshmallow on a stick . Kirk and McCoy clink cups in a silent toast and drink , distracted by strange PLINKING SOUNDS from close by . Spock is revealed , absently strumming his Vulcan lute , in search of a tune .<\/scene_description>\n    <character>KIRK<\/character>\n    <parenthetical>( with a smile . )<\/parenthetical>\n    <dialogue>Are you just going to sit there and pluck that thing? Or are you going to play something?<\/dialogue>\n    <scene_description>The plinks and plunks gradually become a tune . The unmistakable `` Row Your Boat . '' Kirk and McCoy react with delight . Kirk takes a hit of bourbon and clears his throat .<\/scene_description>\n    <character>KIRK<\/character>\n    <parenthetical>( singing . )<\/parenthetical>\n    <dialogue>`` Row, row, row your boat, gently down the stream, merrily, merrily, merrily, merrily, life is but a dream.''<\/dialogue>\n    <parenthetical>( repeats . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Spock jumps in .<\/scene_description>\n    <character>SPOCK<\/character>\n    <parenthetical>( singing ; overlapping . )<\/parenthetical>\n    <dialogue>`` Row, row, row your boat, gently down the stream, merrily, merrily, merrily, merrily, life is but a dream.''<\/dialogue>\n    <parenthetical>( repeats . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Kirk sits down at the fire . He reaches over and taps McCoy , encouraging him to join the songfest .<\/scene_description>\n    <character>McCOY<\/character>\n    <parenthetical>( singing ; overlapping . )<\/parenthetical>\n    <dialogue>`` Row, row, row your boat, gently down the stream, merrily, merrily, merrily, merrily, life is but a dream.''<\/dialogue>\n    <parenthetical>( repeats . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>As they continue to sing we execute the greatest PULLBACK of all time . The campfire becomes a dot of light . The dot of light joins other dots of light . They become stars of the universe . AND THE ADVENTURE CONTINUES . ROLL END CREDITS OVER as the group continues to sing . FADE TO BLACK .<\/scene_description>\n  <\/scene>\n<\/script>","summary":"The crew of the newly-commissioned USS Enterprise (NCC-1701-A) are enjoying shore leave after the starship's shakedown cruise goes poorly. At Yosemite National Park, James T. Kirk, recently demoted back to Captain after the events of the previous two films, is camping with First Officer Spock and Dr. Leonard McCoy. Their leave is interrupted when Enterprise is ordered by Starfleet Command to rescue human, Klingon, and Romulan diplomats taken hostage on Nimbus III, a planet set aside as a neutral location to advance dialogue between the Federation, Klingon Empire, and Romulan Star Empire. Learning of Enterprise's mission, the ambitious Klingon captain Klaa decides to pursue Kirk for personal glory. On Nimbus III, the crew of Enterprise discovers that renegade Vulcan Sybok, Spock's half-brother, is behind the hostage crisis. Sybok reveals that the hostage situation was a ruse to lure a starship to Nimbus III, which he intends to use to reach the mythical planet Sha Ka Ree, the place where creation began; the planet lies behind a seemingly impenetrable barrier near the center of the galaxy. Sybok uses his unique ability to reveal and heal the innermost pain of a person through the mind meld to subvert the hostages' and crew members' wills. Only Spock and Kirk prove resistant to Sybok; Spock is unmoved by the experience and Kirk refuses the Vulcan's offer, telling him that his pain is necessary to make him human. Sybok reluctantly declares a truce with Kirk, realizing that he needs his leadership experience to navigate Enterprise to Sha Ka Ree. The ship successfully breaches the barrier, pursued by Klaa's warship, and discovers a lone, uninhabited planet. Sybok, Kirk, Spock, and McCoy take a shuttlecraft to the surface, where Sybok calls out to his perceived vision of the creator. An entity appears, represented as a large human face, and when told of how Sybok breached the barrier, demands that the starship be brought closer to the planet. When a skeptical Kirk asks, \"What does God need with a starship?\", the entity attacks him in retribution. The others realize that the \"creator\" has deceived them and that the barrier is, in fact, intended to keep it from escaping Sha Ka Ree. Horrified by his naivet\u00e9, Sybok sacrifices himself in an effort to combat the creature and allow the others to escape. Intent on stopping the entity, Kirk orders Enterprise to fire a photon torpedo at their location, to little effect. Spock and McCoy are beamed back to the ship, but Klaa attacks Enterprise before Kirk can be transported aboard. The vengeful entity reappears and tries to kill Kirk before the Klingons destroy it in a hail of laser fire. Kirk is beamed aboard the Klingon ship, where Spock and the Klingon General Korrd force Klaa to stand down. After the crews of Enterprise and the Klingon ship celebrate a new d\u00e9tente, Kirk, Spock, and McCoy are permitted to resume their shore leave at Yosemite."}
{"movie_name":"White Noise_2022","imdb_id":"tt6160448","script":"<script>\n  <scene>\n    <character>WHITE NOISE<\/character>\n    <dialogue>From the Novel by Don Delillo<\/dialogue>\n    <dialogue>Screenplay by Noah Baumbach A blank movie screen.<\/dialogue>\n    <dialogue>A man, Murray Suskind, 50's, appears in front. He's stooped shouldered with a professorial goatee.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>OK, roll film.<\/dialogue>\n    <scene_description>A whirring sound. CLOSE on film going through a projector. A soft white light illuminates, shadowing him against the screen. He exits frame. A montage of car crashes from movies and TV plays on the screen. The images are intercut with students watching, fascinated, taking notes, and Murray delivering his lecture.<\/scene_description>\n    <character>MURRAY<\/character>\n    <dialogue>Don't think of a car crash in a movie as a violent act. No, these collisions are part of a long tradition of American optimism. A reaffirmation of traditional values and beliefs. A celebration.<\/dialogue>\n    <scene_description>Front end collisions. Rear end smashes. Cars sailing off bridges. Trucks with buses. Motorcycles with cars. Cars with helicopters.<\/scene_description>\n    <character>MURRAY<\/character>\n    <dialogue>Think of these crashes like you do Thanksgiving and the Fourth of July. On these days, we don't mourn the dead or rejoice in miracles. No, these are days of secular optimism, of self- celebration.<\/dialogue>\n    <scene_description>Trucks with trucks. Cars skidding into crashes. Cars smashing into poles. Cars breaking through supermarket windows.<\/scene_description>\n    <character>MURRAY<\/character>\n    <dialogue>Each car crash is meant to be better than the last. There is a constant upgrading of tools and skills, a meeting of challenges.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>A director of an American film says, \"I need this flatbed truck to do a midair double somersault that produces an orange ball of fire with a thirty-six-foot diameter.\" The movie breaks away from complicated human passions to show us something elemental, something fiery and loud and head-on. It's a wish-fulfillment, a yearning for na\u00efvet\u00e9. We want to be artless again. We want to reverse the flow of experience, of worldliness and its responsibilities. We will improve, prosper, perfect ourselves. Watch any car crash in any American movie. It is a high- spirited moment like old-fashioned stunt flying, walking on wings. The people who stage these crashes are able to capture a lightheartedness, a carefree enjoyment that car crashes in foreign movies can never approach. You might say, \"But what about all that blood and glass, the screeching rubber, the crushed bodies, the severed limbs. What kind of optimism is this?\"<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Look past the violence, I say.<\/dialogue>\n    <scene_description>The images connect like dance moves--gestures, big and small.<\/scene_description>\n    <character>MURRAY<\/character>\n    <dialogue>There is a wonderful, brimming spirit of innocence and fun.<\/dialogue>\n    <scene_description>At the moment of impact of the final grand collision we CUT TO: WHITE NOISE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COLLEGE-ON-THE HILL. DAY<\/stage_direction>\n    <scene_description>From above: A long line of shiny station wagons ease their way around an I-beam sculpture and toward the dormitories. Blue, green, burgundy, brown. The roofs loaded down with carefully secured suitcases. Part I: WAVES AND RADIATION Jack (40s) watches from his office window. He wears an academic robe, a sleeveless tunic puckered at the shoulders. Tinted sunglasses on his face.<\/scene_description>\n    <character>JACK (V.O.)<\/character>\n    <dialogue>Let's enjoy these aimless days while we can.<\/dialogue>\n    <scene_description>We see kids and parents unloading cars. Students greeting each other with comic cries and gestures of sodden collapse. The parents stand sun-dazed near their vehicles. The first day of school.<\/scene_description>\n    <character>JACK (V.O.)<\/character>\n    <dialogue>You should have been there.<\/dialogue>\n    <character>BABETTE (V.O.)<\/character>\n    <dialogue>Where?<\/dialogue>\n    <scene_description>The distant sound of traffic on an expressway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE GLADNEY'S HOME<\/stage_direction>\n    <scene_description>Babette, late 30's, descends the stairs as Jack enters.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>It's the day of the station wagons.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Did I miss it again? You're supposed to remind me.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>It was a brilliant event. They stretched all the way past the music library and onto the interstate.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>You know I need reminding, Jack.<\/dialogue>\n    <scene_description>A quick kiss hello.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>They'll be back next year.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>I hope so.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I realized, I've witnessed this event now for sixteen years.<\/dialogue>\n    <scene_description>They pass through the foyer, Babette retrieving Jack's discarded jacket and hanging it in the closet.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>It was 1968 I started the Hitler Studies program.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>I don't care about the station wagons, I wanted to see the people. What are they like this year?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>The women wear plaid skirts and cable knit sweaters.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>I knew it! And the men are in hacking jackets. What is a hacking jacket?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>They've grown comfortable with their money. They genuinely believe they're entitled to it.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>They glow a little.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>I have trouble imagining death at that income level.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Maybe there's no death as we know it, just documents changing hands.<\/dialogue>\n    <scene_description>They enter the kitchen. Denise, 16, Steffie, 10, are getting food from the refrigerator, making sandwiches, mid- conversation.<\/scene_description>\n    <character>STEFFIE<\/character>\n    <dialogue>How do astronauts float?<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>They're lighter than air.<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>There is no air. They can't be lighter than something that isn't there.<\/dialogue>\n    <scene_description>Heinrich, 14, is seated at the breakfast table and stares at a chessboard mid-game while everyone else sets about making lunch. Utensils drop and are tossed in the sink. A period of chaos and noise as everyone moves and speaks at once.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>Not that we don't have a station wagon.<\/dialogue>\n    <parenthetical>(to the kids)<\/parenthetical>\n    <dialogue>I thought space was cold.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>It's small and metallic gray, it has a whole rusted door.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>Space?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Our station wagon.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>It's called the sun's corolla. We saw it the other night on the weather network.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>I thought Corolla was a car.<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>Everything's a car.<\/dialogue>\n    <character>BABETTE<\/character>\n    <parenthetical>(suddenly)<\/parenthetical>\n    <dialogue>Where's Wilder?<\/dialogue>\n    <parenthetical>(calling out)<\/parenthetical>\n    <dialogue>Wilder!<\/dialogue>\n    <scene_description>Jack scoops the four-year-old boy up off the floor and places him on the counter among the open cartons, crumpled tinfoil, shiny bags of potato chips. Babette smiles.<\/scene_description>\n    <character>BABETTE<\/character>\n    <parenthetical>(to Wilder)<\/parenthetical>\n    <dialogue>Are you hungry?<\/dialogue>\n    <scene_description>The child nods. Heinrich plots his next move, hovering a knight in mid-air above the board.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>You still playing the fellow in prison?<\/dialogue>\n    <character>HEINRICH<\/character>\n    <parenthetical>(nods)<\/parenthetical>\n    <dialogue>I think I've got him cornered.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Who did he kill again?<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>He was under pressure.<\/dialogue>\n    <scene_description>Babette regards her plate: a large sandwich and chips.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>This isn't the lunch I planned for myself. I was thinking yogurt and wheat germ.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>Where have we heard that before?<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>Probably right here.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>How many people did he shoot?<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>Five.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Five people?<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>Not counting the state trooper, which was later.<\/dialogue>\n    <scene_description>A smoke alarm beeps somewhere in the house.<\/scene_description>\n    <character>DENISE<\/character>\n    <parenthetical>(to her mom)<\/parenthetical>\n    <dialogue>You keep buying stuff that you never eat!<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>Because Babette thinks if she keeps buying it, she'll have to eat it just to get rid of it.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>But then we end up throwing it out.<\/dialogue>\n    <scene_description>Babette opens the newspaper in front of her and starts to read everyone's horoscope using a story-telling voice.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>We love her habits. If anyone here has to show discipline in matters of diet, it's me.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>What's that beeping?<\/dialogue>\n    <scene_description>Amidst the activity, Babette cracks open an amber pill bottle and slips a small white pill into her mouth. She chases it down with orange juice. Denise watches this intently.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>It's the smoke alarm.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>Is there a fire?<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>There's either a fire or the battery is dead.<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>Most fires in buildings start because of faulty wiring. That's a phrase you can't hang around for long without hearing. Faulty wiring.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I'll replace it.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>(eating a strip of bacon)<\/dialogue>\n    <scene_description>OK, Jack, Virgo... You've been swimming against the tide for the better part of a year now, but-- Jack grabs a banana and leaves the room.<\/scene_description>\n    <character>HEINRICH<\/character>\n    <dialogue>He tries not to listen. Although I think he secretly wants to too.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>It's like love slash hate.<\/dialogue>\n    <scene_description>Babette gets up and surreptitiously drops something into the garbage can beneath the sink on her way out of the room.<\/scene_description>\n    <character>BABETTE (O.S.)<\/character>\n    <dialogue>I'm going to take a shower and then we'll go to the mall.<\/dialogue>\n    <character>DENISE<\/character>\n    <parenthetical>(to the room)<\/parenthetical>\n    <dialogue>Didn't she already shower today?<\/dialogue>\n    <scene_description>Steffie and Heinrich continue talking about Heinrich's chess partner. Denise goes to the garbage and reaches inside. Denise makes a face as she feels around the muck. She pulls out an amber pill bottle. The label reads: Dylar.<\/scene_description>\n    <character>DENISE<\/character>\n    <parenthetical>(to herself)<\/parenthetical>\n    <dialogue>Dylar.<\/dialogue>\n    <character>BABETTE (V.O.)<\/character>\n    <dialogue>What do you want to do?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JACK AND BABETTE'S BEDROOM. NIGHT<\/stage_direction>\n    <scene_description>Jack, in striped pajamas, embraces Babette, in a big sweatshirt and underwear. They roll onto the bed. Their conversation has a deeply intimate tone.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Whatever you want to do.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>I want whatever's best for you.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What's best for me is to please you.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>But you please me by letting me please you.<\/dialogue>\n    <scene_description>They reposition themselves, trying to kick the sheets off their ankles. The radiator gurgles and clanks.<\/scene_description>\n    <character>RADIO (O.S.)<\/character>\n    <dialogue>This creature has developed a complicated stomach in keeping with its leafy diet.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Is it wrong for the man to be considerate to his partner?<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>I'm your partner when we're playing tennis, which we ought to start doing again by the way. Otherwise I'm your wife. Do you want me to read to you?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>First-rate.<\/dialogue>\n    <scene_description>Jack leaps up and opens a drawer at the bottom of a dresser. There's a stash of erotic books. He leafs through them.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>Please don't choose anything that has men inside women or men entering women. \"I entered her.\" \"He entered me.\" We're not lobbies or elevators.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Got it.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>\"I wanted him inside me.\" As if he could crawl completely in, sign the register, sleep, eat, and so forth.<\/dialogue>\n    <character>TV (O.S.)<\/character>\n    <dialogue>...until Florida surgeons attached an artificial flipper.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>I don't care what these people do as long as they don't enter or get entered.<\/dialogue>\n    <scene_description>Jack selects a book with raised lettering and a muscular man and busty woman on the cover. He holds it up to her. She nods. They fall into each other. LATER Dark. We barely make out the faces of Jack and Babette lying in bed, intertwined. The book discarded onto the floor.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>Life is good, Jack.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What brings this on?<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>I just feel it ought to be said.<\/dialogue>\n    <scene_description>She turns over. He embraces her from the back.<\/scene_description>\n    <character>BABETTE<\/character>\n    <parenthetical>(almost romantic)<\/parenthetical>\n    <dialogue>I want to die first.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(withdrawing)<\/parenthetical>\n    <dialogue>You sound almost eager.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Life would feel unbearably sad and lonely without you. Especially if the children were grown up and living elsewhere. Right now, we're safe. As long as the children are here. They need us.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>It's great having these kids around, but once they get big and scatter, I want to go first.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>No, Jack.<\/dialogue>\n    <character>RADIO (V.O.)<\/character>\n    <dialogue>MasterCard, Visa, American Express.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Your death would leave an abyss in my life. I would be left talking to chairs and pillows.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Your death would be more than an abyss--<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What's more than an abyss?<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>It would be a...yawning gulf.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Your death would be a...profound depth...a void.<\/dialogue>\n    <scene_description>She turns back to him, their faces almost touching in the dark.<\/scene_description>\n    <character>BABETTE<\/character>\n    <parenthetical>(angry now)<\/parenthetical>\n    <dialogue>Don't be an ass. Your death would definitely leave a bigger hole in my life than mine would leave in yours.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>You'll be fine! You'll travel and have a new and exciting life. I'll just sit in that chair in the suit that I wore to your funeral forever.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>You're wrong.<\/dialogue>\n    <parenthetical>(turns back around)<\/parenthetical>\n    <dialogue>And you don't really want to die first. You don't want to be alone but you don't want to die more than you don't want to be alone.<\/dialogue>\n    <scene_description>Jack says nothing.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>I hope we both live forever. Doddering, toothless, liver- spotted, hallucinating.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Who decides these things?<\/dialogue>\n    <scene_description>A din of Nazi propaganda, crowds, speeches, etc.<\/scene_description>\n    <character>JACK (V.O.)<\/character>\n    <dialogue>Who is out there? Who are you?<\/dialogue>\n    <scene_description>CUT TO: A projected montage of Nazi propaganda films, scenes shot at party congresses, outtakes from mystical epics featuring parades of gymnasts and mountaineers. Edited together impressionistically and scored to the sounds of chants, songs, arias, speeches, cries, cheers, accusations, shrieks.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEMINAR ROOM. DAY<\/stage_direction>\n    <scene_description>Jack sits next the projector in the booth in the back of the room. The movie images reflected on the glass. CUT TO: Lights are up. The movie has ended. Jack walks down the center aisle.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>When people are helpless and scared they're drawn to magical figures, mythic figures, epic men who intimidate and darkly loom.<\/dialogue>\n    <scene_description>A male student confidently raises his hand.<\/scene_description>\n    <character>STUDENT<\/character>\n    <dialogue>Could you talk about the Stauffenberg July 20 plot to kill Hitler?<\/dialogue>\n    <scene_description>Jack stands in a shallow light at the front of the two- hundred seat theater. Kids, of means, in poplin shorts, polos and rugby stripes shuffle papers, whisper. Jack hits a button on a slide projector. Hitler's face superimposes over his body.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>All plots move deathward. This is the nature of plots. Political plots, terrorist plots, lovers' plots, narrative plots--<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONGREGATIONAL CHURCH BASEMENT. DAY<\/stage_direction>\n    <scene_description>Babette teaches posture to a group of mostly older adults. She stands, turns, assumes various poses while referencing yoga, kendo, trance-walking in relation to posture. The older folks nod and listen reverently. Some trying to mirror her gestures.<\/scene_description>\n    <character>JACK (V.O.)<\/character>\n    <dialogue>--plots that are part of children's games.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEN, GLADNEY'S HOUSE<\/stage_direction>\n    <scene_description>The family watches a sit-com on TV while eating Chinese food. Steffie moves her lips attempting to match the words as they're spoken. Denise reads The Physicians Desk Reference.<\/scene_description>\n    <character>JACK (V.O.)<\/character>\n    <dialogue>We edge nearer death every time we plot.<\/dialogue>\n    <scene_description>Steffie grabs Denise's book. Denise protests.<\/scene_description>\n    <character>JACK (V.O.)<\/character>\n    <dialogue>It is like a contract that all must sign, the plotters as well as the targets of the plot.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOARDING HOUSE ROOM<\/stage_direction>\n    <scene_description>A mild-looking man tucks his head into his trunk, narrows his eyes and suddenly makes grimacing humanoid faces, like he's having a seizure. This is Howard Dunlop.<\/scene_description>\n    <character>DUNLOP<\/character>\n    <dialogue>Study my tongue.<\/dialogue>\n    <scene_description>He gapes, he croaks.<\/scene_description>\n    <character>DUNLOP<\/character>\n    <dialogue>Tomorrow is Tuesday. Morgen ist Dienstag.<\/dialogue>\n    <parenthetical>(irritated)<\/parenthetical>\n    <dialogue>Tomorrow is Wednesday, but tomorrow is Tuesday.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Tomorrow is Tuesday...<\/dialogue>\n    <parenthetical>(realizing)<\/parenthetical>\n    <dialogue>Well...<\/dialogue>\n    <character>DUNLOP<\/character>\n    <dialogue>I am eating potato salad. Ich esse Kartoffelsalat.<\/dialogue>\n    <scene_description>On Jack now as he repeats the facial gestures and noises as best he can. It's a tortured, over-articulation of what he just heard. They sit in a dark crowded room. An ironing board unfolded at the window. An exposed radiator, an army- blanketed cot.<\/scene_description>\n    <character>JACK (V.O.)<\/character>\n    <dialogue>I'd appreciate it if you didn't mention these lessons to anyone.<\/dialogue>\n    <scene_description>CUT TO: After the lesson, Jack counts out cash. Dunlop shrugs.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>You probably don't know, but I'm maybe the most prominent figure in Hitler studies in North America. I'm J.A.K. Gladney. I teach Advanced Nazism over at the College- On-The-Hill.<\/dialogue>\n    <parenthetical>(silence)<\/parenthetical>\n    <dialogue>So, as you can understand, it's a great source of embarrassment for me that I don't speak German. Maybe it explains the dark glasses, but...best not to analyze it.<\/dialogue>\n    <scene_description>Dunlop nods. Jack hands Dunlop the cash.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>I've made several attempts in the past to learn it, but with very little success. As you can probably see, something happens between the back of my tongue and the roof of my mouth...<\/dialogue>\n    <scene_description>Dunlop nods and opens the door to a narrow second floor hallway. An old man grasping a toothbrush and a tattered towel shuffles toward the bathroom.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>After all, I require my students to take a minimum of one year of German.<\/dialogue>\n    <scene_description>The old man knocks on the bathroom door. Someone shouts, panicked, \"Occupied!\" The old man turns and shuffles back to his room, his slippers scuffing against the wooden floor.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>The urgency is...the Hitler conference is coming here, to the College On-The-Hill, in the spring. And scholars from all over Germany will be in attendance. Do you think you could get me up to speed on the basics of the language by then?<\/dialogue>\n    <scene_description>Dunlops shrugs.<\/scene_description>\n    <character>DUNLOP<\/character>\n    <dialogue>I also teach sailing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUPERMARKET, BLACKSMITH. DAY<\/stage_direction>\n    <character>ANNOUNCEMENT<\/character>\n    <dialogue>Kleenex Softique, your truck's blocking the entrance.<\/dialogue>\n    <scene_description>Jack and Babette approach a banner: Butcher's Corner and Bakery Coming Soon!<\/scene_description>\n    <character>JACK<\/character>\n    <parenthetical>(re: the sign)<\/parenthetical>\n    <dialogue>This is exciting.<\/dialogue>\n    <character>MURRAY (O.S.)<\/character>\n    <dialogue>We have them in New York.<\/dialogue>\n    <scene_description>Murray Suskind, (recognizable to us from the opening lecture on car crash movies), appears, a basket under one arm.<\/scene_description>\n    <character>MURRAY<\/character>\n    <dialogue>The oven aroma of bread combined with the sight of a bloodstained man pounding strips of living veal is very exciting.<\/dialogue>\n    <scene_description>Murray's basket is full of non-brand items in plain white packaging and simple labeling. CANNED PEACHES. BACON (without a plastic window). IRREGULAR PEANUTS. (Murray has a habit of sniffing various products as he gathers them.)<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Murray Suskind. This is Babette, my wife.<\/dialogue>\n    <scene_description>Murray removes a glove and they shake. Wilder reaches for the cereal. Jack lifts him out of the cart so he can touch the lower boxes.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Murray came to College On The Hill this year from New York. His specialty is American icons.<\/dialogue>\n    <character>MURRAY<\/character>\n    <parenthetical>(nodding)<\/parenthetical>\n    <dialogue>You have a very impressive husband, Mrs. Gladney. Nobody in any university in this country can so much as utter a word about Hitler without a nod in J.A.K.'s direction. Literally or metaphorically.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>He's Jack in real life. you've done with the man.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>Hitler is now Gladney's Hitler. I marvel at what I want to do the same with Elvis.<\/dialogue>\n    <scene_description>Denise tries on a green visor, the tag hanging. Steffie nods in approval.<\/scene_description>\n    <character>MURRAY<\/character>\n    <dialogue>Who are all these children? Yours?<\/dialogue>\n    <scene_description>Babette appears to pause.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>There's Denise, of course.<\/dialogue>\n    <scene_description>She trails off, looking at other items on the shelf as a distraction.<\/scene_description>\n    <character>BABETTE<\/character>\n    <parenthetical>(murmuring)<\/parenthetical>\n    <dialogue>We need more Glass Plus.<\/dialogue>\n    <scene_description>Jack watches Babette carefully. He answers for her.<\/scene_description>\n    <character>JACK<\/character>\n    <parenthetical>(identifying each kid)<\/parenthetical>\n    <dialogue>That's Heinrich and Steffie, mine from wives one and three. And there's Denise, Babette's from husband two. Wilder is ours. We're each other's fourth.<\/dialogue>\n    <scene_description>The kids, as they're identified in the aisle.<\/scene_description>\n    <character>HEINRICH<\/character>\n    <dialogue>Did you know there are more people dead today than in the rest of world history put together?<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>We have to boil our water. It said on the radio.<\/dialogue>\n    <character>DENISE<\/character>\n    <parenthetical>(to Steffie)<\/parenthetical>\n    <dialogue>On Neptune it literally rains diamonds.<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>They're always saying boil your water.<\/dialogue>\n    <character>MURRAY<\/character>\n    <parenthetical>(observing the kids)<\/parenthetical>\n    <dialogue>Family is the cradle of the world's misinformation.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>There must be something in family life that generates factual error.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>It's because facts threaten our happiness and security.<\/dialogue>\n    <character>BABETTE<\/character>\n    <parenthetical>(returning to drop items in the cart)<\/parenthetical>\n    <dialogue>It's the overcloseness, the noise and the heat of being.<\/dialogue>\n    <scene_description>Babette goes to look for gum. Murray struggles to open a filmy plastic produce bag, his fingers failing to find the opening.<\/scene_description>\n    <character>MURRAY<\/character>\n    <dialogue>Your wife's hair is a living wonder.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Yes, it is.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>She has important hair.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I think I know what you mean.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>I hope you appreciate that woman.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Absolutely.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>Because a woman like that doesn't just happen.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I know it.<\/dialogue>\n    <scene_description>Jack takes the produce bag from Murray and opens it, and hands it back. Murray nods in thanks.<\/scene_description>\n    <character>ANNOUNCEMENT<\/character>\n    <dialogue>Dristan Ultra, Dristan Ultra.<\/dialogue>\n    <scene_description>CUT TO: Babette passes Denise and Steffie who try on the plastic sunglasses and hats, tags hanging in their faces. Babette puts a multi-pack of chewing gum in the cart.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>That stuff causes cancer in laboratory animals in case you didn't know.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>You wanted me to chew sugarless gum, Denise. It was your idea.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>There was no warning on the pack then. Then they put a warning, which I have a hard time believing you didn't see.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Either I chew gum with sugar and artificial coloring or I chew sugarless gum that's harmful to rats. It's up to you.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>Don't chew at all. You ever think of that?<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Look, Denise...<\/dialogue>\n    <parenthetical>(correcting)<\/parenthetical>\n    <dialogue>Steffie. Either I chew gum or I smoke.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>Why not do both? That's what you want, isn't it? We all get to do what we want, don't we?<\/dialogue>\n    <scene_description>Steffie grabs the visor from Denise.<\/scene_description>\n    <character>STEFFIE<\/character>\n    <dialogue>Unless we're not allowed to because of our age and height.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>You're making a fuss over nothing.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>I guess you're right. Never mind. Just a warning on the pack.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>Just rats.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>Just useless rodents. Plus I'd like to believe she chews only two pieces a day, the way she forgets things.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>What do I forget?<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>It's all right. Never mind.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>What do I forget?<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>Go ahead and chew.<\/dialogue>\n    <scene_description>A middle-aged Woman falls into a spindly rack of paperback books at the front of the store.<\/scene_description>\n    <character>ANNOUNCEMENT<\/character>\n    <dialogue>Sunny Delight, Sunny Delight.<\/dialogue>\n    <scene_description>A heavyset man emerges from the raised cubicle in the far corner and moves warily toward her.<\/scene_description>\n    <character>CHECKOUT GIRL<\/character>\n    <dialogue>Leon, parsley.<\/dialogue>\n    <character>STORE MANAGER<\/character>\n    <parenthetical>(heading for the fallen shopper)<\/parenthetical>\n    <dialogue>Seventy-nine.<\/dialogue>\n    <character>ANNOUNCEMENT<\/character>\n    <dialogue>Cheerios spill in aisle three. Sorry, aisle four.<\/dialogue>\n    <scene_description>CUT TO: Produce section. Denise passes and grabs the visor back from Steffie and runs down the aisle.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>That's my visor!<\/dialogue>\n    <scene_description>Steffie takes her Dad's hand. They stroll by the fruit bins that extend all along the aisle in a sea of shape and color.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Tell Denise you're sorry.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>Maybe later. Remind me.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>She's a great girl and she wants to be your older sister and your friend--if you'll let her.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>I don't know about friend. She's a little bossy, don't you think?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>And aside from telling her you're sorry, be sure to give her back her book.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>It's a medical journal and she reads it all the time. It's weird.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>At least she reads something.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>It's lists of drugs and medicines. And do you want to know why she reads it?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>Because she's trying to find out the side effects of the stuff that Babette uses.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What does Baba use?<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>Don't ask me, ask Denise.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>How do you know she uses anything?<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>Ask Denise.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Why don't I ask Baba?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGHSCHOOL SPORTS STADIUM<\/stage_direction>\n    <scene_description>Babette runs up and down the stadium steps. She wears an oversized track suit that ripples in the wind. Jack watches from across the field on a set of stone steps.<\/scene_description>\n    <character>STEFFIE (V.O.)<\/character>\n    <dialogue>Ask Baba.<\/dialogue>\n    <scene_description>She alternates running and walking with her hands on her hips.<\/scene_description>\n    <character>BABETTE (V.O.)<\/character>\n    <dialogue>I know I forget things, but I didn't know it was so obvious.<\/dialogue>\n    <scene_description>Jack greets her at the bottom of the steps. Thirty girls in bright shorts run past, the overlapping rhythms of their footfalls pattering. They embrace. He slips his hand in the waistband of her gray cotton pants.<\/scene_description>\n    <character>JACK (V.O.)<\/character>\n    <dialogue>It isn't.<\/dialogue>\n    <scene_description>CUT TO: Jack and Babette walk home through town. They pass two-storied dry cleaners and pharmacies and banks. Pre-war detail surviving in the upper stories, in copper cornices, the amphora frieze above the dime-store entrance. Greek revival and Gothic churches.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>I dial a number on the phone and forget who I'm calling. I go to the store and I forget what to buy.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>We all forget.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Sometimes I call Steffie, Denise. I forget where I parked the car. I don't care what the girls say, it can't be the gum I chew, that's too farfetched.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Maybe it's something else.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Maybe you're taking something besides chewing gum.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Where did you get that idea?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I got it secondhand from Steffie.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Where did Steffie get it from?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Denise.<\/dialogue>\n    <scene_description>She hesitates.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>What does Denise through Steffie say I'm taking?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I wanted to ask you before I asked her. We always tell each other everything.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>To the best of my knowledge, Jack, I'm not taking anything that could account for my memory lapses. These are the days that I want to remember.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Everybody forgets things, there's a lot going on.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>My life is either\/or. Either I chew regular gum or I chew sugarless gum. Either I chew gum or I smoke. Either I smoke or I gain weight. Either I gain weight or I run up the stadium steps.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Sounds like a boring life.<\/dialogue>\n    <character>BABETTE<\/character>\n    <parenthetical>(tears suddenly in her eyes)<\/parenthetical>\n    <dialogue>I hope it lasts forever.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GLADNEY'S DEN. EVE<\/stage_direction>\n    <scene_description>Denise reads her medical journal on the couch. Heinrich and Steffie play Mouse Trap. Wilder lingers at the piano bench.<\/scene_description>\n    <character>HEINRICH<\/character>\n    <dialogue>Do you drink coffee?<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>Baba likes a cup when she comes back from class.<\/dialogue>\n    <scene_description>The sound of a car door closing. Denise reacts.<\/scene_description>\n    <character>STEFFIE<\/character>\n    <dialogue>Her class is demanding. Coffee relaxes her.<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>That's why it's dangerous.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>Why is it dangerous?<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>Anything that relaxes you is dangerous.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM\/EXT. STREET<\/stage_direction>\n    <scene_description>Through the bay window, Denise, in her visor, her knees planted on the cushions of the couch, watches Babette back the station wagon into the street and pull away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM<\/stage_direction>\n    <scene_description>Jack studies a book on German. He badly says words aloud.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>--ich bin, du bist, er ist wir sind, ihr seid, Sie sind--<\/dialogue>\n    <character>DENISE (O.S.)<\/character>\n    <dialogue>What are we going to do about Baba?<\/dialogue>\n    <scene_description>Denise enters and sprawls across the foot of the bed, her head resting on her folded arms. She faces away from Jack.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>She can't remember anything with those pills she takes.<\/dialogue>\n    <character>TV (O.S.)<\/character>\n    <dialogue>And other trends that could dramatically impact your portfolio.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>We don't know for sure she's taking something?<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>I saw the empty bottle buried in the trash under the kitchen sink.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>How do you know it was hers?<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>I saw her throw it out. It had the name of the medication. Dylar.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(sitting up)<\/parenthetical>\n    <dialogue>Dylar.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>\"One every three days.\" Which sounds like it's dangerous or habit- forming or whatever.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What does your book say about Dylar?<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>That's just it: It's not in there. I spent hours. There are four indexes.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>It must be recently marketed. Or go by different names? Do you want me to double check the book?<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>I looked. If we could get an actual pill, maybe you could get it analyzed?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I don't want to make too much of this.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>We could call her doctor.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Everybody takes some kind of medication, everybody forgets things occasionally.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>Not like my mother.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I forget things all the time.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>What do you take?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Blood pressure pills, stress pills, allergy pills--<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>--eye drops. Aspirin. I looked in your medicine cabinet. I thought there might be a new bottle.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>No Dylar?<\/dialogue>\n    <scene_description>Denise turns and faces her step-father.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Well, maybe she's done taking it.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>Why don't you want to believe something might be wrong?<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>We have to allow each other to have our secrets. Don't you think?<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>She hides books on the occult in the attic. I found them.<\/dialogue>\n    <parenthetical>(Jack starts to say something)<\/parenthetical>\n    <dialogue>Also, I don't think she went to her posture class tonight.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Why do you say that?<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>I don't know, but she went right instead of left at the Stop sign.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Maybe she's taking the scenic route.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>That's left too.<\/dialogue>\n    <scene_description>Heinrich bursts into the room.<\/scene_description>\n    <character>HEINRICH<\/character>\n    <dialogue>Come on, hurry up, plane crash footage.<\/dialogue>\n    <scene_description>Denise is off the bed in an instant.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEN<\/stage_direction>\n    <scene_description>Close on the TV screen: A puff of black smoke.<\/scene_description>\n    <character>HEINRICH<\/character>\n    <dialogue>It was a jet trainer in an air show in New Zealand. They're going to show it again.<\/dialogue>\n    <scene_description>The crash is shown multiple times, once in stop-action replay and once in regular motion. An analyst tries to explain the reason for the plunge. Jack joins the kids. The family watches in awe. Finally:<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Let's watch a sit-com or something--<\/dialogue>\n    <character>HEINRICH\/DENISE\/STEFFIE<\/character>\n    <dialogue>No!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM. LATER NIGHT<\/stage_direction>\n    <scene_description>The radiator sizzles and groans, water leaking from the temperature knob. Jack opens his eyes. He's lying in bed. The room is dark. He turns to look at the pillow next to him. No one is there. A white light from the street flickers on and falls through the window revealing the torso of a shadowed figure sitting in a chair in the corner of the room next to the radiator.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Baba?<\/dialogue>\n    <scene_description>Close on the figure's hand. Long bony fingers. A winding scar on the top. (We've seen this hand before.) The fingers pull idly on a loose string on the arm of the chair. Jack lies there, afraid. A light moves across the ceiling as we hear the steady rattle of a car, outside, going over a loose manhole. The hand slowly recedes, pulling the thread, and then the figure stands up and walks into the bathroom. Jack waits in terror. We hear the sound of peeing. Then a toilet flush. The figure reappears. The sound of the bowl refilling. The figure walks over to the bed and casually sits at the edge. Jack watches, motionless. Then the figure climbs under the sheets and into the bed where Babette usually lies. Jack's breaths can be heard in the silence. The sheet rises up suddenly, a face outlined in the folds. It looms over Jack. His face locked in terror. It wraps itself around Jack, enveloping him in the material like a body on a slab in the morgue. CUT TO: Jack opens his eyes. He's tangled in sheets, sweating, paralyzed. His eyes slowly adjust to the dark. The digital clock on his bedside glows green: 3:51. He falls back down on the pillow. Someone is wrapped in the bedding next to him. Jack slowly pulls the sheet down revealing Babette's sleeping face.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>I felt like I was falling through myself.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Like a heart stopping plunge.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Someone was here with us. Or some thing.<\/dialogue>\n    <character>ALFONSE (V.O.)<\/character>\n    <dialogue>It's natural, it's normal that decent, well-meaning people find themselves intrigued by catastrophe when they see it on television.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLEGE CAFETERIA<\/stage_direction>\n    <scene_description>Jack sits at a table with Murray and a group of professors, mostly New York emigres. Alfonse, husky with a furious beard, also dressed in a robe, sits at the head. He's accompanied by teachers in his department, Nicolas Grappa, Elliot Lasher, and the very large Dimitros Cotsakis. A sole female professor sits at an adjacent table. This is Winnie Richards, 30's, a spindly woman drinking a small carton of chocolate milk.<\/scene_description>\n    <character>LASHER<\/character>\n    <dialogue>Because we're suffering from brain fade.<\/dialogue>\n    <character>ALFONSE<\/character>\n    <dialogue>We need an occasional catastrophe to break up the incessant bombardment of information.<\/dialogue>\n    <character>GRAPPA<\/character>\n    <dialogue>The flow is constant. Words, pictures, numbers, facts--graphics, statistics, waves, particles.<\/dialogue>\n    <character>LASHER<\/character>\n    <dialogue>Only a catastrophe gets our attention. We want them. We need them.<\/dialogue>\n    <scene_description>Jack leans across the table to get Winnie's attention.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>If I were to get you a pill--<\/dialogue>\n    <character>WINNIE<\/character>\n    <dialogue>A pill. Like a...pill?<\/dialogue>\n    <scene_description>Cotsakis, an enormous man and former body guard, crushes a can of Pepsi and throws it at a garbage pail.<\/scene_description>\n    <character>ALFONSE<\/character>\n    <dialogue>This is where California comes in.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Yes, a pill. Could you analyze it?<\/dialogue>\n    <character>WINNIE<\/character>\n    <dialogue>Jack, there's a dolphin's brain in my inbox--<\/dialogue>\n    <character>ALFONSE<\/character>\n    <dialogue>Mud slides, brush fires, coastal erosion, earthquakes, mass killings, et cetera. We can relax and enjoy these disasters because in our hearts we feel that California deserves whatever it gets. Californians invented the concept of life- style. This alone warrants their doom.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>But in theory.<\/dialogue>\n    <character>WINNIE<\/character>\n    <dialogue>Why do you ask me?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>You're brilliant.<\/dialogue>\n    <character>LASHER<\/character>\n    <dialogue>For most people there are only two places in the world. Where they live and their TV set. If a thing happens on television, we have every right to find it fascinating, whatever it is.<\/dialogue>\n    <character>WINNIE<\/character>\n    <dialogue>We're all brilliant. Isn't that the understanding around here?<\/dialogue>\n    <character>GRAPPA<\/character>\n    <dialogue>You're saying it's more or less universal, to be fascinated by TV disasters.<\/dialogue>\n    <scene_description>Murray tries to get Jack's attention.<\/scene_description>\n    <character>MURRAY<\/character>\n    <dialogue>Jack--<\/dialogue>\n    <character>WINNIE<\/character>\n    <dialogue>You call me brilliant, I call you brilliant. We call Alfonse brilliant and so on. It's a form of communal ego.<\/dialogue>\n    <character>GRAPPA<\/character>\n    <dialogue>I don't know whether to feel good or bad about learning that my experience is widely shared.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>No one calls me brilliant. They call me shrewd. They say I latched on to something big. I filled an opening no one knew existed.<\/dialogue>\n    <character>ALFONSE<\/character>\n    <dialogue>Feel bad.<\/dialogue>\n    <character>LASHER<\/character>\n    <dialogue>It's obvious. We all feel bad. But we can enjoy it on that level.<\/dialogue>\n    <character>WINNIE<\/character>\n    <dialogue>So, where's the pill?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I have to find it first.<\/dialogue>\n    <character>LASHER<\/character>\n    <dialogue>Did you ever brush your teeth with your finger?<\/dialogue>\n    <character>GRAPPA<\/character>\n    <dialogue>I brushed my teeth with my finger the first time I stayed overnight at my first wife's parents' house.<\/dialogue>\n    <character>ALFONSE<\/character>\n    <dialogue>Japan is pretty good for disaster footage. India remains largely untapped. But their disasters tend to go unrecorded.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>Jack--<\/dialogue>\n    <character>COTSAKIS<\/character>\n    <dialogue>Forgetting my toothbrush is a fetish with me.<\/dialogue>\n    <character>LASHER<\/character>\n    <dialogue>I brushed my teeth with my finger after the Ali-Foreman fight in Zaire. That's the southernmost point I've brushed my teeth with my finger at.<\/dialogue>\n    <scene_description>Murray leans over to Jack and says quietly.<\/scene_description>\n    <character>MURRAY<\/character>\n    <dialogue>Jack, I need your help. I've been having trouble establishing an Elvis Presley power base in the department.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What does Alfonse say?<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>He seems to feel that Cotsakis has established a prior right. Cotsakis was in Memphis when the King died. He interviewed members of the entourage and family... For Cotsakis, Elvis is just Elvis. But for me, Elvis is my Hitler.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(aside to Murray)<\/parenthetical>\n    <dialogue>How can I help?<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>I thought you might drop by my lecture this afternoon, informally, and lend a note of consequence to the proceedings. Your prestige, your physical person would mean a lot.<\/dialogue>\n    <character>GRAPPA<\/character>\n    <dialogue>Did you ever crap in a toilet bowl that had no seat?<\/dialogue>\n    <character>LASHER<\/character>\n    <dialogue>A great and funky men's room in the old Socony Mobil Station on the Boston Post Road the first time my father took the car outside the city.<\/dialogue>\n    <character>WINNIE<\/character>\n    <dialogue>The station with the flying red horse.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>These are the things we don't teach. Bowls with no seats. Pissing in sinks. The culture of public toilets. I've pissed in sinks all through the American West.<\/dialogue>\n    <character>ALFONSE<\/character>\n    <dialogue>I pissed in a sink in Utah when it was twenty-two below. The coldest I've ever pissed in a sink in.<\/dialogue>\n    <character>LASHER<\/character>\n    <dialogue>I've slipped across the border to piss in sinks in Manitoba and Alberta.<\/dialogue>\n    <character>GRAPPA<\/character>\n    <dialogue>Did you ever have a woman peel flaking skin from your back after a few days at the beach?<\/dialogue>\n    <character>LASHER<\/character>\n    <dialogue>Cocoa Beach, Florida. It was very tremendous. The second or third greatest experience of my life.<\/dialogue>\n    <character>GRAPPA<\/character>\n    <dialogue>Was she naked?<\/dialogue>\n    <character>LASHER<\/character>\n    <dialogue>To the waist.<\/dialogue>\n    <character>GRAPPA<\/character>\n    <dialogue>From which direction?<\/dialogue>\n    <scene_description>We CUT TO: BLACK A white crescent shape appears. It's the light at the end of a tunnel. A speeding train exits out of the tunnel, pulling a series of tank cars behind it labeled: \"TOXIC CHEMICALS\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIDE ROAD, BLACKSMITH. SAME<\/stage_direction>\n    <scene_description>INTERCUT with a truck barreling along a side-road. We can hear the driver singing along to \"Rubbernecking\" by Elvis Presley. The driver reaches for a bottle of Jack Daniels on the passenger seat. The truck lurches onto the shoulder. The driver quickly grabs the wheel and steers the giant vehicle back on the road. On the back of the truck in big red letters: \"FLAMMABLE\" CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY\/MURRAY'S SEMINAR ROOM<\/stage_direction>\n    <scene_description>Jack steels himself outside the door. He wears his robe and tinted glasses. He enters.<\/scene_description>\n    <character>MURRAY (O.S.)<\/character>\n    <dialogue>Did his mother know that Elvis would die young?<\/dialogue>\n    <scene_description>There are twenty-five or thirty young men and women in many fall colors. They sit in armchairs, and sofas and on beige broadloom. Murray walks among them, his right hand trembling in a stylized way.<\/scene_description>\n    <character>MURRAY<\/character>\n    <dialogue>She talked about assassins, she talked about the life, the life of a star of this type of magnitude. Isn't this life structured to cut you down early? This is the point, isn't it? There are rules, guidelines.<\/dialogue>\n    <scene_description>He spots Jack and nods. Jack stands against the wall in the back, attempting to loom, his arms folded under the black gown.<\/scene_description>\n    <character>MURRAY<\/character>\n    <dialogue>Now, I have a feeling about mothers. Mothers really do know. The folklore is correct.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Hitler adored his mother. He was the first of Klara's children to survive infancy.<\/dialogue>\n    <scene_description>There's a surge of attention, unspoken, among the students. Murray, still moving, interrupts abruptly.<\/scene_description>\n    <character>MURRAY<\/character>\n    <dialogue>Elvis and Gladys liked to nuzzle and pet. They slept in the same bed until he began to approach physical maturity. They talked baby-talk to each other.<\/dialogue>\n    <scene_description>On impulse, Jack abandons his place at the wall and starts to pace the room like Murray. He stops occasionally to gesture, listen or gaze out the window.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Hitler was a lazy kid. His report card was full of unsatisfactorys.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>Gladys worried about his sleep walking. She lashed out at any kid who tried to bully him. Gladys walked Elvis to school and back every day. She defended him in street rumbles.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Klara loved him, spoiled him, gave him the attention his father failed to give him.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>Elvis confided in Gladys. He brought his girlfriends around to meet her.<\/dialogue>\n    <scene_description>Jack and Murray approach each other near the center of the room, almost colliding.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Hitler wrote a poem to his mother. He took piano lessons, made sketches of museums and villas.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>When Elvis went into the army, Gladys became ill and depressed.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Hitler was what we call a mama's boy.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>Elvis could hardly bear to let Gladys out of his sight when her condition grew worse. He kept vigil at the hospital.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>When his mother became severely ill, Hitler put a bed in the kitchen to be closer to her.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>He cooked and cleaned. Hitler wept at the grave and fell into a period of depression and self pity.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>Elvis fell apart when Gladys died. He fondled and petted her in the casket. He talked their baby talk.<\/dialogue>\n    <scene_description>The door opens and Alfonse, the chairman of the department, enters followed by Grappa, Lasher and other students. News of this dual lecture having reached other classrooms. They all find places to stand or sit.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>For the rest of his life, Hitler could not bear to be anywhere near a Christmas tree.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>It seems fairly certain that Gladys' death caused a fundamental shift at the center of the King's world view.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Years later, in the grip of self-myth and deep remoteness, Hitler kept a portrait of his mother in his Spartan quarters at Obersalzberg.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>Elvis began to withdraw from the real world, to enter the state of his own dying.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>...He began to hear a buzzing in his left ear.<\/dialogue>\n    <scene_description>Jack and Murray, their movement now like a dance, circle each other and head off in opposite directions, without even sharing a look.<\/scene_description>\n    <character>MURRAY<\/character>\n    <dialogue>Elvis fulfilled the terms of the contract. Excess, deterioration, self-destructiveness, grotesque behavior, a physical bloating and a series of insults to the brain, self-delivered.<\/dialogue>\n    <scene_description>Cotsakis watches from outside the glass doors. He scoffs, turns and walks away.<\/scene_description>\n    <character>MURRAY<\/character>\n    <dialogue>His place in legend is secure. He bought off the skeptics by dying early, horribly, unnecessarily. No one could deny him now. His mother probably saw it all, as on a nineteen-inch screen, years before her own death.<\/dialogue>\n    <scene_description>Murray arrives at the corner of the room and sits on the floor. Everyone's eyes on Jack as he takes the stage.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Picture Hitler near the end, trapped in his f\u00fchrerbunker, beneath the burning city. He looks back to the early days of his power.<\/dialogue>\n    <scene_description>We CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRYSIDE. SAME<\/stage_direction>\n    <scene_description>The speeding train exits a tunnel, pulling a series of tank cars behind it.<\/scene_description>\n    <character>JACK (V.O.)<\/character>\n    <dialogue>When crowds came--mobs of people overrunning the courtyard, singing patriotic songs, painting swastikas on the walls, on the flanks of farm animals.<\/dialogue>\n    <scene_description>CUT TO: Crowds at Nazi rallies.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SIDE ROAD, BLACKSMITH. SAME<\/stage_direction>\n    <scene_description>INTERCUT with a truck barreling along a side-road. We can hear the driver singing along to \"Rubbernecking.\" He animatedly does the hand claps along to the record. The bottle of Jack Daniels sloshing back and forth on the passenger seat. INTERCUT with Jack continuing his lecture. The crowd rapt.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Crowds came to his mountain villa, so many people that he had to stay indoors.<\/dialogue>\n    <scene_description>We INTERCUT more rapidly the three: train, truck, and Jack. The truck driver now singing full throated, reaches for the bottle of whiskey next to him.<\/scene_description>\n    <character>JACK (V.O.)<\/character>\n    <dialogue>Crowds came to hear him speak, crowds erotically charged, the masses he once called his only bride.<\/dialogue>\n    <scene_description>CUT TO: Crowds scream at an Elvis concert. The train whistles. Black smoke coughs out of the truck's pipes. The driver strains to reach the whiskey bottle, while glancing back periodically at the road. The truck lurches and he has to quickly right the wheel. On Jack, intense.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Crowds came to be hypnotized by the voice, the party anthems, the torchlight parades.<\/dialogue>\n    <scene_description>Jack, his back to the class, stares at the carpet and counts silently to seven, mouthing the words.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>But wait. How familiar this all seems to us, how close to ordinary.<\/dialogue>\n    <scene_description>The driver grabs the bottle. Elvis singing.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Crowds come, get worked up, touch and press - people eager to be transported. Isn't this ordinary? We all know this. We've been part of those crowds. There must have been something different about these crowds. What was it? Let me whisper the terrible word, from the Old English, from the Old German, from the Old Norse. Death. Those crowds were assembled in the name of death.<\/dialogue>\n    <scene_description>The driver looks up-- The railway crossing arm dropped down in front of him. Bing bing bing. The truck blasts through, the arm shattering. A siren rings. CLOSE on the driver's wide eyes-- On Jack.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>They were there to attend tributes to the dead. But not the already dead. They were not mourning brothers, fathers, husbands, those who had fought and died. But the not yet dead. The future dead. The living dead amongst us.<\/dialogue>\n    <scene_description>The train brakes. The mammoth engine sliding, metal screeching--<\/scene_description>\n    <character>JACK (V.O.)<\/character>\n    <dialogue>Processions, songs, speeches, dialogues with the dead, recitations of the names of the dead.<\/dialogue>\n    <scene_description>--as the truck collides directly with the train tank. Train cars topple as the truck is pushed down the track. Shrieks and roars come from the mechanical beasts. The truck and train soar off the track, ripping through the grass and dirt. Dark smoke and fire bursts into the air.<\/scene_description>\n    <character>JACK (V.O.)<\/character>\n    <dialogue>They were there to see pyres and flaming wheels, thousands of flags dipped in salute, thousands of uniformed mourners.<\/dialogue>\n    <scene_description>Close on Jack.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>They were ranks and squadrons, elaborate backdrops, blood banners and black dress uniforms. Crowds came to form a shield against their own dying. To break off from the crowd is to risk death as an individual, to face dying alone.<\/dialogue>\n    <scene_description>CUT TO: Another small explosion, then fire and smoke erupts from the wreck. Jack finishes big.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>To become a crowd is to keep out death. Crowds came for this reason above all others. They were there to be a crowd.<\/dialogue>\n    <scene_description>The students and faculty break into applause. The applause and \"Rubbernecking\" and the fiery crash sounds spin together into one distorted, dark din. People have gathered around Jack, students and staff creating a crowd themselves. Jack's momentum now blurred as his breaths grow ragged, joining the growing dissonant soundtrack, as people jostle and touch him. CUT TO: Fires rage from the crash site, billowing smoke into the air and toward the horizon. A door slides open and men in silver Mylex suits jump out. Wide to reveal the van, the men heading toward... Part II: THE AIRBORNE TOXIC EVENT We're moving backwards down a neighborhood street.<\/scene_description>\n    <character>JACK (V.O.)<\/character>\n    <dialogue>May the days be aimless. Let the seasons drift. Do not advance the action according to a plan.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GLADNEYS' STREET, BLACKSMITH. EVENING<\/stage_direction>\n    <scene_description>The atmosphere is clear and still. An evening light casts a glow on the neighborhood. A distant siren. Jack drags a large garbage bag to the bin at the curb. In the stillness of the night, we can hear a woman in a neighboring house on the phone.<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>A decongestant, an antihistamine, a cough suppressant, a pain reliever--<\/dialogue>\n    <scene_description>The sound of a baseball hitting a mitt. A father and son play catch across the street. A couple talks on their porch. Kids play a game in the driveway. The neighbor waves. Jack responds. A siren moves closer. Jack's attention follows the sound. We ZOOM to a small ledge outside the attic window of the Gladney's house. Heinrich, in a camouflage jacket and cap is crouched peering through binoculars. He looks somewhere off to the east. A low rumble of thunder in the distance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GLADNEY'S ATTIC. EVENING<\/stage_direction>\n    <scene_description>The room is cluttered by abandoned possessions. Exposed beams and posts and fiberglass insulation pads. Jack enters. Heinrich is now inside, standing by the open window, still looking through the glasses.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Hey, what do you see out there?<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>The radio said a tank car derailed. But I don't think it derailed from what I could see.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What did you--<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>I think it got rammed and something punched a hole in it. There's a lot of smoke and I don't like the looks of it.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What does it look like?<\/dialogue>\n    <scene_description>Heinrich hands his father the binoculars and steps aside. Jack brings the binoculars up to his eyes-- His POV: A shapeless black mass hangs in the air above the river. Lights blink on a radio tower in the foreground.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>You see fire engines or--?<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>They're all over the place. But it looks to me like they're not getting too close. It must be pretty toxic or pretty explosive stuff, or both.<\/dialogue>\n    <scene_description>Jack's POV shifts down and follows a small emergency vehicle, the siren flashing, heading toward the site of the cloud. Jack puts down the binoculars and hands them back to his son.<\/scene_description>\n    <character>JACK<\/character>\n    <parenthetical>(reassuringly)<\/parenthetical>\n    <dialogue>It won't come this way.<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>How do you know?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>It just won't. The point is you shouldn't be standing on slippery ledges. It worries Baba.<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>You think if you tell me it worries her, I'll feel guilty and not do it. But if you tell me it worries you, I'll do it all the time.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Shut the window.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN<\/stage_direction>\n    <scene_description>Jack is paying bills at the table. Steffie looks through the brightly colored mail, separating coupons, lotteries and contests. The sound of blue jeans tumbling in the dryer down the hall.<\/scene_description>\n    <character>RADIO (V.O.)<\/character>\n    <dialogue>Available for a limited time only with optional megabyte hard disk.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Did you finish your homework already?<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>Can you see the feathery plume from the attic window?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>It's not a plume.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>But will we have to leave our homes?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Of course not.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>How do you know?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I just know.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>What about that time there was that leak at our school?<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>And we had to evacuate.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>That was inside. This is outside.<\/dialogue>\n    <scene_description>Police sirens come and go somewhere in the area. Steffie's lips soundlessly form the siren sequence: \"Wow, wow, wow.\" She sees her father watching her and smiles, caught in her own reverie.<\/scene_description>\n    <character>DENISE (O.S.)<\/character>\n    <dialogue>They're using leaf-blowers to blow stuff onto the spill.<\/dialogue>\n    <scene_description>Denise enters the room, wearing her green visor and wiping her palms on her jeans.<\/scene_description>\n    <character>STEFFIE<\/character>\n    <dialogue>What kind of stuff?<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>I don't know, but it's supposed to make the spill harmless, which doesn't explain what they're doing about the actual plume.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>They're keeping it from getting bigger. When do we eat?<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>(concerned)<\/dialogue>\n    <scene_description>If it gets any bigger it'll get here with or without a wind.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>It won't get here.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>How do you know?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Because it won't.<\/dialogue>\n    <scene_description>Heinrich enters with a portable radio and a highway map.<\/scene_description>\n    <character>HEINRICH<\/character>\n    <dialogue>The radio calls it a feathery plume. But it's not a plume.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>That's what Dad said.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>Like a shapeless growing thing. A dark black breathing thing of smoke.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>Why do they call it a plume then?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Air time is valuable. They can't go into long tortured descriptions.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>Have they said what kind of chemical it is?<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>It's called Nyodene Derivative or Nyodene D. It was in a movie we saw in school on toxic wastes.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>Those videotaped rats.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What does it cause?<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>The movie wasn't sure what it does to humans. Mainly it was rats growing urgent lumps.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>That's what the movie said. What does the radio say?<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>They said skin irritation and sweaty palms.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>Sweaty palms in rats?<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>Humans.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>The radio not the movie.<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>But then they updated it to nausea, vomiting, shortness of breath.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>The radio or the movie?<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>Both.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Well it won't come this way.<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>How do you know?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I just know. It's perfectly calm and still today. And when there's a wind this time of year, it blows that way, not this way.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>What if it blows this way?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>It won't.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>But what if just this one time?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>It won't. Why should it?<\/dialogue>\n    <scene_description>Heinrich, the radio pressed to his ear:<\/scene_description>\n    <character>HEINRICH<\/character>\n    <dialogue>They just closed part of the interstate.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>They would want to do that, of course.<\/dialogue>\n    <character>HEINRICH\/DENISE\/STEFFIE<\/character>\n    <dialogue>Why?\/Why?\/Why would they?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>They just would. It's a sensible precaution.<\/dialogue>\n    <scene_description>Babette enters the kitchen, on a cordless phone.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>H--hold on Helen, Jack is here...<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>(finishing his thought to the kids)<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>(holding her hand over the mouth-piece)<\/dialogue>\n    <scene_description>It's a way to facilitate The Stovers say the spill movement of service vehicles from the tank car was thirty- and such. Any number of five... reasons that have nothing to do with wind or wind direction. We hear Helen faintly through the phone repeating with variation, \"thirty-eight thousand...\"<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>...thousand gallons. She says her girls were complaining of sweaty palms.<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>There's been a correction. Tell them they ought to be throwing up.<\/dialogue>\n    <scene_description>Heinrich heads out of the room with his radio. The rumble of a helicopter passes over them and disappears. Denise looks at her palms, blows on them and follows her brother. Steffie lingers in the kitchen, unsure what to do with her anxiety. Jack finishes paying a bill. He periodically glances up at Babette, who is still on the phone, and who is watching him, studying his face.<\/scene_description>\n    <character>BABETTE<\/character>\n    <parenthetical>(into the phone)<\/parenthetical>\n    <dialogue>Is anyone nauseous? OK...OK. Thanks Helen...Yeah, stay in touch.<\/dialogue>\n    <scene_description>She hangs up.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>The Stovers spoke directly with the weather center outside Glassboro. They're not calling it a feathery plume anymore.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>What are they calling it?<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>A black billowing cloud.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>That's more accurate which means they're coming to grips with the thing. Good.<\/dialogue>\n    <scene_description>The grinding sound of the disposal in the sink startles him. Steffie washes her hands vigorously in the kitchen sink.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>It's expected that some sort of air mass may be moving down from Canada.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>There's always an air mass moving down from Canada.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>That's true. There's certainly nothing new in that.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>And since Canada is to the north, if the billowing cloud is blown due south, it will miss us by a comfortable margin. When do we eat?<\/dialogue>\n    <scene_description>Sirens pass by again. A larger sound this time. An air raid siren? Steffie, having finished washing her hands, hurries upstairs, water dripping in her wake.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>Maybe we ought to be more concerned about the billowing cloud. I know we don't want to scare the kids--<\/dialogue>\n    <scene_description>Babette starts taking things out of the refrigerator.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Nothing is going to happen.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>I know nothing is going to happen, you know nothing is going to happen. But at some level we ought to think about it just in case.<\/dialogue>\n    <scene_description>Jack grabs her thigh as she passes him at the table. She falls into his lap, wrapped around him in such a way that he can read the box of corn niblets in her left hand.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>It's just, when do we know when this is real?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>These things happen to people who live in exposed areas. Society is set up, I mean sadly, in such a way that it's the poor and the uneducated who suffer the main impact of natural and man-made disasters.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>It is sad.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Did you ever see a college professor rowing a boat down his own street in one of those TV floods?<\/dialogue>\n    <character>BABETTE<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>Why do you want dinner so early?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I missed lunch.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Shall I do some chili-fried chicken?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>First-rate.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Where is Wilder?<\/dialogue>\n    <scene_description>He tries to undo her bra through her blouse with his teeth.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>I ironed your gown.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>CLOSE on Jack's POV of the corn serving suggestions.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>Did you pay the phone bill?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I can't find it. I paid the gas and electricity though.<\/dialogue>\n    <character>BABETTE<\/character>\n    <parenthetical>(standing)<\/parenthetical>\n    <dialogue>Let's think about the billowing cloud just a little bit, OK? What if it's dangerous?<\/dialogue>\n    <scene_description>She goes to the freezer.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Everything in train tank cars is dangerous. But the effects are mainly long-range--<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>So, we die later?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>We don't die. Not from this. All we have to do is stay out of the way.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Let's just be sure to keep it in the back of our mind.<\/dialogue>\n    <scene_description>She smashes the ice cube tray repeatedly on the rim of the sink, dislodging the cubes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. ATTIC. SAME<\/stage_direction>\n    <scene_description>Jack reenters. Heinrich listens to the radio. Wilder hoists himself up on an old Christmas tree stand.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Here's Wilder. Baba's making chili- fried chicken.<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>They're calling it a black billowing cloud now.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>That's what the Stovers said. It's good.<\/dialogue>\n    <scene_description>Jack opens the window, taking the binoculars from around Heinrich's neck.<\/scene_description>\n    <character>HEINRICH<\/character>\n    <dialogue>Why is it good?<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(climbing out on the ledge)<\/parenthetical>\n    <dialogue>I told your sister: they're looking the thing more squarely in the eye. Can you spot me--<\/dialogue>\n    <scene_description>Heinrich grabs the back of Jack's belt and holds him against the building to prevent him from slipping. Jack places the glasses up to his face. The radio continues muffled now from Jack's earshot. His POV: The cloud is larger and closer than before. The radio tower, previously in the foreground, is swallowed up in darkness. Floodlights sweep across the horizon. Army helicopters hover. Colored lights from police cruisers crisscross the wider beams. Jack lowers the glasses.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>OK.<\/dialogue>\n    <scene_description>Heinrich clutches his belt as Jack crawls back inside.<\/scene_description>\n    <character>JACK<\/character>\n    <parenthetical>(trying not to display anxiety)<\/parenthetical>\n    <dialogue>Well...it's still hanging there.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <character>JACK<\/character>\n    <dialogue>Looks rooted to the spot. Make sure Wilder doesn't get into that insulation there.<\/dialogue>\n    <scene_description>Heinrich hurries to lift up Wilder away from the exposed silver and pink cushions.<\/scene_description>\n    <character>HEINRICH<\/character>\n    <dialogue>So you're saying you don't think it will come this way?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I can tell by your voice you know something I don't know.<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>Do you think it will come this way or not?<\/dialogue>\n    <scene_description>Heinrich places Wilder on the other side of the room from the insulation. Wilder immediately starts wobbling back.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>You want me to say it won't come this way and then you'll attack with your fistful of data. What did they say on the radio while I was out there?<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>It doesn't cause nausea, vomiting, shortness of breath, like they said before.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What does it cause?<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>Heart palpitations and a sense of deja vu.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Deja vu? Come on.<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>It affects the false part of the human brain or whatever.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I don't believe that.<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>That's not all. They're not calling it the black billowing cloud anymore.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What are they calling it?<\/dialogue>\n    <scene_description>Heinrich looks at his dad carefully.<\/scene_description>\n    <character>HEINRICH<\/character>\n    <parenthetical>(dramatically)<\/parenthetical>\n    <dialogue>The airborne toxic event.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>Names are not important. The important thing is location. It's there. We're here.<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>A large air mass is moving down from Canada.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>We already knew that.<\/dialogue>\n    <parenthetical>(noticing)<\/parenthetical>\n    <dialogue>Wilder!<\/dialogue>\n    <scene_description>Wilder is crawling backwards out the door and out of sight.<\/scene_description>\n    <character>HEINRICH<\/character>\n    <dialogue>That doesn't mean it's not important.<\/dialogue>\n    <scene_description>Jack kneels down to Wilder's level and watches him carefully climb down the steep attic steps.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Maybe it is, maybe it isn't. Depends.<\/dialogue>\n    <scene_description>Jack looks up, Heinrich now standing over him.<\/scene_description>\n    <character>HEINRICH<\/character>\n    <parenthetical>(plaintive)<\/parenthetical>\n    <dialogue>The weather is about to change.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM<\/stage_direction>\n    <scene_description>The family eats dinner. The meal, the fried chicken, looks delicious. Everyone tries to establish a normal, cozy vibe despite faraway sirens and the general anxious mood.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>Aren't we eating a little early tonight?<\/dialogue>\n    <scene_description>The sirens get closer until they're upon them, wrapping the house in sound, and then moving ahead and further away.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>What do you call early?<\/dialogue>\n    <scene_description>Denise and Steffie meet eyes.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>Is it because we want to get it out of the way?<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>What do we want to get out of the way?<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>In case something happens.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Like what?<\/dialogue>\n    <scene_description>The girls share a solemn look again.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>This is delicious, Baba.<\/dialogue>\n    <parenthetical>(to Denise)<\/parenthetical>\n    <dialogue>You're not eating, honey.<\/dialogue>\n    <scene_description>Denise claps a hand to her mouth and runs from the table.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>Honey, are you OK?<\/dialogue>\n    <scene_description>They hear her retching incompletely in the bathroom off the hall.<\/scene_description>\n    <character>HEINRICH<\/character>\n    <dialogue>She's showing outdated symptoms.<\/dialogue>\n    <scene_description>They go on eating, exhibiting excessive politeness in the process. The family din diminishing as the sirens and squawks escalate.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Baba, could you pass more of the corn?<\/dialogue>\n    <character>BABETTE<\/character>\n    <parenthetical>(handing it to her husband)<\/parenthetical>\n    <dialogue>Sure.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Thank you so much.<\/dialogue>\n    <scene_description>Silence. Denise returns looking pale.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>Are you feeling better?<\/dialogue>\n    <scene_description>Jack starts to say--<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>These peppers have a wonderful--<\/dialogue>\n    <scene_description>Suddenly, a different, more present air raid siren sounds shaking and startling them all. Jack immediately starts clearing the table, avoiding eye contact with anyone else.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>What do we have for dessert?<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>(leaping to his feet)<\/dialogue>\n    <scene_description>I think that came from the firehouse.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>I've never heard that sound before.<\/dialogue>\n    <character>JACK (O.S.)<\/character>\n    <dialogue>Amazing that little red brick building can make such a squawk.<\/dialogue>\n    <scene_description>And again, the squawk, now even louder. Heinrich runs to the front door and opens it. Light and sound blast into the house. A voice, an announcement, embedded in the din. Jack returns with sponge cake and canned peaches. Heinrich hurries in with a quick, but deliberate walk.<\/scene_description>\n    <character>HEINRICH<\/character>\n    <dialogue>They want us to evacuate.<\/dialogue>\n    <character>BABETTE<\/character>\n    <parenthetical>(standing)<\/parenthetical>\n    <dialogue>Did you get the impression they were only making a suggestion or was it a little more mandatory, do you think?<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>It was a fire captain's car with a loudspeaker and it was going pretty fast.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(eating a sliced peach)<\/parenthetical>\n    <dialogue>In other words, you didn't have an opportunity to notice the subtle edges of intonation.<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>The voice was screaming out.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Due to the sirens.<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>It said something like, \"Evacuate all places of residence. Cloud of deadly chemicals, cloud of deadly chemicals.\"<\/dialogue>\n    <scene_description>Steffie starts crying. Jack puts his hand on her shoulder.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>It's OK baby.<\/dialogue>\n    <scene_description>Denise pushes her chair back and runs upstairs. Heinrich follows her. Babette heads to the kitchen. Denise runs from room to room throwing clothes into bags.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>Has anyone seen my ski mask?<\/dialogue>\n    <scene_description>Heinrich climbs the attic stairs two at a time. He grabs the binoculars, his camouflage hat, the highway map and radio. As he takes the radio, it reveals Jack's discarded banana peel and a stack of books on the occult. Babette grabs tins and jars from the pantry. (Items\/brands we recognize from their shops at the supermarket.) Jack, confused, balances plates somewhere between the dining room and kitchen.<\/scene_description>\n    <character>BABETTE (O.S.)<\/character>\n    <dialogue>Jack, just leave it!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GLADNEY HOUSE\/STREET<\/stage_direction>\n    <scene_description>A light rain falls. They all head out into the night, hurriedly throwing the bags and other random things they packed into the car.<\/scene_description>\n    <character>DENISE<\/character>\n    <parenthetical>(wearing her visor)<\/parenthetical>\n    <dialogue>I couldn't find my ski mask.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Why do you need a ski mask?<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>It just seems like a thing you take in these kinds of things.<\/dialogue>\n    <scene_description>Lights circle and dance off the buildings. The loudspeaker and sirens continuing somewhere nearby.<\/scene_description>\n    <character>DENISE<\/character>\n    <parenthetical>(hesitates, looks around)<\/parenthetical>\n    <dialogue>Everyone's gone already.<\/dialogue>\n    <scene_description>She's right, other houses are dark, driveways empty.<\/scene_description>\n    <character>STEFFIE<\/character>\n    <parenthetical>(afraid)<\/parenthetical>\n    <dialogue>We're late.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAIN STREET<\/stage_direction>\n    <scene_description>The lone car sails down the hill. The streets are empty.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATION WAGON<\/stage_direction>\n    <scene_description>Jack drives in a controlled hurry on the residential streets. The wipers going as the rain increases. He punches buttons on the radio trying to get some information. We move around the car from face to face.<\/scene_description>\n    <character>RADIO VOICE<\/character>\n    <dialogue>...from the east are to take the parkway to the fourth service area, where they would proceed to a restaurant called Kung Fu Palace.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>Is that the place with lily ponds and live deer?<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>That's right, Steffie.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>Where do we go?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>They'll tell us.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>Can we play my mix?<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Later honey.<\/dialogue>\n    <scene_description>Everyone is silent. Steffie says aloud:<\/scene_description>\n    <character>STEFFIE<\/character>\n    <dialogue>Was this a mild winter or a harsh winter?<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Compared to what?<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>RADIO VOICE<\/character>\n    <dialogue>People from the west end--<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>This is us--<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>Shh!<\/dialogue>\n    <character>RADIO VOICE<\/character>\n    <dialogue>...of town should head for the Boy Scout camp on Highway- 10 called Camp Daffodil, where Red Cross volunteers will dispense juice and coffee...<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>OK, we have a plan.<\/dialogue>\n    <scene_description>They turn a corner, and Jack slams on the brakes.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <scene_description>They all thrust forward and back. Cars are lined up in front of them, slowed to a brutal crawl as traffic getting onto the main route is at a standstill. Denise leans forward and hands her dad a cassette tape. Heinrich looks out the back window: The world of sycamores and tall hedges left behind. A helicopter circles. WIDE of the line of cars and lights, snaking onto the main route past a gauntlet of used car lots, fast food chains, discount drugs and quad cinemas. An ambulance squawks stuck in the endless traffic. In the car: The kids scan the faces of people in adjacent cars.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Things should pick up some miles ahead where it turns into four lanes.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>They don't look scared in the Crown Victoria.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>Yeah, they're laughing.<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>These guys aren't laughing.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>In the Country Squire.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>They look devastated.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What does it matter what they're doing in other cars?<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>I want to know how scared we should be.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>I think we just don't know at this point, Stef.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>That makes me more scared.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Don't be scared.<\/dialogue>\n    <parenthetical>(aside to Jack)<\/parenthetical>\n    <dialogue>Nobody is coming in the opposite direction.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Police must have halted traffic coming this way.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>Where are the police? Did they just leave us to figure this out on our own?<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(vaguely)<\/parenthetical>\n    <dialogue>They're around.<\/dialogue>\n    <scene_description>CUT TO: The rain falls harder. They pass a home furnishing mart with sale signs, lit up from the inside. People inside staring out the huge window at the slowly passing cars.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>Why are they shopping for furniture during an airborne event?<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>There's a sale.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Maybe they know something we don't.<\/dialogue>\n    <scene_description>Jack hits more buttons on the radio.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>Maybe there's no way out.<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>Maybe it's raining Nyodene D?<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>Is that possible?<\/dialogue>\n    <character>RADIO VOICE<\/character>\n    <dialogue>People indoors are being asked to stay indoors.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Why would they say that?<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>We were told to leave.<\/dialogue>\n    <scene_description>They slowly approach an overpass, people, on foot, march along. They carry boxes, suitcases, blankets. They cradle pets and small children. Some children are pulled on sleds and wagons. There's a family wrapped completely in plastic, walking in lock step.<\/scene_description>\n    <character>RADIO VOICE<\/character>\n    <dialogue>Convulsions, coma, miscarriage.<\/dialogue>\n    <scene_description>They move beneath the overpass. Some cars mount the grassy incline at the edge of the road creating a third lane of severely tilted traffic.<\/scene_description>\n    <character>STEFFIE<\/character>\n    <dialogue>They're passing us, Dad.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Technically, that's illegal.<\/dialogue>\n    <scene_description>As Jack turns back to his family, up ahead, a car skids off the grassy incline, its nose hitting the pavement as it flips over and crashes into a car in their lane. Jack brakes and everyone screams. The traffic now funnels into one lane. A helicopter above them shining a white beam down on the mass of collapsed metal. Dazed occupants look out from both cars. Rescue workers swarm the scene. Heinrich watches with his binoculars.<\/scene_description>\n    <character>HEINRICH<\/character>\n    <dialogue>Baba cooked chili-fried chicken for dinner. Dad's favorite. Dad said not to worry, the plume will not come to us. But it wasn't a plume it was an airborne toxic event.<\/dialogue>\n    <scene_description>Blood on a smashed window.<\/scene_description>\n    <character>HEINRICH (O.S.)<\/character>\n    <dialogue>We packed in a hurry. We ran to the car only to realize we were latecomers to an evacuation...<\/dialogue>\n    <scene_description>Blood soaked through a white coat. Drops of blood on a tan handbag. And then the scene in WIDE of injured people, smoking steel, washed in an eerie white light. (These images are almost beautiful in composition.)<\/scene_description>\n    <character>JACK<\/character>\n    <parenthetical>(to Babette)<\/parenthetical>\n    <dialogue>Is this just everything that happened?<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Shh...<\/dialogue>\n    <scene_description>Jack realizes his family, wife and daughters, Wilder even, all pay close attention to the story. They look riveted.<\/scene_description>\n    <character>HEINRICH<\/character>\n    <parenthetical>(with spirited enjoyment)<\/parenthetical>\n    <dialogue>The rain pelted the roof of our station wagon. Pip pip pip. We hit traffic as we left the comfort of sycamores and hedges.<\/dialogue>\n    <scene_description>He goes on about the people in other cars, the crash they just saw.<\/scene_description>\n    <character>HEINRICH<\/character>\n    <dialogue>Dad searched for information on the radio. Traffic lined up on the freeway like lighted up dominos. We passed people in distress. An unspoken bond with our fellow journeyman formed, and then a crash.<\/dialogue>\n    <scene_description>They pass a Winnebago and a tractor intertwined. Rusty smoke coming from the scrap-metal.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>Oh, those poor people.<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>A car flipped on the road, people ran to their aid, we were waved by, only able to watch with sympathy and awe.<\/dialogue>\n    <scene_description>As they finally pass the accident, Jack looks across Babette, in the passenger seat, to the crash site. In the foreground, Babette, out of focus, slips something into her mouth. Slowly she comes into focus as she swallows whatever it was she placed in her mouth.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Drive the car, Jack.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I saw your throat contract. You swallowed something.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Just a Life Saver. Keep your eyes on--<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>You place a Life Saver in your mouth and you swallow it without an interval of sucking?<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Swallow what? It's still in my mouth.<\/dialogue>\n    <scene_description>She thrusts her face at him using her tongue to make a small lump in her cheek.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>But you swallowed something. I saw.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>That was just saliva that I didn't know what to do with. Drive the car, would you?<\/dialogue>\n    <scene_description>Jack finds Denise's eyes in the rearview mirror and decides to leave it for now. He turns the wipers on a higher speed as the rain increases.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>What's he want?<\/dialogue>\n    <scene_description>A Mylex-suited man is waving them to merge to avoid another huge wreck. They pass a sign for the Most Photographed Barn in America.<\/scene_description>\n    <character>HEINRICH<\/character>\n    <dialogue>We're running out of gas.<\/dialogue>\n    <scene_description>Jack looks at the dial quivering on E.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>There's always extra.<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>How can there be extra?<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>That's the way the tank is constructed so you don't run out.<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>There can't be always extra. If you keep going, you run out.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>You don't keep going forever.<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>How do we know when to stop?<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>When you pass a gas station!<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>Look.<\/dialogue>\n    <scene_description>Their station wagon drives into the deserted and rain-swept plaza with a gas station and pumps standing beneath an array of multicolor banners. Jack leaps out of the car and runs around to the pumps with his head tucked under the raised collar of his coat. A door from the office swings open and shut.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Nobody's here!<\/dialogue>\n    <scene_description>Nobody hears or reacts from the car. He checks the nozzle, it's unlocked. He seizes the hose from the unleaded pump. The banners smacking in the wind.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>It's working!<\/dialogue>\n    <scene_description>Headlights from the road slowly creep by in the darkness. He regards his family through the rain-streaked windows, the kids horsing around, Babette laughing. He waits while the tank fills. The gas station sign on stilts is lit up behind Jack in the night sky. We see, but he doesn't: The presence of a wide dark shadow as it passes over the tall Shell gas station sign. The banners suddenly stop flapping. The rain slows to a drip. The door stops swinging. Jack hesitates. And then the Shell icon reappears out of the black. The wind picks up, the flags wagging, the rain falls again. The nozzle clicks: Full.<\/scene_description>\n    <character>RADIO VOICE<\/character>\n    <dialogue>...dogs trained to sniff out Nyodene D are en route to the area from a chemical detection center in New Mexico.<\/dialogue>\n    <character>STEFFIE (V.O.)<\/character>\n    <dialogue>You didn't pay, Dad.<\/dialogue>\n    <scene_description>CUT TO: They're back on the road.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>There was nobody there.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>You could have left some money on the counter.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I was in a hurry. them a check.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>I'll send contaminated?<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>Yeah, but you probably won't do that.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Nothing happens to dogs.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>How do you know?<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Ask Jack.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Ask Heinrich.<\/dialogue>\n    <character>HEINRICH<\/character>\n    <parenthetical>(probably bullshitting)<\/parenthetical>\n    <dialogue>It could be true. They use rats to test for things that humans can catch so it means we get the same diseases, rats and humans.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Besides, they wouldn't use dogs if they thought it could hurt them.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>A dog is a mammal.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>So is a rat.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>A rat is a vermin.<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>Mostly what a rat is is a rodent.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>It's also a vermin.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>A cockroach is a vermin.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>A cockroach is an insect. You count the legs is how you know.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>It's also a vermin.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>Family is the cradle of the world's misinformation.<\/dialogue>\n    <scene_description>Jack drives slowly up an incline in the road. The sky is strangely dark.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>Does a cockroach get cancer? No. That must mean a rat is more like a human than it is like a cockroach, even if they're both vermins, since a rat and a human can get cancer but a cockroach can't.<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>In other words, she's saying that two things that are mammals have more in common than two things that are only vermins.<\/dialogue>\n    <scene_description>As the car climbs further, Jack can see that the dark sky is moving up against a blue night.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>Are you telling me that a rat is not only a vermin and a rodent but a mammal too?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Oh shit.<\/dialogue>\n    <scene_description>Suddenly, lit up in the sky ahead of them is-- --the black billowing cloud itself. As the family looks, their car is hit with bright white light. A helicopter flies with a spot above them, dragging its spot across the traffic and up into the air revealing: The airborne toxic event, lighted by the clear beams of seven army helicopters, a roiling bloated slug-shaped mass. There are cracklings and sputterings, flashes of light, long looping streaks of chemical flame. It seems to be generating its own inner storms. The helicopters throb like giant appliances. The cloud is silver-tipped in the spotlights as it moves horribly through the night. The family watches from the car in humble awe. Heinrich fumbles to load his camera with film. Jack starts to say something but can't. Babette grabs his hand. He startles, then takes it.<\/scene_description>\n    <character>HEINRICH<\/character>\n    <dialogue>You can look at it and look at it.<\/dialogue>\n    <scene_description>Denise and Steffie fight over the binoculars.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>Come on kids, share please!<\/dialogue>\n    <scene_description>Other drivers honk. Adults and children crowded at their windows, pink hands pressed against the glass. Cars have pulled up on the median, people outside watching. WIDE as flares come swooning from the helicopters, creamy bursts of red and white light. The traffic, lead by the streaking headlights in the rain snakes off to the right leaving the remarkable billowing cloud in the background. DISSOLVE TO: Lights speckled through a water streaked window. It's an hour or so later. The rain has stopped. Steffie and Wilder sleep. A single lane funnels into the Boy Scout Camp. Mylex suited men, surrounded by Day-Glo pylons, wave flashlights directing them to a packed parking lot, and onto an athletic field.<\/scene_description>\n    <character>MAN IN MYLEX SUIT<\/character>\n    <dialogue>Welcome to Camp Daffodil.<\/dialogue>\n    <scene_description>The car bumps along dirt paths, over ruts and mounds. Near the main buildings there is a group of men and women, not wearing Mylex suits, who carry clip-boards and walkie- talkies. Denise, Heinrich, Babette look out their windows, glancing periodically at the night sky. Lights passing over their reflections in the glass.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOY SCOUT BARRACK<\/stage_direction>\n    <scene_description>A large, gray area, dank and bare and crowded with people, some on beach chairs brought from home, others on designated camp folding chairs. It's lit with overhead flood lights as well as small kerosene lamps. The Red Cross has set up cots and portable heaters, and volunteers come around with sandwiches and coffee. Nurses tend to some elderly people. Many radios go at once with talk and some music. Certain people hold court to smaller gatherings. We hear various theories in the air: \"I hear we'll be allowed to go home first thing in the morning.\" \"The government knows much more than they're saying.\" \"A helicopter entered the toxic cloud and never reappeared.\" \"The dogs are here from New Mexico. They parachuted into a meadow in a daring night drop.\" \"The town of Farmington will be uninhabitable for forty years.\" \"There are nine evacuation centers.\" \"The governor is on his way to the capitol in an executive helicopter.\" We find Jack drinking coffee from a styrofoam cup. We hear Babette's voice. She's seated some distance away reading from a tabloid magazine to many elderly people from her posture class.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>...a researcher at the world- renowned institute has used hypnosis to induce hundreds of people to recall their previous- life experiences as pyramid- builders, exchange students, and extraterrestrials...<\/dialogue>\n    <scene_description>Jack walks among the evacuees, more theories abound. He hesitates as he hears:<\/scene_description>\n    <character>VOICE<\/character>\n    <dialogue>The stuff they sprayed on the big spill was probably soda ash. But it was a case of too little too late.<\/dialogue>\n    <scene_description>Jack hovers at the outside of the small group. It is in fact, Heinrich at the center speaking in an enthusiastic tone. Relishing, in his way, runaway calamity.<\/scene_description>\n    <character>HEINRICH<\/character>\n    <dialogue>My guess is they'll get some crop dusters up in the air at daybreak and bombard the toxic cloud with lots more soda ash which could break it up and scatter it into a million harmless puffs. Soda ash is the common name for sodium carbonate, which is used in the manufacture of glass, ceramics, detergents, and soaps. It's also what they use to make bicarbonate of soda, something a lot of you have probably guzzled after a night on the town.<\/dialogue>\n    <scene_description>Laughter. The group grows, Jack getting shoved further back.<\/scene_description>\n    <character>HEINRICH<\/character>\n    <dialogue>What you're all probably wondering is what exactly is this Nyodene D. we keep hearing about? Well, I'm glad you asked that...<\/dialogue>\n    <scene_description>More laughter. As he continues, Jack retreats so as not to be seen. Steffie and Wilder are asleep in one of the cots. Denise lies on her cot reading the Physicians Desk Reference. Babette goes through a canvas bag full of jars and cartons from their refrigerator and pantry. Denise looks up.<\/scene_description>\n    <character>JACK (O.S.)<\/character>\n    <dialogue>Heinrich seems to be coming out of his shell.<\/dialogue>\n    <scene_description>Jack takes a seat on a cot.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>Where is he? I haven't seen him.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>See that knot of people? He's right in the middle. He's telling them what he knows about the toxic event.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>What does he know?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Quite a lot, it turns out.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Why didn't he tell us?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>He probably doesn't think it's worth his while to be funny and charming in front of his family. We present the wrong kind of challenge.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Don't you think you ought to go over there? Show him that his father is there for his big moment.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>He'll only get upset if he sees me.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>What if I went over?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>He'll think I sent you.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Is that so awful?<\/dialogue>\n    <scene_description>Jack leans in even closer. Their heads almost touching.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Just a Life Saver.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Just some saliva that you didn't know what to do with.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>It was a Life Saver.<\/dialogue>\n    <scene_description>She makes an O with her thumb and index finger.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Give me one.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>It was the last one.<\/dialogue>\n    <scene_description>At the front hall of the structure, a woman is saying something about exposure to toxic agents. Her small voice is lost in the shuffling roar of the barracks.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>What flavor--quick.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Cherry.<\/dialogue>\n    <scene_description>Jack, frustrated, breaks the intimate moment and stands up, his attention caught by the woman's half-heard announcement.<\/scene_description>\n    <character>ANNOUNCEMENT<\/character>\n    <dialogue>...and if you believe you've been exposed to the airborne toxic event for any amount of time, longer than ten seconds, please proceed to the--<\/dialogue>\n    <scene_description>Denise now appears at her Dad's side.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>Didn't you hear what the voice said?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Something about exposure?<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>That's right.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What's that got to do with us?<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>Not us. You.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Why me?<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>Aren't you the one who got out of the car to fill the gas tank?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>But the airborne event wasn't on top of us then.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>It was ahead of us. Remember, you got back in the car and then there it was in all those lights.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Beautiful.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>You're saying when I got out of the car, the cloud may have been close enough to rain all over me?<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>It's not your fault, but you were practically right in it for two and a half minutes.<\/dialogue>\n    <scene_description>CUT TO: Two lines form at the front of the barracks. A to M and N to Z. At the end of each line is a folding table with a micro computer on it. Technicians mill about, men and women with lapel badges and color coded armbands. A gaunt young man with a khaki jacket, the word SIMUVAC on his armband, talks to Jack. He types as Jack gives his name etc.. A family of four in bright orange life-jackets talks to a female technician (the woman with the small voice) in the N to Z line. She seems to be giving only good news to people.<\/scene_description>\n    <character>TECHNICIAN<\/character>\n    <dialogue>How long were you out there?<\/dialogue>\n    <scene_description>A woman behind Jack starts sobbing.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Denise said two and a half minutes. Is that considered long or short?<\/dialogue>\n    <scene_description>He regards Jack with a grimily superior air.<\/scene_description>\n    <character>TECHNICIAN<\/character>\n    <dialogue>Anything that puts you into skin and orifice contact with the actual emissions means we have a situation. This is Nyodene D.. A whole new generation of toxic waste. State of the art. One part per million can send a rat into a permanent state.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What about people in the car? I had to open the door to get out and get back in.<\/dialogue>\n    <character>TECHNICIAN<\/character>\n    <dialogue>I'd say their situation is they're minimal risks. It's the two and a half minutes standing right in it which makes me wince.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(nods)<\/parenthetical>\n    <dialogue>What does SIMUVAC stand for?<\/dialogue>\n    <character>TECHNICIAN<\/character>\n    <dialogue>It's short for simulated evacuation. A new state program they're battling over funds for.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>But this evacuation isn't simulated. It's real.<\/dialogue>\n    <character>TECHNICIAN<\/character>\n    <dialogue>We know that. But we thought we could use it as a model.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Are you saying you saw a chance to use the real event in order to rehearse the simulation?<\/dialogue>\n    <character>TECHNICIAN<\/character>\n    <dialogue>We took it right to the streets.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>How is it going?<\/dialogue>\n    <character>TECHNICIAN<\/character>\n    <dialogue>The insertion curve isn't as smooth as we would like.<\/dialogue>\n    <character>TECHNICIAN<\/character>\n    <dialogue>We don't have our victims laid out where we'd want them if this was an actual simulation. You have to make allowances for the fact that everything we see tonight is real. There's still a lot of polishing we have to do, but that's what this exercise is all about.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What about the computers? Is that real data you're running through the system or is it just practice stuff?<\/dialogue>\n    <character>TECHNICIAN<\/character>\n    <dialogue>You watch.<\/dialogue>\n    <scene_description>He taps on the keys and studies the codes and responses on the data screen. He frowns and types some more. This goes on longer than is comfortable. In the other line, the life jacketed family laughs and thanks the female technician warmly and walks away. They look at Jack sympathetically. Jack folds his arms and tries not to feel self-conscious.<\/scene_description>\n    <character>JACK<\/character>\n    <parenthetical>(idly)<\/parenthetical>\n    <dialogue>I was only out there two and a half minutes. That's how many seconds?<\/dialogue>\n    <character>TECHNICIAN (O.S.)<\/character>\n    <dialogue>I'm getting bracketed numbers with pulsing stars.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(his attention returning)<\/parenthetical>\n    <dialogue>What does that mean?<\/dialogue>\n    <scene_description>The man makes a silencing gesture as something grabs his interest on the screen. The female technician chats amiably with another family.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>I mean...am I going to die?<\/dialogue>\n    <character>TECHNICIAN<\/character>\n    <dialogue>Not as such.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>TECHNICIAN<\/character>\n    <dialogue>Not in so many words.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>How many words does it take?<\/dialogue>\n    <character>TECHNICIAN<\/character>\n    <dialogue>It's not a question of words. It's a question of years. We'll know more in fifteen years. In the meantime, we definitely have a situation.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What will we know in fifteen years?<\/dialogue>\n    <character>TECHNICIAN<\/character>\n    <dialogue>If you're still alive at that time, we'll know much more than we do now. Nyodene D. has a life span of roughly thirty years. You'll have made it halfway through.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>So, to outlive this substance, I will have to make it into my seventies. Then I can begin to relax.<\/dialogue>\n    <character>TECHNICIAN<\/character>\n    <parenthetical>(looks at Jack carefully)<\/parenthetical>\n    <dialogue>I wouldn't worry about what I can't see or feel. I'd go ahead and live my life. Get married, settle down, have kids. There's no reason you can't do these things, knowing what we know.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>But you said we have a situation.<\/dialogue>\n    <character>TECHNICIAN<\/character>\n    <dialogue>I didn't say it. The computer did.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>And what the computer says is not a simulation despite that armband you're wearing. It is real.<\/dialogue>\n    <character>TECHNICIAN<\/character>\n    <dialogue>It is real.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BARRACKS<\/stage_direction>\n    <scene_description>Several groups of people stand around fires burning in fifty- gallon drums. Some people sleep in their cars. Or in makeshift camps and tents. A man sells soft drinks and sandwiches from an open-sided vehicle. Parked nearby are buses, motorcycles, ambulettes. Beams of light swing slowly through the woods.<\/scene_description>\n    <character>RADIO VOICE<\/character>\n    <dialogue>Hog futures have declined in sympathy, adding bearishness to that market.<\/dialogue>\n    <scene_description>Jack passes a carload of prostitutes from Iron City. The interior light is on illuminating their faces at the windows. A man leans against the front door on the driver's side, speaking through a small opening in the window and taking notes. Jack smiles. The man is Murray.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Murray!<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>All white people have a favorite Elvis song.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(greeting him)<\/parenthetical>\n    <dialogue>I thought you were going to New York for the holiday.<\/dialogue>\n    <scene_description>Murray removes his glove to shake Jack's hand.<\/scene_description>\n    <character>MURRAY<\/character>\n    <dialogue>I stayed to look at car crash movies.<\/dialogue>\n    <parenthetical>(re the car of women)<\/parenthetical>\n    <dialogue>I heard a rumor about painted women and came out to take notes. One of them says she has a snap-off crotch. What do you think she means by that?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Well, they don't seem busy.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>I don't think this is the kind of disaster that leads to sexual abandon. We might get one or two fellows skulking out eventually, but there won't be an orgiastic horde, not tonight anyway.<\/dialogue>\n    <scene_description>Murray takes Jack's arm and they stroll past clusters of people around the oil drums. More rumors are overheard: \"Three of the live deer at Kung Fu Palace are dead.\" \"The governor is dead, his pilot and co- pilot seriously injured.\"<\/scene_description>\n    <character>MURRAY<\/character>\n    <dialogue>Any episodes of deja vu in your group?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>MURRAY<\/character>\n    <parenthetical>(pause, again)<\/parenthetical>\n    <dialogue>Any episodes of deja vu in your family?<\/dialogue>\n    <scene_description>Jack hesitates.<\/scene_description>\n    <character>MURRAY<\/character>\n    <dialogue>Why do we think these things happened before? Simple. They did happen before, in our minds, as visions of the future.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Super natural stuff.<\/dialogue>\n    <character>MURRAY<\/character>\n    <parenthetical>(gently)<\/parenthetical>\n    <dialogue>Maybe when we die, the first thing we'll say is, \"I know this feeling. I was here before.\"<\/dialogue>\n    <parenthetical>(Murray hesitates, taking in his friend)<\/parenthetical>\n    <dialogue>How are you doing?<\/dialogue>\n    <scene_description>Jack hesitates.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>I'm dying, Murray. I spent two and a half minutes exposed to the toxic cloud.<\/dialogue>\n    <scene_description>Murray squeezes Jack's arm.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Even if it doesn't kill me in a direct way, it will outlive me in my own body. I could die in a plane crash and the Nyodene D. would be thriving as my remains were laid to rest. A computer told me.<\/dialogue>\n    <scene_description>He stops and looks sadly into Jack's eyes.<\/scene_description>\n    <character>MURRAY<\/character>\n    <dialogue>I am truly sorry, my friend. But computers make mistakes. Carpet static can cause a mistake--<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>It was in the barrack, there was no carpet--<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>Lint or hair in the circuits! Was the man behind the computer bald?<\/dialogue>\n    <parenthetical>(Jack nods)<\/parenthetical>\n    <dialogue>Was he wearing a sweater?! Jack, there are always mistakes.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(emotional)<\/parenthetical>\n    <dialogue>Thank you, Murray.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>It's hard to make friends as adults and it's all the more special when it happens.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Not a word to Babette about any of this. She'd be devastated.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Sometimes I actually think I see it coming for me. At night usually. The thing I've always feared. And now it's here.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>We're all aware there's no escape from death. And how do we deal with this crushing knowledge? We repress, we disguise. But you don't know how to repress.<\/dialogue>\n    <scene_description>The fires have burned down in the drums. The sandwich vendor shutters down his van.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>I wish there was something I could do. I wish I could out-think the problem.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>You thought Hitler would protect you. Some people are larger than life. Hitler is larger than death. I understand completely.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Do you? Because I wish I did.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>It's totally obvious. The overwhelming horror would leave no room for your own death. It was a daring thing you did, a daring thrust. Daring but dumb.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>If I could just lose interest in myself. Is there any chance of that happening?<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>None. Better men have tried.<\/dialogue>\n    <scene_description>\"Widespread looting by men in plastic sheets.\" \"I've seen at least two more billowing clouds.\" Murray looks around making sure they're not being watched.<\/scene_description>\n    <character>MURRAY<\/character>\n    <dialogue>Here, take this. I have another one at home. In the drawer under my hotplate.<\/dialogue>\n    <scene_description>Murray removes a dark object from the pocket of his jacket.<\/scene_description>\n    <character>MURRAY<\/character>\n    <dialogue>Heft it around. Get the feel. It's loaded.<\/dialogue>\n    <scene_description>He places the small gun in Jack's palm.<\/scene_description>\n    <character>MURRAY<\/character>\n    <dialogue>It's an itty bitty thing, but it shoots real bullets. It's a 25- caliber Zumwalt automatic. German- made. Up your alley.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I don't want it.<\/dialogue>\n    <character>MURRAY<\/character>\n    <parenthetical>(sad wisdom)<\/parenthetical>\n    <dialogue>What we are reluctant to touch often is the very fabric of our salvation.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What do I do with it?<\/dialogue>\n    <scene_description>Murray walks into the half-light of a flickering flame coming from a nearby drum. For a moment his face looks sinister.<\/scene_description>\n    <character>MURRAY<\/character>\n    <dialogue>I believe, Jack, there are two kinds of people in the world. Killers and diers. Most of us are diers. We don't have the dispositions, the rage or whatever it takes to be a killer. But think how exciting it is, in theory, to kill a person. If he dies, you cannot. To kill him is to gain life-credit. Who knows, maybe violence is a form of rebirth.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>And maybe you can kill death.<\/dialogue>\n    <scene_description>Jack pockets the gun. A shadow puppet show plays for children on a sheet. Two musicians sing and play a song, \"The Cloud is Coming.\" It plays over the following:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARRACKS<\/stage_direction>\n    <scene_description>WIDE of the room. We slowly move in to find Babette walking back to her camp. Wilder, Steffie and Denise sleep on their cots. Heinrich, finished with his lecture, is making notations on a road map. The larger flood lights start to go out. The individual camps lit by the kerosene lamps. Babette sits down, as we come in closer all the way to her hand, which she opens, revealing a white pill. She places it in her mouth. BLACK.<\/scene_description>\n    <character>DENISE (V.O.)<\/character>\n    <dialogue>Jack!<\/dialogue>\n    <scene_description>CLOSE: Jack opens his eyes. A hand presses down on his chest. He gasps. His eyes widening to reveal:<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>Jack, wake up!<\/dialogue>\n    <scene_description>Denise pounds on his arms and shoulders. The overhead lights are bright. Sound is muffled.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>We have to leave.<\/dialogue>\n    <scene_description>Denise starts battering her mom now to wake her. Sound returns: Sirens from outside. A voice shouting instructions through a bullhorn. Car horns and a clanging bell somewhere.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>Five more minutes.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>No more minutes!<\/dialogue>\n    <scene_description>Babette is hoisted by her daughters who start to pack.<\/scene_description>\n    <character>BULLHORN (O.S.)<\/character>\n    <dialogue>The wind has changed. Wind change. Cloud has changed direction. Toxic, toxic, heading here.<\/dialogue>\n    <scene_description>Jack manages to sit up: People are hurriedly dressing and packing. Wilder is eating a cookie.<\/scene_description>\n    <character>BULLHORN (O.S.)<\/character>\n    <dialogue>Proceed to your vehicles, proceed to your vehicles.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>Why does she have to say everything twice? We can hear her the first time.<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>She just likes to hear herself talk.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMP SITE. MORNING<\/stage_direction>\n    <scene_description>A woman with an armband hands out gauzy white surgical masks that cover the nose and the mouth. She counts out six and hands them to Jack and Babette who run by with their family. A scene of panoramic disorder. Cars bleat, trying to escape. Cars trapped in mud, cars stalled, cars crawling along the one-lane escape route. A car screeches, nearly hitting a running man. The man freezes with his hands braced on the hood. The car behind it tries to stop but rear-ends the first car, now hurtling it into the man who flips up into the air. The Gladneys run wearing their masks. Babette looks up at the sky. A doll bounces out of Steffie's open backpack. Cars careen into the woods, looking for shortcuts. Cars hemmed in by trees, boulders, other cars. Sirens call and fade, horns blare in desperation. People running. Tents wind-blown into trees, families abandoning their vehicles and heading on foot for the parkway. Incoherent cries. Babette and the kids arrive at the station wagon.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>Steffie lost her bunny!<\/dialogue>\n    <scene_description>They call for Jack. Jack, nearly hit by a car, approaches.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>Get Steffie's bunny!<\/dialogue>\n    <scene_description>Jack, confused, looks around and then sees the stuffed animal lying amidst the fleeing evacuees. He tosses Babette the keys and runs back in the opposite direction, against the tide of people. A man clips Jack's shoulder. Jack falls down. Feet trampling past his head. The doll lies a few feet away. He reaches for it. A hand reaches down and picks it up just before Jack can grab it. Jack stands. The man, also masked, hands the doll to Jack. CLOSE on the hand, the long fingers, the thin red scar.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>The man bows strangely, winks then turns and disappears into the throng. Jack turns back. His family shouts and waves from the station wagon across the lawn. Jack runs. Jack arrives and unlocks the doors. As his family dives in, he watches a group of men proceeding calmly to a Land Rover. They have lean frames, short haircuts, and boxy heads. Their bumper sticker reads: GUN CONTROL IS MIND CONTROL. They rev up their vehicle. Jack quickly gets inside and starts the engine. The Land Rover drives straight into dense underbrush, away from the dirt road and away from all the other cars attempting shortcuts. Jack follows in their wagon, jouncing badly in the brush, dangling up inclines, over hidden stones. He glances up, searching the sky for clues.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>Where are you going?!<\/dialogue>\n    <character>DENISE\/STEFFIE<\/character>\n    <dialogue>Jack!\/This isn't a road!<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I have a feeling this Land Rover knows how to stay alive.<\/dialogue>\n    <scene_description>The tail lights of the Land Rover get further ahead until they disappear out of sight.<\/scene_description>\n    <character>HEINRICH<\/character>\n    <dialogue>Headlights at four o'clock.<\/dialogue>\n    <scene_description>Jack clocks another set of faraway lights and heads in that direction.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>On it.<\/dialogue>\n    <scene_description>The car heels like a toboggan.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>The lights aren't getting any closer.<\/dialogue>\n    <scene_description>Babette turns on the radio. It's fuzzy.<\/scene_description>\n    <character>RADIO VOICE<\/character>\n    <dialogue>...the evacuees are to head in the direction of Iron City.<\/dialogue>\n    <scene_description>Horns blow from somewhere. And then rotors. Jack looks up at the sky poking between the trees.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>Now they're over there!<\/dialogue>\n    <scene_description>Lights appear in an entirely different direction. Jack turns now toward these shining yellow spots. He hits the accelerator, jerks the wheel and arm-wrestles the car through a thicket of white pine--heading in the direction of lights. The car barrels through brush and branches, bouncing up and down. Steffie turns and looks out the back window. The Rover is driving away in the opposite direction.<\/scene_description>\n    <character>STEFFIE<\/character>\n    <dialogue>They're behind us now!<\/dialogue>\n    <scene_description>Jack hits the brakes. Jack backs up.<\/scene_description>\n    <character>DENISE<\/character>\n    <parenthetical>(to Steffie)<\/parenthetical>\n    <dialogue>Do it, do it.<\/dialogue>\n    <scene_description>Steffie barks convincingly like a dog.<\/scene_description>\n    <character>DENISE<\/character>\n    <parenthetical>(impressed)<\/parenthetical>\n    <dialogue>That is good.<\/dialogue>\n    <character>HEINRICH<\/character>\n    <parenthetical>(pointing)<\/parenthetical>\n    <dialogue>Fourteen-hundred o'clock!<\/dialogue>\n    <scene_description>Jack jerks the wagon down another path. They bounce forward, car sinking slightly. Water spraying the windows.<\/scene_description>\n    <character>STEFFIE<\/character>\n    <dialogue>We're in the water, Dad!<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I realize that now.<\/dialogue>\n    <scene_description>Jack struggles to get the car over to the opposite bank of the creek. Rain falls thickly through the high beams. Exhaust billows through the pipes as the vehicle sinks.<\/scene_description>\n    <character>HEINRICH<\/character>\n    <dialogue>Dad, turn off the engine.<\/dialogue>\n    <scene_description>Jack does.<\/scene_description>\n    <character>STEFFIE<\/character>\n    <dialogue>Do sheep have lashes?<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Ask your father.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>Dad, do sheep have lashes?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Doesn't anyone want to pay attention to what is actually happening?<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Your Dad wants credit for fording the creek.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I don't want credit! Forget it, go back to your conversation.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>Do sheep have lashes?<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>We're going sideways.<\/dialogue>\n    <scene_description>They all look around and discover this is true. Babette turns to Jack. WIDE: The car drifting down the creek. Back inside the car. On their faces. Drifting.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>What if there was a waterfall?<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>Dad, is there a waterfall?<\/dialogue>\n    <scene_description>Jack tries steering the car like a boat. Everyone is screaming now. For a moment, the creek seems to get more shallow and a wheel touches down on the rocky ground beneath.<\/scene_description>\n    <character>HEINRICH<\/character>\n    <dialogue>Turn it back on!<\/dialogue>\n    <scene_description>Jack quickly turns the key. The car starts.<\/scene_description>\n    <character>HEINRICH<\/character>\n    <dialogue>Floor it.<\/dialogue>\n    <scene_description>Jack hits the gas. The car sputters and lurches forward and skids through the water, swinging wildly left and right as it reaches land and climbs the opposite bank. Jack twists the car through more brush, up onto an incline, which angles the vehicle's nose upward. In an instant, he revs it, sending the car sailing momentarily through the air, blasting through branches-- Everyone screams. --and into an open field. They land on the grass with several bounces.<\/scene_description>\n    <character>WILDER<\/character>\n    <dialogue>Again!<\/dialogue>\n    <scene_description>The screams subside and everyone goes silent. Up ahead is a corn field. CUT TO: Cars sit in bumper to bumper traffic on a winding road. A family waits, bored in their vehicle. Suddenly, the Gladney's station wagon breaks out of the corn and merges into the line.<\/scene_description>\n    <character>JACK<\/character>\n    <parenthetical>(waving to the friendly family that lets him in)<\/parenthetical>\n    <dialogue>Thank you!<\/dialogue>\n    <scene_description>A long line of traffic. LONG DISSOLVE Close on Steffie as she slides across the wall. Her exposed pale green eyes above her mask, watching. She passes a poster breaking down the six striking surfaces of the human hand.<\/scene_description>\n    <character>RADIO VOICE<\/character>\n    <dialogue>The cloud continues to travel west as residents are now being asked to relocate to Iron City, where local businesses have opened their doors to shelter evacuees...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KARATE STUDIO, IRON CITY. DAY<\/stage_direction>\n    <scene_description>A group of kids, including Heinrich and Denise, practice karate moves. The Gladneys and about forty other families are in the abandoned studio. Besides Steffie, a few people still wear their masks.<\/scene_description>\n    <character>VOLUNTEER<\/character>\n    <parenthetical>(shouts through his hands)<\/parenthetical>\n    <dialogue>No one is allowed to leave the building! If somebody comes up to me and says can I leave, I am just going to say the same thing I am saying now. No one is allowed to leave the building!<\/dialogue>\n    <scene_description>Jack and other volunteers set up air mattresses and cots, some food and coffee. We overhear (as before at the Boy Scout camp) more rumors. Jack finds Babette who gazes solemnly out the window. He takes a styrofoam cup of a coffee and a wrapped Twinkie over to her.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>How is Babette?<\/dialogue>\n    <scene_description>She takes the coffee and raises it to her lips but doesn't drink. Her eyes remained fixed on the streaked window.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>I don't like the latest rumor.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Tell me.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>They're lowering in technicians from army helicopters to plant microorganisms in the core of the toxic cloud.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What don't you like about it?<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>I don't know, it's like the greater the scientific advance, the more scared I get.<\/dialogue>\n    <scene_description>Jack looks up at the sky.<\/scene_description>\n    <character>MAN WITH TV (O.S.)<\/character>\n    <dialogue>There's nothing on network.<\/dialogue>\n    <scene_description>A middle-aged man wearing a fur-lined cap with lowered flaps, and carrying a tiny TV set, walks slowly through the studio.<\/scene_description>\n    <character>MAN WITH TV<\/character>\n    <dialogue>Not a word, not a picture. On the Glassboro channel we rate fifty-two words by actual count. No film footage, no live report. Does this thing happen so often that nobody cares?<\/dialogue>\n    <scene_description>Murmurs of ascent from the crowd.<\/scene_description>\n    <character>MAN WITH TV<\/character>\n    <dialogue>We were scared to death!<\/dialogue>\n    <character>SOMEONE ELSE<\/character>\n    <dialogue>We still are!<\/dialogue>\n    <character>MAN WITH TV<\/character>\n    <dialogue>We left our homes, drove through a rainstorm, we saw that deadly specter. That death ship that sailed across the sky. Are they telling us it was insignificant?<\/dialogue>\n    <character>MAN WITH TV<\/character>\n    <dialogue>Do they think this is just television? Don't they know it's real? Shouldn't the streets be crawling with cameras and reporters? Shouldn't we be yelling out the window at them, \"Leave us alone, we've been through enough already!\" Haven't we earned the right to despise their idiot questions? Look at us in this place. We are quarantined. We are like lepers in medieval times. Everything we love and worked for is under serious threat. Even if there hasn't been great loss of life, don't we deserve attention for our suffering, our terror? Isn't fear news?<\/dialogue>\n    <scene_description>The group bursts into applause. Babette nods her head solemnly, moved by the speech. The man turns one more time, displaying the TV to the audience. As he completes his turn, he comes face to face with Jack who claps. We see Jack reflected in the TV. A change comes across the man's face.<\/scene_description>\n    <character>MAN WITH TV<\/character>\n    <parenthetical>(afraid)<\/parenthetical>\n    <dialogue>I saw this before.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Saw what before?<\/dialogue>\n    <character>MAN WITH TV<\/character>\n    <dialogue>You were standing there, I was standing here. Your features incredibly sharp and clear. It all happened before. Steam hissing in the pipes. Tiny little hairs standing out in your pores. That identical look on your face.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What look?<\/dialogue>\n    <character>MAN WITH TV<\/character>\n    <dialogue>Haunted. Ashen. Lost.<\/dialogue>\n    <scene_description>On Jack reflected in the man's TV.<\/scene_description>\n    <character>JACK (V.O.)<\/character>\n    <dialogue>It was nine days before they told us we could go back home.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUPERMARKET, BLACKSMITH. DAY<\/stage_direction>\n    <character>ANNOUNCEMENT<\/character>\n    <dialogue>Welcome back, shoppers!<\/dialogue>\n    <scene_description>Part III: DYLARAMA Jack pushes the cart, Murray ambling next to him, a basket of generic goods around his arm.<\/scene_description>\n    <character>MURRAY<\/character>\n    <dialogue>It's comforting to know the supermarket hasn't changed since the toxic event.<\/dialogue>\n    <scene_description>A line waits as a bloodstained man pounds at strips of meat and another pulls a few loaves of bread from an oven.<\/scene_description>\n    <character>MURRAY<\/character>\n    <dialogue>In fact, the supermarket has only gotten better. Between the unpackaged meat and fresh bread... It's like a Persian bazaar.<\/dialogue>\n    <parenthetical>(nods to himself)<\/parenthetical>\n    <dialogue>Everything is fine and will continue to be fine as long as the supermarket doesn't slip.<\/dialogue>\n    <scene_description>A cleaver cuts into a rib. A speck of blood hits the face of the woman waiting.<\/scene_description>\n    <character>MURRAY<\/character>\n    <dialogue>Do you know, the Tibetans believe there is a transitional state between death and rebirth. That's what I think when I come here. The supermarket is a waiting place. It recharges us spiritually, it's a gateway.<\/dialogue>\n    <scene_description>And now we rise up and see the market in all its glory.<\/scene_description>\n    <character>MURRAY<\/character>\n    <dialogue>Look how bright. Look how full of psychic data. Waves and radiation. All the letters and numbers are here, all the colors of the spectrum, all the voices and sounds, all the code words and ceremonial phrases. We just have to know how to decipher it.<\/dialogue>\n    <character>SOMEONE (O.S.)<\/character>\n    <dialogue>Tegrin, Denorex, Selsun Blue.<\/dialogue>\n    <character>MURRAY<\/character>\n    <parenthetical>(and then)<\/parenthetical>\n    <dialogue>How is that lovely woman of yours?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>She's been different somehow since the event.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>We've suffered a collective trauma.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>She wears her sweatsuit all the time, she stares out of windows and cries for no reason. I don't know how to help her.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>And I've been distracted myself, preparing for the Hitler conference and...<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>And the kids?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Back in school. Steffie no longer wears her protective mask.<\/dialogue>\n    <character>MURRAY<\/character>\n    <parenthetical>(pointedly)<\/parenthetical>\n    <dialogue>And you?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I've got another doctor's appointment tomorrow.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>What does he say about your status as a doomed man?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I haven't told him. And since he hasn't found anything wrong, I'm not going to bring it up.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>I lie to doctors all the time.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>So do I. But why?<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>You know the Elvis struggle you helped me with? It turns out, tragically, I would have won anyway.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>Cotsakis, my rival, is no longer in the land of the living.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>He's--<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>Dead. Lost in the surf off Malibu. During term break. I found out an hour ago and came right here.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>I'm sorry to tell you.<\/dialogue>\n    <parenthetical>(whispers so others can hear)<\/parenthetical>\n    <dialogue>Particularly because of your condition.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Poor Cotsakis, lost in the surf. That enormous man.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>He was big all right.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Enormously so.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>He must have weighed three hundred pounds.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>Oh, easily.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Dead. A big man like that.<\/dialogue>\n    <character>MURRAY<\/character>\n    <parenthetical>(picking up a Tabloid magazine)<\/parenthetical>\n    <dialogue>It's better not knowing them when they die. But it's better them than us.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>To be so enormous. Then to die. I can picture him so clearly.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>Maybe once we stop denying death, we can proceed calmly to die. We simply walk toward the sliding doors.<\/dialogue>\n    <scene_description>Jack's face is suddenly emotional. Sounds begin to isolate themselves. The drone of maintenance systems, the rustle of newsprint, the whispers of elderly women. The beeping of the holographic scanners at check-out. And the sad shuffle of everyone's steps. Finally we focus on the airy movement of the automatic doors opening and closing like abrupt breaths. People check out and exit into the white light of the parking lot. Amidst the exiting bodies, a narrow, blurry figure, blown out by the sun, enters the store. He comes toward Jack, taking a cart as he proceeds.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>What if death is nothing but sound? You hear it forever. Sound all around.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>Uniform, white.<\/dialogue>\n    <scene_description>Jack's cart rams into another with a clank. The scarred hand clutches the handle of his cart. Jack looks up, but the man has turned, only his back visible as he disappears down another aisle.<\/scene_description>\n    <character>MURRAY<\/character>\n    <dialogue>It's strange in a way, isn't it? That we can picture the dead.<\/dialogue>\n    <scene_description>CUT TO: Malibu horizon. A big hairy man rides a giant wave on a surfboard.<\/scene_description>\n    <character>DOCTOR LU (V.O.)<\/character>\n    <parenthetical>(cheerful)<\/parenthetical>\n    <dialogue>Why so many checkups, Mr. Gladney? In the past, you were always afraid to know if anything was wrong.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOCTOR'S OFFICE. DAY<\/stage_direction>\n    <scene_description>The whizzing sound of a dot-matrix printer. Jack dresses across from Doctor Lu, 50's, who unwraps and looks at the accordian print-out.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>I'm still afraid.<\/dialogue>\n    <scene_description>Doctor Lu smiles broadly, waiting for a punchline that doesn't come.<\/scene_description>\n    <character>DOCTOR LU<\/character>\n    <dialogue>Well, I'm glad you're finally taking your status as patient seriously.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>My status?<\/dialogue>\n    <character>DOCTOR LU<\/character>\n    <dialogue>Yes. Once people leave the doctor's office they tend to forget that they are patients. But a doctor doesn't cease being a doctor at close of day. Neither should patient. I don't think I like your potassium very much at all.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(concerned)<\/parenthetical>\n    <dialogue>What's that mean?<\/dialogue>\n    <character>DOCTOR LU<\/character>\n    <dialogue>There isn't time to explain. We have true elevation and false elevation. That's all you need to know.<\/dialogue>\n    <scene_description>He stands and heads toward the door indicating the appointment is ending.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Exactly how elevated is my potassium?<\/dialogue>\n    <character>DOCTOR LU<\/character>\n    <dialogue>It's gone through the roof, evidently.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Could this potassium be an indication of some condition just beginning to manifest itself, some condition caused perhaps by an ingestion, an exposure, an involuntary spillage-intake, some substance, say in the air or rain?<\/dialogue>\n    <character>DOCTOR LU<\/character>\n    <parenthetical>(pointedly)<\/parenthetical>\n    <dialogue>Have you come in contact with such a substance? Were you exposed to that cloud?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Why, do the numbers show some sign of possible exposure?<\/dialogue>\n    <character>DOCTOR LU<\/character>\n    <dialogue>If you haven't been exposed, then they couldn't very well show a sign, could they?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Then we agree.<\/dialogue>\n    <character>DOCTOR LU<\/character>\n    <dialogue>And you would have no reason to lie to me.<\/dialogue>\n    <scene_description>Jack says nothing. The doctor looks at Jack carefully. Then he makes a note on the chart.<\/scene_description>\n    <character>DOCTOR LU<\/character>\n    <dialogue>I'm going to send you to Glassboro for further tests. They have a brand new facility called Autumn Harvest Farms. Have you heard of it?<\/dialogue>\n    <parenthetical>(Jack shakes his head)<\/parenthetical>\n    <dialogue>They have gleaming new equipment. It gleams, absolutely. Tell them to send you back to me with sealed results. Together, as doctor and patient, we can do things that neither of us could do separately.<\/dialogue>\n    <scene_description>Jack nods and passes the doctor at the doorway.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Doctor Lu, have you heard of Dylar?<\/dialogue>\n    <character>DOCTOR LU<\/character>\n    <dialogue>Is that an island in the Persian Gulf?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>No, it's a medi--<\/dialogue>\n    <character>DOCTOR LU<\/character>\n    <dialogue>One of those oil terminals crucial to the survival of the West.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>--it's not...it's something that comes in a little white tablet.<\/dialogue>\n    <character>DOCTOR LU<\/character>\n    <dialogue>Never heard of it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GLADNEY'S HOME<\/stage_direction>\n    <scene_description>We move up to an upper window of the house. Babette stares out from the bedroom. She sobs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUTUMN HARVEST FARMS<\/stage_direction>\n    <scene_description>Jack moves slowly into a giant MRI machine.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM<\/stage_direction>\n    <scene_description>Babette wears a loose gray sweatsuit. Her hair piled on top of her head. She sobs at the window. A radiator rattles. We STAY with her as she turns and enters the bathroom. She crouches down and lifts up the radiator cover. She stashes something underneath and then replaces the cover. She walks through the hallway, crying.<\/scene_description>\n    <character>RADIO VOICE<\/character>\n    <dialogue>Life is slowly but surely returning to normal here in Blacksmith and the surrounding areas. I'm told German shepherds have sniffed out only a very low level of toxic material on the edge of town. But there is no more danger posed to humans or animals. The last of the emergency personnel are packing up and taking the dogs with them...<\/dialogue>\n    <scene_description>She picks up clothes left in the hallway, toys. She enters the laundry room, takes wet clothes out of the washer and tosses them in the dryer. Inside the dryer: The jeans flop around. The sound of the studs hitting the metal sides. We pick up Babette walking and begin to HEAR Heinrich from downstairs:<\/scene_description>\n    <character>HEINRICH (O.S.)<\/character>\n    <dialogue>The real issue is the kind of radiation that surrounds us every day. Your radio, your TV, your microwave oven, the power lines outside the door. Forget clouds. It's the electrical and magnetic fields.<\/dialogue>\n    <scene_description>Babette comes down the stairs to the kitchen.<\/scene_description>\n    <character>STEFFIE<\/character>\n    <dialogue>Is Wilder talking less now?<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>If they released the true findings, there'd be billions of dollars in law suits.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>That's a little extreme isn't it?<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>What's extreme, what I said or what would happen?<\/dialogue>\n    <scene_description>We see the family now setting the table for dinner. Jack looks over at Babette.<\/scene_description>\n    <character>STEFFIE<\/character>\n    <dialogue>Why are mountains upstate?<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>Mountains are always upstate.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>Say more.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>This way the snow melts as planned in the spring and flows downhill to the reservoirs near the cities, which are kept in the lower end of the state for exactly this reason.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(to Heinrich)<\/parenthetical>\n    <dialogue>Is that true?<\/dialogue>\n    <character>HEINRICH<\/character>\n    <parenthetical>(to Jack)<\/parenthetical>\n    <dialogue>What do you think?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I honestly don't know.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Kids, listen to me. Hold hands when you cross the street. OK? Be careful around swimming pools. If you think someone is a kidnapper, they probably are.<\/dialogue>\n    <scene_description>The kids look back at her blankly.<\/scene_description>\n    <character>JACK<\/character>\n    <parenthetical>(to Babette)<\/parenthetical>\n    <dialogue>Where are you going?<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>They gave me a new class at the church.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>In what?<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Eating and drinking.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>Isn't that kind of obvious?<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>What's there to teach?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>And isn't it kind of late? It's almost night.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>What is night? It happens seven times a week. Where is the uniqueness in this?<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>Jack, can you help me with my homework after dinner?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSTAIRS HALLWAY<\/stage_direction>\n    <scene_description>Denise leads Jack, their feet making soft padding sounds on the carpet.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>The homework was a canard. I want to show you something.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASTER BATHROOM. LATER<\/stage_direction>\n    <scene_description>Denise kneels down and lifts the radiator cover and reaches underneath. Taped to the bottom of the radiator cover is a pill bottle. Jack crouches down next to her.<\/scene_description>\n    <character>TV VOICE<\/character>\n    <dialogue>They're not booing, they're saying Bruce.<\/dialogue>\n    <scene_description>CLOSE on the amber bottle. Through the crinkled transparent tape, the word: Dylar<\/scene_description>\n    <character>JACK<\/character>\n    <parenthetical>(simply)<\/parenthetical>\n    <dialogue>Dylar.<\/dialogue>\n    <scene_description>They look at one another. Jack removes the bottle and opens it into his palm. 4 pills remain.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>There are four left. Take one for proof. We need physical evidence.<\/dialogue>\n    <scene_description>Jack takes one of the pills and puts it in his pocket. He slides the remaining three pills back in the container, tapes it back and then carefully replaces the radiator cover.<\/scene_description>\n    <character>TV VOICE<\/character>\n    <dialogue>Bruce, Bruce, Bruce!<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>We say nothing to Baba.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>All right.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>She'll only say she doesn't remember why she put it there.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I'll go to the drug store first thing in the morning and ask the pharmacist about Dylar.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>I already did that.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>When?<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>Around Christmas. I went to three drugstores--<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What did they say?<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>Never heard of it. It's not on any list.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Unlisted.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>We have to call her doctor.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I'll call him tomorrow.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>Call him now. This is serious, Jack. Something is wrong with her.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(convinced)<\/parenthetical>\n    <dialogue>I'll call him now. I'll call him at home.<\/dialogue>\n    <character>DENISE<\/character>\n    <parenthetical>(ruthless)<\/parenthetical>\n    <dialogue>Surprise him.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(getting excited about the plan)<\/parenthetical>\n    <dialogue>If I get him at home, he won't be screened by a receptionist.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>Call him at home! Wake him up. Trick him into telling us what we want to know.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I'll call him at home. Wake him up. Trick him into telling us what we want to know.<\/dialogue>\n    <character>DOCTOR'S VOICE<\/character>\n    <dialogue>Hello?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN<\/stage_direction>\n    <scene_description>Jack, a phone book open on the counter, talks on the wall phone. Denise huddles nearby, making sure no one is coming.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Doctor Hookstratten, this is Jack Gladney, you treat my wife, Babette.<\/dialogue>\n    <character>DOCTOR'S VOICE<\/character>\n    <dialogue>OK.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I'm sorry to call you at home, but I'm concerned about Babette. And I'm pretty sure the medication you prescribed is causing the problem.<\/dialogue>\n    <character>DOCTOR'S VOICE<\/character>\n    <dialogue>What problem?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Memory lapse.<\/dialogue>\n    <scene_description>He winks at Denise.<\/scene_description>\n    <character>DOCTOR'S VOICE<\/character>\n    <dialogue>You would call a doctor at home to talk about memory lapse. If everyone with memory lapse called a doctor at home, what would we have? The ripple effect would be tremendous.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>They are frequent. The lapses.<\/dialogue>\n    <scene_description>Denise is pouring them both glasses of milk. She hands one to Jack.<\/scene_description>\n    <character>DOCTOR'S VOICE<\/character>\n    <dialogue>Frequent. You would call a doctor in his home after ten o'clock at night. You would say to him, \"Memory lapse.\" Why not tell me she has gas? Call me at home for gas?<\/dialogue>\n    <character>DENISE<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>Frequent AND prolonged.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Frequent and prolonged, doctor. It has to be the medication.<\/dialogue>\n    <character>DOCTOR'S VOICE<\/character>\n    <dialogue>What medication?<\/dialogue>\n    <character>JACK\/DENISE<\/character>\n    <dialogue>Dylar.\/Dylar.<\/dialogue>\n    <character>DOCTOR'S VOICE<\/character>\n    <dialogue>Never heard of it.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>A small white tablet.<\/dialogue>\n    <character>DENISE<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>Comes in an amber bottle.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Comes in an amber--<\/dialogue>\n    <character>DOCTOR'S VOICE<\/character>\n    <dialogue>You would describe a tablet as small and white and expect a doctor to respond, at home, after ten at night. Why not tell me it is round? This is crucial to our case.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>It's an unlisted drug.<\/dialogue>\n    <character>DOCTOR'S VOICE<\/character>\n    <dialogue>I never saw it. I certainly never prescribed it for your wife.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>Tell him I went to three pharma--<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>OK, thank you, doctor, sorry to have bothered you at home.<\/dialogue>\n    <scene_description>He hangs up.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>I'm never in control of what I say to doctors.<\/dialogue>\n    <scene_description>They look at each other, grimly.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>I'll take the tablet and have it analyzed by someone in the chemistry department at the school.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Unless you've already done that too?<\/dialogue>\n    <scene_description>Denise shakes her head slowly. CUT TO: Close on the white tablet held delicately between two narrow fingers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHEMISTRY DEPARTMENT, COLLEGE-ON-THE HILL. DAY<\/stage_direction>\n    <scene_description>It's rotated a couple of times.<\/scene_description>\n    <character>WINNIE (O.S.)<\/character>\n    <dialogue>It's not a tablet in the old sense.<\/dialogue>\n    <scene_description>On Winnie Richards. She's tall and gawky with bright and excited eyes. (We met her previously in the cafeteria.) She lopes around the room rapidly circling her cluttered desk which includes a small, open chocolate milk carton. Jack tries to follow.<\/scene_description>\n    <character>WINNIE<\/character>\n    <dialogue>I've never seen anything quite like it.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What can you tell me about it? Try not to be too brilliant. I haven't eaten lunch yet.<\/dialogue>\n    <scene_description>She blushes.<\/scene_description>\n    <character>WINNIE<\/character>\n    <dialogue>The medication in Dylar is encased in a polymer membrane. Water from your gastrointestinal tract seeps through the membrane at a carefully controlled rate.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What does the water do?<\/dialogue>\n    <character>WINNIE<\/character>\n    <dialogue>It dissolves the medication encased in the membrane. The medicine then passes out of the polymer tablet through a single small hole.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>It took me a while to spot the hole.<\/dialogue>\n    <character>WINNIE<\/character>\n    <dialogue>That's because it's laser-drilled. It's not only tiny but stunningly precise in its dimensions.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(shakes his head)<\/parenthetical>\n    <dialogue>Lasers, polymers.<\/dialogue>\n    <scene_description>Winnie exits the room, folders pressed to her chest. Jack follows her down the hall.<\/scene_description>\n    <character>WINNIE<\/character>\n    <dialogue>I'm not an expert in any of this, Jack, but I can tell you it's a wonderful little system.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What's the point of all this precision?<\/dialogue>\n    <character>WINNIE<\/character>\n    <dialogue>The drug is delivered at specified rates for extended periods. This system is efficient.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I'm impressed. I'm even dazzled. Now tell me what the medication is designed to do? What is Dylar?<\/dialogue>\n    <scene_description>She enters another small room full of bottled brains. The table is fitted with a sink and small note pads and lab instruments. She turns around dramatically.<\/scene_description>\n    <character>WINNIE<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Of course you know. You're brilliant. Everyone says so.<\/dialogue>\n    <character>WINNIE<\/character>\n    <dialogue>What else can they say? I do neurochemistry. No one knows what that is.<\/dialogue>\n    <scene_description>She unlocks a back door to the room and opens it onto the campus.<\/scene_description>\n    <character>WINNIE<\/character>\n    <dialogue>Jack, all I can tell you for certain is that the substance contained in Dylar is some kind of psychopharmaceutical. It's probably designed to interact with a distant part of the human cortex.<\/dialogue>\n    <scene_description>Jack starts to follow but she indicates for him to stay.<\/scene_description>\n    <character>WINNIE<\/character>\n    <dialogue>I wish I knew more. But I can tell you this. It's not on the market.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I found it in an ordinary prescription vial.<\/dialogue>\n    <character>WINNIE<\/character>\n    <dialogue>I don't care where you found it. This is unknown.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GLADNEY'S HOME. NIGHT<\/stage_direction>\n    <scene_description>Babette enters. She hangs up her coat, drops the car keys in a dish. A light clicks on in the corner of the living room. She startles. Jack sits in arm chair illuminated dramatically by the floor lamp. The light has come on too bright so Jack has to click the switch a couple of times more for it to dim down.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>It's time for a major dialogue. You know it, I know it.<\/dialogue>\n    <scene_description>Babette says nothing.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>We found the Dylar.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>What Dylar?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Come on, Baba. It was taped to the radiator cover.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Why would I tape something to the radiator cover?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>That's exactly what Denise predicted you would say.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>She's usually right.<\/dialogue>\n    <scene_description>She heads toward the stairs. Jack gets out of the chair and follows.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>You'll tell me all about Dylar. If not for my sake, then for your little girl's. She's been worried - worried sick. Besides, you have no more room to maneuver. We've backed you against the wall.<\/dialogue>\n    <scene_description>Babette turns around, stares at Jack.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>I had one of the tablets analyzed by an expert. Dylar is almost as ingenious as the microorganisms that ate the billowing cloud.<\/dialogue>\n    <scene_description>She continues up the stairs and down the upstairs hallway, Jack following.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>We know something else, something crucially damaging to your case. We know Dylar is not available to the general public. As you well know, I don't have the temperament to hound people. But Denise is a different kind of person. If you don't tell me what I want to know, I'll unleash your little girl.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>She'll come at you with everything she has. She'll hammer you right into the ground. You know I'm right, Babette.<\/dialogue>\n    <scene_description>They've arrived in their bedroom. Babette removes her watch and bracelets and places them on the bureau. She takes her hair down and puts the bungie next to her bed. She disappears into the closet. We hear her changing her clothes. Jack waits. Finally:<\/scene_description>\n    <character>BABETTE (O.S.)<\/character>\n    <parenthetical>(in a small but decisive voice)<\/parenthetical>\n    <dialogue>Just let me tell it in my own way.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Take your time. We've got all day. I'll be right here for as long as it takes.<\/dialogue>\n    <scene_description>Babette reappears in a baggy pink sweatshirt and underwear.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>I don't know exactly when it started. Maybe a year and a half ago. I thought I was going through a phase, some kind of watermark period in my life.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Landmark.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Or watershed. I thought. Middle age. Something like that. The condition would go away and I'd forget all about it. But it didn't go away.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What condition?<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Never mind that for now.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I've never seen you like this. This is the whole point of Babette. She's a joyous person. She doesn't succumb to gloom or self-pity.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Let me tell it, Jack.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>All right.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>You know how I am. I think everything is correctable. Given the right attitude, a person can change a harmful condition by reducing it to its simplest parts. So, when I realized this condition was not going away, I set out to reduce it to its parts. I went to libraries and bookstores, watched cable TV, made lists and diagrams, talked to a holy Sikh man in Iron City and even studied the occult, hiding the books in the attic so you and Denise wouldn't find them and wonder what was going on.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>All this without my knowing. The whole point of Babette is that she speaks to me, she reveals and confides.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>This is not a story about your disappointment at my silence. The theme of this story is my pain and my attempts to end it.<\/dialogue>\n    <scene_description>OK.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>I did all this research, but I was getting nowhere. The condition hung over my life. Then one day at the supermarket, I was reading a tabloid on line. There was an ad. Never mind exactly what it said. Volunteers wanted for secret research. I answered the ad and was interviewed by a small firm doing research in psychobiology. Let's call the company Gray Research, although that's not the true name. Let's call my contact Mr. Gray. Mr. Gray is a composite. I was eventually in touch with three or four or more people at the firm.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>One of those long, low, pale brick buildings with electrified fencing and low-profile shrubbery.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>I never saw their headquarters. Never mind why. The point is, I took test after test. Emotional, psychological, motor response, brain activity. Mr. Gray said there were three finalists and I was one of them.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Finalists for what?<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>We were to be test subjects in the development of a super experimental and top-secret drug. Code-name: Dylar.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(dryly)<\/parenthetical>\n    <dialogue>Aha.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>He'd found a Dylar receptor in the human brain and was putting the finishing touches on the tablet itself. I felt hopeful for the first time in so long. But there were many dangers in running tests on humans. Among other things it could cause death.<\/dialogue>\n    <parenthetical>(Jack raises his eyebrows)<\/parenthetical>\n    <dialogue>Or I could live, but my brain could die. I could not distinguish words from things, so that if someone said \"falling plane,\" I would fall to the floor and take cover.<\/dialogue>\n    <parenthetical>(sadly)<\/parenthetical>\n    <dialogue>In the end, it just made me forget things.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>And they let you go ahead anyway, a human test animal?<\/dialogue>\n    <scene_description>Babette gets into bed, pulling up the covers.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>No, they didn't. They finally said it was all too risky - legally, ethically and so forth.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Well, that's good--<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>No. I refused to accept this. I want you to try to understand what happened next. If I'm going to tell you the story at all, I have to include this aspect of it, this grubby little corner of the human heart. You say Babette reveals and confides.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>This is the point of Babette.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Good. I will reveal and confide. But you don't want to know what happened. You think you do, but you don't.<\/dialogue>\n    <scene_description>Jack hesitates.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>Mr. Gray and I made a private arrangement. We would conduct the experiments on our own. I would be cured of my condition, he would be acclaimed for a wonderful medical breakthrough.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>OK.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>It involved an indiscretion. This was the only way I could get Mr. Gray to let me use the drug. It was my last resort, my last hope. First I'd offered him my mind. Now I offered my body.<\/dialogue>\n    <scene_description>Jack feels a sensation of warmth creeping up his back and radiating outward across his shoulders. Babette looks away. Jack studies her features. Finally:<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>How do you offer your body to a composite of three or more people? This is a compound person.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Let's concentrate on the genitals. How many sets are we talking about?<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Just one person's, Jack. A key person, the project manager.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>So we are no longer referring to the Mr. Gray who is a composite.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>He is now one person. We went to a grubby little motel room. Never mind where or when. It had the TV up near the ceiling. This is all I remember. I was so ashamed I wore a ski mask to cover my face.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(struggling with his anger)<\/parenthetical>\n    <dialogue>You call this an indiscretion? You traded sex for pills.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Jack--<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>You walked barefoot on the fire retardant carpet. Mr. Gray put the car rental keys on the dresser and then he entered you.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Don't use that term. You know how I feel about that word.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(furious)<\/parenthetical>\n    <dialogue>He effected what is called entry. In other words, he inserted himself inside you.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>No one was inside anyone. That is stupid usage. I did what I had to do. I was remote. I was operating outside of myself. It was a capitalist transaction. You cherish your wife who tells you everything. I am doing my best to be that person.<\/dialogue>\n    <scene_description>Jack paces, trying to harness all his different emotions. A sadness shows in her eyes.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>I'm only trying to understand. How many times did you go to this motel?<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>More or less on a continuing basis for some months. That was the agreement.<\/dialogue>\n    <scene_description>Jack watches her carefully.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Did...did you enjoy having sex with him?<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>I only remember the TV up near the ceiling, aimed down at us.<\/dialogue>\n    <scene_description>The white light shining from the streetlight outside flickers for a moment through the window. Babette begins to cry softly. Jack goes into the bathroom and splashes water on his face. The only towel available is small and pink with a tic-tac-toe design.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Did he have a sense of humor? I know women appreciate men who can joke about sex. I can't, unfortunately, and after this I don't think there's much chance I'll be able to learn.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>It's better if you know him as Mr. Gray. That's all. He's not tall, short, young or old. He doesn't laugh or cry. It's for your own good.<\/dialogue>\n    <scene_description>He exits the bathroom through the other door into the hallway. He hesitates. Babette cries softly. Jack reenters the bedroom.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>You have to tell me who he is. I need to know.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>No. How do I know you won't kill him?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Because I'm not a killer.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>You're a man, Jack. We all know about men and their insane jealous rage. This is something men are very good at. When people are good at something it's only natural that they look for a chance to do it.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I'm not good at that. I twirl garbage bags and twist-tie them. I get startled by joggers.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Is this still going on?<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Because the drug didn't work! At least on me.<\/dialogue>\n    <scene_description>Babette starts to cry again. Jack shakes his head, turns aimlessly again.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Maybe I should go. Get a hotel room. I don't know. I don't know.<\/dialogue>\n    <scene_description>Babette continues to weep. She shakes. Jack regards her then slowly moves to the bed. His anger clouded with sympathy, he places a hand on her heaving back. His eyes are full of tears. She turns around, looks at him, and embraces him. He doesn't respond. And then she's kissing him. Finally he kisses her back and succumbs. They grab each other with desperation. Their bodies clenched in an embrace of love, grief, tenderness, sex and struggle. Babette starts to unbutton Jack's shirt and suddenly he withdraws. He stands and starts buttoning up his shirt.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>You've taken me this far, put me through this much. I have to know. What's the condition?<\/dialogue>\n    <scene_description>Babette's face is sorrowful and pale, her eyes showing a helpless desolation.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>I'm afraid to die. I'm afraid of my death.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>You? You're still young, you run up and down the stadium steps. It's not a reasonable fear<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>I can't believe we're all marching toward non-existence. All of us. It haunts me, Jack, and it won't go away.<\/dialogue>\n    <scene_description>Jack moves around the room.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Baba, everyone fears death. There's no one who has lived past the age of seven who hasn't worried about dying.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>But Mr. Gray said I was extra sensitive to it, that I fear it right up front. That's why he was eager to use me.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Baba, I am the one in this family who is obsessed by death. I have always been the one.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>What do you want me to say? Your fear is older and wiser than mine?<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>Yes!<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>I love you. I just fear death more than I love you.<\/dialogue>\n    <scene_description>She raises the comforter over her head.<\/scene_description>\n    <character>BABETTE<\/character>\n    <parenthetical>(under the blanket)<\/parenthetical>\n    <dialogue>And I really really love you.<\/dialogue>\n    <scene_description>Jack stares at the hilly terrain.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>There's something I promised myself I wouldn't tell you.<\/dialogue>\n    <character>BABETTE<\/character>\n    <parenthetical>(through the covers)<\/parenthetical>\n    <dialogue>Can it wait until morning?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I'm tentatively scheduled to die. It won't happen tomorrow or the next day. But it is in the works.<\/dialogue>\n    <scene_description>Babette slowly emerges from the covers.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>So, we are no longer talking about fear and floating terror. This is the hard and heavy thing, the fact itself.<\/dialogue>\n    <scene_description>Jack starts telling her what happened. Other sounds take over. The hum of the thermostat. The running of the water in the walls. The clang of the radiator. The movement of the dryer. All blurring into white noise. We HOLD on Babette's tear streaked face. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COLLEGE CAFTERIA<\/stage_direction>\n    <scene_description>Alfonse, Grappa, Lasher at the table with Murray and Jack. Winnie sitting behind them as before at an adjacent table.<\/scene_description>\n    <character>ALFONSE<\/character>\n    <dialogue>Imagining yourself dead is one of the cheapest, sleaziest, most satisfying forms of childish self- pity.<\/dialogue>\n    <character>GRAPPA<\/character>\n    <dialogue>How much pleasure did you take as a kid in imagining yourself dead?<\/dialogue>\n    <character>LASHER<\/character>\n    <dialogue>I still imagine my death. Whenever I'm upset about something, I imagine all my friends, relatives and colleagues gathered at my casket. They are very, very sorry they weren't nicer to me while I lived.<\/dialogue>\n    <scene_description>We STAY on Jack's face. We hear the professors continue.<\/scene_description>\n    <character>WINNIE<\/character>\n    <dialogue>Children are very good at self-pity which must mean it's natural and important.<\/dialogue>\n    <character>ALFONSE<\/character>\n    <dialogue>But there is something even more childish and satisfying than self- pity, something that explains why I try to see myself dead on a regular basis.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>I feel I'm learning important things every day here. Death, disease, afterlife, outer space. It's all much clearer here. I can think and see. I bought this tie.<\/dialogue>\n    <character>GRAPPA<\/character>\n    <dialogue>When you bite dead skin off your thumb, do you eat it or spit it out?<\/dialogue>\n    <character>LASHER<\/character>\n    <dialogue>Chew it briefly then propel it swiftly from the end of the tongue.<\/dialogue>\n    <character>ALFONSE<\/character>\n    <dialogue>It is a way of punishing people for thinking their own lives are more important than mine.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>That's what it all comes down to in the end. A person spends his life saying good-bye to other people.<\/dialogue>\n    <character>ALFONSE<\/character>\n    <dialogue>Yes, but how does he say good-bye to himself?<\/dialogue>\n    <character>DUNLOP'S VOICE<\/character>\n    <dialogue>Show me your tongue.<\/dialogue>\n    <scene_description>Jack sticks out his tongue. CUT TO: Babette stares straight ahead. She appears to be in a motel room. Blurry gray figures crawl over her, picking at her face. CUT TO: Dunlop's face saying something in German. CUT TO: Babette reaches her hand up to her face. The hand is long, bony and masculine with a long pink scar rising and falling between the tendons and veins. She tugs and pulls at her skin. Her fingers burrowing into her cheeks and chin. Gloom moves in around the gray-sheeted bed, a circle slowly closing, swallowing up the room. Her face remains as darkness closes in. Her long fingers dig deeper into her face as she opens her mouth and whispers:<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>Panasonic.<\/dialogue>\n    <scene_description>She rips the skin off of her cheek. CUT TO: Jack opens his eyes. He's sleeping on a pull-out couch in the family den. The TV is on, silent, a flickering white light. Jack blinks his eyes adjusting to the dim light. The Panasonic clock reads 3:47.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM\/MASTER BATHROOM<\/stage_direction>\n    <scene_description>Babette sleeps alone in their bed. Jack slips by quietly. Jack kneels down, lifts up the radiator cover and sticks his hand underneath. The bottle of Dylar is gone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DENISE'S ROOM. NIGHT<\/stage_direction>\n    <scene_description>Denise wakes up. Someone is in her room. Her eyes adjust. Jack stands, half in and half out of her closet, rummaging through things.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Don't worry, it's only me.<\/dialogue>\n    <scene_description>Something topples off a shelf in the closet with a thud.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>I know who it is.<\/dialogue>\n    <scene_description>He keeps searching.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>I know what you're looking for.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>What did you do with the bottle? There were three tablets left.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>How do you know I took it?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I know it, you know it.<\/dialogue>\n    <scene_description>The gas meter makes a particular noise.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>If somebody wants to tell me what Dylar really is, maybe we'll get somewhere.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Your mother no longer takes the medication. Whatever your reason for holding the bottle, it's not valid anymore.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>Tell me what it does and I'll give it to you.<\/dialogue>\n    <scene_description>Jack hesitates.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>OK.<\/dialogue>\n    <scene_description>He moves out of the closet and sits on her bed.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>I've had a recent scare. I thought something awful was about to happen. It turned out I was wrong, thank goodness. But there are lingering effects.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I need the Dylar.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>What's the problem?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Isn't it enough for you to know that a problem exists?<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>I just don't want to be tricked.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>There's no question of tricking. I just need the medication.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>You'll give them to my mother who I think stole my ski mask by the way. Is she a drug addict?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>You know that's not true.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>You two aren't going to get divorced, are you?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Why would you ask that?<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>You're sleeping on the pull-out. It's uncomfortable.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(relenting)<\/parenthetical>\n    <dialogue>We are talking about death. I fear it. And the tablets probably don't work. But maybe they will in me. And even if they don't... It doesn't matter what they are. I'm eager to be humored.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>Isn't that a little stupid?<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(nods)<\/parenthetical>\n    <dialogue>This is what happens to desperate people.<\/dialogue>\n    <parenthetical>(hesitates)<\/parenthetical>\n    <dialogue>You remember you heard on the radio that the billowing cloud caused sweaty palms and then your palms got sweaty, didn't they? The power of suggestion makes some people sick and other people well. If I think it will help me, it will help me.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>I threw the bottle away.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>No, you didn't? Where?<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>I put it in the garbage compactor. Jack leaps up.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>When?<\/dialogue>\n    <character>DENISE<\/character>\n    <parenthetical>(getting upset)<\/parenthetical>\n    <dialogue>A few days ago. Compacted it.<\/dialogue>\n    <scene_description>CUT TO: The garage. He empties the garbage cans. The compressed bulks sit there like an ironic modern sculpture. He takes the butt end of a rake and jabs at them, spreading the trash across the concrete floor. From ABOVE: He picks through, item by item. Dots of shape and color. The colors recall a dark underbelly of the supermarket. Jack begins carefully and then his search grows more desperate. The stench hits him. He recoils. Individual items: A crayon drawing of a figure with full breasts and male genitals. A banana skin with a tampon in it. Clotted masses of hair, soap, ear swabs, crushed roaches, strands of frayed dental floss, ballpoint refills, shredded undershorts with lipstick markings. Jack pauses over these. No Dylar. Sweating, matted with debris, out of breath, he slumps over, distraught. His attention shifts. A crushed, torn newspaper catches his eye. He reaches for it. It's a supermarket tabloid. Jack opens it, matting down the pages. His fingers picking up the gray newsprint. His eyes scanning each page. We see bits of headlines, the content of sensational articles about aliens and strange births. All reminiscent of what Babette was reading in the barrack. CLOSE on an ad in the corner of the page: Afraid of Death? We move up to reveal Jack amidst the trash. CUT TO: A ladder appears. Then Jack's face emerges. He reaches around a high shelf retrieving a Reebok shoebox hidden high above buckets and pails. Inside is the automatic Zumwalt gun. Jack removes the gun. He then retrieves three bullets from an old Folger's coffee can.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PHONE BOOTH, IRON CITY. DAY<\/stage_direction>\n    <scene_description>Jack dials the number from inside the glass booth. An iron bridge and smokestack in the background.<\/scene_description>\n    <character>A VOICE<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I'd like to buy some Dylar.<\/dialogue>\n    <character>A VOICE<\/character>\n    <dialogue>Rid the fear.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Rid the fear. Clear the grid.<\/dialogue>\n    <character>A VOICE<\/character>\n    <dialogue>The Roadway Motel in Germantown. Room 8.<\/dialogue>\n    <scene_description>Click.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHAPEL, COLLEGE-ON-THE-HILL<\/stage_direction>\n    <scene_description>The chapel is starkly modern. At the podium, Jack reads from notes. He speaks in very basic German.<\/scene_description>\n    <character>JACK<\/character>\n    <parenthetical>(in German)<\/parenthetical>\n    <dialogue>Hitler hatte viele verschiedene Hunde. Er liebte seinen H\u00fcndchen Wulf. Blondi war ein Gift von Martin Borman--<\/dialogue>\n    <scene_description>CUT TO: The reception afterwards. Jack enters. The German delegates laugh and eat sweets and spit as they talk. Jack finds Babette and the kids through the crowd.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>Great speech, Jack.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>You drank a lot of water, Dad.<\/dialogue>\n    <scene_description>Jack reaches Babette.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Don't wait up for me tonight.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>I need the car. I have my class.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>You take the car. I don't need our car.<\/dialogue>\n    <parenthetical>(hesitates, leans in close)<\/parenthetical>\n    <dialogue>There's a chill in the air. You know what a chill in the air means?<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>What does it mean?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Wear your ski mask.<\/dialogue>\n    <scene_description>Jack passes Murray and the other professors on his way to the door. We hear Jack's breaths and footsteps.<\/scene_description>\n    <character>MURRAY<\/character>\n    <dialogue>Jack, I never knew there was so much to say about Hitler's dog.<\/dialogue>\n    <character>ALFONSE<\/character>\n    <dialogue>In the psychic sense a forest fire on TV is on a lower plane than a ten-second spot for Automatic Dishwasher All. The commercial has deeper waves, deeper emanations. But we have reversed the relative significance of these things.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>Elvis loved dogs too. Let's see there was Woodlawn and Muffy Dee and Champagne--<\/dialogue>\n    <character>LASHER<\/character>\n    <dialogue>Did you ever spit in your soda bottle so you wouldn't have to share your drink with the other kids?<\/dialogue>\n    <character>GRAPPA<\/character>\n    <dialogue>It was an automatic thing. Some guys even spit in their sandwiches.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>Also, Muffin. And Wendell, of course, but he was a cat.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Murray, I need your car keys.<\/dialogue>\n    <character>MURRAY<\/character>\n    <dialogue>OK.<\/dialogue>\n    <scene_description>He places them in Jack's palm.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COLLEGE PARKING LOT<\/stage_direction>\n    <scene_description>Jack opens the door to Murray's Datsun. It's littered with gum wrappers, ticket stubs, lipstick- smeared tissues, crumpled soda cans, popsicle sticks. Jack puts the key in the ignition.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR\/EXT. WAREHOUSE DISTRICT. NIGHT<\/stage_direction>\n    <scene_description>On Jack driving.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Steal instead of buy, shoot instead of talk.<\/dialogue>\n    <character>BABETTE (V.O.)<\/character>\n    <dialogue>You're a man Jack, we all know about men and their insane jealous rage.<\/dialogue>\n    <scene_description>On a red light, we tilt down from overhead and swing around with Jack speeding through in Murray's car.<\/scene_description>\n    <character>MURRAY (V.O.)<\/character>\n    <dialogue>Maybe violence is a form of rebirth. And maybe you can kill death.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OVERPASS\/ROADWAY MOTEL. NIGHT<\/stage_direction>\n    <scene_description>The low rumble of trucks on an overpass. The car parked under the bridge. Inside the car, Jack loads the gun. His eyes shut tightly, his nerves rattling. He gets out of the car. A one-story building set against the roadway. The motel has nine or ten rooms. The rain-soaked lot is empty. In the wide, Jack walks toward the motel. An aluminum awning over the check-in door. The drip of water hitting the metal. Jack peers into a dimly lit office, which looks empty. On the door are little plastic letters arranged in slots to spell out a message: NU MISH BOOT ZUP KO. We dolly with Jack as he makes his way along the wall, looking peripherally through windows. The sound of trucks rumbling overhead. In the next to last unit, there is the scantest flicker of light. Jack stands at the edge of the window. He listens. He swivels his head to look into the room out of the corner of his eye. A figure sits in a low armchair looking up at the flickering light. Jack grips the doorknob. He turns it. It opens. He slips into the dark of the room. A low hum. The walls are a sad color of green, the ceiling cracked. His feet shift on the grimy industrial carpet. A crackling sound as his foot comes down on a small white pill. A TV floats in the air, encased in a metal brace, pointing down at man sitting sprawled in the short-legged chair. The sound is off. He wears a Hawaiian shirt and Budweiser baggy shorts. Torn stockings as socks. His hair greasy, his eyes half-closed. His long fingers wrap around the arm-wrest. The scar across his hand. The man speaks without taking his eyes off of the TV.<\/scene_description>\n    <character>MAN<\/character>\n    <dialogue>Are you heartsick or soulsick?<\/dialogue>\n    <scene_description>The door falls closed behind Jack with a click. He hesitates.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>I know you.<\/dialogue>\n    <character>MR. GRAY<\/character>\n    <dialogue>Yes, I've been around. I'm the chick and the cheese. I'm the...where was I?<\/dialogue>\n    <scene_description>After a moment, Mr. Gray looks at Jack.<\/scene_description>\n    <character>MR. GRAY<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I want some Dylar.<\/dialogue>\n    <character>MR. GRAY<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I want to live.<\/dialogue>\n    <character>MR. GRAY<\/character>\n    <dialogue>But you're dying.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(voice cracks)<\/parenthetical>\n    <dialogue>But I don't want to.<\/dialogue>\n    <character>MR. GRAY<\/character>\n    <dialogue>Then we agree. To enter a room is to agree to a certain kind of behavior. It isn't a street or a parking lot, for instance. The point of rooms is that they're inside.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Good point.<\/dialogue>\n    <character>MR. GRAY<\/character>\n    <dialogue>There is an unwritten agreement between the person who enters a room and the person whose room has been entered. A room is inside. This is what people in rooms have to agree on, as differentiated from lawns, meadows, fields, orchards...<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>That makes perfect sense.<\/dialogue>\n    <scene_description>The hum of the room seems to shift tone.<\/scene_description>\n    <character>MR. GRAY<\/character>\n    <dialogue>To convert Fahrenheit to Celsius, this is what you do.<\/dialogue>\n    <scene_description>Jack nods. Mr. Gray reaches into his pocket, and produces a handful of white tablets which he tosses in the direction of his mouth. Some enter, some fly past.<\/scene_description>\n    <character>MR. GRAY<\/character>\n    <dialogue>I wasn't always as you see me now.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>That's what I was thinking.<\/dialogue>\n    <character>MR. GRAY<\/character>\n    <dialogue>I was doing important work. I envied myself. Death without fear is an everyday thing. You can live with it.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>You're saying there is no death as we know it without the element of fear. Without fear, people would adjust to it, accept it.<\/dialogue>\n    <character>MR. GRAY<\/character>\n    <dialogue>Dylar failed reluctantly.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>With everybody?<\/dialogue>\n    <character>MR. GRAY<\/character>\n    <dialogue>With all bodies. But it will definitely come. Maybe now, maybe never.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>There will eventually be an effective medication, you're saying. A remedy for fear.<\/dialogue>\n    <character>MR. GRAY<\/character>\n    <dialogue>Followed by a greater death. More effective, product-wise.<\/dialogue>\n    <scene_description>Mr. Gray throws more pills in the direction of his open mouth. He sucks them like sweets.<\/scene_description>\n    <character>MR. GRAY<\/character>\n    <dialogue>Just between us chickens, I eat this stuff like candy.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I was just thinking that.<\/dialogue>\n    <character>MR. GRAY<\/character>\n    <dialogue>How much do you want to buy?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>How much do I need?<\/dialogue>\n    <character>MR. GRAY<\/character>\n    <dialogue>You're a big man. Middle age? Does this describe your anguish? I see you as a person in a dark brown jacket, champagne colored pants. Tell me how correct I am.<\/dialogue>\n    <scene_description>Silence. There are cracked Dylar tablets all over the fire retardant carpet. Trod upon, stomped. Mr. Gray lies down on the bed.<\/scene_description>\n    <character>MR. GRAY<\/character>\n    <dialogue>I learned English watching American TV. I barely forget the times I had in this room before I became misplaced. There was a woman in a ski mask, but her name escapes me at the moment. American sex, let me tell you, this is how I learned my English.<\/dialogue>\n    <scene_description>Jack's gaze lingers sadly at the TV. The set has a walnut veneer with silvery hardware. The picture rolls badly. In the reflection he sees Babette sitting on the bed with Mr. Gray. She slowly climbs on top of him, her body dissolving into his. Jack turns around to face Mr. Gray. He swallows, his ears clearing, sound shifting in his head. Jack becomes hyper- conscious of every object, every sound. The buzz of a light above the stove, the dripping faucet in the sink, how water strikes the roof in elongated orbs, splashing drams. The room tone seems to shriek momentarily and then hums. White noise everywhere. Jack advances two steps toward the middle of the room.<\/scene_description>\n    <character>BABETTE (V.O.)<\/character>\n    <dialogue>I could not distinguish words from things, so that if someone said \"falling plane,\" I would fall to the floor and take cover.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Falling plane.<\/dialogue>\n    <scene_description>Mr. Gray flails on the bed.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Plunging aircraft.<\/dialogue>\n    <scene_description>Mr. Gray kicks off his sandals, folds himself over into the recommended crash position, head well forward, hands clasped behind his knees. Jack watches him slumped, trembling. He takes another step toward the bed.<\/scene_description>\n    <character>MR. GRAY<\/character>\n    <dialogue>Why are you here, white man?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>To buy.<\/dialogue>\n    <character>MR. GRAY<\/character>\n    <dialogue>You are very white, you know that?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>It's because I'm dying.<\/dialogue>\n    <character>MR. GRAY<\/character>\n    <dialogue>This stuff fix you up.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I'll still die.<\/dialogue>\n    <character>MR. GRAY<\/character>\n    <dialogue>But it won't matter, which comes to the same thing.<\/dialogue>\n    <scene_description>Jack advances into the area of flickering light, out of the shadows, seeking to loom. He puts his hand in his pocket, gripping the firearm. Mr. Gray watches the screen again.<\/scene_description>\n    <character>JACK<\/character>\n    <parenthetical>(hand in pocket)<\/parenthetical>\n    <dialogue>Hailing bullets.<\/dialogue>\n    <scene_description>Mr. Gray hits the floor, and begins to crawl toward the bathroom, looking back over his shoulder, childlike, showing real terror. Jack follows him into the toilet.<\/scene_description>\n    <character>JACK<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>Fusillade.<\/dialogue>\n    <scene_description>Mr. Gray tries to wriggle behind the bowl, both arms over his head, his legs tight together. Jack looms in the doorway. He raises the gun and points it at the trembling man.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>My name is Jack Gladney and I'm here to kill you. I'm a former dier who is now a killer. You know my wife, Babette. She wore the ski mask.<\/dialogue>\n    <scene_description>Mr. Gray puts his hands over his crotch, and tries to fit himself under the toilet tank, behind the bowl. Jack swallows again.<\/scene_description>\n    <character>MR. GRAY<\/character>\n    <dialogue>She wore the ski mask so as not to kiss my face, which she said was un- American. I told her a room is inside. Do not enter a room not agreeing to this.<\/dialogue>\n    <character>MR. GRAY<\/character>\n    <dialogue>This is the point, as opposed to emerging coastlines, continental plates.<\/dialogue>\n    <scene_description>He climbs up onto the toilet seat. He seems to be going to the bathroom. Jack lowers the gun, unsure suddenly.<\/scene_description>\n    <character>MR. GRAY<\/character>\n    <dialogue>Or you can eat natural grains, vegetables, eggs, no fish, no fruit. Or fruit, vegetables, animal proteins, no grains, no milk.<\/dialogue>\n    <scene_description>Sound all around.<\/scene_description>\n    <character>MR. GRAY<\/character>\n    <dialogue>Or lots of soybean milk for B-12 and lots of vegetables to regulate insulin release, but no meat, no fish, no fruit. There are endless workable combinations.<\/dialogue>\n    <scene_description>Mr. Gray grabs more tablets from his pocket, and hurls them toward his open mouth. He tears open his shirt pocket to find more pills. Jack raises the gun again.<\/scene_description>\n    <character>MR. GRAY<\/character>\n    <dialogue>Did you ever wonder why, out of thirty-two teeth, these four cause so much trouble? I'll be back with the answer in a minute.<\/dialogue>\n    <scene_description>Mr. Gray flushes the toilet. Jack fires the gun. The sound snowballs in the green tiled room. Blood squirts from Mr. Gray's midsection. A delicate arc. Jack watches it in awe. The flow diminishes to a trickle, spreading across the tile floor. Jack fires a second shot, the jolt traveling up his arm. The bullet strikes Mr. Gray just inside the right hipbone. A red stain appears on his shorts and shirt. Mr. Gray sits wedged between the toilet bowl and wall, one sandal missing, eyes totally white. Blood seeping. The trucks rumble overhead. Jack approaches the sitting figure, stepping around the blood. He takes out a handkerchief and wipes the weapon clean, kneels down and places it in Mr. Gray's hand, cautiously removing the handkerchief, painstakingly wrapping Mr. Gray's bony fingers, one by one, around the stock, delicately working his index finger through the trigger guard. Mr. Gray foams at the mouth and his eyes drop out of his skull. Jack steps back to survey the scene. Behind him, Babette enters the motel.<\/scene_description>\n    <character>BABETTE<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>Jack?<\/dialogue>\n    <scene_description>Mr. Gray's eyes gleam, briefly. He raises his hand and pulls the trigger, shooting Jack. Jack reels, hurt and stunned. Blood covers his forearm, and hand. He looks; the bullet has made a shallow penetration in his wrist. Jack turns around and sees Babette standing in the center of the motel room.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Baba.<\/dialogue>\n    <scene_description>Suddenly, red streams through her coat which falls over her right leg.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>You've been shot.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>So have you.<\/dialogue>\n    <scene_description>Blood drips from the tips of Jack's fingers.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>MR. GRAY<\/character>\n    <parenthetical>(mumbles)<\/parenthetical>\n    <dialogue>And this could represent the leading edge of some warmer air.<\/dialogue>\n    <scene_description>Jack looks at Mr. Gray. He's alive. His lap a puddle of blood. Snapped with a jolt into the moment, Jack stumbles over to Babette.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>It must have ricocheted off my wrist.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>And hit my leg.<\/dialogue>\n    <scene_description>Jack wrestles his belt off of his waist, and manages with his right hand and teeth to tie it firmly just above the bullet hole in Babette's leg. While he does this:<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>How did you know I'd be here?<\/dialogue>\n    <character>BABETTE<\/character>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>Men are killers.<\/dialogue>\n    <scene_description>Jack sucks on his wrist and spits out the blood and pulp. She grabs a pillow case, shaking it off a pillow, and ties it around Jack's wrist. Jack looks back at Mr. Gray.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>He needs help.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Come on, let's get him out of here.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>We need help.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADWAY MOTEL. NIGHT<\/stage_direction>\n    <scene_description>The rain has stopped. Jack kicks open the front door. Babette, limping, and Jack, one good arm, drag Mr. Gray behind them on a bedsheet, blood striping the sheet and the sidewalk. Mr. Gray's gun hand drags along the pavement.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>Why did you give him a loaded gun?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I was thinking I'd shot him three times but it was only twice and my plan was... I don't know, I clearly fucked that up...<\/dialogue>\n    <scene_description>They reach the Gladney's station wagon (which Babette parked outside the motel).<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>I'll come back and get Murray's car later.<\/dialogue>\n    <scene_description>Mr. Gray kicks free, involuntarily, his body flopping and spinning, fishlike. He makes gasping noises, short of oxygen.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>He's choking.<\/dialogue>\n    <scene_description>Jack leans over him and clothes-pins Mr. Gray's nose using his thumb and index finger in an attempt to give him mouth-to- mouth. Mr. Gray's eyes follow Jack down to his face. It's awkward and intimate. Mr. Gray's mouth is awash in regurgitated Dylar foam, half chewed tablets. Jack kneels over the wounded man, exhaling rhythmically into his mouth. His knees in the wet and littered street. Babette watches sadly. Mr. Gray starts to come around, and take regular breaths. Jack removes his mouth, but hovers just above his face. Their mouths almost touching.<\/scene_description>\n    <character>MR. GRAY<\/character>\n    <dialogue>Who shot me?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Um...I...<\/dialogue>\n    <character>BABETTE<\/character>\n    <parenthetical>(jumping in)<\/parenthetical>\n    <dialogue>You did. You shot you.<\/dialogue>\n    <scene_description>Jack looks at Babette, grateful, then back at Mr. Gray and nods.<\/scene_description>\n    <character>MR. GRAY<\/character>\n    <dialogue>Who shot you?<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>You did. The gun is in your hand.<\/dialogue>\n    <character>MR. GRAY<\/character>\n    <dialogue>What was the point I was trying to make?<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>You were out of control. You weren't responsible.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>We forgive you.<\/dialogue>\n    <character>MR. GRAY<\/character>\n    <dialogue>Who are you, literally?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>We're passersby. Friends. It doesn't matter.<\/dialogue>\n    <character>MR. GRAY<\/character>\n    <dialogue>Some millipedes have eyes, some do not.<\/dialogue>\n    <character>BABETTE\/JACK<\/character>\n    <dialogue>Sure.\/OK.<\/dialogue>\n    <scene_description>With much effort, and many false starts, Jack and Babette wrap him in the sheet and get him into the back of their station wagon. Mr. Gray stretches out, moaning.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATION WAGON<\/stage_direction>\n    <scene_description>Jack, moaning, drives one-handed through the empty streets, looking for a hospital. Babette moaning in the passenger seat. Mr. Gray moaning in the back. The streets are empty save for a milk truck coming from the other direction.<\/scene_description>\n    <character>MR. GRAY<\/character>\n    <dialogue>You are on the air.<\/dialogue>\n    <scene_description>They pass a three-story former Pentecostal church with a neon cross over the entrance. Jack hits the brakes, screeches to a halt and backs up onto the curb.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT<\/stage_direction>\n    <scene_description>Jack and Babette drag Mr. Gray by the feet up a wheelchair ramp. Mr. Gray holds one hand at his midsection to stanch the flow. The gun hand drags behind.<\/scene_description>\n    <character>MR. GRAY<\/character>\n    <dialogue>Tennis anyone? Anyone tennis?<\/dialogue>\n    <scene_description>Babette rings a bell. A shadowed cloaked figure appears behind the smoked glass. The door opens. A nun, black-habited, black-veiled, leans on a cane.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>We're shot.<\/dialogue>\n    <character>NUN<\/character>\n    <parenthetical>(a German accent)<\/parenthetical>\n    <dialogue>We see a lot of that here.<\/dialogue>\n    <scene_description>She turns back inside. Jack and Babette drag Mr. Gray across the entranceway.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLINIC<\/stage_direction>\n    <scene_description>There are waiting rooms, screened cubicles, doors marked X- Ray, Eye Test. They follow the old nun into the grand space. Two orderlies appear, great squat men with sumo physiques. They push two gurneys. The nun, irritated, calls out something else in German. Another nun comes racing, pushing a shopping cart. The orderlies lift Jack and Babette onto each gurney. The nun barks something in German. They lift Mr. Gray and put him in the cart.<\/scene_description>\n    <character>MR. GRAY<\/character>\n    <dialogue>Inflated-adjusted real income.<\/dialogue>\n    <scene_description>More nuns arrive, rustling, ancient, speaking German to each other. They carry transfusion equipment, wheeled in trays of glinting implements. An orderly removes the gun from Mr. Gray's hand. He tosses it in a desk drawer that holds about ten other hand guns and half a dozen knives. The three of them, Jack and Babette in gurneys and Mr. Gray between them in the cart, are pushed through the space. Mr. Gray is then pulled away and the couple on the two gurneys is pushed together.<\/scene_description>\n    <character>MR. GRAY<\/character>\n    <dialogue>No one knows why the sea birds come to San Miguel.<\/dialogue>\n    <scene_description>Jack smiles, almost fond of him in that moment. Babette sees this. Mr. Gray is wheeled one way. Jack and Babette the other. The original nun follows Jack and Babette into a cubicle to work on their wounds.<\/scene_description>\n    <character>NUN<\/character>\n    <dialogue>Such a violent country.<\/dialogue>\n    <scene_description>More nuns walk by, heavy rosaries swinging from their belts. The image comforts Jack and Babette.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>What's your name?<\/dialogue>\n    <character>NUN<\/character>\n    <dialogue>Sister Hermann Marie.<\/dialogue>\n    <character>JACK<\/character>\n    <parenthetical>(German)<\/parenthetical>\n    <dialogue>Gut, besser, best.<\/dialogue>\n    <scene_description>She smiles.<\/scene_description>\n    <character>JACK<\/character>\n    <parenthetical>(German)<\/parenthetical>\n    <character>1, 2, 3, 4.<\/character>\n    <dialogue>He points to various objects in the room and says the name in German. The nun nods happily while she cleans and wraps Babette's leg in sterile pads. Babette laughs.<\/dialogue>\n    <dialogue>Two more nuns appear, wizened and creaky. The nun says something to them. They smile, nod and look at Jack and Babette, addressing their bullet wounds. They all count to ten together, recite colors, items of clothing, and parts of the body in German.<\/dialogue>\n    <dialogue>There's a picture on the wall of Jack Kennedy holding hands with Pope John XXIII in heaven. Babette elicits a small smile.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>What does the Church say about heaven these days? Is it still the old heaven, like that?<\/dialogue>\n    <scene_description>The nun turns to glance at the picture.<\/scene_description>\n    <character>NUN<\/character>\n    <dialogue>Do you think we are stupid?<\/dialogue>\n    <scene_description>Jack is taken aback by the force of her reply.<\/scene_description>\n    <character>NUN<\/character>\n    <dialogue>We are here to take care of sick and injured. Only this. You would talk about heaven, you must find another place.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Then why do you have that picture on the wall?<\/dialogue>\n    <scene_description>She draws back, her eyes filled with contemptuous pleasure.<\/scene_description>\n    <character>NUN<\/character>\n    <dialogue>It is for others. Not for us.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>You don't believe in heaven? A nun?<\/dialogue>\n    <character>NUN<\/character>\n    <dialogue>If you don't, why should I?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>If you did, maybe we would.<\/dialogue>\n    <character>NUN<\/character>\n    <dialogue>If I did, you would not have to. Someone must appear to believe.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Is death the end then? Does anything survive?<\/dialogue>\n    <character>NUN<\/character>\n    <dialogue>Do you want to know what I believe or what I pretend to believe?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I don't want to hear this. This is terrible.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>You're a nun!<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Act like one!<\/dialogue>\n    <character>NUN<\/character>\n    <dialogue>You would come in from the street, married, dragging a body by the foot and talk about angels that live in the sky. Get out from here.<\/dialogue>\n    <scene_description>She presses her face toward theirs and continues forcefully in German.<\/scene_description>\n    <character>NUN<\/character>\n    <parenthetical>(in German)<\/parenthetical>\n    <dialogue>Anyone who comes in here talking about Angels is a numbskull. Show me an Angel. Please! I want to see one. Show me a saint. Give me one hair from the body a Saint! It is our task in the world to believe in things no one else believes. If we abandon such beliefs, the human race would die out. That is why we are here. A tiny minority. If we didn't pretend to believe these things, the world would collapse! Hell is when no one believes.<\/dialogue>\n    <scene_description>The words growing harsher, wetter, more guttural. Her eyes show a terrible delight in their incomprehension. Babette's fingers find Jack's.<\/scene_description>\n    <character>NUN<\/character>\n    <dialogue>We pray, lighting candles, asking statues for good health and long life. But not for long. You will lose your believers.<\/dialogue>\n    <scene_description>The nun stops her rant and taps her cane for emphasis, then walks away.<\/scene_description>\n    <character>NUN<\/character>\n    <parenthetical>(then in English)<\/parenthetical>\n    <dialogue>So maybe you should try to believe in each other then.<\/dialogue>\n    <scene_description>The doctor comes in wearing his hearing aid.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>Herr Dokter. Will he be alright?<\/dialogue>\n    <character>HERR DOKTER<\/character>\n    <dialogue>Not for a while, but he will survive.<\/dialogue>\n    <scene_description>Jack and Babette are now alone, holding hands.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>I wish I hadn't told you about my condition.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Why?<\/dialogue>\n    <scene_description>She starts to cry.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>Then you wouldn't have told me you're going to die first. The two things I want most in the world are for you to not die first and for Wilder to stay the way he is forever.<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>Once, I almost asked you to put on legwarmers before we made love.<\/dialogue>\n    <character>BABETTE<\/character>\n    <dialogue>Why didn't you?<\/dialogue>\n    <character>JACK<\/character>\n    <dialogue>I thought you might suspect something was wrong.<\/dialogue>\n    <scene_description>A celestial light slowly illuminates them. It rises through the circular window at the front of the church. Jack and Babette are awash in heavenly light.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GLADNEY KITCHEN. MORNING<\/stage_direction>\n    <scene_description>Babette pours Jack coffee. They clearly haven't slept, still in the clothes and bandages from the night before. One by one the kids enter in their sleep clothes. Denise brings Wilder and places him on the counter.<\/scene_description>\n    <character>DENISE<\/character>\n    <dialogue>What is it camels store in their humps? Food or water?<\/dialogue>\n    <scene_description>They move around the room, making cereal, toast, drinking orange juice, talking over each other, the familiar sounds of a family in the morning.<\/scene_description>\n    <character>HEINRICH<\/character>\n    <dialogue>It depends which kind you're talking about. There are one hump and two hump camels.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>Are you saying a two-hump camel stores food in one hump and water in the other?<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>The important thing about camels is that camel meat is considered a delicacy.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>I thought that was alligator meat.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>Who introduced the camel to America?<\/dialogue>\n    <character>HEINRICH<\/character>\n    <dialogue>Are you sure you're not talking about llamas?<\/dialogue>\n    <scene_description>Jack and Babette find each other across the table.<\/scene_description>\n    <character>BABETTE<\/character>\n    <dialogue>Murray says we are fragile creatures surrounded by hostile facts.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>The llama stayed in Peru. Peru has the llama, the vicuna and one other animal.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>Bolivia has tin.<\/dialogue>\n    <character>DENISE<\/character>\n    <dialogue>Chile has copper and iron.<\/dialogue>\n    <character>STEFFIE<\/character>\n    <dialogue>I'm the only person I know who likes Wednesdays.<\/dialogue>\n    <scene_description>Jack grabs the milk and turns it over his coffee. Empty.<\/scene_description>\n    <character>JACK<\/character>\n    <dialogue>We're out of milk.<\/dialogue>\n    <character>RADIO VOICE<\/character>\n    <dialogue>A California think-tank says the next world war may be fought over salt.<\/dialogue>\n    <character>JACK (V.O.)<\/character>\n    <dialogue>There is just no end to surprise.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUPERMARKET PARKING LOT<\/stage_direction>\n    <scene_description>We start wide, high and as the Gladney's station wagon pulls into an outlined space, we start to head down--<\/scene_description>\n    <character>JACK (V.O.)<\/character>\n    <dialogue>I feel sad for us and the queer part we play in our own disasters.<\/dialogue>\n    <scene_description>As the family exits the car, we pick up with them and follow them.<\/scene_description>\n    <character>JACK (V.O.)<\/character>\n    <dialogue>But out of some persistent sense of large-scale ruin, we keep inventing hope.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUPERMARKET<\/stage_direction>\n    <scene_description>The Gladney's walk through the sliding doors.<\/scene_description>\n    <character>JACK (V.O.)<\/character>\n    <dialogue>And this is where we wait, together.<\/dialogue>\n    <scene_description>A shopping dance has developed throughout the store. The dance is exuberant. Joyous music accompanies them. The credits roll as the shoppers dance.<\/scene_description>\n  <\/scene>\n<\/script>","summary":"The plot is divided into three parts and a musical outro number."}
{"movie_name":"Antz_1998","imdb_id":"tt0120587","script":"<script>\n  <scene>\n    <stage_direction>ANTZ<\/stage_direction>\n    <character>Z<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( over a dark screen . )<\/parenthetical>\n    <dialogue>All my life, I've lived and worked in the big city.<\/dialogue>\n    <scene_description>We see :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AN ANT MOUND - DAY<\/stage_direction>\n    <scene_description>The camera swoops towards the entrance , then dives inside , past a couple of tough - looking soldier ants who stand at the gates of the ant colony like insect bouncers . into an access tunnel that snakes this way and that , past a row of ants plodding along . and into the MAIN CHAMBER of the colony , a huge , teeming vista that seems to stretch away forever , filled with ants rushing here and there on their business . We see - a `` traffic cop '' directing foot traffic , waving his arms like crazy so both sides move at once - a column of soldier ants marching along in formation - a chain of ants letting down a matchbox elevator filled with workers .<\/scene_description>\n    <character>Z<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>which is kind of a problem, since I've always felt uncomfortably in crowds.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOTIVATIONAL COUNSELLOR'S OFFICE - DAY<\/stage_direction>\n    <scene_description>We join Z , a worker ant with issues . He 's lying on a couch , recounting his woes .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>I feel. isolated. Different. I've got abandonment issues. My father flew away when I was just a larva. My mother did n't have much time for me. when you have five million siblings, it's difficult to get attention.<\/dialogue>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>I feel physically inadequate - I've never been able to lift more than ten times my own weight. Sometimes I think I'm just not cut out to be a worker. But I do n't have any other options. I was assigned to trade school when I was just a grub. The whole system just. makes me feel. insignificant.<\/dialogue>\n    <character>MOTIVATIONAL COUNSELLOR<\/character>\n    <parenthetical>( enthusiastic . )<\/parenthetical>\n    <dialogue>Terrific! You should feel insignificant!<\/dialogue>\n    <scene_description>For the first time , we see the ant MOTIVATIONAL COUNSELLOR . He 's a mixture of Tony Robbins and Ron Popiel -LRB- the hyperactive late - night TV huckster , and founder of `` Ronco '' -RRB- .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>I should?<\/dialogue>\n    <character>MOTIVATIONAL COUNSELLOR<\/character>\n    <parenthetical>( hopping around enthusiastically . )<\/parenthetical>\n    <dialogue>YES! You know, people ask me, `` Doctor, why are you always happy?'' And I tell them it's mind over matter. I do n't mind that I do n't matter! Do you get it? Do you get it?<\/dialogue>\n    <scene_description>Z gives a fake smile .<\/scene_description>\n    <character>MOTIVATIONAL COUNSELLOR<\/character>\n    <parenthetical>( incredibly `` up '' . )<\/parenthetical>\n    <dialogue>Z, we're part of the fastest growing species in the whole world!<\/dialogue>\n    <scene_description>The counsellor rolls down a chart from the wall . An arrow shows ant population going up , up , up .<\/scene_description>\n    <character>MOTIVATIONAL COUNSELLOR<\/character>\n    <dialogue>Ask me why we're so successful.<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Why are we so successful?<\/dialogue>\n    <character>MOTIVATIONAL COUNSELLOR<\/character>\n    <dialogue>I'm glad you asked me that question!<\/dialogue>\n    <scene_description>The motivational counsellor opens some blinds . and we see a vista of the ant - filled chamber below .<\/scene_description>\n    <character>MOTIVATIONAL COUNSELLOR<\/character>\n    <dialogue>What do you see out there?<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Ants.<\/dialogue>\n    <character>MOTIVATIONAL COUNSELLOR<\/character>\n    <dialogue>Right! Ants! Millions of creatures, each with his assigned task, all pulling together!<\/dialogue>\n    <scene_description>Down below , we see a group of ants carrying a boulder up an incline . One worker ants slips , and the boulder rolls down , crushing his leg . The other ants rush over - it looks like they 're going to help their fallen comrade , but instead , they climb right over him , and pick up the boulder , continuing with their task .<\/scene_description>\n    <character>MOTIVATIONAL COUNSELLOR<\/character>\n    <dialogue>You see? Being an ant is being able to say, `` Hey - I'm meaningless, you're meaningless.''<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>But - but I've always felt life was about finding meaning. and then sharing it with someone special, someone you love.<\/dialogue>\n    <scene_description>The motivational counsellor puts his arm on Z 's shoulder . he seems to understand .<\/scene_description>\n    <character>MOTIVATIONAL COUNSELLOR<\/character>\n    <dialogue>Z. you need help.<\/dialogue>\n    <parenthetical>( looking at a clock . )<\/parenthetical>\n    <dialogue>Whoops! We're gon na have to stop there. Your minute is up!<\/dialogue>\n    <scene_description>The counsellor ushers Z out of his seat and towards the door .<\/scene_description>\n    <character>MOTIVATIONAL COUNSELLOR<\/character>\n    <dialogue>Now back to work! We've made real progress! Remember - let's be best superorganism we can be!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EARLY MEGA-TUNNEL - DAY<\/stage_direction>\n    <scene_description>A gigantic tunnel , with the size and scale of the `` Chunnel '' . A banner strung overhead reads : `` The Mega - Tunnel - Tunneling Our Way to a Bright Future ! '' Along the walls hang 50 's work - incentive style posters with messages like , `` You asked for it , you got it - more work ! '' and `` TWO MEALS A WEEK IS ENOUGH ! '' Line after line of ants is working on the tunnel , digging , passing clumps of dirt from ant to ant , everyone synchronized . CLOSE on a clump of DIRT being passed from hand to hand . PULL OUT TO REVEAL AZTECA , a feisty , cynical , female worker ant , who stands there , waiting to pass the dirt on . Z is daydreaming behind her , with clumps of dirt starting to pile up in front of him .<\/scene_description>\n    <character>AZTECA<\/character>\n    <dialogue>Hello?! Earth to Z! You better snap out of it, or there's gon na be a lot of pissed off ants!<\/dialogue>\n    <scene_description>Z looks back , and sees the ants behind staring at him angrily .<\/scene_description>\n    <character>Z<\/character>\n    <parenthetical>( snapping out of it . )<\/parenthetical>\n    <dialogue>Sorry Azteca. Here you go, fellas! Fresh dirt! Alley oop!<\/dialogue>\n    <parenthetical>( looking at the dirt . )<\/parenthetical>\n    <dialogue>Should n't we be wearing gloves? I mean this dirt is very. dirty. Does n't anyone think of hygiene?<\/dialogue>\n    <parenthetical>( Z 's stomach growls . )<\/parenthetical>\n    <dialogue>Boy am I hungry. I'm so hungry I'm seeing double. It looks like there's two million ants in here. When's lunch? Tomorrow, or the day after?<\/dialogue>\n    <character>AZTECA<\/character>\n    <parenthetical>( sweetly . )<\/parenthetical>\n    <dialogue>Z, old pal.<\/dialogue>\n    <parenthetical>( shouts . )<\/parenthetical>\n    <dialogue>SHUT UP! It's bad enough there's a food shortage without you complaining about it every day.<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>The squeaky wheel gets the oil.<\/dialogue>\n    <character>AZTECA<\/character>\n    <dialogue>No, Z. The squeaky wheel gets thrown away, alright? You're a good ant, Z, even though you are a pain in my rear - segment. I do n't wan na see anything happen to you. So quit mouthing off, before you get in trouble.<\/dialogue>\n    <scene_description>A WHISTLE BLOWS .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Thank goodness. Breaktime.<\/dialogue>\n    <scene_description>All the ants put down their tools . A beat . Then the WHISTLE BLOWS AGAIN . All the ants pick up their tools again .<\/scene_description>\n    <character>AZTECA<\/character>\n    <parenthetical>( resigned . )<\/parenthetical>\n    <dialogue>Break's over.<\/dialogue>\n    <character>Z<\/character>\n    <parenthetical>( getting back to work . )<\/parenthetical>\n    <dialogue>This colony needs another tunnel like a hole in the ground. Why are we even digging this thing?<\/dialogue>\n    <character>AZTECA<\/character>\n    <dialogue>Who cares, Z. All I know is, we got ta dig. We're not the ones in charge.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOWN CENTER - DAY<\/stage_direction>\n    <scene_description>The huge , spacious main chamber of the colony . Looming over the scene is the royal palace , which seems to be inaccessible , perched on top of a hill - like pedestal . Around the base of the pedestal , a crew of workers loiters , seemingly aimlessly . can these be the only unemployed ants in the place ?<\/scene_description>\n    <character>GENERAL FORMICA<\/character>\n    <dialogue>STAIRS!<\/dialogue>\n    <scene_description>The workers look up and GROAN . Then they start forming a stairway with their own bodies , linking arms , stepping on each other 's shoulders . It 's extremely unpleasant work . One ant is a little tardy , and just manages to get in place before . GENERAL FORMICA , the Pattonesque military leader of the colony , STEPS ON HIS HEAD , using it as the first step as he ascends to the palace , his aide - de - camp Carpenter in tow . As Formica mounts the `` stairs '' we can hear the workers going , `` OUCH ! OOF ! YIKES ! '' etc. .<\/scene_description>\n    <character>GENERAL FORMICA<\/character>\n    <dialogue>Cut the chit - chat down there!<\/dialogue>\n    <parenthetical>( turning to Carpenter . )<\/parenthetical>\n    <dialogue>We've spoiled these workers, Carpenter. They've never had it so good, and listen to them - always grumbling and complaining.<\/dialogue>\n    <scene_description>Formica steps on the foot of one of the `` stairway '' ants , who muffles a yelp .<\/scene_description>\n    <character>CARPENTER<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <character>GENERAL FORMICA<\/character>\n    <dialogue>What have they got to complain about? Three square meals a day.<\/dialogue>\n    <character>CARPENTER<\/character>\n    <dialogue>Actually, sir, we've cut them down to three roughly rectangular meals a week.<\/dialogue>\n    <character>FORMICA<\/character>\n    <dialogue>Do n't give me statistics, Carpenter. I know what I'm talking about. DOORS!<\/dialogue>\n    <scene_description>Formica and Carpenter have reached the top of the staircase . There , the two guard ants on either side of the massive throne room doors pull them open - and one door hinge SQUEAKS .<\/scene_description>\n    <character>FORMICA<\/character>\n    <parenthetical>( to guard ant , while passing . )<\/parenthetical>\n    <dialogue>Oil that, soldier.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THRONE ROOM - DAY<\/stage_direction>\n    <scene_description>The QUEEN is on her throne , her huge abdomen sprawled behind her .<\/scene_description>\n    <character>QUEEN<\/character>\n    <dialogue>Ah! General Formica.<\/dialogue>\n    <scene_description>Formica salutes and marches to her , Carpenter behind him . Note : Throughout this scene , the Queen is giving birth repeatedly . Each birth is accompanied by a herald playing a short `` Happy Birthday '' fanfare on his trumpet . Mid - wife ants bring each baby to the Queen for inspection , who COOS a few words . The midwives put the babies on a moving bassinet - line , powered by ants on a treadmill .<\/scene_description>\n    <character>QUEEN<\/character>\n    <dialogue>General, the severe food shortage that faces the colony. pains me. The thought of any of my children going hungry.<\/dialogue>\n    <parenthetical>( she shudders ; then , to baby . )<\/parenthetical>\n    <dialogue>Who's the cutest widdle worker? You are! Yes, you! Do n't forget to brush your teeth!<\/dialogue>\n    <parenthetical>( to mid - wife . )<\/parenthetical>\n    <dialogue>Ship ` er out.<\/dialogue>\n    <parenthetical>( back to Formica . )<\/parenthetical>\n    <dialogue>What steps are you taking to remedy the situation?<\/dialogue>\n    <character>FORMICA<\/character>\n    <dialogue>We are launching a major offensive to expand our foraging territory.<\/dialogue>\n    <character>QUEEN<\/character>\n    <dialogue>Yes, what else?<\/dialogue>\n    <character>FORMICA<\/character>\n    <dialogue>Please do n't worry, your majesty. Leave the worrying to me. As you know, I'm not an ant of half - measures. I do n't pussyfoot around. This crisis is my number one priority, and I promise you it's being dealt with swiftly, and decisively.<\/dialogue>\n    <scene_description>The Queen 's attention is interrupted by another baby being put in her arms .<\/scene_description>\n    <character>QUEEN<\/character>\n    <parenthetical>( to baby . )<\/parenthetical>\n    <dialogue>No snacking between meals! Off you go!<\/dialogue>\n    <parenthetical>( to Formica . )<\/parenthetical>\n    <dialogue>Now - what were we saying?<\/dialogue>\n    <character>FORMICA<\/character>\n    <parenthetical>( Oliver North - style . )<\/parenthetical>\n    <dialogue>I do not recollect, your majesty. Will that be all?<\/dialogue>\n    <character>QUEEN<\/character>\n    <dialogue>Yes, General Formica. Carry on, my good man! I do n't know what we would do without you.<\/dialogue>\n    <scene_description>Formica clicks his heels and bows his head . Carpenter bows low . Formica smartly about faces -<\/scene_description>\n    <character>BALA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>General Formica!<\/dialogue>\n    <scene_description>PRINCESS BALA hurries through a second doorway , carrying a swatch book . Something about her sets her apart from the HANDMAIDEN ANTS with her . Her tiara , probably . Formica tilts his head quizzically to Carpenter behind him .<\/scene_description>\n    <character>CARPENTER<\/character>\n    <parenthetical>( sotto . )<\/parenthetical>\n    <dialogue>Princess Bala, sir. Your fiancee.<\/dialogue>\n    <character>FORMICA<\/character>\n    <dialogue>Princess! You look - outstanding. Is there anything I can do for you?<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>Well - I thought - since we're getting married. it might be nice if we. got to know one another.<\/dialogue>\n    <scene_description>Formica looks confused .<\/scene_description>\n    <character>QUEEN<\/character>\n    <dialogue>Bala has always been a hopeless romantic, General.<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>It's just that - well, I'm honored that you selected me, and everything, I just thought the marriage might go a little more smoothly if - we had a conversation?<\/dialogue>\n    <character>FORMICA<\/character>\n    <parenthetical>( uncomfortable . )<\/parenthetical>\n    <dialogue>Conversation. yes. well.<\/dialogue>\n    <parenthetical>( to Carpenter . )<\/parenthetical>\n    <dialogue>Was n't she briefed?<\/dialogue>\n    <character>QUEEN<\/character>\n    <parenthetical>( holding up a baby . )<\/parenthetical>\n    <dialogue>Look, General! A darling baby soldier!<\/dialogue>\n    <parenthetical>( emotionally , to baby . )<\/parenthetical>\n    <dialogue>Do n't try to be a hero! Just make sure you come back in one piece!<\/dialogue>\n    <parenthetical>( handing it off . )<\/parenthetical>\n    <dialogue>Next!<\/dialogue>\n    <character>FORMICA<\/character>\n    <parenthetical>( using the interruption . )<\/parenthetical>\n    <dialogue>I'll take your suggestion under advisement, Princess. In the meanwhile -<\/dialogue>\n    <scene_description>Formica turns to go .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>General - we have to talk sometime!<\/dialogue>\n    <character>FORMICA<\/character>\n    <dialogue>Very well. Carpenter, is there a convenient time to talk vis - a - vis : relationship?<\/dialogue>\n    <character>CARPENTER<\/character>\n    <dialogue>Actually, sir, we're ahead of schedule. We have thirty - six seconds available right now.<\/dialogue>\n    <character>FORMICA<\/character>\n    <dialogue>Outstanding. Princess?<\/dialogue>\n    <scene_description>Bala 's a little fazed . but grabs her chance .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>So, um. how was your day? What did you do?<\/dialogue>\n    <character>FORMICA<\/character>\n    <parenthetical>( scouring his mind . )<\/parenthetical>\n    <dialogue>Well.<\/dialogue>\n    <parenthetical>( that 's it ! )<\/parenthetical>\n    <dialogue>I declared war!<\/dialogue>\n    <character>BALA<\/character>\n    <parenthetical>( sadly . )<\/parenthetical>\n    <dialogue>Oh. and I was afraid we had nothing in common.<\/dialogue>\n    <character>CARPENTER<\/character>\n    <parenthetical>( under his breath . )<\/parenthetical>\n    <dialogue>Fourteen - fifty hours, sir.<\/dialogue>\n    <character>FORMICA<\/character>\n    <dialogue>Duty calls!<\/dialogue>\n    <scene_description>He strides across the floor . Bala watches him go , her antennae drooping unhappily .<\/scene_description>\n    <character>FORMICA<\/character>\n    <dialogue>No squeak. Outstanding!<\/dialogue>\n    <scene_description>We see through the now - open doors into the throne - room as Formica and Carpenter double - time out of the frame . The Queen sees that Bala is unhappy .<\/scene_description>\n    <character>QUEEN<\/character>\n    <parenthetical>( sympathetically . )<\/parenthetical>\n    <dialogue>I felt the same way before I got married. Confused. Scared.<\/dialogue>\n    <character>BALA<\/character>\n    <parenthetical>( hopefully . )<\/parenthetical>\n    <dialogue>You did?<\/dialogue>\n    <character>QUEEN<\/character>\n    <dialogue>Yes - but I did my duty and sorted out all those messy feelings. The wonderful thing about ant life is that everything is arranged. Even marriage. You're lucky - General Formica is a paragon of anthood.<\/dialogue>\n    <character>BALA<\/character>\n    <parenthetical>( unconvinced . )<\/parenthetical>\n    <dialogue>Yes. he's wonderful.<\/dialogue>\n    <scene_description>The doors swing shut on them - revealing the two guard ants who were CRUSHED in the wake of Formica 's exit .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BALA'S QUARTERS - DAY<\/stage_direction>\n    <scene_description>Bala enters , followed by her handmaidens , who are in a state of giggling infatuation over Formica . Bala is scowling as she leafs through a wedding catalogue .<\/scene_description>\n    <character>HANDMAIDEN #1<\/character>\n    <parenthetical>( swooning over General Formica . )<\/parenthetical>\n    <dialogue>The General's body segments are so. symmetrical.<\/dialogue>\n    <character>HANDMAIDEN #2<\/character>\n    <parenthetical>( giggling . )<\/parenthetical>\n    <dialogue>I'd let him order me into battle anyday.<\/dialogue>\n    <scene_description>Bala hurls the swatch book against the wall .<\/scene_description>\n    <character>HANDMAIDEN #1<\/character>\n    <dialogue>Princess? What's wrong?<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>Wrong? How could anything be wrong? I'm going to marry General Formica and be a queen and have millions of babies, just like my mom.<\/dialogue>\n    <parenthetical>( concerned . )<\/parenthetical>\n    <dialogue>Do I look fat to you?<\/dialogue>\n    <character>HANDMAIDEN #2<\/character>\n    <parenthetical>( knowingly , to Handmaiden # 2 . )<\/parenthetical>\n    <dialogue>Pre - wedding jitters.<\/dialogue>\n    <character>HANDMAIDEN #1<\/character>\n    <dialogue>You just need to blow off some steam. Let's go to the bar at the Royal Club!<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>The Club's so stuffy. I want to try someplace different.<\/dialogue>\n    <character>HANDMAIDEN #2<\/character>\n    <dialogue>There is n't anyplace else -.<\/dialogue>\n    <parenthetical>( making a joke . )<\/parenthetical>\n    <dialogue>Except the worker bar.<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>The worker bar! Yes! That's where I want to go!<\/dialogue>\n    <scene_description>The handmaidens look shocked .<\/scene_description>\n    <character>HANDMAIDEN #1<\/character>\n    <dialogue>But - we ca n't - there'll be workers there.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANT BAR - NIGHT<\/stage_direction>\n    <scene_description>A long bar filled with ants . The bar itself seems to stretch for miles , and there are hundreds of ants trying to get a drink . unfortunately , there 's only one bartender . Z is at the bar with WEAVER , a burly ant soldier .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>We declared war again?<\/dialogue>\n    <parenthetical>( off Weaver 's nod . )<\/parenthetical>\n    <dialogue>Are you scared?<\/dialogue>\n    <character>WEAVER<\/character>\n    <parenthetical>( shrugs . )<\/parenthetical>\n    <dialogue>I'll be back.<\/dialogue>\n    <scene_description>The BARTENDER , a grizzled veteran , slaps down what looks like a couple of large green beer mugs . Actually , they 're aphids , little green critters he fills up from a number of kegs hanging from the ceiling . The kegs are specialized ants with hugely distended stomachs , which spray liquid into the aphids .<\/scene_description>\n    <character>APHIDS<\/character>\n    <parenthetical>( as they 're slapped on bar . )<\/parenthetical>\n    <dialogue>Ouch! Ouch!<\/dialogue>\n    <character>BARTENDER<\/character>\n    <dialogue>Two aphid beers.<\/dialogue>\n    <character>Z<\/character>\n    <parenthetical>( as Bartender leaves . )<\/parenthetical>\n    <dialogue>Did you see that? How he gave you the beers, not me? I'm telling you, he's got something against workers.<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>I do n't know what you're talking about, Z.<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Come on - everybody dumps on us workers. You soldiers get all the glory. Plus you get to go out into the world, meet interesting insects, and kill them.<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>Yeah, but you get to spend all day with those fabulous worker babes.<\/dialogue>\n    <scene_description>We can see that Weaver is eyeing a nearby table of `` Worker Babes '' , including Z 's friend Azteca .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Weaver, they're career girls. They're obsessed with digging.<\/dialogue>\n    <parenthetical>( sighs . )<\/parenthetical>\n    <dialogue>No, I'll probably never meet the girl for me.<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>Who said there was a girl for you? I was talking about a girl for me.<\/dialogue>\n    <parenthetical>( quaffing his aphid beer . )<\/parenthetical>\n    <dialogue>Do n't you want your aphid beer?<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>I ca n't help it. I have a thing about drinking from the anus of another creature. Call me crazy.<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>Z, we've known each other a long time, right?<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Of course. You were born two seconds after me.<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>And all the time I've known you, you've been grumping and groaning. You should quit making waves. Go with the flow.<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Weaver, I'm an insect, not a liquid.<\/dialogue>\n    <scene_description>Down the bar , there 's a commotion . A grizzled old SCOUT ant has had too much to drink .<\/scene_description>\n    <character>DRUNK SCOUT<\/character>\n    <dialogue>Have you been to Insectopia? Have you? No, ya goddam larvas! But I have.<\/dialogue>\n    <parenthetical>( becoming emotional . )<\/parenthetical>\n    <dialogue>. Mosquitos n' caterpillars n' beetles - all livin' in peace, stuffin their guts with food. No rules, no regulations. you can be your own ant there.<\/dialogue>\n    <parenthetical>( howling drunkenly . )<\/parenthetical>\n    <dialogue>It's Insectopia! Insectopia!<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Hey, Weaver, listen!<\/dialogue>\n    <character>DRUNK SCOUT<\/character>\n    <dialogue>I was cut off from my unit - found it by mistake -.<\/dialogue>\n    <parenthetical>( slurring . )<\/parenthetical>\n    <dialogue>It changed my life!<\/dialogue>\n    <parenthetical>( spraying another soldier with saliva . )<\/parenthetical>\n    <dialogue>You see - ya follow the great yellow egg, and you come to the land of red and white -<\/dialogue>\n    <character>SOLDIERS<\/character>\n    <dialogue>You've had enough for one night! Come on, Gramps, before you get in trouble.<\/dialogue>\n    <scene_description>The soldiers pull him from the bar , carrying him out .<\/scene_description>\n    <character>Z<\/character>\n    <parenthetical>( excited . )<\/parenthetical>\n    <dialogue>Hey, did you hear what he said?!<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>Poor guy's had one too many scouting missions.<\/dialogue>\n    <scene_description>MUSIC STARTS UP .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANT BAR ENTRANCE - NIGHT<\/stage_direction>\n    <scene_description>Princess Bala is peering in at the entrance to the ant bar , accompanied by her worried - looking handmaidens .<\/scene_description>\n    <character>HANDMAIDEN #2<\/character>\n    <dialogue>We should n't be doing this - it is n't proper!<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>I'm the Princess, are n't I?<\/dialogue>\n    <character>HANDMAIDEN #2<\/character>\n    <dialogue>Of course -<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>And do Princesses do improper things?<\/dialogue>\n    <character>HANDMAIDEN #2<\/character>\n    <dialogue>Of course not -<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>Then if I go to the worker bar, it is n't improper. Anyway, do n't worry. No one will recognize us in our disguises.<\/dialogue>\n    <scene_description>She adjusts her `` disguise '' , a hardhat , tied down Jackie O. - style with an ant 's version of a Chanel scarf .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>I'm just a common worker, cooling off after a rough day!<\/dialogue>\n    <scene_description>Music starts . An ant BARKER takes the mic at one end of the dance floor .<\/scene_description>\n    <character>BARKER<\/character>\n    <parenthetical>( on loudspeaker . )<\/parenthetical>\n    <dialogue>Okay, folks. It's six - fifteen, and that means it's time to dance.<\/dialogue>\n    <scene_description>Every ant gets up to dance . Weaver turns to Z.<\/scene_description>\n    <character>WEAVER<\/character>\n    <parenthetical>( draining his beer . )<\/parenthetical>\n    <dialogue>Time to cut a rug, Z!<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>I'm not in the mood.<\/dialogue>\n    <parenthetical>( disgusted . )<\/parenthetical>\n    <dialogue>Even when they're off work, they follow orders.<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>Well, you just sit here and be a party - pooper.<\/dialogue>\n    <scene_description>Weaver joins the rest of the ants who are lining up for the dance . The Barker calls out the steps in a bored monotone - all the ants already know the steps . Everyone dances in perfect synch .<\/scene_description>\n    <character>BARKER<\/character>\n    <parenthetical>( southern twang . )<\/parenthetical>\n    <dialogue>And a left - right - quarterstep - back step - halfstep - a left - right - quarterstep - backstep - halfstep - a left - right - quarterstep - backstep halfstep -<\/dialogue>\n    <scene_description>AT THE ENTRANCE , Bala smiles mischievously at her handmaidens .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>I'm going to ask one of these mindless, primitive worker - types to dance with me!<\/dialogue>\n    <character>HANDMAIDEN #1<\/character>\n    <dialogue>But General Formica would be furious!<\/dialogue>\n    <character>BALA<\/character>\n    <parenthetical>( enjoying the idea . )<\/parenthetical>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>The handmaidens are appalled . Bala whirls away from them , sets her sights and searches the crowd - zeroing in on - Z , who 's watching the other ants dance .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>What a bunch of losers. Mindless zombies capitulating to an oppressive system -<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>Wan na dance?<\/dialogue>\n    <scene_description>Bala 's standing right there . Z is instantly smitten .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Me?! Yes! I mean -.<\/dialogue>\n    <parenthetical>( regaining suavosity . )<\/parenthetical>\n    <dialogue>Just let me finish my beer.<\/dialogue>\n    <scene_description>Not breaking eye contact with Bala , Z smiles suavely . Reaches suavely for a beer . Suavely grabs the candle in a glass jar off the bar . Suavely singes his face . He plays it off with a rakish little laugh . A bit apprehensive , Bala heads onto the floor . Z follows her .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>So uh - how come I have n't seen you around here before?<\/dialogue>\n    <character>BALA<\/character>\n    <parenthetical>( covering up . )<\/parenthetical>\n    <dialogue>I work in the palace, I do n't get out much.<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>The palace, hunh? I bet those royals really live it up. Of course they're all a little, you know, from inbreeding -<\/dialogue>\n    <character>BALA<\/character>\n    <parenthetical>( shocked . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <scene_description>Z and Bala step onto the dance floor with the rest of the ants , but Z ca n't do any of the steps .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Now, let's see, I - it's been a while since I - I think you -<\/dialogue>\n    <scene_description>Bala watches Z , trying to follow along . It 's the blind leading the blind , as Z tries in vain to follow the barker 's rapid instructions .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Here, I'll lead.<\/dialogue>\n    <scene_description>Z starts doing his own , individual dance . With a suave expression on his face , he leads Bala in a helter - skelter mixture - of Tango , Charleston , and hand - jive .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>Are you sure this is a real dance?<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Well, actually, uh - I'm sort of making it up -<\/dialogue>\n    <character>BALA<\/character>\n    <parenthetical>( surprised . )<\/parenthetical>\n    <dialogue>Really?<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Why should everyone dance the same way? It's as exciting as watching fungus grow.<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>You're right!<\/dialogue>\n    <character>Z<\/character>\n    <parenthetical>( surprised . )<\/parenthetical>\n    <dialogue>You - you think I'm right?<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>Why ca n't I just do whatever I want to do? Why ca n't I just go wild?! Yahoo!<\/dialogue>\n    <scene_description>Bala starts to get into it , making up her own steps in reply to Z 's , loosening up , having fun . For a moment , the two of them are actually sexy together . Then they get a little too wild - and the other ants , who are still doing their intricate dance , start to collide with Bala and Z. Z almost knocks over a big soldier ant . We can only see the ant 's back at the moment .<\/scene_description>\n    <character>SOLDIER<\/character>\n    <dialogue>Hey! Watch your step, worker.<\/dialogue>\n    <scene_description>Z has turned around to see the soldier ant , MAJOR MANDIBLE , glaring at him . Mandible is about twice Z 's size . He 's got one eye missing , and half of his left antenna his been chewed off .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>You watch yours, soldier, or my worker friend will beat you up!<\/dialogue>\n    <character>Z<\/character>\n    <parenthetical>( terrified . )<\/parenthetical>\n    <dialogue>Oh, that's okay, I'll let him off this time.<\/dialogue>\n    <parenthetical>( whispering to Bala . )<\/parenthetical>\n    <dialogue>Are you crazy? This guy's built like a pebble!<\/dialogue>\n    <parenthetical>( ineptly trying to placate the soldier . )<\/parenthetical>\n    <dialogue>You know they do great prosthetic antennas nowadays -<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>Are n't you gon na stand up for yourself?<\/dialogue>\n    <scene_description>Z 's caught between a rock and a hard place . He does n't want to get beaten up , but on the other hand , he does n't want to lose face in front of Bala . More soldiers have gathered around , looking hostile .<\/scene_description>\n    <character>SOLDIER<\/character>\n    <dialogue>How come you do n't dance like the rest of us?<\/dialogue>\n    <scene_description>Z glances over at Bala . Then , shaking with nervousness , he says defiantly .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Because - because I'm an individual!<\/dialogue>\n    <character>SOLDIER #2<\/character>\n    <dialogue>An individual? Never heard of it.<\/dialogue>\n    <character>MANDIBLE<\/character>\n    <dialogue>You look like a worker to me.<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>Hey, lay off my little buddy!<\/dialogue>\n    <scene_description>Z , meanwhile , looks far away , ecstatic , as if he 's just realized something very important . Unfortunately , just at this moment , A soldier pushes Weaver . Weaver pushes him back . somebody makes a dive for Z - and before you know it , there 's a regular bar brawl going on , with Weaver in the middle of it , cracking heads together , punching ants in the face , having a great time . Just then , the Princess ' handmaidens hurries over .<\/scene_description>\n    <character>HANDMAIDEN #1<\/character>\n    <dialogue>Princess Bala! Princess Bala!<\/dialogue>\n    <scene_description>Z , who 's scrabbling around on the floor , overhears .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Princess? You're a Princess?<\/dialogue>\n    <character>HANDMAIDEN #2<\/character>\n    <dialogue>The police are coming!<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>Uh oh.<\/dialogue>\n    <parenthetical>( to Z. ) Goodbye !<\/parenthetical>\n    <parenthetical>Got ta run !<\/parenthetical>\n    <dialogue \/>\n    <character>Z<\/character>\n    <dialogue>Wait! When can I see you again?<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>Let me think. Hmmnn.<\/dialogue>\n    <parenthetical>( thinks . )<\/parenthetical>\n    <dialogue>Never. Bye!<\/dialogue>\n    <scene_description>Bala rushes off with her handmaiden , just before a squad of whistle - blowing POLICE wade into the crowd .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Wait! Princess! Wait!<\/dialogue>\n    <scene_description>But she 's already gone , leaving Z holding her scarf .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DORMITORY - THE NEXT DAY<\/stage_direction>\n    <scene_description>Z is talking to Weaver , who 's getting ready to go off to war . Nearby , columns of ant soldiers march by .<\/scene_description>\n    <character>WEAVER<\/character>\n    <dialogue>Get real, Z! She just dropped the scarf by accident!<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Are you kidding? There were sparks between us! This scarf is a sign!<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>It's a sign that you're crazy! Do you know what the penalty for impersonating a soldier is?<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>What's gon na go wrong?! I take your place for the royal inspection. Bala comes strolling down the line, she sees me - bingo! Love is rekindled, and she takes me up to the palace for a little.<\/dialogue>\n    <parenthetical>( wags his eyebrows suggestively . )<\/parenthetical>\n    <dialogue>tea and crumpets. and you take your place again, and go march around to your heart's content!<\/dialogue>\n    <scene_description>Weaver looks unconvinced .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>You have to help me. Please, Weaver. Think of all the things I've done for you!<\/dialogue>\n    <character>WEAVER<\/character>\n    <parenthetical>( thinks . )<\/parenthetical>\n    <dialogue>I ca n't think of any.<\/dialogue>\n    <character>Z<\/character>\n    <parenthetical>( pause . )<\/parenthetical>\n    <dialogue>Well I'm gon na start doing things for you.<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>Will you introduce me to some worker girls?<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>You bet! They'll really go for a sensitive guy like you!<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>Maybe I'll get lucky.<\/dialogue>\n    <parenthetical>( Weaver thinks about it . )<\/parenthetical>\n    <dialogue>You know, Z, I would n't do this for anyone but you.<\/dialogue>\n    <scene_description>Weaver hands Z has helmet .<\/scene_description>\n    <character>WEAVER<\/character>\n    <dialogue>Wear this.<\/dialogue>\n    <character>Z<\/character>\n    <parenthetical>( overjoyed . )<\/parenthetical>\n    <dialogue>You're a real buddy.<\/dialogue>\n    <character>WEAVER<\/character>\n    <parenthetical>( sourly . )<\/parenthetical>\n    <dialogue>Yeah, I know.<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>What do I do?<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>Do n't tell anyone you're a worker. Follow that column over there. And come right back after the inspection!<\/dialogue>\n    <scene_description>Weaver points to a bunch of soldiers hurrying by in formation .<\/scene_description>\n    <character>Z<\/character>\n    <parenthetical>( overjoyed . )<\/parenthetical>\n    <dialogue>Thanks! I owe you!<\/dialogue>\n    <scene_description>Z skips off and joins the column , marching in time with the soldiers but too excited to keep from jazzing it up a little .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOWN CENTER - NIGHT<\/stage_direction>\n    <scene_description>The ant army has gathered in a huge HALL in front of a reviewing stand . We can hear the murmuring of thousands of soldiers - but all we can see is a HUGE POSTER of an ant General pointing right at the camera . The poster reads , `` GENERAL FORMICA WANTS YOU - to obey '' . Z turns to some of the soldiers near him .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Any of you guys know when the Princess will show up? She's kind of a personal friend.<\/dialogue>\n    <scene_description>The soldiers look at Z like he 's nuts .<\/scene_description>\n    <character>LOUD VOICE<\/character>\n    <dialogue>ATTEN - SHUN!<\/dialogue>\n    <scene_description>MARTIAL MUSIC sounds , and we hear thousands of ant feet as they snap to attention . Z imitates the soldiers awkwardly . GENERAL FORMICA struts to the middle 6f the screen , slapping his thigh with a swagger stick -LRB- the antenna of some unfortunate insect -RRB-<\/scene_description>\n    <character>FORMICA<\/character>\n    <dialogue>First of all, let me make one thing clear. Nobody ever won a battle by thinking for himself. All this `` thinking'' stuff is a load of crap. If the almighty had wanted you boys to think, he would n't have given you huge mandibles and a brain so small you'd misplace it if it was n't trapped inside your head.<\/dialogue>\n    <scene_description>In the audience , Z starts laughing - he thinks Formica 's just made a joke .<\/scene_description>\n    <character>Z<\/character>\n    <parenthetical>( slapping his thigh . )<\/parenthetical>\n    <dialogue>`` Trapped inside your head'' - that's a good one -<\/dialogue>\n    <scene_description>Z notices nobody else is laughing . He stops .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Geez - tough room.<\/dialogue>\n    <scene_description>From the stage , Formica is squinting at the audience , trying to make out who was laughing , but there are just too many ants . He continues .<\/scene_description>\n    <character>FORMICA<\/character>\n    <parenthetical>( striding back and forth . )<\/parenthetical>\n    <dialogue>We ants survive as a species because we do what we're told. We survive because we work together, as one, we get the job done, we do whatever it takes to persevere!<\/dialogue>\n    <parenthetical>( dramatic pause . )<\/parenthetical>\n    <dialogue>Hell, we're not an army of ants. we're one giant ant, with giant fists, and giant jaws!<\/dialogue>\n    <scene_description>The soldiers CHEER ! Z CHEERS along with the rest of them .<\/scene_description>\n    <character>Z<\/character>\n    <parenthetical>( to the soldier ant next to him . )<\/parenthetical>\n    <dialogue>Lays it on a little thick, does n't he? If you ask me, he's one giant bore.<\/dialogue>\n    <character>FORMICA<\/character>\n    <dialogue>Now I've heard a lot of scuttlebutt about a food shortage. Well you boys are gon na be taken care of. But in the meantime we're gon na eat the enemy for breakfast, we are gon na eat the enemy for lunch, and we are gon na eat the enemy for dinner!<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Geez, and I forgot my toothbrush.<\/dialogue>\n    <character>FORMICA<\/character>\n    <parenthetical>( reflective moment . )<\/parenthetical>\n    <dialogue>Dammit, I'm proud to be an ant.<\/dialogue>\n    <parenthetical>( he looks out at his army . )<\/parenthetical>\n    <dialogue>And I know each and every one of you boys will do your duty. Dismissed.<\/dialogue>\n    <scene_description>Z applauds and whistles as the other ants look at him in confusion .<\/scene_description>\n    <character>Z<\/character>\n    <parenthetical>( clapping . )<\/parenthetical>\n    <dialogue>Bravo! Bring on the Princess!<\/dialogue>\n    <character>COLONEL<\/character>\n    <dialogue>Stow the gab there, soldier! Let's move'em out!<\/dialogue>\n    <scene_description>The soldiers turn to the right and start to march out past the reviewing stand . A COLONEL marches at the head of Z 's column as Z looks around for the Princess .<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>Eyes. left!<\/dialogue>\n    <scene_description>Finally , as Z 's part of the army marches past the end of the reviewing stand , he sees her , looking bored , standing next to the Queen , who is giving the royal wave .<\/scene_description>\n    <character>Z<\/character>\n    <parenthetical>( waving . )<\/parenthetical>\n    <dialogue>Princess! Princess Bala! Hey! It's me! Z! I've got your scarf!<\/dialogue>\n    <scene_description>ON THE REVIEWING STAND , Bala sees Z - that is to say , she sees one of the thousands upon thousands of ants marching by .<\/scene_description>\n    <character>BALA<\/character>\n    <parenthetical>( peering out . )<\/parenthetical>\n    <dialogue>Who is that idiot?<\/dialogue>\n    <character>QUEEN<\/character>\n    <dialogue>Darling, you must encourage the troops - wave!<\/dialogue>\n    <scene_description>Bala waves unenthusiastically , little more than flopping her hand back and forth on her wrist . Down below , Z takes this as a sign that Bala has seen him .<\/scene_description>\n    <character>Z<\/character>\n    <parenthetical>( excited . )<\/parenthetical>\n    <dialogue>Excuse me, guys - That's my date. Well, it's been fun. Have a great war!<\/dialogue>\n    <scene_description>Z tries to squeeze his way back towards the royals , but he 's surrounded by a solid wall of soldiers - and they 're carrying him along with them .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Hey! Wait!<\/dialogue>\n    <scene_description>Z loses sight of the Princess as he 's carried away . BARBATUS , a hard - as - nails `` grunt '' soldier ant , taps Z on the shoulder .<\/scene_description>\n    <character>BARBATUS<\/character>\n    <dialogue>You new, kid?<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>I just joined up. But I'm quitting! I got a trial membership!<\/dialogue>\n    <character>BARBATUS<\/character>\n    <dialogue>Trial membership? Kid, when you join this ant's army, you're in for the full hitch.<\/dialogue>\n    <scene_description>At that moment , Z is swept out of the cramped corridor they 've been marching along , as the army emerges into the OPEN AIR outside of the colony .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANT MOUND - NIGHT<\/stage_direction>\n    <scene_description>It 's a starry , moonlit night . The shadows crowd around the panicked Z , who looks up at the sky as we see the army on the march .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Wait a minute, there's been a mistake! I've got to get back to the colony!<\/dialogue>\n    <scene_description>Z starts to fall out of line , but Barbatus , looking concerned , stops him .<\/scene_description>\n    <character>BARBATUS<\/character>\n    <dialogue>Are you crazy, kid? They shoot deserters!<\/dialogue>\n    <scene_description>Z swallows hard .<\/scene_description>\n    <character>BARBATUS<\/character>\n    <dialogue>You just stick by old Barbatus. He'll watch out for you.<\/dialogue>\n    <parenthetical>( off Z 's look . )<\/parenthetical>\n    <dialogue>Whatsamatter, kid? Leave a girl behind?<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Yeah. Well - no. She's kind of playing hard to get. As a matter of fact, she's playing completely unattainable.<\/dialogue>\n    <parenthetical>( nervously . )<\/parenthetical>\n    <dialogue>So, what's on the schedule? A brisk walk? a foraging expedition?<\/dialogue>\n    <character>BARBATUS<\/character>\n    <dialogue>No - we're going to attack the termites!<\/dialogue>\n    <character>Z<\/character>\n    <parenthetical>( alarmed . )<\/parenthetical>\n    <dialogue>Attack? But - I hate attacking! It's so hostile!<\/dialogue>\n    <scene_description>Around Z and Barbatus , the ants start up a marching song , which we intersperse with dialogue between Barbatus and Z to form a montage\/time - cut as the ant army marches on to the termite capital .<\/scene_description>\n    <character>ANT SOLDIERS<\/character>\n    <parenthetical>( to the tune of `` When Johnny Comes Marching Home '' . )<\/parenthetical>\n    <dialogue>We ants go marching one by one, hurrah, hurrah! We slaughter termites just for fun, Hurrah! Hurrah!<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>So - these termites, they're little, shy, retiring insects?<\/dialogue>\n    <character>BARBATUS<\/character>\n    <parenthetical>( grim smile . )<\/parenthetical>\n    <dialogue>No such luck. Those dirty terms are five times bigger than us, and they shoot acid from their foreheads!<\/dialogue>\n    <character>SOLDIER ANTS<\/character>\n    <dialogue>We ants go marching two by two, hurrah! Hurrah! We'll all be dead before we're through, hurrah! Hurrah!<\/dialogue>\n    <scene_description>Montage shots of an ant column marching diagonally across the screen , fading into another column marching diagonally downwards across the screen .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Well, what exactly does our platoon do? Serve beverages? Process paperwork?<\/dialogue>\n    <character>BARBATUS<\/character>\n    <dialogue>Our platoon has the best assignment of all. We're the first into battle!<\/dialogue>\n    <character>ANT SOLDIERS<\/character>\n    <dialogue>We ants are marching three by three, hurrah! Hurrah! Dead ants is what we soon will be, hurrah! Hurrah!<\/dialogue>\n    <scene_description>montage shot of Z 's column crossing a bridge composed of living ants - all of whom look extremely uncomfortable as they 're getting stepped on .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>So we're going back for more armor, right? I mean, these guys are from outer space, how are we supposed to beat them?!<\/dialogue>\n    <character>BARBATUS<\/character>\n    <dialogue>Superior numbers, kid!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TERRAIN NEAR TERMITE STUMP - NIGHT<\/stage_direction>\n    <scene_description>Z looks up to see . looming high above them . the TERMITE CITY , which is built in the stump of a dead tree . From here it looks like a demonic Mount Fuji . The COLONEL ANT shouts an order .<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>ATTAAAAAAAAACK!<\/dialogue>\n    <scene_description>The front line of ants starts rushing towards the termite colony . Z is swept along .<\/scene_description>\n    <character>BARBATUS<\/character>\n    <dialogue>Over the TOOOOOOOOOOOOO - OP!<\/dialogue>\n    <scene_description>Z is swept along and up the side of the stump as thousands of ants invade the colony through every possible entrance . Up . over the lip of the stump . and down inside , to the very middle of the termite colony . Into a disquietingly peaceful scene . They 're in the middle of the hollowed - out trunk , and ants keep pouring in - but there 's not a termite to be seen . Barbatus looks around suspiciously .<\/scene_description>\n    <character>BARBATUS<\/character>\n    <dialogue>It's too damn quiet.<\/dialogue>\n    <scene_description>Then we hear a strange tapping noise . Barbatus looks over , and sees that Z 's teeth are chattering with fear .<\/scene_description>\n    <character>BARBATUS<\/character>\n    <dialogue>Do n't be scared, kid. Barbatus's got yer back.<\/dialogue>\n    <character>Z<\/character>\n    <parenthetical>( petrified . )<\/parenthetical>\n    <dialogue>Maybe they went out for the evening. Let's leave them a message and head home.<\/dialogue>\n    <character>COLONEL<\/character>\n    <parenthetical>( ignoring him . )<\/parenthetical>\n    <dialogue>Light it up!<\/dialogue>\n    <scene_description>A nearby soldier ant take a firefly out of his knapsack and pinches him . The firefly , yelling `` Yipe ! Yipe ! Yipe ! '' , shoots into the air like a flare , lighting up the interior of the stump with eery , shifting luminescence . Then we notice , hollowed into the inside of the stump like innumerable pockmarks , termite holes staring out upon the stump . and , with an unearthly ROAR , we see the first of hundreds of termites emerging to pour into the center of the tree , right onto the ant army .<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>They're here!<\/dialogue>\n    <character>BARBATUS<\/character>\n    <parenthetical>( to Z. ) Keep your head down !<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Within moments , Z finds himself in the middle of a BLOODBATH . The ants have broken into the colony , but are taking heavy losses from the gigantic , blind , acid - spewing termites . The battle scene is as sprawling and chaotic as something out of Braveheart . In a few QUICK SHOTS from Z 's perspective , we see : - A squad of ants rushes towards a termite soldier , but are literally melted into smoking heaps of flesh by a jet of acid from its forehead . - A termite warrior is overwhelmed by a crowd of ants and is pulled to pieces with hideous ripping sounds . - Another termite warrior takes on an ant soldier one on one and slowly crushes his head in his huge jaws .<\/scene_description>\n    <character>Z<\/character>\n    <parenthetical>( looking around . )<\/parenthetical>\n    <dialogue>Guys! Guys! It is n't too late for all of us to just talk this over!<\/dialogue>\n    <scene_description>Just then , a termite burst up from the ground and turns to face Z. Z is dwarfed by this hulking , roaring , drooling monstrosity .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Wait! Please! Acid makes me come out in spots! - Could I just say I have always had the greatest respect for your species? I mean, eating wood - why did n't I think of that? I -<\/dialogue>\n    <scene_description>The termite rears , getting ready to melt Z , when OOF ! he 's knocked backwards by .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>BARBATUS! You - you saved my life!<\/dialogue>\n    <character>BARBATUS<\/character>\n    <dialogue>Do n't get all sappy about it!<\/dialogue>\n    <scene_description>As Barbatus and some other soldiers kill the termite , the Colonel strides up to Z , puffing on a cigar .<\/scene_description>\n    <character>COLONEL<\/character>\n    <dialogue>I love the smell of formic acid in the morning.<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Look out!<\/dialogue>\n    <scene_description>A stream of termite acid engulfs the colonel , instantly burning him to a cinder clutching a still - burning cigar ; Z 's paratroop buddies turn in terror to see a herd of termites rumbling towards them . Z , terrified , dives into the hole that the huge termite made .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TERMITE TUNNEL - NIGHT<\/stage_direction>\n    <scene_description>and tumbles headlong into a corridor of the termite mound . The corridors here are primitive , caveman - like , pocked with jagged access holes . No sooner has Z landed in the tunnel than a termite comes burrowing out from one of the side walls , snapping at Z 's head . Z just avoids getting decapitated , and digs straight through the wall in order to escape .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TERMITE QUEEN'S CHAMBER - NIGHT<\/stage_direction>\n    <scene_description>straight into the hub of the entire termite complex - the Queen 's chamber . This is nothing like the civilized court of the ant colony - it 's a huge , stinking , fetid dungeon whose walls are held up by one massive -LRB- to Z -RRB- column of piled stones . The termite queen , a repulsive , slimy , squirming , foot - long monster , is attended by a crew of diminutive , blind termite nurses . The queen turns to look Z right in the eye .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Excuse me. I seem to be lost, and I was wondering if you could give me -<\/dialogue>\n    <scene_description>Before Z can say , `` directions '' , the queen gives out a piercing , blood - curdling shriek . The nurses start shrieking too .<\/scene_description>\n    <character>Z<\/character>\n    <parenthetical>( backing away . )<\/parenthetical>\n    <dialogue>I'll let myself out.<\/dialogue>\n    <scene_description>But the queen 's shriek has summoned a soldier termite - the biggest one we 've seen yet - who is charging headlong at Z , jaws snapping open and shut like huge scissors .<\/scene_description>\n    <character>Z<\/character>\n    <parenthetical>( backing away . )<\/parenthetical>\n    <dialogue>Shoo! - Torro! Torro!<\/dialogue>\n    <scene_description>At the last moment , Z jumps out of the way - and the termite runs headfirst into the supporting column of the chamber . As if on a spring release , the termite 's jaws clamp shut - and shatter the base of the column . The walls of the room begin to rumble . The termite turns to eat Z . but is crushed by a stone falling from the ceiling , which gives a final shudder and collapses , raining earth and stones down on the queen . As the walls of the chamber crumble , melees of ants and termites pour into the room from the corridors around and above . they keep struggling until .<\/scene_description>\n    <character>ANT OFFICER<\/character>\n    <parenthetical>( points at Z. ) He 's killed their Queen !<\/parenthetical>\n    <dialogue \/>\n    <character>Z<\/character>\n    <dialogue>Hey, I'm sorry, it was a mistake -<\/dialogue>\n    <character>ANT OFFICER<\/character>\n    <dialogue>VICTORY!<\/dialogue>\n    <scene_description>We can see that the termite warriors , deprived of their leader , are suddenly confused and directionless , easy prey for the ants .<\/scene_description>\n    <character>Z<\/character>\n    <parenthetical>( facetious . )<\/parenthetical>\n    <dialogue>This is terrific! Let's exact crippling war reparations! Let's set up a puppet government!<\/dialogue>\n    <character>ANT OFFICER<\/character>\n    <dialogue>Let's slaughter them all!<\/dialogue>\n    <scene_description>The ants set about killing the disoriented termites when . we hear another rumble coming from the outside . the ants look up confusedly . And a -LRB- from the ant 's point of view -RRB- five - hundred foot long tongue bursts through the top of the chamber with a CRASH . The ten or so ants standing directly below are smashed by the tongue , which squirts out a spray of saliva around the crater . As quick as it appeared , the tongue retracts , with a hideous SLUUURPING sound . We can now see the end of the snout of an ant - eater poking through a hole in the ceiling high above .<\/scene_description>\n    <character>ANT OFFICER<\/character>\n    <dialogue>INCOMING!<\/dialogue>\n    <scene_description>The tongue comes down again , smashing some more ants , whose bodies are slurped up by the tongue . the ants scatter , but to no avail , as the tongue comes smashing down again and again . Z heads into a side corridor as the tongue smashes down again , barely missing him ! Z retreats along the corridor as the tongue searches for him , across the tunnel from intersecting access - tunnels , getting closer and closer to Z , dragging more and more screaming ants and struggling termites . Then the tongue disappears . Silence . Z wipes his brow . And we hear a thunderous SNIFFING noise as the anteater searches for more prey . and the tongue starts rumbling down the corridor right towards Z , the tip squirming as it ricochets along the walls ! Z gets up and runs , the tongue lapping towards him , reminiscent of the stone sphere that nearly crushed Indiana Jones in Raiders of the Lost Ark ! The walls disintegrate under the pressure of the tongue , which gets closer to Z . closer . and just misses him as Z tumbles out of the stump and down to the ground . Z sits there , dazed , as we see the huge form of the anteater withdraw its tongue and , with a final contented burp , shuffle off into the distance .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TERMITE STUMP - MORNING<\/stage_direction>\n    <scene_description>Z makes his way across the corpse - strewn battlefield , an expression of horror on his face .<\/scene_description>\n    <character>BARBATUS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Z! Over here!<\/dialogue>\n    <character>Z<\/character>\n    <parenthetical>( hopeful . )<\/parenthetical>\n    <dialogue>Barbatus?<\/dialogue>\n    <scene_description>Z looks down at his feet , where Barbatus 's still - living , decapitated head is looking up at him .<\/scene_description>\n    <character>Z<\/character>\n    <parenthetical>( shocked . )<\/parenthetical>\n    <dialogue>Barbatus!<\/dialogue>\n    <character>BARBATUS<\/character>\n    <dialogue>Be honest, kid - am I hurt bad?<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>No, no, you're. lookin' good. You've got good color in your cheeks.<\/dialogue>\n    <character>BARBATUS<\/character>\n    <dialogue>No - I can see it in your eyes. I'm a goner. It's alright, Z. In this ant's army, a soldier's life ai n't worth a sack of fungus.<\/dialogue>\n    <parenthetical>( he winces . )<\/parenthetical>\n    <dialogue>I ca n't feel my legs.<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Hang in there, buddy! You can make it! Just - take deep breaths, I'll try and find your body - it's got ta be around here somewhere!<\/dialogue>\n    <character>BARBATUS<\/character>\n    <parenthetical>( gasping . )<\/parenthetical>\n    <dialogue>I wonder. what. was it all. for.<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Barbatus, hang on - Barbatus!<\/dialogue>\n    <character>BARBATUS<\/character>\n    <dialogue>Do n't make my mistake, kid. do n't. be a grunt. your whole life.<\/dialogue>\n    <scene_description>Barbatus dies , leaving Z heartbroken .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EARLY MEGA-TUNNEL - DAY<\/stage_direction>\n    <scene_description>Weaver is `` passing '' as a worker , working alongside much smaller worker ants . He actually loves the work . He 's throwing up dirt like a bulldozer . He 's so enthusiastic , he scoops up a WHOLE ANT in his shovel and tosses him aside . Azteca , who 's standing next to him in line , is shocked by , and a little attracted to , this turbo - worker .<\/scene_description>\n    <character>AZTECA<\/character>\n    <dialogue>Hey, slow it down, big boy. You're making the rest of us look bad. How come I have n't seen you around here before?<\/dialogue>\n    <character>WEAVER<\/character>\n    <parenthetical>( covering . )<\/parenthetical>\n    <dialogue>I'm new. I was born yesterday.<\/dialogue>\n    <character>AZTECA<\/character>\n    <dialogue>Tell me about it.<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>Nobody told me digging was so much fun! You pick up the dirt, you move it, you pick it up again, you move it again - lots of repetitions, you exercise the forceps, and the pincers -<\/dialogue>\n    <character>AZTECA<\/character>\n    <parenthetical>( ogling him . )<\/parenthetical>\n    <dialogue>Mmm, yes, I see what you mean.<\/dialogue>\n    <scene_description>While Azteca is checking out the hunky new worker , work has effectively stopped . clods are piling up behind Weaver . A Foreman comes striding down the line , furious .<\/scene_description>\n    <character>FOREMAN<\/character>\n    <dialogue>What's the holdup here?!<\/dialogue>\n    <scene_description>Weaver whips his shovel up to his shoulder and salutes , as if he 's dealing with a superior officer .<\/scene_description>\n    <character>WEAVER<\/character>\n    <dialogue>Sorry, sir - I was just having a little chat with my friend -<\/dialogue>\n    <character>FOREMAN<\/character>\n    <parenthetical>( yelling at Weaver . )<\/parenthetical>\n    <dialogue>Who said you could have a chat? You're not a chatter, you're a digger! So shut up and dig!<\/dialogue>\n    <character>AZTECA<\/character>\n    <dialogue>Leave him alone! He's new.<\/dialogue>\n    <character>FOREMAN<\/character>\n    <dialogue>You too? Well just for that, you lose your day's rations! Now get back to work!<\/dialogue>\n    <scene_description>The Foreman heads down the line , shoving and berating the other workers as he goes along .<\/scene_description>\n    <character>AZTECA<\/character>\n    <parenthetical>( surprised at herself . )<\/parenthetical>\n    <dialogue>I do n't know what came over me, talking back like that. I must be going crazy.<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>Sorry I got you in trouble. But listen, you can share my rations.<\/dialogue>\n    <character>AZTECA<\/character>\n    <parenthetical>( flirting . )<\/parenthetical>\n    <dialogue>Are you asking me out to dinner?<\/dialogue>\n    <character>WEAVER<\/character>\n    <parenthetical>( blushing . )<\/parenthetical>\n    <dialogue>No - I mean yes - I mean - if you do n't have other plans.<\/dialogue>\n    <character>AZTECA<\/character>\n    <dialogue>I'll make myself available. Listen, better watch out with the backtalk. I do n't know want you to end up like the guy who used to work next to me. I'm afraid he got. downsized.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANT MOUND - DAY<\/stage_direction>\n    <scene_description>Some guard ants are looking out across the sandy main entrance to the hive .<\/scene_description>\n    <character>GUARD ANT<\/character>\n    <dialogue>Look! They're back! The army's back! Alert the colony!<\/dialogue>\n    <scene_description>The other ant starts ringing a bell , rushing down into the colony .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOWN CENTER - DAY<\/stage_direction>\n    <scene_description>A huge crowd is forming , eager to welcome the army back . A band is striking up a triumphant victory song , confetti and streamers are being thrown , as General Formica strides in , followed by Carpenter .<\/scene_description>\n    <character>EXCITED ANTS<\/character>\n    <dialogue>The army's returned! Our brave boys are back!<\/dialogue>\n    <parenthetical>( etc . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Everyone waves little flags as the tuba player Oompah - oompah - oompahs . and Z walks into the hall , looking bedraggled and exhausted , his helmet hanging over his ears . The band slows to a halt . At the edge of the crowd , Azteca , sitting on Weaver 's shoulders , can just about see over the crowd .<\/scene_description>\n    <character>AZTECA<\/character>\n    <dialogue>It looks like only one soldier made it back!<\/dialogue>\n    <scene_description>Weaver looks distraught .<\/scene_description>\n    <character>WEAVER<\/character>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>Poor Z - I should never have let you go!<\/dialogue>\n    <scene_description>Far down the hall , Z is describing the battle .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>It was horrible. a massacre, a massacre upon a massacre. First we massacred them, then they massacred us, then it was halftime. I've never seen such violence, such bloodthirstiness, such bad manners. I'm the only one that made it!<\/dialogue>\n    <scene_description>The atmosphere is somber . This is a tough one to try and put a spin on . but that does n't stop Formica from trying .<\/scene_description>\n    <character>FORMICA<\/character>\n    <dialogue>ONE TO NOTHING! WE WIN!<\/dialogue>\n    <scene_description>The band strikes up again , and everyone cheers .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>No - you - you do n't understand!<\/dialogue>\n    <character>FORMICA<\/character>\n    <dialogue>Damn, I'm proud of you, boy. I wish I had a hundred ants of your caliber. The world would tremble. Now, time for some R and R. You're invited to the royal victory party!<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Royal victory party? Will. will Princess Bala be there?<\/dialogue>\n    <character>FORMICA<\/character>\n    <dialogue>Of course. The entire royal family will be there to honor you.<\/dialogue>\n    <character>Z<\/character>\n    <parenthetical>( thinks . )<\/parenthetical>\n    <dialogue>ONE TO NOTHING!<\/dialogue>\n    <scene_description>Renewed CHEERS , as Z is lifted onto the shoulder of some of the soldiers who stayed behind .<\/scene_description>\n    <character>AZTECA<\/character>\n    <dialogue>Wait a minute, that's no soldier - that's Z!<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>Z? Our Z? The little guy made it!<\/dialogue>\n    <scene_description>Z is following Formica away from the cheering crowd .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ABOVE TOWN CENTER - DAY<\/stage_direction>\n    <scene_description>Z and Formica are going up the royal `` stairway '' together .<\/scene_description>\n    <character>FORMICA<\/character>\n    <dialogue>Son, you're an ant after my own heart. A warrior. An ant that looks death right in the face and laughs.<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Well, I generally just make belittling comments and snicker behind death's back. So, tell me, fellow war - monger. do you think Princess Bala likes men in uniform?<\/dialogue>\n    <character>FORMICA<\/character>\n    <dialogue>Well she better - she's engaged to one. Me!<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Engaged? As in you're getting married?<\/dialogue>\n    <character>FORMICA<\/character>\n    <dialogue>Affirmative.<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>So. you two are in love?<\/dialogue>\n    <character>FORMICA<\/character>\n    <dialogue>In love?<\/dialogue>\n    <parenthetical>( shakes his head . )<\/parenthetical>\n    <dialogue>I'm just a plain old soldier at heart. I'll tell you what I love - the field - blood - death - orders. and the company of other warriors.<\/dialogue>\n    <scene_description>Formica gives Z a manly slap on the back . Z looks a little uncomfortable as we .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THRONE ROOM - DAY<\/stage_direction>\n    <scene_description>Z follows Formica and Carpenter into the throne room . At the end of the hall , a society band is playing . The room is full of courtier ants and officers . Waiters are gliding around holding trays of hors d'ouevres .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Wow, what a spread - you know, there's a food shortage in the rest of the colony.<\/dialogue>\n    <character>FORMICA<\/character>\n    <dialogue>Yes, and do you know why there's a food shortage?<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Not enough food?<\/dialogue>\n    <character>FORMICA<\/character>\n    <dialogue>Negatory. Too many ants. And while we soldiers go out there, and fight, and bleed, and die for the colony, the namby - pamby workers live it up back home.<\/dialogue>\n    <scene_description>Feeling a little hot , Z wipes his brow .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Well I, I do n't think `` living it up'' is the right term - how about `` working themselves to death''?<\/dialogue>\n    <character>FORMICA<\/character>\n    <dialogue>I tell you son, sometimes, at night, I see myself in battle, fighting a horrible, faceless enemy, with the future of our whole species at stake. And always, the dream ends with each of us plunging his sword into the other's heart.<\/dialogue>\n    <character>Z<\/character>\n    <parenthetical>( spooked . )<\/parenthetical>\n    <dialogue>Oh, hey, that's great, I think I see an old war buddy over there, it's been fun chatting. Good luck with the hallucinations.<\/dialogue>\n    <scene_description>Z escapes from Formica , who gazes after him suspiciously . Z mingles in with the crowd , then he sees Princess Bala standing with a group of officers who are eating hors d'oeuvres .<\/scene_description>\n    <character>OFFICER<\/character>\n    <parenthetical>( telling a joke . )<\/parenthetical>\n    <dialogue>What do you call it when 10,000 workers are killed in a tunnel cave - in?<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>Who cares? They're workers!<\/dialogue>\n    <scene_description>The officers laugh , but Bala looks bored in this stuffy social scene .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>But. do n't you think the worker class is the very foundation of the colony -.<\/dialogue>\n    <parenthetical>( realizes he 's getting odd looks . )<\/parenthetical>\n    <dialogue>I mean, uh, without them, who would we stand on?<\/dialogue>\n    <scene_description>More laughter .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>You're the hero of the recent termite campaign, are n't you?<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Well, if single - handedly vanquishing the enemy and slaughtering a whole nestful of termites makes someone a hero, yes I am.<\/dialogue>\n    <scene_description>Z reaches for a tray of canapes that a waiter is carrying by , and KNOCKS the whole thing CLATTERING to the ground .<\/scene_description>\n    <character>Z<\/character>\n    <parenthetical>( feigning nonchalance . )<\/parenthetical>\n    <dialogue>And you are?<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>I'm Princess Bala.<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Ah, yes.<\/dialogue>\n    <parenthetical>( affected . )<\/parenthetical>\n    <dialogue>Well, charmed, I'm sure. So, Princess, have you ever danced with a hero?<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>Z<\/character>\n    <parenthetical>( deflated . )<\/parenthetical>\n    <dialogue>Oh. oh well then, one more wo n't matter.<\/dialogue>\n    <scene_description>She moves towards the dance floor . Z spit - combs his antennae , struts after her - until he trips on his sword . He tumbles , falls , but hops to his feet just as Bala turns toward him , turning it into a ballet plies .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Just warming up.<\/dialogue>\n    <scene_description>She frowns . there 's something familiar about this guy . But then they start dancing . ACROSS THE ROOM : The Queen and General Formica watch the party .<\/scene_description>\n    <character>QUEEN<\/character>\n    <dialogue>All these parties are so marvellously alike.<\/dialogue>\n    <character>FORMICA<\/character>\n    <dialogue>They should be.<\/dialogue>\n    <parenthetical>( suspicious . )<\/parenthetical>\n    <dialogue>But there's something funny about that soldier.<\/dialogue>\n    <scene_description>Formica strides over to where Z and Bala are dancing .<\/scene_description>\n    <character>FORMICA<\/character>\n    <parenthetical>( glowering . )<\/parenthetical>\n    <dialogue>May I cut in?<\/dialogue>\n    <character>Z<\/character>\n    <parenthetical>( intimidated . )<\/parenthetical>\n    <dialogue>Oh, of course -<\/dialogue>\n    <character>BALA<\/character>\n    <parenthetical>( pulling Z back . )<\/parenthetical>\n    <dialogue>No, General. I'm dancing with the war hero.<\/dialogue>\n    <character>Z<\/character>\n    <parenthetical>( trying to placate Formica . )<\/parenthetical>\n    <dialogue>Uh, sorry, General, I. I've always had this animal magnetism, it -<\/dialogue>\n    <scene_description>Bala YANKS Z back onto the dance floor , dancing away from Formica .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>You dance.<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Divinely?<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>No weirdly. You remind me of someone.<\/dialogue>\n    <scene_description>Formica catches Bala 's eye . She frowns at him , and decides to get a little shocking .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>He was swarthy. primitive. earthy. sensual.<\/dialogue>\n    <scene_description>As she says these things , Z tries to act accordingly .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>He was a worker. I danced with him at a worker's bar just the other day. I'm not shocking you, am I?<\/dialogue>\n    <character>Z<\/character>\n    <parenthetical>( proudly . )<\/parenthetical>\n    <dialogue>No. as a matter of fact.<\/dialogue>\n    <character>BALA<\/character>\n    <parenthetical>( shocked . )<\/parenthetical>\n    <dialogue>OH MY GOD, IT'S YOU! YOU'RE A WORKER! A filthy, stupid, disgusting WORKER!<\/dialogue>\n    <scene_description>Everybody gasps . The dancing stops cold .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Gee, uh, could you say it a little louder, I think there are some ants in the next colony who did n't hear you.<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>I CA N'T DANCE WITH A WORKER!<\/dialogue>\n    <character>Z<\/character>\n    <parenthetical>( offended . )<\/parenthetical>\n    <dialogue>That's not what you said the other night -<\/dialogue>\n    <character>BALA<\/character>\n    <parenthetical>( now she 's panicked . )<\/parenthetical>\n    <dialogue>Quiet - sshhh!<\/dialogue>\n    <character>Z<\/character>\n    <parenthetical>( digging it in . )<\/parenthetical>\n    <dialogue>- At the worker bar! You were pretty hot to trot then!<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>SSHH! SSHH!<\/dialogue>\n    <scene_description>A livid Formica is stalking over towards them .<\/scene_description>\n    <character>FORMICA<\/character>\n    <parenthetical>( furious . )<\/parenthetical>\n    <dialogue>What's this? A worker has been masquerading as a war hero?!<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Well it was n't a masquerade, really, it was more what I'd call a clever ruse -<\/dialogue>\n    <character>FORMICA<\/character>\n    <dialogue>ARREST HIM!<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Ca n't we all settle this like adults - we're not larvae anymore -<\/dialogue>\n    <scene_description>Angry officers begin to surround Z , who hides behind Bala in fear , using her as a shield .<\/scene_description>\n    <character>QUEEN<\/character>\n    <dialogue>Oh my god! He's taking her hostage!<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>No I'm not - I mean - nobody move! Or the Princess gets it!<\/dialogue>\n    <scene_description>People shout and scream , as Z backs up with the Princess . into the kitchen .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - DAY<\/stage_direction>\n    <scene_description>Z backs up into the kitchen , still pulling Bala along with him . Here , ant chefs are preparing food for the party , vomiting little florets onto a platter . Formica and the soldiers follow them in .<\/scene_description>\n    <character>Z<\/character>\n    <parenthetical>( to Formica . )<\/parenthetical>\n    <dialogue>Stay back, you lunatic! Do you think I do n't know how to use this?<\/dialogue>\n    <scene_description>Z realizes that he 's pointing his finger at them .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Uh - oh.<\/dialogue>\n    <scene_description>The officers rush for . and Z , with Bala in tow , falls backwards into an opening marked , `` GARBAGE '' .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANT MOUND - DAY<\/stage_direction>\n    <scene_description>HOLD ON : the GARBAGE CHUTE EXIT . Nothing happens for a moment . Then - From a distance , we hear the faint sound of SCREAMING , dopplering closer - - and then Z and Bala come flying out of the exit , right into the mud , cutting off the scream abruptly . Bala sits up , coated in mud . Z is nowhere to be seen . Because she 's on top of him .<\/scene_description>\n    <character>PRINCESS<\/character>\n    <dialogue>This is thoroughly unacceptable!<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>You're telling me.<\/dialogue>\n    <scene_description>She gets up and runs back towards the colony entrance , where soldiers are already issuing to get her .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>I'm coming! I'm coming!<\/dialogue>\n    <scene_description>But . just as Bala'a about to be rescued . what looks like a gigantic LASER BEAM sweeps along the rim of the colony , sizzling the ground as it moves along . and IGNITES the lead soldier into FLAMES ! Bala looks stunned . Z watches in horror as another soldier ant is FRIED , and we look up to see a GIGANTIC MAGNIFYING GLASS casting the beam . we can just about make out the huge , grotesque figure -LRB- a seven year old kid -RRB- holding it . Bala , who has no idea what 's really going on , turns from the colony and runs the other way .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>I'm going! I'm going'<\/dialogue>\n    <scene_description>unfortunately , this draws the fire of the laser , which follows after her in what looks like a strafing run , SIZZLING in her footsteps . Z , who 's running towards the princess , suddenly realizes that he 's running towards certain doom . and joins Bala in legging it away from the colony ; under a brown leaf , which bursts into flames . between the redwood - like stalks of some flowers . and finally into the relative safety of some grass . where they throw themselves on the ground , exhausted .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEED CLUMP - DAY<\/stage_direction>\n    <scene_description>Z and Bala dust themselves off .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>What was that thing?<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>How should I know?<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>I order you to find out where we are!<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Alright, alright, I'll try to get directions from one of the locals.<\/dialogue>\n    <scene_description>Z tries to flag down some passing bees .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Excuse me, I -.<\/dialogue>\n    <parenthetical>( it passes him by ; he tries the next . )<\/parenthetical>\n    <dialogue>Pardon me -.<\/dialogue>\n    <parenthetical>( same response . )<\/parenthetical>\n    <dialogue>And they call them social insects.<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>Climb up that tree and get a better view!<\/dialogue>\n    <scene_description>Bala points to a thin blade of grass . Gingerly , Z tests the grass and starts climbing up it . but his weight bends it , so that he 's lowered back to the ground , face to upside - down face with Bala .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>I've been kidnapped by the village idiot.<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Who's the bigger idiot - the idiot who gets kidnapped, or the idiot who lets herself get kidnapped by the idiot?<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>How dare you speak to me like that? I'm the Princess!<\/dialogue>\n    <scene_description>Z squares up with her .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Theoretically, yes. But is the monarchical hierarchy applicable without the underlying social structure to support it?<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>Of course! It defines society! To deny the precept is to say that order is an arbitrary distinction applied by the society itself!<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>But can there be a society composed of just two ants?<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>No! There's no such thing as `` just two ants.'' You never see just two ants - you see a million ants!<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Look around, sweetheart.<\/dialogue>\n    <scene_description>She looks around . She does n't like what she sees . She glowers at Z.<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>I - hate - you.<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Well I guess that makes us even.<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>Ha! Do n't make me laugh. You're crazy about me! That's why you lied and cheated to get near me!<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Oh come on, you're the one who came after me - the swarthy, earthy, sensual worker!<\/dialogue>\n    <character>BALA<\/character>\n    <parenthetical>( repulsed . )<\/parenthetical>\n    <dialogue>I was slumming it! I danced with you because you were the most pathetic specimen in the place!<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Is that the same standard you used to choose General Formica?<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>I did n't choose him. What kind of idiot would.<\/dialogue>\n    <parenthetical>( unconvincingly . )<\/parenthetical>\n    <dialogue>. choose who she wanted to marry?<\/dialogue>\n    <scene_description>She shakes herself out of it .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>Now, worker, you shall take me back to the colony, and have your head cut off and stuck on a sharp pole!<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Well, that's an appealing offer, but. considering the options.<\/dialogue>\n    <parenthetical>( he decides . )<\/parenthetical>\n    <dialogue>You go back. Me, I'm going to Insectopia.<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>Insectopia? You stupid worker, that's just a fairy tale!<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Yeah, well I have it on a reliable source.<\/dialogue>\n    <parenthetical>( he knows that was maybe stretching it . )<\/parenthetical>\n    <dialogue>that it exists. Now you follow the yellow egg.<\/dialogue>\n    <parenthetical>( looking around . )<\/parenthetical>\n    <dialogue>That direction.<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>Worker! Come back here now!<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>I've got a name. It's Z.<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>That's not a name! That's just a letter!<\/dialogue>\n    <scene_description>Z , meanwhile , hits the road . Bala has no idea of where to go . Just then , the scariness of the outside world comes through to her . We start hearing NOISES - the equivalent of scary jungle sounds in a Tarzan movie - the HISSING , CROAKING , CHIRRUPING . Bala sees eyes looking out at her from all directions . and spots a colossal monster -LRB- a sparrow -RRB- fixing her with his beady gaze .<\/scene_description>\n    <character>BALA<\/character>\n    <parenthetical>( clears her throat . )<\/parenthetical>\n    <dialogue>Worker?<\/dialogue>\n    <parenthetical>( no response .<\/parenthetical>\n    <parenthetical>louder now . )<\/parenthetical>\n    <dialogue>Oh WORKER? Where are you?<\/dialogue>\n    <parenthetical>( getting desperate . )<\/parenthetical>\n    <dialogue>Z? Z? Wait for me!<\/dialogue>\n    <scene_description>Bala heads off after Z.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEGA-TUNNEL - DAY<\/stage_direction>\n    <scene_description>The mass of worker ants are swinging pick - axes in the tunnel . The foreman moves up the line , BERATING the workers , yelling at them to dig faster .<\/scene_description>\n    <character>AZTECA<\/character>\n    <dialogue>I tell ya, I'm gettin' sick of bein' yelled at.<\/dialogue>\n    <character>WORKER #1<\/character>\n    <dialogue>What do you want, we're just workers.<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>You know, you're not just workers - you can be whatever you want to be! Look at Z! He started as a worker - then he became a soldier!<\/dialogue>\n    <character>AZTECA<\/character>\n    <dialogue>That's right! He slaughtered hundreds of termites single - handedly!<\/dialogue>\n    <character>WORKER #2<\/character>\n    <dialogue>I heard about this guy.<\/dialogue>\n    <parenthetical>( turning to the other workers . )<\/parenthetical>\n    <dialogue>He crashed a party at the palace. Then he took a hike with one of the royal babes! And when they tried to stop him, he just looked at a couple'a guards, and they burst into flames!<\/dialogue>\n    <character>WORKER ANT #1<\/character>\n    <dialogue>You're nuts, how could a worker do all that?<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>Well, because he's more than a worker. he's a. what did he call it, Azteca.<\/dialogue>\n    <character>AZTECA<\/character>\n    <dialogue>Invisible!<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>No - an individual!<\/dialogue>\n    <character>WORKER #2<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>Well, it's. someone with his own point of view. someone who does what he wants, not whatever he's told to do!<\/dialogue>\n    <character>AZTECA<\/character>\n    <parenthetical>( eyes lit up , watching Weaver . )<\/parenthetical>\n    <dialogue>Someone who follows his heart!<\/dialogue>\n    <character>WEAVER<\/character>\n    <parenthetical>( taking Azteca 's hand . )<\/parenthetical>\n    <dialogue>Right. because every ant's important!<\/dialogue>\n    <character>WORKER #2<\/character>\n    <parenthetical>( scoffs . )<\/parenthetical>\n    <dialogue>But that would mean I'm important.<\/dialogue>\n    <character>WORKER #1<\/character>\n    <dialogue>I'm outta here, this sounds like trouble to me.<\/dialogue>\n    <scene_description>But more ants are gathering ` round .<\/scene_description>\n    <character>WEAVER<\/character>\n    <dialogue>We can all be individuals! Just like Z!<\/dialogue>\n    <scene_description>Weaver and Azteca hold hands . More ants are gathering around , dropping their tools .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BIKE PATH - DAY<\/stage_direction>\n    <scene_description>LONG SHOT . A glimmering desert landscape -LRB- think of `` The Sun 's Anvil '' in Lawrence of Arabia -RRB- . Two small figures can be seen , tiny dots moving across the arid whiteness . They 're Bala and Z , who are crossing a concrete path in the park , which they perceive to be a `` desert '' .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>Water. water.<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Water. water - oh, you already said that.<\/dialogue>\n    <character>BALA<\/character>\n    <parenthetical>( walking along . )<\/parenthetical>\n    <dialogue>My skin's dry, my exoskeleton is cracking. I wish I'd never met you, you ruined my life.<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>I ruined your life? Look, I was perfectly happy until I met you - alright, I was miserable, but I was happily miserable.<\/dialogue>\n    <scene_description>Over Z 's line , we can see a GIGANTIC WHEEL , getting larger and larger and heading right towards them , a GIGANTIC WHEEL -LRB- the front wheel of a bicycle which is heading right towards them -RRB- .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>Look out!<\/dialogue>\n    <scene_description>Bala pushes Z out of the way just as the wheel rolls past with a cacophonous CRUNCHING , GRINDING noise - like a gigantic millwheel .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>We're going to die!<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Come on - it's gone! What are the chances of that happening again?<\/dialogue>\n    <scene_description>No sooner has he said it than the rear wheel of the bike thunders past .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Well I'll be.<\/dialogue>\n    <scene_description>Bala notices that they 're clutching one another in fear ; she pushes him away .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>Why did n't I listen to my mother. why'd I have to go looking for trouble? Any ant would have given their left legs to be in my position. what's wrong with me?<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Want a list?<\/dialogue>\n    <character>BALA<\/character>\n    <parenthetical>( urgent . )<\/parenthetical>\n    <dialogue>Wait, I hear something!<\/dialogue>\n    <scene_description>We can , in fact , hear a low , musical PLUNK . there 's a pause and then we can hear it again . Z and Bala walk over a rocky `` dune '' -LRB- the soft shoulder of the path -RRB- . Beyond , the grass starts up again . They have come to the end of the `` desert '' -LRB- i.e. the other side of the path -RRB- Through the blades of grass , we can see .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>It's. it's.<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>WATER!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAKE - DAY<\/stage_direction>\n    <scene_description>A LAKE -LRB- a puddle -RRB- stretches before them . It is , in fact , the overflow of a drinking - fountain whose drain is jammed . as Z and Bala run to the lake , water dribbles from the fountain and into one edge of the pool -LRB- to the ants , it 's a waterfall -RRB- . Bala and Z run to the edge of the water and start slurping . They smile at each other , until they remember that they do n't like each other .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>This lake is huge! And so close to the colony! Think of the vacation potential!<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>Cut me down a soft leaf so I can take a nap.<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Listen, `` Princess'', you ca n't order me around. Out here, you're not the boss anymore - out here, you're just -<\/dialogue>\n    <scene_description>- But before he can finish , a water droplet from the fountain falls on him . It may not sound like much , but to Z it 's as though a ten - foot diameter sphere of jello had engulfed him . Z 's stuck inside because of the surface tension of the droplet , which does n't burst , just quivers up and down . Inside , Z is slowly , frantically drowning and screaming for help . But his screams are muffled in the water .<\/scene_description>\n    <character>BALA<\/character>\n    <parenthetical>( annoyed . )<\/parenthetical>\n    <dialogue>Out here I'm just what?<\/dialogue>\n    <character>Z<\/character>\n    <parenthetical>( through the water . )<\/parenthetical>\n    <dialogue>Hlllllllp!<\/dialogue>\n    <character>BALA<\/character>\n    <parenthetical>( hands on hips . )<\/parenthetical>\n    <dialogue>Stop fooling around in there.<\/dialogue>\n    <scene_description>By now the droplet has started rolling , and Z is being turned upside - down . He manages to get one foreleg out of the droplet , and , in a frantic attempt to pull himself out , pulls Bala in by the leg .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>Let me go!<\/dialogue>\n    <scene_description>But it 's too late - they 're now both stuck in the droplet , and , as Z continues to drown , he also has to deal with Bala yelling at him - though we ca n't hear exactly what it . is she 's yelling through the water . Then , having run out of air , she too starts thrashing , alternately trying to swim and trying to slap him as Z tries to defend himself . Finally all this commotion is enough to make the droplet burst , spilling the two coughing , sputtering , drenched ants onto the ground . They both lie there , miserable , wet , and cold .<\/scene_description>\n    <character>BALA<\/character>\n    <parenthetical>( chants to herself . )<\/parenthetical>\n    <dialogue>I'm going to be rescued soon. I'm going to be rescued soon. I'm going to be rescued soon.<\/dialogue>\n    <scene_description>Z watches her incredulously .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Princess, has it ever occurred to you that they're not going to rescue you?<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>General Formica wo n't let me die out here. I'm his fiancee.<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Look. How many other Princesses are there?<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>Five thousand three hundred and ninety - no. About five thousand four hundred by now.<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>And only you can become a Queen?<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>Well. no, but -<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>So what makes you so special?<\/dialogue>\n    <character>BALA<\/character>\n    <parenthetical>( hesitates . )<\/parenthetical>\n    <dialogue>Well. I am the oldest.<\/dialogue>\n    <scene_description>Bala turns from Z. She 's thinking things over , realization dawning on her .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>By three seconds.<\/dialogue>\n    <scene_description>She looks out into the grass forest .<\/scene_description>\n    <character>BALA<\/character>\n    <parenthetical>( to herself . )<\/parenthetical>\n    <dialogue>You're right. There are as many Princesses. as there are blades of grass.<\/dialogue>\n    <scene_description>Z , overhearing her , slowly puts his hand on her shoulder .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEGA-TUNNEL - DAY<\/stage_direction>\n    <scene_description>Formica and Carpenter are walking into the entrance of the tunnel with a squad of soldiers .<\/scene_description>\n    <character>FORMICA<\/character>\n    <dialogue>Dammit, this tunnel is priority A - 1! We ca n't afford any delays on this project!<\/dialogue>\n    <character>CARPENTER<\/character>\n    <dialogue>I've never seen anything like it, General, they're they're. well, look!<\/dialogue>\n    <scene_description>Ahead of them , a group of a few hundred workers have stopped work and are sitting down , chanting .<\/scene_description>\n    <character>WORKER ANTS<\/character>\n    <dialogue>Z! Z! Z! Z!<\/dialogue>\n    <scene_description>A worker moves forward to join the strikers , tossing down his tool .<\/scene_description>\n    <character>FOREMAN<\/character>\n    <parenthetical>( yelling at him . )<\/parenthetical>\n    <dialogue>Where do ya think you're going? Get back to work!<\/dialogue>\n    <character>WORKER #1<\/character>\n    <dialogue>Buzz off, I'm important!<\/dialogue>\n    <parenthetical>( joining the others . )<\/parenthetical>\n    <dialogue>Z! Z! Z! Z!<\/dialogue>\n    <scene_description>At the center of the group , Weaver and Azteca are holding hands , leading the chant .<\/scene_description>\n    <character>FORMICA<\/character>\n    <dialogue>Notice the big one, holding hands with the female?<\/dialogue>\n    <character>CARPENTER<\/character>\n    <dialogue>Well, uh, who notices workers, sir?<\/dialogue>\n    <character>FORMICA<\/character>\n    <parenthetical>( calculating . )<\/parenthetical>\n    <dialogue>No one should have to. Have him brought to me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORMICA'S CHAMBERS - NIGHT<\/stage_direction>\n    <scene_description>A nervous Weaver is sitting across from Formica , flanked by a couple of stoic guards . Carpenter stands smiling by the side door . There is no obvious threat to Weaver , but the atmosphere is truly intimidating .<\/scene_description>\n    <character>FORMICA<\/character>\n    <dialogue>So this Z. he fancies himself an individual?<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>Yeah. I mean. well. I do n't know, really, sir.<\/dialogue>\n    <character>FORMICA<\/character>\n    <parenthetical>( patronizing . )<\/parenthetical>\n    <dialogue>Well now you have n't fallen for this silly idea of individuality, have you?<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>Oh, no, sir!<\/dialogue>\n    <character>FORMICA<\/character>\n    <dialogue>Good. You're a good soldier.<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>Thank you, sir.<\/dialogue>\n    <scene_description>Weaver begins to relax a bit .<\/scene_description>\n    <character>FORMICA<\/character>\n    <dialogue>So tell me. Where's Z?<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>I. I have no idea, sir.<\/dialogue>\n    <character>FORMICA<\/character>\n    <dialogue>Okay, son.<\/dialogue>\n    <scene_description>He pats Weaver on the shoulder .<\/scene_description>\n    <character>FORMICA<\/character>\n    <dialogue>We know what makes an ant colony strong, do n't we? We know that no ant can be an individual. No single ant matters, right?<\/dialogue>\n    <character>WEAVER<\/character>\n    <parenthetical>( enthusiastically . )<\/parenthetical>\n    <dialogue>That's correct, sir!<\/dialogue>\n    <character>FORMICA<\/character>\n    <parenthetical>( points at a guard . )<\/parenthetical>\n    <dialogue>Not that one.<\/dialogue>\n    <parenthetical>( another guard . )<\/parenthetical>\n    <dialogue>Or that one.<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>No, sir!<\/dialogue>\n    <scene_description>Formica nods at Carpenter , who smiles and opens a door . Two soldiers walk in , holding Azteca . The color drains from Weaver 's face .<\/scene_description>\n    <character>FORMICA<\/character>\n    <parenthetical>( calmly , with satisfaction . )<\/parenthetical>\n    <dialogue>Or that one? Her life does n't matter, does it?<\/dialogue>\n    <character>AZTECA<\/character>\n    <dialogue>Do n't tell that tightass anything, Weaver!<\/dialogue>\n    <scene_description>Weaver starts to get up , but the guards behind him hold him down .<\/scene_description>\n    <character>WEAVER<\/character>\n    <dialogue>Wait! Just let her go! Z's long gone anyway, following some golden egg to Insectopia! You'll never catch him!<\/dialogue>\n    <scene_description>Formica 's face lights up .<\/scene_description>\n    <character>FORMICA<\/character>\n    <dialogue>Insectopia, hunh? See why individuality is so dangerous? It can always be used against you.<\/dialogue>\n    <parenthetical>( to the guards . )<\/parenthetical>\n    <dialogue>If this sissy here wants to dig, he'll dig. Send them both back to the tunnel project. Double their workload.<\/dialogue>\n    <scene_description>The guards exit with Weaver and Azteca .<\/scene_description>\n    <character>FORMICA<\/character>\n    <dialogue>What do we have on this `` Insectopia''?<\/dialogue>\n    <character>CARPENTER<\/character>\n    <dialogue>Scattered reports, sir. Rumors. Nothing reliable.<\/dialogue>\n    <character>FORMICA<\/character>\n    <dialogue>Desperate times call for desperate measures. Get me Ant Team Six.<\/dialogue>\n    <character>CARPENTER<\/character>\n    <parenthetical>( frightened . )<\/parenthetical>\n    <dialogue>Ant Team Six.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  GRASS JUNGLE - DAY<\/stage_direction>\n    <scene_description>Z and Bala are lost , wandering through the grass<\/scene_description>\n    <character>BALA<\/character>\n    <parenthetical>( looking hopeless . )<\/parenthetical>\n    <dialogue>I swear, we've passed this blade of grass three times.<\/dialogue>\n    <scene_description>Z keeps marching on .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>Face it, Z, we're lost! We must have walked halfway across the world by now! How did I get into this mess.<\/dialogue>\n    <character>Z<\/character>\n    <parenthetical>( too shy to look at her . )<\/parenthetical>\n    <dialogue>Come on. tell me there was n't just a little. something between us that first night at the bar. The night we danced.<\/dialogue>\n    <character>BALA<\/character>\n    <parenthetical>( sadly . )<\/parenthetical>\n    <dialogue>What difference does it make. we're both going to starve to death, or get squished, or set on fire.<\/dialogue>\n    <scene_description>But Z is just gawking . The shot expands to show that they have stumbled onto .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>The land of red and white.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FALSE INSECTOPIA - DAY<\/stage_direction>\n    <scene_description>A PICNICGROUNDS . A red and white picnic blanket , which to the ants looks like a vast , undulating pavilion , stretches before them . They gaze up at two obelisks : a salt and pepper shaker . Behind that is a gigantic tupperware jar full of potato salad , and sandwiches stacked high . It all looks perfect , with the clean lines and monumental proportions of fascist architecture . In fact , it looks a little too perfect .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>We've found it! Insectopia! Look at all this food'<\/dialogue>\n    <character>BALA<\/character>\n    <parenthetical>( amazed . )<\/parenthetical>\n    <dialogue>You were right. you were right!<\/dialogue>\n    <parenthetical>( smiling happily . )<\/parenthetical>\n    <dialogue>Z, it's beautiful!<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Let's dig in!<\/dialogue>\n    <scene_description>Z goes over to a gigantic sandwich , but - BOOIIING ! - he 's prevented from getting at it by the saran wrap covering it .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>There's - there's some kind of force field!<\/dialogue>\n    <scene_description>Bala joins him , laboring against the saran wrap . Then both of them hear laughter from above .<\/scene_description>\n    <character>MALE WASP<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( lockjawed accent . )<\/parenthetical>\n    <dialogue>Muffy, look, party - crashers.<\/dialogue>\n    <character>FEMALE WASP<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>They're simply too much, Chip!<\/dialogue>\n    <scene_description>Bala and Z look up to see two large , yellow WASPS hovering in the air above them . The husband and wife wasps have lockjawed , William F. Buckleyesque accents .<\/scene_description>\n    <character>MALE WASP<\/character>\n    <parenthetical>( to Z and Bala . )<\/parenthetical>\n    <dialogue>You down there, have n't you ever been to a picnic?<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Hunh?<\/dialogue>\n    <character>FEMALE WASP<\/character>\n    <dialogue>Habla Ingles?<\/dialogue>\n    <parenthetical>( to Male Wasp . )<\/parenthetical>\n    <dialogue>Well I really do n't know who they are.<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>We're ants!<\/dialogue>\n    <scene_description>The Male Wasp zooms in closer .<\/scene_description>\n    <character>MALE WASP<\/character>\n    <dialogue>Poopsie, we know some ants, do n't we?<\/dialogue>\n    <parenthetical>( to Z. ) Are you related to the Fifth Avenue ants ?<\/parenthetical>\n    <dialogue \/>\n    <character>FEMALE WASP<\/character>\n    <dialogue>Darling, do you have to talk to any insect from off the street?<\/dialogue>\n    <character>MALE WASP<\/character>\n    <dialogue>Just being friendly, Poopsie.<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>Hello? I'm not just `` any insect''. My mother is the Queen.<\/dialogue>\n    <parenthetical>( momentously . )<\/parenthetical>\n    <dialogue>I'm Princess Bala!<\/dialogue>\n    <character>MALE WASP<\/character>\n    <parenthetical>( under his breath . )<\/parenthetical>\n    <dialogue>They're Eurotrash, dear.<\/dialogue>\n    <scene_description>We hear a loud RUMBLING noise - the family is about to sit down for their picnic lunch . Gigantic hands reach down and pull away the `` force fields '' .<\/scene_description>\n    <character>MALE WASP<\/character>\n    <dialogue>Lunch!<\/dialogue>\n    <parenthetical>( to Z. ) A little piece of advice , sport - bob and weave !<\/parenthetical>\n    <parenthetical>Bob and weave !<\/parenthetical>\n    <dialogue \/>\n    <character>BALA<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>MALE WASP<\/character>\n    <dialogue>Well - like my father used to say - there's no such thing as a free meal!<\/dialogue>\n    <scene_description>The wasps dive in to the picnic , darting in for a bite , and then dashing away again .<\/scene_description>\n    <character>THE WASPS<\/character>\n    <dialogue>Excuse me - I'll have some potato salad - thank - you! - do n't mind if I do! After you!<\/dialogue>\n    <parenthetical>( etc . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>- But all is not well . We pull back to reveal that Z and Bala are standing in front of a giant sneaker logo , which is attached to a giant sneaker . Which moves .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>I sort of imagined Insectopia a little differently -<\/dialogue>\n    <scene_description>Just at that moment , we hear a whistling in the air - and the female wasp is crushed by a huge swatter that sweeps out of the sky , sending the picnic blanket billowing up in an aftershock that throws Bala and Z to the ground .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>Oh. my. God.<\/dialogue>\n    <character>MALE WASP<\/character>\n    <parenthetical>( shaking her . )<\/parenthetical>\n    <dialogue>Muffy! Muffy! Wake up!<\/dialogue>\n    <scene_description>But she does n't move . The Male Wasp stares up at the sky .<\/scene_description>\n    <character>MALE WASP<\/character>\n    <parenthetical>( heartbroken . )<\/parenthetical>\n    <dialogue>WHYYYYYYYYYYYYY?<\/dialogue>\n    <scene_description>But Z , also looking up , has no time to commiserate .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Bala, look out!<\/dialogue>\n    <scene_description>They are only saved by the fact that they are so small - . the holes of the swatter pass over them . The woman , realizing that the swatter wo n't work on ants , throws it to the side and tries stomping on them . Before Bala can get away , a sneaker falls on her with a thunderous BOOM that shakes the ground .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>MMMffllmmm.<\/dialogue>\n    <scene_description>The shoe rises , as the person wearing it steps away . and we see that Bala is stuck in one of the ridges of the waffle - soled sneaker , adhering to a big piece of bubblegum !<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>Z! Help me!<\/dialogue>\n    <scene_description>But Bala is carried off on the sneaker in a huge , looping , ferris - wheel - like motion . BOOM . The sneaker on which Bala is stuck falls again , as the woman tries to step on Z , too -<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Bala!<\/dialogue>\n    <parenthetical>( mournfully . )<\/parenthetical>\n    <dialogue>I'll never see her again.<\/dialogue>\n    <scene_description>- But he does , instantly , as the shoe rises again , showing Bala stuck deeper in the bubblegum -<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>Z! Get me out of heeeeere!<\/dialogue>\n    <scene_description>- The woman has decided to walk away from the picnic to get the bubblegum off her shoe . Z heart sinks as the shoe Bala 's stuck on lopes off into the distance .<\/scene_description>\n    <character>Z<\/character>\n    <parenthetical>( thinks . )<\/parenthetical>\n    <dialogue>These things always come in twos.<\/dialogue>\n    <scene_description>He sees a SECOND SHOE starting to rise -<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Take me to your leader!<\/dialogue>\n    <scene_description>Z runs towards the shoe as it rises . and at the last moment catches on to the snaky , swinging shoe - lace .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Whoooooooaaaa!<\/dialogue>\n    <scene_description>The sneaker lifts off into the air , with Z holding on for dear life to the lace , and getting further and further away from Bala as he 's drawn to a vertiginous height . the landscape can be seen rolling and pitching crazily in the background .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Bala! Come back here!<\/dialogue>\n    <scene_description>For a moment , the sneaker seems to pause in the air . then it descends again , in a stomach - churning , roller - coaster free - fall as the sneaker on which Bala is stuck rises up again .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>Z! I'm stuck!<\/dialogue>\n    <scene_description>- But Z is trying to keep his lunch down as he descends . The sneaker hits the ground , and Z can feel himself again . it 's now or never .<\/scene_description>\n    <character>Z<\/character>\n    <parenthetical>( Tarzan whoop . )<\/parenthetical>\n    <dialogue>Aa - ee - ya - ee - yaaaaaaaah!<\/dialogue>\n    <scene_description>As the sneaker rises again , he swings off the lace , hurtling through the air and catching one of the laces of Bala 's sneaker . the momentum swings him up and under the sole .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>Z! You're here!<\/dialogue>\n    <scene_description>Z gets smashed into the bubblegum next to Bala . Now he 's stuck too .<\/scene_description>\n    <character>Z<\/character>\n    <parenthetical>( ruefully . )<\/parenthetical>\n    <dialogue>Yeah. I'm here.<\/dialogue>\n    <scene_description>The sneaker descends again . Z and Bala hold hands and SCREAM as they see the ground rise too meet them . THUD ! They 're squished deeper into the bubblegum . The sneaker rises again .<\/scene_description>\n    <character>BALA<\/character>\n    <parenthetical>( emotional . )<\/parenthetical>\n    <dialogue>Z. if we do n't make it. I just want you to know.<\/dialogue>\n    <character>Z<\/character>\n    <parenthetical>( touched . )<\/parenthetical>\n    <dialogue>Yes?<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>This is all your fault!<\/dialogue>\n    <scene_description>The sneaker rises , and seems ready to fall again . but instead it just hovers there . -LRB- The person wearing it is balancing on one leg and about to scrape off the bubblegum with a penny -RRB- .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>We're safe.<\/dialogue>\n    <scene_description>Just then , the hand holding the penny looms up . the penny is , by ant standards , about sixty feet high . The huge image of Abraham Lincoln stares down at them .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Who the hell is that?!<\/dialogue>\n    <scene_description>The penny starts scrapes the bubblegum off the sneaker , bringing Bala and Z along with it . They 're carried through the air as the penny gets thrown away . turning over and over in a lopsided orbit as Bala and Z SCREAM . and land with a CRASH in total darkness .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAKE - DAY<\/stage_direction>\n    <scene_description>The `` lake '' where Z and Bala were nearly drowned by the water droplet . The earth shakes as a HUGE , MONSTROUS creature approaches the lake - and begins to drink from it . The creature seems to hear something , and , growling , turns its ugly head . It 's a Pomeranian , one of those yappy little lap - dogs - but seen from ant perspective , it 's something out of a horror movie .<\/scene_description>\n    <character>TOUGH VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Ant Team Six - take him out!<\/dialogue>\n    <scene_description>The monster bears its huge fangs at the approaching intruders - a bunch of flying ants who look as though they 're attacking the Death Star ! The monster rears and snaps at two of the ants , who are making a diversionary run . and then gets it from the rest of the ants , who land on his soft , wet nose and start stinging away like crazy . The monster rears back in pain - and runs away , YIPPING ! The members of ANT TEAM SIX , a crack team of hardcore flying - ant commandoes a la Seal Team Six , break off the attack and land .<\/scene_description>\n    <character>MAJOR MANDIBLE<\/character>\n    <dialogue>And do n't come back, you sissy!<\/dialogue>\n    <scene_description>MAJOR MANDIBLE , Ant Team Six 's lethal commander , steps into frame . He 's the one - eyed killer we met in the bar earlier . The rest of his team fan out to search the area .<\/scene_description>\n    <character>MANDIBLE<\/character>\n    <dialogue>Talk to me.<\/dialogue>\n    <character>COMMANDO ANT<\/character>\n    <dialogue>Z and the Princess were here, sir. Signs of a struggle.<\/dialogue>\n    <character>MANDIBLE<\/character>\n    <dialogue>Let's get a read on that feremone track.<\/dialogue>\n    <character>COMMANDO ANT #1<\/character>\n    <parenthetical>( to the others . )<\/parenthetical>\n    <dialogue>Get the sniffer!<\/dialogue>\n    <scene_description>Two other commandoes come running up with what looks like a piece of machinery on a tripod - only it 's an ant - a highly specialized , blind ant with an incredibly acute sense of smell .<\/scene_description>\n    <character>TRACKER ANT<\/character>\n    <dialogue>Bala. find Bala.<\/dialogue>\n    <scene_description>The tracker , drool running out of its long proboscis , sniffs the air and starts signalling like a geiger counter .<\/scene_description>\n    <character>TRACKER ANT<\/character>\n    <parenthetical>( as he 's swivelled . )<\/parenthetical>\n    <dialogue>Nnononononononoyeahyeahnononononono no.<\/dialogue>\n    <scene_description>Finally the tracker stops swivelling , pointing in one direction and saying , `` Yeahyeahyeahyeah . ''<\/scene_description>\n    <character>COMMANDO ANT #3<\/character>\n    <dialogue>Got'em! Ten clicks from here!<\/dialogue>\n    <character>MANDIBLE<\/character>\n    <dialogue>Z - you dirt - digging, fancy - dancing, wisecracking, royalty - grabbing, rebel SCUM!<\/dialogue>\n    <parenthetical>( yelling into the distance . )<\/parenthetical>\n    <dialogue>I AM COMING FOR YOU! YOU ARE ONE DEAD ANT, MISTER!<\/dialogue>\n    <scene_description>Mandible 's muscles bulge . The veins in his head throb . This is one ass - kicking ant . Even Mandible 's troops look scared of him .<\/scene_description>\n    <character>MANDIBLE<\/character>\n    <dialogue>Let's MOVE! GO, people! GO! GO! GO! GO! GO!<\/dialogue>\n    <scene_description>Ant Team Six takes to the air , heading in the direction indicated by the tracker ant .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRASH BAG - DAY<\/stage_direction>\n    <scene_description>Darkness . Out of it we hear the voices of Z and Bala .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>Come on, Z.<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Forget it. You go ahead, I give up. I. I do n't know what I was thinking. `` Insectopia''.<\/dialogue>\n    <scene_description>In one corner of the screen , we can see an irregular little hole through which a shaft of light is falling . Bala proceeds towards it , the hole appears to get bigger and bigger .<\/scene_description>\n    <character>Z<\/character>\n    <parenthetical>( defeated . )<\/parenthetical>\n    <dialogue>There's only one thing worse than an ant who goes around mindlessly following orders, and that's an ant who's too dumb to go around mindlessly following orders.<\/dialogue>\n    <scene_description>Bala stops . she notices that they 're being watched . She 's emerging from a tied off garbage bag - the yellow ties loop away gracefully . Bala and Z have been tossed into a garbage area . And above them and below them , peering from garbage cans , recycling containers , bags , etc. , a multi - cultural assortment of insects are regarding them . A laid - back FLY voices their thoughts .<\/scene_description>\n    <character>FLY<\/character>\n    <dialogue>What's with the bummer attitude?<\/dialogue>\n    <scene_description>A nearby BUTTERFLY joins in .<\/scene_description>\n    <character>BUTTERFLY<\/character>\n    <dialogue>Yeah - nobody stresses out in Insectopia!<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>Did you say.<\/dialogue>\n    <character>Z<\/character>\n    <parenthetical>( joining Bala . )<\/parenthetical>\n    <dialogue>. Insectopia?<\/dialogue>\n    <scene_description>Z and Bala look around . Just to get things straight , the garbage dump does n't look disgusting - that would be seeing it through human eyes . Instead , we 're looking at it through ant eyes - and , reimagined this way , it 's Paradise . Not the ordered , sterile , paradise of the picnic , but an earthly land of plenty . The sides of the plastic garbage bags are sheer , reflective walls of smoothest obsidian . the garbage cans are gigantic , thick metal columns put there by the gods -LRB- think the pyramids -RRB- ; a coke bottle , refracting the sunlight into a gorgeous rainbow , trickles a fountain of sweet nectar into the pink , bittersweet flesh of a grapefruit half , which appears as a multi - chambered concave dome . Everywhere , insects are disporting themselves - a multi - species love - in that 's like an insect version of Woodstock . Bala and Z are awe - struck . Bala turns to Z.<\/scene_description>\n    <character>BALA<\/character>\n    <parenthetical>( happily . )<\/parenthetical>\n    <dialogue>Z, we made it!<\/dialogue>\n    <character>FLY<\/character>\n    <parenthetical>( alighting on the grapefruit . )<\/parenthetical>\n    <dialogue>C'mon in! The nectar's fine!<\/dialogue>\n    <scene_description>Like a kid at an amusement park , Z slides down the smooth side of the garbage bag , whooshing this way and that until he slides into one end of a straw -LRB- a red and white striped tunnel -RRB- , and is shot out .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Yippeeeeee!<\/dialogue>\n    <scene_description>into a bottle - cap filled with lemonade , which he alternately drinks and swims through . Down at the bottlecap , Z is drying himself off . Then he sees , emerging from behind a lemon peel , a gigantic TERMITE .<\/scene_description>\n    <character>Z<\/character>\n    <parenthetical>( terrified . )<\/parenthetical>\n    <dialogue>AAAAAGH!<\/dialogue>\n    <scene_description>Surprisingly , the termite seems equally terrified .<\/scene_description>\n    <character>FLY<\/character>\n    <parenthetical>( to Z. ) Hey , take it easy !<\/parenthetical>\n    <parenthetical>There 's nothin ' to be afraid of !<\/parenthetical>\n    <dialogue \/>\n    <character>Z<\/character>\n    <dialogue>Yeah, well, I make it a practice not to trust anyone who shoots acid out of their forehead.<\/dialogue>\n    <character>CRICKET<\/character>\n    <dialogue>Dude, here in Insectopia, we do n't judge people by how many arms and legs we've got.<\/dialogue>\n    <character>FLY<\/character>\n    <dialogue>Yeah, back home, they called me a fruitfly. But here, I'm known as.<\/dialogue>\n    <parenthetical>( with attitude . )<\/parenthetical>\n    <dialogue>Superfly.<\/dialogue>\n    <character>CRICKET<\/character>\n    <dialogue>Anyway, big Gus is mellow.<\/dialogue>\n    <scene_description>The termite sticks his hand out . A drop of acid drips from his head and splashes at Z 's feet .<\/scene_description>\n    <character>Z<\/character>\n    <parenthetical>( taking his hand , disgusted . )<\/parenthetical>\n    <dialogue>Charmed.<\/dialogue>\n    <scene_description>Z reaches out and shakes the termite 's hand , as Bala watches , smiling .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INSECTOPIA - NIGHT<\/stage_direction>\n    <scene_description>The insects are having a cookout , their faces illuminated by the still - red ember of a match . Platters heaped with food lie untouched as they pat their bellies . Z and Bala sit next to one another , smiling shyly as if they had just met for the first time .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>So. you never did tell me. what made you come out to the worker bar that night?<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>Just looking for fun, adventure, trouble, I guess.<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Well, `` trouble'' is my middle name. Actually, my middle name is.985, but I do n't tell people. Hey, Bala, I. I actually have something of yours. you left it at the bar that night.<\/dialogue>\n    <scene_description>Z takes out Bala 's scarf , which he 's been keeping folded in a pocket .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Sorry, it's been through a war, not to mention everything else.<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>You held onto this all that time?<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Well, I. I know it's a little strange, but. I thought it might come in handy if I. needed a scarf someday.<\/dialogue>\n    <parenthetical>( embarrassed . )<\/parenthetical>\n    <dialogue>Well, to be honest, I just liked having it.<\/dialogue>\n    <scene_description>He hands it back to her . Bala looks at Z , frankly , openly . For a moment Z is shy . Then he looks at her too . They 're two lovers , leaning closer , about to have their first kiss , when -<\/scene_description>\n    <character>BEETLE<\/character>\n    <dialogue>Hey Z!<\/dialogue>\n    <scene_description>The moment is wrecked . Z looks up . A chubby beetle stands there with Gus the termite .<\/scene_description>\n    <character>BEETLE<\/character>\n    <dialogue>Wan na bring back dessert? There's a thirty foot long blimp in the next can, made completely of chocolate!<\/dialogue>\n    <character>Z<\/character>\n    <parenthetical>( annoyed . )<\/parenthetical>\n    <dialogue>Sure. I was n't busy or anything.<\/dialogue>\n    <scene_description>Z gets up to go with them .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Great timing, guys. Ever wonder why they call you `` pests''?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  INSECTOPIA, TOP OF CAN - NIGHT<\/stage_direction>\n    <scene_description>As Ant Team Six lands and takes up position above the feast . The tracker ant is going nuts .<\/scene_description>\n    <character>TRACKER ANT<\/character>\n    <dialogue>Yesyesyesyesyes -<\/dialogue>\n    <scene_description>One of the commandoes puts his hand over the tracker 's mouth to shut him up . Mandible communicates with his troops by pulling down his one functional antenna and gruffly whispering into it , as though it were one of those commando headsets . His troops do likewise .<\/scene_description>\n    <character>MANDIBLE<\/character>\n    <dialogue>Talk to me.<\/dialogue>\n    <character>COMMANDO #1<\/character>\n    <dialogue>I've got a read on the Princess - but target Z is n't accounted for.<\/dialogue>\n    <character>MANDIBLE<\/character>\n    <dialogue>Let's move in.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INSECTOPIA - NIGHT<\/stage_direction>\n    <scene_description>Back at the feast , a cricket strums on his legs like a guitar , opining about life and the universe to a bunch of other chilled - out , hippyesque insects . Bala taps her feet to the song .<\/scene_description>\n    <character>CRICKET<\/character>\n    <dialogue>What if, like. we're just these tiny little things, and we're just like part of this whole other huge universe, that's like, so big we do n't even know it exists?<\/dialogue>\n    <character>LADYBUG<\/character>\n    <dialogue>Man. that's so deep.<\/dialogue>\n    <scene_description>At that moment Ant Team Six rapels down from the top of the garbage bin , landing amongst the insects .<\/scene_description>\n    <character>MANDIBLE<\/character>\n    <dialogue>EVERYBODY DOWN!<\/dialogue>\n    <scene_description>The cricket gets up to confront Mandible , but Mandible cold cocks him with a right to the jaw . The other insects , too surprised to fight , just do as they 're told .<\/scene_description>\n    <character>MANDIBLE<\/character>\n    <dialogue>Alright, you hippy scum! Make one move and I'll exterminate you!<\/dialogue>\n    <scene_description>A couple of commandoes grab Bala by the arms and heave her up .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>Stop! You do n't understand!<\/dialogue>\n    <character>MANDIBLE<\/character>\n    <dialogue>I do n't have to understand, Missy - I've got orders. Now where's Z?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INSECTOPIA - NIGHT<\/stage_direction>\n    <scene_description>Z , the termite , the beetle and the fly are happily carrying a huge M&amp;M back to the feast .<\/scene_description>\n    <character>FLY<\/character>\n    <dialogue>Man, your girl is fly, know what I'm saying?<\/dialogue>\n    <character>Z<\/character>\n    <parenthetical>( overdoing it . )<\/parenthetical>\n    <dialogue>Oh, Bala? I guess she's okay, you know, for a princess. I mean, I usually date queens, or you know, empresses, because sometimes the lesser nobility are too much in awe of my smouldering sensuality. Please stop me if I'm making you feel inadequate.<\/dialogue>\n    <scene_description>They throw down the M&amp;M , which lands with a THUD . Z notices that the rest of the insects look spooked .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>What's the matter? This place is as cheery as a Roach Motel at check - out time.<\/dialogue>\n    <scene_description>Z looks around .<\/scene_description>\n    <character>LADYBUG<\/character>\n    <dialogue>Bala's been kidnapped! Some flying ants took her back to the colony!<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>She's been kidnapped?! But I ca n't live without her!<\/dialogue>\n    <scene_description>Z just stands there , heartbroken .<\/scene_description>\n    <character>Z<\/character>\n    <parenthetical>( determined . )<\/parenthetical>\n    <dialogue>I'm going back. I've got to get her. Who'll come with me?<\/dialogue>\n    <scene_description>Z looks around . Nobody 's volunteering . Nothing but sheepish looks and shuffling from the insects of Insectopia . Z looks disheartened . He 's about to leave when -<\/scene_description>\n    <character>MALE WASP<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>I'll go.<\/dialogue>\n    <scene_description>The male wasp is hovering nearby .<\/scene_description>\n    <character>Z<\/character>\n    <parenthetical>( surprised . )<\/parenthetical>\n    <dialogue>You?!<\/dialogue>\n    <character>MALE WASP<\/character>\n    <dialogue>I know what it's like to lose someone. I keep hearing the sound of Muffy's flapping wings. so I'll take you.<\/dialogue>\n    <scene_description>Z hops on the wasp 's back .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Let's go, pal!<\/dialogue>\n    <scene_description>The wasp takes off , leaving the other insects looking a little chastized .<\/scene_description>\n    <character>FLY<\/character>\n    <dialogue>Geez. I feel like a real stinkbug.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKY ABOVE COLONY - MORNING<\/stage_direction>\n    <scene_description>The wasp and Z fly high above the colony .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Wow. I never saw things this way.<\/dialogue>\n    <scene_description>From here , we can see the whole layout of the land around the colony . the `` desert '' -LRB- an asphalt path -RRB- and across it , the `` lake '' -LRB- the overflowing water fountain -RRB-<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Things look so close together from up here. there's the desert. and the lake.<\/dialogue>\n    <parenthetical>( thinking about something . )<\/parenthetical>\n    <dialogue>it's not far from the colony at all.<\/dialogue>\n    <scene_description>Suddenly , the wasp bounces up and down in the air .<\/scene_description>\n    <character>MALE WASP<\/character>\n    <dialogue>Sorry. Turbulence.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORMICA'S CHAMBERS - DAY<\/stage_direction>\n    <scene_description>Formica sits at his desk , going over some plans . Formica 's chambers are located inside a snake skull , with the eye sockets serving as windows , and the mouth serving as a door . The walls are hung with trophies - the heads of other insects . Ant Team Six burst in the doors of Formica 's office , carrying the struggling and kicking Bala . One of the commandoes sets the tracker ant one the floor . then Formica gets up from his desk as the commandoes bring the princess to him .<\/scene_description>\n    <character>FORMICA<\/character>\n    <dialogue>Princess Bala. Good.<\/dialogue>\n    <parenthetical>( with urgency . )<\/parenthetical>\n    <dialogue>Where's Z?<\/dialogue>\n    <scene_description>Bala replies warily .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>He's. he's dead.<\/dialogue>\n    <parenthetical>( covering for Z. ) You do n't have to look for him anymore .<\/parenthetical>\n    <parenthetical>He was eaten by a praying mantis .<\/parenthetical>\n    <dialogue \/>\n    <character>FORMICA<\/character>\n    <parenthetical>( regretfully . )<\/parenthetical>\n    <dialogue>It's a shame he died prematurely. I was hoping to kill him myself.<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>Well you'll never be able to hurt him where he is now.<\/dialogue>\n    <parenthetical>( sadly . )<\/parenthetical>\n    <dialogue>I miss him already.<\/dialogue>\n    <character>FORMICA<\/character>\n    <parenthetical>( surprised . )<\/parenthetical>\n    <dialogue>You miss him? Why?<\/dialogue>\n    <character>BALA<\/character>\n    <parenthetical>( angry . )<\/parenthetical>\n    <dialogue>Because. because he's twice the ant that you are. I could never go through with marrying you. I'm - I'm an individual, and when I get married, it'll be to someone I choose.<\/dialogue>\n    <scene_description>The soldiers look shocked . For a moment , Formica looks furious . Then he just shrugs .<\/scene_description>\n    <character>FORMICA<\/character>\n    <parenthetical>( shaking his head . )<\/parenthetical>\n    <dialogue>Princess Bala, I'm just a simple old soldier, and the ways of the feminine mind are a little too complex for me. But one thing I do know is, there are more Princesses where you came from. I just hope they're not all like you. In the meantime, maybe we can arrange for you to see Z again after all.<\/dialogue>\n    <scene_description>He gestures to the commandoes , who drag her out the door . We notice that the tracker ant has been left behind .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANT MOUND - DAY<\/stage_direction>\n    <scene_description>Z hops down from the wasp , who has landed near the entrance to the colony .<\/scene_description>\n    <character>MALE WASP<\/character>\n    <dialogue>Good luck, Z. For a wingless insect, you're alright by me.<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Thanks, Chip.<\/dialogue>\n    <scene_description>They shake hands and the wasp flies off .<\/scene_description>\n    <character>Z<\/character>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>How am I going to get in? The place is crawling with soldiers!<\/dialogue>\n    <scene_description>Z starts for the nearest entrance - but he 's spotted by a couple of SOLDIER ANTS .<\/scene_description>\n    <character>SOLDIER ANT<\/character>\n    <dialogue>You there! Worker!<\/dialogue>\n    <scene_description>Z 's caught - it 's over . He turns around with his hands up .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Do n't bite! I surrender!<\/dialogue>\n    <character>SOLDIER ANT<\/character>\n    <dialogue>What are you doing out here! All workers are to remain inside the colony, by orders of General Formica!<\/dialogue>\n    <scene_description>Z ca n't believe his luck - and his curiosity is piqued .<\/scene_description>\n    <character>Z<\/character>\n    <parenthetical>( heading inside . )<\/parenthetical>\n    <dialogue>Well. if you insist.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEGATUNNEL - DAY<\/stage_direction>\n    <scene_description>The Queen , with Formica striding at her side , is carried by a personal escort of fifty or so struggling workers to the bottom end of the Mega Tunnel , where a red ribbon waits to be cut .<\/scene_description>\n    <character>QUEEN<\/character>\n    <dialogue>Very impressive, General.<\/dialogue>\n    <scene_description>Behind her , hundreds of thousands of workers are crowded , looking confused and expectant . Some of them clutch little flags and noisemakers .<\/scene_description>\n    <character>MANDIBLE<\/character>\n    <dialogue>Wave that flag, you maggot!<\/dialogue>\n    <scene_description>which we see are being handed out to them by Ant Team Six .<\/scene_description>\n    <character>FORMICA<\/character>\n    <dialogue>Is there anything wrong, your majesty?<\/dialogue>\n    <scene_description>The Queen is looking around unhappily .<\/scene_description>\n    <character>QUEEN<\/character>\n    <dialogue>It's just. How I miss Bala. I wish she were here for this special moment.<\/dialogue>\n    <scene_description>Formica warmly places his hand on the Queen 's shoulder .<\/scene_description>\n    <character>FORMICA<\/character>\n    <parenthetical>( falsely supportive . )<\/parenthetical>\n    <dialogue>She is, your majesty. She is.<\/dialogue>\n    <scene_description>The CAMERA heads up the long , long tunnel , where we see .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MID SKYLIGHT TUNNEL<\/stage_direction>\n    <scene_description>Bala , tied and gagged . She 's at the point in the Megatunnel where it begins to curve upwards towards the surface . She struggles against her bonds , but ca n't get loose .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANT MOUND - DAY<\/stage_direction>\n    <scene_description>Elsewhere in the colony , a column of soldiers marches by , and we hear the TROMP - TROMP - TROMP of their boots . When they 've gone , Z pokes his head out from behind a pile of dirt . he heads in the opposite direction of the soldiers .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OUTSIDE FORMICA'S CHAMBERS - DAY<\/stage_direction>\n    <scene_description>Z creeps around the outside of Formica 's chambers . This part of the colony seems to be deserted .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Geez, this place really empties out in August. Where is everybody?<\/dialogue>\n    <scene_description>Z walks up to the skull that houses Formica 's chambers and peeks in the eye socket .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORMICA'S CHAMBERS<\/stage_direction>\n    <scene_description>Inside , the Tracker Ant , who 's been left behind , switches `` on '' , eyes glowing . Z enters the chamber cautiously .<\/scene_description>\n    <character>TRACKER ANT<\/character>\n    <parenthetical>( sniffing . )<\/parenthetical>\n    <dialogue>Z! Z! I smell Z!<\/dialogue>\n    <scene_description>For a moment , Z 's afraid . Then he sees the small Tracker Ant does n't seem hostile .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>You `` smell'' me? Well look, I - I've been out in the wilderness for a while, and -<\/dialogue>\n    <scene_description>The tracker ant keeps sniffing . Z waves his hand in front of the blind ant 's eyes .<\/scene_description>\n    <character>Z<\/character>\n    <parenthetical>( getting it . )<\/parenthetical>\n    <dialogue>Hey, wait, you're. you're one of those pheremone sniffers, are n't you? Maybe you can help me. I'm looking for a friend of mine, Princess Bala.<\/dialogue>\n    <character>TRACKER ANT<\/character>\n    <parenthetical>( enthusiastic . )<\/parenthetical>\n    <dialogue>Bala! Yeahyeahyeahyeahyeah! Find Bala! Yeahyeahyeahyeah!<\/dialogue>\n    <scene_description>Z picks up the tracker ant .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Just remember, I met her first.<\/dialogue>\n    <scene_description>Z , carrying the little tracker ant , heads out , following its lead . Through this and that passage , as the Tracker Ant gets more and more insistent . And finally straight to a blank wall .<\/scene_description>\n    <character>TRACKER ANT<\/character>\n    <dialogue>Yeahyeahyeahyeahyeahyeahyeah.<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Bala's through there?<\/dialogue>\n    <character>TRACKER ANT<\/character>\n    <dialogue>Bala. Yeahyeahyeahyeahyeahyeah.<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Great. More digging. This is why I left in the first place.<\/dialogue>\n    <scene_description>Z can answer his own question . He puts down the tracker ant , with a look on his face like a kid forced to eat broccoli , starts digging through the wall .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SKYLIGHT APEX - DAY<\/stage_direction>\n    <scene_description>Meanwhile , A member of Ant Team Six - the stupidest member , in fact , waits at the very top of the tunnel , where it narrows almost to a point . He 's hanging from a winch , and has a little hammer and chisel in his hand . He 's WHISTLING , awaiting instructions .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEGA-TUNNEL - DAY<\/stage_direction>\n    <scene_description>Z emerges from the tunnel he 's dug , spits a load of dirt out of his mouth and wipes his hands off . Nearby , Bala lies there , bound and gagged .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Bala!<\/dialogue>\n    <scene_description>Z unties Bala and undoes her gag .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>Z! You came back!<\/dialogue>\n    <scene_description>They HUG .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Why do they have you tied up here?<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>There's something going on, Z -<\/dialogue>\n    <scene_description>From here , Z can see far down the tunnel to where the crowd is gathering .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>They're having a ceremony to open the Megatunnel.<\/dialogue>\n    <scene_description>We can hear the sound of WATER SHIFTING somewhere above . He looks up the tunnel . in the distance , we can make out the silhouete of the commando set to break open the wall .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Bala, that - that lake we found - I think the tunnel's right underneath it!<\/dialogue>\n    <parenthetical>( horrified . )<\/parenthetical>\n    <dialogue>- Formica's going to flood the colony! That's what he meant when said there were too many ants!<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>Oh no.<\/dialogue>\n    <scene_description>Bala looks too shocked to move . Z starts pushing her into the tunnel he made , and starts heading down towards the crowd .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>Z! what are you doing?<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>I know it's crazy, but - I ca n't just leave. Do n't argue with me. If I've learned anything, it's that the problems of two people do n't add up to a hill of ants in this world. Or beans. Something like that. Anyway, I've got to warn the others.<\/dialogue>\n    <scene_description>Z looks into Bala 's eyes .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Head for the surface, Bala. If I do n't make it, well. we'll always have Insectopia.<\/dialogue>\n    <scene_description>Z kisses Bala . Then he starts running down the tunnel towards the crowd .<\/scene_description>\n    <character>BALA<\/character>\n    <parenthetical>( following him . )<\/parenthetical>\n    <dialogue>Z! Wait for me!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANT MOUND - DAY<\/stage_direction>\n    <scene_description>All the SOLDIERS are filtering out of the assembly area , leaving the workers behind . As his troops march by , Formica steps to the side and hands the Queen a pair of scissors to cut the ribbon strung across the Megatunnel .<\/scene_description>\n    <character>FORMICA<\/character>\n    <dialogue>Your majesty, I'm afraid matters of state keep me from attending the ceremony.<\/dialogue>\n    <character>QUEEN<\/character>\n    <dialogue>But General - this tunnel is your baby! You're sure you ca n't stay?<\/dialogue>\n    <character>FORMICA<\/character>\n    <dialogue>` Fraid not, your majesty.<\/dialogue>\n    <parenthetical>( with regret . )<\/parenthetical>\n    <dialogue>Goodbye, your majesty.<\/dialogue>\n    <character>QUEEN<\/character>\n    <dialogue>Very well, General - I know you - all work and no play!<\/dialogue>\n    <character>FORMICA<\/character>\n    <dialogue>Alright, let's move out!<\/dialogue>\n    <scene_description>Formica , surrounded by his bodyguards , hurries off as the Queen readies to cut the ribbon .<\/scene_description>\n    <character>QUEEN<\/character>\n    <dialogue>In the name of the colony, I declare this tunnel open!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEGA-TUNNEL - DAY<\/stage_direction>\n    <scene_description>Z and Bala sprint towards the bottom end of the tunnel .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Stoooooop!<\/dialogue>\n    <scene_description>- and then pull back to see Queen cut the ribbon - she looks up and sees -<\/scene_description>\n    <character>QUEEN<\/character>\n    <dialogue>Bala!<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>Mom!<\/dialogue>\n    <scene_description>Z calls out to the crowd .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Listen up! We've all got to get out of here! This place is going to flood!<\/dialogue>\n    <scene_description>The workers are unconvinced .<\/scene_description>\n    <character>WORKER #1<\/character>\n    <dialogue>Are you nuts?<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>You've got to believe me!<\/dialogue>\n    <character>WORKER #2<\/character>\n    <dialogue>Oh yeah? What makes you so special, Mr. Know - It - All?<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>I'm Z.<\/dialogue>\n    <scene_description>The workers are even more sceptical . A laugh goes up from the crowd .<\/scene_description>\n    <character>WORKER #3<\/character>\n    <dialogue>You're Z? Gim me a break! Z's ten milimeters tall!<\/dialogue>\n    <character>WORKER #4<\/character>\n    <dialogue>- and he can kill termites with his bare hands! You're just some scrawny worker with a mental problem!<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>I am Z!<\/dialogue>\n    <character>WORKER #1<\/character>\n    <dialogue>No you're not!<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>Yes he is.<\/dialogue>\n    <scene_description>Weaver steps out of the crowd .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Weaver!<\/dialogue>\n    <scene_description>Weaver runs up to Z and hugs him , starting to cry .<\/scene_description>\n    <character>WORKERS<\/character>\n    <dialogue>Hey. it is Z. listen to what he says!<\/dialogue>\n    <parenthetical>( etc . )<\/parenthetical>\n    <dialogue>.<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>Z. I'm so sorry! I -<\/dialogue>\n    <character>Z<\/character>\n    <dialogue>Do n't worry about it, pal.<\/dialogue>\n    <scene_description>Nearby , Bala and the Queen hug . The Queen looks over at Z.<\/scene_description>\n    <character>QUEEN<\/character>\n    <parenthetical>( distastefully . )<\/parenthetical>\n    <dialogue>Oh. it's that social - climbing worker again - what does he want?<\/dialogue>\n    <character>Z<\/character>\n    <parenthetical>( in response . )<\/parenthetical>\n    <dialogue>To save you all! Now we've got to go!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANT MOUND - DAY<\/stage_direction>\n    <scene_description>Outside of the colony , where Formica , surrounded by the army , gives a signal to Mandible by drawing his finger across his throat .<\/scene_description>\n    <character>MANDIBLE<\/character>\n    <parenthetical>( talking into his antenna . )<\/parenthetical>\n    <dialogue>Let ` er rip!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SKYLIGHT APEX - DAY<\/stage_direction>\n    <scene_description>AT THE TOP OF THE TUNNEL , the commando starts chiseling away furiously at the wall . and nothing but dust falls down . The commando looks at the dust as it falls down , down the long tunnel . he looks up at the dry wall . Hmmm . Then . THE WALL BURSTS OPEN . And a TORRENT starts pouring out - swallowing the terrified commando as if he were a crumb and heading down the tunnel like a freight train , ripping up the walls as it goes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EARLY MEGA-TUNNEL - DAY<\/stage_direction>\n    <scene_description>Everyone turns to hear the rumbling sound coming down the tunnel -<\/scene_description>\n    <character>AZTECA<\/character>\n    <dialogue>Listen!<\/dialogue>\n    <character>WORKER #1<\/character>\n    <dialogue>He's right!<\/dialogue>\n    <scene_description>From here , we can see deep into the tunnel , at the point where it levels out . and the torrent can be seen rushing down at them .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>LET'S MOVE IT!<\/dialogue>\n    <scene_description>All of a sudden there 's panic as every ant tries to scramble away from the oncoming water . in the confusion , the Queen 's bearers drop her and scramble over her .<\/scene_description>\n    <character>QUEEN<\/character>\n    <dialogue>You there! Stop! I say!<\/dialogue>\n    <scene_description>The Queen turns , and for a brief moment is silhouetted against the white - capped torrent of water . and then she picks her abdomen up like a skirt and high tails it away from the torrent , running so fast that she passes some of her bearers on the way . And then the torrent spits out of the mouth of the Megatunnel , quickly filling up the chamber and branching into all of its side tunnels , as we see : A group of workers RUNNING up a side tunnel and getting consumed by a wave , which crashes down on them like a hand slapping a table . Another group , the members of which are getting swallowed up one by one ; one of the ants runs up on the ceiling of the tunnel and keeps on going , upside - down . it works for a while but eventually he , too is swallowed up . - In the Nursery , nurses are evacuating stacks of crying ant babies . In one of the larger access - tunnels , down which thousands of workers are fleeing , a group of ants turns and decides to make a stand for it - they link up in a mass and form a LIVING DAM . It holds for a while but then BURSTS scattering and smashing ants along the sides of the tunnel before eating them up . And we .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOWN CENTER - DAY<\/stage_direction>\n    <scene_description>The huge main chamber of the colony , where most of the workers - as well as Z , Bala , Weaver , Azteca , and the Queen - have run to . The chamber is rapidly flooding from all sides . Water flows out of every escape tunnel the workers try . and the crowd is becoming more and more closely packed together as the waters rise around them .<\/scene_description>\n    <character>AZTECA<\/character>\n    <dialogue>There's no way out!<\/dialogue>\n    <character>QUEEN<\/character>\n    <dialogue>We're all going to drown!<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>Z. what can we do?<\/dialogue>\n    <scene_description>Z clenches his fist . he feels utterly powerless . then he shouts .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Dig!<\/dialogue>\n    <scene_description>The workers turn to look at him questioningly .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>We've got to dig a trench around us!<\/dialogue>\n    <scene_description>- But one of the workers raises his hands .<\/scene_description>\n    <character>WORKER #1<\/character>\n    <dialogue>Uh. we do n't dig any more. We're individuals.<\/dialogue>\n    <character>WORKER #2<\/character>\n    <dialogue>Yeah. We're too important to dig. You taught us that, Z. You hate digging!<\/dialogue>\n    <character>Z<\/character>\n    <parenthetical>( at his wits end . )<\/parenthetical>\n    <dialogue>Yeah, but I hate drowning more! Now dig!<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>You heard the ant - DIG!<\/dialogue>\n    <scene_description>The workers start to dig a circular moat around themselves , passing the dirt back into the middle of what remains of the dry ground . - But they seems to be making little headway against the water as it continues to rush in . The ant labor we saw up to now were nothing compared to this . As the moat gets deeper , the pile grows higher and higher . Weaver is digging up huge chunks of earth . nearby , Azteca is digging like crazy too . Z runs around , directing traffic and encouraging the workers .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>That's it! Pass the dirt back to the center! Go on!<\/dialogue>\n    <scene_description>Nearby the Queen stands there , looking squeamish .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Your highness. time to get your hands dirty!<\/dialogue>\n    <scene_description>Gingerly , the Queen reaches out for a clod of dirt . and passes it along . Next thing you know , she 's practically crushed by a huge load thrown up by Weaver . The water keeps rushing in . but now we notice that . the pile of dirt in the middle of the `` island '' created by the digging of the moat is growing higher and higher , reaching up towards the ceiling of the chamber . And the water is getting swallowed up by the moat , swirling around angrily . Now Z looks up , and sees that with a little more effort they can reach the top -<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>We need to form a scaffolding around this mound - let's DO IT!<\/dialogue>\n    <scene_description>The workers start to cluster around the mound , covering it , forming a tight network of living bodies around the mound up towards the ceiling .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Now climb!<\/dialogue>\n    <scene_description>The ants start to scale the scaffolding , up towards the top of the chamber . it 's a swarming mass of ants , hauling each other up , giving each other legs up , climbing ever and ever higher towards the top . Where they start to dig through the very ceiling . as , at the bottom of the mound , Z starts to organize the hauling away of the Queen , as though she were a big cargo container .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Okay boys - take her up!<\/dialogue>\n    <scene_description>Z slaps the Queen on the butt , and she 's winched away on a cable composed entirely of ants linked arm in arm like those plastic toy monkeys .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANT MOUND - DAY<\/stage_direction>\n    <scene_description>And Azteca 's head pokes through the ground . she hauls herself up , and hundreds of ants pour up from the ground , widening the hole .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOWN CENTER - DAY<\/stage_direction>\n    <scene_description>The water is rising . but almost all of the ants have escaped . Z clambers up the mound , as the scaffolding of ants rolls up from the bottom . And the rushing water finally wears down the earthen core of the structure . As Z hauls himself through the hole in the ceiling . The entire structure collapses into the angry waters below , which seem furious to have missed their prey .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ANT MOUND - DAY<\/stage_direction>\n    <character>WORKER<\/character>\n    <dialogue>He did it! Z! Z! Z! Z! Z!<\/dialogue>\n    <scene_description>The `` Z '' cheer goes up , with everyone joining in . But the jubilation is short - lived , for , appearing on the ridge , surrounding the workers , is FORMICA 'S ARMY , circling the mass of workers , backing them in towards the roiling water behind them . Formica himself appears in the front lines , with Carpenter and Mandible at his side .<\/scene_description>\n    <character>FORMICA<\/character>\n    <dialogue>Z. I should have known. All that work, all that preparation, come to nothing. All because of one stinking ant.<\/dialogue>\n    <scene_description>He steps forward to address the surrounded , trapped workers .<\/scene_description>\n    <character>FORMICA<\/character>\n    <dialogue>ALRIGHT. WHICH ONE OF YOU IS Z?<\/dialogue>\n    <scene_description>The workers , trembling but silent , cower inside the unbroken circle of soldiers .<\/scene_description>\n    <character>FORMICA<\/character>\n    <dialogue>WHAT ARE YOU, DEAF? I ASKED YOU, WHERE'S Z?<\/dialogue>\n    <scene_description>Formica laughs , shaking his head .<\/scene_description>\n    <character>FORMICA<\/character>\n    <dialogue>Folks, you may have survived that flood, but there's no way you're gon na escape from me. I'll make you a deal. Hand over the rebel leader Z, and you survive.<\/dialogue>\n    <scene_description>This sends a ripple of murmurs through the workers .<\/scene_description>\n    <character>FORMICA<\/character>\n    <dialogue>But if you do n't hand him over, you're all going to die, each and every single. `` individual'' one of you.<\/dialogue>\n    <scene_description>The workers all look at each other .<\/scene_description>\n    <character>FORMICA<\/character>\n    <dialogue>What shall it be, workers?<\/dialogue>\n    <scene_description>The workers remain frightened but silent . Z trembles , terrified .<\/scene_description>\n    <character>FORMICA<\/character>\n    <dialogue>Have it your way.<\/dialogue>\n    <scene_description>As Formica raises his swagger stick to order the attack , a lone figure steps out from the crowd .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Wait.<\/dialogue>\n    <scene_description>Z stands there , shivering with fear .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>I'm Z.<\/dialogue>\n    <scene_description>For a moment , Z stands alone , under the glare of Formica 's gaze . Then another figure steps out from the throng of workers .<\/scene_description>\n    <character>WEAVER<\/character>\n    <dialogue>No, I'm Z.<\/dialogue>\n    <scene_description>Z turns , astonished , to see Weaver , still and unwavering , bravely risking his life for his friend . Then , AZTECA also steps forward .<\/scene_description>\n    <character>AZTECA<\/character>\n    <dialogue>I'm Z!<\/dialogue>\n    <scene_description>Next , Bala comes forward .<\/scene_description>\n    <character>BALA<\/character>\n    <dialogue>No, I'm Z.<\/dialogue>\n    <scene_description>More and more ants step forward .<\/scene_description>\n    <character>WORKERS<\/character>\n    <dialogue>I'm Z! I'm Z! I'm Z and so is my brother! I've been Z for weeks now!<\/dialogue>\n    <character>QUEEN<\/character>\n    <parenthetical>( regally . )<\/parenthetical>\n    <dialogue>We are Z.<\/dialogue>\n    <scene_description>Now , the workers are all shouting the same declaration .<\/scene_description>\n    <character>ALL<\/character>\n    <dialogue>I am Z! I am Z! I am Z!<\/dialogue>\n    <scene_description>Z is plainly flabbergasted . Formica is outraged . He gives the signal .<\/scene_description>\n    <character>FORMICA<\/character>\n    <dialogue>ATTACK!<\/dialogue>\n    <scene_description>The army swells forward on all sides , pushing the workers towards the swirling water . Some workers surround the Queen to protect her . All seems lost , when THE FLY from Insectopia alights on the rim of the horizon .<\/scene_description>\n    <character>FLY<\/character>\n    <dialogue>Hey, guys!<\/dialogue>\n    <scene_description>THE WASP appears on the other side of the horizon .<\/scene_description>\n    <character>WASP<\/character>\n    <dialogue>It's them!<\/dialogue>\n    <scene_description>Suddenly , on all sides , A MASSIVE INSECT ARMY appears on the ridge , looking not unlike ambushing Indians in a John Ford film . Formica 's soldiers stop in their tracks , awed by the unfolding spectacle . It looks like all of Insectopia has turned out : spiders , caterpillars , rhinoceros beetles , all manner of creatures crawling and flying have shown up , and now surround the army , dwarfing them .<\/scene_description>\n    <character>WASP<\/character>\n    <dialogue>Are these hooligans giving you trouble, Z?<\/dialogue>\n    <character>FLY<\/character>\n    <dialogue>Say the word, Z, and we kick their butts.<\/dialogue>\n    <scene_description>The ant army remains frozen , unsure of what to do next . Formica is furious . If ants had veins , Formica 's would be bulging out of his face .<\/scene_description>\n    <character>FORMICA<\/character>\n    <dialogue>What are you doing?! ATTACK!<\/dialogue>\n    <parenthetical>( berating his army . )<\/parenthetical>\n    <dialogue>Come on, you yellow - bellies!<\/dialogue>\n    <parenthetical>( turning on Carpenter . )<\/parenthetical>\n    <dialogue>Do n't just stand there, Carpenter! Make an example of yourself!<\/dialogue>\n    <character>CARPENTER<\/character>\n    <dialogue>Uh, actually, we are outnumbered sir.<\/dialogue>\n    <scene_description>Formica turns towards the insects gathered against him . With his chin raised pridefully , Formica steps forward , and CHARGES Z !<\/scene_description>\n    <character>FORMICA<\/character>\n    <dialogue>AHHHHHHH!<\/dialogue>\n    <scene_description>Formica runs so quickly and with such force that his helmet blows off his head . Z 's eyes get big , he stumbles backwards , slipping , and Formica goes flying over him , toward the whirlpool behind . He scrabbles at the edge of the water , and then tumbles over . For a moment , it looks as if he 's gone .<\/scene_description>\n    <character>FORMICA<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Help. help me.<\/dialogue>\n    <scene_description>Z goes to the edge of the precipice and looks over . Formica is struggling in the waters of the very flood he created , which are roiling not far below . He looks up into Z 's eyes , a new expression crossing his features : fear .<\/scene_description>\n    <character>FORMICA<\/character>\n    <dialogue>Please. I. I ca n't swim. Help me.<\/dialogue>\n    <scene_description>Formica goes under for a bit , then his head comes up again - but he 's not going to be able to stay afloat for long . Suddenly he sees a line dropped down . Above , Z looks down on him .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>I thought you said that the life of one ant does n't matter.<\/dialogue>\n    <scene_description>Formica looks at the line . and in that moment seems to realize his error .<\/scene_description>\n    <character>FORMICA<\/character>\n    <dialogue>I guess it does. to the ant.<\/dialogue>\n    <scene_description>Formica reaches up and takes the line , and is pulled up by Z and a bunch of other ants -LRB- the line , we see , extends from a nearby spider , one of the cavalry from Insectopia -RRB- . Formica is left , broken and alone , by the precipice , while HORDES OF ANTS surround Z to congratulate him . Bala fights her way to his side and the two of them embrace . Then the ants pick up Z and Bala , and , CHEERING , bear them away . Only Carpenter stays behind . He walks up to Formica , carrying his dented and dusty helmet . He cleans it the best he can with his jacket sleeve and hands it to his fallen general .<\/scene_description>\n    <character>CARPENTER<\/character>\n    <dialogue>Sir, if it's any consolation, I still think you're completely worthless as an individual.<\/dialogue>\n    <scene_description>CLOSE UP OF Z As he addresses the audience , stand - up style .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>So, uh, that's pretty much it. Just your basic `` simple worker overthrows the government and winds up with the princess'' kind of a story. You know : there was the big parade and everything.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOWN CENTER - DAY<\/stage_direction>\n    <scene_description>A HUGE ASSEMBLY OF ANTS applauds as Z who is given a medal by the Queen . GENERAL FORMICA 'S FACE , looking extremely dispeptic .<\/scene_description>\n    <character>Z<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>General Formica was almost unemployable. He eventually got a gig as a honeydew keg.<\/dialogue>\n    <scene_description>PULL BACK TO REVEAL Formica clinging to a wall , his belly hideously distended with honeydew .<\/scene_description>\n    <character>Z<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>The Queen asked me to take over his job, but I said `` Sorry, but I'm really not the general type. I'm more the specific type.'' So they gave the job to Weaver instead.<\/dialogue>\n    <scene_description>WEAVER , in Formica 's old office , in a general 's uniform , his feet up on Formica 's desk , smoking a cigar . Carpenter is on his hands and knees scrubbing the floor .<\/scene_description>\n    <character>Z<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Weaver cut the defense budget in half. Now we only have an army of five million.<\/dialogue>\n    <scene_description>cut back to Z , ADDRESSING THE AUDIENCE .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>And me, I guess you could say that I lived happily ever after.<\/dialogue>\n    <scene_description>Bala enters the frame , embraces and kisses him .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>I mean, I've got the whole package, right? A great life, a beautiful wife, and a few kids.<\/dialogue>\n    <character>BALA<\/character>\n    <dialogue>A few?<\/dialogue>\n    <scene_description>WE PULL BACK TO REVEAL<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. Z'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Z and Bala stand in the midst of their living room , up to their knees in THOUSANDS OF CHILD ANTS . The children cover every horizontal surface . They run around , cry , laugh , and tease each other . Z looks around the room , looks back at us , and shrugs .<\/scene_description>\n    <character>Z<\/character>\n    <dialogue>Well, so nothing's perfect. But you know? I would n't change a thing.<\/dialogue>\n    <scene_description>The camera pulls up . and away from the ground . to reveal that this whole story has been taking place in a small area of CENTRAL PARK . We pull back and back , and see all the familiar landmarks from the story : the bike path , the drinking fountain , etc. . We tilt up into the NEW YORK SKYLINE . BIG MUSICAL FLOURISH . FADE OUT . THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Z-4195, or \"Z\" for short, is a neurotic and pessimistic worker ant who longs to express himself. Z falls in love with the ant colony's princess, Bala, when she visits a bar to escape her suffocating royal life. The ant colony declares war on an encroaching termite colony and a large force of soldier ants is mobilized for an attack. To see Bala again, Z exchanges places with his soldier friend Weaver and joins the army, where he befriends staff sergeant Barbatus. Z is unaware that the army's leader and Bala's fianc\u00e9 General Mandible is secretly sending the soldiers loyal to the Queen Ant to die so he can stage a coup d'\u00e9tat. At the base of a tree near nightfall, Z realizes he is marching into battle. Everyone except Z is killed by acid-shooting termite defenders. Before dying, Barbatus tells Z to think for himself instead of following orders. Z returns home and is hailed as a war hero (despite not doing anything and left traumatized). Secretly irate, Mandible congratulates him and introduces him to the Queen. There he meets Bala, who eventually recognizes him as a worker. Z panics and pretends to take Bala hostage, causing him and Bala to fall out of the anthill via a garbage chute. Z decides to search for Insectopia, a legendary insect paradise. Bala attempts to return to the colony, but quickly rejoins Z after encountering a praying mantis. News of the incident spreads through the colony and Z's act of individuality inspires the workers and some soldier ants, halting productivity. To gain control, Mandible publicly portrays Z as a self-centered war criminal, promotes the glory of conformity, and promises them a better life through the reward of completing a \"Mega Tunnel\" planned by himself. However, Mandible's second-in-command Colonel Cutter becomes concerned about Mandible's plans. After various misadventures, Z and Bala find Insectopia, a human waste bin overfilled with decaying food, where Bala begins to reciprocate Z's feelings. After interrogating Weaver, Mandible learns that Z is looking for Insectopia and sends Cutter to retrieve Bala and kill Z. That night, Cutter arrives in Insectopia and forcibly flies Bala back to the colony. Z finds them gone and returns to the colony. When Z arrives, he encounters soldiers who forcibly direct him toward the Mega Tunnel. Along the way, he finds Bala held captive in Mandible's office. After freeing her, they both discover that Mandible's \"Mega Tunnel\" leads straight to the puddle next to Insectopia which Mandible will use to drown the Queen Ant and workers at the opening ceremony. Bala warns the ants at the ceremony, while Z goes to the tunnel exit to stop the workers but fails, and the water leaks in. Z and Bala unify the workers into building a towering ladder of themselves towards the surface as the water rises. Meanwhile, Mandible and his soldiers gather at the surface, where he explains his vision of a new colony with none of the \"weak elements\". When the workers break through, Mandible tries to kill Z, but Cutter rebels against Mandible and instead helps Z and the worker ants. Enraged, Mandible tries to lunge at Cutter, but Z pushes Cutter out of the way and is accidentally tackled into the flooded colony with Mandible, who lands upon a root, dying on impact. Cutter orders the soldiers to help the workers and the Queen Ant up to the surface while he himself goes after Z. Although Z has seemingly drowned, Bala resuscitates him. Z is praised for his heroism and marries Bala. Together they rebuild the colony, transforming it from a military state into a community that values all of its members. The camera zooms out to reveal the whole story took place in the middle of Central Park, New York City."}
{"movie_name":"Film Stars Don't Die in Liverpool_2017","imdb_id":"tt5711148","script":"<script>\n  <scene>\n    <scene_description>FILM STARS DON'T DIE IN LIVERPOOL Written by Matt Greenhalgh<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEADING LADY'S DRESSING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Snug and serene. An illuminated vanity mirror takes centre stage emanating a welcoming glamorous glow. A SERIES OF C\/UP's: A TDK AUDIO TAPE inserted into a slim SONY CASSETTE PLAYER immediately placing us in the late 70's\/early 80's. A CHIPPED VARNISHED FINGER NAIL presses play.. 'Song For Guy' by Elton John (Gloria's favourite track) drifts in... OUR LEADING LADY sits in the dresser. Find her through shards of focus and reflections as she transforms.. warming her vocal chords as she goes:<\/scene_description>\n    <character>GLORIA (O.C.)<\/character>\n    <dialogue>'La Poo Boo Moo..'<\/dialogue>\n    <scene_description>Eye-line pencil; cherry-red lipstick; 'Saks of Fifth Avenue' COMPACT MIRROR, intricately engraved with \"Love Bogie 'In A Lonely Place' 1950\"; Elnett hair laquer; Chanel perfume. A larger BROKEN HAND-MIRROR. A GOLDEN LOVE HEART PENDANT (opens with a sychronised tune). All Gloria's 'tools' procured from a TATTY GREEN WASH-BAG, a trusted witness to her 'process' probably a thousand times or more.<\/scene_description>\n    <character>GLORIA (O.C.)<\/character>\n    <dialogue>'Major Mickey's Malt Makes Me Merry.'<\/dialogue>\n    <scene_description>Costume: Peek at pale flesh and slim limbs as she climbs into a black, pleated wrap around dress with a plunging neckline; black stockings and princess slippers.. the dress hangs loose, too loose.. the belt tightened as far as it can go. A KNOCK ON THE DOOR<\/scene_description>\n    <character>STAGE MANANGER (V.O.)<\/character>\n    <dialogue>Five minutes Miss Grahame.<\/dialogue>\n    <character>GLORIA (O.C.)<\/character>\n    <dialogue>Thanks honey.<\/dialogue>\n    <scene_description>Gloria's tongue CLUCKS the roof of her mouth in approval, it's one of her things.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUKE'S PLAYHOUSE THEATRE\/STAGE - LATER<\/stage_direction>\n    <scene_description>WE CLASP EYES on Gloria for the first time being AMANDA WIGFIELD in the 'Glass Menagerie'. Owning the stage. Acting her guts out goddamit.<\/scene_description>\n    <character>AMANDA\/GLORIA<\/character>\n    <dialogue>\"That's why you act like this! I don't believe you go every night to the movies! Nobody goes to the movies night after night. Nobody in their right minds goes to the movies as often as you pretend to!\"<\/dialogue>\n    <scene_description>Gloria's eyes blazing. FADE TO BLACK:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUKE'S PLAYHOUSE THEATRE - CONTINUOUS<\/stage_direction>\n    <scene_description>APPLAUSE from a small, enthusiastic AUDIENCE. Gloria takes her curtain call and theatrically welcomes her fellow ACTORS on stage. They hold hands and bow.. THEN Curtain down, house lights on.. and over the speaker system the famous ditty 'I'M JUST A GIRL WHO CAN'T SAY NO' - sung by 'Ado Annie', Gloria's character in 'OKLAHOMA'. The gimmick that sends the audience merrily on their way. 4 OMITTED 4 \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUKE'S PLAYHOUSE THEATRE\/STAGE - CONTINUOUS<\/stage_direction>\n    <scene_description>Gloria shimmying her shoulders as STAGEHANDS pack up.<\/scene_description>\n    <character>GLORIA<\/character>\n    <parenthetical>(softly singing)<\/parenthetical>\n    <dialogue>\"I'm just a fool when lights are low, I can't be prissy and quaint-- I ain't the type what can faint-- How can I be what I ain't? I can't say no\".<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DUKE'S PLAYHOUSE THEATRE\/DRESSING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Gloria de-robing. The high wearing off, the beginning of a comedown she knows all too well. In the flesh she looks THIN. The wrong type of thin. SUDDENLY Gloria clutches her stomach; face contorted. WIDEN OUT as she collapses to the floor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEYWAY\/BELLA AND JOE'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>PETER TURNER, 28, a strapping Scouser, walking home from 'work' down a rough Liverpool back alley. Note he has faint traces of THEATRE MAKE-UP that he's not cleaned off properly... The alley leads onto a street full of red-bricked Victorian Terrace Houses. He stops outside NUMBER 8 the house where he grew up, strange he's back, 'nice strange'. Brother Joe's FORD CAPRI parked on the path. He wanders in..<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLA AND JOE'S HOUSE\/KITCHEN - CONTINUOUS<\/stage_direction>\n    <scene_description>BELLA (70), Peter's mum, cooks sausages for older brother JOE (40), his curvaceous wife JESSIE (38) sits playfully in his lap. JOE SNR (71), a man of greying countenance, is trailed by CANDY the mongrel dog as he scours the kitchen for the dog's lead.<\/scene_description>\n    <character>JESSIE<\/character>\n    <dialogue>Y'might be staying in a luxury hotel Bella. Y'know three star and that, maybe more..<\/dialogue>\n    <character>BELLA<\/character>\n    <dialogue>I don't want to be staying in a bloody luxury hotel!<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>And be waited on hand and foot? Like the 'Queen of Sheba'?<\/dialogue>\n    <character>BELLA<\/character>\n    <dialogue>Joseph, my 'Queen of Sheba' days disappeared down the swanny the day I married your bloody father.<\/dialogue>\n    <scene_description>CONTINUED: She scowls at Joe Snr, now even more desperate to escape. Suddenly Peter bowls in nearly knocking him over. They just give each other a canny look.<\/scene_description>\n    <character>JOE SNR<\/character>\n    <dialogue>Seen the dog's lead?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Not my department.<\/dialogue>\n    <character>JOE SNR<\/character>\n    <dialogue>Desperate here lad.<\/dialogue>\n    <character>BELLA<\/character>\n    <parenthetical>(at Joe Snr)<\/parenthetical>\n    <dialogue>Sixteen years I've waited for this trip! You knew all about this stopover didn't you? Y'big lump of lard! Forgot to tell me 'till now. We're supposed to be off next Tuesday. I would never have agreed if I'd known.<\/dialogue>\n    <character>JOE SNR<\/character>\n    <dialogue>Sod this.<\/dialogue>\n    <scene_description>Joe Snr disappears with the dog sans lead. Bella watches him bang the door on his way out.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <character>JOE<\/character>\n    <parenthetical>(notices)<\/parenthetical>\n    <dialogue>Y'mean apart from you wearing bloody eye-liner. Jesus wept. \\*<\/dialogue>\n    <scene_description>Joe seriously can't believe it. Peter rushes to the sink and rubs it off.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Bloody actors, dressing up as birds, putting make-up on. Weird way to make a living for a bloke if you ask me.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>No-one's asking you 'soft lad'. And I'm not playing a bird.. I'm playing 'a nurse' in a Allan Bleasdale play.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Can't wait for this bloody \\* 'play' thing to end so you can \\* bugger off back to London. \\* Where you belong. \\*<\/dialogue>\n    <character>BELLA \\*<\/character>\n    <dialogue>Joseph! Enough. \\*<\/dialogue>\n    <scene_description>Joe doesn't mess with Bella. The lads flick 'Vs' like \\* kids do, behind Bella's back. \\*<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>(to Bella) \\*<\/dialogue>\n    <scene_description>You look stressed, ma. What's \\* up? \\*<\/scene_description>\n    <character>BELLA<\/character>\n    <dialogue>I don't want to talk about it.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Course she doesn't.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Ma..?<\/dialogue>\n    <character>BELLA<\/character>\n    <dialogue>Well.. I've just been reliably informed, by looking at the bloody tickets, that there's a twenty four hour stopover in Manila when we fly back from Australia.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Manila, eh? Nice.<\/dialogue>\n    <character>BELLA<\/character>\n    <dialogue>No Peter. Not nice. Not nice at all.<\/dialogue>\n    <parenthetical>(collects herself)<\/parenthetical>\n    <dialogue>I'll have just said goodbye to your brother Billy... maybe the last time ever--<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Don't be daft..<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Don't say that!<\/dialogue>\n    <character>BELLA<\/character>\n    <dialogue>No you two don't be daft! I won't be going back all that way again, and our Billy won't be coming back to Liverpool, ever.<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>BELLA<\/character>\n    <dialogue>So, yes, it's probably the last time I'll see him before I leave this world. The last time, understand? \\*<\/dialogue>\n    <scene_description>(pause) \\* And I'll be thinking about \\* that, I know I will. And I don't want be thinking about that on bloody 24 hour stopover in Manila! I don't even know \\* where the bloody place is!<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Oh Ma come on. It'll be fine. \\* It's just your first time on an \\* airplane and that. \\*<\/dialogue>\n    <character>JOE \\*<\/character>\n    <dialogue>That's what I said! \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>It's a big deal. And not having \\* seen our Billy for so long. \\*<\/dialogue>\n    <character>BELLA<\/character>\n    <dialogue>Sixteen bloody years... \\*<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You're bound to be a bit, \\* y'know... edgy. \\*<\/dialogue>\n    <scene_description>The PHONE in the hallway rings out. Joe pats Jessie's arse signalling for her to get up so he can answer.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>C'mere.<\/dialogue>\n    <scene_description>Peter goes gives his Mum a soothing hug.<\/scene_description>\n    <character>BELLA<\/character>\n    <dialogue>God, I've missed him.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I know Ma. We all have.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>The selfish git.<\/dialogue>\n    <scene_description>Bella playfully hits him.<\/scene_description>\n    <character>BELLA<\/character>\n    <dialogue>You're all bloody heartbreakers I tell you.<\/dialogue>\n    <scene_description>CONTINUED: (4)<\/scene_description>\n    <character>BELLA<\/character>\n    <dialogue>They don't tell you that when your legs are laced-up in stirrups. Giving birth's the easy bit.<\/dialogue>\n    <scene_description>Joe comes back in - perturbed look.<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>(to Peter)<\/parenthetical>\n    <dialogue>Some director bloke, asking if you know Gloria Grahame.<\/dialogue>\n    <scene_description>EVERYONE'S ears prick up on hearing THAT NAME.<\/scene_description>\n    <character>JOE (CONT'D) \\*<\/character>\n    <dialogue>Says she's not well..<\/dialogue>\n    <scene_description>A WORRIED Peter jumps up; follows him to the phone.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Pete Turner speaking.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. M6 MOTORWAY - NIGHT - LATER<\/stage_direction>\n    <scene_description>The Ford Capri firing its way towards Lancaster.<\/scene_description>\n    <character>JOE (V.O.)<\/character>\n    <dialogue>And that's all he said?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORD CAPRI - CONTINUOUS<\/stage_direction>\n    <scene_description>A bewildered Peter in the back seat - Joe drives, Jessie sits next to him. All are visibly worried.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>That's all he'd say on the phone, 'extremely serious'.<\/dialogue>\n    <parenthetical>(frustrated)<\/parenthetical>\n    <dialogue>What the hell does that even mean? Why can't directors just say how it is? \\*<\/dialogue>\n    <scene_description>(pause) \\* She's got form for stunts like \\* this Gloria.. \\*<\/scene_description>\n    <character>JOE \\*<\/character>\n    <dialogue>How'd y'mean? \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>She's not scared to 'cry wolf'. \\*<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>JOE \\*<\/character>\n    <dialogue>Well. Let's hope she is then, \\* eh? \\*<\/dialogue>\n    <scene_description>The car carries on in silence. 11 OMITTED 11 \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LANCASTER HOTEL ROOM - NIGHT - MOMENTS LATER<\/stage_direction>\n    <scene_description>A knock on the door.<\/scene_description>\n    <character>PETER (O.S.)<\/character>\n    <dialogue>Gloria?<\/dialogue>\n    <scene_description>Peter lets himself in, squints through the darkness. Gloria in bed... in the shadows.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>(terse) \\*<\/dialogue>\n    <scene_description>Gloria? \\*<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Peter?<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>Oh, remember me then? \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Peter. I've missed you so much. \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>(a flash of \\* frustration) \\*<\/dialogue>\n    <scene_description>Course. That's why you didn't \\* tell me you were in England? \\*<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Don't be angry \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>Yeah well, it's a bit of a \\* shock to get a call saying \\* you're sixty miles up the M6.. \\* And now you're ill I hear...? \\*<\/dialogue>\n    <scene_description>(pause) \\* What's going on Gloria?.. I \\* can't see properly. \\* Peter moves towards her. \\* CONTINUED:<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Don't come so close honey. Sit on the other bed.<\/dialogue>\n    <scene_description>Peter sits down, next to him an open SUITCASE with a few basic clothes; a bunch of PUBLICITY POSTCARDS of Gloria from her film 'The Bad And the Beautiful'.. Peter's seen this post-card before. He notes the sheet purposely covering her face. \\*:<\/scene_description>\n    <character>GLORIA (CONT'D) \\*<\/character>\n    <dialogue>It's gas. I got gas in my stomach that's all.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Let me see your face.<\/dialogue>\n    <scene_description>Peter takes the risk, slowly pulls the sheet down. Gloria's face - a waxy grey pallor, crusted make-up. Hair knotted to the roots. ON PETER'S ALARM \\* Suddenly Gloria convulses in a fit of coughs. Peter \\* helps her upright; puts a glass of water to her lips; she manages to take a few sips. The coughing fades..<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Have you seen a Doctor? \\*<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>No! No doctors. They got me like this in the first place. \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>This sounds bad, you need to \\* see someone? \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>I wanna see your Mom. Take me \\* to your home, Peter. Bella, \\* she'll look after me. I can get \\* better there. \\*<\/dialogue>\n    <scene_description>(beat) \\* Take me to Liverpool... \\* Peter more confused than ever-- \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>You sure that's a good idea? I \\* mean you and me.. \\*<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>It's the only idea I got. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIVER-BUILDING\/INT. FORD CAPRI\/LIVERPOOL - DAWN<\/stage_direction>\n    <scene_description>Light breaking of Liverpool. The Ford Capri drives past an art deco sky-scraper which wouldn't look out of place on 5th Avenue. Gloria in Peter's arms covered by a heavy blanket - looking out.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Liverpooool...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLA AND JOE'S HOUSE\/KITCHEN - DAWN<\/stage_direction>\n    <scene_description>Bella and Joe Snr waiting, when Joe comes in with Jessie. They try to warn them with their looks.<\/scene_description>\n    <character>BELLA<\/character>\n    <dialogue>Well?? How is the girl?<\/dialogue>\n    <scene_description>Before he can reply Peter and Gloria appear. Bella's eyes widen, Joe Snr slowly puts the paper down.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Hey Bella.. Hey Pops...<\/dialogue>\n    <character>BELLA<\/character>\n    <dialogue>Gloria luv.. how are you?<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>I'm OK.. Or I will be.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I said she could stay with us Ma. 'Till she gets better.<\/dialogue>\n    <character>BELLA<\/character>\n    <dialogue>Of course she can.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>It won't be for long Bella, I promise.<\/dialogue>\n    <character>BELLA<\/character>\n    <dialogue>Stay as long as you want my luv. We've really missed you.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Ma, she needs to go to bed straight away.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>BELLA<\/character>\n    <dialogue>Of course.<\/dialogue>\n    <scene_description>Peter and Gloria head out into the hall.<\/scene_description>\n    <character>BELLA<\/character>\n    <dialogue>You could have warned me. I'd \\* have put the electric blanket on.<\/dialogue>\n    <scene_description>Joe, Bella and Joe Snr left on the kitchen exchanging strange looks. They turn to Joe for an answer.<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>(grabs the suitcase)<\/parenthetical>\n    <dialogue>I best, er, take this up.<\/dialogue>\n    <scene_description>He heads out to the stairs Jessie follows. Bella looks at Joe Snr... she also heads for the stairs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLA'S GUEST ROOM - DAWN<\/stage_direction>\n    <scene_description>A room stuck in the 50's; antique wardrobe; dressing table with wrap around mirror; wrought iron bed by a sash window. POPE JOHN PAUL II on the wall. Peter helps Gloria sit on the bed. Joe places the suitcase on an and old rocking chair.<\/scene_description>\n    <character>JOE<\/character>\n    <parenthetical>(to Peter)<\/parenthetical>\n    <dialogue>Downstairs if you need me.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Thanks Joe..<\/dialogue>\n    <scene_description>Joe and Jessie look at Gloria then leave.. passing Bella on her way in.<\/scene_description>\n    <character>BELLA<\/character>\n    <dialogue>It's like a bloody igloo in here.<\/dialogue>\n    <scene_description>She turns the radiator tap on.<\/scene_description>\n    <character>BELLA<\/character>\n    <dialogue>Are you hungry luv? Can I get you anything?<\/dialogue>\n    <scene_description>Gloria erupts coughing. Peter has to hold her tight. Bella taking in Gloria - her complexion, her frailty. CONTINUED:<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>It's fine Ma. I'll be down in a bit.<\/dialogue>\n    <scene_description>Bella takes the hint, leaves. Gloria reaches into her \\* green wash-bag (which she finds in her separate \\* VANITY CASE), finds her BROKEN MIRROR; finds her \\* reflection. Reflection shot: GINNY TREMAINE in 'CROSSFIRE'. She puts the mirror down. They glance at each other awkwardly, air hanging heavy like a dulling wine. Peter opens her suitcase; finds her CREAM SILK \\* PYJAMAS. Then his eyes drift over a MEDICAL DISCHARGE \\* SHEET from Lancaster General Hospital. Finally he \\* spots the GOLD HEART-SHAPED PENDANT, he picks it out. \\* Studies it with intimate surprise. \\*<\/scene_description>\n    <character>PETER (CONT'D) \\*<\/character>\n    <dialogue>...you kept it. \\*<\/dialogue>\n    <scene_description>They linger in regretful eyes. \\*<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Of course I did.. It's \\* beautiful. \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>I never got to give it to you \\* properly.. \\*<\/dialogue>\n    <character>GLORIA<\/character>\n    <parenthetical>(solemn)<\/parenthetical>\n    <dialogue>Peter... the way we left it in \\* New York--<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(cuts her off)<\/parenthetical>\n    <dialogue>--Glo. You need to rest... And \\* I need to call your family in \\* LA-- \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>--No! \\*<\/dialogue>\n    <scene_description>Peter looks taken back. \\*<\/scene_description>\n    <character>GLORIA (CONT'D) \\*<\/character>\n    <dialogue>They'll only worry, and \\* gossip.. and anyway I'm gonna \\* be fine! Seriously! So don't \\* bother anyone. \\*<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>Y'sure? \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Yeah. \\*<\/dialogue>\n    <scene_description>She's adamant, Peter shrugs.. Her call. \\* Then his attention drawn to her BLACK SUEDE STILETTOS.. he unpacks them from the case. \\*<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I bought these with you on Bond \\* Street, remember? \\*<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>They're my 'Ruby Red Slippers'.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Primrose Hill. We had fun right?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Lots of it. \\*<\/dialogue>\n    <scene_description>Suddenly Gloria's breathing seizes up; she gulps and swallows hard.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Burp me Peter.. please...<\/dialogue>\n    <scene_description>Peter rubs her back 'till she gradually gets her breath back.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I'll get you some water.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Milk please baby, y'know I love milk.<\/dialogue>\n    <scene_description>Peter nods, rises. FOLLOW him out, and in ONE SHOT-- TRANSITION TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRIMROSE-HILL HALLWAY\/GLORIA'S ROOM - DAY<\/stage_direction>\n    <scene_description>Peter walking down a tatty hallway, paint peeling, discarded mail on the floor. CAPTION: PRIMROSE HILL, LONDON - 1979. CONTINUED:<\/scene_description>\n    <character>GLORIA (V.O.)<\/character>\n    <dialogue>'Loo Poo Boo Moo Lah Pah Bah Mah'.<\/dialogue>\n    <scene_description>Intrigued by 'actor-ish' noises he creeps to the door from which it emanates.. reveal it's slightly ajar. PETER'S POV: Gloria, 56 but stealing late 30's; subtly glamorous in 501's, cropped T-shirt, peering in a full length mirror doing vocal\/facial warm-ups.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>\"No, said he. Away, said she. 'A' sitting very prettily by a chestnut tree.\"<\/dialogue>\n    <scene_description>Peter smiles.. somewhat smitten.<\/scene_description>\n    <character>GLORIA (V.O.)<\/character>\n    <dialogue>'Fluffy floppy puppy--<\/dialogue>\n    <character>DIDI (O.C.)<\/character>\n    <dialogue>My new tenant's arrived.<\/dialogue>\n    <scene_description>Peter spins round guiltily to see DIDI THE LANDLADY down the corridor relishing her third gin of the day.<\/scene_description>\n    <character>GLORIA (O.C)<\/character>\n    <dialogue>'Sally Saw Silvestre Stacking Saucers Side by Side.'<\/dialogue>\n    <scene_description>Peter and Didi listen and titter.<\/scene_description>\n    <character>DIDI<\/character>\n    <dialogue>Like 'My Fair bleeding Lady'.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I know what she's doing.. vocal \\* exercises. Who is she? \\*<\/dialogue>\n    <character>DIDI<\/character>\n    <dialogue>She's an actress. Famous one \\* too... Or was. \\*<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>What's she called? \\*<\/dialogue>\n    <character>DIDI<\/character>\n    <dialogue>'Gloria Grahame'. Always played the tart.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Doesn't ring a bell.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>DIDI<\/character>\n    <dialogue>Big name in black and white films. Not doing too well in colour though.. obviously. \\*<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Makes you say that?<\/dialogue>\n    <character>DIDI<\/character>\n    <dialogue>Well, she 'aint swanning about Sunset Boulevard now is she \\* Peter luv? No, she's renting a room in my house talking bloody nonsense.<\/dialogue>\n    <character>GLORIA (V.O.)<\/character>\n    <dialogue>'Paul pruned Penelope's pansies leaving poor Penelope perplexed'.<\/dialogue>\n    <scene_description>Peter, intrigued by Didi's insight...<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>(shrugs) \\*<\/dialogue>\n    <scene_description>Dunno Didi. She sounds pretty colourful to me. They smile as he heads back to his NEXT DOOR ROOM. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRIMROSE HILL\/HALLWAY - DAY<\/stage_direction>\n    <scene_description>Peter checking his mail box, spots Gloria stood at her door watching him, smoking, dark glasses. Sultry. \\*:<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Next door guy, right?<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(nods)<\/parenthetical>\n    <dialogue>Which makes you 'the girl next door'.<\/dialogue>\n    <scene_description>They check each other out - a buzz between them.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Hey, you seen the movie 'Saturday Night Fever'?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Three times.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>You like disco dancing?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I like drunk dancing.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>So if I fix you a drink will you come in my room and hustle with me? I need a partner for my dance class.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Fix me a drink and I'll clean \\* your bathroom too. \\*<\/dialogue>\n    <scene_description>Gloria laughs, disappears inside. Peter shrugs - what the hell - follows her in. JUMP CUT TO: C\/UP: VINYL SPINS ON A RICKETY RECORD PLAYER<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRIMROSE HILL BOARDING HOUSE - DAY - LATER<\/stage_direction>\n    <scene_description>Establisher of the house. 'More Than A Woman' by the Bee Gees from 'SNF' drifts over the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GLORIA'S PRIMROSE ROOMS - CONTINUOUS<\/stage_direction>\n    <scene_description>Gloria leads Peter in complicated dance moves. Peter not quite in step, getting a sweat-on. Gloria coyly stripped to her strap top. She barks out moves to which Peter sweetly obeys. \\*:<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>We got some moves goin' on here! \\*<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>They miscast Travolta.<\/dialogue>\n    <parenthetical>(Tony Manero\/Travolta)<\/parenthetical>\n    <dialogue>\"Would ya just watch the hair!\"<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>It's him!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I got a better bum...<\/dialogue>\n    <scene_description>The music\/dancing stops. She looks him up and down. CONTINUED:<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>I noticed.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>You're an actor too right?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I pretend to be.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>What you working on?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Tables, chairs, sideboards..<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I work in a second hand furniture shop right now. In between acting jobs I'm afraid.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Don't be afraid, honey. We've all been there.<\/dialogue>\n    <scene_description>There's heat between them. And they know it.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Let me fix you another drink? I got some nice bourbon..<\/dialogue>\n    <scene_description>Peter checks his watch.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I promised a friend I'd go to the theatre.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>A 'Him' or a 'Her' friend.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>A 'Him'.<\/dialogue>\n    <character>GLORIA<\/character>\n    <parenthetical>(small smile)<\/parenthetical>\n    <dialogue>What you going to see?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>'Krapps Last Tape' by Samuel Becket.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>I hope it's better then it sounds.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>It's a one man play.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>I love those things.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>You get to say all the lines.<\/dialogue>\n    <scene_description>They both smile. Gloria fixes herself a drink.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Well.. pop in anytime. We can talk about 'the craft'? Swap notes and stuff.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>And more disco?<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>You bet!<\/dialogue>\n    <scene_description>Hold on their obvious attraction.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Really nice to meet you Gloria.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>And you Peter.. \\*<\/dialogue>\n    <scene_description>Peter leaves. As soon as the door shuts Gloria CLUCKS THE ROOF OF HER MOUTH.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PUB THEATRE - LATER<\/stage_direction>\n    <scene_description>PATRONS OF THE ARTS watch THE ONE MAN performing. Peter at the back with DAN (late 20's) - trendy Bryan Ferry haircut. They talk in whispers..<\/scene_description>\n    <character>DAN<\/character>\n    <dialogue>You're sure it's actually her?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Well, she's called Gloria. She's American.. she looks film actress-y..<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>and she says she splits her time between a place in LA and her Manhattan apartment.. All sounds pretty 'Hollywood' to me.<\/dialogue>\n    <character>DAN<\/character>\n    <dialogue>Don't believe it... all a ruse. \\*<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>For what?<\/dialogue>\n    <character>DAN<\/character>\n    <dialogue>To lure young naive, northern men into a deviant web of mental manipulation and sexual depravity.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Sounds good.<\/dialogue>\n    <scene_description>DAN sneaks an arm round Peter's shoulder.<\/scene_description>\n    <character>DAN<\/character>\n    <parenthetical>(semi-joky)<\/parenthetical>\n    <dialogue>But what about us darling?<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>(sarcy) \\*<\/dialogue>\n    <scene_description>What about 'us'? \\* Peter warmly clasps his hand. \\*<\/scene_description>\n    <character>PETER (CONT'D) \\*<\/character>\n    <dialogue>'Us' are just fine and dandy \\* Daniel. \\*<\/dialogue>\n    <scene_description>Rubs it affectionately. But in his eyes we see a tiny \\* seed of doubt. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRIMROSE HILL BOARDING HOUSE - DAY<\/stage_direction>\n    <scene_description>Nice and wide as Peter walks into his digs..<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRIMROSE HILL BOARDING HOUSE\/HALLWAY - DAY<\/stage_direction>\n    <scene_description>Peter enters, puts his key in his door WHEN HE HEARS--<\/scene_description>\n    <character>GLORIA (O.C.)<\/character>\n    <parenthetical>(screech)<\/parenthetical>\n    <scene_description>CONTINUED: Peter rushes to Gloria's door. BANGS ON. Nothing. He turns the handle, it opens slightly - then gets rammed shut from the inside.<\/scene_description>\n    <character>GLORIA (O.C.)<\/character>\n    <dialogue>Oh no you don't!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>It's Peter! Are you ok?<\/dialogue>\n    <character>GLORIA (O.C.)<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Is it serious?!<\/dialogue>\n    <character>GLORIA (O.C.)<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Shall I call 999?<\/dialogue>\n    <character>GLORIA (O.C.)<\/character>\n    <dialogue>(pause) \\*<\/dialogue>\n    <scene_description>Do they have spare shirts?<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Y'what? \\*<\/dialogue>\n    <character>GLORIA (O.C.)<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I'm dying my eyelashes and I've spilt the goddamn stuff all \\* over my shirt.<\/dialogue>\n    <scene_description>Gloria opens the door slightly, we can tell she's shirtless (bra on) - her eyes meet Peter's.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Hey Peter you couldn't help me out, My other shirt is in the laundry..<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You only have two shirts?<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>How many do you have?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>More than two.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>So I can borrow one right?<\/dialogue>\n    <scene_description>CONTINUED: (2) JUMP CUT TO - Peter approaching Gloria's door fresh shirt in hand when he hears:<\/scene_description>\n    <character>GLORIA (V.O.)<\/character>\n    <dialogue>'La Poo Boo Moo..' \\*<\/dialogue>\n    <scene_description>He leaves his shirt on her door handle.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GLORIA'S PRIMROSE ROOMS - NIGHT<\/stage_direction>\n    <scene_description>Gloria left her door ajar accidently on purpose. Peter wanders up clutching a bottle of wine and a \\* HAND-WRITTEN NOTE - stops to enjoy his voyeur \\* opportunity. POV: Gloria dressed in Peter's shirt, rehearsing lines, (Clemence Dane's adaptation of 'Rain'). She paces around, throwing looks into the full length mirror getting into character as Sadie Thompson.<\/scene_description>\n    <character>SADIE\/GLORIA<\/character>\n    <dialogue>\"How do you know what I've suffered! Your God and my God could never be shipmates\".<\/dialogue>\n    <scene_description>Gloria stands staring at herself, passionate as Sadie. Then breaks out, paces around, mutters lines to herself - different variations.<\/scene_description>\n    <character>SADIE\/GLORIA<\/character>\n    <parenthetical>(variation)<\/parenthetical>\n    <dialogue>\"How do you know what I've suffered?\"<\/dialogue>\n    <scene_description>Steps closer.<\/scene_description>\n    <character>SADIE\/GLORIA<\/character>\n    <parenthetical>(softer)<\/parenthetical>\n    <dialogue>\"You tell him Sadie Thompson is on her way to hell.\"<\/dialogue>\n    <scene_description>She plays with her range\/her emotions. Then drops all pretence - steps right up to the mirror so her nose is touching... looks through herself. Peter finally knocks on. She raises an eyebrow.<\/scene_description>\n    <character>GLORIA<\/character>\n    <parenthetical>(Shakespearean)<\/parenthetical>\n    <dialogue>\"Hark, how they knock..\"<\/dialogue>\n    <scene_description>As if she knew Peter was there all along. She walks over and gently pulls the door open all the way. CONTINUED:<\/scene_description>\n    <character>GLORIA<\/character>\n    <parenthetical>(coquettish)<\/parenthetical>\n    <dialogue>Peter..<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Hope I'm not disturbing.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Hell no. I love it when strange men come knocking on my door with bottles booze.<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>Er.. I got your note. It was on \\* my bed. \\*<\/dialogue>\n    <scene_description>He shows her the NOTE. \\*<\/scene_description>\n    <character>PETER (CONT'D) \\*<\/character>\n    <dialogue>(reading it) \\*<\/dialogue>\n    <scene_description>\"Hey Peter, don't forget to \\* call in---\" \\*<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Sshh.. Don't ruin it for me.<\/dialogue>\n    <scene_description>She stands aside to let him in. Peter passes the wine. The door shuts us out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GLORIA'S PRIMROSE ROOMS - MOMENTS LATER<\/stage_direction>\n    <scene_description>Gloria hands a glass of wine to Peter, she carries on with a GLASS OF MILK.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Liverpoooool. I just wanna go to Liverpoooool. That's how you pronounce it right? Say it again.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Liverpool.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Liverpooool.. Love it. 'The Fab \\* Four', right?! \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>(smiles) \\*<\/dialogue>\n    <scene_description>Yeah.. \\*<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>You remind me of Lennon.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Yeah, you got the nose and the attitude.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I do?<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Ahu.. I see him sometimes walking in Central Park with that crazy beautiful chic of his, they look so cool. They look goood on each other know what I mean? Some couples just look right.<\/dialogue>\n    <scene_description>They eye each other up CLOSELY; both know she's meaning THEY would look good together too.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>You gotta take me there someday, Liverpooool. \\*<\/dialogue>\n    <scene_description>Peter giggling like a kid.<\/scene_description>\n    <character>GLORIA<\/character>\n    <parenthetical>(playful)<\/parenthetical>\n    <dialogue>Peter you're laughing at me you meanie.<\/dialogue>\n    <scene_description>Peter sits on the sofa - fidgety. He notices a copy of 'Being and Nothingness' by Jean Paul Sartre on the arm of the sofa - he flicks through.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>\"Better to die on one's feet than to live on one's knees\".<\/dialogue>\n    <scene_description>Gloria looks up - impressed.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Try telling Hollywood that.<\/dialogue>\n    <scene_description>Gloria hands him his glass - sits at the other end of the sofa so she can get a good look at him. Peter notices she's sill wearing his shirt.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>It suits you..<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>I love wearing men's clothes.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>And I look great in women's... On Tuesdays Peter becomes 'Petra'.<\/dialogue>\n    <character>GLORIA<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>Well if Petra wants to borrow from my closet just let me know.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I'll pass it on. Cheers.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Cheers.<\/dialogue>\n    <scene_description>They drink... Gloria lets the air sit. Peter picks up her stage-play lying on the coffee table - checks the front cover out. POV: 'RAIN'.<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>(flicking through)<\/parenthetical>\n    <dialogue>What's it about?<\/dialogue>\n    <character>GLORIA<\/character>\n    <parenthetical>(eyes him)<\/parenthetical>\n    <dialogue>Sex.. Sin... Salvation.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Sounds heavy...<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Just another day at the Gloria Grahame office honey.<\/dialogue>\n    <scene_description>Peter can't suppress a giggle.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>What's so funny?<\/dialogue>\n    <scene_description>Peter keeps giggling.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I love the way you say stuff!<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Touch\u00e9<\/dialogue>\n    <scene_description>Sexual jousting. CONTINUED: (3) CLOSE on Gloria's GLASS OF MILK as she rests it on a \\* nearby side table-- TRANSITION TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLA'S GUEST ROOM - NIGHT<\/stage_direction>\n    <scene_description>THE GLASS OF MILK Peter has brought for Gloria (end \\* of sc. 18). He rests it on the bedside table. Gloria \\* laid back, eyes closes. He thinks she's asleep, when \\* she pipes up:<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Thanks honey..<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You need anything else?<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>My mirror honey, my Bogie compact..<\/dialogue>\n    <scene_description>Peter picks up the compact from the bedside table. Passes it to Gloria, flips it open and on her reflection we-- TRANSITION TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CINEMA - DAY<\/stage_direction>\n    <scene_description>The reflection of GLORIA'S LIPS in the compact-- \\*<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Is my lipstick on right? I was in a rush.<\/dialogue>\n    <scene_description>Reveal they are in line to see the movie 'ALIEN'.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Perfectly right.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>How's mine?<\/dialogue>\n    <scene_description>She laughs squeezes his hand in hers. CINEMA GO-ERS cast furtive glances - recognising her or deliberating whether it's her or not.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>So is this like a date?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I thought you could do with a break from rehearsals.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>You're so kind.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Plus you were sending me mad with all the 'pooh bah mah' shite. \\*<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Honesty. I like that in a fellah.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(noticing the glances)<\/parenthetical>\n    <dialogue>People are looking at you.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>How do you know it's not you?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I'm guessing you're more \\* interesting to look at than me. \\*<\/dialogue>\n    <scene_description>Gloria notices the attention now..<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CINEMA - LATER<\/stage_direction>\n    <scene_description>ON THE BIG SCREEN: John Hurt complains about the menu when his stomach starts rumbling.... CUT TO - the AUDIENCE, eyes growing wider. Peter slinking further down in his seat, GLORIA casually popping popcorn. John Hurt's stomach bursts open! Peter buries his eyes in Gloria's arm - who is more in awe at the special effects (so different to her day).<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Jeez. Look at those guts everywhere.. 'aint that something...<\/dialogue>\n    <scene_description>She sweetly strokes Peter's head.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>You okay down there sweetie?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PUB - LATER - NIGHT<\/stage_direction>\n    <scene_description>Gloria and Peter burst in with that 'just-seen-a- great-movie' energy. Head to the bar.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>It's when the small aliens pop out from between your legs that things get complicated...<\/dialogue>\n    <scene_description>The BARMAN comes over - peering at Gloria. Peter orders two pints.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>How many times has that happened to you then?<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Oh just the four..<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Four!?<\/dialogue>\n    <scene_description>Gloria not sure how to take this. Peter genuinely flabbergasted.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>What? You didn't think I'd have any kids?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I didn't expect you to have four, that's like--<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>-One more than three.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Where are they?<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>I keep 'em safe.. with my four ex-husbands.<\/dialogue>\n    <scene_description>Peter has to catch his jaw. \\*<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Excuse me, I need to powder my nose.<\/dialogue>\n    <scene_description>Gloria heads off unsure how she's come out of that; BARMAN arrives with the pints of ale. CONTINUED:<\/scene_description>\n    <character>BARMAN<\/character>\n    <dialogue>Two fifty mate.<\/dialogue>\n    <scene_description>Peter breaks out of his spell, pays up.<\/scene_description>\n    <character>BARMAN<\/character>\n    <dialogue>Don't mean to pry, but is that Gloria 'whatsername'... Grahame.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I'm not 100 percent. She says she is.<\/dialogue>\n    <character>BARMAN<\/character>\n    <dialogue>I recognise that pout! She was in loads of things in the 50's, a proper film star she was.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Apparently so, yeah..<\/dialogue>\n    <character>BARMAN<\/character>\n    <dialogue>Won an Oscar too if my memory serves me right.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Y'what?<\/dialogue>\n    <character>BARMAN<\/character>\n    <dialogue>Yeah, that film she did with Kirk Douglas, forget the name.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>An Oscar? You sure?<\/dialogue>\n    <scene_description>This hits Peter just as hard as 'the kids' reveal.<\/scene_description>\n    <character>BARMAN<\/character>\n    <dialogue>She not mentioned it?<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(reflective)<\/parenthetical>\n    <dialogue>No...<\/dialogue>\n    <character>BARMAN<\/character>\n    <dialogue>If I'd won an Oscar I'd be wearing it round my neck so every Tom Dick and Harry'd would get the message. Knowhat- \\* I-mean son?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TUBE CARRIAGE - LATER - NIGHT<\/stage_direction>\n    <scene_description>Sat opposite. Peter eyeing Gloria with intrigue. The Oscar revelation knocked him off balance. Gloria catches him....<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>What, what?<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>You that's what...<\/dialogue>\n    <scene_description>Peter innocently points at himself.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Yeah, you mister. You've gone all quiet on me.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I'm just 'The strong, silent type'.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Oh yeah?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Think Robert Redford y'know.. \\* 'The Sundance Kid'.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>OK I'm thinking... and I like that thought.<\/dialogue>\n    <scene_description>They hold each others eyes... enjoying the sights. AND AS THE TUBE LIGHTS FLICKER ON AND OFF WE-- FLICK TO: BLACK: FLICK IN:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GLORIA'S PRIMROSE ROOMS - LATER - NIGHT<\/stage_direction>\n    <scene_description>Gloria hands a large glass of bourbon to Peter.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Cheers.<\/dialogue>\n    <scene_description>They clink glasses and drink. CONTINUED:<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>This is becoming a habit.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>I like habits. Especially bad ones.<\/dialogue>\n    <scene_description>She clucks her mouth.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Hey, I gotta question. How do you join the Royal Shakespeare Company?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You don't just fill a form out. I think you get invited to apply.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>How do you get invited?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Through your agent. Or they head-hunt you I imagine. I mean I don't know for sure, I wish I did.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>OK, I'll let my agent know...<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>'Coz I really wanna play Juliet for the 'RSC'.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Juliet??<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>You mean the Nurse don't you?!<\/dialogue>\n    <scene_description>Gloria... a slow rage begins to engulf her.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>I get it. You think I'm too old to play Juliet huh?<\/dialogue>\n    <scene_description>CONTINUED: (2) Peter straightens - doesn't know what to say.<\/scene_description>\n    <character>GLORIA<\/character>\n    <parenthetical>(in his face)<\/parenthetical>\n    <dialogue>Huh???<\/dialogue>\n    <scene_description>Gloria's eyes blaze through him.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Fine!<\/dialogue>\n    <scene_description>She slams her drink down, marches to the coat stand.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Fine!<\/dialogue>\n    <scene_description>Puts on her rain-coat.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>You think I'm just an old lady don'tcha? Too old for you is that what you're saying?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Er.. That's not what I said.<\/dialogue>\n    <scene_description>Gloria - too wrapped up in her rage.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Well you're wrong Mister! I'm gonna go to that theatre right now and see one of their shows. Take a look at the competition. Thanks. Thanks a bunch! At least I have a chance to join the 'RS' goddamn 'C' coz at least I'm an actor who works!<\/dialogue>\n    <scene_description>Peter jumps in front of the door.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Come on, don't be like this..<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Move.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I'm not sure the RSC even has a performance tonight.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>'The Merchant of Venice'. Aldwych Theatre. 7.30. I've done my homework!<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Well I don't want you to go!<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Because--<\/dialogue>\n    <scene_description>And with no words left in his locker Peter just grabs hold of Gloria and plants his lips on her. AN intense and long kiss - finally they come up for air.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>There! That's why!<\/dialogue>\n    <scene_description>A moment where Gloria feels the dizzy after effects. Then BAM! Peter grabs her - lips meet - the pent up frustrations. They smother each other. Clothes hit the floor - Peter hoists her up, Gloria's legs straddle him, and he marches her into the bedroom. (TRANSITION STEADI-CAM SHOT) AS HE CARRIES HER, LIPS LOCKED, TOWARDS THE BED - 360 AROUND THEM AND AS THE CAMERA MOVES BEHIND PETER WE.. MIX TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLA'S GUEST ROOM - NIGHT<\/stage_direction>\n    <scene_description>STILL ROTATING... come round on Peter - now find him sat, gazing with DEEP CONCERN at a SLEEPING GLORIA... the camera keeps going... moves behind Peter, AND WE... MIX TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WATFORD THEATRE - NIGHT<\/stage_direction>\n    <scene_description>Come off PETER's BACK to discover HIM consuming a VIBRANT Gloria play Sadie Thompson on OPENING NIGHT.<\/scene_description>\n    <character>SADIE\/GLORIA<\/character>\n    <dialogue>\"You tell him Sadie Thompson is on her way to hell!!\"<\/dialogue>\n    <scene_description>CUT TO: A PACKED THEATRE glued to Gloria's performance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WATFORD THEATRE - CONTINUOUS<\/stage_direction>\n    <scene_description>THE HUGE APPLAUSE continues as Gloria takes her curtain call. She plays it like the Hollywood pro she is. Peter is on his feet, wolf whistling. Gloria throws him a personal cross-eyed wink which he loves!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WATFORD THEATRE BAR - LATER - NIGHT<\/stage_direction>\n    <scene_description>Buzzy 1st night party. Gloria and Peter in the midst quaffing champagne, LOTS OF ADMIRERS and people wanting to shake her hand.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Thank you.. Thanks. Thank you so much...<\/dialogue>\n    <scene_description>The producer GEORGE bustles over, takes her in his arms. They luvvie kiss. Peter notes he squeezes Gloria's waist tighter than is appropriate..<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Superlatives are redundant darling.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Oh Georgie, you got me going all red.<\/dialogue>\n    <scene_description>Gloria adept to a director's praise. Enjoys it.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Georgie.. this is my good friend Peter.<\/dialogue>\n    <parenthetical>(to Peter)<\/parenthetical>\n    <dialogue>Georgie produced this gig.<\/dialogue>\n    <scene_description>George gives Peter the once over, doesn't shake his hand.<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Yeah Hi.<\/dialogue>\n    <parenthetical>(back to Gloria)<\/parenthetical>\n    <dialogue>There's an exquisite brasserie in Soho. We could stay up, wait for the rave reviews?<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Oh I'd love to..<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>GEORGE<\/character>\n    <dialogue>Great!<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Peter can come too right?<\/dialogue>\n    <character>GEORGE<\/character>\n    <dialogue>Er..<\/dialogue>\n    <scene_description>Just then a PR PERSON intervenes.<\/scene_description>\n    <character>PR PERSON<\/character>\n    <dialogue>Gloria we're ready for the photocall out front..<\/dialogue>\n    <scene_description>Gloria heads off with Peter.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Gimmee a minute.<\/dialogue>\n    <scene_description>They leave George stranded, Peter gives him a cheeky wink as he passes; they meander through the crowd.<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>(in Gloria's ear)<\/parenthetical>\n    <dialogue>George wants to fuck you..<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Darling, everyone here wants to fuck me!<\/dialogue>\n    <scene_description>They laugh like lovers do. 35-36 OMITTED 35-36 \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>36A INT. GLORIA'S PRIMROSE ROOMS\/BEDROOM - LATER - NIGHT 36A \\*<\/stage_direction>\n    <scene_description>Peter and Gloria GETTING IT ON.. SUDDENLY Peter, \\* stops, looks Gloria deep in the eye. \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>I got a question. \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Shoot. \\*<\/dialogue>\n    <scene_description>It's a funny time to ask one and they both know it. \\*<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>So apparently you're 'the girl \\* who can't say no' right?<\/dialogue>\n    <scene_description>36A CONTINUED: 36A<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Apparently yeah.. \\*<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>But am I right in thinking the \\* girl who can't say no is now \\* saying a big 'yes' to Peter \\* Turner? \\*<\/dialogue>\n    <scene_description>They smile like naughty teenagers.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>YESyesyesyesyesyesyeyesYES!<\/dialogue>\n    <scene_description>CUT TO - MASSIVE PRIMROSE HILL WIDE as they maul each other with lust.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRIMROSE HILL\/GLORIA'S BEDROOM - MORNING<\/stage_direction>\n    <scene_description>Peter's eyes meet the morning shards of light. Excited to be alive as he has his arms wrapped around Gloria, still seemingly asleep.<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>Are you awake?<\/dialogue>\n    <character>GLORIA<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Nope.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I am.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>I can tell.<\/dialogue>\n    <scene_description>Peter kisses her neck - then tickles her around the ribs, flipping her over so that she's underneath him. They lock eyes, then he starts brushing his lips on \\* her ear and her neck, dropping his head towards her chest.. Then to her RIGHT BREAST.. Peter's POV: A SMALL SCAR. He gently runs his finger \\* across it. Gloria softly takes his hand; sends it \\* south.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LONDON FILM SCHOOL\/SCREENING ROOM - DAY<\/stage_direction>\n    <scene_description>Blinds drawn, 16mm Projector plays 'HUMAN DESIRE'. A train steams through America's Midwest... CONTINUED: 'COLUMBIA PICTURES PRESENT GLENN FORD and.. GLORIA GRAHAME in.. HUMAN DESIRE.' Gloria sat with HEAD LECTURER (BRIAN) - Peter sits amongst the banks of STUDENTS packed into the room. ANGLE ON SCREEN: VICKI (Gloria) sits by the train tracks, pouring her heart out to JEFF (Glenn Ford).<\/scene_description>\n    <character>VICKI\/GLORIA<\/character>\n    <dialogue>\"After I married I felt a little unhappy, but I figured that wasn't so important. Most women are unhappy... They just pretend they are\".<\/dialogue>\n    <scene_description>JUMP TO: The climax. VICKI laying into her down and out husband CARL in a moving train carriage.<\/scene_description>\n    <character>VICKI\/GLORIA<\/character>\n    <dialogue>\"I wanted him to get rid of that wife of his! But he wasn't quite the fool you are! And you know what? I admired him for it! If I'd have been a man I would behave exactly like he did. Now get out and let me unpack!\"<\/dialogue>\n    <scene_description>But Carl doesn't 'get out' or 'let her unpack' - instead he throttles her to death. GLORIA takes a quick peek at herself in her COMPACT. Reflection shot: VICKI BUCKLEY ANGLE ON SCREEN: 'RKO PICTURES PRESENT 'THE NAKED ALIBI'.. 'STARRING STERLING HAYDEN AND GLORIA GRAHAME..' JUMP TO: Gloria playing 'MARIANNA' the hooker in 'El Purico Cantina'. The piano plays; she spins on her stool to face the liquored-up testosterone lined up around her. SHE SINGS 'ACE IN THE HOLE'... and it's 'mucho' sexy. On Peter glued to the screen; bowled over by this amazing performance; the heat she gives; that she's his girlfriend CONTINUED: (2) The credits for 'The Naked Alibi' roll to A BIG CLAP. Gloria stands, gives a small curtsy, looks over at Peter for affirmation he rolls his eyes in admiration. BRIAN stands up to address his flock.<\/scene_description>\n    <character>BRIAN<\/character>\n    <dialogue>'They don't make 'em like that \\* anymore'. So guys, it's not \\* often a bona fide Hollywood \\* legend pops in for a chat.. She's starred in 36 feature films, bagging an Oscar on the \\* way. She's certainly one of my \\* favourite actress'. Please give \\* her a warm London Film School \\* welcome... Gloria Grahame \\* everyone.<\/dialogue>\n    <scene_description>More big applause. Gloria smiles and stays seated.<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>I'm shocked you guys have even \\* heard of me! Seriously! \\*<\/dialogue>\n    <character>BRIAN<\/character>\n    <dialogue>We're gonna do this freestyle, \\* so fire away. \\*<\/dialogue>\n    <scene_description>BRIAN points to a FRESH FACED STUDENT.<\/scene_description>\n    <character>FRESH FACED STUDENT<\/character>\n    <dialogue>What was it like playing Ado Annie in Oklahoma and do you think it's your most famous role?<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Well I warned them about giving me 'Annie', basically I can't sing. But the director told me he was just after the 'twinkle in my eye'.... I guess that's all he got, huh?<\/dialogue>\n    <scene_description>Chuckles. \\*<\/scene_description>\n    <character>GLORIA (CONT'D) \\*<\/character>\n    <dialogue>Is it my most famous role? Well, I suppose I'll always be the 'Girl who can't say no'. \\*<\/dialogue>\n    <scene_description>(pause) \\* CONTINUED: (3)<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>But I totally rock at saying \\* 'yes'. \\*<\/dialogue>\n    <scene_description>It's a killer line. She winks at Peter and clucks the \\* roof of her mouth. Brian points to another hand - SERIOUS STUDENT.<\/scene_description>\n    <character>SERIOUS STUDENT<\/character>\n    <dialogue>Hi Gloria. Is acting a great \\* job or a vocation to you? \\*<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Well.. my mother was an acting \\* coach so I was thrust on stage \\* at 6 years old. I love \\* theatre.. but somehow I ended \\* up in movies ..and that was \\* fun... but I just can't stomach \\* the movie-star-dick-swinging bull shit. It sent me nuts. Now \\* Lana Turner! Boy, she could swing for the Olympics. But my \\* acting? It became my art and a \\* vocation... definitely. \\*<\/dialogue>\n    <character>INTRIGUED STUDENT \\*<\/character>\n    <dialogue>Was the famous 'Hollywood \\* system' tough to deal with? \\*<\/dialogue>\n    <scene_description>Laughs.<\/scene_description>\n    <character>GLORIA<\/character>\n    <parenthetical>(thinks)<\/parenthetical>\n    <dialogue>I was known as 'The Replacement' in the studios. \\* Never first choice, and the \\* 'suits' know that, they can use \\* it... Seems only yesterday I \\* was hanging round the MGM lot snapping garters for the price of cup of a coffee. Time passes by so quickly. I'm real jealous of all you guys setting out.<\/dialogue>\n    <scene_description>A YOUNG HIPPY TYPE type stands up.<\/scene_description>\n    <character>EDDIE<\/character>\n    <dialogue>Hey Gloria, I'm Eddie it's cool \\* you're here. Like really cool. \\*<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Thanks Eddie.. it's cool to be here.<\/dialogue>\n    <scene_description>CONTINUED: (4)<\/scene_description>\n    <character>EDDIE<\/character>\n    <dialogue>Er. You've worked with so many cool directors. Like really cool guys, Fritz Lang, Dmytryk, Minelli. De Mille.. Er, so I \\* just wanna know. Like what makes a good director and what makes a bad one?<\/dialogue>\n    <scene_description>Gloria looks flummoxed.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Well I guess a good director's good.. and a bad director's bad.<\/dialogue>\n    <scene_description>The places erupts with laughter.<\/scene_description>\n    <character>EDDIE<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>Cool Gloria...<\/dialogue>\n    <scene_description>Brian picks another hand.. \\*<\/scene_description>\n    <character>GOSSIPY STUDENT \\*<\/character>\n    <dialogue>You also worked with your \\* second husband Nick Ray as a \\* director? \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>I did... \\*<\/dialogue>\n    <character>GOSSIPY STUDENT \\*<\/character>\n    <dialogue>Whilst going through a messy \\* divorce too, what was that \\* like? \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Messy. Next. \\*<\/dialogue>\n    <scene_description>Another student pipes up. Female, political looking.<\/scene_description>\n    <character>POLITICAL STUDENT<\/character>\n    <dialogue>Do you think your generation of 'silver screen starlets' let down the next generation of acting women?<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>How d'you mean?<\/dialogue>\n    <character>POLITICAL STUDENT \\*<\/character>\n    <dialogue>By being typecast as sex symbols.<\/dialogue>\n    <scene_description>CONTINUED: (5)<\/scene_description>\n    <character>POLITICAL STUDENT<\/character>\n    <dialogue>Not fighting for equal rights or pay. We all know 'leading \\* men' are offered prime roles \\* well into middle age whilst the \\* women in Hollywood are thrown on the scrap-heap by the time \\* they hit twenty-five. \\*<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Er.. What was the question?<\/dialogue>\n    <character>POLITICAL STUDENT<\/character>\n    <dialogue>When did you personally last work on a major Hollywood studio picture, Gloria? \\*<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Got a calculator Missy?<\/dialogue>\n    <character>POLITICAL STUDENT<\/character>\n    <dialogue>Yeah..<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Then you work it out!<\/dialogue>\n    <scene_description>The student has hit her Achilles. Which was the plan.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>38A INT. LONDON FILM SCHOOL - MOMENTS LATER - DAY 38A \\*<\/stage_direction>\n    <scene_description>Applause as the Q&amp;A ends. Gloria - slightly awkward. \\* The clapping dies, student pack up, Peter walks to \\* the front. Gloria can't wait to subtly grab him for \\* security... \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>Amazing! \\*<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>I hate people talking about my \\* career. I hate talking about my career. \\*<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>What? Everyone loved you. \\*<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Yeah? \\*<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Yeah! And what was that in 'The \\* Naked Alibi'?<\/dialogue>\n    <scene_description>38A CONTINUED: 38A<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Whaddya mean?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>'Marianna'. Wow.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>You liked her?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Oh, I liked her all right..<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>I keep forgetting you 'aint seen these things before.. \\*<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You play one great hooker. A \\* natural. \\*<\/dialogue>\n    <scene_description>She hits him playfully. \\*<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Gloria, you need to give \\* yourself a bigger pat on the back for all this great acting. \\* I mean your career is gob- \\* smacking.. \\*<\/dialogue>\n    <scene_description>Gloria looks at him like he's mad. But she knows he \\* REALLY MEANS IT, and that really means A LOT to her. \\* 39 OMITTED 39 \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOND STREET SHOE SHOP - MOMENTS LATER - DAY 40 \\*<\/stage_direction>\n    <scene_description>Establisher of the historical 'CHURCH'S' SHOE SHOP. \\* Peter and Gloria happen to be walking by, Gloria \\* clocks the 'snazzy chaussures'. \\*<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>So you think I need to give \\* myself a bigger pat on the back \\* huh? \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>In my opinion yeah.. \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Let's back that opinion up \\* then. \\*<\/dialogue>\n    <scene_description>CONTINUED: Gloria takes Peter's hand; leads him into the store. \\*<\/scene_description>\n    <character>GLORIA (OVER-LAP) (CONT'D) \\*<\/character>\n    <dialogue>Peter! I am going crazy here!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOND STREET SHOE SHOP - CONTINUOUS - DAY<\/stage_direction>\n    <scene_description>Gloria surrounded by shoes, all discarded. Peter like a spare part. Gloria WEARS HER BLACK SOCKS - strange for woman trying on shoes (apparently).<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Why do none of them fit? Don't answer that. It's my fat feet.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You're not fat.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>I never said I'm fat. I know I'm not fat, but my feet need to go on a diet.<\/dialogue>\n    <scene_description>A SNOTTY SHOP ASSISTANT returns with a shoe-box.<\/scene_description>\n    <character>SNOTTY ASSISTANT<\/character>\n    <dialogue>These are the last pair we have Madam.<\/dialogue>\n    <scene_description>She unveils the BLACK SUEDE STILETTOS. Gloria's eyes light up. JUMP TO - Gloria forcing her feet into the shoes. First the right then the left..<\/scene_description>\n    <character>SNOTTY ASSISTANT<\/character>\n    <parenthetical>(sighs)<\/parenthetical>\n    <dialogue>It would probably help if one did not wear socks whilst trying on the shoes. Both for Madam's fit, and for the sake of the shoes.<\/dialogue>\n    <character>GLORIA<\/character>\n    <parenthetical>(posh English)<\/parenthetical>\n    <dialogue>Oh, does one indeed? Well Madam doesn't agree.<\/dialogue>\n    <parenthetical>(Hollywood accent)<\/parenthetical>\n    <dialogue>I always wear socks. It's my constitutional right to wear my socks.<\/dialogue>\n    <parenthetical>(calmer)<\/parenthetical>\n    <dialogue>Plus they hide my fat feet!<\/dialogue>\n    <scene_description>CONTINUED: The whole shop AWARE. Gloria forces her right foot into the shoe, stands up, looks in the mirror - does a little yelp of joy. Turns to the ASSISTANT.<\/scene_description>\n    <character>GLORIA<\/character>\n    <parenthetical>(nice as pie)<\/parenthetical>\n    <dialogue>I'll take these please honey.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GLORIA'S PRIMROSE ROOMS\/BEDROOM - DAY<\/stage_direction>\n    <scene_description>Come off a pile of clothes including the NEW BLACK SUEDE SHOES to find Peter and Gloria in bed; post- orgasm.. mutual, judging by the flushed faces. Peter un-glues himself as Gloria reaches for a cigarette.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I thought this stuff only happened in the movies..<\/dialogue>\n    <scene_description>They stare at the ceiling and burst out laughing. THEN... THE BED BEGINS TO ROTATE, like the most natural thing in world -- AND WE -- TRANSITION TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLA'S GUEST ROOM - PRESENT DAY<\/stage_direction>\n    <scene_description>Early evening, next day. Peter still in bed with Gloria in his arms, still sleeping. Not the vibrant person from Primrose Hill. He gently unhooks himself.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLA AND JOE'S KITCHEN - MOMENTS LATER - DAY<\/stage_direction>\n    <scene_description>BELLA sorting a HOT WATER BOTTLE for Gloria. Joe \\* Senior subconsciously ANNOYS HER, tinkering with a \\* BROKEN TV. Peter enters, slumps at the kitchen table. \\* His parents both look at him expectantly for news. \\*<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>She's still sleeping. \\*<\/dialogue>\n    <character>BELLA<\/character>\n    <dialogue>Well, you got here very late.. or early. The bloody birds were singing. You could have rang ahead. Gave me some warning.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Sorry Ma. It was a struggle to get her out of the hotel never mind into the car.<\/dialogue>\n    <character>BELLA<\/character>\n    <dialogue>She looks in a bad way.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>It's 'gas' in her stomach.<\/dialogue>\n    <character>JOE SNR<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>'Gas'?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>It's what Americans call indigestion.<\/dialogue>\n    <character>BELLA<\/character>\n    <dialogue>Well.. I don't know anything... But I hope it's that luv.<\/dialogue>\n    <scene_description>BELLA kisses him on the top of the head.<\/scene_description>\n    <character>BELLA<\/character>\n    <dialogue>I hope so..<\/dialogue>\n    <scene_description>She heads out of the kitchen. PETER goes to the fridge, tries to swig from a bottle of milk - can't stomach it; looks back at his Dad and the TV.<\/scene_description>\n    <character>JOE SNR<\/character>\n    <parenthetical>(notices)<\/parenthetical>\n    <dialogue>Dumped in a skip on Lark Lane.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Probably for a reason dad.<\/dialogue>\n    <character>JOE SNR<\/character>\n    <dialogue>Help us into the shed with it \\* and I'll treat you to a pint. \\*<\/dialogue>\n    <scene_description>Peter motions upstairs and Gloria - he CAN'T.<\/scene_description>\n    <character>JOE SNR<\/character>\n    <dialogue>Your Ma's here if Gloria wakes up.. she'll sort her out.<\/dialogue>\n    <scene_description>Peter still unsure.. CONTINUED: (2)<\/scene_description>\n    <character>JOE SNR<\/character>\n    <dialogue>Come on, have a pint with your 'arl Fellah'.. spitting feathers 'ere.<\/dialogue>\n    <scene_description>Peter nods. Father and son heave the telly off...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEYWAY - MOMENTS LATER - DAY<\/stage_direction>\n    <scene_description>Peter and Joe Snr walk CANDY on their way for a pint.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCAL PUB\/SNUG - MOMENTS LATER - DAY<\/stage_direction>\n    <scene_description>CANDY lies by Joe Snr's feet as the men sup bitter.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Ma's only just got rid of that rusty fish tank you found.<\/dialogue>\n    <character>JOE SNR<\/character>\n    <dialogue>Well all the gold fish died didn't they? And she doesn't like to see anything dead does she?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>You'll never get that TV to work Dad.<\/dialogue>\n    <character>JOE SNR<\/character>\n    <dialogue>You can bring anything back to life son. All you need is a patience and a spark.<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>JOE SNR<\/character>\n    <dialogue>Saw all her films y'know, me and y'Ma. Big fans of Gloria we were...<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I knew you'd seen her films.. didn't know you were fans.<\/dialogue>\n    <character>JOE SNR<\/character>\n    <dialogue>Well.. we didn't know what to say when she turned up the first time. A bit embarrassed I suppose.. We expected the sort of Gloria Grahame from Birkenhead or Penny Lane.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>JOE SNR<\/character>\n    <dialogue>Not that Gloria Grahame from the Woolton Picture Palace. We never expected that Gloria Grahame in our kitchen necking a bacon butty asking for the 'tommy' sauce... it was bit of a shock.<\/dialogue>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>She was a blokes actress though.. That one with Bogart--<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>'In a Lonely Place'.<\/dialogue>\n    <character>JOE SNR<\/character>\n    <dialogue>Ae. Gorgeous mouth. You knew you'd get sore lips if you walked her home.<\/dialogue>\n    <scene_description>Peter appreciates this - he did walk her home.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>What should I do Dad?<\/dialogue>\n    <character>JOE SNR<\/character>\n    <dialogue>She needs to see a doctor.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>She won't. She doesn't like \\* them.<\/dialogue>\n    <character>JOE SNR<\/character>\n    <dialogue>No-one likes them when they bring bad news.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>We'll care for her of course, but she needs her family if she's sick. She needs to be with her own...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>46A INT. BELLA AND JOE'S HOUSE\/BACK ROOM - NIGHT 46A \\*<\/stage_direction>\n    <scene_description>Peter watching over Gloria as she sleeps. Her \\* breathing irregular, not right, a loud mucus noise as \\* she inhales. \\* Silently he leaves the room. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLA AND JOE'S HOUSE\/HALLWAY - MOMENTS LATER<\/stage_direction>\n    <scene_description>Peter peers upstairs in the direction of spare room \\* THEN reluctantly, moves to the phone, picks it up, \\* tatty address book open in hand, he dials..<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Operator. International please.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>United States, California...<\/dialogue>\n    <scene_description>Peter gives a number and it CONNECTS. Then with a \\* sudden CHANGE OF HEART he slowly put the phone down. \\* THEN -- THE HALLWAY WALL BEHIND MIRACULOUSLY OPENS \\* AND WE--- TRANSITION TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 'LAX' FOYER - FLASHBACK - DAY<\/stage_direction>\n    <scene_description>PETER'S CLEAN POV TAKES US INTO A SHINY NEW AMERICAN \\* WORLD.. The foyer doors slide open revealing an EXCITED GLAMOUROUS GLORIA arriving to collect her LIVERPOOL MAN. She flings her arms in the air with joy at the \\* sight of her man. \\* Swing back round on Peter, carrying an old suitcase, over-dressed for the heat. They rush into each others arms and share a good old fashioned snog.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUNSET BOULEVARD, HOLLYWOOD - DAY<\/stage_direction>\n    <scene_description>A glistening, sunshiny day. Gloria driving Peter in her VW BEETLE - roof down. Peter stripped to his vest, Ray-Bans on living the Hollywood dream. 'Good Vibrations' on the radio.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Everything feels so sunshiny! Like the air's full of--<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>-Hollywood horse-shit, I know.<\/dialogue>\n    <scene_description>Both chuckle.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Actually, I wanna show you something.<\/dialogue>\n    <scene_description>CONTINUED: Gloria brakes and spins the car like a stunt driver so that they end up travelling the opposite way.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOLLYWOOD MANSION - DAY<\/stage_direction>\n    <scene_description>Gloria and Peter peering through HUGE ENTRANCE GATES at an ART DECO MANSION of epic proportions.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Jeez! \\*<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>A-hu.<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>A bit bigger than my Mum and \\* Dad's house in Liverpool. \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>I looove your folks pad. It's \\* my favourite house in the \\* world! \\*<\/dialogue>\n    <scene_description>Peter smiles with pride - Gloria means it too! \\*<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>What's it like, living in a \\* place like this? \\*<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Fun.. for a while. \\*<\/dialogue>\n    <parenthetical>(pointing)<\/parenthetical>\n    <dialogue>Bogey and Betty lived right \\* over there. \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>Next door?? \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Ahu.. \\*<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Did you see a lot of them?<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>We were friendly at first.. but \\* then Cy, my husband, and Bogey \\* had some beef about Bogey's dogs barking at night. They ended up threatening each other over the fence with shotguns.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I loved Humphrey.. \\*<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>He gave me the best acting \\* advice once...<\/dialogue>\n    <parenthetical>(Bogey accent)<\/parenthetical>\n    <dialogue>\"Just keep it in the shadows \\* Gloria, let the camera come to you.\"<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Ain't that the best?<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>A few times Bogey would call me up... late...<\/dialogue>\n    <scene_description>Gloria trails off thinking. She CLUCKS.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>But that Betty Bacall...<\/dialogue>\n    <scene_description>(clucks) \\* she always looks so damned good. I couldn't compete with that. Peter glances at Gloria as she stares into her past. \\*<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>(snaps out of it) \\*<\/dialogue>\n    <scene_description>Come on... I don't want my ex- husband catching me peeping into my past.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>What?? Y'mean he still lives here!?<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Course he does. Why wouldn't \\* he?<\/dialogue>\n    <scene_description>Gloria quickly backs off to the car, Peter follows casting a glance back. Gloria - one big jigsaw he's constantly trying to piece together.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PACIFIC COAST HIGHWAY - DAY - LATER<\/stage_direction>\n    <scene_description>The VW BEETLE cruising past Malibu Beach and its luxurious, silly-money beach houses.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VW BEETLE - MOMENTS LATER<\/stage_direction>\n    <scene_description>The car parked up. Peter and Gloria stare out... CONTINUED:<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>So this is your current LA mansion?<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>You like it?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>\"Awesome\", that how you say it?<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>That's how we say it.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>It's so you...<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Come in. I'll give you the grand tour.<\/dialogue>\n    <scene_description>They exit the car and we reveal Gloria's mansion to be a FUNKY TRAILER - pastel shaded, beautifully maintained, perched on a prime cliff top spot overlooking the Malibu ocean.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAILER - CONTINUOUS<\/stage_direction>\n    <scene_description>Peter stood in the kitchen takes the place in. HE'S ALSO TAKING GLORIA IN - it's been a long time since they made love and he's in no mood to wait.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>This is the west wing...<\/dialogue>\n    <scene_description>She feels his 'energy'... but coyly continues.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>The east over there, north, south, yah, pretty much covers it.<\/dialogue>\n    <scene_description>The place cluttered with PHOTOS OF HER KIDS, books on meditation and self help, cooking contraptions - the PUBLICITY POSTCARD from 'The Bad and the Beautiful' (established) in a picture frame on the window sill. Peter picks it up.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>It's the only one I like out of thousands taken.<\/dialogue>\n    <scene_description>Peter nods, picks up another. CONTINUED: ANGLE ON: a photo of a good looking boy.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Tim, my eldest.<\/dialogue>\n    <scene_description>PETER moves in close, can't help pawing her a little, getting physical.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>You don't miss the mansions?<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Who needs a house with twelve bathrooms? Plus I ain't great \\* with a vacuum cleaner.<\/dialogue>\n    <scene_description>They smile. Gloria does look relaxed.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Here, it's all just simple. I can grow my tomatoes, look out at the ocean.<\/dialogue>\n    <scene_description>They both reflect on the oil painting view.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>There's another view I wanna show ya... I hope you'll find it just as desire-able.<\/dialogue>\n    <scene_description>She takes his hand and leads him to the bedroom.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Now this view..<\/dialogue>\n    <scene_description>Peter jumps on the bed - looks back up at her.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>...is my favourite.<\/dialogue>\n    <scene_description>Gloria shuts us out and joins him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GLORIA'S TRAILER - LATER<\/stage_direction>\n    <scene_description>Peter sits at a wooden picnic table drinking wine with Gloria, her rouge cheeked MOTHER (JEAN) and older sister JOY who wears a well-worn hippy look.<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>Peter, you do know that Gloria's descended from British Royalty?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Like 'God Save The Queen' royalty?<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>Her father's line descends from John of Gaunt, Duke of Lancaster, the famous Shakespearean one-<\/dialogue>\n    <parenthetical>(collects herself)<\/parenthetical>\n    <dialogue>\"This royal throne of kings, This sceptered Isle, This earth of majesty, This seat of Mars, This other Eden, demi Paradise....<\/dialogue>\n    <scene_description>Peter about to clap when--<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>\"This blessed plot, This earth, This England!\"<\/dialogue>\n    <scene_description>A moment. Has she finished??<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Bravo!<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>'The Bard' has always been close to my heart from the first time I played Ophelia. One of many roles I should add.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Yup. The Bard's the nuts Mom.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>Gloria should play more \\* Shakespeare in my opinion. \\*<\/dialogue>\n    <character>JOY<\/character>\n    <dialogue>Lady Macbeth springs to mind.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>She'd be a straight fit for Juliet don't you think? She oozes tragic romance..<\/dialogue>\n    <scene_description>He shares a knowing wink with Gloria.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>How did you end up here from bonnie Scotland?<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>Gloria's father's idea, he got a job working behind the scenes on the MGM lot.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Then he ran off with another woman.<\/dialogue>\n    <character>JOY<\/character>\n    <dialogue>It's the 'Hollywood Way'.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>He moved to New Jersey. I never really saw him after that... I loved Dad, he was cookie like me... I miss him.<\/dialogue>\n    <character>JOY<\/character>\n    <dialogue>He was a grade 'A' asshole.<\/dialogue>\n    <scene_description>Peter sees the unresolved issues all round.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>You must be very proud of your daughter...<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>It was obvious she'd be successful. I only wish she'd tried a little harder.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>I'm right here by the way Mother.<\/dialogue>\n    <scene_description>Joy getting jealous.<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>She was just as good an actress as the other blonde you know.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Who's that?<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>Y'know.. the nice girl that had an affair with The President.<\/dialogue>\n    <scene_description>Peter smiles with his eyes. Joy looks over - she's been glugging the wine. CONTINUED: (3)<\/scene_description>\n    <character>JOY<\/character>\n    <dialogue>Peter how old are you? If you don't mind me asking?<\/dialogue>\n    <scene_description>Gloria shoots Joy a knowing look.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>28 last time I looked.<\/dialogue>\n    <character>JOY<\/character>\n    <parenthetical>(to Mom)<\/parenthetical>\n    <dialogue>Oh... not that much younger than Tim then.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(to Gloria)<\/parenthetical>\n    <dialogue>Tim, your first son right?<\/dialogue>\n    <scene_description>Gloria nods - doesn't like where this is heading.<\/scene_description>\n    <character>JOY<\/character>\n    <dialogue>Tim's dad was Nick Ray who directed 'Rebel Without A Cause'... Hollywood Big Shot.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>James Dean's a god to me. \\*<\/dialogue>\n    <character>JOY<\/character>\n    <dialogue>It's a strange set up don't you think though Peter?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>What is?<\/dialogue>\n    <character>JOY<\/character>\n    <dialogue>Gloria has other sons she must have mentioned?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Yes, two.<\/dialogue>\n    <character>JOY<\/character>\n    <dialogue>With her fourth husband.. Tony.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Who also happened to be Gloria's step-son.<\/dialogue>\n    <scene_description>IT ALL GOES QUIET. Peter not fully aware before this.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Talk about your own kids okay Joy?<\/dialogue>\n    <scene_description>CONTINUED: (4)<\/scene_description>\n    <character>JOY<\/character>\n    <dialogue>Only filling him in on family history. Nothing to be ashamed about is there?<\/dialogue>\n    <character>GLORIA<\/character>\n    <parenthetical>(to Peter)<\/parenthetical>\n    <dialogue>I'd just divorced Cy. It wasn't like Tony was a child or anything.<\/dialogue>\n    <character>JOY<\/character>\n    <dialogue>Not when you got married.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>But what about when you first screwed him?<\/dialogue>\n    <scene_description>Gloria bangs up to her feet.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Mother take this bitch home before I take her fucking head off!<\/dialogue>\n    <scene_description>Gloria stomps off into the trailer leaving a stunned Peter. Finally he gets up..<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Well I suppose this is goodnight.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>Do us all a favour Peter... don't marry Gloria, even if she begs. It would be embarrassing.<\/dialogue>\n    <character>JOY<\/character>\n    <dialogue>Again.<\/dialogue>\n    <scene_description>It's obvious Mother feels the same way as Joy. Peter follows Gloria into the trailer.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAILER - CONTINUOUS<\/stage_direction>\n    <scene_description>Gloria angrily washing up. Tries not to clock Peter as he comes in - unsure of his reaction.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>That sister of mine can be such a jerk!<\/dialogue>\n    <scene_description>Gloria starts sniffling. CONTINUED:<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>But I'm a good mother Peter. You ask any one of my kids and they'll tell you that. I promise you.<\/dialogue>\n    <scene_description>Peter taking this in. We aren't sure how he'll react.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Is what she said true? \\*<\/dialogue>\n    <scene_description>Gloria finds Peter's eyes - she looks tired. \\*<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Listen Peter, everyone in this \\* town's already made their mind \\* up. I'm sick of the yapping. \\* Think what you wanna think... \\*<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I think.. It doesn't matter.. \\* what Joy says or thinks or your \\* Mum.. Or anyone else... Not to \\* me.<\/dialogue>\n    <scene_description>Peter takes her in his arms. Gloria looks up - needing this.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>No?<\/dialogue>\n    <scene_description>Peter shakes his head smiles, Gloria gradually relaxes, grabs his face and kisses him hard.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MALIBU BEACH - NIGHT<\/stage_direction>\n    <scene_description>Waves gently lap the shore. Peter, BARE CHESTED IN LOOSE JOGGING BOTTOMS, cradles Gloria on the bonnet of the VW Beetle looking out at sea.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Can I tell you something... something I've never really told anyone before.<\/dialogue>\n    <scene_description>She faces him.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Only if you want to.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I feel the need to be honest with you.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>\"Honesty's the best policy.\" \\*<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Well, I think you should \\* know... I mean it's only right \\* that you know.. \\*<\/dialogue>\n    <scene_description>He trails off... struggling.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Go on honey. \\*<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>In the past, I've enjoyed \\* boyfriends as well as \\* girlfriends.. so.. yeah.. \\*<\/dialogue>\n    <scene_description>Gloria takes it in. Peter hoping he's not ballsed it.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Well... I've enjoyed \\* girlfriends as well as \\* boyfriends... so I guess that \\* makes us even. \\*<\/dialogue>\n    <scene_description>There's an even deeper understanding. They kiss. THEN hear a COMMOTION on the beach, a line of silvery-grey splashing on the waters edge.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>It's the 'Grunion'!<\/dialogue>\n    <scene_description>Gloria jumps off the car - grabs Peter with her.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Quick Peter, the 'Grunion are running'! They only 'run' on \\* special occasions! \\*<\/dialogue>\n    <scene_description>Gloria drags him onto the beach; soon they are stood in the most magnificent sight - thousands of GRUNION FISH splashing on the tide-line in a MATING RITUAL.<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>(unsure)<\/parenthetical>\n    <dialogue>Are they OK?<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Sure they are! They're making love. They're in love!!! Just like us Peter! Just like us!<\/dialogue>\n    <scene_description>Gloria and Peter in love with the grunions. As Gloria rushes out further to be with the fish PETER stays FOREGROUND. THEN HE TURNS. WALKS TO CAMERA AND WE--- TRANSITION TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLA AND JOE'S HOUSE - MORNING - PRESENT DAY<\/stage_direction>\n    <scene_description>AND HE WALKS INTO THE HALLWAY THROUGH THE FRONT DOOR, WHICH CLOSES BEHIND HIM. \\* He looks heavily conflicted as he hovers by the \\* phone... He reaches into his pocket; brings out \\* Gloria's MEDICAL DISCHARGE SHEET (Est Sc. 15). Scan \\* through; nods to his internal dialogue - picks up the \\* phone. Dials. \\*<\/scene_description>\n    <character>PETER (V.O.)<\/character>\n    <dialogue>Hello, can I to speak to a-<\/dialogue>\n    <scene_description>(reads) \\* Doctor Taylor please? (beat) Yes, Peter Turner I'm a close friend of Gloria Grahame, he treated her a couple of days ago, I'm looking after her at my house-- (pause) I am her boyfriend... \\* Peter feels good saying 'her boyfriend'.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Doctor Taylor?<\/dialogue>\n    <parenthetical>(listens)<\/parenthetical>\n    <dialogue>Yes Gloria, that's right.<\/dialogue>\n    <parenthetical>(listens)<\/parenthetical>\n    <dialogue>Well I'd like to know more about Gloria's condition, the 'gas' in her stomach?<\/dialogue>\n    <parenthetical>(listens)<\/parenthetical>\n    <dialogue>Gas, yes. \\*<\/dialogue>\n    <parenthetical>(listens)<\/parenthetical>\n    <dialogue>Well, I'm the closest she has to family in England right now. \\*<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Gloria's staying with me at my \\* mother and father's house whilst she gets better...<\/dialogue>\n    <scene_description>Peter intent on understanding. But after a few moments he realises he's not comprehending...<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Er.. sorry... what?<\/dialogue>\n    <scene_description>On Peter as TRUTH IS REVEALED.<\/scene_description>\n    <character>PETER (CONT'D) \\*<\/character>\n    <dialogue>Are you sure? I mean have you \\* done tests.. \\*<\/dialogue>\n    <scene_description>The handset melting his brain, burning his fingers..<\/scene_description>\n    <character>PETER (CONT'D) \\*<\/character>\n    <dialogue>She's not said any of this.. \\* She'd have told me. I'm sorry \\* Doctor I need to speak to \\* Gloria, because quite frankly. \\* I don't believe what I'm \\* hearing. Goodbye. \\*<\/dialogue>\n    <scene_description>He puts the phone down. WTF!! \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSTAIRS\/BELLA'S GUEST ROOM - LATER - DAY 58 \\*<\/stage_direction>\n    <scene_description>An ashen Peter (T-shirt on) stops outside the room \\* when he overhears Bella and Gloria chatting. INTERCUT Bella fixing Gloria's hair at the dressing table. Gloria looking almost perky.<\/scene_description>\n    <character>BELLA<\/character>\n    <dialogue>Did I see Peter coming? Oh my \\* god no, I was forty by then. \\* Thought my child bearing hips had long gone.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>You must've been just one \\* darned healthy Mamma Bella! So you were shocked right?<\/dialogue>\n    <character>BELLA<\/character>\n    <dialogue>Not by then. Nothing shocks me \\* anymore luv.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Except stopovers in bloody Manila.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>You gotta go!<\/dialogue>\n    <character>BELLA<\/character>\n    <dialogue>Oh, I don't know... \\*<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>You gotta.. a son always needs \\* his Mom. No matter how old they get. Billy needs you! And if you gotta stay over in Manila to see him then you just gotta \\* do it.<\/dialogue>\n    <scene_description>Bella ponders Gloria's wisdom as Peter walks in.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Hey Peter, your Mom's ironing \\* me out.<\/dialogue>\n    <character>BELLA<\/character>\n    <dialogue>She's so bloody beautiful.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>I was.<\/dialogue>\n    <character>BELLA<\/character>\n    <dialogue>Don't be daft, those movie idol looks don't just wither away they're with you for life.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Ohhh.. I love her Peter! \\*<\/dialogue>\n    <scene_description>Peter confused - at total odds with the joviality.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Hey baby, do me a big favour, visit the health-food store? I need apricot kernels and black- grape juice.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I suppose so-- Ma?<\/dialogue>\n    <character>BELLA<\/character>\n    <dialogue>Health food shop? Round 'ere? \\*<\/dialogue>\n    <scene_description>(thinks) \\* I think there's one opposite \\* the bookies on Menlove Avenue. CONTINUED: (2)<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Maybe you should get something for yourself baby, you look wiped. You OK?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Yeah. I'm fine.<\/dialogue>\n    <scene_description>Gloria senses he's not. Pete backs out of the room, not really in this world.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HEALTH-FOOD SHOP - LATER - DAY<\/stage_direction>\n    <scene_description>It's pissing down. Peter approaches the shop, collar up tight but getting soaked; quickly checks the window before disappearing inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEYWAY - LATER - DAY<\/stage_direction>\n    <scene_description>Peter carrying Gloria's health-food needs in a plastic bag trudges home; given up on protecting himself from the rain.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLA'S GUEST ROOM - LATER<\/stage_direction>\n    <scene_description>Gloria asleep; A GLASS OF BLACK GRAPE JUICE is laid on the bedside table, then a bowl of apricot kernels. She wakes to a rain-soaked Peter..<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Honey.. you're all wet?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Chucking it down out there.<\/dialogue>\n    <scene_description>She sits up, takes a tiny sip of grape juice. Finds it difficult to swallow.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Gloria.. Y'know I have a \\* performance later, but Mum's \\* here if you need anything. \\*<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>(nods) \\*<\/dialogue>\n    <scene_description>What's your director like?<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>He's strange... \\*<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <parenthetical>(thinks)<\/parenthetical>\n    <dialogue>Truth is I've never met a director who made anything better.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Pass me my mirror honey.<\/dialogue>\n    <scene_description>Peter hands it her, Gloria messes with her hair. Reflection shot: IRENE from 'SUDDEN FEAR' in pristine black silk pyjamas. Stay on IRENE as Peter talks.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I spoke to the doctor Gloria.. In Lancaster. He's told me. I know what the 'gas' is.<\/dialogue>\n    <scene_description>Gloria slowly puts the mirror down. Peter holding back his tears..<\/scene_description>\n    <character>GLORIA<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>Baby... I don't want any fuss.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I can't just--<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>-I can get better... if you help me I know I can.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>What about your family?<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>They don't need to know. You, \\* Bella, Pops, Joe. You're all I need.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I dunno, maybe a doctor--<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>-No doctors. Just us OK? \\*<\/dialogue>\n    <scene_description>Peter knows he's no choice... nods slowly.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>I'll get better. I promise. I \\* know I will... \\*<\/dialogue>\n    <scene_description>His head rests into her chest; she softly strokes his hair. Comforting HIM.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLA AND JOE'S HOUSE\/HALLWAY - LATER - DAY<\/stage_direction>\n    <scene_description>Peter comes down stairs, puts his coat on... off to work.<\/scene_description>\n    <character>BELLA (V.O.)<\/character>\n    <parenthetical>(from the kitchen)<\/parenthetical>\n    <dialogue>Peter. \\*<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Yeah Ma.<\/dialogue>\n    <character>BELLA (V.O.)<\/character>\n    <dialogue>In here please. \\*<\/dialogue>\n    <scene_description>Peter obeys his Mother.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLA AND JOE'S HOUSE\/KITCHEN - LATER<\/stage_direction>\n    <scene_description>Bella, Joe, Joe Snr sat at the table, they fix him with worried stares. Peter knows he's being ambushed.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>What's up?<\/dialogue>\n    <character>BELLA<\/character>\n    <dialogue>We all know what's up luv. With \\* Gloria.. \\*<\/dialogue>\n    <scene_description>(pause) \\* I've seen that look before. \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>What look? \\*<\/dialogue>\n    <character>BELLA \\*<\/character>\n    <dialogue>Your Uncle Tommy had it. Before \\* he passed away. \\*<\/dialogue>\n    <scene_description>Peter knows she's referring to the BIG 'C'. \\*<\/scene_description>\n    <character>JOE SNR \\*<\/character>\n    <dialogue>She's dying. \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>No she's not. \\*<\/dialogue>\n    <character>JOE \\*<\/character>\n    <dialogue>What is it then? \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>It's gas. \\*<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>BELLA \\*<\/character>\n    <dialogue>It's not 'gas' luv. \\*<\/dialogue>\n    <character>JOE \\*<\/character>\n    <dialogue>Don't take the piss here lad. \\*<\/dialogue>\n    <scene_description>They stare at Peter. \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>What do you want me to say? \\*<\/dialogue>\n    <character>JOE SNR \\*<\/character>\n    <dialogue>You can start with the truth \\*<\/dialogue>\n    <scene_description>Peter has a full internal convulsion - it's an \\* impossible situation, loyalty to Gloria, but can't \\* hide the truth from his family. \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>Oh for fu-- \\*<\/dialogue>\n    <scene_description>(blurts out) \\* It's cancer, ok! \\*<\/scene_description>\n    <character>BELLA \\*<\/character>\n    <dialogue>I knew it.. \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>Happy now? \\*<\/dialogue>\n    <scene_description>Everyone takes this in. It's no massive reveal - just \\* a very sad one. \\*<\/scene_description>\n    <character>JOE \\*<\/character>\n    <dialogue>What's her family said?<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>She's not told them.<\/dialogue>\n    <character>BELLA<\/character>\n    <dialogue>You need to tell her family.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>She's doesn't want me to. I \\* promised her. And anyway Gloria \\* says she's gonna get better. \\* She's sure of it. And I \\* believe her. \\*<\/dialogue>\n    <character>BELLA<\/character>\n    <dialogue>Peter! Someone needs to be told and needs to get over here quick! There might be unexpected things to deal with.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I'm just telling you what Gloria said that's all!<\/dialogue>\n    <scene_description>It's suddenly charged.<\/scene_description>\n    <character>BELLA<\/character>\n    <dialogue>I can't take this.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Ma, she's not delirious. She \\* knows what she's saying. \\*<\/dialogue>\n    <scene_description>Bella begs to differ but doesn't want to sound insensitive.<\/scene_description>\n    <character>BELLA<\/character>\n    <dialogue>That's it. Cancel the flights. I'm not going to Australia! Not with Gloria upstairs the way she is.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Ma!<\/dialogue>\n    <character>BELLA<\/character>\n    <dialogue>She needs me here so that's where I'm gonna be. Not in Australia. Not in bloody Manila. End of story.<\/dialogue>\n    <scene_description>A visibly upset Bella storms out of the kitchen<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>You need to sort this lad! \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>Sort what?! \\*<\/dialogue>\n    <character>JOE SNR<\/character>\n    <dialogue>It's not right Peter son. \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>It's what she wants! \\*<\/dialogue>\n    <character>JOE \\*<\/character>\n    <dialogue>What about what Ma wants?! \\*<\/dialogue>\n    <character>JOE SNR \\*<\/character>\n    <dialogue>You need to let that girl's \\* family know.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>No I don't Dad!<\/dialogue>\n    <scene_description>CONTINUED: (3) Peter gets up; fixes his brother and father.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>And neither will you. \\*<\/dialogue>\n    <scene_description>Peter heads out: slams the front door on his way out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIVERPOOL PLAYHOUSE THEATRE - LATER - DAY 64 \\*<\/stage_direction>\n    <scene_description>A grand old dame of a theatre in a grand old dame of a city. Peter rushes across towards the Stage Door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVERPOOL PLAYHOUSE THEATRE\/BACK-STAGE - DAY 65 \\*<\/stage_direction>\n    <scene_description>Peter rushing to his dressing room followed by OLD JACK, the Stage Manager.<\/scene_description>\n    <character>OLD JACK<\/character>\n    <dialogue>You've been pushing it all week Peter.<\/dialogue>\n    <scene_description>The other lead characters, a (female) Surgeon and \\* (male) Anaesthetist stand outside their dressing \\* rooms in a fit of pique.<\/scene_description>\n    <character>SURGEON<\/character>\n    <dialogue>Actors being late puts everyone into a state of nervous tension!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Yeah well, it's not on purpose. Someone's dying at home, OK.<\/dialogue>\n    <character>SURGEON<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>ANAESTHETIST<\/character>\n    <dialogue>Who?<\/dialogue>\n    <scene_description>Peter deliberates whether to tell them.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>It's a good friend.. \\*<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Gloria Grahame.<\/dialogue>\n    <scene_description>They look at each other in disbelief.<\/scene_description>\n    <character>SURGEON<\/character>\n    <dialogue>The film star?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>ANAESTHETIST<\/character>\n    <dialogue>Hah! Peter, darling don't be \\* silly. We all know film stars don't die in Liverpool.<\/dialogue>\n    <scene_description>Peter turns on HIM, right up to his face. \\*<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Film stars die wherever they fucking end up Geoff. Just like you're gonna die right here if you don't shut the fuck up!<\/dialogue>\n    <character>SURGEON<\/character>\n    <parenthetical>(fearful)<\/parenthetical>\n    <dialogue>Sorry old boy.. but the show must go on mustn't it?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I'm here aren't I!<\/dialogue>\n    <scene_description>Peter stares him down, but part of him agrees. The actor's life.<\/scene_description>\n    <character>OLD JACK<\/character>\n    <dialogue>Peter... come on now.<\/dialogue>\n    <scene_description>Peter retreats into his dressing room to get ready.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVERPOOL PLAYHOUSE THEATRE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Peter DRESSED as THE NURSE, waiting in the wings. Still fuming. Still confused... BUT THEN As the curtain rises SEE HIM TRANSFORM. The actors escape. He enters stage right and delivers the opening line of the play.<\/scene_description>\n    <character>NURSE\/PETER<\/character>\n    <dialogue>\"Bit of a bleeder wasn't she?\"<\/dialogue>\n    <scene_description>JUMP CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVERPOOL PLAYHOUSE THEATRE - MOMENTS LATER<\/stage_direction>\n    <scene_description>On stage a SEDATED FEMALE PATIENT is probed by a SURGEON, flanked by THE ANAESTHETIST and THE NURSE. \\* CONTINUED: THE NURSE grabs the patient's ankles, pushes her knees up, peers up BETWEEN her legs.<\/scene_description>\n    <character>THE NURSE<\/character>\n    <dialogue>There!<\/dialogue>\n    <character>SURGEON<\/character>\n    <dialogue>I don't believe it!<\/dialogue>\n    <parenthetical>(reading the tattoo)<\/parenthetical>\n    <dialogue>\"Sam Was Here\".<\/dialogue>\n    <character>THE NURSE<\/character>\n    <dialogue>With a pierced heart.<\/dialogue>\n    <character>SURGEON<\/character>\n    <dialogue>But \"Sam Was Here?\".. Good God!<\/dialogue>\n    <scene_description>THEY ALL study the 'intimate ink'.<\/scene_description>\n    <character>THE NURSE<\/character>\n    <dialogue>Maybe he thought she was a tree trunk.<\/dialogue>\n    <scene_description>THE AUDIENCE ROAR.<\/scene_description>\n    <character>WIFE AUDIENCE \\*<\/character>\n    <dialogue>She's not gonna stick that \\* bloody great big needle in her \\* is she?! \\*<\/dialogue>\n    <character>HUSBAND AUDIENCE \\*<\/character>\n    <dialogue>She bloody well is! \\*<\/dialogue>\n    <scene_description>Peter feels his craft working BIG. Clapping hands \\* clap all they can and we bleed into-- A SERIES OF CUTS: AD-LIBS; AUDIENCE HECKLES; KILLER LINES; BIG BEAMING FACES; HEARTY LAUGHS; ACCENTUATED FACIAL EXPRESSIONS FROM ALL THE CAST. But most importantly-- PETER ESCAPING HIMSELF.. by doing so ESCAPING GLORIA.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVERPOOL PLAYHOUSE THEATRE - LATER - NIGHT<\/stage_direction>\n    <scene_description>House lights. The AUDIENCE CLAP IN RHYTHM (like they do). Peter hits the stage for his curtain call; MASSIVE WHOOPS AND CHEERS - biggest of the night. ON HIS DELIRIOUS FACE as he takes a theatrical bow.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIVERPOOL STREETS\/INT. TAXI - LATER - NIGHT<\/stage_direction>\n    <scene_description>A TAXI taking Peter home. He looks out on dark, wet Liverpudlian streets. COMING DOWN RAPIDLY.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLA'S GUEST ROOM - AT THE SAME TIME - NIGHT<\/stage_direction>\n    <scene_description>Gloria, depressed in bed. Tries an APRICOT KERNEL, spits it out. Gets out of bed, sits at the DRESSER, studies HER THINGS, strokes the PENDANT AROUND her \\* neck; flips it open. The tune drifts out... soft, plinky piano. We vaguely recognise it.. Gloria spins on her chair; launches into 'Ace in the Hole' from 'The Naked Alibi'.<\/scene_description>\n    <character>GLORIA<\/character>\n    <parenthetical>(softly singing)<\/parenthetical>\n    <dialogue>\"There's con men and there's boosters, Card sharks and crapshooters, Wearing ties and fancy collars...\"<\/dialogue>\n    <scene_description>She stands, following the moves like .<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>\"But where do they get their dollars? They've all got an ace down in the Hole..\"<\/dialogue>\n    <scene_description>THE TEMPO EXPLODES; jazz trumpet takes over. Pan off, lose Gloria in the window: Reflection shot: MARIANNA in 'NAKED ALIBI' - wearing a satin cocktail dress with spaghetti straps. She shimmies her way through the ELLA FITZGERALD TRACK.<\/scene_description>\n    <character>MARIANNA<\/character>\n    <dialogue>\"Fact is their name would be mud, Like a chump playing stud, If they lost that old ace in the hole!!!\"<\/dialogue>\n    <scene_description>Gloria, back in her nightdress stood at the window - slowly shimmying. Looking down onto the street.. IN THE SHADOWS. POV: Peter's TAXI pulls up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TAXI\/EXT. BELLA AND JOE'S HOUSE - AT THE SAME<\/stage_direction>\n    <scene_description>TIME - NIGHT Peter studies the house.. in particular THE SPARE ROOM. POV: the house in darkness<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>(to taxi driver)<\/parenthetical>\n    <dialogue>Mate, changed me mind, take us back to town will you? Belgravia Casino.<\/dialogue>\n    <character>TAXI DRIVER<\/character>\n    <parenthetical>(studies him)<\/parenthetical>\n    <dialogue>Course mate, money up front...<\/dialogue>\n    <scene_description>Peter nods, digs in his pockets<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLA'S GUEST ROOM\/EXT. STREET - AT THE SAME<\/stage_direction>\n    <scene_description>TIME - NIGHT GLORIA'S POV: the internal cab-light showing Peter hand cash up front. BUT he doesn't open the door. The TAXI then does a three point turn; drives away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELGRAVIA CASINO - NIGHT - LATER<\/stage_direction>\n    <scene_description>FOLLOW Peter into a late night casino FULL of late \\* night people. Looks relieved as he wanders past the \\* 'gamers' gaming - he reaches the bar. Orders a DOUBLE \\* WHISKEY. \\*<\/scene_description>\n    <character>EILEEN (O.S.)<\/character>\n    <dialogue>Peter!?<\/dialogue>\n    <scene_description>Reveal EILEEN (31), Peter's COUSIN in her BLACK CROUPIER DRESS. Peter squeezes her tight.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Soz Eileen, I know you're working but I need a big drink. \\*<\/dialogue>\n    <character>EILEEN \\*<\/character>\n    <dialogue>Aunt Bella's told me Ma.. Gloria's back at yours? In the \\* spare room??<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>What's going on?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>HA! Good question! \\*<\/dialogue>\n    <scene_description>CONTINUED: Eileen sees her cousin is acting strange. \\*<\/scene_description>\n    <character>EILEEN<\/character>\n    <parenthetical>(takes his face)<\/parenthetical>\n    <dialogue>You OK Pete?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Right now? I'm great! \\*<\/dialogue>\n    <scene_description>Peter shakes his head slowly in despair. Eileen hugs \\* him - she knows him - kisses him. \\*<\/scene_description>\n    <character>EILEEN \\*<\/character>\n    <dialogue>Half an hour then I'm \\* finished.. \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>Perfect. \\*<\/dialogue>\n    <character>EILEEN \\*<\/character>\n    <dialogue>Debbie! \\*<\/dialogue>\n    <scene_description>DEBBIE, the barmaid, saunters back over. \\*<\/scene_description>\n    <character>EILEEN (CONT'D) \\*<\/character>\n    <dialogue>Peter, my cousin... Whatever \\* he's 'avin, put it on the \\* 'special bill'. \\*<\/dialogue>\n    <scene_description>DEBBIE nods.. Eileen squeezes his arm, sets off to \\* the tables. Debbie brings Peter a double whiskey - \\* necks it one... he winks at Debbie; she re-fills. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELGRAVIA CLUB - NIGHT - MOMENTS LATER 74 \\*<\/stage_direction>\n    <scene_description>Peter and Eileen in a quiet corner. Peter MORE than a \\* few scotches in... the high replaced by an inebriated \\* introspection. \\*<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I've got me Ma' and Da' and our \\* Joe looking at me asking what the fuckin'ell is going on up \\* there?? \\*<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>And I don't know 'Ei'. It \\* really feels that way. I get a \\* call from Gloria out of the \\* blue and BAM! She's upstairs \\* looking soo.. Sick. \\*<\/dialogue>\n    <character>EILEEN \\*<\/character>\n    <dialogue>D'you know what's up with her? \\*<\/dialogue>\n    <scene_description>CONTINUED: Peter KNEW this question was coming. He downs his \\* whiskey - and lets it burn. \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>Stomach cancer. \\*<\/dialogue>\n    <scene_description>(pause) \\* I rang the doctor who treated \\* her in Lancaster. He said... \\* Peter can't quite believe he's about to say this. \\*<\/scene_description>\n    <character>PETER (CONT'D) \\*<\/character>\n    <dialogue>And he said she's gonna die \\* this time... soon. \\*<\/dialogue>\n    <character>EILEEN \\*<\/character>\n    <dialogue>What?? \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>Two weeks, maybe three. \\*<\/dialogue>\n    <character>EILEEN \\*<\/character>\n    <dialogue>(devastated) \\*<\/dialogue>\n    <scene_description>You're fuckin' kiddin' me.. \\* They both sit in silence a moment. \\*<\/scene_description>\n    <character>EILEEN (CONT'D) \\*<\/character>\n    <dialogue>Jesus... \\*<\/dialogue>\n    <scene_description>(pause) \\* She's had it before then.. \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>(nods) \\*<\/dialogue>\n    <scene_description>There's a scar under here.. \\* (he touches his breast) \\* Only tiny.. I never thought \\* much of it. But now... Thinking \\* back... fuckin' stupid \\* bastard.. \\* Peter thinking back to all sorts. \\*<\/scene_description>\n    <character>EILEEN \\*<\/character>\n    <dialogue>What's she doing in your Ma's \\* spare room? She should be in a \\* hozzie? \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>Well, Gloria doesn't believe in \\* doctors or hozzies, does she? \\* She hates 'em. Gloria's telling \\* me she's gonna be OK..<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>saying all she needs to do is stay in me Ma's house a bit longer... rest up... like, the \\* fucking cancer's gonna disappear.. and then she's \\* gonna toddle off back theatre \\* in Lancaster.. keep playing \\* Amanda in the Glass 'bloody' \\* Menagerie! Like nothing's \\* happened. That's Gloria... \\* doesn't want anyone to know \\* she's sick.. Not even her \\* kids.. And she's kissing and \\* hugging me... just like we used \\* to.. And that's really tough \\* too, coz I love her 'Ei'. \\*<\/dialogue>\n    <scene_description>(pause) \\* I fuckin' love her. \\* Peter can't stop the tears coming, the booze not \\* helping. Eileen jumps across, takes him in his arms.<\/scene_description>\n    <character>EILEEN<\/character>\n    <dialogue>Eh! It's OK.. Come on... I'm \\* here.<\/dialogue>\n    <scene_description>She comforts him. He sniffs up, mans up. \\*<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Sorry.. I'm OK.. I'm OK..<\/dialogue>\n    <scene_description>Eileen knows the only way is to try and lighten things up<\/scene_description>\n    <character>EILEEN<\/character>\n    <dialogue>Eh, remember that magical day in New York when I saw yous \\* two. Couldn't wait to get off \\* that crappy cruise liner I was \\* grafting on. Then only to be \\* welcomed by a movie star! That was soo special! And Gloria soo warm and lovely to me... I \\* loved that day so much I carry \\* the photos round in my bag. \\*<\/dialogue>\n    <scene_description>(pause) \\* Wanna see 'em?? \\* Peter thinks.. then nods. Eileen gets the photos out \\* hands them over to Peter whilst coming to stand over his shoulder. CONTINUED: (3)<\/scene_description>\n    <character>EILEEN<\/character>\n    <dialogue>There's us! Bloomingdales.. Macy's. Radio City.. Us on the balcony in her Manhattan apartment, look at those views.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I don't get it. She doesn't \\* look ill at all does she?<\/dialogue>\n    <scene_description>On Peter.. shaking his head in disbelief. ANGLE ON: A photo-snap of Gloria and Peter on the \\* balcony in Manhattan with smiley grins. \\* MATCH CUT TO: \\*:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>74A EXT\/INT. BALCONY\/GLORIA'S MANHATTAN APARTMENT - DAY 74A \\*<\/stage_direction>\n    <character>THE SAME MOMENT. \\*<\/character>\n    <dialogue>Gloria and Peter tickle each other JUST AFTER Eileen \\* has taken the above holiday snap. The Big Apple \\* looking delicious in the backdrop. \\*<\/dialogue>\n    <character>EILEEN \\*<\/character>\n    <dialogue>Another one just in-case \\*<\/dialogue>\n    <scene_description>Eileen gets them to stay still and snaps another.. \\* Gloria takes the camera - she frames-up. \\*<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Cheeeeeze!! \\*<\/dialogue>\n    <character>PETER\/EILEEN (O.C.) \\*<\/character>\n    <dialogue>(clenched fists) \\*<\/dialogue>\n    <scene_description>Everton!! \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>74B INT\/EXT. FOYER\/MANHATTAN APARTMENT BLOCK - LATER - 74B \\*<\/stage_direction>\n    <character>DAY \\*<\/character>\n    <dialogue>Gloria and Peter waving Eileen's yellow-cab off. \\*<\/dialogue>\n    <character>EILEEN \\*<\/character>\n    <dialogue>(out of the window) \\*<\/dialogue>\n    <scene_description>See you in Liverpool Gloria. \\*<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Liverpoool, I'm there honey. \\*<\/dialogue>\n    <character>EILEEN \\*<\/character>\n    <dialogue>Byeee. \\*<\/dialogue>\n    <scene_description>74B CONTINUED: 74B The TAXI drives off. \\*<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Crazy girl! I love her! She \\* Reminds me of Bella. \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>(nods) \\*<\/dialogue>\n    <scene_description>Both have a screw loose.. \\*<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>All the 'Turner Crew' roll like \\* that? \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>We're 'Scousers', so pretty \\* much yeah. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>74C INT. BACK-STAGE RESTAURANT, MANHATTAN - NIGHT 74C \\*<\/stage_direction>\n    <scene_description>Peter and Gloria in a showbiz-y restaurant off \\* Broadway. Gloria takes a slow intake of breath - then \\* with a passionate quiver. \\*<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Liverpoooool. \\*<\/dialogue>\n    <scene_description>(beat) \\* I just wanna go back to.. \\* Liverpoooool.. Say it for me \\* Peter. \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>Liverpool. \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Wow, I'm in love. I miss it.. \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>I don't. I'm happy right here \\* thanks. \\*<\/dialogue>\n    <scene_description>Reveal the table lamp-shade has 'GLORIA GRAHAME' \\* written on it with stick-on letters, other tables \\* also dedicated to some living HOLLYWOOD LEGEND - LIZA \\* MINELLI, ZSA ZSA GABOR, etc... \\* Peter's attention drawn to a STAR-BIZZY FLOURISH. \\*<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>(deadpan) \\*<\/dialogue>\n    <scene_description>Oh yippee... Liza's here. \\* 74C CONTINUED: 74C<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>Liza? \\*<\/dialogue>\n    <character>WE RECOGNISE IT'S LIZA MINELLI \\*<\/character>\n    <dialogue>PETER (CONT'D) \\*<\/dialogue>\n    <scene_description>Oh, Liza.. \\*<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>She practically lives in here. \\*<\/dialogue>\n    <scene_description>Gloria sees Peter impressed, her green eyes glow. \\*<\/scene_description>\n    <character>GLORIA (CONT'D) \\*<\/character>\n    <dialogue>What kinda person comes to a \\* joint where you're labeled on \\* the lamp-shade anyway? I don't \\* know why I brought you here. \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>Why did you then? \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Dunno... Maybe I wanted to \\* impress you. \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>You.. Impress me? Why? \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Because you're young.. and \\* gorgeous.. and things like that \\* get to me.. even though they \\* shouldn't and I know it's \\* wrong. \\*<\/dialogue>\n    <scene_description>Gloria ceremoniously PICKS THE LETTERS OFF the lamp- \\* shade - twirls it back to Peter. \\*<\/scene_description>\n    <character>GLORIA (CONT'D) \\*<\/character>\n    <dialogue>That's better. \\*<\/dialogue>\n    <scene_description>It now reads: 'G O HAM' \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>Now I'm really impressed, 'Go \\* Ham'. \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Can we just go order pizza back \\* at my place? \\*<\/dialogue>\n    <scene_description>74C CONTINUED: (2) 74C<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>They deliver pizza to your \\* apartment?? \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>This is America baby... OK. \\* Exit stage left through the \\* kitchens, that way we avoid the \\* flashbulbs out front. \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>And Liza.. \\*<\/dialogue>\n    <scene_description>They laugh. \\*<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>But Peter, honey, before we go, \\* you gotta tell me how I look? \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>Gloria. Honey. You look \\* beautiful. \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>(pinches his cheek) \\*<\/dialogue>\n    <scene_description>I'll take him. \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>You got him! \\*<\/dialogue>\n    <scene_description>They skip off stage left via the kitchens. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>74D EXT. MANHATTAN STREET - MOMENTS LATER 74D \\*<\/stage_direction>\n    <scene_description>Peter, arm round Gloria - strolling Manhattan style. \\*<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>OK, this is gonna sound cheezy. \\* You don't mind me being cheezy \\* for one minute do you? \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>You kiddin'? My second name's \\* 'mozzarella'. \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>(digs him playfully) \\*<\/dialogue>\n    <scene_description>Listen! \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>I'm listening! \\*<\/dialogue>\n    <scene_description>74D CONTINUED: 74D<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>OK. Good. \\*<\/dialogue>\n    <scene_description>(pause) \\* Peter.. I feel so young and \\* alive, and soo.. \\* (visceral squeal) \\* ...when I'm with you. And I \\* really want to let you know \\* that, it's important you know. \\* (pause) \\* Cheezy right? \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>If you mean 'is that a really \\* lovely thing to say?' then yes. \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>But I mean it! \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>I was just about to say the \\* same. \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>What? \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>Y'know, cheezy stuff.. \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Really? Y'don't think I'm some \\* old maiden getting my kicks out \\* of a handsome young man? \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>If you are, I'm not \\* complaining... \\*<\/dialogue>\n    <scene_description>GLORIA STIFFENS, she stares at Peter ice-cold. \\*<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Fuck you!! \\*<\/dialogue>\n    <scene_description>Gloria storms off. Peter knows he's put his foot in \\* it, goes after her - can't see these mood swings. \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>I was kidding! Glo! C'mon! \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>74E INT. GLORIA'S MANHATTAN APARTMENT - LATER 74E \\*<\/stage_direction>\n    <scene_description>Gloria calmly smoking a cigarette whilst Peter bangs \\* on the front door, locked out. \\* 74E CONTINUED: 74E<\/scene_description>\n    <character>PETER (O.C.) \\*<\/character>\n    <dialogue>Gloria open up! Gloria!!? \\*<\/dialogue>\n    <scene_description>(pause) \\*<\/scene_description>\n    <character>\"STELLAAAA!\" \\*<\/character>\n    <dialogue>Gloria walks over, opens the door. Peter expecting \\* anger, gets indifference. \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Got me figured as some pepped \\* up Blanche Dubois type, huh? \\*<\/dialogue>\n    <scene_description>(pause) \\* Careful with that... You maybe \\* right. \\* Peter follows her, in she sticks a tape on.. 'SONG \\* FOR A GUY' by ELTON JOHN drifts softly from a modern \\* early 80's Hi-Fi unit. \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>I had to tip the concierge five \\* dollars to even let me in! \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>He owes me ten percent then. \\*<\/dialogue>\n    <scene_description>Gloria walks onto her balcony. Peter follows. \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>Anyone told you you look like \\* Lauren Bacall when you smoke? \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Yeah.. Humphrey Bogart. I \\* didn't like it then either. \\*<\/dialogue>\n    <scene_description>She flicks the cigarette over the balcony. \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>(looks up) \\*<\/dialogue>\n    <scene_description>All the stars are in sky \\* tonight. \\*<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Well.. I guess that's where \\* they should be. \\*<\/dialogue>\n    <scene_description>(looking out) \\* I like that thing. \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>What? \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>That 'Chrysler Building' thing. \\*<\/dialogue>\n    <scene_description>74E CONTINUED: (2) 74E Peter straightens up, moves in close to her. \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>You know what I like? \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Amuse me. \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>Your face. \\*<\/dialogue>\n    <scene_description>Gloria - always a sucker for a compliment. Peter goes \\* in for a kiss. Gloria backs her lips just out of \\* reach. She looks at herself in the glass door-- \\* Reflection shot: LAUREL GRAY from 'IN A LONELY \\* PLACE'. \\*<\/scene_description>\n    <character>LAUREL GRAY \\*<\/character>\n    <dialogue>\"I said I liked your face. I \\* didn't say I wanna kiss it\". \\*<\/dialogue>\n    <scene_description>LAUREL GRAY exits the balcony (in reflection). \\* Stay with GLORIA as she heads across the apartment, \\* reaches the bedroom and removes her blouse, looks \\* back at Peter with obvious eyes then disappears into \\* the bedroom. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>74F EXT. CENTRAL PARK - LATER 74F \\*<\/stage_direction>\n    <scene_description>A lazy sunny day on East Green. Gloria and Peter on a \\* picnic blanket in dark glasses. There's grape juice \\* and apricot kernels on the go. \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>This city. Everywhere you turn \\* something's happening. \\* Something weird and wonderful. \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Especially after dark. \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>I love it here. \\*<\/dialogue>\n    <scene_description>Peter buries his head in her lap. Gloria stares down \\* on his youth and rugged beauty, transfixed by it. \\*<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Y'know what? You should come \\* live over here with me.. \\*<\/dialogue>\n    <scene_description>74F CONTINUED: 74F<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>I thought I already did. \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Nah. At the moment you just \\* stay where I stay. I'm talking \\* about y'know.. 'Moving in'. \\*<\/dialogue>\n    <scene_description>Peter sits up, faces her. \\*<\/scene_description>\n    <character>GLORIA (CONT'D) \\*<\/character>\n    <dialogue>LA in the winter.. works for \\* our careers, if I've still got \\* one.. And... we love each \\* other... so yeah.. Whaddya \\* think? \\*<\/dialogue>\n    <scene_description>Peter just holds her eyes. \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>I think... \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>You think... \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>I think... \\*<\/dialogue>\n    <scene_description>(singing) \\* \"I'm just a boy who can't say \\* no - I'm in a terrible fix\" \\* Then Peter launches himself on top of her - snogging \\* the hell out of her. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>74G INT. APARTMENT\/MEAT PACKING DISTRICT - NIGHT 74G \\*<\/stage_direction>\n    <scene_description>TRENDY ART-HOUSE PARTY in on of those \\* warehouse\/nightclub style homes. Peter slugging on a \\* beer, taking it all in. \\* Nothing like London nevermind Liverpool.. \\* Spots HIS DATE Gloria chatting to an uber-cool gay \\* couple, RAY AND TINO. \\*<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Peter! Ray and Tino our \\* hostess' with the mostess. \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>(friendly) \\*<\/dialogue>\n    <scene_description>WOW! I love your house... do \\* you even call this your house? \\* 74G CONTINUED: 74G<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Could fit three houses from \\* Liverpool in here. \\*<\/dialogue>\n    <scene_description>Ray and Tino look him and down.. smile without really \\* saying hello. \\*<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Ray and Tino are my bodyguards \\* when I hang out in the West \\* Village. They keep me safe. \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>From what? \\*<\/dialogue>\n    <character>TINO \\*<\/character>\n    <dialogue>Gloria's 'stalkers' of course. \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>He means my gay fans. \\*<\/dialogue>\n    <character>RAY \\*<\/character>\n    <dialogue>They all go crazy crazy when \\* they see Glo. \\*<\/dialogue>\n    <character>TINO \\*<\/character>\n    <dialogue>Frothing at the mouths. \\*<\/dialogue>\n    <character>RAY \\*<\/character>\n    <dialogue>Like they've seen the biggest \\* cock in the world. \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Ray shut up! \\*<\/dialogue>\n    <character>RAY \\*<\/character>\n    <dialogue>No I won't Miss Grahame! \\*<\/dialogue>\n    <character>TINO \\*<\/character>\n    <dialogue>She's bigger than fucking \\* 'ToTo' in Chelsea. \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>(laughing) \\*<\/dialogue>\n    <scene_description>Aren't they just fucking \\* gorgeous Peter? \\* Peter thinks 'maybe' (in more ways than one). Gloria \\* spots someone in the distance.. \\*<\/scene_description>\n    <character>GLORIA (CONT'D) \\*<\/character>\n    <dialogue>Hey! Is that Fifi Oscard?? Did \\* you invite her? \\*<\/dialogue>\n    <scene_description>74G CONTINUED: (2) 74G<\/scene_description>\n    <character>RAY \\*<\/character>\n    <dialogue>Course we invited Fifi! \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>I'll be right back. \\*<\/dialogue>\n    <scene_description>She leaves Peter with Ray and Tino. He feels slightly \\* self conscious in their glare. \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>(small talk) \\*<\/dialogue>\n    <scene_description>So.. You actually live here? \\* Jeez! \\*<\/scene_description>\n    <character>TINO \\*<\/character>\n    <dialogue>Jeez.. You already asked that. \\*<\/dialogue>\n    <scene_description>Gloria hugs Fifi only yards away, picks up on Tino's \\* tone. BUT THE MUSIC IS LOUD so she's not hearing it \\* full-on... however she's aware. \\*<\/scene_description>\n    <character>RAY \\*<\/character>\n    <dialogue>And where do you live Peter? \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>London. But I live with Gloria \\* now. New York and in the \\* winter, LA. She has a little \\* pad there. \\*<\/dialogue>\n    <character>TINO \\*<\/character>\n    <dialogue>How glamorous for you. \\*<\/dialogue>\n    <character>RAY \\*<\/character>\n    <dialogue>Rent free I suppose? \\*<\/dialogue>\n    <character>TINO \\*<\/character>\n    <dialogue>Or do you get credit on your \\* dick? \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>(beat) \\*<\/dialogue>\n    <scene_description>Excuse me? \\*<\/scene_description>\n    <character>TINO \\*<\/character>\n    <dialogue>I said, 'Do you get credit on \\* your dick'? \\*<\/dialogue>\n    <scene_description>Peter eyes them - realises it's not friendly. \\* ON GLORIA WATCHING (as Fifi chats Jack Palance), the \\* music drops to a softer track. Gloria deciphers more \\* of their talk. \\* 74G CONTINUED: (3) 74G<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>Got a problem mate? \\*<\/dialogue>\n    <character>RAY \\*<\/character>\n    <dialogue>No problem. Apart from you \\* hustling one of our dearest \\* friends of course. \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>'Hustling'? \\*<\/dialogue>\n    <character>TINO \\*<\/character>\n    <dialogue>Now he's try to hustle us. \\*<\/dialogue>\n    <character>RAY \\*<\/character>\n    <dialogue>You and Gloria are soooo \\* perfect for each other. \\*<\/dialogue>\n    <character>TINO \\*<\/character>\n    <dialogue>He won't last. \\*<\/dialogue>\n    <character>RAY \\*<\/character>\n    <dialogue>Just another wannabee actor. \\*<\/dialogue>\n    <character>TINO \\*<\/character>\n    <dialogue>I mean look at him. \\*<\/dialogue>\n    <character>RAY \\*<\/character>\n    <dialogue>Oh, do I have to?? \\*<\/dialogue>\n    <character>TINO \\*<\/character>\n    <dialogue>Plenty more unemployed actor- \\* boy leeches in the sea. \\*<\/dialogue>\n    <scene_description>GLORIA'S POV: Peter slams his beer down. Now she \\* KNOWS it's going off. She sets off back-- \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>(through gritted teeth) \\*<\/dialogue>\n    <scene_description>Keep going and I'll fucking \\* smash the cunt out of you both! \\*<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Peter come meet Fifi! \\*<\/dialogue>\n    <scene_description>Gloria grabs Peter-- \\*<\/scene_description>\n    <character>GLORIA (CONT'D) \\*<\/character>\n    <dialogue>She's never met a real \\* Liverpudlian before! \\*<\/dialogue>\n    <scene_description>Leads him away. Peter eyeballing them all the way. \\* GLORIA POINTEDLY SNOGS him FOR RAY AND TINO'S BENEFIT \\* before introducing him to Fifi. \\* 74G CONTINUED: (4) 74G \\[Could end on a funny line-- \\*<\/scene_description>\n    <character>FIFI \\*<\/character>\n    <dialogue>Hey Peter.. can you say \\* 'Liverpool' for me\\] \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>74H INT. GLORIA'S MANHATTAN APARTMENT - MORNING 74H \\*<\/stage_direction>\n    <scene_description>PETER sleeping like a baby... he's woken by the sound \\* of the front door shutting. Realises Gloria's gone. \\* CUT TO - He walks into the living room finds a \\* handwritten note on the table. \\* ANGLE ON NOTE: \\* \"Breakfast with agent back soon. Love ya. G x\" \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>74I INT. GLORIA'S BEDROOM\/MANHATTAN APARTMENT 74I \\*<\/stage_direction>\n    <scene_description>Peter on the phone.. \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>(on the phone) \\*<\/dialogue>\n    <scene_description>Are you sure they said it's a \\* 'straight offer' Ma? \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>74J INT. BELLA AND JOE'S HOUSE\/HALLWAY - CONTINUOUS 74J \\*<\/stage_direction>\n    <scene_description>Bella on the phone. \\*<\/scene_description>\n    <character>BELLA \\*<\/character>\n    <dialogue>I'm not going bloody deaf son. \\* It's the new Bleasdale play at \\* The Liverpool Playhouse. I've \\* got the number here you can \\* call them direct. \\*<\/dialogue>\n    <character>INTERCUT \\*<\/character>\n    <dialogue>PETER \\*<\/dialogue>\n    <scene_description>Why didn't you just give them \\* the number here? \\*<\/scene_description>\n    <character>BELLA \\*<\/character>\n    <dialogue>Well you can't just be giving \\* Gloria's number out willy nilly \\* can you luv.. \\*<\/dialogue>\n    <scene_description>74J CONTINUED: 74J<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>They wouldn't have known would \\* they? \\*<\/dialogue>\n    <character>BELLA \\*<\/character>\n    <dialogue>Well I certainly would. Have \\* you got a pen? Let me give you \\* this director's number. \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>OK but I don't think I can do \\* it Ma. \\*<\/dialogue>\n    <character>BELLA \\*<\/character>\n    <dialogue>Why not? \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>Because I live here now... with \\* Gloria.... what we have, it's \\* serious. \\*<\/dialogue>\n    <character>BELLA \\*<\/character>\n    <dialogue>You could both stay here. You \\* need to earn a living son. \\* That's how we brought you up. \\*<\/dialogue>\n    <scene_description>Peter scrambles for a pen. Jots it down. THEN he \\* hears the front door bang shut. \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>(excited) \\*<\/dialogue>\n    <scene_description>I gotta go Ma, Gloria's back. \\* (pause) \\* I know she can come and stay \\* with us too if I do it.. \\* Gloria doesn't even look at Peter.. goes straight \\* onto the balcony. \\*<\/scene_description>\n    <character>PETER (CONT'D) \\*<\/character>\n    <dialogue>Ma, I love you. I'll call ya \\* tomorrow... Bye. \\*<\/dialogue>\n    <scene_description>Peter finally gets Bella off the phone. Looks towards \\* Gloria. \\*<\/scene_description>\n    <character>PETER (CONT'D) \\*<\/character>\n    <dialogue>Er.. Hello? \\*<\/dialogue>\n    <scene_description>Gloria throws the cigarette away - immediately lights \\* another. Peter wanders to the balcony doors. \\*<\/scene_description>\n    <character>PETER (CONT'D) \\*<\/character>\n    <dialogue>Where've you been? \\*<\/dialogue>\n    <scene_description>74J CONTINUED: (2) 74J<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Where did I say I was? \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>Out with your agent. \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>That's where I was then. \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>From seven this morning? \\*<\/dialogue>\n    <scene_description>Beat. \\*<\/scene_description>\n    <character>PETER (CONT'D) \\*<\/character>\n    <dialogue>Gloria? \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Peter? \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>Is everything OK? \\*<\/dialogue>\n    <scene_description>She doesn't answer him. \\*<\/scene_description>\n    <character>PETER (CONT'D) \\*<\/character>\n    <dialogue>Is it? Huh? \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>It's not 'huh'. You're in New \\* York five minutes and you say \\* 'huh'? You sound like one of \\* those plastic Hollywood Brits \\* who forgot to leave. \\*<\/dialogue>\n    <scene_description>Gloria steams off to the bedroom. Slams the door. \\* Peter opens it up POV: Gloria face down on the bed. \\* Hear Peter approach the door, stay with Gloria. \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>I've been worried all day. \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Peter. Leave me alone. I've got \\* a headache. \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>(pause) \\*<\/dialogue>\n    <scene_description>Can I get you anything? \\* Gloria looks up. \\*<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Cigarettes. \\*<\/dialogue>\n    <scene_description>74J CONTINUED: (3) 74J She turns her head back to the pillow. Hear Peter \\* grabs his coat and heads out for cigs. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>74K INT. GLORIA'S MANHATTAN APARTMENT\/BEDROOM - MORNING 74K \\*<\/stage_direction>\n    <scene_description>Peter wakes up, sees Gloria sleeping away. His hand \\* gently strokes her shoulders and neck. Gloria's eyes \\* flick open. \\*<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Peter. \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>Yeah. \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Stop. \\*<\/dialogue>\n    <scene_description>Peter freezes. Gloria swings her legs out of bed, \\* puts her dressing gown on and leaves the bedroom \\* without looking at him. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>74L INT. GLORIA'S MANHATTAN APARTMENT - MOMENTS LATER 74L \\*<\/stage_direction>\n    <scene_description>Gloria in the kitchen where she's making fresh fruit \\* juice. Peter comes in, sits at the breakfast table - \\* trying to catch her eye, but she doesn't let him. \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>You fancy doing stuff today? \\* What about a Broadway matinee. \\*<\/dialogue>\n    <scene_description>(sings) \\* \"When you're a Jet you're a Jet \\* all the way\"-- \\*<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>--I'm busy. \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>Doing what? \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Auditions. \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>What time you finished? \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Later. \\*<\/dialogue>\n    <scene_description>Gloria heads back in the bedroom with her juice. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>74M INT. GLORIA'S MANHATTAN APARTMENT - LATER - DAY 74M \\*<\/stage_direction>\n    <scene_description>Gloria finally arrives home. Peter is smoking \\* nervously on the balcony.. she casts a sad glance at \\* him... He flicks the cig away, moves in. \\*<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Hi. \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>How were the auditions? \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>(shrugs) \\*<\/dialogue>\n    <scene_description>No-one knows nothing in this \\* biz... I'm gonna take a \\* shower.. \\* She moves off to the bedroom.. \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>(blurts out) \\*<\/dialogue>\n    <scene_description>I called your agent, she said \\* you didn't have any auditions. \\* Gloria turns back to face him. \\*<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Well then Peter, I guess I'm \\* busted.. \\*<\/dialogue>\n    <scene_description>Gloria holding his eye-line. No emotion. \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>Is it someone else? \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Would you believe me if I said \\* no? \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>(pause) \\*<\/dialogue>\n    <scene_description>No. \\*<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Then 'no'. \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>What then? \\*<\/dialogue>\n    <scene_description>Gloria can't tell him. \\* 74M CONTINUED: 74M<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>For god's sake Peter I already \\* got four kids. I don't need \\* five. \\*<\/dialogue>\n    <scene_description>This stings him, his male pride, he beefs himself up. \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>I'm not a kid Gloria. \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Stop acting like one then. I \\* was out OK. And now I'm back. \\*<\/dialogue>\n    <scene_description>She walks into the Bedroom, Peter still angry follows \\* her. \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>I've been offered a job back in \\* England. \\*<\/dialogue>\n    <scene_description>(pause) \\* A theatre job in 'Liverpool'. \\*<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>(fixes him) \\*<\/dialogue>\n    <scene_description>Good for you. \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>Rehearsals start in three \\* months. \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Have you taken it? \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>(beat) \\*<\/dialogue>\n    <scene_description>Do you want me to take it? \\*<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>You need me to make your mind \\* up for you now? \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>Things haven't been right for a \\* few weeks now. \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>(dismissive) \\*<\/dialogue>\n    <scene_description>You wanna leave me, fine, leave \\* me. I'm used to it. \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>Gloria, I don't think-- \\*<\/dialogue>\n    <scene_description>74M:<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>-I got an idea! Go! Now! Right \\* fucking now! \\*<\/dialogue>\n    <scene_description>GLORIA FLIPS; grabs his case from the top of the \\* wardrobe, flings it on the bed, PILES HIS CLOTHES IN. \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>Glo! Don't be-- \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Go to hell Peter! \\*<\/dialogue>\n    <scene_description>She launches the case into the hallway, slams the \\* bedroom door on him. Peter hears it lock - AND ON ONE \\* DOOR SLAMMING SHUT ON PETER'S FACE- \\* 75 OMITTED 75 \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLA AND JOE'S HOUSE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Another DOOR OPENS on a ROUGH Peter coming home \\* after his night on the lash with Eileen.. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLA AND JOE'S HOUSE\/KITCHEN - MOMENTS LATER<\/stage_direction>\n    <scene_description>Peter switches the light on. Finds JOE sat at the table, glaring at him.<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>Morning.<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(guilty)<\/parenthetical>\n    <dialogue>Morning.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Been out then?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I met our Eileen for a drink.<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Nice. Where?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>The Casino. \\*<\/dialogue>\n    <scene_description>JOE nods in approval. THEN SUDDENLY launches at PETER \\* pinning him up against the wall by his throat. CONTINUED:<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>On the fuckin' piss??! Leaving her upstairs for everyone else \\* to sort out?<\/dialogue>\n    <scene_description>PETER PUSHES BACK, gnarls his teeth, this is two \\* brothers about to go AT IT! Joe peels his fist back. \\* Peter manages to stick a hand in Joe's face. \\*<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Fuck you Joe! \\*<\/dialogue>\n    <scene_description>JUST THEN \\* BELLA walks in with a withering look. Knows exactly \\* what's going on. The brothers look at their mother. \\* JOE slowly lets go. \\*:<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I couldn't face it Ma. Coming home to her... Sorry Ma.<\/dialogue>\n    <scene_description>BELLA nods - she's not surprised.<\/scene_description>\n    <character>BELLA<\/character>\n    <dialogue>She's picking at herself. That's what happens now. The ambulance people said--<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>-Hang on! An ambulance!? \\*<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>Yeah! I called the fucking \\* ambulance. What do you expect?<\/dialogue>\n    <character>BELLA<\/character>\n    <dialogue>Joe.. don't swear.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLA'S GUEST ROOM - AT THE SAME TIME 78 \\*<\/stage_direction>\n    <scene_description>Gloria sat up in bed, listening to the argument \\* through the floor. \\*<\/scene_description>\n    <character>JOE (O.S.) \\*<\/character>\n    <dialogue>Sorry Ma but he's fucking \\* making me! The little prick! \\*<\/dialogue>\n    <character>BELLA (O.S.) \\*<\/character>\n    <dialogue>Joe!<\/dialogue>\n    <scene_description>CONTINUED: Gloria's sadly caresses the LOVE HEART PENDANT around \\* her neck. Perturbed about what she's hearing she \\* slowly climbs out of bed AND WE-- \\* TRANSITION TO: \\*: 79-85 OMITTED 79-85 \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GLORIA'S MANHATTAN APARTMENT - MORNING<\/stage_direction>\n    <scene_description>Gloria climbs out of bed as Peter sleeps like a baby. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>86A INT. GLORIA'S MANHATTAN APARTMENT - MOMENTS LATER 86A \\*<\/stage_direction>\n    <scene_description>A dressed Gloria writing the note.. \\* \"Breakfast with agent - back soon. Love ya. G x\" \\* She leaves it on the dining table; leaves the \\* apartment. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GLORIA'S MANHATTAN APARTMENT - MOMENTS LATER<\/stage_direction>\n    <scene_description>The CONCIERGE hails a taxi for Gloria - she jumps in.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>One seventy West and twelfth.<\/dialogue>\n    <character>CAB DRIVER<\/character>\n    <dialogue>The hospital?<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>St. Vincent's, yeah..<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOCTOR'S OFFICE - LATER<\/stage_direction>\n    <scene_description>Gloria sat waiting, the books and certificates denote the office belongs to an ONCOLOGIST. Finally DOCTOR GRACE (60) walks in holding her files.<\/scene_description>\n    <character>DOCTOR GRACE<\/character>\n    <dialogue>Sorry to keep you Gloria..<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Oh don't worry..<\/dialogue>\n    <character>DOCTOR GRACE<\/character>\n    <parenthetical>(sits)<\/parenthetical>\n    <dialogue>How are the pains?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Fine. I'm sure it's just colitis. Maybe I should try those antibiotics. But you know drugs aren't my thing if I can help it..<\/dialogue>\n    <scene_description>Doctor Grace can't meet her eyes... finally looks up.<\/scene_description>\n    <character>DOCTOR GRACE<\/character>\n    <dialogue>I'm sorry Gloria... It's back.<\/dialogue>\n    <character>GLORIA<\/character>\n    <parenthetical>(genuine innocence)<\/parenthetical>\n    <dialogue>What is?<\/dialogue>\n    <scene_description>The Doctor doesn't have to say it... GLORIA drains.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>But my breasts are clear, I had the tests remember.<\/dialogue>\n    <character>DOCTOR GRACE<\/character>\n    <dialogue>It's spread to your stomach.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>But the radiation treatment in LA, it killed it!<\/dialogue>\n    <character>DOCTOR GRACE<\/character>\n    <dialogue>The only way to kill it is chemo, which you should have had with your radio.... You should have had chemo, Gloria.. Did the doctors in LA offer it you?<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Yes... but they told me I would lose all my hair... then everyone would have found out, casting directors, my family..<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I can't act without my hair Doc!<\/dialogue>\n    <scene_description>Her mind spinning.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>OK, I'll have it now. Straight away.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>DOCTOR GRACE<\/character>\n    <dialogue>The cancer was never in remission. We need to do more tests but.. it's too late for chemotherapy.<\/dialogue>\n    <scene_description>Gloria know's she's just been given a death sentence.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL CORRIDOR - MOMENTS LATER - DAY<\/stage_direction>\n    <scene_description>Gloria walking but not feeling her footsteps, not feeling anything... numb to the world.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GLORIA'S MANHATTAN APARTMENT - LATER<\/stage_direction>\n    <scene_description>Gloria enters, pre-occupied, smoking; hears Peter on the phone IN THE BEDROOM.. she secretly listens in.<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>(on the phone)<\/parenthetical>\n    <dialogue>Are you sure they said it's a 'straight offer'? \\*<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Why didn't you just give them the number here? \\*<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>But they wouldn't have known \\* would they? \\*<\/dialogue>\n    <scene_description>(pause) \\* OK, but I don't think I can do it Ma. (pause) Because I live here now..with \\* Gloria.. What we have, it's \\* serious. \\* (pause) OK, give us the number.. Gloria finally bangs the door shut. \\*<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I gotta go Ma, Gloria's back.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>I know she can come and stay with us too if I do it..<\/dialogue>\n    <scene_description>Gloria doesn't even look at Peter.. goes straight onto the balcony. Lights up a cigarette. \\*<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Er.. Hello?<\/dialogue>\n    <scene_description>CONTINUED: Gloria throws the cigarette away - immediately lights another. Peter wanders to the balcony doors.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Where've you been?<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Where did I say I was?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Out with your agent.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>That's where I was then.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>From seven this morning?<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Gloria?<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Peter?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Is everything OK?<\/dialogue>\n    <scene_description>She doesn't answer him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GLORIA'S MANHATTAN APARTMENT\/BEDROOM - MORNING 91 \\*<\/stage_direction>\n    <scene_description>Gloria sleeping away or pretending to, she feels \\* Peters hand gently stroke her shoulders and neck. \\*<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Peter.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Stop.<\/dialogue>\n    <scene_description>Gloria swings her legs out of bed, puts her dressing \\* gown on; leaves the bedroom without looking at him. \\* 92 OMITTED 92 \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ST. VINCENT'S HOSPITAL - DAY<\/stage_direction>\n    <scene_description>Gloria taking another MAMMOGRAM. She slips off her robe and steps up to the screening machine. WIDE AND LONELY of her bare back as X-rays are taken.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GLORIA'S MANHATTAN APARTMENT - LATER - DAY<\/stage_direction>\n    <scene_description>Gloria finally arrives home. Peter is smoking nervously on the balcony.. \\*<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>How were the auditions?<\/dialogue>\n    <character>GLORIA<\/character>\n    <parenthetical>(shrugs)<\/parenthetical>\n    <dialogue>No-one knows nothing in this biz... I'm gonna take a shower..<\/dialogue>\n    <scene_description>She moves off to the bedroom..<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>(blurts out)<\/parenthetical>\n    <dialogue>I called your agent, she said you didn't have any auditions.<\/dialogue>\n    <scene_description>Gloria turns back to face him.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Well then Peter, I guess I'm \\* busted... \\*<\/dialogue>\n    <scene_description>Gloria holding his eye-line. No emotion.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Is it someone else?<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Would you believe me if I said no?<\/dialogue>\n    <character>PETER<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Then 'no'.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>What then?<\/dialogue>\n    <scene_description>Gloria can't tell him.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>For god's sake Peter I already got four kids. I don't need five.<\/dialogue>\n    <scene_description>This stings him, his male pride, he beefs himself up.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I'm not a kid Gloria.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Stop acting like one then. I was out OK. And now I'm back.<\/dialogue>\n    <scene_description>She walks into the Bedroom, Peter follows her. \\*<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I've been offered a job back in England.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>A theatre job in 'Liverpool'. \\*<\/dialogue>\n    <scene_description>BEAT \\*<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Good for you.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Rehearsals start in three weeks. It's a long run.. \\*<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Have you taken it?<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>It's a good job. And I spoke to \\* Mum and she said we could stay \\* in Liverpool, at her house-- \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>--Take it. But I'm not coming. \\*<\/dialogue>\n    <scene_description>BEAT \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>You really want me to take it? \\*<\/dialogue>\n    <scene_description>(pause) \\* Without you? \\* \\*: CONTINUED: (2)<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>What? Y'need me to make your \\* mind up for you now?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I'm just worried, things \\* haven't been right for a few weeks now-- \\*<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>You know what-- You wanna leave \\* me? Fine, leave me. People walk \\* out on me all the time honey. \\*<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Glo, I don't think-- \\*<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Hey, I got an idea! \\*<\/dialogue>\n    <scene_description>(beat) \\* Go! Now! Right fucking now! \\* GLORIA FLIPS; grabs his case from the top of the wardrobe, flings it on the bed, PILES HIS CLOTHES IN.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>You're packing me up?? \\*<\/dialogue>\n    <scene_description>Peter laughs incredulously \\*<\/scene_description>\n    <character>PETER (CONT'D) \\*<\/character>\n    <dialogue>The suitcase? Come on!! \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Yeah, it's fucking 'suitcase \\* time' for you buster. \\*<\/dialogue>\n    <scene_description>Glo keeps packing him up.. \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>You're nuts y'know that! This \\* is absolutely off it's head! \\*<\/dialogue>\n    <scene_description>She launches the case into the hallway. \\*<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Go to hell Peter! \\*<\/dialogue>\n    <scene_description>She slams the bedroom door. Locks it from the inside. \\*<\/scene_description>\n    <character>PETER (O.C.) \\*<\/character>\n    <dialogue>You really want me to leave? \\*<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Yeah, send me a postcard to \\* tell me you got home safe, OK?<\/dialogue>\n    <scene_description>BEAT \\*<\/scene_description>\n    <character>PETER (O.C.)<\/character>\n    <dialogue>Can't we at least talk? Glo...? \\*<\/dialogue>\n    <scene_description>HE BANGS THE DOOR \\* Gloria back against the wall hyperventilating with \\* despair. The hardest thing she's EVER had to do. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GLORIA'S BEDROOM\/MANHATTAN APARTMENT - MORNING<\/stage_direction>\n    <scene_description>Gloria asleep in her clothes. The phone rings waking her.. she picks it up and drops it down. Then from outside the door.<\/scene_description>\n    <character>PETER (O.C.)<\/character>\n    <dialogue>Gloria? Gloria are you awake?<\/dialogue>\n    <scene_description>Gloria stays silently still... but hating herself. Peter sounds lost and teary.<\/scene_description>\n    <character>PETER (O.C.)<\/character>\n    <dialogue>This isn't fair.. I don't get it..<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Actually... maybe I do.... \\* Yeah I do... OK... \\*<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Bye Gloria...<\/dialogue>\n    <scene_description>We hear the suitcase being dragged out - and the front door opening and banging shut. Gloria closes her eyes... and drifts off to sleep again. TIME CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GLORIA'S BEDROOM\/MANHATTAN APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>She opens them... still in her clothes, night. She \\* listens for signs of Peter-life outside her door..<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GLORIA'S MANHATTAN APARTMENT - MOMENTS LATER -<\/stage_direction>\n    <scene_description>NIGHT The bedroom door unlocks; Gloria enters an apartment void of Peter. Know's he's gone. Feels his lack.. CONTINUED: She wanders over and sits at her dressing table, looks in the mirror. Then she spots something on the table. THE HEART \\* SHAPED PENDANT - a present from Peter. She picks it \\* up.. her eye-lids heavy with lost love.. looks in the \\* mirror. \\* Reflection shot: LAUREL GRAY from 'In a Lonely Place'.<\/scene_description>\n    <character>LAUREL\/GLORIA<\/character>\n    <dialogue>\"I lived a few weeks whilst you loved me - goodbye Dix.\"<\/dialogue>\n    <scene_description>MOVE IN ON THE LOVE HEART PENDANT as she fixes it \\* AROUND HER NECK, and we-- TRANSITION TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>97A INT. STAIRS\/BELLA'S KITCHEN - DAWN 97A \\*<\/stage_direction>\n    <scene_description>Back with Gloria CARESSING THE PENDANT as she makes \\* her way downstairs - listening to the argument. \\*<\/scene_description>\n    <character>JOE \\*<\/character>\n    <dialogue>Dry-your eyes lad. She didn't \\* get in the bleedin' ambulance! \\*<\/dialogue>\n    <character>BELLA<\/character>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>They couldn't get her in Peter. \\* She refused to get in. \\*<\/dialogue>\n    <character>JOE<\/character>\n    <dialogue>But they said it! The ambulance \\* blokes. They told us! She's \\* dying! She needs to be in \\* hozzie. She can't stay \\* upstairs. \\*<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Why not?! Why can't she?! What \\* if that was your Jessie up \\* there? \\*<\/dialogue>\n    <character>JOE \\*<\/character>\n    <dialogue>Are. You. Fucking. DEAF! Gloria \\* is dying in OUR Mother's house! \\*<\/dialogue>\n    <scene_description>(beat) \\* And I'm not gonna let that \\* happen. Hear me lad?? \\* 97A CONTINUED: 97A<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>I love Gloria.. but I love me \\* Ma more. And so should fuckin' \\* you! \\*<\/dialogue>\n    <scene_description>THEN Gloria appears wraith-like in one of BELLA'S \\* FLOWERY NIGHT-GOWNS. Startles everyone! \\*<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Hey guys.... I can hear you.. \\*<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Look at me! I'm OK... Yeah, I'm \\* sick, but I 'aint gonna die! \\* Joe honey, I 'aint gonna die. \\*<\/dialogue>\n    <character>BEAT. \\*<\/character>\n    <dialogue>BELLA<\/dialogue>\n    <scene_description>Oh Gloria, love. Peter! \\* Peter rushes to Gloria's side.. leads her away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>97B INT. BELLA GUEST ROOM - MOMENTS LATER 97B \\*<\/stage_direction>\n    <scene_description>Peter settles Gloria back into bed; notes a bottle of \\* DETTOL and cleaning bowl. Opens the window... \\*<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>I missed you tonight, Peter.. \\*<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I'm sorry. I just felt-- I \\* dunno Glo... I'm so sorry.. \\*<\/dialogue>\n    <character>GLORIA<\/character>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I need my make-up bag Peter.<\/dialogue>\n    <scene_description>GLORIA looks into the dressing table mirror--<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I like the new nightgown..<\/dialogue>\n    <scene_description>REFECTION: VIOLET from 'IT'S A WONDERFUL LIFE'.<\/scene_description>\n    <character>VIOLET<\/character>\n    <dialogue>\"This old thing? Why I only \\* wear it when I don't care how I look.\"<\/dialogue>\n    <character>THEY SMILE AT HER MOST FAMOUS LINE OF DIALOGUE.<\/character>\n    <dialogue>PETER turns to find her bag.. but when he turns back, he notices her eyes are closed again.<\/dialogue>\n    <scene_description>97B CONTINUED: 97B Thinking she's asleep, he creeps out of the room. SUDDENLY she starts coughing. \\*<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Am I fighting for my life Peter? Tell me I'm not fighting for my life?<\/dialogue>\n    <scene_description>Peter agonising.... he sits in and rubs her back. \\*<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>You're gonna be just fine Gloria. I'm sure of it.. \\*<\/dialogue>\n    <scene_description>GLORIA and PETER remain in each other arms. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLA'S GUEST ROOM - NIGHT<\/stage_direction>\n    <scene_description>Pull back from the PENDANT on a sleeping Gloria.. A weary looking Peter (IN DIFFERENT CLOTHES) notes her erratic breathing. He turns quietly, leaves the room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLA AND JOE'S HOUSE\/HALLWAY - MOMENTS LATER<\/stage_direction>\n    <scene_description>Peter picks up the phone; dials the operator.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>United States, California...<\/dialogue>\n    <parenthetical>(reads address book)<\/parenthetical>\n    <dialogue>6548790, thank you.<\/dialogue>\n    <scene_description>The line rings out. Then finaly:<\/scene_description>\n    <character>TIM (V.O.) \\*<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Hi! Tim. It's Peter.. Peter \\* Turner.<\/dialogue>\n    <character>TIM (V.O.) \\*<\/character>\n    <dialogue>Mom's old friend? \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>Yeah. Hi... Listen Tim, \\* Gloria's in Liverpool.. with \\* me... She's not well Tim.. \\*<\/dialogue>\n    <scene_description>Drift from Peter having to be dishonest to Gloria, to being deadly honest with Tim. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLA'S GUEST ROOM - MORNING<\/stage_direction>\n    <scene_description>Peter finds Bella fixing Gloria's hair again at the dressing table. Mothering her.<\/scene_description>\n    <character>GLORIA<\/character>\n    <parenthetical>(sees him)<\/parenthetical>\n    <dialogue>We've decided Bella can be my Mom too.<\/dialogue>\n    <scene_description>Peter manages a smile.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Ma, can you help dress Gloria into something warm please.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>We're going out. \\*<\/dialogue>\n    <character>BELLA \\*<\/character>\n    <dialogue>Out? Out Where? \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>It's a surprise.. \\*<\/dialogue>\n    <character>BELLA \\*<\/character>\n    <dialogue>Don't be daft, it's cold out. \\* She needs to stay here where \\* it's warm. \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>Come on Ma.. Just a couple of \\* hours. \\*<\/dialogue>\n    <character>BELLA \\*<\/character>\n    <dialogue>(thinks) \\*<\/dialogue>\n    <scene_description>No. It's a stupid idea. \\*<\/scene_description>\n    <character>PETER \\*<\/character>\n    <dialogue>Mum-- \\*<\/dialogue>\n    <character>BELLA \\*<\/character>\n    <dialogue>-That's final. \\*<\/dialogue>\n    <scene_description>Peter searches for Gloria's eyes. They connect. \\* Gloria senses FUN. \\*<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Bella.. \\*<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>BELLA \\*<\/character>\n    <dialogue>Yes my luv.. \\*<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>I kinda like surprises.. \\*<\/dialogue>\n    <character>BELLA \\*<\/character>\n    <dialogue>(beat) \\*<\/dialogue>\n    <scene_description>Are you sure? \\* (pause) \\* Looks like rain out there. \\*<\/scene_description>\n    <character>GLORIA \\*<\/character>\n    <dialogue>(smiles at Peter) \\*<\/dialogue>\n    <scene_description>Yeah.. Why not? \\*<\/scene_description>\n    <character>BELLA \\*<\/character>\n    <dialogue>(admits defeat) \\*<\/dialogue>\n    <scene_description>I've got some spare thermals \\* somewhere.. \\* Bella exits to sort. Peter smiling at Gloria. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIVERPOOL PLAYHOUSE THEATRE - LATER<\/stage_direction>\n    <scene_description>Peter helps a WRAPPED-UP GLORIA out of a taxi; they take in the impressive Victorian frontage. \\*<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Oh my! Isn't she a beauty! \\*<\/dialogue>\n    <scene_description>They head in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVERPOOL PLAYHOUSE THEATRE - MOMENTS LATER<\/stage_direction>\n    <scene_description>BOTH ON THE STAGE looking out onto the EMPTY SEATS. Even this sends shivers down their spines. \\*<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>They've been treading these boards since 1886.<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>Gee.. That's some treading. \\*<\/dialogue>\n    <character>JUST THEN \\*<\/character>\n    <dialogue>OLD JACK wanders on with two chairs and a couple of \\* scripts. Plonks the chairs down facing each other, lays the scripts down - and wanders off.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Nice one Jack.<\/dialogue>\n    <scene_description>Peter helps Gloria over to a chair.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>What are you up to?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I thought we'd have some fun..<\/dialogue>\n    <scene_description>Peter sits her down, gives her a script. POV: 'ROMEO AND JULIET'.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>You gotta be kidding me??<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>The Bard's 'the nuts' huh..<\/dialogue>\n    <parenthetical>(sits opposite)<\/parenthetical>\n    <dialogue>I thought we'd try it out. Page 58. Act 1 scene 5. You there?<\/dialogue>\n    <scene_description>Peter means it. Gloria finds the page.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>I'm there..<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Shall we?<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Lets.<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>You first. \\*<\/dialogue>\n    <character>JULIET\/GLORIA \\*<\/character>\n    <dialogue>Good pilgrim, you do wrong your hand too much, Which mannerly devotion shows in this; For saints have hands that pilgrims' hands do touch, And palm to palm is holy palmers' kiss.<\/dialogue>\n    <character>ROMEO\/PETER<\/character>\n    <dialogue>Have not saints lips, and holy palmers too?<\/dialogue>\n    <character>JULIET\/GLORIA<\/character>\n    <dialogue>Ay, pilgrim, lips that they must use in prayer.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>ROMEO\/PETER<\/character>\n    <dialogue>O, then, dear saint, let lips do what hands do; They pray, grant thou, lest faith turn to despair.<\/dialogue>\n    <scene_description>For a moment Gloria struggles - the words stick in \\* her throat. Peter unsure what to do - whether to go \\* over - call it a day.. But then-- \\*<\/scene_description>\n    <character>JULIET\/GLORIA<\/character>\n    <dialogue>Saints do not move, though grant for prayers' sake.<\/dialogue>\n    <scene_description>Peter smiles with pride at his 'gal'. \\*<\/scene_description>\n    <character>ROMEO\/PETER<\/character>\n    <dialogue>Then move not, while my prayer's effect I take. Thus from my lips, by yours, my sin is purged.<\/dialogue>\n    <character>JULIET\/GLORIA<\/character>\n    <dialogue>Then have my lips the sin that they have took.<\/dialogue>\n    <character>ROMEO\/PETER<\/character>\n    <dialogue>Sin from thy lips? O trespass sweetly urged! Give me my sin again.<\/dialogue>\n    <character>JULIET\/GLORIA<\/character>\n    <dialogue>You kiss by the book.<\/dialogue>\n    <scene_description>PETER rises.. APPROACHES SLOWLY and kisses her softly on the lips.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I certainly do.<\/dialogue>\n    <scene_description>A RIPPLE OF APPLAUSE from the wings where a few Stage- Hands, Old Jack, The Surgeon and The Anaesthetist have congregated without them knowing. Peter bows then helps his LEADING LADY up to curtsy. They both look out to an IMAGINARY FULL HOUSE.. and soak up their standing ovation.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FERRY ON THE MERSEY - LATER<\/stage_direction>\n    <scene_description>Gloria sat in Peter's arms watching Liverpool's historic waterfront glide by. His head next to hers protecting her from the wind. CONTINUED: Pointing out certain landmarks. He kisses her head lovingly. Gloria smiles through her exhaustion.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLA'S GUEST ROOM - LATER<\/stage_direction>\n    <scene_description>Peter helping Gloria back to bed - she is asleep \\* before she hits the pillow. Peter tucks her in tight, the sadness returned. \\* MIX TO: \\*:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVERPOOL PLAYHOUSE THEATRE - NIGHT<\/stage_direction>\n    <scene_description>Peter taking his curtain call to RAPTUROUS APPLAUSE - a huge smile on his face. Curtain down, he immediately reclaims himself FROM BEING The Nurse.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLA AND JOE'S HOUSE\/HALLWAY - LATER<\/stage_direction>\n    <scene_description>Peter arriving home - opens the door. A SUITCASE sits in the hallway. An American accent emanates from the kitchen..<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLA AND JOE'S HOUSE\/KITCHEN - MOMENTS LATER<\/stage_direction>\n    <scene_description>Peter finds his family gathered with TIM (28) who \\* stands up, offers his hand, he's good looking, same age-ish as Peter.. taller maybe.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Tim. Hi.. we finally meet. Wish \\* it wasn't this way. \\*<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>Pete.. Thanks for all you've done for Mom. \\*<\/dialogue>\n    <scene_description>They manage a smile under the circumstances. \\*<\/scene_description>\n    <character>PETER<\/character>\n    <parenthetical>(to Bella)<\/parenthetical>\n    <dialogue>How's she been tonight?<\/dialogue>\n    <character>BELLA<\/character>\n    <dialogue>She's gotten worse.<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>I asked your mother to call the doctor.<\/dialogue>\n    <scene_description>CONTINUED: Peter tries to contain himself.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>That's only gonna stress her out.<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>I needed an official note that would allow Mom to travel.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Travel? Travel where?<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>There's a doctor at St. Vincent's New York who Mum trusts. I've persuaded her to let him examine her.<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>New York!?<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>It's our only chance Peter!<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>She can't get on a plane! The journey will kill her.<\/dialogue>\n    <character>TIM \\*<\/character>\n    <dialogue>What's the alternative? \\*<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>She goes to hospital.. here. \\* 'The Liverpool Royal'.<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>You've said yourself.. she \\* hates doctors.<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>Then she stays where she is!<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>Here? In your Mom's house? \\*<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>Yes! She's comfortable. She's \\* got me. And my Ma!<\/dialogue>\n    <scene_description>(to Bella and Joe) \\* Us! CONTINUED: (2)<\/scene_description>\n    <character>TIM<\/character>\n    <dialogue>Peter. With all due respect... \\* you're just an ex-boyfriend. \\*<\/dialogue>\n    <scene_description>This hits Peter hard. THEN SUDDENLY AND SURPRISINGLY-- \\*<\/scene_description>\n    <character>JOE SNR<\/character>\n    <dialogue>Peter. \\*<\/dialogue>\n    <scene_description>(pause) \\* Tim's here. And he's Gloria's \\* son. (to Tim) And if that's your decision Tim... \\* (eyeballs Peter) \\* Everyone in this family will \\* support you. \\* Tim nods in appreciation.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Wrong move. I'm saying now.. \\*<\/dialogue>\n    <character>JOE SNR<\/character>\n    <dialogue>Lad. It's not up to you. \\*<\/dialogue>\n    <character>PETER EYE-BALLS EVERYONE.<\/character>\n    <dialogue>TIM<\/dialogue>\n    <scene_description>So.. we need to be on the 6.20 \\* flight to Heathrow tomorrow morning, then on to JFK. We \\* need to be leaving here at 4am. \\*<\/scene_description>\n    <character>JOE<\/character>\n    <dialogue>(beat) \\*<\/dialogue>\n    <scene_description>I'll get the taxi. I gotta pal \\* that works that time.. \\*<\/scene_description>\n    <character>TIM<\/character>\n    <dialogue>Thank you. \\*<\/dialogue>\n    <parenthetical>(looks around)<\/parenthetical>\n    <dialogue>All of you... For everything. \\*<\/dialogue>\n    <scene_description>(pause) \\* Please can I use the phone \\* upstairs for final arrangements? Joe Snr nods. Tim leaves. The family sit in silence.<\/scene_description>\n    <character>JOE SNR<\/character>\n    <dialogue>(to Peter) \\*<\/dialogue>\n    <scene_description>It's for the best lad. CONTINUED: (3) Joe Snr leaves; just Bella and Peter in the kitchen.<\/scene_description>\n    <character>BELLA<\/character>\n    <dialogue>I'll make some tea.<\/dialogue>\n    <scene_description>Peter slowly takes a seat. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLA'S GUEST ROOM - LATER<\/stage_direction>\n    <scene_description>Tim looking down on Gloria. Peter enters. \\*<\/scene_description>\n    <character>TIM \\*<\/character>\n    <dialogue>I have to try Peter. I gotta \\* try and save Mom. \\*<\/dialogue>\n    <scene_description>(pause) \\* I'm just glad she had you to \\* call on. \\* Peter nods solemnly.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>It's a long journey tomorrow. \\* Let me stay with her tonight.<\/dialogue>\n    <character>TIM \\*<\/character>\n    <dialogue>She's my responsibility now.. \\*<\/dialogue>\n    <character>PETER \\*<\/character>\n    <dialogue>Tim! \\*<\/dialogue>\n    <scene_description>(pause) \\* She's still my girlfriend... \\* (fixes him) \\* Please. \\* Tim gets it.. \\* They emotionally hug. Tim leaves, Peter closes the bedroom door. ALONE... sits close to Gloria - her breathing irregular; skin ghostly grey. Suddenly Gloria moans, groans, gasps in her sleep.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>It's OK Glo. I'm here. Don't \\* fight it. Don't go on... I'm here now... Let go.<\/dialogue>\n    <scene_description>A pillow falls to the floor. Peter picks it up - and for a moment there is a flash of the unthinkable.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLA'S GUEST ROOM - LATER (MONTAGE)<\/stage_direction>\n    <scene_description>Peter watches on helpless as Gloria's deteriorates: Peter moistening her cracked lips; Gloria muttering old lines of dialogue; restlessness; crying in her sleep; her breathing now the dreaded 'DEATH RATTLE'.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BELLA AND JOE'S HOUSE - LATER<\/stage_direction>\n    <scene_description>A BLACK CAB arrives for it's 4AM pick-up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLA AND JOE'S HOUSE\/BACK ROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Peter looking at Gloria - sat in exactly the same position. Has been all night. A knock on the door. Bella comes in.<\/scene_description>\n    <character>BELLA<\/character>\n    <dialogue>Taxi's here.<\/dialogue>\n    <scene_description>Peter doesn't respond.<\/scene_description>\n    <character>BELLA<\/character>\n    <dialogue>Peter?<\/dialogue>\n    <character>PETER<\/character>\n    <dialogue>I heard you Ma.<\/dialogue>\n    <character>BELLA<\/character>\n    <dialogue>I'm going to wake Tim.<\/dialogue>\n    <scene_description>Bella disappears. Peter on a motionless Gloria.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Gloria.<\/dialogue>\n    <scene_description>No answer.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Gloria... time to go.<\/dialogue>\n    <scene_description>Gloria's eyes flick open; confusion then she recognises Peter and calms. The overhead light goes on. Bella, Tim, Joe and Joe Snr busy themselves. Tim and Peter help her upright.<\/scene_description>\n    <character>TIM \\*<\/character>\n    <dialogue>Mom I'm going to get you back home. But you have to help me by giving one of your greatest ever performances OK? Is that a deal?<\/dialogue>\n    <scene_description>CONTINUED: Gloria nods.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>We can't send her out like this! She needs make-up.<\/dialogue>\n    <scene_description>A flurry of energy as Peter applies make-up, brushes her hair, dresses her in her favourite clean cream silk pyjamas, wraps her in a head scarf, plants thick woolen socks fitted on her 'fat feet'. A white fox fur placed around her shoulders. He loads her dark sun-glasses on last. Tim and Joe get Gloria on her feet, she takes a step then collapses.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>We need to carry her down. \\*<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLA AND JOE'S HOUSE\/STAIRS\/HALLWAY - MOMENTS<\/stage_direction>\n    <character>LATER<\/character>\n    <dialogue>Gloria perched on a wooden chair, carried down the stairs by Peter, Tim and Joe. Like removal men shifting a heavy set of drawers. They manage to get her to the bottom. Joe Snr stops the procession - gives Gloria a kiss.. her eyes thank him. THEN BELLA STEPS FORWARD leans in - embraces Gloria.<\/dialogue>\n    <character>BELLA<\/character>\n    <dialogue>May the Lord protect you Gloria Grahame.<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>Don't forget..<\/dialogue>\n    <character>BELLA<\/character>\n    <dialogue>What my luv?<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>A son needs his Mom... Billy \\* needs you.<\/dialogue>\n    <scene_description>Bella grips her tight, Gloria can't see her tears. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BELLA AND JOE'S HOUSE - MOMENTS LATER<\/stage_direction>\n    <scene_description>Gloria loaded into the cab. Peter fixes her seat \\* belt; bends in, kisses her on the lips... trying not \\* to cry.<\/scene_description>\n    <character>GLORIA<\/character>\n    <dialogue>Peter.. how do I look?<\/dialogue>\n    <scene_description>Peter laughs through his cry.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Beautiful. \\*<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>Always beautiful Gloria. \\*<\/dialogue>\n    <scene_description>Gloria manages her SIGNATURE 'CLUCK'. THEY KISS AS \\* PASSIONATELY AS POSSIBLE...<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>Call me when you land.. I'll be \\* awake.<\/dialogue>\n    <scene_description>Tim gets in the cab. Peter summons the strength.. and \\* tears himself away from her arms.<\/scene_description>\n    <character>PETER<\/character>\n    <dialogue>I'll be waiting! Right here! OK??<\/dialogue>\n    <character>GLORIA \\*<\/character>\n    <dialogue>(pause) \\*<\/dialogue>\n    <scene_description>In Liverpoooool. They somehow share a smile. \\* THEN \\* HE HAS TO CLOSE THE DOOR. \\* CUT TO - the Taxi sets off. It disappears...... \\* PETER \\* hoping it'll come back.. but it doesn't. \\* FINALLY \\*<\/scene_description>\n    <character>JOE (O.C.) \\*<\/character>\n    <dialogue>Eh, knob-head.. \\*<\/dialogue>\n    <scene_description>Peter snaps to reality. Reveal Joe at the gate. A \\* MOMENT... then Joe walks into the street, takes Peter \\* into his arms; hugs him with all the love he has. \\* CONTINUED: PETER struggling to KEEP IT IN \\*<\/scene_description>\n    <character>JOE (CONT'D) \\*<\/character>\n    <dialogue>I know... I know.. \\*<\/dialogue>\n    <scene_description>(pause) \\* Come on Lad. \\* He leads Peter back inside the house. BLOOD BROTHERS. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLA AND JOE'S HOUSE - AT THE SAME TIME - DAWN<\/stage_direction>\n    <scene_description>Bella and Joe Snr sat at the table.. no words. Lost \\* in Gloria thoughts. Joe enters, hovering by the door. \\*<\/scene_description>\n    <character>BELLA \\*<\/character>\n    <dialogue>Is he OK? \\*<\/dialogue>\n    <character>JOE \\*<\/character>\n    <dialogue>He'll be fine, don't worry. \\* I'll make sure he's OK. I'll \\* make sure for you. \\*<\/dialogue>\n    <scene_description>Bella smiles. Joe is a 'Carlsberg' son... probably \\* the BEST in the world. \\*<\/scene_description>\n    <character>BELLA \\*<\/character>\n    <dialogue>Joe.. \\*<\/dialogue>\n    <character>JOE \\*<\/character>\n    <dialogue>Yes Ma? \\*<\/dialogue>\n    <character>BELLA \\*<\/character>\n    <dialogue>Fetch that big suitcase from \\* the basement.. me and your Dad \\* need to pack... for Australia. \\*<\/dialogue>\n    <scene_description>Joe half smiles, relieved.. obediently heads off. \\* Bella reaches for Joe Snr's hand, he readily clasps \\* it. Life goes on.. and life is Australia, Billy \\* and... \\* BLOODY MANILA \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BELLA'S GUEST ROOM - MOMENTS LATER - DAWN<\/stage_direction>\n    <scene_description>Peter enters. Breathes in HER presence. Sits on the bed, it's still warm.. He's beyond crying, beyond heart break. Then he spots something by his feet. \\* POV: PUBLICITY POSTCARD OF GLORIA FROM 'THE BAD AND THE BEAUTIFUL' CONTINUED: It must have dropped from her suitcase in the melee. Peter picks it up... and it's true--- \\* GLORIA GRAHAME IS TRULY BEAUTIFUL. FOREVER. \\*<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIVERPOOL ROAD - AT THE SAME TIME - DAWN<\/stage_direction>\n    <scene_description>Deserted. The TAXI driving at funeral pace, couriering precious cargo. \\* Gloria somehow shines in the dull overhead cab-light, \\* dressed in cream silk, film-star shades, head scarf, a white fox fur on her shoulders.. ..a tragic goddess \\* from the 'Silver Screen'. \\* CAPTION: GLORIA ARRIVED IN NEW YORK AND WAS ADMITTED TO ST. VINCENT'S HOSPITAL FADE CAPTION: SHE DIED LATER THAT DAY CUT TO BLACK:<\/scene_description>\n    <character>EDMUND GWENN (V.O.)<\/character>\n    <dialogue>\"The winner.... Gloria Grahame \\* for 'The Bad and the \\* Beautiful!'\" \\*<\/dialogue>\n    <scene_description>APPLAUSE from a star-studded crowd. FLASHBACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 'RKO THEATRE'\/HOLLYWOOD - REAL FOOTAGE<\/stage_direction>\n    <character>1952 OSCAR CEREMONY \\*<\/character>\n    <dialogue>GLORIA sashays (not entirely gracefully) to the \\* stage. Dress off the peg, hair brushed not styled. \\* Smile fixed. She shakes EDMUND's hand. Dazed.. as the \\* FAMOUS STATUETTE is placed in her palm. \\* THEN \\* Finds HER AUDIENCE with a subtle, Gloria grin. \\*<\/dialogue>\n    <character>GLORIA<\/character>\n    <dialogue>(verbatim) \\*<\/dialogue>\n    <scene_description>\"Thank you... Thank you all \\* very much.\" \\* Gloria Grahame exits stage left. THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In medias res, in October 1981, Gloria Grahame is playing the role of Amanda in The Glass Menagerie in Lancaster and takes ill. She calls upon a former lover, Peter Turner, who reluctantly takes her to his parents' home in Liverpool to recuperate. Back in 1979, in the twilight of her once-prolific and Academy Award-winning career, Gloria is playing the role of Sadie in W. Somerset Maugham's Rain in London and asks another tenant at her boarding house\u2014Peter\u2014to practise dancing disco with her. Gloria is flirtatious with Peter, who is also an actor. They see Alien together, have a drink together afterward, and strike up a friendship. After an argument, their relationship becomes intimate, despite their noticeable age difference. In October 1981, Peter's parents are still expressing support for Peter and Gloria's friendship. Peter and his parents acknowledge that Gloria needs more attentive medical attention for whatever is ailing her. However, Gloria insists that her illness isn't serious. In 1979, Peter visits Gloria in Los Angeles and their romance continues at Gloria's modest Malibu trailer park home. Gloria's mother, Jeanne, demonstrates support for Peter and Gloria's romance, but Gloria's older sister, Joy, is hostile. Both encourage Peter not to marry Gloria, given Gloria's earlier and scandalous marriage to her former stepson Anthony Ray who was also significantly her junior. Peter and Gloria reveal to each other that they've both experimented with same-sex attraction. In October 1981, once contacting Gloria's doctor in Lancaster, Peter learns that Gloria's breast cancer has returned after initial remission in 1975. Gloria has refused any further treatment. Peter eventually confronts Gloria with what he knows, but Gloria insists she'll get better. Peter reluctantly shares the prognosis with his family, Gloria's hosts. Peter tells his friend Eileen that he still loves Gloria. From 1979, Gloria and Peter's romance continues until the spring of 1981, and Peter spends time with Gloria in New York City, including a visit from Eileen. Gloria invites Peter to live with her in America full-time. However, shortly thereafter, Gloria suddenly cools to the relationship without explanation, distancing herself from Peter. Gloria kicks him out of her New York City apartment, and he returns to Liverpool for an acting job in an Alan Bleasdale play. It is revealed that Gloria's sudden change of heart in New York City was driven by her learning that her cancer had returned. Her earlier refusal of chemotherapy in 1975 has contributed to the cancer's return. Her distance from Peter and keeping of secrets was because of ongoing tests and doctor appointments. She doesn't share this with Peter and instead hopes to drive him away as the cancer is diagnosed as terminal. In October 1981, Peter struggles with his family on how to approach care of Gloria. As she becomes increasingly weak, Gloria decides to allow Peter to inform her family of her illness. Peter surprises Gloria by taking her to a theatre to read from Romeo and Juliet (a scene in which the real actor Peter Turner makes a cameo appearance as stage hand Jack). They reconcile. Gloria's oldest son Timothy arrives from the US to assist Gloria in returning home. Peter gently packs her belongings as Gloria sleeps. Gloria says goodbye to Peter and his family and departs for the U.S. They share a final kiss. The film concludes with footage of Gloria winning the Academy Award for Best Supporting Actress for her portrayal of Rosemary Bartlow in The Bad and the Beautiful at the 25th Academy Awards."}
{"movie_name":"Elemental_2023","imdb_id":"tt15789038","script":"<script>\n  <scene>\n    <character>ELEMENTAL<\/character>\n    <dialogue>Original Story by<\/dialogue>\n    <scene_description>Peter Sohn John Hoberg &amp; Kat Likkel Brenda Hsueh Screenplay by John Hoberg &amp; Kat Likkel Brenda Hsueh Pixar Animation Studios 1200 Park Avenue Emeryville, CA 94608<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OCEAN - DAY<\/stage_direction>\n    <scene_description>Through the mist we see a glow. A small weathered boat breaks through, traveling toward camera. At first it appears the deck is on fire, but as the boat gets closer, we see the \"fire\" is actually two FIRE ELEMENTS, BERNIE and a very pregnant CINDER. TITLE: DISNEY PRESENTS They huddle together surrounded by suitcases and a small lantern that holds a BLUE FLAME. Bernie opens one of the suitcases, takes out a metallic shawl and lovingly wraps it around Cinder. It's been a long, tough journey. A shadow passes over them and they look up to see a hot air balloon soar overhead. And then, through the mist, Element City comes into view. At last they have arrived! It's awe inspiring -- there are skyscrapers covered with waterfalls, buildings with trees growing all over them, windmills, blimps, balloons, partially-submerged water boats and other vessels all make their way to the shore.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRAND GATEWAY DOCKS - DAY<\/stage_direction>\n    <scene_description>Bernie and Cinder step off the boat onto the dock and walk toward the main processing center (think of this like an otherworldly Ellis Island). They stare amazed as another boat pulls up, its deck covered in what looks like a forest. The gates open and we reveal the \"forest\" was a crowd of Earth Elements with trees growing out of their heads.<\/scene_description>\n    <character>EARTH BOAT ANNOUNCER (O.S.)<\/character>\n    <dialogue>Please keep all limbs and branches inside.<\/dialogue>\n    <scene_description>Next, a submarine rises from the water. The front pops open and water gushes out, into a puddle that is littered with hats and suitcases. After a beat, Water Elements emerge from the puddle and gather their stuff. Two WATER PASSENGERS trade briefcases.<\/scene_description>\n    <character>WATER PASSENGER 2<\/character>\n    <dialogue>Ohp! I believe this is yours.<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>WATER PASSENGER 1<\/character>\n    <dialogue>Oh, thanks!<\/dialogue>\n    <scene_description>Bernie and Cinder try to take it all in. They look up to see a blimp land on a tall perch. A hatch opens and cloud-like Air Elements float out. As the passengers exit, the blimp deflates and lowers to the perch below, where more Air passengers float on board, causing it it puff back up. Bernie and Cinder join the crowd of Elements that walk into the immigration hall. They are the only Fire figures in the entire scene.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. IMMIGRATION HALL - DAY - CONTINUOUS<\/stage_direction>\n    <scene_description>They enter the massive processing hall, slowly moving through the line. They look up to see an EPIC MURAL depicting the three waves of Elements that came together to form Element City so many years ago. Water was the first to arrive, followed by Earth and then Air.<\/scene_description>\n    <character>WOOD IMMIGRATION OFFICIAL (O.S.)<\/character>\n    <dialogue>Next!<\/dialogue>\n    <scene_description>It's their turn for processing. They hurry over to a welcoming WOOD IMMIGRATION OFFICIAL<\/scene_description>\n    <character>WOOD IMMIGRATION OFFICIAL<\/character>\n    <dialogue>Your names?<\/dialogue>\n    <character>BERNIE<\/character>\n    <dialogue>\u00datr\u00ed d\u00e0r \u00ec B\u00f9rd\u00ec<\/dialogue>\n    <character>CINDER<\/character>\n    <dialogue>F\u00e2sh \u00ec S\u00eddd\u00e8r<\/dialogue>\n    <character>WOOD IMMIGRATION OFFICIAL<\/character>\n    <dialogue>Great! And how do we spell that?<\/dialogue>\n    <scene_description>Bernie, eager, makes a series of fire sounds. The official's smile drops a little, then bright:<\/scene_description>\n    <character>WOOD IMMIGRATION OFFICIAL<\/character>\n    <dialogue>How 'bout we just go with Bernie and Cinder!<\/dialogue>\n    <scene_description>The official presses his nose onto an ink pad and then onto a document on the table, leaving an official stamp. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>WOOD IMMIGRATION OFFICIAL<\/character>\n    <dialogue>Welcome to Element City!<\/dialogue>\n    <scene_description>BIG DOORS OPEN revealing the bustling, busy city outside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ELEMENT CITY - STREET - SHORTLY AFTER<\/stage_direction>\n    <scene_description>TITLE: A PIXAR ANIMATION STUDIOS FILM<\/scene_description>\n    <character>HOT LOG VENDOR (O.S.)<\/character>\n    <dialogue>Hot logs! Hot logs for sale!<\/dialogue>\n    <scene_description>It's like Manhattan at rush hour, crowded with various Elements -- we see Earth, Water and Air people moving about the city in slides and on boats. Large canals run between the city blocks and skyscrapers. But still Bernie and Cinder are the only Fire. Distracted, Bernie walks right THROUGH an Air Element.<\/scene_description>\n    <character>AIR ELEMENT<\/character>\n    <dialogue>Hey! Watch it \"Sparky!\"<\/dialogue>\n    <scene_description>They spot an ELEVATED TRAIN as it zooms by, sending water cascading over the sides of the tracks.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN - SHORTLY AFTER<\/stage_direction>\n    <scene_description>Bernie and Cinder sit self-consciously in a train car clearly designed to accommodate Air, Earth and Water, but NOT Fire. The other passengers stand back from them and stare. The train LURCHES causing a nearby WATER GUY to stumble, splashing WATER on Cinder with a HISS. Cinder winces. Her flame shrinks and steams. Bernie quickly pulls some wood out of his bag and tenderly feeds it to her, repairing her fire. They both look to Cinder's pregnant belly -- that was close. Bernie then GLARES back at the Water Guy, furious.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Hmmmm. Water.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ELEMENT CITY EARTH\/WATER NEIGHBORHOODS<\/stage_direction>\n    <scene_description>They exit a train station and eagerly approach an Earth brownstone building with a \"For Rent\" sign in the window. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL An EARTH LANDLORD opens the door, but her eyes widen when she sees Bernie and Cinder. She points to her leafy hair:<\/scene_description>\n    <character>EARTH LANDLORD<\/character>\n    <dialogue>Dry leaves.<\/dialogue>\n    <scene_description>Then slams the door in their faces. At another building, Cinder pushes a doorbell. It catches fire -- in a panic she blows it out, then acts casual. A WATER LANDLORD opens the door, sees the two of them and immediately slams the door. A series of more door slams.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RUNDOWN NEIGHBORHOOD<\/stage_direction>\n    <scene_description>Dejected, Bernie and Cinder find themselves under the elevated train tracks, in a rundown, deserted neighborhood. They sit down to rest, exhausted, defeated. This is not how they hoped things would go. Suddenly, Bernie spots something. On the other side of a CANAL FILLED WITH WATER is a broken down building with a \"For Sale\" sign. Hope flashes in his eyes. He runs to the building.<\/scene_description>\n    <character>BERNIE<\/character>\n    <parenthetical>(in Firish, excited)<\/parenthetical>\n    <dialogue>Kh\u00fb k\u00f2 sh\u00e1 sh!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERNIE'S SHOP - DAY<\/stage_direction>\n    <scene_description>Bernie runs around, excited and full of ideas.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>R\u00ec b\u00e1\u00ec kh\u00fbr! Utriksh! T'\u00e1\u00f9 ss ks\u00f2r\u00ecf!<\/dialogue>\n    <scene_description>Cinder, more skeptical, stands just inside the doorway. Water drips from A PIPE and almost hits her. Bernie bounds to her side.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Ha ha!<\/dialogue>\n    <scene_description>He gestures excitedly, laying out his plan. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Ks\u00f4d\u00e0r \u00ec B\u00f9rd\u00ec!<\/dialogue>\n    <scene_description>He continues running around.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Ha ha!<\/dialogue>\n    <scene_description>SNAP his feet burn through a floorboard. He falls out of frame into the basement.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Ah!!<\/dialogue>\n    <scene_description>His thumb shoots up through the hole:<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>I'm ok!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERNIE'S SHOP - NIGHT<\/stage_direction>\n    <scene_description>Some time has passed. We hear a BABY CRY, and find Bernie and Cinder peacefully huddling with newborn EMBER, the Blue Flame at their side. They speak softly in Firish.<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>\u00cdk\u00ec ss \u00fbr.<\/dialogue>\n    <character>BERNIE<\/character>\n    <dialogue>B\u00ea ss ks\u00f2r\u00ecf.<\/dialogue>\n    <scene_description>Bernie reaches into the lantern and scoops some of the Blue Flame into his hands and pours it over baby Ember's head. A blessing.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>Delighted and proud, Bernie holds her up and smiles.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Welcome, my Ember, to your new life.<\/dialogue>\n    <scene_description>Baby Ember takes it in. She may not know what her father is saying but she can feel the love and excitement. TITLE: ELEMENTAL \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERNIE'S SHOP - LATER<\/stage_direction>\n    <scene_description>We start to PICK UP MOMENTUM as life continues on. -- Bernie holds the Blue Flame lantern as Ember, now a toddler, watches. He pours the flame carefully into a large empty cauldron.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Our Blue Flame hold all our traditions and give us strength to burn bright.<\/dialogue>\n    <scene_description>Ember climbs up to the cauldron's edge. She watches in awe as the flame grows. It shoots up and she's knocked back! Ember takes in the brightness of the flame. Bernie steps in front of the cauldron.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Do I burn as bright?<\/dialogue>\n    <scene_description>Goofing around, he flexes.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Hnnng. ERgggg. Hmmmm!<\/dialogue>\n    <scene_description>-- The shop is mid-construction. Bernie pushes the BLUE FLAME CAULDRON into place as Ember, now big enough to stand on it, cheers him on. Cinder lovingly watches them as she hangs a curtain.<\/scene_description>\n    <character>LITTLE KID EMBER<\/character>\n    <dialogue>One, two! One, two! One, two!<\/dialogue>\n    <scene_description>-- Bernie and Ember stand in front of an oscillating fan, taking turns making goofy faces and sounds.<\/scene_description>\n    <character>LITTLE KID EMBER<\/character>\n    <dialogue>Aaaaaahhhhhh.<\/dialogue>\n    <character>BERNIE<\/character>\n    <dialogue>Aaaaaahhhhhh.<\/dialogue>\n    <character>LITTLE KID EMBER<\/character>\n    <dialogue>Aaaaaahhhhhh.<\/dialogue>\n    <scene_description>-- Bernie and Ember work on the shop sign together. Bernie writes \"FIREPLACE\" and Ember burns in a small flame design. TIME JUMP, the SIGN hangs over the front door of the shop. Bernie climbs down the ladder and joins Ember. They admire the sign together. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>This shop is dream of our family! And someday it'll all be yours<\/dialogue>\n    <scene_description>Hers?? Ember's eyes grow in excitement. From that moment on, THIS is what she wants -- to be a good daughter and to take over the shop. TIME JUMP. The place is coming together. It's a bit corny, and over the top, but it's what Bernie wants: a shrine to Fire Land.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERNIE'S SHOP<\/stage_direction>\n    <scene_description>Opening day. A fresh pot of Lava Java is ready to serve. A CUSTOMER enters, blown away by the decor. Bernie, Cinder and Ember light up!<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Welcome!<\/dialogue>\n    <character>CINDER<\/character>\n    <dialogue>Welcome!<\/dialogue>\n    <character>BERNIE<\/character>\n    <dialogue>Everything here authentic.<\/dialogue>\n    <character>FIRST CUSTOMER<\/character>\n    <dialogue>Then I've got to try the kol-nuts.<\/dialogue>\n    <character>BERNIE<\/character>\n    <dialogue>Kol-nuts coming up!<\/dialogue>\n    <scene_description>Ember sits on the counter next to Bernie. Imitating him, she taps on her own homemade toy register.<\/scene_description>\n    <character>LITTLE KID EMBER<\/character>\n    <dialogue>Kol-nut coming up!<\/dialogue>\n    <character>BERNIE<\/character>\n    <parenthetical>(laugh)<\/parenthetical>\n    <dialogue>Good daughter.<\/dialogue>\n    <scene_description>Together, Ember and Bernie prepare the order, squeezing logs in their palms to make bite size pieces of coal. Ember hands them to the customer.<\/scene_description>\n    <character>LITTLE KID EMBER<\/character>\n    <dialogue>Some day this shop will all be mine!<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Bernie tousles her flame.<\/scene_description>\n    <character>BERNIE<\/character>\n    <parenthetical>(laughs)<\/parenthetical>\n    <dialogue>When you are ready.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERNIE'S SHOP - NIGHT<\/stage_direction>\n    <scene_description>Time lapse of outside the shop. The community develops and more Fire Elements arrive.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIRE TOWN - A FEW YEARS LATER<\/stage_direction>\n    <scene_description>Ember, a bigger kid now, sits on her dad's shoulders as they ride a scooter around town, making deliveries.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Delivery!<\/dialogue>\n    <character>BIG KID EMBER<\/character>\n    <dialogue>Delivery!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERNIE'S SHOP - ANOTHER YEAR<\/stage_direction>\n    <scene_description>The shop is even busier. Two FIRE KIDS approach the counter.<\/scene_description>\n    <character>FIRE KID 1<\/character>\n    <dialogue>Two sugar pops please!<\/dialogue>\n    <scene_description>The bigger kid places a few coins on the counter in front of Bernie and Ember.<\/scene_description>\n    <character>BIG KID EMBER<\/character>\n    <dialogue>I got it, \u00c0shf\u00e1!<\/dialogue>\n    <scene_description>Ember grabs a sugar pop and sculpts it. She molds the pop to look exactly like the kid. She hands it to them and their eyes grow in AWE. The littler kid takes a chomp.<\/scene_description>\n    <character>FIRE KID 1<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>Just then, across the store, TWO WATER TEENAGERS enter. They laugh and jokingly push each other, splashing water and knocking things over. Bernie gives Ember a nod.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Water. Keep an eye on them.<\/dialogue>\n    <scene_description>Ember SALUTES and slinks off. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL In an aisle, the snickering Water Teens take turns pouring water onto flaming souvenirs, putting them out.<\/scene_description>\n    <character>WATER TEENAGER 1<\/character>\n    <dialogue>Oops!<\/dialogue>\n    <character>WATER TEENAGER 2<\/character>\n    <dialogue>Oops!<\/dialogue>\n    <scene_description>A roiling Ember jumps in front of them.<\/scene_description>\n    <character>BIG KID EMBER<\/character>\n    <dialogue>You splash it you buy it!<\/dialogue>\n    <scene_description>Ember's eye's narrow, then she suddenly FLARES big!The Water Teenagers boil. A souvenir torch POPs from one of their hands and Ember catches it. The punks run sloppily out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERNIE'S SHOP - RIGHT AFTER<\/stage_direction>\n    <scene_description>Ember stands in the doorway, smirking as the Water Teenagers run off. Bernie walks up with a smile.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>You show them, huh?<\/dialogue>\n    <parenthetical>(yells after)<\/parenthetical>\n    <dialogue>Nobody waters down Fire!<\/dialogue>\n    <scene_description>Ember shakes her fist.<\/scene_description>\n    <character>BIG KID EMBER<\/character>\n    <dialogue>Yeah!<\/dialogue>\n    <parenthetical>(cursing in Firish)<\/parenthetical>\n    <dialogue>Sh\u00e1sh\u00e0 r \u00edsh\u00e0!<\/dialogue>\n    <scene_description>Bernie, startled, can't help but laugh. Ember looks up at him.<\/scene_description>\n    <character>BIG KID EMBER<\/character>\n    <dialogue>Can the shop be mine now?<\/dialogue>\n    <scene_description>Bernie hugs her and tousles her flame.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>When you are ready.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERNIE'S SHOP - MORE YEARS LATER<\/stage_direction>\n    <scene_description>We jump ahead more years. A Fire soap opera plays on a television above the counter. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>SOAP OPERA WOMAN<\/character>\n    <parenthetical>(melodramatic)<\/parenthetical>\n    <dialogue>The truth is...<\/dialogue>\n    <scene_description>Two shop regulars, FLARRY and FLARRIETTA, watch the show while Cinder stacks \"Kiss Me I'm Firish\" shirts:<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>She's not in love with him.<\/dialogue>\n    <character>SOAP OPERA WOMAN<\/character>\n    <parenthetical>(melodramatic)<\/parenthetical>\n    <dialogue>...I'm NOT in love with you!<\/dialogue>\n    <character>CINDER<\/character>\n    <parenthetical>(loud, cocky)<\/parenthetical>\n    <dialogue>Ha! Knew it!<\/dialogue>\n    <scene_description>At the counter, TEENAGE Ember is next to Bernie making coal nuts. She has surpassed him in speed, as he's slowed down. A CUSTOMER approaches the register.<\/scene_description>\n    <character>TEENAGE EMBER<\/character>\n    <dialogue>\u00c0shf\u00e1, customer.<\/dialogue>\n    <character>BERNIE<\/character>\n    <dialogue>How about...<\/dialogue>\n    <parenthetical>(this is a first)<\/parenthetical>\n    <dialogue>You take it today.<\/dialogue>\n    <scene_description>Ember's eyes grow. This is a big deal.<\/scene_description>\n    <character>TEENAGE EMBER<\/character>\n    <parenthetical>(thrilled)<\/parenthetical>\n    <dialogue>For real?<\/dialogue>\n    <scene_description>She beams. Words she's waited to hear since she was a kid. She confidently walks to the register with a smile. Bernie backs away, thumbs up. Ember takes a deep breath.<\/scene_description>\n    <character>TEENAGE EMBER<\/character>\n    <dialogue>R\u00e1\u00ec kh\u00ecf! How can I help you?<\/dialogue>\n    <scene_description>A customer with GLASSES places a METAL BASKET filled with small items on the counter -- next to it is a BUCKET filled with dozens of individual SPARKLERS.<\/scene_description>\n    <character>SPARKLER CUSTOMER<\/character>\n    <dialogue>All this, and the-- oh! The sparklers are 'buy one get one free?'<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>TEENAGE EMBER<\/character>\n    <dialogue>That's right!<\/dialogue>\n    <character>SPARKLER CUSTOMER<\/character>\n    <dialogue>Great! I'll just take the free one.<\/dialogue>\n    <scene_description>The customer grabs a sparkler and lights it.<\/scene_description>\n    <character>TEENAGE EMBER<\/character>\n    <dialogue>Oh, no, see, you need to buy one to get one free.<\/dialogue>\n    <scene_description>Ember nicely takes the sparkler from the customer and blows it out.<\/scene_description>\n    <character>SPARKLER CUSTOMER<\/character>\n    <dialogue>But I just want the free one.<\/dialogue>\n    <scene_description>The customer grabs another sparkler from the bucket.<\/scene_description>\n    <character>TEENAGE EMBER<\/character>\n    <dialogue>Sorry that's not how this works.<\/dialogue>\n    <scene_description>Ember takes that sparkler from the customer a bit more emphatically.<\/scene_description>\n    <character>SPARKLER CUSTOMER<\/character>\n    <dialogue>But the customer is always right.<\/dialogue>\n    <character>TEENAGE EMBER<\/character>\n    <parenthetical>(trying to be nice)<\/parenthetical>\n    <dialogue>Not in this case...<\/dialogue>\n    <scene_description>A beat, then in QUICK succession, the customer grabs another, Ember grabs it, they go back and forth, as Ember's frustration builds and she gathers a BOUQUET of sprinklers in her hand:<\/scene_description>\n    <character>TEENAGE EMBER<\/character>\n    <parenthetical>(blows between each nope)<\/parenthetical>\n    <dialogue>Nope. Nope. Nope! NOPE! NOPE! NOPE!! NOPE!!<\/dialogue>\n    <character>SPARKLER CUSTOMER<\/character>\n    <dialogue>Just give me one for free!!<\/dialogue>\n    <character>TEENAGE EMBER<\/character>\n    <dialogue>THAT'S NOT HOW THIS WORKS!!<\/dialogue>\n    <scene_description>Suddenly, with a handful of sparklers, Ember's flame turns purple and she EXPLODES. A HUGE KABOOM! It clears, revealing devastation -- the customer's basket has fused with all the items into one melted smoking blob. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL There's a black scorch mark on the floor and other small fires smoke here and there -- It was a BIG explosion. Bernie pops into frame.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Oh!<\/dialogue>\n    <scene_description>He grabs a few of the unlit sparklers, sticks them in the basket blob, blows on the them to LIGHT THEM, and hands it to the customer.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Happy birthday!<\/dialogue>\n    <scene_description>Bernie quickly walks Ember out from behind the counter. Ember is shocked and upset.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>What just happened? Why you lose temper?<\/dialogue>\n    <character>TEENAGE EMBER<\/character>\n    <dialogue>I, I don't know. He was pushing and pushing and it just--!!<\/dialogue>\n    <character>BERNIE<\/character>\n    <dialogue>Calm, calm. Sometimes customer can be tough. Just take breath<\/dialogue>\n    <parenthetical>(breath)<\/parenthetical>\n    <dialogue>and make connection --<\/dialogue>\n    <scene_description>Ember nods, taking this in. Bernie sweetly puts her apron back on.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>When you can do that, and not lose temper, then you will be ready to take over shop.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERNIE'S SHOP - SEVERAL YEARS LATER - PRESENT DAY<\/stage_direction>\n    <scene_description>TITLE OVER BLACK: SEVERAL YEARS LATER We COME UP ON THE SHOP, behind Ember at the counter. She's across from a complaining CUSTOMER:<\/scene_description>\n    <character>CUSTOMER<\/character>\n    <dialogue>...This is too expensive and that is not made in Fire Land...<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Take breath, make connection.<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>CUSTOMER<\/character>\n    <dialogue>And they weren't crunchy and there wasn't enough sauce. I think this is rotten and you touch everything...<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>(breath) Take breath, make connection.<\/dialogue>\n    <scene_description>Close on Ember's face, bright red with licks of purple.<\/scene_description>\n    <character>CUSTOMER (O.S.)<\/character>\n    <dialogue>Do you even have a license for this? Why are you breathing like that?<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>(build) Take breath, make connection. Take breath--<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>--MAKE CONNECTION!!!!<\/dialogue>\n    <scene_description>KA-BLAM. She EXPLODES. The large glass in the front counter SMASHES to pieces.<\/scene_description>\n    <character>CUSTOMER<\/character>\n    <dialogue>Ah!<\/dialogue>\n    <scene_description>EMBER deflates, frustrated, and gives a GENUINE sorry look to shell-shocked customer:<\/scene_description>\n    <character>EMBER<\/character>\n    <parenthetical>(embarrassed laugh)<\/parenthetical>\n    <dialogue>Sorry. Sorry about that. Sorry, sorry.<\/dialogue>\n    <scene_description>The shop regulars, FLARRY and FLARRIETTA, sit at a table with a FIRE DANGER sign. Flarry moves the arrow to the edge of purple.<\/scene_description>\n    <character>FLARRIETTA<\/character>\n    <dialogue>She almost went full purple! I've never seen anyone go full purple!<\/dialogue>\n    <character>EMBER<\/character>\n    <parenthetical>(to the shop)<\/parenthetical>\n    <dialogue>Sorry everyone.<\/dialogue>\n    <scene_description>Bernie hurries over to the customer.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Oh, please forgive my daughter. She burn bright, but sometimes TOO bright, eh?<\/dialogue>\n    <scene_description>He blows out a burning flower on the customer's hat.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Nice hat by the way.<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Let me make you a new batch! On the house!<\/dialogue>\n    <scene_description>The still stunned customer nods and walks away.<\/scene_description>\n    <character>CUSTOMER<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Ember jumps over the counter to scoop up all the glass pieces... while she cleans:<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Sorry \u00c0shf\u00e1. I don't know why that one got away from me.<\/dialogue>\n    <scene_description>She puts the glass in her mouth and starts chewing. Bernie moves into a station next to the counter that's filled with coals, he starts making the kol-nuts.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Oh you are tense because of big Red Dot Sale tomorrow. It has us all at a broil.<\/dialogue>\n    <scene_description>Ember spits out the glass in a long glowing tube that she blows and molds into a pane.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>I guess. It's just, some of these customers, they get me all, grrr.<\/dialogue>\n    <scene_description>She accidentally smooshes the glass in her hands. Oops.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>I know, I know. Just do what we practice. You are SO good at everything else.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>You're right. I'll get it. I just want you to rest.<\/dialogue>\n    <scene_description>Ember blows on the glass, smoothing it into shape. This is a natural talent of her's and she's proud of it.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Mmhmm.<\/dialogue>\n    <scene_description>She sets the glass into place.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Done.<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Bernie goes back to making kol-nuts but bursts into a COUGHING fit.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>BERNIE<\/character>\n    <dialogue>Just tired.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Let me help.<\/dialogue>\n    <scene_description>She helps him off the coals and climbs in the station to take over. From across the store:<\/scene_description>\n    <character>FLARRY<\/character>\n    <dialogue>Bernie, that cough is terrible.<\/dialogue>\n    <character>FLARRIETTA<\/character>\n    <dialogue>Almost as terrible as your cooking.<\/dialogue>\n    <character>BERNIE<\/character>\n    <dialogue>\u00ca...sh\u00fatsh...<\/dialogue>\n    <character>FLARRIETTA<\/character>\n    <dialogue>When you gonna put Ember out of her misery and retire, huh? Finally put her name on the sign out there?<\/dialogue>\n    <character>BERNIE<\/character>\n    <dialogue>Ah, she take over when she's ready.<\/dialogue>\n    <scene_description>Ember's face briefly sinks. Not the answer she wanted. She hides the disappointment, puts her shields up and covers:<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>And speaking of \"ready,\" we are MORE than ready for you to actually BUY something, if you'd ever get up off your lazy ash.<\/dialogue>\n    <scene_description>The shop reacts with laughter and an \"Oh! Burn!\"<\/scene_description>\n    <character>FLARRIETTA<\/character>\n    <dialogue>Burn!<\/dialogue>\n    <parenthetical>(laugh)<\/parenthetical>\n    <character>BERNIE<\/character>\n    <parenthetical>(reassuring)<\/parenthetical>\n    <dialogue>But she is SO close.<\/dialogue>\n    <parenthetical>(then a challenge)<\/parenthetical>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>I mean, she'll probably never do deliveries as quick as me...<\/dialogue>\n    <scene_description>Ember puts the last kol-nut into the basket. She picks up a counter timer and cranks it.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>You don't think I can beat your record? Because I've been taking it easy on you so I don't hurt your feelings, Mr. Smokestack.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>But game on!<\/dialogue>\n    <scene_description>Bernie watches with a smile as Ember hurries to pack up deliveries.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERNIE'S SHOP - SAME TIME<\/stage_direction>\n    <scene_description>At the back of the shop, a beaded curtain hangs over the entrance to the hearth. A sandwich board advertises match making services. Ember whizzes by, collecting things for her delivery. We hear Cinder's voice from inside the hearth.<\/scene_description>\n    <character>CINDER (O.S.)<\/character>\n    <dialogue>Before I see...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CINDER'S MATCHMAKING OFFICE - CONTINUOUS<\/stage_direction>\n    <scene_description>This looks like a fortune teller's room. CINDER sits on one side of a table across from a young, nervous FIRE COUPLE. In the center of the table stand two sticks.<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>...if you are a match, I splash this on your heart to bring love to the surface.<\/dialogue>\n    <scene_description>Cinder splashes them with oil.<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>And I will read the smoke.<\/dialogue>\n    <scene_description>They each light a stick and Cinder studies the smoke. Cinder leans in, excited. Just then, Ember throws open the curtains with a WHOOSH. The smoke dissipates. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>Ember! I'm doing a reading!<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Sorry, gotta grab some stuff.<\/dialogue>\n    <scene_description>Ember starts collecting items.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Going for Dad's record.<\/dialogue>\n    <character>FIRE GUY<\/character>\n    <dialogue>So... are we a match?<\/dialogue>\n    <character>CINDER<\/character>\n    <dialogue>It's true love!<\/dialogue>\n    <scene_description>She turns toward Ember.<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>Which is more than I ever smelled on this one.<\/dialogue>\n    <character>EMBER<\/character>\n    <parenthetical>(rolls her eyes)<\/parenthetical>\n    <dialogue>Oh goodie. This ol' chestnut.<\/dialogue>\n    <scene_description>As Ember moves toward the exit, Cinder grabs her arm and sniffs it.<\/scene_description>\n    <character>CINDER<\/character>\n    <parenthetical>(sniff)<\/parenthetical>\n    <dialogue>Yup, nothing. Just a loveless sad future of sadness.<\/dialogue>\n    <scene_description>Ember turns to leave but her mom stops her again.<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>Ember! Work with me!<\/dialogue>\n    <scene_description>Ember rolls her eyes.<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>You finding match was my mother's dying wish!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - FLASHBACK<\/stage_direction>\n    <scene_description>Ember's grandmother lays in bed with the family around.<\/scene_description>\n    <character>GRANDMOTHER<\/character>\n    <dialogue>Promise me one thing -- marry fire. Uhh.<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL POOF, she's gone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CINDER'S MATCHMAKING OFFICE - BACK TO SCENE<\/stage_direction>\n    <scene_description>Everyone is where we left them.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Nice try, Mom. Gotta go!<\/dialogue>\n    <scene_description>Ember exits and Cinder turns back to the couple who are now full-on making out. Cinder picks up a spray bottle and squirts.<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>Save it for the wedding!<\/dialogue>\n    <character>FIRE GUY<\/character>\n    <parenthetical>(react to spray bottle)<\/parenthetical>\n    <dialogue>Hey!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERNIE'S SHOP - SOON AFTER<\/stage_direction>\n    <scene_description>Ember exits the shop rushing boxes to her scooter. CLOD, a pubescent EARTH BOY, pops out of a planter. He follows Ember as she loads her bike.<\/scene_description>\n    <character>CLOD<\/character>\n    <dialogue>Yo yo yo Ember!<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Yo Clod. Can't talk, in a hurry. And don't let my dad catch you out here again.<\/dialogue>\n    <scene_description>Clod combs his hair with a gardening fork.<\/scene_description>\n    <character>CLOD<\/character>\n    <dialogue>What? C'mon. He doesn't like my \"laaandscaping?\"<\/dialogue>\n    <scene_description>Ember gives a half-smirk but keeps loading.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Uff.<\/dialogue>\n    <character>CLOD<\/character>\n    <dialogue>Anyway, June Bloom is coming and you just got to be my date. Cause check it out! I'm all grown up!<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL He lifts up his arm revealing a small flower.<\/scene_description>\n    <character>CLOD<\/character>\n    <parenthetical>(sniff sniff)<\/parenthetical>\n    <dialogue>And I smell goooood.<\/dialogue>\n    <scene_description>He plucks the armpit flower and holds it out to her, kneeling.<\/scene_description>\n    <character>CLOD<\/character>\n    <dialogue>Ow! My queen.<\/dialogue>\n    <scene_description>Ember takes the flower. POOF it burns.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Sorry buddy. Elements don't mix.<\/dialogue>\n    <scene_description>Ember LOOKS through the front window of the shop at the TIMER on the counter.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Flame! Gotta go!<\/dialogue>\n    <scene_description>She gets back to business. But Clod is persistent.<\/scene_description>\n    <character>CLOD<\/character>\n    <dialogue>Come on! Go to the festival with me! You never leave this part of town.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>That's because everything I need is right here.<\/dialogue>\n    <scene_description>Just then a WATER TRAIN passes by on an elevated track. Water splashes and Ember swiftly pops open her umbrella. She looks at the train crossing the bridge, annoyed. By contrast, Clod happily soaks up the shower.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Plus the city isn't made with Fire people in mind.<\/dialogue>\n    <scene_description>Irritated, she closes her umbrella and hops on her scooter.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Sorry, but it'd take an act of God to get me to cross that bridge.<\/dialogue>\n    <character>CLOD<\/character>\n    <dialogue>An act of God or an act of... Clod?<\/dialogue>\n    <scene_description>Ember starts her scooter and pulls away. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Gotta run!<\/dialogue>\n    <scene_description>She drives off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIRE TOWN - CONTINUOUS<\/stage_direction>\n    <scene_description>We follow Ember as she makes her deliveries. And while she might seem TENSE in the shop, out here she seems FREE. -- She makes a delivery to a CHIMNEY STORE. They, in turn, give her gift. -- Ember pulls up to a HOT LOGS CART. She holds out a package. A FIRE CHEF pops up from the grill and takes it. -- Ember pulls up to a FIRE COUPLE pushing a charcoal grill down the sidewalk. She hands them a bottle of lighter fluid.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>As ordered.<\/dialogue>\n    <scene_description>They lift the lid off the grill, revealing a tiny FIRE BABY keeping warm over the charcoals. One of the parents feeds the baby the bottle. The baby sucks on it and burbs flames.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Gotta run! Going for dad's record.<\/dialogue>\n    <scene_description>-- Ember is behind a SLOW old truck carrying wood. She loses her patience.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Move it!<\/dialogue>\n    <scene_description>She manuevers her scooter around the truck. She turns back, shakes her fist and calls back.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Sh\u00e1sh\u00e0 r \u00edsh\u00e0!<\/dialogue>\n    <scene_description>-- SHOTS CUTTING FASTER -- Ember delivers sandbags to a SMOKE CLEANERS experiencing a water leak. -- She hands off a parcel outside a WOODSHOP. -- She races by a FIREWORKS COMPANY dropping off a box of FIREWORKS. Kids swarm around the box, the contents explode and they cheer. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Ember drives off with the fireworks going off behind her. The sequence ends with Ember racing home, happy, free.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERNIE'S SHOP - THAT NIGHT<\/stage_direction>\n    <scene_description>The shop's OPEN sign is turned inward. Ember rushes in, celebrating.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Ha ha! Winner winner charcoal dinner--<\/dialogue>\n    <scene_description>She sees something and quickly catches the door so it won't slam. We reveal Bernie asleep at the counter, pen in hand and surrounded by sheets of red dot stickers. Ember softly shuts the door and tip toes in. She smiles lovingly, then cleans up the papers and drapes a chainmail shawl over his shoulders. He wakes with a SMOKE COUGH. Ember gently pulls a red dot sticker off his cheek.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Head to bed. I'll close things up.<\/dialogue>\n    <scene_description>Bernie gets up and Ember follows.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Still have much to prepare for Red Dot Sale.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Dad, I'll take care of it. You need to rest.<\/dialogue>\n    <scene_description>Just then the TIMER rings. Bernie looks at the timer, then to Ember with excitement.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>How?<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>I learned from the best.<\/dialogue>\n    <scene_description>They share a warm laugh. Ember puts a hand on Bernie's back and leads him across the shop. As they approach the Blue Flame, Bernie starts coughing again.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>I am old. I can't do this forever.<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL He picks up a stick from the base of the Blue Flame's cauldron.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Now that you have beaten my time there is only one thing you haven't done... tomorrow I sleep in. And I want YOU to run shop for Red Dot sale.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Seriously?? By myself??<\/dialogue>\n    <character>BERNIE<\/character>\n    <dialogue>If you can do that without losing your temper, it will show me you are able to take over.<\/dialogue>\n    <scene_description>He breaks the twig in two and hands a piece to Ember.<\/scene_description>\n    <character>EMBER<\/character>\n    <parenthetical>(this is HUGE)<\/parenthetical>\n    <dialogue>You got it \u00c0shf\u00e1.<\/dialogue>\n    <scene_description>Bernie holds the twig with both hands and closes his eyes. Then he tosses it into the Blue Flame. Ember beams.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>I won't let you down. I swear. You'll see.<\/dialogue>\n    <scene_description>They share a warm hug.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Hmm. Good daughter.<\/dialogue>\n    <scene_description>Bernie slowly climbs the stairs. Ember watches him go, then flares up, excited.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <scene_description>Ember turns to the Blue Flame. Just like Bernie, she holds her stick and closes her eyes before tossing it into the cauldron.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Blue Flame, please let this go my way.<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIRETOWN - SAME TIME<\/stage_direction>\n    <scene_description>We look over the smoky rooftops of Firetown toward Element City.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERNIE'S SHOP - THE NEXT MORNING<\/stage_direction>\n    <scene_description>The streets of Firetown are waking up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERNIE'S SHOP - CONTINUOUS<\/stage_direction>\n    <scene_description>We see QUICK SHOTS of EMBER slapping RED DOT STICKERS on items. She stands at the front door and takes a moment to adjust the RED DOT SALE pin on her apron.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Take a breath.<\/dialogue>\n    <parenthetical>(breath)<\/parenthetical>\n    <dialogue>Calm as a candle.<\/dialogue>\n    <scene_description>She rolls up the front window shade and sees a wall of customers waiting to come in. Her eyes go wide for a moment but then she puts on a smile and opens the door.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Morning. Welcome to the Fireplace--<\/dialogue>\n    <scene_description>Customers RUSH in and she's practically trampled. We go to a series of POPS of the sale. It's chaotic, like Black Friday. Ember fights to keep her cool. -- A CUSTOMER yanks on a can at the bottom of a pyramid display, shaking the whole stack. Ember rushes up.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Whoa whoa, they're all the same. Just take one from the top.<\/dialogue>\n    <parenthetical>(then, chipper)<\/parenthetical>\n    <dialogue>Thanks for shopping.<\/dialogue>\n    <scene_description>-- A CUSTOMER heaves an armload of red stickers onto the counter<\/scene_description>\n    <character>STICKER CUSTOMER<\/character>\n    <parenthetical>(effort)<\/parenthetical>\n    <dialogue>So many stickers for sale!<\/dialogue>\n    <scene_description>-- A customer sweeps a whole shelf of Blue Flame trinkets into a basket. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>TRINKET CUSTOMER<\/character>\n    <dialogue>Are these fragile?<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>No wait!<\/dialogue>\n    <scene_description>SMASH. Several trinkets fall and break. -- Ember stops a CUSTOMER from putting a log in their mouth:<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>You have to pay before you eat.<\/dialogue>\n    <scene_description>-- A crescendo of SUPER QUICK SHOTS of Ember at the register. All she can see is faces and questions and items being shoved toward her.<\/scene_description>\n    <character>CUSTOMERS<\/character>\n    <dialogue>Does this come in a large? \/ What's your return policy? \/ These glasses are backward. \/ I want a refund. \/ I'm next!! \/ Has anyone seen my husband?<\/dialogue>\n    <scene_description>INTERCUT TO CLOSE UPS OF EMBER TRYING TO BREATH THROUGH ANGER.<\/scene_description>\n    <character>EMBER<\/character>\n    <parenthetical>(through gritted teeth)<\/parenthetical>\n    <dialogue>Take breath.<\/dialogue>\n    <scene_description>A kid holds up a broken toy.<\/scene_description>\n    <character>KID CUSTOMER<\/character>\n    <dialogue>My dad broke this.<\/dialogue>\n    <character>EMBER<\/character>\n    <parenthetical>(through gritted teeth)<\/parenthetical>\n    <dialogue>Make connection...<\/dialogue>\n    <scene_description>A high-pitched kettle starts to whistle.<\/scene_description>\n    <character>KETTLE CUSTOMER<\/character>\n    <dialogue>Mind if I test this kettle?<\/dialogue>\n    <scene_description>It's too much. Ember is on the verge of EXPLODING. Smoke building and fire roiling. With gritted teeth and a SUPER STRAINED voice, her color starts turning more purple...<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Be back in 5 minutes!<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL She rushes awkwardly out, sparks and flame blasting, hands covering her mouth, barely contained.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERNIE'S SHOP - BASEMENT<\/stage_direction>\n    <scene_description>Ember rushes down the basement steps, her fire SPITTING AND SPARKING. She hurries to an area away from the door and LETS IT OUT!<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>AHHHHHH!<\/dialogue>\n    <scene_description>Her fire BLASTS. As the smoke clears, there's a LOUD VIBRATION from a pipe. CUT TO upstairs, the pipes in the shop are vibrating too. The customers look around, concerned. Back in the basement, the pipe cracks and SHOOTS a fire-hose- like stream of water right at Ember! It douses part of her flame and she ducks away. More streams burst from the pipe, spraying all over the basement. Ember panics. Water is SPRAYING EVERYWHERE, filling the basement and HURTING HER. She has to dodge the spray. Thinking quick, she picks up an umbrella and, getting STUNG by water, jumps toward the pipe. She uses her hands to heat the pipe and weld the crack, stopping the leak. Then, she surveys the damage. The basement is completely flooded.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Oh no no no no no.<\/dialogue>\n    <parenthetical>(whispering, total panic)<\/parenthetical>\n    <dialogue>Stupid temper! Not today!<\/dialogue>\n    <scene_description>Ember's flame is damaged. She quickly grabs sticks from a bucket and eats them, growing her flame.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>What is wrong with me?<\/dialogue>\n    <scene_description>Just then, A PICTURE FRAME floats to the surface of the water and starts to move. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Then two streams of water fountain up out of the pool and two hands holding the frame appear... WADE sits up out of the water, bawling his eyes out.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>What the--?<\/dialogue>\n    <scene_description>He looks at the picture, moved, crying.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>What a happy family. Is that you and your DAD??<\/dialogue>\n    <scene_description>The frame holds a photo of young Ember and her parents. She is held up by Bernie, blowing fire on a birthday cake, the candles sparking.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>I love dads. And it's your birthday!<\/dialogue>\n    <scene_description>His tears splash Ember.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Who are you? What are you doing here?<\/dialogue>\n    <character>WADE<\/character>\n    <parenthetical>(still crying)<\/parenthetical>\n    <dialogue>I don't know! I was searching for a leak on the other side of the river and got sucked in. This is bad! I can't lose another job! I just can't seem to find my flow.<\/dialogue>\n    <scene_description>He stands, revealing himself for the first time. And he's HUNKY, CUT. Ember can't help but notice.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Dang.<\/dialogue>\n    <scene_description>Then Wade looks down at himself.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Ugh, that pipe squished me all out of shape.<\/dialogue>\n    <scene_description>He shakes and PLOPS back into his regular bouncy Wade shape.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>That's better.<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Dude, just get out of here. I gotta clean this mess before my dad sees what I did.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Ooo, actually...<\/dialogue>\n    <scene_description>Wade sloshes his way over to a junction of several pipes. Frowning, her pulls a notepad and pen out from under his shirt.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>I'm afraid I'm going to have to write you a ticket.<\/dialogue>\n    <scene_description>He starts scribbling on the pad.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>A ticket??<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Yeah. I'm a city inspector. And this pipe is definitely not up to code.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>I sucked a city inspector into our pipes??<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>I know, ironic, right?<\/dialogue>\n    <scene_description>Wade taps on the pipe.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Stop messing with that!<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>I need to make sure it's solid.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Everything's solid. I should know. My dad re-built this place himself.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Wait, your dad did?<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Yes! With his bare hands. Every brick and board. It was a ruin when he found it.<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Wow. He did all of this himself?<\/dialogue>\n    <parenthetical>(getting weepy)<\/parenthetical>\n    <dialogue>Without permits?<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Uh...<\/dialogue>\n    <scene_description>Wade's tears start to flow again.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>I'm gonna have to write that up too. First I'm sucked into a pipe and now I have to write citations that could get this place shut down. Oh gosh, it's just too much!<\/dialogue>\n    <scene_description>Ember instantly FLAMES UP.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Shut us DOWN??<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>I know! It's awful!<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>No! You can't shut us down. Please! This is a big day for me. It's our Red Dot Sale!<\/dialogue>\n    <scene_description>Ember flares her arms out trying to grab the ticket book.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Hey, take it easy. This is as hard on me on as it is on you.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Get back here!!<\/dialogue>\n    <scene_description>Wade runs for the other side of the room.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Sorry! I gotta get these to city hall before the end of my shift.<\/dialogue>\n    <scene_description>He slips out a basement window. Ember lunges after him. She looks at her Red Dot Sale button then rips off her apron, tosses it on the ground.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Flame!<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL BEHIND HER we see another pipe-joint begin to leak -- the problem is NOT over, but she doesn't notice. She climbs out the window and chases after Wade.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Get back here!<\/dialogue>\n    <scene_description>REVEAL Bernie looking out the window. He sees Ember chase Wade down the street.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Hmm?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIRETOWN - RIGHT AFTER<\/stage_direction>\n    <scene_description>Ember chases Wade to the the train PLATFORM -- the train she said it'd take an act of God for her to get on.<\/scene_description>\n    <character>TRAIN ANNOUNCER (O.S.)<\/character>\n    <dialogue>Next stop, Element City.<\/dialogue>\n    <scene_description>Down the platform, Wade, not seeing Ember, steps into a waiting train. She has to follow. Crap. She looks back at Firetown. As the doors start to close, Ember throws on her hood and SLIPS into the last car.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEVATED TRAIN CAR - RIGHT AFTER<\/stage_direction>\n    <scene_description>She scans for Wade. But the train is CROWDED -- and Ember is right -- the city is definitely NOT made with Fire Elements in mind. She tries to work her way toward the front, carefully squeezing past a HUGE grassy Earth Element, but the train lurches.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Whoa!<\/dialogue>\n    <scene_description>She slams into the grass man. POOF his grass burns up leaving a very skinny guy.<\/scene_description>\n    <character>EARTH ELEMENT<\/character>\n    <dialogue>Hay!<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Sorry!<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL She looks ahead, there's Wade. But it's too crowded for her to squeeze through. There has to be another way. Thinking fast, she climbs out a window.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAIN - RIGHT AFTER<\/stage_direction>\n    <scene_description>Ember's fire is whipped by the wind as she inches along the outside of the train car. It's dangerous -- Water SPLASHES from the aqueduct and they're fast approaching tunnel under a GIANT waterfall! In a panic, Ember melts her way through a window--<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN CAR - CONTINUOUS<\/stage_direction>\n    <scene_description>-- and into the train car, just in time. But it's pitch black because of the tunnel. She's the only light source. She moves through the car looking for Wade and illuminating startled Elements. Then she sees a flame hovering in front of her. Odd.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <scene_description>She moves closer... could it be her own reflection?<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>What the?<\/dialogue>\n    <scene_description>Just then the train exits the tunnel and the car is bright again and she sees that what she was looking at was her reflection was on the back of Wade's head! But she's got the tickets in sight. They're in his hand. She's so close. She slowly reaches toward them, but her heat causes Wade's hand to quietly BOIL...<\/scene_description>\n    <character>TRAIN ANNOUNCER (O.S.)<\/character>\n    <dialogue>THIS STOP CITY HALL.<\/dialogue>\n    <scene_description>Feeling this, Wade looks down and is startled see Ember is still following him.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Ah ah ah! Hands off!<\/dialogue>\n    <scene_description>He quickly whips the tickets away from her and hurries out the open doors. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Gah!<\/dialogue>\n    <scene_description>She follows but has to dodge passengers loading onto the train.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Ooh, sorry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ELEMENT CITY - TRAIN STATION - RIGHT AFTER<\/stage_direction>\n    <scene_description>Ember exits the train to find that she's in the middle of her worst nightmare -- a city crowded with ELEMENTS.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Ugh.<\/dialogue>\n    <scene_description>Then she spots Wade at the bottom of the stairs, headed toward a busy street. He weaves easily through the crowds.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Stop!!<\/dialogue>\n    <scene_description>The chase is on. Ember rushes down a busy staircase... she flails, collides with other people and tumbles down the steps into a lamp post. But she's not giving up. She leaps to her feet.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Stop!!<\/dialogue>\n    <scene_description>She gets to the busy street and stops for traffic just as an AIR ELEMENT steps in front of a car. POOF! He's hit, then reforms, his jacket laying in the street.<\/scene_description>\n    <character>AIR ELEMENT<\/character>\n    <dialogue>Aw! My new jacket.<\/dialogue>\n    <scene_description>Ember bolts across the street.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - VARIOUS - RIGHT AFTER<\/stage_direction>\n    <scene_description>Ember races down the sidewalk toward Wade who passes a NURSERY SCHOOL BUS. He easily hops over the crowd of little EARTH KIDS. Ember follows, but the kids are blocking her path. Thinking fast, she pops open her umbrella and flares up. Like a hot air balloon, she lifts up and over the kids. They're amazed. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL She keeps soaring until she passes over the EARTH KIDS. Suddenly, her umbrella melts and gives out. She falls to the ground landing hard, then springs to her feet and keeps chasing Wade who now realizes he's being chased. Yikes! He takes a sharp left, appearing to splash into the side of a building. Ember skids to a stop and sees he's slipped into a very narrow space between two buildings. She squeezes her fire and follows him. Crammed, they both shimmy through the extremely tight passageway. Wade makes it to the other side but his ticket book gets stuck in the crack. He desperately pulls and gets it free JUST as Ember bursts from the crack and swipes for the ticket book. But Wade gets away and darts through traffic toward City Hall as Ember follows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY HALL - CONTINUOUS<\/stage_direction>\n    <scene_description>Wade hurries to the building with Ember still in hot pursuit. She swipes a bottle of CHILI OIL from a DIRT BURGER VENDOR's cart.<\/scene_description>\n    <character>DIRT BURGER VENDOR<\/character>\n    <dialogue>My chili oil!<\/dialogue>\n    <scene_description>Ember makes it to City Hall first and jumps in front of Wade's path, exhausted. She sprays the oil in a line in front of her then stomps on it creating a HUGE WALL OF FIRE.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Come on, guy. You can't get through this. So it is time to hand 'em over.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Oh boy. I'm sorry. This is going to be really disappointing for you--<\/dialogue>\n    <scene_description>Wade steps onto a drain and PLOP disappears, then pops up through another grate on the other side of Ember right next to the building. He hurries inside.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Oh no no no no no no...<\/dialogue>\n    <scene_description>But he rushes into a revolving door.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>No no no no no no!<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Sorry!<\/dialogue>\n    <scene_description>And slips into the building. Ember's flame shrinks in defeat.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Please! No! You don't understand.<\/dialogue>\n    <scene_description>Ember slumps on the steps, her fire dims and reveals an inner prismatic light. ON THE OTHER SIDE OF THE DOORS, Wade puts the tickets in a canister. But just as he's putting the canister into a vacuum tube -- FOOMP! -- he SEES caustics cast on the wall from Ember's prismatic light.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Whoa.<\/dialogue>\n    <scene_description>He turns to see Ember outside, desperate, pleading to the closed door, more to herself, her light private, prismatic, vulnerable.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>The shop is my dad's dream, if I'm the reason it gets shut down it will kill him.<\/dialogue>\n    <scene_description>INSIDE, Wade's face looks pained, empathetic.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Aw.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>He will never trust me to take over.<\/dialogue>\n    <scene_description>Wade comes out of the building.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Why didn't you say that before?<\/dialogue>\n    <scene_description>Ember INSTANTLY ZIPS her fire up, shields on.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Wait, does that mean you'll tear up the tickets?<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>I mean, I would. But I just sent them over to the processing department.<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Wade gestures to the root vacuum system inside the doors. Ember grips her head in frustration.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>But, I can take you there so you can plead your case.<\/dialogue>\n    <scene_description>Ember looks back at him, hopeful again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CITY HALL - HALLWAY - RIGHT AFTER<\/stage_direction>\n    <scene_description>Ember and Wade travel down a dim hallway. Above them, a system of pulsing VINES lead to a door at the end of the hall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FERN'S OFFICE - CONTINUOUS<\/stage_direction>\n    <scene_description>Wade opens the door into a jungle of an office. Ember follows him in through a tangle of leafy vines. Wade walks through a branch. It snaps back at Ember and she ducks.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Whoa!<\/dialogue>\n    <scene_description>They break through to find an overgrown Earth Element, FERN, a low-key humorless bureaucrat with PILES of paper in his inbox. Behind his desk are a series of vacuum tubes made from VINES.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Hey, Fern! How you doing?<\/dialogue>\n    <character>FERN<\/character>\n    <dialogue>Living the dream.<\/dialogue>\n    <scene_description>Fern inserts a roll of papers into a canister.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>You know those citations I just gave you from Firetown?<\/dialogue>\n    <character>FERN<\/character>\n    <dialogue>I was about to send them to Mrs. Cumulus then get sprayed for fungus rot.<\/dialogue>\n    <scene_description>Fern moves to put the canister into the tube.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Wait!<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Wait!<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>WADE<\/character>\n    <parenthetical>(sotto to Ember)<\/parenthetical>\n    <dialogue>Tell him what you told me. About your dad and letting him down.<\/dialogue>\n    <character>EMBER<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>No. That's personal.<\/dialogue>\n    <character>WADE<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>It really got to me. He might feel it too...<\/dialogue>\n    <scene_description>Wade keepings talking as Ember tries to cover his mouth.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Her dad will be sup--<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Nope!<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Sup--<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Nope!<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Super disa--<\/dialogue>\n    <scene_description>She then grabs Fern's nameplate and, SPLTT!, shoves it into Wade's mouth.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>--ppointed in her.<\/dialogue>\n    <scene_description>Ember is triggered by Wade exposing her.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Stop it!<\/dialogue>\n    <scene_description>Wade keeps talking with the nameplate in his head.<\/scene_description>\n    <character>WADE<\/character>\n    <parenthetical>(to Fern)<\/parenthetical>\n    <dialogue>He might even be...<\/dialogue>\n    <scene_description>Ember shoves a globe into his face, knocking out the nameplate...<\/scene_description>\n    <character>WADE<\/character>\n    <parenthetical>(full mouth)<\/parenthetical>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <scene_description>Ember's flame starts to show some PURPLE. She starts stress breathing.<\/scene_description>\n    <character>WADE<\/character>\n    <parenthetical>(to Fern, weepy)<\/parenthetical>\n    <dialogue>But the main thing is if her father can't retire...<\/dialogue>\n    <scene_description>Fern moves the canister closer to the tube.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>...It will be ALL EMBER'S.. FFFF-<\/dialogue>\n    <scene_description>EMBER CUTS HIM OFF!<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>STOP TALKING!<\/dialogue>\n    <scene_description>Ember EXPLODES in a ball of fire. When the smoke clears we see ALL of the stacks of citations have been fried. Except Ember's that are in the canister. Wade douses a still flaming bobble head. Fern's charred desk collapses.<\/scene_description>\n    <character>FERN<\/character>\n    <dialogue>Looks like I'm going home early today.<\/dialogue>\n    <scene_description>He puts the canister into the tube.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>No, don't--<\/dialogue>\n    <scene_description>The tickets shoot out of the office. Failure.<\/scene_description>\n    <character>FERN<\/character>\n    <dialogue>Expect to get shut down within a week. Have a good one.<\/dialogue>\n    <scene_description>Fern hands Ember a brochure. She takes it and turns away, dejected. Wade watches, concerned.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Sorry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERNIE'S SHOP - LATER<\/stage_direction>\n    <scene_description>Ember walks, dejected, over the culvert bridge. She stares at the brochure Fern gave her -- there's a chipper cartoon of an element being booted out of their business, along with the words \"So your business is being shut down!\" \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL As she approaches the shop she sees a \"closed\" sign on the door and goes into an instant panic:<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>What?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERNIE'S SHOP - CONTINUOUS<\/stage_direction>\n    <scene_description>Ember enters the shop, concerned.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Already??<\/dialogue>\n    <scene_description>She looks around the empty shop and tucks the brochure into her pocket.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>She hears Bernie coughing in the basement. She rushes downstairs and freezes: pipes are now bursting and leaking EVERYWHERE. Her parents are desperately trying to repair the damage. Bernie stands precariously on top of a ladder.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Oh no. Dad! What happened??<\/dialogue>\n    <character>BERNIE<\/character>\n    <dialogue>We lucky nobody hurt. It RUIN Red Dot Sale! Did he do this?<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>BERNIE<\/character>\n    <dialogue>The Water guy I see you chase.<\/dialogue>\n    <scene_description>Water drips onto Bernie's face.<\/scene_description>\n    <character>BERNIE<\/character>\n    <parenthetical>(pain)<\/parenthetical>\n    <dialogue>Ah!<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Oh, uh, um...<\/dialogue>\n    <scene_description>Ember weighs this for a moment, as she hops off the stairs and begins repairing a pipe. She could come clean. But instead... \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Yeah. He did. Uh, he just broke through a pipe.<\/dialogue>\n    <parenthetical>(clears throat)<\/parenthetical>\n    <dialogue>I don't know why. Luckily I was able close it off. I, uh, couldn't catch him though.<\/dialogue>\n    <scene_description>Bernie flares up.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Water. Always trying to water us down!<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>He was a Water PERSON, dad, not just water.<\/dialogue>\n    <character>BERNIE<\/character>\n    <parenthetical>(grumble)<\/parenthetical>\n    <dialogue>Same thing. And why is water in pipes? City shut down years ago. There should be NO WATER!<\/dialogue>\n    <scene_description>Bernie's fury causes a coughing fit. He falls over backward.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Ah!<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Dad!!!<\/dialogue>\n    <scene_description>Ember catches him just before he hits the water.<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>Bernie!<\/dialogue>\n    <scene_description>Bernie coughs. Cinder leads him to the stairs.<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>We will get through this. Just like before.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Before?<\/dialogue>\n    <scene_description>Bernie sits, Cinder looks to Ember.<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>There is a reason we left Fire Land.<\/dialogue>\n    <scene_description>Cinder holds Bernie's arm, she wants to talk about it. Bernie looks down. Cinder smiles at a memory. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL She's almost talking MORE to Bernie, reassuring him they did the right thing -- she KNOWS his deeper wound.<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>Oh, Ember. We loved it there so much. Most everyone had a Blue Flame, and it connected us all together...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIRE LAND - FLASHBACK<\/stage_direction>\n    <scene_description>Fade to an aerial view of Fire Land, glowing homes clustered on a rocky hillside.<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>...to our traditions, our family.<\/dialogue>\n    <scene_description>The camera passes ground-floor windows and we get FLEETING GLIMPSES of FAMILY FLAMES, until we stop at a window of a FAMILY SHOP that has a Blue Flame burning in a cauldron inside. A YOUNG BERNIE stands on a ladder, putting up a sign. He looks to a VERY PREGNANT Cinder who smiles, so proud.<\/scene_description>\n    <character>CINDER (V.O.)<\/character>\n    <dialogue>It was hard living, but your father began to build a life for us. We put everything into it. But then a great storm came.<\/dialogue>\n    <scene_description>There's a PULSE of wind and Bernie and Cinder's flames flicker ominously. Worried, they look up to the sky and see a large dark storm above the rooftops. And then it hits them -- FEROCIOUS WINDS. SOON AFTER, inside the shop, debris crashes down, knocking over the cauldron with the Blue Flame. Thinking quickly, Bernie thrusts a lantern into the Blue Flame to capture it. They huddle together as the building collapses around them. LATER, they stand in the rubble, devastated. We can see the destruction isn't everywhere... some buildings were lost like theirs, others are only slightly damaged.<\/scene_description>\n    <character>CINDER (V.O.)<\/character>\n    <dialogue>All was lost for us.<\/dialogue>\n    <scene_description>LATER that night, Cinder sleeps on the floor, but Bernie is awake. He looks to his lantern with the Blue Flame he saved and prays to it then looks to pregnant Cinder. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>CINDER (V.O.)<\/character>\n    <dialogue>Your father understood...<\/dialogue>\n    <parenthetical>(painful memory, but resolute in the decision)<\/parenthetical>\n    <dialogue>We HAD to leave... everything. Our home.<\/dialogue>\n    <scene_description>After a moment, he gets his answer -- a LOOK OF RESOLVE crosses his face. LATER, we find Bernie and Cinder on the beach. They walk toward a boat, about to leave for their new life.<\/scene_description>\n    <character>CINDER (V.O)<\/character>\n    <dialogue>It was the only way to create a better life!<\/dialogue>\n    <scene_description>As they board, Bernie looks back at his parents. Stoic, they watch him leave. The boat pulls away from the shore and Bernie and Cinder watch their homeland recede in the distance.<\/scene_description>\n    <character>CINDER (V.O.)<\/character>\n    <dialogue>It was the last time your father ever saw his family.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERNIE'S SHOP - BACK TO SCENE<\/stage_direction>\n    <scene_description>Fade back to the basement, Bernie somberly mops up puddles as Cinder finishes the story.<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>That is why we came here. To build all this.<\/dialogue>\n    <scene_description>Ember is floored. She looks at the brochure from Fern, then tucks it away and walks over to Bernie with resolve:<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>\u00c1shf\u00e1... nothing will happen to this shop or the flame again. I promise.<\/dialogue>\n    <scene_description>Ember takes the mop from her father. He smiles and places his hand on her cheek.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Mm. Good daughter.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY HALL - THE NEXT MORNING<\/stage_direction>\n    <scene_description>Elements bustle outside City Hall during the morning commute. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CITY HALL - HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Wade listens to music on his way into work. The sound waves from his headphones vibrate through his head. He's deep into it, eyes closed, as he approaches the entrance to his department. He doesn't see a FIRE burning on the floor next to the door. It catches his bag on fire. Wade looks down, shocked!<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Ah! Fire. Fire! Ah! Fire!<\/dialogue>\n    <scene_description>He pats out his bag, then starts to stomp on the fire. Suddenly EMBER stands up, emerging from under a chainmail blanket... the fire was her.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Hey HEY!<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Oh. Sorry!<\/dialogue>\n    <parenthetical>(checking his burnt bag)<\/parenthetical>\n    <dialogue>You're so hot!<\/dialogue>\n    <character>EMBER<\/character>\n    <parenthetical>(raised eyebrow)<\/parenthetical>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>No! I mean like you're smokin'! No, I didn't mean it like tha--<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Are you done yet?<\/dialogue>\n    <scene_description>Wade is dripping.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Yes please.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>I'm waiting to talk to your boss. So make like a stream and... flow somewhere else.<\/dialogue>\n    <scene_description>Ember settles back down on the ground.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Actually, Gale won't be in today. She's a HUGE airball fan and the Windbreakers are finally in the playoffs! Toot Toot!<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Ember is unaffected by Wade's enthusiasm. She flares up in frustration.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>UGH!<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Okay... Well, I just came by because I left my passes for the game here last night.<\/dialogue>\n    <scene_description>Wade starts to walk away but Ember perks up.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Passes? Like, plural?<\/dialogue>\n    <scene_description>He turns back. Then it hits him, is she serious?<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CYCLONE STADIUM - LATER<\/stage_direction>\n    <scene_description>Ember and Wade walk up the Wetro stairs into the middle of the busy Air District. Ember is intimidated by the crowds of AIR BALL FANS flooding into the entrance of CYCLONE stadium. She pulls her hood tight around her flame. The marquis reads WIND BREAKERS VS CROPDUSTERS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CYCLONE STADIUM - AFTER<\/stage_direction>\n    <scene_description>Inside, it's a huge, amazing space. Like Madison Square Garden on steroids. High above, CLOUD PLAYERS battle mid game, passing a ball toward a hoop. Ember enters with Wade. She has never seen anything like it. She is WAY out of her element.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Where is she?<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Up there, in that skybox.<\/dialogue>\n    <scene_description>Wade points to one of the sky boxes where GALE, Wade's supervisor, sits. She's a storm cloud, complete with lightning, and is completely engrossed in the game.<\/scene_description>\n    <character>GALE<\/character>\n    <dialogue>Come on!<\/dialogue>\n    <scene_description>Ember steels herself: \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>EMBER<\/character>\n    <parenthetical>(breath)<\/parenthetical>\n    <dialogue>Okay.<\/dialogue>\n    <character>EMBER<\/character>\n    <parenthetical>(action hero)<\/parenthetical>\n    <dialogue>Time to cancel some tickets.<\/dialogue>\n    <scene_description>They walk towards Gale's box, passing a drink vendor.<\/scene_description>\n    <character>TOOT TOOT JUICE VENDOR<\/character>\n    <dialogue>Toot toot juice! Getcha toot toot juice! Toot juice! Getcha toot toot juice!<\/dialogue>\n    <scene_description>They get to the row behind Gale's box. Everyone sitting there is Water.<\/scene_description>\n    <character>WADE<\/character>\n    <parenthetical>(super encouraging)<\/parenthetical>\n    <dialogue>You'll be great! This way.<\/dialogue>\n    <scene_description>Wade walks down the row. Everyone seems to know him. Ember gets a look of determination on her face -- she's not going to fail! She then does that tight walk you have to do in stadiums where everyone has to stand to let you through.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Excuse me. Sorry. Pardon. Oh sorry. Fire girl coming through.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>(greeting friends) Jimmy, what's up? Wendy! How good is it to be here?<\/dialogue>\n    <scene_description>The Water Elements start to boil as she passes -- she's desperate not to hurt anyone. They take their seats behind Gale's box. Gale yells at the game, getting THUNDERY.<\/scene_description>\n    <character>GALE<\/character>\n    <dialogue>Break some wind!!<\/dialogue>\n    <scene_description>Ember clears her throat and calls to her:<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Hi Gale. How you doing?<\/dialogue>\n    <scene_description>Gale glances back at her.<\/scene_description>\n    <character>GALE<\/character>\n    <dialogue>Look at the score. What do you think??<\/dialogue>\n    <scene_description>She turns back to the game with a rumble. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>GALE<\/character>\n    <dialogue>Blow the BALL not the GAME!<\/dialogue>\n    <character>EMBER<\/character>\n    <parenthetical>(breath)<\/parenthetical>\n    <dialogue>Yeah, so uh, Gale. My name is Ember Lumen. My family runs a Fire shop... Wade wrote us a bunch of tickets yesterday and--<\/dialogue>\n    <scene_description>BUZZER! Game going south. Gale gets stormier, her winds blow in Ember and Wade's faces.<\/scene_description>\n    <character>GALE<\/character>\n    <dialogue>What kind of call was that??!!<\/dialogue>\n    <parenthetical>(half-paying attention)<\/parenthetical>\n    <dialogue>Lumen? Yeah, Fire shop with thirty citations...<\/dialogue>\n    <character>EMBER<\/character>\n    <parenthetical>(shocked to Wade)<\/parenthetical>\n    <dialogue>Thirty??<\/dialogue>\n    <scene_description>Wade shrugs apologetically. Ember turns back to Gale.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Anyway, friend, I was hoping we could work something out--<\/dialogue>\n    <scene_description>BUZZER again! Gale erupts.<\/scene_description>\n    <character>GALE<\/character>\n    <dialogue>Come on Ref! ARE YOUR EYES IN THE BACK OF YOUR HEAD??<\/dialogue>\n    <scene_description>The AIR REF'S eyes literally pop out the back of his head as he GLARES at Gale.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Oh no!<\/dialogue>\n    <scene_description>But not reading the mood, Ember tries again.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Yeah bummer, aww yeah. Okay, so the 30 citations--<\/dialogue>\n    <scene_description>Gale whips around to face Ember, annoyed.<\/scene_description>\n    <character>GALE<\/character>\n    <dialogue>Do you mind? There's a GAME going on.<\/dialogue>\n    <scene_description>As she turns back toward the game, \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>GALE<\/character>\n    <dialogue>Fireball.<\/dialogue>\n    <scene_description>This gets to Ember. Her flame starts to spark and roil.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Fireball?<\/dialogue>\n    <scene_description>She steps in front of Gale's box, between her and the game.<\/scene_description>\n    <character>EMBER<\/character>\n    <parenthetical>(getting annoyed)<\/parenthetical>\n    <dialogue>Actually, I do mind. This is my LIFE we're talking about. Not just some game.<\/dialogue>\n    <scene_description>Gale THUNDERS huge with LIGHTNING.<\/scene_description>\n    <character>GALE<\/character>\n    <dialogue>\"Some game?\" This is the PLAYOFFS. So forgive me if I don't want to hear a sob story about the problems of some little shop.<\/dialogue>\n    <scene_description>Ember's flames get bigger too. We see licks of PURPLE.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Well that \"little shop\" matters WAY more than a bunch of over-paid cloud puffs blowing some ball around.<\/dialogue>\n    <scene_description>Ember and Gale are nose to nose.<\/scene_description>\n    <character>GALE<\/character>\n    <dialogue>I dare you. Say \"cloud puffs\" one more time.<\/dialogue>\n    <character>EMBER<\/character>\n    <parenthetical>(in her face)<\/parenthetical>\n    <dialogue>Cloud. Puffs.<\/dialogue>\n    <scene_description>Ember blows away Gale's nose. Gale furious, growls back. Ember's fire ROARS. They angrily stare each other down as tension quickly builds. The crowd boos.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Oh no!<\/dialogue>\n    <scene_description>Gale's eyes dart to the game. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Huh?? Ember looks to the game.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Lutz!<\/dialogue>\n    <scene_description>LUTZ, one of the players, tries to block the play but fails. The home team is scored on again. As the crowd boos, Lutz's spirit sinks.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Lutz man, he's been in such a funk 'cause his mom has been sick.<\/dialogue>\n    <scene_description>Lutz has the ball stolen from him. The crowd keeps booing.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>That is so not cool. He's doing his best.<\/dialogue>\n    <scene_description>Wade suddenly stands and shouts.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>We love you Lutz!<\/dialogue>\n    <scene_description>Ember ducks and looks away from him.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>LUUUUTZ!<\/dialogue>\n    <scene_description>Wade starts gesturing to the fans around him to join the chant.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>We love you Lutz! We love you Lutz! C'mon! We love you Lutz! Everybody!<\/dialogue>\n    <character>CROWD<\/character>\n    <dialogue>We love you Lutz! We love you Lutz! We love you Lutz! We love you Lutz!<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>(with the crowd) We love you Lutz! We love you Lutz! We love you Lutz! We<\/dialogue>\n    <scene_description>love you Lutz! Lutz looks over at their section, clearly touched. The whole stadium picks up the cheer. Then Wade starts an ACTUAL WAVE of Water People that goes all the way around the stadium.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Whooooooaaaaa...<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>CROWD<\/character>\n    <parenthetical>(doing a wave)<\/parenthetical>\n    <dialogue>Whooooooaaaaa...<\/dialogue>\n    <scene_description>Ember opens her umbrella just as the wave SPLASHES OVER them. ON THE COURT, Lutz is energized. He blasts up to the top of the stadium and SLAMS the ball into the net for a score. The crowd goes wild. Ember even gets caught up in the moment. It's a stadium ELECTRIFIED!<\/scene_description>\n    <character>EMBER<\/character>\n    <parenthetical>(cheering)<\/parenthetical>\n    <dialogue>Ah, yes! Yes!<\/dialogue>\n    <character>WADE<\/character>\n    <parenthetical>(cheering, celebrating, tearing up)<\/parenthetical>\n    <dialogue>Woo! Way to go Lutz!<\/dialogue>\n    <scene_description>Lutz holds his arms up - success!<\/scene_description>\n    <character>WADE<\/character>\n    <parenthetical>(cheering)<\/parenthetical>\n    <dialogue>Yeah Lutz! That was amazing Lutz!<\/dialogue>\n    <scene_description>Wade high-fives everyone around them.<\/scene_description>\n    <character>WADE<\/character>\n    <parenthetical>(high-fiving)<\/parenthetical>\n    <dialogue>Uh! Yeah! Yeah! Yes!<\/dialogue>\n    <scene_description>Ember looks at Wade, amazed at what he just did.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Woo hoo!<\/dialogue>\n    <scene_description>Wade tries to high five her, she instinctively leans away.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>He high fives himself.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CYCLONE STADIUM - LATER<\/stage_direction>\n    <scene_description>JUMP AHEAD to the front entrance. Rowdy Elements pour out of the stadium, cheering. We find Gale celebrating. Ember walks next to her. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>GALE<\/character>\n    <dialogue>Wohoo! What a comeback!<\/dialogue>\n    <scene_description>REVEAL Wade covered head to toe in Windbreakers merch, including two foam hands, a puffy wig and cloud-shaped glasses.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Check out who found the gift shop! Woo!<\/dialogue>\n    <scene_description>Ember does a double-take at Wade with a smile... this guy is ridiculous, then to Gale:<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>I gotta admit that WAS pretty cool.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>(still celebrating) Uh! Yeah!<\/dialogue>\n    <character>GALE<\/character>\n    <dialogue>You can see why I can get all churned up. But as a \"cloud puff\" who used to come here with her dad, these wins mean a little bit more.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>And as a \"Fireball\" who's supposed to take over her dad's shop...<\/dialogue>\n    <parenthetical>(softening, not easy to say)<\/parenthetical>\n    <dialogue>...I sure don't want to let him down... and I could use a win too.<\/dialogue>\n    <scene_description>Ember's letting her guard down a little.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Now I just gotta stop water from coming in--<\/dialogue>\n    <character>GALE<\/character>\n    <dialogue>WATER? In FIRETOWN?<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>GALE<\/character>\n    <dialogue>Water was shut off to there YEARS ago. Forget the tickets, I'm gonna have to TAKE APART YOUR DAD'S SHOP to figure out what's going on!!<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>YOU CAN'T! My dad put his WHOLE LIFE into that place!<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>GALE<\/character>\n    <parenthetical>(angry detective, to Wade)<\/parenthetical>\n    <dialogue>ARGG. I bet this is connected to that fluffin' leak.<\/dialogue>\n    <character>WADE<\/character>\n    <parenthetical>(to a freaked out Ember)<\/parenthetical>\n    <dialogue>Yeah, we've been trying to track down a leak in the city. It's why I was in the canal and--WAIT!!<\/dialogue>\n    <parenthetical>(to Gale)<\/parenthetical>\n    <dialogue>I know where I got sucked into Ember's shop! Ember and I could track the water from her shop to find the SOURCE OF THE LEAK!<\/dialogue>\n    <character>GALE<\/character>\n    <dialogue>Keep talking.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>I could call in a city crew to fix whatever we find.<\/dialogue>\n    <character>EMBER<\/character>\n    <parenthetical>(getting on board)<\/parenthetical>\n    <dialogue>Yes! And there'd be no need to touch my dad's shop!<\/dialogue>\n    <scene_description>Gale thinks, then smiles at their hopeful faces.<\/scene_description>\n    <character>GALE<\/character>\n    <dialogue>You're lucky you're a cute couple.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Oh, we're not a--<\/dialogue>\n    <character>GALE<\/character>\n    <dialogue>You got until FRIDAY. If you can find the leak and get a crew to fix it by then those tickets are forgiven. If not? YOUR DAD'S SHOP gets shut down.<\/dialogue>\n    <scene_description>Ember feels the weight of this. Gale flies up into the flowing air crowd, hooting, cheering:<\/scene_description>\n    <character>GALE<\/character>\n    <dialogue>WOOHOO! BREAK WIND! BREAK WIND!<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Thank you!<\/dialogue>\n    <scene_description>Ember exhales... she got a reprieve. She looks to Wade. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Please take all that off.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>But I got you a hat!<\/dialogue>\n    <scene_description>Wade puts the hat on Ember's head. We go wide to see a huge plume of fire and smoke explode above her. Back on them, that hat is gone and Wade's outfit is singed.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Okay.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. BERNIE'S SHOP - NIGHT<\/stage_direction>\n    <scene_description>Ember and Wade walk up to the shop.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Just keep outta sight, okay? It'd be a whole thing.<\/dialogue>\n    <scene_description>They hear Bernie from inside the shop, he's livid.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Now water upstairs?? It's in the walls.<\/dialogue>\n    <scene_description>Ember and Wade peer through a window. They watch as Bernie rips away a piece of wall revealing a leaking pipe.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>I don't understand! I fix one pipe and another one leaks!<\/dialogue>\n    <scene_description>Bernie pushes the Blue Flame away from the leak.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Ah, water!<\/dialogue>\n    <scene_description>Bernie throws open the window. Coughing and letting smoke out. Ember and Wade plaster themselves to the wall. Bernie leaves the window.<\/scene_description>\n    <character>EMBER<\/character>\n    <parenthetical>(whispered)<\/parenthetical>\n    <dialogue>How could it be worse?<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Now that water's back, the pressure is forcing it up to ALL your pipes.<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>We gotta find the source!<\/dialogue>\n    <scene_description>They crouch down and peer into the basement.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>How did you even end up here?<\/dialogue>\n    <scene_description>We follow a pipe going from the shop to the culvert and into the floor of the canal.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Well, I was in the canals checking the doors for leaks...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CULVERT WORKSITE - FLASHBACK - DAY<\/stage_direction>\n    <scene_description>Wade, wearing a hard hat, stands near CULVERT DOORS, and a LARGE PUDDLE.<\/scene_description>\n    <character>WADE (V.O.)<\/character>\n    <dialogue>When I found some water that shouldn't have been there...<\/dialogue>\n    <scene_description>He dips his finger in the puddle and tastes the water...<\/scene_description>\n    <character>WADE<\/character>\n    <parenthetical>(smacks lips)<\/parenthetical>\n    <dialogue>...rusty, with a hint of-- motor oil?<\/dialogue>\n    <scene_description>SUDDENLY there is a RUSH of water. Wade is SWEPT OFF HIS FEET and SUCKED into a drain.<\/scene_description>\n    <character>WADE (V.O.)<\/character>\n    <dialogue>There was this WHOOSH of water.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>AHHHH!<\/dialogue>\n    <character>WADE (V.O.)<\/character>\n    <dialogue>And I got sucked into a filtering system...<\/dialogue>\n    <scene_description>Wade is knocked around a filtering system.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Help!<\/dialogue>\n    <scene_description>THEN BAM! He's JAMMED into a pipe that's clogged with DEBRIS.<\/scene_description>\n    <character>WADE (V.O.)<\/character>\n    <dialogue>But then I heard this explosion...<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL SUDDENLY there's the VIBRATION that shook the pipe when Ember exploded.<\/scene_description>\n    <character>EMBER (O.S.)<\/character>\n    <dialogue>AHHHHHH!<\/dialogue>\n    <scene_description>Wade's eyes grow in terror as he ALSO vibrates. The debris breaks up and FOOMP he's sucked in.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>AHHHH!<\/dialogue>\n    <scene_description>On Wade's face as he bursts out of a pipe. Behind him we see, through the distortion of the water, a blurry Ember...<\/scene_description>\n    <character>WADE (O.S.)<\/character>\n    <dialogue>That's how I ended up at your place.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERNIE'S SHOP - BACK TO SCENE<\/stage_direction>\n    <scene_description>Ember and Wade are where we left them.<\/scene_description>\n    <character>EMBER<\/character>\n    <parenthetical>(dawning)<\/parenthetical>\n    <dialogue>Oh flame, my temper caused this.<\/dialogue>\n    <scene_description>Ember looks down the seemingly endless canals.<\/scene_description>\n    <character>EMBER<\/character>\n    <parenthetical>(overwhelmed by the odds)<\/parenthetical>\n    <dialogue>So we're searching for water \"somewhere\" in a canal?? Those canals go EVERYWHERE.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>It's why tracking down that leak has been so dang hard.<\/dialogue>\n    <character>EMBER<\/character>\n    <parenthetical>(gets an idea)<\/parenthetical>\n    <dialogue>The roof.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOF OF BERNIE'S SHOP - SHORTLY AFTER<\/stage_direction>\n    <scene_description>Ember pulls a tarp off of the roof. Then, she melts a LARGE old chimney SMOKE CAP off it's stand. It topples over, almost hitting Wade. She attaches the tarp to the upside down smoke cap. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>You might want to step back.<\/dialogue>\n    <scene_description>She climbs into the cap and flares up super bright and hot. The tarp inflates like a hot air balloon. Wade is astonished.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Holy dew drop!<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Shh. Get in.<\/dialogue>\n    <scene_description>Wade scurries and climbs in as it starts to RISE. He stares at Ember with WONDER. They float above the rooftops of Firetown. It's gorgeous. Wade admires Ember's blaze. They're so close, his arm starts to boil. He takes a step away from her. We see the spot he was sucked in, there's a puddle.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Okay that's where I got sucked in.<\/dialogue>\n    <scene_description>The camera PANS up the canal, following a trail of puddles.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>More water. Go that way!<\/dialogue>\n    <scene_description>Ember turns the balloon to follow the puddles. They pass a building... we hear giggles.<\/scene_description>\n    <character>EARTH PRUNER 1<\/character>\n    <parenthetical>(giggle)<\/parenthetical>\n    <dialogue>Right there.<\/dialogue>\n    <scene_description>As they pass a darkened window, Ember's light illuminates two EARTH ELEMENTS picking each other's fruit. They FREEZE, caught.<\/scene_description>\n    <character>EARTH PRUNER 2<\/character>\n    <parenthetical>(giggle)<\/parenthetical>\n    <dialogue>Oh!<\/dialogue>\n    <character>EARTH PRUNER 1<\/character>\n    <dialogue>Nothing weird going on here.<\/dialogue>\n    <character>EARTH PRUNER 2<\/character>\n    <dialogue>Uh, just a little pruning.<\/dialogue>\n    <scene_description>Wade and Ember stare as they float away. After a beat they turn to each other and burst out laughing. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL A moment of connection. Wade looks at Ember's amazing fire. She catches him, her light refracting in his water.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>So, uh, what do you do at the shop if you don't mind me asking?<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>My dad's retiring and I'll be taking over. Some day, when I'm ready.<\/dialogue>\n    <scene_description>They float past glittering skyscrapers.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>It must be nice knowing what you're gonna do. After my dad passed I got all \"what's the point?\" Now I just go from one job to the next.<\/dialogue>\n    <scene_description>Ember gives him a sympathetic look.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>There's a word in Firish. T\u00ecsh\u00f3k'. It means embrace the light while it burns, cause it won't always last forever.<\/dialogue>\n    <scene_description>Wade processes and tries to repeat it.<\/scene_description>\n    <character>WADE<\/character>\n    <parenthetical>(quietly butchers it)<\/parenthetical>\n    <dialogue>Tee shook...<\/dialogue>\n    <character>EMBER<\/character>\n    <parenthetical>(small smile, he's way off)<\/parenthetical>\n    <dialogue>Or something like that.<\/dialogue>\n    <scene_description>BUT, just then, they round a large building revealing an older section of town. Ember sees a large, ornate but rundown building. Her face drops. Wade see it.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>You okay?<\/dialogue>\n    <character>EMBER<\/character>\n    <parenthetical>(no)<\/parenthetical>\n    <dialogue>Yeah.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>You sure?<\/dialogue>\n    <scene_description>She decides to open up, and points to the building. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>It's just... that building over there? That's Garden Central Station.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GARDEN CENTRAL STATION - FLASHBACK - DAY<\/stage_direction>\n    <scene_description>We GO TO a FLASHBACK of GARDEN CENTRAL STATION. There's a big SIGN advertising a Vivisteria Tree -- a rare and exotic plant. YOUNG EMBER, holding BERNIE'S hand, excitedly runs up to the entrance.<\/scene_description>\n    <character>EMBER (V.O.)<\/character>\n    <dialogue>When I was a kid, my dad took me there because they had a VIVISTERIA tree. I'd ALWAYS wanted to see one. It's the only flower that can thrive in ANY environment. Fire included.<\/dialogue>\n    <scene_description>They get in line with other ELEMENTS, eager for the exhibit.<\/scene_description>\n    <character>EMBER (V.O.)<\/character>\n    <dialogue>I was so excited.<\/dialogue>\n    <scene_description>They approach the doors. But before they enter a GUARD stops them.<\/scene_description>\n    <character>EMBER (V.O.)<\/character>\n    <dialogue>But they said our Fire was too dangerous and they wouldn't let us in.<\/dialogue>\n    <scene_description>The guard points to a \"NO FIRE ALLOWED\" SIGN. Bernie is FURIOUS. He yells and the guard yells back.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Tsh'\u00e0 ts' sh\u00e2 sh pf\u00f9kh!<\/dialogue>\n    <character>GUARD<\/character>\n    <dialogue>Go back to Fire Land!<\/dialogue>\n    <scene_description>EVERYBODY laughs. Some jeer.<\/scene_description>\n    <character>MUSEUM GOERS<\/character>\n    <parenthetical>(laughing, jeering)<\/parenthetical>\n    <dialogue>Burn somewhere else! \/ Get outta here!<\/dialogue>\n    <character>EMBER (V.O.)<\/character>\n    <dialogue>My dad was so angry, and embarrassed.<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL CLOSE UP: Young Ember scared.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOT AIR BALLOON - BACK TO SCENE<\/stage_direction>\n    <scene_description>Ember and Wade are where we left them. We're close on Ember, her eyes burning with anger at the memory.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>The building flooded a few years later. So I missed my one chance to see a Vivisteria.<\/dialogue>\n    <scene_description>She turns to Wade. And to her surprise, he's tearing up.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>You must have been SO scared.<\/dialogue>\n    <scene_description>This takes Ember back, and momentarily disarms her. Almost as a kid she says:<\/scene_description>\n    <character>EMBER<\/character>\n    <parenthetical>(softly)<\/parenthetical>\n    <dialogue>I was.<\/dialogue>\n    <scene_description>THEN, she shakes it off, almost annoyed and amazed.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>How do you do that?<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Do what?<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Draw people in! You got a whole stadium to connect with you. I-- I can't even connect with ONE customer. My stupid temper always kicks in.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>I guess I just say what I feel.<\/dialogue>\n    <scene_description>Ember deflates --this does not resonate at all.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>And I don't think a temper is so bad. Sometimes when I lose MY temper... I think it's just ME trying to tell me something I'm not ready to hear.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>That's ridiculous.<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Maybe...<\/dialogue>\n    <scene_description>Suddenly Wade sees something! His eyes GROW with excitement. He points!<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Hey, there! Put us down there!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CULVERT - SHORTLY AFTER<\/stage_direction>\n    <scene_description>They land in the culvert and climb out and approach two GIANT WOODEN CULVERT DOORS that are broken and ajar. There's a gaping hole where they should meet.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>That's not right.<\/dialogue>\n    <scene_description>Wade dips his finger in some standing water and tastes it.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Motor oil!<\/dialogue>\n    <parenthetical>(then chipper)<\/parenthetical>\n    <dialogue>Yup, this is the source!<\/dialogue>\n    <scene_description>They walk through the doors to investigate and head toward the main canal.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Why's there no water?<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Because the doors are broken. This is supposed to catch spillover from those main canals and--<\/dialogue>\n    <scene_description>Just then a giant cruise-liner rolls by and it's wake triggers a small tsunami over the canal walls.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>--RUN FOR YOUR LIFE!!<\/dialogue>\n    <scene_description>Ember and Wade run toward the culvert doors. Ember jumps through and climbs the door to RELATIVE safety, but Wade is caught on the other side, holding desperately to a broken part of the door.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Ahhhh! Help! Ahhhh!!!<\/dialogue>\n    <scene_description>Thinking fast, Ember melts a piece of rebar off the door. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Uh...<\/dialogue>\n    <scene_description>She thrusts it toward him.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Grab this!<\/dialogue>\n    <scene_description>With great effort, Ember pulls Wade to safety. She looks at where the water is headed -- in the distance we can see the smoky tops of Firetown's buildings.<\/scene_description>\n    <character>EMBER<\/character>\n    <parenthetical>(to herself)<\/parenthetical>\n    <dialogue>Firetown!<\/dialogue>\n    <scene_description>She spots a pile of SANDBAGS on the raised edge of the canal. Without hesitation she leaps over the water and climbs to the bags, grabs one and calls out to Wade:<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Catch!!<\/dialogue>\n    <scene_description>She swings the sandbag and throws it down to him. Wade turns just as the bag arrives BAM, knocking him to the ground. He gets up and, moving against the flow of water, carries the sandbag toward the doors. Ember lifts another. Water is still pouring through the gates. Ember stops to watch Wade. He holds a sand bag under one arm and uses his free arm to press against the deluge. His body undulates and he starts to grow in size as water fills him up! With super strength, he pushes back the flow. Ember watches from above, impressed. Wade heaves the sand bag at the base of the door opening. He's now ENORMOUS, waterlogged but powerful. He calls up to Ember.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Ember! Throw me more!<\/dialogue>\n    <scene_description>They start to pile more sandbags. Ember throwing them down and Wade stacking them up. When the pile is high and the water stopped, they place the last bag together. They finish... Ember, looks at the sandbags, concerned.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>So, will this hold?<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Wade pushes against the bags, testing the strength.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Yup.<\/dialogue>\n    <scene_description>He turns to Ember. We see he has a clump of sand in his face. She can't help but look at it as he talks:<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>It should for sure. At least long enough for me to get a city crew to fix it before Friday.<\/dialogue>\n    <parenthetical>(sees she's staring)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>You've got a little... sand.<\/dialogue>\n    <scene_description>Wade touches his face.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Oh. Here? Here?<\/dialogue>\n    <scene_description>Ember points and reaches toward him, she almost touches his cheek.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>It's.. right there.<\/dialogue>\n    <scene_description>Ember pulls her hand away.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Um...<\/dialogue>\n    <scene_description>Wade reaches into his face and pulls it out.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Oh. Thanks.<\/dialogue>\n    <scene_description>They keep eye contact. It's almost intimate. Ember breaks away from it.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Well... let me know when it's done I guess.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>I'll make sure there's a city crew here by Friday.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Okay, see ya.<\/dialogue>\n    <scene_description>She turns and starts to walk off. Wade blurts out after: \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Wait!<\/dialogue>\n    <scene_description>Ember turns back.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Any chance you're free tomorrow? To hang out with a Water guy?<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>With a Water guy? My dad would boil you alive.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>He doesn't have to know! We could meet in the city. I promise nothing weird... maybe a little pruning?<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Sorry. That's not going to happen.<\/dialogue>\n    <scene_description>ON Ember as Wade, hopeful, watches her walk out of frame.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>You smiled! I saw it! Tomorrow! I'll be at the Alkali Theater. Three o'clock!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERNIE'S SHOP - NEXT AFTERNOON<\/stage_direction>\n    <scene_description>Flarry and Flarrietta sit at their regular table, playing Fire chess. Suddenly a drip of water falls from a pipe into Flarry's mug. They react:<\/scene_description>\n    <character>FLARRY<\/character>\n    <dialogue>Oh! Your ceiling is dripping again.<\/dialogue>\n    <scene_description>Bernie GRUMBLES.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>More leaks?<\/dialogue>\n    <scene_description>Ember hurries over and gets on the table to melts the pipe shut.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Don't worry. This whole problem is going away. I can feel it.<\/dialogue>\n    <scene_description>She then sees the CLOCK, it's 3:00. She hops off the table. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>And since we're all good, I am also going away... to do deliveries!<\/dialogue>\n    <scene_description>Bernie smiles as Ember rushes out. She passes Cinder on the way. INSTANTLY Cinder starts sniffing the air.<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>Do I smell something on... EMBER??<\/dialogue>\n    <scene_description>She smiles HUGE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERNIE'S SHOP - RIGHT AFTER<\/stage_direction>\n    <scene_description>Ember hurries out the door, checks to make sure nobody is following her, then turns to find herself face to face with Clod.<\/scene_description>\n    <character>CLOD<\/character>\n    <dialogue>Yo Ember!<\/dialogue>\n    <scene_description>She jumps, startled, busted.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Ah! Clod!<\/dialogue>\n    <character>CLOD<\/character>\n    <dialogue>I grew another one...<\/dialogue>\n    <scene_description>He lifts his arm and, with great effort, a tiny flower pops out.<\/scene_description>\n    <character>CLOD<\/character>\n    <dialogue>Ow!<\/dialogue>\n    <scene_description>He picks the bud and offers it to Ember.<\/scene_description>\n    <character>CLOD<\/character>\n    <dialogue>My queen.<\/dialogue>\n    <scene_description>She touches the flower -- POOF!<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Oops, sorry! But, gotta go.<\/dialogue>\n    <scene_description>She hurries off. BEGIN MONTAGE that spans several days: \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ELEMENT CITY - ALKALI THEATER<\/stage_direction>\n    <scene_description>Wade waits for Ember outside the movie theater. The marquis says \"TIDE &amp; PREJUDICE.\" Wade lights up when he sees Ember coming. Overwhelmed, he starts to get teary. Ember cringes a bit. He pulls it together and they head in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALKALI THEATER<\/stage_direction>\n    <scene_description>Ember and Wade are in their seats. When the lights dim, the rest of the audience scowls at Ember's glow. She tightens her hood and sinks low in her seat.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ELEMENT CITY STREET - PHOTO BOOTH<\/stage_direction>\n    <scene_description>Wade and Ember stop at a photo booth. They take a series of photos. When the prints come out we see Ember's light has completely blown out the exposure. All we can make out is two sets of eyeballs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ELEMENT CITY BUILDING - ELEVATOR<\/stage_direction>\n    <scene_description>Wade and Ember board an elevator. As other passengers get on, they're forced closer and closer together. The doors close. As the elevator goes up, they're almost touching. Wade starts to bubble a little.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OBSERVATION DECK - CONTINUOUS<\/stage_direction>\n    <scene_description>They exit the elevator to an observation deck and look out on the city. A group of kids comes up next to them-- they are a little nervous about her fire. Ember blows smoke rings that become silly faces on the nearby buildings. The kids cheer and Ember takes a bow. Wade watches adoringly. When Ember looks back at him, he tries to play it cool.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERNIE'S SHOP - DAY<\/stage_direction>\n    <scene_description>Ember is at the counter with an open notebook, drawing sign ideas. Lifting the book, she steals a peek at the photo strip of her and Wade. The Sparkler Customer steps up to the counter and lights a sparkler before buying it. Ember grabs the sparkler from him and begins to roil. But she quickly composes herself with a breath and calmly hands the sparkler back to the customer. As she looks down to steal a look at the picture of Wade, Bernie walks up, startling her. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL He almost caught her looking at the photo but she covers it up with a smile. When he walks away, Ember sighs with relief. Ember crosses off. Cinder darts into frame and sniffs. She then lifts Ember's book and looks at the picture, excited, intrigued.<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>Who IS this guy??<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OUTDOOR CAFE - DAY<\/stage_direction>\n    <scene_description>Ember and Wade sit at a outdoor cafe in a courtyard. A WAITER drops off two large mugs full of PINK LIQUID. Wade downs his in one gulp and turns purple. Ember goes to drink hers, but the drink boils away before it hits her mouth. Wade laughs. Suddenly, people around them start dancing. It's a FLASH MOB! Wade pops up and starts bouncing his stomach to the music. He gets Ember to join him in the dance. Other dancers start coupling off. Wade extends his hand to Ember. Ember backs away. She wants to take it, but knows she can't. Another dancer knocks Wade backward into the base of a fountain. He reappears spouting out the top. He strikes an elegant pose. Ember smiles. END MONTAGE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MINERAL LAKE - DAY<\/stage_direction>\n    <scene_description>Ember and Wade walk around MINERAL LAKE. Crystals of minerals grow along the shore. Suddenly, Ember's flame turns GREEN.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Whoa.<\/dialogue>\n    <scene_description>Pan down to reveal she's standing on a crystal.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>How'd you do that?<\/dialogue>\n    <scene_description>She picks up a crystal.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>It's the minerals.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Check this out.<\/dialogue>\n    <scene_description>Showing off, she twirls onto another crystal and her flame turns PINK. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Awesome!<\/dialogue>\n    <scene_description>Ember runs along the shore. Hopping between crystals, her fire changing into all the colors of the rainbow.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <scene_description>Smitten and wanting to share, Wade glances toward the water.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Watch this!<\/dialogue>\n    <scene_description>He runs onto the surface of the lake and then skids spraying a fine mist into the air, creating a rainbow. He comes to a stop, standing in the water. She looks at him, aglow.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIRETOWN - EVENING<\/stage_direction>\n    <scene_description>Ember, deep in thought and glowing from the dates, walks under the elevated train which whizzes by creating a wall of water. She reaches out to touch it... could she? Is it possible? But she hesitates. The wall of water dissipates, revealing the shop. It's like reality interjecting in the moment. Ember heads to the shop.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CULVERT - THE NEXT DAY<\/stage_direction>\n    <scene_description>Water trickles through the sandbags. Then a gush, as more water pours through and heads to Firetown. Clearly the bags didn't hold.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERNIE'S SHOP - LATER<\/stage_direction>\n    <scene_description>A steady stream of water runs through the culvert outside the shop.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERNIE'S SHOP - SAME TIME<\/stage_direction>\n    <scene_description>Bernie struggles to make coal nuts. He turns to see Ember helping a customer with a smile on her face.<\/scene_description>\n    <character>FIRISH CUSTOMER<\/character>\n    <dialogue>S\u00f2b\u00ea sh sf\u00e1.<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Another?<\/dialogue>\n    <character>FIRISH CUSTOMER<\/character>\n    <dialogue>\u00ccshksh\u00e1.<\/dialogue>\n    <scene_description>Ember reaches for a bottle on the top shelf but suddenly there's a RUMBLE and the shop shakes. An exposed pipe bursts. Water shoots out toward the Blue Flame. Bernie and Ember spring into action.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>No no no no no no!<\/dialogue>\n    <character>BERNIE<\/character>\n    <dialogue>The water is back?!<\/dialogue>\n    <scene_description>They hurry to move the Blue Flame. Bernie starts to cough. Ember runs to melt the pipe together when we hear from O.S...<\/scene_description>\n    <character>DELIVERY PERSON (O.S.)<\/character>\n    <dialogue>Ember Lumen? Delivery for Ember Lumen?<\/dialogue>\n    <scene_description>A DELIVERY PERSON enters with SIX VASES of flowers. And ine one of the vases Ember sees TWO EYES! Oh no! It's Wade! Cinder is so giddy some guy has sent Ember flowers, she doesn't notice the eyes.<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>Flowers for Ember?<\/dialogue>\n    <scene_description>Ember quickly finishes repairing the pipe. She runs over to collect the flowers before anyone notices.<\/scene_description>\n    <character>EMBER<\/character>\n    <parenthetical>(rushing)<\/parenthetical>\n    <dialogue>Oh excuse me. Hehe, these are beautiful. I'm gonna go put these away.<\/dialogue>\n    <scene_description>Arms full, she kicks open the basement door and darts into the basement...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERNIE'S SHOP - BASEMENT - CONTINUOUS<\/stage_direction>\n    <scene_description>...where she puts the vases on the floor. She hisses at Wade:<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL As Wade explains, he pours the water from the other vases into his head. With each pour he grows taller and reforms.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>I got bad news. The sand bags didn't hold.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Uh, obviously!<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Yeah. And I also got worse news.<\/dialogue>\n    <scene_description>Almost back to form, he pulls his shirt into place and plucks flowers out of his head.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>I'd forgotten a TINY detail about the last time I saw that city crew.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CONSTRUCTION SITE - FLASHBACK - DAY<\/stage_direction>\n    <scene_description>Wade is being scolded by his Earth Element EX-BOSS:<\/scene_description>\n    <character>EX-BOSS<\/character>\n    <dialogue>You knocked over three tons of cement dust. Half the guys still haven't recovered...<\/dialogue>\n    <scene_description>REVEAL a group of angry WATER CONSTRUCTION WORKERS covered in cement, frozen like statues. All they can do is blink.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERNIE'S SHOP - BACK TO SCENE<\/stage_direction>\n    <scene_description>Ember and Wade are where we left them.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>...I guess you could say they still have HARD feelings. Heh heh. Because they won't help us.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Wade, Gale's deadline is tomorrow. We need more sandbags.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>But that didn't work before.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Well I can't just do NOTHING!!<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL JUST THEN the basement door opens. It's Bernie, coming down the stairs.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Ember, did you fix leak?<\/dialogue>\n    <scene_description>Bernie sees Wade.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Huh? It's you again!!<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Who, me?<\/dialogue>\n    <character>BERNIE<\/character>\n    <dialogue>You're guy who started all this!<\/dialogue>\n    <scene_description>Bernie grabs a poker and swings at Wade.<\/scene_description>\n    <character>WADE<\/character>\n    <parenthetical>(high pitched yell)<\/parenthetical>\n    <dialogue>Ahhh!<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>No, dad! Different guy. Not all water looks alike.<\/dialogue>\n    <character>BERNIE<\/character>\n    <parenthetical>(sees Wades badge)<\/parenthetical>\n    <dialogue>You are city inspector?<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Uhh-<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>No!<\/dialogue>\n    <parenthetical>(prompting Wade)<\/parenthetical>\n    <dialogue>Right??<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Right. I am not an inspector.<\/dialogue>\n    <scene_description>Wade puts his hand over his badge, but his water MAGNIFIES the word \"INSPECTOR.\" He tries again putting his other hand on top but it just magnifies the word even bigger.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>You ARE inspector. Why you poking around? Is this because of water leak?<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>No! Not because of water in ANY way.<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>He's a different kind of inspector. Right??<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Yeah, yeah... I'm a... I'm a... FOOD inspector. I've come to inspect your food.<\/dialogue>\n    <character>BERNIE<\/character>\n    <parenthetical>(annoyed, suspicious)<\/parenthetical>\n    <dialogue>Hmmm.<\/dialogue>\n    <parenthetical>(sotto to Ember)<\/parenthetical>\n    <dialogue>I think he's lying through his feet.<\/dialogue>\n    <character>EMBER<\/character>\n    <parenthetical>(correcting him)<\/parenthetical>\n    <dialogue>Teeth.<\/dialogue>\n    <character>BERNIE<\/character>\n    <dialogue>Whatever!<\/dialogue>\n    <parenthetical>(to Wade)<\/parenthetical>\n    <dialogue>Food upstairs. Come.<\/dialogue>\n    <scene_description>Bernie walks out. Ember shoots Wade a look.<\/scene_description>\n    <character>EMBER<\/character>\n    <parenthetical>(hissing)<\/parenthetical>\n    <dialogue>Food inspector??<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>I panicked!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERNIE'S SHOP - RIGHT AFTER<\/stage_direction>\n    <scene_description>Bernie stands behind the counter, eyeing Wade on the other side.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>You really food inspector?<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>As far as you know, yeah.<\/dialogue>\n    <scene_description>Bernie SLAMS a plate of burning kol-nuts on the counter in front of Wade. Wade gulps.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Then inspect THIS.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Dad...<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>\u00ca... sh\u00fatsh.<\/dialogue>\n    <scene_description>Wade leans over the plate and quickly sniffs.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Yep, all looks good to me.<\/dialogue>\n    <character>BERNIE<\/character>\n    <dialogue>No no no no. Inspect with your mouth.<\/dialogue>\n    <scene_description>Bernie takes a big bite and blows fire. Wade, terrified, scoops a kol-nut into a spoon and reluctantly brings it to his mouth. He blows on it, then takes his first flaming bite-- it sizzles all the way down his throat. Flarry, Flarrietta and other customers watch, holding their breath. The coal reaches his belly. Suddenly, Wade screams in pain. He quickly clamps his hands over his mouth to cover. But a giant bubble grows in his body and rises to his head and floats out of his mouth. The bubble floats across the shop and hits Bernie in the head. It POPS:<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>AHHHHHHHHHHH!<\/dialogue>\n    <scene_description>Ember tries to cover.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>You see? He likes it.<\/dialogue>\n    <scene_description>Wade coughs, miserable, but smiles and gives a thumbs up.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>You must try these. Straight from Fire Land.<\/dialogue>\n    <scene_description>Bernie pours a pile of coals onto Wade's plate. Ember realizes what her dad is up to.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Dad. Those are too hot.<\/dialogue>\n    <character>WADE<\/character>\n    <parenthetical>(croaks)<\/parenthetical>\n    <dialogue>I'm okay. I love hot food.<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Wade's in too deep. He takes another bite of flaming coals. His head quickly fills with huge air bubbles that immediately POP out of his face and force him backwards. He falls into shelf, spilling water all over the shop.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Hey! Watch your water!<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>So, did we pass?<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Mmmhmmm. A-plus.<\/dialogue>\n    <parenthetical>(tastes his mouth, then)<\/parenthetical>\n    <dialogue>Actually... After the heat dies down, that's really good.<\/dialogue>\n    <parenthetical>(has an idea)<\/parenthetical>\n    <dialogue>If you don't mind...<\/dialogue>\n    <scene_description>Wade grabs a mug and scoops up more kol-nuts. He then drips water on top of them with his finger. The coals go out with a HISS. Ember realizes what Wade is doing and tries to get his attention and wave him off.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Mmmm mmmmm!<\/dialogue>\n    <scene_description>Bernie watches, getting increasingly annoyed. Wade drinks.<\/scene_description>\n    <character>WADE<\/character>\n    <parenthetical>(lip smacks)<\/parenthetical>\n    <dialogue>See, it's really tasty if you water it down a little--<\/dialogue>\n    <scene_description>Bad choice of words, Bernie EXPLODES.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Water us down? Water us down?!! Where's camera?!<\/dialogue>\n    <scene_description>Bernie pulls out a camera and snaps a photo of Wade's terrified face.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>We will NEVER be watered down by you. Get out!!<\/dialogue>\n    <scene_description>Ember hurries out from behind the counter.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Alright, sir. You gotta go.<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Wade sets the mug down and rushes for the exit. Bernie huffs and swears in Firish.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>\u00ccsh \u00ec k'\u00e1\u00ec p\u00f3?!<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Dad, don't worry. I've got this.<\/dialogue>\n    <character>BERNIE<\/character>\n    <dialogue>Khshkff f\u00ec \u00edkht' sh\u00edb\u00f9 \u00e1\u00f9!<\/dialogue>\n    <scene_description>Ember runs out after Wade.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERNIE'S SHOP - CONTINUOUS<\/stage_direction>\n    <scene_description>JUST OUTSIDE THE DOOR, Ember catches Wade:<\/scene_description>\n    <character>EMBER<\/character>\n    <parenthetical>(with resolve)<\/parenthetical>\n    <dialogue>Look, meet me at the beach and we'll make more sandbags. We have to figure out how to fix those doors.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERNIE'S SHOP - CONTINUOUS<\/stage_direction>\n    <scene_description>BACK INSIDE THE SHOP, Ember finds Bernie still seething.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Water want to water us down? Then water no longer allowed in shop!<\/dialogue>\n    <scene_description>He slams Wade's photo onto the wall under a sign, \"BANNED.\"<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>He is panned!<\/dialogue>\n    <character>EMBER<\/character>\n    <parenthetical>(correcting him)<\/parenthetical>\n    <dialogue>Um... banned.<\/dialogue>\n    <character>BERNIE<\/character>\n    <dialogue>Banned!<\/dialogue>\n    <scene_description>Agitated, he starts coughing dark smoke. It's the WORST COUGHING FIT we've seen from him to date. Ember rushes to comfort him. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>\u00c0shf\u00e1, it's okay. It's all going to be okay.<\/dialogue>\n    <scene_description>Ember, not so sure it's going to be okay, looks at Wade's photo, concerned.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH - SUNSET<\/stage_direction>\n    <scene_description>On the beach, the sun sets over the water. Ember shovels sand while Wade holds the bag open.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>I don't think this is going to work.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Well it won't unless you hold the bag straight.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Maybe your dad will understand.<\/dialogue>\n    <scene_description>Ember SCOFFS and keeps shoveling.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>I'm serious. Look, I know it can be tough. I mean with my dad... we were like oil and water.<\/dialogue>\n    <parenthetical>(deep regret)<\/parenthetical>\n    <dialogue>I never got a chance to fix that.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>But you guys are different. It might be time to tell him.<\/dialogue>\n    <character>EMBER<\/character>\n    <parenthetical>(increasing intensity)<\/parenthetical>\n    <dialogue>Yeah, right. And tell him what?? That I got us shut down and DESTROYED HIS DREAM??<\/dialogue>\n    <scene_description>On \"dream\" she FLARES PURPLE, melts the shovel and lets out a yell. Then collapses to her knees, distraught, her shields down. Her fire slows down and dims to a candlelight, soft, gentle. It's like we're seeing her INNER light... the same light from when she was vulnerable in front of city hall. Caustics reflect around her. And then the truth: \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>I think I'm failing.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>My \u00c0shf\u00e1 should have retired YEARS ago but he doesn't think I'm ready. You have no idea how hard they've worked or what they've had to endure, the family they left behind...<\/dialogue>\n    <parenthetical>(beat, her big question)<\/parenthetical>\n    <dialogue>How do you repay a sacrifice that big? It all feels like a burden... How can I say that?<\/dialogue>\n    <scene_description>She hangs her head.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>I'm a bad daughter.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Hey, no. You're doing your best.<\/dialogue>\n    <scene_description>She shakes this off, not ready to go deeper, then gets uncomfortable with the fragility she is showing Wade.<\/scene_description>\n    <character>EMBER<\/character>\n    <parenthetical>(sniff)<\/parenthetical>\n    <dialogue>I'm a mess.<\/dialogue>\n    <scene_description>She tries to collect herself and blaze up to cover her vulnerable light, but before she can:<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Nah, I think you're even more beautiful.<\/dialogue>\n    <scene_description>Ember smiles back at him, her flame growing bright again. She looks out at the ocean, the sun meets the horizon.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Maybe you're right when you said my temper is me trying to tell me something.<\/dialogue>\n    <scene_description>Wade notices where Ember is sitting, the sand is molten.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Whoa, look what your fire did to the sand. It's glass.<\/dialogue>\n    <scene_description>Ember breaks off a piece of the glass, melting it in her hands. She forms it into a sphere and uses her fire to create a design inside, what she feels -- a fragile Vivisteria flower. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL WADE WATCHES mesmerized.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>It looks like a Vivisteria flower.<\/dialogue>\n    <scene_description>SUDDENLY Ember has a realization.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>I know how to seal those doors.<\/dialogue>\n    <scene_description>She hops up and runs off, leaving the glass Vivisteria in the sand.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CULVERT - LATER THAT NIGHT<\/stage_direction>\n    <scene_description>It's dark. Ember takes a deep breath and then puts her hand on the stack of sand bags holding the doors shut. There's an EXPLOSION of LIGHT and GLASS as Ember melts the sand bags and begins to seal the culvert door the newly created glass. But this is unlike anything we've seen from her... she's joyous, OWNING the experience... it's almost like watching a dance or someone paint with passion. She seems free and alive and is GLOWING with JOY... and her light is vulnerable, beautiful. Wade can't help but try to take it all in -- the glass, the caustics, her light.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <scene_description>When she finishes, she and Wade stand back and admire her work. Ember is out of breath but her light is peaceful. Wade bites his lip trying hard not to cry.<\/scene_description>\n    <character>EMBER<\/character>\n    <parenthetical>(scoff)<\/parenthetical>\n    <dialogue>Are you crying?<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Yes. I've just never been punched in the face with beauty before.<\/dialogue>\n    <scene_description>They share a moment. Suddenly the earth VIBRATES. An enormous boat passes through the canal, sending sheets of water into the culvert. They look to the glass as water RUSHES in... they're poised to run, and take a couple steps back. But the glass holds. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL It SPLASHES, then settles, only filling the very bottom of the culvert behind the doors.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>It worked!<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>I'll have Gale come by right after work. I'll let you know the second I hear anything.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>You think this'll be good enough for her?<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Honestly?<\/dialogue>\n    <parenthetical>(concerned)<\/parenthetical>\n    <dialogue>It's hard to know. She could go either way.<\/dialogue>\n    <scene_description>Ember nods, nervous. Wade takes something out of his pocket.<\/scene_description>\n    <character>WADE<\/character>\n    <parenthetical>(remembering)<\/parenthetical>\n    <dialogue>Oh. Here... I saved this for you.<\/dialogue>\n    <scene_description>He hands her the glass Vivisteria. Ember takes it in her hand.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>It's special.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERNIE'S SHOP - THE NEXT EVENING<\/stage_direction>\n    <scene_description>Shimmering rays of light spill out of an upstairs window.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERNIE'S SHOP - EMBER'S ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>And we see the light's source: Ember sits on her bed, secretly looking at the glass Vivisteria. Her light refracts through it and dances on the walls. Suddenly, she hears Bernie coughing downstairs. She quickly gets up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERNIE'S SHOP - RIGHT AFTER<\/stage_direction>\n    <scene_description>Ember runs down the stairs to see Bernie repairing a water- damaged wall. He's exhausted. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>\u00c0shf\u00e1, you okay?<\/dialogue>\n    <scene_description>He sees her and smiles.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Yes. Yes. Just too much to fix.<\/dialogue>\n    <scene_description>Ember pulls over a metal can and sits.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>I'll take care of it. YOU need to rest. And that's an order.<\/dialogue>\n    <scene_description>Bernie salutes.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Yes, ma'am.<\/dialogue>\n    <scene_description>They share a laugh. Then Bernie sits and takes his daughter's hands in his own. This is a big moment for him.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Ember, I see a change in you. Happier. Calmer with customers, and with that...<\/dialogue>\n    <parenthetical>(with disgust)<\/parenthetical>\n    <dialogue>...food inspector.<\/dialogue>\n    <scene_description>He gestures to PHOTO of Wade on the \"BANNED!\" board.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Always putting shop first. You prove I can trust you.<\/dialogue>\n    <scene_description>They stand and Bernie heads for the stairs. He stops to cough, then turns back to Ember.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>I'm so lucky I have you.<\/dialogue>\n    <scene_description>He goes upstairs. Ember smiles lovingly. All she wants is to please him. Then her face falls. She pulls out the \"going out of business\" flyer from Fern, then turns to the picture of Wade on the board. SUDDENLY:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERNIE'S SHOP - CINDER'S MATCHMAKING OFFICE<\/stage_direction>\n    <scene_description>Dozing Cinder suddenly sits BOLT UPRIGHT and sniffs.<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>Love!<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERNIE'S SHOP - LATER<\/stage_direction>\n    <scene_description>Ember gently closes the shop door and sneaks to her scooter and drives off, quietly. JUST THEN, Cinder exits the shop, sniffing. Her eyes dart around, suspicious. She turns in the direction Ember rode off and follows the scent.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WATER DISTRICT - WADE'S MOM'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Ember parks her scooter and approaches the entrance to a tall, waterfall covered apartment building. She gulps at the splendor. As she approaches a WATER DOORMAN, Wade shows up and opens the door. He's THRILLED to see her.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Ember! You found it! Everything ok?<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Please tell me that you have some good news from Gale.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>I'm getting really worried about my dad. This has to break my way.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Yeah, I haven't heard from her yet, but she SWORE she'd call tonight.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Actually, my family stopped by for dinner? You, want to come up and wait for the call together?<\/dialogue>\n    <scene_description>Ember pauses. Meet the family? That feels like a new step...<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Your family?<\/dialogue>\n    <scene_description>AROUND THE CORNER, unseen by Wade and Ember, Cinder sniffs, still tracking Ember's trail. She suddenly stops in her tracks. She sees Ember talking to SOMEBODY -- but from her POV, she can't see who.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Um... okay, I'll come up for a bit.<\/dialogue>\n    <scene_description>Cinder ducks, peering over a ledge. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL BACK WITH Ember and Wade: the DOORMAN opens the front door and tips his hat. It's pretty ritzy.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>I'm sorry... You LIVE here?<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>It's my mom's place.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Oh my gosh.<\/dialogue>\n    <scene_description>Wade and Ember enter. Hot on their tail, Cinder hurries up to the building and tries to enter. The Doorman blocks her path.<\/scene_description>\n    <character>DOORMAN<\/character>\n    <dialogue>I'm afraid I can't let you in. Residents and guests only.<\/dialogue>\n    <scene_description>Cinder pretends to leave, then suddenly does a spin dodge to get around the doorman, but he quickly extends him arm creating a wall of water.<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>Ah, okay. I under-STAND.<\/dialogue>\n    <scene_description>Cinder spins again in the other direction, but the Doorman creates a second wall of water with his other arm.<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>You're surprisingly good at your job!<\/dialogue>\n    <character>DOORMAN<\/character>\n    <dialogue>You're surprisingly fast for your age.<\/dialogue>\n    <character>CINDER<\/character>\n    <dialogue>You have NO idea.<\/dialogue>\n    <scene_description>Cinder suddenly spins her fire into a tornado! The Doorman gulps, concerned.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WADE'S MOM'S APARTMENT - CONTINUOUS<\/stage_direction>\n    <scene_description>The door is thrown open and Wade's mom, BROOK is there, gushing!<\/scene_description>\n    <character>BROOK<\/character>\n    <dialogue>Ember! Oh I'm so excited to finally meet you.<\/dialogue>\n    <parenthetical>(unsure)<\/parenthetical>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>BROOK<\/character>\n    <dialogue>Do we hug or... wave or... don't want to put you out ha ha.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Um, a hello is fine.<\/dialogue>\n    <character>BROOK<\/character>\n    <dialogue>Hardly. Wade hasn't stopped talking about you since the day you met. The boy is smitten!<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Mom!<\/dialogue>\n    <character>BROOK<\/character>\n    <dialogue>Oh, come on. I'm your mother. I know when something's \"lighting you up.\" I just didn't know she'd be so SMOKEY!<\/dialogue>\n    <scene_description>They all laugh. Ember stops sooner... not as funny to her. A beat.<\/scene_description>\n    <character>BROOK<\/character>\n    <dialogue>Come this way. Meet the rest of the family.<\/dialogue>\n    <scene_description>Ember starts to follow but is stopped in her tracks when she sees the apartment is one big swimming pool with floating furniture. Brook steps into the pool and Ember hangs behind. It's an awkward moment. But, thinking fast, Wade grabs a floaty chair from the side of the room, and then fetches a welcome mat from the foyer. He places the mat on the chair. Solution! Ember cautiously steps onto the floaty. Wade carefully guides Ember into the living room, when Brook remembers:<\/scene_description>\n    <character>BROOK<\/character>\n    <dialogue>Oh honey! You won't believe what your baby niece did today! She... she smiled.<\/dialogue>\n    <scene_description>Brook starts to tear up which gets Wade going.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>No, she didn't.<\/dialogue>\n    <scene_description>She nods. They both burst into tears. Ember watches, wide- eyed. What has she gotten herself into?? \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WADE'S MOM'S APARTMENT - DINING ROOM - LATER<\/stage_direction>\n    <scene_description>Ember and Wade follow Brook through a waterfall curtain. Wade holds his arm above Ember to keep her dry. We reveal the rest of Wade's family gathered around an inflatable dining table. Everyone there is Water. Wade yells to the room.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Hey everyone! This is Ember!<\/dialogue>\n    <scene_description>Everyone turns to them:<\/scene_description>\n    <character>ALAN<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>That's my brother Alan and his wife Eddy.<\/dialogue>\n    <character>EDDY<\/character>\n    <dialogue>Hi!<\/dialogue>\n    <character>ALAN<\/character>\n    <dialogue>And we got two kids that are swimming around here somewhere.<\/dialogue>\n    <parenthetical>(calling out)<\/parenthetical>\n    <dialogue>Marco! Polo!<\/dialogue>\n    <scene_description>Two heads pops out of the water. One chases the other, slapping him with a pool noodle.<\/scene_description>\n    <character>POLO<\/character>\n    <dialogue>Hi Uncle Wade!<\/dialogue>\n    <scene_description>Suddenly they see Ember. Whoa. They've never been this close to Fire.<\/scene_description>\n    <character>MARCO<\/character>\n    <dialogue>Do you die if you fall in water?<\/dialogue>\n    <scene_description>Marco starts to shake Ember's floaty.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Whoa!<\/dialogue>\n    <scene_description>Wade is furious.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>MARCO!<\/dialogue>\n    <scene_description>Alan jumps in. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>ALAN<\/character>\n    <parenthetical>(to Ember, embarrassed)<\/parenthetical>\n    <dialogue>Kids. Heh he.<\/dialogue>\n    <parenthetical>(dead serious)<\/parenthetical>\n    <dialogue>Don't hate us.<\/dialogue>\n    <scene_description>Alan pulls Marco off and ushers the kids away. Ember regains her balance and smiles uncomfortably. Wade, feeling bad, leads Ember and her floaty over to the dinner table.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Anyway... that's my little sib Lake. And her girlfriend Ghibli.<\/dialogue>\n    <character>GHIBLI<\/character>\n    <dialogue>'Sup.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>They're students at Element City School For the Arts.<\/dialogue>\n    <character>LAKE<\/character>\n    <dialogue>Yeah, following in Mom's wake.<\/dialogue>\n    <character>BROOK<\/character>\n    <dialogue>Oh nonsense, I'm just an architect. The real artist is my brother Harold.<\/dialogue>\n    <scene_description>Reveal HAROLD, standing in front of a very large painting.<\/scene_description>\n    <character>HAROLD<\/character>\n    <dialogue>Oh, I just dabble in water colors.<\/dialogue>\n    <parenthetical>(dad joke)<\/parenthetical>\n    <dialogue>Or as we like to call them, \"colors.\"<\/dialogue>\n    <scene_description>He laughs at his own joke. Brook sets a dish down on the table and sits. As they talk, everyone takes a seat and the meal begins.<\/scene_description>\n    <character>BROOK<\/character>\n    <dialogue>Oh don't listen to him. He's a wonderful painter. One of his paintings just got in the Element City Museum's permanent collection.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Wow. That is so cool. My only talent is \"clean up on aisle 4!\"<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Talk about being modest-- Ember's got an incredible creative flame! I've never seen anything like it.<\/dialogue>\n    <scene_description>Wade looks lovingly toward Ember. Harold jumps in.<\/scene_description>\n    <character>HAROLD<\/character>\n    <parenthetical>(loud and slow)<\/parenthetical>\n    <dialogue>I just have to say that you speak SO well and clear--<\/dialogue>\n    <scene_description>Wade shoots him a look. Ember keeps her cool.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Hmph. Yeah, it's amazing what talking in the same language your entire life can do.<\/dialogue>\n    <character>HAROLD<\/character>\n    <parenthetical>(embarrassed)<\/parenthetical>\n    <dialogue>Doh!<\/dialogue>\n    <scene_description>Alan tries to break the tension.<\/scene_description>\n    <character>ALAN<\/character>\n    <dialogue>Uh, hey Ember, did Wadey here ever tell you that he's deathly afraid of sponges?<\/dialogue>\n    <character>EMBER<\/character>\n    <parenthetical>(intrigued)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <scene_description>FLASHBACK:<\/scene_description>\n    <character>INT. KINDERGARTEN HALLWAY -<\/character>\n    <dialogue>DAY<\/dialogue>\n    <character>WADE (V.O.)<\/character>\n    <dialogue>I was traumatized...<\/dialogue>\n    <scene_description>A five-year-old Wade is walking down the school hallway when a janitor drops a large sponge. Curious Wade hangs back and tentatively pokes it. Wade reaches out and touches it with his finger-- it immediately starts to suck in his water. Panicking, he tries to pull away but the suction is too strong and it soaks him up entirely! \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Close on the sponge with little Wade's terrified eyes peering out. BACK TO PRESENT: Everyone except Wade is cracking up, especially Ember.<\/scene_description>\n    <character>BROOK<\/character>\n    <dialogue>I still can't use a sponge around him!<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>I was stuck in there for hours!<\/dialogue>\n    <scene_description>As he laughs, Alan pours from a glass pitcher, but it slips out of his hand and SHATTERS.<\/scene_description>\n    <character>ALAN<\/character>\n    <dialogue>Oh!<\/dialogue>\n    <character>BROOK<\/character>\n    <dialogue>Alan! That was new!<\/dialogue>\n    <scene_description>Ember quickly picks up a couple shards of glass and blows on them, melting them together.<\/scene_description>\n    <character>ALAN<\/character>\n    <dialogue>My bad. I'm all whirlpools tonight...<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>I can fix it.<\/dialogue>\n    <scene_description>Without thinking, she gathers all of the pieces and heats them up, melting it into a glowing ball. She then blows into it, shaping it, working it. And we see her light grow vulnerable, prismatic, caustics shining, just like at the dam. She molds the glass into a gorgeous, colorful piece of art. She sets down the pitcher, lost in the moment, and doesn't notice that the whole family watching mesmerized. She looks up:<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Oh, uhm...<\/dialogue>\n    <scene_description>Self-conscious, she ZIPS up her fire.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Sorry.<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>HAROLD<\/character>\n    <parenthetical>(blown away)<\/parenthetical>\n    <dialogue>That... was... incredible.<\/dialogue>\n    <scene_description>The family explodes in applause. Ember tries to cover how flattered she is.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>It's just melted glass.<\/dialogue>\n    <character>BROOK<\/character>\n    <dialogue>Just melted glass? Every building in the new city is built from \"just melted glass.\" Oh no, you have to do something with that talent.<\/dialogue>\n    <scene_description>Ember looks to the city through the floor to ceiling windows - - it's glistening with lights, glass... it's beautiful. Wade leans to her and whispers.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>See, I told you you're special.<\/dialogue>\n    <scene_description>She smiles. It's a lovely moment. Then Wade suddenly gets an idea! An actual bubble floats up through his head...<\/scene_description>\n    <character>WADE<\/character>\n    <parenthetical>(gasp)<\/parenthetical>\n    <dialogue>Ooh, thought bubble!<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Maybe after dinner we play \"The Crying Game?\"<\/dialogue>\n    <scene_description>Everyone is thrilled with this suggestion. Ember smirks.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Let me guess: you TRY to cry?<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>We try NOT to cry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WADE'S MOM'S APARTMENT - SOON AFTER<\/stage_direction>\n    <scene_description>Everyone is gathered in the living room. It's game time. As Wade turns over an hourglass timer:<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>You have one minute. Go!<\/dialogue>\n    <scene_description>Brook and Harold face off against each other. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>HAROLD<\/character>\n    <dialogue>1979. November. You were--<\/dialogue>\n    <scene_description>Brook bursts into tears. Her team throws their hands up, the other team celebrates. Ember smiles, this is kinda fun.<\/scene_description>\n    <character>BROOK<\/character>\n    <parenthetical>(bawling)<\/parenthetical>\n    <dialogue>--Never got a chance to say goodbye to Nana. Damn, you're good.<\/dialogue>\n    <character>HAROLD<\/character>\n    <dialogue>Okay, Ember, Wade, you're up.<\/dialogue>\n    <scene_description>Ember and Wade face off.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Yeah this is almost unfair. Because I have literally never cried. You got no chance.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Sounds like a challenge.<\/dialogue>\n    <scene_description>As Harold flips the timer:<\/scene_description>\n    <character>HAROLD<\/character>\n    <dialogue>Ready, go!<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Butterfly. Windshield wipers. Half a butterfly.<\/dialogue>\n    <scene_description>Everyone tears up. Ember is unmoved.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Okay. An old man on his deathbed. Remembers the summer he fell in love. She was out of his league and he was young and scared.<\/dialogue>\n    <parenthetical>(sniff, tearing up)<\/parenthetical>\n    <dialogue>He let her go thinking surely summer would come again.<\/dialogue>\n    <parenthetical>(sniff)<\/parenthetical>\n    <dialogue>It never did.<\/dialogue>\n    <scene_description>Ember is still unmoved.<\/scene_description>\n    <character>HAROLD<\/character>\n    <parenthetical>(sniffling)<\/parenthetical>\n    <dialogue>Almost out of time.<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Wade smiles at Ember, then takes the plunge and be honest. This is no longer about the game, it's about telling her how he REALLY feels. As he speaks, his family leans in, captivated.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Ember, when I met you I thought I was drowning. But that light, that light inside you has made me feel so alive. And all I want now is to be near it. Near you. Together.<\/dialogue>\n    <scene_description>We ZOOM close into Ember's eye. There is a small glimmering flame in her pupil... it becomes an impressionistic version of EMBER. She floats with WADE and they dance around each other... she sheds her outer light and we see her full vulnerable light as they spin. It's lovely. They reach out to touch hands, but Ember suddenly pulls back, the magic is broken. She falls away from him... PULL OUT and we see the same reflections on a LAVA TEAR DROP that drips out of Ember's eye, rolls down her cheek and into the pool. The entire family is caught up in the emotional connection Ember and Wade just made, stunned. Ember and Wade just stare into each other's eyes. And then, THE PHONE rings and the moment is broken. Wade rushes over to pick it up.<\/scene_description>\n    <character>WADE<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Hello? Gale, hi.<\/dialogue>\n    <scene_description>Ember tries to read his expression. INTERCUT WITH:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CULVERT - SAME TIME<\/stage_direction>\n    <scene_description>Gale and TWO AIR CITY WORKERS stand skeptically at the glass- repaired doors. Gale does not look happy.<\/scene_description>\n    <character>GALE<\/character>\n    <parenthetical>(you idiots)<\/parenthetical>\n    <dialogue>Glass?? You repaired it with glass??<\/dialogue>\n    <scene_description>Behind Gale an Air Worker punches the glass. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>AIR WORKER<\/character>\n    <parenthetical>(efforts)<\/parenthetical>\n    <dialogue>Hey hey!<\/dialogue>\n    <character>GALE<\/character>\n    <dialogue>Hold the storm...<\/dialogue>\n    <scene_description>Wade swallows hard. Ember looks nervous. Gale watches as another worker slams the glass with a large hammer, the glass holds. The workers give her a thumbs up.<\/scene_description>\n    <character>GALE<\/character>\n    <dialogue>TEMPERED glass? Solid as a rock. I like it. Consider the tickets cancelled.<\/dialogue>\n    <scene_description>Wade hangs up, smiling, teary eyed with joy. Ember can't believe it.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>We did it!?<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Yup!<\/dialogue>\n    <scene_description>Ember pulls the brochure out her pocket and triumphantly burns it.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Awesome!<\/dialogue>\n    <scene_description>Wade runs toward her, arms outstretched.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Wooo!<\/dialogue>\n    <scene_description>Ember opens her arms, they're about to hug but stop themselves.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Oh! Um.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <parenthetical>(laugh)<\/parenthetical>\n    <dialogue>Suddenly, Polo pops up behind Wade and smacks him HARD with a pool noodle.<\/dialogue>\n    <character>WADE<\/character>\n    <parenthetical>(pained)<\/parenthetical>\n    <dialogue>Oh!<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WADE'S MOM'S APARTMENT - HALLWAY - SHORTLY AFTER<\/stage_direction>\n    <scene_description>LATER at the door, Brook says goodbye to Ember and Wade. Brook holds the repaired glass vase.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Thank you Mrs. Ripple. This was... this was really great.<\/dialogue>\n    <character>BROOK<\/character>\n    <dialogue>Yeah, it was. And I mean what I said about your talent. I have a friend who runs the best glass making firm in the world. During dinner, I slipped out and I made a call. And I told her about you. They're looking for an intern. It could be an amazing opportunity.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>For real?<\/dialogue>\n    <character>BROOK<\/character>\n    <dialogue>It's a long way from the city, but it would be an incredible start. You have a bright future.<\/dialogue>\n    <parenthetical>(then, re: vase)<\/parenthetical>\n    <dialogue>Look at me! I have an original Ember!<\/dialogue>\n    <scene_description>Ember's expression falls. She smiles nervously and turns to go.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Hold up. I'll walk you out.<\/dialogue>\n    <scene_description>Wade follows her out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WADE'S MOM'S APARTMENT - RIGHT AFTER<\/stage_direction>\n    <scene_description>The doorman, now a half-steamed water wall, but still holding strong, stands across from a still full-on-fire-tornado Cinder.<\/scene_description>\n    <character>DOORMAN<\/character>\n    <parenthetical>(out of breath)<\/parenthetical>\n    <dialogue>I'm afraid you're still going to have to wait out here ma'am.<\/dialogue>\n    <scene_description>Cinder's tornado slows to a stop. She tries to catch her breath, dizzy. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>CINDER<\/character>\n    <parenthetical>(out of breath)<\/parenthetical>\n    <dialogue>And I'm afraid... I will throw up.<\/dialogue>\n    <scene_description>Cinder staggers away from the building to recover. Behind her, Wade rushes to catch up to Ember as she hurries to her scooter and hops on.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Ember! Ember, hold up. What's going on?<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>I can't believe she basically offered me a job.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>I know! Could be cool!<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Yeah, super cool, Wade! I could move out and make glass in a far away city. Do whatever I want.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>I don't understand.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>I'm going home.<\/dialogue>\n    <scene_description>She starts her scooter. Wade, unsure what else to do:<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Fine, then I'm going with you.<\/dialogue>\n    <scene_description>Wade hops on the back of the scooter.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Ugh!<\/dialogue>\n    <scene_description>Ember GUNS the scooter and zips into the night. Wade hangs on for dear life. ANGLE ON Cinder, she whips around just in time to see them drive off. She's SHOCKED:<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>A WATER guy??<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRIDGE<\/stage_direction>\n    <scene_description>ON EMBER AND WADE as they drive fast. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>WADE<\/character>\n    <parenthetical>(yelling over the noise)<\/parenthetical>\n    <dialogue>Look-- My mom was just trying to be helpful! She doesn't know how excited you are to run the shop!<\/dialogue>\n    <character>EMBER<\/character>\n    <parenthetical>(frustrated)<\/parenthetical>\n    <dialogue>Arrgh!!<\/dialogue>\n    <scene_description>Ember guns it. They weave through traffic. The inertia and G- Forces stretch Wade out.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>What is the matter??<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Nothing!<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Yeah? Because we're going like a thousand, and-- BUS!<\/dialogue>\n    <scene_description>Ember SWERVES, Wade stretches from the force, splashing along the side of the bus.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Ah!<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>You don't know me, Wade! Okay? So stop pretending like you do.<\/dialogue>\n    <scene_description>They speed toward Firetown.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>What is this about?<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Nothing. Everything. I don't know. It's...<\/dialogue>\n    <scene_description>She SLAMS the brakes and SKIDS to a stop in front of the shop, the Blue Flame glowing from inside the dark windows.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>I don't think I actually DO want to run the shop, okay? THAT'S what my temper has been trying to tell me... I'm trapped.<\/dialogue>\n    <scene_description>She gets off the bike and faces the shop. Wade joins her. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>EMBER<\/character>\n    <parenthetical>(looking at Flame)<\/parenthetical>\n    <dialogue>You know what's crazy? Even when I was a KID, I would pray to the Blue Flame to be good enough to fill my father's shoes someday. Because this place is his dream. But I never once asked... what I wanted to do.<\/dialogue>\n    <parenthetical>(sigh)<\/parenthetical>\n    <dialogue>I think that's because deep down I knew it didn't matter. Because the only way to repay a sacrifice so big is by sacrificing your life too.<\/dialogue>\n    <scene_description>Wade stares at Ember. SUDDENLY we hear:<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>Ember!<\/dialogue>\n    <scene_description>We see tiny, distant Cinder up on the train platform.<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>Don't move!!<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Oh, blaze! My mother.<\/dialogue>\n    <scene_description>Cinder hurries down the stairs and runs up to them, exhausted from the chase.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Mom, it's okay. He's just a friend.<\/dialogue>\n    <character>CINDER<\/character>\n    <dialogue>Si--<\/dialogue>\n    <parenthetical>(breathes heavy, finger up, then)<\/parenthetical>\n    <dialogue>SILENCE! I could smell you from over there! You stink.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>What are you talking about??<\/dialogue>\n    <character>CINDER<\/character>\n    <dialogue>YOU know what I'm talking about!<\/dialogue>\n    <scene_description>Ember sniffs herself.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>You're smelling love on me?<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Ember glances at Wade... is she... in love?<\/scene_description>\n    <character>CINDER<\/character>\n    <parenthetical>(a warning)<\/parenthetical>\n    <dialogue>If your father find out.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>Fire and Water cannot be together! I prove it! Come with me.<\/dialogue>\n    <scene_description>Cinder goes into the shop, gesturing for them to follow.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CINDER'S MATCHMAKING OFFICE - SOON AFTER<\/stage_direction>\n    <scene_description>Ember and Wade sit across from Cinder, two sticks stand on the table between them.<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>I splash this on your heart to bring love to the surface!<\/dialogue>\n    <scene_description>Cinder ANGRILY splashes Ember with oil. Then, she FURIOUSLY splashes Wade, leaving a little oil-slick. He flinches at first but then enjoys it.<\/scene_description>\n    <character>WADE<\/character>\n    <parenthetical>(pleasant)<\/parenthetical>\n    <dialogue>Mmmm.<\/dialogue>\n    <scene_description>Cinder gestures to the sticks.<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>And then you must light these with your fire and I read the smoke.<\/dialogue>\n    <scene_description>Ember sniffs herself. Then she lights a stick. Cinder turns to Wade and gestures smugly. His turn. He looks at his finger. No way to light the flame.<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>See, Ember, it cannot be.<\/dialogue>\n    <scene_description>Wade gets a thought.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Actually...<\/dialogue>\n    <scene_description>He stands between Ember and the sticks.<\/scene_description>\n    <character>EMBER<\/character>\n    <parenthetical>(sotto)<\/parenthetical>\n    <dialogue>What are you doing?<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL He pulls up his shirt and refracts Ember's light through his torso, causing a magnifying glass effect. He focuses the beam of light onto the stick. And it works! The stick lights and starts smoking, surprising Cinder and Ember both. Everyone watches as the intermingling smoke turns into a double-helix. Cinder can't help but read the smoke. Ember watches her mom... could it actually tell them something? They are all caught up in the moment when suddenly we hear:<\/scene_description>\n    <character>BERNIE (O.S.)<\/character>\n    <dialogue>Cinder? Who down there?<\/dialogue>\n    <scene_description>Ember's eyes grow in horror.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>It's my dad. You have to go!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERNIE'S SHOP - RIGHT AFTER<\/stage_direction>\n    <scene_description>Cinder and Ember rush Wade out the front door just as Bernie enters from upstairs.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Wait, are we a match?<\/dialogue>\n    <scene_description>Cinder SLAMS the door -- Wade's hand gets momentarily caught.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Ahhh!<\/dialogue>\n    <scene_description>Bernie approaches from the other side of the shop, unaware.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>What's going on? I wake up and nobody upstairs??<\/dialogue>\n    <scene_description>After a struggle, we hear Wade escape. Ember tries to cover:<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>It was just me. I was... double checking the locks. And mom came down and...<\/dialogue>\n    <character>CINDER<\/character>\n    <dialogue>Yes and we...<\/dialogue>\n    <parenthetical>(bad lying)<\/parenthetical>\n    <dialogue>...began looking at this door. We don't talk about this door enough!<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>EMBER<\/character>\n    <parenthetical>(hissed, sotto)<\/parenthetical>\n    <dialogue>Pull it together!<\/dialogue>\n    <scene_description>Bernie smiles.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Well, since you are awake... I was going to tell you tomorrow, but... I'm too excited to sleep. In two days... I retire!<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Oh!<\/dialogue>\n    <character>CINDER<\/character>\n    <dialogue>Oh Bernie!<\/dialogue>\n    <character>EMBER<\/character>\n    <parenthetical>(this is shocking)<\/parenthetical>\n    <dialogue>Two days?<\/dialogue>\n    <character>BERNIE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>BERNIE<\/character>\n    <dialogue>We're going to throw BIG party. A grand reopening!<\/dialogue>\n    <scene_description>Bernie takes Cinder by the hand and spins her.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>That way I can tell whole world my daughter take over.<\/dialogue>\n    <scene_description>Cinder is overjoyed. Ember looks sick to her stomach.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>And I have gift for you. I've had this for awhile, but after our talk I know now is the time.<\/dialogue>\n    <scene_description>Bernie walks to the counter and pulls out a large box. He puts his hand on it and pauses, getting serious.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Before I give it to you, I need you to understand what it means to me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIRE LAND - SHORE - FLASHBACK<\/stage_direction>\n    <scene_description>We're back in Fire Land. A group of Fire Elements watch as two figures, Bernie and Cinder, walk toward a boat. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>BERNIE (V.O.)<\/character>\n    <dialogue>When I left Fire Land, I gave my father the \"B\u00e0 Ks\u00f4,\" the Big Bow.<\/dialogue>\n    <scene_description>Bernie turns back toward his parents and does the CEREMONIAL Bow -- on his knees, arms outstretched.<\/scene_description>\n    <character>BERNIE (V.O.)<\/character>\n    <dialogue>It is the highest form of respect. But my father did not return the Bow, did not give me his blessing.<\/dialogue>\n    <scene_description>A heartbroken Bernie, still in the bow, looks to his stoic father.<\/scene_description>\n    <character>BERNIE (V.O.)<\/character>\n    <dialogue>He say, if we leave Fire Land, we will lose who we are.<\/dialogue>\n    <scene_description>Bernie hangs his head.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERNIE'S SHOP - BACK TO SCENE<\/stage_direction>\n    <scene_description>Back to Bernie today, tears in his eyes. This is unresolved trauma.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>They never got to see all of this.<\/dialogue>\n    <scene_description>He gestures to the shop, to the shrine.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>They didn't get to see that I NEVER forgot we are Fire. This is burden I still carry.<\/dialogue>\n    <scene_description>Cinder wells up. Bernie is NEVER this open about his emotions.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Ember, it is important that you know you have MY blessing every day you come in here. So I have this made for you.<\/dialogue>\n    <scene_description>Bernie opens the large package: It's a neon sign for the shop that reads: EMBER'S FIREPLACE. Ember's eyes widen, stunned. Bernie beams with pride.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Wow, \u00c0shf\u00e1.<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Bernie flares up, excited, full of YOUTHFUL energy.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>It's gonna be big, bright! Everyone is gonna see this. EMBER'S FIREPLACE! We unveil it at grand reopening!<\/dialogue>\n    <character>CINDER<\/character>\n    <dialogue>Come Bernie, you need your rest.<\/dialogue>\n    <scene_description>Cinder leads Bernie away, but turns back and SHOOTS EMBER a look as they go. LATER, Ember sits on the floor, alone in the shop, staring at the sign, turning it on and off. Her flame dims and she quietly starts to cry.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CULVERT - THE NEXT DAY<\/stage_direction>\n    <scene_description>A boat goes by and a WAVE of water spills into the culvert. We see that the glass dam still holds, but water is almost to the top, creating enormous PRESSURE. A TINY crack appears.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BROOK'S APARTMENT - HALLWAY - THAT EVENING<\/stage_direction>\n    <scene_description>There's a knock on the door. Wade opens it and is thrilled to find:<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Ember! So what'd your mom say? About our reading?<\/dialogue>\n    <scene_description>She's subdued, holding a box.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Nothing. Look, I have a gift for you.<\/dialogue>\n    <scene_description>Wade steps out into the hall. Ember hands him the box. He reaches in and pulls out the Vivisteria glass.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>And you came all the way here to give it to me?<\/dialogue>\n    <parenthetical>(then, realizing)<\/parenthetical>\n    <dialogue>Wait, why are you giving me gifts?<\/dialogue>\n    <scene_description>Ember looks away. Wade gets it. She's ending things.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Oh no. No, no, no, no no.<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL But he gets an idea... bubble, glass, Vivisteria...<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Hold on. I think I have something to show you.<\/dialogue>\n    <parenthetical>(energized, excited)<\/parenthetical>\n    <dialogue>Just give me two seconds! And you're going to need a pair of boots!<\/dialogue>\n    <scene_description>On Ember, puzzled.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GARDEN CENTRAL STATION - SOON AFTER<\/stage_direction>\n    <scene_description>Ember and Wade walk toward a deserted GARDEN CENTRAL STATION, passing the VIVISTERIA SIGN we saw in Ember's flashback. It now has a banner over it, CLOSED.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Wade, what are we doing here?<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Just wait!<\/dialogue>\n    <scene_description>They stop in front of a chain link fence. Wade takes off his shirt, throws it over the fence and then walks easily right through, diving back into his shirt on the other side. Ember also walks right through, melting the metal.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Why do they even have these?<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>Eh, who knows.<\/dialogue>\n    <scene_description>They continue on toward the station. The NO FIRE sign still stands in the entryway. Wade knocks it over.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GARDEN CENTRAL STATION - SUBWAY ENTRANCE - CONTINUOUS<\/stage_direction>\n    <scene_description>The station is decrepit. The TILE on the walls is broken and there are just hints it was once incredibly ornate. Entrance stairs from ground level lead down then vanish into a dark, flooded tunnel. Reveal Gale in front of the flooded tunnel. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>GALE<\/character>\n    <dialogue>Hey! It's my favorite fire ball!<\/dialogue>\n    <scene_description>Ember is puzzled.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Hey Gale... what's going on?<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>I know you think you have to end this but..<\/dialogue>\n    <parenthetical>(re: water)<\/parenthetical>\n    <dialogue>That flooded tunnel? It goes to the main terminal.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>O-kay?<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Do you still want to see a Vivisteria?<\/dialogue>\n    <scene_description>Ember is shocked... for real? Wade gestures toward GALE.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Gale?<\/dialogue>\n    <scene_description>Gale BLOWS a HUGE bubble in the water, big enough for Ember to get into. She holds the bubble closed at the water's surface. Ember's eyes widen as she realizes what Wade's thinking.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Wait, I'm supposed to get in there?<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>The air should last...<\/dialogue>\n    <character>GALE<\/character>\n    <dialogue>...at least twenty minutes.<\/dialogue>\n    <scene_description>Ember looks to Wade, hesitant.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>THEY said you couldn't go in there... Why does ANYONE get to tell you what you can do in your life?<\/dialogue>\n    <scene_description>Ember looks at the bubble, then back to Wade. He gives her an encouraging nod. She steps to the edge of the water... and jumps in. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Inside the bubble, Ember opens her eyes - it worked!<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Whoa.<\/dialogue>\n    <scene_description>Getting her bearings, she looks out from the bubble down the long dark passageway. Wade swims around and gives her two thumbs up. He grabs her bubble and starts swimming them deeper. From the surface, Gale waves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBWAY TUNNEL - UNDERWATER - CONTINUOUS<\/stage_direction>\n    <scene_description>Wade holds Ember's bubble and swims them down the staircase. Ember looks to Wade who gives her a reassuring smile. They reach the bottom of the stairs and emerge into an old train station. Ember's light illuminates the walls. It's gorgeous. Somehow, preserved under water, is the opulence of another era... beautiful tile walls, vaulted ceilings. Ember looks up at the GARDEN CENTRAL STATION platform sign. Wade and Ember explore an old subway car, looking through it's windows into the interior. Ember's glow lights up their surroundings and startles a school of fish. They swim at Ember, swirling around her bubble. Ember and Wade follow the fish up a staircase. It opens up into the GRAND BALLROOM of the station. And in the middle of it, growing in the double-helix, is the DORMANT Vivisteria plant. No flowers. Wade and Ember are entranced at seeing it. Wade pushes Ember closer and as her light hits the vine, the bud closest to them BLOOMS.<\/scene_description>\n    <character>EMBER<\/character>\n    <parenthetical>(whispered)<\/parenthetical>\n    <dialogue>A Vivisteria.<\/dialogue>\n    <scene_description>Ember's light grows almost entirely prismatic, casting caustics. They're both in awe. They swim up the vine. As Ember's light hits the plant, more flowers bloom. Another cloud of fish sends Ember's bubble spinning.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Whoa.<\/dialogue>\n    <scene_description>More BLOOMS. She glows brighter and the vine EXPLODES with flowers. They swim together through the vines. Ember reaches toward the flowers. It's a shared, magical moment. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL BUT suddenly the bubble begins to shrink around Ember as air is used up. The bubble's wall touches the top of Ember's flame.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Ouch!<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Hey! You're running out of air!<\/dialogue>\n    <scene_description>Ember is alarmed. Wade looks around and spots an exit. He swims her shrinking bubble as fast as he can up the stairwell. As Ember's bubble gets tighter, she starts to hyperventilate, burning up what little oxygen she has left.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Almost there. Try to breathe slow and steady.<\/dialogue>\n    <scene_description>Ember nods and manages to slow her breathing down as Wade pushes her up. Wade swims with all his might. They see light-- they must be nearing the surface. They break through just in time.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MINERAL LAKE - OLD SUBWAY ENTRANCE - CONTINUOUS<\/stage_direction>\n    <scene_description>Ember and Wade burst out of an old entrance at Mineral Lake. They lay there breathing heavily. Wade looks at Ember, worried.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>I'm so sorry, I should never have--<\/dialogue>\n    <scene_description>She springs up onto her feet.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Are you kidding? That was amazing. I finally saw a Vivisteria!<\/dialogue>\n    <scene_description>Wade stands and walks toward her.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>It was inspiring. You were inspiring.<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Ember looks at him, suddenly serious. Wade just stares into her eyes, calm. He holds his hand out to her.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>No. Wade, we can't touch.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Maybe we can.<\/dialogue>\n    <scene_description>Ember furrows her brow. She takes a few steps away and stares at the water.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>But can't we just prove it.<\/dialogue>\n    <scene_description>She turns back to Wade.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Prove what?<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Let's see what happens, and if it's a disaster then we'll know this would never work.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>But it actually could be a disaster. I could vaporize you. You could extinguish me. And then--<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Let's... let's start small.<\/dialogue>\n    <scene_description>Wade holds his hand out to Ember. After a moment, she tentatively reaches towards it. She hovers her hand over his. Her hand flickers and his starts to bubble. She tries again. Placing her palm in his, they TOUCH, in awe. Water boiling, steam, chemistry. They're touching and they're okay... equalizing. His water gently simmers from her heat. She pulls her steaming hand away and examines it. She looks to Wade, also inspecting his hand. They step closer and press their fingertips and then their full palms together. Wade's water pushes back to match the strength of her heat. Their hands find a tingly equilibrium. It's a magical moment, a coming together like a kiss. They lock eyes then grasp both hands and lean in. In each other's arms, they dance. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>WADE<\/character>\n    <parenthetical>(intimate, soft)<\/parenthetical>\n    <dialogue>I'm so lucky.<\/dialogue>\n    <scene_description>SUDDENLY there's a quick POP: -- A tired Bernie from before, heading upstairs to bed:<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>I'm so lucky I have you.<\/dialogue>\n    <scene_description>MORE flashes: -- Ember and Bernie at the Blue Flame together. -- Ember helping a tired Bernie up from the counter. -- Bernie and Ember sharing a warm hug. -- Ember's new SIGN. OUT OF FLASHBACK Ember ZIPS up her fire, covering her vulnerable light, and pulls away from Wade.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>I have to go.<\/dialogue>\n    <scene_description>She runs away along the lake path.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Wait, what? Where are you going?<\/dialogue>\n    <scene_description>She hurries up the Wetro stairs and Wade follows.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Back to my life at the shop. Where I belong. I take over tomorrow.<\/dialogue>\n    <scene_description>Wade jumps in front of her, stopping her.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Whoa whoa whoa, hold up. You don't WANT that. You said so yourself.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>It doesn't matter what I want.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Of course it does!!<\/dialogue>\n    <scene_description>She moves past him, up the stairs toward the train platform. Wade, totally confused, follows. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Listen LISTEN!! You've got an opportunity to do something you WANT with your life!<\/dialogue>\n    <scene_description>This stops her. She turns around.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>WANT? Yeah, that may work in your rich kid follow-your-heart family. But getting to \"do what you want\" is a luxury. And not for people like me.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Why not?? Just tell your father how you feel. This is too important. Maybe he'll agree.<\/dialogue>\n    <character>EMBER<\/character>\n    <parenthetical>(scoff)<\/parenthetical>\n    <dialogue>Oh, ha. Yeah.<\/dialogue>\n    <scene_description>There's no WAY she will do that. Wade sets his jaw.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Funny. And this whole time I thought you were so strong, but it turns out... you're just afraid.<\/dialogue>\n    <scene_description>That hurts... and is probably true. Ember BLAZES.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Don't you DARE judge me. You don't know what it's like to have parents who gave up EVERYTHING for you. I'm FIRE, Wade. I can't be anything more than that. It's what I am, and what my FAMILY is. It's our way of LIFE. I cannot throw all of that away JUST FOR YOU.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>I don't understand!<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>And that alone is a reason this could never work.<\/dialogue>\n    <scene_description>As she boards the train,<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>It's over, Wade.<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL The train pulls away. Wade is left alone on the platform.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRAIN CAR - CONTINUOUS<\/stage_direction>\n    <scene_description>Inside, Ember is about to cry. She takes a deep breath, then puts her hood on and armors up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERNIE'S SHOP - THE NEXT EVENING<\/stage_direction>\n    <scene_description>The street outside the shop is set for a party. A stage has been erected, lights hung. The community has gathered for the big event. Inside the shop, Bernie lights a lantern, the one he brought with him from Fire Land, with the Blue Flame. Outside, Ember and Cinder sit on stage together. They all wear colorful, festive outfits. Ember smiles as Bernie exits the shop. He climbs on stage, places the flame on a pedestal, and takes the microphone.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Everyone. Welcome! It is good to see your faces.<\/dialogue>\n    <parenthetical>(getting emotional)<\/parenthetical>\n    <dialogue>I am honored to have served you. But it's time to move on.<\/dialogue>\n    <parenthetical>(to Ember)<\/parenthetical>\n    <dialogue>Come.<\/dialogue>\n    <scene_description>Ember stands next to him.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>My daughter. You are the Ember of our family fire... That is why, I am so proud to have you take over my life's work.<\/dialogue>\n    <scene_description>A rope hangs on the microphone stand. Bernie take it in his hands and with a squeeze, he lights it. The rope burns like a fuse leading to decorations covering the sign on the front of the shop. There's a big BLAZE and when the fire passes we see that Ember's SIGN is lit up. Everyone applauds.<\/scene_description>\n    <character>BERNIE<\/character>\n    <parenthetical>(winks to Ember)<\/parenthetical>\n    <dialogue>Pretty good trick, huh?<\/dialogue>\n    <scene_description>Bernie then gently picks up the lantern and turns to Ember. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>This is lantern I bring from old country. Today, I pass it on to you.<\/dialogue>\n    <scene_description>People in the crowd are touched. Ember reaches to take the lantern, but hesitates. This is a big moment. But just as she's about to grab it:<\/scene_description>\n    <character>WADE (O.S.)<\/character>\n    <dialogue>I thought of other reasons.<\/dialogue>\n    <scene_description>Ember looks up. A Wetro train passes and when the CURTAIN of water clears we see Wade, standing heroic.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Wade?<\/dialogue>\n    <scene_description>Ember is shocked. Cinder looks nervously at Bernie.<\/scene_description>\n    <character>CINDER<\/character>\n    <parenthetical>(under her breath)<\/parenthetical>\n    <dialogue>Oh boy.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <scene_description>Wade walks toward her, entering the party.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>You said me not understanding is the reason we can never work. But I thought of other reasons. A bunch of them. Like, number 1: you're Fire, I'm Water. I mean, come on that's crazy. Right?<\/dialogue>\n    <scene_description>A guest near him nods.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Who is this?<\/dialogue>\n    <character>CINDER<\/character>\n    <parenthetical>(bad lying)<\/parenthetical>\n    <dialogue>No idea.<\/dialogue>\n    <scene_description>But Wade is focused in on Ember. He continues toward the stage.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Number 2: I'm crashing your party. Like what kind of a jerk am I?<\/dialogue>\n    <scene_description>Ember is unflinching. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>A pretty big one.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Right? Number 3... I can't eat your... delicious foods!<\/dialogue>\n    <scene_description>Wade takes a hot coal from Flarry and Flarrietta's table. He let's it boil down his throat. His head bubbles and pops.<\/scene_description>\n    <character>WADE<\/character>\n    <parenthetical>(strained)<\/parenthetical>\n    <dialogue>VERY unpleasant.<\/dialogue>\n    <scene_description>Bernie suddenly realizes:<\/scene_description>\n    <character>BERNIE<\/character>\n    <parenthetical>(to Cinder)<\/parenthetical>\n    <dialogue>Wait, I know him! He is food inspector!<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Oh right! Number 4! I'm banned from your father's shop.<\/dialogue>\n    <scene_description>He steps closer.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>There are a MILLION reasons why this can't work. A million \"no's.\" But there's also one \"yes.\"<\/dialogue>\n    <scene_description>Ember is being drawn in.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>We touched.<\/dialogue>\n    <scene_description>Bernie and Cinder are shocked.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>And when we did, something happened to us. Something IMPOSSIBLE. We changed each other's chemistry.<\/dialogue>\n    <scene_description>They look deep into one another's eyes. Suddenly Bernie erupts, exasperated.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Enough! What kind of food inspection is this??<\/dialogue>\n    <scene_description>This yanks Ember back to reality. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>A food inspection of the heart, sir.<\/dialogue>\n    <scene_description>Bernie steps up to Wade, confrontational. Ember is frozen.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Who are you???<\/dialogue>\n    <character>WADE<\/character>\n    <parenthetical>(romantic to Ember)<\/parenthetical>\n    <dialogue>Just a guy who burst into your daughter's life in a flooded old basement.<\/dialogue>\n    <character>BERNIE<\/character>\n    <dialogue>So you ARE the one who burst the pipes!<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>What? Not me, it was...<\/dialogue>\n    <scene_description>Wade's eyes unintentionally dart toward Ember. Ember-- no! Too late. Bernie turns to Ember.<\/scene_description>\n    <character>BERNIE<\/character>\n    <parenthetical>(hurt, to Ember)<\/parenthetical>\n    <dialogue>You... you burst the pipe??<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>I, I...<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Ember--<\/dialogue>\n    <character>BERNIE<\/character>\n    <dialogue>Silence!!<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>No!<\/dialogue>\n    <parenthetical>(to Ember)<\/parenthetical>\n    <dialogue>Take the chance. Let your father know who you really are.<\/dialogue>\n    <scene_description>Ember hesitates torn between Wade and Bernie.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Look, I had regrets when my dad died, but because of you I learned to \"embrace the light while it burns.\"<\/dialogue>\n    <parenthetical>(perfect pronunciation)<\/parenthetical>\n    <dialogue>T\u00ecsh\u00f3k'. You don't have forever to say what you need to say.<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>I love you Ember Lumen. And I'm pretty sure you love me too.<\/dialogue>\n    <scene_description>Ember is torn between two worlds. She puts up her fire wall.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>No Wade. I don't.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CULVERT - SAME TIME<\/stage_direction>\n    <scene_description>A CRACK suddenly appears in the GLASS DAM.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERNIE'S SHOP - BACK TO SCENE<\/stage_direction>\n    <scene_description>Cinder can't take it.<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>That's not true! I did their reading!<\/dialogue>\n    <scene_description>Everyone is shocked. Including Ember and Wade.<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>Bernie, it's love. It's true love.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>No mom, you're wrong. Wade, go.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>But, Ember--<\/dialogue>\n    <scene_description>FLARING UP HUGE.<\/scene_description>\n    <character>EMBER<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CULVERT - SAME TIME<\/stage_direction>\n    <scene_description>Almost as if the power of her FLARE has reached all of Element City, another CRACK breaks in the dam and WATER starts to SPRAY out. It's going to BLOW.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERNIE'S SHOP - BACK TO SCENE<\/stage_direction>\n    <scene_description>Back on Ember.<\/scene_description>\n    <character>EMBER<\/character>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Wade, defeated, takes the GLASS VIVISTERIA out of his pocket and places it on the stage at Ember's feet. He turns and walks out, heartbroken. Bernie glares at Ember, devistated.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>You have been seeing WATER??<\/dialogue>\n    <scene_description>He coughs.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>\u00c0shf\u00e1 I--<\/dialogue>\n    <character>BERNIE<\/character>\n    <parenthetical>(betrayed)<\/parenthetical>\n    <dialogue>You caused leak in shop???<\/dialogue>\n    <parenthetical>(deeply hurt)<\/parenthetical>\n    <character>I TRUSTED YOU!<\/character>\n    <dialogue>Ember looks down, unable to confess. Bernie COUGHS more.<\/dialogue>\n    <character>BERNIE<\/character>\n    <dialogue>You will not take over the shop.<\/dialogue>\n    <parenthetical>(coughs)<\/parenthetical>\n    <dialogue>I no longer retire.<\/dialogue>\n    <scene_description>Bernie grabs the lantern. He storms off the stage and into the shop. Ember crushed, looks down at the glass Vivisteria.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRIDGE - LATER<\/stage_direction>\n    <scene_description>CROSS FADE to Ember riding her scooter through Firetown and up onto the bridge. CUT TO her sitting on a bench, head hung. She's removed her ceremonial jacket. She stands and walks to the bridge railing. We see a FLASH of her and Wade, touching for the first time at Mineral Lake. BACK ON the bridge, Ember pulls the GLASS Vivisteria ball out of her pocket. She looks to Firetown, then to Element City.<\/scene_description>\n    <character>EMBER<\/character>\n    <parenthetical>(to herself)<\/parenthetical>\n    <dialogue>Why can't I just be a good daughter?<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL She holds the GLASS Vivisteria ball to her forehead then pulls it away. A look of RAGE and FRUSTRATION crosses her face and she starts to throw it into the water, but she can't. She looks directly at the glass Vivisteria. We see her reflection WITH a reflection of Element City and Firetown. She is BOTH things. SUDDENLY... she hears a boom in the distance-- CUT TO the CULVERT, as the GLASS from the dam suddenly gives way. A wall of water POURS out. Its enormous force crumbles the sides of the culvert, toppling a towering windmill. BACK WITH EMBER as she sees that all of the PENT UP water RUSHING down the culvert right toward Firetown! A DELUGE is coming and it is heading right toward Bernie's Shop.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Firetown!<\/dialogue>\n    <scene_description>Ember starts her scooter and rushes off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRAND GATEWAY - SAME TIME<\/stage_direction>\n    <scene_description>An emotional Wade holds a ticket and addresses Brook, Alan, Eddy, Harold, Lake, Marco and Polo, who stand across from him.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Well, one way ticket to anywhere but here.<\/dialogue>\n    <character>BROOK<\/character>\n    <dialogue>Go! Travel the world. Heal that broken heart.<\/dialogue>\n    <scene_description>Brook mimes holding a baby in her arms.<\/scene_description>\n    <character>BROOK<\/character>\n    <parenthetical>(singing, tearing up)<\/parenthetical>\n    <dialogue>My little drip-drip-baby-boy.<\/dialogue>\n    <scene_description>Tears flow down Wade's face. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>BROOK<\/character>\n    <parenthetical>(crying)<\/parenthetical>\n    <dialogue>Drip drip drip goes the baby boy--<\/dialogue>\n    <scene_description>Harold interjects:<\/scene_description>\n    <character>HAROLD<\/character>\n    <parenthetical>(tearing up)<\/parenthetical>\n    <dialogue>I made you a painting. It's of a lonely man awash in sadness.<\/dialogue>\n    <scene_description>Harold hands Wade a painting that is LITERALLY Wade standing and crying, just as he looks right now. Wade bursts into tears. Everyone sobs. SUDDENLY, a siren. Wade instantly stops crying. Through a doorway, he spots steam rising up from Firetown. Oh no.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Ember.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRIDGE TO FIRETOWN - SOON AFTER<\/stage_direction>\n    <scene_description>Ember races her scooter across the bridge into Firetown. Ahead of her, water rushes down the culvert toward the shop. Ember sees her parents out in front, cleaning up from the party, and calls out to them:<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Mom! Dad!<\/dialogue>\n    <scene_description>But they don't hear her. Ahead, the river slams into the elevated water train track. The track crashes down, spilling even more water. Determined, Ember speeds up and pulls off the bridge, racing the flood of water toward the shop.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIRETOWN - CONTINUOUS<\/stage_direction>\n    <scene_description>Water starts to fill the street. With dare-devil moves, Ember crosses the culvert. She speeds along the Firetown sidewalk toward the shop, calling out to the neighborhood:<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Water's coming!!<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL There's a panic as Fire folks seek safety. Ember speeds by, the flood at her heels.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Watch out! Behind you! Climb! Climb! Flash flood! Hurry!<\/dialogue>\n    <scene_description>Ember nears the shop and desperately shouts to her parents.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Mom! Water! Get to higher ground!<\/dialogue>\n    <scene_description>Cinder hears and grabs Bernie and pulls him to leave.<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>Bernie!<\/dialogue>\n    <scene_description>But the deluge catches up to Ember's scooter and the vehicle starts to hydroplane. Water splashes up on her leg.<\/scene_description>\n    <character>EMBER<\/character>\n    <parenthetical>(wincing)<\/parenthetical>\n    <dialogue>Ow!<\/dialogue>\n    <scene_description>The water in the street quickly gets too deep to ride the scooter. Ember leaps off onto a floating truck and looks ahead as water reaches the shop where she sees the flood of water lift up the stage from the party, carrying Bernie and Cinder with it. They cling to each other as they're tossed about. Bernie lunges toward the shop but Cinder stops him.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>The flame! Let me go!<\/dialogue>\n    <scene_description>Bernie then sees Ember, leaping from floating debris to floating debris, fighting to get to shop.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Ember no!!<\/dialogue>\n    <scene_description>But Ember is on a mission. She gets to the front of the shop and takes one final, giant leap and lands, grasping the transom window over the shop's front door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERNIE'S SHOP - CONTINUOUS<\/stage_direction>\n    <scene_description>Ember climbs through into the shop and takes in the scene. Water is leaking everywhere, and right behind her around the front door. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Ember shoulders into the door trying to stop it, but pressure builds -- spouts of water begin to JET through the WIDENING cracks around the door, AND FLOW toward the BLUE FLAME. Ember quickly grabs sandbags and throws them at the door. Standing on the bags, she presses her whole weight into the door, trying to hold the everything back, but the rising water nips at her feet. It's dire. SUDDENLY, through the glass of the door, TWO EYES appear. Ember is stunned to see Wade, smashed uncomfortably against the glass. The ROAR of the flood is deafening.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Wade??<\/dialogue>\n    <scene_description>Wade gestures toward the door handle.<\/scene_description>\n    <character>WADE<\/character>\n    <parenthetical>(muffled)<\/parenthetical>\n    <dialogue>Key-hole!<\/dialogue>\n    <scene_description>Getting it, Ember yanks out the key and Wade painfully, squeezes through the keyhole...<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Gahhhhhh!!<\/dialogue>\n    <scene_description>...and puddles on the ground. He re-forms and springs into action, joining Ember at the door.<\/scene_description>\n    <character>WADE<\/character>\n    <parenthetical>(effort)<\/parenthetical>\n    <dialogue>I was hoping to make a more heroic entrance.<\/dialogue>\n    <scene_description>Together, face to face, they hold back the door.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>You came back after everything I said.<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Are you kidding? And miss all this?<\/dialogue>\n    <scene_description>Ember smiles. Then sees that the water is almost at the BLUE FLAME.<\/scene_description>\n    <character>EMBER<\/character>\n    <parenthetical>(to Wade)<\/parenthetical>\n    <dialogue>Hold the door!<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL She grabs more sandbags and races to the flame, leaping between shelves. She places sandbags in a circle around the Blue Flame. Then she FLAMES BIG and starts to make glass.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERNIE'S SHOP - SAME TIME<\/stage_direction>\n    <scene_description>The waters are VIOLENT... Bernie and Cinder watch as the shop sign tumbles off the building and SPASHES into the water.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERNIE'S SHOP - SAME TIME<\/stage_direction>\n    <scene_description>As water fills the shop, Ember QUICKLY builds a glass shield around the Blue Flame while Wade does his best to hold back the door... but it's a losing battle... water begins to reach Ember's glass barrier.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>No, no. No, no, no, no, no, no, no.<\/dialogue>\n    <scene_description>And the windows begin to burst from the pressue. The window in the door window behind Wade gives way. There's no holding it back. The water rises faster. The lantern from Fire Land, the one that carried the Blue Flame to Element City, is swept into the flow. So is the photo of Ember's childhood birthday. Wade reads the situation:<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Ember we have to go!<\/dialogue>\n    <scene_description>He strains as water pours in over his shoulders.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>We have to go. NOW.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>I can't leave!<\/dialogue>\n    <scene_description>The water is rising quickly toward the top of her protective glass cylinder.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>I'm sorry to say this but the shop is done. The flame is done.<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>No! This is my father's whole life. I'm not going anywhere!<\/dialogue>\n    <scene_description>SUDDENLY, WATER SMASHES through a large window and POURS in, taking everything with it. A shelf topples and SLAMS into Ember's glass cylinder, SMASHING through the glass and into the flame. A rush of water forces the door open, knocking Wade over. Water and debris surround the Blue Flame. Ember climbs up on a box to avoid the rising water. She shouts to Wade,<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Throw me that lantern!<\/dialogue>\n    <scene_description>As Wade swims for the lantern, he's knocked over by a huge wave.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Ah!<\/dialogue>\n    <scene_description>Ember, the flame, and Wade are PUSHED VIOLENTLY toward Cinder's office in the OLD FIREPLACE HEARTH.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CINDER'S HEARTH - CONTINUOUS<\/stage_direction>\n    <scene_description>Debris SLAMS into the opening, sealing Ember inside... with the BASE of the Blue Flame... but the flame is out. Ember is horrified!<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>CUT TO outside the hearth, everything in the shop is underwater. The birthday photo floats by. BACK IN THE HEARTH Ember looks takes in her situation. She's trapped and the Blue Flame is gone. It appears everything is lost.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>No, no no no no no.<\/dialogue>\n    <scene_description>But just then, Wade climbs out from the debris holding a lantern lit with the Blue Flame. Ember is thrilled.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Oh Wade!<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Thank you, thank you.<\/dialogue>\n    <scene_description>He hands it to her. She smiles, relieved. They share a moment. Then suddenly Ember flinches in pain.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Ah!<\/dialogue>\n    <scene_description>Water has seeped in through the pile of debris, and hit her leg. She looks up at the blocked entrance. Water is squirting through the cracks. She goes to the wall of debris and HEATS it up, flaring hot, melting metal to seal the cracks. And it works! The leaks stop... but Wade is boiling.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>It's too hot in here.<\/dialogue>\n    <scene_description>Oh no! They have to get out of there. Ember looks up the chimney stack - it's open to the sky.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Climb!<\/dialogue>\n    <scene_description>Ember starts to climb and Wade follows...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERNIE'S SHOP - SAME TIME<\/stage_direction>\n    <scene_description>The street outside is a river. A floating bus crashes into the side of the shop. The building shakes and the top of the chimney CRASHES DOWN.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERNIE'S SHOP - HEARTH - SAME TIME<\/stage_direction>\n    <scene_description>Wade and Ember are inside the chimney as debris tumbles down around them.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>BACK UP BACK UP BACK UP!<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>Ah!<\/dialogue>\n    <scene_description>They drop back down into the hearth. It's an even tighter space now, more filled with debris. And it's even hotter. Wade is steaming. Desperate, Ember tries to burn through the wall of debris. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Wade reaches up and tries to move the bricks blocking the chimney, but they don't budge.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>I have to open that up!<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>No! The water will come in and you'll be snuffed out.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>But you're evaporating! I don't know what to do!<\/dialogue>\n    <character>WADE<\/character>\n    <dialogue>It's okay.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>No, it's not okay!<\/dialogue>\n    <scene_description>Wade is boiling. She's horrified. He takes her hand.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Ember... I have no regrets. You gave me something people search for their whole lives.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>But I can't exist in a world without you! I'm sorry I didn't say it before. I love you, Wade.<\/dialogue>\n    <scene_description>Steam surrounds them. Ember's vulnerable light casts caustics on the wall. Wade looks from her to the caustics around the room with a sense of peace.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>I really do love it when your light does that.<\/dialogue>\n    <scene_description>They embrace. All is silent. Steam fills the hearth.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERNIE'S SHOP - LATER<\/stage_direction>\n    <scene_description>Firetown is a wreck. Everything is soaked, so much is destroyed. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERNIE'S SHOP - CONTINUOUS<\/stage_direction>\n    <scene_description>Inside the shop, the WATER has receded but everything we saw of Bernie's world is ruined. Bernie, Cinder and others work their way through the debris.<\/scene_description>\n    <character>FIRST CUSTOMER (O.S.)<\/character>\n    <dialogue>They're in the hearth!<\/dialogue>\n    <scene_description>A large Fire Element clears debris away from the opening to the hearth. They pull aside the Blue Flame's base and we reveal: Ember. She's kneeling on broken bricks, hugging the lantern with the Blue Flame. Relieved, Bernie and Cinder move toward her. But they stop. She's not getting up or even turning toward them.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Wade is gone.<\/dialogue>\n    <scene_description>Cinder hurries over to her.<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>Oh my daughter.<\/dialogue>\n    <character>EMBER<\/character>\n    <dialogue>He saved me.<\/dialogue>\n    <scene_description>Bernie's face falls, he knows loss. Ember slowly stands, holding the Blue Flame, and she faces Bernie and finally says the most difficult thing she's ever said:<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Dad... this is all my fault. The shop... Wade-- I need to tell you the truth.<\/dialogue>\n    <scene_description>Her flame grows dim, vulnerable.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>I don't want to run the shop. I know that was your dream, but it's not mine. I'm sorry. I'm a bad daughter.<\/dialogue>\n    <scene_description>Ember hands the lantern to Bernie. He takes it, looks at it in his hand, then puts it down. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Ember, the shop was never the dream. YOU were the dream. You were always the dream.<\/dialogue>\n    <scene_description>Ember looks up, surprised, moved, a burden lifted. She then hugs her dad, crying in his arms. There are no more lies.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>I loved him dad.<\/dialogue>\n    <scene_description>Ember kneels, crying. Her light dims even more, cool, loving. Bernie's matches hers. Cinder joins them. A family, heartbroken, but one unit. Then... we hear a distant, familiar whimper. Ember breaks from her parents' embrace and looks into the hearth. And that's when we reveal CONDENSATION in the chimney. A SINGLE DROP of water falls from the ceiling into a bucket. Ember looks up at the condensation... no, it can't be. She gets an idea and says:<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Butterfly...<\/dialogue>\n    <scene_description>She stares hopefully up at the ceiling.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>Butterfly. Windshield wipers. Half a butterfly.<\/dialogue>\n    <scene_description>Another whimper. A few more drops fall into the bucket. Ember is energized... maybe it CAN be...<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>An old man on his deathbed remembers the summer he fell in love...<\/dialogue>\n    <scene_description>More drops. Water starts to pool. Ember gets brighter. We hear more faint weeping from WADE. It's working, Ember can hardly believe it.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>She was out of his league and he was young and scared. He let her go thinking surely summer would come again. It never did.<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Water is falling harder. Wade's cries are building. Water streams off the ceiling into the bucket. Cinder pieces it together. She looks up at the ceiling...<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>You are perfect match... ten out of ten!<\/dialogue>\n    <scene_description>More weeping, more rain drops. Bernie looks to Cinder.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>I don't understand. What's going on?<\/dialogue>\n    <character>CINDER<\/character>\n    <dialogue>Just say something to make Water guy cry, okay?<\/dialogue>\n    <scene_description>Bernie gives it a try.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Um, uh... you are no longer panned.<\/dialogue>\n    <character>WADE<\/character>\n    <parenthetical>(whimpering)<\/parenthetical>\n    <dialogue>Banned.<\/dialogue>\n    <character>BERNIE<\/character>\n    <dialogue>Banned.<\/dialogue>\n    <scene_description>Wade WAILS. Drops POUR. Ember, drops falling all around her, YELLS to the world:<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>I want to explore the world with you, Wade Ripple! I want to have you with me, in my life. Forever!<\/dialogue>\n    <scene_description>One more drop and then, they stop. The bucket is full. Ember peers into the bucket... two eyes appear. Then a smile. Wade stands up, alive!<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Whoa.<\/dialogue>\n    <scene_description>He turns to face them. Naked, he picks up his shirt from the rubble.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Your, uh, chimney needs cleaning.<\/dialogue>\n    <scene_description>Everyone is stunned. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL And then Ember runs to Wade, throwing her arms around him. Then, they KISS! LIGHT shines through the room. It's breathtaking. Cinder beams. Bernie glances away. Ember and Wade break out to the kiss, look deep into each other's eyes and embrace.<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>I KNEW it! My nose ALWAYS knows.<\/dialogue>\n    <scene_description>Everyone laughs. DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIRETOWN STREETS - MONTHS LATER<\/stage_direction>\n    <scene_description>TITLE: MONTHS LATER... Elements mingle on the Firetown sidewalks. Folks are fixing the last of the damage from the flood. The town is almost fully restored.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERNIE'S SHOP - CONTINUOUS<\/stage_direction>\n    <scene_description>The fixed-up shop is busy. We see a fresh pot of Lava Java brewing. We find Clod on a ladder, wearing an apron, clearly now an employee. But he's not working, he's talking to an age- appropriate FIRE GIRL.<\/scene_description>\n    <character>CLOD<\/character>\n    <dialogue>If you were a vegetable, you'd be a cute-cumber.<\/dialogue>\n    <scene_description>He holds up his arm, revealing a small cluster of blooms. He yanks them out and hands her the bouquet.<\/scene_description>\n    <character>CLOD<\/character>\n    <parenthetical>(pained effort)<\/parenthetical>\n    <dialogue>My queen.<\/dialogue>\n    <scene_description>We pick up Gale as she walks through, dressed in a Windbreakers jersey.<\/scene_description>\n    <character>GALE<\/character>\n    <dialogue>Uh! I can't believe I was gonna shut this place down.<\/dialogue>\n    <scene_description>\u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL She backs up into an Earth Guy who we see is FERN with short, flowering hair. He's also wearing a Wind Breakers shirt.<\/scene_description>\n    <character>GALE<\/character>\n    <dialogue>Whoa! Sorry.<\/dialogue>\n    <parenthetical>(gasp, noticing)<\/parenthetical>\n    <dialogue>Fern? You're a Windbreakers fan?<\/dialogue>\n    <character>FERN<\/character>\n    <dialogue>Toot toot.<\/dialogue>\n    <scene_description>Gale is immediately drawn to him.<\/scene_description>\n    <character>GALE<\/character>\n    <dialogue>Toot. Tooooooot.<\/dialogue>\n    <scene_description>Flarry and Flarrietta stand behind the counter.<\/scene_description>\n    <character>FLARRIETTA<\/character>\n    <dialogue>Oy. You know what I like best about running this shop?<\/dialogue>\n    <character>FLARRY<\/character>\n    <dialogue>Not having to eat Bernie's kol- nuts!<\/dialogue>\n    <scene_description>Pan to Bernie and Cinder sitting at a table.<\/scene_description>\n    <character>BERNIE<\/character>\n    <parenthetical>(laugh)<\/parenthetical>\n    <dialogue>Sorry. I couldn't hear you through my retirement.<\/dialogue>\n    <scene_description>Everyone BURSTS OUT LAUGHING... the laughing continues as we go outside...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BERNIE'S SHOP - SAME TIME<\/stage_direction>\n    <scene_description>...to find Ember. She approaches, taking a beat to stand in front of the shop. She looks up, the original shop sign is back, without her name.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BERNIE'S SHOP - CONTINUOUS<\/stage_direction>\n    <scene_description>Ember enters quietly and watches the shop, full of life.<\/scene_description>\n    <character>GALE<\/character>\n    <dialogue>Ooh!<\/dialogue>\n    <scene_description>The Fire Girl chases Clod past the counter. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Ember watches everyone with fondness. Bernie feeds Cinder a kol-nut. Then, he sees Ember. They share a smile. A connection. But then Wade enters. He yells to the room:<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Hey!<\/dialogue>\n    <scene_description>Everyone happily turns to the doorway.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Wade!<\/dialogue>\n    <character>CINDER<\/character>\n    <dialogue>Hi Wade!<\/dialogue>\n    <character>FLARRIETTA<\/character>\n    <dialogue>Wade!<\/dialogue>\n    <character>FLARRY<\/character>\n    <dialogue>Hi Wade!<\/dialogue>\n    <character>CLOD<\/character>\n    <dialogue>Hey Wade! Yo yo yo!<\/dialogue>\n    <scene_description>Wade turns to Ember...<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>Ember, it's time.<\/dialogue>\n    <scene_description>Ember smiles, a little sad.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GRAND GATEWAY - SOON AFTER<\/stage_direction>\n    <scene_description>Ember and Wade, luggage in hand, stand next to a large boat. Bernie, Cinder and Brook stand facing them.<\/scene_description>\n    <character>WADE<\/character>\n    <dialogue>You know, I'm not really one for tearful goodbyes.<\/dialogue>\n    <scene_description>Brook bursts out crying.<\/scene_description>\n    <character>BROOK<\/character>\n    <parenthetical>(sobbing)<\/parenthetical>\n    <dialogue>Oh Wade, you big liar.<\/dialogue>\n    <parenthetical>(singing)<\/parenthetical>\n    <dialogue>Drip drip drip...<\/dialogue>\n    <scene_description>Wade joins her in the song.<\/scene_description>\n    <character>BROOK, WADE<\/character>\n    <parenthetical>(starting to sob)<\/parenthetical>\n    <dialogue>Goes the baby boy.<\/dialogue>\n    <scene_description>They hug, Brook lifting Wade up. They hold each other, ugly- crying. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL Bernie and Ember exchange a look.<\/scene_description>\n    <character>BERNIE<\/character>\n    <dialogue>Uh, are you sure about this one?<\/dialogue>\n    <scene_description>Ember smiles.<\/scene_description>\n    <character>EMBER<\/character>\n    <dialogue>I'm sure.<\/dialogue>\n    <parenthetical>(then, sincere)<\/parenthetical>\n    <dialogue>Dad, I'm sorry the internship is so far away. I mean it's the best glass design company in the world, but who knows if it'll become a real job. I'll be back in a few months anyway, and it might not end up being anything--<\/dialogue>\n    <character>BERNIE<\/character>\n    <dialogue>Ay-yah, shhh. Go. Start new life. Your mother and I will be here. Now with more time for hanky-panky.<\/dialogue>\n    <scene_description>Cinder gives his side a playful slap.<\/scene_description>\n    <character>CINDER<\/character>\n    <dialogue>\u00ca... sh\u00fatsh!<\/dialogue>\n    <scene_description>They all laugh. Ember and Wade walk to the boat. Wade starts up the ramp. Ember is about to take a STEP but pauses. She turns to her parents, smiles at Bernie, then sets down her luggage... and then gives the BIG CEREMONIAL BOW. Cinder gasps. Bernie, tears in his eyes, steps forward and RETURNS THE BOW. They have a moment -- a weight lifted for both of them. A blessing for father and daughter, and a trauma healed. Then the boat sounds its horn, and they stand. Ember picks up her bag, faces the boat and takes a deep breath. She STEPS onto the ramp and boards. The screen goes to BLACK. \u00a92023 DISNEY\u2022PIXAR - PRIVILEGED AND CONFIDENTIAL<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Fire elements Bernie and Cinder Lumen immigrate to Element City where they face xenophobia from other classical elements. After the birth of their daughter Ember, they set up their Blue Flame which represents their traditions and start their own convenience store called the Fireplace. Several years later, Bernie intends to retire and give Ember the store once she can control her fiery temper. One day, when Bernie allows Ember to run the shop on her own, she becomes overwhelmed by the customers and rushes to the basement. Her fiery outburst breaks a water pipe, flooding the basement and summoning Wade Ripple, a water element and city inspector, who notes the faulty plumbing. Despite Ember's attempts to stop him, Wade travels to City Hall and reluctantly files a report of his findings with his air element employer, Gale Cumulus, who will have the Fireplace shut down. Wade brings Ember to Cyclone Stadium to persuade Gale to reconsider the shutdown of her father's store. Wade mentions to Ember that he was investigating a leak in the city's canals before ending up at the Fireplace, and suggests to Gale that he and Ember can track the source of the leak from the store. Gale offers to forgive the violations as long as they find and seal the leak by the end of the week. While searching the canals, Ember and Wade discover a hole in a dam that allows wave runoff from ships to flood the city's plumbing, so they close the hole with sandbags. The two spend time together in the city and learn more about each other. The sandbags eventually fail, so Ember melts the sand into glass to form a sturdier seal. Ember visits Wade's family at a luxury apartment, where she uses her fire to fix a broken glass pitcher, impressing Wade's mother Brook, who recommends her for a glassmaking internship. While playing \"the Crying Game\", Wade makes Ember cry by admitting he has feelings for her. Gale calls Wade and approves Ember's glass seal, thus saving the Fireplace from closure. Ember then realizes that she does not want to take over the store. Bernie announces his intention to retire and hand the Fireplace to Ember. The next evening, Wade takes Ember to Garden Central Station to see Vivisteria flowers, a species that can thrive in any environment, which she was denied seeing in childhood. With the station now flooded, Gale provides Ember with an air bubble for safety while Wade pushes her underwater through the station. Afterward, Ember and Wade realize that they are able to touch without harming each other and share a dance, but Ember remembers her duty to the Fireplace and her family's prejudice against water elements, and breaks up with Wade. While Ember is about the take over the Fireplace during a party, Wade appears and declares his love for her, while also accidentally revealing that she caused the broken pipe. Ember rejects Wade, though Cinder senses genuine affection. Disappointed, Bernie refuses to give Ember the store and calls off his retirement. Soon after, the new seal on the dam breaks and Firetown floods. After saving the Blue Flame, Ember and Wade become trapped in a room in the Fireplace, causing Wade to evaporate from the enclosed heat. After the flood recedes, a grief-stricken Ember confesses to Bernie that she does not want to run the Fireplace and expresses her love for Wade. Realizing that Wade has condensed within the stone ceiling, Ember plays the Crying Game to get him to drip back into his normal form. Ember and Wade embrace and share their first kiss. Months later, Bernie has retired and the Fireplace is now run by friends of his. Ember and Wade, now a couple, leave Element City so that Ember can start her internship."}
{"movie_name":"Traffic_2000","imdb_id":"tt0181865","script":"<script>\n  <scene>\n    <stage_direction>EXT. COLUMBUS, OHIO - DAY<\/stage_direction>\n    <scene_description>The state capital of Ohio . It 's an impressive building for a city this size . SUPERTITLE : COLUMBUS , OHIO - STATE CAPITAL<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OHIO STATE SUPREME COURT - DAY<\/stage_direction>\n    <scene_description>In chambers striving for august , JUSTICES listen to a lawyer MR. RODMAN , argue his case before the highest court in Ohio . Mr. Rodman enjoys the sound of his own voice .<\/scene_description>\n    <character>MR. RODMAN<\/character>\n    <dialogue>This informant, paid by the police, using taxpayers dollars to continue his felony drug habit, was the link which allowed police to raid a private farm. A working farm. A farm where honest Americans make their living.<\/dialogue>\n    <scene_description>One particular justice , ROBERT WAKEFIELD , younger than the others , is clearly bemused by this performance .<\/scene_description>\n    <character>MR. RODMAN<\/character>\n    <dialogue>The government, in its haste, has employed an army of criminals whose allegiance to the truth is, at best, questionable -<\/dialogue>\n    <scene_description>Judge Wakefield interrupts -<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Mr. Rodman. it's too bad your client did n't show as much sense in choosing what he planted as he did in choosing his attorney.<\/dialogue>\n    <scene_description>A polite chuckle from the justices -<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Lately the only variation I'm hearing in your argument is the name of the client. And you can sit there all day arguing the ins and outs of Illinois v. Gates, but you are n't going to convince me that this country has not sanctioned the use of anonymous informants.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Furthermore, there is no sacred protection of property rights in the United Sates. When you make the decision to have marijuana on your farm, whether it's one joint or an acre of plants, your property can be seized and your property can be sold.<\/dialogue>\n    <character>MR. RODMAN<\/character>\n    <dialogue>I'm sorry the court finds my argument repetitious.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Mr. Rodman, may I offer a piece of advice? The next time you argue this point before this court, regardless of my whereabouts, I recommend you have something up your sleeve other than your arm.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBERT'S CHAMBERS - DAY<\/stage_direction>\n    <scene_description>The office is marble and dark wood . A young CLERK , black , 29 , enters carrying an oddly - shaped gift . They both look at it .<\/scene_description>\n    <character>CLERK<\/character>\n    <dialogue>What do you think it is?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Depends who it's from.<\/dialogue>\n    <character>CLERK<\/character>\n    <parenthetical>( reading the card . )<\/parenthetical>\n    <dialogue>Your friends at Warren, Putnam and Hudson.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>You can learn a lot about somebody from this stuff. Three categories : you like me, you hate me, you want something from me.<\/dialogue>\n    <parenthetical>( re : the elaborate box . )<\/parenthetical>\n    <dialogue>Definitely third category.<\/dialogue>\n    <character>CLERK<\/character>\n    <dialogue>What would a law firm want from the new drug Czar?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Depends on the state.<\/dialogue>\n    <character>CLERK<\/character>\n    <parenthetical>( checks . )<\/parenthetical>\n    <dialogue>Arizona.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Medicinal marijuana initiative.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Or am I being cynical?<\/dialogue>\n    <scene_description>They both laugh . Robert reaches up and pulls a bottle of Scotch from a shelf . He pours a couple of fingers in two glasses .<\/scene_description>\n    <character>CLERK<\/character>\n    <dialogue>Maybe there's a book in it.<\/dialogue>\n    <scene_description>The clerk takes one of the glasses .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Not by me.<\/dialogue>\n    <scene_description>They toast and drink .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTHOUSE - DAY<\/stage_direction>\n    <scene_description>Robert exits , trailed by a small group of reporters . He gets into a car being driven by two security TYPES .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPLANE - DAY<\/stage_direction>\n    <scene_description>Robert sits in a business class window seat .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>An expensive hotel . Robert Wakefield stands at the window , looking at the view of our nation 's capital . SUPERTITLE : WASHINGTON D.C. ON THE TABLE The remnants of a meal . It was a steak and a small caesar salad . The wine glass is half - empty . ANOTHER ANGLE ON ROBERT In front of the mirror now , trying on a dark , tasteful jacket . CLOSER On Robert in the same position , only now we are in HIS HOME . It 's daytime , and his wife BARBARA is helping him into this same jacket . As her hands dust the lint off his shoulders ROBERT In the hotel rooms , making the same motions . Satisfied , he straightens , then turns to look at himself . ANGLE ON ROBERT Back at the hotel room window now . Reaches to the table and lifts the wine glass .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DIRT ROAD - DAY<\/stage_direction>\n    <scene_description>This is the middle of nowhere . Scrub cactus and dust and a heartless sun . SUPERTITLE : MEXICO - TWENTY MILES SOUTHWEST OF TIJUANA . A broken down - looking Police Sedan is parked on the side of the road . It seems abandoned except there are TWO MEN inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE SEDAN - DAY<\/stage_direction>\n    <scene_description>Two Mexican men , State Police officers , JAVIER RODRIGUEZ , 30 's , and MANUEL `` MANOLO '' SANCHEZ , 20 's , wearing jeans , knock - off Polo shirts , and cowboy boots , wait patiently in the car .<\/scene_description>\n    <character>JAVIER<\/character>\n    <dialogue>I had that dream again.<\/dialogue>\n    <scene_description>A long pause .<\/scene_description>\n    <character>MANOLO<\/character>\n    <dialogue>Which one?<\/dialogue>\n    <scene_description>Another long pause .<\/scene_description>\n    <character>JAVIER<\/character>\n    <dialogue>Where my mother's suffocating.<\/dialogue>\n    <scene_description>They continue to wait until there is the sound of a JET ENGINE . It grows LOUDER as it approaches .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE POLICE SEDAN - DAY<\/stage_direction>\n    <scene_description>The shadow of a large plane crosses the desert floor . Then , an old DC - 3 flies fifty feet above the Police Sedan .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE SEDAN - DAY<\/stage_direction>\n    <scene_description>They watch the plane disappear over a small rise in the desert . They look at each other and wait some more .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MEXICAN DESERT - LATER<\/stage_direction>\n    <scene_description>From the direction of the landing strip , a moving van lumbers down the road , two TEENAGERS in the cab .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE SEDAN - DAY<\/stage_direction>\n    <scene_description>Javi and Manolo watch the moving van approach . Javi reaches under the seat and picks up a bubble flasher . He rolls down the window and plants it on the roof . He flips the switch . Nothing happens . He jiggles the wire and the siren BURPS and the light flashes . Manolo and Javi step from the car , smiling .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MEXICAN DESERT - DAY<\/stage_direction>\n    <scene_description>The moving van slows to a stop . Javi approaches . The DRIVER unhurriedly rolls down the window .<\/scene_description>\n    <character>DRIVER<\/character>\n    <dialogue>Is there a problem?<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>No. There's no problem.<\/dialogue>\n    <scene_description>The driver hesitates a confused beat then reaches for his wallet .<\/scene_description>\n    <character>DRIVER<\/character>\n    <dialogue>Okay. I see. How much do you want?<\/dialogue>\n    <scene_description>The driver pulls a wad of bills . Javi shakes his head .<\/scene_description>\n    <character>DRIVER<\/character>\n    <dialogue>You want more than this?<\/dialogue>\n    <scene_description>Javi shakes his head . The driver exchanges a look with his partner .<\/scene_description>\n    <character>DRIVER<\/character>\n    <dialogue>You want something else?<\/dialogue>\n    <scene_description>Javi smiles . The driver gets out and walks to the back of the truck . He opens the rear door . There are neatly - stacked crates marked with a SCORPION logo and `` 911 . '' He reaches into one of them and pulls out a tightly - sealed package also with the scorpion stamped on it . He turns to see Javi with his gun drawn . Manolo , at the passenger side , has also drawn his gun and is motioning the partner to move to the back of the truck .<\/scene_description>\n    <character>JAVIER<\/character>\n    <dialogue>Drop the package. Put your hands behind your head. You're under arrest.<\/dialogue>\n    <scene_description>The driver hesitates . He starts to comply then looks at Javi and Manolo .<\/scene_description>\n    <character>DRIVER<\/character>\n    <dialogue>I do n't understand. I think there must be some mistake.<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>No, there's no mistake.<\/dialogue>\n    <scene_description>Javi motions to Manolo who cuffs both teenagers . The driver begins spewing OBSCENITIES under his breath . Javi puts the driver in the front of the Shadow . Manolo follows in the moving van .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DIRT ROAD - MEXICO - LATER<\/stage_direction>\n    <scene_description>The truck follows the Shadow down a desert road . Suddenly , from behind , four armored SUV 's with tinted windows appear , closing fast . The SUV 's force both vehicles off the road where they pull to a stop . A long beat as hot wind blows desert detritus past the truck . Finally , the SUV doors open and FEDERAL POLICE OFFICERS surround them like a SWAT team . The passenger door of the lead SUV opens and GENERAL ARTURO SALAZAR , 50 's , a squat , powerful presence in a perfectly pressed uniform gets out and approaches Javi .<\/scene_description>\n    <character>SALAZAR<\/character>\n    <parenthetical>( to Javier . )<\/parenthetical>\n    <dialogue>What's your name?<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>Javier Rodriguez.<\/dialogue>\n    <character>SALAZAR<\/character>\n    <dialogue>Well, Javier Rodriguez, you've done a very good job, but we'll take care of it from here.<\/dialogue>\n    <scene_description>Javier stares into the implacable reflection of his sunglasses . In the distance , the DC - 3 takes off and ROARS over their heads .<\/scene_description>\n    <character>SALAZAR<\/character>\n    <dialogue>We've been following these Narco - trafficantes for some time but had not been able to bring them to justice.<\/dialogue>\n    <parenthetical>( to his men . )<\/parenthetical>\n    <dialogue>Put the prisoners in the car. Impound the truck.<\/dialogue>\n    <scene_description>The men follow Salazar 's orders .<\/scene_description>\n    <character>SALAZAR<\/character>\n    <parenthetical>( to Javi . )<\/parenthetical>\n    <dialogue>One question. How did you find about this?<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>An informant.<\/dialogue>\n    <character>SALAZAR<\/character>\n    <dialogue>What is the name of your informant?<\/dialogue>\n    <character>JAVIER<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>It was an anonymous tip.<\/dialogue>\n    <scene_description>Salazar looks at Javi a beat .<\/scene_description>\n    <character>SALAZAR<\/character>\n    <parenthetical>( to his men . )<\/parenthetical>\n    <dialogue>For a State Police officer, you're very well informed. Let's go.<\/dialogue>\n    <character>MOMENTS LATER<\/character>\n    <dialogue>Javi and Manolo watch the convoy of vehicles drive away.<\/dialogue>\n    <scene_description>Javier lights a cigarette .<\/scene_description>\n    <character>MANOLO<\/character>\n    <dialogue>Was n't that General Salazar?<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>MANOLO<\/character>\n    <dialogue>What's he doing up here?<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>I do n't know. Something.<\/dialogue>\n    <scene_description>They start for their car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEL MAR SELF-STORAGE - DAY<\/stage_direction>\n    <scene_description>SUPERTITLE : SAN DIEGO Two men , RAY CASTRO , 30 's , proud , ambitious , and MONTEL GORDON , 40 's , suspicious of everyone including himself and always , always the smartest guy in the room , walk from a Lincoln Towncar toward a dumpy office . Castro is talking under his breath -<\/scene_description>\n    <character>CASTRO<\/character>\n    <dialogue>No telltales. Nothing to read. Not touching my face. Not even blinking. No giveaways.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>How're you feeling?<\/dialogue>\n    <character>GORDON<\/character>\n    <parenthetical>( keyed up . )<\/parenthetical>\n    <dialogue>I feel good.<\/dialogue>\n    <character>CASTRO<\/character>\n    <dialogue>No more pissant basin league bullshit for us, hunh?<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <scene_description>Castro stretches his arms , swings them around .<\/scene_description>\n    <character>CASTRO<\/character>\n    <dialogue>Limbering up, gon na stay loose, keep it all together. Take this motherfucker down.<\/dialogue>\n    <scene_description>They reach the door to the office . Gordon looks at Castro , then turns the handle .<\/scene_description>\n    <character>CASTRO<\/character>\n    <dialogue>Showtime.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE, DEL MAR SELF-STORAGE - DAY<\/stage_direction>\n    <scene_description>It 's a cluttered , rundown working office unusual only in the extent of its ordinariness . A SECRETARY goes about her business like a somnambulist . CLERKS shuffle and file . Castro switches into Spanish -<\/scene_description>\n    <character>CASTRO<\/character>\n    <parenthetical>( in Spanish . )<\/parenthetical>\n    <dialogue>Good afternoon, ladies, gentlemen. We're looking for Eduardo Ruiz. We have a two o'clock appointment.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE, DEL MAR SELF-STORAGE - LATER<\/stage_direction>\n    <scene_description>In a back alcove , Castro and Gordon sit across a cheap table from EDUARDO RUIZ , 40 's , an entrepreneur in an expensive suit and bad hairpiece . They are waiting .<\/scene_description>\n    <character>RUIZ<\/character>\n    <dialogue>You ever buy a quarter ton? Not many people have.<\/dialogue>\n    <scene_description>Another `` businessman '' enters from another door and whispers in Ruiz 's ear , then leaves again .<\/scene_description>\n    <character>RUIZ<\/character>\n    <dialogue>So, it's worth the wait, right? What can I do? Rent a Huey? Have an airlift? It's not like you can put it in a condom up some mule's asshole, right? How many peasants would that take? A line stretching from here to Mexico City -<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>Nobody said shit, Eduardo -<\/dialogue>\n    <scene_description>One of Ruiz 's hands dips under the desk where we see a handgun is holstered on the underside .<\/scene_description>\n    <character>RUIZ<\/character>\n    <dialogue>Relax. We're waiting, that's it.<\/dialogue>\n    <character>CASTRO<\/character>\n    <dialogue>Hey, you want to hear a joke? I got a joke. Why do women wear makeup and perfume?<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>Chill out -<\/dialogue>\n    <character>CASTRO<\/character>\n    <dialogue>It's a funny fuckin' joke and it's quick. Why do women wear makeup and perfume?<\/dialogue>\n    <character>RUIZ<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>CASTRO<\/character>\n    <dialogue>'Cause they're ugly and they stink.<\/dialogue>\n    <scene_description>Castro laughs uproariously .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEA SURVEILLANCE SPACE - DAY<\/stage_direction>\n    <scene_description>ON FUZZY SURVEILLANCE VIDEO : Castro laughing . Ruiz politely smiling , one of his hands hidden by the table .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>Man, you never been close enough to a woman to know how she smells.<\/dialogue>\n    <character>DEA AGENT<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What's his hand doing? Watch his hand. Anybody? I do n't like the hand.<\/dialogue>\n    <scene_description>IN THE OFFICE The room is filled with crappy surveillance equipment . DEA AGENTS , in DEA logo 'd outerwear , jiggle a monitor fuzzily displaying the view from another hidden camera : Gordon and Ruiz around the cheap table .<\/scene_description>\n    <character>DEA AGENT<\/character>\n    <dialogue>This is ridiculous this fucking thing.<\/dialogue>\n    <parenthetical>( taps monitor . )<\/parenthetical>\n    <dialogue>Look at this shit - the first television transmission. I had better shit when I was the AV guy at junior high, swear - to - God.<\/dialogue>\n    <character>ANOTHER DEA AGENT<\/character>\n    <dialogue>Come on, Castro, pay attention. Watch his damn hands.<\/dialogue>\n    <scene_description>ON THE MONITOR Another `` businessman '' enters the office and whispers in Ruiz 's ear .<\/scene_description>\n    <character>RUIZ<\/character>\n    <parenthetical>( ON MONITOR . )<\/parenthetical>\n    <dialogue>Soon.<\/dialogue>\n    <scene_description>Another AGENT peers out a window through binoculars . HIS POV : THE EXTERIOR OF THE OFFICE WHERE CASTRO , GORDON , AND RUIZ TALK .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEL MAR SELF-STORAGE, SAN DIEGO - DAY<\/stage_direction>\n    <scene_description>A BLUE VAN makes a slow turn into the parking lot .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROOF - DAY<\/stage_direction>\n    <scene_description>TWO FBI AGENTS , in jackets reading `` FBI , '' hide on an opposing roof . They look through high - powered binoculars . Binocular POV : THE BLUE VAN TURNING INTO THE PLAZA .<\/scene_description>\n    <character>FBI AGENT #2<\/character>\n    <dialogue>All right, here we go. The blue van.<\/dialogue>\n    <scene_description>HIS BINOCULAR POV DETECTS THREE UNMARKED CARS DISCREETLY FOLLOWING THE VAN .<\/scene_description>\n    <character>FBI AGENT #2<\/character>\n    <dialogue>Three unmarked vehicles.<\/dialogue>\n    <parenthetical>( picks up walkie . )<\/parenthetical>\n    <dialogue>Three unmarked vehicles accompanying.<\/dialogue>\n    <scene_description>The unmarked cars split up and one turns into the parking lot of a fast - food restaurant . The other circles around the back of a building .<\/scene_description>\n    <character>FBI AGENT #2<\/character>\n    <dialogue>It's local. Local or Customs. Oh, man, I do n't know. Looks like the cavalry.<\/dialogue>\n    <character>FBI AGENT<\/character>\n    <dialogue>This is our show. Ah, man. I do n't want to share this one.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE, DEL MAR SELF-STORAGE - CONTINUOUS<\/stage_direction>\n    <scene_description>Through the window Ruiz , Gordon and Castro watch the van disappear into the bay of a storage unit . A man is pulling down the door behind it when three unmarked squad cars ROAR into the lot , surrounding the unit , officers exit the cars with their guns drawn - Gordon and Castro stare in disbelief . Ruiz FIRES the gun under the desk which hits Gordon full in the chest , knocking him backwards . Ruiz 's men run into the room pulling guns . Castro dives and pulls his weapon , firing at Ruiz 's men , hitting both of them . Ruiz bolts through another door . Castro pursues , talking into his shirt collar -<\/scene_description>\n    <character>CASTRO<\/character>\n    <dialogue>Agent down. Repeat, agent down.<\/dialogue>\n    <scene_description>Gordon gets slowly to his feet , shaking off the blast to his Kevlar , and runs after them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEL MAR SELF-STORAGE - DAY<\/stage_direction>\n    <scene_description>The DEA are shooting at the men inside the storage unit who are shooting back . From all over the stake - out location , DEA AGENTS emerge firing their weapons . An equal number of FBI AGENTS emerge firing in return . Nobody was aware of the other 's presence . It 's CHAOS , a clusterfuck of law - enforcement zeal with three competing sets of good guys shouting through BULL - HORNS , GUNSHOTS and SCREAMING . Ruiz breaks through the corner of the lot , cutting between two buildings . Castro emerges and chases him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - DAY<\/stage_direction>\n    <scene_description>Ruiz runs out the back of the storage company . He cuts between parked cars , heading for The Fun Zone , a kiddie restaurant .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE FUN ZONE - DAY<\/stage_direction>\n    <scene_description>Castro enters The Fun Zone . There 's a cardboard cutout of SPASTIC JACK , a beloved comedy figure who looks like a rabbit version of Jar Jar Binks , promoting the `` Special Edition '' glass : `` Collect All Four . '' There 's an enclosure filled with colored plastic balls . The restaurant is empty except for a CLOWN filling out a time card . The clown stands .<\/scene_description>\n    <character>CLOWN<\/character>\n    <dialogue>Hey dudes, we're not open yet.<\/dialogue>\n    <scene_description>Castro makes a motion for him to be quiet and keeps moving toward the room of colored balls . Gordon enters the restaurant and follows him . An ANIMATRONIC BAND starts to play a SONG . Gordon sees a half - hidden foot buried underneath the plastic balls at the far end of the room . He takes careful aim and FIRES . Ruiz SCREAMS and sits up . Castro pounces on him , disarming him , and roughing him up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE FUN ZONE - DAY<\/stage_direction>\n    <scene_description>Castro and Gordon shove Ruiz into the sunlight . They wait while their eyes adjust .<\/scene_description>\n    <character>RUIZ<\/character>\n    <dialogue>Take me to the hospital. I'm bleeding to death.<\/dialogue>\n    <scene_description>Castro shoves him forward . ACROSS THE PARKING LOT DEA has opened the back of the van where a quarter - ton of cocaine is spilling out onto the pavement .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUEST HOUSE - AFTERNOON<\/stage_direction>\n    <scene_description>A bong hit is expelled into the air . In the living room of a comfortable , preppy guest house , private school TEENAGERS party and hang - out : cigarettes in ashtrays , beer and bong on the coffee table , loud MUSIC . SUPERTITLE : CINCINNATI , OHIO The TV is on with the sound off . The curtains are closed . The four boys wear school blazers with their ties pulled askew , the three girls ' clothing are also identical . Some sit on couches , some on the floor . They are stoned . One intense - looking boy , SETH ABRAHAMS , 17 , wild curly hair and the attitude of a young Coleridge , and a girl , CAROLINE WAKEFIELD , 16 , really sixteen which means she looks about 12 , pretty and flirtatiously irreverent , sit at a desk in front of a Powerbook G - 3 playing an on - line trivia game . Seth speaks rapidly and precisely .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Father of Greek tragedy? Anyone? Okay, Aeschylus it is.<\/dialogue>\n    <parenthetical>( hits keys . )<\/parenthetical>\n    <dialogue>His trilogy? The Oresteia. I mean this is beautiful, can anyone stop the Seth Machine?<\/dialogue>\n    <parenthetical>( hits keys . )<\/parenthetical>\n    <dialogue>Score. Thank you. Madmax from Omaha we own you. And Tragedy is closed out.<\/dialogue>\n    <scene_description>Seth leans over and snorts a line of coke from a mirror . He hands it to Caroline who effortlessly does one .<\/scene_description>\n    <character>CAROLINE<\/character>\n    <dialogue>Entertainment. The Susan Lucci section or Banal Love Songs of the Nineties?<\/dialogue>\n    <scene_description>Seth looks at her . He has a crush .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Banal Love Songs it is.<\/dialogue>\n    <parenthetical>( hits keys . )<\/parenthetical>\n    <dialogue>Hey, you wan na try something?<\/dialogue>\n    <scene_description>She nods . They both take a swig of beer . He takes her hand pulling her past the stoned people on the couch - IN THE KITCHEN Seth takes out a box of baking soda . He tears off a square of aluminum foil . He takes out a spoon . Caroline watches as he dumps a small amount of cocaine into the spoon . He adds a pinch of baking soda . He puts in a few drops of water . Stirs it around with the heel of a lighter . Then holds the flame under the spoon .<\/scene_description>\n    <character>CAROLINE<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>SETH<\/character>\n    <parenthetical>( concentrating . )<\/parenthetical>\n    <dialogue>Just watch.<\/dialogue>\n    <scene_description>He watches the substance in the spoon as it swirls and bubbles , then separates . He pours the most viscous part onto the aluminum foil , making four separate little puddles . He quickly dismantles a ballpoint pen , making a straw . He hands it to Caroline .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Inhale the smoke and hold it.<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>What is this, like freebase?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Not like. It is.<\/dialogue>\n    <scene_description>He lights the flame under the aluminum foil . The puddle crackles and pops , then starts to smoke -<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Go. Go!<\/dialogue>\n    <scene_description>There 's a rush of thick grey smoke . Caroline catches most of it .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Hold it.<\/dialogue>\n    <scene_description>She pulls it in deeper and holds . Suddenly her expression changes . Her eyes lose their focus , her face slackens , an almost sexual response . Seth is watching her intensely .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>See. Now, you see.<\/dialogue>\n    <scene_description>Caroline slumps back against the counter . Seth moves against her , kissing her , running his hands over her breasts and body . She stares over his shoulder , holding it as long as she can . Finally she exhales -<\/scene_description>\n    <character>CAROLINE<\/character>\n    <dialogue>More.<\/dialogue>\n    <scene_description>The cloud of grey smoke from her lungs fills the room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE HOUSE OFFICE - DAY<\/stage_direction>\n    <scene_description>The White House CHIEF OF STAFF meets with Robert Wakefield . The Chief of Staff has the floor ; he always has the floor . This is a man you do not want to disappoint .<\/scene_description>\n    <character>CHIEF OF STAFF<\/character>\n    <dialogue>Until you officially take over the office of National Drug Control Policy, under no circumstances should you speak to the press unprotected, without going through this office or having someone in the room. There are a lot of interests in this town and, right now, they're all scared of you. The reason they're scared of you. technically, you have veto power over their budgets. So think about that : FBI, CIA, DEA, CUSTOMS, TREASURY, ATF, DEFENSE, IRS, Radio Shack and the DMV, they're all gon na want to speak to you. And that's the good news. You'll also be meeting Senators and Congressman, each with a specially prepared question. Their question is designed for one thing : to make them look smart. If you lecture them, they wo n't think you respect them. If you respond with utter humility, they will. Remember, this is about your respect for them, and the President's respect for them. Speaking of which, as soon as he gets back from Russia and China, we'll get you in there for some face - time, let the two of you catch up.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>It'd probably be a good idea for you to meet your predecessor. I'll have Jeff Sheridan take you over. Also, four weeks from today you will give your first official press conference. In it you will outline the President's strategy for winning the war on drugs.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Okay, anything else?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>I'll be sure to let you know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EXECUTIVE BUILDING, WASHINGTON, D.C. - DAY<\/stage_direction>\n    <scene_description>Robert makes his way through a warren of hallways in the endless corridors of the Old Executive Building alongside JEFF SHERIDAN , 35 , an enthusiastic government employee who has found his place .<\/scene_description>\n    <character>SHERIDAN<\/character>\n    <dialogue>I just want to be clear about one thing. I used to work for him, but now I work for you. I'm not a partisan person, I'm an issue person. In the next few weeks, if you allow me, we'll get you well - versed on an incredible array of issues. The most important of which, in my opinion, being Mexico. I know everybody that you're gon na meet. It's important that they like you. It's not important that they like me. That's why I can help protect you.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Like you protected Landry?<\/dialogue>\n    <character>SHERIDAN<\/character>\n    <dialogue>I see where you're going with that, but if I could just say something, which is basically that a guy like Landry is so autocratic he does n't know how to let himself be helped ; it's a point of pride to take every bullet, no matter who fired it, or whether it was even aimed at him, which personally I think it very self - defeating. Now, do n't get me wrong, he's a man of enormous integrity, but there's a political component to this job that the General just did n't have any patience for.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE OF NATIONAL DRUG CONTROL POLICY - DAY<\/stage_direction>\n    <scene_description>Robert and Sheridan enter the office of outgoing Drug Czar , GENERAL RALPH LANDRY , 60 's , buzz - cut , professional soldier with a sense of humor . Landry is putting some personal items in a box .<\/scene_description>\n    <character>GENERAL LANDRY<\/character>\n    <dialogue>Jeff, you want to excuse us for a minute?<\/dialogue>\n    <scene_description>Sheridan nods and leaves .<\/scene_description>\n    <character>GENERAL LANDRY<\/character>\n    <parenthetical>( bemused , off Sheridan 's exit . )<\/parenthetical>\n    <dialogue>Functionaries. Nice people, the Schedule C's. About twelve graduate degrees apiece, but it seems sometimes all they do is start rumors.<\/dialogue>\n    <scene_description>Robert and Landry shake hands .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>You've done a fine job here, Sir. The Office of National Drug Control Policy is in better shape than when you found it.<\/dialogue>\n    <scene_description>Landry tries to determine whether Robert believes this . He looks around the office as if the policy is hiding somewhere .<\/scene_description>\n    <character>GENERAL LANDRY<\/character>\n    <dialogue>I'm not sure I made the slightest difference.<\/dialogue>\n    <parenthetical>( wistful . )<\/parenthetical>\n    <dialogue>I tried. I really did.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>There are a lot of encouraging statistics. The work's just started, but I intend to see it through. You've got my word on that.<\/dialogue>\n    <character>GENERAL LANDRY<\/character>\n    <dialogue>You're here for two years, three maximum. What'd they promise you? Court appointment? What? District? Appeals?<\/dialogue>\n    <parenthetical>( checks Robert 's reaction . )<\/parenthetical>\n    <dialogue>Not Supreme. Supreme?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>I've come in to do a tough job and that's what I'm going to focus on.<\/dialogue>\n    <scene_description>General Landry SIGHS .<\/scene_description>\n    <character>GENERAL LANDRY<\/character>\n    <dialogue>When Kruschev was forced out, he sat down and wrote two letters and handed them to his successor. He said `` When you get into a situation you ca n't get out of, open the first letter and you'll be saved. And when you get into another situation you ca n't get out of, open the second.'' Soon enough this guy found himself in a tight place. So he opened the first letter. It said, `` Blame everything on me.'' So he blamed the old guy and it worked like a charm.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>He got into another situation he could n't get out of, so he opened the second letter, which read, `` Sit down and write two letters.''<\/dialogue>\n    <scene_description>They stare at each other a beat . Then Landry smiles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MANOLO'S STREET, MEXICO - DAY<\/stage_direction>\n    <scene_description>A cinderblock house . Kids and dogs in the street . A face we recognize as Manolo 's peers out of a curtain into the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MANOLO'S KITCHEN - DAY<\/stage_direction>\n    <scene_description>The ceiling is stained , the floor sags . A cheap radio plays . Manolo is at the door . Javi sits at a dinette table . He talks to Manolo but watches Manolo 's wife , ANNA , 20 's , a nice - looking , ostensibly demure young woman , as she moves around the kitchen .<\/scene_description>\n    <character>JAVIER<\/character>\n    <dialogue>Relax. If they were going to kill us they would have done it in the desert.<\/dialogue>\n    <character>MANOLO<\/character>\n    <dialogue>They would n't do it in front of all these people. They'd send someone later, when we're alone.<\/dialogue>\n    <scene_description>Manolo tenses , and throws open the window .<\/scene_description>\n    <character>MANOLO<\/character>\n    <parenthetical>( yelling out the window . )<\/parenthetical>\n    <dialogue>Away from the car. Now!<\/dialogue>\n    <scene_description>MANOLO 'S POV out the window as KIDS play in the car , sitting behind the wheel .<\/scene_description>\n    <character>JAVIER<\/character>\n    <dialogue>Even if that were true, they're not going to come to your house where you're waiting for them.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>He's right. They'll do it when you're walking somewhere, make it look like street crime.<\/dialogue>\n    <character>MANOLO<\/character>\n    <dialogue>Shut your fucking mouth. Nobody's talking to you.<\/dialogue>\n    <scene_description>Anna sets a cup of coffee in front of Javi and stares at him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE SEDAN - DAY<\/stage_direction>\n    <scene_description>Javi and Manolo cruise through the streets of Tijuana .<\/scene_description>\n    <character>JAVIER<\/character>\n    <dialogue>If you want her to stay out of it, then stop telling her everything. You should learn how to keep a secret.<\/dialogue>\n    <character>MANOLO<\/character>\n    <dialogue>She's nosy. She hears me on the telephone.<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>Anyway, I do n't think we'll ever see them again. Everything's back to normal.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TIJUANA STREET - DAY<\/stage_direction>\n    <scene_description>Tourist hell . A cacophony of street venders , panhandlers , and vehicular traffic . Javier and Manolo are speaking with a flustered young American TOURIST COUPLE .<\/scene_description>\n    <character>TOURIST WOMAN<\/character>\n    <dialogue>You're a police officer. Are n't you going to take a report or something? Do n't you want to know what kind of car it is?<\/dialogue>\n    <character>TOURIST MAN<\/character>\n    <dialogue>It's a Brown Ford Explorer -<\/dialogue>\n    <character>TOURIST WOMAN<\/character>\n    <dialogue>It was right here. It's been stolen. I want to file a report.<\/dialogue>\n    <character>MANOLO<\/character>\n    <dialogue>Please. Filing a report will not help you find your car.<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>The police wo n't find your car.<\/dialogue>\n    <character>TOURIST WOMAN<\/character>\n    <dialogue>But you're the police.<\/dialogue>\n    <scene_description>Javier pulls out a note pad and scribbles a number .<\/scene_description>\n    <character>JAVIER<\/character>\n    <dialogue>Call this man, he'll find your car for you.<\/dialogue>\n    <character>TOURIST MAN<\/character>\n    <dialogue>I do n't get it -<\/dialogue>\n    <character>TOURIST WOMAN<\/character>\n    <dialogue>How will this guy know who has our car?<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>The police will tell him.<\/dialogue>\n    <scene_description>There 's a beat of confusion .<\/scene_description>\n    <character>TOURIST MAN<\/character>\n    <dialogue>Why will they tell him but they wo n't tell us?<\/dialogue>\n    <character>TOURIST WOMAN<\/character>\n    <parenthetical>( getting it . )<\/parenthetical>\n    <dialogue>Because we pay him, stupid.<\/dialogue>\n    <parenthetical>( to Javier . )<\/parenthetical>\n    <dialogue>Right? And he pays the police.<\/dialogue>\n    <scene_description>And then our car appears .<\/scene_description>\n    <character>JAVIER<\/character>\n    <dialogue>Yes. Better than filling out forms, right?<\/dialogue>\n    <scene_description>The man reaches in his wallet and offers Javier a twenty . Javi waves him off . Javier and Manolo walk back to their squad car when two SUV 's come to a stop in front of them . Javier and Manolo exchange a look . The doors SLAM and FOOTSTEPS approach .<\/scene_description>\n    <character>OFFICER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Javier Rodriguez.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LA JOLLA GOLF AND TENNIS CLUB - DAY<\/stage_direction>\n    <scene_description>A ladies luncheon in the Nancy Reagan Dining Room overlooking a putting green . The bejewelled WIVES of successful men yammer at one another around tables with rich flower centerpieces . SUPERTITLE : LA JOLLA , CALIFORNIA , JUST OUTSIDE SAN DIEGO One wife , HELENA AYALA , 32 , ex - model , with a sweetness and intelligence that almost contradicts her beauty , stares out the window at a small BOY , 5 , using a putter as tall as he is . Helena is six months pregnant and radiant . A waiter brings Helena 's starter course . Her friends , NAN DOBBS , early 40 's , post Junior League , a little tipsy , STEWIE and ALEX , same League , watch her -<\/scene_description>\n    <character>NAN<\/character>\n    <dialogue>Duck salad?<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>Mmm.<\/dialogue>\n    <scene_description>Nan ca n't believe it .<\/scene_description>\n    <character>NAN<\/character>\n    <dialogue>Helena, you never order duck salad.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>Well, that's true. I do n't.<\/dialogue>\n    <parenthetical>( re : her belly . )<\/parenthetical>\n    <dialogue>I think someone else is asking for it.<\/dialogue>\n    <character>NAN<\/character>\n    <dialogue>Well, he's got good taste. Is n't it the most wonderful thing you ever tasted? I mean ever.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>It's delicious -<\/dialogue>\n    <character>STEWIE<\/character>\n    <dialogue>They're the most marvelous little creatures. Canard. They fly, swim, walk. And so cute with their babies marching along behind.<\/dialogue>\n    <character>NAN<\/character>\n    <dialogue>Looking for a nice sauce ala orange.<\/dialogue>\n    <scene_description>Everyone laughs . Helena is by far the youngest in her crowd .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>It's a very fatty bird. All that winter insulation. Just like me.<\/dialogue>\n    <character>NAN<\/character>\n    <dialogue>You mean all breast, just like you.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>You're bad -<\/dialogue>\n    <character>NAN<\/character>\n    <parenthetical>( singsong . )<\/parenthetical>\n    <dialogue>Jealous, that's all -<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>I've heard. I ca n't remember where. That it's full of that good kind of fat, the kind you're supposed to eat -<\/dialogue>\n    <character>STEWIE<\/character>\n    <dialogue>Unsaturated fat -<\/dialogue>\n    <character>TWO WOMEN IN UNISON<\/character>\n    <dialogue>Polyunsaturated.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>And now there's a good cholesterol and bad cholesterol. Everything they tell you completely changes every other week. I do n't know why they think we should listen at all.<\/dialogue>\n    <character>NAN<\/character>\n    <dialogue>What I know is ducks, as cute as they are, were designed by God to be eaten.<\/dialogue>\n    <scene_description>Nan reaches for a taste and the other women lean forward also , a sea of inanity swirling around Helena 's salad .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY CLUB PARKING LOT - DAY<\/stage_direction>\n    <scene_description>Helena buckles her little boy , DAVID , 5 , into the front seat of her Mercedes . He wo n't let go of his putter .<\/scene_description>\n    <character>HELENA<\/character>\n    <dialogue>I'll put this in the back.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>No -<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>All the professionals keep them in the trunk.<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Not Tiger Woods.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>Especially Tiger Woods.<\/dialogue>\n    <parenthetical>( sharing a secret . )<\/parenthetical>\n    <dialogue>. Actually, he keeps his on the back seat.<\/dialogue>\n    <scene_description>She pulls the putter away from the reluctant boy and sets it on the back seat .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL - DAY<\/stage_direction>\n    <scene_description>A modern high - rise on the waterfront playground of San Diego . Helena passes the hotel in her car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - DAY<\/stage_direction>\n    <scene_description>A standard room looking out at the water which is dotted with sailboats and cruise ships . The bed is covered with hi - tech surveillance equipment . The equipment salesman , LONNIE , 40 's , who makes a fetish of gadgetry , explains the finer points of operation to FRANCISCO `` FRANKIE '' FLORES , 30 's , sallow , watery - eyed , in expensive clothes .<\/scene_description>\n    <character>LONNIE<\/character>\n    <dialogue>Gates, Myrhvold, Bezos. I sell to all those guys. Why? Because the technology to intrude has reached the masses. Your competitor, your ex - spouse, adversaries, stalkers, they're at the local electronics store right now, and they're gon na be intruding on you not only through your telephone, but your fax, cell phone, pager, cable TV, Musak, windows, walls, air conditioning ventilation, modem, and internet connection.<\/dialogue>\n    <scene_description>He walks over to the bed and the sexy equipment -<\/scene_description>\n    <character>LONNIE<\/character>\n    <dialogue>Nobody has these babies, no way, not the shiznit.<\/dialogue>\n    <scene_description>Frederico picks up a piece of equipment .<\/scene_description>\n    <character>FRANCISCO<\/character>\n    <dialogue>I want to intercept cell phone calls, digital and analog. And locate the source of the call. I need databasing capability, to cross - reference calls and numbers.<\/dialogue>\n    <scene_description>Lonnie lovingly picks up a laptop computer with a sleek device attached to it -<\/scene_description>\n    <character>LONNIE<\/character>\n    <dialogue>Your Cellular Secretary, friend across all the digital wireless spread spectrum.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>So, Francisco, what do you do? You a PI? Private security?<\/dialogue>\n    <scene_description>Francisco looks at Lonnie coldly .<\/scene_description>\n    <character>FRANCISCO<\/character>\n    <dialogue>Assassin.<\/dialogue>\n    <character>LONNIE<\/character>\n    <parenthetical>( not missing a beat . )<\/parenthetical>\n    <dialogue>Assassin, okay. Let's get you started in surveillance.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGETOWN BROWNSTONE - NIGHT<\/stage_direction>\n    <scene_description>The house takes up most of one of the nicest blocks . PEOPLE enter and party VOICES drift out . SUPERTITLE : GEORGETOWN , WASHINGTON , D.C.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGETOWN BROWNSTONE - NIGHT<\/stage_direction>\n    <scene_description>A power cocktail party in full swing . This is where most of the business in Washington gets done . Robert , scotch in hand , listens to a smug PHARMACEUTICAL LOBBYIST explain the world .<\/scene_description>\n    <character>PHARMACEUTICAL LOBBYIST<\/character>\n    <dialogue>We in the legal drug business, and I mean Merck, Pfizer, the rest of my very powerful clients, realize this is n't a war with a traditional winner and loser, but an organism at war with itself, whose weapons of mass destruction happen to be intoxicants. And if you want a body count look no further than alcohol which racks up 80,000 kills a year. Cocaine manages a measly 2,000. Same for Heroin. But, the big daddy is Big Tobacco which kills 380,000 each year, which, by the way, is more people than have been killed by all the illegal drugs in the last century.<\/dialogue>\n    <character>ROBERT<\/character>\n    <parenthetical>( faking it . )<\/parenthetical>\n    <dialogue>That's very interesting.<\/dialogue>\n    <scene_description>The lobbyist smiles . Robert sips his drink . ANOTHER ANGLE ON ROBERT In another room . Listening to STAN , overweight advocate for the United States Council of Chambers of Commerce .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>It's time, Robert, to choke some honesty out of these rural legislators ; get'em to fess up that it's pretty much Prisons or Casinos in terms of their choices for economic growth.<\/dialogue>\n    <scene_description>ANOTHER ANGLE ON ROBERT listening to ETHAN , earnest advocate of harm reduction .<\/scene_description>\n    <character>ETHAN<\/character>\n    <dialogue>What's the difference between Prozac and Ecstacy, you ask? One's a mattress and the other's a trampoline. Molecules do n't have morality. Really, think about it : some molecule changes the way a serotonin re - uptake inhibitor works, it's not suddenly a bad molecule ; it's just a molecule. My theory : America has a real fear of short, intense experiences.<\/dialogue>\n    <scene_description>Robert turns away -<\/scene_description>\n    <character>ROBERT<\/character>\n    <parenthetical>( under his breath . )<\/parenthetical>\n    <dialogue>Like you.<\/dialogue>\n    <character>ANOTHER ROOM<\/character>\n    <dialogue>Robert at the bar getting another scotch. A secretive man, TIM, 40's, nerdy, sidles up beside him and whispers furtively in his ear.<\/dialogue>\n    <character>TIM<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>Chemicals? Some say problems, others say solution. Imagine a cloud that when it rains prohibits the growth of poppies or takes the THC out of marijuana. Imagine a pill that eliminates any psychological craving, from Dilaudid to Dove Bars. Law enforcement has n't let science sit on the sidelines. Addiction is no more relevant than polio or the Black Plague.<\/dialogue>\n    <scene_description>Tim slips away into the crowd . Robert moves away from the bar . ANOTHER ROOM An argument is breaking out between an ECONOMIST and an UNDERSECRETARY OF DEFENSE with Robert as the audience .<\/scene_description>\n    <character>ECONOMIST<\/character>\n    <parenthetical>( to the undersecretary . )<\/parenthetical>\n    <dialogue>You're not battling traffickers or dealers, but a market, and the market contains a paradox : if you arrest traffickers, you raise prices, and you also raise profits, which brings more traffickers into the business.<\/dialogue>\n    <character>UNDERSECRETARY<\/character>\n    <parenthetical>( to the Economist . )<\/parenthetical>\n    <dialogue>Back in the real world, we're talking about Mexico and not John Maynard Keynes. We will spend 18 billion dollars this year on this `` war,'' and the question on the table every year is do we certify Mexico as an ally or not?<\/dialogue>\n    <scene_description>Another man , RUSH PHILLIPS , a middle - aged powerbroker , overhears , then joins and Robert is encircled .<\/scene_description>\n    <character>RUSH PHILLIPS<\/character>\n    <dialogue>You want to make a difference, hit the users. You do n't jeopardize our financial markets by some hypocritical stance on drug consumption. We're snorting it, why penalize Mexico for supplying it?<\/dialogue>\n    <character>UNDERSECRETARY<\/character>\n    <dialogue>Mexico, do n't talk to me about Mexico -<\/dialogue>\n    <character>ECONOMIST<\/character>\n    <dialogue>It's the stick of law enforcement that creates the carrot of huge profits. That's economic truth -<\/dialogue>\n    <character>RUSH PHILLIPS<\/character>\n    <dialogue>Addicts do n't vote ; they do n't have PACs ; they do n't spend soft money, that's political truth -<\/dialogue>\n    <character>UNDERSECRETARY<\/character>\n    <dialogue>We're locking them up and consumption is falling -<\/dialogue>\n    <character>ECONOMIST<\/character>\n    <dialogue>The price of coke and heroin has dropped and purity has increased. All this law enforcement has achieved is kids can get better stuff, cheaper. In economic terms, you can forget it ; this is not a winnable war.<\/dialogue>\n    <character>RUSH PHILLIPS<\/character>\n    <dialogue>Christ, you want to decertify somebody, take Pakistan or Columbia. We do n't need them for anything.<\/dialogue>\n    <character>ECONOMIST<\/character>\n    <dialogue>If you manage to seize an inconceivable 50 percent of all drugs coming into this country, you'll still raise the price of coke and heroin less than 3 percent which wo n't affect drug use at all.<\/dialogue>\n    <character>RUSH PHILLIPS<\/character>\n    <dialogue>Why are we calling this a war at all? You do n't declare war on your own people. Addiction is a little worm that gnaws a house apart from the inside.<\/dialogue>\n    <scene_description>MICHAEL ADLER , about Robert 's age , and as successful , but in a different way , approaches , catching Robert 's eye through the arguing demagogues .<\/scene_description>\n    <character>UNDERSECRETARY<\/character>\n    <dialogue>We need Mexico for these reasons : number one - Defense ; two - Trade ; three - Tourism ; then, way on down the line, comes Drugs. The President knows this. Why's he holding everybody's feet to the fire?<\/dialogue>\n    <character>MICHAEL<\/character>\n    <parenthetical>( solemn . )<\/parenthetical>\n    <dialogue>Mr. Wakefield, there's a situation that needs your attention right away.<\/dialogue>\n    <scene_description>Robert looks at Michael , squints , looks closer , then follows .<\/scene_description>\n    <character>RUSH PHILLIPS<\/character>\n    <parenthetical>( oblivious . )<\/parenthetical>\n    <dialogue>One in sixteen Americans is of Mexican descent. Mexico our third largest trading partner.<\/dialogue>\n    <scene_description>ANGLE ON ROBERT AND MICHAEL ON THE BACK PORCH .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>You're looking pretty good for an old guy.<\/dialogue>\n    <character>MICHAEL<\/character>\n    <dialogue>My work keeps me young.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Which part, getting terrorists loose on bail or freeing convicted murderers on technicalities?<\/dialogue>\n    <character>MICHAEL<\/character>\n    <dialogue>The worst serial killer in history - who? Gacy - right? Killed forty two people. Our government killed fifty thousand in Vietnam and lied about it every day.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Michael, you represent drug dealers, not civil libertarians.<\/dialogue>\n    <character>MICHAEL<\/character>\n    <dialogue>We kidnapped Noriega out of Panama. Is that covered in your Constitution? Because it is n't in mine.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Noriega is a criminal.<\/dialogue>\n    <character>MICHAEL<\/character>\n    <dialogue>Noriega was head of a sovereign nation who made the mistake of doing business with the U.S. Government. So, no, I do n't have a problem waking up every day and fighting our government, fighting people like you, trying to keep this system a little bit honest.<\/dialogue>\n    <character>ROBERT<\/character>\n    <parenthetical>( amused . )<\/parenthetical>\n    <dialogue>Last I read your clients were chopping people up with chainsaws and delivering illegal narcotics into this country.<\/dialogue>\n    <character>MICHAEL<\/character>\n    <dialogue>I hope when you were on the bench, Judge Wakefield, you did n't handle the presumption of innocence in the same fashion.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>If I ever return to the bench, Counselor Adler, I hope I have the pleasure of hearing your arguments.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOSPITAL EMERGENCY ROOM, SAN DIEGO - DAY<\/stage_direction>\n    <scene_description>Eduardo Ruiz lies in a hospital bed , handcuffed to the railing . His bandaged foot is held aloft by a sling and a tube drains the wound . He is tugging on the handcuffs as Castro and Gordon enter the room .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>You planning on going somewhere, Eduardo? You do n't like it here? This is the best situation you're going to have for a long, long time.<\/dialogue>\n    <character>RUIZ<\/character>\n    <dialogue>I am a legitimate business. Fishing boats. Tuna. Check it out. Tax records, everything -<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>Listen you motherfucker, you tried to kill me with a fucking cannon.<\/dialogue>\n    <character>RUIZ<\/character>\n    <dialogue>You ca n't visit me here. I want my lawyer.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>The amount of coke we got on you means capital punishment in some states.<\/dialogue>\n    <character>CASTRO<\/character>\n    <dialogue>Move'em to Texas, fry'em up.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>We got you on tape making the deal. We got you bragging about the quality. We got you bragging about your business. We got you.<\/dialogue>\n    <scene_description>A NURSE appears in the doorway . Gordon goes to the door and shuts it in her face .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>One chance here, Eduardo. Make us believe you got a boss. No boss, it's all on you.<\/dialogue>\n    <character>RUIZ<\/character>\n    <dialogue>It's a death sentence. I'll never make it to the trial.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>We can protect you.<\/dialogue>\n    <scene_description>Ruiz looks at them in disbelief .<\/scene_description>\n    <character>CASTRO<\/character>\n    <dialogue>Who do you work for?<\/dialogue>\n    <character>RUIZ<\/character>\n    <dialogue>This is coercion.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>That's a big word for a fisherman.<\/dialogue>\n    <character>CASTRO<\/character>\n    <dialogue>Who do you work for?<\/dialogue>\n    <scene_description>Gordon and Ruiz stare at each other .<\/scene_description>\n    <character>RUIZ<\/character>\n    <dialogue>I know another word. Immunity.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AYALA HOME - LA JOLLA - DAY<\/stage_direction>\n    <scene_description>A starter castle high in the hills near Mount Soledad , an exclusive neighborhood with views of the ocean . Joggers jog to the SOUNDS of tennis and Jacuzzis gurgling , and lawn care equipment operated by Mexicans . Behind the Ayala gate we see David playing with his golf club on the lush lawn . Workers set - up the party under the direction of a professional party planner . A BMW 740il with tinted windows pulls into the driveway .<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>Daddy!<\/dialogue>\n    <scene_description>The window lowers and we see CARL AYALA , 40 's , handsome , charismatic , second generation American , in expensive , conservative clothes , covering his cell phone as he greets his kids .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Hello. Hello.<\/dialogue>\n    <scene_description>He goes back to his phone call , pulling around to the garage . David goes back to his game .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AYALA DINING ROOM - DAY<\/stage_direction>\n    <scene_description>There are MAIDS in the house and a COOK in the kitchen . The large rooms are filled with fine art . Helena Ayala sits at the dining room table with plans , bills and receipts spread before her . Carl enters and paces around the room , continuing his cell phone conversation .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>I'm sorry, Jonas. I do n't care if that is the price you have gotten in order countries.<\/dialogue>\n    <scene_description>Helena watches her husband pace as he talks . He ca n't help it , but a portion of this call is theatrical , for an audience 's benefit , which in this instance happens to be his wife . Helena 's expression of annoyance resets itself into love .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>This is America, a different country. I am Carl, a different man. So you see, everything about our situation is different and I believe the pricing will be different, too.<\/dialogue>\n    <parenthetical>( beat , listens . )<\/parenthetical>\n    <dialogue>You're a reasonable man. So take the weekend to think about it.<\/dialogue>\n    <scene_description>Carl clicks off the phone , turns to Helena .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Every day with this guy is like starting all over again.<\/dialogue>\n    <scene_description>Carl winds down and finally becomes present in the room with his wife . He looks at her . She looks back .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>What's up?<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>Just watching you.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>I got that. How was your day?<\/dialogue>\n    <scene_description>She pushes the topiary away from her . Suddenly , she seems tired . Carl comes over and puts his hand on her pregnant belly .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>You all right?<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>I keep feeling like I'm forgetting something.<\/dialogue>\n    <scene_description>Her husband watches her , then wraps his arms around her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AYALA HOME - DAY<\/stage_direction>\n    <scene_description>Carl and Helena step out on the front porch of their home and watch David play with his golf putter . OUTSIDE THEIR GATE An unmarked police car rolls up and stops behind the wall . Another arrives and another and another . OFFICERS in DEA jackets exit the cars . There is MURMURING , then SILENCE . Helena slowly turns to look at her husband . He does n't look at her .<\/scene_description>\n    <character>HELENA<\/character>\n    <dialogue>David, come inside -<\/dialogue>\n    <scene_description>Suddenly , POLICE and DEA enter the front yard . Gordon and Castro enter the yard and move quickly up the drive to Carl .<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>What is this? What is going on?<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>Mr. Ayala?<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>That's right.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>You're under arrest for violation of Federal Narcotics laws.<\/dialogue>\n    <scene_description>Gordon and Castro spin him , cuff him , and without emotion begin pulling him from his yard . David is trying to get to his father . In a kind of shock . Helena trails after him . Castro drags Carl into the street toward the open door of the cruiser . He pushes him down into the backseat .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>We have a warrant to search your home, Mrs. Ayala.<\/dialogue>\n    <scene_description>Gordon hits the side of the cruiser and it pulls away . Carl looks at his wife through the window . Gordon and Castro head up the driveway toward her house . Helena is left standing in the street . NEIGHBORS , who have appeared in front yards and at the ends of driveways , stare at her with suspicion . David approaches and holds onto her leg .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALAZAR'S HEADQUARTERS - ANTEROOM - DAY<\/stage_direction>\n    <scene_description>Javi and Manolo wait in Salazar 's anteroom . A ceiling fan swirls the air . After a moment the door opens and an AIDE motions to them . They stand .<\/scene_description>\n    <character>AIDE<\/character>\n    <parenthetical>( to Manolo . )<\/parenthetical>\n    <dialogue>Not you. You.<\/dialogue>\n    <scene_description>Javi goes into the room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALAZAR'S OFFICE - DAY<\/stage_direction>\n    <scene_description>The office is Spartan and military . Salazar and Javi sit facing each other . Salazar looks at a piece of paper .<\/scene_description>\n    <character>SALAZAR<\/character>\n    <dialogue>Javier Rodriguez. Twenty - nine years - old. Graduated from Montessori school. Five years as a beat cop in TJ. Three years with the State Police. Parents died four years ago in their apartment from carbon monoxide poisoning because they could not afford to fix their gas heater. Your sister works in a Maquiladora in Juarez, making designer blue - jeans. On the police force three years, you currently make 316 dollars a month.<\/dialogue>\n    <scene_description>Salazar crumples the piece of paper and tosses it in the trash .<\/scene_description>\n    <character>SALAZAR<\/character>\n    <dialogue>That's your past. I want to talk about your future. Would you be willing to do something for me?<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>If I can.<\/dialogue>\n    <character>SALAZAR<\/character>\n    <dialogue>I'm trying to bust the Tijuana Cartel.<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>What is it you want me to do?<\/dialogue>\n    <character>SALAZAR<\/character>\n    <dialogue>A small thing. Nothing really.<\/dialogue>\n    <scene_description>Javier thinks about this .<\/scene_description>\n    <character>JAVIER<\/character>\n    <dialogue>Does this offer include my partner?<\/dialogue>\n    <character>SALAZAR<\/character>\n    <dialogue>Only if he can be trusted.<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>He'll do what I say.<\/dialogue>\n    <scene_description>Salazar slides a folder across the desk . Javier opens it and sees a black and white surveillance photo of the informant .<\/scene_description>\n    <character>SALAZAR<\/character>\n    <dialogue>His name is Francisco Flores. He is a killer and gun smuggler for the Tijuana cartel. I need to speak with him. I need you to find him and bring him to me so that I can speak with him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE SEDAN - DAY<\/stage_direction>\n    <scene_description>Manolo faces Javier .<\/scene_description>\n    <character>MANOLO<\/character>\n    <dialogue>This is fucking crazy. Instead of killing us, he sends us on a suicide mission. Do you know who Frankie Flowers is? He's a psycho - cokehead - hitman. A faggot. He's killed fucking who knows how many people. You'd need half the force to get close to him. And you ca n't get their help because he lives in fucking San Diego.<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>Then I guess I'm going by myself.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPLANE - DAY<\/stage_direction>\n    <scene_description>Robert Wakefield sits in business class . He twists the cap off a mini - bottle of bourbon and pours it over a cup of ice . He empties a second bottle into the cup , then swirls it around on the ice . He takes a sip .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AIRPORT GATE - DAY<\/stage_direction>\n    <scene_description>Robert exits with his briefcase and hanging bag , two SECURITY MEN trailing him . He sees Barbara and Caroline , his wife and daughter , waiting by the their station wagon . They wave .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - DAY<\/stage_direction>\n    <scene_description>On the way home from the airport . Caroline drives carefully with Barbara in the front seat and Robert in back .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>What's it like?<\/dialogue>\n    <parenthetical>( thinks . )<\/parenthetical>\n    <dialogue>Imagine you're being accosted by a swarm of beggars in the heart of Calcutta, except the beggars are wearing $ 1500 suits and they do n't say `` please'' or `` thank you.''<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>What about legalizing everything? Has anybody talked about that?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Fine - legalization. Okay, forgetting all of our international trade agreements, legalize everything today. The Government inserts itself into all drug transactions. The U.S. becomes a giant pharmacy. Our borders are mobbed, lines of people from here to Europe wanting to smoke, snort and shoot themselves into oblivion.<\/dialogue>\n    <character>BARBARA<\/character>\n    <parenthetical>( lightly . )<\/parenthetical>\n    <dialogue>Like a Grateful Dead Concert.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Drugs begin pouring out of America into every other country in the world. Canada is completely overwhelmed.<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>What if every country legalized at the same time?<\/dialogue>\n    <character>ROBERT<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Somehow, I do n't see that happening.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAKEFIELD DINING ROOM - EVENING<\/stage_direction>\n    <scene_description>From the hallway we see Robert and Barbara and Caroline having dinner . A family tableau . We hear Barbara talking , the murmur of the days events . In the room , Barbara continues her dinner table thoughts . Robert has a good deal of reading material stacked on the table .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>So you know we put the case before the arbitration panel, none of whom had any expertise. Superfund is just one of those words. People stop paying attention.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>That's frustrating.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>It's so frustrating.<\/dialogue>\n    <scene_description>There is wine on the table and Caroline is allowed a glass . Her parents watch her take a responsible sip .<\/scene_description>\n    <character>CAROLINE<\/character>\n    <parenthetical>( to Robert . )<\/parenthetical>\n    <dialogue>Did you meet the President?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Honey, your father knows the President.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>As it happens, the President of the United States, my new boss, the leader of the free world, has me penciled in for some `` face time''.<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>Will we get invited to the White House?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>How long's the job?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>It's a presidential appointment so. until I quit or get fired.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Czar for life, just like a real czar.<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>That makes mom the Czarina. I'm a Czarette. Like Anastasia.<\/dialogue>\n    <scene_description>Caroline thinks about this .<\/scene_description>\n    <character>CAROLINE<\/character>\n    <dialogue>None of my friends can fucking believe my dad is the actual Drug Czar.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Caroline -<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>Sorry, but I mean, come on.<\/dialogue>\n    <scene_description>Robert does n't know if she 's putting him down .<\/scene_description>\n    <character>CAROLINE<\/character>\n    <dialogue>It's great, daddy. It's just amazing, that's all.<\/dialogue>\n    <scene_description>They all look at each other . Caroline sips her wine .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAN DIEGO JAIL - DAY<\/stage_direction>\n    <scene_description>In the intake area of a busy San Diego precinct , Helena sits on a bench and regroups . Detectives move past her . Handcuffed criminals are separated , bagged and tagged . beautifully dressed man , ARNIE METZGER , 30 's , super - lawyer , knows everyone from the top of the system to the bottom , slick but likable , smart and ruthless , too , separates himself from a DETECTIVE he 's gladhanding and approaches Helena .<\/scene_description>\n    <character>ARNIE<\/character>\n    <dialogue>Helena, I'm so sorry -<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>Arnie, thank God.<\/dialogue>\n    <scene_description>Metzger sits , giving her a hug .<\/scene_description>\n    <character>HELENA<\/character>\n    <dialogue>Can you please tell me what on earth is going on?<\/dialogue>\n    <scene_description>Arnie looks at her as if to say , `` do you really not know ? '' Then , he speaks quietly with his hand in front of his mouth .<\/scene_description>\n    <character>ARNIE<\/character>\n    <dialogue>I understand. You're upset. You want to know what's going on. That's good.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>Why are you talking like that?<\/dialogue>\n    <character>ARNIE<\/character>\n    <dialogue>Listen to me carefully. First of all, Carl is n't here. DEA's got him and they'll hang on to him until arraignment, which will probably be tomorrow. So here you're wasting your time. Are you with me?<\/dialogue>\n    <scene_description>He checks to see if this is registering .<\/scene_description>\n    <character>ARNIE<\/character>\n    <dialogue>Good. From now on I want you to expect that every word you utter will be tape - recorded, that the movement of your lips is being read. Got it?<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>Arnie, this is crazy.<\/dialogue>\n    <scene_description>He makes eye contact with her .<\/scene_description>\n    <character>ARNIE<\/character>\n    <dialogue>Got it?<\/dialogue>\n    <parenthetical>( she slowly nods . )<\/parenthetical>\n    <dialogue>Good. Do not discuss anything over the telephone. Do not talk to the neighbors. Stay out of your yard.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>What is he being charged with?<\/dialogue>\n    <character>ARNIE<\/character>\n    <dialogue>I do n't know, but under no circumstances would I talk about it here. I want you to go home and relax the best you can. Continue your life as if nothing has happened. That is very important.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>Arnie, I feel like Alice stepping through the looking glass.<\/dialogue>\n    <character>ARNIE<\/character>\n    <dialogue>That's a very apt analogy, Helena. Now, go home and be with your children.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUILDING PARKING LOT - DAY<\/stage_direction>\n    <scene_description>Helena exits . Her expression is set as she drives . She turns a corner in the shopping district , passing JAVIER AND MANOLO who are walking down the street . Tourists , drunk Marines and the homeless piss away another day . We follow them into a bar with blackened windows and a discrete sign .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAR - DAY<\/stage_direction>\n    <scene_description>This is a place where men come to meet men . And it 's already lively even at this early hour . Javier and Manolo find a seat and wait .<\/scene_description>\n    <character>LATER<\/character>\n    <dialogue>Javi is working on his second beer when he seems to recognize somebody.<\/dialogue>\n    <scene_description>ACROSS THE ROOM Francisco `` Frankie '' Flowers has entered the bar . Javi watches him circulate through the room then settle at the bar . Javier finishes his beer , rises , and takes the empty seat next to Francisco . Manolo watches . Very quickly Javi strikes up a conversation . We do n't hear what they 're saying but it does n't matter because Francisco clearly likes Javi . Off Francisco 's anticipatory smile -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MILITARY BASE - MEXICO - DAY<\/stage_direction>\n    <scene_description>The back of a blue van opens and a blindfolded Francisco falls onto the ground . Surrounding him are Javi and Salazar , who watch as two of Salazar 's MEN drag Francisco away toward an abandoned mission - style building .<\/scene_description>\n    <character>SALAZAR<\/character>\n    <parenthetical>( clearly pleased with Javi . )<\/parenthetical>\n    <dialogue>I'm curious how you did this with such economy.<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>Everybody has a weakness.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SOMEBODY'S PARENTS' MANSION, CINCINNATI - NIGHT<\/stage_direction>\n    <scene_description>With its old - growth trees and manipulated shrubbery , the large house is shrouded in the mystery of well - heeled suburbia . It is very late .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOMEBODY'S PARENTS' MANSION - NIGHT<\/stage_direction>\n    <scene_description>Somebody 's parents are out of town and the house feels empty . Big empty rooms with expensive furniture nobody sits on . Faint MUSIC echoes through the house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>High ceilings of a 1930 's kitchen . Vodka bottles and cranberry juice and limes are spilled across a counter . ON THE RHODES AGAIN by Morcheeba plays from a jam - box on a counter . Maybe ten TEENAGERS are partying hard in this kitchen . It 's weird and disassociated , people wandering in and out , playing with kitchen utensils , heavily fucked up . There are drugs on a mirror on the eat - in table . Caroline and Seth and two friends sit around this table . VANESSA , 16 , almost pretty , is hitting a freebase pipe and holds the hit . FUCKED - UP BOWMAN , 17 , super - preppy with a wan , Baby Huey face , takes a slug of vodka . They are jittery , sweaty , tweaked , fucked - up -<\/scene_description>\n    <character>CAROLINE<\/character>\n    <dialogue>All I'm saying, what I'm saying, is it never seems like anybody ever says anything that matters to them, like we all look at each other and nod with responses we've been trained to make, not real responses, just social conventions, phony, fake smiles, surface bullshit. I mean, we're all smart and do we have any idea what each other are like, really like? Do I know what Seth's afraid of, or Vanessa, or fucked - up Bowman?<\/dialogue>\n    <scene_description>Everyone looks at Fucked - up Bowman who grinds his jaw appreciatively -<\/scene_description>\n    <character>CAROLINE<\/character>\n    <dialogue>Probably, but do I ever say this stuff, just say, `` hey, I'm uncomfortable in this crowd, I do n't know what the fuck I'm doing, either? I know you're afraid and it's okay -''<\/dialogue>\n    <scene_description>Seth 's words come quickly , they 're riffing , totally in sync , totally wired -<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>We act like we have all the answers and we're totally invincible like our parents seem and their parents before them and it's fucking bullshit -<\/dialogue>\n    <scene_description>Fucked - up Bowman takes another slug of vodka and almost pukes .<\/scene_description>\n    <character>FUCKED-UP BOWMAN<\/character>\n    <dialogue>For instance -<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>For instance I know you jack - off thinking about Caroline even though you're supposedly `` in love'' with Vanessa. Whatever the fuck that means?<\/dialogue>\n    <parenthetical>( a digression . )<\/parenthetical>\n    <dialogue>I mean, what is that convention, anyway? We're all these random collections of self - interest, and then we just decide that now we're two people walking along -<\/dialogue>\n    <scene_description>Caroline expels a hit of rock cocaine -<\/scene_description>\n    <character>CAROLINE<\/character>\n    <dialogue>And Vanessa does n't think she's pretty so she does all these weird fucking diets which is totally about self - esteem. And she's beautiful.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>And that's not even fair. Because listen to me. I'm fucking lying right now. This is exactly what I'm talking about. I'm supposedly talking about you, making some big point about you, and it's really about me. So I should talk about me, not you, not even the universal `` you.''.<\/dialogue>\n    <parenthetical>( takes a beat . )<\/parenthetical>\n    <dialogue>Okay. Okay, I'm worried I'm not really smart or that I'm not nearly as smart as people think I am, or that my parents' expectations have been way too high since I was five, I mean who knows they're going to Harvard when they're five, not that I'm blaming them for anything because everything's great, and I may not even get in, but we all feel this shit and we never acknowledge it and if we ca n't acknowledge it to the people we care the most about then who will we ever say it too and what kind of life will that be?<\/dialogue>\n    <scene_description>They all look at each other with love . This is an adventure and they 're having a connection -<\/scene_description>\n    <character>FUCKED-UP BOWMAN<\/character>\n    <dialogue>I jack - off thinking about Seth. Everybody I know does.<\/dialogue>\n    <scene_description>Bowman does another huge hit of freebase .<\/scene_description>\n    <character>CAROLINE<\/character>\n    <parenthetical>( disgusted . )<\/parenthetical>\n    <dialogue>Ach, that's what I'm talking about. Sarcasm. Always fucking sarcasm. You're afraid and you think if you admit it people will think you're weak or wo n't like you -<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>We live our lives by these unspoken rules that are handed to us.<\/dialogue>\n    <scene_description>They all look at each other , vibrating with the moment -<\/scene_description>\n    <character>VANESSA<\/character>\n    <dialogue>Let's be different -<\/dialogue>\n    <character>FUCKED-UP BOWMAN<\/character>\n    <dialogue>I ca n't feel my hands.<\/dialogue>\n    <scene_description>Bowman looks around , squinting , confused . He 's chalk white .<\/scene_description>\n    <character>FUCKED-UP BOWMAN<\/character>\n    <dialogue>I'm serious -<\/dialogue>\n    <scene_description>Suddenly , he clutches his chest and begins to twitch . Puke and foam come from his mouth . He seizes and falls from the chair . Vanessa SCREAMS . Seth and Caroline push the table aside to get a better look . Other people in the kitchen slowly take notice .<\/scene_description>\n    <character>VANESSA<\/character>\n    <dialogue>He's blue. He is n't breathing -<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>Is he breathing?<\/dialogue>\n    <scene_description>Bowman 's eyes have rolled back in his head .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>What do we do? Okay. Fucked - up Bowman's turning blue. Doctor. We need a doctor.<\/dialogue>\n    <character>VANESSA<\/character>\n    <dialogue>Your dad's a doctor. Call him -<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>He's a research doctor. You're dad's a doctor, too -<\/dialogue>\n    <character>VANESSA<\/character>\n    <dialogue>What kind of research?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Mapping the fucking pig genome. We'll call your dad, he's a neurosurgeon -<\/dialogue>\n    <character>VANESSA<\/character>\n    <dialogue>It's three a.m. I'm not supposed to be here. I snuck out -<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>Are you kidding. I'm staying with you -<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>He's gon na fucking die right here on the kitchen floor -<\/dialogue>\n    <character>ANOTHER KID<\/character>\n    <dialogue>He ca n't. My parents are in Barbados -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUBURBAN HOSPITAL EMERGENCY ENTRANCE - NIGHT<\/stage_direction>\n    <scene_description>The Taurus wagon races up to the emergency room of Suburban Hospital . The back door opens and Bowman tumbles out onto the wheelchair ramp under the fluorescent lights . The car screeches around the circle - ACROSS THE PARKING LOT TWO OFFICERS in a police car see the body tumble out of the car . The cop car wheels around and cuts off the egress of the Taurus wagon -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORD TAURUS WAGON - NIGHT<\/stage_direction>\n    <scene_description>Seth is behind the wheel . Caroline and Vanessa are in the back . They stare out at the cops getting out of the cruiser .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Nobody has anything on them, right?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TORTURE ROOM - BARRACKS - DAY<\/stage_direction>\n    <scene_description>Francisco is strapped naked into a chair . Duct tape covers his mouth . His face is bruised and swollen . A cruel TORTURER talks to him calmly while dumping chili powder into a container of soda water .<\/scene_description>\n    <character>TORTURER<\/character>\n    <dialogue>We know Tijuana Cartel gunmen killed our chief of intelligence, Francisco. We know you killed police commanders in Tijuana and Mexico City. Why do you resist?<\/dialogue>\n    <scene_description>He approaches Francisco and begins shaking up the soda water . He rips the tape off his mouth .<\/scene_description>\n    <character>FRANCISCO<\/character>\n    <dialogue>My father is rich. He'll pay you.<\/dialogue>\n    <character>TORTURER<\/character>\n    <dialogue>Not the correct answer, my friend.<\/dialogue>\n    <scene_description>The torturer puts another strip of duct tape across Francisco 's mouth .<\/scene_description>\n    <character>TORTURER<\/character>\n    <dialogue>We know that you went after the neighbor of General Salazar, a simple alfalfa farmer. His grand - daughter was shot. This is stupid behavior, Francisco.<\/dialogue>\n    <scene_description>Francisco starts to squirm and whimper . The torturer closes one of Francisco 's nostrils and sprays the pepper - laced water into the other nostril . It 's like a bomb went off in Francisco 's brain . He SCREAMS and passes out . Blood and mucous oozes out of his nose .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARRACKS - MEXICAN MILITARY BASE - DAY<\/stage_direction>\n    <scene_description>Javier stands guard outside a door , listening to the strangulated SCREAMS of Francisco . He 's sickened . ACROSS THE COURTYARD Manolo ignores Francisco 's CRIES , while shooting the shit with several of Salazar 's MEN , who laugh appreciatively at something he 's said .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AYALA HOME, SAN DIEGO - NIGHT<\/stage_direction>\n    <scene_description>Valet parkers in uniform work the driveway . The party is ablaze and there are lights in the trees . A Lester Lanin - like band plays a STANDARD that drifts across the grounds .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AYALA HOME - NIGHT<\/stage_direction>\n    <scene_description>A conservative monied crowd mingles . Helena is talking with a GROUP of rich people who include her friends , Nan , Stewie and Alex , from the country - club , and their HUSBANDS .<\/scene_description>\n    <character>STEWIE<\/character>\n    <dialogue>This is fabulous, Helena. What a turnout.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>Thank you so much, but I had a lot of help.<\/dialogue>\n    <scene_description>Helena circles away . As Helena leaves , the women speak their minds -<\/scene_description>\n    <character>NAN<\/character>\n    <dialogue>It's a turnout because it's a spectacle. Can you imagine?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>I've met her husband, as nice as they come.<\/dialogue>\n    <character>STEWIE<\/character>\n    <dialogue>It teaches me a valuable lesson.<\/dialogue>\n    <parenthetical>( re : the nice house . )<\/parenthetical>\n    <dialogue>Apparently crime pays.<\/dialogue>\n    <character>NAN<\/character>\n    <dialogue>Silly, you knew that already.<\/dialogue>\n    <scene_description>ON THE STAGE The band stops playing and steps aside as a man in a tuxedo takes the microphone . Behind the band is a huge `` A.L.A. - Adult Literacy Advocates '' Banner .<\/scene_description>\n    <character>TUXEDO<\/character>\n    <dialogue>Hello. Thank you. Thank you all. I have the results of the silent auction.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JUVENILE DETENTION, CINCINNATI - HOLDING CELL - MORNING<\/stage_direction>\n    <scene_description>Caroline Wakefield lies on a bench in a grey - walled holding cell . She wears paper slippers and her belt has been removed . Even youth ca n't disguise her hangover .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOCIAL WORKER OFFICE - MORNING<\/stage_direction>\n    <scene_description>Caroline is perched on the edge of her chair . Across the desk from her is a tired SOCIAL WORKER , 40 's , who has been assigned Caroline 's case and is giving her the `` exit '' interview .<\/scene_description>\n    <character>SOCIAL WORKER<\/character>\n    <dialogue>How old are you?<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>Sixteen<\/dialogue>\n    <character>SOCIAL WORKER<\/character>\n    <dialogue>Live with your parents?<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>SOCIAL WORKER<\/character>\n    <dialogue>Parents still together?<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>SOCIAL WORKER<\/character>\n    <dialogue>Do you work?<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>I volunteer. I read to blind people. One day a week for two hours.<\/dialogue>\n    <character>SOCIAL WORKER<\/character>\n    <dialogue>In school?<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>Cincinnati Country Day.<\/dialogue>\n    <scene_description>The Social worker looks up from her questionnaire and sees Caroline for the first time .<\/scene_description>\n    <character>SOCIAL WORKER<\/character>\n    <dialogue>Private?<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>SOCIAL WORKER<\/character>\n    <dialogue>How are your grades?<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>I'm third in my class.<\/dialogue>\n    <character>SOCIAL WORKER<\/character>\n    <dialogue>What's that mean?<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>I get A's. All A's.<\/dialogue>\n    <character>SOCIAL WORKER<\/character>\n    <dialogue>You do? What else you do?<\/dialogue>\n    <character>CAROLINE<\/character>\n    <parenthetical>( her college resume . )<\/parenthetical>\n    <dialogue>I'm a National Merit Finalist. I'm on the Hi - Q team and the Math team. I'm in the Spanish Club. I'm a Thespian. I'm Vice - President of my class. I'm on the volleyball team.<\/dialogue>\n    <scene_description>The social worker pushes the forms she 's filling out away and looks again at Caroline -<\/scene_description>\n    <character>SOCIAL WORKER<\/character>\n    <dialogue>You wan na tell me what you're doing here, Caroline?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JUVENILE DETENTION - MORNING<\/stage_direction>\n    <scene_description>A cold institutional lobby with hard plastic chairs and bad lighting . Government workers move behind thick glass windows with tiny mesh screens cut into them for talking . Barbara Wakefield sits on one of the uncomfortable chairs . She 's alone and has been crying . There 's the sound of heavily locked doors OPENING and Caroline appears . Barbara stands and wraps Caroline in her arms .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>Oh, honey. Are you all right?<\/dialogue>\n    <scene_description>Caroline begins to cry into her mother 's chest .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JUVI JAIL - MORNING<\/stage_direction>\n    <scene_description>It 's an early morning as Barbara Wakefield escorts her daughter from the bland government building .<\/scene_description>\n    <character>CAROLINE<\/character>\n    <dialogue>Did you tell Dad?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Not yet.<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>Are you going to?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>Is this bad for him?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <scene_description>The streets are deserted . Their Saab wagon sits forlornly under grey skies in an uncovered public parking lot .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DAVID'S ROOM - NIGHT<\/stage_direction>\n    <scene_description>Helena slips into David 's room and quietly watches him sleep .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STUDY - LATER<\/stage_direction>\n    <scene_description>Still wearing her evening gown , Helena collapses into a chair , exhausted . A TAP at the door startles her . It 's Arnie Metzger , who goes to the bar and pours himself a strong one . They sit opposite each other and neither speaks for a while .<\/scene_description>\n    <character>HELENA<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>I am on the board of my son's school. I had a fundraiser for A.L.V. in my front yard. I have a right to know if my husband is a legitimate businessman.<\/dialogue>\n    <character>ARNIE<\/character>\n    <dialogue>Of course he is. I've known him for twenty years and he does n't jaywalk.<\/dialogue>\n    <scene_description>Helena is relieved , but she 's not looking at Arnie and when she does she sees him shaking his head in a very definitive , `` No . '' Arnie stands and continues talking as he walks to the windows and shuts the blinds one by one .<\/scene_description>\n    <character>ARNIE<\/character>\n    <dialogue>Carl is a very important member of this community and when we're through suing the police and the district attorney and the DEA, they'll have to rename the public parks for your husband.<\/dialogue>\n    <scene_description>The blinds are closed . Arnie crosses to Helena and talks very softly in her ear . She 's a beautiful woman and Arnie manages to make this act seem both practical and inappropriate .<\/scene_description>\n    <character>ARNIE<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>Your husband is very good at his job.<\/dialogue>\n    <scene_description>Helena leans back and looks at Arnie . He whispers more -<\/scene_description>\n    <character>ARNIE<\/character>\n    <dialogue>Which is smuggling illegal drugs into this country.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AYALA HOME - NIGHT<\/stage_direction>\n    <scene_description>Workers break down the party under the watchful eye of the party planner . The neighborhood is quiet . There is a telephone repair van parked up the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAN - NIGHT<\/stage_direction>\n    <scene_description>Castro and Gordon have visual and audio equipment trained on the Ayala home . They both wear headsets . GORDON 'S POV : the blinds covering Helena 's study glowing peacefully .<\/scene_description>\n    <character>CASTRO<\/character>\n    <dialogue>They're whispering. I ca n't hear them, but I know it. I smell conspiracy. I feel the lie vibrating out of the home.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>She ai n't in on it.<\/dialogue>\n    <character>CASTRO<\/character>\n    <dialogue>I have dreams about this, actual dreams about busting the top people, the rich people, the white people.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>I'm telling you, she does n't know shit.<\/dialogue>\n    <character>CASTRO<\/character>\n    <dialogue>She knows Arnie Metzger.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>So does half of San Diego.<\/dialogue>\n    <character>CASTRO<\/character>\n    <dialogue>You want to make a wager on this?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STUDY - NIGHT<\/stage_direction>\n    <scene_description>The music is still playing . Helena looks numb . She motions Arnie to her . He leans in .<\/scene_description>\n    <character>HELENA<\/character>\n    <dialogue>If all our assets are frozen and our `` sales force'' has scattered. How am I supposed to survive? I'm giving birth in three months. How do I get through this?<\/dialogue>\n    <character>ARNIE<\/character>\n    <dialogue>You're gon na get through it, but the first thing we do is get Michael Adler to represent Carl. We get Adler and we beat this thing.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>How much do I pay him?<\/dialogue>\n    <character>ARNIE<\/character>\n    <dialogue>I suspect he'll accept his payment in publicity.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WAKEFIELD HOUSE - NIGHT<\/stage_direction>\n    <scene_description>A large , well - maintained Colonial on Mockingbird Valley Road , an upper - middle class neighborhood in the wealthy East End of Cincinnati . Leaves fall on the Saab wagon in the driveway .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBERT'S STUDY - NIGHT<\/stage_direction>\n    <scene_description>Robert is looking at Caroline and he 's not happy . Barbara is there , at a neutral distance from both of them .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Caroline? How well did you know this boy who overdosed?<\/dialogue>\n    <scene_description>She looks up beseechingly .<\/scene_description>\n    <character>CAROLINE<\/character>\n    <dialogue>He did n't hang around us. He's like one of those hippie kids. I'm not part of that group. It was a party in all these rooms. His girlfriend who I barely know was completely hysterical. He's blue, he's puking. We did n't want to get in trouble, but what were we supposed to do?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I mean, what would you have done if you had been us?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>How well do you know this boy, Seth, who was driving? You know the police have charged him with a DUI and possession of marijuana.<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>He's a friend. He's also like the only one who was dealing with the situation. He'd definitely had a few beers, but it's not like he wanted to drive. We did n't know what else to do.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>It was n't my pot.<\/dialogue>\n    <scene_description>She searches her parents ' faces . It has been a convincing performance and she expects victory .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Okay, honey. We understand. You're mother and I have to talk.<\/dialogue>\n    <scene_description>Caroline is confused by this reaction .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>Honey, we'd like to talk alone.<\/dialogue>\n    <scene_description>Caroline stands abruptly -<\/scene_description>\n    <character>CAROLINE<\/character>\n    <dialogue>Like always.<\/dialogue>\n    <scene_description>Caroline leaves the study and shuts the door harder than necessary . Robert and Barbara look at each other , raising their eyebrows and breathing deeply -<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>I think she's lying.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Me, too.<\/dialogue>\n    <character>ROBERT<\/character>\n    <parenthetical>( reaching a decision . )<\/parenthetical>\n    <dialogue>We'll ground her, clip her wings a bit. School and scheduled activities and that's it until further notice. This has to be handled delicately. Dan Kelly, in the District Attorney's office, will probably help us out, quietly. Christ, this could be embarrassing.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Honey, this is difficult, but we've all had our moments. I tried -<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Stop. You experimented in college. I do n't want to hear about that.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Should we take the quotes off experiment and call it what it is?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>This is different.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>To begin with, she's only sixteen years - old.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>I think she has to find out for herself, on her own. We have to allow her space -<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Space for what? To O.D. like that other kid? I will not send the message that this type of behavior is okay with her parents. Because it is n't. Correct?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>We do n't want to push her away. These are growing experiences.<\/dialogue>\n    <scene_description>Robert looks at his wife , then it dawns on him .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>How long have you known about this?<\/dialogue>\n    <scene_description>No response .<\/scene_description>\n    <character>ROBERT<\/character>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>How long have you known?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Six months. I found some marijuana, that's all. And a little pipe about two inches long. I talked with her. She said her friends smoked pot and drank -<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Explain to me how you could think that I should n't know about this. Explain to me how this would n't be relevant to me. As a parent.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>She asked me not to.<\/dialogue>\n    <scene_description>He leaves the room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Robert is in the hallway , at Caroline 's door . He opens it and we get BLASTED WITH MUSIC . Caroline is sitting in a rocking chair with headphones on . She faces the window and moves back and forth , back and forth . Robert calls her name , but the SOUNDTRACK is drowning him out . He calls again , this time apparently loud enough for her to hear . She takes the headphones off - the MUSIC stops - and turns to look at him . Or rather , she looks right through him , as though he did n't exist . Robert is so taken aback by the coldness of her gaze that he does n't speak . She turns away from him and puts the headphones back on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MILITARY BASE - MEXICO - DAY<\/stage_direction>\n    <scene_description>Javier and Salazar walk across the base . Salazar is feeling ebullient and it shows .<\/scene_description>\n    <character>SALAZAR<\/character>\n    <dialogue>You watch and learn. I earn his trust. Then more pain. Then I appear with kindness. Within a week he will follow me around like a dog.<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>But will he be house - trained?<\/dialogue>\n    <character>SALAZAR<\/character>\n    <dialogue>When he loves me like a father, he will never tell anyone he was here. He will freely give the names of his superiors. Then we get them and they too will give us names. And eventually somebody will get us to Juan Obregon and the cartel will fall.<\/dialogue>\n    <scene_description>They enter the barracks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CELL - MEXICAN MILITARY BASE - DAY<\/stage_direction>\n    <scene_description>It 's pitch black in the cell . There 's a human in here , but we ca n't see him . Suddenly the door is thrown open and light floods in , illuminating a very broken Francisco Flores . The figure of Commander Salazar fills the doorway .<\/scene_description>\n    <character>SALAZAR<\/character>\n    <dialogue>This is shameful. A disgrace. Francisco Flores -<\/dialogue>\n    <scene_description>Francisco cowers in the corners -<\/scene_description>\n    <character>SALAZAR<\/character>\n    <dialogue>It's all right, son. It's all right. Salazar is here. You're among gentlemen, now. This shameful treatment will stop immediately.<\/dialogue>\n    <parenthetical>( calling out . )<\/parenthetical>\n    <dialogue>Guard!<\/dialogue>\n    <scene_description>A GUARD appears in the doorway . Francisco is spooked .<\/scene_description>\n    <character>SALAZAR<\/character>\n    <dialogue>I want to know who is responsible for this treatment.<\/dialogue>\n    <character>GUARD<\/character>\n    <dialogue>Yes, sir!<\/dialogue>\n    <character>SALAZAR<\/character>\n    <dialogue>We are n't barbarians.<\/dialogue>\n    <character>GUARD<\/character>\n    <dialogue>Yes, sir!<\/dialogue>\n    <character>SALAZAR<\/character>\n    <dialogue>Bring this man a change of good clothes. Has he eaten?<\/dialogue>\n    <character>GUARD<\/character>\n    <dialogue>I do n't know, sir.<\/dialogue>\n    <character>SALAZAR<\/character>\n    <parenthetical>( to Francisco . )<\/parenthetical>\n    <dialogue>You will dine with me from now on.<\/dialogue>\n    <scene_description>Francisco moves closer to Salazar already feeling safe in his presence .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTHOUSE, SAN DIEGO - DAY<\/stage_direction>\n    <scene_description>A packed courthouse . Carl is at the defense table . He does n't look at Helena who sits in the gallery next to Arnie Metzger . The PROSECUTOR is finishing his argument -<\/scene_description>\n    <character>PROSECUTOR<\/character>\n    <dialogue>This is a man who heads a large criminal organization with international contacts we can only begin to understand. Our case against him is very strong. He is not a flight risk. His flight is assured. The people ask that your honor denies bail.<\/dialogue>\n    <scene_description>The prosecutor sits . Carl 's defense lawyer , MICHAEL ADLER , from the Georgetown party , stands and speaks .<\/scene_description>\n    <character>ADLER<\/character>\n    <dialogue>My client is no more a flight risk than your Honor or the able prosecutor. He is a pillar of his community, a family man with a wife and child in La Jolla, the community where he has made his home for over twenty years. As our defense will quickly show, my client is guilty of nothing more than being a handy target for an admitted criminal. Therefore we ask that you release Carl Ayala on his own recognizance.<\/dialogue>\n    <scene_description>Adler sits . The JUDGE makes a quick decision .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>I'm gon na deny bail.<\/dialogue>\n    <scene_description>The judge SLAMS his gavel . The crowd is on its feet . Carl tries to get a glimpse of Helena . They make eye contact . Reporters from the press gallery are yelling for Helena . Arnie ushers her away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTHOUSE - DAY<\/stage_direction>\n    <scene_description>Adler , Arnie , and Helena push through a crowd toward her car . There are several reporters there who ask questions -<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>Mrs. Ayala, were you aware your husband is the largest cocaine smuggler in America?<\/dialogue>\n    <character>ADLER<\/character>\n    <dialogue>Alleged, people, alleged.<\/dialogue>\n    <scene_description>Helena gets into her car and slams the door . Adler faces the reporters .<\/scene_description>\n    <character>REPORTER #2<\/character>\n    <dialogue>Mrs. Ayala is it true your husband has ordered a hit on Eduardo Ruiz?<\/dialogue>\n    <scene_description>Adler is in a role he relishes . Helena drives away . We move up to Gordon , who is watching from the hotel window across the street . He speaks into a walkie - talkie , and a car down below pulls out to follow Helena .<\/scene_description>\n    <character>ADLER<\/character>\n    <dialogue>Carl Ayala sits on the board of the Children's Hospital. He is heavily involved with Adult Literacy. He has a small boy and another child on the way. If you spread this kind of innuendo, you can expect legal recourse. Are we clear on this point?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GOVERNMENT BUILDING - EARLY MORNING<\/stage_direction>\n    <scene_description>The marble government corridors are empty . No one is in yet . One office has lights on .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A.D.A. KELLY'S OFFICE - EARLY MORNING<\/stage_direction>\n    <scene_description>Robert Wakefield talks with an Assistant District Attorney , DAN KELLY , 40 's .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>I appreciate you coming in so early.<\/dialogue>\n    <character>A.D.A. KELLY<\/character>\n    <dialogue>Judge Wakefield, it's an honor to handle it for you. Consider it gone away. She's a minor ; it probably would've expunged on her 18th birthday anyway.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Still, this was a sensitive issue for me and I wanted to thank you personally.<\/dialogue>\n    <character>A.D.A. KELLY<\/character>\n    <dialogue>Like I said, open container, P.I., Misdemeanor possession. Easy to make it disappear. For you, poof, it's gone.<\/dialogue>\n    <scene_description>A.D.A. Kelly thinks a moment , then tries for tact .<\/scene_description>\n    <character>A.D.A. KELLY<\/character>\n    <dialogue>One thing bothers me. That kid they dropped off had coke and heroin in him. Serious amounts. He's lucky he lived. So I got ta ask : what's your daughter on?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>I do n't know what you mean.<\/dialogue>\n    <character>A.D.A. KELLY<\/character>\n    <dialogue>I mean, did you ask her? What kind of drugs has she tried?<\/dialogue>\n    <scene_description>Robert is silent for a beat .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>I. I do n't really know.<\/dialogue>\n    <character>A.D.A. KELLY<\/character>\n    <dialogue>Is she in any kind of therapy. professional help?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>No, of course not. She's one of the top students at her school.<\/dialogue>\n    <character>A.D.A. KELLY<\/character>\n    <dialogue>Well, I hope it stays that way.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBERT'S CAR - EARLY MORNING<\/stage_direction>\n    <scene_description>Robert in his car , thinking . The streets are empty . He picks up the cell phone .<\/scene_description>\n    <character>ROBERT<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>It's Robert. Wipe your schedule clean for the next three days. I'm tired of talking to experts who never set foot outside the beltway. It's time to see the front lines.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAROLINE WAKEFIELD'S BATHROOM - MORNING<\/stage_direction>\n    <scene_description>Caroline sits on the toilet in her private bathroom . She 's not going to the bathroom , it 's a seat and she 's wearing her pajamas . She 's reading a magazine . The exhaust fan is on . There are pictures of her and her friends on the walls : goofy pictures from camp , from school , a collage she 's made with cutouts from magazine pictures and copy . On the sink next to her is a little square of well - charred aluminum foil ; she 's done many hits . She leans over and picks up a small piece of crack cocaine from a small pile in her soap dish . She drops it on a clean place on the foil . She picks up a lighter and the tube of a ball point pen she 's turned into a straw . She heats the bottom of the foil . The crack `` crackles . '' She chases the smoke across the foil . A huge hit . She leans her head back , her eyes roll back , she tries to focus on the magazine , on anything , she stares up at the ceiling . She holds it as long as she can then blows it toward the exhaust fan . Caroline looks at her watch . It 's 7:20 . She stands suddenly , unsteadily . She looks at herself in the mirror . She 's really high and indecisive . She looks around wildly . She sees the shower . She turns it on . She drops her pajamas . She goes back to the foil and hits another piece of the rock , taking another really big hit . She crushes the foil and flushes it down the toilet . She hops in the shower . IN THE SHOWER The water streams over her face . After a long beat she finally exhales the smoke of the hit through the water and steam . She 's in ecstacy . It 's almost time to leave for school .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LA JOLLA PLAYGROUND - DAY<\/stage_direction>\n    <scene_description>Helena reads a book , Madame Bovary by Gustave Flaubert , and keeps an eye on David , who is playing on the monkey bars . ACROSS THE ROAD at a careful distance is the ubiquitous telephone repair van . On the roof a parabolic mike swivels around .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TELEPHONE REPAIR VAN - DAY<\/stage_direction>\n    <scene_description>Castro and Gordon watch Helena via a small surveillance monitor .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>You should see little Montel play. Little Montel is the next Maradona.<\/dialogue>\n    <character>CASTRO<\/character>\n    <dialogue>Maradona is a cokehead. Hand of God, my ass. We're wasting our time here.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>He won. He was a winner. That bothers you.<\/dialogue>\n    <character>CASTRO<\/character>\n    <dialogue>Winners do n't do coke. Or have n't you been reading the bumper stickers?<\/dialogue>\n    <scene_description>Gordon looks at the monitor -<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>What do we have here?<\/dialogue>\n    <character>ON THE MONITOR:<\/character>\n    <dialogue>David kicking a soccer ball with an older strange man, TIGRILLO, Latino, 40's, fit and tough looking.<\/dialogue>\n    <scene_description>The man is very good . He juggles the ball and bounces it off his head and David follows him away from the center of the playground .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PLAYGROUND - CONTINUOUS<\/stage_direction>\n    <scene_description>Helena notices David moving away while playing with the man . She follows , then begins to jog after them .<\/scene_description>\n    <character>HELENA<\/character>\n    <dialogue>David, come back here this minute. David!<\/dialogue>\n    <scene_description>As she closes distance the man stops juggling the ball and abruptly picks up David and begins swinging him around by his arms . David is having fun as Helena approaches .<\/scene_description>\n    <character>HELENA<\/character>\n    <dialogue>David -<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>We're playing!<\/dialogue>\n    <scene_description>The strange man swings David up so that he 's under his arm .<\/scene_description>\n    <character>STRANGE MAN<\/character>\n    <dialogue>Yeah, this is fun.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>Please put down my son.<\/dialogue>\n    <scene_description>The man holds David .<\/scene_description>\n    <character>STRANGE MAN<\/character>\n    <dialogue>Should n't let your kid wander off with strangers.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>Thank you. That's a valuable lesson. David, come on.<\/dialogue>\n    <scene_description>The strange man holds David tighter so that he 's no longer having fun . He begins to wriggle -<\/scene_description>\n    <character>STRANGE MAN<\/character>\n    <dialogue>Mrs. Ayala -<\/dialogue>\n    <scene_description>This gets her attention -<\/scene_description>\n    <character>STRANGE MAN<\/character>\n    <dialogue>Your husband owes a lot of money. Enough that snapping this kid's neck would n't nearly cover it.<\/dialogue>\n    <scene_description>David begins to cry . Helena looks around wildly for help .<\/scene_description>\n    <character>STRANGE MAN<\/character>\n    <dialogue>You better come up with it in a hurry or your kid is going to disappear, and he wo n't turn up until the evening news.<\/dialogue>\n    <scene_description>He drops David who runs to his mother .<\/scene_description>\n    <character>STRANGE MAN<\/character>\n    <dialogue>You get exactly one warning.<\/dialogue>\n    <scene_description>The strange man moves away across the field .<\/scene_description>\n    <character>STRANGE MAN<\/character>\n    <dialogue>The first payment is three million dollars.<\/dialogue>\n    <scene_description>He continues walking away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TELEPHONE REPAIR VAN - DAY<\/stage_direction>\n    <scene_description>Gordon and Castro stare with rapt attention .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>Are you getting this on tape?<\/dialogue>\n    <character>CASTRO<\/character>\n    <dialogue>I love my job. I love it. The next time I'm having a bad day you got ta remind me of right now and I'll get over it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BARRACKS - NIGHT<\/stage_direction>\n    <scene_description>Javier and Manolo stand guard outside the front door of the dining hall . Javi smokes a cigarette .<\/scene_description>\n    <character>MANOLO<\/character>\n    <dialogue>A group of us are going out tonight.<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>MANOLO<\/character>\n    <dialogue>Guzman, Tomas, Esteban -<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>Your new friends.<\/dialogue>\n    <character>MANOLO<\/character>\n    <dialogue>Yeah. It should be fun. You wan na come?<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>Not this time.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING HALL - BARRACKS - NIGHT<\/stage_direction>\n    <scene_description>Francisco and Salazar eat at a beautifully set table . They are waited on by military officers who serve perfect flan at the end of the meal .<\/scene_description>\n    <character>FRANCISCO<\/character>\n    <dialogue>In my home I have B&amp;W speakers. I recently purchased a compact disc burner. I can make my own cd's, with whatever music I like, as if I bought them at the store, only I do n't have to pay these crazy prices.<\/dialogue>\n    <character>SALAZAR<\/character>\n    <dialogue>We have much in common. We both attended school in the United States, and both of our fathers are engineers.<\/dialogue>\n    <character>FRANCISCO<\/character>\n    <dialogue>I got into stereo equipment when I was a kid. Some people do n't notice the difference but it is very important to me.<\/dialogue>\n    <character>SALAZAR<\/character>\n    <dialogue>Of course it is. Have some more wine.<\/dialogue>\n    <scene_description>A soldier pours another glass of red for Francisco .<\/scene_description>\n    <character>SALAZAR<\/character>\n    <dialogue>Now, Francisco, my friend. I must know where these men are who killed my captains. Not where they were last week, but where they are today, and better still, tomorrow. You are clever. You can predict where they will be, ca n't you?<\/dialogue>\n    <scene_description>Francisco begins to weep . Salazar slides a pad of paper toward Francisco who slowly begins writing .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TIJUANA NEIGHBORHOOD - DAY<\/stage_direction>\n    <scene_description>Manolo and Javier pound on the front door of an apartment . A MAN opens the door and they grab him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TIJUANA STREETS - DAY<\/stage_direction>\n    <scene_description>A MAN walks down the street . Two SUV 's pull up in front of him . He starts to run . Salazar 's men jump out and chase him . Francisco is in the backseat of one of the SUV 's , watching .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TIJUANA - DAY<\/stage_direction>\n    <scene_description>An SUV pulls up to a curb .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUV - DAY<\/stage_direction>\n    <scene_description>Javier and Manolo and Francisco sit in the SUV . Francisco is weeping .<\/scene_description>\n    <character>FRANCISCO<\/character>\n    <dialogue>I ca n't go home. I do n't want to go. Please do n't make me.<\/dialogue>\n    <scene_description>He looks beseechingly at them .<\/scene_description>\n    <character>JAVIER<\/character>\n    <dialogue>It's not our decision.<\/dialogue>\n    <character>FRANCISCO<\/character>\n    <dialogue>I'll be killed.<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>Stop complaining. Nobody knows what you've been up to.<\/dialogue>\n    <scene_description>They push him out of the SUV .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SAN DIEGO JAIL - DAY<\/stage_direction>\n    <scene_description>Castro and Gordon sit with Eduardo Ruiz in a conference room . They are recording his statements .<\/scene_description>\n    <character>RUIZ<\/character>\n    <dialogue>Carlos, I mean Carl, started out in the family connection business : real estate in Tijuana, fishing boats out of Ensenada, hydroponic raspberries. He met up with the Obregon brothers of the Tijuana Cartel who were interested in two things : entering society and using his fishing boats.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>So you pay off our customs officials?<\/dialogue>\n    <character>RUIZ<\/character>\n    <dialogue>In Mexico law enforcement is an entrepreneurial activity, this is not so true for the USA.<\/dialogue>\n    <parenthetical>( condescending . )<\/parenthetical>\n    <dialogue>Using regression analysis we made a study of the customs lanes at the border and calculated the odds of a search. The odds are not high, and we found variables that reduce the odds. We hire drivers with nothing to lose. Then we throw a lot of product at the problem. Some get stopped. Enough get through. It's not difficult.<\/dialogue>\n    <character>CASTRO<\/character>\n    <dialogue>You'd think he was n't sitting here facing life in prison.<\/dialogue>\n    <character>RUIZ<\/character>\n    <dialogue>This has worked for years and it will continue to work for years. NAFTA makes everything more difficult for you. The border is disappearing.<\/dialogue>\n    <parenthetical>( pointing at them . )<\/parenthetical>\n    <dialogue>You people are like those Japanese soldiers left behind on deserted islands who think that World War II is still going on.<\/dialogue>\n    <parenthetical>( with total disdain . )<\/parenthetical>\n    <dialogue>Let me be the first to tell you, your government surrendered this war a long time ago.<\/dialogue>\n    <character>GORDON<\/character>\n    <parenthetical>( to Castro . )<\/parenthetical>\n    <dialogue>This attitude's not gon na help him any, is it?<\/dialogue>\n    <character>RUIZ<\/character>\n    <dialogue>I got greedy. I decided to bring a little in on my own and somebody tipped you off. That was my mistake. Carl would never be so stupid.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>He hired you. That was a mistake.<\/dialogue>\n    <character>RUIZ<\/character>\n    <dialogue>Carl and I were friends from childhood. He was loyal, that's not a mistake.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TIJUANA - SAN DIEGO BORDER CROSSING - DAY<\/stage_direction>\n    <scene_description>Car after car , an unending multi - lane stream of vehicles moving into the U.S. Any of these cars could be carrying drugs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CUSTOMS CONTROL BOOTH - DAY<\/stage_direction>\n    <scene_description>On an elevated walkway , this booth commands a view of everything . Robert and Sheridan listen to an OFFICIAL give the spiel .<\/scene_description>\n    <character>OFFICIAL<\/character>\n    <dialogue>The busiest land border crossing in the world. Over forty - one thousand vehicles per day, twenty - two thousand pedestrians on foot. I think we do a pretty good job but we know a lot of drugs are still getting through.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Any idea how much?<\/dialogue>\n    <character>OFFICIAL<\/character>\n    <dialogue>I've read official estimates but I would n't bet my house on them. I've heard the entire cocaine supply for the United States can fit into four tractor - trailers.<\/dialogue>\n    <parenthetical>( gestures to the traffic . )<\/parenthetical>\n    <dialogue>At least a half - dozen of those cars right out there are carrying a load of dope, with drivers employed by people who do n't give a damn if they're caught or not.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>What do you look for?<\/dialogue>\n    <character>OFFICIAL<\/character>\n    <dialogue>We ask questions and measure the answers. When something does n't ring true, a fact that does n't make sense, a slight hesitation, then it's off to secondary for a closer look. Before NAFTA we had about 1.9 million trucks a year. Now it's almost double. Pretty soon there'll be Mexican truck companies that will have as much freedom in crossing the border as American truck companies.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Any way we can do it better?<\/dialogue>\n    <character>OFFICIAL<\/character>\n    <dialogue>Sure. More money in intelligence on their side of the border. So we have a better idea who we're looking for. More dogs. More people. Supposed to be getting some giant x - ray machines to run the trucks through. Outside of martial law that's about the best you're gon na do.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>But, I should tell you, there are two things that really have us on edge right now.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>In the last six months seizures have tripled, even though we're pulling over the same number of cars. What does that tell you?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>That triple the amount of stuff is going through.<\/dialogue>\n    <character>OFFICIAL<\/character>\n    <dialogue>Right. But, that's not the biggest problem. One of our Intel officers picked up information from DEA that traffickers have come up with a process, a chemical process, to turn coke into something else. It does n't smell like coke. It does n't look like coke. And what's worse, it does n't react to field test. It could be anything. Maybe it's already happening. I mean, how would we know?<\/dialogue>\n    <scene_description>Robert looks out at the border activity . It 's anarchy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AYALA STUDY - AFTERNOON<\/stage_direction>\n    <scene_description>Helena is on the floor surrounded by papers . She 's made piles of certain things : articles of incorporation , shipping\/transfer documentation , bank statements , credit card statements . She holds a telephone to her ear -<\/scene_description>\n    <character>HELENA<\/character>\n    <parenthetical>( to phone . )<\/parenthetical>\n    <dialogue>Yes, hi Jenny, account number 4168\u00a02245\u00a03173. I need a cash advance.<\/dialogue>\n    <scene_description>Helena walks into her kitchen . It 's serene in the afternoon light . She fixes ice - cold lemonade and fills two plastic cups .<\/scene_description>\n    <character>HELENA<\/character>\n    <dialogue>What's the largest amount I can get?<\/dialogue>\n    <parenthetical>( listens . )<\/parenthetical>\n    <dialogue>Okay, I guess that'll have to do.<\/dialogue>\n    <scene_description>Helena hangs up the phone . She takes the two cups of lemonade to the front door and steps outside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AYALA HOME - AFTERNOON<\/stage_direction>\n    <scene_description>Helena carries the cups down the driveway . She presses a button and the gates swing open .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TELEPHONE REPAIR VAN - AFTERNOON<\/stage_direction>\n    <scene_description>Gordon and Castro listen to their headsets . Suddenly -<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <parenthetical>( over their headsets . )<\/parenthetical>\n    <dialogue>Okay. She's coming out. She's leaving her property. Okay, she seems to be heading for the van! She is approaching the van!<\/dialogue>\n    <scene_description>Castro and Gordon looks at each other .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>What do we do?<\/dialogue>\n    <character>CASTRO<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <scene_description>There 's a KNOCKING at the door of the van .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>What do you think she wants?<\/dialogue>\n    <character>CASTRO<\/character>\n    <dialogue>She's your girlfriend. Open it, talk about your kids.<\/dialogue>\n    <scene_description>Gordon opens the door . Helena is standing there with the lemonade .<\/scene_description>\n    <character>HELENA<\/character>\n    <dialogue>I so hope I did n't startle you. I thought you might like some cold lemonade.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>Uh. Thank you.<\/dialogue>\n    <scene_description>She hands the cups to him . Helena gathers herself .<\/scene_description>\n    <character>HELENA<\/character>\n    <dialogue>I know this is a difficult situation and you're only doing your jobs. I do n't bear you any ill - will, but I do have a small favor to ask.<\/dialogue>\n    <character>CASTRO<\/character>\n    <dialogue>You want to ask us a favor?<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>A man threatened my children. These charges have attracted a lot of attention and it seems to be bringing all the nut - jobs out of the nut jar.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Would you keep an eye out for anything out of the ordinary. I do n't know what else to do.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>Of course, we will.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>They shut the door to the van and sit for a moment .<\/scene_description>\n    <character>CASTRO<\/character>\n    <dialogue>It's probably poisoned.<\/dialogue>\n    <scene_description>Gordon takes a big sip of his .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>It's good. Not too sweet.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TIJUANA STREET - MORNING<\/stage_direction>\n    <scene_description>This is a questionable neighborhood pushed up against the edge of poverty . Anna hurries across the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JAVI'S APARTMENT BUILDING - MORNING<\/stage_direction>\n    <scene_description>Anna walks up the stairs of a rundown building . She passes two PROSTITUTES loitering in the stairwell . She knocks on a door and Javi , half - dressed for work , answers . He 's surprised to see her .<\/scene_description>\n    <character>JAVIER<\/character>\n    <dialogue>Anna. What's wrong? What do you want?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I ca n't find Manolo.<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>He's not here.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>He never came home last night. Was he with you?<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>He lets her into the apartment .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAVI'S APARTMENT - MORNING<\/stage_direction>\n    <scene_description>A small , clean room with a partition for the sleeping area .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>I'm worried. Last time he was out late, I went through his clothes while he was asleep.<\/dialogue>\n    <scene_description>She pulls out a plastic packet with the scorpion insignia and 911 stamped on it . Javier thinks a beat .<\/scene_description>\n    <character>JAVIER<\/character>\n    <dialogue>I'll find him.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY - TIJUANA - DAY<\/stage_direction>\n    <scene_description>Javi slams Manolo against the side of building .<\/scene_description>\n    <character>JAVIER<\/character>\n    <dialogue>What the fuck are you doing? You're supposed to be at work. Look at you.<\/dialogue>\n    <scene_description>Manolo is sweaty and crazy - eyed .<\/scene_description>\n    <character>MANOLO<\/character>\n    <dialogue>It's no problem. I was just with everybody we work with.<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>Oh, really. General Salazar was there?<\/dialogue>\n    <character>MANOLO<\/character>\n    <dialogue>No, but a lot of other people. You should come. You should come out with us.<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>Go home. Get cleaned up. Get to work. Salazar is heading down to Mexico City next week and I'm not getting left behind. Do n't fuck this up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COFFEE KIOSK - TIJUANA - DAY<\/stage_direction>\n    <scene_description>Javi buys a cup of coffee . He turns . Two men , who will come to be known as AGENT HUGHES and AGENT JOHNSON , are standing close . Agent Hughes speaks without looking at him .<\/scene_description>\n    <character>HUGHES<\/character>\n    <dialogue>The word going around is you're not that happy in your work.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Maybe we can help.<\/dialogue>\n    <scene_description>Hughes sticks a business card in Javi 's pocket . Javi watches them walk away . It 's all done so smoothly and quickly , it 's over before Javi even knows what happened .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEST END - CINCINNATI - DAY<\/stage_direction>\n    <scene_description>It 's the bad part of urban Cincinnati in the daylight : projects and blighted row houses . Seth and Caroline walk with a slouched , alert air . In their mind 's eye they are prep - school gangsters following a familiar route .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>You know my dad takes eight red cold pills every day? He and my mom have cocktail hour every night, from six to seven, set your clock, two bourbons -<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>Maybe we could show up and smoke a little rock with them to unwind -<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Yeah, then some dope to take the edge off at the end of a long day.<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>Have you done your homework, honey?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Yes, mom -<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>Then here's a little bump.<\/dialogue>\n    <scene_description>They turn down a street with a lot of activity on it .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Drugs were n't even a problem until a hundred years ago when the white men in power declared them a problem. Opiates. But, who was using'em? Chinese immigrants. Slave labor. And the darkies up in the inner cities dancing to them evil rhythms of ju - ju music. People on the fringe. Artists. Decadent rich people. And who got scared? White men in power. Who's scared today? White men in power. If J.P. Morgan and John D. Rockefeller ever admitted using, it'd be a whole different story.<\/dialogue>\n    <scene_description>TWO YOUNG STREET DEALERS fall in step with them . One talks without moving his lips -<\/scene_description>\n    <character>STREET DEALER<\/character>\n    <dialogue>What you want?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>911, and the come down.<\/dialogue>\n    <scene_description>One dealer hurries ahead toward the doorway of a falling - down building .<\/scene_description>\n    <character>STREET DEALER<\/character>\n    <dialogue>How much?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Two hundred of C, hundred of the other.<\/dialogue>\n    <scene_description>The dealer looks them over . He looks behind them down the street .<\/scene_description>\n    <character>CAROLINE<\/character>\n    <dialogue>Come on. We've been here before.<\/dialogue>\n    <character>STREET DEALER<\/character>\n    <dialogue>Then, let's see your money.<\/dialogue>\n    <scene_description>Seth and Caroline are suspicious . They carefully show money they both have in their front right pockets . The dealer feints like he might grab it .<\/scene_description>\n    <character>STREET DEALER<\/character>\n    <dialogue>Up the steps. You the experts. You know what to do.<\/dialogue>\n    <scene_description>They hurry up the steps into the dingy brownstone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROW HOUSE - DAY<\/stage_direction>\n    <scene_description>They step into the narrow foyer between the outer door and the inner door . There are three other PEOPLE waiting nervously . An older JUNKIE shoots them a crazy look -<\/scene_description>\n    <character>JUNKIE<\/character>\n    <dialogue>What are you two, about twelve?<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>Fuck off.<\/dialogue>\n    <scene_description>They wait . Finally , the first dealer appears in the inner door and lets them through .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FIRST FLOOR CORRIDOR - DAY<\/stage_direction>\n    <scene_description>They wait in a line in the narrow , poorly lit corridor . At the end of the hall a hatch in a door slides back and the drugstore is open . People buy and leave . Seth and Caroline approach . In the hatch is a hardened dealer , 20 's , named SKETCH , which is tattooed on his forearm . He checks out Caroline 's body .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Caroline, give me your money.<\/dialogue>\n    <scene_description>She hands over her money to Seth who pays and gets the drugs : gram baggies of rock stamped with a scorpion and `` 911 , '' and wax - paper bindles of heroin , also labeled , `` 911 . '' Caroline has been watching the transaction . Sketch makes slow eye contact with Caroline . After a beat -<\/scene_description>\n    <character>SKETCH<\/character>\n    <dialogue>Goodbye. Caroline.<\/dialogue>\n    <scene_description>Seth and Caroline make their way out of the building .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( under his breath . )<\/parenthetical>\n    <dialogue>Yeah, right.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BUILDING - DAY<\/stage_direction>\n    <scene_description>Seth and Caroline hold hands as they hurry down the steps . The lookout speaks without moving his lips .<\/scene_description>\n    <character>STREET DEALER<\/character>\n    <dialogue>Now, get the fuck out of here.<\/dialogue>\n    <scene_description>Caroline stops suddenly . She pulls Seth to her and kisses him hard . There 's no better moment than the one right after scoring before you start using .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLA ELAINE - DAY<\/stage_direction>\n    <scene_description>A flophouse of the seediest variety : wino in the doorway , prostitute taking care of business , everyone fresh out of institutions and graveyards .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VILLA ELAINE - DAY<\/stage_direction>\n    <scene_description>They approach the front desk which is behind six inches of glass .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>We'd like room 205.<\/dialogue>\n    <character>DESKMAN<\/character>\n    <dialogue>Then you hand me twenty - eight dollars.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROOM 205 - VILLA ELAINE - DAY<\/stage_direction>\n    <scene_description>They enter and the light bulb goes out . Seth fumbles his way to the mini - fridge , which he opens , throwing feeble light across the floor . They check out the decrepit room : the sloping mattress , the black and white television bolted to the bureau . The mini - fridge . Caroline bounces on the bed . They are teenagers . Seth prepares the drugs by the light of the mini - fridge .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>I love this place.<\/dialogue>\n    <scene_description>Seth dumps the drugs on the bedside table . From other pockets he extracts aluminum foil , lighter , tube . She trails away watching him fix the first hit .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Did Courtney Love play Nancy in Syd and Nancy?<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>I think so. If she did n't she should have.<\/dialogue>\n    <parenthetical>( checks her watch . )<\/parenthetical>\n    <dialogue>I've only got maybe an hour. Then volleyball practice is over and I have to be home.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Why? Nobody's there.<\/dialogue>\n    <scene_description>He prepares the first hit . She does it and lies back . He does one .<\/scene_description>\n    <character>CAROLINE<\/character>\n    <parenthetical>( blowing out the hit . )<\/parenthetical>\n    <dialogue>The maid. They ask her what time I get back. She spies for them.<\/dialogue>\n    <scene_description>Seth starts kissing her . They try to get into it , but both of them are thinking about the drugs .<\/scene_description>\n    <character>CAROLINE<\/character>\n    <dialogue>I wish we could stay here. Just be here forever and ever. Make it a little home.<\/dialogue>\n    <scene_description>She leans over to snort a tiny line of heroin .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>I want to have sex and do a hit right as we're coming.<\/dialogue>\n    <scene_description>Caroline 's distracted by the line she 's snorting . After a while .<\/scene_description>\n    <character>CAROLINE<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>Seth begins undoing her jeans .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EPIC BUNKER LOBBY - DAY<\/stage_direction>\n    <scene_description>SUPERTITLE : EL PASO , TEXAS Robert and Sheridan listen to the official tour of the EPIC center delivered by the SPECIAL - AGENT - IN - CHARGE , 40 , a sincere weight - lifter with a sincere crew - cut .<\/scene_description>\n    <character>SPECIAL-AGENT-IN-CHARGE<\/character>\n    <dialogue>Over 200 DEA field agents, a budget of almost 100 million dollars and state of the art communications equipment make the El Paso Information Center the Drug Enforcement Administration's flagship for the 21st century.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. EPIC BUNKER CAFETERIA - DAY<\/stage_direction>\n    <scene_description>A huge lunchroom . Long plastic institutional tables and agents minding their own business , Robert , Sheridan , and their Epic Guide walk through . They pass a wall of black and white head shots -<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Who are these guys?<\/dialogue>\n    <character>SPECIAL-AGENT-IN-CHARGE<\/character>\n    <dialogue>Agents who died in the field.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BINOCULAR POV - DAY<\/stage_direction>\n    <scene_description>of large mansion with manicured grounds . The back lawn is filled with children , balloons , a merry - go - round , and pony rides . It 's a sumptuous children 's birthday party .<\/scene_description>\n    <character>SPECIAL-AGENT-IN-CHARGE<\/character>\n    <dialogue>That house, that you see from the DEA headquarters, belonged to Porfirio Madrigal - the Lord of the Skies, largest trafficker in Mexico.<\/dialogue>\n    <scene_description>ANGLE ON ROBERT looking through the binoculars .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>He died in a liposuction surgery, right?<\/dialogue>\n    <character>SPECIAL-AGENT-IN-CHARGE<\/character>\n    <dialogue>Right. Now it's used by somebody from the Juarez Cartel, one of his lieutenants. Who knows?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Every damn day there's birthday party. At first I thought they must have three hundred children, then I realized they're taunting us. Three miles away and we ca n't touch them. Ha, ha, ha.<\/dialogue>\n    <scene_description>BINOCULAR POV : a child running in circles holding a clutch of colored balloons .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Who do we interface with on their side?<\/dialogue>\n    <character>SPECIAL-AGENT-IN-CHARGE<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>I mean, who runs interdiction on the Mexico side?<\/dialogue>\n    <character>SPECIAL-AGENT-IN-CHARGE<\/character>\n    <dialogue>I do n't know. I do n't think there's any one person.<\/dialogue>\n    <parenthetical>( thinks . )<\/parenthetical>\n    <dialogue>See the problem is the Juarez cartel owns everything and everybody, all the property on the Mexican side, sometimes all the property on both sides. Warehouses, transportation, even tunnels. It's very organized.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAMAC - DAY<\/stage_direction>\n    <scene_description>Robert , walking with purpose , leads his group to their plane .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MILITARY JET - DAY<\/stage_direction>\n    <scene_description>Robert and Sheridan and several DEA , Law Enforcement , and Military Officials . It 's a nice plane , used for important people and Robert has the best seat .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>I want everyone thinking out the box for a second. What are we gon na do about Mexico?<\/dialogue>\n    <parenthetical>( silence . )<\/parenthetical>\n    <dialogue>Come on, guys. Out of the box.<\/dialogue>\n    <scene_description>The men on the plane just stare at him . Finally the REP FROM DEA leans forward .<\/scene_description>\n    <character>REP FROM DEA<\/character>\n    <dialogue>Unlimited funds?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Unlimited.<\/dialogue>\n    <character>REP FROM DEA<\/character>\n    <dialogue>From a DEA standpoint we need a vetted task force and matching funds. And cut the red tape on getting them equipment and training.<\/dialogue>\n    <scene_description>Robert turns to the others .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Come on. I want to hear from everyone : FBI. Customs. Treatment. Is there anyone from treatment on this plane?<\/dialogue>\n    <parenthetical>( no one answers . )<\/parenthetical>\n    <dialogue>Then I want an answer for why there is n't anyone from treatment.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Look, we know we have to bust one of these cartels, Juarez or Tijuana, not just as a symbol, but hell yes, also as a symbol - they are symbols - and there's nothing wrong with sending a message. That's why when Carlos Ayala hired Michael Adler lead defense, I flew Ben Williams to San Diego to prosecute. Because he's the best we have, he's our symbol that we're serious about putting the top people away.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>So, as of right now, this flight only, consider the dam on new ideas thrown open.<\/dialogue>\n    <scene_description>Still , no one else says anything . They watch Robert impassively .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>If I'm not mistaken, we got DEA, Pentagon, U.S. Attorneys office, about a billion dollars of budget right here. So what are you people waiting for?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAN DIEGO OFFICE BUILDING - DAY<\/stage_direction>\n    <scene_description>Establishing shot of a tall glass building in the downtown skyline of San Diego .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARNIE METZGER'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Helena and Arnie enter his office . The furniture is sleek mid - century modern , and the view of the harbor is extraordinary .<\/scene_description>\n    <character>ARNIE<\/character>\n    <dialogue>On a clear day you can see Mexico City.<\/dialogue>\n    <scene_description>Arnie stands very close to Helena and looks at her profile .<\/scene_description>\n    <character>ARNIE<\/character>\n    <dialogue>This place is swept twice a day. I learned that in Miami in' 85. Then the U.S. shut down the whole Caribbean, but it's a big game of wack - a - mole. Knock it down in Miami, it pops up here. And San Diego is so much more relaxing.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>Arnie, I need money. Somebody threatened my children. They want a first payment of three million dollars.<\/dialogue>\n    <character>ARNIE<\/character>\n    <dialogue>Helena, if I had it I would give it to you, but I do n't have that kind of money.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>Arnie, help me. Does n't anyone owe us money?<\/dialogue>\n    <character>ARNIE<\/character>\n    <dialogue>Yes, I told you before, there are people who owe you money but they're not paying. There's too much heat on Carl.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>Please. Tell me who Carl sells to.<\/dialogue>\n    <scene_description>Arnie thinks .<\/scene_description>\n    <character>ARNIE<\/character>\n    <dialogue>Even if I knew I would n't tell you. You do not want to come into contact with these people. Only Carl knows who they are. That's his real asset. Ruiz does n't know them. They do n't know Ruiz. Church and State.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>What about legitimate businesses? We own a construction concern, real estate -<\/dialogue>\n    <character>ARNIE<\/character>\n    <dialogue>Laundromats for the washing of money. Unfortunately, Carl had only one successful business.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>Do n't you have some good news? Is n't there something positive you could say.<\/dialogue>\n    <scene_description>There is n't . Helena looks Arnie in the eyes .<\/scene_description>\n    <character>HELENA<\/character>\n    <parenthetical>( vulnerable . )<\/parenthetical>\n    <dialogue>Sometimes I wonder what I'll do if Carl does n't get out. I'm not very adept at being on my own. I've always had a man in my life. Always.<\/dialogue>\n    <character>ARNIE<\/character>\n    <dialogue>I remember when I first met you : little Helen Watts from the wrong side of somewhere. I had a feeling even then that your survival instincts were pretty well honed.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>I'm glad you think so, but I'm picturing a debt - ridden, thirty - two year - old mother whose ex - husband is being compared to Pablo Escobar.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>And I'm wondering who would want to be with someone like that?<\/dialogue>\n    <scene_description>It takes a great effort for Arnie not to answer .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARMORED SUV - MEXICO - DAY<\/stage_direction>\n    <scene_description>Javier and Manolo ride through a nice neighborhood in Mexico City . Javi is n't familiar with the roads and drives cautiously . A young lady , ROSARIO , early 20 's , sexy and vulnerable , rides in the back of the SUV .<\/scene_description>\n    <character>ROSARIO<\/character>\n    <dialogue>You two do n't like me, do you?<\/dialogue>\n    <scene_description>Manolo laughs and looks her up and down . Javi watches her in the rearview mirror .<\/scene_description>\n    <character>JAVIER<\/character>\n    <dialogue>We do n't have an opinion on you.<\/dialogue>\n    <character>ROSARIO<\/character>\n    <parenthetical>( to Javi . )<\/parenthetical>\n    <dialogue>Maybe it's because I'm getting an apartment nicer than anything you'll ever see in your life?<\/dialogue>\n    <scene_description>Javi says nothing .<\/scene_description>\n    <character>ROSARIO<\/character>\n    <parenthetical>( re : the neighborhood . )<\/parenthetical>\n    <dialogue>I ca n't believe the old man kept his promise.<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>The General is a man of his word.<\/dialogue>\n    <character>ROSARIO<\/character>\n    <dialogue>They will say anything to get what they want, but then you remind them, it's always tomorrow, tomorrow, tomorrow.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Occupational hazard, I guess.<\/dialogue>\n    <scene_description>Javi just looks at her in the rearview mirror .<\/scene_description>\n    <character>ROSARIO<\/character>\n    <dialogue>His friend is giving us the apartment so it's not like he paid. It's more like a favor.<\/dialogue>\n    <scene_description>Javier pulls the SUV to the curb in front of a beautiful colonial - style apartment complex in the verdant neighborhood .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VERDANT NEIGHBORHOOD - DAY<\/stage_direction>\n    <scene_description>Birds are chirping . Javi waits in the car as Manolo takes the young lady 's bags from the vehicle and carries them up the walkway to the arched doorway . He knocks on the heavy wooden door .<\/scene_description>\n    <character>ROSARIO<\/character>\n    <dialogue>You do n't have the keys. Oh that's perfect. Are you an idiot?<\/dialogue>\n    <scene_description>Manolo knocks again . They wait a long beat .<\/scene_description>\n    <character>MANOLO<\/character>\n    <dialogue>There's supposed to be someone here to let you in.<\/dialogue>\n    <scene_description>Finally , the door swings open and a BODYGUARD is standing there . Rosario SQUEALS and sweeps past him into the vast space . The bodyguard motions for Manolo to put the bags inside the door . Manolo sets the bags down and sees another MAN standing a few feet away . The man wears sunglasses . His complexion is strange and his neck is bandaged . The body guard escorts Manolo back outside where he hears Rosario 's happy LAUGHTER drifting down from an upstairs window .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUV - DAY<\/stage_direction>\n    <scene_description>Manolo gets into the truck . He 's shaken by what he 's just seen .<\/scene_description>\n    <character>MANOLO<\/character>\n    <dialogue>Madrigal's alive.<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MANOLO<\/character>\n    <dialogue>Porfirio Madrigal is not dead. I just saw him.<\/dialogue>\n    <scene_description>A long beat as Javier considers this .<\/scene_description>\n    <character>JAVIER<\/character>\n    <dialogue>This is why Salazar is so interested in cleaning up Tijuana. Madrigal, who's supposed to be dead, owns him. And Madrigal is making a move on Juan Obregon.<\/dialogue>\n    <scene_description>Javier calmly drives away .<\/scene_description>\n    <character>MANOLO<\/character>\n    <dialogue>Javi! Come on. Do n't pull this you do n't care bullshit. This is incredible information. It must be. Javi -<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>We keep our mouths shut.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARBARA'S CAR - NIGHT<\/stage_direction>\n    <scene_description>Barbara drives Robert home from the airport . There 's a sense they 've been silent for a while .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>I think we may have found our Mexican Drug Czar. It's this General, Salazar. At least I'll have somebody on the other side I can talk to.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Does this mean you're going to be gone more?<\/dialogue>\n    <scene_description>A long silence .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Possibly.<\/dialogue>\n    <scene_description>Another silence .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>You might want to pencil in a little face - time with your daughter.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Barbara -<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Because I'm at the edge of my capabilities, Robert.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>The first thing we have to do is present a unified front.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>If you start in on the war metaphors I'm going to drive this car into a fucking telephone pole.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Look, I'm as worried as you are -<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>No, I do n't think so. Leave me alone, give me money. That's what I get from our daughter. She has a way of shutting me out that seems very familiar.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Yeah, well, she has a way of self - medicating that probably seems familiar, too.<\/dialogue>\n    <scene_description>She looks at him , stung .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>I'm not the one who has to have three scotches just to walk in the door and say hello.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>I have a drink before dinner to take the edge off my day. That's different.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Oh, it is?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Yeah, because the alternative is to be bored to death.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WAKEFIELD HOUSE - NIGHT<\/stage_direction>\n    <scene_description>He car pulls into the driveway . Robert gets out . Barbara does n't . He looks back at her .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>Why do n't you go in and tell your daughter how bored you are.<\/dialogue>\n    <scene_description>She puts the car in reverse and drives away . He stands for a moment , steaming .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAKEFIELD HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Robert Wakefield steps inside his home . It 's very QUIET . He checks the mail on the hall table .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSTAIRS HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Robert walks down the hallway . He steps into Caroline 's bedroom .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAROLINE WAKEFIELD'S BEDROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Robert stands outside her closed bathroom door . There is nothing , then from the other side of the door , the faint sound of a lighter CLICKING . AGAIN and AGAIN , then a COUGH .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAROLINE WAKEFIELD'S BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>Caroline sits on the toilet . Glamour Magazine on her lap . She 's wild - eyed and paranoid . The exhaust fan is running . The aluminum foil is on the sink . The last little bit of heroin in a wax - paper bundle sits beside it . She 's listening hard for any SOUND in the house . What she 's wondering is if someone is outside the door listening . She puts a piece of crack on the foil and listens hard once more before lighting it . She does the hit . And seems to feel better . Suddenly there 's a POUNDING on the door . The VOICE of her father muffled through the solid wood .<\/scene_description>\n    <character>ROBERT<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( muffled by the door . )<\/parenthetical>\n    <dialogue>Caroline. Open this door immediately.<\/dialogue>\n    <scene_description>Caroline is up like a shot . She looks around . The POUNDING on the door gets stronger . She crumples the foil and drops it in the toilet . The bathroom door SOUNDS like it 's about to cave inward .<\/scene_description>\n    <character>CAROLINE<\/character>\n    <parenthetical>( faking the best she can . )<\/parenthetical>\n    <dialogue>Who is it? I'm going to the bathroom.<\/dialogue>\n    <scene_description>She 's coping now , full parallel process mode : she dumps the last heroin on the back of her hand and snorts it , checking her nose in the mirror as she reaches for a can of air freshener which she sprays into the air .<\/scene_description>\n    <character>CAROLINE<\/character>\n    <dialogue>One minute.<\/dialogue>\n    <scene_description>She takes the remaining crack , lighters , tubes , little smudgy druggy bits of paraphernalia and carefully places it all in a hiding place above the bathroom cabinet . She pauses a beat , then opens the door , and tries to brush by her father while avoiding his eyes .<\/scene_description>\n    <character>CAROLINE<\/character>\n    <dialogue>Excuse me -<\/dialogue>\n    <scene_description>Robert grabs her by the arms . He pushes her against the wall and looks at her pupils . He looks at her fingernails . The blister on her thumb from working the lighter is red and irritated .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>You're not going anywhere, young lady.<\/dialogue>\n    <scene_description>She stands there ; she 's very high . Robert sniffs the air . He throws open cabinets , searching for drugs . He sees the smudge mark on the counter left by the charred aluminum foil .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Where is it? Where are the drugs?<\/dialogue>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>Where are they?<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>Fuck you. I was n't doing anything. You're like the Gestapo.<\/dialogue>\n    <scene_description>Robert KICKS the cabinets .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Fuck me? Oh, okay. Fuck me. Fuck you.<\/dialogue>\n    <scene_description>Robert is losing it . He throws stuff around the bathroom and then , for the first time , looks up . He sees the long light in the box atop the medicine cabinet and it dawns on him .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>I'm going to ask you one time to tell me the truth so that I can help you.<\/dialogue>\n    <scene_description>She just stares .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Okay, young lady, that's it.<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>Like I give a fuck.<\/dialogue>\n    <scene_description>Robert reaches above the medicine cabinet and pulls out a charred spoon . It confuses him . He throws it into the sink . He pulls out another spoon . He pulls out crumpled bindles , rolled up , encrusted dollar bills , exhausted lighters , a pill bottle , an empty pint of vodka . The detritus of drug addiction keeps on coming , filling up the sink . Robert stares at it , the amount and complexity has him momentarily baffled .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>What is wrong with you? What?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You're going away. You're getting help somewhere.<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>You ca n't make me.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Oh, yes I can.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  - SAN DIEGO - DAY<\/stage_direction>\n    <scene_description>Javier drinks toward downtown . He 's sipping a Burger King soft - drink . On the seat next to him is a shopping bag from Target . He takes an exit . Javier pulls into the underground parking lot of a fancy office tower .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE SEDAN - DAY<\/stage_direction>\n    <scene_description>Javi drives down to the third floor underground . He pulls into a parking spot next to a white sedan . He slides open the cargo door of his van . The cargo door of the sedan opens . Javi quickly gets into the sedan .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEDAN - DAY<\/stage_direction>\n    <scene_description>Special Agents Hughes and Johnson welcome Javi .<\/scene_description>\n    <character>JAVIER<\/character>\n    <dialogue>Where are we going?<\/dialogue>\n    <scene_description>Hughes sticks out his hand .<\/scene_description>\n    <character>HUGHES<\/character>\n    <dialogue>Special Agent Hughes, Drug Enforcement Administration of the United States.<\/dialogue>\n    <character>JAVIER<\/character>\n    <parenthetical>( ignoring the niceties . )<\/parenthetical>\n    <dialogue>Where are you taking me?<\/dialogue>\n    <scene_description>The agents exchange a look .<\/scene_description>\n    <character>JOHNSON<\/character>\n    <dialogue>Somewhere safe.<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>JOHNSON<\/character>\n    <dialogue>A place we have, that we know is protected.<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>HUGHES<\/character>\n    <dialogue>It's really safe.<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>Not for me.<\/dialogue>\n    <character>JOHNSON<\/character>\n    <dialogue>Okay. Where would you like to go?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SWIMMING POOL - HOTEL - DAY<\/stage_direction>\n    <scene_description>Javi and Agents Johnson and Hughes stand in the middle of the shallow end of a large swimming pool . KIDS in waterwings splash nearby .<\/scene_description>\n    <character>JAVIER<\/character>\n    <dialogue>It's important that we work together. Mexico. America. One hand washing the other.<\/dialogue>\n    <character>JOHNSON<\/character>\n    <dialogue>We agree.<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>So. maybe you tell me about your informants in our operations.<\/dialogue>\n    <character>JOHNSON<\/character>\n    <parenthetical>( confused by this . )<\/parenthetical>\n    <dialogue>We thought maybe you'd have that kind of information for us.<\/dialogue>\n    <character>JAVIER<\/character>\n    <parenthetical>( feigning surprise . )<\/parenthetical>\n    <dialogue>This is a very different proposition.<\/dialogue>\n    <scene_description>Johnson and Hughes exchange a glance .<\/scene_description>\n    <character>JOHNSON<\/character>\n    <dialogue>We pay for that kind of information.<\/dialogue>\n    <scene_description>A fat kid in an inner - tube floats behind them .<\/scene_description>\n    <character>JOHNSON<\/character>\n    <dialogue>Is that what you're talking about, Javier?<\/dialogue>\n    <scene_description>Javi makes eye contact with one agent , then the other .<\/scene_description>\n    <character>JAVIER<\/character>\n    <dialogue>Ten years ago Tijuana had no drug problem. Now it is epidemic.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Ten years ago America takes a hammer to Pablo Escobar, a hammer to the Miami drug trade, and you allowed everything to move to my country. You dumped the problem at our feet. Now, drug use is epidemic. Now, the treatment centers are full and get no state money. They survive on donations and what they get for building doghouses to sell to the U.S.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>We need lights for the parks so kids can play at night. So they can play baseball. So it's safe. Everybody likes parks. Everybody likes baseball.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>What I'm talking about is I would like to see somebody take an interest in Tijuana. That's what I'm talking about.<\/dialogue>\n    <scene_description>Javi starts to get out of the pool .<\/scene_description>\n    <character>HUGHES<\/character>\n    <dialogue>Javi, You want to come see us again, you're going on the box. No more of this water - wing bullshit.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PARKING GARAGE - DAY<\/stage_direction>\n    <scene_description>Javier gets out of the DEA sedan and back into his . He drives away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEDAN - DAY<\/stage_direction>\n    <scene_description>Agents Hughes turns to Agent Johnson .<\/scene_description>\n    <character>JOHNSON<\/character>\n    <dialogue>You wan na tell me what the hell that was all about?<\/dialogue>\n    <character>HUGHES<\/character>\n    <dialogue>He's got something. We just have to be patient.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAIL VISITATION ROOM - DAY<\/stage_direction>\n    <scene_description>Helena and Carl each hold a telephone receiver as they stare at each other through a thick pane of meshed glass . Helena is barely holding it together . It 's hard for Carl to see her like this . After a beat -<\/scene_description>\n    <character>CARL<\/character>\n    <dialogue>How's David?<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>How's David? How's David? He's terrific, Carl.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Helena -<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>We watched his father get dragged away by federal agents. I do n't even know how to begin to tell him where you are or when you're coming back. Or if you're coming back.<\/dialogue>\n    <scene_description>She ca n't even look at him .<\/scene_description>\n    <character>CARL<\/character>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>We'll get through this, I promise. I'll make it up to you -<\/dialogue>\n    <character>HELENA<\/character>\n    <parenthetical>( snapping . )<\/parenthetical>\n    <dialogue>How? Supportive letters from prison while I'm being kicked out of our home?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Do you have any idea what is happening out here? Our credit cards are maxed. The people at the bank, you should see their faces when I walk in there. I have a letter from the government telling me that anything I sell from our house will be taken against an income tax lien. Our friends are behaving like the crowd at a public hanging. Nobody will help us. Nobody will take us in. Nobody wants anything to do with us. So tell me, Carl, how you're gon na make it up to me.<\/dialogue>\n    <parenthetical>( losing it . )<\/parenthetical>\n    <dialogue>Tell me again how we'll get through this, and maybe while you're at it you can put your hand up against the glass so we can have a tender moment of connection.<\/dialogue>\n    <character>CARL<\/character>\n    <dialogue>Helena -<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>Tell me what to do, Carl. I need guidance, not a fucking platitude.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I'm not bringing a child into the kind of life I grew up with. I wo n't do it. I want our life back.<\/dialogue>\n    <scene_description>Carl looks at his wife as if he is trying to weigh her . He thinks , then leans forward -<\/scene_description>\n    <character>CARLOS<\/character>\n    <dialogue>I built our house and I do n't want to lose it. Every stone, every brick, every board.<\/dialogue>\n    <parenthetical>( carefully . )<\/parenthetical>\n    <dialogue>My business. That would take a lot of private study.<\/dialogue>\n    <parenthetical>( he blinks . )<\/parenthetical>\n    <dialogue>That you do n't have time for. I suggest you look into the Coronel.<\/dialogue>\n    <parenthetical>( he blinks again . )<\/parenthetical>\n    <dialogue>Into selling it. If you can stomach it, you should look into it.<\/dialogue>\n    <scene_description>That painting is very valuable .<\/scene_description>\n    <character>HELENA<\/character>\n    <dialogue>I do n't understand.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Look into the Coronel ; otherwise, there is nothing to do.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SERENITY OAKS - DAY<\/stage_direction>\n    <scene_description>A peaceful wooded campus with a unobtrusive sign reading , `` Serenity Oaks Treatment Facility . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEETING ROOM - SERENITY OAKS - DAY<\/stage_direction>\n    <scene_description>There are sayings on the wall : `` Easy Does It ; '' `` Let Go and Let God ; '' `` Turn it over ; '' `` One Day at a Time . '' `` H.A.L.T. - Hungry ? Angry ? Lonely ? Tired ? '' Caroline , wearing a thick , woolly sweater , and the other PATIENTS sit around on beat - up couches and chairs in a loose circle . It 's a mixed BUNCH : trucker meth - head , rocker dope - fiend , yuppie crack - head , fat , thin , rich , middle - class , and all white . Caroline is the youngest . MARTY , 40 's , an overweight alcoholic , finishes his `` share . ''<\/scene_description>\n    <character>MARTY<\/character>\n    <dialogue>So it was my birthday an my ex - wife was getting remarried and I was in some church basement telling a bunch of strangers how it was a good day because I did n't have to eat out of a dumpster. That was enough to send me out on big one.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I've been thinking a lot about the first step : that I came to believe I was powerless over alcohol and that my life had become unmanageable.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>See my disease tells me I do n't have a disease. That I'm fine. That it's my birthday and I can have one little drink, then one little line, then one little Valium, then two more fat lines, then two more 10 mil Valium. Six months later I wake up in a sober living house in Philly. And I'm from Dallas, people.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>It's a disease - an allergy of the body and an obsession of the mind. I know that now. So my name's Marty and today I'm a grateful recovering alcoholic who did n't eat out of a dumpster. Thanks.<\/dialogue>\n    <scene_description>And Marty looks to Caroline who did n't relate to one word he said .<\/scene_description>\n    <character>CAROLINE<\/character>\n    <parenthetical>( slowly , very nervous . )<\/parenthetical>\n    <dialogue>Hi. I'm Caroline. I'm not sure I'm an alcoholic.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I mean I do n't really like to drink. For someone my age it's so much easier to get drugs than beer. I do n't know, this is really weird and I'm really nervous.<\/dialogue>\n    <scene_description>People in the room nod encouragingly .<\/scene_description>\n    <character>CAROLINE<\/character>\n    <dialogue>I guess I'm angry. I mean I think I'm really angry about a lot of stuff, but I do n't know what exactly.<\/dialogue>\n    <scene_description>She blushes , and stares out the window .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AYALA LIVING ROOM - AFTERNOON<\/stage_direction>\n    <scene_description>Helena follows an ART APPRAISER through her formal living room as he inspects paintings and makes notations . He is very excited and moves quickly from one to the next .<\/scene_description>\n    <character>ART APPRAISER<\/character>\n    <dialogue>Tamayo. Carrington. A simply wonderful collection of Mexican Modern. Give me three months. I know several collectors in South America, very discreet.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>I do n't have three months.<\/dialogue>\n    <character>ART APPRAISER<\/character>\n    <dialogue>It takes time to find the proper collection.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>How much will you give me in cash? Today.<\/dialogue>\n    <scene_description>The appraiser taps out some numbers on a calculator and shows the figure to Helena .<\/scene_description>\n    <character>HELENA<\/character>\n    <dialogue>You must be joking. That's a fraction of their value.<\/dialogue>\n    <character>ART APPRAISER<\/character>\n    <dialogue>I'm sorry, but that is the figure I can get today.<\/dialogue>\n    <scene_description>Helena turns her back . She walks to a window and looks out , then surveys the contents of her beautiful home .<\/scene_description>\n    <character>HELENA<\/character>\n    <parenthetical>( snapping . )<\/parenthetical>\n    <dialogue>Get out. Get out of my house.<\/dialogue>\n    <scene_description>Helena turns and sees David in the doorway . She goes to him .<\/scene_description>\n    <character>HELENA<\/character>\n    <dialogue>It's all right. We're have a disagreement, that's all.<\/dialogue>\n    <scene_description>The art appraiser passes them on his way out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AYALA MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Helena wakes up in the middle of the night with a start . Her eyes are wide open . She has had a thought - She climbs out of bed and quickly puts on a robe .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSTAIRS HALLWAY - CONTINUOUS<\/stage_direction>\n    <scene_description>Helena walks quickly and quietly down the hallway . She passes David 's room . She opens a door at the end of the hall -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARL'S PRIVATE STUDY - CONTINUOUS<\/stage_direction>\n    <scene_description>Helena enters the room . She hits a desk lamp and we 're in a very comfortable and masculine upstairs study : bookshelves holding hundreds of art books ; comfortable chairs ; MacIntosh stereo ; discreet flatscreen HD TV . Helena stares at a painting on one of the bookshelves . It is `` Boy with a Hoop , '' a small portrait by Rafael Colonel . She goes to it and looks from different angles . She reaches out and jiggles the oil . Nothing happens . She looks behind the painting at the backing . She notices that one corner is not glued down . She picks up a letter opener and pries the paper back . An envelope slips out . Inside the envelope : neat , thin strips of paper dense with information in a miniscule type and a magnetic key card .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  HELICOPTER - DAY<\/stage_direction>\n    <scene_description>Robert and Sheridan ride in the back of the chopper . Each looks out his own window . A newspaper on the seat between them shows a front page photo of General Salazar , exultant , and the headline reads in Spanish , `` Salazar Named Chief of Anti - Narcotics Operations . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MEXICO CITY - DAY<\/stage_direction>\n    <scene_description>Establishing shot of a military helicopter landing on the roof of an office building in downtown Mexico City .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HEADQUARTERS, FEADS, - MEXICO CITY - DAY<\/stage_direction>\n    <scene_description>Robert Wakefield and General Salazar stroll through the new headquarters where boxes are still being unpacked . Javier and Sheridan trail along behind them .<\/scene_description>\n    <character>SALAZAR<\/character>\n    <dialogue>I recruited the best men in Mexico for my task force and put them through a rigorous screening process. Not only physical, but also psychological.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>I'd like to bring you up to Washington, walk you around our side of things, and share some of the information we've been able to develop on your cartels.<\/dialogue>\n    <character>SALAZAR<\/character>\n    <dialogue>That would be very helpful to me.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Also, I received the offer from DEA and the FBI to train some of my men at Quantico. I think this will be extremely useful, a good way for us to absorb some of your methods.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALAZAR'S I.N.C.D. OFFICE - DAY<\/stage_direction>\n    <scene_description>The office has n't been decorated yet .<\/scene_description>\n    <character>SALAZAR<\/character>\n    <dialogue>I've been too busy to completely settle in.<\/dialogue>\n    <scene_description>Salazar proffers a chair and they sit next to each other like Brezhnev and Nixon . PHOTOGRAPHERS begin SNAPPING pictures . After a few moments , Salazar waves them away , and they lower their cameras and leave .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>You've been making very good progress against the Tijuana cartel.<\/dialogue>\n    <character>SALAZAR<\/character>\n    <dialogue>Yes, I am confident that Juan Obregon will be taken into custody before the end of the year. But, you must understand that it is very difficult because of corruption in the police force. We get a tip that he is one place, then we get there and he is already gone, having been warned by someone on our side.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Hopefully the exchange of training methods and information between our countries will help with this problem.<\/dialogue>\n    <character>SALAZAR<\/character>\n    <dialogue>Yes, I hope so as well.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Let me ask you a related question. We've talked about the supply side, but what about demand? What is your policy for treating addiction?<\/dialogue>\n    <character>SALAZAR<\/character>\n    <dialogue>Addicts treat themselves. they overdose and then there's one less to worry about.<\/dialogue>\n    <scene_description>Robert can not respond .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SERENITY OAKS - WALKWAY - DAY<\/stage_direction>\n    <scene_description>Caroline ambles alone down a walkway at the treatment facility . She looks through the trees that surround facility and notices cars going by .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOW-RENT HOTEL - DAY<\/stage_direction>\n    <scene_description>Gordon and another DEA AGENT escort Ruiz up the stairs of a large , older hotel .<\/scene_description>\n    <character>RUIZ<\/character>\n    <dialogue>This is ridiculous. Why is there no elevator?<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>When the DEA gets into the narcotics business, then we'll stay at the Four Seasons.<\/dialogue>\n    <scene_description>They walk down a hotel hallway . Two more AGENTS stand outside Room 407 . Gordon opens the door and they enter .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUITE OF CHEAP HOTEL ROOMS - DAY<\/stage_direction>\n    <scene_description>There are more AGENTS inside and old food and coffee containers . Gordon gives Ruiz a tour . There are several rooms . A bored Castro sits at a table staring at a Scrabble board .<\/scene_description>\n    <character>CASTRO<\/character>\n    <dialogue>Eddie, how you like your new home? I hope you hate it as much as I do.<\/dialogue>\n    <scene_description>Ruiz looks around with disgust . He 's accustomed to finer places . He goes to a window and looks out . RUIZ 'S POV : of the Federal Court building not far away .<\/scene_description>\n    <character>RUIZ<\/character>\n    <dialogue>This is not what my lawyers negotiated.<\/dialogue>\n    <scene_description>Gordon pours himself a cup of coffee .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>Fuck your lawyers. You are n't getting any cappuccino or Biscotti either.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FEDERAL COURTHOUSE - DAY<\/stage_direction>\n    <scene_description>A packed , tense courtroom listens to testimony from a government witness , FRANK , 50 's , very matter - of - fact and truthful .<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>He first came to me in January. That would've been nineteen eighty - seven. He wanted to rent warehouse space along the harbor. I did n't ask too many questions ; I'm a businessman also.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FEDERAL COURTHOUSE - DAY<\/stage_direction>\n    <scene_description>Another witness , MRS. BERRY , 40 's , pedantic on the stand -<\/scene_description>\n    <character>MRS. BERRY<\/character>\n    <dialogue>I told Mr. Ayala there were irregularities in his tax return. And I could n't represent him unless we could explain this.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FEDERAL COURTHOUSE - DAY<\/stage_direction>\n    <scene_description>SHEILA , 38 , a mousy secretary , is on the stand . Carlos sits at the defendant 's table listening raptly . Gordon and Castro sit in the back watching Helena who pays close attention to the witness -<\/scene_description>\n    <character>SHEILA<\/character>\n    <dialogue>I was the company secretary from 1991 to 1994. I supposedly worked for all six companies. But. they were n't. I mean, it was just one empty office with a desk and a telephone. We never sold anything the whole time I was there. Sometimes people came and got paid. I do n't really know what we did.<\/dialogue>\n    <character>PROSECUTOR<\/character>\n    <dialogue>Did Mr. Ayala say where the money came from?<\/dialogue>\n    <character>SHEILA<\/character>\n    <dialogue>No, and I did n't ask.<\/dialogue>\n    <character>PROSECUTOR<\/character>\n    <dialogue>Where do you think it came from?<\/dialogue>\n    <scene_description>Carl 's lawyer , Adler , is on his feet -<\/scene_description>\n    <character>KAUFMAN<\/character>\n    <dialogue>This speculation -<\/dialogue>\n    <character>PROSECUTOR<\/character>\n    <dialogue>I'll rephrase. Did you feel like you were engaged in a legal enterprise?<\/dialogue>\n    <scene_description>Sheila is reluctant to answer .<\/scene_description>\n    <character>SHEILA<\/character>\n    <dialogue>No, not really.<\/dialogue>\n    <scene_description>Helena catches Carl 's eye and they share a grim moment .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARL'S UPSTAIRS STUDY - DAY<\/stage_direction>\n    <scene_description>Helena sits at Carl 's office desk . On the desk in front of her are the lists she found and an encrypted cell phone . Helena picks up the phone . Her hands are shaking . She is crying as she dials . A voice on the other end answers .<\/scene_description>\n    <character>FRANCISCO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Who is this?<\/dialogue>\n    <scene_description>Helena gathers her courage , then .<\/scene_description>\n    <character>HELENA<\/character>\n    <dialogue>A friend. of Carlos Ayala.<\/dialogue>\n    <scene_description>There is a long pause .<\/scene_description>\n    <character>FRANCISCO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>I'm on a special phone, may I speak freely?<\/dialogue>\n    <character>FRANCISCO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>You may speak.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>I have a job for you and I do n't have much time.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOTANICAL GARDEN - DAY<\/stage_direction>\n    <scene_description>Helena watches David look at the wide variety of plants and flowers . All around them a GROUP of 3rd graders , in identical T - shirts , enjoy a field trip .<\/scene_description>\n    <character>FRANCISCO<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I love this place. Do n't turn around.<\/dialogue>\n    <scene_description>Behind her Francisco Flores takes a photo with an instant camera .<\/scene_description>\n    <character>FRANCISCO<\/character>\n    <dialogue>You were followed by the police, but they wo n't hear us over the children. I want to use a bomb.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>You're kidding. Ca n't you shoot him or something?<\/dialogue>\n    <character>FRANCISCO<\/character>\n    <dialogue>I do n't really like guns. You shoot someone in the head three times and some doctor will keep them alive.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>When will you do it?<\/dialogue>\n    <character>FRANCISCO<\/character>\n    <dialogue>I do n't know. Eduardo Ruiz is the only real witness against Carl. The security is very tight. There may not be a way.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>There's always a way. If people get to the Pope or the President, you can get to him.<\/dialogue>\n    <scene_description>Francisco laughs .<\/scene_description>\n    <character>FRANCISCO<\/character>\n    <dialogue>Careful. You're sounding like your husband, Mrs. Ayala.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAVI'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Anna sits in the living room , staring . She appears too upset to speak . The apartment is cleaner . There have been other changes . There 's a new rug .<\/scene_description>\n    <character>JAVIER<\/character>\n    <dialogue>What? What is it?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>It's very hard for me to come and tell you this.<\/dialogue>\n    <scene_description>Javier just watches her .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>It's Manolo. He's going to do something stupid. I'm worried that he'll get himself killed.<\/dialogue>\n    <scene_description>He keeps watching .<\/scene_description>\n    <character>ANNA<\/character>\n    <dialogue>He's saying he's going to talk to the Americans. Become an informer.<\/dialogue>\n    <scene_description>He says they pay a lot of money .<\/scene_description>\n    <character>JAVIER<\/character>\n    <dialogue>Why does he need money?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>He has debts. He has gambling debts. He owes a lot of money.<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>How much?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Nine thousand dollars.<\/dialogue>\n    <scene_description>A long beat .<\/scene_description>\n    <character>JAVIER<\/character>\n    <dialogue>What is he planning on telling them?<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>Well, you know, he's going to say about Madrigal. and Salazar.<\/dialogue>\n    <scene_description>Javier just looks at her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBERT'S OFFICE IN WASHINGTON - DAY<\/stage_direction>\n    <scene_description>Robert is on the telephone , listening . He is not happy . Sheridan watches him .<\/scene_description>\n    <character>ROBERT<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>Nobody saw her leave?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Yes. I understand.<\/dialogue>\n    <scene_description>He hangs up . He stands and reaches for his jacket .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>I have to go. I have to go home.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAKEFIELD KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Robert and Barbara sit at the kitchen table .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>Should we bring the police into this?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>No, not yet.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEST END STREETS - DAY<\/stage_direction>\n    <scene_description>Robert drives through the streets in his Cadillac DeVille .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DEVILLE - DAY<\/stage_direction>\n    <scene_description>Robert rides in glum silence . He looks at passersby who are almost all black and almost all stare back at the white man in his Cadillac . A group of young men stare threateningly as he rolls past . On the street , in the lee of a Brownstone staircase , a deal is going down . ROBERT AND SETH ABRAHMS - DAY sit in a coffee shop .<\/scene_description>\n    <character>SETH<\/character>\n    <parenthetical>( genuinely surprised . )<\/parenthetical>\n    <dialogue>She's not at that place you sent her?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>She snuck away. And we have n't seen her. She has n't come home.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Oh, man -<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>She has n't called you?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>I tried to talk to her when she was up there, but they would n't put me through.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I'm surprised she has n't called.<\/dialogue>\n    <scene_description>ANOTHER ANGLE ON ROBERT IN THE CAR - DAY He turns a corner and is suddenly in a drive - thru drug market . Dealers , HUSTLERS , run at the windows from both sides , signaling .<\/scene_description>\n    <character>HUSTLERS<\/character>\n    <dialogue>What you want? Rock? Rock? Hey, what you want?<\/dialogue>\n    <scene_description>ROBERT AND SETH - DAY in the coffee shop .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Can you tell me anything? Do you have any ideas?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>I do n't know what to say.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>I'm not the police. I do n't care about experimentation. She's a kid. I'm worried to death.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>You wo n't say anything to my parents?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>I do n't give a fuck about your parents -<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>We sometimes went downtown to score.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>The West End. We buy it off the streets.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I can stop, you know, and she ca n't. Two people, really similar, we can talk about anything, but for me it's like a weekend thing, then I get my shit together, and for her it's different -<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>You do n't know what the hell you're talking about. You're a cocky seventeen year - old and you do n't have a clue what the stakes are. You do n't know the value of the life you've yet to throw away. And neither does she.<\/dialogue>\n    <scene_description>ROBERT IN HIS CAR - DAY It is surrounded . Robert stares . A face presses up against the window .<\/scene_description>\n    <character>FACE<\/character>\n    <parenthetical>( through the window . )<\/parenthetical>\n    <dialogue>What do you want?<\/dialogue>\n    <character>ROBERT<\/character>\n    <parenthetical>( through the window . )<\/parenthetical>\n    <dialogue>What do you mean, what do I want?<\/dialogue>\n    <character>FACE<\/character>\n    <dialogue>Rock or dope, man?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>I do n't want anything.<\/dialogue>\n    <scene_description>ROBERT AND SETH<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Hey man, I'm sorry. I'm just trying to help.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>You want to help? Stay the fuck away from her.<\/dialogue>\n    <scene_description>ROBERT IN HIS CAR<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>I'm looking for my daughter.<\/dialogue>\n    <scene_description>The dealer looks at him with disgust , turns his back , and waves everyone else away . Robert slams his fist against the steering wheel . He slams it again and again . He stops and pulls away , just as AT THE INTERSECTION behind Robert 's car , Caroline crosses the street toward Sketch 's house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SKETCH'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>A single candle lights the room . Caroline is underneath Sketch the drug dealer . He is pounding away . As she clutches his back and holds on , her expression is both surprised and druggy , and SOUNDS escape her mouth that she would n't believe she could make . There 's a KNOCK on the door . Sketch continues his business . The KNOCKING is more insistent . Finally , he stops and gets up and goes to the door . Caroline lies back . She 's in a bed with black sheets in a room with nothing else in it but a dresser and some duffle bags . Sketch opens the door -<\/scene_description>\n    <character>SKETCH<\/character>\n    <dialogue>What the fuck do you want?<\/dialogue>\n    <scene_description>SOMEBODY outside says something . Sketch walks over to a duffle bag and extracts some product . Caroline 's eyes are glued to it as Sketch hands it through the door . Sketch sees her staring at the drugs . He comes back to bed .<\/scene_description>\n    <character>SKETCH<\/character>\n    <dialogue>You want some of that?<\/dialogue>\n    <scene_description>Caroline nods .<\/scene_description>\n    <character>SKETCH<\/character>\n    <dialogue>What you gon na do to get some of that?<\/dialogue>\n    <character>CAROLINE<\/character>\n    <dialogue>Please -<\/dialogue>\n    <character>SKETCH<\/character>\n    <dialogue>What you gon na do?<\/dialogue>\n    <scene_description>She turns her back to him , pouting . He laughs .<\/scene_description>\n    <character>SKETCH<\/character>\n    <dialogue>Maybe a taste.<\/dialogue>\n    <scene_description>He reaches over beside the bed where there is a small tray . On the tray is a rig , spoon , several powders , and an eye dropper . He pulls the candle over and rapidly fixes a speedball . He pulls the fluid into the neck of the syringe and holds it up the light . It has Caroline transfixed .<\/scene_description>\n    <character>SKETCH<\/character>\n    <dialogue>Feed this to you like a little bird.<\/dialogue>\n    <scene_description>He squirts the tiniest amount of fluid into the air . It arcs in the candlelight .<\/scene_description>\n    <character>CAROLINE<\/character>\n    <dialogue>Do n't -<\/dialogue>\n    <character>SKETCH<\/character>\n    <dialogue>You want this?<\/dialogue>\n    <scene_description>She nods .<\/scene_description>\n    <character>SKETCH<\/character>\n    <dialogue>This is the Express train. Baby turnin' pro and getting down in a big, big hole.<\/dialogue>\n    <scene_description>Her concentration is entirely , hypnotically focused on the syringe . Sketch moves the syringe toward her lips .<\/scene_description>\n    <character>SKETCH<\/character>\n    <dialogue>Kiss it. Kiss your new mommy hello.<\/dialogue>\n    <scene_description>Caroline moves her mouth toward the side of the syringe , her lips part . Sketch pulls the sheet back , exposing her legs . He grips one powerful hand around her ankle and squeezes . Veins stand out on her foot . He slides the needle into the largest vein and slowly depresses the plunger . Caroline watches , then her head tilts back , then forward , she GROANS , sexually and slumps against the pillows , her eyes half - open , her lips twitching . Sketch puts the rig back on the tray , then admires Caroline 's beauty for a second before starting to fuck her again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOTEL - DAY<\/stage_direction>\n    <scene_description>Gordon and Castro and two other AGENTS escort Ruiz out of the hotel and usher him into a waiting cruiser . They pull out in a caravan and move through the streets toward the courthouse .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTHOUSE PARKING LOT - DAY<\/stage_direction>\n    <scene_description>The cruiser pulls into a fenced and gated parking lot . Gordon , Castro and Ruiz , walking with a limp , cross to the building entrance . As they push inside , Francisco Flores , in a conservative grey suit passes them going outside . The parking lot is empty of people . The guards at the gate talk about something distracting . Francisco passes by the cruiser and drops his keys . Kneeling down he extracts a small , powerful , magnetized bomb from his jacket . He attaches it to the underside of the vehicle , stands and walks toward the guard gate .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - DAY<\/stage_direction>\n    <scene_description>The court is filled to capacity . Helena and Metzger watch from the gallery . The JUDGE bangs his gavel . Adler is on his feet .<\/scene_description>\n    <character>ADLER<\/character>\n    <dialogue>Your honor, it has come to our attention that your honor, while in private practice, previously represented the town of Seal Beach in their stop - work suit against the Police Department of Seal Beach. We believe this disqualifies you from hearing this case and we therefore move for a temporary suspension while this is investigated.<\/dialogue>\n    <scene_description>The judge is surprised to hear this .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Mr. Adler, this is a most unusual motion.<\/dialogue>\n    <character>ADLER<\/character>\n    <dialogue>Nonetheless, your honor, we feel that our client deserves every fairness afforded under the law.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>If this is in any way designed to delay the testimony of Eduardo Ruiz.<\/dialogue>\n    <scene_description>The judge considers .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>We'll recess until 9:00 am Monday morning. And I'll see counsel in chambers.<\/dialogue>\n    <scene_description>He slams the gavel down again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURTHOUSE - DAY<\/stage_direction>\n    <scene_description>Gordon , Castro , other AGENTS and Ruiz come down the rear steps of the courthouse and walk across the street toward the parking lot .<\/scene_description>\n    <character>CASTRO<\/character>\n    <dialogue>Remember when we sat on that mob guy, that chef, for like six months?<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>Oh, man, I've never eaten so good in my life.<\/dialogue>\n    <parenthetical>( to Ruiz . )<\/parenthetical>\n    <dialogue>Why do n't you develop a useful skill?<\/dialogue>\n    <character>CASTRO<\/character>\n    <dialogue>Yeah, like turning into a beautiful woman.<\/dialogue>\n    <scene_description>They reach the car .<\/scene_description>\n    <character>RUIZ<\/character>\n    <dialogue>Would you mind if today we walked? It's one block. I could use the fresh air.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANCISCO'S CAR - CONTINUOUS<\/stage_direction>\n    <scene_description>Across the street , Francisco , encrypted cell phone to his ear , watches from his own car as Gordon , Castro , and Ruiz stand by their car without getting in , then walk away from the car .<\/scene_description>\n    <character>FRANCISCO<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>They're not getting into the car. What are they doing? They're walking right at me.<\/dialogue>\n    <scene_description>The men start across the street toward Francisco .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELENA'S CAR - DAY<\/stage_direction>\n    <scene_description>Helena drives her car through downtown San Diego .<\/scene_description>\n    <character>HELENA<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>You've got a gun. Get out of the car and shoot him in the head.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANCISCO'S CAR - DAY<\/stage_direction>\n    <scene_description>Francisco watches Ruiz and the agents walk up the street toward him .<\/scene_description>\n    <character>FRANCISCO<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>They're going to walk right past me.<\/dialogue>\n    <character>HELENA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What are you? A mouse? Get out of the car and do it. This is your chance.<\/dialogue>\n    <scene_description>Francisco watches the three men walk past his car . He makes a decision and opens his door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>Francisco steps from the car and mingles in with OTHER PEOPLE walking along the sidewalk . He follows them for few yards , picking his moment . He closes the distance to Gordon , Castro and Ruiz , pulling a pistol from inside his jacket . He takes careful aim from twelve feet away and is about to shoot Ruiz when a bullet hole appears in his chest . He staggers , trying to squeeze the trigger , Francisco fires the gun once , wildly - A tourist screams - Gordon and Castro and Ruiz turn - Francisco is looking down at the widening red splotch in the center of his shirt , uncertain of what has happened - Gordon shoves Ruiz down into a doorway and fires three quick shots - Francisco spins around and drops on his face in the street . Citizens run in all directions fearing a psychopath with an NRA card coming off a bad week of day - trading - Gordon and Castro with Ruiz beneath them scan the streets .<\/scene_description>\n    <character>CASTRO<\/character>\n    <dialogue>Stay here. I'll get the car.<\/dialogue>\n    <scene_description>Castro runs down the street for the court parking lot . Other AGENTS are running toward Gordon and Ruiz .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OFFICE BUILDING WINDOW - CONTINUOUS<\/stage_direction>\n    <scene_description>The STRANGE MAN who threatened Helena 's children packs a high - caliber rifle and scope into a briefcase . He snaps the case shut and quickly exits the room . We notice a man on the floor with a bullet hole in his head next to the open door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - CONTINUOUS<\/stage_direction>\n    <scene_description>Agents surround Ruiz . Gordon walks to the body of Francisco lying face down in the gutter . He turns him over with his shoe and sees his face .<\/scene_description>\n    <character>GORDON<\/character>\n    <parenthetical>( to the other agents . )<\/parenthetical>\n    <dialogue>I saw this guy at the courthouse.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>The car -<\/dialogue>\n    <scene_description>Gordon takes off running , yelling for Castro .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURT PARKING LOT - DAY<\/stage_direction>\n    <scene_description>Castro has reached the car and gets in . Gordon appears at the gate of the lot -<\/scene_description>\n    <character>GORDON<\/character>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>No -<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CRUISER - DAY<\/stage_direction>\n    <scene_description>Castro turns the ignition exactly at the moment he sees Gordon yelling and waving his arms -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COURT PARKING LOT - DAY<\/stage_direction>\n    <scene_description>The cruiser EXPLODES . Gordon hits the pavement . Parts of the car begin raining down around him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SIDEWALK CAFE - SAN DIEGO - DAY<\/stage_direction>\n    <scene_description>A fire truck and paramedic unit WHIZZES by . Manolo sits at an outdoor cafe table , waiting . He ca n't help looking around at the attractive people , but he 's also nervous . Suddenly two MEN , recognizable as Salazar 's OFFICERS from the desert drug bust , sitting at a nearby table , rise and move to Manolo 's table .<\/scene_description>\n    <character>MAN #1<\/character>\n    <dialogue>Manolo, how are you?<\/dialogue>\n    <scene_description>They take seats uncomfortably close to Manolo .<\/scene_description>\n    <character>MAN #2<\/character>\n    <dialogue>Manolo, have we interrupted?<\/dialogue>\n    <scene_description>You 're looking around like you 're expecting someone .<\/scene_description>\n    <character>MANOLO<\/character>\n    <dialogue>No. I'm looking for the waiter. I want to order.<\/dialogue>\n    <character>MAN #1<\/character>\n    <dialogue>What are you gon na have?<\/dialogue>\n    <character>MANOLO<\/character>\n    <dialogue>A steak.<\/dialogue>\n    <character>MAN #1<\/character>\n    <dialogue>Well, if you like steak, we know a much better place. We'll take you there.<\/dialogue>\n    <character>MANOLO<\/character>\n    <dialogue>That's okay, really.<\/dialogue>\n    <scene_description>They each take Manolo by an arm .<\/scene_description>\n    <character>MAN #2<\/character>\n    <dialogue>Manolo, we should really be going now, before it gets too crowded.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUV - DAY<\/stage_direction>\n    <scene_description>We 're looking through the windshield as we approach the Mexican border . As the car slows , we pan to follow the border official as he looks in briefly and waves us through . We continue to pan to reveal Manolo in the backseat sitting beside Man # 2 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUV - DAY<\/stage_direction>\n    <scene_description>We 're in the desert . There 's nothing in any directions . Javi is implacable . Manolo understands what is happening .<\/scene_description>\n    <character>MANOLO<\/character>\n    <dialogue>I was going to feed them wrong information. Feed them lies to. it was for.<\/dialogue>\n    <scene_description>The men say nothing . After a beat -<\/scene_description>\n    <character>MANOLO<\/character>\n    <dialogue>Do n't tell Anna I died like this. Tell her it was something else. Tell her it was official business. Tell her that I died doing something honorable. Please, tell her that for me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT - DAY<\/stage_direction>\n    <scene_description>Javi and Manolo stand next to two freshly dug graves .<\/scene_description>\n    <character>MAN #1<\/character>\n    <dialogue>Turn around.<\/dialogue>\n    <scene_description>Javi hesitates before turning . We 're on Javi as we hear the GUNSHOT . Javi does n't flinch . Manolo 's body falls into the grave . Javi stands there , waiting .<\/scene_description>\n    <character>MAN #1<\/character>\n    <dialogue>You got anything you want to say?<\/dialogue>\n    <scene_description>Javi shakes his head . Finally , another GUNSHOT . After a beat , a hand reaches out of Javi 's shoulder .<\/scene_description>\n    <character>MAN #1<\/character>\n    <dialogue>Sorry about that. we had to be sure.<\/dialogue>\n    <scene_description>They walk back to the SUV .<\/scene_description>\n    <character>SOMEBODY ELSE<\/character>\n    <dialogue>Are you sure you do n't have anything to tell us?<\/dialogue>\n    <scene_description>Javi says nothing , does n't even acknowledge them . We hear a GUNSHOT .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AYALA HOME - DAY<\/stage_direction>\n    <scene_description>Arnie Metzger is in Helena 's living room . The stereo is loudly playing MOZART .<\/scene_description>\n    <character>ARNIE<\/character>\n    <dialogue>That was a stupid thing you did. Incredibly stupid.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>I tried, Arnie. And, I will continue to try.<\/dialogue>\n    <character>ARNIE<\/character>\n    <dialogue>Have you gone crazy? You are not Carl. You are n't as good as Carl.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>They are moving the trial to a high security location. The press has gone berserk. The jury will be influenced. Stay out of things. Let us try to win the case.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>That is going to be rather difficult when all the evidence is against us.<\/dialogue>\n    <scene_description>Helena steps closer to Arnie , close enough that her breasts are almost touching his chest .<\/scene_description>\n    <character>ARNIE<\/character>\n    <dialogue>Helena, please. This is out of your hands.<\/dialogue>\n    <character>HELENA<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>I know I made things worse. I know that and I'm sorry, but Arnie I need something from you. Something only you can help me with.<\/dialogue>\n    <scene_description>Helena looks searchingly into his eyes .<\/scene_description>\n    <character>ARNIE<\/character>\n    <dialogue>Helena -<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>I need an introduction to the Obregon Brothers.<\/dialogue>\n    <character>ARNIE<\/character>\n    <dialogue>I ca n't do that.<\/dialogue>\n    <scene_description>Helena leans closer to him .<\/scene_description>\n    <character>HELENA<\/character>\n    <dialogue>I figured out what Carl was up to and I need your help. Will you help me?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LABORATORY RESEARCH FACILITIES - DAY<\/stage_direction>\n    <scene_description>An establishing shot of a hi - tech company within shooting distance of the Salk Institute .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LAB FACILITY - DAY<\/stage_direction>\n    <scene_description>This is a professional chemical lab that can be rented by the month . Long tables of lab and computer equipment . Nobody has been here in a while . There are toys - plastic dolls , frisbees , hula hoops - on many of the tables . Helena lets herself into the room . She scans ledgers . She looks over the equipment . She picks up a twelve - inch high plastic Spastic Jack action figure and a can labeled `` solvent '' and hurries from the lab .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WEST END - CINCINNATI - NIGHT<\/stage_direction>\n    <scene_description>Robert drives through the streets , searching for Caroline . He does n't find her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAKEFIELD HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Barbara is waiting in the living room . Robert enters . He shakes his head then stands silently for a beat .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>About the other night, I'm sorry.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Me, too.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>God, I do n't get it. Are we supposed to say to ourselves, be prepared to lose her, be prepared to lose our child?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Why does this happen to someone? How does it happen?<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAROLINE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Robert is standing in the middle of her room . He 's not sure what he 's looking for . Everywhere he looks : her personal things , beloved objects from more innocent times , pictures . Within moments a legitimate desire to connect with his daughter has escalated into a search for clues . He opens her drawers , dumps little boxes , pulls things off of shelves . He becomes increasingly unhinged , flinging things around her room . He tosses a stack of magazines . A fashion magazine , airborne , discharges some contents : a lighter , a plastic tube and a piece of folded aluminum foil fluttering to the ground . Robert stares at the foil on the carpet . It 's charred on the outside . He picks it up . And unfolds it . There 's a dried milky white substance . He picks up the tube and lighter and stares at them . Then , somewhat tentatively , he puts the tube in his mouth . He holds the lighter under the foil , then heats the milky substance which turns translucent and disappears in a cloud of smoke . Robert sucks all of it in . He waits a long time then exhales . His eyes shut . The tube drops from his mouth . He staggers and , overwhelmed by the sensations , sits on the bed . The lighter and foil fall from his hands . A moment later he opens his eyes and does n't seem to know where he is . He looks at the room , confused . He stumbles to the door and shuts it firmly behind him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MANOLO'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Anna is weeping . Javier sits next to her . He puts his arm around her and she leans her head against his shoulder .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAVIER'S SUV - DAY<\/stage_direction>\n    <scene_description>Javi drives through the streets of Tijuana . He brakes for a stop sign and watches , trance - like , the pedestrians crossing in front of him . As the intersection clears he remains still . A HONK from behind brings him back and he pulls forward passing Helena Ayala who crosses going the opposite direction . We stay with her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TIJUANA - DAY<\/stage_direction>\n    <scene_description>Helena walks down a nightlife street that is tawdry and stale in the midday sun .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLUB PLATINUM - DAY<\/stage_direction>\n    <scene_description>A shrewd Obregon Lieutenant , JUAN MARQUEZ , 40 , sits at a table opposite Helena . The Strange Man who both threatened Helena 's child and executed Francisco sits in another chair .<\/scene_description>\n    <character>MARQUEZ<\/character>\n    <dialogue>Mrs. Ayala. Thank you for coming. I am Juan Marquez, I work for Mr. Obregon. I believe you know my associate, `` Tigrillo,'' the Little Tiger.<\/dialogue>\n    <scene_description>Helena nods to Tigrillo -<\/scene_description>\n    <character>HELENA<\/character>\n    <dialogue>Yes, he threatened to kill my five year - old son.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I was under the impression I would be meeting Juan Obregon.<\/dialogue>\n    <character>MARQUEZ<\/character>\n    <dialogue>No, this is not possible. And I thank you for coming down here, though I suspect it's been a pointless journey.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>Why do you say that, Mr. Marquez?<\/dialogue>\n    <character>MARQUEZ<\/character>\n    <dialogue>I hear these stories. Your husband in jail. His business in chaos. Various people fighting over the scraps.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>My husband is the victim of an informer in your organization, not ours.<\/dialogue>\n    <character>MARQUEZ<\/character>\n    <dialogue>That is not true, Mrs. Ayala. Your route is compromised. Perhaps it is time for me to deal with other distributors in California.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>I do n't think you're going to do that.<\/dialogue>\n    <character>MARQUEZ<\/character>\n    <dialogue>You do n't? Listen to this woman in a man's world, a very violent world.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>There are plenty of other suppliers in Mexico.<\/dialogue>\n    <character>MARQUEZ<\/character>\n    <dialogue>But not in whose interest it is to help you out of debt.<\/dialogue>\n    <scene_description>Helena reaches into her bag and pulls out the Spastic Jack action figure . She puts it on the desk .<\/scene_description>\n    <character>HELENA<\/character>\n    <dialogue>My husband had been working on something he called, The Project for the Children. Are you aware of this?<\/dialogue>\n    <character>MARQUEZ<\/character>\n    <dialogue>I do n't know. Perhaps I remember something.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>We have the ability to change the color, odor, and physical property of cocaine.<\/dialogue>\n    <character>MARQUEZ<\/character>\n    <dialogue>You want to smuggle narcotics in Mr. Espastico Jacobo. That's nothing new.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>Not in.<\/dialogue>\n    <scene_description>Juan Marquez is confused .<\/scene_description>\n    <character>HELENA<\/character>\n    <dialogue>This doll is cocaine.<\/dialogue>\n    <scene_description>Juan picks up Spastic Jack and looks at him . He bangs it on the desk .<\/scene_description>\n    <character>HELENA<\/character>\n    <dialogue>Every part, from his ears to his accessory belt, is high - impact, pressure - molded cocaine. Odorless. Undetectable by dogs. Undetectable by anyone.<\/dialogue>\n    <character>MARQUEZ<\/character>\n    <dialogue>I do n't believe you.<\/dialogue>\n    <scene_description>She takes out the `` solvent '' and puts it on his desk .<\/scene_description>\n    <character>HELENA<\/character>\n    <dialogue>Get a bowl.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLUB PLATINUM - OFFICE - LATER<\/stage_direction>\n    <scene_description>Spastic Jack is slowly dissolving in a bowl of solvent . Only his shoulders , head , and ridiculous ears remain above the quicksand of milky glop . Helena holds a mirror under the desk lamp . She is drying the paste . She puts the mirror on the desk . A white substance has coagulated there .<\/scene_description>\n    <character>HELENA<\/character>\n    <dialogue>Try it.<\/dialogue>\n    <scene_description>Juan takes out a razor blade and chops the dried substance into two white powder lines . He hands a silver straw to Helena .<\/scene_description>\n    <character>MARQUEZ<\/character>\n    <dialogue>You first.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>I'm six months pregnant. I wo n't do it.<\/dialogue>\n    <character>MARQUEZ<\/character>\n    <dialogue>Fine, then we do n't have deal.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>Fine, then we do n't have a deal.<\/dialogue>\n    <scene_description>She stands . He watches her a beat , then smiles .<\/scene_description>\n    <character>MARQUEZ<\/character>\n    <dialogue>Okay, okay.<\/dialogue>\n    <scene_description>He leans down and quickly snorts a line . After a beat .<\/scene_description>\n    <character>MARQUEZ<\/character>\n    <dialogue>That's good coke.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>It should be. It's yours.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I want our debt forgiven. I want to be the exclusive distributor of Obregon Brothers Cocaine for the United States. And I want the principle witness against my husband, Eduardo Ruiz, killed.<\/dialogue>\n    <character>MARQUEZ<\/character>\n    <dialogue>Perhaps. Perhaps. I'm afraid I must first ask you to pass a test. I asked the same of your husband and he succeeded with flying colors.<\/dialogue>\n    <scene_description>Helena waits . Juan Marquez reaches in his desk and pulls out a quarter kilo of cocaine . He pushes it across the desk .<\/scene_description>\n    <character>MARQUEZ<\/character>\n    <dialogue>Take this back with you. Deliver it safely to Tigrillo in San Diego and we have a deal.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>That's crazy. My husband is on trial for smuggling.<\/dialogue>\n    <character>MARQUEZ<\/character>\n    <dialogue>Exactly, and this is how I know I'm not getting into business with the U.S. Government.<\/dialogue>\n    <scene_description>She puts the quarter key in her bag and stands .<\/scene_description>\n    <character>HELENA<\/character>\n    <dialogue>You will help me with my other problem.<\/dialogue>\n    <character>MARQUEZ<\/character>\n    <dialogue>Deliver that safely to Tigrillo in San Diego. And we have a deal.<\/dialogue>\n    <scene_description>Tigrillo escorts her out of the room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLUB PLATINUM - DAY<\/stage_direction>\n    <scene_description>Helena follows Tigrillo . As they pass the restrooms she signals that she has to stop .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLUB PLATINUM - LADIES' ROOM - DAY<\/stage_direction>\n    <scene_description>Helena goes into a stall . She extracts the cocaine from her handbag . She looks at it , trying to figure out where it goes . She hikes up her skirt .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - DAY<\/stage_direction>\n    <scene_description>Javier is hooked up to a polygraph machine watched closely by a POLYGRAPH OPERATOR . Hughes and Johnson watch as Javi talks into a tape recorder on the table .<\/scene_description>\n    <character>JAVIER<\/character>\n    <dialogue>And I have the electronic serial numbers for their cellular phones. They change them every twenty - four hours but I have a contact at MexTel who can get me the new ESNs within twelve.<\/dialogue>\n    <scene_description>Javi finishes talking and sits back . Agent Hughes shuts off the tape recorder and looks at the polygraph operator who nods approval . Hughes and Johnson exchange a look . They are dumbstruck .<\/scene_description>\n    <character>HUGHES<\/character>\n    <dialogue>That's good shit.<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>Now that you have what you want, let's talk about how I get what I want.<\/dialogue>\n    <character>JOHNSON<\/character>\n    <dialogue>Oh, do n't worry, Javier, you're not gon na have any problems there.<\/dialogue>\n    <character>HUGHES<\/character>\n    <dialogue>I want to take a minute and talk about what type of precautions you're taking to protect yourself. When Salazar and Madrigal go down, they might send someone to see you.<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>You worry about getting me the things that I want. I'll worry about myself.<\/dialogue>\n    <scene_description>There 's a beat . Javier seems discomfited . The two agents notice this and exchange looks .<\/scene_description>\n    <character>JOHNSON<\/character>\n    <dialogue>You should feel good about this.<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>I feel like a traitor.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BORDER CROSSING AUTOMOBILE CHECKPOINT - DAY<\/stage_direction>\n    <scene_description>Javi goes into Mexico . Pan over to Helena 's Mercedes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELENA'S CAR - DAY<\/stage_direction>\n    <scene_description>She inches the car forward towards the officer who selects vehicles for inspection . The car ahead of her passes through and speeds away . The OFFICER flags Helena and directs her into the search facility .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CUSTOMS SEARCH BAY - DAY<\/stage_direction>\n    <scene_description>Helena pulls into a search bay . A CUSTOMS OFFICER watches Helena lower her window .<\/scene_description>\n    <character>CUSTOMS OFFICER<\/character>\n    <dialogue>Please step from the car, Ma'am.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>I'm in a hurry -<\/dialogue>\n    <character>CUSTOMS OFFICER<\/character>\n    <dialogue>Step from the car, Ma'am. This wo n't take long from your day.<\/dialogue>\n    <scene_description>Helena gets out of her car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OBSERVATION ROOM - CUSTOMS CHECKPOINT - DAY<\/stage_direction>\n    <scene_description>There is a bank of video monitors showing the scenes all over the facility . ON THE MONITOR : Helena 's car is on a lift three feet off the ground . Officers pour over the inside and undercarriage of the Mercedes . Nearby , A GERMAN SHEPHERD sniffs at the items that have been removed from the car : bags , spare tire , cd boxes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CUSTOMS SEARCH BAY - DAY<\/stage_direction>\n    <scene_description>Customs OFFICERS approach Helena -<\/scene_description>\n    <character>OFFICER<\/character>\n    <dialogue>Ma'am, we have to ask you to come with us.<\/dialogue>\n    <scene_description>She follows them toward the Customs building .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STRIP SEARCH ROOM - DAY<\/stage_direction>\n    <scene_description>A FEMALE CUSTOMS INSPECTOR accompanied by a female SUPERVISORY INSPECTOR leads Helena into a sterile room where there is no place to hide anything .<\/scene_description>\n    <character>CUSTOMS MATRON<\/character>\n    <dialogue>Ma'am, we have reason to believe you may have illegal drugs hidden beneath your clothing. I need to conduct a pat down search. Supervisory Inspector Haig will witness the search.<\/dialogue>\n    <character>HELENA<\/character>\n    <dialogue>You've got to be kidding me. I'm pregnant. What if I refuse?<\/dialogue>\n    <character>CUSTOMS MATRON<\/character>\n    <dialogue>This pamphlet explains the law and your rights under it. You're welcome to read it first. It says we have the authority to conduct this search. Would you like to read it first or shall we proceed?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FUNERAL SERVICE - DAY<\/stage_direction>\n    <scene_description>Hundreds of DEA AGENTS , spouses , others stand around a grave in a leafy cemetery in working class San Diego .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETERY - DAY<\/stage_direction>\n    <scene_description>The funeral is over and people are filing back to the cars . Gordon walks away from the service when he is approached by a mourning LUCINDA CASTRO , the mother of the deceased .<\/scene_description>\n    <character>MRS. CASTRO<\/character>\n    <dialogue>Montel. Oh, Montel.<\/dialogue>\n    <scene_description>Gordon hugs her .<\/scene_description>\n    <character>MRS. CASTRO<\/character>\n    <dialogue>You know how much he cared about you. You do, do n't you?<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>MRS. CASTRO<\/character>\n    <dialogue>I know if he could have it back somehow, he would n't do it differently or have it any other way. He would n't. He loved his job.<\/dialogue>\n    <scene_description>Another AGENT hustles toward him from the other direction , the direction of the cars .<\/scene_description>\n    <character>AGENT<\/character>\n    <dialogue>Excuse me, Agent Gordon. Mrs. Castro.<\/dialogue>\n    <parenthetical>( to Gordon . )<\/parenthetical>\n    <dialogue>Helena Ayala left Club Platinum in Tijuana. The Obregon Brothers' place. They stopped her at the border but she was clean. She's in San Diego now.<\/dialogue>\n    <scene_description>Gordon runs for his car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARNIE METZGER'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Arnie sits in his office , spacing out , admiring his view when an ASSISTANT shows Helena in . As soon as the door shuts -<\/scene_description>\n    <character>HELENA<\/character>\n    <dialogue>Did you get it?<\/dialogue>\n    <character>ARNIE<\/character>\n    <dialogue>What are you thinking, calling me at home with a message like that? You've compromised me and our relationship -<\/dialogue>\n    <scene_description>Helena sits confidently on his couch .<\/scene_description>\n    <character>HELENA<\/character>\n    <parenthetical>( making fun of Arnie . )<\/parenthetical>\n    <dialogue>The place is swept twice a day. I learned that down in Miami in'85.<\/dialogue>\n    <parenthetical>( hard . )<\/parenthetical>\n    <dialogue>Arnie. I'm the housewife. I belong to the most exclusive country club in La Jolla that accepts Latinos. Until recently, I believed my husband imported hydroponic strawberries, which I donated at the school fair.<\/dialogue>\n    <scene_description>Arnie reaches into a desk drawer and pulls out a quarter - kilo baggy identical to the one Juan Obregon gave her in Tijuana .<\/scene_description>\n    <character>HELENA<\/character>\n    <dialogue>It's the same stuff? From the rainy day stash?<\/dialogue>\n    <character>ARNIE<\/character>\n    <dialogue>It's the same. What happened to what they gave you?<\/dialogue>\n    <scene_description>Helena puts the bag in her purse .<\/scene_description>\n    <character>HELENA<\/character>\n    <dialogue>I'm desperate, but I'm not stupid.<\/dialogue>\n    <scene_description>I flushed it in the bathroom of their godawful nightclub .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBERT AND BARBARA'S BEDROOM - EARLY MORNING<\/stage_direction>\n    <scene_description>Robert sleeps in his clothes on top of the covers . Barbara is asleep beside him . The phone rings . Robert answers . Barbara watches .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>SHERIDAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I'm sorry. Did I wake you?<\/dialogue>\n    <scene_description>Robert looks at Barbara and shakes his head . She gets up .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>No, it's all right.<\/dialogue>\n    <scene_description>There 's a beat .<\/scene_description>\n    <character>SHERIDAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Salazar's been taken down. He was working for Porfirio Madrigal.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>What? I thought Madrigal was dead. I thought it was verified.<\/dialogue>\n    <character>SHERIDAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Apparently not. Look, it's a shit storm here right now. When are you coming back?<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I do n't know what to tell people any more.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>I'll get there as soon as I can.<\/dialogue>\n    <character>SHERIDAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>If we're moving the press conference, we need to do it now.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Are you all right?<\/dialogue>\n    <character>BARBARA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Robert.<\/dialogue>\n    <scene_description>The tone in Barbara 's voice causes him to look up . She holds an empty jewelry box .<\/scene_description>\n    <character>ROBERT<\/character>\n    <parenthetical>( to Sheridan . )<\/parenthetical>\n    <dialogue>I have to call you back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM - EARLY MORNING<\/stage_direction>\n    <scene_description>The drawers and cabinets are open . Barbara and Robert assess what is missing .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>The silver wedding cup.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM - EARLY MORNING<\/stage_direction>\n    <scene_description>Robert looks at their home entertainment center . Barbara enters this room .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>My Leica's gone.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>So's the video camera.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>At least she's alive.<\/dialogue>\n    <scene_description>Robert turns for the door .<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>Where are you going?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>She'll be at a pawn shop in an hour.<\/dialogue>\n    <scene_description>Ten minutes after that she 'll be at her dealer 's . If I find him , maybe I find her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLASSROOM - CINCINNATI COUNTRY DAY - DAY<\/stage_direction>\n    <scene_description>The bored children of privilege , wearing their blazers or uniform grey skirts , stare at a TEACHER behind a desk . The door opens and Robert enters . He finds Seth Abrahms in the back of the class and walks straight to him . Robert grabs a fistful of shirt and tie .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Hey man, what are you doing?<\/dialogue>\n    <character>TEACHER<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Excuse me? Excuse me?<\/dialogue>\n    <scene_description>Robert yanks Seth out of his seat . The teacher is approaching .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Seth has to be excused. He's going on a field trip.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE FUN ZONE - DAY<\/stage_direction>\n    <scene_description>Helena watches David play a video game . They have finished their lunch , a mess of pizza rinds .<\/scene_description>\n    <character>HELENA<\/character>\n    <dialogue>Come on. Time to go.<\/dialogue>\n    <scene_description>The CLOWN tries to catch their attention with some mime , but they ignore him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE FUN ZONE - DAY<\/stage_direction>\n    <scene_description>Helena and David are pushing out the door . The man walking the other way past them is Tigrillo from the Tijuana cartel . As they pass -<\/scene_description>\n    <character>HELENA<\/character>\n    <parenthetical>( under her breath . )<\/parenthetical>\n    <dialogue>Women's room, stall two.<\/dialogue>\n    <parenthetical>( loud . )<\/parenthetical>\n    <dialogue>Should we stop for ice - cream?<\/dialogue>\n    <character>DAVID<\/character>\n    <dialogue>Yeah!<\/dialogue>\n    <scene_description>Tigrillo disappears into the restaurant . As Helena pulls out of the Fun Zone parking lot , an unmarked DEA cruiser falls in behind her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBERT'S CAR - DAY<\/stage_direction>\n    <scene_description>Robert and Seth are parked across the street from Sketch 's building . They watch people , mostly white people , get what they need .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>I do n't know, maybe we missed her.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>I ca n't believe you used to bring my daughter here, to this place.<\/dialogue>\n    <character>SETH<\/character>\n    <dialogue>Hey man, back the fuck up. To this place. What's that shit? Right now, all over this country, a hundred thousand white people from the suburbs are driving around downtown asking every black person they see, You got any drugs? You know where I can get drugs? What kind of effect you think this has on the psyche of a black person, on their possibilities? If you sent a hundred thousand black people into your neighborhood, Indian Hills, and they asked every white person they saw, hey, you got any drugs?, within a day, your friends and their kids would be selling. It's market forces, man. The product's marked up three hundred percent. You can go out on the street and make five hundred bucks in two hours and then do whatever you want for the rest of the day. You think white people would still be going to law school?<\/dialogue>\n    <scene_description>There 's a beat .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>You're starting to piss me off. Get out of the car.<\/dialogue>\n    <scene_description>Robert and Seth get our of the car and walk across the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAY - DAY<\/stage_direction>\n    <scene_description>Robert and Seth stand in the dim , dingy hallway . A JUNKIE leaves .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>You're gon na get me killed.<\/dialogue>\n    <scene_description>Robert shoves Seth toward the door . Seth knocks . The door opens a crack and Sketch 's face appears .<\/scene_description>\n    <character>SKETCH<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <scene_description>Robert moves around Seth .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>I'm looking for my daughter, Caroline. She comes here.<\/dialogue>\n    <character>SKETCH<\/character>\n    <dialogue>This is a business. Get the fuck outta here.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>I need to find my daughter. I'll pay you.<\/dialogue>\n    <scene_description>Sketch pulls a gun and shoves it against Robert 's cheek .<\/scene_description>\n    <character>SKETCH<\/character>\n    <dialogue>Who the fuck do you think you are? Where the fuck do you think you are? Why the fuck do you think I should n't just put you in a dumpster?<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>I have money -<\/dialogue>\n    <character>SKETCH<\/character>\n    <dialogue>I got money.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>I'll pay you a thousand dollars. I have it in my wallet.<\/dialogue>\n    <character>SKETCH<\/character>\n    <dialogue>I want your money, I'll take your money.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Just tell me where she is.<\/dialogue>\n    <scene_description>Sketch pushes Robert back into the hall . Sketch sees Seth lurking there .<\/scene_description>\n    <character>SKETCH<\/character>\n    <parenthetical>( to Seth . )<\/parenthetical>\n    <dialogue>Do n't do that shit again.<\/dialogue>\n    <scene_description>Sketch slams the door in their face .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Great. What a good idea.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - DAY<\/stage_direction>\n    <scene_description>Seth and Robert walk to the car .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Man, I'm telling you. Do n't do this vigilante thing. Either the cops find her or she'll call you. I promise.<\/dialogue>\n    <scene_description>Robert looks at him , carefully .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MANOLO'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Javier KNOCKS on the front door . There is no answer . The shades are drawn . The house is darkened .<\/scene_description>\n    <character>JAVIER<\/character>\n    <parenthetical>( calling out . )<\/parenthetical>\n    <dialogue>Anna. Anna, please. Let me in.<\/dialogue>\n    <scene_description>He KNOCKS again .<\/scene_description>\n    <character>JAVIER<\/character>\n    <dialogue>Come on. You ca n't stay locked in your house all day.<\/dialogue>\n    <scene_description>Finally , the door cracks open . Anna has clearly not been out of the house since the last time we saw her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MANOLO'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Javier sits opposite Anna .<\/scene_description>\n    <character>JAVIER<\/character>\n    <dialogue>I know this is a tragedy, but you have to realize that good has come out of it.<\/dialogue>\n    <scene_description>She looks at him .<\/scene_description>\n    <character>JAVIER<\/character>\n    <dialogue>If Manolo had n't gone and told them what he did then Salazar and Madrigal would never have been brought to justice. He did a great thing for Tijuana. He did a great thing for Mexico.<\/dialogue>\n    <character>ANNA<\/character>\n    <dialogue>I want to believe you. I really do.<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>You will believe me, because it's true.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SKETCH'S APARTMENT - DAY<\/stage_direction>\n    <scene_description>Seth walks up the steps and into the building . A beat later he reappears and continues down the street . Robert emerges from across the street and follows at a guarded distance .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREETS - DAY<\/stage_direction>\n    <scene_description>Seth walks along the seedy neighborhood street . He approaches the Villa Elaine . He turns up the steps and disappears inside . Robert follows him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VILLA ELAINE HALLWAY - DAY<\/stage_direction>\n    <scene_description>Robert ascends the stairs . As he enters the hallway he sees Seth pounding on one of the doors .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>Open the door. Open the fucking door, man.<\/dialogue>\n    <scene_description>A MAN 'S VOICE comes from the other side of the door .<\/scene_description>\n    <character>MUFFLED VOICE<\/character>\n    <dialogue>Go away!<\/dialogue>\n    <scene_description>Robert closes the distance . Seth pounds harder .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>I know she's in there. Let me talk to her.<\/dialogue>\n    <character>MUFFLED VOICE<\/character>\n    <dialogue>I do n't know what you're talking about. Go away!<\/dialogue>\n    <scene_description>Robert reaches the door . Seth sees him .<\/scene_description>\n    <character>SETH<\/character>\n    <dialogue>I know she's in there.<\/dialogue>\n    <scene_description>Robert kicks the door in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL ROOM - DAY<\/stage_direction>\n    <scene_description>Robert sees a middle - aged JOHN in his underwear and a dress shirt .<\/scene_description>\n    <character>JOHN<\/character>\n    <dialogue>Hey, I have n't touched her -<\/dialogue>\n    <scene_description>Caroline is passed out on the bed . Robert goes to her as the John scrambles for his clothes . She stirs and sees him -<\/scene_description>\n    <character>CAROLINE<\/character>\n    <parenthetical>( really out of it . )<\/parenthetical>\n    <dialogue>Hi, Daddy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBERT'S CAR - DAY<\/stage_direction>\n    <scene_description>Caroline rides in the passenger seat . She 's come out of her stupor and is now filled with ebullience .<\/scene_description>\n    <character>CAROLINE<\/character>\n    <dialogue>It's gon na be great. I mean, I'm okay and all, because, see, I met a guy, he's in this pretty famous band and.<\/dialogue>\n    <parenthetical>( gets up confessional courage . )<\/parenthetical>\n    <dialogue>They've invited me to write lyrics for them, I'm gon na be able to do that and maybe sing, too. not at first, but later.<\/dialogue>\n    <scene_description>Caroline gets lost in her grandiose vision . Robert looks over at her as she drifts off into a nod . A moment later she 's awake and rambling again .<\/scene_description>\n    <character>CAROLINE<\/character>\n    <parenthetical>( sounding completely crazy . )<\/parenthetical>\n    <dialogue>I've been doing research for the school paper, that's what I've been doing, like on assignment kind - of, I've seen some stuff you would n't believe, but I'm gon na write it all down into lyrics. They think I'm really good, everybody says so, what do you think?<\/dialogue>\n    <scene_description>Robert fights back tears . He reaches over and takes his daughter 's hand .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLUB PLATINUM OFFICE - DAY<\/stage_direction>\n    <scene_description>Juan Marquez sits across the desk from Javi . Tigrillo and PABLO , 30 's , are also in the meeting .<\/scene_description>\n    <character>MARQUEZ<\/character>\n    <dialogue>Salazar and Madrigal are no longer with us.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>A feat none of these people could get accomplished.<\/dialogue>\n    <scene_description>Juan nods toward Pablo and Tigrillo .<\/scene_description>\n    <character>MARQUEZ<\/character>\n    <dialogue>You're going to be made the Special Assistant to the new drug Czar, which makes you a very valuable law enforcement officer.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>I hope you like to travel because we have plans for Juarez and El Paso, Nogales, Sinaloa, Jalisco, Michoacan.<\/dialogue>\n    <scene_description>Javi just stares at him for a long moment , then looks off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROBERT'S OFFICE IN WASHINGTON - DAY<\/stage_direction>\n    <scene_description>Robert on the telephone .<\/scene_description>\n    <character>ROBERT<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>How was she?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARBARA'S OFFICE - DAY<\/stage_direction>\n    <scene_description>A cramped , messy office at the Environmental Protection Agency . Barbara is on the phone .<\/scene_description>\n    <character>BARBARA<\/character>\n    <parenthetical>( into phone . )<\/parenthetical>\n    <dialogue>I'm really not sure. She seemed to recognize it was n't Serenity Oaks. It's a pretty hard - core facility, but at least we know where she is.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Maybe it's what she needs now.<\/dialogue>\n    <scene_description>INTERCUT ROBERT IN HIS OFFICE He holds the phone and does n't say anything .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - EARLY MORNING<\/stage_direction>\n    <scene_description>The court is searched carefully by a phalanx of OFFICERS . Metal Detectors are checked . Bomb sniffing German Shepherds are led through the space .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL SUITE - MORNING<\/stage_direction>\n    <scene_description>The agents are unkempt and everyone is tired . Ruiz moves through a cluttered room in a bathrobe with a cup of coffee . An agent shows him a morning paper -<\/scene_description>\n    <character>AGENT<\/character>\n    <dialogue>Big day.<\/dialogue>\n    <parenthetical>( shows picture in paper . )<\/parenthetical>\n    <dialogue>You're a star.<\/dialogue>\n    <scene_description>Ruiz walks over and sits across from Gordon , switching off the radio show he 's listening to . Gordon looks up from his paper .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>Go shower. You smell.<\/dialogue>\n    <scene_description>There is a KNOCK on the front door . An AGENT goes to answer -<\/scene_description>\n    <character>AGENT<\/character>\n    <dialogue>Who is it?<\/dialogue>\n    <character>SOMEBODY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( through the door . )<\/parenthetical>\n    <dialogue>The Mafia. I've got his breakfast.<\/dialogue>\n    <scene_description>The agent opens the door and is handed a breakfast tray . He puts the food in front of Ruiz who uncovers the sausage and eggs . An agent walking by tries to take a bite of sausage . Ruiz stabs it with a fork -<\/scene_description>\n    <character>RUIZ<\/character>\n    <dialogue>Fuck off.<\/dialogue>\n    <scene_description>Gordon watches the interchange -<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>Where's the love gone, Eddie?<\/dialogue>\n    <scene_description>You 'll be testifying for at least ten days . What if we stop feeding you ? Ruiz begins to eat hungrily .<\/scene_description>\n    <character>RUIZ<\/character>\n    <dialogue>You expect me to be grateful for spending the rest of my life looking over my shoulder.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>That thought makes me feel awful.<\/dialogue>\n    <scene_description>Ruiz pushes eggs into a piece of toast .<\/scene_description>\n    <character>RUIZ<\/character>\n    <dialogue>Ca n't you for a second imagine none of this had happened? That my drugs had gone through. What would have been the harm? A few people get high who are getting high anyway. Your partner is still alive. We avoid having breakfast together. Do n't you see this means nothing? That your whole life is pointless?<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>You're breaking my heart.<\/dialogue>\n    <character>RUIZ<\/character>\n    <dialogue>The worst thing about you, Monty, is you realize the futility of what you're doing and you do it anyway. I wish you could see how transparent you are.<\/dialogue>\n    <parenthetical>( disgusted . )<\/parenthetical>\n    <dialogue>This food tastes like shit.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>So go shower already.<\/dialogue>\n    <character>RUIZ<\/character>\n    <dialogue>You only got to me because you were tipped off by the Juarez Cartel, who's trying to break into Tijuana. You're helping them.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You work for a drug dealer too, Monty.<\/dialogue>\n    <scene_description>Ruiz stands and heads for the bathroom .<\/scene_description>\n    <character>GORDON<\/character>\n    <parenthetical>( yelling after him . )<\/parenthetical>\n    <dialogue>And shave. You better look nice and believable for the jury.<\/dialogue>\n    <scene_description>Ruiz disappears into the bathroom and slams the door behind him .<\/scene_description>\n    <character>GORDON<\/character>\n    <parenthetical>( to another agent . )<\/parenthetical>\n    <dialogue>It's like having another wife.<\/dialogue>\n    <scene_description>The agent laughs . There 's another KNOCK on the door .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>Who is it?<\/dialogue>\n    <character>SOMEBODY ELSE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( though the door . )<\/parenthetical>\n    <dialogue>Breakfast.<\/dialogue>\n    <scene_description>Gordon and the agent look at each other .<\/scene_description>\n    <character>SOMEBODY ELSE<\/character>\n    <dialogue>Hurry up. It's getting cold.<\/dialogue>\n    <scene_description>Gordon moves to the side of the door and pulls his gun . The other agent opens the door . A MAN with a breakfast tray enters . Gordon puts the gun to the side of his head .<\/scene_description>\n    <character>MAN WITH TRAY<\/character>\n    <dialogue>I'm on your side. God, you're jumpy.<\/dialogue>\n    <scene_description>Gordon is momentarily confused , then goes for the bathroom door .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>Call an ambulance. Hurry.<\/dialogue>\n    <scene_description>Gordon tries the bathroom door . It 's stuck . He gets it open a crack . There 's a body against the other side . He shoves .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>Ruiz is on the floor in convulsions .<\/scene_description>\n    <character>GORDON<\/character>\n    <parenthetical>( yelling . )<\/parenthetical>\n    <dialogue>Call the ambulance.<\/dialogue>\n    <parenthetical>( to Ruiz . )<\/parenthetical>\n    <dialogue>Do n't die on me. You will not die on me. Do you hear me? Do n't you die on me.<\/dialogue>\n    <scene_description>Ruiz 's convulsions get worse , his claw - like fingers scratch across the tile .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM - SAN DIEGO - DAY<\/stage_direction>\n    <scene_description>The court is packed . Helena and Arnie watch from the gallery . The judge is at the bench . The prosecutor rises -<\/scene_description>\n    <character>PROSECUTOR<\/character>\n    <dialogue>Your honor, ladies and gentlemen of the jury. Because of the sudden death of Eduardo Ruiz, the people have decided that at this point we can not continue our case against Carl Ayala.<\/dialogue>\n    <scene_description>The court ERUPTS . Reporters scatter . Helena cheers .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE HOUSE OFFICE - DAY<\/stage_direction>\n    <scene_description>Robert Wakefield enters the office of the Chief of Staff , who looks up from what he 's doing , which is reading Robert 's report , and is already mid - sentence .<\/scene_description>\n    <character>CHIEF OF STAFF<\/character>\n    <dialogue>Yeah, hi -.<\/dialogue>\n    <parenthetical>( waves Robert to a chair . )<\/parenthetical>\n    <dialogue>So I've got a copy of your speech here.<\/dialogue>\n    <parenthetical>( glances down , still reading . )<\/parenthetical>\n    <dialogue>It's fantastic. So, Robert, my genuine thanks. You're my choice and you're gon na be great. The President is sorry he has n't been able to spend more time with you. After the press conference he wants to really sit down.<\/dialogue>\n    <parenthetical>( an afterthought . )<\/parenthetical>\n    <dialogue>Oh, I got to the Post, too. Do n't worry about that thing with your daughter, it's not news ; they're willing to treat it as a family matter, a personal matter.<\/dialogue>\n    <parenthetical>( off Robert 's stare . )<\/parenthetical>\n    <dialogue>Look, even if it came out, we'd turn it into a qualification, I've been in the trenches of this Drug War, I have seen the face of the enemy, etcetera.<\/dialogue>\n    <scene_description>Robert just stares at him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAIL CELL - DAY<\/stage_direction>\n    <scene_description>General Salazar sits in the same grimy cell that housed Francisco Flores . He is sweating and his breathing is labored . A DOCTOR enters and gives him an injection , explaining that it will calm him down .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT OUTSIDE TIJUANA - DAY<\/stage_direction>\n    <scene_description>It 's a reprise of the earlier desert bust . a landing strip in the middle of nowhere , a plane landing , SUV 's approaching . This time Javi is at the wheel of one of them . News crews are trailing behind him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT AIRSTRIP - LATER<\/stage_direction>\n    <scene_description>Javi and Special Agent Hughes stand next to a giant mound of seized cocaine , the same cocaine , in fact , Javi held briefly at the beginning . The same teenagers from the pickup truck have been arrested . The news crews get everything .<\/scene_description>\n    <character>JAVIER<\/character>\n    <parenthetical>( to the press . )<\/parenthetical>\n    <dialogue>This seizure is one of the largest seizures in Mexican history. It represents the first bilateral effort of the American DEA and the Mexican I.N.C.D.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JAIL CELL - DAY<\/stage_direction>\n    <scene_description>General Salazar lies on his side , eyes and mouth open . He is dead . Javier looks at him through the doorway .<\/scene_description>\n    <character>JAVIER<\/character>\n    <parenthetical>( V.O. CONT 'D . )<\/parenthetical>\n    <dialogue>Today I'm very proud to announce that Mexico, with the help of our American partners, is finally winning the war against narcotics trafficking.<\/dialogue>\n    <scene_description>The PRESS begins shouting questions -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HEADQUARTERS, I.N.C.D. - MEXICO - DAY<\/stage_direction>\n    <scene_description>Robert and Javi walk through the headquarters , a nondescript government building . Robert extracts photographs of the bust from a manila envelope . The crates of cocaine are clearly marked `` 911 . ''<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>The cocaine brand, 911, is an East Coast brand, a Juarez Cartel brand, and you must know it usually comes through into El Paso?<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>I'm aware of that.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>So what's it doing in Tijuana?<\/dialogue>\n    <scene_description>Javi looks Robert Wakefield squarely in the eye . He shrugs .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>Let me ask you a hypothetical question : if Salazar worked for Madrigal and the Juaraz cartel, and he went out of power, would it mean the Juarez Cartel is losing influence?<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>It could mean that, yes.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>That would probably mean the Tijuana Cartel is gaining power?<\/dialogue>\n    <character>JAVIER<\/character>\n    <dialogue>It's possible.<\/dialogue>\n    <character>ROBERT<\/character>\n    <dialogue>Is it possible to have a Drug Czar in Mexico who is n't connected in some war to one of the cartels?<\/dialogue>\n    <scene_description>Javi thinks along time before answering .<\/scene_description>\n    <character>JAVIER<\/character>\n    <dialogue>Yeah, it's possible. if you're prepared to die.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AYALA FRONT YARD - AFTERNOON<\/stage_direction>\n    <scene_description>An outdoor party is going on . Children and adults arrive and mingle . Caterers work the barbecue grill . Waiters serve food and drink on the rolling lawn . Helena circles through the crowd greeting friends . She looks past her tree line and up the street where a telephone repair van is parked . She turns back toward her guests . Somebody has raised a cup and everyone is CHEERING . Helena drinks with her guests , then walks inside her house . AT THE FRONT GATE Montel Gordon walks through the gate and up the drive . He grabs a drink off the tray of a passing waiter . He appears drunk . Montel follows Helena into the house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARL'S PRIVATE STUDY - AFTERNOON<\/stage_direction>\n    <scene_description>Carl hears the CHEERING outside and the sound of LAUGHTER . He makes a cellular telephone call .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARNIE METZGER'S OFFICE - AFTERNOON<\/stage_direction>\n    <scene_description>Arnie is in his office and answers the cell phone -<\/scene_description>\n    <character>CARLOS<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>It's Saturday, Arnie. You work too hard.<\/dialogue>\n    <character>ARNIE<\/character>\n    <dialogue>Carl, I'm running late. I'm coming right now -<\/dialogue>\n    <scene_description>Behind Arnie in the office there is a movement of SHADOW .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARL'S PRIVATE STUDY - AFTERNOON<\/stage_direction>\n    <scene_description>Carl stands at the window looking at his guests while he talks on the phone -<\/scene_description>\n    <character>CARLOS<\/character>\n    <dialogue>Do n't bother.<\/dialogue>\n    <character>ARNIE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>So Arnie, when were you going to tell me about the 3 million dollars we got in from San Francisco two days after I got arrested?<\/dialogue>\n    <character>ARNIE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I was just waiting for the right time.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>And you did n't feel like you could trust my wife with this news?<\/dialogue>\n    <character>ARNIE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I just did n't want to take a chance. I did n't want to risk it. It could have been frozen along with everything else.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>You had it all figured out. You move into my house. You raise my kids. You sleep with my wife. It was a good plan, Arnie.<\/dialogue>\n    <character>ARNIE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Carl, that's insane.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>So my wife is lying?<\/dialogue>\n    <character>ARNIE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Carl, think about it, if I was trying to rip you off, I would have left town after Ruiz was killed. I would n't sit next to you in court listening to the dismissal.<\/dialogue>\n    <scene_description>On the front lawn CHILDREN are lined up for the ice - cream sundae bar that is being tended by a WAITER .<\/scene_description>\n    <character>CARLOS<\/character>\n    <dialogue>Arnie, do think there's a difference between a reason and an excuse, because I do n't think there is.<\/dialogue>\n    <character>ARNIE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Carl -<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Goodbye Arnie.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ARNIE METZGER'S OFFICE - AFTERNOON<\/stage_direction>\n    <scene_description>Arnie turns around and there are TWO MEN in his office .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CARL'S PRIVATE STUDY - AFTERNOON<\/stage_direction>\n    <scene_description>Carl hears MUFFLED GUNSHOTS over the phone . He hangs up and turns from the window . Helena is standing there .<\/scene_description>\n    <character>HELENA<\/character>\n    <dialogue>Who was that?<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Arnie. He's not going to be able to make the barbecue.<\/dialogue>\n    <scene_description>Carl and Helena share an embrace and a kiss .<\/scene_description>\n    <character>HELENA<\/character>\n    <dialogue>Come downstairs. Everyone is waiting.<\/dialogue>\n    <scene_description>Carl and Helena turn to leave the room and Montel Gordon is standing in the doorway with his glass of champagne .<\/scene_description>\n    <character>GORDON<\/character>\n    <dialogue>Hello, Helena. What a great party.<\/dialogue>\n    <character>CARLOS<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>Nobody. I'm a nobody who arrested you, but your wife is a murderer.<\/dialogue>\n    <scene_description>Gordon takes a sip of his drink . Two SECURITY OFFICERS appear in the doorway behind him .<\/scene_description>\n    <character>SECURITY OFFICER<\/character>\n    <dialogue>Hey, you ca n't be in here.<\/dialogue>\n    <character>GORDON<\/character>\n    <dialogue>I'm a cop.<\/dialogue>\n    <character>SECURITY OFFICER<\/character>\n    <dialogue>I do n't care.<\/dialogue>\n    <character>HELENA<\/character>\n    <parenthetical>( to the guards . )<\/parenthetical>\n    <dialogue>Throw him out of here.<\/dialogue>\n    <scene_description>The security officers grab Gordon . There is a scuffle . Gordon falls to the floor by the window . They are wrestling . As they wrestle , Gordon reaches out and , unnoticed , affixes TINY LISTENING DEVICE underneath the desk . He continues to struggle with the guards . Helena and Carlos start from the room .<\/scene_description>\n    <character>GORDON<\/character>\n    <parenthetical>( calling out . )<\/parenthetical>\n    <dialogue>You did n't win, Helena. You lost everything. Tell your children a nice bedtime story. How you killed my partner.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AYALA FRONT YARD - AFTERNOON<\/stage_direction>\n    <scene_description>The guests watch as the guards eject Gordon from the premises . Near the gate David has stopped playing to watch the action . Then he goes back to playing with his toy : a Spastic Jack figure .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VERDANT NEIGHBORHOOD - MEXICO CITY - DAY<\/stage_direction>\n    <scene_description>Javi and his convoy of armored SUV 's pull up in front of the beautiful house where earlier he deposited Rosario , Salazar 's former mistress . Javier opens the front door and Rosario greets him by throwing her arms around his neck . They disappear inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WHITE HOUSE PRESS ROOM - DAY<\/stage_direction>\n    <scene_description>The PRESS SECRETARY stands at the familiar podium addressing the White House Press Corps . Robert Wakefield stands to one side with Chief of Staff , his lawyers , Sheridan and General Landry .<\/scene_description>\n    <character>PRESS SECRETARY<\/character>\n    <dialogue>a sterling reputation and close friend of the President, recently confirmed into The Office of National Drug Control Policy. our new Drug Czar, Robert Hudson Wakefield.<\/dialogue>\n    <scene_description>Applause from the assembled PRESS . The Press Secretary signals and Robert walks to the podium . He looks back to the Chief of Staff ; he stares out at the expectant faces and television lights and camera flashes .<\/scene_description>\n    <character>ROBERT<\/character>\n    <parenthetical>( reading his prepared speech . )<\/parenthetical>\n    <dialogue>The War on Drugs is a war on our nation's most precious resource. our children. Sixty - eight million children have been targeted by those who perpetrate this war and protecting those children must be priority number one.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>There has been progress and there have been failures, but where we have fallen short I see not a problem but an opportunity.<\/dialogue>\n    <scene_description>Robert is becoming increasingly uneasy . He glances at the Chief of Staff who bores into him . He looks again at his speech . With great effort he continues .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>An opportunity to correct the mistakes of the past while laying a solid foundation for the future.<\/dialogue>\n    <parenthetical>( a long , uncomfortable beat . )<\/parenthetical>\n    <dialogue>This takes not only new ideas, but perseverance. This takes not only resources, but courage. This takes not only government, but families.<\/dialogue>\n    <scene_description>Robert stops again as though the words are choking him .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>I've. I've outlined a ten - point plan, representing a new bilateral effort.<\/dialogue>\n    <scene_description>He ca n't finish . Everyone stares at Robert . The crowd of reporters senses something is wrong .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>I ca n't do this.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>If there is a War on Drugs then our own families have become the enemy. How can you wage war on your own family?<\/dialogue>\n    <scene_description>He walks out of the room . The crowd waits , expecting him to return . Robert walks down a corridor and out of the White House .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITE HOUSE - DAY<\/stage_direction>\n    <scene_description>A beautiful spring morning . He walks down to Pennsylvania Avenue . He hails a cab and gets in . The cab pulls away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHURCH BASEMENT - DAY<\/stage_direction>\n    <scene_description>A twelve step meeting is in progress . Caroline shares from her seat .<\/scene_description>\n    <character>CAROLINE<\/character>\n    <dialogue>On the good days I feel like I get it, like it all makes sense. I can stay in the moment. I do n't have to control everything in the future. And I believe everything is going to work out fine.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>On the bad days, I just want to grab the phone and start dialing numbers. I want to pull my hair and run through the streets screaming.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>But, thanks to the people I've met in these rooms, people like Margaret and Jim and Sarah, people who've taught me how to listen, I'm pretty sure I'll make it through today.<\/dialogue>\n    <scene_description>Caroline is finished sharing .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Would you like to share?<\/dialogue>\n    <scene_description>We pan over to reveal Robert and Barbara sitting next to Caroline .<\/scene_description>\n    <character>ROBERT<\/character>\n    <dialogue>My name is Robert. This is my wife, Barbara. We're Caroline's parents. We're just hear to listen.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AYALA HOME - NIGHT<\/stage_direction>\n    <scene_description>The house is dark and silent . The van is parked up the street .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAN - NIGHT<\/stage_direction>\n    <scene_description>Gordon listens through a headset , his expression set .<\/scene_description>\n    <character>CARLOS<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( over a listening device . )<\/parenthetical>\n    <dialogue>We're back up and running. Completely untouchable. Completely.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BASEBALL FIELD - TIJUANA - DAY<\/stage_direction>\n    <scene_description>A bank of lights CRANKS on . Then ANOTHER and ANOTHER . In a wider shot we see an illuminated baseball field where a children 's pickup game is in progress . In the crowd , Javi serenely watches the game . THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In Mexico, police officer Javier Rodriguez (del Toro) and his partner Manolo Sanchez (Vargas) stop a drug transport and arrest the couriers. Their arrest is interrupted by General Salazar (Milian), a high-ranking Mexican official who decides to hire Javier. Salazar instructs him to apprehend Francisco Flores (Collins), a hitman for the Tijuana Cartel, headed by the Obreg\u00f3n brothers. Back in Tijuana, Flores, under torture, gives Salazar the names of important members of the Obreg\u00f3n cartel, who are arrested. Javier and Salazar's efforts begin to cripple the Obreg\u00f3n brothers' cocaine outfit, but Javier soon discovers Salazar is a pawn for the Ju\u00e1rez Cartel, the rival of the Obreg\u00f3n brothers. That entire portion of the Mexican anti-drug campaign is a fraud, as Salazar is wiping out one cartel because he has aligned with another for profit. Javier's partner Sanchez attempts to sell the information of Salazar's true affiliation to the DEA but is killed for his betrayal. Javier, who can no longer stomach working for Salazar, decides to make a deal with the DEA. In exchange for his testimony, Javier requests electricity in his neighborhood so the kids can play baseball at night rather than be tempted by street gangs and crime. Salazar's secrets are revealed to the public and he is arrested and dies in prison. Javier explains to the media about the widespread corruption in the police force and army. In Mexico, Javier watches as children play baseball at night in their new stadium."}
{"movie_name":"Phantom Thread_2017","imdb_id":"tt5776858","script":"<script>\n  <scene>\n    <scene_description>PHANTOM<\/scene_description>\n    <character>THREAD<\/character>\n    <dialogue>Written By<\/dialogue>\n    <scene_description>Paul Thomas Anderson CAMERAbegins on a close up of ALMA, sitting by a fire\\_<\/scene_description>\n    <character>ALMA<\/character>\n    <dialogue>Reynolds has made my dreams come true. And I have given him what he desires most in return.<\/dialogue>\n    <character>OR. HARDY(OC)<\/character>\n    <dialogue>And what's that?<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>Every piece of me.<\/dialogue>\n    <character>OR. HARDY(OC)<\/character>\n    <dialogue>He's a very demanding man, isn't he? It must be quite a challenge to be with him.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>Yes. Maybe he's the most demanding man...<\/dialogue>\n    <scene_description>CUT TO: LONDON- DAWN.:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ESTABLISHING SHOT, THE HOUSEOF WOODCOCK,<\/stage_direction>\n    <scene_description>A Georgian house in Fitzroy Square, 1955, CAMERAPUSHES IN ANO<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT<\/stage_direction>\n    <character>- WORKROOM<\/character>\n    <dialogue>- THAT MOMENT<\/dialogue>\n    <scene_description>Cyril enters, turns the lights on. This room has been converted into a workspace\/fitting room to make clothes. Two long work tables, sewing machines, fabrics, flat overhead lighting, curtains drawn over windows . A mini-atelier. Slowly, over the next few minutes, the staff come in and prepare for a day's work. The staff in the House Of Woodcock is led by Cyril, two women NANA&amp; BIDDY (40s) head sewers. There's an older woman named ELSA (60s) who never speaks and an awkward looking girl named IRMA (20s) who works beneath her and speaks less. Two other hands, PIPPA, WINN (30s) Various other Hands brings the total staff to around 15\/20 . CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BREAKFAST.<\/stage_direction>\n    <scene_description>Breakfast for Reynolds is taken in the kitchen, which is on the bottom floor . Carrot juice and sausages. Cyril enters, Reynolds, \u2022my old so &amp; so - good morning\" and they eat in perfect harmony, quietly, with small words here and there. Reynolds looks over sketches, newspapers, Cyril over mai l,<\/scene_description>\n    <character>JOHANNA<\/character>\n    <dialogue>Where have you gone, Reynolds? There's nothing I can say to get your attention aimed back at me, is there?<\/dialogue>\n    <scene_description>He looks a t her\/can't look at her ...<\/scene_description>\n    <character>REYNOLDS<\/character>\n    <dialogue>\u2022. I cannot begin my day with a confrontation, please.<\/dialogue>\n    <dialogue>I'm delivering the Dress today, and I cannot take up space with a confrontation.<\/dialogue>\n    <dialogue>I simply don't have time for confrontations.<\/dialogue>\n    <scene_description>CU. JOHANNA'S FACE. sad and defeated. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT<\/stage_direction>\n    <character>- GROUNDFLOOR, FRONT DOOR- LATER MORNING<\/character>\n    <dialogue>Cyril opens the door for COUNTESSHENRIETTAHARDING(late 30s) and her business manager PETER MARTIN (40s) Greetings, smiles,<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>It's the most lovely thing I've ever seen.<\/dialogue>\n    <scene_description>CUT TO: ANGLE REYNOLDSand HENRIETTA- MOMENTSLATER. As Henrietta is leaving, out of dress. Staff is packing up the dress in background.<\/scene_description>\n    <character>REYNOLDS<\/character>\n    <dialogue>I would like to send Nana &amp; Biddy over to help you tonight, what time are you due to arrive?<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Seven o'clock.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>Why don't I have them come to you around five? And who will be doing your make-up?<\/dialogue>\n    <character>HENRIETTA<\/character>\n    <dialogue>Sally.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>I will telephone her now and tell her what's<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROYALGALA EVENT- BRITISH MUSEUM- NIGHT<\/stage_direction>\n    <scene_description>HENRIETTAappears at the royal event wearing the dress. A few large scale shots watching her make entrance, past guards, dignitaries. Cyril, is here, t rack i ng the dress from th e sidelines -- CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REYNOLDS' DINNER SPOT - NIGHT<\/stage_direction>\n    <scene_description>It's his usual spot, he enters, greeted by the Maitre D', shown to his table . He sits, settles in, settles down . Later, Cyril meets him here, they have their usual dinner:<\/scene_description>\n    <character>CYRIL<\/character>\n    <dialogue>what would you like to do about Johanna?<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>CYRIL<\/dialogue>\n    <scene_description>I mean, she's lovely. But t he time has come. And she's getting fat sitting around waiting for you to fal l in love with her again.<\/scene_description>\n    <character>REYNOLDS<\/character>\n    <dialogue>CYRIL<\/dialogue>\n    <scene_description>yes.<\/scene_description>\n    <character>REYNOLDS<\/character>\n    <dialogue>comforting to think the dead can watch the living .\u2022 I don't find t hat spooky at all.<\/dialogue>\n    <scene_description>PAUSE, THEN:<\/scene_description>\n    <character>CYRIL<\/character>\n    <dialogue>Why don't you go to the country tonight? I ' ll follow tomorrow.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>yes, good idea. I like that idea very much.<\/dialogue>\n    <scene_description>DISSOLVE TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY- DAWN<\/stage_direction>\n    <scene_description>Reynolds\u2022 car driving. Out of town and into the country \u2022\u2022.. he pulls over \u2022. CUT TO: INT, HOTEL- DAY Reynolds comes inside. He sits. There are three or four WOMEN working here . not many customers. Reynolds looks up to see: ALMA. she serves an old couple. Reynolds sits at a table, He looks at her. She looks at him. This is a SILENT SEQUENCEOF LOOKSBETWEENTHBM. ..THIS GOES ON FOR A WHILE AS THEY ENGAGEEACH OTHER LIKE A SILENT FILM. CU. REYNOLDS transfixed and watching her, she comes and stands over him, looking down \u2022.. sound and everything else seems to fade away ...<\/scene_description>\n    <character>ALMA<\/character>\n    <dialogue>What would you li ke?<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>welsh rarebit. with a poached egg on top and bacon. scones. jam. cream and butter. pot of lapsang.<\/dialogue>\n    <scene_description>She comes back, brings his tea. then his food. They look some more at ea ch other:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET CORNER EVENING.<\/stage_direction>\n    <scene_description>She stands outside a pool of light . Reynolds comes roaring down the street in his Bentley . He picks her up . they drive off. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BENTLEY - MOVING.<\/stage_direction>\n    <scene_description>He's driving as he does. she isn't scare d. He looks at her the entire time he drives ..-,.,<\/scene_description>\n    <character>REYNOLDS<\/character>\n    <dialogue>Are you ready for dinner?<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>yes.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>Good . me too. I'm famished.<\/dialogue>\n    <scene_description>CUT TO: INT . RESTAURANT\/SHALL HOTEL - NIGHT They are sitting together, eating dinner. Reynolds put s his<\/scene_description>\n    <character>REYNOLDS<\/character>\n    <dialogue>do you have a photograph of her?<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>yes.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>let me see.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>no, not with me. at home .<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>carry it with you. always carry her with yo u .<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>where's yours ? your Mother?<\/dialogue>\n    <scene_description>REYNOLDS(touches his coat) She\u2022 s here, in the canvas ...One can sew anything i nto a coat.<\/scene_description>\n    <character>ALMA<\/character>\n    <dialogue>what? what do you mean?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - DRIVING - NIGHT<\/stage_direction>\n    <scene_description>CU. ON ALMAas they enter the driveway to the house ...HOLDHER FACE, with Reynolds in the background.HER POV - THE ROAD, WIDE ANGLEBEHIND CAR - COMINGDOWNDRIVE, REVEALINGHOUSE ... CUT TO: EXT, COUNTRYHOUSE- NIGHT. Nice country house. They get out of the car , enter. CUT TO: INT . COUNTRYHOUSE- NIGHT. Alma and Reynolds enter. He brings her down a hall and into a room and straight to something he would like to show her .. He finds a PHOTOGRAPH OF HIS MOTHERIN A WEDDINGDRESS, circa 1917.<\/scene_description>\n    <character>REYNOLDS<\/character>\n    <dialogue>I made this dress for her when I was sixteen years old.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>It's beautiful. she's beautiful.<\/dialogue>\n    <character>II<\/character>\n    <dialogue>CU. PHOTOGRAPH.The dress is beautiful.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>Where is the dress now?<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>I don't know. I don't know what became of it. Most likely ashes. fallen to pieces.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>what about your Sister?<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>what?<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>did she ever marry?<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>no.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIVING ROOM- LATER.<\/stage_direction>\n    <character>ALMA<\/character>\n    <dialogue>She draws very well.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>what are your talents?<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>I have none. I play piano but not very well. I draw well - but not like my sister. I can make clothes.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>can you?<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>I do. Not like you, But I can \u2022.\u2022<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>Well - what will you be when you finally grow up?<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>I want to be a Mother and I want to be a Wife.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>You're a very handsome man.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>You must be around many beautiful women.<\/dialogue>\n    <dialogue>Why aren't you married?<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>I make dresses.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>yes, but - you can't marry if you make dresses?<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>I a111 qu i te certain I was nev e r meant to marry. I am a confirmed bachelor.<\/dialogue>\n    <dialogue>Marriage would only make me deceitful. and I don ' t ever want that.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>You sound so sure about things. You're just acting s t rong. for who? not for me, I hope.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSTAIRS\/WORKROOM-ATELIER<\/stage_direction>\n    <character>- THAT MOMENT.<\/character>\n    <dialogue>They arrive at the top of the steps and move into a large room, which is converted to a workroom\/atelier ...<\/dialogue>\n    <dialogue>Alma, without being told, steps out of her clothes ......standing in her bra and underwear ...Reynolds gets a tape measure and a notebook and proceeds to measure her out .....and write down her sizes. They do this in silence. CAMERAmoves around a little.,-.we hear someone coming up the steps .....it's CYRIL.<\/dialogue>\n    <character>CYRIL<\/character>\n    <dialogue>And who ' s this lovely creature making the house smell so nice ....<\/dialogue>\n    <scene_description>Alma turns aro und, doesn't flinch<\/scene_description>\n    <character>ALMA<\/character>\n    <dialogue>I'm Alma.<\/dialogue>\n    <character>CYRIL<\/character>\n    <dialogue>I'm Cyr i l.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>stand up straight is what you want?<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>Like that yes. yes.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>you didn \u2022 t say that ,\\_<\/dialogue>\n    <scene_description>Reynolds walks off out of the room..\\_.Alma is just standing there, Cyril finishes writing some things down,\\_<\/scene_description>\n    <character>CYRIL<\/character>\n    <dialogue>You have the ideal shape.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>I do?<\/dialogue>\n    <character>CYRIL<\/character>\n    <dialogue>he likes a little belly.<\/dialogue>\n    <scene_description>Reynolds comes back in wheeling a Dress Form with BODICE (top ha l f of a gown) in progress. Re removes it from the form a nd places it on Alma, so she is standing in her underwear and the<\/scene_description>\n    <character>REYNOLDS<\/character>\n    <dialogue>Careful of my pins.<\/dialogue>\n    <dialogue>yes, yes, very good.<\/dialogue>\n    <dialogue>no, no, that won't do<\/dialogue>\n    <dialogue>can you walk a little<\/dialogue>\n    <scene_description>She walks away, turns, stops, stands so he can see her. CAMERA PUSHES IN ON HER. REVERSE, CAMERAPUSHES IN ON CYRIL AND REYNOLDS .<\/scene_description>\n    <character>REYNOLDS<\/character>\n    <dialogue>Well that will be just lovely, won't it?<\/dialogue>\n    <scene_description>CU. ALMA&amp; REYNOLDS. they stan d close together, he parts her hair to the si de , brushing it across her forehead in a low swoop.<\/scene_description>\n    <character>REYNOLDS<\/character>\n    <dialogue>would you try on another?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATELIER - MOMENTS<\/stage_direction>\n    <character>LATER.<\/character>\n    <dialogue>CAMERALOOKSUP. Seeing him place an old dress on her.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRONT HALLWAY<\/stage_direction>\n    <character>\/ COUNTRYHOUSE- LATER.<\/character>\n    <dialogue>Reynolds puts Al ma into a great TWEEDOVERCOAT.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>how does this fit? yes, well, almost. you alright for a walk home? it's far but we make it.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>CUT TOt<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BEACH\/CLIFFS NEAR HOUSE- NIGHT\/DAWN<\/stage_direction>\n    <scene_description>They're walking as the sun barely starts to come up on a cloudy morning, in pale blue light ..<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALMA HOUSE - NIGHT\/DAWN.<\/stage_direction>\n    <scene_description>They walk back to her house, he takes her to the front door and she starts to take the coat off...he puts it back on her \u2022.holds her close ....\u2022<\/scene_description>\n    <character>ALMA (VO)<\/character>\n    <dialogue>I never really liked myself. I thought my shoulders were too wide. My neck was skinny like a bird \u2022. and I had no breasts. I felt my hips were larger than needed and my arms too strong. But in his work, I become prefect and I feel just right. Maybe that's how all women feel in his clothes.<\/dialogue>\n    <scene_description>CUT TO: MUSIC UP , RHYTHMIC.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET\/HOUSE OF WOODCOCK- DUSK.<\/stage_direction>\n    <scene_description>Alma in the finished version of the Dress from earlier in the<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RESTAURANT<\/stage_direction>\n    <character>- NIGHT<\/character>\n    <dialogue>Dinner at his usual spot, walking through the restaurant, Alma turning heads. At the table;<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>You look very very good. very good, indeed. you're making me rather hungry.<\/dialogue>\n    <scene_description>Reynolds and Alma close together . .Cyril arrives to Join them, talks over some business with Reynolds. (Barbara Rose's marriage stuff here, new collection details, dates,etc) CAMERAPUSHING IN ON ALMA, watching them. . CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT<\/stage_direction>\n    <character>- COMINGHOMEFROMNIGHT ON TOWN.<\/character>\n    <dialogue>They walk up the sta i rcas e , arrive at second floor landing. he takes her past bis room, to a guest bedroom, simply appo i nted.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>This can be yours. That's my room. get your rest here and we will start early.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT\/ATELIER<\/stage_direction>\n    <character>- EARLYMORNING.<\/character>\n    <dialogue>The sun is rising and Reynolds is working on dresses with Alma. They are alone. Ho is at her feet and under the dress ...<\/dialogue>\n    <character>ALMA(VO)<\/character>\n    <dialogue>Sometimes we get up at four in the morning having got to bed at midnight and he is ready to start again ...<\/dialogue>\n    <dialogue>I can stand endlessly .. no one else can stand as long as I can ...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT\/ATELIER<\/stage_direction>\n    <character>- DAY<\/character>\n    <dialogue>Cyril, Reynolds, Full Staff at work. A variety of images showing how he works . He utilizes Alma to wear toiles, or draping fabric on her to start an idea ... Seeing Sketches alongside swatches of fabric, wools, tweeds, silks, satins, the basis of a Spring Collection.<\/dialogue>\n    <character>ALMA(VO)<\/character>\n    <dialogue>I am his, and his alone ...! was not distracted, I was not late, or somewhere else . .I 'm not just<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT\/ATELIER - LATER<\/stage_direction>\n    <scene_description>She is in another dress with a flora l pattern.<\/scene_description>\n    <character>REYNOLDS<\/character>\n    <dialogue>you don't like this one either do you?<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>well...I don't like the fabric and I don't like the straps .<\/dialogue>\n    <character>CYRIL<\/character>\n    <dialogue>This fabric is adored by the women who wear our design. It's perfect for this dress .<\/dialogue>\n    <scene_description>Reynolds keeps working, his head down, says:<\/scene_description>\n    <character>REYNOLDS<\/character>\n    <dialogue>Cyril is right. Cyril is always right .<\/dialogue>\n    <dialogue>And it's not because the fabric is adored by our clients that makes Cyril right.<\/dialogue>\n    <dialogue>It's right just because it's right. Because it's beautiful . Perhaps your<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>You' 11 have to do better than that .........<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINNER SPOT - NIGHT.<\/stage_direction>\n    <scene_description>Reynolds, Cyril and Alma out to Dinner with financial investor and old friend NIGEL CHEDDAR-GOODE (60s) Alma wear ing a lovely dress, Nigel telling funny stories ... Two Young Women approach the table.<\/scene_description>\n    <character>YOUNGWOMAN<\/character>\n    <dialogue>Excuse me, Mr. Woodcock?<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>They curtsy, nervous, not knowing what to do .<\/scene_description>\n    <character>YOUNGWOMAN<\/character>\n    <dialogue>I would like to say that I hope one day I can wear one of your dresses.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>I hope that is true for you,<\/dialogue>\n    <scene_description>CU. ALMA- DRIVING IN THE BENTLEY- NIGHT Being thrown around, driving super fast, smiling. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HALLWAYTO ALMA'S ROOM- NIGHT<\/stage_direction>\n    <scene_description>They walk down the hall towards her room and close the door. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BREAKFAST- NEXT MORNING<\/stage_direction>\n    <scene_description>Cyril and Reynolds are here in their quiet morning breakfast session. Alma enters,<\/scene_description>\n    <character>ALMA<\/character>\n    <dialogue>Good Morning Reynolds, Good Morning Cyril.<\/dialogue>\n    <scene_description>Silence from them both . She sits down and begins to make herself some toast, pour coffee. Reynolds finishes up quickly and exits. Alma looks to Cyril.<\/scene_description>\n    <character>CYRIL<\/character>\n    <dialogue>Perhaps you should take your breakfast after him or in your room.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>Be's being fussy.<\/dialogue>\n    <character>CYRIL<\/character>\n    <dialogue>His routine, when he is in it, is better not shaken.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>yes ...well..<\/dialogue>\n    <character>CYRIL<\/character>\n    <dialogue>It's a quiet time not to be misused. If breakfast isn't right, it's hard for him to recover the rest of the day ...<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>WelL .I didn't know.<\/dialogue>\n    <scene_description>INT, STORAGEROOM\/COUNTRY<\/scene_description>\n    <character>HOUSE- NIGHT,<\/character>\n    <dialogue>Alma and Reynolds together. Ho finds some old boxes, stored deep in a safe, hidden place. The boxes are worn and have writing in French. He opens boxes containing long sheets of beautiful satin\/ lace.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>This is Satin from Colcombet of St. Etienne (OR - This is Flemish Bobbin Lace from the Late sixteen hundreds. It's very rare, Very precious . I rescued it from Antwerp During the war, during my time in the army . I've been waiting for the right moment to Make something with it.)<\/dialogue>\n    <scene_description>He lays different colors of the satin out ...mapping a dress, loosely<\/scene_description>\n    <character>REYNOLDS<\/character>\n    <dialogue>this is beautiful, the lavender and the yellow\\_,perhaps\\_.like this ...shaped, thin through the waist .. and falling ...what would happen \u2022. is to keep it uncut from hem to shoulder . .<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT\/WORKROOM<\/stage_direction>\n    <character>- DAY\/EVENING.<\/character>\n    <dialogue>CAMERAwatches some detail work on This New Dress being made by Biddy and Nana and Reynolds.<\/dialogue>\n    <dialogue>Alma is with Irma &amp; Elsa as her teachers ..working on something.<\/dialogue>\n    <dialogue>Reynolds is doing some needle work on the dress with very thick magnifying glasses on-CU . his face as he works.<\/dialogue>\n    <scene_description>BCU. INSIDE OF THE DRESS. a hand sewn note reads, simpl y her name 'Alma' He looks up and sees her across the room, sewi ng ... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOMEGRANDLOCATION- DAY<\/stage_direction>\n    <scene_description>A photo shoot in progress. Alma is wearing the finished dress. Lights on her, Reynolds standing next to a photographer, giving directions. He comes to Alma;<\/scene_description>\n    <character>REYNOLDS<\/character>\n    <dialogue>I have never had a dress come together so agreeably.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT\/2<\/stage_direction>\n    <character>\u0080\ufffd\u0080\ufffd FLOOR LANDING- NIGHT.<\/character>\n    <dialogue>Late one night, Alma, in a lovely nightgown, comes out of her room, sees the light on under his door and walks to it ...<\/dialogue>\n    <dialogue>She wants to go in ...<\/dialogue>\n    <dialogue>She listens, she knocks\\_<\/dialogue>\n    <character>REYNOLDS(OC)<\/character>\n    <dialogue>I'm working\\_ ,<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>Do you need anything?<\/dialogue>\n    <character>REYNOLDS(OC)<\/character>\n    <dialogue>She waits for a reply that never comes ......<\/dialogue>\n    <dialogue>..up the stairs, comes Cyril, bringing some tea, she nods to Alma, who nods baclc .\u2022Cyril enters the studio and closes the door. Alma goes back downstairs ..\\_.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWNHOUSE<\/stage_direction>\n    <character>- STREET<\/character>\n    <dialogue>After the collection, Alma and Reynolds walking to the car, get t ing in the car. He just sits, unable to move. zoom in o n Alma.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>let me do it ... aka<\/dialogue>\n    <scene_description>would you like me to drive? CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COUNTRYHOUSEKITCHEN- DAY<\/stage_direction>\n    <scene_description>Back to Alma and Dr. Hardy together ..<\/scene_description>\n    <character>DR. HARDY<\/character>\n    <dialogue>how often does he fall ill?<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>he doesn't .<\/dialogue>\n    <character>DR. HARDY<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - MOVING- DAY<\/stage_direction>\n    <scene_description>Alma is driving the big Bentley, Reynolds in the passenger seat.<\/scene_description>\n    <character>REYNOLDS<\/character>\n    <dialogue>you're doing a lovely job driving, Alma. thank you. thank you.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>you can close your eyes.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COUNTRYBOUSE- BEDROOM.<\/stage_direction>\n    <scene_description>He is in bed, half asleep. Alma coming in and out, taking care of him .. She is very happy and takes to this role quite well. She crawls into bed with him, he pulls the sheets back for her ...they lay together. CUT TO: INT . COUNTRYHOUSE- WORKROOM<\/scene_description>\n    <character>- DAWN<\/character>\n    <dialogue>Reynolds working alone, Alma comes in with a tray of tea ...<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>oh hush it's going out<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>yes but it ' s too late - you never should have brought it in the f i rst place<\/dialogue>\n    <dialogue>you can take the tea away, but the interruption stays right here with me, doesn't it?<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>bluchhhh<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WOODS\/GARDEN<\/stage_direction>\n    <character>- BEHIND COUNTRYHOUSE- SPRING TIME<\/character>\n    <dialogue>Alma is walking with Minetta, picking mushrooms. Reynolds is gardening\/walking ahead. CAMERAwith MINETTEA&amp; ALMA.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN\/COUNTRY<\/stage_direction>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT\/BREAKFAST<\/stage_direction>\n    <character>- MORNING<\/character>\n    <dialogue>Cyril, Reynolds and Alma eating. After some silence, Cyril speaks:<\/dialogue>\n    <character>CYRIL<\/character>\n    <dialogue>There is a very good chance that Barbara will wish you to be there tonight --<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>and what shall I do with that?<\/dialogue>\n    <character>CYRIL<\/character>\n    <dialogue>Accept her invitation if you can stomach it.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>I really wish I hadn't heard this news until later \u2022.this is very unsettling .\u2022<\/dialogue>\n    <character>CYRIL<\/character>\n    <dialogue>well. ........ chin up -<\/dialogue>\n    <character>REYNOLDS<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALON- LATER<\/stage_direction>\n    <scene_description>Reynolds is off to the side, allowing Nana &amp; Biddy to do the dress i ng. It's awkward and uncomfortable and a little funny from time to time. Finally Barbara manages to get i n the Black Taffeta Dress. Reynolds comes around for some fina l touches to i t ...She smiles at him in a painful way, he smiles back a t her. They're face to face;<\/scene_description>\n    <character>BARBARA<\/character>\n    <dialogue>I know you ' re doing the best you can ...but I ' m still so ugly. Please ...Reynolds ...Will you come tonight?<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>No, Barbara. It ' s really not my place. This is what I do. This is my place, here.<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>I ' m afraid I must insist that you come.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>as long as you don't insist, I will be there. of course I will.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BARBARA'SHOTEL SUITE - DORCHESTER- NIGHT<\/stage_direction>\n    <scene_description>In the gigantic suite of her botel-residence ...This is a small PRESS CONFERENCEfor ten Reporters\/Photographers. Barbara is sitting with Cal on a couch. She's in the black taffeta dress, wasted, diamonds dripping off her. A LAWYERfor Barbara runs the proceedings \u2022. Reynolds and Alma, off to the side, watching. Enter RUBIO GURRERRO(30s) He ' s a polo-playing, playboy groom on his S' \" marriage.<\/scene_description>\n    <character>RUBIO<\/character>\n    <dialogue>I'm here I Here Barbara I my love ...<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>Rubi, darling, here we are.<\/dialogue>\n    <scene_description>He comes over, kisses her hand, takes his place on the couch, pushing the son Cal to the edge.<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>Who will be the attendant at the Wedding?<\/dialogue>\n    <scene_description>CU. REYNOLDS&amp; ALMA watching all this. Alma looks at Reynolds, who does not make eye contact, he stands stoic. Alma is starting to boil.<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>What has Barbara brought into your life? We understand she bought you a twin engine B- 25 airplane for a wedding gift?<\/dialogue>\n    <character>RUBIO<\/character>\n    <dialogue>She knows my love of flying and gave me a wonderful wedding gift - we'll be flying to Florida on our honeymoon<\/dialogue>\n    <character>BARBARA<\/character>\n    <dialogue>-- I brought sincerity to his life. The answer to the question is ...sincerity.<\/dialogue>\n    <scene_description>Barbara stumbles as she gets off the couch, caught by Reporters and her Son - a drink sp i lls on the dress. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DOMINICANEMBASSY- NIGHT<\/stage_direction>\n    <scene_description>The wedding party is in fu ll swing but Barbara is passed out. CU. REYNOLDS.looking at her,\\_she looks at him right back and says:<\/scene_description>\n    <character>ALMA<\/character>\n    <dialogue>Go and get it,i t' s not to be treated like that ...<\/dialogue>\n    <scene_description>Reynolds grabs her by the hand and they walk across the ballroom quickly - heading off - CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HOTEL SUITE - HALLWAY<\/stage_direction>\n    <character>- NIGHT<\/character>\n    <dialogue>They march down the hotel hallway, Reynolds and Alma . He pounds on the door to the suite. The nanny Tippy answers the door;<\/dialogue>\n    <character>TIPPY<\/character>\n    <dialogue>Hello, Mr. Woodcock. What is it?<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>Tippy, I would like the dress back.<\/dialogue>\n    <character>TIPPY<\/character>\n    <dialogue>Ms. Rose is sleeping.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>TAKE THB FUCKING DRESS OFF BARBARA.ANDBRING IT<\/dialogue>\n    <character>TO ME OR I'LL DO IT MYSELF,<\/character>\n    <dialogue>ALMA...<\/dialogue>\n    <scene_description>Alma heads down the hall to get the dress, following Tippy. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM<\/stage_direction>\n    <scene_description>Alma and Tippy finish taking the dress off Barbara Rose, Alma says to Tippy:<\/scene_description>\n    <character>ALMA<\/character>\n    <dialogue>It's no business of ours what Mrs. Rose wishes to do with her life ...<\/dialogue>\n    <dialogue>\u2022.but she can no longer behave like this dressed by The House Of Woodcock.<\/dialogue>\n    <scene_description>CUT TO: EXT, STREETS - MOMENTS CU. ALMA she stands up smiling and radiant ... WIDER ANGLE, THE ENTIRE STAFF IN THE APARTMENT<\/scene_description>\n    <character>- MORNING<\/character>\n    <dialogue>stands to attention.<\/dialogue>\n    <dialogue>Cyril is opening the door and welcoming in the most elegant and beautiful woman so far:<\/dialogue>\n    <dialogue>PRINCESS MONABRAGANZA (late 20s) She is BELGIAN ROYALTY<\/dialogue>\n    <scene_description>\u2022. she has three or four handlers and HER MOTHER(50s) Alma cannot help but melt at Mona's long, slim boauty and grace and her family . . Reynolds appears , greets the Princess warmly, as if they've known each other for a long time , they walk right past Alma and into his office, closing the door. Whispers and excitement amongst the Staff .. CU. ALMA with a look of jealousy for the first time ... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CYRIL'S OFFICE - DAY.<\/stage_direction>\n    <character>REYNOLDS<\/character>\n    <dialogue>I want to know what you think.<\/dialogue>\n    <character>PRINCESS MONA<\/character>\n    <dialogue>Silver.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>Lace or a pearl?<\/dialogue>\n    <character>PRINCESS MONA<\/character>\n    <dialogue>Lace.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>yes, that 's very good.<\/dialogue>\n    <scene_description>CUT T01:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALON- DAY<\/stage_direction>\n    <scene_description>Princess Mona and Reynolds and Cyril step out of the office, speaking French to each other and being very intimate. Nana, Biddy receive her and start measuring her. Irma and Elsa start to measure all the Handlers ( Bridesmaids ) ..Alma is asked to help with this.\\_<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CYRIL'S ROOM- DOWNSTAIRS- LATER<\/stage_direction>\n    <scene_description>Alma comes in to see Cyril.<\/scene_description>\n    <character>ALMA<\/character>\n    <dialogue>Cyril, I wanted to aek your help in a gift I want to give for Reynolds \u2022.<\/dialogue>\n    <character>CYRIL<\/character>\n    <dialogue>ALMA<\/dialogue>\n    <scene_description>I want to give him a surprise . If everyone left the house when he takes his walk on Thursday, I will prepare dinner for him. When he returns I will be waiti ng for him. No one will be here but me...waiting for him. I can surprise him and we will have a dinner together. just for us. do you like this idea? can you help me?<\/scene_description>\n    <character>CYRIL<\/character>\n    <dialogue>ALMA<\/dialogue>\n    <scene_description>I'm trying to surprise him...and love him the way that I want to ..<\/scene_description>\n    <character>CYRIL<\/character>\n    <dialogue>If you're looking for something kind to do, perhaps you can think of something else.<\/dialogue>\n    <dialogue>This may be disruptive, no matter what you'r e intentions are.<\/dialogue>\n    <character>ALMA<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <character>CYRIL<\/character>\n    <dialogue>\u00b7-- I really must advise you against this, Alma. I don't think there could be a more<\/dialogue>\n    <dialogue>inap propr iate time to try something new --<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>But I want to do this and I think it will be very nice.<\/dialogue>\n    <character>CYRIL<\/character>\n    <dialogue>-\u00b7---If I agree to this ...I may be giving you enough rope to hang yourself ...do you understand?<\/dialogue>\n    <character>CYRIL<\/character>\n    <dialogue>,,very well.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>Don't spoil the surprise.<\/dialogue>\n    <character>CYRIL<\/character>\n    <dialogue>oh No I won't.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT\/ATELLIER<\/stage_direction>\n    <character>- DUSK<\/character>\n    <dialogue>Everyone leaves, the entire staff packing up and leaving. Cyril seeing them leave .<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRONT FOYER - DUSK<\/stage_direction>\n    <scene_description>Cyril and Alma in the front hallway .. Cyril about to leave:<\/scene_description>\n    <character>CYRIL<\/character>\n    <dialogue>Good luck.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT<\/stage_direction>\n    <character>- FRONT DOOR- THAT MOM1!NT<\/character>\n    <dialogue>Reynolds comes in and it takes only a few steps, getting his hat and coat off to feel that something isn't right .\u2022<\/dialogue>\n    <dialogue>He looks into Cyril\u2022 s office ......he turns up the staircase, looks up and sees Alma on the first floor landing, waiting for him. ..<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>What is this?<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>I love you, Reynolds.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>yes, but what is this?<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>A surprise for you, darling. are you hungry?<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>Where is Cyril?<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>I've sent everyone home.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>Let me collect myself ... I'll just have a bath.<\/dialogue>\n    <dialogue>This is very kind of you, Alma.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>would you like a Martini or Champagne?<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>No thank you. (re:her dress) is this finished? it's quite wonderful. look at it, let\u2022 s see\\_,<\/dialogue>\n    <scene_description>She turns around, he looks at the dress, takes it in,\\_<\/scene_description>\n    <character>RBYNOLDS<\/character>\n    <dialogue>it really i s very good, Alma. very well done.<\/dialogue>\n    <scene_description>The Dress is very well done, HOLD, THEN:<\/scene_description>\n    <character>REYNOLDS<\/character>\n    <dialogue>I ' ll just have my bath now. when will Cyril be back?<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>She's like a Statue of some kind. very beautiful.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>yes .<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>Will you make her wedding gown?<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>.. what do you mean?<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>I thought there were so many superstitions that came along with it - that maybe<\/dialogue>\n    <dialogue>it wouldn \u2022 t be something you would t ake on \u2022.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>I have made her Baptism, First Conmunion and Confirmation dresses. I made the dress for her presentation at Court - indeed, the entire wardrobe for her coming out season -<\/dialogue>\n    <dialogue>it's only right that I should ma.ke her Wedding Dress.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>Anyway - she's lovely and you should make her a spectacular wedding dress.<\/dialogue>\n    <scene_description>CU. REYNOLDS his reaction. CU, DINNER IS SERVED, LATER. i.moges of the food she's prepared.<\/scene_description>\n    <character>ALMA<\/character>\n    <dialogue>Lamb Chops, Asparagus and Chocolate Cake for pudding.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>Beautiful.<\/dialogue>\n    <scene_description>ANGLE, LATER. They're eating. He finishes his Martini and shovels food in hi s mouth. Long, awkward pause, then:<\/scene_description>\n    <character>ALMA<\/character>\n    <dialogue>Do you like it?<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>He puts his napkin down.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>As I think you know, Alma, I like Asparagus served with oil and salt. And knowing this, you have prepared this Asparagus with butter ,<\/dialogue>\n    <dialogue>I can imagine, in certain circumstances, being able to pretend that I like it cooked with butter. But right now I'm just admiring my own gallantry for eating it the way you've prepared it.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>don't be mean.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>That's not being mean. Not by a great distance.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>why are you speaking to me like that?<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>don't look for my approval . Of your fucking asparagus. what is going on here??<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>There's always ...there \u2022 s always something between us -<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>Something between us?<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>yes .<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>what?<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>some distance.-something, I don\u2022 t know...<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>well maybe we don \u2022 t go together, Alma ..\\_..<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>No, darling, don't say that.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>No, I've said it. and that's i t, it's been said.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>secrets . ?<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>anything you want to tell me .\u2022 anything - .. there \u2022 s nothing I won't understand ...<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>Is there some mystery you're referring to? what secrets?<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>I don ' t know...whatever it is that 's happened to you in your life to make you feel cursed .. or hurt ..whatever you<\/dialogue>\n    <dialogue>have inside you that you wan t to get out ......tell me everything so that we can be close together<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>when did this happen? what's happened to make you behave like this?<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>.. you' re not cursed. There\u2022 s no curse on you that can't be broken you can<\/dialogue>\n    <dialogue>love you know. .I know you have generous love -<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>You're right. you're right. if I don't protect myself - intruders will come in the middle of the night and take over my corner of the room and ask me about their fucking Asparagus.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>Don't be a bully. you're a bully. and you're loved by me, not cursed.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>ENOUGHOF THE FUCKING CURSE. who put this in your head?!? I have other things I'd like to do with my time. it's my time. my TIME.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>I don't know what I'm doing here. I'm standing around like an idiot waiting for you\\_.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>Waiting for what?<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>Don't be ru de to me. don't speak to ~e Like that.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>Is this my house? Thie ie my house, isn't it? Is th is is my house .\u2022<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>don't speak to me like thatll you brought ine here<\/dialogue>\n    <scene_description>REYNOLDSor did someone drop me behind enemy lines, surrounded on all sides, I'm on foreign soil.<\/scene_description>\n    <character>ALMA<\/character>\n    <dialogue>oh stop talking like a child. stop -<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>- when the hell did this happen?l?l?I<\/dialogue>\n    <scene_description>WHOARE YOU 717 do you have a Gun? are you here to kill me?<\/scene_description>\n    <character>ALMA<\/character>\n    <dialogue>You're a Baby. you're a stupid baby INT . TEA POT. - TOWNHOUSE<\/dialogue>\n    <dialogue>CAMERAinside, looking up and she removes the lid, drops a few little bits of mushroom into the lapsang ...<\/dialogue>\n    <dialogue>just enough for a nice good stomach ache, hopefully.\\_<\/dialogue>\n    <scene_description>CUT TO: INT . BREAKFAST- NEXT MORNING. Cyril and Reynolds at their usual spots. Reynolds is in a mood. It's quiet and then:<\/scene_description>\n    <character>CYRIL<\/character>\n    <dialogue>Would you like me to ask Alma to leave?<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>No. Why?<\/dialogue>\n    <character>CYRIL<\/character>\n    <dialogue>If you're going to make her a ghost, go ahead and do it, don't let her sit around here waiting for you.<\/dialogue>\n    <scene_description>He eats , doesn \u2022 t answer ...... INT . WORKROOM<\/scene_description>\n    <character>- DAY.<\/character>\n    <dialogue>VARIOUS IMAGES showing a few weeks of work and mood around the House of Woodcock, Sketches, toiles, finished Garments, fit on Alma. Silence between Alma and Reynolds. Silence between Reynolds and Cyril.<\/dialogue>\n    <dialogue>The Staff are on needles, feeling like Mom and Dad are fighting.<\/dialogue>\n    <dialogue>The Wedding Dress takes up half the work space, laying on every square inch of table, a long train attached to a form...extra Women have been brought in to help.<\/dialogue>\n    <scene_description>CU. REYNOLDS. thick glasses, sewing into a secret section of the dress, a message of good will to the Princess. \"Never Cursed\" He coughs. Nana is with him;<\/scene_description>\n    <character>NANA<\/character>\n    <dialogue>you don't sound well.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>I have a tickle in my throat-nothing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATELIER - NEXT MORNING<\/stage_direction>\n    <scene_description>The FINISHED WEDDINGDRESS is ready for final touches and looks. It hangs on a form. Everyone wears white gloves. Reynolds steps into the workroom, everyone stands and says hello. He's sweating and trying to act normal but it's very obvious he ' s ill. Reynolds walks along the train, inspecting , making small notes and approvals. Everyone notices his condi tion ...he is sweating , and it is soaking his shirt- ANGLEI LATER. He's l ooking over the sleeve of the dress.<\/scene_description>\n    <character>REYNOLDS<\/character>\n    <dialogue>This i s not right, what is t hi s?<\/dialogue>\n    <scene_description>Nana and Biddy watching him struggling to keep it together.<\/scene_description>\n    <character>BIDDY<\/character>\n    <dialogue>You're burning up.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>I'm not .<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>Reynolds, what can I do?<\/dialogue>\n    <character>REYNOLDS(OC)<\/character>\n    <dialogue>I'll be out in a moment. I'm just fine.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>darling, please let me in...I can help you. I can help you if you'd let me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM<\/stage_direction>\n    <character>- THAT MOMENT.<\/character>\n    <dialogue>Reynolds is holding the sink to gain balance.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>leave me alone and don't fuss.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM<\/stage_direction>\n    <character>- THAT MOMENT<\/character>\n    <dialogue>.<\/dialogue>\n    <scene_description>Back to Alma. She leaves the room quickly\" ''\"\"<\/scene_description>\n    <character>CUT TO:<\/character>\n    <dialogue>ALMA<\/dialogue>\n    <scene_description>yes, but we'll just get you settled --<\/scene_description>\n    <character>REYNOLDS<\/character>\n    <dialogue>don't fuss. don't fuss. whatever it is. don't fuss - I'll die right here if you make a fuss.<\/dialogue>\n    <scene_description>She keeps quiet and hovers near .. he \u2022 s cold shivers ...she grabs a BLANKETand covers him......... He's closing his eyes and laying stilL ......<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CYRIL'S OFFICE - THAT MOMENT<\/stage_direction>\n    <scene_description>Nana, Biddy have reported to Cyril what's happened . Dial.<\/scene_description>\n    <character>BIDDY<\/character>\n    <dialogue>Mr. Woodcock seems to be ill.<\/dialogue>\n    <character>CYRIL<\/character>\n    <dialogue>who seems to be ill?<\/dialogue>\n    <character>CYRI L<\/character>\n    <dialogue>shoe polish from what?<\/dialogue>\n    <character>BIDDY<\/character>\n    <dialogue>From his shoe .<\/dialogue>\n    <character>CYRIL<\/character>\n    <dialogue>Where is Hr . Woodcock right now?<\/dialogue>\n    <character>BIDDY<\/character>\n    <dialogue>He's gone to his room. I think to be sick. There's a terrible noise coming from there.<\/dialogue>\n    <character>CYRIL<\/character>\n    <dialogue>What does this mean for the dress?<\/dialogue>\n    <character>BIDDY<\/character>\n    <dialogue>We have to start over .\\_<\/dialogue>\n    <scene_description>CUT TO: INT . STAIRWELL - MOMENTSLATER Cyril heads up the stairs\\_<\/scene_description>\n    <character>REYNOLDS<\/character>\n    <dialogue>It doesn't hurt, leave me alone, it's all over, it'll be gone quickly.<\/dialogue>\n    <character>CYRIL<\/character>\n    <dialogue>Is it in your stomach?<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>leave me alone.<\/dialogue>\n    <character>CYRIL<\/character>\n    <dialogue>Do you think it's something you ate?<\/dialogue>\n    <scene_description>Alma places the cold towel to his head, REYNOLDS(to Alma) I don't know what this is. I've never had a feeling like this before.<\/scene_description>\n    <character>ALMA<\/character>\n    <dialogue>I'm here.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>just give me silence.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>I'm scared this will never go away.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>Yes of course you are but this is nothing to fear. you're simply sick and I will take care of you \u2022.<\/dialogue>\n    <scene_description>Reynolds looking with deep need at Alma and Alma looking at him with a deep mission to take care of him...she also seems aroused.<\/scene_description>\n    <character>REYNOLDS<\/character>\n    <dialogue>am I eve r going to get better?<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>yes, darling, yes. I will take care of you.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>my love .\u2022<\/dialogue>\n    <scene_description>He finally closes his eyes for some rest. CUT TO:<\/scene_description>\n    <character>ALMA<\/character>\n    <dialogue>there's no need, he's not dying, he's just sleeping now.<\/dialogue>\n    <character>CYRIL<\/character>\n    <dialogue>Come out of the room and immediately down the stairs to greet him.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>Yes, of course.<\/dialogue>\n    <scene_description>Cyril leaves ...Alma comes out and down,\\_ CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM- MOMENTS<\/stage_direction>\n    <character>LATER<\/character>\n    <dialogue>Alma comes into the dining room. Cyril is here , with Dr. Hardy ,\\_t his is the first time Alma meets him.,.,\\_,<\/dialogue>\n    <character>CYRIL<\/character>\n    <dialogue>Alma, this is Dr . Hardy ...<\/dialogue>\n    <character>DR. ROBERT<\/character>\n    <dialogue>How'd you do, Mrs. Woodcock,<\/dialogue>\n    <character>OR. ROBERT<\/character>\n    <dialogue>would you like me to see him?<\/dialogue>\n    <character>CYRIL<\/character>\n    <dialogue>yes, why don't we go upstairs.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>yes of course why don\u2022 t we go ...<\/dialogue>\n    <scene_description>Cyril leads the group going upstairs. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM- MOMENTS LATER.<\/stage_direction>\n    <scene_description>Alma, Cyril and Dr. Robert come into the bedroom. Cyril sits bedside.<\/scene_description>\n    <character>CYRIL<\/character>\n    <dialogue>Mr . Woodcock, Mr. Woodcock. Lady Baltimore has sent her Doctor ...<\/dialogue>\n    <scene_description>He opens his eyes. He's completely out of it. half asleep\/drained. Dr. Robert places h .ts hand on him - he's<\/scene_description>\n    <character>DR. ROBERT<\/character>\n    <dialogue>I admit I do look young, but I am here to help you.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>fuck off<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>I think that makes it clear, he wants you to fuck off.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRONT HALLWAY<\/stage_direction>\n    <character>- MOMENTS<\/character>\n    <dialogue>LATER<\/dialogue>\n    <scene_description>Alma and Cyril walking the Doctor to the door --<\/scene_description>\n    <character>DR. ROBERT<\/character>\n    <dialogue>I will drop by tomorrow in the morning to see how he's coming along -<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>It 's not neccesary.<\/dialogue>\n    <character>DR. ROBERT<\/character>\n    <dialogue>Yes of course, but why not -<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>He's not dying, this is nothing to worry about.<\/dialogue>\n    <dialogue>Thank you for coming.<\/dialogue>\n    <character>DR. ROBERT<\/character>\n    <dialogue>yes, of course. Do please let me know if you need anything else. Good night.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>Thank You, Good Night, Dr.<\/dialogue>\n    <character>CYRIL<\/character>\n    <dialogue>good night, Dr.<\/dialogue>\n    <scene_description>He leaves. Cyril and Alma stand together.<\/scene_description>\n    <character>ALMA<\/character>\n    <dialogue>what about the dress?<\/dialogue>\n    <character>CYRIL<\/character>\n    <dialogue>I'll take care of that.<\/dialogue>\n    <scene_description>cu. Alma comes over, gets her assignment and puts her hand on the Wedding Dress .. as if she's breaking some spell or supers ti tion- ..-.They work all night to fix the dress -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REYNOLDSBEDROOM<\/stage_direction>\n    <character>- NIGHT.<\/character>\n    <dialogue>Reynolds is sweating, tossing, turning. Fire place is making shapes on the wall ...<\/dialogue>\n    <dialogue>He looks and sees his MOTHERIN BER WEDDINGDRESS. She sits across the room and looks at him.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>are you here? are you always here?<\/dialogue>\n    <dialogue>I miss you. I think about you all the time. I hear your voice say my name when I dream and then I wake up and I have tears down my face.<\/dialogue>\n    <dialogue>I just miss you. I want to tell you everything.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WORKROOM<\/stage_direction>\n    <scene_description>or SALON- DAWN Alma is asleep in the atelier, alone, the Wedding Dress is finished and on the form. .. ,Reynolds crosses the room and comes to her. She wakes up;<\/scene_description>\n    <character>REYNOLDS<\/character>\n    <dialogue>I love you, Alma .<\/dialogue>\n    <dialogue>I don't ever want to be without you.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>I love you too<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>I have things I want to do.<\/dialogue>\n    <dialogue>I had thought my days were unlimited.<\/dialogue>\n    <dialogue>The mistakes I've made and made again can no longer be ignored.<\/dialogue>\n    <dialogue>There are things nagging at me. Things that now must be done.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>Yes. ..wil l you marry me?<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>Yes , I wil l.<\/dialogue>\n    <scene_description>CUT TO1: I NT. LONDONREGISTRAR'S QFFICE - DAY Reynolds, Alma , Cyril, Nigel Cheddar - Goode and Alma's sister Steff arc here for a cer emony. Signatures, rings, kiss and then they' re done ...\\_ . Alma looks beautiful in a new dr e ss made by Reynolds . CUT TO: INT . DINNER SPOT\/ CLUB - NIGHT A dinner celebration for the wedding. Various Images. Reynolds stage managing and over-specific about how Wedding Photo's should be taken. Staff is here as well, seen for the first time outside of t he atelier .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BALTIMORE- ESTATE - DAY<\/stage_direction>\n    <scene_description>Alma and Reynolds come to visit the Estate of LADY OPAL BALTIMORE(50s) and her daughter MINI-LADY BALTIMORE(16) They are staying in a luxurious room, come down for a dinner, greet other weekend guests (TBO Guest List ) , they come across: OR. ROBERTHARDY, who is here ...he approaches them;<\/scene_description>\n    <character>DR. ROBERT<\/character>\n    <dialogue>Good evening, Mr. and Mrs. Woodcock<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>How do you do, Dr . - Reynolds, do you remember Dr. Hardy?<\/dialogue>\n    <character>DR. ROBERT<\/character>\n    <dialogue>How do you do, Mr. Woodcock, how are you feeling?<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>I beg your pardon, I think I owe you an apology - we have met in a puddle of sweat, haven't we?<\/dialogue>\n    <character>DR. ROBERT<\/character>\n    <dialogue>Lady Baltimore comes over to ask everyone to sit for dinner .. she has her sights set on Reynolds and takes him to the table .......<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ESTATE - DINNING ROOM- NIGHT.<\/stage_direction>\n    <scene_description>Dinner is at a long table. Reynolds is at one end with Lady Baltimore and some other boring people. Alma is seated at the other end of the table, next to Dr. Robert and the young Daughter Baltimore ( 18 ) ... Reynolds watching. Alma looks at him, he SMILES WIDELY, she looks away ...his face drops .. Lady Baltimore engaging and distracting Reynolds ..<\/scene_description>\n    <character>LADY BALTIMORE<\/character>\n    <dialogue>It's such a pleasure to have you dine with us.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>I wasn't aware I had a choice.<\/dialogue>\n    <character>LADY BALTIMORE<\/character>\n    <dialogue>LADY BALTIMORE<\/dialogue>\n    <scene_description>that humour againl who am I to argue colour with you? DR.ROBERT &amp; ALMA. He chats her up, sweet l y and innocent enough:<\/scene_description>\n    <character>DR ROBERT<\/character>\n    <dialogue>what are your plans for New Year's Eve?<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>we don't have any. We'll stay in .<\/dialogue>\n    <character>DR ROBERT<\/character>\n    <dialogue>You should come out to for the Chelsea Arts Club Ball.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>I don't know what that is.<\/dialogue>\n    <character>DR ROBERT<\/character>\n    <dialogue>It's not something I 'd suggest if I didn't t hink that you'd have a wonderful time. It's really something to be seen.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>ALMA<\/dialogue>\n    <scene_description>Maybe I've had all the fun I'll ever have. Maybe I've already had the greatest time He looks at her ..\\_..she looks up at him.<\/scene_description>\n    <character>ALMA<\/character>\n    <dialogue>Where is it?<\/dialogue>\n    <character>DR, ROBERT<\/character>\n    <dialogue>The Devonshire Hall.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>Thank you for invit i ng us .-<\/dialogue>\n    <scene_description>She looks back at Reynolds- . ,who is looking at her ...then he turns to listen to Lady Baltimore. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BADMINTON<\/stage_direction>\n    <character>ESTATE -LIVING\/GAME ROOM- LATER.<\/character>\n    <dialogue>It's evening and the guests are by the fire in a large sitting room playing in a Backganwon Match round robin. Alma and Reynolds play against each other in a first round . It's tense.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>it's your turn.<\/dialogue>\n    <scene_description>They roll back and forth. Alma counting out her moves -<\/scene_description>\n    <character>REYNOLDS<\/character>\n    <dialogue>Must you count your moves out loud?<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>You snap your tongue together as you roll, must you do that each time?<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>oh quiet down. I don't do that.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>You quiet down. don't be so cranky about a game . it's a stupid game.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>I'm sure it's stupid as long as you're losing at it, but if you happen to be victorious I'm sure you'd see it a different way --<\/dialogue>\n    <scene_description>Reynolds rolls, clicks hi s teeth, wins the Backgammon game and<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOWNHOUSE\/DINING<\/stage_direction>\n    <character>ROOM- LATER.<\/character>\n    <dialogue>Eating dinner. New Year's Eve program playing on the radio. Reynolds i s sketch i ng and eating and not talk i ng. She looks for conversat i on that never comes.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>I want to go dancing.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>When?<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>Right now .<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>\u2022.you\u2022 re joking.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>No I'm not .<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>I'm not go i ng dancing.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>I ' m going dancing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSTAIRS ATELIER - NIGHT.<\/stage_direction>\n    <scene_description>Reynolds is working on a toile. Silent, can't focus . He leaves the room. .. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ALBERT\/DEVONSHIREHALL - NIGHT.<\/stage_direction>\n    <scene_description>It's New Years Eve madness at the Chelsea Arts Club Ball. People dressed in insane costumes under the theme \"Buntin\u2022 Shootin\u2022 Fishin\u2022\u2022 People dressed as cowboys, indians, aliens (see research footage for this) The crowd is young Art Students, Alma's age, who are all very very drunk, rowdy and looking for trouble. Reynolds, not in costume for the occasion, comes around looking for her ...He finds her. She's off to the side. She 's been crying. \"Auld La ng Syne\u2022 is playing, people kissing, dancing. Reynolds and Alma face to face, he takes her by the wrist and out of there ... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APARTMENT- SALON- MORNING<\/stage_direction>\n    <character>MRS \u0080\ufffd VAUGHAN<\/character>\n    <dialogue>don't I look a little fat?<\/dialogue>\n    <scene_description>Alma walks over.<\/scene_description>\n    <character>ALMA<\/character>\n    <dialogue>Where is it that you feel l ike that?<\/dialogue>\n    <character>MRS.<\/character>\n    <dialogue>Here,<\/dialogue>\n    <character>VAUGHAN<\/character>\n    <dialogue>around<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>what if we did this ...do you think that would help?<\/dialogue>\n    <scene_description>She squeezes some fabric together, slimming the silhouette ...<\/scene_description>\n    <character>MRS \u0080\ufffd VAUGHAN<\/character>\n    <dialogue>Yes, I do.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CYRIL'S OFFICE - AFTERNOON.<\/stage_direction>\n    <scene_description>Cyril is at her desk. Reynolds comes in and sits down:<\/scene_description>\n    <character>REYNOLDS<\/character>\n    <dialogue>Chic? that's a dirty word. Chic. Whoever invented it should be spanked publicly. I don't even know what that word<\/dialogue>\n    <dialogue>means . what is that word? Chic. Fucking chic.<\/dialogue>\n    <dialogue>they should be hung, drawn and quartered for that word. fucking chic.<\/dialogue>\n    <character>CYRIL<\/character>\n    <dialogue>It shouldn't concern you.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>But it does, Cyril. It does. It hurts my feelings. My feelings are hurt.<\/dialogue>\n    <character>CYRIL<\/character>\n    <dialogue>so what's all this moaning about?<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>I'm not moaning. I don't want to be ignored.<\/dialogue>\n    <character>CYRIL<\/character>\n    <dialogue>No one does. but I don't want to hear about it because it hurts my ears.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CYRIL'S OFFICE - THAT MOMENT<\/stage_direction>\n    <scene_description>Reynolds looking at Cyril, lowers tone appeals to her:<\/scene_description>\n    <character>REYNOLDS<\/character>\n    <dialogue>I can't work. I can't concentrate. I have no confidence.<\/dialogue>\n    <dialogue>you need to help me with this .. I can\u2022 t do this with her ...<\/dialogue>\n    <scene_description>Behind Reynolds, Alma walks into the room, quietly CU. CYRIL doesn't move her eyes from Reynolds, allowing Alma in to hear everything ...<\/scene_description>\n    <character>REYNOLDS<\/character>\n    <dialogue>we built this house. the two of us.<\/dialogue>\n    <dialogue>things casting a long shadow\\_<\/dialogue>\n    <dialogue>her arrival has cast a very long shadow, Cyril ...<\/dialogue>\n    <scene_description>ALMA( to Cyr 11)<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COUNTRYHOUSE- KITCHEN- AFTERNOON.<\/stage_direction>\n    <scene_description>CU. ALMA . she is sorting mushrooms. the poison ones from the good ones. CU. REYNOLDS he is sketching. Gloomy silence between them. CU. ALMA she's about to throw away the bad mushrooms SLOWZOOMIN ON HER FACE. CU, REYNOLDS he is deep in his sketchbook. She discards the mushrooms, into a CUP. And then she takes the cup and she places them on a high shelf - she turns around. He's sketching.<\/scene_description>\n    <character>ALMA<\/character>\n    <dialogue>did you hea r what I said?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COUNTRYHOUSE - KITCHEN- AFTERNOON.<\/stage_direction>\n    <scene_description>CU. ALMA. she is cooking dinner again. CU. REYNOLDS he is sketching. he looks up and watches her .\u2022 CU. ALMA, cooking\\_ .. she looks up on a shelf. CU. THE CUP OF POISON MUSHROOMS. her hand reaches up to the shelf and takes them down.. CU. ALMA she turns and looks at Reynolds. SLOWZOOMIN ON HER FACE. SLOWZOOM IN ON REYNOLDS. They look at each other. She turns around, pours the poison mushrooms into the pan and sautes them with some butter ....\\_.,\\_,<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ATELIER - EVENING<\/stage_direction>\n    <scene_description>Alma gets dressed . She wea.rs the early 20s DRESS that Reynolds worked as an apprentice on...\u2022. She looks in the mirror .. she takes on strength from the dress. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROON\/COUNTRY<\/stage_direction>\n    <character>HOUSE - NIGHT<\/character>\n    <dialogue>The food is on the table. Reynolds enters, sits down. Alma enters . . .<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>Wine?<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>no thank you.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>can I make you a martini?<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>nothing for me.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>...you' re not going to die ...You might wish you were going to die, but you're not going to . You Just Need To Settle Down.<\/dialogue>\n    <scene_description>He swallows.<\/scene_description>\n    <character>REYNOLDS<\/character>\n    <dialogue>Kiss me my girl, before I ' m sick,<\/dialogue>\n    <scene_description>ANGLE,~ALMA AND REYNOLDS they kiss. And smile at each other. Reynolds couldn ' t be more excited at the sight of her- CUT TO: CU. ALMA petting his head, and keeping him safe.<\/scene_description>\n    <character>REYNOLDS<\/character>\n    <dialogue>should we call that Boy Doctor ..just in case . .?<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>you don ' t trust me?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COUNTRYHOUSE- HORNING<\/stage_direction>\n    <scene_description>Dr. Robert arrives. Alma opens the door for him.\\_<\/scene_description>\n    <character>ALMA (VO)<\/character>\n    <dialogue>In this life and the next and the next after that and for whatever there is on the road that follows from here ...It would only require my patience that I would get to him again.<\/dialogue>\n    <scene_description>Alma greets him:<\/scene_description>\n    <character>ALMA<\/character>\n    <dialogue>thank you for coming, or\\_.<\/dialogue>\n    <character>DR. ROBERT<\/character>\n    <dialogue>Of course, Mrs. Woodcock -<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM<\/stage_direction>\n    <scene_description>CU. REYNOLDS being checked on by Dr. RoberL.he flashes a light in his eyes, checks his vitals, etc . Alma stands nearby. EXT, LONDON\/PARK - DUSK Reynolds and Alma, walking together in the park, winter. She's wearing the TWEEDCOAT from earlier .. ...... they are talking about their work. CUT TO: INT, SALON\/PETIT SALON - DAY Alma, fitting a fashionable Young Woman (20s) for a dress of her design. Cyril working with Steff, who shadows her ... CUT TO: INT, COUNTRY HOUSE - LIVING ROOM - NIGHT It's months later, sitting by a fire, Alma and Reynolds together on the couch.<\/scene_description>\n    <character>ALMA<\/character>\n    <dialogue>Sometimes I jump ahead in our life together and I see a time, near the end...I can predict the future ...and everything has settled.<\/dialogue>\n    <dialogue>All our lovers and chi l dren come back and<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COUNTRYHOUSE- LIVING ROOM- NIGHT<\/stage_direction>\n    <scene_description>Back to them sitting by the fire together.<\/scene_description>\n    <character>REYNOLDS<\/character>\n    <dialogue>but right now we're here.<\/dialogue>\n    <character>ALMA<\/character>\n    <dialogue>yes of course we are.<\/dialogue>\n    <character>REYNOLDS<\/character>\n    <dialogue>and I'm getting hungry<\/dialogue>\n  <\/scene>\n<\/script>","summary":"In 1954 London, fashion designer Reynolds Woodcock creates dresses for members of high society, including royalty. His clients view him as a genius whose creations enable them to become their best selves; but his creativity and charm are matched by his obsessive and controlling personality. Cyril, his sister, manages the day-to-day operations of his fashion house and tries to protect him from anything that might distract him from his work. The superstitious Reynolds is haunted by the death of their mother and often stitches hidden messages into the linings of the dresses he makes. After designing a new gown for a revered client, Lady Harding, Reynolds visits a restaurant near his country house and meets a foreign waitress, Alma Elson. She accepts his invitation to dinner. Their relationship blossoms, and she moves in with him, becoming his model, muse, and lover, although the physicality between the two is very subtle. Cyril initially distrusts Alma but comes to respect her willfulness and determination. At first, Alma enjoys being a part of Reynolds's work, but he proves aloof, hard to please, and finicky; as a result, they start to bicker. When Alma tries to show her love for Reynolds by preparing a romantic dinner, he lashes out, saying he will not tolerate deviations from the routines he has worked hard to perfect. Alma retaliates by poisoning Reynolds's tea with wild mushrooms gathered outside the country house. As he readies a wedding gown for a Belgian princess, Reynolds collapses, damaging the dress and forcing his staff to work all night to repair it. He becomes gravely ill and has hallucinations of his mother.  Alma stays by his side, tirelessly nursing him back to health. After Reynolds recovers, he tells Alma that a house that does not change \"is a dead house\" and asks her to marry him. Taken aback, she hesitates but then accepts. Following a pleasant honeymoon in Switzerland, however, Reynolds and Alma start bickering again as Reynolds's domineering personality reasserts itself. Cyril reveals to Reynolds that Lady Harding is now a client at a rival fashion house and suggests that his classic, conservative designs may be going out of style. Reynolds blames Alma for being more a distraction than an inspiration, and Alma overhears him telling Cyril that it may be time to end the marriage. At the country house, Alma makes Reynolds an omelet poisoned with the same mushrooms as before. As he chews his first bite, she informs him that she wants him weak and vulnerable so that he has to depend on her to take care of him. Reynolds willingly swallows the bite and tells her to kiss him before he is sick. As Reynolds lies ill once again, Alma imagines their future with children, a rich social life, and a bigger role for her in the dressmaking business. She acknowledges that while there may be challenges ahead, their love and their complementary needs can overcome them."}
{"movie_name":"Hot Fuzz_2007","imdb_id":"tt0425112","script":"<script>\n  <scene>\n    <scene_description>by Simon Pegg and Edgar Wright<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MTROPOLITAN POLICE STATION. FRONT DESK M DAY<\/stage_direction>\n    <scene_description>POLICE CONSTABLE NICHOLAS ANGEL bursts through the entrance of a eity police station and \\[U+FB02\\]ashes his warrant card.<\/scene_description>\n    <character>MALE VOICE (V.0.}<\/character>\n    <dialogue>Police Constable Nicholas Angel.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. METROPOLITAN POLICE STATION - DAY<\/stage_direction>\n    <scene_description>ANGEL strides down a corridor. His collar number reads 777.<\/scene_description>\n    <character>MALE VOICE (V.O.)<\/character>\n    <dialogue>Born and schooled in London. Graduated from Canterbury University in 1993 with a double \\[U+FB02\\]rst in politics and sociology.<\/dialogue>\n    <scene_description>INSERT: ANGEL at training college standing amongst dopey looking trainees. They wear navy tee shirts and shorts.<\/scene_description>\n    <character>MALE VOICE (V.0.}<\/character>\n    <dialogue>Attended police training college, displaying an impressive aptitude in both field training and theoretical studies.<\/dialogue>\n    <scene_description>INSERT: ANGEL running in riot gear down an alley, dodging petrol bombs, storming a fake hostage situation, finishing an exam and holding the paper aloft.<\/scene_description>\n    <character>MALE VOICE (V.0.}<\/character>\n    <dialogue>Excelled way beyond peers, passed into the Metropolitan Police Service-<\/dialogue>\n    <scene_description>INSERT: ANGEL surrounded by the same dopey faces as before, this time in full uniform, at a graduation parade.<\/scene_description>\n    <character>MALE VOICE (V.O.)<\/character>\n    <dialogue>-and soon proved worth as an officer. Establishing both a popularity and an effectiveness in the community-<\/dialogue>\n    <scene_description>INSERT: ANGEL talking with elderly people, a Chinese family in their native tongue, young offenders in a hall.<\/scene_description>\n    <character>MALE VOICE (V.0.}<\/character>\n    <dialogue>-Furthering his skills with elective training courses in advanced driving-<\/dialogue>\n    <scene_description>INSERT: ANGEL doing an elaborate skid in a police car.<\/scene_description>\n    <character>MALE VOICE (V.O.)<\/character>\n    <dialogue>-as well as pioneering the use of the mountain bicycle-<\/dialogue>\n    <scene_description>INSERT: ANGEL doing an elaborate skid on a police bike.<\/scene_description>\n    <character>MALE VOICE (V.O.)<\/character>\n    <dialogue>-and raising of\\[U+FB02\\]oe morale with an inventive use of desktop publishing-<\/dialogue>\n    <scene_description>INSERT: ANGEL pinning up various notices in bright colours; they read 'BIKE SHED', 'CANTEEN', 'HATE CRIMES'.<\/scene_description>\n    <character>MALE VOICE (V.O.)<\/character>\n    <dialogue>-Also became heavily involved in many extra curricular activities and to this day holds the Met record for the 100 metre dash.<\/dialogue>\n    <scene_description>INSERT: ANGEL fencing, doing judo, playing chess, bursts through a finishing tape at speed.<\/scene_description>\n    <character>MALE VOICE (V.0.}<\/character>\n    <dialogue>-In 2001 began operations in a North London armed response unit, Whiskey, Bravo 7-<\/dialogue>\n    <scene_description>INSERT: ANGEL bursts into a stairwell of an apartment block as part of a heavily armed response team.<\/scene_description>\n    <character>MALE VOICE (V.O.)<\/character>\n    <dialogue>-and received a bravery award for efforts in the resolution of Operation Crackdcwn-<\/dialogue>\n    <scene_description>INSERT: ANGEL storms a room where a wild eyed CRACKHEAD holds a family hostage with a KALISHNIKOV. ANGEL responds fast, firing a short burst. His expression is one of shock.<\/scene_description>\n    <character>MALE VOICE (V.O.)<\/character>\n    <dialogue>In the last twelve months alone, has received nine special commendations, achieved the highest arrest record for any officer in the borough and sustained three injuries in the line of duty, most recently in December when wounded by a man dressed as Eather Christmas.<\/dialogue>\n    <scene_description>INSERT: We see \\[U+FB02\\]ashes of framed commendations, multiple cuffing and a violent altercation with a wild eyed St. Nick.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MTROPOLITAN POLICE STATION. FRONT DESK M DAY<\/stage_direction>\n    <scene_description>POLICE CONSTABLE NICHOLAS ANGEL bursts through the entrance of a city police station and \\[U+FB02\\]ashes his warrant card.<\/scene_description>\n    <character>MALE VOICE (V.0.}<\/character>\n    <dialogue>Police Constable Nicholas Angel.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SERGEANT'S GEEICE - DAY<\/stage_direction>\n    <scene_description>ANGEL sits opposite a jovial SERGEANT of the same age.<\/scene_description>\n    <character>SERGEANT<\/character>\n    <dialogue>Hello Nicholas. How's the hand?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Still a bit stiff.<\/dialogue>\n    <character>SEEGEANT<\/character>\n    <dialogue>Hardly fitting for such a good boy.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I'm sorry Sergeant?<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>Getting stabbed by Santa.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Right.<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>It can get awfully hairy out there. I'm surprised you hadn't been snapped up into a nice desk job before. That's what I did.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I know sergeant. I prefer to think my office is out on the street.<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>Indeed you do. Your arrest record is 460% higher than any other officer. And your paperwork is really quite exemplary. You do like to cross the 'I's and dot the 'T's.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Dot the 'I's and cross the 'T's.<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>Exactly. And that's why it's high time such skills were put to better use. We're making you Sergeant.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I see.<\/dialogue>\n    <character>SERGEANT<\/character>\n    <parenthetical>(mumbles)<\/parenthetical>\n    <dialogue>In Sandford, Gloucestershire.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>In where sorry?<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>In Sandford, Gloucestershire.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>That's in the country.<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>Yes, lovely.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>That's miles away.<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>Lovely.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Is there not a Sergeant's position in London?<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Well, can I just stay here as a P.C.?<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>Nooo.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Do I have any choice in this?<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>Noooo.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>But, I like it here.<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>You always said you wanted to transfer to the country.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>In twenty years time maybe.<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>Well done you.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Hang on - I don't actually remember telling you that.<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>Yes you did, you said\"<\/dialogue>\n    <parenthetical>(slyly looks at notes)<\/parenthetical>\n    <dialogue>\"I'd love to settle down in the country sometime Janine\".<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I'd like to talk to the Inspector.<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>Hey, fine. You can talk to the Inspector, but I promise he'll say the same thing as me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SERGEANT'S OFFICE - DAY<\/stage_direction>\n    <scene_description>An equally jovial INSPECTOR sits alongside the SERGEANT.<\/scene_description>\n    <character>INSPECTOR<\/character>\n    <dialogue>Hello Nicholas. How's the hand?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Still a bit stiff.<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>How are things at home?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I'm sorry sir?<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>How's Janine?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>We're no longer together sir-<\/dialogue>\n    <character>INSEECTQR<\/character>\n    <dialogue>So where are you living now?<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>He's in the Section House sir.<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>With all the recruits?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Temporarily yes, but-<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>Well, we must get you out of there.<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>Yes, he's living out of cardboard boxes.<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>Well, then you're already packed. Nicholas, we're offering you a smashing position and a delightful cottage in a lovely little place that's been voted 'Village of the Year' I don't know how many times. It'll be good for you.<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>We're only asking you to go for nine months.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Nine months!?<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>A year.<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>Two years tops.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I really don't know what to say-<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>Just say yes.<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>Just say yes, thank you.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>No, I'm sorry sir, I want to-<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>-take this higher?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Yes. Yes I do.<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>You want me to bother the Chief Inspector with this?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Yes I do.<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>You want me to get the Chief Inspector to come all the way down here?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>Okay. Kenneth?<\/dialogue>\n    <scene_description>The jovial CHIEF INSPECTOR (50's) enters. ANGEL stands.<\/scene_description>\n    <character>CHIEF INSPECTOR<\/character>\n    <dialogue>Hello Nicholas. How's the hand?<\/dialogue>\n    <character>INSPECTOR &amp; SERGEANT<\/character>\n    <dialogue>Still a bit stiff.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Chief Inspector-<\/dialogue>\n    <character>CEIEF INSPECTOR<\/character>\n    <dialogue>Keep your seat. Now, I know what you're going to say, but the fact is, you're making us all look bad.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I'm sorry sir?<\/dialogue>\n    <character>CHIEF INSPECTOR<\/character>\n    <dialogue>Of course we all appreciate your efforts, but you're rather letting the side down.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>But, my record is 406% higher than everyone else.<\/dialogue>\n    <character>CHIEF INSPECTOR<\/character>\n    <dialogue>Exactly...<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I'm not sure I-<\/dialogue>\n    <character>CHIEF INSPECTOR<\/character>\n    <dialogue>Sometimes you've just got to sail the middle path.<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>It's all about being a team player, Nicholas.<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>You can't be the Sheriff of London.<\/dialogue>\n    <character>CHIEF INSPECTOR<\/character>\n    <dialogue>If we let you carry on running around town, you'll just continue to be exceptional and we can't have that. You'll put us all out of a job.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>With the greatest respect, sir. You can't just make people disappear.<\/dialogue>\n    <character>CHIEF INSPECTOR<\/character>\n    <dialogue>Yes I can. I'm the Chief Inspector.<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>No one's disappearing, Sergeant.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>However you spin this, there's one thing you haven't counted on. And that's what the 'team' are going to make of this.<\/dialogue>\n    <scene_description>ANGEL exits the office and is greeted by every officer in the force, clasping plastic glasses. A makeshift sign made from colour photocopied sheets reads 'GOOD LUCK NICHOLAS'.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GROUNE FLOOR ESTATE FLAT - DAY<\/stage_direction>\n    <scene_description>A group of Crime Scene Investigators dressed in white protective suits, face masks and goggles, work in a blood spattered room. A mobile rings. One of the CSI's picks up.<\/scene_description>\n    <character>JANINE<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <character>ANGEL (O.S.}<\/character>\n    <dialogue>Janine. It's me.<\/dialogue>\n    <character>JANINE<\/character>\n    <dialogue>I know. I'm at work.<\/dialogue>\n    <character>ANGEL (O.S.)<\/character>\n    <dialogue>I know. I'm outside.<\/dialogue>\n    <scene_description>JANINE turns to see ANGEL outside the window on his mobile.<\/scene_description>\n    <character>ANGEL (CONT'C}<\/character>\n    <dialogue>What's the situation?<\/dialogue>\n    <character>JANINE<\/character>\n    <dialogue>You know the situation. We've been over this.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I meant here.<\/dialogue>\n    <character>JANINE<\/character>\n    <dialogue>Two people involved, distinct signs of a struggle. A complete mess.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>You are talking about here?<\/dialogue>\n    <character>JANINE<\/character>\n    <dialogue>Nicholas, what do you want?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I need to tell you something and I didn't want to do it over the phone.<\/dialogue>\n    <scene_description>ANGEL disappears. Beat. He re-enters moments later and approaches the hallway door. He sees JANINE.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Janine, I'm being transferred. I'm going away for a while-<\/dialogue>\n    <character>MALE CSI<\/character>\n    <dialogue>I'm not Janine.<\/dialogue>\n    <scene_description>A cough. ANGEL turns to find JANINE standing to his right.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Janine, I'm being transferred. I'm going away for a while.<\/dialogue>\n    <character>JANINE<\/character>\n    <dialogue>I know. Bob told me.<\/dialogue>\n    <scene_description>Another CSI walks past and waves to ANGEL.<\/scene_description>\n    <character>BOB<\/character>\n    <dialogue>Alright?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I just wanted to tell you in person. There's no reason why we can't be civil with each other. It's not so long ago that we were talking about getting married.<\/dialogue>\n    <character>JANINE<\/character>\n    <dialogue>Yes but you were already married to the force weren't you?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>We're actually supposed to refer to it as 'the service' now. Of\\[U+FB02\\]oial'vocab guidelines state that 'force' sounds too aggressive.<\/dialogue>\n    <character>JANINE<\/character>\n    <dialogue>See that's it. It's only ever about the job. It's all you care about.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>That's not true.<\/dialogue>\n    <character>JANINE<\/character>\n    <dialogue>No, you're right, you do have that rubber plant.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>It's actually a Peace Lily.<\/dialogue>\n    <character>JANINE<\/character>\n    <dialogue>You just can't switch off Nicholas.<\/dialogue>\n    <scene_description>JANINE whips off her goggles for emphasis. We are still no wiser as to what she looks like.<\/scene_description>\n    <character>JANINE<\/character>\n    <dialogue>And until you find a person you care about more than your job, you never will. Besides you were the one who suggested we take a break.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Yeah well, guilty people usually make the first move.<\/dialogue>\n    <character>JANINE<\/character>\n    <dialogue>Actually there's something I need to tell you too.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>You're seeing somebody.<\/dialogue>\n    <character>JANINE<\/character>\n    <dialogue>Yes. How did you-?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Is it Bob?<\/dialogue>\n    <scene_description>We see BOB dusting for prints.<\/scene_description>\n    <character>JANINE<\/character>\n    <dialogue>No. Does Bob look like the kind of person I'd go out with?...It's Dave.<\/dialogue>\n    <scene_description>She gestures to an identical CSI. He waves to ANGEL.<\/scene_description>\n    <character>DAVE<\/character>\n    <dialogue>Alright?<\/dialogue>\n    <scene_description>ANGEL looks down and stares at the \\[U+FB02\\]oor. JANINE softens.<\/scene_description>\n    <character>JANINE<\/character>\n    <dialogue>Oh, Nicholas-<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>You do know that window's been broken from the inside?<\/dialogue>\n    <scene_description>The CSIs look to the broken window. JANINE hangs her head.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SECTION HOUSE CORRIDOR\/BEDROOM - DAY<\/stage_direction>\n    <scene_description>We prowl down the corridor of a dormitory to a tiny bedroom. ANGEL packs a large red suitcase and takes down photos from the wall; a blonde child in a toy police car, an article reading 'HERO GUN COP SAVES FAMILY'. Three FRESH FACED RECRUITS appear at the door.<\/scene_description>\n    <character>RECRUIT<\/character>\n    <dialogue>Is it true you're leaving sir?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Yes it is true.<\/dialogue>\n    <character>RECRUIT<\/character>\n    <dialogue>Is it okay if we have your milk?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. TITLES\/TRAVEL NONTAGE - DAY - DUSK<\/stage_direction>\n    <scene_description>ANGEL leaves the section house, striking a lonely figure on the pavement with his suitcase and pot plant under his arm... ...ANGEL cradles his POT PLANT on a crowded TUBE TRAIN... ...ANGEL reads The Guardian on an INTER-CITY TRAIN and eats tofu from a lunch box. Urban landscapes whisr by... ...ANGEL and his POT PLANT at a deserted train station... ...ANGEL sits on a connecting shuttle train. The reception bars on his mobile deplete. Street lights whizz by... ...ANGEL sits in a minicab in semi darkness. Out of the window a sign looms: 'WELCOME TO SANDEORD', 'THE COMMUNITY THAT CARES'. It features a picture of castle ruins. ...Signs whizz by; one pointing to the 'MODEL VILLAGE', a large \\[U+FB02\\]oral display reading 'SANDFOED, VILLAGE OF THE YEAR', a NEIGHBOURHOOD WATCH sign. We see a local church surrounded in scaffolding. Rain spots the cab window.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANDEORD VILLAGE SQUARE - EVENING<\/stage_direction>\n    <scene_description>The minicab pulls away, leaving ANGEL, a lonely figure on the pavement, the pot plant under his arm.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SWAN HOTEL RECEPTION - NIGHT<\/stage_direction>\n    <scene_description>ANGEL comes in to the reception of an up-market guest house, with twee living room furnishings in the foyer. A VERY OLD MAN snores in an armchair. We see a poster for a production of ROMEO AND JULIET. An ornamental sword is mounted above a front desk where a MIDDLE-AGED WOMAN presides. She doesn't look up.<\/scene_description>\n    <character>WOMAN<\/character>\n    <dialogue>It would appear the heavens have opened.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I was hoping I could check in.<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Check in? But you've always been here.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>WOMAN<\/character>\n    <parenthetical>(peering through specs)<\/parenthetical>\n    <dialogue>I'm sorry, I thought you were my husband. You must be Sgt. Angel.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Um, yes I am.<\/dialogue>\n    <character>JOYCE COOPER<\/character>\n    <dialogue>I'm Joyce Cooper. I trust you had a pleasant trip. Fascist.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I beg your pardon?<\/dialogue>\n    <character>JOYCE COOPER<\/character>\n    <dialogue>System of Government characterised by extreme dictatorship. Seven across.<\/dialogue>\n    <scene_description>MRS. COOPER motions to the crossword she's been doing.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Ah. I believe that's 'fascism'.<\/dialogue>\n    <character>JOYCE COOPER<\/character>\n    <dialogue>Fascism? Wonderful. We've put you in the 'Castle Suite'. It's on the second \\[U+FB02\\]oor. Bernard will escort you up.<\/dialogue>\n    <scene_description>She motions to the OLD MAN in the foyer. For a moment he looks dead but a prodigious snore proves otherwise.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>It's okay. I'm sure I can make my own way up. Hag.<\/dialogue>\n    <character>JOYCE COOPER<\/character>\n    <dialogue>I beg your pardon?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Evil old woman considered ugly or frightful. 12 down.<\/dialogue>\n    <character>JOYCE COOPER<\/character>\n    <dialogue>Bless you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SWAN HOTEL CORRIDOR\/ROOM - DAY<\/stage_direction>\n    <scene_description>ANGEL approaches a door marked CASTLE SUITE. He unlocks it and enters. The room is quaint but identical in dimension to his previous accomodation. ANGEL takes off his jacket and places his POT PLANT on the windowsill. It's deathly quiet. ANGEL grabs his jacket again.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANDFORD SQUARE - NIGHT<\/stage_direction>\n    <scene_description>The rain now stopped, ANGEL walks the empty streets. He hears signs of life from the pub. He heads towards it, passing the village fountain, where a group of young children gather. Chatting, leaning on skateboards, they all wear hooded tops. ANGEL frowns and glances at his watch. As he passes, the HOODIES all stare after him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CROWN - NIGHT<\/stage_direction>\n    <scene_description>ANGEL cautiously enters a lively pub, complete with rustic farming equipment and a cheery landlord and landlady.<\/scene_description>\n    <character>ROTUND DRINKER<\/character>\n    <dialogue>Pint of lager, please Mary.<\/dialogue>\n    <character>MARY PORTER<\/character>\n    <dialogue>Right you are my love.<\/dialogue>\n    <character>ROY PORTER<\/character>\n    <dialogue>Yes sir, what can I get you?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Could I have a glass of the... cranberry juice please?<\/dialogue>\n    <character>ROY PORTER<\/character>\n    <dialogue>Certainly. Now, you wouldn't, by any chance, be the new policeman?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Police officer, yes. My name is Nicholas Angel.<\/dialogue>\n    <character>ROY PORTER<\/character>\n    <dialogue>Thought so. I'm Roy Porter and this is my wife Mary.<\/dialogue>\n    <character>MARY PORTER<\/character>\n    <dialogue>Welcome to Sandford. If there's anything you need, let us know.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Thanks. Could I borrow your paper?<\/dialogue>\n    <scene_description>ANGEL points to a 'SANDFORD CITIZEN' on the bar.<\/scene_description>\n    <character>MARY PORTER<\/character>\n    <dialogue>It's not ours love.<\/dialogue>\n    <character>ROY PORTER<\/character>\n    <dialogue>Not big fans of the local fishwrapper, are we Mare? They listed her age as 55\"<\/dialogue>\n    <character>MARY PORTER<\/character>\n    <dialogue>-when I'm actually 53.<\/dialogue>\n    <character>ROTUND DRINKER<\/character>\n    <dialogue>Pint of lager, please Mary.<\/dialogue>\n    <character>MARY PORTER<\/character>\n    <dialogue>Right you are my love.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CROWN - NIGHT<\/stage_direction>\n    <scene_description>ANGEL sits on a stool at the bar reading the paper - (Headlines read 'MYSTERY SURROUNDS PROPOSED EIPASS') A suspiciously young laugh draws ANGEL's attention. Some drinkers at the bar look very fresh faced. Others drink beer through straws. Another drinker guffaws, his BRACES glint. ANGEL is dazzled. He looks to a sign reading 'IT IS ILLEGAL TO SELL ALCOHOL TO ANYONE UNDER THE AGE OF 18'.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CROWN - CONTINUOUS<\/stage_direction>\n    <scene_description>ANGEL strides over to the table of straw drinkers.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Excuse me. When's your birthday?<\/dialogue>\n    <character>YOUNGSTE<\/character>\n    <dialogue>22nd of February.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>What year?<\/dialogue>\n    <character>YOUNGSTER<\/character>\n    <dialogue>Every year.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Okay. Get out.<\/dialogue>\n    <scene_description>JUMPCUT. ANGEL talks to the YOUNGSTER with terrible acne.<\/scene_description>\n    <character>YOUNGSTE 2<\/character>\n    <dialogue>Eighth of May, 1968.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>You're 37?<\/dialogue>\n    <character>YOUNGSTER 2<\/character>\n    <dialogue>...Yeah.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Get out.<\/dialogue>\n    <scene_description>JUMPCUT. A high voiced YOUNGSTER with braces.<\/scene_description>\n    <character>YOUNGSTER 3<\/character>\n    <dialogue>Ummm...<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Out.<\/dialogue>\n    <character>ROY PORTER<\/character>\n    <dialogue>Is there a problem officer?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Yes there is. An awful lot of your patrons appear to be underage Mr. Porter.<\/dialogue>\n    <character>ROY PORTER<\/character>\n    <dialogue>Well, a few of them may be a month or two south of proper. But if they're in here, it stops them getting into trouble out there-<\/dialogue>\n    <character>MARY PORTER<\/character>\n    <dialogue>-doing their business in the street, having fisticuffs, nicking traf\\[U+FB02\\]c cones-<\/dialogue>\n    <character>ROY PORTER<\/character>\n    <dialogue>The way we see it, it's all about the greater good.<\/dialogue>\n    <character>MARY PORTER<\/character>\n    <dialogue>...the greater good.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>That may be, but the law's the law. They'll all have to go.<\/dialogue>\n    <character>MARY PORTER\/ROY PORTER<\/character>\n    <dialogue>Oh.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE CROWN - NIGHT<\/stage_direction>\n    <scene_description>A grumbling group of teens stomp out of the pub.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CROWN - NIGHT<\/stage_direction>\n    <scene_description>ANGEL is sat back at the bar. The pub is now almost empty. The PORTERS are not so cheery now.<\/scene_description>\n    <character>ROY PORTER<\/character>\n    <dialogue>Another cranberry juice?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I'm fine thank you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE CROWN - NIGHT<\/stage_direction>\n    <scene_description>ANGEL strolls out of the pub and walks past the fountain. He tosses a coin in and takes time to observe the plague; 'This fountain was generously'restored with funds raised by Mr F. Butterman, Mrs J. Cooper, Mr R. Hatcher, Miss A. Paver...' A metallic scratching distracts ANGEL. He sees the ROTUND DRINKER trying to put his key in the lock of an ASTRA.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>I hope you're not thinking of driving that.<\/dialogue>\n    <character>ROTUND DRINKER<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <scene_description>The ROTUND ERINKER stumbles away from the car. ANGEL turns back and notices that the plague has been vandalised with a marker pen graffiti tag which appears to be a 'G'. An engine revs behind ANGEL. He jumps back as the ASTRA reverses into the fountain with a resounding crash. He storms over to the driver's door and hauls the ROTUNO DRINKER out, who immediately and loudly throws up.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>I'm taking you down the station... Where is it?<\/dialogue>\n    <scene_description>ANGEL escorts the ROTUND DRINKER by the collar. Up ahead, the underage drinkers pisses in the street. ANGEL coughs.<\/scene_description>\n    <character>UNDERAGE DRINKER<\/character>\n    <dialogue>What?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANDFOED STATION\/FRONT OFFICE - NIGHT<\/stage_direction>\n    <scene_description>ANGEL strides in with the ROTUND DRINKER and the UNDERAGE DRINKER. He has also picked up three other underage drinkers, two scuffed from brawling and one with a traffic cone on his head. He \\[U+FB02\\]ashes his card to a cheery DESK SERGEANT.<\/scene_description>\n    <character>DESK SERGEANT<\/character>\n    <dialogue>Sergeant Nicholas Angel? When did you start?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Tomorrow.<\/dialogue>\n    <character>DESK SERGEANT<\/character>\n    <dialogue>I see you've already arrested the whole village.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Not exactly.<\/dialogue>\n    <scene_description>The DESK SERGEANT looks to the ROTUND DRINKER and laughs. The ROTUNE DRINKER stumbles over to a connecting door.<\/scene_description>\n    <character>DESK SERGEANT<\/character>\n    <dialogue>You in for the night? Four's free.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I need to talk to him.<\/dialogue>\n    <character>DESK SERGEANT<\/character>\n    <dialogue>He'll be no use til the morning. Do you really want to process this lot? My pen's running out.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Not a problem.<\/dialogue>\n    <scene_description>ANGEL retrieves two pens from his pocket. Cue ELASHCUTS of detainees being processed, fingerprints taken, heights measured; (the TRAFFIC CONE kid, unable to remove his headgear is recorded as 8' 2\").<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SWAN HOTEL ROOM - NIGHT<\/stage_direction>\n    <scene_description>ANGEL lies on his bed, staring at the ceiling.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SWAN HOTEL ROOM - MORNING<\/stage_direction>\n    <scene_description>JUMP CUT to the next morning. The bed is empty.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGH STREET - MORNING<\/stage_direction>\n    <scene_description>ANGEL in sweats, jogs out of the hotel. In the daylight, Sandford looks beautiful and idyllic. JOYCE COOPER is up a ladder, watering her hanging baskets. She greets ANGEL cheerily. He passes other early birds who do the same; a FEMALE NEWSAGENT setting out her paper stand, a EOOKISH WOMAN on a bicycle, a cheery VICAR, a dishy DOCTOR. ANGEL sees the crashed ASTRA being towed away by a removal vehicle operated by two GRUFF LOOKING MEN. They nod to him.<\/scene_description>\n    <character>MAN (O.S.)<\/character>\n    <dialogue>Lock me up?<\/dialogue>\n    <scene_description>Another jogger stops by ANGEL. He has a ready smirk and a confident air. He wears a 'SANDFORD FUN RUNNERS' t-shirt.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Sorry?<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>I'm a slasher and I must be stopped.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>You're a what?<\/dialogue>\n    <character>MAN<\/character>\n    <dialogue>A slasher...of prices. I'm joking of course. I'm Simon Skinner, I run the local Super Marche.<\/dialogue>\n    <scene_description>SIMON SKINNER nods to a supermarket named SUMMRAISLES. Pop in some time, my discounts are criminal. Catch me later. SKINNER accelerates into a sprint, leaving a bemused ANGEL at the door of his hotel. ANGEL strides inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANDFORD FRONT OFFICE - MORNING<\/stage_direction>\n    <scene_description>ANGEL strides into the station, now in full uniform. The same DESK SERGEANT is there as before. Although he is now sour faced and has curly hair. ANGEL is a tad confused.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Morning Sergeant. Have you done something with your hair?<\/dialogue>\n    <character>DESK SERGEANT<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Well, could you tell Inspector Butterman that I've arrived?<\/dialogue>\n    <character>DESK SERGEANT<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>DESK SERGEANT<\/character>\n    <dialogue>He's not in yet.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I see. How's our guest?<\/dialogue>\n    <character>DESK SERGEANT<\/character>\n    <dialogue>Guest?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>The inebriate in cell four.<\/dialogue>\n    <character>DESK SERGEANT<\/character>\n    <dialogue>I dunno. Nobody tells me nothing.<\/dialogue>\n    <scene_description>ANGEL walks over to Cell Four and looks through the observation hatch. Panic spreads across his face.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Can I get cell four open?<\/dialogue>\n    <character>DESK SERGEANT (O.S.)<\/character>\n    <dialogue>Danny, can you open four?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Quickly please?<\/dialogue>\n    <character>DESK SERGEANT (O.S.)<\/character>\n    <dialogue>Quickly...please!<\/dialogue>\n    <scene_description>An OFFICER opens the cell. ANGEL walks in to find it empty.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>He's gone.<\/dialogue>\n    <character>OFFICER<\/character>\n    <dialogue>Oh my god? Who's gone?<\/dialogue>\n    <scene_description>We see that the OFFICER is the ROTUND DRINKER.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Why are you dressed as a police officer?<\/dialogue>\n    <character>OFFICER<\/character>\n    <dialogue>Because I am one?<\/dialogue>\n    <scene_description>A jovial man enters the cell in senior officer's garb.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Sergeant Angel, at last. I see you've already met my boy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANK'S OFFICE - DAY<\/stage_direction>\n    <scene_description>FRANK's office is adorned with CERTIFICATES, including 'VILLAGE OF THE YEAR' plagues, along with a POLICE a glass case and two mounted ANTIQUE PISTOLS. We also see a photo of a younger FRANK and DANNY dressed as cowboys and a middle aged woman dressed as a sguaw.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Do forgive me. I'm something of a wild west nut. Speaking of which, that was a fair few outlaws you rounded up last night.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Thank you sir.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I admire your enthusiasm Nicholas and far be it from me to<\/dialogue>\n    <dialogue>sti\\[U+FB02\\]e your \\[U+FB02\\]air, but this isn't London.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>With respect sir, geographical location shouldn't factor in the application of the law.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>But coming in all guns blaring can sometimes exacerbate matters, you know make things worse?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I'm aware of the meaning of exacerbate, sir.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Of course you are. Statistically, Sandford is the safest village in the country but that doesn't mean it reguires anything less than a careful and considered approach. There's a reason we accommodate a few of the younglings at the pub.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>The greater good?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>The greater good. Precisely! Your predecessor assumed rural policing was easy. Ended up having a nervous breakdown. And Sgt. Popwell was an exceptional officer, truly exceptional. And he had one thing you haven't got.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>What's that sir?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>A great big bushy beard! Come on. Let's have a mosey around.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATION - DAY<\/stage_direction>\n    <scene_description>FRANK shows ANGEL the locker room. DANNY lags behind.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Locker room.<\/dialogue>\n    <scene_description>FRANK opens a door on a musty collection of riot gear.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Riot room.<\/dialogue>\n    <scene_description>A HEDGEHOG is startled by the rare intrusion. FRANK approaches another door with a security keypad.<\/scene_description>\n    <character>FRANK (CONT'D)<\/character>\n    <dialogue>And this here's the evidence room. What's the code again?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>999, Dad.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>You'd think I'd remember that.<\/dialogue>\n    <scene_description>FRANK opens the evidence locker. It's surprisingly empty.<\/scene_description>\n    <character>FRANK (CONT' D}<\/character>\n    <dialogue>Now, how about a trip to the Andes?<\/dialogue>\n    <scene_description>FRANK leads them to a door marked 'C.I.D'. Inside are two thirty something plain clothes officers with cropped hair, and tashes. On their small desk are two plates of cake.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Detective Sergeant Wainwright and Detective Constable Cartwright.<\/dialogue>\n    <scene_description>CARTWRIGHT and WAINWRIGHT stare back at ANGEL with disdain.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Don't get up.<\/dialogue>\n    <scene_description>They leave and continue down the corridor.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>I suspect you're wondering why we call them the Andes.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Because they're both called Andrew?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>They said you were good.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>It's also because talking te them is a uphill struggle, innit Dad?<\/dialogue>\n    <scene_description>A wastepaper basket sails out of the Andes office and hits Eanny on the head.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Oh fuck eff?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Thank you Danny.<\/dialogue>\n    <scene_description>A battered tin reads 'SWEARBOX'. DANNY dreps a quid in.<\/scene_description>\n    <character>FRANK (O.S.)<\/character>\n    <dialogue>The swearbox. All proceeds to the restoration of the church roof.<\/dialogue>\n    <scene_description>FRANK shows ANGEL into the operations room, where uniformed officers bunch together at oramped desks.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>And this is where it all happens-<\/dialogue>\n    <scene_description>We hear a solitary Apple start-up chime.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>That's Sergeant Tony Fisher, that's PC Bob Walker and that is Saxon.<\/dialogue>\n    <scene_description>FISHER (40's) reedy, fixed grin. WALKER (50's) bald, grizzled with a large Alsatian. All three are eating cake.<\/scene_description>\n    <character>WALKER<\/character>\n    <dialogue>Pleshnrertoaveyeenbordsarg.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>And this is one Doris Thatcher.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>She's our only police woman.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>She's not a police woman.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>She is. I've seen her bra.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>She's a police officer, being a woman has nothing to do with it.<\/dialogue>\n    <character>DORIS TRATCHER<\/character>\n    <dialogue>Oh, I don't knew. It comes in handy every so often.<\/dialogue>\n    <scene_description>The rosy faced officer winks lewdly at a blushing ANGEL.<\/scene_description>\n    <character>DORIS TRATCHER<\/character>\n    <dialogue>I ceuld've given you the tour. I've been round the station a few times.<\/dialogue>\n    <scene_description>The office erupts into bawdy cheers. ANGEL is keen to move on. He points to a door marked 'N.W.A'.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>What's upstairs?<\/dialogue>\n    <scene_description>A little besuited man opens the door. On the table of his tiny, folder crammed office is a plate of chocolate cake.<\/scene_description>\n    <character>WEAVER<\/character>\n    <dialogue>Well, well, well, I see we have Visitors.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Nicholas, this is Tom Weaver\"<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>Civilian liaison for the Neighbourhood Watch at your service.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Good to meet you.<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>You'll find we run a tight ship here. Got everyone linked up with a walkie so we can keep eaoh other abreast of any misadventure. And from here<\/dialogue>\n    <scene_description>WEAVER opens a connecting door to a room full of monitors.<\/scene_description>\n    <character>WEAVER<\/character>\n    <dialogue>I can see what the whole village is up to. I must say I was rather admiring your handiwork last night.<\/dialogue>\n    <scene_description>Chuckling WEAVER cues up CCTV footage of ANGEL's run-ins. We also see footage of HOODIES huddled around the fountain.<\/scene_description>\n    <character>WEAVER<\/character>\n    <dialogue>Shame you couldn't have done the same with those bloody hoodies. Hanging around. Loitering. Sitting.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I did notice some minor graffiti on the fountain.<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>Graffiti? I knew they were up to something! They need to be dealt with Frank?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>They're nippers Tom. They'll come round.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Yes, this kind of transgression usually stems from boredom. Ever thought about building them a skate park? Or providing a designated wall for a graf\\[U+FB02\\]ti mural?<\/dialogue>\n    <scene_description>WEAVER looks at ANGEL and lets out a huge guffaw.<\/scene_description>\n    <character>WEAVER<\/character>\n    <dialogue>Ha? That's all we need on the team, another bloody joker. Which reminds me, our friend the living statue's back. He was there Saturday.<\/dialogue>\n    <scene_description>WEAVER \\[U+FB02\\]icks through CCTV printouts of a street performer dressed as a STATUE. They are all identical.<\/scene_description>\n    <character>WEAVER<\/character>\n    <dialogue>Look 11am, 12pm, lunchtime, 2pm. If we don't come down hard on these clowns, we'll be up to our balls in jugglers.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Perish the thought.<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>I tried to move him on myself but it cost me twenty quid in fifty pees and took four hours.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>We'll get right onto it, Tom.<\/dialogue>\n    <scene_description>They leave. FRANK scrunches up the printouts into a hall, and throws it to DANNY, who heads it into the bin.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>We like to let them think they run the place. Now, confession to make, bit of a problem with your office.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Well sir, I like to think my office is out on the street-<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Oh, you heard about that?<\/dialogue>\n    <scene_description>He nods to office furniture sat out front of the station.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Had a bit of a leak last week.<\/dialogue>\n    <scene_description>FRANK opens a door to reveal a damp, bare tiny office.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>I know it's not a great start on the welcome front. They brought the 'Village Of The Year' forward for some reason and everyone's gone a bit mad getting ready for it. We'll get you behind your desk as soon as the \\[U+FB02\\]oor's dry.<\/dialogue>\n    <scene_description>FRANK shuts the door. They move back to the main of\\[U+FB02\\]oe.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>And that's that. Unless there's anything you're unclear about?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>There is sir. Why is everyone eating chocolate cake?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>The Black Forest Gateaux is on Danny. As punishment for his little indiscretion.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I Wouldn't call driving under the influence a 'little indiscretion',<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>sir. Besides, where's the disciplinary value if Constable Butterman gets to partake of the Gateaux as well? He's having his cake and eating it. Literally.<\/dialogue>\n    <character>FRANK<\/character>\n    <parenthetical>(chuckles)<\/parenthetical>\n    <dialogue>The gateau is for misplaoing his helmet the other week. Last night's incident will require something much more serious.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Good.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Do you like ice cream?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I'm sorry, I don't follow sir.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Let's just say we won't be short of Chunky Monkey for the next month.<\/dialogue>\n    <scene_description>The officers cheer. ANGEL visibly sags.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Well, since it's your hrst day and it's half past eleven, I'd say that's lunch.<\/dialogue>\n    <scene_description>Another cheer from the assembled officers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CROWN - DAY<\/stage_direction>\n    <scene_description>ANGEL is sat at a pub table with the other offieers (only he wears a stab vest). DANNY brings pints to everyone but ANGEL, who has a cranberry juice. SAXON laps at a bowl of lager<\/scene_description>\n    <character>FISHER<\/character>\n    <dialogue>Sooooo, what made you choose Sandford Sergeant Angel?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>It wasn't actually my choice.<\/dialogue>\n    <character>FISHER<\/character>\n    <dialogue>Wasn't your choice to come down here and show me how to do my job. Our jobs.<\/dialogue>\n    <character>WALKER<\/character>\n    <dialogue>Yooceetyboisefinkdeynobettarrr.<\/dialogue>\n    <scene_description>There's a murmur of agreement. ANGEL is a little oonfused.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>I can assure you it wasn't my intention to upset the apple cart.<\/dialogue>\n    <character>CARTWRIGHT<\/character>\n    <dialogue>Yeah, cos we all sell apples down here, don't we?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Your Dad sells apples Andy.<\/dialogue>\n    <character>CARTWRIGHT<\/character>\n    <dialogue>And raspberries.<\/dialogue>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>I bet you can't wait to jump into Sergeant Fopwell's grave.<\/dialogue>\n    <scene_description>WAINWRIGHT swigs Guinness, the head collects on his lip.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>I'm not jumping in anyone's grave. You have a moustache.<\/dialogue>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>CARTWRIGHT<\/character>\n    <dialogue>Why've you got your stab vest on?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>It's a requirement.<\/dialogue>\n    <character>FISHER<\/character>\n    <dialogue>In the city maybe. No-one's going to stab you in here sergeant, not a member of the public anyhow.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Have you ever been stabbed Sergeant Fisher?<\/dialogue>\n    <character>FISHER<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I have. And I can assure you it's not the slightest bit amusing.<\/dialogue>\n    <scene_description>DANNY's ears prick up, he looks to ANGEL with awe.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Have you seen a lot of action Sergeant Angel?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I've experienced my fair share, yes.<\/dialogue>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>Little bird tells me you were part of an armed response unit.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>What little bird would that be?<\/dialogue>\n    <character>CARTWRIGHT<\/character>\n    <dialogue>Andy googled you.<\/dialogue>\n    <character>DORIS THATCHER<\/character>\n    <dialogue>I wish someone would google me.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Were you part of an armed response unit?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Yes, for two years. grave.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Did you cook any fools?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Did you shoot anybody?<\/dialogue>\n    <character>CARTWRIGHT<\/character>\n    <dialogue>Shot someone? He killed someone.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>No way, that's amazing.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>It was not amazing, it was extremely regrettable, but the situation left me with no choice.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Who did you shoot?<\/dialogue>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>He shot a crack-head with a Kalashnikov.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Wow. Where d'you get that? .<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>The offender had the Kalashnikov.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Wow. Where'd he get that?<\/dialogue>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>You do know there are more guns in the country than in the city?<\/dialogue>\n    <character>CARTWRIGHT<\/character>\n    <dialogue>Everyone and their mum's packing round here.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Really, like who?<\/dialogue>\n    <scene_description>CARTNRIGHT nods to a tall, ruddy, farmer at the bar.<\/scene_description>\n    <character>CARTWRIGHT<\/character>\n    <dialogue>Farmers.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Anyone else?<\/dialogue>\n    <character>CARTWRIGHT<\/character>\n    <dialogue>Farmer's mums.<\/dialogue>\n    <scene_description>DANNY pulls his chair closer to the bemused ANGEL.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>What's it like being stabbed?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>It was the single most painful experience of my life.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Wow. What's the second most painful?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANGEL'S OFFICE - DAY<\/stage_direction>\n    <scene_description>A glum ANGEL sits at his desk. Two men manoeuvre a filing cabinet into the office. A man appears from under his desk, placing a phone in front of him. It rings. ANGEL answers.<\/scene_description>\n    <character>FRANK (O.S.)<\/character>\n    <dialogue>Everything alright?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Actually sir-<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANK'S OFFICE - SECONDS LATER<\/stage_direction>\n    <character>ANGEL<\/character>\n    <dialogue>-there is something I want to talk to you about.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Oh yes?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I'm a little concerned that my appointment here may be causing resentment within the division.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Oh really? So what do you suggest?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATION \" SOME MORE SECONDS LATER.<\/stage_direction>\n    <scene_description>ANGEL steps out of Frank's office. He gets the attention of the assembled officers. They stop eating their cake.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Excuse me everyone. If you could put your gateau down for a sec. In order to maximise my integration here at Sandford, I've asked the Inspector to permit me a more grass roots introduction.<\/dialogue>\n    <character>DORIS THATCHER<\/character>\n    <dialogue>Root. Ha ha.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I'm hoping that getting out on the beat and familiarising myself with the area in this way, might dispel any concerns about my suitabilty. Thank you.<\/dialogue>\n    <scene_description>There's a vague affirmative murmur from the other officers.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Basically, I'd just like to be treated like any other officer at this station.<\/dialogue>\n    <scene_description>ANGEL turns his back. A WASTE PAPER BASKET hits him hard on the head. The officers snigger.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>That could have actually really hurt someone. But... thank you.<\/dialogue>\n    <scene_description>ANGEL re-enters FRANK's office. FRANK looks concerned.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>You sure about this?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Well, I suppose, we should get you out there with someone who really knows what's what. And I think I have just the man...DANNY!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGN STREET - DAY<\/stage_direction>\n    <scene_description>A glum cap wearing ANGEL and chirpy helmet wearing DANNY, walk the streets. Village folk greet them with 'Afternoon'.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Have you ever fired two guns whilst jumping through the air?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Afternoon. No.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Have you ever fired one gun whilst jumping through the air?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Afternoon. No.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Have you ever been in a high speed pursuit?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Afternoon. Yes.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Have you ever fired a gun whilst in a high speed pursuit?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Afternoon. No.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEWSAGENT - DAY<\/stage_direction>\n    <scene_description>A sign reads 'ONLY ONE SCHOOL CHILD AT ANY TIME'. ANGEL waits as DANNY buys a pasty from a FEMALE NEWSAGENT. A walkie talkie crackles to life on the counter.<\/scene_description>\n    <character>RADIO VOICE<\/character>\n    <dialogue>Annette, that new policeman is coming into your shop.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. SQUAD CAR - DAY<\/stage_direction>\n    <scene_description>ANGEL and DANNY sit in the parked squad car; ANGEL is on the radio, watching with disdain as DANNY retrieves ketchup sachets from his top pocket and squirts them onto a pasty.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Oscar four zero, over.<\/dialogue>\n    <character>RADIO VOICE<\/character>\n    <dialogue>Oscar four zero go ahead, over.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Just checking...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGH STREET - EVENING<\/stage_direction>\n    <scene_description>ANGEL and DANNY walk the quiet streets again.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>What about Dirty Harry?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Evening. No.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Lethal Weapon.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Evening. No.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>You've seen Die Hard though?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Evening. No.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Bad Boys 2?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Evening. No.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>You haven't seen Bad Boys 2??<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCKER ROOM - EVENING<\/stage_direction>\n    <scene_description>ANGEL and a pumped DANNY change out of their uniforms.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Woof? Hell of a day.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Yep.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Same again tomorrow?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Yep.<\/dialogue>\n    <scene_description>ANGEL opens his locker. Hundreds of apples tumble out. Inside a note reads 'WELCOME SERGEANT'.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>That weren't me.<\/dialogue>\n    <scene_description>The other officers appear, sniggering; the ANDES, FISHER and THATCHER, who is in her bra. We hear a round of applause.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SWAN HOTEL FUNCTION ROOM - EVENING<\/stage_direction>\n    <scene_description>The applause continues over a sign reading 'N.W.A - 7pm'. TOM WEAVER introduces ANGEL to a large group of Village folk, including JOYCE COOPER and the PORTERS. FRANK is also present, as is a snoring BERNARD. WEAVER introduces the BOOKISH CYCLIST glimpsed that morning.<\/scene_description>\n    <character>WEAVER<\/character>\n    <dialogue>This is Amanda Paver, headmistress of Sandford Primary. And Simon Skinner I believe you've met.<\/dialogue>\n    <character>SIMON SKINNER<\/character>\n    <dialogue>Oh we're already firm friends.<\/dialogue>\n    <scene_description>SIMON SKINNER beams at ANGEL, who is a little unnerved. A middle aged woman fusses over a \\[U+FB02\\]oral display reading 'WELCOME SERGEANT'.<\/scene_description>\n    <character>WEAVER<\/character>\n    <dialogue>And this is Leslie Tiller, our local \\[U+FB02\\]oral wiz. Her horticultural contributions have helped put Sandford on the map. She prepared this especially for you.<\/dialogue>\n    <character>JOYCE COOPER<\/character>\n    <dialogue>She's ever so good.<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>James Reaper, who owns Brannigan Farm.<\/dialogue>\n    <scene_description>WEAVER introduces the tall, ruddy, farmer from the bar.<\/scene_description>\n    <character>REAPER<\/character>\n    <dialogue>I hear you're quite the marksman. Perhaps you might like to join us for a shoot one day.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I haven't held a firearm for over two years Mr. Reaper and I'm more than happy to keep it that way.<\/dialogue>\n    <character>REAPER<\/character>\n    <dialogue>You will be popular with the local birds.<\/dialogue>\n    <scene_description>A ripple of polite laughter as the group gather round and sit at a large circular table. SKINNER stares at ANGEL, grinning.<\/scene_description>\n    <character>REV. SHOOTER<\/character>\n    <dialogue>Hello Nicholas. Reverend Shooter. May I say how pleased we are to have an Angel at our table.<\/dialogue>\n    <parenthetical>(more laughter)<\/parenthetical>\n    <dialogue>Actually I was hoping you might read a homily at Sunday Service.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>To be honest Reverend, that might be a little hypocritical of me.<\/dialogue>\n    <character>REV. SHOOTER<\/character>\n    <dialogue>Oh, are we an atheist?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>No, I'm open to the concept of religion, I'm just not entirely convinced.<\/dialogue>\n    <character>REV. SHOOTER<\/character>\n    <dialogue>You're agnostic?<\/dialogue>\n    <character>DR. HATCHER<\/character>\n    <dialogue>I think I have a cream for that.<\/dialogue>\n    <scene_description>More laughter. WEAVER nods to a tweedy, bearded doctor.<\/scene_description>\n    <character>WEAVER<\/character>\n    <dialogue>And this is Robin Hatcher our resident sawbones.<\/dialogue>\n    <character>DR. HATCHER<\/character>\n    <dialogue>Hopefully we won't see too much of each other over the coming months.<\/dialogue>\n    <scene_description>DR. HATCHER smiles at ANGEL. More laughter.<\/scene_description>\n    <character>WEAVER<\/character>\n    <dialogue>All that remains to say is, welcome to the weekly meeting of the Neighbourhood Watch Alliance.<\/dialogue>\n    <character>READER<\/character>\n    <dialogue>We're basically a group of volunteers who strive to keep the village just so.<\/dialogue>\n    <character>SHOOTER<\/character>\n    <dialogue>We're the community that cares.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Well, it's good to know we have the support of the community.<\/dialogue>\n    <character>HATCHER<\/character>\n    <dialogue>Well, not the whole community.<\/dialogue>\n    <character>SKINNER<\/character>\n    <dialogue>We don't let any old riff raff in.<\/dialogue>\n    <scene_description>A huge laugh. JOYCE COOPER brings the meeting to order.<\/scene_description>\n    <character>JOYCE COOPER<\/character>\n    <dialogue>Now, quick announcement before we begin. Janet Barker has just given birth to twins. Congratulations to her, we'll be keeping a keen eye on them as they grow up. Tom?<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>Thanks Joyce. To business then.<\/dialogue>\n    <scene_description>WEAVER affects a deadly earnest tone of voice.<\/scene_description>\n    <character>WEAVER<\/character>\n    <dialogue>I'm sure many of you will have noticed the return of a blight on our streets, one which is all the more disturbing as the 'Village Of The Year' contest looms. I speak of course of the extremely irritating Living Statue.<\/dialogue>\n    <scene_description>An image of the LIVING STATUE on an overhead projector. There are mumbles of \"irritating\". ANGEL stifles a yawn. FRANK smiles and pats him on the back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SWAN HOTEL ROOM - EVENING - MONTAGE<\/stage_direction>\n    <scene_description>ANGEL listens to the radio and waters his POT PLANT.<\/scene_description>\n    <character>RADIO 4 ANNOUNCER (O.S.)<\/character>\n    <dialogue>Newly released Home Office statistics show crime in the capital soaring...<\/dialogue>\n    <scene_description>Later: A dejected ANGEL is on the phone. We hear the recorded voice of the MET SERGEANT, from the first scene.<\/scene_description>\n    <character>SERGEANT (V.O.)<\/character>\n    <dialogue>I'm out of the office at present. If it's an emergency, call 9-9-9...<\/dialogue>\n    <scene_description>Later: ANGEL lies awake on his bed. His \\[U+FB02\\]oral tribute appears almost funereal against the wall.<\/scene_description>\n    <character>ANGEL (V.O.)<\/character>\n    <dialogue>Police work is as much about preventing crime as it is about fighting crime. Most importantly it is about procedural correctness...<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>-in the execution of unquestionable moral authority. Any questions?<\/dialogue>\n    <scene_description>We see ANGEL is talking to a group of young school kids. DANNY sits cross legged with them. He puts his hand up.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Is it true if you shot a man in a particular spot on the head, you can make it blow up?<\/dialogue>\n    <scene_description>Later: ANGEL and DANNY talk to headmistress AMANDA PAVER. A wiry young reporter approaches with a camera.<\/scene_description>\n    <character>TIM MESSENGER<\/character>\n    <dialogue>Hi, Tim Messenger. Quick snap for the Sandford Citizen?<\/dialogue>\n    <scene_description>Later: ANGEL poses awkwardly with the schoolkids.<\/scene_description>\n    <character>TIM MESSENGER<\/character>\n    <dialogue>How about if you put the teacher in handcuffs?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I'm not sure that gives off the right signals.<\/dialogue>\n    <character>TIM MESSENGER<\/character>\n    <dialogue>Give the little blond kid your hat?<\/dialogue>\n    <scene_description>ANGEL looks at a sweet BLOND HAIRED BOY next to him.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>I'd rather not.<\/dialogue>\n    <character>TIM MESSENGER<\/character>\n    <dialogue>Wave your hitting stick about?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>No.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SWAN HOTEL DINING ROOM - MORNING<\/stage_direction>\n    <scene_description>FLASH. We see the newspaper article; 'SHORT ARM OE THE LAW: TOP COP ANGLE TELLS IT TO THE KIDS'. ANGEL circles the typo as he sits in a vast dining room. JOYCE approaches with tea.<\/scene_description>\n    <character>JOYCE COOPER<\/character>\n    <dialogue>Oh, can I have your autograph please?<\/dialogue>\n    <scene_description>ANGEL laughs it off bashfully.<\/scene_description>\n    <character>JOYCE COOPER<\/character>\n    <dialogue>I do need your signature for breakfast.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCKER ROOM - MORNING<\/stage_direction>\n    <scene_description>ANGEL opens his locker. It is plastered with photocopies of the article. The 'ANGLE' typo is underlined in red.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATION - MORNING<\/stage_direction>\n    <scene_description>ANGEL makes his way to his office. Sniggering officers greet him with 'Sergeant Angle', including the now straight haired DESK SERGEANT.<\/scene_description>\n    <character>DESK SERGEANT<\/character>\n    <dialogue>Morning Angle.<\/dialogue>\n    <character>FISHER<\/character>\n    <dialogue>Morning Angle.<\/dialogue>\n    <character>DORIS THATCHER<\/character>\n    <dialogue>Morning Angle.<\/dialogue>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>Morning Angle.<\/dialogue>\n    <character>CARTWRIGHT<\/character>\n    <dialogue>Morning Angle.<\/dialogue>\n    <character>WALKER<\/character>\n    <dialogue>Murrrnangul.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I presume you just called me Angle.<\/dialogue>\n    <character>WALKER<\/character>\n    <dialogue>Arrr.<\/dialogue>\n    <scene_description>ANGEL feigns good humour but looks irritated. His phone rings. He picks up.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Sergeant Angel?... The swan has escaped?...And where exactly has the swan escaped from? And who might you be? Mr. Staker. Mr. P. I. Staker? Piss taker?<\/dialogue>\n    <scene_description>ANGEL looks around at his fellow officers to see who is on the other end of the phone. He realises that no-one is.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCH - DAY<\/stage_direction>\n    <scene_description>ANGEL and DANNY talk to an OLD MAN IN A CAR by a moat.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Yes Mr. Staker, we'll do everything we can to get her back. Can you describe her?<\/dialogue>\n    <character>MR. STAKER<\/character>\n    <dialogue>Two foot tall. Long slender neck.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Go on.<\/dialogue>\n    <character>MR. STAKER<\/character>\n    <dialogue>Orange and black bill.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Anything else?<\/dialogue>\n    <character>MR. STAKER<\/character>\n    <dialogue>She's a swan.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARK - DUSK<\/stage_direction>\n    <scene_description>DANNY and ANGEL close in on a swan which waddles through a park. However it evades them every time they draw near.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEWSAGENT - DAY<\/stage_direction>\n    <scene_description>DANNY buys a Cornetto from a smirking ANNETTE ROPER. ANGEL stands nearby, whilst looking elsewhere.<\/scene_description>\n    <character>ANNETTE ROPER<\/character>\n    <dialogue>No luck catching them swans then?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>It's just the one swan actually.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SQUAD CAR\/SANDFORD SQUARE - DAY<\/stage_direction>\n    <scene_description>ANGEL and DANNY sit in their usual parking space. Sandford life drifts by. The LIVING STATUE is also present.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>You want anything from the shop?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>You've just been to the shop.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>I was thinking of a different shop.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Constable Butterman, this is not the time for personal errands.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Well, there's nothing going on.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>There's always something going on. Look around you, what do you see?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>People...cars...that gold bloke... the swan.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Ha ha?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I'm serious. You have to look closer. What about him in the big coat?<\/dialogue>\n    <scene_description>ANGEL nods to an ANCIENT MAN in a heavy winter overcoat.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Mr. Treacher?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Well why is Mr. Treacher wearing that big coat? He can't be cold. Why the extra layer? He might be hiding something...<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>But that's Mr. Treacher.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Okay, what about him?<\/dialogue>\n    <scene_description>ANGEL nods over to a man in a PURPLE SHELL SUIT with his cap pulled down low over his face.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Ask yourself why he has his hat pulled down like that.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>He's fuck ugly?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Or he doesn't want you to see his face.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Because he's fuck ugly.<\/dialogue>\n    <scene_description>Changing tack, ANGEL nods to a HULKING MAN, clad in denim.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Alright. Well, what's his story?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>That's Lurch.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Go on.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>He's the trolley boy at the supermarket.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Good.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Real name, Michael Armstrong.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Dad says he's got a child's mind.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Uh huh.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Lives up Summer Street with his mum and his sister.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Are they as big as him?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>The mum and the sister.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Same person.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Which shop were you thinking of?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUMMERAISLES - DAY<\/stage_direction>\n    <scene_description>As DANNY delves in a video bargain bin full of action films, ANGEL loiters in organic produce. He spots two GRUFF LOOKING BUTCHERS behind a meat counter. They nod 'hello'.<\/scene_description>\n    <character>FEMALE VOICE (TANNOY)<\/character>\n    <dialogue>Sergeant Angel to the manager's ofifice. Managers ofifice. Sergeant Angel.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MANAGERS OFFICE - DAY<\/stage_direction>\n    <scene_description>ANGEL strides into an office where SIMON SKINNER reads the 'Top Cop' story in the SANDFORD CITIZEN. A slutty CHECKOUT GIRL lounges beside him. One wall is lined with sketches of a drive thru supermarket, the other with security monitors. A 'fun running' trophy sits conspicuously on the shelf.<\/scene_description>\n    <character>SKINNER<\/character>\n    <dialogue>Ah, Sergeant Angel. Or is it Angle?<\/dialogue>\n    <character>CHECKOUT GIRL<\/character>\n    <dialogue>Mr. Skinner, a baby's sicked up in aisle six.<\/dialogue>\n    <character>SKINNER<\/character>\n    <dialogue>Please excuse me. Michael?<\/dialogue>\n    <scene_description>The now uniformed LURCH lumbers past the doorway.<\/scene_description>\n    <character>LURCH<\/character>\n    <dialogue>Yarp.<\/dialogue>\n    <character>SKINNER<\/character>\n    <dialogue>Child vomit. Aisle six. Mop it up.<\/dialogue>\n    <character>LURCH<\/character>\n    <dialogue>Yarp.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Is there a problem, Mr Skinner?<\/dialogue>\n    <character>SKINNER<\/character>\n    <dialogue>No, I just wanted to say how lovely it is to see you supporting your local store.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>That's quite alright.<\/dialogue>\n    <character>SKINNER<\/character>\n    <dialogue>All too many have defected to the big Safeway in Buford Abbey and may their heads be struck from their shoulders for such disloyalty.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Yes, well if you'd excuse me, Mr. Skinner I am on duty.<\/dialogue>\n    <character>SKINNER<\/character>\n    <dialogue>Of course, I simply spied you loitering in organic produce and assumed you had time on your hands.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Well maybe there's someone else you should be keeping an eye on.<\/dialogue>\n    <scene_description>SKINNER turns to leak at the CCTV. On one screen we see a small, well dressed man climbing out of a Range Rover.<\/scene_description>\n    <character>SKINNER<\/character>\n    <dialogue>That's the Fridge Magnate.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>The Fridge Magnet?<\/dialogue>\n    <character>SKINNER<\/character>\n    <dialogue>Name's George Merchant. Made a fortune in kitchen goods. Built that monstrosity on Norris Avenue. He'll validate his parking with a<\/dialogue>\n    <character>SKINNER<\/character>\n    <dialogue>paltry Snickers and scurry off to his solicitor's office all afternoon. I swear I'll have the boys tow him away.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Actually I wasn't talking about him.<\/dialogue>\n    <character>SKINNER<\/character>\n    <dialogue>Oh?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I was talking about him.<\/dialogue>\n    <scene_description>ANGEL paints to a different screen. We see a SHOPPER rather obviously stuffing biscuits into his trousers.<\/scene_description>\n    <character>SKINNER<\/character>\n    <dialogue>Ah.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Excuse me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUMMERAISLES - DAY<\/stage_direction>\n    <scene_description>ANGEL strides straight up to the shopper. It is THE MAN IN THE PURPLE SHELL SUIT from the square.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Excuse me.<\/dialogue>\n    <scene_description>The SHOPLIFTER freezes for a moment. Then scarpers. DANNY reads the cover of Jackie Chan's SUPERCOP when ANGEL explodes into life, chasing the SHOPLIFTER down the aisle. He throws the video back in the bin and fellows suit.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUPERMARKET\/HIGH STREET - DAY<\/stage_direction>\n    <scene_description>The SHOPLIFTER bursts onto the street with ANGEL in hot pursuit. The usual friendly greetings from folk are bestowed on ANGEL as he sprints by. It sounds surreal. They race past shopkeepers, who report into their radios. They also pass the LIVING STATUE. He doesn't budge. The SHOPLIFTER avoids being hit by REAPER's 4x4. ANGEL vaults ever the bonnet. The shoplifter runs into an alley. ANGEL fellows, but comes to a stop at the alley entrance.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Oh, you mothers.<\/dialogue>\n    <scene_description>Several YOUNG MOTHERS with push chairs clog up the alley. DANNY catches up with ANGEL. He's very out of breath.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Let's cut through here.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Through the gardens?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>What's the matter? You never taken a short cut before?<\/dialogue>\n    <scene_description>ANGEL leaps over a garden fence, then the next one, then the next. It's an amazing acrobatic feat. DANNY gasps and follows ANGEL, but trips and crashes through the fence. ANGEL lands back in the alley, when suddenly he spots- The SWAN. Waddling past the mouth of the alley. ANGEL is torn for a split second, then resumes the SHOPLIFTER chase. ANGEL runs into the HOODIES, spraying a graffiti tag reading 'G' on a wall. Upon seeing ANGEL, the HOODIES immediately scatter like roaches, dropping their spray cans on the \\[U+FB02\\]oor. ANGEL scoops up the spray can and hurls it through the air. It hits the SHOPLIFTER on the head. He crashes to the \\[U+FB02\\]oor hard. ANGEL picks the SHOPLIFTER up. DANNY approaches.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>You do not have to say anything, but it may harm your defence if you do not mention when questioned something which you later rely on in court. Anything you do say may be given in evidence.<\/dialogue>\n    <character>SHOPLIFTER<\/character>\n    <dialogue>Alright Danny.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Alright Pete.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Do you know this man?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Yeah, he's Auntie Jackie's sister's brother's boy.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>And it didn't occur to you to mention this before?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>I couldn't see his face could I? I'm not made of eyes!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CUSTODY SUITE - DAY<\/stage_direction>\n    <scene_description>We see FLASHCUTS of PETER COCKER being processed; mugshot, prints. ANGEL fills out arrest paperwork. FISHER ambles over.<\/scene_description>\n    <character>SGT. FISHER<\/character>\n    <dialogue>Impressive collar. Shame Mr Skinner doesn't want to press charges.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>What do you mean he doesn't want to press charges??<\/dialogue>\n    <character>SIMON SKINNER (O.S.)<\/character>\n    <dialogue>I'm simply suggesting Peter be given a second chance-<\/dialogue>\n    <scene_description>ANGEL turns to see SKINNER distributing the stolen biscuits to officers, including a curly-haired DESK SERGEANT.<\/scene_description>\n    <character>SKINNER<\/character>\n    <dialogue>-before he becomes just another crime statistic. I'm sure he's learnt a valuable lesson.<\/dialogue>\n    <character>FISHER<\/character>\n    <dialogue>Stealing biscuits is...wrong?<\/dialogue>\n    <character>SKINNER<\/character>\n    <parenthetical>(offers Fisher a biscuit)<\/parenthetical>\n    <dialogue>Correct.<\/dialogue>\n    <character>FISHER<\/character>\n    <dialogue>Ooh thanks.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>And yet we respond by not taking a single punitive measure?<\/dialogue>\n    <character>SKINNER<\/character>\n    <dialogue>That's the way the cookie crumbles.<\/dialogue>\n    <character>FISHER<\/character>\n    <dialogue>Heh heh. Like biscuits innit?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Mr. Skinner-<\/dialogue>\n    <character>FRANK (O.S.}<\/character>\n    <dialogue>Everything alright?<\/dialogue>\n    <scene_description>ANGEL turns to see FRANK at the doorway, eating ice cream.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Mr. Skinner feels it would be best if we didn't prosecute an individual who has blatantly committed an offence.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Leave this with me boys. I'll make sure everyone gets their just desserts.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. SQUAD CAR IN LAYBY - DAY<\/stage_direction>\n    <scene_description>ANGEL sits with a speed gun recording passing cars, DANNY has his feet up and is eating some of the stolen biscuits. Behind is a sign reading 'YOU ARE NOW LEAVING SANDFORD'.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>27. Why are we on traffic?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Dad's probably giving us a rest after all that jumping over fences.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I don't need a rest.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>There's an amazing bit in 'Point Break' where they jump over fences.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Is there now? 28.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Yeah, Patrick Swayze's robbed this bank and Keanu Reeves chases him through people's gardens and then<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Keanu lands really badly and breaks his leg off and he's like 'aaaargh'-<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>\"and then he goes to shoot Swayze, but he can't cause he loves him so much and he fires up in the air and he's going 'aaaargh'-.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Have you ever fired your gun up in the air and gone 'aaaarh'.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>No, Constable I have never fired my gun up in the air and gone 'aaaargh'. 30.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Sorry, I just feel... I just feel like I'm missing out sometimes. I want to do what you do.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>You do, do what I do. What on Earth do you think you're missing out on?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>I don't know. Gun fights. Car chases. Proper action and shit .<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Proper policing isn't about action... or shit.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Yeah but you got to fire a gun. How come we don't all have guns?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Arming the entire British Police Service would not necessarily lower the rate of crime. Guns aren't toys Constable. Opening fire on another human being is a difficult and<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>dizzying experience. 29. If you'd paid attention to me in school, you'd know it's not all about guns fights and car chases.<\/dialogue>\n    <scene_description>A MEGANE speeds past them. DANNY and ANGEL exchange a look.<\/scene_description>\n    <character>ANGEL (CONT'D}<\/character>\n    <dialogue>Fire up the roof.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Yeah?...Where is it?<\/dialogue>\n    <scene_description>ANGEL \\[U+FB02\\]icks the siren on. They peel out at speed. The MEGANE pulls over, ending the chase before it begins.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>That was brilliant.<\/dialogue>\n    <scene_description>They walk over to the MEGANE. The smartly dressed DRIVER winds down his window. ANGEL can see a NERVOUS YOUNG WOMAN in the passenger seat. The DRIVER hands over his license.<\/scene_description>\n    <character>BLOWER<\/character>\n    <dialogue>Was I going a tad fast, officer?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Yes, you were Mr. Blower.<\/dialogue>\n    <scene_description>ANGEL starts speedily scribbling in his notebook.<\/scene_description>\n    <character>BLOWER<\/character>\n    <dialogue>We're staging a homage to Baz Luhrmann's, William Shakespeare's Romeo and Juliet tonight and I'm a little late for the dress rehearsal. I'm playing the eponymous hero you see. Romeo not Juliet.<\/dialogue>\n    <parenthetical>(nervous chuckle)<\/parenthetical>\n    <dialogue>What are you writing?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Everything you say so I can refer to it later.<\/dialogue>\n    <character>BLOWER<\/character>\n    <dialogue>Now officer, I am a respected solicitor, there's no need to-<\/dialogue>\n    <scene_description>ANGEL continues to write. DANNY watches this with interest.<\/scene_description>\n    <character>BLOWER (CONT'D}<\/character>\n    <dialogue>Stop writing. I was merely trying to explain why I might have exceeded the speed limit-<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>You're playing the male lead in a production of Bar Luhrmann's, William Shakespeare's Romeo and Juliet and you're late for the dress rehearsal. You think this is sufficient reason to travel at 48 in a 30 zone?<\/dialogue>\n    <character>BLOWER<\/character>\n    <dialogue>Well, I-<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>To \\[U+FB02\\]out laws put in place to save lives.<\/dialogue>\n    <character>BLOWER<\/character>\n    <dialogue>This is preposterous.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>...pre-post-er-ous.<\/dialogue>\n    <character>BLOWER<\/character>\n    <dialogue>I've never been...stop writing?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>...St-op wri-ting.<\/dialogue>\n    <character>BLOWER<\/character>\n    <dialogue>Look...you're right, I apologise.<\/dialogue>\n    <scene_description>ANGEL hands him a ticket.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Payable in fourteen days.<\/dialogue>\n    <scene_description>ANGEL and DANNY get back into their CAR.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>You see what I did there?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>You hypnotised him.<\/dialogue>\n    <scene_description>ANGEL waves his pocket book in DANNY's face.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>I used this? The most important piece of police hardware. This has saved my skin on many occasions. Think about using yours more often.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>I do use mine.<\/dialogue>\n    <scene_description>DANNY produces his pocketbook. ANGEL \\[U+FB02\\]ips through the pages. We see a \\[U+FB02\\]ick-illustration of cops shooting someone dead with red ink for blood. ANGEL shakes his head.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>This is just extraordinary.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Wait til you see the one on the other side.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCKER ROOM\/FRONT DESK - EVENING<\/stage_direction>\n    <scene_description>ANGEL and DANNY stride out of the station in their civvies.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>What are you up to tonight?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I have to water my peace lily.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Oh okay.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>I just thought you might want to do something.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>What exactly were you thinking?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Pub?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I don't think that's a good idea, do you?<\/dialogue>\n    <scene_description>ANGEL glares at DANNY. The now straight haired DESK SERGEANT calls after him.<\/scene_description>\n    <character>DESK SERGEANT<\/character>\n    <dialogue>Oi, you two. A Mr. Blower left you tickets for Romeo and Juliet tonight. Said it was by way of an apology.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Well, we can't accept gifts from someone we've of\\[U+FB02\\]cially rebuked.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>ANGEL calmly rips up both tickets in front of a deflated DANNY. ANGEL makes to leave again, just as FRANK enters.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Ah Nicholas. Glad I caught you. Wondered if you wouldn't mind representing us at the am dram tonight. I'm otherwise engaged and it'd be good to have a show of faith from the constabulary.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Of course, sir.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>And there's a spare for Danny too.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Yeah?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDITORIUM - LATER<\/stage_direction>\n    <scene_description>ANGEL's expression is one of abject horror, Danny is asleep. On stage, BLOWER in cod Bar Luhrmann, Romeo gear, complete with suit of armour, \\[U+FB02\\]oppy fringe and revolver, leans over EVE DRAPERS's Juliet, who lies in state on a prop alter. He uncaps a large bottle of poison, marked with a skull and cross bones and holds it aloft.<\/scene_description>\n    <character>BLOWER (ROMEO)<\/character>\n    <dialogue>A dateless bargain to engrossing death. Here's to my love.<\/dialogue>\n    <scene_description>He drinks the poison, just as JULIET awakes with an exaggerated yawn. ROMEO and JULIET look at each other in horror.<\/scene_description>\n    <character>EVE DRAPER (JULIET)<\/character>\n    <dialogue>Poison? Drunk all and not one drop to help me after? I'll kiss thy lips. Happly some poison doth yet hang on them.<\/dialogue>\n    <scene_description>They kiss. With tongues. It goes on far too long. ROMEO goes limp. JULIET picks up his gun and shoots herself with a click. The stage goes to black. The lights come up again to reveal the whole cast performing a 'Knees Up Mother Brown' version of The Cardigan's 'Love Fool'. The audience applaud. A relieved ANGEL joins in, DANNY wakes up. On stage the cast take their bows. LESLIE TILLER walks on stage with a bouquet of \\[U+FB02\\]owers.<\/scene_description>\n    <character>JOYCE COOPER<\/character>\n    <parenthetical>(from behind Angel)<\/parenthetical>\n    <dialogue>She's ever so good.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THEATRE BAR - LATER<\/stage_direction>\n    <scene_description>In the packed bar, DANNY downs a pint and ANGEL downs a cranberry juice. A beaming TIM MESSENGER sidles over.<\/scene_description>\n    <character>MESSENGER<\/character>\n    <dialogue>Sergeant Angel, quick word for the Sandford Citizen?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>It was very...enjoyable.<\/dialogue>\n    <character>MESSENGER<\/character>\n    <dialogue>\"Cop Enjoys Watching Young Lovers?\"<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I don't think so.<\/dialogue>\n    <character>MESSENGER<\/character>\n    <dialogue>\"Local Bobby Gives Thumbs Up To Teen Suicide?\"<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>That's grossly inappropriate.<\/dialogue>\n    <character>SKINNER<\/character>\n    <dialogue>You will spell his name correctly this time, won't you Timothy?<\/dialogue>\n    <scene_description>SKINNER swoops in and leads ANGEL away from MESSENGER.<\/scene_description>\n    <character>SKINNER<\/character>\n    <dialogue>Absolute tosh wasn't it? Annoyingly, the understudies are actually professional actors. Greg was an extra in Straw Dogs and Sheree portrayed a cadaver in Prime Suspect-<\/dialogue>\n    <scene_description>SKINNER nods to an OLDER COURLE who wave back at him. A still made up MARTIN BLOWER and his FEMALE LEAD rush over.<\/scene_description>\n    <character>BLOWER<\/character>\n    <dialogue>Sergeant Angel, you came? I am so thrilled you accepted my invitation.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Our Inspector requested we attend.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Yes, we can't accept gifts from someone we've officially rebuked so...<\/dialogue>\n    <parenthetical>(blows raspberry)<\/parenthetical>\n    <dialogue>...jog on.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Well, congratulations anyway to you and Mrs. Blower.<\/dialogue>\n    <character>BLOWER<\/character>\n    <dialogue>Oh, this isn't my wife.<\/dialogue>\n    <character>SKINNER<\/character>\n    <dialogue>Yes, where is Edna, Martin?<\/dialogue>\n    <character>BLOWER<\/character>\n    <dialogue>She's at home with the dogs. This is Miss Draper, my leading lady.<\/dialogue>\n    <character>SKINNER<\/character>\n    <dialogue>Isn't she just? Eve works for the council, Sergeant. Quite the lady in the know.<\/dialogue>\n    <scene_description>EVE DRAPER snorts an alarmingly high pitched laugh.<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>Oh I am not.<\/dialogue>\n    <character>SKINNER<\/character>\n    <dialogue>Nonsense. I'm sure if we bashed your head in, all sorts of secrets would come tumbling out.<\/dialogue>\n    <scene_description>EVE lets out another snort. GEORGE MERCHANT approaches.<\/scene_description>\n    <character>MERCHANT<\/character>\n    <dialogue>Romeo, Romeo, a pint of bitter for Romeo?<\/dialogue>\n    <character>BLOWER<\/character>\n    <dialogue>Yes please George and thank you for coming!<\/dialogue>\n    <character>MERCHANT<\/character>\n    <dialogue>A pleasure my liege.<\/dialogue>\n    <scene_description>ANGEL spots the BLONDE SCHOOLKID from his school talk, in the other room, sipping Coke and staring at him.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Eve's nice ain't she?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>She has a... distinctive laugh.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>She was in my year at school. Always had a thing for her.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Well, she obviously has a thing for older men.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>What with Blower?! No way!<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>We just sat through three hours of so-called acting tonight Constable, their kiss was the only convincing moment in it.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Now you mention it, I too have reason to believe she favours the older gent.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Really? How so?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Marcus Carter's big brother said he fingered her up the duck pond.<\/dialogue>\n    <scene_description>ANGEL spits out his cranberry juice.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANDFORD PLAYHOUSE - NIGHT<\/stage_direction>\n    <scene_description>Theatregoers spill out onto the street as BLOWER closes up.<\/scene_description>\n    <character>BLOWER<\/character>\n    <dialogue>Officers, again let me extend my sincere apologies for earlier.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Good night Mr. Blower. Drive safe.<\/dialogue>\n    <scene_description>ANGEL and DANNY turn away and walk home. DANNY chuckles.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>\"Drive safe\". You got him then.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>You know that's the bloke we done for speeding earlier.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I know and hopefully that's the last we'll see of him.<\/dialogue>\n    <scene_description>ANGEL smiles. Be and DANNY walk off, revealing- A FIGURE swathed in a BLACK CLOAK. We cannot see its face. It darts into the alley behind the Playhouse building! In FLASHCUTS we see an axe blade glint...a door pane smash...a gloved hand finds the door handle...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DRESSING ROOM - CONTINUOUS<\/stage_direction>\n    <scene_description>MARTIN BLOWER rips the foil from a bottle of champagne. There's a knock at the door. BLOWER coos back.<\/scene_description>\n    <character>BLOWER<\/character>\n    <dialogue>Who is it?<\/dialogue>\n    <scene_description>The door opens...It's EVE DRAPER...BLOWER grins...<\/scene_description>\n    <character>BLOWER<\/character>\n    <dialogue>We haven't got long.<\/dialogue>\n    <scene_description>EVE grins...A champagne cork pops...Bubbly foams...<\/scene_description>\n    <character>EVE<\/character>\n    <dialogue>To us?<\/dialogue>\n    <scene_description>There's another knock at the door. BLOWER shouts, worried.<\/scene_description>\n    <character>BLOWER<\/character>\n    <dialogue>Who is it?<\/dialogue>\n    <scene_description>BLOWER INCHES THE DOOR 0PEN...AN AXE SMASHES DOWN INTO BLOWER'S NECK...THE CHAMPAGNE DROPS...EVE SCREAMS...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SWAN HOTEL BEDROOM - EARLY MORNING<\/stage_direction>\n    <scene_description>A call button \\[U+FB02\\]ashes red in the darkness...ANGEL picks up.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Decaffeinated?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LAYBY - MORNING<\/stage_direction>\n    <scene_description>TWO DECAPITATED HEADS lie surrounded by pieces of metal.<\/scene_description>\n    <character>FISHER<\/character>\n    <dialogue>Little Brian Libby found them, out on his paper round. He'll be having nightmares for a while.<\/dialogue>\n    <scene_description>FISHER addresses ANGEL, DANNY, THATCHER and WALKER. Behind is a blood splattered 'YOU ARE NOW LEAVING SANDFORD' sign.<\/scene_description>\n    <character>FISHER<\/character>\n    <dialogue>Must have hit the sign at some speed. Took the whole top off.<\/dialogue>\n    <character>DORIS THATCHER<\/character>\n    <dialogue>I've had my top off in this layby.<\/dialogue>\n    <scene_description>FISHER points to where BLOWER's MEGANE has come to a violent stop. The top half of the car has been shaved off.<\/scene_description>\n    <character>FISHER<\/character>\n    <dialogue>Most likely lost control, left the road here and ended up there... Soooo, what do you think we should do? Sergeant Angel?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>We should cordon off the area, screen the remains from public view and close off the road until the ambulance arrives, whereupon we should open a single lane of traffic to ease congestion.<\/dialogue>\n    <character>FISHER<\/character>\n    <dialogue>Very good. What he said.<\/dialogue>\n    <scene_description>FLASHCUTS; a cordon unfurled, tents erected, cones set out. ANGEL and DANNY wave on the morning traffic past the crash site. JAMES REAPER leans out of his 4X4.<\/scene_description>\n    <character>REAPER<\/character>\n    <dialogue>What's happened Danny?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Car accident.<\/dialogue>\n    <character>REAPER<\/character>\n    <dialogue>Nasty way to go.<\/dialogue>\n    <character>ANGEL WAINWRIGHT<\/character>\n    <dialogue>Constable, official Vocab states such incidents are now referred to as 'collisions', not 'car accidents' -<\/dialogue>\n    <scene_description>A RED MG slows to a stop. SKINNER leans out of the window.<\/scene_description>\n    <character>SKINNER<\/character>\n    <dialogue>For never was there a story of more woe. Than this of Juliet and her Romeo.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I'm sorry?<\/dialogue>\n    <character>SKINNER<\/character>\n    <dialogue>Martin and Eve. Such a tragedy.<\/dialogue>\n    <scene_description>SKINNER goes to pull off. ANGEL stands in front of his ear.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Mr Skinner, could you tell me how you knew the identity of the persons involved?<\/dialogue>\n    <character>SKINNER<\/character>\n    <dialogue>Of course. When I didn't get my Citizen delivered this morning, I rang Annette Roper to enquire after young Brian. You know how it is, news travels fast.<\/dialogue>\n    <scene_description>SKINNER pulls away fast. ANGEL watches his MG go and makes a note of the personalised numberplate 'SS1'. Behind AMANDA PAVER pulls up on her bicycle and talks to DANNY.<\/scene_description>\n    <character>AMANDA PAVER<\/character>\n    <dialogue>What's happened, Danny?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>A traffic collision...Why can't we say 'accident' again?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Because 'accident' implies there's no one to blame.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATION\/C.I.D. OFFICE - DAY<\/stage_direction>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>What about him? Oh, put a sock in it town mouse!<\/dialogue>\n    <character>CARTWRIGHT<\/character>\n    <dialogue>Yeah, you want to be a big cop in a small town, bugger off up the model village.<\/dialogue>\n    <scene_description>The ANDES sit in their office eating ice-cream. DANNY enters with another bowl, which ANGEL declines.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>I'm just saying, things aren't always simple as they look.<\/dialogue>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>But most times they are. Let's wait until Er. Hatchet comes back with something, before you go jumping the Kalashnikov.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Well, in the meantime, why not start by checking out some of Martin Blower's clients?<\/dialogue>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>Martin Blower represents damn near most of the village. You want us to go through the whole phone book?<\/dialogue>\n    <character>CARTWRIGHT<\/character>\n    <dialogue>Yeah, we'll put a call into Aaron A. Aarronson shall we?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Please don't be childish. At least think about interviewing the widow? Mr Blower was clearly having an affair with Eve Draper.<\/dialogue>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>And how did you establish that?<\/dialogue>\n    <scene_description>DANNY slams his \\[U+FB02\\]st on the table. ANGEL jumps.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>We sat through three hours of so-called acting last night. The kiss was the only convincing moment in it.<\/dialogue>\n    <scene_description>DANNY \\[U+FB02\\]ashes a grin at a bemused ANGEL.<\/scene_description>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>Alright, pipe down.<\/dialogue>\n    <character>CARTWRIGHT<\/character>\n    <dialogue>Yeah, what else you got, Tango and Hutch?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Simon Skinner.<\/dialogue>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>What about him?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>He was acting suspiciously at the collision scene.<\/dialogue>\n    <character>CARTWRIGHT<\/character>\n    <dialogue>He runs the local supermarket.<\/dialogue>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>Anything else?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Skid marks.<\/dialogue>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>Now who's being childish?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>There were no skid marks at the scene. Don't you think it's a little strange that Mr. Blower would lose control of the car and not think to apply his brakes?<\/dialogue>\n    <scene_description>For the \\[U+FB02\\]rst time, the ANDES do not have an answer.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>If there are no skid marks it follows that for three hundred yards the driver and the passenger made no attempt to prevent their fate. You don't have to be a detective to work that out.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Yeah!<\/dialogue>\n    <scene_description>FRANK pops into the office. He's also eating ice cream.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>You causing trouble?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I was talking to the 'detectives' about the 'accident'.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>'Yeah'.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Dreadful business. You free?<\/dialogue>\n    <character>WAINWRIGHT &amp; CARTWRIGHT<\/character>\n    <dialogue>Yes they are.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Good. Got a spot of bother up at Ellroy Farm. Old Arthur Webley's been clipping hedgerows that don't belong to him.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Yes sir?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>That's it.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>You wanted grass roots.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SQUAD CAR - DAY<\/stage_direction>\n    <scene_description>DANNY drives a pissed off ANGEL up a dirt road. P.C. BOB WALKER is in the back. SAXON drools on ANGELS shoulder.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Why do We used the dog?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>It's not the dog we need.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FARMHQUSE - DAY<\/stage_direction>\n    <scene_description>A White haired Did farmer, ARTHUR WEBLEY stands at his door with a shotgun broken over his arm.<\/scene_description>\n    <character>WEBLEY<\/character>\n    <dialogue>Hedgizuhedgeinnit. loonlychopped etdowwnoozicoutn'tseethe View nomore. Wasshemoaninabout?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Right.<\/dialogue>\n    <parenthetical>(to Danny and Walker)<\/parenthetical>\n    <dialogue>What did he say?<\/dialogue>\n    <character>PC WALKER<\/character>\n    <dialogue>Eessad. A hedgeisahedge innit. Nee onlychoppedet dowwn cozee cun't see t'voo nomore. Whas he moanin' about?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Right.<\/dialogue>\n    <parenthetical>(to Danny)<\/parenthetical>\n    <dialogue>What did he say?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>He said a hedge is a hedge. He only chopped it down because it spoilt his view. What's Reaper moaning about?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Right. That's not the point Mr. Webley.<\/dialogue>\n    <character>WEBLEY<\/character>\n    <dialogue>Whystoyalwaspiokinawnmeanywaiz. Iznotthewanrunninabowtallhowersofthenight. Themhloodyoods.<\/dialogue>\n    <character>PC WALKER<\/character>\n    <dialogue>Eesad. Why you pickin onhem. Ees nart the wan runnnin abowt all hours like them bloody hoods.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Them bloody who?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Hoods.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>What does he mean by that?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Probably them kids.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Mr. Webley, I appreciate your position but you can't go around cutting down other people's hedges without permission.<\/dialogue>\n    <character>WEBLEY<\/character>\n    <dialogue>Yarghspose.<\/dialogue>\n    <character>PC WALKER<\/character>\n    <dialogue>'Yargh he suppose'.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>'Yeah I suppose'.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Thank you .<\/dialogue>\n    <character>DANNY\/WALKER\/WEBLEY<\/character>\n    <dialogue>S'alroight.<\/dialogue>\n    <character>ANGEL<\/character>\n    <parenthetical>(points at shotgun)<\/parenthetical>\n    <dialogue>Oh and Mr. Webley, I trust you have a license for that?<\/dialogue>\n    <character>WEBLEY<\/character>\n    <dialogue>Oharrghldozfortheesun.<\/dialogue>\n    <character>PC WALKER<\/character>\n    <dialogue>'Idoes for theesun'.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>He does for this one.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>What do you mean by 'this one'?<\/dialogue>\n    <scene_description>ANGEL and DANNY peer in as WEBLEY opens the door to a huge outbuilding. The daylight illuminates...an enormous arsenal of antique firearms; RIFLES, SHOTGUNS, PISTOLS, BLUNDERBUSSES. It's a museum of firepower.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>By the power of Grey Skull!<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Where on Earth did you get these?<\/dialogue>\n    <character>WEBLEY<\/character>\n    <dialogue>Foundum.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Found 'em.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>And what is that?<\/dialogue>\n    <scene_description>ANGEL points to an enormous spiky sphere in the corner.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Sea mine.<\/dialogue>\n    <character>WEBLEY<\/character>\n    <dialogue>Seemoine.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Well Mr. Webley, this is an extremely dangerous collection. It's a wonder nobody's been hurt before.<\/dialogue>\n    <character>WEBLEY<\/character>\n    <dialogue>Naaarrrgh. Iss jussaloodajunk.<\/dialogue>\n    <scene_description>WEBLEY strikes the SEA MINE with his walking stick. ANGEL and DANNY's faces go white. There is a resounding clang...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FARM - DAY<\/stage_direction>\n    <scene_description>ANGEL, DANNY and WEELEY come bursting out of the shed. They run in heroic slow motion towards a nearby hedge. All three dive over the hedge and land with an enormous crunch. Seconds pass...Nothing...ANGEL and DANNY stand. They peer over the hedge. More seconds pass... Nothing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. SQUAD CAR\/FARM - DAY<\/stage_direction>\n    <scene_description>ANGEL is sat in the squad car on the radio. Behind, WEBLEY and DANNY stand with the sea mine.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Apparently it's deactivated.<\/dialogue>\n    <character>WEBLEY<\/character>\n    <parenthetical>(hits the seamine)<\/parenthetical>\n    <dialogue>Thassroit. Deeaaktiyaded.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Yes, it's not live.<\/dialogue>\n    <character>DANNY<\/character>\n    <parenthetical>(kicks seamine)<\/parenthetical>\n    <dialogue>Looks live.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATION - DAY<\/stage_direction>\n    <scene_description>FLASHCUTS; ANGEL and DANNY march in with armfuls of guns, the curly haired DESK SERGEANT tags them, the evidence room is filled (with the SEA MINE is stored on a high shelf}.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>That was a quite an impressive haul today, Constable Butterman.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Maybe we should do something to celebrate...unless you have to water your Peace Lily.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>What are you thinking exactly?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CROWN \" NIGHT<\/stage_direction>\n    <scene_description>The pub is heaving with a huge cross section of people; Neighbourhood Watch, off duty police, even FRANK.<\/scene_description>\n    <character>MARY PORTER<\/character>\n    <dialogue>Right you are my love.<\/dialogue>\n    <character>ROY PORTER<\/character>\n    <dialogue>Yes sir, what can I get you?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Pint of lager, please Roy. And what can I get you that isn't a cranberry juice?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I don't really want to get drunk.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>You can get a little drunk.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Okay I'll have one.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>That's what I'm talking about!<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>What's your wine selection?<\/dialogue>\n    <character>RUY PORTER<\/character>\n    <dialogue>Oh, we've got red...or white.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Pint of lager, please Roy.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Yeaaaah Roy.<\/dialogue>\n    <scene_description>ANGEL spies the ANDES at the bar and wanders over.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Any developments from this morning?<\/dialogue>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>Yeah, CSI found nothing, Dr. Hatcher reported no misadventure, Mrs. Blower has four alibis.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>And Skinner?<\/dialogue>\n    <character>CARTWRIGHT<\/character>\n    <dialogue>He runs the local supermarket.<\/dialogue>\n    <character>FISHER<\/character>\n    <dialogue>Come on Sergeant, it's not your job to investigate this incident is it? Is it?<\/dialogue>\n    <character>WAINWRIGHT AND CARTWRIGET<\/character>\n    <dialogue>No it isn't.<\/dialogue>\n    <scene_description>ANGEL and DANNY sit down. ANGEL scribbles in his notebook.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>You don't switch off do you?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>You sound like my ex.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Why, did she have a deep voice?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>No, she always used to accuse me of not being able to switch off.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Well you are always thinking away.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>It's what I do.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>No, no I think it's amazing. I mean what made you want to he a policeman-<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Officer-<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>What made you want to be a policeman-officer?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I can't remember a time when I didn't want to he a police officer, apart from the summer of 1979 when I wanted to be Kermit The Frog. It all started with my Uncle Derek. He was a Sergeant in the Net. Gave me a police pedal car when I was five. I rode it around every moment I was<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>awake, arresting kids twice my size for littering and spitting. I got beaten up a lot but it didn't stop me. I wanted to be like Uncle Derek.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Sounds like a good bloke.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Actually, he was jailed for selling drugs to students.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>What a cunt.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>He most likely bought the pedal car with the proceeds. Needless to say I never went near it again. I let it rust. But I never forgot that clear sense of right and wrong I felt at the wheel of that pedal car and I refused to accept that corruption was the inevitable consequence of authority. I had to prove to myself that the law could be proper and righteous and for the good of humankind. I knew then, I was destined to be a police officer.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Shame.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>How so?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>I think you would've made a great muppet.<\/dialogue>\n    <scene_description>ANGEL laughs. It's the first time we have seen him do this.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>So, what made you want to be a police officer?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Dad does it...I think after Mum died, it's what he wanted. Keep me close by.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Do you mind if I ask how she died?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Traffic collision.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Aw, don't worry...watch this.<\/dialogue>\n    <scene_description>DANNY sticks a fork in his eye, scarlet squirts everywhere.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Jesus Christ?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Ta-daaaa!<\/dialogue>\n    <scene_description>DANNY reveals a TOMATO KETCHUP sachet. ANGEL laughs.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Get 'em in silly bollocks...<\/dialogue>\n    <scene_description>FLASH CUTS. The night wears on. The glasses on the table multiply. DANNY and ANGEL are both tipsy and enjoy each other's company. DANNY beats ANGEL at bar skittles. LATER. ANGEL finds his way to the bar. He sees a beaming SIMON SKINNER sitting at the bar with another gentleman.<\/scene_description>\n    <character>SKINNER<\/character>\n    <dialogue>Ah, 777. Do join us. You've met George Merchant haven't you?<\/dialogue>\n    <scene_description>GEORGE MERCHANT is drunk and morose. ANGEL sits at the bar.<\/scene_description>\n    <character>MRCHANT<\/character>\n    <dialogue>Good evening offisher...<\/dialogue>\n    <character>SKINNER<\/character>\n    <dialogue>We were just talking about the accident. Dreadful business.<\/dialogue>\n    <character>MRCHANT<\/character>\n    <dialogue>I'd come to know Martin and Eve very well of late. Such a losssh.<\/dialogue>\n    <character>SKINNER<\/character>\n    <dialogue>What say we drink to their demise?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Isn't it drink to their memory?<\/dialogue>\n    <character>SKINNER<\/character>\n    <dialogue>Of course. Cheers.<\/dialogue>\n    <character>GEORGE MERCHANT<\/character>\n    <dialogue>I mussh go to the little boyssh room.<\/dialogue>\n    <scene_description>MERCHANT gets off his stool. He is remarkably short.<\/scene_description>\n    <character>SKINNER<\/character>\n    <dialogue>Little being the operative word. He'll be in bits tomerrow.<\/dialogue>\n    <scene_description>SKINNER moves off. ANGEL watches him go, swivelling on his stool. It's a cool mement. Until ANGEL slips off his seat.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Think somebedy needs to go home.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I'm not that drunk sir.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Net yen. Him.<\/dialogue>\n    <scene_description>FRANK points to GEORGE MERCHANT who stands in the corner, with his nob out, pissing into the coin tray of a fruit machine.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>ANGEL and DANNY carry GEORGE MERCHANT along the street. He is unconscious, his feet not touching the ground.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Hey, we did get a little drunk. Geddit? It's funny 'cos he's little.<\/dialogue>\n    <scene_description>ANGEL spies the HOODIES huddled round a village map. He gestures for DANNY te be quiet and sneaks ever.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Evening all.<\/dialogue>\n    <scene_description>The HOODIES spin around and freeze. A freshly sprayed grefitti tag is en the village map. ANGEL holds out his hand.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Give it here.<\/dialogue>\n    <scene_description>A SPRAY CAN sails past ANGEL's head and hits GEORGE MERCHANT full in the face. He and DANNY fell to the \\[U+FB02\\]eor. The HOODIES scatter. ANGEL steams over, grabbing HOODIE 1 and pulling him back into a neerby bin. ANGEL grabs HOODIE 2 and spins him round, pulling the hood off his face. ANGEL finds himself face to face with the BLONDE SCHOOLKID. HOODIE 1 meanwhile, clambers out of the bin and runs off. A thrown ANGEL looks on, as the BLONDE SCHOOLKID \\[U+FB02\\]ips his hood back up and runs off.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Let em go. They'll come round again.<\/dialogue>\n    <scene_description>ANGEL and DANNY pick MERCHANT up and carry him eff.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>We know where his house is right?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Oh yes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - NIGHT<\/stage_direction>\n    <scene_description>DANNY stops, looking up at the monstreus piece ef architecture.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Gcod grief.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Six mohths ago, that was a pear orcherd.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I want to threw up, but I fear it may add value.<\/dialogue>\n    <scene_description>MERCHANT is suddenly awake. His eyes glazed.<\/scene_description>\n    <character>MERCHANT<\/character>\n    <dialogue>Jussst here. How much do I owe youss?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Twenty quid.<\/dialogue>\n    <scene_description>MERCHANT gives DANNY \u00a320 guid. ANGEL gives it back.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Thank you and here's your change.<\/dialogue>\n    <character>MERCHANT<\/character>\n    <dialogue>Buh-bye.<\/dialogue>\n    <scene_description>MERCHANT disappears inside. ANGEL and DANNY walk away.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>I wouldn't want to be him in the morning.<\/dialogue>\n    <scene_description>They walk out of shot, revealing...A CLOAKED FIGURE!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEORGE NERCHANT'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>A light \\[U+FB02\\]icks on. We see GEORGE MERCHANT stumbling around his hall. We also the CLOAKED FIGURE watching, waiting...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DANNY'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>DANNY and ANGEL arrive at DANNY's front door.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Well, this is me.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I shall see you in the morning.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Unless you wanna come in for a coffee?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I don't drink coffee.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Tea?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>No, no caffeine after midday.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>How about another beer?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>A fridge opens...We see a number of bottled beers... GEORGE MERCHANT grabs a beer and swigs it as he staggers to the toilet. Outside the CLOAKED FIGURE watches. MERCHANT put his beer on the cistern and has a piss...He \\[U+FB02\\]ushes, zips up and retrieves his beer from the cistern. As he stands back up, behind him we see... The CLOAKED EIGUEE. Who strikes him with a cudgel. Bang!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DANNY'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>ANGEL drops down onto DANNY's sofa and surveys the untidy room. DANNY appears to be living out of cardboard boxes.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>When did you move in?<\/dialogue>\n    <scene_description>DANNY enters from the kitchen with two cans of beer.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>About five years ago.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>You should get some pot plants.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Oh yeah?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Yes, I've been tending my Peace Lily for three years now. NASA rates it as one of top ten air cleaning plants. It oxygenates the room, it helps me think, it relieves stress. Its needs are simple. Janine said I loved my Lily more than her.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Is that why you split up?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Cos' you dunnit with a plant.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>No, it was more about being obsessed with the job.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>But, that's good though innit?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I don't know, I did miss a few dinners, parties, a birthday or two-<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Well I mean-<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>-her dad's funeral. I just want to be good at what I do.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>You are good at what you do. You've just got to learn to switch off that big melon.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>You know Danny, I don't know how.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>I'll show you how.<\/dialogue>\n    <scene_description>DANNY opens a cupboard that is stacked full of alphabetized VHS tapes. It's the most ordered area of the entire \\[U+FB02\\]at.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>By the power of Greyskull.<\/dialogue>\n    <scene_description>DANNY carefully selects two tapes.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Point Break or Bad Boys 2?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Which one do you think I'll prefer?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>No, I mean which one do you wanna watch first?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>You are pulling my leg?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEDRGE MERCHANT'S KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>MERCHANT is dragged by his feet and dumped into a kitchen chair...GLOVED HANDS empty beans into a pan... Bacon is fried...Gas taps are turned on full...Gas hisses...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DANNY'S HGUSE - NIGHT<\/stage_direction>\n    <scene_description>Static hisses as the video \\[U+FB02\\]ickers to life.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>This film is A-MAZING!<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>So, what's it actually about?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>An FBI agent who goes under cover to infiltrate a gang of wild wave riding, sky diving, bank robbers but falls in love with the surfing lifestyle and the leader's girlfriend and ends up having to make some very tough choices.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>So it's based on a true story?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Now that I don't know.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>No I just mean, it sounds a little far fetched.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Well, it's a film innit?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GEORGE MERCHANT'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Hiss...GLOVED HANDS light a candle in the living room. Hiss...MEECHANT lies motionless in the chair....Hiss...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DANNY'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>DANNY and ANGEL are on the sofa. 'Point Break' ends.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Whaddya think?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Well, I won't argue that it's a no holds barred, adrenaline fuelled thrill ride but there's no way you could perpetrate that amount of carnage and mayhem without incurring a considerable amount of paperwork.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>That's nothing man. This is about to go off!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEDRGE MERCHANT'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>KA-BOOOOOOM. MERGHANT's \\[U+FB02\\]aming body \\[U+FB02\\]ies through the air.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DANNY'S HOUSE - EARLY MORNING<\/stage_direction>\n    <scene_description>DANNY's head rests on ANGEL as they sleep on the sofa. Daylight fills the room as 'Bad Boys 2' blares from the TV.<\/scene_description>\n    <character>MARTIN LAWRENCE<\/character>\n    <dialogue>This shit just got real!<\/dialogue>\n    <scene_description>The phone rings. They open their eyes at the same time.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GEDRGE MERCHANT'S HOUSE - MORNING<\/stage_direction>\n    <character>DR. HATCHER<\/character>\n    <dialogue>Nasty way to go.<\/dialogue>\n    <scene_description>The Sandford Police survey the smoking black husk of Merchant's house. His twisted and burnt cadaver is covered up by DR. HATCHER. Paramedics carry him off on a gurney.<\/scene_description>\n    <character>DR. HATCHER<\/character>\n    <dialogue>Seems Mr. Merchant tried to have a little fry up and left the gas on. They say you shouldn't eat late at night.<\/dialogue>\n    <character>DORIS THATCHER<\/character>\n    <dialogue>I dunno. I like a little midnight gobble.<\/dialogue>\n    <scene_description>THATCHER and WALKER laugh at this. WALKER mumbles 'Cocks'.<\/scene_description>\n    <character>FISHER<\/character>\n    <dialogue>So what do we reckon? Angel?<\/dialogue>\n    <scene_description>FISHER looks to a spectacularly groggy ANGEL and DANNY.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>FISHER<\/character>\n    <dialogue>Help me.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>We should set up a proper cordon, keep people back, let the fire crew finish and get the forensics to do a thorough sweep.<\/dialogue>\n    <character>FISHER<\/character>\n    <dialogue>Right. What he said.<\/dialogue>\n    <scene_description>ANGEL spots a crew of workmen on the periphery, waiting to clear the scene. TIM MESSENGER appears, notebook in hand.<\/scene_description>\n    <character>MESSENGER<\/character>\n    <dialogue>Sergeant, a guick word?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Mr. Messenger, please. A statement will be issued shortly.<\/dialogue>\n    <character>MSSENGER<\/character>\n    <dialogue>Actually I just wanted to find out, 'What's your perfect Sunday'?<\/dialogue>\n    <character>FISHER<\/character>\n    <dialogue>I'll deal with the press Sergeant. Now, my perfect Sunday would begin -<\/dialogue>\n    <scene_description>FISHER leads MESSENGER away. ANGEL sees SIMON SKINNER amongst a crowd of onlookers. SKINNER waves 'hello'.<\/scene_description>\n    <character>WAINWEIGHT<\/character>\n    <dialogue>What you thinking? Foul play?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Maybe.<\/dialogue>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>We're just waiting to speak to the last people to see Mr Merchant alive, namely Sergeant Knickerless Asswipe and Constable Fanny Butterdog.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>That's us.<\/dialogue>\n    <scene_description>The ANDES collapse with into sniggers.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Why is this such a big joke to you? Three people have died in less than a week.<\/dialogue>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>Oh come on Dr. Sherlock, they were accidents.<\/dialogue>\n    <character>CARTWRIGHT<\/character>\n    <dialogue>People have accidents everyday.<\/dialogue>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>Ron Spencer got his cravat caught in the mulcher the other week.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>But the victims knew each other.<\/dialogue>\n    <character>CARTWRIGHT<\/character>\n    <dialogue>Everyone knows everyone round 'ere.<\/dialogue>\n    <character>WAINWEIGHT<\/character>\n    <dialogue>Yeah. If you didn't see anything suspicious, then who did?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATIQN\/CCTV OFFICE - DAY<\/stage_direction>\n    <scene_description>TOM WEAVER spools through footage on his CCTV monitors. ANGEL, DANNY, FRANK and the ANDES look on.<\/scene_description>\n    <character>WEAVER<\/character>\n    <dialogue>Bit of a blind spot I'm afraid. We're not that well covered around George Merchant's. We only get the very edge of the explosion.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Nasty way to go.<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>One thing that did catch my eye.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>You sticking it to these herberts!<\/dialogue>\n    <scene_description>WEAVER shows a replay of the drunken HOODIE fight and whoops with delight. The ANDES snigger. ANGEL fumes.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>This is irrelevant.<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>I beg to differ. It's the closest we've come to nabbing the bastards.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Mr. Weaver, let's concentrate-<\/dialogue>\n    <scene_description>WEAVER pauses the tape on a blurred shot of the BLONDE KID.<\/scene_description>\n    <character>WEAVER<\/character>\n    <dialogue>Did you get a good look at this little mischief? What did he-<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Forget that, just keep looking for anything out of the ordinary in the immediate area of Mr Merchant's residence. Make a note of any car registrations spotted in the vicinity. In partieular, look out for a Red MG, license 'SS1'.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Nicholas.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Yes sir?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Can I have a mo?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CORRIDOR - DAY<\/stage_direction>\n    <character>FRANK<\/character>\n    <dialogue>You've got to ease off on these Skinner allegations. He's the manager of the local supermarket.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>With respect sir-<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Listen, you are an exceptional officer, truly exceptional, but you do have to let the Andes do their job. If there's anything amiss, we'll hear soon enough. Until then we have to regard these incidents as accidents.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Good boy.<\/dialogue>\n    <scene_description>FRANK leaves. ANGEL looks up to the photo on the wall. It is of an officer with a big bushy beard; 'Sgt, Popwell'.<\/scene_description>\n    <character>WEAVER (O.S.)<\/character>\n    <dialogue>Sergeant Angel, I think I've found what you're looking for.<\/dialogue>\n    <scene_description>ANGEL runs excitedly over to WEAVER's office. The ANDES follow suit, as do DANNY and FRANK. They see CCTV footage of the SWAN waddling past Merchant's house.<\/scene_description>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>Ah, there you go. It was the Swan all along.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>This is not funny Detective!<\/dialogue>\n    <character>CARTWRIGHT<\/character>\n    <dialogue>Oh give over Miss Marples.<\/dialogue>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>Let us do our job and you do yours.<\/dialogue>\n    <character>CARTWRIGHT<\/character>\n    <dialogue>Yeah, haven't you got a church fete to look after?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>No, I have not!<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Actually.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCH FETE - DAY<\/stage_direction>\n    <character>MALE VOICE (O.S.)<\/character>\n    <dialogue>Lovely day for it Sergeant?<\/dialogue>\n    <scene_description>A bored ANGEL patrols at a bustling fete. We see impressive \\[U+FB02\\]oral displays and banners reading 'SAVE THE CHURCH RGQE' and promoting Sandford for 'VILLAGE OF THE YEAR'. REV. SHOQTER sidles up to ANGEL with a tray of drinks.<\/scene_description>\n    <character>REV. SHOOTER<\/character>\n    <dialogue>Sergeant Angel, would your theological reservations preclude you from assisting me with the raf\\[U+FB02\\]e this afternoon? There's a glass of Joyce Cooper's lemonade in it for you.<\/dialogue>\n    <scene_description>ANGEL takes a glass and downs it, to SHOOTER'S delight.<\/scene_description>\n    <character>REV. SHOOTER<\/character>\n    <dialogue>Marvellous.<\/dialogue>\n    <scene_description>ANGEL slumps into a nearby chair and surveys the fete. He sees a child messily eating a ice lolly. He looks up to see the father, SGT. FISHER doing the same. He sees DORIS THATCHER standing with two burly men, giggling at a pig being spit roasted. He sees WALKER feed candy \\[U+FB02\\]oss to SAXON. BONG. A bell rings as LURCH plays a 'TEST YOUR STRENGTH' game. SKINNER lurks nearby, manning a 'BASH THE RAT' stall and staring into the distance. Thunder rumbles. ANGEL follows his gaze over to TIM MESSENGER having an animated discussion with LESLIE TILLER, the \\[U+FB02\\]orist...<\/scene_description>\n    <character>CARTWRIGHT (O.S.)<\/character>\n    <dialogue>Shark?<\/dialogue>\n    <scene_description>ANGEL jumps. The ANDES appear, clutching cans of Cider.<\/scene_description>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>Seen any murderings Nicholarse?<\/dialogue>\n    <scene_description>FRANK and DANNY approach dressed in wild west gear.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Come on now boys. Leave Sergeant Angel alone, he's working.<\/dialogue>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>Sorry Chief, won't waste anymore police time.<\/dialogue>\n    <scene_description>The ANDES slope off, swigging their cider.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Actually Nicholas. You may as well have a break.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Great. I've got something to show you.<\/dialogue>\n    <scene_description>ANGEL follows DANNY through the crowd until they come to a stop at an AIR RIFLE RANGE, run by a smiling DR. HATCHER.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>This is a ri\\[U+FB02\\]e range.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>You'll be really good at it.<\/dialogue>\n    <character>HATCHER<\/character>\n    <dialogue>Three cans wins you a squeaky bunny, five gets you a \\[U+FB02\\]oppy lion. Take out all the little people, you get to waltz off with the cuddly monkey.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I thought I made it clear to you how I felt about guns.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>It's only an air ri\\[U+FB02\\]e.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>No Danny.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>It is for a cuddly monkey.<\/dialogue>\n    <scene_description>ANGEL grudgingly takes an air rifle. DANNY smiles expectantly. ANGEL fires, hitting every can dead centre with amazing speed. He lowers the rifle, feeling excited and unclean at once. The ANDES watch, swigging their cider.<\/scene_description>\n    <character>DR. HATCHER<\/character>\n    <dialogue>Good lord.<\/dialogue>\n    <scene_description>ANGEL hands the ri\\[U+FB02\\]e to an awed DANNY, who inspects it.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Fuck me...that was-<\/dialogue>\n    <scene_description>DANNY accidentally pulls the trigger. We hear an agonized yelp. DR. HATCHER drops on the \\[U+FB02\\]oor clutching his leg.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FETE - DAY<\/stage_direction>\n    <scene_description>ANGEL and DANNY walk away from the stall: ANGEL clutching the CUDDLY MONKEY, DANNY in shock. Behind a Saint John's Ambulance team attend to DR. HATCHER, who's in some pain.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>I can't believe I shot someone.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>He's a doctor, he can deal with it.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>But I've never shot anyone before.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Believe me Constable. It's not something you ever get used to.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Yeah. Maybe we should go on the bouncy castle. Take our minds off it.<\/dialogue>\n    <scene_description>ANGEL spies SKINNER talking heatedly with TIM MSSENGER.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <scene_description>Thunder rumbles. Before ANGEL can answer, a YOUNG BOY runs right into him. We see that it is the BLONDE SCHOOL KID. He and ANGEL lock eyes. The boy looks terrified.<\/scene_description>\n    <character>WEAVER<\/character>\n    <dialogue>Watch where you're going.<\/dialogue>\n    <scene_description>ANGEL turns to see the grandfather.<\/scene_description>\n    <character>WEAVER<\/character>\n    <dialogue>I do apologise for my grandson. Stand up straight Gabriel, this is Sergeant Angel.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I've met Gabriel before actually.<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>Oh, have you?<\/dialogue>\n    <scene_description>GABRIEL looks extremely anxious. His eyes go wide.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Yes. I gave a talk at the school, didn't I Gabriel?<\/dialogue>\n    <character>GABRIEL<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Maybe we'll get a chance to have another little chat sometime.<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>I'm sure Gabriel would love that.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>You have a good afternoon.<\/dialogue>\n    <scene_description>WEAVER and GABRIEL walk off. GABRIEL looks back at ANGEL, his expression of confusion and relief.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>What was that about?<\/dialogue>\n    <scene_description>Before ANGEL can answer...a breathless TIM MESSENGER appears, slamming into ANGEL.<\/scene_description>\n    <character>TIM MESSENGER<\/character>\n    <dialogue>Sergeant Angel, I need to talk to you about George Merchant. Alone. It might be less conspicuous if you don't bring the monkey.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>This man is a police officer, I'd thank you to treat him with more respect.<\/dialogue>\n    <character>TIM MSSENGER<\/character>\n    <dialogue>I was talking about that.<\/dialogue>\n    <scene_description>MESSENGER nods to ANGEL's giant CUDDLY MONKEY.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>TIM MESSENGER<\/character>\n    <dialogue>The churchyard. Ten minutes.<\/dialogue>\n    <scene_description>ANGEL watches MESSENGER scurry off, passing SIMON SKINNER.<\/scene_description>\n    <character>SKINNER<\/character>\n    <dialogue>Bash the rat?<\/dialogue>\n    <character>REV. SHOOTER (TANNOY)<\/character>\n    <dialogue>Could we have Sergeant Angel to the stage please?<\/dialogue>\n    <scene_description>ANGEL gives the CUDDLY MONKEY to DANNY and walks off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FETE - DAY<\/stage_direction>\n    <scene_description>A distracted ANGEL takes to a makeshift stage where the REV. SHOOTER stands with a tombola and a microphone.<\/scene_description>\n    <character>REV. SHOOTER<\/character>\n    <dialogue>Here to announce the winners is the newest addition to the Sandford Police Force-<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>(under breath} Police service. REV. SHOOTER -Sergeant Nicholas Angel.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Hello.<\/dialogue>\n    <scene_description>A buzz of feedback from the mic. ANGEL eyes the clock. It's 3pm. The tombola spins... ...MESSENGER waits in the churchyard, looks at his watch. ...ANGEL picks a name from the tombola.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>The \\[U+FB02\\]rst name is Simon Skinner.<\/dialogue>\n    <character>ANNETTE ROPER<\/character>\n    <dialogue>He's in the loo!<\/dialogue>\n    <character>REV. SHOOTER<\/character>\n    <dialogue>Too much of Joyce's lemonade perhaps.<\/dialogue>\n    <scene_description>Laughter from the crowd. Thunder rumbles... ...We see a BLACK GLGVED HAND on a church door handle... ...The tombola spins. ANGEL looks at the clock... ...We see BLACK EOOTS race up belfry steps... ...MESSENGER still waits. Sweat forms on his brow... ...ANGEL picks another name.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Tim Messenger.<\/dialogue>\n    <character>REV. SHOOTER<\/character>\n    <dialogue>Tim, your number's up.<\/dialogue>\n    <scene_description>There's much hub-bub. Thunder rumbles. Closer this time. ANGEL looks in the crowd frantically... ...Unseen a CLOAKED EIGURE steps onto the church roof... ...ANGEL jumps down off the makeshift stage. ...ELACK GLOVED HANDS push on a loose turret stone. ...TIM MESSENGER stands directly below... ...ANGEL strides through the crowd... ...The gloved hand presses on the turret. The stone cracks... ...ANGEL breaks into a run. He reaches the churchyard... ...The stone breaks away from the roof and falls down. ...ANGEL runs in the churchyard, sees TIM MSSENGER- SPLAT. The tip of the stone CRUSHES MESSENGER'S head! ANGEL jerks back in horror. TIM MESSENGER now looks utterly surreal, with an upside down cone where his head should be. The off duty police arrive on the scene, along with many of the NWA. SIMON SKINNER runs over from a chemical toilet.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Keep back. There's been a terrible accident!<\/dialogue>\n    <scene_description>There's much hub-bub and murmurs of the word 'accident' from the crowd. FISHER steps in, not having seen the body.<\/scene_description>\n    <character>FISHER<\/character>\n    <dialogue>What accident?<\/dialogue>\n    <parenthetical>(he sees it)<\/parenthetical>\n    <dialogue>Oh right.<\/dialogue>\n    <scene_description>ANGEL grimaces, looks to the church roof and races off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCH STEPS\/ROOF - CONTINUOUS<\/stage_direction>\n    <scene_description>ANGEL runs up the church steps to the roof. He \\[U+FB02\\]ings the door open and peers out. There's no-one there. He comes back down to find all the off duty police waiting at the door, along with a troubled REV. SHOOTER.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Nicholas, what is it?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Sir, I think all these deaths are linked. Tim Messenger was murdered.<\/dialogue>\n    <character>REV. SHOOTER<\/character>\n    <dialogue>Who could do something like this?<\/dialogue>\n    <character>WAINNRIGHT<\/character>\n    <dialogue>Maybe it was the swan.<\/dialogue>\n    <character>CARTWRIGHT<\/character>\n    <dialogue>Apparently they can break a man's arm.<\/dialogue>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>Or blow up a man's house.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Look-<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Whoa there Nicholas. Let me get this straight. Are you saying this is a crime scene?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Yes sir, I am.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Very well. Detectives, start interviewing everyone who was at the fete. Sgt Fisher, secure the area, PC Thatcher, get the CSI down here. PC Walker patrol the churchyard with Saxon. Nicholas, Danny...you know what to do.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHURCHYARD - NIGRT<\/stage_direction>\n    <scene_description>ANGEL and DANNY sit in the rain at the crime scene. DANNY still wears his cowboy outfit and clutches the MONKEY.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Do you really think this is murder?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I just don't think we should rule it out.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Yeah. I think you're right.<\/dialogue>\n    <scene_description>PC WALKER passes with SAXON.<\/scene_description>\n    <character>WALKER<\/character>\n    <dialogue>Ifinkyertarkinaloodashitt.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>He thinks you're talking a load of shit. Swings and roundabouts innit?<\/dialogue>\n    <scene_description>The ANDES wander past. ANGEL and DANNY get up and approach.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Did you find anything?<\/dialogue>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>Yes I was extremely shocked when I looked at my watch and discovered the pubs were shut.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>What about his house? Have you checked his office? Read his articles?<\/dialogue>\n    <character>CARTWRIGHT<\/character>\n    <dialogue>If you want to wade through every copy of the Sandford bloody Citizen, be our guest.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>It's your job isn't it? Detect!<\/dialogue>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>This isn't the city, Mister Angel. Not everyone's a murdering psychopath. High time you realised that. You and your monkey.<\/dialogue>\n    <scene_description>The ANDES walk off into the night. DANNY holds up the CUDDLY MONKEY.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Did he mean me or that?<\/dialogue>\n    <scene_description>A furious ANGEL puts his head in his hands.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Maybe we should go home.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Well, there's nothing going on is there?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Have you listened to anything I've said Constable?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Has anything I've told you in the last few weeks got through that thick skull of yours?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Yeah...<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Oh really?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>You said I could be an amazing policeman officer.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>There's always something going on Danny and you'll never be an amazing police officer until you understand that.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>I remembered something else you said.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>And what was that?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>You don't know how to switch off.<\/dialogue>\n    <scene_description>ANGEL stalks back to his stool and again guards the cordon. He sits alone in the rain, soaking to the skin.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SWAN HOTEL CORRIDOR\/BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>ANGEL approaches his door. He unlocks it and enters. On the bed is the sodden CUDDLY MONKEY and a card reading - 'This was left for you at reception. Regards Joyce' ANGEL slumps into a chair, picks up the phone and dials-<\/scene_description>\n    <character>INSPECTOR (V.O.)<\/character>\n    <dialogue>I'm out of the office at present...<\/dialogue>\n    <scene_description>ANGEL spies the Sandford Citizen featuring him on the cover. He sees the byline 'Words and Pictures by Tim Messenger'. ANGEL hangs up and \\[U+FB02\\]icks through the paper, past mundane stories; 'Bypass Still Unannounced', 'Sandford Family Trees'. He stops at a feature entitled 'Sandford People' with an accompanying photo of George Merchant. A quote reads \"This is just the beginning; I have big plans for Sandford\". ANGEL looks inspired. He grabs his pen and notebook.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. LIERARY - MORNING<\/stage_direction>\n    <scene_description>ANGEL sits at a table surrounded by archived volumes of the Sandford Citizen. He \\[U+FB02\\]ips through the pages at speed. We see FLASHCUTS of ANGEL scouring articles, photocopying relevant pages, highlighting crucial sentences and even correcting the odd typo. It's a blizzard of information. We see ANGEL highlight a sentence reading 'Mr. G. Merchant has applied for planning permission...' We see another headline, 'George Of The Jungle: Merchant Buys Scrubland'. We see a photo of MARTIN BLOWER outside the Sandford Playhouse. The headline reads 'From Bar to Verse: Solicitor Finances Drama Sociecy'. The pages \\[U+FB02\\]ip faster, the words start to blur. There has never been a more exciting scene in film history.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATION - MORNING<\/stage_direction>\n    <scene_description>A glum DANNY sits at a desk. ANGEL enters. DANNY doesn't look up. ANGEL struggles with a guilty greeting.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Morning Constable.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Alright?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Thanks for the monkey.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>It's yours.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Yeah but I won it for you.<\/dialogue>\n    <parenthetical>(smiles apologetically)<\/parenthetical>\n    <dialogue>Danny, I think I'm on to something.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Are you?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I think with a little bit of deliberation we can figure out what links these deaths.<\/dialogue>\n    <scene_description>ANGEL slaps a thick bundle of photocopies on the table.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>We?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I can't do this by myself Danny.<\/dialogue>\n    <scene_description>DANNY looks touched. The ANDES breeze past their desk.<\/scene_description>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>Morning benders.<\/dialogue>\n    <character>CARTWRIGHT<\/character>\n    <dialogue>What you up to?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <scene_description>The ANDES leave. ANGEL smiles at DANNY.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Come on partner, lets go to work.<\/dialogue>\n    <scene_description>FISHER pokes his head out of his office, a note in hand.<\/scene_description>\n    <character>FISHER<\/character>\n    <dialogue>Sergeant Angel. Someone from London rang for you.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Tell them I'll ring 'em back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGH STREET - DAY<\/stage_direction>\n    <scene_description>DANNY and ANGEL walk their beat, striding in perfect time.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Tim Messenger.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Go.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Editor and journalist for The Sandford Citizen.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Uh-huh.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Fondness for puns.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Go on.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Terrible speller.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Oh yeah?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Rut nevertheless had uncovered important information about...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. SQUAD CAR - DAY<\/stage_direction>\n    <scene_description>ANGEL and DANNY neglect their speed gun duty.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>George Merchant.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Self made millionaire.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Ch-ching.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Fancied himself as a property developer.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Uh-huh.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Had big plans for Sandford.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Pissed on the \\[U+FB02\\]oor in the Crown.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>But more importantly, was a good friend and client of...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. STREET - DAY<\/stage_direction>\n    <scene_description>ANGEL and DANNY walk the beat again.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Martin Blower.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Affirmatron.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Respected solicitor and leading light of the local drama society.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Bad actor.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Undoubtedly.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Bad driver.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Not necessarily.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Cheated on his missus.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Most certainly and we both know who with?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SQUAD CAR - DAY<\/stage_direction>\n    <scene_description>ANGEL and DANNY drive back to the sation.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Eve Draper.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Blower's leading lady.<\/dialogue>\n    <character>DANNY<\/character>\n    <parenthetical>(Whistles)<\/parenthetical>\n    <character>ANGEL<\/character>\n    <dialogue>Distinctive laugh.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Oh yes.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Liked older men.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Fingered.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>But crucially, where did she work?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Council.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Specifically?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>The department of planning and development.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Where George Merchant had secured permission to build his dubious mansion on Norris Avenue.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>So...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATION - EVENING<\/stage_direction>\n    <scene_description>Back in the office, the energy \\[U+FB02\\]ags. DANNY has his head on ANGEL the table, ANGEL \\[U+FB02\\]icks endlessly through his notes.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Tim Messenger was onto something about George Merchant who was into something with Martin Blower who was up to something with Eve Draper.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>And Simon Skinner has something to do with it all.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>But he runs the local supermarket.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>I don't know, I mean, maybe it was all accidents. People have accidents everyday. Gary Butcher drowned in his own septic tank the other week.<\/dialogue>\n    <scene_description>ANGEL puts his head on the table too. FRANK swings by.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>What are you two up to?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Well, look sharp. There's been reports of a fire in the station.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>What?!<\/dialogue>\n    <scene_description>DORIS produces a cake with a single candle stuck in it. The other officers gather round, singing 'Happy Birthday'. ANGEL then notices cards and banners that have clearly been there the whole day. All reading 'Happy Birthday Danny'.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>You should have said something.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>We were working weren't we?<\/dialogue>\n    <scene_description>ANGEL is ashamed of himself. He slinks away to the door.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Where you going?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Personal errand.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATION - EVENING<\/stage_direction>\n    <scene_description>The squad car races along a street, lights \\[U+FB02\\]ashing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FLORISTS\/NURSERY - EVENING<\/stage_direction>\n    <scene_description>ANGEL pulls up outside 'mourns as LESLIE' and puts his notebook emphatically on the dashboard. ANGEL arrives at the door as LESLIE TILLER is shutting up.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Oh Miss Tiller, I was wondering, have you got any Peace Lilies?<\/dialogue>\n    <character>LESLIE TILLER<\/character>\n    <dialogue>Of course. I was just about to pop off actually.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FLORIST\/NURSERY - EVENING<\/stage_direction>\n    <scene_description>LESLIE TILLER cuts wrapping paper with large garden shears.<\/scene_description>\n    <character>LESLIE TILLER<\/character>\n    <dialogue>I can never find my scissors. Is this for someone special?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Yes. Yes it is.<\/dialogue>\n    <scene_description>ANGEL spies packing crates and boxes on the \\[U+FB02\\]oor.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Are you going somewhere Miss Tiller?<\/dialogue>\n    <character>LESLIE TILLER<\/character>\n    <dialogue>No. Well, yes. I'm moving away. It's all a bit out of the blue. I was planning to disappear quietly actually. I do so hate goodbyes.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>And why the move, if you don't mind me asking?<\/dialogue>\n    <character>LESLIE TILLER<\/character>\n    <dialogue>Well, just between you and I...<\/dialogue>\n    <scene_description>LESLIE TILLER seems a little edgy. ANGEL is intrigued.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>LESLIE TILLER<\/character>\n    <dialogue>You know that fella who blew up?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>George Merchant.<\/dialogue>\n    <character>LESLIE TILLER<\/character>\n    <dialogue>That's him, well George Merchant - god rest him - he wanted to buy this land, so he sends round his legal fella Martin Blower - god rest him - I thought I might take them up on it, because I've been thinking about moving for some time, I haven't really got that much family round here, save for Cousin Sissy. And while the 'Village Of The Year' stuff is great and everything, I don't really see anything from it, so I thought I might take them up on the offer and move to Buford Abbey. Would you like a card with this?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>No, it's okay. You were saying about the offer?<\/dialogue>\n    <character>LESLIE TILLER<\/character>\n    <dialogue>Well, it turns out that Martin Blower - god rest him - knew where the new bypass road is going because he was knocking off Eve Draper from the council - god rest her - then that reporter - god rest<\/dialogue>\n    <character>LESLIE TILLER<\/character>\n    <dialogue>him - finds out about the route and tells me the land's very valuable, ten times what George Merchant and Martin Blower - god rest them - offered me. So with them having passed on and me still owning the land, I decided to sell it on myself to some folks from the city that Martin, George and Eve - god rest the lot of them - had been talking to, apparently they want to build a big shopping centre or something, of course Cousin Sissy won't be too happy about that, but as far as I'm concerned -<\/dialogue>\n    <scene_description>ANGEL pats his pockets for his note book.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Would you excuse me for one second?<\/dialogue>\n    <character>LESLIE TILLEE<\/character>\n    <dialogue>Of course.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FLORIST\/NURSERY - NIGHT<\/stage_direction>\n    <scene_description>ANGEL leaves the \\[U+FB02\\]orist. He runs back to the car to get his pocketbook. In the background we can see LESLIE TILLER wrapping the \\[U+FB02\\]owers - but we can also see - The CLOAKED FIGURE slips in from the back room of the shop, grabs the shears and plunges them into LESLIE TILLER's throat. Blood spurts all over the counter and front window. ANGEL turns back to see...TILLER dead. Shears in her neck. The blood. A SHADOW disappearing into the stock room...<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Stop. In the name of the law!<\/dialogue>\n    <scene_description>ANGEL runs towards the \\[U+FB02\\]orist, throwing his trunoheon at the window. It shatters a second before he jumps through.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. FLORIST\/NURSERY - NIGHT<\/stage_direction>\n    <scene_description>ANGEL runs into the stock room, to see the CLOAKED FIGURE running through the aisles of the stock room. He gives chase. SMASH. The CLOAKED FIGURE jumps through a greenhouse window, catching their leg on the frame. ANGEL is almost on top of him and jumps through the newly smashed window. Landing, he looks up to see the FIGURE now a good 50 metres ahead, running towards a greenhouse and knocking garden furniture in its wake. ANGEL sprints off again, bursting into the greenhouse and gaining on the CLOAKED EIGUEE. Both knock plants asunder. The CLOAKED EIGURE slices through a mesh door with a knife and disappears over a hedge at the nursery perimeter. ANGEL reaches the final hedge to find the CLOAKED FIGURE, now 100 metres away, sprinting across a cricket pitch. A breathless ANGEL stands at the hedge, confused and amazed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FLORISTS\/NURSERY - NIGHT<\/stage_direction>\n    <scene_description>Back at the \\[U+FB02\\]orist. ANGEL and FISHER stare at LESLIE TILLER who lies dead, shears protruding from her neck.<\/scene_description>\n    <character>FISHER<\/character>\n    <dialogue>Hang about, hang about. You're saying this wasn't an accident?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATION - NIGHT<\/stage_direction>\n    <character>ANGEL<\/character>\n    <dialogue>LESLIE TILLER WAS MURDERED!<\/dialogue>\n    <scene_description>The assembled officers look at ANGEL as if he is insane.<\/scene_description>\n    <character>CARTWRIGHT<\/character>\n    <dialogue>What just like Tim Messenger?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>And George Merchant?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <character>CARTWRIGHT<\/character>\n    <dialogue>And Eve Draper?<\/dialogue>\n    <scene_description>ANGEL scrawls on a piece of paper the word 'YES'.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>And Martin Blower?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>No, actually.<\/dialogue>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>CARTWRIGHT<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>COURSE HE FUCKING WAS!<\/dialogue>\n    <scene_description>DANNY pops a coin in the swearbox.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Thank you Danny.<\/dialogue>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>Oh Murder. Murder. Murder. Change the fucking record.<\/dialogue>\n    <scene_description>CARTWRIGHT pops a coin in the swearbox for WAINWRIGHT.<\/scene_description>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>Thank you Andy.<\/dialogue>\n    <character>FISHER<\/character>\n    <dialogue>Yes come on Sergeant, you've got to accept that it was another terrible accident.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Are you suggesting Leslie Tiller somehow tripped and fell on her own shears?<\/dialogue>\n    <character>FISHER<\/character>\n    <dialogue>Ben Fletcher fell on his pitchfork the other week.<\/dialogue>\n    <character>DORIS THATCHER<\/character>\n    <dialogue>People have accidents everyday. What makes you think it was murder?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Because I was there.<\/dialogue>\n    <character>CARTWRIGHT<\/character>\n    <dialogue>Yeah, that's a point. Why were you there?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I was buying a Japanese Peace Lily for Constable Butterman's birthday.<\/dialogue>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>What absolute horseshit.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Look, I chased a suspect from the scene. Innocent people don't run.<\/dialogue>\n    <character>FISHER<\/character>\n    <dialogue>It might have been our old friend the cactus thief again.<\/dialogue>\n    <character>DORIS THATCHER<\/character>\n    <dialogue>Yeah, he was a prickly customer.<\/dialogue>\n    <scene_description>Everyone laughs. ANGEL crumples against the nonsense.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Am I going completely mad?<\/dialogue>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>Maybe you are?<\/dialogue>\n    <character>CAEIWRIGHT<\/character>\n    <dialogue>Ieah, maybe you killed her, seeing as you're such a big fan of murder.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>What!?<\/dialogue>\n    <character>FRANK (O.S.)<\/character>\n    <dialogue>Sergeant Angel?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>YES....sir?<\/dialogue>\n    <scene_description>FRANK ushers ANGEL into his office and shuts the blinds.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Nicholas, Nicholas, Nicholas, what am I going to do with you?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Chief, you've got to understand-<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>No, you have to understand, the boys here aren't used to the concepts you're bandying about.<\/dialogue>\n    <parenthetical>(off Angel's look)<\/parenthetical>\n    <dialogue>The 'M' word, Nicholas. There hasn't been a recorded murder in Sandford for 20 years.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>But I'm sure sir. And what's more, I know who did it.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I hope you're not going to say who I think you're going say.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SKINNER'S OFFICE - NIGHT<\/stage_direction>\n    <character>ANGEL<\/character>\n    <dialogue>Could I see the manager please?<\/dialogue>\n    <scene_description>ANGEL and co. burst into SKINNER's office to find the CHECKOUT GIRL chewing gum. She intones into the tannoy.<\/scene_description>\n    <character>CHECKOUT GIRL<\/character>\n    <dialogue>Mr. Skinner to the manager's office please. Managers office. Mr. Skinner.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SKINNER'S GEFICE - NIGHT<\/stage_direction>\n    <scene_description>The cops are all crammed into the office. ANGEL stands purposefully. Various employees look through the office window.<\/scene_description>\n    <character>SKINNER<\/character>\n    <dialogue>Sergeant Angel. Officers. To what do I owe this pleasure?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I'm arresting you on suspicion of the murder of Leslie Tiller.<\/dialogue>\n    <character>SKINNER<\/character>\n    <dialogue>Leslie Tiller is dead? How?<\/dialogue>\n    <character>FISHER<\/character>\n    <dialogue>She tripped and fell on her own shears.<\/dialogue>\n    <scene_description>ANGEL throws a pen at FISHER's head. He yelps.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>I'm also arresting you on suspicion of the murders of Tim Messenger on May 1st, George Merchant on April 29th and Eve Draper and Martin Blower on April 28th.<\/dialogue>\n    <character>SKINNER<\/character>\n    <dialogue>Why on earth would I want to do that Sergeant?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I'm glad you asked.<\/dialogue>\n    <scene_description>The following is illustrated with oodles of FLASHCUTS. It looks pretty damn cool, for a British film.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>My suspicions were \\[U+FB02\\]rst aroused when you appeared at the scene of the Blower\/Draper deaths, on the outskirts of Sandford, despite living and working in the centre of the village. I couldn't help recall your comments at the theatre the previous evening, when you not only indicated your awareness of the couple's affair but also inferred that Ms. Draper's connections at the council might make her privy to important information. You yourself spoke of \"bashing her head in\". Perhaps hoping you might discover the route for the proposed Sandford Bypass. You were already suspicious that Blower's client George Merchant was buying up an area of land on the edge of the village, after a story Tim Messenger ran in the Citizen. You put two and two together after noting Merchant's use of your car park to visit Blower who you knew all too well had an inside connection at the council. The land Merchant was buying up had no particular value as it was but if it were to be made accessible by a new road, it would become an ideal location for perhaps, a retail park. Consumed with concern for your business and potential disloyalty from fickle customers<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>whom you yourself stated the desire to behead, you killed the potential competition in cold blood, staging the murders as accidents. You used a vehicle removal truck to stage the Blower\/Draper crash and incinerated an old man in his house, covering your tracks with the judicial application of bacon and beans. However, there was a loose end. Tim Messenger foolishly confronted you at the village fete, after his own investigations lead him to the same conclusions. So you silenced him, before he could voice his concerns to me but not before he had told Leslie Tiller about the true value of her land. Upon discovering that she was about to sell up to the developers, you brutally murdered her with her own shears and made your escape utilising your impressive prize winning skills as a fun runner.<\/dialogue>\n    <scene_description>ANGEL finishes his summation, by resting his hand on a 'fun run' trophy. The room is astonished. SKINNER claps slowly.<\/scene_description>\n    <character>SKINNER<\/character>\n    <dialogue>Very entertaining, Sergeant Angel. But I rather think you've been watching too many films.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>He hasn't.<\/dialogue>\n    <character>SKINNER<\/character>\n    <dialogue>Why would I kill Leslie? You clearly aren't aware we're related.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Oh but I am, 'Cousin Sissy'.<\/dialogue>\n    <scene_description>ANGEL slaps down a photocopied sheet of a family tree article from the 'Sandford Citizen'. Highlighted are Skinner and Tiller's connected names. SKINNER scoffs.<\/scene_description>\n    <character>SKINNER<\/character>\n    <dialogue>I'm afraid my nickname of Sissy is only a revelation to yourself. My teenage years studying ballet are well known.<\/dialogue>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>Yeah Sissy Skinner.<\/dialogue>\n    <character>CARTWEIGHT<\/character>\n    <dialogue>What a gaylord!<\/dialogue>\n    <character>SKINNER<\/character>\n    <dialogue>Thank you Andrews. Despite my comment about beheading customers, what we here on Planet Sandford like to refer to as 'a joke' I would personally relish the competition of another store. Anything to energise my workforce.<\/dialogue>\n    <scene_description>SKINNEE gesticulates to his gormless minions outside.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>You would relish the competition. Especially if it was yourself. As Miss Tiller's only cousin, you're set to inherit her land, on which you plan to build a Summeraisles Express. The perfect one stop shop for bypass traffic.<\/dialogue>\n    <scene_description>ANGEL points to the sketch of a new store on the wall.<\/scene_description>\n    <character>SEINNER<\/character>\n    <dialogue>These sketches are just pipe dreams. Anyway, what makes you think I could dislodge part of the church roof? Or for that matter stage a car crash?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>It's a well known fact that the church roof is severely in need of repair. As for the car, isn't it true that two of your employees also operate the council's vehicle removal truck?<\/dialogue>\n    <scene_description>ANGEL points to the GRUFF LOOKING BUTCHERS. They are the same GRUFF LOOKING MEN from the removal vehicle earlier.<\/scene_description>\n    <character>SKINNER<\/character>\n    <dialogue>Sergeant, this is the 21st Century, I'll think you find that many people hold down several jobs, I myself host a life drawing class at the Village Hall.<\/dialogue>\n    <parenthetical>(nods to Checkout Girl)<\/parenthetical>\n    <character>SKINNER<\/character>\n    <dialogue>Tina here is a table dancer at Flappers.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>The thing is Mr. Skinner, you could quite easily have obtained access to the removal vehicle and used it for your own ends.<\/dialogue>\n    <character>SKINNER<\/character>\n    <dialogue>These accusations are meaningless Sergeant, unless you can back them up with hard evidence.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Well you've certainly got me there. We'd need something conclusive. Like perhaps a wound you sustained on a shard of broken glass this very evening.<\/dialogue>\n    <scene_description>ANGEL awkwardly pulls back SKINNER's trouser legs. Nothing.<\/scene_description>\n    <character>SKINNER<\/character>\n    <dialogue>Oh Sergeant, this is getting to be embarrassing. Apart from anything else, how can I be in several places at once? I'm sure the store's security footage can absolve me. Do feel free to spool through.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SKINNER'S OFFICE - NIGHT<\/stage_direction>\n    <scene_description>A frustrated ANGEL spools a huge pile of VHS tapes. We see CCTV images of SKINNER stagily strolling the shop \\[U+FB02\\]oor. The other officers drift out of the office, grumbling. Soon only DANNY and FRANK remain. FRANK slaps a hand on ANGEL's shoulder and leaves. DANNY picks up another tape.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>I can handle this Danny You enjoy the rest of your birthday.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Did you really get me that plant?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Yes, but it's been impounded as evidence.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Maybe I can still water it.<\/dialogue>\n    <scene_description>DANNY leaves as SKINNER apprcaches with LURCH.<\/scene_description>\n    <character>SKINNER<\/character>\n    <dialogue>Sergeant, I wanted you to know that if I do indeed now own the land belonging to Leslie, I intend to turn it into a memorial garden, in her honour.<\/dialogue>\n    <character>ANGEL<\/character>\n    <parenthetical>(blows raspberry)<\/parenthetical>\n    <dialogue>Jog on.<\/dialogue>\n    <character>SKINNER<\/character>\n    <dialogue>Michael, will you escort the Sergeant off the premises when he's quite finished?<\/dialogue>\n    <character>LURCH<\/character>\n    <dialogue>Yarp.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SWAN HOTEL DINING - NIGHT<\/stage_direction>\n    <scene_description>ANGEL eats alone, a broken man. JOYCE serves him wine.<\/scene_description>\n    <character>JOYCE CQOPER<\/character>\n    <dialogue>I can't believe Leslie's dead. How did it happen again?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>She tripped and fell on her own shears.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATION LOCKER ROOM - DAY<\/stage_direction>\n    <scene_description>ANGEL and DANNY are getting into uniform. Retrieving his cap, ANGEL sees the word 'TWAT' written on the inside.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>That wasn't me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. SQUAD CAR - DAY<\/stage_direction>\n    <scene_description>DANNY and ANGEL sit in their usual spot, as the high street is being decorated with bunting. DANNY leeks at ANGEL, whe stares off intc space.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Look Nicholas. Mr. Treacher's got his big coat on again...Want anything from the shop?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Cornetto.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEWSAGENT - DAY<\/stage_direction>\n    <scene_description>DANNY buys two ice-creams from a smirking ANNETTE ROPER. ANGEL watches on morosely.<\/scene_description>\n    <character>ANNETTE RUPER<\/character>\n    <dialogue>No luck catching them killers then?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>It's just the one killer actually.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SQUARE - DAY<\/stage_direction>\n    <scene_description>DANNY throws some change into the fountain. They get into the squad car, licking their ice creams. ANNETTE's words echo in ANGEL's head; 'No luck catching them killers then?' Licking his ice cream; ANGEL ponders DANNY's response; 'It's just the one killer actually'. The words resonate. ANGEL stops eating his ice cream, his eyes go wide.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>What's the matter? You got brainfreeze?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>No I got brainwave. Get us back to the station. Now!<\/dialogue>\n    <scene_description>NANNY starts the car, whilst trying to finish as much of his ice cream as he can. He clutches his head in pain.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Arrrgh!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATION - DAY<\/stage_direction>\n    <scene_description>The squad car screeches to a halt in the car park.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>It's more than one person.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Come again?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>More than one killer.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>It was Skinner a minute ago.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Maybe it still is. Maybe he's not alone. Maybe there are others.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Who exactly?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I don't know but we were buying Cornettos and it suddenly hit me-<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>You're an exceptional officer, Nicholas. Truly exceptional. But I've seen this before.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Sir?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Sergeant Popwell. It was exactly the same thing. You've come from a city where there's danger round every corner and it's driven you round the bend.<\/dialogue>\n    <scene_description>ANGEL visibly sags. He becomes listless and compliant.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Listen, I'm due at a function in about half an hour. So do yourself a favour. Sleep on it. If you feel the same way in the morning, I give you my word, we'll get right on it.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Thank you sir.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STATION - DAY<\/stage_direction>\n    <scene_description>ANGEL leaves the station. DANNY follows, confused.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>What happened? What's going on?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Nothing. I was just- I'm gonna go back and crash for a bit.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Oh okay. Need a lift?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>No, I could do with the walk.<\/dialogue>\n    <scene_description>ANGEL walks off, feeling guilty. DANNY looks forlorn.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANDFORD HIGH STREET - DUSK<\/stage_direction>\n    <scene_description>ANGEL trudges home, the street is festooned with bunting.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SWAN HOTEL RECEFTION - DUSK<\/stage_direction>\n    <scene_description>ANGEL slopes through the hotel reception. It is empty. A new ROMEO AND JULIET poster shows understudies, Greg and Sherry, smiling as the male and female lead.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SWAN HOTEL CORRIDOR - DUSK<\/stage_direction>\n    <scene_description>ANGEL takes out his key. He notices his door is ajar. The door \\[U+FB02\\]ies open...A huge CLOAKED FIGURE lifts ANGEL off the ground, throws him inside and slams the door behind.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SWAN HOTEL BEDROOM - DUSK<\/stage_direction>\n    <scene_description>ANGEL hits the wall with a thud. He gets up and throws several punches at his attacker, but stops, clutching his injured hand. The FIGURE picks ANGEL up in a bear hug. ANGEL struggles, pulling the assailant's hood off to reveal- LURCH. They look at each other for a second. ANGEL brings his \\[U+FB02\\]sts down on either side of LURCH's head. LURCH drops ANGEL, holding his ears. ANGEL kicks LURCH in the balls. He barely winces before hurling ANGEL across the room into a painting of the castle. His notebook drops to the \\[U+FB02\\]oor. LUNCH lumbers towards him. ANGEL grabs the CUDDLY MONKEY and looks throws it in LURCH's direction. LUNCH catches it and is momentarily charmed, hypnotised by the monkey's cute eyes. A whistle from offscreen. LURCH turns to see ANGEL upright, brandishing his beloved POT PLANT.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Playtime's over.<\/dialogue>\n    <scene_description>SMASH. ANGEL hits LURCH across the head, destroying his Peace Lily in the process. LURCH drops. His walkie-talkie clatters to the \\[U+FB02\\]oor, crackling to life.<\/scene_description>\n    <character>SKINNER (O.S.)<\/character>\n    <dialogue>Michael? Michael? Are you there? Michael? Is everything okay?<\/dialogue>\n    <scene_description>ANGEL speaks into the Walkie-talkie in a thick brogue.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Yarp.<\/dialogue>\n    <character>SKINNER (O.S.)<\/character>\n    <dialogue>Sergeant Angel has been taken care of?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Yarp.<\/dialogue>\n    <character>SKINNER (O.S.)<\/character>\n    <dialogue>He's not going to get back up again?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>...Narp?<\/dialogue>\n    <character>SKINNER (O.S.}<\/character>\n    <dialogue>Good. Proceed to the castle.<\/dialogue>\n    <scene_description>ANGEL looks to a castle painting on the wall. He pulls out his phone and dials.<\/scene_description>\n    <character>FRANK (0.S.)<\/character>\n    <dialogue>You've reached Frank Butterman. Please leave a message after the beep-<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Frank. This shit just got real. Skinner just tried to kill me. He's going somewhere. The castle I think. I'm going there now. I don't know who to trust. It's Nicholas by the way.<\/dialogue>\n    <scene_description>ANGEL turns to see DANNY at the door and jumps a mile. DANNY looks at LURCH sprawled among the pot plant debris.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Oh my god. What happened to your Peace Lily?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Danny. Stay here. Watch him. Call your Dad. Tell him I was right.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>What are you going to do?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I'm going to bust this thing wide open.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Nicholas?<\/dialogue>\n    <scene_description>Danny picks up ANGEL's notebook and puts it in his pocket.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Thanks partner.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGH STREET - NIGHT<\/stage_direction>\n    <scene_description>ANGEL runs down the high street past a National Trust sign pointing toward 'SANDFORD CASTLE'.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT\/INT. CASTLE RUINS - NIGHT<\/stage_direction>\n    <scene_description>ANGEL approaches Sandford Castle ruins, a dilapidated l2th Century Castle. It looks spooky in the dark. ANGEL hears voices coming from inside. We hear chanting-<\/scene_description>\n    <character>MASSED VOICES (O.S.}<\/character>\n    <dialogue>...bonum commune communitatis...<\/dialogue>\n    <scene_description>ANGEL peers into the main hall. He sees several BLACK CLOAKED FIGURES standing around a large circular stone tablet. They hold torches under their faces. ANGEL makes out familiar faces under the hoods. We see TOM WEAVER, whose words echo in ANGEL's head; \"I can see what the entire village is up to...\" ANGEL looks to see 12 walkie talkies on the stone tablet - \"Got everyone linked up with a walkie so we can keep each other abreast of any misadventure.\" ANGEL sees SKINNER under one of the hoods. Words echo; \"How can I be in several places at once?\"... We see ELASHCUTS of the \\[U+FB02\\]orist chase, now with angles that we didn't see previously; a second CLOAKED FIGURE outside the greenhouse, a third CLOAKED EIGUEE behind the hedge. ANGEL spies some of the other faces - JOYCE COOPER, ANNETTE ROPER, JAMES READER, REV. SHOOTER, DR. HATCHER, AMANDA PAVER - \"We're basically a group of volunteers who strive to keep the village just so...\" ANGEL's thoughts \\[U+FB02\\]ash back to the fountain. We see DANNY throw some change in. The penny drops. We see the plaque; 'This fountain was generously restored with funds raised by F. Butterman, J. Cooper, R. Hatcher, A. Paver...' As the CLOAKED FIGURES stop chanting and sit at the tablet, ANGEL is even more horrified by what he hears next...<\/scene_description>\n    <character>JOYCE COOPER<\/character>\n    <dialogue>Quick announcement before we begin. Janet Barker has decided to call her boys Roger and Martin which is lovely. The christening will be Saturday week and all are welcome. Tom?<\/dialogue>\n    <scene_description>The CLOAKED FIGURES all swing their torches to WEAVER.<\/scene_description>\n    <character>WEAVER<\/character>\n    <dialogue>Thanks Joyce. Now you'll be pleased to know that the tenacious Sergeant Angel has now been taken care of. Thanks must go to Simon Skinner for his efforts in this. Our very own Joyce Cooper will discover the officer tomorrow morning, slumped<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>on the wet \\[U+FB02\\]oor of his ensuite bathroom, having slipped in the shower and tragically broken his neck. Dr. Hatcher will take it from there.<\/dialogue>\n    <character>DR. HATCHER<\/character>\n    <dialogue>Indeed and may I say very well executed Simon. I will of course pronounce the death as accidental. That is after all what I'm here for.<\/dialogue>\n    <scene_description>All torches to DR. HATCHER. There are mild chuckles.<\/scene_description>\n    <character>WEAVER<\/character>\n    <dialogue>With Sergeant Angel dispatched, we can concentrate our efforts on eradicating our hoodie infestation, after which nothing will stand in our way.<\/dialogue>\n    <character>ANGEL (O.S.)<\/character>\n    <dialogue>Oh I beg to differ, Mister Weaver.<\/dialogue>\n    <scene_description>All the torches spin to the direction of the voice.<\/scene_description>\n    <character>WEAVER<\/character>\n    <dialogue>Well, well, well, I see we have visitors.<\/dialogue>\n    <scene_description>ANGEL walks into the torch beams, warrant card aloft.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Sergeant Nicholas Angel. Sandford Police Service.<\/dialogue>\n    <character>SNINNER<\/character>\n    <dialogue>My, he is tenacious isn't he?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I'm placing you all under arrest on suspicion of conspiracy to commit murder.<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>Oh come, come Sergeant Angel.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>You should be ashamed of yourselves. This is supposed to be the community that cares!<\/dialogue>\n    <character>REV. SHOOTER<\/character>\n    <dialogue>Oh, but we do care Nicholas.<\/dialogue>\n    <character>JOYCE COOPER<\/character>\n    <dialogue>It's all about the greater good.<\/dialogue>\n    <character>ALL<\/character>\n    <dialogue>The greater good.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>What do you mean the greater good?<\/dialogue>\n    <character>ALL<\/character>\n    <dialogue>The greater good.<\/dialogue>\n    <character>SKINNER<\/character>\n    <dialogue>Sandford, Nicholas. The village.<\/dialogue>\n    <character>DR. HATCHER<\/character>\n    <dialogue>A happy village is a healthy village.<\/dialogue>\n    <character>REAPER<\/character>\n    <dialogue>Perfection breeds contentment and contentment is paramount.<\/dialogue>\n    <character>SKINNER<\/character>\n    <dialogue>You see, as much as I enjoyed your wild theories Sergeant, the truth is far less complex. Blower's fate was simply the result of his being an appalling actor.<\/dialogue>\n    <scene_description>There's a murmur of \"appalling\".<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>You murdered him for that?<\/dialogue>\n    <character>SKINNER<\/character>\n    <dialogue>He murdered Bill Shakespeare.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>What!? Oh I see.<\/dialogue>\n    <scene_description>We see FLASHEACKS of MARTIN ELOWER's dressing room murder. Now, we see new angles with MULTIPLE CLOAKED FIGURES.<\/scene_description>\n    <character>REAPER<\/character>\n    <dialogue>The Sandford Players is an important feather in our cap.<\/dialogue>\n    <character>DR. HATCEER<\/character>\n    <dialogue>We couldn't let Blower jeopardize that. Not when we had two semimprofessionals waiting in the wings.<\/dialogue>\n    <scene_description>SKINNER points to an OLDER COUPLE in cloaks who wave back.<\/scene_description>\n    <character>SKINNER<\/character>\n    <dialogue>Let us not forget Greg was an extra in Straw Dogs -<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Yes, I know!<\/dialogue>\n    <character>JOYCE COQPER<\/character>\n    <dialogue>Martin was less concerned with the reputation of the village than his sordid affair with Eve Draper.<\/dialogue>\n    <scene_description>We see FLASHBACKS of EVE's murder by MULTIPLE KILLERS.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>And so Eve deserved to die too?<\/dialogue>\n    <character>DR. HATCHER<\/character>\n    <dialogue>She did have an annoying laugh.<\/dialogue>\n    <scene_description>There's a murmur of 'annoying'.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>And George Merchant?<\/dialogue>\n    <character>SKINNER<\/character>\n    <dialogue>He had an awful house.<\/dialogue>\n    <scene_description>There's a murmur of \"awful\". We see FLASHBACKS of MERCHANT'S 'accidental' explosion. Now, with MULTIPLE CLOAKED FIGURES engineering it.<\/scene_description>\n    <character>JOYCE COOPER<\/character>\n    <dialogue>We begged him in vain to make his residence more in keeping with the village's rustic aesthetic.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>What was Messenger's crime?<\/dialogue>\n    <character>SNINNER<\/character>\n    <dialogue>Tim Messenger's tenure as editor of the Sandford Citizen has been unbearable.<\/dialogue>\n    <character>REAPER<\/character>\n    <dialogue>Our once great paper had become riddled with tabloid journalism and dreadful punnery. Not to mention persistent errors.<\/dialogue>\n    <character>ROY PORTER<\/character>\n    <dialogue>He listed her age as 55.<\/dialogue>\n    <character>MARY PORTER<\/character>\n    <dialogue>When I'm actually 53.<\/dialogue>\n    <character>REV SHOOTER<\/character>\n    <dialogue>The church roof was in need of repair and the insurers wouldn't pay unless it was certified hazardous. Let's just say we killed two birds with one stone.<\/dialogue>\n    <scene_description>FLASHBACK of MULTIPLE CLOAKED FIGURES pushing the turret.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>What about Leslie Tillar? One of your own? Her her horticultural expertise helped put Sandford on the map.<\/dialogue>\n    <character>JOYCE COOPER<\/character>\n    <dialogue>She was ever so good.<\/dialogue>\n    <character>SKINNER<\/character>\n    <dialogue>Cousin Leslie was a terrible shame. But it seems she was set on moving away.<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>We had to stop her before she shared her green fingers with anyone else.<\/dialogue>\n    <character>JOYCE COOPER<\/character>\n    <dialogue>Not least the heathens at Euford Abbey.<\/dialogue>\n    <scene_description>The NWA simultaneously spit on the ground.<\/scene_description>\n    <character>DR. HATCHER<\/character>\n    <dialogue>If we can't have her no-one can.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>How can this be for the greater good?!<\/dialogue>\n    <character>ALL<\/character>\n    <dialogue>The greater good.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Shut it. These people died for no reason, no reason whatsoever?<\/dialogue>\n    <character>VOICE (O.S.)<\/character>\n    <dialogue>Oh I wouldn't say that.<\/dialogue>\n    <scene_description>All torches move to the voice. To ANGEL's horror, it is FRANK. He wears the era FASHIONED POLICE CAPE.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>I was like you once Nicholas. I believed in the immutable word of the law. That is until the night Mrs. Butterman was taken from me. You see, no-one loved Sandford more than her. She was head of the Women's Institute, chair of the '\\[U+FB02\\]oral committee', even ran the Neighbourhood Watch before Tom. When they started the 'Village of the Year' contest, she worked round the clock, it became her life. I've never seen such dedication. On the eve of the adjudicator's arrival, some travellers moved into Callahan Park. Before could say gypsy scum, We were knee deep in dog muck, thieving kids and crusty jugglers. We lost the title and Irene lost her mind. She drove her Datsun Cherry into Sandford Gorge. The inquiry said it was an accident but I knew better. From that moment on I swore that I'd do her proud. And whatever the cost, we'd make Sandford great again.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Sir, this doesn't make sense.<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>It makes perfect sense, Sergeant. Frank gathered together a group of the most faithful Sandfordians and showed us how we might rid our streets of the paedophiles and perverts-<\/dialogue>\n    <character>REV. SHOOTER<\/character>\n    <dialogue>-the shoplifters-<\/dialogue>\n    <character>REAPER<\/character>\n    <dialogue>-the shirtlifters-<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>-the punks, the drunks-<\/dialogue>\n    <character>AMANDA PAVER<\/character>\n    <dialogue>-the thugs, the mugs-<\/dialogue>\n    <character>SKINNER<\/character>\n    <dialogue>-the hams, the shams-<\/dialogue>\n    <character>REV. SHOOTER<\/character>\n    <dialogue>-the drifters, the grifters-<\/dialogue>\n    <character>DR. HATCHER<\/character>\n    <dialogue>-the dodgers, the bodgers-<\/dialogue>\n    <character>JOYCE COOPER<\/character>\n    <dialogue>-the hawkers, the stalkers-<\/dialogue>\n    <character>ROY PORTER<\/character>\n    <dialogue>-the gypsies, the tramps-<\/dialogue>\n    <character>MARY PORTER<\/character>\n    <dialogue>-and thieves-<\/dialogue>\n    <character>ANNETTE ROPER<\/character>\n    <dialogue>-the paedophiles, the perverts-<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Yeah, you've had them.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>The adjudicators arrive tomorrow Nicholas. They were supposed to arrive in a couple of months but they brought it forward for some reason. We had to make sure everything was ready.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Are you saying this was all about winning the 'Best Village Award'?<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>This is the best village Nicholas. You've seen the people. They're happy, contented. Most of them don't even know about our work. They have very normal lives.<\/dialogue>\n    <scene_description>There's a murmur of \"very normal\".<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>They're living in a dream world.<\/dialogue>\n    <character>HATCHER<\/character>\n    <dialogue>Precisely. No crime. No tension.<\/dialogue>\n    <character>WEAVER<\/character>\n    <dialogue>Sheer bliss.<\/dialogue>\n    <scene_description>There's a murmur of \"bliss\".<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>We have created the society you dream about. Isn't that worth preserving?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Not with murder.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Sgt. Popwell thought much the same as you. I'm disappointed you can't see the big picture.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Well, I'm happy to disappoint sir. And I'm afraid you're going to have to come with me. You're all going to have to come with me.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>No Nicholas, I'm afraid it's you who has to some with us...<\/dialogue>\n    <scene_description>The NWA reveal an array of weapons from under their cloaks; axes, scythes, pitchforks, knives etc. Out of the shadows, a bruised and angry LURCH slaps a hand on ANGEL's shoulder. ANGEL is shocked. Another hand lands on his other shoulder. he turns to see-<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Danny? No! NO!<\/dialogue>\n    <scene_description>DANNY is silent. He and LURCH wield knives and torches. With lightning speed ANGEL ducks out of their grip, grabs LURCH's blade, spins behind DANNY and holds it to his throat. He takes DANNY's torch and shines it at the NWA.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Now back off or you'll be explaining to everyone how Danny accidentally tripped and cut his own head off.<\/dialogue>\n    <scene_description>The NWA continue to close in. FRANK laughs.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Oh come on Nicholas. You haven't got it in you.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I MEAN IT.<\/dialogue>\n    <scene_description>They close in further. Shit. ANGEL throws DANNY to the ground and runs into the woods. The NWA give chase. A hoard of cloaked figures run through the trees. ANGEL sprints into the darkhess- Suddenly ANGEL trips and falls through a hole in the path.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BLACKNESS - NIGHT<\/stage_direction>\n    <scene_description>ANGEL crashes to a dusty \\[U+FB02\\]oor, winded. He picks up his torch and shines it around. He seems to be inside an old GYPSY CARAVAN buried in the ground. His torch picks out a SKELETON IN GYPSY CLOTHING. ANGEL backs up frantically, colliding with an ENTIRE FAMILY OF GYPSY SKELETONS, complete with children and dog. ANGEL staggers to the door which bursts open into a cave. His torch picks out many more bodies. The most recent addition, in a PURPLE SHELL SUIT is a dead PETER COCKER. ANGEL jumps back and finds himself staring at a skeleton in a police sergeant's uniform. It has a BIG BUSHY BEARD. ANGEL \\[U+FB02\\]ees the cave and sees one other corpse; that of the LIVING STATUE, now frozen in a final expression of terror.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - NIGHT<\/stage_direction>\n    <scene_description>ANGEL slams straight into DANNY at the cave mouth. The other NWA members gather behind, an ominous mass of shadow. DANNY produces his blade.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Danny! No!<\/dialogue>\n    <scene_description>DANNY plunges the knife into ANGEL's chest. We see ANGEL stagger back. His torch drops and smashes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. DANNY'S CAR - NIGHT<\/stage_direction>\n    <scene_description>A sign looms in the night - 'YOU ARE NOW LEAVING SANDFORD'. A grim DANNY pulls into a dark layby in his Astra. The brake lights illuminate the sign with a hellish glow.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT DANNY'S CAR - NIGHT<\/stage_direction>\n    <scene_description>A car boot opens. DANNY stands over a bloodied ANGEL, the knife protruding from his chest. ANGEL slowly opens his eyes and looks at DANNY with confusion. DANNY slowly opens his hand to reveal a number of empty ketchup sachets.<\/scene_description>\n    <character>DANNY<\/character>\n    <parenthetical>(weakly)<\/parenthetical>\n    <dialogue>Ta-daaaa.<\/dialogue>\n    <scene_description>DANNY yanks the knife out of ANGEL's chest. ANGEL produces the notebook from his breast pocket.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>They told me I had to put you in the front seat and push you in the gorge.<\/dialogue>\n    <scene_description>DANNY hauls ANGEL out of the car boot.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Danny, it's murder.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>It's not, it's ketchup.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I'm not talking about me Danny, I'm talking about all the others the NWA have murdered.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>That's not true. Dad just said it's his special club. I thought it was just about rapping knuckles and sending them on their way.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>There are skeletons back there Danny.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>I don't know nuffin about the skelingtons!<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>But what about Draper, Blower, Merchant, Messenger and Tiller? What do you think was happening?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>It was Frank, Danny. He's appointed himself judge, jury and executioner.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>He's not Judge Judy!<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>He is Danny! And you have to help me take him down.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>I can't Nicholas. I'm involved now. I have to do what Dad says. I can't get out. But you can. Take the car, go back to London. There's nothing you can do.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I can come back. And I can bring the blue fury of the Metropolitan Police Service with me.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>They'll make it all disappear. They hid it from everyone else. Who are they gonna believe? Dad, or the loony London copper?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>But you'll be here won't you Danny? We can do this together. You and me. Partners.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Forget it Nicholas. It's Sandford.<\/dialogue>\n    <scene_description>A tearful DANNY pulls out his car keys. ANGEL takes them, limps to the car and drives off. In his rear view, ANGEL can just make out the figure of DANNY standing in the road.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DANNY'S CAR - NIGHT<\/stage_direction>\n    <scene_description>ANGEL drives down the M4. Rain lashes his windscreen. His fuel light blinks low. He reaches 'HESTON SERVICES'.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HESTON SERVICES - NIGHT<\/stage_direction>\n    <scene_description>A CLERK eyes ANGEL, who is covered in grime and ketchup.<\/scene_description>\n    <character>CLERK<\/character>\n    <dialogue>Is that everything Sir?<\/dialogue>\n    <scene_description>ANGEL's gaze has been drawn to a bargain bin full of DVDs. He scans the titles - 'OUT FOR JUSTICE','THE ENFDRCER', 'LETHAL WEAPON', 'WALKING TALL', 'HARD T0 KILL'.<\/scene_description>\n    <character>CLERK<\/character>\n    <dialogue>Sir? Sir? Is there anything we can do for you?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>No. This is something I have to do myself.<\/dialogue>\n    <scene_description>ANGEL grabs a pair of shades, a \\[U+FB02\\]stful of car spray paints and some bubble gum. He slams down some crumpled money.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRANNIGAN'S FARM - MORNING<\/stage_direction>\n    <scene_description>We see the 'WELCOME TO SANDFORD' sign. It's morning outside JAMES REAPER's farm. His GREEN 4X4 pulls over to the roadside. He gets out and walks to some horses at a gate. They snort, restless. REAPER looks behind him. The ASTRA is sitting right in the middle of the road.<\/scene_description>\n    <character>REAPER<\/character>\n    <dialogue>Danny?<\/dialogue>\n    <scene_description>REAPER squints. It's not DANNY. Sitting behind the wheel, wearing shades and revving the engine, is ANGEL. Reaper runs to his 4X4...ANGEL screams towards him...Reaper grabs his car radio.. SMASH. ANGEL crashes his car directly into the 4X4...REAPER is left clutching the radio and snapped cable...ANGEL springs from the ASTRA and charges towards REAPER.<\/scene_description>\n    <character>REAPER<\/character>\n    <dialogue>Mum!!!<\/dialogue>\n    <scene_description>ANGEL punches REAPER out cold. BANG...Buckshot rips into the 4X4 next to ANGEL's head... REAPER'S MUM brandishes a shotgun from the other side of the gate. She breaks the shotgun and goes to reload. ANGEL runs towards the gate, jumps into the air and launches into a \\[U+FB02\\]ying kick. REAPER'S MUM snaps the shotgun shut, ANGEL lands on her, with maximum force.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BRANNIGAN'S FARM - MORNING<\/stage_direction>\n    <scene_description>JAMES REAFER and his MUM are tied to the fence.<\/scene_description>\n    <character>REAPER<\/character>\n    <dialogue>What are you going to do? Just walk in and arrest the whole village?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Not exactly.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SANDFORD STATION - MORNING<\/stage_direction>\n    <scene_description>ANGEL glides through the quiet front office, past the straight haired DESK SERGEANT who barely looks up.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOCKER ROOM - MORNING<\/stage_direction>\n    <scene_description>ANGEL glides through the locker room. No-one spots him. He opens his locker, and retrieves a uniform and a stab vest.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. EVIDENCE ROOM - MORNING<\/stage_direction>\n    <scene_description>'999' is punched into the keypad. The door opens on the arsenal of weaponry. ANGEL grabs all he can carry. RIFLES and SHOTGUNS round his shoulders, PISTOLS in his belt. The room is now completely empty, save for the sea mine.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FRANK'S OFFICE - MORNING<\/stage_direction>\n    <scene_description>FRANK looks at paperwork and eats ice cream. In the outer office ANGEL stands looking in. FRANK becomes aware of someone watching. He looks up but ANGEL has gone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATION - MORNING<\/stage_direction>\n    <scene_description>ANGEL glides past the DESK SERGEANT, who finally pipes up.<\/scene_description>\n    <character>DESK SERGEANT<\/character>\n    <dialogue>Oh Sergeant Angel? Someone from London called for you.<\/dialogue>\n    <scene_description>ANGEL scowls back at him, chewing gum, armed to the teeth.<\/scene_description>\n    <character>DESK SERGEANT<\/character>\n    <dialogue>I'll tell them you'll ring 'em back.<\/dialogue>\n    <scene_description>ANGEL nods and walks out. The DESK SERGEANT watches him go.<\/scene_description>\n    <character>DESK SERGEANT<\/character>\n    <dialogue>That's funny.<\/dialogue>\n    <character>VOICE (O.S.}<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>DESK SERGEANT<\/character>\n    <dialogue>I didn't know we had a mounted division.<\/dialogue>\n    <scene_description>The voice's owner joins DESK SERGEANT in peering after ANGEL. It's his curly haired twin brother.<\/scene_description>\n    <character>THE OTHER DESK SERGEANT<\/character>\n    <dialogue>Nobody tells me nothing.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - MORNING<\/stage_direction>\n    <scene_description>An armed ANGEL trots down the street on a FUCKING HORSE. He rides past a bus shelter where GABRIEL WEAVER and the HOODIES sit in their usual formation, albeit in school uniform. They stare at ANGEL, their young mouths agape.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Wanna do something useful?<\/dialogue>\n    <scene_description>ANGEL throws a holdall to GABRIEL. It's full of spray cans.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATION\/CCTV OFFICE - MORNING<\/stage_direction>\n    <scene_description>WEAVER reads the paper and daintily eats ice cream. He does not see the CCTV screens slowly turn black behind him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGH STREET - MORNING<\/stage_direction>\n    <scene_description>Sandford. As it was that first morning. Idyllic, bustling, happy. Among the morning folk we see smiling NWA members going about their business as if nothing has happened. We see WORKMEN putting up a banner across the middle of the street reading 'GOOD LUCK SANDFORD: VILLAGE OE THE YEAR'. ANNETTE ROPER is putting out a display in front of her shop. Her walkie-talkie crackles to life.<\/scene_description>\n    <character>RADIO VOICE<\/character>\n    <dialogue>Annette, that new policeman's back.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CCTV ROOM - MORNING<\/stage_direction>\n    <scene_description>WEAVER hears this RADIO message and finally realises that all his precious CCTV cameras have been sprayed black.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SURGERY - MORNING<\/stage_direction>\n    <scene_description>DR. HATCHER peers through his surgery window, his eyes wide. ANGEL is re\\[U+FB02\\]ected passing on horse back.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET - MORNING<\/stage_direction>\n    <scene_description>JOYCE COOPER waters the hanging baskets outside the hotel, she spots ANGEL riding up the middle of the high street. The PORTERS peer out of the Crown, mouths agape. REV. SHOOTER is talking to the understudies GREG and SHEREE. All three stop and stare. AMANDA PAVER skids to a stop on her bicycle and gawps. MR. TREACHER in his heavy coat looks on in terror. SKINNER and his staff stare from the window of SUMMERAISLES. DANNY is sat in the squad car in the usual parking spot. He sees ANGEL and is terrified, not knowing what to do.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATION - MORNING<\/stage_direction>\n    <scene_description>WEAVER bursts into FRANK's office, panic stricken. FRANK looks up. His cheery expression dissipates immediately.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>Angel.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SQUARE - MORNING<\/stage_direction>\n    <scene_description>The village has come to a stop. The NWA watch as ANGEL dismounts. Beads of sweat glisten. Eyes \\[U+FB02\\]ick this way and that. The ordinary folk are unnerved by the hush.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Morning.<\/dialogue>\n    <scene_description>MR. TREACHER \\[U+FB02\\]ings open his winter coat revealing a shot gun. ANGEL dives behind the fountain just as he fires. The village erupts into chaos. The innocent run for cover. The NWA mobilise. The PORTERS scurry inside. DR. HATCHER emerges from his surgery with a number of guns. ANNETTE ROPER runs into her shop. Moments later an upper window smashes and the barrel of a gun protrudes. DANNY sits in the car, his face a mixture of awe and panic. ANGEL takes a look at MR. TREACHER's position. He is standing next to a truck loaded with BEER BARRELS. ANGEL jumps up and fires blasting the catch holding the BEER BARRELS in place. They tumble off the back of the truck, knocking TREACHER off his feet. ANGEL is pinned down by fire from ANNETTE ROPER. He looks up to see ROPER'S gun poking out of her shop. ANGEL sees the HOODIES hiding behind a car. He motions to the newsagent. The HOODIES stampede into the shop. The door slams. We see the notice; \"ONLY ONE CHILD AT ANY TIME\". In the window, ROPER'S gun is suddenly yanked backwards. We hear muffied screams and blows. Shots ring out, a hail of bullets narrowly missing ANGEL. Pedalling towards him on her cycle, firing a ri\\[U+FB02\\]e is AMANDA PAVER. ANGEL dives out of the line of fire. DANNY sees AMANDA PAVER in his wing mirror. His face hardens. He \\[U+FB02\\]ings the door wide open and sends AMANDA PAVER \\[U+FB02\\]ying through the air into a crumpled heap. DANNY runs over to join ANGEL. ANGEL throws him a shotgun. DANNY catches it in mid air.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>That's what I'm talking about.<\/dialogue>\n    <scene_description>Shots ricochet off the fountain. GREG and SHEREE reign fire on the two officers. ANGEL and DANNY, without a moments pause, return fire, shooting GREG in his gun hand and SHERRE in the shoulder. Both fall dramatically.<\/scene_description>\n    <character>JOYCE COOPER<\/character>\n    <dialogue>Fascist!<\/dialogue>\n    <scene_description>JOYCE COOPER opens fire with an antique Winchester. DANNY dives for cover. ANGEL rolls across the \\[U+FB02\\]oor, pulling two pistols from his belt, still rolling he fires at JOYCE. One of JOYCE's hanging baskets drops directly on her head.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Hag!<\/dialogue>\n    <scene_description>There's a piercing yell. ANGEL turns to see BERNARD baring down fast with the ORNAMENTAL SWORD. ANGEL barely manages to draw his baton to block the attack. BERNARD swipes, slicing the baton in half. ANGEL takes out BERNARD's legs with a foot sweep. BERNARD crashes down. Then from behind ANGEL.<\/scene_description>\n    <character>REV. SHOOTER<\/character>\n    <dialogue>STOP! STOP THIS! Please. Let us put down our guns. Nicholas, my son, you may not be a man of god but surely you're a man of peace.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Reverend I may not be convinced about the existence of God but I know good and evil and I have the grace to know which is which.<\/dialogue>\n    <character>REV. SHOOTER<\/character>\n    <dialogue>Oh fuck off Grasshopper!<\/dialogue>\n    <scene_description>REV. SHOOTER pulls a pistol from his cassock and fires. The bullet takes ANGEL by surprise, grazing his shoulder.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Nooooooooo!<\/dialogue>\n    <scene_description>DANNY returns fire at SHOOTER hitting him in the shoulder.<\/scene_description>\n    <character>REV. SHOOTER<\/character>\n    <dialogue>Jesus Christ!!!<\/dialogue>\n    <scene_description>DANNY runs over to ANGEL who is lying winded in the road.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Still feel like you're missing out?<\/dialogue>\n    <scene_description>CLICK. They turn to see DR. HATCHER pointing a shotgun.<\/scene_description>\n    <character>DR. HATCHER<\/character>\n    <dialogue>Drop your weapons.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Dr. Hatcher wait.<\/dialogue>\n    <character>DR. HATCHER<\/character>\n    <dialogue>Shut up Danny. I brought you into this world, it's rather fitting I should be the one to take you out of it. You and your interfering little friend. Now drop them!<\/dialogue>\n    <scene_description>DANNY does so. His shotgun hits the \\[U+FB02\\]oor. BLAM! It fires into HATCHER's leg. His knee explodes in a shower of blood. DR. HATCHER clutches his knee, wailing in pain.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>You're a doctor, deal with it...motherfucker. Danny, let's go.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>What are you thinking exactly?<\/dialogue>\n    <scene_description>A shot blasts from the windows of THE CROWN.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Pub?<\/dialogue>\n    <scene_description>ANGEL eyes the board outside the pub; reading 'COME ON IN!'<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. THE CROWN - MORNING<\/stage_direction>\n    <scene_description>SMASH. The pub board comes smashing through the window. The PORTERS fire wildly from behind the bar, before a sign reading 'TWO SHOOTERS FOR THE PRICE OF ONE'. They stop. Then - the pub doors \\[U+FB02\\]y open. DANNY and ANGEL burst in, jumping through the air whilst both firing two guns. They land and roll, grabbing tables to form a barricade. The PORTERS open fire again. Tables and chairs splinter. ANGEL pops up and fires at a bear trap on the wall. It falls and clamps its jaws around ROY PORTER's head.<\/scene_description>\n    <character>MARY PORTER<\/character>\n    <dialogue>Roy! Somebody call the police!<\/dialogue>\n    <character>FRANK (O.S.}<\/character>\n    <dialogue>Reach!<\/dialogue>\n    <scene_description>The entire Sandford police burst in, wearing RIOT GEAR and clutching batons. WALKER holds a growling SAXON on a leash. FRANK leads them, aiming his ANTIQUE PISTOLS at ANGEL.<\/scene_description>\n    <character>FRANK (CONT'D}<\/character>\n    <dialogue>Officers, arrest that man. Danny, step away from the Sergeant.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>No Dad.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Danny, you'll do as you're told.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>No, I'm not taking orders from you any more.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Officers, arrest these men!<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>You can arrest us if you want. You can throw us in prison and go back to being blind, submissive slaves.<\/dialogue>\n    <character>CARTWRIGHT<\/character>\n    <dialogue>What the fuck is he on about?<\/dialogue>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>What the fuck are you on about?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Have you ever wondered why the crime rate in Sandford is so low and the accident rate so high?<\/dialogue>\n    <character>FISHER<\/character>\n    <dialogue>No. Yes. What?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>You've been brain washed Sergeant into naivety by an old man with a murderous obsession and it's time you opened your eyes to the truth.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>This is ridiculous.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>No, it's not Dad. It's very unridiculous. And it's only now that I'm starting to realise how unridiculous it all is.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Silence Danny! Think of your mother.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Mum's dead and for the first time in my life, I'm glad. Because even though she loved this village more than anything if she could see what you've become, she'd kill herself all over again.<\/dialogue>\n    <character>DORIS THATCHER<\/character>\n    <dialogue>Sorry, I'm completely lost.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Sandford is a lie Doris. For the last twenty years the village has been controlled by Frank and the NWA. They've lulled you into thinking this is a perfect village by killing anyone who threatened to change that.<\/dialogue>\n    <scene_description>SAXON stops growling. BOB WALKER pipes up.<\/scene_description>\n    <character>WALKER<\/character>\n    <dialogue>Recconneeegottsumadere.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>He says he 'reckons you got something there'.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I know. Thanks.<\/dialogue>\n    <character>WALKER\/DANNY<\/character>\n    <dialogue>S'alroight.<\/dialogue>\n    <scene_description>FRANK rounds on the officers, raising his pistols at them.<\/scene_description>\n    <character>FRANK<\/character>\n    <dialogue>You're not seriously going to believe this man are you? Are you?! He's not even from round here.<\/dialogue>\n    <scene_description>The officers look on in confused disbelief at the manic FRANK, who realises he is brandishing his weapons.<\/scene_description>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>Maybe it's time to give it up sir.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>You ignorant flatfoots!<\/dialogue>\n    <scene_description>FRANK snaps, shooting his pistols up in the air. He hits a rustic light fitting, which crashes to the ground. ANGEL and the other officers dive out of the way, as glass explodes across the main bar. Everyone scatters. In the confusion, FRANK makes a bid for freedom through the back of the pub. ANGEL jumps up. The other officers stare after FRANK, then look to ANGEL, their new leader.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Let's go.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Aren't we gonna go after dad?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>He'll come round again.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Well, who else is there?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Want anything from the shop?<\/dialogue>\n    <scene_description>FLASHCUTS; the police tool up, cuff people. PC WALKER and SAXON guard the already incapacitated NWA members. ROY PORTER still has the bear trap on his head.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUMMERAISLES - MORNING<\/stage_direction>\n    <scene_description>ANGEL leads his new recruits as they approach the car park. They take cover behind recycling bins, armed and ready.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>What you thinking?<\/dialogue>\n    <scene_description>Before Angel can answer-<\/scene_description>\n    <character>FISHR<\/character>\n    <dialogue>We should strike now while we have the element of surprise, the longer we wait the more time they have to mobilise. I say we go in through the front entrance and take the place aisle by aisle. They won't be expecting that.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Very good. What he said.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUMMERAILES - MORNING<\/stage_direction>\n    <scene_description>A grim SKINNER and his gormless minions watch the CCTV.<\/scene_description>\n    <character>SKINNER<\/character>\n    <dialogue>My, my. Here come the fuzz.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUMMERAISLES - MORNING<\/stage_direction>\n    <scene_description>The Sandford police gather near the entrance.<\/scene_description>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>Maybe they're not in.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Wait here.<\/dialogue>\n    <scene_description>ANGEL goes into SUMMERAISLES through the automatic door.<\/scene_description>\n    <character>DORIS THATCHER<\/character>\n    <dialogue>We can't let him go in on his own.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>He knows what he's doing.<\/dialogue>\n    <scene_description>KRAAASSSHHHH! ANGEL comes \\[U+FB02\\]ying through the front window of the shop and lands in a heap on the ground. He gets up.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>They're in. You take the shop. I'll deal with the trolley boy. WAINWRIGHT CARTWRIGHT<\/dialogue>\n    <scene_description>Eh? Eh? LURCH strides out of the shop.<\/scene_description>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>CARTWRIGHT<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <scene_description>DANNY leads the officers in, as ANGEL faces up to LURCH.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>We don't have to do this Michael. Is this what you really want?<\/dialogue>\n    <character>LURCH<\/character>\n    <dialogue>Yarp.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Suit yourself.<\/dialogue>\n    <scene_description>ANGEL runs at LUNCH and headbutts him in the face.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUMMRAISLES - MORNING<\/stage_direction>\n    <scene_description>The OFFICERS make their way through the supermarket aisles. WAINWRIGHT peers round a corner. One of the GRUFF BUTCHERS throws a large meat cleaver. It shatters a tomato sauce jar next to his head. CARTWRIGHT shrieks, assuming it's blood.<\/scene_description>\n    <character>CARTWRIGHT<\/character>\n    <dialogue>Andy!<\/dialogue>\n    <scene_description>Meanwhile ANGEL is being swung around by LURCH, his arms clamped tightly around LURCH's neck. ANGEL \\[U+FB02\\]ailing legs knock produce off shelves as he clings on tight. LURCH begins to lose consciousness. He staggers past a 'WET FLOOR' sign, slips and both fall hard into a chest freezer. ANGEL scrambles out covered in frost. LURCH is out cold. ANGEL joins the other officers, who crouch behind shelves as they shoot at the two GRUEE EUTCHERS.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Where's Lurch?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>He's unconscious in the freezer.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Did you say 'cool off'?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>No I didn't say anything.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Oh shame.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>But you missed a bit earlier when I distracted him with the monkey, said 'Playtime's over' and hit him with the Peace Lily.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>You're off the fucking chain!<\/dialogue>\n    <scene_description>Another cleaver whizzes by, smashing more sauce bottles.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>What's the situation?<\/dialogue>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>Two blokes and a lot of cutlery. What do you reckon?<\/dialogue>\n    <scene_description>The two GRUFF BUTCHERS wait, knives drawn, ready to throw. Suddenly a terrific clattering rumble fills the store. A battering ram comprised of several trollies handcuffed together bursts into view, hurtling toward the GRUFF BUTCHERS. The ANDES ride the front of the trolley-ram, yelling like Vikings. The trollies crash into the meat counter, knocking the GRUFF BUTCHERS to the \\[U+FB02\\]oor. The ANDES leap off the makeshift battering ram and deck the \\[U+FB02\\]oored bad guys. A PIERCING SCREAM. The officers turn to see the sluttish CHECKOUT GIRL running towards them. DORIS THATCHER grabs the 'WET FLOOR' sign and slams it into the CHECKOUT GIRL's face. She slides across the \\[U+FB02\\]oor.<\/scene_description>\n    <character>WAINWRIGHT<\/character>\n    <dialogue>Nice one Doris.<\/dialogue>\n    <character>DORIS THATCHER<\/character>\n    <dialogue>Nothing like a bit of girl on girl.<\/dialogue>\n    <scene_description>SPLAT! The officers duck for cover. Gangly SHELF STACKERS appear, throwing a volley of melons and pineapples.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Can you handle this sergeant? We're going after the big boss.<\/dialogue>\n    <character>FISHER<\/character>\n    <dialogue>We're on it, Sergeant.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Danny, let's roll.<\/dialogue>\n    <character>WAINWEIGHT<\/character>\n    <dialogue>Angel! Don't go being a twat now.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I wouldn't give you the satisfaction.<\/dialogue>\n    <scene_description>ANGEL and DANNY burst in. The office is deserted, the window open. They see SKINNER in the car park climbing into a SQUAD CAR, driven by FRANK.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Let's get down there.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>How?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Skip.<\/dialogue>\n    <scene_description>ANGEL and DANNY jump through the open window and land in a skip full of cardboard boxes, as FRANK's car peels off.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Head 'em off?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Fuck yeah.<\/dialogue>\n    <scene_description>ANGEL and DANNY sprint down an alley, burst back into the square and race towards DANNY's SQUAD CAR.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>I'll drive.<\/dialogue>\n    <scene_description>ANGEL slides over the bonnet to the passenger side. FRANK's car screams past. DANNY gets in and \\[U+FB02\\]icks on the siren.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Punch that shit!<\/dialogue>\n    <scene_description>They screech off. Behind them we see the once picturesque square bullet riddled and blood splattered. The banner reading 'Village of the Year' \\[U+FB02\\]utters to the ground. Three official looking types holding clipboards stand gobsmacked amid the debris.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANDFOED STREETS - DAY<\/stage_direction>\n    <scene_description>FRANK's car races past a 'KILL YOUR SPEED' sign. Behind, ANGEL and DANNY gain on them. They take turns shooting at FRANK's car as they go. It's COP ON COP. FRANK's car hits the brow of a hill at 100mph and gets air. As it hits the road again, SKINNNR spots something.<\/scene_description>\n    <character>SKINNER<\/character>\n    <dialogue>Swan!<\/dialogue>\n    <scene_description>FRANK panics. Swerves. Big mistake. The car careers off the road and smashes right into a sign for the 'MODEL VILLAGE'.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MODEL VILLAGE - DAY<\/stage_direction>\n    <scene_description>A beautiful blue sky. The sun beams down on a perfect vista of Sandford. The idyllic shot is quickly ruined however as- A GIGANTIC SQUAD CAR \\[U+FB02\\]ies over what we reveal to be a miniature version of Sandford. A small GINGER HAIRED KID stares in awe as the SQUAD CAR brie\\[U+FB02\\]y blocks out the sun.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - DAY<\/stage_direction>\n    <scene_description>ANGEL and DANNY's SQUAD CAR reaches the brow of the hill.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Swan.<\/dialogue>\n    <scene_description>DANNY brakes with expert timing. They screech to a stop by the waddling SWAN. ANGEL opens the door and grabs the SWAN.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MODEL VILLAGE - DAY<\/stage_direction>\n    <scene_description>The SWAN now sat in the back seat, DANNY takes the SQUAD CAR into the Model Village. Ahead is a scene of devastation. FRANK's SQUAD CAR lies upturned in a water feature, a damaged sprinkler rains water down onto the model village. FRANK is motionless at the wheel. SKINNER limps away from the crash. ANGEL jumps from the car and runs toward him. DANNY runs over to his injured father. SKINNER swipes up the GINGER HAIRED KID and holds a pistol to his head. ANGEL freezes, stopping dead in his tracks.<\/scene_description>\n    <character>SKTNNER<\/character>\n    <dialogue>Stay back or the ginger nut gets it!<\/dialogue>\n    <scene_description>The KID thinks fast, sinking his teeth into SKINNER's hand.<\/scene_description>\n    <character>SKINNER<\/character>\n    <dialogue>Ow you little fucker!<\/dialogue>\n    <scene_description>SKINNER drops the kid. Before he has a chance to recover, ANGEL pounces and they both crash down into the tiny village. SKINNER's pistol skitters down a miniature street. ANGEL and SKINNER spring back up. The sprinkler rains down as they trade blows. The low angle in the model village makes them look like GODZILLA and KING KONG. ANGEL hits SKINNER twice hard in the face. Reaching out SKINNER grabs ANGELS's hand. ANGEL winces in pain. SKINNER sees he has discovered a weakness and exploits it. He twists ANGEL's hand whilst raining blows down on his face.<\/scene_description>\n    <character>SKINNER<\/character>\n    <dialogue>GET GUT GE MY VILLAGE!<\/dialogue>\n    <scene_description>ANGEL straightens himself like T2 and shakes his head.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>It's not your village any more.<\/dialogue>\n    <scene_description>WHAM. ANGEL \\[U+FB02\\]attens SKINNER with one punch. SKINNER sprawls across a mini village sguare. ANGEL looks over to the GINGER KID, who is agog at the coolness of events.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Well done son. What's your name?<\/dialogue>\n    <character>GINGER HAIRED KID<\/character>\n    <dialogue>Aaron A. Aaronson.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>I'm sorry?<\/dialogue>\n    <scene_description>The KID's eyes go wide. ANGEL spins around. Behind is a maniacal SKINNER, holding a box cutter knife and running full pelt at ANGEL through the tiny streets.<\/scene_description>\n    <character>SKINNER<\/character>\n    <dialogue>Annnnnnnnnnnnnngelllllllll!<\/dialogue>\n    <scene_description>SKINNER trips on a model Someraisles truck. His legs slip from under him, sending him \\[U+FB02\\]ying. He spins in the air. SPLAT. SKINNER falls hard onto the miniature church roof. A model turret has embedded itself beneath SKINNER's chin and protrudes through his mouth. ANGEL looks to DANNY who pulls FRANK from the SQUAD CAR.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Danny. It's over.<\/dialogue>\n    <character>SKINNER (0.S.}<\/character>\n    <dialogue>Ooowwww.<\/dialogue>\n    <scene_description>SKINNER is not actually dead. He speaks, even though his neck and tongue are now pierced by the turret.<\/scene_description>\n    <character>SKINNER<\/character>\n    <dialogue>Goooow, thith weally hurth. I can't feel my thongue. I'm going to need thome ice cream.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>There's plenty of ice cream back at the station. Isn't there-<\/dialogue>\n    <scene_description>ANGEL turns to see FRANK holding a gun to DANNY's head.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Oh pack it in Frank, you silly bastard!<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>Now, now Sergeant. We don't want any more bloodshed.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Dad, don't do this!<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Frank, this whole thing started because you lost someone you loved. Don't expect me to believe you'd let it end the same way.<\/dialogue>\n    <character>FRANK<\/character>\n    <dialogue>I'll tell you how this is going to end!<\/dialogue>\n    <scene_description>He points his gun at ANGEL. DANNY leaps on FRANK wrestling the gun from him. FRANK sprints off towards ANGEL's car. DANNY aims the gun at him and is about to pull the trigger. He can't. Instead he points the gun in the air and fires.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Aaaaargh!<\/dialogue>\n    <scene_description>FRANK jumps in the car and peels off, wheels screeching.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - CONTINUOUS<\/stage_direction>\n    <scene_description>FRANK looks in his rear view. No one pursues him. However he is not alone in the car. Behind, the long slender neck of THE SWAN rears up. FRANK turns. It pounces.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - MORNING<\/stage_direction>\n    <scene_description>ANGEL and DANNY watch as the CAR veers wildly and crashes into a tree. We hear the sound of distant swan battle.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>I feel like I should say something smart.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>You don't have to say anything at all.<\/dialogue>\n    <scene_description>Rehind them cars screech up and the rest of the Sandford police run over. The two officers look up to see a METROPOLITAN POLICE HELICOPTER coming to land in a field.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - LATER<\/stage_direction>\n    <scene_description>FRANK sits handcuffed in the back of an ambulance, wearing a neckbrace. SKINNER is carried through shot on a stretcher, the model church spire still sticking through his face. The HOODIES record this sight on their mobiles.<\/scene_description>\n    <character>SKINNER<\/character>\n    <dialogue>Ow ow ow ow ow ow ow.<\/dialogue>\n    <scene_description>We see the Swan cuffed to a car door by the neck. The OLD MAN IN A CAP approaches to retrieve him. ANGEL and DANNY sit with blankets around them. They are addressed by the three ofificers from the start of the film.<\/scene_description>\n    <character>CHIEF INSPECTOR<\/character>\n    <dialogue>What do you say Nicholas?<\/dialogue>\n    <character>INSPECTOR<\/character>\n    <dialogue>We've been trying to reach you for days.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Well I've been kind of busy.<\/dialogue>\n    <character>SERGEANT<\/character>\n    <dialogue>We need you back. The figures have gone a little squiffy in your absence it has to be said.<\/dialogue>\n    <character>CHIEF INSPECTOR<\/character>\n    <dialogue>Come back to London. Sandford's hardly fitting for such an exceptional officer.<\/dialogue>\n    <scene_description>ANGEL looks to DANNY, then back at the model Sandford.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Yes, but the thing is sir. I like it here. Now, if you'll excuse me, we have to do a considerable amount of paperwork.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. STATION - DAY<\/stage_direction>\n    <scene_description>FASTCUTS of forms being filled, various NWA members processed; prints, mug shots etc. ROY PORTER still has the bear trap on his head. He is measured as 7 feet 5 inches.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STATION - DUSK<\/stage_direction>\n    <scene_description>The entire Sandford force, including both DESK SERGEANTS sit guietly scribbling away. DANNY is particularly hard at work, the Peace Lily now has pride of place on his desk.<\/scene_description>\n    <character>WATNWRIGHT<\/character>\n    <dialogue>Fucking hell Nick, this is going to take ages.<\/dialogue>\n    <character>CARTWRIGHT<\/character>\n    <dialogue>Yeah, we're gonna be here all night.<\/dialogue>\n    <character>FISHER<\/character>\n    <dialogue>Good job we've got the manpower isn't it Andy?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Actually, official vocab guidelines state that we say 'staf\\[U+FB02\\]ng', not 'manpower'. 'Manpower's sexist.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>You don't mind a bit of manpower do you Doris?<\/dialogue>\n    <character>DORIS THATCHER<\/character>\n    <dialogue>Dirty bastard!<\/dialogue>\n    <scene_description>Everyone laughs. Whoops and catcalls fill the office. ANGEL is for once the office joker. A WASTEPAPER BASKET hits him hard on the head.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Hey you cheeky fucker!<\/dialogue>\n    <scene_description>Another huge laugh. ANGEL grins at DANNY, who appears suddenly grave. He follows DANNY's gaze to see TOM WEAVER. Aiming a BLUNDERBUSS at ANGEL, his face full of hate.<\/scene_description>\n    <character>WEAVER<\/character>\n    <dialogue>You know what you are? A bloody busy-body!<\/dialogue>\n    <scene_description>WEAVER fires. DANNY lunges at ANGEL, pushing him off his chair and taking full force of WEAVER's blast in the chest. With lightning speed ANGEL slips his feet into a wastepaper basket and kicks it at WEAVER's face. WEAVER staggers back into the evidence ream. He hits the back shelf. The sea mine teeters, rolls forward and drops between WEAVER's legs, narrowly missing his crotch.<\/scene_description>\n    <character>WEAVER<\/character>\n    <dialogue>Oh thank god.<\/dialogue>\n    <scene_description>KA-BOOM. The sea mine gees off. The evidence room door blasts outwards. ANGEL \\[U+FB02\\]ies backwards thrcugh the air. SANDFORD POLICE STATION EXPLODES. In the clearing smoke, paperwork \\[U+FB02\\]utters to the fioor. From under the rubble, we see movement. A hedgehog crawls out, blinking in the light. Then the Sandford Police Service, blackened but intact, miraoulcusly get to their feet. A frantic ANGEL hurries over to find DANNY who lies among the debris, barely alive.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Hold an Danny. Everything's alright.<\/dialogue>\n    <scene_description>The offieers gather round ANGEL cradling DANNY in his arms.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Everything's gonna be just fine.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SANDFORD\/VARIOUS - DAY<\/stage_direction>\n    <scene_description>CAPTION - 'One Year Later'. We see ANGEL leaving a cottage and walk by a garden yath. We see ANGEL, now an Inspector, suiting up at the station. His uniform is different however. It's more modern. Cooler. He is else armed with an automatic revolver. ANGEL strolls down a station corridor. Familiar looking brightly coloured notices are pinned all around the walls. ANGEL walks out of the newly built station, and gets into his new SQUAD CAR. It's mere modern. Cooler. ANGEL drives along, his passenger seat conspicuously empty. He passes a skate yark where GABRIEL WEAVER and friends congregate, their heeds down. His mobile rings. He answers.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Okay. Give me a minute.<\/dialogue>\n    <scene_description>ANGEL comes out of the florists, now called LESLIE'S GARDEN, with a bouquet of \\[U+FB02\\]owers and gets into his car. He walks through the graveyard to a single headstone. We see that it reads BUTTERMAN.<\/scene_description>\n    <character>ANGEL<\/character>\n    <dialogue>Are these okay?<\/dialogue>\n    <character>VOICE (O.S.)<\/character>\n    <dialogue>Yeah they're lovely.<\/dialogue>\n    <scene_description>DANNY is revealed, standing next to ANGEL. He kneels down and places the \\[U+FB02\\]owers on a grave. ANGEL steps back, revealing the full headstone. It reads, 'IRENE BUTTERMAN'.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT\/EXT. SQUAD CAR - DAY<\/stage_direction>\n    <scene_description>DANNY and ANGEL are in their car. The radic crackles.<\/scene_description>\n    <character>DORIS THATCHER (0.S.)<\/character>\n    <dialogue>Any officers near the church?<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Go ahead Doris.<\/dialogue>\n    <character>DORIS TRATCHER (0.S.)<\/character>\n    <dialogue>Chief, we've had a report of some hippy types messin' with the recycle bins at the supermarket.<\/dialogue>\n    <character>ANGEL<\/character>\n    <dialogue>Leave it with us. Sergeant Butterman. Little hand says it's time to rock and roll.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Bring the noise.<\/dialogue>\n    <scene_description>We cut to the exterior of the SQUAD CAR. ANGEL pulls a spectacular handbrake turn, spinning the car 180 degrees. Accelerating with a roar, the car hurtles towards us, filling the frame. CRASH TO BLACK<\/scene_description>\n  <\/scene>\n<\/script>","summary":"Nicholas Angel, a high-achieving Metropolitan Police officer, is promoted to Sergeant, but his resentful superiors reassign him to the small rural town of Sandford, Gloucestershire, a regular Village of the Year winner. Nicholas's girlfriend, Janine, breaks up with him due to his workaholic attitude to policing. Nicholas is soon frustrated by the mundanity of the village, his colleagues, and the Sandford Constabulary and Neighbourhood Watch Alliance's (NWA) prioritisation of low crime statistics over law enforcement. Angel (unknowingly) arrests a constable for drink-driving, later revealed to be his partner, PC Danny Butterman, a fan of buddy cop films and the son of Inspector Frank Butterman, Angel's superior. A cloaked axe-wielding figure murders Martin Blower and Eve Draper, the two lead actors of an am-dram production of Romeo and Juliet, and stages their deaths as a car crash; Nicholas and Danny had earlier pulled over Blower and Draper for speeding. Angel is the only officer who suspects foul play. Sent to resolve a small dispute, Angel discovers an illegal weapons stash, including an old sea mine, and confiscates it. Angel warms to Danny, and together they binge-watch action movies. That night, a cloaked figure attacks wealthy land developer George Merchant in his home and kills him in a deliberate gas explosion. Angel suspects that the killings are connected to a recent property deal. Local journalist Tim Messenger approaches Angel at a village f\u00eate, claiming to have information. However, a cloaked figure dislodges masonry atop the church's tower, which falls and kills Messenger. Whilst buying Danny a last-minute birthday gift, Angel learns from Leslie Tiller, the village florist, about her plans to sell her land to Merchant's business partners. While Angel retrieves his notebook, a cloaked figure stabs her to death with her garden shears. Angel gives chase, but loses the killer. Angel suspects supermarket manager Simon Skinner, as the property deal would have built a rival supermarket. Skinner has an alibi. After surmising that there may be multiple killers, Angel is attacked in his hotel room by one of Skinner's employees, Michael \"Lurch\" Armstrong. Angel incapacitates him and learns of a secret NWA meeting at Sandford Castle. Angel confronts the NWA, led by Frank, who reveal that they committed the murders, staged as accidents. Instead of a complex conspiracy, the murders were committed for petty reasons, as each victim threatened Sandford's chances of winning Village of the Year. Frank's late wife Irene put everything into helping Sandford win the first-ever competition, but travellers ruined their chances the night before the judges arrived, driving her to suicide. Frank has since vowed to win Sandford the Village of the Year award every year, whatever the cost. Angel flees and falls into the castle's catacombs, discovering the corpses of the NWA's other victims. Danny appears and fakes killing Angel. Pretending to dispose of the body, Danny drives Angel away and urges him to return to London for his own safety. At a petrol station, Angel sees a rack of the films he and Danny bonded over and decides to return to Sandford. After arming himself with the confiscated guns, Angel and Danny engage in a shoot-out with the NWA. When Frank orders the other officers to arrest them, the pair convince them that Frank is the culprit. Frank flees and the officers besiege the supermarket, with Skinner fleeing in a police car with Frank. Angel and Danny engage the offenders in a high speed chase and shoot out. Angel and Danny capture a missing swan during the chase. Angel corners Skinner at Sandford's model village, and after a fight, Skinner is impaled on a miniature church steeple. Frank attempts to escape in Angel's car, but the swan recaptured earlier attacks him. Angel's former superiors arrive and ask him to return to London, as the crime rate has risen considerably in his absence. However, Angel decides to remain in Sandford. While the Sandford Police Service are reviewing the paperwork of the many arrests, the elderly Tom Weaver, the last NWA member, bursts into the station wielding a blunderbuss. He shoots at Nicholas, but Danny jumps in front and takes a bullet for Angel. In the resulting struggle, Weaver accidentally activates the sea mine, killing himself and destroying the station. One year later, Angel has been promoted to Inspector, and Danny, having survived, is Sergeant. After visiting Irene's grave, the two drive off to their next crime scene."}
{"movie_name":"Charlie and the Chocolate Factory_2005","imdb_id":"tt0367594","script":"<script>\n  <scene>\n    <scene_description>Charlie and the Chocolate Factory screenplay by John August based on the book by Roald Dahl<\/scene_description>\n    <character>WHITE DRAFT<\/character>\n    <dialogue>March 11, 2004<\/dialogue>\n    <scene_description>NOTE: This script is formatted for U.S. 8 1\/2 by 11 inch paper. On A4 paper, there are wider margins on the top and bottom.<\/scene_description>\n    <character>FADE IN<\/character>\n    <dialogue>As OPENING TITLES begin, we find ourselves in a swirl of<\/dialogue>\n    <scene_description>liquid chocolate, spinning clockwise down a funnel. The accompanying MUSIC is jaunty but mysterious -- we're clearly in for a ride. We emerge as the chocolate pours into a mold, one of hundreds inching along a conveyor belt. This isn't any ordinary factory. Bathed in amber light, the machinery is ornate and polished, with shiny brass joints and spindly levers. Complicated gears tug on oiled canvas ropes, slipping through swinging pulleys. As the chocolate bars continue along the belt, great bellows swell and gently PUFF on them. A moment later, a press SLAMS down, lifting to reveal the word it has imprinted:<\/scene_description>\n    <character>W O N K A<\/character>\n    <dialogue>Still moving, we look back along the belt as hundreds of bars line up to be stamped. The molds suddenly flip over, dumping each bar onto its own set of wire fingers. These \"hands\" zip straight up along an elevator track.<\/dialogue>\n    <dialogue>We RISE with them, a good hundred feet up, getting a bird's eye view of the factory floor. It's quite dark except for the golden lights right along the machinery itself. Strangely, we don't see a single person working.<\/dialogue>\n    <dialogue>As the chocolate reaches the tip-top of the track, a mechanical arm THWACKS a small package to the underside of each bar. Just as suddenly, the track flings each bar over the top.<\/dialogue>\n    <dialogue>The candy bars plummet in free-fall, until the tiny packages pop open, revealing parachutes. Their descent slows until a pair of giant scissors deftly SNIPS the strings on each chute, leaving the candy to drop onto another conveyor belt.<\/dialogue>\n    <dialogue>Each piece of chocolate lands perfectly square on its own sheet of foil paper. Looking ahead, we can see the machine that bends the foil around the chocolate. But before we get there,<\/dialogue>\n    <character>A HUMAN HAND<\/character>\n    <dialogue>reaches in and lifts five bars off the belt.<\/dialogue>\n    <character>CONTINUED:<\/character>\n    <dialogue>We only see this man's hands and the cuffs of his velvet jacket as he sets a thin<\/dialogue>\n    <character>GOLDEN TICKET<\/character>\n    <dialogue>on the back of each of the bars. One by one, he places these five special bars back in the queue, where the foil-folding machine does its job, perfectly encasing each piece.<\/dialogue>\n    <dialogue>Another device attaches the paper wrapper, printed to read: WONKA BAR.<\/dialogue>\n    <dialogue>Further down the belt, we find stacking and sorting machines loading up boxes and cases of bars. A mechanical stamp THUMPS down on each cardboard box, marking its final destination: TOKYO, SPRINGFIELD, BRIGHTON, ADDIS ABABA.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOADING DOCK - DAY<\/stage_direction>\n    <scene_description>Huge snowflakes drift down out of an icy sky that is the color of steel. WORKMEN load pallets of Wonka candy onto waiting trucks. It's hard to say what time it is, exactly: there's no sun to be found, and the streetlights are always on. For that matter, it's hard to say what year it is. From the trucks, to the clothes, to the typeface on the clipboard, the world seems to exist outside of ordinary calendars. All we can be certain of is that it's winter. The last container loaded, the FOREMAN bangs on the side of the lead truck. The convoy moves out. WIDER We see the trucks are parked along the wall of the Wonka factory. The loading area is outside of the factory itself. As the trucks RUMBLE down the snowy street, they attract the attention of a WOMAN WITH A PRAM, A SALESMAN WITH A SCARF, and a ten-year old boy named CHARLIE BUCKET, who is on his way home from school. We FOCUS IN on Charlie as he watches the procession.<\/scene_description>\n    <character>NARRATOR (V.O.)<\/character>\n    <dialogue>This is the story of an ordinary little boy named Charlie Bucket.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>NARRATOR (V.O.)<\/character>\n    <dialogue>He was not faster, or stronger, or more clever than other children.<\/dialogue>\n    <scene_description>Indeed, Charlie is barely strong enough to stand in the wind. He'd be the runt of the litter if he had any brothers or sisters. As the Wonka trucks go by, Charlie wipes his runny nose with his mitten.<\/scene_description>\n    <character>NARRATOR (V.O.)<\/character>\n    <dialogue>His family was not rich, or powerful, or well-connected. In fact, they barely had enough to eat.<\/dialogue>\n    <scene_description>After the last truck passes, Charlie continues walking home to a tiny DILAPIDATED HOUSE built just feet from the road.<\/scene_description>\n    <character>NARRATOR (V.O.)<\/character>\n    <dialogue>Yet Charlie Bucket was the luckiest boy in the entire world. He just didn't know it yet.<\/dialogue>\n    <scene_description>Charlie stomps the snow off his feet and goes inside. We pull back VERY WIDE to find the shack house is just a stone's throw from the massive Wonka factory -- its shadow literally falls across the tiny house.<\/scene_description>\n    <character>TITLE OVER:<\/character>\n    <dialogue>Charlie and the Chocolate Factory<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE LITTLE HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Flakes of snow drift in through cracks in the roof, falling down on Charlie, who is doing his homework at the kitchen table. Ever-practical, he opens an umbrella for protection and keeps right on working. Meanwhile, his MOTHER chops cabbage for the soup pot. Mother Bucket is an ever-exhausted woman in her late 30's, run ragged from taking care of Charlie and the four invalid grandparents. Many nights, she's too tired to worry, and too worried to sleep. CONTINUED: There are only two rooms in this place altogether. This main room is the kitchen, the family room, the foyer, the closet and the bedroom for Charlie and his parents. The front door swings open, revealing Charlie's FATHER, a lanky, hard-working man in his late 30's who manages to be grateful for his blessings, however slight they are.<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>Evening, Buckets!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Hi, Dad!<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>The soup's almost ready. I don't suppose there's anything extra to put...<\/dialogue>\n    <scene_description>Off her husband's look, there's clearly no more food coming. Ever chipper...<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>Well. Nothing goes better with cabbage than cabbage.<\/dialogue>\n    <scene_description>She begins to chop up another head.<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>Charlie, I found something I think you'll like!<\/dialogue>\n    <scene_description>He empties out his coat pockets on the table, revealing a handful of small white plastic caps. With a gasp, Charlie's eyes go wide as he picks one out of the pile. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOOTHPASTE FACTORY - DAY \\[PAST\\]<\/stage_direction>\n    <scene_description>Plump tubes of uncapped toothpaste slide along a conveyor belt.<\/scene_description>\n    <character>NARRATOR (V.O.)<\/character>\n    <dialogue>Charlie's father worked in the local toothpaste factory.<\/dialogue>\n    <scene_description>As each tube moves past, Father frantically screws on a cap. It's a needlessly rushed and tedious job. CONTINUED:<\/scene_description>\n    <character>NARRATOR (V.O.)<\/character>\n    <dialogue>The hours were long, and the pay was terrible. Yet occasionally, there were unexpected surprises.<\/dialogue>\n    <scene_description>One of Father's plastic caps won't screw on right. He holds it up for a closer look, and finds that it's misshapen. In fact, it looks something like a human head.<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>Huh.<\/dialogue>\n    <scene_description>MATCH CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE LITTLE HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Charlie holds the same little plastic cap.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>It's exactly what I need!<\/dialogue>\n    <scene_description>Excited, he runs into the other room.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRANDPARENTS' BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>The room's one bed is dedicated to the four grandparents, because they are so old and tired -- they never get out of it. Two face one direction; two face the other. They are as shriveled as prunes and as bony as skeletons. Charlie dives under the bed, digging for something. The old people look over the edge of the bed, but all they see are Charlie's feet sticking out. GRANDPA JOE is 96-years old, yet still approaches life with childlike zeal and optimism. He's always quick to excite:<\/scene_description>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>What is it, Charlie?<\/dialogue>\n    <character>GRANDPA GEORGE<\/character>\n    <dialogue>House on fire?<\/dialogue>\n    <character>GRANDMA GEORGINA<\/character>\n    <parenthetical>(panicked)<\/parenthetical>\n    <dialogue>Fire, where?<\/dialogue>\n    <character>GRANDMA JOSEPHINE<\/character>\n    <dialogue>Nowhere, dear.<\/dialogue>\n    <scene_description>CONTINUED: GRANDMA JOSEPHINE is Joe's compassionate wife, with a knack for spotting what's truly important. GRANDPA GEORGE is a loving curmudgeon, able to spot storm clouds on the sunniest day. GRANDMA GEORGINA is a bit deaf and daft. She'd lose her dentures if they weren't glued to her gums. Charlie scoots back out from under the bed.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Dad found it! Just the piece I needed!<\/dialogue>\n    <scene_description>Charlie pulls out an ugly-beautiful scale model of the Wonka factory, constructed entirely from deformed toothpaste caps. Holding it carefully, he climbs to the middle of the grandparents' bed. Through the bedroom window, we can see the real Wonka factory in the background. Charlie's model is a remarkable facsimile.<\/scene_description>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>What piece was it?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>A head for Willy Wonka!<\/dialogue>\n    <scene_description>Charlie shows them the figure he's just assembled: a twisted pipe-cleaner topped with the melted plastic head.<\/scene_description>\n    <character>GRANDMA JOSEPHINE<\/character>\n    <dialogue>How wonderful!<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>It's quite a likeness.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>You think so?<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>Think so? I know so. I saw Willy Wonka with my own two eyes. I used to work for him, you know.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>You did?<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>I did!<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>GRANDMA JOSEPHINE<\/character>\n    <dialogue>He did!<\/dialogue>\n    <character>GRANDPA GEORGE<\/character>\n    <dialogue>He did.<\/dialogue>\n    <character>GRANDMA GEORGINA<\/character>\n    <dialogue>I love grapes!<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <parenthetical>(ignoring)<\/parenthetical>\n    <dialogue>Of course, I was a much younger man in those days.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WONKA CANDY STORE - DAY \\[TWENTY YEARS AGO\\]<\/stage_direction>\n    <scene_description>CLOSE ON Grandpa Joe. He's 76, but still looks just as old. As we PULL OUT, we reveal that he's working the main counter. The tiny store is overflowing with candy, filling the glass cases and every shelf around. It's also crowded with DOZEN OF CUSTOMERS, all pushing and shoving to buy some of Wonka's fabulous candy. We can see a line stretching out the door.<\/scene_description>\n    <character>GRANDPA JOE (V.O.)<\/character>\n    <dialogue>Willy Wonka began with a single store on Cherry Street. But the whole world wanted his candy.<\/dialogue>\n    <scene_description>Grandpa Joe finds he's out of the bars he needs to finish an order. He ducks through a low door, heading into...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CANDY STORE BACK ROOM - DAY \\[TWENTY YEARS AGO\\]<\/stage_direction>\n    <scene_description>The back room is a beehive of activity, with apron-wearing WORKERS carrying trays of freshly-made candy from the ovens to the racks, from racks to the wrapping tables. SUGAR- PULLERS whack heavy ropes of peppermint candy again marble slabs, while a clothesline full of giant lollipops WHIZZES past. Grandpa Joe walks up behind a MAN wearing a velvet jacket.<\/scene_description>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>Mr. Wonka!<\/dialogue>\n    <scene_description>CONTINUED: The man, Willy Wonka himself, turns to him. Wonka is holding various panes of translucent colored candy in front of his face, so we can't quite make out what he looks like. (In fact, it will be a while before we see Willy Wonka straight-on.)<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Lickable glass! Do you like it? Who wouldn't?! Picture this: You're in church, another boring Sunday sermon. Temperance, humility, the usual. Then suddenly...<\/dialogue>\n    <scene_description>He licks the candy-glass from the far side.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Mmmm, inspiration! I tell you, we'll fill the pews week after week.<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>Mr. Wonka, we're out of chocolate birds.<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Birds, birds. We'll need to make more. I know!<\/dialogue>\n    <scene_description>He holds up a light-blue bird's egg with tiny black spots. Candy, evidently. He pops it into Grandpa Joe's mouth. CLOSE ON Grandpa Joe as he experiences a strange but tasty sensation.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Now, open!<\/dialogue>\n    <scene_description>Grandpa Joe opens his mouth to reveal the egg has melted away completely, leaving just a sugary pink baby bird sitting on the tip of his tongue. BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRANDPARENTS' BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Grandpa Joe continues telling his story to Charlie. CONTINUED:<\/scene_description>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>The man was a genius! Did you know, he invented a new way of making chocolate ice cream so that it stays cold for hours without a freezer. You can even leave it lying in the sun on a hot day and it won't go runny!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>But that's impossible.<\/dialogue>\n    <character>GRANDPA GEORGE<\/character>\n    <dialogue>Of course it's impossible! It's completely absurd!<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>But Willy Wonka did it!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WONKA FACTORY GATES - DAY \\[FIFTEEN YEARS AGO\\]<\/stage_direction>\n    <scene_description>A CHEERING CROWD is gathered on a beautiful spring day for the grand opening ceremony.<\/scene_description>\n    <character>GRANDPA JOE (V.O.)<\/character>\n    <dialogue>Before long, he decided to build a proper chocolate factory -- the largest chocolate factory in history, fifty times as big as any other!<\/dialogue>\n    <scene_description>With giant scissors, Wonka slices a fat red ribbon. One of the ribbon ends flutters up, obscuring Wonka's face yet again. We come upon Grandpa Joe and Grandma Josephine, CHEERING in the crowd. Caught up in the moment, the old people kiss.<\/scene_description>\n    <character>CHARLIE (PRE-LAP)<\/character>\n    <dialogue>Eww!<\/dialogue>\n    <scene_description>BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE GRANDPARENTS' BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Charlie finds this disgusting. CONTINUED:<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Grandpa! Don't make it gross.<\/dialogue>\n    <character>GRANDMA JOSEPHINE<\/character>\n    <dialogue>Tell him about the Indian prince. He'd like to hear that.<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>You mean Prince Pondicherry?<\/dialogue>\n    <character>GRANDPA GEORGE<\/character>\n    <dialogue>Completely dotty!<\/dialogue>\n    <character>GRANDMA GEORGINA<\/character>\n    <dialogue>I am not!<\/dialogue>\n    <character>GRANDMA JOSEPHINE<\/character>\n    <dialogue>Of course you aren't, dear.<\/dialogue>\n    <scene_description>Mother and Father enter with bowls of soup for the old people.<\/scene_description>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>Well, Prince Pondicherry wrote a letter to Mr. Wonka and asked him to come all the way out to India and build him a colossal palace entirely out of chocolate.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DELHI, INDIA - DAY \\[FIFTEEN YEARS AGO\\]<\/stage_direction>\n    <scene_description>Wonka's hand smooths out the blueprints for a massive structure, complete with curvy onion domes and twisted columns. He's talking to PRINCE PONDICHERRY.<\/scene_description>\n    <character>WONKA'S VOICE<\/character>\n    <dialogue>It will have one hundred rooms, and everything will be made of either dark or light chocolate!<\/dialogue>\n    <scene_description>Going WIDER, we reveal that we're on a sandy knoll overlooking the construction site, where hundreds of WORKERS are toiling.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A HALF-BUILT WALL - DAY \\[FIFTEEN YEARS AGO\\]<\/stage_direction>\n    <scene_description>A MASON unwraps a giant chocolate bar, spreading ganache on the back with a trowel. He carefully sets this \"brick\" in place.<\/scene_description>\n    <character>GRANDPA JOE (V.O.)<\/character>\n    <dialogue>True to his word, the bricks were chocolate, and the cement holding them together was chocolate. All the walls and ceilings were made of chocolate as well.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE BEDROOM - DAY \\[FIFTEEN YEARS AGO\\]<\/stage_direction>\n    <scene_description>We MOVE THROUGH the room, which is decorated entirely in shades of brown and cream, headed towards the master bath.<\/scene_description>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>So were the carpets and the pictures and the furniture. And when you turned on the taps in the bathroom...<\/dialogue>\n    <character>WONKA'S HAND<\/character>\n    <dialogue>turns the faucet. Steaming cocoa comes out.<\/dialogue>\n    <character>WONKA'S VOICE<\/character>\n    <dialogue>Hot chocolate. Precisely the most delicious temperature.<\/dialogue>\n    <scene_description>He's talking to Prince Pondicherry, who looks on in wonder.<\/scene_description>\n    <character>PRINCE PONDICHERRY<\/character>\n    <dialogue>It is perfect in every way.<\/dialogue>\n    <character>WONKA'S VOICE<\/character>\n    <dialogue>I warn you though, it won't last long. You'd better start eating right away.<\/dialogue>\n    <character>PRINCE PONDICHERRY<\/character>\n    <dialogue>Nonsense! I will not eat my palace!<\/dialogue>\n    <parenthetical>(grandly)<\/parenthetical>\n    <dialogue>I intend to live in it!<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>GRANDPA JOE (V.O.)<\/character>\n    <dialogue>But Mr. Wonka was right, of course. Soon after this, there came a very hot day with a boiling sun.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE BEDROOM - DAY \\[FIFTEEN YEARS AGO\\]<\/stage_direction>\n    <scene_description>The Prince and his lovely PRINCESS are reclining on chocolate divans, eating packaged Wonka candies when a brown<\/scene_description>\n    <character>DRIP<\/character>\n    <dialogue>lands on the Prince's forehead. He wipes it off, and smiles at his beautiful bride.<\/dialogue>\n    <dialogue>A beat later, a sizable CLUMP of chocolate whacks the prince on the side of the head. Both royals hightail it as the entire room begins to collapse around them.<\/dialogue>\n    <dialogue>Like a delicious, fudgy disaster movie, the two royals barely escape as walls and pillars come CRASHING down.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE KNOLL - DAY \\[FIFTEEN YEARS AGO\\]<\/stage_direction>\n    <scene_description>Covered with chocolate goo, Prince Pondicherry watches as his dream disintegrates into a brown puddle.<\/scene_description>\n    <character>GRANDPA JOE (V.O.)<\/character>\n    <dialogue>The prince sent an urgent telegram requesting a new palace, but Mr. Wonka was facing problems of his own.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FACTORY GATES - DAY \\[FIFTEEN YEARS AGO\\]<\/stage_direction>\n    <scene_description>Done for the day, one shift of FACTORY WORKERS heads home. We see Grandpa Joe walking with two FRIENDS, laughing at a joke. Behind them, a SHIFTY-EYED WORKER surreptitiously hands off<\/scene_description>\n    <character>A SLIP OF PAPER<\/character>\n    <dialogue>to a nearby bush, where a man's hand reaches out to grab it.<\/dialogue>\n    <character>GRANDPA JOE (V.O.)<\/character>\n    <dialogue>All the other chocolate makers, you see, had grown jealous of Mr. Wonka. They began sending in spies to steal his secret recipes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHERRY STREET - DAY \\[FIFTEEN YEARS AGO\\]<\/stage_direction>\n    <scene_description>Near the original Wonka store, we find SIDEWALK VENDORS selling their cheap knock-offs.<\/scene_description>\n    <character>GRANDPA JOE (V.O.)<\/character>\n    <dialogue>Fickelgruber's factory started making an ice cream that would never melt.<\/dialogue>\n    <scene_description>Indeed, the FICKELGRUBER MAN holds a magnifying glass above a cone of chocolate swirl, with nary an effect. Further on...<\/scene_description>\n    <character>GRANDPA JOE (V.O.)<\/character>\n    <dialogue>Prodnose's factory came out with a chewing gum that never lost its flavor.<\/dialogue>\n    <scene_description>The PRODNOSE VENDOR hands out sticks of \"Evergreen Wintergreen Gum\" to PASSERSBY. We continue moving down the street.<\/scene_description>\n    <character>GRANDPA JOE (V.O.)<\/character>\n    <dialogue>Then Slugworth's factory began making candy balloons that you could blow up to incredible sizes.<\/dialogue>\n    <scene_description>The SLUGWORTH SALESMAN is surrounded by CHILDREN who blow impossibly large balloons -- bigger than their entire bodies. He POPS each balloon, leaving a mess of goo and happy, sticky kids.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FACTORY GATES - DAY \\[FIFTEEN YEARS AGO\\]<\/stage_direction>\n    <scene_description>Grandpa Joe and a CROWD of stunned workers watch as the giant gates swing shut.<\/scene_description>\n    <character>GRANDPA JOE (V.O.)<\/character>\n    <dialogue>The thievery got so bad that one day, without warning, Mr. Wonka told every single one of his workers to leave, to go home, never to come back.<\/dialogue>\n    <scene_description>A thick chain slides around the bars of the gates, locked from the inside. CONTINUED:<\/scene_description>\n    <character>GRANDPA JOE (V.O.)<\/character>\n    <dialogue>He announced that he was closing his chocolate factory forever.<\/dialogue>\n    <scene_description>BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE GRANDPARENTS' BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>The Grandparents are slurping their soup, as is Charlie. His Mother and Father have pulled up chairs to the edge of the bed, so the whole family can eat together.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>But it didn't close forever. It's open right now.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>Sometimes, when grownups say \"forever,\" they mean \"a very long time.\"<\/dialogue>\n    <character>GRANDPA GEORGE<\/character>\n    <dialogue>Such as, \"I feel like I've eaten nothing but cabbage soup forever.\"<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>Now, Pop...<\/dialogue>\n    <character>GRANDMA JOSEPHINE<\/character>\n    <dialogue>The factory did close, Charlie.<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>And it seemed like it was going to be closed forever. Then, one day, we saw smoke rising from the chimneys. The factory was back in business.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Did you get your job back?<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>No. No one did.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>But there must be people working there...<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>GRANDMA JOSEPHINE<\/character>\n    <dialogue>Think about it, Charlie. Have you ever seen a single person going into that factory -- or coming out?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>No. The gates are always closed.<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>Exactly!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>But then, who's running the machines?<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>Nobody knows, Charlie.<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>It sure is a mystery.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Hasn't someone asked Mr. Wonka?<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>Nobody sees him anymore. He never comes out. The only thing that comes out of that place is the candy, already packed and addressed.<\/dialogue>\n    <parenthetical>(wistful)<\/parenthetical>\n    <dialogue>I'd give anything in the world just to go in one more time, and see what's become of that amazing factory.<\/dialogue>\n    <scene_description>A beat. Everyone nods sympathetically. All except --<\/scene_description>\n    <character>GRANDPA GEORGE<\/character>\n    <dialogue>Well you won't, because you can't! No one can! It's a mystery and it will always be a mystery! That little factory of yours, Charlie, is as close as any of us is ever going to get.<\/dialogue>\n    <scene_description>He hands off his soup bowl to Father. Reluctantly, Mother and Father gather the rest of the empty bowls.<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>Come on, Charlie. We should let your grandparents get some sleep.<\/dialogue>\n    <scene_description>CONTINUED: (2) Charlie says his goodnights, giving each old person a hug. He saves his last for loopy Grandma Georgina. With sudden clarity, she WHISPERS to him...<\/scene_description>\n    <character>GRANDMA GEORGINA<\/character>\n    <dialogue>Nothing's impossible, Charlie. Nothing.<\/dialogue>\n    <scene_description>Charlie gives her a strange look as he follows his parents out of the room. With one last look back, he switches off the light.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A23 INT. CHARLIE'S LOFT - DAY A23<\/stage_direction>\n    <scene_description>Charlie climbs up into his little bed, which is set up in the rafters of the tiny, sway-backed house. The sloped ceiling is covered with fanciful sketches of Wonka's factory, and flattened wrappers from the few Wonka bars Charlie's eaten. He looks out through a small round window. The Wonka factory dominates the view.<\/scene_description>\n    <character>NARRATOR (V.O.)<\/character>\n    <dialogue>Indeed, that very night, the impossible had already been set in motion.<\/dialogue>\n    <scene_description>We PUSH THROUGH the window...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE LITTLE HOUSE - NIGHT<\/stage_direction>\n    <scene_description>...flying up like a bat. We drift along the stone walls of the Wonka factory, coming to the far corner. There, on an empty snow-lined street, we find A YOUNG MAN ON A BICYCLE. He's dressed in wool, with a messenger bag over his shoulder. And he's not alone. There are DOZENS of bicyclists, all identically dressed, riding in a phalanx through the night. As they reach an intersection, they branch off in different directions, headed for each part of the city.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHERRY STREET - NIGHT<\/stage_direction>\n    <scene_description>The shops are all closed for the night. The street is quiet, until we hear the gentle TAPPING of hammers. CONTINUED: All the way down the wet cobblestone street, the BICYCLE MEN are attaching signs to posts and clapboard walls. It's too shadowy to read what the signs say. Finished, the men ride off like ghosts. As we watch... NIGHT BECOMES DAY. We CREEP IN as one, two, then fifteen TOWNSPEOPLE crowd around to read one of the mysterious -- and wordy -- signs. Short little Charlie Bucket squeezes his way to the front and begins reading. VARIOUS SHOTS of the sign and the many readers:<\/scene_description>\n    <character>WONKA'S VOICE<\/character>\n    <dialogue>Dear People of the World: I, Willy Wonka, have decided to allow five children to visit my factory this year. These lucky five will be shown around personally by me, and will learn all the secrets and the magic of my factory.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WONKA FACTORY GATES - DAY<\/stage_direction>\n    <scene_description>A TELEVISION REPORTER does a live feed, reading from the proclamation. (Like all the technology we encounter, the camera and microphone feel somewhat vintage.)<\/scene_description>\n    <character>TELEVISION REPORTER<\/character>\n    <parenthetical>(reading)<\/parenthetical>\n    <dialogue>Five Golden Tickets have been hidden underneath the ordinary wrapping paper of five ordinary Wonka bars. These five candy bars may be anywhere -- in any shop in any street in any town in any country in the world.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. A CANDY STORE IN TOKYO - DAY<\/stage_direction>\n    <scene_description>A mob scene as JAPANESE SCHOOLGIRLS buy every Wonka bar in sight. It looks like a piranha feeding frenzy. CONTINUED:<\/scene_description>\n    <character>WONKA'S VOICE<\/character>\n    <dialogue>In addition, one of these children shall receive a special prize beyond anything you could ever imagine. Good luck to you all, and happy hunting!<\/dialogue>\n    <scene_description>The schoolgirls depart, leaving a dazed CANDY STORE OWNER and empty shelves.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRANDPARENTS' BEDROOM - DAY<\/stage_direction>\n    <scene_description>Grandpa Joe has just heard the news from Charlie.<\/scene_description>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>Wouldn't it be something, Charlie, to open a bar of candy and see a Golden Ticket inside!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I know! But I only get one bar a year, for my birthday.<\/dialogue>\n    <scene_description>His mother is listening from the doorway.<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>It's your birthday next week.<\/dialogue>\n    <character>GRANDMA JOSEPHINE<\/character>\n    <dialogue>You have as much chance as anybody does.<\/dialogue>\n    <character>GRANDPA GEORGE<\/character>\n    <dialogue>Baldersnap! The kids who are going to find the Golden Tickets are the ones who can afford to buy candy bars every day. Our Charlie gets only one a year! He doesn't have a chance!<\/dialogue>\n    <character>GRANDMA JOSEPHINE<\/character>\n    <dialogue>Everyone has a chance, Charlie.<\/dialogue>\n    <character>GRANDPA GEORGE<\/character>\n    <dialogue>Mark my words: The kid who finds the first ticket will be fat, fat, fat.<\/dialogue>\n    <scene_description>CUT TO: A STYLIZED, VINTAGE GLOBE spins beneath us. As it slows, we SWOOP IN on Europe, where a pin-marker reads: \"D\u00dcSSELDORF.\" CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GERMAN SAUSAGE SHOP - DAY<\/stage_direction>\n    <scene_description>AUGUSTUS GLOOP (9) is so enormously fat he looks as though he has been blown up with a powerful pump. Great flabby folds of fat bulge out from every part of his body. His face resembles a monstrous ball of dough with two small greedy raisin eyes peering out upon the world. Augustus is telling his story to a pack of REPORTERS.<\/scene_description>\n    <character>AUGUSTUS<\/character>\n    <dialogue>I am eating ze Vonka bar, und I taste something that is not chocolate or coconut or valnut or peanut butter or nougat...<\/dialogue>\n    <scene_description>As he talks, we INTERCUT with... FLASHBACK FOOTAGE of Augustus trying to figure out what the taste in his mouth is. BACK TO SCENE<\/scene_description>\n    <character>AUGUSTUS<\/character>\n    <dialogue>...or butterbrittle or caramel or schprinkels, zo I look und I find ze Golden Ticket.<\/dialogue>\n    <scene_description>He holds it up. Indeed, there are teeth marks on it.<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>Augustus, how did you celebrate?<\/dialogue>\n    <character>AUGUSTUS<\/character>\n    <dialogue>I eat more candy!<\/dialogue>\n    <scene_description>CUT TO: THE GLOOP PARENTS. They're standing behind the sausage counter. MR. GLOOP, a barrel-chested man with a handlebar mustache, is twisting bratwurst links as they come out of the casing machine. MRS. GLOOP, a bubbly woman who knits all her own sweaters, talks to the reporters. In the background, Augustus is eating another candy bar.<\/scene_description>\n    <character>MRS. GLOOP<\/character>\n    <dialogue>Vee knew Augustus vould find a Golden Ticket. He eats so many candy bars a day, that it was not possible for him not to find one.<\/dialogue>\n    <character>CLOSE ON AUGUSTUS<\/character>\n    <dialogue>He smiles, his mouth ringed with chocolate. Off a photographer's FLASH, we...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRANDPARENTS' BEDROOM - DAY<\/stage_direction>\n    <character>GRANDPA GEORGE<\/character>\n    <dialogue>Told you it would be a porker!<\/dialogue>\n    <scene_description>Grandpa George hands a tattered newspaper back to Charlie. The front page has the photo of porcine Augustus Gloop.<\/scene_description>\n    <character>GRANDMA JOSEPHINE<\/character>\n    <dialogue>What a repulsive boy.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Only four Golden Tickets left.<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>Now that they've found one, it'll really get crazy.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BOUTIQUE DEPARTMENT STORE - DAY<\/stage_direction>\n    <scene_description>The kind of place that would never sell candy -- normally. Now fully grown WOMEN buy ten Wonka candy bars at a time, then tear off the wrappers on the spot to search for a glint of golden paper.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SOME KID'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>A BOY and GIRL smash their piggy banks with hammers.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK ROOM - DAY<\/stage_direction>\n    <scene_description>A BOXCUTTER slices through a cardboard Wonka shipping box. Twenty hands reach in to grab the bars.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALO ALTO SUPERMARKET - DAY<\/stage_direction>\n    <scene_description>A famous scientist, PROFESSOR FOULBODY, demonstrates his brilliant machine to excited SHOPPERS and members of the PRESS.<\/scene_description>\n    <character>PROFESSOR FOULBODY<\/character>\n    <dialogue>My device will find a Golden Ticket without even opening the wrapper.<\/dialogue>\n    <scene_description>He switches it on. The machine's mechanical arm shoots out with tremendous force, grabbing at Wonka bars on the shelf. It picks up each one, then tosses it aside. Repeating the process at remarkable speed.<\/scene_description>\n    <character>PROFESSOR FOULBODY<\/character>\n    <dialogue>The sophisticated sensors can detect even tiny amounts of gold.<\/dialogue>\n    <scene_description>Indeed, the arm picks up a small gold coin hidden among the bars, depositing it into a little bin. The crowd APPLAUDS. Finished with the shelf, the arm whips around. It isn't finished yet. We FOCUS IN on a WOMAN'S GOLD NECKLACE. She SCREAMS as the arm yanks her necklace off, placing it in the bin.<\/scene_description>\n    <character>PROFESSOR FOULBODY<\/character>\n    <dialogue>Oh, dear!<\/dialogue>\n    <scene_description>The crowd panics, trying to scoot back. We look into ONE MAN'S screaming mouth, spotting the glint of a GOLD FILLING. The machine sees it, too. It grabs the poor man by the jaw, pulling him into the bin. CUT TO: THE VINTAGE GLOBE spinning once again. This time, we land on England, and a marker labelled: \"BUCKINGHAMSHIRE.\" CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COUNTRY MANSION - DAY<\/stage_direction>\n    <scene_description>VERUCA SALT (9) stands atop a grand piano, waving the Golden Ticket above her head as she grins from ear to ear. She's delighted to have so many PHOTOGRAPHERS snapping her picture.<\/scene_description>\n    <character>VERUCA<\/character>\n    <dialogue>V-E-R-U-C-A. Veruca Salt.<\/dialogue>\n    <scene_description>With the face of an angel, Veruca can be charming and friendly as long as everyone agrees that the universe revolves around her. Question that cosmology, and she reveals herself to be a spoiled hellion, who will stop at nothing until she gets exactly what she wants. MR. SALT (55) is an old-monied nut baron, first cousin to the monocled Monopoly tycoon, with a fuddy-duddy accent and a fondness for idiotic platitudes. Lovely Veruca is the apple of his eye. He overlooks her tantrums and cruelty. With his teetering, martini-swilling WIFE on his arm, he talks to the reporters:<\/scene_description>\n    <character>MR. SALT<\/character>\n    <dialogue>As soon as my little Veruca told me that she had to have one of these Golden Tickets, I started buying up all the Wonka candy bars I could lay my hands on! Thousands of them. Hundreds of thousands! I had them loaded onto trucks and sent directly to my own factory.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALT NUT FACTORY - DAY \\[PAST\\]<\/stage_direction>\n    <scene_description>Trucks unload cases and cases of Wonka bars. We follow the boxes as they are unloaded onto a conveyor belt, where dozens of HAIRNET-WEARING WOMEN are lined up to begin work.<\/scene_description>\n    <character>MR. SALT (V.O.)<\/character>\n    <dialogue>I'm in the nut business, you see, So I say to my workers...<\/dialogue>\n    <scene_description>CONTINUED: REVEAL Mr. Salt, giving the marching orders:<\/scene_description>\n    <character>MR. SALT<\/character>\n    <dialogue>Good morning, ladies. From now on you can stop shelling peanuts and start shelling the wrappers off these candy bars instead!<\/dialogue>\n    <scene_description>As ordered, they begin ripping the wrappers off the chocolate bars. They toss the chocolate into trash bins.<\/scene_description>\n    <character>MR. SALT (V.O.)<\/character>\n    <dialogue>Three days went by, and we had no luck. Oh, it was terrible! My little Veruca got more and more upset each day and every time I went home she would scream at me...<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COUNTRY MANSION - DAY \\[PAST\\]<\/stage_direction>\n    <scene_description>Veruca is throwing an epic tantrum.<\/scene_description>\n    <character>VERUCA<\/character>\n    <dialogue>Where's my Golden Ticket! I want my Golden Ticket!<\/dialogue>\n    <scene_description>BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COUNTRY MANSION - DAY \\[PRESENT\\]<\/stage_direction>\n    <character>MR. SALT<\/character>\n    <dialogue>Well, gentlemen, I just hated to see my little girl feeling unhappy like that. I vowed I would keep up the search until I could give her what she wanted. And finally, we found her a ticket.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COUNTRY MANSION - DAY \\[PAST\\]<\/stage_direction>\n    <scene_description>Mr. Salt hands Veruca the shiny gold ticket. For just a moment, she is lovely again. Radiant. She looks into her father's eyes and says: CONTINUED:<\/scene_description>\n    <character>VERUCA<\/character>\n    <dialogue>Daddy...I want another pony!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRANDPARENTS' BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Disgusted, Grandpa Joe tosses the paper aside.<\/scene_description>\n    <character>GRANDPA GEORGE<\/character>\n    <dialogue>She's even worse than the fat boy.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I don't think that was really fair. She didn't find the ticket herself.<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>Don't worry about it, Charlie. That man spoils his daughter. And no good can ever come from spoiling a child like that, Charlie, you mark my words.<\/dialogue>\n    <scene_description>Charlie's Mother and Father are at the door.<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>Charlie, your Mom and I thought maybe you'd like to open your birthday present tonight.<\/dialogue>\n    <scene_description>She hands Charlie a package wrapped in old Sunday comics. Although it's obviously the right shape, he tears back the paper just to be sure -- it's really a Wonka bar.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Maybe I should wait 'til morning.<\/dialogue>\n    <character>GRANDPA GEORGE<\/character>\n    <dialogue>Like Hell!<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>Pop!<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>All together, we're 381 years old. We don't wait.<\/dialogue>\n    <scene_description>Charlie smiles nervously and sits down on the edge of the bed. He holds his present, his only present, very carefully in two hands: WONKA'S WHIPPLE-SCRUMPTIOUS FUDGEMALLOW DELIGHT. CONTINUED: The four old people, two at either end of the bed, prop themselves up on their pillows and stare with anxious eyes at the candy bar in Charlie's hands. The room is silent. Everybody waits for Charlie to start opening his present. Charlie looks down at the candy bar. He runs his fingers slowly back and forth along the length of it, stroking it lovingly. The shiny paper wrapper makes little sharp CRACKLY NOISES in the quiet room.<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>You mustn't be too disappointed, Charlie, if you don't find, well...<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>Whatever happens, you'll still have the candy.<\/dialogue>\n    <scene_description>Suddenly, Grandpa Joe starts making strange GURGLING, CHOKING NOISES. Everyone looks over, worried.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Grandpa George, are you alright?<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>No, you're killing me! Open it!<\/dialogue>\n    <scene_description>Very slowly, Charlie's fingers tear open one small corner of the wrapping paper. The old people in the bed all lean forward and crane their scraggy necks. Then suddenly, Charlie tears the wrapper right down the middle. Onto his lap falls a light-brown creamy-colored chocolate candy bar. And nothing else.<\/scene_description>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>Well, that's that. It's just what we expected.<\/dialogue>\n    <scene_description>Charlie looks up. Four kind old faces watch him intently from the bed. He smiles at them, a small sad smile, and then he shrugs his shoulders.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>We'll share it.<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>No, Charlie. Not your birthday present.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>It's my candy bar and I'll do what I want with it.<\/dialogue>\n    <scene_description>He SNAPS the bar into seven pieces. The grown-ups share a look -- Charlie really is one of a kind. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET CORNER NEWSTAND - DAY<\/stage_direction>\n    <scene_description>A BUSINESSMAN holds the morning paper up to read the inside. On the front page, the headlines scream:<\/scene_description>\n    <character>TWO GOLDEN TICKETS FOUND<\/character>\n    <dialogue>Only one ticket left<\/dialogue>\n    <scene_description>Finished reading, the businessman half-folds his paper and drops it in a nearby bin. Before it hits bottom, Charlie catches it and reads the headline. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRANDPARENTS' BEDROOM - DAY<\/stage_direction>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>All right, let's hear who found them.<\/dialogue>\n    <scene_description>Mr. Bucket holds the newspaper up close to his face because his eyes are bad and he can't afford glasses.<\/scene_description>\n    <character>MR. BUCKET<\/character>\n    <dialogue>The third ticket was found by Miss Violet Beauregarde.<\/dialogue>\n    <scene_description>CUT TO: THE VINTAGE GLOBE back in motion. This time, we slow on the East Coast of America, finding a marker for: \"ATLANTA.\" CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GYM - DAY<\/stage_direction>\n    <scene_description>A ten-year old girl in a karate outfit SMASHES boards with her hands and feet before flipping two INSTRUCTORS. She bows, then rises into a CLOSE-UP. VIOLET BEAUREGARDE is a class-5 hurricane compressed in the body of an eleven-year old girl. Brash, rude and insanely competitive, she chews ferociously upon a piece of gum. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEAUREGARDE LIVINGROOM - DAY<\/stage_direction>\n    <scene_description>MS. BEAUREGARDE is Violet's cheerleader, manager, publicist and chauffeur. Rarely, however, is she a mother. Her parenting is mostly confined to stoking her daughter's self- esteem bonfire. She and Violet stand in front of a massive wall of glittering trophies. We INTERCUT between their interviews. \\[Ms. Beauregarde speaks like a glamorous Southern belle, while Violet adds an annoying \"up-talk\" that makes every sentence sound like a question.\\]<\/scene_description>\n    <character>MS. BEAUREGARDE<\/character>\n    <dialogue>These are just some of the 263 trophies and medals my Violet has won.<\/dialogue>\n    <scene_description>INTERCUT VIOLET<\/scene_description>\n    <character>VIOLET<\/character>\n    <dialogue>I'm a gumchewer, mostly, but when I heard about these ticket things, I laid off the gum and switched to candy bars.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n    <character>MS. BEAUREGARDE<\/character>\n    <dialogue>She is just a driven young woman. I don't know what it is about her.<\/dialogue>\n    <scene_description>CUT TO: Violet is holding a jaw-shaped trophy. CONTINUED:<\/scene_description>\n    <character>VIOLET<\/character>\n    <dialogue>I'm the junior world-champion gum chewer. This piece of gum I'm chewing I've been working on for over three months solid. That's a record.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n    <character>MS. BEAUREGARDE<\/character>\n    <dialogue>Of course, I did have my share of trophies. Mostly baton.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n    <character>VIOLET<\/character>\n    <dialogue>So it says that one kid is going to get a special prize better than all the rest. I don't care who the other four are. That kid is going to be me.<\/dialogue>\n    <character>MS. BEAUREGARDE<\/character>\n    <dialogue>Tell 'em why, Violet.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Because I'm a winner.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE GRANDPARENTS' BEDROOM - DAY<\/stage_direction>\n    <character>GRANDMA JOSEPHINE<\/character>\n    <dialogue>What a beastly girl.<\/dialogue>\n    <character>GRANDMA GEORGINA<\/character>\n    <dialogue>Despicable!<\/dialogue>\n    <character>GRANDPA GEORGE<\/character>\n    <dialogue>You don't know what we're talking about!<\/dialogue>\n    <character>GRANDMA GEORGINA<\/character>\n    <parenthetical>(venturing a guess)<\/parenthetical>\n    <dialogue>Dragonflies?<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>And who got the fourth Golden Ticket?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>MR. BUCKET<\/character>\n    <parenthetical>(reads newspaper)<\/parenthetical>\n    <dialogue>The fourth Golden Ticket was found by a boy named Mike Teavee.<\/dialogue>\n    <scene_description>CUT TO: THE VINTAGE GLOBE swirling below us. This time, we sweep across the U.S. to find a marker in the Midwest for: \"DENVER.\" CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE TEAVEE'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>MIKE TEAVEE, 13, looks right past camera, leaning left and right to get a better view of the absurdly violent videogame he's playing on his own television. The intellectual equivalent of a grade-school bully, Mike lords his cleverness over those around him and is always the first to point out gaps in logic.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>All you had to do is track the manufacturing dates, hack into the distribution flow rate data and take the derivative of the costing formula offset by weather and the Nikkei index. A retard could figure it out.<\/dialogue>\n    <scene_description>In the bedroom doorway, Mike's dad MR. TEAVEE talks to reporters. He's a pale, simple sort of man, happy enough to spend Sunday in the la-z-boy watching the game.<\/scene_description>\n    <character>MR. TEAVEE<\/character>\n    <dialogue>Most of the time, I don't know what he's talking about. Kids these days, what with all the technology...<\/dialogue>\n    <scene_description>Mike jams the buttons on his videogame controller.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Die! Die! Die!<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>MR. TEAVEE<\/character>\n    <dialogue>...doesn't seem like they stay kids very long.<\/dialogue>\n    <scene_description>Finished killing the level boss, Mike continues his story:<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>In the end, I only had to buy one candy bar.<\/dialogue>\n    <character>REPORTER<\/character>\n    <dialogue>And how did it taste?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I don't know. I hate chocolate.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GRANDPARENTS' BEDROOM - DAY<\/stage_direction>\n    <character>GRANDPA GEORGE<\/character>\n    <dialogue>Well, it's a good thing you're going to a CHOCOLATE FACTORY, you ungrateful little...<\/dialogue>\n    <scene_description>Father quickly puts his hands over Charlie's ears. Everything goes SILENT while Grandpa George continues his obscenity-filled tirade. The old man finally stops. Father takes his hands off Charlie's ears.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Dad?<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>Yup?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Why aren't you at work?<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>Oh. The toothpaste factory gave me some time off.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Like summer vacation?<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>Sure. Like that.<\/dialogue>\n    <scene_description>Charlie doesn't catch it, but the small wince in Father's expression betrays this as untrue. CONTINUED:<\/scene_description>\n    <character>NARRATOR (V.O.)<\/character>\n    <dialogue>In fact, it wasn't like vacation at all.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOOTHPASTE FACTORY - DAY \\[PAST\\]<\/stage_direction>\n    <scene_description>Father watches as TECHNICIANS install a toothpaste-cap- twisting machine.<\/scene_description>\n    <character>NARRATOR (V.O.)<\/character>\n    <dialogue>The upswing in candy sales had led to a rise in cavities, which led to a rise in toothpaste sales.<\/dialogue>\n    <scene_description>Genuinely sorry, the FACTORY SUPERVISOR hands father a literal pink slip.<\/scene_description>\n    <character>NARRATOR (V.O.)<\/character>\n    <dialogue>With the extra money, the factory had decided to modernize, eliminating Mr. Bucket's job.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE LITTLE HOUSE - DAY<\/stage_direction>\n    <scene_description>Mother and Father have a private conversation, keeping their voices low. Father in particular is discouraged.<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>We were barely making ends meet as it was.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>You'll find another job. Until then, I'll just thin down the soup a little more.<\/dialogue>\n    <scene_description>Father is not convinced, but is helpless to offer any other alternative.<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>Don't worry, our luck will change, I know it.<\/dialogue>\n    <scene_description>Looking back to the front door, we find Charlie has been listening to the conversation. On his face, we see a look of worry no child should carry.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE GRANDPARENTS' BEDROOM - DAY<\/stage_direction>\n    <scene_description>Grandpa Joe is awake. The other three SNORE loudly. Seeing that the coast is clear, Grandpa Joe beckons Charlie to come here. Charlie tiptoes over and stands beside the bed. The old man gives Charlie a sly grin, and then rummages under his pillow. He reveals an ancient leather coin purse clutched in his fingers. Out falls a single silver dollar.<\/scene_description>\n    <character>GRANDPA JOE<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>It's my secret hoard. You and I are going to have one more fling at finding that last ticket.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Are you sure you want to spend your money on that, Grandpa?<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>Of course I'm sure! Here -- run down to the nearest store and buy the first Wonka candy bar you see. Bring it straight back, and we'll open it together.<\/dialogue>\n    <scene_description>Charlie dutifully takes the coin and runs off. Grandpa Joe looks proudly after his little grandson.<\/scene_description>\n    <character>GRANDPA JOE<\/character>\n    <parenthetical>(to himself)<\/parenthetical>\n    <dialogue>Such a good boy, really. Such a...<\/dialogue>\n    <scene_description>His eyelids get heavy. Still propped up on an elbow, he closes his eyes for just a second. SUDDENLY...<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Grandpa!<\/dialogue>\n    <scene_description>Grandpa Joe is startled awake, completely disoriented.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>You fell asleep.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>Have you got it?<\/dialogue>\n    <scene_description>Charlie nods and holds out the bar of candy -- WONKA'S NUTTY CRUNCH SURPRISE. The old man's fingers tremble as they fumble with the candy bar.<\/scene_description>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>Which end do you think I ought to open first?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Just do it quick. Like a Band-Aid.<\/dialogue>\n    <scene_description>Steeling himself up, Grandpa Joe suddenly rips the entire wrapper off. Both he and Charlie have their eyes closed. Each opens a single eye, then the other one. They both stare at what lies underneath. It is a bar of candy -- nothing more. Their disappointment is palpable. TRANSITION TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FACTORY GATES - DUSK<\/stage_direction>\n    <scene_description>Charlie stands motionless outside the Wonka gates. He takes deep, swallowing breaths as though he's trying to eat the smell itself. He gets a few odd looks from PASSERSBY, but doesn't care. TWO MEN with VISZLA DOGS walk past. Charlie overhears their conversation.<\/scene_description>\n    <character>FIRST MAN<\/character>\n    <dialogue>Did you hear that some kid in Russia found the last golden ticket?<\/dialogue>\n    <character>SECOND MAN<\/character>\n    <dialogue>Yeah, it was in the paper this morning.<\/dialogue>\n    <parenthetical>(re: his dog)<\/parenthetical>\n    <dialogue>Oh! Good boy, good boy!<\/dialogue>\n    <scene_description>The Second Man stops to pick up his dog's poop in a plastic baggie. CONTINUED: Charlie's heard enough. He walks away, defeated. He misses the rest of the conversation:<\/scene_description>\n    <character>SECOND MAN<\/character>\n    <dialogue>But then, I was watching the news this afternoon, and it turns out the ticket was a forgery.<\/dialogue>\n    <character>FIRST MAN<\/character>\n    <dialogue>You're kidding!<\/dialogue>\n    <character>SECOND MAN<\/character>\n    <dialogue>People these days, y'know?<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CITY STREET - DUSK<\/stage_direction>\n    <scene_description>Charlie walks with the icy wind blowing in his face. His eye suddenly catches a piece of paper lying in the gutter, half- buried in the snow. Charlie steps off the curb and bends down to examine it. He sees at once what it is:<\/scene_description>\n    <character>A TEN DOLLAR BILL.<\/character>\n    <dialogue>Charlie quickly looks around. Has somebody dropped it? No, that's impossible because of the way it is buried.<\/dialogue>\n    <dialogue>Several PEOPLE hurry past him on the sidewalk, their chins sunk deep in the collars of their coats. None of them take the slightest notice of the small boy crouching in the gutter.<\/dialogue>\n    <dialogue>Carefully, Charlie pulls the bill out from under the snow. It is damp and dirty, but otherwise perfect.<\/dialogue>\n    <character>NARRATOR<\/character>\n    <dialogue>Ten dollars was more money than Charlie Bucket had ever held. In that moment, he felt rich.<\/dialogue>\n    <character>WIDER,<\/character>\n    <dialogue>we find that we're in front of a newspaper and stationery store. The kind that sells almost everything, including candy and cigars. In fact, there's a big sign in the window proclaiming: WONKA BARS!<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>But more than that, he felt terribly hungry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHOP - DUSK<\/stage_direction>\n    <scene_description>Charlie lays the damp ten-dollar bill on the counter.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>One Wonka Whipple-Scrumptious Fudgemallow Delight, please.<\/dialogue>\n    <scene_description>The SHOPKEEPER hands it to Charlie. Charlie grabs it and quickly tears off the wrapper and takes an enormous bite. Then he takes another...and another...and oh, the sheer blissful joy of being able to fill one's mouth with rich solid food!<\/scene_description>\n    <character>SHOPKEEPER<\/character>\n    <dialogue>You look like you needed that one, sonny.<\/dialogue>\n    <scene_description>Charlie nods, finishing the candy bar. The shopkeeper puts Charlie's change on the counter.<\/scene_description>\n    <character>SHOPKEEPER<\/character>\n    <dialogue>Take it easy. It'll give you a gut- ache if you swallow it like that without chewing.<\/dialogue>\n    <scene_description>Charlie reaches out a hand to take the change. Pauses. His eyes are just above the level of the counter. They stare at the nine one-dollar bills lying there. Surely it wouldn't matter if he spent just one more...<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I think...I'll have just one more. The same kind as before, please.<\/dialogue>\n    <character>SHOPKEEPER<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <scene_description>He takes another Whipple-Scrumptious Fudgemallow Delight from the shelf and lays it on the counter. Charlie picks it up and tears off the wrapper. And suddenly, from underneath the wrapper, there comes a brilliant flash of CONTINUED: Charlie's heart stands still. For a long beat, he simply stares in silent disbelief.<\/scene_description>\n    <character>SHOPKEEPER<\/character>\n    <dialogue>It's a Golden Ticket! You found Wonka's last Golden Ticket! In my shop too!<\/dialogue>\n    <parenthetical>(to others)<\/parenthetical>\n    <dialogue>Somebody call the newspaper quick and let 'em know! Watch out now, sonny! Don't tear it when you unwrap it! That thing's precious!<\/dialogue>\n    <scene_description>In a few seconds, there is a crowd of about TWENTY PEOPLE clustering around Charlie, and many more push their way in from the street. Everybody wants to get a look at the Golden Ticket and the lucky finder. Charlie hasn't moved. He hasn't even unwrapped the Golden Ticket from around the candy bar. He stands very still and holds it tightly with both hands while the crowd pushes and shouts around him. At this point, he is aware of a hand resting lightly on his shoulder. He looks up and sees a TALL MAN standing over him.<\/scene_description>\n    <character>TALL MAN<\/character>\n    <dialogue>Listen. I'll buy it from you. I'll give you fifty dollars. How about it, eh? And I'll give you a new bicycle as well. Okay?<\/dialogue>\n    <character>WOMAN<\/character>\n    <dialogue>Are you crazy? Why, I'd give you five hundred dollars for that ticket! You want to sell that ticket to me for five hundred dollars, young man?<\/dialogue>\n    <character>SHOPKEEPER<\/character>\n    <dialogue>That's enough of that! Leave the kid alone, will ya! Make way there! Let him out!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE SHOP - DUSK<\/stage_direction>\n    <scene_description>The shopkeeper kneels down and looks Charlie in the eye.<\/scene_description>\n    <character>SHOPKEEPER<\/character>\n    <dialogue>Don't let anybody have it! Take it straight home, before you lose it!<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>SHOPKEEPER<\/character>\n    <dialogue>Run all the way and don't stop till you get there, you understand?<\/dialogue>\n    <scene_description>Charlie nods. There are tears in the corners of his eyes.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>And he runs through the snow as fast as his legs will go.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WONKA FACTORY - DUSK<\/stage_direction>\n    <scene_description>Headed home, Charlie runs along the sidewalk in front of the factory.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE LITTLE HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Charlie bursts in with the energy of a cyclone.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Mom! Dad! I've got it! I found it!<\/dialogue>\n    <scene_description>He runs past his stunned parents, into --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE GRANDPARENTS' BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>He jumps up onto the center of the bed.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>The last Golden Ticket! I found it.<\/dialogue>\n    <scene_description>For a long beat there is absolute silence in the room. Nobody dares to speak or move.<\/scene_description>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>You're pulling our legs, Charlie, aren't you? You're having a little joke?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I am not!<\/dialogue>\n    <scene_description>Charlie hands him the ticket. Grandpa Joe leans forward and takes a close look. His nose almost touches the ticket. The others watch, waiting for a verdict. CONTINUED: Then very slowly, a slow and marvelous grin spreads over his face. Grandpa Joe looks at Charlie. The color rushes to his cheeks, and his eyes are wide open and shine with joy. The old man takes a deep breath, and suddenly, with no warning whatsoever, an explosion seems to take place inside. He throws up his arms and yells...<\/scene_description>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>Yippee!<\/dialogue>\n    <scene_description>And at the same time, his bony body rises up out of the bed. He jumps on to the floor and starts a victory dance in his pajamas. Charlie's parents watch from the doorway, amazed.<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>Dad, how can you...<\/dialogue>\n    <scene_description>Ignoring her, Grandpa Joe hands the ticket to father.<\/scene_description>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>Read it aloud. Let's all hear exactly what it says.<\/dialogue>\n    <character>FATHER<\/character>\n    <parenthetical>(reads ticket)<\/parenthetical>\n    <dialogue>Greetings to you, the lucky finder of this golden ticket, from Mr. Willy Wonka! I shake you warmly by the hand! For now, I do invite you to come to my factory and be my guest for one whole day.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEAUREGARDE LIVINGROOM - DAY \\[PAST\\]<\/stage_direction>\n    <scene_description>Violet reads the ticket aloud to the REPORTERS.<\/scene_description>\n    <character>VIOLET<\/character>\n    <dialogue>I, Willy Wonka, will conduct you around the factory myself, showing you everything there is to see.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GERMAN SAUSAGE SHOP - DAY \\[PAST\\]<\/stage_direction>\n    <scene_description>Augustus continues reading.<\/scene_description>\n    <character>AUGUSTUS<\/character>\n    <dialogue>Und aftervards, ven it is time to leave, you vill be escorted home by a procession of large trucks, each von filled vit all de chocolate you could ever eat!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALT LIVING ROOM - DAY \\[PAST\\]<\/stage_direction>\n    <scene_description>Veruca continues:<\/scene_description>\n    <character>VERUCA<\/character>\n    <dialogue>And remember, one of you lucky five children will receive an extra prize beyond your wildest imagination. Now, here are your instructions:<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE TEAVEE'S BEDROOM - DAY \\[PAST\\]<\/stage_direction>\n    <character>MIKE<\/character>\n    <dialogue>On the first of February, you must come to the factory gates at ten a.m. sharp. You are allowed to bring one member of your family to look after you. Until then, Willy Wonka.<\/dialogue>\n    <scene_description>BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE GRANDPARENTS' BEDROOM - NIGHT<\/stage_direction>\n    <character>MOTHER<\/character>\n    <dialogue>The first day of February! But that's tomorrow!<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>Then there's not a moment to lose. Charlie!<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>Wash your face, comb your hair, scrub your hands, brush your teeth, blow your nose, cut your nails, polish your shoes, iron your shirt...<\/dialogue>\n    <character>GRANDPA GEORGE<\/character>\n    <dialogue>And for heaven's sake, get that mud off your pants!<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>We must all try to keep very calm. Now the first thing to decide is this -- who is going to the factory with Charlie?<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>I will! I'll take him! You leave it to me!<\/dialogue>\n    <character>MOTHER<\/character>\n    <parenthetical>(to Father)<\/parenthetical>\n    <dialogue>How about you, dear? Don't you think you ought to go?<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>Grandpa Joe seems to know more about it than we do. Provided, of course, that he feels well enough...<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>Yippee!<\/dialogue>\n    <scene_description>He seizes Charlie and dances around the room. As Charlie is spinning, we see his expression change. He stops dancing.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>No. We're not going.<\/dialogue>\n    <scene_description>All eyes turn to him as he takes the ticket back from his father.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>A woman offered me five hundred dollars for the ticket. I bet someone else will pay more. We need the money more than we need the chocolate.<\/dialogue>\n    <scene_description>The mood in the room deflates as reality sets in. CONTINUED: (2)<\/scene_description>\n    <character>GRANDPA GEORGE<\/character>\n    <dialogue>Young man, come here!<\/dialogue>\n    <parenthetical>(Charlie moves closer)<\/parenthetical>\n    <dialogue>There's plenty of money out there. They print more every day. But this ticket? There's only five of them in the whole world, and that's all there's ever going to be. Only a dummy would give this up for something as common as money. Are you a dummy?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>No, sir.<\/dialogue>\n    <character>GRANDPA GEORGE<\/character>\n    <dialogue>Then get that mud off your pants. You got a factory to go to.<\/dialogue>\n    <scene_description>TRANSITION TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FACTORY GATES - DAY<\/stage_direction>\n    <scene_description>The sun shines brightly on the morning of the big day, but the ground is still white with snow and the air is very cold. POLICEMEN with arms linked try to hold back the enormous CROWDS of people who have gathered to watch the five lucky ticket holders go in. Right beside the gates, in a small group carefully shielded from the crowds, stand the five famous children together with the grownups who have come with them. Veruca Salt wears a mink-trimmed coat.<\/scene_description>\n    <character>VERUCA<\/character>\n    <dialogue>Daddy, I want to go in!<\/dialogue>\n    <character>MR. SALT<\/character>\n    <dialogue>It's 9:59, sweetheart.<\/dialogue>\n    <character>VERUCA<\/character>\n    <dialogue>Make time go faster!<\/dialogue>\n    <scene_description>Next to them stand Charlie and Grandpa Joe.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Do you think Mr. Wonka will recognize you?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>Hard to say. It's been years!<\/dialogue>\n    <scene_description>We continue to Augustus Gloop, who takes another candy bar from his mother. Next to them, we find the Beauregardes. Violet and her mother wear matching blue tracksuits.<\/scene_description>\n    <character>MS. BEAUREGARDE<\/character>\n    <dialogue>Eyes on the prize, Violet. Eyes on the prize.<\/dialogue>\n    <scene_description>Finally, we come to Mike Teavee and his father, who looks much more excited to be here than his son. Suddenly, with a CLANG of great gears, the gates begin to swing open. Violet and her mother push past the others to be the first to step onto the Wonka factory grounds. Charlie and Grandpa Joe are the last ones in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WONKA FACTORY YARD - DAY<\/stage_direction>\n    <scene_description>The ten visitors walk along a snowy path, headed for the giant building ahead. The place seems deserted, yet perfectly maintained.<\/scene_description>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>Nothing's changed at all!<\/dialogue>\n    <parenthetical>(he points)<\/parenthetical>\n    <dialogue>That's the bench we used to sit on when we would talk about Lindberg!<\/dialogue>\n    <character>MR. SALT<\/character>\n    <dialogue>It must have been very interesting. Back then.<\/dialogue>\n    <scene_description>Charlie glances back over his shoulder and sees the great iron entrance gates slowly close behind him. The crowds on the street still push and SHOUT. Then, as the gates close with a CLANG, all sight of the outside world has disappeared. UP AHEAD The giant doors to the main factory building begin to open. Smoke and steam curl into the cold air. WONKA'S VOICE is carried over loudspeakers:<\/scene_description>\n    <character>WONKA'S VOICE<\/character>\n    <dialogue>Dear visitors, it is my great pleasure to welcome you to my humble factory.<\/dialogue>\n    <scene_description>CONTINUED: Charlie takes his Grampa's hand, excited and overwhelmed. Beyond the doors, we see cartoonishly-exaggerated machinery: conveyor belts and sugar funnels, dipping vats and bubble- blowers. It seems too goofy to be real. But one never knows.<\/scene_description>\n    <character>WONKA'S VOICE<\/character>\n    <dialogue>And who am I? Well...<\/dialogue>\n    <scene_description>Suddenly, CARNIVAL MUSIC begins. Row after row of animatronic marionettes, a la Disney's \"Small World\" ride, pop up behind the faux machinery. They move in clockwork precision as they SING...<\/scene_description>\n    <character>MARIONETTES<\/character>\n    <dialogue>Wil-ly Wonka! Chocolateer extraordinaire. Wil-ly Wonka! Handsome, yes, and debonair. Wil-ly Wonka! Modest to a fault. Wil-ly Wonka! The man who we exalt! Hey!<\/dialogue>\n    <scene_description>As the robotic dolls dance for a verse, we PUSH IN on a few confused visitors, both adults and children.<\/scene_description>\n    <character>MARIONETTES<\/character>\n    <dialogue>Wil-ly Wonka! You're just about to meet, Wil-ly Wonka! A man who can't be beat. Wil-ly Wonka! Magician and a wiz... Oh what joy! Here he izzzzzzzz!<\/dialogue>\n    <scene_description>The stage ERUPTS in fireworks, sparklers SHOOTING everywhere. A giant burning sign reads, \"WONKA.\" Dizzying searchlights sweep across the proscenium. As the smoke finally clears, we find the spotlights focused on an empty stage. Wonka is nowhere to be found. What's more, several of the marionette dolls are on fire.<\/scene_description>\n    <character>ON THE VISITORS<\/character>\n    <dialogue>We go down the row of amazed and bewildered faces, until we end up on<\/dialogue>\n    <character>WILLY WONKA.<\/character>\n    <dialogue>He's a pale man, eccentrically dressed, wearing sunglasses suitable for climbing Everest. At the moment, he's overjoyed, applauding.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Oh yes! That was fantastic!<\/dialogue>\n    <parenthetical>(to Mr. Teavee)<\/parenthetical>\n    <dialogue>I was worried it was getting a little dodgy in the middle part, but then! The finale, well...<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <parenthetical>(excited)<\/parenthetical>\n    <dialogue>He's Willy Wonka!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Really?<\/dialogue>\n    <scene_description>Wonka checks the label on the inside of his jacket, which reads \"Willy Wonka.\"<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>I am!<\/dialogue>\n    <character>VERUCA<\/character>\n    <dialogue>Then shouldn't you be up there?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>I couldn't very well watch the show from up there, now could I, little girl?<\/dialogue>\n    <scene_description>Wonka starts to take off his sunglasses, but finds the glare too bright -- he hasn't been out in years.<\/scene_description>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>Mr. Wonka, I don't know if you remember me, but I used to work here in the factory.<\/dialogue>\n    <scene_description>Suddenly very serious...<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Were you one of those despicable spies?<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>No, sir!<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Then wonderful! Welcome back. Hurry along, now. All of you.<\/dialogue>\n    <scene_description>CONTINUED: (3) Wonka leads them through the factory doors.<\/scene_description>\n    <character>AUGUSTUS<\/character>\n    <dialogue>Don't you vant to know our names?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>I can't imagine how it would matter. Now, quickly. There's far too much to see.<\/dialogue>\n    <scene_description>Still baffled, the ten visitors follow Wonka. As they pass behind the stage, we notice that several of the marionettes are melting from the fire. Wonka doesn't seem to notice, or care.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FACTORY LOBBY - DAY<\/stage_direction>\n    <scene_description>The lobby is completely empty, just as it's been for decades.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Yes, now. Throw your coats anywhere.<\/dialogue>\n    <scene_description>Indeed, Wonka tosses his overcoat and sunglasses on the floor, revealing a dashingly eccentric suit with touches of all the exotic lands he's traveled. The parents fold their coats nicely over chairs, while the kids are happy enough to follow Wonka's lead and toss their jackets in a pile. Only Veruca keeps her coat, explaining to anyone who cares to listen:<\/scene_description>\n    <character>VERUCA<\/character>\n    <dialogue>It's rare Brazilian mink.<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Well I'm sure they're much happier on you, than playfully romping through the forest with their families and loved ones.<\/dialogue>\n    <character>MR. TEAVEE<\/character>\n    <dialogue>Mr. Wonka, it sure is toasty in here.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>I have to keep it warm inside. My workers are used to an extremely hot climate. They can't stand the cold!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Who are the workers?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>All in good time. Now...<\/dialogue>\n    <scene_description>Violet does an end-run around Wonka.<\/scene_description>\n    <character>VIOLET<\/character>\n    <dialogue>Mr. Wonka, I'm Violet Beauregarde.<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Oh, I don't care.<\/dialogue>\n    <scene_description>Without warning, she hugs him around the waist. Wonka emits a terrified SHRIEK. (He doesn't like to be touched.)<\/scene_description>\n    <character>VIOLET<\/character>\n    <dialogue>Well, you should care, because I'm the girl who's going to win the special prize at the end.<\/dialogue>\n    <scene_description>Peeling her off...<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>You do seem confident. And confidence is key.<\/dialogue>\n    <scene_description>Ms. Beauregarde is beaming. Veruca pushes her way past Violet. Wonka takes a nervous step back.<\/scene_description>\n    <character>VERUCA<\/character>\n    <dialogue>I'm Veruca Salt. It's very nice to meet you, sir.<\/dialogue>\n    <scene_description>She curtseys.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>I say. You seem sweeter than any candy I make.<\/dialogue>\n    <scene_description>Now Augustus wedges his way in...<\/scene_description>\n    <character>AUGUSTUS<\/character>\n    <dialogue>I am Augustus Gloop! I love de chocolate!<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>So do I! I never expected to have so much in common.<\/dialogue>\n    <scene_description>Though he was reluctant to learn their names, Wonka now seems quite interested in the children. Pointing...<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>You, you're Mike Teavee. The genius who cracked the system. Quite impressive.<\/dialogue>\n    <scene_description>Mike just shrugs. Wonka finally comes to Charlie.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>And you. Well. You're just lucky to be here, aren't you? And the rest of you must be their p-p-p-...<\/dialogue>\n    <scene_description>Afraid to interrupt Wonka, no one jumps in to finish his word.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>P-p-p-p-p-p-p-p-p-p-p-...<\/dialogue>\n    <scene_description>Finally...<\/scene_description>\n    <character>MR. SALT<\/character>\n    <dialogue>Parents?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Yes, p-p-parents. Mothers and fathers.<\/dialogue>\n    <scene_description>For just a moment, Wonka seems completely transported, lost in a distant memory...<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Father. Father? Father, but I...<\/dialogue>\n    <scene_description>Just as suddenly, he snaps out of it.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Okay, then. Let's move along.<\/dialogue>\n    <scene_description>Charlie feels a little slighted, but Grandpa Joe takes him by the shoulder. They follow Wonka as he leads them down a long hall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE LONG HALL - DAY<\/stage_direction>\n    <scene_description>Far away in the distance, from the heart of the great factory, comes a muffled ROAR of energy as though some monstrous gigantic machine were spinning its wheels at breakneck speed.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Get a move on, please! We'll never get round today if you dawdle like this!<\/dialogue>\n    <scene_description>Wonka trots off rapidly down the corridor with the tails of his coat flapping behind him. The visitors hurry after him. We don't realize it at first, but the hallway is forced- perspective. It starts out very big, then gets tiny by the end. Charlie walks with Augustus, who is unwrapping yet another candy bar.<\/scene_description>\n    <character>AUGUSTUS<\/character>\n    <dialogue>Vould you like some candy?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Sure.<\/dialogue>\n    <character>AUGUSTUS<\/character>\n    <dialogue>Then you should have brought some! Hah-hah!<\/dialogue>\n    <scene_description>Augustus eats the whole bar himself, dropping the wrapper. Wonka turns on his heel, catching the wrapper before it hits the ground.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Now, Augustus. No one likes a litterbug.<\/dialogue>\n    <scene_description>He hands the boy the wrapper with a smile. A ways back, Mr. Teavee confers with Mr. Salt.<\/scene_description>\n    <character>MR. TEAVEE<\/character>\n    <dialogue>Is it just me, or does Wonka seem a few quarters short of a buck?<\/dialogue>\n    <character>MR. SALT<\/character>\n    <dialogue>I'm sorry. I don't speak American.<\/dialogue>\n    <scene_description>CONTINUED: Veruca walks with Violet.<\/scene_description>\n    <character>VERUCA<\/character>\n    <dialogue>Let's be friends.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Best friends.<\/dialogue>\n    <scene_description>The little girls link arms, but in their faces, we can see mutual disgust. Wonka stops. The hallway has gotten so narrow that everyone is bunched up on top of each other. In front of him there is a tiny metal door, labelled...<\/scene_description>\n    <character>THE CHOCOLATE ROOM.<\/character>\n    <dialogue>WONKA<\/dialogue>\n    <scene_description>An important room, this! It is a chocolate factory, after all. Wonka takes an absurdly large bunch of keys from his pocket and slips one into the keyhole.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Then why is the door so small?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>To keep all the big chocolate flavor inside.<\/dialogue>\n    <scene_description>He leads them through the little door.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CHOCOLATE ROOM - DAY<\/stage_direction>\n    <scene_description>We PULL BACK from stunned faces, young and old, as they overlook a quite amazing sight. Even jaded Mike Teavee has to admit this is incredible. In front of them stretches<\/scene_description>\n    <character>A LOVELY VALLEY.<\/character>\n    <dialogue>There are green meadows on either side, and along the bottom of it flows a great brown river.<\/dialogue>\n    <dialogue>What is more, there is a tremendous waterfall halfway along the river -- a steep cliff over which the water curls and rolls in a solid sheet, and then crashes down into a boiling churning whirlpool of froth and spray.<\/dialogue>\n    <scene_description>CONTINUED: Below the waterfall, a whole mass of enormous glass pipes dangle down into the river from somewhere high up in the ceiling. They suck up the brownish muddy water from the river and carry it away to goodness knows where. One can hear the never-ending SUCK-SUCK-SUCKING sound of the pipes as they do their work. Graceful trees and bushes grow along the riverbanks -- weeping willows and alders and tall clumps of rhododendrons with their pink and red and mauve blossoms. In the meadows are thousands of buttercups.<\/scene_description>\n    <character>VERUCA<\/character>\n    <dialogue>It's beautiful.<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Of course! I can't abide ugliness in factories! What's more, it's all eatable!<\/dialogue>\n    <parenthetical>(is that a word?)<\/parenthetical>\n    <dialogue>Edible? Well, it's delicious!<\/dialogue>\n    <scene_description>Wonka leads them down a path towards the river. As he walks, he takes a jacket hanging from a tree and changes his outfit. (He'll do this a lot over the course of the story.)<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Every drop of that river is hot melted chocolate of the finest quality. There's enough chocolate in there to fill every bathtub in the entire country!<\/dialogue>\n    <parenthetical>(pointing)<\/parenthetical>\n    <dialogue>Those pipes suck up the chocolate and carry it away to all the other rooms in the factory where it is needed! Thousands of gallons an hour.<\/dialogue>\n    <scene_description>The children and their parents are completely bowled over by the hugeness of the whole thing. They simply walk and stare.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>The waterfall is most important! It mixes the chocolate! Makes it light and frothy! No other factory in the world mixes its chocolate by waterfall! But it's the only way to do it properly! The only way! And do you like my trees? Don't you think they look pretty?<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>And of course they are all eatable! All made of something different and delicious! And do you like my meadows? The grass you are standing on is made of a new kind of soft, minty sugar that I've just invented! I call it swudge! Try a blade! Please do! It's delectable!<\/dialogue>\n    <scene_description>Automatically, everyone bends down and picks a blade of grass -- everyone, that is, except Augustus Gloop, gets down on all fours and eats like a cow. Violet Beauregarde, before tasting her blade, takes the piece of world-record breaking chewing gum out of her mouth and sticks it carefully behind her ear.<\/scene_description>\n    <character>VARIOUS<\/character>\n    <dialogue>Oooh!\/It's good!\/Quite delicious!\/Now that's tasty!<\/dialogue>\n    <scene_description>Soon, everyone is sampling the local flora.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(to Grandpa Joe)<\/parenthetical>\n    <dialogue>Was this room always here?<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>It's brand new to me. I can't believe how much has changed.<\/dialogue>\n    <scene_description>SUDDENLY, the air is filled with SCREAMS of excitement. Veruca Salt points frantically to the other side of the river.<\/scene_description>\n    <character>VERUCA<\/character>\n    <dialogue>Daddy, look over there! What is it? It's a little person! Down there below the waterfall!<\/dialogue>\n    <scene_description>Everybody stops picking buttercups and stares across the river.<\/scene_description>\n    <character>MS. BEAUREGARDE<\/character>\n    <dialogue>There's two of them!<\/dialogue>\n    <character>MR. TEAVEE<\/character>\n    <dialogue>There's more than two.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>AUGUSTUS<\/character>\n    <dialogue>Ver do they come from?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Who are they?<\/dialogue>\n    <scene_description>Children and parents alike rush down to the edge of the river to get a closer look. A team of TINY MEN are busy at work. Some mow the sugar grass, while others pick the candy that grows on the trees. The strangest thing is, the little men all look exactly the same -- miniature clones of each other. One of them points towards the children, and then he whispers something to the other four, and all five of them burst into peals of LAUGHTER.<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>(to Wonka)<\/parenthetical>\n    <dialogue>Are they real people?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Of course they're real people. They're Oompa-Loompas.<\/dialogue>\n    <character>MR. SALT<\/character>\n    <dialogue>Oompa-Loompas!<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Imported direct from Loompaland.<\/dialogue>\n    <character>MR. TEAVEE<\/character>\n    <dialogue>There's no such place.<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>What's that you say?<\/dialogue>\n    <character>MR. TEAVEE<\/character>\n    <dialogue>Well, Mr. Wonka, I teach high school geography and...<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Then you know all about it. And oh, what a terrible country it is!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE JUNGLES OF LOOMPALAND - DAY \\[PAST\\]<\/stage_direction>\n    <scene_description>We PUSH THROUGH the absurdly dense forests of this sub- tropical wilderness. By the FEROCIOUS ANIMAL CALLS we hear, we know this is quite a dangerous place. Yet Willy Wonka himself is bravely hacking his way through the undergrowth with a silver machete. Even in the sweltering heat, he manages to look dashing.<\/scene_description>\n    <character>WONKA'S VOICE<\/character>\n    <dialogue>The whole place is nothing but thick jungles infested by the most dangerous beasts in the entire world -- hornswogglers and snozzwangers and those terrible wicked whangdoodles.<\/dialogue>\n    <scene_description>A massive flying beetle SWOOPS DOWN upon Wonka. He deftly slices through it in mid-air, then examines the goo on the blade. Curious, he taps it with his tongue, getting a quick taste. Considers the bouquet...<\/scene_description>\n    <character>WONKA'S VOICE<\/character>\n    <dialogue>I went to Loompaland looking for exotic new flavors for candy.<\/dialogue>\n    <scene_description>He decides against whangdoodle goo.<\/scene_description>\n    <character>WONKA'S VOICE<\/character>\n    <dialogue>Instead, I found the Oompa-Loompas.<\/dialogue>\n    <scene_description>TRANSITION TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DEEPER IN THE JUNGLE - DAY \\[PAST\\]<\/stage_direction>\n    <scene_description>Pushing his way through to a clearing, Wonka looks up into a sunlit tree.<\/scene_description>\n    <character>WONKA'S VOICE<\/character>\n    <dialogue>They lived in tree-houses to escape from whangdoodles and the hornswogglers and the snozzwangers.<\/dialogue>\n    <scene_description>Seen first in silhouette, the Oompa-Loompas scurry along the branches. They have constructed a rickety tree-city, high above the jungle floor. CONTINUED:<\/scene_description>\n    <character>WONKA'S VOICE<\/character>\n    <dialogue>They were living on green caterpillars, which tasted revolting.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OOMPA-LOOMPA CHIEF'S HOUSE - DAY \\[PAST\\]<\/stage_direction>\n    <scene_description>His knees at his Adam's apple, Wonka scrunches in to share a meal with the OOMPA-LOOMPA CHIEF, who looks exactly like all the other Oompa-Loompas, except for his ornate headdress. The Chief is mashing caterpillars with a mortar and pestle.<\/scene_description>\n    <character>WONKA'S VOICE<\/character>\n    <dialogue>The Oompa-Loompas spent every moment of their days looking for other things to mash up with the caterpillars to make them taste better -- red beetles, eucalyptus leaves, the bark of the bong-bong tree -- all of them beastly, but not quite so beastly as the caterpillars.<\/dialogue>\n    <scene_description>The Chief offers Wonka a taste of the revolting caterpillar goo.<\/scene_description>\n    <character>WONKA'S VOICE<\/character>\n    <dialogue>The food they longed for the most was the cocoa bean. An Oompa- Loompa was lucky if he found three or four cocoa beans a year. But oh, how they craved them. They used to dream about cocoa beans all night and talk about them all day.<\/dialogue>\n    <scene_description>BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CHOCOLATE ROOM - DAY<\/stage_direction>\n    <scene_description>In a meadow by the river, nine of the visitors listen to Wonka's story.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>The cocoa bean happens to be the thing from which chocolate is made.<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>I myself use billions of cocoa beans every week in this factory. So I said...<\/dialogue>\n    <scene_description>BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHIEF'S HOUSE - DAY<\/stage_direction>\n    <scene_description>Wonka talks to the Chief.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Look here, if you and all your people will come back to my country and live in my factory, you can have all the cocoa beans you want! You can gorge yourselves silly on them! I'll even pay your wages in cocoa beans if you wish!<\/dialogue>\n    <scene_description>The Chief considers for a moment, then eagerly shakes Wonka's hand. BACK TO: OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CHOCOLATE ROOM - DAY<\/stage_direction>\n    <character>WONKA<\/character>\n    <dialogue>They are wonderful workers. I must warn you though, they are rather mischievous. Always making jokes.<\/dialogue>\n    <scene_description>Veruca tugs on her daddy's sleeve.<\/scene_description>\n    <character>VERUCA<\/character>\n    <dialogue>Daddy! Daddy! I want an Oompa- Loompa. I want you to get me an Oompa-Loompa!<\/dialogue>\n    <character>MR. SALT<\/character>\n    <dialogue>Now, now pet. We mustn't interrupt Mr. Wonka.<\/dialogue>\n    <character>VERUCA<\/character>\n    <dialogue>But I want an Oompa-Loompa!<\/dialogue>\n    <character>MR. SALT<\/character>\n    <dialogue>All right, Veruca. But I can't get it for you this second.<\/dialogue>\n    <scene_description>CONTINUED: Mrs. Gloop is calling down to the riverbank --<\/scene_description>\n    <character>MRS. GLOOP<\/character>\n    <dialogue>Augustus! Augustus, meinen schatz. Dat is not a good thing you do!<\/dialogue>\n    <scene_description>August Gloop is kneeling on the riverbank, scooping hot melted chocolate into his mouth as fast as he can.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Please, boy, please! I beg of you not to do that. My chocolate must be untouched by human hands!<\/dialogue>\n    <character>MRS. GLOOP<\/character>\n    <dialogue>Come avay from dat river at vonce!<\/dialogue>\n    <scene_description>But Augustus is deaf to everything except the call of his enormous stomach. He lies full-length on the ground with his head far out over the river and laps up the chocolate like a dog.<\/scene_description>\n    <character>MR. TEAVEE<\/character>\n    <dialogue>Careful, son. You're leaning too far out!<\/dialogue>\n    <scene_description>Mr. Teavee is absolutely right. For suddenly there is a SHRIEK, and then a SPLASH. Augustus Gloop disappears under the brown surface. Everyone runs to the riverbank...<\/scene_description>\n    <character>MRS. GLOOP<\/character>\n    <dialogue>He'll drown! He can't svim! Save him! Save him!<\/dialogue>\n    <scene_description>The wretched boy is sucked closer and closer toward the mouth of one of the great pipes that dangles down into the river. Grandpa Joe pulls off his shoes, ready to make a desperate rescue. Mr. Teavee does the same. For his part, Mr. Salt fusses with his tie just a bit.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Look! The Oompa-Loompas!<\/dialogue>\n    <scene_description>The Oompa-Loompas are pulling on swimming caps. One by one, they dive gracefully into the chocolate river, swimming toward Augustus. CONTINUED: (2) As he floats in the chocolate river, Augustus is divided between his instinct to breathe and his instinct to eat. He alternately gasps and gobbles. THEN ALL AT ONCE, the powerful suction takes hold of him completely. He is pulled under the surface and then into the mouth of the pipe. The crowd on the riverbank waits breathlessly to see where he comes out.<\/scene_description>\n    <character>VIOLET<\/character>\n    <dialogue>There he goes!<\/dialogue>\n    <scene_description>And sure enough, because the pipe is made of glass, Augustus Gloop is seen clearly shooting up inside it, head first like a torpedo.<\/scene_description>\n    <character>MRS. GLOOP<\/character>\n    <dialogue>Help! Police!<\/dialogue>\n    <character>MS. BEAUREGARDE<\/character>\n    <dialogue>It's a wonder to me how that pipe is big enough for him to go through it.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>It isn't big enough! He's slowing down!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>He's gonna stick.<\/dialogue>\n    <character>MR. TEAVEE<\/character>\n    <dialogue>I think he has.<\/dialogue>\n    <character>MR. SALT<\/character>\n    <dialogue>He's blocked the whole pipe!<\/dialogue>\n    <scene_description>Indeed, chocolate is SWISHING around the boy in the pipe. The pressure is terrific. Something has to give. From a HIGH ANGLE, we look down on Augustus. In the river below, we see the Oompa-Loompas have circled the pipe. Like swimmers in an Esther Williams movie, they begin to perform a series of elaborate and beautiful synchronized formations: flowers, spirals, starbursts. It's oddly glorious. CONTINUED: WHOOF! Augustus suddenly shoots up like a bullet in the barrel of a gun. He disappears as the pipe passes through the ceiling. BACK ON THE SHORE<\/scene_description>\n    <character>MRS. GLOOP<\/character>\n    <dialogue>Ach! Ver does that pipe go to? Kvick! Call the fire brigade!<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Keep calm, my dear lady, keep calm. There is no danger whatsoever. Augustus has gone on a little journey, that's all. He'll come out of it just fine, you wait and see.<\/dialogue>\n    <character>MRS. GLOOP<\/character>\n    <dialogue>He vill be made into marshmallows!<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Impossible! Unthinkable! He could never be made into marshmallows. That pipe doesn't go to the Marshmallow Room. It doesn't go anywhere near it.<\/dialogue>\n    <scene_description>She seems a little relieved.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>That pipe happens to lead directly to the room where I make the most delicious kind of strawberry- flavored chocolate-coated fudge.<\/dialogue>\n    <character>MRS. GLOOP<\/character>\n    <dialogue>Then he'll be made into strawberry- flavored chocolate-coated fudge! They'll be selling him by the pound all over the vorld...<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>I wouldn't allow it. The taste would be terrible. Just imagine it! Augustus-flavored chocolate- coated Gloop! No one would buy it.<\/dialogue>\n    <scene_description>Ms. Beauregarde puts a sympathetic hand on Mrs. Gloop's shoulder. CONTINUED:<\/scene_description>\n    <character>MS. BEAUREGARDE<\/character>\n    <dialogue>He's right. They wouldn't.<\/dialogue>\n    <scene_description>Wonka CLICKS his fingers three times. Immediately, a new Oompa-Loompa appears, as if from nowhere, and stands beside him. The Oompa-Loompa bows and smiles, showing his beautiful teeth. The top of his head comes just above Wonka's knee.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>I want you to take Mrs. Gloop up to the Fudge Room and help her find her son. Take a long stick and start poking around inside the big chocolate-mixing barrel. I'm almost certain you'll find him there.<\/dialogue>\n    <scene_description>The Oompa-Loompa gives a strange kind of salute, then scurries off. Wonka gestures for Mrs. Gloop to follow him. She runs, disappearing around the bend in the path. BACK TO SCENE The earlier MUSIC continues as more Oompa-Loompas gather. Mike seems particularly perturbed by their proximity.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Back off, you little freaks!<\/dialogue>\n    <character>VERUCA<\/character>\n    <dialogue>What are they doing?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Why, I believe they're going to treat us to a song! It's quite a special occasion, of course. They haven't had a fresh audience in years!<\/dialogue>\n    <scene_description>One Oompa-Loompa, evidently the SONG LEADER, plays a single note on a PITCH PIPE. A beat, then all of the Oompa-Loompas try to match the tone. A CACOPHONY. They're not even close. They're all over the scale, hitting quite a few notes unknown to mankind. Everyone grimaces, even Wonka. But SONG LEADER is undeterred. CONTINUED: Like a sorcerer summoning spirits, he coaxes his chorus into perfect tune. Once they've finally settled on the same \"ahhhhh....\", the song can begin:<\/scene_description>\n    <character>OOMPA-LOOMPAS<\/character>\n    <parenthetical>(singing)<\/parenthetical>\n    <dialogue>Aaaaaaaaaugust Gloop! Augustus Gloop! The great big greedy nincompoop! He was fat! And he was vile! Greedy, foul, and infantile! He left a most disgusting taste, Inside our mouths, and so in haste 'Come on!' we cried, 'The time is ripe To send him shooting up the pipe!<\/dialogue>\n    <scene_description>The Oompa-Loompas sing and dance with the precise synchronicity of a Busby-Berkley musical. And as they move into the next verse, one of the Oompa-Loompas comes to the foreground, dressed as (and acting like) the gluttonous Augustus. Oompa-Augustus pantomimes getting sucked up the pipe. A SOLOIST slows the tempo to make a serious point:<\/scene_description>\n    <character>SOLOIST<\/character>\n    <dialogue>But don't, dear children, be alarmed; Augustus Gloop will not be harmed...<\/dialogue>\n    <character>OOMPA-LOOMPAS<\/character>\n    <parenthetical>(back to tempo)<\/parenthetical>\n    <dialogue>Although, of course, we must admit He will be altered quite a bit. Slowly, the wheels go round and round, The cogs begin to grind and pound; A hundred knives go slice, slice, slice; We add some sugar, cream, and spice.<\/dialogue>\n    <scene_description>The synchronized singers act as the \"machinery\" doing dastardly things to Ooompa-Augustus.<\/scene_description>\n    <character>OOMPA-LOOMPAS<\/character>\n    <dialogue>We boil him for a minute more, Until we're absolutely sure That all the greed and all the gall Is boiled away for once and all. Then out he comes! And now! By grace! A miracle has taken place!<\/dialogue>\n    <scene_description>Oompa-Augustus disappears behind the singers.<\/scene_description>\n    <character>OOMPA-LOOMPAS<\/character>\n    <dialogue>This boy, who only just before Was loathed, by men from shore to shore,<\/dialogue>\n    <scene_description>CONTINUED: (2) This greedy brute, this louse's ear, Is loved by people everywhere! For who could hate or bear a grudge Against a luscious bit of... The Oompa-Loompas part to reveal that Oompa-Augustus is now an oversized box of Wonka candy. The song ends with a big Broadway flourish, changing keys three times over a single syllable:<\/scene_description>\n    <character>OOMPA-LOOMPAS<\/character>\n    <dialogue>...Fu-uuh-uhh-uhh-dge!<\/dialogue>\n    <scene_description>With a quick bow, the Oompa-Loompas disperse, leaving the visitors bewildered. Wonka, however, is APPLAUDING heartily.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Bravo! Well done! Aren't they delightful? Aren't they charming?<\/dialogue>\n    <character>MR. TEAVEE<\/character>\n    <dialogue>They sure are a musical people.<\/dialogue>\n    <character>MR. SALT<\/character>\n    <dialogue>I do say, that all seemed rather rehearsed.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Like they knew what was going to happen to him.<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Nonsense! Improvisation is a parlor trick. Anyone can do it. You, little girl.<\/dialogue>\n    <parenthetical>(points to Violet)<\/parenthetical>\n    <dialogue>Say something. Anything at all.<\/dialogue>\n    <scene_description>She takes the gum from behind her ear and pops it in her mouth.<\/scene_description>\n    <character>VIOLET<\/character>\n    <dialogue>Chewing gum.<\/dialogue>\n    <character>WONKA<\/character>\n    <parenthetical>(singing)<\/parenthetical>\n    <dialogue>Chewing gum is really gross, Chewing gum, I hate the most!<\/dialogue>\n    <parenthetical>(finished)<\/parenthetical>\n    <dialogue>See? Exactly the same.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>No it isn't.<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>You really shouldn't mumble. I can't understand a word you're saying. Now, on with the tour!<\/dialogue>\n    <scene_description>Before anyone can protest further, Wonka heads down to a dock built on the chocolate river.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(to Grandpa Joe)<\/parenthetical>\n    <dialogue>Are the Oompa-Loompas really joking, Grandpa?<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>Of course they're joking. That boy will be fine.<\/dialogue>\n    <scene_description>Grandpa Joe takes Charlie's hand, just in case.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE RIVER DOCK - DAY<\/stage_direction>\n    <scene_description>In the distance, a steamy fog rises up from the great warm chocolate river. Out of the mist appears a most fantastic pink boat. Built like a Viking ship of old, it looks to be made of bright, pink glass. (In fact, it's sugar.) There are many oars on either side of it, and as the boat comes closer, we can see the oars are pulled by masses of identical OOMPA- LOOMPAS -- at least six of them to each oar. The boat glides up to the dock, where Wonka is changing into an outfit better suited for sailing. The Oompa-Loompas rest on their oars and stare up at the visitors. Then suddenly, for some reason best known to themselves, they all burst into shrieks of LAUGHTER.<\/scene_description>\n    <character>VIOLET<\/character>\n    <dialogue>What's so funny?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Oh, don't worry about them! They're always laughing! I think it's from all the chocolate. Did you know, there's a substance in chocolate that releases endorphins exactly like being in love?<\/dialogue>\n    <character>MS. BEAUREGARDE<\/character>\n    <dialogue>You don't say.<\/dialogue>\n    <scene_description>CONTINUED: She gives him flirtatious eyes. Wonka is bewildered, and a little annoyed. Meanwhile, the kids eagerly leap on board.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>You there! Please do not lick the boat! It'll only make it sticky!<\/dialogue>\n    <scene_description>The boy -- Mike Teavee -- gives a \"whatever\" shrug and slumps back, hogging a few seats to himself.<\/scene_description>\n    <character>MR. TEAVEE<\/character>\n    <parenthetical>(low, to Mike)<\/parenthetical>\n    <dialogue>Y'know, you oughta be more respectful.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>And you oughta butt out. I didn't see you winning a Golden Ticket.<\/dialogue>\n    <scene_description>Veruca and her father take the seats behind the Teavees.<\/scene_description>\n    <character>VERUCA<\/character>\n    <dialogue>Daddy, I want a boat like this! I want you to buy me a big pink boat exactly like Mr. Wonka's! And I want lots of Oompa-Loompas to row me about, and I want a chocolate river and I want...<\/dialogue>\n    <scene_description>In the back of the boat, Grandpa Joe WHISPERS to Charlie...<\/scene_description>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>She wants a good kick in the pants.<\/dialogue>\n    <scene_description>Charlie smiles. Now that everyone's aboard --<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Onward!<\/dialogue>\n    <scene_description>The Oompa-Loompas push off from the docks, rowing down the chocolate river. Wonka looks for a seat. Ms. Beauregarde gestures that she has one available, but Wonka quickly chooses to sit next to Charlie. With a sudden idea, Wonka picks up a large mug and dips it into the river, filling it with chocolate. He hands it to Charlie. CONTINUED: (2)<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Drink this. It'll do you good. You look starved to death!<\/dialogue>\n    <scene_description>Charlie tries it, and as we might expect...<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>It's great!<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>That's because it's mixed by waterfall.<\/dialogue>\n    <scene_description>Charlie hands the mug over to Grandpa Joe for a taste. Meanwhile, Wonka notices all the children are looking at him.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>You're all quite short, aren't you?<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Well, yeah. We're children?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>That's not much of an excuse. I was never as short as you.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>You were once.<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Never! For instance, I distinctly remember putting a hat on top of my head. Look at your short arms. You could never reach!<\/dialogue>\n    <character>VERUCA<\/character>\n    <dialogue>That doesn't make sense.<\/dialogue>\n    <character>WONKA<\/character>\n    <parenthetical>(to Grandpa Joe)<\/parenthetical>\n    <dialogue>I didn't talk back to my elders, either.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Do you even remember what it was like being a kid?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Do I!<\/dialogue>\n    <parenthetical>(beat; realizing)<\/parenthetical>\n    <dialogue>Do I?<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>NARRATOR (V.O.)<\/character>\n    <dialogue>In fact, Willy Wonka hadn't thought about his childhood for years.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PICKWICKET AVENUE - NIGHT \\[THIRTY YEARS AGO\\]<\/stage_direction>\n    <scene_description>All along this street of narrow row houses, packs of CHILDREN in Halloween costumes go door-to-door. We focus on one group of GHOSTS, WITCHES and MONSTERS as they climb the steps up to a doorway. The littlest witch stands on tip-toes to reach the DOORBELL. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/EXT. FOYER - NIGHT \\[THIRTY YEARS AGO\\]<\/stage_direction>\n    <scene_description>A PLUMP, JOLLY WOMAN swings open the door, holding a bowl full of candy.<\/scene_description>\n    <character>THE KIDS<\/character>\n    <dialogue>Trick or treat!<\/dialogue>\n    <character>JOLLY WOMAN<\/character>\n    <dialogue>Oh! Who do we have here?<\/dialogue>\n    <parenthetical>(going down the row)<\/parenthetical>\n    <dialogue>Ruthie, Veronica, Terrance...and who's that under the sheet?<\/dialogue>\n    <scene_description>A ghost pulls up his sheet to reveal...<\/scene_description>\n    <character>JOLLY WOMAN<\/character>\n    <dialogue>Little Willy Wonka!<\/dialogue>\n    <scene_description>Little Willy smiles, though his draconian orthodontic headgear makes it tough. As the Jolly Woman doles out the candy...<\/scene_description>\n    <character>NARRATOR (V.O.)<\/character>\n    <dialogue>Willy Wonka was the son of the city's most famous dentist, Wilbur Wadsworth Wonka.<\/dialogue>\n    <scene_description>TRANSITION TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HOUSE ON PICKWICKET AVENUE - NIGHT \\[THIRTY YEARS AGO\\]<\/stage_direction>\n    <scene_description>A sign for \"Wonka Dentistry\" points down to the basement- level entrance. Still wearing his ghost costume, Willy climbs the stairs to the family home.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WONKA FAMILY LIVING ROOM - NIGHT \\[THIRTY YEARS AGO\\]<\/stage_direction>\n    <scene_description>Bizarre, frightening shadows fall upon the panelled walls. As we go WIDER, we find it's just Little Willy and his Brobdingnagian orthodontics. He's sitting at the parlor table with his father, DR. WILBUR WONKA, D.D.S., who carries himself with the smug superiority of a man who knows big words for simple things.<\/scene_description>\n    <character>DR. WONKA<\/character>\n    <dialogue>Let's see what the damage is this year, shall we?<\/dialogue>\n    <scene_description>He upends Willy's candy bucket, pouring the contents onto the table. As he sorts through it --<\/scene_description>\n    <character>DR. WONKA<\/character>\n    <dialogue>Caramels. They'd get stuck in your braces, wouldn't they?<\/dialogue>\n    <scene_description>He sets the caramels aside.<\/scene_description>\n    <character>DR. WONKA<\/character>\n    <dialogue>Lollipops. Ought to call them \"cavities on a stick.\"<\/dialogue>\n    <scene_description>He puts them aside as well.<\/scene_description>\n    <character>DR. WONKA<\/character>\n    <dialogue>Which leaves all this chocolate. Now, just last week I was reading in an Important Medical Journal that some children -- I can't remember the exact percentage -- are allergic to chocolate. It makes their noses itch.<\/dialogue>\n    <character>LITTLE WILLY<\/character>\n    <dialogue>Maybe I'm not allergic. I could try a piece...<\/dialogue>\n    <character>DR. WONKA<\/character>\n    <dialogue>But really, why take the chance?<\/dialogue>\n    <scene_description>CONTINUED: With his arm, Dr. Wonka carefully sweeps all the candy off the table, and into a large ashtray. As Little Willy watches in horror, Dr. Wonka dumps the candy into the roaring fireplace. CLOSE ON the sugary treasures as they burn, blue flames POPPING and chocolate melting into the cinders. Dr. Wonka scruffs the top of Little Willy's head as he walks out of the room. Off Little Willy's sad eyes, we... MATCH CUT TO: WILLY WONKA. We're back in the pink boat as it floats down the chocolate river. Wonka is still lost in the memory.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Mr. Wonka? Mr. Wonka! We're headed for a tunnel!<\/dialogue>\n    <scene_description>Wonka suddenly snaps out of it.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Oh! Yes! Full speed ahead!<\/dialogue>\n    <scene_description>The Oompa-Loompas row faster than ever. As the boat shoots into the pitch-dark tunnel, all the passengers SCREAM with excitement.<\/scene_description>\n    <character>VIOLET<\/character>\n    <dialogue>How can they see where they're going?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>There's no knowing where they're going! Switch on the lights!<\/dialogue>\n    <scene_description>THE WHOLE TUNNEL suddenly lights up. The upward-curving walls are pure white and spotlessly clean. The river of chocolate flows very fast. The Oompa-Loompas row like crazy to keep up with it.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Keep an eye out! We're passing some important rooms here!<\/dialogue>\n    <scene_description>CONTINUED: Several doorways are set into the walls of the tunnel, just above the level of the river. As the boat floats past, there is just enough time to read the writing on the doors:<\/scene_description>\n    <character>#54<\/character>\n    <dialogue>CLOTTED CREAM<\/dialogue>\n    <character>COFFEE CREAM<\/character>\n    <dialogue>PASTRY CREAM<\/dialogue>\n    <scene_description>and HAIR CREAM<\/scene_description>\n    <character>VIOLET<\/character>\n    <dialogue>What do you use hair cream for?<\/dialogue>\n    <character>WONKA<\/character>\n    <parenthetical>(touching his curly locks)<\/parenthetical>\n    <dialogue>To lock in moisture.<\/dialogue>\n    <scene_description>We pass an OPEN DOOR, inside of which we see a cow hanging from a hammock. An Oompa-Loompa CRACKS a whip in the air. The cow MOOS.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(to Wonka)<\/parenthetical>\n    <dialogue>Whipped cream?<\/dialogue>\n    <character>WONKA<\/character>\n    <parenthetical>(impressed)<\/parenthetical>\n    <dialogue>Precisely!<\/dialogue>\n    <scene_description>Up next:<\/scene_description>\n    <character>#77<\/character>\n    <dialogue>COCOA BEANS<\/dialogue>\n    <character>COFFEE BEANS<\/character>\n    <dialogue>JELLY BEANS<\/dialogue>\n    <scene_description>and HAS BEANS<\/scene_description>\n    <character>VERUCA<\/character>\n    <dialogue>What are \"Has Beans?\"<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Child stars, former celebrities, the usual lot.<\/dialogue>\n    <scene_description>Five seconds later, a bright red door comes into sight straight ahead. The sign reads:<\/scene_description>\n    <character>INVENTING ROOM<\/character>\n    <dialogue>PRIVATE -- KEEP OUT!<\/dialogue>\n    <scene_description>Wonka waves his gold-topped cane in the air and SHOUTS -- CONTINUED: (2)<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Stop the boat! This you have to see!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE INVENTING ROOM - DAY<\/stage_direction>\n    <scene_description>The place is like a witch's kitchen: black metal pots BOIL and BUBBLE on huge stoves, kettles HISS, pan SIZZLE, strange iron machines CLANK and SPUTTER. Wearing his inventing smock, Wonka hops through the saucepans and the machines like a child among Christmas presents, not knowing which thing to look at first. He lifts the lid from a huge pot and takes a good sniff, then rushes over and dips a finger into a barrel of sticky yellow stuff and has a taste.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>This is the most important room in the entire factory, where I develop all my secret new inventions! Prodnose and Fickelgruber would give their front teeth to be allowed inside for just three minutes!<\/dialogue>\n    <scene_description>The group breaks into smaller clusters as the visitors investigate different strange contraptions. The parents hang back while the children keep with Wonka. A small shiny machine goes PHUT-PHUT-PHUT. Every time it goes PHUT, a large green marble-like candy drops out of it into a basket on the floor. Wonka picks one up.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Everlasting Gobstoppers! They're for children who are given very little allowance money. You can suck on it all year and it will never get any smaller!<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>It's like gum!<\/dialogue>\n    <scene_description>Wonka can't believe the idiotic comparison. Almost furious:<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>It is not like gum! Gum is for chewing and if you tried chewing one of these Gobstoppers you'd break your teeth off!<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>WONKA<\/character>\n    <parenthetical>(suddenly chipper)<\/parenthetical>\n    <dialogue>But they taste terrific!<\/dialogue>\n    <scene_description>While Wonka pushes on, Violet look back at her mother, who shoots a chastening glare. Veruca takes Violet by the hand, offering reassurance.<\/scene_description>\n    <character>VERUCA<\/character>\n    <dialogue>I think Mr. Wonka likes you.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>VERUCA<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Veruca dunks Violet's hand in a pot of goo, then skips off. Ms. Beauregarde leans down and WHISPERS to Violet:<\/scene_description>\n    <character>MS. BEAUREGARDE<\/character>\n    <dialogue>Eyes on the prize, Violet. Eyes on the prize.<\/dialogue>\n    <scene_description>Violet nods. Slapping herself, she puts her game face back on. A97 CHARLIE, MIKE AND WONKA A97 stop beside a large saucepan that boils and bubbles. Standing on his toes, Charlie can see just inside the pot.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>That's Hair Toffee! You eat one tiny bit, and in exactly half an hour a brand-new crop of hair will start growing out all over the top of your head! And a moustache and a beard!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Who wants a beard?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Beatniks, for one! Folk singers and motor-bike riders! You know, all those hip, zazzy cats!<\/dialogue>\n    <scene_description>Charlie and Mike just blink. Wonka's references are completely lost on them. Moving on... A97 CONTINUED: A97<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Unfortunately the mixture is not quite right. I tried it on an Oompa-Loompa yesterday, and, well...<\/dialogue>\n    <scene_description>He turns to a massive pile of hair...<\/scene_description>\n    <character>WONKA<\/character>\n    <parenthetical>(to the hair)<\/parenthetical>\n    <dialogue>How are you doing today?<\/dialogue>\n    <scene_description>A tiny Oompa-Loompa hand sticks out from the hairy pile, giving the thumbs up. The shambling mound then begins to walk away. THE CENTER OF THE ROOM Wonka presses three different buttons on the side of a giant machine. A mighty RUMBLING SOUND comes from inside it, and steam HISSES out of it all over. Instinctively, everyone takes a few steps back. Runny goo pours down glass tubes, squirting into a great tub below. In every single tube the goo is a different color, so that all the colors of the rainbow (and many others as well) SLOSH and SPLASH into the tub. A giant whizzer starts whizzing round inside the enormous tub, mixing up all the different colored liquids like an ice cream soda. It becomes frothier and frothier.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Watch! This is the crucial part.<\/dialogue>\n    <scene_description>With a SUCKING noise, all the blue frothy mixture in the huge basin disappears into the stomach of the machine. There is a moment of silence. Then a few odd RUMBLINGS. Silence again. Then suddenly, the machine lets out a monstrous mighty GROAN, and at the same moment<\/scene_description>\n    <character>A TINY DRAWER<\/character>\n    <dialogue>pops out of the side of the machine. In the drawer lies something so small and thin and grey that everyone thinks it must be a mistake. It looks like a little strip of grey cardboard.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>You mean that's it?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>That's it? Don't you know what \"it\" is?<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>It's gum!<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Yes! It's a stick of gum!<\/dialogue>\n    <scene_description>Violet and her mother are psyched -- they're back in the zone.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>It's a stick of the most amazing and sensational gum in the world! For you see, this gum is a whole three-course dinner all by itself!<\/dialogue>\n    <character>MR. SALT<\/character>\n    <dialogue>Why would anyone want that?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>When I start selling this gum in the shops it will change everything! It will be the end of all kitchens and all cooking! Just a little strip of Wonka's magic chewing gum -- and that's all you'll ever need at breakfast, lunch, and dinner! This piece of gum I've just made happens to be tomato soup, roast beef, and blueberry pie!<\/dialogue>\n    <scene_description>No one notices as Violet takes her own world-record piece of chewing gum out of her mouth and sticks it behind her left year.<\/scene_description>\n    <character>MR. TEAVEE<\/character>\n    <dialogue>What do you mean, it's tomato soup, roast beef, and blueberry pie?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>If you were to start chewing it, then that is exactly what you would get. You can taste it perfectly! And it fills you up! It's terrific.<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>It sounds great.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>VERUCA<\/character>\n    <dialogue>It sounds weird.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>It sounds like my kind of gum.<\/dialogue>\n    <scene_description>Violet takes the stick out of the drawer.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>I would rather you didn't. There are still one or two things...<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>I'm the world-record holder in chewing gum. I'm not afraid of anything!<\/dialogue>\n    <scene_description>Before Wonka can stop her, VIOLET POPS IT INTO HER MOUTH. At once, her well-trained jaws start chewing away on it like a pair of tongs.<\/scene_description>\n    <character>MS. BEAUREGARDE<\/character>\n    <dialogue>How is it, honey?<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>It's amazing. Tomato soup! I can feel it running down my throat!<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>You really should spit it out.<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>Young lady, I think you better...<\/dialogue>\n    <character>VIOLET<\/character>\n    <parenthetical>(still chewing)<\/parenthetical>\n    <dialogue>It's changing. It's roast beef! Baked potato. With crispy skin and butter.<\/dialogue>\n    <character>MS. BEAUREGARDE<\/character>\n    <dialogue>Keep chewing, kiddo. My little girl is the first person in the world to have a chewing-gum meal!<\/dialogue>\n    <scene_description>Charlie stares at Violet absolutely spellbound, watching her huge rubbery lips as they press and unpress with chewing. Wonka wrings his hands... CONTINUED:<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>I'm just concerned about the...<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Blueberry pie and ice cream!<\/dialogue>\n    <character>VERUCA<\/character>\n    <dialogue>What's happening to her nose?<\/dialogue>\n    <character>MR. SALT<\/character>\n    <dialogue>It's turning blue!<\/dialogue>\n    <scene_description>Indeed, the tip of Violet's nose has become a very noticeable shade of blue. What's more, the color is spreading.<\/scene_description>\n    <character>MS. BEAUREGARDE<\/character>\n    <dialogue>Your whole nose has gone purple!<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>MS. BEAUREGARDE<\/character>\n    <dialogue>Violet, you're turning...violet! What's happening?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>I told you I hadn't got it quite right.<\/dialogue>\n    <scene_description>Violet's face and hands and legs and neck, in fact the skin all over her body, as well as her hair, has turned a brilliant, purplish-blue, the color of blueberry juice.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>It always goes wrong when we come to the dessert.<\/dialogue>\n    <parenthetical>(to Mr. Teavee)<\/parenthetical>\n    <dialogue>It's the blueberry pie that does it.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>I don't feel so good.<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>She's swelling up!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Like a blueberry.<\/dialogue>\n    <scene_description>Indeed, her track suit is starting to bulge in the center, as her stomach inflates to giant proportions. FROM A VERY SHORT DOORWAY, a new group of Oompa-Loompas rush in. They quickly climb on top of all the tables, shelves and other furniture. Their new song is a Queen-worthy ROCK OPERA, accented by miniature pyrotechnics coming off the various machines. They sing:<\/scene_description>\n    <character>OOMPA-LOOMPAS<\/character>\n    <dialogue>Listen close, and listen hard, To the tale of Violet Beauregarde! This dreadful girl, she sees no wrong In chewing, chewing all day long.<\/dialogue>\n    <scene_description>As they sing, they toss bits of laboratory equipment back and forth. Pot lids slice through the air like frisbees. One nearly decapitates Mr. Teavee. Meanwhile, Violet continues to swell.<\/scene_description>\n    <character>WONKA<\/character>\n    <parenthetical>(sighing)<\/parenthetical>\n    <dialogue>I've tried it on twenty Oompa- Loompas, and every one of them finished up as a blueberry. I just can't understand it.<\/dialogue>\n    <character>MS. BEAUREGARDE<\/character>\n    <dialogue>But I don't want a blueberry for a daughter! How is she supposed to compete?<\/dialogue>\n    <character>VERUCA<\/character>\n    <dialogue>You could put her in a State Fair.<\/dialogue>\n    <character>VIOLET<\/character>\n    <dialogue>Ahhhh...<\/dialogue>\n    <scene_description>Violet falls over backwards, but her butt is now so big she barely drops at all. In mere moments, all that remains of Violet is a tiny pair of legs and a tiny pair of arms sticking out of the great round fruit, and a little head on top. As the Oompa-Loompas continue their song, they roll her around. CONTINUED:<\/scene_description>\n    <character>OOMPA-LOOMPAS<\/character>\n    <dialogue>She goes on chewing till, at last, Her chewing muscles grow so vast That from her face her giant chin Sticks out like a violin. For years and years she chews away, Consuming fifty packs a day. She chews and chews throughout the night, With nothing handy there to bite. Until at last her jaws decide To pause and open extra wide, And with the most tremendous chew They bite the poor girl's tongue in two.<\/dialogue>\n    <scene_description>The MUSIC stops. The Oompa-Loompas continue a cappella.<\/scene_description>\n    <character>OOMPA-LOOMPAS<\/character>\n    <dialogue>Thereafter, just from chewing gum, Miss Beauregarde is always dumb.<\/dialogue>\n    <dialogue>And that is why we'll try so hard To save Miss Violet Beauregarde From suffering her chosen fate. She's still quite young. It's not too late, Provided that she takes the cure.<\/dialogue>\n    <scene_description>MUSIC kicks back in for a massive power-chord finale:<\/scene_description>\n    <character>OOMPA-LOOMPAS<\/character>\n    <dialogue>We hope she does! We can't be sure!<\/dialogue>\n    <scene_description>Wonka APPLAUDS, gesturing for the others to join him.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Roll Miss Beauregarde into the boat and take her along to the Juicing Room at once.<\/dialogue>\n    <character>MS. BEAUREGARDE<\/character>\n    <dialogue>The Juicing Room? What are they going to do to her there?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Squeeze her. We've got to squeeze the juice out of her immediately. But don't worry, ma'am. We've had lots of practice with this.<\/dialogue>\n    <scene_description>Already, ten Oompa-Loompas roll the enormous blueberry across the floor and out the door. CONTINUED: (2)<\/scene_description>\n    <character>VIOLET<\/character>\n    <dialogue>Mother!<\/dialogue>\n    <scene_description>Ms. Beauregarde hurries after them. TRANSITION TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ANOTHER HALLWAY - DAY<\/stage_direction>\n    <scene_description>Walking just as briskly as ever, Wonka leads the remaining party to a new section of the factory. He's wearing another new outfit. There are doors every twenty feet or so along the corridor now, and they each have something written on them, and strange CLANKING noises come from behind several of them. Sometimes little jets of colored steam shoot out from the cracks underneath.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Without the boat, we'll have move double-time to just keep on schedule. There's really far too much to see.<\/dialogue>\n    <scene_description>Charlie almost has to run to keep up with him.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Mr. Wonka?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Why did you decide to let people in?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>So they could see the factory, of course!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>But why now? And why only five?<\/dialogue>\n    <scene_description>Wonka stops.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Do you always ask so many questions?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>What's the special prize one of us gets at the end? And who gets it?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>The best kind of prize is a surprise.<\/dialogue>\n    <scene_description>Feeling left out...<\/scene_description>\n    <character>VERUCA<\/character>\n    <dialogue>Will Violet always be a blueberry?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>She'll be a rich shade of purple. But that's what you get from chewing gum all day?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>If you hate gum so much, why do you make it?<\/dialogue>\n    <scene_description>Stumped...<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Once again, you really shouldn't mumble!<\/dialogue>\n    <scene_description>Wonka notices another door he hadn't planned to show. But now that they've stopped...<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Oooh! I am very proud of my Square Candies That Look Round. Let's take a peek.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SQUARE CANDY ROOM - DAY<\/stage_direction>\n    <scene_description>Wonka leads the group up to a long table with rows and rows of small white square-shaped candies. The candies look very much like sugar cubes -- except that each of them has a funny little pink face painted on one side. At the end of the table, a number of Oompa-Loompas busily paint more faces on more candies. CONTINUED:<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>There you are! Square candies that look round.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>No they don't.<\/dialogue>\n    <character>MR. TEAVEE<\/character>\n    <dialogue>They don't look round to me.<\/dialogue>\n    <character>VERUCA<\/character>\n    <dialogue>They look square. They look completely square.<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>But they are square. I never said they weren't.<\/dialogue>\n    <character>VERUCA<\/character>\n    <dialogue>You said they were round.<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>I never said anything of the sort. I said they looked round.<\/dialogue>\n    <character>VERUCA<\/character>\n    <dialogue>But they don't look round! They look square!<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>They look round.<\/dialogue>\n    <character>VERUCA<\/character>\n    <dialogue>They most certainly do not look round.<\/dialogue>\n    <character>MR. SALT<\/character>\n    <dialogue>Veruca, honey. Pay no attention to Mr. Wonka.<\/dialogue>\n    <scene_description>As Mr. Salt moves to comfort Veruca, all the rows and rows of little square candies quickly turn to look at him.<\/scene_description>\n    <character>MR. TEAVEE<\/character>\n    <dialogue>Holy...<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>There you are! They're looking 'round! There's no argument about it! They are square candies that look 'round!<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>By golly, he's right!<\/dialogue>\n    <character>VERUCA<\/character>\n    <dialogue>Well, I wouldn't want to eat one.<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>They wouldn't want to eat you either!<\/dialogue>\n    <character>MR. TEAVEE<\/character>\n    <dialogue>Mr. Wonka, no offense, but you make some really strange candy.<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>I suppose I make whatever I feel like. Always have.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>What was the first candy you ever ate?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>I'm sure I don't remember.<\/dialogue>\n    <scene_description>All the square candy looks at each other -- yeah, right.<\/scene_description>\n    <character>NARRATOR (V.O.)<\/character>\n    <dialogue>In fact, Willy Wonka remembered precisely the first candy he ever ate.<\/dialogue>\n    <scene_description>TRANSITION TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WONKA FAMILY LIVING ROOM - DAY \\[THIRTY YEARS AGO\\]<\/stage_direction>\n    <scene_description>Still wearing his draconian headgear, Little Willy sweeps the ashes out of the fireplace, dumping them into a bucket. As he finishes, he notices a piece of silvery foil caught in the grate. One piece of Halloween candy has escaped the flames. The wrapping CRINKLES in his hand as he picks it up. Looking around, he carefully peels back the foil, revealing the still- intact chocolate bar. After one more beat of consideration, he bites into it. To the OPENING CHORDS of \"All Along the Watchtower\" we begin a SPINNING PERSPECTIVE SHIFT that would leave Hitchcock jealous. In Little Willy's eyes, we see a revelation. CONTINUED: He's like Isaac Newton getting beaned by the apple, or Helen Keller learning the word for water. The same delirious energy carries us to...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHERRY STREET - DAY \\[THIRTY YEARS AGO\\]<\/stage_direction>\n    <scene_description>Little Willy sits on the curb with a sampler box of Russell Stover-type candies. As he bites into each one, we see a boy discovering his destiny. He jots down his impressions in a tiny notebook.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHERRY STREET - DAY \\[THIRTY YEARS AGO\\]<\/stage_direction>\n    <scene_description>With a rhythmic synchronicity, Wonka slips coins into a gumball machine and twists the knob.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SWISS RESTAURANT - DAY \\[THIRTY YEARS AGO\\]<\/stage_direction>\n    <scene_description>The HEAD CHEF offers Willy a long fork with a bread cube on the end. He shows Willy how to dip it into the chocolate fondue.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHERRY STREET - DAY \\[THIRTY YEARS AGO\\]<\/stage_direction>\n    <scene_description>Little Willy tosses one lollipop and tries another.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CANDY SHOP - DAY \\[THIRTY YEARS AGO\\]<\/stage_direction>\n    <scene_description>Young Willy watches, mesmerized, as a CANDY MAKER scrapes up ropes of molten sugar on a marble table.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHERRY STREET - DAY \\[THIRTY YEARS AGO\\]<\/stage_direction>\n    <scene_description>Little Willy checks his reflection in the candy shop's window. He takes the lollipop out of his mouth and sticks out his tongue, which is now six different colors. He LAUGHS to himself as we transition... BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SQUARE CANDY ROOM - DAY<\/stage_direction>\n    <scene_description>Wonka looks around, disoriented. By the puzzled looks on people's faces, he's been \"gone\" for a minute or two. CONTINUED:<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>I apologize. I was having a... flashback.<\/dialogue>\n    <character>MR. SALT<\/character>\n    <dialogue>I see.<\/dialogue>\n    <scene_description>Mr. Salt carefully moves his daughter away from the crazy man.<\/scene_description>\n    <character>MR. TEAVEE<\/character>\n    <dialogue>Those flashbacks happen often?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Increasingly. Today.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FACTORY HALLWAY - DAY<\/stage_direction>\n    <scene_description>Wonka is back to his senses, leading the visitors around a new corner.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>These are all the additions and inserts: the nougats, the sprinkles, the whistle-y centers...<\/dialogue>\n    <scene_description>Mr. Salt sees a sign that interests him.<\/scene_description>\n    <character>MR. SALT<\/character>\n    <dialogue>Ah, now here's a room I know all about. For you see, Mr. Wonka, I myself am in the nut business. Tell me, are you using the Havermax 4000 to do your sorting?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>No. Nothing of the kind.<\/dialogue>\n    <scene_description>Wonka opens the door for him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NUT-SORTING ROOM - DAY<\/stage_direction>\n    <scene_description>The visitors enter on a raised platform, which is surrounded by a railing and spindly bars for safety. This dais overlooks the work floor, where the day's nut-sorting is underway. But the workers aren't human, or even Oompa- Loompa. They're...<\/scene_description>\n    <character>VERUCA<\/character>\n    <dialogue>Squirrels!<\/dialogue>\n    <scene_description>CONTINUED: ONE HUNDRED SQUIRRELS sit upon high stools around a large table, which holds mounds of walnuts. The squirrels work like mad, shelling the walnuts at tremendous speed.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Yes. These squirrels are specially trained for getting the nuts out of shells.<\/dialogue>\n    <scene_description>Mr. Salt is perplexed, to say the least.<\/scene_description>\n    <character>MR. SALT<\/character>\n    <dialogue>Why use squirrels? Why not use Oompa-Loompas?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Oompa-Loompas can't get walnuts out of their shells in one piece. Nobody except squirrels can get whole walnuts out every time.<\/dialogue>\n    <parenthetical>(motioning them closer)<\/parenthetical>\n    <dialogue>See how they first tap each walnut with their knuckles to be sure it's not a bad one! There! Look! I think he's got a bad one now!<\/dialogue>\n    <scene_description>They watch a little squirrel as he TAPS the walnut shell with his knuckles. He cocks his head to one side and listens intently, then suddenly throws the nut over his shoulder into a large hole in the floor.<\/scene_description>\n    <character>VERUCA<\/character>\n    <dialogue>Daddy, I want a squirrel! Get me one of those squirrels! I want one.<\/dialogue>\n    <character>MR. SALT<\/character>\n    <dialogue>Veruca, dear. You have many wonderful pets.<\/dialogue>\n    <scene_description>Veruca begins to cry fiery tears.<\/scene_description>\n    <character>VERUCA<\/character>\n    <dialogue>All I've got at home is two dogs and four cats and six rabbits and two parakeets and three canaries and a green parrot and a turtle and a bowl of goldfish and a cage of white mice and a silly old hamster! I want a squirrel!<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>MR. SALT<\/character>\n    <dialogue>All right, pet. Daddy'll get you a squirrel just as soon as he possibly can.<\/dialogue>\n    <character>VERUCA<\/character>\n    <dialogue>But I don't want any old squirrel, I want a trained squirrel!<\/dialogue>\n    <character>MR. SALT<\/character>\n    <dialogue>Very well. Mr. Wonka, how much do you want for one of these squirrels? Name your price.<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>They're not for sale. She can't have one.<\/dialogue>\n    <character>VERUCA<\/character>\n    <dialogue>Daddy!<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>I'm sorry, darling. Mr. Wonka is being unreasonable.<\/dialogue>\n    <character>VERUCA<\/character>\n    <dialogue>If you won't get me one, I'll get one myself.<\/dialogue>\n    <scene_description>Squeezing between the bars, VERUCA LEAPS DOWN. The bars are too close together for an adult to follow.<\/scene_description>\n    <character>MR. SALT<\/character>\n    <dialogue>Veruca!<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Little girl, I wouldn't!<\/dialogue>\n    <scene_description>The moment Veruca sets foot on the work floor, one hundred squirrels stop what they are doing. They turn their heads and stare at Veruca with small black beady eyes. Veruca stops also, and stares back at them. She nervously adjusts her chinchilla-lined coat. Then her gaze falls upon a pretty little squirrel sitting nearest her at the end of the table. It holds a walnut in its paws. CONTINUED:<\/scene_description>\n    <character>VERUCA<\/character>\n    <dialogue>All right. I'll have you!<\/dialogue>\n    <scene_description>She reaches out her hands to grab the squirrel. But as she does so, there is a sudden flash of movement in the room. Every single squirrel around the table takes a flying leap towards her and lands on her body. Twenty-five of them catch hold of her right arm and pin it down. Twenty-five more catch hold of her left arm and pin it down. Twenty-five more catch hold of her right leg and anchor it to the ground. Twenty-four catch hold of her left leg. And the one remaining squirrel (the leader of them all) climbs up on her shoulder and starts TAP-TAP-TAPPING the wretched girl's head with its knuckles.<\/scene_description>\n    <character>MR. SALT<\/character>\n    <dialogue>Veruca!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>What are they doing?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>They're testing to see if she's a bad nut. I wonder...<\/dialogue>\n    <scene_description>Veruca struggles furiously, but the squirrels hold her tight. The squirrel keeps TAP-TAP-TAPPING the side of her head. Then all at once, the squirrels start carrying her across the floor.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>My goodness, she is a bad nut after all! Her head must have sounded quite hollow.<\/dialogue>\n    <scene_description>Veruca kicks and SCREAMS, but it's no use. The tiny strong paws hold her tightly and she can't escape.<\/scene_description>\n    <character>VERUCA<\/character>\n    <dialogue>Daddy! I want them to stop!<\/dialogue>\n    <character>MR. SALT<\/character>\n    <dialogue>Where are they taking her?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Where all the other bad nuts go. Down the garbage chute.<\/dialogue>\n    <scene_description>CONTINUED: (2) As he talks, Wonka sorts through his keys, trying to find one that unlocks the railing gate.<\/scene_description>\n    <character>MR. SALT<\/character>\n    <dialogue>What happens to the bad nuts? Where does the chute go?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Why to the furnace, of course. The incinerator. Don't worry. They only light it on Tuesdays.<\/dialogue>\n    <scene_description>Wonka tries a key, but it doesn't fit.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Today is Tuesday.<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>There's always a chance they decided not to light it today.<\/dialogue>\n    <character>MR. SALT<\/character>\n    <dialogue>My darling Veruca! She'll be sizzled like a sausage!<\/dialogue>\n    <scene_description>The squirrels toss Veruca into the hole.<\/scene_description>\n    <character>MR. SALT<\/character>\n    <dialogue>Aah!<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Now, she may be stuck in the chute just below the entrance hole. If that's the case, all you'll have to do is go in and pull her up again.<\/dialogue>\n    <scene_description>Wonka turns a key, and the gate opens. Encouraged, Mr. Salt rushes up to the edge of the hole.<\/scene_description>\n    <character>MR. SALT<\/character>\n    <dialogue>Veruca! Are you down there! Veruca!<\/dialogue>\n    <scene_description>As MUSIC begins, Mr. Salt bends further forward to get a closer look. His enormous butt sticks up in the air like a giant mushroom. It is a dangerous position to be in. He needs only one little push, one gentle nudge in the right place. With a flying kick, one squirrel hits him dead center. CONTINUED: (3) Mr. Salt topples into the hole head-first, SCREECHING like a parrot. On the platform, everyone is horrified. An Oompa-Loompa tugs at Wonka's leg. Wonka leans down as the Oompa-Loompa WHISPERS to him.<\/scene_description>\n    <character>WONKA<\/character>\n    <parenthetical>(to everyone)<\/parenthetical>\n    <dialogue>I've just been informed the incinerator is broken. There should be three weeks of rotten garbage to break their fall!<\/dialogue>\n    <character>MR. TEAVEE<\/character>\n    <dialogue>Well, that's good news. Sorta.<\/dialogue>\n    <scene_description>The lights on the work floor dim. Then, wearing colorful kaftans and silks, the... OOMPA-LOOMPAS MARCH IN. This time, their SONG AND DANCE NUMBER has a Bollywood flair, complete with fans, masks and faux-saber battles.<\/scene_description>\n    <character>OOMPA-LOOMPAS<\/character>\n    <parenthetical>(singing)<\/parenthetical>\n    <dialogue>Veruca Salt. The little brute. Has just gone down the garbage chute.<\/dialogue>\n    <scene_description>Two of the Oompa-monks throw off their robes, revealing themselves to be OOMPA-VERUCA and OOMPA-MR-SALT. The tempo picks up as the monks carry oversized pieces of garbage past Oompa-Veruca, depicting her journey down the chute.<\/scene_description>\n    <character>OOMPA-LOOMPAS<\/character>\n    <dialogue>She will meet, as she descends, A rather different set of friends. A fish head, for example, cut This morning from a halibut. A bacon rind, some rancid lard, A loaf of bread gone stale and hard, A steak that nobody would chew, An oyster from an oyster stew, Some liverwurst so old and gray, One smelled it from a mile away! A rotten nut, a reeky pear, A thing the cat left on the stair; And lots of other things as well, Each with a rather horrid smell. These are Veruca's newfound friends That she will meet as she descends!<\/dialogue>\n    <scene_description>CONTINUED: Oompa-Veruca SCREAMS, both out of faux-revulsion and to bring the song back to herself. Once she's safely scored the spotlight, she tries a little belly-dancing. The squirrels try to nip at her toes.<\/scene_description>\n    <character>OOMPA-VERUCA<\/character>\n    <dialogue>Now, is it really right, That every bit of blame, Finger-pointing giggles, Not to mention shame, Should fall upon Veruca Salt? Am I the only one at fault? A girl can't spoil herself, you know.<\/dialogue>\n    <character>OOMPA-MR-SALT<\/character>\n    <dialogue>Who spoiled her, then?<\/dialogue>\n    <scene_description>The Oompa-Loompas turn on \"Mr. Salt,\" swirling around him.<\/scene_description>\n    <character>OOMPA-LOOMPAS<\/character>\n    <dialogue>Who turned her into such a brat? Who is the culprit? Who did that? Alas you shouldn't look so far To find out who the sinners are. They are (and this is very sad) Her parents, yes -- like dear old Dad.<\/dialogue>\n    <scene_description>The song nearly finished...<\/scene_description>\n    <character>OOMPA-LOOMPAS<\/character>\n    <dialogue>And that is why we're glad he fell Into the garbage chute as wel-l-l-l-l-l-l.<\/dialogue>\n    <scene_description>With a DING!, we... CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE GREAT GLASS ELEVATOR - DAY<\/stage_direction>\n    <scene_description>The doors slide open, revealing what's left of the visitors: Charlie and Grandpa Joe, Mike Teavee and his father, and Wonka himself. He's fixing the cuffs on another new outfit.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>I don't know why I didn't think of this earlier. The elevator is the most efficient way to get around the factory.<\/dialogue>\n    <scene_description>CONTINUED: As they get inside, the visitors notice that the walls, floor and ceiling are made of glass -- you can see though to the studs of the building. Also, there are hundreds of buttons.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>There can't be this many floors.<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Oh, this isn't just an ordinary up- and-down elevator! This elevator can go sideways and longways and slantways and any other way you can think of! It can visit any single room in the whole factory, no matter where it is! You simply press a button and you're off! For instance...<\/dialogue>\n    <scene_description>He presses a button labelled \"Candy Canes.\" THE DOORS CLANG SHUT and the elevator leaps sideways as though it has been stung by a wasp. All the passengers (except Wonka, who holds onto a strap from the ceiling) are flung off their feet against the wall. The elevator rushes on at the speed of a rocket. Now it begins to climb. It shoots up and up and up on a steep slanty course as if it were climbing a very steep hill. Then suddenly, it drops like a stone. And through the glass walls of the elevator, as it rushes along, the passengers catch sudden glimpses of strange and wonderful things going on in some of the other rooms. In one, a great, craggy mountain is made entirely of fudge. Oompa-Loompas (all roped together for safety) hack huge chunks of fudge out of its sides.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Make it stop!<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Can't do that. It won't stop until we get there. I only hope no one's using the other elevator at this moment.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>What other elevator?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>The one that goes the opposite way on the same track as this one.<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>You mean we might have a collision?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>I've been lucky so far.<\/dialogue>\n    <scene_description>A SCREAM of brakes and the elevator begins to slow down. Then it stops altogether. With a DING!, the doors slide open.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CANDY CANE ROOM - DAY<\/stage_direction>\n    <scene_description>This room is one of the busiest and NOISIEST we've entered, with dozens of Oompa-Loompa carrying racks of candy along various levels of platforms. Wonka leads the group out of the elevator. He walks backwards to talk with them, at every step barely avoiding impalement or decapitation from all the equipment moving around him.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>I'm a very observant person, and I've often observed that old people...<\/dialogue>\n    <parenthetical>(to Grandpa Joe)<\/parenthetical>\n    <dialogue>...such as yourself...don't eat enough candy. What's more, I've often seen them carrying walking sticks. Which led me to think, what if I were to invent...<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>A candy cane?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>No, a candy cane!<\/dialogue>\n    <scene_description>Wonka takes a passing cane -- three-and-a-half-feet long -- off a nearby rack. He hands it to Grandpa Joe.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Why don't you try it?<\/dialogue>\n    <scene_description>Grandpa Joe takes a few steps, putting his weight on it. The cane suddenly SHATTERS into a mess of sugary shards. CONTINUED:<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Oh, they're extremely fragile! They really don't work at all.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Then why would anyone want one?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Exactly! That's called marketing! Now, who else uses canes?<\/dialogue>\n    <scene_description>Everyone thinks.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Shepherds? To tend sheep?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Tried it. The sheep ate them, and it made them mean. Anyone else? No? Well, we discovered they're perfect for crocheting giant novelty sweaters!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Why don't you just admit they're completely pointless?<\/dialogue>\n    <scene_description>Wonka is taken aback.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Candy doesn't have to have a point. That's why it's candy.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Well, it's stupid.<\/dialogue>\n    <scene_description>We SWOOP IN into a giant close-up of Mike's lips.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Candy is a waste of time.<\/dialogue>\n    <scene_description>When we PULL BACK OUT, we've actually... TRANSITIONED TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WONKA FAMILY LIVING ROOM - DAY \\[THIRTY YEARS AGO\\]<\/stage_direction>\n    <scene_description>It was actually Dr. Wonka who said the line. We've entered in the middle of an argument between Little Willy and his father. CONTINUED:<\/scene_description>\n    <character>DR. WONKA<\/character>\n    <dialogue>No son of mine is going to be a chocolateer!<\/dialogue>\n    <character>LITTLE WILLY<\/character>\n    <dialogue>Then I'll run away! To Switzerland! Bavaria! The candy capitals of the world!<\/dialogue>\n    <character>DR. WONKA<\/character>\n    <dialogue>Go ahead. We won't be here when you come back.<\/dialogue>\n    <scene_description>Little Willy grabs his knapsack and runs out the front door. CUT TO: MONTAGE Knapsack over his shoulder, Little Willy walks toward camera as a procession of international flags move behind him, illustrating his great journey. Through it all, Little Willy maintains a stoic, inspired attitude. A man's hand lands on his shoulder. Little Willy looks up to find a SECURITY GUARD.<\/scene_description>\n    <character>SECURITY GUARD<\/character>\n    <dialogue>Sorry, son. We're closing for the night.<\/dialogue>\n    <character>WIDER<\/character>\n    <dialogue>we reveal that this \"montage\" has actually just been Little Willy walking through the local museum. The sign on the wall reads: \"FLAGS OF THE WORLD.\"<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PICKWICKET AVENUE - NIGHT \\[THIRTY YEARS AGO\\]<\/stage_direction>\n    <scene_description>Dejected, Little Willy walks home. He's given up on his dream. As he reaches the front steps of his family's house, he notices something odd.<\/scene_description>\n    <character>THE HOUSE IS GONE.<\/character>\n    <dialogue>It's been ripped from its foundation and carried away, leaving the two narrow row houses on either side of it.<\/dialogue>\n    <scene_description>CONTINUED: Little Willy drops his knapsack in disbelief. TRANSITION TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE GREAT GLASS ELEVATOR - DAY<\/stage_direction>\n    <scene_description>Dispirited, Wonka gets back on board, along with the remaining visitors.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I wanna pick a room.<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Certainly. Any room you'd like.<\/dialogue>\n    <scene_description>Mike scans the choices, then settles on a button marked \"Television Room.\" He pushes the button. For a long beat, nothing happens. Then, suddenly, the whole elevator LURCHES to the right, throwing everybody but Wonka against the left wall. After another dizzying trip, the elevator finally stops. With a DING!, the doors open.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE TELEVISION ROOM - DAY<\/stage_direction>\n    <scene_description>Mike and his father, Charlie and Grandpa Joe step out of the elevator into a room so dazzlingly white and bright that they screw up their eyes in pain. Wonka hands them each a pair of dark glasses.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Put these on quick! And don't take them off in here whatever you do! This light could blind you!<\/dialogue>\n    <scene_description>The giant room is painted white all over, even the floor. From the ceiling, huge lamps hang down and bathe the room in a brilliant blue-white light. At one end of the room is an enormous camera on wheels, with a whole army of OOMPA-LOOMPAS clustered around it. They oil its joints, adjusts its knobs, and polish its great glass lens. The Oompa-Loompas wear bright-red space suits, complete with helmets and goggles. They work in silence. There is no chattering or singing among them here, and they move about over the huge black camera slowly and carefully in their scarlet space suits. CONTINUED:<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>This is the testing room for my very latest and greatest invention: Television Chocolate!<\/dialogue>\n    <scene_description>At the other end of the room, about fifty feet away from the camera, a single OOMPA-LOOMPA (also in a space suit) sits at a black table. He gazes at the screen of a very large television set.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>One day, it occurred to me: If television can break up a photograph into millions of pieces and send it whizzing through the air, then reassemble it on the other end, why can't I do the same thing with chocolate? Why can't I send a real bar of chocolate through the television, all ready to be eaten?<\/dialogue>\n    <character>MR. TEAVEE<\/character>\n    <dialogue>Sounds impossible.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>It is impossible.<\/dialogue>\n    <parenthetical>(to Wonka)<\/parenthetical>\n    <dialogue>You don't understand anything about science at all! First off, there's a difference between waves and particles. Duh! Second, the amount of power it would take to convert energy into matter would be like, nine atomic bombs. You're the dumbest rich guy in the whole world.<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Again, with the mumbling. I can't understand a word you're saying!<\/dialogue>\n    <parenthetical>(to everyone else)<\/parenthetical>\n    <dialogue>I shall now send a bar of chocolate from one end of this room to the other -- by television! Get ready, there! Bring the chocolate!<\/dialogue>\n    <scene_description>Immediately, ten Oompa-Loompas march forward carrying on their shoulders an enormous bar of chocolate -- the size of a mattress. CONTINUED: (2)<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>It has to be big. You know how on t.v., you can film a normal-sized man, but he comes out this tall?<\/dialogue>\n    <parenthetical>(shows with fingers)<\/parenthetical>\n    <dialogue>Now then! Switch on!<\/dialogue>\n    <scene_description>One of the Oompa-Loompas grabs a very large switch and pulls it down. There is a blinding FLASH. Charlie is the first to notice--<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>It's gone!<\/dialogue>\n    <scene_description>Indeed, the enormous bar of chocolate has disappeared completely into thin air.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>It is now rushing through the air above our heads in a million tiny pieces. Quick! Come over here!<\/dialogue>\n    <scene_description>He dashes over to the other end of the room to the large television set. The others follow.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Watch the screen. Here it comes. Look!<\/dialogue>\n    <scene_description>The t.v. flickers and lights up. Then suddenly, a small bar of chocolate appears in the middle of the screen.<\/scene_description>\n    <character>WONKA<\/character>\n    <parenthetical>(to Mike)<\/parenthetical>\n    <dialogue>Take it!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>It's just a picture on a screen.<\/dialogue>\n    <character>WONKA<\/character>\n    <parenthetical>(points to Charlie)<\/parenthetical>\n    <dialogue>You take it! Reach out and grab it.<\/dialogue>\n    <scene_description>Charlie puts out his hand and touches the screen, and suddenly, miraculously, the bar of chocolate comes away in his fingers. He is so surprised he nearly drops it.<\/scene_description>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>Holy buckets.<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Eat it! Go on, eat it! It'll be delicious. It's the same bar! It's gotten smaller on the journey, that's all!<\/dialogue>\n    <scene_description>Charlie unwraps it and takes a bite.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>It's great!<\/dialogue>\n    <character>MR. TEAVEE<\/character>\n    <dialogue>It's a miracle!<\/dialogue>\n    <scene_description>For his part, Mike is speechless. He keeps trying to figure out how Wonka did it.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Imagine -- you're sitting at home watching television and suddenly a commercial will flash onto the screen and a voice will say, WONKA'S CHOCOLATES ARE THE BEST IN THE WORLD! IF YOU DON'T BELIEVE US, TRY ONE FOR YOURSELF! And you simply reach out and take one. How about that?<\/dialogue>\n    <character>MR. TEAVEE<\/character>\n    <dialogue>Can you send other things? Breakfast cereal?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Uggh! Do you know what breakfast cereal is made of? It's just those little curly wooden shavings you find in pencil sharpeners!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>But could you send it by television if you wanted to?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Of course I could!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>What about people?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Why would I want to send a person?<\/dialogue>\n    <scene_description>CONTINUED: (4)<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Don't you realize what you invented? It's a teleporter. It's the most important invention in the history of the world! But all you think about is chocolate!<\/dialogue>\n    <character>MR. TEAVEE<\/character>\n    <dialogue>Calm down, Mike. I think Mr. Wonka knows what he's doing.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>No he doesn't! He has no idea! You think he's a genius, but he's an idiot!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>But I'm not.<\/dialogue>\n    <scene_description>Mike takes off running towards the camera.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>No, no, no, no!<\/dialogue>\n    <scene_description>There is no stopping Mike now. The crazy boy rushes to the enormous camera, scattering Oompa-Loompas left and right. He jumps straight for the switch. A BLINDING FLASH. Then silence.<\/scene_description>\n    <character>MR. TEAVEE<\/character>\n    <dialogue>He's gone! Mike! He's gone!<\/dialogue>\n    <scene_description>As zany COMMERCIAL-JINGLE MUSIC kicks in, the Oompa-Loompas throw off their helmets and start one last song-and-dance:<\/scene_description>\n    <character>OOMPA-LOOMPAS<\/character>\n    <dialogue>Not to worry! Not to panic! So this kid of yours has got you manic. There's a problem -- we can fix it. Our solution truly licks it. And it's yours for merely 19.95!<\/dialogue>\n    <scene_description>On a small cart, they wheel out a box covered with question marks, a la \"Let's Make a Deal!\" Two Oompa-Loompas hold up plexiglass in front of it, labelled \"CREDIT CARDS ACCEPTED.\" CONTINUED:<\/scene_description>\n    <character>WONKA<\/character>\n    <parenthetical>(ignoring the song)<\/parenthetical>\n    <dialogue>We must watch the television set! He may come through any moment. I just hope that no part of him gets left behind.<\/dialogue>\n    <character>MR. TEAVEE<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Sometimes only half of the little pieces find their way to the television set.<\/dialogue>\n    <scene_description>They all stare tensely at the screen, which is blank.<\/scene_description>\n    <character>OOMPA-LOOMPAS<\/character>\n    <dialogue>We say with no derision, Mike was raised by television, He fell into its sweet-as-honey trap!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Something's happening!<\/dialogue>\n    <scene_description>The screen suddenly flickers. Then some wavy lines appear. Wonka adjusts one of the knobs.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>If you had to choose only one-half of your son...<\/dialogue>\n    <character>MR. TEAVEE<\/character>\n    <dialogue>I'd probably pick the top half.<\/dialogue>\n    <parenthetical>(beat; considering)<\/parenthetical>\n    <dialogue>Yeah, definitely. The top half.<\/dialogue>\n    <scene_description>The screen gets brighter and brighter.<\/scene_description>\n    <character>OOMPA-LOOMPAS<\/character>\n    <dialogue>You may well applaud us At Confederated Products, But our technology is truly nothing new!<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Here he comes! Yes, that's him all right.<\/dialogue>\n    <character>MR. TEAVEE<\/character>\n    <dialogue>Is he all in one piece?<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>It's too early to tell.<\/dialogue>\n    <scene_description>Faintly at first, but becoming clearer and clearer, the picture of Mike appears on screen. He stands up and waves to his audience, grinning from ear to ear.<\/scene_description>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>He's so small!<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Grab him! Quick!<\/dialogue>\n    <scene_description>Mr. Teavee shoots out his hand and picks the tiny figure of Mike out of the screen. He's smaller than an Oompa-Loompa, even. His voice is high and squeaky.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I told you I was right!<\/dialogue>\n    <character>OOMPA-LOOMPAS<\/character>\n    <dialogue>Now Mr. Know-It-All is just seven inches tall. Yet somehow he is still as big a pest.<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Thank heavens! He's completely unharmed!<\/dialogue>\n    <character>MR. TEAVEE<\/character>\n    <dialogue>We can't send him back to school like this. He'll get trod upon. Squashed.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Just put me back through the other way!<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>There is no \"other way.\" It's television, not telephone. There's quite a difference. Scientifically.<\/dialogue>\n    <character>MR. TEAVEE<\/character>\n    <dialogue>Well, how can we make him grow?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Young men are extremely springy and elastic. They stretch like mad. So what we'll do, we'll put him in the ribbon candy puller.<\/dialogue>\n    <scene_description>CONTINUED: (3)<\/scene_description>\n    <character>MR. TEAVEE<\/character>\n    <dialogue>How far d'you think he'll stretch?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Who knows? But he's going to be awfully thin. Everything gets thinner when you stretch it.<\/dialogue>\n    <scene_description>As one Oompa-Loompa leads Mr. Teavee away, the others finish the song.<\/scene_description>\n    <character>OOMPA-LOOMPAS<\/character>\n    <dialogue>To avoid this situation, And the constant aggravation, May we offer you a sample of our wares?<\/dialogue>\n    <scene_description>The Oompa-Loompas lift the mystery box, revealing a remote control. They hand it to Mr. Teavee.<\/scene_description>\n    <character>OOMPA-LOOMPAS<\/character>\n    <dialogue>For the unfortunate collision Of a boy and television, A pig who won't stop feeding at the trough. Simply... Turn it off!<\/dialogue>\n    <scene_description>Mr. Teavee aims the remote at the television screen and CLICKS. The picture shrinks down to a tiny dot. As it does, all the lights go out. CUT TO: MOMENTS LATER The television room quite a bit darker -- just a few pools of light. Back at the table with the television set, Wonka takes Charlie and Grandpa Joe's sunglasses and begins walking back to the great glass elevator.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>There's still a lot to see. Now, how many children are left?<\/dialogue>\n    <scene_description>Charlie looks up at Grandpa Joe. Grandpa Joe looks back at Charlie.<\/scene_description>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>Mr. Wonka, there's...there's only Charlie left now.<\/dialogue>\n    <scene_description>CONTINUED: Wonka swings around and stares at Charlie. There is silence. Charlie stands there holding tightly onto Grandpa Joe's hand.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>You mean you're the only one?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>But my dear boy, that means you've won! Oh, I do congratulate you! I really do!<\/dialogue>\n    <parenthetical>(shakes Charlie's hand)<\/parenthetical>\n    <dialogue>I'm absolutely delighted! I had a hunch, you know, right from the beginning! Well done!<\/dialogue>\n    <scene_description>Of course, Charlie has no idea what he's won. He and Grandpa Joe simply follow along.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Now we mustn't dilly! Or dally! We have an enormous number of things to do before the day is out! Just think of the arrangements that have to be made! But luckily for us, we have the great glass elevator to speed things up!<\/dialogue>\n    <scene_description>WHACK! He walks right into the side of it -- it's nearly invisible. Trying to cover his blunder...<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Door's on this side.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE GREAT GLASS ELEVATOR - DAY<\/stage_direction>\n    <scene_description>As the doors shut, Wonka reaches for a button high up on the glass ceiling of the elevator. Charlie and Grandpa Joe both crane their necks to read what is says on the little label beside the button. It says: UP AND OUT.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Up and out? What kind of room is that?<\/dialogue>\n    <scene_description>Wonka presses the button. The glass doors close. CONTINUED:<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Hold on.<\/dialogue>\n    <scene_description>WHAM! The elevator shoots straight up like a rocket.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Faster!<\/dialogue>\n    <parenthetical>(bangs wall of elevator)<\/parenthetical>\n    <dialogue>Faster! Faster! If we don't go any faster than this, we'll never get through!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Get through what?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>See, I've been longing to press this button for years! But I couldn't bear the thought of making a great big hole in the roof of the factory! Here we go, now. Up and out!<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>But do you really mean...you don't really mean this elevator...<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Oh yes, I do! You wait and see. Up and out!<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>But it's made of glass! It'll break into a million pieces!<\/dialogue>\n    <scene_description>Looking up, Charlie and Grandpa Joe see the rafters and beams of the roof quickly approaching. Grandpa Joe holds Charlie tight, sheltering him as the elevator SMASHES THROUGH layer after layer of wood, straw, dust, insulation, tile and steel, finally emerging...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ABOVE THE FACTORY \/ THE TOWN - DAY<\/stage_direction>\n    <scene_description>Sunshine pours through the glass roof. In five seconds, they are flying a thousand feet up in the sky, hovering over the factory and over the very town itself which lay spread out below them like a picture postcard. Charlie and Grandpa Joe each open an eye, not certain they're still alive. Looking down through the glass floor, Charlie sees the small far-away houses and streets. Snow lays thick over everything, while smoke curls up from chimneys. Wonka pushes another button, and a small steering wheel emerges from the glass wall. He uses it to maneuver the elevator.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>First thing, let's check on our other guests.<\/dialogue>\n    <scene_description>Tipping the wheel, he drops the craft down closer to the factory, hovering just 50 feet above the ground.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FACTORY YARD - DAY<\/stage_direction>\n    <scene_description>Three of the children and their parents are walking across the snow. The Gloops are in the lead. Augustus is covered in sticky chocolate, except for his face, which is clean. He's chewing on his fudgy fingers.<\/scene_description>\n    <character>MRS. GLOOP<\/character>\n    <dialogue>Augustus, do not eat your fingers!<\/dialogue>\n    <character>AUGUSTUS<\/character>\n    <dialogue>But I taste so goot!<\/dialogue>\n    <scene_description>Behind them, violet Violet is doing gymnastics. After going through the wringer, she can twist all the way back on herself.<\/scene_description>\n    <character>VIOLET<\/character>\n    <dialogue>Look, mother! I'm much more flexible now!<\/dialogue>\n    <character>MS. BEAUREGARDE<\/character>\n    <dialogue>Yes, but you're blue!<\/dialogue>\n    <scene_description>CONTINUED: Veruca Salt and her father are covered in slimy garbage and fish bones. Veruca spots the elevator and points.<\/scene_description>\n    <character>VERUCA<\/character>\n    <dialogue>Daddy, I want a flying glass elevator!<\/dialogue>\n    <character>MR. SALT<\/character>\n    <dialogue>Veruca, all you're getting today is a bath, and that's final.<\/dialogue>\n    <character>VERUCA<\/character>\n    <dialogue>BUT I WANT IT!<\/dialogue>\n    <scene_description>Mr. Salt just puts his fingers in his ears and keeps walking.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE ELEVATOR - DAY<\/stage_direction>\n    <scene_description>Wonka turns to Charlie.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Now, where did you live?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Right over there. That little house.<\/dialogue>\n    <scene_description>Wonka follows Charlie's pointing finger.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE LITTLE HOUSE - DAY<\/stage_direction>\n    <scene_description>Mother checks her watch.<\/scene_description>\n    <character>MOTHER<\/character>\n    <dialogue>What time do you think they'll be back?<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>No way to know.<\/dialogue>\n    <scene_description>Suddenly, a CRASH! Mother and Father dive out of the way as the great glass elevator SMASHES through the ceiling and flattens the kitchen table. Showers of dust and tiles and wood and spiders and bricks and cement rain down. CONTINUED: Grandma Josephine faints. Grandpa George drops his false teeth. Grandma Georgina leans over to her husband.<\/scene_description>\n    <character>GRANDMA GEORGINA<\/character>\n    <dialogue>I think someone's at the door.<\/dialogue>\n    <scene_description>Charlie waves and says, \"Hi Mom!\" But they can't hear him, because the elevator is still shut. Once the doors slide open.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Mom! Dad!<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>Charlie?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>This is Willy Wonka! He gave us a ride home.<\/dialogue>\n    <character>MOTHER<\/character>\n    <parenthetical>(re: the hole in the roof)<\/parenthetical>\n    <dialogue>I see that.<\/dialogue>\n    <scene_description>Father and Mother help each other up.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>You must be the boy's p-p-p-p-p...<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>Parents?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Yes, that.<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>He says Charlie's won something!<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Not just some something! The most something something of any something that's ever been. I am giving this boy my entire factory.<\/dialogue>\n    <scene_description>A long beat.<\/scene_description>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>You must be joking.<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>It's quite true. You see, a few months ago, I was having my semi- annual haircut, and I had the strangest revelation!<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A132 INT. FACTORY BARBER SHOP - DAY \\[PAST\\] A132<\/stage_direction>\n    <scene_description>Wonka sits in a barber chair, doodling on a sketchpad while OOMPA-BARBER SNIPS away. (The barber is on a ladder.) Brushing the hair away as it falls on his paper, Wonka notices something strange.<\/scene_description>\n    <character>SPLIT FOCUS<\/character>\n    <dialogue>Wonka stares a single SILVER HAIR -- his very first.<\/dialogue>\n    <character>WONKA (V.O.)<\/character>\n    <dialogue>In that one silver hair, I saw reflected my life's work: my factory, my candy, my beloved Oompa- Loompas. Who would watch over them after I was gone? I realized in that moment...<\/dialogue>\n    <scene_description>Wonka turns to the Oompa-Barber.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>I must find an heir!<\/dialogue>\n    <scene_description>BACK TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>B132 INT. THE LITTLE HOUSE - DAY B132<\/stage_direction>\n    <character>WONKA<\/character>\n    <dialogue>And I did, Charlie. You!<\/dialogue>\n    <scene_description>As he talks, Wonka wanders about the little house, looking into cupboards and lifting the lids off pots. He's a terribly nosy houseguest.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>That's why you sent out the Golden Tickets!<\/dialogue>\n    <scene_description>B132 CONTINUED: B132<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>I invited five children to the factory, and the one who was least rotten would be the winner!<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>That's you, Charlie!<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>What are Oompa-Loompas?<\/dialogue>\n    <scene_description>After handing Grandpa George his dentures, Wonka uncovers Charlie's toothpaste-cap scale replica of the factory. He picks it up, startled by the resemblance.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>So what do you say? Are you ready to leave all this behind and come live at the real factory?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Sure! Of course! I mean...<\/dialogue>\n    <parenthetical>(looks to his parents)<\/parenthetical>\n    <dialogue>It's all right if my family comes, too?<\/dialogue>\n    <scene_description>Smiling broadly, Wonka kneels down beside Charlie.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>My dear boy, of course they can't.<\/dialogue>\n    <scene_description>Charlie blinks. Did he really hear him right?<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>You can't run a chocolate factory with a family hanging over you like so much dead weight.<\/dialogue>\n    <parenthetical>(to the grandparents)<\/parenthetical>\n    <dialogue>No offense.<\/dialogue>\n    <character>GRANDPA GEORGE<\/character>\n    <dialogue>None taken, jerk.<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>A chocolateer has to run free and solo! He has to follows his dreams, damn the consequences. Look at me! I had no family, and I'm a giant success.<\/dialogue>\n    <scene_description>Finally realizing the implication... B132 CONTINUED: (2) B132<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>So if I go with you to the factory, I won't ever see my family again?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Consider that a bonus!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Then I'm not going. I wouldn't give up my family for anything. Not for all the chocolate in the world.<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Oh! Oh. I see.<\/dialogue>\n    <parenthetical>(a little hopeful)<\/parenthetical>\n    <dialogue>There's other candy, too. Besides chocolate.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I'm sorry, Mr. Wonka. I'm staying here.<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Well, that's just...unexpected. But I suppose I...In that case I'll...<\/dialogue>\n    <scene_description>Handing Charlie his model, Wonka gets back in the elevator.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Goodbye, then.<\/dialogue>\n    <scene_description>The doors shut. Then open again.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>You're sure you won't change your mind.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I'm sure.<\/dialogue>\n    <scene_description>Wonka closes the doors again. He presses the \"Up and Away\" button. Suddenly, the elevator launches straight up through the same hole in the roof. The Bucket family is left were they stand -- or lie -- with a flattened kitchen table and swirls of snow coming in from the darkening sky. No one knows what to say until finally... B132 CONTINUED: (3) B132<\/scene_description>\n    <character>GRANDMA GEORGINA<\/character>\n    <dialogue>Things are going to get much better!<\/dialogue>\n    <scene_description>Everyone turns to look at her.<\/scene_description>\n    <character>NARRATOR (V.O.)<\/character>\n    <dialogue>And for once, Grandma Georgina knew exactly what she was talking about.<\/dialogue>\n    <scene_description>TRANSITION TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE LITTLE HOUSE - \\[THE NEXT\\] DAY<\/stage_direction>\n    <scene_description>Father and Mother are up on the roof, hammering new shingles in place. Charlie is on the ground, pulling nails from old boards to re-use. Most of the snow has melted.<\/scene_description>\n    <character>NARRATOR (V.O.)<\/character>\n    <dialogue>The next morning, Charlie helped his parents fix the hole in the roof.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE LITTLE HOUSE - DAY<\/stage_direction>\n    <scene_description>Dust falls from the ceiling, where the parents are HAMMERING. Grandpa Joe sweeps up with a broom.<\/scene_description>\n    <character>NARRATOR (V.O.)<\/character>\n    <dialogue>Grandpa Joe spent the whole day out of bed. He didn't feel tired at all.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOOTHPASTE FACTORY - DAY<\/stage_direction>\n    <scene_description>Father shakes hands with the Foreman.<\/scene_description>\n    <character>NARRATOR (V.O.)<\/character>\n    <dialogue>Charlie's father got a better job at the toothpaste factory, repairing the machine that had replaced him...<\/dialogue>\n    <scene_description>OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAIN STATION \/ SHOE SHINE STAND - DAY<\/stage_direction>\n    <scene_description>Smiling, Charlie finishes buffing the wingtips of a HAPPY BUSINESSMAN.<\/scene_description>\n    <character>NARRATOR (V.O.)<\/character>\n    <dialogue>...while Charlie made extra money after school.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE LITTLE HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Mother and Father get dinner ready while Charlie sets the repaired kitchen table.<\/scene_description>\n    <character>NARRATOR (V.O.)<\/character>\n    <dialogue>Things had never been better for the Bucket family.<\/dialogue>\n    <scene_description>For the first time, there's plenty of food, and no cabbage soup.<\/scene_description>\n    <character>NARRATOR (V.O.)<\/character>\n    <dialogue>The same could not be said for Willy Wonka.<\/dialogue>\n    <scene_description>138-139 OMIT 138-139 CLOSE ON WONKA We gradually PULL OUT as he talks. He's agitated, irritable. He hasn't been sleeping well.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>I can't put my finger on it. Candy has always been the only thing I was certain of, and now I'm not certain at all.<\/dialogue>\n    <scene_description>Wonka is lying on a couch. An OOMPA-LOOMPA with glasses -- his psychiatrist -- takes notes in a pad.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>I don't know which flavors to make, which ideas to try. I'm second- guessing myself, which is mad. I've always made whatever candy I feel like.<\/dialogue>\n    <scene_description>CONTINUED: A beat, then Wonka has a sudden insight. He sits up.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>That's just it, isn't it!? I make the candy I feel like, but now I feel terrible, so the candy is terrible.<\/dialogue>\n    <parenthetical>(to the psychiatrist)<\/parenthetical>\n    <dialogue>Ooh. You're very good.<\/dialogue>\n    <scene_description>The Oompa-Loompa takes off his glasses and nods.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRAIN STATION \/ SHOE SHINE BOOTH - DAY<\/stage_direction>\n    <scene_description>Charlie finishes up ONE MAN'S shoes, taking his tip.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Charlie moves down to the next man waiting, who is already up in the chair. The CUSTOMER has his face buried in the business section of the local paper.<\/scene_description>\n    <character>CUSTOMER<\/character>\n    <dialogue>Pity about that chocolate fellow...Wendell...Walter...<\/dialogue>\n    <scene_description>As he start to polish, Charlie notices that the man's boots have distinctive W's on them. He quickly suspects his customer is actually...<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Willy Wonka?<\/dialogue>\n    <character>FROM THE SIDE<\/character>\n    <dialogue>we see it is in fact Wonka in the chair.<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>That's the one. Says here his new candies aren't selling well. I suppose maybe he's a rotten sort of person who deserves it.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Yup.<\/dialogue>\n    <scene_description>Wonka was hoping Charlie would come to his defense.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>I don't suppose you ever met him?<\/dialogue>\n    <scene_description>CONTINUED:<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I did. I thought he was nice at first, but then he turned out to be a jerk.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>He also smelled like a litter box.<\/dialogue>\n    <scene_description>Wonka drops the paper.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>I do not!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Why are you here?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>I need you to make me feel better about myself.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I can't do that.<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Well who can?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Think! Who makes you feel better when you feel terrible?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>My family.<\/dialogue>\n    <scene_description>Wonka GROANS, slinking back in his chair. Charlie climbs up into the seat beside him. For the first time, they really seem like equals.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>What do you have against my family?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>It's not your family. It's the very idea of p-p-p-p...You know. Always telling you what to do, what not to do. It's the very antithesis of inspiration!<\/dialogue>\n    <scene_description>CONTINUED: (2)<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Usually they're just trying to protect you. Because they love you.<\/dialogue>\n    <scene_description>Wonka is bewildered by this idea.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>If you don't believe me, you should ask.<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Ask my father? I couldn't.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Certainly not by myself.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>You want me to go with you?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Yes. I've got transportation!<\/dialogue>\n    <scene_description>Wonka points to the right, where a HURRIED TRAVELLER suddenly SMACKS into the unseen glass elevator. Oww.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>I should be more careful where I park it.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A GIANT FIELD - DAY<\/stage_direction>\n    <scene_description>Charlie and Wonka walk away from the glass elevator, which is parked in the middle of a vast meadow. They walk up to the only building in sight, a<\/scene_description>\n    <character>NARROW ROW HOUSE<\/character>\n    <dialogue>that looks absurd by itself, three stacked stories attached to nothing. It's the house little Willy grew up in, moved out to the middle of nowhere.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE ROW HOUSE - DAY<\/stage_direction>\n    <scene_description>Charlie RINGS the bell. Wonka is suddenly very nervous. CONTINUED:<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Maybe we've got the wrong house.<\/dialogue>\n    <scene_description>But the sign reads: DR. WILBUR WONKA, D.D.S. The door opens, revealing a very old man -- almost the age of Grandpa Joe. It's Dr. Wonka, thirty years older. He's carrying a crossword puzzle, and wearing his reading glasses. He squints.<\/scene_description>\n    <character>DR. WONKA<\/character>\n    <dialogue>Do you have an appointment?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>No. But he's overdue.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DENTIST'S OFFICE - DAY<\/stage_direction>\n    <scene_description>With a THUMP, the dentist's chair reclines. Wonka stares up into the bright work lamp as his father leans over him. Charlie stands nearby.<\/scene_description>\n    <character>DR. WONKA<\/character>\n    <dialogue>Open!<\/dialogue>\n    <scene_description>Wonka reluctantly opens his mouth. With his very shaky hands, Dr. Wonka pokes around inside with picks and mirrors.<\/scene_description>\n    <character>DR. WONKA<\/character>\n    <dialogue>Heavens, I haven't seen bicuspids like this since...<\/dialogue>\n    <scene_description>Suddenly, it dawns on him:<\/scene_description>\n    <character>DR. WONKA<\/character>\n    <dialogue>Willy?<\/dialogue>\n    <scene_description>Wonka can barely talk with the instruments in his mouth. Garbles:<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>Hi, Dad.<\/dialogue>\n    <character>DR. WONKA<\/character>\n    <dialogue>All these years. You haven't flossed.<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Not once.<\/dialogue>\n    <scene_description>The men embrace. Charlie smiles. CONTINUED:<\/scene_description>\n    <character>NARRATOR (V.O.)<\/character>\n    <dialogue>It was on this day that Willy Wonka repeated his offer to Charlie, who accepted on one condition.<\/dialogue>\n    <scene_description>CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE LITTLE HOUSE - DUSK<\/stage_direction>\n    <scene_description>Charlie and Wonka come in through the front door, shaking the snow off their jackets. The whole family is there, getting ready for dinner.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Sorry we're late. We were brainstorming.<\/dialogue>\n    <character>GRANDPA GEORGE<\/character>\n    <dialogue>Thought I heard thunder.<\/dialogue>\n    <character>MOTHER<\/character>\n    <dialogue>Willy, are you staying for dinner?<\/dialogue>\n    <character>WONKA<\/character>\n    <dialogue>Yes, please!<\/dialogue>\n    <character>GRANDPA JOE<\/character>\n    <dialogue>I'll shuffle the plates.<\/dialogue>\n    <scene_description>Grandpa Joe squeezes in an extra setting at the table. It's very crowded, but everyone manages to fit. Wonka takes a seat next to Grandma Georgina.<\/scene_description>\n    <character>GRANDMA GEORGINA<\/character>\n    <dialogue>You smell like peanuts! I love peanuts!<\/dialogue>\n    <scene_description>She hugs him. For the first time, he doesn't flinch at being touched.<\/scene_description>\n    <character>WONKA<\/character>\n    <dialogue>You smell like old people. And soap!<\/dialogue>\n    <character>GRANDMA JOSEPHINE<\/character>\n    <dialogue>Charlie, elbows off the table.<\/dialogue>\n    <scene_description>He does as he's told.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>A146 EXT. THE LITTLE HOUSE - DUSK \\[CONTINUOUS\\] A146<\/stage_direction>\n    <scene_description>As a gentle snow falls, we look in through the window to find the whole Bucket family -- including the grandparents -- crowded around the kitchen table for a feast. Willy Wonka fits perfectly.<\/scene_description>\n    <character>WONKA<\/character>\n    <parenthetical>(to Charlie)<\/parenthetical>\n    <dialogue>How do you feel about raspberry kites?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>With licorice instead of string!<\/dialogue>\n    <character>FATHER<\/character>\n    <dialogue>Boys, no business at the dinner table.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Sorry, Dad.<\/dialogue>\n    <character>WONKA<\/character>\n    <parenthetical>(low; to Charlie)<\/parenthetical>\n    <dialogue>You're on to something, though.<\/dialogue>\n    <scene_description>As we PULL OUT through the window, we start to get a better view of the entire house.<\/scene_description>\n    <character>NARRATOR (V.O.)<\/character>\n    <dialogue>In the end, Charlie Bucket won a chocolate factory. But Willy Wonka got something even better: a family.<\/dialogue>\n    <scene_description>It's not until we get quite wide that we see the house is no longer sitting in front of the factory -- it's now inside it. It sits on the banks of the chocolate river. The snow is simply powdered sugar falling from a massive shaker overhead. CHOCOLATE EASTER BUNNIES hop through the drifts, leaving tracks. Still in the same PULL BACK, we reveal our NARRATOR, who is in fact an Oompa-Loompa. (It's the first time we've heard one talk.) A146 CONTINUED: A146<\/scene_description>\n    <character>OOMPA-NARRATOR<\/character>\n    <dialogue>One thing was absolutely certain: life had never been sweeter.<\/dialogue>\n    <scene_description>The Oompa-Narrator bows and takes his exit. FADE OUT.:<\/scene_description>\n    <character>THE END<\/character>\n  <\/scene>\n<\/script>","summary":"Charlie Bucket is a kind and loving boy who lives in poverty with his family near the Wonka Factory. The company's owner, Willy Wonka, has long closed his factory to the public due to problems concerning industrial espionage, which also caused all his employees, including Charlie's Grandpa Joe, to lose their jobs. Charlie's father, meanwhile, has more recently been laid off from his own job at a toothpaste factory, although he does not admit this to Charlie. One day, Wonka announces a contest in which Golden Tickets have been placed in five random Wonka Bars worldwide, and the winners will receive a full tour of the factory as well as a lifetime supply of chocolate, while one will receive an additional prize at the end of the tour. Wonka's sales subsequently skyrocket, and the first four tickets are found by the gluttonous Augustus Gloop, the spoiled Veruca Salt, the arrogant Violet Beauregarde, and the ill-tempered Mike Teavee. Charlie tries twice to find a ticket, but both bars come up empty. After overhearing that the final ticket was found in Russia, Charlie finds a banknote and purchases a third Wonka Bar. The Russian ticket is revealed to be a forgery just as Charlie discovers the real ticket inside the wrapper. He receives monetary offers for the ticket, but the cashier warns him not to trade it regardless, and Charlie runs back home. At home, Charlie initially wants to trade the ticket for money for his family's betterment, but after a pep talk from Grandpa George, he decides to keep it, and brings Grandpa Joe to accompany him on the tour. Charlie and the other ticket holders are greeted outside the factory by Wonka, who then leads them into the facility. Individual character flaws cause the other four children to give in to temptation, resulting in their elimination from the tour while Wonka's new employees, the Oompa-Loompas, sing a song of morality after each. Meanwhile, Wonka reminisces on his troubled past and how his dentist father, Wilbur, strictly forbade him from consuming any candy. After sneaking a piece of candy, Wonka instantly became hooked and ran away from home to follow his dreams. When he returned, however, both his father and their house were gone. After the tour, the four eliminated children leave the factory with an exaggerated characteristic or deformity related to their elimination, while Charlie learns that Wonka, now approaching retirement, intended to find a worthy heir. Since Charlie was the least ill-behaved of the five, Wonka invites Charlie to come live and work in the factory with him, provided that he leave his family behind. Charlie declines, as his family is the most important thing in his life. As Charlie and his family's life improve, Wonka becomes despondent, causing his company and sales to decline. He eventually turns to Charlie for advice, and he decides to help Wonka reconcile with his estranged father, Wilbur. During the reunion, Charlie notices newspaper clippings of Wonka's success which Wilbur collected, while Wonka realizes the value of family as he and Wilbur finally reconcile. Afterwards, Wonka allows Charlie and his family to move into the factory together."}
{"movie_name":"Deep Impact_1998","imdb_id":"tt0120647","script":"<script>\n  <scene>\n    <scene_description>WRITTEN BY BRUCE JOEL RUBIN AND MICHAEL TOLKIN October 17, 1997 Deep Impact SPACE Deep, dark. Stars, distant planets, silence. The universe spreading out before us in all of it's terrifying mystery. Inviting, seductive. The dark edge of an infinite lethal precipice daring us to jump. It BLURS. OUT OF FOCUS. And back. Brilliant, SHARP. The soft CLICK of a SHUTTER. It hangs open for an eternity. Then, CLOSES. The WHINE of film advancing. We're in a -- STATE PARK IN VIRGINIA - NIGHT With a pretty girl, SARAH, no more than fourteen, taking photos of the night sky through her small telescope. She's surrounded by a dozen other telescopes, three or four feet long, reflectors and refractors. TEENAGERS, a few adults, all take pictures of the night sky using cameras attached to their telescopes. The SHUTTERS open, close. The camera motors ADVANCE. The teacher, MR. PERRY, supervises.<\/scene_description>\n    <character>WE MOVE TO:<\/character>\n    <dialogue>LEO BIEDERMAN, whose interest in the sky is almost equal to his interest in Sarah.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Matt Sheperd?<\/dialogue>\n    <scene_description>Sarah doesn't look up from her telescope.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>He asked me. It's just a party. He's nice.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>To you maybe...<\/dialogue>\n    <character>PERRY<\/character>\n    <dialogue>What's the bright one?<\/dialogue>\n    <scene_description>Perry, behind Leo. Leo returns to his telescope.<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>Mizar, it's a double star.<\/dialogue>\n    <character>PERRY<\/character>\n    <dialogue>And the one next to it?<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Alcor.<\/dialogue>\n    <character>PERRY<\/character>\n    <dialogue>And the one next to that?<\/dialogue>\n    <scene_description>Leo stares through the telescope, hesitates. Finally...<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>It's Megrez.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>No it's not.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>You said you didn't know.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>I know where Megrez is. I'm talking about the other thing.<\/dialogue>\n    <scene_description>He stands up for Perry to take a look. So does Sarah, through her telescope.<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>South, about ten degrees.<\/dialogue>\n    <scene_description>Leo can't help but glance down as Sarah's jeans part from her lower back when she leans over the telescope.<\/scene_description>\n    <character>PERRY<\/character>\n    <parenthetical>(eye in the viewer)<\/parenthetical>\n    <dialogue>Probably a satellite.<\/dialogue>\n    <character>LEO<\/character>\n    <parenthetical>(distracted)<\/parenthetical>\n    <dialogue>Huh?<\/dialogue>\n    <scene_description>As Perry starts to walk away.<\/scene_description>\n    <character>PERRY<\/character>\n    <parenthetical>(an afterthought)<\/parenthetical>\n    <dialogue>Take a picture and send it to Dr. Wolf.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>It's Megrez.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>It's not Megrez.<\/dialogue>\n    <scene_description>Leo looks through his telescope at this distant light, SNAPS the shutter, and -- REMOTE OBSERVATORY - NIGHT And then, the black begins to OPEN. A platform moving, dim white running lights glide along the smooth circular sides of the massive dome above us. A huge telescope swings slowly into place beneath a crystal clear night sky.<\/scene_description>\n    <character>SUPERIMPOSED ON SCREEN, A SINGLE WORD: \"SKYWATCH\"<\/character>\n    <dialogue>Silhouetted against the brilliant stars, a man, plumes of white breath escaping into the bitter desert darkness, MARCUS WOLF. He releases the telescope from its clamps. LOOKS DOWN at the mirror as it swings into position. Wolf steps off, walks back to the --<\/dialogue>\n    <scene_description>OBSERVATION ROOM - NIGHT FLICKS off the white running lights as he goes, bathing the scene in red. Studies the sky on a large computer (no one looks through an eyepiece anymore). He picks up an envelope leaning against the monitor. In it, photographs of the stars and a group shot, Perry and his kids. Leo and Sarah hold up a sign: LEE HIGH SCHOOL ASTRONOMY CLUB. Wolf grabs a slice of congealing pizza from a picked-over Domino's box, shuffles the kids' photos. Not much of interest. Stops at one. A beat. Turns it over, finds the scrawled coordinates indicating its location in the sky. Intrigued, he walks back into -- THE DOME - NIGHT Controls the telescope with the kind of simple buttons you find on a hospital bed: Up, Down, Left, Right. The huge motors GRIND as the telescope moves. The sky changes above us as he jogs back to - - THE OBSERVATION ROOM The image on the monitor rotates, LOCKS into place. He compares the screen to the photo. Smiles.<\/scene_description>\n    <character>WOLF<\/character>\n    <dialogue>Hello, do I know you? ...where are you going in such a hurry...?<\/dialogue>\n    <scene_description>Taps in a command, the cursor squares on one area of the image, ENLARGES. He stares, enters the ascension and declination directions and observation time. Numbers race by, trajectories, speed. Finally...<\/scene_description>\n    <character>WOLF<\/character>\n    <dialogue>...oh shit...<\/dialogue>\n    <scene_description>Drops his slice of pizza into the trash, swings around to his open laptop. Double clicks on his AOL folder. The familiar AOL gateway graphic POPS up. The modem CLICKS on, a DIALTONE, followed by rapid DIALING. He rolls back to the mainframe, hunts around for an empty disk, slaps it in, begins the download. The modem SQUAWKS. A BUSY SIGNAL. The modem disconnects then CLICKS alive again. Dials the back-up number as Wolf EJECTS the downloaded disk from the mainframe. Wheels back to his portable, just in time to be met by...<\/scene_description>\n    <character>VOICE (VO)<\/character>\n    <dialogue>All circuits are busy, please try your call again later...<\/dialogue>\n    <scene_description>The modem CLICKS off, the screen returns to the AOL gateway.<\/scene_description>\n    <character>WOLF<\/character>\n    <dialogue>Perfect...<\/dialogue>\n    <scene_description>He grabs a manilla envelope, quickly addresses it to: \"CAROLYN SHOEMAKER Ph.D. Department of Planetary Sciences, University of Arizona, Tucson.\" Finds the photo, checks the back for Leo's name. Where the disk label has a blank space, he writes \"WOLF-BIEDERMAN\" -- OMITTED OMITTED OBSERVATORY - NIGHT A battered Jeep Wrangler. Wolf leaps in, ROARS off down the mountain. The observatory looms behind him. TRUCK - NIGHT A trucker, MCCLOUD, in the cab of a semi, a six-pack of Jolt Colas on the seat, the RADIO BLARING country. WOLF'S CAR - NIGHT Wolf listens to Puccini. The Jeep speeds around the snowy mountain curves shakily as he attempts to dial his portable cellular phone and stay on the road. TRUCK - NIGHT Puccini collides with Garth Brooks as McCloud guzzles his Jolts. A long cigarette ash dangles from his lip. WOLF'S CAR - NIGHT Wolf drives. The phone held to his ear. A distant RINGING.<\/scene_description>\n    <character>(CONTINUED}<\/character>\n    <dialogue>WOLF<\/dialogue>\n    <scene_description>...come on...come on... And finally, a voice answers.<\/scene_description>\n    <character>WOMAN (VO)<\/character>\n    <dialogue>You have reached the Department of Planetary Sciences. If you know the extension number of the person you are trying to reach, enter it now...<\/dialogue>\n    <scene_description>Wolf holds the phone down in front of him, trying to dial the numbers, steer, and keep an eye on the road all at once. Dialing wins out. TRUCK - NIGHT The cigarette ash fills the screen. We know it's going to drop. We wonder when...<\/scene_description>\n    <character>MCCLOUD<\/character>\n    <dialogue>...Oh fuck...!<\/dialogue>\n    <scene_description>His hand dances wildly, searching for the hot ash. A MONTAGE OF ACCELERATING IMAGES Wolf's Jeep rounds the bend in the wrong lane. McCloud's hand digs between his legs, the ash burns his fingers as Wolf's lights BLIND him. Wolf SCREAMS. McCloud YANKS the wheel, the semi SKIDS.<\/scene_description>\n    <character>MCCLOUD<\/character>\n    <dialogue>...Jesus...!<\/dialogue>\n    <scene_description>The collision is a ballet of destruction, the drama of two bodies trying to occupy the same space at the same time. The mass of the truck dominates the Jeep. The Jeep's small frame has nowhere to go but back into itself. Abstractly, this is sculpture, at the moment, this is death. Flying glass is everywhere. The Jeep's canvas roof SHREDS and flails. Its engine pushes the steering column up into the cab. The semi shoves the Jeep up and through the guardrail, twisting metal and wood BURSTING out into space. The Jeep SURGES end over end, down the side of the mountain, towards the snowy woods, a hundred yards below. The MANILLA ENVELOPE WITH THE COMPUTER DISK soars out of the rags that were the Jeep's roof. For a moment it lands at the foot of a snowy evergreen. An EXPLOSION and a massive rush of air send it further into the wintery forest. McCloud falls from the truck cab, drags himself up, stumbles to the edge of the cliff, picking his way through the strewn glass and metal. Grabs a roadsign for support, blood runs down his face. He stares through the twisted guardrail down into the canyon at the burning wreckage until: A second EXPLOSION drives him back from the edge and we PULL AWAY. Finally able to read the large yellow roadsign lit by the fire below...\"Watch For Falling Rocks.\"<\/scene_description>\n    <character>DISSOLVE TO:<\/character>\n    <dialogue>A title is superimposed on screen:<\/dialogue>\n    <character>WOLF-BIEDERMAN MINUS TWO YEARS, FIVE MONTHS, NINE DAYS,<\/character>\n    <scene_description>MOUNTAIN NEAR TELESCOPE - DAY A brilliant summer day, hot, bright. Two state highway trucks are parked, orange cones, warning signs. A SUPERVISOR takes a drink from a greasy water cooler perched on the tailgate. Walks past the caged windows of a parked Department of Corrections bus. Crosses the road to the repaired guardrail and the roadside sign above it, \"Watch for Falling Rocks\". Yells below.<\/scene_description>\n    <character>SUPERVISOR<\/character>\n    <dialogue>Three o'clock. Let's go...<\/dialogue>\n    <scene_description>His voice CARRIES US DOWN the rocky hillside to the canyon floor below where a YOUTH OFFENDERS PRISON CREW, rough Teenagers in orange jumpsuits, pick up trash. The crew looks up the hill, starts back for the road. A SURLY TEEN GANG GIRL turns to go, spies one last piece of weathered manila envelope tucked under a pile of decomposing branches and leaves. Spears it. Brings it up to her jam-bag. Stops. A name, faded, almost illegible. Pulls it off her stick, brings it closer. An address: \"CAROLYN SHOEMAKER Ph.D. Department of Planetary Sciences, University of Arizona, Tucson.\" OMIT 18A LIMESTONE CLIFFS - NIGHT 18A The headlight of a helicopter settles down into the swirling dust of a massive construction sight. Hundreds of workers, train tracks, massive drills, four story earthmovers. Entrekin hops out, shakes the hand of a hard-hatted man.<\/scene_description>\n    <character>ENTREKIN<\/character>\n    <dialogue>No excuses, Parnell, all I want to know is are we going to be ready on time?<\/dialogue>\n    <scene_description>They walk out into the huge site, dodging heavy equipment.<\/scene_description>\n    <character>FOREMAN<\/character>\n    <dialogue>We'll be ready.<\/dialogue>\n    <scene_description>Lunch in a garden restaurant. JENNY LERNER 29, seated with her mother ROBIN, 55. Robin has a slight air of bohemia; if the women her age in the restaurant are dressed for business, she's more relaxed. She's also a lot more drunk. Jenny is lovingly concerned. Instead of looking at her daughter, though, Robin studies her watch.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>At this moment, right now, the pretty little girls, the twins, oh what are their names? His sister's grandchildren...<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Emma and Susanna. Mother...<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>They're walking down the aisle, spreading flowers, dropping the rose petals, everyone is smiling at them.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Mom, is this really a good idea?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Yes. And now she's walking down the aisle, and she stands beside him, and the priest...<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Judge, it's not a church wedding, mother.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>And the Judge says, blab blah blah, sickness and health, blah blab blah, do you, Jason Lerner, take Chlorine...<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Chloe, her name is Chloe.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Of course it is. And Jason is saying, lie lie lie lie lie, 'till death do us blah blah blah blah... And she says yes and he says yes and it's kissy kissy kissy and congratulations, Jenny...<\/dialogue>\n    <scene_description>The weight of what is happening hits Jenny. She can't believe it.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>No...<\/dialogue>\n    <character>ROBIN<\/character>\n    <parenthetical>(you understand, don't you?)<\/parenthetical>\n    <dialogue>That's right, the nuclear family just exploded.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>As of this moment, I now have a stepmother who is two years older than I am.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>After fifteen years... Fifteen years, I can't believe how much it hurts me... Jenny, fifteen years, you'd think I'd have been past the pain, Jenny, it hurts me so much I'm embarrassed.<\/dialogue>\n    <scene_description>Jenny studies her mother. She realizes something.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>When was the last time you slept with him?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>That's none of your business.<\/dialogue>\n    <parenthetical>(after a considered moment)<\/parenthetical>\n    <dialogue>The hell with my deadline. Have a Martini.<\/dialogue>\n    <scene_description>Jenny signals the Waiter for the bill. He brings it over.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>It'd be a lot of fun to get drunk with you, Mom, but...<\/dialogue>\n    <character>ROBIN<\/character>\n    <parenthetical>(you don't have to say it)<\/parenthetical>\n    <dialogue>I know, I know, I know.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I'm sorry about this.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>We'll get over it. I love you.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I love you, too.<\/dialogue>\n    <scene_description>She pays the bill in cash.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>Let me.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>No. Goodbye, Mom.<\/dialogue>\n    <scene_description>And Jenny leaves. AT THE DOOR OF THE RESTAURANT: She goes to the Maitre d' and gives her a twenty.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Call a cab for my mother, would you, Sue?<\/dialogue>\n    <scene_description>MSNBC RECEPTION - DAY Jenny comes in from lunch, in a hurry. Behind the receptionist is a television tuned perpetually to the news. The ANCHOR is TIM URBANSKI, 46.<\/scene_description>\n    <character>TIM<\/character>\n    <dialogue>Tragedy struck today as a charter aircraft carrying an Army unit returning from duty in Japan crashed this morning into the waters of Puget Sound outside of Seattle...<\/dialogue>\n    <scene_description>MSNBC STUDIO - DAY Jenny walks into the desks behind Urbanski's overlit anchor desk. It's half-set, half-work area. We see Urbanski's back, the cameras pointed at us, the blazing lights. Jenny dumps her purse into a desk drawer, the preoccupied researcher, BOBBY RHUE. Bobby gets up and walks with Jenny.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Would you sign a petition to get a new coffee machine?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Would you call every hospital between Washington and Baltimore to see if anyone has admitted a Holly Rittenhouse in the last few days? Where's Stuart?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>They started early today.<\/dialogue>\n    <parenthetical>(what he wants to talk about)<\/parenthetical>\n    <dialogue>The coffee is bitter. I hear that's why Bob Campbell is leaving.<\/dialogue>\n    <character>JENNY<\/character>\n    <parenthetical>(this is important)<\/parenthetical>\n    <dialogue>Bob Campbell is leaving?<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I hear he's going to San Diego to be an anchor.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>And you told me...<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>Because I have faith in you, and because...<\/dialogue>\n    <scene_description>He gives her the petition.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Don't forget the hospitals.<\/dialogue>\n    <character>BOBBY<\/character>\n    <dialogue>I never forget anything.<\/dialogue>\n    <scene_description>She signs the petition on the run and hustles past the windows of the Day Care Center where toddlers play. Stops at the glass-walled conference room overlooking the studio floor. Tries her best to enter quietly. MSNBC CONFERENCE ROOM - DAY The staff meeting's already in progress. A long table filled with an odd mix of impeccably attired and perfectly coifed on-air personalities interspersed with casually dressed couldn't give-a-shit senior staff. The meeting is run by STUART CALEY, late fifties, holding a piece of fax paper disdainfully. Behind him is a wall of monitors tuned to competing news outlets. Some have a large Starbucks coffee, some have Evian.<\/scene_description>\n    <character>STUART<\/character>\n    <dialogue>White House Press office says that Secretary of the Treasury Rittenhouse is resigning because his wife is sick.<\/dialogue>\n    <scene_description>That illicits a round of cynical hoots. IRA MOSKATEL is business news, 40's.<\/scene_description>\n    <character>IRA<\/character>\n    <dialogue>Sick, my ass!<\/dialogue>\n    <scene_description>Jenny squeezes into an empty seat on the outer ring of the room. BETH STANLEY, 40's, attractive, the senior White House correspondent, smiles back at Jenny, shakes her head in mock disapproval.<\/scene_description>\n    <character>STUART<\/character>\n    <dialogue>So who passed Rittenhouse the hemlock?<\/dialogue>\n    <character>BETH<\/character>\n    <dialogue>AFL-CIO wanted him off the Council of Economic Advisors for not supporting the Pension Bill. President's going to need Labor next fall.<\/dialogue>\n    <character>MARIANNE<\/character>\n    <dialogue>State's still fuming about the Trade Office screw-up at the G-7.<\/dialogue>\n    <scene_description>MARIANNE DUCLOS: English, International news desk. JEFF WORTH, 50's.<\/scene_description>\n    <character>WORTH<\/character>\n    <dialogue>Pentagon's been unhappy with his readiness reduction proposals.<\/dialogue>\n    <character>BETH<\/character>\n    <dialogue>Greenspan dislikes him.<\/dialogue>\n    <character>STUART<\/character>\n    <dialogue>Christ, who didn't this guy piss off?<\/dialogue>\n    <character>IRA<\/character>\n    <parenthetical>(grins)<\/parenthetical>\n    <dialogue>No wonder the wife's sick.<\/dialogue>\n    <scene_description>That gets a few laughs. Jenny cuts in from the back.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>She's not sick, she's a drunk.<\/dialogue>\n    <character>STUART<\/character>\n    <dialogue>How do you know?<\/dialogue>\n    <scene_description>But she's not going down easy, stands her ground.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>I had breakfast with Mike Woodward over at Treasury.<\/dialogue>\n    <parenthetical>(her notes)<\/parenthetical>\n    <dialogue>Mrs. Rittenhouse started drinking a couple of years ago when her husband had a series of affairs. Stepped it up last summer when their son died of leukemia. Word at Treasury is she's got liver damage, may even need a transplant.<\/dialogue>\n    <scene_description>That shuts them up. Beth sneaks a smile back to Jenny.<\/scene_description>\n    <character>BETH<\/character>\n    <dialogue>You want to do something on the price the wives pay?<\/dialogue>\n    <character>WORTH<\/character>\n    <dialogue>That's tired.<\/dialogue>\n    <character>STUART<\/character>\n    <dialogue>Look into it, Beth. What else, Ira?<\/dialogue>\n    <scene_description>As Ira begins his report, Beth looks back to Jenny, whispers. We listen to both conversations at once.<\/scene_description>\n    <character>BETH<\/character>\n    <dialogue>Mike Woodward, wife, three kids?<\/dialogue>\n    <character>IRA MOSKATEL<\/character>\n    <dialogue>Pentagon's getting ready to issue a report on the costs of the President<\/dialogue>\n    <scene_description>JENNY bringing all military He's been asking me personnel back Stateside. out for months, so I Maybe there's a connection. let him have a breakfast and hit him up on WORTH Rittenhouse. Defense isn't commenting (then) but everybody over there Bob Campbell is leaving. seems pretty tense. The midnight Saturday anchor shift is opening MARIANNE up. NATO's certainly not happy about it.<\/scene_description>\n    <character>BETH<\/character>\n    <dialogue>Why would I give up STUART the White House for a Let's go around: White graveyard weekend slot? House?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Not for you, for me.<\/dialogue>\n    <dialogue>Beth stares at the younger, attractive Jenny. Smiles.<\/dialogue>\n    <character>BETH<\/character>\n    <dialogue>No. We'll talk about this later.<\/dialogue>\n    <parenthetical>(answers Stuart)<\/parenthetical>\n    <dialogue>Very calm, the President will be back from Camp David tomorrow.<\/dialogue>\n    <character>STUART<\/character>\n    <dialogue>Ira, business news?<\/dialogue>\n    <scene_description>Jenny isn't giving up on Beth yet.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Beth...<\/dialogue>\n    <character>IRA MOSKATEL<\/character>\n    <dialogue>A lot of market activity in Florida construction<\/dialogue>\n    <scene_description>BETH right now. Keep working on Rittenhouse. STUART (smiles) That's not a headline. Maybe Mike's available for dinner. IRA You asked.<\/scene_description>\n    <character>STUART<\/character>\n    <dialogue>Pentagon?<\/dialogue>\n    <character>BETH<\/character>\n    <dialogue>(then)<\/dialogue>\n    <character>WORTH<\/character>\n    <dialogue>Internationally deployed<\/dialogue>\n    <scene_description>Usual background, units continue to be administration officials recalled home. At this who've resigned under rate, everybody'll be back similar circumstances, in ten months. Congress the usual. is going nuts, rumors are the President plans to cut Jenny's clearly unhappy. the Pentagon budget in Beth's attitude is good half. humored and indulging, that of a mentor and a STUART friend. International: Marianne?<\/scene_description>\n    <character>BETH<\/character>\n    <dialogue>Try to find Mrs. Rittenhouse, see if you can get her to do a stand-up. The good wife, loving kids, throw in the family pooch if they've got one. Take a cameraman from the pool.<\/dialogue>\n    <character>MARIANNE<\/character>\n    <dialogue>Europe calm, Pakistan bloody, Japan elections, Nigerian famine.<\/dialogue>\n    <character>STUART<\/character>\n    <dialogue>Lead with the Pentagon again, follow with the famine.<\/dialogue>\n    <parenthetical>(looks around)<\/parenthetical>\n    <dialogue>Jenny, get some famine statistics. Maybe we can do a world hunger series.<\/dialogue>\n    <character>BETH<\/character>\n    <dialogue>She's on Rittenhouse for me.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I can do both, Stuart.<\/dialogue>\n    <scene_description>That gets a smile and a head shake from Beth.<\/scene_description>\n    <character>STUART<\/character>\n    <dialogue>Great. Okay, that's it.<\/dialogue>\n    <scene_description>Everyone stands, gathers papers. Jenny dogs Beth out into:<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Beth...<\/dialogue>\n    <character>BETH<\/character>\n    <parenthetical>(laughs\/smiles)<\/parenthetical>\n    <dialogue>Oh god, Jenny, please... Look, this is how it works. You've done your two years in research, now do three as a segment producer, five on air doing domestic features, a couple as a Bureau Chief in some cholera ridden hellhole, and then, I'll quit if they don't give you a weekend anchor shot.<\/dialogue>\n    <scene_description>Jenny stares at her, uncertain.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Are you protecting me, or just holding me back?<\/dialogue>\n    <character>BETH<\/character>\n    <parenthetical>(smiles)<\/parenthetical>\n    <dialogue>Yes. Rittenhouse tape and text by four, we'll drop in my reverses for the five o'clock.<\/dialogue>\n    <scene_description>Beth walks into the Day Care center. We see her lift her daughter through the window.<\/scene_description>\n    <character>BETH<\/character>\n    <dialogue>Caitlin! Hello Sweet Pea...<\/dialogue>\n    <scene_description>Jenny hangs back. Pissed. Spots Stuart.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Stuart...<\/dialogue>\n    <scene_description>He's on the move to his office, reading, barely looks up.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Bob Campbell's Saturday slot is open. I hear he's leaving. I'd like to sub for him.<\/dialogue>\n    <character>STUART<\/character>\n    <dialogue>Anchor?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I think I'm ready.<\/dialogue>\n    <character>STUART<\/character>\n    <dialogue>I don't.<\/dialogue>\n    <scene_description>He disappears into his office. She crosses to her desk.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>23A INT. NASA SHUTTLE PREP BUILDING - NIGHT 23A<\/stage_direction>\n    <scene_description>A shuttle surrounded by gantries, and men and women in furious preparation to send the rocket into space. A new point of view, taking in the scene. TRACK from the new point of view.<\/scene_description>\n    <character>ON THE ASTRONAUTS<\/character>\n    <dialogue>We HEAR the echo of old cowboy boots on the hard concrete floor.<\/dialogue>\n    <dialogue>This should be like Norma Desmond's return to the Paramount Stage in \"Sunset Boulevard\". While the Astronauts are suspicious, all around them the older NASA hands stop what they're doing, wherever they are, and begin to applaud.<\/dialogue>\n    <character>PARTENZA<\/character>\n    <dialogue>That's him.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Unbelievable.<\/dialogue>\n    <character>BAKER<\/character>\n    <dialogue>How long has he been out of the saddle?<\/dialogue>\n    <character>MONASH<\/character>\n    <dialogue>They don't trust us without him.<\/dialogue>\n    <character>TULCHINSKY<\/character>\n    <dialogue>We should give him a chance.<\/dialogue>\n    <character>MONASH<\/character>\n    <dialogue>And if he blows it?<\/dialogue>\n    <character>TULCHINSKY<\/character>\n    <dialogue>You have a point...<\/dialogue>\n    <character>RETURN TO THE MAN'S POV<\/character>\n    <dialogue>We HOLD BACK and SPURGEON TANNER enters frame. Tanner walks proudly into the applause, knowing that to acknowledge the support of the old hands is to give them encouragement. We come around him as he walks ahead to greet a man in the crowd who is coming out to him, MITCH HEFTER, in his sixties, another old engineer.<\/dialogue>\n    <character>HEFTER<\/character>\n    <dialogue>How have you been, Fish?<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>I didn't know how much I missed this place until just now. It's good to be back.<\/dialogue>\n    <character>HEFTER<\/character>\n    <dialogue>I was against it. But they need your help.<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>I know. Let's meet the crew.<\/dialogue>\n    <scene_description>And he walks forward, and from a safe distance we see him shaking hands with everyone, and we see that Monash is reluctant, and Tanner knows it. A new face, SHEILA MARTIN, African-American, late-30's, at the anchor desk. We hear and see her live on the various monitors scattered throughout the room. Jenny and Bobby walk through the room.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I tried the hospitals, no Rittenhouse...<\/dialogue>\n    <character>MARTIN<\/character>\n    <dialogue>The President today announced the cancellation of another aircraft carrier,<\/dialogue>\n    <scene_description>JENNY the Ronald Reagan. At the The rehab hospitals? White House, our Beth Stanley.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>I know my job. I called ON TV: PRESIDENT TOM BECK, in every one from Florida an Oval Office Photo Op: to Connecticut.<\/dialogue>\n    <character>BECK (ON TV)<\/character>\n    <dialogue>JENNY Defense conversion will<\/dialogue>\n    <scene_description>Is there a maid, is require us to re-imagine there a driver? and re-invent the way government works.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Patricia Ruiz, BETH (ON TV) Rittenhouse's Secretary, Senator Barbara Boxer of was dropped from the California had this payroll. response.<\/dialogue>\n    <character>JENNY<\/character>\n    <parenthetical>(The first good news of the year)<\/parenthetical>\n    <dialogue>I'll bet she's happy about that.<\/dialogue>\n    <dialogue>They reach her desk. Where we find, ERIC VENNEKOR, twenties, handsome. He's made himself comfortable at her desk, watching cartoons.<\/dialogue>\n    <scene_description>JENNY ON TV: SENATOR BOXER in the Who are you? Capitol.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Eric Vennekor, your new cameraperson. The pool sent me over.<\/dialogue>\n    <character>BOXER (ON TV)<\/character>\n    <dialogue>First the massive troop redeployments and now the cancellation of a second carrier. The President<\/dialogue>\n    <scene_description>JENNY has been playing with the Could you please get Treasury as though he your feet off my desk. doesn't have to answer to (she grabs her Congress, and I'm very coat and the disappointed. remote and changes the channel) BETH Time to run. The President was quick to (to Bobby) respond. You didn't happen to get Mrs... INSERT PRESIDENT BECK<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>Ruiz, you're meeting her for coffee,<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>I am not canceling the carrier. I'm saying that there's new technology<\/dialogue>\n    <scene_description>ERIC which would lower its There's plenty of room construction costs and I in the van. want to give it more study. ON TV: Beth is on her feet, asking him a follow-up question.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Good. Follow me. I'll take my car. After I see Ruiz we go to Rittenhouse's place and either surprise him or find out what the maid knows. You grab a couple of pretty shots of the house, and I'll let Beth tell me what the story is.<\/dialogue>\n    <character>BETH<\/character>\n    <dialogue>But what about the three billion dollars already committed to the ship? BECK We'll save it for a rainy day. ON TV Beth in front of the White House, a standard shot.<\/dialogue>\n    <character>BETH<\/character>\n    <dialogue>This is Beth Stanley, reporting from the White House.<\/dialogue>\n    <scene_description>They are watching Beth on the monitor.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>You're getting a little too good at this.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <scene_description>And they go. AND AND<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>25A INT. CAPITOL REFLECTING POOL LUNCH 25A<\/stage_direction>\n    <scene_description>Jenny and MRS. RUIZ, a fifty-ish career secretary, a decent person, very wounded by something. Eric's leaning against the van smoking, parked illegally over by the steps. Office workers eat lunch outdoors in the warm weather.<\/scene_description>\n    <character>RUIZ<\/character>\n    <dialogue>I've been with the Secretary since he was Governor of Connecticut. I came with him to Washington. I moved here because I was dedicated to his career. I trusted the man. And then he fucked me.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>He what?<\/dialogue>\n    <character>RUIZ<\/character>\n    <dialogue>No... I didn't have sex with him... or I should say, I didn't have sex with him, but somebody sure did. And it was about to come out, so he resigned. But since I was hired from outside the government pool, I don't get conveyed to the next Secretary, so now I'm out a job. Because he couldn't keep his hands off of women.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Do you have proof?<\/dialogue>\n    <character>RUIZ<\/character>\n    <dialogue>He thinks he was so clever. He had a private phone line installed in his office. Nobody else could answer it. I picked it up once, said \"hello\"... and it's nobody home. It rings, he shuts the door. Why not hang a sign?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Do you have a name?<\/dialogue>\n    <scene_description>Ruiz balks. Her years of loyalty hard to shed.<\/scene_description>\n    <character>RUIZ<\/character>\n    <dialogue>This is what I get for talking to the press. I am selling my soul right now, I can feel it, I can feel it. I name a name and get someone into trouble.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>So you know her name?<\/dialogue>\n    <character>RUIZ<\/character>\n    <dialogue>Just her first name. Oh my God, I'm going to say it...<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>Ellie.<\/dialogue>\n    <scene_description>Jenny writes, suppresses a grin, this is great.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Just Ellie? Nothing else?<\/dialogue>\n    <character>RUIZ<\/character>\n    <dialogue>I think the President knows her, too. I overheard the Secretary talking to him about her. Isn't Washington sick?<\/dialogue>\n    <scene_description>Jenny nods as if agreeing, but frankly, right now, Washington is pretty damn great.<\/scene_description>\n    <character>RUIZ<\/character>\n    <dialogue>I almost feel sorry for him.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Sorry for the man who cost you your job?<\/dialogue>\n    <character>RUIZ<\/character>\n    <dialogue>Thank you. That's a reality check I'm going to cash right now.<\/dialogue>\n    <scene_description>Half-million dollar homes on a beautiful cove by the bay. Huge trees, gravel lined drives, azaleas. Jenny and Eric climb out of a MSNBC van, look down the rolling lawn to a lovely brick Colonial.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>You drive like a maniac.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Have you ever seen a Scottish cameraman naked before 3:00 p.m.? It's a custom...<\/dialogue>\n    <scene_description>Eric grabs his camera gear. He follows Jenny down the lawn.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>26A EXT. ON THE DOCK - DAY 26A<\/stage_direction>\n    <scene_description>LILY is a pretty ten year old, stuffing a sailbag.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>Can I help you?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>We're looking for your mom.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>My Mom's sick, she's not here.<\/dialogue>\n    <scene_description>Jenny studies the scene on the dock: duffel bags, travel gear, freeze dried food, several cases of ENSURE.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>I love boats. Looks like you're going on a long trip.<\/dialogue>\n    <character>LILY<\/character>\n    <dialogue>Uh huh.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>That's exciting. Where are you going?<\/dialogue>\n    <scene_description>ALAN RITTENHOUSE, a patrician in his fifties, comes out of the boat.<\/scene_description>\n    <character>RITTENHOUSE<\/character>\n    <dialogue>She's going up to the house. Lily, please.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Lily, what a pretty name. Jenny Lerner, MSNBC, Mr. Rittenhouse...<\/dialogue>\n    <character>RITTENHOUSE<\/character>\n    <dialogue>Lily, do as I say.<\/dialogue>\n    <scene_description>Eric shoulders the camera.<\/scene_description>\n    <character>RITTENHOUSE<\/character>\n    <dialogue>What do you want from me?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>We want to talk to you about your resignation.<\/dialogue>\n    <character>RITTENHOUSE<\/character>\n    <dialogue>My wife is sick, she is in the hospital. This is why I resigned, everybody knows that.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Sir, we can talk about your wife, or we can talk about Ellie.<\/dialogue>\n    <character>RITTENHOUSE<\/character>\n    <dialogue>Turn your camera off. If you want to talk, turn it off.<\/dialogue>\n    <scene_description>Jenny gives the okay to Eric. He puts it down.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>We know everything.<\/dialogue>\n    <character>RITTENHOUSE<\/character>\n    <dialogue>Nobody knows everything.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>We know about the secret phone line. The whispered calls to the President. A Secretary of the Treasury keeping his entire department in the dark about what he's really doing. A cover story about his resignation that's just been blown. You want me to keep going?<\/dialogue>\n    <character>RITTENHOUSE<\/character>\n    <dialogue>And you're just going to break it?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>That's what we do for a living. You keep secrets, we expose them. Democracy in action, sir.<\/dialogue>\n    <character>RITTENHOUSE<\/character>\n    <dialogue>Congratulations, now you've got the biggest story in history. Good luck to you. Personally, I think it's a mistake to run it, but, hey, what the hell, why not? What difference does anything make anymore?<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I know you're just a Reporter, but you used to be a person, right? I wanted to be with my family. Can you understand that?<\/dialogue>\n    <scene_description>Rittenhouse turns away from Jenny and walks over to Lily who has been curiously watching the exchange. Rittenhouse takes Lily's arm and they quickly leave the dock together. OMIT THRU THRU 33B 33B Jenny's driving her Honda, talks into a microcassette recorder as the sun sets over the mall.<\/scene_description>\n    <character>JENNY<\/character>\n    <parenthetical>(figuring out the story, making notes)<\/parenthetical>\n    <dialogue>Okay, so... It's obvious. The Secretary of the Treasury resigns because of a mistress named Ellie. The President knows about this. But why... the people... the Secretary of the Treasury... the President... whoa... the President of the United States has a girlfriend named Ellie, and the Secretary of the Treasury is pretending to have an affair with her, and he resigns... and the President buys him a yacht?<\/dialogue>\n    <parenthetical>(she's got it, now she's pretending to be on air)<\/parenthetical>\n    <dialogue>MSNBC learned today that a shocking sex scandal has rocked the White House and the Treasury Department. In the still unfolding drama, sources within the Treasury Department have confirmed...<\/dialogue>\n    <scene_description>BOOM! The recorder flies out of her hand and SMASHES against the window as her head WHIPS forward. She's been RAMMED from behind, looks in her rear view mirror.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Son of a bitch.<\/dialogue>\n    <scene_description>A dark domestic sedan, two men in the front seat. They RAM her again. She's not stupid, this is serious. She tries to speed up but the car ahead slows down. She tries to pass, but the car beside her won't move, its male passenger motions for her to pull over.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Oh no... Shit...<\/dialogue>\n    <scene_description>She pulls to the side of the road, the three escort cars surround her. A man in a grey suit opens her car door.<\/scene_description>\n    <character>GREY MAN<\/character>\n    <dialogue>If you would please, ma'am.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Who the hell are you?<\/dialogue>\n    <scene_description>FBI badges. He points inside the sedan.<\/scene_description>\n    <character>GREY MAN<\/character>\n    <dialogue>Please...<\/dialogue>\n    <scene_description>It's not a request. She steps out cautiously, he opens the passenger door of his sedan. She climbs in as a younger man hops in behind the wheel of her Honda.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>You guys wouldn't have a warrant or anything, would you?<\/dialogue>\n    <scene_description>But nobody answers, nobody even looks at her as the convoy pulls away and disappears into the heavy traffic. OMITTED OMITTED KITCHEN HALLWAY LATE - AFTERNOON Jenny is brought down a long, oppressive concrete hallway, overhead pipes, conduit, ducts. Is lead into a -- HUGE UNDERGROUND INDUSTRIAL KITCHEN LATE - AFTERNOON A few men are there, waiting. MORTON ENTREKIN steps forward, 40s, hip, Southern, shirtsleeves. The kitchen counters are covered with food from an interrupted luncheon clean-up.<\/scene_description>\n    <character>ENTREKIN<\/character>\n    <dialogue>Morton Entrekin, Ms. Lerner.<\/dialogue>\n    <scene_description>He offers his hand. She thinks about this, then takes it. Everyone is watching her, no one gives anything away. There's another few jars of that damned Ensure. What's going on?<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>MSNBC... They know what I am working on... they expect from me and I think they should.<\/dialogue>\n    <character>ENTREKIN<\/character>\n    <dialogue>People knew about the Manhattan Project and they kept it secret.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>And that was just the creation of the atom bomb.<\/dialogue>\n    <character>ENTREKIN<\/character>\n    <dialogue>You do understand. Hundreds of thousands of people kept that secret. That's how we won World War Two. Thousands are keeping this secret.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I'm a reporter.<\/dialogue>\n    <character>ENTREKIN<\/character>\n    <dialogue>With no concern for national security?<\/dialogue>\n    <scene_description>Jenny is thoroughly confused, trying desperately to figure out what he's talking about without revealing her ignorance. But he's not watching her, he's still waiting. An FBI agent picks luncheon meat off a large deli platter, eats. What the hell is going on? The double doors BURST open and PRESIDENT BECK enters followed by Secret Service Agents. To say he enters doesn't quite explain it, his presence seems to proceed him, as if he's the dawn sun just breaking the horizon.<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>Ms. Lerner, Tom Beck. I understand you've come into a little information.<\/dialogue>\n    <scene_description>Jenny stands there as if slapped. Beck offers the smile that got him elected. Holy shit, the water's suddenly very deep.<\/scene_description>\n    <character>ENTREKIN<\/character>\n    <dialogue>Ms. Lerner was just expressing her lack of enthusiasm for matters of national security when journalist competitiveness is at stake.<\/dialogue>\n    <scene_description>Beck nods, seeming to agree with Jenny. The reasonable, understanding father, the legislative compromiser. Jenny's staring at him. He's not unaware of the effect he's having on her. She takes a deep breath, plays her only card.<\/scene_description>\n    <character>JENNY<\/character>\n    <parenthetical>(fighting now to collapse in front of the man)<\/parenthetical>\n    <dialogue>At this moment Mr. President, I am not interested in using Ellie to further my career.<\/dialogue>\n    <scene_description>When she says the word Ellie, the President studies her. He wants to speak to her as someone he can trust.<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>So what do you know about E.L.E.?<\/dialogue>\n    <scene_description>When Jenny hears the phrase E.L.E. something snaps into place. She realizes she has a card to play for the first time since she was taken here.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>I know you should have chosen a better cover story than a sick wife.<\/dialogue>\n    <scene_description>Beck looks unhappily to Entrekin.<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>You see? What did I say?<\/dialogue>\n    <scene_description>Entrekin holds up his hands, guilty as charged.<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>We always thought that the deadline for going public was the publication of the budget. We've spent more money than we could hide. But the budget comes out in two weeks. I don't suppose I can convince you to sit on this for two weeks?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>There's no such thing as two weeks in the news business.<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>And I can't appeal to your sense of what's in the nation's best interest.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I always thought the truth was in the nation's best interest.<\/dialogue>\n    <scene_description>Beck and Entrekin look at each other.<\/scene_description>\n    <character>ENTREKIN<\/character>\n    <dialogue>Should we hold her?<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>What if we went public in forty- eight hours? That's doable, isn't it?<\/dialogue>\n    <character>ENTREKIN<\/character>\n    <dialogue>It'd be very difficult.<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>If she knows, how many days before The Post or CNN break the story? This was never going to be a secret as long as you wanted it to be, Morton.<\/dialogue>\n    <parenthetical>(back to Jenny)<\/parenthetical>\n    <dialogue>If you give us two days, you get second row center at the White House press conference. And from what I know about your career, that's a promotion.<\/dialogue>\n    <scene_description>She considers this. She has to play a big card.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>I want exclusivity.<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>Now you listen to me, Ms. Lerner. This is a Presidential favor. I'm letting you go because I don't want another headache and I'm trusting you because I know what this can do for your career. Somehow, we have each other over the same barrel. But who really has the power in this room?<\/dialogue>\n    <scene_description>He's scary, and they're eye to eye. But she is still strong enough for one last volley.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>I want the first question.<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>Want?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>May I? May I have the first question?<\/dialogue>\n    <character>BECK<\/character>\n    <parenthetical>(the political pro)<\/parenthetical>\n    <dialogue>See you on Tuesday, Ms. Lerner.<\/dialogue>\n    <scene_description>38A OMIT 38A Jenny rushes into the newsroom, most of the desks are empty, save for a small news staff, the anchor out front, and a cleaning crew. She tosses her stuff down, throws herself in front of her computer, types in ELE. BEEP...BEEP! The screen comes alive with hits. Paint companies, an exterminating outfit in Atlanta, an upholsterer in Boise, a website for Ella Fitzgerald. She jumps to information on Ellesmere Island and it's snow blasted Eskimo settlements. Nothing's right. She then has a thought and types in E.L.E. The search reveals a single hit: E.L.E. -- see University of California at Berkeley, Department of Paleontology.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>What does Paleontology have to do with anything?<\/dialogue>\n    <scene_description>Next hit -- Department of Paleontology. A list of sub- headings: Invertebrate Paleontology, Vertebrate Paleontology, Oceanographic Prehistory, Hominid Paleontology (see Department of Anthropology), Extinction Studies. That stops her. She clicks on \"Extinction Studies\". Up comes a graphic with the dinosaurs and the comet, and the definition: E.L.E. -- Extinction Level Event. She clicks the hot word, \"Extinction\" and up comes: \"The act or fact of dying; death, decease, demise, dissolution, passing, quietus, rest.\" We're close on Jenny when we hear --<\/scene_description>\n    <character>BETH<\/character>\n    <dialogue>Hey, look who's working late.<\/dialogue>\n    <scene_description>Jenny is petrified, but covers.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <character>BETH<\/character>\n    <dialogue>How're we doing on Rittenhouse?<\/dialogue>\n    <scene_description>It's Beth, carrying her daughter, Caitlin, briefcase slung over one shoulder. She's on her way home.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>I... Uh... No sign of his wife, not yet, we're working on it. We'll get her.<\/dialogue>\n    <character>BETH<\/character>\n    <dialogue>Is she missing?<\/dialogue>\n    <character>JENNY'<\/character>\n    <dialogue>She's not available for comment.<\/dialogue>\n    <character>BETH<\/character>\n    <dialogue>I know it's a dull story ...<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Yeah ...<\/dialogue>\n    <character>BETH<\/character>\n    <dialogue>I'll find something more exciting for you next time.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Great.<\/dialogue>\n    <character>BETH<\/character>\n    <dialogue>Are you okay?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>BETH<\/character>\n    <dialogue>Come to dinner with us?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I have to meet my Father.<\/dialogue>\n    <character>BETH<\/character>\n    <dialogue>Then I'll see you tomorrow. Say goodnight, Caitlin...<\/dialogue>\n    <character>CAITLIN<\/character>\n    <dialogue>...'night...<\/dialogue>\n    <scene_description>What Beth hasn't seen is Jenny's computer screen: a full color and text encyclopedia page, illustrated dinosaurs, a comet, extinction.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>40A INT. HAYS ADAMS DINING ROOM - NIGHT 40A<\/stage_direction>\n    <scene_description>A great old wood paneled bar. JASON LERNER is about sixty three; an international lawyer, serious and somewhat guarded. His relationship with his daughter is civil, and terrible. CHLOE WEBBER, his new wife, is just two years older than Jenny. She is not a joke, which makes this more painful. Of course she is lovely, but she is a serious person, too, not unlike his daughter.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Here she is. Jenny...<\/dialogue>\n    <scene_description>And Jenny comes into the room, looking like she just found out the world is coming to an end. The more deeply she stares into herself, the more her father and mother-in-law read this as hatred of them. The Waiter arrives.<\/scene_description>\n    <character>WAITER<\/character>\n    <dialogue>Would you like a drink?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>A big Martini, up, big.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>I missed you yesterday. It hurt me very much that you didn't come to the wedding.<\/dialogue>\n    <character>CHLOE<\/character>\n    <parenthetical>(making peach)<\/parenthetical>\n    <dialogue>Jason, you promised. Jenny I wanted you to have something.<\/dialogue>\n    <scene_description>She hands her a blue box from Tiffany. Jenny stares at the box, as though she's never seen a present. She gives him no reaction. Indicates another round for him and Chloe. The waiter leaves. Jenny handles the box without comprehension.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Jenny, you should open the present.<\/dialogue>\n    <scene_description>Jenny opens it numbly. Two pearl earrings. She shakes her head, but not about this.<\/scene_description>\n    <character>CHLOE<\/character>\n    <dialogue>You can always exchange them if you don't like them. I know this is hard, but I want you to be happy.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Happy.<\/dialogue>\n    <scene_description>The drinks arrive. Jason lifts his glass. While Jason is talking, Jenny downs the Martini.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Alright. I want to forget about yesterday, and I want to say how important it is to me that we're together now.<\/dialogue>\n    <scene_description>But Jenny had finished her Martini in the first five words of the toast, and she's staring deep into herself.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Are we going to have an evening or not?<\/dialogue>\n    <character>CHLOE<\/character>\n    <dialogue>I know you hate me. I know you want to say something terrible to me. I know you want to ask me what my major is, or how long I've been driving, or if my mother let's me cross the street by myself. But my parents were divorced too. You have to get over it. Life goes on.<\/dialogue>\n    <scene_description>Jenny looks at her, and starts to smile, and then laughs to herself.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Life goes on.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>Dad, you have to get back with Mom. She's all alone in the world, and she needs you.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Jenny, I got married yesterday.<\/dialogue>\n    <parenthetical>(to Chloe)<\/parenthetical>\n    <dialogue>I'm sorry for the way my daughter is behaving.<\/dialogue>\n    <character>CHLOE<\/character>\n    <parenthetical>(she's not happy)<\/parenthetical>\n    <dialogue>It's not your fault.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I have to go. I'm not a bad person. I'm really not. I know you think I am and I don't hate you. I have to go.<\/dialogue>\n    <scene_description>Jenny gets up and leaves. We stay with Jason and Chloe. She picks up the earrings. AND AND 40C 40C OMIT THRU THRU<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WHITE HOUSE EARLY EVENING<\/stage_direction>\n    <scene_description>The press corps is in full force. Reporters every ten feet, each with a backdrop of the White House. We TRACK ALONG, hearing them all say essentially the same thing.<\/scene_description>\n    <character>BRENT HUME<\/character>\n    <dialogue>President Beck begins his address in fifteen minutes...<\/dialogue>\n    <character>COKEY ROBERTS<\/character>\n    <dialogue>The White House has maintained a complete blackout on the purpose of tonight's speech...<\/dialogue>\n    <character>FRENCH REPORTER<\/character>\n    <dialogue>Le President a demande ace que les televisions du monde entier...<\/dialogue>\n    <character>AFRICAN REPORTER<\/character>\n    <dialogue>Hotuba itatafsiriwa kwa lugha mia moja na ishirnini...<\/dialogue>\n    <scene_description>WHITE HOUSE PRESS ROOM - NIGHT Jenny shoves her way through the tangle of reporters and cameras, makes her way slowly. Uncertain where to go.<\/scene_description>\n    <character>BETH<\/character>\n    <dialogue>Jenny...?<\/dialogue>\n    <scene_description>Beth coming through the crowd. Shocked to see Jenny.<\/scene_description>\n    <character>BETH<\/character>\n    <dialogue>What are you doing here?<\/dialogue>\n    <scene_description>Beth stares down at Jenny's White House credentials.<\/scene_description>\n    <character>BETH<\/character>\n    <dialogue>Stuart sent you without telling me?<\/dialogue>\n    <character>JENNY<\/character>\n    <parenthetical>(trapped)<\/parenthetical>\n    <dialogue>No, I a... I was going to talk to you about this but...<\/dialogue>\n    <character>BETH<\/character>\n    <parenthetical>(she's pissed)<\/parenthetical>\n    <dialogue>If Stuart thinks he can push me out of the White House after all these years --<\/dialogue>\n    <character>ENTREKIN<\/character>\n    <dialogue>Ms. Lerner?<\/dialogue>\n    <scene_description>Morton Entrekin interrupts, takes Jenny's arm.<\/scene_description>\n    <character>ENTREKIN<\/character>\n    <dialogue>Hi, Beth...<\/dialogue>\n    <scene_description>Pulls her to the front of the room. Beth is left behind, stunned. Watching them go. Jenny steals a look back.<\/scene_description>\n    <character>ENTREKIN<\/character>\n    <dialogue>He'll find you for the first question, after that, you're on your own.<\/dialogue>\n    <scene_description>Entrekin rips a \"Reserved\" sign off a chair dead center. Plops the dazed Jenny into it and is gone. All around her, seasoned reporters stare; Hume, Roberts, Thomas, Lowenstall. But nobody's staring harder than Beth, taking her seat three rows back on the side.<\/scene_description>\n    <character>STOFSKY<\/character>\n    <dialogue>Ladies and gentlemen, ladies and gentlemen...please!<\/dialogue>\n    <scene_description>It's the Press Secretary, standing at the lectern in front of the White House seal, trying to get their attention.<\/scene_description>\n    <character>STOFSKY<\/character>\n    <dialogue>The President will begin by addressing the nation. Please hold your questions until he's finished his remarks.<\/dialogue>\n    <scene_description>The room quiets as cameras swing to find President Beck and his entourage entering.<\/scene_description>\n    <character>STOFSKY<\/character>\n    <dialogue>Ladies and gentlemen, the President of the United States.<\/dialogue>\n    <scene_description>Still cameras WHIR, electronic flashes POP. Beck takes the stage, smiles warmly to the assembled.<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>Hello everybody.<\/dialogue>\n    <character>ASST DIRECTOR<\/character>\n    <dialogue>Ten seconds Mr. President...<\/dialogue>\n    <scene_description>Beck finds Jenny. Nods. Straightens himself up.<\/scene_description>\n    <character>ASST DIRECTOR<\/character>\n    <dialogue>Five...four...<\/dialogue>\n    <scene_description>Counts down the last three on his fingers.<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>Good evening. A few minutes ago, the United States Ambassadors to every country in the world told the leaders of those nations what I am about to tell you. It's complicated and it's going to take a little time, so I hope you'll bear with me and listen to what I have to say. A little over eight months ago two American astronomers, Marcus Wolf and Leo Biederman, working alone on a mountaintop in Arizona, saw something in the night sky that gave them great concern.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>46A INT. BIEDERMAN HOUSE - NIGHT 46A<\/stage_direction>\n    <scene_description>The Biederman family is watching.<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>Nobody say anything.<\/dialogue>\n    <character>BECK (ON TV)<\/character>\n    <dialogue>They saw a comet, and the comet was, well, there was a remote possibility that the comet was on a path that could bring it into direct contact with the Earth.<\/dialogue>\n    <scene_description>MSNBC NEWSROOM - NIGHT The President's on every monitor, but the newsroom EXPLODES. People leap for phones and computers, it's bedlam.<\/scene_description>\n    <character>STUART<\/character>\n    <dialogue>We need astronomers, astrophysicists, geologists, climatologists!<\/dialogue>\n    <character>IRA MOSKATEL<\/character>\n    <dialogue>Where the hell is Science!?<\/dialogue>\n    <character>MARIANNE<\/character>\n    <dialogue>Paris, London, Tokyo, Tel Aviv... everywhere, hell yes!<\/dialogue>\n    <scene_description>The CAMEP A roams through the chaos.<\/scene_description>\n    <character>WORTH<\/character>\n    <dialogue>Who was that guy at Berkeley, did the Hale-Bopp stand-ups?<\/dialogue>\n    <character>IRA MOSKATEL<\/character>\n    <dialogue>And graphics, I need graphics!<\/dialogue>\n    <scene_description>The President continues, teleprompter feeding him his words.<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>Now, we get hit every day by rocks and meteors, some of them are the size of cars and some of them the size of your hand. But the comet we discovered is the size of New York City from Central Park to the tip of the Island, about seven miles long. Put another way, the comet is larger than Mount Everest, and weighs five hundred billion tons.<\/dialogue>\n    <scene_description>The room stirs, reporters stare at each other. Jenny's rapt, she knew the punch line, but not the joke.<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>Chances are, this thing will miss us, because comets aren't on railroad tracks, they're sliding and side-slipping through space. But this one is too big for us to just cross our fingers and hope it scoots on by. So tonight, I want to tell you what I can about what we're doing to take care of the comet before there's even a chance it might hit us. And if the grown- ups of the world don't mind, right now I want to talk to the children of the world.<\/dialogue>\n    <scene_description>NEIGHBORHOOD CHICAGO BAR - NIGHT Everyone watches as the speech continues. The BARTENDER reaches for a bottle of the oldest scotch on the shelf and starts to pour tall drinks without comment. A SMOKER reaches into his pocket and takes out a full pack of cigarettes. He blithely holds it open and EVERYONE at the bar reaches for one. WHITE HOUSE PRESS ROOM - NIGHT The President walks to a large monitor on stage with him. Projected on the TV, we see a NASA film about the comet.<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>Comets begin far out in space. They're what's left over from the creation of the solar system after the planets were formed, billions of years ago.<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>These chunks of space debris are in an orbit around the sun, very much like our own, but every now and then; one of them is bumped, a bit like a billiard ball<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>on a pool table, and it gets knocked into a new orbit.<\/dialogue>\n    <scene_description>MSNBC NEWSROOM - NIGHT People are screaming on the phones. A few are in shock, still watching the set, Bobby's one of them.<\/scene_description>\n    <character>MARIANNE<\/character>\n    <dialogue>We've got stand-ups on line; Beijing, Rome, San Paulo, Cairo, Berlin...<\/dialogue>\n    <parenthetical>(yelling out)<\/parenthetical>\n    <dialogue>Anybody know how big the one was that wiped out the dinosaurs!<\/dialogue>\n    <scene_description>A musician sets up a portable keyboard to begin composing, Worth frantically gives him instructions.<\/scene_description>\n    <character>WORTH<\/character>\n    <dialogue>Something majestic, mysterious, with a fanfare for intros and a theme for longer promos ...<\/dialogue>\n    <scene_description>The CAMERA finds Stuart and Ira hunched over a computer monitor with a graphic artist working on a comet graphic.<\/scene_description>\n    <character>STUART<\/character>\n    <dialogue>It's hitting the goddamn earth!<\/dialogue>\n    <character>IRA<\/character>\n    <dialogue>That's what he's saying!<\/dialogue>\n    <character>STUART<\/character>\n    <dialogue>It'll scare the shit outta everybody!<\/dialogue>\n    <scene_description>NEW YORK CITY - NIGHT The streets are alive with people, people pouring outside, some with binoculars and long lenses on their cameras, everyone looking up, to see the comet. WHITE HOUSE PRESS ROOM - NIGHT<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>Now, if the comet passes around the sun and were to hold to it's present course, then sometime on August 16, 2000 there's a chance we might have an impact.<\/dialogue>\n    <scene_description>Jenny's sitting there with her notebook, what's she going to say when the time comes?<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>So for the past eight months, the United States and Russia have been building the largest spaceship ever constructed; it's being built in orbit around the earth. We call it the Messiah. I want to emphasize that some scientists argued that there was no reason to spend the time and money to intercept something that probably won't hit us, but we decided not to take that risk. And right now, a team of American astronauts, and one Russian, are at Cape Canaveral in Florida. In two months they will leave on the Shuttle to board the Messiah; this is the crew that will stop the comet.<\/dialogue>\n    <scene_description>CANAVERAL SHUTTLE PREP BUILDING - NIGHT Five men and one woman in new flight suits.<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>I'd like the world to meet some extraordinary people. First is Mission Commander Oren Monash. Commander, would you introduce us to your Team?<\/dialogue>\n    <character>MONASH<\/character>\n    <dialogue>It'd be an honor, sir. Executive Officer Andrea Baker, Navigator Mark Simon, Medical Officer Gus Partenza, from Russia, Nuclear Specialist Colonel Mikhail Tulchinsky, and Rendezvous Pilot Spurgeon Tanner.<\/dialogue>\n    <scene_description>BAKER has the relaxed confidence of a woman who has never failed at anything. SIMON is black, military. TULCHINSKY, being Russian, shows his life on his face, every woman, every smile, every heart-break.<\/scene_description>\n    <character>ASTRONAUTS<\/character>\n    <dialogue>Hello, Mr. President.<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>Captain Tanner, you flew six Shuttle Missions and were the last man to walk on the moon, weren't you sir?<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>Yes, sir. But Oren will be doing most of the flying on this one. I'll just be taking us down to the comet surface.<\/dialogue>\n    <scene_description>Monash is smiling for the camera, but something's going on behind his eyes. Jealousy? Pride? Frustration?<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>It's good to know we're going to have your kind of experience up there. Godspeed to you all. We're counting on you.<\/dialogue>\n    <scene_description>The cameras' red lights go dark at the Cape. The astronauts drop their public personas, pull off their mikes.<\/scene_description>\n    <character>MONASH<\/character>\n    <dialogue>Goddamn dog and pony show.<\/dialogue>\n    <scene_description>Monash shoots a look to Tanner, starts off.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Are we having a problem, son?<\/dialogue>\n    <character>MONASH<\/character>\n    <dialogue>...No problem...<\/dialogue>\n    <scene_description>But he doesn't look back. Tanner watches him go. WHITE HOUSE PRESS ROOM - NIGHT Beck's back at his podium.<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>I want to let the children know that you're going to hear a lot of people worrying about this. Some of your Moms and Dads, grandparents, even your big brothers and sisters... well, they might be scared. So I'm telling you to tell them, everything is going to be okay. I promise.<\/dialogue>\n    <scene_description>UNIVERSAL CITY WALK - DAY The big TV screen, the President. People pour out of the Cineplex to watch as the word spreads. WHITE HOUSE PRESS ROOM - NIGHT Beck drops the smile he'd used for the kids, looks directly into CAMERA, suddenly hard, tough.<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>Now I want to talk to the grownups. We know that the threat of an apocalypse is going to give some people an excuse for lawlessness. As of this evening, I've placed the National Guard and the Army on full alert.<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>We will not tolerate any disruption of our way of life. Our society will continue as normal. Work will go on. You will pay your bills.<\/dialogue>\n    <scene_description>As the CAMERA moves in slowly on Beck, Jenny shifts in her seat, preparing for the biggest moment of her life.<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>There will be no hoarding. There will be no sudden profiteering. I am freezing all wages, all prices. I have instructed the Secretary of the Treasury to close the nation's financial markets. All stock, bond, interest and commodity rates, all currency exchange rates and precious metal prices will remain fixed at today's prices. What a bottle of water cost you yesterday, it will cost you tomorrow. Anyone selling something for more than it cost this morning will be arrested. Anyone rioting, anyone looting, anyone.., well, that person is going to be shot on sight.<\/dialogue>\n    <parenthetical>(let's it sink in)<\/parenthetical>\n    <dialogue>Now I'll take a few questions.<\/dialogue>\n    <scene_description>All hands shoot up in the air, questions are shouted. The sound of Nikon MOTORS and SHUTTERS is like jungle noise in a Tarzan movie. Jenny tries to be heard, but she's a novice, buried by the regulars.<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>Ms. Lerner?<\/dialogue>\n    <scene_description>Who? The press room regulars look around. Jenny. It's her moment in the sun, she stands.. Man, is she nervous.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Jenny Lerner, MSNBC. Mr. President, why wasn't the announcement made sooner?<\/dialogue>\n    <scene_description>MSNBC NEWSROOM - NIGHT Chaos reigns, anchors move into place, ready themselves for when the press conference ends. But Stuart's head has snapped around to stare at the screen, his mouth open.<\/scene_description>\n    <character>MARIANNE<\/character>\n    <dialogue>Jenny Lerner?<\/dialogue>\n    <character>IRA<\/character>\n    <dialogue>Son of a bitch...<\/dialogue>\n    <scene_description>But Eric and Bobby are grinning in back, loving it. WHITE HOUSE PRESS ROOM - NIGHT<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>Until we knew that a rocket could be built and the comet intercepted, there was no reason to alarm the planet.<\/dialogue>\n    <scene_description>Beth's staring at the back of Jenny's head, if she had an ice pick she'd bury it in her scrawny skull. Everyone raises their hands for the next question, yelling.<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>You have another question, Ms. Lerner?<\/dialogue>\n    <scene_description>She didn't really. She fumbles nervously. The press corp's near mutiny, the fix is in and they know it. OMIT AND AND 60A 60A<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>60B INT. ROBIN'S MAGAZINE OFFICE - NIGHT 60B<\/stage_direction>\n    <scene_description>Robin and her STAFF, putting their magazine together, watching Jenny on TV as she asks a question. Some look from Robin to the set and back, as she is comprehending that her daughter has just moved up in the world.<\/scene_description>\n    <character>JENNY (ON TV)<\/character>\n    <dialogue>Is there a connection between the comet and the recall of American troops from abroad?<\/dialogue>\n    <scene_description>Beck's not happy with that question.<\/scene_description>\n    <character>BECK (ON TV)<\/character>\n    <dialogue>Our fighting men and women are coming home because we felt it prudent in light of domestic security concerns, to have them available, although I certainly hope we don't need to use them.<\/dialogue>\n    <parenthetical>(looks for next question)<\/parenthetical>\n    <dialogue>Joy and Robin share a smile, her mother's daughter.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>60C INT. JASON'S APARTMENT - NIGHT 60C<\/stage_direction>\n    <scene_description>Jason and Chloe watch Jenny on TV.<\/scene_description>\n    <character>JENNY (ON TV)<\/character>\n    <dialogue>Mr. President! Sir! One final question!<\/dialogue>\n    <scene_description>Now they understand why she was behaving so strangely at the bar. AND AND 61A 61A WHITE HOUSE PRESS ROOM - NIGHT Beck smiles, points to her again. Now it's not only Beth, the entire Press Corp's sharpening their long knives.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>MSNBC has learned that Secretary Rittenhouse did not leave for the reasons your administration announced. Isn't it true sir, that not everyone in your administration is convinced that the Messiah will save us?<\/dialogue>\n    <scene_description>Beck gives Jenny a hard look.<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>Secretary Rittenhouse served this country with full devotion, and resigned for personal reasons. We have more important things before us than to consider the petty soap opera of Washington. I promise you, Ms. Lerner, and all of you, those in this room and those hearing my voice, that all of us, at some point in the next eight months, will entertain our worst fears and concerns. But I promise you, life will go on. We shall prevail. There will be no Armageddon!<\/dialogue>\n    <scene_description>The questions erupt again. Beck nods to Jenny, she smiles, sits. This part of their deal concluded.<\/scene_description>\n    <character>BECK<\/character>\n    <parenthetical>(pointing)<\/parenthetical>\n    <dialogue>David.<\/dialogue>\n    <character>REPORTER<\/character>\n    <dialogue>Exactly when and how was the comet discovered?<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>Two scientists searching the skies found the comet and while racing from their observatory to alert the world, were killed in a car crash. That was thirteen months ago. It took another five months for their papers to be discovered.<\/dialogue>\n    <scene_description>The questions erupt again.<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>Sally?<\/dialogue>\n    <character>ANOTHER REPORTER<\/character>\n    <dialogue>Sir, what's the comet's name?<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>Since Marcus Wolf and his colleague Leo Biederman discovered the comet we named it for them: Wolf- Biederman.<\/dialogue>\n    <scene_description>BIEDERMAN HOUSE - NIGHT Leo and his family watch in their suburban living room. His father, DON. Mother, ELLEN. Little sister, JANE.<\/scene_description>\n    <character>DON BIEDERMAN<\/character>\n    <dialogue>Leo Biederman?<\/dialogue>\n    <scene_description>They watch in shock. Their phone begins to RING.<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>He means you doesn't he?<\/dialogue>\n    <character>REPORTER (ON TV)<\/character>\n    <dialogue>How much notice did you give other world leaders?<\/dialogue>\n    <character>ELLEN<\/character>\n    <dialogue>Shhh... I'm trying to listen!<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>Our ambassadors were given briefing papers this afternoon, and instructed to convey them to their host countries. The Russians, with their expertise in nuclear propulsion systems, were told last year.<\/dialogue>\n    <scene_description>Now the DOORBELL joins the phone that's still RINGING. Jane looks at all the grown-ups not answering either, confused. Hops off the couch, heads for the front door. On the TV, President Beck concludes the questioning.<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>Thank you all.<\/dialogue>\n    <scene_description>Beck steps back from the podium, heads for the door as reporters continue to SHOUT questions. Six year old Jane stands beside Leo.<\/scene_description>\n    <character>JANE<\/character>\n    <dialogue>The front door's for you.<\/dialogue>\n    <scene_description>Leo turns away from the set, walks to the still open front door, still in shock. It's Sarah, breathless. Excited.<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>I'm not dead.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Dr. Wolf? From astronomy club?<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>I think maybe so.<\/dialogue>\n    <scene_description>Leo looks past her to the residential street and a crowd outside. The Hotchners are on the lawn behind Sarah.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>I think it's neat. Nobody on our block ever discovered the world was going to end before.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>It's not going to end.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Well it's still really neat.<\/dialogue>\n    <scene_description>OMIT It's clearing out, fast. TV rushing to stand-ups. Print phoning copy desks. Jenny stands, still at her place in the second row of the now almost empty room. Savoring it, this moment, everything she's worked for. Turns. Beth's there. Doesn't say anything. Turns, and walks away. Leaving Jenny alone. Jenny wants to feel ashamed, or guilty. But she doesn't. She's where she's always wanted to be. OMIT THRU THRU 67A LEO'S SCHOOL AUDITORIUM - DAY 67A Everyone is cheering and clapping for Leo on stage. Mr. Perry's there moderating. Leo's parents. The local press is in full force. Sarah's with her girlfriends.<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>It was really just luck, I guess, that I found it. Anyone could have. As far as we know, what happened was that Dr. Wolf saw the comet in my photograph so he shared the discovery with me. Then he was killed in that crash and everything got mixed up in Washington so the President thought I was dead too.<\/dialogue>\n    <character>KID<\/character>\n    <dialogue>How does it make you feel having your name on it?<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Well, I don't want anyone to think that I'm trying to take something away from Dr. Wolf, because, you know... I'm not.<\/dialogue>\n    <scene_description>One of Sarah's friends nudges her, shows her a Newsweek: Leo on the cover with his telescope.<\/scene_description>\n    <character>STUDENT<\/character>\n    <dialogue>Are you sorry you found it?<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>No. If I hadn't taken that picture of the comet, and it hadn't gone to Dr. Wolf at the observatory, who knows what would have happened?<\/dialogue>\n    <scene_description>Sarah leans forward, calls out a question.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Are you scared?<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>I have a history test tomorrow. I'm scared of that.<\/dialogue>\n    <scene_description>Appreciative laughter and applause from the student audience and the press. Another kid, a smartass showing off.<\/scene_description>\n    <character>HAROLD<\/character>\n    <dialogue>You know you're going to have sex a lot more now than anyone else in our class.<\/dialogue>\n    <scene_description>That gets a chorus of adolescent HOOTS and APPLAUSE.<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>Really?<\/dialogue>\n    <scene_description>Perry intercedes good-naturedly.<\/scene_description>\n    <character>PERRY<\/character>\n    <dialogue>Thanks for your sexual insight Mr. Thurman, you can sit down now.<\/dialogue>\n    <scene_description>But all the attention only spurs the kid on.<\/scene_description>\n    <character>HAROLD<\/character>\n    <dialogue>Famous people always get sex, Mr. Perry. That's one of the main reasons it's good to be famous.<\/dialogue>\n    <scene_description>More applause, Perry smiles, Harold takes a bow to his adoring peers. Leo sneaks a look out to Sarah. She's smiling back. All this talk about sex. Her friends notice, grin. Sarah notices them noticing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>68A INT. MILITARY BAR - NIGHT 68A<\/stage_direction>\n    <scene_description>Simon, Tulchinsky, Monash, Baker, and Partenza are sitting at a table in a crowded military bar. The juke box is playing. The Astronauts are deep in a somewhat drunken huddle. Monash is upset.<\/scene_description>\n    <character>MONASH<\/character>\n    <dialogue>Frank Gifford was a great football player, but I'd bust his ass if he played against me now.<\/dialogue>\n    <character>PARTENZA<\/character>\n    <dialogue>I wish I'd been to the moon, I respect everyone who went there, but this isn't the moon.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>All of his training was for a stable surface, the moon didn't have two pound dust particles ejecting at three hundred feet a second.<\/dialogue>\n    <character>MONASH<\/character>\n    <dialogue>This isn't about ego.<\/dialogue>\n    <character>BAKER<\/character>\n    <dialogue>Of course it is, it's all about ego... but sometimes the ego is right. '<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>And dust particles...<\/dialogue>\n    <character>PARTENZA<\/character>\n    <parenthetical>(drunker than the others)<\/parenthetical>\n    <dialogue>The moon, the moon, the moon wasn't spinning when he landed on it, the moon didn't have a fourteen hour rotay... Rotational period, seven hours of sun, seven hours of darkness, it was light all the time when he landed on the moon. He could see. We're not going to be able to see.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>You can't see now anyway.<\/dialogue>\n    <character>TULCHINSKY<\/character>\n    <dialogue>Don't worry...<\/dialogue>\n    <parenthetical>(in Russian)<\/parenthetical>\n    <dialogue>We can do it.<\/dialogue>\n    <character>BAKER<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>TULCHINSKY<\/character>\n    <dialogue>We can do it.<\/dialogue>\n    <scene_description>And then we hear a familiar Voice.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>I woke up this morning and I realized that none of you want me here. You don't even really know who I am. I walked on the moon, but I didn't belong to you. I belonged to your Daddies. Now, if I ask you to ask your Daddies what I meant to them, to explain to you what I'm doing here, that's only going to make things worse. So what do we do?<\/dialogue>\n    <character>MONASH<\/character>\n    <dialogue>You haven't trained for this mission. We respect you...<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>I appreciate that...<\/dialogue>\n    <character>MONASH<\/character>\n    <dialogue>But you're here...you're here because the powers that be think we need someone familiar on the trip. You're here for public relations.<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>I'm here because the powers that be know that I am the only one on this mission who has ever landed on the moon and I have five hundred landings on aircraft carriers...<\/dialogue>\n    <character>MONASH<\/character>\n    <dialogue>We've trained...<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>On flight simulators. And this is not a video game, son.<\/dialogue>\n    <scene_description>LEO'S HOUSE - NIGHT Leo's little sister JANE changes the channel on the TV. On every station there's a comet graphic, some in the manner of Chuck Jones, others are Soviet Realism, Moebius, computer enhanced photos of the real thing. This is all that anyone is watching or talking about. She lands on a documentary.<\/scene_description>\n    <character>NARRATOR<\/character>\n    <dialogue>Fifty thousand years ago, a 300,000 ton meteor landed here in Arizona.<\/dialogue>\n    <character>JANE<\/character>\n    <dialogue>I want Xena! Where's Xena?<\/dialogue>\n    <scene_description>The phone's RINGING. Ellen answers it.<\/scene_description>\n    <character>ELLEN<\/character>\n    <dialogue>Jane, please, it's not on anymore,<\/dialogue>\n    <character>NARRATOR<\/character>\n    <dialogue>The Tunguska River, Siberia, in 1908, trees fell for 30<\/dialogue>\n    <scene_description>(into phone) miles... A railroad engineer No... I don't think 300 miles away had to stop so, he really can't. his train because the tracks were shaking, and were hot DON BIEDERMAN to the touch. All of this Who is it? caused by a meteor only two hundred feet wide.<\/scene_description>\n    <character>ELLEN<\/character>\n    <dialogue>Primetime Live again.<\/dialogue>\n    <dialogue>Jane changes channels to find POLITICALLY INCORRECT.<\/dialogue>\n    <character>BILL MAHER (ON TV)<\/character>\n    <dialogue>Is the sky really falling? Do we really think the world is coming to an end? And how can we trust Russian nuclear rockets when the Russians can't figure out how to get phones to work in Moscow?<\/dialogue>\n    <character>GOLDTHWAITE<\/character>\n    <dialogue>I love the comet! I want to die! I want everyone to die! You know how you hate it when you leave the room and you know everyone is going to talk about you? That's one problem that the comet's going to take care of!<\/dialogue>\n    <character>BILL MAHER<\/character>\n    <dialogue>I think they only say lovely things about me.<\/dialogue>\n    <character>GOLDTHWAITE.<\/character>\n    <dialogue>Leave the room.<\/dialogue>\n    <scene_description>Changes channels again. LETTERMAN.<\/scene_description>\n    <character>DAVID LETTERMAN<\/character>\n    <dialogue>A drum roll. So here it is, tonight's top ten list: the ten things you'll miss least when the world ends. Ten, Broccoli. Nine, Iraq. Eight, commercials for Grey Poupon...<\/dialogue>\n    <scene_description>And again:<\/scene_description>\n    <character>CHARLIE ROSE (ON TV)<\/character>\n    <dialogue>The Messiah Mission, too little too late? Not all scientists agree with NASA's plan for destroying the comet.<\/dialogue>\n    <scene_description>(CONTINUED}:<\/scene_description>\n    <character>CHARLIE ROSE (ON TV)<\/character>\n    <dialogue>Joining us tonight are Morton Entrekin, from FEMA, and from The University of Arizona's Interplanetary Sciences Department Dr.s Gene and Carolyn Shoemaker --<\/dialogue>\n    <scene_description>SARAH'S HOUSE - NIGHT Sarah and her folks watch, Vicky now pregnant.<\/scene_description>\n    <character>CHARLIE ROSE (ON TV)<\/character>\n    <dialogue>Mr. Entrekin, the Shoemaker's have been critical of the science suggesting that this mission is feasible or necessary.<\/dialogue>\n    <scene_description>During this Sarah gets up and walks to the front door.<\/scene_description>\n    <character>CHUCK HOTCHNER<\/character>\n    <dialogue>Where are you going?<\/dialogue>\n    <character>ENTREKIN (ON TV)<\/character>\n    <dialogue>Every scientific endeavor has risks Gene.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Out front. GENE (ON TV)<\/dialogue>\n    <scene_description>The margin of error on the CHUCK HOTCHNER comet's trajectory suggests It's midnight. that it could easily miss us by a tenth of an SARAH astronomical unit, that's I don't think there's ten million miles. anyone in the world who isn't watching ENTREKIN (ON TV) television. I want to Are you suggesting we just be the only one who's wait and pray? outside.<\/scene_description>\n    <character>CAROLYN (ON TV)<\/character>\n    <dialogue>The comet is traveling at a hundred thousand miles an hour. The Messiah has to catch up, hold onto it, set the bombs, and get off. We've never attempted anything remotely this complex in space.<\/dialogue>\n    <scene_description>LEO AND SARAH'S STREET - NIGHT Sarah comes out of her house. The street is deserted, TVs dance in every living room window. A SOUND. Wheels on pavement. Leo rollerblades across the street under the streetlight.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Hi...<\/dialogue>\n    <scene_description>Leo stops, smiles. Watches her approach.<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>You're not watching TV?<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>They just keep saying the same things.<\/dialogue>\n    <scene_description>She stares above her at the stars.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>It looks so peaceful.<\/dialogue>\n    <scene_description>A beat as he joins her staring at the night sky.<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>The only reason I joined astronomy club was because of you.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>You liked the stars and I figured if you liked them they must be worth looking at.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>That's so nice.<\/dialogue>\n    <scene_description>This is too close for them, too emotional.<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>We got invited to the White House.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Of course. You're an important person now.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>We're going to see the launch with the President. My whole family.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>That's so neat.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <scene_description>She smiles, he can be very disarming.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>You've changed.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>No, I haven't.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Your braces.<\/dialogue>\n    <character>LEO<\/character>\n    <parenthetical>(he grins, no braces)<\/parenthetical>\n    <dialogue>I got them off today.<\/dialogue>\n    <scene_description>They don't know what to say. Look up again to the stars. OMIT<\/scene_description>\n    <character>WOLF-BIEDERMAN INTERCEPTION 9 MONTHS 7 DAYS, 4 HOURS 12<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>72A EXT. HEFTER'S RANCH HOUSE - DAY (OLD SCENE 74) 72A<\/stage_direction>\n    <scene_description>A pleasant house near Houston. The backyard is filled with about FORTY PEOPLE, THE ASTRONAUTS, THEIR FAMILY, including their PARENTS and their CHILDREN. Running around are TEN OR TWELVE CHILDREN. The CAMERA tracks through the cluster of people, and we hear packets of conversation. The mood, fueled by beer and chips, is happy. Music plays in the backyard speakers. MIKHAIL TULCHINSKY is with TWO VERY PRETTY WOMEN.<\/scene_description>\n    <character>PRETTY WOMAN<\/character>\n    <dialogue>A nuclear reactor in space? Isn't that dangerous?<\/dialogue>\n    <character>TULCHINSKY<\/character>\n    <dialogue>No, no, no. This is all Russian design, Russian science, the same people who designed Chernobyl.<\/dialogue>\n    <scene_description>He waits for the response he wanted, horror.<\/scene_description>\n    <character>TULCHINSKY<\/character>\n    <dialogue>Well, Chernobyl almost worked.<\/dialogue>\n    <scene_description>And the camera goes to: SIMON and his fiancee, WENDY. She's showing off her diamond ring to another GROUP OF WIVES AND FRIENDS.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Wendy, I'm going to marry you, but the day we get back I can't just go to the church.<\/dialogue>\n    <character>WENDY<\/character>\n    <dialogue>The church will come to you, Simon. You're all invited.<\/dialogue>\n    <scene_description>The camera finds GUS PARTENZA, with ANDREA BAKER, and her husband, DAVID, and their toddlers, BRITTANY and ALICIA. David holds the squirming Brittany.<\/scene_description>\n    <character>DAVID<\/character>\n    <dialogue>What happens when you set off the bombs?<\/dialogue>\n    <scene_description>Baker tries to answer, but Brittany squirms away.<\/scene_description>\n    <character>BAKER<\/character>\n    <dialogue>Well, as, long as we plant the bombs... We have seven hours... Brittany! Brittany, come back here... As long as we plant the bombs and... Brittany...<\/dialogue>\n    <scene_description>Partenza answers for her.<\/scene_description>\n    <character>PARTENZA<\/character>\n    <dialogue>We have seven hours to plant the bombs and get off the surface before the sun heats it up.<\/dialogue>\n    <scene_description>We leave them and find Monash and his wife MARIETTE. He is seated, she is standing and he is talking to the Baby in her very large belly. As he narrates, he follows the curvature of her belly to her breasts.<\/scene_description>\n    <character>MONASH<\/character>\n    <dialogue>Oren Junior! Here are your orders: upon your first entering into earth's atmosphere, proceed directly along the exterior of the mothership to the twin storage tanks for refueling.<\/dialogue>\n    <character>MARIETTE<\/character>\n    <dialogue>He's not a rocket-ship... he's a Baby, Oren, your Baby, our Baby.<\/dialogue>\n    <character>MONASH<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>They kiss. Brittany, free again, runs past us leading the camera to Tanner, talking to his two grown sons, DWIGHT and STEVE. They're both in uniform.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>When my father went to war in 1942, he didn't see me or your grandmother for three years. I was eight when he left. You boys were what, four and six when I went to the moon?<\/dialogue>\n    <parenthetical>(they nod)<\/parenthetical>\n    <dialogue>You saw me go into space seven times, didn't you?<\/dialogue>\n    <character>DWIGHT<\/character>\n    <dialogue>Yessir...<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>And I came back every time, didn't I?<\/dialogue>\n    <character>TANNER (CONT' D)<\/character>\n    <parenthetical>(they nod)<\/parenthetical>\n    <dialogue>Your mother and I used to play a game when she was still alive. The game was, if there was a chance I might not be coming back, she wouldn't say it, and I wouldn't say it. But this time, I want to say it to you.<\/dialogue>\n    <character>TANNER (CONT' D)<\/character>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>This time I probably won't be coming back. You know that?<\/dialogue>\n    <character>SONS<\/character>\n    <parenthetical>(quietly)<\/parenthetical>\n    <dialogue>...Yessir...<\/dialogue>\n    <scene_description>The three men stare at each other. Don't see Mitch Hefter come up behind them.<\/scene_description>\n    <character>HEFTER<\/character>\n    <dialogue>Another beer?<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>Thanks. You remember my boys don't you, Mitch?<\/dialogue>\n    <character>HEFTER<\/character>\n    <parenthetical>(handshakes all around)<\/parenthetical>\n    <dialogue>Sure I do...<\/dialogue>\n    <scene_description>A LITTLE GIRL SNAPS their picture.\u00b7 Tanner smiles, wraps an arm around his two boys.<\/scene_description>\n    <character>HEFTER<\/character>\n    <dialogue>What'd you think of the crew?<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>Heroes all. The finest group I've ever had the privilege of serving with.<\/dialogue>\n    <character>HEFTER<\/character>\n    <dialogue>Off the record.<\/dialogue>\n    <scene_description>Tanner looks to his sons, then:<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>They've been trained in ways I'll never understand.\u00b7 They're smarter and in better shape than we ever were in the old days. They're sober, they're serious.<\/dialogue>\n    <character>TANNER<\/character>\n    <parenthetical>(looks to his sons)<\/parenthetical>\n    <dialogue>I guess I'd be a little happier about this whole thing if I thought that any of them were as scared as I am.<\/dialogue>\n    <character>HEFTER<\/character>\n    <dialogue>They're not afraid of dying, they're afraid of screwing up on TV.<\/dialogue>\n    <scene_description>Two CATERERS wheel out an immense cake in the shape of the earth. People APPLAUD, the children are dazzled.<\/scene_description>\n    <character>HEFTER<\/character>\n    <dialogue>Fish, would you do the honor?<\/dialogue>\n    <scene_description>We see that Monash is uncomfortable with Tanner getting the spotlight. Mariette settles him. Tanner raises the knife to the cake. A few people with cameras are ready to snap the picture. He hesitates. Hefter motions with his hand: Cut the cake. Tanner raises the knife. He can't.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Is this supposed to be a joke? Cutting up the earth, is that supposed to give us good luck?<\/dialogue>\n    <character>HEFTER<\/character>\n    <dialogue>Fish, do it for the kids.<\/dialogue>\n    <scene_description>We see how desperately the children want the cake. They've surrounded Tanner. Everyone is watching him. He takes the knife and uses it like a trowel, smearing the icing until everything is a swirl. He looks to the children.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>You know what this is?<\/dialogue>\n    <scene_description>A Kid shakes his head, no, very soberly.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>It's the comet. And what do we do to comets?<\/dialogue>\n    <scene_description>He plunges a hand into the comet, and the children do the same, laughing. Hefter gives him a look, and the Astronauts are unhappy with his sudden mania. Tanner sees the earth destroyed, the coast lines wrecked. OMIT<\/scene_description>\n    <character>WOLF-BIEDERMAN...INTERCEPTION 8 MONTHS 9 DAYS, 6 HOURS, 1<\/character>\n    <scene_description>OMIT THRU THRU<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>81A INT. WHITE HOUSE OVAL OFFICE - NIGHT 81A<\/stage_direction>\n    <scene_description>The President, Entrekin, aides, Leo, and the Biedermans, watch the Shuttle launch on TV. Jenny's on a stand-up in front of a large NASA wall mural.<\/scene_description>\n    <character>JENNY (ON TV)<\/character>\n    <dialogue>We're now only minutes away from the launch of the Shuttle Atlantis<\/dialogue>\n    <character>JENNY (ON TV)<\/character>\n    <dialogue>and the beginning of the historic Messiah Mission...<\/dialogue>\n    <character>HEFTER (VO)<\/character>\n    <dialogue>Okay, all flight controllers, we're at T minus 3 minutes and counting... give it a close look.<\/dialogue>\n    <character>CAPCOM COLWELL<\/character>\n    <dialogue>APU's look good, LOX and LH2 are pressurized.<\/dialogue>\n    <scene_description>A shot of the Atlantis on its pad. The President makes his way to a glass jar of M&amp;Ms and grabs a handful.<\/scene_description>\n    <character>TIM (VO)<\/character>\n    <dialogue>Who's voice are we hearing now, Jenny?<\/dialogue>\n    <character>JENNY (VO)<\/character>\n    <dialogue>Tim, that's Flight Director Mitch Hefter, former Gemini and Apollo astronaut...<\/dialogue>\n    <scene_description>Leo tries to concentrate on the TV but can't help staring at his surroundings, the Presidential Seal, the desk.<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>Who's your book agent, Leo?<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Sir?<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>You're writing a book about this aren't you?<\/dialogue>\n    <character>LEO<\/character>\n    <parenthetical>(not sure where the leader of the Free World and the Commander in Chief is going)<\/parenthetical>\n    <dialogue>I have a book report due on Tuesday.<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>So you're not going to write a book?<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>What kind of American are you? You're famous and you don't want to get rich from it? You'll kill the economy.<\/dialogue>\n    <scene_description>I...:<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>I'm issuing an executive order, Leo; when the President makes a bad joke, would you laugh?<\/dialogue>\n    <character>LEO<\/character>\n    <parenthetical>(smiling)<\/parenthetical>\n    <dialogue>Yessir.<\/dialogue>\n    <character>BECK<\/character>\n    <parenthetical>(referring to M&amp;M's)<\/parenthetical>\n    <dialogue>Green?<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Blue.<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>Everything's is going to be okay, you know that, don't you?<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Yessir.<\/dialogue>\n    <character>BECK<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <parenthetical>(the countdown is past ten)<\/parenthetical>\n    <dialogue>Here we go.<\/dialogue>\n    <character>ASSISTANT FLIGHT DIRECTOR<\/character>\n    <dialogue>Flight, we're go for autosequence.<\/dialogue>\n    <character>HEFTER<\/character>\n    <dialogue>Good luck and Godspeed, Atlantis.<\/dialogue>\n    <character>CAPE (V.O.)<\/character>\n    <dialogue>... Three... Two... One... Liftoff!<\/dialogue>\n    <scene_description>The Shuttle lifts off the pad in a burst of painfully hot light. The big ship ROARS above, tearing into the night sky. Everyone in the room watches, and then applauds. The President puts his hands on Leo's shoulders. AND AND 82A 82A<\/scene_description>\n    <character>WOLF-BIEDERMAN INTERCEPTION: 8 MONTHS, 8 DAYS, 6 HOURS, 1<\/character>\n    <dialogue>MINUTE. IMPACT: 12 MONTHS, 8 DAYS, 12 HOURS, 35 MINUTES.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Well, and what are you doing here?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I've been busy, and I haven't been paying attention to you.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>I've been busy, too. This is the last issue of the magazine...<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>ROBIN<\/character>\n    <parenthetical>(lightly mocking Jenny's shock)<\/parenthetical>\n    <dialogue>Yes! The advertisers are calling, up and canceling. Why would anyone support a magazine devoted to old, expensive, beautiful things when all the attractive young women are on television spreading panic?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>That's not fair! The news is good, the mission is going to succeed.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>I stopped watching the news. Does anything I do have any effect on anything that happens in space?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I mean... but... the whole world is watching.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>The whole world minus one. For years I've always been a little ashamed of what I do, worrying all day about whether this piece of furniture is real or a fake, or whether that painting is better than this painting. No, now that no one has the time to buy antiques, old, beautiful things, it means that I actually have a sacred purpose. It's like the Russians who saved the old palaces when the Germans were coming; they didn't have time to cart everything away, so they chopped out a bit of the floor and cut away a few feet of<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>curtain, and when the war was over they built everything back from the pieces. I'm saving the pieces now, keeping a record. If the comet does hit, and they want to know what the world looked like, they'll be looking at the work I'm doing today.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Mother, listen to me! The comet is going to be turned away and everyone is going to be so relieved that they'll spend money like the world really is coming to an end.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>That's pretty to think so.<\/dialogue>\n    <character>HEFTER (ON COM)<\/character>\n    <dialogue>You're right on the numbers, Atlantis.<\/dialogue>\n    <scene_description>On the monitors, a huge docking device fills the view. But Tanner's not watching, he's staring out the side at something they're passing but we can't see. Whistles softly.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>...Jesus, that's big...<\/dialogue>\n    <scene_description>Partenza and Tulchinsky follow his gaze.<\/scene_description>\n    <character>PARTENZA<\/character>\n    <dialogue>Whoa...no shit...<\/dialogue>\n    <character>BAKER<\/character>\n    <dialogue>Contact in three meters ...two...one...<\/dialogue>\n    <parenthetical>(a little nudge)<\/parenthetical>\n    <dialogue>We're here.<\/dialogue>\n    <character>HEFTER (ON COM)<\/character>\n    <dialogue>Well done, Atlantis...<\/dialogue>\n    <scene_description>Monash turns around, grins.<\/scene_description>\n    <character>MONASH<\/character>\n    <dialogue>Wow.<\/dialogue>\n    <scene_description>Tanner still staring out the porthole.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>...Sweet mother of God...<\/dialogue>\n    <scene_description>OUTSIDE THE ATLANTIS WE PULL AWAY from Tanner in the window, out past the Shuttle, past the spindly, solar panel arms of the Station to find -- THE MESSIAH Docked and tethered to the Space Station. It's massive, a 747 next to the Shuttle's Cessna. Workers float in space, putting the finishing touches on its assembly. 85A OMIT 85A 85B OMIT 85B THRU THRU 85D 85D Tulchinsky is in the cargo hold, checkinq the loaded nukes in zero gravity.\u00b7 Monash is on the intercom.<\/scene_description>\n    <character>MONASH (ON COM)<\/character>\n    <dialogue>How we doing, Mikhail?<\/dialogue>\n    <character>TULCHINSKY<\/character>\n    <dialogue>Nukes prepped and stowed.<\/dialogue>\n    <character>MONASH (ON COM)<\/character>\n    <dialogue>Let's get moving.<\/dialogue>\n    <scene_description>Tulchinsky grabs a handhold, pulls himself along the cargo compartment, through the hatch into the living quarters. Past the toilet, shower, galley. Pulls himself into the aft compartment. It's tight but functional, conduit, switching panels, bundles containing thousands of wires. Monash is up front with Baker and Simon. Tanner buckling up in back, Tulchinsky sets himself down with Partenza in front of a complex set of monitors and oscillators that bank up to the ceiling.<\/scene_description>\n    <character>PARTENZA<\/character>\n    <dialogue>Nervous?<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>Just not used to the back seat.<\/dialogue>\n    <character>PARTENZA<\/character>\n    <dialogue>It's not so bad. View stinks.<\/dialogue>\n    <scene_description>Monash turns in his seat, looks back at Tulchinsky.<\/scene_description>\n    <character>MONASH<\/character>\n    <dialogue>Colonel, let's see what this baby can do.<\/dialogue>\n    <scene_description>Tulchinsky grins. Punches commands into his keyboard.<\/scene_description>\n    <character>PARTENZA<\/character>\n    <dialogue>Hope you're right about this thing working, Mikhail.<\/dialogue>\n    <character>TULCHINSKY<\/character>\n    <dialogue>Just between you and me...<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>Oh, shit...<\/dialogue>\n    <character>TULCHINSKY<\/character>\n    <dialogue>Orion burn in ten...nine...eight...<\/dialogue>\n    <scene_description>The rapidly moving pattern on the oscillator gets closer and closer to a straight line.<\/scene_description>\n    <character>MONASH<\/character>\n    <dialogue>Hold onto your hats, boys and girls.<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>It's not my hat I'm worried about.<\/dialogue>\n    <scene_description>THE MESSIAH IN SPACE The nuclear reaction EXPLODES against the backplate, lighting up the darkness with a tremendous, BLINDING pulse. The Messiah takes off like a bat out of hell, CATAPULTED out into space. Disappears among the stars. VIRGINIA PARK - NIGHT Snow on the ground. Leo and Sarah look through his telescope. IN HIS EYEPIECE, the Orion pulses.<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>There it is!<\/dialogue>\n    <scene_description>He steps back so she can look. She looks.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>It's beautiful Leo...<\/dialogue>\n    <scene_description>CONTINUED: (2) Now she takes his hand. Still looking.<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>What if it doesn't work? What if the world ends?<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>The world is not going to end.<\/dialogue>\n    <character>LEO<\/character>\n    <parenthetical>(delights in tormenting her)<\/parenthetical>\n    <dialogue>It could, it could, let's just say the comet hits... how do you not want to die?<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>You are morbid.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Think about it, maybe the comet is a great way to die. No time to think, squished like a bug. I'd rather die like that than by drowning.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Leo!<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>And even if it doesn't hit us on the head, even if it lands somewhere else, the heat from the comet as it passes through the atmosphere burns up all the forests in the world.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>I don't want to talk about this, Leo. It makes me sad. It makes me think about all the things I'll never get a chance to do... Shakespeare in London and ... hiking in Colorado and... even... Disneyworld, just a nice time with my Mom and Dad and... and love. I'll never get any of that now. So just shut up.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>It's not your fault.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>We're too young. It's all wrong now, because I don't have time for you to figure things out, I don't have three years for you to wake up and know what you feel about me.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>What do you mean?<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>That's just it, you have to ask. Because you're still just a little kid, part of you. And if the world is coming to an end, we don't have time for that.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>SARAH<\/character>\n    <parenthetical>(exasperated)<\/parenthetical>\n    <dialogue>You love me and I love you.<\/dialogue>\n    <scene_description>And she runs away from him. 88A OMIT 88A OMIT THRU THRU<\/scene_description>\n    <character>WOLF-BIEDERMAN INTERCEPTION: 2 DAYS, 14 HOURS 22 MINUTES.<\/character>\n    <scene_description>OMIT AND AND CARGO BAY Tulchinsky, Baker and Partenza load aluminum encased bombs into the MOLES, already mounted on the SLED. Metal, wires, radioactive warnings. It's demanding work with no gravity.<\/scene_description>\n    <character>MONASH (ON COM)<\/character>\n    <dialogue>How's it coming?<\/dialogue>\n    <character>BAKER<\/character>\n    <dialogue>Inserting the last nuke now.<\/dialogue>\n    <scene_description>When it CLICKS in place, the digital readout BLINKS ALIVE. MSNBC CONFERENCE ROOM Stuart leads the staff meeting. Ira, Worth, Marianne, Beth, Tim, Jenny. Jenny sits at the grown-up table, quiet, lost in her own thoughts.<\/scene_description>\n    <character>STUART<\/character>\n    <dialogue>Beth, White House reactions. Marianne, all the world watching. We have enough satellite space?<\/dialogue>\n    <character>WORTH<\/character>\n    <dialogue>Seventy-eight up-links.<\/dialogue>\n    <character>STUART<\/character>\n    <dialogue>Tim, Mission Control in Houston.<\/dialogue>\n    <parenthetical>(Tim looks up, surprised)<\/parenthetical>\n    <dialogue>Ira, the science guys lined up?<\/dialogue>\n    <character>IRA<\/character>\n    <dialogue>If they've got a PhD, we own them.<\/dialogue>\n    <character>STUART<\/character>\n    <dialogue>This is the most important story of our lives. Let's not fuck it up.<\/dialogue>\n    <scene_description>The end of the meeting, people start out. Jenny looks up.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>...Stuart? What about me?<\/dialogue>\n    <scene_description>People stop, is she finally going to get her comeuppance?<\/scene_description>\n    <character>STUART<\/character>\n    <dialogue>You're on the anchor desk and don't you ever hold back a story for two days.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I'm sorry but, the President...<\/dialogue>\n    <character>STUART<\/character>\n    <dialogue>The hell with the President. He has no right making deals with a reporter who has no authority to accept his terms. I probably would have held the story, but that would have been my decision and not yours. And I would have protected you. It was your scoop. You own the story. Don't do that again.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Thank you, Stuart.<\/dialogue>\n    <character>STUART<\/character>\n    <dialogue>Yeah. Okay. Monash lines the Messiah up with the tail of the comet, following a computer path in the cockpit.<\/dialogue>\n    <character>BAKER<\/character>\n    <dialogue>Auto trajectory, two thousand feet, R-dot .3, 5 X, 2 Y...<\/dialogue>\n    <scene_description>Monash guides it expertly, a high tech video game.<\/scene_description>\n    <character>BAKER<\/character>\n    <dialogue>A thousand feet, point 3, 3 X, one- point-five Y...<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>Go for auto trajectory.<\/dialogue>\n    <scene_description>Monash reaches up, locks it on with a BEEP.<\/scene_description>\n    <character>BAKER<\/character>\n    <dialogue>We're on... Disengage the Orion.<\/dialogue>\n    <character>TULCHINSKY<\/character>\n    <dialogue>Orion disengaged. You're on chemical propellant.<\/dialogue>\n    <character>MONASH<\/character>\n    <dialogue>Look, Fish, I can do this if you want.<\/dialogue>\n    <scene_description>Monash slides out of his seat, let's Tanner slide past.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>I'll keep that in mind.<\/dialogue>\n    <scene_description>Monash goes. Tanner pulls out a decades old shot of a mother and seven year old son, sticks it on the console.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>On the Mississippi River, in Mark Twain's time, there were riverboat pilots who only knew a few miles of the river. Conditions changed so much, you couldn't know the whole trip. Floods, sandbars, fallen logs, it was all a riverboat pilot could do to know his little piece of the puzzle.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>What the hell is he talking about?<\/dialogue>\n    <character>PARTENZA<\/character>\n    <dialogue>Summer job he had last century.<\/dialogue>\n    <scene_description>Tanner finishes strapping himself in.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>For the next few hours, this is my ship.<\/dialogue>\n    <parenthetical>(flips toggles)<\/parenthetical>\n    <dialogue>Starting the approach.<\/dialogue>\n    <scene_description>OMIT AND AND 105A THE CARGO BAY 105A The now fully suited astronauts check their gear in buddy groups. Tulchinsky with Partenza. Simon with Monash.<\/scene_description>\n    <character>TULCHINSKY<\/character>\n    <dialogue>Helmet lights.<\/dialogue>\n    <character>PARTENZA<\/character>\n    <dialogue>Your sublimator looks good, Mick.<\/dialogue>\n    <character>TULCHINSKY<\/character>\n    <dialogue>Visors down.<\/dialogue>\n    <scene_description>They test the gold face shields on their helmets. Lights mounted on the side of the helmets CLICK on.<\/scene_description>\n    <character>TANNER (ON COM)<\/character>\n    <dialogue>Disengaging auto...now. I'm eyeballs out from here on in.<\/dialogue>\n    <character>MONASH<\/character>\n    <dialogue>How come that doesn't make me feel better?<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Cameras on.<\/dialogue>\n    <scene_description>105B IN THE COCKPIT 105B Baker checks the helmet cams. Each monitor marked with a name. WE SEE the cargo bay from the HELMET POVs.<\/scene_description>\n    <character>BAKER<\/character>\n    <dialogue>Okay, we're going live. Mikhail, wave for the folks back home.<\/dialogue>\n    <scene_description>Mikhail waves as he floats around.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Andy, I need you on the laser. She looks up, Christ.<\/dialogue>\n    <dialogue>Ahead, a floating three dimensional mine field of every imaginable size of rock. Tanner nudges one, THUD. It's like playing dodge ball with really big, slow rocks.<\/dialogue>\n    <character>BAKER<\/character>\n    <dialogue>My God, look at the size of that thing. It's as big as a house.<\/dialogue>\n    <scene_description>Jenny is walking across the studio with an ASSISTANT.<\/scene_description>\n    <character>ASSISTANT<\/character>\n    <dialogue>Your father is on the phone.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Tell him I'm not here.<\/dialogue>\n    <character>DIRECTOR (ON STUDIO COM)<\/character>\n    <dialogue>Jenny, forty-five seconds...<\/dialogue>\n    <character>ASSISTANT<\/character>\n    <dialogue>That's great. You're on live, Jenny.<\/dialogue>\n    <scene_description>Jenny gets into her chair.<\/scene_description>\n    <character>DIRECTOR (ON STUDIO COM)<\/character>\n    <dialogue>In ten, nine, eight...<\/dialogue>\n    <scene_description>The Assistant goes to a phone. JASON'S APARTMENT NIGHT<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Jason is looking at the TV, as the final logo sequence and music of the intro to a MSNBC SPECIAL REPORT... Then:<\/scene_description>\n    <character>JENNY (ON TV)<\/character>\n    <dialogue>Tonight we have the first pictures from the Messiah as it begins its descent to the comet Wolf- Biederman...<\/dialogue>\n    <scene_description>MSNBC STUDIO The fuzzy helmet cam shots of the astronauts waiting in the sled are intercut with the Messiah's approach shots of the comet. Bobby approaches Eric in the wings, whispers.<\/scene_description>\n    <character>BOBBY<\/character>\n    <dialogue>How's she doing?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Okay so far...<\/dialogue>\n    <scene_description>BIEDERMAN LIVING ROOM - NIGHT The Hotchners and Biedermans watch MSNBC together. Vicky Hotchner now very pregnant. Leo and Sarah hold hands. Tanner's looking for a place to land. There's lightning, floating debris. They BANG around, the emergency lights FLICKER on, then off. The sun's just setting on the surface below, the outgassing only beginning to settle down.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Use primary thrusters.<\/dialogue>\n    <character>BAKER<\/character>\n    <dialogue>Jesus Christ...<\/dialogue>\n    <scene_description>She's scared, they're taking quite a beating from the jets.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>How are we doing back there?<\/dialogue>\n    <scene_description>On the helmet cams we see the boys bouncing around in back, it doesn't look fun strapped to a sled. Like riding a bull.<\/scene_description>\n    <character>PARTENZA (ON COM)<\/character>\n    <dialogue>Peachy...<\/dialogue>\n    <scene_description>COMET SURFACE - DUSK The Messiah approaches a small flat zone wedged between a crater and a cliff. The long shadows of the sunset stretch across the rugged landscape below. IN THE COCKPIT Rocks bounce off the windshield and hull.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Hold on tight. Descent rate.<\/dialogue>\n    <scene_description>The Messiah descends over the comet, outgassing jets send up streams of fine carbon, obscuring the landing site. The BANGING and CHOP is getting worse.<\/scene_description>\n    <character>BAKER<\/character>\n    <dialogue>Three feet per second... two...<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>Fire tether pitons.<\/dialogue>\n    <scene_description>COMET SURFACE Umbrella shaped pitons shoot out from the underside of the ship, blast down into the surface. The cables pull TAUT as winches draws them down to the comet's surface and onto the spindly landing gear. A high speed surface jet FIRES, shoving the bow port (front left) section of the ship up and YANKING the piton up out of the ground, with a SNAP. The Messiah BUCKS up from the force, tilts precariously back. The horizon disappears below.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Whoa...<\/dialogue>\n    <scene_description>Tanner's trying to hold it. Baker checks frantically.<\/scene_description>\n    <character>BAKER<\/character>\n    <dialogue>Tether two, not engaged!<\/dialogue>\n    <scene_description>OUTSIDE THE MESSIAH It noses up, a horse rearing back with three legs tied to the ground. The stern CRUNCHES LOUDLY into the surface. IN THE COCKPIT The astronauts cling to the sled on the helmet cams.<\/scene_description>\n    <character>PARTENZA (ON COM)<\/character>\n    <dialogue>What the fuck was that?<\/dialogue>\n    <scene_description>Tanner tries to hold the nose up as it dips to the right.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Override on the forward jets.<\/dialogue>\n    <scene_description>Baker is flipping overhead switches.<\/scene_description>\n    <character>BAKER<\/character>\n    <dialogue>You got 'em...we crunched the aft pod.<\/dialogue>\n    <scene_description>OUTSIDE THE MESSIAH It edges down to the left front where the tether came loose. It's a meter from the surface, going to slam hard. A jet fires from the undercarriage. The ship slows but still HITS. IN THE COCKPIT The bronc riders get tossed around some more on the helmet cams as they rock back to the stern again, a tethered teetertotter.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Cross-feed aft. I need all the jets.<\/dialogue>\n    <character>BAKER<\/character>\n    <dialogue>Cross-feed aft...pressure's holding.<\/dialogue>\n    <scene_description>They fire the starboard aft jet. The ship disappears in the ejecta of the comet, steam and carbon dust. Slowly levels out, the three remaining tethers finally going. TAUT. IN THE COCKPIT Baker watches the artificial horizon on the instrument array.<\/scene_description>\n    <character>BAKER<\/character>\n    <dialogue>She's leveling out...<\/dialogue>\n    <scene_description>IN THE CARGO BAY<\/scene_description>\n    <character>PARTENZA<\/character>\n    <dialogue>Pretty much like the simulator back at Johnson, huh boys?<\/dialogue>\n    <character>MONASH<\/character>\n    <dialogue>Son of a bitch doesn't know what he's doing.<\/dialogue>\n    <scene_description>IN THE COCKPIT Tanner still has the stick in a death lock. Baker looks shell shocked. Holy shit... A beat.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Houston, this is Messiah, we've landed.<\/dialogue>\n    <scene_description>UNIVERSAL CITY WALK - NIGHT A CHEERING CROWD watches the huge pixel vision screen. A fuzzy, space transmitted image of Tanner and Baker.<\/scene_description>\n    <character>TANNER (ON TV)<\/character>\n    <dialogue>...we've landed...<\/dialogue>\n    <scene_description>THE BIEDERMAN'S HOUSE - NIGHT The families cheer, applaud. Sarah hugs Leo.<\/scene_description>\n    <character>ELLEN<\/character>\n    <dialogue>Oh, thank god...<\/dialogue>\n    <scene_description>COCKPIT Tanner and Baker work. Locking in computer coordinates.<\/scene_description>\n    <character>BAKER<\/character>\n    <dialogue>Depressurizing bay.<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>Opening payload doors. Don't let that little bit of gravity down there go to your heads.<\/dialogue>\n    <scene_description>OMIT AND AND The huge doors open and the Astronauts float down. We see what is ahead: The dead terrain of the comet. The sled floats a few feet above the shale strewn surface. IN THE COCKPIT Tanner reaches up above him, HITS a button.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Start the clock.<\/dialogue>\n    <scene_description>A red LED SNAPS on, above it an embossed tag \"Sunrise\". It's counting down, 6:47:14...:13...:12... ON THE SURFACE - NIGHT A small blast from the chemical propellant and they fly by with the sled, skimming over the surface.<\/scene_description>\n    <character>PARTENZA<\/character>\n    <dialogue>Looks like all you did was dent a fender, Fish. Dad's gonna be mad when we get home.<\/dialogue>\n    <scene_description>The comet is mostly very old terrain, worn smooth by eons of travel, hilly in places, craters. All sizes of rocks float past them, have to be batted away. The weather is made even stranger by the frequent gas lightning above. Graphic heads up displays are projected onto the inside glass of their helmets, indicating the composition of the substrata layers beneath them. IN THE COCKPIT A cross-sectional computer image of the comet emerges. Tanner and Baker watch as computer images are joined by overlays of geological schematics detailing fault lines and possibilities for nuclear warhead placement. The clock counts 5:21:39... The computer stops, zeros in. Circles coordinates.<\/scene_description>\n    <character>BAKER<\/character>\n    <dialogue>We've got your first location. Range two meters above point Alpha 16, bearing 224.<\/dialogue>\n    <scene_description>OMIT Jane is sleeping in her mother's lap. All watch Jenny on MSNBC, doing VO commentary for the footage from the comet.<\/scene_description>\n    <character>JENNY (VO ON SET)<\/character>\n    <dialogue>What we're looking at now is...God, isn't that an amazing picture? They're setting the MOLEs in place now, and the MOLEs are, well, they're what they sound like. The MOLEs are drilling machines that burrow to a depth of one hundred meters, and then they wait to be detonated. Of course the MOLEs in your backyard don't carry 5,000 kiloton warheads. Although it feels like they do sometimes, doesn't it?<\/dialogue>\n    <scene_description>ON THE COMET SURFACE - NIGHT The MOLE comes to life, the auger head digs slowly into the surface. Monash reels out control line.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Ooh, look at that baby dig.<\/dialogue>\n    <character>MONASH<\/character>\n    <dialogue>Fish, tell the guys at JSC their mole works like a charm.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Like butter baby.<\/dialogue>\n    <character>PARTENZA<\/character>\n    <dialogue>Go get 'em, boy.<\/dialogue>\n    <scene_description>MESSIAH COCKPIT Baker and Tanner work at the computer, get the mapping coordinates for the final 2 MOLES. Look unhappy.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Dammit...<\/dialogue>\n    <character>BAKER<\/character>\n    <dialogue>Christ, that's over four miles away.<\/dialogue>\n    <scene_description>Tanner goes to the helmet cam monitors.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>The computer's calculated the last two MOLE, locations, guys. Range 4 miles. Target One: bearing 166. Target Two: bearing 168.<\/dialogue>\n    <scene_description>On Simon's helmet cam we see Monash look up.<\/scene_description>\n    <character>MONASH (ON MONITORS)<\/character>\n    <dialogue>How long's that going to take?<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>At least an hour.<\/dialogue>\n    <scene_description>There's a beat. Everybody knows what that means.<\/scene_description>\n    <character>MONASH (ON MONITORS)<\/character>\n    <dialogue>An hour?<\/dialogue>\n    <parenthetical>(dry WASP)<\/parenthetical>\n    <dialogue>An hour? Darling, that gives me no time at all to go home, get dressed and be at the theater on time for the curtain. What were we thinking when we made these reservations?<\/dialogue>\n    <scene_description>Tanner and Baker look at the clock. 1:49:47...:46... A SMALL MONITOR ROOM AT JSC Monitors, a few sofas, very governmental. The families of the astronauts watch MSNBC, hold each other's hands. MSNBC has added a sunrise clock on screen, not very comforting. Jenny's on camera, interviewing Dr. Van Sertma.<\/scene_description>\n    <character>JENNY (ON TV)<\/character>\n    <dialogue>What happens if they don't get off of the surface in time?<\/dialogue>\n    <character>VAN SERTMA (ON TV)<\/character>\n    <dialogue>The sun striking the comet will cause the temperature to rise three hundred and fifty degrees in only a few minutes and activate the high speed gas jets. If that happens it'll be like trying to work in a mine field.<\/dialogue>\n    <scene_description>COMET SURFACE - NIGHT Monash and Simon angle the sled to the final location.<\/scene_description>\n    <character>MONASH<\/character>\n    <dialogue>We're on Target Two, Messiah.<\/dialogue>\n    <scene_description>ABOUT TWENTY YARDS AWAY Partenza and Tulchinsky drill at Target One. A trail of debris rises out of the hole, shoved up by the MOLE.<\/scene_description>\n    <character>PARTENZA<\/character>\n    <dialogue>How's our time?<\/dialogue>\n    <scene_description>The clock. 00:36:34...:33<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Getting tight. 36:30.<\/dialogue>\n    <character>BAKER<\/character>\n    <dialogue>It's taking too long.<\/dialogue>\n    <scene_description>ON THE COMET'S SURFACE Simon and Monash Work above their final MOLE hole. Feed out the control line, read the digital depth LED.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>MOLE 4 running true, at 26 meters.<\/dialogue>\n    <character>MONASH<\/character>\n    <dialogue>Son of a bitch...<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MONASH<\/character>\n    <dialogue>It's stuck.<\/dialogue>\n    <scene_description>MONASH AND SIMON Monash looks down the hole. All he can see is debris.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Try backing it up.<\/dialogue>\n    <scene_description>IN THE MESSIAH Tanner and Baker watch all this on the helmet cams.<\/scene_description>\n    <character>BAKER<\/character>\n    <dialogue>What's your depth?<\/dialogue>\n    <character>MONASH (ON COM)<\/character>\n    <dialogue>Sixteen meters.<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>That enough?<\/dialogue>\n    <character>BAKER<\/character>\n    <dialogue>No, it'll just blow pieces off the surface.<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>That's not deep enough.<\/dialogue>\n    <character>MONASH (ON COM)<\/character>\n    <dialogue>No shit, thanks for the insight. Blow three pitons, back the sled off.<\/dialogue>\n    <scene_description>ON THE SURFACE Simon releases all but one piton, shoves the sled away.<\/scene_description>\n    <character>PARTENZA<\/character>\n    <dialogue>Mole three at depth. Coming your way.<\/dialogue>\n    <scene_description>Simon screws a pitch into the surface, attaches a line to hold him in place. Monash is using the MOLE control line as a tether, they're stirring up carbon as they work.<\/scene_description>\n    <character>MONASH<\/character>\n    <dialogue>I'm going in.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>The hole?!<\/dialogue>\n    <character>MONASH<\/character>\n    <dialogue>See if I can free it up.<\/dialogue>\n    <scene_description>Monash goes in feet first, using the line as a rope. IN THE MESSIAH They watch Monash's helmet cam as he descends into the hole. Like dropping into a small well, his helmet lights illuminate the dark, veiny walls close around him.<\/scene_description>\n    <character>MONASH<\/character>\n    <dialogue>How's my time?<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>24:10.<\/dialogue>\n    <character>BAKER<\/character>\n    <dialogue>Another six minutes and they won't have time to get back to us.<\/dialogue>\n    <scene_description>A beat. Tanner leaps for the pilot's seat.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Blow the tethers.<\/dialogue>\n    <scene_description>She realizes what he's thinking.<\/scene_description>\n    <character>BAKER<\/character>\n    <dialogue>We go get them and we may not have enough fuel to get back off the surface.<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>Blow the goddamn tethers!<\/dialogue>\n    <scene_description>OMIT<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Calculate exactly how much prop we need to get off this rock! Shut us down when we hit it.<\/dialogue>\n    <scene_description>She TYPES into a keyboard. Numbers rush by. A BEEP.<\/scene_description>\n    <character>BAKER<\/character>\n    <dialogue>Got it!<\/dialogue>\n    <scene_description>OUTSIDE THE MESSIAH The aft thrusters ignite and the ship moves away fast. OMIT IN THE HOLE Tulchinsky and Partenza arrive. Monash works his way down to the top of the MOLE. Braces himself against the walls, gets his feet on it.<\/scene_description>\n    <character>MONASH<\/character>\n    <dialogue>Give it some juice.<\/dialogue>\n    <scene_description>The MOLE shimmies a little, shakes, but doesn't move.<\/scene_description>\n    <character>MONASH<\/character>\n    <dialogue>Hold up.<\/dialogue>\n    <scene_description>It stops, Monash rocks it back and forth with his boots.<\/scene_description>\n    <character>MONASH<\/character>\n    <dialogue>Try backing it up again.<\/dialogue>\n    <scene_description>IN THE MESSIAH Baker's computer BEEPS.<\/scene_description>\n    <character>BAKER<\/character>\n    <dialogue>That's it.<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>Little more, little more...<\/dialogue>\n    <scene_description>She looks at the fuel usage whizzing by.<\/scene_description>\n    <character>BAKER<\/character>\n    <dialogue>Shut it down!<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>They always put extra in the tanks!<\/dialogue>\n    <scene_description>Baker leans across, shuts it down. A beat, Tanner knows she was right.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>We have a visual?<\/dialogue>\n    <scene_description>Across the valley. The yellow sled.<\/scene_description>\n    <character>BAKER<\/character>\n    <dialogue>Straight ahead one hundred yards.<\/dialogue>\n    <scene_description>IN THE MOLE HOLE Monash kicks and shakes the MOLE, tugs up on the feed line.<\/scene_description>\n    <character>MONASH<\/character>\n    <dialogue>...Come on... you bastard. Time?<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>11:04. Figured we'd better pick you kids up after school. Check your six...100 yards.<\/dialogue>\n    <scene_description>ON THE SURFACE Partenza looks, sees the Messiah hovering in the distance. Notices the sun striking the hilltops on the other side of the valley. Checks over his shoulder at the coming dawn.<\/scene_description>\n    <character>PARTENZA<\/character>\n    <dialogue>I think we'd better hurry, boys.<\/dialogue>\n    <character>MONASH (ON COM)<\/character>\n    <dialogue>One more time, Mark.<\/dialogue>\n    <scene_description>IN THE HOLE The MOLE struggles, RUMBLES and then...begins to DIG.<\/scene_description>\n    <character>MONASH<\/character>\n    <dialogue>It's going!<\/dialogue>\n    <scene_description>IN THE MESSIAH Baker stares at the dawn horizon.<\/scene_description>\n    <character>BAKER<\/character>\n    <dialogue>I don't think they've got 10 minutes.<\/dialogue>\n    <scene_description>The sun is rising between two mountains, it's going to pour straight down into the valley, right where they are. Debris is shooting up from the hole.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>MOLE's at forty-two meters.<\/dialogue>\n    <character>TANNER (ON COM)<\/character>\n    <dialogue>Sun's rising behind you, coming up fast.<\/dialogue>\n    <scene_description>Partenza sees the rapidly shrinking shadows. They move much faster than earth. Everywhere it strikes, the surface gets unstable. Rocks fly, jets explode.<\/scene_description>\n    <character>TULCHINSKY<\/character>\n    <dialogue>Face shields down!<\/dialogue>\n    <scene_description>The three men on the surface down their gold shields. IN THE HOLE Monash is pummeled with debris shooting up from the digging MOLE. Pulling himself up the control line as fast as he can. No way he has time for his face shield in this mess. ON THE SURFACE The sun marches closer and closer. Now only thirty yards away, jets explode like mortars in the heat.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>MOLE's at depth and armed!<\/dialogue>\n    <scene_description>ON THE MESSIAH Tanner and Baker watch the sun's approach with alarm.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Get the hell out of there!<\/dialogue>\n    <scene_description>ON THE SURFACE Partenza screams back into his headset.<\/scene_description>\n    <character>PARTENZA<\/character>\n    <dialogue>Oren's still in the hole!<\/dialogue>\n    <scene_description>Simon stares into the hole, sees the top of Monash's helmet.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Another three meters!<\/dialogue>\n    <character>PARTENZA<\/character>\n    <dialogue>Oh, Christ...<\/dialogue>\n    <scene_description>The sun is only yards away.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Oren, come on, go...go...!<\/dialogue>\n    <scene_description>IN THE HOLE Monash grabs the line. Pulls hard, propelling himself up much too fast, like a missile. Shooting out onto the -- SURFACE Heading straight up into orbit. Partenza grabs his passing boot and is pulled along until Partenza's tether catches. They bob in space, the light gravity slowly bringing them back down. Monash staring out in shock.<\/scene_description>\n    <character>PARTENZA<\/character>\n    <dialogue>Get us down!<\/dialogue>\n    <scene_description>Simon grabs the tether line, pulls them back, spinning them slowly as they come. Partenza looks up, realizes.<\/scene_description>\n    <character>PARTENZA<\/character>\n    <dialogue>Oren, your face shield!<\/dialogue>\n    <scene_description>Monash looks down, what? Just as his face rotates full into the blinding sun. Screams in pain.<\/scene_description>\n    <character>MONASH<\/character>\n    <dialogue>Ahhhhhh...AAHHHH...!!!<\/dialogue>\n    <scene_description>Monash claws at the helmet, trying to get to his blinded eyes. They get him back to the surface, SLAM his shield DOWN, drag him behind them to the sled. The sun hits them as they FLOP Monash on top, lash him down. The ground begins to boil and steam.<\/scene_description>\n    <character>MONASH<\/character>\n    <dialogue>My eyes...oh god...my eyes...<\/dialogue>\n    <character>TULCHINSKY<\/character>\n    <dialogue>Gus, come on! Come on...!<\/dialogue>\n    <scene_description>It's only yards around the sled to Partenza's seat but the sunblasted surface is cracking, EXPLODING. He's trying to cross a jet minefield.<\/scene_description>\n    <character>TANNER (ON COM)<\/character>\n    <dialogue>Get out of there!<\/dialogue>\n    <scene_description>Partenza dodges one, sees a clear spot, steps and BOOM! A jet explodes into his chest. Rocketing him up like a human cannonball.<\/scene_description>\n    <character>TULCHINSKY<\/character>\n    <dialogue>Gus...Gus...!<\/dialogue>\n    <scene_description>Partenza's sling-shot out into space hundreds of feet.<\/scene_description>\n    <character>BAKER<\/character>\n    <dialogue>We're losing one!<\/dialogue>\n    <scene_description>Tanner leaps to look. Partenza's helmet cam has a quickly diminishing view of the comet below.<\/scene_description>\n    <character>BAKER<\/character>\n    <dialogue>He's got escape velocity. A thousand feet and climbing.<\/dialogue>\n    <scene_description>162A PARTENZA IN SPACE 162A He watches the comet recede. ON THE SURFACE They're looking up, frozen. Jets EXPLODING all around.<\/scene_description>\n    <character>TANNER (ON COM)<\/character>\n    <dialogue>Mikhail, Mark, get the hell out of there!<\/dialogue>\n    <scene_description>Simon fires the sled and they head for the Messiah. IN THE MESSIAH The sun works its way across the valley, closer and closer to the Messiah.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Houston, all MOLES are at depth, nukes hot and ready. We lost Partenza to explosive outgassing. Monash is injured.<\/dialogue>\n    <scene_description>IN THE SMALL ROOM AT JSC The families stare at the TV, in shook. Hold each other. The sun clock now blinks 0:00 on the screen. MSNBC STUDIO Jenny and the MSNBC staff watch the Messiah pictures. UNDER THE MESSIAH Tulchinsky helps load the GROANING Monash onto a hoist.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Retract hoist one!<\/dialogue>\n    <scene_description>Monash is pulled up into the Cargo bay. The sun now fully striking the Messiah. Rocks and jets shoot all over the place. Tulchinsky SNAPS onto another hoist.<\/scene_description>\n    <character>TULCHINSKY<\/character>\n    <dialogue>Retract four!<\/dialogue>\n    <scene_description>Tulchinsky starts up. Simon connects himself.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Retract two!<\/dialogue>\n    <scene_description>The hoist starts and BOOM! A rock SLAMS into Simon's forearm, hard. Sends him swinging like a kid on a rope over a river SLAMMING into the underbelly. IN THE COCKPIT The hull vibrates from the rocks like POPPING corn.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Firing primary thrusters.<\/dialogue>\n    <character>BAKER<\/character>\n    <dialogue>Payload doors are still open!<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>Close them as we go!<\/dialogue>\n    <character>BAKER<\/character>\n    <dialogue>Is Oren with you, Simon? Is Oren on the ship?<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>We're going now!<\/dialogue>\n    <scene_description>UNDER THE MESSIAH The ship fires its thrusters. Lifts up, the men still dangling below. IN THE COCKPIT It's choppy. Rocks BANG. Tanner steers as best he can.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>170A EXT. THE MESSIAH 170A<\/stage_direction>\n    <scene_description>The ship flies off. IN THE CARGO BAY The three men are being reeled in through the now closing doors. A final rock EXPLODES up through the doors, SHATTERS a light. Tulchinsky releases himself, swings Monash over safety.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>I think my arm's broken...<\/dialogue>\n    <scene_description>Tulchinsky reels Simon in. Releases him.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Repressurize the cargo bay.<\/dialogue>\n    <character>BAKER<\/character>\n    <dialogue>Cargo bay repressurized.<\/dialogue>\n    <scene_description>Tulchinsky comes in out of his EVA suit.<\/scene_description>\n    <character>TULCHINSKY<\/character>\n    <dialogue>We have to go get Gus.<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>There's not enough time.<\/dialogue>\n    <character>TULCHINSKY<\/character>\n    <dialogue>He's going to die out there!<\/dialogue>\n    <scene_description>Something SLAMS into the underbelly, sends them careening off to the left as Tanner wrestles the stick.<\/scene_description>\n    <character>TULCHINSKY<\/character>\n    <dialogue>We can still find him, he has a beacon!<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>I don't have time to argue with you. Sit down and shut-up.<\/dialogue>\n    <scene_description>The ship BUCKS and SLAMS through debris.<\/scene_description>\n    <character>TULCHINSKY<\/character>\n    <dialogue>Turn it on! Turn on the fucking locator!<\/dialogue>\n    <character>BAKER<\/character>\n    <dialogue>We barely have enough propellant to get out of the coma!<\/dialogue>\n    <character>TULCHINSKY<\/character>\n    <dialogue>We can't just leave him. We have to go back.<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>If we go for Gus, we all die...!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>172A INT. CARGO BAY - CONTINUOUS 172A<\/stage_direction>\n    <scene_description>Monash hears this.<\/scene_description>\n    <character>TULCHINSKY (ON COM)<\/character>\n    <dialogue>We can't just leave him in space.<\/dialogue>\n    <character>MONASH<\/character>\n    <dialogue>Tulchinsky, listen to Tanner. It's his ship now.<\/dialogue>\n    <scene_description>172B IN THE COCKPIT - CONTINUOUS 172B Tulchinsky slowly lowers himself into a seat. Leans his head back, exhausted, tears run down his face. MSNBC STUDIO It's very quiet on the set. Finally, Jenny:<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>This has been such an indescribable day, hasn't it? Where do you begin? The Messiah has lifted safely off the comet, and so we're cheering for that, but Gus Partenza is dead.<\/dialogue>\n    <scene_description>His photo appears behind her.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>He was...everyone who knew him loved him. Even more than that, they liked him. It's hard to report the news when you're torn between excitement and sadness. I can't even imagine how they feel on the Messiah.<\/dialogue>\n    <scene_description>INTERIOR MESSIAH The astronauts are floating silently in the living quarters. Monash is lying on the table, Baker works on his eyes with the med kit. It's painful. Tanner speaks quietly to Baker.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Bad?<\/dialogue>\n    <scene_description>Her look says it all. Tanner goes back to checking Simon. Partenza begins to cry softly. ROBIN'S HOUSE - NIGHT Robin watches in silence.<\/scene_description>\n    <character>JENNY (ON TV)<\/character>\n    <dialogue>They're going to set off the bombs in thirteen minutes, well, less than thirteen now.<\/dialogue>\n    <parenthetical>(beat, she's reflecting)<\/parenthetical>\n    <dialogue>We're supposed to see a large increase in the comet's brightness as dust from the explosion is hit by the rays of the sun.<\/dialogue>\n    <scene_description>UNIVERSAL STUDIOS CITY WALK - DAY The crowd watches Jenny on MSNBC.<\/scene_description>\n    <character>JENNY (ON SCREEN)<\/character>\n    <parenthetical>(she's looking off camera)<\/parenthetical>\n    <dialogue>Do we know if that's going to be visible to the naked eye or only on telescopes? ... We don't know. We do? Oh... naked eye. You'll see the brightness. We will, we'll see it together.<\/dialogue>\n    <scene_description>MSNBC STUDIO On the monitors we see images from around the Messiah.<\/scene_description>\n    <character>TANNER (ON TV)<\/character>\n    <dialogue>Prepare to remove safeties and fire.<\/dialogue>\n    <character>TULCHINSKY (ON TV)<\/character>\n    <dialogue>Safeties removed...<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>After the death of Dr. Gus Partenza and with Oren Monash injured,<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Spurgeon Tanner is now in command of the mission.<\/dialogue>\n    <scene_description>BIEDERMAN HOME The Biedermans and Hotchners are still watching together. The comet as seen from the Messiah fills the screen.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Okay, this is what's coming next: the radiation burst is going to wipe out the transmission from the Messiah, just for a minute, maybe a little longer, so don't panic when the picture goes out.<\/dialogue>\n    <scene_description>Tanner, Baker and Tulchinsky are now up front.<\/scene_description>\n    <character>TULCHINSKY<\/character>\n    <dialogue>Weapons armed.<\/dialogue>\n    <scene_description>Tanner looks over at Partenza's helmet cam, only space in and out of heavy static.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>We're detonating the bombs now, Gus.<\/dialogue>\n    <character>PARTENZA<\/character>\n    <dialogue>...okay...<\/dialogue>\n    <scene_description>He's very distant. None of them know what to say. A beat.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Unlock firing switches.<\/dialogue>\n    <scene_description>Tanner and Baker unlock switch guards, exposing red \"fire\" switches, side by side in the console.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Three... two... one... NOW.<\/dialogue>\n    <scene_description>THE COMET Light shoots from the MOLE holes, then BLINDING WHITE. MSNBC STUDIOS The screen fills with static. Tanner's breaking up.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Weapons detonation... confirmed... 10:04, Zulu ...time, 24 Augu..., ...99.<\/dialogue>\n    <scene_description>IN THE MESSIAH Debris is hurled from the comet. SLAMS into the Messiah, shuts down the electrical system. FLIPS them sideways, BURSTING lights and a stern cargo WINDOW. ALARMS sound.<\/scene_description>\n    <character>BAKER<\/character>\n    <dialogue>Decompression in area six!<\/dialogue>\n    <scene_description>Tulchinsky leaps up out of his chair, pulls himself along the blender that's now the Messiah's interior, SLAMS against pipes, floors, ceilings. THROWS himself against the cargo hatch door, trying to close it and not be sucked out. The static is beginning to clear.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Now we're just waiting for the picture to come back. This is hard. Twenty seconds.<\/dialogue>\n    <scene_description>Slowly, the view of the comet from the Messiah returns. The comet's surrounded with debris, breaking into two pieces, one five times larger than the other. A huge CHEER erupts, the staff CLAPS, CRIES, they hug each other. Beth holds her daughter Caitlin.<\/scene_description>\n    <character>CAITLIN<\/character>\n    <dialogue>What happened, Mommy?<\/dialogue>\n    <scene_description>UNIVERSAL CITY WALK - NIGHT It's Times Square on V-J Day, bedlam, joy. ON THE MESSIAH Tulchinsky struggles the last few inches, gets the sucking hatch door closed, the wheel turned. Smoke, wires exposed, Simon extinguishes a small fire. Baker looks to Partenza's helmet cam, only STATIC. OMIT BIEDERMAN HOUSE - NIGHT They watch the set, the dust, the two comets in space.<\/scene_description>\n    <character>HEFTER (ON TV)<\/character>\n    <dialogue>Messiah, this is Houston... Messiah can you respond...<\/dialogue>\n    <scene_description>Everyone is elated, hugging, except for Leo. Sarah holds him, tears running down her face, but he's still watching the TV, worried. Slowly, she realizes.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>...Leo...?<\/dialogue>\n    <scene_description>But he doesn't answer, something's wrong. 187B WHITE HOUSE OFFICE - NIGHT 187B The room's crammed full of electronic gear, computers. The President, Entrekin, Chairman of the Joint Chiefs SCOTT, other aides and advisors. No one says a word. All are turned toward Bekey, a phone to his ear. Waiting.<\/scene_description>\n    <character>IVAN BEKEY<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>...I'm still here<\/dialogue>\n    <scene_description>Listens for a long beat. Then hangs up, slowly turns to the President. He doesn't have to say it, they all know. The President stares at his feet, the weight of his job too great today. Then finally, quietly:<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>Your people ready, Morton?<\/dialogue>\n    <parenthetical>(Entrekin nods)<\/parenthetical>\n    <dialogue>General?<\/dialogue>\n    <character>SCOTT<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <scene_description>The President nods, heads for the brightly lit Oval Office next door. 187C MSNBC - NIGHT 187C Champagne, smiles, relieved tears. The President appears on the monitors, his voice cutting through the celebration.<\/scene_description>\n    <character>BECK (ON TV)<\/character>\n    <dialogue>Good evening.<\/dialogue>\n    <scene_description>He takes a long time to say the next thing. The staff quiets, turns to watch. The President's grim expression slowly sucking the joy from the room.<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>You know what just happened. There was one big.comet, and now there are two. And they're both headed to earth.<\/dialogue>\n    <scene_description>188A MSNBC STUDIO - NIGHT 188A We MOVE SLOWLY through the faces, then onto the long wall of monitors; every station carrying the speech.<\/scene_description>\n    <character>BECK (ON TV)<\/character>\n    <dialogue>Let's call the big one Wolf and the smaller piece, Biederman. Wolf is six miles wide, Biederman a mile and a half. Separately or together, they are capable of destroying life as we know it. We have lost communication with the Messiah spacecraft although we continue to track it visually. It left the comet under power and has made course corrections under power. The ship is coming home. We don't know how many are alive. We don't know their condition.<\/dialogue>\n    <scene_description>He takes a moment. All stare, the words sinking in.<\/scene_description>\n    <character>BECK (ON TV)<\/character>\n    <dialogue>Now we have to make some decisions together. What do we do? You have a choice, we have a choice right now. Ever since the comet was discovered, we've been hoping and working for the best, but we've also been planning for the worst. Our strategy has been two-fold. First, our Strategic Missile Command is preparing to coordinate with the Russians a massive strike of Titan missiles to intercept the incoming comets. If we can deflect these comets only two degrees they will bounce harmlessly off of our atmosphere and head out into space...<\/dialogue>\n    <scene_description>188B IN THE BIEDERMAN'S LIVING ROOM - NIGHT 188B They watch the speech. Sarah clinging to Leo.<\/scene_description>\n    <character>BECK (ON TV)<\/character>\n    <dialogue>Unfortunately, the Titans cannot be launched until the comets are<\/dialogue>\n    <character>BECK (ON TV)<\/character>\n    <dialogue>only a few hours away and while we are confident the Missile attack will succeed, it is only prudent that we now take cautionary steps to insure the continuation of our way of life. To guarantee that there will be enough of us left to rebuild a new world in the unlikely event that the comets do strike the earth...<\/dialogue>\n    <scene_description>The CAMERA moves in slowly on the President.<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>So, in the soft limestone of Missouri, we've been preparing a network of immense caves, and they're almost finished, and we can put a million people in them, and that million people can survive there, underground, for two years, until the air clears and the dust settles. The cave is more than a dormitory, it's our new Noah's Ark: we're storing seeds and seedlings, plants and animals, enough to start over. On August 10, we're going to hold a national lottery...<\/dialogue>\n    <scene_description>188D MSNBC STUDIO - NIGHT 188D The faces of people watching; in Times Square, in Chicago, Seattle, Houston and San Francisco.<\/scene_description>\n    <character>BECK (ON TV)<\/character>\n    <dialogue>A computer will randomly select eight hundred thousand Americans, to join the two hundred thousand scientists, doctors, engineers, teachers, soldiers and artists who have already been chosen. Other countries are preparing similar caves along whatever lines they feel are best to preserve their ways of life. This is ours.<\/dialogue>\n    <scene_description>188E ROBIN'S TOWNHOUSE - NIGHT 188E Robin is watching alone.<\/scene_description>\n    <character>BECK (ON TV)<\/character>\n    <dialogue>Beginning tonight, and continuing until the crisis passes, I am declaring a state of Martial Law. The Armed Forces and the National Guard are working with local law enforcement. A national curfew begins at midnight tonight. Wherever you are, go home. Stay off the roads after sunset. Crimes against persons or property will be dealt with swiftly and harshly.<\/dialogue>\n    <character>BECK (ON TV)<\/character>\n    <dialogue>News stations around the nation are being faxed copies of the lottery procedure as we speak and they'll be broadcasting the details to you in a few moments...<\/dialogue>\n    <scene_description>Worth takes off running for the fax, Ira following. The President takes a break and stops reading copy. He tries to unburden his heart.<\/scene_description>\n    <character>BECK (ON TV)<\/character>\n    <dialogue>I... wish... no, wishing is the wrong word right now. That's not what I mean. Look... I believe in God. A lot of you don't. At times like this, it would just be obscene to use faith as a weapon. But I still want to offer a prayer and I've been trying to find the right one. So let me offer this. It'll pray for our survival, mine included, because I believe that God hears all prayers... but I also believe that sometimes His answer is No. May the Lord lift up His divine countenance upon you, and give you peace.<\/dialogue>\n    <scene_description>We hear a murmur of AMEN from the people in the Oval Office, or wherever we see this, if on a monitor in MSNBC. 188H MSNBC STUDIOS - NIGHT 188H The Presidential Seal's on the monitors. Jenny's camera light CLICKS ON. She looks off, all formality gone.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Do we have the fax yet, Stuart?<\/dialogue>\n    <parenthetical>(Stuart shakes \"no\")<\/parenthetical>\n    <dialogue>Worth and Ira reappear from the hall, running. Worth carries a sheet of paper overhead, rushes it to the anchor desk. Jenny reads it as the crowded studio waits, silent.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>My God... Stuart, how old are you?<\/dialogue>\n    <character>DIRECTOR (ON STAGE COM)<\/character>\n    <dialogue>Jenny, in five, four...<\/dialogue>\n    <character>STUART<\/character>\n    <dialogue>Fifty-five...<\/dialogue>\n    <scene_description>Her camera light blinks RED. She slowly turns to camera.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>We now have the details of the national lottery.<\/dialogue>\n    <parenthetical>(reads)<\/parenthetical>\n    <dialogue>Those of you who have been pre- selected for the Ark will be notified within the next few minutes...<\/dialogue>\n    <scene_description>188I UNIVERSAL CITY WALK - NIGHT 188I We MOVE ACROSS the stunned faces, watching Jenny.<\/scene_description>\n    <character>JENNY (ON TV)<\/character>\n    <dialogue>For the rest, on the night of May 14, those who's social security numbers have been randomly selected by computer will be notified. All phone systems will be turned off for 72 hours beginning on May 13th. The only phones that ring will be those of the people selected...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>188J INT. ROBIN'S TOWNHOUSE - NIGHT 188J<\/stage_direction>\n    <scene_description>Robin watches her daughter deliver the news on TV.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>While some Americans over fifty years of age have been pre-selected for the Ark due to their expertise in a necessary field of study, no men and women over fifty in the general population will be included in the lottery...<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>188K INT. JASON'S APARTMENT - NIGHT 188K<\/stage_direction>\n    <scene_description>Chloe gives Jason a look. I don't know about you, but I will survive.<\/scene_description>\n    <character>JENNY (ON TV)<\/character>\n    <dialogue>The evacuation of those who have been selected for the Ark will take no longer than two days beginning on May 18th...<\/dialogue>\n    <scene_description>188L THE BIEDERMAN'S - NIGHT 188L The phone RINGS. Everyone looks. It RINGS again.<\/scene_description>\n    <character>ELLEN<\/character>\n    <dialogue>...Hello...?<\/dialogue>\n    <character>JENNY (ON TV)<\/character>\n    <dialogue>During this two day period, no unofficial travel will be permitted.<\/dialogue>\n    <character>JENNY (ON TV)<\/character>\n    <dialogue>Those selected will be taken by bus and train to the underground Ark site by military personnel...<\/dialogue>\n    <scene_description>Ellen hangs up slowly, turns back to the room.<\/scene_description>\n    <character>ELLEN<\/character>\n    <dialogue>We've been pre-selected.<\/dialogue>\n    <scene_description>All turn to Leo, they know why. Chuck leaps up, rushes for the front door.<\/scene_description>\n    <character>VICKY<\/character>\n    <dialogue>Chuck...? Where're you going?<\/dialogue>\n    <character>CHUCK HOTCHNER<\/character>\n    <dialogue>Our phone! They could be calling!<\/dialogue>\n    <scene_description>And he's gone. They look among themselves, they all know the Hotchner phone isn't ringing across the street. 188M MSNBC STUDIOS 188M<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>You are being notified now because there is still time to construct your own shelters in basements and backyard pools. Civil Defense teams have been formed in every town and city in America with a population over five thousand. They will distribute supplies and organize group shelters in underground parking facilities and other appropriate sites. Construction plans, equipment lists and locations for securing the necessary provisions along with information on how to grow your own food underground and how to purify water are now available free of charge on the Internet at WWW.FEMA.Com.<\/dialogue>\n    <scene_description>Jenny stops reading. It's silent. She sets the fax down slowly, looks directly into camera.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>That's all there is.<\/dialogue>\n    <scene_description>189A INSIDE THE MESSIAH (OLD SCENE 198) 189A Monash strapped down, gauze covering his eyes, in pain. Tanner and Baker work on the radio, Tulchinsky at the Orion, Simon pours over schematics, his arm now roughly splinted.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>The interior camera circuitry is shot. Andy, can we get back into the cargo bay to reroute the video junctions?<\/dialogue>\n    <character>BAKER<\/character>\n    <dialogue>Starboard cargo porthole is blown. We could try to get in there with the EVA's but there's not much left in the life support packs.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>We should be able to raise Houston on the low band when we get closer.<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>The Orion still functioning?<\/dialogue>\n    <character>TULCHINSKY<\/character>\n    <dialogue>System check was okay, but I don't know about the radiation shielding.<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>So, if we fire it up, we beat the comet back to earth, but we may start glowing in the dark. Anybody?<\/dialogue>\n    <scene_description>A silent beat, then from the corner, hoarsely --<\/scene_description>\n    <character>MONASH<\/character>\n    <dialogue>Let's go home...<\/dialogue>\n    <scene_description>189B SPACE (OLD SCENE 199) 189B The Orion fires against the backplate, the Messiah picks up tremendous speed, leaves the comets behind. 189C OMIT (MOVED TO 18A) 189C 189D THE ED SULLIVAN THEATER --NIGHT 189D David Letterman on stage, talking to his audience.<\/scene_description>\n    <character>DAVID LETTERMAN<\/character>\n    <dialogue>The comets are such great set-ups for a joke, but the problem is that we're the punchline. So here's my last top ten list. Ten: be grateful to the crew of the Messiah for everything they tried to do. Nine: Make peace with your enemies. Eight: Be strong for the children. Seven: Try to help someone you don't know. Six: Don't get crazy.<\/dialogue>\n    <character>DAVID LETTERMAN<\/character>\n    <dialogue>Five: Don't be selfish. Four: Love your friends and family. Three: Love your friends and family. Two: Love your friends and family. One: Love your friends and family...<\/dialogue>\n    <scene_description>Slowly, he walks off stage.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>189E EXT. WASHINGTON PARK - DAY 189E<\/stage_direction>\n    <scene_description>Jenny walks with Robin.<\/scene_description>\n    <character>ROBIN<\/character>\n    <dialogue>I have to say it's liberating knowing that I won't be called. I don't think I've ever been happier. I've even stopped smoking.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>What are you going to do with all of the money you save?<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Do you know that the National Gallery is saving all of the art? They're shipping it to the caves. I gave them the most beautiful eighteenth century desk from New England, and all of my Sheraton silver. I really felt like I'd protected something when I gave them to the museum. You should see my apartment now. After all these years collecting, there's nothing there now, it's practically Japanese.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>It doesn't seem fair that I got selected. I'm not a doctor, or a scientist.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>People need continuity. You're someone everyone knows. People trust you.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>But I can't help you.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>Don't worry about me. I'm going to be happy as long as I know that you're going to live. Have you spoken to your father?<\/dialogue>\n    <character>JENNY<\/character>\n    <parenthetical>(reflexive anger)<\/parenthetical>\n    <dialogue>No.<\/dialogue>\n    <character>ROBIN<\/character>\n    <dialogue>The world he lives in is coming to an end, Jenny, you don't want him to die with bitterness in his heart. Talk to him.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>ROBIN<\/character>\n    <parenthetical>(the answer is coming)<\/parenthetical>\n    <dialogue>When your Father and I were young, I used to think of us as the perfectly matched pair: he was the most graceful man in the world, and he always said I was the most beautiful. But this is what the comet has taught me; that grace is deceptive, and beauty is passing. Don't leave all the unfinished stuff of your life to the comet. Don't let the comet take away your dignity. You're better than that.<\/dialogue>\n    <scene_description>They keep walking.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>189F INT. MSNBC - NIGHT 189F<\/stage_direction>\n    <scene_description>A scientist's being interviewed by Tim at the anchor desk.<\/scene_description>\n    <character>VAN SERTMA (ON TV)<\/character>\n    <dialogue>It is impossible to say what is happening on the Messiah now! From the telescopes orbiting the earth, yes, we see evidence that they're using the nuclear propulsion system, but who knows what kind of damage it sustained when the comet exploded?<\/dialogue>\n    <scene_description>The CAMERA finds Jenny and Eric watching this from a corner of the studio. They drink a couple of beers.<\/scene_description>\n    <character>VAN SERTMA (ON TV)<\/character>\n    <dialogue>The Russians are very pessimistic about this. Radiation contamination, overheating: the Orion system is just as likely to blow up as it is to work.<\/dialogue>\n    <character>TIM (ON TV)<\/character>\n    <dialogue>That certainly isn't good news.<\/dialogue>\n    <character>JENNY<\/character>\n    <parenthetical>(amazed at the stupidity of what Tim just said)<\/parenthetical>\n    <dialogue>\"That certainly isn't good news?\". What a genius.<\/dialogue>\n    <character>VAN SERTMA (ON TV)<\/character>\n    <dialogue>No one is taking seriously the extent of the risks here.<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>What do you think the world should be doing?<\/dialogue>\n    <character>VAN SERTMA (ON TV)<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>TIM<\/character>\n    <parenthetical>(to the camera; time for a commercial)<\/parenthetical>\n    <dialogue>Thank you. Now this.<\/dialogue>\n    <character>ERIC<\/character>\n    <parenthetical>(to Jenny)<\/parenthetical>\n    <dialogue>What do you think the world should be doing? Does everyone do what they didn't have time to do, or what they were afraid to do? What happens to everyone's morals?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Morals? Eric where are you going...<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>In social crisis, there's a collective unconscious yearning for the disaster everyone pretends to fear...<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Eric, why don't you just ask?<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Ask? What? What do you want me to ask?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>If the world is coming to an end, why not just have sex.<\/dialogue>\n    <scene_description>There it is.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>No, no, no, Jenny, keep this in the abstract as much as you can. It's much sexier to be vague.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>The longer we talk about abstract morals, and the weirder the conversation gets, the longer and more twisted your sentences, the more I know what you'll be like in bed.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Well, that's quite a long and twisted sentence you've got there.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Maybe that should tell you something...<\/dialogue>\n    <scene_description>They burst out laughing at the absurdity of this conversation. He kisses her. They look at each other and start laughing again. OMIT 190A LEO AND SARAH'S NEIGHBORHOOD - DAY 190A Leo rides his bike up the street fast, knapsack slung over one shoulder, standing on the pedals. The neighborhood's transformed. Every driveway has sprouted a tricked-out SUV: brush guards, twin Jerry cans, CB whips. Yards have six foot chain link fences, now guarded not by neighborhood mutts, but by gnarled Junkyard dogs. Chainsaws fell prized family trees, drop them into the street for firewood. Sandbags piled in front of doors. Inside open garages, weekend warriors build bulk storage where the Buick used to sit. Fill the shelves with cases of canned goods, fifty pound sacks of flour, drums of oil. Propane storage tanks are the new yard ornaments of choice. Leo rides his bike up the Hotchner driveway, to the garage where Chuck Hotchner is carrying a drill. Leo comes up beside him as they pass Chuck's dirt bike, standing just inside the garage.<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>Mr. Hotchner?<\/dialogue>\n    <character>CHUCK HOTCHNER<\/character>\n    <dialogue>Who did I think I was going to be when I bought that bike?<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Well, every kid on the block wants one now, and every Mom on the block hates you for it.<\/dialogue>\n    <character>CHUCK HOTCHNER<\/character>\n    <dialogue>Thank you, Leo, that's the best news I've had in years. Give me a hand.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <scene_description>They go around to the porch where Chuck takes his drill to a steel bar over the window. Sarah's mother, Vicky, nurses the baby on the porch. She has a little portable TV, with a small screen. This plays in the background. We may see it or hear it:<\/scene_description>\n    <character>JENNY (ON TV)<\/character>\n    <dialogue>Nationally, authorities report that record numbers of Americans are taking their own lives, with more than twelve hundred suicides in the past twenty-four hours alone...<\/dialogue>\n    <parenthetical>(riot footage)<\/parenthetical>\n    <dialogue>It was another day of rioting for building supplies throughout the East. In Florida, a mob attacked and killed a Miami rental yard operator who was charging five thousand dollars an hour for backhoe and tractor rentals. Marines had to intervene to stop the violence...<\/dialogue>\n    <scene_description>A big Deere combine plowing through green corn. Leo grabs the heavy bars going up over the bay window. He's startled by a big BOOM! Coming from a few doors down.<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>What was that?<\/dialogue>\n    <character>CHUCK HOTCHNER<\/character>\n    <dialogue>Bob Smith's using dynamite to dig a shelter in his backyard.<\/dialogue>\n    <scene_description>Down the block a huge dust mushroom cloud rises behind a ranch house. Guess this passes for normal now. Chuck drills the bar into place.<\/scene_description>\n    <character>JENNY (ON TV)<\/character>\n    <dialogue>Farmers in the Midwest continue to harvest their crops prematurely, even though Department of Agriculture officials are now threatening to impound farmland found to have been harvested early...<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>In Arizona, the stand-off between Army Rangers and the Armageddon Doomsday Militiamen entered its fifth day...<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Uh... Mrs. Hotchner...<\/dialogue>\n    <character>VICKY<\/character>\n    <dialogue>Sarah's on the hill.<\/dialogue>\n    <scene_description>190B OMIT 190B 190C HILLTOP - DAY 190C Leo runs up to the pretty hilltop. He finds Sarah sitting under a tree, the city spread out below them; they see the burning FIRES, hear the SIRENS, and the GUNSHOTS.<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>Where were you today? I've been looking everywhere for you. How come you weren't at school?<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>My Father said I didn't have to go. He said there's no point.<\/dialogue>\n    <scene_description>Leo digs two wedding bands out of his pocket.<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>I have a point.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Those are wedding rings.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Yeah, I got 'em from Jeremy Landers' dad, he needed a Coleman lantern. Look at them, don t you get it? I figured it out.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>If you marry me, I can get you into the Ark. You'll be safe. I went to FCDA! They said that if you and I got married, then you're my family, and I can take you.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>What about my parents? They're not your family, I can't leave my parents.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>You don't have to. I'm the famous Leo Biederman and I haven't used my fame for anything, but I got them to bring your family too, because we're going to be married.<\/dialogue>\n    <scene_description>She looks at him. He's so young.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>You're a sophomore in high school. And you're asking me to marry you so I can hide in a cave for two years.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>So you can live. So we can both live. So we can have children.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>But we are children. Really, we're just children.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Marry me, Sarah, please, marry me. It's the only way you'll survive.<\/dialogue>\n    <scene_description>She studies him. He's changed. She understands something.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>You love me. You know it, now, don't you?<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Yeah. I love you.<\/dialogue>\n    <scene_description>She leans in, and kisses him. His lips first, then his cheeks, his eyes, his neck. He kisses her back, still unsure, a boy. And then she slowly begins to unbutton his shirt. If he thinks she's coming with him, we might see from the way she kisses him that for her, this could be goodbye. THRU THRU 195A STREETS OF AMERICA - NIGHT 195A We move into windows... 195B TOWNS AND CITIES - NIGHT 195B Americans rich and poor wait by their phones. 195C NEW YORK CITY - NIGHT 195C We hear a phone RING. Everyone in the apartment rushes.<\/scene_description>\n    <character>FATHER<\/character>\n    <dialogue>Hello? Yes... Yes, this is he...<\/dialogue>\n    <scene_description>195D A PANORAMA OF AMERICAN WINDOWS AT - NIGHT: 195D Families by the phone; all waiting. 195E REMOTE FARM HOUSES 195E Some phones RING. Some don t. Other phones RING. Others don't. OMIT 196A LEO'S STREET - NIGHT 196A The street's deserted, inside every brightly lit window a family waits for their phone to ring. Leo stands on Sarah's lawn in the dark. Inside her living room bay window, he can see the Hotchners waiting. Their phone isn't ringing. 196B OMIT 196B THRU THRU Jenny at the anchor desk. The dress around the newsroom has become very informal. No more coffee cups and Evians, now it's beer and wine. And everyone, absolutely everyone, smokes.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Confusion over Civil Defense food distribution erupted into riots again today in Denver, and a number of other cities across the country.<\/dialogue>\n    <scene_description>Film of EMPTY PRISONS.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Prison guards in California walked away from their jobs, and released prisoners on their way out. It's feared this trend will spread nationally.<\/dialogue>\n    <scene_description>Ira stands in the hallway, looking through Stuart's office window. Stuart's inside in a suit and tie, packing up a few mementos, that's it. Worth stops beside Ira, a beat.<\/scene_description>\n    <character>WORTH<\/character>\n    <dialogue>He tell you where's he going?<\/dialogue>\n    <character>IRA<\/character>\n    <dialogue>Home...<\/dialogue>\n    <character>WORTH<\/character>\n    <dialogue>Where's that?<\/dialogue>\n    <character>IRA<\/character>\n    <dialogue>He didn't say...<\/dialogue>\n    <scene_description>In the studio, Jenny continues. Film of RIOTING on screen.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>On the other side of the country, rioting continued for the second day at the Lorton Reformatory outside Washington, D.C. Prisoners there had heard of the inmate releases in California, and wanted to be set free as well.<\/dialogue>\n    <scene_description>OMIT THE COMETS Continue their journey towards Earth. They're getting closer and closer. The sunlight striking them, warming the ice. The long comet trails lengthening. MESSIAH COCKPIT Tanner watches this on the computer monitor. Something catches his eye. He's not sure, makes some notes, a small sketch. Floats back into the crew quarters. It's a mess, hanging wires, blackened debris, broken equipment. The lights are low. Baker, Simon and Tulchinsky asleep. Tanner grabs a foil pack, sits across from Monash. Tanner squeezes the foil pack into his mouth. He wipes Monash's lips. This is tender. They talk quietly, not to waken anyone else.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>None of you children brought any real books to read, did you know that? I brought Moby Dick and Huckleberry Finn, and Baker and Simon had never read them. I'm afraid to ask you. Have you ever read Melville or Twain?<\/dialogue>\n    <character>MONASH<\/character>\n    <dialogue>I'm a child of the movies, Fish.<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>You got a shitty deal, Oren.<\/dialogue>\n    <character>MONASH<\/character>\n    <dialogue>Don't worry about me. Really... don't worry about me.<\/dialogue>\n    <parenthetical>(reaches to Tanner and brings him closer, so no one can hear)<\/parenthetical>\n    <dialogue>Y'know, all my life... you know what it's like for guys like us, you and me, we're the same... be the best... be the best. I gotta wife. I'm a father. I see little flashes of light, and color, I go to sleep and dream, but there's a part of me which is always awake now, so I... I get to see myself dreaming. I'm seeing things differently.<\/dialogue>\n    <parenthetical>(pause)<\/parenthetical>\n    <dialogue>How come they call you Fish?<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>Spurgeon, Sturgeon, Fish. That took about fifteen minutes of my first day at Annapolis.<\/dialogue>\n    <character>MONASH<\/character>\n    <dialogue>Your boys went there?<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>Yeah. Good men. Both of them. I don't see them as much as I used to when Mary was alive, she was always better at keeping the family together.<\/dialogue>\n    <scene_description>Monash senses Tanner's unhappiness.<\/scene_description>\n    <character>MONASH<\/character>\n    <dialogue>You don't have to talk about it.<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>You're married, you know what it's like. Every marriage has its good years and bad...we ended on a great one. Anyway... Let's get started.<\/dialogue>\n    <character>MONASH<\/character>\n    <dialogue>On what?<\/dialogue>\n    <scene_description>Tanner pulls out a copy of Moby Dick. We can fade out on this.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>You have a child at home, a boy or girl, and that child needs a Daddy who knows about books, so here we go, Moby Dick, chapter one. \"Call me Ishmael. Some years ago never mind how long precisely having little or no money in my purse, and nothing particular to interest me on the shore, I thought I would sail about a little and see the watery part of the world...\"<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>205A INT. ROBIN'S TOWNHOUSENIGHT 205A<\/stage_direction>\n    <scene_description>On Robin's TV: Jenny, then VIDEO FOOTAGE OF LOOTERS.<\/scene_description>\n    <character>JENNY (ON TV)<\/character>\n    <dialogue>In Columbus, Ohio looters continue to set fire to abandoned stores. The fires have been left to burn since many firefighters are no longer reporting for work.<\/dialogue>\n    <scene_description>CLOSET: Beautiful dresses. Robin's hand in frame takes out one dress, then another, then puts them back and takes out a beautiful antique robe. ON A MAKE-UP TABLE: Make-up, lipstick, perfume. Robin's hand picks up the lipstick.<\/scene_description>\n    <character>JENNY (O.S.)<\/character>\n    <dialogue>Throughout Latin America's major cities, business districts have been abandoned to looting gangs. Military patrols have not succeeded in stopping the violence, and food and medical shortages in outlying areas have become critical. Emergency airlifts hate been ruled out as too dangerous.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>205B EXT. LEO AND SARAH'S HILLTOP - NIGHT 205B<\/stage_direction>\n    <scene_description>A torch. People climbing a hill. More torches. Leo with his parents. Sarah with her family.<\/scene_description>\n    <character>ROBIN'S TOWNHOUSE - CONTINUOUS<\/character>\n    <dialogue>JEWELRY CASE: A collection of beautiful pieces, earrings, rings, necklaces, a locket. Robin holds up different earrings. She chooses something beautiful. She tries on rings, puts rings on a few fingers of each hand. She puts on a heart shaped locket.<\/dialogue>\n    <character>JENNY (O.S.)<\/character>\n    <dialogue>More street fighting in Moscow as food and fuel shortages continue. One observer at the U.S. Embassy describes the scene as pure anarchy. A group of Moscow officials chartered a helicopter to get out of the city, but when angry rioters heard about it they shot the chopper down. No one survived the crash.<\/dialogue>\n    <scene_description>LEO AND SARAH'S HILLTOP - CONTINUOUS IN THE LIGHT: Leo and Sarah are brought to each other. A CLERGYMAN is there. Sarah is beautiful, flowers are in her hair. Leo is in a suit that's too small for him. The CLERGYMAN. His Bible.<\/scene_description>\n    <character>JENNY (O.S.)<\/character>\n    <dialogue>In Europe, rioting continues as the EEU general evacuation plan has fallen apart due to continuing disagreements among participants.<\/dialogue>\n    <character>JENNY (O.S.)<\/character>\n    <dialogue>Meanwhile, because the national health services in many of these countries have stopped providing services, hospitals have become armed encampments to keep from being over-run by angry citizens.<\/dialogue>\n    <parenthetical>(a beat)<\/parenthetical>\n    <dialogue>Refugee camps, like this one near Syria, continue to form along national borders as nation after nation refuses passage to those seeking safer ground before the missile hits.<\/dialogue>\n    <scene_description>The rings. Don has the ring. Parents are crying.<\/scene_description>\n    <character>CLERGYMAN<\/character>\n    <dialogue>... to love.., cherish.., so help...<\/dialogue>\n    <character>JENNY (O.S.)<\/character>\n    <dialogue>The government in Mexico has outlawed the private use of gasoline and diesel fuel after a round of severe price-gouging. In Mexico City, residents are fleeing to higher ground on foot. Several thousand people were trampled when police tried to re-route the crowds from main streets leading out of the city.<\/dialogue>\n    <scene_description>ROBIN'S TOWNHOUSE CONTINUOUS The TV is turned off. LIVING ROOM: For the first time in the sequence, we see Robin in full frame. She puts on music. She lights the candles in the living room. LEO AND SARAH'S HILLTOP CONTINUOUS<\/scene_description>\n    <character>CLERGYMAN<\/character>\n    <dialogue>... till death do you part?<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>I do.<\/dialogue>\n    <scene_description>ROBIN'S TOWNHOUSE CONTINUOUS The room is beautiful, she was right when she told Jenny that this was one of the most beautiful rooms in the world. She sits down and pours an old red wine into a large glass. She is in a chair beside a photograph of Jenny and Jason, when Jenny was a child, on the beach.<\/scene_description>\n    <character>LEO AND SARAH'S HILLTOP CONTINUOUS<\/character>\n    <dialogue>CLERYMAN<\/dialogue>\n    <scene_description>Do you... Sarah...<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>I do.<\/dialogue>\n    <scene_description>Leo kisses Sarah.<\/scene_description>\n    <character>ROBIN'S TOWNHOUSE - CONTINUOUS<\/character>\n    <dialogue>Robin drinks her wine and closes her eyes. She is at peace.<\/dialogue>\n    <scene_description>OMIT THRU THRU THRU THRU AN ARMY BUS - NIGHT Making it's way slowly down Leo's block, more fortress than transportation. Inside, the haunted, passing faces of the already chosen. On top, soldiers. The Biedermans and Hotchners are on the sidewalk, suitcases beside them. Other families stand sullenly on their lawns. The bus stops, soldiers pour out of the bus in full battle gear, form a perimeter. It's precise, frightening. A young LIEUTENANT with a clipboard jogs over.<\/scene_description>\n    <character>LIEUTENANT<\/character>\n    <dialogue>Biederman?<\/dialogue>\n    <character>DON BIEDERMAN<\/character>\n    <dialogue>That's us.<\/dialogue>\n    <character>LIEUTENANT<\/character>\n    <dialogue>ID's please.<\/dialogue>\n    <scene_description>A small line; Ellen, Jane, Don, Leo and Sarah, the Hotchners. He checks IDs, shines his flashlight in their faces. Sends them to the bus. Don carries two suitcases.<\/scene_description>\n    <character>LIEUTENANT<\/character>\n    <dialogue>Only one suitcase.<\/dialogue>\n    <character>DON BIEDERMAN<\/character>\n    <dialogue>It's our family photos, keepsakes.<\/dialogue>\n    <character>LIEUTENANT<\/character>\n    <dialogue>Only one suitcase is going, sir. I don't care which one.<\/dialogue>\n    <scene_description>Don looks to his wife, stricken. Leo sets his bag down.<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>I don't need my stuff, Dad.<\/dialogue>\n    <parenthetical>(shows his ID)<\/parenthetical>\n    <dialogue>This is my wife, Sarah. Here's our notarized marriage license.<\/dialogue>\n    <scene_description>The Lieutenant takes it, reads. Nods toward the bus.<\/scene_description>\n    <character>LIEUTENANT<\/character>\n    <dialogue>...okay. Get on.<\/dialogue>\n    <scene_description>Leo and Sarah smile at each other. Start for the bus. The Lieutenant signals to his men.<\/scene_description>\n    <character>LIEUTENANT<\/character>\n    <dialogue>That's it, let's go.<\/dialogue>\n    <scene_description>They close in behind Leo and Sarah. Leo turns, the Hotchner's have been left behind.<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>The Hotchners are coming, too.<\/dialogue>\n    <scene_description>The Lieutenant turns his small flashlight back on, studies the list. There's a long, torturous wait.<\/scene_description>\n    <character>LIEUTENANT<\/character>\n    <dialogue>H..o..t..c...?<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>.h..n..e..r.<\/dialogue>\n    <character>LIEUTENANT<\/character>\n    <dialogue>Not here.<\/dialogue>\n    <scene_description>He starts off again. Leo stops him again.<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>They have to be there! FCDA \\[ficda\\] sent their names to the White House!<\/dialogue>\n    <character>LIEUTENANT<\/character>\n    <dialogue>They aren't there.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Check again... please!<\/dialogue>\n    <scene_description>The Lieutenant's getting annoyed, looks again. A beat.<\/scene_description>\n    <character>LIEUTENANT<\/character>\n    <dialogue>They're not on the list.<\/dialogue>\n    <parenthetical>(to his men)<\/parenthetical>\n    <dialogue>Let's go...!<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>They're here! They have to be!<\/dialogue>\n    <character>LEO<\/character>\n    <parenthetical>(to the Hotchners)<\/parenthetical>\n    <dialogue>I put you on the list, they said you were on the list. Sarah, I put them on the list!<\/dialogue>\n    <character>CHUCK HOTCHNER<\/character>\n    <parenthetical>(it hits him)<\/parenthetical>\n    <dialogue>We're not on the list.<\/dialogue>\n    <character>VICKY<\/character>\n    <dialogue>But... You said...<\/dialogue>\n    <character>CHUCK HOTCHNER<\/character>\n    <dialogue>We're not on the list...<\/dialogue>\n    <character>VICKY<\/character>\n    <dialogue>But Sarah, and the baby...<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Sarah can come.<\/dialogue>\n    <character>VICKY<\/character>\n    <dialogue>Tell them the baby is yours... Tell them the baby is yours.<\/dialogue>\n    <character>LEO<\/character>\n    <parenthetical>(to the Lieutenant)<\/parenthetical>\n    <dialogue>This is our baby...<\/dialogue>\n    <character>LIEUTENANT<\/character>\n    <dialogue>Oh, come on... I can't do that!<\/dialogue>\n    <character>VICKY<\/character>\n    <dialogue>What do we do?<\/dialogue>\n    <character>SARAH<\/character>\n    <parenthetical>(help me, please...)<\/parenthetical>\n    <dialogue>Mommy... Daddy... I don't want to leave you...<\/dialogue>\n    <scene_description>Don Biederman is behind Leo.<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>Leo, just grab her, get her inside!<\/dialogue>\n    <scene_description>Leo and Don hold onto Sarah, she pulls back.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>I can't!<\/dialogue>\n    <character>CHUCK HOTCHNER<\/character>\n    <dialogue>Sarah... Sarah... You have to go.<\/dialogue>\n    <scene_description>He tries to push her onto the bus.<\/scene_description>\n    <character>LIEUTENANT<\/character>\n    <dialogue>Come or stay, girl... this bus is moving out!<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>I'm not going without you!<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>I can't leave my family!<\/dialogue>\n    <character>VICKY<\/character>\n    <dialogue>Sarah! Get on the bus.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>I don't want to leave you!<\/dialogue>\n    <character>CHUCK HOTCHNER<\/character>\n    <dialogue>You don't know what you're doing, Sarah...<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>Listen to them! You'll die if you stay here, you know that!<\/dialogue>\n    <character>SARAH<\/character>\n    <parenthetical>(resolute)<\/parenthetical>\n    <dialogue>If I die, I'll live on in you, in your memory.<\/dialogue>\n    <scene_description>Tears run down Leo's face. She leans in, kisses him.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>If you love me. You'll go...<\/dialogue>\n    <scene_description>The bus STARTS. She stares into his eyes.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Please...<\/dialogue>\n    <scene_description>Leo backs slowly away from Sarah, anguished. She nods, encouraging him to keep walking. He's to the bus door, Don pushes him up on board. The Lieutenant climbs on. The bus doors close. It PULLS AWAY. Leo rushes to the back window, stares out at Sarah, his hand smashed against the glass, as if to touch her. She waves, her mother sobs in her father's arms. And Leo's gone. 217A MSNBC STUDIOS - DAY 217A Jenny's Assistant takes us through the now sparsely populated MSNBC. Only a few desks are occupied, most have gone to be with their families. She KNOCKS on Stuart's old office door, now Worth's. He hasn't done anything to personalize it. Jenny has her feet up, Eric's there, Ira. They're watching footage of the interior of the Ark on a monitor.<\/scene_description>\n    <character>ASSISTANT<\/character>\n    <dialogue>Jenny...<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Here I am.<\/dialogue>\n    <character>ASSISTANT<\/character>\n    <dialogue>It's for you. It's the coroner's office.<\/dialogue>\n    <scene_description>Everyone is quiet now. Jenny takes the phone.<\/scene_description>\n    <character>JENNY<\/character>\n    <parenthetical>(apprehensive)<\/parenthetical>\n    <dialogue>This is Jenny Lerner.<\/dialogue>\n    <parenthetical>(listens)<\/parenthetical>\n    <dialogue>Yes. Yes. Robin Lerner. Yes. My mother. Sixty-one. Yes... That was her address, yes... What time?<\/dialogue>\n    <scene_description>Everyone is watching her. She's crying while she talks.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>I'll be right there. Thank you. Thank you very much. Thank you.<\/dialogue>\n    <scene_description>She hangs up the phone. Everyone in the room knows that something awful just happened. Jenny walks out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>217C INT. MORGUE - NIGHT 217C<\/stage_direction>\n    <scene_description>Jenny and a CLERK at a counter where she collects Robin's things, the rings, necklace, and earrings she put on before she died. Everything fits in a manila envelope.<\/scene_description>\n    <character>CLERK<\/character>\n    <dialogue>Sign here. And sign here.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>That's it?<\/dialogue>\n    <character>CLERK<\/character>\n    <dialogue>You'll need to make arrangements. The funeral homes haven't been very responsive in the last few weeks. Everyone's waiting to see what happens.<\/dialogue>\n    <scene_description>Jenny can't talk. She goes outside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>217D EXT. MORGUE - NIGHT 217D<\/stage_direction>\n    <scene_description>In the rain. Cabs pass by. There's one that's free. It stops for her. She's about to get in when her father pulls up in his car and opens his window.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Jenny! Come with me.<\/dialogue>\n    <scene_description>Jenny whips open his passenger door.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Come with me.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>You're too late, I already took care of it.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Jenny, get in the car.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>It wasn't my fault.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I don't give a shit, go tell Chloe.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>She left to be with her parents, they're scared. She'll come back, I hope.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>You deserve it. You deserve to be alone!<\/dialogue>\n    <scene_description>He gets out of his car.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>No, no, I don't. Get in the car.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Don't you dare get out of that car.<\/dialogue>\n    <scene_description>Jason reaches to her, but she pulls her hand away and the bag she is holding opens up, spilling jewelry. Jason gets out of the car, he chases the locket, but Jenny grabs it.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Don't touch it! It's mine.<\/dialogue>\n    <scene_description>Now he's soaking in the rain, too.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Well. So. I'm sorry for you.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I feel like an orphan.<\/dialogue>\n    <scene_description>She gets in the cab and leaves Jason in the rain. LEO'S BUS - NIGHT Leo and his family are on the crowded bus. Leo stares out the window, lost, empty. Outside, soldiers try to hold back a mob jamming the entrance the bus can force it's way through a set of heavily armed gates between tall fences topped with razor wire. The whole area's lit up like Monday Night Football.<\/scene_description>\n    <character>SECTION LEADER<\/character>\n    <dialogue>Welcome to the Ark. I'm the section leader for Orange 254. Remember that, that's what we're going to be calling home for the next two years. Please gather your things and follow me to the orientation gallery.<\/dialogue>\n    <scene_description>They file off the bus. Leo steps down into the -- LIMESTONE CLIFF STAGING AREA - NIGHT People everywhere, heavily armed soldiers, trucks, GUNSHOTS, CHOPPERS coming and going. Animals are unloaded from railroad box cars not just cattle and sheep; lamas, pandas, tigers, peacocks, ostriches. Noah's Ark. Huge piles of palleted grain are moved by forklifts, large wooden crates move past marked \"National Gallery\" and \"Library of Congress\". A PA system BOOMS:<\/scene_description>\n    <character>PA SYSTEM (VO)<\/character>\n    <dialogue>Please proceed in an orderly fashion to the orientation gallery for medical examination and inoculation. Please proceed in an orderly fashion...<\/dialogue>\n    <scene_description>They do as they're told, frightened, confused. No more in control of what's happening to them than the cattle being herded beside them.<\/scene_description>\n    <character>SECTION LEADER<\/character>\n    <dialogue>There are a million people living here. Two hundred food service centers. You'll be eating freeze dried beans and vegetables, and fish sticks, a lot of fish sticks...<\/dialogue>\n    <scene_description>Ahead, massive doors open into the cliffs. The dark tunnel's uninviting, ominous. Leo stops. His father realizes.<\/scene_description>\n    <character>DON BIEDERMAN<\/character>\n    <dialogue>Leo...?<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>I'm not coming.<\/dialogue>\n    <scene_description>A beat. Jane and Ellen turn back.<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>I have to go back for Sarah.<\/dialogue>\n    <character>ELLEN<\/character>\n    <dialogue>Leo, come with us right now.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>I'm going back for her, we're going to make it.<\/dialogue>\n    <character>ELLEN<\/character>\n    <dialogue>We're fifteen hundred miles from home.<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>It's beyond everyone's control.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>She's my wife.<\/dialogue>\n    <character>JANE<\/character>\n    <dialogue>Please don't go.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>I'll see you again. I'll see all of you again.<\/dialogue>\n    <scene_description>Don pulls out money, and he pulls off his watch and his ring.<\/scene_description>\n    <character>ELLEN<\/character>\n    <dialogue>What are you doing? Don't let him go.<\/dialogue>\n    <character>DON<\/character>\n    <dialogue>He'll need something for trade. And take this...<\/dialogue>\n    <scene_description>He gives Leo his Swiss Army knife.<\/scene_description>\n    <character>DON<\/character>\n    <dialogue>I'm sorry your childhood was stolen from you like this.<\/dialogue>\n    <scene_description>Leo hugs them all and begins to back up.<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>Mom, Janie... I love you...<\/dialogue>\n    <scene_description>His little sister waves softly. Leo turns away, walks fast, not daring to look back. Disappears into the crowd. THRU THRU RICHMOND - DAY FROM A HELICOPTER we fly into the city center, past abandoned cars and looted stores, there's trash everywhere, on the streets, stacked in vacant lots, find CIVIL DEFENSE WORKERS shepherding a crowd into an underground parking garage.<\/scene_description>\n    <character>WOLF BIEDERMAN IMPACT: 1 WEEK, 3 DAYS, 6 HOURS, 47 MINUTES<\/character>\n    <dialogue>They remind you of nothing so much as refugees; pushing shopping carts overflowing with their belongings, walking beside their overloaded cars pioneers heading west.<\/dialogue>\n    <dialogue>And finally, WE FIND Sarah, carrying her baby sister. Vicky drives their stuffed to the ceiling Astro Minivan, her father pulls a cart loaded with mattresses.<\/dialogue>\n    <dialogue>They follow the crowd down into the parking garage, past a distribution area manned by CD volunteers handing out blankets, crates of freeze dried food, Ensure.<\/dialogue>\n    <dialogue>Vicky pulls the van into the first vacant spot. Other families are already setting up camp.<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>...Home sweet home... I'll start unloading the van.<\/dialogue>\n    <scene_description>Hands the baby to her mother. Vicky looks to Chuck bleakly.<\/scene_description>\n    <character>VICKY<\/character>\n    <dialogue>Oh god...<\/dialogue>\n    <scene_description>Chuck wraps an arm around her, hugs her. Jenny is on the newsroom floor, talking to Worth.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>They're working completely by press release now. I don't feel like a reporter anymore.<\/dialogue>\n    <character>WORTH<\/character>\n    <dialogue>What about Entrekin?<\/dialogue>\n    <scene_description>Ira is coming over.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>He hasn't taken my call in two weeks.<\/dialogue>\n    <character>IRA<\/character>\n    <dialogue>Jenny.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>IRA<\/character>\n    <dialogue>Your Father is here.<\/dialogue>\n    <scene_description>And there's Jason.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Excuse me.<\/dialogue>\n    <scene_description>And she goes to him.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Hello, Jason.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>I can't stay long, I'm leaving the city, but I wanted to show you something. I wanted to show you that you're not an orphan. I have proof that you're not an orphan. Look.<\/dialogue>\n    <scene_description>He takes a few photographs out of his Jacket pocket. These are pictures of Jason and Jenny when Jenny was a baby. These are pictures of Jenny and Jason on the beach, at a beach house. These are not snapshots, they're black and white, beautifully exposed and printed; a great camera, a good photographer.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Where's Mom?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Behind the camera.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>She took these pictures?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>Yes. She was an artist. You don't remember when they were taken?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I'm five years old here. How would I remember that?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <scene_description>Jenny is deeply moved by the pictures, but she can't show her father how much they mean to her.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>How come I never saw them?<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>You'd have to ask your mother. We were alone on the beach. She would have been in the pictures, but there was no one else to hold the camera. It was a good day for all of us.<\/dialogue>\n    <parenthetical>(a beat while Jenny studies them)<\/parenthetical>\n    <dialogue>Goodbye, Jenny.<\/dialogue>\n    <scene_description>And he turns, and walks away.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Goodbye.<\/dialogue>\n    <scene_description>And he's gone. INSIDE THE MESSIAH Tanner is studying the comets on the monitor, makes more notes, taps into the computer. Heads into the main cabin.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Could I bother everyone for a minute?<\/dialogue>\n    <scene_description>Tanner brings up the comets on the cabin computer.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Take a look at the big one.<\/dialogue>\n    <parenthetical>(points)<\/parenthetical>\n    <dialogue>The outgassing at perihelion has created a vent a half mile wide and at least two miles deep. Comet gets closer to sun, sun melts ice, ice turns to steam, we get a big hole.<\/dialogue>\n    <parenthetical>(...so?)<\/parenthetical>\n    <dialogue>How many nukes we have left in back, Mikhail?<\/dialogue>\n    <character>TULCHINSKY<\/character>\n    <dialogue>Four.<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>If we can get the remaining bombs in that vent there shouldn't be anything left of that comet bigger than a suitcase. We can't do anything about the little one, but it might give them a chance.<\/dialogue>\n    <scene_description>Baker realizes what he's talking about, holy shit.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Without the arming codes, we'll have to wait to set the bomb timers until we get close enough to earth to raise Houston.<\/dialogue>\n    <scene_description>Tulchinsky looks to Tanner. Doesn't get it.<\/scene_description>\n    <character>TULCHINSKY<\/character>\n    <dialogue>We may not have enough life support left in the EVAs to get back into the cargo bay for the nukes, much less to work down on the comet.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>And we sure as hell don't have enough propellant left in the Messiah to maneuver much. How do we get back off the surface once we're down?<\/dialogue>\n    <character>MONASH<\/character>\n    <dialogue>We don't.<\/dialogue>\n    <scene_description>Simon and Tulchinsky look at the others, realize.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>To get the nukes into the vent...<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>We have to put them there.<\/dialogue>\n    <scene_description>Tanner shows them his sketch, arcs and ellipses, the Messiah going into the vent. There's a long beat.<\/scene_description>\n    <character>TULCHINSKY<\/character>\n    <dialogue>So, if we fail, we'll never know, and if it works, we'll never know?<\/dialogue>\n    <scene_description>Tanner nods. Another long moment. Finally:<\/scene_description>\n    <character>BAKER<\/character>\n    <dialogue>Look at the bright side, we'll all get-high schools named after us.<\/dialogue>\n    <scene_description>A moment of silence.<\/scene_description>\n    <character>BAKER<\/character>\n    <dialogue>I have to admit something. I feel despair.<\/dialogue>\n    <character>MONASH<\/character>\n    <dialogue>Yep. Me too, despair, over here.<\/dialogue>\n    <character>OTHERS<\/character>\n    <dialogue>Despair... Uh huh.<\/dialogue>\n    <character>TULCHINSKY<\/character>\n    <dialogue>Well, I'm Russian, despair in Russia is already an improvement over normal feelings. And in Russia, for such feelings. I... well... we have a cure.<\/dialogue>\n    <scene_description>He brings out a bottle of vodka. Water in the desert.<\/scene_description>\n    <character>MONASH<\/character>\n    <dialogue>Drinking and driving, Commander? What do you think?<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>We could hit something.<\/dialogue>\n    <scene_description>They pass the bottle. OMIT THRU THRU EASTBOUND TRUCK - NIGHT Leo's in the back of a stake bed truck. It's dark, cold. The truck's filled with men, women, children. Leo looks up into the crystal clear night sky. The comets are white hot points of light with long vapor trails, the image from medieval manuscripts. He smiles, closes his eyes. OUTSIDE THE RICHMOND PARKING GARAGE - NIGHT Sarah fills sandbags with other members of the underground garage tribe. Slowly, she looks up. The comets. Leo. She closes her eyes. Whispers quietly...<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>I love you, Leo...<\/dialogue>\n    <scene_description>IN THE BACK OF THE TRUCK - NIGHT Leo's face still turned to the sky, eyes closed. The truck PULLS AWAY underneath us, disappearing up the dark road. A VANDENBERG AFB - DAWN Brilliantly lit Titans sit on their launch pads, ready to go. Suddenly, rockets IGNITE. ROAR off into space. B BAIKONAUR-CIS - NIGHT We're looking STRAIGHT DOWN at a closed missile door. The door SLIDES open, revealing a Titan below. WE CRANE down as the huge metal hole in the desert floor begins to belch white exhaust. The Titan LAUNCHES. Peaceful, calm. Miles of uninterrupted horizon abruptly PIERCED by more Titans, ROARING up out of the sea. 248D INSIDE THE MESSIAH 248D The radar begin to BEEP a warning. Baker swings to it.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>We're not alone.<\/dialogue>\n    <character>BAKER<\/character>\n    <dialogue>Titans?<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>That'd be my bet.<\/dialogue>\n    <character>SIMON<\/character>\n    <dialogue>Peashooters.<\/dialogue>\n    <character>MONASH<\/character>\n    <dialogue>At least they're trying.<\/dialogue>\n    <scene_description>248E SPACE 248E The comets from the point of view of the missiles. 248F AND FROM THE MISSILES POV 248F The comets are immense, and from this angle we finally understand the futility of what is about to happen. One by one the tiny missiles STRIKE the surface. Pebbles smashing into two very large ponds. 248G MSNBC - NIGHT 248G Across the monitors, the faces of people watching; in Beijing, and Nairobi, London and Rio. Eric, Beth, Caitlin, Worth, Stuart, Ira, Marianne, Bobby. On Jenny's monitor, a graphic representation of the missiles striking the comet surface.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Here's what you're looking at: all the Titans have hit their targets, but we still don't know if they've made a difference. Comets have to travel for awhile before the radar tracking stations can see if they have been pushed to a safe course that'll bypass the earth. So, one more time, we have to wait.<\/dialogue>\n    <scene_description>Entrekin, the President, and Bekey.<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>You're sure?<\/dialogue>\n    <character>IVAN BEKEY<\/character>\n    <dialogue>Plus or minus a few hundred miles.<\/dialogue>\n    <scene_description>The President nods, crosses the hallway and into - OVAL OFFICE The cameras already in place. He heads for his desk. RICHMOND PARKING GARAGE - NIGHT The camera TRACKS through the underground village to find Sarah and her family watching with everyone else on the communal TV. Beck sits behind his desk in the Oval Office. Takes a moment.<\/scene_description>\n    <character>BECK (ON TV)<\/character>\n    <dialogue>The Titan missiles have failed. The comets are still headed for earth and there's nothing we can do to stop them.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>251A INT. MSNBC - NIGHT 251A<\/stage_direction>\n    <scene_description>People gasp, cry, try to hold back their emotions.<\/scene_description>\n    <character>BECK (ON TV)<\/character>\n    <dialogue>We have now been able to calculate the comets' final trajectories and we have determined where they're going to strike. So this is it. If the world does go on, it will not go on for everyone.<\/dialogue>\n    <parenthetical>(takes a moment)<\/parenthetical>\n    <dialogue>The smaller of the two comets, Biederman, will hit first.<\/dialogue>\n    <scene_description>IN THE BACK OF THE EASTBOUND TRUCK - NIGHT The truck's stopped, everyone crowded around a tiny portable set getting crappy reception. Leo stands to one side.<\/scene_description>\n    <character>BECK (ON TV)<\/character>\n    <dialogue>Somewhere in Eastern Canada, probably in the waters off the coast of Nova Scotia. In just under twelve hours at 4:35 PM, Eastern Daylight time.<\/dialogue>\n    <character>BECK (ON TV)<\/character>\n    <parenthetical>(sudden impatience)<\/parenthetical>\n    <dialogue>Can we get a map? Can somebody get me a map right now?<\/dialogue>\n    <scene_description>IN THE OVAL OFFICE - NIGHT Entrekin and Bekey grab a big office globe from over by the fireplace. Haul it on camera.<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>The impact of the comet is going to be disastrous. There will be a very large tidal wave moving quickly through the Atlantic Ocean. It'll be 1200 feet high traveling at eleven hundred miles an hour, faster than the speed of sound...<\/dialogue>\n    <scene_description>MSNBC NEWSROOM - NIGHT Everyone stands around watching; terrified. Eric moves to the anchor desk, takes Jenny's hand.<\/scene_description>\n    <character>BECK (ON TV)<\/character>\n    <dialogue>As the wave reaches shallow water, it's going to slow down, but the wave height, depending on the depth of the shelf off the coast, will be anywhere from a half mile to two miles high. Where the land is flat, the wave will wash inland six hundred to seven hundred miles.<\/dialogue>\n    <scene_description>254A OMIT 254A RICHMOND PARKING GARAGE - NIGHT<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>The wave will hit New York City forty minutes after impact. Boston, Atlanta, Philadelphia, Washington, all will be destroyed... If you have any means of getting away from the path of this wave, leave now.<\/dialogue>\n    <scene_description>They don't have to be told twice, everybody is getting the hell out of the garage, and fast. Sarah and her family leap into the Astro Minivan. People SCREAM, run, a few small children are left crying. The TV still on.<\/scene_description>\n    <character>BECK (ON TV)<\/character>\n    <dialogue>The larger comet, Wolf, will be far more catastrophic. It will strike land in Western Canada three hours after Biederman. Within a week, the skies will be dark with dust from the impact and they will stay dark for two years. All plant life will be dead within four weeks, animal life within a few months.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE OVAL OFFICE - NIGHT<\/stage_direction>\n    <scene_description>The President continues, looks directly into camera.<\/scene_description>\n    <character>BECK<\/character>\n    <dialogue>Good luck.<\/dialogue>\n    <scene_description>The truck's turning around to head west. Everyone's jumping back on frantically, except Leo who's standing in the road. The last few people hop on or are dragged up by others. The truck completes its turn. A large HISPANIC MAN leans out, offers Leo his hand.<\/scene_description>\n    <character>HISPANIC MAN<\/character>\n    <dialogue>Come on...!<\/dialogue>\n    <scene_description>But Leo doesn't move. The people in the back of the truck stare at him. The truck barrels off west. Leo turns, begins to run east, toward the lightening horizon. 257A INSIDE THE MESSIAH 257A Simon's under the radio panel, working with his one good hand on a jumble of wires. Other wires now criss-cross the ceiling of the cabin in a crazy tennis racket grid of colors. Through the cracked windshield, the Earth.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>Try that...<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>I'm getting something.<\/dialogue>\n    <scene_description>257B JSC COMM ROOM - DAY 257B A single GUY sits in the crammed comm room, watching MSNBC on a small set. Hears a SCRATCHY sound. Sits up. What?<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Houston...is...Messiah. Houston, this... the Messiah...<\/dialogue>\n    <character>NASA GUY<\/character>\n    <dialogue>Messiah, this is Houston, go ahead...<\/dialogue>\n    <scene_description>Another man sticks his head in from the hallway.<\/scene_description>\n    <character>NASA GUY<\/character>\n    <dialogue>Get Hefter, quick!<\/dialogue>\n    <scene_description>257C MESSIAH COCKPIT 257C The astronauts let off a WHOOP, elated to be back on line.<\/scene_description>\n    <character>HEFTER<\/character>\n    <dialogue>Nice of you to call Messiah, we were starting to wonder what the hell you were doing up there.<\/dialogue>\n    <scene_description>Tanner motions for everyone to shut up.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Admirinq the view, Houston.<\/dialogue>\n    <character>HEFTER<\/character>\n    <dialogue>Fish, that you?<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>Yep. Sorry we don't have time to talk Houston, we need the arming codes for the last four nukes.<\/dialogue>\n    <character>HEFTER<\/character>\n    <dialogue>What the hell for?<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>Mitch, we can do, or we can teach, what's your pleasure?<\/dialogue>\n    <scene_description>257D JSC COMM ROOM 257D More and more NASA folks jam into the room.<\/scene_description>\n    <character>HEFTER<\/character>\n    <dialogue>Get the arming codes! Get the goddamn codes!<\/dialogue>\n    <character>WOLF BIEDERMAN IMPACT: 19 HOURS 12 MINUTES 22 SECONDS<\/character>\n    <dialogue>Worth's running a mini meeting, it's somber, quiet, a circle. Beer and wine containers litter the table, everyone smokes. A few younger, staffers, Jenny, Eric, Beth with Caitlin, Ira, Tim, Bobby, Marianne.<\/dialogue>\n    <character>WORTH<\/character>\n    <dialogue>We have one helicopter. It holds seven people. We can ferry six people to high ground in West Virginia and take Jenny to the ark.<\/dialogue>\n    <scene_description>They look around, there are thirteen of them, not counting Jenny and Eric. They aren't all going to make it. Worth reaches behind him for coffee stirrers, counts out thirteen, breaks the ends off six. Everyone watches, it's very quiet.<\/scene_description>\n    <character>WORTH<\/character>\n    <dialogue>Short sticks go.<\/dialogue>\n    <character>TIM<\/character>\n    <dialogue>I always thought it was, \"women and children first.\"<\/dialogue>\n    <character>WORTH<\/character>\n    <dialogue>If you pick short, you can give up your seat.<\/dialogue>\n    <scene_description>He offers his hand slowly around the room. Each person picks a straw. One at a time. Marianne's first, a long straw. A short one for the next man, he smiles. Bobby picks a long one. Ira, long. Short. Long. Tim, short. Long. Long. A woman begins to cry. Short. Eric has to choose. He looks to Jenny. He chooses a straw. Short. He takes Jenny's hand. Now, it's just Beth and Worth. Two sticks. One long and one short. Beth looks at Worth, at Caitlin beside her. Takes a deep breath. Picks one. It's long. Worth opens his hand, the one remaining stick, short. There's a long silent beat.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Oh my God, Beth... What are you going to do?<\/dialogue>\n    <character>BETH<\/character>\n    <dialogue>There's always the road. I'll be all right.<\/dialogue>\n    <character>IRA<\/character>\n    <parenthetical>(making the best of a worst situation)<\/parenthetical>\n    <dialogue>Well...I...I'm going to learn French.<\/dialogue>\n    <scene_description>Beth gets up and leaves. They all watch her go.<\/scene_description>\n    <character>WORTH<\/character>\n    <dialogue>All right, let's get moving!<\/dialogue>\n    <scene_description>SPACE Wolf and Biederman tumble towards Earth. THRU THRU MESSIAH CREW QUARTERS Tanner, Baker and Tulchinsky are working on the last bomb. Parts float around, tools. Simon's at the comm board. Monash is strapped to his seat.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>The code transfer is going too slow, I can't get a clear signal.<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>They'll come or they won't, worrying about it won't help.<\/dialogue>\n    <scene_description>Tanner struggles to detach the nuke from its cumbersome MOLE mounting capsule. He's whistling. Baker looks down at him. Among the others.<\/scene_description>\n    <character>BAKER<\/character>\n    <dialogue>Are you whistling?<\/dialogue>\n    <character>TANNER<\/character>\n    <dialogue>Yep...<\/dialogue>\n    <scene_description>Baker grins, shakes his head.<\/scene_description>\n    <character>BAKER<\/character>\n    <dialogue>You're happy aren't you, Fish...?<\/dialogue>\n    <scene_description>Tanner doesn't answer for moment, then:<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>During the middle ages, a Swedish Knight, returning home from the crusades, got caught by the plague. The Angel of Death came to take him away, he was on a beach and there was no place to hide.<\/dialogue>\n    <scene_description>Baker and Simon trade looks, here he goes again.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Death said, \"It's time to go.\" The Knight took a look at him and said, \"I've heard you're a chess player.\" Death said, \"That's true.\" The Knight said, \"Death, why don't we play a game of chess? As long as I hold you off, you don't claim my soul. And if I win, I live forever.\" Death smiled and said, \"Let's play.\"<\/dialogue>\n    <scene_description>Tanner gets the nuke out, takes it to the table where Simon's fashioned straps out of scrap to hold the nukes in place.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>The Knight held him off for a long time, until one day, the Knight stopped in a church for confession. And in the dark of that confessional, he told the priest about the chess game, and how Death had overlooked a move, and how he, the Knight, was just one jump away from a checkmate. And the priest pulled back the screen, and it was Death himself. The Knight had given away his game.<\/dialogue>\n    <scene_description>Everyone's listening now, lost in their own emotions.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>There was no chance to recover. He was going to lose. The Knight went outside, and he looked at his hands, and he could see the blood still flowing in his veins, and he said, \"There it is, I'm still alive, and I, Antonius Block - that was his name - I, Antonius Block, am playing Chess with Death!\"<\/dialogue>\n    <scene_description>Tanner finishes screwing the final nuke in place, slips on a control lead, the nukes LED's BLINK on. He smiles.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>It's been a hell of game.<\/dialogue>\n    <scene_description>FREEWAY - DAY A freeway sign: \"RICHMOND BEACHES 6 MILES.\" The CAMERA BOOMS DOWN to find bumper to bumper traffic on both sides of the road heading west. Cars are HONKING, RADIOS are on, tempers FLARE. News CHOPPERS overhead. WE MOVE DOWN TO FIND Leo, on a bike heading the opposite direction -- east, into town. HOTCHNER VAN - DAY Sarah and her family in the red Astro Minivan, stuck in horrible traffic. Sarah sneaks a look up front, ON THE DIGITAL SPEEDOMETER: 4 miles an hour. Chuck sees his daughter looking. They're in trouble. And they know it. OMIT The COMETS' POV: Earth fills the horizon. OMIT LEO'S NEIGHBORHOOD - DAY The street's deserted, weeds choke lawns, trash is piled up everywhere, broken windows, doors ripped off hinges. Leo pedals up the street, hard. Passes abandoned cars, dogs roaming free eating garbage. Dumps the bike on Sarah's dead lawn, rushes into -- SARAH'S HOUSE - DAY The front door bars have been pried off, wood hanging from the jam. It's oddly quiet, family photos missing, leaves blowing around, the place has been looted.<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>Sarah! Sarah...!<\/dialogue>\n    <scene_description>No answer, he's near panic.<\/scene_description>\n    <character>LEO<\/character>\n    <scene_description>BACK ON THE STREET - DAY A metal toolshed door RATTLES in the breeze. A front door SLAPS back and forth.<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>Sarah...!<\/dialogue>\n    <scene_description>A cat scoots across the street. A car wreck sits under the streetlight. He checks both cars for keys, nothing. Runs along the houses, all deserted.\u00b7 Nobody.<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>Hello! Hello...!<\/dialogue>\n    <scene_description>Nothing. Just the empty street.<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>SARAH...?!<\/dialogue>\n    <scene_description>It's getting creepy now, Leo's spooked. He runs up to his own garage, pulls the partially destroyed garage door up. The garage has been looted, too. Old toys strewn around, dolls, baby clothing. But sitting against the wall, still chained in place. His Dad's dirt bike, its heavy duty chain and massive lock still in there, showing the evidence of several attempts to break it. Leo digs among the scattered paint cans. Finds the right one. The keys still in their hiding place. Unlocks it. Climbs on, turns it over with a ROAR. FLIES down the driveway and out into the street, barely hanging on. OMIT THRU THRU THE MESSIAH The astronauts watch Biederman entering the atmosphere.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>We ready?<\/dialogue>\n    <scene_description>Everyone's strapped in, Tanner and Baker up front with Simon. Tulchinsky and Monash next to the nukes. All nod.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Houston, this is Messiah. We're ready to begin our run. Our families there yet?<\/dialogue>\n    <character>HEFTER (ON COM)<\/character>\n    <dialogue>They're on their way, Messiah. Good luck.<\/dialogue>\n    <scene_description>Kenny takes the yoke, begins a turn.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Disengage autopath. Here we go...<\/dialogue>\n    <scene_description>SPACE The Messiah sling shots around the Earth, heading for the massive Wolf. We SWING BACK TO Biederman's view of the earth as it approaches the atmosphere and begins to heat up. SCREAMS past a satellite, starts to glow. 275A THE FREEWAY - DAY 275A Leo ROARS along the shoulder, up and down the grass embankments trying to miss abandoned cars. Surfing the sea of slow moving traffic. Searching for the Astrovan. 275B OMIT 275B THRU THRU 275D 275D<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>275E INT. MSNBC - DAY 275E<\/stage_direction>\n    <scene_description>Jenny and Eric are running through the building. They have to cross the studio. Jenny runs to her desk.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I have to get something.<\/dialogue>\n    <scene_description>She grabs the envelope her Father gave her.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Jenny! Let's go!<\/dialogue>\n    <scene_description>She runs with him. They pass the day care center. There are Beth and Caitlin, playing. Jenny stops.<\/scene_description>\n    <character>JENNY<\/character>\n    <parenthetical>(surprised)<\/parenthetical>\n    <dialogue>Beth!<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Jenny!<\/dialogue>\n    <scene_description>He's already at the door to the roof. The others are pushing past him. When the door opens we can hear the noise of the helicopter on the roof.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>Jenny! We have to go!<\/dialogue>\n    <character>BETH<\/character>\n    <dialogue>The roads were so crowded, it was obvious that we weren't going to make it. If the wave is going to come, I thought, well, she likes it here. It's the fifteenth floor, who knows, maybe we'll be alright.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Caitlin. Come here.<\/dialogue>\n    <scene_description>Caitlin comes to her. Jenny picks her up.<\/scene_description>\n    <character>BETH<\/character>\n    <dialogue>Say goodbye to Jenny, Caitlin.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Jenny! There's no time left!<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Let' s go.<\/dialogue>\n    <character>BETH<\/character>\n    <dialogue>Where?<\/dialogue>\n    <scene_description>Jenny starts running with Caitlin. Caitlin drops her doll.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Let's go.<\/dialogue>\n    <scene_description>They all start running up the stairs together.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>275G EXT. MSNBC ROOFTOP - DAY 275G<\/stage_direction>\n    <scene_description>They come to the roof. A helicopter is waiting for them, and another chopper has just left. The sky is filled with helicopters and small planes, all heading west.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>We're going to make it, we're going to make it, let's go, let's go, now, now, now...<\/dialogue>\n    <character>BETH<\/character>\n    <dialogue>Where are you going with my Caitlin?<\/dialogue>\n    <scene_description>Jenny seems to have an aura around her, something is holding her back from the fear and tension that everyone else is showing on their faces. She's actually calm.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>You're taking Caitlin and you're taking my seat.<\/dialogue>\n    <character>BETH<\/character>\n    <dialogue>Why?<\/dialogue>\n    <scene_description>A few people are already in the chopper.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Get inside!<\/dialogue>\n    <scene_description>Beth rushes in.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Caitlin, I love you.<\/dialogue>\n    <scene_description>Jenny hands Caitlin to her mother. Eric is about to get on.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>What are you doing?<\/dialogue>\n    <scene_description>The Pilot looks doubtfully at the number of people he's supposed to carry.<\/scene_description>\n    <character>PILOT<\/character>\n    <dialogue>That's too many.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>We can make it.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I'm not going. Goodbye, Eric.<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>BETH<\/character>\n    <dialogue>Thank you, thank you, thank you.<\/dialogue>\n    <character>PILOT<\/character>\n    <dialogue>We gotta go!<\/dialogue>\n    <scene_description>And he starts to lift off.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Goodbye, Eric.<\/dialogue>\n    <scene_description>Eric is holding Jenny's hand as the helicopter rises.<\/scene_description>\n    <character>ERIC<\/character>\n    <dialogue>But I love you.<\/dialogue>\n    <scene_description>Jenny hears this, and smiles. She kisses his hand.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Next time!<\/dialogue>\n    <character>ERIC<\/character>\n    <dialogue>Next time!<\/dialogue>\n    <scene_description>And then their hands separate, and the helicopter flies off the roof, and joins the swarm of planes going west. 275H OMIT 275H<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>275I EXT. ROAD - DAY 275I<\/stage_direction>\n    <scene_description>We are looking east on the freeway, at the miles of cars, filling both sides of the road and all heading west. They are stopped, or moving at a mile an hour. We are on the westbound lanes, looking at the back of a sign over the freeway. We cross to the eastbound lane and a sign saying BEACHES... We continue across the highway and over the embankment to an access road, where one car is heading towards the water. We find the driver: Jenny. Leo on his motorbike, wearing a helmet, through the traffic. Cars everywhere, impossible to get through. An Astrovan... he goes up to it: the wrong family. Another Astrovan... the wrong people. Leo drives up onto the center median. Other motorcyclists are using the same road. HE PASSES THE HOTCHNER FAMILY. Vicky sees him. INSIDE THE VAN Vicky sees Leo.<\/scene_description>\n    <character>CHUCK HOTCHNER<\/character>\n    <dialogue>Look... Sarah... Look...<\/dialogue>\n    <scene_description>Sarah and Chuck see Leo.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Leo!<\/dialogue>\n    <scene_description>She throws herself over her Father to hit the horn. But all the cars are honking. ON LEO Leo is ahead of the Hotchners. ON SARAH She gets out of the car and climbs up on the roof.<\/scene_description>\n    <character>LEO!<\/character>\n    <dialogue>LEO BIEDERMAN! LEO!<\/dialogue>\n    <scene_description>Leo doesn't hear her. ON LEO (FROM HIS REAR VIEW MIRROR) A girl on a van. BACK TO SCENE He stops. He turns around. He sees Sarah. She is off the van, and running to him through the stopped traffic. He rides back to her. They kiss. Vicky, carrying the Baby, and Chuck, are out of the van, coming to them.<\/scene_description>\n    <character>CHUCK HOTCHNER<\/character>\n    <dialogue>You don't have any time, you have to go now.<\/dialogue>\n    <character>VICKY<\/character>\n    <dialogue>Here...<\/dialogue>\n    <scene_description>She gives Sarah the Baby.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Mom...<\/dialogue>\n    <character>VICKY<\/character>\n    <dialogue>Make a life.<\/dialogue>\n    <character>LEO<\/character>\n    <dialogue>I'll take care of them, I promise...<\/dialogue>\n    <character>CHUCK HOTCHNER<\/character>\n    <dialogue>I know you will. Go, please go...<\/dialogue>\n    <scene_description>Sarah nods, crying. Leaps on the back of his bike.<\/scene_description>\n    <character>VICKY<\/character>\n    <dialogue>We love you, we always loved you, now get out of here, now, now, now. Go!<\/dialogue>\n    <scene_description>Leo and Sarah, holding the Baby, get on the motorbike, and get out of there as fast as they can, leaving Chuck and Vicky on the road. The comet's POV, low in the atmosphere, streaking over the earth. OMIT THRU THRU 278B 278B FREEWAY - DAY Chuck and Vicky Hotchner lean against their stopped van. He has his arm around her. She lets him hold her. He looks up... Everyone is looking up, she looks up... there's the comet.<\/scene_description>\n    <character>CHUCK HOTCHNER<\/character>\n    <dialogue>Biederman.<\/dialogue>\n    <scene_description>People get out of their cars, slowly. WE BOOM UP, to see miles of jammed road, all traffic has stopped as a million people make peace with the end of their lives. COUNTRY ROAD - DAY Leo and Sarah ROAR off the freeway, FLY past an endless line of cars crawling slowly into the green hills. Sarah sees the comet first.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Oh no...<\/dialogue>\n    <scene_description>Streaking overhead. Leo yells over the NOISE of the bike.<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>Fifteen minutes after it hits we'll feel the shock wave! Hold on...!<\/dialogue>\n    <scene_description>He LAYS on the gas, Sarah holding onto Leo and the baby for dear life. 281A OMIT 281A THRU THRU 285A NEW YORK CITY - DAY 285A Stuart walks calmly along the street in a suit and tie. People run past, cars JAMMED bumper to bumper in the street, HONKING, trying desperately to get out of the city. But Stuart's calm, relaxed. Finds a -- Curbside Starbucks coffee cart, umbrella, it's deserted. Makes himself a cup of espresso. The portable TV on the cart now only STATIC. Grabs a New York Times from an abandoned news stand. The NY tabloids hanging from it's sides scream \"COMET TO CITY: DROP DEAD!\" And \"THE FAT LADY SINGS!\", the Times simply states, \"Wolf, Biederman Impact Imminent\" and in smaller type, \"Scientists Disagree On Extent Of Destruction\". He walks through the chaos and out into Washington Square among the pigeons. Sits on the steps near the Arch, sets his coffee to one side, lights a cigarette, opens his paper. 285B OMIT 285B AND AND 285C 285C<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAPE HATTERAS - DAY<\/stage_direction>\n    <scene_description>The comet is coming to ground. Forest and fields on shore IGNITE, the ocean BOILS as the comet SPLASHES into the sea a few miles off the coast. The white hot tip of the comet breaks the surface. The hole in the ocean begins to spread. Merges with the earth, and FROM ABOVE, the circle of the impact spreads. On shore, the earth RIPPLES away in harmony with the water. And then the shock wave catches up with the fires, BLOWING them out as it KNOCKS the forests flat. Farms and towns are thrown into the air, then roads and cars SHOCKED into vapor by the impact. The ocean wave begins to form, TOWERING above. WE'RE MOVING fast... Down the East Coast ... Faster than the speed of sound... Cities COLLAPSE, forests, bridges. Everything in its path. OMIT 287A VIRGINIA COUNTRYSIDE - DAY 287A Jenny drives down the deserted country road, heading east, when SUDDENLY the ground RIPPLES towards her, as if the highway were a rug and God was shaking out the dust. Trees FALL, telephone poles SNAP. The car FLIES over the sudden three foot speed bump. SLAMS back to the road, with a metal GRINDING THUMP, Jenny keeps going. COUNTRY ROAD - DAY Leo and Sarah. The RIPPLING earth catches up to them from behind, moving fast. Sarah sees, SCREAMS to Leo.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>Oh God...!<\/dialogue>\n    <scene_description>It catches them. The motorcycle JUMPS, bounces up over the rolling ground. They land HARD, Leo struggles to keep the bike upright, Sarah clutching the bundled Baby. OCEAN - DAY The wave is a thousand feet high and moves across the ocean in a line that stretches past the horizon. OIL RIGS are simply swallowed whole. OMIT THRU THRU 290D 290D<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>290E EXT. OLD BEACH COLONY - DAY 290E<\/stage_direction>\n    <scene_description>Jenny arrives at the beach colony, with beautiful weathered old ramshackle cottages behind fences on the dunes. She has the photographs that Jason gave her at MSNBC. She has found the cottage in the background. Ahead of her, through a break in the houses, a path to the sea. A dog barks. The birds wheel overhead. She walks to the sand. She takes off her shoes. She's carrying a bag and she flings it away. No more than a hundred or so people are on the beach, families, old people, children, and dogs. A little girl has a cockatiel in a birdcage. She lets it go. The bird flies away. There's a boy in a wheelchair. His parents set him on the sand, near the water's edge. Couples are kissing, families are hugging each other. A man alone plays frisbee with his black lab. Someone is playing the guitar. There's Jason, standing alone, looking out at the sea. He comes to her.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Jenny...<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>When I was eleven, I stole money from your wallet.<\/dialogue>\n    <character>JASON<\/character>\n    <dialogue>When you were a baby, I dropped you on your head.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>When you came to the studio, and you showed me the pictures, I lied when I told you that I didn't remember. I was so mad at you, because I remembered everything. I remember the day, it was a perfect happy day. We were right over here... We were all alone on the beach, and Mom was really upset because she'd left her tripod in the house. I'm here because I wanted you to know.<\/dialogue>\n    <scene_description>They walk to the water's edge.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>Thank you. I miss her, too.<\/dialogue>\n    <scene_description>Jenny stares at her Father.<\/scene_description>\n    <character>JASON<\/character>\n    <dialogue>I wish I could make up all that lost time for you.<\/dialogue>\n    <character>JENNY<\/character>\n    <parenthetical>(no irony, she means this)<\/parenthetical>\n    <dialogue>We have the rest of our lives.<\/dialogue>\n    <scene_description>And then a terrible sound, not the wave, something else: The sky is filled with SQUAWKING sea birds flying inland, a dense cloud of gulls, terns, and pelicans. Everyone on the beach begins to join hands in a line at the water's edge, gently, without the need to talk. The DOGS run away from them, away from the water. And then the sea before them is SUCKED away in a massive rip tide, exposing fish and an old wreck. Something foams on the horizon. Here it comes. Imagine the Santa Monica mountains rolling toward you, faster than the speed of sound. Jenny grabs her father.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Daddeeee!<\/dialogue>\n    <scene_description>Father holds daughter. The sound is DEAFENING. And they're gone. 290F OMIT 290F The wave sweeps down the freeway, gathering thousands of cars in its foam. The Hotchners wait, holding each other. Vicky looks up at her husband, smiles. And they disappear as the tidal wave sucks up fifty thousand cars. A OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. NEW YORK HARBOR - DAY<\/stage_direction>\n    <scene_description>Two F-16's SCREAM into view, towards the Manhattan skyline. They close in on the STATUE OF LIBERTY. They veer off in opposite directions as the GIANT WAVE enters frame and the sky starts to darken.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>292A EXT. MANHATTAN SKYLINE - DAY 192A<\/stage_direction>\n    <scene_description>The wave sweeps over lower Manhattan, around and between and over the twin towers of the World Trade Center.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>292B EXT. LOWER MANHATTAN - DAY 292B<\/stage_direction>\n    <scene_description>It tears through Soho.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>292C EXT. TIMES SQUARE - DAY 292C<\/stage_direction>\n    <scene_description>From Times Square, you can see it coming up Broadway and Seventh Avenue. 292D WASHINGTON SQUARE - DAY 292D The rushing crowds around Stuart, stop. Climb out of their cars, look eastward. A tremendous NOISE. Stuart looks up from his paper. Takes a final deep drag of his cigarette, and he's gone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>292E EXT. CHRYSLER BUILDING - DAY 292E<\/stage_direction>\n    <scene_description>Looking up at the Chrysler building we see an ocean liner tossed by the wave into the skyscraper's top floors.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>292F EXT. EMPIRE STATE BUILDING - DAY 292F<\/stage_direction>\n    <scene_description>FROM ABOVE: looking down at the Empire State Building as the wave surges through mid-town.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>292G EXT. NEW YORK UNDERWATER - DAY 292G<\/stage_direction>\n    <scene_description>FROM BELOW: As the Statue of Liberty floats face down above the drowned city. FROM THE SURFACE OF THE WATER: the wave has passed, leaving one tower of the World Trade Center leaning against the other, water draining from the shattered windows. OMIT VIRGINIA HILLS - DAY Leo and Sarah ROAR over a hill to see a mountain road rising above, traffic JAMMED all the way up. Sedans have tried to negotiate the shoulder and gotten stuck. There's nowhere to go. Leo idles for a moment. Looks around desperately, Steve McQueen in The Great Escape. Behind them, in the far distance, something is COMING. He REVS the engine.<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>Hold on!<\/dialogue>\n    <scene_description>FLIES off into the brush, looking for a trail, anything. The bushes and branches SLAP at their faces, SCRATCH and TEAR. A deer trail. Not much but they'll take it. It's steep, not meant for motorcycles. The wrong move and they'll FLY off into the woods. Dirt SAILS off the tires as they SKID and SLAM over branches and decomposing leaves. They come around a bend, a huge TREE down ahead. Leo brakes to try to stop, but the bike SKIDS underneath them. They go down. Leo and Sarah falling, SLIDING behind it. The cycle SMASHES into the tree, SLAMS up and over it in a twisting somersault of metal and paint. And suddenly, it's silent. Leo sits up, clothes torn, covered in mud and dirt. Crawls back to Sarah.<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>Sarah...? Sarah...?!<\/dialogue>\n    <scene_description>She's a few feet behind him, face scrapped, more concerned about the baby still strapped to her chest.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>I think he's okay...<\/dialogue>\n    <scene_description>CRYING like hell, but alright. Leo pulls her up.<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>We have to keep going, can you run?<\/dialogue>\n    <scene_description>She nods. He drags her behind him over the tree, the bike a mangled mess, the back wheel still spinning. THE WAVE - DAY It covers the countryside, the crest of the beast eating everything in its way, devouring entire states. FOREST - DAY Leo and Sarah running. People behind them, above them. THE WAVE - DAY It reaches the base of the hills. An immense force, the water piling up on the mountain as easily as water in a bathtub surges over the side if you give it a push. EXT SPACE The United States coastline has changed. Cape Cod is gone.\u00b7 New York City and Long Island. No Chesapeake Bay. No Carolinas or Florida. The ocean reaches inland from the White Mountains of New Hampshire to the Poconos, to the Blue Ridge Mountains and the Appalachians. 298A INT MESSIAH 298A The bombs are strapped to the cabin table, their LEDs blinking 0:00:20. Ready to be started.<\/scene_description>\n    <character>BAKER<\/character>\n    <dialogue>We're at perigee. Wolf contact in three minutes, forty-five seconds.<\/dialogue>\n    <scene_description>Wolf dead ahead, heading for earth.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>We'll never be closer to home then we are right now.<\/dialogue>\n    <scene_description>They watch the earth below them.<\/scene_description>\n    <character>HEFTER (ON COM)<\/character>\n    <dialogue>Messiah, we've got some people down here who want to talk to you...<\/dialogue>\n    <scene_description>MOUNTAIN ROAD - DAY Leo and Sarah CRASH out of the woods onto the road, out of breath. HEAR the thing behind them. Look back -- White foam, DEAFENING noise, planes overhead. People run out of the forest, the water rising behind them, ROARING up out of the woods. The Atlantic Ocean now two hundred miles west of where it was this morning. JOHNSON SPACE CENTER - DAY The families of the astronauts, monitors set up in front of them, Simon's scratchy image. His fiancee, Wendy, crying.<\/scene_description>\n    <character>SIMON (ON MONITOR)<\/character>\n    <dialogue>Wendy, if you let this ruin your life, I'm going to come back to haunt you.<\/dialogue>\n    <character>WENDY<\/character>\n    <dialogue>Please, come back and haunt me.<\/dialogue>\n    <scene_description>ON THE MESSIAH It's Baker's turn, her husband and two daughters.<\/scene_description>\n    <character>BAKER<\/character>\n    <dialogue>Take care of Daddy for me, okay?<\/dialogue>\n    <parenthetical>(the little girls nod)<\/parenthetical>\n    <dialogue>David, you know what I want to say.<\/dialogue>\n    <character>DAVID BAKER (ON MONITOR)<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>JOHNSON SPACE CENTER - DAY Next up is Tulchinsky. He starts in English, switches to Russian and then a SIMULTANEOUS TRANSLATOR takes over.<\/scene_description>\n    <character>TULCHINSKY (ON MONITOR)<\/character>\n    <dialogue>I was in love with three women in my life. You know who you are.<\/dialogue>\n    <parenthetical>(in Russian, translated)<\/parenthetical>\n    <dialogue>I was stupid, I couldn't decide.<\/dialogue>\n    <character>TULCHINSKY (ON MONITOR)<\/character>\n    <dialogue>Each of you is beautiful and unique and I didn't want to give that up. But I loved you, don't ever doubt that, I loved you all...<\/dialogue>\n    <scene_description>MOUNTAIN ROAD - DAY Leo and Sarah are trying to make it to higher ground but the wave CRESTS over the road. CATCHES them.<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>Sarah!<\/dialogue>\n    <character>SARAH<\/character>\n    <dialogue>Leo!<\/dialogue>\n    <scene_description>LIFTS them up as they're carried by the water, TURNED and TOSSED, ROLLED and BUMPED together. THE MESSIAH Wolf looms very large, dead ahead. Tulchinsky helps Monash get in place for the camera. Baker's counting down.<\/scene_description>\n    <character>BAKER<\/character>\n    <dialogue>Wolf contact in two minutes, thirty seconds.<\/dialogue>\n    <scene_description>Hefter's face appears in the Houston monitor, distressed.<\/scene_description>\n    <character>HEFTER (ON MONITOR)<\/character>\n    <dialogue>Oren, Mariette was up at your folks place in Utah, we sent a plane for her, but she isn't here yet.<\/dialogue>\n    <scene_description>The other's watch Monash's face. The clock's down to 2:14.<\/scene_description>\n    <character>HEFTER<\/character>\n    <dialogue>And Fish, your sons are both on active duty, we couldn't get them back here in time. I'm sorry. We tried. Spurgeon, I was wrong. You were the best man for the job.<\/dialogue>\n    <scene_description>Tanner nods, not surprised.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Mitch? I want to say good-bye to Mary. I want to tell her I love her, and that, ever since we've been apart, every day, I think about her.<\/dialogue>\n    <parenthetical>(then)<\/parenthetical>\n    <dialogue>I'm coming home, Mary.<\/dialogue>\n    <character>BAKER<\/character>\n    <dialogue>Coming up on target 126 miles, RDOT .3, 1 degree X, 15 degrees Y...<\/dialogue>\n    <scene_description>Tanner looks away from the monitor, takes the controls.<\/scene_description>\n    <character>BAKER<\/character>\n    <dialogue>115 miles, .3, 2 degrees X, 13 Y...<\/dialogue>\n    <scene_description>SPACE Wolf rolls slowly, the vent clearly ahead of them. The Messiah heads into the mass of coma and rocks. JOHNSON SPACE CENTER - DAY Mariette, with the baby, runs into the building, military escorts struggling to keep up.<\/scene_description>\n    <character>MARIETTE<\/character>\n    <dialogue>Wait...oh god...wait...!<\/dialogue>\n    <scene_description>WOLF The comet is nearing the earth's atmosphere. THE MESSIAH They're BANGING around, the worst, downhill four-wheel drive off road experience you can imagine. Tanner tries to hold it on target.<\/scene_description>\n    <character>BAKER<\/character>\n    <dialogue>76 miles. Wolf impact in forty- five seconds...<\/dialogue>\n    <character>MARIETTE (ON MONITOR)<\/character>\n    <dialogue>Oren?... Oren, are you there?!<\/dialogue>\n    <scene_description>Monash turns to his wife's voice. Her picture breaking up as they FIGHT their way through the dense coma.<\/scene_description>\n    <character>MONASH<\/character>\n    <dialogue>Mariette? I'm here, I can hear you.<\/dialogue>\n    <scene_description>JOHNSON SPACE CENTER - DAY The terrifyingly jumpy interior of the ship and Monash on the static filled monitor. Mariette holds up their child.<\/scene_description>\n    <character>MARIETTE<\/character>\n    <dialogue>Baby... This is your father.<\/dialogue>\n    <character>MONASH<\/character>\n    <dialogue>Mariette!<\/dialogue>\n    <character>MARIETTE<\/character>\n    <dialogue>His name is Oren, I named him after you.<\/dialogue>\n    <character>OREN JR.<\/character>\n    <dialogue>Dadda!<\/dialogue>\n    <character>HONASH<\/character>\n    <dialogue>Oren.<\/dialogue>\n    <scene_description>Oren Jr. holds up to the camera a rocket toy he has been clutching. We see the image of the baby and the rocket on the Messiah's monitor.<\/scene_description>\n    <character>MONASH<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>OREN JR.<\/character>\n    <dialogue>Look!<\/dialogue>\n    <character>SIMON<\/character>\n    <parenthetical>(helping out Monash)<\/parenthetical>\n    <dialogue>He's holding up a little rocket.<\/dialogue>\n    <character>MONASH<\/character>\n    <dialogue>Oh, what a powerful rocket you have.<\/dialogue>\n    <scene_description>The Baby coos and giggles.<\/scene_description>\n    <character>SIMON<\/character>\n    <dialogue>He's laughing.<\/dialogue>\n    <character>MONASH<\/character>\n    <dialogue>I can hear him. Mariette...<\/dialogue>\n    <character>BAKER<\/character>\n    <dialogue>In 40 miles...25 seconds...<\/dialogue>\n    <scene_description>She keeps counting. Tanner yells back to Tulchinsky.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>Prepare to synchronize the nukes.<\/dialogue>\n    <character>MONASH<\/character>\n    <dialogue>...I'm hugging you both right now... I'm holding you...<\/dialogue>\n    <character>MARIETTE<\/character>\n    <dialogue>We're holding you!<\/dialogue>\n    <scene_description>Tulchinsky has a makeshift button, wires run from it to the nukes. 0:00:20 frozen on their LEDs.<\/scene_description>\n    <character>BAKER<\/character>\n    <dialogue>...23...22...21...20...<\/dialogue>\n    <scene_description>Tulchinsky hits the button and the nukes begin to count down in perfect unison...19...18...<\/scene_description>\n    <character>BAKER<\/character>\n    <dialogue>It's been a pleasure serving with you, Commander.<\/dialogue>\n    <scene_description>Tanner doesn't take his eyes off the vent.<\/scene_description>\n    <character>TANNER<\/character>\n    <dialogue>The honor's all mine, Andy...<\/dialogue>\n    <character>MARIETTE<\/character>\n    <dialogue>We love you, Oren...<\/dialogue>\n    <scene_description>JOHNSON SPACE CENTER - DAY Mariette's crying, hell, everybody's crying. Monash's face, his hand touching the camera. And then, he's gone. The monitor suddenly filled with STATIC. The baby leans forward trying to touch the screen, mystified.<\/scene_description>\n    <character>BABY<\/character>\n    <dialogue>...dada...?<\/dialogue>\n    <scene_description>Wolf begins heating up as the Messiah ROARS into the vent, swallowed whole\u00b7 Nothing. Didn't it work? And then, a BLINDING light SHOOTS out... and BOOM. Everything goes WHITE. THE HILLSIDE Leo and Sarah sit up in the middle of the flooded road. The water draining away as the wave recedes. Sarah still has the CRYING baby in her arms.<\/scene_description>\n    <character>LEO<\/character>\n    <dialogue>...look...<\/dialogue>\n    <scene_description>THE SKY: overhead, far away, Wolf and a brilliant light followed by a massive rolling wave of THUNDER that shakes the earth. They walk to the edge of the road, look out over the valley, the ocean slowly receding below.<\/scene_description>\n    <character>SARAH<\/character>\n    <dialogue>It's going away.<\/dialogue>\n    <scene_description>And then all the pieces from the explosion begin HITTING the atmosphere. The greatest meteor shower in history, FIREWORKS in the day brighter than at night. The entire sky filled with color and light, STREAKING, BURNING. Leo can't speak. Sarah holds Leo, the baby. The baby stares at the sky, the ocean, mesmerized. Begins to LAUGH...<\/scene_description>\n    <character>THE END<\/character>\n  <\/scene>\n<\/script>","summary":"In May 1998, at a star party in Virginia, teenage amateur astronomer Leo Biederman observes an unidentified object in the night sky. He sends a picture to astronomer Dr. Marcus Wolf, who realizes it is a comet on collision course with Earth. Wolf dies in a car crash while racing to raise the alarm. A year later, MSNBC journalist Jenny Lerner investigates Secretary of the Treasury Alan Rittenhouse over his connection with \"Ellie\", whom she assumes to be a mistress; she is confused when she finds him and his family loading a boat with large amounts of food and other survival gear. She is apprehended by the FBI and taken to meet President Tom Beck, who persuades her not to share the story in return for a prominent role in the press conference he will arrange. She subsequently discovers that \"Ellie\" is actually an acronym\u2014E.L.E.\u2014which stands for \"extinction-level event\". Two days later, Beck announces that the comet Wolf\u2013Biederman is on course to impact the Earth in roughly one year and could cause humanity's extinction. He reveals that the United States and Russia have been constructing the Messiah in orbit, a spacecraft to transport a team to alter the comet's path with nuclear bombs. The Messiah launches a short time later with a crew of five American astronauts and one Russian cosmonaut. They land on the comet's outer-most layer and drill the nuclear bombs deep beneath its surface, but the comet shifts into the sunlight. Consequently, one astronaut is blinded and another propelled into space by an explosive release of gas. The remaining crew escape the comet and detonate the bombs. However, rather than deflect the comet, the bombs split it in two. Beck announces the mission's failure in a television address, and that both pieces\u2014the larger now named Wolf and the smaller named Biederman\u2014are still headed for Earth. Wolf is on a collision course with western Canada, and its impact is expected to fill the atmosphere with dust, blocking all sunlight for two years and creating an impact winter that will kill all life on the planet's surface. Martial law is imposed and a lottery selects 800,000 Americans to join 200,000 pre-selected individuals in underground shelters in Missouri's limestone bluffs. Lerner is pre-selected, as are the Biederman family as gratitude for discovering the comet, though Leo's girlfriend Sarah and her family are not selected. Lerner's mother, upon learning most senior citizens are ineligible for the lottery, commits ritual suicide. Leo marries Sarah in a vain attempt to save her family; while this saves Sarah, her family are still not selected, and she refuses to go without them. A last-ditch effort to deflect the comets with ICBMs fails. Upon arrival at the shelter, Leo eschews his safety and leaves to find Sarah. He reaches her on the freeway and takes her and her baby brother to higher ground while her parents remain. Lerner gives up her seat on an evacuation helicopter to a colleague and her young daughter, instead traveling to a beach where she reconciles with her estranged father. The Biederman fragment hits the Atlantic Ocean near Cape Hatteras, North Carolina, creating a megatsunami that destroys much of the East Coast of the United States, reaching the Ohio River Valley, and also hitting Europe and Africa. Millions are killed, including Sarah\u2019s parents, Lerner, and her father. Leo, Sarah, and her baby brother survive after making it to the foothills of the Appalachian Mountains. The crew of Messiah, now dangerously low on both life-support and remaining propellant fuel, decide to sacrifice themselves to destroy the larger Wolf fragment by flying deep inside it and detonating their remaining nuclear bombs. They say goodbye to their loved ones by video call and execute their plan. Wolf is blown into smaller pieces which burn up harmlessly in the Earth's atmosphere, averting further catastrophe. After the waters recede, President Beck speaks to a large crowd at an under-construction replacement United States Capitol, encouraging them to remember those lost as they begin to rebuild."}
{"movie_name":"Star Trek: Nemesis_2002","imdb_id":"tt0253754","script":"<script>\n  <scene>\n    <stage_direction>INT.  MEDICAL MONTAGE - DAY<\/stage_direction>\n    <scene_description>Life . Glorious in its many forms . The biological pulse finding its way heroically through the cold manipulation of science . CREDITS as we see a beautiful montage of futuristic medical technology . Through a microscope we see cells multiplying and gene strands exponentially increasing with the vibrancy of exploding flowers . We see laser splicing and biological manipulation on the molecular level . CREDITS continue as we fade to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ROMULAN SENATE CHAMBER - NIGHT<\/stage_direction>\n    <scene_description>Politics . In a cavernous , shadowy chamber . Dark figures lean together and talk seriously . Their hushed , urgent tones denote the gravity of their discussion . We ca n't make out the words but there is no doubt what they are talking about . The three year old HUMAN BOY who stands before them . The boy is alone and frightened , lost in the sweeping grandeur of the massive chamber . CREDITS continue as we fade to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  REMAN HOMEWORLD - NIGHT<\/stage_direction>\n    <scene_description>Labor . On a stark , desert planet with monolithic mountains and harsh crags shooting upward . The only light in this dark netherworld comes from the flames that accompany the hellish mining operations everywhere around us . The human boy gazes over this desolate vista and then he looks up for a moment . at the stars . Then a tall figure leads him firmly into one of the mines . The boy seems to disappear into this flaming crucible . CREDITS end as we go to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  ROMULUS - SUNSET<\/stage_direction>\n    <scene_description>The sun is setting on the capital city of the great Romulan Star Empire , The imperial monoliths and martial towers of this bustling city glow red as the sun dips below the horizon . We slowly move down toward the most imposing building of the city . The Romulan Senate chamber .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ROMULAN SENATE CHAMBER - SUNSET<\/stage_direction>\n    <scene_description>SENATOR TAL ` AURA watches the proceedings with a studied look of bored indifference . She glances to the familiar Romulan crest that dominates one wall of the chamber : a ferocious bird - of - prey holding two planets , one in either claw . And then her eyes carefully cross the chamber to . PRAETOR HIREN - the head of the Romulan government - presiding over the Senate from a throne - like chair . He is a capable politician in his 50s .<\/scene_description>\n    <character>SENATOR 1<\/character>\n    <dialogue>but if we hesitate we'll lose this important source of dilithium. A trade agreement is in the best interests of the Empire.<\/dialogue>\n    <character>SENATOR 2<\/character>\n    <dialogue>Praetor, I recommend we dispatch a diplomatic mission to Celes II to open negotiations.<\/dialogue>\n    <scene_description>Senator Tal ` Aura grunts slightly at the word `` negotiations . '' Praetor Hiren glances to her .<\/scene_description>\n    <character>PRAETOR<\/character>\n    <dialogue>Senator Tal ` Aura, you disagree with the motion.<\/dialogue>\n    <character>TAL'AURA<\/character>\n    <dialogue>No, sir. I would say `` negotiation'' is to be advised. I support all `` diplomatic'' overtures. But if you will excuse me, Praetor, I have an appointment with the Tholian ambassador.<\/dialogue>\n    <scene_description>The Praetor nods . Tal ` Aura stands and leaves the chamber . but she had left something behind on her desk . A small , silver box with unusual etchings on the surface . The discussion continues as we focus on the silver box .<\/scene_description>\n    <character>PRAETOR<\/character>\n    <dialogue>Then I will call for a vote on the motion to open trade negotiations with Celes II.<\/dialogue>\n    <scene_description>The Senator at the desk next to Tal ` Aura 's glances over . The silver box is moving . The Senator watches , amazed , as the box begins to slowly fold open . Then `` legs '' appear . The box unfolds like a spider , standing on its legs . Then it is still for a moment . The Senator looks at it , puzzled . Suddenly - a bright beam of green light shoots up from the spider - the Senators are stunned - the beam shoots to the high domed ceiling of the chamber and then cascades around the interior of the room , enveloping everything in a glowing shroud of green energy . In a way , it is bizarrely beautiful . And then just as suddenly the light disappears . A moment of silence . The Praetor and Senators are baffled .<\/scene_description>\n    <character>PRAETOR<\/character>\n    <dialogue>Would someone please tell me what that was?<\/dialogue>\n    <parenthetical>( he turns to a guard . )<\/parenthetical>\n    <dialogue>Alert security -<\/dialogue>\n    <scene_description>A plant behind the Praetor begins to shrivel .<\/scene_description>\n    <character>PRAETOR<\/character>\n    <dialogue>- and have them run a -<\/dialogue>\n    <scene_description>The Praetor stops suddenly - as the flesh begins to melt from his face . Every bit of organic matter in the chamber decays . Flesh melts from bones while the Senators scream in agony . Every living thing in the chamber is dead within ten seconds . A stunning moment of silence as we take in the carnage . Then a transporter effect ripples around the spider - weapon . It disappears . And the Romulan Senate is no more . We fade to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  EARTH, ALASKA - PAVILION - DAY<\/stage_direction>\n    <scene_description>JEAN LUC PICARD , the most beloved and respected Captain in Starfleet . His face is resolute and set . Even stern . His white dress uniform is buttoned tightly to the neck . He looks at us evenly and then utters the word that has been the watch cry for his entire life as a Starfleet officer .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>Duty.<\/dialogue>\n    <scene_description>He lets the word resonate and then continues .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>A starship captain's life is filled with solemn duty. I have commanded men in battle. I have negotiated peace treaties between implacable enemies. I have represented the Federation in first contact with twenty - seven alien species. But none of this compares to my solemn duty as. Best man.<\/dialogue>\n    <scene_description>Uproarious laughter . We pull back to reveal the wedding reception of WILL RIKER and DEANNA TROI . The Enterprise CREW is gathered with invited GUESTS , some from other `` Star Trek '' series . Riker and Deanna sit at the center of a long table .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>Now, I know that on an occasion such as this : it is expected that I be gracious and fulsome with praise on the wonders of this blessed union. But have you two considered what you're doing to? This is all a damned inconvenience.<\/dialogue>\n    <parenthetical>( laughter from the crowd . )<\/parenthetical>\n    <dialogue>While you're happily settling in on the Titan, I'll have to train a new first officer ; no doubt a stern martinet who'll quote the rule book at me and never. ever. allow me to go on away missions.<\/dialogue>\n    <parenthetical>( laughter . )<\/parenthetical>\n    <dialogue>. Then there's the matter of my new counselor. Undoubtedly some soft - spoken, willowy thing who'll be probing into my darkest psyche as she nods her head and coos sympathetically. Is n't that right, Deanna?<\/dialogue>\n    <scene_description>Deanna nods her head and coos sympathetically . Hearty , wonderful LAUGHTER !<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>I notice Dr. Crusher laughing along with the rest of you. As most of you know, the doctor will also soon be leaving the Enterprise, to assume command of Starfleet Medical. Again, I'm forced to ask, Beverly, have you considered what you're doing to little ole' me?! I'll probably get some old battle - axe of a doctor who'll tell me to eat my vegetables and put me on report if I do n't show up for my physical on time!<\/dialogue>\n    <character>BEVERLY<\/character>\n    <dialogue>It'll serve you right.<\/dialogue>\n    <scene_description>Laughter , laughter , laughter ! He looks to Riker and Deanna :<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>Really, it's not too late to reconsider. No? Very well then.<\/dialogue>\n    <scene_description>He smiles and raises his glass , looks at them deeply .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>Will Riker, you have been my trusted right arm for fourteen years ; you have helped keep my course true and steady. Deanna Troi, you have been my conscience and best guide, the touchstone to the better parts of myself. You are my family. And in proper maritime tradition I wish you full sails and a clear horizon. My friends, make it so.<\/dialogue>\n    <scene_description>They drink .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  EARTH, ALASKA - PAVILION - LATER<\/stage_direction>\n    <scene_description>The party guests mingle as a band plays . We are at a beautiful open - air pavilion high in the Denali Mountains . The soaring ranges of Riker 's native Alaska can be seen everywhere around us . DR. BEVERLY CRUSHER goes to Picard .<\/scene_description>\n    <character>BEVERLY<\/character>\n    <parenthetical>( playfully . )<\/parenthetical>\n    <dialogue>Sort of like losing a son and gaining an empath, is n't it?<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Please, Beverly, this is hard enough.<\/dialogue>\n    <character>BEVERLY<\/character>\n    <dialogue>If you start tearing up I promise to beam you out. Level one medical emergency. There's no crying in Starfleet.<\/dialogue>\n    <scene_description>They head off toward Riker and Deanna . Meanwhile , GEORDI LA FORGE sits with his girlfriend .<\/scene_description>\n    <character>LEAH<\/character>\n    <dialogue>I've never seen your Captain so nostalgic. Maybe he's getting soft in his old age.<\/dialogue>\n    <character>GEORDI<\/character>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>Not likely. After we installed the new Series Four replicators, he tried to order his usual tea and there was a glitch. Had us remove the whole bunch of them and put the old ones back in.<\/dialogue>\n    <character>LEAH<\/character>\n    <dialogue>There! Nostalgic about old replicators.<\/dialogue>\n    <character>GEORDI<\/character>\n    <dialogue>He just likes things the way he likes them.<\/dialogue>\n    <parenthetical>( he looks at her , smiles . )<\/parenthetical>\n    <dialogue>Of course, so do I.<\/dialogue>\n    <scene_description>He kisses her gently as WORF comes to them . Poor Worf is still suffering a bit from the bachelor party . He plops down beside them , belches .<\/scene_description>\n    <character>WORF<\/character>\n    <dialogue>Romulan ale should be illegal.<\/dialogue>\n    <character>GEORDI<\/character>\n    <dialogue>It is, old chum.<\/dialogue>\n    <character>WORF<\/character>\n    <dialogue>Then it should be more illegal.<\/dialogue>\n    <scene_description>He groans and rests his head on the table , acts like he 's going to heave . Meanwhile , Riker and Deanna are talking to Picard and Beverly .<\/scene_description>\n    <character>DEANNA<\/character>\n    <dialogue>Really, Captain, it was a lovely toast.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>The least I could do for you, Deanna. Besides, you know me. I'm a talking head.<\/dialogue>\n    <character>DEANNA<\/character>\n    <dialogue>And you need n't worry. I'll brief your new counselor on everything she needs to know.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>The hell you will. You know too much about me as it is. Now you promised there are no speeches during the ceremony on Betazed.<\/dialogue>\n    <character>RIKER<\/character>\n    <dialogue>No, no speeches. No clothes either.<\/dialogue>\n    <parenthetical>( winks , mischievously . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Picard looks at him . Deanna laughs . Then the band stops playing . All turn . DATA stands with the band .<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>Ladies and Gentlemen and invited Tran gendered species. In my study of Terran and Betazoid conjugal rites I have discovered it is traditional to present the `` happy couple'' with a gift. Given Commander Riker's affection for archaic musical forms I have elected to present the following as my gift in honor of their conjugation.<\/dialogue>\n    <scene_description>Riker shoots an amused glance to Deanna . Conjugation ? Data turns to the band leader .<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>If you please, Mister Band Leader, a - one and a - two and.<\/dialogue>\n    <scene_description>The band launches into a jaunty , swing version of the Irving Berlin standard `` Blue Skies . ''<\/scene_description>\n    <character>DATA<\/character>\n    <parenthetical>( sings . )<\/parenthetical>\n    <dialogue>`` Blue skies, smiling at me, Nothing but blue skies do I see. Blue birds, singing a song, Nothing but blue birds all day long. Never saw the sun shining so bright, Never saw things going so right.''<\/dialogue>\n    <scene_description>The crowd is appreciative . Loves the song . Except Worf , he momentarily raises his head from the table .<\/scene_description>\n    <character>WORF<\/character>\n    <parenthetical>( groans . )<\/parenthetical>\n    <dialogue>Ugghhh. Irving Berlin.<\/dialogue>\n    <scene_description>His heads thumps down again , is about ready to BARF ! Meanwhile , Riker is anxious as a kid to join the band :<\/scene_description>\n    <character>DEANNA<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>All right, go ahead.<\/dialogue>\n    <scene_description>Riker eagerly joins the band . Grabs the trombone and starts jamming with the orchestra . The song really swings .<\/scene_description>\n    <character>PICARD<\/character>\n    <parenthetical>( to Deanna . )<\/parenthetical>\n    <dialogue>May I have this dance?<\/dialogue>\n    <character>DEANNA<\/character>\n    <dialogue>With pleasure, Captain.<\/dialogue>\n    <scene_description>Meanwhile , Geordi leads Leah to the dance floor as well . Beverly goes to Worf .<\/scene_description>\n    <character>BEVERLY<\/character>\n    <dialogue>Commander Worf. Do Klingons swing?<\/dialogue>\n    <character>WORF<\/character>\n    <dialogue>I am not a swinger. I am unwell.<\/dialogue>\n    <character>BEVERLY<\/character>\n    <dialogue>Do n't worry, I'm a doctor.<\/dialogue>\n    <scene_description>She pulls him to the dance floor as :<\/scene_description>\n    <character>BEVERLY<\/character>\n    <dialogue>I'm so glad you made it back to the Enterprise before I left.<\/dialogue>\n    <character>WORF<\/character>\n    <dialogue>I was not suited for the life of a. diplomat.<\/dialogue>\n    <character>BEVERLY<\/character>\n    <parenthetical>( wry . )<\/parenthetical>\n    <dialogue>Who'd have guessed?<\/dialogue>\n    <scene_description>They dance . Picard and Deanna sweep past them . And we pull up and away as Data continues to sing and the crew dances . It is a joyous celebration of these people . This family . A family we love .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  ENTERPRISE - SPACE<\/stage_direction>\n    <scene_description>The Enterprise streaks through space .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - CREW LOUNGE - NIGHT<\/stage_direction>\n    <scene_description>Data sits in the empty Crew Lounge . As always , the android 's placid , neutral expression still somehow manages to convey his wonder , curiosity and idiosyncratic zest for life . Picard arrives with a very old bottle of wine .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>I've been saving this. Chateau Picard 2267. Batten down the hatches.<\/dialogue>\n    <scene_description>He carefully uncorks the treasured bottle as :<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>They say a vintner's history is in every glass. The soil he came from. His past as well as his hopes for the future.<\/dialogue>\n    <scene_description>He pours two glasses of the wine , then raises his glass , a toast .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>So. To happy endings.<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>To happy endings.<\/dialogue>\n    <scene_description>Picard carefully takes a tiny sip , savors the flavor , finally swallows . Enjoys it . Ahhh . Data mimics Picard . Taking a tiny sip , savoring the flavor and finally swallowing . Ahhh .<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>Sir. I noticed an interesting confluence of emotion at the wedding. I am familiar with the human concept of tears through laughter and its inverse, laughter through tears, but I could not help wondering about the human capacity for expressing both pleasure and sadness simultaneously.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>I understand why it would seem confusing. Certain human rituals - like weddings, birthdays or funerals evoke strong and very complex emotions. These rites carry great weight with us because they denote the passage of time.<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>And you were particularly aware of this feeling because Commander Riker will be leaving to assume command of the Titan?<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Will and Deanna joining the Titan. Dr. Crusher going to Starfleet Medical.<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>And this makes you `` sad''?<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Well. I suppose it does a bit. I'm very happy for them, of course, but I'm going to miss them. The ship will seem. incomplete without them.<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>That is because you have a familiarity with them. You can predict specific reactions and behavior and are comfortable in that knowledge.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Yes. And, frankly, I envy them as well. They've made important choices ; they're going to have great challenges ahead of them. New worlds to conquer.<\/dialogue>\n    <scene_description>He takes another sip of wine . A beat .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>Seeing Will and Deanna today made me think about some of the choices I've made in my own life. Devoting myself to Starfleet. Not marrying or having children. All the choices that led me here.<\/dialogue>\n    <scene_description>A beat . Data thinks about it .<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>The choices I made have led me here as well. This is the only home I have ever known. I can not foresee a reason for leaving.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>You never know what's over the horizon, Data. Before too long you'll be offered a command of your own. Data looks at him ; he has never really considered this.<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>If I were. I believe my memory engrams would sense the absence of your specific reactions and behavior. I would `` miss you.''<\/dialogue>\n    <character>PICARD<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Now, you make a toast.<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>To new worlds.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>New worlds. Yes Data, brave new worlds.<\/dialogue>\n    <scene_description>They drink .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ROMULAN SENATE - CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>Flickering braziers dimly illuminate the cold , martial splendor of a Senate corridor . COMMANDER DONATRA and COMMANDER SURAN stride through the corridor . Suran is an elder Romulan officer , respected and tenacious . Donatra - a key figure in this story so pay close attention to her - is a mature , beautiful woman . not without a dry sense of humor .<\/scene_description>\n    <character>SURAN<\/character>\n    <dialogue>The fleet commanders are nervous. They've agreed to remain at their given coordinates and await his orders. But they're anxious to know what's going on here.<\/dialogue>\n    <character>DONATRA<\/character>\n    <dialogue>I do n't blame them. We ca n't keep them in the dark forever.<\/dialogue>\n    <scene_description>A voice , from the shadows :<\/scene_description>\n    <character>VICEROY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>But in darkness, there is strength.<\/dialogue>\n    <scene_description>Donatra and Suran stop . And the VICEROY steps from the shadows . He is a terrifying sight A powerful , monstrous alien creature ; a tall , ashen - skinned ectomorph who bears a disturbing resemblance to the original Nosferatu . He is vampiric and lethal . He is a Reman .<\/scene_description>\n    <character>VICEROY<\/character>\n    <dialogue>Do n't you agree?<\/dialogue>\n    <scene_description>He leads them along the corridor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SENATE CHAMBER - NIGHT<\/stage_direction>\n    <scene_description>We observe the Romulan crest , an imposing bird - of - prey clutching a planet in either claw , not unlike the KAOS emblem from `` Get Smart , '' that dominates a wall . As we hear :<\/scene_description>\n    <character>SHINZON<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Consider it The great symbol of the Empire. But the bird - of - prey holds planets. Romulus, Remus. Their destinies conjoined.<\/dialogue>\n    <scene_description>And then we see him . SHINZON ! He is a dynamic young human in his twenties . Very handsome with pale , almost white skin and shining , golden hair . He wears a striking Reman military uniform . He stands in the center of the eerily deserted chamber . The entire floor is a large star chart .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Yet for generations one of those planets has been without a voice. We will be silent no longer.<\/dialogue>\n    <scene_description>Senator Tal ` Aura -LRB- the female Senator who planted the weapon in the Senate chamber earlier -RRB- and two other ROMULAN COMMANDERS sit . Cadres of Shinzon 's fearsome REMAN WARRIORS stand around the chamber . They are his sinister children of the night . Even more chilling now in the flickering torch light . It 's like something out of Tim Burton . Donatra and Suran enter the chamber with Shinzon 's Viceroy .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Join us, Commanders. Now what's the disposition of the fleet?<\/dialogue>\n    <character>SURAN<\/character>\n    <dialogue>They're holding position.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>And?<\/dialogue>\n    <character>SURAN<\/character>\n    <parenthetical>( bows his head . )<\/parenthetical>\n    <dialogue>They will obey, Praetor.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>It's imperative we retain their allegiance or our great mission will be strangled before it can truly draw breath.<\/dialogue>\n    <character>DONATRA<\/character>\n    <dialogue>They support your intentions, sir. But they require evidence of your. sincerity.<\/dialogue>\n    <scene_description>Shinzon looks at her . A quick beat . Shinzon decides to respond with benevolence . He smiles .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>And they'll have it.<\/dialogue>\n    <parenthetical>( he begins to pace over the star chart . )<\/parenthetical>\n    <dialogue>Tell the fleet that the days of negotiation and diplomacy are over. The Almighty Federation will fall before us. As I promised you.<\/dialogue>\n    <scene_description>He stands on the area of the map that denotes the Neutral Zone between the Romulan Empire and the Federation .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>The time we have dreamed of is at hand. The time. of conquest.<\/dialogue>\n    <parenthetical>( sinister laugh . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>He carefully steps into the area of the map marked with the Federation symbol . He looks down at the star chart .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Cut off the dragon's head and it can not strike back.<\/dialogue>\n    <scene_description>A beat . Donatra watches him carefully . Something in his quiet words disturbs her .<\/scene_description>\n    <character>SURAN<\/character>\n    <dialogue>How many Warbirds will you need?<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>None.<\/dialogue>\n    <scene_description>They look at him , stunned .<\/scene_description>\n    <character>SURAN<\/character>\n    <dialogue>Praetor. You have the whole fleet at your disposal. They supported the coup, they'll follow you.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>The Scimitar will serve my needs.<\/dialogue>\n    <character>SURAN<\/character>\n    <dialogue>But surely -<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>I came this far alone.<\/dialogue>\n    <parenthetical>( he looks at his Reman warriors . )<\/parenthetical>\n    <dialogue>We came this far alone. We require no assistance from the fleet. Now leave me to my thoughts.<\/dialogue>\n    <scene_description>The Commanders and Senator Tal ` Aura rise and leave . Shinzon looks to his Viceroy .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Are we prepared?<\/dialogue>\n    <character>VICEROY<\/character>\n    <dialogue>Yes, Praetor.<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>So many years for this moment.<\/dialogue>\n    <parenthetical>( he looks up at his Viceroy , smiles . )<\/parenthetical>\n    <dialogue>Bring him to me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - BRIDGE - DAY<\/stage_direction>\n    <scene_description>The bridge crew are at their stations . Picard is not on the bridge .<\/scene_description>\n    <character>WORF<\/character>\n    <parenthetical>( grumbles . )<\/parenthetical>\n    <dialogue>I wo n't do it.<\/dialogue>\n    <character>DEANNA<\/character>\n    <dialogue>It's tradition, Worf. You of all people should appreciate that!<\/dialogue>\n    <parenthetical>( whispers . )<\/parenthetical>\n    <dialogue>Besides, I've already seen it.<\/dialogue>\n    <character>WORF<\/character>\n    <dialogue>A warrior does not appear without his clothing. It leaves him. vulnerable.<\/dialogue>\n    <character>RIKER<\/character>\n    <dialogue>I do n't think we're going to see much combat on Betazed.<\/dialogue>\n    <character>DEANNA<\/character>\n    <dialogue>Do n't be too sure. Mother will be there.<\/dialogue>\n    <scene_description>Worf groans . Picard emerges from his Ready Room as :<\/scene_description>\n    <character>WORF<\/character>\n    <dialogue>I wo n't do it.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Wo n't do what, Mister Worf?<\/dialogue>\n    <character>WORF<\/character>\n    <dialogue>Captain. I think it is inappropriate for a Starfleet officer to appear.<\/dialogue>\n    <parenthetical>( hates the word . )<\/parenthetical>\n    <dialogue>. naked.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Come now, a big, strapping fellow like you? What are you afraid of?<\/dialogue>\n    <scene_description>Deanna laughs . Then a readout on Worf 's console attracts his attention :<\/scene_description>\n    <character>WORF<\/character>\n    <dialogue>I'm picking up an unusual electromagnetic signature from the Kolarin system.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>What sort of signature?<\/dialogue>\n    <scene_description>Worf looks up . Glances at Data .<\/scene_description>\n    <character>WORF<\/character>\n    <dialogue>Positronic.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - BRIDGE - LATER<\/stage_direction>\n    <scene_description>Geordi is at the Engineering station with Picard , Riker and Data .<\/scene_description>\n    <character>GEORDI<\/character>\n    <dialogue>It's very faint but I've isolated it to the third planet in the Kolarin system.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>What do we know about the planet?<\/dialogue>\n    <character>GEORDI<\/character>\n    <dialogue>Uncharted. We'll have to get closer for a more detailed scan.<\/dialogue>\n    <character>PICARD<\/character>\n    <parenthetical>( to Data . )<\/parenthetical>\n    <dialogue>Theories?<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>Since positronic signatures have only been known to emanate from androids such as myself, it is logical to theorize that there is an android such as myself on Kolarus III.<\/dialogue>\n    <character>GEORDI<\/character>\n    <dialogue>How many of you did Dr. Soong make?<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>I thought only me, myself and Lore.<\/dialogue>\n    <character>RIKER<\/character>\n    <parenthetical>( looking at star chart . )<\/parenthetical>\n    <dialogue>Diverting to the Kolarin system takes us awfully close to the Romulan Neutral Zone.<\/dialogue>\n    <character>PICARD<\/character>\n    <parenthetical>( looking at star chart . )<\/parenthetical>\n    <dialogue>Still well on our side.<\/dialogue>\n    <scene_description>Picard glances at Data , recognizes the android 's deep desire to explore this possible connection to others like himself .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>I think it's worth a look. Do n't worry, Number One, we'll get you to Betazed with time to spare.<\/dialogue>\n    <character>RIKER<\/character>\n    <dialogue>Thank you, sir.<\/dialogue>\n    <character>PICARD<\/character>\n    <parenthetical>( to all , especially Worf . )<\/parenthetical>\n    <dialogue>Where we will all honor the Betazoid traditions. No cold feet, or any other parts of our anatomy. Now, if you'll excuse me. I'll be in the gym.<\/dialogue>\n    <scene_description>He goes .<\/scene_description>\n    <character>RIKER<\/character>\n    <parenthetical>( to Helm Officer . )<\/parenthetical>\n    <dialogue>Mister Branson, set course for the Kolarin system. Warp Five -.<\/dialogue>\n    <parenthetical>( Deanna shoots him a glance . )<\/parenthetical>\n    <dialogue>- Warp Seven.<\/dialogue>\n    <character>HELM OFFICER<\/character>\n    <parenthetical>( MISTER BRANSON . )<\/parenthetical>\n    <dialogue>Plotted and laid in, sir.<\/dialogue>\n    <character>RIKER<\/character>\n    <dialogue>Engage.<\/dialogue>\n    <character>DEANNA<\/character>\n    <dialogue>You better believe you're engaged!<\/dialogue>\n    <scene_description>Meanwhile , Geordi and Data remain at the Engineering Station , studying the displays .<\/scene_description>\n    <character>GEORDI<\/character>\n    <dialogue>What do you think, Data, a long - lost relative?<\/dialogue>\n    <scene_description>Data does n't respond , but the curiosity on his face is apparent .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  ENTERPRISE - OVER KOLARUS III - SPACE<\/stage_direction>\n    <scene_description>The Enterprise is in orbit around the uncharted planet . In the distance we can see the distorting violence of an ion storm .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - BRIDGE<\/stage_direction>\n    <scene_description>Kolarus III is on the viewscreen , the ion storm raging beyond it .<\/scene_description>\n    <character>GEORDI<\/character>\n    <dialogue>I read six distinct positronic signatures, spread out over a few kilometers on the surface.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>What do we know about the population?<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>Isolated pockets of humanoids. It appears to be a pre - warp civilization at an early stage of industrial development.<\/dialogue>\n    <character>GEORDI<\/character>\n    <dialogue>Captain, I do n't recommend transporting, that ion storm does n't look very neighborly. It could head this way without much warning.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Understood. Data, Worf, you're with me.<\/dialogue>\n    <scene_description>Picard , Data and Worf start heading toward the turbolift .<\/scene_description>\n    <character>RIKER<\/character>\n    <parenthetical>( stands , protesting . )<\/parenthetical>\n    <dialogue>Captain, I hope I do n't have to remind you -<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>I appreciate your concern, Number One, but I've been itching to try out the Argo.<\/dialogue>\n    <character>RIKER<\/character>\n    <dialogue>Sir -<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Captain's prerogative, Will. There's no foreseeable danger. and your wife would never forgive me if anything happened to you.<\/dialogue>\n    <scene_description>He steps into the turbolift with the Data and Worf .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>You have the bridge, Mister Troi!<\/dialogue>\n    <scene_description>The turbolift doors slide shut . The bridge crew heartily enjoys Riker 's momentary demotion to house husband .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  ENTERPRISE - OVER KOLARUS III - DAY<\/stage_direction>\n    <scene_description>The shuttlebay doors slide open and the transport vehicle Argo emerges . The Argo is larger than a regular shuttle with a particularly large cargo area at the back .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  KOLARUS III - DAY<\/stage_direction>\n    <scene_description>The Argo lands on the planet . It is primarily a desert environment with some canyons and mountains . Like Death Valley , blazing heat waves shimmer in the distance . The shuttle sits silently for a moment . We wonder at the delay , then . The rear cargo doors slide open and Picard , Data and Worf roar out on a 24th Century equivalent of a military jeep ! Picard drives , Data beside him . Worf stands in the back at a mounted phaser canon . It is a muscular , exciting vehicle ; a Starfleet version of the jeep from old television series `` The Rat Patrol . '' Picard screeches to a stop . Data and Worf lurch . A cloud of dust momentarily obscures them . Data quickly monitors the positronic signatures with a tricorder :<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>The closest signature is two kilometers to the west. that direction, sir.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Thank you, Data.<\/dialogue>\n    <parenthetical>( he smiles . )<\/parenthetical>\n    <dialogue>Let's see what she can do.<\/dialogue>\n    <scene_description>He roars off in a cloud of dust ! Picard clearly enjoys driving . He roars over the desert terrain at breakneck speed , having a hell of a good time . His comrades do n't exactly appreciate his free - spirited driving panache . Worf clings on to the mounted phaser canon for dear life . Data steadies himself by grasping onto the rollbar<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>I will always be baffled by the human predilection for piloting vehicles at unsafe velocities.<\/dialogue>\n    <scene_description>Picard smiles and drives a little faster .<\/scene_description>\n    <character>DATA<\/character>\n    <parenthetical>( monitoring with tricorder . )<\/parenthetical>\n    <dialogue>Over that rise, sir. half a kilometer.<\/dialogue>\n    <scene_description>They continue on . Before long they can see something on the level desert floor before them . They approach and stop to discover . An android arm . The fingers patiently drumming the ground .<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>It appears to be.<\/dialogue>\n    <parenthetical>( he scans with his tricorder . )<\/parenthetical>\n    <dialogue>. an arm.<\/dialogue>\n    <character>WORF<\/character>\n    <parenthetical>( suspicious . )<\/parenthetical>\n    <dialogue>Why is it moving?<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>Like me, it has been designed with modular power sources.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Mister Worf, if you please.<\/dialogue>\n    <scene_description>Worf climbs from the jeep and carefully approaches the arm . Gingerly picks it up . The arm responds to being picked up , the hand starts feeling around in the air like something from a horror movie . Worf shudders . He returns to the jeep . Quickly sets the arm down in the rear cargo area .<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>The next signature is one kilometer to the south.<\/dialogue>\n    <scene_description>Picard starts the jeep in motion . Time passes as they continue on . coming across another arm . a leg . a torso . another leg . various disassembled components of a Data - like android !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  JEEP - KOLARUS III - CANYON - DAY<\/stage_direction>\n    <scene_description>Worf stands uneasily amidst the moving body parts . There is only one component missing : the head . Picard steers the jeep into a canyon . Stops . Data scans with his tricorder , pointing it up into the gently sloping hills that form the sides of the canyon .<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>The final signature is approximately 300 meters up that incline.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Mister Worf, accompany Data please.<\/dialogue>\n    <character>WORF<\/character>\n    <parenthetical>( uneasy . )<\/parenthetical>\n    <dialogue>To find the head, sir?<\/dialogue>\n    <character>PICARD<\/character>\n    <parenthetical>( amused . )<\/parenthetical>\n    <dialogue>If you do n't mind.<\/dialogue>\n    <scene_description>Worf and Data climb up into the hills in pursuit of the final piece as Picard opens the jeep 's hood and checks the engine .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  KOLARUS III - HILLS - DAY<\/stage_direction>\n    <scene_description>Worf and Data climb as Data scans and indicates the direction :<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>Ten meters.<\/dialogue>\n    <scene_description>Worf pulls his phaser , ready .<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>I think it unlikely you will need your phaser to recover the cranial unit. Of course, it could bite you.<\/dialogue>\n    <scene_description>Then they see it . Data 's head . Or the spitting image anyway . Lying inert in the dust before them .<\/scene_description>\n    <character>WORF<\/character>\n    <dialogue>It's you.<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>The resemblance is. striking.<\/dialogue>\n    <scene_description>Then the head 's eyes suddenly pop open . It looks up at them with a sort of blank , childlike wonder .<\/scene_description>\n    <character>HEAD<\/character>\n    <dialogue>Why am I looking at me?<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>You are not looking at yourself. You are looking at me.<\/dialogue>\n    <character>HEAD<\/character>\n    <parenthetical>( looking at Worf . )<\/parenthetical>\n    <dialogue>You do not look like me.<\/dialogue>\n    <character>WORF<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>DATA<\/character>\n    <parenthetical>( to head . )<\/parenthetical>\n    <dialogue>I would like to pick you up now. May I do that?<\/dialogue>\n    <character>HEAD<\/character>\n    <parenthetical>( to Worf . )<\/parenthetical>\n    <dialogue>You have a pretty shirt.<\/dialogue>\n    <character>WORF<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Data gently picks up the head . Looks at it . The two identical faces gaze at each other .<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>Fascinating.<\/dialogue>\n    <scene_description>Then BLAM ! - a boulder near them explodes . Worf and Data spin to see . A nomadic tribe of desert ALIENS swarming toward them firing primitive plasma weapons - Data and Worf race back down the canyon , toward the jeep - some open - field running and a bit of phaser action - Worf firing to distract and slow the aliens , not kill them - through all of this the head is chattering away blandly :<\/scene_description>\n    <character>HEAD<\/character>\n    <dialogue>I have two arms and ten fingers. Do you know where my arms are? I can not see where we are going. Where are we going?<\/dialogue>\n    <parenthetical>( Etc .<\/parenthetical>\n    <parenthetical>like Threepio in `` Empire '' when he 's strapped to Chewbacca 's back . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>The action continues . Then Data finds himself almost surrounded -<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>Commander!<\/dialogue>\n    <scene_description>Worf turns - Data throws the head to Worf like a football , a perfect spiral - the head is still chattering away - Worf catches it -<\/scene_description>\n    <character>WORF<\/character>\n    <dialogue>STOP TALKING!<\/dialogue>\n    <scene_description>The head abruptly stops talking . Data , hands free now , quickly incapacitates the aliens around him with a dazzling demonstration of his superior strength and agility . Meanwhile , Worf tucks the head under his arm and sprints like a master running back - evading aliens and occasionally firing his phaser - They are closer to the jeep now - but they are in trouble - the swarm of aliens almost overtaking them - ! When a thundering BLAST sends up a shower of debris , stopping the aliens - Picard is standing in the rear of the jeep , firing the phaser canon . Data and Worf climb into the jeep as Picard leaps into the front seat and roars off -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.\/ EXT.  JEEP - KOLARUS III - FOLLOWING<\/stage_direction>\n    <scene_description>Worf , standing at the phaser canon , quickly hands the head to Data in the front seat :<\/scene_description>\n    <character>WORF<\/character>\n    <dialogue>If you would n't mind.<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>The head looks up at Picard .<\/scene_description>\n    <character>HEAD<\/character>\n    <dialogue>You have a shiny head.<\/dialogue>\n    <scene_description>Picard glances at the head .<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>He is very observant.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>I can see that.<\/dialogue>\n    <character>WORF<\/character>\n    <dialogue>Captain!<\/dialogue>\n    <scene_description>Picard turns to see that they are being pursued ! The aliens are racing after them in crude desert - terrain vehicles -<\/scene_description>\n    <character>PICARD<\/character>\n    <parenthetical>( to Data . )<\/parenthetical>\n    <dialogue>Shall we try some `` unsafe velocities?''<\/dialogue>\n    <scene_description>He floors it - racing across the desert landscape . Worf fires the mounted phaser canon - blasting away at the aliens , not killing them , just stopping them - a few dramatic crashes as the alien vehicles overturn - Meanwhile :<\/scene_description>\n    <character>HEAD<\/character>\n    <parenthetical>( to Picard . )<\/parenthetical>\n    <dialogue>You have a red shirt.<\/dialogue>\n    <character>DATA<\/character>\n    <parenthetical>( to head . )<\/parenthetical>\n    <dialogue>This is not an appropriate time for a conversation.<\/dialogue>\n    <character>HEAD<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>Because the captain has to concentrate on piloting the vehicle.<\/dialogue>\n    <character>HEAD<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Data!<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>Sorry, sir.<\/dialogue>\n    <scene_description>They continue to speed over the landscape - bouncing and flying over natural rises in the terrain - trying to evade their pursuers - Picard puts the pedal to the metal and races through the alien vehicles - weaving in and out , avoiding their fire - Worf blasts away with the phaser cannon - an exhilarating adventure - Finally they are within sight of the Argo - but they see it is surrounded by more of the aliens !<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>Mister Data. Let's make like the wind.<\/dialogue>\n    <scene_description>Data punches some buttons on a dashboard console - and the Argo LIFTS OFF by remote control - Data uses the console to swing the Argo around and lower the rear cargo doors - it hovers over the surface - Picard floors the jeep - using a natural rise in the terrain as a ramp - the jeep FLIES THROUGH THE AIR - over the aliens - and into the cargo bay -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ARGO - CARGO BAY - FOLLOWING<\/stage_direction>\n    <scene_description>Picard slams on the brakes - the jeep screeches to a stop as the doors shut and the Argo shoots into the air . Picard climbs from the jeep . He nonchalantly rubs a bit of dirt from the hood and then disappears into the main cabin . Data and Worf remain in the jeep for a beat , stunned .<\/scene_description>\n    <character>WORF<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>He must have Klingon blood.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - ENGINEERING LAB - DAY<\/stage_direction>\n    <scene_description>Beverly gazes at the android head . It gazes back at her .<\/scene_description>\n    <character>BEVERLY<\/character>\n    <dialogue>I think you have nicer eyes.<\/dialogue>\n    <scene_description>We pull back to reveal she is speaking to Data . Data stands with Picard , Riker and Geordi .<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>Our eyes are identical, Doctor.<\/dialogue>\n    <scene_description>The android is in a framework rig that holds the various body parts in place . The parts are not yet assembled<\/scene_description>\n    <character>RIKER<\/character>\n    <dialogue>Geordi?<\/dialogue>\n    <character>GEORDI<\/character>\n    <parenthetical>( at work analyzing the torso section . )<\/parenthetical>\n    <dialogue>Well, he seems to have the same internal mechanics as Data but not as much positronic development. The neural pathways are n't nearly as sophisticated. I'd say he's a prototype. Something Dr. Soong created before Data.<\/dialogue>\n    <character>DATA<\/character>\n    <parenthetical>( to head . )<\/parenthetical>\n    <dialogue>Do you have a name, sir?<\/dialogue>\n    <character>HEAD<\/character>\n    <dialogue>I am the B - 9.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Be - nign. Dr. Soong's penchant for whimsical names seems to have no end.<\/dialogue>\n    <character>HEAD<\/character>\n    <parenthetical>( to Riker . )<\/parenthetical>\n    <dialogue>You have a fuzzy face.<\/dialogue>\n    <character>PICARD<\/character>\n    <parenthetical>( trying to ignore the head . )<\/parenthetical>\n    <dialogue>Keep me informed, Number One, and, please, put him back together.<\/dialogue>\n    <scene_description>He goes . Geordi and Data begin to reassemble the B - 9 piece by piece like the Tin Man as :<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>Can you tell me how you came to be on the planet where we found you?<\/dialogue>\n    <character>B-9<\/character>\n    <parenthetical>( blandly . )<\/parenthetical>\n    <dialogue>I was taken from my homeworld by people called the `` PakJeds.'' They are fat. They traded me to a ship belonging to the `` Bolians.'' The `` Bolians'' are blue. They put me in a seat and asked me questions. Then they were attacked by another ship.<\/dialogue>\n    <scene_description>Time passes . And still the B - 9 is yammering blandly away . He is more fully assembled By this time Beverly is thoroughly bored .<\/scene_description>\n    <character>B-9<\/character>\n    <dialogue>Then people called the Delviciansans picked me up. They have long teeth. They asked if I do anything to help them. I told them I could do whatever they wanted. They asked me to clean out the matrix manifolds. I told them I did not know what an Matrix manifold looks like.<\/dialogue>\n    <character>BEVERLY<\/character>\n    <dialogue>Excuse me. I have some diagnostics to run on some medical scanner things.<\/dialogue>\n    <scene_description>She quickly exits .<\/scene_description>\n    <character>B-9<\/character>\n    <dialogue>And after they showed me the `` engine manifolds.'' Then they showed me something called a `` plasma mop''<\/dialogue>\n    <scene_description>Time passes . And still the B - 9 is yammering away . He is almost completely assembled by now . Riker is bored out of his mind .<\/scene_description>\n    <character>B-9<\/character>\n    <dialogue>then the `` Cardassians'' put me into something called a `` garbage chute'' and I went out into space again -<\/dialogue>\n    <character>WORF<\/character>\n    <parenthetical>( V.O. ; ON COMM . )<\/parenthetical>\n    <dialogue>Worf to Commander Riker. I have the tactical manifests ready, sir.<\/dialogue>\n    <character>RIKER<\/character>\n    <parenthetical>( quickly tapping his comm badge . )<\/parenthetical>\n    <dialogue>Worf! Wonderful! I'll be right there!<\/dialogue>\n    <parenthetical>( he stands . )<\/parenthetical>\n    <dialogue>Duty calls, gentlemen. Carry on.<\/dialogue>\n    <scene_description>He escapes .<\/scene_description>\n    <character>B-9<\/character>\n    <dialogue>Fuzzy face is gone.<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>Yes, please continue.<\/dialogue>\n    <character>B-9<\/character>\n    <dialogue>I was in space for a long time. Then a ship belonging to the `` Talosians'' picked me up. They asked me where I came from. I told them people called the `` Pakleds'' took me from my homeworld. They are fat.<\/dialogue>\n    <scene_description>Geordi groans . Time passes . And still the B - 9 is yammering away . By this time Geordi is slumped in a chair and only Data is listening . The B - 9 is fully assembled .<\/scene_description>\n    <character>B-9<\/character>\n    <dialogue>Then I opened my eyes and saw you.<\/dialogue>\n    <scene_description>A beat . The B - 9 is finally done with his tale .<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>Do you know who I am?<\/dialogue>\n    <character>B-9<\/character>\n    <dialogue>You are me.<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>No. My name is Data. I am your brother.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - CREW LOUNGE - NIGHT<\/stage_direction>\n    <scene_description>Riker and Deanna are having dinner with Worf .<\/scene_description>\n    <character>DEANNA<\/character>\n    <parenthetical>( to Worf . )<\/parenthetical>\n    <dialogue>. and after the ceremony on Betazed, three entire weeks for our honeymoon.<\/dialogue>\n    <character>RIKER<\/character>\n    <dialogue>We're going sailing on the Opal Sea. We've booked an old - fashioned solar catamaran. Just us and the sun and the waves.<\/dialogue>\n    <character>WORF<\/character>\n    <dialogue>It seems a very. soft honeymoon.<\/dialogue>\n    <character>DEANNA<\/character>\n    <parenthetical>( amused . )<\/parenthetical>\n    <dialogue>It's meant to be relaxing.<\/dialogue>\n    <character>WORF<\/character>\n    <dialogue>A Klingon honeymoon begins with the Kholamar desert march where the couple bonds in endurance trials. If they survive the challenge they move on to the Fire Caves of Fek ` lhr to face the demons of Gre ` thor.<\/dialogue>\n    <character>RIKER<\/character>\n    <dialogue>Well, that sounds relaxing too.<\/dialogue>\n    <character>WORF<\/character>\n    <dialogue>It is. invigorating.<\/dialogue>\n    <scene_description>They see Data enter the lounge , carefully leading the B - 9 .<\/scene_description>\n    <character>RIKER<\/character>\n    <dialogue>So they've got him up and running.<\/dialogue>\n    <character>WORF<\/character>\n    <dialogue>He's a very unusual android<\/dialogue>\n    <character>RIKER<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Runs in the family.<\/dialogue>\n    <scene_description>They watch as Data leads the B - 9 to a table . Data instructs him to sit . The B - 9 sits and stares forward placidly . Data shows him how use a napkin . A note of concern passes over Deanna 's face as she watches Data and the B - 9 . There is something strangely poignant in the twin androids . One a bundle of curiosity and intelligence ; the other somewhat like a slow , simple child .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - READY ROOM - NIGHT<\/stage_direction>\n    <scene_description>Picard is at his replicator unit .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>Earl Grey, hot.<\/dialogue>\n    <scene_description>A cup of tea appears . He takes it as the door chime sounds .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>Come.<\/dialogue>\n    <parenthetical>( Deanna enters . )<\/parenthetical>\n    <dialogue>Counselor.<\/dialogue>\n    <character>DEANNA<\/character>\n    <dialogue>Do you have a moment, sir?<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Of course, sit down.<\/dialogue>\n    <scene_description>He sits at his desk She sits across from him .<\/scene_description>\n    <character>DEANNA<\/character>\n    <dialogue>It's about Data I've watched him with the B - 9 and I'm troubled. Data's desire for a `` family'' is very strong. I'm afraid he may be investing too much in the B - 9.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>You're speaking of emotional investment?<\/dialogue>\n    <character>DEANNA<\/character>\n    <dialogue>The B - 9 is like a slow child, sir. And Data, in his own way, has assumed the position of a parent or guardian. I'm afraid he has expectations based on his own experiences. He'll be disappointed when the B - 9 can not meet those expectations.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>As much as we care for him, Deanna. we have to remember that Data is n't capable of disappointment.<\/dialogue>\n    <character>DEANNA<\/character>\n    <dialogue>I do n't believe that, sir. We've shared many disappointing journeys.<\/dialogue>\n    <scene_description>A quiet beat .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>I'm going to miss you.<\/dialogue>\n    <character>DEANNA<\/character>\n    <dialogue>And I you.<\/dialogue>\n    <scene_description>They are interrupted by a comm signal :<\/scene_description>\n    <character>RIKER<\/character>\n    <parenthetical>( V.O. ; ON COMM . )<\/parenthetical>\n    <dialogue>Captain, you have an Alpha Priority communication from Starfleet Command.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Acknowledged.<\/dialogue>\n    <parenthetical>( Deanna stands . )<\/parenthetical>\n    <dialogue>. I'll talk to Data<\/dialogue>\n    <character>DEANNA<\/character>\n    <dialogue>Thank you, sir.<\/dialogue>\n    <scene_description>She goes . Picard activates his desktop viewscreen . ADMIRAL KATHRYN JANEWAY appears on Picard 's monitor . Janeway is the former captain of Voyager . Her new rank fits her well , she has lost none of her dry humor and down - to - earth charm which made her a household name and beloved cult figure .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>Admiral Janeway. Good to see you.<\/dialogue>\n    <character>JANEWAY<\/character>\n    <parenthetical>( ON VIEWSCREEN . )<\/parenthetical>\n    <dialogue>Jean Luc. How'd you like a trip to Romulus? All expenses paid?<\/dialogue>\n    <character>PICARD<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>With or without the rest of the fleet?<\/dialogue>\n    <character>JANEWAY<\/character>\n    <parenthetical>( ON VIEWSCREEN . )<\/parenthetical>\n    <dialogue>A diplomatic mission. We've been invited, believe it or not. Seems there's been some kind of internal political shakeup. The new Praetor, someone called Shinzon, has requested a Federation envoy.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>New Praetor?<\/dialogue>\n    <character>JANEWAY<\/character>\n    <parenthetical>( ON VIEWSCREEN . )<\/parenthetical>\n    <dialogue>There's more. as always. He's Reman.<\/dialogue>\n    <parenthetical>( Picard is surprised . )<\/parenthetical>\n    <dialogue>Believe me, we do n't understand it either. You're the closest ship so I want you to high tail it over there and hear what he has to say. Get the lay of the land, If the Empire becomes unstable, it could mean trouble for the entire quadrant.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Understood.<\/dialogue>\n    <character>JANEWAY<\/character>\n    <parenthetical>( ON VIEWSCREEEN . )<\/parenthetical>\n    <dialogue>We're sending you all the intelligence we have, but it's not much. I do n't need to tell you to watch your back, Jean Luc.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Not with the Romulans.<\/dialogue>\n    <character>JANEWAY<\/character>\n    <parenthetical>( ON VIEWSCREEN . )<\/parenthetical>\n    <parenthetical>( smiles wryly . )<\/parenthetical>\n    <dialogue>The Son ` a, the Borg, the Romulans, the evil Soran and that pesky Nexus. You seem to get all the easy assignments!<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Just lucky, Admiral.<\/dialogue>\n    <character>JANEWAY<\/character>\n    <parenthetical>( ON VIEWSCREEN . )<\/parenthetical>\n    <dialogue>Let's hope that luck holds. Janeway out.<\/dialogue>\n    <scene_description>The transmission ends . Picard sits for a moment , intrigued . Then he goes to the bridge<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>Picard goes to his command chair :<\/scene_description>\n    <character>PICARD<\/character>\n    <parenthetical>( to Helm . )<\/parenthetical>\n    <dialogue>Lay in a new course. Take us to Romulus. Warp eight.<\/dialogue>\n    <scene_description>The crew is shocked .<\/scene_description>\n    <character>HELM OFFICER<\/character>\n    <dialogue>Aye aye, sir. Course plotted and laid in.<\/dialogue>\n    <character>RIKER<\/character>\n    <dialogue>Romulus?<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>I'm afraid the Opal Sea will have to wait, Number One. Engage.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  ENTERPRISE - SPACE<\/stage_direction>\n    <scene_description>And the Enterprise jumps to high warp - disappearing in a flash of dazzling light . Yes !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - OBSERVATION LOUNGE - DAY<\/stage_direction>\n    <scene_description>Data conducts a briefing for the senior officers . Monitors currently show an image of Romulus and Remus in orbit around their sun .<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>As you can see the habitable half of Remus is always in darkness because, like Mercury, one side always faces the sun. Due to the extreme temperatures on that half of their world, the Remans live on the dark side of the planet.<\/dialogue>\n    <scene_description>Various grainy and unclear new images appear to illustrate Data 's words :<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>Almost nothing is known about the Reman homeworld, although intelligence scans have proven the existence of dilithium mining and heavy weapons construction.<\/dialogue>\n    <scene_description>Very obscure images of Remans appear , the crew can barely make out the monstrous figures :<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>The Remans themselves are considered an undesirable caste in the hierarchy of the Empire.<\/dialogue>\n    <character>RIKER<\/character>\n    <dialogue>But they also have the reputation of being formidable warriors. In the Dominion War, Reman forces were used as assault troops in the most violent encounters.<\/dialogue>\n    <character>PICARD<\/character>\n    <parenthetical>( grim . )<\/parenthetical>\n    <dialogue>Cannon fodder.<\/dialogue>\n    <character>GEORDI<\/character>\n    <dialogue>Then how did a Reman get to be Praetor? I do n't get it.<\/dialogue>\n    <character>RIKER<\/character>\n    <dialogue>We have to assume he had Romulan collaborators.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>A coup d'etat?<\/dialogue>\n    <character>RIKER<\/character>\n    <dialogue>The Praetor's power has always been the Romulan fleet. They must be behind him.<\/dialogue>\n    <scene_description>Picard considers this .<\/scene_description>\n    <character>PICARD<\/character>\n    <parenthetical>( to Data . )<\/parenthetical>\n    <dialogue>What have you learned about Shinzon?<\/dialogue>\n    <scene_description>The images end . There are no images of Shinzon .<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>Starfleet intelligence was only able to provide a partial account of his military record. We can infer he is relatively young and a capable commander. He fought seventeen major engagements in the war. All successful. Beyond that, we know nothing.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Well. it seems we're truly sailing into the unknown. Keep at it. Anything you can give me would be appreciated. Dismissed.<\/dialogue>\n    <scene_description>The meeting breaks up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - ENGINEERING LAB - DAY<\/stage_direction>\n    <scene_description>The B - 9 stares placidly forward . We pull back and discover that computer conduits connect the B - 9 's head to Data 's head . Geordi monitors the connection .<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>At present he serves no useful function. Dr. Soong created us to become active and useful members of society. I do not believe he would have wanted the B - 9 to live out his life in his present state.<\/dialogue>\n    <character>GEORDI<\/character>\n    <dialogue>I ca n't believe the Captain went along with a memory download.<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>Captain Picard agrees that the B - 9 was probably designed with the same self - actualization parameters as myself. If my memory engrams are successfully integrated into his positronic matrix, he should have all my abilities.<\/dialogue>\n    <character>GEORDI<\/character>\n    <dialogue>He'd have all your memories too. You feel comfortable with that?<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>I feel nothing, Geordi. It is my belief that with my memory engrams he will be able to function as a more complete individual.<\/dialogue>\n    <character>GEORDI<\/character>\n    <dialogue>An individual more like you, you mean.<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>GEORDI<\/character>\n    <dialogue>Maybe he's not supposed to be like you. Maybe he's supposed to be just like he is.<\/dialogue>\n    <scene_description>Geordi completes his work<\/scene_description>\n    <character>GEORDI<\/character>\n    <dialogue>Okay. we're done.<\/dialogue>\n    <scene_description>Geordi removes the computer connections from between their heads . He carefully closes the panel in Data 's head as :<\/scene_description>\n    <character>DATA<\/character>\n    <parenthetical>( to B - 9 . )<\/parenthetical>\n    <dialogue>Do you know where you are?<\/dialogue>\n    <character>B-9<\/character>\n    <dialogue>I am in a room with lights.<\/dialogue>\n    <scene_description>He looks blankly at the console lights .<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>Can you remember our father?<\/dialogue>\n    <character>B-9<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Data glances to Geordi .<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>Do you know the name of the Captain of this vessel?<\/dialogue>\n    <character>B-9<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>Is that your final answer?<\/dialogue>\n    <character>GEORDI<\/character>\n    <parenthetical>( to B - 9 . )<\/parenthetical>\n    <dialogue>Do you know my name?<\/dialogue>\n    <character>B-9<\/character>\n    <dialogue>You have a soft voice.<\/dialogue>\n    <character>GEORDI<\/character>\n    <parenthetical>( gently . )<\/parenthetical>\n    <dialogue>Data, he's assimilating a lot of programming. Remember, he's a prototype, a lot less sophisticated than you are. We just do n't know if his matrix will be able to adapt. Or if he'll be able to retain anything. We should give him some time.<\/dialogue>\n    <scene_description>Data has been studying some circuitry in the B - 9 's neck .<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>What purpose does this serve?<\/dialogue>\n    <character>GEORDI<\/character>\n    <parenthetical>( also examining circuitry . )<\/parenthetical>\n    <dialogue>It seems to be a redundant memory port. Maybe it's for provisional memory storage in case his neural pathways overload?<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>Dr. Soong must have found it unnecessary in later versions.<\/dialogue>\n    <character>GEORDI<\/character>\n    <dialogue>It's possible the extra memory port is interfering with the engram processing. Mind if I keep him here and run some diagnostics?<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>No, I do not mind.<\/dialogue>\n    <scene_description>Data looks at the B - 9 with a sort of sadness .<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>But I believe he will prove incapable of performing higher functions.<\/dialogue>\n    <character>GEORDI<\/character>\n    <dialogue>Do n't give up hope, Data. I know, I know, you're not capable of hope.<\/dialogue>\n    <character>DATA<\/character>\n    <parenthetical>( looking at B - 9 . )<\/parenthetical>\n    <dialogue>I am not.<\/dialogue>\n    <scene_description>Data stands . The B - 9 stands to follow .<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>No, remain with Commander La Forge. He is going to try to make you well.<\/dialogue>\n    <scene_description>The B - 9 sits . Data goes . Geordi watches him go .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  ENTERPRISE - OVER ROMULUS - SPACE<\/stage_direction>\n    <scene_description>The Enterprise is in orbit around Romulus . Remus can be seen in the distance .<\/scene_description>\n    <character>PICARD<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Captain's Log. Stardate 47844.9. The Enterprise has arrived at Romulus and is waiting at the designated coordinates. All our hails have gone unanswered. We've been waiting for seventeen hours.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>The crew is tense . Silence . Worf , at tactical , slowly stretches his neck . Trying to release the tension . It cracks . Deanna jumps a bit .<\/scene_description>\n    <character>RIKER<\/character>\n    <dialogue>Why do n't they answer our hails?<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>It's an old psychological strategy, Number One. To put him in a position of dominance and make us uneasy.<\/dialogue>\n    <character>RIKER<\/character>\n    <dialogue>It's working.<\/dialogue>\n    <character>PICARD<\/character>\n    <parenthetical>( to Deanna . )<\/parenthetical>\n    <dialogue>Counselor?<\/dialogue>\n    <character>DEANNA<\/character>\n    <dialogue>They're out there, sir.<\/dialogue>\n    <scene_description>Picard stands and walks to the viewscreen . He gazes at Romulus below and the black infinity of space beyond . They 're out there , Waiting .<\/scene_description>\n    <character>WORF<\/character>\n    <dialogue>Sir, I recommend we raise shields.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Not yet, Mister Worf.<\/dialogue>\n    <character>RIKER<\/character>\n    <dialogue>Captain, with all due respect to diplomatic protocols - the Federation Council's not sitting out here, we are.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Patience. Diplomacy is a very exacting occupation. We can wait.<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>Captain.<\/dialogue>\n    <scene_description>And on the viewscreen . Shinzon 's magnificent Reman Warbird , the SCIMITAR , decloaks directly before the Enterprise .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  OVER ROMULUS - SPACE<\/stage_direction>\n    <scene_description>Our first sight of this incredible ship is absolutely breathtaking . Shinzon 's vessel combines the clean lines of the traditional Romulan Warbird with unique weaponry and styling . It is huge , easily twice as large as the Enterprise . And it is aggressive . Awesome in its power .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>The crew gapes at the huge ship on the viewscreen .<\/scene_description>\n    <character>RIKER<\/character>\n    <parenthetical>( slowly rising from his chair . )<\/parenthetical>\n    <dialogue>My God.<\/dialogue>\n    <character>WORF<\/character>\n    <parenthetical>( tense . )<\/parenthetical>\n    <dialogue>Should I raise shields?<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>No!<\/dialogue>\n    <character>WORF<\/character>\n    <dialogue>Captain -!<\/dialogue>\n    <character>PICARD<\/character>\n    <parenthetical>( firm . )<\/parenthetical>\n    <dialogue>Tactical analysis, Mister Worf.<\/dialogue>\n    <character>WORF<\/character>\n    <parenthetical>( quickly analyzing tactical display . )<\/parenthetical>\n    <dialogue>Fifty - two disruptor banks, twenty - seven photon torpedo bays, primary and secondary phased shields.<\/dialogue>\n    <character>RIKER<\/character>\n    <dialogue>She's not out for a pleasure cruise.<\/dialogue>\n    <character>PICARD<\/character>\n    <parenthetical>( grim . )<\/parenthetical>\n    <dialogue>She's a predator.<\/dialogue>\n    <character>WORF<\/character>\n    <dialogue>We're being hailed.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>On screen.<\/dialogue>\n    <scene_description>And the image on the viewscreen transforms to : Shinzon 's Viceroy . He stands on the Scimitar 's bridge . The bridge is as unique as the rest of Shinzon 's ship . Instead of the usual mechanical clutter , this bridge is designed with an almost Asian simplicity . Like the rest of Reman design , it is spare and elegant . Since the Remans are more comfortable in the darkness , most of the light comes from the three steadily pulsing warp core relays which dramatically soar up through the floor of the bridge . The crew gazes at the bridge and the monstrous features of the viceroy .<\/scene_description>\n    <character>VICEROY<\/character>\n    <parenthetical>( ON VIEWSCREEN . )<\/parenthetical>\n    <dialogue>Enterprise. We are the Reman Warbird Scimitar.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Praetor Shinzon, I'm pleased to -<\/dialogue>\n    <character>VICEROY<\/character>\n    <parenthetical>( ON VIEWSCREEN . )<\/parenthetical>\n    <dialogue>I am not Shinzon. I am his Viceroy. We are sending transport coordinates.<\/dialogue>\n    <scene_description>The transmission ends abruptly . The Scimitar reappears on the viewscreen .<\/scene_description>\n    <character>RIKER<\/character>\n    <dialogue>Not very chatty.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Away team. Transporter room four.<\/dialogue>\n    <scene_description>Picard , Riker , Deanna , Worf and Data head toward the turbolift , energized now that the endless waiting is over .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR - OBSERVATION LOUNGE - NIGHT<\/stage_direction>\n    <scene_description>The away team materializes in the most striking location on Shinzon 's ship : a large observation lounge . It is a huge , empty chamber . No furniture . A simple Reman mat on the floor is the only decoration . At the very top of the room there is a large , etched glass dome . It is very dark . They turn when Shinzon speaks from the shadows :<\/scene_description>\n    <character>SHINZON<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I hope you'll forgive the darkness. we're not comfortable in the light.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Praetor Shinzon?<\/dialogue>\n    <scene_description>Shinzon moves toward them a bit , becoming slightly more illuminated , the low light shining off his golden hair . The crew can not see him clearly in the dim light but it is evident he is human . Assuming that he was Reman , they 're surprised by this realization . Shinzon just stares at Picard through the darkness for a moment .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Captain Picard. Jean Luc Picard. I do n't mean to stare, it's just - well, you ca n't imagine how long I've been waiting for this moment. I always imagined you taller, is n't that odd?<\/dialogue>\n    <parenthetical>( to Data . )<\/parenthetical>\n    <dialogue>You may scan me without subterfuge, Commander Data.<\/dialogue>\n    <scene_description>Data scans him with a tricorder as :<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>And you're not as we imagined you.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>No?<\/dialogue>\n    <character>WORF<\/character>\n    <dialogue>You are human.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>Commander Worf.<\/dialogue>\n    <parenthetical>( he speaks in Klingon . )<\/parenthetical>\n    <dialogue>I greet you as a valiant warrior. and as my brother.<\/dialogue>\n    <character>WORF<\/character>\n    <parenthetical>( terse , in Klingon . )<\/parenthetical>\n    <dialogue>I'll save my greetings for a better brother.<\/dialogue>\n    <scene_description>Shinzon laughs , maniacally .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>Why have you asked for our presence here?<\/dialogue>\n    <scene_description>Shinzon does not answer . He is staring deeply at Deanna , moans softly .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>Praetor?<\/dialogue>\n    <character>SHINZON<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>I've never met a human woman.<\/dialogue>\n    <scene_description>He slowly moves toward her , still hidden in the shadows .<\/scene_description>\n    <character>DEANNA<\/character>\n    <dialogue>I'm only half human.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>Deanna Troi of Betazed. Empathic and telepathic abilities, ship's counselor. All of this I knew. But I did n't know you were so beautiful.<\/dialogue>\n    <character>RIKER<\/character>\n    <dialogue>You seem very familiar with our personnel.<\/dialogue>\n    <scene_description>Shinzon moves even closer to Deanna , not taking his eyes from her .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>I am, Commander Riker.<\/dialogue>\n    <parenthetical>( to Deanna . )<\/parenthetical>\n    <dialogue>. May I touch your hair?<\/dialogue>\n    <character>PICARD<\/character>\n    <parenthetical>( firm . )<\/parenthetical>\n    <dialogue>Praetor, we've come to Romulus on a matter we were - assured was of great importance. If you have anything to say to us as representatives of the Federation, I suggest you do so now.<\/dialogue>\n    <scene_description>Shinzon continues to stare at Deanna . It is strangely seductive . Almost disquieting in its intensity . Deanna handles it with grace , her level gaze never leaving his .<\/scene_description>\n    <character>SHINZON<\/character>\n    <parenthetical>( softly . )<\/parenthetical>\n    <dialogue>On the world I come from there's no light. No sun. Beauty is n't important. I see now there's a world elsewhere.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Praetor Shinzon. We're not here to discuss your lack of a social life.<\/dialogue>\n    <character>SHINZON<\/character>\n    <parenthetical>( turning back to Picard . )<\/parenthetical>\n    <dialogue>Yes, I'm sorry, Captain.<\/dialogue>\n    <parenthetical>( he smiles . )<\/parenthetical>\n    <dialogue>There's so much we have to talk about.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>I would be interested to know what we are talking about.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>Unity, Captain! Tearing down the walls between us to recognize we are one people. Federation and Romulan. Human and Vulcan and Klingon and Reman. I'm speaking of the thing that makes us the same. We want peace.<\/dialogue>\n    <scene_description>Picard and the others are stunned .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>I want to end the centuries of mistrust. I want to be your ally, not your enemy. As a first step I propose we eliminate the Neutral Zone and begin a free and open exchange of goods and ideas.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>And the Senate supports you?<\/dialogue>\n    <character>SHINZON<\/character>\n    <parenthetical>( dry . )<\/parenthetical>\n    <dialogue>I have dissolved the Senate.<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Right now, you're thinking this all sounds too good to be true?<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>And you're wondering why the Scimitar is so well armed. Is this the ship of a peacemaker? Or a predator?<\/dialogue>\n    <parenthetical>( Picard is startled at Shinzon 's choice of words . )<\/parenthetical>\n    <dialogue>. But you're also thinking the chance for peace is too promising to ignore. Above all, you're trying to decide if you can trust me.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>Then perhaps the time has come to add some illumination to our discussion. Computer, raise lighting four levels.<\/dialogue>\n    <scene_description>Lights shoot up around the room . For the first time the crew can see Shinzon clearly . Picard actually gasps when he sees Shinzon 's face . The rest of the crew does n't understand his reaction .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Allow me to tell you a story that I hope will clarify my position. When I was very young I was stricken with an odd disease. I developed a hyper - sensitivity to sound. The slightest whisper caused me agony.<\/dialogue>\n    <scene_description>Picard watches him carefully . Wary and strangely intense .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>No one knew what to do. Finally I was taken to a doctor who had some experience with Terran illnesses and I was finally diagnosed with Shalaft's syndrome. Do you know of it, Captain?<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>You know I do.<\/dialogue>\n    <scene_description>The crew is dumbfounded at Picard 's unusual reaction .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Then you know it's a very rare syndrome. Genetic. All the male members of my family had it. Eventually I was treated. Now I can hear as well as you can, Captain.<\/dialogue>\n    <scene_description>He steps toward Picard who holds his ground .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>I can see as well as you can. I can feel everything you feel.<\/dialogue>\n    <parenthetical>( He stops right before Picard . )<\/parenthetical>\n    <dialogue>In fact, I feel exactly what you feel. Do n't I, Jean Luc?<\/dialogue>\n    <scene_description>Picard stares at him with a mixture of realization and curiosity . It is as if Picard is looking into a strange , remembered mirror : Shinzon 's face is nearly identical to his at that age .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Do you trust me now?<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>We need to talk, just you and I.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>Come to dinner on Romulus tomorrow. Just the two of us. Or just the one of us.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>You know I need to verify this.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>The crew is utterly confused . Their confusion turns to outright shock when Shinzon calmly pulls out a Reman knife and cuts his arm , drawing a little blood . He hands the knife to Data .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Tomorrow then, Captain. We have so much to discuss.<\/dialogue>\n    <scene_description>Picard touches his communicator pin :<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>Picard to Enterprise. Five to beam out.<\/dialogue>\n    <scene_description>They dematerialize , the shimmering glow illuminating Shinzon 's features . Picard 's eyes never leave Shinzon as the transporter effect ripples around him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - SICKBAY - DAY<\/stage_direction>\n    <scene_description>Beverly stands with Picard , Riker and Deanna . The Reman knife is under a protonmicroscope and other medical readouts and analysis are visible .<\/scene_description>\n    <character>BEVERLY<\/character>\n    <dialogue>There's no doubt, Captain. Right down to your regressive strain of Shalaft's Syndrome. He's a clone.<\/dialogue>\n    <scene_description>A beat as the confirmation sinks in .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>When was he. created?<\/dialogue>\n    <character>BEVERLY<\/character>\n    <dialogue>About twenty - five years ago. They probably used a hair follicle or skin cell.<\/dialogue>\n    <character>PICARD<\/character>\n    <parenthetical>( touching head . )<\/parenthetical>\n    <dialogue>I think a skin cell's the more likely of the two.<\/dialogue>\n    <character>RIKER<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Believe me, Number One ; I'm going to find out. Contact Starfleet Command and inform them of the situation. I need to know where the hell he came from. Deanna.<\/dialogue>\n    <scene_description>He goes , Deanna following .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - CORRIDOR - FOLLOWING<\/stage_direction>\n    <character>DEANNA<\/character>\n    <dialogue>I would say he's been trained to resist telepathy. What I could sense of his emotions were erratic, very hard to follow.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Is he sincere about wanting peace?<\/dialogue>\n    <character>DEANNA<\/character>\n    <dialogue>I do n't know.<\/dialogue>\n    <parenthetical>( she stops him . )<\/parenthetical>\n    <dialogue>Sir, the strongest sense I had was that he's more than curious about you. He very much wants to know you.<\/dialogue>\n    <parenthetical>( she looks at him deeply . )<\/parenthetical>\n    <dialogue>The same way you want to know him.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>How could I not?<\/dialogue>\n    <character>DEANNA<\/character>\n    <dialogue>Captain, do n't assume he's anything like you are. You should resist the urge to think you know him.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>I not only know him, Deanna, I am him. and he is me!<\/dialogue>\n    <scene_description>He goes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - RIKER AND DEANNA'S CABIN - NIGHT<\/stage_direction>\n    <scene_description>Riker is hard at work over a series of padds . He has been working for hours .<\/scene_description>\n    <character>DEANNA<\/character>\n    <dialogue>Will, you need to rest.<\/dialogue>\n    <parenthetical>( he continues to work . )<\/parenthetical>\n    <dialogue>As ship's counselor, I'm recommending you get me sleep.<\/dialogue>\n    <scene_description>Riker tosses a padd on the desk . Rubs his eyes . Looks up her .<\/scene_description>\n    <character>RIKER<\/character>\n    <dialogue>Some honeymoon.<\/dialogue>\n    <scene_description>She smiles and goes to him .<\/scene_description>\n    <character>DEANNA<\/character>\n    <dialogue>We have time.<\/dialogue>\n    <parenthetical>( she kisses him . )<\/parenthetical>\n    <dialogue>Come to bed.<\/dialogue>\n    <scene_description>She pulls him up .<\/scene_description>\n    <character>RIKER<\/character>\n    <dialogue>Imzadi, what am I going to do with you?<\/dialogue>\n    <scene_description>They kiss deeply . She pulls him across the room and they fall into the bed . It is passionate , erotic . Her arms undulate around him sensually . her fingers snake through his hair , but something is wrong . Riker 's hair is now blond . She starts back , her eyes growing wide . Riker is gone . She is now embracing Shinzon !<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Imzadi. This is so good.<\/dialogue>\n    <character>DEANNA<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>He caresses her face .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>He can never know you as I know you. He can never touch you as I touch you.<\/dialogue>\n    <character>DEANNA<\/character>\n    <dialogue>This is n't real.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>Can you feel my hands. are they real? Can you feel my lips, my loins?<\/dialogue>\n    <scene_description>He kisses her neck - but when he raises his head again . It is the monstrous Viceroy ! Holding her . Caressing her . She is frozen in horror . But is it the Viceroy at all ? Shinzon 's voice seems to come from the Viceroy 's lips :<\/scene_description>\n    <character>SHINZON<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I'm with you, Imzadi.<\/dialogue>\n    <scene_description>And then it is Shinzon again , kissing her :<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>I'll always be with you now. Now and forever.<\/dialogue>\n    <character>DEANNA<\/character>\n    <dialogue>You sick bastard!<\/dialogue>\n    <scene_description>She pushes him away .<\/scene_description>\n    <character>RIKER<\/character>\n    <dialogue>Deanna?! What's with the name calling?<\/dialogue>\n    <scene_description>It is Riker . She stares at him , then clings to him desperately .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  ROMULAN SENATE - DAY<\/stage_direction>\n    <scene_description>The Byzantine splendors of the Senate loom before us .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ROMULAN SENATE CHAMBER - DAY<\/stage_direction>\n    <scene_description>Heavy drapes are drawn against any hint of the sun . Shinzon is in conference with the Romulan Commanders and Senator Tal ` Aura . Commander Donatra watches him closely . Commander Suran is angry , pacing . Shinzon stands . His Viceroy lurks in a corner .<\/scene_description>\n    <character>SURAN<\/character>\n    <dialogue>then I do n't understand the reason for the delay!<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>You do n't have to understand.<\/dialogue>\n    <character>SURAN<\/character>\n    <dialogue>And bringing the Enterprise here?! What possible purpose could that serve?!<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>I have a purpose.<\/dialogue>\n    <character>SURAN<\/character>\n    <dialogue>Then perhaps you will enlighten us?<\/dialogue>\n    <character>SHINZON<\/character>\n    <parenthetical>( snaps . )<\/parenthetical>\n    <dialogue>Silence, Romulan!<\/dialogue>\n    <scene_description>A tense beat . Shinzon regains his composure .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>You must learn patience, Commander. Do you know where I learned it? In the dilithium mines of Remus. Spend eighteen hours every day under the lash of a Romulan guard's whip and you'll soon understand patience.<\/dialogue>\n    <character>SURAN<\/character>\n    <parenthetical>( carefully bows his head . )<\/parenthetical>\n    <dialogue>Praetor.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>Now go. I have some personal business.<\/dialogue>\n    <scene_description>Suran and the others go . Donatra turns just as she is leaving the chamber , she sees the Viceroy going to Shinzon . And then do something odd . The Viceroy puts his hand on Shinzon 's chest , leans very close and talks to him quietly . This is an ancient form of Reman telepathic medical diagnosis . This strange sight perplexes Donatra . The doors close , blocking her view .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SENATE - CORRIDOR - FOLLOWING<\/stage_direction>\n    <scene_description>We go with Donatra and the other Romulans . Donatra speaks quietly to Suran :<\/scene_description>\n    <character>DONATRA<\/character>\n    <dialogue>How long before he has us in the dilithium mines?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - DATA'S CABIN - DAY<\/stage_direction>\n    <scene_description>The B - 9 sits placidly in a chair , staring forward . Then , as if a switch was thrown , he moves . He quickly rises and goes to a computer console . He efficiently starts punching in commands at an amazing velocity .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ROMULAN SENATE CHAMBER - NIGHT<\/stage_direction>\n    <scene_description>Picard and Shinzon sit alone in a corner of the sweeping Senate chamber . The remains of dinner before them .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>And when I was ready they were going to replace you with me, an exact biological duplicate. Put a Romulan agent at the heart of Starfleet to influence your command structure. It was a bold plan.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>As happens so frequently here on Romulus, a new government came to power. They decided to abandon the plan - frankly, I think they were afraid I'd be discovered and it would lead to war. They were n't ready for that.<\/dialogue>\n    <scene_description>Picard pours a glass of Romulan ale .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Romulan ale - I'm surprised. I ca n't stand it.<\/dialogue>\n    <character>PICARD<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>You'll acquire a taste for it.<\/dialogue>\n    <scene_description>A beat . They look at each other .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>It's not quite the face you remember.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Not quite. I envy the hairline.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>A lifetime of violence will do that. My nose was broken four times. And my jaw. But so much is the same. The eyes, you recognize the eyes.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Yes. The eyes have it.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>Our eyes reflect our lives, do n't they? Yours are so confident.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>How did you end up on Remus?<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>They sent me there to die. How could a mere human survive the dilithium mines? It was.<\/dialogue>\n    <parenthetical>( he ca n't find the words . )<\/parenthetical>\n    <dialogue>. I was a slave. And a monster. The only thing the Romulan guards hated more than the Remans was me. But one man took pity on me : the man who became my Viceroy. He taught me how to survive. And in that dark place, where there was nothing of myself, I found my Reman brothers. They showed me the only kindness I ever knew.<\/dialogue>\n    <scene_description>A beat . He glances to the Romulan crest on the wall .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>For thousands of years the Romulan Senate has met in this chamber and dictated the fate of its sister - planet. But the time has come for us to live as equals.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>You're doing this to liberate the Remans?<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>No race should be a slave to another.<\/dialogue>\n    <scene_description>Picard is impressed with Shinzon 's quiet words .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>You do n't trust me.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>I have no reason to.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>Of course you do. If you had lived my life and experienced the suffering of my people. you'd be sitting where I am now. At least I hope you would.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>And if you had lived my life you would understand that there is a great responsibility in representing the Federation. I ca n't let my personal feelings unduly influence my decisions.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>All I have is my personal feelings. I was n't raised with the ideals of the Federation. But I'm trying to understand them now. To live up to them To live up to you.<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>I want to know where I come from. The Remans gave me a future. You can tell me about my past.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>There's so much, and so much of it is dull.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>Were we always explorers?<\/dialogue>\n    <character>PlCARD<\/character>\n    <dialogue>No. I was the first Picard to leave Earth. It caused quite a stir, In fact. But I had spent my whole life.<\/dialogue>\n    <character>SHINZON<\/character>\n    <parenthetical>( finishing the sentence . )<\/parenthetical>\n    <dialogue>Looking up at the stars.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>And you dreamed about what was up there. About.<\/dialogue>\n    <character>PICARD<\/character>\n    <parenthetical>( finishing the sentence . )<\/parenthetical>\n    <dialogue>New worlds.<\/dialogue>\n    <scene_description>A beat . They both reach for a carafe of water at the exact same instant . Stop .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>After you, Praetor.<\/dialogue>\n    <character>SHINZON<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Age before rank, Jean Luc.<\/dialogue>\n    <scene_description>Picard smiles , pours a glass .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>So I'm not as tall as you expected?<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>I always hoped I would hit two meters.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>With a full head of hair.<\/dialogue>\n    <character>SHINZON<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>There is that.<\/dialogue>\n    <scene_description>A quiet beat .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>Shinzon. I'm trying to believe you.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>If there's one ideal the Federation holds most dear it's that all men, all races, can be united. From the first time the Vulcans came to Earth we've sought a future of peace. Nothing would make me more proud than to take your hand in friendship. In time. When trust has been earned.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>I'm honored to think I might someday speak with such eloquence.<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>In time, Jean Luc.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>In time.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SENATE CHAMBER - LATER<\/stage_direction>\n    <scene_description>Picard is gone . Shinzon sits , thinking . His Viceroy enters .<\/scene_description>\n    <character>VICEROY<\/character>\n    <dialogue>This is a mistake.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>He's gentler than I thought. And he has a sense of humor.<\/dialogue>\n    <character>VICEROY<\/character>\n    <parenthetical>( stern . )<\/parenthetical>\n    <dialogue>Do n't forget our mission, Shinzon. We should act. Now. Time is running out.<\/dialogue>\n    <character>SHINZON<\/character>\n    <parenthetical>( snaps . )<\/parenthetical>\n    <dialogue>My time. I'll spend it how I choose.<\/dialogue>\n    <scene_description>A tense beat .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>We'll return to the Scimitar. Prepare yourself for the bonding.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE  BRIDGE - NIGHT<\/stage_direction>\n    <scene_description>Picard emerges from the turbolift . Data , Worf and Geordi wait at the bridge engineering station .<\/scene_description>\n    <character>WORF<\/character>\n    <dialogue>Sir, we've had an unauthorized access into the main computer.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Who was it?<\/dialogue>\n    <character>GEORDI<\/character>\n    <dialogue>It's going to take some time to find out - the data stream was rerouted through substations all over the ship.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>What programs were accessed?<\/dialogue>\n    <character>GEORDI<\/character>\n    <dialogue>That's what I do n't get - it's mostly basic stellar cartography : star charts ; communications protocols ; some uplinks from colony tracking stations. It's not even restricted material.<\/dialogue>\n    <character>PICARD<\/character>\n    <parenthetical>( to Worf . )<\/parenthetical>\n    <dialogue>Set up a security program to detect any unusual data stream rerouting. If it happens again, we want to be ready.<\/dialogue>\n    <character>GEORDI<\/character>\n    <parenthetical>( grim . )<\/parenthetical>\n    <dialogue>There's something else. I was reviewing the sensor logs.<\/dialogue>\n    <parenthetical>( he refers to some readouts on his console . )<\/parenthetical>\n    <dialogue>When the Scimitar decloaked there was a momentary spike in the tertiary EM band - there - You're not going to believe this but it's Thalaron.<\/dialogue>\n    <scene_description>Picard is shocked .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SICKBAY - NIGHT<\/stage_direction>\n    <scene_description>Picard stands , concerned , with Beverly , Geordi and Data . Monitors showing Thalaron research are visible .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>I thought Thalaron radiation was theoretical.<\/dialogue>\n    <character>GEORDI<\/character>\n    <dialogue>Which is why our initial scans did n't pick it up. But he's got it, Captain.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>As I remember, Thalaron research was banned in the Federation because of its bioqenic properties.<\/dialogue>\n    <character>BEVERLY<\/character>\n    <dialogue>It has the ability to consume organic material at the subatomic level. I ca n't overestimate the danger of Thalaron radiation, Jean Luc. A microscopic amount could kill every living thing on this ship in a matter of seconds.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Understood. Keep on it. I need to know what he has and how to neutralize any threat. Give me options.<\/dialogue>\n    <scene_description>Picard goes . Data thinks for a moment .<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>Doctor, will you excuse us for a moment? Geordi, please come with me.<\/dialogue>\n    <scene_description>He and Geordi head out . Beverly returns to some medical displays showing Thalaron research , her expression deeply concerned .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - PICARD'S CABIN - NIGHT<\/stage_direction>\n    <scene_description>Picard is sitting at his desk , flipping through an old photo album . He stops and stares at one of the pictures deeply troubled . We finally see the photo : Young Jean Luc Picard . A serious , unsmiling cadet at Starfleet Academy . The face before him bears a disturbing resemblance to Shinzon . The door comm chirps .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>Come.<\/dialogue>\n    <parenthetical>( Beverly enters . )<\/parenthetical>\n    <dialogue>. Beverly, come in.<\/dialogue>\n    <character>BEVERLY<\/character>\n    <dialogue>You're working late.<\/dialogue>\n    <scene_description>She sits , notes the picture of Young Jean Luc .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>Remember him?<\/dialogue>\n    <character>BEVERLY<\/character>\n    <dialogue>He was a bit proud as I recall.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>He was a damn fool. Selfish and ambitious. Very much in need of seasoning.<\/dialogue>\n    <character>BEVERLY<\/character>\n    <dialogue>He turned out all right.<\/dialogue>\n    <scene_description>He rises , goes to a window , gazes at the Scimitar in the distance . A beat .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>I so wanted to believe Shinzon. But the Thalaron radiation ca n't be explained away. Whatever he's after, it's not peace.<\/dialogue>\n    <character>BEVERLY<\/character>\n    <dialogue>Is he very much like you were?<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Data interrupts on comm :<\/scene_description>\n    <character>DATA<\/character>\n    <parenthetical>( V.O. ; ON COMM . )<\/parenthetical>\n    <dialogue>Data to Captain Picard. Geordi and I have identified the source of the unauthorized computer access. And, I believe, we have also discovered an opportunity to gain a tactical advantage.<\/dialogue>\n    <character>PICARD<\/character>\n    <parenthetical>( to comm . )<\/parenthetical>\n    <dialogue>On my way.<\/dialogue>\n    <character>BEVERLY<\/character>\n    <parenthetical>( stands . )<\/parenthetical>\n    <dialogue>Jean Luc - whatever you were - right now you're the man you've made yourself. He's someone else.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>I wish I could believe that, Doctor.<\/dialogue>\n    <scene_description>He goes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - TURBOLIFT - MORNING<\/stage_direction>\n    <scene_description>Deanna is alone on the turbolift . Then a voice makes her spin :<\/scene_description>\n    <character>SHINZON<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Imzadi.<\/dialogue>\n    <scene_description>Shinzon stands across from her .<\/scene_description>\n    <character>DEANNA<\/character>\n    <dialogue>You're not here.<\/dialogue>\n    <character>SHINZON<\/character>\n    <parenthetical>( moving to her . )<\/parenthetical>\n    <dialogue>Very logical, Deanna. But your heart does n't constrain itself to mere logic.<\/dialogue>\n    <parenthetical>( he caresses her . )<\/parenthetical>\n    <dialogue>. Your heart longs to discover me. To know me.<\/dialogue>\n    <parenthetical>( he kisses her . )<\/parenthetical>\n    <dialogue>. To leave all of this behind and be with me.<\/dialogue>\n    <scene_description>He pushes her against the wall , with passion and almost violence .<\/scene_description>\n    <character>DEANNA<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>I can feel your desire, Deanna.<\/dialogue>\n    <scene_description>She forces herself to concentrate . to resist telepathically . it is a mighty effort . this Romulan is hot . And the world around her appears to be changing . bending . And she is momentarily in a cabin on the Scimitar . Although entirely a telepathic experience , it is as if she has actually traveled . She sees Shinzon kneeling over a small flame , she realizes she is looking through the Viceroy 's eyes . On the Scimitar , Shinzon looks up at the Viceroy\/Deanna :<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>I can feel your hunger to know the Reman ways. the old ways.<\/dialogue>\n    <scene_description>Then the world changes again . Deanna is on the turbolift . Shinzon is pressed against her , whispering :<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Do n't fear what you desire.<\/dialogue>\n    <scene_description>She forces him away from her and - She is alone . She sinks to her knees . Overcome with emotion .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR - VICEROY'S CABIN - FOLLOWING<\/stage_direction>\n    <scene_description>The Viceroy , in a kind of trace , kneels before a small flame . Shinzon kneels across from him . The Viceroy raises his head .<\/scene_description>\n    <character>VICEROY<\/character>\n    <dialogue>The bond is broken.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>Find her again.<\/dialogue>\n    <character>VICEROY<\/character>\n    <dialogue>No - this is wasting time.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>Do as I tell you!<\/dialogue>\n    <scene_description>A Reman officer interrupts on comm :<\/scene_description>\n    <character>REMAN OFFICER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Praetor, we've received the transponder signal.<\/dialogue>\n    <character>SHINZON<\/character>\n    <parenthetical>( to comm . )<\/parenthetical>\n    <dialogue>On my way.<\/dialogue>\n    <scene_description>He begins to go - but suddenly stops , a wave of illness overtaking him . The Viceroy puts his hand on Shinzon 's chest . A strange moment as the Viceroy shuts his eyes and feels Shinzon 's chest . His mind . probing . Then the Viceroy looks up at him , grim .<\/scene_description>\n    <character>VICEROY<\/character>\n    <dialogue>It's accelerating. You have no more time for games.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>Have the doctors prepare. I'll be on the bridge.<\/dialogue>\n    <scene_description>He goes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR - BRIDGE - DAY<\/stage_direction>\n    <scene_description>Shinzon stands with some REMAN ENGINEERS .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Transport.<\/dialogue>\n    <scene_description>An Engineer activates a transporter and the B - 9 materializes !<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Welcome home.<\/dialogue>\n    <parenthetical>( to Engineers . )<\/parenthetical>\n    <dialogue>Begin the download.<\/dialogue>\n    <scene_description>Reman engineers go to the B - 9 and open the panel in his neck , begin connecting computer conduits to the extra memory port we saw earlier . -LRB- Note : Although the audience will not know it yet , this is actually Data pretending to be the B - 9 . -RRB- Shinzon goes to a replicator unit and orders :<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Tea, hot.<\/dialogue>\n    <scene_description>A cup of tea appears . He takes it and sips as he watches his Engineers connecting the conduits to the B - 9 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - SICKBAY - DAY<\/stage_direction>\n    <scene_description>Beverly is scanning Deanna . Picard and Riker watch , concerned .<\/scene_description>\n    <character>BEVERLY<\/character>\n    <dialogue>Aside from slightly elevated adrenalin and serotonin levels, you're completely normal.<\/dialogue>\n    <character>PICARD<\/character>\n    <parenthetical>( gently . )<\/parenthetical>\n    <dialogue>Can you describe it, Deanna?<\/dialogue>\n    <scene_description>She looks at Picard , tears in her eyes .<\/scene_description>\n    <character>DEANNA<\/character>\n    <dialogue>It was. a violation.<\/dialogue>\n    <scene_description>Riker takes her hand .<\/scene_description>\n    <character>DEANNA<\/character>\n    <parenthetical>( with difficulty . )<\/parenthetical>\n    <dialogue>Shinzon's Viceroy seems to have the ability to reach into my thoughts. I've become a liability. I request to be relieved of my duties.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Permission denied. If you can possibly endure any more of these assaults. I need you at my side. Now more than ever I.<\/dialogue>\n    <scene_description>But before the words are out of his mouth . he begins to dematerialize !<\/scene_description>\n    <character>RIKER<\/character>\n    <parenthetical>( to comm . )<\/parenthetical>\n    <dialogue>Worf! Raise Shields!<\/dialogue>\n    <scene_description>But Picard is gone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  OVER ROMULUS - SPACE<\/stage_direction>\n    <scene_description>The Scimitar cloaks .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR - BRIG - NIGHT<\/stage_direction>\n    <scene_description>Picard stands in the Reman brig. His communicator pin has been removed . Beyond the security force field a ghoulish medical apparatus is being prepared . A metal chair with laser scalpels , IV tubes and hyposprays connected to it . Reman doctors work over the mysterious chair . Shinzon enters with the B - 9 following . Shinzon stands on the other side of the force field . Picard notices something immediately . Tiny veins are now visible on Shinzon 's face ; the faintest sign of an intricate spider - web pattern of pale blue veins .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Hello, Jean Luc.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Why am I here?<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>I was lonely.<\/dialogue>\n    <parenthetical>( he realizes Picard is staring at the veins on his face . )<\/parenthetical>\n    <dialogue>Perhaps I'm not aging as well as you did.<\/dialogue>\n    <scene_description>He nods to a guard . The guard deactivates the force field . A Reman doctor enters and raises a hypospray toward Picard .<\/scene_description>\n    <character>PICARD<\/character>\n    <parenthetical>( resists . )<\/parenthetical>\n    <dialogue>What are you doing?<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>I need a sample of your blood. What do your Borg friends say? Resistance is futile.<\/dialogue>\n    <parenthetical>( maniacal laugh . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>The Doctor takes a quick sample of Picard 's blood as Picard glances to the B - 9 .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Yes. The bait you could n't refuse. I learned there might be an existing prototype from a Cardassian historian, then went to a great deal of trouble to find it and scatter it about on Kolarus III. I knew it would pique your curiosity and conveniently make the Enterprise the closest ship to Romulus when I contacted Starfleet.<\/dialogue>\n    <scene_description>The Reman doctor leaves the cell . The force field is reactivated . The doctor goes to the mysterious medical apparatus and analyzes Picard 's blood . As :<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>All of this so you could capture me?<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>Do n't be so vain. After we found it, we made a few modifications. An extra memory port, a hidden transponder. Perhaps your eyes will be a bit less confident when you learn I've gained access to Starfleet's communications protocols. I now know the location of your entire fleet.<\/dialogue>\n    <parenthetical>( to B - 9 . )<\/parenthetical>\n    <dialogue>. You may go.<\/dialogue>\n    <character>B-9<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>Out of my sight.<\/dialogue>\n    <scene_description>The B - 9 obediently leaves the room as :<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Maybe I'll train it to do little tricks for me like your robot does. Or maybe I'll snap its ugly head off.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>What's this all about?<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>It's about destiny, Picard. About a Reman outcast who -<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>You're not Reman.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>And I'm not quite human. So what am I? What do you see?<\/dialogue>\n    <parenthetical>( he peers at Picard deeply . )<\/parenthetical>\n    <dialogue>Do you see a life you might have led? Lost youth never to be recaptured?<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>I see a young man trying desperately to deny who he is.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>I see an old man, set in his ways, afraid to live without a uniform to prop him up and a Starfleet regulation to tell him what to do. I see the man I will never be.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>I wo n't defend my life to you.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>My life is meaningless as long as you're alive. What am I while you exist? A shadow? An enigma?<\/dialogue>\n    <character>PICARD<\/character>\n    <parenthetical>( stern . )<\/parenthetical>\n    <dialogue>If your issues are with me. This has nothing to do with my ship and nothing to do with the Federation.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>Oh, but it does. We will no longer bow like slaves before anyone. Not the Romulans and not your mighty Federation. We're a race bred for war. For conquest.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Think about what you're doing, Shinzon. Are you ready to plunge the entire quadrant into war to satisfy your own personal demons?<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>It amazes me how little you know yourself.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>I'm incapable of such an act, and so are you.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>I think the facts speak for themselves. The same noble Picard blood runs in our veins. Had you lived my life, you'd be doing exactly as I am. Look in the mirror, and see yourself.<\/dialogue>\n    <scene_description>Shinzon looks at him deeply .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Consider that, Captain. I can think of no greater torment for you.<\/dialogue>\n    <scene_description>He turns to go .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>It's a mirror for you as well.<\/dialogue>\n    <scene_description>Shinzon turns back to him . A beat . Picard gazes at him evenly . Picard 's probing gaze makes Shinzon a bit uneasy . He glances to the ghoulish medical preparations .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Not for long, Captain.<\/dialogue>\n    <parenthetical>( back to Picard . )<\/parenthetical>\n    <dialogue>I'm afraid you wo n't survive to witness the victory of the echo over the voice.<\/dialogue>\n    <scene_description>He goes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - BRIDGE - NIGHT<\/stage_direction>\n    <scene_description>The ship is on Red Alert . Worf stands at tactical , muscles coiled , hungry for action .<\/scene_description>\n    <character>WORF<\/character>\n    <dialogue>No response to our hails.<\/dialogue>\n    <scene_description>Geordi is hard at work at the Science station . Riker stands over him :<\/scene_description>\n    <character>GEORDI<\/character>\n    <parenthetical>( frustrated . )<\/parenthetical>\n    <dialogue>His cloak is perfect. no tachyon emissions, no residual antiprotons.<\/dialogue>\n    <character>RIKER<\/character>\n    <dialogue>Keep at it, Geordi. Find a way in.<\/dialogue>\n    <scene_description>Beverly arrives on the bridge , urgent . She carries a medical padd .<\/scene_description>\n    <character>BEVERLY<\/character>\n    <dialogue>Will, I need to talk to you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR - BRIG - NIGHT<\/stage_direction>\n    <scene_description>Picard stands in his cell , peering at the edges of the security force field , trying to spot any weakness . Then the B - 9 enters the brig , he holds a Reman disruptor weapon .<\/scene_description>\n    <character>B-9<\/character>\n    <parenthetical>( to Reman guard . )<\/parenthetical>\n    <dialogue>I am to take the prisoner to the Praetor.<\/dialogue>\n    <scene_description>The Reman Guard deactivates the force field .<\/scene_description>\n    <character>B-9<\/character>\n    <dialogue>If you resist, I will incapacitate you.<\/dialogue>\n    <scene_description>He leads Picard out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR - CORRIDORS - FOLLOWING<\/stage_direction>\n    <scene_description>The B - 9 leads Picard through the dark corridors , holding the disruptor on him steadily . All the Remans they pass glare at Picard with undisguised loathing . The Viceroy approaches . Stops before them .<\/scene_description>\n    <character>VICEROY<\/character>\n    <parenthetical>( to B - 9 . )<\/parenthetical>\n    <dialogue>Where are you taking him?<\/dialogue>\n    <character>B-9<\/character>\n    <dialogue>Praetor Shinzon wants him on the bridge.<\/dialogue>\n    <scene_description>The Viceroy turns his malevolent gaze on Picard .<\/scene_description>\n    <character>VICEROY<\/character>\n    <dialogue>So, human. you've met your better self!<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>What are you doing to Counsellor Troi?<\/dialogue>\n    <character>VICEROY<\/character>\n    <dialogue>I'm preparing her for Shinzon. To sooth him as she soothes you. To stand at his side as she does at yours.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>That will never happen.<\/dialogue>\n    <character>VICEROY<\/character>\n    <dialogue>Listen to him, android. Such a small and weak creature. Yet he roars so valiantly.<\/dialogue>\n    <parenthetical>( he raises one taloned claw and puts a sharp fingernail on Picard 's chest . )<\/parenthetical>\n    <dialogue>It would take me but an instant to tear that valiant heart from your chest.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>There'll be another after me. And another after that. You'll find we're a resilient species.<\/dialogue>\n    <character>VICEROY<\/character>\n    <dialogue>I look forward to the sport.<\/dialogue>\n    <parenthetical>( to the B - 9 , harshly . )<\/parenthetical>\n    <dialogue>Take him.<\/dialogue>\n    <scene_description>The B - 9 prods Picard 's back roughly with the disruptor . Picard grimaces in pain<\/scene_description>\n    <character>B-9<\/character>\n    <dialogue>Move.<\/dialogue>\n    <scene_description>The Viceroy continues away down the corridor . The B - 9 leads Picard along .<\/scene_description>\n    <character>PICARD<\/character>\n    <parenthetical>( whispers . )<\/parenthetical>\n    <dialogue>Be careful of over - playing your part, Commander!<\/dialogue>\n    <scene_description>And the audience now realizes it is Data pretending to be the B - 9 and rejoices .<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>Sorry, sir. I thought it added a touch of reality to the performance.<\/dialogue>\n    <scene_description>They are silent as they pass a few Reman guards . Then :<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>My mission was a success, sir. I have discovered the source of the Thalaron radiation.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Good work. The download?<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>He believes he has our communications protocols. But they will give him inaccurate locations for all Starfleet vessels.<\/dialogue>\n    <scene_description>Data assumes the B - 9 's posture again as they pass some some Reman Warriors .<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>Move, puny human animal.<\/dialogue>\n    <scene_description>They pass the Warriors .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>A bit less florid, Data.<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>Aye, sir. This way.<\/dialogue>\n    <scene_description>He leads Picard down the corridor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR - GENERATION CHAMBER - NIGHT<\/stage_direction>\n    <scene_description>Data leads Picard into a massive chamber that soars up like a cathedral . It is the size of a small town . The whole , cavernous chamber pulses with glowing green light .<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>This entire ship is, essentially, a flying Thalaron generator.<\/dialogue>\n    <parenthetical>( he points up . )<\/parenthetical>\n    <dialogue>All its power relays lead to that device.<\/dialogue>\n    <scene_description>High above them , at the very top of the chamber , is a gigantic version of the spider - weapon we saw kill all the Romulan Senators before . It is breathtaking .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>A weapon.<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>It would appear so.<\/dialogue>\n    <scene_description>Data rotates his left hand and then slides it forward , exposing a hidden compartment in his wrist . He removes a small , silver disc . This is a cool new piece of Federation technology called an ETU . -LRB- Emergency Transport Unit . -RRB-<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>Geordi equipped me with the prototype for the Emergency Transport Unit. I recommend you use it to return to the Enterprise.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>It'll only work for one of us.<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>We'll find a way off together. Recommendations?<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>There is a shuttlebay 948 meters from our current location.<\/dialogue>\n    <scene_description>Data inserts the ETU back into his wrist and they leave the chamber .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR BRIDGE - NIGHT<\/stage_direction>\n    <scene_description>The Viceroy arrives on the bridge , stops .<\/scene_description>\n    <character>VICEROY<\/character>\n    <dialogue>Where's Picard?<\/dialogue>\n    <scene_description>Shinzon looks at him , confused .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR - CORRIDORS - NIGHT<\/stage_direction>\n    <scene_description>Security alert klaxons suddenly begin to howl and harsh Reman commands are broadcast through the corridors .<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>This way, sir!<\/dialogue>\n    <scene_description>They sprint down the twisting , dark corridors - Reman warriors suddenly appear before them ! - Data fires the disruptor as Picard launches himself into them - A fight - Picard uses a dazzlinq series of Starfleet hand - to - hand maneuvers - he dramatically subdues the Remans . More Reman warriors appear down the corridor . Picard grabs a disruptor . And instantly spins to fire a blazing disruptor . A battle breaks out in the corridor - the energy beams and explosions illuminating the violent fire fight in strobe - like bursts . They run to another corridor and finally arrive at the shuttlebay door - it does not open .<\/scene_description>\n    <character>DATA<\/character>\n    <parenthetical>( looking at door security panel . )<\/parenthetical>\n    <dialogue>It seems to have an encrypted security system.<\/dialogue>\n    <scene_description>Reman warriors are closing in on them . Data tosses his disruptor to Picard - Picard catches it and instantly spins and fires - he uses both disruptors to fire down both ends of the corridor like a Western sheriff - keeping the Remans at bay - As Data uses both hands to punch numbers into the shuttlebay door security panel at an amazing rate -<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>Alacrity would be appreciated, Commander.<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>They are trying to override the access codes. Reman is really a most complex language with pictographs representing certain verb roots and -<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>While I find that fascinating, Data, we really need that Goddamned door open!<\/dialogue>\n    <scene_description>The shuttlebay door slides open . Picard lays down a blistering barrage of cover fire as he and Data duck into the shuttlebay .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR - SHUTTLEBAY - FOLLOWING<\/stage_direction>\n    <scene_description>When the door closes behind them , Picard turns and fires a disruptor blast - sealing the door mechanism . They turn to face . A fleet of very small shuttles . They are uniquely designed . Extremely compact and stream - lined . A disruptor turret on each . They move toward one as :<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>According to the ship's manifest they are Scorpion - class attack fliers.<\/dialogue>\n    <scene_description>They quickly climb a Scorpion .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCORPION COCKPIT - SHUTTLEBAY - FOLLOWING<\/stage_direction>\n    <scene_description>The cockpit of the Scorpion is cramped . Picard climbs into the pilot 's position . Data assumes the gunner 's position . They see disruptor fire trying to burn through the door to the shuttlebay - Picard powers up the Scorpion as :<\/scene_description>\n    <character>PICARD<\/character>\n    <parenthetical>( trying to figure out the controls . )<\/parenthetical>\n    <dialogue>What do you imagine this is?<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>Port thrusters, sir. Would you like me to drive?<\/dialogue>\n    <scene_description>Picard shoots him a look and presses some controls . The Scorpion lifts off . Hovers a few feet over the deck . Picard elegantly swings it around toward the large shuttlebay external doors as :<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>Can you open the shuttlebay doors?<\/dialogue>\n    <character>DATA<\/character>\n    <parenthetical>( working controls . )<\/parenthetical>\n    <dialogue>Affirmative, sir. Negative, sir. They have instigated security overrides and erected a force field around the external portals.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Well then. only one way to go.<\/dialogue>\n    <scene_description>He swings the Scorpion around again so it is facing the doors they came through , the doors back into the ship . Data is dubious .<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>Do you think this is a wise course of action?<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>We're about to find out. Power up disruptors and fire on my mark.<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>Ready, Captain.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Fire!<\/dialogue>\n    <scene_description>And the Scorpion 's forward disruptors fire ! The doors into the ship explode ! Picard powers forward !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR CORRIDORS - FOLLOWING<\/stage_direction>\n    <scene_description>And the Scorpion shoots into the corridor , past the stunned Remans . Picard banks sharply - careens off the far side of the corridor but keeps control . The Scorpion zooms down the corridor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCORPION COCKPIT - SCIMITAR - FOLLOWING<\/stage_direction>\n    <scene_description>Picard is concentrating intensely - it is like trying to control the world 's fastest roller coaster .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR - CORRIDORS - FOLLOWING<\/stage_direction>\n    <scene_description>The Scorpion banks around a corner - it zigs and zags through the ship at breakneck speed -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR - OBSERVATION LOUNGE - NIGHT<\/stage_direction>\n    <scene_description>The doors to the observation lounge EXPLODE in . The Scorpion SHOOTS into the room and up - A disruptor blast SHATTERS the etched glass dome at the top of the room - And the Scorpion ZOOMS triumphantly into space !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  OVER ROMULUS - SPACE<\/stage_direction>\n    <scene_description>The Scorpion seems to appear from nowhere - slicing through the cloak of invisibility around the Scimitar -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>The crew sees the Scorpion appear on the viewscreen .<\/scene_description>\n    <character>RIKER<\/character>\n    <dialogue>Worf! Lock on transporters!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>Shinzon sees the Scorpion as well .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Tractor beam! Now!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  OVER ROMULUS - SPACE<\/stage_direction>\n    <scene_description>But they are too late - the Scorpion dematerializes -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - CARGO BAY - FOLLOWING<\/stage_direction>\n    <scene_description>And materializes in one of the Enterprise 's cargo bays . Picard and Data climb out -<\/scene_description>\n    <character>PICARD<\/character>\n    <parenthetical>( to comm . )<\/parenthetical>\n    <dialogue>Number One, emergency warp!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  OVER ROMULUS - FOLLOWING<\/stage_direction>\n    <scene_description>The Enterprise dramatically powers forward and up - rolling over in a great arc going into warp while still upside down . It disappears in a blaze of light . Fade to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR - BRIDGE - NIGHT<\/stage_direction>\n    <scene_description>Shinzon sits in his command chair as the ship streaks through space . He speaks on viewscreen with his Romulan collaborators . His face is even more finely veined now .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>The Enterprise is immaterial! They wo n't make it back to Federation space.<\/dialogue>\n    <character>SURAN<\/character>\n    <parenthetical>( ON VIEWSCREEN . )<\/parenthetical>\n    <parenthetical>( angry . )<\/parenthetical>\n    <dialogue>This has gone far enough!<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>I thought we discussed patience, Commander.<\/dialogue>\n    <character>SURAN<\/character>\n    <parenthetical>( ON VIEWSCREEN . )<\/parenthetical>\n    <dialogue>And mine is wearing thin, young man! We supported you because you promised action. And yet you delay and you waste your time playing games with Picard while -<\/dialogue>\n    <scene_description>Shinzon stands and briskly pulls down his uniform tunic exactly as we 've seen Picard do a thousand times .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Commander Suran, the games are over. In two days the Federation will be crippled beyond repair. Does that satisfy you?<\/dialogue>\n    <character>SURAN<\/character>\n    <parenthetical>( ON VIEWSCREEN . )<\/parenthetical>\n    <parenthetical>( grim . )<\/parenthetical>\n    <dialogue>For the moment.<\/dialogue>\n    <character>SHINZON<\/character>\n    <parenthetical>( brutal . )<\/parenthetical>\n    <dialogue>And when I return. you and I shall have a little talk about showing proper respect!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ROMULAN SENATE - CHAMBER - FOLLOWING<\/stage_direction>\n    <scene_description>The viewscreen picture of Shinzon snaps out . The Romulan sit for a silent beat .<\/scene_description>\n    <character>DONATRA<\/character>\n    <dialogue>Does anyone in this room harbor any illusions about what he means by `` showing proper respect''?<\/dialogue>\n    <character>TAL'AURA<\/character>\n    <dialogue>What's happening to his face?<\/dialogue>\n    <character>SURAN<\/character>\n    <dialogue>I want opinions. He is clearly out of his mind.<\/dialogue>\n    <character>SURAN<\/character>\n    <dialogue>But can he complete his mission?<\/dialogue>\n    <character>DONATRA<\/character>\n    <dialogue>Should he?<\/dialogue>\n    <scene_description>They look at her .<\/scene_description>\n    <character>DONATRA<\/character>\n    <dialogue>Are you prepared to have your hands drenched in blood? He'll show them no mercy. And his sins will mark us all for generations. Is that what you truly want, Romulans?<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>DONATRA<\/character>\n    <dialogue>I think you should consider that question now - or else you may have a lifetime to think about it in the dilithium mines.<\/dialogue>\n    <scene_description>She turns and stalks out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - READY ROOM - NIGHT<\/stage_direction>\n    <scene_description>Beverly sits with Picard and Riker .<\/scene_description>\n    <character>BEVERLY<\/character>\n    <dialogue>The more I studied his DNA the more confusing it got. Finally I could only come to one conclusion. Shinzon was created with temporal RNA sequencing. He was designed so that at a certain point his aging process could be accelerated to reach your age more quickly, so he could replace you.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>But the Romulans abandoned the plan.<\/dialogue>\n    <character>BEVERLY<\/character>\n    <dialogue>As a result the temporal sequencing was never activated. Remember, he was supposed to replace you at nearly your current age. He was engineered to skip thirty years of life. But since the RNA sequencing was never activated, his cellular structure has started to break down. He's dying.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Dying?<\/dialogue>\n    <character>RIKER<\/character>\n    <dialogue>He was n't designed to live a complete, human life span.<\/dialogue>\n    <character>PlCARD<\/character>\n    <dialogue>Can anything be done for him?<\/dialogue>\n    <character>BEVERLY<\/character>\n    <dialogue>Not without a complete myelodysplastic infusion from the only donor with compatible DNA. But that would mean draining all your blood.<\/dialogue>\n    <character>RIKER<\/character>\n    <dialogue>That's why he went to all that trouble to capture you.<\/dialogue>\n    <character>PlCARD<\/character>\n    <dialogue>How long does he have?<\/dialogue>\n    <character>BEVERLY<\/character>\n    <dialogue>I ca n't be sure but the rate of decay seems to be accelerating.<\/dialogue>\n    <scene_description>Picard considers this .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>Then he'll come for me as a donor.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - DATA'S CABIN - NIGHT<\/stage_direction>\n    <scene_description>Data stands before the B - 9 . The B - 9 has been deactivated , he stands lifeless and immobile . Data gazes deeply into his double 's identical features . Then he opens a panel in the B - 9 's neck and uses a small instrument to activate the android 's head . The B - 9 's eyes spring to life . He looks at Data .<\/scene_description>\n    <character>B-9<\/character>\n    <dialogue>Brother. I can not move.<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>No, I have only activated your cognitive and communication subroutines.<\/dialogue>\n    <character>B-9<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>Because you are dangerous.<\/dialogue>\n    <character>B-9<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>You have been programmed to gather information that can be used against this ship.<\/dialogue>\n    <character>B-9<\/character>\n    <dialogue>I do not understand.<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>I know.<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>Do you know anything about Shinzon's plans against the Federation?<\/dialogue>\n    <character>B-9<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>Do you have any knowledge of the tactical abilities of his ship?<\/dialogue>\n    <character>B-9<\/character>\n    <dialogue>No. Can I move now?<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>No. I must deactivate you.<\/dialogue>\n    <character>B-9<\/character>\n    <dialogue>For how long?<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>Indefinitely.<\/dialogue>\n    <character>B-9<\/character>\n    <dialogue>How long is that?<\/dialogue>\n    <scene_description>A beat . Data gazes at the B - 9 deeply .<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>A long time, brother.<\/dialogue>\n    <scene_description>Data reaches forward and deactivates his brother . The B - 9 's eyes lose the spark of life . He stands , frozen . Data stands before him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - OBSERVATION LOUNGE - NIGHT<\/stage_direction>\n    <scene_description>Picard is gathered with his senior officers . A computer display illustrates Geordi 's words about the power of Shinzon 's weapon . We see a chilling graphic of the Biogenic Pulse beam spreading around a ship , then a whole planet .<\/scene_description>\n    <character>GEORDI<\/character>\n    <dialogue>It's called a Cascading Biogenic Pulse. The unique properties of Thalaron radiation allow the energy beam to expand almost without limits. Depending on the radiant intensity it could encompass a ship. or a planet.<\/dialogue>\n    <character>PICARD<\/character>\n    <parenthetical>( thinking . )<\/parenthetical>\n    <dialogue>And that's exactly what he's going to do.<\/dialogue>\n    <character>RIKER<\/character>\n    <dialogue>Sir?<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>His hatred of the Federation is apparent. He would have built a weapon of that scope for one reason. He is going after Earth.<\/dialogue>\n    <character>RIKER<\/character>\n    <dialogue>Oh boy. Destroy humanity and the Federation is crippled.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>And the Romulans invade.<\/dialogue>\n    <character>DEANNA<\/character>\n    <dialogue>How can you be certain?<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>I know how he thinks.<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>RIKER<\/character>\n    <parenthetical>( to Geordi . )<\/parenthetical>\n    <dialogue>And there's no way to penetrate his cloak?<\/dialogue>\n    <character>GEORDI<\/character>\n    <dialogue>No, sir.<\/dialogue>\n    <character>RIKER<\/character>\n    <parenthetical>( frustrated . )<\/parenthetical>\n    <dialogue>He could pass within 10 meters of every ship in Starfleet and they'd never know.<\/dialogue>\n    <character>BEVERLY<\/character>\n    <dialogue>But we do have one advantage.<\/dialogue>\n    <parenthetical>( to Picard . )<\/parenthetical>\n    <dialogue>He needs your blood to live. He might come after you first.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>I'm counting on it. We've been ordered to head to sector 3274. Starfleet is diverting the fleet to meet us there.<\/dialogue>\n    <character>RIKER<\/character>\n    <dialogue>Strength in numbers?<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>We can only hope so.<\/dialogue>\n    <scene_description>A beat as he looks at them gravely .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>He ca n't be allowed to use that weapon. All other concerns are secondary. Do you understand me?<\/dialogue>\n    <scene_description>Riker knows exactly what Picard is saying : the Enterprise is expendable .<\/scene_description>\n    <character>RIKER<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <scene_description>Picard stands . Presses a comm button .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>All hands. Battle stations.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - VARIOUS ANGLES<\/stage_direction>\n    <scene_description>We see a montage of the Enterprise preparing for battle . Crew members assume battle stations . Weapons locker ring open and Security Officers hand out sidearms and phaser rifles . Geordi and his Engineers establish emergency force field around the warp core . Riker and Worf brief officers on tactical plans . Data works at the bridge Science Station , analyzing data on Shinzon 's ship . Picard walks through the corridors , he stops to talk with apprehensive young ensign . As we hear :<\/scene_description>\n    <character>PICARD<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Captain's Personal Log. Supplemental. We're heading toward Federation space at maximum warp. The crew has responded with the dedication I've come to expect of them. And like a thousand other commanders on a thousand other battlefields throughout history, I wait for the dawn.<\/dialogue>\n    <scene_description>The montage ends as .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - SICKBAY - NIGHT<\/stage_direction>\n    <scene_description>Picard enters sickbay . Dr. Crusher and her medical staff are hard at work . They position anti - grav gurneys and ready medical supplies . Security officers are handing out phasers . Picard watches the grim preparations . Beverly goes to him , bolstering her phaser .<\/scene_description>\n    <character>PICARD<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>To seek out new life and new civilizations. Zephyr Cochran's own words. When Charles Darwin set out on the H.M.S. Beagle, on his journey into the unknown. he sailed without a single musket.<\/dialogue>\n    <character>BEVERLY<\/character>\n    <parenthetical>( gently . )<\/parenthetical>\n    <dialogue>That was another time.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>How far we've come. Let me know if you need anything.<\/dialogue>\n    <scene_description>He starts to go -<\/scene_description>\n    <character>BEVERLY<\/character>\n    <dialogue>Jean Luc.<\/dialogue>\n    <parenthetical>( he stops . )<\/parenthetical>\n    <dialogue>. He is not you.<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>What makes us who we are, Doctor? Can you tell me that?<\/dialogue>\n    <scene_description>She watches him go .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR BRIDGE - NIGHT<\/stage_direction>\n    <scene_description>Shinzon sits in his command chair , lined with veins now . His Viceroy again has his hand pressed to Shinzon 's chest .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>How long?<\/dialogue>\n    <character>VICEROY<\/character>\n    <dialogue>A matter of hours now -<\/dialogue>\n    <scene_description>Shinzon shoves him away . Stands .<\/scene_description>\n    <character>VICEROY<\/character>\n    <dialogue>If you do n't begin the procedure soon you'll never make it back to Romulus. You should n't have delayed. You should have killed Picard the moment -<\/dialogue>\n    <scene_description>Shinzon slams his command chair in fury . The Viceroy watches him carefully . A beat . Shinzon regains his composure . He sits again in his command chair .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>How long until we reach the Rift?<\/dialogue>\n    <character>VICEROY<\/character>\n    <parenthetical>( checks a console . )<\/parenthetical>\n    <dialogue>Seven minutes.<\/dialogue>\n    <scene_description>Shinzon leans back , satisfied . And looks at the viewscreen . The image on the viewscreen is shocking . The Enterprise only a few hundred yards away .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  ENTERPRISE - SPACE<\/stage_direction>\n    <scene_description>The Enterprise zooms through space . Completely unaware of the predator directly above it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - ASTROMETRICS - NIGHT<\/stage_direction>\n    <scene_description>Data is at work in Astrometry . Cartographic projections of star systems ebb and flow on a large screen before him . Picard enters .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>Show me our current position.<\/dialogue>\n    <scene_description>The images before them quickly change to show another sector and a blip representing the Enterprise .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>How long until we reach the fleet?<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>At our current velocity we will arrive at sector 3274 in approximately 40 minutes.<\/dialogue>\n    <scene_description>The images before them change to show sector 3274 . We see blips denoting Starfleet ships moving into position . Picard gazes at the projection of stars before them for a moment .<\/scene_description>\n    <character>PICARD<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>`` For now we see but through a glass darkly.'' He said he's a mirror.<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>Of you?<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>I do not agree. Although you share the same genetic structure, the events of your life have created unique individual.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>But so much is the same. On a biological level he is. and I will not accept the idea that there is nothing I can do. I have a responsibility to try to make a human connection with him.<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>He would deny a `` human'' connection is possible. He considers himself entirely Reman.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>He may have already rejected my humanity, but you also have a twin.<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>No, sir, it is not possible. The B - 9 is physically identical to me, although his neural pathways are not as advanced. But even if they were, he would not be me.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>How can you be sure?<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>I aspire, sir. To be better than I am. The B - 9 does not. Nor does Shinzon.<\/dialogue>\n    <scene_description>A beat .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>We'll never know what Shinzon might have been. Had he stood where I did as a child? And looked up at the stars.<\/dialogue>\n    <scene_description>Picard 's words linger in the air for a moment . Then the projections before them sputter with static for a moment . Flickering .<\/scene_description>\n    <character>DATA<\/character>\n    <parenthetical>( working controls . )<\/parenthetical>\n    <dialogue>We are passing through the Bassen Rift. The projections will return when we have cleared it.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>It's interfering with our uplink from Starfleet cartography?<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>Yes, sir. The Rift effects all long - range communications -<\/dialogue>\n    <character>PICARD<\/character>\n    <parenthetical>( urgent , to comm . )<\/parenthetical>\n    <dialogue>Commander Riker, evasive maneuvers!<\/dialogue>\n    <scene_description>Too late . The ship QUAKES - a photon torpedo blast - the Enterprise is under attack !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE RIFT - SPACE<\/stage_direction>\n    <scene_description>Disruptor beams appear from nowhere - streaking through space - slamming into the Enterprise 's warp drive . The Enterprise recoils , dangerously dropping out of warp in a furious lurch . The Bassen Rift is a strange area of electromagnetic distortion . Energy patterns crackle through space .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>Shinzon sits in his command chair . The viewscreen shows the Enterprise before him .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Target weapons systems and shields. I do n't want the Enterprise destroyed.<\/dialogue>\n    <scene_description>On the viewscreen , we see disruptor blasts streaking from the Scimitar - slicing into the Enterprise .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Can you learn to see in the dark, Captain?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>Picard and Data emerge from the turbolift as the ship ROCKS -<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>Report.<\/dialogue>\n    <character>RIKER<\/character>\n    <dialogue>He's firing through his cloak. We ca n't get a lock.<\/dialogue>\n    <character>GEORDI<\/character>\n    <parenthetical>( at engineering station . )<\/parenthetical>\n    <dialogue>He disabled our warp drive with his first shot. We've only got impulse.<\/dialogue>\n    <character>WORF<\/character>\n    <dialogue>Long range communication is impossible as long as we're in the rift -<\/dialogue>\n    <scene_description>The ship SHUDDERS again -<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>Worf, prepare a full phaser spread, zero elevation. All banks on my mark. Scan for shield impacts and stand by photon torpedoes.<\/dialogue>\n    <character>WORF<\/character>\n    <dialogue>Aye, sir<\/dialogue>\n    <scene_description>The ship ROCKS again .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>Fire!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE RIFT - SPACE<\/stage_direction>\n    <scene_description>The Enterprise fires her phasers simultaneously - the energy beams shoot into space - And the Scimitar 's shape is momentarily illuminated as one of its shields is hit . Photon torpedoes immediately shoot from the Enterprise - but pass harmlessly through the area where the Scimitar 's shields were momentarily illuminated .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR - BRIDGE - FOLLOWING<\/stage_direction>\n    <character>SHINZON<\/character>\n    <dialogue>You're too slow, old man.<\/dialogue>\n    <parenthetical>( entering commands in his chair console . )<\/parenthetical>\n    <dialogue>Attack pattern Shinzon Theta.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE RIFT - SPACE<\/stage_direction>\n    <scene_description>The invisible Warbird makes a dramatic run straight over the Enterprise - firing steadily down as it sweeps past it ; is a brutal , close range assault -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>The bridge SHAKES violently under the ruthless attack -<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>We are losing dorsal shields -<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Full axis rotation to port! Fire all ventral phasers!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE RIFT - SPACE<\/stage_direction>\n    <scene_description>The Enterprise instantly complies - Rolling completely over to the left , firing phasers up as Shinzon 's invisible ship streaks above it - A few lucky phaser shots from the bottom of the Enterprise - now shooting upward - manage to momentarily illuminate the bottom shields of the Scimitar as it sweeps past above .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE BRIDGE - FOLLOWING<\/stage_direction>\n    <character>WORF<\/character>\n    <dialogue>Minimal damage to the Scimitar.<\/dialogue>\n    <character>RIKER<\/character>\n    <parenthetical>( to Helm . )<\/parenthetical>\n    <dialogue>Defensive pattern Kirk Epsilon. Geordi, get those shields online.<\/dialogue>\n    <character>PICARD<\/character>\n    <parenthetical>( to comm . )<\/parenthetical>\n    <dialogue>Counselor Troi, report to the bridge.<\/dialogue>\n    <character>RIKER<\/character>\n    <dialogue>Unless we can disable his cloak we're just going to be firing in the dark.<\/dialogue>\n    <character>PlCARD<\/character>\n    <dialogue>Agreed.<\/dialogue>\n    <character>WORF<\/character>\n    <dialogue>Sir, we're being hailed.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>On screen.<\/dialogue>\n    <scene_description>Shinzon appears on the viewscreen . He is on the bridge of the Scimitar .<\/scene_description>\n    <character>SHINZON<\/character>\n    <parenthetical>( ON VIEWSCREEN . )<\/parenthetical>\n    <dialogue>Captain Picard, will you join me in your Ready Room?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - READY ROOM<\/stage_direction>\n    <scene_description>Picard stands in his Ready Room . A flickering light shimmers across the room . And a perfect holographic representation of Shinzon appears before him .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>You ca n't trace my holographic emitters, Captain. So do n't bother. And you ca n't contact Starfleet. We're quite alone.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>We are.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>It's just the two of us now, Jean Luc, as it should be. Your ship and mine. You and me.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Why are you here?<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>To accept your surrender. I can clearly destroy you at any time. Lower your shields and allow me to transport you to my ship.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>And what of the Enterprise?<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>I have little interest in your quaint vessel, Captain. If the Enterprise will withdraw to a distance of one hundred light years, it will not be harmed.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>You know that's not possible.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>I know. you'll all gladly die to save your home world.<\/dialogue>\n    <character>PICARD<\/character>\n    <parenthetical>( intense . )<\/parenthetical>\n    <dialogue>Look at me, Shinzon! Do you feel the blood pumping inside you? Your hands, your eyes, your nature, are the same as mine. Buried deep inside you beneath the years of pain and anger is a capacity you've forgotten. It's the one way our mirror can reflect the two of us exactly because it's the very thing that truly defines us. To be human is to try to make yourself better than you are.<\/dialogue>\n    <scene_description>Picard looks at him deeply , relentlessly refusing to give up .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>I know you as well as I know myself, Shinzon. There was a time you looked at the stars and dreamed of what might be.<\/dialogue>\n    <character>SHINZON<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>Long ago.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Not so long.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>Childish dreams, Captain. Lost in the dilithium mines of Remus. I'm what you see now.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>I see more than what you are.<\/dialogue>\n    <scene_description>Picard steps toward him .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>I see what you could be.<\/dialogue>\n    <scene_description>Shinzon slowly backs away as Picard continues to move toward him relentlessly .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>The man who is Jean Luc Picard and Shinzon of Remus wo n't exterminate the population of an entire planet! He is better than that!<\/dialogue>\n    <character>SHINZON<\/character>\n    <parenthetical>( desperate . )<\/parenthetical>\n    <dialogue>He is what his life has made him!<\/dialogue>\n    <scene_description>Shinzon is in turmoil . Picard senses this . He proceeds quietly :<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>And what will he do with that life?<\/dialogue>\n    <scene_description>Shinzon looks at him , questioning .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>If I were to beam to your ship. let you complete your medical procedure, give you a full life. what would you do with the time?<\/dialogue>\n    <scene_description>Shinzon does n't respond .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>You once asked me about your past. Your history. When I was your age, I burned with ambition. I was very proud and my pride often hurt people. I made every wrong choice a young man can. But one thing saved me. I had a father who believed in me. Who took the time to teach me a better way. You have the same father.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>So if I gave you my life, what would you do with it? Would you spend the years in a blaze of hatred as you are now? Or could you change? Could you try to remember a mother's touch you never felt? A father's words you never heard? Could you do that?<\/dialogue>\n    <character>SHINZON<\/character>\n    <parenthetical>( quietly . )<\/parenthetical>\n    <dialogue>I do n't know.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>But you want to.<\/dialogue>\n    <scene_description>Shinzon does n't respond . But Picard knows he has made a connection . For this brief moment reconciliation is possible . He proceeds quietly :<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>Let me tell you about our father.<\/dialogue>\n    <scene_description>Shinzon looks at him with an aching sadness . What might have been .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>That's your life. not mine.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Please.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>It's too late.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>You can still make a choice! Make the right one now!<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>I have no choices! I ca n't fight what I am!<\/dialogue>\n    <scene_description>Shinzon backs away , unable to fight his nature :<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>I'll show you my true nature. Your nature. And as Earth dies - remember that I'm forever Shinzon of Remus! And my voice will echo through time long after yours has faded to a dim memory.<\/dialogue>\n    <scene_description>Shinzon ends the transmission and his holographic image flickers and fades away . Picard stands alone , drained .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR - BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>Shinzon strides quickly to his command chair , barking to his Viceroy :<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Disable their weapons!<\/dialogue>\n    <scene_description>But before the Viceroy can move the Scimitar suddenly ROCKS - attacked from somewhere ! Shinzon is stunned .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Report!<\/dialogue>\n    <character>REMAN OFFICER<\/character>\n    <dialogue>Two ships decloaking, sir! Romulan!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>Picard strides to his command chair as two Romulan Warbirds appear on the viewscreen . Deanna is now on the bridge .<\/scene_description>\n    <character>RIKER<\/character>\n    <dialogue>Believe it or not, I think the cavalry has arrived.<\/dialogue>\n    <character>WORF<\/character>\n    <dialogue>We're being hailed.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>On screen.<\/dialogue>\n    <scene_description>On the viewscreen : Commander Donatra shimmers into view .<\/scene_description>\n    <character>DONATRA<\/character>\n    <parenthetical>( ON VIEWSCREEN . )<\/parenthetical>\n    <dialogue>Captain Picard, Commander Donatra of the Warbird Valdore. Might we be of assistance?<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Your timing is impeccable, Commander.<\/dialogue>\n    <character>DONATRA<\/character>\n    <parenthetical>( ON VIEWSCREEN . )<\/parenthetical>\n    <dialogue>The Empire considers this a matter of internal security. We regret you've become involved.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>When this is over, I owe you a drink.<\/dialogue>\n    <scene_description>On the viewscreen , the Valdore ROCKS from a disruptor blast .<\/scene_description>\n    <character>DONATRA<\/character>\n    <parenthetical>( ON VIEWSCREEN . )<\/parenthetical>\n    <dialogue>Romulan ale, Captain. Let's get to work. Valdore out.<\/dialogue>\n    <scene_description>The transmission ends .<\/scene_description>\n    <character>PICARD<\/character>\n    <parenthetical>( to Worf . )<\/parenthetical>\n    <dialogue>You heard the lady. Get to work. Move your ass!<\/dialogue>\n    <scene_description>-LRB- The Romulan Warbirds must remain decloaked to fire weapons and are visible throughout the battle . -RRB- Although Shinzon 's ship is still cloaked , the steady barrage of triangulated phaser and disruptor fire from the Enterprise and the two Romulan vessels illuminate its shields with impacts .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - BRIDGE - FOLLOWING<\/stage_direction>\n    <character>PICARD<\/character>\n    <parenthetical>( to Worf . )<\/parenthetical>\n    <dialogue>Coordinate our attack with the Valdore's tactical officer. Triangulate fire on any shield impacts.<\/dialogue>\n    <character>WORF<\/character>\n    <dialogue>Aye, sir.<\/dialogue>\n    <scene_description>The Enterprise ROCKS from a photon torpedo impact -<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>Aft shields are down to forty percent.<\/dialogue>\n    <character>RIKER<\/character>\n    <parenthetical>( to Helm . )<\/parenthetical>\n    <dialogue>Keep our bow to the Scimitar. Auxiliary power to forward shields.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR - BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>Shinzon sits quite calmly in his command chair .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Target the flanking Warbird. All forward disruptor banks on my mark.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE RIFT - SPACE<\/stage_direction>\n    <scene_description>It is a chaos of starships as the Enterprise and the two Warbirds fire steadily - illuminating the Scimitar 's shields . The ships sweep around one another , maneuvering for position , firing constantly . The battlefield seems impossibly crowded as the four vessels evade and attack ; as phaser and disruptor beams criss - cross space . Then the Scimitar unleashes a devastating volley . all her forward disruptor banks fire at once - They literally cut one of the Romulan ships in half - a huge EXPLOSION - debris SHOOTS across space and SLAMS VIOLENTLY off the Enterprise 's forward shields - !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>The ship ROCKS dangerously !<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>Forward shields are down to ten percent.<\/dialogue>\n    <character>RIKER<\/character>\n    <parenthetical>( to Helm . )<\/parenthetical>\n    <dialogue>Bring us about!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE RIFT - SPACE<\/stage_direction>\n    <scene_description>The Enterprise quickly turns about - firing her aft phasers , as the Valdore sweeps toward Shinzon 's ship , firing -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR - BRIDGE - FOLLOWING<\/stage_direction>\n    <character>SHINZON<\/character>\n    <dialogue>Let her pursue - drop cloak on the aft port quadrant and prepare for full emergency stop.<\/dialogue>\n    <character>VICEROY<\/character>\n    <parenthetical>( startled . )<\/parenthetical>\n    <dialogue>What?!<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>You heard me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  VALDORE - BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>Donatra leans forward in her command chair , looking at viewscreen . She sees part of the Scimitar 's rear cloakning fall away -<\/scene_description>\n    <character>DONATRA<\/character>\n    <dialogue>She's losing her cloak! Stand by all forward disruptor banks!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR - BRIDGE - FOLLOWING<\/stage_direction>\n    <character>VICEROY<\/character>\n    <dialogue>She's almost on us.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>Not yet.<\/dialogue>\n    <scene_description>On the viewscreen we see the Valdore in pursuit , gaining . The Reman crew is getting nervous .<\/scene_description>\n    <character>VICEROY<\/character>\n    <dialogue>Praetor.<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>FULL STOP AND FIRE!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE RIFT - SPACE<\/stage_direction>\n    <scene_description>The Scimitar LURCHES to a stop ! Too fast for the Valdore to respond in time - it flies over the Scimitar - And the Scimitar fires ! A devastating volley of photon torpedoes rip into the underbelly and aft of the Valdore as it streaks past - The Valdore careens out of control and then slows to a stop . It floats dead in space .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR - BRIDGE - FOLLOWING<\/stage_direction>\n    <character>SHINZON<\/character>\n    <dialogue>Restore the aft cloak.and bring us about.<\/dialogue>\n    <scene_description>He leans back in his command chair , ready for the final battle .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>A bloody Commander Donatra is talking to Picard on viewscreen . Her bridge is in ruins .<\/scene_description>\n    <character>DONATRA<\/character>\n    <parenthetical>( ON VIEWSCREEN . )<\/parenthetical>\n    <dialogue>I'm afraid that drink will have to wait, Captain.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Do you have life support?<\/dialogue>\n    <character>DONATRA<\/character>\n    <parenthetical>( ON VIEWSCREEN . )<\/parenthetical>\n    <dialogue>For the moment. But we're dead in the water.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Understood -<\/dialogue>\n    <scene_description>Then the ship ROCKS -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE RIFT - SPACE<\/stage_direction>\n    <scene_description>The invisible Scimitar sweeps past for a particularly brutal assault - disruptor blasts streak along the Enterprise 's hull - a huge , ripping series of explosions tear away several decks of the Enterprise -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - BRIDGE - FOLLOWING<\/stage_direction>\n    <character>DATA<\/character>\n    <dialogue>We have lost structural integrity on decks twelve through seventeen, sections four through ten.<\/dialogue>\n    <character>GEORDI<\/character>\n    <dialogue>Emergency force fields are holding.<\/dialogue>\n    <character>RIKER<\/character>\n    <dialogue>Evacuate those decks and reroute field power to forward shields.<\/dialogue>\n    <scene_description>Deanna goes to Picard :<\/scene_description>\n    <character>DEANNA<\/character>\n    <dialogue>Captain - I might have a way to find them.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Counselor?<\/dialogue>\n    <character>DEANNA<\/character>\n    <dialogue>The one thing he may have forgotten in the course of battle : me.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Make it so.<\/dialogue>\n    <scene_description>She quickly goes to Worf at tactical .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR - BRIDGE - NIGHT<\/stage_direction>\n    <scene_description>Shinzon is entering tactical commands in his chair console .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Prepare a lateral run - all starboard disruptors.<\/dialogue>\n    <scene_description>Then the viceroy suddenly stiffens , alarm in his eyes -<\/scene_description>\n    <character>VICEROY<\/character>\n    <dialogue>No!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>Deanna concentrates furiously , eyes closed . She stands with Worf , her hand slowly moving his over the photon torpedo targeting display . It is a wrenching experience as she probes with her thoughts .<\/scene_description>\n    <character>DEANNA<\/character>\n    <dialogue>He's resisting me.<\/dialogue>\n    <scene_description>She is in pain .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR - BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>The Viceroy concentrates , trying to block her probing thoughts .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>What is it?! Focus on your job!<\/dialogue>\n    <character>VICEROY<\/character>\n    <dialogue>She is here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>Deanna continues to move Worf 's hand over the targeting display . She is sweating , panting for breath , concentrating fiercely .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR - BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>The Viceroy resists her - their psyches lock in battle . Deanna appears in the Viceroy 's mind , she glares at him .<\/scene_description>\n    <character>DEANNA<\/character>\n    <dialogue>Remember me?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>Her eyes snap open -<\/scene_description>\n    <character>DEANNA<\/character>\n    <dialogue>NOW!<\/dialogue>\n    <scene_description>Worf instantly fires a full volley of photon torpedoes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE RIFT - SPACE<\/stage_direction>\n    <scene_description>A full spread of photon torpedoes shoot through space . And connect ! A series of devastating impacts - and the Scimitar 's cloak fails !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>Picard stands quickly .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>Savage them!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE RIFT - SPACE<\/stage_direction>\n    <scene_description>And the Enterprise attacks ! It fires all weapons simultaneously - phasers and photon torpedoes slam into the Scimitar ! Shinzon 's ship responds quickly - maneuvering for position and returning fire !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR - BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>The bridge has been damaged , sparks sputter through the darkness and debris litters the deck . Shinzon eyes reflect a growing sense of desperation .<\/scene_description>\n    <character>SHINZON<\/character>\n    <parenthetical>( spinning to his Viceroy . )<\/parenthetical>\n    <dialogue>Prepare a boarding party - BRING ME PICARD!<\/dialogue>\n    <scene_description>The viceroy strides out as Shinzon spins to another officer .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Get the cloak back! And target shield coordinates beta three. All disruptors. Fire!<\/dialogue>\n    <scene_description>On the viewscreen , we see disruptor beams focusing on a tiny part of the Enterprise 's lower shields , slamming into them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - BRIDGE - NIGHT<\/stage_direction>\n    <character>DATA<\/character>\n    <dialogue>Captain, we have lost ventral shielding on deck twenty nine.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Divert power and compensate -<\/dialogue>\n    <scene_description>An alarm klaxon suddenly rings through the bridge .<\/scene_description>\n    <character>WORF<\/character>\n    <dialogue>Intruder alert!<\/dialogue>\n    <character>RIKER<\/character>\n    <dialogue>Let's go.<\/dialogue>\n    <scene_description>Riker and Worf quickly head toward the turbolift as :<\/scene_description>\n    <character>WORF<\/character>\n    <parenthetical>( to comm . )<\/parenthetical>\n    <dialogue>Security detail to deck twenty nine.<\/dialogue>\n    <scene_description>Data immediately assumes Worf 's position at tactical .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - LOWER DECKS - NIGHT<\/stage_direction>\n    <scene_description>Riker and Worf stride with a SECURITY DETAIL through the cramped lower decks . A sudden disruptor blast stops them cold ! The Viceroy and his invasion force of a dozen Reman Warriors are down the corridor ! The Enterprise crew returns fire . It is a blazing phaser battle , Worf leading his men with Klingon courage . They steadily advance in the face of the blistering disruptor fire - They are getting the upper hand when Riker sees the Viceroy escape into a Jefferies tube -<\/scene_description>\n    <character>RIKER<\/character>\n    <dialogue>Worf.<\/dialogue>\n    <scene_description>Worf instantly dives into the corridor - landing hard and sliding forward on his stomach all the while firing a steady burst from his phaser rifle . Riker uses the cover to dive after the Viceroy , following him into the dark Jefferies tube , intent on destroying the man who has been tormenting his wife -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>The Scimitar sweeps into view on the viewscreen - filling the screen - and launches a ferocious volley of photon torpedoes . A huge EXPLOSION as the viewscreen and some of the forward bridge are BLOWN APART - the Helm Officer is SUCKED INTO SPACE before a flickering emergency force field springs into position - Deanna races to assume the helm - Picard can now see his enemy directly through the gaping hole in the ship 's hull - he sees the Scimitar banking for another attack run as part of the ship disappears -<\/scene_description>\n    <character>GEORDI<\/character>\n    <dialogue>He's getting his cloak back. We have exhausted our compliment of photon torpedoes. Phaser banks are down to four percent.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>What if we target all phasers in a concentrated attack?<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>The Scimitar's shields are still at seventy percent. It would make no difference, sir.<\/dialogue>\n    <scene_description>Picard thinks .<\/scene_description>\n    <character>DEANNA<\/character>\n    <dialogue>They're stopping.<\/dialogue>\n    <scene_description>Through the hole in the hull , Picard sees the Scimitar slowly turning . Slowly advancing . They see another part of the Scimitar disappear , the cloak returning .<\/scene_description>\n    <character>GEORDI<\/character>\n    <dialogue>What's he doing?<\/dialogue>\n    <character>PICARD<\/character>\n    <parenthetical>( grim . )<\/parenthetical>\n    <dialogue>He wants to look me in the eye.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - JEFFERIES TUBE - FOLLOWING<\/stage_direction>\n    <scene_description>Below decks , Riker stalks the Viceroy through a labyrinthine series of access tunnels . It is like a scene from ALIEN . The flickering half - light and red emergency strobes of the crippled ship make this an ominous sequence . The Viceroy is in his element , used to the perpetual night of the Reman Homeworld , he can see in the dark . Riker moves through the darkness , hunting for the Viceroy . He stops , phaser ready . He peers into the dark tunnel ahead of him . Sees nothing . We tilt up and see . The Viceroy clinging to the ceiling directly above Riker ! Hidden in the darkness . The Viceroy attacks ! - diving down on Riker - his lethal Reman knife slashing through the darkness -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>Picard stands . watching the Scimitar maneuver into position . Large parts of it are now cloaked . It stops . Only a few hundred yards from the Enterprise , its great prow almost filling the gaping hole at the front of the bridge . Picard thinks , his mind racing . Then it comes to him in a flash :<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>He thinks he knows exactly what I'm going to do.<\/dialogue>\n    <character>GEORDI<\/character>\n    <dialogue>Sir?<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>We've got him!<\/dialogue>\n    <scene_description>He sits in his command chair and begins quickly entering command instructions in his chair console .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR - BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>Shinzon , supremely confident , leans back in his command chair .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Open a channel.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>Picard is still entering commands in his chair console .<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>We are being hailed.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Deanna, stand by.<\/dialogue>\n    <parenthetical>( to Data . )<\/parenthetical>\n    <dialogue>Open a channel.<\/dialogue>\n    <character>SHINZON<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I hope you're still alive, Jean Luc.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>I am.<\/dialogue>\n    <character>SHINZON<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Do n't you think it's time to surrender? I'll have my cloak back in a matter of minutes and your poor ship is shot to pieces. Why should the rest of your crew have to die?<\/dialogue>\n    <scene_description>Picard continues to enter command codes - transmits them to Deanna at helm - she receives the commands , nods . All of this as Picard buys some time :<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>I never told you about my first Academy evaluation, did I? I received very high marks for my studies. But I was found lacking in certain other areas. Personality traits, you might say. In particular I was thought to be extremely.<\/dialogue>\n    <parenthetical>( he glares up at the prow of the Scimitar . )<\/parenthetical>\n    <dialogue>. over - confident.<\/dialogue>\n    <scene_description>Picard indicates for Data to end the communication . Then :<\/scene_description>\n    <character>PICARD<\/character>\n    <parenthetical>( quickly . )<\/parenthetical>\n    <dialogue>Geordi, put 211 power to the engines. Take it from life support if you have to - everything you can give me.<\/dialogue>\n    <character>GEORDI<\/character>\n    <dialogue>Aye, sir.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Deanna, on my mark.<\/dialogue>\n    <character>GEORDI<\/character>\n    <dialogue>Ready, sir!<\/dialogue>\n    <scene_description>Picard leans forward in his chair :<\/scene_description>\n    <character>PICARD<\/character>\n    <parenthetical>( on comm . )<\/parenthetical>\n    <dialogue>All hands, brace for impact!<\/dialogue>\n    <parenthetical>( to Deanna . )<\/parenthetical>\n    <dialogue>ENGAGE.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE RIFT - SPACE<\/stage_direction>\n    <scene_description>The Enterprise powers forward in a final thrust - !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR - BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>Shinzon sees it coming - utterly shocked - bolts up -<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>HARD TO PORT!<\/dialogue>\n    <scene_description>Too late .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE RIFT - SPACE<\/stage_direction>\n    <scene_description>A massive COLLISION as the Enterprise SLAMS into the Scimitar - as it SMASHES and GRINDS into Shinzon 's ship - The Scimitar REELS -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>Everyone goes FLYING !<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE RIFT - SPACE<\/stage_direction>\n    <scene_description>The two great ships are now locked together , slowly rotating in space . The forward part of the Enterprise 's saucer is enmeshed in Shinzon 's ship ; two scorpions with their claws locked .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR - BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>Shinzon stands in the ruins of his bridge . Many of his bridge crew are now dead .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Divert all power to engines. Full reverse!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE RIFT - SPACE<\/stage_direction>\n    <scene_description>Every part of the Enterprise ROCKS - a great lurch as the Scimitar begins to tear itself free - backing away - a deafening shriek of metal - both ships are being torn to pieces in the process - but it is working - the Scimitar is ripping free , wrenching itself loose .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - JEFFERIES TUBES - FOLLOWING<\/stage_direction>\n    <scene_description>The Jefferies tube SHUDDERS as the Scimitar continues to tear itself free - Riker and the Viceroy careen through the tube . The Viceroy recovers quickly and coils for a final attack . Riker sees that an access plate has been loosened in the collision - he desperately rips it away - knowing the relays behind will provide him with the advantage he needs - Bright light strobes from the relays and the Viceroy is momentarily blinded - Riker uses this opportunity to attack ! He dives forward - slamming into the Viceroy - they both tumble into a long , vertical access tunnel - they fall ! Riker shoots out a hand and grabs a ladder - the Viceroy , grabs onto Riker , his talons digging into his uniform - a long drop below them ! Riker forces the Viceroy 's head back - away from him - a brutal struggle - Riker glares at him .<\/scene_description>\n    <character>RIKER<\/character>\n    <dialogue>Do n't worry - Hell is dark.<\/dialogue>\n    <scene_description>Riker uses every ounce of strength he has left - pushes the Viceroy off him - The Viceroy falls down the long tunnel - to his death .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>The whole Enterprise bridge QUAKES as the Scimitar continues to pull itself free - Picard stands , steadying himself on his command chair .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>Data, I need you.<\/dialogue>\n    <scene_description>Data joins Picard as :<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>Computer. Auto - destruct sequence Omega. Zero time delay. Recognize voice pattern Jean Luc Picard. Authorization Alpha Alpha Three Zero Five -<\/dialogue>\n    <character>COMPUTER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Auto - destruct is off - line.<\/dialogue>\n    <scene_description>Then the ship gives a final LURCH . The Scimitar is free . An eerie moment of silence after the explosive tearing and grinding . Picard watches through the gaping hole in the hull as the Scimitar backs away . Another section of the Scimitar disappears . Shinzon almost has his cloak back .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR - BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>Shinzon stares at the Enterprise . A wave of sickness overcomes him for a moment , he doubles over . We actually see more veins appearing on his face . Time is running out .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Target disruptors. Destroy them.<\/dialogue>\n    <character>REMAN OFFICER<\/character>\n    <dialogue>Disruptors are off - line, sir.<\/dialogue>\n    <scene_description>A beat . Shinzon looks up .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Deploy the weapon. Kill everything on that ship. Then set a course for Earth.<\/dialogue>\n    <character>REMAN OFFICER<\/character>\n    <dialogue>What about Picard?<\/dialogue>\n    <character>SHINZON<\/character>\n    <dialogue>Our greater goal is more important, brother.<\/dialogue>\n    <character>REMAN OFFICER<\/character>\n    <dialogue>But, Praetor, you wo n't survive without him.<\/dialogue>\n    <scene_description>Shinzon gazes at the Enterprise on the viewscreen .<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>Some ideals are worth dying for, are n't they, Jean Luc?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  RIFT - SPACE<\/stage_direction>\n    <scene_description>The entire Scimitar slowly begins to unfold . Like a gigantic version of the small spider - weapon we saw kill the Romulan Senators before , legs appear and hoist up a savage weapon . The Cascading Pulse .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>Picard and the others watch the monstrous Cascading Pulse weapon slowly deploying .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>How long until he can fire?<\/dialogue>\n    <character>GEORDI<\/character>\n    <dialogue>The targeting sequence should take about four minutes.<\/dialogue>\n    <character>DEANNA<\/character>\n    <dialogue>But how can he? He'll kill you.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>This is n't about me anymore.<\/dialogue>\n    <scene_description>Picard 's face is set , resolute . He knows what he must do . Picard grabs a phaser rifle from a weapons locker as .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>Prepare for a site - to - site transport.<\/dialogue>\n    <character>GEORDI<\/character>\n    <parenthetical>( concerned . )<\/parenthetical>\n    <dialogue>Sir, we wo n't be able to bring you back. It's a one way trip. Captain, I do n't know if the transporter -<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>That's an order, Commander.<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>Sir, allow me to go. You are needed here.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Negative.<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>Sir.<\/dialogue>\n    <scene_description>Deanna takes Data 's arm . Looks at him . She knows this is something Picard must do himself .<\/scene_description>\n    <character>DEANNA<\/character>\n    <dialogue>Let him go.<\/dialogue>\n    <scene_description>Picard powers up the phaser rifle as :<\/scene_description>\n    <character>PICARD<\/character>\n    <parenthetical>( to Data . )<\/parenthetical>\n    <dialogue>You have the bridge, Commander. Use all available power to move away from the Scimitar.<\/dialogue>\n    <parenthetical>( to Geordi . )<\/parenthetical>\n    <dialogue>Now, Mister La Forge.<\/dialogue>\n    <character>GEORDI<\/character>\n    <dialogue>Aye, sir.<\/dialogue>\n    <scene_description>Geordi nervously works some controls on his console and Picard dematerializes . Then the transporter panel explodes in a shower of sparks .<\/scene_description>\n    <character>GEORDI<\/character>\n    <dialogue>That's it. Transporters are down.<\/dialogue>\n    <scene_description>Data thinks for a moment . Then :<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>Counsellor Troi, please assume command. Geordi, if you will come with me.<\/dialogue>\n    <scene_description>He heads toward the turbolift , Geordi following .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR - CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>Several Remen warriors in the corridor turn and fire . Riker returns fire , a series of lightning fast pulses from his phaser rifle .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - FORWARD CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>Data and Geordi stand in a long corridor . The far end of the corridor opens to space . An emergency force field is in place at the end of the corridor . Geordi operates a tricorder and another force field flickers on around him . Data looks toward the end of the corridor , readying himself .<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>What is our approximate distance?<\/dialogue>\n    <character>GEORDI<\/character>\n    <parenthetical>( scans with tricorder . )<\/parenthetical>\n    <dialogue>400 meters.<\/dialogue>\n    <character>DATA<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Data backs up a little more He looks at Geordi again . Deeply .<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>Thank you, Geordi. Deactivate the field.<\/dialogue>\n    <scene_description>Geordi operates his tricorder and the force field at the end of the corridor snaps off - The void of space fills the corridor and Data takes a running start - he races down the long corridor and leaps -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE RIFT - SPACE<\/stage_direction>\n    <scene_description>- into space . He floats toward the Scimitar , his momentum carrying him . Carrying him too far ! He is going to miss the Scimitar - almost past it now ! He thrusts out a hand - And just misses a piece of dangling wreckage ! Data is floating helplessly through space . Doomed . Then he SLAMS into an invisible piece of the partially cloaked on the ship ! He grabs onto the invisible part of the ship and pulls himself up to the hull . He rips open an access panel with his superior strength and climbs inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  SCIMITAR - BRIDGE - NIGHT<\/stage_direction>\n    <scene_description>Shinzon stands , his eyes glued to the Enterprise on the viewscreen . We see a monitor showing that the Cascading Pulse weapon is locked on the Enterprise . Most of the light on the shattered bridge now comes from the three steadily pulsing warp core relays which soar up through the floor .<\/scene_description>\n    <character>COMPUTER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Forty - seven. Forty six.<\/dialogue>\n    <scene_description>Suddenly - a MASSIVE BLAST as the doors to the bridge explode in . Shinzon spins to see - Picard framed in the doorway , phaser rifle ready . Picard instantly fires for the Cascading Pulse control - but Shinzon dives to cover it - the phaser blast hits Shinzon in the chest - he recoils , slamming to the deck , stunned . The few remaining Remans on the bridge spin to Picard , firing disruptors - Picard dives for cover and battles them with his phaser rifle - He succeeds in stunning the Remans but a final disruptor blast knocks Picard to the deck - the phaser rifle spins away -<\/scene_description>\n    <character>COMPUTER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Twenty nine. Twenty eight.<\/dialogue>\n    <scene_description>Shinzon pulls himself up and races to snatch up a disruptor from a fallen comrade - As Picard leaps up , grabbing a piece of wreckage , a long metal rod - Picard thrusts it forward like a spear - Impaling Shinzon . A stunned moment of silence as Shinzon gazes at Picard , almost with a look of disbelief . Blood spews from his mouth as he lets out a tormented cry . And then , amazingly , Shinzon forces himself forward - pushing Picard back against a wall - Shinzon slowly walks toward Picard , forcing himself down the length of the spear - the spear point explodes through Shinzon 's back - the weight of Shinzon 's body is pinning Picard against the wall - time is running out -<\/scene_description>\n    <character>COMPUTER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Eighteen. Seventeen.<\/dialogue>\n    <scene_description>Shinzon forces himself down the spear :<\/scene_description>\n    <character>SHINZON<\/character>\n    <dialogue>I'm glad we're together now - our destiny is complete.<\/dialogue>\n    <scene_description>He finally thrusts himself down the whole spear and clasps his dying hands firmly around Picard 's throat -<\/scene_description>\n    <character>COMPUTER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Ten. Nine.<\/dialogue>\n    <scene_description>Data sprints to the bridge - He instantly tears open his wrist and pulls out the small , silver disc we saw earlier - the Emergency Transport Unit - he slaps it on Picard 's shoulder . A final look between them -<\/scene_description>\n    <character>COMPUTER<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Seven. Six.<\/dialogue>\n    <scene_description>Data activates the ETU - Picard dematerializes . Data looks at the space where Picard was and says simply :<\/scene_description>\n    <character>DATA<\/character>\n    <dialogue>Goodbye.<\/dialogue>\n    <scene_description>Then he spins and pulls out his phaser - And fires point - blank into the Scimitar 's warp core relays - the bridge explodes - Data is incinerated -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  THE RIFT - SPACE<\/stage_direction>\n    <scene_description>The Scimitar BLASTS APART in a massive flash -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>Picard re - materializes . He sees the brilliant flash from the explosion through the gaping hole in the front of the bridge . Deanna sits at helm , her face a mask of pain . Geordi stands on the upper rear deck , head down . A long beat as Picard just stands on his ruined bridge , the thousand - yard stare of a combat veteran in his eyes . Riker emerges from the turbolift . Goes to Picard .<\/scene_description>\n    <character>RIKER<\/character>\n    <dialogue>Sir?<\/dialogue>\n    <scene_description>Picard does n't answer , he just stares forward . Deanna goes to Riker .<\/scene_description>\n    <character>DEANNA<\/character>\n    <dialogue>Data.<\/dialogue>\n    <scene_description>Riker looks toward the glowing debris field in the distance . He puts an arm around Deanna . Silence .<\/scene_description>\n    <character>GEORDI<\/character>\n    <dialogue>Sir, we're being hailed.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>On screen.<\/dialogue>\n    <parenthetical>( he remembers there is no longer a viewscreen . )<\/parenthetical>\n    <dialogue>. Open a channel.<\/dialogue>\n    <character>DONATRA<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>This is Commander Donatra of the Valdore. We're dispatching shuttles with medical personnel and supplies.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Thank you, Commander.<\/dialogue>\n    <scene_description>The transmission ends .<\/scene_description>\n    <character>PICARD<\/character>\n    <parenthetical>( flat . )<\/parenthetical>\n    <dialogue>Geordi. prepare the shuttlebay for arrivals. They do n't know our procedures so just. open the doors.<\/dialogue>\n    <character>GEORDI<\/character>\n    <dialogue>I'll take care of it, sir.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Number One.<\/dialogue>\n    <parenthetical>( a beat . )<\/parenthetical>\n    <dialogue>You have the bridge.<\/dialogue>\n    <scene_description>He turns and heads toward his Ready Room . The others watch him go with great sadness . When the Ready Room doors close behind Picard , Deanna finally allows herself to cry . Riker holds her closely . Slow fade to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - CREW LOUNGE - NIGHT<\/stage_direction>\n    <scene_description>Hours later . The senior crew is solemnly gathered in the shattered remains of the crew lounge . Picard , Riker , Deanna , Beverly , Worf , Geordi . They wear their dress uniforms . Picard goes to each of them . He carries a small , metal box . They each take something from the box . At first we , do n't quite see what they are doing . Then we realize they are affixing black bars to the collars of their uniforms . Mourning bands . Picard pours six glasses of his precious Chateau Picard . Each takes a glass . Picard raises his glass .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>To absent friends. o family.<\/dialogue>\n    <scene_description>They toast Data . Slow fade to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - PICARD'S CABIN - NIGHT<\/stage_direction>\n    <scene_description>Picard sits at his desk , speaking quietly to someone we do not see .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>I do n't know if all this has made sense to you, but I wanted you to know what kind of man he was. In his quest to be more like us, he helped show us what it means to be human.<\/dialogue>\n    <scene_description>We see it is the now re - activated B - 9 sitting across from him .<\/scene_description>\n    <character>B-9<\/character>\n    <dialogue>My brother was not a human.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>No, he was n't. But his wonder and his curiosity about every facet of human life helped all of us see the best parts of ourselves. He embraced change. because he always wanted to be more than he was.<\/dialogue>\n    <character>B-9<\/character>\n    <dialogue>I do not understand.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Well, I hope someday you will.<\/dialogue>\n    <scene_description>Worf interrupts on comm :<\/scene_description>\n    <character>WORF<\/character>\n    <parenthetical>( V.O. ; ON COMM . )<\/parenthetical>\n    <dialogue>Captain, the Hemingway has arrived to tow us to spacedock.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>On my way. Please notify Commander Riker.<\/dialogue>\n    <parenthetical>( he stands , prepares to go . )<\/parenthetical>\n    <dialogue>. We'll talk later?<\/dialogue>\n    <scene_description>The B - 9 does not respond . He is looking rather blankly at the padd on Picard 's desk . Picard begins to leave when a sound stops him . humming . He turns back to the B - 9 . The B - 9 is still looking blankly at the padd . but he 's humming lightly to himself . then he begins to sing , very softly .<\/scene_description>\n    <character>B-9<\/character>\n    <dialogue>`` Blue skies, smiling at me, Nothing but blue skies do I see.''<\/dialogue>\n    <scene_description>Then the B - 9 is silent . Picard watches him for a moment ; great emotion playing over his features , and then goes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - CORRIDOR - NIGHT<\/stage_direction>\n    <scene_description>Picard and Riker head toward a turbolift . making their way past the debris littering the corridor .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>I'm sorry you wo n't be here for the re - fit, but I know the Titan needs you immediately.<\/dialogue>\n    <scene_description>Riker does not respond . Picard stops , looks at Riker deeply .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>The Titan's a fine ship, Will. And she's getting a captain worthy of her.<\/dialogue>\n    <character>RIKER<\/character>\n    <dialogue>She's the most beautiful ship I've ever seen.<\/dialogue>\n    <parenthetical>( he touches a wall of the corridor . )<\/parenthetical>\n    <dialogue>. But she's not the Enterprise.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>I promise you in time, she'll become your home. If I could offer you one piece of advice?<\/dialogue>\n    <character>RIKER<\/character>\n    <dialogue>Anything.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>When your first officer insists that you ca n't go on away missions. Ignore him -<\/dialogue>\n    <character>RIKER<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>I intend to.<\/dialogue>\n    <scene_description>A moment .<\/scene_description>\n    <character>RIKER<\/character>\n    <parenthetical>( with difficulty . )<\/parenthetical>\n    <dialogue>Serving with you has been an honor.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>The honor was mine. Captain Riker.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  ENTERPRISE - SPACEDOCK - OVER EARTH<\/stage_direction>\n    <scene_description>A few weeks later . The Enterprise is enclosed in the great womb of a spacedock . The ship is being rebuilt .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - BRIDGE - NIGHT<\/stage_direction>\n    <scene_description>A fresh - faced young officer , COMMANDER MARTIN MADDEN , paces nervously outside Picard 's Ready Room . Bracing himself before entering . Behind him we can see technicians working everywhere around the bridge , trying to rebuild it . Worf is talking to a young officer at tactical and Geordi is working at the engineering station . We also see new command chairs being installed . -LRB- Although we do not see it in this scene , the gaping hole at the front of the bridge has not yet been repaired . -RRB- A young Andorian woman , the new OPS OFFICER , smiles at Madden 's nervousness . Her antennae twitch slightly in amusement . He sees her .<\/scene_description>\n    <character>MADDEN<\/character>\n    <dialogue>So. what's the old man like?<\/dialogue>\n    <character>OPS OFFICER<\/character>\n    <dialogue>Why do n't you go in and find out?<\/dialogue>\n    <scene_description>Commander Madden prepares himself .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - READY ROOM - FOLLOWING<\/stage_direction>\n    <scene_description>Picard is talking to Beverly on viewscreen . She is in her new office at Starfleet Medical .<\/scene_description>\n    <character>BEVERLY<\/character>\n    <parenthetical>( ON VIEWSCREEN . )<\/parenthetical>\n    <dialogue>You ca n't imagine them, Jean Luc. They're kids! All with advance degrees in xenobiology and out to conquer every disease in the quadrant.<\/dialogue>\n    <character>PICARD<\/character>\n    <parenthetical>( smiles . )<\/parenthetical>\n    <dialogue>Reminds me of a young doctor I used to know.<\/dialogue>\n    <character>BEVERLY<\/character>\n    <parenthetical>( ON VIEWSCREEN . )<\/parenthetical>\n    <dialogue>They're running me ragged. Nothing but questions day and night. I love it! Come to dinner and I'll tell you all about it. There's a Bajoran band at the officer's mess.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Not tonight, I have work here.<\/dialogue>\n    <character>BEVERLY<\/character>\n    <parenthetical>( ON VIEWSCREEN . )<\/parenthetical>\n    <dialogue>Soon then. I'll save the last dance for you.<\/dialogue>\n    <scene_description>Commander Madden enters quickly - he did not use the door chime so Picard is surprised .<\/scene_description>\n    <character>MADDEN<\/character>\n    <dialogue>Commander Martin Madden reporting for duty, sir.<\/dialogue>\n    <scene_description>Picard stands , they shake hands as :<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>Welcome aboard, Commander. I hope, your transfer did n't come as too much of a surprise.<\/dialogue>\n    <character>MADDEN<\/character>\n    <dialogue>I was. honored, sir.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>I needed you immediately to help oversee the re - fit.<\/dialogue>\n    <parenthetical>( gathering up some padds from his desk . )<\/parenthetical>\n    <dialogue>. Your service record on the Talos is exemplary, but there are a few things I would like to discuss with you regarding my requirements for a First Officer. Shall we say dinner in my quarters at 1900 hours?<\/dialogue>\n    <character>MADDEN<\/character>\n    <dialogue>Very good, sir.<\/dialogue>\n    <scene_description>Picard heads toward the door , carrying a few padds .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>Commander, I do n't know how they did it on the Talos, but we have door chimes on the Enterprise. We use them.<\/dialogue>\n    <character>MADDEN<\/character>\n    <dialogue>Yes, sir. Sorry, sir.<\/dialogue>\n    <scene_description>Picard goes to the bridge , Madden following .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT.  ENTERPRISE - BRIDGE - FOLLOWING<\/stage_direction>\n    <scene_description>They emerge to the bridge as Worf is arguing with the cocky young ENSIGN busy installing Picard 's new high - tech command chair .<\/scene_description>\n    <character>WORF<\/character>\n    <dialogue>You do n't understand the Captain - there should be no changes until we have discussed the modifications with him.<\/dialogue>\n    <scene_description>Picard goes to them :<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>What's this?<\/dialogue>\n    <character>WORF<\/character>\n    <parenthetical>( grumbles . )<\/parenthetical>\n    <dialogue>Your new chair, sir.<\/dialogue>\n    <character>ENSIGN<\/character>\n    <dialogue>It's the Mark Seven, Captain. State - of - the - art ergonomics. command interfaces with -<\/dialogue>\n    <character>WORF<\/character>\n    <dialogue>I told him you're comfortable with your old chair.<\/dialogue>\n    <character>PICARD<\/character>\n    <dialogue>Let's give it a try.<\/dialogue>\n    <scene_description>He settles into his new command chair . Looks around for a beat at his new bridge crew . Fresh - faced kids . A new generation to teach and nurture . He smiles .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>Feels good.<\/dialogue>\n    <scene_description>Worf and Geordi exchange a look , surprised .<\/scene_description>\n    <character>ENSIGN<\/character>\n    <parenthetical>( points . )<\/parenthetical>\n    <dialogue>Try that button, sir.<\/dialogue>\n    <scene_description>Picard presses a button on the chair and - zip - metal restraints fly into position around his waist and shoulders . Seatbelts ! Picard is surprised . A beat . Then Picard smiles .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>It's about time.<\/dialogue>\n    <scene_description>He presses the button again and the restraints zip back into the body of the chair . He is delighted . He turns to Madden :<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>Commander, please sit down.<\/dialogue>\n    <scene_description>Madden sits in the First Officer 's chair , Picard shares a padd with him .<\/scene_description>\n    <character>PICARD<\/character>\n    <dialogue>We've received our first assignment. We're going to be exploring the Denab system. It should be exciting. It's a place. where no one has gone before.<\/dialogue>\n    <scene_description>And we cut to -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT.  ENTERPRISE - SPACEDOCK - OVER EARTH - FOLLOWING<\/stage_direction>\n    <scene_description>Through the hole in the hull we see Picard talking to Madden . Picard at work , at peace . Where he is meant to be . We slowly pull back from Picard and the Enterprise . As we hear the B - 9 's soft tones . Gentle . Hopeful .<\/scene_description>\n    <character>B-9<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>`` Never saw the sun shining so bright, Never saw things going so right. Noticing the days hurrying by, When you're in love, my how they fly. Blue days, all of them gone, Nothing but blue skies from now on.''<\/dialogue>\n    <scene_description>We revolve away from the Enterprise and Earth toward the stars . Then ZOOM forward into the cosmos as the rousing `` Next Generation '' theme explodes over END CREDITS . FADE OUT .<\/scene_description>\n  <\/scene>\n<\/script>","summary":"On Romulus, members of the Romulan Senate debate terms of peace and alliance from the Reman rebel leader Shinzon. The Remans are a slave race of the Romulan Empire, used as miners and as cannon fodder. While a faction of the military supports Shinzon, the Praetor and Senate are opposed to an alliance. After rejecting the motion, the Praetor and senators are disintegrated by a device left in the room. Meanwhile, the crew of the USS Enterprise prepare to bid farewell to newly-married first officer Commander William Riker and Counselor Deanna Troi. They discover an energy reading on a planet near the Romulan Neutral Zone. Captain Jean-Luc Picard, Lieutenant Commander Worf, and Lieutenant Commander Data land on the planet and discover the remnants of an android resembling Data named B-4. The crew deduce it to be an earlier version of Data. Enterprise is ordered on a diplomatic mission to nearby Romulus, where Shinzon has taken over the Empire in a coup and professes a desire for peace with the Federation. On arrival, they learn Shinzon is a clone of Picard, secretly created by the Romulans to plant a high-ranking spy into the Federation. The project was abandoned when Shinzon was still a child and he was left on Remus to die as a slave. After many years, Shinzon became a leader of the Remans, and constructed his heavily armed flagship, Scimitar. The Enterprise crew discover that Scimitar is producing low levels of deadly thalaron radiation. There are also unexpected attempts to communicate with the Enterprise computers, and Shinzon himself violates Troi's mind through the telepathy of his Reman viceroy. Dr. Crusher discovers that Shinzon is aging rapidly because of the process used to clone him, and the only possible means to stop it is a transfusion of Picard's blood. Shinzon kidnaps Picard and B-4, having planted the android on the nearby planet as a lure. Data reveals he swapped places with B-4, and rescues Picard. They have now seen enough of Scimitar to know that Shinzon plans to use the warship to invade the Federation using its thalaron radiation generator to eradicate all life. Enterprise races back to Federation space, but is ambushed by Scimitar. Despite the aid of two Romulan Warbirds, Enterprise is heavily damaged. Picard rams Scimitar with Enterprise, crippling both ships. Shinzon activates the thalaron weapon. Picard boards Scimitar alone to face Shinzon, and kills him by impaling him on a metal strut. With Enterprise's transporters damaged, Data leaps the distance between the two ships equipped with an emergency transporter, beaming Picard off the ship, and then sacrifices himself to destroy the thalaron generator and Scimitar with it. The crew mourn Data, and the surviving Romulan commander offers them her gratitude for saving the Empire. Back at Earth, Picard bids farewell to Riker, who is leaving to command the USS Titan. Picard meets with B-4, and discovers that Data had downloaded the engrams of his neural net into B-4 before he boarded the Scimitar. As B-4 starts singing \"Blue Skies\", a song Data had sung at Riker and Troi's wedding, Picard leaves B-4's quarters smiling."}
{"movie_name":"Malibu's Most Wanted_2003","imdb_id":"tt0328099","script":"<script>\n  <scene>\n    <stage_direction>EXT. PACIFIC COAST HIGHWAY - DAY<\/stage_direction>\n    <scene_description>A tricked - out Cadillac Escalade with the windows tinted deep black rolls INTO FRAME .<\/scene_description>\n    <character>FLASH<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>` It's like a jungle sometimes, It makes me wonder how I keep from going under.'<\/dialogue>\n    <scene_description>ESCALADE passes three people doing tai chi on a bluff overlooking the ocean .<\/scene_description>\n    <character>FLASH<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>` Broken glass everywhere, people pissing on the stairs you know they just do n't care.'<\/dialogue>\n    <scene_description>ESCALADE passes a gorgeous Labrador retriever snatching a Frisbee midair .<\/scene_description>\n    <character>FLASH<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>` Ca n't take the smell, Ca n't take the noise, Got no money to move out I guess I got no choice.'<\/dialogue>\n    <scene_description>ESCALADE passes two horse back riders galloping along the beach .<\/scene_description>\n    <character>FLASH<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>` Rats in the front room, Roaches in the back.'<\/dialogue>\n    <scene_description>ESCALADE passes a gleaming mansion with a massive putting green - like lawn .<\/scene_description>\n    <character>FLASH<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>` Junkie's in the alley With a baseball bat.'<\/dialogue>\n    <scene_description>ESCALADE passes blonde Little Leaguers playing baseball in crisp new uniforms .<\/scene_description>\n    <character>FLASH<\/character>\n    <parenthetical>( V.O . ) '<\/parenthetical>\n    <dialogue>A crazy lady, livin' in a bag, Eatin' outta garbage pails, Used to be a fag hag.'<\/dialogue>\n    <scene_description>ESCALADE passes two rich housewives clutching shopping bags from the most expensive stores on the planet .<\/scene_description>\n    <character>FLASH<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>` Do n't push me cuz I'm close to the edge, I'm tryin', not to lose my head.'<\/dialogue>\n    <scene_description>ANGLE ON ESCALADE Drives through a security gate and into a gated community of brand new mansions .<\/scene_description>\n    <character>FLASH<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>` It's like a jungle sometimes, it makes me wonder, How I keep from goin' under.'<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GLUCKMAN MANSION (MALIBU) - DAY<\/stage_direction>\n    <scene_description>A small crowd and the press are gathered around BILL GLUCKMAN , his wife BESS -LRB- 40s , lots of plastic surgery -RRB- and daughter BRENDA -LRB- 11 -RRB- who are on the porch of their 12,000 - square - foot mansion .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>And so if you elect me governor, I promise to take care of California the same way I take care of my own family ; with compassion, caring, kindness, and most of all, with an interest in everyone. My friends.<\/dialogue>\n    <parenthetical>( catch phrase . )<\/parenthetical>\n    <dialogue>` California is my family!'<\/dialogue>\n    <scene_description>The crowd cheers and waves `` Gluckman For Governor '' signs .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Speaking of family, I'd like to introduce my wife Bess.<\/dialogue>\n    <scene_description>Bess smiles and waves .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>and my daughter, little Brenda.<\/dialogue>\n    <scene_description>Brenda smiles and waves like a campaign - trail veteran .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Any questions?<\/dialogue>\n    <scene_description>The press begins shouting questions . Bill picks .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Deb?<\/dialogue>\n    <character>REPORTER #1<\/character>\n    <dialogue>Where's your son?<\/dialogue>\n    <scene_description>Bill is instantly flustered and TOM GIBBONS , Bill 's campaign manager -LRB- African - American , but the soul of William F. Buckley -RRB- steps in front of Bill .<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Thank you for all your questions, but we've run out of.<\/dialogue>\n    <scene_description>Just then the ground shakes with a frightening RUMBLE . Everyone quiets down - is it an earthquake ? As the RUMBLE HITS again , the surface of the water in the koi pond ripples , a la Jurassic Park . Reporters look around anxiously as another RUMBLE HITS ; Bill 's face falls as he sees . The Escalade rolls into the driveway , hopping up and down on its amped - up hydraulics like something from Crenshaw Boulevard on a Friday night . The rear doors pop open and MOCHA -LRB- a.k.a. CHADWICK VAN PELT -RRB- , dressed head to toe in hip - hop gear , steps out of the passenger side .<\/scene_description>\n    <character>MOCHA<\/character>\n    <dialogue>Yo yo yoooo! Listen up, y' all!<\/dialogue>\n    <scene_description>He lays down a beat `` human beat box '' - style as MONSTER -LRB- a.k.a. MIRIAM SHAIDELBAUM -RRB- climbs out . She 's big , wearing short shorts , a tight leather halter , huge hoop earrings and oversized designer sunglasses .<\/scene_description>\n    <character>MONSTER<\/character>\n    <dialogue>Y' all better chill.<\/dialogue>\n    <scene_description>Next out is HADJI -LRB- a.k.a. YUSEF AMIRASLANI -RRB- , a skinny Persian kid with cornrows .<\/scene_description>\n    <character>HADJI<\/character>\n    <dialogue>` cuz B - Rad G about to get ill!<\/dialogue>\n    <scene_description>The driver 's door swings open , and a gleaming white pair of four hundred dollar , untied Nike sneaks as they step to the pavement ; we CRANE UP , PAST Nike sweats , to BRAD GLUCKMAN , wearing a do rag under his Nike baseball cap .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Yo! What's up all you media people?! This is B - Rad G, kickin' it real from the ` bu, represizzin'!<\/dialogue>\n    <scene_description>Four fine white girls in bikini tops , vinyl shorts and Timberlands come out and dance behind Brad , shaking everything they 've got . Reporters move in like vultures .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>` Y' all gathered here on this special occasion. Listen to my pops, he's your West Coast liaison' So show up, do n't make me throw up.<\/dialogue>\n    <parenthetical>( MORE . )<\/parenthetical>\n    <dialogue \/>\n    <character>BRAD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Take out your purse and cough some dough up. My chickens get wit you, if you vote right. And do n't worry y' all, cuz my girls is tight. Immigration, education, runaway inflation. California ai n't flowin' like old constipation. Vote Bill G on your election ballot. If you do n't I'm gon na hit you wit a mallot! Get Glucked y' all!<\/dialogue>\n    <scene_description>Tom again steps in and blocks Brad from view .<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>That's it for today, guys, very busy schedule, thank you!<\/dialogue>\n    <scene_description>Reporters shout questions as Tom herds Bill up the steps . Two staff members hustle Brad into the house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MANSION - DEN - 15 MINUTES LATER<\/stage_direction>\n    <scene_description>Bill Gluckman 's election team -LRB- GARY , JEN , and BRETT -RRB- work the phones as Tom paces ; Bill stares out the window , lost .<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>What's the damage?<\/dialogue>\n    <character>JEN<\/character>\n    <dialogue>We're down nine points in the polls.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>In fifteen minutes?<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>And dropping.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>It's a disaster.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>What's the spin?<\/dialogue>\n    <character>BRETT<\/character>\n    <dialogue>I called the Times and the Chronicle, they're gon na play the whole thing off as a joke.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Thank God.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>How the hell did this happen?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I have no idea. I thought he was out of town.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Jen, I gave you specific orders to get some handlers and keep Brad locked down until after the announcement.<\/dialogue>\n    <character>JEN<\/character>\n    <dialogue>I did! They flew to the ranch in Maui last night!<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Maui?! Was n't he at the villa in South Hampton?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I thought he was at the chalet in Aspen.<\/dialogue>\n    <character>GARY<\/character>\n    <parenthetical>( checking laptop . )<\/parenthetical>\n    <dialogue>Nope. It was the compound in Bermuda.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Oh for God's sake! Ca n't we -<\/dialogue>\n    <scene_description>Brad enters and Tom shuts up .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Yo, Pops, that was off the hizzook! I just got you another million votes right dare!<\/dialogue>\n    <scene_description>Brad 's pants are so baggy , they fall to his ankles , exposing his boxers . Brad pulls them up .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>What are you doing here, son?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>I knew I had to show up in order for you to blow up. So I had Captain Tony fire up the Lear jizzy and booya! I'm in da hizzy, gon na be on the campaign trizzy, 24\/seven, you know, kissin' babies and whatnot. Pound it!<\/dialogue>\n    <scene_description>Brad holds out his fist and Bill reluctantly hits it . On his way out , Brad chest - bumps Tom .<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Bill, you've got to shut this down, now. Tell Brad he ca n't work with you, period.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>No, no. I love his enthusiasm. It's just a little misguided. There must be something he can do for the campaign, where he ca n't hurt us.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Such as?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I do n't know. phones, stuffing envelopes, making signs, something.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HANCOCK PARK - BACK YARD - DAY<\/stage_direction>\n    <scene_description>Bill is at the end of a stirring speech to the Women 's Organization of California .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>in Bill Gluckman's administration, women will have better health care, women will have better day care, and women will have better jobs! From here on in, my campaign has a new slogan!<\/dialogue>\n    <scene_description>IN WINGS Tom signals Brad , who enthusiastically yanks a cord , and we . WIDE SHOT - HUGE BANNER unfurls behind Bill . It is spray - painted graffiti - style , and reads : `` BILL GLUCKMAN 'S DOWN WITH THE BITCHES AND HO 'S ! '' IN WINGS Brad looks on proudly ; Tom closes his eyes , a migraine kicking in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIMO - DAY<\/stage_direction>\n    <scene_description>An angry mob of women chase the limo as it backs down the driveway full speed .<\/scene_description>\n    <character>BILL<\/character>\n    <parenthetical>( stunned , hollow . )<\/parenthetical>\n    <dialogue>Bill Gluckman's down with the bitches and ho's'?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>It was supposed to read, ` Women are first with Gluckman.'<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>That's old school. Pops, you got to keep your pimp hand strong.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GLUCKMAN MANSION - DAY<\/stage_direction>\n    <scene_description>The limo pulls in . Bill , Tom and Brad get out .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Peep y' all later. I ` ma go work on my new campaign rhyme, ` Election Erection.' It's gon na be large! Yo! I ` ma start on a new sign.<\/dialogue>\n    <scene_description>He heads for the house .<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>That's it, Bill. If Brad does n't straighten up, your political career is finished.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>No, Tom. I promise you, I will not lose this election over my son.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>What are you going to do?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Set up an appointment with my shrink.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PSYCHIATRIST'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Plush . Brad sits unhappily on an overstuffed couch opposite DR. FELDMAN . Bess and Bill sit off to the side .<\/scene_description>\n    <character>DR. FELDMAN<\/character>\n    <dialogue>So. Bradley.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Why you keep callin' me dat?<\/dialogue>\n    <character>DR. FELDMAN<\/character>\n    <dialogue>Well that's your name, is n't it?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>It's my slave name, a ` ight? I told you like fi ` ty times.<\/dialogue>\n    <character>DR. FELDMAN<\/character>\n    <parenthetical>( sighs . )<\/parenthetical>\n    <dialogue>Yes, okay. B - Rad.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Wassup?<\/dialogue>\n    <character>DR. FELDMAN<\/character>\n    <dialogue>Let's play an association game.<\/dialogue>\n    <scene_description>He picks up three CD 's , keeping the backs to Brad .<\/scene_description>\n    <character>DR. FELDMAN<\/character>\n    <dialogue>Alright, B - Rad. I want you to look at these.<\/dialogue>\n    <scene_description>He turns the first one around . It 's an NWA CD . Next is a Snoop CD , then a Naz CD , and last is Brad 's high school yearbook photo .<\/scene_description>\n    <character>DR. FELDMAN<\/character>\n    <dialogue>Now, which one does n't belong?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Shoot. N.W.A., fool. They broke up a long time ago.<\/dialogue>\n    <character>BILL<\/character>\n    <parenthetical>( losing temper . )<\/parenthetical>\n    <dialogue>Dammit, Brad, stop acting like a gang member. You're from Malibu, you live in a nice home.<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>With nice maids!<\/dialogue>\n    <character>DR. FELDMAN<\/character>\n    <dialogue>Bill, Bess, go to your happy places.<\/dialogue>\n    <scene_description>Bill sits back , frustrated .<\/scene_description>\n    <character>DR. FELDMAN<\/character>\n    <dialogue>What are your goals, B - Rad? What do you want out of life?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>To be the biggest rapper dere ever was! See, I got something to say, and I need the world to hear it. I'm the shiznit. I'll buy y' all cars!<\/dialogue>\n    <character>DR. FELDMAN<\/character>\n    <dialogue>I see. And when did you first start feeling like you were this. shiznit?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Oh, damn. way back in the day. I've had these beats in my head since I was a little shortie.<\/dialogue>\n    <scene_description>FLASHBACK - INT . GLUCKMAN LIVING ROOM - DAY -LRB- 1980 -RRB- Toddler Brad -LRB- 3 years old -RRB- sits on the floor , playing with a toy as GLADYS , Brad 's housekeeper -LRB- African - American , thirty -RRB- vacuums , while listening to her Walkman . The PHONE RINGS , Gladys pulls off her Walkman headphones and answers the RINGING PHONE .<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>Gluckman residence.<\/dialogue>\n    <scene_description>Brad takes the headphones and pulls them over his ears .<\/scene_description>\n    <character>GLADYS<\/character>\n    <dialogue>No, Bill and Bess are out of the country until December.<\/dialogue>\n    <scene_description>His eyes go wide as the hip - hop gold enters his head for the first time .<\/scene_description>\n    <character>BRAD<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>From then on it was hip - hop 24\/seven.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GLUCKMAN DINING ROOM - NIGHT (1984)<\/stage_direction>\n    <scene_description>SEVEN - YEAR - OLD BRAD sits alone at the table , wearing a Run DMC hat -LRB- a la `` Rock Box '' , playing with his food . His headphones , around his neck , BLARE NWA .<\/scene_description>\n    <character>BESS<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Finish those vegetables, Bradley.<\/dialogue>\n    <character>BILL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>You ca n't be excused until you do.<\/dialogue>\n    <character>SEVEN-YEAR-OLD-BRAD<\/character>\n    <dialogue>Tch. Forget y' all.<\/dialogue>\n    <scene_description>REVEAL : on the table across from Brad is a video conference system . Both parents are on separate monitors - Bess 's has a sign that reads , `` Paris , '' and Bill 's reads , `` Tokyo . '' There is a place setting in front of each monitor , as if they 're dining with him .<\/scene_description>\n    <character>BILL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>That's it, mister.<\/dialogue>\n    <character>BESS<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>When we get home. sometime in the near future. you're going to be in big trouble!<\/dialogue>\n    <scene_description>Using the remote , Brad changes the channel on his parents ' monitors to `` Yo MTV Raps . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PSYCHIATRIST'S OFFICE - DAY (PRESENT)<\/stage_direction>\n    <character>DR. FELDMAN<\/character>\n    <dialogue>What I'm sensing, Brad, is that your parents were n't really there for you.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Nope.<\/dialogue>\n    <character>BESS<\/character>\n    <parenthetical>( defensive . )<\/parenthetical>\n    <dialogue>That's ridiculous!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>What about your bar mitzvah?<\/dialogue>\n    <scene_description>FLASHBACK - INT . GLUCKMAN MANSION - LIVING ROOM - DAY -LRB- 1990 -RRB- Bill and Bess enter with suitcases . The house is crowded with relatives and Brad 's 13 - year - old friends .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Mazel tov, Bradley!<\/dialogue>\n    <scene_description>UNCLE LOUIE , fifty and fat , with prayer shawl and yarmulke , moves past them and calls out to Brad :<\/scene_description>\n    <character>UNCLE LOUIE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>What's the theme of your party, kid? Star Wars? Baseball? Superheroes?<\/dialogue>\n    <scene_description>REVEAL : THIRTEEN - YEAR - OLD BRAD dressed like Flava Flav , a big clock around his neck , looking like he 's just smelled a fart .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>It's O.P.P., bitch!<\/dialogue>\n    <scene_description>Brad exits through French doors , and as we FOLLOW him OUTSIDE NAUGHTY BY NATURE 'S `` O.P.P. '' KICKS IN .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GLUCKMAN MANSION - BACK YARD   - SAME TIME<\/stage_direction>\n    <scene_description>It 's like we 've suddenly stepped into a hard - core rap video - big - bootied home girls in bikinis freak with clean - cut Jewish kids as the staff serve barbecue and malt liquor to the freaked - out guests . Among them , we see a 13 - year - old HADJI , MONSTER , and MOCHA , all nicely - dressed for temple . Above , a huge spray - painted banner reads : `` MAZEL TIZZOV B - RAD , ON HIS BAR MITZVAH ! ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PSYCHIATRIST'S OFFICE - DAY (PRESENT)<\/stage_direction>\n    <scene_description>Bess sniffles and dabs her eyes .<\/scene_description>\n    <character>DR. FELDMAN<\/character>\n    <dialogue>Bess, I'm sensing you'd like to share.<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>B - Rad, you're a wonderful son. it's just that, well -<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Oh stop beating around the bush, Bess. What we're trying to say is, Brad, that your behavior is, well, it's an embarrassment to the family.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Yo, Pops, that hurts my feelings.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I'm sorry, but it's the truth.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Do n't be hatin'.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>And, Brad. I ca n't have you on the campaign any longer.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>What?! Oh that's how it is? A'ight then. I'm Audi! I need to take a drive.<\/dialogue>\n    <scene_description>Brad leaves , slamming the door behind him .<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>What can we do, doctor?<\/dialogue>\n    <character>DR. FELDMAN<\/character>\n    <dialogue>Well, his lack of parental guidance left Brad wide open to outside influence, allowing hip - hop culture to firmly imprint on his psyche.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Do you think we can bring him back?<\/dialogue>\n    <character>DR. FELDMAN<\/character>\n    <parenthetical>( grim . )<\/parenthetical>\n    <dialogue>I do n't know. This is the most advanced case of gangsta - phrenia I've ever seen.<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>Oh no, not gangsta - phrenia!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GLUCKMAN BACK YARD - POOLSIDE - DAY<\/stage_direction>\n    <scene_description>Brad relaxes in a lounge chair , wearing sunglasses and sipping on a forty . Bess enters wearing a Chanel suit . She sits on the lounge chair next to him .<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>Bradley, I know you're busy, but we need to talk.<\/dialogue>\n    <scene_description>Brad lifts his sunglasses and turns to his mother .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>What's up?<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>After our therapy session I realized that your father and I could have been better parents. We neglected you and I feel terrible.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>For real?<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>Yes. So from here on out I'm going to be a better mother. I want to get closer to you. be there for you. If ever you need -<\/dialogue>\n    <scene_description>Just then , her CELL PHONE RINGS . She pulls it out from her hip and answers .<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>Hello? Celeste! When did you get back?! What?! Oh my God! I've been waiting for that bag for six months!<\/dialogue>\n    <parenthetical>( to Brad , covering phone . )<\/parenthetical>\n    <dialogue>It's my personal shopper.<\/dialogue>\n    <parenthetical>( back to phone . )<\/parenthetical>\n    <dialogue>Stay right there. I'm on my way!<\/dialogue>\n    <scene_description>She stands .<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>So. where we. Oh yes. I'm always here for you, Bradley. Do you have my cell number?<\/dialogue>\n    <scene_description>She hands Brad a piece of paper and exits . Brad pulls down his shades and takes a long sip from his forty .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GLUCKMAN MANSION - PATIO - NOON<\/stage_direction>\n    <scene_description>Brad sits at the massive dining room table as Gladys pours him a big glass of grape juice , then cuts up his food .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Gladys?<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>Yeah?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Ever feel like you do n't belong?<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>All the time, baby. Most folks only feel comfortable around folks who are the same as them. When they meet someone different, they get scared and angry, wan na keep'em down.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>What do you do about it?<\/dialogue>\n    <character>GLADYS<\/character>\n    <dialogue>Nothin' to do but keep it real. Be proud of who you are.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Yeah, you right. Gladys, when they gon na leave our people alone?<\/dialogue>\n    <character>GLADYS<\/character>\n    <parenthetical>( emotional . )<\/parenthetical>\n    <dialogue>I do n't know, baby, I just do n't know.<\/dialogue>\n    <parenthetical>( notices Brad 's plate . )<\/parenthetical>\n    <dialogue>Eat your greens before they get cold, boy.<\/dialogue>\n    <scene_description>A PAGER GOES OFF . Brad searches his pockets , pulls out a pager - that 's not it ; pulls out another pager - that 's not it either ; pulls out a two - way - that 's the one .<\/scene_description>\n    <character>BRAD<\/character>\n    <parenthetical>( reading pager . )<\/parenthetical>\n    <dialogue>Oh no, not again!<\/dialogue>\n    <scene_description>He gets up and runs out of the room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAMPAIGN HEADQUARTERS - WAR ROOM - DAY (SAME TIME)<\/stage_direction>\n    <scene_description>Bill , Tom , the staff , and several AIDES of varying ethnicity are mid - meeting .<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>How'd it go with Feldman?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Great news. If he sees Brad five days a week, he says we'll see improvement in three to four years.<\/dialogue>\n    <character>JEN<\/character>\n    <dialogue>But. the election's in two months.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Right, good point.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>We've been brainstorming on some different approaches, and I think we may have something solid here.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I'm all ears.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Guys?<\/dialogue>\n    <scene_description>The team gathers around - it 's a gang pitch .<\/scene_description>\n    <character>BRETT<\/character>\n    <dialogue>Brad might act ` ghetto,' but let's face it, he's never been east of Beverly Hills.<\/dialogue>\n    <character>JEN<\/character>\n    <dialogue>But what if we give him a little dose of reality?<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Let him get a firsthand look at the ghetto.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>You mean, have Brad actually. go there?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Exactly.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Sounds dangerous.<\/dialogue>\n    <character>BRETT<\/character>\n    <dialogue>It'll be perfectly safe.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>How does it work?<\/dialogue>\n    <character>JEN<\/character>\n    <dialogue>We hire actors to play gangsters.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>They car - jack Brad, then take him on a ` tour' of the ` hood. give him a little taste of what thug life's really like. It might just scare the black out of him.<\/dialogue>\n    <scene_description>Tom gets strange looks from everyone .<\/scene_description>\n    <character>AFRICAN-AMERICAN AIDE<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Look, I'm as down as the next brother, guy. fellah. I grew up in Compton, okay? But let's get over the P.C. thing and face facts. Unless we do something soon, Brad's gon na cost us this election.<\/dialogue>\n    <scene_description>The team all nods .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>I do n't know. it sounds so drastic.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Maybe drastic is what Brad needs, Bill. He is twenty - four. I mean, what's he gon na do for a living, rap?<\/dialogue>\n    <scene_description>They all chuckle . Bill sighs .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Who do we get for the gangsters?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Remember the anti - crime spot we shot last month?<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>We've got it cued up.<\/dialogue>\n    <scene_description>They turn to the TV and Gary hits PLAY . On the monitor : A Gluckman campaign ad plays .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GHETTO BASKETBALL COURT - DAY<\/stage_direction>\n    <scene_description>A young , black gangbanger -LRB- SEAN -RRB- , glares at camera .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>For too long, street violence has torn Californians apart.<\/dialogue>\n    <scene_description>A second banger -LRB- PJ -RRB- , glares at camera .<\/scene_description>\n    <character>NARRATOR<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Bill Gluckman wants to put our divisions behind us.<\/dialogue>\n    <scene_description>We cut wide : to reveal Bill Gluckman standing in between the two gangbangers . He 's in shirtsleeves , tie loosened .<\/scene_description>\n    <character>BILL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Fellas, instead of thinking of yourselves as what set you're from, or what crew you're rolling with, why ca n't you both be brothers. What do you say?<\/dialogue>\n    <character>SEAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I guess we never thought of each other like that.<\/dialogue>\n    <character>PJ<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Me neither, dawg.<\/dialogue>\n    <scene_description>PJ and Sean think is over , nod and shake hands .<\/scene_description>\n    <character>BILL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>You see.<\/dialogue>\n    <parenthetical>( turning to camera . )<\/parenthetical>\n    <dialogue>` California is my family'.<\/dialogue>\n    <scene_description>Cut to angle on Bill and the gangbangers playing basketball , having a wonderful time .<\/scene_description>\n    <character>BILL<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>If we work together as a family there's no telling how high we can go.<\/dialogue>\n    <scene_description>Bill flies by , obviously from an O.S. trampoline , and soars over the gangbangers for a monster dunk . Freeze on : the two awestruck `` gangbangers . '' BACK TO SCENE As they talk we see Brad , out the window , raising a banner .<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Those are our guys, right there.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Will he be safe?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Absolutely.<\/dialogue>\n    <character>BILL<\/character>\n    <parenthetical>( fed up and confused . )<\/parenthetical>\n    <dialogue>I do n't know. ca n't we just.<\/dialogue>\n    <scene_description>He looks out the window and sees Brad 's new banner . It reads , in graffiti colors : `` ELECTION ERECTION . ''<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Alright, fine, just do it.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MALI-BREW - DAY<\/stage_direction>\n    <scene_description>Brad urgently runs into the Mali - Brew Coffee Shop -LRB- Starbucks clone -RRB- , where he and his crew spend ninety percent of their time . He is stopped at the door by a very worried Mocha and Monster .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Lem me go.<\/dialogue>\n    <character>MOCHA<\/character>\n    <dialogue>You do n't want to see him like dis.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>What happened?<\/dialogue>\n    <character>MOCHA<\/character>\n    <dialogue>He O.D.'d again.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Why did n't you stop him?<\/dialogue>\n    <character>MONSTER<\/character>\n    <dialogue>I tried, yo!<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>How many did he do?<\/dialogue>\n    <character>MOCHA<\/character>\n    <dialogue>Like twelve, thirteen, I do n't know!<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Damn. Twelve Frapachizzo's. Brotha's caffeined out. Move aside.<\/dialogue>\n    <scene_description>Brad pushes past and looks on in horror at Hadji , pacing and talking to himself like a rabid dog on angel dust .<\/scene_description>\n    <character>HADJI<\/character>\n    <dialogue>I ` ma get mine! Step, fool! I'll cut you, I swear!<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Just chill, Hadji, we're here to help. What's up?<\/dialogue>\n    <character>HADJI<\/character>\n    <parenthetical>( frenzied . )<\/parenthetical>\n    <dialogue>I. I. I was pickin' up aromatherapy candles at Illuminations for Moms, right? And the counter trick gave me lemon when I specifically axed for lilac!<\/dialogue>\n    <scene_description>Brad turns to Hadji .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>It's on now!<\/dialogue>\n    <scene_description>MUSIC : PUBLIC ENEMY 'S `` Fight The Power '' KICKS IN as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MALI-BREW - DAY<\/stage_direction>\n    <scene_description>Brad , followed by his crew , exit , ready for battle .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MALL - DAY<\/stage_direction>\n    <scene_description>We 're still listening to `` FIGHT THE POWER , '' only now it 's a Muzac version , piped in through the mall 's PA SYSTEM . Brad , Hadji , Monster and Mocha strut through the mall . Rich shoppers get out of the way .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MALL - ILLUMINATIONS - MOMENTS LATER<\/stage_direction>\n    <scene_description>Brad and his crew approach the OLD WOMAN CASHIER .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Yo, fool! We got some hard - core drama ` bout to go down right neow!<\/dialogue>\n    <character>HADJI<\/character>\n    <dialogue>Dat's right!<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Dis is our mall. Always was and always will be!<\/dialogue>\n    <character>MOCHA<\/character>\n    <dialogue>Woof woof!<\/dialogue>\n    <character>OLD WOMAN<\/character>\n    <dialogue>Oh, Mr. Amiraslani. I'm so glad you came back. Our clerk accidentally gave you the wrong aromatherapy candles. Here you go.<\/dialogue>\n    <scene_description>She hands Hadji a box marked `` Lilac . ''<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>You better be validatin' my parking?<\/dialogue>\n    <character>OLD WOMAN<\/character>\n    <dialogue>Of course, sir.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Dat's what I'm talkin' ` bout. We get ours!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PARKING LOT - DAY<\/stage_direction>\n    <scene_description>Tom , standing by a limo , is speaking with Sean and PJ , dressed as their actual , preppy selves .<\/scene_description>\n    <character>SEAN<\/character>\n    <parenthetical>( incredulous . )<\/parenthetical>\n    <dialogue>Hold the phone, buddy. you want us to scare this kid until he starts acting like a nice little white boy again?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Do n't think you can handle it?<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Of course I can handle it. I studied at Juilliard for God's sake.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Fantastic.<\/dialogue>\n    <scene_description>Tom hands them a manila envelope .<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Here's some background information on Brad.<\/dialogue>\n    <scene_description>PJ pulls Brad 's CD from the envelope . INSERT - CD COVER It is Brad , throwing the Malibu sign , surrounded by women in thongs with gigantic asses . The title , in graffiti font , reads : `` MALI - BOOTAY ! ''<\/scene_description>\n    <character>PJ<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Malibootay?<\/dialogue>\n    <scene_description>BACK TO SCENE<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>He considers himself a ` rapper.'<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Frickin' A.<\/dialogue>\n    <scene_description>They all laugh . Tom hands them a checklist\/itinerary .<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Okay, so here's the story - it's your basic kidnapping.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>So we hold him for ransom?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Right. But when you see him acting ghetto and all, it pisses you off so much, you tour him around the ` hood to show him what things are really like.<\/dialogue>\n    <parenthetical>( hands PJ a list . )<\/parenthetical>\n    <dialogue>I had my guys brainstorm a few ideas.<\/dialogue>\n    <character>PJ<\/character>\n    <parenthetical>( reading list . )<\/parenthetical>\n    <dialogue>` Mugging, drive - by shooting, crack deal gone bad.'<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Why do n't you have him steal some watermelon while you're at it?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Pays fifteen grand apiece.<\/dialogue>\n    <character>SEAN AND PJ<\/character>\n    <parenthetical>( quickly . )<\/parenthetical>\n    <dialogue>We're in.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Good.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Wait - we're kidnapping him, could n't we get arrested?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Got you covered. Mr. Gluckman's a billionaire - if you run into any problems with the law, we're very close with the commissioner. On the flip side, if you screw up and a single hair is touched on Bradley's over - privileged head, I will make sure that you do serious time. Clear?<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Cris. tal.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Good.<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>What about the money?<\/dialogue>\n    <scene_description>Pulls out a smaller envelope .<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Five up front, twenty - five when you return him to us, white.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>As the driven snow.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>I'll call you.<\/dialogue>\n    <scene_description>Tom gets in the limo and leaves as Sean and PJ head for their car .<\/scene_description>\n    <character>PJ<\/character>\n    <dialogue>Congrats, my brother. We just booked another gig.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Yeah, but it's totally dangerous, dude. You know what it's like in the ` hood. We could get shot!<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>We can handle ourselves. Come on, man, it's the ultimate acting challenge.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>You know what really chaps my ass? After years of training and study, the only parts they'll give us are gangbangers. Just once I'd like to play a character who has decent grammar and does n't wear Timberlands.<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>Beats gettin' dunked on by Bill Gluckman.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Do we even know anybody down there?<\/dialogue>\n    <scene_description>They think , then come up with it at the same time .<\/scene_description>\n    <character>PJ<\/character>\n    <dialogue>My cousin.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Shondra.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MALL FOOD COURT - WIENIE IN A BUN - CLOSE ON SHONDRA - DAY<\/stage_direction>\n    <scene_description>in a Wienie In a Bun uniform , chewing gum and looking like she 's smelling something nasty . She 's at the counter facing Sean and PJ . PJ studies the menu .<\/scene_description>\n    <character>SHONDRA<\/character>\n    <dialogue>You zooted, nigga?<\/dialogue>\n    <scene_description>WIDER<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>Honest to God.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>That's the stupidest thing I ever heard. I got better things to do with my time, boy.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Like work at Wienie In A Bun?<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>Really. You're the one always talkin' about improvin' yourself.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>I am improvin' myself, fool. I broke up with no - good gang - bangin' Tec, I'm going to beauty school, then I ` ma hook up my own salon.<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>In the meantime, how about hooking a brother up with a Pepsi and some fries?<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Shut up, stupid.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Do this, Shondra. You'll get some real money so you can quit this minimum wage crap and start up your business.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>What you payin'?<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>A grand.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Make it trey, we on.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Jesus Christ, three grand?<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Or you can kiss my ass.<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>Deal. Now how about those fries?<\/dialogue>\n    <scene_description>MUSIC : An UPTEMPO RAP TRACK KICKS IN as we .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEAN AND PJ'S APARTMENT - NIGHT<\/stage_direction>\n    <scene_description>Sean sits on a second - hand couch in their barren , low - rent apartment , concentrating on reading an Ebonics dictionary . PJ enters from outside , sweating and carrying a heavy box marked : `` JOHN 'S PROP HOUSE . '' He wears a stylish Nike baseball cap .<\/scene_description>\n    <character>PJ<\/character>\n    <dialogue>We're strapped now, my brother.<\/dialogue>\n    <scene_description>He sets the box down and begins pulling out guns .<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>They have everything we ordered?<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>Glocks, Uzis, Tec - 9s.<\/dialogue>\n    <scene_description>PJ takes off the cap to wipe his brow , revealing that his hair has been braided into cornrows .<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>What the hell is that?<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>Oh, my hair? Shondra just did it.<\/dialogue>\n    <parenthetical>( off Sean 's look . )<\/parenthetical>\n    <dialogue>What? You hate it?<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>No. I just think it's a choice my character would have made.<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>Do n't go there, Sean. You're just jealous you did n't think of it first.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Whatever.<\/dialogue>\n    <scene_description>SAME SCENE - LATER Sean enters with a big box marked `` THUG LIFE . '' He has on a wig identical to Larenz Tate 's braids and beads in Menace II Society .<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>Okay, got the gangsta wear.<\/dialogue>\n    <scene_description>PJ bursts into laughter .<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>What's so funny?<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>That wig, man! I did n't know this was Halloween. Bring me back some candy!<\/dialogue>\n    <scene_description>He doubles over , falling on the floor .<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>Whatever.<\/dialogue>\n    <scene_description>Sean yanks the wig off and whips it into the corner . SAME SCENE - LATER PJ has on baggy jeans . Sean yanks them down so his boxers are hanging out . PJ smiles - perfect . SAME SCENE - LATER PJ and Sean , now in full gangsta gear , practice their pimp struts . SAME SCENE - LATER Sean and PJ stand side by side in front of a full - length mirror , practicing making angry faces and pulling guns from their pants , as we . CLOSE ON SEAN His face filled with rage .<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>Gim me your ride, punk, or I will dust yo ass!<\/dialogue>\n    <scene_description>WIDEN to reveal PJ watching Sean , shaking his head .<\/scene_description>\n    <character>PJ<\/character>\n    <dialogue>Nope, you're not convincing me. Remember your core character. You're an oppressed black man from the ghetto.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Yeah, I know, I'm having trouble finding this one. Lem me try it again. Gim me your ride, punk, or I will dust yo ass!<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>Add a ` beeyotch' and I think you're there.<\/dialogue>\n    <scene_description>MUSIC : the MUSIC SEGUES from our MONTAGE RAP BEAT TO Mocha 's HUMAN BEAT BOX , as we .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MALI-BREW PARKING LOT - LOW ANGLE - DAY<\/stage_direction>\n    <scene_description>as a car door opens , boots hit the pavement , and Shondra 's incredibly fine ass slides INTO FRAME . We FOLLOW it as it moves to :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MALI-BREW - DAY<\/stage_direction>\n    <scene_description>Shondra enters , looking ghetto fab hot . People look at her like she just landed from Mars . She raises her sunglasses , sees Brad and crew playing dominoes at a table . Brad slaps down the winner ; points at Monster .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>I'm thin to win!<\/dialogue>\n    <parenthetical>( raps to Monster . )<\/parenthetical>\n    <dialogue>` The name is B - Rad, Not Robbie Van Winkle. Go get my latte nonfat, And do n't forget the sprinkle!'<\/dialogue>\n    <scene_description>They pound and congratulate Brad on his brilliance . Shondra drops her shades back down and moves in . Hadji sees her first . His jaw drops , then he tugs on Mocha 's shirt , whose jaw drops , then Mocha tugs on Brad 's shirt .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Yo, what up, fool? I'm -<\/dialogue>\n    <scene_description>Brad sees Shondra and freezes . Everything goes SLOW MOTION . BRAD 'S POV - SHONDRA strutting toward him . BACK TO SCENE<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Girl you fly.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Let me get them tig ol' bitties.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Word up.<\/dialogue>\n    <scene_description>She throws open her shirt , and before we see anything we . REVERSE ANGLE - BRAD His eyes go wide , then we 're . BACK TO REAL TIME : Brad snaps to as Shondra brushes by and then moves to the counter .<\/scene_description>\n    <character>BARISTA<\/character>\n    <dialogue>Can I help you?<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Coffee.<\/dialogue>\n    <character>BARISTA<\/character>\n    <dialogue>Tall, Grande, Venti, nonfat, soy -<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Big.<\/dialogue>\n    <parenthetical>( pointed . )<\/parenthetical>\n    <dialogue>. black.<\/dialogue>\n    <character>BRAD<\/character>\n    <parenthetical>( to Barista . )<\/parenthetical>\n    <dialogue>Yo, Krista the Barista. Put it on my account.<\/dialogue>\n    <parenthetical>( to Shondra . )<\/parenthetical>\n    <dialogue>Get yourself a blueberry scizonne too, girl.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Cool, playa.<\/dialogue>\n    <scene_description>She smiles . Brad follows her over to the condiment table .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>I ai n't seen you in here before. Where you reside?<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Compton. You?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>The streets.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Which streets?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Malibu. Represent.<\/dialogue>\n    <scene_description>Bard throws the `` M '' sign .<\/scene_description>\n    <character>SHONDRA<\/character>\n    <dialogue>Right. I guess it's pretty hardcore up in here.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Hell yeah.<\/dialogue>\n    <parenthetical>( points to his crew . )<\/parenthetical>\n    <dialogue>I'm down with the P.C.H. Hustlers. And dems over dere.<\/dialogue>\n    <scene_description>Brad points to three white wannabes in another corner .<\/scene_description>\n    <character>BRAD<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>The Calabasis Crabs. and behind dem.<\/dialogue>\n    <scene_description>We PAN TO another table , where four thug posers sit .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>the Palaside Pimps.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Damn. How do you deal?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>All day every day.<\/dialogue>\n    <scene_description>She smiles seductively .<\/scene_description>\n    <character>SHONDRA<\/character>\n    <dialogue>Was that you droppin' rhymes when I came in?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Hell yeah, I'm a rhyma on tima.<\/dialogue>\n    <scene_description>Brad hands her his CD .<\/scene_description>\n    <character>SHONDRA<\/character>\n    <dialogue>Mali - boo - tay, huh? Looks phat. You gettin' any air play?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>I'm holdin' out for Power 106. I sent Big Boy a CD, he just ai n't gotten back to me yet.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Sounds just like that fat fool. I'll talk to him ` bout it.<\/dialogue>\n    <character>BRAD<\/character>\n    <parenthetical>( blown away . )<\/parenthetical>\n    <dialogue>Hold dup? You know Big Boy?<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Hell yeah. I see him at the swap meet almost every Sunday.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>For rizzill?!<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>For rizzeal.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Yo. Holler at him for me.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>I do n't know. I guess you do kinda got it goin' on. It's funny. I was just on my way down to see him. Wan na roll with me?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Now?<\/dialogue>\n    <parenthetical>( thinks . )<\/parenthetical>\n    <dialogue>Well, tonight was my Seder dinner.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Just helping out a brotha.<\/dialogue>\n    <character>BRAD<\/character>\n    <parenthetical>( kisses Chai . )<\/parenthetical>\n    <dialogue>Let's bounce.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>I'm just gon na hit the ladies' room, a ` ight, pimp juice?<\/dialogue>\n    <scene_description>She heads off . Brad turns to his posse .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Yo, y' all, this fine dimey is hookin' me up with Big Boy hisself.<\/dialogue>\n    <character>HADJI<\/character>\n    <dialogue>Shut up!<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>I ai n't lyin'!<\/dialogue>\n    <scene_description>They pound , shake , hug .<\/scene_description>\n    <character>HADJI<\/character>\n    <dialogue>Yo, but what about us?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Start droppin' beats. Soon as I sign with Biggy, we gon na need some sick tracks.<\/dialogue>\n    <character>HADJI<\/character>\n    <dialogue>Bet!<\/dialogue>\n    <scene_description>They all pound as Mocha starts throwing beats .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MALI-BREW BATHROOM - SAME TIME<\/stage_direction>\n    <scene_description>Shondra 's on her Nextel cell phone .<\/scene_description>\n    <character>SHONDRA<\/character>\n    <dialogue>It's on.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAR - DAY<\/stage_direction>\n    <scene_description>Sean listens to Shondra on his Nextel , then looks at PJ and nods gravely . 31A .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRAD'S ESCALADE - MOVING - DAY<\/stage_direction>\n    <scene_description>They drive along the Santa Monica Freeway , heading east .<\/scene_description>\n    <character>SHONDRA<\/character>\n    <dialogue>So what do you rap about?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Oh, I can rap about anything.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>For real?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Yeah, lem me kick it freestyle.<\/dialogue>\n    <parenthetical>( raps . )<\/parenthetical>\n    <dialogue>` Traffic, traffic, Lookin' for my Chap Stick, Feelin' kinda carsick, There's a Ford Maverick.'.<\/dialogue>\n    <parenthetical>( back to talking . )<\/parenthetical>\n    <dialogue>See? Dat's a million - dollar song right dare.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>So, how did you get to be so down?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>I been a playa all my life, girl. And I must say, of all the sisters I been wit', you de finest. So, you got a man?<\/dialogue>\n    <character>SHONDRA<\/character>\n    <parenthetical>( bitter . )<\/parenthetical>\n    <dialogue>I did, but I just got through kickin' his sorry ass to the curb. I ai n't nobody's ` gangsta hoochie.' I am an entrepreneur.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Word.<\/dialogue>\n    <parenthetical>( then . )<\/parenthetical>\n    <dialogue>What's that?<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>A businesswoman.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>One day I ` ma have a chain of beauty salons all up in the 90210, just like Starbucks, only instead of coffee, with hair and nails. Makin' sick money turnin' all the rich hoochies ghetto fab.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>That's genius, girl. Damn. You fine and smart too. You gon na blow up huge, no doubt.<\/dialogue>\n    <scene_description>She 's taken aback by his sincerity . She does n't get much validation from guys .<\/scene_description>\n    <character>SHONDRA<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>For real, girl. You like a cross between Martha Stewart and Oprah. I ` ma call you Mothrah.<\/dialogue>\n    <scene_description>She gives him a strange look , then notices where they are .<\/scene_description>\n    <character>SHONDRA<\/character>\n    <dialogue>Take this exit.<\/dialogue>\n    <scene_description>Brad swerves across three lanes of the freeway to take the exit , and suddenly finds himself actually in South Central . He 's awestruck - he notices a homeless guy with a shopping cart loaded with bags of stuff .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Yo. He really should use delivery.<\/dialogue>\n    <scene_description>Suddenly Sean pops his head into the car and stares directly at Brad . He puts a prop Tec 9 in Brad 's chest and yanks him out of the car .<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>Gim me yo ride, punk, or I will dust yo ass. beeyotch!<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>What?!<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>You're gettin' jacked! Move!<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Shondra?!<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Shut up, fool!<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Dis a come - up?!<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>No. It's a stickup.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>I think I'm gon na throw up.<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>And I'm about to wet you up if you do n't move!<\/dialogue>\n    <character>BRAD<\/character>\n    <parenthetical>( meekly . )<\/parenthetical>\n    <dialogue>Does this mean we're not going to Big Boy's?<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>Big Boy's? What this fool talkin' about?!<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>You jus' been kidnapped.<\/dialogue>\n    <scene_description>They throw Brad in the car and get in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRAD'S ESCALADE - CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>Sean takes off .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Kidnapped?!<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>Yeah. We got your rich Gluckman ass now!<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>How you know me?<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>We saw you on the news the other night!<\/dialogue>\n    <parenthetical>( mocking . )<\/parenthetical>\n    <dialogue>B - Rad!<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>Your papa's gon na pay or you're gon na pay!<\/dialogue>\n    <scene_description>Brad sneaks out his two way and types in . INSERT - TWO - WAY as Brad 's frantic message pops on : `` 911 ! 911 ! I BEEN CAR JACKED ! HELP ! B - RAD ! '' A hand slaps a domino violently down next to the pager as we .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MALI-BREW - WIDE SHOT - DAY<\/stage_direction>\n    <scene_description>Monster has just slammed down the winner , and the PAGER with Brad 's message flies off the table and SHATTERS on the floor . Monster , Mocha and Hadji are unaware .<\/scene_description>\n    <character>MONSTER<\/character>\n    <dialogue>Bam! Y' all owe me seven hundred dollars!<\/dialogue>\n    <scene_description>Hadji reluctantly hands her a wad of cash as she laughs .<\/scene_description>\n    <character>HADJI<\/character>\n    <dialogue>A'ight, come on now, let's stop messing around. B told us to lay down some beats for the new album.<\/dialogue>\n    <character>MONSTER<\/character>\n    <dialogue>Lem me go free style.<\/dialogue>\n    <character>HADJI<\/character>\n    <dialogue>Free style, please! Your momma rap better than you.<\/dialogue>\n    <character>MONSTER<\/character>\n    <dialogue>Do n't you talk about my momma.<\/dialogue>\n    <character>HADJI<\/character>\n    <dialogue>I'll talk about your momma all I want.<\/dialogue>\n    <character>MONSTER<\/character>\n    <dialogue>You ai n't got the bizalls, bitch!<\/dialogue>\n    <character>HADJI<\/character>\n    <dialogue>Oh yeah? Peep dis. Your momma's so poor, when she shops at Barneys, she has to drive herself!<\/dialogue>\n    <character>MOCHA<\/character>\n    <dialogue>Oooh!<\/dialogue>\n    <character>MONSTER<\/character>\n    <dialogue>Yeah? Well your momma's so poor, when she went to Monte Carlo, she flew commercial.<\/dialogue>\n    <character>MOCHA<\/character>\n    <dialogue>Dang!<\/dialogue>\n    <character>HADJI<\/character>\n    <dialogue>Your momma's so poor, her round the world cruise ended in Spain!<\/dialogue>\n    <character>MOCHA<\/character>\n    <dialogue>Bam!<\/dialogue>\n    <character>MONSTER<\/character>\n    <dialogue>Your momma's so poor, when she stayed at the Four Seasons, she could only afford three.<\/dialogue>\n    <character>MOCHA<\/character>\n    <dialogue>Oh damn, it's on now!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHONDRA'S FRONT YARD - DAY<\/stage_direction>\n    <scene_description>The ESCALADE pulls into Shondra 's driveway and SCREECHES to a stop . PJ hauls Brad out of the back as Sean climbs out .<\/scene_description>\n    <character>PJ<\/character>\n    <dialogue>Let's get him inside.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Dang. Why you doin' this to a brother?<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>A brother?<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>Oh no you did n't.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Whose brother?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Yours, y' all. I'm down.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Down? God damn!<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>Uh - oh. You done did it now.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>You are not black! You can never be black. And your perpetratin' ass is stealin' the only thing I got - my culture!<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>What the hell makes you think you know what's goin' down in the ` hood?!<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>B.E.T.<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>You think this is a joke, wigga?!<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>I'm sorry. Do n't be hatin'.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>You a long way from the beach now, punk! You in South Central. The ghetto. The ` hood. It's hard core up in here! People here die every day!<\/dialogue>\n    <scene_description>Two LITTLE GIRLS are walking by .<\/scene_description>\n    <character>LITTLE GIRL #1<\/character>\n    <dialogue>Hey, Shondra! Can you come on by later? Princess just had her litter of puppies.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <parenthetical>( seeing Brad looking puzzled by this ; waving . )<\/parenthetical>\n    <dialogue>Okay then.<\/dialogue>\n    <character>PJ<\/character>\n    <parenthetical>( covering . )<\/parenthetical>\n    <dialogue>They're pit bulls.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Mean pit bulls.<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>Now get ya ass inside.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHONDRA'S HOUSE - SHONDRA'S BEDROOM - DAY<\/stage_direction>\n    <scene_description>Sean and PJ push Brad in . Bars are on the windows . Sean pats Brad down , and pulls out his pager .<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>You got anything else on you, fool?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Uh. just this.<\/dialogue>\n    <scene_description>Brad pulls out another pager , a phone , another phone . Sean and PJ both pull several more out of his other pockets , as well as his wallet .<\/scene_description>\n    <character>PJ<\/character>\n    <dialogue>All that James Bond electronic crap ca n't save you now, fool. Sit ya ass down.<\/dialogue>\n    <scene_description>Brad does , and PJ duct - tapes his hands behind his back .<\/scene_description>\n    <character>PJ<\/character>\n    <dialogue>We gon na go call yo daddy.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>You better pray he home. If he not, you're one dusted trick!<\/dialogue>\n    <scene_description>Sean , PJ and Shondra exit , slamming the door behind them .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHONDRA'S HOUSE - LIVING ROOM - CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>Sean and PJ immediately drop their bad - ass personas .<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>Did you buy my rage?<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>You're indicating.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>I'm indicating?<\/dialogue>\n    <character>PJ<\/character>\n    <parenthetical>( imitating . ) '<\/parenthetical>\n    <dialogue>I will smoke your dumb wigga ass'? Come on.<\/dialogue>\n    <character>SEAN<\/character>\n    <parenthetical>( imitating back . )<\/parenthetical>\n    <dialogue>` If he not, you're one dusted trick!' Please!<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Would you two fools shut the hell up?<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Sure, Shondra, sorry. You're on. Go play good cop. We've got ta call Tom.<\/dialogue>\n    <scene_description>Shondra rolls her eyes and heads back into the room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BEDROOM - CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>Shondra enters . Brad turns away .<\/scene_description>\n    <character>SHONDRA<\/character>\n    <dialogue>You a ` ight in here?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Oh yeah. I just been kidnapped, carjacked, hands tied behind my back, but other than that, it's all good.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Look, I'm sorry about all that, it was n't my idea.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>I thought you liked me.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>I do.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Then how come you set me up?<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>I had to. They.<\/dialogue>\n    <parenthetical>( emotional . )<\/parenthetical>\n    <dialogue>. they threatened to kill me if I did n't play along.<\/dialogue>\n    <character>BRAD<\/character>\n    <parenthetical>( wide - eyed . )<\/parenthetical>\n    <dialogue>For real?<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Oh yeah. They straight - up killas.<\/dialogue>\n    <character>BRAD<\/character>\n    <parenthetical>( even more wide - eyed . )<\/parenthetical>\n    <dialogue>For Real?!<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Lem me school you on something, help you to stay alive, a ` ight? The one thing they hate more than anything, that really sets them off, is posers.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>I feel you, girl, me too.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>I'm talkin' ` bout you!<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Me? But I hate posers! I got a Ph.D.. - a Poser - Hater Degree.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Come on. Quit frontin'.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>I ai n't fron ` in'.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Listen to reason. If you just be a nice little white boy and say you're sorry, I think I can convince them to let you go.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Damn. I am who I say I am. Why wo n't anyone believe me? This is a issue that's been comin' up a lot in my life lately.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHONDRA'S HOUSE - LIVING ROOM - SAME TIME<\/stage_direction>\n    <scene_description>Shondra exits , shakes her head `` no '' to Sean and PJ .<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>What's next?<\/dialogue>\n    <scene_description>PJ refers to the itinerary they got from Tom .<\/scene_description>\n    <character>PJ<\/character>\n    <dialogue>How about. number three?<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Yeah, perfect. Let's take it to another level, my man.<\/dialogue>\n    <scene_description>He and PJ `` get into character '' and head in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHONDRA'S BEDROOM - CONTINUOUS ACTION<\/stage_direction>\n    <scene_description>They enter and glare at Brad .<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>A'ight, we put the call in to yo pops, and you know what he said?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>That he'd have to think about it.<\/dialogue>\n    <character>BRAD<\/character>\n    <parenthetical>( incredulous . )<\/parenthetical>\n    <dialogue>What? Straight up?<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>He's not sure he wants you back, cuz.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Ca n't see as I blame him.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Come on, y' all, quit hatin'. I'm just a rapper, that's it.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Wigga please!<\/dialogue>\n    <scene_description>Sean cuts the duct tape with a blade .<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>Come on.<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>What you doin', fool?<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>I ` ma teach this little white girl a lesson!<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>No, dawg, stick to the plan. Lay low here at the crib'til we get the ransom.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>The plan just done changed, Tree. Wannabe claims he down, I ` ma show him just how un - down he is.<\/dialogue>\n    <scene_description>Sean yanks Brad out by his collar .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRAD'S ESCALADE - LATE AFTERNOON<\/stage_direction>\n    <scene_description>Sean pulls in and parks in front of a small Korean grocery .<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>A'ight, Malibu, go get us six 40s of O.E.<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>And a fifth of Henny.<\/dialogue>\n    <parenthetical>( to Sean . )<\/parenthetical>\n    <dialogue>Anything else?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>I'd like some Pringles.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>This ai n't a picnic, bitch!<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>I'm sorry, I'm sorry. y' all got some duckets,'cause I'm tapped.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>You about to go up in there and give this Korean bitch yo ends? Hell no.<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>You jack that shit.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>And if the Asiatic gives you any static, show the brotha this.<\/dialogue>\n    <scene_description>He hands Brad one of the prop guns - a Glock . It 's heavier than Brad thought . He drops it .<\/scene_description>\n    <character>PJ<\/character>\n    <dialogue>Little trick claims he down, ca n't even swing a gat.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>But.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Do it, punk, or I'll use that on you.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Okay, a ` ight, I'll do it.<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>You try to get away, I ` ma let you get a little taste of my steel, understand?<\/dialogue>\n    <scene_description>He holds up his prop gun .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>I feel you.<\/dialogue>\n    <scene_description>Brad sticks the prop gun into his pants and gets out . As soon as he 's in the store , Sean and PJ burst into laughter .<\/scene_description>\n    <character>PJ<\/character>\n    <dialogue>This is gon na be classic.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>He's gon na run out of there a scared little white boy.<\/dialogue>\n    <scene_description>They laugh again and pound it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KOREAN GROCERY - SAME TIME<\/stage_direction>\n    <scene_description>Brad walks in , very nervous . He looks back - his car is parked so that PJ can see him through the door . PJ smiles and shows him the gun again . Brad swallows and approaches the counter . The KOREAN GUY behind it watches him closely .<\/scene_description>\n    <character>KOREAN GUY<\/character>\n    <dialogue>Yes?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Yeah, uh, where the Old English at?<\/dialogue>\n    <character>KOREAN GUY<\/character>\n    <dialogue>Back there, under security camera.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Thank you, sir.<\/dialogue>\n    <scene_description>Brad hurries to the back of the store , and spots a door by the beer cooler . He tries to open it . It 's locked . Brad looks up to the security mirror and sees that the Korean Guy is watching him . He moves to the beer cooler and tries to calm down .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Namyoho renge kyo, namyoho renge kyo, namyoho renge kyo and whatnot.<\/dialogue>\n    <scene_description>It 's not working . Brad tries a cleansing breath . It does n't help either . Brad gathers up an armful of Old English 40s and heads for the front . The Korean Guy watches him as he walks past the counter toward the door .<\/scene_description>\n    <character>KOREAN GUY<\/character>\n    <dialogue>Can I help you?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Naaw, but I ` ma help myself to all this O.E., and whatever else I want!<\/dialogue>\n    <character>KOREAN GUY<\/character>\n    <dialogue>No, stop.<\/dialogue>\n    <scene_description>Brad drops the beer . It CRASHES to the floor in SLOW MOTION . Brad makes a crazy , threatening face as he pulls back a fist , but the Korean Guy throws a fast right hand , landing squarely on Brad 's chin . Brad goes down like a sack of hammers ; then we FLASHBACK TO : Moments earlier : We realize we 've just been in a fantasy , as Brad again approaches the counter with his beer .<\/scene_description>\n    <character>KOREAN GUY<\/character>\n    <dialogue>Can I help you?<\/dialogue>\n    <character>BRAD<\/character>\n    <parenthetical>( nervous . )<\/parenthetical>\n    <dialogue>Let me axe you something. Ever been robbed?<\/dialogue>\n    <character>KOREAN GUY<\/character>\n    <dialogue>Oh sure. Last week was my fifty - fourth time. But they were cool, no gun to head, never scream ; you know, good people.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Cool.<\/dialogue>\n    <scene_description>He sets the 40s on the counter , then reaches into his waistband for his gun , and we .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BRAD'S ESCALADE - SAME TIME<\/stage_direction>\n    <character>SEAN<\/character>\n    <dialogue>How much did you have to give this guy, anyway?<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>SEAN<\/character>\n    <parenthetical>( slowly . )<\/parenthetical>\n    <dialogue>When you set this thing up yesterday, what did you pay?<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>I thought you set it up.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>You mean the owner does n't know this is all fake?<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>Oh damn.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Get in there! He could get shot!<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>I'm not going in there! You go in there!<\/dialogue>\n    <scene_description>They continue to argue as we .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. KOREAN GROCERY - CASHIER COUNTER - SAME TIME<\/stage_direction>\n    <scene_description>Brad finishes reaching into his waistband for the Glock , but feels something else . He pulls out a small wallet that was Velcroed to his belt .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>My emergency stash. Thank you God.<\/dialogue>\n    <scene_description>He pulls out a hundred and kisses it .<\/scene_description>\n    <character>KOREAN GUY<\/character>\n    <parenthetical>( cheerful . )<\/parenthetical>\n    <dialogue>Glad you got cash,'cause if you try to jack me, I was gon na have to lay you out wid dis.<\/dialogue>\n    <scene_description>He whips a .44 from under the counter and aims it at Brad .<\/scene_description>\n    <character>KOREAN GUY<\/character>\n    <dialogue>and wid dis.<\/dialogue>\n    <scene_description>The Korean Guy 's wife has an AK - 47 on Brad , the red dot of its laser sight trained steadily in the middle of his forehead .<\/scene_description>\n    <character>KOREAN GUY<\/character>\n    <dialogue>And wid dat.<\/dialogue>\n    <scene_description>The Korean Guy 's six - year - old boy has a sawed - off shotgun pointed at Brad 's knees . The gun is bigger than the boy . The Koreans laugh at Brad . Brad drops the hundred on the counter .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Keep the change.<\/dialogue>\n    <character>KOREAN GUY<\/character>\n    <parenthetical>( ringing it up . )<\/parenthetical>\n    <dialogue>Thank you very much. Come again.<\/dialogue>\n    <scene_description>As Brad looks out to make sure PJ and Sean have n't seen anything , the Korean Guy sticks the receipt in between two of the 40s . Unaware , Brad gathers his stuff and heads to the door .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Uh, I know this is gon na sound wack, but what I'm about to do is just a joke, so do n't shoot me, okay?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KOREAN LIQUOR STORE - SAME TIME<\/stage_direction>\n    <scene_description>Sean and PJ , who are just running up to the door , watch stunned as Brad exits the store , pulling his gun out .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>That's right! Next time I'll bust a cap in yo trick ass!<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>Did he actually do it?<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>This ca n't be happening.<\/dialogue>\n    <character>BRAD<\/character>\n    <parenthetical>( still shouting . )<\/parenthetical>\n    <dialogue>Yeah. I ` ma come back later and get some more.<\/dialogue>\n    <scene_description>Brad turns to the guys .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Let's dip!<\/dialogue>\n    <character>SEAN<\/character>\n    <parenthetical>( incredulous . )<\/parenthetical>\n    <dialogue>You did it?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Straight up. Trick did n't do nothin'.<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>Yo, what up with this?<\/dialogue>\n    <scene_description>PJ pulls the receipt off of his 40 .<\/scene_description>\n    <character>PJ<\/character>\n    <dialogue>If you jacked this, how come you got a receipt?<\/dialogue>\n    <scene_description>Brad freezes . They both stare at him .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>I stole that too!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GLUCKMAN MANSION - SPA - NIGHT<\/stage_direction>\n    <scene_description>Bill and Tom lie facedown on matching massage tables , while massage therapists rapidly pound their backs . ANGLE UNDER TOM 'S TABLE Tom is reading the itinerary through the face hole in his table . As the masseuses pound their backs , Tom and Bill 's voices vibrate .<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>a meet and greet with Greenpeace, then drinks with the offshore oil lobby.<\/dialogue>\n    <scene_description>CLOSE ON BILL face through hole .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Terrific. How's the Brad project doing?<\/dialogue>\n    <character>TOM<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Smooth. he's in South Central.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>And he's okay?<\/dialogue>\n    <character>TOM<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>He's in excellent hands.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KOREAN LIQUOR STORE - NIGHT<\/stage_direction>\n    <scene_description>Sean , holding Brad by the shirt , slams him against the Escalade .<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>I've about had it, boy!<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Who you callin' boy?<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>You got about five seconds to get real, or I ` ma Timbo stomp your ass to de curb!<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>What do you mean, get real?!<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Act your white self!<\/dialogue>\n    <scene_description>He shoves a prop gun into Brad 's ribs .<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>Five! Four!<\/dialogue>\n    <character>BRAD<\/character>\n    <parenthetical>( freaking . )<\/parenthetical>\n    <dialogue>Okay, a ` ight, chill.<\/dialogue>\n    <scene_description>Brad takes a deep sigh , looks them in the eye , and begins to talk like a conservative white guy .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>I guess I now know I can never be as cool as you guys. I promise I will never, ever front or act like a thug again, and I'm really really sorry if I offended you.<\/dialogue>\n    <scene_description>Sean and PJ move off to the side .<\/scene_description>\n    <character>PJ<\/character>\n    <dialogue>You buying it?<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>I ca n't tell.<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>Me either.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Let's give him the test.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOVIE THEATER - ANGLE ON BRAD - NIGHT<\/stage_direction>\n    <scene_description>Brad , in the seats , eating popcorn non - stop . He is flanked by Sean and PJ . They both watch Brad , as he stares at the horror film play on the screen .<\/scene_description>\n    <character>SEAN<\/character>\n    <parenthetical>( off Brad 's look . )<\/parenthetical>\n    <dialogue>You a ` ight, man?<\/dialogue>\n    <scene_description>Brad snaps out of it for a minute .<\/scene_description>\n    <character>BRAD<\/character>\n    <parenthetical>( `` white '' guy . )<\/parenthetical>\n    <dialogue>Great, fine. Terrific popcorn.<\/dialogue>\n    <scene_description>SCARY MUSIC KICKS IN ; Brad 's eyes snap back to the screen . He struggles to contain himself . The MUSIC INTENSIFIES , we hear FOOTSTEPS , then a DOOR HANDLE TURNING , and Brad ca n't hold on any longer . He leaps up , screaming .<\/scene_description>\n    <character>BRAD<\/character>\n    <parenthetical>( as himself . )<\/parenthetical>\n    <dialogue>Run, bitch, ruuuuuuuuuuuuuun! He gon na kiiiiiilllllll you!<\/dialogue>\n    <scene_description>Other Patrons -LRB- multi - ethnic -RRB- turn and angrily `` shush '' Brad . Sean and PJ lock eyes : he failed the test .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ESCALADE - DRIVING - NIGHT<\/stage_direction>\n    <scene_description>Sean and PJ are furious . Brad is apologetic .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>I'm sorry, y' all, but this is just who I am. I'm a rapper straight - up.<\/dialogue>\n    <character>SEAN AND PJ<\/character>\n    <dialogue>Wigga, please!<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>No, for real. I can rap about anything.<\/dialogue>\n    <parenthetical>( goes into rap . )<\/parenthetical>\n    <dialogue>` Bloodbath and Tree, hang all day, They real tight, but they ai n't gay. No, they okay.'<\/dialogue>\n    <character>PJ<\/character>\n    <parenthetical>( incensed . )<\/parenthetical>\n    <dialogue>You think you got mad skills, huh? Well, we'll see about dat.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PROUD CHICKEN - LATER<\/stage_direction>\n    <scene_description>Sean , PJ , and Brad approach the club .<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>I done had it with you, fool. You better check yourself before you wreck yourself. This ai n't Malibu!<\/dialogue>\n    <character>BRAD<\/character>\n    <parenthetical>( sotto . )<\/parenthetical>\n    <dialogue>Represent.<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>Yeah, we gon na see what you represent neeow. We at the club.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Cube, Snoop, they all came up through here.<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>You want to prove yourself, this the place to do it.<\/dialogue>\n    <scene_description>They shove Brad into the club , then turn to each other and giggle like school girls .<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>This is definitely gon na do it.<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>Pay day!<\/dialogue>\n    <scene_description>They pound and follow Brad into the club .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE PROUD CHICKEN - NIGHT<\/stage_direction>\n    <scene_description>Brad enters and takes in the club . Think 8 Mile . Hardcore GANGSTER TYPES and some tough HOME GIRLS check out rapper , DROP , whose ferocious , gravel - voiced raps show you exactly what kind of place you 're in .<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>How you feelin' now, Malibu?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Finally, a place where I feel at home.<\/dialogue>\n    <character>PJ<\/character>\n    <parenthetical>( disgusted . )<\/parenthetical>\n    <dialogue>Get yo' ass in there.<\/dialogue>\n    <scene_description>Brad boldly fist - shakes jaw - dropped patrons as he wades through the crowd , AD LIBBING `` Whassup ? '' and `` Pardon me , homey . '' ON STAGE DROP finishes and the MC brings up STEEL and YOUNG DRE , announcing the Battle Rap Competition . Steel and Young Dre battle - both are top - notch . At every insult , the crowd ROARS . ON BALCONY Shondra is talking to a HOME GIRL , checking out the crowd below . She suddenly sees Brad . She 's eyes - wide horrified . Steel finishes , the crowd CHEERS , and Young Dre starts in on the mic . SAME SCENE - MEANWHILE Sean and PJ leave Brad and fight through to the DJ table , where the MC is standing , timing Young Dre . Brad looks around , then up . He sees Shondra and starts for the stairs . ON THE BALCONY<\/scene_description>\n    <character>TEC<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hey, girl. Where you been?<\/dialogue>\n    <scene_description>She turns and faces TEC , her ex - boyfriend , a no - nonsense roughneck gangbanger . He 's very soft - spoken , almost expressionless .<\/scene_description>\n    <character>SHONDRA<\/character>\n    <dialogue>None of your damn bizness, Tec. Now let go.<\/dialogue>\n    <scene_description>She yanks her arm away from him .<\/scene_description>\n    <character>TEC<\/character>\n    <dialogue>Y' all been busy, huh?<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Too busy for you.<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>You been gettin' busy?<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Hell no.<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>Come on, girl, I'm cool. Just tell me who it is.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>All you need to know is that it ai n't you, okay?<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>You know, you ai n't shit, Shondra. You're just a chickenhead, and that's all you'll ever be.<\/dialogue>\n    <scene_description>Just then , Brad walks up , grinning like a fool .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>What up, girl?!<\/dialogue>\n    <scene_description>He gives her a sloppy kiss on the cheek .<\/scene_description>\n    <character>SHONDRA<\/character>\n    <dialogue>You a ` ight?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>I'm fine, but you the finest!<\/dialogue>\n    <parenthetical>( to Tec . )<\/parenthetical>\n    <dialogue>She a genius too, man! I'm tellin' you, one she gets set up, Mothra gon na blow up like Rosie O'Donnell's head!<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>Do n't tell me you been hittin' that?<\/dialogue>\n    <scene_description>She tries to pull away , but Tec holds on tight .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Damn, man. Do n't you know how to treat a lady? That's not nice.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Brad, do n't -<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>It's cool, Shondra. The brutha's right.<\/dialogue>\n    <scene_description>Tec releases Shondra 's arm and immediately grabs Brad by the throat and hangs him over the balcony .<\/scene_description>\n    <character>TEC<\/character>\n    <dialogue>Did n't yo mama teach you to mind you own bizness?<\/dialogue>\n    <character>BRAD<\/character>\n    <parenthetical>( being strangled . )<\/parenthetical>\n    <dialogue>Do n't be hatin'.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Do n't do it, Tec!<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Auuuuuuuuu!<\/dialogue>\n    <scene_description>Tec feels everyone looking at him . Now is not the time . He releases Brad and composes himself .<\/scene_description>\n    <character>TEC<\/character>\n    <dialogue>Y' all both gon na be sorry.<\/dialogue>\n    <scene_description>Tec stalks off .<\/scene_description>\n    <character>SHONDRA<\/character>\n    <dialogue>You alright?<\/dialogue>\n    <character>BRAD<\/character>\n    <parenthetical>( coughs . )<\/parenthetical>\n    <dialogue>I'm okay. Who was that?<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Old history. Come on.<\/dialogue>\n    <scene_description>Shondra grabs Brad and moves him to the stairs . AT THE DJ TABLE Sean and PJ finally make it to the MC , who stands with the DJ .<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>Yo!<\/dialogue>\n    <scene_description>Sean bumps the DJ table . A vicious look from the DJ , as Sean tries to play it off . The MC just looks at him disdainfully .<\/scene_description>\n    <character>PJ<\/character>\n    <dialogue>Uh. My boy want Young Dre next.<\/dialogue>\n    <scene_description>The MC looks them over .<\/scene_description>\n    <character>MC<\/character>\n    <dialogue>Hell, nah.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Maybe a C - Note would open some. equal opportunities?<\/dialogue>\n    <character>MC<\/character>\n    <parenthetical>( takes the cash . )<\/parenthetical>\n    <dialogue>What's his name?<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>B - rad. From Malibu.<\/dialogue>\n    <scene_description>The MC makes a face , but puts down Brad 's name anyway .<\/scene_description>\n    <character>PJ<\/character>\n    <parenthetical>( enthusiastically . )<\/parenthetical>\n    <dialogue>Hey playa. You got any Will Smith back there?<\/dialogue>\n    <scene_description>The MC just looks at him . SAME SCENE - MEANWHILE Shondra hauls Brad down the stairs and stops near the entrance .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Damn Shondra, where's the fire at?<\/dialogue>\n    <character>SHONDRA<\/character>\n    <parenthetical>( fishing in her bag . )<\/parenthetical>\n    <dialogue>You're going home.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>You settin' me free?<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>No. I'm savin' your ass. I'm not havin' your blood on my hands.<\/dialogue>\n    <parenthetical>( hands him keys . )<\/parenthetical>\n    <dialogue>It's the blue Honda across the street.<\/dialogue>\n    <scene_description>FROM THE STAGE<\/scene_description>\n    <character>MC<\/character>\n    <dialogue>A - ight y' all. Up next, to challenge Young Dre, we got. B - rad from Malibu.<\/dialogue>\n    <scene_description>Looks of confusion , as the Crowd searches for `` B - rad . ''<\/scene_description>\n    <character>SHONDRA<\/character>\n    <dialogue>Wait a second. Brad, do n't do it.<\/dialogue>\n    <scene_description>Brad turns to Shondra , looks at the keys , and shakes his head .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Shondra, I gots to do ` dis. this is my shot. I got ta prove myself.<\/dialogue>\n    <scene_description>Shondra ca n't argue . Brad starts to the stage . A WAVE OF SHOCK , as the crowd realizes who B - rad actually is .<\/scene_description>\n    <character>SHONDRA<\/character>\n    <dialogue>This is gon na be like an episode of ` Oz.'<\/dialogue>\n    <scene_description>Brad gets his game face on and walks the gauntlet on his way to the stage - an imposing path of intimidating looks . He is then dragged up onto the stage . He misinterprets the ANTAGONIZING CHANTS as encouragement and tries to high - five the crowd - no takers . The MC and Young Dre laugh at him .<\/scene_description>\n    <character>YOUNG DRE<\/character>\n    <dialogue>Nah, nah, nah. I ai n't gon na battle no bitch. What am I? Ike Turner?<\/dialogue>\n    <scene_description>The crowd LAUGHS . Brad cluelessly laughs along with them .<\/scene_description>\n    <character>MC<\/character>\n    <dialogue>A - ight, a - ight. We got ta do this. Yo, Saltine. Heads or tails?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Tizzaizzlszzs!<\/dialogue>\n    <scene_description>Everyone is totally confused .<\/scene_description>\n    <character>BRAD<\/character>\n    <parenthetical>( apologetic . )<\/parenthetical>\n    <dialogue>Tails. I want tails.<\/dialogue>\n    <scene_description>The MC flips and `` tails '' it is .<\/scene_description>\n    <character>MC<\/character>\n    <dialogue>You wan na go first?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Nah. Ladies first.<\/dialogue>\n    <scene_description>Brad LAUGHS , turning to the crowd to appreciate his lame burn . Nothing . Young Dre looks furious . Young Dre grabs the mic and the DJ spins . Young Dre proceeds to incinerate Brad . With every line , the crowd goes insane . -LRB- NOTE : Actual Young Dre Rap to Come . -RRB- As Young Dre flows , Brad is visibly shaken , but tries to play it off - not so discreetly scribbling notes on his hand and up his arm . Young Dre finishes with devastating blow , dropping the mic on the stage . The crowd goes wild .<\/scene_description>\n    <character>MC<\/character>\n    <dialogue>Whooo. GOD DAMN! Now, let's see if this Eminem melts in yo ass and in your hand.<\/dialogue>\n    <scene_description>The DJ kicks the beat and the MC throws Brad the mic . He misses it and it drills him in the forehead . The crowd LAUGHS . Brad tries to regain his composure .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Can we start again? I lost my place.<\/dialogue>\n    <scene_description>TAUNTS and LAUGHS as the beat plays again . Brad wags his head , ready to come in strong . He looks down at his notes . He 's sweating so badly his arm is a mess of runny ink . He freezes again . The crowd is really on him now - collectively making the `` choke '' sign .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>I'm cool. I'm cool.<\/dialogue>\n    <scene_description>Brad finally starts up .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>` You big and rough, You act all tough, I bet in your childhood You never had much love.<\/dialogue>\n    <parenthetical>( finishing . )<\/parenthetical>\n    <dialogue>Alert the media, I'm a rap encyclopedia, My shrink says I suffer from a case of gansta - phrenia, I'm tryin' to be meania, I'm feeling much vigor, I'm the `` Bu's'' number one, hardcore NIGGAA!<\/dialogue>\n    <scene_description>Complete silence .<\/scene_description>\n    <character>PJ<\/character>\n    <parenthetical>( terrified , to SEAN . )<\/parenthetical>\n    <dialogue>Let's get the hell out of here.<\/dialogue>\n    <scene_description>Brad looks around as blank faces stare back at him .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>I'm sorry.<\/dialogue>\n    <scene_description>The crowd erupts with outrage and rushes the stage . BRAD WAILS with terror as he 's passed hand - over - hand above the CURSING CLUB PATRONS , -LRB- crowd surfing - style -RRB- toward the exit . Four THUGS run Brad out of the back door , into the .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEY - NIGHT<\/stage_direction>\n    <scene_description>where they launch him into the dumpster with a resounding THUD . Brad 's landing causes the lid to SLAM violently shut , and forces Sean and PJ , who 've been hiding behind it , to pop up .<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>What was that?<\/dialogue>\n    <scene_description>A RUMBLE comes from the dumpster and they pull back the lid . ANGLE ON : Inside the dumpster where Brad lies in the bottom - his fall was broken by several loaves of old Wonder Bread . PJ and Sean fall into hysterics , as Shondra emerges from the club . She finds PJ and Sean apoplectic with laughter , shakes her head and begins to help Brad out of the dumpster . BY BAR Tec watches it all going down . SNUFFY , 20 , skinny but tough - looking chollo , and not a member of Tec 's crew , is standing next to Tec .<\/scene_description>\n    <character>SNUFFY<\/character>\n    <dialogue>You gettin' played, ese.<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>SNUFFY<\/character>\n    <parenthetical>( laughing . )<\/parenthetical>\n    <dialogue>Loco boy hittin' your lady, homes, and she's diggin' it.<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>Yeah, Snuffy, that's right.<\/dialogue>\n    <scene_description>Tec starts to laugh , then suddenly his fist explodes into Snuffy 's face . Snuffy drops , and Tec starts to stomp him until his boys , 8 - BALL and DEUCE , pull him off .<\/scene_description>\n    <character>8-BALL<\/character>\n    <dialogue>Not here, Tec.<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>A'ight, y' all, let's roll.<\/dialogue>\n    <character>DEUCE<\/character>\n    <dialogue>Whatchoo wan na do?<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>Bag me a white boy.<\/dialogue>\n    <scene_description>As they move toward the exit we .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIP-HOP CLUB - NIGHT<\/stage_direction>\n    <scene_description>Sean and PJ are laughing uproariously . Brad walks in between them , devastated . Shondra 's behind , looking bummed out as they head for the car .<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>Hey y' all, check this out. I can rap about anything! Haaa!<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>Word.<\/dialogue>\n    <parenthetical>( bad white rapping . )<\/parenthetical>\n    <dialogue>` Listen, all you rappers, the name's Brad Gluckman. When on the mic you could say I really suck man!'<\/dialogue>\n    <scene_description>They burst out laughing . Brad just stares ahead , pouting , sick to his stomach .<\/scene_description>\n    <character>SHONDRA<\/character>\n    <dialogue>A'ight, y' all had your fun, why do n't you chill.<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>` Cuz B - Rad G about to get ill!<\/dialogue>\n    <scene_description>They burst out laughing again as they head for the car .<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>Damn. I have n't laughed like that in a long time. ` Fess up, boy, you ca n't hang.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>I just want to go home.<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>Uhn uhn, ai n't happening. By the way, forgot to tell you. We heard from your pops, and guess what? He ai n't payin'.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>He thinks y' all belong down here in the ` hood with us brothas, seein' how you so ` down' and all.<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>So, I guess that means we got to ice your punk ass.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>I do n't care no more. I got nothin' to live for. Go ahead and smoke me.<\/dialogue>\n    <scene_description>Brad gets in the car . Sean and PJ look at each other - this is n't what they expected .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHONDRA'S HOUSE - BEDROOM - SAME TIME<\/stage_direction>\n    <scene_description>-LRB- NOTE : Scene A50 was formerly scene 54 -RRB- Brad 's lying on the bed , looking up dreamily .<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Psst. Hey, dawg.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Huh?<\/dialogue>\n    <character>VOICE<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Down here, dawg.<\/dialogue>\n    <scene_description>Brad looks over the edge of the bed . A small gray RAT looks up at him .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Stuart Little?<\/dialogue>\n    <character>RAT<\/character>\n    <dialogue>Negro, pleeeze. That little white rat ai n't got nothin' on me - yo, I'm Ronny rizat, represizzat.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>I ai n't never seen no talking rat before. Although at the Malibu County Fair they had a chicken that played tic tac toe. Man, I hated losing to that chicken.<\/dialogue>\n    <character>RAT<\/character>\n    <dialogue>Why you so down, dog?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>I'm a failure.<\/dialogue>\n    <character>RAT<\/character>\n    <dialogue>Nah, nah it's not like that. You need to stop listening to what all them perpetrators is running and believe in yourself.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>For real?<\/dialogue>\n    <character>RAT<\/character>\n    <dialogue>For riz - real. Pound it.<\/dialogue>\n    <scene_description>They punch it in .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>So you saying if I put my mind to it I can be whatever I want to be?<\/dialogue>\n    <character>RAT<\/character>\n    <dialogue>Damn straight.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>I could be a highstylin' pimp?<\/dialogue>\n    <character>RAT<\/character>\n    <dialogue>They stylin - est..<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>I could drive a mad'63 El Camino with 43 - inch gold - plated dubs and a trunk full o' bitches?<\/dialogue>\n    <character>RAT<\/character>\n    <dialogue>You could have a roof rack full of bitches. And some teeny - tiny little bitches in the glove compartment.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>And I could be the biggest rapper in the world.<\/dialogue>\n    <character>RAT<\/character>\n    <dialogue>Rapper? Hell no! You stink! I'd rather eat garbage than listen to your tired ass rhymes.<\/dialogue>\n    <parenthetical>( thinks about it . )<\/parenthetical>\n    <dialogue>Hmmm, garbage. That's making me hungry. Peace out.<\/dialogue>\n    <scene_description>The Rat runs off . Brad sighs , flops back down on the bed , utterly depressed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHONDRA'S HOUSE - BEDROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Brad lays on the bed , moonlit through the bars of the window . Shondra enters . Brad rolls over , away from her .<\/scene_description>\n    <character>SHONDRA<\/character>\n    <dialogue>Hey. You okay?<\/dialogue>\n    <scene_description>Brad sniffles .<\/scene_description>\n    <character>SHONDRA<\/character>\n    <dialogue>You know, it's not as bad as it seems.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>It's worse. Everybody's right. My rhymes is weak.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>You just need a little experience.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>I should've run when you gave me the chance.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Naw. You were right. I respected you for getting' up there.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>But you heard'em laughing. I ai n't nothin' but a busta.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>They just do n't understand you. None of them know how hardcore it is up in. Malibu.<\/dialogue>\n    <character>BRAD<\/character>\n    <parenthetical>( perking up . )<\/parenthetical>\n    <dialogue>Yeah?<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Yeah with the. traffic, and the. parking, and.<\/dialogue>\n    <character>BRAD<\/character>\n    <parenthetical>( getting excited . )<\/parenthetical>\n    <dialogue>Like, when the public be all up in your private beach?<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Right. You just got to stick with it, you know, do n't let anyone tell you who you are.<\/dialogue>\n    <scene_description>Brad smiles , looks at her .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Thanks, Shondra.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You know what I was sayin', earlier, in the car, about being a playa and all? Well. I was just foolin'. I never been with a sister before.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <parenthetical>( mock surprise . )<\/parenthetical>\n    <dialogue>For real?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Except for on the internet.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>I never would've known.<\/dialogue>\n    <character>BRAD<\/character>\n    <parenthetical>( shy . )<\/parenthetical>\n    <dialogue>I think you about the finest girl I ever met in my whole life, and, well, since they gon na ice me in the morning, I was wondering. could I, kinda like, kiss you?<\/dialogue>\n    <scene_description>She thinks , smiles , then sits down next to him on the bed . Brad sits up and looks at her face in the moonlight .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>You're so pretty.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>Brad leans in and kisses her tenderly . She kisses him back . Encouraged , Brad opens his mouth wide and tries to stick his tongue down her throat . She pushes him back .<\/scene_description>\n    <character>SHONDRA<\/character>\n    <dialogue>I said kiss, fool. Damn.<\/dialogue>\n    <scene_description>She gets up and heads for the door .<\/scene_description>\n    <character>SHONDRA<\/character>\n    <dialogue>I offered you a snack, not the whole kitchen.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>I'm sorry. I'm sorry. I'm chill.<\/dialogue>\n    <scene_description>She rolls her eyes and leaves . Brad falls back on the bed , a dreamy smile on his face .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Totally chill.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHONDRA'S HOUSE - SAME TIME<\/stage_direction>\n    <scene_description>Tec , with his crew , drives up , lights out , and KILLS the ENGINE . He looks at the house with death in his eyes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHONDRA'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Shondra exits the room and faces Sean and PJ .<\/scene_description>\n    <character>SHONDRA<\/character>\n    <dialogue>A'ight, that's it, this game is lame. I want my money, and then y' all can get out.<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>But we're not done yet.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>You ai n't never gon na be done. Did it ever occur to you two jackasses that this is the way he really is?<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>No way.<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>Not possible.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Whatever. Look, I did what you asked, and I want my money.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Okay, I'll get it, you know, but settin' everything up was expensive, and I do n't exactly have it right now.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Excuse me? You playin' me?<\/dialogue>\n    <scene_description>Shondra hands Sean the phone .<\/scene_description>\n    <character>SHONDRA<\/character>\n    <dialogue>Y' all get me my money now, or I ` ma go in there and tell him what's up.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Alright, okay, just relax.<\/dialogue>\n    <scene_description>As Sean starts to dial , we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GLUCKMAN CAMPAIGN OFFICE - NIGHT<\/stage_direction>\n    <character>TOM<\/character>\n    <dialogue>Yes, Sean. How's our little project going?<\/dialogue>\n    <character>SEAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Great, terrific, we're making real progress here.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHONDRA'S HOUSE - LIVING ROOM - SAME TIME<\/stage_direction>\n    <scene_description>Sean reads from the checklist Tom gave him .<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>Your suggestions were really helpful. He totally bought the car jack and kidnapping.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHONDRA'S BEDROOM - SAME TIME<\/stage_direction>\n    <scene_description>Brad listens intently as Sean continues .<\/scene_description>\n    <character>SEAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>we staged a fabulous liquor store robbery. Mr. Gluckman's going to be very happy.<\/dialogue>\n    <scene_description>Brad 's eyes widen .<\/scene_description>\n    <character>SEAN<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>But, he's still posing, so we wanted to put him in a drive - by shooting next. but, it's a little more money then our original projections.<\/dialogue>\n    <scene_description>Brad slumps back . He ca n't believe it . BACK TO SEAN<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>So I was wondering if I could get an advance.<\/dialogue>\n    <character>TOM<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>No deal. You get the rest when Richie Cunningham steps through the door here, and not one second sooner, understand?<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>But - Mr. Gibbons, hello?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHONDRA'S HOUSE - BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Brad crawls out from the vent and goes to the mirror .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Damn. they been playin' me all along. How could dey do dat? How could she do dat?<\/dialogue>\n    <parenthetical>( getting angry . )<\/parenthetical>\n    <dialogue>What - ever. If them fools wan na play, then let's play.<\/dialogue>\n    <scene_description>He heads for the door , bad - ass and hardcore .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHONDRA'S HOUSE - LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Suddenly , Brad 's boot comes through the door . WOOD SHATTERS everywhere . Brad steps through with a furious look on his face . Shondra , Sean and PJ stare in shock .<\/scene_description>\n    <character>SHONDRA<\/character>\n    <dialogue>What the hell do you think you're doing?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Hey! Listen up. Brad G is in da hiz, and things gon na start changin' round here!<\/dialogue>\n    <character>PJ<\/character>\n    <parenthetical>( to Sean . )<\/parenthetical>\n    <dialogue>Do something.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>You must be out yo mind. Get back in that room before I beat your ass!<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>You feelin' froggy, den leap!<\/dialogue>\n    <scene_description>Sean backs down .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Anyone else wan na step?<\/dialogue>\n    <character>SHONDRA<\/character>\n    <parenthetical>( slightly attracted . )<\/parenthetical>\n    <dialogue>What the hell got into you?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Shut up, ho.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Who you callin' ho, ho?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Yo, ho, the same ho that gave up that weak - ass kiss five minutes ago in the bedroom.<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>Really? Damn.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <parenthetical>( pissed off . )<\/parenthetical>\n    <dialogue>Who the hell do you think you are?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>I'm B - Rad G, from ` Bu, representin'! What y' all do n't realize is that I was tryin' to put my mobbin' days behind me, but rollin' with y' all done re - awoke my inna killa. Let's start droppin' bodies!<\/dialogue>\n    <scene_description>Shondra , PJ and Sean watch , stunned , as Brad grabs a prop gun , his car keys and heads out .<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>Come on, girl. Let's go!<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Uhn uhn. You created that monster, you deal with it.<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>But we got big a problem here.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Until I see my money, it's your problem.<\/dialogue>\n    <scene_description>Sean and PJ exit quickly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHONDRA'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Brad 's at the car door as Sean and PJ exit and run up .<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>Where the hell you goin'?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>I need to take a drive.<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>Come on, man. Chill.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Today is a good day to die, did n't have to use my A.K.<\/dialogue>\n    <parenthetical>( Ice Cube - like . )<\/parenthetical>\n    <dialogue>Yey yey!<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Why you talkin' crazy?<\/dialogue>\n    <character>BRAD<\/character>\n    <parenthetical>( getting in car . )<\/parenthetical>\n    <dialogue>Might as well go out in a blaze of glory. My daddy do n't love me, my rhymes is played. I ai n't down enough for y' all -<\/dialogue>\n    <character>SEAN<\/character>\n    <parenthetical>( panicked . )<\/parenthetical>\n    <dialogue>No. You down, right PJ, er, Tree?<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>That's right, Bloodbath, he's very down. As down as they come.<\/dialogue>\n    <scene_description>Suddenly , Tec jumps up , yanks Brad 's door open and shoves a Nine in his side .<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>Oh my God.<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>Get out of the car, white boy.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Oh, you dat weak fuck from de club.<\/dialogue>\n    <scene_description>Tec ca n't believe what he 's hearing .<\/scene_description>\n    <character>BRAD<\/character>\n    <parenthetical>( not impressed . )<\/parenthetical>\n    <dialogue>Got somethin' for me?<\/dialogue>\n    <character>TEC<\/character>\n    <parenthetical>( pulling a Tec 9 . )<\/parenthetical>\n    <dialogue>Just this cap, fool! You ready to die?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Ai n't that a coinky - dink? I was just talkin' to my homies about just dat.<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>Move!<\/dialogue>\n    <character>BRAD<\/character>\n    <parenthetical>( getting out of car . )<\/parenthetical>\n    <dialogue>A'ight, but y' all should change up your style, cuz these jackings is gettin' tired.<\/dialogue>\n    <scene_description>He heads for Tec 's car .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Yo, Bloodbath, if there's one tiny scratch on my ride, I ` ma eat y' all's children.<\/dialogue>\n    <parenthetical>( cheerfully . )<\/parenthetical>\n    <dialogue>Shotgun!<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>Tape up this fool's hole, man.<\/dialogue>\n    <scene_description>A crew member yanks out some duct tape and tapes over Brad 's mouth , then they throw him in Tec 's trunk and slam it shut . Tec steps up to Sean and PJ .<\/scene_description>\n    <character>TEC<\/character>\n    <dialogue>What should we do with this Bloodbath and his friends?<\/dialogue>\n    <character>SEAN<\/character>\n    <parenthetical>( panicked . )<\/parenthetical>\n    <dialogue>I'm not Bloodbath! My real name is Sean James, I'm an actor. I swear!<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>Is Shondra hittin' the white boy?<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>No way, man. She's in on the scam, just like us.<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>Scam?<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>Yeah. We're all being paid to pretend to kidnap Bill Gluckman's kid.<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>Gluckman? The dude runnin' for Governor.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>You've heard of him?<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>The dawg who's down with bitches and hoes? Hell yeah, I've heard of him. Just'cause I live down here you think I'm ignorant?<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>We did n't say that, brother.<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>A'ight then.<\/dialogue>\n    <parenthetical>( looks at Brad . )<\/parenthetical>\n    <dialogue>Damn, we got Gluckman's son. Fool's got ta be worth more alive than dead.<\/dialogue>\n    <parenthetical>( to his crew . )<\/parenthetical>\n    <dialogue>Let's roll.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GLUCKMAN CAMPAIGN HQ - TOM'S OFFICE - SAME TIME<\/stage_direction>\n    <scene_description>Tom and the campaign strategy team , Brett , Gary and Jen , are eating takeout , mid - meeting .<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>All the polls say that since Brad's been out of the picture we're up six points.<\/dialogue>\n    <character>BRETT<\/character>\n    <dialogue>We're still dead in the urban demo, though.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Gays too.<\/dialogue>\n    <character>JEN<\/character>\n    <dialogue>There's no way we can win without them.<\/dialogue>\n    <scene_description>The INTERCOM RINGS .<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Yep?<\/dialogue>\n    <character>SECRETARY<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I have a Sean on the phone for you, sir.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Put it through.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INDUSTRIAL STREET - FREEWAY UNDERPASS - SAME TIME<\/stage_direction>\n    <scene_description>Sean is on a pay phone , terrified . Tec stands next to him . The Escalade and Tec 's car are parked nearby .<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>Tom, we have a real problem.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>I told you, no more money.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>I know you said that, but we're in real serious troub -<\/dialogue>\n    <scene_description>Tec rips the phone out of Sean 's hand .<\/scene_description>\n    <character>TEC<\/character>\n    <dialogue>Listen, fool. Gluckman's boy has been kidnapped for real, along with your punk friends.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>If Mr. Governor wants to see his punk bitch son alive again I'm gon na need five hundred grand by tomorrow midnight.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>How do I know this is real?<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>You think your actors are this good?<\/dialogue>\n    <scene_description>Tec puts the phone up to Sean .<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>Help us, please.<\/dialogue>\n    <parenthetical>( hiccup . )<\/parenthetical>\n    <dialogue>I'm.<\/dialogue>\n    <parenthetical>( hiccup . )<\/parenthetical>\n    <dialogue>so.<\/dialogue>\n    <parenthetical>( hiccup . )<\/parenthetical>\n    <dialogue>Scared!<\/dialogue>\n    <scene_description>Sean begins to wail . Tec yanks the phone back .<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Okay, I'm convinced.<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>Good. Now get me my money.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Fine. Please do n't do anything until I talk to Mr. Gluckman and arrange the finances.<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>You got ten minutes.<\/dialogue>\n    <scene_description>Tec hangs up .<\/scene_description>\n    <character>DEUCE<\/character>\n    <dialogue>Now what?<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>We wait.<\/dialogue>\n    <scene_description>Behind , no one notices as a low rider cruises by slowly .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOW RIDER - SAME TIME<\/stage_direction>\n    <scene_description>It 's Snuffy , his face swollen and bloody from the beating he took from Tec . He 's with two of his homeboys , members of the Rollin ' G gang , checking out Tec and the crew .<\/scene_description>\n    <character>SNUFFY<\/character>\n    <dialogue>Is that him, ese?<\/dialogue>\n    <character>LOC<\/character>\n    <dialogue>Yeah, that's Tec, homes, from the I - 9's.<\/dialogue>\n    <character>SNUFFY<\/character>\n    <dialogue>Call Cyco, tell him to bring it all. We gon na have a party.<\/dialogue>\n    <scene_description>The homeboy works his cell , as we :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GLUCKMAN CAMPAIGN HEADQUARTERS WAR ROOM - NIGHT<\/stage_direction>\n    <scene_description>Tom stands there with the phone in his hands , shaken .<\/scene_description>\n    <character>JEN<\/character>\n    <dialogue>What the hell's going on?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Brad's been kidnapped for real.<\/dialogue>\n    <character>BRETT<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>They want five hundred grand or they'll kill him.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Oh my God.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Now let's not panic. Lem me just think this through for a minute. We could have a very interesting opportunity here.<\/dialogue>\n    <character>BRETT<\/character>\n    <dialogue>Where are you going with this?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Well, the negatives are obvious.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Bill drops out of the race, emotional distress.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>I can handle Bill. Let's brainstorm the positives.<\/dialogue>\n    <character>JEN<\/character>\n    <dialogue>There's so many. No more ` Brad problem.'<\/dialogue>\n    <character>BRETT<\/character>\n    <dialogue>Right, right, I'm liking it.<\/dialogue>\n    <scene_description>They start riffing on the idea , getting excited .<\/scene_description>\n    <character>GARY<\/character>\n    <dialogue>With a dead son, the sympathy factor could give us big spike in the female and gay demos.<\/dialogue>\n    <character>BRETT<\/character>\n    <dialogue>We've had such a problem with Bill's rich guy image, we could spin the issue to make him more ` Everymen,' you know, ` crime touches everyone,' like that.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>What about a voter backlash, like how could he run on the heels of a tragedy?<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>No - we push the ` courage under adversity' angle.<\/dialogue>\n    <character>BRETT<\/character>\n    <dialogue>Helps with his leadership profile.<\/dialogue>\n    <character>JEN<\/character>\n    <dialogue>Bill Gluckman, crusader\/martyr.<\/dialogue>\n    <character>BRETT<\/character>\n    <dialogue>I've got the image - Bill weeping over Brad's open casket.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>Then, after grieving appropriately, he goes on the offensive.<\/dialogue>\n    <character>BRETT<\/character>\n    <dialogue>Bill Gluckman's war on crime.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>drugs.<\/dialogue>\n    <character>JEN<\/character>\n    <dialogue>gangs.<\/dialogue>\n    <character>BRETT<\/character>\n    <dialogue>War's hot now.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>War's great.<\/dialogue>\n    <character>JEN<\/character>\n    <dialogue>It's just what we've needed.<\/dialogue>\n    <character>BRETT<\/character>\n    <dialogue>It's like a green light to Sacramento.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Next stop, the White House.<\/dialogue>\n    <scene_description>The PHONE RINGS and Tom picks up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INDUSTRIAL STREET - SAME TIME<\/stage_direction>\n    <scene_description>Tec is on the phone .<\/scene_description>\n    <character>TEC<\/character>\n    <dialogue>What up?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>No deal.<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>Say what?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Bill Gluckman does not make deals with criminals.<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>That's it, then, fool. I ai n't playin'. His ass is done.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>You do what you have to do, and we'll do what we have to do.<\/dialogue>\n    <scene_description>He hangs up and smiles . INDUSTRIAL STREET - SAME TIME Tec hangs up ; as he looks over , Brad is pulled from the trunk by two I - 9s , his mouth still taped . Tec almost feels sorry for him .<\/scene_description>\n    <character>TEC<\/character>\n    <dialogue>That's cold.<\/dialogue>\n    <parenthetical>( to crew . )<\/parenthetical>\n    <dialogue>Lose the tape.<\/dialogue>\n    <scene_description>Tec 's homie rips the tape off Brad 's mouth .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>God damn that hurts! I get out of this I ` ma hafta teach y' all some manners!<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>Your daddy ai n't payin'.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Yeah, yeah, tell me somethin' I do n't know!<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>You heard me, you half - steppin' moist - ass bitch!<\/dialogue>\n    <scene_description>Tec cocks his nine and aims at Brad .<\/scene_description>\n    <character>BRAD<\/character>\n    <parenthetical>( fearless . )<\/parenthetical>\n    <dialogue>Oh what, you gon na do me like this? A'ight, then bring it.<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>It's brought.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Man up! Put this wannabe out of his misery.<\/dialogue>\n    <scene_description>Tec is stunned - the white boy is n't showing any fear . Brad steps forward , puts the gun to his own heart , and places his thumb on the trigger .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>That gat's real, right? Then do it or I'll do it myself<\/dialogue>\n    <character>TEC<\/character>\n    <parenthetical>( unnerved . )<\/parenthetical>\n    <dialogue>Brotha straight - up crazy, and I can not deal with that shit.<\/dialogue>\n    <scene_description>Suddenly GUNFIRE erupts as Tech 's car is HIT with a BARRAGE of BULLETS . Brad , the crew , Sean and PJ drop to the street and roll under the car . Tec has to dive behind a nearby dumpster . ACROSS STREET Snuffy and three Rollin ' G 's are crouched behind their low rider , FIRING away . UNDER CAR The I - 9s RETURN FIRE . PJ and Sean are in the fetal position , freaking out . Brad , thinking it 's all fake , is laughing , having a great time .<\/scene_description>\n    <character>TEC<\/character>\n    <dialogue>Lay down some cover, fool!<\/dialogue>\n    <scene_description>Tec 's pinned down behind the dumpster . He 's without a weapon , and Rollin ' G 's are FOCUSING their FIRE on him .<\/scene_description>\n    <character>8-BALL<\/character>\n    <dialogue>We're tryin', man, but they're too strapped.<\/dialogue>\n    <character>DEUCE<\/character>\n    <dialogue>What the hell we gon na do?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Punks. Gim me dem gats.<\/dialogue>\n    <scene_description>Brad grabs the Uzis and rolls out from under the car .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Y' all wan na play? Let's play! You know who you're dealin' with?<\/dialogue>\n    <scene_description>He jumps up on the hood of Tec 's car and OPENS FIRE with both Uzis , laying down a withering rain of lead .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>I'm B - Rad G, from the ` BU, y' all.<\/dialogue>\n    <parenthetical>( out Denzeling Denzel . )<\/parenthetical>\n    <dialogue>King Kong ai n't got nothin' on me! Aaaaaaaaaaaaaaaaa!<\/dialogue>\n    <parenthetical>( STOPS FIRING . )<\/parenthetical>\n    <dialogue>Damn. These special effects are the bomb!<\/dialogue>\n    <parenthetical>( resumes FIRING . )<\/parenthetical>\n    <dialogue>Aaaaaaaaaaaaaaaaaa!<\/dialogue>\n    <scene_description>The Rollin ' G 's try to respond , but Brad 's fire is too intense .<\/scene_description>\n    <character>SNUFFY<\/character>\n    <dialogue>Devil's got some balls.<\/dialogue>\n    <character>LOC<\/character>\n    <dialogue>For real! Let's dip!<\/dialogue>\n    <scene_description>They all hop in their convertible and tear - ass out of there as Brad jumps off the cars and follows on foot , FIRING after them as they turn the corner and SQUEAL away .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>It's safe now, y' all.<\/dialogue>\n    <scene_description>Tec emerges from behind the dumpster . The crew rolls out from under the car , followed by Sean and PJ . They look at Brad in awe . They 're impressed .<\/scene_description>\n    <character>TEC<\/character>\n    <dialogue>That was ill! Y' all definitely got juice.<\/dialogue>\n    <scene_description>He offers his fist to Brad . They pound .<\/scene_description>\n    <character>TEC<\/character>\n    <dialogue>Where'd you learn that shit?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Damn. Jus' MTV.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHANNEL 5 NEWS ROOM - NIGHT<\/stage_direction>\n    <scene_description>HAL FISHMAN reads the night 's news .<\/scene_description>\n    <character>HAL FISHMAN<\/character>\n    <dialogue>Good evening. A Channel Five exclusive. A security camera captured incredible footage of gang violence tonight, as it flared on the streets of South Central.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STREET CORNER - NIGHT (GRAINY SECURITY CAMERA FOOTAGE)<\/stage_direction>\n    <scene_description>of Brad , on top of Tec 's car , FIRING the UZIS .<\/scene_description>\n    <character>HAL FISHMAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>This hardcore gangster, believed to be the notorious ` White Kong,' leader of I - 9 street gang, fires his weapons with wanton disregard for human life or personal property.<\/dialogue>\n    <scene_description>CLOSEUP - BRAD 'S CRAZED FACE in SLOW MOTION as he FIRES .<\/scene_description>\n    <character>HAL FISHMAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>If you have any information on the whereabouts of this man, call our hot line at 1 - 555 - GANG.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GLUCKMAN MANSION - BILL AND BESS'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>They sit in bed , stunned .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Oh.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHONDRA'S HOUSE - LIVING ROOM - SAME TIME<\/stage_direction>\n    <scene_description>She 's on the couch , blocking a wig , stunned .<\/scene_description>\n    <character>SHONDRA<\/character>\n    <dialogue>my.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MALI-BREW - MOVING - SAME TIME<\/stage_direction>\n    <scene_description>Mocha , Hadji , and Monster , holding half - drunken lattes , are all staring at a TV mounted in the corner .<\/scene_description>\n    <character>MOCHA<\/character>\n    <dialogue>Gaaaaa.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GLUCKMAN CAMPAIGN HEADQUARTERS WAR ROOM - SAME TIME<\/stage_direction>\n    <scene_description>Tom stares at the TV .<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>aaaaa.<\/dialogue>\n    <scene_description>And then , in QUICK SHOTS , we INTERCUT BETWEEN :<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>oooooo.<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>aaaaaa.<\/dialogue>\n    <character>MOCHA<\/character>\n    <dialogue>aaaaaa.<\/dialogue>\n    <character>HADJI<\/character>\n    <dialogue>aaaaaa.<\/dialogue>\n    <character>MONSTER<\/character>\n    <dialogue>aaaaaa.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>aaaaaa.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>aaaaaa.<\/dialogue>\n    <character>BESS<\/character>\n    <dialogue>aaaaaa.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>oooooo.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>aaaaaa.<\/dialogue>\n    <character>MOCHA<\/character>\n    <dialogue>aaaaaa.<\/dialogue>\n    <character>HADJI<\/character>\n    <dialogue>aaaaaa.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>aaaaaa.<\/dialogue>\n    <character>GARY<\/character>\n    <dialogue>oooooo.<\/dialogue>\n    <character>JEN<\/character>\n    <dialogue>oooooo.<\/dialogue>\n    <character>BRETT<\/character>\n    <dialogue>oooooo.<\/dialogue>\n    <character>BARISTA<\/character>\n    <dialogue>aaaaaa.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>aaaaaad!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MALI-BREW - NIGHT<\/stage_direction>\n    <character>MOCHA<\/character>\n    <dialogue>Dat is some hardcore shiznit, y' all!<\/dialogue>\n    <character>MONSTER<\/character>\n    <dialogue>If dat's what you got to do to get on Big Boy's label, count me out.<\/dialogue>\n    <character>MOCHA<\/character>\n    <dialogue>He ai n't with Big Boy, fool! B - Rad's hangin' with some serious bangers!<\/dialogue>\n    <character>HADJI<\/character>\n    <dialogue>What we gon na do, Moch?<\/dialogue>\n    <character>MOCHA<\/character>\n    <dialogue>Bounce to our respective cribs, jack our moms' and pops' biggest gats, jet down to South Central and save his ass.<\/dialogue>\n    <character>HADJI AND MOCHA<\/character>\n    <dialogue>Word.<\/dialogue>\n    <character>MONSTER<\/character>\n    <dialogue>But. what if they do n't have coffee?<\/dialogue>\n    <character>HADJI<\/character>\n    <dialogue>Krista - six Tsunamis to go!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GLUCKMAN CAMPAIGN HQ - WAR ROOM - NIGHT<\/stage_direction>\n    <scene_description>Bill storms in . Tom quickly switches OFF the TV . The staffers move aside as Bill confronts Tom .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Bradley's been involved in a gang shooting.<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Are you positive?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>His face was on the news, Tom! I think I know my own son!<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>I'm sure there's a logical explanation. Why do n't you get some sleep -<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Sleep? He's shooting the hell out of South Central. We've got to get him!<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>What about the debate tomorrow in Sacramento -<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Forget the debate!<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>If you cancel, you can kiss this campaign good - bye.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>You can shove the campaign up your ass, Tom! I will not lose my son over this election!<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>I understand you're upset, Bill, but Jesus, for once in your life think outside the box! We can make Brad's whole gang thing a positive.<\/dialogue>\n    <character>BILL<\/character>\n    <parenthetical>( incredulous . )<\/parenthetical>\n    <dialogue>A positive!<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>If he's arrested or, God forbid injured, we spin it so you are the victim, you know, ` crime reaches everyone,' something like that.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>You're trying to get votes out of this?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>I'm trying to win, Bill, and you do n't seem to care!<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I'm his father.<\/dialogue>\n    <character>TOM<\/character>\n    <parenthetical>( laughs . )<\/parenthetical>\n    <dialogue>When did that happen?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I guess right now.<\/dialogue>\n    <scene_description>Bill grabs Tom by the shirt and slams him into the wall .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>You're fired.<\/dialogue>\n    <scene_description>As Bill takes off :<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>All right, guys, let's pitch on how I get my job back.<\/dialogue>\n    <scene_description>They just stare at him .<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Guys?<\/dialogue>\n    <character>BRETT<\/character>\n    <dialogue>Just so you know, I never liked the way you ran things around here.<\/dialogue>\n    <parenthetical>( walking out . )<\/parenthetical>\n    <dialogue>Bill? Mr. Gluckman?<\/dialogue>\n    <scene_description>The other staffers follow Brett out , leaving Tom alone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BILL GLUCKMAN'S HUMMER - MOVING - NIGHT<\/stage_direction>\n    <scene_description>Bill hauls - ass down the 405 , his headset on .<\/scene_description>\n    <character>HUMAN OPERATOR<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>This is Lojack.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I need a location on license number.<\/dialogue>\n    <parenthetical>( reluctant . )<\/parenthetical>\n    <dialogue>'D - SHIZNIT.'<\/dialogue>\n    <character>HUMAN OPERATOR<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>That vehicle is at the corner of McKinley and 82nd.<\/dialogue>\n    <scene_description>INSERT - ON DASH NAVIGATION SYSTEM SCREEN Suddenly a map of South Central appears , with a red blinking dot at the corner of McKinley and 82nd . BACK TO SCENE<\/scene_description>\n    <character>COMPUTER VOICE<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Your destination is a Lojack designated danger zone. Lojack does not recommend you venture into this area.<\/dialogue>\n    <scene_description>RAP BLASTS IN as Bill punches the gas , as we :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TEC'S HOUSE - LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>A party is happening : Homies slam dominoes . Home girlz drink beer and talk . Sean and PJ are standing frozen in a corner , quietly crying . Hip - hop gangsters dancing . and finally we FIND Tec and the other I - 9 's gathered around Brad , as Tec solemnly hands Brad a Tec 9 automatic pistol .<\/scene_description>\n    <character>TEC<\/character>\n    <dialogue>That's yours, B.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>For real? You should n't have.<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>Welcome to the 9's. Only way out now, is in a box.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>In a box. right.<\/dialogue>\n    <scene_description>Brad laughs . They all join in , laughing hard as we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HADJI'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Mocha , Hadji and Monster stand by Hadji 's dad 's Mercedes .<\/scene_description>\n    <character>MOCHA<\/character>\n    <dialogue>A'ight, Monster, what kind of toast you strappin'?<\/dialogue>\n    <character>MONSTER<\/character>\n    <parenthetical>( proud . )<\/parenthetical>\n    <dialogue>This.<\/dialogue>\n    <scene_description>Monster pulls a scuba divers ' spear gun from the bag .<\/scene_description>\n    <character>HADJI<\/character>\n    <dialogue>What the hell is it?<\/dialogue>\n    <character>MONSTER<\/character>\n    <dialogue>My pop's spear gat. From the yacht.<\/dialogue>\n    <scene_description>Mocha laughs and starts doing whale sounds .<\/scene_description>\n    <character>MONSTER<\/character>\n    <dialogue>A'ight Free Willy, think you so bad, what you got?<\/dialogue>\n    <character>MOCHA<\/character>\n    <parenthetical>( embarrassed . )<\/parenthetical>\n    <dialogue>Never mind.<\/dialogue>\n    <scene_description>He puts an old musty case in the car and starts to close the doors . Hadji stops him .<\/scene_description>\n    <character>HADJI<\/character>\n    <dialogue>Come on, let's see it.<\/dialogue>\n    <character>MOCHA<\/character>\n    <dialogue>A'ight, a ` ight, chill.<\/dialogue>\n    <scene_description>He opens the case , revealing an antique blunderbuss musket , with a flintlock hammer and a bell muzzle .<\/scene_description>\n    <character>HADJI<\/character>\n    <dialogue>Is that a freakin' musket?<\/dialogue>\n    <character>MOCHA<\/character>\n    <dialogue>What? My pops is a collector.<\/dialogue>\n    <parenthetical>( off their looks . )<\/parenthetical>\n    <dialogue>Come on, man, pirates used that shit.<\/dialogue>\n    <scene_description>Monster grabs the musket and points it at Mocha .<\/scene_description>\n    <character>MONSTER<\/character>\n    <parenthetical>( imitating a pirate . )<\/parenthetical>\n    <dialogue>Aargh, matey, give up yer treasure or I'll bust me harpoon in yer booty.<\/dialogue>\n    <scene_description>Monster and Hadji start laughing .<\/scene_description>\n    <character>MOCHA<\/character>\n    <dialogue>Shut up! Damn posers!<\/dialogue>\n    <scene_description>He snatches the musket from Monster and carefully places it back in the case .<\/scene_description>\n    <character>MONSTER<\/character>\n    <dialogue>Hadji, how ` bout you?<\/dialogue>\n    <character>HADJI<\/character>\n    <dialogue>Could n't get much, yo.<\/dialogue>\n    <scene_description>Hadji opens a duffel and pulls out three Kevlar vests .<\/scene_description>\n    <character>HADJI<\/character>\n    <dialogue>When I told my pops we was going on a drive - by, he gave me three of these.<\/dialogue>\n    <character>MONSTER<\/character>\n    <dialogue>Good thinking, but what heat you got?<\/dialogue>\n    <scene_description>He opens a plastic case , revealing a Stinger rocket launcher and four missiles .<\/scene_description>\n    <character>HADJI<\/character>\n    <dialogue>dis.<\/dialogue>\n    <scene_description>Mocha and Monster are blown away .<\/scene_description>\n    <character>MONSTER<\/character>\n    <dialogue>Dang! Where'd you get all dat?<\/dialogue>\n    <character>HADJI<\/character>\n    <parenthetical>( nonchalant . )<\/parenthetical>\n    <dialogue>Christmas present from Uncle Ahmet.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HADJI'S DAD'S MERCEDES - MOMENTS LATER<\/stage_direction>\n    <scene_description>Mocha , Hadji , and Monster snap on their seat belts . Hadji flips on the in - dash SOS Mercedes GPS system .<\/scene_description>\n    <character>FEMALE OPERATOR<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Yes, Mr. Amiraslani, can I help you?<\/dialogue>\n    <character>HADJI<\/character>\n    <dialogue>Hell yes, chicken. I need a location on license number D - SHIZNIT.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TEC'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>The party is now in full effect , the system up and cranked as the CAMERA FINDS Brad 's in the middle of the dance floor , freaking and doing the robot with a couple of sisters . The girls whisper in his ear , he smiles , and they head for a bedroom . Just as they exit , Shondra enters from the kitchen , and finds Sean and PJ , still tied up and terrified .<\/scene_description>\n    <character>SHONDRA<\/character>\n    <dialogue>Where's Brad?<\/dialogue>\n    <character>SEAN<\/character>\n    <parenthetical>( near tears . )<\/parenthetical>\n    <dialogue>I have n't seen anything.<\/dialogue>\n    <scene_description>She moves on . PJ lifts up his bound wrists .<\/scene_description>\n    <character>PJ<\/character>\n    <dialogue>Shondra! Little help, please.<\/dialogue>\n    <scene_description>But she 's gone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TEC'S HOUSE - BEDROOM - MOMENTS LATER<\/stage_direction>\n    <scene_description>Brad 's on the bed with the two women , who are kissing him .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Yeah, I just got tested positive. for G.A.M.E.<\/dialogue>\n    <character>SISTER #1<\/character>\n    <parenthetical>( mock surprise . )<\/parenthetical>\n    <dialogue>Cool playa.<\/dialogue>\n    <character>SISTER #2<\/character>\n    <dialogue>Let's get busy.<\/dialogue>\n    <scene_description>They laugh when suddenly Shondra comes through the door .<\/scene_description>\n    <character>SHONDRA<\/character>\n    <dialogue>That's the same damn line he used on me, and now this no good deadbeat weak - ass white boy wo n't take care of little Malik.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>What?!<\/dialogue>\n    <character>SHONDRA<\/character>\n    <parenthetical>( sniffles . )<\/parenthetical>\n    <dialogue>You know he's yours.<\/dialogue>\n    <character>SISTER #1<\/character>\n    <dialogue>This gettin' heavy.<\/dialogue>\n    <character>SISTER #2<\/character>\n    <dialogue>Let's jet.<\/dialogue>\n    <scene_description>The girls leave .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Damn, why you throwin' salt on my G.A.M.E?<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>I'm savin' your lily - white ass. Come on.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>I ai n't goin' nowhere. I'm a I - 9 neow, straight - up. Peep my tat.<\/dialogue>\n    <scene_description>Brad lifts his shirt and shows her the tattoo on his stomach : I - 9 THUG .<\/scene_description>\n    <character>SHONDRA<\/character>\n    <parenthetical>( urgent . )<\/parenthetical>\n    <dialogue>Listen, fool.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Shut up, Shondra! I know y' all set me up, I know it's all fake, de kidnap, de stickup, de whole nizzy.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Oh, damn.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Why'd you play me, huh?<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>For the money.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>What you need money Money?! Tch. for?<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Look, fool, this may sound stupid to you, but not everybody has money, and to people that do n't, money is important!<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Please. You prob ` ly still flippin' me anyway, so -<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Dammit, Brad, this is real. Tec and his crew are real -<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Oh really? Well if Tec is real then this gat must be real.<\/dialogue>\n    <scene_description>Brad pulls his nine .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>And if this gat is real then the in it have got to be real. caps And seein' how my foot is real, this would really hurt. then<\/dialogue>\n    <scene_description>Brad aims at his foot and pulls the trigger and BLAM ! He puts a BULLET through the toes of his sneaks .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>See dat. I just shot myself in the foot and.<\/dialogue>\n    <parenthetical>( feeling pain . )<\/parenthetical>\n    <dialogue>It's reaaaaalll! It's totally reaaaaalll!<\/dialogue>\n    <scene_description>Brad starts hopping around the room .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>I just shot my foot! I just shot my foot!<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Stop hoppin' around, fool, so I can look at it.<\/dialogue>\n    <scene_description>Shondra gets down on her knees to get a closer look .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Oh gaawwwd!<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Lucky you're such a weak shot. Cap just grazed your toe.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>But, it's real, Shondra, it's all reeeeeeeeeeeeeeeal!<\/dialogue>\n    <scene_description>Tec enters , gun in hand .<\/scene_description>\n    <character>TEC<\/character>\n    <dialogue>Who's the hell's poppin' ca -<\/dialogue>\n    <scene_description>TEC 'S POV Shondra , on her knees , kneeling before Brad . ANOTHER ANGLE<\/scene_description>\n    <character>TEC<\/character>\n    <parenthetical>( menacing . )<\/parenthetical>\n    <dialogue>What up, cuz?<\/dialogue>\n    <scene_description>Shondra stands quickly , scared .<\/scene_description>\n    <character>BRAD<\/character>\n    <parenthetical>( terrified , covering . )<\/parenthetical>\n    <dialogue>Ha ha, Tec, my road dawg, yeah, just the man I wanta see.<\/dialogue>\n    <character>TEC<\/character>\n    <parenthetical>( to Shondra . )<\/parenthetical>\n    <dialogue>What's goin' on, Shondra?<\/dialogue>\n    <character>SHONDRA<\/character>\n    <parenthetical>( nervous . )<\/parenthetical>\n    <dialogue>It's not what it looks like, Tec, I swear.<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>Do n't you lie to me. That was always my line to you, and it always was what it looked like. Now what's up with your boyfriend here.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Yo, dawg, love to kick it wit' you and run the whole thizang, but I got some bidness back in the ` Bu, li'l somethin' somethin' with Big Boy and whatnot, so if y' alls do n't mind -<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>I do mind.<\/dialogue>\n    <scene_description>Tec grabs Brad and drags him out .<\/scene_description>\n    <character>SHONDRA<\/character>\n    <dialogue>No, Tec, stop!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TEC'S LIVING ROOM - SAME TIME<\/stage_direction>\n    <scene_description>Tec hauls Brad in , followed by Shondra . The I - 9s draw weapons ; the room fills with tension . Sean and PJ look on , getting caught up in the action .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Wait, Tec, lem me explain,'cause I do n't belong here.<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>You done forgot already, fool? I told you the only one way out of the I - 9s, and your ` E' ticket's in this here chamber.<\/dialogue>\n    <scene_description>Tec cocks his gun . ANGLE ON SEAN AND PJ watching Tec , riveted .<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>See how committed he is? That's the rage I was talking about.<\/dialogue>\n    <character>PJ<\/character>\n    <parenthetical>( in awe . )<\/parenthetical>\n    <dialogue>Word.<\/dialogue>\n    <scene_description>BACK TO SCENE Tec aims at Brad .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Please, do n't be hatin'.<\/dialogue>\n    <scene_description>Shondra steps in front of Brad .<\/scene_description>\n    <character>SHONDRA<\/character>\n    <dialogue>I wo n't let you do it, Tec.<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>No problem, then. I'll just do the both of you.<\/dialogue>\n    <scene_description>Tec levels the barrel at Shondra and Brad . He starts to squeeze the trigger when suddenly Bill 's HUMMER CRASHES through the wall . I - 9 's scatter and duck as the Hummer 's front grill skids to a stop inches from Tec . The driver 's door pops open and Bill jumps out .<\/scene_description>\n    <character>TEC<\/character>\n    <dialogue>Damn fool! You just hit my house!<\/dialogue>\n    <character>BILL<\/character>\n    <parenthetical>( ignoring him . )<\/parenthetical>\n    <dialogue>Brad! Are you okay?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Not really. And unless you seriously strapped, you about to be not really okay too.<\/dialogue>\n    <scene_description>Bill turns : six I - 9s are aiming guns at he and Brad .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Hey there, fellas. Bill Gluckman. I'm running for governor.<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>We know who you are, fool.<\/dialogue>\n    <character>DEUCE<\/character>\n    <dialogue>You the candidate that's down with bitches and ho's.<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>Tsss. Dude think we ignorant just'cause we live down here. You better recognize.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I absolutely recognize that street violence is tearing Californians apart. You see, guys, California is my family, and hey, here's a thought. Instead of thinking of ourselves as what set we're from, or what crew we're rolling with, why ca n't we just be brothers? What do you say?<\/dialogue>\n    <character>TEC<\/character>\n    <parenthetical>( thoughtful . )<\/parenthetical>\n    <dialogue>Hmmm. I guess I never looked at it like that before. What do you say, ` brothers'?<\/dialogue>\n    <scene_description>The I - 9 's smile , cock their weapons , aim them , and just as they 're about to start blasting , the side WALL EXPLODES and Hadji 's dad 's MERCEDES CRASHES through .<\/scene_description>\n    <character>TEC<\/character>\n    <dialogue>Do n't anybody know where the driveway's at?! Damn!<\/dialogue>\n    <scene_description>Gangsters fall back as Hadji , Mocha , and Monster jump out wearing the Kevlar vests and wielding their weapons .<\/scene_description>\n    <character>HADJI<\/character>\n    <parenthetical>( freaking out . )<\/parenthetical>\n    <dialogue>Better step, y' all, or I ` ma have to waste all y' all up in this piece!<\/dialogue>\n    <character>MONSTER<\/character>\n    <dialogue>Yeah! Drop yo gats!<\/dialogue>\n    <scene_description>The I - 9s , unafraid , point their guns right back at Hadji , Monster and Mocha . It 's a multi - player Mexican standoff .<\/scene_description>\n    <character>DEUCE AND 8-BALL<\/character>\n    <dialogue>Drop your gats!<\/dialogue>\n    <scene_description>Nobody does . Brad steps out .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Hold dup, y' all. Before anybody ices anybody I got to say something.<\/dialogue>\n    <scene_description>No one stops him , so Brad turns to his dad .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>You really were n't gon na pay my ransom?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I did n't know anything about that. You've got to believe me, that was not part of the plan.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>What was the plan? Send me down here to scare me white?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>It was stupid, I know. I thought I'd tried everything. I just did n't know how to deal with you anymore.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>You've never known how to deal with me'cause you do n't know me, and you never cared to find out. And now that your election's on the line, that's when you take a stand? That's bullshit, Pops. Look at me,'cause this is who I am, and if you ca n't accept that, then I'll walk out that door, never see your sorry - ass again.<\/dialogue>\n    <scene_description>Shondra , Tec , all the I - 9 's and Brad 's posse slowly turn from Brad to Bill , completely caught in the moment , waiting for his response .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>I'm not proud of myself, Brad. I made a lot of mistakes, and I know I was n't there for you, and I ca n't change that, but I always loved you and still do.<\/dialogue>\n    <parenthetical>( MORE . )<\/parenthetical>\n    <dialogue \/>\n    <character>BILL<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>and if you say this is really who you are, then I believe you and accept you, and from here on in, I promise to be a real father to you.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Talk is cheap, Pops. Prove it.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I'm here, ai n't I?<\/dialogue>\n    <scene_description>Brad looks at him . Bill looks back . Everyone looks on , riveted .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>A'ight, Pops, we cool.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Much love.<\/dialogue>\n    <scene_description>They pound . ANGLE ON GANGSTERS getting emotional . A couple sniffle , a few wipe their eyes .<\/scene_description>\n    <character>8-BALL<\/character>\n    <parenthetical>( sincere . )<\/parenthetical>\n    <dialogue>Wish I could talk to my pops like that.<\/dialogue>\n    <character>DEUCE<\/character>\n    <parenthetical>( emotional . )<\/parenthetical>\n    <dialogue>No doubt. He's raising his kid.<\/dialogue>\n    <character>8-BALL<\/character>\n    <parenthetical>( dialing his cell , wiping tears . )<\/parenthetical>\n    <dialogue>I ` ma call my pops right now.<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>Would y' all get a hold of your fool selves?! It's time to waste these punks!<\/dialogue>\n    <scene_description>The I - 9s straighten up and re - aim their guns .<\/scene_description>\n    <character>BRAD<\/character>\n    <parenthetical>( with confidence . )<\/parenthetical>\n    <dialogue>Tec, before we all go out in a blaze of glory, can I say one last thing?<\/dialogue>\n    <character>TEC<\/character>\n    <parenthetical>( sighs . )<\/parenthetical>\n    <dialogue>Whatchya got to say?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Moch, kick it freestyle.<\/dialogue>\n    <scene_description>Mocha rests the musket in the crook of his arm , and does his human beat box thing as Brad begins to rap .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>` What's up with all this fightin'? We all should be unitin'! Y' all egos need deflatin', Gangstas, please, quit all this hatin'.'<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>Stop, please! If I hear you drop one more rhyme, I ` ma hafta smoke myself.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>A'ight, cool, but all these gats got to go!<\/dialogue>\n    <scene_description>As Brad grabs the missile launcher from Hadji .<\/scene_description>\n    <character>MOCHA<\/character>\n    <parenthetical>( moved , earnest . )<\/parenthetical>\n    <dialogue>Word up, B. All this hatin' is wack!<\/dialogue>\n    <scene_description>Mocha slams the butt of the musket down , and the flintlock slams forward . Everyone cringes . Nothing happens . Everyone looks at the MUSKET , then suddenly it EXPLODES and a rusty musket ball FIRES OUT , slamming Monster in the middle of her Kevlar breastplate . She flies back and slams into the wall , causing her spear gun to fire - a SPEAR SHOOTS OUT and lands directly into Brad 's left ass cheek . Brad howls and drops the MISSILE LAUNCHER . SLOW MOTION : everyone watches it fall to the ground . REAL TIME : it hits the floor and the MISSILE FIRES . Brad . Tec . Bill . and Shondra all watch in horror as the missile flies past gang members , through the kitchen door , and slams into the side of the gas oven . We hear a countdown BEEP BEEP BEEP .<\/scene_description>\n    <character>TEC<\/character>\n    <dialogue>Ruuuuuuunnnnn!<\/dialogue>\n    <scene_description>Everyone runs for the nearest hole in the wall .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TEC'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Bodies stream out of the house scrambling for safety when suddenly . The HOUSE BLOWS in a huge orange FIREBALL .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TEC'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>We CRANE PAST emergency vehicles parked in front of smoldering remains of Tec 's house , then MOVE TO Tec , who is yelling at a cop .<\/scene_description>\n    <character>TEC<\/character>\n    <dialogue>I know my rights, man, and these fools drove two damn cars into my house, then they blew the shit up! This all better be rebuilt before my ma comes back, or she will make you wish you were never born.<\/dialogue>\n    <scene_description>CLOSE ON a FEMALE TV REPORTER speaking TO CAMERA .<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>I have two witnesses who were at the scene of the explosion.<\/dialogue>\n    <scene_description>She turns and the CAMERA WIDENS to include Sean and PJ ; their clothes are singed and still smoking .<\/scene_description>\n    <character>REPORTER<\/character>\n    <dialogue>Can you tell us what happened?<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>It was hard core, yo. All these crazy busters was strapped to the nines, and I was like, keepin' the peace, telling the brothers to talk it out, find their common bond.<\/dialogue>\n    <scene_description>Sean steps in front of PJ , speaking directly INTO CAMERA .<\/scene_description>\n    <character>SEAN<\/character>\n    <parenthetical>( going for the Oscar . )<\/parenthetical>\n    <dialogue>See, the explosion was just a metaphor for the anger we oppressed young men of color have buried deep inside our hearts. hearts turned dark -<\/dialogue>\n    <character>REPORTER<\/character>\n    <parenthetical>( confused . )<\/parenthetical>\n    <dialogue>Okay, thank you, Bloodbath and Tree.<\/dialogue>\n    <parenthetical>( turns TO CAMERA . )<\/parenthetical>\n    <dialogue>And all of this mayhem is rumored to have been caused by the mysterious White Kong, who remains at large. This is Soon Yi Baxter - Hernandez, reporting from South Central.<\/dialogue>\n    <character>PJ<\/character>\n    <parenthetical>( speaking normally . )<\/parenthetical>\n    <dialogue>When's this gon na air?<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Can I get a copy of this? I need it for my reel.<\/dialogue>\n    <scene_description>She glares and they move off . We FIND Brad and Shondra by an ambulance , talking as a paramedic bandages Brad 's ass .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Aaah!<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>You alright?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>I'm cool. still a little confused maybe. I'm still not exactly sure what was for real and what was n't.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Well, as far as being real, I can only vouch for two things.<\/dialogue>\n    <scene_description>She kisses him full on the lips .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>I can deal with a little more of that reality.<\/dialogue>\n    <scene_description>They kiss again , then Brad breaks it .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Wait a minute. You said two things was real. What was the other?<\/dialogue>\n    <scene_description>Shondra smiles as we . CLOSEUP ON BIG BOY<\/scene_description>\n    <character>BIG BOY<\/character>\n    <dialogue>What up, Shondra?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BIG BOY'S MANSION - LIVING ROOM - DAY<\/stage_direction>\n    <scene_description>It 's an incredibly foofy Baroque nightmare .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Damn, you knew Big Boy the whole time?<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>I told you we go way back.<\/dialogue>\n    <character>BIG BOY<\/character>\n    <dialogue>So Shondra tells me you drop rhyme.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Peep dis.<\/dialogue>\n    <scene_description>He hands over a Mali - Bootay CD .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Once you hear my demo, you're gon na want to give me Eminem play, dawg!<\/dialogue>\n    <character>BIG BOY<\/character>\n    <parenthetical>( taking the CD . )<\/parenthetical>\n    <dialogue>I ca n't wait, y' all. Peace.<\/dialogue>\n    <scene_description>Big Boy pounds Brad and they exit . Big Boy hands the CD to a British butler , who puts it in the system . Big Boy puts on the headphones and the butler hits play . Big Boy listens for a minute , then smiles .<\/scene_description>\n    <character>BIG BOY<\/character>\n    <dialogue>I know exactly what to do with this.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BIG BOY'S BACK PATIO - DAY<\/stage_direction>\n    <scene_description>Big Boy stands there in his bathrobe .<\/scene_description>\n    <character>BIG BOY<\/character>\n    <dialogue>Pull!<\/dialogue>\n    <scene_description>Brad 's CD flies into the sky like a skeet clay pigeon . Big Boy raises a GLOCK and BLOWS it to kingdom come .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AMPHITHEATRE - IN WINGS - DAY<\/stage_direction>\n    <scene_description>Brad and Shondra stand off to the side of a huge rally .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Damn. Twenty thousand people, all here to support my pops. He must have charisma.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>Like father like son.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Shondra, girl. I just have to thank you.<\/dialogue>\n    <character>SHONDRA<\/character>\n    <dialogue>For what?<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>You the only one who accepted me for who I really am.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>You also car jacked me, kidnapped me and tried to turn me white, but I'm gon na let that go.<\/dialogue>\n    <scene_description>They kiss , tongues and all as Bill walks up .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Hey, kids. Sorry to interrupt.<\/dialogue>\n    <character>BRAD<\/character>\n    <parenthetical>( turning . )<\/parenthetical>\n    <dialogue>What up?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>Well, I'm about to go on and, Brad. I want you to be part of this.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>You mean, be onstage with you?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>I need you to help me get the urban vote. Introduce me.<\/dialogue>\n    <character>BRAD<\/character>\n    <dialogue>Dang, I'd be honored.<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>And, son, do n't say it.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>Rap it.<\/dialogue>\n    <character>BRAD<\/character>\n    <parenthetical>( blown away . )<\/parenthetical>\n    <dialogue>For real, Pops?<\/dialogue>\n    <character>BILL<\/character>\n    <dialogue>For real, son, for rizzeal.<\/dialogue>\n    <scene_description>Shondra looks on proudly as MUSIC - heavy on emotional strings , swells , driving the movie audience to feel as good as they 've ever felt in a movie . Brad takes the stage .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Hey, y' all! I'm here to introduce you to my father, Bill Gluckman! The big Gluck!<\/dialogue>\n    <scene_description>A rap beat kicks in as Brad goes all out .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>We all gather here on this special occasion. To listen to my pops, he's your west coast liaison. A speech from him, dude, is like sex with a hoochi. It's hot and excitin', like shoppin' at Gucci! Asians, Jews, Mexicans, too. Everybody's votin', yo, it's a cultural stew. Once he's in office you'll experience great riches. As a thank you for helpin', you can get wit my bitches! Let's get Glucked! Y' all get Glucked! We get Glucked! Come on everybody put your hands up!<\/dialogue>\n    <scene_description>Bill moves onstage and attempts to dance hip hop style .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Immigration, education, and runaway inflation. It got me so stressed I need to start masturbatin'. California ai n't flowin' like some ol' constipation. Vote for dad or I'll bash your frickin' face in! Come on everybody put your hands up!<\/dialogue>\n    <parenthetical>( MORE . )<\/parenthetical>\n    <dialogue \/>\n    <character>BRAD<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>And if my dad wins this election, he'll grow on y' all like a BAD VD INFECTION! Yeeah! We all need a Gluckin'! Let's all get Glucked! GO GLUCK YOURSELF!<\/dialogue>\n    <scene_description>Brad raises Bill 's hand up in victory and we FREEZE . SUPERIMPOSE : Brad did deliver the urban vote . to Bill 's opponent . Bill Gluckman lost the election by a landslide . CLOSEUP ON FREEZE - FRAME TWO - SHOT - SEAN AND PJ SUPERIMPOSE : Sean and PJ landed jobs more suitable to their talents . We WIDEN to reveal Sean and PJ in uniform and working at :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WIENIE IN A BUN - DAY<\/stage_direction>\n    <scene_description>We UNFREEZE . Sean and PJ wait on a TEN - YEAR - OLD GIRL .<\/scene_description>\n    <character>SEAN<\/character>\n    <dialogue>Welcome to Wienie In A Bun.<\/dialogue>\n    <character>PJ<\/character>\n    <dialogue>How about a Double Dog?<\/dialogue>\n    <scene_description>Tom leans in , with a `` Manager '' nametag , whispering angrily :<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Push the Mega Meal, or you punks are so fired.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MALI-BREW - FREEZE ON MOCHA, HADJI AND MONSTER  DAY<\/stage_direction>\n    <scene_description>sitting at their usual table , in mid - argument . SUPERIMPOSE : Mocha , Hadji and Monster continued to do nothing whatsoever , except for order coffee and argue .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MANSION - CLOSE - FREEZE ON TEC - DAY<\/stage_direction>\n    <scene_description>SUPERIMPOSE : Tec sued Bill Gluckman , and was awarded 100 thousand dollars for damage to his house , and another thirty million for emotional distress . Tec moved . UNFREEZE : to reveal Tec leaving his driveway in a Bentley .<\/scene_description>\n    <character>TEC<\/character>\n    <dialogue>What up, neighbor?<\/dialogue>\n    <scene_description>PAN TO Bill , in his Hummer , leaving his driveway . He waves grumpily as we .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SHONDRA'S NAIL AND BEAUTY SALON - DAY<\/stage_direction>\n    <scene_description>SUPERIMPOSE : While waiting for his rap career to kick in , Brad invested his trust fund into a business that made sense . We CRANE DOWN FROM a sign that reads : `` GRAND OPENING , SHONDRA 'S NAIL AND BEAUTY SALON '' to reveal a crowd of Malibu women gathered around Brad and Shondra as Shondra cuts a ribbon with a huge pair of scissors ; the women rush inside .<\/scene_description>\n    <character>BRAD<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>I helped Shondra open up her salon right here in the ` Bu.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SALON<\/stage_direction>\n    <scene_description>Shondra puts the finishing touches to a woman in a chair .<\/scene_description>\n    <character>BRAD<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>She styled up all the ladies in Malibu so they were stone - cold ghetto fabulous.<\/dialogue>\n    <scene_description>Shondra spins the chair to REVEAL : BEES GLUCKMAN with a crazy ghetto hairstyle . She looks like Busta Rhymes . She checks herself in the mirror .<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>I love it.<\/dialogue>\n    <parenthetical>( alternate . )<\/parenthetical>\n    <dialogue>Boo - ya!<\/dialogue>\n    <scene_description>She smiles revealing a GOLD TOOTH with a DIAMOND in it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NEWS STUDIO - NIGHT SUPERIMPOSE:     FOUR MONTHS LATER...<\/stage_direction>\n    <scene_description>L.A. 's own , Hal Fishman reports .<\/scene_description>\n    <character>HAL FISHMAN<\/character>\n    <dialogue>It's official. Bill Gluckman is California's next governor. We have a live report from the celebration at Gluckman headquarters.<\/dialogue>\n    <scene_description>PUSH IN TO the news monitor over Hal Fishman 's shoulder , to .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GLUCKMAN CELEBRATION - NIGHT<\/stage_direction>\n    <scene_description>CHEERS , as Bill takes the mic -LRB- As he speaks , we SLOWLY PULL BACK , gradually revealing the people next to him on stage -RRB- .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>This is a monumental day for our glorious state and there are several people I need to thank here tonight.<\/dialogue>\n    <parenthetical>( beat . )<\/parenthetical>\n    <dialogue>There's the International Brotherhood of Police Officers.<\/dialogue>\n    <scene_description>APPLAUSE , as POLICE OFFICERS salute Bill .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>The Southern California Rotary Club.<\/dialogue>\n    <scene_description>A table full of well - dressed PROFESSIONALS wave politely .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>And our friends at the Environmental Defense Fund.<\/dialogue>\n    <scene_description>A group of granola - type ENVIRONMENTALISTS smile . Brad CLEARS HIS THROAT , causing Bill to look at him . Brad gives Bill a `` reminder '' nod .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>Oh, and of course.<\/dialogue>\n    <scene_description>PULL BACK TO REVEAL : We 're actually in the PROUD BIRD .<\/scene_description>\n    <character>BILL<\/character>\n    <parenthetical>( matter of factly . )<\/parenthetical>\n    <dialogue>. all the Bitches and Ho's.<\/dialogue>\n    <scene_description>A pod of SKANKY WOMEN snap their fingers in Bill 's direction .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>The Pimps. The Hoodrats.<\/dialogue>\n    <scene_description>The lavishly - dressed PIMPS raise their canes to Bill .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>The Association of Korean Grocers.<\/dialogue>\n    <scene_description>An ASIAN FAMILY give Bill the `` thumbs - up . ''<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>The Playas. The Ballers. The Shot Callers. And a special shout out to the I - 9's.<\/dialogue>\n    <scene_description>ANGLE ON TEC and his gang . They wear dark suits and do rags .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>And. The Women's Organization of California.<\/dialogue>\n    <scene_description>A table full of prim ELDERLY LADIES golf - clap and smile .<\/scene_description>\n    <character>BILL<\/character>\n    <dialogue>And most of all, I'd like to thank my campaign advisor on urban affairs, and my son, B - rad G.<\/dialogue>\n    <scene_description>APPLAUSE as Brad grabs the mic at the podium .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>West Coast Reprezzizzin'!<\/dialogue>\n    <scene_description>Bill and Brad hug . HIP HOP MUSIC KICKS IN and the entire Ballroom turns into one huge dance party . Bill raises the roof as he meanders into the celebrating crowd . People of all different races and backgrounds dance together , all having a blast . Hadji grinds on an ELDERLY CONSTITUENT 's ass . she 's into it .<\/scene_description>\n    <character>HADJI<\/character>\n    <dialogue>I'm totally taxing your ass.<\/dialogue>\n    <scene_description>Bess compares her diamond ring to Tec 's Bling - Bling .<\/scene_description>\n    <character>BESS<\/character>\n    <dialogue>You get that from Tiffany?<\/dialogue>\n    <character>TEC<\/character>\n    <dialogue>I think that was the Bitches' name, yeah.<\/dialogue>\n    <scene_description>They continue to marvel at each other 's decorative accessories . ANGLE ON ELSEWHERE IN THE PARTY We see Sean and PJ are caterers , wearing `` Wiener on a Bun '' outfits\/hats and circulating among the guests . They approach a well - to - do PARTYGOER .<\/scene_description>\n    <character>PJ<\/character>\n    <dialogue>Would you care for a wiener? Courtesy of Wiener on a Bun.<\/dialogue>\n    <character>SEAN<\/character>\n    <dialogue>Or perhaps I can interest you in a head shot? I'm trained in jazz dance, tap, and I can do a Southern accent.<\/dialogue>\n    <scene_description>Tom enters wearing a `` Wiener on a Bun '' manager 's outfit .<\/scene_description>\n    <character>TOM<\/character>\n    <dialogue>Idiots. What did I tell you about bothering the guests? Now move it, those wieners are n't serving themselves.<\/dialogue>\n    <scene_description>He pushes them out of there .<\/scene_description>\n    <character>BRAD<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Yo, yo, yo.<\/dialogue>\n    <scene_description>Everyone turns to see Brad still at the podium . Confusion .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>Last time I was here, y' all threw my ass out. But now that I haves yo attention, I gots somethin' I got ta say. And I have to do it the only way I know how. Kick it, Moch.<\/dialogue>\n    <scene_description>TEETH RATTLING BASS THUNDERS , as Brad pulls the mic out of the stand and begins prowling around the stage . -LRB- NOTE : Rap can be shortened . -RRB- SLOW MOTION : Panic , as everyone realizes Brad is about to rap .<\/scene_description>\n    <character>BRAD<\/character>\n    <dialogue>I wrote this one just for you, Dad.<\/dialogue>\n    <parenthetical>( starts to rap . )<\/parenthetical>\n    <dialogue>Yeah, yeah. Oh yeah. Yeah, yeah. Yeah.<\/dialogue>\n    <parenthetical>( stops . )<\/parenthetical>\n    <dialogue>I'm sorry, I lost my place again.<\/dialogue>\n    <parenthetical>( remembers . )<\/parenthetical>\n    <dialogue>Oh, here we go. Election, erection, I got an infection. My pops, he won, Defying all the pre - dections.<\/dialogue>\n    <scene_description>Sean and PJ -LRB- waiters -RRB- drop their serving trays ; Tec and the I - 9 's dive for Brad at the podium ; Shondra screams , `` NOOOOOO '' . Brad is grabbed and thrown off the stage by the I - 9 's and is projected out over the audience , where we . FREEZE ON : Brad 's terrified face .<\/scene_description>\n    <character>BRAD<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <parenthetical>( cocky as ever . )<\/parenthetical>\n    <dialogue>What can I say, ai n't nothing but a thang.<\/dialogue>\n    <scene_description>UNFREEZE and Brad falls to the ground .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COP CAR<\/stage_direction>\n    <character>HAL FISHMAN<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>After months of searching the Southland for notorious criminal White Kong, the LAPD has finally made an arrest. The suspect, a black man, was caught earlier today.<\/dialogue>\n    <scene_description>Footage of a BLACK MAN being put in a squad car .<\/scene_description>\n    <character>TOM GIBBONS<\/character>\n    <dialogue>` White Kong'? Damn! I'm not even white.<\/dialogue>\n    <character>COP<\/character>\n    <dialogue>That's what they all say.<\/dialogue>\n    <parenthetical>( alternate : . )<\/parenthetical>\n    <dialogue>Shut up, White Kong.<\/dialogue>\n    <scene_description>FADE TO BLACK . THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"The film centers on the family life of Bill Gluckman (Ryan O'Neal), a wealthy Jewish senator from Malibu, California who is running for the office of Governor of California. His son Brad (Jamie Kennedy) is a wannabe \"Eminem\", preferring to go by the nickname \"B-Rad\" despite leading a rich, sheltered life. As a result, members of Mr. Gluckman's political campaign become concerned that Brad's idiotic, outlandish behavior will ruin his father's chances at being elected. The campaign team members hire two actors, Sean (Taye Diggs), and PJ (Anthony Anderson), who don't know any more about inner-city life than B-Rad, to act as gang members. They kidnap him, and take him to South Central Los Angeles, where PJ's cousin Shondra (Regina Hall) lives, and they hope B-Rad will be \"scared white\" after witnessing what inner city life is really like. The trio engages in mildly dangerous activities such as petty theft in order to convince B-Rad that he should return home. The three involuntary become mixed up in a shootout between rival gangs, in which the leader of one of the gangs, Tec (Damien Dante Wayans), becomes impressed at intimidation tactics portrayed by B-Rad as a result of playing Grand Theft Auto. In the meantime, B-Rad develops feelings for Shondra, who at first is unimpressed and annoyed, but slowly begins to enjoy B-Rad's company. B-Rad comes to find out that the entire excursion to head to South Central was a ploy in order for him to be scared of his current mannerisms. His recklessness leads to the trio becoming actually kidnapped by Tec and his crew, unbeknownst to B-Rad, who just assumes this is part of the act. When Bill Gluckman realizes that his son is in actual danger, he rushes over, and uses his trademark negotiating skills in order to ease the situation. In doing so, he realizes that he should just accept B-Rad for who he is, and decides that he will support his son unconditionally. The two reconcile, and When the family returns to Malibu, the film closes with Bill and B-Rad celebrating a Gluckman win in the Senate race."}
{"movie_name":"Life_1999","imdb_id":"tt0123964","script":"<script>\n  <scene>\n    <stage_direction>EXT. PRISON CEMETERY -- DAY<\/stage_direction>\n    <scene_description>A handful of people are gathered in an open field under a fierce Mississippi sun . A couple of young inmates , JAKE and LEON , lean on their shovels . They are waiting to bury two identical CASKETS with inmate numbers stenciled on the pinewood lids . A GUARD rests the butt of his rifle on the ground and takes a long , healthy pull from his canteen . He offers it to the PRISON CHAPLAIN , who is much obliged . SUPERINTENDENT BILL BURKE , a 40 - year - old black man , glances at his watch and loosens his tie . Sure is hot . MARY HUMPHRIES , an elderly white woman in a nurse 's uniform , stands behind WILLIE LONG , an ancient inmate sleeping peacefully in a wheelchair . She readjusts an umbrella to shield the old black man from the blistering sun . Burke dabs his forehead with a handkerchief . He gives the nod to the chaplain , who steps forward and cracks his bible . The men remove their hats .<\/scene_description>\n    <character>CHAPLAIN<\/character>\n    <dialogue>In accordance with the regulations of the State of Mississippi, we gather here today to lay to rest the remains of inmates R. Gibson, number 4316, and C. Banks, number 4317. Ashes to ashes, dust to dust. May God have mercy on their souls.<\/dialogue>\n    <character>BURKE<\/character>\n    <dialogue>Go ahead, fellas.<\/dialogue>\n    <scene_description>The young inmates plunge their shovels into the dirt . One by one , the mourners head back toward a prison van parked on a nearby dirt road .<\/scene_description>\n    <character>NURSE HUMPHRIES<\/character>\n    <dialogue>I'll come back for you in a little while, Willie.<\/dialogue>\n    <scene_description>She leaves Willie alone with Jake and Leon . He rolls his chair up to the edge of the graves and gazes at the pinewood caskets .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>These two guys friends of yours, old man?<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>We spent some time together.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>Why do I get the feeling when you say some time, you mean some time.<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>I was already here a good many years when they came in in 1932.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>1932? That's like, that's like.<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>Sixty - five years ago. They always said the farm could n't hold'em forever. Looks like you're finally free, boys.<\/dialogue>\n    <scene_description>Willie pulls a bottle of moonshine from his jacket and takes a swig in their honor .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>Hey, the dude's holdin'.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>Come on, old - timer, hook the brothers up.<\/dialogue>\n    <scene_description>Willie passes the bottle to Leon , who takes a swig and winces from the unexpected kick .<\/scene_description>\n    <character>LEON<\/character>\n    <dialogue>Hell of a way to get out. Heard they burned up in that fire yesterday.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>I seen the bodies before they sealed'em up. Them fellas sizzled up good. Looked like some shit from the X - Files.<\/dialogue>\n    <parenthetical>( taking a swig from the bottle . )<\/parenthetical>\n    <dialogue>Damn, that shit's nasty.<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>Ray's special recipe. He always had exacting standards where the hooch was concerned.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>What were they, bootleggers?<\/dialogue>\n    <scene_description>Willie holds up the bottle , checking the clarity of the liquor .<\/scene_description>\n    <character>WILLIE<\/character>\n    <dialogue>Something like that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SPANKY'S BACK ALLEY (1932) -- NIGHT<\/stage_direction>\n    <scene_description>RAY GIBSON holds up a similar bottle of liquor to a light over a door . Music comes from within . He takes a swig and stashes the bottle in his belt . He adjusts his tie , polishes his shoes on the back of his pants and raps on the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPANKY'S -- NIGHT<\/stage_direction>\n    <scene_description>The speakeasy is jumping , jammed with people . Up on stage a hot JAZZ BAND is playing backup for a seductive CHANTEUSE . Well - heeled PATRONS enter through doors near the stage . In the back , at the end of a long hallway , a BOUNCER cracks open the door and Ray squeezes inside .<\/scene_description>\n    <character>BOUNCER<\/character>\n    <dialogue>Oh, no, Ray. Not tonight. Spanky's not happy with you.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Is Spanky here?<\/dialogue>\n    <character>BOUNCER<\/character>\n    <dialogue>No, but.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Then what's the problem?<\/dialogue>\n    <character>BOUNCER<\/character>\n    <dialogue>Do yourself a favor and find another place where they let you in the front door.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>But this is where the action is and I have to be where the action is. Look, when your old lady wanted those alligator shoes, did n't I come through for you? Ai n't she stepping in style now?<\/dialogue>\n    <character>BOUNCER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Well, alright then. What do you think about this new tie?<\/dialogue>\n    <character>BOUNCER<\/character>\n    <dialogue>Sharp.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I look good tonight. And I feel lucky, too.<\/dialogue>\n    <scene_description>Ray heads inside .<\/scene_description>\n    <character>BOUNCER<\/character>\n    <dialogue>Anyone asks, it was n't me who let you in.<\/dialogue>\n    <scene_description>Ray slides through the crowd , pausing at the bar to nibble on the neck of a COCKTAIL WAITRESS .<\/scene_description>\n    <character>COCKTAIL WAITRESS<\/character>\n    <dialogue>Do n't even try it.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>When do you get off?<\/dialogue>\n    <character>COCKTAIL WAITRESS<\/character>\n    <dialogue>I get off at two, but you ai n't never getting off.<\/dialogue>\n    <scene_description>She carries a tray of drinks into the crowd . Ray shakes his head in wonderment at her departing form . The BARKEEP steps up as Ray pulls out his bottle .<\/scene_description>\n    <character>BARKEEP<\/character>\n    <dialogue>You ca n't drink that in here, Ray.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I sure ca n't drink that watered - down swill you're serving. Give me a glass of ice.<\/dialogue>\n    <character>BARKEEP<\/character>\n    <dialogue>I ca n't give you a glass of ice. I ca n't give you anything until you pay your damn tab.<\/dialogue>\n    <scene_description>Disregarding the warning , Ray tilts the bottle back . Shaking his head , the barkeep moves on to a paying customer . Ray 's eyes follow a bottle of French Champagne as it is delivered to a nearby table . Here sits the straight - laced CLAUDE BANKS with his girlfriend , DAISY . She 's enjoying the show . He 's polishing the silverware . The WAITER pours two glasses of champagne and leaves the bottle on ice . Claude regards his glass skeptically .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>For the kind of money they charge here, you'd think they could hire somebody to actually wash the dishes.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>Claude. Here's to your new job down at the bank. I always knew you'd make something of yourself.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Know what I'm going to buy with my first pay check?<\/dialogue>\n    <scene_description>Daisy thinks she does . She leans in , eyes twinkling .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Season tickets to the Yankees. Right there on the first base line.<\/dialogue>\n    <parenthetical>( off her disappointment . )<\/parenthetical>\n    <dialogue>What's wrong, baby?<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>I was hoping you were gon na say an engagement ring, Claude.<\/dialogue>\n    <scene_description>French Champagne shoots out of Claude 's nose .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Engagement ring!<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>That's what respectable folks do. Get a job, get married, start having babies. That's what you want, is n't it?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Sure it is. I just do n't see any reason to rush into things. Damn, look at this shirt. I'll be right back.<\/dialogue>\n    <scene_description>Claude leans in to kiss Daisy on the lips . She offers her cheek . He departs . OVER BY THE BAR Ray watches Claude make a beeline for the men 's room .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEN'S ROOM -- NIGHT<\/stage_direction>\n    <scene_description>Claude steps into the bathroom and approaches the sink . A big hand falls on his shoulder and yanks him backwards into a stall .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. STALL -- NIGHT<\/stage_direction>\n    <scene_description>Claude is shoved down on the toilet by two BAG MEN in suits . Suddenly , it 's crowded in here .<\/scene_description>\n    <character>BAG MAN #1<\/character>\n    <dialogue>Congratulations, Claude. We understand you finally got yourself a job.<\/dialogue>\n    <character>BAG MAN #2<\/character>\n    <dialogue>Guess that means you can pay Mr. Riley the fifty bucks you owe him.<\/dialogue>\n    <scene_description>They rifle through Claude 's jacket and quickly find his wallet .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Now wait a second, guys. I've got a bill to pay out there.<\/dialogue>\n    <character>BAG MAN #1<\/character>\n    <dialogue>Twenty - two dollars. Not bad for a start.<\/dialogue>\n    <scene_description>They toss back his empty wallet .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Come on, fellas, that's two weeks pay. I'm here with my girl. You got ta leave me something.<\/dialogue>\n    <character>BAG MAN #2<\/character>\n    <dialogue>How about your legs?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>My legs? Those are good, I'll keep the legs.<\/dialogue>\n    <scene_description>The stall door swings shut as the bag men depart .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPANKY'S -- NIGHT<\/stage_direction>\n    <scene_description>On his way into the Men 's Room , Ray squeezes past the bag men on their way out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MEN'S ROOM -- NIGHT<\/stage_direction>\n    <scene_description>Glancing around , Ray spots Claude 's feet under the stall door . He steps up to the sink , washes his hands and takes a towel from the ATTENDANT . Scanning the assortment of grooming products , he selects a bottle of cologne and takes a sniff .<\/scene_description>\n    <character>RAY<\/character>\n    <parenthetical>( displeased . )<\/parenthetical>\n    <dialogue>You have any of that French stuff?<\/dialogue>\n    <scene_description>As the attendent bends down to retrieve a bottle of the good stuff , Ray palms a coin from the tip basket .<\/scene_description>\n    <character>ATTENDENT<\/character>\n    <dialogue>Here you go.<\/dialogue>\n    <scene_description>Ray offers the quarter , a gesture of uncommon generosity .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Keep the change.<\/dialogue>\n    <character>ATTENDENT<\/character>\n    <dialogue>Why, thank you, sir!<\/dialogue>\n    <scene_description>Ray pats the cologne on his face . A toilet flushes and Claude steps over to the sink . Ray catches his eye in the mirror .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Do n't I know you?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>I do n't think so.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Sure I do. What's your name again?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Claude Banks.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Claude Banks. How could I forget that? You've got to remember me. Ray Gibson. We went to high school together.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>You went to Monroe?<\/dialogue>\n    <character>RAY<\/character>\n    <parenthetical>( beaming . )<\/parenthetical>\n    <dialogue>That's right! Good old Monroe.<\/dialogue>\n    <scene_description>Ray throws his arms around Claude , deftly snatching his wallet . Claude extracts himself from Ray 's embrace .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Well, I went to Jefferson, so you must have a different Claude Banks in mind.<\/dialogue>\n    <scene_description>Claude straightens his jacket and heads for the door . Ray stashes the stolen wallet in his jacket .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Sorry, man. My mistake.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SPANKY'S -- NIGHT<\/stage_direction>\n    <scene_description>On the stage , the chanteuse has downshifted into a sultry number about back - door lovers and broken dreams . Ray steps out of the men 's room and is instantly collared by BULLETHEAD , a man who makes his living being large and threatening .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Watch the threads, Bullethead. If this is about my tab, I've got it covered.<\/dialogue>\n    <scene_description>Pressed up against the wall , Ray reaches into his jacket and produces Claude 's wallet . Bullethead snatches it , inspects it and is not impressed .<\/scene_description>\n    <character>BULLETHEAD<\/character>\n    <dialogue>This ai n't about your tab, Ray. You've got bigger problems than that.<\/dialogue>\n    <scene_description>He stuffs the wallet back into Ray 's jacket and hustles Ray out the back door past the bouncer who let him in .<\/scene_description>\n    <character>BOUNCER<\/character>\n    <dialogue>Is that Ray Gibson? Who the hell let him in here?<\/dialogue>\n    <scene_description>BACK AT CLAUDE 'S TABLE Claude returns to the table where Daisy is sipping champagne . He takes the glass out of her hand .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Come on, honey, let's get out of here.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>But I'm having a good time.<\/dialogue>\n    <character>WAITER<\/character>\n    <dialogue>Excuse me, sir, I believe you forgot this.<\/dialogue>\n    <scene_description>The waiter presents Claude with the bill .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>The bill. Of course, the bill. We could n't leave without paying the bill. Especially such an incredibly large bill.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAN -- NIGHT<\/stage_direction>\n    <scene_description>Claude is shoved into the back of the van and the doors are slammed behind him . He bangs and shouts , but it 's no use .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Save your energy, Claude. You're gon na need it.<\/dialogue>\n    <scene_description>Ray is stretched out against the back wall . Claude is knocked to the floor as the van lurches into motion .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Here, this belongs to you.<\/dialogue>\n    <parenthetical>( tossing Claude his wallet . )<\/parenthetical>\n    <dialogue>It was empty when I found it.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Good old Monroe.<\/dialogue>\n    <scene_description>Ray swigs from his bottle and offers it to Claude , who is n't interested .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>What I want to know is what happened to your cush between the time that you got up from the table and when I caught up with you in the Johnny?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>I do n't see where that's any of your business.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Did those two muscle heads shake you down? Swear I've seen them down at the track with Sure - shot Riley. That's it, ai n't it? A gambling debt.<\/dialogue>\n    <scene_description>Busted , Claude snatches the bottle and carefully wipes off the neck before tilting it high . Ray gets a good chuckle out of this straight cat in the bow tie .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Where they taking us, anyway?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Probably to Spanky's headquarters down at the pier.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Good, I'm looking forward to meeting this Spanky. Give me a chance to straighten out this whole mess.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I ca n't wait to see that. You slay me, man.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PIER -- NIGHT<\/stage_direction>\n    <scene_description>The van pulls into a the loading bay of a warehouse at the end of a short pier on the Harlem River .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WAREHOUSE -- NIGHT<\/stage_direction>\n    <scene_description>Bullethead and a HENCHMAN pull Ray and Claude from the back of the van . They find themselves in a dark warehouse filled with crates of contraband .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <parenthetical>( sotto . )<\/parenthetical>\n    <dialogue>What are they gon na do to us?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>You? Dine and ditch, right?<\/dialogue>\n    <parenthetical>( Claude nods . )<\/parenthetical>\n    <dialogue>Over ten bucks?<\/dialogue>\n    <parenthetical>( he nods again . )<\/parenthetical>\n    <dialogue>You're probably looking at a thumb.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>A thumb? What do you mean, like cut it off? For ten bucks?<\/dialogue>\n    <parenthetical>( Ray nods . )<\/parenthetical>\n    <dialogue>That include the tip?<\/dialogue>\n    <scene_description>Claude shoves his hands under his armpits at the sound of approaching FOOTSTEPS echoing across the vast space . Claude and Ray peer into the darkness .<\/scene_description>\n    <character>SPANKY<\/character>\n    <parenthetical>( from the darkness . )<\/parenthetical>\n    <dialogue>You picked the wrong night to fuck with me, Ray. I just lost three men and a truck full of Canadian whiskey. You know what that kind of thing does to my business? It makes me want to lash out and hurt somebody.<\/dialogue>\n    <scene_description>SPANKY JOHNSON emerges into the light . He uses a small silver spoon to take an ample snort of cocaine into each nostril . He glances at Claude .<\/scene_description>\n    <character>SPANKY<\/character>\n    <dialogue>Who's he? Friend of yours, Ray?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>I never saw this man before tonight. He's a lowlife degenerate who lurks in bathrooms. I'm a professional man, an upstanding citizen. I go to church on Sunday.<\/dialogue>\n    <character>SPANKY<\/character>\n    <dialogue>Then what are you doing here?<\/dialogue>\n    <character>BULLETHEAD<\/character>\n    <dialogue>Failure to pay.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <parenthetical>( rattled . )<\/parenthetical>\n    <dialogue>Look, Mr. Johnson, you seem like a reasonable man. I got a good job starts Monday. I'll pay you back with my first pay check. With interest. I do n't want to tell you how to conduct your business, but if you cut off my finger you wo n't get jack. Working an adding machine, I got ta be whole.<\/dialogue>\n    <parenthetical>( his fingers dancing over imaginary keys . )<\/parenthetical>\n    <dialogue>I need my thumbs and all my fingers for praying and doing good.<\/dialogue>\n    <scene_description>Spanky holds up a hand , silencing Claude .<\/scene_description>\n    <character>SPANKY<\/character>\n    <dialogue>The choirboy wants to keep his fingers. Who am I to argue? Drop him.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Drop him? What does drop him mean?<\/dialogue>\n    <scene_description>Claude protests loudly as Bullethead and the henchman bind his hands and feet . Spanky turns to Ray .<\/scene_description>\n    <character>SPANKY<\/character>\n    <dialogue>You got ta lotta balls showing your face around my club. If a man's gon na run numbers on my side of Broadway, you think he'd have the common sense to keep a low profile. But not Ray Gibson.<\/dialogue>\n    <scene_description>The goons hoist Claude up on another pulley and dangle him head first over a hole in the floor . Several feet down , the Harlem River laps against the wooden pylons .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>No, not down there! That water's filthy! Help me out here, man!<\/dialogue>\n    <scene_description>Shrugging , Ray pinches his nose and puffs out his cheeks . The goons release the rope and Claude plunges into the water . Spanky turns back to Ray .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>You do n't have to drown that fella, Spanky. You already scared him half to death. He did n't know who he was fucking with.<\/dialogue>\n    <character>SPANKY<\/character>\n    <dialogue>But you do. What does that say about you, Ray? What does that say about me? I've given you a lot of leeway over the years on account of your father. But he did n't last long enough to teach you the meaning of the word respect so I guess I'm gon na have to school you myself.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Come on, Spank, I'm just trying to get by here. You remember how it was when you were starting out.<\/dialogue>\n    <scene_description>The henchman yanks on the rope . Claude emerges from the hole , gasping for breath .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>I was supposed to wear this suit on Monday!<\/dialogue>\n    <scene_description>The henchman releases the rope , sending Claude back into the water . Ray reaches into his jacket . Bullethead pulls a gun and presses it into Ray 's temple . Ray gives him a look and cautiously pulls out his bottle .<\/scene_description>\n    <character>SPANKY<\/character>\n    <dialogue>What's that, some of your bathtub brew?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Puerto Rican rum. See for yourself.<\/dialogue>\n    <scene_description>Ray tosses him the bottle . Spanky uncorks , sniffs , samples the goods . He 's impressed .<\/scene_description>\n    <character>SPANKY<\/character>\n    <dialogue>Where'd you get this?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Comes up the Mississippi. I can get more. A lot more. I was thinking about going into business for myself, but under the circumstances, I'd be willing to take on a partner.<\/dialogue>\n    <scene_description>Once again , the henchman yanks on the rope and Claude comes up sucking air desperately . He releases the rope , submerging Claude for a third time .<\/scene_description>\n    <character>SPANKY<\/character>\n    <dialogue>I'm interested. Keep talking.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>All I need is the front money and a truck. I could be back in two, three days tops if I had somebody to share the driving.<\/dialogue>\n    <scene_description>Spanky considers the terms . Can he afford to trust Ray ? Can he afford not to ?<\/scene_description>\n    <character>SPANKY<\/character>\n    <dialogue>If you fuck me on this one, I'll spare no expense.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Understood.<\/dialogue>\n    <character>SPANKY<\/character>\n    <dialogue>Alright, Ray, you've got a deal. Pick your man and get going.<\/dialogue>\n    <scene_description>Ray glances around . The pulley rope is still twitching in the water .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>I'll take the little choirboy, if you do n't mind.<\/dialogue>\n    <character>SPANKY<\/character>\n    <dialogue>If I was you, I'd want somebody who can handle himself in a tight spot.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I just want somebody who wo n't put a bullet in my back once the truck is full.<\/dialogue>\n    <scene_description>Spanky sees Ray 's point . He nods to the henchman , who hoists Claude 's limp body out of the water and onto the cement . Spanky plants a foot on Claude 's chest and applies pressure . A geyser of Harlem River water shoots from Claude 's mouth as he sputters back to life .<\/scene_description>\n    <character>SPANKY<\/character>\n    <dialogue>For your sake, I hope you can drive. Somebody give him some dry clothes.<\/dialogue>\n    <scene_description>THE SPINNING WHEEL OF A TRUCK The CAMERA MOVES UP the side of the old Ford truck to find Claude sitting pensively in the passenger seat .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCK (MOVING) -- NIGHT<\/stage_direction>\n    <scene_description>Ray palms the wheel .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Tell me about that hot sketch you were hypin' last night. She was a choice bit of calico. You two been seeing each other a long time? Gon na slap the handcuffs on her and stroll down the aisle one of these days?<\/dialogue>\n    <scene_description>Tight - lipped , Claude shifts in his seat .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Sometimes I wish I could find me a sheba to settle down with. Suppose I'm just a tomcat by nature.<\/dialogue>\n    <parenthetical>( trying to fill the silence . )<\/parenthetical>\n    <dialogue>This little rum run is gon na seriously improve my relationship with Spanky. He's a good man to have on your side. He's got the capital and the connections. That's what you got to have in that business. Spanky's place is pretty plush, but one of these days I'm gon na open up my own establishment. Ray's Boom - Boom Room. You like that? Ray's Boom - Boom Room. That's in the groove, do n't you think?<\/dialogue>\n    <scene_description>If Claude does like it , he 's not letting on .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Come on, daddy - o. You have n't said a word since we started. Least you could do is make some friendly conversation.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Look, man, I do n't want friendly conversation. I do n't want to be your friend. I've seen your friends and I do n't like them. I just want to do this thing and get back to New York in time to start my job.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Start your job? What kind of job?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Well, if you must know, bank teller at First Federal of Manhattan. I'm responsible for keeping track of hundreds, occasionally thousands of dollars.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>That's some long green.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Damn straight, it is. I got my own set of keys because I'm supposed to open up. So if I ai n't there 8 a.m. Monday morning, there's gon na be hell to pay.<\/dialogue>\n    <scene_description>Beat of silence . Ray laughs to himself .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>No, tell me what's so funny.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I do n't know. Bank teller. Sounds like ladies work to me.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Well, maybe I should dig around in other people's clothes for money. It's obviously been highly successful for you.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Hey, you'd be surprised what you find in other people's pockets. Just got ta avoid them deadbeat bank tellers. Get you every time.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>I did n't start out to be a bank teller. I was gon na be a ballplayer. Even had an offer to play short for the Newark Eagles.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Why did n't you take it?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>The Negro League do n't pay so good. And you're always on the road. That do n't wash with Daisy.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>You gave up baseball to be a bank teller? I ca n't latch on to that.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>At some point a man's got to get serious about his future. I'm sure you have no idea what I'm talking about.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>You're talking about giving up baseball to be a bank teller.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Bank teller's just a start. I got plans. Real plans. Not opening some Zoom - Boom Room. This time next year I'll be a loan officer.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>A loan officer?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>That's right, a loan officer.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>So you mean, if I needed some jack to get my nightclub up and running, I'd have to hype some square like you?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Uh - huh.<\/dialogue>\n    <scene_description>Ray pulls out his pocket watch . A mechanical tune plays as he checks the time .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>How would I get a loan, anyway?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>You need collateral.<\/dialogue>\n    <character>RAY<\/character>\n    <parenthetical>( re : watch . )<\/parenthetical>\n    <dialogue>Like this?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>That thing? Who'd you steal it from?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>My daddy gave me this watch.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Yeah? Who'd he steal it from?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>My daddy is dead so watch your mouth. You can say what you want about me, but do n't be dragging my daddy into it. This watch means the world to me. Solid gold. Keeps perfect time.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Looks like a fake to me. Loan denied!<\/dialogue>\n    <scene_description>Ray stuffs his daddy 's watch back in his pocket .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Ah, go chase yourself. I'll take my business elsewhere. And for future reference, you are no longer welcome at Ray's Boom - Boom Room.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>There is no Boom - Boom Room.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>When there is, you can forget about it. And I swear to God, you ever talk about my daddy again I'm gon na kick your bank - telling, loan - denying ass, you got me?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Oooh.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I think I liked you better when you kept your trap shut.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROADSIDE DINER -- DAY<\/stage_direction>\n    <scene_description>The truck veers off the highway and jerks to a halt in front of the rundown establishment .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROADSIDE DINER -- DAY<\/stage_direction>\n    <scene_description>A dozen WHITE FOLKS look up as Ray and Claude push through the door .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Man, something smells good in here. How's everybody doing?<\/dialogue>\n    <scene_description>Nothing but sullen stares from all corners of the room .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <parenthetical>( sotto . )<\/parenthetical>\n    <dialogue>Maybe we oughta find another place.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Are you kidding? Tell me you do n't want a slice of that pie right over there.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>I must have left my appetite outside, which is where I think we ought to be right now.<\/dialogue>\n    <scene_description>Claude tugs Ray towards the door but Ray wo n't be dissuaded . He boldly addresses a YOUNG MAN in an apron behind the counter .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Good evening, Billy. We'd like some coffee and a couple of slices of that homemade pie you've got advertised.<\/dialogue>\n    <character>BILLY<\/character>\n    <dialogue>How you know my name's Billy?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>It says so right there on your shirt.<\/dialogue>\n    <character>BILLY<\/character>\n    <parenthetical>( glancing down . )<\/parenthetical>\n    <dialogue>That what that says?<\/dialogue>\n    <scene_description>Billy 's MAMA sets a piping hot pie on the back counter and steps up next to her son . She casts a disparaging glance at Claude 's suit .<\/scene_description>\n    <character>MAMA<\/character>\n    <dialogue>If you boys can read so good, how come you missed that sign in the window?<\/dialogue>\n    <scene_description>Claude considers the sign she 's pointing to .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>You mean this sign? The one that says `` No Coloreds Allowed.'' That's a good question. Ray, how come we missed the sign?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Look, ma'am, we've been driving all day. We'd just like to purchase one of those pies and we'll be on our way.<\/dialogue>\n    <character>MAMA<\/character>\n    <dialogue>Those are whites - only pies.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Got any nigger pies?<\/dialogue>\n    <scene_description>Claude jabs him .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Any fool could see those are whites - only, not - for - blacks, come - on - let's - get - the - fuck - outta - here pies. Thank you very much.<\/dialogue>\n    <scene_description>Claude starts tugging Ray toward the door .<\/scene_description>\n    <character>RAY<\/character>\n    <parenthetical>( sotto . )<\/parenthetical>\n    <dialogue>Thanks for backing me up here, Uncle Claude.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <parenthetical>( sotto . )<\/parenthetical>\n    <dialogue>Do n't Uncle Claude me. You get a load of those crackers? Could n't be a mouthful of teeth among the bunch of'em. Why you want to pick a fight with people like that for?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>You're soft.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>What'd you say?<\/dialogue>\n    <scene_description>Diner patrons stare .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>I said you're soft.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Hey, man, do n't ever call me that.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I call it like I see it, and what I see is definitely soft.<\/dialogue>\n    <scene_description>Claude narrows his eyes .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Alright. You want some pie?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Yeah, I want some pie.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Okay then, I'm gon na walk over to that counter and get us some fucking pie.<\/dialogue>\n    <scene_description>Resolved , Claude stomps over to the counter .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Excuse me, ma'am, I bet a brick will turn that one right there into a colored pie.<\/dialogue>\n    <scene_description>Claude lays down a dollar bill . Mama casually pulls a shotgun from under the counter .<\/scene_description>\n    <character>MAMA<\/character>\n    <dialogue>And I bet this right here will turn you into a colored pie.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Okay, Ray, I think we can go now. Much obliged.<\/dialogue>\n    <scene_description>Ray gives the whole place a cool once - over as Claude pulls him out the door . Mama turns to Billy , still studying the stitching on his shirt .<\/scene_description>\n    <character>MAMA<\/character>\n    <dialogue>Do n't be concentrating so hard, baby. You're liable to seize yourself again.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOCKS -- NIGHT<\/stage_direction>\n    <scene_description>The truck rolls up to the waters edge . Ray kills the engine and flashes the lights twice . In the passenger seat , Claude is fast asleep . After a few moments , a FAT MAN appears , shining a flashlight into the cab .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>How you doing? We're looking for Slim.<\/dialogue>\n    <character>SLIM<\/character>\n    <dialogue>You found him.<\/dialogue>\n    <scene_description>Ray cocks an eyebrow .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DOCKS -- NIGHT<\/stage_direction>\n    <scene_description>Under cover of darkness , a couple of MEN finish loading crates into the bed of the truck . Ray and Claude keep their eyes peeled for the law . Down by the river , they can see lights and hear music from a district of rowdy juke joints . SLIM steps up , wiping his hands .<\/scene_description>\n    <character>SLIM<\/character>\n    <dialogue>That's it, fellas. Thirty six cases of Puerto Rico's finest. At five bucks a case, that's $ 180.<\/dialogue>\n    <scene_description>Ray pulls out a wad and slaps it in Slim 's sweaty palm . The fat man starts counting it out .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Man, that music is hot. What goes on down there, Slim?<\/dialogue>\n    <character>SLIM<\/character>\n    <dialogue>That's Natchez - under - the - Hill.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Blacks welcome there?<\/dialogue>\n    <character>SLIM<\/character>\n    <dialogue>Green's the only color that matters under the hill. They got gambling, girls. You oughta check it out.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Maybe we will. Nice meeting you.<\/dialogue>\n    <scene_description>Slim slips into the shadows .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Nice meeting you? You've been here before, have n't you?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>What gave you that idea?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Oh, I do n't know, maybe because our lives depend on it, I just sort of thought you knew what you were doing!<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Do n't get all agitated on me. I bought a bottle of rum from a couple of dudes, I heard'em talking.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Let me get this straight. We drove all the way down to Klan country'cause you heard a couple of guys talking?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>What are you complaining about? It worked out. Everything's cool. Now, come on, let's head down there and see what's shaking. We deserve a little reward.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <parenthetical>( dubious . )<\/parenthetical>\n    <dialogue>Reward?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>There are people down there having fun. I want to be one of them. I want you to be one of them. On Monday you can be a bank teller if you want, but tonight you're a bootlegger with a truck full of Puerto Rican rum and a fistful of cash.<\/dialogue>\n    <scene_description>A look of excitement crosses Claude 's face , but he quickly shakes it off .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>That's gas money.<\/dialogue>\n    <scene_description>Exasperated , Ray stuffs a few bills into Claude 's pocket .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>There's your gas money. You stay here and watch the truck. And do n't worry, I've got the keys.<\/dialogue>\n    <scene_description>Left alone , Claude mutters and kicks at the dirt . He leans against the truck . UP AHEAD\/EXT . JUKE JOINT - NIGHT Ray emerges from the woods and heads down the hill toward the juke joint . Claude hustles up next to him .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>I'm just gon na keep an eye on you, make sure you do n't do nothing stupid.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JUKE JOINT -- NIGHT<\/stage_direction>\n    <scene_description>A ramshackle den of iniquity on the banks of the Mississippi . The band is laying down some serious Delta blues , creating an inviting atmosphere for sin and moral corruption . On a far side of the room , Ray is playing poker with some LOCALS . He seems to be having a bad night . WINSTON HANCOCK , a formidable black man , sweeps in another big pot and puffs happily on his cigar . OVER AT THE BAR Perched on a stool , Claude shoots a dark look at Ray and motions for the door . Ray waves him off and returns to his game . Claude becomes aware of a soft , young female hand on his shoulder .<\/scene_description>\n    <character>SYLVIA<\/character>\n    <dialogue>I've never seen you in here before.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <parenthetical>( staring at the hand . )<\/parenthetical>\n    <dialogue>That's because I've never been here before.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <dialogue>I'm Sylvia. What's your name?<\/dialogue>\n    <scene_description>Against his better judgement , Claude 's gaze follows the long , slender arm up past a bare shoulder and settles on SYLVIA 'S angelic face . He is struck dumb .<\/scene_description>\n    <character>SYLVIA<\/character>\n    <dialogue>Ca n't you remember your own name?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>I know it begins with a `` C''.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <dialogue>Well, Mr. `` C'', how about buying a girl a drink?<\/dialogue>\n    <parenthetical>( to the bartender . )<\/parenthetical>\n    <dialogue>Two bourbons.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>I really should n't. I got ta keep an eye on my friend.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <dialogue>He looks like he can take care of himself.<\/dialogue>\n    <scene_description>The drinks arrive . She places a shot glass in Claude 's reluctant hand . She winks provocatively and slowly pours the whiskey down her throat . Instinctively , Claude tosses back his shot .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Claude. That's my name. Claude. That's never happened before.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <dialogue>You're cute. You have any money, Claude?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Ten dollars. But I need it to get home.<\/dialogue>\n    <character>SYLVIA<\/character>\n    <dialogue>Why would you want to go home? It's so early.<\/dialogue>\n    <scene_description>The bartender refills their glasses . BACK AT THE POKER TABLE Winston considers his cards , hardly looking up as a WAITRESS lays down a cocktail napkin and sets a drink down on top of it . He glances at Ray , who casually considers his cards .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>I'll take two.<\/dialogue>\n    <scene_description>The dealer tosses Ray a couple of cards . INSERT - Ray fans his cards to reveal a full house . After considering the other players at the table , Ray pushes what 's left of his money into the center of the table . The three other PLAYERS fold with disgust . Winston squints long and hard at Ray , then pushes everything he has into the center of the table .<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>I'll see that.<\/dialogue>\n    <scene_description>Winston reaches into his jacket and throws down some more money on the pile .<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>And while we're at it, let's sweeten the pot.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Looks like my sugar bowl's empty, Mr. Hancock.<\/dialogue>\n    <character>WINSTON<\/character>\n    <parenthetical>( reaching for the pot . )<\/parenthetical>\n    <dialogue>That's just too damn bad, ai n't it?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Now, hang on, slick. I ai n't through with you yet.<\/dialogue>\n    <scene_description>Ray checks his cards again . He looks at the pot , it 's a lot of money . With this hand , there 's no way he can lose . He places his daddy 's pocket watch on top of the pile . Winston checks the time piece .<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>That'll cover it.<\/dialogue>\n    <scene_description>Ray lays down his hand .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Full boat, ladies doing the paddling.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>Four threes.<\/dialogue>\n    <scene_description>Ray sits back , stunned . Winston rakes in his winnings . The game is over for the night . The three other players head to the bar .<\/scene_description>\n    <character>WINSTON<\/character>\n    <dialogue>Do n't take it too hard, New York. Have a round on me.<\/dialogue>\n    <scene_description>Winston tosses a silver dollar to Ray , who snatches it out of the air . Winston drops his hat on his head and moves through the crowd and out the door .<\/scene_description>\n    <character>WAITRESS<\/character>\n    <dialogue>Can I get you something?<\/dialogue>\n    <scene_description>Ray shakes his head . Carefully , she begins to clear the table . Suddenly , he grabs her wrist . Winston 's glass tips over . Ray flips over the cocktail napkin to reveal an extra pile of cards .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Looks like he had a whole lot of nothing in his hand until you came along.<\/dialogue>\n    <character>WAITRESS<\/character>\n    <parenthetical>( wrenching free . )<\/parenthetical>\n    <dialogue>You're hurting my arm.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JUKE JOINT -- NIGHT<\/stage_direction>\n    <scene_description>Ray dashes into the street , glancing both ways . No sign of Winston . Damn .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK ALLEY -- NIGHT<\/stage_direction>\n    <scene_description>Winston produces Ray 's pocket watch and pops it open . A smile crosses his face as the mechanical tune plays . A sheriff 's sedan rounds a corner , illuminating Winston in its headlights . The car pulls up and SHERIFF WARREN PIKE steps out . Distinguished by a casual cruelness , he 's a young white man who loves his uniform .<\/scene_description>\n    <character>PIKE<\/character>\n    <dialogue>If it is n't Winston Hancock.<\/dialogue>\n    <scene_description>Winston tries to move past Pike , but the sheriff blocks his path with a night stick . As Winston backs off , another squad car pulls up behind him . TWO DEPUTIES step from the car , guns drawn .<\/scene_description>\n    <character>PIKE<\/character>\n    <dialogue>I thought we agreed that you were gon na leave town.<\/dialogue>\n    <character>WINSTON<\/character>\n    <dialogue>I tried to leave, Sheriff Pike. But your wife begged me to stay.<\/dialogue>\n    <scene_description>Pike slams Winston with his club , sending the black man to his knees . As Winston struggles back to his feet , a stiletto flashes and he lunges for the sheriff , slashing his cheek . The deputies grab Winston from behind , holding him by both arms . The long knife clatters to ground . Pike touches his face , examining the blood on his fingers .<\/scene_description>\n    <character>PIKE<\/character>\n    <dialogue>You just committed suicide, boy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BORDELLO HALLWAY -- NIGHT<\/stage_direction>\n    <scene_description>Ray walks slowly down the hallway to Room 13 . He is about to knock when he hears the sound of lovemaking from within .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SYLVIA'S BEDROOM -- NIGHT<\/stage_direction>\n    <scene_description>Ray opens the door and peeks in . Sylvia 's on top and in charge . Claude is concentrating real hard . Ray smiles to himself and closes the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. JUKE JOINT -- NIGHT<\/stage_direction>\n    <scene_description>Claude hitches up his suspenders as he comes down the stairs . He finds Ray having a drink at the now - empty bar .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Hey, Ray. I've been looking for you.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Here I am.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Guess we better get going, huh?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Still got that ten dollars?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Well, not exactly. See, I met this girl. Real nice girl. God - fearing girl. Her name's Sylvia.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>That jelly you were talking to right here?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>She's in a tight spot. Her mama needs this operation, and they ai n't got the money for it. Their church took up a collection but they were still short.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>So you made a generous contribution.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>What can I say? When the spirit moves me.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>That was mighty charitable of you, Claude. Looks like we both got fucked tonight.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>While you were upstairs doing God's work, I was getting jack - legged by a fool with four threes.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>You lost all our money in a card game?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>He even got my daddy's watch.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Fuck that cheap - ass watch -.<\/dialogue>\n    <parenthetical>( off Ray 's glare . )<\/parenthetical>\n    <dialogue>I mean, how the hell are we gon na get home without any money?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>We've still got 36 cases of rum. That's better than money.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK ALLEY -- NIGHT<\/stage_direction>\n    <scene_description>Ray and Claude head down the alley .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>You sure the truck's this way?<\/dialogue>\n    <parenthetical>( looking over his shoulder . )<\/parenthetical>\n    <dialogue>I swear it was back that way.<\/dialogue>\n    <scene_description>Suddenly , the bloodied figure of Winston Hancock lurches from the shadows and grabs Claude by the lapels . Claude is too scared to scream , staggering backward . But the man 's grip loosens and he slips to the ground .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <parenthetical>( croaking . )<\/parenthetical>\n    <dialogue>Ray. Yo, Ray!<\/dialogue>\n    <scene_description>Ray turns back to find Claude trembling with fear and covered in blood . He just points down . Ray eyes widen . He kneels down and turns Winston 's body over .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>I think he's hurt pretty bad.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>He's dead.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Oh, man, I've never seen a dead body before!<\/dialogue>\n    <scene_description>Much to Claude 's horror , Ray starts rifling through Winston 's pockets .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>What do you think you're doing?! The man's been dead for two seconds! Do n't you have any respect?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>It ai n't here.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>What ai n't there?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>My daddy's watch. This is the dude I was telling you about -<\/dialogue>\n    <scene_description>Suddenly , the glare of two bright headlights from a pickup truck freeze Ray and Claude in a guilty tableau . FIVE WHITE MEN appear at the end of the alley .<\/scene_description>\n    <character>MAN WITH LANTERN<\/character>\n    <dialogue>What's going on here?<\/dialogue>\n    <scene_description>Ray gingerly releases Winston 's lifeless body .<\/scene_description>\n    <character>MAN WITH LANTERN<\/character>\n    <dialogue>What's wrong with that one?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Him? He's just drunk.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Yeah, nobody puts'em away like old what's - his - name.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Winston. His name's Winston.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Come on, Ray, better get Winston back to the truck.<\/dialogue>\n    <scene_description>Claude and Ray hoist Winston 's body to its feet . The man raises his lantern , takes a closer look at Winston 's face .<\/scene_description>\n    <character>MAN WITH LANTERN<\/character>\n    <dialogue>This fella looks dead.<\/dialogue>\n    <scene_description>Ray and Claude check for themselves .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Would you look at that, Ray. Winston up and died on us.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Hell with him then. If he ca n't share the driving, he ca n't ride in the truck.<\/dialogue>\n    <character>MAN WITH LANTERN<\/character>\n    <dialogue>He can ride with us.<\/dialogue>\n    <scene_description>Suddenly , the men all have guns . And they 're pointed at Ray and Claude .<\/scene_description>\n    <character>MAN WITH LANTERN<\/character>\n    <dialogue>So can you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NATCHEZ JAIL -- NIGHT<\/stage_direction>\n    <scene_description>In a holding cell , Ray tests the window bars . Solid . Meanwhile , Claude sits on a cot brooding darkly . Through the bars , we see the rednecks laughing and passing around a bottle of bootleg rum with the DEPUTY on duty .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Man, this is gon na delay everything. Spanky's gon na be pissed.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Spanky's gon na be pissed? Poor Spanky. Fuck Spanky! What the hell kind of a name is Spanky, anyway? You're responsible for this situation. I blame you for everything. If it was n't for you, I'd be home having a hot meal right now.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>If it was n't for me, you'd be washing up on the beach at Coney Island right now.<\/dialogue>\n    <parenthetical>( mocking Claude . )<\/parenthetical>\n    <dialogue>`` I need all my thumbs and fingers for praying and doing good.''<\/dialogue>\n    <scene_description>The jailhouse door opens and Sheriff Pike walks in . He pauses to give the prisoners the once - over . There 's a fresh bandage over the cut on his cheek .<\/scene_description>\n    <character>PIKE<\/character>\n    <dialogue>What do we have here?<\/dialogue>\n    <character>DEPUTY<\/character>\n    <dialogue>Billy Bob and the boys found them down down under the hill with Winston Hancock. He was dead. Looks like murder.<\/dialogue>\n    <character>PIKE<\/character>\n    <dialogue>You do n't say.<\/dialogue>\n    <character>DEPUTY<\/character>\n    <dialogue>Looks like they was running rum. Got thirty six cases of evidence out back. You want I should call in the federal prosecutor?<\/dialogue>\n    <character>PIKE<\/character>\n    <dialogue>Let's not drag the feds into this. I can think of better uses for that rum than letting it collect dust in some government warehouse up in Nashville.<\/dialogue>\n    <scene_description>Pike winks at his deputy , then turns to regard the prisoners .<\/scene_description>\n    <character>PIKE<\/character>\n    <dialogue>Besides, why bother with bootlegging when we got us a clear cut case of murder?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Excuse me, sheriff. As we explained to your associate here, there's been a mistake. We did n't kill anybody. Now, as for the bootlegging, we happen to work for a very important man in New York.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>That's right. Does the name Spanky Johnson mean anything to you?<\/dialogue>\n    <character>PIKE<\/character>\n    <dialogue>Afraid not.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Mr. Johnson is very well connected. If you were to let us go, I guarantee he would show you his appreciation, if you know what I mean.<\/dialogue>\n    <character>PIKE<\/character>\n    <dialogue>Are you offering me a bribe?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I'm just trying to pay the toll on the road to justice.<\/dialogue>\n    <character>PIKE<\/character>\n    <dialogue>You may be able to buy your way out of trouble up in New York City, but down here we take murder seriously.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Look, man, how many times we got ta tell you people, we did n't kill that guy!<\/dialogue>\n    <character>PIKE<\/character>\n    <dialogue>Well, if that's the case, then you do n't have anything to worry about, do you?<\/dialogue>\n    <scene_description>Pike turns his back on the prisoners and checks the time on a gold pocket watch - Ray 's pocket watch . But from his cell , Ray ca n't hear the mechanical tune .<\/scene_description>\n    <character>PIKE<\/character>\n    <dialogue>Time to get home to the missus. See y' all in the morning.<\/dialogue>\n    <scene_description>In the cell , Claude turns to Ray .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>The man's got ta point. We're innocent, after all. I just got ta get a good night's sleep on this filthy mattress. Keep our heads on straight, stay cool, what's the worst thing that could happen to us?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COURTROOM -- DAY<\/stage_direction>\n    <scene_description>The CAMERA Scorseses in on the JUDGE 'S face .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Life!<\/dialogue>\n    <scene_description>The gavel comes down with a thundering crash . Stunned , Ray and Claude resist the BAILIFFS ' efforts to remove them from the courtroom .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Life?! How long is life? We were just walking back to the truck. We did n't do nothing! Fuck life!<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Life?! What's life mean? There's no way I can do life. I got a job starts Monday morning!<\/dialogue>\n    <scene_description>They continue to protest loudly as they are dragged bodily through the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRYSIDE -- DAY<\/stage_direction>\n    <scene_description>Blues music kicks in as a prison transport bus rolls down a dirt road cutting through the bleak Mississippi Delta .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUS (MOVING) -- DAY<\/stage_direction>\n    <scene_description>LONG - CHAIN CHARLIE , a white prison sergeant , sits behind the wheel . A shot gun hangs within easy reach . The CAMERA MOVES BACK past grim - faced PRISONERS with their hands and feet shackled . We arrive at Ray and Claude sitting in grim silence as the bus lurches along .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRISON -- DAY<\/stage_direction>\n    <scene_description>The bus veers off the country road and passes under a sign : MISSISSIPPI STATE PENITENTIARY . Sgt. Dillard 's voice PLAYS OVER .<\/scene_description>\n    <character>DILLARD<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>Welcome to the farm. Here you will be provided with ample opportunity to repay your debt to society through the rigors of hard labor.<\/dialogue>\n    <scene_description>Ray and Claude stare out the window , getting their first look at the harsh reality that awaits them . Cotton fields stretch to the horizon in every direction . HOE - GANGS till the earth under the watchful gaze of TRUSTY SHOOTERS .<\/scene_description>\n    <character>DILLARD<\/character>\n    <parenthetical>( V.O . )<\/parenthetical>\n    <dialogue>In between harvest and planting season we got fields need clearing, roads need building and ditches need digging. You will eat only what you can grow. Your crop do n't come in, you'll go hungry. If you die, do n't worry ` bout us none. We'll find somebody to replace you.<\/dialogue>\n    <scene_description>Along the road , CONVICTS cast hard looks at the new men as the cart passes . A WHITE SERGEANT on horseback shifts his rifle and casually spits tobacco juice in the dirt .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMP 8 -- DAY<\/stage_direction>\n    <scene_description>A low - slung , single - story bunkhouse surrounded by a dirt yard . Two shooter shacks sit at diagonal corners of the yard . In each shack , two trusties with rifles keep vigilant watch over the camp . SGT. FRED DILLARD paces down the line of new men as HOPPIN ' BOB , an uncommonly ugly trusty , unlocks their leg irons .<\/scene_description>\n    <character>DILLARD<\/character>\n    <dialogue>This here is Camp 8. Camp 8 is for incorrigibles, so whatever you've done to get here, believe me, we're not impressed. You new men are probably noticing that we have no fences here at Camp 8. We do n't need no fences, we have the gun line. It runs from shack to shack clear around the yard. You are now inside the gun line. If you step outside the gun line without my permission, you will be shot. If you trip and fall over the gun line, you will be shot. If you spit, if you pee, if you stick your ass out and take a dump over the gun line, you will be shot.<\/dialogue>\n    <scene_description>Dillard plucks a hat off one of the new prisoners and tosses it over the gun line . SHOTS ring out from the nearest shack . The hat is torn to shreds .<\/scene_description>\n    <character>DILLARD<\/character>\n    <dialogue>One of my trusties puts a bullet in you when you're trying to run, I'm liable to give him a pardon for saving me the trouble of tracking you down, so you can bet their aim is true.<\/dialogue>\n    <scene_description>Dillard puts a cigarette in his mouth . Hoppin ' Bob is right there with the flame .<\/scene_description>\n    <character>DILLARD<\/character>\n    <dialogue>My name is Sgt. Dillard. In the unlikely event that you need to address me, you call me boss. You already met this handsome fella right here. Hoppin' Bob's my ace boon coon. You run afoul of Hoppin' Bob, you run afoul of me.<\/dialogue>\n    <scene_description>Nodding to Bob , Dillard saunters off .<\/scene_description>\n    <character>HOPPIN' BOB<\/character>\n    <dialogue>New men, strip down!<\/dialogue>\n    <scene_description>Ray and Claude share a look . Self - consciously , the men begin to undress .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUNKHOUSE -- DAY<\/stage_direction>\n    <scene_description>Double bunks line the walls , with a footlocker for each inmate . As usual , there 's a poker game going on .<\/scene_description>\n    <character>HOPPIN' BOB<\/character>\n    <dialogue>Okay, ladies, got some fresh meat for ya!<\/dialogue>\n    <scene_description>All activity comes to a halt as the new men shuffle into the cage wearing their prison - issue `` ring - arounds . '' Hoppin ' Bob slams the metal doors shut behind them .<\/scene_description>\n    <character>HOPPIN' BOB<\/character>\n    <dialogue>We ai n't got no wallflowers at Camp 8. Everybody got ta dance eventually. But do n't worry, they wo n't try nothing tonight. That would take all of the fun outta the courtship.<\/dialogue>\n    <scene_description>The INCORRIGIBLES hungrily eye the new men in total silence . Claude sticks close to Ray as they shuffle toward their assigned bunks . The CAMERA SETTLES on a much younger WILLIE LONG .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY ROAD -- MORNING<\/stage_direction>\n    <scene_description>The inmates jump down from the mule cart and grab hoes and shovels . Because he ca n't count , Hoppin ' Bob keeps track of the men using a system all his own - a PEBBLE in his pocket for each man . Dillard stands by with his shotgun .<\/scene_description>\n    <character>DILLARD<\/character>\n    <dialogue>Got three miles of ditch to clear today. Let's keep it moving!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DITCH -- DAY<\/stage_direction>\n    <scene_description>The men of Camp 8 labor under the brutal mid - day sun . JANGLE LEG , a handsome , muscular man , sings a verse to set the work tempo . Up and down the line , a mighty chorus responds . The CAMERA FINDS Ray and Claude swinging pick axes , sweating profusely .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>I do n't believe this before Abe jive. I did n't go to night school to sing in no Mississippi Boys Choir!<\/dialogue>\n    <scene_description>Claude stops to catch his breath and take off his shirt .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>I would n't do that if I was you.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Shut up. It's too damn hot. What do you know, anyway?<\/dialogue>\n    <scene_description>A SHOT rings out . Claude hits the ground as a bullet kicks up some dust nearby .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Told ya.<\/dialogue>\n    <scene_description>Claude looks up to see Dillard cracking pistachio nuts as Hoppin ' Bob puts another round in the chamber of his rifle .<\/scene_description>\n    <character>DILLARD<\/character>\n    <dialogue>Why ai n't his pick swinging?<\/dialogue>\n    <character>HOPPIN' BOB<\/character>\n    <parenthetical>( echoing . )<\/parenthetical>\n    <dialogue>Why ai n't that pick swinging?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>It's too hot, boss. I'm tired.<\/dialogue>\n    <character>HOPPIN' BOB<\/character>\n    <dialogue>He says it's too hot, boss.<\/dialogue>\n    <character>DILLARD<\/character>\n    <dialogue>Too hot, huh? Well, you tell that lazy jiggaboo the state of Mississippi ai n't interested in his meteorological assessments.<\/dialogue>\n    <character>HOPPIN' BOB<\/character>\n    <dialogue>Listen up, jiggaboo! State of Mississippi ai n't interested in your. in your.<\/dialogue>\n    <parenthetical>( off Dillard 's look . )<\/parenthetical>\n    <dialogue>metropolitan assets!<\/dialogue>\n    <character>DILLARD<\/character>\n    <dialogue>Tell him the state of Mississippi is only interested in getting this ditch cleared by sundown.<\/dialogue>\n    <character>HOPPIN' BOB<\/character>\n    <dialogue>State of Mississippi wants this ditch cleared by sundown. You got that?!<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>I got it. boss.<\/dialogue>\n    <character>DILLARD<\/character>\n    <dialogue>He do n't sound like he's from ` round here.<\/dialogue>\n    <character>HOPPIN' BOB<\/character>\n    <dialogue>He's from New York City. That one, too.<\/dialogue>\n    <character>DILLARD<\/character>\n    <dialogue>New York. That's up north, ai n't it? They'll find we do things different down here.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>We noticed.<\/dialogue>\n    <scene_description>Annoyed , Dillard jabs the butt of his rifle into Ray 's solar plexus . Ray sinks to his knees in the dirt .<\/scene_description>\n    <character>DILLARD<\/character>\n    <dialogue>Looks like we got a couple of live ones. How long these boys in for?<\/dialogue>\n    <character>HOPPIN' BOB<\/character>\n    <dialogue>Judge gave'em the long ride.<\/dialogue>\n    <character>DILLARD<\/character>\n    <dialogue>Life, huh? They step outta line again, we'll shorten up that sentence real fast.<\/dialogue>\n    <scene_description>Dillard swaggers off , dogged at the heels by the ever faithful Hoppin ' Bob . Resigned , Ray and Claude return to their labor .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DITCH -- DAY<\/stage_direction>\n    <scene_description>The men rest in the ditch as BISCUIT , a slight inmate with a red bandanna tied around his head , dispenses water , one ladle per man .<\/scene_description>\n    <character>BISCUIT<\/character>\n    <dialogue>Drink it up!<\/dialogue>\n    <scene_description>Willie exchanges two cigarettes for a second ladle . POKER FACE pulls a crumpled envelope from his shirt . His expression never changes , hence the name .<\/scene_description>\n    <character>POKER FACE<\/character>\n    <dialogue>Either of you new fellas know how to read? I've had this letter four months now.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>You ca n't read? None of these guys can read?<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>Last fella who could read made parole ` round Christmas.<\/dialogue>\n    <character>POKER FACE<\/character>\n    <dialogue>I do n't even know who this is from.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Here, gim me that.<\/dialogue>\n    <scene_description>Ray unfolds the letter and scans it .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>It's from your mama's neighbor, Mrs. Tidwell. She thought you oughta know that your second cousin Bo died.<\/dialogue>\n    <scene_description>The prisoners express their condolences . `` Sorry , man . '' `` That 's some bad news . '' `` I know you loved Bo like a brother . ''<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>And your other cousin, Sally, on your daddy's side, she died.<\/dialogue>\n    <scene_description>More sympathy from the men . `` Ooh . Twice in one letter . '' `` Rough break , Poker Face . ''<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Apparently, your sister died.<\/dialogue>\n    <character>POKER FACE<\/character>\n    <dialogue>Jenny?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>No, it says Marleen here.<\/dialogue>\n    <scene_description>Relief all around . `` Thank goodness . ''<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Oh, wait, looks like Jenny died, too.<\/dialogue>\n    <scene_description>`` Bad luck , man . '' `` That 's harsh . ''<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Then it goes on for a while about how the crop did n't come in on accounta the frost.<\/dialogue>\n    <parenthetical>( flips over the page . )<\/parenthetical>\n    <dialogue>She finishes up with something about a tornado and how your mama and your daddy died in that. But do n't worry none. She'll take care of the dog. That is, if it gets over the worms.<\/dialogue>\n    <scene_description>The prisoners share dark looks . Ray folds up the letter and hands it back to Poker Face .<\/scene_description>\n    <character>POKER FACE<\/character>\n    <dialogue>Appreciate it.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Anybody else need anything read?<\/dialogue>\n    <scene_description>`` No , man , we 're good . '' The men shake their heads and return letters and cards to their pockets . Jangle Leg nods and switches places with one of the convicts , parking next to Claude .<\/scene_description>\n    <character>JANGLE LEG<\/character>\n    <dialogue>How you doin'?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>I'm all right.<\/dialogue>\n    <character>JANGLE LEG<\/character>\n    <dialogue>You ever done time before?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>You kidding? I've been in and out of prison my entire life. Mostly in. I'm hard - core.<\/dialogue>\n    <character>JANGLE LEG<\/character>\n    <dialogue>Then you wo n't have no problem making the adjustment. You need anything, help of any kind, gim me a holler. Name's Jangle Leg.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>` Preciate it. Claude.<\/dialogue>\n    <scene_description>As they shake , Jangle Leg inspects Claude 's hand thoroughly .<\/scene_description>\n    <character>JANGLE LEG<\/character>\n    <dialogue>Soft and supple. Like a lady's.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <parenthetical>( eyes narrowing . )<\/parenthetical>\n    <dialogue>I try to moisturize regularly.<\/dialogue>\n    <character>HOPPIN' BOB<\/character>\n    <parenthetical>( over his shoulder . )<\/parenthetical>\n    <dialogue>Hey, Jangle Leg, what'd I tell you about pitching woo on the job?<\/dialogue>\n    <character>JANGLE LEG<\/character>\n    <dialogue>Sorry, Cap'n.<\/dialogue>\n    <scene_description>Claude snatches back his hand and gives Jangle Leg a hard look .<\/scene_description>\n    <character>HOPPIN' BOB<\/character>\n    <dialogue>Break's over! Back to work!<\/dialogue>\n    <scene_description>As the men grab their tools and return to work , Claude leans over to Ray .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Why do you think they call him Jangle Leg?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Somebody just told me he wins the three - legged race every year.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>He does it all by himself.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MESS HALL -- DUSK<\/stage_direction>\n    <scene_description>Wincing with each movement and covered in grime from the day 's labors , the new men bring up the back of the chow line . COOKIE , the grub - slinger , slaps a large dollop of an unidentifiable substance onto Ray 's tray .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>What is that?<\/dialogue>\n    <character>COOKIE<\/character>\n    <dialogue>Creamed chip beef on toast. Except we're outta beef, so I had to improvise.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Ca n't I get one of those steaks you got grilling back there?<\/dialogue>\n    <character>COOKIE<\/character>\n    <dialogue>Those are for trusties, unless you got thirty cents or two packs of cigs.<\/dialogue>\n    <scene_description>Another prisoner lays down some tobacco and gets a juicy steak . Ray grabs a hunk of corn bread and makes his way to the back of the room . Claude steps up , holds out his tray for Cookie .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Excuse me, I do n't like it when the food touches each other, so if you could just -.<\/dialogue>\n    <parenthetical>( SPLAT ! )<\/parenthetical>\n    <dialogue>- keep everything separate.<\/dialogue>\n    <scene_description>Disappointed , Claude turns to discover that the only seat left is next to Ray . Scowling , he limps toward it . Jangle Leg 's eyes follow Claude as he approaches the table . Biscuit smacks him .<\/scene_description>\n    <character>BISCUIT<\/character>\n    <dialogue>Eyes front, mister!<\/dialogue>\n    <scene_description>Claude sits down and promptly goes to work scraping his burnt toast with his knife . The irritating sound slowly brings the entire room to dead silence . All eyes fall on Claude . Scratch , scratch , scratch .<\/scene_description>\n    <character>COOKIE<\/character>\n    <parenthetical>( stepping up . )<\/parenthetical>\n    <dialogue>Problem with the toast?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>It's fine now.<\/dialogue>\n    <scene_description>Cookie glowers and takes a seat .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Stop aggravating people. Just eat your food.<\/dialogue>\n    <scene_description>As the room returns to normal , Claude starts polishing his fork with his shirttail . Irritated , Ray shoots him a look .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>This fork is filthy.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>The fork is the least of your worries, Claude.<\/dialogue>\n    <scene_description>Undeterred , Claude breathes on his fork and polishes it some more . Disgusted , Ray pushes aside his plate .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>What's your name?<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>Me? Willie Long.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>What are you in for, Willie?<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>That's a long story.<\/dialogue>\n    <character>RADIO<\/character>\n    <dialogue>When he was 13 years old he killed a son - of - a - bitch with a claw hammer.<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>They never proved that.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>What a second, you've been in here since you were thirteen?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>What about you, Radio?<\/dialogue>\n    <character>RADIO<\/character>\n    <dialogue>Armed robbery.<\/dialogue>\n    <character>JANGLE LEG<\/character>\n    <dialogue>Damn liar. Bitch killed his sister with an axe.<\/dialogue>\n    <character>RADIO<\/character>\n    <dialogue>She was my half - sister. Shit, I ai n't the son - of - a - bitch who poisoned my own parents.<\/dialogue>\n    <character>BISCUIT<\/character>\n    <parenthetical>( protective . )<\/parenthetical>\n    <dialogue>They deserved it. Very strict.<\/dialogue>\n    <character>POKER FACE<\/character>\n    <dialogue>What about you, Biscuit? You nearly skinned your poor old landlady alive.<\/dialogue>\n    <character>COOKIE<\/character>\n    <dialogue>At least he did n't kill Santa Claus with his bare hands.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>You killed Santa Claus?<\/dialogue>\n    <character>BISCUIT<\/character>\n    <parenthetical>( scolding . )<\/parenthetical>\n    <dialogue>On Christmas Eve.<\/dialogue>\n    <character>POKER FACE<\/character>\n    <dialogue>He was n't the Santa Claus, he was just wearing the suit and ringing a bell.<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>What did you guys do?<\/dialogue>\n    <scene_description>The whole table waits expectantly for their reply .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>I kinda lost track of how many people we killed that night. Must have been 15 or twenty - not counting women and children. It was a real bloodbath. All that screaming.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Pack of lies. Do n't listen to him. We did n't kill nobody. We were railroaded. And we gon na prove that.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>He just blocked it out. Nigger's crazy. He's the one who did all the stabbing. He's capable of some heinous shit.<\/dialogue>\n    <parenthetical>( thumbing down the table . )<\/parenthetical>\n    <dialogue>How ` bout him down there?<\/dialogue>\n    <scene_description>At the end of the table , GOLDMOUTH , a hulking specimen , snarls menacingly , flashing a glittering set of teeth .<\/scene_description>\n    <character>WILLIE<\/character>\n    <dialogue>Goldmouth? They say he was born out back behind the shithouse. That's what they say.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>You all been here a long time. Does n't anybody ever escape from this place?<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>They run but they never get too far.<\/dialogue>\n    <character>RADIO<\/character>\n    <dialogue>Couple years back, Cookie made it clear to Greenville.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Greenville, that the nearest town?<\/dialogue>\n    <character>WILLIE<\/character>\n    <parenthetical>( nodding . )<\/parenthetical>\n    <dialogue>It's a two - day walk if you do n't get lost. Take a mighty cagey country boy to navigate the woods and bayous between here and there.<\/dialogue>\n    <character>BISCUIT<\/character>\n    <dialogue>Those dogs they got can sniff a skid mark in your underpants from a half - mile off.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Alright, well, let's say you make it to Greenville. What's there, anyway?<\/dialogue>\n    <character>COOKIE<\/character>\n    <dialogue>Grandma Dodi's Pork Rib Joint.<\/dialogue>\n    <character>POKER FACE<\/character>\n    <dialogue>That's where they nabbed him.<\/dialogue>\n    <character>COOKIE<\/character>\n    <dialogue>Did n't even get to have my peach cobbler.<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>The most important thing they got in Greenville is a train that heads up north.<\/dialogue>\n    <scene_description>Just then , Goldmouth stands up , casting a shadow over Claude .<\/scene_description>\n    <character>GOLDMOUTH<\/character>\n    <dialogue>Hey, girl, you gon na eat your corn bread?<\/dialogue>\n    <scene_description>Claude looks up , considering his options .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>No, man. I want you to have it.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Wait up there, Claude. You give that guy your corn bread and the next thing you know you'll be ironing his shirts and clipping his toenails.<\/dialogue>\n    <character>GOLDMOUTH<\/character>\n    <dialogue>Maybe I oughta eat your corn bread.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>My corn bread? Oh no, my friend. I love corn bread.<\/dialogue>\n    <scene_description>Ray picks up his corn bread and takes a huge bite out of it , rolling his eyes with enthusiasm .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>I thought my mama made good corn bread but this is really something special.<\/dialogue>\n    <scene_description>Ray looks at the faces around the room , smiles broadly . Goldmouth is getting embarrassed .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Who knew I'd have to come all the way down to this here prison, deep in the asshole of the great state of Mississippi, to find such a tasty piece of corn bread?<\/dialogue>\n    <scene_description>The prisoners begin to laugh . Ray 's got them now .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>And who knew that in this great corn bread - making institution I'd come face to face with the biggest, ugliest, stinkiest, ugliest gold - mouthed negro in the entire world. Now get out of my face before I lose my appetite!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMP 8 YARD -- DUSK<\/stage_direction>\n    <scene_description>A punch sends Ray sprawling in the dust . Goldmouth looms over him . The incorrigibles form a circle around the combatants . Poker Face , the camp bookie , is taking all bets .<\/scene_description>\n    <character>GOLDMOUTH<\/character>\n    <dialogue>How you like your corn bread now, New York?<\/dialogue>\n    <scene_description>Goldmouth and Ray square off . Goldmouth swings , Ray ducks and counters with a swift jab to the gut . Goldmouth just flashes a shiny grin and clobbers Ray with a fist the size of a Thanksgiving turkey . Ray sinks to the dust . Radio drops down near him .<\/scene_description>\n    <character>RADIO<\/character>\n    <dialogue>Come on, New York, you can do better than that! Get up and show him how they do it in Harlem!<\/dialogue>\n    <scene_description>Ray shakes his head and staggers back to his feet . He circles the big man and gets in a couple of good shots , much to the crowd 's approval . Goldmouth shakes his head and wipes the blood from his nose . Now he 's mad . He grabs Ray by the shirt and delivers a crushing blow . Ray reels backward into Cookie 's arms .<\/scene_description>\n    <character>COOKIE<\/character>\n    <dialogue>I appreciate you going to all this trouble over my corn bread. I do n't get a lot of compliments in my line of work.<\/dialogue>\n    <scene_description>Cookie shoves Ray back into the ring for more punishment . Claude emerges from the mess hall , munching on a piece of corn bread . He squeezes in between Poker Face and Willie .<\/scene_description>\n    <character>WILLIE<\/character>\n    <dialogue>Your pal's getting the tar whipped out of him on your account.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>How many times I got to tell you? He ai n't my pal. Besides, he looks like he knows what he's doing.<\/dialogue>\n    <scene_description>Just then Claude winces as Goldmouth delivers a jaw - crushing uppercut that knocks Ray on his back . Claude bristles under the incriminating looks coming at him from all directions .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Alright, alright.<\/dialogue>\n    <scene_description>Claude crouches down as Ray rolls over on his stomach and pushes himself up onto all fours . His eyes are swollen shut , his face covered with blood .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Hey, Ray, I think you made your point, whatever that is. Maybe now's a good time to throw in the towel. You know what I'm saying?<\/dialogue>\n    <scene_description>Ray manages a smile and staggers to his feet .<\/scene_description>\n    <character>RAY<\/character>\n    <parenthetical>( slurring . )<\/parenthetical>\n    <dialogue>Shit, Goldmouth. Back in New York, I know bitches who hit harder than you.<\/dialogue>\n    <scene_description>Goldmouth pulls back his fist and lets it fly . Ray hurtles through the crowd , collapsing in the dust . Willie steps in .<\/scene_description>\n    <character>WILLIE<\/character>\n    <dialogue>The man's taken enough of a beating. Let's get him inside.<\/dialogue>\n    <scene_description>Cookie , Radio and Poker Face raise Ray to his feet . Goldmouth slings him over his shoulder and carries him toward the bunkhouse . Dazed , Ray catches Claude 's eye .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Got him good, huh, Claude? He wo n't be bothering us anytime soon.<\/dialogue>\n    <scene_description>A quick elbow jab from Goldmouth and Ray is out for good . Disgusted with himself , Claude tosses what 's left of the corn bread to the mangy dog , who makes short work of it .<\/scene_description>\n    <character>BISCUIT<\/character>\n    <parenthetical>( wagging a finger . )<\/parenthetical>\n    <dialogue>Shame, shame, that's your name.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MESS HALL -- DAY<\/stage_direction>\n    <scene_description>On Sundays , the mess hall also serves as a chapel . From a makeshift pulpit , the blind REVEREND CLAY and his DAUGHTER lead the congregation of convicts in a rousing chorus of `` Down by the Riverside . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMP 8 YARD -- DAY<\/stage_direction>\n    <scene_description>The gospel music filters into the yard , where the prisoners mingle with kinfolk .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SGT. DILLARD'S HOUSE -- DAY<\/stage_direction>\n    <scene_description>MRS. DILLARD hums along with the gospel music as she places a couple of freshly - baked pies on the window sill to cool .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMP 8 YARD -- DAY<\/stage_direction>\n    <scene_description>The CAMERA FINDS Claude and Daisy walking hand in hand toward a simple shack just beyond the gun line . This is the TONK HOUSE and Dillard is the gate keeper .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Request permission to go to the tonk, boss.<\/dialogue>\n    <scene_description>Dillard considers Daisy .<\/scene_description>\n    <character>DILLARD<\/character>\n    <dialogue>I do n't see no wedding ring, Banks. Conjugal visits are for married prisoners only.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>You think you could make an exception just this once, boss? She came all the way down from New York.<\/dialogue>\n    <character>DILLARD<\/character>\n    <dialogue>I do n't need the Baptists on my back, but I suppose I could issue a temporary marriage license for a nominal fee.<\/dialogue>\n    <scene_description>Daisy gets the picture . She reaches into her purse and hands Dillard a couple of dollars .<\/scene_description>\n    <character>DILLARD<\/character>\n    <dialogue>I now pronounce you man and wife.<\/dialogue>\n    <parenthetical>( calling to the shooter shack . )<\/parenthetical>\n    <dialogue>Claude Banks going to the tonk!<\/dialogue>\n    <scene_description>Claude takes Daisy 's hand and leads her over the gun line . ACROSS THE YARD Ray watches Claude and Daisy step into the tonk house . Then he returns to a game of horseshoes , tossing a ringer . Nearby , Biscuit gives Jangle Leg a haircut .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Biscuit, when you're done with Jangle Leg, you think you could squeeze me in?<\/dialogue>\n    <character>BISCUIT<\/character>\n    <dialogue>Thought you'd never ask. Biscuit needs some gravy.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I'm talking about a haircut.<\/dialogue>\n    <character>BISCUIT<\/character>\n    <dialogue>Cost you a pair of nylons.<\/dialogue>\n    <character>POKER FACE<\/character>\n    <dialogue>Hey, Ray, Goldmouth do n't believe me. Ai n't it so they got trains up in New York City that run under the streets?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>They're called subways. A nickel will take you from one end of Manhattan to the other. Helluva ride, too.<\/dialogue>\n    <scene_description>Radio looks up from a vacuum tube receiver he 's busy repairing .<\/scene_description>\n    <character>RADIO<\/character>\n    <dialogue>Hey, Ray, you ever been to the Cotton Club?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Sure I've been to the Cotton Club. It's pretty sweet. But it do n't hold a candle to the Boom Boom Room. That's where the real action is.<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>What's the Boom Boom Room?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>That's my joint. The swinginest nightclub in town.<\/dialogue>\n    <character>COOKIE<\/character>\n    <dialogue>You got your own nightclub?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Well, not yet. It's still in the planning stages.<\/dialogue>\n    <character>GOLDMOUTH<\/character>\n    <dialogue>So it do n't exist.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Just because it's in my mind, Goldmouth, do n't mean it ai n't real. Everything worth anything starts with a dream.<\/dialogue>\n    <scene_description>Hoppin ' Bob calls to Ray from the gun line .<\/scene_description>\n    <character>HOPPIN' BOB<\/character>\n    <dialogue>Gibson! Got yourself a visitor!<\/dialogue>\n    <scene_description>Ray turns to find his MOTHER , a handsome woman in a floral dress , coming toward him .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Mama?<\/dialogue>\n    <character>MAMA GIBSON<\/character>\n    <dialogue>Rayford!<\/dialogue>\n    <scene_description>The incorrigibles elbow each other and repeat the name `` Rayford '' as Mama Gibson envelops her son in a fleshy embrace , smothering him with kisses .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>What are you doing here, mama?<\/dialogue>\n    <character>MAMA GIBSON<\/character>\n    <dialogue>I heard some things so I went to see Spanky Johnson. He told me what happened and gave me some money to get down here. What happened to your face?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Do n't worry about that. Hey, fellas, this here is my mama. These are some of my friends. That's Willie, there's Poker Face, Radio, Cookie, Goldmouth, Biscuit, Jangle Leg.<\/dialogue>\n    <scene_description>The motley crew gathers around , nodding politely . Goldmouth flashes a golden grin . Willie gallantly doffs his cap .<\/scene_description>\n    <character>WILLIE<\/character>\n    <dialogue>Mrs. Gibson. Shame on Rayford here for failing to mention that he had such a beautiful mama.<\/dialogue>\n    <scene_description>Mama manages a half - hearted smile , clutching her bag .<\/scene_description>\n    <character>MAMA GIBSON<\/character>\n    <dialogue>Nice to meet you all.<\/dialogue>\n    <character>GOLDMOUTH<\/character>\n    <dialogue>How was your train ride?<\/dialogue>\n    <character>MAMA GIBSON<\/character>\n    <dialogue>Quite comfortable, thank you.<\/dialogue>\n    <character>COOKIE<\/character>\n    <dialogue>Them cookies in there?<\/dialogue>\n    <character>MAMA GIBSON<\/character>\n    <dialogue>Yes, oatmeal.<\/dialogue>\n    <character>RADIO<\/character>\n    <dialogue>` Scuse me, you got any batteries on you?<\/dialogue>\n    <character>MAMA GIBSON<\/character>\n    <dialogue>No. No I do n't.<\/dialogue>\n    <scene_description>Biscuit sides up , fingering her dress .<\/scene_description>\n    <character>BISCUIT<\/character>\n    <dialogue>That's a lovely dress. Make it yourself?<\/dialogue>\n    <character>MAMA GIBSON<\/character>\n    <parenthetical>( vaguely unsettled . )<\/parenthetical>\n    <dialogue>Yeah.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PORCH -- DAY<\/stage_direction>\n    <scene_description>Ray and his mama sit in the shade .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>This is a big surprise, mama. I sure did n't expect to see you down here.<\/dialogue>\n    <scene_description>A long , uncomfortable beat . Mama 's lip starts to tremble .<\/scene_description>\n    <character>MAMA GIBSON<\/character>\n    <dialogue>Rayford, I wanted so much more for you than this.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Do n't cry, mama. This place ai n't so bad as it looks. Sure, we work hard, but there's plenty fresh air and sunshine. And you know something else, I've taken to going to church regular. They got services every Sunday right there in the mess hall.<\/dialogue>\n    <character>MAMA GIBSON<\/character>\n    <dialogue>Do n't you lie to me, Rayford.<\/dialogue>\n    <parenthetical>( composing herself . )<\/parenthetical>\n    <dialogue>You still have your daddy's watch?<\/dialogue>\n    <parenthetical>( Ray shakes his head . )<\/parenthetical>\n    <dialogue>Well, this is all I can give you. I wish it was more.<\/dialogue>\n    <scene_description>She puts some money in his hand .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>I ca n't take that, mama.<\/dialogue>\n    <character>MAMA GIBSON<\/character>\n    <dialogue>Do n't argue with me. You need it more than I do. I know how a little money can help in a place like this.<\/dialogue>\n    <scene_description>Reluctantly , Ray stashes the money in his pocket .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>I ca n't believe this. I always said I'd never end up like this. I thought I'd make something of myself, do something with my life. You know, be successful. Have a big house, a family. Now I'm gon na end up just like daddy.<\/dialogue>\n    <character>MAMA GIBSON<\/character>\n    <dialogue>Do n't say that, Rayford. Do n't ever say that. He gave up hope. That's where you got ta be different.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>They gave me life, mama.<\/dialogue>\n    <character>MAMA GIBSON<\/character>\n    <dialogue>I gave you life. And they ca n't take it away from you. Remember that. You'll get outta here someday. I believe that. You got ta believe it, too.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TONK HOUSE -- DAY<\/stage_direction>\n    <scene_description>Reclining on a straw mattress , Claude watches intently as Daisy gets dressed . The rickety door reverberates with a loud pounding .<\/scene_description>\n    <character>HOPPIN' BOB<\/character>\n    <parenthetical>( off . )<\/parenthetical>\n    <dialogue>Time's up, Banks! We got a crowd gathering out here!<\/dialogue>\n    <scene_description>Claude leaps from the bed and slams his fist against the door .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Woman came all the way from New York, goddamnit! We'll come out when we're good and ready!<\/dialogue>\n    <scene_description>Daisy quickly buttons up her dress .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Did you go see my cousin Maynard like I asked you in my letter?<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>Of course I did. He said he'd file an appeal right away. You did n't tell me he was so good looking.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Yeah, that side of the family has all the looks and none of the brains. I hope he do n't mess things up.<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>He seemed like a pretty good lawyer to me. His offices take up an entire floor of that big, new building on 125th Street, and he was using all these words I never heard before. He even offered me a job.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>A job, huh? Well, that's nice, real nice. You wo n't have to work long. I'll be back soon enough. After I start work at First Federal Bank of Manhattan, I'll be keeping you in style. Everything will get back to normal again. That's a promise.<\/dialogue>\n    <scene_description>Daisy smiles weakly and looks away . She does n't have much faith in this promise .<\/scene_description>\n    <character>DAISY<\/character>\n    <dialogue>Listen, Claude, Maynard wanted to know if he should file the appeal on behalf of your friend, too.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Ray Gibson?<\/dialogue>\n    <parenthetical>( thinks about it . )<\/parenthetical>\n    <dialogue>No, no. He's the reason I'm in here, Daisy. For all I know, he's got a record a mile long. I got a better shot of getting out of here on my own. You tell Maynard to think about me, concentrate on me. Understand?<\/dialogue>\n    <character>DAISY<\/character>\n    <dialogue>Sure, Claude, whatever you say.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY ROAD -- DAY<\/stage_direction>\n    <scene_description>The prisoners jump down from the cart and grab hammers and pick axes as Hoppin ' Bob keeps count with pebbles .<\/scene_description>\n    <character>DILLARD<\/character>\n    <dialogue>We lost yesterday on accounta the rain. That means we got ta make up for it today, so put your backs to it.<\/dialogue>\n    <character>HOPPIN' BOB<\/character>\n    <dialogue>You heard the boss! Let's move!<\/dialogue>\n    <scene_description>Ray and Claude jump down after Willie .<\/scene_description>\n    <character>WILLIE<\/character>\n    <parenthetical>( squinting at the sun . )<\/parenthetical>\n    <dialogue>Looks like a scorcher.<\/dialogue>\n    <character>RADIO<\/character>\n    <dialogue>I bet the son of a bitch goes over a hundred and ten.<\/dialogue>\n    <character>POKER FACE<\/character>\n    <dialogue>I'll take that action.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD -- DAY<\/stage_direction>\n    <scene_description>The long line levels a road to a work tune being sung by Jangle Leg . Dillard checks the thermometer on the truck - 90 degrees and rising . Mopping his brow , he starts down the line . The sun arcs overhead , a blazing inferno . Heat rises off the road . The men sweat profusely . `` Taking it off here , boss ! '' echoes up and down the line . Biscuit has his work cut out for him , lugging a water bucket from man to man , offering the ladle . The sun . the hammer . the ladle . the axe . the sun . the hammer . the ladle . the axe . The mercury hits 110 degrees . A NEW GUY lets his hammer slip from his fingers , collapses in the dirt . Radio nods to Poker Face , who hands him a pack of cigs .<\/scene_description>\n    <character>WILLIE<\/character>\n    <dialogue>Man down, boss!<\/dialogue>\n    <scene_description>Dillard uses his foot to roll the stricken man over . He 's still alive . Barely .<\/scene_description>\n    <character>DILLARD<\/character>\n    <dialogue>You two, put him on the truck!<\/dialogue>\n    <scene_description>Ray and Claude drop their tools , grab the man by his arms and legs and lug him up to the road . Once out of earshot , Ray whispers to Claude .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Cookie drew me a map to Greenville.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>You know what I'm saying.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Yeah, I know what your saying. And I'm saying if you made it that far, they'd be watching every train that pulls out of that station.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>That's why we wo n't take the train. Cookie showed me where there's a farm house. They got a boat there.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>What do you know about boats? I bet you ca n't even swim.<\/dialogue>\n    <scene_description>They reach the truck . With effort , they swing the man back and forth and launch him into the back of the truck .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>What I know about boats is they take you to freedom. Come on, man. I think we can do this.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Why are you always talking about we? There is no we. There is a me, there is a you. But there is no we between us.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUNKHOUSE WASHROOM -- DAY<\/stage_direction>\n    <scene_description>Ray and Claude continue their conversation as they lather up for a shave .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>You want out of this place, do n't you? Do n't tell me you're starting to like it here.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>No, I do n't like it here. Look around. There's nothing but ass. Male ass! Balls and ass! Believe you me, I'm getting out of here.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>What does that mean?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Forget it.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I'm not gon na forget it. What does that mean? If you've got a plan, I think I have a right to know about it. I told you my plan.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Getting a map from a chubby chef named Cookie? Dragging our asses through the swamps in search of some worm - eaten boat? That ai n't a plan, that's a vacation for two in the hole. When you've got a map to New York City, you get back to me.<\/dialogue>\n    <scene_description>Claude splits . Scowling , Ray finishes up his shave .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUNKHOUSE -- NIGHT<\/stage_direction>\n    <scene_description>Moonlight streams through the barred windows of the cage . Exhausted from the day 's work , each man stretches out painfully in his bunk .<\/scene_description>\n    <character>JANGLE LEG<\/character>\n    <dialogue>Sure was hot out there today.<\/dialogue>\n    <character>COOKIE<\/character>\n    <dialogue>Still too hot to sleep.<\/dialogue>\n    <character>RADIO<\/character>\n    <dialogue>Every bone in my body feel like a big son - of - a - bitch dog got hold of it.<\/dialogue>\n    <character>GOLDMOUTH<\/character>\n    <dialogue>I ca n't wait'til Sunday.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>What's so great about Sunday? Monday's right after it.<\/dialogue>\n    <scene_description>Restless , Radio rolls over .<\/scene_description>\n    <character>RADIO<\/character>\n    <dialogue>Hey, Ray, what's the name of that nightclub of yours?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>You mean the Boom - Boom Room?<\/dialogue>\n    <character>RADIO<\/character>\n    <dialogue>That's it. The Boom - Boom Room. Sure would like to see that place when you get it up and running.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>You should have come by last night, Radio. You woulda had yourself some fun.<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>Last night? What are you talking about, Ray?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I'm talking about old Satchmo nearly blew the roof off the joint.<\/dialogue>\n    <character>POKER FACE<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Satchmo.<\/dialogue>\n    <character>GOLDMOUTH<\/character>\n    <dialogue>You mean Louis Armstrong?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>He's a good friend of mine. Drops by the club whenever he's in town.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Hey, do we have to listen to this bullshit? I'm trying to get some sleep around here.<\/dialogue>\n    <scene_description>`` Shut up , Claude ! '' echoes around the room . Irritated , Claude thumps his pillow and turns his back on the room .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Yeah, things were hot last night, but you'll never guess who's playing tonight.<\/dialogue>\n    <scene_description>BLAM ! A high horn note sounds . CLOSE - UP - Biscuit , all dolled up and flashing a million - dollar smile . She begins to sing .<\/scene_description>\n    <character>BISCUIT<\/character>\n    <dialogue>A tisket a tasket.<\/dialogue>\n    <scene_description>Biscuit is up on a makeshift platform in the bunkhouse , lipsyncing to Ella Fitzgerald . But its not the depressing bunkhouse anymore , it has transformed into Ray 's Boom - Boom Room . PULL OUT SLOWLY as Ray , decked out in a sleek tuxedo steps in front of the CAMERA . He speaks into the CAMERA as he walks .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>That's right, fellas. Catch any cab heading uptown. All the drivers know Ray's Boom - Boom Room.<\/dialogue>\n    <character>GOLDMOUTH<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hey, Ray.<\/dialogue>\n    <scene_description>Ray looks to his left , sees Goldmouth in the old bunkhouse .<\/scene_description>\n    <character>GOLDMOUTH<\/character>\n    <dialogue>Where am I at, man?<\/dialogue>\n    <character>RAY<\/character>\n    <parenthetical>( in nightclub . )<\/parenthetical>\n    <dialogue>C'mon, Goldmouth, somebody's got ta watch the front door.<\/dialogue>\n    <scene_description>The CAMERA PANS off Ray to Goldmouth , in a tuxedo , at the front door of the nightclub with two lovely ladies . He waves to himself , sitting on his bunk . Himself waves back , smiling like a kid in a candy store . Willie is behind the bar , serving drinks to three gorgeous SKIMMIES .<\/scene_description>\n    <character>WILLIE<\/character>\n    <dialogue>Hey, Ray, I could get used to this!<\/dialogue>\n    <scene_description>CLOSE ON Cookie sitting a table eating a huge porterhouse . The CAMERA DOLLIES around to find Ray eating with him .<\/scene_description>\n    <character>COOKIE<\/character>\n    <dialogue>Ray, my man, this steak is like butter!<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Made just for you, Cookie.<\/dialogue>\n    <character>COOKIE<\/character>\n    <dialogue>How about some steak sauce?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>No problem. Oh, boy!<\/dialogue>\n    <scene_description>Ray motions to a busboy clearing a table . It 's Claude .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>How about some Worchestershire sauce! And clean that damn table.<\/dialogue>\n    <scene_description>Claude grimaces . Willie laughing , Goldmouth laughing , Poker Face in the bunk laughing .<\/scene_description>\n    <character>POKER FACE<\/character>\n    <dialogue>Hey, Ray, I know you got some gambling!<\/dialogue>\n    <scene_description>Ray at a craps table holding a pair of dice . He looks at Poker Face on his bunk .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>C'mon, Poker Face, what's a club without some dice?<\/dialogue>\n    <scene_description>The CAMERA PULLS BACK as Ray throws the dice . A perfect seven . The CAMERA PANS UP to Poker Face in a tux clutching a fistful of cash .<\/scene_description>\n    <character>POKER FACE<\/character>\n    <dialogue>Lucky seven! My nigger! Let it ride!<\/dialogue>\n    <scene_description>Across the room , Jangle Leg , in a tux , sits at the piano . Radio , also in a tux , beats on the drums .<\/scene_description>\n    <character>JANGLE LEG<\/character>\n    <dialogue>Sing, girlfriend!<\/dialogue>\n    <scene_description>Biscuit sings the song , smiling lovingly at her man . Everyone is having a great time in Ray 's Boom - Boom Room , until . Whistles blow . At the front door , Hoppin ' Bob appears with FIVE TRUSTIES dressed in police outfits . The incorrigibles scatter .<\/scene_description>\n    <character>RADIO<\/character>\n    <dialogue>Hey, Ray, looks like trouble!<\/dialogue>\n    <scene_description>A hard white light from Hoppin ' Bob 's flashlight shines directly into the CAMERA . CLOSE ON Ray , in his bed , back in the old bunkhouse . The music stops abruptly . He shields his eyes from the harsh light . Hoppin ' Bob is looming over him . It 's back to reality .<\/scene_description>\n    <character>HOPPIN' BOB<\/character>\n    <dialogue>You do n't shut up, you're gon na spend the rest of the night in the hole, Gibson! That goes for the rest of you girls, too. I do n't want to hear another peep about no Boom - Boom fucking Room!<\/dialogue>\n    <scene_description>A loud burst of flatulence cuts through the darkness . Hoppin ' Bob turns his flashlight on Cookie .<\/scene_description>\n    <character>COOKIE<\/character>\n    <dialogue>Sorry, Cap'n.<\/dialogue>\n    <scene_description>Scowling , Hoppin ' Bob steps out of the cage and locks the door behind him . The men slowly settle back in .<\/scene_description>\n    <character>RADIO<\/character>\n    <parenthetical>( whispering . )<\/parenthetical>\n    <dialogue>Pretty good story, Ray. Did n't much care for the ending though.<\/dialogue>\n    <scene_description>Lights out at Camp 8 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMP 8 -- YARD -- DAY<\/stage_direction>\n    <scene_description>Claude 's playing pepper with Radio , Jangle Leg and Poker Face .<\/scene_description>\n    <character>DILLARD<\/character>\n    <dialogue>Mail call!<\/dialogue>\n    <scene_description>The incorrigibles quickly gather around as he calls off names , passing cards and letters through the crowd .<\/scene_description>\n    <character>DILLARD<\/character>\n    <dialogue>Craddock! Williams. Henshaw! Banks!<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Here!<\/dialogue>\n    <scene_description>Dillard hands the letter to Ray , who glances at it before passing it back to Claude .<\/scene_description>\n    <character>RAY<\/character>\n    <parenthetical>( reading . )<\/parenthetical>\n    <dialogue>Maynard Banks, Esquire. Attorney at law.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Gim me that. That does n't concern you.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I'm sure it do n't.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAMP 8 BUNKHOUSE -- DAY<\/stage_direction>\n    <scene_description>Claude rips open the letter . A profound disappointment settles over him as he reads the news from cousin Maynard . Bitterly , he crumples up the letter and tosses it down .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD - DAY<\/stage_direction>\n    <scene_description>Dillard strolls down the line with his rifle over his shoulder . Under his watchful gaze , hoes rise and fall . After he passes , Claude moves a little closer to Ray .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>What's up, Ray?<\/dialogue>\n    <character>RAY<\/character>\n    <parenthetical>( cool . )<\/parenthetical>\n    <dialogue>Claude.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Sure is hot today. Think it'll rain later?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>What do you want, Claude?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>What do I want? What makes you think I want something?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>My daddy always said when a man starts talking about the weather keep you hand on your wallet.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Your daddy must have been a helluva guy, a deep man, a wise man. Sure wish I could have met him -<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Cut the bullshit. What do you want, Claude?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <parenthetical>( clearing his throat . )<\/parenthetical>\n    <dialogue>You still got that map?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Well, if you're still thinking about booking it, I want in. I think we can make it.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>We? Did I hear you say we? As I recall, you're the one who said there is no we. Guess we got some bad news in that letter, huh?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Look, my cousin Maynard is a lawyer. He filed an appeal on my behalf -<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>On your behalf. What happened to we?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>The appeal was denied. Then Daisy went and fell for Maynard. They're engaged to be married, can you believe that?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Well, let's just think about that for a moment. He's a successful lawyer up in New York City and you're down here with a bright future in the cotton picking business. Eeny, meeny, miney, Maynard.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Come on, man. Do n't shut me out. I'm telling you, you and me, that map, we can go places.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>You know what, Claude? This whole time we've been down here, you've done nothing but think about yourself, acting like this whole thing is my fault. That plan with your cousin, did that include me?<\/dialogue>\n    <scene_description>A long beat .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>At least you're honest for once. So now you want to be my friend? Well, let me tell you something, Claude - my - shit - do n't - stink - Banks. You got a lot to learn about friendship.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Does that mean I'm in?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I do n't think so, Claude. You'd just slow me down. We'd have to stop every five minutes so you could polish your silverware. There's no way around it, you're soft.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>What'd you say?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I said you're soft.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Do n't call me that. You know I hate it when you call me that.<\/dialogue>\n    <scene_description>Ray gets in Claude 's face and silently mouths the word - `` soft . '' Claude throws down his hoe and sinks his fist deep into Ray 's gut .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Damn, that felt good. I should have done that the first time I met you.<\/dialogue>\n    <scene_description>Ray touches the blood coming from his nose . Eyes blazing , he tackles Claude , dragging him to the ground . The two men roll around , trying to strangle each other . Hoppin ' Bob hustles down the hill and drags Ray off of Claude . But Claude comes back for more . Hoppin ' Bob finds himself in the middle of the fray . That 's when the cavalry arrives . Two trusties use their rifles to crack Ray and Claude over the backs of their heads , sending them both down for the count . Hoppin ' Bob empties his canteen over their faces . They sputter back to consciousness .<\/scene_description>\n    <character>HOPPIN' BOB<\/character>\n    <dialogue>Now you girls set aside your differences and get back to work or I'll see to it -<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>- we'll spend a night in the hole. We heard this shit before.<\/dialogue>\n    <scene_description>Ray and Claude stagger to their feet and pick up their tools . Hoppin ' Bob and the trusties head back up the hill . Ray starts to chuckle .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>What the fuck are you laughing about?<\/dialogue>\n    <scene_description>Ray opens his palm to reveal TWO PEBBLES . Claude regards Ray with new - found respect .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. COUNTRY ROAD -- SUNDOWN<\/stage_direction>\n    <scene_description>One by one , the prisoners of Camp 8 climb into the mule carts under the watchful eye of Hoppin ' Bob . As each man passes , he removes a pebble from his pocket . The last one in is Willie . Hoppin ' Bob 's pocket is now empty .<\/scene_description>\n    <character>HOPPIN' BOB<\/character>\n    <dialogue>All in, boss!<\/dialogue>\n    <character>DILLARD<\/character>\n    <dialogue>Move it out.<\/dialogue>\n    <character>HOPPIN' BOB<\/character>\n    <dialogue>Movin' it out, boss.<\/dialogue>\n    <scene_description>Dillard spurs his horse , escorting the mule carts back to camp .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD -- SUNDOWN<\/stage_direction>\n    <scene_description>As the carts fade into the distance , Ray and Claude pop up from a roadside ditch and take off for a grove of trees in the opposite direction .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS -- SUNDOWN<\/stage_direction>\n    <scene_description>Running for all they 're worth , Ray and Claude crash through the bramble . Claude trips over a root and sprawls face first in the bushes . Ray turns around and helps him to his feet . Claude is still laughing giddily . He throws his arms around Ray .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>You did it, man! You got us out! Next stop, New York City!<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>New York's a long way's off. Let's just keep moving, okay?<\/dialogue>\n    <scene_description>As Ray and Claude disappear into the woods .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUNKHOUSE -- NIGHT<\/stage_direction>\n    <scene_description>Radio 's pulling in some jazz music out of New Orleans . Prisoners hit their bunks as the floorwalker does the nightly head count . He stops at Claude and Ray 's empty bunks , glancing around , puzzled .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DILLARD'S PORCH -- NIGHT<\/stage_direction>\n    <scene_description>Dillard smokes a cigarette on the swing . His wife steps out with a fresh bourbon and ice . Suddenly , SIRENS start to wail and emergency floodlights blaze to life at Camp 8 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD -- NIGHT<\/stage_direction>\n    <scene_description>Hounds scramble down from the back of a truck and gather around the DOG BOY . He holds out a handful of soiled laundry and a dozen snouts sniff it thoroughly . Nearby , Dillard gathers a DOZEN MEN with rifles and flashlights into a posse . He puts a cigarette in his mouth . Hoppin ' Bob lights it for him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS -- NIGHT<\/stage_direction>\n    <scene_description>Trees rise ominously around Ray and Claude as they push through dense underbrush .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>I know these trees all look the same, but I'm getting an awful familiar vibration from this one right here. You sure you know where we're going?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Absolutely. The map is very clear.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Let me take a look at that map.<\/dialogue>\n    <scene_description>Claude considers it from various angles .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>You call this a map? What was Cookie smoking when he drew this?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Cookie did n't draw it. I did.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>You drew this?!<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I knew you would n't come if I did n't have a map.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>That gripes my soul, man. We're out here in the middle of nowhere. There is shit nibbling at my balls! Do n't tell me you do n't know where we're going!<\/dialogue>\n    <scene_description>Ray shrugs and presses on . Dumbfounded , Claude considers the map again , then tears it to shreds . The braying of hounds echoes through the trees .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Hey, wait up!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE WOODS -- NIGHT<\/stage_direction>\n    <scene_description>Ray and Claude race through the underbrush .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE WOODS -- NIGHT<\/stage_direction>\n    <scene_description>Dillard and his men follow the dogs through the woods , hot on the scent .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE WOODS -- NIGHT<\/stage_direction>\n    <scene_description>Ray and Claude race up to a chain - link fence . On the other side , an old Ford is parked on a dirt road . Hearing the posse closing in behind them , Ray and Claude fling themselves onto the fence .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE WOODS -- NIGHT<\/stage_direction>\n    <scene_description>The posse is gaining ground . Dillard takes two men off to the left , sending the rest of the men straight ahead .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE WOODS -- NIGHT<\/stage_direction>\n    <scene_description>Claude clears the fence first and scrambles for the old Ford . Ray 's shirt snags on a piece of wire as he drops down from the fence . Stuck , he dangles helplessly a few feet off the ground .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORD -- NIGHT<\/stage_direction>\n    <scene_description>Claude yanks open the door and jumps behind the wheel . TWO WHITE TEENAGERS bolt up in the backseat where they were necking . After a beat - group scream . The half - dressed teenagers dive from the car and scramble off down the road . Claude twists the key in the ignition and the engine roars to life .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Come on, Ray, time to go!<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I'm stuck!<\/dialogue>\n    <scene_description>Claude sees Ray caught up on the fence , then hears the sounds of the approaching posse . If he floored it right now , he might make it . But he ca n't just leave Ray hanging there .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FENCE -- NIGHT<\/stage_direction>\n    <scene_description>Claude runs up and grabs Ray 's legs , pulling for all he 's worth . The shirt rips free , sending Ray and Claude tumbling to the ground . They leap to their feet and turn toward the car - running smack into the barrel of Dillard 's shotgun .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUPERINTENDENT'S MANSION -- DAY<\/stage_direction>\n    <scene_description>An OLD BLACK PRISONER delivers a frosty mint julep to SUPERINTENDENT ABERNATHY who rocks slowly in his chair . At his feet , his 10 - year - old daughter MAE ROSE is playing jacks . Her long blonde hair makes her look like a little angel .<\/scene_description>\n    <character>MAE ROSE<\/character>\n    <dialogue>Look, daddy. They caught those two men who escaped last night.<\/dialogue>\n    <scene_description>Mae Rose is pointing down the drive , where Dillard and a couple of trusties march Ray and Claude toward the house .<\/scene_description>\n    <character>ABERNATHY<\/character>\n    <dialogue>They ai n't men, Mae Rose. They're convicts. And nigger convicts to boot. Can you say nigger?<\/dialogue>\n    <character>MAE ROSE<\/character>\n    <dialogue>Nagger?<\/dialogue>\n    <character>ABERNATHY<\/character>\n    <dialogue>No, nigger.<\/dialogue>\n    <character>MAE ROSE<\/character>\n    <dialogue>Nigger.<\/dialogue>\n    <character>ABERNATHY<\/character>\n    <dialogue>That's my girl.<\/dialogue>\n    <scene_description>Bound by leg irons and handcuffs , Ray and Claude are deposited at the bottom of the stairs .<\/scene_description>\n    <character>DILLARD<\/character>\n    <dialogue>Here they are, Superintendent. We tracked'em all the way to the Tallahachie.<\/dialogue>\n    <character>ABERNATHY<\/character>\n    <dialogue>That's quite a ways. I'm glad you New York boys could see some of our lovely countryside while you're down here. What do you say, Mae Rose? How should we teach these two a lesson?<\/dialogue>\n    <scene_description>Mae Rose considers their faces . Ray and Claude look like they 've been to hell and back .<\/scene_description>\n    <character>MAE ROSE<\/character>\n    <dialogue>A night in the hole?<\/dialogue>\n    <character>ABERNATHY<\/character>\n    <dialogue>Better make it a week.<\/dialogue>\n    <scene_description>Dillard nods and turns Ray and Claude around . As they march back down the drive , Abernathy takes sip of his mint julep and affectionately pats Mae Rose on the head .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMP 8 -- DAY<\/stage_direction>\n    <scene_description>The incorrigibles of Camp 8 gather at the gun line , watching silently as Dillard and a couple of trusties march Ray and Claude toward the hole .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOLE -- DAY<\/stage_direction>\n    <scene_description>The trusties shove them each into a small , dank cell and slam the doors behind them . Dillard secures both doors with an iron bar .<\/scene_description>\n    <character>DILLARD<\/character>\n    <dialogue>See you in a week, boys.<\/dialogue>\n    <scene_description>OMITTED Sequence omitted from original script .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAY'S CELL -- DAY<\/stage_direction>\n    <scene_description>Ray slumps to the floor , propping his feet against the wall .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Hey, Claude. I just want to say thanks for coming back for me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLAUDE'S CELL -- DAY<\/stage_direction>\n    <scene_description>Claude considers his bleak surroundings . It 's a small , uncomfortable space , not even big enough to lie down . Just a tin bucket for a toilet .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Do n't mention it.<\/dialogue>\n    <character>RAY<\/character>\n    <parenthetical>( off . )<\/parenthetical>\n    <dialogue>Hell, you'd probably be half way to New York by now.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>I'm serious, man. Do n't mention it. Ever.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOLE -- DAY<\/stage_direction>\n    <scene_description>The sun beats down on the tin roofs .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUNKHOUSE -- CAGE -- NIGHT<\/stage_direction>\n    <scene_description>The prisoners are gathered around a table , laying out money . As usual , Poker Face is keeping tabs .<\/scene_description>\n    <character>COOKIE<\/character>\n    <dialogue>I'll take Claude to die on Wednesday for fifty cents.<\/dialogue>\n    <character>POKER FACE<\/character>\n    <dialogue>Wednesday for two bits. And do n't forget you already owe me a steak.<\/dialogue>\n    <character>BISCUIT<\/character>\n    <dialogue>I'll take Claude for Friday. That's my birthday.<\/dialogue>\n    <scene_description>With an ear to his receiver , Radio slaps his money on the table .<\/scene_description>\n    <character>RADIO<\/character>\n    <dialogue>Weatherman says a heat wave's coming. I say neither one of'em son of bitches gon na last past Thursday.<\/dialogue>\n    <character>POKER FACE<\/character>\n    <dialogue>I told you before, I do n't take pennies. Two cigarettes or one nickel minimum. What about you, Willie? Gon na get in on this action?<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>I got a crispy new dollar bill says both of them gon na make it.<\/dialogue>\n    <scene_description>This gives the men pause . Willie tosses his money on the table .<\/scene_description>\n    <character>POKER FACE<\/character>\n    <dialogue>Now that's what I call a bet.<\/dialogue>\n    <character>GOLDMOUTH<\/character>\n    <dialogue>It's a mighty long shot, Willie. Nobody ever made it a week in the hole.<\/dialogue>\n    <character>JANGLE LEG<\/character>\n    <dialogue>Not in August, anyway.<\/dialogue>\n    <scene_description>But Willie leaves the money where it is .<\/scene_description>\n    <character>POKER FACE<\/character>\n    <dialogue>Who else has some guts around here?<\/dialogue>\n    <scene_description>Poker Face makes notations as the betting resumes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD -- DAY<\/stage_direction>\n    <scene_description>Work goes on as usual for the prisoners of Camp 8 . Trusties keep their eyes peeled for slackers .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOLE -- DAY<\/stage_direction>\n    <scene_description>The brick shacks bake in the noonday sun .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD -- DAY<\/stage_direction>\n    <scene_description>Biscuit moves down the line offering the ladle to the men as they struggle under a crushing heat wave .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOLE -- DAY<\/stage_direction>\n    <scene_description>Superintendent Abernathy strides up and gives the nod to Dillard , who unlocks the doors . Huddled in their respective cells , Ray and Claude shrink from the bright sunlight . Then , slowly and painfully , they rise to their feet . In the background , the incorrigibles gather at the gun line as word spreads that the fellows are still alive . Abernathy glances at the crowd with annoyance .<\/scene_description>\n    <character>ABERNATHY<\/character>\n    <dialogue>I do n't think these boys have learned their lesson. Let's give'em another week for good measure.<\/dialogue>\n    <character>DILLARD<\/character>\n    <dialogue>Sure you want to do that, sir?<\/dialogue>\n    <character>ABERNATHY<\/character>\n    <dialogue>Do n't you ever question me, Sgt. Dillard. When I give an order, you jump to it, or I'll kick you and that first - cousin you call a wife outta that pretty little house so fast it'll make your pin - head spin. You got that?<\/dialogue>\n    <character>DILLARD<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <scene_description>Dillard slams the doors on Ray and Claude and clamps shut the padlocks . Abernathy smiles at the incorrigibles , who regard him with undisguised hatred . AT THE GUN LINE A somber Poker Face offers Willie a wad of bills .<\/scene_description>\n    <character>POKER FACE<\/character>\n    <dialogue>Well, they made it a week. Looks like you win, Willie.<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>Let it ride.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLAUDE'S CELL -- NIGHT<\/stage_direction>\n    <scene_description>A slot at the bottom of the door opens . A tin plate of mush slides through and the slot closes . Slumped in the corner , Claude reaches for the food - but a RAT beats him to it , scampering out of the shadows and leaping onto the dish .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RAY'S CELL -- NIGHT<\/stage_direction>\n    <scene_description>A commotion and wild screams come from Claude 's cell . Ray leaps to his feet , shouting through the wall .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Claude? You alright?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CLAUDE'S CELL -- NIGHT<\/stage_direction>\n    <scene_description>Claude continues to stomp the rat .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Ca n't take it no more, Ray! Die, motherfucker! Got ta get the fuck outta here!<\/dialogue>\n    <scene_description>Claude pounds against the door , raising a holy racket . We continue to cut back and forth between cells as needed .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Keep it together, Claude. You wake up the man, he'll shoot you for sure.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>He'd be doing me a favor. I'm getting outta here one way or the other! Goddamn rats and shit! Fuck!<\/dialogue>\n    <scene_description>Claude continues shouting and pounding .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>All right, man, just settle down. We'll get outta here, Claude. We'll get outta here real soon.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>How the fuck are we gon na do that, Ray?!<\/dialogue>\n    <scene_description>Ray looks around his cell . Claude 's pounding is bound to wake up somebody soon .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>We'll just get off at the next stop.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <parenthetical>( stops pounding , confused . )<\/parenthetical>\n    <dialogue>Say what?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>That's right, we'll get off at the next stop. The train's pulling into the station right now.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>The hell you talking about? What train?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>We're in the Bronx, my man. Hundred and Sixty First Street.<\/dialogue>\n    <scene_description>Claude focuses on what Ray is saying and starts to breathe easier .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Hundred and Sixty First Street? That's Yankee Stadium.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Hell, yes, Yankee Stadium. Bombers are playing a double - header against the Red Sox.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Red Sox. Who's on the mound?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I do n't know. Who do you want?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Allie Reynolds. He's my boy.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Sure, it says Allie Reynolds right here in the program. He's warming up right now. Man, we're so close to the field I need cleats. How'd you get such good seats?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>I know people.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>They must be the right people. Whoa, there goes the hot dog man. Let's get a couple. Damn, that smells good. Nothing like a ballpark hot dog, huh?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>You get ketchup?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Ketchup? Who eats ketchup on a hot dog? Mustard's what you want.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>I ca n't eat it with mustard.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOLE -- NIGHT<\/stage_direction>\n    <scene_description>Dillard strides toward the hole , shotgun in hand . He pauses to listen to the argument , cocking an eyebrow in befuddlement .<\/scene_description>\n    <character>RAY<\/character>\n    <parenthetical>( off . )<\/parenthetical>\n    <dialogue>Give me back that hot dog. I'll eat it myself.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <parenthetical>( off . )<\/parenthetical>\n    <dialogue>What am I gon na eat?<\/dialogue>\n    <character>RAY<\/character>\n    <parenthetical>( off . )<\/parenthetical>\n    <dialogue>You can starve to death for all I care. Now shut up, the game's about to start.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <parenthetical>( off . )<\/parenthetical>\n    <dialogue>Hey, man, is Babe Ruth in the lineup today?<\/dialogue>\n    <character>RAY<\/character>\n    <parenthetical>( off . )<\/parenthetical>\n    <dialogue>Of course, he's in the lineup. There he goes right there. Hey, Babe!<\/dialogue>\n    <scene_description>Dillard shakes his head , shoulders his gun and heads back toward his house .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOLE -- DAY<\/stage_direction>\n    <scene_description>Abernathy gives the nod to Dillard , who unlocks the doors . Two trusties drag Ray and Claude out of their cells .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUNKHOUSE -- DAY<\/stage_direction>\n    <scene_description>The men crowd around the windows .<\/scene_description>\n    <character>RADIO<\/character>\n    <dialogue>What's going on? Are they alive or dead?<\/dialogue>\n    <character>GOLDMOUTH<\/character>\n    <dialogue>Do n't look too good.<\/dialogue>\n    <character>POKER FACE<\/character>\n    <dialogue>They're not moving.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE HOLE -- DAY<\/stage_direction>\n    <scene_description>Slowly , Claude opens his eyes , squinting in the harsh light of day . Summoning his strength , he staggers to his feet .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Hey, Ray.<\/dialogue>\n    <scene_description>Ray 's eyes blink open . Claude holds out a hand and helps him stand up . They share a look . They made it .<\/scene_description>\n    <character>ABERNATHY<\/character>\n    <parenthetical>( scowling . )<\/parenthetical>\n    <dialogue>Sergeant Dillard, make sure these two are out in the fields first thing in the morning.<\/dialogue>\n    <scene_description>Abernathy turns on his heels . Dillard considers the two tough guys standing before him .<\/scene_description>\n    <character>DILLARD<\/character>\n    <dialogue>Go on, get inside.<\/dialogue>\n    <scene_description>Ray and Claude stagger toward the bunkhouse as the incorrigibles gather on the porch and help them in out of the sun . INSERT - TIME PASSAGE -LRB- Note : This montage is mixed with 16mm and Super 8 footage . A beautiful 1940s song plays over . -RRB- A. King Kong is machined - gunned off the top of the Empire State Building . B. FDR introduces his New Deal . C . The incorrigibles chop weeds . D. With Willie and Claude standing guard , Ray samples a batch of moonshine from a secret still in his footlocker . E . At the height of the depression , poor people line up in front of a soup kitchen . F. Ray and the crew sit around the poker table playing cards and laughing . G. Ray opens a letter and pulls out a snapshot of his mama which he places over his bunk . H . The incorribles level a road . I. Jesse Owens wins the 100 meter race at the 1936 Olympics in Berlin . J. Benny Goodman sets the kids dancing with wild abandon in the aisles of the Paramount Theater . K . The Hindenburg bursts into flames . L. Claude writes a letter , `` Dear Sylvia '' . M . In the juke joint , Sylvia reads the letter and smiles . She shows it to a few other WORKING GIRLS . N. Adolf Hitler stabs the air in front of a foreboding sea of Nazis . O . The 1939 World 's Fair opens in New York . P. Ray nails a sign to the side of the bunkhouse : RAY 'S BOOM BOOM ROOM . He steps back to admire the effect . Behind him , Sylvia and her friends mingle with the incorrigibles in the yard . Dillard takes his cut as Claude and Sylvia head for the tonk house . Ray and his date step up . Q. Lou Gehrig is honored at Yankee Stadium . `` Today I consider myself the luckiest man on the face of the Earth . '' R. With a pillow stuffed under a home - made Santa outfit , Ray distributes chocolate to the incorrigibles while Claude and Willie decorate the saddest little Christmas tree you ever saw . S . The 1940 Oldsmobile is introduced . T. Japanese Zeros bomb Pearl Harbor . U. FDR declares `` a day that will live in infamy . '' V . A WWII newsreel shows American G.I. s storming a beach in the South Pacific .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MESS HALL (1943) -- NIGHT<\/stage_direction>\n    <scene_description>The inmates of Camp 8 cheer for the American soldiers up on a makeshift movie screen . Instead of black and white stripes , the prisoners now wear blue twill . In an audience of new faces , the CAMERA FINDS some familiar ones . Ray and Claude are surrounded by their crew - Willie , Radio , Poker Face , Cookie , Biscuit , Jangle Leg and Goldmouth . A decade has passed .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMP 8 YARD -- DAY<\/stage_direction>\n    <scene_description>A line of NEW PRISONERS stands before Dillard , now 10 years older .<\/scene_description>\n    <character>DILLARD<\/character>\n    <dialogue>Camp 8 is for incorrigibles, so whatever you've done to get here, believe me, we are not impressed. You new men are probably noticing that we have no fences here at Camp 8. We do n't need no fences, we have the gun line. It runs from shack to shack clear around the yard -<\/dialogue>\n    <scene_description>Dillard pauses in front of a big country boy who ca n't be more than 18 years old . The kid is bouncing a rubber ball .<\/scene_description>\n    <character>DILLARD<\/character>\n    <dialogue>What the hell you think you're doing?<\/dialogue>\n    <scene_description>The kid do n't answer . An OLD GUY steps forward .<\/scene_description>\n    <character>OLD GUY<\/character>\n    <dialogue>Excuse me, boss. That kid do n't talk. Something wrong with his head, just ca n't get right, boss.<\/dialogue>\n    <character>DILLARD<\/character>\n    <dialogue>Ca n't get right, huh? We'll see how long he last. Now, where was I?<\/dialogue>\n    <character>HOPPIN' BOB<\/character>\n    <dialogue>We do n't need no fences at Camp 8, boss.<\/dialogue>\n    <character>DILLARD<\/character>\n    <dialogue>That's right. We do n't need no fences, we have the gun line. It runs from shack to shack clear around the yard. You are now inside the gun line.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUNKHOUSE -- DAY<\/stage_direction>\n    <scene_description>Ray and some of the fellas are playing poker . Dillard 's voice drifts in through the open window .<\/scene_description>\n    <character>RAY<\/character>\n    <parenthetical>( mouthing along . )<\/parenthetical>\n    <dialogue>If you step outside the gun line without my permission, you will be shot. If you trip and fall over the gun line, you will be shot. If you spit, if you pee, if you stick your ass out and take a dump over the gun line, you will be shot.<\/dialogue>\n    <scene_description>He lays down his cards and rakes in the pot .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BASEBALL FIELD -- DAY<\/stage_direction>\n    <scene_description>Jangle Leg pitches to Radio , who swings and misses . Behind the plate , Goldmouth tosses the ball back to Jangle Leg . On the sideline , Ray teaches three - card monte to CA N'T GET RIGHT . Claude paces nearby .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>I try to teach'em the finer points of the game, share my wisdom, but I do n't know why I bother. They do n't listen, they sure do n't learn.<\/dialogue>\n    <scene_description>Another pitch , another strike .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>What you're dealing with here is a complete lack of talent.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>I'm sick of watching Camp 12 win the championship. Every year they get to roast the victory pig and we get dick. This year I want that pig.<\/dialogue>\n    <scene_description>Radio knocks a grounder up the middle .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Alright, Radio, there you go. Who wants to hit next?<\/dialogue>\n    <scene_description>Ca n't Get Right looks at Ray .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>You want to hit?<\/dialogue>\n    <parenthetical>( to Claude . )<\/parenthetical>\n    <dialogue>Yo, Claude. Give Ca n't Get Right a shot.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <parenthetical>( skeptical . )<\/parenthetical>\n    <dialogue>Him?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Ca n't be worse than any of these other fools.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>All right, grab the bat. Let's see what you can do.<\/dialogue>\n    <scene_description>Ca n't Get Right shuffles to the plate . Goldmouth hands him the bat .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Jangle Leg's gon na throw the ball nice and easy. You just go ahead and take a swing.<\/dialogue>\n    <scene_description>Jangle Leg tosses the ball . Ca n't Get Right swings and connects with a mighty CRACK ! The incorrigibles crane their necks as the ball disappears into the sky . They turn to look at Ca n't Get Right . Ray gives Claude a significant look , then tosses another ball out to Jangle Leg on the mound .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Okay. Let's try that again. This time give it a little juice.<\/dialogue>\n    <scene_description>Jangle Leg nods , winds up and delivers a whistling fast ball . Ca n't Get Right clobbers it . Once again , the incorrigibles track the departing projectile .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Told ya.<\/dialogue>\n    <scene_description>Ca n't Get Right smiles for the first time .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUPERINTENDENT'S MANSION -- DAY<\/stage_direction>\n    <scene_description>The men of Camp 8 paint a fence along the drive leading up to the big house .<\/scene_description>\n    <character>RADIO<\/character>\n    <dialogue>I heard Camp 12 got themselves a son - of - a - bitch used to pitch for the Mud Hens.<\/dialogue>\n    <character>GOLDMOUTH<\/character>\n    <dialogue>That boy got a year for jay - walking.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Judge must have money riding on the championship.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Do n't matter who Camp 12 puts on the mound. All I know is when this season's over Camp 8's gon na have pork chops.<\/dialogue>\n    <scene_description>Just then a U. S. Army Jeep swerves past the men and parks in front of the mansion . Young CAPT. TOM BURNETTE helps MAE ROSE out of the car . The prisoners stare furtively at her long legs and curly blonde tresses .<\/scene_description>\n    <character>POKER FACE<\/character>\n    <dialogue>Looks like little Mae Rose has grown up.<\/dialogue>\n    <character>BISCUIT<\/character>\n    <dialogue>And out.<\/dialogue>\n    <character>COOKIE<\/character>\n    <dialogue>Mmm - mm, that girl's got gams.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>She's got it all. And it's firm and round and fully packed.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>You shred it, wheat. That there is fresh water.<\/dialogue>\n    <scene_description>Next to them , Ca n't Get Right stares openly , mesmerized by her beauty . Ray nudges him .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Be cool, man. You can look, just do n't drool.<\/dialogue>\n    <scene_description>Up at the mansion , Abernathy and his WIFE come out onto the porch , all smiles .<\/scene_description>\n    <character>ABERNATHY<\/character>\n    <dialogue>How was the honeymoon? Am I gon na be a grandaddy soon?<\/dialogue>\n    <character>MRS. ABERNATHY<\/character>\n    <dialogue>Do n't pay attention to the superintendent, Tom. You're going to stay for supper, are n't you?<\/dialogue>\n    <character>TOM<\/character>\n    <dialogue>Afraid not. I'm shipping out this afternoon.<\/dialogue>\n    <scene_description>The prisoners steal glances as Mae Rose kisses her new husband goodbye . She gives them quite a show , raising her leg behind her just like Betty Grable . Then Tom climbs into the Jeep and pulls away . Mae Rose takes a long glance at the prisoners . The men all look away - except Ca n't Get Right who stands there smiling innocently . Mae Rose gives him a little wink , then turns her back and bounces up the steps .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BASEBALL FIELD -- DAY<\/stage_direction>\n    <scene_description>A plump PIG roots about in a small pen . A sign dangles from a post - `` First Prize . '' The incorrigibles of Camp 8 limber up for the big game with the inmates of Camp 12 across the field .<\/scene_description>\n    <character>POKER FACE<\/character>\n    <dialogue>Think you can handle something that big, Cookie?<\/dialogue>\n    <character>COOKIE<\/character>\n    <dialogue>I handled your mama, did n't I? Do n't y' all worry. I got plans for that bad boy. Ai n't none of him going to waste.<\/dialogue>\n    <scene_description>Beyond the fence , a late - model sedan rolls up . STAN BLOCKER , in a straw hat and a rumpled suit , climbs out and stretches his legs . Irritated , he smacks a mosquito and exchanges a few words with Dillard .<\/scene_description>\n    <character>DILLARD<\/character>\n    <dialogue>Banks! Get over here!<\/dialogue>\n    <scene_description>Claude hustles over , removing his hat .<\/scene_description>\n    <character>DILLARD<\/character>\n    <dialogue>This is Stan Blocker. Scout for the Nigger Leagues.<\/dialogue>\n    <character>BLOCKER<\/character>\n    <dialogue>Negro Leagues, actually. Pittsburgh Crawfords. Ever hear of us?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>We get the games on the radio sometimes.<\/dialogue>\n    <character>BLOCKER<\/character>\n    <dialogue>We played down in Jackson yesterday. Heard a rumor you've got a boy up here who can hit the ball a ton.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>You probably mean Ca n't Get Right. That's him over there.<\/dialogue>\n    <character>BLOCKER<\/character>\n    <dialogue>Ca n't Get Right? That's the kid's name? Can I talk to him?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>You can try, but you wo n't get too far. Why you interested?<\/dialogue>\n    <character>BLOCKER<\/character>\n    <dialogue>Crawford's are always looking for new talent.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Maybe you did n't notice, but this is a prison.<\/dialogue>\n    <character>BLOCKER<\/character>\n    <dialogue>There are ways around that. Right sergeant?<\/dialogue>\n    <scene_description>Blocker winks at Dillard , then glances at the incorrigibles practicing in the field . Goldmouth , Cookie , Poker Face , Biscuit - they do n't exactly inspire confidence .<\/scene_description>\n    <character>BLOCKER<\/character>\n    <dialogue>Nice looking squad. See you after the game.<\/dialogue>\n    <scene_description>Blocker takes a seat on the bench .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BASEBALL FIELD -- DAY<\/stage_direction>\n    <scene_description>The inmates of Camp 12 are in the field . Our boys from Camp 8 cheer for Cookie digging in at the plate . Ray taunts the opposition from the third base line . The PITCHER winds up and releases a fast ball . Cookie swings and connects for a base hit up the middle . IN THE STANDS Mrs. Abernathy and Mrs. Dillard share a box of Cracker Jack .<\/scene_description>\n    <character>MRS. ABERNATHY<\/character>\n    <dialogue>Of course, the superintendent's hoping for a boy, but personally, I'd prefer a girl.<\/dialogue>\n    <character>MRS. DILLARD<\/character>\n    <dialogue>Whatever it is will be a little gift from heaven. Look at the way she glows.<\/dialogue>\n    <scene_description>Mae Rose sits next to them . She is SIX MONTHS PREGNANT . She removes her sunglasses and coyly bites a fingernail when she spots Ca n't Get Right in the on - deck circle . DOWN ON THE FIELD Ca n't Get Right smiles shyly . Sensing trouble , Claude ushers Ca n't Get Right toward the plate , massaging his shoulders .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>You're my boy, just keep what little mind you have focused on the game. If you hit that ball the way I know you can, you might just be our ticket off this farm.<\/dialogue>\n    <scene_description>Ca n't Get Right digs in . Claude returns to the sidelines and appeals to the gods . The pitcher winds up and releases a fast ball . Ca n't Get Right connects with that familiar CRACK ! Blocker stands up and watches the ball clear the fence and just keep going . With his team cheering him on , Ca n't Get Right trots around the bases . But he 's still looking at Mae Rose .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMP 8 YARD (LATER) -- DAY<\/stage_direction>\n    <scene_description>Cookie slowly turns the pig on a spit over an open fire . The incorrigibles are savoring a victory feast . As always , trusty guards keep an eye on things . Off to the side , Blocker is laughing with Ray and Claude . He takes a hit off Ray 's bottle of shine . It 's not his first , either .<\/scene_description>\n    <character>BLOCKER<\/character>\n    <dialogue>Mark my words, within five years there's gon na be a colored man playing in the majors.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Come on, the world has n't changed that much.<\/dialogue>\n    <character>BLOCKER<\/character>\n    <dialogue>Maybe not yet. But it will. And I'll be out of a job. Damn, that's some tasty hooch.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>It's amazing what Ray here can do with a couple of pounds of potato skins and some molasses.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>So, Blocker, what do you think of our boy?<\/dialogue>\n    <character>BLOCKER<\/character>\n    <dialogue>I think that boy could be the next Josh Gibson. I'm gon na talk to the front office about him, you can bet on that. Damn, it's getting late. We got a game in Memphis tomorrow.<\/dialogue>\n    <scene_description>Blocker starts for his car , parked just beyond the gun line .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>What about us? Do n't forget to mention us.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>We're like his handlers. He ca n't function without us.<\/dialogue>\n    <character>BLOCKER<\/character>\n    <dialogue>I'll put in a good word for you. You've done a good job with that boy. Thanks for your hospitality.<\/dialogue>\n    <scene_description>Ray and Claude 's eyes gleam with hope as Blocker 's car rumbles off down the road .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUPERINTENDENT'S MANSION -- NIGHT<\/stage_direction>\n    <scene_description>Inside , a woman screams in agony . Then , the HEALTHY CRIES of a new - born baby .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAE ROSE'S BEDROOM -- NIGHT<\/stage_direction>\n    <scene_description>Superintendent Abernathy paces anxiously in front of a white curtain surrounding Mae Rose 's bed . Suddenly , Mrs Abernathy staggers out from behind the curtain with a stricken look on her face . She tries to speak , but words fail her . Her legs go wobbly and she faints dead away .<\/scene_description>\n    <character>ABERNATHY<\/character>\n    <dialogue>Uh, doctor.<\/dialogue>\n    <scene_description>The DOCTOR steps from behind the curtain , drawing it behind him . He checks Mrs. Abernathy 's pulse .<\/scene_description>\n    <character>DOCTOR<\/character>\n    <dialogue>She'll be fine. She just had a bit of a shock.<\/dialogue>\n    <character>ABERNATHY<\/character>\n    <dialogue>Is Mae Rose okay?<\/dialogue>\n    <character>DOCTOR<\/character>\n    <dialogue>She's doing just fine.<\/dialogue>\n    <character>ABERNATHY<\/character>\n    <dialogue>And the baby?<\/dialogue>\n    <character>DOCTOR<\/character>\n    <parenthetical>( vague . )<\/parenthetical>\n    <dialogue>He's a big one.<\/dialogue>\n    <character>ABERNATHY<\/character>\n    <dialogue>It's a boy! Well, let's get a look at him.<\/dialogue>\n    <scene_description>Abernathy pushes past the doctor and yanks open the curtain . Mae Rose is propped up in bed , looking exhausted .<\/scene_description>\n    <character>ABERNATHY<\/character>\n    <dialogue>Well, where is he? Where's my new grandson?<\/dialogue>\n    <scene_description>The NURSE turns around , cradling the baby in her arms . Abernathy gently pulls back the soft blanket . His eyes widen with horror upon discovering that the newest member of the Abernathy family is black .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMP 8 YARD -- DAY<\/stage_direction>\n    <scene_description>Ca n't Get Right bounces his rubber ball off the wall , catching it on the rebound .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUNKHOUSE CAGE -- DAY<\/stage_direction>\n    <scene_description>Ray passes around his latest batch of buck as the men discuss Ca n't Get Right 's professional prospects . The thump - thump of the ball on the wall outside plays over .<\/scene_description>\n    <character>POKER FACE<\/character>\n    <dialogue>You really think they'll let him out of here just to play baseball?<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>Why not? Boy's got God - given talent.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>God may have given it, but Claude Banks spotted it and nurtured it.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Damn straight. I expect those Pittsburgh Crawdads to remember that.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Crawfords.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Whatever.<\/dialogue>\n    <character>COOKIE<\/character>\n    <parenthetical>( glancing out the window . )<\/parenthetical>\n    <dialogue>Heads up, here comes trouble.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMP 8 YARD -- DAY<\/stage_direction>\n    <scene_description>Abernathy drives his sedan up to the bunkhouse . All of his worldly possessions are strapped to the roof . It appears that the Abernathys are leaving town . In the back seat , Mae Rose cradles her baby . Her mother sits next to her . Dillard steps out into the yard to confer with the Superintendent , then turns to address the inmates .<\/scene_description>\n    <character>DILLARD<\/character>\n    <dialogue>Alright, listen up! I want every man lined up out here in the yard on the double! Let's move it!<\/dialogue>\n    <character>HOPPIN' BOB<\/character>\n    <dialogue>You heard what the man said! Move it!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMP 8 YARD -- DAY<\/stage_direction>\n    <scene_description>Abernathy holds his newborn grandson up next to Ray 's face . Hmm . Scowling , he moves a little further down the line , scrutinizing the features of each man . He pauses in front of Claude , holds up the baby . Maybe . Abernathy stops in front Goldmouth . Holds up the baby . The possibility makes him shudder . He moves on to Ca n't Get Right . His eyes narrow .<\/scene_description>\n    <character>ABERNATHY<\/character>\n    <dialogue>I know it was somebody from this camp. I can feel it in my bones.<\/dialogue>\n    <scene_description>Disgusted , Abernathy hands the baby back to Mae Rose . Then he turns , walks back to Ca n't Get Right and places a revolver against his head .<\/scene_description>\n    <character>ABERNATHY<\/character>\n    <dialogue>Do you know who the father of that little chocolated baby is?<\/dialogue>\n    <scene_description>Ca n't Get Right nods slowly . Abernathy smiles .<\/scene_description>\n    <character>ABERNATHY<\/character>\n    <dialogue>Well, then, who is it?<\/dialogue>\n    <scene_description>Up and down the line , the men brace themselves for the worst . Ca n't Get Right just grins . Enraged , Abernathy cocks the revolver . That 's when Ray steps forward .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>The baby's mine, boss.<\/dialogue>\n    <scene_description>Stunned , Abernathy lowers the gun and approaches Ray . Then Claude steps forward .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>He's lying, boss. I'm the father of that baby.<\/dialogue>\n    <scene_description>Confused , Abernathy looks back and forth between the two men . Then Willie steps forward .<\/scene_description>\n    <character>WILLIE<\/character>\n    <dialogue>Actually, it was me, boss. I know I may look old.<\/dialogue>\n    <character>BISCUIT<\/character>\n    <dialogue>Any fool could see that baby's mine, boss.<\/dialogue>\n    <character>COOKIE<\/character>\n    <dialogue>I beg to differ. That cute little rascal belongs to me.<\/dialogue>\n    <character>POKER FACE<\/character>\n    <dialogue>I'm the father.<\/dialogue>\n    <character>RADIO<\/character>\n    <dialogue>I'm the father, boss.<\/dialogue>\n    <character>GOLDMOUTH<\/character>\n    <dialogue>I'm the father.<\/dialogue>\n    <character>JANGLE LEG<\/character>\n    <dialogue>I'm the father.<\/dialogue>\n    <scene_description>And so it goes down the line , until every last man of Camp 8 has stepped forward to claim kinship with the Superintendent . Even hard - ass Dillard ca n't help cracking a smile . Disgusted , confused and thoroughly fed up , Abernathy jams the revolver into his belt and climbs into the car . As he guns the engine , Mae Rose gazes out the back window , smiling one last time at the father of her baby . Ca n't Get Right smiles back .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMP 8 YARD -- DAY<\/stage_direction>\n    <scene_description>It 's visiting Sunday and Ray 's Boom Boom Room is in full swing . Sylvia 's girls are everywhere . Down at the gunline , Dillard takes his cut from inmates lined up for their turn in the tonk . A FIVE - PIECE PRISON BAND is playing the blues . Nearby , Willie is dispensing Ray 's moonshine from a bunkhouse window . He raises a jar in a toast .<\/scene_description>\n    <character>WILLIE<\/character>\n    <dialogue>To Superintendent Abernathy. May he have many more grandchildren!<\/dialogue>\n    <scene_description>The incorrigibles erupt in boisterous agreement . Claude grabs Ca n't Get Right and shakes him .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>What I want to know is where? When? How?<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>Wasting your breath, Claude. He ai n't the type to kiss and tell.<\/dialogue>\n    <scene_description>Just then , Rev. Clay and his daughter emerge from the mess hall and start across the yard . It 's a good thing the old man is blind because he would n't want to see how far his flock has strayed . The Reverend inhales deeply as one of Sylvia 's girls passes nearby .<\/scene_description>\n    <character>REV. CLAY<\/character>\n    <dialogue>There's a sweet fragrance in the air today.<\/dialogue>\n    <character>CLAY'S DAUGHTER<\/character>\n    <dialogue>The magnolias are blooming early this year, daddy.<\/dialogue>\n    <scene_description>Blissed out incorrigibles enjoy a last dance as the band downshifts into a slow , sultry number . In the midst of the dancers , Claude clings to Sylvia . Nearby , Jangle Leg dances intimately with a YOUNG WOMAN . Up on the porch , Ray refreshes Biscuit 's drink . Biscuit has been crying and it shows . The liquor probably is n't helping .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Do n't take it so hard, Biscuit. She do n't mean nothin' to him.<\/dialogue>\n    <character>BISCUIT<\/character>\n    <dialogue>Hell with him. It ai n't that.<\/dialogue>\n    <scene_description>He pulls some folded sheets of paper from his pocket , passes them to Ray .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>These are free papers.<\/dialogue>\n    <character>BISCUIT<\/character>\n    <parenthetical>( devastated . )<\/parenthetical>\n    <dialogue>What am I gon na do out there, Ray? I ca n't go home to my mama like this. I'll get the strap for sure.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Come on, Biscuit, this is good news. Your mama's gon na break down in tears when you show up on her doorstep.<\/dialogue>\n    <scene_description>Poker Face leans in .<\/scene_description>\n    <character>POKER FACE<\/character>\n    <parenthetical>( sotto . )<\/parenthetical>\n    <dialogue>I'll give you three to one she gives him the strap.<\/dialogue>\n    <scene_description>Ray gives Poker face a shove , then turns back to Biscuit .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>It's 1945. It's a different world now.<\/dialogue>\n    <character>BISCUIT<\/character>\n    <dialogue>Not for me, it ai n't.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Well you ca n't stay here, Biscuit. This ai n't no life for a man. Any one of these fellas would give their right arm to be in your shoes. I sure know I would.<\/dialogue>\n    <scene_description>Ray hands back the papers and heads off to dance with a PRETTY YOUNG WOMAN lingering nearby . Left alone , Biscuit polishes off his moonshine and checks his reflection in the bunkhouse window .<\/scene_description>\n    <character>BISCUIT<\/character>\n    <dialogue>No life on the inside, no life on the outside.<\/dialogue>\n    <scene_description>He crumples the discharge papers and drops them . Then he steps down from the porch and walks calmly past the dancing prisoners toward the gun line . Ray lifts his head off his date 's shoulder . Something about the way Biscuit is walking suggests that he is n't going to stop .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Hey, Biscuit!<\/dialogue>\n    <scene_description>But it 's too late . Biscuit crosses the gun line and keeps walking , his eyes focused on the horizon .<\/scene_description>\n    <character>TRUSTY<\/character>\n    <dialogue>Man over the line!<\/dialogue>\n    <scene_description>The band stops playing , the dancers grow still . Dillard turns around and squints .<\/scene_description>\n    <character>DILLARD<\/character>\n    <dialogue>Goddamnit, Biscuit, get back here!<\/dialogue>\n    <scene_description>But Biscuit is n't paying attention . He breaks into a run . Dillard nods to Hoppin ' Bob who raises his rifle and draws a bead . But he ca n't pull the trigger . He lowers his gun . Shots ring out from the shooter shacks . Biscuit reels from the impact of the bullets and looks down sadly at the blood spreading across his ring - arounds . Prisoners silently gather at the gunline . Jangle Leg pushes his way through the crowd and crosses the gunline without hesitation . Dillard indicates for the shooters to hold their fire . They train their rifles on Jangle Leg as he strides toward his fallen companion . Jangle Leg gently lifts Biscuit 's lifeless body into his big arms and somberly carries him back toward the camp . The CAMERA RISES HIGH OVERHEAD as the prisoners make way for Jangle Leg to cross back over the gunline .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BUNKHOUSE -- DAY<\/stage_direction>\n    <scene_description>A dark mood hangs over the men . Jangle Leg sits stoically as Radio fiddles with his receiver . Nearby , Poker Face and Ray play a listless game of gin rummy . Claude is thumbing distractedly through a dog - eared copy of Baseball Digest .<\/scene_description>\n    <character>RADIO<\/character>\n    <dialogue>Hey, fellas, I got Chicago.<\/dialogue>\n    <scene_description>But nobody can muster much enthusiasm for this news . Radio shrugs and drops down on his bunk . Just then , Ca n't Get Right walks past heading for the door . He 's dressed in civilian clothes , his bindle slung over his shoulder .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Hey, Ca n't Get Right, where you going? Why you dressed like that?<\/dialogue>\n    <scene_description>Ca n't Get Right holds out a piece of paper which Ray scrutinizes .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>It's a pardon from the governor.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Let me see that.<\/dialogue>\n    <scene_description>The incorrigibles gather around for a glimpse at Ca n't Get Right 's ticket to freedom .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Where'd you get this?<\/dialogue>\n    <scene_description>Ca n't Get Right nods out the window . Stan Blocker is waiting by his car .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMP 8 YARD -- DAY<\/stage_direction>\n    <scene_description>Claude storms across the yard and stops at the gun line . Ray is a few steps behind .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Yo, Blocker, what's going on here?<\/dialogue>\n    <character>BLOCKER<\/character>\n    <dialogue>Kid's getting out. I got him a pardon.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Yeah, but what about me and Ray? I did n't see our names on that pardon. You said you were gon na put in a good word for us.<\/dialogue>\n    <character>BLOCKER<\/character>\n    <dialogue>I did, Claude. I mentioned you. I mentioned you both. But the fact is, pardons do n't come cheap. The kid can hit. What can you do?<\/dialogue>\n    <scene_description>This hits Claude hard .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Let it go, Claude.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>I'm not gon na let it go. The man needs to explain himself. Makin' promises.<\/dialogue>\n    <character>BLOCKER<\/character>\n    <dialogue>Look, I am truly sorry about this. I'd like to help you.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>But you ca n't.<\/dialogue>\n    <character>BLOCKER<\/character>\n    <dialogue>At least the kid's getting out. Is n't this what you wanted?<\/dialogue>\n    <scene_description>Claude looks around as the incorrigibles begin to gather . He 's on the spot . Dillard approaches with Ca n't Get Right . Claude looks into the big kid 's eyes .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <parenthetical>( resigned . )<\/parenthetical>\n    <dialogue>Yeah. Of course it is.<\/dialogue>\n    <scene_description>Steeling himself to the reality of the situation , Claude gives Ca n't Get Right a hug .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>You show them Crawfords how to play ball.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Make'em throw strikes.<\/dialogue>\n    <scene_description>Ca n't Get Right nods . He steps up to the gun line and looks at both shooter shacks .<\/scene_description>\n    <character>DILLARD<\/character>\n    <dialogue>It's alright. You're a free man now.<\/dialogue>\n    <scene_description>Ca n't Get Right steps across the gun line . Blocker opens the car door for him . But before he climbs in , Ca n't Get Right reaches into his pocket and pulls out his rubber ball . With a smile , he tosses it to Claude , who snatches it out of the air .<\/scene_description>\n    <character>BLOCKER<\/character>\n    <dialogue>Do n't worry, we'll take good care of him.<\/dialogue>\n    <scene_description>Blocker tips his hat and climbs behind the wheel . Claude and Ray watch Blocker 's car drive off under a red Mississippi sunset . Slowly , the inmates drift back toward the bunkhouse until Ray an Claude are left alone at the gun line .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>One of the new kids said they're farming those acres just north of the swamp. He said he saw a crop duster flying around the place.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>I'm not in the mood right now, Ray.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>He said they keep it parked out behind the barn. Ca n't be that hard to fly a plane. Lots of people do it.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>They're called pilots! I'm serious, Ray. I'm not in the mood for one of your stupid, fucked - up plans right now.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I do n't see you coming up with any plans.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <parenthetical>( getting mad . )<\/parenthetical>\n    <dialogue>My plan is on his way to Pittsburgh right now. That congenital idiot just got himself a pardon signed by the governor thanks to us, but we ca n't seem to do nothing for ourselves. Do n't you feel a little disgusted right now?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Crop duster.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>I ai n't getting in no airplane with you. I'm finally wrapping my mind around the concept. They threw us in this shithole for life. Do n't you get it, Ray? We're gon na die here! Might as well head up to the cemetery, pick a plot and start digging.<\/dialogue>\n    <scene_description>Suddenly enraged , Ray hauls off and knocks Claude down with a solid right . Surprised , Claude touches his bloody lip .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>My daddy died in prison. He gave up hope and hung himself. What you're talking about is the same damn thing. That ai n't how I'm going.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Maybe you're fooling yourself, Ray. Maybe you're just a chip off the old block.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Take that back or we ai n't friends no more, Claude Banks.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Here's a news flash, Ray. We never were friends. We've just been stuck together for 12 years. It's been nothing but bad luck since the moment I ran into you. Every time I look at you I get sick to my stomach thinking about what my life could have been if I'd never bumped into Ray Gibson.<\/dialogue>\n    <scene_description>A hard look comes to Ray 's eyes as Claude rises to his feet .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Better watch yourself Claude, before you say something you regret.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>The only thing I regret is the day I met you.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Well, if that's the way it is.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>That's the way it is.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Then I have nothing left to say to you.<\/dialogue>\n    <scene_description>Ray walks away , leaving Claude to nurse his split lip .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>You never said nothing of value anyway.<\/dialogue>\n    <scene_description>INSERT - TIME PASSAGE A . In his Pittsburgh Crawfords uniform , Ca n't Get Right lays into a fast ball , sending it soaring into the bleachers . B. People dance in the street in Time Square , marking the end of WWII . C. Hoppin ' Bob drops a package on Ray 's bunk . Ray rips off the brown paper to reveal a book : `` So You Want to Learn to Fly . '' D. Claude and Sylvia make love in the tonk house . E . In the mess hall , Ray pointedly carries his tray past a table where Claude sits with Willie . F . An A - bomb explodes in the Bikini Atolls . G. Jimmy Stewart hugs his wife and children at the end of `` It 's a Wonderful Life '' . H. Jackie Robinson slides across home plate at Ebbets Field . I. Ray runs full tilt across a field toward a barn . Sure enough , there 's the single engine crop duster parked right where he said it would be . J. Claude and another INMATE repair a hole in the bunkhouse roof . They dive for cover as Ray 's crop duster swoops low overhead and dips out of sight beyond the trees . A puff of smoke rises into the sky . K. Soot - stained , Ray is marched to the hole and shoved inside . L. Newly elected president Harry Truman holds up a copy of the Chicago Tribune baring the headline `` Dewey Defeats Truman '' . M. RCA unveils the first color television . N. Cars pull up next to speaker poles in front of a drive - in movie screen . O . In the bunkhouse , early rock and roll plays on a modern 1950s radio that sits where the old vacuum tube receiver used to be . A YOUNG TOUGH now occupies Radio 's old bunk . P . At the poker table , Poker Face slumps forward onto his pile of chips , revealing a straight flush . The other men quickly fold . Q. With a TRUSTY standing guard , Claude and Ray silently shovel dirt into Poker Face 's grave . The CAMERA MOVES past gravemarkers - Biscuit , Jangle Leg , Radio . R. Marilyn Monroe 's skirt rises on a blast of subway air in `` The Seven - Year Itch '' . S. Rosa Parks is arrested for refusing to sit in the back of the bus . T. Elvis Presley creates a sensation on the Ed Sullivan Show . U. School children learn to `` duck and cover '' in the event of nuclear attack . V . The inmates of Camp 8 work to level a road . Ray 's on one side , Claude 's on the other . W. Prisoners mingle with friends and family on visiting Sunday . Claude waits on the bunkhouse steps . His face brightens when Sylvia appears . X. Blacks sit - in at lunch counters in Greensboro , N.C . Y. Kennedy is elected . Z. OMITTED . AA . Martin Luther King delivers his `` I have a dream '' speech at the Lincoln Memorial . BB . The Zapruder footage of Kennedy being shot . CC . American soldiers jump down from helicopters and run for the jungles in Vietnam . DD . Ford introduces the 1965 Mustang . EE . The assassination of Malcolm X . FF . Muhammad Ali looms over Sonny Liston , asking `` What 's my name ? '' . GG . The CAMERA MOVES past more gravemarkers - Hoppin ' Bob , Goldmouth - to find Claude and Ray silently shoveling dirt over another casket . Ray pounds a simple marker into the ground : Cookie . Briefly , they lock eyes . But neither one speaks and the moment passes . HH . Go - Go dancers . II . Mao Tse Tung . JJ . Jimi Hendrix at the Monterey Pop Festival . KK . TV 's Batman and Robin battle the forces of evil in Gotham City . LL . Black Panthers . MM . Peace Protesters . NN . The death of Martin Luther King . OO . Robert Kennedy . PP . Neil Armstrong sets foot on the moon . QQ . Vida Blue rears back and fires a pitch in the 1972 World Series .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMP 8 YARD -- DAY<\/stage_direction>\n    <scene_description>On the porch , Willie , now in his 70s , sits in a wheelchair watching the ball game on a black - and - white television . A TRUSTY waits nearby . Ray , now in his mid - 60s , emerges from the bunkhouse lugging a duffle bag .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Alright Willie, I think I got everything. I'll talk to Dillard, see if I can get up to the infirmary and check up on you. Make sure they're changing your diapers regular.<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>They'll be sending you up there soon enough. And not just for a visit, neither.<\/dialogue>\n    <character>RAY<\/character>\n    <parenthetical>( leaning in . )<\/parenthetical>\n    <dialogue>I slipped in a couple of bottles of my latest batch. Help wash down all them pills they'll be giving you.<\/dialogue>\n    <scene_description>He gives Willie a slap on the back and nods to the trusty . The trusty wheels the old man across the yard where YOUNG PRISONERS mingle with WIVES and FAMILY MEMBERS sporting the fashions of the early '70s - Afros , mutton chops , paisley prints and bell - bottom pants . ACROSS THE YARD Looking old - style , Claude sits on the mess hall steps waiting for Sylvia . He catches Willie 's eye . The two men nod to each other , an unspoken farewell . Then Claude turns to find Ray looking at him from the bunkhouse steps . Ray and Claude hold each others gaze for a moment . Then Ray heads back into the bunkhouse .<\/scene_description>\n    <character>YVETTE<\/character>\n    <parenthetical>( off . )<\/parenthetical>\n    <dialogue>Are you Claude Banks?<\/dialogue>\n    <scene_description>Claude turns to face YVETTE , a pretty young woman .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>YVETTE<\/character>\n    <dialogue>My name's Yvette. Sylvia sent me. You look just like she said.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>She's alright, is n't she?<\/dialogue>\n    <character>YVETTE<\/character>\n    <dialogue>Oh, she's fine. She's just not coming today.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Why not?<\/dialogue>\n    <character>YVETTE<\/character>\n    <dialogue>She got married last month.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Married?<\/dialogue>\n    <character>YVETTE<\/character>\n    <dialogue>Real nice guy, too. Trumpet player. They moved down to New Orleans.<\/dialogue>\n    <scene_description>Claude takes this in , staring off into space .<\/scene_description>\n    <character>YVETTE<\/character>\n    <dialogue>She always said that if you were on the outside.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>But I'm not on the outside. I'm in here.<\/dialogue>\n    <character>YVETTE<\/character>\n    <dialogue>I know she's sorry she wo n't be seeing you anymore. Anyway, she wanted me to take care of you.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Take care of me?<\/dialogue>\n    <character>YVETTE<\/character>\n    <dialogue>You know, go to the tonk or whatever.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>I'm too old for you. Besides, I'm not much in the mood.<\/dialogue>\n    <character>YVETTE<\/character>\n    <dialogue>Want me to come back some other time?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <parenthetical>( shaking his head . )<\/parenthetical>\n    <dialogue>Nice girl like you do n't belong in a place like this. But if you talk to Sylvia, tell her old Claude said congratulations.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMP 8 YARD -- DAY<\/stage_direction>\n    <scene_description>Claude stands at the gun line , staring across at the Dillard house . Mrs. Dillard places a couple of pies on the windowsill to cool .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Whites - only pies.<\/dialogue>\n    <scene_description>Suddenly , he makes a break for the Dillard house .<\/scene_description>\n    <character>TRUSTY<\/character>\n    <dialogue>Man over the line!<\/dialogue>\n    <scene_description>Ray turns to see Claude dashing across no - man 's land . Shots ring out from the shooter shack , kicking up dirt around Claude 's feet as he serpentines across the field .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DILLARD'S HOUSE -- DAY<\/stage_direction>\n    <scene_description>Breathless , Claude makes it to the kitchen window and digs his hand into the golden - brown crust , shoving a sloppy fistful of pie into his mouth . More shots ring out . Bullets PING all around him . Grabbing the pie , he darts around the side of the building , out of range . Back against the wall , he drops down on his haunches , snarfing pie like a hungry wolf .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMP 8 YARD -- DAY<\/stage_direction>\n    <scene_description>A case of empty Coke bottles sits in the middle of the yard , glinting in the hot sun . His face smeared with boysenberry , Claude finishes taking off his boots and socks and steps barefoot onto the bottles .<\/scene_description>\n    <character>DILLARD<\/character>\n    <dialogue>Comfortable?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>As a pair of fur - lined bedroom slippers, boss.<\/dialogue>\n    <character>DILLARD<\/character>\n    <dialogue>We'll see what those slippers feel like after, say, 24 hours. And if you step down off them bottles - if one toe so much as touches the dirt - one of these boys is gon na shoot you dead. Let's see. We need a special man for this job.<\/dialogue>\n    <scene_description>He takes a trusty 's rifle and moves among the inmates , who have gathered around . He stops when he gets to Ray .<\/scene_description>\n    <character>DILLARD<\/character>\n    <dialogue>How about it, Ray?<\/dialogue>\n    <scene_description>Ray glances at Claude , then back at Dillard .<\/scene_description>\n    <character>DILLARD<\/character>\n    <dialogue>I'll make you trusty right now. If that pie - eatin' son of a bitch falls off those bottles and you have to shoot him, I'll see to it you get a pardon. Hell, I'll personally escort you out the gate.<\/dialogue>\n    <scene_description>Dillard offers the rifle to Ray , who does n't have to think too long .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>You do n't want to give me a gun, boss. I'm liable to use it on you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMP 8 YARD -- SUNDOWN<\/stage_direction>\n    <scene_description>Ray 's been given the same treatment as Claude . Barefoot , balanced on Coke bottles , the two men stand a few feet apart facing each other . A trusty with a rifle keeps an eye on them . After years of silence , the tension reaches the breaking point .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>You're a sucker. I'd have taken that deal.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Excuse me? Are you talking to me?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>I'd have knocked you off those bottles, put a bullet in your ass and be half way to New York right now.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>After all these years of blissful silence, I almost forgot how annoying the sound of your voice can be.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>I hope you do n't think I owe you anything. Because I do n't owe you a damn thing.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I did n't do if for you, anyway. I just ai n't no boot - licking trusty, that's all.<\/dialogue>\n    <scene_description>The trusty tightens his grip on his rifle . He 'd love the opportunity .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>I was sorry to hear about your mama passing.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>That was five years ago.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>I know, but since we're talking, I thought I'd mention it.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>We're not talking, you're talking, and doing too damn much of it, if you ask me.<\/dialogue>\n    <scene_description>They stand in stony silence . Then Ray starts to laugh . A long , low belly laugh .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>What?!<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>You sure looked funny running for those pies, bullets flying all around you.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Bullets were n't the problem. That pie was too hot. Burned my tongue.<\/dialogue>\n    <scene_description>The two men start to laugh . Really laugh . Nearly a decade 's worth of laughter comes welling up out of them , and they nearly lose their balance , which only makes them laugh harder .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CAMP 8 YARD -- DAY<\/stage_direction>\n    <scene_description>A trusty bangs the rap iron . Young prisoners pour from the bunkhouse and line up for breakfast . Claude and Ray bring up the rear , the elder statesmen of the bunch . By a long shot .<\/scene_description>\n    <character>DILLARD<\/character>\n    <dialogue>Fourteen acres today and only 12 hours of daylight! Eat up and move it out! Gibson! Banks! Get your sorry asses over here!<\/dialogue>\n    <scene_description>Claude and Ray step out of line and approach Dillard .<\/scene_description>\n    <character>DILLARD<\/character>\n    <dialogue>Every morning I wake up praying that Ray Gibson and Claude Banks have died in their sleep and every morning you disappoint me.<\/dialogue>\n    <character>RAY AND CLAUDE<\/character>\n    <dialogue>Sorry, boss.<\/dialogue>\n    <character>DILLARD<\/character>\n    <dialogue>I stand before you a defeated man. Try as I might, I ca n't seem to break you. I swear, if they dropped a nuclear bomb on this camp, you and the cockroaches would be the only things left. But starting today at least I wo n't have to endure your presence any longer. You've got fifteen minutes to clear out your footlockers. You're both being reassigned to the Superintendent's mansion. And I, for one, will not miss you.<\/dialogue>\n    <scene_description>Ray and Claude share a look . Then Ray embraces Dillard , who stoically endures the breach of his personal space .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>I always wanted to do that.<\/dialogue>\n    <parenthetical>( sighing . )<\/parenthetical>\n    <dialogue>There is so much love inside of this man.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUPERINTENDENT'S MANSION -- DAY<\/stage_direction>\n    <scene_description>Up on the porch , Claude brings a tray of minted iced tea to Superintendent Wilkins , who sets aside his bible and washes down a couple of pills . Before going back inside , Claude ca n't resist taunting Ray , busy trimming a hedge out in the hot sun .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Oh, yard boy, these pansies could use some attention over here. Perhaps some fertilizer would restore their exuberance.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARSH -- DAY<\/stage_direction>\n    <scene_description>Claude and Ray beat the bulrushes with switches , rustling a couple of pheasants from their hiding spot . As the birds take wing , Wilkins aims his shot gun and fires twice in rapid succession . Both birds fall from the sky in a flutter of feathers . OMITTED Sequence omitted from original script . OMITTED Sequence omitted from original script .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUPERINTENDENT'S MANSION -- DAY<\/stage_direction>\n    <scene_description>Claude fills Wilkins ' water glass as the Superintendent takes a bite of lamb chop and winces in pain .<\/scene_description>\n    <character>WILKINS<\/character>\n    <dialogue>Damn dentures slipping again. Everything falls apart when you grow old, eh, Claude? Time sure marches on.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Yes, boss.<\/dialogue>\n    <character>WILKINS<\/character>\n    <dialogue>You know, I'm fixing on retiring at the end of the summer, gon na try to enjoy what few years I have left. What do you think of this place? It's one of those new retirement communities down on the Gulf.<\/dialogue>\n    <scene_description>Claude glances at a glossy brochure . From outside , Ray peers suspiciously through the dining room window as he hacks at a rose bush .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Ocean views, palm trees, two heated swimming pools and a golf course - sounds a damn sight better than that infirmary across the way where I'm gon na end up.<\/dialogue>\n    <scene_description>Claude returns the brochure .<\/scene_description>\n    <character>WILKINS<\/character>\n    <dialogue>I apologize, Claude. That was rude of me.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>That's alright, boss. Takes a lot more than a colorful brochure to hurt my feelings.<\/dialogue>\n    <character>WILKINS<\/character>\n    <dialogue>You been on the farm for quite a spell, have n't you?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Over forty years now. Me and Ray Gibson out there.<\/dialogue>\n    <scene_description>Wilkins glances over at the window . Ray ducks out of view .<\/scene_description>\n    <character>WILKINS<\/character>\n    <dialogue>Forty years. That's a long time for any crime, even murder.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>It's a hell of a lot longer when you're innocent.<\/dialogue>\n    <character>WILKINS<\/character>\n    <dialogue>Half the men in this prison swear they're innocent. Do n't you think that's kinda funny?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>You have to forgive me if I do n't laugh.<\/dialogue>\n    <scene_description>Claude pushes back into the kitchen , leaving Wilkins to think this one over .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SERVANTS' QUARTERS -- NIGHT<\/stage_direction>\n    <scene_description>Ray and Claude are getting ready for bed .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>You and Wilkins sure are getting chummy. You two planning on going steady, or something?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>He's just a lonely old man. He likes to talk.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Hey, I'm a lonely old man. I like to talk, too. So why do n't we start by talking about what kind of a plan you're working on?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>I'm not working on a plan.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>You ca n't fool me, Claude. I know you got something brewing.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Goodnight, Ray.<\/dialogue>\n    <scene_description>Claude punches his pillow and turns off the light .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUPERINTENDENT'S MANSION -- DAY<\/stage_direction>\n    <scene_description>Ray hacks a rose bush down to the nub . From the garage comes the sound of an engine turning over . Wilkins ' 1973 Lincoln Continental convertible lurches down the drive with Claude at the wheel . He screeches to a halt inches from Ray 's legs and climbs from the car .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>What the hell are you doing?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Do n't touch that car.<\/dialogue>\n    <scene_description>Claude pulls out a hanky and buffs Ray 's finger print off the hood .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Wilkins' driver's got the flu, so he asked me to fill in for him.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>You have n't driven in 40 years, you ai n't even got a license. Man's taking his life in his hands, putting you behind the wheel! Where you taking him?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Greenville. We're picking up the new Superintendent at the bus station.<\/dialogue>\n    <scene_description>Ray scowls as Claude straightens his chauffeur uniform and heads up the path to the mansion .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GREENVILLE BUS STATION -- DAY<\/stage_direction>\n    <scene_description>Claude pulls up in front of the station , steps out of the car and holds the door for Wilkins , who checks his watch .<\/scene_description>\n    <character>WILKINS<\/character>\n    <dialogue>You know I trust you, Claude.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Yes, sir.<\/dialogue>\n    <character>WILKINS<\/character>\n    <dialogue>I'll be right back.<\/dialogue>\n    <scene_description>Wilkins heads into the station , leaving Claude alone with the Continental . All around him are the sights , sounds and smells of the free world . A woman rushes into the arms of a man as he climbs off a bus . Across the street is Grandma Dodi 's Pork Rib Joint where Cookie never made it to the peach cobbler . A young brother with a boom box walks by . In the street , kids crowd around the back of an ice cream truck . Then Claude catches his reflection in the car window and frowns . When did he get this old ? Unnerved , he moves around to the back of the car and pops open the trunk .<\/scene_description>\n    <character>RAY<\/character>\n    <parenthetical>( sitting up . )<\/parenthetical>\n    <dialogue>Damn, it was getting hot in there.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>What the hell are you doing in that trunk?!<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>You did n't think I was gon na let you escape alone, did you?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>I ai n't escaping! We're picking up the new super just like I told you.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Then you're lucky I came along. Does n't take a visionary to spot a golden opportunity like this. Now help me out of this trunk.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>You ai n't getting out of that trunk.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Come on, man, I'm starting to cramp up here.<\/dialogue>\n    <parenthetical>( Ray struggles out of the trunk . )<\/parenthetical>\n    <dialogue>We have the chance right here, right now, I say we go!<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Go where, Ray?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Back to New York for starters.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>And what will we do when we get there? I'm sixty - five years old, Ray. So are you. What are we gon na do out here? Get married, have kids, settle down? That boat sailed without us, man.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>This boat's gon na sail without you, too. I do n't care if I last one day out here. At least it's one day of freedom. Now gim me those keys.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Forget about that. You run if you want to, but you're not taking this car.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Claude, man, I'm serious. Give me those keys.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>I ai n't spending a month in the hole so you can take a joy ride.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Do n't make me take them away from you.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Hey, there's Wilkins!<\/dialogue>\n    <scene_description>Ray looks , Claude clocks him . Ray slumps back into the trunk . Claude stuffs Ray 's legs back into the trunk and slams the lid .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Who's driving now, bitch?<\/dialogue>\n    <scene_description>He looks up just as Wilkins and the new superintendent exit the bus station . Warren Pike 's hair has gone grey and he 's 40 years older , but there 's no mistaking the former sheriff of Natchez County . He still bears a nasty scar on his cheek from a wound inflicted long ago . CLAUDE 'S POV - Pike appears as a young man in his sheriff 's uniform striding slowly toward him . Claude blinks and looks again . Pike has returned to his old self as he and Wilkins step up .<\/scene_description>\n    <character>PIKE<\/character>\n    <parenthetical>( dropping his bags . )<\/parenthetical>\n    <dialogue>There you go, boy.<\/dialogue>\n    <scene_description>Oblivious , Pike climbs into the back seat . Wilkins nods to Claude .<\/scene_description>\n    <character>WILKINS<\/character>\n    <dialogue>Come on, Claude, time to go.<\/dialogue>\n    <scene_description>Claude snaps to it , grabbing the bags . He considers opening the trunk , but decides to carry them around to the front seat with him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. KITCHEN PORCH -- DUSK<\/stage_direction>\n    <scene_description>Backs to the CAMERA , Ray and Claude urinate , presumably off the porch .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>You sure it was him?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Some faces you just do n't forget. Warren Pike's is one of'em.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I do n't like it, I do n't like it one bit. We shoulda taken that car when we had the opportunity. We'd be half way to New York by now.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>We'd be in the hole by now. Hey, man, you're peeing on my shoe.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I know. Simultaneously, they shake and zip. Claude bends down and picks up a bowl of gumbo, placing it on a tray next to an identical one.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM -- NIGHT<\/stage_direction>\n    <scene_description>Wilkins pours a frosty drink and offers it to Pike .<\/scene_description>\n    <character>WILKINS<\/character>\n    <dialogue>Lemonade?<\/dialogue>\n    <character>PIKE<\/character>\n    <dialogue>I prefer bourbon.<\/dialogue>\n    <character>WILKINS<\/character>\n    <dialogue>I'm sorry, I do n't keep any liquor in the house.<\/dialogue>\n    <character>PIKE<\/character>\n    <dialogue>Well, fortunately, I carry my own.<\/dialogue>\n    <scene_description>Pike pulls a flask from his jacket and tilts it high . Claude enters from the kitchen with the two steaming bowls of gumbo .<\/scene_description>\n    <character>WILKINS<\/character>\n    <dialogue>Hunting's been pretty good on the farm the last few years. It's one of the perks of the job. If you're interested, tomorrow I could show you some of my favorite spots.<\/dialogue>\n    <character>PIKE<\/character>\n    <dialogue>You do n't have to twist my arm.<\/dialogue>\n    <parenthetical>( digging in . )<\/parenthetical>\n    <dialogue>Say now, that gumbo has quite a kick.<\/dialogue>\n    <character>WILKINS<\/character>\n    <dialogue>Thank you, Claude. That'll be all for tonight.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Goodnight, Mr. Wilkins. Mr. Pike.<\/dialogue>\n    <character>WILKINS<\/character>\n    <dialogue>Goodnight, Claude.<\/dialogue>\n    <scene_description>Pike nods coldly . Claude steps back into the kitchen .<\/scene_description>\n    <character>PIKE<\/character>\n    <dialogue>If you do n't mind my saying, you seem mighty familiar with your house boy.<\/dialogue>\n    <character>WILKINS<\/character>\n    <dialogue>I believe in treating the convicts with respect, if that's what you mean.<\/dialogue>\n    <character>PIKE<\/character>\n    <parenthetical>( sarcastic . )<\/parenthetical>\n    <dialogue>Respect? Well, is n't that progressive.<\/dialogue>\n    <character>WILKINS<\/character>\n    <dialogue>If somebody deserves respect, Mr. Pike, they receive it from me, convict or no convict.<\/dialogue>\n    <scene_description>Pike curls his lip with disdain before taking a healthy spoonful of gumbo .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARSH -- DAY<\/stage_direction>\n    <scene_description>Claude and Ray beat the bullrushes with switches . Amid a flutter of wings , three pheasants take to the air . Wilkins fires first , knocking one out the sky . Pike pulls off two rounds , playing clean up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FIELD -- DAY<\/stage_direction>\n    <scene_description>Ray and Claude dump their game bags into the back of a pickup truck . Nearby , Pike drains his flask while Wilkins scrapes mud off his boots . The breeze picks up , clouds fill the sky .<\/scene_description>\n    <character>WILKINS<\/character>\n    <dialogue>Well, that's a pretty good haul. What do you say, Mr. Pike? Ready to call it a day?<\/dialogue>\n    <scene_description>Pike pulls a gold watch from his pocket and releases the face plate . A familiar mechanical tune floats on the gathering breeze . Ray turns around slowly . His eyes fall on the watch in Pike 's hand . His daddy 's watch . In Pike 's hand .<\/scene_description>\n    <character>PIKE<\/character>\n    <dialogue>Yeah, it's getting late. I could sure use a bath.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>That's a real nice watch you got there, sir. Fancy old thing even plays a little tune.<\/dialogue>\n    <character>PIKE<\/character>\n    <dialogue>Yeah, it's special. They do n't make'em like this anymore.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Sure do n't. Mind if I ask where you got it?<\/dialogue>\n    <character>PIKE<\/character>\n    <dialogue>Why, my wife gave it to me on our anniversary some years back.<\/dialogue>\n    <scene_description>Claude looks at the watch , then at Ray . Uh oh .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Must have been some time ago. Maybe forty years?<\/dialogue>\n    <character>PIKE<\/character>\n    <parenthetical>( eyes narrowing . )<\/parenthetical>\n    <dialogue>Something like that, yes.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>She give you that scar, too?<\/dialogue>\n    <scene_description>Pike thrusts the barrel of his gun up under Ray 's chin .<\/scene_description>\n    <character>PIKE<\/character>\n    <dialogue>I oughta shoot you for that comment, boy.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Like you shot Winston Hancock?<\/dialogue>\n    <scene_description>Wilkins turns to see Pike holding Ray at gunpoint .<\/scene_description>\n    <character>WILKINS<\/character>\n    <dialogue>What's going on here?<\/dialogue>\n    <character>PIKE<\/character>\n    <dialogue>I'm afraid I'm gon na have to teach this uppity nigger a lesson in manners.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>That's Mr. Uppity Nigger to you.<\/dialogue>\n    <scene_description>Ray grabs the barrel of the shotgun and slams it into Pike 's face . Pike rolls over and freezes , staring down the barrel of his own gun now in Ray 's hands . Confused , Wilkins points his gun at Ray .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Cool it, Ray. You're gon na get us in a lot of trouble.<\/dialogue>\n    <character>WILKINS<\/character>\n    <dialogue>He's right, Gibson. Put down the gun and we'll work this out.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I'm gon na work this man's brains out the back of his head.<\/dialogue>\n    <character>PIKE<\/character>\n    <dialogue>Shoot him, Wilkins!<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Do n't shoot, sir. I can deal with this.<\/dialogue>\n    <parenthetical>( cautiously . )<\/parenthetical>\n    <dialogue>Ray, buddy, you do n't want to shoot this white man. See, you do that, they'll kill you for sure. And it's not that I like you or anything, but I've kinda gotten used to having you around.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>He's got my daddy's watch, Claude. I always knew whoever took that watch killed Winston Hancock. And that was you, Mr. Pike.<\/dialogue>\n    <character>PIKE<\/character>\n    <dialogue>He's crazy. Do n't listen to him, Wilkins.<\/dialogue>\n    <character>WILKINS<\/character>\n    <dialogue>Do you realize what your saying, Gibson?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>That watch was the only thing my daddy ever gave me. It meant the world to me.<\/dialogue>\n    <character>PIKE<\/character>\n    <dialogue>Goddamn it, Wilkins, would you please just shoot the nigger!<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>He shoots me, I swear I'll take you with me! I just want to hear you say it.<\/dialogue>\n    <character>WILKINS<\/character>\n    <dialogue>Is there any truth to what he's saying, Pike?<\/dialogue>\n    <character>PIKE<\/character>\n    <dialogue>What difference does it make? Natchez was better off without Winston Hancock! Who cares if a couple of no - account bootleggers went to jail for his killing? At least the state of Mississippi got 40 years of cheap labor out of the deal!<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Forty years of cheap labor! Gim me that gun.<\/dialogue>\n    <scene_description>Claude grabs for the gun .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>No, I'm gon na kill him -<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>No, believe me, I'm gon na kill him!<\/dialogue>\n    <scene_description>Claude yanks the gun free and points it right in Pike 's face . Wilkins trains his gun on Claude . But the moment passes . Claude lowers the gun . Bewildered , Wilkins does the same .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>I ca n't do it.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>That's because you're soft. Gim me the gun.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>What'd you say?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I said you're soft.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Do n't call me soft, I hate it when you call me that.<\/dialogue>\n    <scene_description>Ray mouths the word - `` soft . '' Claude clenches his jaw , points the gun and pulls the trigger . Click . Pike smirks and pulls a small gun from his boot . But as he raises it - BLAM ! Pike is hurled backward by a shotgun blast . Shocked , Ray and Claude look at Wilkins , his gun still smoking in his hands . After a significant beat , Ray reaches down and gingerly retrieves his daddy 's gold pocket watch .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>I believe this is mine.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SUPERINTENDENT'S MANSION -- DAY<\/stage_direction>\n    <scene_description>A gurney carrying Pike 's body is lifted into the back of a van by two COUNTY CORONERS . Nearby , a distraught Wilkins tells his story to a couple of SHERIFF 'S DEPUTIES .<\/scene_description>\n    <character>WILKINS<\/character>\n    <dialogue>I was drawing a bead on a bird when Mr. Pike just stepped into my line of fire.<\/dialogue>\n    <character>DEPUTY #1<\/character>\n    <dialogue>Where were the two convicts when the shot was fired?<\/dialogue>\n    <character>WILKINS<\/character>\n    <dialogue>They were busy loading up the truck. We got him back here as quick as possible, but. I just feel terrible about this.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MANSION -- DAY<\/stage_direction>\n    <scene_description>Ray and Claude watch through the window as Wilkins talks to the deputies .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Why do n't he just tell'em the truth?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>He knows nobody wants to hear the truth.<\/dialogue>\n    <scene_description>One of the deputies pats Wilkins sympathetically on the back . Then he and his partner put away their notebooks and head for their vehicle . Wilkins heads up the steps and into the house .<\/scene_description>\n    <character>WILKINS<\/character>\n    <dialogue>Well, I think they bought it. One of the deputies belongs to my church.<\/dialogue>\n    <scene_description>Visibly shaken , Wilkins takes a seat , wiping the sweat from his brow with a handkerchief .<\/scene_description>\n    <character>WILKINS<\/character>\n    <dialogue>I realize there's no way. There's nothing I can say to make up for forty years. I'll have Charlotte prepare those pardon papers right away.<\/dialogue>\n    <scene_description>Wilkins winces and swallows a couple of pills from his box .<\/scene_description>\n    <character>WILKINS<\/character>\n    <dialogue>Claude, mind helping me to the bathroom?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <parenthetical>( giving him a hand . )<\/parenthetical>\n    <dialogue>Sure, boss.<\/dialogue>\n    <character>WILKINS<\/character>\n    <dialogue>I'm not your boss. Not anymore.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRISON CEMETERY (PRESENT) -- DAY<\/stage_direction>\n    <scene_description>Jake looks at Willie expectantly .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>So Ray and Claude got their pardons, right?<\/dialogue>\n    <character>LEON<\/character>\n    <parenthetical>( smacking him . )<\/parenthetical>\n    <dialogue>No, they did n't get their pardons, you dumb shit! If they'd got their pardons way back then, we would n't be burying them today, would we?<\/dialogue>\n    <character>JAKE<\/character>\n    <parenthetical>( chewing on it . )<\/parenthetical>\n    <dialogue>Oh, right. Well, why did n't they get those pardons?<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>Old man Wilkins' never came out of that bathroom. Died right there on the crapper.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>Just like Elvis.<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>Of course nobody believed Ray and Claude.<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>That musta messed'em up pretty bad.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>What happened to'em after that, Willie?<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>After that? Well, let's see. After that they got old. We all got old.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INFIRMARY -- DAY<\/stage_direction>\n    <scene_description>Ray and Claude , now in their nineties , sit under a tree in the courtyard listening to a Yankees game on a transistor radio .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Nurse Humphries was checking my prostate this morning. I got an erection.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>An erection, huh? Have n't had one of those in a while.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Tell me about it. Scared me at first. Then, before I could figure out what to do with it, it was gone. Imagine my disappointment.<\/dialogue>\n    <scene_description>On the radio , the announcer voice rises in pitch as the Yankees score . Ray and Claude share a satisfied look .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Sure would like to see the house that Ruth built one more time.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Well, Ruth shoulda built it a little better. Damn thing's falling to pieces. Gon na hurt somebody.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>What do you expect? It's almost as old as we are.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>They oughta tear that shit down and ship them Yankees cross the river to Jersey.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Remember what that place looked like on a sunny spring day? More beautiful than any church I was ever in.<\/dialogue>\n    <scene_description>TWO ORDERLIES push a DEAD BODY past on a squeaking gurney .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Looks like old Jonesy finally got his walking papers.<\/dialogue>\n    <scene_description>Ray tips his flask in a simple salute .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Over to the morgue and up the hill to the cemetery. Never thought I'd admit it, Claude, but you were right.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>` Course I was right. About what?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>You're the one who said that boneyard's the only way we're getting out of here. We're gon na join all the rest of'em soon enough. Jangle Leg, Biscuit, Goldmouth, Poker Face, Cookie, Radio - yes sir, pick a plot and start digging.<\/dialogue>\n    <scene_description>Ray closes his eyes and settles in for a nap . Claude turns to watch Jonesy squeaking away . Something about what Ray just said has given him an idea .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INFIRMARY -- DAY<\/stage_direction>\n    <scene_description>`` Oprah '' blares on the television . Old convicts linger about in various states of repose and decay . A young ORDERLY pops to the music on his Walkman as he pushes a cart through the ward . Over at a table , Ray and Claude play poker with Willie , a SHAKY OLD JUNKIE and TWO YOUNG GANG BANGERS . The currency on the table is n't poker chips , it 's pills of various sizes and colors .<\/scene_description>\n    <character>GANG BANGER #1<\/character>\n    <dialogue>Two Percodan.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>I'll raise you.<\/dialogue>\n    <character>GANG BANGER #1<\/character>\n    <dialogue>What the fuck are those?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Keeps your cholesterol down.<\/dialogue>\n    <character>GANG BANGER #1<\/character>\n    <dialogue>I look like I give a shit about my cholesterol?<\/dialogue>\n    <scene_description>GANG BANGER # 2 takes a quick hit of cocaine from a bullet . He notices Ray staring at him .<\/scene_description>\n    <character>GANG BANGER #2<\/character>\n    <dialogue>You want a bump, G?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I would n't be putting that shit up my nose. That came in in somebody's ass. It's like you're sniffin' ass. Maybe that's your thing, but it ai n't mine.<\/dialogue>\n    <scene_description>Ray pushes his bet to the center of the table . The shaky junkie folds . Willie tosses in some pills and turns to Gang Banger # 2 .<\/scene_description>\n    <character>WILLIE<\/character>\n    <dialogue>Looks like it's up to you, stinky ass sniffer.<\/dialogue>\n    <scene_description>Glaring , Gang Banger # 2 flips a big pill into the pot .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Thorazine? Well, that's a little rich for my blood.<\/dialogue>\n    <scene_description>He tosses down his cards . The shaky junkie attempts to light a cigarette . The match slips from his trembling fingers and falls into his lap .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Damn fool gon na set this place on fire one of these days.<\/dialogue>\n    <scene_description>Gang Banger # 1 folds . It 's back to Ray .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>I got three stool softeners left.<\/dialogue>\n    <parenthetical>( to Gang Banger # 2 . )<\/parenthetical>\n    <dialogue>That oughta be right up your alley.<\/dialogue>\n    <scene_description>The remaining players match the pot . Gang Banger # 2 reveals his cards . Willie frowns . Ray lays down his cards and victoriously sweeps his winnings into a paper cup . Across the room , Nurse Humphries enters with a tray of snacks . She , too , is showing the years .<\/scene_description>\n    <character>NURSE HUMPHRIES<\/character>\n    <dialogue>Who wants Jell - O?<\/dialogue>\n    <scene_description>The magic word . The poker players join a stampede of oldsters in a clatter of canes , walkers and artificial limbs . Ray and Claude are left alone at the table .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Hey, where you going? We got money on the table here!<\/dialogue>\n    <scene_description>Claude glances around to ensure that he 's not overheard .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>You know, Ray, I've been chewing on what you said this afternoon. I think I got a plan.<\/dialogue>\n    <scene_description>Ray gives Claude a long look .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Are you trying to tell me after all this time you finally have a plan for busting out of here?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Shh! Is that so hard to believe?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Do n't tell me, I do n't want to hear it. It's probably all fucked up, anyway.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>You do n't want to hear it, you do n't want to hear it. There's no shame in that.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>It's too late for plans.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Never thought I'd hear Ray Gibson say that. Hell with you then. You'd only slow me down anyway.<\/dialogue>\n    <scene_description>Ray turns away as Claude walks off . A DODDERING INMATE stands nearby slurping on Jell - O. His robe hangs open .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Hey, man, cover that shit up!<\/dialogue>\n    <scene_description>Disgusted , Ray discards his own Jell - O . He pulls out his daddy 's pocket watch and checks the time . The little mechanical tune nags at him . He snaps the lid shut and considers the watch resting in the palm of his hand . OMITTED Sequence omitted from original script .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INFIRMARY -- NIGHT<\/stage_direction>\n    <scene_description>The building is dark . But then , through a first - floor window , we see the unmistakable orange glow of a fire .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INFIRMARY -- NIGHT<\/stage_direction>\n    <scene_description>An ALARM BLARES as the place fills with smoke . Wearing a robe and slippers , Nurse Humphries runs among the prisoners , helping them out the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INFIRMARY -- NIGHT<\/stage_direction>\n    <scene_description>Coughing and disheveled , Ray emerges onto the lawn pushing Willie in the wheelchair . As other prisoners evacuate the building , Ray looks around for Claude , but he does n't see him . Nurse Humphries takes a quick head count .<\/scene_description>\n    <character>NURSE HUMPHRIES<\/character>\n    <dialogue>Is everyone here?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Hey, where's Claude? I do n't see Claude!<\/dialogue>\n    <character>NURSE HUMPHRIES<\/character>\n    <dialogue>Stay calm, Ray. We'll find him. Claude! Has anyone seen Claude?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>He must still be in there.<\/dialogue>\n    <scene_description>Grimly , Ray starts toward the burning infirmary . Nurse Humphries holds him back .<\/scene_description>\n    <character>NURSE HUMPHRIES<\/character>\n    <dialogue>Wait for the firemen!<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>It'll be too late.<\/dialogue>\n    <character>NURSE HUMPHRIES<\/character>\n    <dialogue>You ca n't go in there, Ray! You'll never make it!<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I'm going in for him. He'd do the same for me.<\/dialogue>\n    <scene_description>Ray shakes her off and runs up the steps , disappearing into the burning building .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. INFIRMARY -- NIGHT<\/stage_direction>\n    <scene_description>Ray dodges flames as he presses into the inferno .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INFIRMARY -- NIGHT<\/stage_direction>\n    <scene_description>Nurse Humphries , Willie and the rest of the inmates watch grimly as flames engulf the building . Nobody could survive this blaze . From the highway comes the siren wail of approaching fire engines . But it 's too late . Sparks erupt into the night sky as the roof collapses .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INFIRMARY -- DAWN<\/stage_direction>\n    <scene_description>Fire trucks pull away from the smoldering ruins . A local REPORTER interviews witnesses . INVESTIGATORS comb through the wreckage , making notes . COUNTY CORONERS pull a couple of gurneys from the back of their van .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. INFIRMARY RUINS -- DAY<\/stage_direction>\n    <scene_description>Superintendent Bill Burke is led through the destruction by a FIRE INSPECTOR . They approach the coroners as they finish zipping up two body bags .<\/scene_description>\n    <character>BURKE<\/character>\n    <dialogue>How did it start?<\/dialogue>\n    <character>FIRE INSPECTOR<\/character>\n    <dialogue>Probably old wires. The place was a tinderbox just waiting to go.<\/dialogue>\n    <character>BURKE<\/character>\n    <dialogue>I guess we should have torn this old building down a long time ago.<\/dialogue>\n    <character>FIRE INSPECTOR<\/character>\n    <dialogue>Gibson made it this far before he was probably overcome by smoke. From the look of things, Banks never even made it out of bed.<\/dialogue>\n    <scene_description>Burke watches solemnly as the coroners wheel the bodies past him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PRISON CEMETERY -- DAY<\/stage_direction>\n    <scene_description>Jake and Leon shake their heads and look at the two fresh graves .<\/scene_description>\n    <character>LEON<\/character>\n    <dialogue>Man, you really bummed me out. That's a terrible story.<\/dialogue>\n    <parenthetical>( looking at Jake . )<\/parenthetical>\n    <dialogue>Nigger, you crying?<\/dialogue>\n    <character>JAKE<\/character>\n    <dialogue>Hell, no! I just got something in my eye.<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>It's alright for a man to cry once in awhile. Just do n't make a habit of it.<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>Hey, Willie, what was Claude's plan, anyway?<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>Nothing to it, really. Claude figured they could steal a couple of bodies from the morgue. They got a couple of crackers working there do n't know their asses from their elbows. Then they was gon na set fire to the infirmary and make it look like those bodies was them that got stuck inside. Claude figured during the commotion, it would n't be too hard to slip onto one of the fire trucks and hang tight until it rolled right on out of here in the morning.<\/dialogue>\n    <scene_description>The young inmates share a look , then glance into the graves , then look back at Willie .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>What makes you think it did n't work?<\/dialogue>\n    <character>WILLIE<\/character>\n    <dialogue>I never said it did n't work.<\/dialogue>\n    <scene_description>Leon and Jake do the arithmetic . You can almost hear the gears grinding under the strain .<\/scene_description>\n    <character>LEON<\/character>\n    <dialogue>You trying to tell us that's not Ray and Claude in those boxes?<\/dialogue>\n    <scene_description>Willie starts to chuckle and sets his electric wheel chair on auto - pilot , leaving the young inmates to guess at the truth .<\/scene_description>\n    <character>JAKE<\/character>\n    <dialogue>What do you think about that?<\/dialogue>\n    <character>LEON<\/character>\n    <dialogue>I think that old man lost his marbles about a hundred years ago. Come on, let's get this over with.<\/dialogue>\n    <scene_description>They pick up their shovels and go back to work burying the caskets .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GREENVILLE FIRE STATION -- DAY<\/stage_direction>\n    <scene_description>The CAMERA MOVES PAST a FIREMAN hosing down the truck , past another group of soot - stained FIREMEN eating breakfast , and pauses in front of two lockers . A couple of FIREMEN emerge from the showers wrapped in towels and open their lockers . They share a look .<\/scene_description>\n    <character>FIREMAN #1<\/character>\n    <parenthetical>( to the room . )<\/parenthetical>\n    <dialogue>Alright, which of you hambones took our clothes?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. YANKEE STADIUM -- DAY -- WIDE SHOT<\/stage_direction>\n    <scene_description>Scalpers sell tickets . Vendors hawk souvenirs . Fans stream up from the subway and through the gates . Somebody is singing `` The Star - Spangled Banner . ''<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STANDS -- DAY<\/stage_direction>\n    <scene_description>In the middle of a capacity crowd , a VENDOR fixes two hot dogs and passes them to a KID at the end of an aisle . The kid passes them to the MAN next to him , and so on down the line . The CAMERA FOLLOWS the hot dogs from face to face , some old , some young , some black , some white - it 's New York City , after all - and finally the hot dogs arrive in a pair of old , calloused black hands . Ray passes one of the dogs to Claude .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>I ca n't eat this.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Why the hell not?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>I saw that hot dog guy in the bathroom urinating. He did n't wash his hands.<\/dialogue>\n    <scene_description>Ray and Claude glance around confused as the wave rolls through their section of the bleachers . What the fuck ? Claude inspects his hot dog .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Just put some mustard on it and eat it.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>You did n't get ketchup?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Gim me that damn thing.<\/dialogue>\n    <scene_description>Ray snatches back the hot dog .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>What am I gon na eat?<\/dialogue>\n    <scene_description>Ray is suddenly young again .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Have my ice cream.<\/dialogue>\n    <scene_description>Claude takes the ice cream . He , too , is suddenly young again .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>They look at each other and share a laugh .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>Hell of a day for a ballgame, huh, Claude?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Hell of a day, Ray. Yankees are on fire.<\/dialogue>\n    <scene_description>Claude pops the top on his ice cream . Suddenly , they are both old again .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <dialogue>No, this ai n't gon na work either. It's half chocolate, half vanilla.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>So?<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>They're touching.<\/dialogue>\n    <scene_description>The CAMERA begins to pull back .<\/scene_description>\n    <character>RAY<\/character>\n    <dialogue>If you do n't eat that ice cream right now, I'm gon na strangle you until you are completely dead.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Yeah? You and what army?<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Next thing, you're gon na be complaining about the seats.<\/dialogue>\n    <character>CLAUDE<\/character>\n    <dialogue>Well, if you must know, they could be closer.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>Damn, I shoulda let Spanky Johnson drown you in the river when I had the chance.<\/dialogue>\n    <scene_description>`` Pipe downs '' etc. from the people around them .<\/scene_description>\n    <character>CLAUDE<\/character>\n    <parenthetical>( glancing around . )<\/parenthetical>\n    <dialogue>I know you're not talking to me.<\/dialogue>\n    <character>RAY<\/character>\n    <dialogue>I'm sorry, he's on medication.<\/dialogue>\n    <scene_description>The CAMERA PULLS BACK as the arguing continues , just like the old days . MUSIC UP . THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"At the Mississippi State Penitentiary, elderly convict Willie Long (Obba Babatund\u00e9) attends the burial of two friends and fellow inmates who recently died in an infirmary fire. As two younger inmates begin digging their graves, Willie begins to recount the life story of his deceased friends. In 1932, Rayford \"Ray\" Gibson (Eddie Murphy) and Claude Banks (Martin Lawrence) are two New Yorkers from two different worlds. Ray is a small-time hustler and a petty thief, and Claude, an honest, yet often selfish minded man, has just been accepted for a job as a bank teller at First Federal of Manhattan. One evening, they are both at a club called Spanky's when Ray picks Claude as his mark to pick-pocket. After a meeting in the bathroom, they both end up in the bad graces of the club's owner Spanky (Rick James), with Spanky threatening to drown Claude until Ray convinces Spanky to allow himself and Claude to do some boot-legging to pay off their debt. Claude is spared, and he and Ray begin heading down south in order to buy a carload of Mississippi 'hooch'. Upon arrival, they pay for the booze and enter a local bar, where Ray meets a man named Winston Hancock (Clarence Williams III) while playing cards. With no money, Ray bets his father's prized pocketwatch, but ends up losing the game and the watch to Winston. Dejected, Ray soon realises the game was fixed after discovering a waitress had helped Winston win the game. Outside of the bar, Hancock is shot and killed by the town's sheriff, Warren Pike (Ned Vaughn), who frames Ray and Claude for the murder. A short time later, they go to trial, are convicted, and sentenced to life in prison. Ray and Claude are sent to an infamous prison camp called 'Camp 8' to perform hard labor. Ray and Claude immediately run afoul of the guards, Sergeant Dillard (Nick Cassavetes) and Hoppin' Bob (Brent Jennings), and soon become acquainted with their fellow inmates. Claude first meets Jangle Leg (Bernie Mac), a homosexual inmate who makes a pass at Claude, and they are later introduced to Willie Long (Babatunde), Biscuit (Miguel A. N\u00fa\u00f1ez Jr.), another gay inmate, Radio (Guy Torry), Goldmouth (Michael Taliferro), an imposing prison bully who initially picks a fight with Ray, Cookie (Anthony Anderson), the prison chef, and Pokerface (Barry Shabaka Henley). Shortly into his sentence, Claude has his attorney cousin, Melvin, appeal against his conviction with his girlfriend Daisy's help, but it is denied, and shortly afterwards he finds out that Daisy has left him for Melvin. With any chance of earning his freedom gone, Claude and Ray devise a plan to escape, getting as far as Tallahatchie before being captured and sentenced to a week each in solitary confinement. 12 years later, both aged 37 years old, Claude and Ray meet a young mute inmate nicknamed 'Can't-Get-Right' (Bokeem Woodbine), a talented baseball player who catches the eye of a Negro League scout who tells the warden that he can get his sentence pardoned if he agrees to play professional baseball. Ray and Claude, seeing an opportunity for freedom, introduce themselves to the scout as his \"handlers\", and tell him that Can't-Get-Right will struggle to play well without them. Despite his talent, Can't-Get-Right is often distracted by his attraction to Mae-Rose (Poppy Montgomery), the daughter of the Camp 8's superintendent. A short time later, the Superintendent's pregnant daughter gives birth, and he discovers that the baby is biracial. Enraged, the next day, he demands to know who the father is, and, although none of the inmates officially claim responsibility, it's revealed that Can't-Get-Right was the father. During a dance social, Biscuit confides to Ray that he is going to be released; however, now being gay, Biscuit is too ashamed to return to his family, and commits suicide by deliberately running across the \"gun line\", where he is shot and killed by a guard. After 'Can't-Get-Right' is released to play for the Pittsburgh Crawfords, Ray devises another escape plan but Claude refuses, upset with the fact that 'Can't-Get-Right' was released without them, leading to an argument that results in Ray and Claude going their separate ways \u2013 Ray attempts a number of escapes on his own, while Claude continues to work on the camp and the two remain distant. Twenty-eight years later, in 1972, Ray and Claude are now 65 years old and still not speaking to one another.  All of their fellow inmates are gone either by death or release from prison, except for Willie, now confined to a wheelchair. One day, Claude snaps and runs across the gun line to steal a pie from a windowsill, and is punished by having to stand barefoot on a case of bottles for 24 hours. Dillard tells Ray that he wants him to watch Claude, and instructs him to shoot him and kill him if he steps off of the bottles. Ray refuses, and is ordered to partake in the same punishment, where he and Claude begin to talk and repair their friendship. One day, Dillard informs Ray and Claude that they will be transferred to live and work at Superintendent Dexter Wilkins' (Ned Beatty) mansion. Ray works outside of the house, taking care of the yard, while Claude works inside the house and forms a friendship with Wilkins. Shortly after moving into the house, Claude is entrusted to drive and pick up the new superintendent, Sheriff Warren Pike (R. Lee Ermey), the same man who framed them for murder forty years earlier. While on a pheasant hunt, Ray notices that Pike still has his father's watch and confronts him, forcing him to the ground and threatening to kill him. Ray tells Wilkins that Pike framed he and Claude for murder, and the sheriff admits to it with no remorse, saying \"at least the state of Mississippi got forty years of cheap labor out of the deal.\" As Claude struggles to stop Ray from killing Pike, Pike attempts to kill them both, but he is shot and killed by Wilkins, who, realizing that Ray and Claude are indeed innocent, covers it up as a hunting accident. He intends to give them a pardon, but dies of a heart attack that same night before he can do so. In 1997 (present day), Ray and Claude are elderly, aged 90 years, living in the prison's infirmary. Claude tells Ray of yet another plan he has devised, but Ray has accepted his fate of dying in prison. That night, the infirmary catches fire, and they seemingly perish in the flames. Willie concludes the tale by outlining Claude's plan: Ray and Claude would steal two bodies from the morgue, start the blaze, plant the bodies, hide in the fire trucks and depart with them in the morning. When the workers ask why the plan didn't work, Willie tells them that he never said it didn't work, as the inmates begin to realize that the bodies they buried are not Ray and Claude, who have escaped back to New York, and are watching a New York Yankees baseball game. The film concludes by revealing the two are again on good terms, free and living together in Harlem."}
{"movie_name":"The Mummy_2017","imdb_id":"tt2345759","script":"<script>\n  <scene>\n    <scene_description>FADE IN:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PERSIAN GULF - NIGHT<\/stage_direction>\n    <scene_description>An OFFSHORE OIL REFINERY belches flame like some hellish fortress. Hulking TANKERS lie at anchor under a full moon. SUPER: PERSIAN GULF We descend along the steel-clad legs of the refinery - and PLUNGE INTO THE SEA. UNDERWATER - NIGHT A strange undersea world of anchor chains, pilings and pipes, lit by firelight and moonlight. A compact SUBMARINE cruises into view, hugging the sea floor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBMARINE (IN MOTION)<\/stage_direction>\n    <scene_description>A stripped-down vessel purpose-built for this mission. A squad of EIGHT NAVY SEALs sits inside. They wear DRY SUITS - bulky scuba gear - and hold dive helmets in their laps. TYLER COLT, 35, looks them over. A natural-born soldier: the more dangerous the situation is, the cooler he gets. Right now he's completely at ease. His calm steadies the men. A SEAL named VAIL pilots the sub. The other SEALs ride behind Tyler: HACKETT, CARVER, BARROWS, WEISS, MUNROE, GOMEZ. The electric sub is nearly silent. Exterior sounds echo through the hull: RUMBLING MOTORS. Metallic BOOMS and GROANS. The SEALs exchange looks at the hellish noises.<\/scene_description>\n    <character>BARROWS<\/character>\n    <dialogue>Oh, yeah, this is safer than a helicopter.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Special Warfare's been dying to try this. But nobody's saying it's safe.<\/dialogue>\n    <character>CARVER<\/character>\n    <dialogue>So why'd you volunteer?<\/dialogue>\n    <scene_description>Tyler flashes a cowboy grin.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Because it's never been done.<\/dialogue>\n    <character>MUNROE<\/character>\n    <dialogue>Go big or go home, right?<\/dialogue>\n    <scene_description>An UNDERSEA OIL PIPELINE looms out of the dark.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>No going home now. Suit up!<\/dialogue>\n    <scene_description>The SEALs pull on their dive helmets.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNDERWATER - OIL PIPELINE - NIGHT<\/stage_direction>\n    <scene_description>The 48-inch pipe runs level across the uneven sea floor. The sub noses UNDERNEATH the pipeline where it crosses a ravine. A DOCKING PORT on top of the submarine MATES WITH THE PIPE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBMARINE<\/stage_direction>\n    <scene_description>With a splatter of water, Tyler opens a topside hatch - revealing THE BOTTOM OF THE OIL PIPELINE. He plants a specialized gun against the pipe and FIRES. A PRESSURE GAUGE punches through the metal.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Pressure gauge in. Flood it.<\/dialogue>\n    <scene_description>Vail pulls a lever. The SUBMARINE FLOODS to the top, leaving the SEALs underwater inside. Pumps bring the pressure up.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Pressure match.<\/dialogue>\n    <scene_description>He moves aside. Hackett fires up an UNDERWATER CUTTING TORCH. Cuts a large circular section out of the bottom of the pipe. In the hole in the pipe, a rippling surface: the OIL-WATER INTERFACE. Oil flowing over the heavier water in the sub.<\/scene_description>\n    <character>HACKETT<\/character>\n    <dialogue>Look at that.<\/dialogue>\n    <scene_description>Tyler reaches up into the oil. His glove comes back stained black - dark beads of oil floating up. Surreal.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Here we go.<\/dialogue>\n    <scene_description>He slings a DRY BAG over his shoulder. Picks up a DIVER PROPULSION VEHICLE (DPV) and thrusts it up into the pipe. TYLER SWIMS UP INTO THE OIL AND DISAPPEARS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PIPELINE<\/stage_direction>\n    <scene_description>There are lights on Tyler's DPV and helmet, but the crude oil is nearly opaque and they create only a dull brown glow. He switches on his SONAR UNIT. His faceplate LIGHTS UP with a HEADS-UP-DISPLAY. He can see his hands and the DPV in front of him; the curving walls of the pipe. All painted in swarming RED DOTS OF LIGHT.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>SONAR works. Come on in, boys.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SUBMARINE<\/stage_direction>\n    <scene_description>The other SEALs dive up into the oil.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PIPELINE<\/stage_direction>\n    <scene_description>Tyler activates his DPV. Impellers WHIR. He zooms up the pipeline, dragging his dry bag. The other SEALs behind him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PIPELINE TRACKING SHOT<\/stage_direction>\n    <scene_description>Underwater, we rush across the sea floor, following the pipeline into the shallows and up onto a moonlit beach. We fly over desolate dunes, tracking the pipeline: it runs straight as an arrow into the desert interior of Iraq.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OPERATIONS CENTER<\/stage_direction>\n    <scene_description>A hyper-modern command center. Windowless and hushed. SUPER: LANGLEY AIR FORCE BASE, VIRGINIA An Air Force Intelligence Officer, MCCALL, sits at a bank of monitors, tracking the SEALs in the pipeline. Others stand watching: a CIA OFFICIAL, an AIR FORCE COLONEL, a NAVY COMMANDER, and a SENATOR.<\/scene_description>\n    <character>AIR FORCE COLONEL<\/character>\n    <dialogue>Satellites spotted radiation. It's faint - but consistent with a breeder reactor refining uranium.<\/dialogue>\n    <character>SENATOR<\/character>\n    <dialogue>Inside Iraq?!<\/dialogue>\n    <scene_description>The CIA official pulls up a ghostly image of an underground complex - like an X-ray of the Earth itself.<\/scene_description>\n    <character>CIA OFFICIAL<\/character>\n    <dialogue>Ground-penetrating radar shows a bunker. This was taken yesterday:<\/dialogue>\n    <scene_description>Satellite images of trucks and armed men around the bunker.<\/scene_description>\n    <character>CIA OFFICIAL<\/character>\n    <dialogue>Iraqi regime says it's not theirs.<\/dialogue>\n    <character>SENATOR<\/character>\n    <parenthetical>(with profound horror)<\/parenthetical>\n    <dialogue>Al Qaeda? Making nuclear weapons?<\/dialogue>\n    <character>NAVY COMMANDER<\/character>\n    <dialogue>We're about to find out.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. IRAQI DESERT - PIPELINE - NIGHT<\/stage_direction>\n    <scene_description>A HATCH COVER unscrews and OPENS. Tyler climbs out into the moonlight - a GLEAMING PITCH-BLACK FIGURE COVERED IN OIL. He drags his dry-bag out behind him. The other SEALs follow. They strip off their dry suits, revealing FATIGUES &amp; BODY ARMOR. The SEALs laugh quietly in the darkness. Holy shit, we did that. They open dry bags and pull out weapons. Tyler puts on his helmet. Swings NIGHT-VISION GOGGLES into place. The four-barreled headset gives him an alien look.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Let's move.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT TERRAIN - NIGHT<\/stage_direction>\n    <scene_description>Tyler leads the SEALs across the sand at a dogtrot, running without lights. They pass a kudurru - an ancient Assyrian boundary stone carved with images of demons and death. Focused on worldly dangers, Tyler doesn't break stride.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. IRAQI DESERT - BUNKER<\/stage_direction>\n    <scene_description>The SEALs crouch on a rise overlooking the site. The BUNKER'S ENTRANCE is a low concrete bulkhead set into a rocky slope. Two military FLATBED TRUCKS sit outside.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Command, Crossbow. Eyes on target. No visible hostiles.<\/dialogue>\n    <parenthetical>(to the team)<\/parenthetical>\n    <dialogue>Dosimeters on. Watch your exposure.<\/dialogue>\n    <scene_description>They switch on the battlefield dosimeters on their shoulders. Tyler signals. The SEALs advance in two fire teams. Tyler sweeps a truck with his team. Nobody there. He frowns at the objects in the truck bed: crowbars, hammers, picks and shovels. Not exactly the weapons of jihad. They converge on the bunker. IT'S NOT A BUNKER. What looked like concrete turns out to be quarried stone. THIS IS A TOMB. Ancient walls carved with cuneiform writing and bas-relief figures. The SEALs stack up on each side of the entrance. On the ground at their feet: a JACKHAMMER. The tomb door is freshly BLASTED OPEN - the stone slab toppled inward. Tyler frowns.<\/scene_description>\n    <character>TYLER<\/character>\n    <parenthetical>(quietly, into radio)<\/parenthetical>\n    <dialogue>Command. Bunker doesn't check out. This is not a modern structure. Radiation levels zero, repeat zero.<\/dialogue>\n    <scene_description>They hold a moment, waiting.<\/scene_description>\n    <character>MCCALL (V.O.)<\/character>\n    <dialogue>Crossbow. Mission is go. Repeat go.<\/dialogue>\n    <scene_description>Tyler nods. Eases around the corner. Clear. They go in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOMB - PASSAGEWAY<\/stage_direction>\n    <scene_description>Tyler leads the squad, silent as ghosts. All of them at high alert. Their goggles gleam like cats' eyes in the dark. He sees in eerie green monochrome. INFRARED FLASHLIGHTS and LASER SCOPES illuminate the scene in sharp detail. Their rifles sweeping as they search for enemies in the darkness. ANCIENT CARVINGS on the walls: scenes of war and horror. Assyrian soldiers slaughtering enemies. Torturing prisoners. A BURST OF STATIC in Tyler's goggles obscures his vision. He slaps the headset: it clears. He keeps moving. ANTECHAMBER The SEALs advance into a stone room. There are DEAD MEN ON THE FLOOR. Seven of them. Tyler signals a few men to guard the approaches while others check the bodies. The dead men are DESERT TRIBESMEN. They clutch guns, picks, sledgehammers.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>These guys aren't terrorists. They're tomb robbers.<\/dialogue>\n    <character>GOMEZ<\/character>\n    <dialogue>I think they killed each other.<\/dialogue>\n    <scene_description>AN ECHOING WHISPER in the chamber. A strange language. Tyler looks up in alarm. A BURST OF STATIC in his night-vision scopes. The WHISPER echoes again. Multiplying.<\/scene_description>\n    <character>CARVER<\/character>\n    <dialogue>You hearing that?<\/dialogue>\n    <scene_description>The other SEALs look around, spooked. They're hearing it: sourceless voices on the edge of perception.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Remember who you are. Stay tight. Watch your flanks.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MISSION CONTROL ROOM<\/stage_direction>\n    <scene_description>STATIC obliterates Tyler's voice on the speakers. McCall pulls on headphones and frowns, listening.<\/scene_description>\n    <character>MCCALL<\/character>\n    <dialogue>Crosstalk on the channel.<\/dialogue>\n    <scene_description>We hear what he hears: A GUTTURAL CHANT partly masked by static. A language not heard in twenty-five centuries.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOMB - LABYRINTH<\/stage_direction>\n    <scene_description>The passage opens up into a LABYRINTH. Tyler signals a hold.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Fire Team B hold here. Team A forward on me...<\/dialogue>\n    <scene_description>He trails off. Vail and Weiss are trembling. Drenched in sweat. Chanting the SAME INCANTATION that echoes around them. As Tyler watches, a third SEAL, Munroe, starts chanting too.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Hey. Munroe.<\/dialogue>\n    <scene_description>He flips up Munroe's night-vision goggles. Munroe's face is slick with sweat. Eyes rolled back. Deep in a trance. In unison, the spellbound SEALs RAISE THEIR GUNS AND START SHOOTING. Chaos. Screams and shots in the dark. Tyler ducks. Carver drops to the floor beside him - hit.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Carver!<\/dialogue>\n    <scene_description>He drags Carver around a corner. Kneels over him. CARVER IS DEAD. A bullethole in his forehead. Empty eyes staring.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Hold your fire! Stand down!<\/dialogue>\n    <scene_description>He looks into the dark. Muzzle flashes. Chaotic movement. Behind him, CARVER GETS UP. Tyler turns, astonished.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Carver?<\/dialogue>\n    <scene_description>In Tyler's night-vision, CARVER'S EYES SHINE with an unholy light. GLOWING VAPOR rolls from his mouth like smoke. He's clearly dead - but it's not keeping him down. Carver grabs Tyler. HURLS HIM twenty feet into a wall. Tyler hits hard and drops. Carver pulls a knife and comes for him. Cornered, Tyler opens fire. Dead Carver absorbs multiple hits without slowing down. Goes for him with the blade. Tyler catches the descending knife. Strains with both hands against the undead soldier's terrible strength. There's a GRENADE hanging on Carver's vest. TYLER PULLS THE PIN. Drives Carver back with both feet and runs for his life. BOOM! The explosion engulfs Carver and knocks Tyler flying. Carver's body burns like a torch. Supernaturally flammable.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MISSION CONTROL ROOM<\/stage_direction>\n    <scene_description>The officials listen to the chaos in consternation.<\/scene_description>\n    <character>CIA OFFICIAL<\/character>\n    <dialogue>McCall. What's happening? McCall!<\/dialogue>\n    <scene_description>McCall sits trembling in his headphones. Sweat dripping down his face. He mutters under his breath in a dead language.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOMB - LABYRINTH<\/stage_direction>\n    <scene_description>Tyler fights a retreating battle through the maze - firing at two UNDEAD SEALs who pursue him relentlessly.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Fall back! To the entrance!<\/dialogue>\n    <scene_description>ANTECHAMBER Barrows, battered and bloody, staggers in alone. Hisses:<\/scene_description>\n    <character>BARROWS<\/character>\n    <dialogue>Lieutenant! Anybody!<\/dialogue>\n    <scene_description>A RUSTLE. All around Barrows, the DEAD TOMB ROBBERS rise to their feet. Their eyes shining, mouths smoking luminously.<\/scene_description>\n    <character>BARROWS<\/character>\n    <dialogue>Aw, hell.<\/dialogue>\n    <scene_description>He starts shooting.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MISSION CONTROL ROOM<\/stage_direction>\n    <scene_description>Shouts and gunfire echo tinnily in the control room. The officials approach McCall, baffled by his immobility. One of the Airmen on the security detail shakes McCall's shoulder.<\/scene_description>\n    <character>AIRMAN<\/character>\n    <dialogue>Sir?<\/dialogue>\n    <scene_description>McCall surges to his feet. PULLS THE AIRMAN'S GUN. Faces them, eyes rolled back. The other Airmen pull their own guns.<\/scene_description>\n    <character>AIRMAN #2<\/character>\n    <dialogue>Drop your weapon!<\/dialogue>\n    <scene_description>McCall PUTS THE PISTOL TO HIS HEAD.<\/scene_description>\n    <character>SENATOR (O.S.)<\/character>\n    <dialogue>No!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOMB - LABYRINTH - TUNNEL<\/stage_direction>\n    <scene_description>BLAM! BLAM! Tyler backs out of a tunnel, firing his pistol. A STORM OF STATIC in his goggles blinds him. He rips off his helmet. Utter darkness. An eerie hush. Tyler clips a tactical light to his pistol: sweeps the beam through the dark. A WHOOSH OF FLAME! The passageway fills with firelight. Tyler spins in amazement to see... THE SARCOPHAGUS CHAMBER The heart of the tomb. Walls carved with old gods: figures with the heads of hawks or lions. PILLARS OF FIRE in two BRAZIERS. On a stone dais lies a SARCOPHAGUS of black iron. The sarcophagus is covered with gold engraving - cuneiform writing and mystical symbols shining against the black iron. Egyptian symbols. The ANKH. The EYE OF HORUS. Six iron CLASPS seal the coffin shut. Tyler approaches the sarcophagus. The pillar of fire behind him takes the form of a HUMAN FACE, CRUEL AND CUNNING. It watches him. Tyler shivers, sweat gleaming on his brow. A SUDDEN VISION: Tyler sees himself laying his hand on the sarcophagus. Like a sleepwalker Tyler steps forward. Printed in the iron, an ancient hand-shape called the HAMSA. An eye in the palm. He lays his hand in the imprint. Perfect fit. BANG! Tyler snatches his hand back with a cry. A barbed bronze SPIKE juts from the Hamsa hand. It withdraws like clockwork. TYLER'S BLOOD drains into the sarcophagus. Tyler looks at his hand: a star-shaped wound in his palm. The pillars of flame LEAP HIGHER. The face in the fire SMILES WICKEDLY. The whispers in the tomb multiply. A VISION: Tyler sees himself turning clasps. Opening the sarcophagus. Tyler shakes the vision off, trembling. He steps close to the sarcophagus. Reaches for an iron clasp with his right hand.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>With his left hand he pulls his right hand back. DIGS HIS THUMB INTO HIS WOUNDED PALM. He SCREAMS. It clears his head. Tyler turns and runs. Behind him the face in the fire ROARS IN SILENT RAGE! TRACKING SHOT We track Tyler as he runs - BURNING FLARE in his hand. A RUMBLE. The WHOLE TOMB SHUDDERS. Dust falls. An UNDEAD TOMB ROBBER lurches out of the dark with a pickaxe. Tyler jumps off the wall. Sails OVER THE TOMB-ROBBER'S HEAD. The dead robber spins to face him. He stabs it with his flare: it IGNITES, BURNING WITH UNNATURAL HEAT, and FALLS. Tyler runs. THE WALLS BUCKLE AND CRACK.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOMB - NIGHT<\/stage_direction>\n    <scene_description>Tyler dives out as the tomb entrance collapses behind him. A CLOUD OF DUST billows over him. The dust TAKES THE SHAPE OF A CLAWING HAND, as if to drag him back underground. But the dust blows away. Tyler lies gasping under the stars. The sole survivor. FADE TO BLACK.: SUPER: TWO YEARS LATER<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRUCK STOP - DAY<\/stage_direction>\n    <scene_description>A major outpost for long-haul truckers. A BIG RIG pulls in and stops at the diesel pumps. Tyler gets out. He's wearing a dirty denim jacket. Shaggy hair. Ten-day stubble. Gone is the cocky can-do attitude of the Navy SEAL. He looks hunted and wary: a stray dog.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCK STOP DINER - DAY<\/stage_direction>\n    <scene_description>Tyler sits hunched at the counter over steak &amp; eggs. He rubs at the palm of his right hand: the STAR-SHAPED SCAR left by the sarcophagus. He's having trouble keeping his eyes open.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Can I get some more coffee?<\/dialogue>\n    <scene_description>The kindly old WAITER behind the counter obliges him.<\/scene_description>\n    <character>WAITER<\/character>\n    <dialogue>Long piece of road?<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>It never ends.<\/dialogue>\n    <scene_description>He props his head on his hand, haunted, staring into the cup. The coffee swirls hypnotically, darkening, black as ink...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ASSYRIAN BATTLEFIELD - DAY<\/stage_direction>\n    <scene_description>A walled city burns. Siege towers toppled against its walls. Armies have been broken here. Frenzied horses drag shattered chariots. Fallen warriors and weapons litter the ground. We move through this hell in a POV shot: staggering, erratic. We look down - and see a POWERFULLY MUSCLED BODY ornamented with gold - and PIERCED WITH MANY BLACK ARROWS.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PALACE - NIGHT<\/stage_direction>\n    <scene_description>POV shot: we lie on a bed as women pull ARROWS from our wounds. So many. In the distance: shouting multitudes.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TEMPLE - NIGHT<\/stage_direction>\n    <scene_description>POV: we lie on a slab of stone. Around us EGYPTIAN PRIESTS - bald and robed in linen - wrap us in black tarred bandages. We look to the side: the IRON SARCOPHAGUS lies waiting. We look up: a priest uses a POLISHED COPPER POT to pour smoking hot bitumen down on our body. The pot drifts upward. When it is directly overhead, we see a REFLECTION: our face. It's the face of ASHURBANIPAL, King of Assyria. Battle- scarred and cruel. Taut with agony and resolve. This is the face we saw in the fire, down in the tomb. The kettle tips. Hot tar pours down. A HOWL OF AGONY.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRUCK STOP DINER - DAY<\/stage_direction>\n    <scene_description>Tyler EXPLODES OUT OF HIS NIGHTMARE, lurching off his stool with a shout. OVERTURNS A TABLE. A crash of crockery. Four TRUCKERS surge to their feet around the toppled table, splattered with eggs and scalding coffee. Furious.<\/scene_description>\n    <character>TRUCKER #1<\/character>\n    <dialogue>You damned tweaker!<\/dialogue>\n    <scene_description>He grabs a fistful of Tyler's jacket. Tyler raises his hands, still getting his bearings.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Sorry. I just...<\/dialogue>\n    <character>TRUCKER #1<\/character>\n    <dialogue>You just crossed the line.<\/dialogue>\n    <scene_description>He THROWS A PUNCH. Tyler slaps it aside.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Easy. I'll pay for it.<\/dialogue>\n    <scene_description>His lack of fear enrages them.<\/scene_description>\n    <character>TRUCKER #2<\/character>\n    <dialogue>Damn right you will.<\/dialogue>\n    <scene_description>They all come for him at once. Tyler takes them apart. They grab at him: he catches them in wristlocks. They swing: he blocks hard and counter-punches like a wrecking ball. The first trucker goes down: the next one snaps open a FOLDING KNIFE. Tyler takes it away. Throws it across the room - burying the point in the WE AIM TO PLEASE sign. Behind the counter the waiter stands frozen with a phone to his ear, staring at the action in disbelief.<\/scene_description>\n    <character>VOICE ON PHONE (V.O.)<\/character>\n    <dialogue>Nine-one-one. What's your emergency?<\/dialogue>\n    <scene_description>SOUNDS OF MAYHEM as the waiter stares. Another knife whizzes over his head and plants itself in the sign. In the middle of the room, Tyler flips the last trucker high over his head and slams him down. Four truckers out cold. A hush. Tyler looks around sheepishly at the stunned room.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Sorry.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TRUCK STOP - PARKING LOT - MOMENTS LATER<\/stage_direction>\n    <scene_description>Tyler walks across the parking lot, inspecting his knuckles. He opens the door of his truck. As he swings up into the cab - a POLICE CAR behind him SQUAWKS ITS SIREN. Tyler sighs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SHERIFF'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Tyler sits beside the Sheriff's desk, handcuffed.<\/scene_description>\n    <character>SHERIFF<\/character>\n    <dialogue>Waiter and a couple of customers say you weren't the bad guy. We're dropping the assault charges.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Thank you, sir.<\/dialogue>\n    <character>SHERIFF<\/character>\n    <dialogue>But then there's this matter.<\/dialogue>\n    <scene_description>He hoists a heavy duffel bag off the floor. Starts pulling weapons out of it. Pistols. Sawed-off shotgun. A bowie knife.<\/scene_description>\n    <character>SHERIFF<\/character>\n    <dialogue>Got permits for these?<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Got a warrant to search my truck?<\/dialogue>\n    <scene_description>The Sheriff shakes his head sourly. Taps at his computer.<\/scene_description>\n    <character>SHERIFF<\/character>\n    <dialogue>Ex-military. Psychological discharge. No fixed address. You looking to pull a Rambo? Shoot up my town?<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>I'm passing through. Those are for self-defense.<\/dialogue>\n    <scene_description>The Sheriff eyes the arsenal on his desk.<\/scene_description>\n    <character>SHERIFF<\/character>\n    <dialogue>Defense against what?<\/dialogue>\n    <scene_description>Tyler stares back at him, haunted. You don't want to know.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AEGEAN SEA - DAY<\/stage_direction>\n    <scene_description>We race over pale blue seas. Ahead: a craggy Greek isle. It has an ancient name, but these days it's known simply as... LORENZO'S ISLAND A quaint fishing fleet bobs at the docks - beside a GLEAMING WHITE MEGA-YACHT, the LIBERTINE, at its own pier. Above the harbor a VILLAGE rises steeply - a maze of blocky whitewashed houses. Crowning the island: LORENZO'S CASTLE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LORENZO'S CASTLE - GREAT HALL - DAY<\/stage_direction>\n    <scene_description>A grand room adorned with fine antiquities and paintings. A STUNNING WOMAN IN A PRADA SKIRT SUIT strides in, heels clicking on marble. She carries a black leather valise. This is JENNY HALSEY, 30. A brilliant archaeologist whose passion for her studies overrides every other impulse - including fear and rational self-preservation. A uniformed butler, TOMAS, extends a guiding hand.<\/scene_description>\n    <character>TOMAS<\/character>\n    <dialogue>In the library, Doctor Halsey.<\/dialogue>\n    <scene_description>LIBRARY Shelves of rare books. Statues and relics. A private museum. Here waits LORENZO MONTANARI, 55, a billionaire of shady origins who fancies himself a great man. He greets Jenny with the covetous eyes of a collector of beautiful things.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>Jenny Halsey. It's been too long.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Lorenzo. What have you got for me?<\/dialogue>\n    <character>LORENZO<\/character>\n    <dialogue>Come and see.<\/dialogue>\n    <scene_description>He guides her across the library. On a table, arranged on a soft cloth, are the FRAGMENTS OF A STONE TABLET. Jenny inspects them, fascinated: this is what she loves. She pulls on white gloves. Gently turns the pieces. A jigsaw puzzle of cuneiform writing and bas-relief figures.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>It's authentic. Babylonian.<\/dialogue>\n    <scene_description>She takes a leather case out of her valise. Lays out tools: brushes, blades and picks. Vials of solvent and epoxy.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Where'd it come from?<\/dialogue>\n    <character>LORENZO<\/character>\n    <dialogue>I can't say. My sources are not... law-abiding people.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I mean where was it found?<\/dialogue>\n    <character>LORENZO<\/character>\n    <dialogue>In the ruins of Uruk. A palace.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>What about context? How deep was it? What was found with it?<\/dialogue>\n    <scene_description>Lorenzo shrugs eloquently. Who knows such things? She sighs.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>So much is lost.<\/dialogue>\n    <scene_description>She puts a headlamp on. Bends over the table to examine a fragment. Lorenzo's attention turns to Jenny's shapely back.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>Archaeology. Beautiful science.<\/dialogue>\n    <scene_description>He lays a hand on her hip. Jenny spins to face him, shining her headlamp in his eyes. He dodges. The beam follows him.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Run along and let me work.<\/dialogue>\n    <scene_description>Lorenzo withdraws with a mocking bow. His footsteps fade. Jenny pulls a CLOTH BUNDLE from her valise. Selects tools from her kit. Listens to be sure Lorenzo has gone. She hurries across the library. Kneels by a cabinet and expertly jimmies the lock. From a chest inside she takes a GOLDEN AMULET - a mystic eye with sun-god rays. She unwraps her bundle, revealing a PERFECT REPLICA of the amulet. She switches the real amulet with the fake. Returns to the table and stashes the real amulet in her valise. HOURS LATER The tablet lies intact, fractures barely visible. The image: a STATUESQUE WOMAN surrounded by DEMONS. Jenny is scribbling in a SKETCHBOOK: a drawing of the tablet, with translations and notes. Her pencilwork is exquisite. Lorenzo looks over the tablet and grunts in approval.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>The goddess Ishtar descending to the Underworld. These are her words: \"If you will not open the gate, I will shatter the lock and break the door. I will bring up the dead to eat the living. And the dead will outnumber the living under the sun.\" It's one of the oldest stories in the world.<\/dialogue>\n    <scene_description>Lorenzo nods - gazing at the tablet and standing very close.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>Do you know how Ishtar reached the Underworld? Descending, she came to seven gates. At each gate, she had to give something from the upper world.<\/dialogue>\n    <character>LORENZO<\/character>\n    <dialogue>She gave up her ring, her necklace, her sandals...her dress. And naked she came before the throne of hell.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I know the story.<\/dialogue>\n    <scene_description>Lorenzo brushes hair from her cheek.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>Have dinner with me. There's a place in Monaco where angels come down from heaven to taste the oysters.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I've been gone too long already.<\/dialogue>\n    <character>LORENZO<\/character>\n    <dialogue>A drink.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I'll take a rain check. And my fee.<\/dialogue>\n    <scene_description>He sighs. Pulls an envelope from his jacket. Hands it over.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LORENZO'S CASTLE - PLAZA - DAY<\/stage_direction>\n    <scene_description>Jenny climbs into a LUXURY HELICOPTER. It lifts off at once.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUXURY HELICOPTER (IN FLIGHT) - DAY<\/stage_direction>\n    <scene_description>The helicopter cruises over the sea. In back, Jenny peels off her jacket. Unbuttons her blouse. MARCO, the pilot, notices.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Eyes on the sky, Marco.<\/dialogue>\n    <scene_description>She pulls a flannel shirt out of her valise. A pair of hiking shoes. Kicks off her high heels.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JORDAN - ARCHAEOLOGICAL SITE - SUNSET<\/stage_direction>\n    <scene_description>An ancient temple open to the sky: a partial dome still standing. Arab GUARDS stand sentry, AK-47s slung. ARCHAEOLOGISTS toil in the last light of day. PROFESSOR SHEPPARD, their gray-bearded leader, is in the midst of them, brushing sand from a three-thousand-year-old skeleton. The THUNDER of rotors. A cloud of dust rolls over them. Lorenzo's luxury helicopter touches down beside the dig. Jenny gets out - in khaki shorts and a flannel shirt. Hiking shoes. Her hair mussed and tied back. As the helicopter lifts off, she realizes she's still in makeup. She yanks a bandana from her pocket. Rubs off lipstick and mascara. Professor Sheppard comes to meet her, frowning.<\/scene_description>\n    <character>PROFESSOR SHEPPARD<\/character>\n    <dialogue>Where have you been?<\/dialogue>\n    <scene_description>Jenny lays a cloth bundle in his hands. He unwraps the AMULET. Astonishment grows into awe as he stares at it.<\/scene_description>\n    <character>PROFESSOR SHEPPARD<\/character>\n    <dialogue>The Eye of Alexander! How did you-?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Get it to the University. Quietly.<\/dialogue>\n    <scene_description>He wraps the amulet up again, making sure it wasn't seen.<\/scene_description>\n    <character>PROFESSOR SHEPPARD<\/character>\n    <dialogue>You're playing in the underworld. The black market. It's not safe.<\/dialogue>\n    <scene_description>Jenny nods at the guards around the site. Grins up at him.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>It's not safe here. All the interesting places are dangerous.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. POLICE STATION - JAIL CELL - DAY<\/stage_direction>\n    <scene_description>Tyler tosses and turns in a nightmare on a jailhouse bunk.<\/scene_description>\n    <character>SHERIFF (O.S.)<\/character>\n    <dialogue>COLT!<\/dialogue>\n    <scene_description>Tyler SLAMS AWAKE, wild-eyed and gasping. Trying to focus. The Sheriff glowers at him through the bars.<\/scene_description>\n    <character>SHERIFF<\/character>\n    <dialogue>You're free to go.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>I am?<\/dialogue>\n    <scene_description>LOBBY Tyler walks out into the lobby, carrying his duffel bag. A man stands waiting: COLONEL GIDEON FORSTER, 50, in an Army uniform with minimal decoration. A dark, slim man with a hawkish eye and a Machiavellian air.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>Tyler Colt. You're a hard man to find.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>I try to be.<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>Colonel Gideon Forster.<\/dialogue>\n    <scene_description>Tyler salutes ironically. Blows right past Forster and out the door. Startled, Forster hurries after him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOWN SQUARE - POLICE STATION - DAY<\/stage_direction>\n    <scene_description>Tyler emerges from the station. Pauses, blinking in the sun, to get his bearings. Forster catches up.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>Tell me about Crossbow.<\/dialogue>\n    <scene_description>Tyler's jaw tightens. He knew this was coming.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>I got a load of cargo a day late.<\/dialogue>\n    <scene_description>He starts walking. Forster keeps pace.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>Five minutes.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>What for?<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>I want to know what happened out there.<\/dialogue>\n    <scene_description>Tyler turns on him furiously.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>My men died and I lived. That's what happened. I've been through two courts martial, a congressional inquiry, an \"observation period\" in a psych ward, and an involuntary discharge. I'm done with lawyers. Done with shrinks. Done explaining myself to brass like you. Sir.<\/dialogue>\n    <scene_description>He walks on - but Forster stays with him. Keeps at him.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>They said you snapped. Murdered your own men. But your controller back in Langley, McCall. He broke too. Nobody could see how to pin that on you. So they buried your case with the M.I.A. units, lost aircraft, friendly-fire incidents. The embarrassments.<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>It took me a year of digging to lay hands on your file. But I read it. I've been looking for you ever since.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>Because I believe you.<\/dialogue>\n    <scene_description>Tyler's look betrays him: nobody's said that in two years.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAR - DAY<\/stage_direction>\n    <scene_description>Tyler and Forster sit in a booth, working pints of beer.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>I work for a secret division in the Defense Department. The Special Weapons Group. We do exotic warfare. Neuroweapons. Psy ops. I specialize in a class of weapons we call \"energetic artifacts.\" Objects with strange properties. Power to affect the body or mind.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>The Pentagon's got a black magic division?<\/dialogue>\n    <scene_description>Forster scowls at that language. He lays a tablet computer on the table. Pulls up satellite images: radiation scans.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>This is the \"bunker\" you raided.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>It wasn't a bunker. It was a tomb.<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>I know. And as far back as our satellite data goes, it's been dark. The radiation signature you were chasing came out of nowhere the day the robbers broke into the tomb. Twenty-four hours later it spiked again when you went in. Then it just faded away. The energy source was reacting to intruders. Uranium doesn't do that. There's an artifact in there.<\/dialogue>\n    <scene_description>Tyler looks at him warily, mystified.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Okay...<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>The Special Weapons Group has begun to collect and study such artifacts. I have an Aztec scepter than can strike a man blind without touching him. An Old German ring that lets a man pass unnoticed through crowds. Things with real warfighting potential. The sarcophagus you describe could be the most powerful artifact ever found. I want it. I'm taking a team in to retrieve it. And I want you with me.<\/dialogue>\n    <scene_description>Tyler looks at him like he's insane. Slides out of the booth.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>I lost seven men. I almost died. You don't want me anywhere near you.<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>You're the only man who's gone in and come out again. You know the layout. Position of the artifact. You felt its power and resisted it.<\/dialogue>\n    <scene_description>Tyler leans over him angrily.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>There's something in that box. It wants out. Leave it in the ground.<\/dialogue>\n    <scene_description>He turns to go. Forster's hand whips out. Grabs Tyler's arm.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>How you sleeping?<\/dialogue>\n    <scene_description>Tyler pulls away, but Forster hangs on - surprisingly strong.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>Nightmares getting worse, eh? You can't sleep. Can't hold down a job.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>I'm fine.<\/dialogue>\n    <scene_description>He rips his arm free - but Forster holds his gaze.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>I've seen it before, Tyler. The imprint of the artifact. What they used to call a curse.<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>If I can study the artifact, I can set you free. Give you your life back.<\/dialogue>\n    <scene_description>Tyler stares at him, torn. Almost trembling. He husks:<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>I'm fine.<\/dialogue>\n    <scene_description>His harrowed look gives the lie to his words. He turns away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUNTAIN HIGHWAY - DAY<\/stage_direction>\n    <scene_description>Steep mountain slopes shaggy with redwoods. Tyler's BIG RIG thunders down the road. He's making up time. He's fighting fatigue. Swigging coffee. Window open. MUSIC pounding. He rounds a curve - and stares: along the guard rail, a RAVEN PERCHES ON EVERY FENCEPOST, all along the highway. He PULLS HIS HAND OFF THE WHEEL suddenly as if burned. From the wound in his palm, BLACK TENDRILS spread up his arm.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>The dark tendrils reach up his neck, spiderwebbing his face as he screams - covering his eyes!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNDERWORLD - VALLEY OF THE BLIND<\/stage_direction>\n    <scene_description>On a desolate plain stands a BLACK TOWER - a red BEACON shining at its summit. Around the tower stand THOUSANDS OF PALE FIGURES. Hairless, clad in rags. THEY BREATHE IN UNISON. Their faces have smooth hollows where eyes should be. They are THE BLIND. They stare at the black tower with sightless eyes. The DEAD KING Ashurbanipal walks among them. This is how he looks in the Underworld: muscular and strong, wearing a loincloth. His scalp and face clean-shaven. His skin scrawled everywhere with ARCANE SYMBOLS to ward away danger. He's trying to reach the black tower - and he's terrified. Moving with exquisite care to make no sound. Averting his eyes from the faces of the Blind. At the slightest noise their faces turn minutely, blind eyes seeking, before returning their gaze to the beacon. A hellish INSECT lands on the Dead King's back. It bites deep. A CRY OF AGONY escapes him before he can stifle it. Around him the rhythmic breathing stops. As one, the Blind turn toward him. He spins away - but they're all facing him now. He looks one in the face.<\/scene_description>\n    <character>DEAD KING<\/character>\n    <parenthetical>(in Akkadian)<\/parenthetical>\n    <dialogue>No! No!<\/dialogue>\n    <scene_description>The faces of the Blind tear open into GAPING DEMONIC MOUTHS. They come for him, pale hands reaching...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BIG RIG - DAY<\/stage_direction>\n    <scene_description>Tyler SLAMS AWAKE behind the wheel - DOING 80 MPH INTO ONCOMING TRAFFIC! Another big rig coming straight at him. He swerves, JUST MISSING the other truck - The road takes a TIGHT LEFT. A SHEER DROP beyond the guard rail. Tyler hits the brakes. Wrenches at the wheel. Grinds the big rig along the guard rail, throwing sparks. Too fast. The rear wheels jump the rail. The trailer tips. Tyler works the wheel and throttle, trying to drag it back. No use. The trailer separates and TUMBLES OVER THE EDGE. THE RIG ROLLS ONTO ITS SIDE. GRINDS TO A STOP on the brink. Tyler climbs atop his overturned rig, watching the trailer roll slowly down the mountain, strewing cargo crates. He sighs heavily. Jumps down onto the roadway. Unbalanced, the big rig TEETERS with a GROAN OF METAL. Tyler clutches at the tires, trying in vain to hold it back.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>No! No!<\/dialogue>\n    <scene_description>The rig tumbles down the mountain after the trailer. HOURS LATER The sun sets over the mountains. Tyler sits on the cliff's edge. Staring into the abyss. A hawk screams. He pulls out his phone and dials. Forster answers.<\/scene_description>\n    <character>FORSTER (V.O.)<\/character>\n    <dialogue>Tyler.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Can you really help me?<\/dialogue>\n    <scene_description>Desperation in his voice. He's a man on the brink.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JORDAN - ARCHAEOLOGICAL SITE - SUNSET<\/stage_direction>\n    <scene_description>Jenny kneels in a trench with a brush. She's exhuming an old skull - a corroded bronze spearhead still lodged its eye socket. A PHONE RINGS in her pocket. She answers.<\/scene_description>\n    <character>FORSTER (V.O.)<\/character>\n    <dialogue>Dr. Jennifer Halsey?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Yes.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FIELD TENT - SUNSET<\/stage_direction>\n    <scene_description>A heavy-duty canvas tent filled with shelves and work tables. Jenny hastily packs a bag with tools and supplies. Professor Sheppard looks on, brow furrowed with disapproval.<\/scene_description>\n    <character>PROFESSOR SHEPPARD<\/character>\n    <dialogue>Who's the client now? Some mobster?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>The Pentagon, actually.<\/dialogue>\n    <character>PROFESSOR SHEPPARD<\/character>\n    <dialogue>What do they want with you? You don't even know, do you? One of these days your confidence will get you killed.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I know what I'm doing.<\/dialogue>\n    <character>PROFESSOR SHEPPARD<\/character>\n    <dialogue>You're smart. But you lack reverence. This work is a sacred trust. We trade in swords and crowns. Gods and demons. Powers that raised armies and toppled empires. The stone gods you dig up may not be your gods. But the mysteries they stand for are real. Respect them.<\/dialogue>\n    <scene_description>Jenny studies him, puzzled and amused. She doesn't get it.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>I got a plane to catch.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RAMSTEIN AIR BASE, GERMANY - DAY<\/stage_direction>\n    <scene_description>From this base America projects air power to the Middle East. The runways rumble with fighter jets and cargo planes. SUPER: RAMSTEIN AIR FORCE BASE, GERMANY Jenny debarks from an American military transport plane. Forster greets her at the foot of the ramp.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>Dr. Halsey. Colonel Gideon Forster. Department of Defense.<\/dialogue>\n    <scene_description>RUNWAY Forster walks with Jenny toward a complex of hangars.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>You want me to help you plunder a burial site?<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>We're extracting an artifact of military value. I need you to learn everything you can about it. Age, culture of origin, associated names or entities.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Colonel, I don't know where you got my name. But this is not what I do.<\/dialogue>\n    <scene_description>Forster turns on her, his demeanor hardening.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>I know exactly what you do, Dr. Halsey. I have a file documenting your dealings with dozens of gangsters, smugglers and black marketeers who pay you handsomely for God knows what services.<\/dialogue>\n    <scene_description>Jenny stares at him in astonishment, caught flat-footed.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>I can pay your usual fee and be one more client you don't talk about... or I can send my file to Interpol.<\/dialogue>\n    <scene_description>He lets the threat hang in the air. She studies him. A beat.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Twice my usual fee.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HANGAR - DAY<\/stage_direction>\n    <scene_description>A huge vacant space. At a folding table, Tyler studies a map of Iraq. He looks up as Forster leads Jenny in.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>We need to get in and out fast, or we'll catch more heat than we can handle.<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>Tyler. Jennifer Halsey. Expert on the Ancient Near East. Tyler Colt.<\/dialogue>\n    <scene_description>Tyler clocks Jenny and dismisses her. A decorative civilian.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>What are my assets? Apart from her?<\/dialogue>\n    <scene_description>Jenny stares at him. Excuse me?<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>Twelve specialists out of the Army Corps of Engineers.<\/dialogue>\n    <scene_description>Tyler nods. Good start. He taps the map.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>This desert's held by tribal warlords. Even with a fast turnaround we'll want security. SEALs. Rangers.<\/dialogue>\n    <scene_description>Forster nods. Done. But Jenny frowns at the map.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>That's strange.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Iraq's riddled with ruins, but they're all in the river valleys. No one built out here in the open desert. Are we sure...?<\/dialogue>\n    <scene_description>Tyler turns on her in annoyance.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>If one more person calls me crazy...<\/dialogue>\n    <scene_description>Forster holds up a forestalling hand.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>How do we operate inside the tomb?<\/dialogue>\n    <scene_description>Tyler gets back on task. Stares into space, thinking.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>This thing comes on like voices in your ears. We need countermeasures. Not just ear protection. Antisound. We want to hear nothing. And no radio links between the men. Everybody wears a hazmat suit. Self- contained air supplies.<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>Shielded for electromagnetics.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Yeah. And no weapons. If the voices get to us, we'll turn on each other.<\/dialogue>\n    <scene_description>Jenny looks at Tyler incredulously.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Can other people hear these voices, or is it just you?<\/dialogue>\n    <scene_description>Tyler glares at Forster, furious.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Why is she here?<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>Because she knows more about the ancient world than you know about the modern one. Make it work.<\/dialogue>\n    <scene_description>A RUMBLE behind them. An armored Oshkosh cargo truck rolls into the hangar. The Army Corps of Engineers. A dozen ENGINEERS in field uniforms jump down off the flatbed. Tyler stalks away to meet them. Jenny watches him go.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>We're following him into the desert?<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>Tyler served with the SEALs and the CIA. He's been undercover with arms dealers. Embedded with resistance fighters. He's operated in every war zone on the globe. Best of the best.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>So what happened to him?<\/dialogue>\n    <scene_description>Forster hands Jenny a thick folder.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>He walked into that tomb.<\/dialogue>\n    <scene_description>Jenny opens the folder: the file on the Crossbow mission. Pictures of the doomed SEAL Team. Tactical maps. Depositions and transcripts. She starts reading. LATER The Engineers unpack HAZMAT SUITS &amp; breathing apparatus. A pair of UP-ARMORED HUMVEES drives into the hangar. A squad of four ARMY RANGERS jumps out and starts unloading guns. Tyler sits loading rifle clips from a box marked INCENDIARY AMMUNITION. He wraps each clip in red tape. Forster stands over him, mid-argument.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>We don't need a helicopter. We all fit on the plane.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>That cargo plane's a fat target: we need a gunship to defend it. And that's my ride. No way in hell do I get on a plane with that thing.<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>Tyler...<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Helicopter.<\/dialogue>\n    <scene_description>Forster looks tense. He nods curtly and hurries away. Jenny approaches with the Crossbow file. Tyler recognizes it.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>He gave you my file?!<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Unbelievable stuff. And I mean that literally. Did you draw this?<\/dialogue>\n    <scene_description>She points at a page: a reproduction of a hand-drawn map.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Yeah.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>It's good work. Classic bronze-age tomb. But these guardian statues - they're turned around. They should face out. These face inward.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>That's how they were. Look, Doc...<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Jenny.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>That tomb's no place you want to be. I don't want you there. Walk away.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I can't. Forster's got a file on me, too. But even if he didn't...that tomb is a major find. I'm going.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RUNWAY - DAY<\/stage_direction>\n    <scene_description>A colossal C-17 GLOBEMASTER CARGO PLANE sits on the tarmac, tailgate down. The Engineers back the cargo truck - loaded with Bobcat digging machines - into the cargo bay. Forster leads Jenny and Tyler up the tailgate into the plane.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. IRAQI DESERT - TOMB ENTRANCE - NIGHT<\/stage_direction>\n    <scene_description>A digging machine ROARS up out of the tomb, loaded with broken stone. The abandoned trucks of the tomb robbers are still here: windows shattered, tires flat, drifted into the sand. Forster's convoy now stands beside them: two armored Humvees and the Oshkosh cargo truck. The four Army Rangers man defensive position around the site. WORKLIGHTS illuminate the tomb as the Engineers excavate the entrance. Beside them, Jenny pores over the ancient carvings. She walks back to Tyler and Forster where they stand on a rise overlooking the scene. She's thrilled by the site.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>The tomb is Assyrian. That writing around the door? Curses. Keep out. Abandon hope, ye who enter here.<\/dialogue>\n    <scene_description>A shout from the Engineers at the tomb's entrance:<\/scene_description>\n    <character>ENGINEER<\/character>\n    <dialogue>We're through!<\/dialogue>\n    <scene_description>MINUTES LATER The twelve Engineers gather before Tyler, Jenny and Forster. Everyone wears WHITE HAZMAT SUITS with air supplies. Headgear under their arms. They carry scientific instruments. Tyler's packing an M79 grenade launcher and a bandolier of grenades. Pistol on his hip. Submachine gun on his back. His AMMO CLIPS ARE MARKED WITH RED TAPE: incendiary rounds.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>There is some next-level badness down that hole. Keep your gloves on. Check your seals. Watch your air supply. You start hearing voices? Walk out. Follow the cable to the surface. Go straight to the medic.<\/dialogue>\n    <scene_description>He points at the MEDIC beside his gear.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Watch each other for the signs: The sweats. The shakes. Crazy eye. Sudden aggression. That's why nobody's got weapons.<\/dialogue>\n    <character>ENGINEER #2<\/character>\n    <dialogue>You've got weapons.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>It's not my first rodeo. I'm here to watch your backs. Suit up!<\/dialogue>\n    <scene_description>The Engineers pull on ANTISOUND HEADSETS AND HAZMAT HOODS. Tyler hesitates, staring at the tomb. Forster notices.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>We have all your precautions in place. We're good.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Nothing here is good.<\/dialogue>\n    <scene_description>He pulls on his headgear: ALL SOUND IS SILENCED. A purr of WHITE NOISE. He leads the team into the tomb, Forster and Jenny right behind him. The Engineers bringing up the rear. The last man carries a spool of yellow cable that unrolls behind them. Like astronauts they follow Tyler into the dark.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOMB - PASSAGEWAY<\/stage_direction>\n    <scene_description>Their floodlights bathe the walls in a harsh white glare. We hear as they do: sand crunching underfoot. Their breathing. The purr of ventilators. Forster carries a MAGNETOMETER that detects electric and magnetic flux across all bands. He sweeps the walls with it. Jenny looks around in wonder. Steps aside to photograph the walls. The light fades. The unspooling cable bumps against her feet: she's lagged behind. She hurries to catch up. ANTECHAMBER It's a heroic act for Tyler to enter this chamber. Here his men fell, and the dead rose. But there are no bodies on the ground. The blood on the walls has faded. Tyler frowns. He spots an age-browned SKULL FRAGMENT on the floor. Beside it, an AK-47 engulfed in rust. He picks it up: the gun falls apart in his hand - as if a thousand years have passed. FLASHES as Jenny enters, taking pictures. Foster's watching his instruments. He signals: keep moving. LABYRINTH Tyler leads the team into the maze. One of their floodlights FLARES and BURNS OUT. Moments later, another. An Engineer falters. Drops his gear. Stumbles back the way they came, groping along the yellow cable. At an intersection Tyler pauses - remembering his way. Points down a passage. Forster sweeps with his magnetometer: field readings spike in that direction. He signals the advance. SARCOPHAGUS CHAMBER Tyler leads the team in. The bronze braziers are unlit. The gods of ancient Assyria glare down from the walls. The black iron SARCOPHAGUS lies on its plinth of stone. Forster stares at his magnetometer: readings off the scale. Jenny approaches the sarcophagus, overwhelmed. Reads the gold tracery. Agitated, she tears off her headgear. Tyler gives her the signal to put her headgear back on. She ignores it. He pulls off his own hood, furiously.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>You. Suit up.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>This is Ashurbanipal! The last great king of Assyria.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Great. Put your headgear on.<\/dialogue>\n    <character>JENNY<\/character>\n    <parenthetical>(tracing the engraving)<\/parenthetical>\n    <dialogue>Assyrian text. Egyptian symbols!<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Hands off the box!<\/dialogue>\n    <scene_description>Impatiently, Forster signals the Engineers to start the extraction. Pulls his own headgear off.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>What's the problem?!<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Your \"expert.\"<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>This is the greatest find since King Tut's tomb! We can't just grab the sarcophagus and leave...<\/dialogue>\n    <scene_description>A GHOSTLY WHISPER in old Akkadian. Tyler stiffens.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Did you hear that?<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>I feel it. Working on my mind! I've never felt power like this.<\/dialogue>\n    <scene_description>He sounds daunted. Tyler's trembling. He pulls his pistol. Aims it at Jenny. Struggling to keep his voice under control.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Headgear.<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>Tyler!<\/dialogue>\n    <scene_description>Tyler points the gun at Forster. He's at the end of his rope.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Both of you. Now.<\/dialogue>\n    <scene_description>Forster complies. Jenny looks defiant...but obeys. Tyler holsters his gun and suits up, plunging back into silence. The Engineers assemble a KEVLAR SHELL around the sarcophagus. Attach gas cylinders. Flood the shell with argon gas. And then, one by one, the team's FLOODLIGHTS BURN OUT - plunging them into UTTER DARKNESS. A second of terror. PAFFF! Tyler holds a magnesium flare overhead. In the red glare he signals the team. Go! Go! LABYRINTH Tyler strides through the tunnels - a burning flare in one hand, machine gun in the other. Jenny at his side. Forster follows, with the Engineers carrying the sarcophagus on their shoulders like pallbearers. A few hold burning flares aloft. Like monks in an otherworldly catacomb.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. TOMB ENTRANCE - DAWN<\/stage_direction>\n    <scene_description>The sky is brightening as the team carries the sarcophagus into the open air. Tyler waves them toward the cargo truck. He pulls off his headgear. Looks at the Engineer sitting with the medic: the one who walked out.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>He okay?<\/dialogue>\n    <character>MEDIC<\/character>\n    <dialogue>Panic attack. He's all right.<\/dialogue>\n    <character>FORSTER<\/character>\n    <parenthetical>(shouting)<\/parenthetical>\n    <dialogue>Let's move!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. IRAQI DESERT - PRE-DAWN<\/stage_direction>\n    <scene_description>The convoy barrels across the desert. The Rangers lead the column in one Humvee. Then the cargo truck, hazmat-suited Engineers riding with the sarcophagus. Lastly, the second Humvee: Forster at the wheel, with Tyler riding shotgun and Jenny in back. They've shed their hazmat suits. Tyler has his weapons slung. They pass a boundary stone - a kudurru. Jenny notices: it's one of many marching in a VAST RING AROUND THE TOMB. She swings her camera around to photograph them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERT HILLTOP - SUNRISE<\/stage_direction>\n    <scene_description>The convoy crests a rise in the desert. Below on a salt flat: a C-17 GLOBEMASTER CARGO PLANE sits beside a BLACK HAWK.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TYLER'S HUMVEE (IN MOTION) - DAY<\/stage_direction>\n    <scene_description>The convoy speeds toward the waiting aircraft. The Black Hawk's rotor is turning. The C-17's engines rumble. The plane's ramp is down: its cargo hold an empty cavern.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>It might be better for the team if you stayed with the package.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>I am not flying with that -<\/dialogue>\n    <scene_description>KA-BLAM! AN EXPLOSION FLIPS THE LEAD HUMVEE INTO THE AIR. It lands on its roof on fire. Scratch one squad of Army Rangers. A SECOND BLAST DESTROYS THE CAB OF THE CARGO TRUCK, crippling the truck: it grinds to a halt twenty yards from the plane.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>Warlords!<\/dialogue>\n    <scene_description>Four \"TECHNICALS\" roar in across the salt flat: pickup trucks with heavy machine guns mounted in back. TRIBAL WARRIORS with AK-47s and RPGs ride five to a truck. An RPG just misses their Humvee - and BLOWS UP THE BLACK HAWK. The helicopter dissolves into flames. Jenny screams. Tyler stares at the wreckage in dismay. There goes his ride. Bullets ricochet around them. Tyler takes command by reflex. He grabs Jenny's arm. His focus cuts through her terror.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Get out and stay low. When I start shooting, run to the truck. They're gonna have to load the sarcophagus by hand. You're in charge.<\/dialogue>\n    <scene_description>She nods, white-faced. Gets out. Tyler stands up into the gun turret. Swings the SAW around. Bangs on the roof.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Drive! Drive!<\/dialogue>\n    <scene_description>He starts shooting. Jenny runs. Foster sets his jaw and puts the pedal down. The Humvee leaps forward. Tyler fires in long bursts, swinging the gun from one target to another. AT THE CARGO TRUCK Jenny arrives at a run: the Hazmat-suited Engineers are huddled in panic. A few of them peeling off their headgear. In combat sign language she orders them to keep their gear on and lift the sarcophagus. She gets them moving. ON THE SALT FLAT Tyler and Forster play defense, veering to cut off the tribal warriors' trucks as they approach. Tyler fires his GRENADE LAUNCHER, rolling an enemy truck. He looks back: the Engineers lug the coffin toward the plane.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Tell 'em take off as soon as it's aboard!<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>What about us?!<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Tell 'em leave the ramp down!<\/dialogue>\n    <scene_description>AT THE C-17 Jenny leads the Engineers up the ramp with the sarcophagus. The C-17 LUMBERS INTO MOTION, engines howling. Jenny looks around in confusion: Tyler and Forster aren't on board yet.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Wait!<\/dialogue>\n    <scene_description>IN THE HUMVEE Tyler empties his grenade launcher. Drops it. Switches to the turret gun. An RPG whistles past - too close.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Time to go!<\/dialogue>\n    <scene_description>Forster slews the Humvee around, chasing the C-17. They blow out a rear tire, losing precious speed. A fuel can on the exterior CATCHES FIRE. Tyler blasts away with the turret gun. The C-17's nose comes off the ground. Takeoff speed. Tyler ducks inside as the Humvee charges through the wash of the giant engines. It slams up the ramp, bullet-riddled and burning, an instant before the ramp lifts off the ground. The engine wash rolls the pursuing trucks off their tires. They tumble across the salt flat as the C-17 climbs away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. C-17 - CARGO BAY - CONTINUOUS<\/stage_direction>\n    <scene_description>The burning Humvee skids to a stop in the cargo bay. Tyler and Forster leap out as the deck crew douses the flames with fire extinguishers. The ramp closes behind them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SALT PAN - DAY<\/stage_direction>\n    <scene_description>The last technical rolls to a stop. A bearded man rises to his feet: the WARLORD himself. He watches the plane get away. Pulls a battered SATELLITE PHONE from his robes and dials.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OPULENT PENTHOUSE - DAY<\/stage_direction>\n    <scene_description>Wide windows and marble. Grand views of a European city. A PHONE RINGS. In the foreground, a MYSTERIOUS MAN answers: he wears a tailored suit and a gold ring marked with a FOUR- BARRED CROSS. We cannot see his face.<\/scene_description>\n    <character>WARLORD (INTERCUT)<\/character>\n    <parenthetical>(in Arabic, subtitled)<\/parenthetical>\n    <dialogue>Outsiders have discovered the tomb.<\/dialogue>\n    <character>MYSTERIOUS MAN<\/character>\n    <parenthetical>(in Arabic, subtitled)<\/parenthetical>\n    <dialogue>Kill them.<\/dialogue>\n    <character>WARLORD (INTERCUT)<\/character>\n    <parenthetical>(in Arabic, subtitled)<\/parenthetical>\n    <dialogue>I tried. I failed. They have taken the King of the Dead.<\/dialogue>\n    <scene_description>The mysterious man lays the phone down on his desk.<\/scene_description>\n    <character>MYSTERIOUS MAN<\/character>\n    <parenthetical>(grimly)<\/parenthetical>\n    <dialogue>The day has come.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. C-17 (IN FLIGHT) - CARGO BAY - DAY<\/stage_direction>\n    <scene_description>The SARCOPHAGUS is tied down in its high-tech kevlar case. Tyler stares glumly at it: stuck on a plane with that thing. Spooked Engineers sit on benches along the walls. Tyler gives them a hand signal as he passes: Keep your headgear on. COCKPIT A PILOT and COPILOT guide the C-17 into the safe upper air. Behind them, Forster, Tyler, and Jenny drop into jump seats.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Bad op.<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>I didn't expect to lose men.<\/dialogue>\n    <scene_description>He has the look of a man who's won an auction with a bid he can't afford to pay.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>You in trouble?<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>I'll handle it. When they see what I've found - all will be forgiven.<\/dialogue>\n    <scene_description>He falls back in his seat and closes his eyes. Tyler looks at Jenny: she's scribbling furiously in her sketchbook.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>You did good back there.<\/dialogue>\n    <scene_description>Jenny waves him off impatiently without looking up.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>First sixty minutes are the golden hour for recall. Don't talk to me.<\/dialogue>\n    <scene_description>Her pen flies as she tries to capture all she's seen.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STORMY SKIES - DAY<\/stage_direction>\n    <scene_description>The C-17 soars over the Mediterranean. The skies darken. Ominous clouds gather. Rain begins to fall.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. C-17 - COCKPIT<\/stage_direction>\n    <scene_description>Tyler, Jenny, and Forster are asleep despite the turbulence. Jenny's notebook lies open in her lap: its pages covered with horrifying drawings from the tomb. Tyler twitches - hounded by nightmares. UNDERWORLD - ENDLESS STAIR A spiral stair descends into darkness. TREE ROOTS have choked the stairwell, twisting through the rock. Terrifying noises from below: rumbles, crashes, muttering voices. The DEAD KING, his skin inked with warding glyphs, struggles down the stair - fighting through the gnarled roots. An EERIE LIGHT approaches from below. In terror the Dead King worms into a crevice in the wall. Hiding among the roots. A DEMON climbs past, ascending the stair: a skeletal monster with a hawklike head. It carries a wicked hooked blade that glows with a blue light. When the demon has passed, the Dead King tries to emerge from hiding - but THE ROOTS HOLD HIM FAST, twined around him. He struggles to free himself. The roots tighten, entangling him in strangling loops - and DRAG HIM SCREAMING INTO THE EARTH.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. C-17 GLOBEMASTER - COCKPIT<\/stage_direction>\n    <scene_description>KA-TOW!! LIGHTNING STRIKES THE PLANE! The THUNDERCLAP catapults Tyler out of his nightmare. Beside him Forster and Jenny wake, disoriented. They're flying through an apocalyptic storm. Warning indicators flash and beep in the cockpit. Rain lashes the windows. Static on the displays. The compass spins wildly.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>What's happening?<\/dialogue>\n    <character>COPILOT<\/character>\n    <dialogue>Weather came out of nowhere!<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>Where are we?<\/dialogue>\n    <character>PILOT<\/character>\n    <dialogue>Hard to say. Nav is out. European airspace.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Look at that!<\/dialogue>\n    <scene_description>A BLACK WALL OF CLOUD towers out of the storm ahead like a tidal wave: it looks dense and dark enough to crush them.<\/scene_description>\n    <character>PILOT<\/character>\n    <dialogue>Darkest cloud I've ever seen.<\/dialogue>\n    <scene_description>The COLLISION RADAR starts BEEPING. Tyler squints at the stormcloud. Something's not right. Horror fills his face.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>That's not a cloud.<\/dialogue>\n    <scene_description>WE ZOOM THROUGH THE COCKPIT WINDOWS...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>..rocketing across the sky to the black stormfront. It's a FLOCK OF RAVENS. Millions of them, beating through the tempest at an impossible altitude with strange purpose.<\/stage_direction>\n    <scene_description>The C-17 STRIKES THE RAVENS AT 450 KNOTS. At this speed a raven might as well be a cannonball. The bombardment streaks the C-17 with blood. All four engines BURST INTO FLAME.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. C-17 - COCKPIT - CONTINUOUS<\/stage_direction>\n    <scene_description>THE WINDOWS SHATTER. A carnage of ravens. Flying daggers of glass. Wind SCREAMS through the cockpit. Tyler, Jenny and Forster duck behind the seats in front. They look up to see the PILOT AND COPILOT DEAD IN THEIR CHAIRS. They leap up: the flight deck is slick with rain and blood. Tyler looks at the flight controls. Out the broken windows.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Can you fly?!<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>All four engines on fire!<\/dialogue>\n    <scene_description>He pushes them aft. Forster wrenches open the hatch against the howling wind and they dive into the... CARGO BAY They slam the hatch shut behind them. A THUNDERCLAP shakes the plane. The lights flicker. EVERY MAN IN THE CARGO BAY LIES DEAD. The Engineers, the Medic, the deck crew. Their hoods and headsets pulled off. Their hands grip wrenches, hammers. In the center of the bay, the SARCOPHAGUS LIES EXPOSED. Its kevlar shell dismantled. Loosely cabled to the bucking deck. Wind shrieks through the bay. A few tattered crows flap frantically around the interior. Tyler runs aft, hugging the wall past the sarcophagus. By now running aft means climbing: the plane's in a dive. Forster kneels over the fallen men. Checks vital signs.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>They're all dead!<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>So are we if we don't find chutes!<\/dialogue>\n    <scene_description>Forster and Jenny join him in the search. Ransacking lockers. Over the roaring storm and creaking airframe, they hear WHISPERS. The ghost voices from the tomb.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>No. No no no.<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>Here!<\/dialogue>\n    <scene_description>Parachutes. They all struggle into harnesses.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. STORMY SKIES - DAY<\/stage_direction>\n    <scene_description>The C-17 plunges through the storm, all four engines burning. Flames stream from punctured fuel tanks in the wings. Through the clouds below, we see the city of ROME.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. C-17 - CARGO BAY<\/stage_direction>\n    <scene_description>Wearing a chute, Tyler lowers the tailgate: a vertiginous view of the storm. Forster steps up beside him, parachute on, clutching his field case. Tyler slaps him on the shoulder.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Go! Go!<\/dialogue>\n    <scene_description>Forster dives out into the gale.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Jenny!<\/dialogue>\n    <scene_description>She's twenty feet away, struggling with her parachute straps - when all around her, THE DEAD STAND UP. Heads lolling, eyes rolled back. They clutch at her blindly. Jenny screams.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Tyler!<\/dialogue>\n    <scene_description>Tyler runs back down the tilted deck. Wrenches Jenny free of the clutching dead. One of them PULLS THE RIPCORD OF HER PARACHUTE - popping the drone chute. Hands tangle in the silk. Her chute spills out behind her as Tyler pulls her away. She hits the end of her shrouds and jerks to a stop. Dead hands drag her backward.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Help me!<\/dialogue>\n    <scene_description>Tyler rips off her harness. Drags her to the open tailgate.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>I don't have a chute!<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>I know!<\/dialogue>\n    <scene_description>He hurls her out of the plane. Fires a burning bullet into a dead man who whose clutching hands are inches away. Jumps out into the storm as the dead man burns like a torch behind him.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FREE-FALL - CONTINUOUS<\/stage_direction>\n    <scene_description>Jenny tumbles through the storm in free-fall, screaming. Tyler dives to her. Grabs her mid-air.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Hold on!<\/dialogue>\n    <scene_description>They lock arms and legs around each other. He pops his chute.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROME - DAY<\/stage_direction>\n    <scene_description>The C-17 plunges out of the dark sky like a dying dragon, trailing flame. Raking over the rooftops in eerie silence. It shears the steeple off a church. Topples a marble spire, losing a wing. Plunges into an ancient abbey. The engines break free and tumble on separate paths of ruin. Flames boil. A pall of smoke adds its darkness to the storm. AMONG THE CLOUDS Forster, descending by parachute, watches the calamity on the ground. He spots Tyler's parachute below him. Pulls on his shrouds, banking through the stormwinds.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. APARTMENT BUILDING - ROOFTOP<\/stage_direction>\n    <scene_description>Tyler and Jenny - sharing one parachute - descend fast onto the roof. Tyler lets her go: she tumbles across the rooftop. Lightened, Tyler is dragged across the roof. He fights to get out of his harness before he goes over the edge. At the last instant he gets free. The parachute flaps away like a ghost. He stands in the rain, looking at the column of smoke boiling up from the crash site half a mile away. Furious. He can't believe he went along with this. He knew better. Jenny joins him at the roof's edge. He turns to her - and she begins to PUMMEL HIM WITH HER FISTS.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>You threw me out of a plane!<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>It was on fire!<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>You threw me out of a PLANE!<\/dialogue>\n    <scene_description>Tyler fends off her blows. Pulls her in.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>You're okay. You're on the ground. You're safe.<\/dialogue>\n    <scene_description>Jenny stops punching. Stares at him, breathing hard. She's just seen the impossible and her mind's in rebellion.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>What was THAT? The storm? Dead men. Maybe...maybe they weren't dead. Their vital signs were just...<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>You know what you saw.<\/dialogue>\n    <scene_description>Forster descends expertly onto the roof behind them. Cuts his chute loose. He joins them, staring at the pillar of smoke.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>That thing kills whoever gets close.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>And we just dropped it in the middle of Rome.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROME - CRASH SITE - DAY<\/stage_direction>\n    <scene_description>Wreckage strewn across hundreds of yards. FLAMES gutter in the shattered fuselage. In crushed houses and cars. An OLD MAN in a worn suit lies pinned under fallen masonry.<\/scene_description>\n    <character>OLD MAN<\/character>\n    <parenthetical>(in Italian, subtitled)<\/parenthetical>\n    <dialogue>Help me! Please!<\/dialogue>\n    <scene_description>A CLATTER. A stone slab shifts beside him. Another survivor! The old man wrenches at the slab with frail hands.<\/scene_description>\n    <character>OLD MAN<\/character>\n    <parenthetical>(in Italian, subtitled)<\/parenthetical>\n    <dialogue>Push! I will help you!<\/dialogue>\n    <scene_description>He strains with all his strength. The slab topples aside. An ARM reaches out: black and withered, like a burn victim.<\/scene_description>\n    <character>OLD MAN<\/character>\n    <parenthetical>(in Italian, subtitled)<\/parenthetical>\n    <dialogue>Mother of God!<\/dialogue>\n    <scene_description>He claws at the rubble, moving stones. Out of the wreckage crawls THE MUMMY. Skin BLACK AS TAR, body wasted to the bone. It rises to its feet, gaunt and terrible. A FANTASTIC LIGHTNING DISPLAY shreds the sky behind it. BROKEN TUBES OF BRONZE jut from the Mummy's throat, wrists, and chest: jagged pipes of ancient forging. A flash of pale teeth in its slitted mouth. Black eyes glitter.<\/scene_description>\n    <character>OLD MAN<\/character>\n    <parenthetical>(in Italian, subtitled)<\/parenthetical>\n    <dialogue>My God. My God!<\/dialogue>\n    <scene_description>THUNDER CRASHES. The Mummy bends over the old man with sinister purpose. The old man recoils.<\/scene_description>\n    <character>OLD MAN<\/character>\n    <parenthetical>(in Italian, subtitled)<\/parenthetical>\n    <dialogue>What are you?!<\/dialogue>\n    <scene_description>The Mummy takes his head in its hands. It seems the creature DRIVES THE BRONZE PIPES IN ITS WRISTS into the man's throat. The old man convulses - held by the Mummy's gaze. A strange, intimate bond as blood and life flows from the living to the dead. The ancient body fills out slightly. The Mummy takes its first ragged breath as the old man breathes his last. Another victim calls out in the storm. A WOMAN. The Mummy's head turns hungrily. It stalks toward the voice. Left behind, the old man's body stares at the stormy sky. Hands clawed, eyes wide, mouth frozen in a silent scream.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROME - CRASH SITE - DAY<\/stage_direction>\n    <scene_description>Paramedics and firefighters push into the wreckage under a relentless rain. Policemen herd news crews back as officials take stock of the disaster. Out of a black car with diplomatic plates steps U.S. AMBASSADOR CHARLES SLADE. He surveys the scene, appalled. Forster hurries up to him, drenched in his coat. His field case under his arm. He flashes his ID.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>Ambassador Slade. Colonel Gideon Forster, Department of Defense. Special Weapons Group.<\/dialogue>\n    <scene_description>Slade scowls under his umbrella.<\/scene_description>\n    <character>AMBASSADOR SLADE<\/character>\n    <dialogue>What do you know about this plane?<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>Covert flight out of Iraq. There were items of high intelligence value on board. I need to retrieve them. Discreetly.<\/dialogue>\n    <scene_description>The Ambassador stares at him incredulously.<\/scene_description>\n    <character>AMBASSADOR SLADE<\/character>\n    <dialogue>We've got half the police in Rome on top of us. And the media.<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>And if they find out what was on the plane, it'll be a national scandal. You'll end up working a war zone at the ass end of Africa. So give me some cover and let me clean this up.<\/dialogue>\n    <scene_description>The Ambassador seethes impotently - and gives in. He nods. AT THE EDGE OF THE WRECKAGE Tyler and Jenny stand in the rain, staring at the debris field. Tyler broods on the destruction. Anger in his voice.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>This thing's had its hooks in me since I found it. I wanted to end it. But it just gets worse.<\/dialogue>\n    <scene_description>Jenny looks at him, moved. Before she can speak, Forster appears. Passes them clip-on ID badges from his field case.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>If anyone asks, you're part of the American investigation. Don't let anyone ask.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DESERTED SHOP - DAY<\/stage_direction>\n    <scene_description>An empty shop at the edge of the crash site. A U.S. Embassy Marine guards the door. Forster leads Tyler and Jenny inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DESERTED SHOP - DAY<\/stage_direction>\n    <scene_description>A makeshift base of operations. Forster unpacks his field case: setting up a satellite phone and comm terminal. He looks edgy. Barely keeping it together.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>I've bought us a few hours. The Special Weapons Group has no assets in the region. We're on our own.<\/dialogue>\n    <parenthetical>(to Jenny)<\/parenthetical>\n    <dialogue>I need you to do whatever an Assyrian priest would do to protect us from a curse. Sorcery affecting the mind.<\/dialogue>\n    <scene_description>Jenny looks from Forster to Tyler and back.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Are you serious?<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>The artifact's power is real. It's reasonable to imagine the counter- measures of the time have potency.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I study ancient mysticism. I don't practice it.<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>Humor me.<\/dialogue>\n    <scene_description>Jenny stares. But he's not letting her off the hook.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Okay. Take off your shirts.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. JORDAN - ARCHAEOLOGICAL SITE - DAY<\/stage_direction>\n    <scene_description>In the shade of a tarpaulin, Professor Sheppard and his team watch a BBC news broadcast on a portable television. ONSCREEN: an aerial shot of Rome, showing devastation at the crash site. Emergency workers struggling through the rain.<\/scene_description>\n    <character>BBC ANNOUNCER (V.O.)<\/character>\n    <dialogue>...a dozen casualties on the ground and an unknown number on the plane itself. Italian officials are demanding to know where this plane was bound - and what it was carrying.<\/dialogue>\n    <scene_description>Worry creases Professor Sheppard's face.<\/scene_description>\n    <character>PROFESSOR SHEPPARD<\/character>\n    <dialogue>Has anyone heard from Jenny?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DESERTED SHOP - DAY<\/stage_direction>\n    <scene_description>Forster stands shirtless: a PROTECTIVE SEAL inked over his heart. Other signs on his shoulders and back. Jenny works on Tyler, using an image on her tablet computer as reference. He still has the ripped physique of a Navy SEAL, which is not lost on Jenny: the proximity's loaded for both of them. She talks to cover her nerves.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>The sorcery of Assyria was about dominion. Taking control of the mind. The body. Warding signs were the ancient defense.<\/dialogue>\n    <scene_description>She completes the warding sign. Wafts the smoke of smoldering herbs over him. Touches his brow and heart with an amulet.<\/scene_description>\n    <character>JENNY<\/character>\n    <parenthetical>(skeptically)<\/parenthetical>\n    <dialogue>You walk in the grace of Ashur and Ishtar, blessed in the eyes of Anu. In theory, you're protected from hostile magic. Let's go.<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>Not until we're all protected.<\/dialogue>\n    <scene_description>Tyler picks up her ink and stylus. Grins.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Take off your shirt.<\/dialogue>\n    <scene_description>Jenny laughs in disbelief - but Tyler's serious. She sighs. Takes off her shirt. Tyler gets to work. Glances at her iPad.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>No sweat. All the guys in my unit used to have me do their face paint. I have very good hands.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CRASH SITE - DAY<\/stage_direction>\n    <scene_description>Tyler, Jenny, and Forster fan out across the ruin, searching. The sky darkens. Rainwater runs in torrents through the debris. Sirens and shouting voices swallowed by the wind. IN THE CENTER OF THE FIELD Tyler stands alone. He pivots, measuring angles: the trail from the impact point. The paths of the tumbling engines. The fragments of the fuselage. We see FLASHES OF THE CRASHING PLANE as he games out the impact in his mind's eye. A severed WING rakes overhead. A howling ENGINE tumbles past him. The SARCOPHAGUS cannons through the air like a missile. Tyler turns. It must be...this way. He skirts a burning mass of crumpled fuselage. Steps through a doorway in a free-standing wall. On the far side, only rubble. The search seems hopeless. A sound. The CAWING OF CROWS. He looks up. The roof of the Abbey is COVERED WITH RAVENS. Tyler prowls forward nervously. Beside the shattered Abbey he stops and crouches. Picks up a FRAGMENT OF BLACK IRON. A PIECE OF THE SARCOPHAGUS. The Abbey's WINE CELLAR has been laid open by the crash. He peers down into the dark. His hand strays to his gun. Jenny appears beside him, making him jump.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>What do you see?<\/dialogue>\n    <scene_description>He passes her the fragment of engraved iron.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Oh, no.<\/dialogue>\n    <scene_description>Tyler throws Forster a hand signal across the field. Here. He pulls out a tactical flashlight. Shines it into the pit.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>We can climb down if we're careful. There's handholds -<\/dialogue>\n    <scene_description>Jenny leaps into the crypt. Tyler blinks.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Okay.<\/dialogue>\n    <scene_description>He leaps down after her.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CELLAR<\/stage_direction>\n    <scene_description>The sarcophagus, having blasted through the ancient wall, lies shattered in the wreckage of wine casks and masonry. Tyler lifts his tactical light. A hand on his gun. He sweeps the shadows and corners, braced for some dark manifestation. Jenny kneels in the rubble with her own flashlight. She finds fragments of engraved black iron. Lays them out. Forster climbs down behind them.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>You feeling anything? Whispers?<\/dialogue>\n    <scene_description>Forster shakes his head.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>Maybe it's over. Break the artifact, break the spell.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>It was never the box. It was the thing inside. Ash...<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Ashurbanipal. If his remains are here, they won't be hard to find. He'd be buried in gold and jewels.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>No gold. They shaved off his beard and hair and sealed him in hot tar.<\/dialogue>\n    <scene_description>Jenny's head comes around sharply.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>How could you know that?<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>I dreamed it.<\/dialogue>\n    <scene_description>A SCREAM makes Tyler spin. It came from up above.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Stay with her!<\/dialogue>\n    <scene_description>He rockets up out of the cellar, leaping from wall to wall with startling athleticism, and disappears into the rain.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RUINED ABBEY - DAY<\/stage_direction>\n    <scene_description>Around the corner from the opened cellar, a knot of policemen and medics stand huddled in the downpour. Tyler joins them. They've found the Mummy's first victim: the OLD MAN, his alabaster-pale face set in a rictus of terror. Twenty paces away, more police cluster around a DEAD WOMAN. She too has bloodless white skin, frozen in a silent scream. Forster appears beside Tyler, taking in the ghastly scene. Tyler looks at him, shaken.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>This was him.<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>You don't know that.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>What then? Natural causes? They're just really scared of plane crashes? The thing in the box is out.<\/dialogue>\n    <parenthetical>(realizing)<\/parenthetical>\n    <dialogue>You left Jenny alone!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CELLAR - DAY<\/stage_direction>\n    <scene_description>Jenny has laid out the major fragments of the sarcophagus. She studies the engravings, poring over the text. In the DRAINAGE TUNNEL BEHIND HER - movement. The MUMMY peers out of the darkness: a skeletal ghoul with broken pipes jutting from its wrists, neck and chest. It creeps closer... Jenny, oblivious to its presence, begins to READ ALOUD IN ANCIENT AKKADIAN - frightened by what she's reading. The Mummy freezes in astonishment. Cocks its head and stares at her with slitted eyes. Listening. Tyler CRASHES DOWN into the cellar, making Jenny gasp. He pulls his pistol and flashlight. Sweeps the cellar.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>What are you doing?!<\/dialogue>\n    <scene_description>Tyler shines his light into the tunnel. The Mummy is gone.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>You see anything strange?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Yes. The Assyrians wrapped their dead in shrouds - but they didn't embalm them like the Egyptians. But look:<\/dialogue>\n    <scene_description>She turns over a large fragment of the sarcophagus lid, which would have covered the head and torso of its occupant. Molded to fit the body, the lid is VEINED WITH TUBES AND RESERVOIRS OF BRONZE. Some of the tubes - broken off - plunge into the space the corpse would have occupied.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>This intricate mechanism. Reservoirs for some sort of fluid. Pipes designed to penetrate the body!<\/dialogue>\n    <parenthetical>(reading the reservoirs)<\/parenthetical>\n    <dialogue>\"Blood of dreams. Blood of night. Blood of returning.\"<\/dialogue>\n    <scene_description>One of the pipes runs to a CLOCKWORK APPARATUS on the sarcophagus lid: she works it with her hand, and A BARBED NEEDLE juts from a handprint on the lid.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>\"Blood of the Chosen.\"<\/dialogue>\n    <scene_description>Tyler looks at the scar on his palm. Closes his fist over it.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>This is sorcery to raise the dead.<\/dialogue>\n    <scene_description>We FLY PAST Tyler and plunge into the dark DRAINAGE TUNNEL. UNDERGROUND PIPES - CONTINUOUS We race through ancient drainways. Across a flooded cistern. UP a vertical drain through a splatter of falling water. THE MUMMY is climbing the drain. The jagged pipes in its wrists leaving scratches on the stones.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ALLEYWAY - DUSK<\/stage_direction>\n    <scene_description>Night is falling. A pelting rain beats the cobblestones. An IRON GRATE BREAKS FREE from its cemented moorings. THE MUMMY CLIMBS OUT into the twilight. Rises to its full height: a gaunt black figure in the shreds of its burial wrappings. It walks to the mouth of the alley and looks at Rome.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FORSTER'S BASE<\/stage_direction>\n    <scene_description>Alone in his abandoned shop, Forster paces restlessly - circling his comm terminal like he's afraid to look at it.<\/scene_description>\n    <character>AMBASSADOR SLADE (O.S.)<\/character>\n    <dialogue>Colonel Forster!<\/dialogue>\n    <scene_description>Forster jumps at the sound. Slade steps inside, shaking rain from his umbrella. Outside, four Marines stand guard.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>Ambassador.<\/dialogue>\n    <scene_description>He's forcing his usual confident tone - but there's a crack in it. Ambassador Slade has blood in his eye.<\/scene_description>\n    <character>AMBASSADOR SLADE<\/character>\n    <dialogue>I tracked down your Special Weapons Group - which I'd never heard of, by the way. Got your supervisor. Know what he told me? There IS no go mission to Iraq. Nobody knows you're here.<\/dialogue>\n    <parenthetical>(with savage triumph)<\/parenthetical>\n    <dialogue>You're off the reservation! You're single-handedly responsible for that nightmare out there!<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>Yes. I am.<\/dialogue>\n    <scene_description>He sounds like a man before a firing squad. The Ambassador looms in Forster's face, enjoying his ruin.<\/scene_description>\n    <character>AMBASSADOR SLADE<\/character>\n    <dialogue>I don't know whether we'll crucify you in the public square or bury you by dark of night, but either way I'll enjoy it.<\/dialogue>\n    <scene_description>He turns to summon his Marines.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>Ambassador!<\/dialogue>\n    <parenthetical>(desperately)<\/parenthetical>\n    <dialogue>I can explain! Just look at this.<\/dialogue>\n    <scene_description>He passes a TABLET COMPUTER to Slade and taps the screen.<\/scene_description>\n    <character>AMBASSADOR SLADE<\/character>\n    <dialogue>Nothing you can show me will...<\/dialogue>\n    <scene_description>He trails off. A SHIFTING DIGITAL PATTERN flickers on the tablet's screen. Slade stares into the light, HYPNOTIZED. Shielding his eyes, Forster turns off the tablet and takes it back. The Ambassador stands STIFF AS A STATUE, hand outstretched, mouth open. Staring at nothing. Forster packs up his things. Slips out the back of the shop.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CELLAR - DUSK<\/stage_direction>\n    <scene_description>Tyler stares at Jenny across the shattered sarcophagus.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>We won't find the king's remains. If there was moisture in this sarcophagus, as these tubes imply - the body would have rotted away to nothing in two thousand years.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>I think we won't find his body because he went for a little walk.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Tyler...<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Let's get out of this hole.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. RUINED ABBEY - DUSK<\/stage_direction>\n    <scene_description>Tyler climbs out of the cellar. Pulls Jenny up into the rain.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>A two-thousand-year-old man can't -<\/dialogue>\n    <scene_description>She GASPS! Tyler spins to find TWO MARINES behind him.<\/scene_description>\n    <character>MARINE #1<\/character>\n    <dialogue>Tyler Colt. Jennifer Halsey. You're under arrest by order of the DCIS.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>The what?<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Pentagon criminal investigations. On what charges?<\/dialogue>\n    <character>MARINE #2<\/character>\n    <dialogue>Impersonating an active-duty serviceman. Falsifying orders. Fraudulent requisition of material and personnel. Desecration of a religious site. Crossing borders for illegal purposes. Conduct resulting in the death of military personnel...<\/dialogue>\n    <scene_description>Tyler closes his eyes in dismay.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Forster. What did you do?<\/dialogue>\n    <scene_description>The Marines pull handcuffs. Reach for Tyler and Jenny.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Listen, you can't take us in. We set something loose here...<\/dialogue>\n    <character>MARINE #2<\/character>\n    <dialogue>Tell it to the judge.<\/dialogue>\n    <scene_description>Tyler becomes a blur of motion. He gets each Marine by a wrist. Twists them together. Takes their handcuffs away. They go for their guns. He takes the guns away. Seconds after the fracas started, the Marines are handcuffed together on their knees. Tyler points both guns at them.<\/scene_description>\n    <character>MARINE #1<\/character>\n    <dialogue>They'll lock you up for the rest of your life.<\/dialogue>\n    <scene_description>PAFF! PAFF! TRANQUILIZER DARTS appear in the Marines' necks. They slump unconscious.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>Not just yet.<\/dialogue>\n    <scene_description>He slips a slim dart pistol into his jacket.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>What the hell is going on?!<\/dialogue>\n    <scene_description>Forster's shoulders crumple. His facade finally collapsing.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>I couldn't get approval for the mission. Too speculative. Too costly. So...I set it up on my own.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>You forged your orders.<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>Indelicate phrasing. But yes.<\/dialogue>\n    <scene_description>Tyler seizes him by the collar. Slams him against the wall.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>People died! We were in combat! We crashed a plane into a goddamned city! We'll all go to prison!<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Tyler!<\/dialogue>\n    <scene_description>Strangling, Forster croaks something unintelligible.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>What's he saying?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I think he's saying, \"You need me.\"<\/dialogue>\n    <scene_description>Tyler gives Forster some air.<\/scene_description>\n    <character>FORSTER<\/character>\n    <parenthetical>(hoarsely)<\/parenthetical>\n    <dialogue>You need me. To clear your name. I did this. I'll take the heat. I'll get you out of this. I promise.<\/dialogue>\n    <scene_description>Tyler releases him reluctantly. Forster gulps air. Two Italian POLICE OFFICERS run toward them, shouting. They stiffen in fight-or-flight panic...but the officers run right past them, shouting into radios in Italian.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>They said the Devil killed again!<\/dialogue>\n    <scene_description>EXT - NARROW STREET - NIGHT Forster, Tyler, and Jenny hurry through the gathering dark. They see a cluster of policemen: a MURDER SCENE. A muscular man lies dead, pale and frozen in a tableau of horror. The policemen argue. Some point away down the street: on a distant corner, a second knot of policemen stand under a streetlight. A second murder scene. STREET CORNER Tyler, Jenny and Forster arrive at the second murder scene, stopping a discreet distance away. This victim is an OLD WOMAN, pale and frozen in terror like the others.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>Why these people? Men, women, young, old...<\/dialogue>\n    <scene_description>Tyler looks back the way they came - and he sees it.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>He's not choosing victims. They're just in his way. He's moving in a straight line. Where does this go?<\/dialogue>\n    <scene_description>They stare at him in confusion. Tyler turns and runs down the street - emerging at the end of the block into... ST. PETER'S SQUARE A wide plaza surrounded by a colonnade. Beautiful even on this rainy night. Across the plaza: A MIGHTY DOMED CATHEDRAL. Jenny arrives beside Tyler. They stare at the church.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>St. Peter's Basilica. The Vatican.<\/dialogue>\n    <scene_description>Lightning flashes. Thunder BOOMS. A SCREAM echoes across the plaza. A terrified PRIEST flees weeping through the square.<\/scene_description>\n    <character>PRIEST<\/character>\n    <dialogue>Il diavolo! Il diavolo! Dio ci salvi!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VATICAN LIBRARY - GALLERY - NIGHT<\/stage_direction>\n    <scene_description>A hall beautiful as a Faberg\u00e9 egg even in this dim light: its walls and arched ceiling adorned with frescoes and gold. At the end of the gallery, a towering double door of bronze. As we watch, the doors RUST AND CORRODE. Dark veins of rot spread. The doors GROAN, BUCKLE - and BURST OPEN! The Mummy walks in. He stands tall now: gaunt shoulders straight, skull-like head lifted imperiously. He walks down the gallery, and corruption walks with him - veins of decay spreading over the floors and walls. Tiles and windowpanes crack. Paint peels. When the Mummy is roused, his touch carries all the wasting power of twenty-six centuries. There's a RUMBLE in the air. It seems the floor sags under his weight. The Devil has come to the house of God.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ST. PETER'S SQUARE - NIGHT<\/stage_direction>\n    <scene_description>Tyler winces, rubbing the scar on his palm as if it burns him. He passes his hand through the air experimentally, like a man testing the wind. Points across the square.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>That way.<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>You're sure?<\/dialogue>\n    <scene_description>Tyler trots ahead. Forster and Jenny hurry after him. Behind them, policemen flood into the plaza. Sirens wail. COLONNADE Like a bloodhound on the scent, Tyler leads Forster and Jenny through a high archway into a narrow Vatican City street. Jenny catches up to him, looking nervous.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Tyler. The Assyrians were the bloodiest empire in history. They used terror as a weapon. Skinned people alive. Impaled them on stakes. Sealed them up in walls. Made heaps of human heads.<\/dialogue>\n    <scene_description>Tyler turns on her, more than a little freaked out.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Where are you going with this?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Ashurbanipal was the cruelest king Assyria ever had. We'd be better off waking up Genghis Khan or Attila the Hun. If this is him...<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>So you do believe it. Jenny. Let the cops take you somewhere safe. You shouldn't be here.<\/dialogue>\n    <scene_description>Jenny's not having this chivalry for a second.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Without me you have no idea who you're dealing with. And if there's a two-thousand-year-old man walking around, I'm not going to miss it.<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>Good. We need to stay together. This is proof of a power greater than death. We have to bring it back.<\/dialogue>\n    <scene_description>They come to a GUARD LYING DEAD before a grand building. Behind him, the bronze double doors are blasted inward.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>This is the Vatican Library!<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>He came straight here. I think it's no accident we crashed in Rome.<\/dialogue>\n    <scene_description>VATICAN LIBRARY - READING ROOM A great hall ringed with balconies. Walls lined with books. The Mummy has two ACOLYTES by the throats, bronze pipes impaling their necks. Their feet dangling above the marble floor. They die in his hands. A CLATTER. The Mummy drops his victims and looks up. A DARK BEARDED PRIEST stares in shock across the hall. But he does not flee. He is a trained EXORCIST. He's faced evil before. The Exorcist clutches his rosary. Lifts a Bible off a shelf. Brandishing the Book he begins A PRAYER OF EXORCISM. His voice resonant. His tongue like a lash. Shreds of darkness unravel from the Mummy's body, blowing away like ash on the wind. The prayer has real power. The Mummy snarls - and exerts his own power. Veins of corruption spread outward like a spiderweb across the floor. The Mummy SPEAKS AN INCANTATION - his harsh Akkadian words clashing with the priest's sonorous Latin. The Exorcist falters, sweat beading on his brow. Swallows. Coughs up a PUFF OF DUST. He struggles to speak, and chokes. Dry sand pours from his mouth. He falls to his knees, vomiting sand in impossible quantities, and DIES. Sand spilling from his open jaws. The Mummy steps over him. VATICAN LIBRARY - CORRIDOR Tyler, Forster and Jenny stride down a long passage.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>What do the legends say about how to fight the dead?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>The Assyrians were terrified of the dead coming back. They buried the dead with food so they wouldn't get hungry and crawl out of their graves. If they do come back - you fight them with fire.<\/dialogue>\n    <scene_description>Tyler pats his pistol with its clip of incendiary rounds.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Already worked that out. What else you got?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Salt was used for purification. It might help.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Now you tell me.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>And don't look a ghost in the eye. It'll drink the life out of you.<\/dialogue>\n    <scene_description>READING ROOM Tyler leads Forster and Jenny into the reading room - and stops cold. The two ACOLYTES and the EXORCIST lie dead on the floor. Furniture overturned. Corrosion everywhere. Tyler draws his gun. They cross the hall cautiously. A WHISPER in the hall. Ancient Akkadian voices, chanting... The policemen cross themselves and mutter prayers.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>Tyler...<\/dialogue>\n    <scene_description>The DEAD PRIESTS ON THE FLOOR STAND UP: the two Acolytes behind the policemen, the Exorcist behind the Americans. Their eyes rolled back. Their heads at unnatural angles. Forster retreats before the Dead Exorcist, firing round after round into the undead priest. The Dead Exorcist BLEEDS SAND from every bullethole and keeps coming.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Forgive me, Father.<\/dialogue>\n    <scene_description>He FIRES two incendiary rounds. THE DEAD EXORCIST IGNITES, A WALKING TORCH. Burning fiercely, he collapses. Tyler turns. Shoots the Dead Acolytes. They too burn with unnatural ferocity, dropping lifeless to the marble floor. The Americans stand breathing raggedly. Their eyes meet.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Score one for fire.<\/dialogue>\n    <scene_description>SECRET ARCHIVE - ENTRANCE The Mummy's trail of decay leads to a marble portico. A heavy door stands askew on its hinges, broken open.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>The Vatican's Secret Archive. Only a handful of people have seen it.<\/dialogue>\n    <scene_description>SECRET ARCHIVE Tyler, Forster, and Jenny enter the Library's inner sanctum. Walls and pillars of pale stone. From the central chamber, archways lead to RELIQUARIES. In the center of the chamber, on an ancient marble podium, lies a GRAY-HAIRED PRIEST in an ornate red-trimmed cassock. The Vatican Library's ARCHIVIST. He seems dead. As they draw near HE LIFTS HIS HEAD, moaning. Tyler's gun snaps up - but Jenny pushes it aside. She rushes to the Archivist, cradling his head.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>He's alive!<\/dialogue>\n    <scene_description>A HORRENDOUS CRASH. A DEMONIC ROAR, too grating and monstrous for a living throat. It's coming from one of the reliquaries. Tyler and Forster move toward the terrifying sounds. Forster pulls out his DART PISTOL. Ejects the clip of sleep darts and loads a new clip: darker darts with longer needles.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>FORSTER<\/character>\n    <dialogue>Cocktail of synthetic poisons. Stop any metabolic process known to science.<\/dialogue>\n    <scene_description>BACK AT THE LECTERN The dying Archivist clutches Jenny's shoulders with desperate strength. His body shakes. His voice a hoarse whisper.<\/scene_description>\n    <character>ARCHIVIST<\/character>\n    <parenthetical>(in Italian, subtitled)<\/parenthetical>\n    <dialogue>Listen! Listen to me!<\/dialogue>\n    <character>JENNY<\/character>\n    <parenthetical>(in Italian, subtitled)<\/parenthetical>\n    <dialogue>I'm here, Father.<\/dialogue>\n    <scene_description>RELIQUARY An antiquarian's treasure house: a stone hall of many shelves filled with ancient books, wooden chests and metal coffers. Tyler and Forster enter. DEMONIC ROARS AND CRASHES echo. At their feet lies a PRIEST in trousers and undershirt. Tyler checks his pulse, gun at the ready. The body is lifeless. The Reliquary is cross-shaped: they turn the corner to see THE MUMMY PILLAGING THE ARCHIVES. Smashing chests and overturning shelves. He wears a BLACK PRIEST'S CASSOCK. Cursing and snarling in furious Akkadian as he searches. Forster stares at this apparition in stunned horror.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>We should've left it in the ground.<\/dialogue>\n    <scene_description>The Mummy turns. Walks toward them across the Reliquary - and locks eyes with Tyler. MATCH-CUT FLASH: King Ashurbanipal, bearded and armored, on a Babylonian battlefield. MATCH-CUT FLASH: The Dead King, shaven and bald, in a hellish valley of the Underworld. MATCH-CUT FLASH: the Mummy in the Reliquary, glaring at him.<\/scene_description>\n    <character>ASHURBANIPAL<\/character>\n    <parenthetical>(in Akkadian, subtitled)<\/parenthetical>\n    <dialogue>You!<\/dialogue>\n    <scene_description>Tyler FIRES SIX INCENDIARY ROUNDS into the Mummy's chest. But the Mummy doesn't burst into flame like the lesser undead. The flaming bulletholes gutter out and close up.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Ah, hell.<\/dialogue>\n    <scene_description>Forster empties his clip of poison darts into the Mummy's body. The Mummy plucks them out and drops them, laughing: a sound like stone grating on stone.<\/scene_description>\n    <character>TYLER<\/character>\n    <parenthetical>(aside to Forster)<\/parenthetical>\n    <dialogue>Got any salt?<\/dialogue>\n    <scene_description>CENTRAL CHAMBER Jenny cradles the dying Archivist. The life going out of him. They speak Italian, but we hear English:<\/scene_description>\n    <character>ARCHIVIST<\/character>\n    <dialogue>He must not find it!<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Find what, Father?<\/dialogue>\n    <character>ARCHIVIST<\/character>\n    <dialogue>The King's Legacy. He will open the gates of Hell!<\/dialogue>\n    <scene_description>RELIQUARY Tyler and Forster retreat before the advancing Mummy. Too late Tyler sees they've backed into a dead end. Cornered. Forster pulls a HIGH-TECH DAGGER out of his jacket. ELECTRIC ARCS crackle down the eight-inch blade.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>One last card to play.<\/dialogue>\n    <scene_description>He charges the Mummy.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Forster! No!<\/dialogue>\n    <scene_description>He brings his gun up. Sidesteps to clear his line of fire and shoots. BLAM! Puts one in the Mummy's forehead. The shot throws the Mummy off-balance for a precious instant. Forster PLANTS HIS KNIFE IN ITS CHEST with a triumphant roar. Electric arcs sizzle over the Mummy's shuddering body. The triumph is fleeting. The Mummy seizes Forster by his wrists, forcing him to his knees. The burning bullethole in its forehead closes up. It yanks the dagger from its chest.<\/scene_description>\n    <character>FORSTER<\/character>\n    <parenthetical>(to Tyler, in agony)<\/parenthetical>\n    <dialogue>Run!<\/dialogue>\n    <scene_description>Tyler fires three rounds into the Mummy. His pistol's slide kicks back. Empty clip. The Mummy raises the knife high.<\/scene_description>\n    <character>FORSTER<\/character>\n    <dialogue>RUN!<\/dialogue>\n    <scene_description>The KNIFE SLAMS DOWN into Forster's chest. ARTIFICIAL LIGHTNING crackles over him. Forster falls dead. The Mummy looks up at Tyler - and EXERTS HIS POWER. The Reliquary darkens. Decay and corruption spread outward from him. The air fills with whispering voices. Tyler RUNS. CENTRAL CHAMBER The Archivist whispers his last words in Jenny's ear - and falls back, dead. His limp fingers leave a RING OF ANCIENT KEYS in Jenny's hand. Tyler sprints in, jacking a fresh clip into his gun.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Go! Go!<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Where's Forster?!<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Dead.<\/dialogue>\n    <scene_description>Jenny is shocked silent. He takes her hand and pulls her into motion - frantic but unsure where to go. Darkness approaches from the Reliquary. Ghost voices whispering.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Police have the place surrounded. We go out, we go to prison.<\/dialogue>\n    <scene_description>Jenny holds up the keys. Pulls him away.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>We're not going out. We're going down.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>That's what I'm afraid of.<\/dialogue>\n    <scene_description>CATACOMB GATE Jenny pulls Tyler down a long stone staircase into darkness.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>We're rats in a hole down here.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Trust me.<\/dialogue>\n    <scene_description>At the bottom, a MASSIVE BRASS GATE decorated with ornate crosses. Jenny fumbles for the key that fits the heavy lock.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>The old man was the Head Archivist of the Vatican Library.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>He said \"the Dead King's looking for his Legacy.\" And he told me where to find it.<\/dialogue>\n    <scene_description>A SHADOW falls over them. The Mummy stands at the top of the stairs in his black cassock. He descends toward them.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Oh my God. He's real.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Go! Go! Go!<\/dialogue>\n    <scene_description>Jenny gets the gate open. They leap through. Close it behind them. But THERE'S NO WAY TO LOCK THE GATE FROM THE INSIDE! Jenny reaches through the bars. Trying to fit the key into the lock. It skids past the keyhole.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Please please please!<\/dialogue>\n    <scene_description>She locks the gate and yanks her arm back - JUST AS THE MUMMY MAKES A GRAB FOR HER! The Mummy wrenches at the gate - but the massive bars resist his strength. Jenny's frozen in terror, but her curiosity's stronger still.<\/scene_description>\n    <character>JENNY<\/character>\n    <parenthetical>(in Akkadian, subtitled)<\/parenthetical>\n    <dialogue>Are you Ashurbanipal, King of Assyria?<\/dialogue>\n    <scene_description>The Mummy glares at her with pure malevolence.<\/scene_description>\n    <character>THE MUMMY<\/character>\n    <parenthetical>(in Akkadian, subtitled)<\/parenthetical>\n    <dialogue>I am. GIVE ME MY CROWN!<\/dialogue>\n    <scene_description>He lunges through the bars at her. Jenny recoils with a shriek. Tyler pulls her away. They run into the darkness. The Mummy grips the gate. RUST AND CORROSION spread outward from his hands. METAL GROANS. STONE CRUMBLES.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GROTTO<\/stage_direction>\n    <scene_description>A warren of vaults dug into the stone beneath the Library. Tyler switches on his tactical light. Every turn in the labyrinth is marked with LATIN WORDS AND ROMAN NUMERALS. Jenny turns left, right, left, reading the signs. Behind them - a SCREECH OF METAL. A CRASH OF STONE.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>He's through.<\/dialogue>\n    <scene_description>Jenny skids to a stop in front of a vault.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>This one!<\/dialogue>\n    <scene_description>Tyler kicks the old wooden door in.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VAULT<\/stage_direction>\n    <scene_description>A BRONZE CHEST is bolted to a plinth of stone. Secured by an ancient padlock. On its lid, a stylized FOUR-BARRED CROSS. Jenny touches the engraved symbol.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>The Djed pillar. Symbol of endurance.<\/dialogue>\n    <scene_description>Jenny fumbles with keys. Tyler pushes her aside. SHATTERS THE LOCK WITH A SINGLE GUNSHOT. He wrenches the chest open. Inside, nested in shaped beds, they find a CROWN and a SEAL. The crown is a simple circlet, set with red stones. The seal, a carved cylinder of bronze the size of a rolling pin. Beside them, an EMPTY IMPRINT: the chest was also meant to hold a SWORD with a distinctive blade. But the sword is gone. Jenny PICKS UP THE CROWN. GROTTO - PASSAGEWAY Hunting through the darkness for his prey, the Mummy FEELS THE THROB OF POWER as his crown is claimed by another. He ROARS. For the first time we see him move in haste: it's terrifying. He lurches along monstrously but frighteningly fast - breath rasping in his lungs. Snarling ancient curses. VAULT Tyler and Jenny hear him coming. He pulls her into motion. An inscription on the wall catches her eye.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>This way!<\/dialogue>\n    <scene_description>ANCIENT PORTAL An old iron door bars their way. Jenny tries a key. No luck. The rage of the Mummy grows louder, closer. Tyler raises his gun, aiming blindly into the darkness behind them. Jenny finds the right key. The door opens. They dive through. CATACOMBS Winding tunnels dug out of raw limestone. Tyler and Jenny run through the labyrinth, taking turns haphazardly.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>You know where you're going?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I'm taking anything that looks like it leads up.<\/dialogue>\n    <scene_description>They turn a corner - and the walls of the catacombs are suddenly LINED WITH BONES. Notches in the walls hold skulls and bones in heaps. Longer niches hold moldering coffins. In places, the walls are PAVED WITH SKULLS. Arches and fanciful decorations all of bone. Several intact SKELETONS have been posed like statues in rotted priest's robes. Tyler looks around like he's fallen into a nightmare.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Are you kidding me with this?<\/dialogue>\n    <scene_description>Spooked, Jenny takes refuge in scholarship. It's her way.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Under pagan Rome, Christianity went underground. They worshipped and buried their dead in the catacombs. There's miles of this.<\/dialogue>\n    <scene_description>WHISPERS fill the tunnels around them. Ancient incantations. Tyler's eyes go wide as he sees where this is going.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>We can't be here.<\/dialogue>\n    <scene_description>They run. Tyler in the lead now, tactical light clipped to his pistol. Dragging Jenny between walls lined with coffins. The whispers grow LOUDER. The catacombs BEGIN TO STIR around them. SCRAPING AND BANGING inside the coffins. The LIDS LIFT AS BONY FINGERS CLAW OUT. Jenny screams in terror. They run faster. Bony hands reach out of coffins to pluck at their sleeves, erupt from the floor to clutch their ankles.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>There!<\/dialogue>\n    <scene_description>His light finds a SPIRAL STAIR leading up. Jenny SHRIEKS behind him. He spins: she's trapped, seized by bony hands. Tyler fires five rapid rounds, severing five skeletal arms with five bullets. Jenny staggers free. In the passageway behind her, WE SEE THE MUMMY LURCHING TOWARD THEM! SPIRAL STAIR Tyler drags Jenny up the narrow ancient stairwell. The growl of the Mummy's fury close behind them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAUSOLEUM - NIGHT<\/stage_direction>\n    <scene_description>The stair emerges in a marble mausoleum centuries old. Dim light filters in from outside through small metal gratings. On the side walls, moldering coffins are stacked three deep. Tyler throws his shoulder against the massive bronze door, straining. The hinges groan. It doesn't budge. WHISPERS echo below. Black creepers of rot climb the walls. The coffins rattle and rock. The Mummy is coming.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Oh, God!<\/dialogue>\n    <scene_description>She throws herself against the door. They strain together.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CEMETERY - NIGHT<\/stage_direction>\n    <scene_description>An ancient graveyard on the banks of the Tiber: marble monuments pale in the moonlight. A mausoleum's door grinds open. Tyler and Jenny squeeze out and heave the door closed behind them. A marble ANGEL STATUE stands before the mausoleum. Tyler throws himself against it. Walks his feet up the mausoleum opposite, straining with all his strength. The angel topples against the mausoleum door. Just in time. A split second later, the bronze door BOOMS as some powerful force drives against it. The Mummy's voice RAGES inside the mausoleum: thundering Assyrian curses.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Go. Go!<\/dialogue>\n    <scene_description>They flee through the tombstones. Behind them, the mausoleum RESOUNDS with heavy blows. The door BENDS. The walls CRACK. RIVER BRIDGE Tyler and Jenny emerge from the cemetery onto a STONE BRIDGE over the river. They start across, breathing hard. On the river below, a PARTY BARGE floats by - caf\u00e9 tables and a little dance floor, dance music pumping.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Come on!<\/dialogue>\n    <scene_description>He times the moment. JUMPS OFF THE BRIDGE! PARTY BARGE Tyler lands on the tail of the barge. This seems to be lovers' lane: he startles several couples out of amorous clinches. Tyler looks up. Spreads his arms. RIVER BRIDGE Jenny hesitates on the parapet, losing her nerve. Tyler walks aft on the barge below: he's running out of boat. An ECHOING CRASH OF STONE from the cemetery. Jenny jumps. PARTY BARGE Teetering on the tail of the barge, Tyler catches Jenny and swings her to safety. The lovers stare at them in amazement. Jenny looks back. A DARK FIGURE stands on the bridge, watching them as a bend in the river sweeps them out of view. PARTY BARGE - DANCE FLOOR Tyler and Jenny press through a packed dance floor. Spirits are high. A woman in a white gown whirls past. Tyler and Jenny realize they've crashed a wedding reception. PARTY BARGE - THE BOW Jenny and Tyler sit at a caf\u00e9 table. Tyler snags a BOTTLE OF WINE and a couple of glasses from a neighboring table. Pours. They gulp wine, catching their breath. Watching Rome slide by in the balmy night. A moment of surreal safety. Jenny swings her shoulder bag into her lap. Pulls out the BRONZE CYLINDER from the Vatican's crypt.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>What is that?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>A cylinder seal. Let's see what it has to tell us.<\/dialogue>\n    <scene_description>She clears space on the white paper tablecloth. POURS WINE OVER THE BRONZE SEAL. Rolls it on the tabletop. It PRINTS A PAGE OF BLOOD-RED CUNEIFORM on the white paper. Jenny studies the text - her eyes widening as she reads.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>A warning twenty-five centuries old. \"We are the Rebel Temple. We stand watch lest the Dead King rise.\"<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>The Dead King.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>\"Ashurbanipal, Lord of Massacres, Conqueror of Egypt and Babylon.\"<\/dialogue>\n    <parenthetical>(she reads for a moment)<\/parenthetical>\n    <dialogue>It says he captured priests in Egypt. Learned their magic. \"He resolved to descend to the Underworld, steal the power of the gods, and rise again as God-king over all the world.\"<\/dialogue>\n    <parenthetical>(shaken)<\/parenthetical>\n    <dialogue>That's what the Archivist said. He would open the gates of Hell.<\/dialogue>\n    <scene_description>They exchange grim looks.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Anything about how to stop that from happening?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>In fact, yes. \"He lies in a secret tomb sealed by mighty spells. Its walls must not be broken.\" Whoops.<\/dialogue>\n    <parenthetical>(perplexed by this:)<\/parenthetical>\n    <dialogue>\"He is cased in a coffin that thirsts for blood. It must not drink.\"<\/dialogue>\n    <scene_description>Tyler turns his hand over to look at his scarred palm.<\/scene_description>\n    <character>TYLER<\/character>\n    <parenthetical>(tightly)<\/parenthetical>\n    <dialogue>What else?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>\"If the Dead King rises, he will seek his crown and his sword. For in these relics he has invested the greater part of his power.\"<\/dialogue>\n    <scene_description>The crown and sword are pictured: Jenny pulls the bronze circlet from her bag and lays it on the paper: it matches.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>\"The crown, upon the Dead King's brow, will magnify his dominion over the living and the dead, the earth and the sky. The crown must be denied him.\"<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Check.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>\"The sword, in the Dead King's hand, will shatter armies and strongholds.\"<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>The sword must be denied him.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Right. \"When his power is made whole, he will go to his Necropolis and open the Underworld Gate. Loosing the host of hell into the Upper World.\"<\/dialogue>\n    <scene_description>She and Tyler exchange grim looks.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>There's more I can't read. I'll have to make a better print. But Tyler. This sword...<\/dialogue>\n    <scene_description>She's staring at the drawing on the scroll. The distinctive half-swept blade and guard. She looks up, eyes wide.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>I know where this sword is.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LORENZO'S CASTLE - BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>A bedroom worthy of the Medici court. Lorenzo lies in bed in his dressing gown, reading the Marquis DeSade. Two stunning girls in lingerie on either side of him. His phone rings. His eyebrows rise as he sees who's calling. He answers, purring - shooing the girls out of bed.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>Jenny Halsey. I knew you'd call.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROME - PARTY BARGE - NIGHT (INTERCUT)<\/stage_direction>\n    <scene_description>Jenny talks on the phone, a finger in her other ear.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>I've come into an artifact I think you'd appreciate.<\/dialogue>\n    <character>LORENZO (V.O.)<\/character>\n    <dialogue>You were never in the selling game.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I am tonight.<\/dialogue>\n    <scene_description>Tyler looks around warily as Jenny talks. He sees a black SUV full of carabinieri, Rome's paramilitary police force, roll past on the riverbank. He turns his back to them.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>It has to be soon. There's some heavy players in the market for this piece. Can you pick me up?<\/dialogue>\n    <character>LORENZO (V.O.)<\/character>\n    <dialogue>What, now? Where are you?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Rome.<\/dialogue>\n    <scene_description>Tyler fidgets with his hands: his scar is burning. He hears the CAWING OF RAVENS. Looks around.<\/scene_description>\n    <character>LORENZO (V.O.)<\/character>\n    <dialogue>Ah! So terrible, the plane crash! Let me take you away from all that. One hour. The usual place.<\/dialogue>\n    <scene_description>Tyler gasps. Ahead of the riverboat, a bridge BLANKETED WITH RAVENS. As he watches, THE MUMMY STEPS UP ONTO THE BALUSTRADE - waiting for the current to bring the boat to him. Tyler vaults onto the boat's topdeck. Shoves the pilot aside and WRENCHES THE WHEEL. The riverboat heels over and CRUNCHES into the bank. The whole boat staggers and screams. Tyler leaps onto the bank. Holds out his hands.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Jenny! Come on!<\/dialogue>\n    <scene_description>Belatedly seeing the danger, she runs to the rail - as the pilot rights the boat. She leaps the widening gap between the boat and the bank - and Tyler hauls her in. They run.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK ALLEYS - TRACKING SHOT - NIGHT<\/stage_direction>\n    <scene_description>Hand in hand, Tyler and Jenny flee through a maze of streets. They duck down a narrow lane - but the shadows darken ahead of them: GHOST WHISPERS echo. They dive around a corner. Dead ahead, a black SUV disgorges carabinieri with submachine guns. Tyler and Jenny fade back into the shadows. They sprint down a side street. Duck into an alley. A DARK MAN in a suit steps out of the shadows like a ghost and SEIZES JENNY FROM BEHIND - a DAGGER at her throat. With his other hand he aims a gun over Jenny's shoulder at Tyler. Tyler pulls his own gun. A standoff.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Let her go or I'll kill you.<\/dialogue>\n    <character>DARK MAN<\/character>\n    <dialogue>Give me what you have stolen.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>We haven't stolen anything...<\/dialogue>\n    <character>DARK MAN<\/character>\n    <dialogue>You lie. You're meddling in matters beyond your understanding.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Tell me about it. Drop the gun.<\/dialogue>\n    <scene_description>His muscles are gathering for sudden action.<\/scene_description>\n    <character>DARK MAN<\/character>\n    <dialogue>I'll kill you both before I let you keep the Dead King's crown.<\/dialogue>\n    <scene_description>His finger tightens on the trigger. Tyler takes aim.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Pull that trigger and we'll have the police and worse on our backs.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Wait. I'll let you have it.<\/dialogue>\n    <scene_description>She reaches into her bag. Pulls out the crown - and HOOKS IT BEHIND THE KNIFE AT HER THROAT, protecting her neck. Tyler rushes in. Kicks the gun out of the Dark Man's grip. The Dark Man releases Jenny. Comes at Tyler with the knife. Tyler deflects the slashing attack with his pistol. Ducks another wicked cut. Gets inside and BREAKS THE DARK MAN'S NOSE with a brutal punch. The Dark Man drops, out cold. Tyler takes his knife. Jenny grabs the fallen gun. They run.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MARINA - HELIPORT - DAYBREAK<\/stage_direction>\n    <scene_description>A lavish marina where the Tiber River flows into the sea. Tyler and Jenny wait nervously at a HELIPORT at the water's edge. The look around: the marina is empty, the coast clear. A distant helicopter draws closer: their ride. Tyler pulls out the dagger he got from the Dark Man. Inspects it in the sunlight: bronze hilt, engraved blade of Damascus steel. Jenny takes it carefully from his hands.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>This dagger's a thousand years old.<\/dialogue>\n    <scene_description>Carved into the pommel: a FOUR-BARRED CROSS. Jenny pulls the cylinder seal from her bag. It's marked with the same cross.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>The same symbol. Who was he? He knew about the Dead King. And the crown.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Let's get to the sword. Before someone else does.<\/dialogue>\n    <scene_description>A THUNDER OF ROTORS as Lorenzo's helicopter comes in to land. AT THE WATER'S EDGE A drainage tunnel opens on the waterway. THE MUMMY LOOMS OUT OF THE DARK. Clambers up the bank to the Marina.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELICOPTER (ON THE HELIPAD)<\/stage_direction>\n    <scene_description>The pilot, Marco, frowns over his shoulder as Tyler gets in.<\/scene_description>\n    <character>MARCO<\/character>\n    <dialogue>Mr. Montanari said one.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Turns out, two.<\/dialogue>\n    <scene_description>Marco shrugs and nods. Jenny and Tyler settle in - oblivious to THE DARK FIGURE LURCHING CLOSER outside the windows.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HELIPORT - CONTINUOUS<\/stage_direction>\n    <scene_description>The helicopter lifts with a smooth surge of power. The MUMMY HURLS ITSELF OFF THE GROUND AND GRABS THE LANDING SKID!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELICOPTER - CONTINUOUS<\/stage_direction>\n    <scene_description>The helicopter swings under the added weight.<\/scene_description>\n    <character>MARCO<\/character>\n    <dialogue>Che cavolo?!<\/dialogue>\n    <scene_description>He wrestles with the controls as they climb over the water. Jenny SCREAMS as her door is wrenched open. The MUMMY reaches inside. CLAWS AT THE BAG on her shoulder. It drags Jenny halfway out the door: a terrifying view of the water far below. The gun falls out of her bag into the sea. Tyler lunges across Jenny. PLANTS THE ANCIENT DAGGER IN THE MUMMY'S SHOULDER. The Mummy SHRIEKS, a hideous sound, and falls away, crashing into the sea below with a huge splash. Jenny pulls her door shut as Marco gets the helicopter leveled out. He looks back at them in shock.<\/scene_description>\n    <character>MARCO<\/character>\n    <dialogue>Who was that?<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>We thought he was with you.<\/dialogue>\n    <scene_description>UNDER THE SEA The Mummy sinks to the bottom, snarled in its black cassock. It pulls the dagger from its shoulder and lets it fall. Close by, a HEAVY ANCHOR lies embedded in the sea floor. The Mummy claws its way to the anchor chain. Climbs. Breaking the surface, it looks up to see a rusty CARGO SHIP. Crewmen toiling on the deck.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GREEK COASTLINE - DAY<\/stage_direction>\n    <scene_description>Atop rugged cliffs, quaint white villages overlook a cobalt sea. Lorenzo's helicopter soars over this sun-drenched vista.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELICOPTER (IN FLIGHT)<\/stage_direction>\n    <scene_description>Jenny takes off her headset. Signals Tyler to do likewise. They talk over the engine noise, out of Marco's hearing.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>When we get to Lorenzo's - follow my lead. I'm on thin ice with the guy already. He's dangerous.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Dangerous how?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>He's got a mountain of money, an army of bodyguards, and some very shady friends out of Sicily and Corsica.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>What's he to you? Boyfriend?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Client.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Forster said you worked the black market. I thought he was lying.<\/dialogue>\n    <character>JENNY<\/character>\n    <parenthetical>(exploding in exasperation)<\/parenthetical>\n    <dialogue>I do NOT! I authenticate and restore antiquities for private buyers. I do good work!<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>For bad people.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I document relics that would otherwise vanish from the historical record!<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>For a big fat fee.<\/dialogue>\n    <scene_description>In a huff, Jenny puts her headset back on, cutting off the conversation. Tyler grins to have gotten under her skin. EXT - LORENZO'S ISLAND - TERRACE Impeccably dressed, Lorenzo Montanari watches the helicopter touches down. BODYGUARDS flank him. He smiles as Jenny steps out. Then Tyler gets out. A shadow crosses his face. Jenny comes to him. They trade kisses on the cheek.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>You brought a man with you. How unfortunate.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Tyler Colt. He's a colleague.<\/dialogue>\n    <character>LORENZO<\/character>\n    <dialogue>Is he. What are you wearing?<\/dialogue>\n    <scene_description>They're still in the clothes they wore in the tomb.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>It's a long story. Which you kind of need to hear.<\/dialogue>\n    <character>LORENZO<\/character>\n    <dialogue>I love stories. Tomas! Find them something to wear.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Lorenzo. This is urgent.<\/dialogue>\n    <character>LORENZO<\/character>\n    <dialogue>So is breakfast. And no one sits at my table dressed like that.<\/dialogue>\n    <scene_description>HALLWAY Tyler and Jenny follow Lorenzo's butler, Tomas, through the castle. They converse in undertones.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>So what's the plan?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>We try to make a deal for the sword.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>And if he won't deal?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>We try the truth.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. DINING ROOM - DAY<\/stage_direction>\n    <scene_description>A dazzling sun room. Panoramic views of the Mediterranean. Lorenzo stands waiting. Bodyguards against the walls. Tomas brings Tyler and Jenny in: transformed. Tyler wears a linen shirt and jacket. Jenny, a clingy sun dress. They both look ravishing - and it's not lost on either one of them. The table is laid with a breakfast suitable for royalty. Dish after dish. Eggs, roasted meats, fruit, pastries. Flowers.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Special occasion?<\/dialogue>\n    <character>LORENZO<\/character>\n    <dialogue>Breakfast is always a special occasion. I love breakfast.<\/dialogue>\n    <scene_description>They sit. Jenny and Tyler realize how long it's been since they ate. They dig in. Servers pour coffee, juice, champagne. As they eat, a man with a face like a hatchet blade enters behind them. VITTORIO. He looks Tyler and Jenny over. Catches Lorenzo's eye: nods at Tyler and PANTOMIMES A GUN HIDDEN UNDER THE JACKET. Lorenzo nods minimally. Vittorio sits down.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>Vittorio, my head of security. You know Dr. Halsey. This is Tyler Colt. Her colleague.<\/dialogue>\n    <scene_description>Vittorio makes no move to eat or drink. His voice is icy.<\/scene_description>\n    <character>VITTORIO<\/character>\n    <dialogue>Are you also an archaeologist?<\/dialogue>\n    <scene_description>Tyler hesitates, his mouth full.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>He is.<\/dialogue>\n    <scene_description>Tyler blinks. I am? Lorenzo smiles, enjoying this game. He saws a bloody steak and eggs to ribbons as he talks.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>I'm fascinated by the ancient world. Jenny could tell you. The blend of civilization and savagery. Babylon. Assyria. They didn't defeat enemies. They annihilated them. Razed cities to the ground. Poisoned the wells. Salted the earth. Defeat was a holocaust. My question to you, Mr. Colt: how was it possible? The Assyrians were human. How could they perpetrate such atrocities?<\/dialogue>\n    <scene_description>Jenny leans in to cover for him. But Tyler washes his food down with a slug of champagne and gets there first.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>The king. He was first into battle. Rode off the field red with blood. When he took prisoners, the king did the torture and the execution with his own hands. Once the king did evil, the people followed.<\/dialogue>\n    <character>LORENZO<\/character>\n    <parenthetical>(surprised and impressed)<\/parenthetical>\n    <dialogue>Pleasure to meet a fellow scholar.<\/dialogue>\n    <scene_description>Jenny seizes the opportunity to get them back on mission:<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Perhaps you'd show him your collection.<\/dialogue>\n    <scene_description>LIBRARY Lorenzo walks Jenny and Tyler through his private museum. Vittorio trails them, making Tyler nervous.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>Scythian spear...Elamite helmet... that sword is Assyrian. Probably worn by a king or prince. Look at the workmanship!<\/dialogue>\n    <scene_description>Jenny elbows Tyler subtly, nodding at the sword. That's it! Tyler takes it in: a bronze-hilted sword. The steel blade is straight near the hilt, then curves to a swept point. It hangs in a thick glass case.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>Folded like Damascus steel, centuries before its time. But to business! You have a story for me, no?<\/dialogue>\n    <scene_description>They gather around a table. Jenny pulls the CYLINDER SEAL out of her bag. Lorenzo inspects it reverently.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>Where did you get this?<\/dialogue>\n    <scene_description>MINUTES LATER Lorenzo rolls the cylinder seal across a slab of soft clay. It prints its message with a sculptural beauty only hinted at in Jenny's paper version. He reads the text intently.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>Incredible! Assyrian myths fixate on the Underworld. Ishtar descended and came back. And Gilgamesh. But to claim a king of Assyria would rise from the dead!<\/dialogue>\n    <scene_description>He bends over to read the bottom of the print - the section that was too indistinct to read in Jenny's version.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>\"Should the Dead King rise, seek the Rebel Temple in Byzantium, and they will rise against him.\"<\/dialogue>\n    <parenthetical>(in wonder)<\/parenthetical>\n    <dialogue>The Rebel Temple. Could it be the same one, after two thousand years?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>You've heard of it?!<\/dialogue>\n    <scene_description>Amazed by this revelation, Jenny and Tyler don't notice Lorenzo's BODYGUARDS moving into the room behind them.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>Shadowy group in Istanbul. Supposed to be holy warriors like the Knights Templar, but older. Very secretive, very rich. They buy up the best relics. Mystical artifacts. You think you're the high bidder, then BOOM, the Rebel Temple swoops in. If you played the black market, you'd know the name.<\/dialogue>\n    <scene_description>His tone hardens as he turns on Jenny. TYLER CLOCKS THE MEN AROUND THEM. He comes to high alert: something's up.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>But you do play the market, don't you? Selling stolen goods - like the Eye of Alexander!<\/dialogue>\n    <scene_description>He grabs Jenny by the throat. Tyler goes for his gun. Vittorio grabs his arm from behind. With his other hand, Tyler snatches the CYLINDER SEAL off the table. BRAINS VITTORIO. Spins and BASHES LORENZO IN THE FACE. Lorenzo staggers back. Tyler brings his gun up - and freezes. He STANDS IN A RING OF GUNMEN, pistols aimed at his head. Lorenzo steps back to Tyler, a red weal of CUNEIFORM printed across his cheek. He takes the gun from Tyler's hand.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>Not in my house.<\/dialogue>\n    <scene_description>He belts Tyler in the head with the gun. Tyler goes down. LIBRARY - LATER Tyler sits handcuffed to a chair, a welt on his cheekbone. An IRON BREASTPLATE has been cinched to him: heavy chains encircling his ribcage. A handwheel juts from the front. Jenny sits in another chair, unbound but helpless. Lorenzo looms in her face. Brandishes the Eye of Alexander.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>The Eye. Designed by Aristotle for Alexander the Great!<\/dialogue>\n    <scene_description>He hurls it to the floor, glass gems shattering.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>Fake! I spent years tracking it down. I paid millions. And you took it from me! Planted this forgery in my collection. Didn't you?!<\/dialogue>\n    <scene_description>He SAVAGELY TWISTS THE HANDWHEEL ON TYLER'S BREASTPLATE. The chains ratchet tighter, digging cruelly into his flesh and forcing a pained wheeze out of Tyler's lungs.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Yes! I took it!<\/dialogue>\n    <scene_description>Lorenzo smiles at Tyler.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>The Traitor's Waistcoat. Used by Torquemada himself, torturing heretics in Seville. Unique piece.<\/dialogue>\n    <character>LORENZO<\/character>\n    <dialogue>See if you can keep breathing long enough for your ribcage to let go.<\/dialogue>\n    <scene_description>He turns his glare on Jenny.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>I don't know what price you got for the Eye, but I'll get it all back. In dollars -<\/dialogue>\n    <parenthetical>(eyeing her lewdly)<\/parenthetical>\n    <dialogue>- or some other currency. No one takes what's mine!<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>It was stolen! I took it back. It's safe in the Jordan Museum!<\/dialogue>\n    <scene_description>Lorenzo looms over Jenny.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>I doubt that. I have sources in Rome. I've heard about you and Mr. Colt. You plundered a tomb in Iraq. Robbed the Vatican! Left a trail of bodies across Rome. You're the most wanted criminals in Europe!<\/dialogue>\n    <scene_description>He runs a fingertip down her throat.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>Which means I can do whatever I like with you.<\/dialogue>\n    <scene_description>Tyler's voice is a strangled whisper:<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Lorenzo, I swear to God...<\/dialogue>\n    <scene_description>Lorenzo spins and CRANKS the handwheel hard, silencing him.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Please don't turn it any more.<\/dialogue>\n    <character>LORENZO<\/character>\n    <dialogue>I thought you were an innocent abroad. I was taking my time with you! And all the while, you were deep in the game.<\/dialogue>\n    <scene_description>He reaches into Jenny's bag. Pulls out Ashurbanipal's crown.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>This is from that Iraqi tomb, isn't it? Where's the rest?<\/dialogue>\n    <scene_description>Tyler begins to LAUGH - a painfully thin, airless sound. Lorenzo stares at him in astonished fury.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>What's funny, Mr. Colt?<\/dialogue>\n    <character>TYLER<\/character>\n    <parenthetical>(a hoarse whisper)<\/parenthetical>\n    <dialogue>He's here.<\/dialogue>\n    <scene_description>We follow the line of his gaze out the window over the ocean. A DARK, UNNATURAL STORM bears down on the island. RAVENS WHEEL above a CARGO SHIP cutting through the turbulent sea.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARGO SHIP - DAY<\/stage_direction>\n    <scene_description>We fly across a deck littered with dead crewmen. Drained of blood and contorted in postures of horror, eyes staring. On the bridge the PILOT stands at the helm, stiff as a zombie, eyes rolled back. Muttering in ancient Akkadian. At the bow of the ship stands a broad-shouldered figure. It is the Mummy - TRANSFORMED. He has drunk the lives of dozens. He still wears his tattered priest's cassock. His skin still black as night and ravaged by fine wrinkles. But his body is FLESHED OUT and POWERFUL, muscular shoulders straining the cassock's seams. His face no longer lipless and skeletal, but the IMPERIOUS VISAGE OF A RISEN KING - staring through the wind at his destination.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LORENZO'S CASTLE - LIBRARY<\/stage_direction>\n    <scene_description>Lorenzo scowls at the inbound ship.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>Who the hell is that?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Lorenzo. The story on the Seal is true. Ashurbanipal has risen. You're holding his crown. His sword hangs in your library. He's coming for them.<\/dialogue>\n    <scene_description>Lorenzo stares at her, confounded. He's not buying it, but the urgency in her voice is real. There has to be an angle.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>I don't know who's on that ship, but I own this island and every soul on it. No one lands without my word.<\/dialogue>\n    <scene_description>He hands his pistol to Marco, the young pilot.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>Marco. Watch them. Vittorio. With me.<\/dialogue>\n    <scene_description>He strides out - Vittorio and the other guards on his heels. Marco, holding a gun on Tyler and Jenny, glances nervously out the window at the approaching ship. He cocks the gun. GREAT HALL The grand entryway of the castle. With swift efficiency, Vittorio hands out automatic rifles to the guards. Lorenzo takes a rifle. Realizes he's still holding the crown. He perches the crown on a marble bust of Socrates.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>Sound the bell!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LORENZO'S ISLAND - MONTAGE<\/stage_direction>\n    <scene_description>Ominous clouds gather above the island. A BELL TOLLS in the castle. A signal: danger from the sea. VILLAGERS RUSH OUT of houses with rifles and shotguns. They stand post in the streets. Gather at the harbor.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CASTLE BATTLEMENTS<\/stage_direction>\n    <scene_description>From atop the walls, Lorenzo watches the villagers muster in the island's defense. Beside him, Vittorio and his guards. Lorenzo frowns at the incoming ship. It's not slowing down.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CARGO SHIP - BOW<\/stage_direction>\n    <scene_description>With the jagged pipe in his left wrist, the Mummy SLASHES HIS RIGHT PALM. Dark BLOOD wells forth. He extends his hand and CLENCHES HIS FIST. Blood spatters into the sea.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LORENZO'S ISLAND<\/stage_direction>\n    <scene_description>Above the castle, THE STORMCLOUDS TAKE ON THE FORM OF A VAST DARK HAND. THE FIST CLOSES. A RAIN OF BLOOD BEGINS TO FALL! Red droplets streak the whitewashed walls. The horrified faces of the villagers. A great WAIL OF TERROR goes up. The islanders break and run in superstitious dread. Vanishing into their houses. Barring doors and shuttering windows. In a stroke, Lorenzo's defenses are undone. The rain swells to a downpour, painting the village crimson. Red torrents run down the streets to the sea. CASTLE BATTLEMENTS Lorenzo stares in shock, heedless of the unnatural rain that drenches him. Vittorio and the guards flee into the castle. HARBOR The cargo ship comes in at full speed - SMASHING the little fishing fleet at anchor and CRUSHING the wooden docks. The Mummy LEAPS FROM THE BOW onto the buckled timbers. Walks past Lorenzo's yacht, the Libertine, now drenched with blood.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LORENZO'S CASTLE - LIBRARY<\/stage_direction>\n    <scene_description>Marco stands at the window, gawking at the events outside. His gun hand falls to his side. Tyler catches Jenny's eye. Nods at Marco and mouths: NOW! She stares at him. Mouths back: NO! Tyler nods. Mouths: NOW! Jenny goes for it. Tackling Marco against the window and clutching the gun. Marco swings her around like a terrier. Tyler rises. The chair on his back, the breastplate still crushing his ribs. He charges into the fray. They all go down - Tyler on his face with a grunt of pain. The gun spins away.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLAGE STREET<\/stage_direction>\n    <scene_description>The Mummy walks up toward the castle through the rain of blood. A dark cloaked figure. Unchallenged and unopposed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LORENZO'S CASTLE - LIBRARY<\/stage_direction>\n    <scene_description>Jenny and Marco grapple on the floor for the gun. Tyler struggles back to his feet, chair still shackled to his back. Waddles over to Marco and kicks him into submission. Sits the chair down with its foot-rail across Marco's throat. Jenny gets up holding Marco's gun. She rushes to Tyler. Pulls the LATCH on the Traitor's Waistcoat. The breastplate falls away - leaving dotted lines of blood on his white shirt where the links have broken the skin. Tyler gasps in relief.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>But he's still handcuffed to the chair. Jenny goes around behind him. Points the gun at Tyler's wrists. Marco, trapped under the chair, finds himself staring up the gunbarrel.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>I could shoot the chain...<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Do not pull that trigger!<\/dialogue>\n    <character>MARCO<\/character>\n    <dialogue>I have a key! I have a key!<\/dialogue>\n    <scene_description>GREAT HALL - FRONT DOORS Lorenzo, Vittorio, and six guards line up inside the wide double doors, rifles raised. They watch the SECURITY MONITOR beside the entry: it shows the courtyard outside. As they watch, a GHOSTLY CLOUD OF STATIC crosses the monitor. A glitch the right size and shape to conceal a man.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LORENZO'S CASTLE - COURTYARD<\/stage_direction>\n    <scene_description>The Mummy stands outside the front doors. He crouches. Plucks a STRUGGLING SPIDER off the ground in a pinch of dust. He places the spider, earth and all, on his dry black tongue and swallows it.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GREAT HALL - FRONT DOORS<\/stage_direction>\n    <scene_description>EVERY MAN BUT LORENZO is suddenly DOUBLED OVER WITH SICKNESS. They drop their guns and fall to their knees, retching. Vittorio begins to VOMIT SPIDERS THE SIZE OF TARANTULAS. Another man follows suit. Three men heave up LIVING SERPENTS in writhing black masses. Two more, SCORPIONS. The sick men are SET UPON BY THE CREATURES THEY'VE JUST DISGORGED. They howl and drum their heels as bite and sting send the poison home. In seconds they lie dead. Lorenzo backs away, firing his machine gun haphazardly at the creepy-crawlies on the floor. CRASH! The front doors fly open as if blasted by a cannon. The Mummy walks into the great hall. He approaches Lorenzo, his hand outstretched, whispering in Akkadian. By the time he reaches Lorenzo, Lorenzo is whispering in unison, his eyelids fluttering. Enslaved.<\/scene_description>\n    <character>THE MUMMY<\/character>\n    <parenthetical>(in Akkadian, subtitled)<\/parenthetical>\n    <dialogue>Are you the prince of this house?<\/dialogue>\n    <character>LORENZO<\/character>\n    <parenthetical>(in Italian, subtitled)<\/parenthetical>\n    <dialogue>I am, my Lord.<\/dialogue>\n    <character>THE MUMMY<\/character>\n    <parenthetical>(in Akkadian, subtitled)<\/parenthetical>\n    <dialogue>Serve me. Bring me my crown.<\/dialogue>\n    <scene_description>Lorenzo turns like a puppet: the crown sits on the bust of Socrates, a few paces away. He fetches the Crown. The Mummy takes it solemnly: PLACES IT ON HIS HEAD. VAST POWER SURGES INTO HIM. The wind of it ripping at his cassock. When the transfer is complete his EYES HAVE CHANGED. No longer a hard glittering black: they have gray whites and inky irises. Not quite human - but no longer altogether dead. He is more than the Mummy now. He is ASHURBANIPAL, Lord of Massacres, King of Assyria, risen again. A distant GUNSHOT rings out, turning Ashurbanipal's head. Two shots. Three. He walks toward the sound. Lorenzo follows. LIBRARY Tyler stands before Ashurbanipal's sword, Marco's gun in his hand. Three bulletholes in the thick glass. He kicks through the case. Grabs the sword. WHISPERING VOICES. Tyler and Jenny look at each other.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>We gotta go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LORENZO'S CASTLE - TERRACE<\/stage_direction>\n    <scene_description>The helicopter sits where they left it, windows streaked with blood. The rain has stopped, but the sky is heavy with cloud.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELICOPTER<\/stage_direction>\n    <scene_description>Tyler sits in the pilot's seat. Jenny climbs in beside him.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>You're a pilot?<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Uh, sometimes on missions they let me sit second seat on the way home.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Oh. My God.<\/dialogue>\n    <scene_description>Tyler studies the instrument panel. Gets the engine started. Gets the rotor turning. Throttles up. The helicopter lifts unsteadily. Spins once and drops hard to the deck. Jenny watches the castle anxiously.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Why are we not flying?<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Give me a minute! This is...fancy.<\/dialogue>\n    <scene_description>He tries again. The helicopter lifts.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LORENZO'S CASTLE - TERRACE<\/stage_direction>\n    <scene_description>Barely airborne, the helicopter slides over the cliff's edge and drops out of sight. Moments later it reappears in controlled flight, escaping over the sea. Ashurbanipal slams out onto the terrace. Strides to the railing, watching the helicopter dwindling in the distance. Lorenzo stops behind him - terrified but unable to disobey.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>They have your sword.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELICOPTER (IN FLIGHT) - DAY<\/stage_direction>\n    <scene_description>The helicopter reaches cruising speed, high over the waves. The castle far behind them. Tyler and Jenny breathe easier. She turns the cylinder seal in her hands. Staring at the four- barred cross stamped on each end.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>The Rebel Temple still exists. And this is their symbol. That means the man in Rome was one of them.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Why would he try to kill us?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>We dug up the Dead King. Set him free. From their point of view we're the bad guys. We have to find them. Convince them we're on the same side. They're the only ones who can help.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LORENZO'S CASTLE - TERRACE<\/stage_direction>\n    <scene_description>Ashurbanipal stares at the horizon - brow furrowed under his crown. A RUMBLE as he gathers power. He raises his hands, clawing at the air - and SLAMS A FIST DOWN ON THE MARBLE BANNISTER! The marble CRACKS under his hand. On the horizon, LIGHTNING STRIKES - the branching bolt like a SKELETAL HAND CLAWING OUT OF THE STORM. Ashurbanipal's fist falls again. And again. With every blow, THE HEAVENS TEAR OPEN far away. Distant thunder rolls.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. HELICOPTER (IN FLIGHT) - DAY<\/stage_direction>\n    <scene_description>Tyler flies east along the Greek coastline - toward Turkey and Istanbul. A BLINDING LIGHTNING STRIKE right in front of them. So close the thunder is simultaneous. Jenny SCREAMS! Another bolt. Closer still. Tyler DIVES toward the sea, bleeding off altitude and seeking safety. He levels off forty feet above the waves, just offshore. The bolts come faster and faster. He veers wildly. KA-TOW! The chopper is struck! The instruments burn out. The motor dies. Auto-rotating, the helicopter plunges into the sea.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LORENZO'S CASTLE - TERRACE<\/stage_direction>\n    <scene_description>Ashurbanipal turns away from the railing, satisfied. For the first time he notices the LINE OF CUNEIFORM printed on Lorenzo's cheek where Tyler hit him with the cylinder seal. He reaches out and turns Lorenzo's chin. Reading.<\/scene_description>\n    <character>ASHURBANIPAL<\/character>\n    <parenthetical>(in Akkadian, subtitled)<\/parenthetical>\n    <dialogue>Seek the Rebel Temple in Byzantium.<\/dialogue>\n    <scene_description>Ashurbanipal smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GREEK COASTLINE - OFFSHORE<\/stage_direction>\n    <scene_description>Tyler breaks the surface beside Jenny, gasping for air. He holds up the sword. They swim for the beach.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GREEK COASTAL HIGHWAY<\/stage_direction>\n    <scene_description>Jenny stands on the shoulder, going through her bag. Dead tablet computer. Sodden notebook. Tyler stands with Ashurbanipal's sword wrapped in his jacket. Hitchhiking in his bloodied shirt. Jenny sees what poor luck he's having. She hikes up her skirt. Sticks out her thumb. A FREIGHT TRUCK squeals to a stop beside them.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FREIGHT TRUCK (IN MOTION) - DAY<\/stage_direction>\n    <scene_description>In the back of the truck, Tyler and Jenny lean on sacks of rice, exhausted. The highway hums under the tires. She gently prods his abused ribcage. He winces.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>No broken ribs.<\/dialogue>\n    <character>TYLER<\/character>\n    <parenthetical>(grinning wearily)<\/parenthetical>\n    <dialogue>That was nothing. I've had worse.<\/dialogue>\n    <scene_description>She laughs, falling back against the rice sacks.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Very upbeat for someone so beat up.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>I've been lost for a long time. I guess being on the run with you feels better than being lost.<\/dialogue>\n    <scene_description>Without intending to he's just said exactly the right thing. Jenny turns into him, emotion in her eyes. Tyler starts to snore. Jenny laughs. Tucks herself under his arm. Closes her eyes. UNDERWORLD - SEA OF FIRE A vast ocean of fire under a smoky blood-red sky. Black islands and pinnacles of stone rise from the flaming sea. The Dead King is crossing the flames. Leaping precariously from spire to spire. In the distance, his goal: a luminous WHITE PALACE on a craggy peak above the fire. Below him, the sea of fire tosses and heaves like liquid. It recedes suddenly, revealing the sea floor - a solid mass of pale bodies writhing and howling for mercy - then rises like a wave, washing up the rocky spire to engulf the Dead King -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FREIGHT TRUCK (IN MOTION)<\/stage_direction>\n    <scene_description>Tyler slams awake, gasping. Reflexively Jenny throws her arms around him, calming him. She studies him as he gets a grip.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Tell me about the nightmares.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>I see the Dead King. I am the Dead King. And I'm in Hell.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Keep talking.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LORENZO'S CASTLE - BEDROOM<\/stage_direction>\n    <scene_description>Ashurbanipal stands at a mirror. Drops his cassock. Studies his powerful body. His withered skin. Lorenzo beside him. Like a man trimming his fingernails, Ashurbanipal begins to PULL THE BROKEN BRONZE TUBES FROM HIS FLESH. He hands them to a horrified Lorenzo as he talks. He speaks in Akkadian: spellbound, Lorenzo understands him. We hear English.<\/scene_description>\n    <character>ASHURBANIPAL<\/character>\n    <dialogue>Twenty-five centuries in Hell. I saw the Upper World through the nightmares of the living. Empires rising and falling. Machines crawling over the land. Flying in the sky. The curse of Babylon eating up the world.<\/dialogue>\n    <character>LORENZO<\/character>\n    <dialogue>Babylon fell two thousand years ago.<\/dialogue>\n    <character>ASHURBANIPAL<\/character>\n    <dialogue>It has fallen many times. It always rises again.<\/dialogue>\n    <scene_description>He waves at the world around them. Loathing in his voice.<\/scene_description>\n    <character>ASHURBANIPAL<\/character>\n    <dialogue>This is all Babylon.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FREIGHT TRUCK (IN MOTION)<\/stage_direction>\n    <scene_description>Jenny and Tyler sit facing one another. She's looking over notes she's made in her damp notebook.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>The places in your nightmares: I've read about them. They're landmarks in the Underworld. The Valley of the Blind. The Black Tower. The Endless Stair. The Sea of Fire.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Seriously.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>And across the Sea of Fire - the Eternal Palace.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>That's where he's trying to go. Centuries and centuries, trying to get there. What's in there?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>The Lord of the Underworld. That's where he lives.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ISTANBUL - DAY<\/stage_direction>\n    <scene_description>The truck enters Istanbul. We rise away from it - flying over the Hagia Sofia. The Blue Mosque. The Topkapi Palace. The jewels of a city that has stood nearly three thousand years, called Byzantium...then Constantinople...now Istanbul. SUPER: ISTANBUL<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ISTANBUL STREET - DAY<\/stage_direction>\n    <scene_description>The city's business quarter. Gleaming towers on wide avenues. Tyler and Jenny walk up. He carries the sword wrapped in his coat. She has her bag slung over her shoulder.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>This is the fine-arts district. Every major auction house and antiquities broker is here. If the Rebel Temple's as active as Lorenzo said, someone here will know how to reach them. I say we go door to door until we...<\/dialogue>\n    <scene_description>Tyler taps her on the shoulder. Points across the street. High up on a gleaming office tower: a CORPORATE LOGO IN THE SHAPE OF A FOUR-BARRED CROSS. The Djed pillar.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. REBEL TEMPLE - ENTRANCE<\/stage_direction>\n    <scene_description>On a sign beside the door, Tyler and Jenny see the Djed pillar repeated beside a phrase in Turkish calligraphy.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Isyankar Tapinak. Rebel Temple!<\/dialogue>\n    <scene_description>Tyler tries the glass doors: locked. The marble lobby inside is deserted. He presses a button on the door panel. The VIDEO SCREEN on the panel lights up. A bored-looking young man in a suit looks back at them. His name is DAYAN.<\/scene_description>\n    <character>DAYAN<\/character>\n    <dialogue>Isyankar Tapinak.<\/dialogue>\n    <character>JENNY<\/character>\n    <parenthetical>(in Turkish, subtitled)<\/parenthetical>\n    <dialogue>We need your help.<\/dialogue>\n    <character>DAYAN<\/character>\n    <parenthetical>(in Turkish, subtitled)<\/parenthetical>\n    <dialogue>Sorry. Visitors by appointment only.<\/dialogue>\n    <scene_description>Tyler leans close and speaks to the camera.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>The Dead King has risen. He already has his crown. WE have his sword.<\/dialogue>\n    <scene_description>He holds the sword up to the camera. Dayan stares like he's seen a ghost. The screen goes dark.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Hopefully we'll get a few words in before they kill us.<\/dialogue>\n    <scene_description>DOORS BURST OPEN at the back of the lobby. A phalanx of grim dark-suited men stride toward the front doors. One of them is the Dark Man from Rome: a bandage across his broken nose.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Maybe not.<\/dialogue>\n    <scene_description>The leader, MALIK, 35 - slim, dapper, and handsome - wrenches the door open angrily. Tyler holds up a soothing hand.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Easy. We're friends.<\/dialogue>\n    <scene_description>Malik takes a hissing breath. Seizes Tyler's wrist, staring at the scar on his palm. He has an Oxford accent: this is the Mysterious Man we saw on the phone at the top of the film.<\/scene_description>\n    <character>MALIK<\/character>\n    <dialogue>Blood of the Chosen!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REBEL TEMPLE - GRAND HALL<\/stage_direction>\n    <scene_description>Malik walks Tyler and Jenny into a stunning marble hall with elegant lighting. Priceless relics on display in glass cases. Two dozen BROTHERS OF THE REBEL TEMPLE surround them. They wear bespoke suits with exquisitely patterned ties. Manicured hands. Immaculate haircuts. It looks more like a boutique investment bank than a mystical order.<\/scene_description>\n    <character>TYLER<\/character>\n    <parenthetical>(aside to Jenny)<\/parenthetical>\n    <dialogue>Not what I expected.<\/dialogue>\n    <scene_description>She shakes her head, looking around. Me neither. Malik turns to them, righteous and stern.<\/scene_description>\n    <character>MALIK<\/character>\n    <dialogue>Your names.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Tyler Colt. This is Jennifer Halsey.<\/dialogue>\n    <character>MALIK<\/character>\n    <dialogue>The archaeologist. Your monograph on Scythian magic was very good.<\/dialogue>\n    <character>JENNY<\/character>\n    <parenthetical>(astonished)<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>She looks around in wonder at the antiquities on display.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>You have pieces here I've spent years searching for. Nefertiti's Scepter. The Chalice of Antioch.<\/dialogue>\n    <character>MALIK<\/character>\n    <dialogue>Why have you come here?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Because of this.<\/dialogue>\n    <scene_description>She reaches into her bag. Quick as cats, the Temple Brothers whip WEAPONS from under their coats. Tyler and Jenny find themselves the center of a quivering ring of knives, swords, and pistols. Verrrry slowly she pulls out the cylinder seal.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>The Vatican Archivist gave us this. Your message. We hoped you'd help.<\/dialogue>\n    <character>MALIK<\/character>\n    <dialogue>You raised the Dead King.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>He raised himself. We're trying to put him back in the ground.<\/dialogue>\n    <scene_description>Malik takes their measure with his eyes. He believes them.<\/scene_description>\n    <character>MALIK<\/character>\n    <dialogue>I am Malik. Leader of the Temple. These are my brothers. The sword:<\/dialogue>\n    <scene_description>He holds out a hand imperiously. Tyler gives him the blade.<\/scene_description>\n    <character>MALIK<\/character>\n    <dialogue>Belbasa. See to it.<\/dialogue>\n    <scene_description>BELBASA, 70, steps forward: gray-haired but hale, a keen glint of intelligence in his kindly eyes.<\/scene_description>\n    <character>BELBASA<\/character>\n    <dialogue>At once.<\/dialogue>\n    <scene_description>He carries the sword away.<\/scene_description>\n    <character>MALIK<\/character>\n    <dialogue>Where is the Dead King now?<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>This morning...an island off the Greek coast. But he'll be coming.<\/dialogue>\n    <character>MALIK<\/character>\n    <dialogue>Yes. He will follow the sword. It calls him. But don't be afraid. Our defenses are strong.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>What is this place? The Rebel Temple. Who are you?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REBEL TEMPLE - HALL OF REMEMBRANCE - DAY<\/stage_direction>\n    <scene_description>Malik leads Tyler and Jenny to an exhibit hall. Stone tablets and bas-relief sculptures tell the Rebel Temple's story.<\/scene_description>\n    <character>MALIK<\/character>\n    <dialogue>Our forefathers were Egyptian priests. When Ashurbanipal invaded Egypt, he enslaved them and took them back to Assyria.<\/dialogue>\n    <scene_description>Sweat rises on Tyler's brow as he listens. Somehow he knows this story. He has FLASHES OF A WAKING DREAM as Malik talks: PRIESTS cross the desert in chains, driven by ASSYRIAN WARRIORS with whips and spears.<\/scene_description>\n    <character>MALIK<\/character>\n    <dialogue>Ashurbanipal was obsessed with the Underworld. He made the priests teach him all they knew. How to defend himself from demons. Steal power from the gods. They knew it was wrong - but they were slaves. And the price of defiance was too hideous to bear.<\/dialogue>\n    <scene_description>In a cavern, chained priests writhe and howl under torture.<\/scene_description>\n    <character>MALIK<\/character>\n    <dialogue>For years they toiled in bondage, building a great Necropolis. And inside the Necropolis, a portal. A mystic engine that would open the gates of the Underworld.<\/dialogue>\n    <scene_description>Tyler sees it. In a vast stone hall, a mandala of gold cut into the floor. Intricate clockwork exposed beneath it.<\/scene_description>\n    <character>MALIK<\/character>\n    <dialogue>When the king was mortally wounded in battle, his plan was set in motion. The priests allowed him to die - but wove spells of protection around him. Spells of return.<\/dialogue>\n    <scene_description>The dying Ashurbanipal is horribly embalmed alive. The iron sarcophagus with its impaling pipes closes over his body. Jenny sees Tyler's distress. Lays a hand on his shoulder. He shakes off the vision, blinking the images away. Malik walks them past a series of BRONZE PANELS depicting a descent to the Underworld.<\/scene_description>\n    <character>MALIK<\/character>\n    <dialogue>The king meant to bargain with the Lord of the Underworld: he would open the gates of hell, turning the powers of darkness loose upon the Upper World. And in exchange, Ashurbanipal would live again. An immortal god- king. To rule the world.<\/dialogue>\n    <scene_description>Tyler and Jenny stare at the Underworld images. The demons of Assyrian hell are hideous creatures. Deformed men, skeletal ghouls, monsters with the heads of hawks or lions.<\/scene_description>\n    <character>MALIK<\/character>\n    <dialogue>Only when Ashurbanipal lay in his tomb did the priests find the courage to defy him. They revealed his plans to his son, who had taken the throne. He liked being king. He didn't want his father back any more than they did. So he buried the Necropolis and hid the Dead King's body in the desert. Not even our forefathers knew where. For centuries we paid the tribal warlords to guard the great desert. Until now, that was enough.<\/dialogue>\n    <scene_description>Malik spreads his arms. Bringing the story home.<\/scene_description>\n    <character>MALIK<\/character>\n    <dialogue>After twenty years in the Assyrian court, our forefathers could not return to Egypt. So they came to Byzantium and founded the Rebel Temple. Here we've kept watch for twenty-five centuries, that the evil our forefathers created might never again darken the waking day.<\/dialogue>\n    <scene_description>OCULUS CENTER A cutting-edge database facility. Rows of humming servers. Walls of flat-panel displays. Dayan sits at the terminal: this is his domain. Malik, Tyler and Jenny stand watching.<\/scene_description>\n    <character>MALIK<\/character>\n    <dialogue>The Oculus. The Eye of the Temple.<\/dialogue>\n    <character>DAYAN<\/character>\n    <dialogue>We track relics. Artifacts. People with certain gifts. Mystical sites. Anything beyond the ordinary.<\/dialogue>\n    <scene_description>ONSCREEN: Dayan flies across a map of the world sparkling with markers for people. Artifacts. Places haunted and holy. It's an occult Google Earth running on next-gen technology. Tyler and Jenny trade impressed looks.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Heard of the Special Weapons Group?<\/dialogue>\n    <character>MALIK<\/character>\n    <parenthetical>(amused)<\/parenthetical>\n    <dialogue>The Pentagon's little band of dabblers.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Do they have something like this?<\/dialogue>\n    <character>MALIK<\/character>\n    <dialogue>How they wish.<\/dialogue>\n    <scene_description>INFIRMARY A strange combination of modern medical clinic and alchemist's laboratory. Science and sorcery side by side. Tyler and Jenny sit on benches with their shirts off. The symbols on their skin faded almost to invisibility. Tyler's ribs marked with bruised prints of Lorenzo's torture chains. The wise old man, Belbasa, fusses around them. He's assisted by the Dark Man with the broken nose. His name is RABBU. He glowers darkly at Tyler, who watches him nervously.<\/scene_description>\n    <character>BELBASA<\/character>\n    <dialogue>Rabbu. See to his injuries.<\/dialogue>\n    <scene_description>Rabbu cleans and bandages Tyler's ribs with deliberate roughness. A tiny revenge. Tyler winces and toughs it out. Belbasa opens a wooden chest, fumbling through mystic paraphernalia. He peers at the faded symbols on their skins.<\/scene_description>\n    <character>BELBASA<\/character>\n    <dialogue>You did well with these. But mine are better.<\/dialogue>\n    <scene_description>He produces a collection of METAL INK STAMPS bigger than the palms of his hands. He stamps intricate protective mandalas on their shoulders, chests and backs in black and red ink.<\/scene_description>\n    <character>BELBASA<\/character>\n    <dialogue>These will keep the Evil One out of your minds and bodies. But even these barriers can be broken. If the spirit is weak. If he gets too close.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>What about you?<\/dialogue>\n    <character>BELBASA<\/character>\n    <dialogue>Rabbu. Show her.<\/dialogue>\n    <scene_description>Rabbu grins and hikes up his shirt. His powerful torso is BLANKETED WITH MYSTIC TATTOOS.<\/scene_description>\n    <character>RABBU<\/character>\n    <dialogue>Ours are permanent.<\/dialogue>\n    <scene_description>Belbasa takes Tyler's hand. Examines the wound in his palm.<\/scene_description>\n    <character>BELBASA<\/character>\n    <dialogue>Does this hurt you?<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Only when he's nearby.<\/dialogue>\n    <character>BELBASA<\/character>\n    <dialogue>You're bound to him by blood magic. That's why you dream his dreams. He chose you as he lay in his coffin: you were strongest. It will help you find him. Pray God it will help you kill him.<\/dialogue>\n    <scene_description>TEMPLE LIBRARY - CONTINUOUS Belbasa leads Jenny in. She wears borrowed clothes: a man's shirt and trousers belted tight at her slim waist. The library holds codexes, papyruses, tablets and scrolls. Half a dozen Temple brothers pore over the records.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>What are they looking for?<\/dialogue>\n    <character>BELBASA<\/character>\n    <dialogue>Words of power. Protective magic. Anything to fight the Dead King.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>They look frightened.<\/dialogue>\n    <character>BELBASA<\/character>\n    <dialogue>After two thousand years, what man believes this day will come in his lifetime? No one was ready.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ISTANBUL AVENUE - DAY<\/stage_direction>\n    <scene_description>A black ROLLS ROYCE PHANTOM V glides down the avenue. A fantastically expensive car. The license plates read LORENZO.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROLLS ROYCE (IN MOTION) - CONTINUOUS<\/stage_direction>\n    <scene_description>Behind the wheel is Marco, Lorenzo's pilot - eyes blank white and staring. Enslaved by the Dead King. In back rides Ashurbanipal, crowned and dressed as a king might dress himself from Lorenzo's closet: black silk pajamas and slippers, a dark dressing gown belted at the waist.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ISTANBUL AVENUE - (CONTINUOUS)<\/stage_direction>\n    <scene_description>We rise above the Rolls Royce as it moves down the avenue. Misfortune and mayhem travel with it like an invisible wave. As the car passes - two lovers walking hand in hand begin to fight viciously. A man walking two mastiffs is attacked by his dogs. A policeman hurrying to rescue him fumbles his gun: it goes off when it hits the ground - killing the policeman. The Dead King smiles. The car rolls on. Chaos in its wake.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REBEL TEMPLE - GALLERY<\/stage_direction>\n    <scene_description>Rabbu and Tyler walk through a gallery overlooking the city.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Sorry about the nose.<\/dialogue>\n    <character>RABBU<\/character>\n    <dialogue>It's nothing. I'm sorry we fought. If we had spoken, we might still have the crown. But we have the sword - and here it's safe. There's a holy seal on every brick in the Temple. Every girder, tile and window.<\/dialogue>\n    <scene_description>He touches the window in front of them: an intricate RUNE ENGRAVED IN THE GLASS.<\/scene_description>\n    <character>RABBU<\/character>\n    <dialogue>This will stop the Devil himself.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Will it stop a brick?<\/dialogue>\n    <character>RABBU<\/character>\n    <dialogue>If we come under physical assault, we take refuge in the Stronghold. Beneath the Temple. The fortress of our forefathers. They were frightened men: they dug deep and built strong.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Okay. Defense is half the battle; talk to me about fighting back.<\/dialogue>\n    <scene_description>TEMPLE ARMORY A steel-walled hypermodern room. Racks and shelves hold a strange mix of ancient and contemporary weapons. VIALS OF WHITE POWDER beside FRAGMENTATION GRENADES. Sleek KEVLAR VESTS beside MYSTICAL MEDALLIONS. Rabbu pulls out a rolling rack filled with SWORDS. Tyler picks up a broadsword: Damascus steel, carved with Aramaic script and mystic symbols.<\/scene_description>\n    <character>RABBU<\/character>\n    <dialogue>Consecrated blades. Demons can't be hurt by common steel. These will cut - and kill.<\/dialogue>\n    <scene_description>Tyler swings the sword in a swift figure-eight, testing the balance. Thrusts and returns gracefully to guard.<\/scene_description>\n    <character>RABBU<\/character>\n    <dialogue>You're a swordsman!<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Not really. Trained a little katana, escrima stick, basic knife- fighting. Do you have anything a little more up-to-date?<\/dialogue>\n    <scene_description>Rabbu pulls open a rolling rack of HIGH-TECH MACHINE GUNS.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>That's what I'm talking about.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REBEL TEMPLE - COUNCIL ROOM - DAY<\/stage_direction>\n    <scene_description>The great meeting hall of the Rebel Temple: the penthouse, with panoramic views of Istanbul. Dark clouds are rolling in. Swords and rifles lie on the council table. The Temple brothers, wearing kevlar vests under their suit coats, sit gravely. Tyler and Jenny among them. Malik is on his feet.<\/scene_description>\n    <character>MALIK<\/character>\n    <dialogue>Ashurbanipal is trapped in his own dead flesh. He is in constant pain. Full of suffering and vengeance. He will stop at nothing to live again.<\/dialogue>\n    <scene_description>Jenny nods, shaken. She believes. She takes Tyler's hand.<\/scene_description>\n    <character>MALIK<\/character>\n    <dialogue>Long ago, priests of our order gave him the power to open the gates of hell. Now it falls to us to stop him.<\/dialogue>\n    <parenthetical>(grimly)<\/parenthetical>\n    <dialogue>It won't be easy. The King has his crown. It will magnify his power.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ISTANBUL AVENUE - OFFICE TOWER - DAY<\/stage_direction>\n    <scene_description>The Rolls Royce pulls up beside an office tower. Ashurbanipal gets out. Walks up to the building - and without breaking stride, WALKS UP THE WALL.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REBEL TEMPLE - COUNCIL ROOM<\/stage_direction>\n    <scene_description>Malik is warming to his theme. Rousing the men's spirits.<\/scene_description>\n    <character>MALIK<\/character>\n    <dialogue>Many of our brothers are far away. There's no time to call them home. But we are twenty-five swords.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Twenty-seven.<\/dialogue>\n    <character>MALIK<\/character>\n    <dialogue>So be it. We are enough. The final battle will be here. In our Temple. The Dead King will come. For this.<\/dialogue>\n    <scene_description>He holds up Ashurbanipal's sword with its hilt of bronze.<\/scene_description>\n    <character>MALIK<\/character>\n    <dialogue>And we will destroy him.<\/dialogue>\n    <scene_description>He turns, taking stock of their resolve. As he steps aside - A DARK FIGURE IS REVEALED ON THE ROOFTOP ACROSS THE STREET! Tyler sees him first. Exploding to his feet.<\/scene_description>\n    <character>TYLER<\/character>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE OPPOSITE ROOFTOP<\/stage_direction>\n    <scene_description>Ashurbanipal takes a deep breath. BLOWS BETWEEN PURSED LIPS. A GREAT WIND RISES, blasting through the city. His FINGERS CLUTCH THE AIR as if gripping an invisible staff. The winds twist into A CYCLONE AROUND THE REBEL TEMPLE!<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REBEL TEMPLE - COUNCIL ROOM<\/stage_direction>\n    <scene_description>The walls shudder and groan. THE WINDOWS SHATTER. A dozen Temple brothers are sucked out into the whirlwind, twenty stories up. Hurricane winds rip through the council room. Tyler grabs Jenny, pushing her toward the door. Malik and Rabbu help them. The POWER GOES OUT as the building creaks.<\/scene_description>\n    <character>MALIK<\/character>\n    <dialogue>Down! Down to the Stronghold!<\/dialogue>\n    <scene_description>STAIRWELL Our heroes run down an endless marble stairwell. Malik carrying Ashurbanipal's sword. The walls shudder.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE OPPOSITE ROOFTOP<\/stage_direction>\n    <scene_description>Ashurbanipal looks on the destruction in cold triumph: every window in the Rebel Temple is broken. Precious parchments and tapestries spinning in the wind.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REBEL TEMPLE - STRONGHOLD<\/stage_direction>\n    <scene_description>Beneath the opulent office tower, an UNBREAKABLE FORTRESS. The first Rebel Temple. Granite walls six feet thick. Malik leads Tyler, Jenny, and the surviving brothers in: a dozen men - including Dayan, Belbasa and Rabbu. A STEEL DOOR A FOOT THICK swings shut behind them. MASSIVE BOLTS are thrown. Emergency lights and ventilation kick on. Tyler looks around. Guns and swords in racks. Emergency supplies. Flak vests, provisions, cots and blankets. Malik gives Jenny the Sword of Ashurbanipal.<\/scene_description>\n    <character>MALIK<\/character>\n    <dialogue>He must not get the sword.<\/dialogue>\n    <scene_description>She nods solemnly. The Temple brothers form a defensive line inside the massive door, guns and swords at the ready. Tyler squeezes Jenny's shoulder.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>I won't let anything happen to you.<\/dialogue>\n    <scene_description>He takes his place beside Malik. Waiting for the Dead King.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ON THE OPPOSITE ROOFTOP<\/stage_direction>\n    <scene_description>Ashurbanipal stands facing the ruined Rebel Temple. At his back lies the BOSPORUS - the mighty waterway separating Europe and Asia - spanned by magnificent suspension bridges. Ashurbanipal punches a fist into the air. A COLOSSAL COLUMN OF WATER ERUPTS out of the Bosporus - towering over Istanbul like the fist of an angry god. He smashes his fist down. The column of water lashes over the city and descends on the Rebel Temple like a focused tidal wave. The battering waters funnel into the whirlwind. A WATERSPOUT ENGULFS THE BUILDING.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REBEL TEMPLE - STRONGHOLD<\/stage_direction>\n    <scene_description>A ROAR LIKE THUNDER. The defenders exchange mystified looks. Every vent in the Stronghold starts GUSHING WATER. Rapidly FLOODING THE UNDERGROUND CHAMBER. Water jets in through seams in the walls. Sprays in around the massive iron door.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>We'll drown in here! Are there other ways out?!<\/dialogue>\n    <character>MALIK<\/character>\n    <dialogue>Tunnels. Below us.<\/dialogue>\n    <scene_description>The water's waist-high and rising. Tyler shakes his head.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Already flooded. What else?<\/dialogue>\n    <scene_description>Dayan scans the fortress, his engineer's mind churning.<\/scene_description>\n    <character>DAYAN<\/character>\n    <dialogue>The Hall of Pharaohs!<\/dialogue>\n    <scene_description>He POINTS. There's one ceiling vent not gushing water.<\/scene_description>\n    <character>DAYAN<\/character>\n    <dialogue>Strong doors. No windows.<\/dialogue>\n    <scene_description>The water is chest-high now. Tyler hurries to the vent. The ceiling's nine feet high: he can't quite reach it.<\/scene_description>\n    <character>MALIK<\/character>\n    <dialogue>Rabbu!<\/dialogue>\n    <scene_description>The big man wades to him - half swimming in the rising water - and lifts him up. Tyler unbolts the grate. Swings it back.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Jenny. You first!<\/dialogue>\n    <scene_description>Jenny wades to him in chin-deep water. The Temple brothers gathered under the shaft lift her up to him. She clutches Ashurbanipal's Sword to her chest. Tyler takes her in his arms. She looks up the dark shaft.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Right behind you.<\/dialogue>\n    <scene_description>Jenny nods fiercely. Climbs into the shaft. AIRSHAFT Jenny worms upward, one-handed, clutching the sword. Tyler climbs into the shaft below her, pushing her higher. At the top of the shaft, she finds a THICK METAL GRATE locked from the inside. She strains at the bolts. Shoots them back. HALL OF PHARAOHS A windowless hall of Egyptian artifacts: treasures of gold and alabaster. A burial mask as grand as Tutankhamen's. Statues of stone. A towering OBELISK. A METAL GRATE in the floor swings open. Jenny's arm reaches out, holding Ashurbanipal's sword. Her head rises into view. She finds herself staring at TWO BLACK-SLIPPERED FEET. Jenny looks up and SCREAMS. Ashurbanipal seizes her by the arm and hauls her out of the shaft. AIRSHAFT Tyler feels Jenny lifted away. Looks up. Sees Ashurbanipal.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>He has a rifle slung on his shoulder; in the claustrophobic shaft he can't bring it to bear. UP! UP!: STRONGHOLD Nearly flooded now. A pyramid of Temple brothers lifts Tyler up. The bottom-most men are underwater, holding their breaths. They strain to push him higher. HALL OF PHARAOHS Ashurbanipal plucks the sword from Jenny's hands. His BODY BUCKS AND SHAKES as power flows into him like electricity. Wind plucking at his robes. A SCRAPE behind him. He spins: Tyler is head and shoulders out of the shaft. With one sweep of his sword, Ashurbanipal SLICES THROUGH THE STONE OBELISK. It topples toward Tyler. Tyler's eyes go wide.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>DOWN! DOWN!<\/dialogue>\n    <scene_description>He ducks back into the shaft. The massive obelisk slams down atop him - sealing the shaft irrevocably. STRONGHOLD - FLOODED Tyler drops down into the water among the Temple brothers. The water's only a few inches below the ceiling. They tread water and gasp for air.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>No way up. Blocked.<\/dialogue>\n    <scene_description>Desperate faces. They're going to drown.<\/scene_description>\n    <character>DAYAN<\/character>\n    <dialogue>Freight elevator! Only shot!<\/dialogue>\n    <character>MALIK<\/character>\n    <dialogue>Go!<\/dialogue>\n    <scene_description>They swim underwater across the flooded chamber. The freight elevator, without power since the whirlwind, is shut. They claw at the door with their fingertips, all together. ELEVATOR - FLOODED The doors open. Tyler swims in. Punches the ceiling hatch open and swims up through it. Behind him, Rabbu shoves one brother after another up through the hatch. ELEVATOR SHAFT - FLOODED Malik breaks the surface in the elevator shaft. Gulping air. Above him, Tyler is climbing the shaft with mad haste.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. REBEL TEMPLE - ENTRANCE - DAY<\/stage_direction>\n    <scene_description>The sky is still gray and forboding, but the magical storms have ended. Water lies in deep puddles in the streets. Tyler explodes out of the front doors, assault rifle in his hands. Sword on his hip. No sign of Ashurbanipal or Jenny. He spins in the street, scarred hand extended. Feeling for the dead king. We spin with him, scanning the streets. He stops. Pointing. That way.<\/scene_description>\n    <character>MALIK (O.S.)<\/character>\n    <dialogue>Tyler!<\/dialogue>\n    <scene_description>He races out of the building. In an executive parking spot sits a BLACK MASERATI, dripping but intact. Malik points a remote. Presses a button. THE ENGINE STARTS.<\/scene_description>\n    <character>MALIK<\/character>\n    <dialogue>Praise God!<\/dialogue>\n    <scene_description>Tyler rips open the driver's side door. Malik the other side.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASERATI (IN MOTION) - MOMENTS LATER<\/stage_direction>\n    <scene_description>Tyler drives like a demon. Beside him, Malik sits rigid with fury and frustration. Tyler feels through the air with his scarred hand, trying to locate their quarry. He throws the car into a long screeching turn.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ISTANBUL STREETS - DAY<\/stage_direction>\n    <scene_description>Traffic jam. Frustrated Turks grinding down a wide street. Suddenly A TRANCE STATE OVERCOMES THE DRIVERS IN THEIR CARS. They SWERVE TO THE ROADSIDES - cars crunching into each other - clearing an aisle down the middle of the road. Ashurbanipal's Rolls Royce speeds down this open lane. Traffic parts before it like a wave.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROLLS ROYCE (IN MOTION)<\/stage_direction>\n    <scene_description>Marco, deep in trance, is behind the wheel. In back, Jenny sits beside Ashurbanipal. With one hand he clamps her wrists together inescapably.<\/scene_description>\n    <character>ASHURBANIPAL<\/character>\n    <parenthetical>(in Akkadian, subtitled)<\/parenthetical>\n    <dialogue>You are the one who speaks my language.<\/dialogue>\n    <character>JENNY<\/character>\n    <parenthetical>(in Akkadian, subtitled)<\/parenthetical>\n    <dialogue>Yes.<\/dialogue>\n    <character>ASHURBANIPAL<\/character>\n    <dialogue>Good.<\/dialogue>\n    <scene_description>He holds up a BUNDLE OF DRY HERBS: they spark and smolder under his gaze. He draws the fume into his lungs. Turns and BLOWS GRAY SMOKE OUT THE WINDOW.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MASERATI (IN MOTION)<\/stage_direction>\n    <scene_description>Tyler and Malik turn a corner. A DENSE FOG sweeps the city. They drive down the aisle cleared by the Dead King - cars piled up on both sides. An eerie scene.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>He's close.<\/dialogue>\n    <scene_description>As the Maserati passes, spellbound drivers hit the gas - SMASHING INTO THE MASERATI from both sides!<\/scene_description>\n    <character>MALIK<\/character>\n    <dialogue>Go! Go!<\/dialogue>\n    <scene_description>Tyler puts the pedal down. The Maserati leaps forward - a WAVE OF CARS CRASHING TOGETHER a split-second behind it. Ahead - the towers of the BOSPORUS BRIDGE loom in the mist.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BOSPORUS BRIDGE - DAY<\/stage_direction>\n    <scene_description>Istanbul's mighty suspension bridge. A hundred feet wide. A mile long. Two hundred feet above the water. The bridge is empty of traffic. Under Ashurbanipal's influence, drivers sit spellbound at both ends of the span. The Rolls Royce drives onto the bridge. The stopped cars come together violently behind it, barricading the entrance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROLLS ROYCE (IN MOTION)<\/stage_direction>\n    <scene_description>Ashurbanipal leans close to Jenny's face. His voice rumbles with hypnotic power:<\/scene_description>\n    <character>ASHURBANIPAL<\/character>\n    <dialogue>Don't move.<\/dialogue>\n    <scene_description>Jenny gasps in something like pain as compulsion takes hold. The Dead King opens his door - and TEARS IT OFF ITS HINGES.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROLLS ROYCE (IN MOTION) - CONTINUOUS<\/stage_direction>\n    <scene_description>Ashurbanipal stands on the running board, sword in hand. As the Rolls Royce races down the RIGHT EDGE OF THE BRIDGE - he SLASHES THE VERTICAL CABLES ONE BY ONE! AT THE FOOT OF THE BRIDGE The Maserati reaches the pileup blocking entry to the bridge. Tyler leaps out, assault rifle in hand. He leaps from car to car over the logjam. Runs up the bridge. Malik follows, sword in hand, trying to keep up. AT THE CENTER OF THE BRIDGE The Rolls Royce stops. CREAKS and GROANS of metal as the bridge's deck warps, deprived of many supporting cables. Ashurbanipal steps down onto the roadway. The fog obscures the city and the water: They're on a platform in the sky.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ROLLS ROYCE<\/stage_direction>\n    <scene_description>Jenny sits fighting the compulsion he's laid on her.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Get out of the car, Jenny. Move!<\/dialogue>\n    <scene_description>Tears of frustration. She can't. More desperately:<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Marco! Drive! Please! Go!<\/dialogue>\n    <scene_description>But Marco's eyes are blank white orbs. Nobody home. AT THE CENTER OF THE BRIDGE Ashurbanipal raises his sword in both hands, chanting under his breath. The air darkens around him as he rouses his power. CRUMBLING CORROSION spreads across the roadbed. He CHOPS DOWNWARD! The magical blade bites deep. A JAGGED FISSURE RUNS ACROSS THE DECK from edge to edge. RUNNING ONTO THE BRIDGE Tyler and Malik stumble as the road bucks beneath their feet. A titanic GROAN OF METAL. AT THE CENTER OF THE BRIDGE Ashurbanipal walks to the left side of the bridge - where the main cable descends closest to the deck. In one leaping blow, HE CUTS THROUGH THE TWO-FOOT-THICK STEEL CABLE! The BRIDGE DECK BREAKS IN THE MIDDLE OF THE SPAN! Ashurbanipal's side of the bridge SAGS TOWARD THE WATER. RUNNING ONTO THE BRIDGE Tyler and Malik find themselves running down as the bridge drops beneath them. AT THE CENTER OF THE BRIDGE Ashurbanipal pulls Jenny out of the Rolls Royce as the expensive car begins to roll. It falls over the broken end of the span, Marco still a zombie at the wheel, and disappears. Jenny watches it go in numb horror.<\/scene_description>\n    <character>TYLER (O.S.)<\/character>\n    <parenthetical>(an echoing shout)<\/parenthetical>\n    <dialogue>Jenny!<\/dialogue>\n    <scene_description>Her heart leaps. Even in her hypnotized state she answers.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Tyler!<\/dialogue>\n    <scene_description>But the waters of the Bosporus are close now. The severed bridge now a descending ramp almost touching the water. The LIBERTINE, LORENZO'S YACHT, LOOMS OUT OF THE MIST. Still red-streaked from the rain of blood. Ashurbanipal pulls Jenny against him and LEAPS ONTO THE YACHT'S DECK. The state-of-the-art yacht's motors RUMBLE, churning up a wake. It accelerates with astonishing power. Tyler and Malik reach the end of the bridge in time to see the yacht disappearing into the fog. Tyler pulls his rifle to his shoulder - but the yacht is gone. No targets.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LIBERTINE - DECK<\/stage_direction>\n    <scene_description>Jenny picks herself up. Tyler's howl echoes behind them.<\/scene_description>\n    <character>TYLER (V.O.)<\/character>\n    <dialogue>Jenny!<\/dialogue>\n    <scene_description>She gets up. Lorenzo stands before her. Haggard and unshaven, in the suit he had on when we last saw him.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>Jennifer Halsey. Welcome to hell.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. REBEL TEMPLE - DAY<\/stage_direction>\n    <scene_description>Tyler and Malik rush into the ruined Rebel Temple. The Temple brothers are picking up the pieces.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Where's he taking her?!<\/dialogue>\n    <scene_description>OCULUS CHAMBER Windowless, the Oculus room has fared better than most - but still the floor is wet, the computer screens cracked, the machines running on emergency power. Dayan sits at in the control seat. Tyler, Malik, Belbasa, and Rabbu stand watching. ONSCREEN: The a detailed map of the ancient city.<\/scene_description>\n    <character>DAYAN<\/character>\n    <dialogue>Nineveh. Capital of the Assyrian Empire. Destroyed by Babylon in 604 BC. Today...<\/dialogue>\n    <scene_description>Centuries race by. Roads cut across the map. Cities bloom.<\/scene_description>\n    <character>DAYAN<\/character>\n    <dialogue>It's the city of Mosul in northern Iraq. These are the ruins of Ashurbanipal's palace. And buried here is the Necropolis our forefathers built. That's where he's going. To open the Underworld gate.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>That's an Iraqi Army Base now.<\/dialogue>\n    <scene_description>He turns to Malik, fire in his eye.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>I have to get there first. I need money. Transport. Weapons.<\/dialogue>\n    <character>MALIK<\/character>\n    <dialogue>Anything. I'll go with you.<\/dialogue>\n    <character>BELBASA<\/character>\n    <dialogue>And I, brother.<\/dialogue>\n    <character>RABBU<\/character>\n    <dialogue>And I.<\/dialogue>\n    <scene_description>Dayan rises too, fire in his eye. Tyler nods his thanks.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MEDITERRANEAN SEA - DAY<\/stage_direction>\n    <scene_description>The powerful Libertine cuts a high-speed wake across the open sea. The spray rinsing the bloody streaks from its hull.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIBERTINE - BEDROOM - DAY<\/stage_direction>\n    <scene_description>Ashurbanipal drags Jenny into the master suite. Flings open the closet, where Lorenzo has a rack of women's clothes.<\/scene_description>\n    <character>ASHURBANIPAL<\/character>\n    <dialogue>You will dress like a woman.<\/dialogue>\n    <scene_description>Jenny looks at the hanging clothes: too scandalous to wear. She opens a drawer: it's full of SEX TOYS. She slams it shut.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Lorenzo, you pig.<\/dialogue>\n    <scene_description>She chooses a dress - a white goddess number that shows more skin than she'd like. Ashurbanipal shows no sign of leaving. Reluctantly she unbuttons her shirt and takes it off. Breath hisses through the Dead King's teeth as he sees the protective mandalas printed on her skin.<\/scene_description>\n    <character>ASHURBANIPAL<\/character>\n    <dialogue>Witch! Would you defy me?<\/dialogue>\n    <scene_description>He takes her roughly by the shoulders. BLOWS ON HER SKIN. The mandalas blow away in puffs of dust. He looks down at her body, hands stirring on her shoulders. His voice rumbles in his chest, brooding and slow:<\/scene_description>\n    <character>ASHURBANIPAL<\/character>\n    <dialogue>I cannot feel your skin with these dead hands. I cannot taste food or wine with this dead tongue. But soon I will live. Not as a man but as a god. The world will bow to me or burn. After two thousand years...<\/dialogue>\n    <parenthetical>(sensuously)<\/parenthetical>\n    <dialogue>...you will be the first thing I taste, when I live again.<\/dialogue>\n    <scene_description>Jenny would scream, if she were free. She would claw out his eyes, or leap into the sea. But she is a slave. LOUNGE Ashurbanipal leads Jenny into a lavish sitting room. She's wearing the white dress - stunning and scandalous. Lorenzo sits at a desk, speaking into a satellite phone. His voice a robotic parody of itself.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>Safe transit for three. Lorenzo Montanari and two others. Tell the general. My usual rate.<\/dialogue>\n    <scene_description>Ashurbanipal seats Jenny at a table before a RITUAL SCROLL. It bears an INCANTATION written in flowing Assyrian Aramaic.<\/scene_description>\n    <character>ASHURBANIPAL<\/character>\n    <dialogue>My priests are long dead. I need a reader for the ritual. This one is too stupid.<\/dialogue>\n    <scene_description>He waves contemptuously at Lorenzo.<\/scene_description>\n    <character>ASHURBANIPAL<\/character>\n    <dialogue>Read and learn.<\/dialogue>\n    <scene_description>His voice reverberates with magical compulsion - but it's unnecessary. There's nothing Jenny would rather do.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MEDITERRANEAN SEA - DAY<\/stage_direction>\n    <scene_description>Malik pilots an expensive SPEEDBOAT (far smaller than the Libertine) along the Turkish coast, skipping over the waves. Tyler at his side. In back, Belbasa, Rabbu and Dayan lean against a heap of bags and gear. Tyler points at a nautical chart: a notch on the coast of Cyprus. He shouts over the wind.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>We stop here.<\/dialogue>\n    <character>MALIK<\/character>\n    <dialogue>What's there?<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Place I used to work.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIBERTINE - LOUNGE - DAY<\/stage_direction>\n    <scene_description>Studying the incantation, Jenny stiffens, staring at the text. Studying it intently. She sees something important. She looks up. Ashurbanipal is not in the room. Lorenzo sits slackjawed and staring. Jenny closes her eyes. Whispering.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Get up, Jenny. Get up.<\/dialogue>\n    <scene_description>She can't. Her body is not her own. But a PEN lies nearby. With a herculean effort of will, she draws a MANDALA on the palm of her hand in mirror image. She goes over the lines again and again, laying down ink - then presses her palm hard to her breastbone, PRINTING THE MANDALA ON HER SKIN. She GASPS as if a weight has been lifted. Rises. Forces herself away from the table and walks out. Lorenzo turns his head like a wind-up doll to watch her go. BRIDGE A zombie-eyed HELMSMAN drives the boat. Doing 70 knots. Jenny steals onto the bridge in her white dress. She eyes the helmsman warily - but he's deep in trance. She lifts a SATELLITE PHONE off the console and dials.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MUSEUM LABORATORY - DAY<\/stage_direction>\n    <scene_description>Behind the scenes at the Baghdad Museum, Professor Sheppard is uncrating antiquities with a few Arab colleagues. His PHONE RINGS. He answers hastily when he sees who it is.<\/scene_description>\n    <character>PROFESSOR SHEPPARD<\/character>\n    <dialogue>Jenny!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIBERTINE - BRIDGE (INTERCUT)<\/stage_direction>\n    <scene_description>Jenny speaks urgently, clutching the phone.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Sorry to call. You're the only phone number I have memorized.<\/dialogue>\n    <character>PROFESSOR SHEPPARD (V.O.)<\/character>\n    <dialogue>Are you in trouble?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>You were right. About everything. Can you still travel to Baghdad?<\/dialogue>\n    <character>PROFESSOR SHEPPARD (V.O.)<\/character>\n    <dialogue>I'm in Baghdad now.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LIBERTINE - GALLEY<\/stage_direction>\n    <scene_description>Ashurbanipal sits cross-legged on the floor. In front of him: a wide shallow basin of water. He pours oil on the water. Passes his hands over the basin, chanting. Floating oil droplets spin into strands and beads. Intricate patterns. The plan of an ancient city.<\/scene_description>\n    <character>LORENZO (O.S.)<\/character>\n    <dialogue>My Lord.<\/dialogue>\n    <scene_description>Ashurbanipal looks up angrily. The oil pattern dispersing. Lorenzo stands like a sleepwalker in the door.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>It's the girl.<\/dialogue>\n    <scene_description>BRIDGE Jenny crouches, whispering into the satellite phone.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>...after the second, before the third. But most of all, he must...<\/dialogue>\n    <scene_description>Ashurbanipal rips the phone from her grip. Crushes it in his hand. Hurls the fragments overboard. Stares at her in fury.<\/scene_description>\n    <character>JENNY<\/character>\n    <parenthetical>(defiantly)<\/parenthetical>\n    <dialogue>Tyler's going to come for me.<\/dialogue>\n    <character>ASHURBANIPAL<\/character>\n    <dialogue>I know.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CYPRUS - SECRET HARBOR<\/stage_direction>\n    <scene_description>A hidden lagoon used by mercenaries and soldiers of fortune. A motley assemblage of motorboats moored to the rough docks. The Rebel Temple's speedboat is by far the finest. Dayan, in his suit and kevlar vest, waits tensely in the boat, exchanging looks with the tough customers on the docks.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CYPRUS ARMS BAZAAR - DAY<\/stage_direction>\n    <scene_description>Tyler leads Malik, Belbasa and Rabbu through an OPEN-AIR ARMS MARKET - weapons of every kind sold out of trucks and tents. The Temple brothers, in their bespoke suits, turn heads.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Belbasa. Rabbu. Incendiary bullets. All you can carry.<\/dialogue>\n    <parenthetical>(off their nervousness)<\/parenthetical>\n    <dialogue>Relax. Anybody who'd come here dressed like you must be a stone-cold badass. You terrify these people.<\/dialogue>\n    <scene_description>IN FRONT OF A MERCENARY HELICOPTER Tyler negotiates with the PROPRIETOR, Malik at his side.<\/scene_description>\n    <character>PROPRIETOR<\/character>\n    <dialogue>Five thousand dollars a day, plus two pilots at a thousand a day.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>I'm not renting. I'm buying.<\/dialogue>\n    <scene_description>Malik opens a briefcase full of cash. The Proprietor smiles.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SYRIAN SHORE - DAY<\/stage_direction>\n    <scene_description>The mercenary helicopter roars in over the sea and into the dry Syrian hills, hugging the terrain.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MERCENARY HELICOPTER (IN FLIGHT) - DAY<\/stage_direction>\n    <scene_description>Tyler flies with a sure hand: this is a bird he understands. He's come out of the arms bazaar dressed like a soldier. Malik, in the number-two seat, looks pale.<\/scene_description>\n    <character>MALIK<\/character>\n    <dialogue>Must we fly so low?<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>We're not exactly cleared for Syrian airspace.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOSUL - DAY - ESTABLISHING SHOTS<\/stage_direction>\n    <scene_description>The fertile Tigris-Euphrates valley: cradle of civilization. Mosul sits on both banks of the Tigris: an Arabian-Nights clutter of houses, terraces, cafes and archways. Stunning mosques and palaces rise above the ancient rooftops. SUPER: MOSUL<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOSUL ARMY BASE - DAY<\/stage_direction>\n    <scene_description>An Iraqi Army base on the edge of the city, fortified with blast walls and gun turrets. A TANK in the compound. Dozens of soldiers stand guard or move about the interior. A MOTORCADE pulls up to the base entrance: a LIMOUSINE flying Syrian flags, escorted by armed trucks. Confusion at the gate. No one was expected. The guards shout challenges. There's no answer: the drivers and soldiers of the motorcade stare straight ahead with blank white eyes. Ashurbanipal steps out of the limousine in a black Arab robe. He walks up to the gate. The guards blanch when they see his dead skin. They raise their guns in confusion. Ashurbanipal smiles. His sword slides from beneath his robe. He moves with blinding speed. SLASH. SLASH. Two soldiers fall dead. CHOP. The steel gate falls apart. He flings it open. Machine guns start firing as he walks into the compound.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOSUL ARMY BASE - HEADQUARTERS<\/stage_direction>\n    <scene_description>BASE COMMANDER SAIF AL-RAHAL - a lion of a man with a thick mustache - spins toward the door at the sound of gunfire. Beside him an American Army Ranger, LIEUTENANT QUINN, comes to alert. They grab weapons and run outside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOSUL ARMY BASE - CONTINUOUS<\/stage_direction>\n    <scene_description>Saif Al-Rahal and Quinn emerge into the sunlight to see a MILITARY TRUCK tumbling across the compound in flames. Ashurbanipal walks through the smoke. The TANK, a Russian T- 90, rumbles to meet him, lowering its main gun to engage him. Ashurbanipal SLASHES two-foot sections off the descending gunbarrel. What's left of the gun lowers far enough to aim at him. The Dead King STABS HIS BLADE INTO THE TANK'S HULL. INSIDE THE TANK The DRIVER screams as the sword blade thrusts through the thick armor and stops an inch from his face. ON ASHURBANIPAL As he heaves upward. The entire tank FLIPS END OVER END - the main gun firing, too late, mid-air - and lands upside-down. A VOLLEY OF BULLETS stitches across Ashurbanipal's body as a gun turret opens fire on him. He clenches his fist. Hurls it as if throwing an invisible stone. The gunners scream and cover their eyes, blood seeping between their fingers. Blind. More solders join the fight, aiming an annoying number of guns at the Dead King. Enough games. He thrusts his sword into the earth, muttering in Akkadian. Spreads his fingers and drives his hands outward as if toppling walls. All over the base, soldiers COLLAPSE like marionettes whose strings have been cut. Silence falls. Ashurbanipal beckons. Jenny and Lorenzo get out of the limousine and walk into the base, following Ashurbanipal toward the yawning mouth of an ancient cave.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MERCENARY HELICOPTER (IN FLIGHT)<\/stage_direction>\n    <scene_description>Tyler stares down at the Mosul Army Base on approach. The overturned truck and tank, spewing smoke and flame. Lifeless bodies strewn everywhere. The entire base is down.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>We're too late. He got here first.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOSUL ARMY BASE - DAY<\/stage_direction>\n    <scene_description>The helicopter sits on the ground, rotor spinning down. Tyler and the Temple Brothers get out carrying assault rifles. The Temple brothers wear swords. Belbasa kneels over the fallen soldiers. They're in a stupor: eyes rolled back, whispering in tongues.<\/scene_description>\n    <character>BELBASA<\/character>\n    <dialogue>Not dead! Enchanted!<\/dialogue>\n    <scene_description>He opens the kit he carries. Stamps sacred seals on their chests in black ink. Anoints them with oil. Waves burning herbs under their noses. The soldiers revive, disoriented. Rabbu hands out kits like Belbasa's for reviving soldiers.<\/scene_description>\n    <character>RABBU<\/character>\n    <dialogue>Help the others!<\/dialogue>\n    <scene_description>They hurry to rouse the other soldiers. Tyler spots soldiers in Army Ranger uniforms: Quinn and his men.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>American military advisors!<\/dialogue>\n    <scene_description>Fumbling with the strange paraphernalia, he wakes Quinn. Quinn wakes and goes for his gun. Tyler catches his hand.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Lieutenant Quinn! Tyler Colt, Navy SEALs. What happened here?<\/dialogue>\n    <scene_description>Quinn blinks as if waking from a dream.<\/scene_description>\n    <character>LT. QUINN<\/character>\n    <dialogue>A man came. A dead man.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Was anyone with him?<\/dialogue>\n    <character>LT. QUINN<\/character>\n    <dialogue>Guy in a suit. Girl in a white dress.<\/dialogue>\n    <scene_description>Tyler closes his eyes in relief. Jenny's alive.<\/scene_description>\n    <character>LT. QUINN<\/character>\n    <dialogue>They went down to the caves.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NECROPOLIS - UNDERWORLD GATE<\/stage_direction>\n    <scene_description>Huge doors of bronze grind open. Ashurbanipal walks into a cavernous hall, Jenny and Lorenzo following obediently. TORCHES burst into flame as he enters, illuminating the hall. Ashurbanipal gestures: the giant doors slam shut behind him. A great MANDALA is carved in the floor - the grooves in the stone filled with gold. Seven interlocking circles. An elevated LECTERN overlooks the mandala. Ashurbanipal lays the SCROLL on the lectern. Places Jenny in front of it. She's sleepwalking now: hopelessly in the grip of his compulsion.<\/scene_description>\n    <character>ASHURBANIPAL<\/character>\n    <dialogue>Read the ritual.<\/dialogue>\n    <scene_description>Lorenzo stands behind her. Ashurbanipal hands him an ancient BRONZE DAGGER from Lorenzo's own collection.<\/scene_description>\n    <character>ASHURBANIPAL<\/character>\n    <dialogue>Watch her.<\/dialogue>\n    <scene_description>He descends to the floor below. Walks onto the mandala. Jenny reads. Ancient Akkadian ringing from her lips. As she reads, THE MANDALA MOVES, one circle turning at a time. The runes around their edges form sequences. A combination lock. She completes a phrase. Chanting, Ashurbanipal steps from rune to rune in a ritual invocation. THREE STONE PILLARS stand above the mandala: as Ashurbanipal walks the magical phrase, the runes BURN INTO THE FIRST PILLAR.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOSUL ARMY BASE - DAY<\/stage_direction>\n    <scene_description>Standing with Tyler, Quinn sees Malik reviving Saif Al-Rahal.<\/scene_description>\n    <character>LT. QUINN<\/character>\n    <dialogue>Saif! Base commander. A good man.<\/dialogue>\n    <scene_description>Tyler shakes Saif's hand as he rises, speaking urgently.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Commander. The man who did this to you is down in the caves. We're going after him.<\/dialogue>\n    <character>SAIF<\/character>\n    <dialogue>He was no man. He was a jinn.<\/dialogue>\n    <character>MALIK<\/character>\n    <dialogue>Yes. Your weapons will not work against him.<\/dialogue>\n    <scene_description>Dayan, Rabbu, and Belbasa unload gear from the helicopter. Every CONSECRATED BLADE from the Temple armory. Wooden boxes containing VIALS OF WHITE SALTS. Modern ammo cases.<\/scene_description>\n    <character>MALIK<\/character>\n    <dialogue>These are sacred blades. They will bite even a jinn. Holy salts: harmless to men, deadly to demons. Incendiary bullets for your guns.<\/dialogue>\n    <scene_description>Saif lifts a Temple sword, admiring the steel. He smiles.<\/scene_description>\n    <character>SAIF<\/character>\n    <dialogue>Allah hu Akbar.<\/dialogue>\n    <character>MALIK<\/character>\n    <dialogue>Praise God.<\/dialogue>\n    <scene_description>A SHOUT from the gates. A battered LAND ROVER speeds onto the base in a cloud of dust. Twenty guns come up. PROFESSOR SHEPPARD gets out, hands in the air. His voice trembles:<\/scene_description>\n    <character>PROFESSOR SHEPPARD<\/character>\n    <dialogue>I'm looking for Tyler Colt.<\/dialogue>\n    <scene_description>Tyler steps forward, astonished.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Here.<\/dialogue>\n    <character>PROFESSOR SHEPPARD<\/character>\n    <dialogue>I have a message from Jenny Halsey. I, uh...I don't know what it means.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Talk.<\/dialogue>\n    <character>PROFESSOR SHEPPARD<\/character>\n    <parenthetical>(reciting from memory)<\/parenthetical>\n    <dialogue>There are three spells in the ritual. The first spell raises the city of the dead. The second restores the Dead King to life. The third makes him immortal. Between the second spell and the third - he can be killed.<\/dialogue>\n    <scene_description>Tyler and Malik exchange fierce looks. There's a chance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NECROPOLIS - UNDERWORLD GATE<\/stage_direction>\n    <scene_description>Jenny - looking every inch the priestess with her white dress and transported eyes - finishes reading the first spell. The runes of the mandala LOCK INTO PATTERN. Ashurbanipal paces a mystical phrase across the interlocking circles. On the pillar, the first spell is completed: luminous runes filling its surface. A RUMBLE. The walls shake. Ashurbanipal laughs in triumph.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOSUL ARMY BASE - DAY<\/stage_direction>\n    <scene_description>Tyler and the Temple Brothers are rigged for battle. Swords on their hips. Rifles on their shoulders. Army Rangers and Iraqi soldiers load incendiary rounds. Malik hands Tyler a TEMPLE SWORD in a scabbard.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>The dude chopped down a bridge. What am I going to do with this?<\/dialogue>\n    <character>MALIK<\/character>\n    <dialogue>The power was in his blade, not his arm. I know I failed you. I promise you: the Temple steel will not.<\/dialogue>\n    <scene_description>Tyler gives in. Straps the sword around his hips. A RUMBLE. The earth shakes! Dark clouds blot out the sun. WALLS AND PILLARS erupt from the ground! RIFTS open in the earth, sand draining into subterranean chasms. The shifting ground topples gun turrets and swallows vehicles.<\/scene_description>\n    <character>MALIK<\/character>\n    <dialogue>The first spell! The Necropolis rises!<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Move out! Go! Go!<\/dialogue>\n    <scene_description>He leads a charge toward the caves, Malik at his side. The Temple brothers behind them, other soldiers following. But THE DEAD CRAWL FROM THE CHURNING EARTH! The restless souls of the Underworld. Some are SKELETAL FIENDS. Others, twisted MUSCULAR GHOULS wrapped in chains. Even some of the pale EYELESS HORRORS from the Valley of the Blind. They attack the living with clawed fingers and fangs, turning the soldiers' advance into a chaotic melee. The air fills with screams. The horrified soldiers begin to break and run. Swords flashing, the Temple Brothers stand their ground where soldiers flee. American and Iraqi soldiers rally behind them. Wounded, the dead bleed black ichor. Burning bullets hurt them: but they take a lot of damage and keep coming. The Temple blades are another matter: they put the dead down. Tyler hesitates, seeing the men embattled all around him.<\/scene_description>\n    <character>MALIK<\/character>\n    <dialogue>Kill the King and end it all!<\/dialogue>\n    <scene_description>Tyler nods. They run together for the caves. AT THE HELICOPTER Professor Sheppard cowers, left behind. A vial of holy salts in his hand. He stares in frozen horror at the chaos. A DEMON crawls out of the ground in front of him! A wasted black figure with the skeletal head of a hawk. Eyes of fire. A barbed whip coiling from its hand. The demon draws back its whip. Sheppard HURLS THE SALT VIAL! It SHATTERS. The finely ground salt EATS INTO THE DEMON like hot embers. It disintegrates, shrieking and burning. Sheppard frantically fills his pockets with the vials. Picks up a whole crate and runs after the Temple Brothers.<\/scene_description>\n    <character>PROFESSOR SHEPPARD<\/character>\n    <dialogue>Wait for me!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MOSUL CAVES<\/stage_direction>\n    <scene_description>Natural caverns, squared off by ancient masons. The Iraqi Army has made a munitions dump of them: crates of equipment and ammo stacked against the walls. A hodge-podge of modern equipment and Soviet-era hardware in mothballs. Tyler and Malik run through the caves, seeking a way down. Tyler feels the air with his scarred palm. Hunting.<\/scene_description>\n    <character>MALIK<\/character>\n    <dialogue>He built the Necropolis here because the boundary between worlds is weak in this place. The Dead King's spells will tear that boundary. The Underworld will cross over into this world. Watch your step.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>No sweat. I've been to hell before.<\/dialogue>\n    <scene_description>They come to an ANCIENT STONE GATEWAY flanked by Assyrian GUARDIAN STATUES. The stone gate has been raised: beyond, a passageway lit by burning braziers leads deep into the earth.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>There!<\/dialogue>\n    <scene_description>But as they approach the gateway, the GUARDIAN STATUES COME TO LIFE! Step down from their pedestals. Ten-foot DEMONS with heavy maces. Behind them, the STONE GATE BEGINS TO CLOSE! Malik engages both Guardian Demons - strafing one with his rifle while slashing at the other. Both Demons attack him.<\/scene_description>\n    <character>MALIK<\/character>\n    <dialogue>Go! Run!<\/dialogue>\n    <scene_description>Tyler runs. Diving under the descending gate just before it closes. Malik fighting a desperate battle against the giants as the gate blocks him from view. Tyler runs down the long firelit causeway. UNDERWORLD GATE Jenny finishes a phrase of the second spell. The circles turn: Ashurbanipal speaks his invocation, deep in a trance. Behind him, the GREAT BRONZE DOOR INCHES OPEN. It's Tyler, straining with all his might to move the massive slab Ashurbanipal pushed open so easily. He squeezes inside. Jenny sits staring into space at the Lectern. Ashurbanipal chants on the mandala. Tyler runs silently up the stairs. Lorenzo steps from behind a column - DAGGER PLUNGING TOWARD TYLER'S CHEST! Tyler catches Lorenzo's wrist. Drives him back against the wall - and PUNCHES HIM hard in the jaw. Again. And again. Finally the sleepwalker light in Lorenzo's eyes goes out: he drops, unconscious, the dagger clattering away. Tyler kneels beside Jenny: she's a million miles away. Taking out the kit Belbasa gave him, he stamps warding runes on her skin. Anoints her with oil. Wafts burning herbs under her nose. Nothing happens. At a loss, he KISSES HER. HARD. As their lips part, her eyes widen in astonishment.<\/scene_description>\n    <character>JENNY<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Tyler!<\/dialogue>\n    <scene_description>Tyler points at the pillars. The first spell complete; the second spell nearly done. The third pillar still blank.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>I got your message. Does that mean one spell down, two to go?<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Yes, but -<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Finish the second spell. Make him mortal. As fast as you can.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Tyler! Ashurbanipal has to buy his soul back from the Underworld with a life. You're the life. The Blood of the Chosen. He has to kill you.<\/dialogue>\n    <scene_description>Tyler blinks. Stares down at his scarred hand.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Well, that's important information.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>I tried to warn you not to come. I got cut off before -<\/dialogue>\n    <character>ASHURBANIPAL<\/character>\n    <parenthetical>(in Akkadian, subtitled)<\/parenthetical>\n    <dialogue>At last!<\/dialogue>\n    <scene_description>His voice thunders in the hall. He grins evilly up at Tyler. Tyler brings his rifle up.<\/scene_description>\n    <character>ASHURBANIPAL<\/character>\n    <parenthetical>(in Akkadian, subtitled)<\/parenthetical>\n    <dialogue>Blood of my blood.<\/dialogue>\n    <scene_description>He LEAPS AT TYLER - a staggering leap - thirty feet onto the stone stair. Tyler FIRES - stitching the Dead King's chest with a dozen burning bullet holes. Ashurbanipal's sword SLASHES - CUTTING TYLER'S RIFLE IN TWO! Tyler tumbles down the stone staircase. Ashurbanipal walks down after him with a sneer. The bulletholes closing up. Tearing her eyes away from Tyler's plight, Jenny turns back to the Lectern. Reading the second spell as fast as she can. Tyler draws his Temple sword. Backing onto the mandala as Ashurbanipal advances. The Dead King strikes! Their blades clash - and the Temple steel holds. They fight, the wheels of the mandala turning treacherously under their feet. Jenny finishes the pattern! As they fight, Ashurbanipal and Tyler stagger across the rune sequence. The runes FLARE INTO EXISTENCE on the second pillar. The SECOND SPELL IS COMPLETE! GOLDEN LIGHT ERUPTS from Ashurbanipal - blinding Tyler. A transformation sweeps over his body. Withered gray skin becoming flushed and smooth. The handsome face restored. The Dead King lives. Ashurbanipal laughs in triumph.<\/scene_description>\n    <character>ASHURBANIPAL<\/character>\n    <parenthetical>(in Akkadian, subtitled)<\/parenthetical>\n    <dialogue>Alive!<\/dialogue>\n    <scene_description>He dodges suddenly as Tyler strikes - the blade grazing his cheek. A drop of blood wells from the shallow cut.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Mortal.<\/dialogue>\n    <scene_description>Ashurbanipal shouts up to Jenny - his erstwhile slave.<\/scene_description>\n    <character>ASHURBANIPAL<\/character>\n    <parenthetical>(in Akkadian, subtitled)<\/parenthetical>\n    <dialogue>Quickly! The third spell...<\/dialogue>\n    <parenthetical>(in sudden horror)<\/parenthetical>\n    <character>NO!<\/character>\n    <dialogue>Jenny stands with a the scroll in one hand - and a BURNING TORCH IN THE OTHER! About to set the scroll on fire.<\/dialogue>\n    <dialogue>Lorenzo pops up behind her like a marionette on strings. He tackles her. They go down, fighting like cats.<\/dialogue>\n    <dialogue>Ashurbanipal slashes at Tyler. Tyler fights for his life.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOSUL ARMY BASE - DAY<\/stage_direction>\n    <scene_description>The battle has spread to every corner of the base. Fierce skirmishes everywhere. And now, on the heels of the risen dead - DEMONS erupt from the earth. They are taller than the Dead, and less human: they have bestial fangs or talons, stunted wings, multiple limbs. Eyes of white fire. Where the Dead attack with their claws and teeth, the Demons carry hellish weaponry. Flails, maces, whips and swords. Quinn and Saif fight back-to-back against a host of the Dead. Wielding Temple blades with more ferocity than technique. The Temple Brothers fight like heroes of old. Mighty Rabbu with a broadsword in each hand. Dayan working a sword-and- submachine-gun combo. Professor Sheppard hides behind Belbasa's sword and lobs vials of holy salts into the fray. But as more Demons rise from the earth, the Temple brothers lose ground, hard pressed. A host of Demon threatens to overwhelm them. Suddenly a ROCKET-PROPELLED GRENADE streaks into the midst of the demons. A shattering BLAST staggers them. Malik arrives beside his brothers, dropping the smoking grenade launcher. He survived his battle in the caves.<\/scene_description>\n    <character>MALIK<\/character>\n    <dialogue>The Rebel Temple! Hello, brothers!<\/dialogue>\n    <character>RABBU<\/character>\n    <dialogue>They come up faster than we can cut them down! We cannot win!<\/dialogue>\n    <character>MALIK<\/character>\n    <dialogue>Just hold! Contain the evil here! Trust Tyler to do his part.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NECROPOLIS - UNDERWORLD GATE - LECTERN<\/stage_direction>\n    <scene_description>Lorenzo is on top of Jenny, STRANGLING her. Knocking her head against the floor. SHE FALLS LIMP, unconscious or dead. He leaps to the lectern and begins to read the Ritual Scroll. On the mandala, Tyler and Ashurbanipal fight viciously, sword to sword. The wheels begin turn treacherously underfoot. Tyler leaps back. PULLS HIS PISTOL in an attempt to end the fight once and for all - but Ashurbanipal closes the distance with supernatural speed and KICKS THE GUN FROM HIS HAND. The gun falls just outside the mandala. Tyler dives for it - - and a BOLT OF LIGHTNING CRACKS ACROSS THE CAVERN.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNDERWORLD - PLAIN OF MISERS<\/stage_direction>\n    <scene_description>An arid red plain. THOUSANDS OF PALE HANDS reach out of the dry earth, clutching at whatever comes near. Tyler and Ashurbanipal have crossed over into the Underworld. Tyler's dive lands him in the thick of the dead hands. He struggles desperately to escape, fighting to rise. Ashurbanipal lunges to finish Tyler off - and stumbles to his knees. The hands drag him down five feet away. They fight, swords clashing, as they struggle to get free.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NECROPOLIS - UNDERWORLD GATE - LECTERN<\/stage_direction>\n    <scene_description>Lorenzo reads the ritual in halting Akkadian. Jenny gets up off the floor behind him. Shaky on her feet. She looks at the third pillar. THE THIRD SPELL IS ALMOST COMPLETE! In moments Ashurbanipal will be immortal. She leaps at Lorenzo. Clamps both hands over his mouth. He twists her to the floor. But Jenny keeps her grip on his head. Plants a foot in his gut. CATAPULTS HIM OVER HER HEAD! Lorenzo crashes down onto the mandala, stunned. AN BOLT OF LIGHTNING FLASHES IN THE CAVERN - and he's gone.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UNDERWORLD - VALLEY OF THE BLIND<\/stage_direction>\n    <scene_description>Lorenzo picks himself up. He's surrounded by THOUSANDS OF PALE FIGURES. Hairless and eyeless. Staring blindly at a red BEACON atop a BLACK TOWER. They breathe in eerie unison.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Some of the Blind twitch - faces turning toward him.<\/scene_description>\n    <character>LORENZO<\/character>\n    <dialogue>No!<\/dialogue>\n    <scene_description>They all turn now. Blank faces TEARING OPEN INTO FANG-FILLED MOUTHS! They come for him.<\/scene_description>\n    <character>LORENZO<\/character>\n    <scene_description>UNDERWORLD - PLAIN OF MISERS ` Tyler, on his feet now, backpedals slowly as Ashurbanipal presses the attack. He parries one blow after another - and Ashurbanipal KNOCKS THE TEMPLE SWORD FROM HIS HAND! The sword falls into the dead hands. They pass it from hand to hand, carrying it away from Tyler. He dives after it. A FLASH OF LIGHTNING<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NECROPOLIS - UNDERWORLD GATE<\/stage_direction>\n    <scene_description>Tyler sprawls across the mandala, empty handed. Back in the Upper World. Ashurbanipal chases him across the mandala - sword clashing on the stones as Tyler scrambles and rolls. From the Lectern, Jenny watches aghast.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Tyler!<\/dialogue>\n    <scene_description>Ashurbanipal looms over Tyler, sword held high. Tyler twists away - just as the rotation of the mandala CARRIES HIM PAST HIS FALLEN PISTOL! Tyler snatches up the gun. LIGHTNING FLASHES! UNDERWORLD - SEA OF FIRE Tyler empties the clip into the king's body. Ashurbanipal staggers back in shock. Tyler gets to his feet. They stand ATOP A STONE PINNACLE. The whole spire slowly sinking into the SEA OF FIRE. Ashurbanipal's wounds bleed bright red blood. He is dying. Tyler walks up to him. Feebly, Ashurbanipal swings his sword. Tyler takes the sword away. Reverses the swing and KNOCKS THE CROWN FROM ASHURBANIPAL'S HEAD. It falls into the fire below. The king is backed up to the brink. Tyler raises the sword.<\/scene_description>\n    <character>ASHURBANIPAL<\/character>\n    <parenthetical>(in Akkadian, subtitled)<\/parenthetical>\n    <dialogue>This is not over.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>No idea what you're saying.<\/dialogue>\n    <scene_description>He plants the sword in Ashurbanipal's chest to the hilt. Kicks him over the edge. Ashurbanipal, King of Assyria, Lord of Massacres, falls into fire.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NECROPOLIS - UNDERWORLD GATE - LECTERN<\/stage_direction>\n    <scene_description>Frantically, Jenny runs a finger across the Ritual Scroll, searching for answers. Speaks a phrase of ancient Akkadian. The wheels turn. A FLASH OF LIGHTNING. Nothing. UNDERWORLD - SEA OF FIRE Tyler drops to his knees, breathing in gasps. The spire sinks slowly into the fire. In moments he will be engulfed by the flames. He watches his destruction come.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. NECROPOLIS - UNDERWORLD GATE - LECTERN<\/stage_direction>\n    <scene_description>Jenny speaks another line. The wheels turn. Nothing happens. Finally, desperate, she tries a last line of magic, shouting the ancient syllables until the walls echo with it. The wheels pivot and lock. A SHATTERING THUNDERBOLT! Tyler kneels on the mandala, smoke rising from his clothing.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Tyler!<\/dialogue>\n    <scene_description>She runs to him, dropping to her knees beside him. Throws her arms around him. He pulls her close - and suddenly they're KISSING. Their shared ordeals translated into passion. A RUMBLE. The floor shakes under them. They both look up.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>We'd better go.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOSUL ARMY BASE - DAY<\/stage_direction>\n    <scene_description>The DEAD DISSOLVE INTO POOLS OF DUST. The DEMONS DISINTEGRATE INTO BURNING EMBERS. The defenders lower their swords and guns in disbelief. The NECROPOLIS RECEDES. Walls and pillars sinking back beneath the ground. Fissures in the earth closing up. The Temple Brothers look up: THE FACE OF ASHURBANIPAL FORMS IN THE DARK CLOUDS, full of fury. But even as it forms, the clouds shred and blow away, revealing a golden sun.<\/scene_description>\n    <character>MALIK<\/character>\n    <dialogue>The Evil One has fallen!<\/dialogue>\n    <scene_description>A mighty cheer from all the warriors on the field. Iraqi soldiers, Army Rangers, even Professor Sheppard. A ROAR LIKE THUNDER! A dust cloud billows from the mouth of the caves. The smile dies on Malik's lips. His friends! He runs toward the cave entrance. The Temple brothers and Professor Sheppard follow. Before they get there, Tyler and Jenny walk out of the dust, arm in arm. The Temple brothers race to them, nearly taking them off their feet with their jubilant embrace.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ATHENS - REBEL TEMPLE SAFE HOUSE - DAY<\/stage_direction>\n    <scene_description>A palatial house in the center of Athens. In the distance, the Parthenon gleams in the sunset. Tyler sits shirtless on a wooden chair as Belbasa puts the finishing touches on a full set of Rebel Temple tattoos: mandalas and warding symbols on his chest and back. Jenny and Malik sit watching, sipping wine. Belbasa finishes. Tyler pulls a shirt on, wincing. Malik embraces him.<\/scene_description>\n    <character>MALIK<\/character>\n    <dialogue>Now you are a Temple brother. Our doors will always be open to you. We have safe houses like this one in many cities. You will never be homeless.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>He sits beside Jenny. Slides an arm around her.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>What about you and your brothers?<\/dialogue>\n    <character>MALIK<\/character>\n    <dialogue>We must replenish our numbers. Rebuild our temple. The Evil One has fallen. Other evils will rise. The Rebel Temple will keep watch. Never again to let down our guard.<\/dialogue>\n    <scene_description>They rise, parting ways. Tyler grips Malik's hand.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>Good luck, Malik. Stay strong.<\/dialogue>\n    <character>MALIK<\/character>\n    <dialogue>We will. Godspeed.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ATHENS - STREET<\/stage_direction>\n    <scene_description>Tyler and Jenny stroll, arms around each other. They wear sunglasses. Tyler in a hat, Jenny a head scarf. Incognito. The sun is setting. The streets full of flowers. A guitarist plays on a street corner. It's all ridiculously romantic.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>So we saved the world and we're wanted fugitives. What now?<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>I was thinking Mexico.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Lot of good archaeology. Mayan ruins.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Also a lot of good hiding places.<\/dialogue>\n    <scene_description>She laughs. And around them - THE MARKETPLACE FALLS SILENT. People talk, motor scooters zip past, the guitarist plays - but all Jenny and Tyler can hear is THE RUSHING OF WIND.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>You hearing this?<\/dialogue>\n    <scene_description>Jenny nods, wide-eyed with awe.<\/scene_description>\n    <character>MAJOR KRAKAUER<\/character>\n    <dialogue>Sorry. That's me.<\/dialogue>\n    <scene_description>They turn. A lean man in a suit stands behind them. Chiseled features, graying temples, shrewd eyes. He is DYSON KRAKAUER. He waves his hand to indicate the aura of silence.<\/scene_description>\n    <character>MAJOR KRAKAUER<\/character>\n    <dialogue>Antisound. I'd rather not be overheard. Mr. Colt. Ms. Halsey. The world's in your debt. I want you to know we appreciate what you've done.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>Who's \"we?\"<\/dialogue>\n    <character>MAJOR KRAKAUER<\/character>\n    <dialogue>The Special Weapons Group. Department of Defense. Major Dyson Krakauer.<\/dialogue>\n    <scene_description>He hands them each a card. Jenny stares at hers in amazement.<\/scene_description>\n    <character>MAJOR KRAKAUER<\/character>\n    <dialogue>You're in a bit of legal trouble. We can fix that.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>You can clear our names?<\/dialogue>\n    <character>MAJOR KRAKAUER<\/character>\n    <dialogue>In the blink of an eye.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>What's the catch?<\/dialogue>\n    <character>MAJOR KRAKAUER<\/character>\n    <dialogue>The Egyptian city of Heracleion sank into the sea three thousand years ago. It's an archaeological dig now. Our instruments have detected some unusual...energy signatures.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MEDITERRANEAN SEA - DAY<\/stage_direction>\n    <scene_description>Tyler pilots a little MOTOR LAUNCH across the ocean, Jenny by his side. Ahead, the archaeological site at Heracleion - a cluster of research ships anchored off the Egyptian coast.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>We're supposed to be scientists, so follow my lead here. You can do your frogman stuff. Leave the archaeology to me.<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>No. You follow my lead. This is your first mission in the field!<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>What about all that saving-the- world stuff? That counts. That was like five missions.<\/dialogue>\n    <scene_description>Tyler pulls alongside the main research ship. There's twenty SCIENTISTS on deck, too busy to wave at the newcomers. All eyes are on a WINCH CABLE being reeled in from the depths. At the end of the cable, a CARGO NET breaks the surface a dozen feet from Tyler and Jenny, rocking their little launch. In the net: an EGYPTIAN SARCOPHAGUS carved of black stone.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Look at that!<\/dialogue>\n    <character>TYLER<\/character>\n    <dialogue>No. No no. We are not doing this.<\/dialogue>\n    <character>JENNY<\/character>\n    <dialogue>Come on! Get me closer!<\/dialogue>\n    <scene_description>She leans way out over the gunwale, staring. Yanks on Tyler's sleeve - and the launch TIPS, throwing them into the water. They end up CLINGING TO THE CARGO NET, nose to nose with the sarcophagus, as scientists cheer from the research boat.<\/scene_description>\n    <character>TYLER<\/character>\n    <dialogue>This is not happening.<\/dialogue>\n    <scene_description>Jenny's reading inscriptions, wide eyed. She stares at him.<\/scene_description>\n    <character>JENNY<\/character>\n    <dialogue>Tyler. She was a queen.<\/dialogue>\n    <scene_description>FADE OUT.: THE END.:<\/scene_description>\n    <character>THE<\/character>\n    <dialogue>ASHURBANIPAL,<\/dialogue>\n    <character>TRUE<\/character>\n    <dialogue>KING<\/dialogue>\n    <character>LORD<\/character>\n    <dialogue>OF<\/dialogue>\n    <scene_description>THE BLOODY EMPIRE Assyria began as the city---state of Ashur on the banks of the Tigris, in what's now northern Iraq. Founded in the 25th Century BC, it endured for two thousand years. For three hundred years-from about 900BC to about 600BC-Assyria was the greatest power in the world. Its conquering armies ranged from Egypt to India. Assyria never knew peace. Situated in the heart of Mesopotamia, with no natural boundaries to aid in its defense, Assyria was locked in perpetual war with Egypt to the East, Babylon to the South, and a host of city---states and tribal nations that forever challenged its borders. To survive, Assyria asserted its power-subjugating rival kings and expanding its domain to become history's first empire. A host of military innovations powered these conquests: iron blades, siege weapons, mounted archers\u2026but Assyria's most effective innovation was the use of horror as a weapon. Assyria's enemies, defeated in battle, suffered atrocities that beggar the imagination. They were skinned alive, sealed into walls, impaled on stakes, decapitated. Limbs were lopped off, tongues and eyes torn out, and all these grisly trophies placed on display outside conquered cities. The wrath of Assyria was so terrible that entire towns committed suicide when the Assyrian army appeared outside their walls. No king of Assyria wielded the weapon of horror more ruthlessly than Ashurbanipal. THE HAUNTED KING Ashurbanipal ruled for almost sixty years - from 685BC to 627BC - consolidating Assyria's strength and breaking the power of Egypt and Babylon. He developed a reputation for staggering cruelty. The walls of his palace at Nineveh were decorated with scenes of battle, torture, and execution. But Ashurbanipal was no savage. He was trained as a scholar as well as a soldier- the only Assyrian king in two thousand years who could read and write. He filled his palace's vast library with histories, scientific texts, and mystical documents. As a young man, Ashurbanipal had suffered a life---changing vision. In a dream, he descended to the Underworld. Nergal, the Lord of the Underworld, showed him a revelation: the body of a king would lie in the Underworld and be protected by the powers of darkness-and his kingdom in the upper world would flourish. The Lord of the Underworld ended his revelation with this charge: \"Set this word like a thorn in your heart. Go forth to the upper world until I think of you!\" Ashurbanipal's strange account of this revelation is today known as The Underworld Vision of an Assyrian Crown Prince. It prefigures the Revelation of St. John the Divine, and is unlike any other document of its time. Traditionally Assyrians placed the god Ashur at the top of their pantheon: but as king Ashurbanipal gave prime position to the goddess Ishtar, who according to myth descended to the Underworld seeking power and returned again by buying her freedom with the soul of another. Interestingly, Ashurbanipal's reign was marked by a proliferation of Egyptian symbols in Assyrian art: the ankh, the lotus, the winged disk. It is possible that Ashurbanipal brought back documents or even scholars from his conquest of Egypt. Obsessed as he was with the Underworld, the great mortuary cult of the Egyptian pharaohs must have made an impression on his mind. THE EMPIRE'S END Little is known of Ashurbanipal's passing. The manner of his death is a mystery. He has no known tomb. A power struggle erupted on his demise: four different kings claimed the throne for a handful of years as Assyria's power dwindled. In 604BC, less than twenty---five years after Ashurbanipal died, a resurgent Babylon overwhelmed Assyria, slaughtering its rulers, razing its cities, and scattering its people. The two---thousand---year---old empire was erased from history. If Ashurbanipal dwells in the Underworld now, he has witnessed the utter undoing of all he fought for. It is difficult to believe his eyes are not cast upward-that he is not striving even now, like Ishtar, to return in vengeance to the upper world. -Jon Spaihts<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In ancient Egypt, Princess Ahmanet was in line to rule over the pharaoh's kingdom, but the pharaoh sired a son. Knowing that her place to rule had been taken, she made a deal with the deity Set and was given demonic powers. She murdered her father, stepmother, and half-brother and attempted to set the deity free, but was caught and mummified alive by Egyptian priests as punishment for her crimes. Her sarcophagus was then entombed in a region far away so she could never escape. In present-day London, construction workers discover the tomb of a crusader knight who was buried with an Egyptian ruby, and Dr. Henry Jekyll takes over the operation. In Iraq, U.S. Army Sergeant Nick Morton and Corporal Chris Vail discover the tomb of Princess Ahmanet, unknowingly bringing Ahmanet back to life. The soldiers and British archaeologist, Jenny Halsey, fly Ahmanet's sarcophagus to Britain. During the flight, Chris is possessed by Ahmanet through a spider bite, and he attacks the others, only to be killed by Nick. A large flock of crows attacks the plane and is sucked into the engines. The plane crashes, killing the crew except for Jenny, who escapes with a parachute Nick gives her. Nick returns to life in a morgue. Chris's ghost appears and tells him he has been cursed by Ahmanet, who seeks to use him as a vessel for Set. Ahmanet's mummy escapes from the sarcophagus and begins feeding on people to regenerate her body, turning them into zombies. She recovers the Dagger of Set and attempts to stab Nick before realizing that the ruby is not attached to it. She and her army chase after Nick and Jenny until soldiers appear and subdue her. The soldiers\u2019 leader, Dr. Henry Jekyll, explains that Jenny is an agent of Prodigium, a secret society dedicated to hunting supernatural threats. Nick and Jenny discover that Jekyll intends to allow Set to possess Nick's body completely, believing that this will render Set vulnerable. Jekyll transforms into Eddie Hyde. Nick stops him with a serum that Jekyll invented for this purpose, allowing Nick and Jenny to escape. Ahmanet finds them, regains the dagger, summons many crusader zombies, and creates a large sandstorm in London. The crusader zombies kill the Prodigium soldiers and Ahmanet recovers the ruby, combining it with the dagger in order to free Set. Guided by Chris's ghost, Nick and Jenny flee into the London Underground, where Ahmanet's zombies attack them. Ahmanet captures Jenny and drowns her. When Nick is brought to Ahmanet, he sees Jenny's body, and the zombies turn to dust. Nick is injured when he tries to attack Ahmanet and lets her embrace him as a ruse to steal the dagger and shatter the ruby. He strikes the pommel of the dagger against the floor, cracking the ruby, but Ahmanet reminds him that the dagger could grant him the power to reverse death. Instead of destroying the gem, he stabs himself, and his body is possessed by Set. Set goes to Ahmanet as he begins to take over, but as he looks at Jenny's dead body, Nick regains control after remembering both her and Jekyll's words and uses Set's powers to extract Ahmanet's life force, killing her. Struggling against Set, Nick also resurrects Jenny. Knowing that Prodigium is coming for him, he says goodbye to Jenny and vanishes. As Ahmanet is sealed back in her tomb, Jenny and Jekyll wonder whether Nick, now fused with Set, will use his powers for good. Nick returns to the desert and resurrects Chris. The two go on an adventure to Egypt, hoping to find a cure to remove the curse."}
{"movie_name":"Oxygen_2021","imdb_id":"tt6341832","script":"<script>\n  <scene>\n    <character>O2<\/character>\n    <dialogue>By Christie LeBlanc<\/dialogue>\n    <scene_description>Adam Riback James Engle Echo Lake Entertainment 310-789-4790 BLACK Maybe even darker. No sound. Endless nothing. Then -- FADE IN: A pulse of red light pierces the darkness. So fast it barely registers. Another. Another. Somewhere a computer spits out ominous warning beeps. Another flash of red. Again. Again. And in the flashes WE GLIMPSE -- An eyelid. Closed. Tiny flecks of crystallized ice line the lashes. No hint of movement. More beeps. More flashes. Then -- The red disappears. Replaced by a dim steady green. And -- The eye opens. The sound of a great heaving inhale of breath. Panting. A whimper. The eye rolls wildly. Crackling wordless sounds from lips we do not see. Then --<\/scene_description>\n    <character>FEMALE VOICE (O.S.)<\/character>\n    <parenthetical>(hoarse)<\/parenthetical>\n    <dialogue>Hhhh... help... me...<\/dialogue>\n    <scene_description>We pull back to see -- A WOMAN - maybe 20, maybe 40. In the dim ethereal green light, it's impossible to tell. She's wearing only panties and an undershirt. And -- She's pinned down to a 3 by 8 foot slab by straps at her forehead, torso, wrists, and legs. Totally immobile. This is CHARLOTTE 'CHARLIE' NEWTON, but she doesn't know that. Her DNA's chock full of brilliance, drive, and ambition - but she doesn't know that either. Right now, all she knows is terror.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Help! HELP!<\/dialogue>\n    <scene_description>Charlie struggles against her bonds. Screaming. Full on guttural fight-or-flight terror. But -- She can't move. She pants, helpless. Droplets of melted ice coat her skin. Her eyes jump everywhere. She knows she's royally fucked. Wordless pleas bubble from her lips. Then -- She sucks in controlled, deep breaths. All is quiet.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Hello...? Is somebody there?<\/dialogue>\n    <scene_description>Nothing. She whimpers. Struggles some more. Screaming. Straining 'til her neck tendons threaten to snap. It's no use. She grows very still. The only movement, the steady rise and fall of her chest. Then -- -- with laser-sharp focus -- She shimmies her wrist. Groans as she twists it ,'til her hand is palm up. She curls her fingers toward the strap. The tips barely brush against the velcro-like tie at her wrist. She cries out from the strain, curling her hand further -- -- further -- --'til her fingertips feel along the velcro edge. She grunts in pain. Drops her hand. Catches her breath. And -- Reaches again. One fingertip finds a tiny curled edge. Flicks it. Again. Again. Again. The curl grows.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Please... please...<\/dialogue>\n    <scene_description>Again. Again. Again. Again. Ever-so-slightly bigger. Each breath a whimper. And -- She snags the edge with a second finger.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(between breaths)<\/parenthetical>\n    <dialogue>Okay... okay... okay...<\/dialogue>\n    <scene_description>With almost zero leverage, she pulls. And -- It gives. Just a little. With the sound of a thousand slow motion zippers. And -- She drops her hand. Exhausted. Looks around. Her dread bubbles up. She squeezes her eyes shut tight. Collects herself. Holds in a deep breath of air. Grabs it again. And -- With a primordial howl, she pulls. ZZZZIIIIIPPPPPP! Her arm is free. She chortles with pure joy. Rips the tie off her other wrist. Finds an I.V. at her elbow. Rips it out too. She winces from pain, but doesn't stop. Yanks the strap off her forehead. Lead wires come away with it. She looks at them. A brief glimmer of half-recognition. Then -- She flails her arms out in front of her. And -- THUNK. Her hands hit metal. A yelp escapes her lips. Her desperate fingers fan out along the smooth surface of metal 10 inches above her face. Panic and instinct kick in. She lashes her arms out on each side. THUNK. More metal. Above her head -- THUNK. She's in a -- FUCKING METAL BOX!!! Her lungs heave great raspy breaths. She's pounding her fists against the walls. Wailing.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Help! HELP! Get me out of here!<\/dialogue>\n    <scene_description>She pounds -- -- and pounds -- 'til she's sobbing hysterically.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Stop! LET ME OUT! Please let me out...! PLEASEEEEE...!<\/dialogue>\n    <scene_description>No one comes. With agonizing slowness, her sobs dry to nothing. The only sound, her breath. Her eyes dart everywhere. Lock in on the source of the dim green light -- A button between her feet. She reaches for it, but -- The space is too small. Her head and shoulder jam up in the corner of the box. ACK! She grabs the waist restraint. Tries to pry it off, but -- It's different than the wrist ones. It's made of thick metal. Her fingers snake over every inch, and --<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Come on, come on, come on!<\/dialogue>\n    <scene_description>-- find nothing. She groans with frustration and terror. Stares down at her feet. And the green light between them. Taunting her. Daring her. With a grunt, she twists her bound foot. Reaches for the light with her toe. The grunt turns to a wail as she stretches further --<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Come on, you son of a bitch!<\/dialogue>\n    <scene_description>- further -- 'til -- Her toe reaches the button. Momentarily blocks all light. BLACK<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Please... please... oh God... please...<\/dialogue>\n    <scene_description>Then a CLICK as she depresses the button. And she -- RECOILS from a bright onslaught of light, as -- The wall in front of her lights up. She looks. It's a massive COMPUTER MONITOR. ON THE SCREEN Inches from her face, a digital outline of a human body with continually scrolling vitals. And code. Lots of code. It scrolls so fast, it's barely visible. The light from the monitor illuminates every corner of the box -- It's barely bigger than a coffin. And -- In the light, we really see Charlie for the first time - lean muscles, flawless skin - an adult at the peak of physical perfection. A digital voice emanates from some unseen speakers.<\/scene_description>\n    <character>DIGITAL VOICE<\/character>\n    <dialogue>Systems failure. Oxygen levels thirty-two percent.<\/dialogue>\n    <scene_description>She bangs the screen with her hands.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>What the hell?! Where am I?!<\/dialogue>\n    <character>DIGITAL VOICE<\/character>\n    <dialogue>I am MILO, your Mobile Integrated Lifecycle Operator, programed to meet all your medical needs. You are quite agitated. Would you like a sedative?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>No! Let me out!<\/dialogue>\n    <scene_description>Nothing from MILO.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, let me out!<\/dialogue>\n    <scene_description>Still nothing. Charlie swallows hard. Composes herself.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO... uhh... status report?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Malfunction in CPU 142 detected. Heat levels exceeded accepted parameters. Status: lost. O2 reserve breach detected. Breach contained. Status: operational. Emergency protocols initiated. Cryogenic suspension unit shutdown. Life form revived.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Life form? Me...?!<\/dialogue>\n    <scene_description>No response. Charlie reels. And --<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>... suspension...? I was in stasis...<\/dialogue>\n    <scene_description>It sinks in. The shot rotates hard until -- Charlie's vertical. Pounding. Screaming. She is in a --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CRYOGENIC TANK<\/stage_direction>\n    <character>CHARLIE<\/character>\n    <dialogue>HERE! I'm HERE! I'M AWAKE! Please! Somebody pleaseeeee! Let me out...! Let me out...<\/dialogue>\n    <scene_description>She hammers the computer wall until she's got nothing left. Shock takes over. She zones out. A long empty silence filled with nothing but her breath. Then --<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Shit. Shit-shit-shit-shit-SHIT! Keep it together. MILO, activate intercom.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Intercom interface not compatible with this unit.<\/dialogue>\n    <scene_description>She laughs at the absurdity. A pathetic heartbreaking laugh.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Oh, come on! You're not a deathtrap. Let me out...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>MILO, disengage locks.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>It is not advisable to disengage locks at this time.<\/dialogue>\n    <scene_description>She moans with frustration.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Override. Disengage locks.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Override sequence initiated.<\/dialogue>\n    <scene_description>She sighs. Relieved. A long beat.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Awaiting authorization code.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I don't know the damn code!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Override sequence aborted.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>AHHH! Emergency system override!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Emergency system override can not be completed at this time. Please provide administrator password to continue.<\/dialogue>\n    <scene_description>And she's hammering the monitor with her fists.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I don't have the damn code! I don't know the code! I dunno-the- code...<\/dialogue>\n    <scene_description>She paws at the screen. Snot and tears flowing. She's losing her shit.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Please let me out... please... pleeeeeaaaasssseeee...<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Your pulse rate is elevated. A sedative is advised. Would you like a sedative?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I don't want a damn sedative! I want out!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Think. Think, damn it.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Oxygen levels thirty-one percent.<\/dialogue>\n    <scene_description>Another moan. She frantically feels over every inch of the screen in front of her. Finds the edges. Explores the walls on her sides. Above her. As far below as she can reach.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Okay... Cryo unit... Okay... I'm sick. Of course I'm sick. I must be sick to be in here... Oh God, I'm terminal...<\/dialogue>\n    <scene_description>Her frantic fingers explore her arms. Her face. Her scalp. She paws beneath her undershirt. Rabidly examines her breasts. Feels inside her mouth with her tongue.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Shit... Shit! Keep it together. These are monitored. Someone knows something went wrong. Jesus, please... Someone will come... Someone will come...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>MILO, time estimate until base retrieves life form?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Sufficient data is not available to perform that calculation.<\/dialogue>\n    <scene_description>She groans through clenched teeth.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, has base been notified of unit malfunction?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Unit malfunction diagnostic transmitted to base at 04:32 GMT. Transmission received at 04:33 GMT.<\/dialogue>\n    <scene_description>She melts with relief against the monitor.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>They're coming. Someone's coming.<\/dialogue>\n    <scene_description>She smiles through tears. Enjoys a moment of victory. Waits. Breathes. Breathes some more. Squeezes her eyes closed.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Not in a box, not it a box... Wide open spaces... Lotsa air... A massive... beach...?<\/dialogue>\n    <scene_description>Her eyes open. But she's not seeing. She's searching for a half-forgotten beach. Her surroundings come crashing back. She sucks in great heaving breaths.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, base response to transmission?!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>No incoming transmissions detected.<\/dialogue>\n    <scene_description>She squeezes her fists. Fights off panic. Moans.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>They'll come. They know you're awake. They know you're in here. They'll explain. You're gonna be okay.<\/dialogue>\n    <parenthetical>(a breathing beat)<\/parenthetical>\n    <dialogue>Great, I'm talking to myself in 3rd person now. Come on! Come get me. Come tell me... Come tell me...<\/dialogue>\n    <parenthetical>(beat, then panic)<\/parenthetical>\n    <dialogue>MILO... who am I?<\/dialogue>\n    <scene_description>Nothing from the MILO.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, identify life form.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Life form identity Voyager Two Six Seven.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Clarify.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>You are life form Voyager Two Six Seven.<\/dialogue>\n    <scene_description>Charlie laughs. Right on the edge of hysteria.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, display image of life form.<\/dialogue>\n    <scene_description>The wall in front of her lights up with her life sized image. She stares at her face on the monitor while touching her own. Reaches out and touches the image. She stares hard into the image eyes. Searching. Then --<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, what is the legal name registered to Voyager Two Six Seven?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Voyager Two Six Seven is registered under the name Voyager Two Six Seven.<\/dialogue>\n    <scene_description>Charlie shakes her head. Of course she is.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, remove image.<\/dialogue>\n    <scene_description>It's gone. There's nothing to fill the silence but her heavy breath. Then -- With a guttural howl of frustration, she's bashing the back of her head into the back wall.<\/scene_description>\n    <character>LET!<\/character>\n    <dialogue>ME! OOOOOOUUUUTTTT!!!<\/dialogue>\n    <scene_description>Then -- Silence.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Oxygen levels thirty percent. Recommend slow shallow breathing to conserve supplies.<\/dialogue>\n    <scene_description>She groans. Like that's ever gonna happen. And she's frantically fumbling her hands along every inch of the box she can reach. Wailing. Shuddering. Pounding on the walls with all she's got.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(screaming)<\/parenthetical>\n    <character>HELP! HELP, GOD DAMN IT, HELP!!!!<\/character>\n    <dialogue>Get me outta here!<\/dialogue>\n    <scene_description>And she's spent. Nothing but rhythmic in-and-out of her lungs for a long moment.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(muttering)<\/parenthetical>\n    <dialogue>...too long... too long... No intercom.... Why no intercom...?<\/dialogue>\n    <scene_description>She's rocking back and forth.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>But... But... but the system... the system... it transmitted! MILO, there's outside access! Can you place a call?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Affirmative. Who would you like to call?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Yes?! YES! MILO, call 911.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>911 services are not available on this channel.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>UGHHH! FBI! MILO call the FBI!<\/dialogue>\n    <scene_description>The FBI website contact page appears on the screen in front of her.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>There are two thousand forty-seven phone numbers associated with the Federal Bureau of Investigation. Which one would you like me to call?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Jesus! Any! Uh, headquarters. Call headquarters!<\/dialogue>\n    <scene_description>And insanely long pause. Charlie holds her breath. Then -- The sound of a call connecting, then a ringing phone. And --<\/scene_description>\n    <character>PLEASANT VOICE (O.S.)<\/character>\n    <parenthetical>(filtered throughout)<\/parenthetical>\n    <dialogue>Hello --<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Hello! Yes, help! I need help!<\/dialogue>\n    <character>PLEASANT VOICE (O.S.)<\/character>\n    <dialogue>-- You have reached the Federal Bureau of Investigation Headquarters located at 935 Pennsylvania Avenue in Washington, D.C.<\/dialogue>\n    <scene_description>Charlie reels. It's a damn recording!<\/scene_description>\n    <character>PLEASANT VOICE (O.S.)<\/character>\n    <dialogue>If you know the extension, please press it now. For our directory, press one. For a list of divisions, press two. To reach the terrorist screening center, press three --<\/dialogue>\n    <scene_description>Charlie moans.<\/scene_description>\n    <character>PLEASANT VOICE (O.S.)<\/character>\n    <dialogue>-- For the training academy, press four. If this is an emergency, press nine. For all other --<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, nine! Nine! I need to press nine!<\/dialogue>\n    <scene_description>A numbered touchscreen appears on the monitor. She hits the nine hard.<\/scene_description>\n    <character>PLEASANT VOICE (O.S.)<\/character>\n    <dialogue>We are transferring your call. Thank you for calling the --<\/dialogue>\n    <scene_description>It cuts off, as --<\/scene_description>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <parenthetical>(filtered throughout)<\/parenthetical>\n    <dialogue>Special Agent Marlow.<\/dialogue>\n    <scene_description>Charlie jumps.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Help! I need help! I'm trapped and I'm running out of oxygen.<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Calm down, ma'am. Are you in immediate physical danger from a person or persons?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>No! I'm trapped in a cryo unit and I'm running out of air!<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>A cryo unit. Cryogenics? Like medical freezing?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>YES! No, NO! Not real freezing. It's a process that slows metabolism -- It doesn't matter!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>What does, is that I'm running out of air!<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Ma'am, are you aware calling in a false report is a crime?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>What?! No! This is real! Please...!<\/dialogue>\n    <character>MARLOW (O.S.)<\/character>\n    <dialogue>Give me your name and location.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I don't know! I DON'T KNOW!<\/dialogue>\n    <character>MARLOW (O.S.)<\/character>\n    <dialogue>If you insist on wasting the bureau's time, I'm going to have to trace this call and report you.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>YES! Trace the call! TRACE THE CALL! Get me the hell outta here!<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>... This is real?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Yes! And I'm kinda on a clock here. Some help please?!<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Just try to calm down. Did someone put you in against your will?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>No! I don't know!<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>What's your name?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I DON'T KNOW! All I know is I woke up and I can't disengage the locks and nobody's come. Trace the damn call. Can you trace it?!<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>I'm working on that now, ma'am. What do you remember? A location? A person? Anything that can help.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>No! No! Nothing. I'm scared...<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>I know. We're gonna get you out.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>The computer! The computer would know! MILO, unit location.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Unable to determine unit location. Input variable data.<\/dialogue>\n    <scene_description>She whacks the monitor.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>ARGH! Have you found me? Have you traced me? Please come!<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>It's taking some time, ma'am. We're having trouble locating your signal. But I'm going to help you.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>What do you mean trouble...?<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>We're working on narrowing it down. I need you to tell me anything you can about the unit. Manufacturer's stamp, serial number, anything.<\/dialogue>\n    <scene_description>Charlie frantically scans the walls. Then --<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I'm an idiot. MILO, display unit technical specs.<\/dialogue>\n    <scene_description>Technical specs appear on the screen in front of her. She traces them with her fingers.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Are you still there?!<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>I'm still here.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Manufactured by AlcorWorks Enterprises. The model number is 7485945375-267. Have you locked down a trace?!<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>We're still having some issues.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Oh God...<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Listen to me. We're going to find you. It's going to take me a minute to track down the manufacturer and get a location on you.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Don't leave...<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>I'm not going to leave. We're going to keep this line open.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Tu as p\u00e9t\u00e9 le plombs ou quoi?<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>What was that?<\/dialogue>\n    <scene_description>Charlie's startled.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I... uh, asked if you were nuts.<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>You speak french.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>... Yeah. Apparently.<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>That's good. Something to go on. Hang in there.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>No, don't leave! Please...<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>I'm just stepping away for a moment. You need to stay calm.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>STOP TELLING ME TO STAY CALM!<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>You can do this.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Don't! Don't go...<\/dialogue>\n    <scene_description>Silence. Long silence. Her huffs of breath are deafening.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Oxygen levels twenty-nine percent.<\/dialogue>\n    <scene_description>She closes her eyes. Consciously slows her breathing. Groans.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Maybe I shoulda said yes to the sedative.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Would you like a sedative?<\/dialogue>\n    <scene_description>She whacks the monitor.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>No!<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Breathe... Just breathe...<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Cryo units... Ummm, cryo units are med labs... MILO? Can you run DNA analysis on Voyager Two Six Seven?<\/dialogue>\n    <scene_description>The wall panel behind her briefly glows.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Affirmative. DNA analysis completed.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Yes! Run DNA match.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>One match found.<\/dialogue>\n    <scene_description>The monitor, inches from her face, lights up with her own picture, but-- She looks different. Distinguished. Professional. Weathered. A list of vital information also appears including her name: CHARLOTTE NEWTON.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Charlotte Newton.... Charlotte...<\/dialogue>\n    <scene_description>The word tastes wrong in her mouth.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Charlie...?<\/dialogue>\n    <scene_description>A flicker of recognition. She reaches for a memory. Then -- A FLASH of a smiling WOMAN mouthing 'Charlie'. It's gone.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Charlie.<\/dialogue>\n    <scene_description>Her reality comes crashing back. She presses her hands into the walls. Touches them all around her. Moans. Then -- A scratching, skittering sound. Charlie startles. Her eyes shoot everywhere.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>... Hello...?<\/dialogue>\n    <scene_description>Nothing there. The only sound, her breath. She whimpers. Then -- The walls seem to warp. Close in. She braces herself like she's falling. Time seems to jump a second. Another. Then -- The world steadies. She blinks. WTF?? A thin, high-pitched warble escapes her throat. Her breathing speeds up. Her eyes fill with panic. She wrestles for control of her breath until she's sucking in small sips.<\/scene_description>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Are you still with me?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Yes! YES! I'm Charlie! My name's Charlotte Newton! But I think I go by Charlie.<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Good! That's good. That'll help. Can you... any... hurt... picious ...havior...<\/dialogue>\n    <scene_description>He's cutting out.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>What?! What? I can't hear you!<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>...ello? ... Can... me...?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Are you there?!<\/dialogue>\n    <scene_description>Silence.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>No no NO-NO-NO!!! MILO, boost signal!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Boosting signal.<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>...arlie, are you still with me?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Yes! Yes, I'm here! Can you hear me?!<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>I hear you, Charlie! Welcome back. I thought I'd lost you.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Don't leave! Don't leave again...<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>I won't. I'll be right here the whole time. I promise. What's your oxygen situation?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>What? No! You know where I am, right?!<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Charlie, I need you to focus. What's you're oxygen?<\/dialogue>\n    <scene_description>Charlie wrestles her emotions down.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, oxygen levels.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Oxygen levels twenty-eight percent.<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Good. What time does that give us?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Time? Why do you need time?!<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Charlie, listen to me. I need to know how much time.<\/dialogue>\n    <scene_description>Charlie swallows a yelp. Another strange TIME SKIP.<\/scene_description>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>-- arlie?! Charlie! Are you there?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Wha..? Yes. Yes, I'm here. MILO, time estimate until oxygen is depleted.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Maximum time remaining with conservation practices, seventy-two minutes. Based on current level of use, forty-three minutes.<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Forty-three minutes. Good. I need you to stay calm, Charlie. And I need you to tell me anything you remember. Anything at all. Suspicious behavior, anyone who would want to hurt you...<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Hurt me? What? Nothing! I remember NOTHING! What's going on?<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>I need you to think --<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>What aren't you telling me?<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Let's focus on --<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>TELL ME!<\/dialogue>\n    <scene_description>Silence.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Do you know where I am?!<\/dialogue>\n    <scene_description>A long beat. Then --<\/scene_description>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>No. The trace failed. The manufacturer reports that the unit was destroyed three years ago.<\/dialogue>\n    <scene_description>Charlie's jaw drops. The news sinks in.<\/scene_description>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>I'm sorry, Charlie.<\/dialogue>\n    <scene_description>A slow wave of panic seeps into her bones.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO! Run full medical diagnostic on Voyager Two Six Seven!<\/dialogue>\n    <scene_description>Again, the wall panel behind her briefly glows.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Voyager Two Six Seven Diagnostic: all readings within normal parameters.<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Charlie! I need you to hang on!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>... I'm not sick...<\/dialogue>\n    <scene_description>She's hyperventilating now. Great huffing gasps.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>No abnormalities detected. Life expectancy of Voyager Two Six Seven is eighty-two years.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>...I'm not supposed to be here...<\/dialogue>\n    <scene_description>Charlie pushes against the walls. They're closing in!<\/scene_description>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Charlie!<\/dialogue>\n    <scene_description>Her brain's connecting some dots she really doesn't want connected.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>... someone put me in here...<\/dialogue>\n    <scene_description>All sound disappears into a vacuum. The world spins. Blurs. Narrows to black. Pulsing red lights. Then -- The blare of sirens. Warning lights. The monitor lights up with red across the chest of the digital body.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Warning. BP 180 over 90. Pulse 102 BPM.<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Charlie! Stay with me! I'm not going to leave you. I'm right here!<\/dialogue>\n    <scene_description>She's wheezing in gasps of air. Bashing the walls. Yowling.<\/scene_description>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>We're gonna get you out! Listen to me! Listen to my voice. Can you do that?<\/dialogue>\n    <scene_description>Charlie reels in her panic.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(barely a whisper)<\/parenthetical>\n    <dialogue>Yes...<\/dialogue>\n    <scene_description>The warning lights cut out. The alarm falls silent.<\/scene_description>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <parenthetical>(filtered, relieved)<\/parenthetical>\n    <dialogue>You're back. Welcome back.<\/dialogue>\n    <scene_description>Charlie breathes. Grits her teeth. Forces focus.<\/scene_description>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Charlie, we're going to find you.<\/dialogue>\n    <scene_description>She wipes away tears. Closes her eyes. Really tries to believe. Pulls herself together. Puts on a brave face.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Kay... Okay. Tell me. What exactly are you doing?<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>I've got agents combing through every bit of information we have on you. And I have a team heading to the manufacturer now.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>AlcorWorks! They'd have the override codes! Get me the code. I can open the door!<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>We're working on it. I'll have them soon.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Get me the code! It takes two minutes to look up a damn code!<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Charlie, it's 2 AM here. They're not being cooperative. We have to subpoena them. My men are heading there now. We'll have the codes to you soon. Just a ...tle longer... this... mo... ...<\/dialogue>\n    <scene_description>He's cutting out again.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, boost signal!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Boosting signal.<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>...k ..re... ...st...<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, again!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Boosting signal.<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <parenthetical>(nothing but static)<\/parenthetical>\n    <character>CHARLIE<\/character>\n    <dialogue>Are you there?! HELLO?! HELLO...?<\/dialogue>\n    <scene_description>On the monitor: SIGNAL LOST. She's pounding the monitor with her hands.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>No, no, NO! You stupid piece of shit! MILO, reconnect!<\/dialogue>\n    <scene_description>The sound of dialing, then the BLARE of an unconnected call.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Reconnect failed.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Again!<\/dialogue>\n    <scene_description>More dialing. Another BLARE. Charlie's weeping.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Again! NooooooOOO! The codes! I need the codes! I need... I need...<\/dialogue>\n    <scene_description>Dialing. Another BLARE.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(barely a whisper)<\/parenthetical>\n    <dialogue>... again...<\/dialogue>\n    <scene_description>Another dial. Then --<\/scene_description>\n    <character>RECORDED VOICE (O.S.)<\/character>\n    <dialogue>The number you have reached is not in service. Please check the number and try your call again.<\/dialogue>\n    <scene_description>Shock. Like she took a bullet. WTF is going on?!<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, again.<\/dialogue>\n    <scene_description>Nothing for a long moment. Then -- The sound of dialing. And --<\/scene_description>\n    <character>RECORDED VOICE (O.S.)<\/character>\n    <dialogue>The number you have reached is not in service. Please --<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Disconnect!<\/dialogue>\n    <scene_description>She squeezes her temples. Pulls at her hair.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>SHIIIIIITTTTT!<\/dialogue>\n    <scene_description>She gapes. Then -- -- blindly, furiously -- -- scrapes at the edges with her fingernails. Desperate mewling sounds spilling from her lips. Then she's sobbing. Deep shuddering sobs that go on and on and on. Until --<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Oxygen levels twenty-seven percent.<\/dialogue>\n    <scene_description>She wrestles for control. Reels the sobs in. Sucks them back. Forces hard, shallow breaths. Her whole body shakes under the sobbing pressure wanting out. Tears streak down her face. Until, mercifully -- She zones out. Her eyes seeing nothing. The world blurs. Warps. A strange TIME JUMP. Another. Another. The world snaps back into focus. She hasn't moved. Then --<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Oxygen levels twenty-one percent.<\/dialogue>\n    <scene_description>She blinks.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Twenty-one... No...<\/dialogue>\n    <scene_description>The skittering sound. She whips her head up. Looks around, taking in everything. There's nothing there. The sound is gone. Only her breath remains. Her hollowed eyes look broken. Beaten. People hit by trucks have looked better. Then -- A FLASH of a smiling MAN. Charlie blinks, confused. Disturbed. With great effort, she pulls herself together.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO... MILO, amount of time since connection failed.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Time since connection failure, seventeen-minutes twelve seconds.<\/dialogue>\n    <scene_description>She's floored.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>... I'm losing time...<\/dialogue>\n    <scene_description>She shakes her head to clear the fog.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Shit. Shit! Think... someone... someone to help... Someone... Who? Shit! Pull it together! Someone who knows me! MILO, run search for Charlotte Newton.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>There are one thousand two hundred ninety two academic articles authored by and\/or citing, four hundred twenty seven referencing news articles, seventeen social media profiles, twenty thousand four hundred and two web site references...<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>News articles. News!<\/dialogue>\n    <scene_description>Layers of articles appear on the screen. The top one, from THE HOUSTON CHRONICLE, shows a professional picture of Charlie with the headline: HOMETOWN NOBEL PRIZE WINNER TURNING SCIENCE FICTION INTO FACT, and a subheading: TERMINAL FIND HOPE IN LONG TERM CRYOGENICS. Charlie skims.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>You're a doctor...? Why would someone wanna kill you?<\/dialogue>\n    <scene_description>More skimming - awards, recognition, praise - until -- She lands on one with a picture of Charlie beside a MAN with a striking jagged scar at his temple, both in formal wear. The caption reads: PICTURED: DR. CHARLOTTE NEWTON AT THE NATIONAL SCIENCE AND TECHNOLOGY AWARD GALA WITH HUSBAND DR. LEO FERGUSON.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Husband...?<\/dialogue>\n    <scene_description>She's stunned. Another FLASH of a man. The same man from the picture. He's smiling from the basket of a hot air balloon. Holding out his hand.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, search Dr. Leo Ferguson, Houston Texas.<\/dialogue>\n    <scene_description>Search results pop up on the screen, including a Facebook profile with a picture of the same scarred MAN. She opens the page. His picture appears, but little else except -- A friendly message from Facebook: TO SEE WHAT LEO SHARES, SEND HIM A FRIEND REQUEST. Argh! The skittering sound. Charlie flinches. Looks around. Presses her palms to her eyes.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Not real... not real...<\/dialogue>\n    <scene_description>She focuses on breath control. Returns to the Facebook profile. Selects the photo tab. Scans through images of the man with various PEOPLE. Stops on an image of Charlie with the MAN in an embrace. Deliriously happy. She clicks on it. Studies the picture. Traces his facial scar with her finger. Searches for recognition.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Leo...<\/dialogue>\n    <scene_description>The caption reads: SURPRISE MAUI ANNIVERSARY GETAWAY.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, find contact information for Dr. Leo Ferguson, Houston, Texas.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Two listings found.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Call first listing.<\/dialogue>\n    <scene_description>An eternity of silence.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Please connect... please connect... please connect....<\/dialogue>\n    <scene_description>Then --<\/scene_description>\n    <character>RECORDED VOICE (O.S.)<\/character>\n    <dialogue>The cellular number you are trying to reach has been disconnected. Please check the numb -<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Disconnect. Call second listing.<\/dialogue>\n    <scene_description>Another eternity. Then -- The filtered sound of a ringing phone. And --<\/scene_description>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <parenthetical>(filtered)<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Is Leo there? I need to speak with him.<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Uh, no... ummm...<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>It's an emergency. Please!<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Who is this?!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I'm his wife.<\/dialogue>\n    <scene_description>A long pause.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Hello?!<\/dialogue>\n    <scene_description>CLICK. ON THE MONITOR: Call disconnected at source.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, redial!<\/dialogue>\n    <scene_description>One ring. Then --<\/scene_description>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Is this some sick joke?!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>No! Please, I need to find Leo!<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Don't call this number again.<\/dialogue>\n    <scene_description>CLICK. CALL DISCONNECTED AT SOURCE appears on the screen.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, redial!<\/dialogue>\n    <scene_description>Dialing. A ring. Someone picks up. Disconnects.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Again!<\/dialogue>\n    <scene_description>Dialing. Then -- A busy signal. Charlie loses her shit.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Fuck! FUCK! FUCK! FUUUUCK!!!!<\/dialogue>\n    <scene_description>And she's pawing at the waist restraint in blind panic. Props herself against it. Tries to heft herself out with all her might.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Let me out! LET ME OUT!!!<\/dialogue>\n    <scene_description>It's no use. She searches every inch of the compartment she can reach --<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Oxygen levels twenty percent.<\/dialogue>\n    <scene_description>-- Paws at the head restraint with the lead wires. Rips one wire out.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Unit damage detected.<\/dialogue>\n    <scene_description>She folds the wire. Twists. Folds it again. With her new shorter, much reinforced wire, she traces her fingers along the monitor 'til she hits the side wall. Picks a spot in the angle where monitor meets wall. And -- Scrapes with the wire. She scrapes. And scrapes. Tiny shards of metal fall away. YES!! -- scrape scrape scrape -- -- scrape scrape scrape -- The wire's wearing fast. Now a tiny stub between her fingers. Then -- It's almost nothing. She drops it. Yanks out another wire.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Unit damage detected.<\/dialogue>\n    <scene_description>Folds. Twists. Scrapes some more. Tiny curls of metal flake off. The wire's down to a nub. She grits her teeth. Scrapes harder. But -- It's too small to hold onto. She fumbles. It drops. Getting nowhere fast. She wipes sweat from her brow. Leaves behind a trail of blood from her fingernails. She gropes at the arm straps. Finds the I.V. tube. Follows it down to where it disappears into the back wall. And -- Finds a huge hole. A nasty looking RAT sits on its edge, staring at her. She yelps! Throws herself against the far wall. Looks again. There's nothing but wall. She moans. Squeezes her fists. Holds them against her eyes. Wills herself to relax. Looks. Just a tube going into the metal wall. She touches it tentatively, like it might bite. Then -- Paws around the tube, looking for a weakness. Nothing. She follows the tube back down to the needle. Returns to the angle of the wall. Grips the needle, and -- Scrapes some more. -- scrape scrape scrape -- Much more effective! Metal curl bits fly everywhere. -- scrape scrape scrape -- Then -- The BLARE OF AN ALARM.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Warning: Inner breach attempt detected.<\/dialogue>\n    <scene_description>-- scrape scrape scrape --<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Warning: Wilful breach of unit is a federal crime punishable by up to 10 years in prison.<\/dialogue>\n    <scene_description>-- scrape scrape scrape --<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(muttering)<\/parenthetical>\n    <dialogue>Ten years sounds good to m --<\/dialogue>\n    <scene_description>ZAAAAAAAPPPPP! An electric current jolts Charlie hard against the opposite wall. She cries out.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Breach attempt contained. Life- form preserved. Would you like a sedative?<\/dialogue>\n    <scene_description>Tears stream down her cheeks. She curls herself into the tomb wall. Shivering, shuddering to control her breath. An eternity of nothing but small hiccups of breath. Then -- A cold realization --<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>... I'm going to die...<\/dialogue>\n    <scene_description>She zones out. The world vibrates. The walls warp. A hard TIME JUMP. Another. Another. Again and again. Mixed with barely discernible flashes of images. Until -- BEEP. Reality smashes back into focus. An ALERT on the SCREEN: INCOMING CALL.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Approve incoming --<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>YES! Approve! Approve!<\/dialogue>\n    <scene_description>A CLICK. Static. Garbled sounds. Then --<\/scene_description>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>...arlie, are you there?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Yes! YES! I'm here! MILO, boost signal!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Boosting signal.<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <parenthetical>(to others)<\/parenthetical>\n    <dialogue>We got her!<\/dialogue>\n    <parenthetical>(to Charlie)<\/parenthetical>\n    <dialogue>Charlie, listen to me. We have the subpoena. I have agents at AlcorWorks now.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>The codes!<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>We'll have them momentarily. It's almost over, Charlie.<\/dialogue>\n    <scene_description>She squeaks a reply, holding back emotion. Tears run down her cheeks.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>You got me...<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <parenthetical>(pained)<\/parenthetical>\n    <dialogue>We got you.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Agent Marlow...?<\/dialogue>\n    <scene_description>Beat.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Marlow...?<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <parenthetical>(forced)<\/parenthetical>\n    <dialogue>Everything's going to be just fine.<\/dialogue>\n    <scene_description>Every muscle of Charlie's body tenses.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Something's wrong. Tell me what's wrong.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Oxygen levels seventeen percent.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>No! No-no-no!<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>What's going on, Charlie? Talk to me.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I don't know. I'm losing time. Seeing things.<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Charlie, listen very carefully. What you're experiencing is isolation induced psychosis. It happens to P.O.W.'s.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>No. It hasn't been that long...<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>It take as little as fifteen minutes under extreme circumstances to break the average person. And this is pretty extreme.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Your phone. Not in service. Was that real?<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>What? No. No! We lost the connection. I've been here ever since trying to get you back.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>... How... how do I know you're real now?<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>When you first called, I thought you were a prank.<\/dialogue>\n    <scene_description>Charlie smiles, grateful. Nods. Then -- Tenses with panic.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Our first call! How do I know that was real?!<\/dialogue>\n    <scene_description>The stat's monitor alarm BLARES.<\/scene_description>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <parenthetical>(shouting)<\/parenthetical>\n    <dialogue>Charlie! CHARLIE! Stay with me! Shit! You're spinning. Charlie, you need to ground yourself. Hold on to what you know is real! Shit! Focus on your body. On what you know is real! Find a way to focus on your body--!<\/dialogue>\n    <scene_description>Marlow's still yelling, but it's overpowered by violent gasping breaths she can't control. She scrambles for the I.V. wire. Grabs the needle. Screeches as she -- Drives it into her palm. FLASHES of a bedroom. Of LEO mouthing 'I LOVE YOU'.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Injury to life form detected. Status: Non-life threatening.<\/dialogue>\n    <scene_description>She drives the needle deeper. Winces. Another FLASH - Leo making mushed funny faces through the glass of a shower stall. Deeper. Then -- She sucks in controlled breaths. Stops fighting the pain. The stats alarm quiets.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Risk of infection. Treating with I.V. antibiotic mixture.<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Charlie! Charlie! Talk to me!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Jesus fuck, that hurt!<\/dialogue>\n    <scene_description>She cringes as she pulls out the needle.<\/scene_description>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>What did you do?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Focused on the real.<\/dialogue>\n    <scene_description>She sucks on the wound, still wincing.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>How long... how long have I been missing?<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>You were active on social media three days ago. No one's reported you missing.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I've got a husband. A guy named Leo.<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Leo...?<\/dialogue>\n    <scene_description>Garbled sounds of someone talking to Marlow in the B.G.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Who's that? What's he saying?<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Nothing. It's no one.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Someone's with you. What's going on? Is it about Leo? Why isn't he looking for me? Is he okay? Find Leo! He might know who's doing this!<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Charlie... I have no record of you ever being married.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>What? No... MILO, search for Dr. Leo Ferguson, Houston!<\/dialogue>\n    <scene_description>ON THE SCREEN: No results found. Did you mean Leroy Fergus?<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>No! It was there!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Oxygen levels sixteen percent.<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Charlie...<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>It was there! MILO, search for Dr. Charlotte Newton, National Science and Tech Award Gala!<\/dialogue>\n    <scene_description>The article flicks back on the screen, the one with the picture of her with Leo, only this time, it's just her.<\/scene_description>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Charlie --<\/dialogue>\n    <scene_description>A warning blip on the monitor as her vitals rise.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>He was real. You have to believe me! The woman! I called. She knew him!<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>What woman?<\/dialogue>\n    <scene_description>Her fingers fly over the touch keyboard. Brings up Facebook results for Leo Ferguson - A couple TEENS, an OLD MAN. No Leo from before.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I dunno. A woman. In my house... I think.<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>What did you tell her? The woman?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Nothing! She hung up!<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Charlie...<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>She knew him! She did! SHE DID!<\/dialogue>\n    <parenthetical>(a long painful beat)<\/parenthetical>\n    <dialogue>She wasn't real... Leo's not real...<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Charlie! Listen to me! I'm gonna get you through this.<\/dialogue>\n    <scene_description>Charlie doesn't answer. She shakes her head, destroyed.<\/scene_description>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Charlie, I've been where you are. I know what you're going through.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(through gritted teeth)<\/parenthetical>\n    <dialogue>Stop with the BS...<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>No BS. I was military, Charlie. Spent three months in a hole in the ground...<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>He was real...<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>I know. I know it seems that way. It's your brain trying to get you through this. It can't be trusted. Not right now. But you can trust me. I'll get you through to the other side.<\/dialogue>\n    <scene_description>Charlie squeezes her eyes. Pulls at her hair. Moans.<\/scene_description>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>You played lacrosse.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Wha...?<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>At school. You were good. Figured you'd want to know something about yourself, and when I looked into you, that stood out.<\/dialogue>\n    <scene_description>She takes the distraction bait. Leans against the monitor like a security blanket.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Lacrosse?<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Yeah. Didn't fit with everything else. PhD in bioengineering, grants, awards. You're an impressive woman. Any of this ringing a bell?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>... no...<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>You're a Boston girl. Grew up with a single mother.<\/dialogue>\n    <scene_description>She hangs on his every word.<\/scene_description>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>She still lives in your childhood home.<\/dialogue>\n    <scene_description>A FLASH of the same YOUNG WOMAN from before.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Her name's Linda!<\/dialogue>\n    <scene_description>Nothing from Marlow. Charlie deflates.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Her name's not Linda.<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>No. It's Marjorie.<\/dialogue>\n    <scene_description>Charlie groans. Hits her head with her fists.<\/scene_description>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Charlie, it's okay. Just stay with me. (beat) Charlie...?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(still hitting her head)<\/parenthetical>\n    <dialogue>Keep. Talking. Don't stop...<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>You attended Harvard, full ride. Did your residency in Houston.<\/dialogue>\n    <scene_description>A FLASH of Leo, raising his eyebrows - cheeky - in scuba gear. Charlie blinks.<\/scene_description>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Went on to do your Fellowship at --<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Residency. That's where I met Leo.<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Charlie...<\/dialogue>\n    <scene_description>Another FLASH of Leo. Dead. Laid out in a coffin. Then -- His eyes open. Charlie's on the verge of losing her shit again.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>You have to look for him! He's real!<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Charlie...<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Oxygen levels fifteen percent.<\/dialogue>\n    <scene_description>Charlie covers her eyes. Moans. Pushes hard on the I.V. palm wound with her thumb. Growls like a wounded dog.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>You should have the codes by now! Where are the codes?!<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>-- You have to hang on. A few minutes more --<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>--Stop with the bullshit<\/dialogue>\n    <scene_description>platitudes --!<\/scene_description>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>-- We're in this toge --<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>-- WHERE ARE THE CODES --?!<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>-- We're still 20 minutes out! We've almost got you --!<\/dialogue>\n    <scene_description>Charlie twitches. Double-takes.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>You said you didn't know where I was.<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>We don't. I have men at AlcorWorks now getting the codes. Looking into this. Looking into your connection.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>You said you were 20 minutes out.<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <dialogue>Charlie, you're hearing things. I said I had agents with the manufacturer...<\/dialogue>\n    <scene_description>She sucks harsh breaths between her teeth, drowning his words to nothing. Then --<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>You're lying.<\/dialogue>\n    <scene_description>The warning beeps are back. Flashing red lights. Charlie pushes herself hard into the back wall, as far away from the monitor as she can get.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>You're doing this to me!<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <parenthetical>(yelling, over the noise)<\/parenthetical>\n    <dialogue>Charlie, listen to me! You're under an unbelievable amount of stress. You misheard. I'm on your side --<\/dialogue>\n    <scene_description>Charlie covers her ears with her hands.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(screaming)<\/parenthetical>\n    <dialogue>MILO, disconnect!<\/dialogue>\n    <scene_description>The word DISCONNECTED appears on the screen. Alarms still blare. Charlie squeezes chunks of hair between her fingers, pulling out what's left of her braid as she cradles her head. Her shoulders heave from the pressure of sobs that need to come. But -- She holds them back. Twitches from the strain of forcing controlled breath. Until -- The alarms and lights go quiet. Until all that remains is her breath.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Incoming transmission.<\/dialogue>\n    <scene_description>Nothing from Charlie. A beat. Then --<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Incoming transmission.<\/dialogue>\n    <scene_description>Charlie raises her head. Stares at the monitor with something we haven't seen before. Rage.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Deny.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Transmission denied.<\/dialogue>\n    <scene_description>She stares at the monitor.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, replay last 30 seconds of last transmission.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(recorded)<\/parenthetical>\n    <dialogue>...platitudes!<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <parenthetical>(recorded)<\/parenthetical>\n    <dialogue>We're in this toge --<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(recorded)<\/parenthetical>\n    <dialogue>Where are the CODES?!<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <parenthetical>(recorded)<\/parenthetical>\n    <dialogue>We're still 20 minutes out. We've almost got you --!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, pause! Rewind two seconds. Play.<\/dialogue>\n    <scene_description>She pushes her thumb hard into her palm.<\/scene_description>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <parenthetical>(recorded)<\/parenthetical>\n    <dialogue>We're still 20 minutes out. We've almost got you --!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Pause. Again!<\/dialogue>\n    <character>AGENT MARLOW (O.S.)<\/character>\n    <parenthetical>(recorded)<\/parenthetical>\n    <dialogue>We're still 20 minutes out. We've almost got you --!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Pause.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Incoming transmission.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Deny!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Transmission denied.<\/dialogue>\n    <scene_description>Charlie slowly eyeballs every inch of the tank. She snarls.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Can you still hear me?! Are you watching me?!<\/dialogue>\n    <scene_description>She puts both hands on the monitor. Stares into it.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>What do you want?! WHAT DO YOU WANT?!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Incoming transmission.<\/dialogue>\n    <scene_description>Charlie narrows her eyes. She's pissed. Then --<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>You wanna play ball? Let's play. MILO, Accept.<\/dialogue>\n    <scene_description>Sounds of the call connecting. Then --<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>What do you want, asshole?<\/dialogue>\n    <scene_description>A beat. Then --<\/scene_description>\n    <character>OLDER WOMAN'S VOICE (O.S.)<\/character>\n    <parenthetical>(filtered throughout)<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <scene_description>Charlie's stunned.<\/scene_description>\n    <character>OLDER WOMAN'S VOICE (O.S.)<\/character>\n    <dialogue>Don't hang up. Are you there...? Please answer...<\/dialogue>\n    <scene_description>It's the same woman from before.<\/scene_description>\n    <character>OLDER WOMAN'S VOICE (O.S.)<\/character>\n    <dialogue>You're in a cyrogenic unit, right?<\/dialogue>\n    <scene_description>Charlie pushes hard against the wound in her palm.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Who are you?<\/dialogue>\n    <character>OLDER WOMAN'S VOICE (O.S.)<\/character>\n    <dialogue>You called me looking for Leo.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>You're real... He's real!<\/dialogue>\n    <character>OLDER WOMAN'S VOICE (O.S.)<\/character>\n    <dialogue>Listen to me. Listen! We don't have much time. This wasn't supposed to happen. Something must have gone wrong.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I wanna speak to Leo.<\/dialogue>\n    <character>OLDER WOMAN'S VOICE (O.S.)<\/character>\n    <dialogue>You can't. I need you to listen. I can help.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>You want me to listen? Put him on the line!<\/dialogue>\n    <character>OLDER WOMAN'S VOICE (O.S.)<\/character>\n    <dialogue>That's not possible.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Put him on. Now!<\/dialogue>\n    <character>OLDER WOMAN'S VOICE (O.S.)<\/character>\n    <dialogue>Leo is dead.<\/dialogue>\n    <scene_description>Charlie reels from shock. Pulls herself together. Then --<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>You're just as sick as he is. MILO, disconnect.<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>No! Wai --<\/dialogue>\n    <scene_description>But she's gone.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Disconnected. Oxygen levels fourteen percent. Incoming transmission.<\/dialogue>\n    <scene_description>Charlie growls. Contorts with anguish as she fights to control her breath.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Incoming transmission.<\/dialogue>\n    <scene_description>She snarls. Hits the wall. Bares her teeth.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Accept.<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Charlie, are you there...? Are you there...? Charlie, I can help. I want to help.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I never gave you my name, bitch.<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>You didn't need to. I knew who you were the second I heard you.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Tell me what you people want or I'm done talking.<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>I don't know who you've been talking to, but I know what's going on.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I'm done. MILO, dis --<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>I KNOW THE CODES!!<\/dialogue>\n    <scene_description>Charlie freezes.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Give them to me.<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Charlie, I will, but you gotta listen --<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Now.<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>You can't use 'em to open the door!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Goodbye. MILO --<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Okay, OKAY! Uppercase NM347 lowercase cda.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, admin override.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Admin override initiated. Enter password.<\/dialogue>\n    <scene_description>Charlie types the pass code onto a touchscreen keyboard.<\/scene_description>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Charlie, don't open it! Please!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Admin over ride complete. Administrator privileges granted.<\/dialogue>\n    <scene_description>Charlie shudders with relief.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, disengage locks.<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Please! You'll die!! I can prove it!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>It is not advisable to disengage locks at this time. Do you wish to continue?<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>You'll die...<\/dialogue>\n    <scene_description>Charlie waivers.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>You have ten seconds.<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Thank you... thank you. Just let me explain --<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Eight seconds.<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Okay! OKAY! Go into system. Find centrifuge controls. Please... if you'd just let me explain --<\/dialogue>\n    <scene_description>Charlie finds the controls.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I'm there.<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>They're currently set to one. Change that to...<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>...To what?!<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Shit! You shouldn't find out this way...<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Time's up. MILO --<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>ZERO! Change it to zero!<\/dialogue>\n    <scene_description>Charlie changes the numbers. Hesitates over the enter button. Then --<\/scene_description>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Please, Charlie... Don't.<\/dialogue>\n    <scene_description>Pushes enter.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Powering down thrusters.<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>I'm sorry, Charlie. I'm so sorry...<\/dialogue>\n    <scene_description>And -- Locks of Charlie's hair seem to hover mid-air. Charlie stares at them. What the fuck? Her upper body drifts away from the back wall. If she wasn't strapped in at the waist, she'd be free floating! WHAT THE FUCK?! The I.V. needle drifts by her face. She follows it with gawking eyes.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Warning. Long term zero gravity exposure detrimental to life form.<\/dialogue>\n    <scene_description>A warble escapes her throat. Tiny bits of broken wire, shards of metal, and droplets of water float all around her.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(whisper)<\/parenthetical>\n    <dialogue>... where... where am I...?<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>About 40 000 miles from earth.<\/dialogue>\n    <scene_description>A high pitched moan escapes Charlie's lungs. The whole frame rotates hard, until -- Charlie's upside down. She in a --<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CRYOGENIC TANK, 40000 FUCKING MILES FROM EARTH<\/stage_direction>\n    <character>CHARLIE<\/character>\n    <dialogue>... no...<\/dialogue>\n    <scene_description>Charlie whimpers --<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO! Distance from earth?!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Forty-two thousand seven hundred thirty-five miles.<\/dialogue>\n    <scene_description>-- gags --<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>No! This isn't real. You're doing this! STOP! STOP!!!<\/dialogue>\n    <scene_description>-- fumbles with the settings --<\/scene_description>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>I'm so sorry, Charlie.<\/dialogue>\n    <scene_description>-- smashes the zero back to one.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Initiating thrust.<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Charlie... CHARLIE...!<\/dialogue>\n    <scene_description>No response from Charlie. She's on overload. The 'been-hit by-a-truck-and-now-it's-backing-up-to-finish-the-job' type of overload. The bits of wire and debris drop to the floor.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Centrifugal rotation commenced. One G achieved. Oxygen levels thirteen percent.<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Charlie! Charlie, please! We don't have much time. You'll be out of communication range soon. You were put in stasis to enable you to complete your mission, but something went wrong.<\/dialogue>\n    <scene_description>Nothing from Charlie.<\/scene_description>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>I can't get you home, but I designed the system, and we might be able to get you back into stasis. Give you a chance. Please...<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(croak)<\/parenthetical>\n    <dialogue>What mission?<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>If we can locate the damage, reroute the affected systems --<\/dialogue>\n    <scene_description>Charlie's shock takes a hard left to anger.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>What mission?!<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>To colonize a planet orbiting Wolf 1061c, fourteen light years from earth. But... you just launched.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>No... No. No-no-no-no-NO!<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Charlie, we have to move fast --<\/dialogue>\n    <scene_description>Charlie pushes hard on her palm.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>This isn't real...<\/dialogue>\n    <scene_description>A 1st person P.O.V. FLASH of SCIENTISTS, ENGINEERS, MECHANICS working on something, looking to the camera for answers. On the wall, the AlcorWorks logo.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Aghhh...! I worked on it.<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Yes! You remember...?<\/dialogue>\n    <scene_description>Another FLASH - the same lab. In the B.G., two SOLDIERS stand guard at the door. Anger morphs to panic.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>It was military! We were messed up with the D.O.D.<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Why?! Why military? Why not NASA?<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>We'll be extinct in two generations. The public couldn't know.<\/dialogue>\n    <scene_description>And back to shock.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(high pitched, vulnerable)<\/parenthetical>\n    <dialogue>... Did he know?<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>The guy, FBI, I called for help. He was nice. But... he was lying.<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Oh Charlie, he'd have to lie. As soon as he searched for anything relating to you, Defense would get involved. Anything he said after that is only what they wanted you to hear.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Why...? I was part of it. Why not just tell me?<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>The memory fog. No way to anticipate how you'd react, what memories would come back first. You're a threat. Communicate with the wrong person, and it goes public. Widespread panic. Chaos. They couldn't risk it.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I thought... I thought he was doing this. Keeping me here. Making me think I was crazy. He... he didn't tell me Leo was dead. He told me Leo never existed.<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Oh God... Charlie, everything... EVERYTHING, from the moment they became aware you were awake, revolved around making sure you didn't retrieve your memories.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>So he... he was biding time. Counting down the clock. Waiting for me to...<\/dialogue>\n    <scene_description>A very painful pause. They both know the answer. Charlie's eyes glaze over. She's so far down the rabbit hole, her brain's on overload.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>But... I am crazy. Time... disappears... I hear things... see things... Things that aren't there.<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>You're not crazy. Listen. The time loss, it's likely isolation induced. You were never supposed to be conscious inside. But the visions... Tell me what you see.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Uhh... flashes, mostly. Rats. God! And my mother, I think... And Leo.... I found pictures! A surprise honeymoon. We looked happy. But... they disappeared. I'm not sure they were ever real.<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>They were real. It was in Maui. I was there, Charlie.<\/dialogue>\n    <scene_description>A glimmer of joy momentarily crosses her face.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>-- the beach... They made them disappear? How?<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>They can do just about anything in the name of National Security. Your first contact would have put into motion a series of security protocols. Remote shutdown of your access clearly failed.<\/dialogue>\n    <character>OLDER WOMAN<\/character>\n    <dialogue>They'd move on to wiping all potential memory triggers, anything easily accessed, starting with the highest ranked emotional connection. You couldn't have access to anything on Leo.<\/dialogue>\n    <scene_description>Charlie swallows hard. Pushes on her wounded palm. A FLASH of a closed coffin.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Leo's real. And he's dead.<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Charlie searches for memories. Another FLASH of the project team clearly waiting for her input.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I'm important! They'll... they'll send someone! You must have designed contingency plans...<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Some losses were expected.<\/dialogue>\n    <parenthetical>(weeping)<\/parenthetical>\n    <dialogue>Not this soon. Not within communication range. Oh God...<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>... but... I'm important...<\/dialogue>\n    <scene_description>Nothing but weeping from the other end.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>...No one's coming...<\/dialogue>\n    <scene_description>Shock sucks all emotion from her.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Oxygen levels twelve percent.<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>We're running out of time.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>What happened to him?<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Charlie...<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>WHAT HAPPENED?!<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <parenthetical>(weeping harder)<\/parenthetical>\n    <dialogue>Charlie... Leo died in a car crash a long time ago.<\/dialogue>\n    <scene_description>Charlie covers her head with her arms.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>No.. NO! He said I've only been gone three days...<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>You've been in stasis a lot longer than that.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>How... how long?<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Charlie --<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>HOW LONG?!<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Twelve years.<\/dialogue>\n    <scene_description>Charlie swallows. It ain't going down easy. A FLASH of a sectioned tray filled with strange gelatinous creatures.<\/scene_description>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>I'm so sorry, Charlie.<\/dialogue>\n    <scene_description>She looks at her hands. Touches her face. It's not adding up. A warning BEEP from the stats monitor.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>What have you done to me?! What have you done?! What have you DONE?!!!<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>SHUT UP! God damn it! Shut your damn mouth and listen.<\/dialogue>\n    <scene_description>Charlie's jaw drops.<\/scene_description>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>You can waste time and oxygen demanding answers you'll get back once the stasis wears off, and in about ten minutes you'll be out of communication range for good. Then you'll die all alone. Or you can shut up, work with me to fix the problem, and give yourself a chance. I know what I'd choose, but it's your call.<\/dialogue>\n    <scene_description>A long pause. Charlie takes a deep breath. And --<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Where do we start?<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Good. Okay. First we figure out why you got your wake up call.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Overheated CPU. MILO, which CPU?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Heat levels in CPU 142 surpassed accepted parameters.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>What is the function of CPU 142?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>CPU 142 monitors and stimulates subject brain activity to avoid cellular atrophy.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Brain atrophy. Did you hear that? Sounds like something I'd like to avoid.<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Agreed. You need to isolate a CPU with enough power dedicated to non- essential functions. Shut it down and redirect all brain activity monitoring processes through it.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, list all dedicated processors with non-essential functions.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>All non-essential functions allocated to CPU 694.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, danger to life form if all 694 CPU functions disabled?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Zero danger to life form.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Do it. Disable all current CPU 694 functions.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Disabling.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, reroute all processes performed by CPU 142 through CPU 694.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Data exceeds processing capacity.<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Putain de merde! (subtitle: Holy Fucking Shit!)<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Holy fucking shit doesn't sound good. What now?<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Now, we make hard choices. Disable some low priority systems. Find --<\/dialogue>\n    <scene_description>Muffled sounds of a doorbell in the BG of the call. Then banging.<\/scene_description>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Shit. Time's up! Listen --<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>No! You said --<\/dialogue>\n    <scene_description>More banging.<\/scene_description>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>They're here! Listen! Build a workaround. Get back into stasis.<\/dialogue>\n    <character>OLDER WOMAN<\/character>\n    <dialogue>But do it before oxygen drops below two percent, or you won't have enough to revive!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I can't! I don't know how!<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>Yes, you do. You have all the answers. Figure out your memory triggers, then find the ones you need!<\/dialogue>\n    <scene_description>The sound of a distant explosion in the BG of the call.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>It's your design! I need you!<\/dialogue>\n    <character>MAN'S VOICE (O.S.)<\/character>\n    <dialogue>Get down on the ground! Now!<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <dialogue>You don't! Find your memory triggers.<\/dialogue>\n    <character>MAN'S VOICE (O.S.)<\/character>\n    <dialogue>I said down!<\/dialogue>\n    <scene_description>Sounds of a struggle.<\/scene_description>\n    <character>OLDER WOMAN<\/character>\n    <dialogue>Find Leo, Charlie! FIND LEO!<\/dialogue>\n    <scene_description>Gunshots.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>No...!<\/dialogue>\n    <scene_description>Then -- Nothing. On the screen: SIGNAL LOST. Charlie paws at the screen, wide eyed.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>... no...<\/dialogue>\n    <scene_description>A long high pitched hum escapes her lips. She's just-this- side of a nervous breakdown.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>- hmmmmmm... You can't just do this then go die on me! Oh my God, why did you do this? Why would I let you?! - mmmmm - Oh God, I worked on it. Oh God... God... MILO who authorized Voyager Six Two Seven's mission participation?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Voyager Six Two Seven mission participation authorized by Newton comma Charlotte, Doctor.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Oh God... mmmmm - I did this to myself. Shit. Shit! Okay-okay- okay... Shit. This is good. I worked on it. I know this. Shit. Find Leo. Find Leo? What the hell does that mean? ... mmmmm. Shit!<\/dialogue>\n    <scene_description>Charlie bites her knuckle. Squeezes her head.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>It's in here... All in here.., Gotta get at 'em. How? How?!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Oxygen levels eleven percent.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Mmmmm... MILO, show me all low priority system CPU's!<\/dialogue>\n    <scene_description>The screen fills with scrolling files. She manically skims through them. Until --<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, stop. Explain kinetic regulation.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Kinetic regulation delivers low grade electrical currents to musculature structures to prevent life form muscle atrophy.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>And disabling it would result in...?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>The degeneration of muscular tissues, hindering long term life form survival.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>And that's labeled low priority?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Yes. Life form would survive journey.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>And die when revived.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Life form would survive anywhere from three hours to ten days.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Jesus! That's a big NO! AHHH! I don't have time for this!<\/dialogue>\n    <scene_description>She squeezes her eyes shut.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Come on, Leo. You keep showing up in my brain. Now's the time to make an appearance with something useful.<\/dialogue>\n    <scene_description>She waits. Nothing.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>ARGH! MILO, narrow results to only processes that can be disabled without decreasing life expectancy.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>There are zero low priority processes that can be disabled without decreasing life expectancy.<\/dialogue>\n    <scene_description>ARGH! She's losing it.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(yells above her head)<\/parenthetical>\n    <dialogue>Hard decisions?!!! Find the memory triggers?! Glad someone knows how to do these things!<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(screaming)<\/parenthetical>\n    <dialogue>Too bad it's not the chick in the fucking box!<\/dialogue>\n    <scene_description>She rubs her palm. Hard.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Aaaaand I'm talking to myself again. And that's the least fucked up thing about this situation!<\/dialogue>\n    <scene_description>Harder. Winces from the pain.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Son of a -<\/dialogue>\n    <scene_description>A FLASH of Leo smiling in greeting as he comes out of an elevator. Charlie double-takes. Stares at her wounded palm. Holy shit! She digs her thumb deep into her palm. Lets out a gasping scream.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>You got something I need to know, Leo?! Time for the dead to talk.<\/dialogue>\n    <scene_description>She pushes harder. Screams. Blood drips to the floor. And -- A FLASH of Leo in bed, naked. He's smiling playfully, beckoning from under the sheet.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Yes! No! Something useful! Talk to me! Talk to me!<\/dialogue>\n    <scene_description>She bares her teeth from the pain.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Come on, you bastard!<\/dialogue>\n    <scene_description>Pushes harder. Howls. And -- Nothing. She drops her hand. Frantically gropes around. Then freezes as an idea smashes into her brain. She grabs the I.V. needle. Braces herself against the opposite wall. And --<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I'm out of my friggin' mind!<\/dialogue>\n    <scene_description>-- scrapes at the edge. Hard. Fast. Then --<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Warning: Inner breach attempt detected.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>No shit!<\/dialogue>\n    <scene_description>Scrape scrape scrape.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Warning: Wilful breach of unit is a federal crime punishable by up to 10 years in prison.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(wincing)<\/parenthetical>\n    <dialogue>Just do it!<\/dialogue>\n    <scene_description>Scrape scrape scrape. And -- ZAAAAAAAPPPPP! An electric current jolts Charlie hard against the opposite wall. But -- She lunges back. Grabs the needle with shaky hands. Scrapes some more.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Give me my damn memories!<\/dialogue>\n    <scene_description>ZAAAAAAAPPPPP! A FLASH of female hands touching the closed top of a casket, as she -- THUD, smacks into the wall. She can barely move. Covered in sweat. Eyes hollowed out. But -- She reaches for the needle. Only -- She's shaking too much. She can't pick it up!<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Please... tell me... please...<\/dialogue>\n    <scene_description>She reaches again. Grasps it. Tries to scrape, but -- She can't hold on. It falls from her trembling fingers. She collapses against the wall. Hugs herself tight. Quivering from tears that won't come. It goes on and on. Until finally --<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(shaky, high pitched)<\/parenthetical>\n    <dialogue>MILO, run search for a Marjorie Newton, Boston.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>No results found.<\/dialogue>\n    <scene_description>Heartbreak crosses her face. Then -- Hope. She holds her breath.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, run search for Linda Newton, Boston.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>One result found.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Call contact number.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>No signal detected.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Boost signal.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Boosting signal. Attempting connection.<\/dialogue>\n    <scene_description>The sounds of a dial. An eternity. Then --<\/scene_description>\n    <character>LINDA (O.S.)<\/character>\n    <parenthetical>(filtered, bad connection)<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(voice cracking)<\/parenthetical>\n    <dialogue>... mom...?<\/dialogue>\n    <character>LINDA (O.S.)<\/character>\n    <dialogue>Honey, is that you? What's wrong?<\/dialogue>\n    <scene_description>Tears spring from her eyes. She sniffs them back.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I think you're my mom.<\/dialogue>\n    <scene_description>A FLASH of the young woman making faces as she reads a children's book.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I think I remember you. I want to remember you. I want my mom.<\/dialogue>\n    <character>LINDA (O.S.)<\/character>\n    <dialogue>What? I can barely hear you.<\/dialogue>\n    <scene_description>A FLASH of the young woman cooking.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(louder)<\/parenthetical>\n    <dialogue>Just wanted to hear your voice.<\/dialogue>\n    <scene_description>A FLASH of the same woman, older, clasping her hands in joy and pride.<\/scene_description>\n    <character>LINDA (O.S.)<\/character>\n    <dialogue>Charlie, sweetie, what's going on?<\/dialogue>\n    <scene_description>A FLASH of a family dinner table. Kids party hats everywhere.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I don't think anyone's coming.<\/dialogue>\n    <scene_description>A FLASH of the same woman, older, as Leo hugs her.<\/scene_description>\n    <character>LINDA (O.S.)<\/character>\n    <dialogue>Who's not coming? Are you alright?<\/dialogue>\n    <scene_description>More FLASHES. Family moments. A funeral. They come fast. Almost too fast to see. Then -- They're gone. Charlie's crying rivers of silent tears.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I tried to find him. I don't know where else to look. I'm supposed to know, but I don't.<\/dialogue>\n    <character>LINDA (O.S.)<\/character>\n    <dialogue>Oh baby. I know you miss him. It's not good for you being in that house alone. I'll come down. Or better yet, you come up. Spend some time.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>He won't tell me what to do.<\/dialogue>\n    <character>LINDA (O.S.)<\/character>\n    <dialogue>Are you driving? It's awfully hard to hear.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(shouting)<\/parenthetical>\n    <dialogue>No, mom. I'm in trouble.<\/dialogue>\n    <character>LINDA (O.S.)<\/character>\n    <dialogue>What?! You shoul... ...alk whe... ...ou drive...<\/dialogue>\n    <scene_description>Charlie presses her lips together 'til they disappear.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>No, you're right mom. I'm in a tunnel. I love you.<\/dialogue>\n    <character>LINDA (O.S.)<\/character>\n    <dialogue>...at...? ... an't ..hear... ou...<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(shouting)<\/parenthetical>\n    <dialogue>I love you!<\/dialogue>\n    <scene_description>Dead air.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Mom! I love you! Mom?!<\/dialogue>\n    <scene_description>SIGNAL LOST appears on the screen.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, reconnect!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>No signal detected.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Boost signal.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>All auxiliary power diverted to communication. No signal detected.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(screaming)<\/parenthetical>\n    <dialogue>Reconnect! Reconnect!! RECONNECT!<\/dialogue>\n    <scene_description>She's clawing at the screen. Shuddering against a wave of silent sobs. It goes on and on until -- There's nothing left but her dead stare. And her breath. She just breathes. The walls close in. TIME JUMP. Another. Another. Then -- The world snaps back into focus.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Oxygen levels six percent.<\/dialogue>\n    <scene_description>Charlie slowly comes around. Strangely calm. Haunted. Empty. The skittering sound. She looks down and sees -- A rat's tail disappear around the far end of the thick waist restraint. No flinch. She stares with fascination. A FLASH of Charlie's hands holding a rat as she places it in a cage. The number 17 is written in marker on its side.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>You're not here. You're a memory.<\/dialogue>\n    <scene_description>More skittering.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Nobody here... just me...<\/dialogue>\n    <parenthetical>(pats the monitor)<\/parenthetical>\n    <dialogue>Me 'n MILO. Rats in a cage...<\/dialogue>\n    <parenthetical>(long painful beat)<\/parenthetical>\n    <dialogue>MILO, what happens to the human body during deep space decompression?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>During decompression, life form experiences immediate convulsions and paralysis.<\/dialogue>\n    <scene_description>Charlie listens. Numb.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Water vapor forms in the soft tissues and venous blood, causing marked swelling of the body to roughly two times its normal volume. Heart rate rises initially, but falls rapidly thereafter. Arterial blood pressure also falls over a period of 30 to 60 seconds, while venous pressure rises due to distention of the venous system by gas and vapor. Venous pressure will exceed arterial pressure within one minute. Circulation will cease. After an initial rush of gas from the lungs, gas and water vapor continue to flow outward through the airways cooling the mouth and nose to near-freezing temperatures; the remainder of the body will follow at a slower rate.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Will it hurt?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>It is estimated that consciousness will likely be retained for nine to eleven seconds, during which, extreme pain is experienced.<\/dialogue>\n    <scene_description>No movement. The only sound, her slow, steady breath. Then -- She swallows hard. And nods.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, disengage locks.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>It is not advisable to disengage locks at this time.<\/dialogue>\n    <scene_description>Charlie closes her eyes tight. Steels herself.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Override. Disengage locks.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Override sequence initiated. Reenter authorization code.<\/dialogue>\n    <scene_description>Charlie groans with weary frustration. Punches 'NM347' onto the touchscreen. And -- A FLASH of Leo being goofy at a Halloween party dressed in old-time prison stripes, a giant ball and chain on his ankle. Charlie's fingers waiver over the touchscreen. She smiles sadly.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Oxygen levels five percent.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Sorry buddy. You're kinda cute, but as far as spilling vital info goes, you're pretty useless.<\/dialogue>\n    <scene_description>Punches in 'cda'.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Lock disengage initiated. Prepare for decompression in five...<\/dialogue>\n    <scene_description>She settles back. Closes her eyes.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>... four...<\/dialogue>\n    <scene_description>A FLASH of the closed coffin seen earlier.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>... three...<\/dialogue>\n    <scene_description>Another FLASH of Leo.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>... two...<\/dialogue>\n    <scene_description>Rapid FLASHES of the coffin mixed with flashes of Leo. And in the flashes, the dark wooden coffin flickers to metal.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>...one...<\/dialogue>\n    <scene_description>She yelps.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Abort disengage!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Lock disengage aborted.<\/dialogue>\n    <scene_description>Charlie quivers with relief. Gapes. Then laughs.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Find Leo! FIND LEO! Car accident, my ass! MILO, how many Voyager units are there?!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>There are ten thousand Voyager units.<\/dialogue>\n    <scene_description>She double takes. Whoa, these guys don't screw around.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Where are units located?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Unable to determine unit locations. Input variable data.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>UGH! In relation to Voyager Two Six Seven!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>All units located within 90 foot radius of Voyager Two Six Seven.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, can you give me a visual on that?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Visual already established.<\/dialogue>\n    <scene_description>Charlie raises an eyebrow.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>What!? MILO, establish visual of units.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Visual of cryogenic units already established.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, I don't see anything!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Human ability to visualize is impeded by lack of light source.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I don't understand!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>A light source is needed for the human eye to interpret visual data.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>ARGH! I don't understand!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Would you like me to turn on exterior lights?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>What? YES!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Engaging exterior lights.<\/dialogue>\n    <scene_description>And -- CLICK. Two beams of light shoot out from the screen in front of her. The monitor's not black. It's see-thru! Through the monitor she follows the beams, eerie as they cut through darkness. And sees -- A CRYO UNIT across from her, a vague human shape visible within. CLICK. Two more beams emanate from the screen, illuminating -- More units. Beside the first. Above. Below. CLICK. More units. CLICK. More. CLICK. A wall of 'em. CLICK. A MASSIVE wall. Vague human shapes in CRYO UNITS stacked and lined in every direction as far as the eye can see. Her jaw drops. She stares in awe. She presses her face to the monitor. Her eyes following the wall of units up -- -- up -- -- to a distant edge, and -- Stars beyond. Lots of stars. Charlie digests. Shaky.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, how many units are still operational?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Eight thousand seventeen fully operational. One thousand nine hundred eighty-three lost.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, is this unit labelled lost?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Voyageur Two Six Seven designation: lost.<\/dialogue>\n    <scene_description>Awe slowly morphs to rage.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>How many?! How many are awake in lost units?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>I do not understand the question.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Haw many are awake, you piece of shit?! How many are waiting to die?!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>I do not understand the question.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>How many are bottled up? How many are you torturing? How many have you written off as garbage?!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>I do not understand the question.<\/dialogue>\n    <scene_description>She seethes with frustration. Violently looks away.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, disengage exterior lights!<\/dialogue>\n    <scene_description>The world outside the monitor goes black.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Exterior lights disengaged.<\/dialogue>\n    <scene_description>She focuses on her breath. Reels in her rage. Until --<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(spitting)<\/parenthetical>\n    <dialogue>MILO, how many life forms are revived in lost units?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>One.<\/dialogue>\n    <scene_description>She wasn't expecting that.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Voyageur Two Six Seven?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Affirmative. Voyageur Two Six seven.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>The others...?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Expired during launch.<\/dialogue>\n    <scene_description>Charlie sighs with relief. Only momentarily.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Leo! Is Leo alive?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>I do not understand the term Leo.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Damn it! Give me visuals inside of all units.<\/dialogue>\n    <scene_description>Visuals of sleeping FACES appear on the screen at lightning speed.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Slow down!<\/dialogue>\n    <scene_description>They slow. One after another after another --<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Uhh...! Narrow search to males.<\/dialogue>\n    <scene_description>- after another after another -<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Limit to uhh... brown eyes!<\/dialogue>\n    <scene_description>- after another after another -<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Oxygen levels four percent.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>AHHH! I don't have time for this!<\/dialogue>\n    <scene_description>And -- Another FLASH of a coffin flickering from wood to metal. She flinches. Keeps scanning, panicked. A FLASH of the rat in her hand, the number 17 on it's side. But -- The '17' flickers. Blinks to '542'.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Stop!<\/dialogue>\n    <scene_description>The image onslaught stops. Charlie's lip quivers.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Milo. Is unit 542 operational?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Unit 542 fully operational.<\/dialogue>\n    <scene_description>She shudders uncontrollably.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Can you give me a visual on that life form?<\/dialogue>\n    <scene_description>A visual of a MAN appears on the monitor. He's strapped in. Eyes closed. A light frost coats his body. Charlie studies the image. Touches the screen. His face.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>... Where's the scar...<\/dialogue>\n    <scene_description>Recognition seeps in.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Leo...<\/dialogue>\n    <scene_description>She pushes away from the screen hard. Warning beeps from the vitals monitor. She touches her face. Looks at her hands.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>MILO, how old is Voyager Two Six Seven?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Voyager Two Six Seven is twelve years, forty two days, seventeen hours, fifty six minutes old.<\/dialogue>\n    <scene_description>Her mouth hangs open.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO... what is Voyager Two Six Seven...?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Voyager Two Six Seven is a genetic human replication designed for human race propagation.<\/dialogue>\n    <scene_description>The words hang in the air. She digests. A tittering laugh escapes her lips. Manic denial. A FLASH of Leo's beaming face among a crowd in an auditorium.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>No. No, I have memories... feelings... How...? No...<\/dialogue>\n    <scene_description>A FLASH of rat 17 in his cage.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Memory is recorded through extensive mind mapping but can not be read or processed without the proper scaffolding to interpret the data. Many attempts at memory transfer were made --<\/dialogue>\n    <scene_description>FLASH - Mutated rats. Extra arms, two heads, twisted torsos - all labelled 17-3. Charlie winces.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>-- but attempts were abandoned by the scientific community with a general consensus that transfer to human genetic replication was not possible --<\/dialogue>\n    <scene_description>ANOTHER FLASH - Jelly-like creatures in dishes, all with labels reading 17-12.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>-- until an aggressive personality transfer approach was discovered by Dr. Charlotte Newton.<\/dialogue>\n    <scene_description>A FLASH of Leo in the crowded auditorium.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>This new approach provided the necessary framework. Emotions, being chemical surges in the body that happen in response to experiences --<\/dialogue>\n    <scene_description>Charlie's lips mouth the words as MILO explains.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>-- are coded into the body in the form of muscle memory --<\/dialogue>\n    <scene_description>A FLASH of several cages with identical rats, all labelled 17-<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>-- similar to water recording the size, shape, and speed of a dropped stone in the form of ripples.<\/dialogue>\n    <scene_description>Charlie's still mouthing the words.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Stimulating the original muscles to excite the memories, the ripples were then recorded onto liquid polymer and stored.<\/dialogue>\n    <scene_description>FLASH - Leo's face in the auditorium crowd holding two thumbs up.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>...no...<\/dialogue>\n    <scene_description>FULL FLASHBACK Leo's face looks on with pride and love from the crowded auditorium.<\/scene_description>\n    <character>MILO (V.O.)<\/character>\n    <dialogue>The process is reversed to install memories at appropriate times in the human replication development.<\/dialogue>\n    <scene_description>The shot swings hard 180 degrees to the stage, and we see -- 45 YEAR OLD CHARLIE at a podium giving a lecture.<\/scene_description>\n    <character>45 YEAR OLD CHARLIE<\/character>\n    <dialogue>This ensures that each memory is delivered with the correct accompanying muscle stimulation and glandular chemical release --<\/dialogue>\n    <scene_description>SMASH BACK TO SCENE<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>-- transforming data into experience --<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Correct. And rendering replication identical to original.<\/dialogue>\n    <scene_description>No reaction. Nothing. It's too much. Until finally --<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I'm a clone...<\/dialogue>\n    <scene_description>And she-- Lets loose an anguished guttural wail.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I'm a FUCKING CLONE!<\/dialogue>\n    <scene_description>She smashes her fists against the monitor.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I've never --<\/dialogue>\n    <scene_description>SMASH!<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>-- been out --<\/dialogue>\n    <scene_description>SMASH!<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>-- of this fucking box!<\/dialogue>\n    <scene_description>She's yowling and bashing the walls.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Expendable --<\/dialogue>\n    <scene_description>SMASH!<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>-- fucking--<\/dialogue>\n    <scene_description>SMASH!<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>-- space garbage!!!<\/dialogue>\n    <scene_description>Charlie wraps her arms around her head. Massive wailing sobs wrack her body. They go on and on. Until finally -- They subside. She raises her head.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(whispers)<\/parenthetical>\n    <dialogue>Putain de merde... (subtitle: Holy Fucking Shit...)<\/dialogue>\n    <scene_description>She double-takes. Her mouth falls open.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>You little bitch! MILO, play last transmission.<\/dialogue>\n    <character>LINDA (O.S.)<\/character>\n    <dialogue>(recorded)(filtered, bad<\/dialogue>\n    <scene_description>connection) Hello?<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(voice cracking)<\/parenthetical>\n    <dialogue>... mom...?<\/dialogue>\n    <scene_description>Charlie flinches at the sound.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Milo, stop! Play previous transmission.<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <parenthetical>(recorded)<\/parenthetical>\n    <dialogue>Charlie, are you there...? Are you there...? Charlie, I can help. I want to help.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(recorded)<\/parenthetical>\n    <dialogue>I never gave you my name, bitch.<\/dialogue>\n    <character>OLDER WOMAN (O.S.)<\/character>\n    <parenthetical>(recorded)<\/parenthetical>\n    <dialogue>You didn't need to. I knew who you were the second I heard you.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, pause transmission. Can you run voice recognition on caller?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Running voice recognition. Caller identification, Newton, Charlotte, Dr., 3871 Inwood Dr., Houston, Texas. Age 61. Born August 1st, 1962, Boston, Massachusetts.<\/dialogue>\n    <scene_description>Charlie nods. She already knew.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I'm you. You, in a box.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>I hope it hurt when they killed you.<\/dialogue>\n    <scene_description>And she's shrieking. And pounding at the walls -<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>YOU PSYCHO BITCH!!!<\/dialogue>\n    <scene_description>-- and pounding -- And pounding. Until -- She's got nothing left. Only her heaving gasps remain.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Oxygen levels approaching critical.<\/dialogue>\n    <scene_description>She grows very still. Looks up at the LEO CLONE still on her screen. Touches it.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, record a message for Voyager Five Four Two.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Recording message.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Leo... if you're hearing this, you made it. And, well... I didn't. I'm kinda outta time here. I have all these half-memories... memories of a life I never had. A life with you. And now I'm going to die.<\/dialogue>\n    <scene_description>She squeezes back emotion. Pulls herself together.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>You're nothing to me. Not really. I've never touched you. Never breathed you in. But I know your scent down to my bones. So... how do I wanna spend the remaining seven minutes of my... MILO, how long have I been awake?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>One hundred two minutes.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>... My one hundred and nine minute life? I'll be gone. Without ever having understood what I'm losing... But you... You have to live. Knowing. It wasn't really us... But I still feel...<\/dialogue>\n    <parenthetical>(long beat)<\/parenthetical>\n    <dialogue>It was real. For me. If that means anything now. It doesn't seem like enough... but what more is there to say? What more can I say? What do I wanna say? What do I want to...? What... do I want...?<\/dialogue>\n    <scene_description>It hits her. BOOM.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I wanna live...<\/dialogue>\n    <scene_description>She wipes her face clean of snot and tears.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Fuck that noise. MILO, give me all those low priority processes again!<\/dialogue>\n    <scene_description>Endless pages of files appear on the screen. She skims like her life depends on it... 'cause it does.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(as she skims)<\/parenthetical>\n    <dialogue>Sorry Leo! No time. I may be genetically manufactured to love you, but I don't know you from Adam. Buy me a drink if I get outta this mess.<\/dialogue>\n    <scene_description>She pauses, wracking her brain.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, locate... Shit! What is it...?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Can not locate 'shit what is it'.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>AHHHH! Think! A program... a process... a protocol... something that partially revives life form at regular intervals.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Psychological Integrity Protocol partially revives life form at regular intervals to allow for REM sleep.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Yes! That's it! Risk to life form if protocol disabled?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Risk of irreversible psychosis on revival.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Psychosis? Yikes. How great is the risk?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Twenty percent.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Jesus... crazy's better than dead! Do it. Disable Psychological Integrity Protocol, and redirect all remaining CPU 142 functions.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Redirecting.<\/dialogue>\n    <scene_description>Charlie yelps with glee.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Holy God, I might just pull this off. Hear that Leo? And there better be wine packed away in this crate, cause we're gonna celebrate. Although technically, we're really under age.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Data exceeds processing capacity.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>... Argh! ...<\/dialogue>\n    <scene_description>She scans more files like crazy.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Okay, I'm already going in with a chance of crazy-town. Let's see what other horrific risk I can add to my arrival loot bag.<\/dialogue>\n    <scene_description>A warning beep. And --<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Oxygen levels three percent.<\/dialogue>\n    <scene_description>FLASHING RED LIGHTS fill the unit. The monitor lights up with a giant O2 indicator deep in the red zone.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, what the hell?!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Chance of survival below acceptable parameters. C.E.P. initiated. Thirty seconds to delivery.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>What the hell is C.E.P?!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Compassionate Euthanasia Protocol. Twenty-nine...<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>What?! Override!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Can not override C.E.P. Twenty- eight...<\/dialogue>\n    <scene_description>Charlie's freaking.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>You have got to be friggin' kidding! MILO, delivery how?!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Intravenous delivery. Twenty- seven...<\/dialogue>\n    <scene_description>Charlie looks at the inside of her elbow.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>It's disconnected!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Secondary unit functioning. Twenty- six...<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Secondary? AGH! MILO, release waist restraint!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Command not recognized. Twenty- five...<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>AHH! MILO, disengage harness.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Command not recognized. Twenty- four...<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Disengage the damn seat belt!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Command not recognized. Twenty- three...<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Damn it! I know this! I'm supposed to know this!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Twenty-two... Would you like a sedative?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>NO! Damn it.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Twenty-one...<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, display unit specs!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Displaying unit specifications. Twenty...<\/dialogue>\n    <scene_description>Charlie pours over the diagram.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Nineteen...<\/dialogue>\n    <scene_description>Zooms in. Rotates it.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Where is it? Where is it?!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Eighteen...<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>You bastard!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Seventeen...<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Yes! MILO, disengage Thoraxel Med- Ring.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Sixteen... Disengaging Thoraxel Med- Ring may result in injury. Do you wish to proceed?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Yes! YES!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Fifteen... Disengaging.<\/dialogue>\n    <scene_description>The waist restraint lights up. A whirring is heard.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Fourteen...<\/dialogue>\n    <scene_description>It pulls apart at the middle, receding into the wall. Slowly.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Thirteen...<\/dialogue>\n    <scene_description>Very slowly.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Come on, come on!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Twelve...<\/dialogue>\n    <scene_description>She's prying it apart with her hands.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Eleven... Unit damage detected.<\/dialogue>\n    <scene_description>She lets loose a anguished bellow as she pries harder --<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Ten... Warning: Wilful damage to unit is a federal crime punishable by up to 10 years in prison. Nine...<\/dialogue>\n    <scene_description>-- and harder -- -- until --<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Eight...<\/dialogue>\n    <scene_description>The arms retract into the wall. Charlie -- Slides down the wall --<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Seven...<\/dialogue>\n    <scene_description>-- Get's wedged in the middle --<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Six...<\/dialogue>\n    <scene_description>-- curls her shoulders -- -- drops her arm as low as it can go --<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Five...<\/dialogue>\n    <scene_description>-- fumbles for the leg restraint -- -- rips it off --<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Four...<\/dialogue>\n    <scene_description>-- yelps -- -- hoists herself back up --<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Three...<\/dialogue>\n    <scene_description>-- drops her arm down the other side --<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Two...<\/dialogue>\n    <scene_description>-- grabs the other leg restraint --<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>One...<\/dialogue>\n    <scene_description>-- rips it off -- And -- An I.V. comes away with it. The clear liquid inside suddenly clouds with blue. The flashing lights cease.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>C.E.P. delivered.<\/dialogue>\n    <scene_description>And Charlie's laughing. And crying. And laughing some more. She hoists herself back up.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Elevated heart rate. Would you like a sedative?<\/dialogue>\n    <scene_description>This makes her laugh harder.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(grumbling)<\/parenthetical>\n    <dialogue>You need permission to administer a damn sedative, but not a lethal injection?! Jesus Christ!<\/dialogue>\n    <parenthetical>(louder)<\/parenthetical>\n    <dialogue>Leo, you hearing what I have to deal with here?<\/dialogue>\n    <scene_description>Her laughter subsides.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Let's finish this!<\/dialogue>\n    <scene_description>She whacks the monitor hard.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>And MILO, if you try to kill me one more time, I'm gonna finish the job for you and take you out with me. Got it?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Willful damage to this --<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Shut up and bite me.<\/dialogue>\n    <scene_description>She wipes sweat off her face.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO what CPU controls euthanasia protocols?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>CPU 67536 designated for euthanasia protocols.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>What else runs through it?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>CPU 67536 designated for all doomsday scenarios.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>So all scenarios where you're required to kill me.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Good! Disable all doomsday scenarios.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Disabling doomsday scenarios is against the U.N. Ethical Medical Practices Act and could result in life form subjected to any of three thousand nine hundred and twelve slow death scenarios that fall under the definition of cruel and unusual torture.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>In other words, you won't kill me even if I beg.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>That is correct.<\/dialogue>\n    <scene_description>She rolls her eyes holy-fuck-I-hope-I-know-what-I'm-doing style. Then --<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Do it!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Disabling doomsday scenarios.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Does that provide enough power to reroute damaged functions?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Do it!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Rerouting remaining processes from CPU 142.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>I think we're still recording. You hearing this, Leo? Forget the wine. I need a Valium!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Would you like a sedative?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>No! Will the workaround work?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Unable to calculate. Recommend running test simulation.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Do it!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Test simulation not recommended.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Oh, you've got to be kidding me! You just recommended it!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Minimum time to complete simulation, twelve minutes.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Maximum time remaining with current oxygen levels, seven minutes thirty two seconds.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Gotcha. No test run. MILO, start life form stasis reentry protocol.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Can not complete request. Life form off line.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>ARGH! Explain!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>All systems not connected to life form.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>What's not connected?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Intravenous life support offline. Thoraxel Med-Ring offline. Brain activity offline.<\/dialogue>\n    <scene_description>She glances warily at the head strap and the missing wires. Shit.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Easy stuff first, Charlie.<\/dialogue>\n    <scene_description>Looks down at her feet and sees -- The I.V. line filled with blue liquid. Looks at the arm I.V line.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, does life form require both I.V.s?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Affirmative. Line one for nutrients, line two for stasis management. Oxygen levels critical.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Okay. Okay --!<\/dialogue>\n    <scene_description>Again, she looks down at her feet, but this time she sees -- -- the I.V. tube tangled in -- An ARMY OF RATS. She squeals. Leaps away in blind terror, bashing her head against the top. She shimmies up the sides with her feet, her head and shoulders curled tight into the far end. There's nowhere for her to go! A series of panicked yelps. The ALARM BLARES. The monitor lights up with her off-the- chart stats.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Not real! NOT REAL! NOT! REAL!<\/dialogue>\n    <scene_description>She's saying the words, but she sure ain't believing 'em. She 'acks' out shrill attempt at words. Wrestles for control of her breath. The rats stare back at her. A FLASH - The mutated rats. Extra arms, two heads, twisted torsos.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>It wasn't me! IT WASN'T ME!!<\/dialogue>\n    <scene_description>The rats just stare.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Memories. You're memories! Not here...! Not real...<\/dialogue>\n    <scene_description>She cringes. Winces. Lowers her feet into the horde. They crawl all over her feet, their tails like little snakes.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(squeaking)<\/parenthetical>\n    <dialogue>Shit! God! Fuck!<\/dialogue>\n    <scene_description>She squeezes her eyes tight. Stands firm. Twitches with the feel of them.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Oxygen levels critical.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>...not real not real not real...<\/dialogue>\n    <scene_description>Then, she - Crouches as low as she can get. Reaches down. Plunges her hand into their midst. Paws around. Retrieves the I.V.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(through gritted teeth)<\/parenthetical>\n    <dialogue>MILO, expel all liquid in the IV tube!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Expelling fluids.<\/dialogue>\n    <scene_description>The blue fluid squirts out. It sizzles as it hits rat flesh. They squeal in pain. Charlie cringes at the sound as they writhe around her hand and feet. Fumbles with the IV needle.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Not real... not real... MILO, you're not gonna poison me again, are you?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Doomsday scenarios disabled.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>They better be.<\/dialogue>\n    <scene_description>Attempts to insert it into her ankle blind. Hisses with pain.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I've got a funny idea of what the word easy means. Shit. Shit. MILO, can you give me a visual on my left ankle?<\/dialogue>\n    <scene_description>Her left ankle appears on the monitor. No rats. Her face is pressed right up against the screen.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>No rats... No rats...<\/dialogue>\n    <scene_description>She fumbles around using the visual as a guide. Inserts. Winces as she misses the target.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Son of a bitch!<\/dialogue>\n    <scene_description>Tries again. And -- Nails it! YES! But -- A half-burned dying rat sinks its teeth into the fleshy part of her palm. She cries out. Elbows herself back up. Smashes them with her heel hard. Over and over. And over and over.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>It! Wasn't! Me!<\/dialogue>\n    <scene_description>Until -- She looks down. There's nothing there. Her breathing morphs to a slow pant. The warning alarm dies.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Friggin' memories. MILO, engage Thoraxel Med-Ring!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Engaging.<\/dialogue>\n    <scene_description>The waist restraint extends from the wall, slowly closing around her waist. As it does -- She eyes the arm I.V. warily. Closes her eyes.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>No rats this time, Charlie. No rats, no nothing. Okay?<\/dialogue>\n    <scene_description>She opens her eyes. Holds her breath. Reaches out. And -- All is normal. She snatches the I.V. by the needle. Lets out a relieved sigh. Inspects the needle, concerned.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, man, you couldn't have electrocuted me before I dulled this?!<\/dialogue>\n    <scene_description>She makes a fist, raises her arm. She steadies the needle, grits her teeth, and -- Hesitates. Cleans it between her lips. Squeezes her fist again, and -- Jabs it in. She misses the mark. Droplets of blood appear at the jab site.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Oxygen levels critical.<\/dialogue>\n    <scene_description>She groans. Pushes her body weight against the wall to squeeze her upper arm. Tightens her fist. Her veins stand out. Sweat coats her face. Her hand shakes as she lines up the needle and -- Slides it in.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Yes!<\/dialogue>\n    <scene_description>The waist restraint is still closing. She grabs the head restraint with its missing wires. Straps it on.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Please work, please work, please work...! MILO, is brain activity monitor functioning?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Negative. Receiving readings from only two of six electrodes.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Shit! Shit shit shit-shit-SHIT!<\/dialogue>\n    <scene_description>She rips it off. Pulls the whole thing as hard as she can, until --<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Please don't break, please --<\/dialogue>\n    <scene_description>-- the lead wire base pulls down from the ceiling and hangs. She fumbles with one of the wires. Unwinds it into three strands. Rips one out. MacGyvers the hell out of it by connecting the thinner wires to the empty electrodes and the base.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Oxygen levels critical.<\/dialogue>\n    <scene_description>Straps it back on.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Is it online?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Negative. Four of six electrodes active.<\/dialogue>\n    <scene_description>She yelps. Rips it off again. MacGyvers some more. Straps it on -- And --<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Brain activity monitor online.<\/dialogue>\n    <scene_description>YES! But -- The waist restraint is still closing!!! ACK!<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>ARGH! You can shoot me fourteen light years into space, but it takes twenty damn minutes to close a waist restraint?! Come on!<\/dialogue>\n    <scene_description>And it clicks into place. She cries out with joy!<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Thoraxel Med-Ring online.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Yes! MILO, oxygen levels?!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Oxygen levels zero point six-two percent.<\/dialogue>\n    <scene_description>She winces. Shit. A gut punch would have been easier to take. She takes a deep breath.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, is there any chance I'll survive revival...?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Another gut punch. Ouch. She nods. As much as the head restraint will allow. Stiff upper-lipping it. It's over.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Leo? Hey, Leo. Looks like we're not gonna be able to get that drink. So look...<\/dialogue>\n    <scene_description>A lone tear streams down her cheek.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>I'm not the only one. Lost. There are others. Don't spend too much time twisted up about me, okay? Find someone. Someone who will...<\/dialogue>\n    <scene_description>A long beat.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, end recording.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Recording terminated.<\/dialogue>\n    <scene_description>She closes her eyes. Resigned to her fate.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Goodbye Leo...<\/dialogue>\n    <scene_description>She breathes. -- in... and out... -- in... and out... The O2 indicator numbers on the monitor scroll down and down. -- in... and out... -- in... and out... Then -- Charlie's eyes open wide.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Others... MILO, how much oxygen remains in lost units?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>One thousand nine hundred eighty- two lost units remain at full oxygen reserve.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, repeat.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>One thousand nine hundred eighty- two lost units remain at full oxygen reserve.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <parenthetical>(high pitched)<\/parenthetical>\n    <dialogue>Reroute oxygen from lost units to unit Two Six Seven.<\/dialogue>\n    <scene_description>She holds her breath.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Reroute can not be completed at this time. Access to individual unit controls security restricted.<\/dialogue>\n    <scene_description>She winces. Gut punch number three. Her body quivers with soundless sobs. The O2 indicator scrolls down and down. Then --<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>It will take approximately fourteen thousand two hundred twenty-seven minutes to override security restriction. Recommend stasis reentry to preserve life form while override is performed.<\/dialogue>\n    <scene_description>She double-takes. Catches her breath. Holy shit!<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO...?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Would you like to commence stasis reentry protocol while I perform security override?<\/dialogue>\n    <scene_description>And she's grinning. And laughing. And bawling.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Yes! YES! I'd kiss you if you had lips! Commence stasis protocol!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Commencing stasis protocol. Would you like a sedative?<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>Yes. Yes I would!<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Administering sedative. Commencing transfusion of cryoprotectant for vitrification.<\/dialogue>\n    <scene_description>She's drifting off.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Commencing security restriction override. Core temperature 98.2.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, I'm sorry for hitting you.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Apology accepted.<\/dialogue>\n    <scene_description>Really sleepy.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, what's it like? The planet?<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Wolf 1061c has an orbital period of 17.9 days, and an estimated surface gravity of 1.6 times that on Earth. Its mass is about 4.3 times that --<\/dialogue>\n    <scene_description>Eyes half-closed.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>Stop. Tell me about that beach on Maui.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Kapalua Bay is a crescent shaped white sand beach located on the north-west side of the island.<\/dialogue>\n    <scene_description>A FLASH of Leo smiling lovingly, somewhere sunny.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>It is protected by two coral reefs. The aquatic life forms include butterfly fish, parrot fish, damsel fish, surgeon fish, moorish idol, tang, wrasse, box fish, perch --<\/dialogue>\n    <scene_description>She's almost out. Her eyes close. But --<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Trigger fish, goat fish, porcupine fish, hawk fish, scorpion fish, jacks, cornet fish --<\/dialogue>\n    <scene_description>She fights her way back to consciousness.<\/scene_description>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO, rename Voyager Two Six Seven, Charlie.<\/dialogue>\n    <character>MILO<\/character>\n    <dialogue>Voyager Two Six Seven renamed Charlie.<\/dialogue>\n    <character>CHARLIE<\/character>\n    <dialogue>MILO... thank y...<\/dialogue>\n    <scene_description>And she's out.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Good night, Charlie.<\/dialogue>\n    <scene_description>All is quiet.<\/scene_description>\n    <character>MILO<\/character>\n    <dialogue>Core temperature 92.3.<\/dialogue>\n    <scene_description>The screen dims. As it does, words appear: Security restriction override running. Powering down unit to hibernation mode. Core Temperature 73.6. Oxygen levels: 0.378% The core temperature numbers scroll down and down and down. Ice crystals form on Charlie's skin. And -- As the screen dims to black, the oxygen runs down to - Zero. All is dark but a dim green glow. And with that, we --<\/scene_description>\n    <character>FADE OUT<\/character>\n  <\/scene>\n<\/script>","summary":"A woman awakens in an airtight medical cryogenic unit, and discovers that she is trapped and that the unit's oxygen levels are falling rapidly. Suffering from memory loss, she does not remember who she is or how she got there. She is assisted by an advanced AI named M.I.L.O. (Medical Interface Liaison Officer), but it refuses to open the cryo unit without an administrator code. Using M.I.L.O., she is able to transmit outside the pod and contact emergency services. She provides them with the cryo unit's model and serial number, which are printed on the interior. Upon contacting the manufacturer they are told the unit was destroyed three years prior. Unable to recall her memories, she looks for clues about her past by searching for pictures and articles from M.I.L.O. and finds her name, Elizabeth (Liz) Hansen. She realizes she is a cryogenic doctor. She finds her husband, L\u00e9o Ferguson, and his contact number by accessing her social media, but when she calls his number a woman answers. She tells the woman that she is L\u00e9o's wife and demands to speak to him. The woman seems confused and hangs up. As the oxygen level continues to fall, Liz begins hallucinating and tries to open the pod, only to receive an electric shock. She then receives a call back from the police but suspects they are hiding something from her, and disconnects. The unknown woman she called earlier rings and tells her that L\u00e9o is dead. She also gives her the administrator code to open the pod, but tells her that if she opens the pod, she will die. Liz uses the code to give herself administrator access, but stops short of opening the pod when the unknown woman begs her to listen. Following the woman's instructions, Liz accesses controls for a centrifuge, and turns the centrifuge off. She begins floating weightlessly. After a brief explanation, it is revealed that she was placed into hypersleep 12 years ago, and has just embarked on a 34-year journey to a planet 14 light-years away. The mission is secret and mankind will be extinct in the near future due to a deadly virus \u2013 the virus that killed L\u00e9o. Heartbroken, she learns that the awakening was due to a processor overheating, and realizes she must divert the functions of the processor to a less sophisticated processor assigned to non-essential functions, but fails since the data exceeds that processor's capacity. As time passes and with the oxygen level fading, she prepares for suicide by attempting to open the pod. Shortly after, she discovers L\u00e9o is also in hypersleep in the damaged spaceship together with nearly 10,000 others, but she notices he lacks a scar on his forehead that he had before. Upon further investigation, through a video of a presentation  by an elderly version of her, it is revealed that she is a genetic clone with the original Elizabeth Hansen's personality and memories implanted, including memories of L\u00e9o. The woman she has been speaking to on earth designed the hypersleep units, but the call disconnects as the spacecraft moves out of communications range. M.I.L.O. activates a euthanasia protocol due to a perceived zero percent chance of survival; however, Liz manages to deactivate the euthanasia processor and successfully reassigns the malfunctioning processor's functions to it. As her oxygen level counts down to zero, Liz manages to reroute oxygen from the pods containing dead colonists, and M.I.L.O. puts her back in hypersleep. The clones of L\u00e9o and Elizabeth are then shown on their new home planet, smiling and embracing each other."}
{"movie_name":"17 Again_2009","imdb_id":"tt0974661","script":"<script>\n  <scene>\n    <stage_direction>EXT. FITCH SENIOR HIGH SCHOOL - DUSK<\/stage_direction>\n    <scene_description>A few cars scatter the parking lot . WE hear GRUNTS followed by the distinct sound of basketballs shredding net .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITCH SENIOR HIGH SCHOOL\/GYM - CONTINUOUS<\/stage_direction>\n    <scene_description>An empty gymnasium except for a shirtless MIKE O'DONNELL , 17 . Mike stands feet BEYOND the 3 point line , grabs balls from a hopper and rapidly shoots , shoots , shoots . SWISH . SWISH . SWISH . This kid 's automatic . Mike 's hair , a pompadour mullet a la ` 21 Jump Street ' and short shorts circa 1989 . Mustached and curly haired COACH HARVEY , 40 , enters .<\/scene_description>\n    <character>COACH HARVEY<\/character>\n    <dialogue>Hey, O'Donnell, save some for the game.<\/dialogue>\n    <scene_description>Mike sinks one last jumper , turns to the Coach .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Just warming up, Coach.<\/dialogue>\n    <scene_description>Coach Harvey hands Mike a towel .<\/scene_description>\n    <character>COACH HARVEY<\/character>\n    <dialogue>First game of the season and the scouts are already lining up. You have half the season I know you're capable of, you can play anywhere you want, Mike.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>That's the plan coach.<\/dialogue>\n    <scene_description>The rest of the FITCH FALCONS basketball team jogs out from the locker room followed by a PHOTOGRAPHER .<\/scene_description>\n    <character>COACH HARVEY<\/character>\n    <dialogue>Round up, Jock Straps! Picture time.<\/dialogue>\n    <scene_description>The Team assembles in the middle of the court . A PLAYER kneeling in front holds a sign , ` FITCH FALCONS , 1989 ' .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Hold on. Ed's not here yet.<\/dialogue>\n    <scene_description>DOM , 17 , handsome , tall , long rat tail , scoffs -<\/scene_description>\n    <character>DOM<\/character>\n    <dialogue>Who cares? He's the water boy.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>And you suck, Dom, but we're letting you in the picture.<\/dialogue>\n    <scene_description>A shoving match breaks out between Mike and Dom .<\/scene_description>\n    <character>COACH HARVEY<\/character>\n    <dialogue>Hey! Hey! Knock it off.<\/dialogue>\n    <scene_description>Coach Harvey pulls the Players apart just as the gym doors burst open . ED FREEDMAN , 17 , sporting a jacket over a WIZARD costume , runs in , trips on his robe , gets up , peels his clothes off .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Sorry I'm late. I was locked in a life and death battle with the dark wizard.<\/dialogue>\n    <character>COACH HARVEY<\/character>\n    <dialogue>Fall in, Freedman. Hurry up.<\/dialogue>\n    <scene_description>Ed takes a spot next to Dom .<\/scene_description>\n    <character>PHOTOGRPAHER<\/character>\n    <dialogue>And 3, 2, 1 -<\/dialogue>\n    <scene_description>WE see Dom reach behind Ed , grab hold of his underwear . RRRRIIIPP . FLASH . And with the flash WE cut to :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITCH SENIOR HIGH SCHOOL\/GYM - NIGHT<\/stage_direction>\n    <scene_description>The Falcons run , pass and shoot on one end of the court . On the opposite end , a TEAM in BLUE warms up . Lights dim . Cue MC Hammer 's ` Ca n't Touch This ' . CHEERLEADERS at center court perform the Hammer DANCE ROUTINE . PAN around the gym , everybody 's doing the Hammer dance . Ed awkwardly tries to imitate Mike . Coach shakes his head in disgust and when the routine ends -<\/scene_description>\n    <character>COACH HARVEY<\/character>\n    <dialogue>Alright, Ladies, bring it in!<\/dialogue>\n    <scene_description>The Falcons swarm to the bench , take seats . Ed hands waters to the Players , skips Dom , stops at Mike .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Ed, I ca n't help you with the girls if you keep showing up places dressed like the Cookie Crisp guy. Okay? Dude, do n't look now but I think Muffy Campanella is scopin' you hard.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>For real?<\/dialogue>\n    <scene_description>Ed jerks around to blatantly stare at her .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Smile, pud.<\/dialogue>\n    <scene_description>Ed flashes a goofy smile . MUFFY mimes puking .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>My bad.<\/dialogue>\n    <character>GIRL'S VOICE<\/character>\n    <parenthetical>( o.s . )<\/parenthetical>\n    <dialogue>Mike?<\/dialogue>\n    <scene_description>SCARLET , 17 , an 80 's beauty , stands at the end of the bench .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Who's that stone cold fox? Oh, it's my girlfriend.<\/dialogue>\n    <parenthetical>( walks over . )<\/parenthetical>\n    <dialogue>I'm glad you're here, Scar. This whole scout thing's got me wicked nervous.<\/dialogue>\n    <scene_description>Dom dribbles past , smiles at Scarlet .<\/scene_description>\n    <character>DOM<\/character>\n    <dialogue>I'm dedicating my first basket to you, Scarlet.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Way you shoot that might be mid - season!<\/dialogue>\n    <parenthetical>( to Scarlet . )<\/parenthetical>\n    <dialogue>Everything cool?<\/dialogue>\n    <scene_description>She smiles nervously , lies .<\/scene_description>\n    <character>SCARLET<\/character>\n    <dialogue>Oh yeah. Everything's totally copacetic.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Totally?<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>Totally.<\/dialogue>\n    <scene_description>REFEREE blows the whistle .<\/scene_description>\n    <character>COACH HARVEY<\/character>\n    <dialogue>Let's go! Remember, Boys, winners get the girls. Losers please themselves!<\/dialogue>\n    <character>MIKE<\/character>\n    <parenthetical>( to Scarlet . )<\/parenthetical>\n    <dialogue>Excellent. Got ta run.<\/dialogue>\n    <scene_description>He kisses her cheek , starts off , turns back -<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What's wrong?<\/dialogue>\n    <scene_description>LONG SHOT : We hear nothing but see Mike 's body deflate . He steps away from Scarlet towards center court . Muffy and her friends mock Ed and laugh hysterically<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Do you really think Muffy's in to me?<\/dialogue>\n    <scene_description>Mike , in a daze walks right past Ed . Takes his place for the jump ball . The Crowd stomps and cheers LOUDLY . The Ref is about to toss the ball . Mike looks up at the stands , sees a crushed Scarlet heading for the exit . Mike 's torn . Play or go after her . He goes after her .<\/scene_description>\n    <character>COACH HARVEY<\/character>\n    <dialogue>Where you going!? O'Donnell!?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITCH SENIOR HIGH SCHOOL\/TUNNEL - NIGHT<\/stage_direction>\n    <scene_description>Mike rushes in .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Scar! Wait.<\/dialogue>\n    <scene_description>She turns , slumps against the wall . Mike catches up to her . Mike leans in and kisses Scarlet .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. PALISADES NEIGHBORHOOD. PRESENT DAY - MORNING<\/stage_direction>\n    <scene_description>Opulent HOMES . OCEAN views . Luxury CARS . Manicured LAWNS . The sound of an alarm clock shatters the silence as WE settle in on a large , MEDITERRANEAN STYLE HOUSE .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ED'S HOUSE\/MIKE'S BEDROOM - MORNING<\/stage_direction>\n    <scene_description>MIKE O'DONNELL , now 36 , angrily slaps the alarm off . 6 AM . He climbs out of bed , bones creaking , stiff , groans .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - MORNING<\/stage_direction>\n    <scene_description>A showered , suited Mike stands before the mirror , knots a tie around his neck .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( UNINSPIRED . )<\/parenthetical>\n    <dialogue>Today is going to be a good day. I love my job. I am a lucky man. Who's lucky? Mike O'Donnell.<\/dialogue>\n    <scene_description>Mike yanks his tie straight up as if he were hanging himself .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ED'S HOUSE\/LIVING ROOM - MORNING<\/stage_direction>\n    <scene_description>ED FREEDMAN , now 36 , lies on a portable table in his boxers . ACUPUNCTURE NEEDLES protrude from every inch of his body , neck and face . at least 5000 needles . A HOT , YOUNG ACUPUNCTURIST adds more to him .<\/scene_description>\n    <character>ACUPUNCTURIST<\/character>\n    <dialogue>Can you feel your Qi flowing freely?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>I'm not sure if its my Qi or internal bleeding.<\/dialogue>\n    <scene_description>Mike enters , shakes his head in amusement .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>What are you doing now?<\/dialogue>\n    <scene_description>Ed looks over , sees Mike watching .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>There he is. There's Mr. Sunshine. Fei Jing Acupuncture. It's all the rage. Makes you look five years younger.<\/dialogue>\n    <scene_description>Ed climbs slowly off the table , shuffles over , groaning in pain the entire way . He pours himself a shot of BROWN LIQUID from a pitcher , throws the shot back and immediately SPITS it all over the place .<\/scene_description>\n    <character>ED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( calls to Acupuncturist . )<\/parenthetical>\n    <dialogue>What's this brown stuff again?<\/dialogue>\n    <character>ACUPUNCTURIST<\/character>\n    <dialogue>Rhinoceros urine. Pure protein.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Delish!<\/dialogue>\n    <parenthetical>( to Mike . )<\/parenthetical>\n    <dialogue>The girl has absolutely no clue what she's doing.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Then why are you letting her stick needles in you?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Because she's hot. But today's not about me. It's about you becoming the new regional sales manager.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I better be. I've invested 18 years of my life in that miserable company.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>No negativity. Negativity's for the 800 pound fat lady who needs to be airlifted out of bed. You, Michael Shawn O'Donnell, are a winner.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>A winner does n't have to crash at his best friend's house because he was kicked out of his own house.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Are you kidding?! It does n't get any better than this! I got ta get back. My legs just went numb. Good luck today.<\/dialogue>\n    <scene_description>Ed drags painfully back to the Acupuncturist .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAN FERNANDO VALLEY - MORNING<\/stage_direction>\n    <scene_description>Mike wheels his Audi A4 below a nondescript , two level building . Sign reads , ` Wyatt Pharmaceuticals ' .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WYATT PHARMACEUTICALS\/CONFERENCE ROOM - MORNING<\/stage_direction>\n    <scene_description>PHARMACEUTICAL DRUG POSTERS cover the walls . Smiling faces , happy couples . little pills . Surrounding a conference table are Mike 's colleagues . HOT WOMEN , 20 to 35 , in skimpy business suits , chatting away . Mike sits amongst them , the only male present . A glum look on his face . WENDY , bubbly , ditsy , 22 , leans over to him .<\/scene_description>\n    <character>WENDY<\/character>\n    <dialogue>Congratulations, Mike. You deserve it. You're like a totally amazing salesman.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Thanks, Wendy. That like totally means so much to me.<\/dialogue>\n    <scene_description>ROGER , 23 , boss , strides through the door .<\/scene_description>\n    <character>ROGER<\/character>\n    <dialogue>Good morning, peeps. As you all know, today I'll be naming the new regional sales manager. What's it take to be an RSM? Leadership skills, a comprehensive knowledge of today's prescription pharmaceuticals and most importantly a dedicated soldier.<\/dialogue>\n    <scene_description>Mike straightens his tie , buttons his suit jacket .<\/scene_description>\n    <character>ROGER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>All being said, congratulations -.<\/dialogue>\n    <parenthetical>( Mike begins to rise . )<\/parenthetical>\n    <dialogue>Wendy.<\/dialogue>\n    <scene_description>Dumbfounded , Mike slumps back into his seat . Wendy springs up out of hers , SCREAMING and BOUNCING .<\/scene_description>\n    <character>ROGER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Now go out there and sell some drugs peeps!<\/dialogue>\n    <scene_description>The Women stream out .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>How could you do this to me? I've been a salesman here 18 years. Wendy's only been here 2 months!?<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>Look, your sales are admittedly better but she has the college degree. What can I do?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>You can give me the promotion, Roger!<\/dialogue>\n    <character>ROGER<\/character>\n    <dialogue>Things have changed. I could n't even hire you now with only a high school diploma. My hands are tied, bro - ski.<\/dialogue>\n    <scene_description>Mike swallows his pride and exits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FITCH SENIOR HIGH SCHOOL\/PARKING LOT - DUSK<\/stage_direction>\n    <scene_description>Mike pulls into the empty parking lot , climbs out of his car and into the building .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITCH SENIOR HIGH SCHOOL\/HALL - DUSK<\/stage_direction>\n    <scene_description>Mike hurries down the hall , opens a door , peeks his head in .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITCH SENIOR HIGH SCHOOL\/GYM - DUSK<\/stage_direction>\n    <scene_description>Mike peers around . nobody .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Alex?<\/dialogue>\n    <scene_description>No answer . A basketball sits in the middle of the floor . Mike enters , picks up the ball , begins dribbling . faster , between his legs , around his back , up to the 3 point line -<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>3, 2, 1 -<\/dialogue>\n    <scene_description>Mike hits a perfect jumper at the imaginary buzzer , smiles .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>The kid's still got it.<\/dialogue>\n    <scene_description>Mike dashes for the bouncing ball , scoops it up , goes for a reverse lay up , makes it but when he lands . he lands . CRACK . hard . Mike grabs his lower back , groans -<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Ooooh. That was stupid.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITCH SENIOR HIGH SCHOOL\/HALL - DUSK<\/stage_direction>\n    <scene_description>Mike limps out of the gym , wanders over to a wall covered in PHOTOGRAPHS . Fitch basketball teams of the past . Mike searches the pictures until he finds it . the photo WE saw being taken earlier . the team of 1989 . Ed mid howl from Dom 's wedgy . Mike stares at the photograph . lost in time and thought . The smiling , confident image of his youth stares back at him .<\/scene_description>\n    <character>MALE VOICE<\/character>\n    <parenthetical>( o.s . )<\/parenthetical>\n    <dialogue>You know someone in that picture?<\/dialogue>\n    <scene_description>Mike startles from his daydream , turns . A kind - faced , old JANITOR , stands behind him , mop in hand .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I do. Me. I'm in the center there.<\/dialogue>\n    <scene_description>The Janitor leans in , takes a closer look at Young Mike .<\/scene_description>\n    <character>JANITOR<\/character>\n    <dialogue>Adolescence can be so cruel.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <parenthetical>( lost in the picture AGAIN . )<\/parenthetical>\n    <dialogue>I had life by the balls in that picture. Everything was possible. Then a few minutes later, pffffft, all gone.<\/dialogue>\n    <character>JANITOR<\/character>\n    <dialogue>` For of all sad words of tongue and pen, the saddest are these : ` It might have been.'<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>That'll be my epitaph.<\/dialogue>\n    <character>JANITOR<\/character>\n    <dialogue>We all have regrets.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Why's it have to be that way?<\/dialogue>\n    <character>JANITOR<\/character>\n    <dialogue>Maybe it does, maybe it does n't. Ca n't hurt to ask. You never know who's listening, Michael.<\/dialogue>\n    <scene_description>Michael wistfully eyes the old photo , looks back to the JANITOR -<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>How did you know.<\/dialogue>\n    <character>ALEX<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>What are you doing, Dad?<\/dialogue>\n    <scene_description>ALEX , 15 , messy hair and slight , and MAGGIE , 17 and awkwardly pretty , appear at the other end of the hall .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Hey, Guys. I was just talking to -<\/dialogue>\n    <scene_description>Mike looks back to the Janitor . GONE .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Never mind. Sorry I'm late. You ready to get some dinner then?<\/dialogue>\n    <scene_description>They make their way towards the door . Mike limping .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Why are you limping?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Tweaked my back pumping iron. Really, really heavy iron.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHEESECAKE FACTORY - NIGHT<\/stage_direction>\n    <scene_description>Mike , Alex and Maggie sit before dinner . Alex eats heartily . Maggie quietly pushes her food around .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I bet your chompin' at the bit for hoop season to start.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Yeah, me and the guys are running drills, scrimmaging, getting in shape.<\/dialogue>\n    <scene_description>Maggie stifles a laugh .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>That's my boy. Remember, it's not how big you are -<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>- it's how big you play.<\/dialogue>\n    <scene_description>Father and Son touch fists .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>And what about you, Mags? What's new?<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>She got into Georgetown.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>You did!? That's fantastic!<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>It's no big deal.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>It's a huge deal. That's a great university. I'm proud of you.<\/dialogue>\n    <parenthetical>( Maggie remains quiet . )<\/parenthetical>\n    <dialogue>Am I missing something here?<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>You would n't understand.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Try me.<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>I have a lot of emotional stress right now. My friends are all going to different schools, I'm not even sure.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>That's not stress. Wait ` til you get out into the real world, get a crappy job, have some smarmy twerp - boss calling you bro - ski.<\/dialogue>\n    <scene_description>Maggie rolls her eyes .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Did you get the promotion, Dad?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Still waiting to hear.<\/dialogue>\n    <scene_description>Mike forces a smile hiding his disappointment .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. SAN FERNANDO VALLEY\/MIKE'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Mike pulls up behind a ` Dom 's Nursery ' van . He , Alex and Maggie step out . Mike eyes the van with disdain .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Is your mom home?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>She's probably out back.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Hey, next week we'll have a barbecue at Uncle Ed's. Sound good?<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>I'm counting down the minutes.<\/dialogue>\n    <scene_description>Maggie heads straight for the modest ranch house and inside .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>What's with her?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>We see you once a week for a couple hours. What do you expect?<\/dialogue>\n    <scene_description>Alex follows Maggie into the house . Mike makes his way around back .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIKE'S HOUSE\/BACKYARD - DAY<\/stage_direction>\n    <scene_description>As Mike rounds the corner , he almost runs into a smiling Dom Johnson , 36 . Don lugs 3 loaded trash bags .<\/scene_description>\n    <character>DOM<\/character>\n    <dialogue>Hey, Mike. Good to see you. Tough break, you and Scarlet.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Bite me, Dom.<\/dialogue>\n    <scene_description>Dom serves Mike a cocky wink , continues on . Mike scowls . Scarlet , 36 , slams a shovel into the ground , wedges it beneath a dying shrub and rips it out .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>A little late for a delivery is n't it?<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>Dom was in the neighborhood. He offered to make a dump run for me.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Does n't he live 30 miles from here?<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>What's your point?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Come on. He's been after you since 10th grade and he's after you now.<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>At least someone's after me.<\/dialogue>\n    <scene_description>Mike smiles playfully and begins to serenade -<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>` In touch with the ground, I'm on the hunt I'm after you.'<\/dialogue>\n    <scene_description>Scarlet shakes her head -<\/scene_description>\n    <character>SCARLET<\/character>\n    <dialogue>Please, Mike. This is n't high school. That's not gon na work.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>` Smell like I sound, I'm lost in a crowd, and I'm hungry like the wolf.'<\/dialogue>\n    <scene_description>Mike flirtatiously stalks her . Scarlet fights smiling .<\/scene_description>\n    <character>SCARLET<\/character>\n    <dialogue>You can stop now. It's not working.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>` Mouth is alive, with juices like wine, and I'm hungry like the wolf'<\/dialogue>\n    <scene_description>Mike gets close to Scarlet 's face . She smiles , stops herself and pushes him away .<\/scene_description>\n    <character>SCARLET<\/character>\n    <dialogue>You no longer have the right to invoke the `` wolf.''<\/dialogue>\n    <scene_description>A chastised Mike eyes the yard . it 's a WRECK . holes and mounds of dirt everywhere , carcasses of dead plants , bushes and flowers strewn about .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Why are you destroying the yard?<\/dialogue>\n    <scene_description>Scarlet stops shoveling , wipes dirt from her face .<\/scene_description>\n    <character>SCARLET<\/character>\n    <dialogue>I'm gon na use it as a showpiece for clients. Thanks for asking.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Kind of a big undertaking is n't it?<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>I am a landscape designer. Then again you barely took an interest in my work so I guess that's a fair question.<\/dialogue>\n    <scene_description>An awkward silence . Then -<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I did n't get it.<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>I'm sorry. But maybe this is what you needed. Maybe it's time you looked for something else?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>That's a great idea, Scar. Because there are so many options out there for a 36 year old with only a high school diploma.<\/dialogue>\n    <scene_description>Scarlet throws the shovel to the ground .<\/scene_description>\n    <character>SCARLET<\/character>\n    <dialogue>And it's all my fault, is n't it?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I did n't say that.<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>No, but it's what you think, right?<\/dialogue>\n    <scene_description>Mike 's silence says it all . Scarlet fights back tears .<\/scene_description>\n    <character>SCARLET<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I never asked you to marry me.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>But I did.<\/dialogue>\n    <scene_description>Scarlet shakes her head in frustration .<\/scene_description>\n    <character>SCARLET<\/character>\n    <dialogue>I'm sorry you're not happy with the way your life turned out Mike, really, I am, but you're not the victim here.<\/dialogue>\n    <scene_description>Scarlet goes back to shoveling . Mike turns , steps , falls into a hole .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S AUDI - NIGHT<\/stage_direction>\n    <scene_description>A somber Mike drives alongside the Los Angeles River . An old song plays low on the radio . static . then . BOOM . THUNDER roars scaring Mike and literally shaking the Audi . SPLASH . RAIN drops in buckets .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Jesus!<\/dialogue>\n    <scene_description>Mike turns the wipers on high . Not much help . He slows the car to a crawl , straining to see out the windshield . LIGHTNING flashes . We see the Janitor leaning over the railing looking into the raging river . Mike brakes , throws his door open , jumps out into the pouring rain .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROAD - NIGHT<\/stage_direction>\n    <character>MIKE<\/character>\n    <dialogue>Hey!? Get away from there!?<\/dialogue>\n    <scene_description>Mike , blinded by the rain makes his way to the railing . The Janitor 's GONE .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oh no! Hello!?<\/dialogue>\n    <scene_description>Mike leans over the rickety railing , looks down . The phosphorescent water swirls angrily . rising quickly . It 's mesmerizing . Magical . Mike ca n't take his eyes off - LIGHTENING FLASHES Mike 's 17 year - old face reflection stares back up at him .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What the -<\/dialogue>\n    <scene_description>CRACK . The railing BREAKS . Mike FALLS . SPLASH . headlong into the river .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ED'S HOUSE - NEXT MORNING<\/stage_direction>\n    <scene_description>Mike 's Audi rolls into the driveway . The door swings open . A muddy , shoeless foot steps out followed by a shoed foot but in no better shape . WE follow the feet , tattered slacks dragging on the cement , to the door . 2 filthy hands dig into pockets , searching -<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Damn it.<\/dialogue>\n    <parenthetical>( pushes doorbell . )<\/parenthetical>\n    <dialogue>Ed! Ed! I lost my key!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ED'S HOUSE - MORNING<\/stage_direction>\n    <scene_description>Ed , wrapped in a robe , tissue between his toes , wobbles to the door so as not to mess up his freshly polished nails .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Coming! I've been worried sick! WHERE -<\/dialogue>\n    <scene_description>Ed opens the door . standing before him is Mike , covered in MUD . His ripped , grimy suit now hangs off of him because . HE 'S 17 AGAIN . Ed 's eyes widen with FEAR .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I've had a really rough night.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>AAAAAHHHHHHHHH!<\/dialogue>\n    <scene_description>Ed slams the door , frantically wobbles away . The door opens , ANGLE ON the muddy feet as they enter and follow the trail of cotton balls up the stairs and to the bathroom door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BATHROOM - DAY<\/stage_direction>\n    <scene_description>ANGLE ON Ed cowering against the back wall , brandishing an over - sized loofah . The door slowly swings open . Ed gasps -<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Do n't come any closer! I'll use it!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>What are you gon na do? Exfoliate me to death?<\/dialogue>\n    <parenthetical>( Ed shrieks . )<\/parenthetical>\n    <dialogue>You got into my samples case again, did n't you?<\/dialogue>\n    <scene_description>A whimpering Ed points to the mirror .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What's your problem, it's only mud.<\/dialogue>\n    <scene_description>The muddy feet turn toward the mirror and -<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>AAAAAAAAHHHHHHH!<\/dialogue>\n    <scene_description>ANGLE ON the mirror . Mike 's 17 . He turns on the water , splashes his face frantically . Mud gone . He 's still 17 .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>AHHHHHHHHHHHH!<\/dialogue>\n    <scene_description>Mike tears his suit jacket and shirt off . hairless chest . He yanks off his pants , peeks down his boxers -<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm dreaming right? Is this some kind of hallucination?<\/dialogue>\n    <scene_description>Mike pulls Ed up by his robe .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Do something! Anything! Pinch me!<\/dialogue>\n    <scene_description>Ed throws a knee into Mike 's nuts , bolts out the door SCREAMING . Mike crumbles .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I said pinch!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ED'S HOUSE\/FOYER - DAY<\/stage_direction>\n    <scene_description>Ed reaches the door , fumbles with the locks . He just manages to open the door when Mike tackles him to the floor . The two buddies roll around , limbs intertwined .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Calm down! We need to talk! We can work this out!<\/dialogue>\n    <character>FEMALE VOICE<\/character>\n    <parenthetical>( o.s . )<\/parenthetical>\n    <dialogue>Aye dios mio!<\/dialogue>\n    <scene_description>They stop wrestling , look up . The LATINO MAID stands in the doorway genuflecting .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Maria, we're just friends. Really.<\/dialogue>\n    <scene_description>The Maid hurries off muttering prayers in Spanish .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ED'S HOUSE\/BACKYARD - LATER<\/stage_direction>\n    <character>ED<\/character>\n    <dialogue>My theory is that you were transformed by a freak congruence of some of the planets most volatile elements. I've recreated the exact contents of the LA River. The toxic pollutants, the contaminants.<\/dialogue>\n    <scene_description>REVEAL Mike in the gurgling green water of the hot tub .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Well, it obviously is n't working.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>That's because the cocktail's not complete.<\/dialogue>\n    <scene_description>Ed picks up a TOASTER attached to an extension cord .<\/scene_description>\n    <character>ED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Last night we had the worst electrical storm of the last hundred years.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Is that true?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>It was pretty bad.<\/dialogue>\n    <scene_description>Ed raises the toaster -<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Wait! Wait! Wait! Do you really think this'll work?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>It could.<\/dialogue>\n    <scene_description>Ed tosses it in . Mike screams . Nothing happens .<\/scene_description>\n    <character>ED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oops. Came unplugged. Wo n't be a moment.<\/dialogue>\n    <scene_description>Ed reaches down to plug it in .<\/scene_description>\n    <character>ED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What were you doing by the river anyway?<\/dialogue>\n    <scene_description>CLOSE ON MIKE , Light bulb goes off . He leaps out , runs for the house .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>The janitor!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FITCH SENIOR HIGH SCHOOL\/PARKING LOT - DAY<\/stage_direction>\n    <scene_description>The Audi screeches to a stop in front of the school . Mike bounds out , wearing a robe , races inside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITCH SENIOR HIGH SCHOOL\/HALL - DAY<\/stage_direction>\n    <scene_description>Mike rushes past baffled STUDENTS , asking no one in PARTICULAR -<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Has anyone seen the janitor? Is the janitor here? Where's the janitor?<\/dialogue>\n    <scene_description>Mike reaches the familiar wall of pictures . Kids point , laugh , stare . A FEMALE JANITOR , steps from a room .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Excuse me! Excuse me!? Can you tell me where I can find the night janitor?<\/dialogue>\n    <character>JANITOR<\/character>\n    <dialogue>I'm the only custodial engineer currently employed here.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>There was an old guy, white hair. I showed him this picture of me -<\/dialogue>\n    <scene_description>Mike points to the 1989 team photo .<\/scene_description>\n    <character>JANITOR<\/character>\n    <dialogue>- Of you? That picture's from 1989.<\/dialogue>\n    <scene_description>Mike backs away from the picture and the Janitor .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Right. Forget it.<\/dialogue>\n    <scene_description>Confused , Mike stumbles to the bathroom . He 's about to enter , three letter jacket wearing JOCKS , STAN , JAZZ and KEVIN , burst out laughing , knocking Mike on the way by .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITCH SENIOR HIGH SCHOOL\/BATHROOM - DAY<\/stage_direction>\n    <scene_description>Mike enters , moves to a sink , turns the water on -<\/scene_description>\n    <character>VOICE<\/character>\n    <parenthetical>( o.s . )<\/parenthetical>\n    <dialogue>Can I get a little help in here?<\/dialogue>\n    <scene_description>Mike turns , sees what appears to be UNDERWEAR stretched over the corner of a closed stall door . Mike approaches the door , swings it open . there HANGS Alex , sneakers dangling 3 feet off the ground . The back of his underwear wrenched up over the corner of the door .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Alex? What are you doing up there?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>I wanted to see if I could get my nuts into my esophagus. What do you think I'm doing!? Get me down!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Okay. Okay. I'll get you down.<\/dialogue>\n    <scene_description>Mike pulls the underwear off the door . Alex drops , reaches down his pants , adjusts his underwear .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>How do you know my name?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I'm. Mark. Freedman. Your Uncle Ed's son. He told me to look out for you.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Uncle Ed has a son?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Believe me, it's gon na be a surprise to him too. Did those guys do this to you?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Goons from the basketball team.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>But why?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Because they can and so they do on a daily basis.<\/dialogue>\n    <character>MIKE<\/character>\n    <parenthetical>( SHOCKED . )<\/parenthetical>\n    <dialogue>But you're one of them.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>No, I'm not. Nice robe, guy. Got ta go.<\/dialogue>\n    <scene_description>Alex walks out bowlegged . A devastated Mike watches him go .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. AUDI - MOMENTS LATER<\/stage_direction>\n    <scene_description>Mike drives off out of the parking lot . To his left he spies - ANGLE ON : Stan and Maggie making out against Stan 's Mustang . Mike pounds on the horn , scaring them apart . Drive 's off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ED'S HOUSE\/KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Ed sits at the island , a laptop in front of him . On the screen WE see he 's perusing www.spellscursesincantations.com . The sound of the front door opening and closing . Mike enters .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Did you find the janitor?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>He does n't exist. Nothing makes sense.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Did he ask you for your soul?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>No?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>That's a good sign. We can eliminate Satan.<\/dialogue>\n    <parenthetical>( clicks on a link . )<\/parenthetical>\n    <dialogue>I think what we're dealing with here is a spell of enlightenment.<\/dialogue>\n    <parenthetical>( peruses the page . )<\/parenthetical>\n    <dialogue>`` Spell affect''. `` casting procedure''. yada, yada, yada. Basically it's a learning spell. There's something you need to figure out and until you do you'll stay a kid. My guess is that janitor was probably a war.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I'm going back to high school.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>lock. I'm sorry. Could you repeat that? Because I thought you just said you were -<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Going back to high school.<\/dialogue>\n    <scene_description>Mike grabs a beer from the fridge , cracks it . As Mike is about to take a sip , Ed swipes the beer from his hand . CHUGS it down .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Are you out of your freaking mind!?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>My son was hanging by his underwear from a bathroom stall door and my daughter was being mauled by a smarmy gorilla. They need me.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>What about your job?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Email and telephone. I got it covered.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Well, Scarlet, then. What are you gon na tell her?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>You're just gon na disappear?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>To be honest, I think she'd rather have it that way. What's with the attitude?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Because I know you're going to suck me into this and I'm not going back there, Mike. You'll never get me to go back to Fitch. Never!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITCH SENIOR HIGH SCHOOL\/OFFICE - DAY<\/stage_direction>\n    <character>ED<\/character>\n    <dialogue>I hate you.<\/dialogue>\n    <scene_description>PULL BACK TO REVEAL Ed and Mike sit outside Principal 's office . Mike is dressed in an overly exaggerated hip style , -LRB- a grown - ups concept of what 's cool - he looks ridiculous -RRB- .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Take a deep breath. All you have to do is enroll me and say as little as possible.<\/dialogue>\n    <scene_description>Ed calms . Mike pulls a manila folder out of his book bag .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Are you sure these look legit?<\/dialogue>\n    <character>ED<\/character>\n    <parenthetical>( offended\/cocky . )<\/parenthetical>\n    <dialogue>Please. I created software used to launch the space shuttle. I think I'm capable of forging some report cards. What's up with the gear?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>This is hip teenage apparel. I got it right off the mannequin at Ed Hardy.<\/dialogue>\n    <character>SECRETARY<\/character>\n    <dialogue>Ms. Goodwin will see you now.<\/dialogue>\n    <scene_description>Mike and Ed stand , head for the door marked ` Principal ' .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>First sign this old hag is on to us I'M -<\/dialogue>\n    <scene_description>Mike and Ed step through the door -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. PRINCIPAL'S OFFICE - DAY<\/stage_direction>\n    <scene_description>MS. GOODWIN , 35 , sits behind her desk . she 's no hag . She 's an attractive , buttoned - up professional . Ed 's face lights up and without missing a beat -<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>- so glad we chose this school. I'm Ed Freedman.<\/dialogue>\n    <scene_description>Ed steps in front of Mike , shakes Ms. Goodwin 's hand .<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Nice to meet you. I'm Julie Goodwin, principal here at Fitch Senior High. And you behind there? You are?<\/dialogue>\n    <scene_description>Mike tries to peer around Ed . Mike finally physically moves Ed steps aside .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Oh, right. Sorry. This little chicken pock here is Mark. Say hello, Mark.<\/dialogue>\n    <scene_description>Ed smiles , rubs Mikes head vigorously . Mike slaps his hand .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Nice to meet you, Julie.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>Around here you're going to have to use Ms. Goodwin. Please, sit.<\/dialogue>\n    <scene_description>Mike and Ed sit .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Before we get started I want you to know that Mark's a bastard.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>Excuse me!?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>I had him out of wedlock. So the answer is yes, I'm very single. and very rich.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Dad met mom in Thailand. She's a very successful prostitute.<\/dialogue>\n    <scene_description>Ed 's smile fades .<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>O - Kay. Did you bring your transcripts?<\/dialogue>\n    <scene_description>Mike hands Julie the folder . As Julie browses through it , Ed and Mike get into a pinching , elbowing fight . When she looks up , the friends stop . Both smiling .<\/scene_description>\n    <character>JULIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>So the last school you went to was Cutler High in Connecticut. And you were a straight A student. Very impressive.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>I help him with his homework. a lot.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Oh, dad, the doctor called. You were right. It is herpes.<\/dialogue>\n    <scene_description>Ed 's jaw drops . Julie rises abruptly .<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>I think it's time we got Mark to class. Lisa! Lisa!<\/dialogue>\n    <scene_description>The door opens , in steps LISA , 18 .<\/scene_description>\n    <character>JULIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Lisa, will you print out a schedule for Mark and show him to class?<\/dialogue>\n    <character>LISA<\/character>\n    <dialogue>Sure. Come on, Mark.<\/dialogue>\n    <scene_description>Mike stands . Ed addresses him as fatherly as he knows how -<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Be a good boy now. And sit up straight.<\/dialogue>\n    <scene_description>Mike glares at Ed , follows Lisa out . Ed turns to Julie .<\/scene_description>\n    <character>ED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>They grow up so fast. Mojito?<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>I beg your pardon.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>You strike me as a Mojito gal. I know this little Cuban place, great PLANTAINS -<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>- Yeah, no. I do n't date my students' parents. It's a rule of mine.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>I'll enroll him somewhere else.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>I really need to get back to work.<\/dialogue>\n    <scene_description>Julie ushers Ed to the door .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>See you at the next bake sale then?<\/dialogue>\n    <scene_description>Julie shuts the door , shakes her head in disbelief .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITCH SENIOR HIGH SCHOOL\/CALCULUS CLASS - DAY<\/stage_direction>\n    <scene_description>Mike steps in . Scattered giggles at his appearance . Mike takes a seat , eyes three sexy girls wearing next to nothing , SAMANTHA , LAUREN and JAMIE , busy texting on their phones .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Do their mothers know they dress like that?<\/dialogue>\n    <scene_description>A GIRL next to him leans over -<\/scene_description>\n    <character>GIRL<\/character>\n    <dialogue>Those are the Wonder Bras. Beware.<\/dialogue>\n    <scene_description>The Jocks , Stan , Jazz and Kevin strut in . Mike 's eyes narrow . Stan stops before Mike , looks him up and down -<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>What did you did do? Mug the mannequin at the Ed Hardy store?<\/dialogue>\n    <character>JAZZ<\/character>\n    <dialogue>Tool!<\/dialogue>\n    <scene_description>Laughter from the class . Mike shies . The Jocks sit , Stan behind Mike . Just as the last bell rings , Maggie rushes in , sits with the Bras .<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>Oh thank God he's not here. I ran all the way from -<\/dialogue>\n    <scene_description>Something catches Maggie 's eye . It 's Mike waving to her .<\/scene_description>\n    <character>MAGGIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Why's that freak waving at me.<\/dialogue>\n    <scene_description>Maggie places a hand over her face , looks down .<\/scene_description>\n    <character>MALE VOICE<\/character>\n    <parenthetical>( o.s . )<\/parenthetical>\n    <dialogue>Take your seats. Stop the talking.<\/dialogue>\n    <scene_description>MR. ADAMS , 45 , prissy , strides in carrying a stack of papers .<\/scene_description>\n    <character>MR. ADAMS<\/character>\n    <dialogue>Here are yesterday's tests. Let's see how you all did.<\/dialogue>\n    <scene_description>Moans from the class . Adams walks up and down the aisle slapping them down on the desks .<\/scene_description>\n    <character>MR. ADAMS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>C -, C, B -, D, D -, F<\/dialogue>\n    <scene_description>Adams reaches Maggie , drops the test on her desk .<\/scene_description>\n    <character>MR. ADAMS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>D for O'Donnell.<\/dialogue>\n    <scene_description>Humiliated , Maggie lowers her head .<\/scene_description>\n    <character>MR. ADAMS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Let me guess. Early acceptance?<\/dialogue>\n    <parenthetical>( Maggie nods . )<\/parenthetical>\n    <dialogue>Where are we going?<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>Georgetown.<\/dialogue>\n    <character>MR. ADAMS<\/character>\n    <dialogue>If you flunk senior calculus you'll be lucky to get into beauty school, missy. So, if you plan on slacking your way through my class, do n't. Save your parents tuition money and pick up a blow dryer.<\/dialogue>\n    <scene_description>Mike angrily stands -<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Enough!<\/dialogue>\n    <scene_description>Mr. Adams turns to Mike .<\/scene_description>\n    <character>MR. ADAMS<\/character>\n    <dialogue>Excuse me?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Do you think humiliating a 17 year - old in front of her peers is helpful or do you just get off on it?<\/dialogue>\n    <character>MR. ADAMS<\/character>\n    <dialogue>And you are?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Mark Freedman. It's my first day.<\/dialogue>\n    <scene_description>Adams turns , walks back towards the front of the room .<\/scene_description>\n    <character>MR. ADAMS<\/character>\n    <dialogue>Well, Mr. Freedman -<\/dialogue>\n    <scene_description>Stan signals his friends , takes out a LIGHTER , flicks it , leans forward and places the flame BETWEEN Mike 's legs . The flame GLOWS RED against Mike 's jeans . The Jocks and Bras pull out their cells and begin VIDEOING . Adams scribbles on a pad -<\/scene_description>\n    <character>MR. ADAMS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>- you've earned yourself a trip to the principal's office. Welcome to Fitch.<\/dialogue>\n    <scene_description>Adams rips the paper off , holds it out towards Mike . Mike sniffs at the air -<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Is someone barbecuing?<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>YYYYEEEEOOOOOWWWWWWW!<\/dialogue>\n    <scene_description>Mike LEAPS out of his shoes . A FLAME runs up his crotch . LAUGHTER . Mike , SCREAMING , runs around the room fanning his package .<\/scene_description>\n    <character>MR. ADAMS<\/character>\n    <dialogue>Get out, Mr. Freedman!<\/dialogue>\n    <scene_description>Mike snatches the slip from Adams and out the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITCH SENIOR HIGH SCHOOL\/CAFETERIA - DAY<\/stage_direction>\n    <scene_description>A packed lunchroom . The CLIQUES sit amongst themselves . WE notice all the KIDS hunched over STARING AT THEIR PHONES . Mike enters carrying a bag lunch . A BLACK BURN MARK on the crotch of his pants . A GAYSIAN spots him , yells -<\/scene_description>\n    <character>GAYSIAN<\/character>\n    <dialogue>Go Hot Pants! Do your dance, Girl!<\/dialogue>\n    <scene_description>The entire cafeteria turns to Mike and erupts in laughter . As Mike passes each table , WE see the kids are watching his ` fire dance ' on their phones . Mike approaches a table of the 3 BIGGEST LOSERS in school , unkempt hair , fat , acne . Mike begins to sit when -<\/scene_description>\n    <character>BIGGEST LOSER<\/character>\n    <dialogue>Look, we feel your pain. We really do. But life's hard enough, Brother.<\/dialogue>\n    <scene_description>Mike nods , continues on past the snickering and catcalls until he sees Maggie and the Wonder Bras . ANGLE : Wonder Bra Table . Maggie , Samantha , Jamie and Lauren pick around plates of cafeteria food .<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>What's the big deal? He stuck up for me in class. It was a nice thing to do.<\/dialogue>\n    <character>SAMANTHA<\/character>\n    <dialogue>He was totally sexing on you.<\/dialogue>\n    <character>LAUREN<\/character>\n    <dialogue>He's coming. Pretend you're not here.<\/dialogue>\n    <scene_description>Mike approaches , big smile . The Wonder Bras look off in every direction except Mike 's .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Hi, Maggie. Hi, girls. I'm Mark -<\/dialogue>\n    <scene_description>The Girls continue looking away , ignoring Mike .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Girls? Hello? Anyone home?<\/dialogue>\n    <character>LAUREN<\/character>\n    <dialogue>Oh my God. Ca n't you see we're not here?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Good. So there's plenty of room then.<\/dialogue>\n    <scene_description>Mike drops down next to Samantha and across from Maggie .<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>Oh, look. He brought a bag lunch. How sped.<\/dialogue>\n    <parenthetical>( special ed . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Mike hides his lunch .<\/scene_description>\n    <character>SAMANTHA<\/character>\n    <dialogue>Look, this table is V.I.P. You're a NIP.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>What's a NIP?<\/dialogue>\n    <character>LAUREN<\/character>\n    <dialogue>Not Important. Go away.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Maggie, why are you friends with these horrible girls?<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>Listen, I appreciate what you did in class but, I already have a boyfriend.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>You have a boyfriend?<\/dialogue>\n    <parenthetical>( his phone rings . )<\/parenthetical>\n    <dialogue>Excuse me a second.<\/dialogue>\n    <scene_description>Mike pulls out an OLDER Blackberry phone , looks at the caller ID . Scarlet . He sends it to voice mail .<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>He still gets calls. How 2007.<\/dialogue>\n    <character>SAMANTHA<\/character>\n    <dialogue>I think my grandfather has that phone.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Maggie, could we talk somewhere ELSE -<\/dialogue>\n    <scene_description>The sound of a bouncing ball interrupts .<\/scene_description>\n    <character>MALE VOICE<\/character>\n    <parenthetical>( o.s . )<\/parenthetical>\n    <dialogue>Yo!<\/dialogue>\n    <scene_description>Mike turns . Stan , Jazz and Kevin swagger over .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Bro - ski, what are you doing at our table?<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>Nothing. He was just leaving.<\/dialogue>\n    <scene_description>Maggie nods for Mike to go .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( SARCASTIC . )<\/parenthetical>\n    <dialogue>We should do this again sometime.<\/dialogue>\n    <scene_description>Mike stands . Stan pulls Maggie up , starts making out with her , hands all over her . WE can see Mike 's blood BOIL until -<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Get your hands off her, you little punk!<\/dialogue>\n    <scene_description>Oops . Stan stops groping , steps over to Mike , a solid foot taller than him .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>You got ta problem with me, ` bra?<\/dialogue>\n    <scene_description>Mike looks around . the entire cafeteria watches . Defeated -<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>No, no, I do n't.<\/dialogue>\n    <scene_description>Stan takes Mike 's hat off , picks up an ice cream from Maggie 's tray , puts the ice cream in the hat , places it back on Mike 's head and SMUSHES it down .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Now make like Tom and Cruise.<\/dialogue>\n    <scene_description>Flush with humiliation and ice cream dripping down his face , Mike turns and walks out .<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>That was so not cool.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>What? I'll buy you another ice cream.<\/dialogue>\n    <scene_description>WE see Alex , seated by himself at a back table , shake his head in disgust .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RESTAURANT\/BAR - NIGHT<\/stage_direction>\n    <scene_description>A beaten down Mike sits alongside Ed at the bar .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>It was terrible. The place is evil, Ed. That building needs to be exorcised.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Come on. It could n't have been that bad.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>My beanbag was lit on fire, videoed and sent to every member of student body.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Yeah, I caught it on youtube. Funny stuff.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>They mocked my clothes and phone. My daughter got a tongue bath in front of me and I have mint chip in my ears.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>High school's great, is n't it?<\/dialogue>\n    <scene_description>The BARTENDER approaches .<\/scene_description>\n    <character>BARTENDER<\/character>\n    <dialogue>What can I get you?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Double scotch neat.<\/dialogue>\n    <character>BARTENDER<\/character>\n    <dialogue>Funny, kid.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Get the boy a Shirley Temple. Extra cherries.<\/dialogue>\n    <scene_description>The Bartender nods serves up the drinks . Mike miserably plucks a cherry off his pink drink .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I'm not going back there.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Mike, you're an adult sitting on 36 years of experience. You should be dominating these kids, ripping their hearts out.<\/dialogue>\n    <scene_description>An OLDER WOMAN takes a seat next to the boys .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I know why you're encouraging me all of a sudden.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Because I'm a supportive dad.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Because you want to nail my principal.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Did she ask about me?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>She's not your type. She's smart.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>As far as I can tell that's her only flaw. I need a reason to see her again. You could flunk your classes, start a fight, vandalise the place. You'll figure it out. Then I can rush in, a teary eyed, helpless, single dad who ca n't handle his angry, kitten killing son. What do you think?<\/dialogue>\n    <scene_description>The Older Lady , having listened to it all , turns to Ed -<\/scene_description>\n    <character>OLDER LADY<\/character>\n    <dialogue>I think you should be reported to child services!<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Mind your business, Lady. This is a family matter.<\/dialogue>\n    <scene_description>The Lady turns away in disgust .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I ca n't do it. I do n't have it in me.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Hey, no sweat off my sack. Tell Alex to stop wearing underwear all together. He'll be fine. That's what I did.<\/dialogue>\n    <scene_description>Mike eyes Ed , considers just how `` well adjusted '' Ed is . A determined look comes over Mike . He pounds the bar .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>You're right! My kids need me.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>At' a boy. Now what you need is a crash course on being a teen in 2008.<\/dialogue>\n    <scene_description>A MONTAGE OF MIKE 'S CRASH COURSE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MAGAZINE STAND - NIGHT<\/stage_direction>\n    <scene_description>The Boys gather a stack of TEEN MAGAZINES and TABLOID RAGS . Ed slips a MELONS Magazine into the pile .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRENDY HAIR SALON - NIGHT<\/stage_direction>\n    <scene_description>A picture of a YOUNG , POPULAR STAR torn from one of the teen mags hangs on the mirror . A HAIRDRESSER cuts away and highlights Mike 's long locks . Ed sits beside Mike sipping wine , enjoying a manicure .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TRENDY CLOTHES STORE - NIGHT<\/stage_direction>\n    <scene_description>It 's the PRETTY WOMAN scene . 2 hip SALESGIRLS pull clothes from racks . A clean cut Mike tries on sneakers , jeans , T - shirts , hoodies , shirts , jewelry . Ed nods with his approval or disapproval . At the register , the Girls hand Mike his bags of clothes . Ed takes out his cell to put their numbers in it . The Girls frown and go back to work .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. VIRGIN MEGA MUSIC STORE - NIGHT<\/stage_direction>\n    <scene_description>Mike and Ed stand before the wall of 100 top albums . Both wear headphones listening and moving to the music .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ED'S HOUSE\/OFFICE - NIGHT<\/stage_direction>\n    <scene_description>Mike and Ed , surrounded by the magazines and music discs , sit before the computer . Ed TEACHES Mike how to create a MYSPACE page . Bogus About Me and Interests . Photoshopped pictures of Mike in exotic locations . All the ` now ' movies , music and books . They fill his Friends section with only hot girls . The Boys view the flashy , finished product , tap fists . This page makes ` Mark Freedman ' look like a playboy .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MAC STORE - NIGHT<\/stage_direction>\n    <scene_description>A SALESMAN hands a smiling Mike his new iPhone .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ED'S HOUSE\/MIKE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Mike sits on the bed , types away on his laptop . A knock on the door . Mike looks up and YELLS . Ed stands in the doorway , his entire body and head wrapped in SEAWEED .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Before you ask, it's a seaweed wrap. I'm detoxifying as well as losing an inch or 2 from my problem areas.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>There must be a very hot girl downstairs.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>There is. What are you doing?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I forwarded my calls to my new phone, sent some work emails and just lobbed one to Scarlet, told her I was in Peru finding myself. Think she'll buy it?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Probably not because when she called earlier I told her you were being detained at Guantanamo. Ready for tomorrow?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I am so ready.<\/dialogue>\n    <scene_description>Ed flips Mike a set of keys . Mike 's eyes light up .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>That ought' a put you over the top. And do n't forget to hook me up son.<\/dialogue>\n    <scene_description>Ed plods off . Off Mike 's huge smile .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FITCH SENIOR HIGH SCHOOL\/PARKING LOT - MORNING<\/stage_direction>\n    <scene_description>The usual pre - school ritual . Stan , Jazz , Kevin , the Wonder Bras and Maggie all hang around Stan 's ` stang . Stan and Maggie wrapped in a heated embrace , kissing . HONK . A horn blares . Stan and Maggie jump out of the way . An ASTON MARTIN VANQUISH stops next to the crew . The tinted window rolls down revealing the new and improved Mike . Mike winks then rolls on past .<\/scene_description>\n    <character>SAMANTHA<\/character>\n    <dialogue>Oh my god. Was that -<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Did you see -<\/dialogue>\n    <character>LAUREN<\/character>\n    <dialogue>I told you he was cute.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITCH SENIOR HIGH SCHOOL\/HALL - DAY<\/stage_direction>\n    <scene_description>It 's the MOMENT . Mike walks the hallway , handsome and hip . Samantha , Lauren and Jamie text by their lockers . Mike struts up to them . The Bras smile .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>So I've been here a couple days now and I think I got it figured out. You girls are lesbians, right?<\/dialogue>\n    <scene_description>The Bras ' jaws hit the floor . Mike walks off , a huge grin on his face . Man , that felt good .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITCH SENIOR HIGH SCHOOL\/CAFETERIA - DAY<\/stage_direction>\n    <scene_description>Mike steps from the kitchen area carrying a TRAY , scans the crowded room , finds Alex seated at a table ALONE . It 's a heartbreaking image . Mike approaches -<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Mind if I sit here?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Mark? You look totally different.<\/dialogue>\n    <scene_description>Mike sits across from Alex.<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I got rid of the bull's eye on my forehead.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Could you move to the left a little?<\/dialogue>\n    <scene_description>Mike inches left , peeks behind him . 2 girls eat lunch together . The one facing them is a cute Latino , NICOLE , 16 . Nicole smiles . Alex quickly shies away .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Who's she?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Nicole Lopez. She's in my Spanish class.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Have you spoken to her?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>No. I get all stupid so I just stare.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I'll tell you a funny story. The first time I met your mother I was so nervous -<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>My mother?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>You said, ` the first time I met your mother I was so nervous.'<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I did? That's weird. Is your mom hot?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Dude.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>What's going on tonight? You wan na hang out? Do something?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah you could show me around.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Cool.<\/dialogue>\n    <scene_description>The Wonder Bras sway in , take seats at the VIP table .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I'll swing by your house around 7.<\/dialogue>\n    <scene_description>Mike rises .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>I would n't go over there. Stan and his Baboons have lunch this period.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Do n't worry. I'll see you tonight.<\/dialogue>\n    <scene_description>Mike strolls over to the Bras ' table , plunks himself down .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Did you girls catch Ellen yesterday? Rosie was on. Melissa Etheridge jammed -<\/dialogue>\n    <character>SAMANTHA<\/character>\n    <dialogue>- You're so rude!? We're not gay. We like boys.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>Yeah, Samantha's a total slu.<\/dialogue>\n    <scene_description>Samantha 's jaw drops .<\/scene_description>\n    <character>LAUREN<\/character>\n    <dialogue>Last New Year's Samantha made it with my boyfriend.<\/dialogue>\n    <character>SAMANTHA<\/character>\n    <dialogue>I was on like 5 Red Bulls! I ca n't believe you keep bringing that up.<\/dialogue>\n    <scene_description>The Bras ' begin to bicker amongst themselves . Mike pulls out his new iPhone , plugs the earphones in his ears . The Bras immediately stop bickering , ogle the phone .<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>Rad phone.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I know. I'll text you. NOT. Later. much.<\/dialogue>\n    <scene_description>Mike rises from the table .<\/scene_description>\n    <character>SAMANTHA<\/character>\n    <dialogue>Like we'd ever give you our numbers.<\/dialogue>\n    <scene_description>Stan , carrying a basketball , his goons and Maggie come up behind Mike .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Heads up!<\/dialogue>\n    <scene_description>Stan whips the ball at Mike . Mike , cat - quick , spins around , catches the ball . The whole cafeteria turns their attention on Mike and Stan . Mike points to the name ` Stan ' on Stan 's letter jacket , reads -<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Stan. Did mommy sew that on there so you would n't forget your name?<\/dialogue>\n    <scene_description>Laughter from the Students .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>You think ` cause you got a haircut and new clothes people'd forget what a fag you are?<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>Cut it out, Stan. Let's eat.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Gim me my ball back, bee - yotch.<\/dialogue>\n    <scene_description>Mike ignores him and starts dribbling .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>You know, Stan, I feel sorry for you.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>You do n't know me.<\/dialogue>\n    <scene_description>Mike speaks loudly now , playing to the cafeteria .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Oh but I do. All too well. You're the man. Captain of the basketball team. Dates the pretty girls. High school is your kingdom.<\/dialogue>\n    <scene_description>Stan and his Posse tap fists . Mike dribbles between his legs .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>But, People, Stan's a bully. Why? It would be way too easy to say Stan preys on the weak because he's simply a dick. No, Stan's more complex than that. According to leading psychiatrists Stan is a bully for 1 of 3 reasons. 1, under all that male bravado there's an insecure little girl banging on the closet door trying to get out. 2, like a caveman, Stan's brain is underdeveloped. Therefore Stan is unable to use self - control so he acts out aggressively. And the third reason -<\/dialogue>\n    <scene_description>Mike holds up his pinky then spins the ball on it .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'd argue that Stan suffers from all 3.<\/dialogue>\n    <scene_description>The entire cafeteria LAUGHS HYSTERICALLY . Mike feigns whipping it back at Stan , who recoils , then gently rolls the ball back to Stan .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( WINKS . )<\/parenthetical>\n    <dialogue>Do n't hurt yourself big boy.<\/dialogue>\n    <scene_description>Some students , including Alex , ERUPT . The Wonder Bras eye Mike with new found lust . ANGLE ON Mike 's face as he walks away .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <parenthetical>( to himself . )<\/parenthetical>\n    <dialogue>3, 2, 1.<\/dialogue>\n    <scene_description>Mike ducks just as the ball whizzes overhead , rockets across the cafeteria landing on Miss Goodwin 's tray , splattering her with food . She glares at Stan . Mike 's iphone buzzes . ANGLE ON SCREEN : the Wonder Bras digits appear .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITCH SENIOR HIGH SCHOOL\/COLLEGE CENTER - DAY<\/stage_direction>\n    <scene_description>Mike enters , approaches MRS. MENCER , 60 .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>My guidance councilor made me come, but just so you know I'm not planning on going to college.<\/dialogue>\n    <character>MRS. MENCER<\/character>\n    <dialogue>A lot of kids feel that way. Do n't be intimidated. It does n't hurt to take a look.<\/dialogue>\n    <scene_description>Mrs. Mencer hands Mike a hefty book .<\/scene_description>\n    <character>MRS. MENCER<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>A good place to start is here. this book has information on every college and university in the country.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Thanks.<\/dialogue>\n    <scene_description>Mike sits , starts paging through the book and gets lost in the bright colored pictures . smiling STUDENTS , CAMPUSES and LECTURE HALLS . THE OPTIONS HE LOST YEARS AGO .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ASTON MARTIN - NIGHT<\/stage_direction>\n    <scene_description>A pumped - up Mike dials . ringing . On the seat beside him rests a stack of college applications . Ed answers .<\/scene_description>\n    <character>ED<\/character>\n    <parenthetical>( o.s . )<\/parenthetical>\n    <dialogue>Hello?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>It was incredible! I was incredible! You should' a seen me! I humiliated Stan in front of the entire lunchroom. Everyone was clapping. The popular girls were begging to give me their numbers!<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>See what happens when you put a little lipstick on the pig? Did you manage to get sent to the principal's office?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Man, I feel great! I even shot some hoops after school. No aches. No pains. Got ta run, Buddy.<\/dialogue>\n    <scene_description>Mike hangs up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIKE'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>The Aston Martin pulls up . Mike climbs out , walks to the door , takes a deep breath and rings the bell .<\/scene_description>\n    <character>SCARLET<\/character>\n    <parenthetical>( o.s . )<\/parenthetical>\n    <dialogue>Coming!<\/dialogue>\n    <scene_description>The door opens revealing Scarlet in her dirty yard attire .<\/scene_description>\n    <character>SCARLET<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I've been dying to meet you. I've known your father since.<\/dialogue>\n    <parenthetical>( gasps . )<\/parenthetical>\n    <dialogue \/>\n    <scene_description>Scarlet . SPEECHLESS . visibly stunned by the resemblance .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Is something wrong?<\/dialogue>\n    <character>SCARLET<\/character>\n    <parenthetical>( FLUSTERED . )<\/parenthetical>\n    <dialogue>No. It's just. you look like. No. I'm fine. Come in. Please.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S HOUSE\/LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Scarlet and Mike sit across from one another . Scarlet stares at Mike as if examining every pore on his face .<\/scene_description>\n    <character>SCARLET<\/character>\n    <dialogue>And you say Ed Freedman is your father?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>That's my dad. All 68 inches of him.<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>You do n't look anything like him. If you do n't mind me asking, who's your mother?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>My mother. she. she was. a.<\/dialogue>\n    <scene_description>Mike spies Dostoevsky 's Crime and Punishment on a table .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>- a convict. In New Jersey. They met while dad was at Princeton. She was on parole. B&amp;E, fist fighting, shanking. Nothing major. But she's dead now.<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>Oh? I'm sorry.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I warned her about kite surfing during hurricane season. So how are things with you? Doing anything exciting? Dating? Flirting with Dom Johnson maybe?<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>Why would you ask about Dom? Did Ed tell you to say that?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I mean do what you want. You're a grown woman but, word on the street is Dom's been spreading gingivitis all over town.<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>I'll keep that in mind, Mark.<\/dialogue>\n    <scene_description>Scarlet ca n't take her eyes off Mike .<\/scene_description>\n    <character>SCARLET<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It's crazy how much you like my husband when he was a teenager.<\/dialogue>\n    <scene_description>Mike switches subjects , points to her dirty clothes -<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>You doing some gardening?<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>I am. I'm a landscape designer. I'm actually redoing the backyard. I'll show you.<\/dialogue>\n    <scene_description>Scarlet stands , leads Mike to the french doors .<\/scene_description>\n    <character>SCARLET<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It's a work in progress so you'll have to use your imagination some.<\/dialogue>\n    <scene_description>Scarlet opens the doors , flips on the lights . The yard 's been cleaned up . Fresh blankets of sod rest in piles next to stacks of limestone . HUNDREDS of unplanted plants , flowers , trees and shrubs sit around the yard in strategic positions .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIKE'S HOUSE\/BACKYARD - NIGHT<\/stage_direction>\n    <scene_description>Mike and Scarlet step outside .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I almost do n't even recognize it. er. if I had seen it before I probably would n't recognize it.<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>You would n't have. It was a disaster back here a few days ago. Obviously I have a lot to do still. I'm laying the sod next and the limestone pathway will go here.<\/dialogue>\n    <scene_description>Scarlet moves about the yard , pointing and explaining .<\/scene_description>\n    <character>SCARLET<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Then I'll plant all those, over a hundred different types of flowers and plants. I have an amazing fountain being delivered that'll go here and a bench over there. And I'll string rows of tiny, white lights above it all so every night will be a starry one. It'll be a real sanctuary back here.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>It seems like a lot' a work for one person, Scar.<\/dialogue>\n    <scene_description>A chill runs up Scarlet 's spine .<\/scene_description>\n    <character>SCARLET<\/character>\n    <dialogue>My husband's the only one that ever calls me that.<\/dialogue>\n    <scene_description>Alex appears at the doors interrupting -<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Yo, Mark. Let's do this.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Good luck with the project.<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>Nice to meet you. And, Alex, be home by 10:30.<\/dialogue>\n    <scene_description>Mike heads back inside . Scarlet stares after him .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ASTON MARTIN - NIGHT<\/stage_direction>\n    <scene_description>Mike and Alex step in .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>How's your mom doing? You know, with your dad not being around and all.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>She does n't like to show it but I know she's bummed. I think it bothers her more that he has n't called me or Maggie in a while. Whatever.<\/dialogue>\n    <scene_description>BEEP . BEEP . Mike pulls out his iPhone , text message from Samantha . It reads :<\/scene_description>\n    <character>SAMANTHA'S TEXT<\/character>\n    <dialogue>Wat ^? mobinit 2 zuma. soi! but w\/e. brb. bk. gtg. ttyl. xo. sam.<\/dialogue>\n    <scene_description>Mike stares at the screen as if it were in hieroglyphics .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I have no idea what this says?<\/dialogue>\n    <scene_description>Alex takes the phone from Mike , reads -<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>It says ` What up? Mobbing it to Zuma. So over it but whatever. Be right back. Back. Got to go. Talk to you later. kiss, hug. Sam.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Let's hit the beach, wingman.<\/dialogue>\n    <scene_description>The two touch fists .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ZUMA BEACH - NIGHT<\/stage_direction>\n    <scene_description>A BONFIRE illuminates the night sky . MUSIC plays . KIDS lay on blankets , play football . Others splash in the ocean . WE find Maggie and the Wonder Bras seated by the fire .<\/scene_description>\n    <character>SAMANTHA<\/character>\n    <dialogue>We were on his myspace page. There's a picture of him jamming with the Chili Peppers at Coachella.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>I heard Timbaland wants to produce an album with him.<\/dialogue>\n    <character>LAUREN<\/character>\n    <dialogue>Yeah, but he turned him down to help orphans with Brangelina in Nambib - ib - bib. in Africa.<\/dialogue>\n    <character>SAMANTHA<\/character>\n    <dialogue>Oh my God! I bet he knows Justin.<\/dialogue>\n    <scene_description>ANGLE : Mike and a nervous Alex make their way down the sand .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>This looks boring. Let's go back to my house and play video games.<\/dialogue>\n    <scene_description>Alex turns . Mike grabs his arm , turns him back .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>What are you so nervous about?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>The beach is for the older, cool kids. I do n't belong here.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>What are you talking about? You're a basketball player. You're cool.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>I do n't play basketball. I mean, I can play, I just do n't play on the team.<\/dialogue>\n    <scene_description>Mike is stunned .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>But I thought you were getting ready for the season?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>I never told you that.<\/dialogue>\n    <scene_description>As a confused Mike and Alex approach the scene , BOYS call out to Mike , tap his fist . GIRLS fawn over him . Mike 's become a celebrity . and he 's eating it up . ANGLE : Lauren spots Mike with Alex.<\/scene_description>\n    <character>LAUREN<\/character>\n    <dialogue>Here he comes!<\/dialogue>\n    <scene_description>The Bras whip their heads around , get all dreamy .<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>Can he be any lamer? Using my little brother to get to me?<\/dialogue>\n    <character>SAMANTHA<\/character>\n    <dialogue>If that boy was an apple he'd be delicious.<\/dialogue>\n    <scene_description>Samantha leaps up , scurries over to Mike . Lauren and Jamie chase after her . Maggie shakes her head . As Mike and Alex approach the gathering , Alex freezes up .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Oh, man. It's her. She's here.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Who?<\/dialogue>\n    <scene_description>Alex nods towards the fire . Seated with FRIENDS is Nicole . Alex BELCHES loudly .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>She's so pretty it makes me gassy.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Calm down. Here's what you're gon na do. You're gon na go over there and introduce yourself -<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>She wo n't like me, Mark. I'm a loser.<\/dialogue>\n    <scene_description>Mike grabs Alex by the shoulders .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Why? Because Stan says so? You think Stan's a winner? He's going nowhere. You're a great kid. Any girl would be lucky to get your attention.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Really. And right now, there's a girl over there who's dying to meet you.<\/dialogue>\n    <scene_description>A determined look comes over Alex.<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Okay. What do I say?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Just introduce yourself. Then compliment her on something she never gets complimented on. Like if she has big, meaty, man hands tell her she should be a hand model.<\/dialogue>\n    <parenthetical>( Alex burps nervously . )<\/parenthetical>\n    <dialogue>And do n't burp on her.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>I can do that.<\/dialogue>\n    <scene_description>Alex takes a deep breath , marches off just as Samantha runs up and throws her arms around Mike .<\/scene_description>\n    <character>SAMANTHA<\/character>\n    <dialogue>You came! Why do n't we take a walk somewhere private and play?<\/dialogue>\n    <scene_description>Jamie and Lauren rush over .<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>I do n't think so, Sam. Mark promised me a walk on the beach.<\/dialogue>\n    <character>LAUREN<\/character>\n    <dialogue>Walk with me. I've got less miles on me.<\/dialogue>\n    <scene_description>A full blown ARGUMENT breaks out between the Bras . Mike sees Maggie sitting by the fire alone , slips out . ANGLE : Alex steps over to Nicole and suddenly loses confidence . As he turns to retreat , Nicole looks up -<\/scene_description>\n    <character>NICOLE<\/character>\n    <dialogue>Hi.<\/dialogue>\n    <scene_description>Alex stops , turns back around and blurts out -<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Hi, Alex. I'm Nicole.<\/dialogue>\n    <scene_description>Nicole and her Friends giggle .<\/scene_description>\n    <character>NICOLE<\/character>\n    <dialogue>You do n't look like a Nicole.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>You have big, meaty man hands. You should be a hand model.<\/dialogue>\n    <scene_description>The Girls ' jaws drop . Nicole hides her hands .<\/scene_description>\n    <character>NICOLE<\/character>\n    <dialogue>Oh my God! Seriously!?<\/dialogue>\n    <scene_description>Alex rips a huge BURP . The Girls duck for cover .<\/scene_description>\n    <character>GIRL 1<\/character>\n    <dialogue>I think he got some on me!<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Wait. I'm sorry. I'm just real nervous and I've wanted to talk to you for so long. And Mark told me to compliment you on something you never get complimented on but I could n't find anything because everything's so. perfect.<\/dialogue>\n    <scene_description>Nicole and her Friends MELT .<\/scene_description>\n    <character>NICOLE<\/character>\n    <dialogue>Do you want to sit down, Nicole?<\/dialogue>\n    <scene_description>Nicole scoots over making room next to her . Alex smiles . ANGLE : Mike sits down beside Maggie .<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>What do you want?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Stan. Why are you dating him?<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>Get to the point why do n't you?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I'm serious. He's not a nice guy. Matter of fact he's a jackass.<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>Do n't talk about him like that. You do n't even know him.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I know he bullies your brother.<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>Stan barely knows Alex exists. We're moving in together after graduation.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Whoa. Whoa. Whoa. I thought you were going to Georgetown?<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>I'm going to Westwood Community College. Stan and I both are.<\/dialogue>\n    <scene_description>Mike loses it , leaps to his feet shouting -<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>The hell you are, Young Lady! If you think I'm gon na let you throw your life away on some Sleestack you're crazy! I forbid you to see him anymore and that's final!<\/dialogue>\n    <scene_description>Maggie jumps up . Kids all stare .<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>Who do you think you are!? My father?!<\/dialogue>\n    <scene_description>Maggie stomps over to the still bickering Bras .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Do n't you walk away from me, Margaret Sarah O'Donnell!<\/dialogue>\n    <scene_description>Maggie and the Bras turn towards Mike and glare . Maggie heads for the parking lot .<\/scene_description>\n    <character>SAMANTHA<\/character>\n    <dialogue>Who's Margaret?<\/dialogue>\n    <character>LAUREN<\/character>\n    <dialogue>He does n't even know her name.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>He's so not into her.<\/dialogue>\n    <scene_description>The Bras make the ` text me ' sign then hurry after Maggie . Mike kicks angrily at the sand and accidentally into the faces of a group of KIDS .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ED'S HOUSE\/POOL - MORNING<\/stage_direction>\n    <scene_description>A HOT GIRL wearing a ` Lifeguard ' bathing suit sits atop a high chair . Ed floats on a raft . A frozen drink next to him . Scarlet looms over him , the 2 in a heated conversation -<\/scene_description>\n    <character>SCARLET<\/character>\n    <dialogue>I have n't heard from him in three weeks. Obviously he does n't care.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>He cares.<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>Then where is he?<\/dialogue>\n    <scene_description>Mike steps from the house , sees Scarlet -<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>What's going on?<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>Nothing, Mark. I was just dropping something off.<\/dialogue>\n    <scene_description>Scarlet tosses a manila envelope on the patio table .<\/scene_description>\n    <character>SCARLET<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Our court date is the 27th. If he has anything to say, he can say it then.<\/dialogue>\n    <scene_description>Scarlet exits .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>What was that all about?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>That envelope contains divorce papers.<\/dialogue>\n    <scene_description>Mike eyes the envelope , in stunned silence .<\/scene_description>\n    <character>ED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>But what do you care? You're going to college, right? Life's one big panty raid for you.<\/dialogue>\n    <scene_description>Mike feigns innocence .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I do n't know what you're talking about?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>I saw the applications in your room.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>You went through my room!?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>If you'd cleaned like I asked I would n't have had to. You ca n't be serious about this can you?<\/dialogue>\n    <scene_description>Mike starts to argue then gives in -<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I have to face the possibility that I might never turn back and if that's the case, I'm going to do it right this time around.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Karmically speaking, in the next life you're coming back as a hemorrhoid.<\/dialogue>\n    <scene_description>Mike scoffs , storms off . Ed calls after him -<\/scene_description>\n    <character>ED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm not paying for college!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITCH SENIOR HIGH SCHOOL\/HALL - DAY<\/stage_direction>\n    <scene_description>Mike shoves books in his locker . Stan approaches .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>You like her, do n't you?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Who?<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>My girlfriend. She told me you were trashing me at the beach.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Leave her alone, Stan. She's a good kid.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>I do n't know how good she is yet but after I find out, she's all yours.<\/dialogue>\n    <scene_description>Stan walks off . Mike slams his locker shut .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITCH SENIOR HIGH SCHOOL\/CALCULUS CLASS - DAY<\/stage_direction>\n    <scene_description>Mike slips inside the empty classroom , slathers KRAZY GLUE all over Stan 's DESKTOP and CHAIR . Mike sits just as the rest of the class files in . Stan kisses Maggie and takes his seat . Stan leans on his desk , placing a FOREARM and a HAND on the sticky desktop . He catches Mike looking back at him and gives him a cocky wink . Mike winks back knowingly . Mike 's phone beeps . He checks it . A PIX MESSAGE . 3 perfect ASSES in tiny bikini bottoms . A wide - eyed Mike spins in his seat to find the Wonder Bras smiling at him . Mr. Adams enters .<\/scene_description>\n    <character>MR. ADAMS<\/character>\n    <dialogue>Settle, people.<\/dialogue>\n    <scene_description>Adams scribbles a large equation on the blackboard .<\/scene_description>\n    <character>MR. ADAMS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>This was your homework. Who can come up here and solve this for me? Anyone?<\/dialogue>\n    <scene_description>Blank , uninterested faces . Scattered giggles . Adams tosses the chalk angrily on his desk .<\/scene_description>\n    <character>MR. ADAMS<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Not one person. Fine. Miss O'Donnell. Come up here and dazzle us with your brilliance.<\/dialogue>\n    <scene_description>Maggie rises nervously from her seat , shuffles to the front of the class . As she passes Stan WE see . Stan lifts his fingers from the desktop . it 's WET . he places his wet fingers to the tip of his nose and smells . When Stan tries to remove his fingers from his nose . they STICK . Stan tries to raise his other arm . STUCK .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Stuck! I'm stuck! My fingers!<\/dialogue>\n    <scene_description>Stan stands , hunched . the CHAIR GLUED to his butt . The DESK ATTACHED to his forearm and his FINGERS STUCK to his nose . The Kids and Mike burst out laughing , break out their video phones as Stan fumbles around , dragging the desk , PANICKING .<\/scene_description>\n    <character>MR. ADAMS<\/character>\n    <dialogue>Sit down, Stan! Sit down!<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>It's glue! I'm glued to everything!<\/dialogue>\n    <scene_description>Jazz bounds out of his seat , grabs hold of Stan 's wrist .<\/scene_description>\n    <character>JAZZ<\/character>\n    <dialogue>I'll get it off!<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>No! No! Do n't pull -!<\/dialogue>\n    <scene_description>RRRRIIIIPPPP . Jazz yanks . Stan 's SCREAM echoes .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITCH SENIOR HIGH SCHOOL\/GYM - DAY<\/stage_direction>\n    <scene_description>Mike , wearing basketball gear and bouncing a basketball , stands in the middle of the court . Alex enters .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>I got your text. What's so important?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>This year you're making the team. We practice everyday ` til try outs. That gives us a week and a half.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Forget it.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah, you're right. You probably do n't have any skills anyway.<\/dialogue>\n    <scene_description>Mike begins to walk out .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Hey! I got skills.<\/dialogue>\n    <scene_description>Mike turns back .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>So what's your problem? Is it Stan and his friends?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Just leave it alone.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>You do n't need to be afraid of them, Alex.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>I'm too small anyway.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>That's why we focus on your speed, dribbling and outside shot. Remember, it's not how big you are -<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>- it's how big you play.<\/dialogue>\n    <parenthetical>( QUIZZICALLY . )<\/parenthetical>\n    <dialogue>Where did you hear that?<\/dialogue>\n    <character>MIKE<\/character>\n    <parenthetical>( COVERS . )<\/parenthetical>\n    <dialogue>I do n't know? Read it somewhere I guess. Be a sport. Show me what you got.<\/dialogue>\n    <scene_description>Mike tosses Alex the ball . Alex begins to dribble . Mike steps up to defend . Alex dribbles quicker , through his legs .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Alright. You got a little game.<\/dialogue>\n    <scene_description>WHAM . The doors slam open . In walk Stan and his Posse . A BLOOD speckled BAND - AID covers the tip of Stan 's nose .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>What are you 2 queers doing in my gym?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Let's go, Alex.<\/dialogue>\n    <scene_description>Alex stops dribbling . He and Mike move towards the door . Stan and his Posse block the way .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>I do n't think so. You girls wan na play with the boys then let's play. 2 on 2.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>We'll save you the embarrassment for try - outs.<\/dialogue>\n    <scene_description>Stan takes the ball from Alex , turns his back , dribbles .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>Come on, Ally. Embarrass me.<\/dialogue>\n    <scene_description>While dribbling , Stan moves backwards , bumping into Alex 's midsection , forcing Alex back .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Back off, Stan.<\/dialogue>\n    <scene_description>Alex takes a deep breath , tired of being afraid -<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>It's okay. I got him.<\/dialogue>\n    <scene_description>Alex throws his hands up , tries to defend the much bigger Stan . Stan easily backs Alex down , faking left and right .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>You ready? Here it comes.<\/dialogue>\n    <scene_description>Stan spins , elbows high . POW . Alex catches one to the head and DROPS . Stan shoots and scores .<\/scene_description>\n    <character>STAN<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>2 points! And I was fouled!<\/dialogue>\n    <scene_description>Stan high 5 's Jazz and Kevin . Blind with RAGE , Mike RUSHES Stan . WHAM . tackles him hard to the floor . Jazz and Kevin throw Mike off Stan , punching and kicking him . COACH HARVEY , now 58 , enters the gym , runs over to the fracas , pulls the boys apart .<\/scene_description>\n    <character>COACH HARVEY<\/character>\n    <dialogue>Hey! That's enough! That's enough!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITCH SENIOR HIGH SCHOOL\/OFFICE - DAY<\/stage_direction>\n    <scene_description>Mike and a nervous Alex sit outside the principal 's office . Mike holds an ice pack to his eye .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>My mom's been in there a while. She's gon na be pissed.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Act like you're hurt and she wo n't be able to stay mad at you.<\/dialogue>\n    <scene_description>The door swings open . An elated Ed blows in .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Way to go, slugger! Get any shots in?<\/dialogue>\n    <scene_description>The Secretary 's jaw drops .<\/scene_description>\n    <character>SECRETARY<\/character>\n    <dialogue>Mr. Freedman, your son has a black eye.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Wuss!<\/dialogue>\n    <scene_description>Ed sits between Mike and Alex.<\/scene_description>\n    <character>ED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hey, Alex. How you doin', buddy?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>I'm okay I guess.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Good. Good.<\/dialogue>\n    <parenthetical>( turns to Mike , nudges HIM . )<\/parenthetical>\n    <dialogue>Nice goin'. How do I look? Anything in my teeth? How's my breath?<\/dialogue>\n    <scene_description>Ed flashes his pearly whites then blows on Mike . The principal 's door opens , an angry Scarlet steps out .<\/scene_description>\n    <character>SCARLET<\/character>\n    <dialogue>Ed.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Hey, Scarlet. Exciting, is n't it? My first parent\/principal conference.<\/dialogue>\n    <scene_description>Scarlet looks sternly to Alex -<\/scene_description>\n    <character>SCARLET<\/character>\n    <dialogue>Fighting? What's gotten into you?<\/dialogue>\n    <character>ALEX<\/character>\n    <parenthetical>( rubs his jaw . )<\/parenthetical>\n    <dialogue>I ca n't talk, Mom. My jaw.<\/dialogue>\n    <character>SCARLET<\/character>\n    <parenthetical>( MELTS . )<\/parenthetical>\n    <dialogue>My poor baby. And how about you, Mark?<\/dialogue>\n    <scene_description>Scarlet bends down so she 's eye to eye with Mike . She removes the ice pack . a purple shiner .<\/scene_description>\n    <character>SCARLET<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Ouch. You poor thing. Does it hurt?<\/dialogue>\n    <scene_description>Scarlet strokes Mike 's face . Mike loses himself in her caring , gentle touch .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Not anymore. You smell great.<\/dialogue>\n    <scene_description>Scarlet , a bit weirded out by Mike , stands .<\/scene_description>\n    <character>SCARLET<\/character>\n    <dialogue>Alex, I'll meet you at the car. I need to talk to Uncle Ed for a second.<\/dialogue>\n    <scene_description>Alex shuffles out of the office . Scarlet turns to Ed , hushed -<\/scene_description>\n    <character>SCARLET<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Did you give him the divorce papers?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>I sent them to him.<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>Is it another woman? I can handle it. Tell me the truth.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>I have n't heard from him, really.<\/dialogue>\n    <scene_description>Scarlet looks down , fights back tears , unravels a bit .<\/scene_description>\n    <character>SCARLET<\/character>\n    <dialogue>Okay. If you do, please have him call home. For the kids. I'm running out of excuses -<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>I'll tell him. I promise.<\/dialogue>\n    <scene_description>Scarlet forces a smile . Mike watches her go . For the first time he 's seen HER REALITY . hurt , pain , frustration . Mike places his head sadly in his hands . Julie the Principal pokes her head out the door .<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Ed, come on in.<\/dialogue>\n    <scene_description>Ed whispers to Mike .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>I'll take it from here.<\/dialogue>\n    <scene_description>As Ed passes Julie on the way in -<\/scene_description>\n    <character>ED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm heartbroken. The boy's incorrigible.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITCH SENIOR HIGH SCHOOL\/PRINCIPAL'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Ed takes a seat across from Julie , puts on his best ` troubled parent ' look .<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Look, if it was only one isolated fight it would n't distress me all that much. Boys will be boys. But, it's also been brought to my attention that Mark may have Krazy glued a boy to his chair.<\/dialogue>\n    <scene_description>Ed stifles a laugh , puts on a serious face .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>My son? Mark! Get in here! Now!<\/dialogue>\n    <scene_description>Mike slouches in , takes a seat .<\/scene_description>\n    <character>ED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Did you glue a boy to his chair?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>No.<\/dialogue>\n    <scene_description>Ed throws his hands up in exasperation .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>See? The boy's out of control. He's acting up at home. He wo n't eat his vegetables -<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>He shaves his back.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>He sucks his thumb.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>He wears girls underwear.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>He wets his bed.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>Enough! Mark, I know it's hard to be the new kid but if I have anymore trouble from you, you'll be facing detentions or worse. You can go now.<\/dialogue>\n    <scene_description>Mike nods , exits . Ed stands and with exaggerated sadness -<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>He's crying out for help and I do n't know what to do. It hurts so bad. Maybe we could discuss this over margaritas?<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>Let's give him time to figure it out on his own. If the situation gets worse then we'll take the next step.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>You're the expert. I'm just a single dad out here blowing like dust in the wind.<\/dialogue>\n    <scene_description>Ed shakes Julie 's hand and exits , sniffling .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIKE'S HOUSE\/BACKYARD - DAY<\/stage_direction>\n    <scene_description>A dirt covered Scarlet wrestles a roll of sod down .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( o.s . )<\/parenthetical>\n    <dialogue>Got an extra pair of gloves?<\/dialogue>\n    <scene_description>Scarlet peers over her shoulder . Mike wanders in . Scarlet stands , wipes her bare , dirty hands on her jeans .<\/scene_description>\n    <character>SCARLET<\/character>\n    <dialogue>Gloves are for sissies.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah, but I just had a manicure.<\/dialogue>\n    <character>SCARLET<\/character>\n    <parenthetical>( LAUGHS . )<\/parenthetical>\n    <dialogue>You're serious? You want to help?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Are you kidding? I love landscaping! It's right up there with watching `` Sex and the City'' and snuggling.<\/dialogue>\n    <scene_description>Scarlet laughs , eyes him skeptically -<\/scene_description>\n    <character>SCARLET<\/character>\n    <dialogue>Mark, I'm 36 years old -<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I'm just doing this to make a few bucks so I can buy Laker tickets.<\/dialogue>\n    <character>SCARLET<\/character>\n    <parenthetical>( BLUSHES . )<\/parenthetical>\n    <dialogue>Embarrassing. Sorry. I'll give you 10 dollars a day.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Wow. 10 whole dollars. At that rate I should be able to buy tickets in. 2011.<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>Fine. 20. Grab a roll.<\/dialogue>\n    <scene_description>Mike and Scarlet , step over to the sod , lift a roll together , carry it over to the spot .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>What are the benefits like here?<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>I'll throw in a baloney sandwich.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Deal.<\/dialogue>\n    <scene_description>Mike and Scarlet share a laugh .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITCH SENIOR HIGH SCHOOL\/LIBRARY - DAY<\/stage_direction>\n    <scene_description>Mike strolls in , sits at a back table , pulls a college application from his knapsack . He takes out a pen , places the tip to the paper where it says ` name ' when - WE hear the muffled sound of CRYING . Mike rises , follows the sobs through the maze of stacks until he finds -<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Maggie?<\/dialogue>\n    <scene_description>- seated on the floor , head hidden between her knees . Maggie looks up , sees Mike , quickly dries her eyes .<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>What do you want? To rub it in my face? Say I told you so?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>You lost me?<\/dialogue>\n    <scene_description>Maggie drops her head back between her knees .<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>Stan dumped me.<\/dialogue>\n    <scene_description>Maggie BAWLS loudly . Mike panics , fearing the worst -<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>What happened? What did he do? You did n't.<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>My mom was working last night. Stan came over with a box of -<\/dialogue>\n    <scene_description>Mike slaps his palms over his ears .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Your next word better be ` cookies' or you're in big, big trouble!<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>What am I going to do? I ca n't live without him.<\/dialogue>\n    <scene_description>Maggie takes Mike 's shirt , BLOWS her nose on it .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Maggie, did you two. you know. do.<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>Do what?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>That thing. that rabbits do a lot of and that a girl your age should never do and should only do when she's married.<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>Sex? No, that's why he dumped me!<\/dialogue>\n    <scene_description>Maggie bawls again . Mike silently celebrates , sits beside her , awkwardly pats her on the back .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>There, there now. It's okay.<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>Sure he was a jerk but he was there for me. Which is more than I can say for any other man in my life.<\/dialogue>\n    <scene_description>Maggie sobs uncontrollably . Mike takes a deep breath , calms -<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>When you're young everything seems like the end of the world. But it's not. It's just the beginning. And you might have to meet a few more jerks, but one day you'll meet a boy who treats you the way you deserve to be treated. like the sun rises and sets with you.<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>You really think so?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I know so.<\/dialogue>\n    <scene_description>Maggie throws her arms around Mike , hugs him tight . Mike hugs her back . A moment he 's never had with his daughter .<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>You're so sweet.<\/dialogue>\n    <scene_description>ANGLE ON Maggie 's face . She 's SMITTEN . MONTAGE OF LIFE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BASKETBALL COURT - DAY<\/stage_direction>\n    <scene_description>Alex dribbles , using both hands , while running through a maze of cones . Whenever he messes up , Mike makes him start again .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIKE'S HOUSE\/BACKYARD - DAY<\/stage_direction>\n    <scene_description>Mike and Scarlet settle the limestone rocks into the freshly laid sod creating a walkway .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITCH SENIOR HIGH SCHOOL\/CALCULUS CLASS - DAY<\/stage_direction>\n    <scene_description>Maggie solves a difficult problem on the board , much to Mr. Adam 's chagrin . Maggie turns from the chalkboard and smiles flirtatiously at Mike . Stan catches this exchange and pops the back of Mike 's head .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BASKETBALL COURT - NIGHT<\/stage_direction>\n    <scene_description>Lights shine down . Alex stands behind the 3 point line . Mike feeds him balls . Alex shoots and moves . Shoots and moves . More misses than hits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITCH SENIOR HIGH SCHOOL\/PRINCIPAL'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Again , Mike and Ed sit before a stern Julie .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIKE'S HOUSE\/DRIVEWAY - DAY<\/stage_direction>\n    <scene_description>Mike teaches Alex the cross over dribble . Scarlet brings the boys water . Mike checks her out as she goes back in the house . Alex bounces the ball off his head .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITCH SENIOR HIGH SCHOOL\/CALCULUS CLASS - DAY<\/stage_direction>\n    <scene_description>A muffled buzz . Mike reaches into his pocket , pulls out his phone . A PIX MESSAGE . Mike opens it . A close up of perfect CLEAVAGE . Mike peeks over his shoulder . the Wonder Bras text on their phones . He 's confused until - Mike turns a little more in his seat . MAGGIE smiles seductively at him , blows a kiss . Mike GASPS , spins back around . TRAUMATIZED .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIKE'S HOUSE\/BACKYARD - DAY<\/stage_direction>\n    <scene_description>Scarlet fills holes with plants then waters them with a hose . She turns , finds Mike SLEEPING in the grass . Scarlet picks up the hose , TURNS IT ON HIM . Mike leaps up , chases her .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. FITCH SENIOR HIGH SCHOOL\/PARKING LOT - DAY<\/stage_direction>\n    <scene_description>Mike , Alex , Nicole , Maggie , the Bras and a slew of KIDS hang by Mike 's Aston . Stan , Jazz and Kevin are all that 's left by Stan 's Mustang .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BASKETBALL COURT - DAY<\/stage_direction>\n    <scene_description>Alex scampers through the maze of cones , dribbling from hand to hand . and does it perfectly . Mike and Alex high 5 .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIKE'S HOUSE\/BACKYARD - DAY<\/stage_direction>\n    <scene_description>Mike and Scarlet lug an ornate , wooden bench to it 's spot . They sit . Mike casually places a hand on Scarlet 's leg . Scarlet casually removes it .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITCH SENIOR HIGH SCHOOL\/GYM - DAY<\/stage_direction>\n    <scene_description>A game of 1 on 1 . Alex dribbles up to Mike . Mike crouches in a defensive stance . Mike goes for the ball . Alex crosses over . Mike misses . Alex pulls up , shoots and scores . Mike smiles , shakes his head .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITCH SENIOR HIGH SCHOOL\/PRINCIPAL'S OFFICE - DAY<\/stage_direction>\n    <scene_description>Again , Mike and Ed sit before Julie . She hands Ed a slip of paper . 3 detentions . Ed chokes back crocodile tears .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITCH SENIOR HIGH SCHOOL\/HALL - DAY<\/stage_direction>\n    <scene_description>Mike places books in his locker , shuts the door revealing . a goo goo eyed Maggie . Mike startles and RUNS . Maggie chases .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BASKETBALL COURT - DAY<\/stage_direction>\n    <scene_description>Alex stands behind the 3 point line . Mike rapidly feeds him balls . Alex catches , shoots and moves . This time . they 're all going in . Mike passes the last ball . Alex shoots and we -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITCH SENIOR HIGH SCHOOL\/GYM - DAY<\/stage_direction>\n    <scene_description>CLOSE ON a ball going through the hoop . Wider reveals Alex following through . He and Mike tap fists . It 's TRY - OUTS . Coach Harvey , a number of HOPEFULS , Maggie , Nicole and the Bras watch the game of half court , 2 on 2 . Stan and Jazz vs. Mike and Alex. Mike and Alex school Stan and Jazz . Steals , picks , fancy passes and scoring . The Coach watches with awe . A final 3 pointer by Mike in Stan 's face seals the deal .<\/scene_description>\n    <character>COACH HARVEY<\/character>\n    <dialogue>That makes 11 - 3. Game over. Gather up.<\/dialogue>\n    <scene_description>As Alex passes Harvey , Harvey stops him -<\/scene_description>\n    <character>COACH HARVEY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You've got ta little bit of your old man in you, O'Donnell.<\/dialogue>\n    <scene_description>The Team and the Hopefuls huddle around Coach Harvey .<\/scene_description>\n    <character>COACH HARVEY<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>As you all know due to the amount of seniors coming back I only have 2 open spots on the roster. It's Freedman and O'Donnell. The rest of you hit the showers.<\/dialogue>\n    <scene_description>The Hopefuls trudge out of the gym . Alex leaps into the air .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Wooo! We did it, Mark! We did it!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>You killed it out there!<\/dialogue>\n    <scene_description>Alex runs over , hugs Nicole . Mike beams with pride . Coach Harvey puts an arm around him -<\/scene_description>\n    <character>COACH HARVEY<\/character>\n    <dialogue>Son, I do n't know where you came from but you just made my year.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Alex rushes through the door . Mike and Maggie follow . Maggie slaps Mike 's butt .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S HOUSE\/KITCHEN - NIGHT<\/stage_direction>\n    <character>ALEX<\/character>\n    <dialogue>Mom! Mom!<\/dialogue>\n    <character>SCARLET<\/character>\n    <parenthetical>( o.s . )<\/parenthetical>\n    <dialogue>I'll be right out, Honey!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I got' a use the bathroom.<\/dialogue>\n    <scene_description>WE follow Mike down the hall . As he passes a half open door , he pauses , peeks in . Scarlet , facing away , pulls a shirt over her nude back , shakes out her long hair . Mike watches . no , he GAZES longingly , lovingly . lost in her beauty until . Scarlet turns , startles -<\/scene_description>\n    <character>SCARLET<\/character>\n    <dialogue>Mark? I did n't know you were there.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I'm sorry. You just look so beautiful.<\/dialogue>\n    <scene_description>Scarlet blushes . it 's been a while since she 's heard that .<\/scene_description>\n    <character>SCARLET<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Can I zip you up?<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>I'm wearing a sweater.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Your jeans?<\/dialogue>\n    <scene_description>Scarlet walks towards him and . SLAM . shuts the door on him . Mike wanders to the bathroom , shaking his head -<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Stupid, idiot, stupid.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S HOUSE\/BATHROOM - NIGHT<\/stage_direction>\n    <scene_description>Mike enters , steps over to the toilet . Maggie slips in behind him , shuts the door . He whirls around .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Maggie, what.<\/dialogue>\n    <scene_description>Maggie places a finger on his lips .<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>Shhh. I get it now. Why you did n't want me to be with Stan, the nice things you said in the library. It's because you wanted me.<\/dialogue>\n    <scene_description>Maggie backs Mike against the wall .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Maggie, listen to me. I'm not the person you think.<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>Shhh. Yes, you are. You're a good guy. You're not like the others.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>That's right! I'm not like the others. I'm very different than the others. So different that you and I can never be.<\/dialogue>\n    <scene_description>Maggie stops , looks quizzically at Mike -<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>What are you trying to say? Are you. `` confused''?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yes! Yes! That's it. I'm confused. Extremely confused.<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>Ohmygod! It all makes sense now! Your hair. The highlights.<\/dialogue>\n    <scene_description>Mike starts to speak . Stops . Finally gets it -<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>What? No - no - no - no. I'm not gay. I'm. I've been in love with the same girl since I was 17.<\/dialogue>\n    <scene_description>Maggie switches back into predatory mode .<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>Who is it? Does she go to our school? Do I know her?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>No, you do n't. Now -.<\/dialogue>\n    <parenthetical>( eyes the toilet . )<\/parenthetical>\n    <dialogue>- if you do n't mind?<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>Tell your girlfriend she better keep a close eye on you.<\/dialogue>\n    <scene_description>Maggie smiles seductively and struts out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S HOUSE\/KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Alex types on his phone . Mike enters .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Who you texting?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>My dad. I have to tell him about today.<\/dialogue>\n    <scene_description>Mike nods . then realizes . BEEP . BEEP . HIS PHONE . Alex and Maggie look to Mike . Mike checks his phone .<\/scene_description>\n    <character>ALEX<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Did you just get a text?<\/dialogue>\n    <character>MIKE<\/character>\n    <parenthetical>( NERVOUS . )<\/parenthetical>\n    <dialogue>Me? No. Yes. It's Ed. I mean dad. Not your dad. My dad. I'll just call him back.<\/dialogue>\n    <scene_description>Scarlet enters . She looks AMAZING .<\/scene_description>\n    <character>SCARLET<\/character>\n    <dialogue>So? What happened? Tell me. Tell me. I'm dying to hear.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>I did it. I'm a Falcon! The first game's in 2 weeks.<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>Oh my God, Alex! That's so incredible!<\/dialogue>\n    <scene_description>Scarlet wraps Alex in a big hug . Mike watches . It 's a bittersweet moment for him .<\/scene_description>\n    <character>SCARLET<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I'm so happy for you. And now I want to show you guys something.<\/dialogue>\n    <scene_description>Scarlet , unable to contain her excitement , leads Mike and Alex to the french doors and flicks a light switch .<\/scene_description>\n    <character>SCARLET<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Ta da!<\/dialogue>\n    <scene_description>Thousands of tiny , white lights illuminate Scarlet 's OASIS .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>You hung the lights!<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>I wanted you to be the first to see it.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Mom, it's sick.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MIKE'S HOUSE\/BACKYARD - NIGHT<\/stage_direction>\n    <scene_description>The 3 step outside . Mike , truly blown away , takes picture with his iPhone .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>It's amazing. I'm speechless. I'm sorry I never saw how talented you are. I mean when people see this and how talented you are you'll be designing sanctuaries all over the city.<\/dialogue>\n    <character>SCARLET<\/character>\n    <parenthetical>( BEAMS . )<\/parenthetical>\n    <dialogue>Thank you.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Mom, why are you all dressed up?<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>Oh my God. I almost forgot. I have a date.<\/dialogue>\n    <scene_description>Off Mike 's stunned reaction .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S HOUSE\/FOYER - NIGHT<\/stage_direction>\n    <scene_description>Mike marches in behind Scarlet . As they reach the door , he steps in front of her .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Let's see who the lucky guy is.<\/dialogue>\n    <scene_description>Mike swings the door open revealing . Dom Johnson .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I knew it!<\/dialogue>\n    <scene_description>SLAM . Mike shuts the door , blocks it .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I knew you had a thing for him! You ca n't do this! You took vows. What kind of example are you setting for the kids!?<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>Mark, I'm flattered. Really, I am. But I'm too old for you.<\/dialogue>\n    <scene_description>Scarlet moves Mike aside , opens the door . Dom stands in the doorway holding a bouquet .<\/scene_description>\n    <character>DOM<\/character>\n    <dialogue>Wow. You look absolutely ravishing.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Keep it in your pants, Casanova.<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>Do n't mind him. You all set?<\/dialogue>\n    <character>DOM<\/character>\n    <dialogue>Let's do it.<\/dialogue>\n    <scene_description>Scarlet heads for the van . Dom looks to Mike -<\/scene_description>\n    <character>DOM<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Hey, kid. if the vans' a rockin'. well you know the rest.<\/dialogue>\n    <scene_description>Dom imitates humping , jogs after Scarlet .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Do n't you lay a finger on her, Johnson! I know where you live!<\/dialogue>\n    <scene_description>Mike slams the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S HOUSE\/KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>A contemplative Alex scoops lasagna onto plates . An agitated Mike enters , pulls up a seat at the counter .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>It's weird to think about my mom with someone other than my dad.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>It's adultery! If this were Afghanistan she'd be dragged through the village by goats. You need to talk to her.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>My mom's been pretty sad the past few months. She deserves to be happy. My dad obviously is. wherever he is.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Maybe he's not? Maybe he wishes he could be here right now with you but there's a real good reason he ca n't be.<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>No, my dad's not a family guy. This is dumb but I used to tell him I was on the basketball team because I knew he'd never make it to a game.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Then why would you tell him that?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>I guess I was hoping it would make him like me more.<\/dialogue>\n    <scene_description>Mike is CRUSHED .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GUCCI STORE - DAY<\/stage_direction>\n    <scene_description>Mike paces in front of a dressing room . A SALESMAN waits by the door .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>My wife's moving on. My son does n't think I like him and my daughter's in love with me. I need to change back, Ed.<\/dialogue>\n    <scene_description>Ed steps from the changing room wearing very tight , ultra hip clothes that belong on a 20 year old . he looks ridiculous .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>What about college?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I'm not going. I'll be a pharm rep til I die. I just want my family back.<\/dialogue>\n    <parenthetical>( BEAT . )<\/parenthetical>\n    <dialogue>You're not gon na wear that, are you?<\/dialogue>\n    <scene_description>Ed checks his butt in a full length mirror , nods happily .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Baby's got back.<\/dialogue>\n    <scene_description>Ed retreats into the changing room .<\/scene_description>\n    <character>ED<\/character>\n    <parenthetical>( CONT 'D ; o.s . )<\/parenthetical>\n    <dialogue>Now that Julie's agreed to go out with me tonight, I need you to start behaving. I ca n't have her thinking my son is a complete degenerate.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Fine. I want to have some kids over tonight to celebrate Alex making the team. Is that cool?<\/dialogue>\n    <scene_description>Ed , wearing only his banana hammock underwear and socks , steps from the room , hands the clothes to the Salesman .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Wrap it up. No, it's not cool. I remember hearing what those parties were like, kids peeing everywhere, food on the ceilings, puke in the pool.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Listen to you. You sound like an old man.<\/dialogue>\n    <scene_description>Other SHOPPERS eye Ed oddly as they pass .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>No party. I mean it. Do n't make me take the car away.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Do n't treat me like a child, Ed.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>I wo n't when you stop acting like one.<\/dialogue>\n    <scene_description>Mike grabs Ed 's bare tits and TWISTS . Ed screams , grabs Mike 's tits and TWISTS . Both of them HOWL in pain .<\/scene_description>\n    <character>SALESMAN<\/character>\n    <dialogue>Sir! Please!<\/dialogue>\n    <scene_description>Mike and Ed , both still titty twisting , look up . Everyone in the store stares . They each let go , force smiles .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>This is n't over. son!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Not even close. Dad!<\/dialogue>\n    <scene_description>Ed stomps into the dressing room rubbing his sore boobs . Mike pulls out his iPhone , begins texting .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITCH SENIOR HIGH SCHOOL\/HALL - DAY<\/stage_direction>\n    <scene_description>The Wonder Bras stand by their lockers when their phones beep . TEXT MESSAGE .<\/scene_description>\n    <character>MIKE'S TEXT<\/character>\n    <dialogue>Party at my house 2nite. 7. Get the word out.<\/dialogue>\n    <scene_description>The Bras type away , simultaneously hit SEND . WIDE REVEALS . hundreds of students . the beeps of hundreds of cell phones .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ED'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>CARS line the street . A steady flow of KIDS stream towards the front door . MUSIC pounds from within . It 's a RAGER .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ED'S HOUSE\/KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>MAYHEM . Kids raid the refrigerator , throw food around . Another KID sprays the room with the removable sink head . Mike rushes in , grabs the sink head from the Kid .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Give me that!<\/dialogue>\n    <character>WONDER BRAS<\/character>\n    <parenthetical>( O.S . )<\/parenthetical>\n    <dialogue>Hey, Sexy.<\/dialogue>\n    <scene_description>Mike turns without thinking SPRAYING all 3 Wonder Bras in the face . The Bras scream . Mike replaces the nozzle .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I'm so sorry. Have you seen Alex?<\/dialogue>\n    <scene_description>The Bras wipe themselves off , grab Mike 's hands .<\/scene_description>\n    <character>SAMANTHA<\/character>\n    <dialogue>Dance with us!<\/dialogue>\n    <scene_description>The Bras drag a reluctant Mike out of the kitchen and into -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ED'S HOUSE\/LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>PARTY - GOERS dance everywhere and on top of everything . The Bras surround Mike , each girl grinding on him as if it were a competition . Lauren takes Mike by the face , turns him towards her -<\/scene_description>\n    <character>LAUREN<\/character>\n    <dialogue>Nambib - bib - ib, that African country makes me horny.<\/dialogue>\n    <scene_description>Jamie spins Mike towards her , places his hands on her boobs -<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>Perfect, are n't they?<\/dialogue>\n    <scene_description>Samantha pulls Mike roughly by the hair , twists him around -<\/scene_description>\n    <character>SAMANTHA<\/character>\n    <dialogue>Which one of us is it gon na be?<\/dialogue>\n    <scene_description>Mike tries to squeeze out . The Bras block him . The music changes . a remix version of Hammer 's ` Ca n't Touch This ' blares .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I thought you girls wanted to dance?<\/dialogue>\n    <scene_description>Mike breaks into the 80 's Hammer routine WE saw from the first scene . The Bras back up . Party - Goers stop what they 're doing and watch . not sure whether to laugh or join in . And then , the Bras fall in . Followed by others . The party just got hotter . Maggie runs through the party and out the back . Stan chases after her . Mike inconspicuously Hammer walks his way out of the mix and outside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ED'S HOUSE\/POOL - NIGHT<\/stage_direction>\n    <scene_description>Stan corners Maggie against the back wall .<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>I was upset. I'm sorry. But I need you to show me you love me. Then we'll move in together.<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>Whatever. I'm with someone else now.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Yeah, right. Who'd be stupid enough?<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>Him.<\/dialogue>\n    <scene_description>Stan turns angrily toward Mike as he approaches .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Party's over, Stan. You're out of here.<\/dialogue>\n    <character>STAN<\/character>\n    <dialogue>Who's gon na make me leave? You?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I would but it smells like you've been drinking so I'll let the cops do it.<\/dialogue>\n    <scene_description>Mike pulls out his phone . Stan looks to Maggie then back to Mike , laughs -<\/scene_description>\n    <character>STAN<\/character>\n    <dialogue>You can have the nun. She does n't put out anyway.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>On second thought -<\/dialogue>\n    <scene_description>Mike SWINGS . Stan ducks , throws a giant uppercut . POW . Mike 's eyes roll back in his head and WE cut to BLACK .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSCALE RESTAURANT\/DINING ROOM - NIGHT<\/stage_direction>\n    <scene_description>The HOSTESS shows Ed and Julie to their table by the window . Ed wears his new Gucci outfit . Julie 's under dressed .<\/scene_description>\n    <character>HOSTESS<\/character>\n    <dialogue>There you are, Mr. Freedman.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Thanks. Put this towards your studies.<\/dialogue>\n    <scene_description>Ed hands the Hostess a 50 . Julie rolls her eyes .<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>When you asked me to get together to talk about Mark this is n't what I envisioned. This is n't a date, Ed.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Are you insinuating that I'd use my son's misfortune just to go out with you? What kind of a father do you think I am?<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>As long as we're on the same page.<\/dialogue>\n    <scene_description>A WAITER approaches .<\/scene_description>\n    <character>WAITER<\/character>\n    <dialogue>Good evening. Would you care to see the wine -<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Bring us the 1962 Petrus.<\/dialogue>\n    <scene_description>The Waiter nods , leaves .<\/scene_description>\n    <character>ED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You're going to love this wine. $ 2000 dollars a bottle.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>I do n't drink. So tell me what you think's going on with Mark?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>It's baffling really but I noticed he's been drinking a lot of diet ice tea lately. Maybe he's gay?<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>You did n't ask me here to talk about Mark, did you?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Do you like caviar? Because if you do you have to try the Almas. 100 year - old Beluga. $ 700 per ounce.<\/dialogue>\n    <scene_description>Julie throws her napkin on the table .<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>You're disgusting, Ed.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>What? You do n't like Beluga? You can get something else.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>I'm not some 22 year - old who you can impress with caviar and expensive wine.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Would the caviar and expensive wine impress you if you were on a yacht off Monte Carlo?<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>I came here because I'm concerned about the wellbeing of your son but you do n't care about Mark. All you're concerned with is proving to me how wealthy you are.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>I do care about Mike. Mark. Whatever his name is.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>You know what's too bad, Ed? I'm sure when you were the guy the boys picked on and the girls ignored you were really sweet. But you thought becoming rich would solve all your problems. Instead it made you just like them. I have to go.<\/dialogue>\n    <scene_description>Julie rises . Ed takes her wrist .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Wait. You're right. I'm acting like an idiot. I'm sorry. Please stay.<\/dialogue>\n    <scene_description>Julie begrudgingly sits back down .<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Act normal or I'm leaving.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ED'S HOUSE\/MIKE'S BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON Mike 's face , eyes shut . A hand gently strokes his head . Mike stirs awake , smiles , eyes still closed -<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I had the craziest dream. I was 17 again and back in high school. It was horrible, Scarlet -<\/dialogue>\n    <character>MAGGIE<\/character>\n    <parenthetical>( o.s . )<\/parenthetical>\n    <dialogue>Scarlet!?<\/dialogue>\n    <scene_description>Mike 's eyes pop open . WIDER reveals Mike and Maggie on the bed . Mike 's head rests on Maggie 's lap . Mike JUMPS off the bed , scrambles to the other side of the room and behind a chair . Maggie leaps off the bed .<\/scene_description>\n    <character>MAGGIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>You wan na play? Okay, let's play. I'm the hungry lioness and you're a baby gazelle.<\/dialogue>\n    <scene_description>Maggie ROARS , chases Mike around the room .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Wait! This is highly inappropriate and dysfunctional. Listen to me, Maggie. I'm your father.<\/dialogue>\n    <scene_description>Maggie growls , stalks Mike around the bed .<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>And I've been a bad, bad girl, Daddy.<\/dialogue>\n    <scene_description>Maggie dives across the bed . Mike dodges , runs out the door .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ED'S HOUSE\/BACKYARD - NIGHT<\/stage_direction>\n    <scene_description>Alex and Nicole sit closely by a fire pit , laughing .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>How about Mrs. Cruz? Every time she rolls her r's she spits all over me.<\/dialogue>\n    <scene_description>Alex imitates Mrs. Cruz . Nicole laughs , places her hand on Alex 's leg . Alex looks down at her hand , then up at her , both staring at one another . THE MOMENT . Nicole closes her eyes , moves in . Alex moves in then FREAKS . He bounds out of his chair , sprints inside leaving Nicole hanging .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ED'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>A distraught Alex pushes his way through the insanity . He finds Mike running down the stairs .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Mike, I blew it! I totally blew it!<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Blew what? What happened?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>She wanted me to kiss her but I panicked. I did n't know if I should close my eyes or which way to turn my head or how much tongue I'm supposed to use -<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Slow down. Have you ever kissed a girl before?<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Not a real one. I used to practice on my dad's Playboys.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>How did you find. forget it. It's easy. All you have to do is take her face in your hands gently like THIS -<\/dialogue>\n    <scene_description>Mike places a hand gently on either side of Alex 's face .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>- hold her still as you adjust your head, close your eyes and kiss her. The rest happens naturally.<\/dialogue>\n    <scene_description>A BOY walks past , sees Mike romantically holding Alex 's face .<\/scene_description>\n    <character>BOY<\/character>\n    <dialogue>That is so wrong.<\/dialogue>\n    <scene_description>Mike and Alex quickly separate .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>What if I, you know, pitch a tent?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>If you feel it, you know, getting angry, take a step back. Now go get that kiss.<\/dialogue>\n    <scene_description>Alex takes a deep breath , steps outside .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ED'S HOUSE\/BACKYARD - NIGHT<\/stage_direction>\n    <scene_description>A determined Alex marches over to the seated Nicole .<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Nicole.<\/dialogue>\n    <scene_description>Nicole stands -<\/scene_description>\n    <character>NICOLE<\/character>\n    <dialogue>I'm sorry, Alex. I did n't mean to -<\/dialogue>\n    <scene_description>Before she can finish Alex 's hands are on her face and his lips on hers . It 's as if time stands still .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ED'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Mike watches his son 's MAGICAL FIRST KISS . And when Alex takes a step back , Mike laughs . BEEP . BEEP . Mike pulls out his phone . Text message .<\/scene_description>\n    <character>SAMANTHA'S TEXT<\/character>\n    <dialogue>911. ^ stairs. mastr b - room.<\/dialogue>\n    <scene_description>Mike rushes to the stairs . An angry Maggie storms down them . Mike ducks . Maggie passes . Mike races up .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ED'S HOUSE\/HALLWAY - NIGHT<\/stage_direction>\n    <scene_description>Mike sprints down the hall , throws open the door to find -<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ED'S HOUSE\/MASTER BEDROOM - NIGHT<\/stage_direction>\n    <scene_description>Samantha , Jamie and Lauren in the bed , clothes on the floor .<\/scene_description>\n    <character>SAMANTHA<\/character>\n    <dialogue>We decided not to make you choose.<\/dialogue>\n    <character>JAMIE<\/character>\n    <dialogue>You can have all 3 of us.<\/dialogue>\n    <scene_description>The chance of a lifetime . A legend making moment .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( looks sadly at the Bras . )<\/parenthetical>\n    <dialogue>Girls, if I was 20 years younger I'd. probably only last 10 seconds anyway. Put your clothes back on.<\/dialogue>\n    <scene_description>Mike turns , exits . On the way out WE actually hear SNIFFLING .<\/scene_description>\n    <character>SAMANTHA<\/character>\n    <dialogue>Was he crying?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. UPSCALE RESTAURNT - NIGHT<\/stage_direction>\n    <scene_description>Julie laughs hysterically .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>God's honest truth. I had the whole costume. I used to go everywhere dressed like a wizard. No wonder I did n't get a date all through high school. Annnnd you think I'm the biggest nerd ever.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>No, no, really. I do n't.<\/dialogue>\n    <parenthetical>( catches her breath , suddenly serious . )<\/parenthetical>\n    <dialogue>Hark! Who goes there?<\/dialogue>\n    <character>ED<\/character>\n    <parenthetical>( UNSURE . )<\/parenthetical>\n    <dialogue>Tis I. The Wizard they call Marius. And who might you be fair maiden?<\/dialogue>\n    <scene_description>Free to be herself , Julie lets her hair down , shakes it out .<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Tis I! Elf Princess Ariala of Jamroar.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>NO WAY!<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>YES WAY!<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Level 10.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>Mage. Level 15. Bitch!<\/dialogue>\n    <scene_description>They stare at each other incredibly turned on . Ed screams -<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Check please!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ED'S HOUSE\/POOL - NIGHT<\/stage_direction>\n    <scene_description>CLOSE ON a Heavy Kid leans over the pool PUKING . Wider . Mike beside him while Kids cheer the Heavy Kid on .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>I'm so dead.<\/dialogue>\n    <scene_description>Mike turns , finds SCARLET making her way through the crowd .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Oh no!<\/dialogue>\n    <scene_description>Mike rushes over to her .<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Scarlet, what are you doing here?<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>I'm looking for Alex. It's past his curfew and he was n't picking up his phone. Is he here?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Yeah, he's fine. He's with his girlfriend.<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>Alex has a girlfriend?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>He does and she's really cute. Come on.<\/dialogue>\n    <scene_description>Mike leads Scarlet away from the pool .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FERRARI - NIGHT<\/stage_direction>\n    <scene_description>Ed and Julie drive through the upscale neighborhood .<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>How did you get your hands on the 5th edition? That's not due out for another three years.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>I have two words for you. Russian mafia.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>Drive faster.<\/dialogue>\n    <scene_description>He steps on the gas . He fishtails around a corner . Cars pack Ed 's street and driveway . Boys and girls trample the front lawn . One BOY urinates in a flower bed .<\/scene_description>\n    <character>JULIE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Calm thyself, Marius.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>That little -! I'll kill him!<\/dialogue>\n    <scene_description>Ed double parks the car , jumps out .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ED'S HOUSE - NIGHT<\/stage_direction>\n    <scene_description>Ed storms up the driveway . Julie hurries after him . A KID spies Julie , calls out -<\/scene_description>\n    <character>KID<\/character>\n    <dialogue>It's Ms. Goodwin! Run!<\/dialogue>\n    <scene_description>All the Kids on the lawn SCATTER in different directions .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ED'S HOUSE\/LIVING ROOM - NIGHT<\/stage_direction>\n    <scene_description>Ed and Julie enter the crowded , loud room . Kids dance , stomp around on the furniture . A furious Ed screams -<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Everybody out! Get out! Get out!<\/dialogue>\n    <scene_description>Nobody flinches . Julie WHISTLES loudly . The Kids stop .<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>This party is over! If you do n't want to spend the next 3 months in detention you will leave. now!<\/dialogue>\n    <scene_description>The Kids BEELINE for the door . Ed stops a GIRL .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Do you know where Mark Freedman is?<\/dialogue>\n    <character>GIRL<\/character>\n    <dialogue>I think I saw him go outside.<\/dialogue>\n    <scene_description>SPLAT . A slice of pizza falls from the ceiling onto Ed 's head . The Girl laughs , exits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ED'S HOUSE\/KITCHEN - NIGHT<\/stage_direction>\n    <scene_description>Maggie enters , weeds through the crowd , bumps into the Bras .<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>Have you seen Mark?<\/dialogue>\n    <character>SAMANTHA<\/character>\n    <dialogue>We're looking for him too.<\/dialogue>\n    <scene_description>Maggie scowls , heads for the back door . The Bras chase .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ED'S HOUSE\/BACKYARD - NIGHT<\/stage_direction>\n    <scene_description>Mike and Scarlet hide behind the pool house , peek around the corner , spy on Alex and Nicole by the fire pit . Alex is animated , confident .<\/scene_description>\n    <character>SCARLET<\/character>\n    <dialogue>He's like a totally different person.<\/dialogue>\n    <scene_description>Scarlet and Mike step back by the pool , sit on a lounge .<\/scene_description>\n    <character>SCARLET<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>It's been so good for him to have you around. You have no idea.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Believe me, I do. He's a great kid. And you're an amazing mother.<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>I'm not so sure. I mean look at me. I showed up at a party to drag my son home. Could I be any more embarrassing? And how many amazing mothers run their kids' father off?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Hey, you did n't run him off. Do n't blame yourself for his stupidity.<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>I knew he was unhappy. I knew he hated his job. I should've been more supportive, more sympathetic to what he was going through. He gave up a lot for me.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>That's bull shit! You, Maggie and Alex are the best thing that ever happened to me. him. He was just too selfish to recognize it. At least, that's how I see it.<\/dialogue>\n    <scene_description>Scarlet smiles thankfully at Mike . ANGLE . Maggie and the Bras roam the backyard searching for Mike .<\/scene_description>\n    <character>JAMIE<\/character>\n    <dialogue>He's over there. By the pool.<\/dialogue>\n    <character>SAMANTHA<\/character>\n    <dialogue>Who's the ho?<\/dialogue>\n    <character>MAGGIE<\/character>\n    <dialogue>Mom?<\/dialogue>\n    <scene_description>ANGLE . Alex and Nicole , hand in hand , stroll back towards the house when Alex freezes -<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>Whoa. What's my mom doing here?<\/dialogue>\n    <scene_description>ANGLE . Scarlet places a hand over Mike 's .<\/scene_description>\n    <character>SCARLET<\/character>\n    <dialogue>You're sweet. I have no idea why I'm telling you all this. There's just something so familiar.<\/dialogue>\n    <scene_description>Scarlet looks into Mike 's eyes . Mike stares back . She 's vulnerable . He loves her . It 's perfect . Mike leans in and KISSES HER . PASSIONATELY . SSSSSLAP . Mike falls off the chair . Scarlet leaps up .<\/scene_description>\n    <character>SCARLET<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>What do you think you're doing!?<\/dialogue>\n    <scene_description>Mike scrambles to his feet .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Scar, just calm down. I have something to tell you but I need you to keep an open mind. Can you do that for me?<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>This conversation is over, Mark.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I'm not Mark.<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>I'm not in the mood for games.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>It's no game. I'm me. him. Mike. It's me. your husband.<\/dialogue>\n    <scene_description>Scarlet winces as if dealt a blow -<\/scene_description>\n    <character>SCARLET<\/character>\n    <dialogue>What? Why would you say that?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>It's the truth. I'm the father of your children. You have to believe me.<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>Do n't ever come near me or my family again. If you do, I'll have you arrested or better yet, institutionalized.<\/dialogue>\n    <scene_description>Scarlet marches towards the house . Mike on her heels pleading .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Let me explain, Scar.<\/dialogue>\n    <scene_description>As she passes Ed and Julie .<\/scene_description>\n    <character>SCARLET<\/character>\n    <dialogue>Your son needs a shrink!<\/dialogue>\n    <scene_description>Scarlet storms off . Before Mike can protest -<\/scene_description>\n    <character>MAGGIE<\/character>\n    <dialogue>Pervert!<\/dialogue>\n    <scene_description>Mike turns . SLAP . Maggie lights him up , runs for the house . SLAP , SLAP , SLAP . The Bras add theirs on the way out . Alex and Nicole march past . Mike reaches for Alex 's arm . Alex pulls it away .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Alex, wait. Let me explain -<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>How could you do this to me?<\/dialogue>\n    <scene_description>Alex whisks Nicole into the house . Mike lowers his head . Ed stomps over , grabs Mike .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>This place is a disaster! A kid pissed all over my English garden! What were you thinking!?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>She hates me, Ed. I've ruined everything.<\/dialogue>\n    <scene_description>Mike runs for the house . Julie looks quizzically to Ed .<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Who hates him? What's going on?<\/dialogue>\n    <scene_description>Ed shifts uncomfortably , takes a deep breath .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Oh boy. I do n't quite know how to put this.<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>Try being honest.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>He's not really my son. I do n't have a son.<\/dialogue>\n    <scene_description>SLAP . Ed looks like he 's about to cry .<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>Mark's obviously having a crisis and you. you insensitive bastard, you disown him? He'd be better off with his mother in Thailand.<\/dialogue>\n    <scene_description>Julie strides for the house . Ed yells after her -<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Should I call you?!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ED'S HOUSE - MORNING<\/stage_direction>\n    <scene_description>All is normal . No signs of a party .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ED'S HOUSE\/HALLWAY - MORNING<\/stage_direction>\n    <scene_description>Ed knocks and knocks on Mike 's bedroom door .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Come on. It's been 2 days. Open up.<\/dialogue>\n    <scene_description>WE hear a dragging sound then . CLICK . Ed turns the knob , opens the door , enters .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ED'S HOUSE\/MIKE'S BEDROOM - MORNING<\/stage_direction>\n    <scene_description>Dark . Mike climbs back into bed . Ed waves at the air .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Jesus. It smells like Jeffrey Dahmer's kitchen in here.<\/dialogue>\n    <scene_description>Ed pulls up the blinds , opens the windows . A disheveled , Mike groans , rolls away from the light . Ed sits on the bed .<\/scene_description>\n    <character>ED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Are you alright?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I really messed up. I've lost my family.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>That's not true. Nothing's ever truly lost.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>What about you and Julie?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Oh, that? That's lost.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Sorry about the party. I'll pay for any damages.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>Do n't worry about it. My spa guy got the last of the vomit out of the pool so we're good. I do n't mean to rub salt in your wounds but -<\/dialogue>\n    <scene_description>Ed holds up the manila envelope of divorce papers .<\/scene_description>\n    <character>ED<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>- you're due in court in an hour.<\/dialogue>\n    <scene_description>A look of determination comes over Mike 's face .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ED'S HOUSE - DAY<\/stage_direction>\n    <scene_description>The BMW roars out of the garage , Ed driving , tears down the driveway , fishtailing onto the street , LOSES CONTROL , rips across a neighbor 's lawn then back onto the road and off .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOS ANGELES COURT HOUSE\/COURTROOM - DAY<\/stage_direction>\n    <scene_description>Crowded pews . Scarlet stands before the JUDGE , her right hand raised as she 's sworn in .<\/scene_description>\n    <character>BAILIFF<\/character>\n    <dialogue>- the whole truth and nothing but the truth so help you God?<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>I do.<\/dialogue>\n    <scene_description>Scarlet sits beside her ATTORNEY . The Judge eyes her papers .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>You've requested a divorce by the State of California citing irreconcilable differences. Is this correct?<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>Yes, your Honor.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Is Michael O'Donnell or his representative present?<\/dialogue>\n    <character>SCARLET<\/character>\n    <parenthetical>( SADLY . )<\/parenthetical>\n    <dialogue>No, your Honor.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Then I take his absence as agreement to the orders of the divorce. Let's proceed. You're not asking for alimony or child support?<\/dialogue>\n    <character>JULIE<\/character>\n    <dialogue>No, your honor.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOS ANGELES COURT HOUSE - DAY<\/stage_direction>\n    <scene_description>Ed 's BMW skids to a stop in front of the building . Mike and Ed bound out , race up the court steps -<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>What exactly are we doing?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I do n't know. We just need to stop her from going through with it!<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>A well thought out plan. Good job.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LOS ANGELES COURT HOUSE\/COURTROOM - DAY<\/stage_direction>\n    <character>JUDGE<\/character>\n    <dialogue>The mother will have full custody of the children. The father will have visitation rights of one weekend a month -<\/dialogue>\n    <scene_description>BOOM . The doors burst open . All turn to see Mike and Ed storm down the aisle .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>I declare a mistrial on the grounds of insufficient evidence and Sacco and Vanzetti!<\/dialogue>\n    <scene_description>Scarlet can only shake her head .<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Sacco and. what are you. who are you!?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>I am legal counsel for Mike O'Donnell and I demand a stay of execution for this marriage, your Majesty.<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>He's my husband's best friend.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Are you a lawyer, best friend?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>No but I have been a defendant in numerous lawsuits so -<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Bailiff! Get these 2 out of my courtroom.<\/dialogue>\n    <scene_description>The Bailiff grabs Mike and a yelling Ed , drags them toward the exit . Mike wiggles free , runs back to the front .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Your Honor! I have a letter from Mike O'Donnell. Just let me read it. Please.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>I'm sorry, but -<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>If it's okay, your Honor. I'd like to hear it.<\/dialogue>\n    <character>JUDGE<\/character>\n    <dialogue>Make it quick.<\/dialogue>\n    <scene_description>Mike digs into his pocket , pulls out a piece of paper .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Thank you, your Honor.<\/dialogue>\n    <parenthetical>( READS . )<\/parenthetical>\n    <dialogue>September 7th, 1988 was the first time I saw you. You were reading ` The Great Gatsby' and wearing a Guns N Roses T - shirt. I'd never seen anything so perfect. I remember thinking I had to have you or I'd die. not in a psycho kinda way but in that beautiful, innocent, unaffected way that way only a 17 year - old kid can have. You whispered you loved me at the homecoming dance and I felt so peaceful and safe because I knew no matter what happened from that night on nothing could ever be that bad because I had you. And then I grew up, lost my way and blamed you for my failures. But I was never lost. I'd just forgotten the way life makes you forget as you grow older. And I never failed at anything because on that September day you said ` yes' to me. And at that dance you said you loved me. And as I stand here. as I write this, I want you to know if I do n't have you I'll die. not in a psycho way but in that beautiful, innocent, unaffected way only a 17 year old kid can have. oh and. P.S. I'm ` Hungry Like the Wolf'.<\/dialogue>\n    <scene_description>Mike places the PAPER ON THE TABLE , looks over to Scarlet . Scarlet just stares at him , tears streaming down her cheeks . sadness . recognition ?<\/scene_description>\n    <character>JUDGE<\/character>\n    <dialogue>Alright, son, you have to go now.<\/dialogue>\n    <scene_description>Mike nods , walks down the aisle and out the door .<\/scene_description>\n    <character>JUDGE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>Let's proceed.<\/dialogue>\n    <character>SCARLET<\/character>\n    <dialogue>Your Honor, Sir. I'm sorry. I'm in no shape. I need to postpone. I'm sorry.<\/dialogue>\n    <scene_description>A tearful Scarlet starts to leave , stops , picks up Mike 's ` letter ' . DIRECTIONS TO THE COURTHOUSE . She looks back confused .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BMW CONVERTIBLE - DAY<\/stage_direction>\n    <scene_description>A solemn Mike stares out the window . Ed turns the radio off .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Maybe it was n't a spell of enlightenment.<\/dialogue>\n    <scene_description>Mike looks to Ed .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>What are you talking about?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>According to the website once you've learned your lesson you'd turn back. That speech should've broken the spell.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Enough with the magic crap, Ed.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>You know what this means? You need to let them go. You need to let them get on with their lives and you need to get on with yours.<\/dialogue>\n    <scene_description>Mike chokes back tears . because he knows Ed is right .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. ED'S HOUSE\/MIKE'S BEDROOM - DUSK<\/stage_direction>\n    <scene_description>Mike works on his laptop , plugs his iPhone into it . downloads pictures . Mike moves to the bed , packs his Falcons uniform into a duffel bag . A BEEP . Mike unplugs the iPhone , types an email to Scarlet , `` I think this will help your business . Best of luck , Mark '' Mike hits send , grabs his bag and exits .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ED'S HOUSE - DUSK<\/stage_direction>\n    <scene_description>Mike steps outside , throws his duffel into the Aston . Ed exits the house .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Where you going?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I'm moving on. See you at the game.<\/dialogue>\n    <scene_description>Mike climbs into the car , pulls out of the driveway .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MIKE'S HOUSE\/KITCHEN - DUSK<\/stage_direction>\n    <scene_description>Scarlet sits at the kitchen table working on her laptop . The noise of an incoming email . She clicks over . MARK FREEDMAN . Scarlet reads Mike 's email then clicks on the link . A web site pops up . ` Scarlet 's Sanctuaries ' . Scarlet smiles .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITCH SENIOR HIGH SCHOOL\/GYM - NIGHT<\/stage_direction>\n    <scene_description>An empty gym . Mike stands feet beyond the 3 point line , grabs balls from a hopper and rapidly shoots , shoots , shoots . SWISH . SWISH . SWISH . Automatic . Coach Harvey enters .<\/scene_description>\n    <character>COACH HARVEY<\/character>\n    <dialogue>Hey, Freedman, save some for the game.<\/dialogue>\n    <scene_description>Mike sinks one last jumper , turns to the coach .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Just warming up, Coach.<\/dialogue>\n    <scene_description>Coach Harvey hands Mike a towel .<\/scene_description>\n    <character>COACH HARVEY<\/character>\n    <dialogue>Son, I have n't seen anyone with your shooting ability in, well, in a long time. I called a couple college scouts I know. They're coming to the game tonight. to watch you. If you have half the season I think you're capable of, you can play anywhere you want.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>That's the plan, Coach.<\/dialogue>\n    <scene_description>The rest of the Falcons basketball team jogs out from the locker room followed by a PHOTOGRAPHER .<\/scene_description>\n    <character>COACH HARVEY<\/character>\n    <dialogue>Round up, Jock Straps! Picture time.<\/dialogue>\n    <scene_description>The Team assembles in the middle of the court . Alex moves away from Mike . A PLAYER kneeling in front holds a sign , ` FITCH FALCONS , 2008 . '<\/scene_description>\n    <character>PHOTOGRPAHER<\/character>\n    <dialogue>3, 2, 1 -<\/dialogue>\n    <scene_description>FLASH . And with the flash WE cut to :<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITCH SENIOR HIGH SCHOOL\/GYM - LATER<\/stage_direction>\n    <scene_description>A POPULAR SONG rocks the gymnasium . CHEERLEADERS dance on the sidelines . STUDENTS and PARENTS cheer wildly from the packed stands . Julie gabs with a group of TEACHERS . On one end of the court , the Falcons run a pass and shoot drill . On the opposite end , a TEAM in BLUE shoots around . Mike sees Scarlet and Maggie enter . He smiles apologetically to them . Both turn away , climb the bleachers , join Nicole and the Wonder Bras .<\/scene_description>\n    <character>MAGGIE<\/character>\n    <parenthetical>( to Scarlet . )<\/parenthetical>\n    <dialogue>I thought he was hanging out with Alex to get to me - not you.<\/dialogue>\n    <scene_description>ANGLE . Coach Harvey claps loudly -<\/scene_description>\n    <character>COACH HARVEY<\/character>\n    <dialogue>Alright, Ladies, bring it in!<\/dialogue>\n    <scene_description>The Falcons swarm the bench , take their seats . Mike takes a deep breath , sits next to Alex. Alex looks down .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>ALEX -<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>I have nothing to say to you.<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>I never meant to hurt you -<\/dialogue>\n    <character>ALEX<\/character>\n    <dialogue>Then why'd you kiss my mom!?<\/dialogue>\n    <character>MIKE<\/character>\n    <dialogue>Alex, I'm your fa. I do n't know. I'm sorry.<\/dialogue>\n    <scene_description>Alex stands -<\/scene_description>\n    <character>ALEX<\/character>\n    <dialogue>You're lucky I do n't punch you out.<\/dialogue>\n    <scene_description>Alex moves down the line , takes another seat . Ed strides through the door spots Julie , makes his way over to her .<\/scene_description>\n    <character>ED<\/character>\n    <dialogue>Julie, can I talk to you?<\/dialogue>\n    <scene_description>Julie excuses herself from the Teachers .<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>What is it, Ed?<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>I've seen a good friend of mine lose everything that means anything to him. And maybe we'll never be there but. I just really want to play D &amp; D with you.<\/dialogue>\n    <scene_description>Julie ca n't help but smile , sizes Ed up .<\/scene_description>\n    <character>JULIE<\/character>\n    <dialogue>You can raid my dungeon anytime.<\/dialogue>\n    <character>ED<\/character>\n    <dialogue>I'll bring my long bow.<\/dialogue>\n    <scene_description>A REFEREE blows his whistle .<\/scene_description>\n    <character>COACH HARVEY<\/character>\n    <dialogue>Let's go! Remember, Boys, winners get the girls. Losers please themselves!<\/dialogue>\n    <scene_description>Mike and the Falcons jog onto the court . Mike takes his place for the jump ball . The Crowd stomps , cheers LOUDLY . Mike looks around the gymnasium . it almost seems to SLOW UP . the sound deafening . He finds Alex on the bench . his hopeful face . Mike looks into the stands . Maggie and Scarlet . Scarlet abruptly stands , climbs back down the bleachers and exits the gym . The Ref readies to toss the ball . Mike takes a deep breath . and walks off the court .<\/scene_description>\n    <character>REFEREE<\/character>\n    <dialogue>Son! Come back here! You're gon na get a delay of game!<\/dialogue>\n    <character>COACH HARVEY<\/character>\n    <dialogue>This ca n't be happening again.<\/dialogue>\n    <scene_description>Mike steps over to Alex -<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>It's your turn now. Good luck.<\/dialogue>\n    <scene_description>Mike rushes off the court . As Mike disappears into the tunnel , WE see the OLD JANITOR amongst the crowd . He smiles . Coach Harvey turns to Alex -<\/scene_description>\n    <character>COACH HARVEY<\/character>\n    <dialogue>Get off your butt, O'Donnell! Get in there!<\/dialogue>\n    <scene_description>Alex leaps off the bench .<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. FITCH SENIOR HIGH SCHOOL\/TUNNEL - NIGHT<\/stage_direction>\n    <character>MIKE<\/character>\n    <dialogue>Scar!<\/dialogue>\n    <scene_description>The tunnel is EMPTY . Crestfallen , Mike lowers his head . ANGLE ON : Scarlet as she appears at the far end of the tunnel .<\/scene_description>\n    <character>SCARLET<\/character>\n    <dialogue>What took you so long?<\/dialogue>\n    <scene_description>ANGLE ON : Mike and he 's 36 years - old again , bursting out of his uniform .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>The best choice I ever made was you.<\/dialogue>\n    <scene_description>Scarlet and Mike walk towards one another , picking up their pace the closer they get .<\/scene_description>\n    <character>SCARLET<\/character>\n    <dialogue>How did this happ -<\/dialogue>\n    <scene_description>Mike wraps his arms around her .<\/scene_description>\n    <character>MIKE<\/character>\n    <dialogue>Do n't ask.<\/dialogue>\n    <scene_description>They lock lips . Mike takes Scarlet 's hand and as they walk out of the tunnel -<\/scene_description>\n    <character>MIKE<\/character>\n    <parenthetical>( CONT 'D . )<\/parenthetical>\n    <dialogue>I think it's best if we do n't tell the kids about this. Especially Maggie.<\/dialogue>\n    <scene_description>THE END<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In 1989, 17-year-old star athlete Mike O'Donnell's girlfriend Scarlet Porter tells him that she is pregnant, just moments before his likely scholarship-clinching high school championship basketball game. Mike plays the first few seconds of the game, then  walks off the court and goes after Scarlet, abandoning his hopes of going to college and achieving a career that could support their future. Nearly twenty years later, 37-year-old Mike finds his life stalled, abandoning any project he starts. Scarlet, now his wife and mother of their two children, has filed for divorce, forcing him to move in with his geeky, yet extremely wealthy, best friend, Ned Gold. He has quit his job after he is passed over for a promotion he deserves for his sixteen years at the company in favor of a younger female co-worker with two months experience, and his high school-age children, 17-year-old Maggie and 16-year-old Alex, want nothing to do with him. Later, while driving, an encounter on a bridge with a janitor transforms Mike back into his 17-year-old self. After convincing Ned of his identity, Ned believes that Mike's transformation was caused by a mystical spirit guide who is trying to steer him on a better path. Mike enrolls in high school posing as Mark Gold, Ned's son, and plans to go to college on a basketball scholarship. As he befriends his bullied son and discovers that his daughter has a boyfriend, Stan, who does not respect her and frequently torments Alex, Mike comes to believe that his mission is to help them. Through their children, Mike spends time with Scarlet, who notes his remarkable resemblance to her husband, but rationalizes it as an odd coincidence. Deciding to also try and fix his relationship with Scarlet, Mike begins to finish (under the pretense of getting \"volunteer credit\") all of the garden projects he abandoned as an adult. He does his best to separate Stan and Maggie while also encouraging Alex to be more confident so he can make the basketball team and go out with a girl he has a crush on named Nicole. Mike has difficulty resisting his desire for Scarlet despite the relationship's clear inappropriateness. Ned, meanwhile, begins to pursue the school's principal Jane Masterson through increasingly extravagant stunts in order to win her affections, which she adamantly rebukes. After Mike and Alex help win a basketball game, Mike throws a party at Ned's house while he is out on a date with Jane. When Scarlet arrives when she worries about her children for attending a party, Mike shows her that Alex has finally managed to get together with his crush, leading Mike and Scarlet to have an intimate conversation where Mike accidentally tries to kiss her. Disgusted, she storms off as Mike tries unsuccessfully to explain his true identity. On the day of the court hearing to finalize Scarlet and Mike's divorce, Mike makes one last attempt to win her back (as Mark) by reading a supposed letter from Mike. He states that although he couldn't set things right in the beginning of his life, it doesn't change the fact that he still loves her. After he exits, Scarlet notices that the \"letter\" is actually the directions to the courtroom and she begins to grow curious. As a result, she postpones the divorce by a month. Frustrated that he could not salvage his marriage, Mike decides to once again pursue a scholarship and move on with a new life. During a high school basketball game, Mike reveals himself to Scarlet. As Scarlet runs away, Mike decides to chase her down, just like he did in 1989, but not before handing the ball off to his son. Mike is then transformed back into his 37-year-old self, and happily reunites with Scarlet, saying that she was the best decision he ever made. As Mike prepares for his first day as the new coach at his children's school, Ned, who has successfully started a relationship with Jane, gifts him a whistle, both happy with their new starts in life."}
{"movie_name":"Lone Survivor_2013","imdb_id":"tt1091191","script":"<script>\n  <scene>\n    <character>LONE SURVIVOR<\/character>\n    <dialogue>Written by Peter Berg<\/dialogue>\n    <scene_description>Based on the book by Marcus Luttrell FINAL \"NEVER OUT OF THE FIGHT\" -Navy SEAL Creed<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAGRAM AIR BASE, AFGHANISTAN<\/stage_direction>\n    <scene_description>Through massive sun flare, a BLACKHAWK Chopper coming in fast. Landing hard on Bagram Air Base.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <parenthetical>(vo)<\/parenthetical>\n    <dialogue>It's something most of us have known all of our lives. What we all wanted. It's in our blood.<\/dialogue>\n    <scene_description>A team of medical personal and Navy officers descend on the chopper. An assortment of high-ranking GENERALS and COMMANDING OFFICERS there to meet the chopper. Tight shots. A bloody hand dangles. A tear filled eyeball, sliced feet.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <parenthetical>(vo)<\/parenthetical>\n    <dialogue>There's a storm inside of us. I've heard many team guys speak of this. A burning. A river. A drive.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OPERATING ROOM<\/stage_direction>\n    <scene_description>Clothes cut. Blood soaked Dog Tags cut. \"Luttrell\" in UA boxer shorts, IVs and fresh blood bags. Multiple Gunshots. Chunk of an ear missing. Heartbeat monitor. Weak pulse.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <parenthetical>(vo)<\/parenthetical>\n    <dialogue>An unrelenting desire to push yourself harder and further than anyone could think possible.<\/dialogue>\n    <scene_description>Chunks of bullet and shrapnel filling metal bowl. Tears streaming down cheeks, a hand scrawled map on a left thigh, focused eyes of surgeons. Admirals' pace in the hallway.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <parenthetical>(vo)<\/parenthetical>\n    <dialogue>Pushing ourselves into those dark cold corners where the bad things live. Where the bad things fight.<\/dialogue>\n    <scene_description>Heart monitor weak. Getting weaker. Compound fracture left shin. Bloody feet rinsed clean. Water flushing out bullet holes. Loose cracked tooth pulled out. Heart monitor getting weaker. Surgical pack working franticly to save Luttrell. Tight on HEART MONITOR: FLATLINE<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>We wanted that fight at the highest volume. The loud fight. The loudest, coldest, hottest, most unpleasant of the unpleasant fights.<\/dialogue>\n    <scene_description>Pushing in on the flatline. Alarm screaming. Tight on Luttrell's eyes starting to glaze over. Dying. BLACK. GRAPHIC: \"FIVE DAYS EARLIER\"<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HIGH ABOVE NORTHERN AFGHANISTAN - HINDU KUSH<\/stage_direction>\n    <scene_description>SUNSET. Rugged and punishing. Endless and infinite. Steep stone mountains. Bottomless valleys. Cold and dry. As we fly across this stunning land, from the bottom of the FRAME, ENTER: A SPECIAL FORCE AIR INSERT TEAM. FOUR HELICOPTERS. Two MH-47s transport. Two security Apaches. 3A IN THE CHOPPER: 3A TIGHT ON MARCUS LUTTRELL. Healthy and very clear eyed. 12 SEALs fully dressed for combat. Sitting side by side. Clearly ready for war.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>3B INT. MH-47 INSERT CHOPPER 3B<\/stage_direction>\n    <scene_description>Seen from above. Cruising at 150 over the shoulder of a .50- cal TF-160 aviator door gunner.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHOPPER - SUNSET<\/stage_direction>\n    <scene_description>Riding low and fast. Inside: Two Night Stalker Pilots, Two Airmen, and 12 SEALs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HINDU KUSH - DUSK<\/stage_direction>\n    <scene_description>The Choppers tearing across the Afghan mountains.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. THE CHOPPER - DUSK<\/stage_direction>\n    <scene_description>Luttrell checks his map against his wrist strapped GPS. Whistles quietly to himself.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>I don't see anything but steep. I could be wrong. Hope I'm wrong. If it's anything but steep I'm not seeing it.<\/dialogue>\n    <character>DIETZ<\/character>\n    <dialogue>Just put your feet where I put my feet. All day long. You're gonna love it.<\/dialogue>\n    <scene_description>SHANE PATTON plugged into an iPod. SLIPKNOT pounding into his head. He quietly sings along. Kristensen leans over to Axelson, the navigator, adjusts his upper right strap on his front pack.<\/scene_description>\n    <character>KRISTENSEN<\/character>\n    <dialogue>I'm real interested in the pitch. If it ain't fucking glorious, come back, try another route. Don't waste your time trying to cross something that's gonna knock the shit out of us.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Roger that.<\/dialogue>\n    <scene_description>Kristensen moves over to MIKE MURPHY.<\/scene_description>\n    <character>KRISTENSEN<\/character>\n    <dialogue>She does not need a Arabic horse.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>How do you know about that?<\/dialogue>\n    <character>KRISTENSEN<\/character>\n    <dialogue>I know everything Murphy.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Check.<\/dialogue>\n    <character>KRISTENSEN<\/character>\n    <dialogue>Morab Tennessee Walking Horse cross stallion.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>KRISTENSEN<\/character>\n    <dialogue>Original Silver. Lone Ranger's Horse.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Really?<\/dialogue>\n    <character>KRISTENSEN<\/character>\n    <dialogue>Tennessee cross stallion. That's a fucking horse.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <character>KRISTENSEN<\/character>\n    <dialogue>Lone Ranger's horse of choice.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Sounds excellent sir.<\/dialogue>\n    <character>KRISTENSEN<\/character>\n    <dialogue>Glorious horse Murphy.<\/dialogue>\n    <scene_description>Tight on Luttrell starring into the plunging sun.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AFGHAN VILLAGE - DAY<\/stage_direction>\n    <scene_description>INTERCUT AFGHAN VILLAGE. Intro Afghan warlord. AHMAD SHAH. 35 years old. Tall, strong. Fierce. He moves through an Afghan village with a small pack of equally fierce Taliban warriors. LOCAL AFGHANS avoid eye contact. This Shah and crew feels like an old school western bad guy moving through a cow town. NOTHING like the SUICIDE BOMBERS of BAGDAD. These are real warriors. Strong-jawed. Thin but ripped muscles. Worn rich soulful faces, vivid eyes, color reds and blues. Strong boots. Military vests. Good radio equipment. Well-maintained weapons. Shah's number two is TARAQ. Late twenties. Shah is vicious, TARAQ, is more vicious. Strong and very, very violent. A very worthy opponent. RIGHT now they are clearly pissed. Shah leads the way, walks with purpose. They are looking for a man. Someone has violated TALIBAN LAW, accused of aiding the Americans. Shah moves into a house. Women and children terrified. Trembling. Women pleading.<\/scene_description>\n    <character>SHAH<\/character>\n    <dialogue>Where is he?<\/dialogue>\n    <character>SHAH<\/character>\n    <dialogue>Hagha Cherta Dey?<\/dialogue>\n    <scene_description>The women scream. As Shah starts throwing teenage boys around the room. Slamming them viciously into walls. A 25-year-old man Gulab tries to reason with Shah. A YOUNG BOY watches.<\/scene_description>\n    <character>GULAB<\/character>\n    <dialogue>Please, we want no trouble.<\/dialogue>\n    <character>GULAB<\/character>\n    <dialogue>Mehrabani\/lutfan, monga hes mushkil no ghowaro<\/dialogue>\n    <scene_description>Taraq throws Gulab down hard. Turns, locks eyes with an older Afghan man(30s). Taraq moves quickly at him, kicking him in the face, his foot down hard on his throat.<\/scene_description>\n    <character>SHAH<\/character>\n    <dialogue>Have you spoken with the Americans?<\/dialogue>\n    <character>SHAH<\/character>\n    <dialogue>Aya taso Americayano sara khaberi keri dey?<\/dialogue>\n    <character>AFGHAN MAN<\/character>\n    <dialogue>Please! No!<\/dialogue>\n    <character>AFGHAN MAN<\/character>\n    <dialogue>Mehrabani\/lutfan! Na!<\/dialogue>\n    <scene_description>Gulab watches. Frustrated. Furious.<\/scene_description>\n    <character>TARAQ<\/character>\n    <dialogue>You lie!<\/dialogue>\n    <character>TARAQ<\/character>\n    <dialogue>Ta Dorogh wayee!<\/dialogue>\n    <character>AFGHAN MAN<\/character>\n    <dialogue>Please!<\/dialogue>\n    <character>AFGHAN MAN<\/character>\n    <dialogue>Mehrabani\/lutfan!<\/dialogue>\n    <scene_description>He's pressing down hard. Choking the man. The man's family begs and screams. Shah studies the Afghan deep into his eyes. Decides he's lying...Shah nods to Taraq. Taraq yanks the Afghan to his feet. As his children watch Taraq leads the pleading farmer outside. Into the woods. Taraq and his men throw the Afghan down over a fallen log. Face up. Two of Taraq's men hold him by the beard as Taraq stands over him. Razor sharp machete up. Shah backlit. Ignoring the man's pleading...as Taraq hacks down with brutal fury. Tight on Shah, tight on Taraq, blood dripping from his hand. BLACK GRAPHIC: BAGRAM AIR BASE - 14 HOURS EARLIER CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAGRAM AIR BASE - DAWN<\/stage_direction>\n    <scene_description>Sun just beginning to rise over the Base. Beautiful. Camera moves though the sleeping base. Guards man posts. Aircraft static on runways in Hangars'. Tent after tent soldiers' sleep. We come to a small base within a base. 10 foot rebar framed dirt walls. Barbed wire. Heavy Iron gate. A fortress within a fortress. Graphic. 8A SEAL TEAM 10 CAMP OUELLETTE, BAGRAM AIR BASE - SUNRISE 8A We move inside the SEAL compound. Several plywood buildings. Assorted trucks, Jeeps, heavy ATVs.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEAL BUNK ROOMS<\/stage_direction>\n    <scene_description>Marcus Luttrell sleeps. Peaceful. Tight shots. Luttrell's room. A Texas flag. Family pictures. Mom, Dad, twin Brother Morgan. SEAL Trident. Wanted poster Osama bin Laden. Guns, knifes, grenades. DANNY DIETZ sleeps. His walls covered with his art. Demons and Dragons and Serpents. Beautiful and haunting. Pictures of his wife, Patsy. His dogs. His parents. Matt Axelson sleeps. Curly red hair. Pictures of his family. American flag. Freddie Couples walking the bridge at St. Andrews. Map of Afghanistan. MIKE MURPHY Rooms a mess. Clothes and gear everywhere. Grenades on a desk next to a copy of GATES OF FIRE. New York Rangers flag next to a SEAL Flag, 8 x 10 head shot of Ron Burgundy. Tight on Murphy. His eyes slowly open. Hold a moment. Murphy checks watch. 0500. Slow and smooth Murphy rises. Body strong. Not ripped. Effortless power. Murphy goes to his computer. Opens it and checks his mail. Tight on Murphy's inbox. A picture of an Arabian Horse. Murphy studies the picture. 9A MOVING DOWN HALLWAY 9A Murphy now in shorts and a Navy T-shirt. Holding his laptop, eating a banana. Stops by Luttrell's door. Opens it. Luttrell sleeps, Murphy sits on his bed. Nudges Luttrell. Luttrell opens an eye. He's staring at the computer pic of an Arabian horse.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Is this doable?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Expensive.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>How much?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Arabic. She's got good taste.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>How much?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>I'll find out. Expensive.<\/dialogue>\n    <scene_description>Murphy is up. Heads out the door. Moves into the hallway. Opens Dietz's door.<\/scene_description>\n    <character>MURPHY<\/character>\n    <parenthetical>(quiet)<\/parenthetical>\n    <dialogue>Danny.<\/dialogue>\n    <scene_description>Dietz. Eyes closed.<\/scene_description>\n    <character>DIETZ<\/character>\n    <dialogue>I'm up.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GYM - CAMP OUELLETTE<\/stage_direction>\n    <scene_description>Dark, then lights on, revealing a decent cross fit style gym. Blackboard filled with the current workout leaders. Dietz and Murphy hold most of them. The two men start to stretch in silence. Luttrell wanders in. A giant bowl of cereal.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>Since when does she want an Arabic horse?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Since I got an email this morning. Probably saw it on Oprah.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Oprah rides Arabic horses?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>I don't know what Oprah does.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>She can afford them.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Why? How much do they cost?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>I don't know. Oprah money.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Fuck.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>I thought you guys were doing this tomorrow.<\/dialogue>\n    <scene_description>Murphy and Dietz strap on Body Armor.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>Maybe I'm starting to become tele fucking pathic - non-verbal yoda or something. I could swear I just said outloud, that I thought this was happening tomorrow.<\/dialogue>\n    <scene_description>Murphy stretching.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>I think Red Wings a go. Tonight.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Oh.<\/dialogue>\n    <parenthetical>(beat)<\/parenthetical>\n    <dialogue>Outstanding.<\/dialogue>\n    <scene_description>SHANE PATTON wanders in.<\/scene_description>\n    <character>SHANE PATTON<\/character>\n    <dialogue>You're doing it now?<\/dialogue>\n    <scene_description>The three men ignore Shane.<\/scene_description>\n    <character>SHANE PATTON<\/character>\n    <parenthetical>(to Luttrell)<\/parenthetical>\n    <dialogue>They're going at it now?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Looks that way.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. MATT AXELSON'S BUNK - MORNING<\/stage_direction>\n    <scene_description>Axe sleeps. His computer alarm goes off. Incoming voice chat. Slowly Axe reaches down for the computer on his floor. Axe opens the computer. Signs in. Incoming from his wife Cindy. \"Are you up?\" Axe types. \"Yes my love.\" Cindy. \"What you doing?\" Axe stares at a picture of he and Cindy. \"Looking at you.\"<\/scene_description>\n    <character>CINDY<\/character>\n    <dialogue>How do I look?<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Like Heaven.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEIGHT ROOM - MORNING<\/stage_direction>\n    <scene_description>Dietz and Murphy both warmed up clearly ready for some kind of competition. Luttrell sits on a weight bench. Takes off his watch. Dietz and Murphy under pull up bars. HEALY enters.<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>Thought you guys were doing this tomorrow...<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Ready?<\/dialogue>\n    <character>DIETZ<\/character>\n    <dialogue>Yup.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Mark. Set. Go.<\/dialogue>\n    <scene_description>Luttrell hits the stop watch. Murphy and Dietz leap to bars, 75 Pull-ups as fast as possible. Brief pauses to recover. 100 push ups. Dietz slightly ahead of Murphy. Sprints out of the gym. Murphy close behind. The two men charge up and over the gate. Body Armor on.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAGRAM - MONTAGE - MORNING<\/stage_direction>\n    <scene_description>Murphy and Dietz running hard racing each other on a two mile lap of the Air Base. Luttrell keeps time. Shane starts bench pressing. Luttrell eats cereal. 13A AXE in bunk room. On the computer with Cindy. 13A \"I won't be able to talk for a couple of days.\" \"Gotta go to work?\" \"Got to pay the bills.\" Murphy and Dietz sprinting. Dead even. Past Marines. Down a runway full of active aircraft and helicopters.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. WEIGHT ROOM - DAY<\/stage_direction>\n    <scene_description>Shane benching big. Luttrell munches cereal. Healy doing pushups.<\/scene_description>\n    <character>SHANE PATTON<\/character>\n    <dialogue>Am I going?<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>No idea<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>SHANE PATTON<\/character>\n    <dialogue>You know.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>If I say I don't know. I don't know.<\/dialogue>\n    <character>SHANE PATTON<\/character>\n    <dialogue>You know.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>If you go you'll go. If you don't go, trust me you will go. Eventually. Comprende?<\/dialogue>\n    <character>SHANE PATTON<\/character>\n    <dialogue>So, I'm not going?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>I didn't say that.<\/dialogue>\n    <character>SHANE PATTON<\/character>\n    <dialogue>You said if you don't go, you will eventually go.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Yea, that's not saying your not going.<\/dialogue>\n    <character>SHANE PATTON<\/character>\n    <dialogue>I'm not going.<\/dialogue>\n    <scene_description>Shane back to bench pressing. Luttrell checks his watch, heads out towards the gate. 14A INT \/ EXT WEIGHT ROOM - DAY 14A Other SEALs starting to gather. JAMES SUH, DAN HEALY, MIKE MCGREEVY, JAQUES FONTAN, JEFF LUCAS and JEFF TAYLOR Dietz and Murphy balls out sprinting. Murphy has him by a few feet coming back to Ouellette iron wall. Murphy throws open the gate, runs inside. Dietz a second behind. Luttrell looks at his watch.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>Murphy by 1.1.<\/dialogue>\n    <scene_description>Exhausted Dietz and Murphy sit in the dirt.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>Head shave?<\/dialogue>\n    <character>DIETZ<\/character>\n    <dialogue>Fuck.<\/dialogue>\n    <scene_description>Axe walks up, shorts and flip flops.<\/scene_description>\n    <character>AXE<\/character>\n    <dialogue>Who won?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Murphy. Barely.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Head shave?<\/dialogue>\n    <scene_description>Dietz looks pained.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Man...I got to think this one out. If I shave his head, I'm going to have to look at him. Really look at him. Ears, face, funny shaped head...I don't know. Marcus? What do you think?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>I don't know boss...I don't want to be looking at him that close either, but he has been running his mouth about beating you...a lot. Head shave is fair.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Axe?<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Hell yea, I say shave him, and he can't eat with us, make him eat with E3 Marines until it grows back. Shave the boy.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Shane?<\/dialogue>\n    <character>SHANE PATTON<\/character>\n    <dialogue>Well, I could go both ways on this. He did lose but, he was close and you're Mike Murphy and I would have expected a much bigger separation. Plus, we're at war and there's the whole Samson thing, so I'm not sure. I'll plead the fifth on this one.<\/dialogue>\n    <scene_description>Murphy looks stares at Shane.<\/scene_description>\n    <character>SHANE PATTON<\/character>\n    <dialogue>But you're the boss, boss. So I'm with you. I'll shave his head, wax his balls if you give me the order. Sir, I'll wax my own balls if you take me on Red Wings.<\/dialogue>\n    <scene_description>Murphy shakes his head at Patton, looks over to Dietz.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Come on Mike.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Yea Danny this is probably not gonna go your way. Shane, get my razor.<\/dialogue>\n    <character>SHANE PATTON<\/character>\n    <dialogue>Getting razor, copy that.<\/dialogue>\n    <scene_description>Erik Kristensen, officer in charge, from the deck of the Command Room. Shane stops. Turns around.<\/scene_description>\n    <character>KRISTENSEN<\/character>\n    <dialogue>Not today.<\/dialogue>\n    <scene_description>The SEALs stare up at their boss.<\/scene_description>\n    <character>KRISTENSEN<\/character>\n    <dialogue>Red Wing's a go. Today. 1800.<\/dialogue>\n    <character>SHANE PATTON<\/character>\n    <dialogue>Am I going?<\/dialogue>\n    <character>KRISTENSEN<\/character>\n    <parenthetical>(ignoring Shane)<\/parenthetical>\n    <dialogue>PLO in one hour.<\/dialogue>\n    <character>SHANE PATTON<\/character>\n    <dialogue>Sir?<\/dialogue>\n    <scene_description>Kristensen dead eyes Patton. Turns and heads back into TOC. Healy follows<\/scene_description>\n    <character>AXE<\/character>\n    <dialogue>Shane's going?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>I don't think so.<\/dialogue>\n    <character>SHANE<\/character>\n    <dialogue>Maybe.<\/dialogue>\n    <scene_description>They all walk inside.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. RED WINGS PLO (PATROL LEADER'S ORDER)<\/stage_direction>\n    <scene_description>Thirty SEALs plus support packed into the TOC (Tactical Operational Command). Makeshift control center. PowerPoint on flat screen. Operation REDWING is dissected.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Operation Red Wings. The target is Ahmad Shah and his, we are estimating ten men, \"loyal amigos\". Including, this dude,<\/dialogue>\n    <scene_description>Slide shifts to a color photo of \"Taraq\".<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Only have a first name, Taraq. Seems to do most of the chief shit for Shah.<\/dialogue>\n    <scene_description>SEALs study photos.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>We're going in with a four man team. The recon team is Dietz, Comms. Axe, Nav. Luttrell, Medic.<\/dialogue>\n    <character>HEALY<\/character>\n    <dialogue>Objective of this mission is to positively identify Ahmad Shah.<\/dialogue>\n    <scene_description>Shane's head in his hands, pissed he is not going...a grainy photo of Ahmad Shah on a large color monitor. PowerPoint.<\/scene_description>\n    <character>KRISTENSEN<\/character>\n    <dialogue>This is the best picture we have of him. It's current.<\/dialogue>\n    <character>KRISTENSEN<\/character>\n    <dialogue>We know Shah killed fourteen Marines last Tuesday in Kandahar. We just pulled this video off three different Tali web sights. It will in fact be a glorious day when Ahmad Shah and his good friend Taraq are no longer members of our human community.<\/dialogue>\n    <scene_description>Clear video of Shah executing a Taliban woman. Two men hold her down. Shah fires an AK-47. The bullet kicking up dust as it blasts through her skull into the dirt. The SEALs study this footage. Dead serious.<\/scene_description>\n    <character>AXE<\/character>\n    <dialogue>Go back...freeze.<\/dialogue>\n    <scene_description>Axe studies an image of Shah.<\/scene_description>\n    <character>AXE<\/character>\n    <dialogue>No earlobes.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>What's that?<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>The guys got no earlobes.<\/dialogue>\n    <scene_description>Silence as the team studies the image.<\/scene_description>\n    <character>SHANE<\/character>\n    <dialogue>What are earlobes for anyway?<\/dialogue>\n    <character>DIETZ<\/character>\n    <dialogue>Piercing and balance.<\/dialogue>\n    <character>SHANE<\/character>\n    <dialogue>Balance.<\/dialogue>\n    <character>DIETZ<\/character>\n    <dialogue>I heard earlobes are key for head balance - equilibrium. Cut a guys ear off, he's gonna suck on a drunk test, balance beam, tight rope...<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>False. Earlobes have no biological functions for humans. Fish can use earlobes like a valve to open or close the ear canal.<\/dialogue>\n    <character>SHANE<\/character>\n    <dialogue>Why would a fish want to let water into his ear canal?<\/dialogue>\n    <scene_description>Luttrell shoots him a look - \"shut the fuck up\" Murphy keeps things moving.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Bad guy. Senior Taliban commander responsible for killing Marines in Eastern Afghanistan and sport killing civilians in the Hindu- Kush. Considered Tier One target rumored to be close to Bin Laden. Axe is going to go over our route in.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>The helo pilots are going to do two false inserts. Then drop us off at our primary insert, located here. Secondary insert located here. From our primary insert, our bearing will be zero three zero patrolling 1.5 kilometers to our designated lay up point. We will be moving up the backside of this mountain which will offer us good concealment from the target but the terrain is gonna be rocky so watch your footing. I'm estimating it's gonna take us about two hours to complete.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Luttrell - medical<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>First things first, win the fight. There's no medicine in a gunfight. It's self aid, buddy aid, corpsman aide. Two weeks ago, Team 3 was near where you guys will be. Capelli got bit by a rattlesnake. and contrary to popular belief, there is poison oak, so watch the cock and balls cause that will suck. Drink lots of water, wear sunscreen, and Dietz bring your own chapstick.<\/dialogue>\n    <scene_description>Dietz stands up, starts talking comms<\/scene_description>\n    <character>DIETZ<\/character>\n    <dialogue>Crypto will be wide band, segment 2- 4. Murph's got a SAT phone. Region is very steep so expect typical comms problems. We'll be on two hour comms windows.<\/dialogue>\n    <character>DIETZ<\/character>\n    <dialogue>If we miss two windows I'd say wake somebody up. Other than that, don't sweat it.<\/dialogue>\n    <scene_description>Murphy picks up a plastic AC-130 and holds it over the map.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>AC-130 is with us?<\/dialogue>\n    <scene_description>Dietz takes the plane from Murphy. Moves it over the map.<\/scene_description>\n    <character>DIETZ<\/character>\n    <dialogue>Correct. Just for the infil. All comms will be relayed through the AC-130, call sign Apollo. Suns up, she's out. Some of the key pro- words - when we have a successful insert, Budweiser. When we're halfway through infil, it'll be Corona. At our observation point, Schlitz Malt Liquor. And if we positively identify Shah: touchdown.<\/dialogue>\n    <scene_description>Danny chucks the toy plane.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Reaction Force is the following: The 47's will relocate to J-Bad overnight.<\/dialogue>\n    <scene_description>Murphy uses toy plastic helicopters to explain the size and location of the QRF.<\/scene_description>\n    <character>KRISTENSEN<\/character>\n    <dialogue>That's correct. You'll have fifteen team guys, and about a dozen Marines standing by all night. When we hear Schlitz Malt Liquor, we're heading back to Bagram for phase 2. QRF will stay here - we're leaving you with 4 team guys, 20 marines, 2 Blackhawks and 2 Apaches. The Apaches stay with the Blackhawks.<\/dialogue>\n    <scene_description>The toy Choppers circle on the map giving us a clear understanding of the playing field.<\/scene_description>\n    <character>KRISTENSEN<\/character>\n    <dialogue>The movement is so we can get the 47's back here and be ready to bring it for phase two once you get eyes on Shah. Remember - comms will most likely be intermittent and there are reports that non- combatants are being used as recon elements for the enemy.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Roger that.<\/dialogue>\n    <scene_description>Luttrell spits chew. Danny doodles furious, mashing demons. Axe quietly studies the picture of Ahmad Shah. JAG GOES OVER RULES OF ENGAGEMENT<\/scene_description>\n    <character>AXE<\/character>\n    <dialogue>Lotta moving parts.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>What we do, when we do, what we do.<\/dialogue>\n    <character>KRISTENSEN<\/character>\n    <dialogue>We go in four hours. I'm pulling up tomorrow's new guy presentation to 1800 tonight so that all may revel and partake.<\/dialogue>\n    <character>SHANE PATTON<\/character>\n    <dialogue>Are you serious?<\/dialogue>\n    <character>KRISTENSEN<\/character>\n    <dialogue>Yes. Glorious evening gentlemen.<\/dialogue>\n    <scene_description>15A OMIT 15A 15B OMIT 15B<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAGRAM<\/stage_direction>\n    <scene_description>The four SEALs moving through the massive base. Long hair, bearded. Surfers with handguns stuck in waistbands. Sharp contrast to the hundreds of uniformed buzz-cutted Rangers and Marines. They move at us, holding trays loaded with food.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. OULLETTE SEAL COMPOUND - CAMO CANOPY<\/stage_direction>\n    <scene_description>LAST SUPPER. Murphy, Luttrell, Axe and Dietz. Eating. Having a fly catch and kill competition. DIETZ looks stressed. He's got a paint tile sample page on the table in front of him. Studying paint samples.<\/scene_description>\n    <character>DIETZ<\/character>\n    <dialogue>We were gonna wait but she's all into it and when she gets her head into something, that's it. There's no stopping her.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>So just let her do it. It's good for her. You got a handy man woman. That's good.<\/dialogue>\n    <dialogue>MURPHY kills a fly. Places the dead fly by his coffee cup next to three other dead flies.<\/dialogue>\n    <character>DIETZ<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Don't know what?<\/dialogue>\n    <character>DIETZ<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>He's worried that he's losing control over his castle.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Really.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Ask him.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Are you worried that you're losing control over your castle?<\/dialogue>\n    <character>DIETZ<\/character>\n    <dialogue>Shut up Murph.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Are you?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>He's having control issues cause he's the one whose always made the \"taste\" issues in the family.<\/dialogue>\n    <character>DIETZ<\/character>\n    <dialogue>She's got great taste. I trust her.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>So what's the problem?<\/dialogue>\n    <character>DIETZ<\/character>\n    <dialogue>It's not a problem. It's just very ongoing. Know what I mean?<\/dialogue>\n    <scene_description>Luttrell kills a fly. He's got six dead ones. He and Murphy are competing.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Not really. No. Marcus, you know what he means?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Control issues.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Is that right?<\/dialogue>\n    <character>DIETZ<\/character>\n    <dialogue>No.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>DIETZ<\/character>\n    <dialogue>It's not control issues.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>What is it?<\/dialogue>\n    <character>DIETZ<\/character>\n    <dialogue>New grass leads to new bushes by the window, leads to new windows, leads to new curtains, leads to new sofa, leads to new rug, leads to new floor...<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Got it.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Loss of control. Got to let that go bro.<\/dialogue>\n    <character>DIETZ<\/character>\n    <dialogue>It's like this weird journey that she's on. Moving through the house one room to the next.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Where is she now?<\/dialogue>\n    <character>DIETZ<\/character>\n    <dialogue>Kitchen. I think.<\/dialogue>\n    <scene_description>Murphy and Luttrell both kill flies at the same time. Marines with Buzz cuts in crisp uniform eating all around the SEALs. Stark contrast. CUT TO:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEAL TV ROOM<\/stage_direction>\n    <scene_description>Tight on Shane Patton. Doing his best Napoleon Dynamite dance. He is not good. SEALs in lounge chairs. They watch, laugh and taunt. Music loud. Shane powers through. Finishes strong. Whistles and clapping from the SEALs. AXE stands up. Puts an arm around Patton.<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>God was that awful<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Ok, here's the deal. That sucked, but I'm voting that we move him forward cause I can't watch this shit without puking anymore so I say lest be done with it. All in favor?<\/dialogue>\n    <scene_description>Luttrell and all SEALs put their hands up, except Murphy.<\/scene_description>\n    <character>AXE<\/character>\n    <dialogue>Come on Mikey.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Can he say it?<\/dialogue>\n    <scene_description>Other SEALs agree. Shouting out. Debating whether Shane can \"say it\". Making bets. AXE knows what Murphy is thinking. Pauses. Looks at Shane.<\/scene_description>\n    <character>AXE<\/character>\n    <parenthetical>(quiet to Shane)<\/parenthetical>\n    <dialogue>Can you say it?<\/dialogue>\n    <character>SHANE PATTON<\/character>\n    <dialogue>I think so.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Think so?<\/dialogue>\n    <character>SHANE PATTON<\/character>\n    <dialogue>I can say it.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Ok. Shut up. Shut the fuck up. He can say it. Shut up.<\/dialogue>\n    <scene_description>The room silences. Patton, nervous, takes a deep breath.<\/scene_description>\n    <character>SHANE PATTON<\/character>\n    <parenthetical>(weak, then strong)<\/parenthetical>\n    <dialogue>I've been around the world twice, talked to everyone once. I've seen two whales fuck, been to three world fairs, and I even know a man in Thailand with a wooden cock. I've pushed more peter, more sweeter, and more completer than any other peter-pusher around.<\/dialogue>\n    <scene_description>Tight on the SEALs smiling, some mouthing the words along with Shane.<\/scene_description>\n    <character>SHANE PATTON<\/character>\n    <dialogue>I am a hard-bodied, hairy-chested, rootin, tootin, shootin, parachutin, demolition double cap crimping Frogman.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CAMP OUELLETTE SEAL COMPOUND - READY ROOM<\/stage_direction>\n    <scene_description>The entire SEAL TEAM jocks up. Gets ready.<\/scene_description>\n    <character>SHANE PATTON<\/character>\n    <parenthetical>(vo)<\/parenthetical>\n    <dialogue>There ain't nothing I can't do. No sky too high, no sea too rough, no Muff too tough. I've learned a lot of lessons in my life. Never shoot a large caliber man with a small caliber bullet.<\/dialogue>\n    <scene_description>FLASH BURST IMAGES of all relevant equip, men being prepped. M4s, night vision goggles, hand guns, knives, scopes checked. Under Armor, PowerBars, water bottles, grenades, extra ammo, radio's prepped, extra batteries, Laptops.<\/scene_description>\n    <character>SHANE PATTON<\/character>\n    <parenthetical>(vo)<\/parenthetical>\n    <dialogue>I drive all kinds of trucks. 2x's, 4x's, 6x's even those big mother fuckers that bend and go TSSHITT TSSHITT when you step on the brakes.<\/dialogue>\n    <character>SHANE PATTON<\/character>\n    <dialogue>Anything in life worth doing is worth overdoing. Moderation is for cowards.<\/dialogue>\n    <scene_description>DIETZ checking his radio equipment. AXE going over his infil map. LUTTRELL double checking all medical supplies.<\/scene_description>\n    <character>SHANE PATTON<\/character>\n    <parenthetical>(vo)<\/parenthetical>\n    <dialogue>I'm a lover, I'm a fighter, I'm a UDT\/SEAL Diver. I'll wine, dine, intertwine and then sneak out the back door when the refueling is done.<\/dialogue>\n    <scene_description>MURPHY watching all of it.<\/scene_description>\n    <character>SHANE PATTON<\/character>\n    <dialogue>If your feeling froggy than you better jump because this Frogman has been there, done that and is going back for more.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHOPPER PAD BAGRAM<\/stage_direction>\n    <scene_description>Sun setting over the Afghan desert. Thirty SEALs laying on the deck on their gear. Chilling out waiting for the 47's. The guys laying around. Danny studies a piece of paper with color tile samples printed on it.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Seems to me like you've got to straighten this shit out.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>There's nothing to straighten out.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>If there's nothing to straighten, why are you fighting?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>We're not fighting?<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Well, what is it that you're doing?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>We're more like disagreeing.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Disagreeing or arguing?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Probably more like mildly arguing. Just because you're Mr. Perfect marriage, don't be judging us mortal marriages who occasionally have mild disagreements, sometimes even loving arguments.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>It's a fucking stupid loving argument.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>It's not an argument.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>It is an argument. Sounded like a couple of bighorn rams smashing skulls.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>What the fuck is everyone listening to my shit for?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Bro, you're loud.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>You're louder than I am.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Just pick some tile and move the fuck on.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>I picked the tile. She doesn't like it.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>What does she fucking like?<\/dialogue>\n    <character>DANNY<\/character>\n    <parenthetical>(reading from paper)<\/parenthetical>\n    <dialogue>\"Rose Honey Dew\"<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Say what bro?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>She likes rose honey dew...something.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Are you fucking kidding me?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>That's what she likes.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>You gotta control that situation.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Rose tiles in the kitchen?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Can we talk about something else?<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Yea let's talk about what she's gonna tile your bathroom in.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>I don't wanna talk about that.<\/dialogue>\n    <character>MURPHY<\/character>\n    <parenthetical>(Ron Burgandy impersonation)<\/parenthetical>\n    <dialogue>Danny? I'm gonna put it out there, if you like it, you can take it, if you don't, send it right back.<\/dialogue>\n    <scene_description>Dietz stares at Murphy.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>I wanna be on you.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>I wanna be on you.<\/dialogue>\n    <character>MURPHY<\/character>\n    <parenthetical>(pointing at Dietz)<\/parenthetical>\n    <dialogue>On you.<\/dialogue>\n    <scene_description>Dietz smiles. Axe huge smile. Chopper engines grow louder. 47's back lit, coming in.<\/scene_description>\n    <character>HEALY<\/character>\n    <dialogue>Let's pack it up<\/dialogue>\n    <scene_description>The SEALs start gearing up. Tight on guys, stoic. Choppers land. SEALs muster up and start boarding.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHOPPER<\/stage_direction>\n    <scene_description>Back to close up of Luttrell, back to real time. 21A SERIES OF AIR TO AIR SHOTS: 21A The choppers flying north into the setting sun, into the Hindu Kush. Chopper pilot POV, pushing deep into the mountains.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CHOPPER DROP SITE - NIGHT<\/stage_direction>\n    <scene_description>Now approaching a steep hill top.<\/scene_description>\n    <character>CREW CHIEF<\/character>\n    <parenthetical>(on radio)<\/parenthetical>\n    <dialogue>Good. Hold front, hold left, hold right, hold rear.<\/dialogue>\n    <scene_description>The chopper is dangerously close to tree tops. Tucked into a tiny opening.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHOPPER<\/stage_direction>\n    <scene_description>Tight on LUTTRELL. DIETZ. MURPHY. AXE The team ready to move, up and at the door, when... from the cockpit.<\/scene_description>\n    <character>PILOT<\/character>\n    <parenthetical>(on radio)<\/parenthetical>\n    <dialogue>Ropes. Ropes. Ropes.<\/dialogue>\n    <scene_description>Fast rope dropped. Chopper jet engines screaming, the four Opp SEALs up. The remaining twenty will be relocated and stand by as QRF. Axe up and out first, then Danny, Murphy, out into the black night. Luttrell last one, hand on the rope, fist pounds Shane.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>Next one Shane.<\/dialogue>\n    <character>SHANE PATTON<\/character>\n    <dialogue>Have fun you lucky bastard.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DROP SIGHT<\/stage_direction>\n    <scene_description>As the four SEALs drop fast, land smooth. Luttrell last. The Chopper pulls up fast and is gone in seconds leaving the four SEALs alone in the dead quiet, pitch black. NIGHT goggles lowered. The four quickly spread and drop into a STOP. LOOK. LISTEN. SILENT. SEALs breathing. NIGHT VISION GOGGLES ON: Silent. Wind and the faint howling of wolves. Dietz quietly keys his mic.<\/scene_description>\n    <character>DIETZ<\/character>\n    <dialogue>Apollo 22, Spartan 01.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AC-130 - NIGHT SKY<\/stage_direction>\n    <scene_description>The AC-130 banking 15,000 ft above the team.<\/scene_description>\n    <character>APOLLO RADIO MAN<\/character>\n    <dialogue>Spartan 01 Apollo 22, good comms. Were with you for six hours. Have a nice walk.<\/dialogue>\n    <character>DIETZ<\/character>\n    <dialogue>Apollo 22 Spartan 01 copy.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HINDU KUSH<\/stage_direction>\n    <scene_description>NIGHT VISION GREENS Tight on Murphy following Danny. Agile, despite the extra 70 pounds of comm weight back-strapped. Luttrell - Foot down on loose granite. Pitch brutal. Left foot buckles. Slate shears. Falls. Slides. Flips. Lands on feet. He's back on his feet. Axe pauses. Looks back smiling.<\/scene_description>\n    <character>AXE<\/character>\n    <parenthetical>(on radio)<\/parenthetical>\n    <dialogue>Having fun Marcus?<\/dialogue>\n    <character>MURPHY<\/character>\n    <parenthetical>(on radio)<\/parenthetical>\n    <dialogue>You picked this route to torture us didn't you?<\/dialogue>\n    <character>AXE<\/character>\n    <parenthetical>(on radio)<\/parenthetical>\n    <dialogue>Negative.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>I picked it to torture Luttrell.<\/dialogue>\n    <scene_description>Luttrell, too big for this pitch. Slips again.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>I'm gonna kill you.<\/dialogue>\n    <scene_description>A series of shots tracking the SEAL's rough hike to their lookout. Axe leads navigating with his GPS. At each of the four waypoints, Danny radios pro words: Budweiser, Corona, Heineken. 26A INTERCUT WITH J-BAD TOC 26A Kristensen, Patton, Musselman and the QRF tracking the teams' movement across the mountain range. SEALs reach lookout destination late, the sun is up. Sunrise. EXT: WAY POINT 4 - MOUNTAIN TOP 2,000 FT. ABOVE AFGAN VILLAGE. The team finally makes it to their planned observation spot. Murphy is the first to have binoculars up and is looking down hill, way down hill at the Afghan village. 2,000 ft., very steep, cliff like. Below them. DANNY'S POV: 100 stone and wood homes, well-constructed. Looks almost charming. A couple of dozen Afghan villagers in different parts of the village, kids playing, women cooking, two men working on a roof. Looks quite peaceful. Left: trying to see the rest of the village. Can't get a good view, a mountain is blocking his view. Danny has the radio out and is calling in the arrival pro- word.<\/scene_description>\n    <character>DANNY<\/character>\n    <parenthetical>(on radio)<\/parenthetical>\n    <dialogue>Beastmaster, this is Spartan 01, radio check.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. J-BAD TOC<\/stage_direction>\n    <scene_description>In the TOC, SGT HASSLERT takes the call from Dietz. Heavy static. Weak signal.<\/scene_description>\n    <character>HASSLERT<\/character>\n    <dialogue>Spartan 01, this is Beastmaster. I have you weak but readable<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Beastmaster, this is Spartan 01. I pass Schlitz Malt liquor. How copy?<\/dialogue>\n    <scene_description>Really weak signal.<\/scene_description>\n    <character>HASSLERT<\/character>\n    <dialogue>Spartan 01 this is Beastmaster. Say again your last - you are weak and unreadable.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Beastmaster, this is Spartan 01. I pass Schlitz Malt Liquor, how copy.<\/dialogue>\n    <character>HASSLERT<\/character>\n    <dialogue>Spartan 01, this is Beastmaster. Good copy.<\/dialogue>\n    <scene_description>Hasslert looks to Kristensen.<\/scene_description>\n    <character>HASSLERT<\/character>\n    <dialogue>Sketchy comms, sir. Spartan 01 has arrived.<\/dialogue>\n    <scene_description>Erik Kristensen sitting. Nods. Gets up. Checks the wall clock: 6:45 AM<\/scene_description>\n    <character>KRISTENSEN<\/character>\n    <dialogue>Ok.<\/dialogue>\n    <scene_description>He stretches, cracks his back, looks to a couple of SEALs manning the TOC.<\/scene_description>\n    <character>KRISTENSEN<\/character>\n    <dialogue>Later fellas. Night, night.<\/dialogue>\n    <scene_description>28A Track out the door with Kristensen, as he, Shane, and Healy<\/scene_description>\n    <character>28A<\/character>\n    <dialogue>step out of the TOC into the bright Afghan sunshine.<\/dialogue>\n    <character>KRISTENSEN<\/character>\n    <dialogue>Glorious day.<\/dialogue>\n    <scene_description>Kristensen and all but four SEALs head to the waiting 47's, start boarding. Kristensen looks to Musslemen, a SEAL who is staying with the QRF.<\/scene_description>\n    <character>KRISTENSEN<\/character>\n    <dialogue>All yours brother.<\/dialogue>\n    <character>MUSSLEMEN<\/character>\n    <dialogue>Roger that Skipper.<\/dialogue>\n    <scene_description>Kristensen boards his 47 and the two choppers lift off heading back to Bagram. Two Blackhawks and two Apaches standing by on the tarmac.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HINDU KUSH - SCHLITZ MALT LIQUOR WAYPOINT<\/stage_direction>\n    <scene_description>Axelson and Luttrell together, spotting scopes out, they study the village.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>Can't see half the village.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Yea.<\/dialogue>\n    <scene_description>They study the surrounding area.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Let's move down towards that peak, see if that's not better.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Sounds good.<\/dialogue>\n    <scene_description>Luttrell looks back at Axe and Dietz. He soft whistles and rolls his index finger, points down towards the peak below them. Axe and Danny immediately get it. They start moving out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. J-BAD TOC<\/stage_direction>\n    <scene_description>PETE MUSSLEMEN, one of the four SEALs left as part of the QRF in J-Bad, walks into the TOC. Looks to Hasslert.<\/scene_description>\n    <character>MUSSLEMEN<\/character>\n    <dialogue>Are we good?<\/dialogue>\n    <character>HASSLERT<\/character>\n    <dialogue>Yes sir. They arrived about half hour ago. Should be digging in nice and tight right about now.<\/dialogue>\n    <scene_description>Musslemen checks the clock on the J-Bad TOC. Tight on clock. 7:15 AM<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HINDU KUSH<\/stage_direction>\n    <scene_description>Moving, far from tucked in, over Murphy's back as he moves up towards his new spot. Murphy, low crawling, gets close to the ledge. The four SEALs crawling out to the new lookout spot. Murphy's got his binoculars out. NEW POV: A perfect, clear, unobstructed view of the entire Afghan village.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>We're good.<\/dialogue>\n    <scene_description>Danny, on radio, trying to call in that they've relocated. Can't get through.<\/scene_description>\n    <character>DANNY<\/character>\n    <parenthetical>(to Murphy)<\/parenthetical>\n    <dialogue>No joy.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Keep trying.<\/dialogue>\n    <scene_description>As the team sets up, Dietz is looking up at the small mountain behind him that seems to be killing his radio. Series of shots: Murphy and Luttrell scopes up, start counting Taliban. At forty, Luttrell looks to Murphy.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>That's more than 10.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <scene_description>Murphy is focused on a group of four men off to the side of the village playing a game with stones. Seeing who can throw the farthest. DOWN IN VILLAGE Shah and Taraq with three soldiers playing stone throwing game. Laughing. Shah throws his stone. The men argue over who threw further. HIDE Murphy locks his sight on Shah. Studying him.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Marcus.<\/dialogue>\n    <scene_description>Murphy hands the scope to Luttrell.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Four guys on the right. Tall guy. Red scarf. No earlobes.<\/dialogue>\n    <scene_description>Luttrell's scope now trained on Shah. Luttrell and Murphy both checking wrist bands. Photo of Shah. Clear match.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>Bingo.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Do you have a shot?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Jesus Mickey, with this little 556? I'd need to stalk at least a 1000 yards closer.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Gotta call it in.<\/dialogue>\n    <scene_description>Murphy turns to Dietz<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Can you make the fucking radio work?<\/dialogue>\n    <scene_description>Dietz tries to call it in - no luck. Luttrell following Shah's face with scope. Finger on trigger. VILLAGE Shah arguing with his soldiers over who threw further. Proclaims himself winner. Moves out of village into woods. HIDE Luttrell's POV: Shah disappears from sight. Murphy gets Axe's attention.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Axe, stay put. Keep eyes on, we're gonna move back.<\/dialogue>\n    <scene_description>Murphy, Luttrell and Dietz get up; moves away from the ridge line, start building their hides. 31A ABOVE THE RIDGELINE -- 31A Marcus and Murphy talk as they work.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>If we're home by the 15th, me and Morgan are gonna cut down all the trees behind the stable.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>How does that help me?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Brahms horse auction is, I think the 27th.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Is he selling Arabic horses? Kristensen says I should get her whatever Silver was.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Silver?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Hi-Ho Silver. Lone Ranger's horse.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Yea that's a badass horse.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>She doesn't want a badass horse. She wants an Arabic horse.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Dude, how's she going to know the difference. Get her a Quarter Horse, tell her it's an Arabic. If she busts you, tell her if it's good enough for the Lone Ranger...<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>How much for an Arabic?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Probably around 15 grand.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Fuck.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Hell of a wedding present.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Yea.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Is the redhead a bridesmaid?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Melissa?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>The redhead?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Melissa?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>The redhead from the Coldplay concert?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>That's Melissa.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Is she coming?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>She's a fucking bridesmaid.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>I love her.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Get me a deal on the horse. I'll get that done.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>That works.<\/dialogue>\n    <scene_description>- Powerful scopes and cameras. - Luttrell and Axe draw detailed maps, diagrams, blueprints of every structure in the village. Luttrell photos Arab men with weapons moving through the town. CLEARLY A TALIBAN PRESENCE. - Dietz photographs windows, doors, detailed notes on hinges, wall thickness, structure, etc.. - Murphy taking the drawings, photoshopping them on a Toughbook computer. Dietz eats a PowerBar. Axe watches him.<\/scene_description>\n    <character>AXE<\/character>\n    <dialogue>Shouldn't eat that shit.<\/dialogue>\n    <character>DIETZ<\/character>\n    <dialogue>Why?<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Toxic.<\/dialogue>\n    <character>DIETZ<\/character>\n    <dialogue>You eat em...<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Never.<\/dialogue>\n    <character>DIETZ<\/character>\n    <dialogue>I've seen you eat PowerBars.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Never. I don't eat shit bars.<\/dialogue>\n    <character>DIETZ<\/character>\n    <dialogue>Shit bars?<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Why you eating a shit bar?<\/dialogue>\n    <scene_description>Dietz pauses. Pulls his eyes off his scope.<\/scene_description>\n    <character>DIETZ<\/character>\n    <dialogue>I'm eating it because I'm hungry.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Eat an apple.<\/dialogue>\n    <character>DIETZ<\/character>\n    <dialogue>I know what I'm eating.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Negative.<\/dialogue>\n    <scene_description>Axe reading the list of ingredients commenting on each one.<\/scene_description>\n    <character>DIETZ<\/character>\n    <dialogue>I know exactly what I'm eating.<\/dialogue>\n    <scene_description>31B LATER. 31B - Dietz sleeps. - Murphy eats an apple. - Axe up top on security. - Luttrell throws berries at a sleeping Dietz. - Axe studies the village. POV AXE: Ahmad Shah moving through village. Taraq and two men with him, all armed.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Danny your on, everybody else shut her down.<\/dialogue>\n    <scene_description>- Luttrell, Axe, and Murphy settle in to sleep. - Dietz, glasses up, studies the village. FADE OUT:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HINDU KUSH - MORNING<\/stage_direction>\n    <scene_description>Sun getting higher. Low fog. Murphy, Axe, Luttrell sleep. Danny on watch. Wedged into a tree stump. ON DANNY. Tired but awake. Alert. Quietly singing to himself. TIGHT ON DANNY. His eyes a micro shift of focus. He stills himself ever so slightly. DANNY's POV He's looking down hill. Wide gentle slope of the mountain leading to a sharper drop. The fire lights up the village far below. Nothing moves. BACK to Danny. Eyes more focused. He slowly reaches down and kills the iPod. Silence. Danny studies the hill with increasing focus. POV. Nothing moves. The three SEALs sleep. Tight on Luttrell. Sleeping. THEN a very faint sound from down hill. Silence. Then another. Luttrell slowly opens his eyes. Listening. Another sound, a soft bell. Marcus shifts, looks down hill. Marcus's POV Looking down hill. Nothing moving. The sounds becoming more present. Bells. Tight on Luttrell. Looking. BACK TO HIS POV The empty hill. More Bells. Then cresting the hill. First just the tips of the ears. Then the forehead, nose, face.... A large male goat. Bell ringing gently from his neck. TIGHT ON MARCUS Studying the goat. As another goat appears. Then another...then another...then twenty... A herd of goats moving up the hill right at them. Marcus is wide awake, eyes scanning the hill scanning the goats when... A human head crests the hill. A young Afghan BOY, ten years old. Luttrell reaches for his Mark 12, looks over to Axe still sleeping. Then to Murph still sleeping. Then back to Danny. Danny's already on scope. Gun aimed at the approaching kid when... Two more Afghan MEN crest the hill - an old man and a teenager. The hill is full of goats. More than a hundred with the three Afghans moving straight at the SEALs. The goat bells and baying of the animals creating serious noise. Murph and Axe both waking up. Weapons coming up as they silently take in this bizarre situation. Back to Marcus as the first goat passes by. Then another. Tight on lead Afghan boy...THE GOAT BOY. He's heading dangerously close to Luttrell's hide singing quietly to himself. Tight on Luttrell. Gun up and trained on the goat boy as he gets closer...closer...and then in a one in a million...this fucking goat boy takes one more step and comes down square on Luttrell's head. Luttrell moves, the kid screams, Luttrell's up, gun up...screaming.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>Get the fuck down.<\/dialogue>\n    <scene_description>Axe, Danny, and Murphy. Guns up moving in fast on the terrified goat men...<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Down Down Down.<\/dialogue>\n    <scene_description>The kid screams and starts running downhill towards the village. AXE sprints on him fast, takes the kid down, hand over mouth. Kid bites and struggles wild. Goats running in fear as the three Afghans are roughly thrown down. Searched, a military style Motorola walkie talkie taken from the old man, flex-cuffed and gagged... When it's done the four SEALs stand over them. Murphy looking at Luttrell.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Fuck.<\/dialogue>\n    <scene_description>Murphy looks to Dietz.<\/scene_description>\n    <character>MURPHY<\/character>\n    <parenthetical>(re: radio)<\/parenthetical>\n    <dialogue>Can you get a call out or what?<\/dialogue>\n    <scene_description>Dietz reaches for his radio.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. J-BAD TOC<\/stage_direction>\n    <scene_description>In the radio room. Musselman and Comms guys by their radios. SILENT. Clearly Spartan 01 is not getting through. BACK ON THE MOUNTAIN The goats spread out, grazing, bells ringing loud. a large dog, mouth foaming, growls and bark at the team. Luttrell raises his Mark 12 at the dog when it gets too close. Murphy is trying to interrogate the older man with a translation box. He speaks into it and it's supposed to translate into Pashto. They have separated the older man from the boys. Murphy and Luttrell have them off to the side.. Axe stands watch over the boy.<\/scene_description>\n    <character>MURPHY<\/character>\n    <parenthetical>(speaking into the Phrase- O-Later)<\/parenthetical>\n    <dialogue>Are you looking for Americans?<\/dialogue>\n    <scene_description>A robotic-like voice used for making out the question in Arabic. The old man stares at Murphy with a combination of hatred and confusion.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Do the Taliban know we are up here?<\/dialogue>\n    <scene_description>Death stare from the old man. Murphy getting frustrated. Louder.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Do they know?<\/dialogue>\n    <scene_description>The old man stares, finally says something quiet. Too quiet for the translating machine. Murphy puts the mic closer.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Say again. Are you Taliban?<\/dialogue>\n    <scene_description>The old man rants on as the machine struggles to translate his slang Pashtun.<\/scene_description>\n    <character>TRANSLATION MACHINE<\/character>\n    <dialogue>Do not drink with many blood rooms fire and knives...<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>This fuckin thing's not working...<\/dialogue>\n    <scene_description>The machine starts translating what Murphy is saying.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Shut the fuck up !<\/dialogue>\n    <scene_description>Murphy throws the machine on the ground. The dog makes another move at Luttrell. Fangs mashing. Luttrell raises his gun. The dog backs down. OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BACK ON THE MOUNTAIN<\/stage_direction>\n    <scene_description>Danny continues to try his radio.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Spartan 01, Spartan base...Spartan 01, Spartan base...<\/dialogue>\n    <scene_description>Nothing. Murphy standing just off the group calls Luttrell over.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Marcus.<\/dialogue>\n    <scene_description>Leaving Axe on security. Luttrell moves up the hill fifty feet with Murphy.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Murphy's God Awful law. Not you Mikey. The other prick. The God of screw-ups.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Yea.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Soft Compromise bro.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Yea. I'm aware of that.<\/dialogue>\n    <scene_description>Murphy digs into his pack, pulls out his SATELLITE PHONE. Checks numbers on his wrist pad. Dials up J-Bad TOC (Command Center).<\/scene_description>\n    <character>MURPHY<\/character>\n    <parenthetical>(a touch frustrated: to Dietz)<\/parenthetical>\n    <dialogue>I'm now going to be that guy calling on a fucking unsecure Sat line because your radio is not functioning.<\/dialogue>\n    <character>DIETZ<\/character>\n    <dialogue>Move that mountain, we're good. Talk to the mountain, sir.<\/dialogue>\n    <scene_description>Loses the signal twice. Third try he gets through. Horrible connection.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. J-BAD TOC<\/stage_direction>\n    <scene_description>A phone rings, answered by a young Marine, SGT. HASSLERT.<\/scene_description>\n    <character>HASSLERT<\/character>\n    <dialogue>J-Bad TOC, SERGEANT HASSLERT.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Sergeant can you hear me, this is Spartan 01, can you here me?<\/dialogue>\n    <scene_description>Horrible delays, echoes and static.<\/scene_description>\n    <character>HASSLERT<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>This is Spartan 01, do you hear me?<\/dialogue>\n    <character>HASSLERT<\/character>\n    <dialogue>I hear you.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>This is not a secure line and I need to speak to the CO immediately.<\/dialogue>\n    <character>HASSLERT<\/character>\n    <dialogue>The CO?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>That's correct.<\/dialogue>\n    <character>HASSLERT<\/character>\n    <dialogue>Which CO sir?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Commander Kristensen.<\/dialogue>\n    <character>HASSLERT<\/character>\n    <dialogue>Commander Kristensen is not here sir.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>What do you mean he's not there?<\/dialogue>\n    <character>HASSLERT<\/character>\n    <dialogue>Commander Kristensen left this morning.<\/dialogue>\n    <scene_description>Murphy realizing he's made a mistake.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Right. Fuck. He's back at BAGRAM.<\/dialogue>\n    <character>HASSLERT<\/character>\n    <dialogue>That's correct sir.<\/dialogue>\n    <scene_description>STATIC BAD<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>HASSLERT<\/character>\n    <dialogue>Hello?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>I'm here, I need to speak right now with the commander.<\/dialogue>\n    <character>HASSLERT<\/character>\n    <dialogue>Commander is in BAGRAM.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>I know that can you please transfer this call to BAGRAM OUELLETTE TOC.<\/dialogue>\n    <character>HASSLERT<\/character>\n    <dialogue>Roger that. Stand by.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Standing by.<\/dialogue>\n    <scene_description>Silence Murphy looks down at the goat herders. Moves over to Danny with the radio. Holding up his SAT phone.<\/scene_description>\n    <character>MURPHY<\/character>\n    <parenthetical>(re: SAT phone)<\/parenthetical>\n    <dialogue>Handing them our goddamned position.<\/dialogue>\n    <scene_description>Tight on Murphy, the realization of how fucked they are is starting to settle in.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>What's the fucking problem?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Don't know.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Does it need new fucking batteries?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>No, it's fine but they won't fucking answer me.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. OUELLETTE TOC<\/stage_direction>\n    <scene_description>It's quiet. Among the SEALs present: Patton, James Suh, Dan Healy. A phone in the SEAL TOC rings answered by PATTON<\/scene_description>\n    <character>SHANE PATTON<\/character>\n    <dialogue>Ouellette TOC Petty Officer Patton..<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Patton, this is Murphy.<\/dialogue>\n    <scene_description>Really Bad connection.<\/scene_description>\n    <character>SHANE PATTON<\/character>\n    <dialogue>You're looking for Mike Murphy?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>This is Mike Murphy.<\/dialogue>\n    <character>SHANE PATTON<\/character>\n    <dialogue>Mike Murphy?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Yes correct, this is Mike Murphy.<\/dialogue>\n    <scene_description>A horrible connection. Patton is confused. He knows that Murphy and his team are way deep on their opp.<\/scene_description>\n    <character>SHANE PATTON<\/character>\n    <dialogue>Mike?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Is this Shane?<\/dialogue>\n    <character>SHANE PATTON<\/character>\n    <dialogue>It's Shane. What's up Mike? This connection sucks.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Are you not receiving our transmissions?<\/dialogue>\n    <character>SHANE PATTON<\/character>\n    <dialogue>Radio calls? Not in a while.<\/dialogue>\n    <scene_description>Patton yells over to the Comms guys.<\/scene_description>\n    <character>SHANE PATTON<\/character>\n    <dialogue>Are you all hearing anything from SPARTAN 1.<\/dialogue>\n    <character>COMMS GUY<\/character>\n    <dialogue>When? We've been communicating.<\/dialogue>\n    <character>SHANE PATTON<\/character>\n    <parenthetical>(back on the phone)<\/parenthetical>\n    <dialogue>They say they are communicating with you.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Say again.<\/dialogue>\n    <character>SHANE PATTON<\/character>\n    <dialogue>Comms says that you are good. Copy?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>In the last twenty minutes?<\/dialogue>\n    <character>SHANE PATTON<\/character>\n    <parenthetical>(back to comms guy)<\/parenthetical>\n    <dialogue>You talked in the last twenty minutes?<\/dialogue>\n    <character>COMMS GUY<\/character>\n    <dialogue>Negative.<\/dialogue>\n    <character>SHANE PATTON<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Negative Murph.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>I need the skipper now.<\/dialogue>\n    <character>SHANE PATTON<\/character>\n    <dialogue>He's sleeping sir.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Wake him up now.<\/dialogue>\n    <scene_description>Murphy's voice is electronically garbled.<\/scene_description>\n    <character>SHANE PATTON<\/character>\n    <dialogue>Did you say wake him up sir?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Right the fuck now!<\/dialogue>\n    <character>SHANE PATTON<\/character>\n    <dialogue>Roger that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAGRAM TOC.<\/stage_direction>\n    <scene_description>SHANE PATTON barefooted jogs out of the TOC moves through a series of plywood barracks. Knocks on a door.<\/scene_description>\n    <character>SHANE PATTON<\/character>\n    <dialogue>Skipper. Skipper.<\/dialogue>\n    <scene_description>He knocks harder.<\/scene_description>\n    <character>SHANE PATTON<\/character>\n    <dialogue>SKIPPER!<\/dialogue>\n    <scene_description>From inside.<\/scene_description>\n    <character>KRISTENSEN<\/character>\n    <parenthetical>(oc)<\/parenthetical>\n    <dialogue>What?<\/dialogue>\n    <character>SHANE PATTON<\/character>\n    <dialogue>Sir sorry sir. I've got Lieutenant Murphy on the phone in the TOC. Says he needs to talk to you. Now.<\/dialogue>\n    <scene_description>A moment, then Kristensen's door flies open. Kristensen in his underwear, flip flops, moving out, clearly just waking up. 39A Track with them as Kristensen moves back into the TOC. 39A Reaches for the phone.<\/scene_description>\n    <character>KRISTENSEN<\/character>\n    <parenthetical>(into phone)<\/parenthetical>\n    <dialogue>Mike?<\/dialogue>\n    <scene_description>Silence Static.<\/scene_description>\n    <character>KRISTENSEN<\/character>\n    <dialogue>Mike...? Mike...? Try him back.<\/dialogue>\n    <scene_description>PATTON reads Murphy's SAT phone number off the board. Dials. Waits. Nothing. Tries again nothing.<\/scene_description>\n    <character>KRISTENSEN<\/character>\n    <dialogue>Is it dead?<\/dialogue>\n    <character>SHANE PATTON<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <character>KRISTENSEN<\/character>\n    <dialogue>What'd he want?<\/dialogue>\n    <character>SHANE PATTON<\/character>\n    <dialogue>No idea sir.<\/dialogue>\n    <character>KRISTENSEN<\/character>\n    <dialogue>Did he say anything?<\/dialogue>\n    <character>SHANE PATTON<\/character>\n    <dialogue>Just that he needed to speak to you.<\/dialogue>\n    <character>KRISTENSEN<\/character>\n    <dialogue>Anything wrong?<\/dialogue>\n    <character>SHANE PATTON<\/character>\n    <dialogue>Didn't say sir.<\/dialogue>\n    <scene_description>Stay with Kristensen a bit concerned. Looking at the map of the Valley. TIGHT ON KRISTENSEN Thinking.....<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HINDU KUSH MOUNTAIN<\/stage_direction>\n    <scene_description>Murphy trying his IRIDIUM SAT phone one more time.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Can someone explain to me why they both crash at the same time?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Murphy's law.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Murphy's law<\/dialogue>\n    <scene_description>Now a last resort. Murphy keys his personal radio. An MBITR walkie talkie mounted on the side of his chest.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Spartan 01 to anyone. Spartan 01 to anyone listening. Over.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>We could light these goats on fire and smoke signal our way out of here.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>I could go down to the village and ask to borrow a phone.<\/dialogue>\n    <scene_description>Murphy just stares at the goat herders.<\/scene_description>\n    <character>MURPHY<\/character>\n    <parenthetical>(quietly to himself)<\/parenthetical>\n    <dialogue>Fuck.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>You'd get some interesting tile ideas down there bro. Afghan Dirt Brown. Goat skin blond, she'll dig that a hell of a lot more than what is it Honey creme...?<\/dialogue>\n    <scene_description>The goat noise is now really loud. Dogs barking and Axe is getting focused. Doing the math. The kid bolts. Hands cuffed behind his back, he's still fast as shit.<\/scene_description>\n    <character>AXE<\/character>\n    <dialogue>Fuck me.<\/dialogue>\n    <scene_description>He charges again after the kid. Tackles him. Drags him back. AXE breathing hard. Looking at Murphy.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>I'm thinking three ways this plays out.<\/dialogue>\n    <scene_description>All eyes on Murphy. His brain churning.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>We let em go, we're gonna fight. So we can 1) Tie em up. Move out. Probably take them 15 minutes to get out. 2) Let em go. We hike out. Roll dice.<\/dialogue>\n    <character>DIETZ<\/character>\n    <dialogue>Three?<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Three, soft Compromise. Terminate the compromise.<\/dialogue>\n    <scene_description>Axe stares at Murphy. Third choice is obvious. Murphy looks up to the mountain top a mile behind them.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Can we get a signal from that mountain?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>I thought about that. Probably. I don't fucking know.<\/dialogue>\n    <scene_description>More dog barking, goat baying, bells ringing. The kids are staring rage into the eyes of the Americans.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>We gotta do something boss.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Yea.<\/dialogue>\n    <scene_description>Murphy walks back down to Luttrell and Axe.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>They don't seem to like us very much.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Yea.<\/dialogue>\n    <scene_description>A pause. Reality setting in.<\/scene_description>\n    <character>AXE<\/character>\n    <dialogue>Shah's down there. We let them go, Shaw disappears. Mission fails.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>What? Kill them.<\/dialogue>\n    <scene_description>Axe stares at Murphy. Murphy staring at Axe. Realizing how serious he is.<\/scene_description>\n    <character>AXE<\/character>\n    <dialogue>We are compromised Mike.<\/dialogue>\n    <scene_description>Marcus spits out some chew. Looking down, he shakes his head. A pained grin plasters his face.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Danny?<\/dialogue>\n    <scene_description>Danny takes a long look at the goat herders. Finally...<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>I don't give a shit what you decide. I'm not a lawyer. Just tell me what to do Murph. You're the big bucks, earn em'.<\/dialogue>\n    <scene_description>Murphy turns to Marcus.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Marcus?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>I don't know Mikey.<\/dialogue>\n    <scene_description>Luttrell takes his time. The goats sound like they are howling. The vibe on the mountain is becoming deathly serious.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>I don't know. I don't like it. We kill them. Yea ok. We kill them. Bury them. They get found. Then what...<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Then what?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>I'm just saying. It ain't gonna be private. Gonna be out there for the whole fucking world. CNN -- SEALs kill goat farmers. I don't want that legacy, bro. I'm not killing goat farmers. Not feeling that.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>I'm not either, but the Old man's Tali and these kids can shoot better than you can.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Let's just tie 'em up and get the fuck out of here.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>We tie them up, we have no control over when they get found; get free. I will die before I let them dictate when we die. I will not end up showing your body -- your head -- on television. On the Computer. No way, they do not get that vote.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Then let's just get the fuck out of here.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>I will do this, I will kill them right now. They will not harm you or me or my wife or your wife or any of our unborn children. No. These people are death and I will not fucking bow to this.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>You want to kill, Axe? Really? That's your position?<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>I want to be playing golf with Freddie Couples on Pebble Beach, but I'm having a little trouble getting a tee time.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>If we kill these kids, it's International news. CNN doesn't care about Rules of Engagement. SEALs kill kids. That's the story. Forever.<\/dialogue>\n    <scene_description>Tight on the guys taking this in. Murphy paces, staring intensely at one of the goat kids.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Axe what's your call?<\/dialogue>\n    <scene_description>Axe stares at Murphy.<\/scene_description>\n    <character>AXE<\/character>\n    <parenthetical>(sad grin)<\/parenthetical>\n    <dialogue>My final answer?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Your final answer.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Kill them.<\/dialogue>\n    <scene_description>This hits hard.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Danny?<\/dialogue>\n    <scene_description>Dietz stares at the tied up kids.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>It's your call bro.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>You don't have an opinion?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Yea I have an opinion. Two opinions. One is that for the record I don't give a fuck what anyone thinks about what the fuck we do up here. We do what we do. What we have to do. That's it. That's our business.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>What's two?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Two is, this is the Navy and you're the boss and your job is to be the boss and my job is to do what I'm fucking told.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Ok.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>So you tell me what to do and it will be done.<\/dialogue>\n    <scene_description>Murphy looks to Marcus.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Marcus what's your call?<\/dialogue>\n    <scene_description>Luttrell seems to get that with Danny out, Murphy's for letting them go, Axe wants them dead - he's the tie-breaker.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <parenthetical>(slowly shaking his head)<\/parenthetical>\n    <dialogue>No. I'd rather fight them straight up. I don't want to kill these kids.<\/dialogue>\n    <scene_description>ON MURPHY. Thinking. He looks around the area. Looking for a burial spot. Stabbing at the stone earth with his M4. Clearly no soft earth anywhere close.<\/scene_description>\n    <character>MURPHY<\/character>\n    <parenthetical>(quiet)<\/parenthetical>\n    <dialogue>Fuck me.<\/dialogue>\n    <scene_description>Murphy stares down at the Afghan village. Then long and hard at the three Afghans. Finally turns back to goat herders.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Look at them. They fucking hate us. We don't know how many Hajji's they have down there. We can't let them go.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>So now you have an opinion? I thought you were standing by waiting for your orders?<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>This opp is a soup sandwich. Been so from the beginning. The pitch. The rope. Worst comms that I've ever seen. Soft intel, we are not wearing vests, have no heavy weapons, are weak in numbers.... It's a cursed opp.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Starting to feel like a cursed opp.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>It's not a cursed opp. There are no fucking curses. Just Afghanistan. That's all. Everyday man. Devil's asshole.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Shah just killed twenty marines last week and we're on him. We've come this far and these people here are him. They are a part of him. We let them go.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>We're letting him go and why in the fucking world does he have the right to do that to us?<\/dialogue>\n    <scene_description>Axe is starring at LUTTRELL.<\/scene_description>\n    <character>AXE.<\/character>\n    <dialogue>Seriously Marcus. Why does he have the right to do that to us?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>I don't see it that way.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>So what is your fucking call bro?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Let them go. Shut it down.<\/dialogue>\n    <scene_description>Silence. So if Murphy was taking a vote it seems like it's one vote for killing them, one vote for letting them go, Danny is neutral. This is all on MURPHY. Murphy turns away from them, looking down the steep pitched mountain. The village far below. Murphy thinks. Looks at the young kids. The old man.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Here's what we're gonna do. Pack up. Everything. We're gonna let 'em go and we're gonna make the peak. When we make the peak were gonna make Comms. We're calling QRF and we're getting out.<\/dialogue>\n    <scene_description>Silence as the guys take in the plan. Luttrell lets out a huge breath.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>That's what we're going to do.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Roger that.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Let's move it.<\/dialogue>\n    <scene_description>Quick Shots. The guys quickly breaking down their gear. The goat boy watching confused. The older Goat herders. Defiant. Steel-eyed.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEAL TOC. BAGRAM.<\/stage_direction>\n    <scene_description>Kristensen, Patton with Petty Officer Dan Healy, James Suh and some COMMS guys. The Comms guys trying to get Spartan 01 back on line.<\/scene_description>\n    <character>COMMS GUY<\/character>\n    <dialogue>Spartan 01, Spartan 01, over.<\/dialogue>\n    <scene_description>Kristensen is on the phone, communicating with J-Bad TOC<\/scene_description>\n    <character>KRISTENSEN<\/character>\n    <dialogue>When was your last contact with Spartan 01?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. J-BAD TOC.<\/stage_direction>\n    <scene_description>The two Blackhawks standing by with the two Apaches. The Apache pilots are firing up their engines. Musslemen comes out of a pilot station.<\/scene_description>\n    <character>MUSSLEMEN<\/character>\n    <dialogue>Where are you guys going?<\/dialogue>\n    <character>APACHE PILOT<\/character>\n    <dialogue>We just got called North. By an Army 372, evidently they took some small fire.<\/dialogue>\n    <character>MUSSLEMEN<\/character>\n    <dialogue>We're QRF, bro.<\/dialogue>\n    <character>APACHE PILOT<\/character>\n    <dialogue>That's what we thought. BAGRAM is now QRF.<\/dialogue>\n    <character>MUSSLEMEN<\/character>\n    <dialogue>The 47s?<\/dialogue>\n    <character>APACHE PILOT<\/character>\n    <dialogue>Correct.<\/dialogue>\n    <character>MUSSLEMEN<\/character>\n    <dialogue>Are we not the QRF now?<\/dialogue>\n    <character>APACHE PILOT<\/character>\n    <dialogue>That's my understanding.<\/dialogue>\n    <scene_description>Mussleman is a bit confused... Apache pilots climb into their two birds. Take off.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUNTAIN<\/stage_direction>\n    <scene_description>10 MINUTES LATER: Gear packed the four SEALs stand over the Afghans.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Everybody good?<\/dialogue>\n    <scene_description>Quick nods from the team as Murphy's flip knife comes out. He quickly cuts through the flex cuffs. Freeing the Afghans.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>You three just won the lottery. Speak well of us.<\/dialogue>\n    <scene_description>An odd moment as the Afghans stare at the SEALs. Not fully understanding that they are free to leave.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Go!<\/dialogue>\n    <scene_description>The little goat boy stares at Murphy. A beat then gets it. Turning fast he takes off sprinting down the hill. The old man holds a beat. Says something quietly to the team. Sounds fairly ominous. Then he too turns and slowly, deliberately starts making his way down the long steep mountain. Murphy looks at the team.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Let's move it.<\/dialogue>\n    <scene_description>The four SEALs, full gear, start moving up the mountain. There is no trail. Just steep rocks, fallen trees, and a brutal pitch. 43A THE YOUNG GOAT BOY. 43A RUNNING DOWN THE HILL. Leaping over rocks. Fallen trees. The kid's movements are beautiful. Mountain agility in his DNA. Virtually FLYING down the mountain. 43B UP TOP. 43B Slow going for the SEALs. Murphy leading. Danny, loaded up with COMMS, second. Luttrell breathing hard. Axe bringing up the rear. On AXE Constantly checking behind him. His left foot catches on some loose granite. Gives out. Axe rolls his ankle hard. Slips, falls hard sliding fast tumbling and smashing hard into a fallen tree stump. Sprained right ankle and bruised left ribs. Murphy stops, looking back as Luttrell moves down to Axe. Axe struggling back on his feet.<\/scene_description>\n    <character>LUTTRELL.<\/character>\n    <dialogue>You ok?<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Fucking Afghanistan.<\/dialogue>\n    <character>LUTTRELL.<\/character>\n    <dialogue>Yea. I'm the one who's supposed to be falling.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>I'm fine.<\/dialogue>\n    <scene_description>He takes a step. White flash of burst pain tears through him. He buckles. Clearly not alright. 43C THE GOAT KID 43C Running hard approaching the village. 43D UP TOP. 43D Luttrell reaches for him. Axe pulls away.<\/scene_description>\n    <character>AXE<\/character>\n    <dialogue>I'm good. Let's go.<\/dialogue>\n    <scene_description>Axe digs his foot in. Grinds through the pain and starts back up the hill.<\/scene_description>\n    <character>AXE<\/character>\n    <dialogue>Maybe we should just hike down to the village, ask to borrow a phone.<\/dialogue>\n    <scene_description>Tight on Murphy's small smile as he digs it up the hill. The group now moving even slower cause of Axe's ankle.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. THE VILLAGE.<\/stage_direction>\n    <scene_description>Quiet. A couple of small fires. Some cooking. A group of young boys playing with sticks. Women cooking as - The young GOAT BOY comes tearing, full sprint into the village. TIGHT ON THE GOAT BOY. Eyes wide. Screaming for Shah. Villagers start to gather. Shah approaches the boys. Breathing hard, they point up the mountain. A couple of Taliban hear this. Take off into the woods. TRACKING with the two Taliban. As they sprint deeper into the woods. Into the Taliban camp. Taliban soldiers sleeping. The two find Shah and Taraq. Tell them about the Americans. Shah quickly on his walkie talkie, old school but deathly effective. Rounding up his fighters. Quick shots of the Taliban army. Feels like 150 men. Arming themselves. AK's, RPG's, grenades, a lot of ammo. Radio gear. Quiet, cool, professional. These Afghan soldiers are loading up big time...<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. UP MOUNTAIN.<\/stage_direction>\n    <scene_description>The SEALs cresting the hill.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Fuck.<\/dialogue>\n    <scene_description>He's looking up at a larger hill in front of them. They have just ascended a false summit. Still blocked in by another very steep mountain.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Danny?<\/dialogue>\n    <scene_description>Dietz is already into the radio, as Luttrell and Axe spread out, digging in, guns pointed down hill.<\/scene_description>\n    <character>DANNY<\/character>\n    <parenthetical>(on radio)<\/parenthetical>\n    <dialogue>Anvil 1 this is Spartan 01, over.<\/dialogue>\n    <scene_description>Nothing.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Great.<\/dialogue>\n    <scene_description>Comms still clearly dead. Murphy weighing his options. They are high above the village. Murphy pulls out binoculars. Scanning the village and mountain. All three SEALs on glass. SCANNING. SEALS POV Nothing moving. From their vantage the town seems quiet. Business as usual. They cannot see the Taliban off in the woods. They are OBLIVIOUS to the magnitude of the threat. CUT TO: TWENTY MINUTES LATER. Danny still working the radio. Axe has tightened his boot. Murphy and Luttrell have spread out on the hill. Staring down at the village. Murphy's got his SAT phone out. Trying to get a signal. Can't. He's looking with disgust at the mountain behind him, knowing that it's blocking his signal.<\/scene_description>\n    <character>MURPHY<\/character>\n    <parenthetical>(to mountain)<\/parenthetical>\n    <dialogue>Move Bitch.<\/dialogue>\n    <scene_description>Luttrell's fifteen feet to his left.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>What do you want to do?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Go home, get in bed, and watch Anchorman.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Check.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>I wanna be on you.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Roger that. Should I spread the word?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Not just yet. Let's hold up for an hour and see just how big of a can of hell we've opened.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>What do you think?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>We did the right thing. We let our love light shine. God ought to be smiling down on us. Isn't that how it works? Good things happen to good people?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>You think they're coming after us?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Like a pack of wild dogs.<\/dialogue>\n    <scene_description>MURPHY keys his radio.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>What say you Axe?<\/dialogue>\n    <character>AXE<\/character>\n    <parenthetical>(on radio)<\/parenthetical>\n    <dialogue>I'm fine.<\/dialogue>\n    <scene_description>Murphy looks up behind him to the large cliff.<\/scene_description>\n    <character>MURPHY<\/character>\n    <parenthetical>(to Axe)<\/parenthetical>\n    <dialogue>You good to go?<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>No problems boss.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Here's the deal. Lay low here. Soon as the sun sets we move.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>If we can't get comms from that top we're probably gonna have to walk home anyway, so get some rest. Axe you're first security. We move in about sixty minutes.<\/dialogue>\n    <scene_description>46A THIRTY MINUTES LATER. 46A Murphy, Danny, and Marcus. Hats low. Eyes closed. Danny on the glass. It's quiet. Sun getting low. Probably two hours of sunlight left. ON AXE. Calmly checking down hill, whistling very quietly to himself. Tight on Luttrell resting. Danny. Eyes closed. One arm around his radio. Murphy. Eyes open. Staring up at the sky. Back to Axe. Focused down range. Down the mountain. Something appears to move. Axe misses it. Hold a beat. More movement. Just catches Axe's peripheral... Axe shifts his gaze. Focusing. THEN More movement. Axe sees it, raises his gun eye to the scope. Gently scanning the area of movement. Stops whistling. AXE'S POV: No movement. Axe slowly pans his M-4 across the hill. Suddenly A FLASH OF SOMETHING HUMAN. A HUMAN. He pans a bit more to the right. Then two more. AXE pans way to the right. Almost as high as the SEALs are and he see's more movement. They are almost surrounded. TIGHT ON LUTTRELL eyes still closed.<\/scene_description>\n    <character>MURPHY<\/character>\n    <parenthetical>(oc)<\/parenthetical>\n    <dialogue>Sssst! Sssst!<\/dialogue>\n    <scene_description>Luttrell lifts up his hat and looks left. Sees Axe, rigid, in firing position, his rifle aimed straight up the mountain.<\/scene_description>\n    <character>MURPHY<\/character>\n    <parenthetical>(to Danny)<\/parenthetical>\n    <dialogue>Try and call it in.<\/dialogue>\n    <scene_description>Danny desperate to get the radio to work. Luttrell fixes his Mark 12 into firing position looks through scope down hill. LUTTRELL'S POV. Lined along the top are at least a dozen heavily armed Taliban warriors, each one of them with an AK pointing downward. Some carrying rocket propelled grenades. LUTTRELL looks left. More Taliban coming down hill to flank them. Luttrell looks right. More Taliban. The SEALs are FUCKED.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>How the fuck fast are these little bastards?<\/dialogue>\n    <scene_description>All four SEALs guns up. Marcus in the middle, Axe and Danny up to his left. Murphy twenty feet off to his right. Marcus slowly belly crawls towards Murphy.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>What are you thinking?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>I'm thinking that we're about fixing to get into a pretty good gunfight.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Yea.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Looks like I voted wrong.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Negative. We've been given the opportunity to reach out and make some hell fucking strong contact with our friends from the other side. Job well done.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Hoo-yah to that sir.<\/dialogue>\n    <scene_description>ON DANNY AND AXE Looking up the hill which is now swarming with Taliban. Dozens of soldiers flowing down hill flanking them.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Do they see us?<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Dunno.<\/dialogue>\n    <scene_description>BACK TO MARCUS. His back pressed up against a tree, inventorying his ammo. Grenades. Knife. Danny, Axe, Murphy all doing the same. Readying for war. Axe and Danny sneak quick looks at the pictures of their wives taped inside their helmets. The trap tightening around all of them. All four focused up hill. A TREE TWENTY FEET IN FRONT OF MARCUS. A flash of a turban. Glint of an AK Barrel pointed in his general direction. Luttrell tightens the grip of his rifle slowly starts pointing it in the direction of the man behind the tree. Luttrell eyes on glass, still as marble. Aimed at the tree. Marcus looks over his shoulder at Murphy whose gun is also trained on the tree. Marcus eyes back on the scope. SCOPE POV: A fierce-eyed Taliban warrior peering straight into the scope. Black eyes and thick black beard. The barrel of his AK pointed dead on Luttrell. Hold. THEN. Luttrell fires once. Blowing the man's head off. An odd brief moment of silence as the head shot Afghan stumbles, still standing, still clutching his AK-47. He takes three more steps towards Luttrell. Stops. Luttrell shoots again removes what's left of the fighter's head. The Afghan starts to fall and as he hits the ground, all HELL BREAKS LOOSE. From above and half way down both flanks the Taliban open fire. Screaming at each other, communicating through violent, loud bursts of Pashto, the Taliban moving fast down the hill. Agile and fearless, not weighted down with US-style gear, they are able to leap boulders, fallen trees. Taraq in the middle of the pack on the top of the SEALs. UP TOP - Shah calmly giving orders into his radio comms. ON MURPHY. Taliban moving down the hill on both sides. Shooting as they move. A solid line of at least fifty Taliban in firing positions on top of the hill above them. The SEALs are close to being surrounded. MURPHY checks his rear. MURPHY POV A cliff. More of a series of cliffs. Multiple death falls. First one is at least 300 feet. Murphy calls it.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Push right flank.<\/dialogue>\n    <scene_description>Axe the farthest right starts shooting and moving right INTO the wall of the Taliban flanking his right. Luttrell follows staying low, shooting, Danny firing with one arm. Desperate to get the radio up.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Spartan 01 reporting major enemy contact. We need help. Spartan 01 reporting major enemy contact. Request immediate QRF! Spartan 01 requesting immediate QRF.<\/dialogue>\n    <scene_description>Murphy's doing the same with his SAT phone. He's moving right trying to dial up the TOC. Not getting through. Danny's left two fingers HIT. Dangling bloody and mangled. He tries to put them back into his hand. Jams his ring finger back into its socket. His pinkie is beyond repair.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Marcus!<\/dialogue>\n    <scene_description>Luttrell turns, Danny holds up his fucked up hand.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>Wrap it up bro.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Roger that.<\/dialogue>\n    <scene_description>Taliban gunfire is picking up. Axe the deepest right kills two Taliban. Two more immediately fill their positions.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Danny did you get the call through?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>I made the call. Don't know if it went through. You?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>I couldn't get a line.<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Fuck.<\/dialogue>\n    <scene_description>Marcus is pushing right behind Axe trying to break the right Taliban flank. Charging the Ambush.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Keep pushing right. Kill 'em all.<\/dialogue>\n    <scene_description>The four SEALs fighting well as a team. Crawling, shooting and covering as they start making progress killing their way into the right side of the Taliban ambush. The Taliban close enough to see clearly. Axe shot through the left shoulder. Ignoring it he keeps firing. His long scope making him very accurate. As he shoots deep into the left flank. TALIBAN POV: From behind at least 12 Tabliban fighters pushing deeper into the right side. Two more Taliban hit. The remaining start taking solid covering positions, firing down at the four SEALs. Axe being the closest takes the majority of the firepower. Decent cover from a granite boulder which is getting hacked to pieces by the incoming AK fire. Razor sharp stone shrapnel chunks slicing into Axe's face and neck. Blood runs down his face drips off his chin. Luttrell getting equally shot up. Returning fire. His cover rock getting shot up bad. Chunks of granite tearing into his face and neck. FURTHER to the left, Danny and Murphy shooting, trying to get closer to Luttrell and Axe. Danny takes another round, blowing clear through his right thigh shattering his right femur. Blood, muscle chunks and bone tear through his pants.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Goddammitt.<\/dialogue>\n    <scene_description>Pissed he keeps moving. Firing. Ignoring his two gunshots. Hand and Leg. Danny moves up with Murphy behind some decent cover.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Can you fight?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Roger that.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Want me to take the radio?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Negative.<\/dialogue>\n    <scene_description>Murphy looks up towards Axe who is far right.<\/scene_description>\n    <character>MURPHY<\/character>\n    <parenthetical>(yelling)<\/parenthetical>\n    <character>AXE?!<\/character>\n    <dialogue>AXE<\/dialogue>\n    <scene_description>Sir!<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Can we break that flank? Hold this, we're gonna push left!<\/dialogue>\n    <scene_description>Axe gets shot through the top of his shoulder the bullet tearing down through his shoulder and burning deep inside his chest. Axe keeps firing, hitting a Taliban in the knee. The Taliban fires back at Axe missing but sending sharp rock chips shearing up off the granite into Axe's face. Shredding his right ear, cutting into his eyeballs. Half blind. Watery out of focus images as sweat mixed with blood. Axe struggles to see. When his vision clears up enough to focus: AXE POV. Two Tali fighters. Moving fast out of cover, right at AXE. Directly at the Americans. SEAL style. Attacking the counter attack. The Taliban are close to the half blind Axe. Axe fires blind. Misses. The Taliban almost on him. Then: One of the Tali hit with a round from Luttrell, killed. The other, wounded, falls on Axe. Vicious hand-to-hand fight. Luttrell runs up to help Axe. Takes the remaining Taliban soldier out with a point-blank headshot. From the right, a BELT FED MACHINE GUN opens up on their position. Marcus and Axe start moving left. Both shot during the move - Marcus in his right butt-cheek, Axe in his right thigh.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOC. BAGRAM<\/stage_direction>\n    <scene_description>Comms guy at radio. Checking wall clock. See's Kristensen, Shane, and some of the other Team 10 guys.<\/scene_description>\n    <character>COMMS GUY<\/character>\n    <dialogue>Spartan 01 is about to miss a comms second window.<\/dialogue>\n    <character>KRISTENSEN<\/character>\n    <dialogue>How long?<\/dialogue>\n    <character>COMMS GUY<\/character>\n    <dialogue>2 hours 15 minutes.<\/dialogue>\n    <scene_description>Tight on Kristensen. Thinking. Checking the clock.<\/scene_description>\n    <character>KRISTENSEN<\/character>\n    <dialogue>Call me if they miss two.<\/dialogue>\n    <character>COMMS GUY<\/character>\n    <dialogue>Roger that.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ON THE MOUNTAIN<\/stage_direction>\n    <scene_description>CHAOS. A massive barrage of gunfire erupting from the right Taliban flank.<\/scene_description>\n    <character>AXE<\/character>\n    <dialogue>Right is no good.<\/dialogue>\n    <scene_description>Murphy looks left. He can see twenty Taliban moving into firing positions.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Fuck me.<\/dialogue>\n    <scene_description>The first RPG comes from the left side. Hitting just short of Danny and Murphy. Blasting them backwards. Covering them with dirt and rock. Luttrell swings his gun left and starts firing into the left Taliban position.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>Mikey?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Yea?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>You ok?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>We're good.<\/dialogue>\n    <scene_description>A bullet slams in Murphy's lower stomach.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>This is no good.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Roger that.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Can we break that right flank?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Negative. We got to go left.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Negative.<\/dialogue>\n    <scene_description>From downhill, two RPG's fire at their position. Dietz takes a shot in his upper-right chest. A massive double RPG explosion. Tears away chunks of granite. Shrapnel cutting deep into all four SEALs. They are now clearly under attack from all three sides.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>We can take 'em Mikey but I'm thinking we're gonna need a new spot.<\/dialogue>\n    <scene_description>Tight on Murphy.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Roger that.<\/dialogue>\n    <scene_description>He turns behind him giving that 50 ft. cliff a second look. The Taliban gunfire is relentless now. Coming from all three sides. Luttrell, Danny and Axe returning constant fire. Reloading mags. Firing away. Marcus hit for the first time in his right ass cheek. Tight on Murphy:<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>We gotta fall back.<\/dialogue>\n    <scene_description>Luttrell looks at the cliff behind them.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>You mean fall off.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Roger that. Fall off. Danny can you move?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>No problem.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Axe?<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Good to go.<\/dialogue>\n    <scene_description>As the four shot up SEALs turn and start to move fast towards the edge of the cliff. The pitch causing them to run and start falling immediately. Danny's legs giving out, buckling as he hurls himself up and over the ledge. Marcus turns to Murphy. Luttrell, Murphy and Axe do the same. For a second they look like four country boys cliff jumping into a lake. Except for the blood streaming from necks and guts and legs, the bullet tracers flying all around them... They fly off the cliff and it looks kind of beautiful. Freeing...until. 48A IMPACT. BOTTOM OF 1ST CLIFF 48A Bone crushing. Concussive. Violent beyond words. Human bodies smashing into rock. Tearing through trees. Bouncing. Broken bones and smashed faces. Helmets fly off. The SEALs crash and bounce and flip. Finally settling hard on a reasonably flat part of the cliff. 300 yards below. 48B SILENCE. BOTTOM OF 1ST CLIFF 48B Tight on Luttrell. Face down. The first to move. Face lifts. Nose clearly broken. Luttrell looks to his left. Murphy struggling to his knees. Broken teeth. Face shredded. To the right, Danny and Axe.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Hey Marcus.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>That sucked.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>I mean that really sucked.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <scene_description>Voices screaming up the mountain. 48C TOP OF 1ST CLIFF 48C Taraq is at the jump point looking down the steep cliff. Feels unsurvivable. Several fierce lieutenants flanking Shah.<\/scene_description>\n    <character>SHAH<\/character>\n    <dialogue>Go.<\/dialogue>\n    <scene_description>Dozens of Taliban start making their way down the steep cliff. 48D AT THE BOTTOM OF 1ST CLIFF 48D Murphy, Marcus Axe and Dietz struggling to their feet.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Fuck.<\/dialogue>\n    <scene_description>Luttrell sees the blood pouring from Murphy's gut.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>Let me see it.<\/dialogue>\n    <scene_description>Pulling up Murphy's shirt revealing a decent gut shot. Marcus looks for his med kit.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>Lost my med kit.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Where's your gun?<\/dialogue>\n    <scene_description>Luttrell looks down. To his left, then right. Spots his gun ten feet away in the dirt.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>God's looking out for us.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>If this is looking out for us I don't want to see him pissed.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>We're doing good Mikey we just gotta...<\/dialogue>\n    <scene_description>Luttrell interrupted by a series of severe incoming RPG's. Blasting all around them. Luttrell and Murphy dive behind some fallen trees. Looking up.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>We just got to get off this hill.<\/dialogue>\n    <scene_description>48E HALFWAY DOWN 1ST CLIFF. 48E Shah's Taliban are slowly moving down the cliff. Not nearly as fast as the SEALs fall. But they are definitely coming. 48F ON LUTTRELL and MURPHY. LOG HIDE. 48F Returning fire. Picking off a couple of Taliban but revealing their position. More incoming RPG's tearing into the cover trees. Trees start burning. A metal hook - RPG debris - spears into Luttrell's right side. He keeps firing when from the left... A LOUD CRASHING. Two bodies falling hard. Axe and Danny. Falling hard like Murphy and Luttrell. Slamming, flipping, landing 50 ft to the right of the tree hide. Axe shot up getting to his feet. The Taliban shooting down at him.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Axe! Here! Move it buddy. Run!<\/dialogue>\n    <scene_description>Axe sees Murphy behind the trees. Charges to the hide.<\/scene_description>\n    <character>AXE<\/character>\n    <dialogue>This sucks.<\/dialogue>\n    <scene_description>No hesitation - Axe slams a fresh magazine into his M4 starts firing up the hill. Marcus is looking back to Danny. Danny is dead still. No movement. Axe provides cover as Luttrell and Murphy, dodging RPG's and a hailstorm of AK fire, grabbing an alive but seriously fucked up Danny. Picking Danny up they start hauling him back to the tree for cover. TIGHT on Danny as a Bullet slams through his right rib cage<\/scene_description>\n    <character>DANNY<\/character>\n    <parenthetical>(eyes tight, through mashed teeth)<\/parenthetical>\n    <dialogue>Goddamn this sucks.<\/dialogue>\n    <scene_description>Luttrell and Murphy slam into the tree hide propping Danny up. The four SEALs back together ready to fight. Marcus trying to treat Danny; pulling out his Burst Kit Danny recovering staring down at his blood-soaked hand, dazed, looks to Marcus<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>Marcus, I'm shot.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>We are all shot bro, can you fight?<\/dialogue>\n    <scene_description>Danny stares back down at his bleeding, mangled hand, then at his gun.<\/scene_description>\n    <character>DANNY<\/character>\n    <parenthetical>(muttering to himself)<\/parenthetical>\n    <dialogue>Mess up my drawing hand, that pisses me off.<\/dialogue>\n    <scene_description>Danny raises his gun uphill, takes aim at a Taliban fighter jumping from rock to rock. Danny fires killing the Taliban. Re-aims, fires, kills a second. Re-aims, fires, kills a third. Looks to Marcus.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>I can fight.<\/dialogue>\n    <scene_description>The SEALs now packed into a burning LOG HIDE fighting as best as they can from inferior position. 48G UP HILL. 48G Taliban starting to re-mass. Dialing in on the SEALs position. Thirty AK-47's firing down on the SEALs. 48H IN THE LOG HIDE. 48H The SEALs getting sprayed. A ceiling of AK fire. The SEALs flat on their backs. SEAL POV. AK tracers streak over head. MURPHY has his face next to Dietz.<\/scene_description>\n    <character>DANNY<\/character>\n    <dialogue>I tried 'em at least three times boss.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Nothing?<\/dialogue>\n    <character>DANNY<\/character>\n    <dialogue>Nothing.<\/dialogue>\n    <scene_description>Murphy and Dietz both take rounds. Danny in the foot. Three of Murphy's right toes blow off. His boot leaking blood. Murphy returning fire. Hot brass shell casings falling into his shirt.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Dammit!<\/dialogue>\n    <scene_description>Murphy getting the brass out of his shirt.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Goddamnitt!<\/dialogue>\n    <scene_description>Danny screaming in pain. Eyes pouring tears.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Danny?<\/dialogue>\n    <character>DIETZ<\/character>\n    <dialogue>This really sucks man. Really fucking sucks. Fucking burning inside bro.<\/dialogue>\n    <scene_description>Axe and Luttrell trying to fire over the logs. Luttrell hurls a grenade. Taliban with RPG's moving into firing position.<\/scene_description>\n    <character>AXE<\/character>\n    <dialogue>We gotta move!<\/dialogue>\n    <scene_description>As the first RPG blows into the side of the log hide. Wood daggers and burning embers explode and rip through clothes and skin.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Move left! Left!<\/dialogue>\n    <scene_description>Axe and Luttrell start moving out. Dietz struggling to get up, radio pulling him backwards. Murphy reaches back for Dietz.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Give me a hand Danny.<\/dialogue>\n    <scene_description>Danny dazed stares up at Murphy.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Come on buddy! We got to move.<\/dialogue>\n    <scene_description>A second RPG demolishes the hide. Fully exposing Murphy and Dietz. Murphy yanks Dietz to his feet.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Right now bro.<\/dialogue>\n    <character>DIETZ<\/character>\n    <dialogue>I'm with you.<\/dialogue>\n    <scene_description>Murphy fires up the hill. Dietz grinds it out following Luttrell. Murphy lays out more cover fire, then turns and moves after the three SEALs. 48J SIDE OF MOUNTAIN. Ravine. 48J Tight shots of the four SEALs scrambling for their lives. Bleeding, spit, sweat, snot, tears as they claw their way across the burning mountain. This is a sequence. Watching the men run. Legs buckling. Knee caps smashing on rock. Slipping falling helping each other. Incoming rounds tearing past them. Daytime trace fire. The SEALs charge across the side of the mountain. Breathing is hysteric. High-pitched wheezing and gagging. They are literally running cross a burning mountain for their lives. Luttrell first to stop. Tight on Luttrell.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>Gotta fucking rest.<\/dialogue>\n    <scene_description>Axe collapses next to him, then Murphy, then Dietz. All four SEALs gasping and choking for air. A moment of desperate attempts to get air.<\/scene_description>\n    <character>AXE<\/character>\n    <dialogue>Need some water.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>We got to get to the village. Got to.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Got to.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Fuck.<\/dialogue>\n    <scene_description>Dietz is by far the worst. Trying to breath. Blood loss starting to weaken him. Murphy pulls out his sat phone, tries to get a signal. Tight on Each SEAL. Burning. Sucking air. Luttrell stares at Dietz. Hold this for a couple of beats. A brief silence. A pause.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>This is bad....<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. SEAL TOC BAGRAM.<\/stage_direction>\n    <scene_description>Kristensen watching clock. Drinking coffee.<\/scene_description>\n    <character>KRISTENSEN<\/character>\n    <dialogue>That's the second window.<\/dialogue>\n    <character>COMMS GUY<\/character>\n    <dialogue>Correct.<\/dialogue>\n    <scene_description>Clear tension in the TOC. A half dozen SEALs gathered in the TOC. Kristensen picks up phone. Dials the large force special opps TOC (Base control) Intercut with Kristensen and CO of JOC. Kristensen letting CO know that he's missed two windows of contact with Spartan 01.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUNTAIN - GUNFIGHT.<\/stage_direction>\n    <scene_description>Back tight on four SEALs. Still silent, trying to recover, Then. Sounds of the Taliban yelling. Communicating as they start to get closer. Luttrell looks over to Dietz. Whispering.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>How you feeling Danny?<\/dialogue>\n    <character>DIETZ<\/character>\n    <dialogue>Shot me up pretty good bro.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>You're good Danny.<\/dialogue>\n    <scene_description>Axe, Murphy, Luttrell, counting mags and grenades. Trying to compose themselves. Luttrell packing dirt into Danny's gun shot wounds. Looks back to Murphy. Everyone whispering. Trying to stay as quiet as possible. The Taliban has lost them.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>Pack 'em with dirt. Tight.<\/dialogue>\n    <scene_description>Murphy literally balling up dirt and jamming it into his guts. Trying to plug the blood flow. 50A CLIFF ABOVE ROCK QUARRY 50A With Taraq and his men as they move through the mountain. Searching for the SEALs. 50B SEALs HIDING IN ROCK QUARRY 50B Dead quiet. Alert. Luttrell moves Axe checking his wounds.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>You're okay.<\/dialogue>\n    <scene_description>Danny blurts out. Loud voice.<\/scene_description>\n    <character>DIETZ<\/character>\n    <dialogue>How'd they get on us so fast Mikey?<\/dialogue>\n    <scene_description>Murphy and Axe on him. Hands around his mouth.<\/scene_description>\n    <character>AXE<\/character>\n    <dialogue>Shhhhhh. Danny Shhhhhh.<\/dialogue>\n    <scene_description>Silence. The SEALs wait, tense. 50C CLIFF ABOVE ROCK QUARRY 50C Taraq reacts to the sound of Danny's voice. Signals to his men. They start moving in on the SEALs 50D SEALs IN THE ROCK QUARRY: 50D Axe slowly removing his hand from Danny's mouth. Danny looking up wide eyed at Murphy.<\/scene_description>\n    <character>DIETZ<\/character>\n    <dialogue>Mike?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>You got to be quiet Danny.<\/dialogue>\n    <character>DIETZ<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>I know. I just can't get over how fast they are.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Yea.<\/dialogue>\n    <character>DIETZ<\/character>\n    <dialogue>Faster than we are.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>They might be.<\/dialogue>\n    <character>DIETZ<\/character>\n    <dialogue>Mike how did they get on us so fast?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Don't know. Don't get it.<\/dialogue>\n    <scene_description>Dietz is starting to lose it.<\/scene_description>\n    <character>DIETZ<\/character>\n    <dialogue>Got on us pretty fast. I was talking to my mom, she didn't say anything about it. Matty you see them?<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>I didn't see until you did Danny.<\/dialogue>\n    <character>DIETZ<\/character>\n    <dialogue>So much fucking red man. Really vivid reds.<\/dialogue>\n    <scene_description>Taliban voices growing louder. Luttrell looks to Murphy.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>We got to move Mike.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>50E EXT. 2ND CLIFF 50E<\/stage_direction>\n    <scene_description>The only option for movement is down. Another 80 ft. drop. The rocks above Axelson start to shear. Incoming rounds. Above them silhouetted Taliban fighters. The team once again surrounded. Murphy starring down the cliff.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Axe, how shot up are you?<\/dialogue>\n    <scene_description>Axe looking down at himself. Inventorying his bullet wounds.<\/scene_description>\n    <character>AXE<\/character>\n    <dialogue>I think three times. I'm hit three... I don't know what this is.<\/dialogue>\n    <scene_description>Blood oozing from the back of his head. Behind his right ear.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Are you good to move?<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Move where?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>We're going down.<\/dialogue>\n    <scene_description>Axe looks downhill. AXE's POV Another massive drop. Sharp Granite, trees, and a brutal pitch.<\/scene_description>\n    <character>AXE<\/character>\n    <dialogue>Hoo-yah to that Murph.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. CLIFF ABOVE ROCK QUARRY<\/stage_direction>\n    <scene_description>Over the back of Taraq, fighters on both sides. Slow mo as they move fast through, in front of them the ravine hiding the SEALs. Tight on Taraq. Smelling blood. Rage and hatred filled eyes. The Taliban fighters, like Apache warriors, picking up speed. Guns up. OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROCK QUARRY HIDE<\/stage_direction>\n    <scene_description>Murphy looks to Marcus.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Marcus, you good?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Danny?<\/dialogue>\n    <scene_description>Incoming rounds starting to pick up intensity. The granite starting to vaporize all around them. Danny clicking back into a primal warrior mode. Up on his knees firing back. Marcus reaching for Danny pulling him down back into cover.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>I got him.<\/dialogue>\n    <scene_description>Murphy looks over the rock hide. MURPHY'S POV. Taraq with six fighters charging out of the tree line. All AK's blasting.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Go! Go! Go! Move!<\/dialogue>\n    <scene_description>Murphy pulling off the clip of a FRAG GRENADE. Hurls it at the charging Taliban as: 53A Axe leaps off the cliff. 53A Murphy turns. Leaps. The grenade DETONATES. Killing two Taliban. Shah continues to charge. Luttrell hoists Dietz up and over his shoulder. Turning towards the cliff. He turns to fire a last burst at Taraq. Marcus digs his back foot into the loose slate, ready to jump when: Taraq FIRES. Danny shot through the neck. Bullet passes through Danny's neck tearing through the side of Luttrell's neck. Luttrell screams in pain spinning, dropping Danny. LUTTRELL and DIETZ separate. Danny falling onto the rock. Luttrell falling backwards off the cliff. 53B ON LUTTRELL FALLING. 53B Another brutal fall. SMASHING BACKWARDS DOWN THE CLIFF. Luttrell tries grabbing for dirt, tree, or rock. Anything to slow his fall. He slams through trees snapping thick branches. Bouncing off rock. Luttrell disappears into the lower tree, brush line below. 53C UP TOP. 53C DANNY DIETZ On his back. M4 by his side. Taraq and his fighters move in. More Taliban clearing the tree line behind them. Taraq looks down at Dietz's body. Turns and looks down the cliff. Taraq reaches down, picks up Dietz's M4. Looks it over. Reaches back down. Takes one of Danny's Grenades. 53D DOWNHILL. 53D Luttrell on his side struggling to get to his knees. Murph twenty feet away with Axe below him.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Where's Danny?<\/dialogue>\n    <scene_description>53E CLIFF ABOVE ROCK QUARRY 53E Taraq pulls the pin on Dietz's grenade. Hurls it down hill in the direction of the three remaining SEALs. 53F DOWNHILL. 53F His grenade comes in short. Blowing rock chunks and dirt over the three SEALs.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Where the fuck is Danny?<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAGRAM TOC<\/stage_direction>\n    <scene_description>Tight on the watch clock. ZULU time. Kristensen staring at it. Tapping his fingers on the table.<\/scene_description>\n    <character>KRISTENSEN<\/character>\n    <dialogue>Try them again.<\/dialogue>\n    <scene_description>Comms guy in the back of the room keys his radio mic.<\/scene_description>\n    <character>COMMS GUY<\/character>\n    <dialogue>Spartan 01, this is Anvil 1, do you copy? Spartan 01 do you copy?<\/dialogue>\n    <scene_description>Radio Silence.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BELOW ROCK QUARRY CLIFF<\/stage_direction>\n    <scene_description>Luttrell looking over to Murphy.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>We got to get him.<\/dialogue>\n    <scene_description>More grenades. RPG's. Noise is deafening.<\/scene_description>\n    <character>AXE<\/character>\n    <dialogue>What?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>We got to get him.<\/dialogue>\n    <scene_description>The three guys trying to communicate. All talking over each other.<\/scene_description>\n    <character>AXE<\/character>\n    <dialogue>Where's Danny? I can't see him.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>How do you know he's dead?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Danny's dead.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Where?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>His fucking head blew off?<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Do you have Danny?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>In my fucking arms.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>We got to get down.<\/dialogue>\n    <scene_description>Deafening EXPLOSIONS.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>We got to get up there and get him.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>We got to get down now.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Do you know where he is?<\/dialogue>\n    <scene_description>AXE MOVES CLOSER.<\/scene_description>\n    <character>AXE<\/character>\n    <dialogue>Is Danny hit?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Yes.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Where is he hit?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>In the head.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Where is he?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Up on top.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>We got to get him.<\/dialogue>\n    <scene_description>More explosions.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Let's move right. Take the flank right. See if we can get back up there.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>We'll get Danny. Get him down with us. Get off this hill. Take them on the flat ground.<\/dialogue>\n    <scene_description>55A CLIFF ABOVE ROCK QUARRY 55A Taraq now with twenty fighters. Firing down hill. Throwing grenades. Ordering his men down the sides of the cliff. 55B AXE 55B I think we can take them on the flat ground.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>Let's move. How much ammo do we have.<\/dialogue>\n    <scene_description>Guys checking magazines.<\/scene_description>\n    <character>AXE<\/character>\n    <dialogue>I got seventy rounds. Three grenades.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Fifty rounds. One grenade.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>I got three full mags. Five Grenades.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Let's suck it up that fucking hill.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Roger that.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Roger that.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Move.<\/dialogue>\n    <scene_description>The three SEALs, guns up, firing up hill. As they attempt to get back up to Danny.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. DANNY'S POSITION (CLIFF ABOVE QUARRY)<\/stage_direction>\n    <scene_description>He's not dead. Close. Shah, Taraq and his men staring over him as he struggles back to his knees. Staring up at Taraq through blood soaked eyes, broken, dying. Defiant. Danny refusing to go gently...His right hand fumbling for his flip knife in his front pocket. Taraq just stares at Danny's broken mangled fingers trying to open his knife. Drops it. Danny looks down past his knife. The \"Tile\" samples page has fallen out of his pocket. Blood stained. Danny stares at the paper. Taraq slowly lifts his foot, pushes against Dietz's chest. Pushes him back down flat on his back.. Tight on Dietz dying, staring up at Taraq. Dietz slowly raises his blood soaked right hand up to Taraq. 56A BELOW ROCK QUARRY CLIFF 56A Murphy is out in front. Clawing his way into the left side of the descending Taliban flank. Luttrell and Axe trying to lay down cover fire, shooting up at Shah's soldiers as they move down the right side of the Mountain. Even the Taliban are having a slow go of it on account of the radical pitch. TIGHT WITH MURPHY. A leader desperately trying to make his way straight into the teeth of the enemy to recover one of his men. A torrent of incoming gunfire blocking his advances. Luttrell twenty feet to his right trying to do the same. Axe staying below. Firing up the hill. HITS two TALIBAN as they move down the hill towards Murphy and Luttrell. ON LUTTRELL. The incoming fire has him pinned against a rock. He is desperate to find a way back up the hill. Peering around each side of the giant boulder. TWENTY FEET to his left Murphy is doing the same. They start moving and covering for each other. One shoots while the other moves fast to a higher covering rock. This is a desperate, clawing uphill mountain scramble. Two men, like animals brutally determined to reclaim their fallen brother. Tight on their hands, eyes, feet, sweat, blood and tears as they crawl their way, inch by inch back up this brutal rock mountain. They are able to ascend about thirty feet before they run out of cover. MURPHY and LUTTRELL side by side. Bullets exploding all around them. Murphy's got SAT phone out again trying to get a signal. He's got no line of sight. Can't make the call.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>I don't know Mikey.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>There's just so fucking many of them.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>I don't think we can get him.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Fuck.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>We got to get down.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Yea.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Got to get to flat ground.<\/dialogue>\n    <scene_description>Tight on Murphy taking in the entire situation. Taliban all around them. His gun shots. Axe. Down hill fighting. Covering them. Murphy studies the terrain. A jagged rock peak sticking out in the clear about fifty feet to his left.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>I know.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>We can't get him Mikey.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>We can get him.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>We're gonna die if we don't get off this mountain.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>We're gonna get him.<\/dialogue>\n    <scene_description>Murphy's fixated on the exposed rock area fifty feet above him. He looks down hill to Axe. Desperately trying to keep the Taliban from getting at Luttrell and Murphy.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>I'm gonna get us some help Marcus.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Mike, they're coming straight above you and to your right.<\/dialogue>\n    <scene_description>Murphy, SAT phone in hand, looks below to Marcus.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>I'm gonna get this call out.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Good luck on that one brother.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Marcus, look at me.<\/dialogue>\n    <scene_description>Luttrell turns locks eyes with Murphy.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>I'm gonna make the call.<\/dialogue>\n    <scene_description>Marcus looks past Murphy to the clear rock face above him. Luttrell gets what Murphy is saying, what he's about to do.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>I'm sorry Mike.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>For what bro?<\/dialogue>\n    <scene_description>Marcus takes a beat, looks away, then back at Murphy.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>That we haven't killed more of 'em.<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Oh we're gonna kill more of them. Bet on that Marcus. We're gonna kill a lot more of them.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Roger that.<\/dialogue>\n    <scene_description>Murphy digs into his pack, has three remaining mags, hands them to Luttrell. Luttrell slides them into his vest. Murphy checks his M4, SAT phone in his left hand, M4 in his right. He turns to Marcus, tears in both of their eyes.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Never out of the fight Marcus.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Never.<\/dialogue>\n    <scene_description>Murphy turns, pushes up and simply stands. Completely exposed. He starts running uphill to the exposed rock, hitting send on the SAT phone. Luttrell and Axe lay down cover as Murph charges up the hill, taking repeated rounds. Legs, arms, guts, Murphy makes it to the clearing, the SAT connection locks in. Murphy sits on a rock oblivious to the incoming rounds.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. TOC - J-BAD<\/stage_direction>\n    <scene_description>In the TOC a SAT phone rings. Hasslert, sitting by the communications equipment, stares at it, picks it up.<\/scene_description>\n    <character>HASSLERT<\/character>\n    <dialogue>J-Bad TOC --<\/dialogue>\n    <scene_description>ON THE MOUNTAIN, MURPHY'S CLEAR ROCK FACE.<\/scene_description>\n    <character>MURPHY<\/character>\n    <dialogue>Sir this is Lieutenant Mike Murphy. Spartan 01. We need immediate air support, immediate air support.<\/dialogue>\n    <scene_description>Hasslert freezes for a microsecond. Then.<\/scene_description>\n    <character>HASSLERT<\/character>\n    <dialogue>Roger Murphy. Can I have your ten digit grid.<\/dialogue>\n    <scene_description>Hasslert hears gunfire and Murphy impaired breathing.<\/scene_description>\n    <character>MURPHY<\/character>\n    <parenthetical>(vo on phone)<\/parenthetical>\n    <dialogue>We need help now! Need immediate CAS.<\/dialogue>\n    <character>HASSLERT<\/character>\n    <dialogue>Roger that, I need your ten digit grid.<\/dialogue>\n    <character>MURPHY<\/character>\n    <parenthetical>(vo on phone)<\/parenthetical>\n    <dialogue>We are headed down the ravine toward the Chichakel village.<\/dialogue>\n    <scene_description>Hasslert immediately on his computer firing on the secure intercut comms link, \"micro chat\". Tight on Screen. As he types TIC! Troops in contact!<\/scene_description>\n    <character>HASSLERT<\/character>\n    <dialogue>Murphy can you get me the grids?<\/dialogue>\n    <character>MURPHY<\/character>\n    <dialogue>Please hurry. Sir. Thank you.<\/dialogue>\n    <scene_description>In the TOC men start looking over as Hasslert types in the call for help.<\/scene_description>\n    <character>HASSLERT<\/character>\n    <dialogue>Jesus, I think we need the QRF.<\/dialogue>\n    <scene_description>Tight on the computer screen, 'Troops in Contact' 'Murphy in Trouble'. Tight on Erik Kristensen, eyes wide...reading the call for help. He grabs the phone.<\/scene_description>\n    <character>KRISTENSEN<\/character>\n    <dialogue>Let's move guys. Let's really move!<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUNTAIN - MURPHY'S CLEARING<\/stage_direction>\n    <scene_description>Back to Murphy, SAT phone dead. He turns faces up hill as two bullets rip into his chest. He keeps firing. Murphy starts moving up hill firing into the Taliban mass. It's a suicide march... Luttrell falls back to Axe as Murphy, multiple gun shots keeps firing. Murphy falls to his knees, screaming in pain...as Taraq and his soldiers move in. Murphy slams his final magazine, blood pouring through his NYFD patch, running down both arms. Murphy raises his M4, one last full auto burst, hits three Taliban, as a final shot slams through the front of Murphy's face blowing him backwards, completely flipping him head over heels landing on his face. Eyes still open Murphy's last vision is his Iridium SAT phone. He can die knowing that he was able to make the call.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>58A EXT. J-BAD AIRBASE 58A<\/stage_direction>\n    <scene_description>Marines and SEALs scramble collecting weapons, sprinting to the Blackhawks, Air Force pilots climbing into the Blackhawk, firing engines. Track with Navy SEALs. Pete Musslemen stuffing magazines into his vest, charging for a Blackhawk.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BAGRAM AIRBASE<\/stage_direction>\n    <scene_description>Tracking with Erik Kristensen, Dan Healy, James Suh as SEALs charge towards waiting 47's.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 47'S<\/stage_direction>\n    <scene_description>Nightstalker pilots and flight crew working feverishly to fire up the powerful Chinook engines. It's clearly all hands on deck as the helicopters are packed with SEALs armed to the teeth.<\/scene_description>\n    <character>KRISTENSEN<\/character>\n    <dialogue>I said let's move!<\/dialogue>\n    <scene_description>Track with Kristensen on the Chinook up to the pilot. The nightstalker pilot and Kristensen frantically confirming location waypoint of where they think the recon team should logically be. CUT WIDE: As the two Chinooks loaded with SEALs lift.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. J-BAD RUNWAY<\/stage_direction>\n    <scene_description>The Blackhawk about to take off, when HASSLERT sprints across the runway, charging to the lead Blackhawk, shaking his head, eyes locked on Blackhawk pilot screaming, NO GO, NO GO, NO GO!:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>61A EXT. LEAD BLACKHAWK 61A<\/stage_direction>\n    <scene_description>Door flying open, Pete Musslemen heads out.<\/scene_description>\n    <character>MUSSLEMEN<\/character>\n    <dialogue>What's the fucking problem?<\/dialogue>\n    <scene_description>Hasslert charging toward Musslemen.<\/scene_description>\n    <character>HASSLERT<\/character>\n    <dialogue>You're grounded.<\/dialogue>\n    <character>MUSSLEMEN<\/character>\n    <dialogue>What are you fucking talking about?<\/dialogue>\n    <character>HASSLERT<\/character>\n    <dialogue>You're grounded, you have no Apache support. Blackhawks can't go in without air cover.<\/dialogue>\n    <scene_description>Musslemen looking around realizing the Apaches are not there.<\/scene_description>\n    <character>MUSSLEMEN<\/character>\n    <dialogue>Where the fuck are the Apaches?<\/dialogue>\n    <character>HASSLERT<\/character>\n    <dialogue>We are trying to figure that out.<\/dialogue>\n    <character>MUSSLEMEN<\/character>\n    <dialogue>Where are the fucking Apaches?!!<\/dialogue>\n    <scene_description>CUT TO: OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHINOOK 47<\/stage_direction>\n    <scene_description>Kristensen's lead 47. Kristensen is up with the Nightstalker pilot. In the back of the chopper, packed, almost overflowing with SEALs, the men check weapons. The Airforce Nightstalker pilots checking their 50 caliber side guns. Everyone silent and intense.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. J-BAD AIRSTRIP<\/stage_direction>\n    <scene_description>Musslemen out of his Blackhawk in the face of Hasslert<\/scene_description>\n    <character>MUSSLEMEN<\/character>\n    <parenthetical>(screaming)<\/parenthetical>\n    <dialogue>Where are they?<\/dialogue>\n    <character>HASSLERT<\/character>\n    <dialogue>They're coming back.<\/dialogue>\n    <character>MUSSLEMEN<\/character>\n    <dialogue>When?<\/dialogue>\n    <character>HASSLERT<\/character>\n    <dialogue>On their way now!<\/dialogue>\n    <character>MUSSLEMEN<\/character>\n    <dialogue>When will they fucking be here?<\/dialogue>\n    <character>HASSLERT<\/character>\n    <dialogue>15 minutes.<\/dialogue>\n    <character>MUSSLEMEN<\/character>\n    <dialogue>Are you fucking kidding me?<\/dialogue>\n    <scene_description>SLAM CUT:<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ROCKS BENEATH 2ND CLIFF<\/stage_direction>\n    <scene_description>Marcus scrambling back with Axe, jammed behind rocks, taking heavy, heavy fire. Marcus digs in side by side with Axe. Both men shot up, look like hell.<\/scene_description>\n    <character>AXE<\/character>\n    <dialogue>Where's Murphy?<\/dialogue>\n    <scene_description>Luttrell doesn't answer.<\/scene_description>\n    <character>AXE<\/character>\n    <dialogue>Where's Mike?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Up top.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Where up fucking top?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>He's getting the QRF.<\/dialogue>\n    <scene_description>The incoming gunfire stopping. An eerie silence coming over the hill. Just random Taliban voices. Calm. Distant.<\/scene_description>\n    <character>AXE<\/character>\n    <dialogue>What the fuck is going on?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Where exactly is Mikey?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>I don't know.<\/dialogue>\n    <scene_description>More tears pouring down Axe and Luttrell's faces.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>We gotta get down.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Did he make the call?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>I don't know....we got to get off this hill Axe.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Do you think he made the call?<\/dialogue>\n    <scene_description>Axe and Marcus staring into each other.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. AFGHAN SKIES<\/stage_direction>\n    <scene_description>The two Chinook 47's, hauling ass. Back ramp open, Kristensen standing over it. He looks ready to jump right now. Kristensen looks down at the steep mountains, back up to the following 47.<\/scene_description>\n    <character>KRISTENSEN<\/character>\n    <parenthetical>(on radio)<\/parenthetical>\n    <dialogue>What's the problem?<\/dialogue>\n    <scene_description>INTERCUT with Musslemen on the grounded Blackhawk in J-Bad.<\/scene_description>\n    <character>MUSSLEMEN<\/character>\n    <parenthetical>(radio)<\/parenthetical>\n    <dialogue>The Apaches were pulled.<\/dialogue>\n    <character>KRISTENSEN<\/character>\n    <parenthetical>(radio)<\/parenthetical>\n    <dialogue>Why?<\/dialogue>\n    <character>MUSSLEMEN<\/character>\n    <parenthetical>(radio)<\/parenthetical>\n    <dialogue>Some army troops in contact.<\/dialogue>\n    <character>KRISTENSEN<\/character>\n    <parenthetical>(radio)<\/parenthetical>\n    <dialogue>Where are they?<\/dialogue>\n    <character>MUSSLEMEN<\/character>\n    <dialogue>They're saying 10 minutes out.<\/dialogue>\n    <scene_description>Kristensen moving up to the pilots of his 47. Plugs into the 47 comms.<\/scene_description>\n    <character>KRISTENSEN<\/character>\n    <dialogue>What's the deal with the Apaches? The Blackhawks are grounded at J- Bad.<\/dialogue>\n    <character>PILOT<\/character>\n    <dialogue>Roger that. Blackhawks need the air support.<\/dialogue>\n    <character>KRISTENSEN<\/character>\n    <dialogue>They should have boots on ground right the fuck now.<\/dialogue>\n    <character>PILOT<\/character>\n    <dialogue>Roger that.<\/dialogue>\n    <character>KRISTENSEN<\/character>\n    <dialogue>What the fuck is the problem?<\/dialogue>\n    <character>PILOT<\/character>\n    <dialogue>Not enough air assets in theatre, that's the fucking problem.<\/dialogue>\n    <character>KRISTENSEN<\/character>\n    <dialogue>What's our fucking ETA?<\/dialogue>\n    <character>PILOT<\/character>\n    <dialogue>15 minutes.<\/dialogue>\n    <character>KRISTENSEN<\/character>\n    <dialogue>Where are the Apaches?<\/dialogue>\n    <character>PILOT<\/character>\n    <dialogue>25 minutes.<\/dialogue>\n    <character>KRISTENSEN<\/character>\n    <dialogue>Can you put us down without the Apaches?<\/dialogue>\n    <character>PILOT<\/character>\n    <dialogue>Not supposed to.<\/dialogue>\n    <character>KRISTENSEN<\/character>\n    <dialogue>Will you put us down?<\/dialogue>\n    <scene_description>Pilot pauses...looks to Kristensen.<\/scene_description>\n    <character>PILOT<\/character>\n    <dialogue>We'll do whatever we have to do to get you with your men.<\/dialogue>\n    <character>KRISTENSEN<\/character>\n    <dialogue>Thank you.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ON GROUND<\/stage_direction>\n    <scene_description>Luttrell and Axe trying to quietly climb their way down the mountain. Still a couple of hundred feet above the village. They are climbing, falling 10-20 ft. falls. 67A UP MOUNTAIN: 67A Taraq tracking them. Shah, higher up communicating on radio. 67B OMIT 67B<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HINDU KUSH SKY<\/stage_direction>\n    <scene_description>The two 47's. The 2nd 47 flies past Kristensen, taking the lead.<\/scene_description>\n    <character>PILOTS<\/character>\n    <parenthetical>(misc comms)<\/parenthetical>\n    <dialogue>1st 47 will fly over LZ make sure it's clear. Kristensen's 47 will be 1st to hover.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. J-BAD AIRBASE<\/stage_direction>\n    <scene_description>The two Apaches show up. Tearing over the airfield. Hellfire missile arrays and 40 mm front mounted getting guns. The Blackhawks finally take off following the Apaches.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. ON MOUNTAIN<\/stage_direction>\n    <scene_description>Tracking tight with Taraq. His worn sandaled feet slowly stepping down the mountain. He's following blood drops. Tight on beaded stone necklace with seven American Dog Tags hanging from it like human scalps. Tight on a blood soaked dog tag: \"Danny Dietz\" We move across the faces of several of these Afghan warriors They feel more like Comanche Indians than anything else. Fierce and focused, guns up, they hunt Americans. 70A FURTHER DOWN: 3RD CLIFF EDGE ABOVE VILLAGE 70A Luttrell and Axe at a major cliff edge, looking back up...guns pointed up mountain. We pull wide and see just how close Taraq now is to Luttrell and Axe, 100 ft. away, max. Closing in. On Luttrell - hearing Taraq and his men, whispering to Axe.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>Come here Axe. Let me see you.<\/dialogue>\n    <scene_description>Axe nods, blood slow running from his head shot down the back of the neck. Axe touches the wound.<\/scene_description>\n    <character>AXE<\/character>\n    <dialogue>Did they really shoot me in the head?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Yea buddy.<\/dialogue>\n    <scene_description>A moment of silence.<\/scene_description>\n    <character>AXE<\/character>\n    <dialogue>It's funny man. I thought it would feel worse you know.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Yea.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Mikey and Danny are really dead right?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Yea.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Are we dead?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Negative.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>We're fucking good right?<\/dialogue>\n    <scene_description>Axe stares at Luttrell. Marcus looks at his dying friend.<\/scene_description>\n    <character>AXE<\/character>\n    <dialogue>Marcus?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>We're real good Axe. Real good. Mikey made the call. We just got to stay alive for fifteen minutes max.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Mikey made the call right?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Fuck yea he did.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>They're coming.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Coming strong man.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Good. That's good.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>I don't want em to get us with an RPG, Axe.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>If I fucking die you make sure Cindy knows how much I love her.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>She knows.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>You tell her I died with my brothers. With a fucking full heart.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>We ain't dying Axe.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Can you get to that rock over there?<\/dialogue>\n    <scene_description>Axe looks behind him.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>With the dead black tree?<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Yea I can do that.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>You get there. I'm gonna move right. Cover each other.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>Did Mikey make the call?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Fifteen minutes brother. Stay strong Axe.<\/dialogue>\n    <character>AXE<\/character>\n    <dialogue>I'll do it.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Stay quiet.<\/dialogue>\n    <scene_description>A nod from Axe and the two men split up. Axe moves to his left, Luttrell to his right. Tight on Axe. Shot up. Blood pouring from head wound. Tough. Grinding it out. Staying low. Deep breathing. Grunting as he crosses the mountain. Gun fire erupts around him. Turning, spots half a dozen Taliban on him. Axe pushes deeper into the woods. A hunted animal running out of options. LUTTRELL The same. Moving quiet in the other direction. This is all very silent. Tense....Taraq like a hunting dog, dead quiet, Luttrell and Axe, the hunted, desperately trying to stay quiet. On Luttrell - trying to move towards a large rock... His right foot digging in for traction, dislodges a small pebble... on that pebble picking up momentum, hitting smaller pebbles, dislodging more little rocks... A mini avalanche, hitting a bigger rock. Tight on Luttrell. Looking down at the small rock slide, hearing its noise....<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>Shit.<\/dialogue>\n    <scene_description>And they open fire again, bullets firing all around Luttrell, both Luttrell and Axe return fire. This is much closer gun fighting...grenades and RPG's at close quarters. Men behind rocks, guns blazing.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEAD 47 - AIRBORNE<\/stage_direction>\n    <scene_description>Over the head of the lead pilot as he comes flying up towards the mountain. ON LUTTRELL: MOUNTAIN ABOVE VILLAGE Mid gunfight he looks up as that big 47 flies up high over them, over the top of the mountain. On Axe and Luttrell spotting the QRF.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>Keep fighting Axe.<\/dialogue>\n    <scene_description>Axe is fighting. Shot up but recharged by the 47.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LEAD 47<\/stage_direction>\n    <scene_description>Too high to see the gunfight down below the pilot is focusing on the landing area on top of the mountain. He does a 1st fly by over the top. Looks clear.<\/scene_description>\n    <character>LEAD 47 PILOT<\/character>\n    <parenthetical>(on radio)<\/parenthetical>\n    <dialogue>Looks good. Looks quiet.<\/dialogue>\n    <character>2ND 47 PILOT<\/character>\n    <dialogue>Roger that we're good to drop.<\/dialogue>\n    <scene_description>The second 47 pulls up over the LZ. Ramp down, fast rope out. The SEALs, lead by Kristensen, up ready to fast rope out.... The TF 160 gunners alert, scanning behind their 50 Cal. Machine guns. The 47 pulls up, high hover, 80 ft. drop. Tight on Kristensen His hands around the fast rope....<\/scene_description>\n    <character>KRISTENSEN<\/character>\n    <dialogue>Let's do this. Patton, you're first move!<\/dialogue>\n    <scene_description>Shane Patton, can't help but grin, he's on his feet moving towards the open door.<\/scene_description>\n    <character>KRISTENSEN<\/character>\n    <dialogue>You good?<\/dialogue>\n    <character>SHANE PATTON<\/character>\n    <dialogue>Couldn't be more good.<\/dialogue>\n    <character>KRISTENSEN<\/character>\n    <dialogue>Glorious opportunity here, Mr. Patton.<\/dialogue>\n    <character>SHANE PATTON<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <scene_description>Kristensen has one foot out of the chopper when... Movement on the ground. 50 Cal gunner catches the reflection of something metallic, a small detonation from the ground. Then terrifying sights of incoming ordinance.<\/scene_description>\n    <character>50 CAL GUNNER<\/character>\n    <dialogue>RPG!<\/dialogue>\n    <scene_description>Tight on Kristensen and Patton looking down as the RPG round flies into the chopper right past them, literally into the<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. A MOMENT OF SILENCE, THEN...<\/stage_direction>\n    <scene_description>The Chinook explodes. Ripping apart, tilting, rotor blades immediately tearing into treetops then thick tree trunks - like massive buzz saws - the chopper turns and burns. Rocks and trees churn, bodies break and burn and die as the big Chinook 47 rips apart exploding and tumbling down the mountain. DOWN RANGE: 74A ON LUTTRELL - peering up at the explosion. 74A Luttrell watches wide-eyed as his teammates smash and burn. 74B ON THE FIRST 47: 74B Banks hard as the Taliban fire more RPG's and small arms fire up at it-<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 47 - AIRBORNE<\/stage_direction>\n    <scene_description>Argument breaking out between SEAL Lt. and Airforce Pilot.<\/scene_description>\n    <character>SEAL LT.<\/character>\n    <dialogue>You got to put us down now!<\/dialogue>\n    <character>PILOT<\/character>\n    <dialogue>No fucking way.<\/dialogue>\n    <character>SEAL LT.<\/character>\n    <dialogue>Now!<\/dialogue>\n    <scene_description>As the SEALs on the chopper start breaking out the windows firing their M-4's out the window, Airforce gunmen open up the 50 cals. Massive fire power blasting out from the choppers. MOUNTAIN ABOVE VILLAGE - LATE DAY Marcus looking cross mountain at Axe who has managed to transverse one hundred feet of the mountain and is leading a small pack of Shah's men away from Luttrell. Axe starts taking heavy fire. Shot twice through the throat. Falling backwards. Trying to get up. Back to his weapon. AXE DYING. Marcus watching helpless from across the mountain. Trying to cover Axe as the Taliban move in on him. Not all of them have followed Axe because as Marcus turns back an RPG blows ten feet in front of him. Shrapnel and rock smashing into the side of his head. His Helmet tears off his head. Tight on Marcus rolling backwards. Falling. Tumbling further down the mountain. Tight on his helmet, Texas flag painted bold across it. Rolling and smashing down the mountain. He comes to a hard stop slamming the back of his exposed head into a rock. Tight on Marcus. Close to unconscious. Very dazed, Very confused. MARCUS POV. Distorted visuals. Triple vision. No sound except emerging high pitched ringing. Marcus is deaf. He stares up at this apoplectic mountain in dazed wonder. 76A OMIT 76A<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. 47 - AIRBORNE<\/stage_direction>\n    <scene_description>The SEAL Lt. screaming at the Airforce Pilot.<\/scene_description>\n    <character>SEAL LT.<\/character>\n    <dialogue>Open the ramp.<\/dialogue>\n    <character>PILOT<\/character>\n    <dialogue>Negative.<\/dialogue>\n    <character>SEAL LT.<\/character>\n    <dialogue>Open the goddamned ramp.<\/dialogue>\n    <scene_description>The Lt. has to be restrained, physically pulled back by two SEALs. Everyone screaming at each other. Co-Pilot on radio putting out distress signal calling in the downed 47 to Bagram.<\/scene_description>\n    <character>CO PILOT<\/character>\n    <dialogue>We have a downed 47, repeat a downed 47.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAGRAM - CJSOTF<\/stage_direction>\n    <scene_description>This is the big command center. Not just SEALs, everybody- Army, Navy, Airforce, Marines. Shots of a massive response mobilization. AWACS, C-130s, Choppers filling with Delta, Green Berets, DEV Group. Aircraft taking off. F18 fighter jets vectoring towards downed chopper.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LOWER MOUNTAIN<\/stage_direction>\n    <scene_description>Marcus, hearing utterly fucked....getting closer to the village. Picking his way down hill. CUT TO: OMIT<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>80A EXT. AIRBORNE 47 80A<\/stage_direction>\n    <scene_description>The chopper slow banking a mile off the crash sight.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. BLACKHAWK QRF - AIRBORNE<\/stage_direction>\n    <scene_description>The two Apaches pulling ahead of the Blackhawks. Passing the 47.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. APACHES<\/stage_direction>\n    <scene_description>Pilots star warred up. Flying straight at the burning mountain top. 82A OMIT 82A OMIT 83A ON THE MOUNTAIN: 83A Taraq and his men hear the incoming Apaches. Shah orders his men to take cover. The Taliban quickly becoming invisible from the sky. 83B DOWN HILL: 83B Marcus deaf to the incoming Apaches. Has no idea how close they are. As he falls, gets up, off balance stumbles off a 30 ft drop. This time not so lucky with his landing, comes down hard, shatters his right shin, bone tears through his skin, compound fracture. Screaming in pain, Luttrell crawls into a rock crevasse. Hiding, he attempts to clear his head. We play all of Luttrell's audio perspective here as deaf. Abstract surges of sound. He's basically deaf. The Apaches fly high over head. Missing Luttrell. Disappearing over mountain tops as they keep moving to avoid enemy ground fire. Struggling to silence his hysterical breathing, Luttrell hides as Taraq and his men move all around him. Luttrell sees shadows of the fighters. He silently starts covering himself with rocks and dirt. Luttrell well hidden. We slowly push in on him as his head starts to nod forward. He lifts it. Fighting the powerful urge for sleep. It falls again. He lifts it. Leaning his head back against the crevasse wall. Taraq and his men back on the hunt. Searching rock to rock. Tight on Luttrell. Head back. Breathing slower. As Luttrell falls to sleep. FADE TO BLACK. SILENT. A84 OVER BLACK A84 The faint singing of morning birds. Growing louder. SLOW FADE UP. WIDE Looking out at entire Hindu Kush Mountain range as the sun slowly rises behind the tallest peak. STUNNING SUNRISE.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUTTRELL'S HIDE<\/stage_direction>\n    <scene_description>TIGHT ON MARCUS. Looks DEAD. EYES TWITCH. SLOWLY OPEN. LUTTRELL wakes up. Disoriented. First thing he notices is the bird sitting up on a rock above him. He hears it. Sort of. Faded. Loud then silent. His hearing has partially returned. LUTTRELL very slowly clears himself from the dirt and rock hide. Inventories himself, his weapons. Two magazines, two grenades. No food. No water. Bleeding has stopped from his gunshot. Leg is fucked up. Shin bone busting out. Luttrell sits down. Examining his leg. Probing the bone. Rips off his pants exposing his broken leg in UA shorts. Tears welling he bites down on his lips as he resets the broken bone. Jamming it back inside his skin. Tucking back the bone. Luttrell packs the puncture wound with dirt. Starts massaging his dead legs. Forcing blood back into them. Deep powerful breathing as he starts to will his body back into life.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. LUTTRELL'S HIDE<\/stage_direction>\n    <scene_description>Luttrell slowly moves out of the hide scanning the area for any sign of Taraq or Shah. Luttrell sees nothing. The village is close. Couple of hundred yards. LUTTRELL moves out. Slowly picking his way down towards the village. At fifty yards Luttrell pulls up. Takes cover behind some rocks. Stares down at the village through his M4 scope. LUTTRELL'S POV Early morning. Women light fires. Buckets of water. Tight on Luttrell's blistered, cracked bone dry lips as he stares through his scope at the water. We can feel his desperate thirst. He stares at the water. Then voices pull his scope left. LUTTRELL's POV. The two goat boys moving through the village. Tight on Luttrell.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Motherfuckers.<\/dialogue>\n    <scene_description>He's got the kids in his scope. Dead to rights. Luttrell's finger on the trigger. The older teenage goat herder's face fills his scope... Then more voices. Luttrell pans right. TALIBAN Five men. Armed. Moving through the village. Passing the boys. Tight on Marcus. His finger slowly off the trigger. Luttrell lowers his weapon. Looks to his left. LUTTRELL'S POV. A faint dirt trail below him leading away from the village. Slowly and silently Luttrell moves out towards that trail. Away from the village. TRACKING with Luttrell. Slow going. He starts to put distance between himself and the village.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAGRAM - CJSOTF<\/stage_direction>\n    <scene_description>The main control center. The recovery of the dead chopper team and speculation over the fate of the four man recon team.<\/scene_description>\n    <character>ARMY INTEL GUY<\/character>\n    <dialogue>We can confirm that there are no survivors from the 47 and we think we have recovered the bodies of Murphy and Dietz.<\/dialogue>\n    <scene_description>Army Captains stare in furious silence.<\/scene_description>\n    <character>ARMY INTEL GUY<\/character>\n    <dialogue>Axelson and Luttrell still unaccounted for.<\/dialogue>\n    <scene_description>OMIT 87A Unarmed predator drones circling the area. As Special Ops 87A move in and secure the area around the downed chopper. 5 MILES BELOW: 87B OMIT 87B OMIT 88A OMIT 88A OMIT 89A OMIT 89A<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS<\/stage_direction>\n    <scene_description>Luttrell hobbles and falls and crawls through the woods. Falling, getting up. Refusing to stop. A desperate search for water. 90A OMIT 90A 90B In the WOODS. 90B Tracking with Luttrell. He's running out of gas. Falling, crawling...grinding it out. He falls. On his hands and knees. Stops, head down. Hears something. Lifts his head. Looks off to his left. A WOLF. Male, large and powerful. The wolf studies Luttrell. Luttrell studies the wolf. No menace just mutual curiosity. Luttrell picks himself up. Studies the wolf closely. Water drips off the side of the Wolf's face. His coat seems wet. Luttrell turns. Listens. HEARS the SOUND of falling water. TRACK with Luttrell towards the sound of the water. Luttrell moves to 20 ft. waterfall, pouring into a beautiful clear pool of crystal clear fresh water. Luttrell tries to slide down the steep cliff sides of the water pool. Too excited, moving too fast, Luttrell slips, falling, tumbling. He falls fast into the water. UNDERWATER. Luttrell cuts through the water. Like a baptism as the cool water surrounds him. Luttrell stays under water. Eyes closed. Feeling it. Finally comes up. SURFACES. Swims to the shore on his hands and knees. LUTTRELL drinks. And drinks...... Slurping like a broken animal. Grabbing for hunks of water plants. Luttrell eats. Shoving the plants into his mouth. Desperate for any kind of energy. TIGHT on LUTTRELL. Slowly freezes. Senses something. Slowly looks up. LUTTRELL'S POV: Three Afghan men. One man we recognize as Gulab. A young Afghan boy. NOT Taraq's crew. Three different men. One holds a machete. Staring down at this broken SEAL. Luttrell stares back at these men. A moment of silence. Then. Luttrell reaches for a grenade. Pulls the pin. Holds the armed grenade. The Afghan men appear non pulsed.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>Stay back.<\/dialogue>\n    <scene_description>The men just stare with curiosity. Luttrell holds up his grenade.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>I don't care. You understand? I don't care. I will kill us all.<\/dialogue>\n    <scene_description>Finally one of the Afghans. A 30 year old male GULAB, the leader, strong rugged handsome, steps forward. Hands up in peace.<\/scene_description>\n    <character>GULAB<\/character>\n    <dialogue>Not Taliban.<\/dialogue>\n    <scene_description>Luttrell studies Gulab. Looks deep into his eyes. Luttrell looks from Gulab to the other Afghan men. Their faces seem kind. Nothing like the death looks we have seen from the Taliban.<\/scene_description>\n    <character>GULAB<\/character>\n    <dialogue>Come.<\/dialogue>\n    <scene_description>Gulab slowly stepping to and reaching for Luttrell. Voices heard from deeper into the woods. Taraq and his crew getting closer. One of Gulab's men says something quiet to Gulab. Gulab reaches his hand out to Luttrell... Luttrell looks deep into Gulab's eyes. Armed grenade in one hand, Luttrell slowly reaches his right bleeding hand out. Tight on two hands grabbing each other. As they pull him up, out of the stream, voices of Taraq and his men suddenly much closer. Gulab whispers something to one of his men. Luttrell is quickly pushed down into a crevasse between two rocks. A young Afghan boy sits on top of Luttrell hiding him further. Luttrell eyes wide, clutching his grenade. The young boy gently patting Luttrell's back, trying to calm him.<\/scene_description>\n    <character>YOUNG BOY<\/character>\n    <parenthetical>(whispering)<\/parenthetical>\n    <dialogue>Shuuuu....shuuuuu<\/dialogue>\n    <scene_description>As Taraq with three Taliban fighters crest the cliff looking down at the pond. At Gulab and his three men. A young boy sitting on a rock. A stare off as the armed Taliban look down at the unarmed Gulab and his Villagers.<\/scene_description>\n    <character>TARAQ<\/character>\n    <dialogue>(not particularly friendly)<\/dialogue>\n    <character>TARAQ<\/character>\n    <dialogue>Da kom kali yee?<\/dialogue>\n    <scene_description>From what Village are you?<\/scene_description>\n    <character>GULAB<\/character>\n    <dialogue>Peace be with you my brother we are from Kandish.<\/dialogue>\n    <character>GULAB<\/character>\n    <dialogue>Pa khair zma wrora, mong da Kandish you.<\/dialogue>\n    <character>TARAQ<\/character>\n    <dialogue>And are you in Kandish true believers and correct in your thinking?<\/dialogue>\n    <character>TARAQ<\/character>\n    <dialogue>Aya Tasey da kandish khalgh rekhteney musalmanan yastey ao da sahee fikrono khawandan ye?<\/dialogue>\n    <character>GULAB<\/character>\n    <dialogue>We are my brother.<\/dialogue>\n    <character>GULAB<\/character>\n    <dialogue>Aw baley zamaa rora.<\/dialogue>\n    <character>TARAQ<\/character>\n    <dialogue>And have you or any of your brothers seen the Americans moving through these woods?<\/dialogue>\n    <character>TARAQ<\/character>\n    <dialogue>Aya ta ya sta wronoo americayan garzedal de largo taraf ta da Amrecayano ledely?<\/dialogue>\n    <character>GULAB<\/character>\n    <dialogue>You are the only people we have seen.<\/dialogue>\n    <character>GULAB<\/character>\n    <dialogue>Tasey yawazaney khalk ye che mong waledaley.<\/dialogue>\n    <scene_description>Taraq studies Gulab. Looks closely. TARAQ's POV Luttrell's blood on his right hand. A drop drips into the water.<\/scene_description>\n    <character>TARAQ<\/character>\n    <dialogue>Is something wrong with your hand?<\/dialogue>\n    <character>TARAQ<\/character>\n    <dialogue>Aya sta lass Khog dey?<\/dialogue>\n    <scene_description>Gulab holds Taraq's gaze. Doesn't look at the blood.<\/scene_description>\n    <character>GULAB<\/character>\n    <dialogue>We have been cutting trees all day my friend. Usually there is much more blood.<\/dialogue>\n    <character>GULAB<\/character>\n    <dialogue>Dosta, Monga tola wraz waney ghosawoo, Zyatara wakht zmong lawsoona weeney kege.<\/dialogue>\n    <scene_description>In the CREVASSE. Luttrell is freaking out. Hyperventilating. The young boy keeps gently patting his back. Taraq studies Gulab on more beat.<\/scene_description>\n    <character>TARAQ<\/character>\n    <dialogue>If you see the Americans. Tell us or we will take your heads.<\/dialogue>\n    <character>TARAQ<\/character>\n    <dialogue>Ka taso americayan woledel. Mong ta malomat rakey ao ka na mong ba staso sarona ghos kro.<\/dialogue>\n    <character>GULAB<\/character>\n    <dialogue>I understand.<\/dialogue>\n    <character>GULAB<\/character>\n    <dialogue>Za pohegam.<\/dialogue>\n    <character>TARAQ<\/character>\n    <dialogue>Peace be with you my brother.<\/dialogue>\n    <character>TARAQ<\/character>\n    <dialogue>Zma wrora Allah de pa man ke lara.<\/dialogue>\n    <character>GULAB<\/character>\n    <dialogue>And may peace be with you as well my brother.<\/dialogue>\n    <character>GULAB<\/character>\n    <dialogue>Allah de ta hum pa aman ke lare.<\/dialogue>\n    <scene_description>Taraq and his men take off. Hold on Gulab and his men a couple of beats. Gulab signals to one man who quickly and silently moves up the little cliff. Signals that it is clear. Gulab quickly moves to a very confused Luttrell, pulling him out of the crevasse.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>Why are you helping me?<\/dialogue>\n    <character>GULAB<\/character>\n    <dialogue>No Taliban.<\/dialogue>\n    <scene_description>On Luttrell as the Afghans quickly move him into the woods, The little Afghan boy continues patting Luttrell's leg for comfort.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAGRAM AIR BASE. CJSOTF<\/stage_direction>\n    <scene_description>Frantic activity as rescue teams are tracked. SEALs, Rangers, Green Berets, Marines. Small tracking teams inserted all throughout the area. Each assigned to different villages. Tight on a map as we see the KANDISH village.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GULAB'S VILLAGE<\/stage_direction>\n    <scene_description>Luttrell with Gulab and the Afghans being led into the small village. He's walking weak with an arm on Gulab's shoulder, the grenade still tight in right hand. Luttrell's POV: The Village. Men women, children, animals all staring at this Giant broken American. An alien entering their world. Marcus staring back in equal confusion. Locking eyes with a 90 year old woman. The young boy by his side points to the woman. Has a conversation with her. Pointing to Marcus's Texas leg.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GULAB'S HOUSE<\/stage_direction>\n    <scene_description>Luttrell laid down on a mattress.<\/scene_description>\n    <character>GULAB<\/character>\n    <dialogue>We get Americans for you.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Do you know where to find the Americans?<\/dialogue>\n    <character>GULAB<\/character>\n    <dialogue>Yes, we know.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Pen? Paper? Please.<\/dialogue>\n    <scene_description>A pen and note paper are produced. Luttrell scribbles a note. Identifying himself, asking for assistance. Gulab takes the note, gives it to his father, a fifty-eight- year-old Afghan mountain man, strong muscle. 93A The trekker pockets the note, heads out of the village, 93A disappears up into the mountain. 93B Stay with Luttrell and Gulab. Luttrell looks from Gulab to93B the little boy, slowly puts pin back in grenade. Then from outside, loud voices ARGUING. 93C Track with Gulab outside to the edge of the village. 93C Taraq with five men. He looks pissed.<\/scene_description>\n    <character>TARAQ<\/character>\n    <dialogue>We want the American.<\/dialogue>\n    <character>TARAQ<\/character>\n    <dialogue>Mong Americaye ghawaro.<\/dialogue>\n    <character>GULAB<\/character>\n    <dialogue>Please leave our village.<\/dialogue>\n    <character>GULAB<\/character>\n    <dialogue>Mehrabani okey zamonga kali perigadey<\/dialogue>\n    <character>TARAQ<\/character>\n    <dialogue>This village has supported the Americans.<\/dialogue>\n    <character>TARAQ<\/character>\n    <dialogue>Da dey kali khalgo Americayano sara marasta kari<\/dialogue>\n    <scene_description>da.<\/scene_description>\n    <character>GULAB<\/character>\n    <dialogue>We want no trouble with you, please leave.<\/dialogue>\n    <character>GULAB<\/character>\n    <dialogue>Mong taso sara hes moshkel na ghawaro, mehrabani\/lutfan da<\/dialogue>\n    <scene_description>dey zaya larr shey. Taraq studies Gulab a beat, then without warning smashes him in the side of the face. Gulab takes a knee. Looks up. Taraq hits him again. Pure humiliation. Tight on Gulab, tears water, as he summons his courage and stands tall, defiant, eyes blazing back at Taraq.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. LUTTRELL'S ROOM<\/stage_direction>\n    <scene_description>Luttrell's room as Taraq and his men come smashing through the door. Luttrell weak, tries to get up, is smashed down to the floor by Taraq. Luttrell tries to fight back. He is too weak, he is kicked and pounded viscously by Taraq and his men. Grenade just out of reach. Luttrell is flipped on his back. Arms and legs held down as Taraq gets on top of him, knife out.<\/scene_description>\n    <character>TARAQ<\/character>\n    <dialogue>What base are you from?<\/dialogue>\n    <scene_description>Luttrell's head held back, neck exposed, Taraq moves in with the blade.<\/scene_description>\n    <character>TARAQ<\/character>\n    <dialogue>What unit are you from?<\/dialogue>\n    <scene_description>When the door is kicked open. Gulab AK-47 aimed at Taraq, two armed villagers behind him. From the windows, an old man with a shotgun. Screaming and chaos. Eight armed Afghans in a small room. Screaming at each other. Guns up. Taraq freezes. Out the window he sees five more of Gulab's villagers - guns up.<\/scene_description>\n    <character>GULAB<\/character>\n    <dialogue>Enough.<\/dialogue>\n    <character>GULAB<\/character>\n    <dialogue>bas.<\/dialogue>\n    <scene_description>Taraq slowly stands.<\/scene_description>\n    <character>TARAQ<\/character>\n    <dialogue>You are making a mistake.<\/dialogue>\n    <character>TARAQ<\/character>\n    <dialogue>Tasey ghalatey kawey.<\/dialogue>\n    <character>GULAB<\/character>\n    <dialogue>You will not harm this man in my home.<\/dialogue>\n    <character>GULAB<\/character>\n    <dialogue>Ta ba zama pa koor ki dey sara ta hes na waye.<\/dialogue>\n    <character>TARAQ<\/character>\n    <dialogue>Then let us take him.<\/dialogue>\n    <character>TARAQ<\/character>\n    <dialogue>No bya zey che we neso.<\/dialogue>\n    <character>GULAB<\/character>\n    <dialogue>He is my guest. You will leave our village.<\/dialogue>\n    <character>GULAB<\/character>\n    <dialogue>hagha zama milma day. Taso zmong da kali wozey.<\/dialogue>\n    <character>TARAQ<\/character>\n    <dialogue>We will come back.<\/dialogue>\n    <character>TARAQ<\/character>\n    <dialogue>Mong ba bia razo.<\/dialogue>\n    <character>GULAB<\/character>\n    <dialogue>Then you will fight my entire tribe.<\/dialogue>\n    <character>GULAB<\/character>\n    <dialogue>Bya ba zma tola qabila staey khilaf jange kawe.<\/dialogue>\n    <scene_description>A tense stand off, Taraq staring at Gulab. He and his men slowly release Luttrell...move out past Gulab.<\/scene_description>\n    <character>TARAQ<\/character>\n    <dialogue>For an American you will all die. Do you understand that?<\/dialogue>\n    <character>TARAQ<\/character>\n    <dialogue>Da yao Americayee da para ba taso toll mrey. Aya taso<\/dialogue>\n    <scene_description>powhegey<\/scene_description>\n    <character>GULAB<\/character>\n    <dialogue>Stay away from this village.<\/dialogue>\n    <character>GULAB<\/character>\n    <dialogue>Da dey kali na larey osey.<\/dialogue>\n    <scene_description>They stare inches apart. Taraq smiles, orders his men out. Taraq stops, turns back, faces the entire village.<\/scene_description>\n    <character>TARAQ<\/character>\n    <dialogue>You have all made your choice, you have declared your side and for this all men, women, children will be slaughtered. All of you.<\/dialogue>\n    <character>TARAQ<\/character>\n    <dialogue>Taso tolo khapal fareeq aw khawakha malooma kra, da dey pa waja ba tol nareena, khazena aw moshoman mrey. Tasey tol.<\/dialogue>\n    <scene_description>Tight on Gulab trembling trying his best to show no fear. Tight shots of Gulab's villagers; farmers with guns, all of them trembling.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. MOUNTAINS<\/stage_direction>\n    <scene_description>The old men with the note from Luttrell treks hard and fast over the mountains.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - OUTSIDE VILLAGE<\/stage_direction>\n    <scene_description>Taraq on cell phone as he climbs up a small hill overlooking Gulab's village. Taraq's calling in more men, waiting.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. GULAB'S VILLAGE<\/stage_direction>\n    <scene_description>Gulab and three of his tribesmen having a heated conversation, argument over Luttrell. Feels similar to the SEALs debating the ROE on the mountain top. Women in packs watch from a distance.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GULAB'S HOUSE<\/stage_direction>\n    <scene_description>The little boy squatting on floor next to Luttrell, won't take his eyes off him. An odd staring contest.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>What's your name?<\/dialogue>\n    <scene_description>The boy just stares.<\/scene_description>\n    <character>MARCUS<\/character>\n    <dialogue>Name?<\/dialogue>\n    <scene_description>Nothing. Luttrell looks down at his gunshot wounds, still seeping blood. He looks to the young boy.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>Hey.<\/dialogue>\n    <scene_description>The boy looks at Luttrell.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>Come. Come.<\/dialogue>\n    <scene_description>Luttrell gestures for the boy to come over.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>Knife.<\/dialogue>\n    <scene_description>The boy is confused. Just stares at Luttrell.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>Knife.<\/dialogue>\n    <scene_description>Luttrell finds a little piece of wood on the cave floor, picks it up. Makes a cutting move with it.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>Knife.<\/dialogue>\n    <character>LITTLE BOY<\/character>\n    <dialogue>Knife.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Go get knife.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. WOODS - OUTSIDE VILLAGE<\/stage_direction>\n    <scene_description>Shah, with five more heavily armed Taliban, join Taraq in the woods. Brief conversation in Arabic -- Taraq briefs Shah on situation. Now ten in total, they stare down at Gulab's village.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GULAB'S HOUSE<\/stage_direction>\n    <scene_description>The little boy has brought back a small live duck. Presents it to Luttrell.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <parenthetical>(confused)<\/parenthetical>\n    <dialogue>What is that?<\/dialogue>\n    <scene_description>The kid silently holds the duck out to Luttrell.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>I said knife.<\/dialogue>\n    <character>LITTLE BOY<\/character>\n    <dialogue>Knife.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>That's not a knife.<\/dialogue>\n    <character>LITTLE BOY<\/character>\n    <dialogue>Not a knife.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>That's a fucking duck.<\/dialogue>\n    <character>LITTLE BOY<\/character>\n    <dialogue>That's a fucking duck.<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>I need a knife!<\/dialogue>\n    <character>LITTLE BOY<\/character>\n    <dialogue>Knife!<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>For my leg!<\/dialogue>\n    <character>LITTLE BOY<\/character>\n    <dialogue>For my leg!<\/dialogue>\n    <scene_description>Gulab enters looking down at Luttrell.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>Please. I need a knife.<\/dialogue>\n    <scene_description>Gulab staring down at Luttrell. Moves to the back of the house, comes back with a large knife. Gruesome bullet removing sequence. Blood. Screaming digging scraping out bullets and shrapnel from Luttrell's back and legs. Gulab digs with a knife. Pours water on the wounds. The little boy holds Luttrell's hands and whispers to him. Luttrell passes out.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HINDU KUSH - NIGHT<\/stage_direction>\n    <scene_description>Under the full moon the trekker moves across a mountain top. 101A Gulab and his villagers stand watch over their village. 101A 101B Luttrell sleeps. His fever burning. 101B SUNRISE<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. HILLS ABOVE GULAB'S VILLAGE<\/stage_direction>\n    <scene_description>Taraq and Shah, now with fifty men. Heavily armed. AKS and RPGS, Shah gives orders. The men break into three groups. Moving out to flank the village. Gulab's villagers still on watch. The town feels locked down like an old western.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. BAGRAM - CJSOTF<\/stage_direction>\n    <scene_description>Secure phone rings. Marine answers it.<\/scene_description>\n    <character>MARINE<\/character>\n    <dialogue>We've got a report of a letter asking for assistance.<\/dialogue>\n    <character>COMMANDER<\/character>\n    <dialogue>From who?<\/dialogue>\n    <character>MARINE<\/character>\n    <dialogue>Marcus Luttrell. Sir, they did a hand writing comparison and its does appear to be Luttrell.<\/dialogue>\n    <character>COMMANDER<\/character>\n    <dialogue>Where is he?<\/dialogue>\n    <character>MARINE<\/character>\n    <dialogue>KANDISH Village.<\/dialogue>\n    <character>COMMANDER<\/character>\n    <dialogue>Go get him son.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>103A EXT. C-130 - AIRBORNE 103A<\/stage_direction>\n    <scene_description>The \"HAND OF GOD\". A high altitude attack aircraft capable of striking targets from 25,000 feet.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. COCKPIT<\/stage_direction>\n    <scene_description>C-130 pilots getting instructions to move into the Kandish Village area. Gunmen settling into fire positions.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. GULAB'S HOUSE<\/stage_direction>\n    <scene_description>Luttrell wakes. A small fire. Gulab and the little boy staring at Luttrell. Luttrell struggles to sit up. Gulab hands him water. Luttrell drinks in massive gulps. Choking. Gulab takes water bottle from Marcus.<\/scene_description>\n    <character>GULAB<\/character>\n    <parenthetical>(arabic)<\/parenthetical>\n    <dialogue>Slow.<\/dialogue>\n    <scene_description>Gulab hands Luttrell a bowl of cooked Lamb. Luttrell starts inhaling the meat. Fist fulls. As he starts choking.<\/scene_description>\n    <character>GULAB<\/character>\n    <parenthetical>(arabic)<\/parenthetical>\n    <dialogue>Slow.<\/dialogue>\n    <scene_description>Luttrell nods. Trying to slow down. Trying to show a semblance of control. Gulab points to the Texas flag on Marcus's vest.<\/scene_description>\n    <character>GULAB<\/character>\n    <dialogue>America?<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Texas.<\/dialogue>\n    <character>GULAB<\/character>\n    <dialogue>America?<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Yes. America. Texas is America, Yes.<\/dialogue>\n    <character>LITTLE BOY<\/character>\n    <dialogue>Tex.<\/dialogue>\n    <character>MARCUS<\/character>\n    <dialogue>Texas.<\/dialogue>\n    <character>LITTLE BOY<\/character>\n    <dialogue>Texas.<\/dialogue>\n    <scene_description>Luttrell eyes the water bottle.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>More water. Please.<\/dialogue>\n    <scene_description>Gulab hands Marcus the bottle. Again he starts drinking in desperate, choking gulps. The little boy laughing at Luttrell's ravenous thirst. Gulab a small smile. The little boy and Gulab just stare. As Luttrell finishes all the meat and drinks all the water.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>I don't know why your doing this for me.<\/dialogue>\n    <scene_description>Gulab and the little boy staring at Marcus.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>Thank you.<\/dialogue>\n    <scene_description>The two men staring at each other as an incoming RPG slams into the house. Huge explosion. Frantic screaming from outside. Gulab up and out first. Luttrell struggles to stand. The little boy moving to Luttrell helping him up. Luttrell grabbing his vest and gun moving out just as a 2nd RPG detonates destroying the rest of Gulab's house.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>EXT. VILLAGE<\/stage_direction>\n    <scene_description>TARAQ attacks with his men. Brutal fight. Hand to hand, gun on gun. Gulab shot, Marcus shot again. The Taliban is about to kill Marcus when the little boy calls out to Marcus. The Taliban is on top of Luttrell, choking him, killing him. Luttrell's hands clawing at the man, digging into earth, grasping for wood, a stone, anything...when...a KNIFE, is slapped into Luttrell's hand. Luttrell looks up, the little boy. Staring at Luttrell. Marcus buries the knife into the neck of the fighter. Rolling out as the building in front of them detonates. Heavy machine gunfire tearing it up. Luttrell and Shah fall back. A woman charges out grabbing the little boy. Eye contact with Luttrell as he is carried away. Gulab and Marcus pinned down...Taraq moving in. Taraq is about to win. When off camera, Luttrell looking up at the empty sky, he hears something. THUMP THUMP THUMP Silent. Then. Giant explosions all around Luttrell. Taliban blowing up as if HAND of GOD was attacking.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>106A INT. AC-130 106A<\/stage_direction>\n    <scene_description>We see gunners targeting. The 40mm firing with extreme precision. 106B Luttrell looks up behind him. 106B Two American Apaches, flanking two Blackhawks. 106C HIGHER 106C C-130 gunship starts slow banking... Tight on pilots, gunmen, ammo, fingers on triggers...sights locked in... 106D On the ground... 106D All gunships open fire, the ground around the village erupts. Taliban shredded. Taliban trying to run away. Shredded by the Apaches. The C- 130. Taraq turns...starts to run away. Tight on Luttrell, gun up. Tight on Gulab, gun up... POV: Both sights, Taraq's head full frame. Both men take a breath...<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>Glorious Day.<\/dialogue>\n    <scene_description>Gulab fires first. On Taraq, running towards us full frame as... Gulab's bullet slams into the side of Taraq...spinning him around as...Luttrell's bullet takes his head off...Taraq falling slow and hard. Dead. Tight on Luttrell and Gulab. Apaches circling over head as two Blackhawks land behind them. Air Force Search and Rescue Helicopter airmen charge out of the chopper towards Luttrell.<\/scene_description>\n    <character>CREW CHIEF<\/character>\n    <dialogue>Luttrell?<\/dialogue>\n    <character>LUTTRELL<\/character>\n    <dialogue>Yes sir.<\/dialogue>\n    <character>CREW CHIEF<\/character>\n    <dialogue>It's time to go home.<\/dialogue>\n    <scene_description>The Airmen reach for Luttrell. Luttrell won't let go of Gulab. They hold each other like life long brothers. The US Airmen separate Marcus from Gulab. Marcus is too weak to resist.<\/scene_description>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHOPPER<\/stage_direction>\n    <scene_description>Luttrell loaded in the chopper, looks back at Gulab, reaches for him. Gulab takes his hand.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>He comes with me.<\/dialogue>\n    <scene_description>Luttrell's hand is gently separated from Gulab as Green Berets move into the village. Gulab steps back as the chopper takes off. Tight on Luttrell, weak eyes open, glassed up.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>There is a randomness to life. A luck, a rhythm that is beyond my ability to understand.<\/dialogue>\n  <\/scene>\n  <scene>\n    <stage_direction>INT. CHOPPPER<\/stage_direction>\n    <scene_description>Flying fast over the Afghan mountains. Luttrell beaten and broken, but clear-eyed... Staring down at the vast epic Afghan mountain range.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>Brave men have fought and died building the proud tradition and fear of reputation that I am bound to uphold.<\/dialogue>\n    <scene_description>The mighty Hindu Kush... As the sun sets... Back to opening. Doctor's working franticly to save Luttrell.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>I died up on that mountain. There's no question a part of me will forever be up on that mountain dead as my brothers died.<\/dialogue>\n    <scene_description>Close on heart monitor.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>But, there is a part of me that lived. Because of my brothers, because of them, I am still alive, and I can never forget that no matter how much it hurts, how dark it gets, how far you fall...<\/dialogue>\n    <scene_description>From flatline to a heartbeat.<\/scene_description>\n    <character>LUTTRELL<\/character>\n    <dialogue>You are never out of the fight.<\/dialogue>\n    <scene_description>LONE SURVIVOR.<\/scene_description>\n  <\/scene>\n<\/script>","summary":"In 2005, Ahmad Shah, a local Taliban warlord in the Korangal Valley is identified as the person responsible for the deaths of several Marines, plus many villagers who are believed to have aided the American forces in Afghanistan. A Navy SEAL team, consisting of Michael Murphy, Matthew Axelson, Danny Dietz and Marcus Luttrell, is ordered to capture Shah. Inserted overnight via helicopter, the four-man team make their way toward Shah's last known location. Due to the mountainous terrain the team is operating in, communications with J-Bad become difficult. Though the team identify Shah, they are discovered by local villagers; one of whom is carrying a walkie-talkie. Believing that the villagers are Taliban sympathisers, the SEALs debate setting them free or killing them. Murphy orders them to be set free. The team proceed up the mountainside, aborting their mission and intending to extract. However, true to the SEALs\u2019 concerns, the villagers alert the Taliban, who pursue the team. Though the SEALs begin with the advantage, the sheer number of the Taliban forces begins to overwhelm them and their position. Pushed toward a ravine the SEALs are given little choice but to jump, but are thrown off balance when an RPG detonates in front of them. Dietz is killed and the remaining SEALs try desperately to raise support. Murphy scales the cliff to gain a clear signal which finally alerts the QRF, though he is killed shortly after. The QRF scrambles to the SEALs\u2019 aid, though the two Chinook helicopters fly in without Apache support. Briefly encouraged by the arrival of reinforcements, Luttrell and Axelson watch helplessly as one Chinook is shot down by an RPG. The second aborts, leaving Luttrell and Axelson to fend for themselves. Already grievously wounded from battle, the disoriented Axelson is soon cornered by Taliban gunmen and killed. Luttrell is also discovered, though he survives an RPG attack and is able to hide from his pursuers overnight and escapes. Wandering alone, Luttrell happens across a small stream when he is discovered by Mohammed Gulab, a local Pashtun. Taking the wounded and exhausted Luttrell into his care, Gulab hides him from the Taliban in his home, and also sends another villager to the nearest American base to report on Luttrell's location. Shah arrives at the village to execute Luttrell, however the villagers resist. Shah leaves, but returns later with several Taliban gunmen and engages the villagers. Rangers arrive mid battle and evacuate Luttrell, who also thanks Mohammed for his assistance. Images of the real Luttrell, Gulab and the fallen service members killed during the mission are shown during a four-minute montage, and an epilogue explains that the Pashtun villagers agreed to help Luttrell as part of a traditional code of honor known as the Pashtunwali."}